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Post by blueshome on Sept 11, 2021 10:39:34 GMT
I think advice on strings and sound from the man who makes expensive guitars that sound like amplified biscuit tins is not really what I would pay heed too. Maybe his guitars need big strings but it doesn’t make them sound good.
I use 15-56 on the triplate and 12-52 on the 95 Style O. The latter sounds so much better since I went to light strings.
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Post by blueshome on Aug 30, 2021 13:21:59 GMT
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Post by blueshome on Aug 21, 2021 12:13:46 GMT
Wonderful stuff
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Post by blueshome on Aug 20, 2021 8:33:10 GMT
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Post by blueshome on Aug 4, 2021 8:54:12 GMT
I have 12-52 on my Style0 with an 18 unwound 3rd. I suggest you try 20 or 21. It changes the sound and feel. I do the same on one or my ladder braced guitars.
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Post by blueshome on Jul 31, 2021 10:44:03 GMT
Richie, I believe Old Lady (at least the Newport film version) is in standard, key of E. Certainly in Aberdeen, the pre-war version, he is hammering on the 3rd string.
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Post by blueshome on Jul 30, 2021 22:11:06 GMT
Allegedly Bocker claimed he liked that tuning to hammer on like Lightnin Hopkins. Re the unwound 3rd, most of the old players rediscovered in the 60’s preferred this.
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Post by blueshome on Jul 30, 2021 15:14:31 GMT
The most dynamic performances. Note the unwound 3rd string!
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Post by blueshome on Jul 23, 2021 8:56:05 GMT
One from our much missed mentor:
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Post by blueshome on Jul 20, 2021 20:37:20 GMT
For the first time in years I looked at the NRP site. About their Style 1:” Like the originals, our Style 1 Tricone is built with a Brass body and coverplate — the same, unique alloy used by the Dopyera Brothers.” So everyone is wrong, they didn’t use German Silver for their tricones. I understood brass was introduced in the mid 30’s after John Dopyera had left National
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Post by blueshome on Jul 17, 2021 11:35:10 GMT
Let’s have some fun! Note the National guitar.
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Post by blueshome on Jul 9, 2021 10:55:09 GMT
While we’re at it, back to the source. Texas Alexander with the great Little Hat Jones on guitar.
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Post by blueshome on Jul 8, 2021 19:09:03 GMT
Back to Buddy Brown:
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Post by blueshome on Jul 5, 2021 11:20:51 GMT
Why mess with poor imitations:
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Post by blueshome on Jun 3, 2021 10:56:51 GMT
Inevitably I’m bound to disagree to some extent Michael. Most of BWJ’s songs are set arrangements but where we have more than one recording of the same song we can hear differences, albeit minor.
The song is clearly a set arrangement of a Baptist funeral hymn written in the late 18thC “Gethsemene” and so the structure will be set, but beyond that, to expect a note for note repetition I don’t think is realistic, as you emphasise, much of the beauty is in subtle touches and these must depend on the player’s mood, how they feel that day, is there an audience?
I would speculate that if we’d had the chance to hear BWJ play this in church with a congregation moaning and singing we’d hear something even more stupendous.
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