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Idunno

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Posts posted by Idunno


  1. 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.


  2. 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.


  3. 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?


  4. i have a fisman pre amp and Piezo in my electro acoustic and i`ve been going to some open mic sessions lately but i`m not happy with the sound at trimes so i fancy trying something like this Bill Lawrernce a-345c sound hole pickup it looks super easy to install so i could put it on any of my acoustics ,it`s also passive so no battery`s required ,only trouble is it has no tone control

    https://www.altomusic.com/bill-lawrence-a345c-noise-canceling-acoustic-soundhole-pickup

     

    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.


  5. 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.

    • Like 1

  6. 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.


  7. 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.


  8.  

    I’m sure he went with bone. Or tusq, one of em. I’m not sure we’ll ever find out as people tend to move on after 12 years.

     

    so what do YOU prefer? Your thoughts on this are required.

     

    Just to set the record straight here (in her thread) TB was a semi-regular Guild playing forum member.


  9. 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.


  10. The older I get' date=' the less supportive of intellectual property rights I become, particularly with popular music. Taylor didn't invent I, IV, V, mVI, or breakup songs. She got rich and famous doing something that millions of people do for free in their spare time. So she signed a lousy contract: live and learn.[/quote']

     

    Agree. The coattails of the folks who brought us popular progressions are shredded by usurpers of their creativity. But, that's just an allusion to an ethic that's overshadowed and sold out by copyright laws. Besides that, do we really know who to credit those progressions to if their antiquity is not a matter of record? We don't. The blues can't be nailed down and that's a recent musical development. All the bluesmen of old borrowed, stole and sold each others work. The so-called "blind" bluesmen you know full well had to hear it to play it and make it their own.

     

    But, that's just music making.

     

    Business is universal and music is just another market. If the pretty lady is singing the blues I hope she's paid her ASCAP and BMI dues.


  11. 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).


  12. 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.


  13. 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/

    • Like 1

  14. D'Addario extrudes their own music wire. Most of the guitar brand strings are made by Mapes or another extruder I can't name at the moment. Mapes also sells strings under their own name and they're cheap (3-pack). I haven't bought them yet because D'Addarios products have been fine. I change steal strings every three weeks because that new sound of the strings is the sound the maker alloys and extrudes them for. Anything after that (settling in) period is when the trebles have lost their brilliance. I like the brilliance and three weeks is usually when that starts going south. I wonder who makes Sono Tone's string sets. Few string brands alloy and extrude their own music wire so I'm guessing they buy them already packaged by the OEM they contract with. If so, and Mapes is the maker, the mark-up at $18.00+ is north of 100%. I just bought a 3-set package of Mapes Phosphor-Bronze strings for $23.50 shipped.

     

    I went to the Sono Tone site and selected their "lab" button. It took me to a picture of a room with a couch and guitars. The testimonial page lauds the products but otherwise there's not much from the company qualifying the science and selection of their materials.

     

    https://www.mapesstrings.com/mapes-quality-difference/


  15. Cool tune, Etienne. The counter-point picked perspective idea is intriguing. Not saying I'd be any good at it but I thought about what and where as it was playing out. Anyway, thanks for the tune and idea. Gotta get back to trenching the front of my house for a French drain.

     

    This is a little melancholy for Father's Day. It's a draft of a song I didn't develop any further. I guess because I don't get in that kind of mood often.

     

    https://app.box.com/s/zui1afe242tecnbn3zhv5yfgze7f46gc


  16.  

    I never grew accustomed to using a thumb pick. So over a fairly short period of time I adopted the "classical" method - although I didn't know it was the classical method at the time - just seemed to me to be a more natural way of playing. The thumb is held at approx 45 degrees to the strings to enable use of the thumb nail and the fingers held virtually perpendicular to the strings.

     

    And because I keep my nails fairly short I can switch to the more usual acoustic position of thumb parallel to the strings and fingers at 45 degrees and play with fingertips and side of thumb for a gentler sound when wanted.

