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SurfGuitar101 Forums » Surf Musician »

Permalink Wicked Gomez

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Tonight I installed a push/pull pot on the Glassy channel's bass circuit of my Surfer which switches between the stock mids resistor and a smaller one. Stock spec is 6.8K, the one on there measures 8.5K, and the new one is a 3.3K. It does achieve a modest but noticeable scoop, which is what I was after.

In testing the fruits of my labor, I ended up recording a little tribute to two creative fellows with whom many of us are familiar. Dario, if you read this, thanks for putting this awesome amp out into the world!

Beautiful tribute, thank you for sharing that!

Great tone on all the parts (to my ear anyhow) and I love the prominence of the tremolo parts (presumably that is the Surfer’s tremolo). Nicely done!

And a BIG +1 of gratitude for Dario’s blood, sweat and tears that gave us the option to enjoy ‘a brand new 60’s Brownface/Blonde Showman’. For all the custom and boutique amp builders out there, I am not aware that anyone else tackled that circuit and made it available to anyone who wanted one. A true labor of love that I too am thankful for!

Fady

El Mirage @ ReverbNation

That sounded really beautiful and Tarantino-ish. I think you're on to something with that baritone and the wild channel. Jimmy loved the Bari.

I'm really grateful for the kind words of both of you. I've been sobbing off and on since I found out. I thought everything was on the mend with him in the last few years - since I last saw him in 2014.

It is hard knowing I can't drive up to Eagle Rock, or text him anymore and get his wisdom and insight on the latest software patches or emulators. I honestly can't listen to anything he has played right now, bc the hurt and loss is all too-consuming.

Jimmy's comprehensive knowledge of anything and everything musical was unmatched and I always considered him the encyclopedia of music. He knew so much. I'll miss his brain.

The whole amp biz and the Surfer would not have happened, if I hadn't had the opportunity to rebuild his Twin Reverb years ago. I did it without expecting anything and just hoped I could create a solid amp for him to create and play through. I loved his playing and that was my angle- build him a good amp and maybe he'll write and perform more. :o) Sort of worked - I hope. Honestly though, Jimmy called the shots and did things on his own time.

I'm grateful he wrote El Dorado and left us with a beautiful record. I can only imagine all the other things we would have heard had he not left us so soon. Clapton was beyond angry when Hendrix died, bc he knew Hendrix had so much more in him to share with the world. I feel much sadness and loss knowing my friend is gone, yet I am happy he spent his last days working on tunes and being surrounded with people that loved him.

I owe Jimmy for inspiring Gomez Amps to manifest. When you all play through Gomez gear, just remember Jimmy was key in that product getting built. I'm forever grateful for the opportunity.

Dario

Last edited: Jan 05, 2019 16:41:01

What were you using for reverb, if I might ask?

Dario, you made a difference and gave the music community a real gift.

The artist formerly known as: Synchro

When Surf Guitar is outlawed only outlaws will play Surf Guitar.
My Guitar WebSite
Dead Thread

Dario, I had no idea there was even a connection between you two. I'm sorry to hear it affects you on a personal level. Thanks for sharing that, though, and for the nice words about the man. And thanks for the nice words about my recording, too! I'm glad you like the baritone. Now that I have it done (it was a stalled out project for a long time) I don't know how anyone lives without one.

Synchro, I was using a Subdecay Spring Theory pedal for the reverb. I think I used the spring setting for the two tremolo tracks and the room setting for the bendy lead stuff.

Fady, thanks for the kind words. Don't tell anyone but that lead tone was achieved with a Les Paul. Maybe fightin' words around these parts. Although the baritone stuff is a P90 coupled with a G&L ASAT neck MFD.

Redfeather wrote:

Dario, I had no idea there was even a connection between you two. I'm sorry to hear it affects you on a personal level. Thanks for sharing that, though, and for the nice words about the man. And thanks for the nice words about my recording, too! I'm glad you like the baritone. Now that I have it done (it was a stalled out project for a long time) I don't know how anyone lives without one.

Synchro, I was using a Subdecay Spring Theory pedal for the reverb. I think I used the spring setting for the two tremolo tracks and the room setting for the bendy lead stuff.

Fady, thanks for the kind words. Don't tell anyone but that lead tone was achieved with a Les Paul. Maybe fightin' words around these parts. Although the baritone stuff is a P90 coupled with a G&L ASAT neck MFD.

Likewise, Dario. I didn’t know Mr. Wilsey personally, but I certainly think we lost a special player. Hearing that he was part of the alchemy which came together to form that Camelot moment which was Gomez Amps is very interesting indeed.

That Spring Theory sounds great. I have done some serious experiments with various styles of reverb, now that they are available to me via compact pedals. I find Plate to my liking, likewise some of the ambient reverbs (Hall, Room, Cathedral) can be quite useful. Nothing is quite like a physical pan being driven by a tank, but that’s far from the only desirable sound.

The fact that plate reverb can now be accomplished without the need for a large, heavy and expensive plate unit in a commercial studio is, in and of itself, an innovation. The odds of my ever recording at Abby Road are on the order of One Googolplex to One, against, but I have a pretty dandy emulation of Abbey Road’s plates in my Stanley Blue Nebula and it will drip if you push it hard enough. I’ve experimented with it for Surf and find it to my liking. It’s not my only Surf sound, by any means, but it is a great option to have. Robben Ford created an over the top plate TonePrint for the TC Hall of Fame which was for Surf levels of ‘verb without the spring sound.

