Tag Archives: Epiphone Casino

The Sound of Aimee Mann, part 4

Where were we? Ah, yes. @#%&*! Smilers does not feature any electric guitar.

Nothing betrays a weariness with the record-making process (or any process) than the setting up of an arbitrary challenge to overcome. And here’s the thing: electric guitars have always been pretty central to Aimee Mann’s music. Their role needed to be filled, and filled it was. So much so that the casual listener to the record I’ll refer from now on as just Smilers wouldn’t notice the lack of Strats, Teles and Mann’s own favoured Epiphone Casino; 15 seconds into album opener Freeway there’s a textured wah-wah-sounding keyboard part that could just as easily – OK, more easily – have been played on a guitar. Smilers’ mid-tempo songs, of which Freeway is typical, suffer from a certain lack of dynamism (possibly tied in with the lack of guitars), as well a sense that Mann is falling back on repetitive melodic phrases and unvarying end-rhyming. The two biggest offenders for me were Freeway and Thirty-One Today, which both held pivotal positions as album opener and lead single respectively.

But Smilers is not without its charms. The album’s second song, Stranger into Starman – a brief interlude featuring Mann playing a battered piano accompanied by a simple, stately string arrangement from Patrick Warren – is glorious; it’d have made a great album opener. Looking for Nothing and Phoenix are also strong, both with typically impressive lyrics, and It’s Over uses strings as effectively as Stranger into Starman. It’s Over also sees Mann venturing into the upper end of her register, where she’s less comfortable but can be absolutely devastating (as on Wise Up, for instance, or the final repeat of the words “for you” in Mr Harris, which always leave me needing to take a deep breath and steady myself). It’s just that the second half of the album doesn’t really match the first – only Little Tornado and Ballantines (a duet with Sean Hayes, whose voice is an acquired taste) really stand out, and Ballantines not in a good way.

For her most recent album, Charmer, Mann and producer Paul Bryan tweaked the formula again, retaining the analogue synths but bringing back the guitars and ditching the strings, aiming at a late-seventies/early-eighties new wave-ish sound – odd when Mann’s Til Tuesday were themselves a mid-eighties new wave-ish band, occupying a space that had been made for them by the success of bands like the Cars and the Pretenders, whom Mann cites as influences here.

Mann is still a fantastic lyricist, able to sketch a character in a couple of lines (“No one holds a grudge like a boy genius just past his prime, gilding his cage a bar at a time”, from Living a Lie, is particularly acute), and Charmer is, on the whole, a bouncier, more major-key record than Smilers. Crazytown and Living a Lie are probably my favourites from the album. The latter is a duet with the Shins’ James Mercer, while the former shows a certain bemused sympathy for the self-appointed saviour of a self-absorbed drama queen allied with the purest pop chorus Mann’s written since at least Bachelor No.2.

More outward-looking and musically varied than its predecessor, Charmer still feels like a continuation of Mann’s Smilers direction, reliant as its arrangements are for hooks and melodies on synths rather than guitars. So the news that her new record, out in a month or two, is apparently her folk-rock move is not unexpected.

We await with interest.*

 

*And we hope that the new record has a more sympathetic mastering job than the last three.

 

 

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The urge to share

Over the last few months I’ve been working a bit more on my own songs after a stint where I was working primarily on things for the Sumner, Yo Zushi and upcoming James McKean records. I’ve embedded a soundcloud player at the bottom of some posts over the last few months, but if you’re interested in getting a nice shiny download of any of the songs you’ve heard, now’s your chance. Four recently finished recordings are available as downloads in the format of your choosing (FLAC, AIFF, MP3, etc), for the monetary sum of your choosing (including for free):

As ever with my stuff, the songs were all recorded and mixed in my home, and the only musician involved other than me is the excellent Colin Somervell, who played double bass on Beware of Tomorrow and On into the Night. Folks interested in production may note that Crossing Oceans is a live recording: two mics, one take, voice and guitar, no overdubs, no edits. Just straight up, the old-fashioned way. It’s far from perfect, but it’s the thing I’ve done recently that I’m proudest of, precisely because it is so naked. Little Differences, you may remember, I’ve shared before: this version, though, is a brand-new re-recording at a brisker tempo and knocks the old one into the proverbial cocked hat.

If you like these, do share them. I’ll be back with a non-pluggy kind of post in a couple of days.

On into the Night – Ross Palmer

Hi everyone.

