Which includes him working with someone we know at "The Purple Palace".

http://rockandrolldoctor...._body.html

Haha no wonder prince's tone sounds like crap, he drove away all the good guitar techs that wont deal with his shit

Cool article. Thanks for the post.

The most important truism regarding guitarists and their gear is crystallized in the following statement...

“It’s not the equipment – it’s the artist.”

...


As for “Never work for someone you’re not allowed to talk to.”, somebody obviously needed a reality check.


tA

Tribal Disorder

http://www.soundclick.com...dID=182431

theAudience said:[quote]Cool article. Thanks for the post.

The most important truism regarding guitarists and their gear is crystallized in the following statement...

“It’s not the equipment – it’s the artist.”

...


As for “Never work for someone you’re not allowed to talk to.”, somebody obviously needed a reality check.

And to add to that it's all in the hands.

Speaking of tones enjoy the Eric Johnson segment.

http://www.harmony-centra...video.html

carlcranshaw said:

Nice EJ clips.

Harmony Central is cool music gear (hardware/software) site. (Hit Squad is another.)

Go down a few choices and there's a Mark Farner interview (former lead singer/guitar with Grand Funk Railroad).
2 cool references to Todd Rundgren & Frank Zappa and their roles as producers.
The *bass player in his current touring band (shown in a few segments) is a friend of mine and someone I periodically do gigs with.
As a matter of fact, i'll be doing a gig with him in a few weeks.

*Lawrence Buckner is a very versatile musician.
He can easily move from Rock to acoustic Jazz and everything in between.


tA

Tribal Disorder

http://www.soundclick.com...dID=182431

From the Harmony Central "Interviews" carlcranshaw brought to light, cool quotes from a few musicians (primarily known for their session work) who have played on some of the most popular tunes of the 70s, 80s & beyond.

http://www.harmony-centra...video.html
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Nathan East...

I used to play, at the Hilton Cargo Bar in San Diego until 2am and then drive my Toyota pickup truck to L.A. and sleep in front of the studio that I was recording with Barry White 10 o'clock the next morning in. You know, i'd sleep in the back, it was freezing in there you know. And then get up and record and work in the studio with him all day. And that was just something that you, you never would be able to get somebody to sign off on that. But I knew that, you know, and i'd stick my head outside the window, you know, I was so tired. But, I did whatever it took to position myself to be where I needed to be so the right people would hear you and you're doing the right thing. So it's kinda whatever it takes, you know, and then of course there's some good fortune that comes.
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=

Steve Lukather...

Interviewer:
And you're pretty much self-taught for the first few years right?

SL:
Yeah I didn't, the first 7 years of playing I kinda did it on my own. I was about 14, I started to get more serious and learn about, you know, there's more to music than being a Pop Star. You know what I mean? I really got interested in the whole studio thing and that requires some schooling. Plus you know, I wanted to learn as much as I could learn. It's really important. I mean I don't know where people come off with this thing like he's learning how to read music it hurts your playing or something like that. I mean that's, whoever facilitated that rumor needs to be taken out in the back shed and beaten a few times. Because it's just a lie. It's like learning a foreign language. Does that hurt you? It's a really great way to be able to communicate. I mean you don't have to be super-sight-reader-dude. But I mean it's a great way to write down your ideas if you remember something. It's helped a lot over the years.

Interviewer:
I think that possibly the reason that people say that it's dangerous to learn to read music is because some people learn to read and don't ever learn how to feel it.

SL:
Well, but you know, odds are they weren't gonna feel it anyway.
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Lee Sklar...

Commenting on the current state of music.

Interviewer:
Do you think it's because of a natural evolution or with technology or is it...

LS:
I don't know. You know I mean it's probably a lot of things. A lot of it is money's tight and costs of a lot of these tickets are so ridiculously high. You're dealing with companies that aren't being run by people of musical passion but they're being run by accountants and lawyers who just, they're looking at bottom line so they don't really care as much as to what's going on out there, they just want to see the sales chart. And a lot of the venues have closed just like studios have closed. When I started recording at the end of 60s through the 70s specifically, there were so many studios in Los Angeles and now most of them are gone. I mean the technology changed that to where I didn't think at this point in my life i'd be spending most of my time in guys bedrooms.

Interviewer:
[laughter]

LS:
You know, but everybody's got their little Pro Tools rig set up and I go to their house and I overdub bass.

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tA

Tribal Disorder

http://www.soundclick.com...dID=182431

Thanks, I really enjoyed that article.

I love it when professionals point out what a little bitch Prince really is.