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After more than four decades of evolution, the connection of this piece to the Jimi Hendrix version (and it's multitude copies and tributes) is starting to become a bit tenuous, none the less, it's still Little Wing to my ears. (And you do have to hang through the Epilogue before LW starts to emerge)

 

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Very pretty interpretation of a classic.

As was discussed in your other thread, I personally would run that thru a HPF, somewhere around 100hz. I'm a bass player and like low end, but it was a little woofy and overpowering at times.
 

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Very lovely take. But like Keto, I had to turn down the bass on my monitors.
 

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Thanks guys. Clearly the engineering remains a weak point but that part is very much a work in progress. It actual;y has a lot less bass in the original take than the earlier recordings in the test thread but I definitely have a ways to go on that front.
 

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Thanks guys. Clearly the engineering remains a weak point but that part is very much a work in progress. It actual;y has a lot less bass in the original take than the earlier recordings in the test thread but I definitely have a ways to go on that front.
The bass levels were fine on cell phone speakers though
 

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Any special tuning there Jim?

Not too bass-y on the iPad. Lol. Bit "scratchy" sounding tho'.

Sounded great on headphones. Slightly bass-y? Maybe. Not scratchy tho.

So, WTF, depends on the playback system I think.

I am thinking of flatwounds on my Godin. Have you tried them? What do you use for an amp, bud?
 

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Discussion Starter #8
Any special tuning there Jim?

Not too bass-y on the iPad. Lol. Bit "scratchy" sounding tho'.

Sounded great on headphones. Slightly bass-y? Maybe. Not scratchy tho.

So, WTF, depends on the playback system I think.

I am thinking of flatwounds on my Godin. Have you tried them? What do you use for an amp, bud?
I'm tuned down a full step to D-standard.

I'm currently strung with Thomstik Infeld Swing Series flat wound 12 with the low string beefed up from a .50 to a .54.

My amp is a Gallien Kreuger MB200 (a bass mini-head) powering an Earcandy 1x8 cab with an Eminence Beta A.
 

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Discussion Starter #10
I don't think your engineering is causing the excess bass.

You're using super thick strings and playing through a bass amp.
Give that I'm tuned down a full step, the strings are actually considered pretty light in the circles I live in but the amp may well be a part of the problem and I'm looking at some changes. But here's the rub (and the source of a lot of frustration), the sound I'm getting in the room is not only a lot less bass than what you're hearing, but I've got it dialled in really thin and brittle in the room because the recording is so much bassier that what I'm hearing while I play. I moved the cab and mic up off the floor to try to eliminate the coupling effect and it did help but not enough. But really, what I'm hearing while I'm playing is so thin it's almost painful to listen to while I'm playing.
 

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I was shocked when you said flatwounds, there is plenty of nice crisp top end in the recording.....but that's the nature of GK amps, very scooped very bassy very crisp up top, and a lot of bass players (a minority, but a significant one) struggle to dial them in on bass (particularly turning the top end down a lot) never mind on a guitar. And, of course, flatwounds give you a lot more fundamental and lesser overtones, so that's probably part of why the recordings are giving up so much bass....probably 95%+ of the guitar players on this forum have no experience with flatwounds, I hadn't in almost 40 years of playing until I put some on a bass last year and learned what they are all about.

It does give a good example though that what you hear in the room is very often not what is heard when it's recorded with a microphone.

An amp change might be a good idea - you could always rent a Deluxe Reverb and L&M for a day or a week and see if you get different results.
 

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Discussion Starter #12
I was shocked when you said flatwounds, there is plenty of nice crisp top end in the recording.....but that's the nature of GK amps, very scooped very bassy very crisp up top, and a lot of bass players (a minority, but a significant one) struggle to dial them in on bass (particularly turning the top end down a lot) never mind on a guitar. And, of course, flatwounds give you a lot more fundamental and lesser overtones, so that's probably part of why the recordings are giving up so much bass....probably 95%+ of the guitar players on this forum have no experience with flatwounds, I hadn't in almost 40 years of playing until I put some on a bass last year and learned what they are all about.

It does give a good example though that what you hear in the room is very often not what is heard when it's recorded with a microphone.

An amp change might be a good idea - you could always rent a Deluxe Reverb and L&M for a day or a week and see if you get different results.
We're probably moving to Mexico in the fall so portability is a huge issue for me. I'm looking at some of the really tiny jazz amps on the market like the Henriksen Bud or the Mambo 8.
 

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Very nice
Little Wing is possibly my favorite Hendrix tune--and I do like many of the covers of it, especially SRV's--but this is more like the old classical composer deal where they took old folk tunes & made a multi part piece with the folk tune as the theme.
Same kind of thing here--and done well.
Cool.
 

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Discussion Starter #16
Very nice
Little Wing is possibly my favorite Hendrix tune--and I do like many of the covers of it, especially SRV's--but this is more like the old classical composer deal where they took old folk tunes & made a multi part piece with the folk tune as the theme.
Same kind of thing here--and done well.
Cool.
Thanks. That was very much the spirit in which it was intended.
 

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Killer man. Superb arrangement.

What mic are you using?

Keep um the good work. Check out Los Panchos. They played with everybody. Edyie Gorme was a big hit with them. Amazing songs and easy to transfer to solo guitar.


Keep them coming.
 
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