if you'd like to hear more of this Danelectro, go to my myspace http://www.myspace.com/leilolai

Though i don't know all the players on the list below i thought this video would be found easier this way....

1. James Jamerson (Funk Brothers, session man)
2. John Entwistle (The Who)
3. Larry Graham (Sly & The Family Stone)
4. Chris Squire (Yes)
5. Jack Bruce (Cream)
6. Tony Levin (King Crimson, session man)
7. Geddy Lee (Rush)
8. Paul McCartney (The Beatles)
9. Louis Johnson (Brothers Johnson, session man)
10. Anthony Jackson (session man)
11. Flea (Red Hot Chili Peppers)
12. Marcus Miller (session man)
13. Les Claypool (Primus)
14. Chuck Rainey (session man)
15. Billy Sheehan (Niacin, Mr. Big, Steve Vai)
16. Geezer Butler (Black Sabbath)
17. Will Lee (session man)
18. Michael Manring (Attention Deficit, session man)
19. Nathan East (Eric Clapton, session man)
20. Rocco Prestia (Tower Of Power)
21. John Paul Jones (Led Zeppelin)
22. Abe Laboriel (session man)
23. Stuart Hamm (Joe Satriani)
24. Donald "Duck" Dunn (The MGs)
25. Dave LaRue (Dixie Dregs)
26. Bob Babbitt (Funk Brothers, session man)
27. Phil Lesh (Grateful Dead)
28. Steve Harris (Iron Maiden)
29. Jack Casady (Jefferson Airplane, Hot Tuna)
30. Cliff Lee Burton (Metallica)
31. John Myung (Dream Theater)
32. John Deacon (Queen)
33. Willie Weeks (session man)
34. Carol Kaye (session woman)
35. Aston "Family Man" Barrett (Bob Marley & The Wailers)
36. Verdine White (Earth, Wind & Fire)
37. David Hungate (Toto, session man)
38. Robert "Kool" Bell (Kool & The Gang)
39. Joe Osborne (session man)
40. Phil Chen (Rod Stewart, session man)
41. Oteil Burbridge (Allman Brothers Band)
42. Freddie Washington (session man)
43. Nathan Watts (session man)
44. Louis Satterfield (Earth Wind & Fire, session man)
45. Andy West (Dixie Dregs)
46. Bootsy Collins (Funkadelic)
47. John Wetton (King Crimson)
48. Greg Lake (ELP)
49. Tim Bogert (Vanilla Fudge)
50. Mark King (Level 42)
51. Mike Watt (Minutemen)
52. Bernard Odum (James Brown, session man)
53. George Porter Jr. (Meters, session man)
54. Mike Gordon (Phish)
55. Bernard Edwards (Chic)
56. Ryan Martinie (Mudvayne)
57. Willie Dixon (session man)
58. Andy Fraser (Free)
59. Trey Gunn (King Crimson)
60. Dave Schools (Widespread Panic)
61. Berry Oakley (Allman Brothers Band)
62. Jerry Jemmott (session man)
63. Roger Glover (Deep Purple)
64. Bill Black (Elvis Presley)
65. "Sweet" Charles Sherrell (James Brown, session man)
66. Phil Lynott (Thin Lizzy)
67. Billy Cox (Band Of Gypsys)
68. Bruce Thomas (Elvis Costello & The Attractions)
69. Gary "Mani" Mounfield (Stone Roses)
70. Felix Pappalardi (Mountain)
71. Mike Rutherford (Genesis)
72. David Ellefson (Megadeth)
73. Matt Freeman (Rancid)
74. Ronnie Baker (MFSB)
75. John Alderete (Racer X, Mars Volta)
76. Robert Trujillo (Suicidal Tendencies)
77. Duff McKagen (Guns N Roses)
78. Marshall Lytle (Bill Haley & The Comets)
79. Bill Gould (Faith No More)
80. Ray Pohlman (session man)
81. Me'Shell NdegéOcello (session woman, solo)
82. Doug Pinnick (King's X)
83. Tommy Cogbill (session man)
84. Glen Cornick (Jethro Tull)
85. Pino Palladino (session man)
86. Randy Coven (Steve Vai)
87. Tim Commerford (Rage Against The Machine)
88. Doug Wimbish (Living Color)
89. Thomas Miller (Symphony X)
90. Mick Karn (session man)
91. Jeff Ament (Pearl Jam)
92. Ron Wood (Jeff Beck Group)
93. Michael Lepond (Symphony X)
94. Dave Hope (Kansas)
95. Bill Wyman (Rolling Stones)
96. Leo Lyons (Ten Years After)
97. Timothy B Schmit (Eagles)
98. Rex Brown (Pantera)
99. Bobby Sheehan (Blues Traveler)
100. Tom Hamilton (Aerosmith)

