SHADOOGIE_Gary and Paul

[franz]

Hi, all.

Roger suggested this almost ghost B note to me about 2 years ago. I couldn't hear it for a week or so and then I go it. I also slowed the you tube video of it to 75 and 50% and it's pretty clear from that. Now it's impossible not to hear once you have got your ears tuned in. Yes it's only one note but I think i makes all the difference and easy to play. But I think Shadoogie itself is a weird one. If you play it without accompaniment you might think it sounds ok. Then play to the BT or along with the record and it miraculously doubles in tempo. That wouldn't matter ordinarily but I struggle a bit at correct tempo with 12 gauge strings. But with 10s- no problem.

[fenderplucker]

Sorry, duplicate post.

[fenderplucker]

Hi Everyone,

Looking again at the spectral analysis, Hank only plays the B note 3 times during the first run through the melody. He always plays the E twice during the second run through towards the end. When the tune moves up to the A string, he always plays the A twice and never the E on the third string. Given that the B is little more than a passing note three times and barely distinguishable when in the mix, I don't think I will lose much sleep over it!

Paul.

Edited, I meant the E on the fourth string, not the third.

[Dance with Shadows]

Paul

I hope you meant E on the fourth string. E on the third would have been some finger picking.

[fenderplucker]

Quite right Michael, thanks for spotting it. Must be a bad connection between the brain and finger! I have noted the correction above.

Paul.

[Iain Purdon]

Must be a bad connection between the brain and finger!

This recording proves beyond all doubt that there is perfect connection between brain and finger in both your cases!

I have often thought that two lead guitarists was the way forward for a Shadowy band. Marvin and Farrar were just that, of course, but the idea extends way beyond playing their material. This Paul/Gary double act has allowed each of you to home in on different parts of Shadoogie. Also, double-tracking goes back to pretty early Shads recordings. Having two lead guitarists on stage opens up the repertoire to us, especially stuff from the Rostill era. And when there is no harmony line to play, the second can introduce bits that were done on the records by Norrie & Co.

[fenderplucker]

And it is a lot more fun playing and recording when you both can play and have appreciation of the common goal. In this particular case, either of us could have done the whole thing, but from the outset Gary really nailed the high bits and the damped notes behind the drum solo, while I had a slightly cleaner sound on the low bits, so we thought why not just put them together as a collaborative effort rather than one just taking over the whole tune.

[petercreasey]

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[fenderplucker]

Peter. you are absolutely correct!

Playing style will affect the sound almost as much as the settings. That is why I never provide a direct answer to "where do I set the knobs"