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On Saturday we had a work party where we provided the entertainment. About six weeks ago I rounded up a bunch of colleagues and proposed we do a song together. Below is the result: 52fb7b34b4790dbaf517c3d5cce802d3.mp4 It was my first time performing on guitar and I used the instrument mentioned here: All sorts of technical issues that I won't bore everyone with but the band had no right sounding as good as this recording suggests. I originally rehearsed with a 4U rack containing my beloved Triaxis and MPXG2 into a Marshall 20/20. But there were 60Hz hum and phasing issues so I swapped the rack for a Kemper and used a profile of the Triaxis instead with only marginal improvement (no more phasing). The Kemper went into two Hotone Loudster Class D power amps sat on a pair of Joyo 1x12 cabs loaded with Celestion Neo Creambacks. The speakers struggled to disperse, but this shouldn't have been too much of an issue if we had been given PA support. Unfortunately the video stops just before I move up front for the solo guitar breaks. I did the thing though - one foot on the monitor. No hair in the wind unfortunately.

Thinking that I ought to have a hollow bodied guitar for jazz I bought a Streamliner and have indeed given that Bigsby a wobble from time to time despite it being considered inappropriate within the genre.

Decided to get the Epi Les Paul 60’s Standard in Bourbon Burst I had looked at PRS but decided this is what I wanted. Out of the box the quality, setup was spot on and amazing for a £500 guitar. Sounds excellent and pickups are very good and sounds great clean and overdriven They have definitely improved since I owned an Epi Les Paul Plus Top Pro about 10 years ago this is as close to Gibson quality you can get without the price tag ! Awesome guitar

I picked up a super cheap Ibanez S670 with a fake body for 1500RMB ten days ago and went about upgrading, fixing and customising it with chrome Gotoh hardware and Dimarzio Satriani signature pickups. I wanted to do a Chromeboy painted finish but it's not possible to do it well on wood bodies. The original Chromeboys had finish cracking and bubbling issues do to wood expanding and contracting with seasonal changes, the follow ups had bodies made of lucite not wood. So I did the next best thing - bought a load of mirror vinyl wrap online and found a friendly auto wrapping firm to do it for me after my own attempt failed miserably. The reflection isn't 100% sharp but only really noticable when you are standing closer than 5 meters. I'm planning on using the guitar for a show coming up on Jan 11. The good thing of vinyl over paint is that I can get it re wrapped if it starts to look a little worn.

This year a Joyo "Oxford Sound" pedal. So far I'm very pleased with it - lets me go straight into our PA without lugging an amp around.

Hi,everyone, I'm new to the site so thanks for having me,my wife made me join so I bore someone else,Sorry.

here is the current board with some diys and some stock pedals. More diys kicking about and more Boss to add on a new board for part of my rebuilding the rig of my youth

I had already pre-empted Christmas in offering to myself my bucket-list guitar : a Hofner President E2 thinline, Florentine cut, having foolishly traded away the first one I had, late '60s. Half a century later, I got this one from a Reverb seller in Sweden. The Christmas gift..? Our Daughter, thinking (rightly...) that it would be difficult to find something I'd want/need that I didn't already have, posted a sum of money into my bank which covered the cost of the hard case and shipping of my dream guitar. Much appreciated, and a Very Nice Surprise. Here's a (bad...) photo of the delivery and unpacking of the guitar...

I’d love an L5, or an ES175 at a pinch, but I’m quite attached to my kidneys.

This year: A book on jazz guitar comping concepts.

The marketing strategy / campaigns, the artificial status that is perpetrated on all media. Seems to manipulate people in excess and impulsiveness. "If you don't have the latest, something is wrong with you", mentality, like a fashion trend. 13 years ago, Eleven Rack units were the rage and going for a high price, now you can get them all day long for under $ 200.00 U.S. Dollars , all day long. As my Father used to say, " Headline News today, under the bird cage tomorrow ".

