Guitar, Voice & Recording Discoveries from a chart-topping musician/producer. I share 50 years of pro secrets to inspire and make you a better studio and stage musician. I learn the hard way so you don't have to! PLUS: "Blow Up the Song" videos explode classic recordings - exposing individual tracks and performances.
Great! I played a lot of Sg's since 1981. I kept the best one I owned: 1961 SG Special, I bought it for $550 in 1994. I sold mostly all my SG's since. Plugged into my 1969 Fender Vibrolux Reverb, it is just amazing.
D'Addario Guitar Strings - XS Phosphor Bronze Coated Acoustic Guitar Strings - XSAPB1356. No Question. Phosphor Bronze is better than the 80/20. Best for fingerstyle and strumming. Even singing it is better for. Period.
I’m glad you found the strings that are right for you, Kenneth. But sound is always a matter of opinion, so there’s no “period” that applies universally. XS Phosphors work great on a couple of my guitars, but the 80/20s are better for me on multiple of my vintage guitars, especially when singing.
Kurt Cobain used a Harmony Stella H912 strung up with 6 strings for his acoustic stuff on Nevermind. Most likely inspiration from Leadbelly who played a Stella 12 string.
Thanks for that info. I'm sorry I missed including Kurt! I have more vintage Harmony videos on my channel if you're interested. Like this one: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-TpZjOqSRBR8.html
@@RobertCassard Stumbled across your video while trying to find info on some of the Harmony made Silvertone stuff from the mid 60's. I have a H604 with a Stella neck and fretboard but still has Silvertone screened on the headstock.... haven't seen another like it. It's the guitar I pick up the most, always there in the corner on my living room, and plays like a dream with a set of silk n' steels. Leadbelly's Stella was made by Oscar Schmidt, and not Harmony. I have a 30's Oscar Schmidt parlor husk I'm getting ready to rubberize and trying to get caught up on the history of some of these guitars. Something about the candystripe binding on those pre war Oscar's that appeal to me, finding one that can be made playable is another challenge in itself, lol Your videos are definitely appreciated and will check them all out. Thanks!
@@braaandooon3166 I love the idea of "rubberizing" your old Oscar Schmidt. Can I assume you've seen my Rubber Bridge videos? Starting with this one: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-5vWIpwlXGpA.html
To me Ringo was the only creative member of the Beatles. But I don't understand your stuff about swing. If the track is straight, play it straight, if the track is setting, swing it. A drummer would sound really awful if they didn't follow this simple rule.
Hi Andy. What I'm talking about is a very SUBTLE swing. Instead of playing straight 1/4, 1/8th or 1/16th notes, Ringo played with hint of triplet rhythm. This makes even a straight 4/4 tempo sound more funky and loose. If you ever programmed rhythm tracks, you can add this by adding "swing." On a computer, you can dial the swing from 0% (no triplet feel) to 100% (all triplets). Ringo had the innate ability to "swing" from 15-25%. It creates a distinctive groove.
@@RobertCassard I've known about this for years, not in the context of Ringo, but with James Brown's rhythm guitarists. As you probably know their right hands go up and down whether playing notes or not, sometimess playing, sometimes muting, sometimes missing. But this is not an entirely equal process, the upstroke is usually a tiny bit later than where it would be if the playing were even (actually it sounds completely awful is it is played even), and voila! - microswing. But this has nothing to do with triplets, and it is misleading to talk of triplets in this context. But where John Lennon is playing triplets on guitar (as you stated) then Ringo would have to play standard swing - i.e. on the first and third of the triplets. You could introduce it by explaining that straight swing is playing the first and third triplet, so the swing beat is late on the quaver of the music was straight, and there is a technique where you can groove by making the second quaver only slightly late. Then you'd be clear.
