There will be those who thought that getting their hands on the H&C unit would probably mark the end of the road just as those who bought the TVS3 years ago thought similarly, despite the warnings of the TVS3 team that obtaining the correct echoes was just part of the quest to try and reproduce the Shadows recorded sound.
Having obtained access to the correct echoes the enthusiasts mind simply shifts to the next stage of the quest..and this opens up a load of other questions depending upon which Shadows tune you happen to be working on. The problem is each tune has its own sound. Between 1960 (Apache) and 1964 (Genie With the LBL) there are huge differences. The variables appear to be endless and unless you have an enormous amount of free time and dedication (a few may have this) then it is probably better to settle for something less demanding, as many will.
I guess I'm warning against obsession.
I was prompted to write this after reading the recent Apache thread bringing up questions of dead strings,differences between one dead string and another not so dead string which in turn may differ from a new-born string....pick thickness...pointy bits etc. etc.
It seems like madness when you consider that Hank probably did all his work without much thought to the kind of things which his fans are now considering in trying to emulate his sound (which he himself left behind decades ago).
Well as long as fans are having fun as opposed to fanatics being endlessly frustrated.
The way I see is that some folks have a genuine interest in getting as close as possible to the original recordings,some folk dont really care,and some folk dont even play, either way its all friendly banter. regards gary
I am probably just as OCD about fiddling and tweaking every little nuance and parameter that effects the sound. But, for me, my perspective and goal is not to get as close as possible to reproducing the original sound, but rather to achieve the best sound that I can to my ears. I am more concerned about what sounds the best to me, rather than what sounds the closest to the original recording. Sometimes they can be pretty close, but also sometimes they can be quite different.
....can we have a list of such things as I've probably missed out here. I mean are there many playing errors from the Shads catalogue which have been identified by those with 'bat ears'?
There are quite a few missed notes, slips, buzzes, etc and these are well documented for example, a string buzz in Bossa Roo, the last note of the end chord in Sleepwalk didn't sound because of a finger mute and a flat note in Back Home, just to mention three that come straight to mind, these are not bad things as anoraks love this sort of thing, it goes to show that Hank is human, they all sound good when he does it
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There will be those who thought that getting their hands on the H&C unit would probably mark the end of the road just as those who bought the TVS3 years ago thought similarly, despite the warnings of the TVS3 team that obtaining the correct echoes was just part of the quest to try and reproduce the Shadows recorded sound.............
Hi Jay, Yes, I agree completely. The design brief of the H&C echo unit was to get as close as possible to the sound of the original tape/drum echo machines of the 60's & 70's - NOT necessarily the sound of any one player in particular. Hopefully we got close to that goal. Ok, some of the Meazzi Preset patches are named after Shadow's recordings, so I guess it does lean that way a bit, but for me personally, I also really like what it can do for other guitar playing styles. I am a big fan of Surf music, and there are some patches on there for the Klemt NG51 - an echo unit used by The Atlantics (Australian 60's instrumental band) which work extremely well for the sound of "Bombora" for example. I also think the sound that David Gilmore gets in some his solos (eg, Comfortably numb) is sublime (David himself lists Hank Marvin as one of his own influences). The Binson patches, used perhaps with an overdrive pedal, should work well here. Guitars, amps, effects units should all be looked at as creative tools, in my opinion - like a painting, the "artist" uses his own technique, and these tools, to create his own masterpiece.
I believe the "tool" we have created with the H&C Signature Echo does lend itself to a wide range of guitar styles, as mentioned - and I also hope it helps those wishing to recreate their Shadows sound, to get closer than before.
If so, then Charlie and I will have achieved what we set out do.
Thanks for your input John.....also a fan of surf guitar sounds/spy guitar/spaghetti western stuff etc.
I assumed the new unit would be snapped up by Shads fans but am now wondering if it will also be bought by a lot of others who are not necessarily Shads fans but who are simply interested in the generic early twang sound in which case your marketing will no doubt be directed to them also. I've no idea how the Meazzi units were marketed but they could not have been so marketed with an unknown British backing band (who had yet to make a name for themselves) in mind.