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Sky
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Reply #560 on: July 31, 2007, 07:21:54 AM

Just saw George Thorogood. Had great seats, so I got to see a lot of his technique. It's almost ALL right hand. I was amazed, listening to his albums, how much of it was just barre slide stuff, with his right hand contributing all but a few slurs. Really inspired me to explore that style of playing (rather than a more Duane Allman-style full-on slide attack) and I feel my playing got a lot better through a very simple visualization. Worth the price of admission right there (though it was a good show!).

Combine Thorogood's almost non-moving (out of position, so when he's on the V chord, he sits at the 7th fret; I he's open, sliding down from the 3rd fret, and using the 12th for accents; etc) and Duane's more fluid moving style and I might be getting onto something here.
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Reply #561 on: July 31, 2007, 01:37:18 PM

Paul Simon's stuff also frequently works this way. If you do a straight guitar-only version of something like "Graceland" or "Late in the Evening" you'll find that all those complicated horn shouts or lead riffs are actually just straight picking patterns on top of barre chords.
Sky
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Reply #562 on: August 01, 2007, 09:05:51 AM

I tend to like books, working at a library and whatnot, also the slow pace of digestion. I love critical listening, that's where you get all the feel and timing for changes imo (if you don't regularly gig, of course). But there's much to be said for seeing great players do their thing live and copping their chops :)

I've got a few great DVDs, but seeing someone live without the cameraman screwing around with things is unbeatable. I am so lucky to have seen the incomparable Buddy Guy three times this year. Normally we get to see the Allmans once or twice a year, but we're missing them this year. But I'll see Rossington, Setzer, Gibbons, Bonamassa, still some great shows left this year.
Sky
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Reply #563 on: August 02, 2007, 07:52:25 AM

I was in the mood to play some bass last night. Sucks how rusty I am on it, I should really practice more on it. I used to be pretty good once. Anyway, I grabbed the camera and took a vid of anesthesia, a cliff burton solo (posting about it in wibble made me want to play it when I got home). I forgot some parts, and it's wicked sloppy, but what the heck. Not like I'm in it for the money :P

http://www.youtube.com/watch?v=Fm6KMVEUDt0

Playing my old ESP custom bass through a crappy Peavey Mark III head into a Dean Markley 1x15" cab loaded with an old EVMB 400W speaker. Sounds like crap, that bass has needed new pickups for ages. In a few spots you can still hear some of my killer triplet technique. Super rusty now, I used to play The Trooper by Iron Maiden several times just to warm it up before playing.
« Last Edit: August 02, 2007, 07:56:48 AM by Sky »
Nebu
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Reply #564 on: August 02, 2007, 09:26:42 AM

Thanks for posting the vid Sky, I really enjoyed it.  You use a nice combination of finger and thumb use on the chording.  I also didn't think the sound was bad at all.  Watching that really showed me the guitar influence and it is obvious that you've been playing your guitar a lot lately.  I hope that you're brave enough to post more stuff in the future.  I always love to watch videos like that as it gives me the chance to learn from the technique of others.  I'll have to work on something here and maybe post it as well.

"Always do what is right. It will gratify half of mankind and astound the other."

-  Mark Twain
Sky
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Reply #565 on: August 02, 2007, 12:28:58 PM

Thanks! I hate how rusty it is, so it's tough for me to post things. The bane of having been really good a really long time ago and slowly working my way back into things without the benefit of the 8 hours of practice every day that got me good in the first place.

The right hand stuff is all from high school classical fingerpicked guitar class, though I've of course expanded it from there. It is what allowed me to jump over to bass in the first place imo. There's actually a lot of different techniques going on in that piece, which is why it was a practice staple for me. Two and three string arpeggios for the left hand, and the gamut for the right: alternate fingerpicking, 'chord' fingering (the thing with the thumb), drone picking, a few nail-strummed accents and my patented super triplets.

