VG-8: Question about Joni Mitchell VG-8 patches

Started by Bill Ruppert, April 04, 2013, 08:01:57 PM

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Bill Ruppert

One of the most gifted beautiful creatures on earth used the Roland VG guitar!



Kevin M

Awesome!  Thanks for sharing that.  It's nice to see artists from her generation still performing at a high level and remaining creative. I'm not terribly familiar with her work, but have always liked her voice.

whippinpost91850

Bill, that was awesome. Thanks so much for sharing. Joni's such a beautifully talanted woman.

papabuss

FENDER STRATOCASTER (1974); BRIAN MAY RED SPECIAL; VG 99; GR 55; Yamaha DX 7

Music was my first love and it will be my last (JOHN MILES)

Elantric

#4
http://www.rollingstone.com/music/artists/joni-mitchell/biography
Starting as a finger-picking folkie and winding up as a jazz-savvy experimentalist, Joni Mitchell has brought a sharp eye, light touch and an agile trill of a voice to her songs, which have often dissected her romances and skewered myopic government. A wealth of musicians — from Tori Amos to Prince, from Joanna Newsom to Iron & Wine — have acknowledged her influence.

An only child, Roberta Anderson grew up in Saskatoon, Canada. At age nine she was stricken with polio. Defying doctors' predictions that she would never walk again, she recovered after spending nights in the children's ward singing at the top of her lungs. Throughout her childhood, she was involved in art and music, teaching herself to play guitar from a Pete Seeger instruction book. When she enrolled at the Alberta College of Art in Calgary, she took a ukulele with her and began playing folk music.

She soon moved to Toronto, where she began performing on the local folk scene and gave birth to a baby girl. At the time, the social stigma of being an unwed mother was so intense that Mitchell didn't even tell her parents about the baby. Without money, a job, or even a home, in 1965 she entered into what she later termed "a marriage of convenience" to folksinger Chuck Mitchell. They moved to Detroit, where Mitchell felt she had no option but to place her daughter, named Kelly Dale Anderson, up for adoption. She and Chuck Mitchell soon divorced.

Mitchell became a critical sensation on Detroit's folk scene, and her notices led to a series of successful engagements in New York. On the strength of her articulate songs and compelling performance style, Reprise Records signed her. In late 1968 Judy Collins had a hit with Mitchell's "Both Sides Now." (In 1991 Carly Simon turned the song's lyrics into a children's book.) Collins' Wildflowers album also contained a cover of Mitchell's "Michael From Mountains"; the British folk-rock band Fairport Convention recorded Mitchell's "Eastern Rain"; and Tom Rush recorded "The Circle Game." Thanks to the buzz created by this ubiquity, Mitchell's debut, Song For a Seagull, coproduced by David Crosby, sold fairly well. It's more mature follow-up, Clouds (Number 31, 1969), sold even better.

Mitchell's style was emerging, and it was unique. Pensive and lilting, her songs offered a bit of philosophy, and were unafraid of positing points of personal romance. She had moved to Los Angeles, becoming a key component of the Laurel Canyon scene of singer-songwriters. Along with area residents as Crosby, Still & Nash, the Mamas & Papas, and Jackson Browne, she helped create the leafy sound of the early 1970s California. Ladies of the Canyon, a reflection of the lives around her (Number 27, 1970) went platinum, yielding a minor hit single: "Big Yellow Taxi" (Number 67, 1970) (which Janet Jackson sampled nearly 30 years later in her hit "Got 'Til It's Gone").

Mitchell's next platinum album was the critically acclaimed Blue (Number 15, 1971), which featured "Carey," "My Old Man," and "The Last Time I Saw Richard." That album included contributions from friends such as James Taylor (purportedly the subject of "Blue"). Mitchell had fallen in and out of love with Taylor and Graham Nash during these years; her personal life became fodder for her art, and the articulation with which she accounted for her heartbreak was deep. Blue is seen as the zenith of confessional songwriting, illustrating the joys and woes of romantic relationships. She played guitar and piano on most of the disc, but, uniquely, she also used a dulcimer on a few tracks. She'd learned how to play the easily portable instrument while living in Greece earlier in the year.

