An informative site about solid body electric guitars
Monday, December 15, 2008
Of Course! Billie Joe Armstrong!
I overlooked Greenday's Billie Joe Armstrong, Green Day's guitar player. Greenday, great songs. -X Tone The next in a series of step-by-step guides to home recording 12.08.2008
Green Day are perhaps one of the rawest groups out there these days. Not because of their punk roots, but because that’s the way they’ve always been and success hasn’t changed them. Far too often groups leave their roots to find themselves, and in the process they stray from what made them successful in the first place. If you listen to Green Day’s Insomniac (1995), and compare it to American Idiot (2004) you get a similar feeling and sound. Let’s take two greats from Green Day’s stockpile of classic songs. Insomniac’s “Brain Stew” is one of my favorite older songs from the band because it’s simple, it has a great beat and it’s raw to the core. Now look at American Idiot. All of the same reasons for liking the song still apply. Armstrong has been a busy man. Not only has he driven Green Day to the charts many times, he has also collaborated on several other projects. The most well-known of these being the Foxboro Hot Tubs. The Hot Tubs made their debut in December 2007. It became immediately clear that either Billie Joe and the boys were masquerading as a different band or there was an incredible group out there that sounded a lot like Green Day. Turns out it was in fact Green Day recording under a different name. Whatever name they record under, Billie Joe Armstrong’s will be one of the lasting influences from this era of music. Billie Joe has quite a collection of Gibson guitars that he uses, including a signature Les Paul Junior . He also uses the ES-135, ES-335, 1959 Les Paul Special, SG and Fender Strats, among others. Remember what I said earlier about Green Day’s music being raw? Well so is the guitar tone. The tone is basically made up of a Marshall amp and Armstrong’s Gibson guitars, so that’s what I’m going to use when recreating this tone at home. I’ll be using Native Instruments’ Guitar Rig 3 to make the tone. I’ll also be using a high-gain guitar, so you’ll need to adjust the settings accordingly if you’re not.
I started off with a modeled Marshall JCM800 amp with Master 9; Preamp 7; Bass 7; Mid 7; Treble 10; and Presence 8. Leave the boost button off or you’ll have too much gain going into the amp. If you’re using a passive pickup guitar, you might want to turn the boost on as a quick fix, to add more gain. I’m also using a Marshall modeled 4x12 cabinet with the mic set at 57% towards mic B. The Dry/Air setting is at 3.91 and the cabinet volume is set at -6.4db. I felt the tone needed a little bit of bite, but not enough to really affect what the amp is doing. I decided on adding a Screamer, but with modest settings. The Screamer is set at Volume 1.6; Tone 4.35; and Drive 2.65. The last thing I added was a Tape Echo, not so much for the echo, but rather to add some depth to the tone. Settings for both Head A and Head B Time is 83ms; Bass 5; Treble 5; Rev Vol 0; Speed 1.16T; Feedback 3.62; and Exho Vol 0.31. That’s it for Green Day. Download the tone and enjoy!
Different Companies i.e. manufacturers endorse or back artists. Mesa Boogie went with this andy timmons guy. He runs clinics demoing equipment at music stores. The schedule is pretty gruling: Dec 1, 2008 7:00 PM Hertlein GuitarsDublin, CAMesa Boogie Clinic Hertlein Guitars 6841 Dublin Blvd. Dublin, CA 94568 925-829-2170 venue info ::: show details Dec 2, 2008 7:00 PM Spitzer’s SoundstageFresno, CAMesa Boogie Clinic Spitzer’s Soundstage 3821 N. Blackstone Fresno, CA 93726 559-224-5277 venue info ::: show details Dec 3, 2008 7:00 PM Instrumental MusicThousand Oaks, CAMesa Boogie Clinic Instrumental Music 1501 E. Thousand Oaks Blvd Thousand Oaks, CA 91362 805-496-3774 venue info ::: show details Dec 4, 2008 6:30 PM Guitar TraderSan Diego, CAMesa Boogie Clinic Guitar Trader 7120 Clairemont Mesa Blvd. San Diego, CA 92111 858-565-8814 He's been doing of few of theses, so last week he comes up lame, lame pay, lame hotels, lame. They cancel that part of the tour this week he;s back cured of the lower back issue HIISSS WAAAALLLLETTTTT!. ___X.
