Guitar Discussion Forum Archive - February, 2001

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Re: people use the dist channel on tube amo to play dist? then why do we need pedals?

Everyone is looking for a certain sound. A lot of amps either tube or solid state may not give you the distortion sound you're looking for. My Fender Princeton has a great clean sound, but I use a multi effects pedal for distortions, delay, chorus etc... to get the exact sound I want.

Taylor Big Babys

I am very entry level and am looking for my first guitar...I don't want to go too much above $300, and would like folks' advice on acoustics in that range. One place was pushing the Takamine GS 330 S real hard, and I've seen very good reviews on them on the Web.

Another place downplayed the Taks and said the Taylor Big Baby was the best in that price range. I took a look at the Big Babys, and my first impression was that they seemed light (too light?), the neck seemed a bit narrow (high and low E strings seemed to want to fall off the neck), and it seemed a bit quieter than others I strummed. Also wasn't too pleased with the exposed bolts in the fretboard used to bolt the neck to the body.

BUT, what do I know? Maybe I don't know how to evaluate a guitar properly. I mean, it is a Taylor. Several places said it was hands down the best guitar for the money. What do you think?

Any comments on the Tak, Big Baby, and others in the $300 price range would be appreciated.

Re: Taylor Big Babys

I have not played a Tak, but I have played the big baby. I was impressed with the sound for the $. It sounds good but not as full as a full size acoustic would. The neck is bolt on and would easily allow for a change if need be. Taylors in my experience tend to have skinnk necks. What you should do is decide which one you feel more comfortable with. Have someone else play them for you so you can hear how the guitar sounds to others as they would be listening to you play. Don't buy on others recommendations because only you knows what works for you. You are the one who will be miserable if you get something you really don't wind up liking.

Re: Taylor Big Babys

I have the Takamine GS-330 S and it is a great guitar for the money. I really enjoy playing it and it gives a really nice full and mellow sound. I would certainly buy it again.

how

How to play solo like Slash? So quick, fast and
with emocions?

Re: how

his solo is mostly not so fast. downlaod the tab and "study" them~

Johnny Smith - "Moonlight in Vermont"

I have a very old copy (sheet)of this song and the copyright is dated 1944-1945.According to my sheet,the words were written by John Blackburn and the music written by Karl Suessdorf.Could someone please tell me which is correct.

Re: Johnny Smith - "Moonlight in Vermont"

I looked it up on www.allmusic.com

Best I can tell is that it was written by Blackburn/Suessdorf, it doesn't say who wrote which part, but it shows Johnny Smith as having recorded it.

I'm sure the sheet music is correct

: I have a very old copy (sheet)of this song and the copyright is dated 1944-1945.According to my sheet,the words were written by John Blackburn and the music written by Karl Suessdorf.Could someone please tell me which is correct.

Re: Johnny Smith - "Moonlight in Vermont"

johnny smith never claimed to have written the song. he just played it differently and some say better than any other guitarist had played it before. i like it

Re: Johnny Smith - "Moonlight in Vermont"

John Blackburn is my grandfather and as was usual in those days, many pieces were collaborations. The sheet music is correct. interestingly, "Moonlight in Vermont" is also called "the blue Haiku" because of the lyric structure.

noise

i use a stock 1976 Strat along with a Marshall JCM-800 Combo. I have always experienced excessive "hum" and various types of "noise". do you have any suggestions i can try to reduce this occurance>

Re: noise

The noise you are experiencing is a common side effect of single coil pickups. Also called 60
cycle hum. Sometimes you can eliminate the noise with a noise gate, changing cables, or
moving aroung the room till you find a spot that's quieter. You can also replace the pickups
with hum-eliminating single coils.

Re: noise

I don't think there's a way of eliminating the hum of a older single-coils entirely, but...

You should try and glue tinfoil on the inside of your guitar and the backside of your pickguard. That should take some of the hum.
You could also chek the soldering of he earth cable on the backside of the bridge. The soldering shuld be shiny. If they're not then replase them.

guitar effects

technical differences between boss gt-3 and boss gt-5

Re: differences between boss gt-3 and boss gt-5 ...

http://members.tripod.com/bossgt3/FAQ_Superframe.htm

Re: guitar effects

how to setting BOSS metal zone n distortion for best sound quality.also how to set on amp(ashton) and the arrangement of the instruments in jamming room.

