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John McLaughlin Live Setup: Cheap but effective
Old 9th July 2013 | Show parent
  #91
Lives for gear
 
🎧 10 years
Quote:
Originally Posted by Marlowe ➡️
I'd love to see him playing a steel-string with Remember Shakti as he did with the original Shakti. He could manhandle a steel-string like no one else.

His recent electric tones are as lame as his Remember Shakti tone. No dynamics and no life. I'd love to see him play electrically with a classic electric guitar plugged into an amp, no processing, no wimpy tone.
I heard that John loaned his Shakti guitar to someone and it came back unplayable and I don't know if he had to get Abe Wechter to fix it.

I can say this. I met Abe at NAMM a few years back while he showed me some custom work he was doing. He said that he would many times hook up with John to bring a new guitar to him while at the hotel on a tour and he said John sits in the room while on tour and gets about 8 hours playing time in BEFORE the gig.

I don't know know of a single guitar player that will do that. Abe told me that he would practice Segovia and other things just to get more inspiration. I would love it if John would video tape a daily practice routine for one day and post it. It would be interesting to hear what he does just to play for himself. I've seen him play a scale during a sound check while talking to another player and his scales are just so smooth it's like silk.
Old 9th July 2013 | Show parent
  #92
Lives for gear
 
🎧 10 years
Quote:
Originally Posted by Marlowe ➡️
I'd love to see him playing a steel-string with Remember Shakti as he did with the original Shakti. He could manhandle a steel-string like no one else.

His recent electric tones are as lame as his Remember Shakti tone. No dynamics and no life. I'd love to see him play electrically with a classic electric guitar plugged into an amp, no processing, no wimpy tone.
Go to You Tube and look up about 5 songs John was doing solo on his acoustic. The heading was I think in Munich and it said it was 1972 time period, but his guitar sounded like an Ovation steel string with scalloped finger board, so I don't know if he had one done before the custom made ones several years later. He was playing his interpretations of some jazz standards, but doing some incredible bends that were just really cool like he'd do with the earlier Shakti albums.

Here's the links I managed to look up for you.

http://www.youtube.com/watch?v=i6URwAoVwOo
http://www.youtube.com/watch?v=iNSu8a5WL1s
http://www.youtube.com/watch?v=v5Qf1rpKRJM
http://www.youtube.com/watch?v=ex9JLnTOHBw
http://www.youtube.com/watch?v=uF7hs41LDbI
Old 9th July 2013
  #93
Lives for gear
 
Clueless's Avatar
John stopped by our studio on his latest tour. What a wonderful, warm, and caring human being!



His new PRS guitar is *gorgeous*. The PRS amp is pretty beautiful, too.

Here are the lessons you are looking for:



and

Old 9th July 2013 | Show parent
  #94
Lives for gear
 
🎧 10 years
Quote:
Originally Posted by Clueless ➡️
John stopped by our studio on his latest tour. What a wonderful, warm, and caring human being!



His new PRS guitar is *gorgeous*. The PRS amp is pretty beautiful, too.

Here are the lessons you are looking for:



and

Three questions:

1. When did he drop by the studio?
2. Did he get a PRS amp?
3. Did he use it in the studio?
Old 9th July 2013
  #95
Lives for gear
 
noiseflaw's Avatar
 
🎧 15 years
That McLaughlin can go from Mahavishnu Orchestra - 'Meeting of The Spirits' 'Birds of Fire' to Shakti 'Handful of Beauty' then to 'Friday Night in San Francisco' and in to 'Belo Horizonte' and his duets with Katia Labeque...

His tone is fine in all of those - more importantly, the 'tone' of his spirit and vision, powerfully expressed - at times searingly intense. Scorching-brilliance, tender-eloquence, technical supremacy...

Have you seen his solo on 'Meeting of The Spirits' in Live at the Royal Albert Hall with Coryell and De Lucia - the man just leaves the planet and transcends... (just to see the faces of De Lucia and Coryell when McLaughlin takes off).

He creates worlds, not just notes.

The 'Tone' of his genius is perfect.
Old 9th July 2013 | Show parent
  #96
Lives for gear
 
Clueless's Avatar
Quote:
Originally Posted by drblank ➡️
Three questions:

1. When did he drop by the studio?
2. Did he get a PRS amp?
3. Did he use it in the studio?
1. He dropped by June 10th and practiced all day.