From Mesa's news letter. -X:"Great news to report on our dear friend Andy Timmons. He is back on his feet and off to a full recovery (more below) His doctors report concluded that he simply aggravated his lower back (no additional issues), which most of us do at some point in our life. His prognosis is for a complete recovery and clean bill of health. (We kept telling him to use the casters on those 4x12 Recto Cabs!!!)On behalf of Andy and Mesa/Boogie, we want to thank those of you who tookthe time to call, write or email us with your concerns for Andy. We wereblown away by the outpouring of support and are so happy to be able toreport this good news. We also want to apologize for any inconvenience thecancellation of the Clinic Tour may have caused and are hoping to reschedulethese events sometime early next year. " Please continue to visit http://mesaboogienews.com/click.html?x=a62a&lc=IMPC&mc=3&s=lMeB0&y=h& for updates.
John Mayer seems to be on his game of late, heir apparent to guitar god status. -X
Mayer is rumoured to monitor web chaff and respond on his site http://www.johnmayer.com/. The following is a gear list from a simple web search.. - X "Since the great crash, I haven't had a chance to update. So here we are. This isn't the newest information (which I don't have. Maybe I'll find out by the time the trio tour starts), but this at least gets us back to the last known gear list.
Also, here are two sites that have better pics of John's gear.
Scotty's Gear Page
Current Setup:
ACOUSTICS:
Martin OM-28JM John Mayer Signature - (x3, numbers 4, 48, and 83)
Martin D-41 (x2)
Martin J-40
Avalon U5 Direct Box
ELECTRICS:
Fender John Mayer Signature Stratocaster - Sunburst Prototype (JM0001) - Shoreline Gold w/Red Racing Stripe Prototype (Custom Shop) - Charcoal Frost Metallic w/Grey Racing Stripe Prototype (Dennis Galuszka Masterbuilt)
Fender Stevie Ray Vaughan Signature Strat
C.W. Fleming Masterbuilt Fender Strat/Tele hybrid
Fender Crashocaster - Painted by CRASH (Maple Neck)
Fender Masterbuilt (John Mayer, Mike Eldred, John Cruz) Reliced Stratocaster (Black and white)
AMPS
Two Rock Custom Reverb (2x 50w head, 2x 100w head, 1 50w Custom Reverb Signature Head)
Fender Vibro-King (w/Cowboy Leather)
EFFECTS
Custom Audio Electronics RS-10 Midi Foot Controller with Expander Module
It's important to know your roots or should a say the root of the Les Paul. There is an accomplished muscian, inovator dare I say genious Les Paul. We tend to forget or not know what Les meant to recording and music. We still have him around and he still plays the Iridium Jazz Club on Mondays -X (http://www.iridiumjazzclub.com/). The club is on Broadway at 52nd st right in the theater district!
Les Paul From Wikipedia, the free encyclopedia Jump to: navigation, search This article is about the musician. For the guitar, see Gibson Les Paul. Les Paul
Background information Birth name Lester William Polsfuss Born June 9, 1915 (1915-06-09) (age 93) Waukesha, Wisconsin, US Genre(s) Jazz, blues, Rock n roll Occupation(s) Musician, songwriter, inventor Instrument(s) Guitar, banjo, harmonica Years active 1928 – Present Website www.lespaulonline.com Notable instrument(s) Gibson Les Paul Les Paul (born Lester William Polsfuss on June 9, 1915) is an American jazz guitarist and inventor. He is a pioneer in the development of the solid-body electric guitar which "made the sound of rock and roll possible."[1] His many recording innovations include overdubbing, delay effects such as "sound on sound" and tape delay, phasing effects and multitrack recording.
Contents [hide] 1 Biography 1.1 "The Log" 1.2 The Les Paul Trio 1.3 Les Paul and "the Les Paul" 1.4 Multitrack recording innovations 1.5 Top 40 with Mary Ford 1.6 Radio and television programs 1.7 The "Les Paulverizer" 1.8 Later career 2 Honors 2.1 Documentary and museum exhibit 2.2 Tribute concerts 2.3 Playing style 3 Family 4 Discography 4.1 Hit singles 4.2 Albums 5 References 6 See also 7 External links
[edit] Biography He was born in Waukesha, Wisconsin to George and Evelyn Polsfuss.[2] The family name was first simplified by his mother to Polfuss before he took his stage name of Les Paul. He also used the nickname "Red Hot Red".
