Witters

String length makes a difference. The longer length allows the harmonics to ring better (I read it somewhere so it must be true!) which means the Fenders will feel that bit brighter.

Finally, it’s wine o’clock! I’ve just been talking to a student about the dislike of gigging, and suggested she create an “onstage persona”, someone she can leave in the case at the end of the night, but bring out and become when she performs. She is quite shy so it will be interesting to see what she does! I am aware this persona will be influenced by the music she chooses to play, currently she loves Day6 ( Kpop), and I have asked her to bring this persona to the next lesson. I can’t wait! This is a technique I have used over the years, so much so that I am becoming my onstage persona. Cheers all!

That was it! A triple wasn’t it?

Very true! Music is so individual. What I love about early Yes, prompted by your post of “America”, is their energy and desire to try things. They were so raw. Does anyone do this kind of experimentation today?

My entry was Caress of Steel, if memory serves. Also, 2112. Their early material up to “Exit stage left” was brilliant back in the day, but not so much now. I really enjoyed “Signals”, “Power Windows” and “Hold your fire”; then I discovered their entire catalogue on an old hard drive (how did I miss that?) So, I am now really getting into “Clockwork angels”, “Snakes and Arrows” and “Vapor trails”. I love the lyrics and how he talks about life, age, family, people; and the story telling; it’s great. Then the challenge of working out the riffs and timing and trying to understand how it’s all constructed. I find there is nothing else like them at the moment, and they have managed to maintain their energy to the end.

Recently, I left a good band as it was no longer working for me. It was a blessed relief, surprisingly. No more late nights/early mornings; humping gear; awful gigs; lack of appreciation, generally, though there have been many nice comments for which I am humbly grateful and a few great gigs; Band politics (at my age you’d think they wouldn’t exist) etc. Never say never, and I do miss playing with other musicians, but I am taking a break from live performance (and possibly retiring from gigs). So, OP, you are not alone.

Definitely “The Yes Album” then “Fragile” and “Close to the edge”, then “Yessongs” for the energy and sheer joy (live versions of the first three albums). Though they are my favourite band they seemed to lose something after this. “Relayer” and “Topographic...” are good, “Going for the one” and “Talk” are my other faves, but everything else has the odd moment but that’s it. Needless to say I have vinyl and cd copies, and bonus discs, of everything (lol but only ever listen to “yes album” to “Yessongs”. So, that’s my recommendation! I am rediscovering Rush at the moment! The later stuff is fab!

Lutes and theorbo’s et al are such glorious instruments! They sound so warm and “olde”, unlike the modern classical guitar. I play lute, not terribly well. There isn’t a great deal of consistency in the written music as there are at least four ways of writing a score - French, German, Italian and then modern piano. If I have it right the French and German methods use letters instead of numbers for the frets (a = open, b= 1st fret etc) and the Italian method uses numbers. They were not always written the same way up, either! Generally, the Italian method could be written “right way up” (high string = on top of the tab staff), or upside down, and you don’t know until you start playing the piece which way up you are supposed to be reading. Note values are written once at the first occurrence of that value and stay in place until the value changes - it makes so much sense when you play it! Much better than the modern piano nonsense. Tuning - well, my lute is in Renaissance tuning. From low to high it runs ... D F G C f a d g. 8 courses but fifteen strings. Octave pairs until “f” then they are unison until “g” which is a single string. Many guitar chord shapes work very well in this tuning, thankfully, as the G-d strings are a tone down from standard guitar tuning. Lutes with free floating ie no neck, bass strings are generally tuned in some kind of scale. I don’t know enough about this has I can neither afford nor justify one of these baroque lutes, but I’d like one! Needless to say, it’s a bugger to play and tune!

That is really good! Great groove, I’d like to hear more.

Bach Two Part Invention number 4 - partly for a student, but since I got going it’s fun to play. I’m using it to teach myself some simple recording on Logic.

Cheers!

