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I know that Peter Bernstein plays fender amps depending on the gig.
I don't know his amp settings. I've read somewhere (I can't remember where exactly) that he goes for minimun in all settings of the amp.
Do you think that this is the case??
I know that fender amps are more coloured but he goes for 0-0-0 or the grant green 0-10-0 (sounds more like that to me).
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05-13-2013 07:01 AM
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He tends to use all 3 knobs pretty minimal according to some reports I have read / heard. He has a vintage Vibrolux (either blackface or converted to blackface) that has new speakers (no clue which ones).
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Yes, I've read about his preference to the vibrolux.
Originally Posted by jorgemg1984
Still, his zeidler sound is more acoustic compared to his L5 sound.
Maybe he rolls back the volume knob?
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keep in mind that the Zeidler is an acoustic archtop w/floating pickup and the L-5 had a built in pickup
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True - his sound changed a lot when he went to the Zeidler. I would say a part of is the guitar itself; it does sound like he rolls back the volume (I do that too with excellent results); and maybe he also mics the guitar on the studio and blends it with the pickup?
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The Zeilder has a regular Classic 57 pickup. Floating, yes, but a regular humbucker. I think Zeidler changed the electronics a bit to his taste though. Originally Posted by wintermoon
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Unless that extra slice of wood makes that big difference, no. The pickup on both guitars should be very similar.
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it doesn't matter if it's the same pickup.
it'll sound different sunk into the top of a guitar w/heavier bracing [L-5] as opposed to floating over the top of an acoustic archtop w/lighter bracing
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That's right. With this player though is more the fingers. Offcourse top notch archtop with great amp gives good sound. Originally Posted by wintermoon
I'm really curious about his amp settings because I suspect that plays big role in his tone.
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Hosted a masterclass with Peter back in January. He used a Kustom Defender combo (the venue's backline) and he sounded exactly the same as he did through a Twin Reverb on the gig that night. I don't recall anything unusual about the amp settings.
Here's a clip someone posted from that afternoon on YouTube (I'm not the second guitarist):
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Originally Posted by David B
Peter plays Small's a lot and uses the house amp a Deluxe I believe and always finds his sound.
To me this is part of being a pro player many times you aren't on your own gear so need to know how to dial amps in. Also rooms and size of crowd are a constant change so even on your own gear you have to dial-in a sound for the room and maybe as night goes on and the size of crowd changes how live the room is.
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When he was here he actually was always "fighting" the amp it was lent to him... using road amps is tough.
This is actually a good example of how the "tone is in the fingers, gear is irrelevant" argument is just a nice thing for the ego. Peter's tone changed a lot with the Zeilder and his fingers are the same (I guess). So gear does matter.
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From picture/video mining, Twin Reverb settings generally seem to be around 3-4-2.
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On the video I'm guessing that we are getting alot of the acoustic sound directly from the guitar.
But on Peter's recent live albums (Live at Smalls and the album w/Larry Goldings and Bill Stewart) he stills gets a thick electric tone and we don't hear so much of the acoustic side of the guitar. And both albums were recorded at smalls so maybe with the 'house' deluxe. He has one of my favorite solid top archtop tones.Last edited by Ronstuff; 05-13-2013 at 08:39 PM.
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Yeah, most of his tone comes from his guitar. I've had the chance to hang out with him a couple of times and play, and he sounds exactly the same plugged in and unplugged. The Zeidler has some pretty high level construction that allows it to keep most of it's acoustic qualities while plugged in. I think Victor Baker told me that his Zeidler was a sitka spruce, really good wood for acoustic tone.
His amp settings are pretty minimal, as others have said, but he does have a really specific setting he looks for, as I've seen him stop in the middle of a solo to slightly turn one of the knobs to get it just right.
But yeah, Pete's tone is a really hard one to try and copy, cause it really comes from the guitar. It's a really nice one.
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I agree that his tone got better with the zeidler, but, Peter is so good that most of his sound comes from his fingers. Originally Posted by jorgemg1984
I was in a workshop of John Scofield. What KEWL CAT he is!!
He "demonstrated" that.
He just turn off his guitar volume and started playing.
