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cosmic_juice

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Posts posted by cosmic_juice

  1. Well I can play without looking, but I have a habit of looking. See what Eric Clapton does!

    Something that's not come up is the scale length vs string tension aspect. Basically on strats and teles 09 gauge will feel about the same as 10's on gibsons and other short scale instruments. Short scale means 24.75 inches vs the 25.5 of strats etc. It's the same as stretching a rubber band, the longer you stretch it the tauter it is, simple physics. I used to have Les Paul deluxe that I mostly played with 10s. Then I moved on to a telecaster and found I couldn't bend as easily, so I started using a hybrid set 9's for the plain strings and 10's for the wound strings. These days I'm using a short scale guitar with 11's, but don't do much bending.

    Regarding string brands I find they sound different. Guitars are also different in the way they react. I have a tele that sounds good with almost anything, but the afore-mentioned Les Paul would sound dead or somehow off with certain brands of strings. Like everything in the finer points of guitar playing you just have to experiment and find what works for you.

    Good Post!!!

  2. I use 10s but have been contemplating a hybrid set where the three fats are from a set if tens and the skinnies are from nines... set up a guitar with heavy strings and do warmups then lighter strings are a breeze... or even better play a bass till your hands feel like they are going to fall apart for a week running scales and dissecting intervals then go back to your six string... it'll feel like buttah...

    I use Ernie Ball slinkies and make em last forever... it really comes down to the amount of oil your hands secreet... had a rhythm guitarist in a past band that just flew through strings his hands ate them up... also some string sets just get too much air to em before you even put em on and that gives em a head start on rust...

  3. As a player of 30+ years when I first started playing in 83' the only live Zep I ever heard was TSRTS and listening to NQ & D&C or the Stairway solo all I could think was how any human could play an instrument so brilliantly. Yet i also noticed on other songs him sounding like he really either did not give a shit, let's get on to D&C, or he was just chill in the groove.

    Anyway, I started in classical playing trumpet in jr. High in 79', classical & jazz only with an occasional Chicago, Chuck Mangioni, or Alpert tune thrown in for good measure. After years of conductors and teachers screaming, "allegro, allegro, tempo is dragging" or after playing a Bizet composition flawlessly, having the instructor say, "you were flat on the C at the beginning of the second movement" I figured fuck that. After all if Chopin & Beethoven could improvise fro time to time, why not me? No song is sacrosanct, they are ALL up to the individual's interpretation. So, I got out of classical, dropped the trumpet, picked up the guitar and began playing music with feel...the blues. Blues is still my all time favorite genre.

    I have said it before and I will say it again: I can go to ANY town and find a 12 year old guitar phenom who will hand Vai or Satriani their ass on guitar without so much as raising a sweat, however I have NEVER met a 12 year old or even 18 year old guitarist who could phrase like Page. I don't care how proficient someone is, without feel it is meaningless, and that is a very, very hard line to walk.

    in terms of phrasing i'm with you... there are guitarist that i can pick up their phrasing and comprehend the "flow".... but not really Page... i can learn the parts but his feeling is amazing and hard to nail... i will take all the "sloppiness" in the world from Page because out of that comes moments where he plays notes on that guitar that make me feel like no other... and make a cat purr for days ;-) ...

    ...as far as Page and his physical stature even hand size I feel like the tele may have fit him better... but come on who could resist a les paul...

  4. Deep Purple had badass music and yes that japanese live album was badass but the lyrics kind of lacked and i felt Ian Gillan tried to sing out of his vocal range sometimes when he was comfortable it was good... Blackmore was always trying to reach higher and higher with DP and i believe it was because he didn't want to live in the shadow of those other great british bands

  5. havn't heard that yet, but I've heard the 1972 LA Forum show (Burn like a candle). Probably my all time favorite Zeppelin show.

    the first show on the 21st has lesser quality recording but with headphones cranked its unbelievable ... the second night you can tell they are a little tired from the first night but as they warm up wow... so on par with 71 Japan ...

  6. Jack Bruce... a man of soul of passion ... he pushed the boundaries of improvisation creatin.g new boundaries ... my dad gave me Wheels of Fire at 16 on vinyl and I fell head over hills for Cream... as an artist musician visionary and legend... you will be loved and missed and you will live on forever

  7. The Who are the closest in talent to Zeppelin. They are an amazing band live (just listen to Live at Leeds). I still think Zep is better though.

    not thread hijacking and i know this is an older post but when i read this i kinda thought... ahem.. Queen?

    ... in terms of The Who vs Zep... musician to musician... Zep wins... The Who may have genre jumped a bit but their pop/commmercial appeal in some circles puts them below a band like zep who were churning out juggernauts like Achilles, Kashmir, or No Quarter ...

  8. the Doors pay British royalties to Ray Davies due to Hello..I love you sounding all to similar to All day and all of the night, but that DOES sound similar, yes STH intro sounds like Taurus but fuck sake, there's another 8 minutes of music after that, none of which has a Spirit vibe

    i did not know that about the doors and the kinks but that sounds ludicrous... interesting and informative though...

  9. Check out the first 4 notes of Peter Green doing this BB King song... don't see them suing... should one artist sue because another artist used the same A note or the same Fmaj arpeggio...(sarcastically) "oh all they did was play it in a different order"... who was the first to use a I IV V blues progression lets resurrect them from the grave so they can sue every blues musician in history... this kind of bs makes lawyers who take these cases look like ignorant morons...

  10. ^^^^I was thinking this was the case as well...when i first heard it i wondered about the "delay" as well... i felt it kinda rendered the start of the solo a little anti-climactic ... i say a little because overtime i got used to it and plus I've grown to love the live raw experimentation...

    ... plus figuring out how he makes the switch on the double neck adds to the general conversation of how hard Jimmy had to work night in and night out to get that Zeppelin nice and toasty... i break a sweat just daydreaming of playing a 3 hour plus setlist... 3 hrs of guitar is no f-ing joke

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