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Idunno

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Everything posted by Idunno

  1. You have good spirit. The knowledge here can sometimes compete in suggesting something for you to take to heart. Just think of it as a camaraderie of players looking out for someone's best interests. Have fun getting started.
  2. Meranti has a mahogany appearance (Red Meranti). It should look nice with the Gmelina soundboard. Meranti shares a Janka hardness with mahogany (hence the name Philippine Mahogany, I guess), and looks similar when finished. Are you using it for the neck as well? Lot's of questions but I'll just see how this plays out.
  3. Coconut shell rosette? That's some pretty hard stuff. What abrasive are you using on your drum sander table? I can well imagine you're going to develop some heat taking the shell down to the Gmelina. I took a look at the materials you're using and I'm curious about the Gmelina's sonic characteristics. I read it's used for musical instruments, among other things. Do you have any instruments made to-date using it? Thanks for starting this thread.
  4. Something the caters to your hands, first, then when you progress you'll naturally pick up cues about refining your search. We all know the first hurdle is our lack of motor skills in fretting and picking the strings. No sense exacerbating that by getting a guitar with strings that are easy to fret (nylon) but the neck is too wide (classical) for small hands. For all intents and purposes typically everyone has small hands starting out until they develop the motor skills needed to use them well. The first step is to view the major chords (A thru G) and pick a couple to try out on guitars at your local store. The C, D and E Major chords are beginner's chords by virtue of their placement being easier than A, B, F and G Major chords. Know the fingers used for the C, D & E and take your time placing them on various guitar necks. It's your money so get something that will make it well spent starting out. Guitar necks vary greatly between models and classical guitars are typically the widest of them all. If you have the means, seek out a nylon string guitar that has steel string physical dimension necks. They're called cross-over guitars. I bought one for my son to learn on and he's done well by it. It's the best of both worlds providing ease in fretting the strings. The appearance and sound of the guitar is something you will consider important after you have the skills to make music with one. Don't encumber yourself at this point looking for the grail of sight and sound. As your progress you'll quickly learn that every guitar you buy is the grail when you buy it, only to be bested by another. That means there's no such thing as a grail.
  5. For your own edification, here's a link you can use to compare individual string tensions. Then you can get an aggregate differential between sets to compare. https://www.curtmangan.com/guitar-string-tension-chart/
  6. Wegens have a pretty good reputation among flat pickers. I'm a hack with picks, though, and keep them forever because they just don't get the practice time lying safely in a box. Guess I'll have to bring back my Neil Young inspiration.
  7. On a different instrument, I bought some violin strings but instead of just the strings D'Addario makes a violin kit that includes the strings, a clip-on tuner and rosin for $34.00 (retail store). The strings alone are $27.00. Cripes that's expensive. Anyway, I strung up the violin, clamped the tuner on and its works really well. Sold separately, D'Addario charges $3.99 for the rosin. That makes the tuner (Jethro Bodine, where ought plus ought are you) $3.00? The Snark is now about $19.00 retail.
  8. I put two new 2032 batteries in the Intellitouch, switched it on and clamped it to the headstock of my classical. With new batteries that tuner's sensitivity and accuracy is very good. I plucked the low E string on the classical and the tuner displayed that note. Then, leaving the Intellitouch clamped to the headstock of my classical and plucking the open low E string on my steel string (plugged), the Intellitouch again displayed the low E note no differently than it did on the classical. I unplugged the steel string and plucked the low E string again from about three feet away with the same result. This tells me the tuner is Piezo based. All of them probably are.
  9. Music & Arts didn't have any. Too bad they didn't work out. Like Grant, I tend to switch corners when appropriate from the pointy corner to one of the more rounded corners. That's pretty much on Neil Young stuff. But, 60mm is the pick I've decided works best for me. I haven't touched an electric for 12 years.
