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Post by timmytva on Feb 11, 2014 10:47:46 GMT -5
I was at the Harrisburg show, my second THS show. I saw them at the 930 Club in 2011 also.
Aside from being a killer show, the guitar tones were MASSIVE. During sound check, I thought Steve's rig sounded a little buzzy and thin but it perfectly complemented Tad's thick, grinding sound. I noticed Steve swapped his Marshall rig for something similar to Tad's "Bob Amp". Also noticed that Tad had a slightly different setup in Brooklyn vs. Harrisburg - looked like an additional Fender Tweed of some sort. Maybe being closer to him allowed him to haul out some goodies. Galen's bass tone was awesome too. Among the very best live bass sounds I've heard.
Finally, Tad's pedal board is CRAZY.
Tim
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Post by Matt Jones on Feb 11, 2014 11:38:38 GMT -5
Yeah, I'm a big gear nerd. I agree with you on their tones. Tad's is really thick and fat this time around, and Steve's his thin and cutting. His Firebird having Mini's definitely helps in that regard.
I remember when Tad first got his gigantic pedal board back in 2008/2009 - I'd talked gear with him before, and he noticed me in the crowd at the Wesleyan University show, so he brought me to the side of the stage to check it out - it was insane.
He also told me a while back that he modded his Epiphone Blues Custom to run EL34's, which made it a bit more Marshally.
Steve told me a couple of days ago that the Chassis without a head cabinet is another Bobamp, this one is a Marshall/Fender hybrid - I'm guessing it's in the JTM45/Bassman family.
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Post by hillcountry on Feb 11, 2014 11:45:27 GMT -5
Kubler's live tone is great. Memphis was my first sober THS set so I could actually analyze his gear a little. He was running a Fender Blues Jr. and his BobAmp simultaneously. I'm pretty sure the BobAmp is an 18 watt Marshall clone. He would kick on the Epi Blues Custom for thicker parts. It seems like his BC30 may be modded because it had much more bass at conventional eq settings than the ones that I've played.
Nothing too ridiculous on the pedal board side. All that tone's just solid time tested guitar/amp combinations. Those CAE switching systems are nice. Looks like Selvidge and Kubler were both using RE20s to thicken things up on the newer stuff.
EDIT: Looks like Mr. Jones confirmed some of this as I was typing. Sweet.
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Post by Matt Jones on Feb 11, 2014 12:22:23 GMT -5
Kubler's live tone is great. Memphis was my first sober THS set so I could actually analyze his gear a little. He was running a Fender Blues Jr. and his BobAmp simultaneously. I'm pretty sure the BobAmp is an 18 watt Marshall clone. He would kick on the Epi Blues Custom for thicker parts. It seems like his BC30 may be modded because it had much more bass at conventional eq settings than the ones that I've played. Nothing too ridiculous on the pedal board side. All that tone's just solid time tested guitar/amp combinations. Those CAE switching systems are nice. Looks like Selvidge and Kubler were both using RE20s to thicken things up on the newer stuff. EDIT: Looks like Mr. Jones confirmed some of this as I was typing. Sweet. Yeah, I remember Tad telling me a while back that he doesn't really do boutique pedals on the road, just for ease of replacement. The only "boutique" pedal he used was the T-Rex Replica. Otherwise it was all Boss/MXR. Really? A Blues Jr? That'd be completely different. In Brooklyn it looked to be the BobAmp 18w, Fender Tweed Deluxe, a smaller Tweed (looked like a Tweed Princeton), and the Blues Custom. |
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koob
The Hold Steady
The Hold Steady
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Post by koob on Feb 11, 2014 15:03:10 GMT -5
Kubler's live tone is great. Memphis was my first sober THS set so I could actually analyze his gear a little. He was running a Fender Blues Jr. and his BobAmp simultaneously. I'm pretty sure the BobAmp is an 18 watt Marshall clone. He would kick on the Epi Blues Custom for thicker parts. It seems like his BC30 may be modded because it had much more bass at conventional eq settings than the ones that I've played. Nothing too ridiculous on the pedal board side. All that tone's just solid time tested guitar/amp combinations. Those CAE switching systems are nice. Looks like Selvidge and Kubler were both using RE20s to thicken things up on the newer stuff. EDIT: Looks like Mr. Jones confirmed some of this as I was typing. Sweet. Nope. Sorry. I couldn't help myself. I don't know what a Blues Jr is. But I'm pretty sure it ain't behind me. The