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Friday, January 31, 2025

RIP for Lady Marianne Faithfull 💔

 









Kaspar Tieffenbrucker (1514/1571) - the father of modern violin making 💫

 


Gaspar Duiffoprugcar (1514–1571): The Father of Modern Violin Making


Gaspar Duiffoprugcar, also known as Kaspar Tieffenbrucker, was a luthier of German origin who worked in France during the 16th century. He is often credited with laying the foundation for modern violin-making. Although his contributions are surrounded by some myths and uncertainties, Duiffoprugcar remains a significant figure in the history of stringed instrument construction.


BIOGRAPHY




Born: 1514, Füssen, Bavaria, Germany.


His surname, Duiffoprugcar, is a French adaptation of his original German name, Tieffenbrucker.

The Tieffenbrucker family was renowned for their expertise in making lutes, viols, and other stringed instruments.


He moved to Lyon, France, where he gained prominence as a luthier.

He is believed to have worked on refining the design of bowed string instruments, particularly violins.

His instruments were highly regarded for their craftsmanship and sound quality.


Death: 1571, Lyon, France.


CONTRIBUTIONS TO INSTRUMENT MAKING


Violin Making: Duiffoprugcar is often credited as one of the pioneers of the modern violin.

While it is debated whether he invented the violin or simply improved its design, his instruments likely played a role in transitioning from the viol to the violin family as we know it today.

His violins were reputed for their rich tonal quality and innovative construction.


Lutes and Viols: Apart from violins, Duiffoprugcar also crafted high-quality lutes and viols, which were the most popular stringed instruments of the Renaissance period.


Aesthetic Innovations:His instruments were known for their elaborate decoration, often featuring intricate carvings, inlays, and designs inspired by Renaissance art.

Some of his works included personalized coats of arms, floral patterns, and portraits.


LEGACY AND HISTORICAL CONTROVERSIES


Historical Debate: Some scholars argue that Duiffoprugcar’s association with the invention of the violin is more myth than fact. The violin's development is believed to have occurred over time, influenced by several luthiers across Europe, including Andrea Amati of Cremona, who is often considered the father of the modern violin.


Artistic Recognition: Duiffoprugcar’s name became legendary in the 19th century when French luthier Jean-Baptiste Vuillaume created a series of violins falsely attributed to Duiffoprugcar. These instruments, known as "Duiffoprugcar violins," featured ornate Renaissance-style decoration, perpetuating his legacy as a master luthier.


Influence on Future Luthiers: Regardless of the myths, Duiffoprugcar remains an important figure in the history of stringed instruments. His craftsmanship inspired subsequent generations of violin makers, and his name is associated with the artistic and technical evolution of the violin.


SIGNIFICANCE


Gaspar Duiffoprugcar symbolizes the transitional period in stringed instrument making, blending the traditions of medieval craftsmanship with the innovations of the Renaissance. While his exact role in the development of the violin remains debated, his reputation as a master craftsman endures, representing the artistry and ingenuity of early lutherie.

Wednesday, January 29, 2025

When a picture is able to change your life 💫

 


Exactly what happened to me with this precious pix from back cover of Ralph Towner’s Solo Concert on ECM: I learned more - as a recordist - from this picture than from any book about recording techniques 💫💎🙏💫 - the Neumann USM-69 and U67s became my dream rig for acoustic guitar recordings which I’ve been using for 40+ years, now 💎






Holger Czukay and Studio fuer Elektronische Musik, Köln

 



Look at those Telefunken T9 and M5 and the impressive tape-looping layout 💫



Joan Baez and her ‘29 Martin 0-45 💫

 


Opposed to the onanistic, over/ever-worried approach about vintage guitars - always in a vault, humidity-controlled - Joanie was simply enjoying the moment 💫


The 1929 0-45 and Joanie on the beach 🏖️ 







Monday, January 27, 2025

Keith Jarrett’s Köln Concert & Vera Brandes, the 18 years old impresario who changed the music 💫

 



The movie about the making of Keith Jarrett’s Köln Concert 💫



Vera Brandes, today 💫




Tonelux JC37 tube microphone 💫

 


The Tonelux JC37 is the product of an endeavor by legendary engineer/producer, Joe Chiccarelli to create a present-day production microphone having the utility and singular sonic characteristics of the Sony C37a mics, manufactured in mid 20thcentury.






Retaining the base elements of the original design – a vacuum tube buffered 37mm single diaphragm transducer with transformer output, the JC37 foregoes selectors for pattern, frequency response, output impedance and level of the original in favor of a cleaner signal path.

As with the mic stand mount, a three meter cable is integrated into the body of the mic and connects to a Tonelux Universal Microphone Power Supply that is capable of powering two microphones as a stereo setup. Consideration to this is reflected in the carrying case, which holds two microphones along with the PSU.

In order to provide today’s recording engineer with the sonic attributes of the original design, extraordinary care was taken to determine each contributing element in the signal path, as well as physical construction such as the head grill, etc. Listening tests throughout have been conducted at the legendary Sunset Sound Studios with access to their collection of C37a mics.

