Sheer repetition can be a wonderful way to practice. It frees the mind to wander and forces the muscles to remember.
I've been watching House and playing chords to build my chops.
The show has an element of distraction in that the music is SO good and integral to the drama that is House, it draws me to play with it rather than working on the chords I am supposed to be learning.
When I first picked up a guitar in a serious fashion, it was 1969 and I played until my fingers bled. It didn't help that the guitar I was using had action set by the Devil, himself.
'Tambourine Man' being the song I learned at summer camp.
I will still play it now and again.
This day, I was at a musical partners home and we were working up a list of two sets of material.
Over and over we plowed through changes and songs. I was drenched with perspiration by the time we were done. Never mind he had the heat set to the mid seventies.
I haven't been able to figure out what it is about playing that is so strenuous.
I suspect it is passion.
The more I throw myself into something the more it is a workout, physically.
I think I have dropped at least ten pounds in the last two weeks.
I would think it a case of the Emperors New Clothes but my jeans are dropping from my waist. SO I know it must be real.
The other portions of my exercise regime do not evoke such a response. I walk and lift weights. I do breathe heavily when weight lifting but rarely sweat.
It's not the act of playing that is a workout. The guitar weighs less than seven pounds and I run about very little when playing. I do gyrate while playing. But no more than if I were dancing on the floor. And that never caused me to perspire so.
So I practice and try to make perfect.
Saturday, February 27, 2010
Thursday, February 25, 2010
Al DiMeola At The Coach House
Chances are the remaining tickets are gone.
And this is Al's one and only California date this year.
$25?
Yeah, I'm going.
For reference - he was my teacher in 1973-1974 until he returned to Berklee to teach at the age of nineteen.
When I went to see Return To Forever at Carnegie Hall in 1977, I tried to get back stage but was turned away.
I was walking away dejected when I was grabbed by my wrist...by Al's Mother .
"Let's go see Al!"
I had spent a lot of time with her waiting for Al to return from rehearsals in NYC.
She fed me as any good Mother would.
I wonder if I can get backstage tonight?
You know I will be trying.
If you can find a ticket, grab it.
See you there.
And this is Al's one and only California date this year.
$25?
Yeah, I'm going.
For reference - he was my teacher in 1973-1974 until he returned to Berklee to teach at the age of nineteen.
When I went to see Return To Forever at Carnegie Hall in 1977, I tried to get back stage but was turned away.
I was walking away dejected when I was grabbed by my wrist...by Al's Mother .
"Let's go see Al!"
I had spent a lot of time with her waiting for Al to return from rehearsals in NYC.
She fed me as any good Mother would.
I wonder if I can get backstage tonight?
You know I will be trying.
If you can find a ticket, grab it.
See you there.
Friday, February 19, 2010
Lindy Fralin Blender Pots
What does a blender pot do?
A blender pot will fade in the neck pickup to the bridge position and bridge pickup to the neck position.
At first glance that doesn't particularly sound like much.
A Fender Stratocaster has a five position switch in an attempt to give the Fender player combinations in pickup selection that Gibson players have always had.
On a two pickup Gibson, if the pickup selector switch is up, the neck pickup is in use.
If the switch is in the middle position, both pickups are active.
And when the switch is in the down position, the bridge pickup is the active one.
When I got my first Strat in 1972, they came with three position switches. To obtain a blend you had to "balance" the switch in between detent positions. A tough task while playing.
So Fender sought to make the pickups' palette more broad.
But this freezes one into a set of specific combinations.
And really doesn't allow for a mix of 1/3 each or anywhere in between.
Pickup Matrix
Enter Lindy Fralin. Mostly known for the boutique pickups bearing his name, he got his start in the 1990s hand winding pickups. They still do that today - each pickup done to the customers specifications.
Back to the pickup selection conundrum at hand.
Lindy developed what is refered to as a blender pot that allows one to blend the output of all three pickups.
You sacrifice one of the tone controls. In it's place you have a master tone control and a blender.
By rolling in more of one pickup or another I get the widest tonal brush. Easily manipulated while playing.
It took a total of forty five minutes from start to finish. Only two wires need to be attached. The old tone pot is removed with all it's original connections intact. (The one wire that was on the five position switch & the ground tied to the other tone control are removed along with the capacitor in between the pots lugs)
The Blender Pot has two wires - the left most is soldered with the hot wire from the neck pickup. The wire on the middle lug is then soldered to the same terminal as the hot wire from the bridge.
