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  • Biography
    Musical family b/g & guitarist from preteen years.
    Composer & performer at emi-pro & pro level til mid 30s then work in culinary & promotional fields.
    Planning a return as I settle in w/new online marketing tech.


  • Location
    no longer Lexington, Kenfunky / now ATL


  • Interests
    Music, arts in general, world-wide cultures, history, biographies.


  • Occupation
    self employed promotional consultant

halfnote's Achievements


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  1. What ??No Squire Strat or Tels or other electric types ??
  2. Well, when ya get back, CA, maybe ya can clear somethin' up for me. Recently over at the still-alive-&-well MPlayer forum we had this recent visitation < http://forums.musicplayer.com/ubbthreads.php/topics/2939565/Anyone_Have_a_09_76_Issue_of_G#Post2939565 > w/ this OP ------------------------------------------------------------------------------------------------ I wrote a DIY article in that issue called the "Stage Center" reverb. I was wondering if that design used a single reverb tank, or two reverb tanks wired more like humbuckers. If anyone can shed some light on this or has a copy of the original schematic...thanks! _________________________ Craig Anderton *check out my podcast at www.cyberears.com ------------------------------------------------------------------------ Well, sir, it didn't take long til someone [me ] posted this ---------------------------------------------- Wait, YOU don't have a copy ? Here's the best I could come up with: an (as usual almost endless) list of copies for sale at various sites https://www.google.com/search?ei=gvxZW6D0Io7czwLSjLeoAQ&q=guitar+player+magazine+sept+1976&oq=guitar+player+magazine+sept+1976&gs_l=psy-ab.3...13530.14911.0.19399. I looked briefly but have limited time; here are some of the most likely options; THIS SITE HAS AN SEARCHABLE ARCHIVE https://www.rocksbackpages.com/Library/SearchResults?SearchText=%22sept%201976%20guitar%20player%20magazine%22&SearchTextMatch=ExactPhrase&MonthFrom=1&YearFrom=1900&MonthTo=7&YearTo=2018&SubjectId=0&WriterId=0&PublicationId=0&PieceTypeId=0&ArtistId=0&ArticleType=AnyType&OrderBy=Relevance&PageNumber=1&PageSize=0&FullCount=0&NewSearch=True&IsAcademicGroupMember=False HOLD IT DIG !! Is this it ? Anderton Stage Center Reverb - Schematic Heaven https://schematicheaven.net/effects/ggg_anderton_stage_center_reverb.pdf There's also this https://www.diystompboxes.com/smfforum/index.php?topic=33080.0 I'm kinda surprised, though, if this is CA, I'd think you'd be better at this kinda Net use than me ! Anywhat, if I've helped, glad to be of.... _________________________ d=halfnote ---------------------------------------------- Not tryna make a big deal, just lettin' ya know
  3. Just been listening to "Bring It Home" / Sam Cooke rec. Never noticed befor that there's a lower vocal. Anyone know who ? Also wonder abt the string arr. What's best source for such info ?
  4. Good work there, Oilid ! On the general subject....[video=youtube;NNiIfepF4mo] More specifically, while yer posting is definitely a swinging feel, I'm not hearing the funk ( syncopation) as opposed to just rock. Take a glimmer at this....still pretty rockish but dig what the bassist did sliding on/off beats.... [video=youtube;GEtztzwN7bA]https://www.youtube.com/watch?v=GEtztzwN7bA
  5. I myself don't do it but I've seen many who do & seem to have no prob. Even Jeff Beck, who has a whole array of bending techniques (standard string bends, vibrato bar, bending behind the bridge, above the nut & pushing the neck,& sometimes uses diff ones in a single song, includes that as one of his tricks. I'd say that if yer careful not to do more than a gentle push from the back it might be OK. It might also best ( & most effectively ) be done w/ bolt-on necks. In looking for a vid example of Beck, I just came across something I'd not seen before---bending the neck back to raise the pitch ! [video=youtube;-Z7dF0FfZTQ]
  6. Hey, it's a busy world & "airbody" needs to do what they need to do. W/out blowin' some hefty philosophistication, I'll just point out the general unifying factor in the world's most inclusive religiographies is cuttin' some slack to them what needs it when they needs it. While I may disagree w/ ya abt some of what you felt was worrisome, if you feel better & can function the way y'prefer (w/out steppin' in somebody else's pathway) well glad for you, Buddy ! Now that yer back, uh, where ya goin' ? Can we come too ?
  7. You're over-interpreting what I wrote. I never suggested musical instruments not be the basis of their production or focus. I was only pointing out that expansion into related products is sensible. For ex, they've made gtr amps from the time electric instruments were available. It makes sense for any company to continue to develop other products as technology advances otherwise they'll lose out to those who do. It's possible to try to be too much to too many but even more of a problem is when a company hews too closely to their original offerings & ignores the reality of what's developing around them. Just consider what happened in the music recording/ slaes biz over the past 1/4 C.
