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Showing content with the highest reputation on 09/10/2019 in all areas

  1. 2 points
    My first decent synth was a Sequential Pro 1, so I’m looking forward to playing around with layering & patching between the Boog and the Behringer Pro One when it comes out. In the meantime, I have a few various other poly and monosynths I can keep it company with. TBH I’m not much of a fan of Moog type envelopes, but that filter...
  2. 2 points
    I like the Sub37 as well, but a) I dont already have one and b) this is primarily for live gigs, and the Boog is way more portable, besides being ridiculously cheap. I plan on triggering it with my VR-09, putting the two on separate midi channels and setting it up so that I can effortlessly switch between the two with one soft button on the VR. Just need to add a little shelf to my keyboard stand. And I'm good to go!
  3. 2 points
  4. 2 points
    I get wait for the OB-Xa clone to ship! always regret selling mine
  5. 1 point
    Lovely guitar. Received a fair deal (for Europe, anyways). It's with my luthier friend getting set up. I'll have more to say about it when I get it back. All solid wood; Adi spruce top, Adi scalloped braces, solid mahogany back and sides, ebony fretboard. Goes from 0-11 in one strum.
  6. 1 point
    I snagged it last night for $199 and noticed the same thing. If people don't mind dealing with habitually MAP-breaking sleazeballs, Pro Audio Star always drops prices after business hours on Fridays, only to have everything at MAP 1st thing Monday morning - but I won't go there, having personally gotten them fired from two different manufacturers for breaking rules
  7. 1 point
    I like to play G as 355033: thumb, ring, pinky, open, index x2, so the root note can drone around the changes as you move the shape up and down the fret board.
  8. 1 point
    Ordered, in the nick of time... arrives this Friday
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    I first heard Larry Carlton in the early '70s with The Crusaders. I had been playing the electric guitar for several years and it was mostly heavy blues like Cream, Hendrix and Zeppelin. I was also listening to Randy Bachman, who was a student of the great Lenney Breau. Bachman was bringing elements of jazz into songs by the rock bands The Guess Who and Bachman Turner Overdrive. I liked the sounds of some of the chords and the way Bachman's Leads 'fit' over those chords. When I heard Carlton, I thought "that guy knows everything about the guitar but he just closes his eyes and plays." That was my inspiration for learning the 'math.' I had taken a music history/theory class in high school and was also learning to play piano. I began to apply the theory to the guitar and because I had difficulty copying guitar solos off the records I started making up my own solos that 'fit' based on the bits of theory that I had learned. I was into Guitar Player Magazine (when it was about playing the guitar) and reading columns by Tommy Tedesco, Howard Roberts and Larry Coryell. My dad, who played guitar, was intrigued and amused by what Tommy Tedesco was writing and one day he came home with Tedesco's book "For Guitar Players Only." "For Guitar Players Only" is a great book (I highly recommend it) full of stories about his studio days and very practical ways to learn the guitar and read music. One thing that really helped me, and I pass this on to all of my students, was his approach to learning the fingerboard. Pick one note and play it everywhere you can find it on every string. The open strings and the 12th fret are easy ones to find. Most rock guitarists know the names of the notes on the sixth and fifth strings so there are already reference points. The note D, for example, is always two frets lower than the note E. Once you find a note, the next time you look for it it will still be in the same place. Do that for all twelve notes, rinse and repeat several times and you'll be well on your way. As you learn more notes they become reference points for other notes. For example, B is always one fret lower than C and two frets higher than A. Something I picked up from watching Kieth Richards was playing simple triads on the second, third and forth strings. Take the open A chord, for example, and just pluck the afore mentioned three strings. The root note is on the third string. The note E on the third string is on the 9th fret. Putting you finger on the three strings at the 9th fret gives you an E Major chord. If you play a C Major 'cowboy chord' the root note is on the second string. If you only play the second, third and fourth strings it is a simple grip and can be moved up and down the neck. The note A on the second string is on the 10th fret. If you play the F Major cowboy chord and only focus on the three strings the root note will be on the fourth string. The note B on the fourth string is on the 9th fret. Putting this all together you can easily play E, A, and B triads with a minimal amount of movement. These grips are easy to move up and down the fingerboard (transpose) and they also give you an opportunity to expand the comfortable pentatonic scale by showing you where the 'in between' notes are and how to target notes, when you are playing lead, that are in the chords as the chords are changing. After learning these and other similar concepts I began to get closer to my goal of just closing my eyes and playing the guitar. As Anton mentioned earlier " the beauty of music and math resides in two concepts - symmetry and elegance." It is my belief that learning the names of the notes on the guitar using the Tommy Tedesco method, and learning the simple Kieth Richards style triads can give the player a bigger vocabulary and help answer gp2112's query "When I would watch another do a lead riff I would wonder how they could go from one part of the fretboard to the other and make it sound so natural." Symmetry and Elegance.
  11. 1 point
    This whole thing was a great presentation. I will refer to it often. In thirty years of all kinds of net.action, I have only rarely found such post-for-post value as I have here in this thread. Thank you, all. I'm a guitarist for fifty years, began with keys only a year ago on a used DX-7. My P1 is due by Thursday. Really looking forward to getting to work.
  12. 1 point
    I had one but sold it. I have a sub 37 with the wood sides, and I just love that thing. The Boog sounds basically identical as a Model D, but the Sub37 just sparks me.
  13. 1 point
    I still buy CDs when I need to fill gaps in my collection. I am now my parents, insofar that I really don't find any modern music appealing or as 'good' as it was when I was growing up. So, that is a limiting factor. Next CD that is already pre-ordered is the Abbey Road remix. I very rarely buy mp3s, generally only when there's only one or two songs I want from an artist. Now, get off my lawn.
  14. 1 point
    I have a birthday coming up - as you well know, having the same birthday Perfect excuse to treat myself!
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  17. 1 point
    I've got a cheap panasonic keyboard that has Midi out that I may have just found a use for.
  18. 1 point
    You know what really messes with the tuning on a 12-string? 12 STRINGS!
  19. 1 point
    "Dark Lady" - Mandrake Memorial How could I have overlooked this one!? ☺️
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  25. 1 point
    Did someone tell you that you’d hear an improvement by removing various knobs on your amp? The reason I ask is because you seem to have expected that to happen, and therefore, for you, it has. Try this: have a friend help you, and remove the knob or put it back on while you’re playing... but have him / her do it while you are turned around and not looking. See if you can tell when the knob is on, and when it is off. Try it a dozen times or so each way, but without looking to see if it is on or not. Have your friend keep score. I’m betting you won’t be able to guess correctly - at least not a statistically significant percentage of the time - because removing knobs, or replacing them with fancy, hi-fi knobs made from "special" materials or with special lacquer coatings or whatever will make ZERO difference to the sound of your amp. NONE.

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