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Post by Stevie on Dec 25, 2022 14:53:25 GMT
Robbie.
I have his "Christmas Carols" CD on rotation.
Thank you Robbie.
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Post by Stevie on Oct 26, 2022 13:00:29 GMT
Some folks confront alopecia with wigs or snake oil, others like myself (after a brief spell of melancholy) understand that one cannot resist the inevitable and rely upon hats to screen the melinoma rays and frost. In the same way, guitars like everything and everyone else without exception learn to appreciate that entropy is ineluctable. Canute like, we can only ever do our best to accelerate it in a negative fashion. I wouldn't criticise anyone who deploys a syrup, after all- there will never be any more fecund follicles found beneath their titfers. The YouTuber did state that his efforts were at least reversible and displayed relatively greater understanding of tin cans than yer garden variety "luthier". That guitar was in such good condition that one has to wonder exactly how much playing it had been exposed to. For a lap style instrument, the back was in extraordinarily good shape. I wonder why?
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Post by Stevie on Oct 25, 2022 8:32:01 GMT
That's really nice work Pete.
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Post by Stevie on Oct 22, 2022 7:57:54 GMT
Nice job so far Pete. I think Warmoth do such an option on their necks, but I couldn't make out why. I figured that with sitting down compared to standing up, the elbow-wrist-hand position inevitably changes to a degree, so what would the point be in going to such an extreme, but I guess that's an ingrained prejudice arising from an initial two years of classical lessons (thumb over verboten!) CRS now!
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Post by Stevie on Oct 18, 2022 12:31:32 GMT
I know mine is "only" an MM, but setting aside the logistics I'd be in a queue for one of Rik's refinishes in a split heartbeat Davey!
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Post by Stevie on Oct 12, 2022 12:04:22 GMT
Well I'm not holding my breath for him to show up, but I reckon Faraday would have put his $0.02 in. The key is in the word conductor, so if it will pass Coulombs per second I guess we're in business.
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Post by Stevie on Oct 12, 2022 9:40:32 GMT
I've definitely seen "stainless-steel" strings for sale ...
Intrigued, I have just applied a rather large Neodymium magnet to an unopened packet of Newtone Electric Masters (I bought two such magnets to make a jig for re-magnetising pole pieces after being forced to use a 100 watts heat gun to solder the "ground" lead onto a P90 chassis) and there is an appreciable attraction. I then applied it to the strings on my acoustic guitar. There was no attraction whatsoever (until I slid the magnet over the frets.) Those strings are the much reviled coated D'Addario EXP16. I use those exact same strings on my Heritage Sweet16 jazz box with a humbucker and the guitar amplifies just fine despite exhibiting zero magnetic attraction from the Neodog magnet. There is an unopened packet of D'Addario EXPs in my acoustic's case and that IS attracted to the magnet. I suspect those are from the more recent "New York Steel" designated batch. A square wheel? Hmmm ...
The bottom line; I can demonstrate strings exhibiting zero magnetic attraction that are working just fine through an amp, and I cannot believe it is pick up microphony.
Discuss.
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Post by Stevie on Oct 11, 2022 9:00:48 GMT
Rings my bell for sure.
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Post by Stevie on Oct 9, 2022 15:57:03 GMT
Pete I suspect that there's more to this than meets the ear. It's true that the high Chromium content of "good" stainless-steel reduces the carbon content influence of plain steel vis-a-vis slicing through the magnetic field(s) of pick ups. That said, I have had it demonstrated to me that the plinky sounds generated by plucking the strings between a TOM and stop tail piece or after the saddles on a floating "bridge" translates to appropriate sounds emmanating from the amp. I find it difficult to envisage the string vibrating over the pick ups and thus slicing the magnetic fields to create a micro voltage when picking behind the bridge. I guess I'm missing something here, possibly related to harmonic responses, but as I said- not totally clear to me. As a radio ham, I note that the incoming electro magnetic wave is not too fussy whether the length of aerial wire it encounters in its path is ferrous or not, and in that case slicing with a metallic conductor is the same as the electrical principal of inducing a voltage in a coil. I know someone somewhere will educate me! Help!
