Web directory, archive
Search web-archive-uk.com:

Find domain in archive system:
web-archive-uk.com » UK » H » HOMECALL.CO.UK

Total: 14

Choose link from "Titles, links and description words view":

Or switch to "Titles and links view".
  • New Essex Bluegrass Band
    adopted the single microphone as the most appropriate form of stage sound and have inspired many of the other British bands to do the same The New Essex Bluegrass Band have played nearly all of the UK festivals and have appeared three times at the European World of Bluegrass in Holland and at international festivals in France and Lithuania At Didmarton in 2002 they closed the Saturday evening concert with

    Original URL path: http://www.newessexbluegrass.homecall.co.uk/ (2016-04-25)
    Open archived version from archive

  • New Essex Bluegrass Band
    year in the making and contains a mixture of the songs that the New Essex Bluegrass band have played since they were founded plus some more recently learned material The CD tracks are Cold Wind True Life Blues I ll Take The Blame Solid Rock Pretending I Don t Care Remington Ride The Angels Rejoiced Last Night That s How I Can Count On You All I Ever Loved Was You Till The Day I Die The Lonesome River I Cried Again Lonesome Moonlight Waltz Hello City Limits Satan s Choir How Long Have I Been Waiting For You Hot Off The Press Zion s Hill There is a very flattering review of the CD in the December 2008 copy of Maverick here is a quote from the final paragraph Despite being an album of eighteen songs it seems to whizz by If you want an album that combines some of the best sung harmonies you ll ever find on an album and I do mean ever and sounds like it should have been released in the 1940 s then I m very sure Hot Off the Press will not disappoint Its combination of past classics played with such love for the genre and artists involved is at times an emotionally moving experience Other CDs Before Greg played with the New Essex Bluegrass Band he was part of The Radio Cowboys which featured Pete Sayers Greg has some of the Radio Cowboys CD Riding the Airways on a Bluegrass Song plus a few of Pete Sayers CD Old Mr Crow If you were a fan of Pete Sayers alter ego Dennis of Grunty Fen we also have a few of his CDs Contact Greg for more information Videos Cold Wind 2007 We are very grateful to Chris Richardson who made

    Original URL path: http://www.newessexbluegrass.homecall.co.uk/music.htm (2016-04-25)
    Open archived version from archive

  • New Essex Bluegrass Band contact page
    feel the need to contact any of us personally to express something too embarrassing to share with the entire band you can use the following links Email Paul Brewer Email Terry Hymers Email Greg Smith Email Marc Noel Johnson Email Grahame Turner You have scripting disabled You will need to adjust the email addresses displayed when you click the links Remove all spaces and replace a with d with h

    Original URL path: http://www.newessexbluegrass.homecall.co.uk/contact.htm (2016-04-25)
    Open archived version from archive

  • New Essex Bluegrass Band history page
    as a regular four piece group the band has been fortunate to call upon the assistance of several bass players John Pearman who runs the highly successful East Anglian bluegrass events in Steeple Morden was with them the evening Terry and Paul met Greg Wright and played with them on and off until 1998 From October 1995 until June 1996 their regular bass player was the fine tenor singer Jesse Taylor From 1998 Mick Bird with whom Greg Wright also played in the Dangerous Snakes was their regular bass player After a hugely successful appearance with them at Didmarton in September 2000 Mike Stanhope joined as full time bass player and baritone singer With Mike s arrival the band seemed to have a stable committed membership but in October 2001 they suffered a major disappointment when Terry decided to go to Holland to live and work following the band s visit in May of that year to the EWOB festival in Voorthuisen This meant the band was largely inactive for the following year although they did play the 2002 EWOB and Yorkshire Dales festivals but had to refuse the many requests for bookings which followed these appearances The absence of Terry widely admired as one of the most solid and powerful mandolin players in British bluegrass and whose vocal harmonies with Paul had made the band recognised as perhaps the best interpreter of brother duets in the UK left a major question over their future as a performing band With no sign of Terry s permanent return the band decided to invite Joe Hymas an uncanny similarity to Terry s surname to join them as mandolin player and tenor singer Since Joe s first appearance with them at the London Bluegrass Club in December 2002 where his virtuoso mandolin playing stunned the unsuspecting assembly the other members of the band and their audiences were looking forward with confidence at their continuing future as a paradigm of traditional bluegrass Then in March 2003 Terry decided to return to the UK This presented the band with something of a dilemma Paul Greg and Mike had enjoyed rehearsing and playing with Joe and were delighted to have his exceptional mandolin virtuosity on board but it was Terry s contribution to the vocal harmonies a key ingredient of the band s sound which after much agonizing settled the matter Joe s talents now enhance the the likes of Monroe s Revenge and the Morris Boys as well as other outfits outside the bluegrass scene Long may he run Further disruption was caused late in 2004 when Greg Wright decided he could no longer give his full commitment to playing with the band although he continued to appear occasionally During 2005 the band was joined on a number of engagements by Greg Smith on fiddle on loan from the Cambridge based Radio Cowboys In case you are wondering where the hats have gone the picture to the left was taken on the Sunday morning of

