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Selby
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Reply #455 on: April 26, 2007, 05:56:13 AM

I recently acquired a Marshall MG 250DFX.  After 9 years of never having an amplifier that worked, this thing is quite impressive.  Sure, it's digital and doesn't use tubes, therefore I'm not ready to be a professional just yet, but I love the sound it gives to my crappy guitars ;-)
stray
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Reply #456 on: April 26, 2007, 06:28:34 AM

I had something similar at one time (actually, I had the exact amp, I think. Except it was an older model with just chorus). Never could get into those Marshalls though (I mean, Marshall from the 80's to Present). Great high gain, shredding sound... But not much in the way of simple overdrive and cleans. Especially with Fenders and single coil guitars, which sound pretty atrocious with them.

Not that I don't like metal or anything, but I always feel limited with them.
Sky
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Reply #457 on: April 26, 2007, 06:55:20 AM

Reading a guitar history book (see the Book Thread). Turns out we tabtards are traditionalists. Next time some haughty sight-reader of 'traditional' notation gives you shit for being a tabtard (dunno 'bout you guys, I get shit all the time from jazztards and the like, but I was in school and whatnot), tell them that what we call tablature now is how guitar was originally transcribed in the 16th century. I flipped the first time I turned the page and saw a sheet of 16th century music in tablature!
stray
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Reply #458 on: April 26, 2007, 07:08:32 AM

I don't play with too many notation readers really. One of my friends is a trumpet player, but he's easy to communicate ideas with. There's another friend who plays piano. She isn't difficult about it or anything, but she gets preachy sometimes (but in a nice way).

I've ran into strangers across the years though that sound like the jazz guys you mention, but not much.
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Reply #459 on: April 26, 2007, 07:17:07 AM

Pretty cool.

http://damncoolpics.blogspot.com/2007/04/lego-guitar.html




Not sure why he put real pickups in it though.
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Reply #460 on: April 27, 2007, 08:27:55 PM

Jazz players can't talk -- a jazz guitar lead sheet isn't much more than the main riff in notation, and a set of chords.

Tablature is a superior notation for stringed plucked instruments because timbre varies from string to string and position to position. In jazz guitar, for example, they avoid playing open strings because of this fact. 5 on the E and 0 on the A just sound different; and 4 on the G and 0 on the B sound WAY different.

If only tab also notated some of the other subtleties -- like strum hand position. After all, timbre varies significantly depending on whether you are playing by the bridge, soundhole, or close to the neck. Naturally, you electric players cheat and just adjust your pickups to only pick up the stuff you want. Us acoustic guys get to mix it up personally, analog, just by moving our hand!
Selby
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Reply #461 on: April 27, 2007, 09:33:43 PM

Naturally, you electric players cheat and just adjust your pickups to only pick up the stuff you want.
Those of us with a guitar that has 2 dead sets of pickups and only one working set actually get to do this too!  It's amazing how you can vary the way a string is played just by moving the position you strum from.  I've always done this instead of using nifty effects that fancy-pants professionals use.  I like to think it makes me cooler, but it really doesn't (at least my mom likes me).
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Reply #462 on: April 27, 2007, 09:42:00 PM

Yeah, you misunderstand us electric guys Raph ;). Perhaps it's a little more subtle, but positioning is still used for changing timbre on electrics too. Probably more with certain styles than others (say, country players who transition between chicken pickin' leads high on their bridges and then into the low end for those bassy Johnny Cash/Duane Eddy type rhythms).

I know there's some songs of mine where changing to a neck pickup just doesn't get what I want -- but playing low with a bridge pickup setting hits the timbre I'm looking for.
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Reply #463 on: April 28, 2007, 04:38:25 AM

I was just teasing. I do have that 62 Melody maker, remember? It's got 2 P90s in it... so I know how it works. :)
Sky
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Reply #464 on: April 30, 2007, 07:52:26 AM

And some of us are stringed instrumentalists, the electric is only one of several instruments we play :P I'm in a money crunch (still) with trying to buy a house, but I want to get a bit more variety in my lineup: a mandolin, a resonator, a charango, a lute, some early guitars like chittarinos or something. But I love playing my acoustic equally as much as my electric, there's so much you can do on it that you can't do on the other, they're extremely complementary. And honestly, I'm still getting used to pickup switching and playing with volumes and tones. The SG is great for that (like the Les Paul), my old guitars were so shitty I was better off not touching the electronics!

