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Wetdog

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  1. Dear Stein, Okay, your reply is exactly what I mean. If I ask a question, why are you compelled to quote the entire thing back at me? OMG! It's right there, why state the obvious? I know what I said so why say it again? Because you can? Maybe you should ask if you should. Since you have over 7,000 replies to your credit I have to concede you know what you are doing. However, I see it as we are having a conversation. Someone asks, someone answers. If that were happening at the dinner table it would drive everyone bonkers. That's what I get for being an English teacher. I always stressed economy of words. Chock it up to "forum speak." I guess I just have to get used to the perpetual redundancy, redundancy, redundancy, redundancy,redundancy, redundancy, redundancy, redundancy, redundancy, redundancy, redundancy, redundancy, redundancy, redundancy, redundancy, redundancy. BTW, I really enjoyed jammin' heavy on my 1947 L-7 yesterday with my good buddy. The tone, clarity, and sheer volume were remarkable. That's what it's all about. Hope you all do the same and enjoy your Friday. B)
  2. Okay all you super sophisticated forum folks with thousands of replies, please help me understand why... Some folks that answer questions like I just read, "Guitar snob no more," insist on copying the entire previous message and highlighting it in a little green box before they answer. Like I already know what was just said because I'm reading the frickin' question. Yea, so the technology is cool and fun to use but what is the point? It doesn't clarify a thing IMHO, just wastes space and makes the scroll time cumbersome. okay so I get that sometimes there is a question within a question, or a point that needs to be clarified but get a grip, it doesn't need to be used EVERY time. What am I missing? B)
  3. I totally get what you are saying. If it "looks" cool in the eyes of the beholder go for it. Personally, after consulting possibly the best custom guitar builder out there, Bob Benedetto, whose guitars sell for many tens of thousands of dollars, I've decided to follow his advice and always replace any plastic nuts, saddles etc. with bone. There is a documented acoustic reason based on science to do so. If one wants to add some bling and have that dot of mother-of-pearl that's gorgeous. What I was trying to point out is that, all too often I find on this forum folks who are going to extremes to get a better sound acoustically, looking outside themselves to get a better sound, when in fact the answer lies within. When we hear our favorite players and it inspires us to emulate their sound it quite often comes because our heroes are talented beyond measure and have honed their skills by playing a zillion hours. "Feel the force Luke." B)
  4. Okay it's been said but I'll say it again and tell you why. To enlarge a tuner hole use a reamer. They are not all that expensive, about $15. Then you will have that tool forever. It slowly shaves the inside of the hole so you keep fitting the new tuner to see if you have taken enough. Once you use one you will get why it's the right tool. It keeps the hole centered. It won't chip the edges. You don't have to worry about the angle setup like with a drill press. When you use a drill, the drill goes in and grabs the edge of the hole and all hell can break loose. The guitar can get loose, it may chip the head stock. If you have chosen too large a bit you are screwed. So let me say, no need to hire a luthier. Show some grit and do it yourself, but with the right tool, and you are that much closer to becoming a luthier. B)
  5. This may sound harsh so I apologize beforehand if it ruffles your feathers but...What I don't get is why some of you folks keep demanding to make what are arguably the some of best acoustic guitars ever built "better." They are already state of the art. Are you bored with what you are playing? Perhaps it is your technique, knowledge of music or lack of trying for YOU to get better that drives this and allows sly marketers to separate you from your money. Yea, let's take a Stradivarius, boost it with a Baggs and play it through a stack of Marshals. Now I'll sound better! How about just getting better? If you get better, even playing a Sears plywood piece of junk with rusty strings will sound better. B)
  6. You say the guitar doesn't buzz? So what's the problem? Sometimes focusing on minutia is an indication that we are transferring our worries from another issue. My suggestion: Meditate daily and focus on your playing. B)
  7. Got turned on to a new tuning yesterday: DGDGBD. Was told Keith Richards uses it a lot. Really funky for blues in G. Anyone else use this? B)
  8. It's quite possible you tweaked the truss rod too much. It may not have been the way to fix the high action in the first place. If shaving the saddle didn't work the next thing to look at would be to see if the face is bowed up. That is a tough fix. Also you may need a neck reset but it's hard to tell even with pics. Have to see it in person. Besides that would cost more than the guitar is worth. Best take it to a luthier and have it evaluated. It is possible, sorry to say that the cracked neck is irreversible. It may not be worth fixing. I just saw one on Reverb for $50. If you invest in more of a quality guitar chances are there wouldn't be problems like this. The cliche is never more true than with musical instruments, "You get what you payed for." B)
  9. There is another kind of "finger picking" or really a "finger style." In jazz and classical, the chords are often not played straight across the fretboard but certain strings are dampened or not played. This can be accomplished by finger picking the notes that are heard or using a pick held thumb/forefinger while picking with the other fingers. They can be played all at once or in any order or pattern of which there is an infinite variety. This way a single 6 note chord can yield dozens of 2, 3, 4, or 5 note chords. Or you just play up and down the fingerboard grabbing differently voiced chords for a chord melody effect, adding a bass line etc. Joe pass and others use this technique. It's more like playing piano on the fingerboard. Once you get into it you realize there are not just the "caged" chords but many thousands of other possibilities. B)
  10. Rambler, Okay it is called, "caged chords," and I dig what you a saying and agree. At the site I Googled four shapes were mentioned, C, E, A, and D, as the shapes that were important. Okay as far as it goes but first position "D" is just a special case of "C" because of the open strings that are sounding. It was just the first basic explanation of "caged," I'm sure farther into it mentions minor shapes, extensions etc. So you and I are actually talking about the same thing. If you arpeggiate a C9maj7/6 sus chord ( a really weird chord) you are playing all the notes of the major scale. It's just a different way to split it all. My favorite all time guitarist, Django Reinhardt saw it the same way as you. Or as Joe Pass told my guitar teacher Mimi Fox, "%*ck theory, your ear will tell you what to play." If you want the best chord, scale website out there IMHO check out http://www.looknohands.com/chordhouse/guitar/index_rb.html B)
  11. Rambler, I want to know more about the "caged" thing. Is it called, "caged chords" or what? I'll Google it. B)
  12. Just like chords are the DNA of a song, scales are the elements that make up the chromosomes. The trick is to use them without it sounding like Doe Re Mi. There are many scales that can be played over any given chord sequence. Whether you "practice" scales or not, if you play a melody or any lead, you are playing some form of scale. Beethoven used scales, Hendrix used scales, Jerry Garcia used scales. Also, all chords are built from scales. To deny this is to not GET music. i.e. C9th = 1st,3rd,5th,b7th, 9th of the c major scale. Yea, the white keys on the piano. If you don't get this you are really not in touch with how chords are built and it will be more difficult to understand the function of chords like Emin7b5 and why it is the same as a Gmin6 or a C9 with no root. So why not just learn it all? It won't hurt your brain. Don't put limitations on your knowledge by having gaps making you a less than a complete musician. You will be a better, more versatile player if you learn the chords, their arpeggios, and the scales that sound best over them, up and down the fretboard and in any key. This can include inventing new scales. While you are at it, know without hesitation the note names on the fretboard and how to read those on manuscript paper (as in reading music). TAB is such a cop-out. Become a MUSICIAN! B)
  13. I so agree with j45nick. It is interesting how our brains work. When we go away from a task for a while what we were striving for is still cooking in our brains. It's hooking up pathways so that later the new task just gets better. And remember that those whom we try to emulate didn't learn it over night. In a rare interview Doc Watson he said he played Deep River Blues for years before he had it how he wanted it. Then when you go back to it, do it slow, even painfully slow, until you get the basic finger syncopation. There are some great free lessons online for basic Travis picking. But most of all, stick with it. Before you know it you'll just be doing it and forget there was ever a time when you couldn't B)
  14. Yes, thank you for reminding me about the difference between epoxy and superglue.
  15. For a job this simple it's easy to do yourself. It's not rocket science. "Trust your feelings, Luke!" I agree with the bone dust and epoxy or super glue, which is just fast epoxy. A problem might be getting the dust if you don't have the material around, which is a good reason to start now doing your own work, collecting some parts and tools and go for it. If you have an old bone nut around that's good. Rub it on sandpaper to make the dust. Here are some tips: The nut should come out. Loosen the strings and block them up with a scrap of wood by the nut. It might be lightly glued but heat it with a hair dryer to loosen the glue and tap it lightly with a hammer against a small piece of wood. Now you can put it in a vise and not worry about scratching the guitar or getting glue on it. Fill the low slot a little and let it dry. Now comes the "art" part of it. Cut the slot down to were it needs to be. The amount you cut is tiny and difficult to measure but take heart. If it's wrong you can redo it. There are many tools that will work. i.e. folded sand paper, a fine fret saw, a nut file of the proper size, (about $13 from Stew Mac or LMI) or a sharp knife or razor knife and finish off with folded sandpaper, 220 or lighter. A set of jeweler's files can be had at Harbor Freight for a few dollars, but for a high E probably not small enough. The slots on all the strings should be cut to no more than 1/2 the thickness of the string. Copy the string angle that you have. If the entire rest of the strings are too high find a good flat spot like a piece of kitchen granite or a tile and lay sandpaper on it to rub the bottom edge of the nut. Or...sand the bottom of the nut first and now you have some bone dust to do the fill. I often use an old set of strings as a "saw" to cut down the slots for the wound strings. Hey, they'll be a perfect fit! Just hold the string tightly and pull it back and forth through the slot, low E for the E slot etc.You will have to keep putting it back on the guitar and tightening the strings to see if you have it right. What is cool is that the struggle will TEACH you just like learning new chords or guitar runs! Hey, you're becoming a luthier!B)
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