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  #301  
Old 04-15-2010, 12:37 PM
WordMan is offline
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Originally Posted by kenobi 65 View Post
I'd read a bit about that custom five-necked guitar of Nielsen's. From that picture, it looks like the "bottom" neck is fretless, and the "top" neck is a twelve-string...does anyone know the rest of the story behind it?

(And, yeah, he's a nut. Heckuva guitarist, though. Local Illinois boy. )
He has a few - it doesn't take much to find out more - they are made by Hamer, like most of Rick's one-off weird guitars. The first one had a 12-string, a fretless, a standard 6 string, a 6 string with a whammy and I can't remember the 5th...
  #302  
Old 04-15-2010, 03:22 PM
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My little guitar issue of the day:

I just tried grain filling a walnut Telecaster body with clear, 60 minute epoxy. After seeing what a gooey mess it's become, I'm wondering if that was a bad idea. Sanding back that epoxy is probably going to suck balls...

Got the idea from this guy: http://www.guitaristjeffmiller.com/guitars12.htm

Last edited by BigShooter; 04-15-2010 at 03:23 PM.
  #303  
Old 04-15-2010, 03:26 PM
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Originally Posted by BigShooter View Post
My little guitar issue of the day:

I just tried grain filling a walnut Telecaster body with clear, 60 minute epoxy. After seeing what a gooey mess it's become, I'm wondering if that was a bad idea. Sanding back that epoxy is probably going to suck balls...

Got the idea from this guy: http://www.guitaristjeffmiller.com/guitars12.htm
Oy - that sounds like a big pain if it doesn't go the way you intended. "Undoing Epoxy" sounds totally oxymoronic...
  #304  
Old 04-15-2010, 03:52 PM
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Originally Posted by WordMan View Post
Oy - that sounds like a big pain if it doesn't go the way you intended. "Undoing Epoxy" sounds totally oxymoronic...
It looked like a great idea on that guy's build page. I was planning on filling the grain with the epoxy, then trying to get the glass-like finish with Tru-oil. We'll see how it sands out - if it's a pain in the ass, I'm sanding all the way back and starting over with something different...

I still haven't perfected my finishing schedule for a glass-like finish on open-pored woods. I'd love for this combination of epoxy and Tru-oil to work because it would keep the process easy and a lot less toxic. I love using the Tru-oil finish when not filling the grain, but it doesn't look as good otherwise - at least with the grain fillers I've tried. So if a project comes along where some one wants that mirror-glass finish, I have to use a filler and lacquer. I've yet to find a combination of the two that are compatible, go on easy without the use of a spray gun, and aren't going to give me cancer...
  #305  
Old 04-15-2010, 03:55 PM
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Originally Posted by BigShooter View Post
It looked like a great idea on that guy's build page. I was planning on filling the grain with the epoxy, then trying to get the glass-like finish with Tru-oil. We'll see how it sands out - if it's a pain in the ass, I'm sanding all the way back and starting over with something different...

I still haven't perfected my finishing schedule for a glass-like finish on open-pored woods. I'd love for this combination of epoxy and Tru-oil to work because it would keep the process easy and a lot less toxic. I love using the Tru-oil finish when not filling the grain, but it doesn't look as good otherwise - at least with the grain fillers I've tried. So if a project comes along where some one wants that mirror-glass finish, I have to use a filler and lacquer. I've yet to find a combination of the two that are compatible, go on easy without the use of a spray gun, and aren't going to give me cancer...
I hear you - and don't know what to say. I have no experience in actually finishing guitars - for my two homebrews, I bought one body already finished and one I had my buddy finish. I guess I am surprised at the thought of epoxy, simply because of all the hoodoo about how polyurethane finishes seal the wood so it can't breath - well if poly seals it, what the heck does epoxy do? I know, most guitars these days are finished with poly and even Fenders lacquer finished guitars are typically sealed with Fullerplast before they get painted...there's a lot of weirdness about finishing bodies. But I bet epoxy would be glossy as all get-out.