2. Yes.

Photos attached...
Attached Thumbnails
John McLaughlin Live Setup: Cheap but effective-prs_amp1.jpg   John McLaughlin Live Setup: Cheap but effective-prs_guitarandamp.jpg   John McLaughlin Live Setup: Cheap but effective-john1.jpg  
Old 9th July 2013 | Show parent
  #97
Gear Guru
 
henryrobinett's Avatar
 
🎧 15 years
Quote:
Originally Posted by drblank ➡️
Henry, have you downloaded all of the sound board recordings and listen to them? Just curious. Even during his MO days, his style changed drastically.

The thing about McLaughlin's scales is that they don't sound cliche like these metal players are doing. Those guys get boring, same goes for about 99.9% of the "fusion" players. I can honestly say that most fusion players don't know jazz as well as McLaughlin, certainly don't understand classical or classical indian as well as McLaughlin, and even in a way the depth of knowledge in blues as McLaughlin. He can rip blues that's intense, but he doesn't do the traditional, cliche blues playing, but he can if he wants to. He understands improvisation more so than most players these days, and he got his training with Miles and not many guitar players could impress Miles like McLaughlin.

I don't hear scale playing in McLaughlin as much as you seem to indicate. A lot of times, he throws in subtle pitch bends and other abstract melody lines. The stuff McLaughlin is putting out since the Trio w/Trilok isn't floating my boat as much as his early years. I saw him with Remember Shakti and he was playing his Godin through a MacBook at the time, which is what he was into. I like him just plugging into a real amp like a Mesa or Marshall, cranking it up and going for it, or dragging out one of his custom acoustic guitars. That's what I prefer, but listening to him rarely get tiring. his music is pretty fresh even after 40 years and still puts just about every other "fusion" guitar player to shame. He's in a class by himself.
I don't think I answered this post. Listen, I'm a huge fan. Inner Mounting Flame was very influential to me. And I've seen him more than half a dozen times. The last time being a couple of years ago with the Five Peace Band - Chick Corea etc. Unfortunately I never saw MO, but I did see him with that group with Santana and Cobham during the same period. I saw Shakti maybe three one even four times.

McLaughlin is mostly a scalular player. He's a modal player. That's cool. I didn't say he played boring or that he played like a lot of rock players who play modes. He uses a lot of exotic modes and chromaticism. He's a master for sure. Using bends doesn't mean he's not using scales. It has nothing to do with being scalular or modal. When he plays he's not so much outlining the chord as much as he's applying a scale or mode to that chord. It's a specific approach. I tend to like outlining the chords more. I like players who have more of a bop background, not necessarily playing bop, but you can hear the approach in their bag of tricks.

I love McLaughlin. He plays like he plays and not like he doesn't, or not someone else. He has a very specific style and approach, which good players should always aspire to have.
Old 9th July 2013 | Show parent
  #98
Gear Maniac
 
🎧 10 years
Quote:
Originally Posted by henryrobinett ➡️
I hear you. There a few reasons for this, as far as my experience and theory tells me. Number one, all the time and effort goes into the NOTES. But also most jazz guitarists can't afford a lot of expensive gear. A lot of these guys live in NYC and need small gear they can take on the subway or in a cab. #2 - most jazz clubs are very small. No way the club could handle a lot of volume. #3 most jazz groups are small and have very limited sound reinforcement. They probably have an acoustic bass, horn players, acoustic pianist or are set up for that type of group. Having a guitarist, even if it is your band, who play louder than everything else, or at a volume that people are mostly used to and expecting, is grounds for losing your gig. Guys might not work with you again!

Jazz clubs are about the music, but like every other club are MAINLY about selling drinks. If you play too loud drinks orders can't be heard. Owners get upset.

None of this applies to McLaughlin, but it's deep set n the jazz culture. Convenience and consideration rule the day. Remember jazz is still not a guitar-centric music.
---------------------------------

it seems to be part of the bebop / strght ahead jazz thing.
players like, Bruce Forman, Randy Vincent, in SF bay.

im sure Bruce knows the answer, why he uses a "cube".

another might be Larry Koonse, he s in LA.

gotta go, thanks for the thread.

