So I've been thinking again lately about how Jerry's loudness and proximity to the speakers really is a significant factor. As clean as his tone was, you can hear all thru the '70s and 80s at times where his totally clean tone would be on the edge of feedback, just enough to make the notes last longer and kind of bloom a bit after picking instead of just a linear decay. Seems to me that this is yet another factor as to how he got away with such a clean and un-compressed tone and had such fullness and fatness to his notes. Sure he could clip his pick attacks by driving the rig hard, but most of his sound was super clean. Seems that when we try to get a Jerry tone at low volumes, it just doesn't quite happen like it does when we're cranked and close to the cabinet and the speakers are being stressed and blasting that high SPL back into the guitar generating a subtle bit of feedback.
I've looked at a lot of '70s and '80s photos from all angles and it seems like Jer would often (when not at the mic singing) be just about 2' or so in front of his cabinet, feeling all that stuff in the gut and subjecting the guitar and strings to that high SPL causing an interaction and feedback loop.
Anyone??
I've looked at a lot of '70s and '80s photos from all angles and it seems like Jer would often (when not at the mic singing) be just about 2' or so in front of his cabinet, feeling all that stuff in the gut and subjecting the guitar and strings to that high SPL causing an interaction and feedback loop.
Anyone??
... and it's just like any other day that's ever been...