Most of what I say is meaning less But I say it just to reach you Sarah Remi. Sarah Remi Sarah Remi So I say these words of Love Sarah Remi. Sarah Remi seashell eyes Beautiful smile calls me So I say these words of Love Sarah Remi. Sarah Remi Sarah Remi Warm sun touch me So I say these words of Love Sarah Remi When I cannot speak my mind I can only speak my mind Sarah Remi
I always played for fun.....since I was 14.....I put a detailed 3 ring binder and hand wrote all the chord figures and all chords within each key..learned tabs.. I was competent enough to meet up with friends...I played in different garage bands...Now approaching 60 and I have the onset of arthritis biting my hands and fingers....Imagine being 14-15 drooling over Fenders...Gibsons...Gretsch...Ric.. Martin guitars never ever thinking I would own any of them.....Go into a music store just gazing....Well....I made a good buck after college and started to indulge myself in all of them. even tho I was never meant to be more than a "bedroom" player...I just love guitars!
Agreed, Billy. Sadly Kraftboy went out of business during the Covid era, so I haven't been able to fin anyone making a Compadre replacement. If you figure out a good way to add a pickup, please share your technique!
Muchisimas Gracias por la informacion.. Creo que nada es casualidad. Llegue aqui porque " JOSEP PAMIES " ablo maravilla de este producto ( DMSO ) y ahora Gracias a tu video, y a los comentarios tan positivos de las personas que te sigeuen, Creo que definitivamente lo Conseguire.. Saludos y muchas bendiciones. Desde Celaya Guanajuato mexico🙏🙏🙏💯💯💯💯❤❤❤😊😊
Thanks for asking, Daniel. I don't really do "lesson videos" like that, but check this out - lessons from JT himself: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-mHAToVyGWzs.html
Can you share instructions for how you make them, Andreas? Many people here are frustrated that Doug's Plugs and others have gone out of business. Thanks!
By the time that Paul was recording "A little help from my friends" there were brilliant bassists such as Jack Bruce who was one of the greatest bass players.
I agree Jack Bruce was excellent, Don. I do think Paul established the highest melodic standard of that era, but as we know, everyone was influencing each other! Here are the other videos in the series, in case you missed any: What John taught me: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-ElMk3GZHrMw.html What George taught me: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-XZ0Tpe5OCYY.html What Ringo taught me: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-v4xJdR0Vz4I.html What George Martin taught me: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-SJnijUU2QjQ.htmlsi=UPNBlOKrfn-S5pHs
Glad you liked it, Matt. Lots more Beatles-related content for your enjoyment: What the Beatles Taught Me - Complete Playlist ru-vid.com/group/PLJUm5NcjSm4h46M-IlNy7xudjxDz8rCZT
He did play drums on a handful of Beatles tracks. For example, The Ballad of John and Yoko is Paul (drums, bass, B Vox) and John (guitars and Lead Vox) without George and Ringo even present in the studio...
The first song I heard by the Travelling Wilburys was not Handle With Care, but Heading for the Light. While driving in my car, I randomly tuned in the station that was playing it about the time George's slide guitar part came on. I knew immediately who was playing that lead. George's slide guitar has that sweet, Indian or Hawaiian sound that I could listen to all day. Cloud 9 is a fantastic album.
