I view the fretboard is a similar way James. Basically I use 3 moveable chord shapes (A barre, E barre + D shape) to tell me where the root notes are in the scale over the fretboard. Clustered around the root note, the 7th, 3rd, 4th + the root form a square (offset one when going from the g to b strings) which are half step intervals, and the remaining are whole step. So the chord points me to the root and the root points me to the square, and the remaining notes 2nd, 5th and 6th are within easy reach of the square as whole steps. I found this really handy when playing modes as well, as I use the movable chord trick on the modal chord to get its root, but visualise the underlying ionian scale for the squares, e.g. F# phygian using whatever movable chord to give me the modal root, but D major for the key squares. I've only been doing this the last year or so, prior to that I was stuck in pentatonic boxes, it has really opened up my playing.
This video is testimony to the fact guitarists will spend hundreds of dollars on guitar bits rather than use an EQ. "I want to darken things down a bit" - then use an EQ for gods sake. Nor has this video even really answered the question posed. You should have shown a clear A/B comparison with no effects and not in a mix. Sigh.
I changed the old roller bridge (1996 i think) on my Gretsch Tennessee Rose for a solid aluminium bar bridge. It made quite a significant difference - my wife noticed when i was playing acoustically so it wasn't just in my head! It rang out more clearly and had more sustain. I was somewhat apprehensive about intonation as the bridge is simply a solid bit of machined metal but just moving the floating bridge base so E and E are intonated was effective and it had been perfectly fine (no problems when recording with bandmates using individually intonated strings). I didn't miss any tuning stability from the rollers either as the bar bridge rocks on the bridge posts as it was designed to do in the '50s - much like a Jazzmaster bridge when set up well. I'm new to the channel, I'll check out a few more videos.
Thanks for the video James. I'm considering putting a Graphtech or Fishman piezo bridge on my '92 NY Standard at some point. That said, I'm happy with the stock tuneomatic. I had a roller bridge like that on another guitar once and had similar problems with sympathetic ringing. I'd guess the shallow break angle on the Eggle doesn't help.
He is looking for what sounds right to him and is, at the same time informing all of us. Turning a tone or treble knob may remove frequencies you like and EQs are far more expensive than a bridge. If it were as easy as you say, we would all have two pickups and three bridges. But the beauty of guitar is that so many unique elements play a part in tone and timbre, which we have the ability to modify and alter.
@@michaelcarrig627 3 bridges??? Turning a knob is hard?? ....OK mate. Every amp bar a power amp have tone controls. They are not soldered in place and are designed to be turned/moved. Changing a bridge takes effort as you will need to intonate the guitar. But if he wants to change his bridge to alter tone then go for it. I think polishing with bees wax would create a buzzier tone. I hear Gibson sells an expensive polish to help with the tone. Guitarists are the craziest people on the planet. Science: a metal string moving between magnetic coils creates a voltage. That is what makes the sound. You can alter sustain by changing the bridge and putting in a material that absorbs vibration. But as the sound is amplified you probably will not notice the millisecond difference. James can take a chainsaw to his guitar to change tone. but learning to use a tone control (available on 99% of amps and modelers, etc) will be easier. FACT!!
@@tiomkinnyborg2289 I said nothing about turning knobs being hard. You are creating a paper tiger. When you roll off a 500k tone pot you will lose articulation and high mids to “warm” your resonance. Changing hardware, from your bridge, to your nut, to your trem or trem block alters frequency in a different way that doesn’t change how your pickups and pots relate. So if you have a problem with a specific frequency it could be your tone/amp or it could be something your tone/amp doesn’t fully control. Unless you are using an eq, it is difficult to know what unwanted high frequencies you will get and how those pots will modify those frequencies. Your solution is simplified and your attitude is dour.
@@tiomkinnyborg2289 Never mind you described exactly why nylon saddles would change the vibrating pieces of metal, as they sit on top of other vibrating pieces of metal, that sit on top of other vibrating pieces of metal. Imagine someone saying, “why waste your money on an amp with a 3 band eq and a guitar with a tone pot. You can control the high end frequencies by playing with your thumb and controlling your pick attack”. This statement would, of course, be incomplete.
@@michaelcarrig627 I never said YOU found turning knobs hard, Turning knobs is not hard, installing a new bridge could be. Frequency = pitch 440hz is an A note on all things that vibrate at that rate. I think you mean timbre or quality of the sound. Please note I have not insulted you by calling you names. You have, to me. Conversation is over. Have a lovely day.
