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Everything posted by Idunno

  1. Welcome back, Poppy. And, yes, talent is real but only as a word. Defining it is a moving target and the subjective ascription of those who've read into it what they imagine it to be. The defining of it is, to me, a word coined to capture an imagined state of being, i.e., it doesn't actually exist. I prefer the word skilled, as in skill is real, instead. Those who've achieved it are said to be talented by those who have not. I know, you can't even ring the doorbell without getting some form of inquisition. But, hey, that's me.
  2. Fair enough. My people call it leap frogging without the physics.
  3. Cort only because I've played a few and can speak only to that. The others I have not heard of.
  4. Idunno


    Yep, I wholly agree. I buy the 1mm polycarbonate Planet Waves tortoise thumb picks at retail stores and they run about $4.00 for a pack of 5. It's been about 3 years since I did that because they simply don't wear out. I had one break from what I suspect was age-deterioration. It was that or it died rather than spend another second on my ugly thumb. Guitarists can be very easy to convince a product is worth the cost the seller retails it at. Flat picks get a lot of love from folks who just can't live (play) without them and the makers exploit them. When I was learning the Fender Light, Medium and Heavy picks were all our influential artists used because that's all there was out there for love or money. Then came love, and money, and makers well aware of it. Blue Chip is one. There are others. The thumb pick does not have the same set of dynamics of use a flat pick does, though, and the Herco design can make gripping problems a thing of the past. I would not say that a normal thumb pick can as well because they're thick and inflexible. Of them, Fred Kelly's yellow Delrin Slick Pick thumb pick would be the best candidate to practice with because the Delrin nylon is quite flexible.
  5. Paramount, with the vocal range to complement it.
  6. Idunno


    Then, yes, the Herco would be a great assist in keeping the pick where it belongs. Good idea. I use the 1mm poly picks for that (flat pick), but it requires some focused attack to do right. The Herco, because of its flexibility, would be better suited for that.
  7. The video is unplugged. It has a tight sound box that doesn't get much sound out. Of course, these internet sound bites can't be wholly trusted so I reserve a conclusion about it for my own hands-on judgement.
  8. Chill pills, anyone? There's a mighty fine build in these posts and I'd like to get an ear on it one day if possible. Well done Freeman. One thing I want to ask you, Freeman, involves focused time and space time. We here know the space time it took you by looking at the dates of your posts. I suppose some time is lost in them but you probably kept it pretty current. If you focused on it and worked it like a day job about how long would the start-to-finish work have taken?
  9. Send it back. Stuff like that is simply poor quality control and if allowed to continue it will bode poorly for Gibson. The people involved with releasing that guitar for market sale need to be called out onto the carpet at Gibson so state your case well. They need to answer for their poor judgement with more than a shoulder shrug and a gee golly I'm sorry.
  10. Idunno