The last part is just some blues hacking, I don't know blues bass very well because I've learned all that on guitar and keep looking for the upper strings to make chord shapes :P
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Reply #566 on: August 02, 2007, 03:59:37 PM

Sky --  Great vid. You sounded just fine to me!  Definitely throw a few more vids up for us n00bs who aspire to be great  :-D

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Reply #567 on: August 03, 2007, 10:41:08 AM

You're almost making me want to go out and buy a guitar, even though I suck and have not played one in 15 years.

Sky
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Reply #568 on: August 03, 2007, 12:07:10 PM

Ok, I don't feel bad for how shitty mine came out. I just spent twenty minutes watching some awful versions of that song on youtube :) Best one was cello, the guy's not the greatest cello player and has a tough time with some of the arpeggiated chording, but it's really cool nonetheless.

http://www.youtube.com/watch?v=UOugi_inC58

Probably the best version, based on the live Cliff 'Em All version: http://www.youtube.com/watch?v=S9puftcB0g0
trotski
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Reply #569 on: August 13, 2007, 01:02:16 PM

I was on vacation for the last week, so I brought the guitar with me.  As luck would have it, my father-in-law who is a pretty damn good guitar player, brought his as well. As a side note, it's been cool to see him pick it up again since I bought my guitar and started learning.  He's busted his out and started playing more regularly. So he's been showing chords and songs, etc.

So he showed me Whole Lotta Love, and god it has been fun to play.  It's a pretty easy song to get the hang of, until the solo, obv.  But I've got a pretty good grasp on it, and it's been fun playing along with the recording.  My repotoire now 85% of Whole Lotta Love, Horse with No Name, and a walking bass line. W00t, look out world.

A question on an interesting technique the FIL showed me.  He showed me this two-string harmonic style (that apparently a lot of metal guys use?) on the E and A strings to play songs.  I was surprised how cool it is, however I googletarded it, and couldn't find anything really associated with it. I'd like to learn some songs in this style, if i can find some.  He played a couple, including WLL. Anyway, if you know anything about this, I'd like to learn more.

OT: I also started reading The Beatles by Bob Spitz...it's FANTASTIC if you haven't read it yet.  Very long, but really in depth not only on the band, but how they all learned their chosen instruments, etc. 


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Reply #570 on: August 13, 2007, 01:26:52 PM

You need to define "two string harmonic style" a little bit better. At a guess, you probably mean power chords, but it's also possible you mean dropped-D tuning.

Power chords: http://en.wikipedia.org/wiki/Power_chord

Basically, it's a barre chord where you only play the 1 and the 5, leaving out the note that makes the chord major or minor. Distorted guitars often don't sound good with major or minor, but they sound very nice with fifths and fourths.

Dropped-D tuning is often used to accomplish power chords, because it makes the fingering even easier. Basically, tune your low E string down to D, and now strumming open on the three lowest strings is a D power chord.

http://en.wikipedia.org/wiki/Dropped_d_tuning




trotski
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Reply #571 on: August 13, 2007, 01:47:12 PM

Ah, ok.  So, hopefully this explains it a little better: For WLL, he would play the 3rd fret on the low E, and the 5th fret on the A, together - then move up to the 5th fret on the low E, and the 7th fret on A.  Does that make more sense?

From the wikipedias you sent, I think power chords are the correct answer.

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Selby
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Reply #572 on: August 13, 2007, 05:22:21 PM

Distorted guitars often don't sound good with major or minor, but they sound very nice with fifths and fourths.
So says you ;-)  I prefer anything but "power" chords just because it is too easy and I always get the feeling I've played that song before even when it is a new one...  I can definitely understand what you mean though.

I have no problem with D tuning, but it seems like every "heavy" band in the last 10 years has done that and run up and down the fret board with 1 finger all the while the guitar magazines continually spooge themselves over how "original" and "great" they are and the kids run out to emulate them.  Gee.  If only they had applied all of that talent from 1 finger into the other 4, imagine how much of a living legend they could have been!
Sky
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Reply #573 on: August 14, 2007, 07:16:01 AM

Har, power chords. Cheap, effective, but pretty generic and lacking in flavor. Stock in tons of songs because they're easy to play and pretty neutral-sounding, so you can stick them in songs you don't know well and not sound too bad. Stock metal riffing.