YES, Charles! George's slide style is instantly recognizable, right? Here are the other videos in my What I Learned from the Beatles series, in case you missed any: What John taught me: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-ElMk3GZHrMw.html What Paul taught me: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Q9x09Z6WqsY.html What Ringo taught me: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-v4xJdR0Vz4I.html What George Martin taught me: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-SJnijUU2QjQ.htmlsi=UPNBlOKrfn-S5pHs
Indeed, Trevor! Here are the other videos in the series, in case you missed any: What John taught me: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-ElMk3GZHrMw.html What George taught me: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-XZ0Tpe5OCYY.html What Paul taught me: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Q9x09Z6WqsY.html What Ringo taught me: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-v4xJdR0Vz4I.html
I think the main ingredient to the Beatles success was all four Beatles and their willingness to seek out new sounds but to me it was the songwriting of Lennon /McCartney and George Harrison that was the real strength along with the quality of their singing voices. That is not all though. Having George Martin as their producer was like a perfect match for the Beatles and along the way they had very good engineers like Geoff Emerick and others who all contributed to the evolving Beatles sound. Finally i would point out what Ringo Starr has recently said in the last few years about crediting Paul McCartney for the total amount of Beatle output that they were able to release from 1962 until 1970. Ringo Starr said that because Paul McCartney was the workaholic member of the group he would always be the one calling up the other 3 Beatles suggesting they start work on a new album or project. Ringo said that if it were left up to him or John or George that the Beatles probably would have only made 5 or 6 albums and would have been done. But ultimately it was a very lucky but destined combination of factors....of ingredients in the sauce....that contributed to the Beatles very impressive and high quality amount of music and output that the world ended up getting. Even the very rare time that the Beatles brought in another musician to play on one of their songs it was a brilliant choice. Eric Clapton coming in to play lead guitar on George Harrison's song While My Guitar Gently Weeps and then with Billy Preston invited in to play his organ on the Beatles Get Back sessions in January 1969 resulted in amazing work. The Billy Preston solos on Get Back alone justified him being there is what Producer George Martin once said. The classicly trained picilo trumpist that played on Paul McCartney's song Penny Lane really enhanced that song and shows how the Beatles could just hear anything on the television or the radio in Britain love it and then ask George Martin the very next day about who was the guy playing that and could we bring him into our recording sessions. Lol That is the power that the Beatles and one Mr. George Martin had at that time around 1966. They could basically do whatever they wanted!
True synergy, right Jason? They could put a photo of The Beatles with George Martin in the dictionary next to the entry for Synergy. Lots more Beatles-related content for your enjoyment: What the Beatles Taught Me - Complete Playlist ru-vid.com/group/PLJUm5NcjSm4h46M-IlNy7xudjxDz8rCZT
John was often credited as the leader of the Beatles, but it really was Paul. It was he that pushed them to get the work done. I heard a quote from Ringo recently, "if it wasn't for Paul, we'd have made maybe 3 albums, the rest of us were so lazy". My favourite bass line of his was "For the Benefit of Mr. Kite". It bounces all about the melody.
They all had a solid work ethic, Mike, especially with John and Paul's songwriting rivalry in the early years. But you're right that Paul took over the leadership (and poking-prodding) role once they stopped touring. I'm sure thankful to him for that! Here are the other videos in the series, in case you missed any: What John taught me: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-ElMk3GZHrMw.html What George taught me: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-XZ0Tpe5OCYY.html What Ringo taught me: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-v4xJdR0Vz4I.html What George Martin taught me: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-SJnijUU2QjQ.htmlsi=UPNBlOKrfn-S5pHs
I don’t have a bubble to burst, Sal. 💥 but who says Paul played on Birthday? Beatles Bible and others say it’s Ringo. And it sounds like Ringo to me…utter simplicity and drive but with a very subtle swing.
Good luck with your dating detective work. I think the period between 55 and 65 was a golden age for J-45s and J-50s. Mine is sounding better than ever. I featured it heavily on my video about What I Learned from James Taylor: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-YFThZipY-BY.html And here's a video about two inexpensive improvements I made (in addition to replacing the adjustable bridge with a fixed bridge and bone saddle): ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-H9pmT4uv2oA.html
Obviously, I agree with you, Paul. Most of the folks who think George was meh weren't alive to experience his MASSIVE influence on almost every guitarist of the 60s and 70s. Here are the other videos in this series, in case you haven't seen them: What I learned from John: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-ElMk3GZHrMw.html What I learned from Paul: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Q9x09Z6WqsY.html What I learned from Ringo: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-v4xJdR0Vz4I.html What I learned from George Martin: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-SJnijUU2QjQ.htmlsi=UPNBlOKrfn-S5pHs Thanks for watching!
