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MISCELLANEOUS

On the picture on the right my very own collection of picks : top left the ones I use for Guitar, I alternate between them to not wear out to fast like the third top left which has become to little to hold. Then two basspicks, the top right pick is thinny which I us for twelve string. The other picks are old, I only occasionally use to test sounds or whatever. Middle row right is a metal pick to get a metal on metal sound (how about that?) And below two Shark fins 40 years ago I had the skinniest sharkfin I had ever seen colored blood red. I don't understand how I ever could have played with those!

On the picture to the left first we see on top of the amplifier, the original 3 way Telecaster bridge plate. All other parts are missing but the ashtray stayed in use until 30 years ago when I stopped smoking. Next to the bridge plate the mysterious box with Betty Boop portrayed on the cover. To the right we find the tuning fork. I tune my Guitar using my ears not my eyes. If You ever studied the theory behind “Das Wohltemperiertes Klavier”, You know why. Behind this there’s the metal tube, also known as the slide. If You take a look on the “Rock’n’Roll Quotes” page of this site You’ll learn there are a lot of reasons to use it. Originally I used a glass slide. I had told my cousin Stefan, organist of my band, about the use of slides in blues playing and that I was convinced a glas tube would give us the best sound. His father worked at a laboratory and Stefan turned up at the next rehearsal carrying a sawn off test tube, which fitted my pinky (at the time). I was very happy with it, Stefan had done the work on the tube very neatly and I was afraid I’d loose or break the tube one day. Stefan suggested to drill a tiny hole in the ridge of the tube to attach it via a long nylon thread to the Guitar. Unfortunately, that never happened and the slide was dropped to pieces long ago. The last time I used the test tube in a solo happened in 1979 on the extended ending of the Rolling Stones’ tune “Sympathy for the Devil” during a so called “luilak” (lazy bones) -festival in Amstelveen near Amsterdam.

Here are two shots from the studio in the early 90's. On the left we see the Fender Telecaster and the Melody Blue Sage, the Hofner Bass and the Fender Twin Reverb Head, The Stage 100 Bass amplifier, Meinl Bongo's (once stolen), The Vox escort, a Violin (eastern europe) and the Casio VL-tone. The microphone is a Shure SM 57.

On the right we see the studio with the Kawai K1 II keyboard, the Atari ST computers, the Tascam 244 mixer, a Guitar and a Bass. In the picture below we see the Gamecorner of the studio, also equipped with Atari computers. The Atari 1040 STe and the Atari Mega STE were in use for midi and sampling with Monochrome (SM 124 and SM 144) and Color (SM1224) Monitors. A standalone Megafile harddisc provided 30 mb discspace. An Atari Mega ST was used for gaming as well as a Lynx and an old Atari 2600

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To the right: the Roland TR 909 Rhythm-composer. This drummachine was used live on 'Kriziz' gigs. It had two banks of memory, working in pattern- or song mode. The sounds were analogue (the toms, snare and bass, as well as digital (the cymbals) All sounds were tunable and especially the snaredrum had nice filtering.

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An earlier stage of the studio with the Atari 1040 STe and Mega One computer, SM 144 monitor and Megafile 30 harddisk. The Kawai K1 II is covered in blue, but the Tascam 244 portastudio is visible in the picture in the middle. To the right: for color a Commodore 1080 was used (mostly for games and sampling)

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To the left: the current studio with the Vox Cambridge 15 and 30, The AC30 Cabinet with on top the Tascam 244 in use as a mixing device, The Washburn Fretless Bass, The Fender Telecaster Custom, a Kawai K1 II Keyboard, an Atari Mega STE computer with the Notator SL 321 app and a Mac Book Laptop with the garageband app. 

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Above to the right: There's the Ibanez Les Paul, the Fender Telecaster Custom, the Vox Escort, and the Lab L5.

To the Left: The very first 'studio' recording equipment was a small portable japanese cassette-recorder, The Sony TC 66. Contemporay's 1976 'Skunk Alive' was recorded on it on a single BASF C90!

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