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Everything posted by Idunno

  1. Idunno

    Keep Music Alive

    Yours is a vintage thought spread to the cities and diaspora since the birth of music. Like with Harley Davidson, no one wants much to do with what their fathers and grandfathers enjoyed, hence their joy is generation-specific and HD is losing its appeal. There's an inexplicable negativity associated with yesterday's generation that keeps it there, generation over generation, and music is a very good one to sample. I do not listen to Jack Parr, Sinatra, Crosby, Dino, Torme, or any of my pop's favorites. Do You? Moreover, do you consider it your duty as a musician to collect the past and pay it forward? I don't. It isn't because I'm a crotchety old geezer, it's because I did not connect with that music, including big bands (especially big bands). Now, '65-'75 was my time with zero interest in new stuff after that. For me, that's when the music died. Am I expected to shoulder the years I enjoyed music and pay it forward? Does that sound like an honest claim anyone would swear to make, or attempt, for the sake of fond memory? How do I do that? How do I suppose I'm going to keep my musical likes relevant? Ideas? Yes, I can and do make with the period troubadour act on an acoustic guitar but that brings me closer to the smell of death in the air fr that music. Don McLean is telling it like it is, which touches the deeply held romantic nostalgia people need to keep in special places for special times. You can't pay that forward. Like Grace Slick remarked, let the 60's die.
  2. It's a good article. Taking for granted what you can do, being your own worst critic and diminishing its worth to the audible isolation of 4 walls, the tendency is to remain isolated. While I have received compliments I tend to overtly show appreciation and then silently dismiss them as the kind gestures one gives to be nice. Rethinking it, I know I could assemble a lesson plan that could be simple enough to provide the clarity and mechanics of playing an entry level person could easily negotiate. Do I care enough to? I have a small M&P I visit to get strings and spend a couple minutes looking at their inventory of low-end guitars. Sometimes I might take something down and give it a quick run-through but most times I won't. And, there was usually one or more people who are obviously new to the instrument, showing the same enthusiasm I had when I was a rank beginner at the same age, placing chords and playing like noobs. I'd think to myself that one day, if they are ambitious, they will continue to learn and grow as musicians. I never did I think that I might play a role in that and I still don't. Self made and taught, I tend to broad brush that method as the best way to go. One thing is certain, if you want it bad enough and are willing to put forth the effort, you will achieve that goal and it doesn't include waiting around for someone to throw a few pearls of wisdom at you on some schedule convenient to all but you. The only genuine teacher is the one inside the student's desire to learn.
  3. Not a fan of the genre at all. I listened through the video selections in the article and if that's the show that went down at the CMA then the genre in hurting not only for identity. There was a time when it had roots and I respected it for that. The blues still sports its own, as does many other genres, but our country genre as decidedly and consciously forsaken its own by allowing the silent invasion of watered down talent that does not respect it. I mean that. Poor writing is simply poor writing, no matter how you stage it, and because it's a fragile genre, these invaders have had an easy time splintering it for their own purposes. Country is dead.
  4. Your simple observations of sales and visual information do not address the underlying cause/effect aspect of the fate of the guitar, nor has any to-date discussion I've read. This would be the demographics of the instrument, who they are, their ages, their music eras, their maturing as a group or groups, their collective buying power, when it will recede, etc, etc.
  5. The music business is, since I've been at arm's length with it, all business and little music. The time actually spent with music became so diminished in the overall requisite thought devoted to the alphabet soup of the business that the core became subordinated to the shell. I had to weigh my who to my what, in terms of the artistry versus business acumen, and decided to retain the who part. That meant bowing out completely. To me the obligation to make music enslaved the artistry to the extent of actually leaving a sour taste in my mouth for playing guitar. It became a guilty thought to play for recreation. Now I enjoy it and seek nothing more from it than that. I will consent to an occasional gig but it's exceedingly rare now that I don't gaze upon an audience as an ugly obligation.
  6. https://app.box.com/s/j0y5142uqazq0uwb88xzlofyhzki41wx Recorded a couple days ago. I really like the original and this proves that not all acoustic endeavors are credible just because. But, this one was a request by a very pretty and charming woman-girl I met many years ago so I ponied up the troubadour for her. It's been in my rotation ever since. I remember her like Jimmy Durante remembered Mrs Calabash, if you know that story. Yamaha classical plugged. Edit: Sad Lisa - Cat Stevens Cover
  7. My thoughts will have to side with your ears and hands. You're the one in the pit and know just exactly what's needed to aurally punch through it. I've never even touched the guitars you chose (settled on), but I have played other Taylor 12s and Ovation 6s. Not terrible guitars, just not preferences.
  8. Idunno