Duration : 0:1:19

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This is a quick rockabilly instrumental using a 1950's Danelectro six string bass and the Tremulus Lune guitar effects pedal I built yesterday. The guitar is a 1994 Peavey Reactor and the bass is a 1974 Ibanez Jazz bass, all played through a 1992 Crate Vintage Club 50 amplifier. I copped the theme from Ghostriders In The Sky in the intro if that melody sounds familiar to you.

To listen in stereo click on this link and listen in High quality:

I HOPE YOU LIKE IT !

Bill

Duration : 0:3:3

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I have a Squier Strat and a Peavey Rage 258 amp.

amp controls:

switch to select clean or gain
pre gain and post gain (pre gain=dist. post=vol.)
clean volume knob
EQ - low, medium, high (bass, med., high)
3 way selector for tone, one is called stack, it mimicks larger amps (also muffles sound, good for metal/palm muting), vintage and modern are similar but vintage is sharper and cleaner.
all dials go to 10 of course

and on the Squier if you dont use strats there's neck, mid and bridge pickups, two tone and one volume control.

I'm practicing pentatonic scales and working on getting rid of the buzzes, ive still got small ones which are barely audible unless i plug into the amp, and i have to concentrate more on what im listening to than playing to hear them, so i want them to be as clear as pssible.

Well when I write a son I always use an acoustic guitar because it makes an ear piercing buzz that lets you know that you made a mistake.

Always learn something new on acoustic guitar or electric on clean. Keep the gain down. That pick up positioning to the center of the guitar here the most resonating of the body happens and you will know..

My clean is set up like this from 1 -10 (1 the lowest 10 -the highest)
Bright - 8
Bass - 9
Middler - 4
Gain - 0
Treble - 3

The bright tones will give the electric guitar an acoustic sound and warmth. Bass will give it the right amount of bounce needed.
Gain provides a more overdrive or distortion sound so you want that taken off as much as you can. IT also provides more boost to make a gritty sound.

Write and practice slow, Always sit up right with a Straight back. Guitar should rest in between your legs, The guitar should be at a 49 to 48 degree angle from the ground while it is on your lap.

Sit on a bar stool with the left leg (for right handed players) up higher than the right leg. OR get a guitar foot stool. To help keep the guitar in one position.

Guitar effects are only used to help provide a more intense sound you wrote in clean. When you write a song you should know where you want what guitar effect as you write it in clean.

The distortion will belend the sounds to make them sound more natrual. Where clean or acoustic will let you know where you messed up.

I have a Squier Strat and a Peavey Rage 258 amp.

amp controls:

switch to select clean or gain
pre gain and post gain (pre gain=dist. post=vol.)
clean volume knob
EQ - low, medium, high (bass, med., high)
3 way selector for tone, one is called stack, it mimicks larger amps (also muffles sound, good for metal/palm muting), vintage and modern are similar but vintage is sharper and cleaner.
all dials go to 10 of course

and on the Squier if you dont use strats there's neck, mid and bridge pickups, two tone and one volume control.

I'm practicing pentatonic scales and working on getting rid of the buzzes, ive still got small ones which are barely audible unless i plug into the amp, and i have to concentrate more on what im listening to than playing to hear them, so i want them to be as clear as pssible.

Well when I write a son I always use an acoustic guitar because it makes an ear piercing buzz that lets you know that you made a mistake.

Always learn something new on acoustic guitar or electric on clean. Keep the gain down. That pick up positioning to the center of the guitar here the most resonating of the body happens and you will know..

My clean is set up like this from 1 -10 (1 the lowest 10 -the highest)
Bright - 8
Bass - 9
Middler - 4
Gain - 0
Treble - 3

The bright tones will give the electric guitar an acoustic sound and warmth. Bass will give it the right amount of bounce needed.
Gain provides a more overdrive or distortion sound so you want that taken off as much as you can. IT also provides more boost to make a gritty sound.

Write and practice slow, Always sit up right with a Straight back. Guitar should rest in between your legs, The guitar should be at a 49 to 48 degree angle from the ground while it is on your lap.