I do disagree with Raph, though, a lil bit. On one hand, you haven't lived as a guitarist until you've slammed a power chord through a full stack with tons of distortion. That's a form of sonic bliss. But you can get much more complex, I used to use all kinds of triads to make music more interesting. It's all situational, sometimes it'd fit, sometimes it'd muddy things up and you'd need to use a power chord or (when we were a two guitar band) play in harmony to define a chord.

Drop-D tuning has it's place. However, the total misuse of it over the past ten years makes me pretty much spurn it. I'm with Selby, I sat in with some metal guys when I was first getting back into playing and it's completely retarded their playing. They could play all this complex stuff...with one finger. I just downtuned the whole thing to D (standard tuning) and got compliments on how old-school I was  rolleyes Playing actual chords and knowing my scales (somewhat, anyway) put me on a level far above those one-finger cases. Sad, really.

On a personal front, making more progress singing and playing. Working on some repertoire for a blues set at some point. I could probably get out and hamfist some stuff, I'm definitely making some (slow) progress, but I don't want to be 'that guy'. In the past I was always one of the better musicians in the room because I had so much time to practice and was so focused. So being anything less than really good is tough for me :) I still haven't synced up "I Can't Be Satisfied", one of my favorites. Generally I need something with a call & response style vocal/guitar, or an echoed line. Luckily, there's a ton of blues out there just like that.

Right now my main practice tunes are "Baby Please Don't Go" by Muddy, "Catfish Blues" (in whatever form, right now "Rolling Stone" by Muddy), "Long Distance Call" by Muddy. I like Muddy Waters a lot. He's played with so many great guitarists most people have never heard of. Going to stretch out into some Junior Wells stuff, been listening to a lot of the stuff he did with Buddy Guy. I'll be putting in a version of "She's Nineteen Years Old" Buddy-style. A standard for the harp players at the jam is "Early in the Morning" by Junior, so that'll go into rotation at some point. Oh yeah, also the standards "Mannish Boy" and "Hootchie Cootchie Man", though for Hootchie I'm not real happy with the hybrid version (guitar/vocal). I do a really powerful vocal on that and it really lacks when I'm splitting my attention. Might have to relegate the guitar to a solo in that one.

Anyway, making progress is a good thing. I try to get a little better every week, learn some new trick or at least jam over a couple new songs. Been playing around with ye olde T-Bone Walker chords, always a nice addition to the bag.
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Reply #574 on: August 14, 2007, 11:35:12 PM

Sheesh, one side comment and all you electric players jump on me...

Distorted guitars often don't sound good with major and minor because distortion by its nature cycles the tone in and out of tune. Depending on the exact distortion settings, you can get the "beating waves" going, get a nice harmony, or you can just get stuff that sounds out of tune. It depends heavily on what processing you are applying to the guitar signal. Further, because the fourth/fifth wavelength relationship is a very strong one, whereas the major and minor relationships are less so, depending on how you have your pickups balanced, it can actually be hard for an amplified and distorted signal to carry much of the major or minor if there's fourths or fifths in the mix as well -- it can get drowned out.

Simple proof test of the above is to pluck perfect fourths, fifths, major thirds, and minor thirds, on a distorted guitar while trying a variety of pedals or settings. You'll quickly hear how the tone goes sour on the thirds in many cases.

But you guys KNOW that, I am sure. Never met an electric player who didn't know it. And the best players USE it. So quit picking on me!

Me, I'm not a metal guy, so I don't care how metal has misused the dropped D. :) In the acoustic world, dropped-D is a vital technique mostly used for specific effects, and it's the gateway to stuff like double-dropped D and then DADGAD. Yes, you can do simplistic stuff with it, but it's also the underpinning of a lot of fingerstyle. There's a variety of acoustic players who like to drop further; David Wilcox for example has been known to drop to C quite a lot, and Peter Mulvey actually drops all the way to an A sometimes.

