With mass vaccinations of Iowans occurring daily, by most visible measures life is slowly returning to pre-pandemic normal. Though masking is still a prevalent and required, people are involving themselves in old routine behaviors like eating at restaurants, visiting coffee shops, and in the case of this posting, attending musical events such as Open Mic Night! We had the great good fortune of access to a most excellent coffee shop, Cup of Joe in Cedar Falls, to host such an event.
The Conditts perform at Open Mic Night
My friend Grant Tracey and I hosted our first Open Mic Night together this past Friday evening, May 7, 2021. In a previous blog posting I wrote in some detail about the technical aspects of hosting an Open Mic scenario, particularly the use of a Bose L1 Pro 32 PA system.
To the left you can see the general set-up situated in the rear of the coffee shop. Between the two performers, on the floor, you will note the Bose subwoofer, the line array speaker tower and hidden behind the singer a T4s mixer that all comprise the PA system. The Bose 32 is spec’d for a larger space than the coffee shop so it easily performed admirably without stress and filled the room with a pleasant level of performance sound. Audio level adjustments of volume, bass, treble and reverb were easily executed. Audience members commented positively on the quality of the sound, which was a relief to me since I personally invested in all the PA hardware. You’ll also notice guitar and mic cables everywhere, stools, mic stands, guitar pedal boards, guitars, and guitar and music stands.
The fact is, there was a great deal of schlepping to get the performance space properly set up. Even though the Bose PA is valued for its portability, by the time you pack in the PA, cables, stools, mic stands, guitars, guitar stands, and guitar pedal boards, its quite an effort! You can see below, in the image of me performing, all the surrounding support hardware required to pull off the event. At first glance, it might not seem like a lot, but it was a lot to haul from home, and then get from the parking lot into the coffee shop. I am grateful that we planned to take 90 minutes to get set up for our first time, and we needed every minute, considering that Grant had to make an emergency run back to my home to fetch a music stand and my iPhone which contained a Bose app to remotely control PA sound quality.
Me and my Collings I-35 knocking out my first set…
I would make the following preliminary conclusions regarding the Open Mic set up to consider before Grant and I do it again:
Get to the Coffee Shop early, because set up takes time. I still think we need 90 minutes. Perhaps we will be able to streamline matters in the future, but we’re not there yet.
Contrary to my above assertion, as advertised, the Bose L1 Pro 32 snaps together very quickly and gives solid performance. Its the routing of mics, guitars and pedal boards that take extra time.
It seems to me easiest to use the 3 channels available on the Bose L1 power stand because the sound quality can be easily manipulated using the Bose app on my iPhone. The app allows me to wander anywhere in the coffee shop to check sound level and tonality and easily adjust it where I stand. With a variety of performers using different guitar types and styles, quick and easy adjustments of sound are of great value.
That first night we set up three mics, but I think two is enough. Dropping to two will save time, space, and reduce cables.
The two guitar channels and a mic will run off the power stand. An additional mic can be routed through the T4s. This set-up is not written in stone.
I do not think we need 2 stools and am thinking one is enough.
It is my understanding that there are music stands in the basement of the Coffee Shop, so we do not need to haul one in on Open Mic night.
Grant Tracey and his Les Paul playing his set…
All in all, it was a good night. I’ve seen the coffee shop more crowded on previous Open Mic nights, but there are still some residual pandemic fears keeping people away, and there was an outdoor music venue in operation around the corner, down the street, which was drawing people in. Nevertheless, we had a respectable audience for our initial First Friday Open Mic night.
To the right, you can see fellow host Grant Tracey playing through his set. One of the perks of hosting Open Mic is the chance to play your self and depending on the number of performers who sign up, you may get to play even more.
Playing my National Reso_Lectric in a second set…
In the end, both Grant and I squeezed in two sets each. Anticipating that I might have the opportunity to play more than the standard 15 minute open mic set, I brought along two guitars, both of which made their first public appearances: my Collings I-35 Semi-Hollow bodied electric and my National Reso-Lectric, as seen with me on the left. In addition to the guitars, making a first public appearance, I, for the first time sang publicly. Ever since, Mrs. Silliman, in the 3rd grade, tossed me onto the “inadequate singer” refuse heap when sorting students for participation in grade school chorus, I’ve believed my singing voice somewhat suspect; however, with the encouragement of my wife, Annette, and others I decided to give it a go. Playing finger-style Travis picking technique is also a challenge when trying to sing simultaneously; however, after 5 years of concentrated dedication to guitar playing, I finally broke through this Spring and was able to play and sing simultaneously, which is no mean feat for me!