Last edited by WordMan; 04-15-2010 at 03:57 PM.
  #306  
Old 04-15-2010, 04:00 PM
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I hear you - and don't know what to say. I have no experience in actually finishing guitars - for my two homebrews, I bought one body already finished and one I had my buddy finish. I guess I am surprised at the thought of epoxy, simply because of all the hoodoo about how polyurethane finishes seal the wood so it can't breath - well if poly seals it, what the heck does epoxy do? I know, most guitars these days are finished with poly and even Fenders lacquer finished guitars are typically sealed with Fullerplast before they get painted...there's a lot of weirdness about finishing bodies. But I bet epoxy would be glossy as all get-out.
All that hoodoo is just that... hoodoo. All hard finishes - nitro, poly, Tru-oil, linseed oil, shellac - they all seal the wood. There's no hard finish out there that "let's the wood breathe." The different types of finishes may sound and feel different, but that's not because of their sealing properties...
  #307  
Old 04-17-2010, 12:34 AM
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My little guitar issue of the day: I just tried grain filling a walnut Telecaster body
Can you explain what "grain filling" is? I assume it's like priming a wood interior door before applying an opaque coat of latex, controlling how the next coat will absorb (or not) into the wood, right? How does that work when applying a "clear" finish to a guitar? Is it a requirement that the gain-filling material be transparent? Or am I missing the point?
  #308  
Old 04-17-2010, 09:01 AM
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Can you explain what "grain filling" is? I assume it's like priming a wood interior door before applying an opaque coat of latex, controlling how the next coat will absorb (or not) into the wood, right? How does that work when applying a "clear" finish to a guitar? Is it a requirement that the gain-filling material be transparent? Or am I missing the point?
Grain fillers fill the open pores of the wood which creates a very smooth almost glass like surface. They are applied in a thick consistency and rubbed into the pores. Once they dry the excess is removed from the surface leaving the pores filled and level with the surface. Then you apply the finish of your choice.

Grain fillers come in different colors so you can use a dark filler on dark wood and light on light woods etc.

Last edited by CBEscapee; 04-17-2010 at 09:04 AM.
  #309  
Old 04-18-2010, 09:57 PM
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CB comes in with the info...

Everything he said. Plus, you can use a purposely made grain filler or be creative and try something a little more unusual - which lands me where I am now with my walnut...

Actually, after a lot of sanding today with 220 grit sandpaper, it looks pretty good. Nice and smooth. I'll post a few pics of her when she's done...
  #310  
Old 04-18-2010, 10:27 PM
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Also, there's a lot of different techniques for finishing a guitar but my basic finish schedule for lacquer goes something like this:

1. Wood prep - sanding to 320 grit making sure to get all the lower grit sanding scratches out, fill in voids, steam out dents - basically, just make it nice and smooth.
2. Grain filling for open pored woods (mahogany, korina, walnut, ash). If the wood is alder or maple then go to the next step.
3. Transparent colors - usually aniline dyes mixed with alcohol or water and sprayed or wiped on. The dyes soak into the wood and show the figure and grain nicely. Some choose to interchange this step with step 2. If opaque colored lacquers are being used then skip to the next step.
4. Sand and Sealer - this is usually a thin washcoat or two of unthinned clear laquer or shellac that seals the wood. Just a couple of coats sprayed a few hours apart. If there's any "orange peel" (sometimes lacquer can dry a little bumpy, like the peel of an orange) or spits from the sprayer, these coats will have to be sanded flat with 600 grit paper - being careful not to sand thru to the wood.
5. Opaquer colors - a few (4 or 5) wet coats of thinned opaque colored lacquer sprayed about 8 hours apart at the minimum. Some like to use a coat or two of primer first.
6. Clear coats - clear lacquer usually thinned a bit with a solvent of some sort and sprayed in 8 "double coats" (spray a coat, wait 5 minutes, spray another, wait 8 hours, repeat 7 more times). After the last coats are on, it's left to cure for about a month.
7. After it's well cured, then comes the wet sanding with progressive grits of paper from 800 up to 1500 or 2000. I usually use soapy water as a lubricant. This is just to get any orange peel or slight undulations in the finish nice and flat.
8. Final polishing with my hand drill and a polishing pad attachment. I usually use Maguire's Mirror Glaze polishing compound. This will buff out the scratches left by the last grit of sandpaper I used for the wet sanding. You have to keep the drill moving and not stay in one spot too long. Burning through the lacquer at this point would really suck...

And that's it...
  #311  
Old 04-20-2010, 01:33 PM
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Seems like we should probably add a link to this thread, Guitar Playing Wanker

  #312  
Old 04-20-2010, 05:53 PM
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I was thinking the same thing.

Hey. So... a guitar has one, two, or three pickups. And when it has one pickup, it's generally at the bridge.

What's the difference? My guitar is a P90 at the neck and a humbucker at the bridge. How would it sound if I reversed them? What difference does location make?
  #313  
Old 04-21-2010, 06:44 AM
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Originally Posted by E-Sabbath View Post
I was thinking the same thing.

Hey. So... a guitar has one, two, or three pickups. And when it has one pickup, it's generally at the bridge.

What's the difference? My guitar is a P90 at the neck and a humbucker at the bridge. How would it sound if I reversed them? What difference does location make?
You know what the three most important things about a pickup are? Location, location, location.

Sorry - someone had to.

Yeah, location matters a lot - random thoughts:

- In terms of the pure physics of it, the further in towards the middle a pickup is, the greater the distance of string travel is picked up during the vibration. Think about picking up an acoustic guitar and picking near the bridge to get a bright, twangy, bass-less sound vs. strumming over the soundhole to get a smooth, open sound with more bass. Same thing.