I will confess to occasionally having plugged in and distorted on a dropped D. It's absurdly easy to suddenly sound like a shredder that way. :P I mean, picture some of the acoustic riffs I have posted here before in metal style... they're often in dropped or alternate tunings, and they'd be exactly the sort of fast showoffy thing that those one-finger players find impressive...
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Reply #575 on: August 14, 2007, 11:46:47 PM

Distorted guitars often don't sound good with major and minor because distortion by its nature cycles the tone in and out of tune.

Using an O-scope, most distortion mearly square-waves the sound.  Changing pitch would involve changing the frequency.  Now, some distortion pedals also "color" the sound, but that is beyond distortion loved by us purists. 

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Reply #576 on: August 15, 2007, 12:20:29 AM

Square waving is enough to cause what I am talking about. 3rds are "unstable" relationships, unlike 4th/5th/8ve. When you map the two waveforms against one another on an o-scope, as you say, they have to line up pretty closely to sound right. I'm not talking about distortion of ONE note, I'm talking about distorting the two together causing the 3rd as a whole to sound out of tune.

Er, again though, you know this. :P
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Reply #577 on: August 15, 2007, 12:24:24 AM

Since right-hand technique came up before, here's something I posted a little while ago:

http://www.raphkoster.com/2007/07/08/the-sunday-song-variations-on-longitude/

This is flatpicked, not fingerpicked.
Sky
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Reply #578 on: August 15, 2007, 08:10:47 AM

I had a great teacher in jr high school who let us play with all these waveform generators. The kids who enjoyed it, she actually took the time to explain how they all worked and how real sounds reflected the basic waveforms. That also helped me a lot in science class, and understanding things in general. Waveforms are incredibly important, can't believe more kids aren't taught about them!

Raph, I'm not jumping on you. As I said, you do have to be careful how you use them, but even a diad is an awesome twist on a plain old power chord progression. I was in a gigging metal band for almost ten years, I do know wherof I speak. But then, I did a lot of chording on the bass (not 6-string), another 'taboo' because it supposedly muddied the sound. Well, again, experience differs with common knowledge. I certainly don't consider myself 'the best', but we sure abused the hell out of any sounds we could get into, and we pretty much were self-taught through our formative years.

Thirds being unstable is a beautiful thing, welcome to the blues ;) Use and abuse that unstable interval, it builds tension and resolves nicely.

Anyway, I should throw together an example. Problem is, I don't have a metal setup anymore, to really get the proper sound you need an overdriven tube stack on 11, or at least a Proco Rat pedal. Maybe I can do something with the little crappy practice setup I have. See the multiple posts in this thread about needing a new amp.

Not to put up this crappy old clip again, but at 1:15 I start using powerchords (by way of demonstration for trotski), though I pretty much use the 1-5-8, throwing the octave on the top. To get a really fat chord you can also barre the 5th underneath, so a D fat powerchord would be 5577xx. Also, by using the 1-5-8 habitually, you can drop the 5th from the middle of it and just do the octave for a cool sound. Start replacing single solo lines with it and you're on the road to Wes Montgomery land. Anyway, back to my crappy vid, at 1:26 I replace the C powerchord (the progression is Bm C D, I forget which mode I'm in, B mixo? B tonality with notes from the Em scale) with a C diad (C-E, 1-3) and it makes a nice flavor.
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Reply #579 on: August 16, 2007, 11:09:38 AM

Thanks for the demo Sky, very cool.  I guess I was pretty ignorant as to the proliferation of power chords, there are a metric fuck ton of songs that just utilize them. (Although good for me, since you don't really need any talent to play them, and I have none, so it kinda works out.) Since i've been playing, i can definitely tell my ear has gotten better at picking out notes and chords, i listen much closer than I use to.

