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Post by creolian on Mar 26, 2017 13:59:05 GMT
Is that a real guitar... I mean, is that a Mexican guitar or is it a sears guitar ?
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Post by creolian on Mar 25, 2017 17:12:23 GMT
I'd look first at the bridge and then the nut as being the most likely culprits. A dust woofie in the grooves of either will dampen a string.
HtH Jeff
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Post by creolian on Mar 25, 2017 11:40:17 GMT
I remember traveling through the delta as a child and seeing country roads and cotton fields lined with sharecropper shacks, many with no doors or glass in the windows, barnyard animals on the porch and an overwhelming sense of poverty that would give anyone he blues. Now the shacks are all gone and many cotton fields have been converted to catfish ponds. Probably the thing most changed is that you rarely see people in the delta countryside that aren't either driving a tractor or are blues tourists... One thing the article mentions is the fife and drum. As a stage manager at the jazz fest in new orleans, I worked with the Como fife and drum corps in the 70s and that was another eye opener to the cultural collision that fostered the blues. Imagine Yankee Doodle doing the Watusi... edit added link : www.msbluestrail.org/blues-trail-markers/otha-turner
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Post by creolian on Mar 23, 2017 22:11:08 GMT
Hi Jeff Absolutely, the material and the amount of holes in it, affects the tone and projection of sound of a resonator guitar. An extreme version of what I am saying would be playing your guitar without a coverplate. The sound has less projection and less focus. It makes a lot of difference. Having tried early National coverplate designs on my MM guitars, I realised why John Dopyera and the gang went with the classic sieve-hole coverplate, which is what you have on your guitar. Shine On Michael "Posted by bryanbradfield3 hours ago An interesting experiment is to progressively cover the cover plate holes with gaffer or duct tape and note the tone and volume differences." thank you both, this makes a lot of sense in that more cover would load the cone and reduce self resonance resulting in tighter more articulate bass, somewhat like a tuned baffle speaker cab. I like the tape idea and will try it out, I'm looking to get a little more lower end and maybe that will do the trick. It certainly is more economical than purchasing another cover and opening it up with the drill press all best, Jeff Read more: michaelmesser.proboards.com/post/73919/quote/9567?page=1#ixzz4cBiwOl3f
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Post by creolian on Mar 23, 2017 14:55:53 GMT
Still playing away on my new reso and the Peter Turner thread has got me wondering about cover plates and frequency response. Mine has what I would call a colander cover with many small round holes. Typical of what I see on a style O.
My knowledge of acoustics lead me to believe larger holes in the cover will pass lower frequencies and Im wondering if anyone has tried various covers on a single cone guitar and what were the results.
TIA Jeff
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Post by creolian on Mar 22, 2017 22:45:31 GMT
Getting to that cost range I might as well look for a vintage national... and that cover plate looks like there should be a priest behind it. On the other hand, that spalted wood Tele looks pretty good. There's also WAS a neat photo of Peter Green in the artists section of the website. edit: website players section edited in the last few hours... no more picture of PG
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Post by creolian on Mar 21, 2017 2:21:10 GMT
I heard this song once on the great WNEW-FM as a teenager...never figured out who it was (no online playlists In 1968)...never heard it again until I bought a used Moby Grape compliation CD yesterday...and surprise. Great tune...a stylistic outlier for Moby Grape. So the guitarist is doing this bend...dont think its a slide...very nice. Thinking this tune must be derived from some old blues tune or phrase... That's either more than one guitar or at least one overdubbed. I listened a couple times and it does sound like there's some slide in there but I can't tell for sure. Anyhowse, this is what I'm listening to... I'm really listening to Sonny Boy Williamson...
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Post by creolian on Mar 20, 2017 16:53:21 GMT
All I can say is come to New Orleans and witness the cultural mishmash... While call and response is an integral part of the blues, it's also been integral to many religious services since? Maybe it's just part of the ongoing stream of human consciousness. I don't know.
For me, To try and pinpoint the moment, place and person who originated the blues is as futile as chicken, egg conjecture. At least I hope we can agree on enjoying the cookie.
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Post by creolian on Mar 20, 2017 14:17:55 GMT
I think most Texans would agree that if it's any good, it must have started in Texas, and the Blues can be so good! PT I don't suppose Rick Howe is from Texas ? Lol... I think Rick is from Australia and really doesn't understand the difference between Mexico and Spain. For those who doubt, I suggest playing a recording of a chitarra and bamboula simultaneously. This can also be a combination of Reels, Jigs and Waltz with the Bamboula. The polyphony will illustrate the marriage of cultures that resulted in what we call blues. Imo, To limit our understanding of how the Blues developed to early recorded music is to limit our understanding. I figure it all goes back to the rhythm of our heartbeat mixed with the melodies of our souls. P. S. Texans still think Dallas won the Super Bowl...
