11/5/2022 0 Comments Stevie ray vaughan guitar rig#Stevie ray vaughan guitar rig tv#Our latest installment of the gear blog features Bob Mould and is written, as always, by our front of house engineer Kevin Cochran.Īt the risk of sounding selfserving, it’s been a red letter year for the Austin City Limits TV program. Joey plays a 1951 Gibson J-45, pictured below. Though they may look ancient, Ear Trumpet Lab mics are quite contemporary, extremely versatile, and very affordable. Pictured are the Edwina models for vocals and the Ednas placed lower for the guitars. That’s quite an accomplishment of technique that is rarely seen these days. Though one microphone makes life simpler (or probably more complicated) for the sound guys, it necessitates a more dynamic approach to performing for Kenneth and Joey, meaning they have to physically move toward and away from the microphone as their musical parts dictate. For the recorded show, “the less is more” approach was decided and a single microphone was used. Below you’ll see a couple of pictures of a far more complicated set-up than what was used at the actual taping. For the taping, MCK brought their own preferred setup of Ear Trumpet Lab microphones. Jarosz and company avail themselves of a more modern technology to amplify their acoustic instruments, Ryan and Pattengale go the old-fashioned route and use microphones exclusively to project the sound of their voices and instruments. Hailing from Eagle Rock, California, Kenneth Pattengale and Joey Ryan formed, The Milk Carton Kids in 2011 – after years of paying dues as solo artists, they were hailed as an overnight sensations as a duo. The esoteric instrument to the right is an octave mandolin crafted by Fletcher Brock of Seattle, Washington.Īll instruments on stage run to their own pickups into their own dedicated Radial Tonebone PZ-Pres and then into the PA. Sarah also brought what looks like a custom built “Burning Sun” banjo built by Blanco, Texas piano restorer Bernard Mollberg. Fortuitously, Sarah and the Collings factory both hail from Wimberly, Texas. Sarah brought a Collings D1 dreadnought acoustic guitar and MF5 mandolin. Nathaniel Smith (cello) and Alex Hargreaves (mandolin and fiddle) also mark their return with Sarah. This is Sarah’s second appearance on ACL – she made her first ACL appearance in Season 36 with Steve Martin. Sarah released her first album at 17, then headed Boston to study composition at The New England Conservatory and found time to record and tour during her studies. Even by then she was already a fixture of the Central Texas bluegrass and folk scene. Many Austinites recall being introduced to a barely teenage Sarah in a segment on the local children’s show The Biscuit Brothers. Sarah Jarosz is no stranger to the viewers of PBS affiliate KLRU (home of Austin City Limits). In the meantime, our longtime audio support guy and intrepid gear reporter gives us a new installment in our Gear Blog series, featuring the equipment onstage with these solely acoustic acts. His ominous groans between phrases underscore the passion and excitement he felt during every performance, especially when he was able to experience his surroundings as a clean and sober guitar god.We hope everybody enjoyed this weekend’s episode featuring Sarah Jarosz and The Milk Carton Kids. Vaughan’s (and the rest of the band’s) coke-induced distractions were snuffed out, and his portal-that magical gateway that connected the guitarist to his unique source of inspiration, divine or otherwise-was wide open.Ī perfect example is this live 1989 version of Buddy Guy’s “Leave My Girl Alone,” recorded on the Austin City Limits TV show.Įric Clapton has mentioned how Jeff Beck “pulls” notes from his guitar in this case, Vaughan is clearly “pushing” the notes out of his Strat, all in relentless, lightning-fast bursts that make you wonder what you’ve been doing with your life. One of the most frustrating things about Vaughan’s tragic death in August 1990 was the fact that, in the last two years of his life, his playing had somehow improved. ( Austin City Limits, 1989 released on The Real Deal: Greatest Hits 2, 1999) These recordings represent numbers 5, 11 and 12 on our Top 30 list. Today we focus on three performances from Vaughan's October 1989 performance on Austin City Limits. We also considered his DVDs and videos available on YouTube-pretty much everything and anything he recorded with a Fender Strat, a guitar that, as reported elsewhere in this issue, also happens to be celebrating its 60th anniversary this year. In terms of material, we’ve considered everything, including his official studio work and numerous posthumous studio and live releases-basically everything that will be included on Legacy Recordings’ new 13-disc box set, Stevie Ray Vaughan and Double Trouble: The Complete Epic Album Collection, which was released in October, the anniversary of Vaughan’s birth.
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