Joe G Posted September 23, 2005 Report Share Posted September 23, 2005 Joe, I've always preferred the button on the back of the neck block because the strap then goes up your body and over your shoulder without having to twist 90 degrees to lay on your shoulder. I don't know if that really means anything to anyone else, but it seems more comfortable to me. ← Makes sense to me. Quote Link to comment Share on other sites More sharing options...
GregN Posted September 23, 2005 Report Share Posted September 23, 2005 No wonder the neck on Grant's guitar was always buzzin'. ← dems fightin' words, Quote Link to comment Share on other sites More sharing options...
Sundog Posted September 29, 2005 Report Share Posted September 29, 2005 Giant Steps ala Stern Fairly interesting article by Mike Stern in the most recent GuitarPlayer magazine. Quote Link to comment Share on other sites More sharing options...
Joe G Posted September 29, 2005 Report Share Posted September 29, 2005 Is there a name for the pentatonic scale that proceeds: 1 3 4 5 b7 ? It has a nice ethnic sort of sound to it. Quote Link to comment Share on other sites More sharing options...
GregN Posted September 29, 2005 Report Share Posted September 29, 2005 Is there a name for the pentatonic scale that proceeds: 1 3 4 5 b7 ? It has a nice ethnic sort of sound to it. ← Scalculate This Major Sus Pentatonic Scale Thingy? Quote Link to comment Share on other sites More sharing options...
GregN Posted September 29, 2005 Report Share Posted September 29, 2005 Giant Steps ala Stern Fairly interesting article by Mike Stern in the most recent GuitarPlayer magazine. ← Yeah, I dig his stance on chords. When working with a busy keyboardist, I often have to just hit the chord tones (or less). Sometimes, I must even just play air guitar. Quote Link to comment Share on other sites More sharing options...
rostasi Posted September 29, 2005 Report Share Posted September 29, 2005 I don't play guitar, so this is a very elementary question, I'm sure, but what is Billy Butler doing to get this sound during this beautiful solo from a "Groove" Holmes disc. Is this just a slide? title: Laura leader: Richard "Groove" Holmes guitar: Billy Butler album: That Healin' Feelin' The Butler did it! Quote Link to comment Share on other sites More sharing options...
Jim R Posted September 29, 2005 Report Share Posted September 29, 2005 Butler used that technique on a few of his albums. I was always under the impression that he was using a volume pedal (raising the volume after he'd attacked the note, lowering it, and repeating the process). Then again, he could have done it with the volume knob on his guitar (Tiny Grimes used to do something that sounded very similar, although he didn't employ it as much as Butler did). Quote Link to comment Share on other sites More sharing options...
Sundog Posted September 30, 2005 Report Share Posted September 30, 2005 Giant Steps ala Stern Fairly interesting article by Mike Stern in the most recent GuitarPlayer magazine. ← Yeah, I dig his stance on chords. When working with a busy keyboardist, I often have to just hit the chord tones (or less). Sometimes, I must even just play air guitar. ← It occurred to me that the ideas outlined in this article with respect to developing "sparse" accompaniment could also be applied by a soloist for just the opposite effect. I don't typically incorporate a lot of double stops or other intervals into my soloing, with the exception of octaves. This article opens up some rather obvious choices (at least in retrospect) for incorporating interval-based licks into solos. Funny how an article related to comping can give you ideas on constructing solo lines. You gotta love the journey! P.S. Keyboardists can be facists. Quote Link to comment Share on other sites More sharing options...
Sundog Posted September 30, 2005 Report Share Posted September 30, 2005 Is there a name for the pentatonic scale that proceeds: 1 3 4 5 b7 ? It has a nice ethnic sort of sound to it. ← Scalculate This Major Sus Pentatonic Scale Thingy? ← Whatever it is, when played over augmented triads rooted on the various scale degrees it creates some really interesting dissonance. Potentially, a nice colorful scale choice for use over augmented chords. Need to experiment with this more. Quote Link to comment Share on other sites More sharing options...
Joe G Posted September 30, 2005 Report Share Posted September 30, 2005 Ok, did you just discover that tonight, or have you worked with this before? Quote Link to comment Share on other sites More sharing options...
Sundog Posted September 30, 2005 Report Share Posted September 30, 2005 Just tried it about 10 minutes ago for the first time. A #4 substituted for the 4 also seems to work well. Don't know what got into me. Just trying to think outside the box I guess. Quote Link to comment Share on other sites More sharing options...
Joe G Posted September 30, 2005 Report Share Posted September 30, 2005 I was gonna work my way up to that. Quote Link to comment Share on other sites More sharing options...
