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  1. #426
    Join Date
    Dec 2005
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    Central OR
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    Quote Originally Posted by highangle View Post
    99% of talent is desire. Embrace the suck of practice and drills. Learn to love it. It's sooo good for you!
    Embrace the mistakes too; sticking to a rigid template makes for boring music. Master the technique, then abandon it and see where experimenting takes you...

  2. #427
    Join Date
    Dec 2007
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    No of SoBo, So of NoBo
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    Quote Originally Posted by highangle View Post
    ps: download a metronome and use it. Rhythm is the foundation of ALL music.
    Omar Hakim practices with a metronome every day.
    If you don't have a metronome on, you're not practicing. Whatever you're doing - working on scales, learning new chords or arpeggios, learning a new song, etc. - will benefit from learning to do it in time. You should have a metronome on pretty much the entire time you're practicing. If you can't keep up, turn the tempo down.
    Outlive the bastards - Ed Abbey

  3. #428
    Join Date
    Dec 2011
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    997
    Quote Originally Posted by Flyoverland Captive View Post
    Embrace the mistakes too;
    Never hit a bum note during a solo. Hitting one bum note during a solo is a bum note. Everyone will know you made a mistake.

    Be sure to hit that same bum note at least twice, because then it's called "style".

  4. #429
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  5. #430
    Join Date
    Oct 2003
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    Everybody Knows This Is Nowhere
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    Quote Originally Posted by reckless toboggan View Post
    Never hit a bum note during a solo. Hitting one bum note during a solo is a bum note. Everyone will know you made a mistake.

    Be sure to hit that same bum note at least twice, because then it's called "style".
    You call it style, I call it jazz. I've mastered syncopation in time AND key. Happens a lot when I sing - I end up playing in prime numbered time signatures. I need to practice with a metronome more.
    Putting the "core" in corporate, one turn at a time.

    Metalmücil 2010 - 2013 "Go Home" album is now a free download

    The Bonin Petrels

  6. #431
    Join Date
    Dec 2011
    Posts
    997
    Quote Originally Posted by hop View Post
    You call it style, I call it jazz.
    Jazz is American. We don't have jazz in Canada.


    We do have Nickelback.


    So we're probably even.

  7. #432
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    Jan 2009
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    "Let's just start with something easy in 4|4 to help everybody relax." ...


  8. #433
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    Tone

    Grant Green, like 'Trane, needs no room made. Grant Green's tone can cut through the thickest mix without any additional volume. You can always hear every note Grant Green plays.
    Grant Green played his ES330 with his fingers and there was nothing but cable between him and his Fender Tweed, Super, or Twin.



  9. #434
    Join Date
    Nov 2006
    Location
    Seattle
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    4,725
    His band didn't suck either.
    Quote Originally Posted by Foggy_Goggles View Post
    If I lived in WA, Oft would be my realtor. Seriously.

  10. #435
    Join Date
    Mar 2006
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    People's Republic of MN
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    I just got a SWEET Fender Road Worn Players Tele in trade over the weekend. It's a "fat" model, so it has a Seymour Duncan '59 in the neck. This thing is GREAT! Amazing neck! Feels like a Charvel. Kinda loving having a Tele again! It's been a while.
    Gravity. It's the law.

  11. #436
    Join Date
    Dec 2007
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    No of SoBo, So of NoBo
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    Quote Originally Posted by highangle View Post
    Grant Green, like 'Trane, needs no room made. Grant Green's tone can cut through the thickest mix without any additional volume. You can always hear every note Grant Green plays.
    Grant Green played his ES330 with his fingers and there was nothing but cable between him and his Fender Tweed, Super, or Twin.
    I used to have a '70s Twin that had the single greatest clean tone I've ever heard in an amp. Like you say, it just cut through everything, yet remained totally clean and full sounding (unless you wanted to overdrive it). It was amazing. It also weighed about a thousand pounds and was HUGE when in a road case, and it was too powerful to use as a home amp. I eventually sold it in favor of something smaller (a modified '70s silverface Deluxe), but I've always missed that sound.

    Last I heard I think Derek Trucks ended up with it. Glad someone who deserves it ended up with it.
    Outlive the bastards - Ed Abbey

  12. #437
    Join Date
    Dec 2014
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    Colorado Front Range
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    Quote Originally Posted by axebiker View Post
    I just got a SWEET Fender Road Worn Players Tele in trade over the weekend. It's a "fat" model, so it has a Seymour Duncan '59 in the neck. This thing is GREAT! Amazing neck! Feels like a Charvel. Kinda loving having a Tele again! It's been a while.
    3 or 4 Teles, a Strat, a Les Paul Studio, a 335 type semi-hollow, and I could be "done" ... until I fell in love with another Tele that swam by ;-)

    ... Thom
    Galibier Design
    crafting technology in service of music

  13. #438
    Join Date
    Oct 2003
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    Everybody Knows This Is Nowhere
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    Couple of repeats but this is the current stable, more or less. Some of the USA Reverends are in different configurations now.

    Reverend Bob Balch Sensei, 1969(?)Ampeg VT-40, Guytron 2x12 (V30 and CL80)


    Reverend Daredevil with G90 pickups


    Music room at the end of the Metalmücil era. The Korg keyboard has been replaced by a 61-key MIDI trigger. Modified Squier J. Mascis Jazzmaster in the stand.


    Acoustic stuff. Mandolin not pictured.


    Reverend Volcano RA prototype


    Reverend USA ENG Rocco, Reverend Ron Asheton Volcano, Reverend Volcano custom, Reverend Sensei HB-FM (sold) Reverend Hellhound (one of two)


    Reverend USA top to bottom Rocco, Avenger, Slingshot


    Crews Maniac Sound OS series SG.


