walkingdecay
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Post by walkingdecay on Feb 6, 2017 1:52:45 GMT
Play easier material first to warm up. Don't use completely new strings. The best take will probably be one of the first three.
Oh, and if someone overhears your playing and invites you to work on an album of Christmas tunes played on panpipes he is evil, so run away.
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walkingdecay
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Post by walkingdecay on Feb 6, 2017 1:34:39 GMT
I use Martin SPs and really like them. Usually takes me about two months to kill a set on my main when I'm into acoustic. I'm tempted to try these.
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walkingdecay
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Post by walkingdecay on Jan 23, 2017 17:45:58 GMT
Martin , I think you're spending too much time on Gumtree lately.... Keith I just looked on our local Gumtree after viewing this thread and saw an ad for "Beautiful cocker spaniel puppies. All have been warmed and fled." Presumably the idea is that once you've bought one you have to go and find it using its heat signature.
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walkingdecay
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Posts: 1,676
My main instrument is: brownish and rather small.
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Post by walkingdecay on Jan 23, 2017 15:24:56 GMT
Norman and Nancy Blake, personal heroes of mine, have an album of originals coming out, quite possibly their last ever. The pair can whip out lightning solos with the best of them, but for the most part choose not to. They prefer instead to let songs unfold at their own pace, with voices and various vintage instruments providing as much or as little weight as is needed. No videos I'm afraid, but there are a few sample tracks on this page. Brushwood
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walkingdecay
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Post by walkingdecay on Jan 14, 2017 10:08:33 GMT
Among the most crucial points made here are those about about the skill of listening, and the corollary of listening to and learning from the playing of others is that we should listen just as carefully to ourselves. I know it's difficult enough just to squeeze the notes out in the beginning, but it's never too early to turn a critical ear on yourself. How's your timing? Are you maybe hitting the strings too hard? Do you like the way you sound and do you think others might too? Musicality may be something we're born with, but the development of musicianship relies on self-criticism and refinement over time.
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walkingdecay
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Post by walkingdecay on Jan 9, 2017 14:21:07 GMT
Shubb.
Martin SPs. Good sound, last a good while, though they don't have that authentic pre-used sound that Elixirs do.
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walkingdecay
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Post by walkingdecay on Jan 1, 2017 1:09:14 GMT
Afraid it's a case of bracing ourselves for more to come. The great and the good who emerged from that amazing post war period of creative freedom, social mobility and hopefulness are ripe for the Reaper.
I must admit I always get a curious feeling that runs somewhere close to embarrassment when someone from the age when the young dared to kick out at the establishment accepts a knighthood, but I would be very happy to see Morrissey crowned Queen.
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walkingdecay
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Post by walkingdecay on Dec 17, 2016 0:17:30 GMT
I've been trying to learn the mandolin for the last year and if I could play like this I'd be happy. It's a 20 second break by Mike Compton and it gets better every time I listen to it - it starts at 2:15. 'It's all in the right hand' as they say. I think its the flow he gets. Martin He is great isn't he? There's a lot of Bill Monroe's technique in his sound, but there are so many subtle tone colours and rhythmic nuances that are unique to him. Bill sometimes seemed to be teasing the band by playing in his own unique time and throwing in his own surprising growls, barks, chops and syncopations, while Compton seems to have looked at him and thought, "Okay Bill, I know exactly what you are doing there but this is me. I live in this warmer, airier space."
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walkingdecay
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Post by walkingdecay on Dec 16, 2016 13:26:07 GMT
Outside of the pit band work I do I try to avoid reproducing arrangements and go my own way. It's more about looking for tone and touch to me. If I could get the golden sound of Earl Scruggs' guitar on this I'd be a happy man.
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walkingdecay
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Post by walkingdecay on Dec 15, 2016 0:58:05 GMT
Funny thing about the banjo is that the fifth string acts as a sort of signpost part way up the neck. I tend to navigate further up the neck using awareness of where the G notes are relative to that fifth fret far more than via position spots.
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walkingdecay
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Post by walkingdecay on Dec 10, 2016 14:45:06 GMT
I'd use one if it was really accurate, but I can't imagine it is. I played an agency gig last week and had tuning problems up until the interval on the first night. Between the recorded music they played as the audience came in and the clamour of the audience themselves I relied far too much on the Snark, winding up with that very-slightly-off sound you get when you don't temper properly. I did the job in advance for the next two nights.
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walkingdecay
C.O.G.
Posts: 1,676
My main instrument is: brownish and rather small.
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Post by walkingdecay on Dec 6, 2016 8:57:22 GMT
When I came back to guitar after a long time away Eric Schoenberg's book Fingerpicking Beatles really helped me get back into moving the basslines in standard tuning. He starts from a Atkins/Travis base (um, bass...) but takes in a lot of independent thumb work along the way, including a particularly nice walking bass version of Lady Madonna. The familiarity of the tunes helps, I think. I'm afraid I can't find my copy to send to you at the moment, so it probably drowned (long story) but if I find it I'll message you.
I'll add that I expect Chet's own books would be helpful too, though I haven't tried any. My knowledge of the great man's playing came from his column in the long dead Frets magazine. Chet was so good at the bass and treble duality thing that he could play two tunes at once.
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walkingdecay
C.O.G.
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My main instrument is: brownish and rather small.
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Post by walkingdecay on Dec 5, 2016 14:30:23 GMT
Thanks Miss C. I found a Debussy piano piece I've had a hankering to play within a minute.
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walkingdecay
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Post by walkingdecay on Nov 30, 2016 15:18:17 GMT
4 x hip flasks, each filled with a different 'nippy delight' I swore that an evening spent sipping Southern Comfort helped me get over my recent chill. Well, it certainly helped me forget it for a while.
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walkingdecay
C.O.G.
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Post by walkingdecay on Nov 28, 2016 12:11:03 GMT
Paul Simon OM James Taylor SJ Joni Mitchell D Etc etc Whatever floats your boat. Yup. Another classic example would be Willie Nelson's Trigger. Though that's got so many holes in it I'm not sure what sort of boat it would make for anyone else. Personally I tended to default to three guitars when I was writing songs a lot. It really depended on what style I was writing in, or whether particular guitars suggested grooves. When I picked uo a Selmac I found that my writing went off in several new directions, not exclusively jazz by any means.
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