Here was my playlist:
Set One
If I Needed You – Townes Van Zandt
Long Distance Call – Muddy Waters
Pancho and Lefty – Muddy Waters
Vigilante Man – Woody Guthrie (arranged by Ry Cooder)
Set Two
Paris, Texas – Ry Cooder
You Got to Move – Mississippi Fred McDowell
Railroad Bill – traditional (arranged by Tom Feldmann)
Corrina, Corrina – traditional (arranged by Stephen Grossman)
Baby, Please Don’t Go – Big Joe Williams
Annette was kind enough to film a couple of my tunes… you can view one below, warts and all… I dropped a few notes along the way. This was my rendition of Muddy Waters’ “Long Distance Call.” A bottleneck tune played in standard tuning… You will note that the Coffee Shop was quite noisy and I found it a bit of a distraction, but powered through…
Steve Surles, waiting his turn to play at the Open Mic
If all goes as planned, I will be hosting First Friday Open Mic in June on the 4th. My regular co-host Grant, to my chagrin, is tied up with a local theater engagement, so Steve Surles, who also played the open mic with us on the first night, has volunteered to guest co-host in June. Hopefully too, my son Parker will come back from college in Iowa City to help haul equipment and listen-in which will be a great delight for me! See you then!
Bill Collings: “The world is made of stuff that’s OK… just fine… but when something’s made by a group of people that really know what they’re doing, engineering, time and passion are put into it… it doubles it…”
Guitars are back, baby! Or so says the New York Times… For me, they were never gone, but according to several news articles and anecdotal information from guitar stores, the COVID 19 “lock-downs” of 2020, resulted in a sizable upward swing in guitar sales. As a result guitar shops are suffering from some inventory deprivation because the guitar manufacturers are having difficulty keeping up with demand resulting from pandemic depleted work forces. What’s driven guitar sales? To a large extent, it’s probably the quarantine produced time and space available for people to chase new pursuits and guitars apparently fit the bill.
Summertime is National time…
Since I am retired and an avid student of guitar, I did not need the added incentive of quarantine time to focus on the instrument; however, because of limited opportunities to do other things outside my home I am even more obsessed with the guitar now!
To that end, I have a very nice collection of instruments, descriptions of which can be found here… Even though I possess a nice stable of guitars I, not unlike lots of other guitarists, fall into the psychological trap of believing we are always one guitar away from completing our musical dreams… it’s a sad affliction, but also fun to indulge as long as you don’t overtax your personal finances like Johnny Depp‘s done…
What drove me to my latest purchase was the human psychological need for novelty, which is somewhat more exacerbated by the limited stimuli associated with quarantine lock down. Further, I was suffering some doubts regarding two of my Taylor electric guitars. Seen below is the T3 on the right and the Walnut Solidbody on the left… While both are lovely guitars, I decided that their controls were too gimmicky… too many pickup selection opportunities and odd tone controls that I could never quite master to suit my ears…
Taylor Walnut Solidbody
Taylor T3 Custom
Taylor Solidbody Custom (left) and Taylor T3/B (right)
The truth be known, the Taylor’s are excellent guitars and beautiful in their own right and any difficulty managing them, sound-wise, is really on me. Still… in the back of my mind, for quite a while, I considered trading them off for a different guitar. But, it was not going to be for just any run of the mill electric… For example, I was totally not interested in a Fender Strat or Tele (never liked their necks nor fretboards) or a Les Paul (too awkward and heavy for me) and I had my run with a Gretsch a few years earlier and unceremoniously dumped it. Perhaps the endlessly fascinating Gibson ES-335, but there is so much commentary out there in the guitar universe about sample to sample variability in quality and tone. That said, I just don’t believe I have the acumen to identify, nor access to enough samples to find that perfect one. So, I looked around for several months, not totally convinced I could unload the Taylors for something I would find better… It would have to be a helluva a guitar to move me forward…
Then, one day I was noodling through the Dave’s Guitars website, which I do on occasion, and found a guitar worth considering… way worth considering… It was a Collings semi-hollow bodied electric guitar… At that moment, Dave’s inventory contained four Collings electrics, two of which were semi-hollows. I’ve been aware of Collings since I first picked up a Yamaha guitar in the early 90’s… In guitar magazines of the time, Collings advertised factory produced but immaculate, boutique quality acoustic guitars that successfully replicated the highly sought after pre-war Martin aesthetic. They were top-drawer prestige guitars, reserved for the most committed players. The prices too were astronomical.