C
Old 9th July 2013 | Show parent
  #99
Gear Guru
 
kafka's Avatar
 
🎧 10 years
Quote:
Originally Posted by Clueless ➡️
John stopped by our studio on his latest tour. What a wonderful, warm, and caring human being!
I met John once when I was a kid. He was very generous with his time and conversation. I remember him to be a very warm person.

John McLaughlin has been held up to me as a paragon since I started playing guitar 35+ years ago. As far as his electric soloing goes, as time goes on, I mostly hear the John Coltrane influence. As Henry said, it's all about those scalar patterns, rather than harmonic or lick based playing. It's an approach, but not one that ever inspired me when I tried to do it. I'd much rather listen to John McLaughlin play than try to play like him.
Old 10th July 2013 | Show parent
  #100
Gear Guru
 
henryrobinett's Avatar
 
🎧 15 years
Quote:
Originally Posted by drblank ➡️
Well, don't worry about what the club owner wants, if you can play what you feel at the volume that you need to in order for it to come out right, then go for it, and maybe you need to find the right club for that style music. I don't like clubs telling me its too loud, they are paying enough money to do that.
Sorry, but I can't entirely ignore what the club wants. It's a relationship between me and the audience and the club owner. I want everyone to be happy. I can figure out a way to play at any volume and say what I want to say. If it's a low volume gig I'll play jazz standards. If it's my band and I can play as loud as I want, I play my music. But one of the problems is there aren't enough venues to play. You can't ignore what the club owner wants and still work.

You have three - the musician, the audience and the venire. All of them are right in expecting certain things. The musician has a better chance of working when he/she understands the needs of the other. The club is in the business to make money. He/she makes their money from drinks. The band is a subset of selling drinks. They hopefully bring in people and help make a name for the club. But they make their money from drinks. This shouldn't be lost or ignored.
Old 10th July 2013 | Show parent
  #101
Lives for gear
 
Clueless's Avatar
Quote:
Originally Posted by drblank ➡️
I'm not saying to just walk in and crank up a Marshall stack to 11, there has to be a certain degree of respect for the volume level.
I am happy to report that John is now playing at very tasteful levels. Gone are the days when everybody, including John, turned things up to stupid levels just because everybody else was doing it. He has dialed it back so that everything balances with the natural volume of the drums.
Old 10th July 2013 | Show parent
  #102
Gear Guru
 
henryrobinett's Avatar
 
🎧 15 years
Quote:
Originally Posted by Clueless ➡️
I am happy to report that John is now playing at very tasteful levels. Gone are the days when everybody, including John, turned things up to stupid levels just because everybody else was doing it. He has dialed it back so that everything balances with the natural volume of the drums.
That's great! How fantastic to have him play and record(?) in your studio. I'd love to have been a fly on the wall!
Old 31st March 2015 | Show parent
  #103
Here for the gear
 
🎧 5 years
Quote:
Originally Posted by Clueless ➡️
1. He dropped by June 10th and practiced all day.

2. Yes.

Photos attached...
Would you happen to remember the model name and wattage of the PRS amp? Thanks.
Old 31st March 2015 | Show parent
  #104
Lives for gear
 
🎧 10 years
Quote:
Originally Posted by Clueless ➡️
I am happy to report that John is now playing at very tasteful levels. Gone are the days when everybody, including John, turned things up to stupid levels just because everybody else was doing it. He has dialed it back so that everything balances with the natural volume of the drums.
Well, he's not in his twenties anymore. He actually started to scale back with the 2nd MO as he had to consider the string and horn section, so he traded the 3 Marshall stacks to a small single 12" Boogie and it was still just as loud for the audience. :-)

I just prefer his sound going through a real amp/speaker than just going through a tube pre-amp and then direct for his electric stuff.

I do miss his Rex Bogue double neck and his Shakti acoustic, two guitars that I absolutely love, two one of a kind special instruments.

I think McLaughlin should video tape himself practicing and release that as a educational CD (all 8+ hours of his daily routine). It would be interesting to see what he actually does during his daily practice routine, I'm sure everyone could learn from it.
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