I’ve uploaded another new song to Bandcamp and Soundcloud. It’s a song I wrote recently in a dream. Really.  I had this really lucid dream where I, along with my girlfriend Mel and a few of the musicians I play with regularly, were working on this song I’d written. When I woke I could remember the chords and the lyrics to the first verse, so I wrote the song off those. I’m not sure the first verse lyrics make much literal sense, but they came about serendipitously, so it seemed only fair to work with what I’d been given.

The recording isn’t quite the one-man effort my songs usually are. This one features a very talented double bassist named Colin Somervell. The rest of it is me in the usual fashion.

It’s probably destined to be on an EP in the nearish future. In the meantime, you can download an advance mix from Bandcamp (pay what you like) or stream it on Soundcloud.

https://rosspalmer.bandcamp.com/album/on-into-the-night

Tune-o-matic bridges on Gibsons & Epiphones

So here’s something I’ve been thinking about this evening. Beware – guitar geekery is to follow.

A couple of months back, after spending a while wondering whether it might be nice to have a hollow-body electric guitar in my armoury, motive met with opportunity. I was informed that I’d been entitled to a bunch of annual leave I didn’t know about, and that the company was willing to give me a lump-sum equivalent to the number of days off I hadn’t taken in 2013. So a week or so after that, I took myself of to Macari’s on Charing Cross Road one lunchtime, played a natural-finish Epiphone Casino they had hanging up on the wall and decided on the spot to buy it. It sounded great and was really comfortable to play and I could hear in my head how it would blend with my other electric guitar, a Fender Stratocaster (yeah, whatever – you may not think they’re cool, but I do. Mine’s finished in a dark blue stain, the grain of the wood clearly visible. It looks bitchin’).

I got the Casino home, played it a lot, recorded some parts with it and was generally really happy. It felt like great value at £449. However, I soon started to notice a rattling coming from the tune-o-matic bridge, particularly noticeable on the D and G strings. It took a while to pin down the culprit, but I eventually realised that it was a thin retaining wire at the front of the bridge that sits over the threads of the saddle screws (for those of you unfamiliar with Casinos and similar hollow-bodies with tailpieces rather than stopbars, the bridge is properly fitted with these adjustment screws at the front to prevent the strings from snagging on them behind the bridge due to the back angle created as the string passes into the tailpiece). This is a fundamental design flaw in that style of bridge. It wasn’t the end of the world but it was annoying enough that I took it back to Macari’s and asked whether they had any suggestions for a fix.

They directed me to Andy Gibson, a repairer based in the basement of their other shop on Denmark Street. He suggested that as any attempted fix would be a bodge, the best thing to do would be to upgrade to a Schaller or a Gotoh unit, which I was happy with — I figured £30 or £40 for a better bridge that didn’t buzz or rattle was a reasonable expenditure when it would also likely give me more sustain, cause fewer string breakages and have more widely adjustable saddles for finer tweaks to the intonation. In the event, while waiting for the one he ordered to come in, Andy found a TonePros unit in his workshop that he reckoned would fit, so as of this evening I have a brand-new AVR tune-o-matic on my Casino, the buzz is gone, the bridge is locked to the posts (a nice little feature, that) and if anything the guitar sounds better than before.

I’m a happy little chappie.

But here’s the thing. Both Andy and the guys from Macari’s mentioned that fitting one of these bridges (Schaller, TonePros and Gotohs) is a popular mod that a lot of guitarists make, not only to Epiphones but to Gibsons as well. Now, that’s staggering to me. Epiphones are made to a tight price point so spending a little more after the fact to improve certain parts of the hardware is a good investment, no question. Having said that, I think a lot of guitarists would be happy if they put the prices up a little on their more expensive models and included better hardware on them as standard – after all, they’re buying thousands of bridges at bulk trade discounts, so the extra cost to them of using a better bridge (or tuners, or whatever) would actually be very minimal.

This is not some sort of cheap slam on Far Eastern manufacturing, by the way. A lot of lazy, ill-informed, unconsidered and frankly pretty racist nonsense is spouted on that subject. Epiphone guitars are made to specifications laid down by the people at Epiphone headquarters (in Nashville, Tennessee, since you ask) and any deficiencies in manufacturing are all directly attributable to the company’s US management, who are responsible for overseeing the process (however closely they choose) and awarding the contracts. And anyone who thinks Western production is automatically superior needs to read up about Detroit or British Leyland in the 1970s.