Not to be pedantic but in the UK Strawberry/Penny double-A side outsold Release Me by Engelbert Humperdinck but the rules were and are, you can only count a single song.
Ah...so not being a chart-topper was a technicality in the UK. In the US, neither song made it to number one. Interesting strategic choice to release a double-A...
Robert: Another winning video. Regarding Paul's mellotron intro I can't paste a link but go to BEATLES John Lennon Strawberry Fields Forever intro and you'll hear A. John playing most of the intro which Paul amazingly "filed away" and improved. John is playing it in 1964!
Thank you! I found the video and will share it here: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-tcoaOXNK4ME.htmlsi=2DozosDhAjlFbkIL Such a cool bit of history... I always thought that descending minor line had John written all over it.
Robert Cassard - Great points. If you read Martin's book (and I believe you probably have) we should remember that Paul in particular - but John and George as well, wrote many of the actual notes in the arrangements. Ex.-Martin said that the piccolo trumpet solo in Penny Lane was Paul as GM said "I simply couldn't write notes as good." Sorry if I mangled the quote - but the effect of the wording of Martin's quote is exactly this. Regarding I Am The Walrus McCartney says Martin went to Lennon's home and the two wrote it. If you hear the 'naked' keyboard intro, John had already baked that into the tune. A very enjoyable video!
All You Need is Ears. An enjoyable read...and what a modest guy. I love that he was so collaborative and determined to help "the boys" achieve their sonic vision of each song. Not surprised that John and Paul were involved in the "actual notes" of the arrangements. They were innately melodic tunesmiths, and GM knew that. But Martin's masterly orchestrations (and unique choices) made their songs sound more radical and daring than they would have without those elements. And the arrangements had the effect of demanding the respect of even the most serious musicians. What a synergy, eh? I'm glad you found my channel and I appreciate your comments!
I've been a stew Mac customer for a long time. Been wanting to know about these. Could also pony up more money for the Wilkinson kit. Good to know the pickups sound decent on this one.
The kit we bought was such a bargain…and I’m very pleased with how playable the guitar turned out. I’d be curious to know exactly what items are upgraded in the Wilkinson kit.
@@RobertCassard Trev Wilkinson has a RU-vid video where he goes through the whole process. .I'm pretty sure his pickups are alnico and accurate to Leo fenders specs
@@kirbonite I found that video: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-AcM54PJIIag.htmlsi=0r7cuwHiwoaD_hrs That's enough to convince me that his kit is likely worth the extra cash...
How long do they last? I've played 50 years and never used lub....use the dry pads and run them over and under strings....I've noticed my fingers are drier the older I get and they don't slide like they used to. I've heard about mineral oil.
If you mean how long do the strings stay slippery after applying the lube, it’ll be different for everyone based on the dryness of your skin and your body chemistry. In my case, they usually stay slick for 4-5 songs then the friction increases from there. For me it’s plenty to clean and re-apply the lube between sets. If you’re asking how long a bottle of the lube lasts, it’s a long time!
Excellent video. Because of their popularity and innovation, The Beatles can be analyzed and appreciated by you the producer and the audience alike. The Beatles are the standard, of which, to compare other popular music. The crafting of the songs, the composition, stands alone.
Thanks, Mack. I agree with everything you just wrote. Here are the other videos in this series, in case you haven't seen them: What I learned from John: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-ElMk3GZHrMw.html What I learned from Paul: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Q9x09Z6WqsY.html What I learned from Ringo: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-v4xJdR0Vz4I.html What I learned from George Martin: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-SJnijUU2QjQ.htmlsi=UPNBlOKrfn-S5pHs Tell me what you think!