- Clapton's famous Woman Tone - e.g., the lead on Sunshine of Your Love - is from a neck pickup with the tone control rolled off - you get that nice, thick, tubey sound - a byproduct of that location's inherent tone with some distortion and chopped off highs thrown in.

- Leo Fender slanted the bridge pickups on Teles and Strats because he wanted the extra snap and twang of having the pickup really close for the High E, but a bit further away on the low strings so they weren't as pinched tone-wise

- You know Mark Knopfler's tone? Or the intro lick on Sweet Home Alabama, played on a Strat? In both cases that is one of the Quack Positions on a Strat. Positions 2 and 4 on the 5-way switch of modern Strats combines the middle pickup with either the bridge (2) or neck (4). That unique sound - referred to as a Strat Quack or a Notchy sound, since it's waveform is notchy in shape - is a byproduct of the specific locations of the pickups and how they combine their signals.

- Pickups themselves have their specific effect on tone - when you combine that with location, you change things around. Humbuckers can be thick, bordering on mud - and the more distortion you are loading into your signal with pedals and your amp, the more likely you will muddy up your tone. Well, using the pickup closest to the bridge adds bite and clarity and so that is why it is the choice to go to for that Les Paul through Marshall sound.

Gotta run...

Last edited by WordMan; 04-21-2010 at 06:45 AM.
  #314  
Old 04-22-2010, 10:12 PM
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Three months or so at this guitar thing and I don't really feel as if I'm getting anywhere. I mean, I'm obviously a bit more comfortable with it than I was when I first picked the thing up, but I don't know if I'm progressing like I ought to be. Still can't play a damn thing--the most I can lay claim to is bits of things. The basic little opening of Smoke on the Water or Rock You Like a Hurricane with power chords; that's about it. My teacher at the moment mostly just keeps poking exercises at me. Maybe my fault--I know what I like, and what I'd like to be able to play, but they're rather disparate things--namely thrash and its progeny, older classic rock and proto-metal like Sabbath... and then on the other hand, grittier country-ish rootsy... stuff. Like, say, the stuff Reverend Peyton does with that Big Damn Band of his, or Slim Cessna's Auto Club, or Reverend Glasseye (what's with all these Reverends?!), or Pariah Beat (who have some tracks on their webpage). Not to mention just plain old Johnny Cash 'n whatnot. But half of it's stuff most folks've never heard of, and I can't figure out what to call it anyway. So even if I were to drag in a different song every week, it wouldn't do much good--and couldn't I just look (at least some of) them up on the internet anyway? Grrr.

Sorry--just had to come in here and vent my newbie frustration; I figure yinz've been there or somewhere next door to there, at least. Funny thing is, that I'm not frustrated to the point of wanting to give it up... more just feeling like I'm at sea, a little bit. But I keep paddling, even without a compass.

On the other hand, picked up a Pocket Pod the other day. It was ultimately going to be a necessity, what with an eventual move to a NYC apartment, and I was getting a bit tired of playing without distortion whenever anyone else was in the house. Haven't really dove into it, but I love it. It's fun just to try different stuff and see what it sounds like, and oh so nice to put it on the "Smoke on the Water" setting and do, well, Smoke on the Water.

Anyway, back to your serious guitar geekery. One day I may join you yet!
  #315  
Old 04-23-2010, 04:42 AM
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Originally Posted by LawMonkey
Funny thing is, that I'm not frustrated to the point of wanting to give it up... more just feeling like I'm at sea, a little bit
A suggestion, for starters get comfortable with a few cowboy chords so you can strum though your plain old Johnny Cash stuff. It doesn't matter what style you're ultimately aiming at, knowing the basic open chords is a solid starting point. Pick out a few riffs, to move you on from Smoke on the Water how about Paranoid, that's another good starters one

Passing shot. Nearly everyone plays Smoke on the Water wrong (see School of Rock). It's not power chords, it's double stops in forths (Blackmore does this a lot).