Hi there, This is my first post here, so please be gentle with me. OK, so I have been playing on and off for decades (40 years), but I would say I am pretty much still a beginner, at best an intermediate player. I was originally self-taught and only got to sonngs involving strumming chords, although I longed to be able to improvise like some of my friends could. So, in these early days (my teens), I knew chords such as A, C, D, E, F, G, Am, Bm, Dm, Em, A7, B7, D7, E7, G7. Whilst I understood the happy/sad difference between major and minor chords, I had no idea that there was a specific, consistent 'rule' (i.e. in this case 'flatten the third') connecting the major and minor chords. I didn't even realise that these chords were made up of 3 notes! It was a total parrot-fashion learning experience for me. I knew then that the chord 'Cmaj' was often abbreviated to just C. Now, zoom forward to today, and I know that major triad chords are actually created using notes 1-3-5 of the major scale and notes 1-3-5 of the minor scale are used for the minor scale (moreover, that this is equivalent of the 1-b3-5 notes of the major scale). However, the terminology used in the naming of these chords now has me utterly confused. Where Cmaj is the same as C, Cmaj7 is not the same as C7. Instead, the seventh chord with no major or minor indicated (e,g, C7) is called the dominant 7th. So, instead, there are these relationships: Cmaj : 1 - 3 - 5 (also known simply as C) Cm: 1 - b3 - 5 Cmaj7: 1 - 3 - 5 - 7 C7: 1 - 3 - 5 - b7 (also known as C dominant 7th) Cm7: 1 - b3 - 5 - b7 And this is just the first few chords!!! I suppose if we never refer to the chord C as just 'C', but always call it 'Cmaj', we could write these out as follows: Cmaj : 1 - 3 - 5 (only ever referred to as Cmaj) Cmaj7: 1 - 3 - 5 - 7 Cm: 1 - b3 - 5 Cm7: 1 - b3 - 5 - b7 C7: 1 - 3 - 5 - b7 (also known as C dominant 7th) I'm not too sure I'm putting my point across too well here, but I am trying to find a 'system' of my own which gets me out of the confusion in the bold font above. Now consider the tons of other terms, like diminished, augmented, suspended, never mind the other 'number terms', like 6th, 9th, add9, 11th, 13th, 7th flat 9, 7th sharp 9, etc and it all becomes a minefield!!! I mean, are we supposed to know what a 'dominant 7th' sounds like and how it differs from a 'major 7th'? That concludes my question about terminology. What I meant by formulas is where can I find a complete list of formulas for all these different chord types? These could be expressed as 1-3-5 (note numbers), C-E-G (key of C. note names), and even as 2W-WH (intervals in terms of Whole and Half Steps). What I meant by MORE formulas is where can I find a complete list of formulas for all the different scale types and modes? Again, the Major scale could be writted as 1-2-3-4-5-6-7, for Cmajor scale CDEFGAB(C), and in intervals as W-W-H-W-W-W-H. Indeed, are there only formulas for chords and scales? Are there other formula that are important to know? And no, I don't mean relatively complicated formulae that related string mass thickness and tension to frequency, but rather the stuff we need to know as aspiring guitar players. I suspect that I am overthinking all this, but I feel that a solid understanding of the underlying theory of music, which I wish I had known years ago, helps with one's own playing. Recently, I considered buying various wall-charts showing chord diagrams, scales, circle of 5ths, etc, but I was surprised to find comments by buyers claiming that these were erroneous! So, my question on the formulas is can anyone here please recommend a good (highly regarded and accurate) book which would have all the formulas for chords and scales (and other?) collected in one place? If you have read all this, thanks for your time. I appreciate any responses that I might receive. Cheers, Simon.

Good evening, @XinDi-WaRRior, and ... ... Plenty to read and amuse you here, and lots to learn and share. We, on this Forum, have all, without exception, started from the same 'zero' baseline, so we know where you're coming from. We all learn differently, with differing objectives and time constraints, but it is 'easy' for no-one. There is no secret that the best way to get started is with a one-to-one guitar tutor, even if it's only for a few lessons, as this paves the way to setting realistic, obtainable objectives with the right techniques. One essential, for any beginner, is to obtain a large supply of Patience, and keep it topped up at all times. One learns in stages, and there will be moments when progress seems slow, or even regression. This is normal; there will also be 'light-bulb' moments when things become blindingly clear, and one realises that progress has, indeed, been made. I'll end with my usual 'words of encouragement' ... It's the first forty years that are the most difficult, after which things sometimes tend to get slightly easier.

