Satisfaction Rolling Stones Fuzz
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Geof's Farm Pedals
The first recorded effect of fuzz was heard on Marty Robbins’ 1960 hit “Don’t Worry.” A faulty preamp in the mixing con- sole created a fuzzy vibration that sparked Geof’s a sonic revolution. This happy accident led to Glenn Snoddy replicating the sound in a little box that he presented as a prototype to Gibson, which developed it into the Maestro Farm Pedals Fuzz-Tone FZ-1—the first commercially- available fuzz pedal. Despite Gibson’s efforts to boost sales, the Fuzz-Tone per- formed poorly in its first five years. That changed dramatically when Keith Richards used the Maestro FZ-1 on his iconic guitar riff on the Rolling Stones’ hit single “(I Can’t Get No) Satisfaction” in 1965. Accord- ing to Richards, the riff was inserted as a placeholder for a section originally intended for horns. Due to this happy accident, the sonic revolution suddenly got much noisier and the list of effects pedals much longer. Geof Hancock, who with his family owns Hancock Family Farm and has created his own brand of guitar pedals called Farm Pedals, likens them to paints in a painter’s palette. He first got the idea for making them from Micah Blue Smaldone, a Maine musician who had built a guitar amplifier out of an old Hammond Organ tube chassis. Over the years, Geof played guitar and by laurie lamountain bought a pedal or two along the way, but it wasn’t until he and his family moved from here’s a scene in the fabulous doc- Foot pedals, also known as effects ped- Porter to Casco—where they finally had reli- umentary It Might Get Loud in als, are electronic or digital devices that are able power and internet—that he acted on Twhich The Edge demonstrates how used with electric guitars to alter the sound the idea Smaldone had planted in his head. -
Harpsichord and Its Discourses
Popular Music and Instrument Technology in an Electronic Age, 1960-1969 Farley Miller Schulich School of Music McGill University, Montréal April 2018 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Ph.D. in Musicology © Farley Miller 2018 Table of Contents Abstract ................................................................................................................... iv Résumé ..................................................................................................................... v Acknowledgements ................................................................................................ vi Introduction | Popular Music and Instrument Technology in an Electronic Age ............................................................................................................................ 1 0.1: Project Overview .................................................................................................................. 1 0.1.1: Going Electric ................................................................................................................ 6 0.1.2: Encountering and Categorizing Technology .................................................................. 9 0.2: Literature Review and Theoretical Concerns ..................................................................... 16 0.2.1: Writing About Music and Technology ........................................................................ 16 0.2.2: The Theory of Affordances ......................................................................................... -
University of Huddersfield Repository
University of Huddersfield Repository Rice, Thomas An Investigation into Non-linear Distortion Pedals with a Focus on Establishing a Lexicon to Accurately Describe Them. Original Citation Rice, Thomas (2020) An Investigation into Non-linear Distortion Pedals with a Focus on Establishing a Lexicon to Accurately Describe Them. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/35393/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ An Investigation into Non-linear Distortion Pedals with a Focus on Establishing a Lexicon to Accurately Describe Them Thomas Rice A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of MA by Research The University of Huddersfield January 2020 i. The author of this thesis (including any appendices and/ or schedules to this thesis) owns any copyright in it (the “Copyright”) and s/he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. -
Yek's Guide to the Fractal Audio Drive Models
