BigWheeledWagon

I can NOT imagine having to put on a show with a migraine, it would be utterly unbearable.

No kidding. At times when I have a migraine, any loud noise or bright light is absolutely unbearable -- it's a guranteed way to make me vomit. I think the singing/playing part wouldn't be so bad -- I find that anything I can do to take my mind off the migraine can be helpful -- but the noise and lights of a show . . .

I once had a migraine come on while I was in court, right before I had to give an appellate argument. It wasn't as bad as I thought it would be, but after I was done, it was 100 times worse. The adrenaline and nervous energy that often times feels pretty good after an argument just made things one-hundred times worse.

If I remember the Kot book correctly, Jeff allegedly suffered a panic attack after partaking of the "special" brownies and while listening to Television's "Marquee Moon." I'm not sure the experience was attributed solely to marijuana, and if you've read some about Jeff's difficulties with panic attacks and migraines (as luck would have it, Jeff writes about this in today's NY Times), this is something he's always struggled with. The experience did deter him from using pot anymore (despite the wikipedia entry's contradictory claim that he would not be detered), and the book made it seem that this was from fear of inducing another panic attack. As Jeff explained in his Times piece, panic attacks operate in a vicious cycle where the anxiety over having another panic attack almost inevitably leads to more panic attacks. I'm sure the association between the attack and the brownies, even had that not been the true catalyst for the panic attack, was enough to make pot a lot less appealing.

Anyway, it seems a little strange and more than a little invasive discussing something so personal to someone I don't know -- I can't imagine having a board out there where people who had never met me discussed my most private moments because they were interested in my work. Jeff, however, has been willing to discuss his issues with panic attacks and migraines quite openly -- as a fellow migraine sufferer, his Times article rings so true and offers some real insight into the problem. As for the brownie incident on the van ride to New Orleans, keep in mind that Jay Bennett is the source of this story, and his purpose in offering it seems to be to illustrate how he was there for Jeff and helped him through the experience, thus cementing his position in the band as Jeff's confidant and musical partner. I don't think Jeff's ever offered his side of the story, and given Jay's departure from the band shortly before providing this interview with Kot, this very well may have colored Jay's version of events. For all we really know, Jeff may have said, "Wow, this song is kind of intense when you're high," Jay may have responded, "Yeah, don't get too freaked out," and that may have been the extent of it. Jeff may have quit smoking pot soon after this for the reason most people quit -- they grow out of it (yes, I know Jeff had a drug problem long after this, but that was an actual addiction issue related to the whole migraine/panic attack/depression issue).

People make much more out of this than need be...setting bias on a retube is extreme tweaking...the tubes and accompanying grid have built in tolerances...as long as youre within those, theres no reason to fret of biasing...in amps with no bias pot, you shouldnt have to worry about making a change, the amp design allows for discrepancys in tube tuning, and swpping out resistor makes no sense...youd need the proper tube tester and scope to rate the tubes and then set bias, but it is rare that the tube ratings are far enough out of the amps tolerances to warrant a substantial change...\

 

 

j

I've always suspected as much. Thanks.

*with the exception of buying the Lakewood light bulb poster twice because someone swiped my first poster off the floor of the pit.

To quote Lance from "Pulp Fiction":

I don't have any delusions that I'm going to get this amp up to boutique status (or at least the quality most perceive as boutique status -- I'm sure there are some "boutique" amps that are utter crap); I'm just trying to get the most out of it that I can. Honestly, I've been pretty happy with the sound I've been getting with it recording so far -- due mostly to the lower volume needed to get it into the "sweet spot."

As for the size/power of the amp, I don't see this as a drawback since the size and wattage were the exact reasons I bought it. I intentionally bought the lowest wattage tube amp I could find. I needed an amp that would break up at lower volumes, would be easy to record, wouldn't create problems with rattles, buzzes, vibrations, etc. in my "studio," and that wouldn't annoy the hell out of my wife on the other side of the house. My main amp (old Fender Bassman 4x10) was a problem in this regard and needed serious volume to perform as desired. While I am at the point in my life where I can afford to buy an expensive amp, I'm also at point in my life where I can't justify spending that money (to myself or to my wife) on the amp (instead of a new roof, lawnmower, living room furniture, etc.). Eighteen-year-old me would smack thirty-year-old me if he could look into the future and read that.

