"The Lucky One", "Make the Noise You Came to Make" relies on a horn section made of harmonicas shifted down one and two octaves. To that we add an amped blues sound with a Whammy that shifts the pitch down a major second, creating a slide guitar effect, and another sound that uses a vibropan effect to create a psycho organ. All those parts were created with a Digitech RP500, and all can be heard on this 30-second sample. The thing rocks hard with a cool vibe that owes something to both Morphine and The Doors. Check out 30 seconds of "Make the Noise": "Make the Noise You Came to Make" copyright 2016 R. Hunter/Turtlehill Productions/ASCAP, all rights reserved. And contribute to our Indiegogo campaign to fund this record here.
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Audio/Video, Blog, Hunter's Effects, Hunter's Music, Recommended Artists & Recordings, Recorded Performances (live and otherwise), The Lucky One
This clip of "Orphan Jam" from the sessions for my record "The Lucky One" is based on a simple chord progression: G major and Eb major. The lap steel sets an appropriately grand and spooky tone, and the harmonica comes in like some kind of alien singing. The piece as you hear it here was recorded in one pass live in the studio with no overdubs. The band, with Mark Schreiber on drums, John Cunningham on bass, and Mike Brenner on lap steel, rocks hard. I've said before that every time I drag my complete harmonica rig out to a session, there turns out to be one song where I need an instrument from deep in my case that I haven't used in ten years. This is that song for this session. The harmonica I used on this piece is a Lee Oskar that I set up years ago, dropped in my case, and completely forgot about. It has a unique pairing of reed plates, which is something you can do pretty easily with Lee Oskar harps. The draw reed plate is a standard C harp draw plate, which makes a G7+9 chord, and the blow plate is the blow plate from a Lee Oskar G Natural Minor, which makes a C minor triad. So G7 on the draw and C minor, relative minor of Eb, on the blow, and all the right scale tones are in place. There's no Bb built into this diatonic tuning, which is not tops when you consider that one of the two chords is an Eb major, but you can get that Bb in the bottom octave with an easy bend on the draw 3 reed, and in the middle register with an overblow on the blow 6 reed. I used both on this piece. (That approach works for single notes, but of course it doesn't work for chords. I used a chromatic harmonica in C to give me partial G and Eb chords.) The harmonica is played through an Audix Fireball V mic into a Digitech RP500 running a patch I set up myself that includes a big distortion, an octave up pitch shift, and a long digital delay set low in the mix. We're definitely in the 21st century now. If you like this music and want to make sure you get to hear the whole thing soon by helping us fund the project (and also get cool perks like a digital download of the music, a CD, a copy of the Digitech RP500 patch set I'm using for these songs, and more), check out Our Indiegogo campaign.
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Bobby Flores. (Congratulations Bobby on winning the 2015 Ameripolitan Male Western Swing Award! That's the style Bobby was playing when I met and jammed with his band years ago in Austin, and it sure was fun.) Bobby contacted me late last week and sent a couple of mp3s. The music was very interesting: country with more than a touch of rock and roll, and some unusual chord changes for this genre. (When you're going from F major changes on the verses to C major changes on the chorus to a solo in Bb major in the same song, it's a little unusual for country.) Bobby told me he was going to send the changes, but he never got around to it. Oh well; that's why we make the big bucks... As per usual for this time of year, I'm out in Tetonia, Idaho, far from my home studio in Monroe CT. Not to worry. The laptop Jim Rosenberry built for me is portable and powerful, and it goes where I go. Add a Digitech RP--in this case my RP500, loaded with my patchset for Digitech RP--for an audio interface, plus an Audix Fireball V, and I have everything I need to make great harmonica tracks. The Fireball V is crucial, because it's the only mic I know of that can produce beautiful acoustic harmonica tracks when it's hand-held, which is REALLY important when you're recording in totally crappy rooms like the one I use