mcgraham

I love pedals. Love the whole philosophy. For me I like simplicity, so it all starts with the guitar and the amp. Once I've got that right, and the interaction dialled in, I can start layering on pedals. Again, for me it's all about complementing that interaction rather than being an obtrusive *thang* that lives on my pedalboard. I generally run subtle compression as a tonal shaper, a clean boost to give me *more* of my amp, a programmable delay (or one or two choice delay pedals), and occasionally a reverb. I intentionally don't use dirt pedals (other than fuzzes) as I find they mess with the sound of my amp more than I'd like. I generally want my pedals to only ever bring out MORE of what was already there, rather than take away from it, hence subtle compression, a clean boost, and a programmable delay to preserve whatever is going on.

I was just chatting about this with another friend, and we've both decided we're each happy leaving gigging behind for the foreseeable future. Not necessarily through being disenfranchised by it all, but just that our first love is making music, and that the act of gigging is a bonus that falls much further down the list than just having time to make music and enjoy making it in the first place. It's a cultural lie that unless you're out there 'doing it' then you shouldn't be doing it, or that you're wasting your time, and this is particularly prevalent in music. Personally, I just want time to make music and fiddle with musical notes, and I want some nice instruments to do it on. It's no different than those who like cycling having a nice bike and going on daily/weekly rides... it doesn't make them any less of a cyclist just because they don't compete in competitions or do regular group cycles. Both of us are around 30, so not exactly pushing retirement, but I know we are both feeling pretty released from the perceived 'pressure' we were putting ourselves under to 'get out there and do it!'. It's just so nice to make music for no other reason than i like doing it!

To the OP, I totally agree. The majority of music stores are becoming more and more hassle than they are worth. My personal props goes to Guitar Guitar for being the best guitar store I've ever used or visited. So helpful and so polite, always loads of time for every customer. Bass-wise, Bassdirect is excellent, and now they have two in-store staff the customer service is far more attentive and helpful. Re: customer service - No-one likes people being rude or unhelpful, but that's nothing new to encounter from shop assistants/stores. The thing that irks me is the default trying-to-be-helpful-but-really-isn't [i]'no we don't have it in but we can order it in for you'[/i]... ...except that I can do exactly the same thing for myself, get it delivered to my home, and therefore wouldn't have to make another trip into a store. There is very little helpful about that approach. In fact, on anything moderately expensive or stuff other than standard stock items, the stores often make you pay up-front for the item they are ordering in, so there's not even the advantage of them ordering something with no cost to you. I understand the reasoning, but there is absolutely zero incentive for me to pull the trigger on something like that. I get that if they don't have it then what else can they say, but there must be something that can step above the mark. e.g. 'We don't have it in stock, but we could order it to an address you prefer, e.g. home, work. You'll have to pay for because it's not a stock item, but we'll price match as per online, AND we'll cover shipping to say sorry for not being able to oblige here in store, and if you're not happy with it, just return it to our store or via post as per returns policies for a full refund'. Maybe I'm being too optimistic, or not acknowledging logistical issues there, but THAT sort of customer service wouldn't be THAT difficult to do (it's basically providing an online service in store) and would certainly make people who want to support their local store more inclined to keep going back.

[quote name='xilddx' timestamp='1395248700' post='2400218'] My last gig with Kit tomorrow night. The band's been dissolved due to lack of any real commercial progress or interest, it's expensive, and Kit's going to reinvent herself and [b]probably do some solo electro[/b]. [/quote] Sorry to hear that Nige. It is tough out there. On a side note re: the reinventing as electropop - It's quite astounding how many singers are re-inventing themselves as solo electro/dance acts. I don't really get it myself, both the genre and that there would be demand for that sort of thing... though I guess Daft Punk and the general popularity of dance helps!... but it is certainly sad to see people having to opt for something lesser than their ideal just to get out there doing stuff. Best of luck to you and Kit to find something new to pursue!

Telecasters are great guitars. It's a guitar that ALWAYS delivers. It's the uber-solid robustness and stripped-back physicality that tips it over a Strat or LP/ES for me. I only Esquire'd mine to get it even more stripped down and utilitarian.

I'd only feel I'd wussed out if I felt it was the worse bass. My favourite guitar for the last year is my Squier Telecaster, and given I own guitars costing 20-30 times more, that's saying something! If it's a good instrument, it's a good instrument - end of! Don't feel bad, just enjoy your new bass!

Nice little trick there! There's bound to be some players who want that neck+bridge sound and are willing to forego an in-between sound, though I get the feeling those guys should just go buy a Tele and be done with it if they don't want an in-between sound [quote name='Kiwi' timestamp='1393277962' post='2378267'] No need to buy a tele when I have a Yammie MSG with coil taps. [/quote] Nice too! I Esquire'd my tele a while back, and I absolutely LOVE the one pickup simplicity. Even removed the three-way so it's just volume, tone, bridge pickup, out. Sounds HUGE and rings so clearly. Proper beater.

