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  1. Hey all, What are some good book ideas for intermediate/advanced music reading for guitar? I really want my students to develop good fluency with regular music notation and not just tabs, so they can function in the real music world and get more and better playing opportunities. And I've always struggled with what to use after they get through the first Mel Bay book, and I don't want to have them solely rely on tabs for the rest of they musical lives. Ideally I'd like something that deals with different positions on the neck, as intermediate/advanced rhythms and time signatures. I searched on Amazon and found these titles and they all look pretty goo. Anybody have experience with these or others? Music Reading for Guitar (The Complete Method) by David Oakes Guitarist's Guide to Music Reading: Bridging the Gap Between the Neck and Notation by Chris Buono Advanced Reading Studies for Guitar: Guitar Technique by William Leavitt
  2. Hi all, I am getting ready to possible sell a Fender '57 reissue maple neck of mine. It has the thick tinted laqcuer and smaller frets. The frets have a minor bit of blue/green corrision on them in a few places from sweat and the elements. What's the best thing to use to clean the frets in a situation like mine? I've heard to stay away from lemon oil or anything like that.
  3. Apparently I'm behind the 8-ball a little bit (ha ha) - I was just reading that Ampeg discontinued the GVT guitar amps? Why? Were they not selling well, or were they having manufacturing issues? I played a new GVT in my local shop a few years ago, and I really liked the tone a lot! But I could tell the parts and worksmanship like the pots and switches were kinda crappy. I haven't bought a new amp in a long time so I was just wondering? I wonder why Ampeg can't get it's act together and make a worthy guitar amp any more? 15-20 years ago I owned a VL-502 head and a VL-503 combo, both of which were killer. I didn't need that much horsepower so I eventually sold 'em though I kinda regret it. The 503 combo was just a bit glitchy due to some design shortfalls which I had my tech fix, but it was one of the best, most toneful, and most versatile combos I'd ever heard.
  4. thanks. I use FingerEase the silcon spray a lot to wipe my strings and neck down especially in summer gigs. Will that stuff help with pure nickel strings? I do have kinda acidic sweat so maybe I'd have to be more careful. My two electrics are both Strats but are quite different. 1. G&L Legacy Special - swamp ash body, maple/rosewood neck, G&L blade humbuckers in neck and middle, Dimarzio Fast Track 2 in bridge 2. Warmoth/Fender "Frankenstein strat": Warmoth mahogany body, Fender '57 reissue maple neck, Dimarzio HS3 in neck, Dimarzio Heavy Blues 2 in middle, Dimarzio FRED hb in bridge.
  5. hi all, I've been playing for over 30 years and always used some kind of nickel-wrapped steel strings on my electrics. I've never considered pure nickel strings before but am thinking of it now. How are pure nickel strings different/better than nickel-wrapped steel? Better tone, longer life? My two electrics have fairly different woods and pickups. Just wondering if I should make the switch or not? Pure nickel strings aren't too much more expensive. Currently I use Ernie Ball 10-46 nickel-wrapped Slinkys (lime green pkg). -Ry
  6. yeah I really liked the guitar sound on OU812 - better than 5150 I think. Between the songs (needed to be arranged better), the guitar sound, and overall mix, VH3 was a disappointment that could have been a lot better if they'd have fixed those three things? I wonder if EVH/Fender has ever considered putting out a 5150 amp with EL34 tubes in it instead of 6L6's?
  7. I was just listening to the Jimmy Kimmel show clips and his tone actually is pretty killer. But I thought his tone on ADKOT was harsher and fuzzier and same with the new Sammy tunes on the BOBW set. I liked the various Marshall variations that he had coupled with Donn Landee's sprinklings of post-prod "jape" as they used to call it. And I also think Andy Johns and Bruce Fairbairn did really killer jobs of modernizing Eddie's tone for the 90s. I really did not like his sound on the VH3 studio album with Cherone - really dry and sorta lifeless-sound imo. But then again, that tour with Cherone, Eddie had killer tone. I remember they debuted the Australia show on MTV and when Eddie kicked into "Unchained" I It's probably a number of factors like: 1. Eddies hearing loss and change in tastes 2. Pro Tools vs. Analog Tape recording and mastering 3. 6L6 vs EL34 tunes 4. The subtle changes in his guitars over the years
  8. yeah I like all the different flavors of EVH's Marshall rig over the years - from VH1 on. Fair Warning and 1984 have killer tone imo. Even OU812 where he went back to more of a straight Marshall with a lil bit less Harmonizer, I really dig it. I just wondered if I was alone in feeling that his newer tone isn't as good with the new EVH/Fender stuff. The new Stealth 5150S just seems too fuzzy (like razor blades chucked at you -- didn't EVH say that in an interview once?) Just wondering if anyone noticed the same thing, and if it's motivated by hearing loss etc. I know Alex Van Halen has had hearing loss - there was an article about someone making custom hearing-aids/monitors for him a few years ago. He always had a least one 4X12" cab straight from Eddie's feed as his guitar monitor!