for recording in Idaho. (The place is essentially a long rectangle with no sound treatment, and it sounds like a cave. There is no way I'm going to let that room sound into a recording.) FX? We Don't Need No Stinkin' FX All those chord changes notwithstanding, country music demands pretty simple harmonica sounds. To put it another way, the first thing I think of in terms of harp sounds for the genre is never a patch with an octave down pitch shift followed by an envelope filter or a flanger. The first thing I did with the RP500 was dial up one of my Direct amp model patches. The Direct amp model basically takes whatever's at the RP's input, adds or subtracts gain to the signal, and sends it to the output. When coupled with the Audix Fireball V, the resulting sound is clean, clear, and full--a great harp sound to send to any producer. (Hey, if they decide they hate clean and they want to f--- it up, they've got all the FX they need on their own computers.) I have no doubt that Bobby is going to add whatever ambience he wants to my sound, so before I recorded I used the RP500's dedicated footswitches to turn off the reverb and delay, so the only effect running on the RP was the amp modeling. I set up a new project in Cakewalk Sonar, my DAW, and loaded in the mp3s Bobby sent to me. Then I set up three harp tracks for each of the songs (we'll call them "Texas" and "Tennessee," which happen to be the first words in their respective titles) and started recording. I did three takes on "Texas", two with an acoustic sound and one with a patch based on a GA40 amp model for a little more grit. The GA40 patch had a LOT of gain dialed in, so I dropped the gain level on the patch down to a much more moderate 34 (as opposed to the original setting of close to 60, which is some pretty crunchy gain) to smooth it out a little. (I did mention that this is country music, right?) Of course, I took off all the FX except amp modeling before I recorded with this patch. For all the takes on "Texas" I used a Manji in C played in second position. I like Manjis for country music; they play fast and sweet, and they're just the thing for those quick Country lines. The first harp I tried was a Seydel Session Steel in C, but I just couldn't get the chords to sound sweet enough, so bye bye Session Steel, hello Manji. Let the Producer Choose My favorite of those tracks was the second acoustic take, which featured a rippin' solo, but I sent Bobby separate rough mixes with the acoustic and amped-up takes, and one with both, because I liked the way the rhythm licks sounded when both tracks played together. I used the same Direct model setup to record two acoustic tracks for "Tennessee," of which I sent Bobby the second. "Tennessee" is the song with all those chord changes, and I ended up using a Manji in F, played in first and second positions, for the verse and chorus, and a Manji in Bb, played in first position, for the solo section. It took more time to record two takes for "Tennessee" than to record three for "Texas," because all those chord changes on "Tennessee" demanded a lot of extra attention. But that's part of the fun, innit? Taking a beast of a song and making it behave? Get Paid and Wrap it Up Bobby checked out the rough mixes and liked them. He paid me via Paypal, and I sent a RAR (compressed) archive file containing all the harp tracks, soloed, in the form of 24-bit 44.1 kHz WAV files--a nice high-resolution format that happens to be the RP500's highest-quality recording mode. So there you go: another session conducted over the Internet, with the participants separated by a thousand miles or so, collaborating on their own schedules. Of course it would be absolutely tops to be in the room with the producer when the tracks are cut, so we can get double the brain and emotional power working on the song in real time. But I'm still knocked out by the fact that I can collaborate with musicians all over the world, no matter where they, or I, happen to be. How cool is that? And if you take all that for granted, lemme tell you, you weren't recording in the 1980s, when a basic recording setup with overdubbing capability cost thousands of dollars, and sending a track to a producer the second you finished it was a wishful and seemingly impossible fantasy. (It takes time to box a tape and take it to the post office, and more time for that tape to make its way halfway across the country.) How delightful to live in an era when those fantasies come true.