As for rt-hand position, it's critical in some tunes. When I play All Your Love by Otis Rush, where it breaks into the solo arpeggiated triad, it's nice to move up close to the neck and get a real nice rich ringing tone, and when you slide down to the Bm triad it usually sends shivers down my spine.

Conversely, I like to play right on the bridge for the opening of Wish You Were Here by Floyd. That song has served me so well back when I'd sit in with hippies and use it as trade for reefers. Right-hand position subtlety gave me an edge over a lot of other guitarists, because Floyd used a few sounds on that track.

Wrote a new song last night at 1am, my poor landlord. I can direct-in to my recorded but the vocals...well, I'm loud. At least I don't have my drums there. It's a new spin on Kind-Hearted Woman, with a little Allman-y feel to the vocals (at least that's where I want it to end up, I'm not a great vocalist).
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Reply #465 on: May 01, 2007, 05:32:43 AM

I went to the London Guitar Show this weekend. As its the UK hardly any of the big names had stands, and wasnt much on show that really took my fancy as i did plan on buying a V with a Floyd Rose. Played around on the Dean stall (low end models nice, high end 2900 GBP USA Dean new Razorback V model was incredibly disappointing), with some rather nice ESPs, watched the Sikth guitarists do a demo, which was awesome power/extreme metal/mathcore, and caught a bit of Phil Hilborne and Nicko McBrain doing their usual LGS show, which included guest vocals by Bruce Dickinson.

The highlight of the show had to be:

BlackMachine Guitars

In particular, one with handwound Nailbomb pickups that we played through a Diezel amp and cab

Wow, just wow. Once you've played a luthier made guitar using handmade pickups and through a handbuilt amp, (total cost of setup was roughly 8000 GBP) nothing will be ever be quite the same again.
« Last Edit: May 01, 2007, 05:35:11 AM by penfold »
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Reply #466 on: May 01, 2007, 09:55:41 AM

I can't emphasize how badass that VK I had was. It was handmade too -- the only handmade amps Fender does anymore (that can be had through retail channels at least). It was one of the first ones they made at that.

But....Like I said. It was too much amp for me.

My pickups are custom as well (Curtis Novak). As is my main stompbox.


The weak link in the chain is my guitar --- but I meticulously set it up myself. Down to sanding the small moving parts. That counts for something, right?  :-D


Heh. Actually, as far as guitars go, I'd want vintage more than some custom job. If only because the feel of a played in neck is superior to anything else. And can't really be replicated. Besides, guitars back then were made with more personal care too.
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Reply #467 on: May 01, 2007, 10:02:36 AM

This is why I'm not impressed by the Trans-Siberian Orchestra.  My cousin, by himself in his homemade studio, basically did what it took them a ton more people and money to accomplish.  He's even started playing drums now, damn him.

Christmas Rush, as he's titled it

That the saints may enjoy their beatitude and the grace of God more abundantly they are permitted to see the punishment of the damned in hell. -Saint Thomas Aquinas, Summa Theologica
stray
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Reply #468 on: May 01, 2007, 10:13:58 AM

I haven't heard anything from them except....whatever that song is that gets played on the radio a lot.



Anyhow, he recorded it well. Not to criticize too much or anything, but is he only playing the snare part? Sounds like the rest of the drum kit is a drum machine.
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Reply #469 on: May 01, 2007, 11:18:17 AM

Much as I would liike a decent amp, I live in a small flat, so my amp is an old Peavy thing of my bro's that I think is broken and is little more than a speaker for the POD.  More often than not I run guitar into POD into earphones. My next guitar is going to be something spiky, EMGs or Nailbombs, with a Floyd, 12-70s and tuned so low the strings flap in the wind.

Brutal.

 Rock Out

Quote
I haven't heard anything from them except....whatever that song is that gets played on the radio a lot.