Taylor 914ce
I have a brief story, from a few years ago, about my first, in person, interaction with a Collings guitar. When I returned to serious guitar playing about 4 1/2 years ago, I took lessons in Rochester, MN while I was up there for an extended period of time receiving radiation treatment. I found a very nice re-introduction-to-the-instrument teacher at Avalon Music, a local store, which sadly no longer exists. I remember my teacher playing some nondescript beater guitar during lessons, which took place on the second floor of the store.
Downstairs the owner sold guitars, specializing in Taylors, a brand that I regarded very highly, and after several weeks, I traded in an older Taylor 700 series for a drop dead beautiful Taylor 914ce, a top of the line spruce and rosewood grand concert sized guitar… there are arguably not many guitars better than that 914 in both design and quality… The purchase was a statement to myself that I would fight through the radiation treatments and come out the other end… When I showed up at my next lesson with the new axe, my teacher was apoplectic when he saw the guitar… why, I am not totally sure, but perhaps he felt “shown-up” by this lovely instrument residing in a rusty old reentry guitar player’s hands… Well… the next week my teacher returned to the lesson room with a Collings in his hands! I suppose he wanted to show me who ruled… it was an enviable guitar, both in appearance and how it sounded… I made note…
So, back to the future… There it was on Dave’s website… A Collings guitar, but not an acoustic… this one was electric… I’d been vaguely aware of Collings’ electrics for a few years… Primarily because a recent Facebook acquaintance purchased a pre-owned solid body version called the City Limits (inspired by the Gibson Les Paul)… he made quite a public production of his purchase and was way pleased with himself…
Gibson ES-335
After my dalliance with the Taylor Solidbody and some in-shop fiddling around with a Fender Strat, I was done with planks (solid body) guitars… As a dyed-in-the-wool acoustic player, the semi-hollow electric is, in my mind, a perfect complement to my style of playing, which is largely finger-style and bottleneck country blues. A highly regarded, and prototypical semi-hollow bodied guitar is the Gibson ES-335. There are others like the Gretsch Falcon, but the ES-335 has legendary status.
If you are curious as to what a semi-hollow bodied guitar is, I borrowed a few shots off the Collings website below. You can see below that the Collings guitar body is routed out of a solid piece of mahogany where the hollowed chambers on each side of the center are visible. The hollow chamber gives this guitar its characteristic tone, which differs significantly from a plank guitar. According to the Sweetwater website, “These guitars… [offer] the tightness and focus of a solidbody electric guitar but with a hint of that more round, acoustic tone of a hollow guitar.” I would agree with that…
Center Block
Routing Out the Hollow Chambers
Finished Lower Body with Center Block and Adjacent Chambers
The term, semi-hollow body comes from the practice of inserting a block of wood into the center of the guitar between the hollowed chambers. The carefully designed Collings center block can be seen in the above photo on the top left. The center block reduces the propensity for feedback when the guitar is played at loud volumes. Not all center blocks are equal and can affect the tone of the guitar by how it’s designed and what it’s made out of. Design versus tone of the center block is above my pay grade, but from what I’ve read, the precision of the center block design is one of the reasons a Collings electric commands such respect and stands out with tonality.
As I dug deeper into the Collings aesthetic, I found this wonderful overview of their electric guitar production:
And here, world-class guitar player Charlie Sexton speaks to the design of Collings electrics… He is playing a SoCo, which is one of the Collings designs I was considering… it is a semi-hollow bodied guitar with a single cutaway, as opposed to the I-35, which has a double cutaway, giving it the characteristic “mouse ear” profile similar to the Gibson ES-335… Anyway, below you can hear Charlie wax poetically about Collings electric guitar design…
If you are wondering who Charlie Sexton is, one of his main gigs is lead guitarist for Bob Dylan’s touring band. Below are a couple of shots I took of Dylan and Sexton playing in Cedar Falls, IA ten years ago… a great show!