Jon Gindick, harmonica player, singer, songwriter, author of numerous books on playing the harmonica, and the man behind Harmonica Jam Camp. The message was all about the latest harmonica Jam Camp in Missisippi, which apparently was a damn good time for all. I was reminded of how much fun I had as an instructor at one of Jon's Jam Camps years ago in Danvers, Massachusetts, near Boston. The fun included teaching one on one and in groups, listening to and learning from the other instructors (which on that occasion included Richard Sleigh and Dennis Gruenling), and jamming with Annie Raines (who disclosed to the campers and instructors that she began her own harmonica journey with Jon's book "Harmonica Americana"). It was very gratifying to be part of an event where all involved visibly improved their musical skills and had a lot of fun doing it. (My only moment of distress at the event came when I learned that Legal Seafoods in Danvers did not offer Guinness, on tap or otherwise. I can barely express my shock at learning that Guinness was not being sold in a restaurant a few miles from downtown Boston, whose population includes more people of Irish heritage than you can find in Dublin. So far as I know Jon had nothing to do with the restaurant's decision not to offer the best beer in the world.) Anyway, it's great to see that Jon's Jam Camps are still going strong, and that he's added singing to the list of musical skills that campers pick up at Camp. More music, more fun for all. Roll on Jon! In case you're interested, here's the video of my jam with Annie from that Jam Camp in Danvers.
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I'm getting ready to make a record. The shape and sound of that record is coming into focus. For a start, it's going to be stripped-down. I've realized that the stuff I've most enjoyed playing in the last few years--such as the gig I played with Lowands at the Windmill last month, and the work I did a few years ago with Brian Maw--is stuff where I'm one of a very few players on stage. I need sonic room to play out my conception of what harmonica does in a band. I can't express that conception when I'm struggling to find space for the instrument behind (and I do mean behind) a wall of guitars and keys. So this record will feature guitar, harmonica, and drums for the most part--the same lineup that backed Little Walter on his great recordings. That doesn't mean it's going to sound like Walter. The sound I have in my head is something like Morphine meets The White Stripes: big sounds from minimal instrumentation, low, dark, with big grooves burning underneath. I'll use the looper with my RPs to create layers of harmonica, of which there will be a-plenty. There'll be various flavors of blues involved, as there is in almost everything I do, but the overall sensibility is rock. I'm writing lyrics daily now, and writing music to fit those lyrics. That's the opposite of the way I've always worked; I've always started with a groove, gone to a song structure from there, and then to the lyrics. But starting with the lyrics seems to be working for me now, and I'm going to stick with it. I saw a documentary on Carole King, and it turns out that that's how she worked--her collaborators delivered lyrics to her, and she'd write the music. (In the case of "Too Late Baby," apparently it took her about an hour from the moment she first saw the lyric sheet. Genius ain't slow.) So the songwriting is underway, the lyric sheets are piling up, and the music is coming into focus. Pretty soon the planning for the sessions will begin. My producer and I have discussed the players, and we're clear on who we want and where we plan to record. I'm figuring to launch a Kickstarter campaign in the next couple of months, and to to do the recording sometime in the second half of this year. Pretty exciting, huh? I'm looking forward to making a great record. Here's a taste of what's coming. "50 Grand" is a blues with a rhumba beat, and it features two harmonica parts: one with an amped sound that's a dead ringer for some of my favorite Charlie Musselwhite tones, the other with a tenor sax sound, both sounds courtesy of the Digitech RP500. The harp parts were recorded with my favorite harp recording setup: Audix Fireball V mic into Digitech RP500 into the computer via USB. The drum track is generated by EZDrummer 2; nothin' fancy, but it's a demo. I played the bass and keyboard parts. I don't expect to use keys on the album much, but I don't play guitar, so the demo's got keys. I can stand it if you can. It's just a demo, but I like the greasy (pronounced "gree-zee") groove on it, and the lyrics have a lot of black comedy in them. I also like the part of the second solo chorus that's harmonized in 6ths, a plenty cool sound that I don't think I've heard from anyone else. It's the kind of thing you can do with a Fireball mic, and can't do with a bullet, because a bullet would just make an ugly smear from those chords. Enjoy. "50 Grand" by Richard Hunter. Copyright 2016 by R Hunter/Turtle Hill Productions, all rights reserved
