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Post by Deleted on Dec 29, 2017 9:43:50 GMT
Feel is what I find missing with the technically brilliant youngsters of today - Feel and Dynamics and over production. 13 year olds with vintage gibsons playing whitesnake riffs - what's not to like... TT
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Post by Pickers Ditch on Dec 29, 2017 10:19:02 GMT
Feel is what I find missing with the technically brilliant youngsters of today - Feel and Dynamics and over production. 13 year olds with vintage gibsons playing whitesnake riffs - what's not to like... TT Interesting point Deuce. Eric Clapton was 21 and Peter Green was 20 when they recorded the albums with John Mayall. They both used 2nd hand Gibsons (as they were then). They both knew about and used feel, dynamics and space. ....but they learned via the listening to vinyl on a Dansette route, didn't they?
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Post by Deleted on Dec 29, 2017 10:43:16 GMT
....but they learned via the listening to vinyl on a Dansette route, didn't they? Yes! And this is what's so different now. I bought a couple of second hand records every week, and I listened to some of them hundreds of times until I knew them note for note. I "knew" who was doing what, what equipment they were using etc. Nowadays, kids (and grown ups) are more likely to listen to a tune once, and then add it to the millions of other tunes on the hard drive. TT
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Post by bonzo on Dec 29, 2017 13:15:18 GMT
Hi PD, deuce, agree with most of what you say, but we often forget we're looking at it from our point of view. We are music lovers, most people aren't. The average person could name fifty songs at a push. (Based on research I read a few years ago). A good many of us could name hundreds of songs, who wrote them, what label it was released on,who the performers are and who did the original! Because we love music. We've all looked for a song for years haven't we? A song that can now be listened to at the push of a button! But someone who loves the music will still get into it and want to find out more,no matter what their age or format they listen on. But it will still only be a small percentage who will love the music. But they are there! There were plenty of soulless over produced bands around in the time when a good many of us got into music,we probably danced to a lot of it! But we also latched onto the good stuff, at which point our circle of friends would change as we started to discover kindred spirits. We'd turn them onto something and they'd return the favour. I still see this going on today. Because a kid can play like Hendrix, which seems almost entry level today, the format they heard it on doesn't mean they didn't have to practice for months on end to sound like that. That alone shows dedication and commitment, and I would hope a love of the music. I still occasionally see young bands that blow me away, admittedly when doing something I'm familiar with! Their ability didn't come online even if the music did. Best wishes to you all, John
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Post by Pickers Ditch on Dec 29, 2017 13:58:37 GMT
Point taken Bonzo, but the ones that get me going are those who play stuff note for note, widdley for widdley as a total flash straight copy. I struggle to get my grandsons of 9 and 14, who are technically pretty good but lack feeling as yet, to understand that you have to bend or pull a note into position rather than hit it clean, on the fret, as the online tab says, to make the thing sound more organic. I think I started to make a tiny bit of progress when I callenged them to identify the guitarist from two notes played. They can now tell Clapton from BB King - just - but they seriously confuse me when they play me Joe Bonamassa or Gary Moore, I'm afraid it could be anyone playing.... ...but, then again, I guess those two learned by copying EC, PG and BB from what I hear. The later generation seem to only go back one step these days rather than go right back to the roots like wot we did, I suppose. Enough of this ol' gits ranting, I'm off to play my reso.
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Post by slide496 on Dec 29, 2017 16:40:13 GMT
Seems to me that it might be easier to duplicate an electric equipment setup than acoustics as now the reliance seems on the electric equipment itself, modifying it with pedals, amps and the like. Duplicating a setup with a guy and an acoustic (or electrified acoustic) like the early players, Son House,Big Joe Williams,Tampa Red for examples, I'm not sure that is possible. And someone like Joe Wiiliams went through alot of guitars and configurations, playing with broken strings and always seemed to sound like himself, same with Son House through the years, flattened notes or not.
I think the early electric blues still carried some of that artist-instrument relationship but perhaps through the years with experimentation and innovation that's become discontinued like an outdated software
And perhaps I am being too harsh but alot of the popular singing sounds to me more appropriate for a Disney cartoon soundtrack or Star search. I don't hear that it's changed that much from the 1983 starsearchy standard with it's faux operatic crescendo banality.
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Post by jodygc50 on Dec 29, 2017 18:49:35 GMT
Jodygc50, I tend to tune my guitar exactly in tune and then adjust one or two to give equal temperament. I then play very flattened thirds and sevenths when I am playing blues. I have always played blues in that way, long before I knew anything about flattened thirds and sevenths. That's what I was saying about 'feel' or whatever it is, we all have our own approach to it. Shine On Michael. Tuning exactly and then making the flat adjustment on 3rds and 7ths when you're playing the note makes sense Michael. Thanks.
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Post by pete1951 on Dec 31, 2017 18:22:07 GMT
One example of an 'out of tune' note that works in Blues has just been posted by tommyboy67. 1min18sec in it he does a subtle push, E and C, with C (the minor 3rd) being raised a 1/4 tone. This is a technique use in many songs. If it was pushed to the C# it would sound wrong. PT
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