For the Roses (Number 11, 1972) went gold and contained another minor hit, the twangy "You Turn Me On (I'm a Radio)" (Number 25, 1972). The highest-charting album of Mitchell's long career remains 1974's Court and Spark (Number Two), which yielded the hit single "Help Me" (Number Seven, 1974). By this time, Mitchell's sound had grown from simple, unadorned acoustic guitar and voice into a sophisticated blend of jazz, folk and pop, replete with horns, keyboards, and complex backing vocal arrangements performed by Mitchell herself. Tom Scott and the L.A. Express, an agile electric jazz outfit, helped her flesh out a few of Court and Spark's rather elaborate arrangements. The approach alluded to Mitchell's future direction with its overtly swinging version of Lambert, Hendricks & Ross' "Twisted," Mitchell's first recorded cover.

The L.A. Express helped Mitchell deliver this new sound to her audience, captured on the live album Miles of Aisles (Number Two, 1974) and also participated in parts of The Hissing of Summer Lawns (Number Four, 1975). The singer's song structures were becoming more sophisticated and gorgeous. But her lyrics were a bit too ambitious for some critics, and Summer Lawns suffered some harsh reviews. Today the album is cited as influential by many artists, including Elvis Costello and Cassandra Wilson, particularly the tracks "Edith and the Kingpin" and "Shades of Scarlet Conquering". Mitchell wasn't shy about experimentation. "The Jungle Line" was probably the first pop record to use Burundi drums.

Though smoother and instrumentally spare, Hejira (Number 13, 1976) was another gorgeous disc that baffled some critics. It centered on travel and restlessness while tackling issues of commitment from a uniquely feminine perspective. Around Thanksgiving of that year Mitchell appeared at the Band's farewell concert in San Francisco, and was part of the filmed documentary, The Last Waltz.

In light of her previous two records, the double-disc Don Juan's Reckless Daughter (Number 25, 1977) was a logical if mysterious next step. Some critics felt that her lyrics had grown more convoluted and vague; indeed, Mitchell was using song structures far more ambitious and rich than the straight singer/songwriter confessional mode. Still, contrary to the then-prevailing view, Don Juan's Reckless Daughter was not all wild experimentation; in fact, half of its tracks (for example, "Talk to Me," "Off Night Backstreet," "Jericho") might have worked on any previous Mitchell album. But with jazz musicians Larry Carlton and Wayne Shorter working in cahoots with a group of Latin percussionists (including Airto), Mitchell was once again scouting new musical territory. "The Tenth World" and the side-long "Paprika Plains" were poetry soundscapes.

Perhaps indirectly, Don Juan led to Mitchell's most daring and most controversial project, her work with jazz bassist and composer Charles Mingus. Then dying of amyotrophic lateral sclerosis (Lou Gehrig's disease), Mingus invited Mitchell to collaborate with him. She set lyrics to some of the last melodies he wrote, composed the rest of the material herself, and released Mingus in 1979 not long after the bassist's death. It received mixed reviews but went to Number 17, an incredibly high chart position for a jazz album and a testament to Mitchell's fans' enduring interest in her work.

The live album Shadows and Light (Number 38, 1980), which featured a band comprise of Weather Report's Jaco Pastorius, jazz-rock guitarist Pat Metheny, and the a cappella group the Persuasions, also met mixed reviews.

Years later, Mitchell repeatedly and adamantly expressed no regrets about the rocky course she set. "I would do it all over again in a minute for the musical education," she told Rolling Stone. In 1982 Mitchell released her first album for Geffen, Wild Things Run Fast (Number 25, 1982), a more pop-oriented album that featured a cover of Elvis Presley's "(You're So Square) Baby I Don't Care" (Number 47, 1982). That year she married her bassist, Larry Klein. (They divorced in 1992.)

