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Post by birdo on Jun 25, 2018 15:53:42 GMT
Recently I ve received my new guitar from Francis and the thing that has struck me most is how it's changed my playing. If I just sit down for some mindless widdiling I m playing completely different stuff to what I did on my old guitar. It's as if each guitar has their own strengths and so sub consciously I m playing to them . Does anyone else find this ?
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Post by oustudent on Jun 25, 2018 16:02:45 GMT
I think I would have to agree, horses of courses is one way of putting it.
Sometimes when something isn't working a change of guitar can fix it.
Comfort has a lot to do with what you produce, some guitars are more comfortable than others.
John
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brianr2
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My main instrument is: Brook Lyn guitar
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Post by brianr2 on Jun 25, 2018 16:21:08 GMT
I agree about the “comfort” factor.
Ergonomics are often at best an afterthought, especially compared to wood choice, appearance and sound. It’s like buying new shoes: it is only once you have had a chance to try them for a while that you find out if you are happy walking in them. And if they are not comfortable, you either awkwardly limp along or just leave them in the cupboard.
Brian
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ocarolan
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Post by ocarolan on Jun 25, 2018 16:43:14 GMT
Certainly agree with that birdo - body size and shape, scale length, string tension, feel of neck, playing dynamics and response - all major factors that make differences between guitars. And that's even before you start to talk about sound. All those things, and more, affect a player's perception of their instrument, how they hold it, how they hear it, what input they have to make to get the output they want etc etc. Whilst it's certainly true that you can play most things on most guitars it's also true to say that some guitars seem to "like" certain types of music more than others. The great pleasure of getting to know a new instrument is finding out i) what it can do, and ii) what you can do! After a while I'm sure a sensitive player grows to get the best out of an instrument, especially after spending some time with it, and ends up playing to it's strengths, with or without a little adaptation on the player's part. Keith
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Post by vikingblues on Jun 25, 2018 18:49:55 GMT
I agree too birdo. My feeling is that when playing music on a guitar, the guitar responds to the player and the player also responds to the guitar. Without that two way response it's unlikely to be a guitar that's bought and kept. You get to hear the strengths and better types of sounds the guitar makes as you play and adapt your playing style and even music genre to fit in with what works best on that particular instrument. On the overall type of sound / tone there's also what the guitars dimensions and design dictates the way the strings are played and where they are played / plucked / picked relative to the bridge. Mark
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leoroberts
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My main instrument is: probably needing new strings
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Post by leoroberts on Jun 25, 2018 20:05:59 GMT
Agreed. When I play centre forward I'm crap but, when I play defensive midfielder, I'm only rubbish. As an unused substitute I'm actually quite good.
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francis
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My main instrument is: Whatever I'm building...
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Post by francis on Jun 25, 2018 20:39:57 GMT
Interesting birdo John, any thoughts on just what might be prompting the changes - you hadn't encountered a sound port before, does closing that make a difference? Body sizes aren't that greater difference although the parlour is smaller? Interested to see where this topic goes...
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Post by birdo on Jun 25, 2018 21:29:34 GMT
One thing is the sustain. The notes will ring for longer so I m more inclined to leave them ringing. I hadn't really thought about the body shape effecting hand position. That's interesting.
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Post by dreadnought28 on Jun 26, 2018 1:27:07 GMT
Comfort is crucial, body size, neck width and shape, action etc. Then I find 3 categories,1. guitars that are functional sound boxes. I could put them down and never miss them. 2. Guitars that have tunes in them, generating tune and song ideas from some magical place. 3. Guitars that on stage become an automatic part of my little solo orchestra. I can sing and play with them without having to try somehow. They make everything seem more enjoyable and easy, hitting the right notes vocally and instrumentally. 2 and 3 very occasionally combine.
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Post by andyhowell on Jun 26, 2018 7:11:15 GMT
There is some truth in that, at least for me there is!
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Post by jackorion on Jun 26, 2018 7:49:50 GMT
I've found that different guitars bring out different aspects of my playing, and my singing as well!
For example - my Collings OM2h Traditional is quite 'pokey', it appears to be significantly louder and more ringy that my Martin and I've found that it's leading me in a different direction in terme sof some new material I'm writing - it's also really good for stuff that needs long sustain on the notes and it responds well to playing dynamics so I can put a bit of a different emphasis on stuff.
However, for a couple of songs that I do, I found myself struggling with oversinging recently - I felt I was trying too hard for some reason and the tone in my voice wasn't suiting the song... Turns out the Collings 'stridentness' was making me push my voice a bit - tried the same songs with the softer, 'rounder' sounding Martin and I felt as if I was singing in a mroe relaxed way as well as the guitar wasn't dominating too much.
Now I know this I can hold back on the guitar a little when playing the Collings in order to not have to push the voice, but something about the 'softness' of the Martin still works better, so, when I go back intot he studio in a month or two, I'll make sure to note which guitar I'll be using on which song in order to get the best performances and combinations of voice and guitar tone
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