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Post by scripsit on Sept 7, 2017 8:03:12 GMT
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Post by scripsit on Aug 17, 2017 8:11:42 GMT
I like that, but isn't he playing in DADGAD? I thought he was a C tunings convert.
Kym
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Post by scripsit on Aug 14, 2017 8:59:00 GMT
When I was a child we would have called that a 'lagerphone'. It was usually given to the bush band member who didn't have a gardening glove, and therefore couldn't easily play the tea chest bass. Kym
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Post by scripsit on Aug 13, 2017 23:19:43 GMT
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Post by scripsit on Aug 13, 2017 1:38:10 GMT
It's an interesting tuning.
Doug Young was doing a lot in DADEAD at one point, and tab/music for several of his tunes is available for download.
'Cat Dance' and 'Laurel Mill' are particularly pleasant.
And from there, it's only a twiddle to go to EADEAE, which covers Ed Gerhard's 'The Handing Down' and some more Doug Young tunes.
I must admit I still find it hard to get my head around these tunings in an intuitive sense, unlike DADGAD which seems to fall naturally under the fingers. That's why Phil has done a great job with his pieces, which sound very relaxed.
Kym
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Post by scripsit on Jul 29, 2017 0:43:56 GMT
If you can get your hand in through the soundhole far enough you could try gluing two or three cleats behind the bridge patch along the line of the crack.
Titebond original (you can buy it in very small plastic bottles) and little square cleats of spruce (if you've got an old sacrificial guitar lying around the house) or a light wood like pine would probably do.
The magnet trick (one inside and one outside) would work and help you align the cleats and hold things while the glue dries.
Kym
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Post by scripsit on Jun 6, 2017 5:06:41 GMT
I'm very late with this comment, but Phil's CD didn't arrive until just over two weeks ago (I'm not sure whether UK or Australian postal services are at fault).
Since then I've been regularly playing the CD in the car and at work (when I have the headphones on to block out the noisier characters in my office).
Lovely tunes, with a gentle melancholic flavour, and extremely well recorded. I especially like the relatively unadorned and authentic acoustic guitar sound.
If you haven't yet got a copy, you should reach out to Phil.
Kym
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Post by scripsit on May 18, 2017 12:17:24 GMT
... And looks like just the sort of thing a guitar player could desire, Francis.
Kym
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Post by scripsit on May 8, 2017 8:23:01 GMT
Francis
Did you do any tap numbers or other frequency analysis?
Lovely looking instrument, by the way.
Kym
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Post by scripsit on Apr 9, 2017 23:54:21 GMT
Rory Gallagher used a flat pick and hybrid picking on the majority of his acoustic stuff. 'Out on the Western Plain' is particularly successful.
I attempted to play fingerstyle pieces using this technique when I got into acoustic guitar after a years' long lay off from electric guitar.
Works OK for 'pattern' playing, but not so well for conventional pieces.
I must be alone in thinking that Richard Thompson's hybrid picking is sloppy to the point of distraction, but I've never been a fan.
Kym
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Post by scripsit on Mar 19, 2017 5:47:50 GMT
Phil
Any thought of a digital version for those of us a long, long way away from the UK?
Kym
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Post by scripsit on Feb 22, 2017 8:41:38 GMT
Is it not possible to record 'silence' or background noise for 2-3 mins and subtract that from the recording after to remove modem, lighting or other factors? Yep, that's how Izotope RX works, and it works well for short artifacts, like a door slamming in the distance. I've found it removes more than the offending audio if you try to adjust for a persistent background noise, like microphone floor noise or air conditioner hum, and the recording can then sound very strange indeed, even if you 'train' the program with a few seconds of what passes for silence in your room. I've never found it successful at removing string scrape, probably because the range of frequencies in a scrape is so wide (and high). It's better at lower frequencies, in my experience, so could help with the rumble of trucks and traffic. It could also be that I don't know how to use it properly. I usually give up and try another take. Kym
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Post by scripsit on Feb 21, 2017 2:10:55 GMT
The problem is that mics pick up sounds that our ears 'tune out' in real life, because we are concentrating on what we want to hear (the music) and deliberately filtering everything else.
I've found the worst offenders to be computer fans, and large white goods devices turning on suddenly elsewhere in the house (refrigerator, washing machine, drier etc).
There are also birds just outside the recording room window, bored cats and significant others calling out to offer cups of coffee or tea, or demand that you do something useful.
I've got no solution to string squeak, which I suffer from badly. I find you have to consciously alter technique, lifting rather than sliding and so on, even when sliding is more efficient, and you eventually have to decide what level of scrape you will put up with.
I was really pleased with a recording of a very quiet and sensitive tune I did recently until I noticed a strange distortion in the very quiet parts. It took ages and a close listening with headphones to realise the 'distortion' was actually the intake of breath as I approached a difficult sensitive bit, and the sigh of relief once I was past it.
Kym
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Post by scripsit on Feb 18, 2017 4:38:28 GMT
The Mel Bay site refuses to let me create an account to buy ebook versions and throws up an error message. I've tried three different sorts of browsers at different times of the day.
I've left a message for them on the website with their form page.
Kym
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Post by scripsit on Feb 8, 2017 12:33:37 GMT
1. Stop using fingerpicks. or 2. Clear plastic pick guard.
Kym
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