Fender is a '57 Deluxe. The other old Fender I was using at MHOW is '51 Deluxe. The '57 has had a speaker repair (not replaced). The '51 has had some of the regular replacing and maintenance done to it. Including someone painting POLKA DOTS on the front grill cloth... Yes. The black 2x12 BobAmp is a nice cross between a Marshall and a Vox. Before tour started Bob put some tubes in it that he got from somewhere... pulled out of a Hammond or something like that... The white one that Steve is now using can switch between 6V6 or EL84 and also between 110 and 220. The other one on the black chassis that Steve was running through the blonde cab (2 x 12 25 watt Rola Celestions) is a monster. It was too big for any pre-built chassis, so it lives in a pelican case. BobAmp is a genius. I rarely use the Epi's anymore unless the venue allows or if the bass on stage becomes overwhelming. I keep them on 15watts. I don't do any mods to the Epi Blues Customs - though I understand there are quite a few possibilities. I just pull out the 6L6 tubes and replace them with EL34s. No bias adjustment or anything like that. And with the exception of maybe the BobAmps, those are the most solid, consistent, best sounding amps I have ever had on tour. Pedals: Bob Bradshaw at Custom Audio Electronics is a scientist. He recently rebuilt my board and separated the pedals from the controller (it was becoming too heavy to fly with it and it looked ridiculous) - has 6 outputs - 4 switchable each w/ separate phase and ground lift. The only things I use to boost the signal are: Union MORE pedal - Chris Young gave me (Thank you, sir), this other pedal Bob Amp just gave me - Stone Deaf PDF 1, and a Boss EQ pedal. Most of the others effects are Boss Pedals - courtesy of Jamie Franklin (our UK Boss rep). And I did just get a Mobius Strymon. It's incredible. Someday Joe Clay is going to sit down with me and show me how to use all this shit... Until then - awwwwwwwwww, freak out - I'm gonna have to tap dance my way through all the songs from the new record... Thanks for the nerdery, gents. Love it. tk |
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Post by Matt Jones on Feb 11, 2014 15:46:21 GMT -5
Thanks for the info, Tad!
Is the Ampeg V4 (or was it V2?) still living in England for touring over there?
Also, what ever became of the Park head? That thing crushed.
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Post by Nightclub Dwight on Feb 11, 2014 16:29:35 GMT -5
Shit, I thought I was the only one who looks at the equipment more than the performers.
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they
Cityscape Skin
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Post by they on Feb 11, 2014 16:48:22 GMT -5
And I did just get a Mobius Strymon. It's incredible. Someday Joe Clay is going to sit down with me and show me how to use all this shit... Until then - awwwwwwwwww, freak out - I'm gonna have to tap dance my way through all the songs from the new record... Thanks for the nerdery, gents. Love it. tk Those Strymon pedals are monsters - deep, deep tweaking waters. I have a Flint and it knocked a Holy Grail and Kaden Tremolo right off my board, and is angling for my Deja-vibe, too. Glad to know that those things intimidate pros, too. With two kids and a job I barely have time to plug in, let alone get all cork-sniffy with internal dip switches and the like. There is much to be said for a short cord into a vintage amp (as long as it has reverb!) Your tone was phenomenal at the MHOW show Tad, I was in the balcony and the sound was epic even up in the rafters. You can't beat those cranky, cranked old amps. |
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Post by delboydrums on Feb 11, 2014 17:01:27 GMT -5
I don't understand a single thing anyone here just said, but I love it so much.
(off to the drummers thread now for some simple reading)
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Post by Nightclub Dwight on Feb 11, 2014 17:10:04 GMT -5
I took a shower and the reality of what I just read had time to sink in. Really?!!? TWO tweed Deluxes on tour? That has long been my dream amp, going back to my childhood in the 70's watching Neil Young wind one up. Up till now Neil was the only guitarist I knew that had the balls to take one on tour. But TK brings two? That is crazy awesome.
People always talk about the AC15 sounding like it is about to explode when pushed hard, but an old tweed Deluxe is the ultimate amp on the edge of destruction sound in my mind.
I've always loved Tad's tone, and I think it has actually gotten better with time. Thanks for that.
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Post by timmytva on Feb 11, 2014 17:28:12 GMT -5
TAD REPLIED??? How fucking cool is that??