With Dog Eat Dog (Number 63, 1985), Mitchell's work showed a new emphasis on social commentary. Coproduced by Thomas Dolby, the album featured appearances by Michael McDonald ("Good Friends") and actor Rod Steiger (as a money-grubbing evangelist on "Tax Free"). Chalk Mark in a Rainstorm (Number 45, 1988) — with a guest roster that included Peter Gabriel ("My Secret Place"), Willie Nelson, Tom Petty, and Billy Idol ("Dancin' Clown") — was hailed by some critics as a return to form. Throughout the '80s Mitchell all but abandoned the concert stage. Her hastily arranged acoustic set at the 1986 Amnesty International benefit (she was a last-minute substitute for Pete Townshend) was cut short when the crowd, obviously unfamiliar with her work, booed her.

Mitchell experienced a resurgence of sorts with the 1990s, due to a confluence of events: a trio of albums generally considered among her best, her finding and reestablishing a relationship with the daughter she had given up for adoption, and a flurry of industry accolades and honors. Fans and critics swooned over Night Ride Home (Number 41, 1991), an album of readily accessible albeit sophisticated jazz-tinged pop. Three years later, Turbulent Indigo (Number 47, 1994) was released to glowing critical response and a Best Pop Album Grammy. While promoting that album, Mitchell disclosed that she was suffering from post-polio syndrome, a neurological condition related to her childhood bout with the disease that made it difficult for her to perform. Because her repertoire includes more than 50 different tunings, Mitchell was considering quitting the stage until she obtained a Roland VG-8 DSP Alternate Tuning  guitar that eliminates the need for retuning.

In 1995 Mitchell became the fourth artist to receive Billboard's Century Award (previous recipients were George Harrison, Billy Joel, and Buddy Guy). It would seem that the award was made for Mitchell, since it recognizes artists who have not been accorded the acknowledgement they deserve. Two years later, Mitchell was reunited with her daughter, Kilauren Gibb, and a grandson. Though Mitchell had been quietly seeking her daughter and had written, however obliquely, of the matter in several songs (Blue's "Little Green" and Wild Things' "Chinese Café"), Kilauren began to suspect the connection when she received information about her biological parents that seemed to match facts posted on a fan's Joni Mitchell Web page. Mitchell skipped her 1997 induction into the Rock and Roll Hall of Fame because she wanted to spend more time with her newly discovered family on her first Mother's Day.

Taming the Tiger (Number 75, 1998) was another critical triumph, followed in 2000 by a concept collection of standards concerning romance, Both Sides Now (Number 66, 2000). Using orchestral and big-band backing, Mitchell tackled such classics as "At Last," "Stormy Weather," "You're My Thrill," and "You've Changed," with two of her older songs, "Both Sides Now" and "A Case of You." Both Sides Now received the Best Traditional Pop Vocal Album Grammy.

In the late Nineites, Mitchell became a bit more visible, appearing on television and performing in concert. In 1998 she undertook a limited tour with Bob Dylan, and in 2000 she toured to promote Both Sides Now. That spring TNT presented "An All Star Tribute to Joni Mitchell," on which k.d. lang, Cassandra Wilson, Elton John, Richard Thompson, James Taylor, Wynonna, and others performed her music.

Mitchell has produced or co-produced each of her albums since her debut and has maintained control of her master recordings and her publishing from the beginning of her career. An accomplished painter and photographer, she created the art for each of her album covers, and her artwork has been exhibited throughout the world. Her first major career retrospective, Voices — The Work of Joni Mitchell, opened at the Mendel Art Gallery in Saskatoon in June 2000.

A lifetime of smoking put a deep mark on Mitchell's voice, but the husky tone it boasted during the recording of 2002's Travelogue, made with an orchestra and jazz associates Herbie Hancock, Wayne Shorter, and Brian Blade, was an apt fit for a glimpse back at a life's worth of work.

