Да, этот силвертончик уже обсуждался. Но информация ОЧЕНЬ интересная. По крайней мере, понятно, что бралась гитара именно для слайда.
А нельзя ли по общему контексту попытаться установить дату (год хотя бы) приобретения?

И отдельное спасибо за вот этот скриншот:
-- очень ценно!

http://newsimg.bbc.co.uk/media/images/4 ... 220300.jpg
Many of the images are from the early days of the band, including this shot of Brian Jones "choosing an instrument" in RCA Studios, Hollywood, in February 1966


This photograph of Keith Richards, pick in mouth, was also taken at RCA Studios in the same month

Похоже на этот инструмент:



Но есть и отличия.

AlexGB писал(а):Похоже на этот инструмент:

Нет, это другой гибсон. Я выше как раз выкладывал фотку, насчёт австралийского турне. Там эту гитару тоже видно. Похоже, что она использовалась только в 66-м, и только в австралийском турне. Совершенно неясно, зачем они её использовали... Это Gibson Goldtop 1952 или даже 1951 года, самая первая модификация, где инженеры фирмы неправильно поняли идею Лестера Полсфусса и сделали нижнюю подставку под струны трапецией, без соответствующего прижима, плюс угол наклона грифа был слишком маленьким. Гитару достаточно быстро сняли с производства и усовершенствовали, и, например, Брайан Джонс в рок-н-ролльном цирке тоже играет на Гибсон Голдтоп, но уже совсем другом, с "правильной" подставкой под струны.
А эта гитара и звучит плохо, и играть на ней неудобно, так что сейчас она представляет только коллекционную ценность. Фиг его знает, где Роллинги её раздобыли...
Вообще, их набор инструментов в 66 году вызывает удивление. Этот вот Голдтоп, плюс 12-струнный Рикенбекер, который хорош как ритм-гитара, но совершенно непригоден для риффов... Плюс Гилд Блюбёрд с "полудохлыми" звукоснимателями, которые даже не могут "раскачать" фузз-примочку (это хорошо слышно в исполнении Satisfaction в шоу Эда Салливана)...

rustones

А может выложить тут картинки всех зафиксированных инструментов, например до момента кражи в 71-м.
Тогда если кто-то увидит вдруг что-нибудь еще, сразу будет понятно, что это новая информация?

AlexGB писал(а):например до момента кражи в 71-м

Хорошая идея, но только лучше не до момента кражи, а, например, до Гайд-парка. И не выкладывать то, что уже опубликовано в статье. Иначе опять будет "завал" информации...

А я пока вернусь в предыдущие темы и там отмечу те инструменты, которые уже "обработаны". Будет ясно, что ещё не охвачено...

Итак, сделал пометки в предыдущих темах.
Там, где информация уже опубликована на сайте -- крупая надпись зелёным цветом "ИНФОРМАЦИЯ ОБРАБОТАНА".
Там, где вопросов (пока, по крайней мере) не возникает, просто инструмент ждёт своей очереди -- ничего не добавлял.
Там, где есть неясности -- крупная надпись красным цветом "НУЖНЫ УТОЧНЕНИЯ".

Мне кажется это все какая-то бутафория:


Это я уже видел кажется, телешоу в Марселе если не путаю.

Когда это не знаю:

Выше я так понял Rickenbacker.

А тут еще что-то невиданное:

AlexGB писал(а):Мне кажется это все какая-то бутафория:

Ну, не бутафория, а какая-то дешёвка.
Кажется, где-то упоминалось, что они выступали на телевидении то ли в Париже, то ли в Марселе, когда Стю где-то задержался в пути с инструментами, так что выступали под фанеру с какими-то "игрушками" вместо гитар...

Рикенбекер -- это было в 66-м, в другое время он более не появлялся нигде.

А вот на последней фотке -- нечто любопытное. Откуда это, какой год? Мне ни разу она не попадалась...

rustones

А вот на последней фотке -- нечто любопытное. Откуда это, какой год? Мне ни разу она не попадалась...

Ничего об этой фото не знаю.

Нашел ее в этом завале:
http://novogate.com/board/968/239187-1.html
здесь еще 9 ссылок с темами с фото Брайана, в том числе и с гитарами разными.
Никаких коментариев к фото не прилагалось.

А это не тот-же инструмент, что в 66-м на RCA
И мне еще кажется, что тут натянуто 5 струн?