Sundog Posted September 30, 2005 Report Share Posted September 30, 2005 Don't stop there, the #5 awaits! Thanks for the spark. Quote Link to comment Share on other sites More sharing options...
Joe G Posted September 30, 2005 Report Share Posted September 30, 2005 Actually the fact that I'm working with this at all is a gift. Yesterday I picked up my guitar and that scale was the first thing I played. I thought it was immediately attractive, and the first order of business for me was to just get the fingerings up and down the neck, finding the sweet spots. Next, I'll investigate the different possible uses for it. If you find some more hip stuff in there, let me know - I'll do the same. Quote Link to comment Share on other sites More sharing options...
Sundog Posted September 30, 2005 Report Share Posted September 30, 2005 It is a nice scale. For lack of a better way to characterize the sound, it has a very warm, rich sounding middle eastern feel. I'll continue to work with it and let you know about any interesting developments. Quote Link to comment Share on other sites More sharing options...
GregN Posted September 30, 2005 Report Share Posted September 30, 2005 I don't play guitar, so this is a very elementary question, I'm sure, but what is Billy Butler doing to get this sound during this beautiful solo from a "Groove" Holmes disc. Is this just a slide? title: Laura leader: Richard "Groove" Holmes guitar: Billy Butler album: That Healin' Feelin' The Butler did it! ← Volume swells. They can be accomplished via the volume knob on the guitar or via volume pedal. Hit the note when the volume is down, and then quickly turn the volume up. Some people get different volume pots in their guitar to allow for a more dramatic or easier technique. Oh also, the volume on the amp must be up a bit to get the nice sustain. Quote Link to comment Share on other sites More sharing options...
GregN Posted September 30, 2005 Report Share Posted September 30, 2005 Giant Steps ala Stern Fairly interesting article by Mike Stern in the most recent GuitarPlayer magazine. ← Yeah, I dig his stance on chords. When working with a busy keyboardist, I often have to just hit the chord tones (or less). Sometimes, I must even just play air guitar. ← It occurred to me that the ideas outlined in this article with respect to developing "sparse" accompaniment could also be applied by a soloist for just the opposite effect. I don't typically incorporate a lot of double stops or other intervals into my soloing, with the exception of octaves. This article opens up some rather obvious choices (at least in retrospect) for incorporating interval-based licks into solos. Funny how an article related to comping can give you ideas on constructing solo lines. You gotta love the journey! P.S. Keyboardists can be facists. ← Double stops in 3rds, 4ths, 5ths, 6ths, 7ths, and octaves in all or any of your favorite scales/modes is a great fretboard dymystifier. Or just the opposite on some days. As visual landmarks or cues, my mind relates more to chords shapes and their scale degrees, rather than pure scales. (whatever a pure scale is?). So as I run such exercises (and I am overdue) I visualize different chord inversions underneath. Of course, when I am actually playing, I prefer not to think of this stuff at all. "P.S. Keyboardists can be facists. " lol shhhh I think there might be some lurkin' here Quote Link to comment Share on other sites More sharing options...
rostasi Posted September 30, 2005 Report Share Posted September 30, 2005 Volume swells. They can be accomplished via the volume knob on the guitar or via volume pedal. Hit the note when the volume is down, and then quickly turn the volume up. Some people get different volume pots in their guitar to allow for a more dramatic or easier technique. Oh also, the volume on the amp must be up a bit to get the nice sustain. Thanks Jim and Greg! It's a nice effect! I should've known this. As a youngster, I would use the same idea for recording certain piano sounds. I was trying to get those piano cloud sounds that you can hear on Weather Report's Milky Way from the first album. He must've been using a pedal? It would seem too difficult to do it any other way! Thanks again, Rod Quote Link to comment Share on other sites More sharing options...
Jim R Posted September 30, 2005 Report Share Posted September 30, 2005 Volume swells. They can be accomplished via the volume knob on the guitar or via volume pedal. Hit the note when the volume is down, and then quickly turn the volume up. Some people get different volume pots in their guitar to allow for a more dramatic or easier technique. Oh also, the volume on the amp must be up a bit to get the nice sustain. Thanks Jim and Greg! It's a nice effect! I should've known this. As a youngster, I would use the same idea for recording certain piano sounds. I was trying to get those piano cloud sounds that you can hear on Weather Report's Milky Way from the first album. He must've been using a pedal? It would seem too difficult to do it any other way! Thanks again, Rod ← I think Billy used a pedal. I may have actually read something about his technique at some point in time, either in a mag article or liner notes of his LP's (which I've long since let go of). At any rate, it would be difficult (tedious) to do it as frequently as Butler did using the volume knob on the guitar. Some players like to use those knobs a lot, though (Roy Buchanan and Danny Gatton come to mind, but I know there are many others). BTW, my reference to Tiny Grimes referred more to his R&B recordings, I think. Don't recall that he did it much (if at all) in jazz settings, although I could be forgetting. I had an LP called "Rockin' & Sockin", with R&B material from the early 50's where he was using his volume knob for volume swells (no pedals in those days, right? ). Quote Link to comment Share on other sites More sharing options...