Does anyone here set the bias on their tubes themselves? Just curious as to how difficult it is. It sucks to dish out for good tubes and then have to pay a tech even more for setting the bias, but I'm not sure it's something I want to mess with.

Anyway, the three speakers I'm looking at all match up with the amp at 4 ohms. The amp is 5 watts, all three speakers are 15 watts. I'm not really worried about the smaller speakers lacking bass response -- as is, the amp is getting a pretty nice bass response (believe it or not). Anyway, it looks like I've found compatible replacement parts, so I'll leave ya'll alone and just do some experimenting.

I have the first cd of 1997-04-13 Shepard's Bush Empire-London, England, and would greatly appreciate if someone could upload the 2nd cd in flac or wav.

Thanks, Luke

Is that the infamous show on the "Being There" tour where Jeff got into it with the audience? It would seem to match up time-wise. I recall a descripton of the incident in the Greg Kott book -- crazy stuff. Nothing like the humorous banter that Jeff engages in now. I'd be curious to hear that particular show.

Perhaps some of the folks in the "Reflecting Off of Your CD" section would be of some help finding this one if you asked around there -- I'm amazed at some of the extensive collections some of the B&P guys have. Good luck.

awesome interview, my favorite part was when he talked about how he's intrested to see how this lineup would make a studio dense record like YHF

that gets me excited

I couldn't agree more. I was also really excited to see a newfound appreciation of "Summerteeth" -- for a while it seemed that Jeff sort of rejected the sound of that record, if not the songs themselves, and John and the rest of the guys who were in the band at the time felt a certain level of resentment at how Jeff and Jay made a lot the album without them. In general, it's been nice to see the band embrace their past in general, including their alt-country/roots rock origins. I mean, there was a time where Jeff pretty much repudiated A.M., and then last night at the Ryman, he played several songs in a row from that album.

As much as I loved "Sky Blue Sky," it felt a lot like a new band in love with being band and just playing music together without any larger ambition outside of that. I love the idea of this amazingly talented and newly focused line-up returning the studio without any preconceived ideas about avoiding certain sounds from their past and working again with studio as an instrument. We could see the kind of big, sprawling mish-mash of genres from "Being There" combined with the intricate pop studio constructions of "Summerteeth," the willingness to experiment and create unusual sonic texture from "YHF," and the focused musicianship of their most recent efforts. I can't wait. This is a band capable of doing something truly amazing.

awesome!

i love that the bat building is in the poster

 

unrelated- i wonder if they still have the one from 2 years ago...prob not.

Wow, Wilcoworld got that poster up for sale quickly. I can't wait until mine arrives.

As for the Ryman poster from 2 years ago -- it was a limited edition, like the newest one. I think they may have run a batch of reprints at some point, but the Hatch Show is pretty in-demand and doesn't typically produce huge numbers of any one print.

Oh, and speaking of the Hatch Show, a friend of my wife's married a guy who had worked there at some point, and he was able to arrange for them to print their wedding invitations. I don't know if the bride was all that happy with the invites not being traditional (plus, they were not allowed to give any input on how they would look -- they were completely at the artist's mercy), but they were the coolest invitations I've ever seen.

This is my first time doing more to an amp than changing out the tubes, so thank you all for putting up with my stupid questions. That said, how big a difference is there between a ceramic speaker and a AlNiCo speaker? Is it an issue of quality (I've noticed AlNiCo's are typically more expensive) or do they each have potentially desirable sonic qualities? Weber actually sells both in the 6" size (intended primarily for the Champ), and the ceramic is pretty reasonably priced ($24). Does the material used in the speaker affect the voume at which it breaks up?

I've noted above that I don't mind putting a little money into the amp, but I would find it hard to justify putting in a single tube that is more expensive than the amp. If you think about, the lower price actually justifies spending a little more on upgrades (like getting a good deal on a car but having to put new tires on it), but if you go too far, it's like spending $20,000 on rims, hydraulics, and stereo equipment for a $2,000 car. Anyway, I think the basic electronics of the amp are solid, and thus it makes sense to upgrade the tubes and speakers within reason (if only I had the skill to convert it to tube rectification). So basically, I don't want to use anything that's so cheap that it's barely an improvement, but I don't want to put pearls on a pig, if you will.