In 2007 Mitchell collaborated with the Alberta Ballet in Calgary, Canada on The Fiddle and the Drum. Also that year, Mitchell featured her anti-war in an installation called Flag Dance, which had an eight-week run at L.A.'s Lev Moross Gallery, and she released her first album of new material in seven years, Shine.

Two engaging studies of Mitchell's life and work also surfaced as the decade came to a close. Girls Like Us, by Sheila Weller, was an insightful overview of three pop women, Carole King, Carly Simon, and Mitchell. It arrived in the spring of 2008. The next year found Michelle Mercer's Will You Take Me As I Am in the racks; it's an investigation into the singer's Blue period.

Portions of this biography appeared in The Rolling Stone Encyclopedia of Rock & Roll (Simon & Schuster, 2001). Jim Macnie contributed to this article.

Read more: http://www.rollingstone.com/music/artists/joni-mitchell/biography#ixzz2PbpZPKbn
Follow us: @rollingstone on Twitter | RollingStone on Facebook

Elantric

#5
I should add that Joni Mitchel uses a unique open tuning for nearly every song, and the Roland VG-8 allowed her to perform live and tour in the late 1990's.

https://www.vguitarforums.com/smf/index.php?topic=9044.msg65076#msg65076


https://www.vguitarforums.com/smf/index.php?topic=11101.msg81035#msg81035


papabuss

THX for the info, Elantric. I'll try to transfer it to the VG 99 when I've got more time.
FENDER STRATOCASTER (1974); BRIAN MAY RED SPECIAL; VG 99; GR 55; Yamaha DX 7

Music was my first love and it will be my last (JOHN MILES)

shawnb

#7
I grew up listening to Joni on vinyl - my sisters & mother just loved her.   "Chelsea Morning" is a definitive '60s song IMO.  I remember my mom being quite mad at "The Conversation"...   

Then she went down the fusion route, and produced some of her best stuff.  The Jaco/Joni pairing was perfection. 

A friend recently passed away, and left me a LOT of her CDs.  I listen to them a lot these days - the early albums for nostalgia and the later fusion albums withstand the test of time. 

"Hejira", the album this song is on, is from a kinda in-between period.  Still not THAT far from her first few "'60s" albums, but she was working with Larry Carlton and Jaco.  In many ways, these early fusion albums of hers are  the best of both worlds.   If you're going to pick ONE album, Hejira is a very strong contender - arguably the best Jaco/Joni album.  (Even though Jaco is only on some of the tracks.)  It's sparse enough & the bass shines.
Address the process rather than the outcome.  Then, the outcome becomes more likely.   - Fripp

Bill Ruppert


papabuss

FENDER STRATOCASTER (1974); BRIAN MAY RED SPECIAL; VG 99; GR 55; Yamaha DX 7

Music was my first love and it will be my last (JOHN MILES)

Elantric

#10
Please do not pester Bill Ruppert to share his VG-99 patches.

This thread covers some of the reasons
https://www.vguitarforums.com/smf/index.php?topic=8016.msg57001#msg57001

Bill Ruppert wrote>
QuoteAs you know this is what I do for a living and for me to put together all the demos I did for Roland took countless hours.
As a musician I work to buy my food, health insurance, home taxes, cars,etc. etc. etc.
The demos I did for Roland were effective and they were helping to sell product, I am sure of it.
The fact I was not being paid for my work was the reason I pulled all the demos.
Yes I believe the VG99 is one of the greatest things on earth, but if I'm going to work to sell them I need to be paid.
I don't remodel bathrooms by day and do this for fun when I come home on the weekends.
It's my job and what i do to feed  my family.

So lets just leave it at that.

But Sound and Physics remain constant -

This is a MUST Youtube Channnel to Subscribe to:
Bill's Effectology Channel
http://www.youtube.com/user/Effectology/featured

Learn all about guitar sound design by watching Bill's Effectology Videos and learn new techniques and signal routing strategies - many can be directly applied to the VG-99 and GR-55.


aliensporebomb

#12
Plus an acoustic guitar patch if I remember right, plus a B3 organ patch tutorial, plus information and screenshots on how to program the GR-300 in the 99 to sound like a CS-80 for the Eddie Jobson UK sound.   