WD45 Posted October 9, 2005 Report Share Posted October 9, 2005 I just picked up a cheap Washburn strat knock-off as my first electric. I have had a REAL cheap acoustic for years. I have been teaching myself some things over the years, and now with a respectable guitar, I will be getting formal lessons. My question is this -- what would be a good newbie amp? I am looking for something small-ish. My view has been colored by an amp that a friend loaned me, a Fender Champ 25 from the mid-70s. Nice warm tubes, full sound. I am lazy and haven't read through all of the pages here, so there may be a rec that someone can point me to within this thread. Used would be fine, especially since my budget is a max of $150 or so. Anything worth having in that price range? Quote Link to comment Share on other sites More sharing options...
GregN Posted October 10, 2005 Report Share Posted October 10, 2005 I just picked up a cheap Washburn strat knock-off as my first electric. I have had a REAL cheap acoustic for years. I have been teaching myself some things over the years, and now with a respectable guitar, I will be getting formal lessons. My question is this -- what would be a good newbie amp? I am looking for something small-ish. My view has been colored by an amp that a friend loaned me, a Fender Champ 25 from the mid-70s. Nice warm tubes, full sound. I am lazy and haven't read through all of the pages here, so there may be a rec that someone can point me to within this thread. Used would be fine, especially since my budget is a max of $150 or so. Anything worth having in that price range? ← Ask your friend if he/she would sell said amp for 150.00! Otherwise, a solid state practice amp may be in your future. There are some good ones, for sure. This Looks Like A Good Option Have fun! g Quote Link to comment Share on other sites More sharing options...
Ron S Posted October 10, 2005 Report Share Posted October 10, 2005 Used would be fine, especially since my budget is a max of $150 or so. Anything worth having in that price range? You might also consider a Vox Valvetronix--it comes in 15-, 30-, 50-, and 100-watt models. It has a real tube (or "valve", as the British call it), and also digitally models amps and effects from different eras. Here's the 15-watt model brand-new for $179. And here's a page about this series on the Vox site, with some audio demos. Quote Link to comment Share on other sites More sharing options...
7/4 Posted October 10, 2005 Author Report Share Posted October 10, 2005 (edited) Try one of these out. Epiphone Galaxie 10 Tube Combo All-tube Class A design (12AX7 and 6L6 tubes). 10W. 10" Celestion Tube 10 speaker. Gain and volume controls. 3-band EQ. On/Off/Standby toggle switch. Very cool, very retro cab design and tube tone that won't quit. Features: * All-tube Class A design * 12AX7 and 6L6 tubes * 10W * 10" Celestion Tube 10 speaker * Gain and volume controls * 3-band EQ * On/Off/Standby toggle switch * Retro cab design * Tube tone that won't quit * 18"W x 16"H x 11"D * 25 lbs. I think the 6L6 tube would make this amp loud and clean with plenty of headroom. Edited October 10, 2005 by 7/4 Quote Link to comment Share on other sites More sharing options...
WD45 Posted October 10, 2005 Report Share Posted October 10, 2005 I just picked up a cheap Washburn strat knock-off as my first electric. I have had a REAL cheap acoustic for years. I have been teaching myself some things over the years, and now with a respectable guitar, I will be getting formal lessons. My question is this -- what would be a good newbie amp? I am looking for something small-ish. My view has been colored by an amp that a friend loaned me, a Fender Champ 25 from the mid-70s. Nice warm tubes, full sound. I am lazy and haven't read through all of the pages here, so there may be a rec that someone can point me to within this thread. Used would be fine, especially since my budget is a max of $150 or so. Anything worth having in that price range? ← Ask your friend if he/she would sell said amp for 150.00! Otherwise, a solid state practice amp may be in your future. There are some good ones, for sure. This Looks Like A Good Option Have fun! g ← He bought that amp from a co-worker for $50. I just need to find one for that price... Until then, That Vox looks like the real deal! Quote Link to comment Share on other sites More sharing options...
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