He sounded exactly like himself, offcourse you could say, but, when you play that good you can make any guitar sound good.
I guess I need a Zeidler to prove my point!!
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I don't think his tone got better with the Zeidler - I think it got quite different. I actually like his L-5 tone better, but that's taste,
It's not a subtle difference - very easy to hear (to me). So I would not say most of his tone come from his fingers... his gear (and everyone's gear) plays a relevant role in the final sound. Of course he still sounds like Peter in both cases - but he does not sound the same, not even very close.
The same happens to me (and everyone else) - my sound is quite different with different guitars, pickups, cabs, pedals, etc... But I still sound like myself. One thing does not exclude the other...
(Rosenwinkel's Reflections album, when he changed from 335s to a Moffa archtop, is another good example how a guitar will change your sound... of course, he still sounds like Kurt but very different from his previous records).
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That's why I think he uses a mic on studio... because on his live records it's not so obvious (although still different from his L-5 tone). But on "Monk" the difference from his previous sound is HUGE. Originally Posted by Ronstuff
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Bringing back this thread..
Yesterday, we enjoyed Pete in Athens in his masterclass (after Sunday's gig with Larry Goldings and Bill Stewart)
Amp Settings:
Twin Rev
Treble:1
Mid:4
Bass:3
Reverb:1,5
Speed:1
Intens:10
and
Pick: Jazz III (big-black)
Anyway, Pete's Zeidler sounded out of this world just strumming it, but, his tone was in his fingers, end of story.
What an amazing player and cool guy.
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This seems like the place to put this rather than start a new thread.
I caught Peter with Larry Goldings and Bill Stewart this past Friday at Regatta Bar in Cambridge, MA.
He played through a Twin Reverb, treble at 2.5, middle at 4.5, bass at 3, reverb at 2.
Here are a couple pics I was able to snap right after the show:
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Tried it, but that sounds waaay too muffled and dark on my Twin with my ES-333 (classic 57 buckers) to my taste. I do love Peter's tone though. Saw him two months ago in Rotterdam where he played a BF Super Reverb (probably a RI) and he had a tone to die for!
I set treble at 7,5, middle at 6, bass at 4,5 and reverb at 3 at my Twin, but I roll off some treble with my tone knob.
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Bernstein's settings on the Twin Reverb will produce less of a "Fender Smile" than setting everything at 5/5/5 will. A 5/5/5 setting produces a highly exaggerated treble and bass boost, with a big notch in the low-mid frequencies around 600Hz. The settings shown in the picture, 3/4.5/3, will produce the same "smile," but the difference between the bass and treble boosts, versus the midrange notch will be only around 10db, instead of the impressive 20db with the 5/5/5 setting.
If you want a flatter, more Ampeg/Baxandall sounding tone from a Twin Reverb, try 0.5/9/0.5. It looks kooky, but it is pretty derned flat from one end of the spectrum to the other. It is the so-called "Grant Green" setting. Green boosted the mids and shelved everything else. What it does is makes a Fender sound like an Ampeg--which was much more of a jazz amp to begin with.
This being said, there is _nothing_ wrong with a mild bass and treble boost. When I used to use a Twin Reverb, my settings were 2/5/3 or 2/5/4. This produces about a 5db bass boost, a 5db midrange notch--at about 800hz--and a very mild treble boost (a db or two). With the Gretch/Filtertron guitar I used at the time, this produced a warm neck-pickup sound. (I never used the mud switch on the guitar.)
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Well, as my son says, I was "'whelmed" -- too muddy and couldn't hear the acoustic liveliness of the guitar. Went back to my old settings of 3/2/4/2 on my Allen Sweet Spot -- fun experiment though ...
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interesting.
I use Twins and set it to 5's across the board, even my guitar volume and tone knobs.
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Love that video, Peter's playing is awesome here, both solo and chords. Often players hardly play chords on their albums, I wish they would. The guitar isn't a saxophone. Originally Posted by David B
Does anyone have Jimmy Cobb's The Original Mob album where Peter plays? I bought it twice, in digital download and CD formats and each one is almost painful to hear. Either I got two bad copies, or something went very wrong with that recording.
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Gibson L-5 or L-7 acoustic archtop
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