Отсюда:
http://novogate.com/board/968/239640-1.html



It’s unclear as to whether Brian actually played the Harmony Stratotone on any of the Stones hits. He certainly had it in Olympic Studios for the ‘Come On’ sessions, this according to Bill Wyman’s tome ‘Rolling With The Stones’. Brian may have contributed towards the guitar work on the ’B’ side ‘I Want To be Loved’ and of course the harmonica on the ‘A’ side is stereotypically Brian. The Stones first recording session in Curly Clayton’s studio was followed by the IBC recordings in London’s West End and Pat Townshend, listening to those early recordings is convinced that the lead guitar work is all Brian on the Harmony, but one can never be certain. It certainly fits the period between Brian’s first guitar, the Harmony, his second the Hofner Committee and then the Gretsch, also bought by Dick Hattrell and used by Brian on the Stones top ten hit ‘I Wanna Be Your Man’. It’s without doubt however that the Harmony Stratotone is an exclusive piece of popular music history and was the instrument that, as the teenage Brian Jones said back in Cheltenham: “would change the sound of music” – how prophetic he was……

Finally, one of the things remembered, quite vividly, by Robert Wilson was that when Eric Easton brought Brian’s Harmony Stratotone over to their house it arrived in a fairly old and tattered case coloured a muddy shade of brown and far too large for the guitar itself. Robert recalls: “Unfortunately the case has been mislaid over the years but I well remember an old black and white photograph of Brian leaving a studio with this huge guitar case in hand. This photo was published in a cheap paperback biography of the band sometime in the sixties”. When Pat Andrews heard this she let out a huge gasp: “I remember that case” she said: “Oh my gosh yes, from the very beginning that case carried everything including his soap, razors, clothes, even his underpants and socks. That case contained Brian’s world and on a few occasions I remember that every possession Brian owned in the world was in that case, with his precious Stratotone!"

То есть господа намекают, что у Брайана был не H45, а H46, т.е. с двумя датчиками? Гм... У Уаймена прямым текстом написано, что гитара была с одним датчиком...
Надо будет ещё раз внимательно поизучать все фотографии Брайана с этой гитаркой... Как назло, место бриджевого датчика практически на всех фото Брайан загораживает рукой...

rustones писал(а):То есть господа намекают, что у Брайана был не H45, а H46, т.е. с двумя датчиками? Гм... У Уаймена прямым текстом написано, что гитара была с одним датчиком...
Надо будет ещё раз внимательно поизучать все фотографии Брайана с этой гитаркой... Как назло, место бриджевого датчика практически на всех фото Брайан загораживает рукой...

Ошибается Билли. Эйч-46 адназначна

Да, на этих фотках 100% видно, что датчика два...
Все бы фото были такие крупные и качественные -- многие вопросы отпали бы сами собой...

Спасибо!
Будем исправлять-с.

Листала на днях "Гитор Леджендс", посвящённый Роуллинг Стоунз...
Кое-что по теме. Из интервью Кифа "Гитор Ворлду" за 2002 г.

GW In stage photos and TV stills from that early period, you're often seen with an Epiphone semi-acoustic. Was that just a stage guitar or did it make it onto the early singles?
RICHARDS I'm pretty sure that Epiphone was on "It's All Over Now" and probably some of the earlier ones from England. I used it for a good while, mainly because I had it. It was a nice guitar, because Epiphone was a branch of Gibson at the time. It was a great guitar for studio work and in clubs. But once we got into theaters and bigger gigs, I found the feedback and howl of those Epiphones was uncontrollable and I started to go for solidbodies, like the Les Paul. [Richards has played numerous Les Paul models over the years, but is perhaps most closely associated with Black Beauties, i.e. three-pickup, black Les Paul Customs, particularly a late-Fifties Custom decorated with a moon-and-star motif painted by the guitarist himself-Ed.]

GW What did you use to create that curiously aquatic guitar sound for the melodic riffs on "Mother's Little Helper"?
RICHARDS That's a 12-string with a slide on it. It's played slightly Oriental-ish. The track just needed something to make it twang. Otherwise, the song was quite vaudeville in a way. I wanted to add some nice bite to it. And it was just one of those things where someone walked in and, "Look, it's an electric 12-string." It was some gashed-up job. No name on it. God knows where it came from. Or where it went. But I put it together with a bottleneck. Then we had a riff that tied the whole thing together. And I think we overdubbed onto that. Because I played an acoustic guitar as well.

GW The Stones had an endorsement deal with Vox around this time. Were those the amps you were using in the studio?
RICHARDS I have no doubt they were. The AC30's a damn good amp. But you don't want two guitar players in a band playing out of the same make and model amplifier. It's too much the same sound. So as soon as I got to America I got myself a Fender amp. There was something about that little herringbone box. I fell in love with Fender amps real quick. But Ronnie Wood still uses AC30s today in the Stones. And Brian used them. Basically it was a Brian deal with Vox.

GW For all the Stones' problems in the late Sixties, with Brian and harassment by the police over drugs, that period is also one of the band's most brilliant. "Jumping Jack Flash," for instance. Do you remember which guitar you used for that?
RICHARDS A Gibson Hummingbird [acoustic] tuned to open D...