Paul first became interested in music at the age of eight, when he began playing the harmonica. After an attempt at learning to play the banjo, he began to play the guitar. By 13, Paul was performing semi-professionally as a country-music guitarist. At the age of 17, Paul played with Rube Tronson's Cowboys. Soon after, he dropped out of high school to join Wolverton's Radio Band in St. Louis, Missouri on KMOX.
In the 1930s, Paul worked in Chicago in radio, where he performed jazz music. Paul's first two records were released in 1936. One was credited to Rhubarb Red, Paul's hillbilly alter ego, and the other was as an accompanist for blues artist Georgia White.
In January 1948, Paul was injured in a near-fatal automobile accident in Oklahoma, which shattered his right arm and elbow. Doctors told Paul that there was no way for them to rebuild his elbow in a way that would let him regain movement, and that his arm would remain in whatever position they placed it in permanently. Paul then instructed the surgeons to set his arm at an angle that would allow him to cradle and pick the guitar. It took him a year and a half to recover.
[edit] "The Log" Paul was dissatisfied with the electric guitars that were sold in the mid 1930s and began experimenting with a few designs of his own. Famously, he created "The Log," which was nothing more than a length of common 4" by 4" fence post with bridge, guitar neck, and pickup attached. For the sake of appearance, he attached the body of an Epiphone hollow-body guitar, sawn lengthwise with The Log in the middle. This solved his two main problems: feedback, as the acoustic body no longer resonated with the amplified sound, and sustain, as the energy of the strings was not dissipated in generating sound through the guitar body.
[edit] The Les Paul Trio In 1938, Paul moved to New York as part of a trio that included Jim Atkins (older half-brother of guitarist Chet Atkins) and bassist/percussionist Ernie Newton. They landed a featured spot with Fred Waring's Pennsylvanians radio show. Paul moved to Hollywood in 1943, where he formed a new trio. As a last-minute replacement for Oscar Moore, Paul played with Nat King Cole and other artists in the inaugural Jazz at the Philharmonic concert in Los Angeles on July 2, 1944. Also that year, Paul's trio appeared on Bing Crosby's radio show. Crosby went on to sponsor Paul's recording experiments. The two also recorded together several times, including a 1945 number one hit, "It's Been A Long, Long Time." In addition to backing Crosby and artists like The Andrews Sisters, Paul's trio also recorded a few albums of their own on the Decca label in the late 1940s.
[edit] Les Paul and "the Les Paul" Paul's innovative guitar, "The Log", built in 1941, was one of the first solid-body electric guitars.[3] (Leo Fender also independently created his own solid-body electric guitar around the same time and Adolph Rickenbacher had marketed a solid-body guitar in the 30s). Gibson Guitar Corporation designed a guitar incorporating Paul's suggestions in the early fifties, and presented it to him to try. He was impressed enough to sign a contract for what became the "Les Paul" model (originally only in a "gold top" version), and agreed never to be seen playing in public, or be photographed, with anything other than a Gibson guitar. That persisted until 1961, when Gibson changed the design without Paul's knowledge. He said he first saw the "new" Gibson Les Paul in a music store window, and disliked it. Though his contract required him to pose with the guitar, he said it was not "his" instrument, and asked Gibson to remove his name from the headstock. Gibson renamed the guitar the "SG", and it also became one of the company's best sellers. It has been said that Les had ended his endorsement contract with Gibson because he was going through a divorce, and didn't want his wife to get all of his endorsement money. Later, Paul resumed his relationship with Gibson, and endorses the instrument even today (though his personal Gibson Les Pauls are much modified by him — Paul always uses his own self-wound pickups on his guitars). To this day, the Gibson Les Paul guitar is used all over the world, by both novice and professional guitarists. Also designed was the Epiphone Les Paul, with the same look and feel for a fraction of the price of a Gibson.
[edit] Multitrack recording innovations In 1947, Capitol Records released a recording that had begun as an experiment in Paul's garage, entitled "Lover (When You're Near Me)", which featured Paul playing eight different parts on electric guitar, some of them recorded at half-speed, hence "double-fast" when played back at normal speed for the master. ("Brazil", similarly recorded, was the B-side.) This was the first time that multi-tracking had been used in a recording. These recordings were made not with magnetic tape, but with shellac disks. Paul would record a track onto a disk, then record himself playing another part with the first. He built the multi-track recording with overlaid tracks, rather than parallel ones as he did later. There is no record of how few "takes" were needed before he was satisfied with one layer and moved onto the next.