After me and Jenny got our tickets we made a b-line for the merch table. How cool are those hatch prints?

Dammit -- I missed those. I got one the last time they played the Ryman (it's now framed and is the central focus of my office), but didn't see them this time. Anyone want to post a picture?

Oh well, they'll probably sell some on WilcoWorld -- they did last time.

Well, after I saw Wilco at the Ryman in '06, I figure I would probably never see a better show again. I was wrong, because just a few days short of two years later, I saw one that was slightly better. Amazing. While I enjoyed the no-amplification "Acuff Rose" in '06 a little better than "Someone Else's Song" this time, I thought the setlist was better this time. In fact, if they had played "I'm Always in Love," they would have played every Wilco song I could have wanted. The first encore was amazing -- my wife, who's not generally a fan of going to shows, remarked on how hard they rocked. The horns were a great addition -- especially for Monday. "Pieholden Suite" -- I'm still amazed. Also, I was really glad John got to sing at the Ryman, and I love that the crowd treated him so well. Jeff was right that John's voice is one that belongs there.

Oh, and for all you others VCers who were there -- ya'll were a great audience (with the exception of those who had to be policed during "Someone Else's Song"). No one passed out in front of me this time, and though there was plenty of drunken enthusiasm from those sitting in front of us, it was amusing (as opposed to obnoxious like two years ago). Actually more amusing was the group of guys who sat to our right. They all air-played various instruments for almost the entire set. It looked like they were playing "Rock Band" or were the air band from "Scubs." Anyway, it was great to see such a great show with so many people who, like me, sang along to every word of every song -- including those from A.M.

I like NOS tubes too, but I think an RCA blackplate (@ $75 a piece) might be a little overkill for a $200 amp and a 6" speaker.

That was my original thought -- why spend much of anything on an inexpensive amp? Then again, this amp has become my primary recording amp. I don't really play out much anymore, so that makes it pretty much my primary amp (for the time being -- one day I might get a little boutique recording amp). So, I'm starting to think that for a small investment I can really get a lot out of this amp. As I noted, I've already been surprised at how good it sounds as is -- I bet I can get this baby to sound like a much more expensive amp. So, while I may not shell out for an RCA blackplate, I may investigate a good NOS tube.

Also, high quality cables and patches will help mucho

I second this (or third this, as the case may be). Also, it's pretty important, if possible, to avoid having any AC cables in your rig (or from elsewhere) run parallel to audio cables. If you have to have them close to each other, cross them at 90 degree angles. This will help kill hum.

So, I'm upgrading my little Fender Champ 600, and I wanted some opinions. There are not a lot of 6" amp speakers on the market; in fact, I've only found them offered from Jensen and Weber. Has anyone had experience with these? Any preferences? Should I just stick with the stock speaker?

The first thing I did upon getting the amp was to change out the crappy Chinese 12AX7 tube -- it was microphonic on arrival and rattled at several frequencies. Luckily, I had a couple of decent 12AX7's laying around. I may change out the power tube, too, but it sounds good for now. It's actually an electro-harmonix tube (not sure why they used a generic Chinese tube for the 12AX7 but a better name-brand tube for the power tube -- better then having two crappy generics, though). Any thoughts? I'm leaning toward sticking with the EH tube for now, partially because it seems to be almost impossible to buy just one 6v6 tube instead of a matched set and also because the current tube appear to be of fairly good quality.

Even with the initial rattle problem (which is apparently very common with the 12AX7 on the Champ), it's been a great recording amp. It has a great tone and breaks up easily at the lower volumes I'm looking for.

also, some people put the wah at the end of their chain. its a different sound than that created when its at the front, so really the choice is yours.

Yeah, although there are a lot of folks who are insistent that the wah must come first, it really seems to be the one pedal that can go anywhere depending on what kind of sound you're looking for. I also used to like it toward the end of the chain for lead, but earlier in the chain for rhythm/funkier stuff (or was it the other way around -- I forget. Not really using the wah much now). Unlike the last poster, I put my overdrive before my distortion, but I rarely use them at the same time, so it doesn't really make a difference.

