Tone Slinger wrote:I agree with your last comment, but on the former,let me give you an example of what I mean,
EVH claimed Clapton influenced him, right. Initially, its hard to tell, upon listening to Eruption, for instance. But, if you listen to the solo in 'Dancing In The Streets' or 'When Its Love', you hear a Clapton influence, yet its done in a way Clapton would have never done.
Another example is Ritchie Blackmore on 'You Fool No One'. Its Obvious that Ritchie was shooting for the vibe (and tone) of Hendrix on 'House Burning Down', yet, Ritchie made it his own, without totally erasing the Hendrix influence.
If I try to be TOTALLY original and methodically and logically try to be that way, I end up sounding like a cross between old McLaughlin, a staple gun and Bucket Head,so I dont bother
, I just embrace my influences and deviate based on my inner soul
Billy I don't have a clue what I sound like, my influences are so diverse. When I try Gary Moore stuff, which is what I feel I have the closest affinity for, just reading the tab and watching the online lessons, none of the videos sound like Gary Moore obviously.
Take for example the Phil Lynott composition "Military Man." The first solo, the slow one Gary often would improvise around it in the later eighties, but the notes of the 'stock' solo aren't that hard, but to get the feel is a whole different thing.
Luckily for me I have these tunes programmed in my head so once I learn the mechanics I can work on the phrasing.
Yngwie whom I listened to constantly for two years, I do not have a hope in hell of sounding like.
With my arthritis I cannot even begin to do the right hand never mind the left hand.
I enjoyed my 2004 Yngwie Strat, but with that damn 9.5" radius it made a big difference to me. I
need that curvature to chord properly and the sucky part of my physical disability is quickly changing chord shapes, my fingers are so grossly swollen compared to even 10-12 years ago that it is very frustrating trying to make my fingers move accurately..
Steve Stevens my other cat, his stuff is not bad to mimic, but the tone is all the marbles.
I am hoping for new inspiration with this new Metro True Replica Cab that I have in the works. I'm having George load it with the spanking new Celestion G12H-75 Creambacks, which I believe to be my dream speaker in comparison to those bloody G12H-30 Heritage's that came with my ex-Handwired cabs.
I have been looking into attenuation as I must tame my roaring Super Lead at home. I'm hot for the Friedman STFU, but $1K is rich for my taste for an attenuator. I don't know. George is too busy to mod a Power Soak to a dual channel like the STFU.
George does say it is so transparent it's like it is not there, his opinion I rate highly..we'll see.
Now that I am on a fixed income..disabled, can't gas like some may be able to do and I already sold 3 prized axes just to pay bills until i was finally approved the second time after being turned down at first.
I am happy with the tone of my Metrofied 1959HW and don't have any Friedman jones fortunately.
Sadly the new SS 100 amp I haven't really heard it properly, but it misses the mark for me.
I'm down to one left of my Heritage Gary Moore's, my 1983 '57 reissue Strat (Blackie), my two Washburn SS-80's and my replica Hamer SS-3 that was built for me.
I had to get rid of my smaller amps a few months ago to pay the interest in my wife's jewelry in the pawn shop, my Mini Marshall stack and my treasured Crate Vintage Club 30 with the uprated Celestion G12h-30 Anniversary speaker.
I got like $250 for both from Sam Ash.
Sorry this is a RB thread and folks don't need to hear my sob story, but I am getting there man, after having a 100 watt head with no speakers for at least almost 4 years now. I am hoping my electrolytic caps haven't dried up!!
Interesting that you say that DP track was patterned on House Burning Down, I will have to listen to that and check it out.
Thanks for listening
yngwie308