The Sceptres' Sound - The Sceptres

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The heart of "The Sceptres’ Sound” and the band's most identifiable asset was its vocal prowess.
Unlike bands that shared lead vocal responsibilities.  The Sceptres' confirmed Marty's role as their sole lead vocalist in an integrated sound dependent on the vocal skills of all four members.
Under Tim's guidance voices were tested, ranges confirmed, and roles established that would reinforce unity and provide consistency.  Bill's bass voice and harmonies would provide the foundation for Marty, a natural baritone, and the harmonies of first tenor Tyler and high tenor Tim.  Vocal training enhanced each member's natural abilities and protected the wellness and longevity of their voices.
Their rehearsals and live performances were recorded and later critiqued to identify opportunities for improvement.
Their vocal harmonies and presentations then blended their individual skills into a readily identifiable sound emphasizing quality, clarity and emotional impact.
As a self-contained four-piece band, each member's instrumental performance was a critical component of their 'Sound'.
From piano chord to guitar riff, from bass run to drum fill, all aspects of their playing were considered.
So were their instruments. Marty's Wurlitzer electric piano was preferred for its unique tone and clarity.  A Yamaha portable electric organ provided the pop sounds of that era and orchestral sustain for the band's production numbers.
Tim and Bill added new cherry red Gibsons, an ES-345 guitar and an EB-2D bass to compliment their Fender Jazzmaster guitar and Fender Precision bass.  Tim also added a Fender solid body 12 string for those ‘60s folk-rock songs and a Gretsch Country Gentleman for George Harrison type sounds.
Three Ampeg instrumental amplifiers, B15 and B18 models, provided studio quality sound.  A Rogers Dynasonic snare drum and Ludwig timpani complemented Tyler's four Ludwig drums.
As their vocal and instrumental skills grew, so did the importance of their sound system. Testing quickly confirmed that their sound delivery requirements far exceeded the commercial systems then available to bands; a 'custom designed' approach was necessary.
The band hred a sound system engineering firm to design two distinct speaker systems, each custom designed and built with the finest components, and offering flexibility, performance, reliability and ease of transportation.
For smaller more intimate performances, four column cabinets, each with four 8” speakers, would be easily mounted on floor stands, hung from wall supports or suspended from ceilings.
For larger venues four massive cabinets, some two feet square and five feet tall, could be placed on the stage, elevated on floor stands or suspended from ceilings.A state-of-the-art Bogen amplifier provided the power.
The four speakers provided superior sound dispersion while the elevation choices offered enhanced projection and clarity.
At the time, this was unique to the Canadian music scene.
The result was a system providing superior delivery of the band's performance and its sound.
“The Sceptres’ Sound”
All texts prepared by Tim Hewlings, Bill Ott and Tyler
Website created by: T. G. Hewlings using WebSite X5
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