.jpg.d50910e2a059a45e109b5afa62a8c2c4.jpg)
murphybridget
-
Posts
120 -
Joined
-
Last visited
Content Type
Profiles
Forums
Blogs
Events
Articles
Downloads
Gallery
Store
Posts posted by murphybridget
-
-
On 5/5/2024 at 3:14 PM, Jose EB5AGV said:
Hi all. I am usually at the Keyboard Corner as I am a wannabe keyboardist, but I enjoy quite a lot to save instruments from being trashed, usually synths and audio gear but, on this case, is a guitar.
So when a friend offered me a free Legend Strat, I just couldn't refuse.
It has been abandoned for years, without any cover and close to the beach. The soft guitar case in the picture is mine, I used it to carry the Legend to my home.
This is a general view:
And these are some detailed pictures:
The look is really sad 😔
That poor guitar deserves some love. The bridge is missing parts:
The knobs look dirty. And imagine the electronics...
Curiously, the neck seems pretty decent:
And the head is fine. Of course the tuners are shot:
Here you have the serial number. No CH on it but I guess it is also Chinese:
So that is what I got!
I imagine most of you would have rejected that guitar as, well, it looks terrible and is already a low spec model. But I plan to get it playing again!. Is like finding an stranded puppy and caring it 😅
I have done already some cleaning work and it is now in pieces. I will update this thread as I work on it.
Jose
Who wouldn't want free guitar???
-
1
-
-
On 5/1/2024 at 8:30 AM, Larryz said:
@murphybridget, +1 we are on the same wavelength. Although the Cool picks are cerrated at the top half for added non-slip grip, I add the small clear silicon dot from Monster Grips available on Amazon to all my red Cool picks. I use them on the thumb side (one side only). They really help prevent slippage and make a great reference point. They add a very small amount of weight thickness to the pick but just enough to give them the perfect tad bid of stiffness...definately worth a try and can be easily removed if not liked. 😎👍
O wow!!! I never thought of adding silicon on my picks to prevent slippage. Thank you for that idea.
-
2
-
-
On 4/26/2024 at 8:30 AM, Larryz said:
I use .73 Cool red thin picks exclusively. They last forever. The thinner plastic Cool pick helps me glide over the strings when playing rhythm guitar and chords (Not recommended for the OP's needs). These thinner picks also help lesson click-clack pick/string noise and are still thick enough for lead playing. 😎
The .73 Cool red thin picks seem to strike a great balance between durability and flexibility, allowing you to smoothly glide over the strings while also minimizing pick/string noise.
-
2
-
-
Do you have specific guitars, amps, or pedals in mind for a particular sound you're trying to achieve?
-
2
-
-
On 3/14/2024 at 1:38 PM, David Emm said:
I have only gotten to demo a few MPE controllers, but the Sensel Morph felt like the right fit for both my hands and musical sensibilities. I was sorry to see the line come to a stop. Each of these things is esoteric by definition, so there's an added layer of effort required to elicit their best. That's part of why I "settled" on CME XKeys. They don't hit every mark, but they bat above their weight class. I'd still love to have a Morph for its less traditional gestural responses. Everything else seems to command high dollars and a very arduous path to more fluid playing. Not to diss an entire field at all! I simply get the feeling that with the Osmose and Keystage now available, the range of MPE-capable tools will naturally broaden.
Thank you for sharing.
-
On 4/17/2024 at 6:36 AM, kaptainkeys said:
The theory and LH bass knowledge about passing tones and intervals that I had before was very helpful, as was youtube and the many videos I've watched about learning bass. I started out pretty simple but I'm slowly building up my skills, dexterity, and speed. I also enjoy learning the instrument and that it opens me up to playing with more people.
It's fantastic to hear that you're finding your bass journey fulfilling and rewarding! Building a strong foundation in music theory and left-hand bass techniques can provide a solid framework for your growth as a bassist. It's great that you're leveraging resources like YouTube to supplement your learning and explore different styles and techniques.
-
1
-
-
16 hours ago, GovernorSilver said:
This guy did a whole tour playing synth parts using typical electric guitar(s) with Midi Guitar 2 software. Ok, not metal, but metal adjacent since all this prog rock stuff seems to have been taken over by metal folks 😉
That sounds like an innovative approach to incorporating synthesizer sounds into a guitar setup! Using Midi Guitar 2 software allows guitarists to trigger synth parts using their electric guitars, offering a new realm of sonic possibilities.
-
On 4/12/2024 at 8:22 AM, kaptainkeys said:
Been playing keys now for almost a decade, had a gig a few months ago (I've been playing this gig for years now on keys; myself and the other musicians have like 3 days to arrange and rehearse a whole bunch of songs and then we play for like 5000 people) where the people who hired the band were new this year and hired 3 keys players, 5 guitar players, and no bass player, so I decided to learn bass in 3 days for this show (one of the guitarists switched to drums and the rest of them refused to play bass), and since mid-January I've been playing a a number of gigs as a bassist. Luckily my theory knowledge and LH bass skills from piano were good enough to get me through the first few gigs I played, and now I have more bass gigs than keys gigs on my calendar in the coming months, since there are tons of keys players in my area and only a few decent bass players. Am I enjoying my time as a bassist? Yeah, but between bass gigs and the production stuff I've been doing, my PC4 is sadly gathering dust in the corner of my basement.