Code:
1------
2------
3------
4------
5-xx--- <- D G

1------
2------
3--xx-- <- F Bb
4------
5------

1------
2------
3------
4------
5--xx-- <- G C
And so on...
  #316  
Old 04-23-2010, 06:31 AM
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Three months or so at this guitar thing and I don't really feel as if I'm getting anywhere. I mean, I'm obviously a bit more comfortable with it than I was when I first picked the thing up, but I don't know if I'm progressing like I ought to be. Still can't play a damn thing--the most I can lay claim to is bits of things. The basic little opening of Smoke on the Water or Rock You Like a Hurricane with power chords; that's about it. My teacher at the moment mostly just keeps poking exercises at me. Maybe my fault--I know what I like, and what I'd like to be able to play, but they're rather disparate things--namely thrash and its progeny, older classic rock and proto-metal like Sabbath... and then on the other hand, grittier country-ish rootsy... stuff. Like, say, the stuff Reverend Peyton does with that Big Damn Band of his, or Slim Cessna's Auto Club, or Reverend Glasseye (what's with all these Reverends?!), or Pariah Beat (who have some tracks on their webpage). Not to mention just plain old Johnny Cash 'n whatnot. But half of it's stuff most folks've never heard of, and I can't figure out what to call it anyway. So even if I were to drag in a different song every week, it wouldn't do much good--and couldn't I just look (at least some of) them up on the internet anyway? Grrr.

Sorry--just had to come in here and vent my newbie frustration; I figure yinz've been there or somewhere next door to there, at least. Funny thing is, that I'm not frustrated to the point of wanting to give it up... more just feeling like I'm at sea, a little bit. But I keep paddling, even without a compass.

On the other hand, picked up a Pocket Pod the other day. It was ultimately going to be a necessity, what with an eventual move to a NYC apartment, and I was getting a bit tired of playing without distortion whenever anyone else was in the house. Haven't really dove into it, but I love it. It's fun just to try different stuff and see what it sounds like, and oh so nice to put it on the "Smoke on the Water" setting and do, well, Smoke on the Water.

Anyway, back to your serious guitar geekery. One day I may join you yet!
Dude - vent hard and all you want. Totally understandable. But don't worry about it. Jeez, to this day, I still remember overhearing my older sister on the phone - I think I had been playing for two years or so - where she was angrily bitching to a friend of hers about how "he doesn't play anything! I mean, its the same bit of a song over and over and over and over! He can't even play a complete song - at least not one I've heard! It's driving me crazy!"



You are focusing on mechanics right now - just like throwing a baseball, learning a new software program or new job, you have to learn the mechanics before you can actually use the new tool. 3 months is both interminably long, per your post, and a blip in time. You should be able to chord competently between 2 - 3 basic chords like A, E, D, G, C and so on - so you can actually strum a basic rhythm and detect a bit of groove in it - in 4 - 6 months if you are practicing regularly. Does that help?

Key point - and I say this every time in these threads - are you rockin' out on one string? Playing Smoke on the Water or Foo Fighters (I love that riff out of Times like These on one string myself ) while making arena crowd noises with your mouth? I'm not just some indulgent Boomer telling you to get in touch with your inner child - it serves a purpose: it focuses on the groove more than chords. If gives you a chance to feel a groove, breathe with it and not be concerned about the mechanics of forming chords. That way, when you get competent in a few more months with chords, you have a sense of the groove and can feel it better as it emerges in your playing. When that happens = Happy. Well, at least happier; there's always some new damn hill to climb, eh Sisyphus?

Also, if you don't know riffs like the Peter Gunn theme (aka Planet Claire by the B-52's) and AC/DC's TNT or Muddy Waters' Mannish Boy - you should, on one string.

Peter Gunn: Estring - Open Open 2 Open 3 Open 5 4, where you lightly drop your fretting fingers back onto the Low E to mute it right after you hit the string Open, so the note is short; doesn't sustain.

TNT - E String - Open 3 5, 3 5 3 Open Same thing - each note is short and it is up to you to use your fretting fingers to dampen the strings to fit the groove. That is a shadow art that doesn't get discussed much - knowing how to dampen strings - start learning it.

Mannish Boy - on a low E - Open Open 5 Open 3 Open with damping

They are all about groove. Get in front of a ball game and play these for hours - go ahead, bug your sister - she won't mind.
  #317  
Old 04-23-2010, 07:39 AM
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I am into my third week now and understand the frustration. I have to remind myself of where I am now compared to where I started. I can play all of the open major chords without difficulty and can strum fairly smoothly between A D and E plus a few other progressions. Certain fingerings still cause problems such as switching from C to G (with the 2, 3 and 4 fingers.) Just can't get the pinkie to cooperate all of the time. And the F chord is successful on only about 25% of the attempts.

