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Annoying Twit

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  1. Is that the King Of Shaves one? Looks hi tech. Their shaving gel is {censored}ing ace. Yes, it's the king of shaves one. I haven't tried their shaving gel, but use the Nivea one, and it works for me.
  2. I bought the Azor System M after getting sick of disposables. It is much better. I tried one of the market leaders at some promotion, and still preferred the Azor. You still have to be careful with it, but used properly, it can give a very smooth shave with little risk of cut and burn. Don't know if it's available outside the UK.
  3. Hello? OK, I'll assume that the one that sold on UK ebay for
  4. What's a reasonable second hand price in the UK for a Digitech RP500?
  5. Thanks for this advice. In today's practice session I'll try each of these suggestions.
  6. In one fingerstyle acoustic piece I'm learning, I have to play a hammer on and pull off in the last bar. I'm playing a standard D chord on the top four strings, and have to hammer on the G note (3rd fret) on the top E string, and then pull off to return to the F# (2nd Fret). But, while other hammer ons and pull offs are becoming smoother, I just can't do the one in the previous paragraph. And it's getting worse, not better with practice. The hammer on works fine, but the pull off just doesn't work. Any advice? Edit: As Murphy's law would have it, as soon as I post and go practice it again, I get a better understanding of what is going on. As my pinky pulls off the top E string, my hand is pulled that way, and my middle finger fretting the B string is hitting and partially/fully muting the E string. Perhaps I can work on keeping the middle finger more stable. I'd still like help and advice though if anyone would be so kind.
  7. Thanks. Were the G-225 guitars made in Taiwan? I was assuming that anything that old would be made in Japan, but I've just found information saying that they are Taiwanese.
  8. How good are the 70s Yamaha G-225 classical guitars? The online reviews are very complimentary. Is
  9. Thanks very much for all the information. I've refined my stored ebay searches, will check out the comparisons etc. At the moment I have some bits and pieces of MIDI guitar stuff, but nothing that really just works. I have a rather illogical history of trying to learn guitar over my life. One bit that I have left over from a previous life is an Ovation Celebrity guitar with the Shadow MIDI adapter. But, the electronics for the guitar have fallen inside, and the MIDI adapter runs off a Japanese power supply. So, not useful at the moment. Then, I have a Sonuus G2M which I bought a few months ago and now regret. Particularly on the low E string open, if you just pluck a string the pitch often bends alarmingly for no reason I can understand. Recently I thought I was getting a Roland GI-10, but as it turned out, when the seller tested it, it was dead. I did buy the associated GK2A pickup and cable for
  10. How well do various guitar>MIDI interfaces track? I'm particularly interested in the Roland ones as they're available most cheaply. If you get (say) the GR20 over the GI-10, is there a major improvement. (Apart from additional latency as the GR20 has internal sounds, the GI-10 doesn't). How does the GR-30 and GR-33 fit into this. Is there a massive or minor difference between using the GK2A pickup versus the GK3? If you go back several decades, how well does the old MIDI interface used by the Ovation Celebrity MIDI guitars track compared to more modern versions?
  11. I know where I can buy a Roland GI10 guitar>midi interface. It seems to be a 1995 release, so 15 years old. Is the GI10 worth it? Or is the tracking so much worse than current synths that it's worth waiting?
  12. I've realised that part of my question is wrong, but I'm confident that I know that 4/4 and 8/8 aren't the same thing. 3/4 is a simple meter, in that each beat is divided into two. 1 and 2 and 3 and .... 6/8 is a compound meter in that it has two beats, divided into three 1 and a 2 and a. 7/8 is an odd meter as the beats are not divided into equal divisions, 7/8 could be 1 and a 2 and 3 and ..... And 8/8 is also an odd meter as otherwise it would be 4/4. For example 1 and a 2 and a 3 and ...... But the beats of unequal numbers of divisions must take up different amounts of time. It's the 7/8 example that shows this, with the 1/8 notes all being equal sized, but the beats being of different times. Same must apply to 8/8 of various permutations. So, the only differences between different 8/8 meters (and 4/4) is the assignment of emphasis to the 1/8th notes which then indicates the beats and defines the time signature. I think Gennation has the answer I'm looking for. I'll read it a few more times to digest it. I've been playing quite a bit of fingerstyle acoustic recently, and I've noted how easy it is to come up with patterns that clearly show different meters (I hope ), hence my question. I've been thinking of some of the things Frank Zappa did with time signatures and meters. Two bars of 7/8 then a bar of 4/4 to make 22/8. Edit: Ah, clearer. Both of you mention that it's not a real polyrhythm with 2x 8/8. In the more obvious polyrhythms as you give in examples, the measures are off different lengths, so that you get a changing pattern of combinations of emphasis as the two rhythms go in and out of measure sync. But with 2x 8/8, the measures are of equal length, and this doesn't happen. Hence no polyrhythm.
  13. I can't find any abstract theory forums, this is the only one that even mentions theory. So here, for better or for worse, is my question. If you have two instruments playing in 8/8, both of which have three beats, and the number of divisions of these beats are: 2,3,3 for the first instrument and: 3,2,3 for the second instrument Does this quality as a polyrhythm? (Comments onto whether or not this actually matters would also be valid answers to this question). Edit: Having posted it, provided that the beats (rather than divisions) are played at regular tempo, surely it's a polyrhythm, as (e.g.) in the first beat, the first instrument will play three divisions, while the second instrument only plays two, and vice versa in the second beat.
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