But while we’re on the subject of Western manufacturing, here’s another thing. Andy showed me the bridge off a newish Gibson Les Paul Custom he happened to have in his workshop right now. It appeared very similar to the one off my Epiphone, with noticeably less mass than the TonePros unit now on my guitar. It felt flimsy and surprisingly cheap. Andy had attempted to refile the grooves in the saddle once before but the owner was still breaking strings every gig he played and just wanted rid of it. The going rate in the UK for a new, US-made, LP Custom like this is £2999, by the way. Three. Grand.

If the use of such substandard hardware is standard practice for Gibson now, that’s really poor. If it’s a one-off rogue bit of ‘recycling’ by one enterprising member of staff, it’s hardly reassuring, as it doesn’t say much for their QC process. What the hell, Gibson? Show your customers a bit of respect.

Beware of Tomorrow available for download

Hi all.

Until tomorrow evening (my time), you can download a song that’s going to be on my next EP from Bandcamp, on the ever-popular pay-what-you-choose model. Minimum price is nothing!

It’s a brand new song, written a couple of weeks ago and recorded in the last eight or nine days.

The mix may change a bit between now and when the finished version comes out, but it won’t be markedly different from this. The cover art of the EP will be done by someone who knows what they’re doing. In the meantime, I used a pic I took in (I think) Monte del Lago in Umbria.

Here’s your download link: rosspalmer.bandcamp.com

Enjoy!

Friday update – new song advance download

Hi there. How y’all doing?

Just a quick heads-up to any of you whom may be interested – tomorrow morning I’ll be uploading an advance mix (probably rough around the edges compared to what the finished version will be) of a song that’s going to be on my next EP in a couple of months’ time.

I’ll put the Bandcamp link up here around 10am GMT tomorrow and take it down on Sunday night.

I hope it’s of interest to some of you!

drums 07 142

A quick pic I took during set-up for a drum recording session a couple of weeks back. Was hotter than all hell in there that day!

The joy of a new guitar; or, I love my Epiphone Casino

I’ve mentioned before that I love recording electric guitar, building up layers of stuff, blending complementary tones. A big part of what makes it so satisfying when you’re happy with your work is how complex a process it is.

Recording one electric guitar rig means assembling a complicated system. When you plug an guitar into a pedal or two and into an amplifier, then place a microphone in front of the rig and connect that up to a pre-amplifier and thence to some sort of recording device (analogue or digital), you’ll be working with preamp and master gain controls on the pedals and the front face of the amp, the tone controls on the amp, equalisers on the mic pre, trims, faders, pads — the variables are endless (and remember, gain is frequency-dependent, not merely amplitudinal). To get one good sound, with one guitar and one amp, is a substantial job of work. To get two or three… that’s a big endeavour.

And more and more, musicians will likely be trying to figure all of this stuff out for themselves. Demo studios exist in fewer and fewer numbers, and if you can’t find anyone local to you whom you trust to record you well, you may be better served by trying to record yourself. That’s why I started; the engineer my band had worked with for a couple of years went into post-production, and no one else in the area was as good as him.

Right now, I’m a pig in shit with this stuff. I recently bought a new guitar, an Epiphone Casino, as a present to myself after I completed the first year in my new job (I still call it my ‘new job’ despite have started nearly 13 months ago). That means I’m working out how it works with the two amps I have with me in my flat in London (a Vox AC15 and a big-ass Peavey half stack, a 120-watt single-channel all-valve behemoth, which I had intended to sell but find it difficult to part with), how it sits in a mix alongside my Strat, what it sounds like with pedals… This all takes time, and it’ll be some months before I’m really on top of it, but it’s a load of fun. So many new possibilities open up to you with a new instrument, and this is one I feel immediately at home with. I’d played Epiphone semis before (mainly Sheratons, possibly a Dot too), but fell quite hard for this Casino when I tried it in Macari’s. The decision to buy it was more or less instant. It has a more open, resonant acoustic-type tone played clean than I had been expecting (probably because it’s all hollow, while Sheratons have a solid centre block), but the thing can also kick like a mule; at higher gain structures, it gets into SG-like territory if you dial in the preamp right, and that’s a tone I can do business with.

Of course, like any guitar geek I’ve been on the net looking into who else has played Casinos. The Beatles — that is, Paul McCartney, George Harrison and most famously John Lennon – are the most obvious, but the list is long and distinguished, with a few favourite players and singer-songwriters among them. Which is nice; it’s cool having your gear choices validated and seeing what company you’re in. I’m looking forward to the day when the tone is so ingrained in me that I can identify a Casino in a dense mix merely from the sound (I’m a pretty reliable Strat spotter). Right now, though, I’m still exploring all the possibilities that this guitar offers, and it’s really inspiring.

Casino small

The Casino, in my flat