Went to see Martin Simpson the other night....

Lewy · June 2017

I'm a recent convert - after the thread on here about his uber-pricey unobtanium slide I did a bit more listening and found that the things I'd heard in the past and used to form the opinion that I didn't really dig him weren't really a good representation. He's flipping brilliant.

From what I could tell, he used 3 tunings - Csus4add9, Csus2 and Gsus4/4. I recognised the songs that I knew he uses those tunings for, rather than being able to detect what tuning he was using by ear, I should add!

Gear-wise, very straightforward - a guitar (PRS Angelus sig model) and a banjo (gorgeous Romero open back), each plugged into it's own D-Tar preamp. Both plugged-in sounds were really good. The banjo was sound was stunning in fact.

There was a slightest hint of piezo about the PRS plugged in sound - I think he uses a Highlander, or it might be the proprietary PRS system, not sure. Anyway for his style it worked and the piezo quack didn't make me wish I was somewhere else and that's the first time that's ever happened!

And now I'm gassing for a PRS and it's DEFINITELY the first time that's ever happened...

BigLicks67 · June 2017

I love his version of Duncan & Brady, which I think is in open G. Do you think the PRS sounds better than his old Sobell?

Lewy · June 2017

YeahBigLicks67 said:

I love his version of Duncan & Brady, which I think is in open G. Do you think the PRS sounds better than his old Sobell?

I love that tune too.

Hard to say about the comparison, I haven't heard the Sobell in person. But based on videos and his live album, I'd say I prefer the sound of the PRS.

AuldReekie · June 2017

I've seen both Martin simpson and Tony McManus at house concerts playing their signature PRS models and whilst been impressed by their incredible musicianship, not been remotley impressed by their guitars in relation to other models that I have seen both of them play.
For the price of theses signature models, you could have a luthier build a superb instrument to your own spec, shop around.
I'm sure part of their endorsement deal with PRS is that live at least, they have to play them exclusively, but both guitars sound very ordinary to me and to a few other guitarists I have spoken with

AliGorie · June 2017

£5k ‘will get ya a hand made individual luthier who designed the line, (not production factory built), and for a bit more, tone woods, voiced and styled to your preference.
One guy, a ‘collector’ on a big forum who purports to be friendly with one of their ‘Artists’ went this way and not buy the 'big name brand' interestingly story here -
http://www.acousticguitarforum.com/forums/showthread.php?t=264906

£5k Fischers -
http://www.theacousticmusicco.co.uk/index.php/guitar-luithers/fischer-guitars-.html

Coincidently my link on the Bourgeois JOM thread outlines a previous failed attempt of Mr Smith to launch an acoustic line in the ’90’s, bottom of this page.
http://www.gansz.org/David/Guitars/Schoenberg/1990.htm

I love all the spin they come up with then theres the backstory which reveals salesmen / demonstrators selling a product, all well 'n good, a guy's gotta earn a buck - but thats all it is - it's NOT art.

On the point of how other players guitars sound, I don’t care. I have listened to and appreciated the magic of Robert Johnston and many others on poor recordings, e.g. Johnny Doran on Irish Pipes recorded straight onto acetate discs in the 1940’s - snap crackle pop ’n all, but wonderful music, it’s the music I listen to.
The I listen to MS et al recorded or live I can’t help but think I’m hearing a note for not ’Tutorial’ from a DVD and I should have the ‘Tab’ and try and imitate whats being played. Then I feel inadequate cause I can’t play other peoples music or style, I can only write and play my own way.
I want to hear innovative and inspiring musical ideas and playing, not guitar teachers playing pretty safe arrangements of (mostly) other peoples musical ideas (compositions).
Send ‘em to an improv camp workshop weekend.

Lewy · June 2017

AliGorie said:

The I listen to MS et al recorded or live I can’t help but think I’m hearing a note for not ’Tutorial’ from a DVD and I should have the ‘Tab’ and try and imitate whats being played. Then I feel inadequate cause I can’t play other peoples music or style, I can only write and play my own way.
I want to hear innovative and inspiring musical ideas and playing, not guitar teachers playing pretty safe arrangements of (mostly) other peoples musical ideas (compositions).

I feel that way about players in other styles I'm more familiar with - particularly Stephan Grossman & Happy Traum (fingerstyle/blues) and Steve Kaufman (flatpicking/bluegrass). It seems that finding a bread & butter career as an educator in the Homespun Tapes era doesn't necessarily feed well into the artistry of the player when they are not educating. It's as if as they are writing, they are more conscious of how they will teach the tune on their next tutorial rather that how they will perform it to move people. Can't really comment on MS as I've only recently got into him...although one thing I have observed from looking at a lot of videos is that he pretty much plays things the same way every time (he does play around way more with his vocal delivery though).

One exception is Bryan Sutton. He's far and away the best guitar educator I've ever seen and is also top of the pile creatively too. But then this is someone who could have been world class at any of the many instruments he plays but just chose to gravitate to guitar - so music comes first, then the instrument.

In terms of the PRS GAS, I don't think it's one I'd ever act on. I've got excellent examples of a Dread, an OM and a J45, and have experimented extensively with string and pick combinations to understand the variations achievable with each instrument. . If I'm not getting the sounds I want, it's down to me, not the guitars!

AliGorie · June 2017

thanks Lewy for the reassurance that some of whats on offer is from particular players is contrived.
I am not alone ! weyhey.

TimmyO · June 2017

Back up the bus a minute - I just looked at the unobtanium slide and saw what it costs - quickly brought out my Yorkshire upbringing! Although knowing a bit about materials from my uni days I can well understand why small production/one-off of something made out of that is expensive.

I am similarly guilty of not having really listened to MS - had a bit of a listen - think I prefer his British and Irish folk to his Americana

Any recommended listening?

Lewy · June 2017

TimmyO said:

Back up the bus a minute - I just looked at the unobtanium slide and saw what it costs - quickly brought out my Yorkshire upbringing! Although knowing a bit about materials from my uni days I can well understand why small production/one-off of something made out of that is expensive.

I am similarly guilty of not having really listened to MS - had a bit of a listen - think I prefer his British and Irish folk to his Americana

Any recommended listening?

"Vagrant Stanzas" is the relatively recent album that got my attention. He goes through his tunings from that album on this vid which also gives a good sample of the material (and showcases his slide approach):

As for his slide, it starts to make a bit more sense when you look at how he plays. He just plays on his normal guitar, regular action, but in a very precise and clean way, no flailing bloozy bullshit, and so he really needs the mass to get the singing sustain.

I got one of the less expensive Wolfram models (the Martin Simpson Raven...still £80) which is tungsten coated and it really is smooth sounding (and the internal taper is very good...worth the price alone).

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Went to see Martin Simpson the other night....

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