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gvdv

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Everything posted by gvdv

  1. Yeah, I've seen a few tribute bands. The one I liked the best was the original incarnation of The Bootleg Beatles, which I saw about 23 years ago in Sheffield Polytechnic (U.K.). Around the same time I saw the Beatlemania show here in Toronto, and didn't think that they were as good. I heard that - in the 80s? - the Bootleg Beatles played to 50,000 people in Moscow. Now that's taking things too far, I think. I would love to have experienced The Beatles. When I saw Paul (for the 5th. time, I think) a few years ago, it was very emotional - always is, but I was about 40 feet from him, and trying to work out if I could vault the barrier, and make off with that bass, which was about 25 feet away :D/ Even though I've read all of the books, seen all of the videos and have all of this in my head and my heart, I can't quite imagine what it was like to experience the 60's; the excitement of it all; the change, tumult, and fears.
  2. I, too, agree wholeheartedly that John was a very underrated rhythm player, and a great one. Not just a rhythm player - as Keith Richards said, "You can't go into a guitar shop and ask for a 'lead guitar'. You're a guitar player, and you play a guitar". 'All My Loving' is a devastating example of John's rhythm playing, and I love the way he plays things differently/unusually, but all the while never undermining the song. The strumming at the beginning of 'A Day In The Life' and in 'Working Class Hero' are examples of that. Also, the solos that he played, just like George's and Paul's are marvellous examples of memorable, economical, almost mini-songs which add to the overall richness of the tracks, but which don't distract from them. And, as others have said here, the interplay of John and George is amazing. I do think that the Beatles are criminally underrated as musicians. I like that comment made years ago by a critic/writer that they were technically conservative and artistically revolutionary. And their feel is so hard to appreciate unless you begin to try to duplicate what they're trying to do. I'm rehearsing for an all-Beatles gig at the moment (I'm not a very good guitarist), and I'm the only guitar player so far. That solo in 'I Feel Fine' is easy to play in terms of hitting the right notes, but I'm finding it incredibly difficult to get that swing feel, slurring where I need to. And George's little riff in 'She Loves You' (after, "and you know you should be glad") I find very difficult to get right in terms of feel. Similarly, the descending riff in 'Help!'. I always found George Martin's (and, in parts of his book, Geoff Emerick's) comments about George's guitar playing to totally miss the point. So, according to Martin, Paul may have been the 'best' guitarist in the Beatles, but that's just technically. Look at what John and George came up with in terms of memorable riffs, phrases and solos. Paul, too - while he was in the Beatles. I think that they inspired each other - and everybody else - to do their best work. Ringo's drumming on those 'Sgt. Pepper Naked' tracks is also a revelation.
  3. Hi Mr. Nelson (and bluelake07), This is going to be long, so brace yourself. Just wanted to give you the full context. And this is only *one* place I've heard/read Macca mention his desire to specifically get feedback from the Casino (will let you know if my failing memory takes me to any of the others). This is incontrovertible proof though, coming straight from Paul, and is the full relevant text of one of the sources Babiuk quotes: 'Guitar Player', July 1990, 'Paul McCartney' by Tom Mulhern, pp.22 & 26. It seems to me that Babiuk has ignored part of that article because he thinks he knows what happened, probably partly based on John Mayall's account: 'Guitar Player', July 1990, P. 22 [Question] "Do you have any favorite guitar parts that you played with the Beatles?" [Paul] "I liked 'Taxman' just because of what it was. I was very inspired by Jimi Hendrix. It was really my first voyage into feedback. I had this friend in London, John Mayall of the Bluesbreakers, who used to play me a lot of records late at night - he was a kind of DJ-type guy. You'd go back to his place, and he'd sit you down, give you a drink and say, 'Just check this out'. He'd go over to his deck, and for hours he'd blast you with B.B. King, Eric Clapton - he was sort of showing me where all of Eric's stuff was from, you know. He gave me a little evening's education in that. I was turned on after that, and I went and bought an Epiphone. So then I could wind up with the Vox amp and get some nice feedback. It was just before George was into that. In fact, I don't think George did get too heavily into that kind of thing. George was generally a little more restrained in his guitar playing. He wasn't into heavy feedback. ........"But with 'Taxman', I got the guitar and was playing around in the studio with the feedback and stuff......." P. 26. [Question] "Have you ever gone on an equipment-buying spree?" [Paul] "Very occasionally. My first Epiphone was one of them, where I just went down to a guitar shop after having heard B.B. King, Eric Clapton, and Jimi Hendrix, and I wanted something that fed back. He said, 'This Epiphone will do because it's semi-acoustic'. And he was right. The only reason I don't use it onstage is because it's a little too hot. It's great in the studio. You've got to stand in the right position for it not to feed back - we always had to do that in the studio, but nowadays guitars don't do this". So, as