  8. Re the OP: Maybe they are...but in the modern world ANY company must work not just on what their basic product(s) are but on associated extras that, to paraphrase Dr John, if they don't do it somebody else will. Whether it's new ideas for gtr functions or online access to gizmos & apps, that's what's expected by the modern consumer. Someone will create & offer those things, riding the back of music instrument makers, so the smart thing is to create & market them, whether internally or by licensing. In a world where ppl are able to record their multi-track original music on their phones, use computers for amps, etc, if any company that didn't wisely expand their technical range would be the one facing financial decline.
  9. Haven't been so active here for quite a while but while I reactivate myself & review some of the posts in this thread, lemme point out that If there's one musical forum on the Net likely to be ongoing it's the Anderton Empire. It's easy to forget that some institutions have a history longer than our awareness. Take a gander at this http://forums.musicplayer.com/ubbthreads.php/forums/1/1 ~ http://forums.musicplayer.com/ubbthr..._Sound_Studio_
  10. Yes standard tuning is the best all-round. The basic reason for this can be found in the fact that it was developed over a long period to fit a multitude of musics & approaches. That's how it became standard. The fact of differences in modern music really has no bearing since the basics of any music has to do with the basics of melodic & harmonic structure. Modern European-based music or jazz, for instance, wherein there are lots of chordal extensions, etc, only use those things in terms of the basics of harmony, so yer likelihood of needing to reach a b5 or whatever are less than for a plain 5th. Even other music cultures based outside the European model involve, for the most part, pitch selections very close to what we might expect. That's just how the physics of pitch & consonance works. As for some other concepts such as Fripp's tuning or "Gambale" tuning (a new one for me), those may work (as do the usual altered tunings---or even any tuning one might come up with to allow certain pitch combinations, e.g. Joni Mitchell) but I suspect they lack the versatility of standard tuning. That short pitch compass on the 2nd string is part of what makes for comfortable hand shapes & easily inverted chords. Remember this wasn't set by an individual but evolved over time by what worked best for many ppl to play a wide variety of things. Freeman's point that some other tunings are duplicates of each other is true. However it's important to consider how those tunings affect the instrument. Some put greater stress on the strings, some less. That affects not just the responsiveness of the gtr but the timbre of it. As for me, I play slide entirely in standard tuning. This was originally both to avoid rethinking the fretboard, since often the slide part might be just a section of a song, & because at the time I didn't have source material for what tuning might be employed on which song. I can't do exactly what might me on an old blues or bluegrass dobro record but, as I discovered early on, I really don't need to b/c the essential, effective parts of the tune can be represented w/ 2 or 3 notes usually rather than a full 6 string chord. That's an advantage, esp in electric ensemble/band playing, where the amplification often adds harmonic distortion & the sheer number of instrument voices can make the overall sound a mess. Additionally, I've learned that standard tuning allows for chord structures that cannot be achieved in most altered tunings. I can play a minor chord, a dom 7th, a major 7th, versions/fragments of dim, & other chords straight across the frets. Further, by slanting the slide, I can achieve similar forms & even mimic pedal steel effects by moving between slanted & straight barre forms. I've yet to hear anyone do that in, for example, using any of the usual blues or dobro tunings. One place I do employ a non-standard tuning effect is as a way to achieve varied chord voicings. By keeping a 2nd gtr tuned a full step low, I'm able to easily transpose chords onto other shapes that can be layered on top of parts played in standard tuning to provide a different voicing. That has the additional effect of giving me a laugh when those unfamiliar w/what I'm doing try to figure out what I'm playing !
  11. I'll let them tell ya the story but it's basically all there in the name. http://www.playmusicontheporchday.com If ya like the idea, please bump it once in a while to keep it in the public view this week.
  12. Just saw this old TV show clip. I almost but can't quite recognize the tune they drift into. HELP ! [YOUTUBE] [/YOUTUBE] [subsequent query / why's the YT tag set here not work ?]
  13. It's not the song that's important (BTW, age has nothing to do w/ the value or interest of music, does it ?). What I'm tryna do is trace a particular lick. The one discussed here as a "4 1/2 step Al King style bend" [*]. It shows up, in slightly varied form during the AAB's' version of Stormy Monday [4:25] during what's generally credited as a solo by Duane. It's not identical but close enough to be the same idea. I just find it an real "earworm" have been tryna figure out which it was. --------------------------------------------------- [*] BTW, I let this go earlier but a 4 1/2 step bend would be a full 6th, so I presume that measurement's supposed to be 4 1/2 fret....
  14. Thanks, jtr for the , uh, lead & thanks, Bucksstudent, for the "GPS". Interesting site. To be honest, though, I'm having a hard time shaking the idea that, b/c of the style, the final solo's not DA....but as said, if I knew for sure I wouldn't be asking.
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