    Original URL path: http://www.newessexbluegrass.homecall.co.uk/history.htm (2016-04-25)
    Open archived version from archive

  • New Essex Bluegrass Band members page
    public appearance playing with his father at a pub in Essex Since then Terry has played in a number of bands throughout the Essex region until meeting Paul Brewer at a picking session one evening in 1989 which ultimately led to the forming of The New Essex Bluegrass Band Terry plays mandolin and sings tenor harmonies with Paul and together they reproduce many of the closest brother duet harmonies to be found in bluegrass Terry is also considered by many as the ideal bluegrass mandolin player and was described by Frank Wakefield as having a perfect right hand during Frank s last UK tour Marc Noel Johnson Marc got into Bluegrass after hearing John Hartford playing banjo on The Byrd s Sweetheart of the Rodeo and the Country Gazette album Don t Give up Your Day Job Hearing Tony Rice s first album sealed the deal and he was completely hooked After playing some guest electric guitar with Telephone Bill and the Smooth Operators Marc formed a country band with multi instrumentalist Gerry Hale and also played in several Cambridge bands before taking up the mandolin and being asked to join the Radio Cowboys and beginning a long musical association with John Holder and Pete Sayers In the mid nineties he began a long stint playing electric bass in two different rock and roll bands and eventually re joined the Radio Cowboys on upright bass Despite these diversions he is at heart a guitarist with an interest in vintage instruments boutique guitar amps and recording techniques of the sixties and seventies despite running ProTools on an iMac in his studio Marc plays bass and provides the baritone harmony line In the real world he is currently employed writing reviews for an on line magazine Grahame Turner Grahame joined the band

    Original URL path: http://www.newessexbluegrass.homecall.co.uk/members.htm (2016-04-25)
    Open archived version from archive

  • New Essex Bluegrass Band single microphone page
    thoroughly familiar with the specific arrangement of every song that the band has chosen Keep It Simple Is it all worth it Why not keep things simple and go back to using one microphone so that all this extra work is handled by the band as it performs And who better to do it They know the material and the arrangement they have decided to present All they have to do is move in and out of the microphone as they become the featured part To echo Del McCoury When I started playing in the 50s bands played with one microphone Then in the mid 60s they started using microphones for everything It got so complicated the mains the monitors I thought This is ridiculous So two years ago we started using just one mic It takes a lot of effort for a soundman to mess up one mic This way we can mix ourselves on stage Furthermore the choreography resulting from moving in and out of the microphone adds immensely to the visual appeal of the performance We now need only one microphone and stand to be on stage with the band members The band is clearly visible to the audience rather than hidden behind a forest of stands booms and monitors and if the microphone lead is fed of the front of the stage there are no cables to trip over Furthermore the band can see and hear each other naturally again So if you are sufficiently convinced to be ready to try it how do you do it Rules Simple though I may have made using a single microphone sound there are some rules A few of these might appear obvious but I have seen every single one broken including by ourselves 1 Use a suitable microphone We use an Audio Technica 4033a This was suggested as suitable by my good friend Simon Sprott We subsequently found out it was used by Doyle Lawson and Del McCoury Over the years we have seen it used by dozens of other bands We have used it in every single performance since our October 1999 appearance at the Heart of England Bluegrass Venue from which two of our songs appear on the HOEBV compilation CD It is a condenser microphone requiring 48V phantom power which is normally available from the mixer It is designed for studio recording but we have always found it highly satisfactory for our purposes It cost 289 when new but I believe the price dropped significantly later We recently discovered after seven years that you need to place it into the shock mount the right way round when it was accidentally inserted the wrong way round and we spent an anxious ten minutes trying to get a decent sound level We used to use a GM55 purchased secondhand for 40 in 1995 This is a cheap copy of a Shure 55SH and although it works it is neither as clear nor as sensitive as the AT4033a and is more prone to feedback problems Being a dynamic microphone it does not require phantom power We first used it when asked to perform with only a few minutes warning at the Leigh on Sea Folk Festival the day after I bought it It worked perfectly as we played to a large audience in the open air The real thing might work even better There are numerous other copies of this microphone Before you rush out and buy a new microphone you might experiment with what you already have I was impressed with the results a Shure SM58 gave in the club tent at the 2001 A1 Festival when all the bands used it Most of these would never have used a single microphone before yet the sound was more than adequate throughout I admit the marquee environment would have helped as would the attentive audience and I wouldn t recommend that you purchase this model specifically or if you expect to play under less favourable circumstances We always use our own microphone stand but normally plug into the house PA where available using their lead so I don t lose one of mine Where we supply the PA we use a Tapco 6306 six channel mixer by Mackie or occasionally a Mackie CFX12 mixer and Mackie SM450 Active Sound Reinforcement Monitors speakers to you 2 Face the microphone Important though it may be to face the audience it is more important that you and your instrument face the microphone This can be done without turning your backs on the people who have paid to see you Remember they have come to see and hear the band and they won t hear you if your music is not picked up by the microphone The visual effect of the band around one microphone will more than compensate for you not staring straight at them all the time Think about where the sound of your instrument comes from It is neither the neck nor the tuning pegs so why play your break with these placed up against the microphone The exception to this seems to be the double bass Ernie Sykes of the Smith O Reilly band borrowed Mike s bass when they played through our microphone and PA in Ipswich Ernie spent most of the performance with the bass facing away from the microphone with no loss of volume We tried this ourselves later with the same result It s possible that the same thing would apply to the other instruments but it s not practical to play them back to front 3 Position yourselves correctly around the microphone Form an arc of approximately 120 degrees around the centre of the microphone That s a third of a full circle for those who failed their geometry paper The guitar player should be to the right In this position his playing can be heard by the rest of the band and the neck of the guitar is safely out of harm

