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05-27-2021, 03:16 PM #276Dutchbopper GuestYeah, the Polytone brings out the Tal’s thunk in spades! I always thought thunk was guitar related only, but I am beginning to think the amp is a contributing factor too in the thunk chain, just like the way of picking.
Originally Posted by skykomishone
DB
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05-27-2021 03:16 PM
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Ooh!! That sounds so good! Thanks for sharing!
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Such fantastic playing and beautiful tone! Enjoyed this so much.
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Listened to this again. This is how I want to play when I grow up!
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Super rendition. Which polytone is it please? I have the IV with just the 3 knobs, 3 way switch and 15" spkr. No distortion or reverb. Thanks
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Nice work db.
FWIW Tal always swapped out the TOM bridge for wood (he didn’t care ebony vs rosewood).
Have you tried that?
jk
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Soo fine - thanks! I agree completely that picking style and approach are key determinants of tone. But I suspect that fretting/fingering style and approach also affect this. I notice that you appear to lift your fretting fingers a bit further off the board between notes than I do, which lets you fret each one with a bit more force that’s perhaps also a bit more rapidly applied in comparison to those like me who fret more lightly and keep our fingers closer to the strings. I’ve always tried to minimize hand and finger motion on the strings, but I’ve clearly limited my tonal spectrum by doing so. Originally Posted by Dutchbopper
The combination of quicker, firmer fretting with perfectly timed picking is part of the sound. I just tried it and it’s definitely thunky. Until watching you play in this video, I never woulda thunk it
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Originally Posted by Chrome Dome
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A perfect combination of player, instrument, amplification, picking technique, and material making for a very satisfying evocation of Bop sensibility. Kudos!
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07-13-2021, 01:56 PM #285Dutchbopper GuestIt's the Polytone Mini Brute IV with reverb and 15"speaker. I count 9 knobs and a 3 way switch. Thanks! Originally Posted by garybaldy
DB
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07-13-2021, 01:57 PM #286Dutchbopper GuestCome on over and we'll work on that! Originally Posted by lawson-stone
DB
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07-13-2021, 01:59 PM #287Dutchbopper GuestNo. Never tried a wooden bridge on my Tal. Thanks. Originally Posted by jazzkritter
Nice work db.
FWIW Tal always swapped out the TOM bridge for wood (he didn’t care ebony vs rosewood).
Have you tried that?
jk
DB
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07-13-2021, 02:01 PM #288Dutchbopper GuestInteresting observations. You are probably right about the fretting/fingering style. There must be a number of variables in the Thunk equasion and you have uncovered a few new ones! Originally Posted by nevershouldhavesoldit
Soo fine - thanks! I agree completely that picking style and approach are key determinants of tone. But I suspect that fretting/fingering style and approach also affect this. I notice that you appear to lift your fretting fingers a bit further off the board between notes than I do, which lets you fret each one with a bit more force that’s perhaps also a bit more rapidly applied in comparison to those like me who fret more lightly and keep our fingers closer to the strings. I’ve always tried to minimize hand and finger motion on the strings, but I’ve clearly limited my tonal spectrum by doing so.
The combination of quicker, firmer fretting with perfectly timed picking is part of the sound. I just tried it and it’s definitely thunky. Until watching you play in this video, I never woulda thunk it
DB
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07-13-2021, 02:01 PM #289Dutchbopper GuestSuch eloquence. Thanks! Originally Posted by citizenk74
A perfect combination of player, instrument, amplification, picking technique, and material making for a very satisfying evocation of Bop sensibility. Kudos!
DB
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That could happen. Sometime in the next year or so I need to make a trip to the UK to visit a few archaeological collections and many times I've returned via Amsterdam, and could probably arrange an overnight stop. That could be fun! Originally Posted by Dutchbopper
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DB get a wooden bridge and rerecord ... would be a cool experiment).
Thinking about Tal variables unlike us mortals Tal had large, no they were massive hands. So above the sixth/seventh fret his finger came very close to the size of the fret. Above that definitely filled a fret. I have a lesson picture somewhere i gotta look that up. Never thought about its effect on thunk before. Always amazed me the size gave the ability to stretch and get tones in chords mortals couldnt. But it was a little harder for him close stacking notes in chord melody. Fun days they were.
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07-14-2021, 11:26 AM #292Dutchbopper GuestAgreed. Would be cool to try out. Is there a wooden bridge that allows for decent intonation these days? Originally Posted by jazzkritter
DB
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I love the sound of a wood bridge but cannot tolerate imperfect intonation. Playing with a piano just doesn’t work unless your intonation is spot on.
I am kind of anal too moving the base all around on the top seeing former footprints on the top.
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Tal really didn’t fuss much about the bridge or intonation, always rosewood with the standard intonation set up. I never saw a TOM in the studio/living room. Sometimes before a lesson after tuning up he would give it a yank fore or aft. All by ear, no stroboscopic tuners))).
By the mid 80’s when I showed up, bridge marks were the least of the finish damage on old Prototype #2.
Thinking back, seeing him do that was out of the ordinary, thus I can recall that clearly. I recall when the first ‘modern’ prototypes came in they were wood equipped from the carton. (The sort of ES350 but not the TF we know and love.). I never had the chance to see the new guitars, sadly career was in the way of everything by 96.
Theres a Wes Montgomery interview in a book where Wes really takes Tal to task for being “sloppy”. Tal (and db) play so fast it may not matter)))
jk
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DB! One of my all time favorite players of this forum. You’ve got a rhythmic sense and player’s groove that’s feel good infectious! Keep ‘em coming!
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07-14-2021, 04:33 PM #296Dutchbopper GuestGlad you dig my stuff 2B. Very good to hear why too! Thanks. Originally Posted by 2bornot2bop
DB
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…and the piano’s in perfect tune, a less common event than would be ideal Originally Posted by vinnyv1k
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Tal Bump
God these are fabulous guitars- had one back in the day, had to sell it to pay some bills, then Gibson go and stop making them.
Found a second hand one at last.
Just as good as my 2012 one thunk goodness.
There is just something about these Tal’s that Gibson did so right and which produces such a lovely sound.
I think the magic is slightly thinner (than original 350) depth + laminate construction, giving it its own, really hip thing going on in terms of sound.
Very happy to be reunited again
Last edited by Ob Com; 04-13-2024 at 05:56 AM. Reason: Mispelled word “thank”
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Here's a ' back in the day'...photo of an LP by a Wausau Wisconsin area orchestra......
Check out the guitarist and his guitar. ( Mid-'60's vintage ?? )
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