The Guitar Corner: A Place Where Fellow Guitarists Can Talk Shop

[drogulus]

Very nice. Despite all the variables they kind of sound underwound to me, although I'm not sure that's the correct term. I remember playing a Duncan Seth Lover set for all of five minutes and liking them - especially the neck pickup - and those seem in the ballpark.
Anyway, you thinking of acquiring that Peter Green set and putting them in something?

     I'm always thinking about what I might like in the way of a set neck guitar, either with humbuckers or P90s. That doesn't mean I'm going to buy something.

     Greenie pickups shouldn't be hot, they are supposed to have a rich tone. Greenies are an aberrant version of the perfect pickup for a 335. The aberration is that the poles on one pickup are magnetically reversed and the neck pickup is installed backwards.

[greg]

You're welcome.

I can't seem to get YouTube to accept the whole file, but -
https://youtu.be/mZaSmcH3pCM

Yeah, I get the difficulty with the low action. It's a compromise.

Cool!

[NikF4]

Cool!

Now take your third finger and move it up two frets and on to the D string. Bend that up a whole tone and keep it ringing while you play the part I've shown in the video. And finally end it by bringing the (still ringing) bent note on the D back down so the three notes are all sounding together.
Or just take the idea and/or the technique and do your thing to suit your needs.

[greg]

Now take your third finger and move it up two frets and on to the D string. Bend that up a whole tone and keep it ringing while you play the part I've shown in the video. And finally end it by bringing the (still ringing) bent note on the D back down so the three notes are all sounding together.
Or just take the idea and/or the technique and do your thing to suit your needs.

Gotcha.

Pretty easy to do quickly with moderately low action, actually. All you gotta make sure to do is make sure your index finger is angled so that it's pointing in the direction of your bridge, and right before the B string is struck, mute it with the left hand pinky by pressing down

[NikF4]

Gotcha.

Pretty easy to do quickly with moderately low action, actually. All you gotta make sure to do is make sure your index finger is angled so that it's pointing in the direction of your bridge, and right before the B string is struck, mute it with the left hand pinky by pressing down

Cool. I'll check that out when I've a suitable guitar at hand.

[greg]

So John inspired me to listen to some boring Malmsteen album that I haven't listened to in a long time.

I chose... Eclipse. Because actually half of it is kinda boring, actually. But a few good tracks.

I love this track. Takes me back to 8th grade.

https://www.youtube.com/watch?v=5kjxV3Z5ypk&list=PLNc-FFHqewsO0RZ2uYeR5gdjNGiNZqnGI&index=5

That outro riff is just... dirty. 

But tbh the majority of his discography focuses a bit more on catchy melodies, so that's really where it is hit or miss, more so than his playing itself.

[drogulus]

     Eclipse means something different to me.

     

     I went to the NY Academy of Music in 1972 to see one of my favorite bands touring their upcoming album.

     Hang on, I think it must have been Carnegie Hall.

     After a consultation with experts it's determined that the concert in question was at Radio City Music Hall on March 17, 1973

Set One:

    "Obscured By Clouds"
    "When You're In"
    "Set the Controls for the Heart of the Sun"
    "Careful with That Axe, Eugene"
    "Echoes" (served as the opening number during the first few weeks in March)

Set Two:

    "Speak to Me"
    "Breathe"
    "On the Run"
    "Time"/"Breathe (Reprise)"
    "The Great Gig in the Sky"
    "Money"
    "Us and Them"
    "Any Colour You Like"
    "Brain Damage"
    "Eclipse"

Encore:

    "One of These Days"

     

[drogulus]

     The best electric guitar sound I ever heard live was:

     

     Clapton > Firebird I > coily cord > Marshall Superlead x 2 > 16 Celestion greenbacks

     

[Elgarian Redux]

Seems to be 5 years since anyone posted in this thread, and I'm at a loose end so I thought I'd resuscitate it.

The best ghost story I ever read (several times in fact) is a novel, Tryst, by Elswyth Thane. It's not scary, but it is haunting. And for a while I've been tinkering with a notion of writing a song inspired by it - that is, by the idea of someone becoming infatuated with a perceived persistent 'presence' in a room. Eventually the tinkering became a song, and I thought I'd post a recording of it here, buried where most people won't find it. I make no claims for it. Musically it's banal, and the lyrics are certainly not good literature. The recording is downright inadequate, but it's the best I seem to be able to do in the kitchen, with a little Tascam DP008EX recorder and no real understanding of what knobs to twiddle. Using the Bandlab online mastering service made it sound better, but apart from that, it may be that the only good thing about it is the Taylor guitar I'm playing so amateurishly: a 214 QM DLX, with a lovely quilted maple back. Despite all these defects, I feel weirdly pleased with the song.