Thank you, Maćke. 1964 Gibson J-50. You can really hear it in this video about what James Taylor taught me: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-YFThZipY-BY.html
@@RobertCassard if you listen to them play and listen to their growth and development you can see the progression. Both bands experimented with music and sounds. It was always about the musick for both bands. Sure we can call the Beatles pop music now, but during their time they were creative and divisive and experimental. Both bands colored way outside the lines. And if you listen to all the songs every member of the Beatles played exactly what needed to be played to make the songs great. Same with Rush, Alex is one of the best guitar players of all time, he just never hogged the LIMELIGHT, (pun) more great music, try listening to Chicago Transit Authority, every member was incredibly, bands like Boston and Kansas... Etc etc
@@ChipEstrada absolutely, Chip. Yes, every member of early Chicago was an inspiration, right up to Chicago VI (for me). In addition to the bands you mentioned, some of their predecessors were mind-blowing. A number of bands in the late 60s, early 70s had equal levels of creativity and virtuosity. The first King Crimson LP came out of nowhere. Yes covered a lot of new ground during the period from 71-74. Gentle Giant! I could go on...
Glad you like it, Rodrigo! Here's the video of the complete Julia cover: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-oc21zgCnnlQ.html I also made a video showing how I arranged and recorded it: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-x-qIx-gmmTw.html If you stream music, please listen on Spotify or Apple Music, too. Spotify: open.spotify.com/playlist/3EvYyfSkqceIOA1X7VEMbY?si=793905826f5543ca Apple Music: music.apple.com/us/playlist/this-is-robert-cassard/pl.u-jVlDTajooq
Funny. I’ve gone in just the opposite direction. A number of years ago, I discovered the guitar I never knew I always wanted - a Martin D35S. It provided me the familiar landscape of a classical neck while allowing metal strings. I’ve never looked back. It completely changed my repertoire.
Ah! You and I are probably in a similar lane then. The D-35S is a beautiful model - I love slope-shoulder acoustics. My long-term "partner" is a Gibson J-50 from 1964 (I bought in '78). I've done multiple videos about it and play it on quote a few others, but this is one of my favorites: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-YFThZipY-BY.html Just last year, I finally acquired my personal "holy grail" Martin Dreadnought. Here's the video about my quest and some Martin Guitar history: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-YXiaM-pGbyE.html
This was a completely unexpected transition for me. Switching to metal effectively forced me to abandon a decades old body of work while inspiring me to write. I’ve been playing nothing but original material since I bought it. That was around 20 years ago. I don’t know if I could site any particular artist as an inspiration. I’m all over the map in terms of musical genres.
I know that this is 5 years old, but... A technique that I use to create similar effects is to record a 6-string acoustic, duplicate the track move it ahead 20-35 msec, and then increase the pitch a full octave. If you keep them panned to the same place you get an instant 12 string. Pan them apart and you get the layered guitar effect.
That's a cool idea. It's a guitar version of ADT (Automatic Double Tracking used on vocals), but with a higher octave thrown in for added spice. Interesting thing about your approach is that it adds a high B and E up an octave (which Nashville tuning doesn't). Do you have any recorded examples? Please share!
@@RobertCassard I don't have a 12-string acoustic so I used this technique to create the sound of Harrison playing a Framus Hootanany. Keep your eye and ear on the guitar in the middle and on the bottom. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-8ySEm_3pUKA.html
Lifelong drummer and Beatles fan.. I had NO idea John was so incredibly innovative on guitar! THANK YOU for the in-depth lesson on this brilliant musician's talent!