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Post by Stevie on Oct 1, 2022 8:25:51 GMT
I think everyone knows I'm the last person to come to for advice, so I'm going to restrict myself to indicating my own conclusions. I learned from one of my two MM videos about using the slide on the ring finger and I immediately found that I agreed with him, it affords better note precision, particularly with damping, but it comes at the cost (for me) of reduced flexibility in "reach" and also what I can do with the other three fingers which is in agreement with Richard's comment about individual digit independence. After those videos, I now routinely swap from one finger to the other depending upon what I'm trying to play. (Emphasis on the words play and trying!) I know it's a subjective thing but I also concur with Richard regarding crooking the finger in the slide. Also, whilst I know when a slide is too long or too short, I don't think too much about length of the slide, and frankly provided a glass slide has some heft to it I'm not too worried about whether it's fashioned from glass or metal. I reckon 40-odd years in factories with non-stop banging and constantly leaking airlines put paid to the discernment of what are for myself subtle niceties, but that said, I CAN hear many things down in other noise (like the alarm on the cooker or washing machine in the kitchen when someone here has The Archers on the wireless in the sitting room. I put that down to decades of listening to morse code radio transmissions so I can't be that badly affected. The best advice has already been provided repeatedly by others which is that experimentation is the key.
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Post by Stevie on Sept 28, 2022 8:44:13 GMT
From time to time I comment that I play mostly in CGCGCD, and my 25.5" scale acoustic handles it very well indeed with a 12 thou' set of D'Addario EXPs, but PD makes a very valid point about circumspection regarding finger and thumb picks. On an older guitar (Yamaha LS400) I developed a technique of playing up strokes with the thumb on the low C to compensate for the "flapping", but I no longer find the need for that bizarre approach.
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Post by Stevie on Sept 23, 2022 8:24:37 GMT
I keep all my acoustics in CGCGCD with a view to reducing the static load over time, and I tend to favour playing in that tuning to the extent that standard tuning seems a bit too "tight" to me now. Perhaps the low C is a little too low really, but my first grab guitar handles it more than just well enough. What I haven't bothered to investigate is whether it's the lack of a third in the primarily roots and fifths cittern-like tuning that makes the guitar seem to sing rather than the lower pitch itself. The major/minor leaning dichotomy is absent from such a tuning and presents certain hurdles to address in transcriptions. The whole pitch subject is really interesting, even in small increments, and for myself proof positive that an a-la carte enquiry is more rewarding than the bar snacks menu.
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Post by Stevie on Sept 21, 2022 11:57:20 GMT
Well done Pete, a useful selection of toanz. A very good demo video too. Unboxers eat your hearts out.
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Post by Stevie on Sept 21, 2022 11:55:24 GMT
'Ow many!
Have a great day and an even better evening PT.
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Post by Stevie on Sept 18, 2022 8:23:43 GMT
For years, nay decades, I proclaimed myself to be agnostic because I could no more prove the validity of religions than I could disprove it, but one day I realised that my sitting on the fence was a cop out, and I should stand by my convictions, and so my Damascine conversion from tolerant disbeliever to Philistine gentile was complete. As Freddie said "I want to break fre-ee". Once you question something and keep on asking questions, and this applies to everything you encounter in life, you will ineluctably flush out the rubbish in anything. The only defence left to such searching enquiry is to answer those questions with yet more questions, and that soon becomes transparently vacuous to anyone claiming sentience who dares to question.
432 Hz as opposed to 440 Hz? Whatever floats your boat I reckon. One thing is obvious to me is that 432 Hz HAS to manifest as a different tension which MUST result in a change in "playability", albeit too subtle to quantify? I used to work alongside a tall Walloon fellow at Airbus who cut a thrust with his shaved head and a long "Neo" like leather coat while I tried to keep up as he long-strode around the Hamburg facility. He once said to me that if you cannot measure something you cannot record it, and if you cannot record it you cannot control it. You are reduced to speculation and mêmes. I'm afraid I see evidence of that here when proclamations are made. It must also change the downward pressure on the cone which as anyone on here will concur alters the "drive" on the cone tangibly, or at least by a theoretical understanding of the forces involved.
I was not aware that 432 Hz prevailed prior to some date in the late 1930s- live and learn etc, but it does kind of imply that the inspired inventors of the resonator may have had 432 Hz in mind, if only in the break angle they chose to set up the guitars to compensate for an oh so slightly lower cone driving force. Well, there's a thought!
Whether any such difference is detectable is less moot in my mind than the inconvenience of always being a few cents flat in an ensemble.
And now I must return to my hot cross bun!
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