Paul even built his own disc-cutter assembly, based on auto parts. He favored the flywheel from a Cadillac for its weight and flatness. Even in these early days, he used the shellac disk setup to record parts at different speeds and with delay, resulting in his signature sound with echoes and birdsong-like guitar riffs. When he later began using magnetic tape, the major change was that he could take his recording rig on tour with him, even making episodes for his 15-minute radio show in his hotel room.
[edit] Top 40 with Mary Ford After World War II, Jack Mullin brought the German Magnetophon (tape recorder) back to the USA in pieces, reassembled and first presented it to Bing Crosby, who used it for his radio program in the late 1940s. The Ampex company, with Crosby's backing, created the Ampex Model 200, the world's first commercially-produced reel-to-reel audio tape recorder. Bing Crosby gave Les Paul the second Model 200 to be produced and Les immediately saw its potential both for special effects, like echo and flanging, and its suitability for multitrack recording, for which he is considered the father. Using this machine, Paul developed his tape multitrack system by adding an additional recording head and extra circuitry, allowing multiple tracks to be recorded separately and asynchronously on the same tape. Paul's invention was quickly developed by Ampex into commercially-produced two-track and three-track recorders, and these machines were the backbone of the professional recording studio, radio and TV industry in the 1950s and early 1960s.
In 1954, Paul continued to develop this technology by commissioning Ampex to build the first eight track tape recorder, at his expense. The machine took three years to get working properly, and Paul says that by the time it was functional his music was out of favor and so he never had a hit record using it. His design, later known as "Sel-Sync," (Selective Synchronization) in which a specially-modified recording head could either record a new track or play back a previously-recorded one, was the core technology for multi-track recording for the next thirty years.
Like Crosby, Paul and Ford also used the now-ubiquitous recording technique known as close miking, where the microphone is less than six inches from the singer's mouth. This produces a more intimate, less reverberant sound than is heard when a singer is a foot or more from the microphone. When implemented using a cardioid-patterned microphone, it emphasizes low-frequency sounds in the voice due to a cardioid microphone's proximity effect and can give a more relaxed feel because the performer isn't working so hard. The result is a singing style which diverged strongly from un-amplified theater-style singing, as might be heard in musical comedies of the 1930s and 40s.
In the early 1950s, Paul made a number of revolutionary recordings with his wife, Mary Ford, who sang. These records were unique for their heavy use of overdubbing, which he did by recording to disc and bouncing from one disc to the other. The couple's hits included "How High the Moon", "Bye Bye Blues", "The World Is Waiting for the Sunrise", and "Vaya Con Dios". These songs featured Mary harmonizing with herself, giving the vocals a very novel sound.
Les Paul's compositions, based on the answers.com database, include "Johnny is the Boy for Me", "Walkin' and Whistlin' Blues", "Danger, Men at Work", "Waitin' So Long", "Golden Sands", "Dance Hall Blues", "Big Eyed Gal", "Deep in the Blues", "Mammy's Boogie", "Hip-Billy Boogie", "Don'cha Hear Them Bells", "Come Back to Me", "Cowpokin'", "Les's Country Blues", "Ham 'N' Grits", "Song in Blue", "Magic Melody", "Pacific Breeze", "All I Need is You", "Hawaiian Charms", "Take a Warning", "Mountain Railroad", "Move Along, Baby (Don't Waste My Time)", and "Suspicion", a song he composed in 1948, which was recorded by Tex Williams, Jo Stafford, and the Ray Noble Orchestra.
[edit] Radio and television programs Paul had hosted a 15-minute radio program, The Les Paul Show, on NBC in 1950, featuring his trio (himself, Ford, and rhythm player Eddie Stapleton) and his electronics, recorded from their home and with gentle humour between Paul and Ford bridging musical selections, some of which had already been successful on records, some of which anticipated the couple's recordings, and many of which presented dazzling re-interpretations of such jazz and pop selections as "In the Mood," "Little Rock Getaway," "Brazil," and "Tiger Rag." Several recordings of these shows survive among old-time radio collectors today.