I'm a huge Muddy fan; I definitely love me some blues.  LZ, Muddy, Clapton, Jack White, B.B., I love all of it.  I saw John Lee Hooker in Seattle about 3 years before he died, it was amazing.  He had three little hotties help him from backstage to his chair. Once he sat down, he launched right into 'Boom Boom'. Getting to see him play was definitely an experience.

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Reply #580 on: August 16, 2007, 06:53:38 PM

Anyway, I should throw together an example. Problem is, I don't have a metal setup anymore, to really get the proper sound you need an overdriven tube stack on 11, or at least a Proco Rat pedal. Maybe I can do something with the little crappy practice setup I have. See the multiple posts in this thread about needing a new amp.
That was what I thought back when I was first learning how to play.  Then I realized that by adjusting the knobs on the guitar and how I was playing the strings helped quite a bit.  I could make it sound nasty and distorted to hell on my shitty guitar and broken $50 Fender practice amp which excited me (I still haven't found anyone who plays a similar setup, probably because no one would want to sound so shitty yet still play technically decent).  Sure, a good metal setup will really cover up flaws and shitty playing, but I like to think that a good guitarist can make even the ugliest and cheapest guitar still sound good or exciting.  It's almost too easy on my new Marshall setup honestly, and playing this thick heavy 15lb guitar is easier\more fun than my new lightweight one.
Sky
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Reply #581 on: August 17, 2007, 06:40:28 AM

Well, I can get a decent sound from a lot of things. My specialty back in the day was playing with shitty equipment because that's all we could afford. We just bought (mostly, heh) LOTS of it. It was all about being loud, loud, loud, fast and heavy. The crappy guitar clip is recorded through one of my first post-band purchases, my peavey mark III (crap) head and a decent Dean Markley 1x15" loaded with a 400W EV full-range, using my Boss GT6 for the effects. Meh, it works, but I've never found any distortion as satisfyingly chunky as a true full stack + rat pedal.

Lately I've been playing dry into my Pignose, which can get real burpy if you're not careful, and seems to need a 60 cycle filter desperately. But I make it sound good. It really is mostly in the fingers and tone shaping at the guitar controls, another reason I love the SG.

Was just up buying a couple knick-knacks at the music store (tuner + boom stand), eyed some amps. I'd still really like the fender super reverb, but 4x10 would probably be too much for the venue I'd most likely start at (blues open mic). Talking with the local guru, he's suggesting the deluxe reverb with 1x12", and it does look like a nice amp, and they have both in stock for me to mess around with.  I was also toying with the idea of the vibroverb, because I've been playing through a 1x15" setup for so long, and I like the sound of it.
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Reply #582 on: August 17, 2007, 10:02:52 AM

Hey all,

Fairly new here at F13, but finally took a peek outside the MMO forum and was really happy to find this thread, which at some point I will have to read in its entirety.

I started playing electric back in 1984 at 18 after taking accordian lessons since I was a kid, and played an practiced seriously up until 95 when I met the woman of my dreams, got married and had a family etc.  Ended up selling my Marshal half stack,  my guitars (Gibson Les Paul and a Squier Strat) and other guitar related gear.  Of course I regretted it, but always intended to pick it up again.

A couple of years ago, under the guise of  an impending mid life crisis, I talked to my wife about picking up some gear again (and hey I slyly told her it would be much cheaper than buying a Harley) to which she was very supportive.

At this stage of my life, I can't really justify spending thousands of dollars on gear,  but I did manage to pick up a few choice items.

At a pawn shop I picked up a Univox Les Paul copy, which was made in Japan in the '70's for are mere $150 bucks.  The picture below is not my exact guitar (the finish is different) and the original pickups were replaced with some really muddy Di Marzio pups (I think they are one of their super distortion models) that I am not really fond of and will replace them eventually.