I've found that most folks recommend the following order: wah -- compression effects -- distortion/overdrive effects -- EQ -- modulaton (phase/flange/trem/vibrato/chorus/etc) -- delay/reverb.

I think it's most important to put delay/reverb at the end since it is replicating a real-world ambient space. That way, it takes your guitar sound as it is with the other effects already adds it a creates the effect of you playing that same signal in a cave/cathedral/basement/big room/whatever. Although most prefer the wah at the start of the chain because it is essentially a substitute for using your tone control (most use the same reasoning for putting a volume pedal at the top of the chain as well), I've found that there are some scenarios where I like to at least move it to after my compressor (then again, I rarely use my wah pedal anymore, and you indicated you don't use compression). As for volume pedal, I actually like it at the end of my chain so I can basically control the entire signal going to the amp. The way I see it, I've got another volume already at the top of the chain on my guitar. As for all the modulaton pedals, there isn't really any "right" order, just experiment until you find what you like. Actually, even though there are some fairly standard ways of ordering pedals, you should always just experiment and see what sounds good to you.

I forgot about the tuner. I don't think it really matters where you put it unless you put it after pedals that actually affect pitch, and even then, you could always just turn those pedals off when you tune. Personally, I have a line running out of my volume pedal to a tuner so that I can cut the volume while tuning.

I'm going there on Saturday! I've also promised the spouse-guy person that we'll find a few guitar shops and he can fondle the goods.

Take him to Gruhn Guitars (400 Broadway, not far from the Ryman) -- he will be forever grateful.

I have one ticket, with "obstructed view"--how bad can it be?

Well, it's not so bad in that you will still be hearing Wilco play at a venue that is one of the most historic and beautiful in the U.S. and that seems to really bring out the best in the band. It is bad in the sense that there are no bad seats in the Ryman . . . except the obstructed view seats. I think that is why the Ryman goes out of its way to make sure people know what they are getting when they buy tickets for those seats. Still, I'd take an obstructed view seat at the Ryman over a normal seat at a lot of other places. If Sunday's show is anything like the show they played at the Ryman in '06, I'd wager that it will be one of the best you've ever attended regardless of the view.

If it's more than that, then it might require an amp tech, since working on an amp is NOT the place to learn about electronics.

Working on an amp without previous electronics experience is, however, a great way to get shocked pretty good. It's important to remember that just unplugging the amp is not enough to avoid this problem -- you need to unplug it well in advance of working on it and let it rest a while to allow any stored juice discharge. I'm sure you probably knew that already, but I always feel obligated to point that out when folks mention they have limited experience dealing with electronics and are planning on working on their amp. Safety first and whatnot. I have some experience modding pedals and guitar electronics, but I've yet to do more than cosmetic modifications to an amp, though I've actually been considering doing some modification on the little Fender Champ I use for recording (for those of you regular "Solid State State" technology posters who discussed my options for recording, you can see that I did indeed go with the Champ. It was indeed the way to go. It has great sound for the money and breaks up at volumes perfect for recording).

Anyway, good luck.

shut up !!

Ah, an eloquent and persuasive reply, the rhetorical likes of which have rarely been seen since the ancient English common law case of Rubber v. Glue, in which the former demonstrated that the later's arguments bounced off him and, in turn, stuck to his opponent. Well played. I stand corrected -- though about what, I am not entirely sure.

Seriously, though, the Primitives comment was meant in jest if that was what what inspired the reply. Otherwise, I was just offering my opinion about the interplay between newer and older Wilco fans and expressing that I'm happy to have any of them on board with one of my favorite bands. Anyway, I believe the only appropriate counter-argument I can muster in response is, "'nuh-uh!"

I'll be there, and unlike the last time they played the Ryman, I will be quite close to the stage (7th row). Hopefully this time I will also not have drunken frat boys sitting in front of me who yell while Jeff tries to play "Acuff Rose" with no amplification (they also harassed some poor guy who passed out in their row). I think this time I'm more worried about this newly-emerging group of angry Wilco "fans" organizing a chant of "sell-out" or "SNL/VW whores."

