Call me Crazy....

One of our mutual friend's (a great session player) commented on the guitar tone and arrangement while we were mixing it down. He said, "That guitar tone has got a drunken confidence to it...like it's ready to fight a buzz saw"

I gotta admit that I like that...of course, that could also mean it sounds like a drunken sailor was playing it...
 
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Easter Egg Alerts:

1. @ 0:27 a Matthias Jabs descending/harmonic roll (can be heard at 2:28/2:29 in the solo fill of Scorpion's 'Bad Boys Running Wild' Official Video)

2. @ 1:46/1:47 Vivian Campbell lick (can be heard at 2:28/2:29 in the 'Rainbow In The Dark' Official Video)

3. @ 1:58/2:00 Matthias Jabs diad unison (double pull down) bend (can be heard at 3:05/3:06 in the main solo of Scorpion's 'Bad Boys Running Wild' Official Video)

2. @ 2:02 - You can hear the switch from neck to bridge pickup by the sharp volume increase
 
Kerry Brown said:
That was awesome. You did what you set out to do. It was true to BB’s version but it rocked.
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Thanks, man!!!!

While this effort is certainly average at best, it doesn't embody any amazing or imitable guitar work. But, as far as a live bar band goes, it's at least as good as what you would hear in a club on a Saturday night, and better in some cases.

That's the standard that I'm using to evaluate this effort.

As you listen, try to keep these things in mind....

The guitar is a $175.00 China-Made Slash Les Paul Knock Off with Epiphone pickups (H8BN bridge H6BN neck) donated to me by @eSGEe

The guitar cable that I used was a 25 year old Horizon with white/green/black fabric covering from the bottom of my bag

The amp used was a $349.00 Blackstar ID-Core 100 Watt

The bass is a $60.00 Import Ibanez purchased from Craigslist strung with Ernie Ball .105's

The guitarist is a high school dropout that can't read music
 
Robert Herndon said:
Thanks, man!!!!

While this effort is certainly average at best, it doesn't embody any amazing or imitable guitar work. But, as far as a live bar band goes, it's at least as good as what you would hear in a club on a Saturday night, and better in some cases.

That's the standard that I'm using to evaluate this effort.

As you listen, try to keep these things in mind....

The guitar is a $175.00 China-Made Slash Les Paul Knock Off with Epiphone pickups (H8BN bridge H6BN neck) donated to me by @eSGEe

The guitar cable that I used was a 25 year old Horizon with white/green/black fabric covering from the bottom of my bag

The amp used was a $349.00 Blackstar ID-Core 100 Watt

The bass is a $60.00 Import Ibanez purchased from Craigslist strung with Ernie Ball .105's

The guitarist is a high school dropout that can't read music
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Tone is in the fingers, not the gear, Can't think fo a better example.
 
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Robert Herndon said:
We knocked this song out in record time, and as such, it's certainly not a stellar production. We worked today and decided to throw this project in at the end of our work day. Interestingly, we had every kind of equipment failure you can describe (while recording this song) from a brief power outage, to PC crashes, requiring multiple restarts, cables that would pass a signal one minute and then not the next, and a broken snare spring!!!!

While tracking the vocals, I forgot some of the lyrics (momentarily) and had to to kinda "cram" the vocals into the song to make everything fit on the fly without stopping.

I played the entire recording on my 1959 Slash Les Paul Fake (Chibson) that I got from @eSGEe (bridge pickup is an Epiphone H8BN) through my Blackstar ID-Core 100 watt, direct out into the console. I played the bass tracks on my $60.00 Ibanez Bass through a Behringer Bass V-AMP PRO Rack Modeling Preamp, also direct out into the console.

At 2:02, you will hear me switch from neck to bridge pickup during the main solo.

Ok, as with the drums, those are the responsibility of my producer/engineer friend and colleague with whom I am eternally indebted. Here's the rundown on the setup and recording of the drum tracks:

the basic kit is a highly customized 1970 Ludwig Bronze Strata with Zildjian and Paiste cymbals, DW skins and a custom double bas pedal system.

Microphone placement and details:

kick in: dynamic for punch
kick alt: “scooped” sounding dynamic for slap
kick out: tube LDC for boom

snare top: dynamic for punch
snare alt: SDC for air and body
snare bottom: dynamic for rattle

hi hats: SDC

toms 1, 2: dynamic for punch

overheads: stereo ribbon mic designed to hear both the cymbals and kit (panned “drummer’s perspective” — hi hat on the left, ride cymbal on the right)
rooms close: spaced pair of boundary mics on the far wall of the main tracking room (panned “drummer’s perspective”)
rooms far: pair of boundary mics in the hallway/echo chamber adjacent to the main tracking room

custom subwoofer mic angled in toward the snare and kick from about 4 feet from the front hi hat side of the kit and about 1 foot off the ground. Gets a great “lofi” or “loopy” sound
kick and snare mics through an 1176 set to compress heavily to add urgency and body to the kit

So, here it is...

https://soundcloud.com/id%3Drobert-h-herndon%252Fthrill-is-gone-april-11-2021-bb-king-cover%3Btrack_id%3D1027360840
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Finally got a chance to listen! Awesome job, it did indeed stay true to BB. Glad the guys let you do it in studio like that! I suspect when I noodle over this I won't, it'll likely be the over the top rendition true to myself....
 
Jethro Rocker said:
Finally got a chance to listen! Awesome job, it did indeed stay true to BB. Glad the guys let you do it in studio like that! I suspect when I noodle over this I won't, it'll likely be the over the top rendition true to myself....
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We spend our days recording, so we squeeze in these side projects at the end of the day. Sometimes, we rush things because we wanna go home.... :-)
 
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