the Windmill in Brixton, and once at the Tuesday night jam session run by Dov Jones at the Spice of Life in Soho. Both performances had their own unique opportunities and obstacles, and both were ultimately very satisfying experiences. Playing The Windmill with Lowlands: Fun, not without tribulations The gig at the Windmill on March 6 was a full-set performance. Ed Abbiati (the leader) on acoustic guitar and vocals and Robert Diana on slide acoustic guitar and vocals were in excellent form for this show, and I had a fine night too. I had the opportunity for a sound check, and I was able to set up my Digitech RP360XP with Fireball mic, running a 1/4" cable from the RP to a direct box that went to the board. This is of course my preferred setup for a gig, and on this night it performed brilliantly. The last time I played the Windmill, the sound tech ran a single XLR cable from the left XLR output on my RP355; as I learned later, there's no such thing as a mono XLR out on the RP355, so exactly half the signal went to the board that night, which was far from good. The much better solution with any RP is the one I used at the Windmill this time around. So my rig was set up to my specifications, and it sounded great on a wide range of sounds, including rotary speaker tones, a slide guitar setup that uses the Whammy effect to shift chords up and down, a tenor sax sound, and a very clean tone with a little room reverb. So what's the obstacle, you say? Well. Since my last trip to the Windmill, they've replaced their analog PA console with a digital console, and on the night of this performance, the soundman cheerfully advised us that he did not know how to use the board. He didn't know where a mono audio output could be found, so we had problems setting up my Zoom H4 to record the show. (Ed Abbiati, the band's leader, brought a backup device, and we managed to get a recording off that.) Even worse, the sound tech somehow managed to stick an inappropriately deep, long reverb on the vocal mic, and that produced a cloudy haze in the low-midrange frequencies that lasted throughout the set. Not tops. That aside, I really did like my and the band's sounds that night, and I've included the live recording of Ed's song "38th and Lawton", one of the first pieces I ever recorded with him, so you can hear some of what I heard on the gig. For this song I set the RP360XP to the DIRROOM patch that's included in my latest (v18) patch set for the Digitech RP360XP, and I played a Hohner Special 20 in low E tuning in first position; this is in fact the very same harp that I used to record the original version with Ed for the first Lowlands Album, seven or eight years ago. The tones I got with the Fireball and the RP on this piece range from traditional harp sounds to accordian, organ, and horn sounds. Feelings of peace and joy suffuse the piece, and certainly the harp part. It's a damn nice song, and I only wish the sound tech had known a little more about that console. Dig. Lowlands "38th and Lawton" performed live at the Windmill, Brixton, UK, Mar 6 2016 Spice of Life:Experienced Jammers So that was Sunday night. I was too wiped out Monday night to go out, so I missed the Monday night jam at Ain't Nothin' But the Blues. Instead, I went out Tuesday night to the Spice of Life to check out the blues jam there, which I'd never attended before. It turned out to be a good night to go, because the leader of the jam, Dov Jones, told me that the club is dropping its 7-nights music format soon in order to concentrate on the higher-margin business of corporate parties. Glad I made it to the show before it all comes to an end. This is what the audience sees at the Spice of Life, minus all the people... I went to the club early to get some dinner and listen to Jones's band rehearse, which was a pleasant experience. If a crew is worth playing with, they're worth listening to, and Jones's music is a unique blend of rock with jazz chords and blues sensibility. Fun stuff. I put my name on the signup sheet and waited for the jam to start. It was interesting to see the jammers show up. Blues was the dominant music of the 20th century, not the 21st (at least not so far), and most of the musicians present were definitely from the 20th century, overwhelmingly male and in their 50s-60s, supplemented by a smaller contingent of players in their 20s-40s. (One of Jones's guitarists looked like he might still