Anyway, I'm really looking forward to the show, and I hope they get Hatch Show Prints to do the poster again this time.

Metric system...

 

 

And dont forget about the the MIJ/CIJ models from the 80's/90's....they are stellar and compete or exceed most usa models from the same time...as a matter of fact, after the CBS days and for a short time, ALL fenders were built in Japan as the company had to build a completely new facility in North America...

 

I had a '69 reissue tele thinline ('86 MIJ) and it was a real tone master...

 

 

 

 

j

This is an excellent point -- in the mid 80's right after CBS sold Fender, MIJ Fenders were very good guitars (and as noted, the only guitars produced by Fender for a while since the new management didn't have a US plant at first) -- arguably they were better than the ones CBS had been producing in the US prior to the sale. They did, however, often use different tone woods for the body. I don't know about MIJ Telecasters from this time period, but I know they used poplar for Strat bodies (not that there's anything necessarily wrong with that, but it does make a difference). So, if you have a preference for alder or ash, you may want to investigate a little.

I've decided that I hate Wilco fans that hate everything new the band does and label every bit of success the band has as selling out.

JUST KIDDING -- everyone is entitled to their opinions, and I certainly understand those who are upset about the rescheduling of a show for which they had tickets, but I don't begrudge Wilco a little success and long-term financial security. Also, while Wilco certainly has had a great deal of artistic integrity, let's not forget that from its inception, Wilco was a band that was interested in selling records. Wilco was on a major label before they were even officially known as Wilco, and A.M. was remixed to be more commerical. Wilco shot videos while on Reprise and has always played late night talk shows. This has never been a band that was determined to avoid the corporate side of music at all costs. They were willing to work with Reprise to a point and even produced "Can't Stand It" at the label's insistance. Of course, we are all extremely familiar with the circumstances surrounding Wilco's departure from Reprise/Warner, and this seems to be where Wilco picked up this anti-corporate reputation. If the label had been willing to release "YHF" without changing it though, there's no question Wilco would have gone along and promoted the album for them. In the end, Wilco moved from one Warner imprint to another Warner imprint. Like many great artists, Wilco wants as many people as possible to have the opportunity to enjoy their music and are willing to endure some of the problems of the business side of things to make that happen -- I don't think that makes them sell-outs. Also, let's not forget that this is also the way these guys make their livings. They have wives, kids, house and car payments, possibly student loans, and all that other stuff we all have to deal with. I'm sure Jeff wants to be able to give his kids everything they could ever need, send them to a nice college, etc. As long as he's not consciously altering the music itself for commercial reasons, I can't fault him for trying to make a little money and sell a few more records.

Not sure if I have heard of a band pulling out of a sold out gig for TV>....

It happens all the time. Spoon cancelled several shows last year to be on SNL.

Yeah, shame on these new fans. If the first album of Jeff's you got wasn't a bootleg of his first show with the Primitives, then you aren't a real fan. Hell, the real hard core fans were rocking out to Jeff's early renditions of "Hot Crossed Buns" on the recorder in 2nd grade music class.

In all seriousness, I've been a fan since the Uncle Tupelo days, and I remember arguing with my college roommate about whether Wilco or Son Volt would be better and the exciting feeling that Wilco was this great secret knowledge we shared, but I don't see any reason to hate the new fans. I'm glad when anyone discovers Wilco. Also, with the numerous changes Wilco has undergone, I can understand someone who didn't like "Being There" becoming a fan after "YHF," since these albums differ so much. I think this is one of the reasons we saw so many fans bolting when "Sky Blue Sky" came out. Many of those fans who came on board with "YHF" weren't the kind of fans who would appreciate "Sky Blue Sky," but I imagine "Sky Blue Sky" introduced a whole new group of people to Wilco. I, for one, am glad to have them on board.

Also, I wonder if it's the new fans some of the old school fans hate or if it's the direction the band has taken that has them feeling left behind. If it's the later, one could always listen to Son Volt -- Jay is still making pretty much the same kind of music he was making back on "Anodyne" (which, in all fairness, is still some pretty good music).