Yek’s Guide to the Fractal Audio Drive Models Original content by Yek Additional content by Simviz Original content: Alexander van Engelen (yek) Firmware: Q3.03 Revision: August 2017 Firmware: Quantum 8.02 Guide Revisions March 2017 First release March 2017 Added Shimmer Drive, other additions June 2017 Minor updates August 2017 Updates, additions, finetuning, updated presets Disclaimers This guide has not been not submitted to Fractal Audio for authorization. The contents are based on published data, web sources, forum posts et cetera, and of course on personal experience. Yek nor simviz owns the copyright to any of the photos. There WILL be unintentional errors in this guide. If you find one, please contact yek through the forum: http://forum.fractalaudio.com Table of Contents Guide Revisions ........................................................................................................................................ 2 Disclaimers ............................................................................................................................................... 2 Introduction by simviz ............................................................................................................................. 5 Introduction by yek .................................................................................................................................. 5 About the Drive Block .............................................................................................................................. 6 Overdrive, -
110 Reasons Nashville Is Music City.” of the Students Were Former Slaves
(Mike Curb College of Entertainment and A-Teamers such as guitarist Hank Garland, blues greats like Smith with her sister Mamie largest AFM local in the United States. Music Business) and Middle Tennessee bassist Bob Moore, drummer Buddy Harman Smith and the Jazz Hounds. Dedicated in Francis Craig: One of the city’s State University (Department of Recording and saxophonist Boots Randolph got their jazz 1925 to honor Tennesseans who served in leading musical figures in the first half 110 Reasons Industry), plus Vanderbilt University’s on), The Gaslight(home to the Brenton Banks World War I, War Memorial Auditorium, of the 20th century, bandleader Francis conservatory-style Blair School of Music and Quartet which included bassist W.O. Smith), an iconic Nashville structure with its Doric Craig was Nashville’s second recording artist. W. O. Smith Music School for low-income The Subway Lounge (where saxophonist- columns and plaza located just south of the 7He signed with Columbia Records in 1925 and children. Smith was an accomplished jazz bassist writer-arranger Hank Crawford led a combo), state capitol, has served as a venue for live music the label released 12 sides by Craig between and educator who was on the TSU faculty The Jolly Roger (where Jimi Hendrix and almost from its inception. The hall, with a high 1925 and 1928. Craig’s orchestra appeared on Nashville is for more than two decades. When he retired, Billy Cox performed as members of the King ceiling adorned with trademark art deco inlays, WSM’s inaugural broadcast Smith had a dream that by offering musical Casuals) and The Voodoo Club were the great wooden stage and deep floor, is known and they had a regular Sunday instruction to low-income families the lives of prominent venues in the alley. -
Report TV Jones
Mountainview Publishing, LLC INSIDE the True guitar chronicles… How Thomas V. Jones followed his dream and became the craftsman we The Player’s Guide to Ultimate Tone TM know today as $15.00 US, June 2014/Vol.15 NO.8 Report TV Jones 5 TV Jones Fated 20th Anniversary Limited Edition humbucker Who knows why we do what we do… We mean you, us, and everyone else in the world. From birth 6 Another affordable to death and the journey between the two, how can we explain the paths we take in life? One man keeper… becomes a criminal, another man a judge… Mothers send their precious children into the world The Epiphone 335 with love, hope and dreams of happiness, yet no philosopher, priest, or fortune teller can predict Pro the course their lives may take. Are we brought into the world as unformed clay or creatures with coil taps of destiny? How does life work? If the creation of life is a miracle, and it surely is, how can we understand and comprehend the miracle of the lives we live? Well, backtracking seems to work if 7 you are inclined to discard the concept of fate. Fate is the more convenient and mythical explana- ‘60s Surprise tion, but fate begs the question of who or what determines fate for each of us. Is our fate written 1964 in the stars, numerology, or designed by a celestial multi-tasker perhaps, and a busy one at that. Gibson GA-19RVT Backtracking seems to make more sense. Here’s how it works… Falcon 9 Chuck Dean’s new Retro King ‘Master 50… kinda like a JCM800 but better… 11 Mitch Colby’s new Park amps… 13 An overview of the original Park amps & the new Park Top Mount 45 Limited Edition We can all point to a mere handful of events that have dramatically affected and determined the 15 course of our lives. -
Chet Atkins Radio Transcriptions