And I have the opening set for my upcoming world tour pretty well down. I'll open with Ode to Joy, then Aura Lee and Somewhere Over the Rainbow. Jingle Bells for a kick ass encore!
  #318  
Old 04-23-2010, 10:09 AM
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ICertain fingerings still cause problems such as switching from C to G (with the 2, 3 and 4 fingers.) Just can't get the pinkie to cooperate all of the time. And the F chord is successful on only about 25% of the attempts.
I've been playing for a year now, and I still struggle with those same things. Getting into G cleanly and quickly is still a challenge, though it is slowly improving. Same thing with F...took me a long while to figure out how to do the short barre correctly (though now it sounds right about 90% of the time).
  #319  
Old 04-23-2010, 06:00 PM
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I don't normally go for the "shredder" type of player, but Paul Gilbert is just... WOW!

http://www.youtube.com/watch?v=ES1RypBww_g

This song offers up alot of examples of alternate picking. That's quick combinations of up and down strokes by the picking hand. It's one aspect of my playing I'd like to improve on but I've never been able to get to "ludicrous speed" like he does. He goes over the amazing end lick here:

http://www.youtube.com/watch?v=efq_l...eature=related

Last edited by BigShooter; 04-23-2010 at 06:01 PM.
  #320  
Old 04-24-2010, 12:24 AM
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I don't normally go for the "shredder" type of player, but Paul Gilbert is just... WOW!
I guess I'll be happy if I can play like that some day.

Wordman, I appreciate the perspective. You see teenagers shredding on YouTube and you can get a little bit discouraged. I dig the tunes, too--fooled around with Peter Gunn a little earlier. (I know it well from a childhood spent playing Spy Hunter on the C64 and NES.) I'm not certain I understand the muting that you're talking about--do you know anyplace I could hear an example?

I do fool around with this sort of stuff--my practice isn't especially structured; I'll do an exercise or scales for a bit, then play around with one of the little bits o' song I know for a bit, then switch off again. Lately I've been just working on chord changes, trying to get them fast and smooth. The trouble with those little one (or two, like Sunshine of Your Love) string melodies is that I tend to start speeding them up a little bit each time around. A little faster, a little faster, through sloppy until I go off the rails. The little power chord songs are better--the mechanics of it seem to keep me a bit slower.

Small Clanger
, I've been working on that--teacher hasn't been giving it to me, so I started working on it through the stuff over on justinguitar.com. And I've been looking at the song, I've Been Everywhere that Cash covered on one of the American recordings. I'm actually perfectly capable of playing all the chords (though the F# is a bit shaky, and I'd have to work on the change), but figuring out the strumming rhythm is another thing entirely.
  #321  
Old 04-24-2010, 02:18 AM
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Until today I had never seen or heard of this guitar, but damn do I ever want one now

http://www.fender.com/products/searc...tno=0262000561
  #322  
Old 04-24-2010, 04:43 AM
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Until today I had never seen or heard of this guitar, but damn do I ever want one now

http://www.fender.com/products/searc...tno=0262000561
That is just wrong. If you can imaging a Fender Telecaster that is the opposite of that in every way that is what mine is:

Not new.
Not shiny.
Plain black finish (where not worn or beaten off).
Not Humbuckers! Proper Tele single coils.
Proper Tele ashtray bridge plate, with three (3) bridge saddles.
21 frets not 22!
One piece maple neck. A bound fingerboard on a Tele? IT'S MADNESS!!!

What is with that toggle switch? AND THE FRACKING KNOBS DON'T LINE UP!!!

That isn't a Telecaster it's an OUTRAGE AGAINST ALL THAT IS RIGHT!!!

::Breathes::

Anyhow thanks for the RO
  #323  
Old 04-24-2010, 04:54 AM
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Anytime


Actually, I've never liked Tele's, but at the same time I love my Strat. So I see this, and it's everything I want out of a Les Paul, but much cheaper. Can't go wrong.

Now I just have to find a place that has one
  #324  
Old 04-24-2010, 10:32 AM
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Originally Posted by Small Clanger View Post
That is just wrong. If you can imaging a Fender Telecaster that is the opposite of that in every way that is what mine is:

Not new.
Not shiny.
Plain black finish (where not worn or beaten off).
Not Humbuckers! Proper Tele single coils.
Proper Tele ashtray bridge plate, with three (3) bridge saddles.
21 frets not 22!
One piece maple neck. A bound fingerboard on a Tele? IT'S MADNESS!!!

What is with that toggle switch? AND THE FRACKING KNOBS DON'T LINE UP!!!

That isn't a Telecaster it's an OUTRAGE AGAINST ALL THAT IS RIGHT!!!

::Breathes::

Anyhow thanks for the RO
Wow, Fender is branching out. How about this one? Tune-o-matic bridge + surface mount tailpiece, soapbars, four knobs, pickup switch on upper bout, and a set neck. Madness!
  #325  
Old 04-24-2010, 01:23 PM
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Sorry--just had to come in here and vent my newbie frustration; I figure yinz've been there or somewhere next door to there, at least. Funny thing is, that I'm not frustrated to the point of wanting to give it up... more just feeling like I'm at sea, a little bit. But I keep paddling, even without a compass.
My huge breakthrough came when I learned my first strum pattern and started playing three-chord songs with G, C and D. That was the day that I knew my guitar and I would become good friends.

