Oh man, what a cool story...and whew, what killer axes! I was going to ask you to post up some pics....glad you did it anyway. Those inlays are ferocious! I'm sure you can play..stop holdin out. LOL!! Thanks for sharing all this stuff Craig, I'm really enjoying it. I knew that guitar had to be some sort of Frankenstein of something....gorgeous man...all of them.

Do you have a problem playing it due to the weight? I recently acquired an all lucite Les Paul custom...it's 22 lbs and though it plays and sounds incredible, if I play it for an hour standing up, I feel like I got hit by a bus when I wake up the next day. LMAO! I can't even play it sitting down without a strap and even with the strap, it jacks the neck up in the air and leaves indents in my legs. Hahaha!

An interesting turn that this thread has taken from the original context as I understood it into what looks like another 'chops' list or compendium of musical gymnasts.  I think this itself is where muso's and technicians alienate themselves from the casual listener and the importance of song structure.

I'd like to take a different example here of what I'd class as a talent that is able to hear 'what works' for the listener that is after being entertained by music.

I'm going to put Tina Weymouth forward not because I think she has out of this world chops or particularly because I'm a fan of her music but her CV says it all about her and at 60 years old has been able to be current throughout her career.

This is a person that has been able to truly grasp that concept of being able to appeal to all three requirements of popular music the head, heart and hips.

A great if economical bass player with the Talking Heads proved that the groove aspect of that band was as important as the front man acheiving success also with the Tom Tom Club where she also learned some awesome production skills and a talent for identifying a market.

She has also achieved varied success with contributions on various fruitful collaborations including being able to interpret British 'scene' music and the likes of Happy Mondays during the '90's and giving them the massive appeal they deserved.  Then on to the 2000's and again notable contributions with Gorillaz have kept her in front line service.

Now that to my mind is an example somebody who has succesfully bridged the gap between knowing too much about the technicalities and staying in touch with being a fan of the music.

Yet how many wanabee Guthrie Govan kids today will ever get close to having a career like that on both sides of the studio glass?  Yet how many times does she and others like her ever get mentioned in a thread like this.  Nope from what I see it's always about the guitar slingers whatever the genre...

btw this is what the average Guitar slinger sounds like to the average Joe.

Try it! You can't catch a virus from it...

http://www.youtube.com/watch?v=XIHXnDdfOgw

Jonbouy


An interesting turn that this thread has taken from the original context as I understood it into what looks like another 'chops' list or compendium of musical gymnasts.  I think this itself is where muso's and technicians alienate themselves from the casual listener and the importance of song structure.

I'd like to take a different example here of what I'd class as a talent that is able to hear 'what works' for the listener that is after being entertained by music.

I'm going to put Tina Weymouth forward not because I think she has out of this world chops or particularly because I'm a fan of her music but her CV says it all about her and at 60 years old has been able to be current throughout her career.

This is a person that has been able to truly grasp that concept of being able to appeal to all three requirements of popular music the head, heart and hips.

A great if economical bass player with the Talking Heads proved that the groove aspect of that band was as important as the front man acheiving success also with the Tom Tom Club where she also learned some awesome production skills and a talent for identifying a market.

She has also achieved varied success with contributions on various fruitful collaborations including being able to interpret British 'scene' music and the likes of Happy Mondays during the '90's and giving them the massive appeal they deserved.  Then on to the 2000's and again notable contributions with Gorillaz have kept her in front line service.

Now that to my mind is an example somebody who has succesfully bridged the gap between knowing too much about the technicalities and staying in touch with being a fan of the music.

Yet how many wanabee Guthrie Govan kids today will ever get close to having a career like that on both sides of the studio glass?  Yet how many times does she and others like her ever get mentioned in a thread like this.  Nope from what I see it's always about the guitar slingers whatever the genre...

btw this is what the average Guitar slinger sounds like to the average Joe.