Who have pop arrangement for solo guitar

I need pop arrangement scores for my collection.
If you have it, please give me information.
And I have some song, I arranged myself. If you interest for my arrangement please e-mail me.
Thank`s.

WAH WAH...

peole use wah pedal (toe...heel) by simply step it up and down, or they really concentrate on the exact way they want the wah sounds like?
for example- enter sandman, it's hard to get 100% wah with the solo. neither do kirt hammet play 100% in the live ( i mean the wah...)

Re: WAH WAH...

The thing to do with a wah wah is to keep rocking it back and forth in time with the music, it's more of a feel thing than anything else....listen to Voodoo Chile (Slight Return) by Hendrix, then listen to Stevie Ray Vaughan (live and studio versions), you'll see they don't play it the same way....a good rule of thumb is to be pushing it down at the toe on the beat, at the heel on the upbeat, of course rules are meant to be broken, so do whatever you want as you go.

Re: WAH WAH...

where can i find a good wah pedal in australia.
im looking for the kirt hammet signature wah wah.
hmm.. thankx

Looking for forum

Sorry, I'm totally in the wrong place, but this is the first musician forum I've found that actually has posts...

I'm am looking for a forum for vocalists. I study pop style vocals and want to connect with other musicians on thet net. So far, no luck finding an active forum that isn't for opera. If anyone knows of a decent forum could you reply here or at my email with a link?

Sorry to interrupt and thanks for the info...

Les Paul Guotar

I have seen a gold top 335 with the Les Paul logo on it. Who has some info on this guitar?

Joe

Re: Les Paul Guotar

: I forget what the exact name of this axe is, but sure enough Gibson made a thinline, hollowbody, double cut Les Paul in the 70's(LP Signature?). It has a Les Paul Cutaway on the bottom and an Es cut on the top. I think they have somekind of special PU's on them. They came in gold and tobacco sunburst(there could be more but I've seen these at shows). They weren't real popular(everyone wanted Standards) and were discontiued inthe late 70's. Michael Ward of the Wallflowers and School of Fish swears by them.
Epiphone reissued them in the late 90's.
Probably a half decent guitar if the price is right.

visual sound jeckyl and hyde pedal

anyone in the uk who will sell me one of these distortion pedals?

les paul standard for sale

1992 wine red les paul standard for sale,with case. good condition (few small scratches) £900 ono

For the theory buffs...

I would like to know if anyone has approached the guitar this way. I am self-taught so I don't know ALL the lingo. Anyway I have a question on improvisational soloing. Say we are playing in A Major, I am playing in an AMaj Scale, then the song goes to a F#m (the vi chord in the key). The minor scale in F#m are the same notes as in AMaj. Now say that the chord changes to a DMaj (the IV chord) I notice that all the notes are the same except there is a flat 7. Also if the chord changed to a ii (Bm) the minor scale would be just the same as the A Major scale except for a flat 7. Then there is the iii and V chords (C#m and EMaj). The only difference in these scales are a sharp 4. (ie. E Major scale, C# Minor scale). Has anyone else noticed this (I'm sure it's in a book somewhere on this planet). I am wondering if an experienced player out there uses this to their advantage (like when the "chord of the moment" changes to a V chord, you would move all of your 4's sharp, then switch back to normal after you get back to the Root chord). I don't know if any of this makes sense to anyone else but myself, but if it does, I would like to hear how others use this to play, or if I'm missing something. Thanks,

-Ben

Re: For the theory buffs...

Have you ever seen the circle of 4ths (circle of 5ths if you go the other way around the circle).

C
F G
Bb/A# D
Eb/D# A
Ab/G# E
Db/C# B
Gb/F#

If you go around clockwise it's 5ths, counterclockwise is 4ths. The relative minor is 3 clockwise steps around the circle.