     

     

    I made a quick study of the classical style in 1974 when I set myself up to learn in that style straight out of the box, so to speak. I bought the foot rest, practiced holding the guitar in that style (The Pose), and began to teach myself. Immediately, I saw a need to use the little finger so I incorporated it in deference to the little book's Classical Catholicism, as I came to call it. Sitting in The Pose for extended periods began to have a scoliosis affect on my spine so I kicked the foot rest away and evenly distributed my shady side on the chair. This decision naturally shifted the guitar to my right leg and The Pose was history. Then I began studying the picking hand and how the classical style asked me to deflect my wrist angle and natural lay of my thumb to accommodate the perpendicularity of the attack. This wasn't just idle curiosity. It was because I started experiencing a stiffness in my wrist and fatigue in the thumb muscles of my hand.

     

    Not to worry, though, because after many grievous months of training in the classical style one would look good in the eyes of the audience; the cultural nod of accomplishment and grooming.

     

    *farts*

     

    So, I took another lesson from the classical style by not observing the last contorting bit - the hand - and lightly held it in front of the strings. I plucked each of them in this manner and decided it was manageable. It was not perpendicular. It was slightly angled and I realized a certain amount of string noise was generated by the tendency to sweep the strings with each pluck. But, the steel string guitar was forgiving where the nylon string guitar whined about it. My thumb required focus because its natural lay was parallel to the strings. I had to angle my wrist just slightly to give it better motion but, again, more manageable than the classical dictate. So, I'd compromised The Pose and found myself ready to seriously begin learning.

     

    All went pretty well. One day I finally picked up a thumb pick with a terminal intent of using it or forever leaving myself with a sound that clearly lacked balance. Within two days I got over the pain of the pinch band. I walked around with the thing on to train my thumb. At first I likened it to blindly swinging a baseball bat. Then, the sense of string distance became blueprinted no differently than (initially) using the fingers to pluck the strings. Think about it. When we all started out finger picking we had no natural sense of distance between the strings and fingers. That was a development that we quickly forgot, as an initial stumbling block, once we got past it. Same goes for the thumb pick.

     

    And that's how I've come to claim I was trained in the classical style.


  17. I tried all the finger picks, got frustrated, and decided to make my own from 0.010" clear acetate sheet. They worked very well but the CA glue was the limiting aspect to their use. I ended up going back to natural nails but keeping them to a manageable length. When I used finger picks their period of adjustment was no different than becoming accustomed to using a thumb pick. After a couple days all felt quite natural.


  18. I just bought a set of these and I’m trying to adjust my finger-style to them.

    Does anybody else here use them?

     

    https://crossroadsmusiccompany.com/product/tufp/

     

    https://ultimatefingerpick.com/

     

    Now now that I have a Jumbo - I figure I may as well be getting a Jumbo sound from it.

     

    I think the thumb pick will be a more difficult adjustment than the finger-picks.

    The problem I’m having w/ the finger-picks is the plastic sleeve seems too long.

     

    As I move up in years, I’ve kept my finger-picking skills in tact, but my flat-picking skills have gone to crap. I can barely strum a rhythm anymore but I can folk finger-pick or comp a Bossa Nova as well as I did twenty years ago.

     

    These were introduced about a decade ago by a couple guys looking to get funding to launch them. Could have been these guys, I don't remember. At the time I thought they were the best answer to an old problem and would have bought them had they been available. I've since adopted garthman's take on keeping nails in trim and it works pretty well for me.


  19. Hang out at any forum and observe that people choose the people they like but can't say why due to the TOS. So, (LOL) we openly explore it anyway in the subliminal: We see preferences identifying friend or foe at the brand level. Toss in a product, say, a ToneRite in the context of better sound, and watch the melee begin as people obsess the forum/thread/post psyche appropriate to preferences, stances and resolve of the respondents over that product and context. And, none of it is the product that imparts a change. It's just the seasoning. The psyche of any forum from day one to any succeeding day is steered by labels, in both a direct and indirect manner, within a very psychologically suspendable TOS.

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