I also got a Squier Showmaster which has a Floyd Royse on it, and Duncan pups - one humbucker and one single coil (well designed by Seymour Duncan anyway), which sound great, although the single coil is a litty noisy.  I picked this up from my local guitar shop for half price ($200.00) when they were discontinuing the model)

http://www.soundsmusical.com/popup_prod_largeImage.asp?prodID=6650


My amp is a 90's Peavey Ultra 212 which is 60 watt all tube combo, which sounds awesome and is extremely versatile and I picked up used for $500.00.  The great thing is that the tubes are self biasing, so you all you need to do is pop the new ones in.

For effects all I have  Crybaby Wah, and a Boss Super Overdrive which I use to add a touch of compression  and a little hoodoo to the signal.

Nice warm and brown sounding setup. 

As far as musical style I like play dirty blues, straight up rock,  80's and 90's metal (and hey it's fun to goof around with this NU-metal stuff), and am starting to experiment with heavy funk.

Sky I like you you mention how  technique really effects and shapes the final sound.  My amp is usually  on one gain setting for pretty much all the music I play, and basically I roll the mids up and down; higher for blues and rock, and lower for metal and thrash as well as utilizing the guitar volume.   If I want a modern  heavy chunky percussive sound, I play pysically harder, and mute with the palm.

This ties in with what Raph was saying about certain chordal tonalities and inversions sounding bad with distortion.  A lot of guitariest lay on the gain at the pedal or amp level which over compresses and completely muddies up the sound.  I use a lot inversions and partial chords  in my playing which sound great (major, minor, 7th, 9th) even with a heavy sound.

Like Sky said, I wish I had the time to noodle like I did when I was a teen. My technique was extremely developed back then.  I still manage to practice a several times a week, and with those restrictions it's hard to be disciplined to practice purely on building up pure technique. 

I spend most of my time writing (coming up with riffs and song parts)  instead of practicing multi octave 64th note runs up and down the neck, which in a way is a breath of fresh air as it allows me to concentrate on melody and  rhythm which is what music is all about (well for middle aged guitarists who don't have 8 hours a day to practice anyway  cheesy).

Luckily one of my multi-talented  (bass, guitar, killer drums) co-workers has a Cubase based  home studio. We have started getting  together bi weekly to  arrange and record.  He has been a boon to me personaly as he has the discipline (something I am lacking) to help me arrange that  ginormous riff box in my head into what I hope will be some  decent tunes. Hopefully in about a month or so we'll have a track or two that I can shoot by guys if you are interested.

Well I have babbled on too much, hope to follow and contribute more in this thread in the future.
« Last Edit: August 17, 2007, 10:29:25 AM by Ixxit »

I watched C-beams glitter in the dark near the Tannhauser Gate.
Sky
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Reply #583 on: August 17, 2007, 11:24:20 AM

Ah, cool. Another guitarist in the f13 crowd. Glad to hear you got back into things, as a musician friend of mine once said "You never quit, you just set it aside while life takes over for a while." When I bought my baby taylor, it really expanded my playtime every week because I leave it in the office all week and play on the second half of my lunch hour. An extra two and a half hours a week is incredible, especially as I'm more focused when I'm at work with limited time to play. That's why my repertoire is getting better and I've been able to focus on T-Bone chording. Started messing with some of his lead work, which jazzily intertwines the mixo mode into normal pentatonic blues (though I hate modern jazz, this is more in the big band sense).

Finally starting to feel a bit more comfortable with acoustic blues, working the thumb but trying not to stress about getting it better. Basically bringing a lot more joy to my workday, every day. Glad I made that change and the baby is a superb sounding little guitar, a real joy to play.

Funny to watch people walk past my little balcony off my office and look around for where the guitarist is.
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Reply #584 on: August 17, 2007, 11:50:10 AM

Quote
When I bought my baby taylor, it really expanded my playtime every week because I leave it in the office all week and play on the second half of my lunch hour. An extra two and a half hours a week is incredible, especially as I'm more focused when I'm at work with limited time to play

You're lucky you can do that at work.  Being a night  owl affords me extra time when the wife and kids are sleeping, which I usually play video games or watch movies.  I'm so sick of MMO's at point (none currently installed) that a few extra hours have opened up for practicing, and it's quite easy to combine watching movies and playing guitar so there's quite a few more hours.

