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Sonic Architect

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Posts posted by Sonic Architect

  1. Jason's snare was a Ludwig Supraphonic (402) chrome over aluminum (called "Luddaloy" back in the day). It's 6.5"x14", and with ten lugs. It's the exact same model that his daddy used and is still being made exactly like it was in the early 70's.

    Thanks for the info. I'm fussy on snares, thought JBs was sounding pretty good

  2. Most of that info is readily available w/ a little searching ;)

    JBs kit:

    Ludwig Yellow Vistalite

    26"x14" Kick Drum

    14"x10" Mounted Tom

    16"x16" Floor Tom

    18"x16" Floor Tom

    36" Timpani

    Snare ???

    Zildjian Cymbals

    14" High Hats

    16" Crash

    18" Crash

    24" Ride

    42" Gong


    Andy Manson custom

    Fender Precision (year??)

    SWR SM-900 amp

    cabs ?? (used to use SWR Goliath/Big Ben)

    Korg Oasys

    Novation ?? synth

    no idea what bass pedals he was using

  3. This is all I know of Jimmy's gear for the reunion show:

    Gibson LP #1 - standard tuning -1 tone (D)

    Gibson LP #2 - standard tuning

    Gibson ES350 - open G

    Gibson LP Custom "Black Beauty" (3 p/u, Bigsby custom 6 way switch) - standard tuning

    Gibson EDS1275 - both necks standard tuning -1 tone (D)

    Gibson LP (cherry b-bender) - DADGAD

    Giffen LP - standard tuning -1 tone (D) bow

    Transperformance LP - standard tuning

    2 x Orange AD?? (gtrs)

    2 x Petersburg JP-100 (gtrs)

    2 x Marshall SLP 1959 (gtrs)

    2 x Orange AD?? (theremin)

    Pete Cornish Input Selector and Line Driver (off stage)

    Pete Cornish pedalboard comprising -

    Amp "Lead" switch

    MXR Phase 90

    Yamaha CH-10Mk II Chorus

    Boss CE-2 Chorus

    Cry Baby Wah-Wah

    Digitec WH-1 Whammy

    Linear Boost

    Send / Return to Spare FX #1

    Send / Return to Spare FX #2

    Send / Return to Echoplex EP3

    There was a 2nd Whammy balanced atop the pedalboard, I don't know why

  4. A bit off topic- but someone educate me. IF the sound was bad at the venue- would that effect their likelihood of releasing this in some way. Basically if the show is professionally recorded- does it matter what the venue sound is like?

    The show would have been recorded by the FOH (front of house) team, meaning that the tapes will be comprised of the feeds from each individual microphone, instrument etc. Any unpleasant or unwanted characteristics of the venue would be minimal and can almost always be sorted out in post-production. There are many fine recordings of bands in less-than-ideal venues.

    It's more and more common for FOH mixes to be pressed straight to CD as a tour memento; The Who, Crowded House and others have had excellent results with this experiment. Given JP's careful and thorough attention to every sonic detail on recent and historical releases, if LZ decide to release a recorded version of the AE tribute show, I can't imagine that the results will be anything less than spectacular

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