To complicate matters, Squiers use cheap switches that have a small printed circuit board rather than hard lugs.
Squier Wiring
After a bit of decoding - left most Blender wire to terminal #3 on the pc board and the wire in the middle of the Blender to terminal #1 - I had it wired and test driven.
I found it really lets you take control of that Fender "Quack." And isn't that something we all could use a little more of?
A blender pot will fade in the neck pickup to the bridge position and bridge pickup to the neck position.
At first glance that doesn't particularly sound like much.
A Fender Stratocaster has a five position switch in an attempt to give the Fender player combinations in pickup selection that Gibson players have always had.
On a two pickup Gibson, if the pickup selector switch is up, the neck pickup is in use.
If the switch is in the middle position, both pickups are active.
And when the switch is in the down position, the bridge pickup is the active one.
When I got my first Strat in 1972, they came with three position switches. To obtain a blend you had to "balance" the switch in between detent positions. A tough task while playing.
So Fender sought to make the pickups' palette more broad.
But this freezes one into a set of specific combinations.
And really doesn't allow for a mix of 1/3 each or anywhere in between.
Pickup Matrix
Enter Lindy Fralin. Mostly known for the boutique pickups bearing his name, he got his start in the 1990s hand winding pickups. They still do that today - each pickup done to the customers specifications.
Back to the pickup selection conundrum at hand.
Lindy developed what is refered to as a blender pot that allows one to blend the output of all three pickups.
You sacrifice one of the tone controls. In it's place you have a master tone control and a blender.
By rolling in more of one pickup or another I get the widest tonal brush. Easily manipulated while playing.
It took a total of forty five minutes from start to finish. Only two wires need to be attached. The old tone pot is removed with all it's original connections intact. (The one wire that was on the five position switch & the ground tied to the other tone control are removed along with the capacitor in between the pots lugs)
The Blender Pot has two wires - the left most is soldered with the hot wire from the neck pickup. The wire on the middle lug is then soldered to the same terminal as the hot wire from the bridge.
To complicate matters, Squiers use cheap switches that have a small printed circuit board rather than hard lugs.
Squier Wiring
After a bit of decoding - left most Blender wire to terminal #3 on the pc board and the wire in the middle of the Blender to terminal #1 - I had it wired and test driven.
I found it really lets you take control of that Fender "Quack." And isn't that something we all could use a little more of?
Sunday, February 14, 2010
Los Lonely Boys - Gitar Extraordinaire!
Oh my, but those boys can play. Listen to me, boys.
Texican Rock & Roll is how they refer to their style. I call it sublime. If you have a pulse, you will stand in your seat and dance. Dance with abandon, with your heart and soul.
The three brothers Henry, Jojo and Ringo play guitar, bass and drums, respectively.
What they played was a broad spectrum of the classic, The Beatles - 'She Came In Through The Bathroom Window' to the iconic, Santana's 'Evil Ways'. And then there are their own tunes.
'Senorita' a wonderful Valentines message...
Or 'More Than Love.'
A snappy bass, very tasty drums and guitar to die for. Not unlike Cream.
It is evident that Henry is very comfortable with his on stage skin.
The Grove of Anaheim was the venue. And as I've mentioned, I like it. Being in close proximity doesn't hurt.
The audience was mostly couples but I did spy a complete family or three. Little niños tagging along. Most of the crowd sang along softly or danced. More than one couple took to the aisle amid calls from their friends.
It felt like days of old; had I brought my guitar, I would have asked to join in. It was akin to a huge jam session with many friends just hanging around to enjoy the sounds.They were very intimate and very personable.
Do go see them. I promise you a wonderful evening of rousing music
And while I am here.
I am writing a tune called 'Hole In The Clouds.'
It's meant for lyrics but I am stuck with only one verse and no chorus as of yet.
But here is a snippet of the work up with a guitar placeholder.
The only thing I am not playing are the drums and the piano. I am responsible for the guitars(2) and bass.
Hole In The Clouds
Texican Rock & Roll is how they refer to their style. I call it sublime. If you have a pulse, you will stand in your seat and dance. Dance with abandon, with your heart and soul.
The three brothers Henry, Jojo and Ringo play guitar, bass and drums, respectively.
What they played was a broad spectrum of the classic, The Beatles - 'She Came In Through The Bathroom Window' to the iconic, Santana's 'Evil Ways'. And then there are their own tunes.
'Senorita' a wonderful Valentines message...
Or 'More Than Love.'