From a beginner's standpoint, that sort of viewpoint is helpful. It means you don't have to stress about playing the 'right' E, but that any one you find in the right octave on any string will work. As you get better though, you may find that you prefer the colour of particular notes when played in a particular place, e.g. playing the octave 12 frets up rather than 2 frets up 2 strings up, or vice versa. They have (IMO) very distinct tonal attributes that mean they belong in certain parts of certain songs... however it can fry your brain trying to tackle this level of choice too early.

Crazy price! But it'll still sell, cos it's got Metheny's name on it!

Firstly, loved the show. Secondly, I didn't spot the cable thing with Flea, but what I did notice was that the number of notes he was supposedly playing seemed to far exceed the notes on the audio. Real shame that this probably means (coupled with the cable thang) that he wasn't actually playing the bass track.

[quote name='charic' timestamp='1390916407' post='2351198'] I only came in here to moderate... honest [/quote] Errrr... me too...?

[quote name='RhysP' timestamp='1390337900' post='2344292'] Here's a few pictures of my Alistair Atkin Rosewood OM Standard that I bought in 2012: [url="http://s86.photobucket.com/user/RhysP/media/Guitars/AtkinHeadstock_zpsb8fa1a2d.jpg.html"][/url] [url="http://s86.photobucket.com/user/RhysP/media/Guitars/Atkinbody_zpsbb0a65ac.jpg.html"][/url] [url="http://s86.photobucket.com/user/RhysP/media/Guitars/Atkinfull1_zps20b50f4e.jpg.html"][/url] [url="http://s86.photobucket.com/user/RhysP/media/Guitars/AtkinBack_zps3a9cf5aa.jpg.html"][/url] [/quote] mmmm, I like the simple headstock. The back pinstripe is lovely too!

[quote name='RhysP' timestamp='1390317642' post='2343968'] Now that is really rather superb. [/quote] I like to think so too!

This is INCREDIBLE! I haven't been this entertained in weeks!

I generally listen to the song 4 or 5 times on loop without stopping or even trying to hum along with it - just absorbing. Then I listen to the song 4 or 5 times on loop and try to hum/sing/play along but without ever stopping the song - just seeing if I can lock into what was there after the first few passes of listening, even if I screw up it keeps playing. Then I listen to the song 4 or 5 times but stopping and going over tricky bits again and repeating til it's passable, so takes a fair bit longer. The point being it fills in the blanks and troubleshoots to the point that... I can then sing/play along with the song on the recording without stopping, from which point I stop using the recording except for references. Some songs take less listens than each round, but generally it seems to fall into that sort of camp. It's a logical teaching progression from not knowing a song through to being able to play it without any help from a track.

[quote name='skankdelvar' timestamp='1386901802' post='2306307'] Omigosh! That Fylde is just outstanding. Look - at - that - binding. [/quote] I know! I asked for understated because all the custom stuff I'd seen of theirs had lots of pearloid and ivory etc. Roger at Fylde said it would be a shame to go all out on a custom and make it look plain, but he knew what I meant by understated elegance... I think he nailed it! As I said, I've honestly never seen ANYTHING like this. Quite literally the best made instrument I've ever played and seen, let alone owned!

My brand new custom built Fylde 'Ariel' acoustic. 0/parlour guitar body size. Ordered Sept 2012, complete November 2013. Received at 10am this morning... utterly incredible. Never seen an acoustic guitar like it, and I've tried everything from Avalons to Lowdens to Taylors to Collings - simply stunning. Specs for those that care... 24.75" scale length Mahogany Neck Rosewood back and sides Cedar top No front dots Double binding on edges, front and back Same style for the rosette Blackwood fingerboard LR Baggs Anthem pickup (blendable mic + piezo pickup)

[quote name='Fionn' timestamp='1386784420' post='2304527'] I realise that the guy is a musical genius, but I get the impression he's a bit of a kn0b. Check out the way he throws his guitars around. He has a 1954 Strat (one of the first 10 strats ever made!!!) which he just clashes onto the ground, banging it against other highly valuable guitars. Aaaargh!!! ... [media]http://www.youtube.com/watch?v=HZeOOsSgx2Q[/media] [/quote] Ya, it's a Malmsteen Strat... did you hear me the first time, it's a Maaaalmsteen Strat... and that's a Malmsteen signature, ya, and that's a Malmsteen cable... did I mention that I'm Yngwie Malmsteen? Genuinely, all Malmsteen, ya....

As someone who has a strong love for jazz and avant garde playing (and singing!) I think it's awesome. The interaction between all 3 is awesome, the keyboard playing is mental, the vocals are epic, the drummer is tight, and the bassist has some tasty chops. However, as someone who has also has a strong love for tasteful and toneful music and playing, it leaves me pretty cold. Other than the stabs they are musically somewhat all over the place relative to one another, like someone else has pointed out the keyboard seems to wash over everything, the vocals appear to be autotuned at points (which is not necessarily an issue!) just to support the riffing that he arguably doing more than the bass does, and I'm pretty sure I saw and heard the same bass riffs in their cover of Rolling in the deep. I think there's a lot of merit in this piece, sadly I feel the merit is primarily academic.