Here it is, then. Sample at your peril:

Tryst

[drogulus]

    I've stopped playing so I'll probably sell most of my gear at some point. I won't sell my Starfire bass due to its extreme holiness.

    At one time I thought I might try to get an amp made special for it based on the Versatone 133 bass amp used by Jack Casady.

    Casady Starfire Versatone

[Elgarian Redux]

Way back in the jurassic period when I was about 16 or 17, having newly discovered classical music, I fell in love with Rimsky Korsakov's Scheherazade, and searched around the record shops for something similar. One coupling that I found on Scheherazade LPs was Borodin's In the steppes of Central Asia. The title haunted me. The steppes of Central Asia. Wow. What would they be like? What would the music be like?

Oddly, beyond listening to the Borodin, that was as far as it went. But when I had a re-blitz recently on Scheherazade and stumbled across the amazing Antar (an event extensively documented here on GMG, see here), I also found myself dreaming again about those Central Asian steppes, and eventually it turned into a song. The song falls sadly short of the dream, alas, but for anyone interested who can bear to listen, here it is, inadequately recorded, inadequately played, and inadequately sung, as usual:

The Road to Samarkand

[Szykneij]

I've stopped playing so I'll probably sell most of my gear at some point. I won't sell my Starfire bass due to its extreme holiness.

    At one time I thought I might try to get an amp made special for it based on the Versatone 133 bass amp used by Jack Casady.

    Casady Starfire Versatone

Over the past year, following a bit of a hiatus from performing after my retirement from education, I've become active again playing bass in a few jazz and rock bands. When upgrading some of my older equipment, I was amazed to discover how much lighter and efficient things have become. The Fender Rumble 100 bass amp I bought can almost be carried with two fingers and sounds as good as the vintage Polytone amp I also still use.
  Back in the day, I used a 500 watt Peavey bass head to power two Kustom cabinets with a 15 inch speaker and horn in each. I doubt I could even lift those cabinets into my car today. I do continue to use a Kustom 6 channel PA head with Tapco 100 EV speakers. They're old and heavy, but still functioning. (I can relate to that.)
  To get more closely on topic, I have of late been working on my somewhat limited guitar chops and am interested in learning more about guitars and guitar playing. So thanks, ER or resurrecting this thread. Hopefully, it will get renewed activity.

[drogulus]

Over the past year, following a bit of a hiatus from performing after my retirement from education, I've become active again playing bass in a few jazz and rock bands. When upgrading some of my older equipment, I was amazed to discover how much lighter and efficient things have become. The Fender Rumble 100 bass amp I bought can almost be carried with two fingers and sounds as good as the vintage Polytone amp I also still use.
  Back in the day, I used a 500 watt Peavey bass head to power two Kustom cabinets with a 15 inch speaker and horn in each. I doubt I could even lift those cabinets into my car today. I do continue to use a Kustom 6 channel PA head with Tapco 100 EV speakers. They're old and heavy, but still functioning. (I can relate to that.)
  To get more closely on topic, I have of late been working on my somewhat limited guitar chops and am interested in learning more about guitars and guitar playing. So thanks, ER or resurrecting this thread. Hopefully, it will get renewed activity.

    I love toobs. If I was still playing I think I'd get a Barefaced cab with an Ampeg PF50 head.

[Szykneij]

You don't see transformers like that anymore.

[drogulus]

    I had my fake Vox AC50 built to the exact specs of the Beatles amps used on their appearance in Washington D.C. in 1964, thinking it would be good for guitar and bass. Boy, was I wrong. It's great for guitar but not for bass because it has the same top boost tone stack the smaller Vox amps used at the time. The top boost circuit rolls off the bass frequencies severely. McCartney wasn't bothered much since deep lows on the bass were not a thing then and he played a Hofner which thumps in the upper bass region.

    Ampeg rules the bass amp world from forever because the tone stack works exactly like the ones on hifi systems, with flat response with the controls at noon. So the PF50 amp with the James tone stack is ideal and with a super efficient Barefaced cab I can create far more volume than I can practically use without getting arrested.