Plus he was giving good hints on things to try when seeking out a sound or things mentioned in happenstance for instance the Crystal Rain sound he makes a reference to the Crystal synth when it didn't really directly have to do anything with the crystal sound that I could see - it was for something else.   

Lots of great tips like using the A side of the machine for the attach of a sound and the B side for the pad sustain, sidechaining (taming the spring reverb cleverly), tons of stuff.

"Look over there guys, he's giving you the keys to the kingdom but you have to pick them up to get there."
My music projects online at http://www.aliensporebomb.com/

GK Devices:  Roland VG-99, Boss GP-10, Boss SY-1000.

papabuss

FENDER STRATOCASTER (1974); BRIAN MAY RED SPECIAL; VG 99; GR 55; Yamaha DX 7

Music was my first love and it will be my last (JOHN MILES)

rolandfan83

#14
I had a quick question for this forum. First, I've been blind since birth so I'm really in tune to sound. This is about Joni Mitchell who used the first ever VG-8. When she was asked about what sound she used it with, she referred to it as a "kind of strat" sound. If you youtbyoutube something like "Joni Mitchell, big yellow taxi 1998," you'll be able to hear the start soun in question. I have been trying to figure this out for a while now, hope someone can help. Mainly, I was just curious as to what patch it was. I thought someone with a VG-99 or VG-8 might now. Thanks, Josh

Elantric

#15
Josh,

In 1998 Joni Mitchel would be using a Roland VG-8, and google search reveals these links
https://www.vguitarforums.com/smf/index.php?topic=11101.msg81035#msg81035

and Tunings
https://www.vguitarforums.com/smf/index.php?topic=11101.msg81035#msg81035
Here she is in a TV special from 1998 playing a Parker Guitar with GK-2A and all guitar tones are from a Roland VG-8, which (for those with vision) can be seen on the piano bench on the left in the youtube video below.
Basically a clean tone (might be the VG-8 COSM Strat tone) Remember her MAJOR attraction of using the VG-8 was for the instant access to all her alt tunings with use of the Roland VG-8 COSM modelled Alt Tunings, which was a real breakthrough at that point in time - 5 years before Line 6 had the Variax on the market.   


JONI MITCHELL LIVE 1998 "PAINTING WITH WORDS + MUSIC"

http://www.eagle-rock.com/artist/A664CC/Joni+Mitchell

Joni Mitchell, Canada's queen of folk/pop, performs before an intimate audience on the Warner's Lot in Los Angeles, in a specially set up auditorium displaying a gallery of her own paintings. Playing in the round with a small band she delivers tracks from across her career including all her best loved songs.
This astonishing performance is from the only Joni Mitchell live DVD available - "Painting With Words And Music", available now on Eagle Rock.


http://launch.dir.groups.yahoo.com/group/vg-8/message/2915

The URL for Joni's tunings is:
http://www.jonimitchell.com/GuitarTunings.html


http://dunnery-guitar-school.wikispaces.com/Alternate+Tunings

--

Joni Mitchell's Guitar Tunings
Excerpted Jan 2011 from James Leahy's page:
http://www.jmdl.com/guitar/marian/jimleahy070396.htm
The following is a list of over 90 Joni Mitchell guitar songs and their
tunings (piano and dulcimer songs are not included). This list does not
claim to be 100% accurate. In a few cases, I am close to the right tuning,
but one string may be out. If you feel that I've missed a string or two,
please let me know, and I will fix it. Because of my busy workload, I am no
longer able to give chords or left-hand shapes for any songs. You're on
your own. So experiment! Have fun!
Many of Joni Mitchell's tunings are based on the traditional D and G
tunings. For example, a simple way to visualize the C tuning is to think of
it as the D tuning tuned one step lower. Joni's current favourite tuning is
called the "Canadian" tuning (the origins of this tuning are not clear) --
really just the D tuning with the D (4th) string tuned up a whole tone to E
(e.g., "Passion Play"). For other songs in this tuning, the strings are still
tuned the same in relation to each other, but a semitone or a tone lower
("Sunny Sunday", "Yvette in English"). Don't forget, Joni's voice has
lowered over the years, so songs she used to sing in D tuning, for example,
may be in C tuning for current live versions.