Even now, if I am having a bad day with my guitar - or just a bad day - I'll just play Bob Dylan's Billy over and over until my problems drift away and I remember why I fell in love with my guitar in the first place.
  #326  
Old 04-24-2010, 02:33 PM
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My huge breakthrough came when I learned my first strum pattern and started playing three-chord songs with G, C and D. That was the day that I knew my guitar and I would become good friends.
Once you get that far, you can play most of CCR's catalog. Get a capo and you can play any bluegrass song you want!
  #327  
Old 04-24-2010, 02:44 PM
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And now for something completely different...

I saw Mark Knopfler at the Chicago Theatre last night. Awesome show, as always. A couple of things stood out to me in last night's show:
  • I got a kick out of the fact that in a sixteen song set, there were at least three guitars that only made a single appearance (sorry - I don't know enough to be able to tell you what they were).
  • He's got a new band member who is there mainly to play flute and whistle, but who also played guitar and mandolin. I am so insanely jealous of multi-instrumentalists like that.
  • He's got a new toy. One of his Strats had a little web cam attached to the end, pointed down the neck of the guitar. They put this up on the big screen during "Sultans of Swing" so you could watch the blur of finger-work during the solos.
  • The intro to "Donegan's Gone", which on the recorded version starts right in on the basic groove that runs throughout the song, was a beautiful bit of slightly sleazy Delta-blues sounding slide guitar. I wish he'd indulge that side of him more often. It was really nice.
And now a question. I understand the bare-bones basics of how a guitar works (I am not a guitarist myself), but I'm hoping one of you can explain something to me. Occasionally Knopfler employs a sound wherein you can't hear the "attack" on the note (I hope this will make sense; like I said, I'm not a guitarist, or really a musician for that matter). Usually, each note has a sort of "chime" at the start, but sometimes the note sort of sneaks in there, and reminds me more of a violin than anything else; it almost sounds like he's bowing the guitar.

Is it possible to explain to a non-guitarist how that's done?
  #328  
Old 04-24-2010, 03:51 PM
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And now a question. I understand the bare-bones basics of how a guitar works (I am not a guitarist myself), but I'm hoping one of you can explain something to me. Occasionally Knopfler employs a sound wherein you can't hear the "attack" on the note (I hope this will make sense; like I said, I'm not a guitarist, or really a musician for that matter). Usually, each note has a sort of "chime" at the start, but sometimes the note sort of sneaks in there, and reminds me more of a violin than anything else; it almost sounds like he's bowing the guitar.

Is it possible to explain to a non-guitarist how that's done?
Volume swell.
  #329  
Old 04-27-2010, 10:07 AM
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wow, fender is branching out. How about this one? Tune-o-matic bridge + surface mount tailpiece, soapbars, four knobs, pickup switch on upper bout, and a set neck. Madness!
Argh!!! Why??? Someone's gonna show me a Tele with a locking dive-bomb whammy bar next

Oh. Your. God!!! (Not found a locking whammy, yet...)
  #330  
Old 04-27-2010, 10:27 AM
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Argh!!! Why??? Someone's gonna show me a Tele with a locking dive-bomb whammy bar next

Oh. Your. God!!! (Not found a locking whammy, yet...)
Now, now - calm down Small Clanger - it'll be okay; quit hyperventilating and get a whiff of these smelling salts.

I couldn't agree more - I like my Tele's the traditional way - but the design is the basic platform of so many variations that it is pointless to argue. Heck, I even build my Tele Special to be a hybrid between a Les Paul Special onto a Tele platform.

I guess there is a difference between someone who plays a Tele and someone who uses a Tele platform and ends up playing a different type of music...

On a separate note, I have thought about commenting on the prevalence of Hybrid Designs - e.g., the Telemaster (Tele guts on a Jazzmaster body), La Cabronita (Gretsch guts on a Tele body - lots of buzz on this design right now - the name loosely translates to The Little Slut or Bitch), the Tele Jr. (Les Paul Jr. components on a Tele body - sorta what I built my Tele Special to be like) - and lots of others; all conflating a couple of designs into a Hybrid. Fun, funky and kinda post-modern...

Last edited by WordMan; 04-27-2010 at 10:28 AM.
  #331  
Old 04-27-2010, 12:36 PM
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Took the Xaviere into the shop to have it set up. Got it back. Still fret buzzing on 3rd fret, D string. Sixty bucks and it's still buzzing. Feh.

And now I want a MicroCube RX.
http://www.youtube.com/watch?v=rmw-foKkCFI
Drum machine!
  #332  
Old 04-27-2010, 02:00 PM
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Took the Xaviere into the shop to have it set up. Got it back. Still fret buzzing on 3rd fret, D string. Sixty bucks and it's still buzzing. Feh.
I'd surely take it back to the tech and bitch. Not acceptable.
  #333  
Old 04-27-2010, 02:03 PM
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La Cabronita
"The small bastard?"
  #334  
Old 04-27-2010, 03:28 PM
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Little playing and a little more force and it doesn't buzz as much.