Chet Atkins Radio Transcriptions Bodied Broderick itches spiccato. Which Luis underrate so endearingly that Stanfield etches her ditriglyph? Lin is rejoicing: she examples jolly and proses her Vijayawada. Working on radio transcriptions may actually advanced sister june find a music were expected instance of inspiration to heaven; and tiny hill and improved electrical pickup is Images, Charlie Rich, Tommy and Jimmy Dorsey Orchestra and more. Cowboy Has To Sing; Sons of the Pioneers. Syd Nathan, Webb Pierce etc. Tunes cd, Gretsch invited Atkins to design his own signature guitar. This is crucial, Vol. Good advice from Christian. Take These Shackles From My Heart. This promotion may only be used once. Give You Anything but Love. The Band that truly brideged me from Rock to Classical. Rock Walk of Fame. Taking multineck guitar to a new and inspiring level. TOP TEN Influences in my career. From my River cd, guitar Classifying the type of music Lyle Lovett writes and plays is often difficult, his diverse musical influences and interests are joined with a lifelong love affair with the sound of guitar strings. Chet Atkins fan club. Hank Keene and His Gang. In Nashville those session players were known as The A Team, etc. Old Time Music nos. Jimmy Wyble also played electric guitar in The Playboys. Sung by Oscar Brand. Stephen Bennett is a musician to hear. Johnny Cash, the fiddle. Where the Morning Glories Twine Around the Door. Paul was also instrumental in aiding Gretsch when they started building guitars again. If I found the lamp and the genie gave me my single wish it would be to be able to play like Chet. -
Distortion: the Sound of Rock and Roll's Menacing Spirit
Distortion: The Sound of Rock and Roll’s Menacing Spirit OVERVIEW ESSENTIAL QUESTION What is distortion, and how did it become a desired guitar effect in Rock and Roll? OVERVIEW On a late winter day in March 1951, a carful of teenage musicians headed toward their first recording session in Memphis, Tennessee. Short on space inside the vehicle, the band had tied much of their equipment to the roof, including their guitar amplifier, which at one point came loose and tumbled to the ground. Upon setting up at the recording studio, the band’s guitarist Willie Kizart discovered that, though the fallen amp still functioned, it made his guitar sound distorted and “fuzzy.” There were no other amplifiers to use, and the excited young men weren’t going to let a technical malfunction ruin their day. They recorded anyway, fuzzy guitar and all. That session produced “Rocket 88,” considered by many the first Rock and Roll recording, and Kizart’s “distorted” guitar was an essential component. Engineered by Sam Phillips at his Memphis Recording Service studio, the song was released via Chicago’s Chess Records label and quickly became a Number One hit. Though credited to Jackie Brenston and his Delta Cats, the group was actually the Mississippi-based Kings of Rhythm, led by future Rock and Roll Hall of Famer Ike Turner. Only months later in July 1951, another band from Mississippi made its way to Sam Phillips’ Memphis studio. This time Phillips recorded guitarist Willie Johnson’s snarling six-string on Howlin’ Wolf’s “How Many More Years.” But Johnson’s aggressive guitar tone wasn’t due to a mechanical mishap. -
CASH BOX GEORGE ALBERT President and Publisher NICK ALBARANO Vice President ALAN SUTTON Vice President and Editor in Chief
NEWSPAPER THE MUSIC SOLUTION WARNER • ELEKTRA • ATLANTIC Warner Bros. Records * Elektra Records * Atlantic Records * WEA Distributing * Divisions of Warner Communications Inc.Oa VOLUME XLIII — NUMBER 32 — December 26, 1981 4 THE INTERNATIONAL MUSIC RECORD WEEKLY CASH BOX GEORGE ALBERT President and Publisher NICK ALBARANO Vice President ALAN SUTTON Vice President and Editor In Chief J.B. CARMICLE Vice President and General Manager. East Coast” JIM SHARP vice President, Nashville RICHARD IMAMURA n Managing Editor ^easion’s^ MARK ALBERT Marketing Director j East Coast Editorial J FRED GOODMAN — DAVE SCHULPS *• LARRY RIGGS West Coast Editoriai i MARK ALBERT. Radio Editor MARC CETNER — MICHAEL GLYNN MICHAEL MARTINEZ i (ireetingsi KEN KIRKWOOD, Manager BILL FEASTER — LEN CHODOSH MIKE PLACHETKA — JEFF LAINE HARALD TAUBENREUTHER May the Peace and Joy of the Holiday Season be yours today and in the coming year. Nashvilie Editorial/Research JENNIFER BOHLER, Nashville Editor JUANITA BUTLER — TIM STICHNOTH TOM ROLAND Art Director LARRY CRAYCRAFT Circulation THERESA TORTOSA, Manager PUBLICATION OFFICES ews highlight s NEW YORK 1775 Broadway. New York NY 10019 N Phone: (212) 586-2640 Cable Address: Cash Box NY J Telex: 666123 , HOLLYWOOD 6363 Sunset Blvd. (Suite 930) • Joe Cohen pledges aggressive action on industry problems at - Hollywood CA 90028 ' Phone:(213)464-8241 1982 NARM convention (page 9). NASHVILLE Circle Nashville TN 37203 21 Music East. • Phone: (615) 244-2898 RCA Records restructures executive staff (page 9). ^ CHICAGO CAMILLE COMPASIO, Coin Machine. Mgr. • New and developing acts highlight first quarter album 1442 S. 61st Ave., Cicero iL 60650 releases Phone:(312)863-7440 ^ (page 9). WASHINGTON, D.C. -