    I've used them, Al. I think it's a kind of novel idea that would give a player an easy-on-the-thumb entry into using thumb picks. But, once a person evolves the use of one he or she will quickly learn they are too flimsy to be driven very hard. The thumb pick is a hard sell but once a person commits to learning how to use it there's no going back. The Herco would not be the choice of an experienced user of thumb picks. Now, Fred Kelly makes his Speed and Slick Pick series in Delrin nylon. I broke into using the thumb pick some years back after buying the Slick Pick from him. It took me less than a week to become accustomed to using it. I stayed with that pick for about a year. From there I moved to the standard polycarbonate 1mm picks. Delrin doesn't put a hurt on the thumb like the poly picks do. But, after achieving deft use of the Speed Pick I found it a bit flimsy for certain pieces and that prompted me to use the poly picks. Now I use a Planet Waves tortoise 1mm, or any other brand because they're all 1mm, right out of the package without any preferential shaping.
  11. The autoclave is essential for structures requiring complete evacuation of entrained gases that, under the right atmospheric conditions, could expand and cause delamination or weaken bonded points. That would be predominantly structures frequently exposed to adiabatic changes, like aircraft transitioning from sea level pressure and temps to altitude conditions and back again, repeatedly. The guitar is pretty much exempt from that exposure. I'm talking about making your basic guitar shape minus all the compound curves found on stuff like Emerald's products. That only requires the basic molds found in wood guitar making. The only difference is one only has to hand lay-up wetted cloth over the molds and then let them cure. Wood must be forced around them, water softened and heat dried. Wetted CF doesn't need that much work but it would benefit the guitar to use inside/outside molds pressed together with the wetted cloth between to force the excess resin out. That would leave a shaped portion of the whole structure, like one side, that's stronger and much lighter than wood. An entire box, minus the top, could be made that way. The mold has to be polished and prepped with a mold release but that's SOP for any composite fabrication. Just the idea that I would not have to contend with wood sawdust is a plus. And, I would not have the tree police aspect to squirrel around and/or show my small hairs to.
  12. What I would like to see is a stocking distributor (Stew-Mac?) of graphite components consisting of the usual constituent parts of a guitar, related tooling and structural adhesives, flock, cloth, etc. I'd feel much more confident as a first time builder, being experienced in composite structures repair (aircraft), and would probably enjoy the process much more than I would if relegated to the use of woods alone. My ROI would be the recreational part of the build itself. Tone? Sound hole acoustic emulator pick-ups are cheap.
  13. Putting tone into soundboards and enhancing moisture absorption reluctance overall? Seems like more effort than necessary just to stay loyal to wood use in acoustics. But then, the purists would balk at the departure from the use of virgin materials as they would using carbon fiber. I think the days of using wood are numbered as sustainable materials are tonally evolved.
  14. The video is about right. I tuck the excess for each string end at the bridge under the adjacent string's loop around the bridge, just for the sake of neatness. I end up leaving the b and e string loops loose until their ends are cross-tucked into them. A capo helps keep the tension I need on them until I bring them to pitch. Freeman's pick of the aft side of the bridge is what I mean, though the A string end appears to have been a little too short to stay secured under the D string's loop. His e string end isn't secured in the b string loop, either. At the tuner I double-back the e and b string ends through the tuner capstan holes. This leaves a loop protruding through one side. Through that loop I pass the free end of the string and then pull the loop closed with the tensioned side of the string. This locks those two strings onto the capstan to prevent slippage. It can be done with the g string as well but I use GHS Set 2510 which comes with a wound g string so it grabs the tuner capstan pretty well. An unwound g string I'll lock as I do the b and e strings. Last word, nylon strings stretch for a pretty long time, meaning, you'll be tuning quite often. On averages the GHS strings I use take about a week to stop stretching and hold tune for a few songs. Don't let it frustrate you. I'm also 60+ with a scazillion hours playing but most of it is on steel and nylon string acoustics. Like Howard, I've a preference for nylon strings now and will probably finish my days on classical.
  15. [QUOTE=redEL34;n32513470] Well..?[/QUOTE] Acoustic. One steel string, one classical. I don't shill brands/models.
  16. I taught myself to finger pick on my 1st guitar (FG-230) and I think I remember it priced at $135.00 with a cardboard case. That was late 72.
  17. Nothing comes to mind. I cycled through a lot of acoustic (and a few electric) guitars and all were steps carefully taken. I never was a techy (still no cell phone) so none of that stuff caught my attention. Where making music is concerned I'm not a FOMO-stricken participant.
  18. Hello Howard. Well done. Many people have recorded it and I think The Bryds top the list. John Denver also had a nice recording of it. Oddly enough, I never was a Pete Seeger fan based solely on his musicianship, which seemed to me to be more of a tool to pander his anti-establishment messages with. He and his ilk seemed to be poachers of music rather than artists of it. Fine line, I know, but you have to be aware that you're toeing it. I haven't recorded in a long time. What I have done is a bunch of shorts as demos for people who've requested tabs from me. I don't do tabs. This is a short demo Joni Mitchell's Both Sides Now, which I think I've posted before. [video=youtube;R95rGJNBgHs]https://www.youtube.com/watch?v=R95rGJNBgHs[/video]
  19. I was reading some posts in another acoustic forum on the topic of strings. One of the posters actually thinks the brilliance in the sound of new strings is the noise of the strings alone, predominantly in isolation from the guitar, and that they require a settling in period before the guitar itself can come through. The poster has respectable skills and experience so I would not pass the opinion he has off as the notion of an average inexperienced (rank noob) player. Or, is he in that respect? It got me thinking that his idea of the sound of new strings is probably shared by many, evidenced by the frequent comments I read about preferring "played-in" strings, and it's kind of upsetting thinking that his notion of string noise has taken root with so many players. I suppose new string brilliance, which is emitted by the guitar alone and not in isolation from it, is not the sound those people want to hear from their guitars. They prefer the decayed sound of strings that have lost their initial brilliance, evidently, but to contribute it as the sound of the strings alone is plainly a mark of ignorance. I had to leave the forum before I let it get to me enough to leave a knee-jerk rebuttal of unflattering character. I don't carry candy wrappers anymore. Trying to save the planet from their dishonest use.
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