  10. Yea, I can see how they'd catch your eye. When I was attempting to learn flat picking I found the best tone from 60mm but best playability from very thin picks. That one looks to be incorporating both. I'm going to Music & Arts tomorrow to pick up some violin strings so I'll see if they have some. Worth a try.
  11. Hi Neil. Yes, I play often in DADf#ad and EAEac#e. You're right about the mesmerizing drone. It has an alluring quality. I write for both tunings these days more so than standard. I'm curious about slide because I think I will explore it far from the usual open G blues standards, or country use of it, in the same manner I explore standard and alternate tunings when not covering stuff. It's just a new direction to take finger picking and my interest.
  12. Good question. The things utilize physical contact but I would imagine the acoustic guitar will transmit all ambient noise to the tuner. I'll try it with another guitar plugged in the same room as the one with the clip-on tuner.
  13. Little finger. I get the mechanics of the light touch and damping. It's the 3-fold thing of that, using the fret wires and a tuning that's brand new to me. It's a start-over-again thing. Perhaps I should ask a lot of questions about the best slide, best guitar, best strings, best pins, best nut/saddle material, best humidity, etc., that will make me the best slide player I can be.
  14. Where's Neal Paisley? I've insincerely dragged a slide over the strings many times over the years and the lack of immediate results sent me back to finger picking. But, I want to think learning to finger pick had to be >>>>>>>>>> harder than running a slide across the strings. Keeping that thought, I shouldn't need to remortgage my efforts and interest to put a slide to proper use given some time. I'm going out today to the hardware store to see if it carries brass tubing that will fit my little finger. daddymack, you might be onto something re closing your eyes. I do that finger picking but until I know intuitively (muscle memory) where the fret wires are it'll be eyes-on.
  15. I don't have an answer for you, Franco. The guitar is unknown to me but I did take this request to the internet and search it. I came up empty handed. It appears Abraham Wechter left the US and went to China to further his craft with hand made high end guitars. A few years ago his guitars were on the market but that seems to have stopped. Good luck finding out about your guitar. Knowing Wechter's history, your guitar has become a collectible so hang onto it.
  16. These old posts cropping up in quick succession are trying to tell us to talk guitars if we expect to keep the forum current and interesting. Nah. Actually, I've had recent inspiration for resurrecting steel string interest. In my search for an elusive 12 fret guitar I've uncovered many people who have made great use of them, leaving me feeling pretty much in their dust. So, I bought a slide, tuned to open G and discovered I don't like a glass slide. Or, maybe I don't have a clue how to use it and buying a brass slide will prove it. In any case, I think I'm going in that direction. Anyone here making inroads with playing slide? I can see right away a radiused fret board is probably a hindrance over a flat board. Developing that oh-so light touch over the fret wires, for a heavy handed person, is like driving with a raw egg between my foot and the gas pedal. But, gotta break a few before you can make an omelette.
  17. I was in Music & Arts a few days ago looking at tuners. The Snark was there, among others, and prices were from $19.-. I don't need one. The Intellitouch I bought 13 years ago is still working strong but it's also persnickety with the low E string. To get around that I sound the 12th fret harmonic and it responds immediately. No guitar has perfect intonation between open and 12th fret so I have to tweak it a smidge after that. Happy NTD. It looks sturdier than the Snark.
  18. True. My son plays violin and has become rather good at it. Bowing is an art in itself to maintain an unwavering tone. But, yes, as long as the bow is in motion it's releasing energy into the string(s). One thing that's difficult to do is play softly. The bow has weight and it takes a very deft hand to know that weight and relieve it uniformly while in motion to throttle the energy to the strings. The compromise is to turn one's body sideways such that gravity is relieved proportionately.
  19. Not a bad looking guitar, Howard, but I checked out the neck shape and it's a very pronounced V, almost sharp. Don't think I could psyche myself up enough to give it a go with that neck. Thanks for looking out for me. On a tangent, while I was looking around I stumbled across this guy so I thought I'd paste him up here for a little lesson and entertainment.