I posted on The Gear Page about the Bob Amps after the 930 Club show a few years ago. Bob replied with exactly what Tad said - one amp is EL84/6V6 switchable and the others are 18W Marshally-Voxy. He also said feel free to ask any more connections. Bob is in Richmond. Wonder if he was the hookup for Tim Barry, another Richmond-ite?
Maybe on his next coffee break, Tad can tell us a bit about the guitars. I don't recall the double neck at the August 2011 930 Club show. I jokingly said to my fiancee "they're going to play Stairway to Heaven". She said "REALLY???". I said "Um, no."
I wanna echo my previous comment about Galen's bass tone. Just delightful. Fat and round and thumpy but also very warm and articulate.
Tim
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Post by xcalvinx on Feb 11, 2014 17:50:25 GMT -5
I can't tell from photos but does anybody know if Galen is using a vintage SVT or one of the reissue VRs? Either way his tone is great.
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Post by hillcountry on Feb 11, 2014 18:03:48 GMT -5
God damn it, I love this band. I have no idea why I thought that Tweed was a Blues Jr. That makes a lot more sense. Went back and looked at some gear pics from the Memphis show: |
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Post by hillcountry on Feb 11, 2014 18:05:25 GMT -5
And here's Selvidge's setup. I understand some of this has changed over the course of the tour. Attachments:
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Post by dealwiththedealers on Feb 11, 2014 18:48:08 GMT -5
Until then - awwwwwwwwww, freak out - I'm gonna have to tap dance my way through all the songs from the new record... If you say so, Koobs. |
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Post by Matt Jones on Feb 11, 2014 20:44:19 GMT -5
I can't tell from photos but does anybody know if Galen is using a vintage SVT or one of the reissue VRs? Either way his tone is great. It looked like a 70's 4-input silverface SVT. You really can't fuck with P-Bass -> SVT. |
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koob
The Hold Steady
The Hold Steady
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Post by koob on Feb 11, 2014 23:54:11 GMT -5
Thanks for the info, Tad! Is the Ampeg V4 (or was it V2?) still living in England for touring over there? Also, what ever became of the Park head? That thing crushed. The V4. Yes - it is sitting in a storage space in Northern Ireland. Patiently awaiting what I'm sure will be some much needed TLC... I might be thinking of something else, but I'm pretty sure that it used to be Galen's. And he played bass through it into a 2x15 WEST cabinet (that had/has no casters on it) for the first few tours. When Galen made the transition to an SVT (he's gone through at least a couple heads and a few cabs - touring is hard on gear), it was just sitting around, in rough shape. Bob Amp tuned it up and it eventually wound up as part of our UK/EU backline. It lives on top of a Green 'Yardbirds' 4x12 cab. Steve uses it now, mostly. I also have a Silvertone 1484 over there that I miss dearly. While I'd like to say I wish it were here, I'd rather we just spent more time over there. The Park is still around. It's roughly a '70/'71 (there isn't anything reliable about dating Marshall products from that era). The wiring is almost identical to a 100watt Plexi from around that period. I got that head and a sparkly, silver tolex Marshall 4x12 (formerly from Nirvana's backline) at Black Market Music when I lived in LA (briefly) in 2000 (traded the '71 P Bass I used in Lifter Puller for both - total steal). The fact that I used to play a 100 watt head through a 4x12 cab (with NO attenuator, most nights) and a '67 Super Reverb (both running at the same time) absolutely blows my mind. Apologies to whomever was near my side of the stage (or in the building, rather...). As for the two Fenders - those are very special amps. The story behind them even more so. tk |
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koob
The Hold Steady
The Hold Steady
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Post by koob on Feb 11, 2014 23:57:25 GMT -5
Until then - awwwwwwwwww, freak out - I'm gonna have to tap dance my way through all the songs from the new record... If you say so, Koobs. I actually had the privilege of meeting Nile Rodgers this past Sunday. He was as awesome as I expected him to be. |
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Admin
Midnight Hauler
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Post by Admin on Feb 11, 2014 23:59:05 GMT -5
I actually had the privilege of meeting Nile Rodgers this past Sunday. He was as awesome as I expected him to be. What's John Oates, chopped liver?  |
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Post by Matt Jones on Feb 12, 2014 6:45:52 GMT -5
