Dad3353

You give no inkling as to time scale here; are we talking days, weeks, months, years..? 'Plateauing' is a well-known phenomena in the learning process (not just instruments; it occurs in many other fields...). How to avoid it..? Difficult. What to do..? Work through it. For how long..? No idea, as it varies even for oneself. One or two tips, however... 1 - Practice little and often, rather than super-long sessions. Two bouts of fifteen minutes each, per day, are worth more than any two-hour stint. 2 - Little..? Did I say 'little'..? OK, but regularly. This is key; every day, with no exceptions. 3 - Start again: Pick up your very first method book, or first lesson notes, or whatever you started out with. Go through it, from the beginning, as if you're starting again. Do the exercises diligently (no cheating..!); it'll get you back, rapidly, to where you are now plus a bit more. 4 - Pick up your instrument as a 'leftie' (or 'rightie', if you play 'leftie'...); that how it felt when you began, and shows that progress has, indeed, been made. 5 - A bit more difficult, but essential... Arm yourself with a big bucket of Patience; all players, at all levels, need this, and need to fill it up regularly. Learning is a Long Game, and never finished. Just when you think you know it all, you realise that you don't. This is Normal. 6 - Set yourself achievable goals (targets...). A song to learn, a technique to attempt, a genre to bring on board... Give yourself a decent time scale for it, and add it to your practice schedule. Go through the basics, go through your next lessons, then have a go towards this target. Every day in short sessions, going back now and again over older stuff. It'll work; we've all been there. Now for my tried and tested 'words of encouragement'... 'It's the first forty years that are the hardest, after which things sometimes tend to get slightly better.'

There is no serial number embossed into the back of the headstock, which indicates, to me, that it's an unofficial copy of the EB-0. It may well play well, but would have next to no resell value. The illisible signatures add nothing to that, I'd suggest.

Nothing, I would say. It's just floating around, not used.

It's basically an 'E', played at the seventh fret on the 'A' string, and using the 'pinky' for the 'hook' note bending. He's muted the 'E' string with the wrap-around thumb. Not all the strings are played. You could just play any 'E' chord; t'will fit, but at that position he can get that bend in. Hope this helps.

Good morning, @ciderman, and ... ... Plenty to read and amuse you here, and lots to learn and share.

Good afternoon, @Ray1974, and ... ... Plenty to read and amuse you here, and lots to learn and share. We all, without exception, started out as 'total newbies', so you are far from alone.

Yes, using the timing indicated by the horizontal bars, or parallel lines, below. No bar..? It's a crochet. One bar..? It's a quaver. Two bars..? It's a semi-quaver. Is that enough information, or do you need more..? It's equivalent to these ...

I see nothing untoward in what's written there. What is it that puzzles you..? The numbers are the fret positions for each string, the oblique lines are the strokes to be played, for the duration indicated by the horizontal bars joining the notes. The 'dot' indicates that the length of the note is to be 50% longer than normal. The 'mf' means quite loud, the 'p' means piano, so softly, the 12/8 is the time signature (rather like 3/4 waltz time, but faster, like jigs and reels...). That's it, really. What have you not encountered before..? ('Bohemian Rhapsody' is not really a 'beginner' piece; it has its complexities...). Hope this helps, if not clarify your concerns..?

Good evening, @Matt81, and ... ... Plenty to read and amuse you here, and lots to learn and share.

Part 11..? I've been away from this Forum for longer than I thought..! (... and I still don't 'Instagram', soooooo ...)

Luckily for me, I don't 'do' Instagram' or whatever, but looked up the answer, and now have no regrets about not 'doing' Instagram or whatever. Not my style, at all.

The barring finger doesn't have to hold down the 'G' octave. It can just as easily just touch it, as a 'mute', to prevent it ringing out.

You can do a lot with a Thinline Tele Deluxe, but for compact, it's hard to beat the Hofner Shorty guitars. Everything that full-sized will do, for much less than £200. It ticks all the boxes you need, I think. Worth a look..? Thomann : Hofner Shorty Deluxe ...

Suspect things to check would be... Plug a set of headphones in; does the amp sound normal through them..? If so, it could be that the internal switching in that socket has been dislodged, cutting off the speaker. See about replacing it..? Any and all the connecters, to be (carefully...) removed and put back exactly as they should be (unplug the amp from the mains first, of course...). The fall may have unseated one or several; removing and putting them back may correct the issue. It's possible, but unlikely, that the speaker itself has been jolted enough to prevent the voice coil from moving, so no, or very little, sound. Gently push the speaker cone forward (from the back...), just a little, to see if it has free movement, with no 'rasping' sound indicating that it's rubbing on something. The ultimate test for that would be to connect the speaker terminals to another, known 'good', speaker. Hope this helps.

Why do you need a neck p/u if you have a modeller..?

I don't know the song concerned (and I'm a drummer, so...), but I tried this and barre the 12fret 'G' and 'B' strings, so never get an open 'G'. I used only upstrokes (no pick; I never knew how to use 'em...), and use the Ring finger to alternate between the B-15 and the G-14. I can't get stupid fast (did I say that I'm a drummer..?, but it sounds clean to me. Not sure if this helps at all.

I'd echo the above ^^.

A Thinline Tele Deluxe is a fine beast indeed. Well worth considering, I'd say.

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

(Tongue in cheek, mostly...)... When you're next in France, bring it here; it's exactly the style of guitar that I affection (I have archtop Hofners and Samicks, guitars and basses; an Aria wouldn't go amiss...). It would get played..! On a more serious note, adding a floating p/u would be maybe the 'least-worst' option, and reversible to boot. Re-wiring with different p/u's etc would be a real waste, I'd say, both of the guitar and any money spent on parts swapped in. Storage..? Hmm... Who knows what your style may evolve to in the coming decades..? A bit of a long shot, though. No, I think the best thing would be to give/sell it to someone who will appreciate it for its intrinsic qualities, and even its provenance. How to find such a person..? Hmm... A tricky one. When are you next in France..? ...

Good afternoon, @Screaming Dave, and ... ... Plenty to read and amuse you here, and lots to learn and share.

Good afternoon, @twingytwangy, and ... ... Plenty to read and amuse you here, and lots to learn and share. Can't help with the search, I'm afraid. No clue at all, sorry; except Govan Guthrie, maybe..?

Good afternoon, @PRC, and ... ... Plenty to read and amuse you here, and lots to learn and share.

I'd suggest that the best answer for this question would come from a decent guitar tutor near you..? It needn't be a long set of lessons, just one or two, so not expensive, but it would set you on the best path for your objectives, give advice as to any corrections to faults creeping in, and prevent any more long-term issues from a physical health standpoint. We can't see your location, but there is probably someone near you that could be recommended by a Member here. Worth considering..?

I'm not sure that this is right (or I've misunderstood..?). Once the looper has 'recorded' the loop, it will replay exactly as recorded. If the OD pedal is before the looper, the loop replay will always be 'clean', and never affected by the OD being switched on or off. If the loop is 'recorded' with the OD engaged, the loop will always play back with that effect, but the 'live' guitar would be either 'clean' or OD, depending on whether the OD was on or off. I don't see what advantage could be gained by having the OD after the looper, as it would affect both the 'live' guitar and the pre-recorded loop; both would be affected by the OD at the same time. Disclaimer : I'm a drummer, and, when I play guitar, it's always 'clean', and I don't have a looper.