Guitar questions
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"I don't remember if it was a Stratocaster or a Telecaster but I do remember..."
WSS
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Was what?
WSS
The guitar that Meatloaf was going to kill:
I've never heard that before in all my days of living but that shit sucks.The guitar that Meatloaf was going to kill:
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I've never heard that before in all my days of living but that shit sucks.The guitar that Meatloaf was going to kill:
One Post From the Truth said:
I've never heard that before in all my days of living but that shit sucks.
You never listened to the second Bat out of Hell album?
I don't know Steve....that rant at the beginning is reminiscent of some of yours.
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One Post From the Truth said:
I've never heard that before in all my days of living but that shit sucks.
You never listened to the second Bat out of Hell album?
I don't know Steve....that rant at the beginning is reminiscent of some of yours.
I've heard songs off of the album. But ya I guess whatever that was playing was cool at one time but for me it's not very cool.You never listened to the second Bat out of Hell album?
I don't know Steve....that rant at the beginning is reminiscent of some of yours.
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I guess it really doesn't matter just a hobby for me just was kind of wondering how someone with more expertise would handle a song with different guitar parts. Lots of examples I'll post tonight Thanks guys seriously.
One Post From the Truth said:
I guess it really doesn't matter just a hobby for me just was kind of wondering how someone with more expertise would handle a song with different guitar parts. Lots of examples I'll post tonight Thanks guys seriously.
Check out youtube for examples and covers. Covers don't exactly require an exact replication of the song. If you can nail the rhythmic pattern of the song and hit the chord changes, you'll be fine.
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Thanks man. It really doesn't matter anyway I'm just playing by myself but just wondered how ya all tackled it.
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from my experience, it's a big plus to play the right chords...
and sing like Bob Dylan, Charlie Pride, and Louis Armstrong....
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Thanks man. It really doesn't matter anyway I'm just playing by myself but just wondered how ya all tackled it.
One Post From the Truth said:
Thanks man. It really doesn't matter anyway I'm just playing by myself but just wondered how ya all tackled it.
Stuart
Your question didn't make sense. You play the prominent part, the part that most identifies with the song.
Its also possible that you think there are two guitar parts being played when in fact the player is playing chords while at the same time adding embellishments, grace notes, riffs etc.
If you plan to entertain with just you and your guitar, most people are more impressed if you can imitate the original recording, because its what they recognize, unless you're playing at a jazz club where improvisation and playing the song your way is what the audience is looking for.
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One Post From the Truth said:
Thanks man. It really doesn't matter anyway I'm just playing by myself but just wondered how ya all tackled it.
Stuart
Your question didn't make sense. You play the prominent part, the part that most identifies with the song.
Its also possible that you think there are two guitar parts being played when in fact the player is playing chords while at the same time adding embellishments, grace notes, riffs etc.
If you plan to entertain with just you and your guitar, most people are more impressed if you can imitate the original recording, because its what they recognize, unless you're playing at a jazz club where improvisation and playing the song your way is what the audience is looking for.
Yes the question does make sense. You like to argue.StuartYour question didn't make sense. You play the prominent part, the part that most identifies with the song.Its also possible that you think there are two guitar parts being played when in fact the player is playing chords while at the same time adding embellishments, grace notes, riffs etc.If you plan to entertain with just you and your guitar, most people are more impressed if you can imitate the original recording, because its what they recognize, unless you're playing at a jazz club where improvisation and playing the song your way is what the audience is looking for.
What key is "long way to the top" in? Just an example of the original recording being over dubbed then played a half step down. It's a quandary in some songs.
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I would say the long and winding road is in the key of D because that's where it resolves.
WSS
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I would say the long and winding road is in the key of D because that's where it resolves.
WSS
Well seriously Steve when you play along with reel to reel tape you have to tune down a half step. Same with cassette. When acdc recorded they overdubbed. See the confusion? If you are stacking tracks its a quandary. Back in that time period there was a lot of live recording as you probably know.I would say the long and winding road is in the key of D because that's where it resolves.
WSS
Some play the song I was talking about in different keys but as I was saying also...it really doesn't matter I'm not a pro and don't play out just wanted to know how other trained musicians tackle it. There are other songs I'm interested in too but "long way to the top" was a prime example.