These adverts are a pain in the butt. They appear behind each post and over the “next page” buttons. Is there anything that can be done about them or is it just me? Thanks

Just listening to one of the cd’s from the front desk - Gadu Gadu Terra Incognito (Adrian Maruszczyk). It’s very ECM, Jan Gabarek comes to mind, but less intense. Well played, well written, well produced etc. It’s really good, lovely stuff. I’m looking forward to the others! Now I REALLY must get on with some work! 😜😔

Great day, folks! Thanks to all involved in organising, preparing and running everything. I found plenty to lust after/consider for future purchases/wish I could prepare food like that! Great to meet everyone, too! hmmm....Ibanez src6 @Frank Blank ?

Hi Folks, I need a bass player preferably with BVs for a Wedding/function band. Note - THIS IS A START UP (just want to make it clear, sorry to shout!) Game plan so far.... May half term - record 5 track demo. To be done at Warminster school where me and keys teach, therefore it’s free. August - rehearse 30 song set list (tbc), complete website, film promotional showreel. Chance of rehearsals before then is limited as we all teach. Autumn - small pub gigs to help us gel. There will be upfront costs (PA, lights, website etc) shared equally unless you need your own kit. Estimated cost per person is about £500, not all in one go etc, more likely as we go, intended returns £250 per person per gig (not including pub gigs obviously!) We will be working with backing tracks that we create - extra instrumental parts, bv’s, etc. I’m hoping we can do a programmed light show etc as well Current lineup - female vocal, Keys, gtr, drums. Just missing you! i will be at the South West Bass Bash if you want to discuss further If this is of interest let me know. Thanks Witters

Enough room for a little one? I’ll be there. Who do i pay? I will bring my Yamaha RBX765 custom fretless 5 string I have a TC Electronic BH250 and Eden 1x12 cab if you like, but I’m happy to leave those behind if you already have one!

I don’t have the room any more and I’m rubbish at selling stuff (though I do have a jazz guitar I’d let go at the right price). I went through a phase of buying a few nice pieces after my divorce, “because I could, finally, I was free to do as I pleased”, so I did. Once that was satisfied the “need” left me. These days it is specific instruments for work (the fretless and the jazz copy) and I am trying to use everything I have. The irony being that my most used instruments are the least expensive! A useful lesson. However, I do have one major GAS .... a baroque lute, swan neck, 13 course. £7k new, half that second hand. Then I would need the time to learn it. Unlikely to happen. Hey ho, enjoy what you’ve got!

After weeks, possibly months, of saying “I wanna fretless, I need a fretless, i can’t justify one, I don’t play fretless, I would if I had one” etc I finally have one. Well, actually it’s with the guitar repair man getting some new strings and a full setup. I could do it but he’s sooo much better than me. Originally owned by the lovely Ricardo Westie and made fretless by John Shuker it’s the red one in the photo. The black jazz copy is a BC purchase and it’s great. The 6 is a Peavey Grind, also great (I may gut the electrics one day, but I say that about all my basses/guitars). If I manage to get to the South West Bass Bash I’ll bring these with me - not as exciting as some pieces, but they’re mine and I love ‘em!

After weeks, possibly months, of saying “I wanna fretless, I need a fretless, i can’t justify one, I don’t play fretless, I would if I had one” etc I finally have one. Well, actually it’s with the guitar repair man getting some new strings and a full setup. I could do it but he’s sooo much better than me. Originally owned by the lovely Ricardo Westie and made fretless by John Shuker it’s the red one in the photo. The black jazz copy is a BC purchase and it’s great. The 6 is a Peavey Grind, also great (I may gut the electrics one day, but I say that about all my basses/guitars). If I manage to get to the South West Bass Bash I’ll bring these with me - not as exciting as some pieces, but they’re mine and I love ‘em!

Excellent, thanks for posting that, very interesting. I love the bit that states “should never be purchased by the serious student”!

Firewood, maybe? Can you imagine trying to teach it as a minority instrument in a primary school!

This arrived on my YouTube feed. I’m really not sure what to say!

April is promising

Hi Paul, I have messaged you via Facebook thanks mark

Perfect! Guitarists are best seen and not heard,......possibly not seen either. Glad it well,