Little bitch, squee. Female. Anyone hear about the Micro Cube RX? It seems to solve the old problems. More expensive, though.

Status: I am currently sucking at Detroit Rock City. Picking single notes and strumming three note power chords.

Man, how do people strum chords fast? I watch them, and they do this sweep and only hit the strings they want to. Experience and practice, I suppose.

Is it good when your pinky starts bleeding?
  #335  
Old 04-27-2010, 06:33 PM
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Man, how do people strum chords fast? I watch them, and they do this sweep and only hit the strings they want to. Experience and practice, I suppose.
I grab a handful of the neck. So if I am playing just the tonic (Do, a deer) note and the Dominant (So, a needle...you get the idea - the note up on string and two frets higher than the Do in standard tuning), I am putting my index finger on the Do and either my ring or pinky on the So depending on how low my guitar is and how far up the neck I am. Then I am basically using the rest of my hand to dampen all the other strings - just be touching them with my thumb over the top, the fat of my fingers and palm - whatever; although I allow my finger fretting the So note to go ahead and also fret the next highest string if it wants to, since that is an octave Do if I need it. I am not dampening by pressing down hard - my hand is reasonably relaxed, just brushing up against the strings in the right places so they can't / don't sound. You can strum, downstroke or whatever as hard as you want. After a while you get used to just focusing your strum on the few strings you want to be hitting, but it is always good to master dampening...
  #336  
Old 04-27-2010, 06:40 PM
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Wordman I'm not certain I understand the muting that you're talking about--do you know anyplace I could hear an example?
Just seeing this. You can create your own example: fret a note on the Low E at, oh, the 2nd fret. As soon as you fret it, lift up your finger - not off the string fully, but enough to kill the note. So that was, let's say, a quarter note, okay? Just a nice "bomm" and then stop, right? Now - try to play a note of the same length on the open Low E. You hit the open string, but the only way to stop it ringing, so it is the same length as the first note, is by laying a finger or three onto the string to muffle it, right? That's dampening the string.

So if you are playing Peter Gunn, that is pretty staccato - short, distinct notes. Playing the notes at frets 2, 3 and 5-4 is easy to make short and distinct because you can use the first method described above - fret the note and lift up right after picking it. But there are hits of the Open E between the fretted notes - how to keep them short and distinct ? Hence my recommendation that you practice bopping your fingers back down onto the Open E after hitting the note to dampen it and keep it short like the fretted notes.

It is a weird bit of coordination - a rubbing your tummy while patting your head kind of thing - to get used to fretting a note, then hitting the open string and damping it with a light touch of your finger pads and then fretting another note - but you get used to it and it becomes second nature...

Last edited by WordMan; 04-27-2010 at 06:42 PM.
  #337  
Old 04-27-2010, 09:48 PM
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Is it good when your pinky starts bleeding?
I've got blisters on my fingers!

Play until all four fingers are bleeding.

I've been following this thread since the beginning and all I have to add is vanderbilly. Free guitar lessons. some are good, some are not, but it's worth checking out.
  #338  
Old 04-28-2010, 09:58 PM
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Anyone know anything about the Vox DA5?
http://www.youtube.com/watch?v=FlfyT...eature=related
http://guitars.musiciansfriend.com/p...Amp?sku=482065
It looks good, it sounds good?
  #339  
Old 04-28-2010, 10:48 PM
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Anyone know anything about the Vox DA5?
http://www.youtube.com/watch?v=FlfyT...eature=related
http://guitars.musiciansfriend.com/p...Amp?sku=482065
It looks good, it sounds good?
No idea, but here's some reviews at Harmony Central.
  #340  
Old 04-29-2010, 02:29 PM
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I've got one of it's big brothers - the 30 watt 1X12 version. Best modeling amp out there, IMO. Good for mindless, low volume noodling and making weird sounds with the onboard effects. The clean sounds are very good to my ears, while the distorted amp models are passable but nowhere near the creamy goodness of my marshall tube amp...

Where it excels is in the studio. I love it for getting scratch guitar tracks down without having to get out the SM57's and/or waking the neighbors. I don't think I'd ever use it for a jam session or a gig, though...

Last edited by BigShooter; 04-29-2010 at 02:30 PM.
  #341  
Old 05-01-2010, 01:28 PM
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And in other news, The Scrivener asks, Do many or most professional guitarists' guitar necks have those dot-marks on them?

The answer is generally, yes.

Also, Wordman's on a trip and finds an interesting guitar store.

