OWEN SOUND-May 11-2014
 

RICK: This tour segment winds up here in Owen Sound, Ontario, at the Bayshore Community Center / Arena. One more time with feeling! It's a beautiful day, the ice is out, and the building is warm! Stay tuned to find out where we perform next.

Re: OWEN SOUND-May 11-2014
 

Please note Michael's new gear..!

Re: OWEN SOUND-May 11-2014
 

What's he got??

Re: OWEN SOUND-May 11-2014
 

oh gosh - Rick told me and I have no idea !! - All I recall is it's new gear.. but I will ask Michael for details..

Re: OWEN SOUND-May 11-2014
 

Owen Sound Ontario 5/11/2014 –set list from Richard Harison
1. Sweet Guinevere
2. Cotton Jenny
3. Sea of Tranquility
4. Drifters
5. Don Quixote
6. Minstrel of The Dawn
7. Clouds
8. Wild Strawberries
9. Christian Island
10. Shadows
11. Beautiful
12. The Watchman’s Gone
13. Wreck of the Edmund Fitzgerald
14. Carefree Highway
INTERMISSION
15. Now & Then
16. Ribbon of Darkness
17. Sundown
18. All the Lovely Ladies
19. Never too Close
20. Painter Passing Through
21. I’d Rather Press On
22. Let it Ride
23. If You Could Read My Mind
24. Restless
25. Baby Step Back
26. Early Morning Rain
ENCORE
27. Rainy Day People.

Re: OWEN SOUND-May 11-2014
 

Michael said: "I've replaced the DX7 with another Yamaha keyboard. The MOXF8. I carefully sampled all of my older sounds for playback by the new keyboard providing a seamless transition. What is different is the performance. The MOX has 88 weighted keys versus the 61 plastic "synthesizer" keys of the DX7. As a result quite a bit more expression (dynamic and timbrel) is possible. It hasn't been formally okayed yet but I expect to take it on the next trip."

Re: OWEN SOUND-May 11-2014
 

Interesting! I would have thought he had weighted keys all along, but they sure are an asset for an advanced keyboardist.

Re: OWEN SOUND-May 11-2014
 

Tony you would think so, but the lever action (of something like the DX7) is something i certainly would prefer (for strings, organ etc) over the touch sensitive, weighted type of keys… Mike will probably really like the weighted action for his electric piano work, which ironically is my least favourite component of Gord live arrangements… if this leads to some new arrangements or alternative tunes to be soon added, then I'm excited… thx for scoop, char

Re: OWEN SOUND-May 11-2014
 

Kenyon and I were talking with Rick and telling him how great his tour photos are and Kenyon asked him to take more of the gear for the geeks out there..So he did..lol..And of course the details didn't stick so I had to ask Michael.lol..

Re: OWEN SOUND-May 11-2014
 

Hi,
- Thank you for asking Rick to post those
pictures (i run a studio) i like to see what they do (use)
- i appreciate it !
mike

Re: OWEN SOUND-May 11-2014
 

i can't tell any gear from these photos… is there another series? or only on FB?


Mike, her is some gear info from the official website:

Rick: uses a Kramer bass, has used Fender Precision and Musicman on stage

Barry: in concert, Premier drums (vintage '75) with a Pearl snare and Sabian cymbals. In the studio, several different sets. The most used is a set of Premiers (vintage '68), with many varied snare drums and Zildjian and Sabian cymbals

Mike: on stage a Roland JD 800 midi'd to a Yamaha DX7 and a Kawai K3. In the studio, whatever is available. In home Midi studio: Kurzweil PC88, Korg M1, Roland JV80, Yamaha TX 802, Korg M3R, all connected with computer program LOGIC

Carter: in concert, Breedlove 6-string acoustic; '67 Gretsch Country Gentleman

Gord: Excerpted from Acoustic Guitar magazine, January 2000, No. 85.

"Gordon Lightfoot plays a pair of 12-string Gibson B-45-12s from the 1960s.
He
uses two of them on stage: one in standard tuning, the other capoed at the
third fret with the lowest pair of strings dropped to D. The instruments
appear on Lightfoot album covers stretching back to the '60s, although the
guitar seen on the Sundown cover was lost on the road many years ago. The
cover of Lightfoot's earliest LP, Lightfoot, shows a Martin D-28 that was
subsequently stolen. He acquired a later model D-28, which he keeps at home
along with an ornate custom Brazilian rosewood dreadnought (seen on the
cover
of Dream Street Rose) by Ed McGlincey (220 Delsea Dr., Westville, NJ 08093;
[856] 742-8604), who has retired from guitarmaking for health reasons. On
stage, he also plays a Martin D-18 from the '30s or '40s.

In the last decade or so, Lightfoot added pickups to his acoustic guitars, a
change from the mic-only stage setup he described in a 1985 Frets magazine
interview. His pickup of choice is a Fishman Acoustic Matrix II, which he
mixes with a Shure SM-57 microphone and feeds into a direct box and then
into
the mixing board and a Fender Twin Reverb amp he uses as a stage monitor.

Lightfoot's preferred flatpick is a Yamaha ("the older model you can't get
anymore") that's a little thinner than Terry Clements' D'Andrea medium, and
his capo is a Shubb Deluxe. He uses Ernie Ball Earthwood Bronze strings, but
substitutes a D'Addario .053 11th on the "straight" 12-string, "because
[Ernie Ball] doesn't make the odd .053." The other 12-string takes the same
configuration but with an .054 on the dropped 11th string. He also
substitutes a phosphor-bronze low G (fifth) on the 12-strings because "it
makes it easier to hear." For his Martin, "the medium-light Ernie Ball set
really gives a lot of snap," says Lightfoot. "I raised my gauges on the low
end a little bit, and I found that it helped."