A snappy bass, very tasty drums and guitar to die for. Not unlike Cream.
It is evident that Henry is very comfortable with his on stage skin.
The Grove of Anaheim was the venue. And as I've mentioned, I like it. Being in close proximity doesn't hurt.
The audience was mostly couples but I did spy a complete family or three. Little niños tagging along. Most of the crowd sang along softly or danced. More than one couple took to the aisle amid calls from their friends.
It felt like days of old; had I brought my guitar, I would have asked to join in. It was akin to a huge jam session with many friends just hanging around to enjoy the sounds.They were very intimate and very personable.
Do go see them. I promise you a wonderful evening of rousing music
And while I am here.
I am writing a tune called 'Hole In The Clouds.'
It's meant for lyrics but I am stuck with only one verse and no chorus as of yet.
But here is a snippet of the work up with a guitar placeholder.
The only thing I am not playing are the drums and the piano. I am responsible for the guitars(2) and bass.
Hole In The Clouds
Saturday, February 13, 2010
Panic In Los Angeles
Sorry Mr. Bowie... ;)
A friend called, panic stricken, "Dude! My Fostex FROZE!"
I got him to start some tea - which gave him time to recoup and calm down. And I went digging for my post about the dreaded 'Fostex Freeze' - as it's euphemistically known on the 'net.
What I found was dredging an old thread is more difficult than it should be.
I had to open another tab before it would work a'tall.
I kept clicking on the exact thread and the blog engine kept returning newer postings.
Grrrrrr!
It should not be this difficult for anyone to navigate a site as simple as this. I guess I have to delve deeper into the mechanics behind the engine.
Just what I wanted to do with my Saturday night.
Conversely that means my Sunday is free for a night with the magnificent guitar work of Los Lonely Boys.
They are playing at the Grove of Anaheim, which recently has become a sort of favorite venue of mine.
Large enough to attract the big names and at the same time maintain a sense of intimate contact with the performers.
The band is wonderful, not only is the music production top tier but the content is as well. Excellently crafted songs. I would love to play with those guys, anytime.
Oh yeah...the repost.
Saturday, December 19, 2009
Fostex MR - 16 HD/CDRW Reset
I was recording some new pieces when I decided to transfer the material to my pc.
On the MR-16, you enter a System Menu, connect it to the pc and transfer the data.
When finished you are to press the Stop key to exit USB mode.
Usually you are met with a "Wait One Moment," screen, followed by the return to the System Menu.
However, under some circumstances the whole recorder can freeze on the "Wait.." screen.
One condition is interrupting the USB (usually by powering down - which at this point can only be done by removing the plug), another is removing files the recorders hard disk needs - d'oh!
Take a breath.
Power the unit while holding the Enter knob. You are looking for the System Menu and for the Power light to stay lit. If you have to cycle power more than once to 'catch' the System Menu, so be it.
Once you make it into the System Menu, go to the second page and choose, "Disk Format." Confirm it by Entering a 'Yes.'
All better!
When you exit the System Menu, you should be looking at the normal Start Screen.
The Song number and time left, which in this case should say "2...1,000"
If the Power switch stays lit and the 'Hall" presence comes on by default, then you are home free and finished.
If not, I can only suggest repeatedly trying the above technique until you get it to work - or email me and we can try to work it out.
Hard disks can be tough on users.
Breathe.
Posted by e at 12:22 AM
Reactions:
A friend called, panic stricken, "Dude! My Fostex FROZE!"
I got him to start some tea - which gave him time to recoup and calm down. And I went digging for my post about the dreaded 'Fostex Freeze' - as it's euphemistically known on the 'net.
What I found was dredging an old thread is more difficult than it should be.
I had to open another tab before it would work a'tall.
I kept clicking on the exact thread and the blog engine kept returning newer postings.
Grrrrrr!
It should not be this difficult for anyone to navigate a site as simple as this. I guess I have to delve deeper into the mechanics behind the engine.
Just what I wanted to do with my Saturday night.
Conversely that means my Sunday is free for a night with the magnificent guitar work of Los Lonely Boys.
They are playing at the Grove of Anaheim, which recently has become a sort of favorite venue of mine.
Large enough to attract the big names and at the same time maintain a sense of intimate contact with the performers.
The band is wonderful, not only is the music production top tier but the content is as well. Excellently crafted songs. I would love to play with those guys, anytime.
Oh yeah...the repost.