have been in his teens, but he was pretty much the lone representative of that cohort.) The vast majority of jammers brought guitars, with a few bass players, a saxophonist, and a handful of drummers in the mix--and me with my harps, of course. The good thing about being over 50 is that if you've been playing since your 20s, you're way past the 10,000 hours that you need to put into your instrument to qualify as an expert, and the players at that jam knew their instruments well. I had a good time listening to a number of blues standards, and to players like Johnny Carroll, who I've met and played with a few times. After about an hour, the guy who'd played excellent lap steel in Dov's band got up to play harp. He used what looked like a Hohner 365--one of the extended-range Marine Bands that Sonny Boy Williamson favored, with a red comb--and he played straight through a vocal mic (a Shure SM58, I think) into the PA. That's not my favorite setup for blues, and I didn't much like the sound of it listening to him. It turned out to be the only setup available when I got up to play, because I didn't have time to get the RP360XP up and running with a line into the PA. At least I was able to unwrap the mic cable from the stand so I could cup the SM58 comfortably. Saved by the Key Fortunately, the guitarist leading the tune called a medium shuffle blues in C, which meant that I could use an F harp (the Manji I carry in my road kit) in second position. That's close to ideal for a harp into a vocal mic, because high-pitched harps let you project farther and tougher with less effort than the low-pitched ones. It's not easy to play a low-pitched harp with a tough, punchy tone, because those low-pitched reeds don't respond quickly or cheerfully to high levels of air pressure. That's why amped setups are SO important to working with styles like Chicago blues, where you need lots of punch in the harp no matter what key you're in to get the rhythmic message across. (A slow attack on big notes works okay for ballads, not so much for medium and uptempo blues.) Anyway, I was certainly loud enough to hear myself clearly, which is more than half the battle, and I stopped worrying about my sound after about the first 8 bars of the tune. I got a lot of space in the tune to work the harp, and I was able to bring a few different roles to bear--harp, horn section, organ--even without the ideal sounds to go with the roles. (Well, hand or throat vibrato can be applied to make organ sounds, sort of, and if you use octaves and chords in the right way, it's sorta horn-ish. The impersonation is a more convincing with a few FX, like a pitch shifter, rotary speaker, vibrato... it's the difference between a reference and the thing itself.) With the first role I tend to use more-traditional licks and sounds for a starting point; for the latter two, I concentrate on texture and rhythm to add weight and punch to the sound of the band. It all worked. The thrill ain't gone The second tune up was "The Thrill is Gone" in B minor, and this was a little more complicated. The ideal harp for this tune in my opinion is a Natural Minor in 2nd position. Unfortunately, I didn't have a B Natural Minor in my kit that night. I could have gone with a G harp in 5th position, which like 2nd position on a Natural Minor delivers an Aeolian mode, but 5th position on a G harp into a vocal mic isn't tops--lots of low notes that don't respond all that quickly under pressure, a lot of work to get the desired effect. I ended up using a Seydel Session Steel A harp in 3rd position, overblowing the 6 reed up and bending the draw 3 reed down to get the flatted 6th degree of the scale that's so important in this tune. Both tunes went down with the audience very well, and I had a good time playing them. After I finished, the lap steel/harp player asked me what rig I was using on those tunes. I told him that it was the same as the one he used. He was surprised. There's a tendency among a lot of casual harp players to think that it's the gear that makes the sound, but the fact is that it's the player, not the gear, that makes a tone big, and a big tone sounds good no matter what kind of gear you put it through. Of course the gear lets you create a wider range of sounds and emotions, and who doesn't like that? I sure do. But in the end, if you can't make your message heard with nothing more than a harp, you've got some work to do. It's always fun to check out the scene in London, and I'll look forward to my next trip.
Contact us if you're interested in discussing same.) "Peace to You All Tonight" written and performed by Richard Hunter. Copyright ©2015 R Hunter/Turtle Hill Productions, all rights reserved
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