    Reverend neck on partscaster thinline Tele and the Slingshot again


    Not pictured: Squier Jaguar bass, Roland DB-500 bass amp, bunch of pedals and stuff. Planning on picking up an Explorer being held for me in Japan in a few weeks.

    That's me in the background regulating against a rowdy crowd during a Metalmücil show. RnR baby!
    Putting the "core" in corporate, one turn at a time.

    Metalmücil 2010 - 2013 "Go Home" album is now a free download

    The Bonin Petrels

  14. #439
    Join Date
    Dec 2010
    Posts
    7,385
    Step to Hop Dogg - I dare ya...

    Quote Originally Posted by Hugh Conway View Post
    Hugh Conway sucks
    Quote Originally Posted by Meadow Skipper View Post
    I guess stfu might be right about steel toed boots
    Quote Originally Posted by pedoherp69 View Post
    I know actual transpeople.
    Quote Originally Posted by rokjoxx View Post
    We is got a good military, maybe cause some kids get to shooting sports early here.

  15. #440
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    Tone

    vid, but that's even better. Who do you hear?




    Some of it's just physics, a Torres-scale guitar, even with 2 or more tops, can not sing as loudly as a steel string dreadnought Gallagher. I guess Chester just wanted to gig his Ramirez* to up the $$?

    That's not Ol Hoss btw. Doc was jamming Ol Hoss by the fire pit one night in 1974, and set it against a log, where it slid down into his accustomed path while he played someone else's guitar on an old fiddle tune. When he got up to go tinkle, he stepped right through it.

    Chet could play. But you only get a glimpse when he yards on it with his thumbpick held as a flatpick.
    Meanwhile, Doc's tone walks all over him, even when he can't hold the pic any lighter. Doc flatpicked with light gauge strings, and not a very hard pick. We can't hear the bottom of his dreadnought or the Fender bass in this clip.





    * or Hauser, or whatever it is

  16. #441
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    Jan 2009
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    907
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    Tone

    Killswitch Engage records a bitchin rhythm guitar tone.





    Tastes vary. Say what you will, but their tone hits the nerve because
    1. it's percussive as well as hudge JVM
    2. you can hear every string, and block chords don't fall apart into a muddy muddle of mids ("clean" "tight" "too tight..."),
    3. it propels the singer's voice and delivery like the warm compressed breath of a Balrog, and cradles it like hard expanding polycyanide foam.

  17. #442
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    Jan 2009
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    Tone...

    ...Tone sold more albums than technique ever did.





  18. #443
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    Fabulous Tone Comes From the Right Hand











  19. #444
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    365

  20. #445
    Join Date
    Nov 2015
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    1,319
    Quote Originally Posted by highangle View Post

    Simple and effective, Thanks.

  21. #446
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    Jan 2009
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    Right Hand

    "Tone, son."





    "No. You can't join Cobra Kai. And you already know how your Momma feels about her only boy playing football..."

  22. #447
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    Tone

    I need a mic like this...



  23. #448
    Join Date
    Nov 2006
    Location
    Seattle
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    Father forgive me as I have sinned.... again...Click image for larger version. 

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    This is a late '60's/early '70's Ventura copy of a Gretsch Country Gentleman, though there's no leather pad on the back and it has a bolt-on neck. Picked it up in very well worn but solid shape off of CL the other day. Lots of patina and sweat on this one, and it's coated in baked on dust.

    Plugged it in for a minute when it got home and it sounded cool, but the switchgear and pots were intermittent so hard to get a good vibe on it. Been soaking them all in cleaner and I suspect they'll work fine. They usually do.

    It is now in pieces on the workbench. Some disassembly required. Scraping gobs of solvent resistant goo off the fretboard and metal bits, and someone had put nail polish on the fretboard markers. All the metal was at one time gold colored which I didn't know until I took the pickups apart and saw that the covers, below the mounting rims were all yellow! The faux Bigsby once was gold too, but not anymore. I like it better non-gold anyway.

    These were made in the "lawsuit" era in either the Fujijen or Matsumoko factories - still in existence and made some good shit, along with some junk - when the Japanese were knocking off all the great axes of the day but were eventually stopped by the major American manufacturers' lawyers.

    Of course in those days we turned our noses up at them. I can't afford a real one any more, and this is, I think, pretty well put together for less than 10% of the real thing and some elbow grease. Top and back appear to be solid wood, nice binding, painted on f-holes (same as Gretsch). Really a pretty design.

    The two switches on top are three-way: on, off, split coil for each pickup (I think). One volume control, one tone, pickup selector knob (1,2, 1+2) and a kill switch. The funny looking thing on the bridge is a string mute. It pushes a piece of rubber up against the strings so it sounds a little banjo-like. The Gretsches had these too. Need to figure out how to soften the rubber though as it's hard as a rock.

    Have I mentioned I like mutt guitars? Sometimes they just call out to me and I succumb to their sirens song.
    Quote Originally Posted by Foggy_Goggles View Post
    If I lived in WA, Oft would be my realtor. Seriously.

  24. #449
    Join Date
    Dec 2003
    Location
    Seattle
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    23,355
    Very cool oft.
    Quote Originally Posted by Downbound Train View Post
    And there will come a day when our ancestors look back...........

  25. #450
    Join Date
    Jan 2008
    Location
    the gach
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    5,340
    I've been lusting after a semi hollow. I dig the master volume on the lower horn a la gretsch.
    But Ellen kicks ass - if she had a beard it would be much more haggard. -Jer

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