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Keep in mind that it's not uncommon for a producer to speed up the master tape for the final take. It tightens it up a little bit.
WSS
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Thanks VK.
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VK that question is from the Bat out of Hell excerpt.
I personally don't like Fender anything except I did have a London Reverb amp back in the day.
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VesnaKociper said:
Most likely it was the Telecaster. Strats have been a R&R staple for many years. The Tele is the choice of Country players. It is more challenging than a Strat or a Les Paul.
The larger neck radius (think the curve of the surface of the earth versus that of The sun) allows more freedom for traditional technique players (Eddie Van Halen, Steve Vai) who rely less on tricks and more on skill. It limits however a lot of the cheap tricks that Les Paul and Strat Players can get away with for a variety of reasons.
Strats, with a 25.5 scale length have 3 pick ups and a vibrato bar, and a comfortable neck radius. Les Pauls have a shorter scale 24.75, use longer sustaining humbucker pick ups and allow for short cuts and tricks. Guys like Santana, can make some great tone, while being short on technical skill.
TMI
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I'll agree on the Hi Watt. I had one at one time. It was an A amp and solid state. I like solid state amps better than the tube amps. A lot of peeps would disagree on my taste but I like clean power and let my effects to work at their best. I'm really picky with my effects as well.VesnaKociper said:
Personal taste is personal taste. The reason Fat loaf didn't like Teles is because country guys played them. I don't like a lot of Fender Amps, although for pure clean tone the Vibrolux and Bassman 4 x 10" with the channels jumped are hard to beat. Especially if you like fingerstyle jazz, Chet or Wes Montgomery styles, which I happen to play a lot of.
For rocking out, for me the Hi-Watt Classic 50 with a slant front 4 x 12 is the best amp I have ever owned.
As for guitars I've owned some strats but as I grew older I learned about my own tone and I like a guitar with a very passive humbucker at the bridge and something not so at the neck. Anyway ya love Hi Watt but my choice is Randall.
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I always loved the Sound Pete Townshend and RATT got out of theyre HiWatt amps.. they are known for having a great HOT searing guitar sound.. Crunch and choppy sounding but not overly thin..but it was a great amp to use. They cut well in the mix.. The clean sound.. not so great.. Fender Black face the 65's and fender bassmans doit for Me clean tone wise. And the old Supro's would be another..
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VesnaKociper said:
I never enjoyed an amp more than my Hi-Watt, the bad part about it was that the clean channel was noisy. I was playing in a band that did rock, polkas, jazz, country, and pop. When I put an arch top, or needed clean chords for the polka stuff, since we didn't play that stuff loudly, the hiss was almost unbearable. I wound up using a noise gate, which always blows when you play live. Still, I wish I never sold it. For me, nothing ever touched the Bassman 4 x 10 for a clean tone....unbelievable tight bottom end. Once I made a REALLY dumb choice and purchased a Peavey Classic 50 w a 4 x 10 cabinet (piggy back style) because I thought I could sacrifice the clean sound for the peaveys channel switching. That Peavey amp sounded nice cranked up and distorted, but if you didn't play it loud, it was shit.
My objection to Fenders is that they don't sound thick at low volumes. Even the blues JR....30 watts? Its too fucking loud to get nice tone.
I have a Crate V18 Class A tube amp now, and it is one of the nicest sounding amps I ever had. No channel swiching but I can get it right on the verge of crunch, back off the pickup volume just a twat hair and keep it clean. Punch in the humbucker and it crunches. Kick in an overdrive pedal and boom, I am covered. 18 watts however is borderline loud for anything over 100 people.
Try the new Fender ML series that came out last year . Theyre a great platform for pedals.. and has a nice round tone.. it's voiced to give the bridge pickup a rounder tone
http://www2.fender.com/experience/fender-tone/michael-landau-demos-new-hot-rod-deville-212-ml/
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Very cool Axe. Woos $600 bucks for one of those what a bargain. Hey is this one of the effects you have? If so buying this did it replace other effects or do you just use it for amp simulation?
Give us a review man.
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