If you really want to understand what distinguishes Collings guitars from all the rest of production instruments, then you have to understand the singular drive for design and manufacturing excellence that Bill Collings demanded of himself and those who worked with him… sadly Bill Collings succumbed to cancer in 2017… here’s a brief biography of this extraordinary man:
So, after due diligence I concluded that purchase of a Collings guitar could be a real “jewel in the crown” acquisition. There were some Collings electrics available pre-owned on Reverb, but in my case I thought purchasing new would be, perhaps not least expensive, but the best route for me. Now, to those of you who read my blog this decision probably comes across as contradictory. This is because I wrote a whole blog entry on the cost-benefits of buying used; however, I’ve also been burned on used purchases mostly because I do not possess the wherewithal to identify problems with a used instrument, and they do exist, such as I’ve experienced… i.e. poor set-up, cracked lower bouts and twisted necks…
To purchase a new guitar, it made perfect sense to me to shop for a Collings at Dave’s Guitars in LaCrosse, WI which is about 2.5 hours by car from my home. Last winter, before the attack of COVID 19, I purchased a National guitar from them and it was, as I wrote on this blog, an excellent experience. Nevertheless, I was still tentative because I had two guitars to trade and there was still the overall sticker price on the Collings guitar which was a bit prohibitive… I proceeded to see what I could work out, and was pleasantly surprised… Overnight, I received two very fair offers for the Taylors and they reduced the new guitar’s price by 15% because it was a 2018 model and had been hanging around the store far longer than Dave wanted it! So it was off to Wisconsin to test the guitar and make a deal!
In Dave’s parking lot…
Because of the pandemic world we live in, Dave’s only took clients in the store by appointment, which I promptly made for the next day. The following morning I got in my car at 7:30 am to make a 10:30 appointment.
My wife was a bit anxious about me making the trip as Wisconsin was a COVID 19 hot zone, and this was my first trip out of town since the pandemic’s onset in mid-March, 2020. Undaunted, I grabbed a mask, stuck a carbon filter in it, and took off. It was good to get out and it was a pleasant drive through the late harvest farm fields and small, backwater towns of Iowa. I had a full tank of gas so I would not have to expose myself to the virus by making any unnecessary stops along the way. Making good time I arrived 30 minutes early and it was especially nice that they took me right in so I would not have to sit in a cold car for 30 minutes! To the left you can see me in the parking lot, with the iconic Dave’s sign over my shoulder.
A pair of Collings semi-hollow bodies… the SoCo in the foreground and the I-35 behind.
There was no time wasted, which suited me… The handful of floor staff are always very pleasant and were all masked up and pretty good about physical spacing. Nevertheless, I decided to get in and out as soon as practical; however, I still wanted to take my time checking out the Collings electrics.
I dragged my two Taylors in for the Sales Manager to look over, and he guided me over to the store section that had a handful of Collings guitars hanging way up high to keep the hoi polloi from pawing over them. I narrowed the choices down to the I-35 Deluxe and a SoCo. Curiously, Bill Collings decided to name his electrics after the roadways in and around Austin, Texas where his factory is located.
Inside Dave’s… dropped the mask momentarily for the photo…
Fortunately, I was able to plug into a Mesa Boogie Fillmore 50 amp like I have at home. I spent most of my time with the I-35, which is the guitar that initially moved me into undertaking this journey… the SoCo was nice but did not call to me. The whole process was a bit stressful… I was not warmed up, nor was I acclimated to the I-35’s fretboard and neck so my playing was not particularly admirable… no one seemed to care, but they could hear me, so I was a little rattled because I can play better than I did in the store.
Eventually, after floundering around for about 30 minutes with the I-35, I decided to acquire it because I was confident, given some more time that I’d be able to play this thing and it was sweet to my sensibilities. I was particularly taken by the capacity to separately control the volume and tone for each pick-up and to blend the two together when played simultaneously, something neither of my Taylor electrics could do… Booyakasha!
While we were closing the deal I had the great good fortune to meet the Dave, who was in an exceptionally good mood because he had just acquired a vintage “transition model” Gibson ES-335 for his extensive, museum quality guitar collection housed on the second floor of the store. They wiped my new Collings down, put fresh strings of my choice on it (NYXL’s), and then threw in a Dave’s Sweatshirt to boot! I was out the door and on the way back home in about one hour… All in all, shopping for premium guitars is a great experience at Dave’s!
Ameritage Case Damage… a Tolex tear on the top of the case
My only criticism of the purchase process was the condition of the guitar case. Collings sources out their cases for electric guitars from the Ameritage company. They are premium solid cases, but frankly, I think both Taylor and National do a better job with their cases in fit, appearance and interior appointment. In a video I recently watched, Bill Collings also expressed some dismay with sourced-out cases and in response built a line of cases for some of his high-end acoustics, but in the end dropped the case business project because it’s too expensive.