I think TSO only release Christmas stuff? The website didn't show much else.
Sky
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Reply #470 on: May 01, 2007, 11:29:08 AM

Actually, as far as guitars go, I'd want vintage more than some custom job. If only because the feel of a played in neck is superior to anything else. And can't really be replicated. Besides, guitars back then were made with more personal care too.
I can't imagine a guitar feeling better in my hands than my 61 reissue (except, I guess, a 61 SG but I think Townshend broke them all ;)). I lament the Taylor classical I let slip by me last year, it's literally the only classical I've ever played that didn't feel like a plank. I'm bringing my Alvarez back into shape, the neck was a bit out of whack for a few months there but I have hope for her. She plays pretty damned nice for an acoustic.

I want to get a cheapish acoustic to have here at the office so I can work on some stuff during lunch now and again, I just hate wasting money on cheap guitars that play like shit. Maybe one of those trashy high school classicals or something. I'm still considering a Baby Taylor, but that's too nice to leave sitting at the office imo.

Llava, if I didn't say it last time you posted his stuff, he's Splendid.

Penfold, you'd like my bass, it's EXTREME SPIKY. I'd have to take a picture, can't find any online (it's from the ESP shop in hollyweird).
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Reply #471 on: May 01, 2007, 11:45:04 AM

Yeah, that's all I'm saying. A real 61 would be better. Just for the neck alone.

And 61 (and pre) PAF pickups are another story entirely. All of them were custom back then, so Gibson doesn't have any set spec to replicate them in a reissue. Unfortunately, this is what makes them so difficult to get your hands on now. 50's and 60's Gibson pickups alone (not the guitars) sell up to $10,000 a piece.
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Reply #472 on: May 01, 2007, 05:31:16 PM


I want to get a cheapish acoustic to have here at the office so I can work on some stuff during lunch now and again, I just hate wasting money on cheap guitars that play like shit. Maybe one of those trashy high school classicals or something. I'm still considering a Baby Taylor, but that's too nice to leave sitting at the office imo.

I keep my Baby at the office. Also one of those Nomad electrics with the built-in speakers (the Star Wars limited edition, no less). I always say it sounds like a dying duck.
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Reply #473 on: May 01, 2007, 08:31:27 PM

I haven't heard anything from them except....whatever that song is that gets played on the radio a lot.



Anyhow, he recorded it well. Not to criticize too much or anything, but is he only playing the snare part? Sounds like the rest of the drum kit is a drum machine.

Nope, he said it's "live acoustic drums" performed by him.

That the saints may enjoy their beatitude and the grace of God more abundantly they are permitted to see the punishment of the damned in hell. -Saint Thomas Aquinas, Summa Theologica
stray
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Reply #474 on: May 01, 2007, 08:48:19 PM

Ah cool. Just a variance in the snare level I guess. Good job though, I dig it :).
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Reply #475 on: May 05, 2007, 05:05:38 AM

OK, that other thread did it for me. I am definitely going to buy a new guitar. The problem is, I do not know what to look out for. Almost 15 years ago (wow, that is a really long time *shudder*) bought a guitar and tried to play. Sadly I never took any lessons and the thing I bought was one broken piece of shit, even friends of mine who where really good players at that time found it frustrating to play.

So, any good advice (apart from the "practice, practice, practice part, I know that already :-D ) on what kind of instrument I should look out for ?

"I've been done enough around here..."- Signe
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Reply #476 on: May 05, 2007, 05:29:34 AM

OK, that other thread did it for me. I am definitely going to buy a new guitar. The problem is, I do not know what to look out for. Almost 15 years ago (wow, that is a really long time *shudder*) bought a guitar and tried to play. Sadly I never took any lessons and the thing I bought was one broken piece of shit, even friends of mine who where really good players at that time found it frustrating to play.

