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Post by jonnymosco on Mar 20, 2024 15:17:06 GMT
This is worth a watch and quite inspirational.
Jonny
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Post by jonnymosco on Feb 11, 2024 12:17:39 GMT
I great guitar is a great guitar and I think the term " mass produced" doesn't really apply to Lowden. I agree they are decent guitars and the holy grail for many guitarists. They make c.160 guitars a month (not including the Sheerans), not as mass-produced as Taylor (100,000+ a year) but more mass-produced than Froggy Bottom (c.6 a month). I wanted to avoid the term 'factory-made' and understand the negative connotations of the term 'mass-produced', they would rather you believe "the guitars feel and sound like individual ‘works of art’", this is sales talk, especially when the thousands of O25s ever made all sound the same (in a good way: warm, full lower end, resonant and very forgiving). If one of my students wanted a Lowden, I would suggest they support a sole-luthier rather than a large company, enter into a personalised process and save some money, somebody like Sam McClaren or one of our own on here. I would recommend other lesser-known makers, but their prices have crept up in recent months to Lowden prices. In 1998 I wanted a Lowden model O because "if it is good enough for Pierre Bensusan, it is good enough for me" and I needed something indestructible to play live touring Europe. It did the job, but didn't have the fat trebles I needed in the higher positions. I replaced it with a Kostal which at that time was less than twice the price I sold the Lowden for! The reductions are good at Forsyths, but there are better guitars out there for less. Jonny
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Post by jonnymosco on Feb 10, 2024 10:13:33 GMT
They seem expensive for a mass-produced guitar - prices have risen dramatically since my mum bought mine (O25) for me in 1998 for £1600.
Forsyths seems great though, fantastic range of sheet music... I shall pop in when I'm visiting my son in Manchester.
Jonny
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Post by jonnymosco on Feb 8, 2024 21:20:13 GMT
I’ve had lessons with Jonny for about 18 months now after ‘winning’ one in FFG. It’s great for me - despite every lesson containing the phrase slow it down, I now know when it’s too fast. Plus I have a repertoire of tunes I’d never have dreamed or thought to play. Some of them dare I say are reasonable versions. Jonny is great. Non patronising and finds the good things in my playing. Technique way better and my errant pinky on the fretting hand is getting tamer. Took me 45 years for a lesson (I don’t think the Russ Shipton guitar method counts) - wish I’d don’t it sooner…. Most on Skype and it works well enough. Hopefully he’ll move closer to Sheffield soon….. Also done a couple of workshops with Clive Carroll. Not so much lessons as there’s a bunch of us, but certainly very valuable and awe inspiring. Thanks Stain - it's a pleasure working with you. I see lessons as 'coaching' and the ultimate aim being the student realising themselves what needs to be done to move forward and develop musicality. Of course the biggest task is overcoming the limitations of the guitar to enable the music to live, so skills, technique and reducing tension are part of the focus. Lessons aren't for everyone as there needs to be a shift from the safety and ego massage of being a 'Sofa Rock God' to entering into the unfamiliar, studying a piece of music rather than just playing through it and working hard towards being a better musician. The teacher's role isn't one to judge, but to give insight into the best way to move forward efficiently and to get the best out of the individual. I'm pleased, leoroberts , that you had a positive experience. I know that the best teachers though, are not automatically well-known celebrity players - look at Segovia, a complete bully and zero understanding of the student (see the YT vid with Michael Chapdelaine). In my own experience, I have had amazing teachers and crap teachers - the best being those taking the time to understand me and my approach to playing, tuning into what will help me develop. Each student needs a different pace of lesson, unique goals, varying degrees of diplomatic feedback and ultimately the thing that inspires them. Leo - I'd be more than happy to talk nails with you! Jonny
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Post by jonnymosco on Feb 3, 2024 18:47:50 GMT
Is the Dynarette a better option than the Gitano-type supports? It would seem to spread the load better, but I have no experience of either option. As I too have hand and shoulder problems then keen to explore just about any solution. Thanks Andrew The Dynarette (or copy) is better if you don't travel with it, it is bulky. The Gitano is good and compact, but suction pads do come off... I use a adhesive foils for mine. Jonny
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Post by jonnymosco on Feb 2, 2024 17:22:49 GMT
Here’s a picture Ignore the left hand, it’s got the camera remote Wild Violet I tried that but found I was twisting/stretching too much to reach the upper frets. You look comfortable and relaxed physically - the cushion should solve the problem, raising the guitar and enabling your shoulders to be level - with both feet flat on the floor there will be no twisting. Also, without tension in the body you'll be able to focus on the music. Jonny
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Post by jonnymosco on Feb 2, 2024 14:52:23 GMT
It's a common problem that lots of my long-playing students suffer from.
