Hooli
Big Ugly
Good excuse to spend your tax refund. You know you want it Andy. :laughing
Musician thread
- Thread starter masameet
- Start date
Good excuse to spend your tax refund. You know you want it Andy. :laughing
kelsodeez
2wheels good 4wheels bad
Yes and it's usually a result of imbibing on too much of the devil's lettuce haha
kelsodeez
2wheels good 4wheels bad
I was so in love with my neighbor's 1963 strat that I ended up buying an American pro II strat in roasted pine this morning. I needed a good solid #2 to take the play load off of my gibson, and having a guitar that lends itself to a different style of play will open up my writing.
It's insane how much of a deal musicians friend will give you if you just call them and ask them for a discount.
It's insane how much of a deal musicians friend will give you if you just call them and ask them for a discount.
poach
seeking balance
If I may ask, what % discount?
As I’m sure you know, MF=GC. And my GC guy gives me 20% on *most* of the items I want from GC including Fender. This integrity driven youngster has really supported me, and so of course I’ll support him. But if we’re talking some crazy percentage on this particular instrument it might be worth a discussion. The Pro II is def on the higher end of of the quality scale.
And congrats on the NGD. Always exciting...
As I’m sure you know, MF=GC. And my GC guy gives me 20% on *most* of the items I want from GC including Fender. This integrity driven youngster has really supported me, and so of course I’ll support him. But if we’re talking some crazy percentage on this particular instrument it might be worth a discussion. The Pro II is def on the higher end of of the quality scale.
And congrats on the NGD. Always exciting...
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kelsodeez
2wheels good 4wheels bad
It was $1599 list price. They gave me 250 off the top, threw in double reward points (which are worth like $230) and upgraded my case to a custom shop case. All in all, I probably got away with like 500+ in savings. I called just to see if what they could do and ended up just saying fuck it and buying it haha
Kornholio
:wave
Kornholio
:wave
This COVID era has me shopping a lot, though...
Oh, I hear you.
Playing has become a bit harder over the past few years, which isn’t necessarily a reason not to buy gear but I do have plenty to work with. With limited practice time, I’m trying to be a bit more focused about what I work on, with the intention of continuing to get better when it’s actually pretty hard to maintain status quo.
It’s something every player will deal with at some point and I’m finding ways to grow where I can. Guitar music seemed to have gone underground for quite a while but there are loads of mind-boggling players out there now, whose learning curves have been accelerated by Youtube, online tabs and other resources that didn’t exist a few years ago. They also are not being kept hidden by record labels, being able to self produce and become known, if only to a bunch of music nerds. :laughing
Playing has become a bit harder over the past few years, which isn’t necessarily a reason not to buy gear but I do have plenty to work with. With limited practice time, I’m trying to be a bit more focused about what I work on, with the intention of continuing to get better when it’s actually pretty hard to maintain status quo.
It’s something every player will deal with at some point and I’m finding ways to grow where I can. Guitar music seemed to have gone underground for quite a while but there are loads of mind-boggling players out there now, whose learning curves have been accelerated by Youtube, online tabs and other resources that didn’t exist a few years ago. They also are not being kept hidden by record labels, being able to self produce and become known, if only to a bunch of music nerds. :laughing
poach
seeking balance
The little old fella from the gym is getting serious. Texted me 3 more tunes he wants us to do. I was just planning on showing up with an acoustic and letting ‘er rip with the tunes he’d sent previously, but the new material has a buncha full step bends and I’m not too excited about destroying my fingers. So right tool for the right job and all that, I’m bringing the tele. And not wanting to lug a serious rig around, I dug out my lil Mustang gt40. I’ve never heard the Spark of Yami TH thingy irl, but this little modeler is along the same lines and doesn’t sound too shabby actually.
And in the “you never know where you’re going to find the good stuff” dept, one of the tunes he wants to do is Seger’s Old Time Rock n roll which is def not my kinda jam. But getting back to maj/minor pentatonic solo stuff has really helped me with the solo phrasing I’ve been struggling with in my preferred intervalic legato run solo type stuff. Go figure...
And in the “you never know where you’re going to find the good stuff” dept, one of the tunes he wants to do is Seger’s Old Time Rock n roll which is def not my kinda jam. But getting back to maj/minor pentatonic solo stuff has really helped me with the solo phrasing I’ve been struggling with in my preferred intervalic legato run solo type stuff. Go figure...
A teacher a long time ago made an observation about my playing that in hindsight was an encouragement to do more of this, rather than being a compliment on what I was doing. He stated that my improvisation was lyrical; that it could be sung. The comment got my attention on this attribute and when I listened to playbacks of my recordings, I found that I could agree maybe 25% of the time. It did establish for me that lyricism was a desirable thing.
A few of the guitarists I found influential had something in common; they said they listened to a lot of horn players. People who play horns have to take a breath now and then and this governs their phrasing. Makes it lyrical. Guitar players can noodle until their fingers bleed. Listening to horn players lets that lyricism soak in. The guitar player learns to take a breath.
There are only a few things that we manipulate when we play music: Pitch, timbere, tempo, duration (of notes or silence), volume. That's about it. These are the tools available to make phrases out of.
Theory is really the art of making sense of what people have done in the past; codifying the "rules" that a certain style tends to follow. To sound authentic in any given style, the musician needs to mostly stay in those guard rails; we won't fool anyone into thinking we're playing Baroque if we throw in a bunch of clusters. Phrasing can live in this context too.
The "question" is often a phrase that pauses on a note that begs for resolution; often not a chord tone. The answer frequently pauses or sustains the tonic or dominant (I or V of the key). As a matter of training, this can be useful to know, though at some point, these ideas have to be so engrained that it's a matter of feel, not intellect. Some players never really know the theory and can play very moving phrases. Others do need to analyze what they have heard to find out what makes it work; deconstruct and reconstruct. Either can lead to great music.
A few of the guitarists I found influential had something in common; they said they listened to a lot of horn players. People who play horns have to take a breath now and then and this governs their phrasing. Makes it lyrical. Guitar players can noodle until their fingers bleed. Listening to horn players lets that lyricism soak in. The guitar player learns to take a breath.
There are only a few things that we manipulate when we play music: Pitch, timbere, tempo, duration (of notes or silence), volume. That's about it. These are the tools available to make phrases out of.
Theory is really the art of making sense of what people have done in the past; codifying the "rules" that a certain style tends to follow. To sound authentic in any given style, the musician needs to mostly stay in those guard rails; we won't fool anyone into thinking we're playing Baroque if we throw in a bunch of clusters. Phrasing can live in this context too.
The "question" is often a phrase that pauses on a note that begs for resolution; often not a chord tone. The answer frequently pauses or sustains the tonic or dominant (I or V of the key). As a matter of training, this can be useful to know, though at some point, these ideas have to be so engrained that it's a matter of feel, not intellect. Some players never really know the theory and can play very moving phrases. Others do need to analyze what they have heard to find out what makes it work; deconstruct and reconstruct. Either can lead to great music.