Furthermore, from a key signature/scale standpoint, as you go clockwise, you're adding a sharp to the scale, as you go counterclockwise, you're adding a flat to the scale...to wit: the key signature for C is blank...no sharps, no flats, G is one sharp, D is two sharps, etc. F is one flat, Bb is two flats etc. The sharps and flats meet at Gb/F# which is six flats or six sharps, either way you want to make your eyes burn (that also means that legally, you could use 7 flats to denote the key of B, but while legal, it's probably immoral).

Now, what you're talking about is another way of speaking of "Modes." I can't tell you one mode from another, but I do know that in essence, a mode is a scale, for example C-D-E-F-G-A-B-C is C Major, also known as C Lydian (? I think that's the right mode). There are other modes such as Mixolydian, Aeolian and a bunch of others. If you play C-D-E-F-G-A-Bb-C it makes it a C Mixolydian (? maybe), in actuality of course it's either an F major that starts and stops on the 5th, or a D minor that starts and stops on the 7th, depending on what you want to call it.

They're all just different ways of describing the scales. The Key signatures tell you what notes of the scale are flatted/sharped.

When I'm soloing I think very little about scales, and modes. I do try to remember what key we're in and the chord that's being played, but I don't really specifically think about it, it's more of a thing to keep in the back of your mind as you're playing.

Theory should free up your playing, not clutter it with cumbersome rules....practice theory at home and play from the ears and the gut when you're on a job.

I hope this gives you something to use.

: I would like to know if anyone has approached the guitar this way. I am self-taught so I don't know ALL the lingo. Anyway I have a question on improvisational soloing. Say we are playing in A Major, I am playing in an AMaj Scale, then the song goes to a F#m (the vi chord in the key). The minor scale in F#m are the same notes as in AMaj. Now say that the chord changes to a DMaj (the IV chord) I notice that all the notes are the same except there is a flat 7. Also if the chord changed to a ii (Bm) the minor scale would be just the same as the A Major scale except for a flat 7. Then there is the iii and V chords (C#m and EMaj). The only difference in these scales are a sharp 4. (ie. E Major scale, C# Minor scale). Has anyone else noticed this (I'm sure it's in a book somewhere on this planet). I am wondering if an experienced player out there uses this to their advantage (like when the "chord of the moment" changes to a V chord, you would move all of your 4's sharp, then switch back to normal after you get back to the Root chord). I don't know if any of this makes sense to anyone else but myself, but if it does, I would like to hear how others use this to play, or if I'm missing something. Thanks,

: -Ben

Re: For the theory buffs...

Thank you, I appreciate the feedback (and to the other's that replied). This, as with everything else I learn about music, brings up more questions. But, I do like the attitude to forget the theory while playing. I just needed someone else out there to say it. Take Care, keep playin!

-Ben

: Have you ever seen the circle of 4ths (circle of 5ths if you go the other way around the circle).

: C
: F G
: Bb/A# D
: Eb/D# A
: Ab/G# E
: Db/C# B
: Gb/F#

: If you go around clockwise it's 5ths, counterclockwise is 4ths. The relative minor is 3 clockwise steps around the circle.

: Furthermore, from a key signature/scale standpoint, as you go clockwise, you're adding a sharp to the scale, as you go counterclockwise, you're adding a flat to the scale...to wit: the key signature for C is blank...no sharps, no flats, G is one sharp, D is two sharps, etc. F is one flat, Bb is two flats etc. The sharps and flats meet at Gb/F# which is six flats or six sharps, either way you want to make your eyes burn (that also means that legally, you could use 7 flats to denote the key of B, but while legal, it's probably immoral).

: Now, what you're talking about is another way of speaking of "Modes." I can't tell you one mode from another, but I do know that in essence, a mode is a scale, for example C-D-E-F-G-A-B-C is C Major, also known as C Lydian (? I think that's the right mode). There are other modes such as Mixolydian, Aeolian and a bunch of others. If you play C-D-E-F-G-A-Bb-C it makes it a C Mixolydian (? maybe), in actuality of course it's either an F major that starts and stops on the 5th, or a D minor that starts and stops on the 7th, depending on what you want to call it.