    Just trying to pique your imagination, which seems to be pretty good, for some hybrid thinking. Remember JasmineTea? We discussed devices sometimes, which he was keenly interested in based upon the early effects designs he both owned or had experience with, and I've given some cursory thought to it over the years since then. I just never give it any additional thought as a prototyping possibility. The xylophone's bars are placed above their sympathetic pipes and require striking to emit sound. With the guitar I envision the initial sonic disturbance to be the plucked string placing its sympathetic pipe into resonance, which will be sensed and amplified acoustically through contact with the top. The individual pipes will necessarily need to float (like a jeweled movement) to resonate unimpeded. Upper and lower pivots will do this with the upper pivots integral to the top and the lower pivots integral to the transverse brace. That much is simple. If the strings were to pass through the pipes (diametrically) via hollow (center-drilled) pivots, with the ball ends nested against the bottom side of the lower pivots, the string resonances would ring in the pipes. The resonating pipes, in contact with the top via the upper pivots, would transmit into the toneplate (nee bridgeplate) as would the saddle in the conventional sense. The bridge, saddle and break angle would remain consistent with current designs but the string ball ends would now be nested deeper on the underside of the lower pipe pivots. Is this feasible? Physically speaking, yes. Sonically? Beats me. I can clearly envision the internal apparatus in place but worthwhile acoustic augmentation of the top can only be empirically decided.
  9. Idunno


    Tele bodies? Going for the gold already? I just barely witnessed the CB phase come to fruition. I was expecting a tweener like maybe an acoustic build. Second star on the right and on till morning... Mill out a body (B&S) from a single billet (laminated block) of wood and then mill out a top blank for it. Then, each string ball end will attach to and resonate its respective pipe cut and tuned to concert pitch. Think xylophone. The pitch apparatus will be retained transversely by the side of the milled lower bout and sonically fielded by pressure-adjustable contact with the bridgeplate. The strings will merely pass upward through a dimensionally reduced bridge and over a saddle to the standard tuning machines. The break angle will be the moment needed to put the top plate in contact with the pipe apparatus. Once all is set and working, mill off the back of the box to sonically experiment with a back plate. Ervin Somogyi insists this is necessary for the top to achieve its full sonic capability. Until then, leave the milled back intact to retain box strength while fitting everything.
  10. I never thought of a J45's sound to be anywhere near that of a normal Cherry wood soundbox. The J45 has always been a thumping, damped sound lacking projection and certainly resonance. If that new guitar is mellower than the J45 I'm thinking it's quiet.
  11. I like the look. The Norman B20-12 I had was Cherry with a spruce top. Very loud and probably a bit of a raucous sounding guitar. Not suited for the average set of nerves, it was like finger picking a chalk board. But, it could cut through a mix. Definitely not a soloing tool.
  12. Idunno


    Child swings dead blow hammer, misses target, mashes a gitnoob digit. Brave gitnoob takes it like Rocky Raccoon. Reassure kid it's only a scratch. Goes to harbor freight and buys arbor press. Good work there. Are there any players actually having fun with them?
  13. Yep, I have to agree. Plus, feedback from a mag p'up is usually non-existent. The emulators makers are coming up with are also pretty good so even though you may not be actually amplifying your guitar's sound, the emulation isn't bad. I had a Neo-D permanently installed in a Walden acoustic some years back that never let that guitar's sound down.
  14. I won't use steel and Piezo combinations. Steel excites Piezo way to much regardless of the packaging attenuation attempts. Piezo is that sensitive. Nylon doesn't affect it nearly that much so that's where I stay. I play a classical with a cut and electronics. Nylon's amplification through Piezo is mellow enough that it can be dragged through the usual effects without sacrificing the acoustic tone that steel strings suffer. I run the guitar through a wireless system to a Fishman SA220 and can't be happier with the sound. When I'm not doing that I'm practicing my plugged sound through a Vox (Clean) headset amplifier. It's rare that I'm unplugged. But, I'm a finger picker so that's where my experience lies.
  15. Ah, bait taken. Please tell me that you can hear a better difference and I will ask you to qualify better, that's all. Is the B string coming out better in the mix? Is the treble side now in balance? Is the bass brought out but not booming? What is better and how is that qualified? I tried the bridge pin swapping out back in 2004 and for all the clutter-speak on the forum about it back then the subject died as quickly as it became a thing without anyone using the word better to describe their own experiements. Same went with changing out saddles, nuts, and all other manner of hocus-pocus. No substantive changes were described as better. Then we were subjected to imagined "better" sounding guitars when the acoustic vibrator came along and people just couldn't contain their imaginations. They bought them, claimed there were changes but, again, better was not lauded. Then, the discussion about vibration induced sound board changes was also dropped. But, not to be outdone by their competitors, we had the so-called boutique builders advertising they used the buzz-boxes on their guitars before shipping them. One in particular mentioned his opinion about his guitars being louder but that isn't a quality aspect. Others followed suit to keep abreast of the marketing hyperbole. No NASA or rocket surgery needed to replace empirical evidence right here on this forum, back in the day when common sense didn't need to be politically filtered for use.
  16. I never made the effort to eke out a material advantage. I mean, new strings, both saddles cut identically, played immediately in succession to preserve atmospheric conditions during the test, attempting to impart identical playing physics (plucking or picking) in the same piece, recorded on separate tracks to document the entire experiment and then squinting real hard to hear a difference. Then, if the guitar is equipped with a UST, repeating the entire episode to document the plugged sound. Don't ask me because I'm not going to do that, and don't tell me unless you do that.
  17. Just to set the record straight here (in her thread) TB was a semi-regular Guild playing forum member.
  18. Good choice Howard. I've been listening to NY lately. I think he got a lot of people motivated to learn guitar. Well done.
  19. Reprising an original this VOM1T. Yamaha classical>amp>Zoom H4>cloud. https://app.box.com/s/2mw9tt3qttknuj1rmksw5aj2ym5xqee9
  20. Idunno