you can see, in this, first hand (i.e. from Paul's mouth) account, there isn't even confirmation that John Mayall suggested that Paul get the Casino or another hollow-body (although it's possible that he did; I'm thinking that Mayall put him on to the idea of the hollow-body; Paul had the idea for wanting a guitar that fed back on his own; the shop assistant put him on to the Casino specifically in response to Paul's direct question about it). So, it sounds like Paul got the idea of getting a guitar that fed back (possibly a hollow-body instrument) from one of two sources: 1. Either from John Mayall having played him B.B. King, and Eric Clapton, or from looking at photos of the guitarists Mayall was playing him, because people such as B.B. King (and other electric blues players) were using hollow-bodies, and /or 2. From his desire/inspiration to get feedback a la Jimi Hendrix. This inspiration from Hendrix might have preceded Macca's 'session(s)' with Mayall, so Paul may already have been thinking about getting an instrument that fed back, and Mayall's inspiration may have pushed him more towards this. In my opinion, at this stage, it is unlikely he was thinking of a Casino specifically, and unlikely that Mayall mentioned the Casion as such because none of the guitarists named above played one (or were known for playing one - they played humbucking hollow-bodied instruments, not the single-coil Casino, and Clapton was playing solid bodies by that time). At this stage, he probably did not know that humbucking hollow-bodies would not feed back. As Paul has specifically said (above) he deliberately went looking for a hollow body to get feedback, and the man in the shop suggested the Casino specifically. As I said previously, there are also other places where I've read Paul saying that he deliberately wanted to find a hollow-body to get feed back, but I can't remember where they are in the hundreds of books and articles I've got. The above is very clear though. There you go. GVDV
  4. Hi Mr. Nelson, I quite agree - myth and misinformation make me crazy, too. I have also read that John Mayall advised McCartney to buy the Casino, and am not sure if he was responding to Macca's desire for a guitar that would feed back. Let me get to grips with my books and magazines and I will get back to you.
  5. Hi, I'm experiencing a problem I've had before, which is that I can't post to a topic. I can't see any evidence that the thread is locked, and I haven't exceeded my quota of posts for today as I have the option of adding to other threads. The tread's title (including spelling mistake) is: What guitarist do you belive is the most underrated? The tread was posted on May 9, 2008, and I have only been able to find it through the list of topics to which I subscribe. Would you look into this for me? Thanks, GVDV
  6. Custer, Did you buy a Casino in the end?
  7. Further to my earlier post, and also happily from my point of view, I am able to get the Casino to feed back when I want to, and to prevent this when I want to. Doing this allows me to play the first 'feedback' note of of 'I Feel Fine', and then to move to a cleaner sound, as was my original intention. I accomplished this by experimenting a little more with Beatlenut's and Whitmore Willy's suggestions, primarily using Beatlenut's methodology. I basically pluck the A string fretted at the 2nd. fret, while touching it lightly with a finger, and then quickly letting it go (I've found that touching it a little heavier than for playing a harmonic works very well). I then quickly turn the guitar so it is almost parallel to the floor, (while standing parallel to the amp about a foot in front of the speaker). I've found that if I turn the edge of the guitar nearest the amp slightly upwards (at about a 35-40 degree angle) that helps the feedback nicely. This feedback builds/sustains long enough for me to either switch my pick up selector and/or channel foot switch to a cleaner setting to start playing the main riff (barred D chord at 11th. fret). In the 'other' epi forum, CB made the distinction between string vibration, harmonic and microphonic feedback, and I'm very glad to say that I don't get any microphonic/high pitched squeal feedback (if I did, I would tried the suggestions regarding putting a piece of styro-foam, or balsa wood or a balloon inside the guitar). Thanks to all for posting on this, and I think I will also try the suggestion of getting the bass player to hit his A at the same time to try to 'encourage' my Casino to start feeding back. One note: a poster on the other forum using exactly the same Casino/Roland Cube 30 guitar/amp combination I have has been getting a lot of uncontrollable feedback (I don't know if it's microphonic, string or harmonic) in exactly the same sized room I play in. I don't know why this difference exists. Perhaps his Casino is different from my Made In China 2008 model (could be a Korean or Japanese made model).
  8. Thanks for all the ideas, guys. Have tried some of these already not very successfully, but will keep trying and will add the other ideas to my list. Thanks, once again, GVDV
  9. Hi CB and bluelake07, Thanks for the replies. I was aware of all the details you both gave about 'I Feel Fine', but thanks, anyway. And bluelake07, I do want to do that introductory note, regardless of what JPG&R did in concert. CB, I hadn't thought of working with the bass player on that; that's a great idea, as is trying out a pedal. I'll give those both a go, because all of the other stuff hadn't worked - that's why I posted. bluelake07, thanks for the link; I'll check that now.
