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Post by blueshome on Nov 3, 2021 9:17:08 GMT
We’re on a roll, so -
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Post by blueshome on Nov 2, 2021 18:46:19 GMT
Some real drive here, nice sliding too:
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Post by blueshome on Nov 1, 2021 11:30:09 GMT
The vast majority of Teles and Strats (and so on) have been produced using CNC manufacturing for decades and they seem to be quite popular and I'm willing to bet that applies to Gibsons of most sorts too nowadays, but I do take the general point made. Indeed Hartley Peavey was at the vanguard and whilst an acquired taste to some the "T" series inatruments are really great guitars. Overall it should be down to what speaks to the buyer at the point of purchase, and the methods of production shouldn't really be the overriding criteria. Resophonic guitars can sound good but so can many other genres of guitar. When I acquired my MMB I barely touched any other guitar for a couple of years because it was so torally beguiling, but then other guitars caught my attention once more. I note that my resonator is the only one in this house that is tolerated to live in the sitting room ... e&oe ...The issue here is acoustic instruments. Strats and Telescopes were designed to be mass produced. Most large makers use CNC, they may hand finish necks on their up market instruments but, in general not. Probably why you have to go through a stack of modern Gibsons before you find a good one. Taylor guitars are, in my opinion, a waste of great wood, all designed and made to sound the same and have a noticeable absence of bass. The only good one I’ve ever heard was a Baby. They were originally designed for West Coast studio work where they would be plugged in. Another feature was a neck that would appeal to electric players. I don’t discount the use of science, but the most important factor is the ears and eyes of the luthier and he/she making the best use of the materials to hand.
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Post by blueshome on Oct 28, 2021 13:02:01 GMT
I agree about the triplate, I too plat a nickel silver Fine Resophonic. I can see your point about variability with Nationals but can’t see the point of using a Mule as they are not constructed like a National and have a completely different sound.
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Post by blueshome on Oct 27, 2021 11:13:01 GMT
The last place I would start such experiments would be with a Mule. They do not have the typical National sound - I would start with a Style O and a Triplate.
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Post by blueshome on Oct 26, 2021 9:43:04 GMT
I wonder if a similar exercise has been done with National style guitars - triplate and single cone? I’m sure the results would be different.
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Post by blueshome on Oct 23, 2021 11:35:16 GMT
I’m sure this has gone up before, but it’s our way to see how to play in the style of Josh White. Vasterpol in C.
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Post by blueshome on Oct 21, 2021 11:59:55 GMT
More Josh White, superb guitar again in Vasterpol.
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Post by blueshome on Oct 18, 2021 11:10:01 GMT
Josh playing out of Vasterpol as in many of his 30’s recordings.
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Post by blueshome on Oct 6, 2021 10:49:52 GMT
From the 60’s. Doug played a National in Vasterpol. What a voice, straight out of church!
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Post by blueshome on Sept 28, 2021 10:25:17 GMT
Not seen this before. Beautiful live footage of "The one and only tail dragger, better known as HOWLIN' WOLF" Wolf and Hubert Sumlin are both playing brilliantly, so is the piano player who I don't think is "Destruction"... phew! Shine On Michael This is from the 1964 AFBF. Filmed in Germany. I was fortunate enough to see the festival in Bradford. Sunnyland Slim on Piano.
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Post by blueshome on Sept 27, 2021 11:17:25 GMT
The tape winding damps the string vibration. This is the favoured sound for heavily strummed arch top rhythm or the dead sound favoured by many jazz guitarists.
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Post by blueshome on Sept 24, 2021 9:56:44 GMT
Time to take a taste of the man:
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Post by blueshome on Sept 16, 2021 10:41:40 GMT
There’s a CD available with notes and analysis by our friend John Miller. Essential - Feels Like Murder Here
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Post by blueshome on Sept 12, 2021 15:02:27 GMT
Just had a thought, Mule recommended a large diameter string ( more ‘ mass’ better sound) but wanted it at a lower than standard tension, so tuned down a half step. I have a feeling that Newtone strings already do a low tension large diameter sets, but these should get that ‘better ‘ tone at pitch which should please the fiddle players. Pete His physics are all to pot. It’s the energy absorbed by the string which is the factor and this is proportional to both mass and tension.
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