GW You're seen with a Telecaster, if memory serves, in Jean-Luc Godard's film One Plus One, which documents the sessions for "Sympathy for the Devil." Was that around the time the Tele first arrived in your life?
RICHARDS That's around when I started, yeah. Around '67 or '68. That's when I really started to get to grips with the Fenders. Before that I was using Gibsons, and any other guitars that came my way, through Fender amps. Then I realized that Leo Fender's genius was matching the amp to the guitar. If you really want a nice sound out of a Fender amp, you have to use a Fender guitar. It's a beautiful electronic marriage. It seems obvious, but it took me a while to figure that out. A matching pair. Oh dear me, well done, Leo. That's what really impressed me. And also the Telecaster, for all its distinctive sound, is capable of quite a lot more than you'd expect. If you play around with it and put a humbucker up on the top, it's really versatile. You can get some very rich sounds. Depending on what it's made out of: the maple. I've got two different Telecasters. One is like a feather. The other one, you sink into the ground when you pick it up.
GW Which is the one you call Micawber?
RICHARDS I think that's the heavy one.
GW Do you know what year that is?
RICHARDS Micawber is a '53. And I have a '54 Tele named Malcolm. They always start with "M."
GW Does the Telecaster lend itself especially well to the five-string, open G tuning that has become so integral to your sound? [In this tuning, the lowE string is removed. The remaining strings are tuned, low to high: G, D, G, B, D. "Keef tuning" is the key to such Stones classics as "Honky Tonk Women," "Brown Sugar," "Can't You Hear Me Knocking" and "Start Me Up," among others-Ed.]
RICHARDS Exactly. Around the same time I was getting into Telecasters I was experimenting with open tunings. I don't know why. Maybe it was because around that time, '67, we started having time off that we didn't know what to do with. So I started to experiment with tunings. Most people used open tuning basically just for slide. Nobody used it for anything else. But I wanted to use it for rhythm guitar....

GW Speaking of "Midnight Rambler," how did you get that incredibly beefy yet crystalline guitar tone on there?
RICHARDS That was done on a full-bodied, Australian electric-acoustic, f-hole guitar. [The brand name was Maton-Ed.] It kind of looked like an Australian copy of the Gibson model that Chuck Berry used. I played it on "Gimmie Shelter" too.

GW For the tremolo rhythm part that starts the song off?
RICHARDS Yeah. I used that guitar on all that. It had all been revarnished and painted out, but it sounded great. It made a great record. And on the very last note of "Gimmie Shelter" the whole neck fell off. You can hear it on the original take.
GW Wow. Where'd you get it?
RICHARDS From some guy who stayed at my pad. He crashed out for a couple of days and suddenly left in a hurry, leaving that guitar behind. You know, "Take care of this for me." I certainly did! But it served me well through the album [Let It Bleed].

GW Did you ever use that clear plastic Dan Armstrong/ Ampeg guitar in the studio? I know you used it live a lot, and it's pictured on the original album jacket for [the Stones' 1970 live album] Get Yer Ya-Ya's Out!
RICHARDS The first guitar Dan Armstrong ever made me was a gem. It was one of the first prototypes or first prepro-duction models. And you could plug those pickups in. [The guitar design allowed for interchangeable pickups to be slid in and out of a slot cut in the body-Ed] I know I used it on sessions. But I don't know if anything I did on it ended up on a record. And then that guitar disappeared. They gave me two or three other ones, production models, but they were shadows of that particular one. And I gave up on them.
GW Wasn't there an endorsement deal with Ampeg for a while? The Stones used their amps onstage during that late Sixties/early Seventies period and Ampeg even gets a credit line on Ya-Ya's.
RICHARDS Yeah, there was. For a while Ampeg had some really good stuff. And they were delivering on time. But it was the same as with the Dan Armstrong guitar. As they got bigger and bigger, the quality of the material went down. It even happened to Gibson. The first Hummingbirds we got the first couple of years were really beautiful. Then they just became stiff.
And guitars, if they're really good, it doesn't matter how old they are. Like anything made of wood, they get better. It's kind of weird, but they haven't really improved the electric guitar since Les Paul and Leo Fender put their touch to it. Everything else is trying to sound like them, with maybe a few more extras-split pickups, 10 different tones... Electronics have come a long way, but the original Telecaster pickup still picks up. With the electric guitar, perfection was made in the beginning. Everything else was then a variation on that, I wouldn't be playing a guitar made in the Fifties if I knew that I could pick one up now and it's just as good.

Думаю, ещё одним вопросом будет меньше.

А это что за чудо-юдо?
Производная от Данэлектро?
Isle of Wight Festival

"Братья Гиб"

http://www.iorr.org/talk/read.php?1,828552,page=2

i love this one, not only because it's one of the few post-1963 shots where Stu's on stage with them.
it looks like maybe the april 8th 1964 Ready Steady Mod Ball at the Wembley Empire Pool?
the stage was on wheels and the fans were delighted to discover they could push it all over the floor

Here's another pic from the Ready Steady Mod Ball show:

У Билла что-то округлое, такого не припомню

Такого не припомню:

В общем у Била был вот такая модификация Framus Star :
5/150 Star Bass
http://www.framus-vintage.de/modules/mo ... D=83&cl=EN