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Thread: Random guitar junk, interviews and stuff

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    Take Box B DemonGeminiX's Avatar
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    Music Random guitar junk, interviews and stuff



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    Music was better when ugly people were allowed to make it.

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    FBD (04-26-2016), Noilly Pratt (04-23-2015)

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    He who laughs, lasts. Noilly Pratt's Avatar
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    If I may add to the thread...

    James Taylor has a bunch of stuff on YouTube that really opened my eyes. I've been playing for years and to hear him give what's essentially master classes - even down to the nitty gritty on nails and this one on how he tunes his guitar is wonderful. ( It's a little different than the prescribed way )

    If you like this one, go out and watch 'em all...


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    Take Box B DemonGeminiX's Avatar
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    Anybody can contribute. I love JT.

    I had no idea he had lessons up on the web. That's cool as all get out.
    Last edited by DemonGeminiX; 04-23-2015 at 09:45 PM.


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    Music was better when ugly people were allowed to make it.

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    He who laughs, lasts. Noilly Pratt's Avatar
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    Damn...I wish I had YouTube and Tablature when I was starting out!

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    I eat crayons. KevinD's Avatar
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    YouTube and echords are my biggest tools in my slow moving journey. I mostly use justin guitar vids as I like the way he breaks stuff down. Good thread idea DGX!

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    Quote Originally Posted by Noilly Pratt View Post
    Damn...I wish I had YouTube and Tablature when I was starting out!
    no shit, right? back in the day I wore the fug out of my tape player learning metallica solos. play 2 seconds, rewind, listen 5x again, try to play it...I learned far too many solos that way, but there was no other way until the tab books started showing up, then it was a fuggin cakewalk.

    if I had the time I'd tab out another scale I dont have down in muscle memory and learn every corresponding fret....that's what I did with a few others and once you're done recognizing the pattern at any point on the fretboard, then mix it up and skip all over with the pattern.

    when I started this,



    and you can hear one of his strings has shitty intonation



    then combine in otherr ideas within the pattern,




    any note in the pattern is legit, fuggin tear it up
    Last edited by FBD; 04-24-2015 at 01:43 PM.

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    Quote Originally Posted by Noilly Pratt View Post
    If I may add to the thread...

    James Taylor has a bunch of stuff on YouTube that really opened my eyes. I've been playing for years and to hear him give what's essentially master classes - even down to the nitty gritty on nails and this one on how he tunes his guitar is wonderful. ( It's a little different than the prescribed way )

    If you like this one, go out and watch 'em all...
    That's one reason I was considering changing out the bridge on that old guild my dad gave me when I was in second grade - with a straight bar bridge, you have no way to adjust the intonation on the guitar, you just have to hope its well made. Also a lot of what he's talking about with the stepped detune is resolved by an accurately balanced truss rod. the more bowed the truss is, the sharper your notes will be. Intonation winds up being significant especially as you explore alternate tunings - a straight bar bridge, forget it, detune and the % of your notes that are accurate decreases, more significantly the more away from E std you get.

    I've had to set up sooo many instruments over the years...between my best friend and I, 3 acoustics, 2 classical, 8 or 10 electrics, 5 or 6 basses, and being in new england means the wood is moving like a mofo every change of seasons, so for the core group of instruments that I keep in constant setup-tune, I'm doing them often enough that I wound up assuming all instrument tech duties since my process is nailed down. Last string change I did I had it all done truss adjustment included in like 7 minutes, with that little snark tuner clipped to the head. (when people record, they're rechecking tune every song or two, so an abundance of tuners are present also.)

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    one of the most important aspects of playing, especially with bass - is muting. I saw these fuggin guys play last week, and their aim was to "put on a show" and jump around and "go crazy." they were absolutely terrible, buncha fuggin noise, I went outside after 2 songs. there was basically no muting at all anywhere unless they actually stopped playing, it was a catastrophe far as I was concerned.

    anything that's ringing that should not be is discordant MUD. more egregious a violation on bass imho, because bass is what gives the mix its "weight" - ringing strings on bass are adding a thick layer of discordant mud onto the entire bottom of your mix. and I say mix whether you're live or recorded. by contrast, the folks watching us play last week said goddam, this sounds just like a fully polished CD recording we just listened to

    so here's the keys:

    pay particular attention to muting the strings above and below where you are playing. whether it is left hand or right hand, use whichever is more appropriate. or even a finger - little tricks like using the fretting finger, to both fret a note and have just a bit of fingerboard overlap so that it mutes the next lower string can work wonders since the fret hand thumb is usually only good for the lowest string.

    any guitarist that learns a bit of metal needs to learn how to use the side of his picking hand for palm muting. but this can also be extrapolated when you're not chuggin at the big strings by a slightly abducted motion of the picking wrist for when you are playing smaller strings and need staccato or muting. (on bass , my pinky often performs this function by resting on the string (I was going to say picked, but then I realized for me its almost always fingered, then I laughed like beavis, I said fingered ) when I need staccato notes - pinky isnt quite enough for a full mute so if I need that then the rest of the hand, or the fretting hand, will come into that action.)

    also examine the difference between left hand muting at various points - there are times where I need a little bit of mute but I still need the note to ring, so my fret hand mute winds up coming quickly after playing the note, usually middle finger coming down to tap the string - what fret it is near when it does so, depends on what sort of mute I need - so the mute is different at .5, 1, 1.5, 2, but past that, the mute pretty much kills the note.



    where on the string to pick or finger also makes a significant different in the timbre of the note - the close to the end (bridge) the note is played, the more overtone string harmonics will be prevalent in the note played; conversely, playing more toward the middle will produce more of the fundamental tone and less of the overtone. this is another area I am more elaborate with on bass - there's riffs I play where the note on the 1 is up past the neck pickup, but other parts of the riff I play at the bridge pickup, to introduce a little more dynamics to the riff.

    also with regard to timbre - we know its different as the string gets thicker - but a similar "weight" of timbre becomes evident as you go across the strings - i.e. as the string gets thicker, a move towards the bridge will tighten up the note just a bit and make the timbre just a bit more like the next higher string played more towards the neck. another thing that seems to be more prevalent on bass, especially when I go to the big .125 string, most often I am playing around the bridge pickup on it, because its *so* thick that the fundamental tone comes out too much and not enough overtone as you move toward the neck.

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    Quote Originally Posted by DemonGeminiX View Post
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    That right there is the style of music that made me finally pick up a guitar.

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    Paul Simon is a walking guitar lesson.


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