    Neal, good redirect. But, I haven't watched the "tele" since Are You Being Served left the airwaves. My Mom kept that in her rotation of shows along with the whodunnits. Angela Lansbury played the Murder She Wrote role well but the woman, like Bea Arthur, kind of repulsed me. Maybe if they'd have let their mustaches grow...nah.
  21. https://www.guitarcenter.com/Yamaha/CGS-Student-Classical-Guitar.gc The link is just a web-grab of a reputable brand that's been in the business for many years at the budget level with good quality. It meets your size and budget preferences. I would also get a full size (instructor's) guitar with electronics to incentivize the students, like the dangling carrot. GC has an affiliate called Music & Arts that deals in student grade instruments. You might contact them and ask if they would enter into a guitar rental agreement with the school (assuming you are Stateside).
  22. I'm telling you all, Swollen Bridge Syndrome is real.
  23. Idunno


    Going with garthman's take here. The strings Mapes produces are manifold allowing them to assemble sets for private labels of varying gauges distinctions between similar gauge sets - for instance - I'll order a set of .012s but instead of the .012 & .016 strings normally found in the set for the e & b strings, I'll order .013 & .017 for those two strings to get a better volume balance. Private labels can order what they want from Mapes. Now, I couldn't say who makes their own music wire (core & wrap) beyond D'Addario. They extrude their own core & wrap but they only supply them under their own label. Elixir's site does not clue us in how they make their strings. I would think they would if they did. I think they buy them and then outsource the application of the coating, meaning, they are simply a string company on paper and do not actually fabricate any strings. I would extend this scenario to most of the private label string sellers. This is why guitar manufacturers like SCGC can suddenly produce their own strings with no previous fanfare. They simply order from one of the three top extruders prepackaged sets, and then have them distributed to the sellers under agreements straight from the factory. Getting back to garthman's testimony, tomato sauce is one such example. There are three mass producers of that who make recipes and package them for private labels. Same goes for steel and aluminum pressure vessels like SCUBA tanks. I worked on the assembly line equipment for a detergent producer who mixed the stuff in various formulas for the various labels. He had boxes and boxes of the actual labels and containers and set up production runs for the various private labels.
  24. Idunno


    A few days ago I ordered some strings from Mapes. Three sets of phosphor bronze uncoated 0.012 to 0.054 strings for about $24.00 (shipping included). I got them in and put a set on my steel string. Very nice sound. Crazy thing is I brought them to concert pitch and after one hour needed to tweak them only a very little bit. This company makes strings for many brands. Steinway will only use their strings. They've been making high grade music wire for over a century. In other words, Gibson, Martin and other brand strings are probably Mapes music wire, and packaged for them by Mapes. They do not divulge who they produce strings for (conflict) but their claim that "It’s VERY likely that our strings or strings made from our wire are on your guitar right now." sort of tips off the likelihood that very few brands actually make their own strings. That said, any brand (using Mapes' strings) boasting about the quality of their strings is tongue in cheek. Neither here nor there? Yea, I guess, but the marketing ploys tend to become a nuisance to my sense of fair play. https://www.mapesstrings.com/about-our-strings/
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