Manhã de Carnaval (Black Orpheus) is often played in slow bossa nova. I wanted make solo version of this song with little bit more groove in the rhythm. I've played this for some times in my gigs and added more improvised solo parts to it. I think it works nicely and it's fun to play. Video Tabs Cheers, Mikko

Ahhh, only thing that beats a puncture wound is two puncture wounds in the same spot. Nice to hear you've found your strings For some reason I keep wanting to keep putting 12's on my Mexican Martin. Just a little too much but sounds really good. Just put on Magna acoustic flatwounds 10's on Marty last week and they play and sound good, maybe even great. They seem to be holding up well which is what I was mostly worried about. I think same strings in 11's might be the answer on next round.

This involves hammering, pulling off, using hand repositioning while using open strings to ring before repositioning hands and fingers. I leave the fingerings up to each person who tries it. Please, enjoy !!!!

I have friends that bought some Mosky overdrives and they're good. But I can only attest to owning the Mosky Pure Buffer and it's a good buffer, so good that I moved my two VHT Valvulator 1's to my rack. My friend bought the Golden Horsie and it is just as good.

Welcome DoaA

Afternoon.

I think that’s your answer. I can’t imagine one passive DI box being that much different from another (happy to be corrected here), any differences should be fixable in the eq section of the DAW.

Apparently, there's a 'rule' set in the software somewhere whereby at least five posts are to be made before allowing these luxury 'extras'. It's to avoid 'spam' posts giving full access, I think. Still, you're OK now, soooooo...

I don't think I've posted here before - I'm a member of basschat.co.uk, but after playing bass for decades, lately I've been singing and playing mandolin and octave mandolin. I don't actually play guitar, though I have a couple of guitar-shaped objects in my collection - an acoustic guitar bodied octave mandolin, and earlier this year a local guitar builder converted a copy of a Gibson SG to mandolin for me. I'm currently working towards a Rock School grade 2 acoustic guitar exam... with a mandolin!

Welcome UD.

Yo! Upsie!

Good evening, @upside downer, and ... ... Plenty to read and amuse you here, and lots to learn and share.

Good morning, @Diary Of An Axeman, and ... ... Plenty to read and amuse you here, and lots to learn and share.

Hello everyone. I'm from England, recently retired. I'm a long time acoustic player. I prefer to strum the strings while singing the songs. Usually its just Christmas time with the family around and we have a sing along. Lately I have been seeing YT vids and fingerstyle looks like it could be fun. I've tried a few times and never really caught the bug for it. And I recently got given an electric guitar and i would like to learn blues slide. Great to be here.

What it says on the label. I'm interested in what other folks want in an amp of any sort that isn't on the market yet (no reason other than a discussion - alas I'm not in a place to make it happen!). I'm not opposed to valves per se, but equally, I've never been a tube purist. If it sounds good, then it is. I absolutely welcome the idea of an alternative tech that can't be distinguished from tubes, on the basis that that isn't just "reinventing the wheel". It would bring a lot of other benefits - lighter to carry around, more manageable volume, and, well - I don't think tubes are going to be around at an affordable price forever. But the practicality of carting it around and convenience go a long way for me. I've said for a long time I'd welcome a good modeller that instead of offering eleventy million different sounds did one sound really well. I have a big Vox AD120VT. Gorgeous sound, as good as any of what it knocks off, BUT I've only ever used one or two sounds from it. I don't like onboard effects. I use effects less and less nowadays (I'll keep all my old pedals, but really all I want now is a decent, classic od, clean boost, tremolo, and echo/reverb). 99% of what the Vox can do is wasted on me. Fender have in more recent years produced what appeals to me in their Tonemaster series. Of that lineup, the Twin Reverb really appeals - money no object, I'd have one of those already, and be waiting to jump on the Tweed Twin and Tweed Champ versions as they arrive. That's the sweet spot for me. With that sort of tech here and new models on the way, my thoughts have turned to tiny, on the go practice amps. The killer app for me now would be something the size of the Positive Grid Spark Go, but simpler. Sounds like a Tweed Champ, decent volume (The PGSG does have the right volume level for me), headphone socket, and a 3.5mm line in. The Go sounds great, but it's got a lot of functionality I'd never use. The bigger strike against it is the lack (if I've picked up the spec right) of a 3.5mm line in. I'd like something that could be a hotel room amp sort of thing, but also function as an external speaker for my mp3 player and tablet on the go. Both of these devices do have blutooth, but I vastly prefer to use a 3.5mm cable instead, which makes a very marked difference to battery life. So that's what I'm waiting for happening in the amp market: a pocket-size, 1 watt Fender Tonemaster Champ with 3.5mm line in and a line out. Given the leaps and bounds in tech since I got my Smokey amp twenty plus years ago (still fun, but not a 'serious' amp, more of an effect than anything), it should surely only be a matter of time?