So, any good advice (apart from the "practice, practice, practice part, I know that already :-D ) on what kind of instrument I should look out for ?
I haven't shopped for a guitar in a long long time and I'm not sure what's available where you are at but my suggestion would be to start with a Fender Standard Stratocaster since those should be relatively easy to find (there are a lot of different Stratocaster models, the Standard is one of the cheaper ones). If you remember some basic barr cords try out the fingerboard and study how it feels playing it (or holding it as the case may be :D) standing up wearing a strap and sitting down, paying special attention to the feel and shape of the back of the fingerboard (the way it curves). That plus the shape/size of your hand is going to dictate in large part how comfortable and easy the guitar will be to play for you.

Then just start comparing the Strat to other guitars in your price range and pick one you like.

Edit: typos
« Last Edit: May 05, 2007, 05:36:00 AM by Trippy »
Sky
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Reply #477 on: May 05, 2007, 10:06:30 AM

Just find a guitar shop with a lot of decent guitars and try each one. You don't have to be able to play them well, just see how each feels in your hands. That's the most important thing, you can always change pickups to get a different sound, but neck/body feel is critical, even in a cheap guitar. If it's awkward to play, you'll be less likely to practice as often.

I planned on getting a strat when I got my sg, so keep an open mind and try 'em all :)
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Reply #478 on: May 05, 2007, 11:09:58 AM

Agree with Sky, I had no idea I would have picked up a Gibson Corvus II back in '85, still have it and just got it re-strung and tuned up...now to find a small practice amp (I could get a mini-stack from Marshall, Carvin, Mesa Boogie, etc...), was thinking of getting an Ibanez or Kramer back then (would have been there budget guitars) and the quality on the Corvus was much better than the cheap imports by Kramer and Ibanez.  I owe it to my 11 year old for having picked it up again, he is jamming on the keyboard and violin and sometimes he strums my guitar, wish I had his ear (he figured out Ode to Joy & Star Spangled Banner on the keyboard by ear).  I used to date a gal that had a beautiful Ovation, would love to have one of those too.
Sky
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Reply #479 on: May 07, 2007, 06:35:31 AM

Whenever I practice major scale stuff (my kryptonite), I end up slipping into the First Noel for some reason. My ears just pick it out every time.

On my thinking about getting a Baby or something for the office...now I'm thinking of maybe getting a strat instead. Maybe a tele. If I can get a decent one on the cheap, anyway. Thing is, the local blues jam (which I'm getting up the fortitude to join in) was in a nice, safe hotel bar for a year. Now it's in the damn ghetto and I'm not bringing a $1500 guitar there! And, of course, I was thinking of playing this wednesday...but they invited the local media to film the event  undecided
Selby
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Reply #480 on: May 07, 2007, 08:43:43 PM

Now it's in the damn ghetto and I'm not bringing a $1500 guitar there!
I love my $60 guitar for this reason.  I'd be very unhappy if someone stole it just because it has such sentimental value, but it sure doesn't look like something that would command high dollar.  I even used to carry it around in an old Target bag back before I managed to locate a case for it.
Sky
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Reply #481 on: May 08, 2007, 07:04:56 AM

I have a cheap guitar (free), but it's set up for slide, the action is wicked high and I keep it in open G. I guess I could bring it and play slide, but I'm trying to learn how to sing the tunes I play on slide, especially I Can't Be Satisfied and Kind Hearted Woman. I posted a version of Satisfied here played on that crappy guitar a while back. I can cover maybe better than half of each, but that just don't cut it in my thinking ;)

Just looked up the jampod thing we tallked about a long time ago (plug your guitar into the ipod and play along)...doesn't work with 5G ipods :(
Sky
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Reply #482 on: May 14, 2007, 06:54:10 AM

Continuing from the Live Music thread...last week was a great music week. Great blues jam Wednesday and Guy Davis Saturday. Also picked up Andy Aledort's Hendrix DVD. I was a big Hendrix fan when I was a kid, some of the first stuff I played badly on guitar. He does a nice job laying things out if you know what you're about, for beginners it would be real rough. I only intended on learning Little Wing (finally..and in preparation of learning the SRV version, which is one of my guitar milestones I want to hit), but I just started playing along from the beginning and ended up working on Spanish Castle Magic, inserting my own solos (of course!).