Try it! You can't catch a virus from it...

http://www.youtube.com/watch?v=XIHXnDdfOgw

I dunno Jon, I kinda thought maybe it was a few brothers sharing some guitar conversation after a thread that sort of ran it's course...a little bonding and sharing amongst new friends that don't know much about each other. Sorry if it came off as a chops list or gynastics presentation. And yes, I'm fully aware how the average Joe's interpret anything technical on any instrument. You have to remember that there are times when artists are not playing for average Joe's...they are playing for themselves and for those that appreciate what they do, ya know what I mean? I like to play cool solo's in the songs I write. However, if you took the solo's away, I could play any one of my songs on an acoustic guitar and sing to a crowd and be just as entertaining. The hook is what matters most to me...the solo's are icing on the cake for those that may enjoy them. I've only written about 30 instrumental songs my entire life..and only 6 or 7 have been shared with the outside world. The reason being...they are private to me. Fun ways of blowing off steam...spreading my wings a bit and enjoying all the years I've put into my instrument.
 
It is my belief that musos and technical players alienate because they aren't interested in landing the casual listener. They aren't playing for the money totally as much as they are saying "hey, this is me, I'm a technical player, hear me roar...or don't" ya know? I would agree that some do not know the importance of song structure, but then there are many that do.
 
I've never heard of Tina Weymouth but I'm very interested in hearing, so I'll look her up after typing this. I think knowing the technicalities while remaining a music fan are both equally important. There definitely has to be a happy medium I feel. When I write my own songs, though I do write for myself first and formemost, the last thing I'd want to do is lose the little following I have so I make sure to keep the songs that have been a bit more popular for me, in mind when I write. I know what my audience is going to be looking for. I'll give them some of that as well as something new and fresh. But I won't try to redefine the face of music while shell-shocking them. I really don't believe in that and have watched too many artists fall by the wayside. Evolution in moderation, in my opinion. Sure, we all want to grow, experiment and try new things. But when you are accepted a certain way, you sold someone on something. They expect to hear that sound for a bit. I think they should get it for a few records and you evolove and try new things on 3 songs or so on the album and see what the feedback is. You then know what you're up against and what direction you can safely evolve in a bit more. I really think it's important to have this frame of mind especially when this becomes a source of income. Without the fans, you're just an artist. They took a chance on you...it's only fair you give them what they expect in my opinion.
 
As for the Guthrie Govan kids that will never have a career like Tina, what if they don't want that? What's wrong with kids or anyone, just wanting to play an instrument and make some noise on it? The same as that girl in the video. Regardless if she ever makes anything of herself after this, she had a chance to make a little music or at least appear in a video...make some noise, stir up the media and hopefully, she had enough fun to where it was worth it to her. Does everyone that plays an instrument or decides to make a noise have to be seriously thinking about a career let alone a 40 year career? Is that even possible today for anyone? Probably not. I'll let you know in 40 years if I can remember someone making it big this year that is still around when I'm 84. LOL! Sadly, those days are probably gone for all artists due to what has happened to the industry. I do get your points though and understand where you're coming from. :)

I guess I'm saying yes, all the time and for me it is important not to lose sight of the forest in looking at the detailing in the wood.   Tina was for me just a good example of somebody with a great proven ability to do that.

Forgive me though for going against Coffee House tradition and staying on topic even on the 4th page of a thread.... lol.  I don't know what came over me.

Home from work and feeling under the weather today.
 
  I agree. Tina Weymouth and the Talking Heads in general are one of the best examples of an all rounder.  Every instrument was geared to satisfy the senses and work as a whole. I was in high school back in the very early eighties and the metal heads, new romantics, old farts you name it all got into it.  I think the arrangements were brilliant in getting the listener to appreciate a simple synth tone and melody or a simple funky played chord on the guitar which really is well thought out not so simle in the end. I watched a lot of soul train in the 70's as a kid and I was always blown away at how the TH created their own brand of funkiness.
 
  The very early 80's were such a diverse time for pop music IMO. Not pop as the dance type genre thingy but what was popular. A lot of the stations here in Boston that were playing dance/ballad type stuff now also injected AC/DC, the Cars, Duran Duran,TH, Reo Speedwagon, Billy Joel etc. So much to choose from and it was all good. I love metal but I think it slowy became dominant around 84 and squeezed the life out of the diversity a bit. At that time I welcomed the Joe Satriani's, Eric Johnsons and Vinnie Moore's because they were creating music (granted guitar based) with a high level of proficiency and using strong melodies and different scales. Unafraid to push the limits of rock guitar and experiment. Although I listened to some jazz, classical, big band etc. It was those guy's that really opened me up to a lot of different types of music and players on all instruments. It was interesting and good for me to hear things like Holdsworth guitar playing and lines are horn inspired.
 