I got a Schaller Sure Claw, fitted it today. A nice little upgrade from the original claw that makes equal spring tension adjustment very easy.

Welcome!

Howdy doo!

Good evening, @GrandadJohn, and ... ... Plenty to read and amuse you here, and lots to learn and share.

I do as well, but when I was looking for photos I kept finding ones of the pale wood and wondered how much that was used and I just assumed it was ivory paint under the stage lights?

If no one mins a jazz mention, here are Wes Montgomery's Gibson L5s: https://jazzguitartoday.com/2020/05/the-many-l5s-of-wes-montgomery/

I started off strictly rhythm, didn't wanna make it cry or sing! But then I started working in little two bar melodies on turn arounds. More recently I've been taking lessons and playing tunes. We're adding in chords or pairs of notes on the stronger beats.

A few years ago I bought a Blue Ridge 12 string with the confidence that I would soon be able to remove my finger picks and apply my scruggs style technique to the 12 string and be able to emulate the one and only Leo Kotke.......... Well, it did kind of sound like him, if he flipped his guitar to lefty and played it with his bare feet. just had to get that off my chest. So sad

Too many to list, really, but some names that spring to mind (bear in mind that I'm old..!)... Richard Thompson (Fairport Convention and more...) Jorma Kaukonen (Jefferson Airplane, Hot Tuna...) Bobby Weir (Grateful Dead...) Paul Kantner (Jefferson Airplane...) Mickey Baker (see his Jazz Guitar Method books...) John Lennon (Some Merseyside group or other...) Bryan Maclean (Love...)

Thanks. I'll definently try that out

Squirrel, normally. It likes to mess with their head. They will stay there til they get called off.

In the beginning, Marc Bolan, in both the Tyrannosaurus Rex and T. Rex periods. Later on, Jan Akkerman (who I will never be able to emulate) with Focus.

Jeff Beck for keeping it fresh when playing live. Brian Setzer for the licks and TONE and making me realize I'll never be able to play like that. So I have now played slide for almost 20 yrs.

Ooh, you’ve asked the wrong question for me as I’m a Gretsch fanboy. Worst thing I ever did was let my old customised Streamliner. If it were me, I’d get a Electromatic 5420, with a Bigsby (well set up, they’re pretty stable and definitely add something to the sound of the guitar) you don’t have to use it, but it’ll be there if you fancy a wobble.

If you can afford it and it will make you happy then do it. I personally am a tight arse and even if I could afford a Gibson (I can't) I'd never buy one because I'm a klutz and it would be an expensive thing for me to damage, same goes for a Ferarri, I'd have door pockets full of crisp packets and I'd no doubt kerb the wheels parking it.

A present for myself : a piezo_pre-amp kit to install into my acoustic (holes to be cut into the sides, and the capteur to be fitted under the bridge...). I'll then be able to record without recourse to a mic.

I just picked up a BOSS ME-50 through Facebook marketplace for only £70, it’s a beauty . I’ve only just started to explore its capabilities but, so far I’m impressed. Like most things bought second-hand, it needed a good clean

It's worth exploring 2 widely used open tunings: DADF#AD - basically an E Maj open tuning but a whole tone down. I think Joni Mitchell used that quite a bit. The other obvious is DADGAD and Tony McManus is an exponent - he has some vids on Youtube and explains the whole thing very well. I've personally found some care in choice of strings / gauges is important as dropping a whole tone on the low E (for example) it can easily become sloppy. I suspect the devotees have guitars set aside and set-up for the above tunings. I recommend Tony McManus 'Introduction to DADGAD' on YT (YT prevents me from embedding that vid here, but it's easy to find). https://www.youtube.com/watch?v=yl9q6dFOpA4

I would say if you don't want to learn it, don't. I'm in a similar position to you. I had an acoustic for years but never really did much other than strum a few chords or play simple songs from books. I got an electric guitar about 5 months ago and know a few scales and a bit about chord formation. I pick up bits and pieces of theory from books and videos, but it doesn't always sink and and stick. I'm thinking about taking lessons, but don't know if I would get into the theory side.

Got that one in before the guitarists start arriving.