: They're all just different ways of describing the scales. The Key signatures tell you what notes of the scale are flatted/sharped.

: When I'm soloing I think very little about scales, and modes. I do try to remember what key we're in and the chord that's being played, but I don't really specifically think about it, it's more of a thing to keep in the back of your mind as you're playing.

: Theory should free up your playing, not clutter it with cumbersome rules....practice theory at home and play from the ears and the gut when you're on a job.

: I hope this gives you something to use.

:
: : I would like to know if anyone has approached the guitar this way. I am self-taught so I don't know ALL the lingo. Anyway I have a question on improvisational soloing. Say we are playing in A Major, I am playing in an AMaj Scale, then the song goes to a F#m (the vi chord in the key). The minor scale in F#m are the same notes as in AMaj. Now say that the chord changes to a DMaj (the IV chord) I notice that all the notes are the same except there is a flat 7. Also if the chord changed to a ii (Bm) the minor scale would be just the same as the A Major scale except for a flat 7. Then there is the iii and V chords (C#m and EMaj). The only difference in these scales are a sharp 4. (ie. E Major scale, C# Minor scale). Has anyone else noticed this (I'm sure it's in a book somewhere on this planet). I am wondering if an experienced player out there uses this to their advantage (like when the "chord of the moment" changes to a V chord, you would move all of your 4's sharp, then switch back to normal after you get back to the Root chord). I don't know if any of this makes sense to anyone else but myself, but if it does, I would like to hear how others use this to play, or if I'm missing something. Thanks,

: : -Ben

Stupid Computer program hosed up circle of 5ths

Alright, this stupid program screwed up my circle...it won't let me put in the spaces....I'll use dots now.

.........C
.......F....G
.....Bb/A#....D
...Eb/D#.......A
.....Ab/G#....E
......Db/C#..B
.........Gb/F#

Re: For the theory buffs...

Hmm.Interesting.My theory is kinda rusty,but I'll give it a shot.When the tune moves to F#m,Bm,C#min I'd try to stay aware of this key change.Being already familiar
with this type of transition,I'll stay away from the unstable tones and hangout in the F#min(Pentatonic)zone.Until I hear the V chord turn-around,then I know it's O.K. to return to the Amaj scale(pure).So be aware when the chord tones change, that will dictate your approach(choice of tones).The F#m,Bm,C#m is a 1,4,5,as you know.So why not handle it like an F# Blues??This transition opens up a lot of other options!
But for now,never mind the theory! When improvising,use
your ears and pick your tones smartly.The F#m is the minor 6 chord in Amaj.Whos relative major is Amaj!
Hope this helps.

Has anyone heard Yngwie's new album, War To End all Wars?

I just paid 15 bucks for it and I think the production was pretty horrible considering he has his own studio now and everything. I can understand his preference to
stay in the rhythm pickup mode but he probably forgot to turn up the treble on the final mix down. I fail to understand how such a huge influence on todays shredders chose not to be more innovative in recent productions. I've heard his reggae and blues improvisations live that were absolutely astonishing!
Good thing I also bought Dave Brubeck "Time Out", so I didn't feel to jipped.

Re: Has anyone heard Yngwie's new album, War To End all Wars?

: I just paid 15 bucks for it and I think the production was pretty horrible considering he has his own studio now and everything. I can understand his preference to
: stay in the rhythm pickup mode but he probably forgot to turn up the treble on the final mix down. I fail to understand how such a huge influence on todays shredders chose not to be more innovative in recent productions. I've heard his reggae and blues improvisations live that were absolutely astonishing!
: Good thing I also bought Dave Brubeck "Time Out", so I didn't feel to jipped.

I agree, it is yet another disappointing Yngwie album. He's lost it, and can't seem to get it back.
Its been that way for some time now, though. I have also heard that live, he is better than ever, which is why
I had big hopes for this album.

oh well.

Flat5
http://guitaristforum.com

Re: Has anyone heard Yngwie's new album, War To End all Wars?