  9. Hey all, Like most rock pickers around here, I've listened to Eddie VH since I was a kid and he was a big influence on me and a lot of kids of my generation. In the last decade or so, since he switched to EVH/Fender for his amps, I find that I'm liking his tone less and less unfortunately. I really dig the various Marshall flavors of his tone in years past from VH1, Fair Warning, and 1984, etc. I even really liked the 5150 and OU812 guitar songs also, especially OU812. And I thought the original Peavey 5150 was a great sound for him too. But ever since VH3 and past that into the 2000s when he's going with the newer amps, I haven't liked his tone near as much. It's harsher and spongier all at the same time (6L6 tubes probably), and isn't as ballsy-yet-ear pleasing as it used to be, (but on the other hand his tone on the VH3/Cherone live tour clips that I've seen was really good...) The guy here in my town that does my guitar stuff, did a small internship time at Peavey, and he had heard through first and second-hand sources that when Eddie was there, with each subsequent Peavey 5150 mod, he kept asking for more gain and more highs because his hearing was getting more-and-more shot over the years from the volume. So when Eddie left and took the 5150 name with him, Peavey went back to the original 5150 design and that's their 6505 amp. I've played an original first-generation Peavey 5150 and the newer 6505 and they're both pretty sweet. To my years, better than the new EVH/Fender 5150. And now with the new 5150IIIS that he just rolled out last month, it seems like there's even more gain if that's possible! ha ha! At least they kept the Resonance controls which is a groovy feature. I still prefer his Marshall and early Peavey 5150 tones. Just wondering what the rest of you think, and if I'm the only one who doesn't like his newer sound quite as well?
  10. Yeah, I need to get the Live at Pacoima album. I've heard that Ritchie was as good as Buddy Holly was as a lead player (can't remember where I read or heard that from). But it's hard to nail down who played what on those early tunes, haven't ever been able to find a lot of documentation. To the best of my knowledge I think it's Rene Hall of the Wrecking Crew on the solos and fills for "COme On Let's Go". Not sure about "Donna". But I think it is Ritchie's playing on "La Bamba" and other tunes like "Bluebirds Over The Mountain", "Hi-Tone" and "Big Baby Blues"
  11. I thought Ritchie didn't get signed to Del-Fi with Bob Keene until May 1958 or so, and I think Come On Let's Go didn't hit till later that summer which would make his career less than a year long total. wow. I'm pretty sure that when he played Bandstand that was a Gibson of some type? There are few notable pics of it around: https://www.flickr.com/photos/forever_22/3549042290/ http://img2.timeinc.net/people/i/2013/sandbox/news/131216/131216/dead-celebs/ritchie-valens-600x450.jpg Did Ritchie actually the Gretsch 6120 he had in Go Johnny Go? Other than that and his old green guitar, I always saw him with Strats in pictures.
  12. I love all the standard guys like BB, Albert K, Freddie K, Muddy, Albert C, Eric, SRV, Robert Cray, Muddy, John Lee, Joe Louis Walker, Walter Trout. But my absolute favorite of the guys out there grinding it on out the road is Coco Montoya. I love who he takes the Albert Collins/Albert King thing and adds some sweet soul, R&B, and cajun into it. Great singer too!! I've got everyone of his albums and have seen him twice. http://www.cocomontoyaband.com/
  13. Hi all, I've been a Ritchie Valens from a long time back - and I've always felt that his guitar playing was the more overlooked aspect of his career. I'd heard it said that he was a very good player for his age, and that some people considered him a better picker than Buddy Holly himself who he obviously toured with. I'm working on researching this further for a project. I don't know if any of you can help me but here are a few questions: 1. On Ritchie's records, which did he actually play the lead riffs. To the best of my knowledge, Rene Hall (the early Wrecking Crew guy) played all the leads on "Come On Let's Go" but it was really Ritchie on the lead for "Donna" and "La Bamba". 2. As per 1 above, what about some of the other Rtchie tunes like "Ooh My Head", "That's My Little Suzie", "Hi-Tone", "Bluebirds Over The Mountain" and "The Paddiwack Song" - did he play the solos on those? 3. I think it's indeed Ritchie on lead on "Malaguena" and "Big Baby Blues" 4. What his rig like? I know he had a green semi-homemade Sears Silvertone flavored thing, and a white Harmony acoustic. Later on once he got famous, he had at least one Fender Strat (black and sunburst) and some kind of Gibson ES-175 thinline. What about amps?? Any helps is greatly appreciated - like books, articles, interview, contacts etc.
  14. Hi all, I am a guitar teacher and I use PowerTab because it's good and it's free. But's a Windows-only piece, and every once in a while I get a student who is a Mac person. Is there a free Mac equivalent to PowerTab that can also play and print PTB files? I have heard that TuxGuitar is ok; is it free or pay? Any help is appreciated. thx - ryan
  15. I took my guitar and pedalboard into my local music shop - and my tech said he wired it up just like the diagram that Dimarzio sent me. He knows that Dimarzio pickups have the same wire colors as Duncans and other vendors, but they don't mean the same things necessarily. I plugged my rig into to a new Fender Blues Deluxe amp there which is what I have. The hum was still there much quieter and not as pronounced as in my drummer's house for band practice. My tech already grounded it correctly on the bridge claw and everything. So he stands by his work, and my rig was indeed quieter at the store. I have a Barber Dirty Bomb and Direct Drive - which are very powerful crunch boxes and tend to magnify everything they touch, even the bad noises LOL The only thing I can conclude is that the hum is magnified by the house wiring at my drummers house. There are several new florescent lights in his basement, because he had his basement (our practice space) redone from a flood a few years ago. I haven't gigged with the guitar yet, that's coming in a few weeks.
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