    Original URL path: http://www.newessexbluegrass.homecall.co.uk/onemike.htm (2016-04-25)
    Open archived version from archive

  • New Essex Bluegrass Band Bluegrass Memories page
    Bill Keith and Jim Rooney at a picking party at the University of Connecticut in early 1965 Jimmy Martin The Sunny Mountain Boys Dixon took these photographs of Jimmy Martin The Sunny Mountain Boys at the first Warrenton Virginia Bluegrass Festival in July 1966 Bill Emerson plays banjo Vernon Derrick plays fiddle and Bill Yates plays bass The snare drum is played by Jimmy s son Timmy Martin Jim Jesse and The Virginia Boys Dixon took these photographs of Jim and Jesse McReynolds at the Warrenton festival in 1966 Bobby Thompson had just recently replaced Allen Shelton on banjo The Osborne Brothers Dixon took these photographs of Sonny and Bobby Osborne at the Warrenton festival in 1966 Dale Sledd plays guitar Bill Monroe and The Blue Grass Boys Dixon took these photographs of Bill Monroe and The Blue Grass Boys at the Warrenton festival in 1966 Peter Rowan plays guitar Richard Greene plays fiddle Lamar Grier plays banjo and James Monroe plays bass Flatt Scruggs and The Foggy Mountain Boys Dixon took these photographs of Lester Flatt Earl Scruggs and The Foggy Mountain Boys at the Warrenton festival in 1966 Paul Warren plays fiddle Josh Graves plays dobro Earl Taylor

    Original URL path: http://www.newessexbluegrass.homecall.co.uk/memories.htm (2016-04-25)
    Open archived version from archive

  • New Essex Bluegrass Band links page
    British Bluegrass Music Association Coastline Bluegrass Festival Cornish Bluegrass Association Didmarton Bluegrass Festival East Anglian Bluegrass Festival European World Of Bluegrass North Wales Bluegrass Festival Scottish BluegrassMusic Association Sore Fingers Summer School Surrey Mini Bluegrass Festival Sutton Acoustic Music Club Tunbridge Wells Folk Bluegrass Acoustic Music Club Bordergrass Artists Bands Mike Compton Bill Smarme Mike Tatar Jnr Rick Townend Monroes Revenge Great Eastern Ceilidh Company Slim Pickings Portsmouth Bluegrass and

    Original URL path: http://www.newessexbluegrass.homecall.co.uk/links.htm (2016-04-25)
    Open archived version from archive


web-archive-uk.com, 2017-12-15