  10. Hi, I'm going to be doing a small gig (my first real one with a band, despite my middle age) in just over a month. We're doing two sets of Beatles' songs, and I have struggled with what to include and what to leave out (as a friend said, "So, you can't fault the material"). I'll be playing in quite a small space, and I want to use my Casino almost exclusively. Generally, I'll want to prevent feedback, but for 'I Feel Fine', I obviously want that first A note to be fed-back. Unfortunately, I'm using a Roland Cube 30 transistor amp. So, I have two questions: 1. How do I get that controlled feedback for the beginning of 'I Feel Fine'? At the moment I only seem to be able to get amplifier buzz and hum from the pick-ups when I move the Casino closer to the amp's speaker 2. How do I prevent feedback during the gig as a whole? I've read previously of people blocking the F-holes on the Casino to try to prevent feedback, but I'm not sure how I'd do this, or if this is an effective strategy. I've seen mention of using foam rubber to block the f-holes, and also of covering them by taping cardboard to them. (By the way, how would one use tape without damaging the lacquer on the body?). I've also read of other strategies such as varying one's position and distance from the amps and using the Casino's volume controls to address this problem, as well as both left and right hand muting. Smaller environments are often mentioned as promoting feedback, whereas larger rooms seem to allow for more ways to try to control feedback. Some people claim that it is impossible to control feedback of any sort, citing that the lack of a central block (such as the Gibson ES-330's have) as the reason for this, while others say that this kind of control is possible. Any help would be gratefully received, Thanks,
  11. I haven't been on this forum for a few months, and when I tried to access it over the last week or so by going to the epiphone home page and clicking on the 'forums' link, the page refused to load. I tried from two different computers, in two different parts of the city I live in. I eventually accessed this by doing a search on the net and clicking on one of the results (which was a post of one of the other members). Makes me think that newcomers trying to access these forums by clicking on the 'forums' link on the epiphone home page would be out of luck. Does anybody know anything about this, or can you speculate about what might be happening?
  12. If I enter my age and current net worth in google, divided by the amount that my stocks have fallen over the past two days, will that tell me how much I'll be worth in 20 years time?
  13. I used to live in the U.K., and miss London very much. The area on Charing Cross Road/Tottenham Court Road around Denmark Street is famous for its guitar stores. Sadly, one of them, Andy's, closed a few years ago. I haven't been back for three years, but I would have your cousin go and check the stores around Denmark Street (opposite Foyle's, the famous bookstore). Closest tube is Tottenham Court Road, which is on the corner of Oxford Street and T.C. Road. Just walk down Tottenham Court Road towards Shaftsbury Avenue for about 40 seconds and you'll be in the thick of the guitar stores. I can't say anything about how reputable any of these dealers are.
  14. I have the same experience as Jeffery Smith, viz., that the U.K. guitar magazines are the best for me, in terms of learning. I can see that, as EpiEric says, Guitar Player has a very even and liberal coverage, and I didn't know that Guitar World (of which I've bought a few copies over the years for the non-metal transcriptions) is only $12 U.S. for a subscription. I'm sure that even the Canadian subscription rate would probably make it worth it to subscribe, so I'm definitely going to check that out. I myself tend to not subscribe to any magazines because I don't find them consistently interesting enough to justify the price. Part of this has been proven to me because I am almost at the end of a subscription to 'Recording', and the experience hasn't justified the cost of the subscription. I just buy as I like, and I do have an extensive collection of guitar mags. Does anybody find that the transcriptions are weaker or better in one publication versus another in terms of accuracy and/or notation?
  15. Having lost my Dad and two of his siblings in the last year, and with The Beatles being so important to me, I think that discretion should be the best part of valour this time, i.e. Paul, don't go.
  16. Does Sweetwater ship to Canada? And if so, are there any extra tarrifs or anything? I would always prefer to buy from a place where there are nice interactions, even if it might sometimes mean paying a little more.
  17. gvdv

    GAS vs. Age

    I have always been good about resisting GAS - although it was harder in my younger days. I bought my first guitar (Casino) in 10 years a few months ago, and before that I think that it was about 8 years (I now have 6 guitars). However, as posted elsewhere, I have recently wheedled my original guitar (over 20 years ago) out of a friend in the U.K. to whom I sold it all those years ago, so I suppose that might be a version of GAS - Never Ending GAS, or Time Spanning GAS. Part of the reason I'm pretty good with this stuff is that I won't buy anything - CD's, clothes, guitars - unless I feel that I'm going to really use them, and I'm very careful about checking things out and doing my research ahead of time. I'm now remembering, though, the ukulele 2 years ago; the amp last year, and the automatic buying of hundreds of Beatles books. Maybe I should reconsider my statements above.
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