Although he was at the Newport Folk Festival when Bob Dylan committed his
legendary plugged-in heresy, Lightfoot also keeps a couple of electrics: an
old Fender Telecaster ("My 17-year-old son learned to play guitar on that
one") and a Gibson SG seen on the back of the 1983 Salute album"

Re: OWEN SOUND-May 11-2014
 

the new gear is new for this 2014 tour. that's the only pic... ..

Re: OWEN SOUND-May 11-2014
 

when Mike says it's not approved to go on the road yet, isn't Owen Sound "on the road" ? :)

Re: OWEN SOUND-May 11-2014
 

Rick took one picture..
I would think the last mini tour would count as 'on the road' ..

In P'boro Rick said Mike had new gear. The pic is of the new gear I'd imagine..

Re: OWEN SOUND-May 11-2014
 

yeah, i dunno what 'approved for on the road' must have meant

it looks like the MOXF8 on the bottom rack… wonder what song might require more than the 61 keys of the F6…. hopefully bring back a classic :)

Re: OWEN SOUND-May 11-2014
 

from Richard Harison:

1) The 12 string on Sundown cover was a replacement (fireglow)for the one stolen in Michigan (blonde) in 1972 (Did She Mention My Name cover ) They also got his D-45 on that less than memorable occasion. So he may still have the D-28, although I am not sure. about that.
I know he used a B-Rosewood D12-35 for a while-- the emergency replacement until another Gibson was found.

2) His current 6-string axe of choice is a 1948 D-18 which, if I remember what he told me correctly, he picked up in Nashville for a ridiculously low price.

Re: OWEN SOUND-May 11-2014
 

Thanks all for the info
it's interesting see what they use,
i appreciate it
mike

Re: OWEN SOUND-May 11-2014
 

so it sounds like the 12 strings are/were the B45-12s and the D35-12s, and 6 strings are/were the D45, D28, D18s… and today, its the B45s and D18


here's more: By Ben Elder (2000)

Gordon Lightfoot plays a pair of 12-string Gibson B-45-12s from the 1960s. He uses two of them on stage: one on standard tuning, the other capoed at the third fret with the lowest pair of strings dropped to D. The instruments appear on Lightfoot album covers stretching back the '60s, although the guitar seen on the Sundown cover was lost on the road many years ago. The cover of Lightfoot's earliest LP, Lightfoot, shows a Martin D-28 that was subsequently stolen. He acquired a later model D-28m which he keeps at home along with an ornate custom Brazilian rosewood dreadnought (seen on the cover of Dream Street Rose) by Ed McGlincy, who has retired from guitar making for health reasons. On stage, Lightfoot also plays A Martin D-18 from the '30s or '40s.

In the last decade or so, Lightfoot added pickups to his acoustic guitars, a change from the miconly stage setup he described in 1985 Frets magazine interview. His pickup of choice is a Fishman Acoustic Matrix II, which he mixes with a Shure SM-57 microphone and feeds into a direct box and then into the mixing board and a Fender Twin Reverb amp he uses as a stage monitor. Lightfoot's preferred flatpich is a Yamaha ("an older model you can't get anymore") that's a little thinner than Terry Clements' D'Andrea medium, and his capo is a Shubb Deluxe. He uses Ernie Ball Earthwood Bronze strings but substitutes a D'Addario .053 11th on the "straight" 12-string, "because [Ernie Ball] doesn't make the odd .053,"The other 12-string takes the same configuration but with an .054 on the dropped 11th string. He also substitutes a phosphor-bronze low G (fifth) on the 12-strings because "it makes it easier to hear." For his Martin, "the medium-light Ernie Ball set really gives a lot of snap," says Lightfoot. "I raised ma gauges on the low end a little bit and I found that it helped."

Although he was at the Newport Folk Festival when Bob Dylan committed his legendary plugged-in heresy, Lightfoot also keeps a couple of electrics: an old Fender Telecaster ("My 17-year-old son learned to play guitar on that one") and a Gibson SG seen on the back of the 1983 Salute album.

Terry Clements relies on two 1964 Martin D-18s and two Gretsch electrics ( a 1964 Tennessean and a 1976 Country Gentleman, the latter his primary stage ax) that have infused themselves in to the Lightfoot sound. The Gretsches have a warm bass sound and sparkly treble that work especially well with folk music, but with chorus and distortion they can also sound the Edmund Fitzgerald klaxon/siren wail.

On stage, Clements uses a Roland JC-120 amplifier for the electric and a Fender Deluxe Reverb for the acoustic. He uses a Boss paddleboard for both the Martin (chorus and a Boss TU-12 tuner) and Gretsch (dely, chorus, fuzz, tuner), and his Martins are fitted with Fishman Acoustic Matrix II pickups.

Like Lightfoot, Clements favours Ernie Ball strings. "They're great strings," he says. "In my many years, very few times have I ever come up with a lemon. They hang right in their, too." He favours gauges .050, .040, .030, .022, .015, and .010, very light for something like a Martin D-18, but, he says, "I have to use a lighter set because I do a lot of bends." Clements uses nickel-wound electric stings on the Gretsches. "The Country Gentleman's neck is so long," he says, "that I can't use a .017 unwound. Instead I use a .020 wound, which is fairly heavy for an electric." His capo is a Hamilton, which he describes as an "orthopaedic device" compared to the sleek modern designs.

Clements has a 000-size McGlincy that is identical in appointments to Lightfoot's dreadnought. He also keeps a Martin 0-18 strung in Nashville tuning - with the bottom four strings on octave higher than standard - and a couple of gut-string guitars I his studio, complemented on the electric side by a '60s Rickenbacker 360-12 (as played by Roger McGuinn), a '59 Stratocaster, a '79 Telecaster, a Fender bass, and a Gibson Les Paul.