The show also appeared on television a few years later with the same format but excluding the trio and retitled The Les Paul & Mary Ford Show with Vaya Con Dios as a theme song. Sponsored by Listerine, it was only five minutes (one or two songs) long, and was therefore used as an interlude or fill-in in programming schedules. Since Les created the entire show himself, including audio and video, he has maintained the original recordngs and is in the process of restoring them to up-to-date quality.[4]
[edit] The "Les Paulverizer" During his radio shows, Paul introduced the legendary "Les Paulverizer" device, which multiplies anything fed into it, like a guitar sound or a voice. This even became the subject of comedy, with Ford multiplying herself and her vacuum cleaner with it so she could finish the housework faster. Later Paul made the myth real for his stage show, using hidden equipment which over the years has become smaller and more visible. Currently he uses a small box attached to his guitar; it is not known how much of the device remains off-stage. He typically lays down one track after another on stage, in-sync, and then plays over the repeating forms he has recorded. With newer digital sound technology, such an effect (loop pedal) is available commercially in a stomp box. To this day, no one knows exactly how the Les Paulverizer works.
[edit] Later career In the late 1960s, Paul went into semi-retirement, although he did return to the studio occasionally. He and Mary Ford (born Iris Colleen Summers) had divorced in December 1964, as she could no longer tolerate the itinerant lifestyle their act required of them. Paul's most recognisable recordings from then through the mid-1970s were an album for London Records, Les Paul Now (1967), on which he updated some of his earlier hits; and, backed by some of Nashville's celebrated studio musicians, a meld of jazz and country improvisation with fellow guitar virtuoso Chet Atkins, Chester and Lester (1977), for RCA Victor.
By the late 1980s, Paul had returned to active live performance. In 2006, at the age of 90, he won two Grammys at the 48th Annual Grammy Awards for his album Les Paul & Friends: American Made World Played. He also performs every Monday night, accompanied by a trio which includes pianist John Colianni, at the Iridium Jazz Club on Broadway in New York City, despite the arthritis that has stilled all but two of the fingers on his left hand.[5][6]
[edit] Honors In 1978, Les Paul and Mary Ford were inducted into the Grammy Hall of Fame. Paul received a Grammy Trustees Award for his lifetime achievements in 1983. In 1988, Paul was inducted into the Rock and Roll Hall of Fame by Jeff Beck, who said, "I've copied more licks from Les Paul than I'd like to admit." In 1991, the Mix Foundation established an annual award in his name; the Les Paul Award which honors "individuals or institutions that have set the highest standards of excellence in the creative application of audio technology."[7] Les Paul was inducted into the National Inventors Hall of Fame in May 2005 for his development of the solid-body electric guitar. In 2006, Paul was inducted into the National Broadcasters Hall of Fame. He was named an honorary member of the Audio Engineering Society.[8]
[edit] Documentary and museum exhibit A biographical, feature length documentary, titled Chasing Sound: Les Paul at 90, made its world premiere on May 9, 2007 at the Downer Theater in Milwaukee, Wisconsin. Paul appeared at the event and spoke briefly to the enthusiastic crowd. The film is being distributed by Koch Entertainment and was broadcast on PBS on July 11, 2007 as part of its American Masters series[9][10] and was broadcast on October 17, 2008 on BBC Four as part of its Guitar Night. The premiere coincided with the final part of a three part documentary by the BBC broadcast on BBC ONE entitled The Story of the Guitar.
In June 2008, an exhibit showcasing his legacy and featuring items from his personal collection opened at Discovery World in Milwaukee .[11] The exhibit was facilitated by a group of local musicians under the name Partnership for the Arts and Creative Excellence (PACE). Paul played a concert in Milwaukee to coincide with the opening of the exhibit.[12]
[edit] Tribute concerts In July 2005, a 90th-birthday tribute concert was held at Carnegie Hall in New York City. After performances by Steve Miller, Peter Frampton, Jose Feliciano and a number of other contemporary guitarists and vocalists, Les was presented with a commemorative guitar from the Gibson Guitar Corporation.[13]
On November 15, 2008, Les Paul received the American Music Masters award through the Rock and Roll Hall of Fame at a tribute concert in the State Theater in Cleveland. Among more than a dozen guest performers were Duane Eddy, The Ventures, Eric Carmen, Lonnie Mack, and Slash.
[edit] Playing style His innovative talents extended into his unique playing style, including licks, trills, chording sequences, fretting techniques and timing which set him apart from his contemporaries, and inspired most of the guitarists of the present day.[14] [15] [16] [17]
[edit] Family Paul is the godfather of rock guitarist Steve Miller of the Steve Miller Band, to whom Paul gave his first guitar lesson.[18] Paul resides in Mahwah, New Jersey.
