Jimmy Herring Discussion

[seriel]

Does anybody have any inside info as to what brand/model humbuckers Jimmy installed in his Strats?

[jaystraw]

http://online-discussion.dhenderson.com/JimmyHerring/search.php?search_author=Jimmy+H seee next paragraph for gear and amp details...it's copied directly from Jimmy.

Amps: When I was playing with Jazz is Dead I was using a 50 watt 76 Marshall JMP head going through a 73 Marshall 4x12 cab with the original 25 watt Celestion speakers. With this amp I used a Tube Screamer and a Fender spring reverb unit. This was the lead amp, basically.
For the cleaner rhythms and chords I had a 64 Fender Shoman which also had a Fender spring reverb unit going to it. The speaker cab was another 4x12 Marshall with the original greenbacks in it wired to 4 ohms to work right with the Fender amp, which is fixed at 4 ohms.
Instead of using an A/B box, I used Ernie Ball’s Stereo Volume Pedal to switch between the two amps. When the vol pedal was all the way back, the Fender was the only amp you heard. If you push the pedal down a little you would hear the Marshall coming in. Push the pedal down further, and the Marshall would dominate. All the way down was Marshall only. It was a pretty cool way to do it but you had a lot of ground hums and stuff to deal with. In crappy clubs the power is not always the way it should be. Sometimes the light system isn’t separate from the power outlets your amps are plugged into. This creates some awful hums and noises that you can’t control and this kind of rig magnifies these problems.
When I started playing with Phil Lesh I brought the same type of rig to his gigs but quickly realized that the Marshall just wasn’t necessary in this music. It was just a little too aggressive. That’s when I started using a Fender Twin. Then I got hip to the Hughes and Kettner Tube Factor. It works great through a twin with a single coil guitar. It makes it possible to play clean solos and still get your sound up and over the band. It also has another gain stage that gets really distorted if you need it.
The next serious obstacle was the shaky stages in all the gigantic places Phil and the Dead play. I couldn’t use my spring reverb because when the drums started playing the stage would shake, making my twin sound like some kind of bomb went off. You know, the springs inside the tank were moving so much they would hit the walls of the tank, which makes that awful sound most of us have heard. The solution was to convert the external spkr. jack on the back of the amp to a Line Out. This made it possible to go from the line out, to a digital reverb, then to a Mesa Boogie stereo power amp which is connected to two 2x12 cabinets. The shaky stages didn’t bother the digital reverb. It worked great. Plus, this way, the twin was bone dry, no verb, and the other cabs could have reverb only. That way, if you’re playing in a big boomy room, the sound guy can just turn up the dry amp, but YOU can still hear all the reverb you want, without it going through the PA. A typical problem when playing those big boomy places is: Out front it’s really boomy and there’s a lot of natural reverb in the room , but on stage, you can’t hear enough reverb. So you turn your reverb up so it sounds right to you, and your sound guy is drowning in verb. By doing it this way, you eliminate that problem.


There you go...it's all 5 posts by the man himself, Mr.Jimmy Herring!

All sorts of gear answers from just the other day.
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