Месяц назад
The tremolo adds an interesting nuance to your specific playing. I would start trusting that system and maybe try some akin technology (I got a Stetsbar, which is an interesting concept).
Thanks Niccolo. Haven't tried a stetsbar yet, any good?
Месяц назад
@@jamesbyron2152 It is. It stays in tune longer than a traditional tremolo due to the motion being from side to side rather than from top to bottom. I have it on a Les Paul DC copy that used to have a fixed wrap-around bridge and works really well. I know there is a strato version as well... don't know if they kept the same concept though.
Recently I changed the bridge on one of my NY standards too. The original Gotoh tunamatic was pretty worn, I'd guess it was the original one from 92 (I have owned the guitar since 07) and I was getting some buzz or overtones? when playing certain chords. I just replaced like with like and that seems to have quelled the problem. All my NYs have the same Gotoh tunamatic except for my 92 Anniversay model where a previous owner had changed it to a roller bridge.
Interesting. People seem to like dropping the aftermarket roller bridges on these. I think a decent tunomatic is the right option for these NYs. I definitely like the nylon saddles now though.
It's always good to remind yourself at any stage of your journey about the basics and you have done that well here. Your kids are correct to a point,but we'd soon get bored of lists and miss your regular lessons after a bit. Well I would anyway as I'm quite old. Well according to my kids and Grandkids but I am in denial about that.
I picked up a NOS ONE OF THESE ABOUT 4 years ago. I have an Gibson 335 as well. I am very impressed with the Hohner. Sounds great and very comfortable to play. I recommend that if anyone sees one, to give it a try. Very nice guitar.
Hi Jim, What an absolutely great lesson. Just as you stated I have knowledge of scales, Arpeggios , and chord tones. However I could not figure out how to start a solo and smoothly play over the chord changes. This lesson provides a great Road Map on how to go about doing that. I'm very Greatful for this lesson. You have a new subscriber as it seems you can read my mind. Thank You. Ken
The way you walked through the process taking the learner along deserves applause. Please please make another video in similar lines with a few more fast runs in between. I have never come across any videos deliberately teaching this thought process. Appreciated. Requesting again to make a similar video with a few more fast runs (burst of notes, picked or legato) in between.
When you play scales with three notes per string instead of the regular two,or occasional three, note pattern do you just continue by repeating the scale? I ask this given that seven cannot be equally divided by three?
With the 3 notes per string patterns you're not always finishing on the root note at the top, it's more about evening out the patterns to make them easier to play.
My advice? For extended chords, learn the 3rd and 7th first. For dominant, that's a tritone. For maj7 and min7, it's a perfect fifth. Then it's easy to build any chord you want around those intervals. I played in a big band once, and the charts were impossible. So all I did was play TWO NOTE chords with these intervals. I mean, we had tons of horns, a pianist, and a bassist. I didn't need to do anything else!
@andrejz8954 They're trusting in the other instruments to imply the notes? This is great advice for anyone wanting to be part of a song. Highlighting the color of a chord.
@@andrejz8954 it’s actually implied, even in solo piano repertoire when only two notes are present. What andyg1245 said is also true in a band/ensemble setting.
Nice lesson, but a bit of correction is in order, and no worries, you're not the first one to make this mistake. Your first three chord runs were simple major and minor triad chords even the barred ones, then you threw in a m7b5 chord at the end. That mixed triads with a four note chord and was not needed. There is a triad diminished chord you could have played instead, to be consistent. Save the m7b5 chord for when you are playing all 7th chords in a chord-scale up the neck. Of course, in a song you can mix them all up, but keep triadic chords and 7th chords separate when teaching them to avoid confusing beginners.
Hi Phil, I did explain in the lesson why I was using m7b5 throughout instead of the dim triad, as it's the voicing people are more likely to encounter in the real world. Hope this makes sense.
Thanks for this video! As a self taught player I was stuck as to what to do with scales since I just kept memorizing their shapes yet not being able to utilize them in playing. Now I am starting to understand.
Really good stuff. This will benefit me as I see notes more than intervals and I also struggle with which finger to choose to play the notes. I think your content is among the best and most practical on RU-vid. PS Lovely guitar too.