The footstool causes you to twist and create tension in your back, neck and shoulders. Try playing with both feet flat on the floor and everything 'square', equal weight on each buttock.
Use a Dynarette cushion instead of the footstool, find a good height for the guitar that enables you to not bend over when you play and, sad to say, play a smaller guitar - or one with a Manzer wedge.
I hope that helps - if I saw your sitting position and posture, I could help better. Any questions, message me.
Jonny
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Post by jonnymosco on Jan 31, 2024 22:50:50 GMT
Very sad, really shocked - he was so excited about getting the Llyn Guitar Festival up and running again after Covid - very happy memories, a top bloke and great guitarist.
Jonny
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Post by jonnymosco on Dec 23, 2023 17:11:35 GMT
I spotted it this week - this advice made me laugh...
A special instrument for special moments It goes without saying that an instrument at this price is not cut out for the rehearsal room or the rigours of performing on stage - after all, even the smallest scratch is sure to mean a few sleepless nights for the owner. Utmost care is the order of the day, in other words - meaning that the Martin D-200 Deluxe is much better suited to being played in the home or studio environment, where the player can fully enjoy the sound and playability of a genuine, top-of-the-line Martin dreadnought.
Or not played at all? If it sounds as good as it looks you're not in for a treat!
Jonny
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Post by jonnymosco on Dec 20, 2023 7:50:10 GMT
An incredible musician who won't allow himself to be limited by the guitar. Nice bloke too. I have a great story about the time I heard him play with John Williams, for another time though. Cams, if you want to chat with me about playing his 'hit' Jarabi, send me a message. Jonny
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Post by jonnymosco on Dec 1, 2023 22:37:34 GMT
Still headphones for me, Jonny. I suspect my browser is directing me away from nylon strings 😂 Weird: search Thomann Classic Guitar S 4/4 It has risen in price since Brexit, but still good value. Jonny
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Post by jonnymosco on Dec 1, 2023 21:11:36 GMT
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Post by jonnymosco on Nov 23, 2023 20:54:15 GMT
Just a decent, full sized classical would be nice This is good value and plays like a guitar three times the price - all solid woods and comfortable to play, I recommend it to my beginner classical players; more a 'realistic' guitar than a 'dream' guitar though. Jonny
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Post by jonnymosco on Oct 20, 2023 10:12:18 GMT
I saw Clive in York last week - his new guitar sounds phenomenal. The duets with Dariush Kanani were tight and the difference in sound of each guitar was clear... Dariush's Martin sounding closer to the original 'Bert and John' recording, hollow and raw, Clive's Bown, full, resonant with lots of clarity.
There's talk of the new album on vinyl after Ralph and I expressed our preference!
Jonny
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Post by jonnymosco on Aug 23, 2023 10:42:39 GMT
Got to 'In the beginning' P27 to find two of the longitudinal exercises (3rd and 6th) impossible. If that's the beginning, the book is doomed to failure (or should I say I am!). I cannot see any amount of practice deforming me sufficiently to make those stretches.... As with all stretching exercises, including for athletes, Yoga... a sudden stretch too far is detrimental and will cause damage. It must be tiny stretches increased over a long period of time. Those stretches are possible with the guitar and body in the right position and only once smaller stretches are comfortable. I suggest replacing the 12th fret with the 11th in bar 2 and 11th fret with 10th fret in bar 4 for a few weeks until it is comfortable, then play the exercise as written. roche exercise by Jonathan Moss, on Flickr I would also supplement this exercise with other exercises that are more achievable, like this one: Hopefully this is still on topic as it suggests an approach to practising. Good luck. Jonny
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