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Discussion in 'B-Bender Forum' started by Rick Towne, Mar 16, 2019.
I'ma stealing all that for this Tuesday night!
Benders are not just for country....
and neither are Steel Guitars !
Ronnie Wood, Rolling Stone
That was great! . . . Btw, notice Bob's maple neck ..maybe his capped Strat neck was getting a fret-job?
I still haven't figured out why that neck was on the guitar then - I had a '57 Tele that I had bought before I traded my Roy Noble dreadnaught to Clarence for the white Telecaster with the re-cut Strat neck. Never had the frets dressed or worked on, to this day.
At some point, I played with trying the other neck (frets on the blond neck were much higher than those on the re-cut Strat neck) just to see which I preferred. I know I did that for a while, and assume that this was part of that time.
Obviously, the re-cut Strat neck won, as it is still on the guitar...
Wicked playing there, Bob!!
That re-cut Strat neck is also very weird - I inspected the fretwork and they're small. triangular and seemingly made out of some kind of unobtanium - or depleted uranium! Had and impervious to wear. Along with Red's electronics they give the thing a huge amount of "bite", even when picking lightly. Bob's "signature" LPB-1 Linear Power Booster really adds to the "snarl" he gets.
And FWIW it's amazing he can play it like he does - with the light strings, VERY low action and short bender throw, everyone else who tries it seems to be baffled! But it fits Bob like a glove and his sound easily identifiable. Errr - and so does the LPB1 and using the same Vibrolux Reverb for umpty-zillion years! I wouldn't say Bob's "anal" about his gear....but he *IS* "consistent"?
(staring each other down during a gig after some song glitch. I lost. The bass player ALWAYS loses!)
Bob's so fun to listen to. That Everly's version of 'Mama Tried' is so cool. Bob's playing is icing on the cake!
Interesting about the LPB1. I bought one in 72 or 73 because my Bandmaster wasn't quite loud enough at full volume for outdoor fraternity gigs. It was the first time I felt like I understood sustain and overdrive. I've never been an effects guy, I've tried compression and delay a few times and never liked the sounds I was getting so I gave up. I did buy a new version of the LPB1 a couple years ago...maybe my imagination but it didn't give me the same confidence it seemed to when I was a young fellow.
Thanks for the kind comments. Jim "Silverface" is correct about my being "consistent". Still playing the same guitar, still through the same old Vibrolux (long ago modified by Red Rhodes), and still using an LPB-1 - got one of the newer versions, but also really like a combination box put together by a friend of mine (if he consents, I'll disclose who that is, or he can), which has the same basic preamp circuit as part of the box, but is much more physically robust than the original LPB-1. The whole idea is using the preamp to controllably overdrive the input stage of the amp, creating a variable amount of distortion, which, once you get used to it, allows you to pick very gently, which helps sustain but sounds relatively clean, or pick a bit harder, which adds some distortion. And the overall volume level of the amp is a factor, too. If you are playing at a volume level of 5, for example, even with the LPB-1, it will only distort if you have the guitar volume all the way up and pick relatively hard. I, personally, like volume at 7. Of course, that's where some of Red's old modifications helped - he put in a master volume control (I have no idea what the actual electronics of all that might be), so the distortion, etc., is independent of the actual amount of sound coming out of the amp.
Sorry for the long post, but the overall combination of things really has and does allow a lot of variability in terms of sound, sustain, and clean/distorted texture, far beyond what I've ever found in any other effects boxes.
Oh, and I should also add, I almost always play only using the bridge pickup, and with the guitar volume turned all the way up. Everything else after the basic settings (LPB-1 full on, amp volume on 7, master volume set for the room) depends on how hard I pick... Simple, and very user-friendly.
Probably more than anyone wanted or needed to know, but...
Thank you, Bob Warford! I'm a big fan, and it's really great to hear about the equipment you used / use! This is one of the best threads on TDPRI I've read so far since I joined.
thx Bob, always enjoy reading your posts ! Oh yeah, Jim too !
Jimmy Page, not Woods, playing lead on the Stones song. He used a PW bender from ‘77 on.
Mentioning some famous rockers who used a Bender is a very good thing, but realistically they used the Bender for a specific song here and there, nicely, but they are not really Bender players. Bender players are those that use a Bender on every song and accentuate their style of playing, ALL THE TIME. Benders are NOT specific to a genre of music, they are specific for a style of PLAYER, regardless of what music they play. They are not novelty's , they are part of a players style and approach.
And yes, I appreciate any player who uses them . PRO or Novice ! But I suspect that any player who acquires a Bender guitar to learn just one song from a specific player, it will end in a "dead end" , then off to REVERB it goes !
I just discovered a notable exception to my (almost) blanket statement in the post from June 12, 2019, where I said that I "almost" always play using only the bridge pickup. Recently, on Facebook, there has been some attention paid to a record I played on long ago for Bob Luman, while recording in Nashville. In that song, "Lonely Women Make Good Lovers" (which should be easy to find online), I did play using the middle position, with both pickups active. Hearing it again, I do like the way it came out. Don't know why I chose that pickup position for that track, but I'm glad I did.
Great song! I'm partial to the Freddy Weller version (co-writer of the tune) which includes some tasty Bender work on it. Was that you?
It was - Freddy had me go to Nashville to record several tracks for what turned out to be his "Roadmaster" album. One of those tracks was "Lonely Women Make Good Lovers", which Freddy wrote. While I was there, I did some other recording, and a bit of touring. Some of the recording included several tracks for Bob Luman, including his version of "Lonely Women...". For the recording with Freddy and Bob, I had the singular opportunity to record with many members of the Nashville "A Team", including Pete Drake (steel), Charlie McCoy (harmonica), Ray Edenton (acoustic guitar), Billy Sanford (acoustic and electric guitar), Hargus "Pig" Robbins (piano), Bob Moore (bass), Henry Strzelecki (bass), Jerry Carrigan (drums), and Buddy Harman (drums). The Jordanaires sang backup live during the tracks for Freddy. For a long-haired kid from the West Coast, that was an unbelievable privilege. In other sessions, I got to work with other A Team players such as Dale Sellers (guitar) and Larrie Londin (drums). Each and every one of them were great players, really nice people, and very easy to work with - true professionals, every one. An interesting part of the touring included several days with Leroy Van Dyke, on his bus, with his band. Great fun!
Bob, do a video sir!!!!!
There is an instructional record Gene Parsons included with early string bender installations with Gene and Bob on one side, and Gene and Robb Strandlund (sp?) (writer of "Already Gone" and other tunes) on the other. It's available on you tube....