Saturday, December 19, 2009
Fostex MR - 16 HD/CDRW Reset
I was recording some new pieces when I decided to transfer the material to my pc.
On the MR-16, you enter a System Menu, connect it to the pc and transfer the data.
When finished you are to press the Stop key to exit USB mode.
Usually you are met with a "Wait One Moment," screen, followed by the return to the System Menu.
However, under some circumstances the whole recorder can freeze on the "Wait.." screen.
One condition is interrupting the USB (usually by powering down - which at this point can only be done by removing the plug), another is removing files the recorders hard disk needs - d'oh!
Take a breath.
Power the unit while holding the Enter knob. You are looking for the System Menu and for the Power light to stay lit. If you have to cycle power more than once to 'catch' the System Menu, so be it.
Once you make it into the System Menu, go to the second page and choose, "Disk Format." Confirm it by Entering a 'Yes.'
All better!
When you exit the System Menu, you should be looking at the normal Start Screen.
The Song number and time left, which in this case should say "2...1,000"
If the Power switch stays lit and the 'Hall" presence comes on by default, then you are home free and finished.
If not, I can only suggest repeatedly trying the above technique until you get it to work - or email me and we can try to work it out.
Hard disks can be tough on users.
Breathe.
Posted by e at 12:22 AM
Reactions:
Wednesday, February 10, 2010
Marshall Blues Breaker - 2
Jim Marshall is famous for amplifiers. He was the wall of sound behind Jimi Hendrix and countless other Britain based bands. Over the years the company branched out of the core amp business and went for things like stomp boxes.
Case in point: The Blues Breaker -2
Simplicity - Three dials and two switches.
Blues/Boost - switch
Tone - Treble bleed
Drive - Self explanatory
Volume - Your new master volume control - use it to match undriven levels with driven ones.
The second iteration - it added the 'boost' versus 'blues' switch - two levels of drive. (Very similar in approach taken by the Satchurator) Naturally the cork sniffers will pooh pooh this.
I've seen the original going for $100 and the new model at $70.
When Musician's Friend had it for $39.95, I pounced.
Good grief but this thing is perfect matched with my SG. When played through a Pro Junior I had a very wide palette from which to choose. The 'Blues' setting is very reminiscent of early John Mayall, hence the moniker.
It is also somewhat misleading in that it is a higher level of drive than the 'Boost' setting.
The 'Tone' knob was easy to set and then ignore. As stated, it is just a treble bleed. I left it at '12. o'clock.'
'Drive' has the ability at low setting to give that little punch to the bottom of any chord. When dialed up it makes the amp sound like it really is on breakup...all the while the Pro Junior was humming on '4'.
'Volume' knobs on most ODs are easy to match to non OD levels.
Major Faux Pas. The 'Blues' 'Boost' switch is a rotary knob to match the three others. Meaning you must use your hand to switch modes.This REALLY should be a second foot switch, ala the Satchurator.
The manual is the standard fare from Marshall - every manual opens with Jim explaining his personal music philosophy...a regular British documentary. And utterly useless.
Suggested settings belong in fan magazines.
"You mean if I put the drive on '6' I will sound exactly like Clapton on 'Badge'?"
Yeah, except is was Harrison that did the killer work on that song.
Case in point: The Blues Breaker -2
Simplicity - Three dials and two switches.
Blues/Boost - switch
Tone - Treble bleed
Drive - Self explanatory
Volume - Your new master volume control - use it to match undriven levels with driven ones.
The second iteration - it added the 'boost' versus 'blues' switch - two levels of drive. (Very similar in approach taken by the Satchurator) Naturally the cork sniffers will pooh pooh this.
I've seen the original going for $100 and the new model at $70.
When Musician's Friend had it for $39.95, I pounced.
Good grief but this thing is perfect matched with my SG. When played through a Pro Junior I had a very wide palette from which to choose. The 'Blues' setting is very reminiscent of early John Mayall, hence the moniker.
It is also somewhat misleading in that it is a higher level of drive than the 'Boost' setting.
The 'Tone' knob was easy to set and then ignore. As stated, it is just a treble bleed. I left it at '12. o'clock.'
'Drive' has the ability at low setting to give that little punch to the bottom of any chord. When dialed up it makes the amp sound like it really is on breakup...all the while the Pro Junior was humming on '4'.
'Volume' knobs on most ODs are easy to match to non OD levels.
Major Faux Pas. The 'Blues' 'Boost' switch is a rotary knob to match the three others. Meaning you must use your hand to switch modes.This REALLY should be a second foot switch, ala the Satchurator.