[edit] Discography
[edit] Hit singles "Rumors Are Flying" - Andrews Sisters & Les Paul (1946) "Lover (When You're Near Me)" (1948) "Brazil" (1948) "What Is This Thing Called Love?" (1948) "Nola" (1950) "Goofus" (1950) "Little Rock 69 Getaway" (1950/1951) "Tennessee Waltz" - Les Paul & Mary Ford (1950/1951) "Mockingbird Hill" - Les Paul & Mary Ford (1951) "How High The Moon" - Les Paul & Mary Ford (1951) "I Wish I Had Never Seen Sunshine" - Les Paul & Mary Ford (1951) "The World Is Waiting for the Sunrise" - Les Paul & Mary Ford (1951) "Just One More Chance" - Les Paul & Mary Ford (1951) "Jazz Me Blues" (1951) "Josephine" (1951) "Whispering" (1951) "Jingle Bells" (1951/1952) "Tiger Rag" - Les Paul & Mary Ford (1952) "I'm Confessin' (That I Love You)" - Les Paul & Mary Ford (1952) "Carioca" (1952) "In the Good Old Summertime" - Les Paul & Mary Ford (1952) "Smoke Rings" - Les Paul & Mary Ford (1952) "Meet Mister Callaghan" (1952) "Take Me In Your Arms And Hold Me" - Les Paul & Mary Ford (1952) "Lady of Spain" (1952) "My Baby's Coming Home" - Les Paul & Mary Ford (1952) "Bye Bye Blues" - Les Paul & Mary Ford (1953) "I'm Sitting On Top Of The World" - Les Paul & Mary Ford (1953) "Sleep" (Fred Waring's theme song) (1953) "Vaya Con Dios" - Les Paul & Mary Ford (1953) "Johnny (Is The Boy For Me)" - Les Paul & Mary Ford (1953) "Don'cha Hear Them Bells" - Les Paul & Mary Ford (1953) "The Kangaroo" (1953) "I Really Don't Want To Know - Les Paul & Mary Ford (1954) "I'm A Fool To Care - Les Paul & Mary Ford (1954) "Whither Thou Goest - Les Paul & Mary Ford (1954) "Mandolino - Les Paul & Mary Ford (1954) "Hummingbird" - Les Paul & Mary Ford (1955) "Amukiriki (The Lord Willing)" - Les Paul & Mary Ford (1955) "Magic Melody" - Les Paul & Mary Ford (1955) "Texas Lady" - Les Paul & Mary Ford (1956) "Moritat" (Theme from "Three Penny Opera") (1956) "Nuevo Laredo" - Les Paul & Mary Ford (1956) "Cinco Robles (Five Oaks)" - Les Paul & Mary Ford (1957) "Put A Ring On My Finger" - Les Paul & Mary Ford (1958) "Jura (I Swear I Love You)" - Les Paul & Mary Ford (1961)
[edit] Albums Feedback (1944) - compilation Les Paul Trio (1946) - compilation Hawaiian Paradise (1949) The Hit Makers! (1950) The New Sound (1950) Les Paul's New Sound, Volume 2 (1951) Bye Bye Blues! (1952) Gallopin' Guitars (1952) - compilation Les and Mary (1955) Time to Dream (1957) Lover's Luau (1959) The Hits of Les and Mary (1960) - compilation Bouquet of Roses (1962) Warm and Wonderful (1962) Swingin' South (1963) Fabulous Les Paul and Mary Ford (1965) Les Paul Now! (1968) Guitar Tapestry Lover The Guitar Artistry of Les Paul (1971) The World is Still Waiting for the Sunrise (1974) - compilation The Best of Les Paul with Mary Ford (1974) - compilation Chester and Lester (1976) - with Chet Atkins Guitar Monsters (1977) - with Chet Atkins Les Paul and Mary Ford (1978) - compilation Multi Trackin' (1979) All-Time Greatest Hits (1983) - compilation The Very Best of Les Paul with Mary Ford (1983) - compilation Tiger Rag (1984) - compilation Famille Nombreuse (1992) - compilation The World Is Waiting (1992) - compilation The Best of the Capitol Masters: Selections From "The Legend and the Legacy" Box Set (1992) - compilation All-Time Greatest Hits (1992) - compilation Their All-Time Greatest Hits (1995) - compilation Les Paul: The Legend and the Legacy (1996; a four-CD box set chronicling his years with Capitol Records) 16 Most Requested Songs (1996) - compilation The Complete Decca Trios -- Plus (1936-1947) (1997) - compilation California Melodies (2003) Les Paul & Friends: American Made World Played (2005) Les Paul And Friends: A Tribute To A Legend (2008)