  An interesting thing for me is that although never reaching top grossing status a lot of the guitar guys have been able to sustain careers, make money sell tours for three decades. That's why I never understood why people who enjoy guitar dominant music complain about pop cheese and such. The guitars never go away. Somebody please play an oboe through an eventide already.
 
 

spacey


"Forgive me though for going against Coffee House tradition and staying on topic even on the 4th page of a thread.... lol.  I don't know what came over me."
 
I'm dizzy...what was the topic for the last 4 pages? ( in twenty words or less...please)

Marcia Brady

Danny Danzi

You being 50, I'm sure your roots go way back and you have dabbled in a bit of everything.

True..I had a little red transistor radio with me all the time when I was 11-12 years old. The thing that got me interested was the little instrumental hooks that you looked forward to in your favourite songs. Might be 3 or 4 choice notes, a pre-chorus thing, a riff, or a motif. Not necessarily guitar, could be any instrument. I have a hard time explaining quite what I mean so here's a couple of examples;

Genesis - Silver Rainbow

2.22 - 2.27 - Tony Banks is playing keyboards in unison with the BGV's, then he does this beautiful little motif on a whistle synth to take the song out of the middle 8 back into the verse - short, but sublime.

Del Amitri - What I Think She Sees

1.08 - the second verse begins and Iain Harvie brings in this lovely, lilting arpeggio guitar. Just lifts that 2nd verse and starts to build the song.

Wolfstone - Piper & the Shrew

As the vid says, 'wait for the fiddle to come in at 1:11' - goosebumps!

These kind of things get taken for granted sometimes, but ever since I picked up a guitar I've been searching for those elusive 'bits' that make you go 'ooh, love that'

http://www.youtube.com/watch?v=eUtG3nePP78  jamesg1213

Danny Danzi

You being 50, I'm sure your roots go way back and you have dabbled in a bit of everything.

True..I had a little red transistor radio with me all the time when I was 11-12 years old. The thing that got me interested was the little instrumental hooks that you looked forward to in your favourite songs. Might be 3 or 4 choice notes, a pre-chorus thing, a riff, or a motif. Not necessarily guitar, could be any instrument. I have a hard time explaining quite what I mean so here's a couple of examples;

Genesis - Silver Rainbow

2.22 - 2.27 - Tony Banks is playing keyboards in unison with the BGV's, then he does this beautiful little motif on a whistle synth to take the song out of the middle 8 back into the verse - short, but sublime.

Del Amitri - What I Think She Sees

1.08 - the second verse begins and Iain Harvie brings in this lovely, lilting arpeggio guitar. Just lifts that 2nd verse and starts to build the song.

Wolfstone - Piper & the Shrew

As the vid says, 'wait for the fiddle to come in at 1:11' - goosebumps!

These kind of things get taken for granted sometimes, but ever since I picked up a guitar I've been searching for those elusive 'bits' that make you go 'ooh, love that'

Hey James. Thanks for posting these three tunes. Great examples for what you're saying. I've always loved Tony Banks and I never heard of Wolfstone but I really liked the few tunes I just listened too. This reminded me of a tune from an instrumental cd that contained music from western and eastern europe I bought years ago in a supermarket for a buck that was in with all the relaxation cd's. Looked interesting so I bought it. I just searched it on youtube and lo and behold it was out there. I think you'd like this tune. The way the intrumentation builds and comes in and out. You may even know it but what the hell.
 
http://www.youtube.com/watch?v=eUtG3nePP78
 

Even though I tend to notice engineering "flaws" or "bad decisions" (in my opinion of course...) if it's a good song and a good performance it usually doesn't keep me from enjoying it. And yes, I have to admit I like some of the cheesey production effects when my daughter is listening to recent pop music.

However, as a musician I have a problem getting past bad performances. A couple of weeks ago my wife and I were at a funeral and a guy and girl were doing a song on acoustic and vocal that I'm very familiar with (having just recorded it myself) and they made quite a few mistakes. Given the setting, it was completely inappropriate for me to be critiqueing their performance... but I couldn't help it.

