SRV Guitar In Museum 2014

I just really need to try one with both setups, ( FRFR and power amp and cab) at any volume since there’s no amp to “push” to get the sound you want.Fender SRV 1992 “Brazilian”, Fender American Strat modded.

Stevie Ray Vaughan Texas Flood co-produced with his acolytes Double Trouble – bassist Tommy Shannon and drummer Chris Layton – and Richard Mullen, who also engineered.In the early 1990s, I asked Richard about Texas Flood sessions. “98% of all recordings were made directly Stevie live , he replied.” Stevie was relatively fearless in the studio. He was a true artist in the sense that he does not think too much about technical things. Once there and started playing, it was just wrapped in music. You can see that when he played the SRV Guitar In Museum live, and it was no different in the studio.

If he was in it, you would have seen him do his little dance in the studio, as he played to 10,000 people. There were hardly any overdubs at all. About the only overdubs were voices and occasional rhythm of a head, but the guitar parts on the basis of studio albums were all done live. And they were almost always judged on the performance of Stevie. If someone in the group made a Bonk but Stevie played very well, we would say: Well, ay is. Let’s just say go with a. “My first recording with Stevie, Texas Flood, took us two hours to record. That’s all we have on this issue.

He was basically playing his live twice straight. We got in the studio, we have put in place, and I said, Just play like a concert. “They went through about 12 songs, took a break, and half an hour later all again. We chose essentially the best of both cuts, which was the first record. “The sessions were held at rehearsal Jackson Browne in Los Angeles. Browne and Vaughan had met in Ao T 1982, when they both played the Montreux Jazz Festival. For Browne, the moment of revelation came when he joined Stevie Ray Vaughan and Double Trouble in a session after hours jam in the Casino bar. “Stevie Ray was just blowing the roof of this small, smoky, after-hours club,” recalls Browne in the liner notes Texas Flood. 

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