I've heard your song miracle of life...it's pretty cool I like it very much...the speed and the sound so great...can you inform us the tale of the song??

Acoustic guitar pickups

Has anyone out there successfuly fitted a Fishman Matrix acoustic pickup with perfect string balance/output on every string.

Acoustic guitar pre-amplifier

I intend to build a preamplifier for my acoustic guitar by myself. If you Know about some schematic, please contact me.

John Frusciante

To Record Water for Only Ten Days
Chheck out the new solo release at house of blues:
http://www.hob.com/live/cdpreviews/010206johnfrusciante/
I think it's the purest stuff out there now!!!!

Re: John Frusciante

JOHN IS THE BEST!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Grestch serial numbers

HELLLLLLP!! I have a 1995 Gretsch Tennessee Rose (piece of Crap) The serial number reads "9512119-1219"
Now,,,am i mistaken ,,or shouldn't that number read:
95 (year) 1 (january?) 6119 (model number) 1219,,(number made to that date) i think the number should read 9516119-1219,,what gives ?? is this a factory second ?? somebody PLEASE EMAIL ME if you have any info
MStefa1024@aol.com thanks !!

Re: Grestch bass rigs.

i have a 76'or 78, grestch expander-b bass head and box, its 200 watts and my dad has owned since new and he used it twice a week in a pub band since buying it,and knowone seems to know anything about it.so if you could give me any info, on it that would be good. if you need the serial no. just tell me were to look.
also if i can get parts for it,that would be great.
andrew.

Tuning as a Baritone Question

I was wondering if a standard guiatr may be tuned as a baritone? If so, what are the tunings of each chord? If anyone has knowledge to share, it will be appreciated. E-mail EMTsarge13@aol.com

Thanks,
Sarge

Re: Tuning as a Baritone Question

In order to tune to baritone, you'll need a scale length of at least 27". A strat type guitar will work much better than say a Les Paul type because the les paul is only about 25.5".

action

ive got a reissue danelectro. and every time i lower the strings it gets real buzzy. the action is still fairly high. and the neck looks fairly straight. what should i do to get low action and no buzz?

Re: action

If all else fails, you can shave down the frets themselves as a last resort. Better consult a professional guitar repair shop first. Don't try to pull this off yourself! Once you go to far down there is no real turning back!

ibanez rg100

ibanez rg100

This popular thread has been given its own page : ibanez rg100

help me!!!!!!!!!!

i want some onfo of my ibanez rg100

is describe below "ibanez rg100"

Reviews of import: Hamer Echotone, Dean del Sol and Sarasota

Seek reviews and facts aboutimport: Hamer Echotone
Dean del Sol and Dean Sarasota. thank you.

Re: Reviews of import: Hamer Echotone, Dean del Sol and Sarasota

Check www.harmony-central.com Lots of reviews of all kinds of gear.

HAMER IMPORT ECHOTONE,DEAN DEL SOL, DEAN SARATOGA IBANEZ ARTSTAR 80,120. 200.

I seek information, reviews, playing impressions, prices,
and comparison of and or some or all of the above guitars.
Thank you.

Re: HAMER IMPORT ECHOTONE,DEAN DEL SOL, DEAN SARATOGA IBANEZ ARTSTAR 80,120. 200.

: I seek information, reviews, playing impressions, prices,
: and comparison of and or some or all of the above guitars.
: Thank you.

YAMAHA¡£¡£¡£¡£¡£

Re: HAMER IMPORT ECHOTONE,DEAN DEL SOL, DEAN SARATOGA IBANEZ ARTSTAR 80,120. 200.

best thing about it is the sound..nice power sounding humbuckers but also clean and ringy for chords..nice resonance and timbre on the chord stuff but can also drive and give feedback using the mt-2 pedal..mine had small imperfection on neck bracing but didnt affect playability
12th fret action close maybe 1/16 ..the nut however was a little high..

tobacco sunburst is very attractive hard to best this one for $360..compared it to a DeArmond Starfire and chose the Echotone because of the gutsier more colorful sound..the duncan designed pickups are a big plus

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