STANDARD TUNING:
E A D G B E:
Urge for Going
Tin Angel
Harlem in Havana


D TUNING (and variants):
D A D F# A D:
Both Sides Now (capo fourth fret)
Night in the City (capo fifth fret)
Pirate of Penance
Cactus Tree (capo fourth fret)
That Song About the Midway (capo 2nd fret)
Chelsea Morning (capo 2nd fret)
Conversation (capo 4th fret)
Big Yellow Taxi (capo 2nd fret)
You Turn Me On (I'm a Radio)
People's Parties
A Strange Boy
A Bird That Whistles (Corrina, Corrina)


D MODAL:
D A D E A D:
I Had a King (capo 7th fret)

D A C F# A D:
Barangrill (capo 1st fret)

D A D F# G D:
The Sire of Sorrow

D G D D A D:
The Dawntreader

D A D G A E (capo 5th fret):
The Priest Song


C TUNING (and variants):
C G C E G C:
Raised on Robbery
Amelia
The Three Great Stimulants (95 live version)


B TUNING (and variants):
B F# D# D# F# B
How Do You Stop?
Turbulent Indigo
Borderline

B F# D# F# B D#
Songs to Aging Children Come

B F# B B F# B
Song to a Seagull



CANADIAN TUNING (and variants):
D A E F# A D:
Love (capo 2nd fret)
Passion Play
Cherokee Louise

C# G# D# E# G# C#:
Sunny Sunday

C G D E G C :
God Must Be a Boogie Man
Night Ride Home
Yvette in English
Love Puts on a New Face (Love Has Many Faces)
Love's Cries
HEJIRA TUNING (and variants):


B F# C# G# F# B:
Hejira

C G D F G C:
My Secret Place
Number One
Cool Water

D A E G A D:
In France They Kiss on Main Street (capo 2nd fret)
Slouching Toward Bethlehem
The Only Joy in Town
G TUNING (and variants):

D G D G B D:
The Circle Game (capo 4th fret)
Little Green (capo 4th fret)
Marcie
Nathan La Franeer
Roses Blue
Morning Morgantown (capo 2nd fret)
Underneath the Streetlight (capo 2nd fret)

D A D G B D:
Help Me
Free Man in Paris

C G D G B D:
Cold Blue Steel and Sweet Fire
Trouble Child
Don't Interrupt the Sorrow
Sweet Bird

G G D G B D (6th and 5th strings an octave apart):
For the Roses (capo 3rd fret)
Electricity (capo 3rd fret)
This Flight Tonight
Hunter (The Good Samaritan)



F# TUNING:
C# F# C# F# A# C#:
The Gallery
F TUNING (and variants):

Bb F C F A C:
Otis and Marlena

C F C G A C
I Don't Know Where I Stand

C A C F A C
Refuge of the Roads

C A C F G C
Silky Veils of Ardour

C G D F A C
Blue Motel Room


NORTH CAROLINA TUNING:
E E B F# G# B (capo first fret, or F F C G A C)
Michael from Mountains


CALIFORNIA KITCHEN TUNING:
C G D F C E
Sisotowbell Lane (capo 2nd fret)
Ladies of the Canyon (capo 2nd fret)
Woman of Heart and Mind
Just Like This Train
Shadows and Light (mid-70s live version)
Coyote
Don Juan's Reckless Daughter

C G D G C E:
Happiness Is the Best Facelift


EDITH'S TUNING:
D A E G C E:
Jericho
Edith and the Kingpin

D A E G C D:
Talk to Me

C G D F Bb D:
Furry Sings the Blues
Harry's House/Centerpiece


MISCELLANEOUS TUNINGS:
C G Bb Eb F Bb:
Woodstock ('79 and '83 tours)
Moon at the Window
Sex Kills