Thanks for the info, Tad! Is the Ampeg V4 (or was it V2?) still living in England for touring over there? Also, what ever became of the Park head? That thing crushed. The V4. Yes - it is sitting in a storage space in Northern Ireland. Patiently awaiting what I'm sure will be some much needed TLC... I might be thinking of something else, but I'm pretty sure that it used to be Galen's. And he played bass through it into a 2x15 WEST cabinet (that had/has no casters on it) for the first few tours. When Galen made the transition to an SVT (he's gone through at least a couple heads and a few cabs - touring is hard on gear), it was just sitting around, in rough shape. Bob Amp tuned it up and it eventually wound up as part of our UK/EU backline. It lives on top of a Green 'Yardbirds' 4x12 cab. Steve uses it now, mostly. I also have a Silvertone 1484 over there that I miss dearly. While I'd like to say I wish it were here, I'd rather we just spent more time over there. The Park is still around. It's roughly a '70/'71 (there isn't anything reliable about dating Marshall products from that era). The wiring is almost identical to a 100watt Plexi from around that period. I got that head and a sparkly, silver tolex Marshall 4x12 (formerly from Nirvana's backline) at Black Market Music when I lived in LA (briefly) in 2000 (traded the '71 P Bass I used in Lifter Puller for both - total steal). The fact that I used to play a 100 watt head through a 4x12 cab (with NO attenuator, most nights) and a '67 Super Reverb (both running at the same time) absolutely blows my mind. Apologies to whomever was near my side of the stage (or in the building, rather...). As for the two Fenders - those are very special amps. The story behind them even more so. tk That's a pretty nuts deal you got for the Park. And hey, if you ever find yourself playing Wembley Stadium without a PA the Park and Super Combo will come in handy, haha. I love the trend of people going back to smaller amps for live use, it makes so much more sense. Being able to control the stage volume is making for clearer mixes. Hell, the guitarist in my band uses a Fender Pro Jr. (1x10, 15 watts), and my bass player uses an Ampeg Micro SVT (Solid State, Class D, 2x10 cab). They live in Brooklyn and can carry their rigs on the train. We've never been told that we're too quiet, and we've never been asked to turn down. Everyone's able to hit that sweet spot when we're playing. |
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Post by spinners on Feb 12, 2014 8:31:35 GMT -5
Long time lurker (pre migration to the new board), first time user/poster. Felt I had to join not just this awesome board, but also thread. Big guitar/gear nerd, great to get some info from the man himself.
Guitar nerd Q: Does anybody know what model the Cream/Beige Fender cab is that Tad used together with the white Bob amp head at some of the shows last year?
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Post by Matt Jones on Feb 12, 2014 9:29:23 GMT -5
Looks like a Fender Tonemaster 2x12 to me...
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Post by heidivandernice, nice on Feb 12, 2014 21:29:03 GMT -5
this thread is precious and fascinating. unfortunately, not the thread for "where can i get a cello pickup that won't fucking feed back so i can stop stuffing a bandana in the F-holes like an idiot?" i'll show myself out. (f-holes.)
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Post by Matt Jones on Feb 12, 2014 22:11:05 GMT -5
this thread is precious and fascinating. unfortunately, not the thread for "where can i get a cello pickup that won't fucking feed back so i can stop stuffing a bandana in the F-holes like an idiot?" i'll show myself out. (f-holes.) Hey Heidi, I've heard good things about these: www.davidgage.com/store/product_info.php?cPath=21&products_id=29&osCsid=78cb38dbc2500e3dca4352a6372257c9 we recorded Gem Club at the studio I'm helping out at, and I believe they were using one of those. You might still have to put a little something in there just to kill the feedback a bit (I've heard good things about using foam eggcrate material, it works on full hollow guitars at least), but it should be better. |
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Post by heidivandernice, nice on Feb 12, 2014 22:36:23 GMT -5
this thread is precious and fascinating. unfortunately, not the thread for "where can i get a cello pickup that won't fucking feed back so i can stop stuffing a bandana in the F-holes like an idiot?" i'll show myself out. (f-holes.) Hey Heidi, I've heard good things about these: www.davidgage.com/store/product_info.php?cPath=21&products_id=29&osCsid=78cb38dbc2500e3dca4352a6372257c9 we recorded Gem Club at the studio I'm helping out at, and I believe they were using one of those. You might still have to put a little something in there just to kill the feedback a bit (I've heard good things about using foam eggcrate material, it works on full hollow guitars at least), but it should be better. thanks for the rec! i plug directly into an amp right now with this thing ( www.amazon.com/Fishman-Classic-Series-C-100-Pickup/dp/B0002D071M) and it's a crapshoot every time. |
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