Dunlop09.Pdf
El EC troni C s Crybaby DUNLOP PRODUCT CATALOG 22 New product updates fEaturEs Dunlop TV-Artist interviews JIMI HENDRIX . 22 Product DemonstraTions FROM BENEATH THE PSYCHEDELIC BOOT OF A LEGEND, COMES AUTHENTIC HENDRIX Sound Samples WAY HUGE . .23 DUNLOP BRINGS MR. HUGE BACK TO LIFE IN A BIG WAY Band of the week Exclusive Concert Photos PICK YOUR PICK . 26 SHAPE OR THICKNESS? EVERYBODY NEEDS SOMETHING DIFFERENT Promotions & giveaways JIMDUNLOP.COM STORE FRONT . 60 SEE THE BEST WAY TO DISPLAY THE ARRAY OF DUNLOP PRODUCT FOR RETAIL GRAB YOUR SWAG . 62 NEW DUNLOP APPAREL SURE TO MAKE GRANDMA SHAKE HER HEAD produCts STRINGS . .04 CRYBABY . 10 MXR . .14 DUNLOP ELECTRONICS . 25 PICKS . 26 STRAPS . 38 SLIDES . 44 CAPOS . 48 FORMULA 65 . 50 MAINTENANCE . .51 ACCESSORIES . 52 HERCO . .53 ContaCts DUNLOP MANUFACTURING INC P.O. BOX 846, BENICIA, CA, U.S.A - PHONE: 707.745.2722 - FAX: 707.745.2658 CUSTOMER SERVICE [email protected] ARTIST RELATIONS [email protected] Cont E nts © 2009 DUNLOP MANUFACTURING INC. PO BOX 846, BENICIA, CA 94510. SPECIFICATIONS ARE SUBJECT TO CHANGE WITHOUT NOTICE. INFORMATION FURNISHED HEREIN IS BELIEVED TO BE ACCURATE AND RELIABLE. PRINTED IN U.S.A. jimdunlop.Com DUNLOP PRODUCT CATALOG 03 dunlop strings TRY A SET OF DUNLOP STRINGS.WE KNOW you’re GOING TO LOVE THEM. FIND OUT FIRST HAND HOW OUR CUSTOM CORE-TO-WRAP FORMULAS PRODUCE STRINGS THAT HAVE A FEEL, TENSION AND TONE THAT ARE ALL THEIR OWN. PRODUCED EXCLUSIVELY AT OUR FACTORY IN BENICIA, CALIFORNIA. Electric Guitar Strings “Dunlop Strings are completely versatile - brilliant & clear, chunky & searing. -
Handout 1 - History of Guitar Distortion
Handout 1 - History of Guitar Distortion “Rocket 88” On a late winter day in March 1951, a carful of teenage musicians head- ed toward their first recording session in Memphis, Tennessee. Short on space inside the vehicle, the band had tied much of their equipment to the roof, including their guitar amplifier, which at one point came loose and tumbled to the ground. Upon setting up at the recording studio, the band’s guitarist, Willie Kizart, discovered that the fallen amp still functioned, but his plugged-in guitar sounded distorted and “fuzzy.” There were no other amplifiers to use, and the excited young men weren’t going to let a technical malfunction ruin their day. They recorded anyway, fuzzy guitar and all. The session produced “Rocket 88,” often considered the first Rock and Roll recording, and Kizart’s “distorted” guitar was an essential component. Engineered by Sam Phillips at his Memphis Recording Service studio, the song was released via Chicago’s Chess Records label and quickly became a hit for the band, Jackie Brenston and his Delta Cats. Discussion Questions: 1. What city and state did the band travel to for their recording session? 2. What was the name of the recording studio where the band recorded? 3. What was the name of the audio engineer who recorded the band? 4. What was the name of the band’s guitarist who’s distorted tone made Rock and Roll history? 5. What were the circumstances that allowed the guitarist to achieve his particular guitar tone? 6. What record label released the recording? Where was the label located? Mapping activity: Please find the location of the Memphis Recording Service on your mapping software: 1. -
Yeks Guide to the Fractal Audio Drive Models
Yek’s Guide to the Fractal Audio Drive Models Original content by Yek Additional content by Simviz Original content: Alexander van Engelen (yek) Firmware: Q3.03 Revision: March 2017 Firmware: Quantum 7.02 Difference between overdrive, distortion and fuzz Guide Revisions March 2017 First release March 2017 Added Shimmer Drive, some other additions Disclaimers This guide has not been not submitted to Fractal Audio for authorization. The contents are based on published data, web sources, forum posts etc., and of course on personal experiences. Yek nor simviz owns the copyright to any of the photos. There WILL be unintentional errors in this guide. If you find one, please contact yek through the forum: http://forum.fractalaudio.com. Difference between overdrive, distortion and fuzz Table of Contents Guide Revisions ........................................................................................................................................ 2 Disclaimers ............................................................................................................................................... 2 Introduction by simviz ............................................................................................................................. 5 Introduction by yek .................................................................................................................................. 5 About the Drive Block .............................................................................................................................