Danny I answered most of your questions.
Sorry for the format but it's the only way I know.
I'm not addressing many of your statements pertaining to "old" people and the way
you see many things.

You posted many thoughts and the thread moved very fast so this is my take
on it.
I offer my answers out of respect for you. We've had a lot of years here and some
very good conversations..and I hope you understand my perspective on this thread.

Do you guys ever have a problem listening to music as a common listener/music lover now that you have some engineering skills under your belts?

No. But I have trouble trying to “engineer” what I'm hearing in my head for my original stuff.
But I've always wondered what's it's like to enjoy music without trying to figure out the chord
progression or structure...stuff like that the “common” listener wouldn't be doing.
 
Do you ever feel some of your favorite songs you loved years ago are sometimes ruined because you can't stand the sounds of certain instruments in those songs because you know what to listen for now?


Not that I'm aware of and really just the opposite. I've been enjoying rebuilding my collection of my
old favorites that got lost in time.

do you guys ever separate the artist in you and just listen to a fun, happy song and move with it and its melody? Regardless of the Auto-tuning and all the lyrics you may be laughing at or cringing at, wouldn't you agree that someone came up with a pretty nifty hook?


It seems the only time I can do that is when I'm with people and it's really background music.

Ok, it's not my style of music...but can we really be hard on those that have found a way to be successful in this field?

I'm not hard on them. I just don't listen or purchase their music. I have played music when I was
paid to do so that wasn't my style. That was hard because even though I wasn't into it I still wanted
to be a good guitarist and do the part correctly with feel.


Does anyone know how hard it really is to make money as an artist these days? 

I don't because I quit playing / performing in 1986. I do know musicians that are gigging and
they do it for the fun and hope the pay cover's their fuel expense.

If I told you guys I had a big time producer that was interested in 100 songs like what that girl did, and I was willing to pay you $2500 per song, would you still choose to bash stuff like this and stick to your own style of music while negatively talking about another persons success?

No. I won't play ever again for hire and I wouldn't have been bashing “that girl” in the first place.
I never bashed other musicians when I was younger and I don't now. I only determine if I'm interested in their music or not.

Why do people feel the need to bash another for writing a hook that may be considered "sell-out"?

I've never been able to understand why some people do or say some of the things they do...and really don't want to understand them...I just know that I don't want to be like them.

If you had the choice to fly your day job desk vs. writing songs for a living that had bubble gum hooks...which would you really choose?


I chose my day job.

Is it jealousy?


I've never experienced jealousy with music or musicians. Try if we may, no two musicians will
ever sound alike. We are each very unique.

Is it because these good musicians are so theoretical with their instruments that they have no feel and can't write a memorable hook that could land a country?


You're assuming the answer to the previous question is “yes”. I could imagine that the answer could be yes to those that suffer jealousy.

Is it because they think it's too easy?


They may.
Why do people refer to hooks or fun cliche lyrics as "cheese"?

I've never heard that before now. I don't know why. I do know that I don't much care for that phrase
so I'll never use it.

Why is it so bad for a heavy metal band to turn a bit more pop and reach out to a different audience?


I don't know but I'll guess because their fans may feel betrayed. Metal heads...go figure. When I was one I really enjoyed Deep Purple do “Farmers Daughter”.

I've sold a few songs to some big people that were not the commercial rock/metal stuff I normally write. It felt great and it beats driving a truck for a living or flying a desk at a job I absolutely hate that just makes me good money. Who's the real sell-out? ;)

Isn't “sell out” something that another person may think of another?....If one is doing what they
feel is the best thing for them, it really doesn't matter what anybody else thinks. I guess it's just
a form of name calling...many people are like that...I've been called many names here...just recently it was from somebody that apperently grew up watching the Brady Bunch.

But who are we to question how another decides to share "their art"?

Not me. Don't know about others.

Why must be we be so harsh?


I don't know...whose being harsh? Nail 'em down.

Hearing about all this the way *I* have delivered it, have your thoughts on this changed any?

No.