Sit on a bar stool with the left leg (for right handed players) up higher than the right leg. OR get a guitar foot stool. To help keep the guitar in one position.

Guitar effects are only used to help provide a more intense sound you wrote in clean. When you write a song you should know where you want what guitar effect as you write it in clean.

The distortion will belend the sounds to make them sound more natrual. Where clean or acoustic will let you know where you messed up.

This is the second offering in my Vintage Lab PAF pickup sets, these are wound to Peter Green specs, and include the flipped magnet, and engineered to sound good with neck pickup flipped around as his was. This is a hotter set than the stock VL set, bridge at 8.6K, neck at 8.2K, both alnico 5. These are a little darker due to extra winds, but certainly are full of bite and harmonics galore. I am using the neck adjusted the same way Peter did, with the bass side of the neck slightly below the ring and treble side slightly up over the edge of the ring, as seen in his videos here on YouTube!

I'm using my '73 Vibrolux as usual, blackfaced and turned up for distortion, no pedals, no effects, just guitar and amp.

Please watch my other Vintage Lab video for a more average vintage type set you would find in Duane Allman's guitar etc. I also play my VL set in direct comparison to my real PAF equipped guitar so you can judge how authentic the two VL sets certainly are. Enjoy...
Dave Stephens
http://www.sdpickups.com

Duration : 0:5:36

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This is a soul wrenching testifying blues I wrote tonight called "Testifying Blues". I am playing the 1994 Peavey Reactor telecaster through my own custom-built El Saguaro effects pedal I designed and built myself, into a 20 watt 1992 Crate Vintage Club 20 tube amplifier. The bass is a 1974 Ibanez Jazz Bass played through a 1992 Vintage Club 50 with a 15" speaker.

NO EQ OR DIGITAL PROCESSING was added to the guitar sounds you hear, it was recorded dry just as it sounded coming out of the amplifier. The effect you hear on the lead & rhythm is my El Saguaro pedal.

To listen in -- S T E R E O -- type &fmt=18 at the end of the URL, or just click on this link:

Tempo is 60 beats per minute.

Recorded on the Yamaha AW1600 Professional Audio Workstation.

I HOPE YOU LIKE IT !

Bill

Duration : 0:6:29

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Owen O'Malley borrows his sister's Modulus Vintage J to demonstrate this high quality bass guitar's four-string prominence. Now that everybody knows, he isn't ever going to let this bass go.

See more on Gearwire.com.

Duration : 0:5:54

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This is the redone version of our old cover.. all learned mostly by ear so be nice. sorry for somewhat of bad quality.. its the best i can get to go on youtube. also, it is hard to hear the bass drum because of the click pad and i have to turn the drums way down because the cymbals are so loud. but we hope you enjoy

Check out our channel for our hardware specs

This is a guitar, drum, bass and somewhat vocal cover for Wires(and the Concept of Breathing)

jeff- drums(top left)
jeff- bass(top right)
jeff- coreys vocals
griffin- lead guitar(bottom right)
griffin- rhythm guitar(bottom left)

More cover videos to come soon!

Duration : 0:2:23

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Talk Talk - It's My Life bass cover played on my Squire Vintage Modified Fretless Jazz bass.

Duration : 0:3:54

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Yngwie Malmsteen - Echo Etude cover on 5-string Spector Bass guitar.

Yngwie Johan Malmsteen (pronounced /ˈɪŋveɪ ˈmɑːlmstiːn/ in English) (born Lars Johan Yngve Lannerbäck on June 30, 1963 in Stockholm, Sweden) is a Swedish guitarist, composer, multi-instrumentalist, and bandleader. Malmsteen became notable in the mid-1980s for his technical fluency and neo-classical metal compositions. Four of his albums, from 1984 to 1988, Rising Force, Marching Out, Trilogy, and Odyssey, ranked in the top 100 for sales.[1]

Malmsteen uses Fender Stratocasters, especially vintage instruments from 1968 through 1972. His Strats tend to feature scalloped fingerboards and DiMarzio HS-3 pickups, and (more recently) the staggered-polepiece HS-3 released as the Dimarzio YJM. He routinely disconnects the middle pickup and tone controls on his guitars. Malmsteen briefly used Schecter Guitars in the 1980s, who built him Stratocaster-style guitars similar to his Fenders. While in Alcatrazz, he also used Aria Pro II.

Duration : 0:2:0

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