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E-minor7

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Everything posted by E-minor7

  1. Smoke and steam oozes from the laboratory. The test brings up a series of facets. A more open and spread tone seem to be gained on the cost of dynamics f.x. Is this a logic we recognize from certain scalloped bracings. By now it sounds as if the device could be used once in a while to change the vibe around ones guitar. Something different happens when the ring is in. Other moods, unknown reactions to old routines – maybe new paths ahead for writing.
  2. You saw her in 1968, , , twice ! ! ! That's something extraordinary. I won't even set a metaphore on it. In my mind you placed yourself in the zenit - not only of 60'ties beatmusic - but of western culture as a whole. Yes, I'm serious. Remember any details ? , , , songs, funny little exchanges with the audience, whatever. . . (was Crosby present)
  3. Been a huge fan since way back when (how can she carry this mass of talent) - , but don't recall her ever playing a Gibson. Think I saw a Martin back in time - the dulcimer, yes, , , and some electrics. What about the acoustics ?
  4. This is a very good topic. And for me one of the biggest riddles about the acoustics. Everything around us (inside us) is in 'process'. Even your forgotten plastic bowl from 1962 deep in the kitchen closet, has something goin'. When I some time ago wrote 'the guitars are alive' in these columns, one responded : What. . . ?. This is what I meant - the woods don't shoot new branches with green leaves, but they kind of breathe and move. They dry out over the years and get lighter, that's for sure, but whether this influences the volume, I don't know. My own experience would tell, , , , , NO - science could prove me wrong. Read somewhere that the resin in those tops is slowly crystalizing. It may play in too. What a beautiful thought. A nice sitka-top with hearable secret amber inlays.
  5. Thanks for the first-step description - stay tuned we will !
  6. I'm sure it can be fun, but goin' from temple to circus and back ain't easy.
  7. J.B. - in my opinion - made a wrong move when I saw him solo a couple of years ago. After mesmerizing the audience with intense and focused folk for approx 3 quarters, he declared himself an open jukebox and threw the oppotunity of choosing the next tune in our hands. All very nice and exiting, , , the problem though, was that he stayed in that zone far too long, which might have amused him, but at the same time undermined the character of his material. At some point he lost concentration and things got too 'flux'. This didn't serve his rather serious songs too good and within 25 minutes or so, it was like 'anything goes'. . . . Okay, eventually the swing door stopped, but i'm not sure he ever regained the magic. A big trap for any performer/singersongwriter is to reach a state where you no longer are able to fill your own stuff. Even the best catalogue on earth will suffer when that happens and people out there notice. 2 solutions then : Either drop the warn titles or whip yourself back into the core of the music. This said, the show was worth the trip, and the chance to study all those guitars at close hand was great (between 15 and 18, many sloped Gibsons - flanked by an electric piano).
  8. Yeah, heard some of those songs too. They show how far he has come. Isn't it a thrill when vintage heroes that used to be exuberant, suddenly puffs out a record which makes you celebrate like in the earlier phase. Remember having that experience when Joni released her Turbulent Indigo back in the, , , , , 90'ties.
  9. Have no records either, but regard the man as an absolute master musician. All I can do is to repeat my latest words on the 'Sad day for my J-45' thread. Others will guide you further up in his tower of albums.
  10. "Jackson ended up making a joke about it, something to the effect of how he would never get upset over messing up one of his guitars. Everyone else new better. Fortunately, his guitar appeared to be okay as well." So clumsy things happen to even J. Browne, what a relief to know. To laugh oneself out of it is the way to go, , , on stage. And Jackson can afford it. I saw him solo from the first row a couple of years ago. What a collection of acoustics - think he had 15 or so with him up there. (Many of them slope shouldered Gibsons by the way). I learned Jamaica Say You Will this spring. Always loved the Byrds version and never knew it was Brownes work before finding him doin' it on piano on the Tube (1972). It's just so good. The peek occuring on 2:14 when he reaches the 'hiding from this world together ~ next thing I knew' line. It makes me cry - He's in the top of the tops.
