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thanks for that!

and props to Hank!

Wow what a joyful noise RIP both: masters, monsters

You have admire the guys who can pull this off, one just about nailing Terry's solo note for note, the other getting the "spirit" but not following the script exactly.

There's an album -- they play Hank Williams tunes...

That was great! I'm a huge Roy Clark fan, but I really LOVED Joe Pass's rhythm comping.

Awesome!! Thanks for sharing that video. 👍

Wow, thanks for posting this.

That's an approach used by Nearly Dan, a SD tribute band who have been going for nearly 30 years. There are a couple of iconic solos - Larry Carlton's Kid Charlemagne solo and the Phil Woods alto solo from Dr. Wu, for example - played as on the original, but otherwise it's up to the player. Incidentally, for a different interpretation of the Steely Dan canon, Chris Ingham's Quintet (aka Steely Jazz) do a neat job...

I lean both ways... there are times where it's "play what you feel" and there are times where it's "play what they played". Depends on the song, and rarely do I have the skill to match the original, it's going to be an approximation! I don't worry about getting the exact tone or effect, but I want the notes.. the "tune" to be pretty close. It's like when Carlos and Tomita started interpreting classics. Tomita's Snowflakes are Dancing sounds nothing like any other versions, but the tune is definitely recognizable. If you start changing the notes, playing something totally different, it's NOT Snowflakes! When the Vanilla Fudge revamped multiple songs, they kept the tune. Season of the Witch, Shotgun, You Keep Me Hangin' On. It was reinterpretation, and it works. But watching Jeff Beck do Les Paul licks on How High The Moon sounds so true to Les' vision that it's a joy to hear! There's room for both situations.

What you’re describing is the difference between: interpretation — making the music yours imitation — recreating someone else’s choices Tribute bands live in the second category. They’re about fidelity to a recording, not fidelity to the musical idea. That’s why they obsess over note‑for‑note solos, exact tones, exact phrasing, exact stage moves. It’s a reenactment. But in classical music, nobody treats the first performance of a Mozart symphony or a Beethoven concerto as the “correct” version. They treat the score as the real object — the blueprint — and every orchestra and conductor is expected to bring their own interpretation to it.

This!

Sweet guitar and a killer setup. I have a DSL40C I used for a few years now, but I have since started using a Kendrick 5E3 Tweed Deluxe amp. I'm really surprised how great it sounds using both single coil Fenders and of course my Heritages. No tube screamer for me, I like the Timmy a bit better. Bad Monkey if I want to kick in some saturation. The Fender Champion II seems like an interesting amp, I was considering one of them when I finally found a Peavey Bandit Redstripe (I found that amp crunch channels sound nearly the same as a DSL40.)

an espresso pedal! what a great idea hah

LOL, I had to double check my text to see if I misspelled expression-pedal! But I didn't. 🤣

Thanks for posting that, it was really good! at first I thought it was the same as the vid I posted, but it's different. I guess he always swings his arms like that when he enters a room 😁

I'd buy that if it had an espresso machine too. A footswitch controllable espresso machine, with an arm that brings it up beside the microphone

I integrated all this stuff by using a Fender ToneMaster Pro. You can use it as a modeling amp with a full-range speaker or just sending it to the PA board directly if you like. However it is also designed to work well as a pedal board, and it actually does that really well and you get your choice of hundreds of effect pedals and a huge number of presets you can build just by drag-and-dropping them on the screen. You can even change the impedance load the guitar sees, so it mimics stuff like old-vintage fuzz-faces that really load down the guitar (which alters the tone). The board also has two relay-contact outputs, so if you want to build presets that use the built-in tremolo effect in your old Fender amp, or turn the amp's reverb on and off, or operate channel switches from the Tone Master Pro itself. The Tone Master pro also processes MIDI commands and allows for two expression pedals too. I was building a new pedal board with the pedals I've been collecting since I was a teenage in the early 80's. Then I looked at how valuable they've become and how big and heavy the pedal board was becoming. It just made more sense to get the Tone Master Pro. It does a lot. It also can simultaneously accept a low-Z microphone and run a vocals chain with a preamp and compression/limiter at the same time.

I use a HOTONE Ampero for my Quad Cortex and I have no complaints.

Looks like I will go with a Suhr microMIDI to do the conversion for a single amp two channel TRS switch. Reverb has sold used ones in the $70-80 range and new are about $120 shipped

I still love rack systems!

How about some audio clips so we can hear the results?

On a related note, I feel pretty happy I was able to get another rack setup going and share resources between them. I used my Hughes & Kettner Access preamp (H&K's response to the Triaxis), which has great tone and feel. I placed this into the effects loop of my Rocktron Prophesy allowing me to use the effects of the Prophesy, which are deeply configurable and sound great. I used the built in responses to drive the front end of the Access (compression, wah, hush,...) and the output effects of the prophesy, very conparable to an Intellifex on steroids.. At the same time I disabled the Prophesy's presamp. I knew this was possible years ago, but finally got around to figuring out the workable paths. Both preamps can be switched in/out via MIDI so it is like an XOR situation. Output goes into my Legacy III which drives a matching 4x12 cabinet with Greenbacks.