My pleasure, Richard. Here are the other videos in this series - Ringo included - in case you missed any: What George taught me: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-XZ0Tpe5OCYY.html What Paul taught me: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Q9x09Z6WqsY.html What Ringo taught me: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-v4xJdR0Vz4I.html What George Martin taught me: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-SJnijUU2QjQ.htmlsi=UPNBlOKrfn-S5pHs
Hebert! You might enjoy this nugget from 5 years ago. When I changed the strings on my 1889 Martin from steel to nylon: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-axdxYKzdm8g.html
Glad you enjoyed it, Ann! Here are four more videos from my Beatles series, in case you haven't seen them: What I learned from George: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-XZ0Tpe5OCYY.html What I learned from Paul: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Q9x09Z6WqsY.html What I learned from Ringo: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-v4xJdR0Vz4I.html What I learned from George Martin: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-SJnijUU2QjQ.htmlsi=UPNBlOKrfn-S5pHs
We agree! BTW - Here are the other videos in the series, in case you haven't seen them: What I learned from John: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-ElMk3GZHrMw.html What I learned from George: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-XZ0Tpe5OCYY.html What I learned from Paul: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Q9x09Z6WqsY.html What I learned from George Martin: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-SJnijUU2QjQ.htmlsi=UPNBlOKrfn-S5pHs
Hi Chase. You’re right. In general, internally chambered guitars are much less prone to feedback than semi-hollow and especially hollowbody guitars. If you either own or can buy a chambered guitar, then great. If you have a hollowbody and want to play it live and loud, that’s where plugs come in.
@@RobertCassard Thanks for replying. I will consider to use 0.12 80/20 bronze since F310 have a bigger bodied draughnaught. Now I am using 0.10 85/15 which is too soft and less output.
@@RobertCassard Sure, thanks!.. Just one more thing that I concerned, is that any differences in terms of 'tone' between using 0.11 and 0.12 (but both still 80/20 bronze)... I Understand it's only gauge measurement tension. I just worried because "maybe" too much tension will affect the neck..
@@FPMediaVideoProduction Changes in string gauge are more noticeable on acoustic than electric guitars. A set of 0.12 acoustic strings is still considered "light" gauge, They definitely shouldn't overstress the neck or bridge of any guitar that's kept in conditions with reasonably stable humidity and temperature. (More of that here: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-CKrV7eJbhnM.html) Almost every acoustic can handle medium gauge 0.13s without neck or bridge problems.
Threw out the entire beginning of the video you talk about how putting all that stuff in the f hole,changes the sound(balloons,foam,ect) and your answer is to plug the f-hole..what????
Hey Jeremy. Sorry I wasn’t clear. What I meant was that putting anything inside the guitar (that you can’t easily remove from it later, like foam, balloons, etc.) changes the sound of the guitar when played unplugged. In contrast, f-hole plugs can be removed easily with zero damage to the guitar and you can play it unplugged with no change to its sound. I hope that explains the difference…
Agreed! Thank you, Chucky. Here are the other videos in the series, in case you missed any: What John taught me: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-ElMk3GZHrMw.html What George taught me: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-XZ0Tpe5OCYY.html What Ringo taught me: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-v4xJdR0Vz4I.html What George Martin taught me: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-SJnijUU2QjQ.htmlsi=UPNBlOKrfn-S5pHs
As I look back on it, two very significant things shaped my conceptualization of the bass guitar and its role within songs that I would go on to create. The first thing was the cassette recorder my Dad bought me in 1975 when I was 12. It’s not even that it gave me an independent access to the music I wanted to listen to when I wanted to listen it {although it did do that} because our record player had been doing that for 5 years. It was the fact that the speaker on it was rubbish. And it rendered the bass on a song virtually non-existent ! When I hit 19 and got my own stereo unit together, it came as a surprise to hear Paul McCartney’s bass lines on Beatle songs or the bass lines on the Jackson 5’s “Maybe Tomorrow” LP. That cassette player was one of my lifelines for years. It eventually gave up the ghost in 1980 {I used it almost every day} but in a most formative period for me, both as a person and as someone listening to and taking in music, I thought in terms of just about every aspect of a song - except the bass. Because I couldn’t really hear it. Which brings me to the second