Good stuff, ten bones is a pittance for inspiration imo.
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Reply #483 on: May 14, 2007, 07:04:26 AM

Little Wing is quite a milestone, but was never anything I've tried. I always wanted to get a feel for Jimi's funk oriented riffs though (Ezy Ryder, Crosstown Traffic, and especially Straight Ahead). I love those funky little grooves he was doing later in his life.
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Reply #484 on: May 14, 2007, 09:18:23 AM

Thank you for this thread...

I spent a good portion of my weekend listening to some CD's and reminding myself why I need to play my bass more.  My finger tips are still sore from about 8h playing and I'm embarrassed by how much my skills have deteriorated since I used to play professionally.  I have a mid-1970's Fender Jazz that I play through a crappy old crate bass head and a homemade 2x12 enclosure (sold most of my gear 10+ years ago).  I have a few pedals that I like to mess with (phaser, chorus, compressor) but usually opt for a mid-supressed, clean sound. I play mostly with my fingers but will play with a pick when the mood strikes me.  I prefer a softer pick for running and a hard pick when I want attack punch.  Anyway, I thought I'd share the list of CD's with you guys.  It's a mixed bag of styles, but the techniques were a great exercise in humility. 

The Best of Larry Graham and Graham Central Station:  Great funk groove with some great slap techniques in E.

Jaco Pastorius, Self titled:  While I think Jaco was a bit more self-indulgent than musical, songs like Donna Lee are an outstanding example of breaking the typical jazz bass mold. Great harmonics exercises.

Stanley Clarke, School Days: Classic combination of scales, funk, and chording.  One of the kings of bass guitar.

Cream, Disraeli Gears: Jack Bruce and his no nonsense style.  Always fun to emulate.

Rush, Circumstances:  I have a hard enough time trying to play the title track without trying to imagine singing it as well.  Geddy Lee is one bassist that reminds me that I'll never be more than average technically.  I spent a lot of time retraining myself to double pick with my fingers.  I need work.

Yes, Fragile: Christopher Squire... need I say more. The circular scale patterns give me fits on occasion.  I find I can actually play this stuff better when I just stop tring to think about what I'm doing and just let it flow. 

Beatles, Revolver and Sgt. Pepper:  While not all that difficult technically, I always get great pleasure from playing songs like Taxman and A Day in the Life.  I enjoy McCartney's musical style as it's both rhythmic and approachable.

Victor Wooten, Live in America:  This guy is a bit all over the place, but there's no denying his natural talent.  Great practice for hammer, funk, and harmonics work.  If I had 1/10th of this guy's natural ability, I'd die a happy man. 

Primus, They Can't all be zingers: While I love Claypool for his talent, he can get to be a bit repetitive.  His singing grates on me after a while as well, but I think there's a lot to be learned from his style. 

Note: I made this list from memory, so I apologize for any errors. 

« Last Edit: May 14, 2007, 09:24:49 AM by Nebu »

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stray
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Reply #485 on: May 14, 2007, 09:26:37 AM

McCartney doesn't get enough credit as a bass player imo.


Besides him and Jack Bruce, your tastes confuse me a little (nothing wrong with others though, of course). I always thought you were more into the "no nonsense" Motown type grooves, but it seems like you're more into progressive and virtuosic stuff.
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Reply #486 on: May 14, 2007, 09:29:37 AM

Besides him and Jack Bruce, your tastes confuse me a little (nothing wrong with others though, of course). I always thought you were more into the "no nonsense" Motown type grooves, but it seems like you're more into progressive and virtuosic stuff.

Stray, I think I'm confusing in that the music I enjoy listening to is often very different than the music I learn from.  You're right in that I enjoy a more straightforward approach in the music I listen to, but these cd's are a staple for educating myself as a musician.  I don't want to directly emulate these guys, but they do a great deal to help me grow in my playing repertoire. Does that make sense?  I also wanted to offer up this as a list of cd's that have a lot to offer the bass community.  It's a diverse collection of some of the most talented bass players across genres. 