But the Les Paul is unforgivable, here on hallowed ground. Smile Just kidding, mate. It sounds great. There was a local Instrumental Rock band that did both Surf & pre-Surf instrumentals. The lead player sounded great with an ES-335 through a DRRI. No pedals, nothing but a 335, a cable and an amp. Myself, I’m a Gretsch man all the way.

The artist formerly known as: Synchro

When Surf Guitar is outlawed only outlaws will play Surf Guitar.
My Guitar WebSite
Dead Thread

Last edited: Jan 06, 2019 14:49:57

Sincerely not posting this to rub anyone the wrong way. Not my intention whatsoever.

I had always wondered if by some chance he was referring to you, Dario, in this clip. Now we know!

I also share it in support of your non-standard gear choice, Redfeather. While we hate to admit it, the truth is we listen with our eyes, a lot. No shame in what you don't see, especially when the result sounds so good.

Keep up the inspired work!

Fady

El Mirage @ ReverbNation

That was an interesting interview. Obviously, he held Dario in high esteem. I found his recording rig interesting. I’ve been thinking of re-amping for some time. Maybe I’ll give rhar Little Labs unit a try.

The artist formerly known as: Synchro

When Surf Guitar is outlawed only outlaws will play Surf Guitar.
My Guitar WebSite
Dead Thread

Lol, yes that was me. I rebuilt his Twin Reverb and serviced his Princeton Reverb. I don't know how much was piped into either (in the set-up he described in the video) with regard to recording.

One thing about Jimmy, he was focused like a laser on the quality of the sound. He wasn't focused on the cost of things so much. He just seemed to have that 'does it sound great, or not?' attitude. Having to do everything on that album, he wanted to make a superior sonic product. He was seemingly never averse to using digital, analog or a combo of them to get a particularly, GREAT sound. He never compromised on the product.

When I came over to visit and play guitar with him, he would show me the latest patch or software he had acquired and show me the differences engaged and off. I was studious and listened, but inside I was honestly, always beside myself going, "the tone and notes here are heavenly." Like a magician showing you one trick after the next, you're sitting there going "how did he do THAT?...where did he get the idea to use THAT note?"

THAT FEELING of awe on a musical level, I never felt before nor probably ever will. I started playing guitar bc I wanted to hear those Isaak songs whenever I wanted. Jimmy's tone was the hook. If it wasn't for his guitar playing and tone I might not have been such an Isaak fan.

The closest I can get to explaining that sense of awe, is when Isaak described the feeling he had when he went to visit Roy Orbison at his house and played with him. You can't helped but be moved.

Last edited: Jan 07, 2019 12:15:34

D22 wrote:

Lol, yes that was me. I rebuilt his Twin Reverb and serviced his Princeton Reverb. I don't know how much was piped into either (in the set-up he described in the video) with regard to recording.

One thing about Jimmy, he was focused like a laser on the quality of the sound. He wasn't focused on the cost of things so much. He just seemed to have that 'does it sound great, or not?' attitude. Having to do everything on that album, he wanted to make a superior sonic product. He was seemingly never averse to using digital, analog or a combo of them to get a particularly, GREAT sound. He never compromised on the product.

When I came over to visit and play guitar with him, he would show me the latest patch or software he had acquired and show me the differences engaged and off. I was studious and listened, but inside I was honestly, always beside myself going, "the tone and notes here are heavenly." Like a magician showing you one trick after the next, you're sitting there going "how did he do THAT?...where did he get the idea to use THAT note?"

THAT FEELING of awe on a musical level, I never felt before nor probably ever will. I started playing guitar bc I wanted to hear those Isaak songs whenever I wanted. Jimmy's tone was the hook. If it wasn't for his guitar playing and tone I might not have been such an Isaak fan.

The closest I can get to explaining that sense of awe, is when Isaak described the feeling he had when he went to visit Roy Orbison at his house and played with him. You can't helped but be moved.

Did he use the Princeton on any of his, or Chris Isaak’s recordings? I have what is, essentially, a Brownface Princeton right now and love it.

Nice clip!

The artist formerly known as: Synchro

When Surf Guitar is outlawed only outlaws will play Surf Guitar.
My Guitar WebSite
Dead Thread

Last edited: Jan 07, 2019 21:03:08

synchro wrote:

Did he use the Princeton on any of his, or Chris Isaak’s recordings? I have what is, essentially, a Brownface Princeton right now and love it.

I have no clue. He took that info with him. Sorry.

D22 wrote:

synchro wrote:

Did he use the Princeton on any of his, or Chris Isaak’s recordings? I have what is, essentially, a Brownface Princeton right now and love it.

I have no clue. He took that info with him. Sorry.

It would be interesting to know. While we all know and love the sound of a big amp doing some heavy lifting, a small amp can sound massive if properly mic’d.

The artist formerly known as: Synchro

When Surf Guitar is outlawed only outlaws will play Surf Guitar.
My Guitar WebSite
Dead Thread

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