The JC37, presently in manufacture is the first in the line of Tonelux branded mics – along with a solid state BC37 currently in development.

Specifications

Type: Side address vacuum tube condenser microphone

Pickup pattern: Cardioid

Frequency response: 30Hz – 20kHz

Output sensitivity: 2mV/Pa

Signal to noise: 68dB

Output impedance: 200 ohm

Max SPL: 140dB

Tube Type: JAN-GE5654W





Friday, January 24, 2025

Big Bill Broonzy

 



A seldom seen autograph of a blues legend 💫




The Köln Concert. 50 years today. 💫

 


Happy birthday to a masterpiece 💎



Today marks the 50th anniversary of Keith Jarrett's legendary

*Köln Concert*, an album celebrated for its emotional depth and artistic brilliance. Originally recorded live on January 24, 1975, at the Cologne Opera House in West Germany, the performance was captured by ECM Records engineer Martin Wieland using a pair of **Neumann U 67 vacuum-tube powered condenser microphones** and a **Telefunken M-5 portable tape machine.** .






💫💎💫







Thursday, January 23, 2025

Coming soon 💫

 



List of content:





The definitive JR’s collection 💫




Jeff’s 💎 at Christie’s

 


Jeff Beck’s heavily modified 1954 black Les Paul just sold at auction for $1,047,000 USD.




Tools of the trade - Neil Young’s Old Black 💫

 

I already wrote about this guitar, but here are some more infos not to be missed.

Old Black is the name given to the main electric guitar used by rock musician Neil Young. Most of Young's electric guitar parts were recorded on "Old Black," though some were played on Gretsch White Falcons or on an orange Gretsch Chet Atkins. Young acquired Old Black in 1969 through a trade with one-time Buffalo Springfield collaborator Jim Messina, who received one of Young's orange Gretsch guitars (Gretsch 6120 Chet Atkins) in exchange.





Appearance and customization.....

Old Black is a 1953 (or possibly a 1952, age unknown ) Gibson Les Paul Goldtop painted black. It has been customized quite considerably. After the guitar had been left at a guitar repair store, the original bridge pickup was replaced by a Gretsch Dynasonic single-coil pickup. Eventually a humbucker pickup from a Gibson Firebird guitar replaced the Dynasonic. The neck pickup has always been the original P-90 pickup, but it is covered by a hand fitted aluminum P-90 cover. The guitar was roughly resprayed to jet black, and received a new Tune-o-matic bridge (not available when the guitar was produced) and a B-7 model Bigsby vibrato tailpiece. It would presumably also have had a white plastic pickguard at some point, as was standard on 1953 Goldtops. Old Black is notable for its metal hardware, including an aluminum backing plates. The pick guard is chrome-on-brass/bronze. The tuners have been replaced with Schaller M-6 tuning keys, and the rest of the hardware is mostly nickel-plated. The headstock displays a partially painted-over mother-of-pearl inlay, sometimes referred to as a "wheat stack", rather than the typical "Les Paul Model" silk screened logo, along with single-ply binding around the headstock, although it has fallen off.


Condition.....

Old Black has seen considerable wear and tear, with most of the black paint removed from the mahogany neck. A white maple type binding extends down the back of the guitar neck but it has been pulled off from the body, resulting in the removal of a jagged strip of body wood down the back. An additional round aluminum access plate is present on the back of Old Black, approximately underneath the bridge, the purpose of which is unknown, but possibly for the mini toggle switch before the Bigsby vibrato arm was fitted.


Other modifications.....

Old Black has also been customized with a small toggle switch in the front of the guitar, between original pickup volume and tone adjustment knobs. This switch is not a coil tap, as would commonly be assumed, but rather is a switch that allows Young to bypass the potentiometers and capacitors and send his sound directly to his amplifier (a late-1950s Fender Deluxe).

Additional modifications from the original factory condition include the addition of a Firebird pickup installed in the bridge position (not just a covered P-90 as once thought), a metal truss rod plate, and a screw-fender washer combination replacing the standard strap knobs. Old Black has rarely been seen without Neil Young's famous peace symbol and dove guitar strap, which has also seen modifications over the years—most notably, its attachment to a Levy's wide guitar strap.


Most of Young's electric guitar parts have been recorded on Old Black (with the notable exception of The Ditch Trilogy) though some were played on Gretsch White Falcons and Nashvilles, as well as Fender Telecasters, a Gibson Flying V and other, newer Goldtops.




Tuesday, January 21, 2025

My kinda house

 







Dorie Jackson - Stupid Says Run (2025)

 

DNA isn’t water 💫

Former VdGG sax man David Jackson appears on his daughter Dorie Jackson's brand new solo album, 'Stupid Says Run', which is out now through Talking Elephant Records.




A wonderful album mixing rock, folk and prog with some orchestral backing (courtesy of her bandmates in Kaprekar's Constant). Storytelling narrative is evident throughout as topics as diverse as insomnia, folklore, myths and legends sit happily alongside tales of historical endeavours, cover-ups, dirty dealing and even the Boer War. David appears throughout adding flutes, horns, and whistles. 