[edit] References ^ Voices from the Smithsonian Associates. Les Paul, Musician and Inventor ^ American Masters (2007 Season) - "Les Paul: Chasing Sound" - thirteen WNET New York ^ Image of "The Log" ^ http://www.apple.com/pro/profiles/lespaul/index2.html ^ Iridium Jazz Club ^ Milicia, Joe, "Guitar hero Les Paul ready for Rock Hall tribute," AP story, Times Union, p. C8, November 10, 2008, see AP Google website. Retrieved November 10, 2008. ^ Mix Foundation. Les Paul Award Winners ^ List of Awardees of the AES ^ Les Paul: Chasing Sound ^ American Masters - Les Paul ^ Milwaukee Journal Sentinel - Discovery World lands Les Paul exhibit ^ Milwaukee Journal Sentinel - Paul brings bit of Manhattan to the Pabst ^ http://www.modernguitars.com/archives/000877.html ^ http://archive.salon.com/people/feature/1999/07/08/paul/print.html ^ http://www.cbc.ca/arts/story/2005/10/12/lespaul_20051012.html ^ http://steelguitarforum.com/Forum8/HTML/001019.html ^ http://www.vindy.com/news/2008/nov/12/rock-hall-to-honor-les-paul/ ^ Steve Miller at Allmusic
[edit] See also Wikimedia Commons has media related to: Les Paul Gibson Les Paul Electric Guitar History of multitrack recording
[edit] External links Official Les Paul Site Les Paul Receives 2007 National Medal of Arts The Les Paul Story Les Paul, Topics, Wisconsin Historical Society NBC radio shows by Les Paul, Mary Ford, and bassist/percussionist Ed Stapleton. At the Internet Archive. Free mp3 files of eleven of their radio shows including their audition show. Retrieved from "http://en.wikipedia.org/wiki/Les_Paul"
A nice new les paul with a floyd, I knew they had plans when they did that crazy neil schon signature- X
Spotlight On the Les Paul Axcess Standard 12.04.2008 The Les Paul Axcess Standard from Gibson Custom carries all the elegant styling, fluid body lines and rocking attitude of a classic Les Paul Standard from the golden era of the late 1950s. Upon closer examination, however, you’ll find many substantial modifications made in the name of maximum playability and versatility. As Gibson Custom Operations Manager Michael McGuire puts it, “Everything about this Les Paul has been designed to make it a player’s ‘player’s guitar.’ From the easy access to its upper range to the comfortable belly scarf to the Floyd Rose vibrato, this instrument was made to give you optimum performance.”
Distinctive Floyd Rose Vibrato The most noticeable addition is the Floyd Rose tailpiece, a unit optimized for anything from subtle vibrato wobbles to dramatic, rumbling divebombs. Adding a Floyd Rose to a Les Paul in the past was always a major undertaking, and one that could seriously damage the stability of the instrument if not done right. On the Les Paul Axcess the vibrato is installed right at Gibson Custom as part of the manufacturing process, which means this potent piece of high-performance hardware interacts seamlessly with the design of the guitar. Partnered with an R4 locking nut, it also guarantees outstanding tuning stability and return-to-pitch accuracy.
Contoured Neck for Upper Fret Access Take the instrument in hand and run your fingers up the neck and you’ll encounter the clever structural alteration that gives this new model its name: While the Axcess sports what looks from the front to be a traditional Les Paul neck joint, the neck heel and portions of the back and neck joint at the upper cutaway have been contoured to provide a “heelless” feel, and an unimpeded reach right up to the 22nd fret. No more stretching against the traditional neck heel to achieve the upper-fret access that your lead style demands — the Axcess gives you that legendary Les Paul playability all the way up the neck, welcoming you to take it right over the top.
Comfortable Ribcage Contour To further enhance playing comfort, this smoothly carved neck joint is combined with a “belly scarf” (aka ribcage contour) that allows the body of the guitar to hug closely to your own body in the playing position without digging in.