What ARE your thoughts now that you've heard a different side to the story?
I had to wait for a time when I could read all your thoughts and have determined
that I think quite differently about music and musicians....because I don't have these questions.
Can you understand where I'm coming from at all?
I guess so...but it doesn't matter. I think we could sit down and have a blast playing our guitars
togetheer. I don't hold what people think against them if they're not hurting others with words or physical means. And I'm a good listener.

Do we really need to bash stuff like this or any form of musical art?

I answered this. I don't bash stuff. I only state if I care for it or not.

Can't we just accept it? Thoughts guys?
What I would really love, is for someone to come out with a new plugin called "Ears". You load it up and it allows you to hear what and HOW another person hears. LOL!! That sure would be a creative tool if it were possible, wouldn't it?


I guess....but I like the way I hear just fine. I wished I could borrow their mixing skills so I could find out how to do the things the way I hear them in my head. Sometimes I get close but it's really luck.

Ever have an album come out by one of your favorite artists...and all your friends say the album is crap, you happen to buy it and love it?


Yes. Mainly because I listened to many more styles and genre's than them at the time.

Or, the album comes out, everyone brags about it, you hate it?

When I didn't like something it just kind of got blocked out....never listened long enough to hate it.


Ever Melodyned a line sound at a time when someone can't sing? LOL! Ever try to make a melody with it that doesn't exist?


No. I've only used it once about 2 years ago and then I waited for them to do their magic, got that and haven't had a chance to record. Really not much use for it in what I do but I keep it because....it's fun and I hope to have time to play with it.

End of page 1 questions...page 2;

Again I say, though I respect that person, a musician should also be able to write. Isn't a "musician" the complete package?


I felt that way about myself, although I was taught to read when I first started learining guitar (at 6 or 7...I don't recall and my folks have passed)
I 've never felt that others had to to be a “complete” musician.
I do enjoy it when I'm working with mucisians that can...if the skill is called for.

If you play an instrument and just play the notes you read, aren't you more of an instrumentalist?

When I did that I thought I was the lead player...nobody ever called me an instrumentalist. The may have called the tune an instrumental if I played over the vocalist..lol...I won't print what they called me.


How can another artist not share in the happiness and success of another brother artist?

Maybe he doesn't know....I don't how or why. If I knew I would. I did when one of my friends was
doing very well. I was also saddened when heroin took it all away.

Why must there always be this competition?


You're assuming there is and I don't. I stated my reason earlier.

Should someone have to feel the need to research what YOU consider special if it's not appealing to them out of the gate and then be accused of "having no clue?"

Well that's just crazy.

My crits against Beck and BB are really not meant to sound like they are against them personally. It's like someone trying to ram religion down your throat when you are really not a believer. You may sound a bit harsh in your delivery towards God, but you are probably more upset with those that tried to push something on you as "great" when you didn't feel it was all that. Does this make sense at all?


In the context that a teacher may forcing a student to learn what a specific artist may be playing
I would consider that wrong and not a way to keep a student interested.

Am I truly out of line for stating something is not as god-like as people make it out to be TO ME?

No.

That has nothing to do with my appreciation for the player bro, honest. All I'm saying is I find it hard to swallow that because I may not share the same view, the style I chose gets a beating. "All you fast players are all alike" said the man that can barely play barre chords and has no dexterity. Am I bashing him or stating the truth? 

Sounds like you're stating how you feel. I take it that it's your truth.

Or "you guys that use extreme gain need to just grab an amp and turn it up" said the man that has never had the chance to try the rig I play through....but I've tried his and it wasn't my thing. Does this make sense at all?

No. Lost me there and the man did too.

End of page 2....page 3;

The next time you see these guys again, the conversation starts up once more and you tell them that you took their advice and decided to check out these players. You share your thoughts that you can understand why people like them, but their styles are not styles you feel you wish to emulate. You get told the guys you like aren't all that. So in your defense, which you have a right for a defense, you say that you felt so and so was very repetitive, was not very good live, and you didn't feel it was a style that you wanted to add to your arsenal. Are you wrong?

No.

Who is anyone to dictate to anyone else what is great and what is not?

I don't know....not me.

As a teacher and a guitarist that has done my best to be open about everything as well as steal a bit of every style that has appealed to me over my 44 years of life, and also a guitarist that is a bit more into the physics and challenge factor of guitar, would I really be wrong to state that I like BB King but am tired of hearing the exact same 8 note pentecostal scale for 50 years?