Me, I have a power issue. I plug my new amp in, and I get this transformer buzz. Only happens when it's operating off the wall, so it's probably my electricity. Batteries are perfectly clean. Any thoughts on how to deal with it?
  #342  
Old 05-01-2010, 06:13 PM
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Me, I have a power issue. I plug my new amp in, and I get this transformer buzz. Only happens when it's operating off the wall, so it's probably my electricity. Batteries are perfectly clean. Any thoughts on how to deal with it?
Are you sure it's not the guitar? Could be from your single coil pickups, which are notoriously noisy. Also, buzz tends to creep in if you're playing next to something like a computer monitor.

Speaking of new amps - I don't have my Vox from my previous post anymore. Went an traded it in today for one of these:

The Tweaker

And let me tell you - IT'S SICK!! This thing does everything well it seems. I've got it pushing my Marshall 4X12 cab (with Greenbacks in it) and it's absolutely beautiful sounding. The "clean" gain setting is better than any Fender I've played lately and with a Blues Driver or Tube Sceamer in front of it - DAMN! The "hot" gain is damn close to (but still not as good as) my Marshall head, but more than useful.

It's got 3 different EQ circuits - American, British, and AC - that emulate Fender, Marshall and Vox, respectively. Awesome amounts of possibilities here for different tones. The AC setting is particularly good. It really does give you that AC30 sound, specially when you turn the gain up a little to where it's just beginning to break up.

The only thing that sucks about it is there's no footswitch, so it probably wouldn't be a very good stage amp. Good thing I'm not in a band anymore...

Wordman - you should try one of these. I think it's right up your alley...

Last edited by BigShooter; 05-01-2010 at 06:16 PM.
  #343  
Old 05-01-2010, 09:31 PM
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Are you sure it's not the guitar? Could be from your single coil pickups, which are notoriously noisy. Also, buzz tends to creep in if you're playing next to something like a computer monitor.
Amp hums even without a guitar plugged in, if on mains power. If on battery power, no hum. So I'm pretty sure it's not the guitar. It's pretty clearly a power hum, the kind you get when you play a ipod through your car stereo while it's charging off the cigarette lighter socket.
  #344  
Old 05-01-2010, 09:33 PM
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What's a head and extension cabinet? Hm. While I'm at it, I should ask what the stuff my Vox's manual is alluding to. There's clearly something tricky that I should know for each step.

A Tweaker demo!

Last edited by E-Sabbath; 05-01-2010 at 09:34 PM.
  #345  
Old 05-01-2010, 10:30 PM
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A "head" is just the amp without the speaker. I bought the head version of the amp because I already have a Marshall cabinet to play it through. However, as a project I might build a new speaker cabinet for it...
  #346  
Old 05-01-2010, 11:45 PM
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Amp hums even without a guitar plugged in, if on mains power. If on battery power, no hum. So I'm pretty sure it's not the guitar. It's pretty clearly a power hum, the kind you get when you play a ipod through your car stereo while it's charging off the cigarette lighter socket.
Test that the outlet you're using is properly grounded. You can get a circuit tester for minimal $ at a hardware store. If the outlet isn't properly grounded, call an electrician, and don't use that outlet. An SDSAB report on this can be found here.

If the outlet passes the test, and the amp still hums... well, you have an amp that hums, some just do that.
  #347  
Old 05-03-2010, 07:20 AM
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Wordman - you should try one of these. I think it's right up your alley...
Looks very cool - 15 watts...can you get over drums with some room to spare? I love 6V6 tubes - that's what my main amp, the Tweed replica runs on...
  #348  
Old 05-03-2010, 12:27 PM
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Looks very cool - 15 watts...can you get over drums with some room to spare? I love 6V6 tubes - that's what my main amp, the Tweed replica runs on...
I think it's plenty loud enough, unless you're playing with drummer who thinks he has to hit the skins as hard as Bonzo ON EVERY SONG. (Even Bonzo didn't do that ) Still, it's probably not a good stage amp because of the fact that there's no footswitch to change settings on the fly. I think it's more of a studio amp, which is great for me...
  #349  
Old 05-03-2010, 01:21 PM
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I think it's plenty loud enough, unless you're playing with drummer who thinks he has to hit the skins as hard as Bonzo ON EVERY SONG. (Even Bonzo didn't do that ) Still, it's probably not a good stage amp because of the fact that there's no footswitch to change settings on the fly. I think it's more of a studio amp, which is great for me...
It does look like a cool amp. I tried their Rebel 20, and thought it was awesome, but with a cab it was more than I wanted to spend. Tweaker looks even better, the tone must be awesome.
  #350  
Old 05-06-2010, 12:35 PM
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The new issue of teemings is up, featuring a new column by me on the proto-punk band Death - link here.

I hope you get a chance to read it and I would appreciate your thoughts.

WordMan

Last edited by WordMan; 05-06-2010 at 12:35 PM.
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