Tono Gibson = T-top/1959 superlead/Celestion G12m 1281.
Abro polémica: ¿Es este sonido el mejor de una LP?
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Baneado
Ya que se hablado de Kossoff..... Esto habla de su equipo
https://www.groundguitar.com/paul-kossoff-guitars-and-gear/
No es el único sitio que cita un Selmer Treble and Bass como el ampli con que se pudo grabar All right now.
Un estracto del enlace
" In the early days of Free Paul seemed to have used a 1967 Marshall JTM45/100s (mostly known just as JTM100) – as seen on the photos from the booklet of “Tons of Sobs” album. The amp is easily recognizable by the reverse JTM block logo, which is the reason why it’s also known as the “Black Flag”. He played the amp through a cabinet that he allegedly built with his father sometime during the Black Cat Bones era.
When Free went on their first tour Paul started using Marshall Super Lead 100w 1959 played through Marshall cabinets equipped with G12H speakers. Later on he mostly used Marshall Super PAs (as seen during the Isle of Wight gig in 1970), but he was also seen using Super Bass heads.
Also worth noting is that he allegedly used a Selmer Treble and Bass Fifty on the band’s biggest hit “All Right Now” from the third album. If so, that amp probably pre-dates his first Marshall, and it is somewhat safe to believe that Paul bought it while working at Selmer’s music shop in late 60s.
Other amps that he used include a Fender Super Reverb combo that was mostly seen just on some photos taken during studio sessions of the early albums, and an Orange amp that he used on a gig played during a show called “Beat Club” which aired on German television."
https://www.groundguitar.com/paul-kossoff-guitars-and-gear/
No es el único sitio que cita un Selmer Treble and Bass como el ampli con que se pudo grabar All right now.
Un estracto del enlace
" In the early days of Free Paul seemed to have used a 1967 Marshall JTM45/100s (mostly known just as JTM100) – as seen on the photos from the booklet of “Tons of Sobs” album. The amp is easily recognizable by the reverse JTM block logo, which is the reason why it’s also known as the “Black Flag”. He played the amp through a cabinet that he allegedly built with his father sometime during the Black Cat Bones era.
When Free went on their first tour Paul started using Marshall Super Lead 100w 1959 played through Marshall cabinets equipped with G12H speakers. Later on he mostly used Marshall Super PAs (as seen during the Isle of Wight gig in 1970), but he was also seen using Super Bass heads.
Also worth noting is that he allegedly used a Selmer Treble and Bass Fifty on the band’s biggest hit “All Right Now” from the third album. If so, that amp probably pre-dates his first Marshall, and it is somewhat safe to believe that Paul bought it while working at Selmer’s music shop in late 60s.
Other amps that he used include a Fender Super Reverb combo that was mostly seen just on some photos taken during studio sessions of the early albums, and an Orange amp that he used on a gig played during a show called “Beat Club” which aired on German television."
Es curioso que no citeis a Clapton en el disco Beano de John Mayall. Fue precisamente el primer disco que se tiene constancia de usar una Les Paul con un Marshall JTM Bluesbreaker.
Eso dio una enorme visibilidad tanto al instrumento como al ampli y fueron adoptados por los guitarristas de la blues explosion.
Eso dio una enorme visibilidad tanto al instrumento como al ampli y fueron adoptados por los guitarristas de la blues explosion.
#39
Es cierto, pero lleva tanto tiempo con strato que se nos ha olvidado...y es un pedazo de disco!
Es cierto, pero lleva tanto tiempo con strato que se nos ha olvidado...y es un pedazo de disco!
Paco escribió:
Es curioso que no citeis a Clapton en el disco Beano de John Mayall. Fue precisamente el primer disco que se tiene constancia de usar una Les Paul con un Marshall JTM Bluesbreaker.
Eso dio una enorme visibilidad tanto al instrumento como al ampli y fueron adoptados por los guitarristas de la blues explosion.
ahi va eso..iba a decir lo mismo que tu ;-)
Baneado
Clapton es uno de los grandes. No es ni discutible. Pero hay mucha gente que valora mucho màs su figura como compositor y cantante y mucho menos por su tono y forma de solear.
Hay muuuchos sonidos Les Paul y a la vez hay uno solo, gordote y potente. Algunos los tenemos en el hilo, Page, Gary Moore, Warren Haynes, Bonamassa y algunos más, me parece que sacan lo mejor de una LP. Voy a añadir otro.
Quien conozca a Blackberry Smoke, tendrá claro que cuando Charlie Starr saca su Number One, algo pasa. Se trata de una 56 LP Junior con una sola P90 en el puente. Mejor me callo y dentro vídeo.
Quien conozca a Blackberry Smoke, tendrá claro que cuando Charlie Starr saca su Number One, algo pasa. Se trata de una 56 LP Junior con una sola P90 en el puente. Mejor me callo y dentro vídeo.
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