Now that I am actively writing and recording with my  friend , I have a purpose to my playing which before was sometimes just noodling for my own pleasure and a for a limited audience (friends wife and kids).  Now I have looming recording dates which kinds of kicks me in the ass to get busy.

Eventually I'd like to learn to play slide, classical  and acoustic fingerstyle but at this point of my life, considering my social and family obligations, I'm sticking with getting back in sync with what I do best, and am familiar with.
« Last Edit: August 17, 2007, 11:54:58 AM by Ixxit »

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Reply #585 on: August 19, 2007, 07:49:13 PM

Did you hear about the drummer that locked his keys in the car? It took him three hours to get his bass player out.

How do you know when a drummer is at the door? The knocking keeps getting faster.

What do you do when you answer the door? Pay him for the pizza.

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Reply #586 on: August 19, 2007, 08:56:12 PM

Posted another tune... even tho nobody commented on the last one. :)

http://www.raphkoster.com/2007/08/19/he-sunday-song-she-walked-acoustic-version/
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Reply #587 on: August 19, 2007, 09:07:23 PM

I broke down and ordered one. I went into the local guitar center and it was just a little un-inviting somehow.

Heard someone playing Hallelujah in SL and I think it might be the most covered song of all time...
http://myoldkyhome.blogspot.com/2006/05/hallelujah.html
« Last Edit: August 20, 2007, 01:17:43 AM by Furiously »

Sky
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I love my TV an' hug my TV an' call it 'George'.


Reply #588 on: August 20, 2007, 08:02:31 AM

I like that tune Raph. I subscribe to the theory that any good song can be done acoustically and still be great. Hell, we used to take some of our songs and throw them into different genres, like country. We used to have a practice room over a bookmaking joint (gotta love the eye-talians) and they'd knock a few bucks off our rent if we played lounge music, so we'd just play our songs in a lounge style. It was a good musical workout, and you learned what songs transcended the metal format.
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Yah, I know, the bass is muddy as hell, I mixed the backing vocals a little too low, and the electric guitar part sux. But hey, it’s very much a tongue-in-cheek song anyway. Who cares? It’s supposed to sound like everyone is just hanging out jamming
Now you sound like me! I play muddy (ooh punny), messy and poorly mixed. I don't think music should be perfect, but I can't help being an apologist because people get so uptight about things.
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Reply #589 on: August 20, 2007, 08:10:08 AM

Posted another tune... even tho nobody commented on the last one. :)

http://www.raphkoster.com/2007/08/19/he-sunday-song-she-walked-acoustic-version/
Reminds me a bit of Paul Simon.
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Reply #590 on: August 20, 2007, 10:01:33 AM

Anybody watched the PBS special on Les Paul I think it's called chasing sound? Looked decent from what I caught.

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Title delayed while we "find the fun."


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Reply #591 on: August 20, 2007, 10:52:08 PM

Posted another tune... even tho nobody commented on the last one. :)

http://www.raphkoster.com/2007/08/19/he-sunday-song-she-walked-acoustic-version/
Reminds me a bit of Paul Simon.


I'll take that as a compliment. :)
Trippy
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Reply #592 on: August 20, 2007, 10:53:57 PM

Yes, though the singing needs some work :-D
Raph
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Title delayed while we "find the fun."


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Reply #593 on: September 02, 2007, 12:41:29 PM

Thread's about to slip off the page, so... thought I'd mention i am doing a birthday party/jam at my place. We'll bust out of the fakebook (see prior posts). Maybe I'll record some of it. :)
Signe
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Reply #594 on: September 02, 2007, 02:25:45 PM

Was that an invitation?  For all of us?  I hope there's refreshments! 

My Sig Image: hath rid itself of this mortal coil.
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