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Post by creolian on Mar 20, 2017 13:21:10 GMT
Texas or Mississipi LOL. Everyone should know that the blues (and Jazz ) was born in New Orleans about 1675 when the slave trade facilitated the meeting of African and European cultures. The rhythmic foundation, call and response of what was basic African tribal communication mixed with the melodic British and Euro influence and an original American music was created. Ironically, this occurred about 100 years before America became an independent country and another 50 years before Napoleon sold New Orleans to America. The early evolution of blues and jazz can be geographically traced by the waterways used at the time... Primarily the Mississippi river. In the Urban centers the music was more formalized and supported more orchestral and combo arrangements leading to Jazz in the cities. In the delta it held on to it's work chant, call and response foundation and remained a mostly solo performance. The development of Blues and Jazz took divergent but parallel paths from a common birth, the collision of culture in New Orleans in the 17th and 18th century With stops at Memphis, St Louis and on to Chicago the cultural and technical evolution of the blues can be traced from one end of the river to the other. Really nothing more complicated than people migrating to work and opportunities, bringing their culture with them. The Red river and the Gulf of Mexico were the only trade routes into Texas and American music did migrate to Galveston, Houston And Dallas but not until long after it was born on the Mississipi... I found the article interesting but about as absurd as saying Elvis Presley invented Rock and Roll.
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Post by creolian on Mar 19, 2017 1:06:12 GMT
Imagine no Chuck Berry > ...no Beatles, no Stones, no Beach Boys,.. extrapolate... Rest In Peace. I'm not particularly religious but I do believe the spirits that have inspired us transcend the limits of physical life. Hence, Rock and Roll will never die ! A great muscian and a great showman, never forgotten, RIP Chuck Berry
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Post by creolian on Mar 14, 2017 22:25:21 GMT
Actually, I have two sack truck set-ups - this is the busking rig. The kick drum is about 4" thick, but sounds great. The little micro-cube is just about loud enough. Only sitting down cos you can't easily stand up in that VW. TT that is too cool ! A regular "mother of invention" but as a life member of the audio visual club I'm a bit embarrassed by the camera placement...
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Post by creolian on Mar 14, 2017 22:17:09 GMT
I generally like to sit when I play resonator guitars and stand when playing electric guitars. Stamping on a wood floor is an interesting one. While it is a very powerful percussion instrument, I think one has to be careful that the foot stomping does not take over from the guitar playing, which with some players it does. When playing guitar, all of the energy should channel through the hands Shine On Michael Leave it to the Englishman to civilize our savage ways . Seriously, living on the Mississippi river a couple hundred miles from the crossroads, my introduction to the blues was listening to Clapton, Page, Beck and John Mayall. It was only after the Howlin Wolf collaborated on the London sessions did I begin to explore the music as played by its originators. I've had the opportunity to see and hear a lot of players no longer with us and none were "purists" when it came to playing the guitar and many times had to resort to making a sound that people out at night drinking would notice. Fact is, audiences here are rude ( not always) and I think it fosters a different approach... these life songs can be told many different ways, none of them wrong if it's got a feeling Ive tried to find a video of John Moony from back when he played a reso solo... he would pack the house and that driving beat from the platform was always there
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Post by creolian on Mar 14, 2017 21:50:52 GMT
I prefer to stand when performing, because it gives a greater stage presence. When playing at home I invariably sit and I frequently stamp my foot (I'm sometimes in time, too). When it comes to slide guitar, I'm still a beginner and so I have yet to gig with my National. When I do, it will only be for a couple of songs - at first, anyway. The heaviness of the guitar is therefore unlikely to be a problem for quite a while - but in any event, I don't foresee a problem: I'm not sure what your Republic weighs, but my tricone comes in at 7.5 lb, which is a touch less than the 8lb of a Fender Strat and considerably less than the 10lb or so for a Gibson Les Paul. That explains a lot... My republic is a Delta rocket which they don't use that name for any longer but I'm guessing it's around 14 lbs or 1 stone. it's noticeably heavier than a Les P Custom I once owned.
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Post by creolian on Mar 14, 2017 18:51:09 GMT
Hello fellow reso's I have a vague memory of liner notes on a Canned Heat album with John Lee Hooker mentioning the building of a plywood riser for him to stomp on. This was mic-ed and used as a percussion track. I also remember John Moony had a plywood riser he would play.. I'm not a professional musician but when I'm playing with my harp buddy it's usually on wooden floors and I find myself stomping pretty loud sometimes. The recent thread about putting a strap on a reso got me thinking about this and although I usually stand while playing an electric solid body, I'm always sitting when playing an acoustic, and am stomping away most of the time. I cannot conceive myself holding the weight of this new metal body republic while standing.
Who stands or sits while playing ? any thoughts ?
Cheers
J
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