No. People burn out hearing something over and over and usually start listening to other music.

Is that any different than you or someone else saying "guitar players in the 80's were pretty cool, but all of them relied on their speed and looks more than their actual playing and songwriting"?

I think it's different. You were tired of hearing music created from a somewhat confined area of music and the other statement is generalizing.


For some reason, I would feel a comment like that would be a bit more harsh than what I have said about Beck or BB King...yet if you said that comment to me, I'd completely understand it and not find it sad at all. Why? Because if you said that to me, you would be as correct as I am when I state that I am tired of hearing the same scale for 50 years. Both of us are completely correct regardless of how many people love that and are still going to sold out shows, yes?


Well I didn't take the use of a pentatonic scale being specifically aimed at the artist. I took it that
you were tired of hearing the blues....limited. So we have different views based on my understanding of what you said.

My point is, the older folks always have to take a stand to defend their guitar gods. Why do I never feel the need to defend mine and why can I accept the crits?


If that's how you feel I think you're wrong on both counts. I'm an older folk and I defend nobodies
playing. There playing stands on it's on.
I don't know why you feel the ways you do.

Why do I or a student of mine have to be told to do the research or learn about something that we aren't into or be called cluless for? This is just not fair and I find it sad that YOU think this is acceptable.

Did I copy this twice?....anyway, You and the student don't have to be told to research anything...who's doing that?......I didn't say I did...I don't understand.
 
End of page 3..

craigb

Danny Danzi


Craig: thanks very much! I've been playing the Carvin stuff since 94 I believe. I really like their guitars. I've got 3 now and the cool thing about them, I get so many sound options that they can pretty much do any style I'm looking for...if only I could PLAY the style. LOL! I got a nice little package on 2 of them. Push/pull active/passive on the volume knob, single coil taps, phase switch. That's all I really need. Man that one in your avatar pic looks amazing. That's one of the coolest "blues" I've ever seen. I'm a sucker for anything quilted. What is that thing, a modded PRS? It's beautiful man! 

The not-so-short short(er) story:  I helped this guy in Ohio with his first CD (really minor help actually) and he decides he wants to make me a guitar.  We were both pushing Line 6 gear at that time with me wanting a nice guitar with Variax guts and him wanting to become a better luthier.  So he made me a guitar to my specifications (body of a Les Paul Studio Double-cut, neck from a Music-man Axis, length of a PRS, etc.) with passive pickups and the Variax guts in it.  He wanted to try to duplicate one of the PRS colors so the guitar ended up being called the "Raspberry Twist" (for the color and extra electronics).  However, he made a mistake.  I originally wanted a S/S/H, but he accidentally routed the body as a H/H (not that I really cared, I was getting an awesome guitar for the price of materials).  So what happened?  He insisted on making me another that was a S/S/H!  On this one (called the "Gaudy Paul") he wanted to see just how over-the-top he could make a guitar so it's made out of exotic woods like wenge and, just like the first, he used Master Grade curly maple (above 10 A and better than what custom PRS' are made from) for the top and back.  I've got Bare Knuckle pickups on both (Crawlers on the Raspberry Twist, Sultan singles and a Rebel Yell humbucker on the Gaudy Paul).  The blue one has a few "extras" of it's own - one of the tone knobs has a custom "Fat-O for Fatties" knob that allows me to use the pickups nine-ways from Sunday and the two switches are used as well (see the second picture below).
 
Here's a picture of the Raspberry Twist on the left and the Gaudy Paul on the right:
 
http://www.nwdreamer.com/Pics/StudiosAndGear/TroutdaleStudio/07-Studio2009-05.jpg
 
And one of the Gaudy Paul showing all of the options it has:
 
http://www.nwdreamer.com/download/GaudyUpdateDetail.jpg
 
 
Since these guitars basically incorporated pretty much everything I wanted from my other guitars, I've sold the rest.  Of course, the fun isn't over either.  He's learned so much making these (he's made about 14 total guitars so far), that he's got another one half-finished for me.  That one will be a light, Korina body with a hot maple neck and a Wilkenson trem.  It will also be a gorgeous red so the name will be the "Red Rocker."  To be honest, the Gaudy Paul is almost too over-the-top to play much.  It weighs a ton and sustains for a good minute and a half, but I tend to just stare at it like I would good art.  Now if I could only play well enough to do these babies justice...
 