significant thing. It was the song “Rain” by Status Quo on the magnificent “Status Quo Live !” LP, the one its lead guitarist Francis Rossi called “rough as a badger’s arse” because there are no overdubs or anything to sweeten it up. I vaguely recalled “Rain” as a single when I was 13 but here it was in all its live glory. Great song. Anyway, when I bought a bass guitar {it was probably 4th-hand, from this junk shop in London’s Hendon Central} at 18, I didn’t even know how to tune it so I remembered the tuning, roughly, from 6 years previously when I was supposed to be learning the cello - I’d opted to learn the cello thinking it would mean that because it clashed with French, I wouldn’t have to do the French homework as I wasn’t in the class but my French teacher soon disabused me of that notion so I lost interest in the cello ! But I did write a “piece” on it based around the tuning of each string and that’s what I applied to the bass. And I set about trying to play “Rain.” Now, Rain has this great riff and in my mind, that was the first thing I needed to get. Once I’d done that I went through what I saw as the changes in the song and I was thrilled. So I approached it as a song to be played on the bass. It didn’t even occur to me that there was a bass line that might be particular to the song. And that’s how I began to approach the bass. I wrote loads of songs on the bass over the next couple of years, often lengthy multi-part pieces. I wrote my first song on the bass that first night, “The Virgin and the Whore.” When Paul McCartney stated that you can’t write songs on a bass guitar, I couldn’t disagree with him more vehemently. It’s ironic that the year he said this {1982} was when I was beginning to do it. The reason I count my learning to play “Rain” as significant is because in 1989, when I’d been a bass player for some 8 years, I was listening to Rain as I cycled home after a disastrous meal at my friend’s house. And though I’d heard the song many times over the years, for the first time, I actually focused on the bass part. And discovered that I’d played it completely wrong that first night ! When I’d originally learned it back in December ‘81, I didn’t play along to the song. My imagination provided the soundtrack and as I doodled on the bass tuned like a cello, I was putting in the notes and parts that I thought were the song. But listening to it in ‘89, I found that the bass part was really rudimentary. It was a couple of notes {Quo were equally famous and lambasted for their basic boogie style of heavy rock} and the riff that I’d meticulously worked out, when I listened to what Alan Lancaster, Quo’s bassist did in it, I was like “Whoa ! There are only two notes and he doesn’t play the riff at all !” That came as something of a surprise ! But I’m glad things worked out that way. Because it meant that right from the start, I was a melodic bassist, thinking in terms of a song rather than a bass part. Now, as I developed and actually started recording songs, I found that it was important to be able to play specific bass lines as well as being able to create a song on the bass. In other words, the way many if not most bass players start their journey, I came to that rather late and had to learn to incorporate that into my playing. But I also count it a positive advantage to have come from the direction I did. When I came to arranging the songs I’d written on bass and putting in other instrumental parts and melodies, I had a difficult time initially. I mean, if you have a song written on the bass, how do you go about working in a melody that a vocalist will sing in such a way that it becomes the focal point ? And other instruments ? But I have managed that and now it’s quite easy. It wasn’t always ! The bass guitar is perhaps the most versatile of all instruments with the possible exception of the drums, in my opinion.
That’s a cool musical origin story, grim. You learned bass in the vacuum created by your cassette player! I love that you used cello tuning in trying to figure it out. Anyway, I agree about bass’ versatility and that you can absolutely write songs on bass. Ironic that McCartney said you can’t because there’s a scene in the Get Back documentary where he’s writing the song Get Back…on bass!
Hi Roy - Go back and watch the section starting at 5:57. All about Jimmy Page including interview footage about his Harmony Sovereign and the first four Zeppelin LPs.
Dude. Within 10 minutes of using DMSO I can move my shoulder in a way I haven't been able to for MONTHS. It's itchy as hell and not touching it is a huge mind game lol but within that short period of moving my shoulder around, I may have just discovered the problem mobility area that I need to work through in my active recovery. Thanks for putting this info out there
My pleasure. I'm glad you're experiencing the wild way DMSO can relieve pain and facilitate movement. If it's feeling itchy, it could be because the DMSO concentration is too high and you need a more diluted form. I like the 70% DMSO like in this cream, and never have any burning or itching with it: amzn.to/4eAcFEw