C G Eb F Bb D:
The Wolf That Lives in Lindsey

B F# B E A E :
Magdalene Laundries

D A C E G A:
Song for Sharon

A A E G C E:
The Windfall (Everything for Nothing)

Db F Db F Ab Db:
Come in from the Cold

D A C G A D:
Ray's Dad's Cadillac

Bb F Db Eb Ab C:
Last Chance Lost

Bb Bb Db F Ab Bb (fifth and sixth strings an octave apart):
Black Crow

Elantric


pasha811

Nice share. Thanks. I knew Joni Mitchell work by chance. I bought Shadow and Lights because I heard Hejira and Amelia played at a vinyl shop many, many years ago. In that record Pat & Jaco played in the band alive! Absolute craziness. The way Jaco played Coyote was fantastic. At that time I played Bass Guitar and cultivated my passion for Guitar in parallel. Since then I became a fan. My fav song remains Hejira. VG was the only tool that could keep up with Joni's alt tunings at that time!

Listen to my music at :  http://alonetone.com/pasha/


Gaustu

Probably she used not electric guirar tone but acoustic. There is not any similarity with strat tone in this sound
Parker PDF85 modified: Sustainiac, SD TB-4, Piezo Hexpander 13 pin out.
GR-55 mod with 13 din thru, 6 analog outputs D-Sub => Presonus FS Mobile  8 analog inputs.
NI Reactor matchHEX Guitar Framer Ensemble custom.

admin

Live Joni Mitchell with VG-8 videos have been removed from Youtube

But they did use a clean strat like tone

Of course sounded nothing like her original studio recordings

Gaustu

But is this live video not VG-8?

I just want to say in this one (and in others like this https://www.youtube.com/watch?v=fQa_GwnnvxQ&feature=youtu.be) I do not hear something like strat modeled tone. This likes on some acoustic modeled tone much more.
It could be very interesting is someone who owns VG-8 could reproduce her sound
Parker PDF85 modified: Sustainiac, SD TB-4, Piezo Hexpander 13 pin out.
GR-55 mod with 13 din thru, 6 analog outputs D-Sub => Presonus FS Mobile  8 analog inputs.
NI Reactor matchHEX Guitar Framer Ensemble custom.

Elantric

Quote from:  Gaustu on February 02, 2018, 10:40:28 AM
But is this live video not VG-8?

I just want to say in this one (and in others like this https://www.youtube.com/watch?v=fQa_GwnnvxQ&feature=youtu.be) I do not hear something like strat modeled tone. This likes on some acoustic modeled tone much more.
It could be very interesting is someone who owns VG-8 could reproduce her sound


https://www.youtube.com/watch?v=fQa_GwnnvxQ&feature=youtu.be



thats an easy VG-8 sound- start with Acoustic and Alt tuning 

but this video has a different tone compared to the now deleted video  - available for sale at link  below


JONI MITCHELL LIVE 1998 "PAINTING WITH WORDS + MUSIC"

http://www.eagle-rock.com/product/painting-with-words-and-music/#.WnSx-66nHmE

Rodrigo Schwarz

#23
Great interview about Joni Mitchell and the VG-8:

http://www.jonimitchell.com/library/view.cfm?id=238

GR-55 – VG-8EX - Esp Eclipse Standard 2 Amber Cherry Sunburst with GK-2A – Godin Multiac ACS SA - Gianinni Stratosonic (brazilian strat copy) whith EMG pickups – Roland JC 40

chrish

#24
Also read:

http://jonimitchell.com/library/view.cfm?id=1756

"I think he had a beautiful animal wisdom that I don't see as a madness at all. It's something that we lost. You could view it in this time as madness, and certainly it could be seen as a madness. Maybe I have the same madness but it's not so expressed. In Jaco I saw some of those expressions as a celebration of life. "