Refreshingly Light Body Style The Les Paul Axcess’s slightly thinner body, made from weight-relieved mahogany (with carved maple top), gives you an instrument that is refreshingly light and a pure joy to play, either strapped on or in a seated position.
Optimum Tone Setup The Les Paul Axcess Standard is also geared toward optimum tone, as you’d expect from any Gibson Custom creation. Exposed-coil BurstBucker 1 and BurstBucker 2 pickups in the neck and bridge positions — the most accurate reproduction vintage-PAF-style humbuckers Gibson has ever offered — yield everything from warm, fluid vocal tones to fat, sweet growl, while an added push/pull switch on the treble Tone knob provides coil splitting for accurate single-coil tones. These unique tonal combinations excel at delivering everything from singing classic rock lead tones to contemporary crunch to extremes of twang and jangle. Even the pure-nickel wound .10-.46 Gibson Vintage Strings it ships with contribute toward its rich, textured voice.
Gibson’s Perfect Setup™ The Les Paul Axcess is built to the highest standards attainable in today’s market, which includes a final set-up and fret dressing by the revolutionary, computer-controlled PLEK System, which provides Gibson’s Perfect Setup™.
Hardshell Case and Certificate of Authenticity Each instrument also comes with a Gibson Custom hardshell case and certificate of authenticity. Top that off with optimum playability, maximum access and unparalleled tone and the Les Paul Axcess Standard is probably all the guitar that most players will ever need.
Additional Specifications and Appointments • One-piece mahogany neck with fast, rounded profile • 24 3/4" scale length with 1 11/16" nut width • 22-fret rosewood fingerboard • Kluson tuners • Single-ply cream binding on body top • Pearloid trapezoid fingerboard inlays • Carved maple top with nitrocellulose lacquer finish in Iced Tea Burst or Gun Metal Gray
A closer look at the Les Paul Axcess Standard from Gibson Custom!
Hear Bob Boilen talk about Neil Young's Sugar Mountain on All Things Considered. Vote For The Year's Best CDs NPR.org, November 24, 2008 - Neil Young was just a few days shy of his 23rd birthday when he took the stage at the Canterbury House in Ann Arbor, Mich., for what would become a legendary performance. It was 1968, and Young was about to release his self-titled debut solo album. His old band, Buffalo Springfield, had split up six months earlier, and few people even knew who Young was. But to his own surprise, and to the surprise of the Canterbury House, Young drew a sold-out audience. Neil Young was horribly nervous before the performance and had to be coaxed from his hotel room by his manager Elliot Roberts and the minister of Canterbury House, Dan Burke. Burke tells NPR Music he remembers Neil Young huddled in Young's hotel room bed, too scared to perform. He told Burke no one would want to hear the Buffalo Springfield tunes or his new tunes. Young was afraid he didn't have enough material. But he was eventually persuaded to take the small stage. "You really blew our minds," an astonished emcee said while introducing the performance. "We only expected a lot less people than showed up. I think you are a lot wiser than we were." Despite the packed house, it was an intimate performance, as Young treated his audience to a cozy set of material most had never heard before, though some were Buffalo Springfield tracks. Studio versions of some of the songs, like "Birds" and "The Old Laughing Lady," would appear later on various Neil Young solo albums. Few people outside of those in attendance that night would have known about the Ann Arbor performance if it weren't for a 1970 single Young released called "The Loner." The B-side of that 45 was "Sugar Mountain" — which, according to a note printed on the disc, was recorded live at the Canterbury House. Neil Young fans speculated that a recording of the entire concert must exist somewhere, and eagerly awaited its release. The live recording of "Sugar Mountain" reappeared as a B-side to the "Cinnamon Girl" single in 1970, and again in 1977 on the double disc Decade, a compilation of Neil Young hits. But the rest of the concert recorded in Ann Arbor remained a mystery. Now, 40 years later, Neil Young and Reprise Records are finally releasing the long-awaited Canterbury House performance as part of the Archives Performance Series, Young's effort to release box-set editions of past live concerts. Live at the Fillmore East was released in 2006, with Live at Massey Hall 1971 following a year later. Sugar Mountain — Live At Canterbury House 1968 will be released Dec. 2, but you can hear the entire album here on NPR Music as an exclusive first listen
