![]() When you crank it up, it’ll howl, like you say, but at a low volume, which is really hard to get. But it makes a big sound on a microphone. This amp is a little bigger than a Champ and a little smaller than a Deluxe, with a little bitty eight-inch speaker. worked for Leo Fender, and for some reason he had his own subsidiary amp brand within the Fender family for a few years back in the ’50s. How did you get that gritty howling tone? ![]() I’ve tried to do clones of it and never got there, but somehow that’s a good one. They may look the same, but none of them are the same. It’s no good in standard tuning – sounds terrible – but it really rings out in open tunings. It’s got a great neck and you can really get around on that thing. It’s always been useful, especially onstage, because you can really execute. Sure, that’s what people call it, and it’s a nice instrument. That’s my much-modified Stratocaster that I use for bottleneck most of the time. We basically cut the album live, including the vocals, but I overdubbed bits and pieces of other stuff, just to give it some juice, you know, fill it up a little bit. How did you cop the electric juke sound for the lead on the first track, “My Baby Done Changed the Lock on the Door”?
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |