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LOL!! SG owners, has this ever happened to you?

charlie brown

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Well, I had something happen, the other night, with

my SG, that I don't remember ever happening, with

any of my other guitars. I was playing along, and

as I went to do a solo, had to quickly adjust (down)

2 frets, as I had started to play in "B" instead of "A,"

which was the key we were in. I realized, it was

because of the length of the neck, I had misjudged

where I was, temporarily. I'm not sure anyone really

noticed it, 'cause I managed to "right myself" quickly,

but it was kind of a "grin," embarrassing or not.


Just curious, if any of you other SG players (or anyone else,

for that matter) has done something similar?



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Well' date=' that can happen on any guitar, just pose like you're playing some weird 'jazzy' intro.




I'm sure you're right, but I don't remember it ever happening, on any of my other guitars...

I think the orientation, to the body, makes the neck seem longer, and it threw me off,

for a second. I have other longer necked guitars (my LP Double cuts), but I guess they

just didn't disorient me, that way?? It was weird, but funny, too. Still getting used to

my SG, obviously...but, I love it!



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I did that the entire show I played last night, in fact. I was playing my "vintage/faded" G-400, which is vastly different feeling than my "1965" Maestro-equipped one in a lot of ways, and this place not only had minimal lighting but I also had to have my mic a certain way to keep feedback down (due to a slack soundman) which prohibited any vision of my fretboard (and yes, when one of your duties is comp-chords and odd accents and stuff, playing blindly can be a little disconcerting). It surprised me how much just the bigger neck and heavier strings threw me off a bit with otherwise identically-constructed guitars (well, the vintage one has neck binding too, but that's not something that normally impedes me at all). Luckily though, thanks to the way certain guitars hang when strapped-on, I don't usually have much trouble switching between say, a Tele and SG.



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When ever I switch between a fender and a gibby scale it can happen...play it once it's a mistake...twice it's Jazz!


Back when I played an SG, I was interested in buying a Stratocaster. The bass player's son had one and he brought it to a gig for me to try out to see if I really wanted to buy a new one. 2nd set, he opened it up and I took it back up to the stage to play. Everything was fine until I started singing heavy backup and doing solo fills. I slid up to where I thought the 12th fret was and ripped off a lick about 2 frets low! Embarassing!


It's especially noticeable when you have to play without looking down from the mic until you get used to the feel of the neck.

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After playing an SG for months I bought a Les Paul.

After learning the LP's neck I went back to playing the SG

and whoah....there's a bit of eye adjustment when looking down to start that solo.

Whoops. I am 2 frets too high here.


It caught me off guard. I have had the same thing happen to me.

The optical illusion of looking to reach that High E that turned into whoops, a high A.

the only advantage to having dot markers on a neck instead of block inlays is looking down at fret 12 and seeing two dots and knowing exactly where you are.

Looking at the binding marker isn't always possible when your thumb covers it up most of the time.

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...play it once it's a mistake...twice it's Jazz!

...three times it becomes a part of the song... four times or in other songs and its a technique.

We mature players are like master carpenters -- we make mistakes -- but pretend its not and cover it well and then you'll be the only one who knows it was a mistake. Do it extremely well many times and people will start trying to emulate that innovative "signature thing" you do. =D>


I've even drawn inspiration from mistakes to branch out' date=' break out into new territory. May be that I make so many that I have learned to use them..., I hate waste.:-k


Hit every BLUE NOTE baaaby..., I'm going to play on #-o

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