This weekend also had me wishing I still had my early 70's Rick 4001.  I'm going to start browsing eBay to see if I can find another one.  I miss the growl that only a Rick with flatwounds can provide. 
« Last Edit: May 14, 2007, 11:49:17 AM by Nebu »

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Reply #487 on: May 14, 2007, 03:27:42 PM

Looking back it seems I didn't even buy a guitar until page 7 of this thread, and now I'm on my fourth, a sign, I suspect, that I could be turning into a collector. The low price of the dollar has driven the US guitar market prices right down, even in the UK, which is why I've managed to pick up a Jackson Custom Shop Soloist.

   

More or less my dream guitar seeing I love the Chlorine Blue Quilt top that their custom shop do.  The Dimarzio Evolution pickups scream like a b***h, very hot. One of the strings is broken so I will replace them all with 9s and give the fret a clean, and then wrestle with the Floyd for a bit as I learn to string one. I've helped my friend restring his but not quite the same when sitting there alone.  I'll probably take it down the local shop to get the tech to set it up for some heavier strings and lower tunings at a later point, I'm not 100% sure on innotations and if I need extra springs etc and its too expensive to experiment on. 

As my playing abilties are coming on a bit slower than I am capable of (laziness really), it's a bit of a case of a newbie driver buying himself a V8, but I can see this lasting me a very long time.

I have been experimenting with recording over the weekend, playing about with the track in colloboration thread, as well as some of my own metal tunes. Its nice to actually hear things that sound like music and for it to all start gradually coming together.

stray
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Reply #488 on: May 14, 2007, 03:48:53 PM

Really nice. Cool idea to go with maple too.

I've never had a shredder like that myself, but I've always wanted one. Kind of sucks when you get in that mood, and all you've got are Fenders and Gibsons (which is to say, they can wail plenty -- but they can't scream ;).
Sky
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Reply #489 on: May 15, 2007, 07:14:29 AM

When I was playing bass, my main inspirations were Geezer Butler and Steve Harris. Geez for the bluesy jamming (actually the basis of my current blues led playing, heh...everyone said I played bass like a lead guitar and now I play lead guitar like I played bass...) and Steve for the omg thumping rhythms. Imo there weren't a whole lot of good role models for metal bass players, and I didn't (and mostly still don't) like jazz. Oh, and Cliff Burton of course. Monster fingers and great theory, he is what turned me onto incorporating classical fingerpicking on the bass.

You think you're bummed about your technique? I used to be at the very physical limits of what I could do on the bass. Fast fingers, great chording, a triplet that only Steve Harris could beat...I miss impressing the shit out of every band I met in CA, it was great for the ego. Funny, because I always saw my limitations and don't consider myself braggy, I jsut honestly admitted my skills, but a lot of people thought I had a big ego. Some folks never truly listen to you, though, and hear how much I know I don't know and how much I daily strove to be better, practicing a solid eight hours a day back then when I was in a band (and in music school for a while). Bah. Played a bit last night and tore my fingers up, which is good for my guitar fingerstyle.

You should also add the mighty Duck Dunn to your list. Stax records stuff like Albert King's  Born Under A Bad Sign. There's also a book called What Duck Done that's been on my Amazon wishlist for a while.

Penfold - that's a hot guitar. When I was still playing guitar in my band (metal), I had a strat knockoff loaded with EMGs (the /other/ hot pickup) and a really nice pearl white finish BC Rich Bich with a rosewood fretboard. Unfortunately, I broke my Rich undecided and never had money to get a decent guitar after that. The gear I used to play when I was in a band was actually pretty sad, but I feel it taught me how to pull a great sound out of subpar gear. Basically I used a Proco Rat into a clean amp head (Kasino or summat) I got at a hock shop. Later I got a Laney full stack, but I never liked it as much (the speakers, yes, 8x12 celestions).

Our other guitarist had a super hot Ibanez custom he picked up in Hollywood, it had a really cool polychrome purple/blue finish (like those shirts that change color depending on the angle).

I never liked the floating bridges or tremolo bars, I always took 'em off my guitars. I did have a locking nut on both my guitars, those are nice. Floyd Rose...ecch, I've played a few, not my style.

When you get it worked on, be sure to ask the tech if you can look over his shoulder. Ask questions if he doesn't mind. A good guitar is never a bad investment, imo!
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