It's been fun doing the Lunch Reports this week.
I'm not sure what or when Lunch for me will be today, maybe just a banana and some cashews to hold me over while we get ready for a small sound gig supporting a local country band.
They have a guy that plays a tele and pedal steel that I'm looking forward to seeing again, he really nails that smooth and spanky country twang. I had a '70 fender bassman for a while and that was when I realized what the hubub was all about when people talked about that clean fender sound. There is a sparkle
/resonance in the upper harmonics register in that circuit that alot of other amps just don't get.
I've been becoming more interested in the classic electric jazz guitar sound. To really nail it I'm seeing flatwounds are the thing to use, with humbuckers, and a semi-hollow electric through a clean amp with lots of headroom. It seems the tone knob is dialed back a bit to keep things smooth in the mix.
...and I'm guessing most jazz players use a thick stiff pick with no give.
Am I missing anything? If you have experience playing guitar in a jazz setting I'd love to hear your thoughts.
...or if you have found a great tone recipe for other genres lets hear about it; reggae ; detuned grunge ;
classic blues ; etc.
As you might have guessed I have a soft spot for the slightly bizarre.
This has led to collecting some interesting effects over the years.
I purchased a Tel-Ray Deluxe Organ Tone, partially due to seeing this set-up of John Cipolina's.
it is similar to the Modulux seen on the left...basically an oil can reverb/tremelo unit with a resonance circiut.

Here is my D.O.T. :

This is an uber rare Gerd Schulte compact phasing prototype.
I've heard that David Gilmour used one for that deep lush phasing on Dark side of the Moon.
It utilizes an opto-coupler in the circiut, after it gets warmed up you can see the light from the bulb creeping out of the cracks on the side...in the dark it looks llike something from a Dr. Who show as it pulsates slowly.

Has anyone owned any Oliver gear?
It was Jess Oliver's (of ampeg fame) venture after he left Ampeg. I had a couple heads that had insane frequency response. I had to run the treble at about 2 to get a flat rsponse...and it had an ultra-high pot that I never had to move past 0 . They were marketed towards vibraphone players so you can imagine the spectrum they might have to cover.
Here is Jesse's version of a leslie top. The thing that sets it apart from other units is has a sort of sprinkler type of movement as opposed to the smooth motion most rotating horns have. This adds a nice rhythmic component to the sound.


Do you have pictures of your effects board handy? What are your favorite little (or big) stomp boxes?
I am looking at true bypass switchers so that I can add some effects to my live set-ups with out sacrificing that strong clear tone you get when you just have a guitar,good cable, and an amp.
Here is one I've seen, any advice...suggestions?

I'm looking forward to adding a new BBE effect to my collection. I received the Crusher with my last LR duties, I'm not sure whats presently being offered...any suggestions from you recent Lunch Reporters?
Here's couple of shots of G&Ls that I have let go...I miss them , but as soon as I start playing one still here I am back on cloud 9.
An interceptor I purchased from Paavo, this guitar had some real snap and zing to its tone:

love the color on this '90 sig.:

and a lovely root beer hardtail F-100:

I'll announce my nomination for next weeks Lunch Reporter in a while.
Thanks for all the good participation this week, and especially for all the good feedback about my paintings,
it will inspire me to do some more this winter. I am already thinking about some that are inspired by G&L goodness...not sure what that means yet, but I guess that's part of the fun!
Elwood