What impresses me the most is having an identifiable sound. I am very un-excited by people who are great at the execution, but don't have their own sound.
Thanks for talking with us. I am going to yield the floor to some other folks.
Blues...when you are working with a Marshall amp, do you have a favorite model that you use? Old school Plexi or 800 or something more modern. It seems that most great guitarists always talk about "this one amp", and it was either lost, stolen or something.
The only amp that's irreplaceable for me is the very first original Dirty Boy that my dad built for me on the kitchen table. With guitars and amps, I'm very particular. It's like people, you meet a lot in your life, but you'll only be friends with a few of them. When I find something I really like, I try not to get rid of it.
Blues, first of all, thanks for spending time with us. Second, you're one of the longest continuous signature Seymour Duncan artists. And correct me if I'm wrong, but on your end, your relationship with us is your longest. What is it about Seymour Duncan that works for you?
A buddy of mine is a gear dude and he has every pickup under the sun. But I don't know why, but the Duncan stuff just works for me. For me, it's about the tone.
no question from me, just a quick thank you for stoppin by our little corner of the web and for all the great music over the years .. i first heard you at a clinic here outside of baltimore, md about 20 yrs ago and was immediately convinced that you 'had it' - not just a flash in the pan, market-packaged phenom ... glad things have gone well for you
gear list in profile
"no seymour - no tone ... know seymour - know tone!"
Is it not the glory of the people of America that, whilst they have paid a decent regard to the opinions of former times and other nations, they have not suffered a blind veneration for antiquity, for custom, or for names, to overrule the suggestions of their own good sense, the knowledge of their own situation, and the lessons of their own experience?" - James Madison - Federalist #14
When I listen back then, there was so much behind the scenes stuff that was going on. When you listen to Hairpick and Plaid, the machine they loaned me didn't have a punch-in feature. So I had to record a solo on three different channels -- the beginning on channel one, the middle on channel two and the end on channel three -- and then I had to make a composite track of all the solos one generation down. If you listen carefully, you'll hear that some notes overlap.
I would love to go back in time and change things. But I've resigned myself that it's a snapshot in time and it is what it is.
By the way, about Lindsay, what did she get? Eight days in the can? That's hardly worth mentioning...
What would you like to be remembered for most?
Do what I do. Hold tight and pretend it's a plan!
I've really appreciated my time with Seymour Duncan on my personal tone quest. I wish everyone the best finding their own individual sound. I'm sure there's a model in the Seymour Duncan line that will work for you like it works for me.
Thanks to all of you for hanging with me this afternoon.