Red Bubble Collings sticker…
Further, and most irritating, the case that came with my guitar was damaged. The Tolex coating was torn about the width of a thumbnail and could be pulled back to expose white fibrous matter beneath. There was also some scuffing on the case too… Besides being ugly, I was concerned the tear would continue to propagate over time. I should have made a point about the damage, because I found out later that they had the ability to repair the case in the shop, but I wanted to get the hell out of there and get into my car away from other people. In the end, in a very nice personal touch, Steve McCreary, General Manager of Collings guided me, via telephone, through the repair process. The case, though not perfect, looks pretty good now. Even so, I decided to acquire a Collings sticker from Red Bubble and laid it over the repair so I wouldn’t be irritated by it anymore…
Collings I-35 Deluxe
Now let’s review the guitar… Holistically, it is a stunning example of industrial art. When I’d mentioned to Steve McCreary (see above) that I thought the guitar was an object of fine art, he responded saying that “we [Collings] really appreciate when someone gets what we do here…”
The guitar has a mouse eared profile/shape reminiscent of the Gibson ES-335 from which it is inspired, but Bill Collings, after thorough research, reduced the lower bout width by an inch and designed more angular curvature, making the guitar somewhat smaller and lighter thus enhancing it’s playability. I’m not a big guy, so the smaller profile had greater appeal to me, especially after coping with the larger bodied Taylor T3 and the Gretsch Falcon, which was really a beast. While I was at Dave’s playing the Collings, the sales manager brought over an ES-335 and it looked large and unwieldy by comparison. I said, “please take it away…”
Solid Honduran mahogany lower body and neck
What you pay for when you acquire a Collings is engineering, design, manufacturing precision and all around fussiness. I don’t think there’s a guitar manufacturer who puts more care into high end wood quality than Collings. Only the finest woods are selected for their instruments, considering variables such as appearance/figuring, moisture content, tensile properties, specific gravity, and most importantly acoustical responsiveness. The I-35 is comprised of a carved, solid flamed maple top, the body is routed from a solid piece of Honduran mahogany, with a single piece mahogany neck as well.
In my mind’s eye, I imagined the guitar would be red, but in reality this particular model’s color was referred to as “amber sunburst,” which does a nice job of displaying the soundboard’s flamed Maple striations underneath the multiple layers of polished lacquer. This is my first lacquer finished guitar and it is remarkably shiny and classy looking.
The lower bout, with controls, 3 way switch, F holes, and bridge area visible.
Here it is very important to point out that not all semi-hollow bodied guitars are built the same. As shown in photos earlier in this post, Collings routes out the lower body from a solid piece of mahogany and the top is carved from a single piece of solid maple. Conversely, the Gibson ES-335 is manufactured from laminated maple and poplar layers and constructed similar to an acoustic guitar where the sides, back and top are separately cut or shaped in a press and then combined with glue. The center blocks are also engineered quite differently from each other. To me the solid wood routing of the lower body, the art-carving of the top, and the precision engineering of the center block pushes the Collings I-35 to a completely different aesthetic level in construction and subsequent tonality. During roughly the same time period Gibson produced a similar “tonally carved” solid wood design in limited quantities that they designated the CS-336, which I think is available by special order through their custom shop.
On the image shown above, you can see the four tone/volume control knobs, the body binding, and the pick up rings are all manufactured from grained ivoroid. Ivoroid is a plastic-like substance that is created by dissolving cellulose in the form of short cotton fiber and then restoring it through extrusion into a solid form. The grained version is extruded to give it fine lines to simulate ivory, which was considered a luxury material since ancient times. Obviously grained ivoroid production and its use is far better than killing animals such as elephants to acquire the substance. The ivoroid knobs and pickup rings are custom made at the Collings shop. It’s very satisfying to get up close enough to the ivoroid to see the fine grain lines or to twirl the tactilely pleasing knobs. For an acoustic guitar, I prefer wood binding, but almost all electrics use some sort of manufactured substance for bindings and grained ivoroid is about as cool as you can get.
Tail piece/bridge section… note the section of grained ivoroid pickup ring.
This particular version of the I-35 uses a clean and neat appearing Kluson bridge and tail piece assembly which is fairly common hardware for Gibson semi-hollow bodies. In contrast, my Taylor T3 semi-hollow body deployed a heavy, cluttered Bigsby, which I never really used to purpose, so I don’t miss it, particularly during string changing.