The manual is the standard fare from Marshall - every manual opens with Jim explaining his personal music philosophy...a regular British documentary. And utterly useless.
Suggested settings belong in fan magazines.
"You mean if I put the drive on '6' I will sound exactly like Clapton on 'Badge'?"
Yeah, except is was Harrison that did the killer work on that song.
Wednesday, February 3, 2010
Left Coast Versus Best Coast
I was born and raised on the East Coast.
In 1983 I moved to California.
I listen to NPR almost all day.
It is my best source of news and new music, anywhere.
The shows on the local NPR affiliate, KCRW (Santa Monica College) are wonderful. 'Says You ' & 'Left, Right & Center' are just two of the shows I follow regularly.
While I have been a supporter of KCRW for the last seven years I just recently changed my listening and monetary support affiliation.
WFUV - which is Fordham University's station. plays the absolute best new music on the planet.
They have many people on their roster who are the Grand Names in the NYC music scene. Listening to WFUV can be very reminicient of early NY FM radio (WNEW, anyone?) - I keep expecting Allison Steele, 'The NightBird' to introduce the next tune.
It may just be the difference between the coasts in that the Left Coast prides itself in being at the bleeding edge of new and hip. To the point where the daily play list is a hit or miss affair. Half the list will flat out stink & sink.
New bands with no following can get air time, which is laudable - exposure for new talent is a beautiful thing.
But someone composing the play list needs to exercise a touch of discipline and not play every single piece of drek produced in the name of 'new.'
On WFUV, the play list is well thought out and engaging. It is a rare day in which I find myself flipping the dial for "something else." And to dispel the notion that the list is not bleeding edge, a recent show featured such artists as Neil Young, Corrine Bailey Rae, Florence and the Machine, Citizen Cope, David Byrne and Brandy Carlile.
The only thing WFUV lacks is a easily navigated web site. There is no listing of current on air songs - they take a day to publish lists. The opening page is cluttered and confusing. Too many choices with no guidance. Many times, you must try the button to discover its function.
The DJs are also somewhat lacking. They seem, for the most part to be without enthusiasm. Some of the DJs sound as though they loaded up with Valium prior to going on the air.
Even though Allison Steele breathed her sultry voice over the air, her passion for the music was never in doubt.
These complaints are very minor...easily overlooked because of the great music they play.
I urge anyone who loves good music, not to mention unbiased news to support the NPR affiliate of their choice, no matter who it may be.
In 1983 I moved to California.
I listen to NPR almost all day.
It is my best source of news and new music, anywhere.
The shows on the local NPR affiliate, KCRW (Santa Monica College) are wonderful. 'Says You ' & 'Left, Right & Center' are just two of the shows I follow regularly.
While I have been a supporter of KCRW for the last seven years I just recently changed my listening and monetary support affiliation.
WFUV - which is Fordham University's station. plays the absolute best new music on the planet.
They have many people on their roster who are the Grand Names in the NYC music scene. Listening to WFUV can be very reminicient of early NY FM radio (WNEW, anyone?) - I keep expecting Allison Steele, 'The NightBird' to introduce the next tune.
It may just be the difference between the coasts in that the Left Coast prides itself in being at the bleeding edge of new and hip. To the point where the daily play list is a hit or miss affair. Half the list will flat out stink & sink.
New bands with no following can get air time, which is laudable - exposure for new talent is a beautiful thing.
But someone composing the play list needs to exercise a touch of discipline and not play every single piece of drek produced in the name of 'new.'
On WFUV, the play list is well thought out and engaging. It is a rare day in which I find myself flipping the dial for "something else." And to dispel the notion that the list is not bleeding edge, a recent show featured such artists as Neil Young, Corrine Bailey Rae, Florence and the Machine, Citizen Cope, David Byrne and Brandy Carlile.
The only thing WFUV lacks is a easily navigated web site. There is no listing of current on air songs - they take a day to publish lists. The opening page is cluttered and confusing. Too many choices with no guidance. Many times, you must try the button to discover its function.
The DJs are also somewhat lacking. They seem, for the most part to be without enthusiasm. Some of the DJs sound as though they loaded up with Valium prior to going on the air.
Even though Allison Steele breathed her sultry voice over the air, her passion for the music was never in doubt.
These complaints are very minor...easily overlooked because of the great music they play.
I urge anyone who loves good music, not to mention unbiased news to support the NPR affiliate of their choice, no matter who it may be.
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