  20. Sometimes a fret board has enough width to put a new nut on with slightly wider spacing, which can make all the difference, without getting the e-strings too close to the edges of the board. I did that with one guitar and it solved my issue with the spacing at the nut. My hands are big, fingers short and very blunt, and my neck profile of choice is the low oval. Like garthman suggests, a classical neck, coming in at a minimum of 1-7/8 inch with the symmetrically round profile is very comfortable for me, and why I play it over any other shape. Good choice for a hobby, BTW. Take it slow and methodically and it will progress (by fits and starts at first) but steadily. I taught myself as well and for all that I do wrong at least I'm well practiced at it. IOW, I get by. Oh, I'm also 64.
  21. I haven't found any better value in the price ranges Yamaha builds. I was hoping the company produced a particular model I'm interested in but it doesn't. If it did, I'd probably buy it sight unseen. I have no experience with the L-series.
  22. Ha, I'm not going nuts, then. Honestly, if fender's QA people have a lick of sense they'll revamp the looks and keep the body as-is.
  23. Today I put on my best 'tude and took a trip to Orlando to the GC and Sam Ash. I had the 12-fret guitar in mind but ended up playing all sorts of stuff. Gonna have to don my Kevlar for saying it but this guitar pleasantly surprised me. I remember Phil visiting it onto the forum a while back to a generally cool reception, my own being in that mix, but I'm gonna hold off on the knee-jerk reactions going forward. The one I played is the same color as the one in the link. I played the same instrumental (Suzanne - Leonard Cohen) on each of the guitars I tried, sticking to the sub $500.00 range, and the Fender actually fared near the top. I picked up a Breedlove Concertina thinking it would be an apex example of what I was looking for but it wasn't as tonally pleasant as the Fender. On the more humorous side, a used Ovation Celebrity in mint condition sounded pretty good unplugged but I could not keep that sucker from sliding off my leg. I'd tuck it up into my ribs and it would immediately slip. I bought a Glenn Campbell model in 73, new, and it had a very thin rubber patch, like an elbow patch on a style of sport jacket, bonded to the waist that worked like a charm. I didn't bother trying anything over the $500.00 price range so all other makes/models above that remained hanging. The GC was pretty crowded but I was the only one at Sam Ask (in the entire store) and that's where I spent some quality time checking stuff out. As far as the 12-fret search went, neither store had one. I had searched their inventory online before I went. It didn't show any so no surprises.
  24. Probably fill the bill but zero availability.
  25. Think in terms of the extended left arm to the first position. Fourteen frets clear is about 2.75 inches (7cm) further out from the body than 12 frets clear. It's a matter of moving the bridge further aft on the lower bout to accommodate a shorter (12 fret) neck, which is the standard construction of a classical guitar. I spend the lion's share of my time on a classical and have developed a most comfortable posture for that guitar. A steel string guitar of similar dimensions accommodates that posture nicely. As it is now I have a 14 fret (clear) guitar that I capo 2 frets and tune down a full step to create on it the dimensions of the classical I play. I can continue this practice without a problem but I'd rather sell the 14 fretter while it still commands a respectable aftermarket value (Goodall RCJC) and weather the rest of my time playing with a purpose-built 12 fret guitar that I do not need to capo. I have become accustomed to bumping into that capo as a normal part of playing and can continue but wouldn't have to with a 12 fret guitar. Now, there are smaller bodied guitars that have 12 frets clear but the neck is still the same length as a 14 fret clear guitar. The construction of that guitar extends the upper bout 2 frets, a rather goofy looking disproportionate aesthetic, IMO, supposedly to maintain the bridge in the center of the lower bout where it generates sound best as well as increase the upper bout's headroom. I'm not looking at this construction. I'm looking for the construction that moves the bridge further aft, as I mentioned above. Moving the bridge back sacrifices some of the tonal qualities, especially the lower end, and gives us that smaller, boxier sounding body. I think a good search might fetch a guitar with an acceptable compromise.
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