I'm starting to get close to the sound and tone I like best for records in addition to learning all of the new information that technology has engendered to recording sessions since I left 15 years ago. It's a wonderful and exciting experience, having the opportunity to cut records again....only with a new group of remarkably talented musicians who, largely, were not yet on the scene when I exited. They have been more than generous with their warm welcoming. I hope I can again add to the sound of records with my ideas.

Other exciting and quite interesting things are happening that I'll relate later. I'm reticent to reveal too much at the moment.

Regards,

Lloyd Green

Reggie Duncan 1979 Rosewood Emmons!

[This message was edited by Reggie Duncan on 13 January 2003 at 08:32 PM.]

Speaking of technology, I often wondered what it would have been like to hear recordings of greats like Hank Williams, Bob Wills, Lefty and others with current technologies, or for that matter, pedals. (I know Lefty has some later recordings with PSG.)

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HagFan

Thanks for passing this along. I have been considering trying a Twin or a Hot Rod Deluxe for some time now and info like this does help.

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I think that Lloyd's tone on the Charlie Pride live album from Panther Hall recorded in the 1970's epitomised his touch and tone.

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An interesting point is he was playing a D-10 at Panther Hall.

The following quote is from Lloyd's "Cool Steel Man" Album liner notes.

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"I was playing my new double-neck 10 string Sho-Bud steel, the one with a sunburst color and a lightning bolt-like diagonal im­perfection in the center of the birds-eye maple wooden cabinet that effected a most beautiful and startling look.

This incidentally was the very finest of the fine Sho-buds I played during my twenty five year recording career, and was the guitar I used on the "Live At Panther Hall" album with Charley Pride.
" -LG

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I was merely giving my impressions at the presentation, not trying to sell the amps. If I didn't think they were a superb amp, they couldn't have paid me enough money to endorse it. In fact, I receive no money to endorse any amplifier or steel guitar. Mike Brown, who works for Peavey, certainly had a vested interest in selling them though. That's part of his job requirement, I imagine.

My personal response to Reggie Duncan was meant to be strictly about what I am using on recording sessions. As the St. Louis event occurred I was just getting my feet wet again in the studios and liked the sound I got with the Fender on the Alan Jackson Christmas album, "Let It Be Christmas", which had some significant steel solos that got replaced by strings, horns and choral groups except for one, "Santa Claus Is Coming To Town".

So Peter, I hope this has somewhat clarified my position. Peavey has been good to me over the years and I would still say that the 1000 is, in my opinion, the best state of the art amp currently on the market for 'live' playing. For studio, my previous statement stands.

But, in the final analysis, you should buy only what sounds good to your ears, using your own judgement, not mine nor anyone elses. It's your money and you are the one who has to listen to what your bucks have purchased."

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... steel solos that got replaced by strings, horns and choral groups except for one, "Santa Claus Is Coming To Town".

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We especially don't need this in ALAN JACKSON records of all places. I think Honky Tonk Christmas had better mix -- full bore steel on every cut-- even though it lacked the Christmas traditions. I expect when the next non-seasonal AJ album comes out we'll get what we're really after. If not, I'll be testing Best Buy's return policy on CD's.

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HagFan

[This message was edited by Ron Page on 15 January 2003 at 02:42 PM.]