Submitted by Nick
Hey, if you check this video out at 2:18 in you can see the 1980’s model martenot, the only difference, to jonnys is the ring and the stand its sitting in. http://www.youtube.com/watch?v=Y6ANDQuMbgU
Thank you for the submission! Nice find, that certainly is an 80’s Martenot, and the student model at that! Different case as you mention, so I wonder if it was part of a different run from the same era, or if some from the same run featured different enclosures.
The ring looks to be the same as that on Jonny’s Ondes Martenot, however. Do you perhaps mean different compared to the ring on his French Connection, which is noticeably different (and lacks the mechanism to hold it to one’s finger, much to my annoyance).
It really is a nice guitar, isn’t it? Great that we don’t have to go entirely broke to get a Thom-like SG anymore. I don’t believe that it is a temporary model. I’ve done some reading on it, and I haven’t seen anything to indicate that it is. Usually companies are open about limited products, so the fact that I see nothing of the kind makes me fairly sure that it’s intended to stay. That is unless there aren’t sufficient sales to merit it’s continued production, but I doubt that that will be the case.
By far the most significant sonic difference here will be the pickups. There are various differences in construction and build materials, but those are predominantly aesthetic features. “The Original” has Gibson ‘57 Classic Humbuckers, whereas the VOS SG Reissue has Gibson Burstbuckers.
The ‘Burstbuckers are probably a little more accurate to the original SG sound. However, that difference probably isn’t significant, and I don’t think that it is enough of a factor to rule in the favor of the VOS SG. Even if the Burstbuckers were so much better than the ‘57’s that “The Original” sounded like dirt in comparison (they don’t), you could just buy a pair of Burstbuckers and stick them in “The Original” for FAR less than the price difference between the two guitars.
Unless money totally isn’t a concern for you, “The Original" is definitely the better option. This isn’t to say that the VOS SG isn’t a beautiful instrument, but I don’t really think that it’s worth the money if your focus is the sonic side of things. And it’s not as though The Original isn’t a high quality instrument as well.
Also, be aware that the 1961 Les Paul Tribute, the SG Standard, and The Original all have the same pickups, so the main differences between them are the types of tailpiece/vibrato (or lack thereof), tuners, and slight shape differences. The Original features the same type of tailpiece as the SG’s that Thom has, so for the most accurate (besides the VOS) The Original is the way to go. However, if you get an SG Standard and put Burstbuckers in it, I’d expect it to sound quite close to the VOS SG. And that said, even with the stock pickups it will still sound extremely close to Thom’s tone, through the right amp.
No sheet music exists in a form which is commonly available, unless some fan has made some. The only sheet music which likely exists specifically for the Ondes was probably adapted from the original strings sheet music, to be used for that live performance with six Ondes. As I understand it, Jonny recorded the part on the Ondes, and transcribed the strings parts for the recording from it. As such, however, you could just figure out and transcribe the strings part, and you would have the Ondes part (consisting of twenty-four voices).
Live, Phil triggers samples of the beat recorded beat using the Roland FC200. Thom is triggering the synth sequences with the Novation Bass Station.
On the studio version, it sounds like Colin with his Akai MPC60 might be responsible, thought it could also be his Roland VS-1880, or a combination of the two. Jonny’s modular, as well as various other things, are probably somewhat responsible as well. The original noises which inspired the track were made by Thom on his Yamaha QY70, but according to Thom “Jonny and Colin disappeared off to a different part of the house and emerged a week later with this really dynamic sounding rhythm track, really”(Official Hail To The Thief Interview CD, april 2003). According to Ed,”The Gloaming’ and ‘Backdrifts’ were pretty much fully formed on a laptop having used sounds that Colin and Jonny had originally processed”(XFM, may 28th 2003). So I think that Colin and Jonny probably recorded beats, or at least sampled sounds, from the Akai and/or the modular, and those were put together with vocals etc on a laptop (probably by Thom on his). Since Thom mentions a rhythm track, Colin and Jonny may have recorded the bass and even the synth at that time as well.
Quotes thanks to CitizenInsane.
He likes how the Shredmaster sounds through it, simple as that.
There are explanations for why that specific pedal might sound better through that specific solid state amp (lack of tube sag, totally different EQ from the Vox), but those probably aren’t directly the reason that Jonny almost* never uses the Shredmaster with the Vox. The direct reason is that different pedals sound differently through different amps, and Jonny happens to find that combination to be particularly appealing. In addition, having two amps like that allows easy switching from a setup with light distortion(SD1), delay(RE20), and reverb(RV3), to one that lacks those features but is heavily distorted(Shredmaster). This also means that he can have each set to a different volume, so when he switches back to his heavily distorted tone at the end of Airbag, for example, it’s a fast change to a loud roar of distortion. In addition, using the Shredmaster at a high volume before the Vox would distort the amp and cause the Shredmaster’s own distortion to be obscured. Through the Fender Eighty-Five, changes in input volume won’t change the level of gain of the amp (so long as only the clean channel is used), and so Jonny can use his volume pedal to adjust the volume of his distorted tone without changing the amount of distortion(there are many great examples of this here). Basically, there are quite a few reasons both sonically and practically for why the Shredmaster is used exclusively with the Fender.
Also note that the AC30 doesn’t have a “clean channel.” All of its channels offer distortion when the gain is turned up sufficiently (and on a Vox they don’t need to be turned up all that much before it starts to distort). The only difference between the channels is the type of EQ available, and the addition of tremolo in the case of that channel.
I am glad that my advice helped! I definitely recommend switching to the blues later if you want to get closer to the later Radiohead clean sound, but the greenbacks sound great in their own right, particularly distorted.
*Haiti Benefit show had a slimmed down setup.
They seem to only rarely use the Top Boost or Vibro-Trem channels on their amps, when their amps even have those (the Dave Peterson Vox’s don’t). As such, we don’t really need to worry about those setting unduly. The only things left rom what few very blurry images we have which show their AC30 settings, Thom seems to have the tone cut completely back (no cut) and the volume at about 10 o’clock and Jonny seems to have the tone cut set at noon and the volume set similarly to Thom’s. Though not in use, the treble and bass knob’s on Jonny’s AC30 were set at about noon, and the TB channel’s volume was at about two o’clock.
Do you mean the laptops of the band’s techs? Those are indeed running Ableton in addition to Kontakt.