P.S., When I can afford to, I'd love to keep him going and get some other "varieties" like a replacement baritone for the one I had to sell.  Plus you KNOW that there are other cool colors I need to try!

Awesome guitars and a great story too.  Your friend does amazing work.

Here is a family picture of some of mine.  The '62 strat on the left is my prize and joy.  None of my other guitars come close to it's "soul".  I bought it from my guitar teacher back around '77 as my first electric guitar for $175 if I remember correctly.  Then it was just an old guitar.  Someone had rattle-can painted it black so I removed the paint and repainted it with automotive finish as you see it now.  I also replaced the frets with the wider Gibson frets.  Otherwise it is all original.

spacey

craigb


Does anyone have Cliff-notes for Spacey's post???  Wow!

Wow is right...Danny sure had or has a lot of questions. LOL ...and my answers.

You only got to Page 3.

Jonbouy

spacey

craigb


Does anyone have Cliff-notes for Spacey's post???  Wow!

Wow is right...Danny sure had or has a lot of questions. LOL ...and my answers.

You only got to Page 3.

There's more? Give me minute.....I only had one question and didn't get an answer....the world's just not fare.

Wow, I turn my head for one day and look what happens.  What a great thread, and I've only covered maybe 1/3 of it so far.  I think there's little hope for me, as I know for a fact that Danny types faster than I can read

Sorry for the format but it's the only way I know.

Just a hint - if you highlight the text you're quoting, and click 'indent', it'll appear as an italicized quote. If you highlight your reply and click 'outdent' it'll appear as normal. Makes long posts easier on the eye.

Karyn

all you guys use too much gain and effects. You need to grab an old Marshall or a Fender and crank it up and play. Get rid of your stomp boxes and gizmo's

I've heard that said way too many times over the years by plenty of people, mostly by "blues wannabe" type players.
 
In fairness to them it was real easy for me as FOH as I knew exactly the sound they were after and if my old desk had had presets my job would have been done in 30 seconds.
 
Here's a question though: Why do you never here the same asked of keyboard players?

 
Whew, at least you've heard it too so I'm not totally out of my tree. LOL! Here's the other thing that also goes with that Karyn that was kinda in regards to my jealousy comment. Did you ever hear anyone bash on a player or a style, and then hear that person play and they could barely play anything to where you would consider them a good player? I can't tell you how many times I hear this. It just really bothers me. It's like, because I'm into different stuff and like a rock edge and some acrobatic type guitar, it's just "bad". You hear the guy saying this play, and you know in 10 seconds that there could be some jealousy there. I just don't get it. It's completely acceptable for someone to say "I don't like this style" but to down it because they themselves may not be capable of it is just wrong and I sincerely believe a lot of it comes from that.
 
As for your keyboard question, in my neck of the woods, all keyboard players are strange characters. Most are very intellectual and dance to the beat of their own drums. It's acceptable for them to be abstract, out there a bit and well....strange. With these guys...the more abstract they are, the more they enhance your band IF they are also decent players. Some board players are "filler" players, others can really bring the house down with incredible playing, sound abilities and a killer sampling arsenal. I don't think anyone would ever question them for 2 reasons.
 
1. The answers they'd get would probably lose most people because of the intelligence of these cats. I've never met a keyboard player that wasn't a smart person in real life with a high IQ. I'm sure there's a few out there that aren't the sharpest knives in the drawer, but I bet they make up for it in weirdness in a good way.
 
2. Boards are pretty much accepted as being "the advant guard" instrument. It's pretty much a no rules instrument as well. The more strange you can make it sound, the more people seem to dig it. Like the sounds alone can take you on a journey with one finger. Ever just fire up your board with headphone and roll tape/disc? It's amazing how much it can inspire you just on the weirdness of the sounds you select in my experience. I can write 20 songs that have the same flavor on my main instrument, which is guitar....and write 20 songs that sound like they came from different people if I play my board. It's like an "anything goes" type of creative instrument in my opinion.
 
Thanks for your response. :)