Plantsman13
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Posts posted by Plantsman13
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Paul, thanks so much for allowing us to get a glimpse of the performance given at the Gathering.
Best regards,
Bryan
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@Six String Thanks for the suggestions. I was in the playing position, as Greg suggests, when I set the intonation. Greg doesn't discuss the pole pieces but Dan Erlewine is always stressing the fretboard radius. Being an electric novice leaves much room for doubt. I had also wondered if it was just a manufacturing defect, but I've never experienced one firsthand. I recall (perhaps incorrectly) Greg quit using D'Addario strings for quality issues overall in one of his Live Lessons.
I'll play with the pole by raising it up because it looks at rock bottom currently,
Best regards,
Bryan
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@Randy120 They were the XL Coated Nickel EXP110 NY steel. My first time using them.
I'm purchasing the Nut Juice in the near future. Makes sense to me over the pencil graphite I've heard of before.
Thanks again for the insight.
Bryan
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@matonanjin Okay, you win. ?
Spent a few days in Spring Green, WI to tour Frank Lloyd Wright home and architecture school (Taliesin Estate Tour). Really cool ideas. OBTW, he was skilled at piano (tour guide claimed he owned five (5) pianos and mostly grand style along with a sister who taught piano lessons) and accepted students based on their musical background with required performances in front of the student body. Claimed a musically-oriented architect could better release the real beauty in design for others to enjoy. He had a garden wall designed in the shape of a musical note at his home.
As for musical studies, Steve's Jazz Workout / Finger-style Jazz lesson have been occupying my efforts to a larger degree. The shapes on each string are more manageable now, so starting to associate the names better with the shapes to attempt more of his exercise progressions.
I purchased Joe Robinson's Trufire course (a few months back) and find his finger gymnastics amazing to attempt after five lessons. He can stretch his fingers with some of the best.
Strumming technique is really on my plate these days as well. I want to get to the point excessive thinking is removed so I can enjoy just playing along with others.
Last, but not least, my obsession with acoustic blues drives me forward. David Hamburger is my inspiration and several of his Trufire courses are almost finished. Acoustic Magazine featured Mississippi John Hurt recently and his Coffee Blues tab was provided. Must admit, getting that "feeling down" is not easy. ?
On a side note, John Sebastian claims his group, The Lovin' Spoonful, got their name from this song's lyric.. "I wanna see my baby 'bout a lovin' spoon. About a lovin' spoonful..."
I alternate my daily practice sessions with these goals to keep my focus while my guitar is in my hands.
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Greg,
I just finished my first electric setup on a used I-35C Collings using the Les Paul setup in your course. The pickup height is as recommended (1/16"). The G string intonation matches on both the open and 12th fret. However, when I play the G string, especially up the fretboard, I get a flat-sounding or jangled (off) tone. All of the other strings sound okay. The pickup poles do not appear to follow the radius. Any suggestions?
On another note, I am assuming when measuring string height/pickup heights the measurement is from the bottom of the string in question.
Thanks,
Bryan
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@Randy120 Thanks for the response. They were new D'Addario NY steel coated strings, but I didn't use anything on the nut. I don't really do electric, prefer acoustic, but wanting to give it a try on Steve's Jazz workout. I installed a pick guard, so it forced me to install new strings as well. I'll try Greg's thread.
Thanks again,
Bryan
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Greg,
I just finished my first electric setup on a used I-35C Collings using the Les Paul setup in your course. The pickup height is as recommended (1/16"). The G string intonation matches on both the open and 12th fret. However, when I play the G string, especially up the fretboard, I get a flat-sounding or jangled (off) tone. All of the other strings sound okay. The pickup poles do not appear to follow the radius. Any suggestions?
On another note, I am assuming when measuring string height/pickup heights the measurement is from the bottom of the string in question.
Thanks,
Bryan
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So that's my problem! ?
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Great tips! My best tip is to "step out of your daily routine" and unplug. Lose the laptop, cellphone, and TV and focus on the task of learning to play the guitar. Once there, simplify the hard parts by working on them until they are not hard. Then move on to the next hardest part. Soon, you can play that song or run scales using pull-off and hammer-ons with little difficulty. Put in the work and good results will follow. CAUTION: Be patient and enjoy the ride knowing you probably won't become the next "guitar god"...but the pleasure and joy it will bring you is worth the effort. ?