The pickups are where the rubber meets the road for an electric guitar. Bill Collings selected vintage-like Low Wind Lollar Imperial humbuckers for this guitar.
The combination of “throwback” 1950’s wiring, the low wind humbuckers and the vintage pots and caps are the “pixie/fairy dust” that Collings sprinkled into the guitar to create the vintage sound he was searching for. Having never played a vintage ES-335 nor possessing the ear to recognize one, I can only take the I-35’s spec on face value for being “sonically vintage;” however, I can attest that it is a fantastic sounding electric guitar, at least to my ear, my wife’s and my friends who’ve heard it.
As to whether the I-35 Deluxe produces verifiable vintage sound, that may be open to debate. For example, the ES-335 was manufactured with a laminate top, while the I-35 is unusual in that it has a solid top. The solid, non-laminate nature of the top was really appealing to my own aesthetic, so I like it and the “unique” sound it produces… it possesses throaty, round, woody, clean and defined note definition, with excellent sustain.
My guess is some of the fussier former Gibson/Gretsch players did not like the sound palette created by the solid top because their ears were more acclimated to the tonality created by laminated wood. To that end, Collings introduced an LC (laminated top) version of the I-35 and it is very popular. Nice for them, but I’ll take the sold top baby!
Fretboard
Headstock
Bindings
In the images directly above you can see some of the reasons why my I-35 is also designated Deluxe. The rosewood fretboard is adorned with parallelogram inlays, the headstock tuners are sourced from Gotoh, and equipped with grained ivoroid knobs, and as I mentioned earlier grained ivoroid appointments grace the instrument throughout.
In one of the Collings marketing videos, Bill Collings describes what elements are key to excellence when manufacturing an electric guitar… He says tone is a given… the guitar must feel right and be eminently playable, and finally it has to have a look… all those elements combine to give the guitar its character… that Collings character…
It’s one thing to read the marketing materials about Collings guitars, but it’s another thing to experience it first hand. They truly are remarkable instruments… As I said earlier the I-35 is a manufactured object of art…
Below I am adding some performance examples for my I-35… you can find other jazz and arty examples for how the guitar plays by accomplished musicians on Youtube, but my sound cuts will be just a regular guy doing the best he can to make some music. My genre is country blues, which I play on acoustic guitars, resonators and also electric guitar… I am no Muddy Waters, but he played the same music on all of those same type instruments… Here goes…
First, here’s a rendering of Cocaine Blues which is a Stef Grossman arrangement of the Rev. Gary Davis tune. I am playing through a Mesa Boogie Fillmore 50 amp on a clean channel (which I almost always do). I am blending both pickups with the neck pickup predominating. All my pedals are disengaged except my Dunlop Echoplex, which is set for a slight slap back:
Second is a rendering of Coffee Blues which is a Happy Traum arrangement of the Mississippi John Hurt tune. Again, I am playing through a Mesa Boogie Fillmore 50 amp on a clean channel and I am blending both pickups with the neck pickup predominating. All my pedals are disengaged except my Dunlop Echoplex, which is set for a slight slap back, and I added my Boss RV-6 Reverb which is set on Hall:
Third is a rendering of Police and a Sergeant which is a Catfish Keith arrangement of the Reverend Robert Wilkins tune. Again, again, I am playing through a Mesa Boogie Fillmore 50 amp on a clean channel and I am blending both pickups with the neck pickup predominating. This time the pedals include my Dunlop Echoplex, which is set for a slight slap back, my Boss RV-6 Reverb which is set on Hall, and some light vibrato through my Boss VB-2w pedal:
Finally, here’s a partial rendering of Long Distance Call which is a Tom Feldmann arrangement of a Muddy Waters tune. This my first bottleneck tune in standard tuning. As with the above tunes, I am playing through a Mesa Boogie Fillmore 50 amp on a clean channel and again I am blending both pickups with the neck pickup predominating. Pedals include a Jangle Box Compressor, a Mesa Boogie Tone Burst Drive, a Boss CH-1 Super Chorus, a Boss TR-2 Tremolo, a Dunlop Echoplex, and my Boss RV-6 Reverb which is set on Hall.
Well… there it is… my review of my new Collings I-35… I’ll sum it up by saying, I think I will keep it and will hand it down to one of my kids one day… it’s a family heirloom now!
If you have any comments please leave them below… and thanks for checking in!
