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leftybassman392 last won the day on January 24

leftybassman392 had the most liked content!

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About leftybassman392

  • Birthday 16/05/1953

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  1. I've never quite got on with Les Pauls (despite owning a vintage Lefty LP Custom back in the day and currently owning a late '90s Epi set-neck with the original HBs swapped out for a pair of Dan Armstrong P90s), so feel free to take what follows with a pinch of salt... Like other posters I've heard some horror stories about what's been going on at Gibson in recent years, so would be inclined to treat any Gibson original with deep suspicion until I'd actually played it. By modern standards the Epi is not that much above being a budget instrument, but IME the quality of inexpensive guitars generally has gone through the roof in the last 10-15 years. I don't know the recent story at Epiphone, but the £500 or so for the listed model should buy you a very useable and decent-sounding guitar. Again though, I'd be reluctant to shell out for one sight unseen. That's just me though, and it may be that you have no opportunity to try them out before buying (in which case I'd have a close look at the returns policy of the retailer before committing funds). If nothing else will do then go for it, but at around half the price I'd be surprised if the Epi wasn't a very good instrument in its own right.
  2. Lots of great kit out there at sensible prices. I guess it boils down to how important the sound is to you (and of course what your budget is). Being a recidivistic old fart, I would politely suggest that nothing beats a good valve amp for sound; no amount of electronic toys quite manages to recreate that valve magic IMHO. The downside is that they tend to be more expensive than solid state units. After a long and fascinating thread on the subject, followed by a series of instore try-outs (not really an option right now of course) I shelled out a little over £550 on a Fender Blues Junior IV. One other point; don't be tempted by power ratings: the 15w rating on the BJ IV is actually a bit more than I needed for home use (and more than enough for the recording projects I have in the pipeline). 10w will be plenty, and there are some very good valve amps out there with 5w - and lower - ratings too. If that nth degree of sound quality (not to mention hearing the sound coming out of an actual amp cabinet) is not such a big deal then plenty of good options have already been mentioned above. As always, just my opinion.
  3. Hi there Lee. In a past life I was a guitar tutor (and there's a few others around here who have done the same), so if there's anything you need to know then starting a thread in the Theory and Technique section should get a suitable response. Good luck, and don't forget to enjoy it!
  4. In that case I would recommend the following: 1. Improvisation generally works best if you have a half decent understanding of and familiarity with scales. For Blues and early Rock, the minor pentatonic would be a good place to start. Some would doubtless recommend the Blues scale but in truth you don't really need it as you can simply add blue notes into your pentatonic scale as your skill develops. In learning scales, don't forget that the reason you're learning them is so that you can play music. I haven't taught for some years so I'm a bit out of touch, but you can get Blues backing tracks as freebies off the internet - I've just had a quick look on Youtube and there's loads of 'em. Metronomes are ok for building speed and accuracy into your scales, but not recommended for playing actual music IME. As time passes and your technique develops you can start looking at other scale types; Major scale and some of it's modes would be a good place to go next. You may develop an interest in Jazz improvisation, but fair warning, that's another ballgame entirely. 2. Depending on your preferred playing style it might be a good idea to start looking at some fretting-hand techniques: slides, hammers, pulls and string bending are all important tools for Blues and Rock improvisation. Again, there's plenty of guidance around the net. 3. Whilst it is possible to pick up standard licks, trying to learn them in isolation is definitely doing it the hard way. You'll have a better chance of learning them effectively if you've spent some time developing the techniques needed to play them 4. If you can afford it, try to get some lessons from a good teacher. Yes it's an expensive way to do it, but you'll get the benefit of a structured approach and expert guidance. Getting things right the first time is a lot less painful than having to sort bad habits ten years down the line. Your money your choice of course, but just so I've said it. 5. Don't expect to be reeling off classy Blues licks in a couple of weeks; improvisational skill takes time, practice, perseverence and patience. Learn how to manage your expectations. You will get bad days, so be prepared for them and don't let them put you off. Worst case scenario, you can always put the guitar down and come back to it tomorrow.
  5. Slash plays it with 3 fingers, and so do most other people. It is possible to use your pinky for the high G (1st string 15th fret) though. Long story to shreds, do whatever feels most comfortable to you. If you can make it sound like it's supposed to, then it's job done.
  6. Quick question: are you talking about playing well-known licks by other players or improvising?
  7. Indeed so... Good to see you again by the way. You've been missed in, er, certain places.
  8. Thinking about this a bit more, for a lighter sound you could actually lose the low C (especially if you have a bass player to play it for you, and most especially if you're playing Jazz).
  9. Hi buddy and welcome. There's a good theory and technique section hereabouts. It can be a bit intimidating though so if you have any questions that need a proper human being on the other end, there's plenty of us here willing and able to help you out. Feel free to ask.
  10. Hi mate, and welcome to the forum. Plenty to enjoy here depending what you want to do.
  11. As Douglas has said, a good tutor will be able to analyse your situation and offer advice and guidance. I suppose I would say this as an ex-tutor myself, but one of the problems with most online resources is that they take no account of your personal situation. Different people have different ways of learning and absorbing this stuff; if it so happens that the methodology offered by the website you're consulting doesn't chime with your preferred approach to learning, it will always be an uphill battle (with the complication that if you're struggling with it, the temptation is to think that it must be your fault).
  12. ^^^I'll third it. If the high G is important to the voicing of the chord (if you're not sure what that means, don't worry about it ), you can try flattening your pinky onto the first string. Longer term, it is worth persevering with the fingering as shown. It might take a while to get it, but your technique will be the better for it. This chord shape (in either version) is the basis for numerous variations with subtly different sounds, and you can slide it up & down the fretboard to get the same variations on other chords (e.g. if you slide the whole shape up two frets you get D9 and its variations). 9ths and their variations are very popular with jazzers (amongst others of course ).
  13. I used to have one of these. It's an excellent little instrument that punches well above its weight. At the asking price it's a bit of a steal (especially with the Hiscox case), and if I was in the market for a lefty classical I'd have it without hesitation. Good luck with the sale.
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