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I never saw him play, but one feels the loss of these early pioneers. Enjoy the read.
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Greg,
Thanks for the information. Is there a recommended amount of relaxing of the string tension from pitch? I generally shoot for down a full tone, is that enough?
Bryan
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Phrasing Workout. I would like to see you follow the three-tiered workout system to raise the bar from a basic approach to a much more complex one. I see it as a "musical" extension of the Major Scales Workout.
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Tony,
Welcome. OBTW, H&D make wonderful 00's. I recently added a T-0014 to my inventory and love it.
Bryan
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Steve,
Anything to do with phrasing. I'm struggling with how to take major scales/or pentatonic scales and move into a more "musical concept" with the knowledge on scales I now possess. I am looking for a "rote approach" to get me started towards the freedom of expression I can't seem to unlock. I need to unlock a way to crawl at this point without the "typewriter staccato" I now experience. I'm looking for ways to add "empty space or silence" in my efforts.
Hoping to be there tonight
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I do own a few Taylors and have only good things to say about the quality of build. That said, I admire Bob Taylor's approach to sustainability in woods used in guitar building. We have seen Brazilian and Madagascar rosewood supplies dwindle in our lifetime and we owe our children's children the opportunity to play and experience the joy of playing guitars built with these legendary materials. New tone woods are being utilized to fill the void and we hear such people as Bob Taylor speak of investing in maple tree farms he will not live to see harvested in eighty (80) years. Native maple tree stands yield less than five (5) percent of guitar quality wood, or so I recall, and such farming techniques hope to explode that percentage for future production. High demand and low yield is not a good formula for the future of guitar building as we have come to admire.
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Joe Robinson on Acoustic Magazine email:
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Definitely an "up the ante" moment on the replacement guitar! Vintage or custom builder with outrageous Brazilian Rosewood with Master-grade tone wood seems like a great place to start looking.
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I recall Hendrix poured lighter fluid on his guitar and set it afire as he kneeled before it in homage onstage. Crazy times indeed. I do believe a symbolic love/hate relationship can exist between musicians and their instrument during a career. Kaki King discussed her desire and struggles to separate herself from her guitar at various times in her career, during a live performance. The listener came away believing it was heartfelt.
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@UncleHammy Definitely an acoustic blues fan! I came across an Australian female performer a few years back that lived for Delta Blues...
But if the wild hair rises, Chicago Blues, with the likes of Buddy Guy, can really get the juices flowing. Reverb just had blurb on Buddy Guy recently.
I recently came across some fantastic Blues on piano from the 50's that makes dinner preparation very soothing:
https://itunes.apple.com/us/album/alone-with-the-blues/216613957
Needless to say, I find pleasure in most any form of Blues I stumble upon. Enjoy!
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Wouldn't Ex 2 be a Bb7 not a B7? Looks like first fret, 5th string root to my poor eyes.
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Dave,
Really sweet looking instruments. L-00's have always intrigued me, so congratulations on your find (I too believed McP's claim to originality on cantilevered fretboards). Perhaps your and Barbera should work on a duet routine with vintage Gibby L-00s.
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Gerald,
Thanks for taking the time to elaborate. It is appreciated. I'm definitely new to the jazz way of approaching music (in other words, I'm facing a very steep learning curve).
Bryan
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Question regarding the 6th string root chords: Steve states the 5th string is never played but I've learned the Gm7 barre chord utilizes the fifth string D. In fact, Steve mentions you can rest the ring finger in his video. Why is it being omitted in a jazz context?
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@UncleHammy That's a bad visual...let's make an exception and take Dave's word this time!
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Electric setup question
in Guitar Care, Repair & Building
Posted
@Randy120 Thanks, I'll try it out. D'Addario just answered my online question with a response they were sending me two new G (.17s) strings to see if that fixes the problem. My acoustic setup is looking a whole lot simpler at this point. ? I'll post the results when they arrive.