"The Daylight Gate," a haunting, quite beautiful song from the album, is included in the comments below.


Order here! https://www.talkingelephant.co.uk/product/stupid-says-run/

Sunday, January 19, 2025

Moebius 💫

 


Guitar-dueting in a dystopian future 💫







Saturday, January 18, 2025

“When one door closes, a gate opens”

 


The above anonymous sentence, so full of optimism, seems to faithfully accompany myself from my youth: have several examples which I won’t quote to don’t annoy you…

In my future plans for my new studio, the mighty Elodis TGE horn-subwoofers with their imposing size and weight will be possibly sold to a younger/stronger owner able to handle its 280 kg so to enjoy their 35Hz +/- 0,5 db and 109 db/w/m sensitivity.

As it’s quite evident, the reason for such a radical change is mostly logistical (the weight and bulkiness), not a sonic choice… but, maybe the hidden reason is also deeper than this: I love exploring and experimenting and the previous “Gotorama” was a bespoke, “closed “ project.


*********

Slam! (The door closes)

Scrieeeeck!! (The gate opens)

🫣







45 kg worth, each 😳



Will use two Goto SG146LD bass-drivers in a straight horn, one per-side: sure I’ll not reach 35 Hz, BUT… I’ll get an amazing clarity and speed which I so much appreciated years ago in Köln at my pal Rheinard Huttenberg’s place. Have a look here, folks.






… and life goes on with new adventures and experiences…

All fun!





Thursday, January 16, 2025

RIP for David Lynch

 






‘Keep your eye on the donut and not on the hole’


🌸




Twogoodeyes 👀

 



Andy Warhol & Oliviero Toscani, who recently passed 💫




Fleetwood Mac’s goodies

 







My kinda room

 

Le Courboiser’s beauty 💫







Robert Johnson and the devil at the crossroad 🫣

 


Robert Johnson 

It is said that the blues is the basis of rock, that without the first, the second would not exist. And it is said that, if Robert Johnson had never appeared, perhaps not even the blues would have had the same musical meaning. 


The legend, the one written in golden letters in the history of music, tells that Robert Johnson, from one day to the next, became the King of the Delta Blues. How was it possible? It is said that he received guitar lessons from none other than the Devil, in a very special classroom: a crossroads. 


In February 1929, Robert married a young woman named Virginia Travis, who however died at only 16 years old during childbirth. This event affected him deeply, pushing him to disappear for a long period, taking refuge in the blues and turning into a wandering soul. 


He moved for a while to Hazlehurst, Mississippi, where he married a woman much older than him, Callie Craft, in an attempt to forget his pain. However, the marriage did not work out, and Johnson returned to Robinsonville, where he began playing in low-level clubs, mixing his passion for music with his love of women and alcohol. 


The problem was that, while he was good at the harmonica, he was no good at the guitar. Willie Brown, who taught him some techniques, introduced him to the bluesman Son House, who Johnson admired for his guitar style. House allowed him to perform before his concerts, but the audience did not appreciate it and complained. House tried to convince him to return to playing the harmonica, but Robert was determined: he wanted to master the guitar. 


The Metamorphosis 

In 1931, Johnson set out in search of his biological father, but what he found was the legend that would make him immortal. After a long period of absence, he returned to Son House, asking to play. Before House could answer, Johnson picked up the guitar and began to play. But this time his style had completely changed: his technique was extraordinary, his talent undeniable. House, incredulous, had only one explanation: "He sold his soul to the Devil to play like that." 



The rumor spread quickly. According to legend, during his journey, Robert Johnson would have met the Devil at the intersection of Highways 49 and 61 in Clarksdale, Mississippi. There, in the middle of the night, a man dressed in black would have taken his guitar, tuned it and given him superhuman talent, in exchange for his soul. 


Johnson was aware of these rumors and, instead of denying them, he fueled them with an air of mystery, using songs like *“Me and the Devil Blues”*, *“Hell Hound on My Trail”* and *“Cross Road Blues”* to increase the legend. But was it really the Devil who granted him that gift? 


The answer is NO. The “devil” who taught Robert Johnson did not come from Hell, but from Alabama, and his name was Ike Zinnerman, a blues musician who learned to play guitar by practicing at night in cemeteries. It was Zinnerman, with so much dedication and practice, who transformed Johnson into the King of the Blues. 


The Price of the Legend 

Fate would have it that Robert Johnson paid his “debt” too soon. In 1938, after having recorded only 29 historic songs, including *“Terraplane Blues”*, *“Sweet Home Chicago”*, *“Love in Vain”* and *“Rambling on My Mind”*, he tragically died. 


While performing at the Three Forks, a club in Greenwood, Mississippi, Johnson fell in love with a married woman. Her husband, in revenge, poisoned Robert’s whiskey. His agony lasted three days, during which he is said to have writhed and howled like a wolf. Robert Johnson died on August 16, 1938, at the age of 27, joining the legendary “Club of 27”.


A short life, but enough to become one of the pillars of modern music.



Wednesday, January 15, 2025