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milod

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milod last won the day on July 17 2017

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About milod

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  1. Good on yah for bringing this thread back. A bit over two years ago "Digger" got things going to bring prayers and positive vibes after I has a stroke that messed up a lot of my left side's "fine motor skills" like typing and <argh!> guitar picking. Today my lady and I were out "shooting" for the local newspaper and basically although I could, nobody else could tell what we'd been through. It's a testimonial to folks here, I think... There was a "roping," cowboys and cowgirls roping calves and steers in timed competition, a car show and quilt show in a small rural neighboring
  2. Just trying to figure an open G version for this one to make my now-funky left hand sufficiently functional on a cupla pieces. This piece should work well enough that way, and it fits the time and place, especially since we had about a foot of snow early this week... and the buffalo grass is doin' pretty well, been hearing geese and when driving, watching out for elk, deer and even antelope. Kid... Only 60? "Kid" is right! <grin> m
  3. Curious... is that an early Ruger .22? Can't see much of it. Neat pix... Truly. m
  4. Well... For me, guitar-wise it's been a bit rough. Almost exactly two years ago I had a stroke that kinda screwed up my left hand. Luckily not much more. Typing speed down from gusts of 150 to, when I'm at it, around 5-60 wpm. Guitar... well, still in cases mostly. Since my typing is part of making money, albeit down to theoretical half time (now about 35-40 hours for less paycheck, actually), I put emphasis on that. I did give away four guitars to nice young ladies aged 20-50, that I knew would appreciate decent instruments. So... when I finally get tired of the balone
  5. Izzy... Super that things are working for you. I got a kick out of the term "drum machine," since for a while in the mid '70s when this other guy and I were looking for a human drummer, we used one from that era for a two-or-three gig a week as a saloon house band. If used right folks didn't really think about it, and we kept things moving. That old analog outfit still is packaged and I still have it. Any "drum machine" has many weaknesses compared to even a half-decent human drummer, but it's more fun to practice with, I'm sure, than a metronome. All my best. m
  6. Izzy... Good to see you back... Hope you're still pickin'! m
  7. They look nice... I have a Gretsch G100CE Synchromatic Hollowbody - Black. In ways it's awfully ugly. Single floating pup, controls on the pickguard. It plays well, and I used it in a couple of stage sets, but no way around it, I prefer the shorter scale rather than the 25.5. m
  8. In the olden days for me as a photojournalist I used a number of cameras... Can't even recall the label on my rangefinder; but then there were the 2 1/4 square cameras, as in Rollei... and given that without a pentaprism, one "shot" while seeing things backwards and upside down, shooting basketball was a gas... My first printed color shot was with an old press graphic, sheet film. Frankly my SLR digital Nikons and Photoshop handle current needs quite well, although I still have some film cameras gathering dust or existing as worn-out trophies of travel to other places and even oth
  9. Ziggy... I'm not turned on that much by the Joe Pass Epi either. If nothing else, it feels different. A few folks have gone on record in the forum, however, that they'd not swap their JP for a 175. That's because of their "feel" for an instrument. And Epi 175 copies have varied even more than Gibsons through the years. My point is that to me it's playing geometry. Frankly I wasn't that turned on by the 175 at first, regardless Gibson or in the mid '70s the excellent "patent infringement" Ibanez. That changed about 15 years ago when I messed around with string choices that act
  10. Leave it to the old guy to be politically incorrect, but... I'd say it's not "Gibson" as much as "Gib-Epi" physical playability. That's both electric and acoustic. It's the shapes and playing geometry. Other pickers may and should disagree, 'cuz we ain't all the same. Now personally, I've never cared for the LP shape and find it difficult to play comfortably, where the SG somehow feels "right" and my only "board" guitar is a Guild S100c, pretty much an SG clone from the 1970s I'll not give up. The shape somehow works whether sitting and playing fingerstyle jazz or messing with the
  11. "Notes" pretty much hit it... I'd add that audiences listen to songs, not "tone" per se. If we're tying to capture a specific sound for a "cover band perfection," yeah, I can understand attempting to match this or that recording. But for an average saloon or "event" gig, it's my observation that the venue, its acoustics, its crowd and PA will make more difference than about anything else "we" might hope to do. Again, to Norton's point, its how the live entertainer presents the "show," including everything that ideally will create a whole that is greater than any of its parts.
  12. Retired... I think you have a great point, but we're talking kinda two different things. The "tone" of an individual instrument vs the book selections for a gig. When I was doing saloon band stuff, yeah, frankly we tried to mix things up in terms of general sound as well as tunes. But that's different IMHO from what one expects from an amp from one's electric or one's acoustic through a mike. I see what you're talking about more on the lines of how swing bands would toss in different section and individual solos regardless that their arrangements in general reflected a more
  13. Too, what is a "jazz tone?" The Roy Buchanan voice on the start of this little piece is a tribute to the still-great Mundell Lowe who's old enough to be my Dad and still's apparently pickin'. Buchanan has the Tele still pretty much sounding like a Tele, and who's to say what he does ain't "jazz" any more than Joe Pass? So... with apologies to "tone," and praise to pickers who both "Play the song" on very different instruments and with very different technique and versions... Which is "better" or even "more appropriate" tone? Or is it just the song and great pickers with how
  14. My "jazz guitar" for years was that Guild S100c that's functionally an SG clone. It has marvelous "jazz" tone even with the 8-38 strings on it that some would say are "wrong" and I should use 22-155 gauge for jazz. It wasn't until around 2003 that I messed with that 175 hidden for over 20 years in its dusty case that I went "archtop" for most playing. And that's with 9-42. OTOH, I used an old '50s single pup archtop for country/rock gigs in the late '70s and it worked quite well for CCR songs and such as well as more traditional country and pop for small town saloon audiences. Yes
  15. I've run into variations of "peer pressure" rather frequently until gray hair took over my head. Direct and indirect peer pressure is more powerful, I think, in many of our musical choices than sometimes we can admit to ourselves, and I'll point three fingers back at me if I try to point at others. For those of us who do, or who have played "out," I think it tends to "go away" as one's musical comrades age, but I still can see some of it. "Oh, you don't have a Martin?" or "Isn't that a jazz guitar?" Yeah, it's an electric archtop I tend to use fingerstyle for "cowboy" songs 'stedda
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