  11. Experienced the same yesterday, damn it. Had to close the upper window for the rising autumn winds and reached out without seeing my shirt catching the head of my J-45. Baaang ! straight down on the face it went. Horrified I picked it up - no visuel damage, then checked the neck. Nothing, , , but when playing I kept feeling some spooky difference the rest of the day. During today learned there was nothing to it. Things like that never happen to me and then suddenly uuuagggh. Most accidents unfold at home, they say. How lucky we were.
  12. I vote for Deja Voodooo, but suggest you find the name yourself. Will make it a whole lot funnier to recognize the first little gig-poster in the coffee-shop window.
  13. Like to see this shot as a painting. The grey background, but especially the green innercase - works tremendous with the curry/metal player.
  14. Was this walk in any way worth walking. . .
  15. Yes, he does, and how we wanna see it. . . Heard it should be filled with foam these days to keep the feed down, I guees. Maybe it makes the feather-weight box a bit more stabile too. By the way, isn't he playing the Texan live as well. . .
  16. You should definitely do it (bring it with you on the road). I'm chasing a guitar like that/'yours', and have heard the upper neck should be fragile. So take care there and injoy.
  17. Never heard of them, but if he had demonstrated it before and after on the SAME guitar I would be more interested to hear that since two guitars of the same model can be completely different as we all know. Well said, so now we wait for Buc.
  18. Must have grown up in a hammock between a rosewood and a tall spruce tree, since all the first guitars I played were from these two*. Not untill much, much later (only last year) circumstances of the journey shifted when a different path presented itself. 'Forest of Mahogany' said the sign and what could I do. Had to follow the path and see what happened. Naturally a variety of Gibsons were met : J-45's of all ages, nice old SJ's and floks of multicoloured H-birds, to mention a few. Also a Taylor 510 Lemon Grove and even a Martin appeared on the way. And yes, they were - as rumour told - mellower, sweeter, slightly quieter, more tender and frail (I even hear hog-wood make tiny bubbles !). The change was good. It lifted and inspired. Challenged my ears and fingertips. Still the general situation of mine demanded a major choice. Having started a co-work with a local luthier in December, and drawn him the lines of an acoustic 6-string, woods now had to be decided. He had been creating in both hog and rose and showed me examples of his former results. I tried, , , and tried again - then went for the latter. Don't know, but something in me didn't dare go hog, neither tempting ceder. So there I was - back in the hammock swinging my way through a patient summer. Should be said I played Gibsons every single day while waiting. In fact I still wait, but my new homedrawn should be ready this week. Wiiild, what will it sound like, we don't know. Haven't got a clue, but it's based on a Mart. 12-fret so maybe. . . . Now that you ask wilyfool, check out the brazilian - others are highly wellcome too (the chalk lines are factory standards). And then a quiz : Can anybody tell the three albums seen in the sofa-landscape ??? * okay, apart from those 2 late70'ties Norlins -
  19. Great Buc. I'm convinced your review will be more than qualified.
  20. Aha. . . . Could be interesting to hear it on some of those 'no too loud' Gibsons. We surely get more projection here, but one would like to check possible flavour differences in a real life test. Look forward to see if somebody'll go for the experiment.
  21. James Taylor was too noble for me as a young cat, but things change. Saw him in concert for the second time last summer and it was once again tremendous. The way they master the not too fast, slow, wild nor lazy zone, is amazing. They cover just about every mid-flavour there is, no bar left unspirited or vapid. Coincidence made me have a chat with Mr. Gadd (a little rhyme for you there) walking around relaxing in Tivoli before the show. I'm supposed to be a grown up now, still had to ask for an autograph. (His floor-tom sound alone should be reason enough). What's very interesting about the interview, is the way Taylor writes a cappella. Just hum away and fix some unexpected chords later. Long live sweet baby J.T.
  22. Can't they tell the difference between a guitar and a piano (or a Rolls). Don't think J.L. ever painted his 160 white, but I do remember seeing him with a Diddley-like box shaped acoustic a'la the the one in 'the ugly guit. of the week'. In fact it could have been around the Imagine album.
  23. If this trio should need a tea-servant, count me in (for the autumn holidays anyway). Every forth year or so I run into that kind of music and each time my hat blows off. And as I like my hat, 3 or 4 tunes are enough. But that mandolin-man is beyond, , , how can he even begin learn those roles ? . . . I'm a brick, simply don't get it.
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