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.

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.

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

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.

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

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.

: 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.

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

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#

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??

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

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

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.

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".

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!

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

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

YAMAHA¡£¡£¡£¡£¡£