Wow, what a whirlwind journey you've been on! It's impressive how you seamlessly transitioned from keys to bass in such a short time frame.
-
On 4/9/2024 at 8:43 AM, Larryz said:
@murphybridget, Sometimes there is a good reason to <bump> an old thread. There may be a lot of relavent information on it like a mystery guitar, pedal, PA, etc., question that someone can finally answer, or a stolen guitar that someone finally located, or a project guitar that we never saw the completion of, a deceased musician or missing forum member question etc. Sometimes an old thread could still be of interest and deserve future comments. Many times though, a new thread will get to the active forum members if there are any LoL! Keep up the good comments as we need all the active members we can get! 😎👍
That I totally agree. Sometimes I find partial solutions to my problems, and I bump the thread somehow.
-
2
-
-
On 4/4/2024 at 11:33 AM, Larryz said:
@murphybridget, I agree with you 100%. I think this thread is an example of being OK for a resurection exception as the OP and almost all of the response posters are still around and there is a chance they may still be interested in commenting. 😎👍
Although I'm guilty of this sometimes. It's either I completely overlooked the date or I find the topic very interesting and I still write a comment anyway.
-
2
-
-
On 4/1/2024 at 7:07 PM, Larryz said:
@KuruPrionz. +1 Tales from the crypt (i.e. 4 years) usually come from new members or one-hit overnight wonders for some reason. I guess I can relate when there is really some needed history on a thread. Most of the time the people on old threads have died or moved on and can't respond. I wish the new members would just start a new thread and use the knowledge they gleaned from the old thread that interests them. Rule 5 says no resurrecting old threads...but I guess there are exceptions to the rules. I hope they don't wait or expect a response when quoting old members on old threads LoL! 😎
It's true that reviving old threads can sometimes feel like speaking into the void, especially if the original participants have moved on. Starting a new thread might indeed be a more effective way to engage with the community, especially if the topic is still relevant and there's valuable knowledge to share.
-
2
-
-
Wow, that sounds like quite the ordeal with that Epiphone Goth 12 Explorer! It's impressive that you were able to tackle so many issues and ultimately get it sold, even with all the challenges you faced along the way.
-
1
-
1
-
-
On 3/26/2024 at 11:28 AM, El Lobo said:
I guess I don't understand the question. Yes, I play it with both hands, just as I would any other keyboard. It sits on my lap when I'm on the couch. Maybe it's not clear that I use the guitar strap to go behind my back to hold it in place on my lap and keep it from slipping off. I don't play it with the strap over my shoulder, like a keytar. I also put it on my dining room table and play it sitting up in a dining room chair.
I thought you play it with the strap on your shoulders.
-
On 3/20/2024 at 6:42 PM, El Lobo said:
I have a Casio S1. It's the true couch piano. Lotsa fun. Lightweight. Runs on batteries. I put the guitar strap on it to hold it on my lap. No stand or table needed. Onboard speakers are about as loud as acoustic guitar. If you want louder, like when there is an electric guitar, you'll need additional outboard speaker.
Do you paly it with both hands? If so how?
-
3 hours ago, Docbop said:
I had two of his signature guitars over the years. My first archtop was a GB-20 his early full size archtop they only made for a few years. Then years later I found a deal on a GB-10 the only you see in the video, it was designed for live playing with thicker wood and small body to help reduce feedback that archtops are prone to. Those guitars can get quite an amazing range of sound from some some Funk rhythm to full Jazz tone.
It's great to hear about your experience with George Benson's signature guitars! Both the GB-20 and GB-10 sound exceptional. The GB-20's full-size archtop and the GB-10's smaller body offer unique features for different styles, delivering a wide range of sounds from funk to jazz. Playing and exploring the capabilities of these guitars must have been a joy!
-
On 7/27/2020 at 1:57 PM, Dr Mike Metlay said:
About ten days ago, this was posted over on KC. After no one replied over all that time, I hijacked the post and I'll be talking about it over here.
Hi Tom, let me see if I can shed a little light in your direction...
The first basic thing you need to know about a grid controller is that there are two general ways they can be set up: either chromatically or diatonically. The benefit of a chromatic layout is that all the notes are right there under your hands, so key changes and accidentals etc. are very natural to play. A diatonic layout lets you choose the key and mode/scale you want to play in, and eliminates all notes that are not in that scale, so you can't play a wrong note but you also can't change keys etc.
The second thing you need to know about a grid controller is how the rows of the grid overlap one another pitchwise. This degree of overlap is usually adjustable to suit the player's desires.
By far the most common overlap is in fourths. So, walking up a column of grid pads from row to row, this would be (for example) BEADGCF etc. This is similar to the string tunings on a guitar, except that the high two strings are a half step sharp so the pattern of fourths remains in place. It is also possible to set up the pads to overlap in any other interval: fifths, thirds, some people even use tritones (!), but the one you'll see most often is fourths.
The constant row overlap means that all fingerings for scales and chords will be isomorphic, meaning they don't change from key to key. There's no jumping back and forth between little black keys and big white ones in different patterns depending on the key; once you learn a major scale, it's the same in all keys. Ditto chord shapes. A major triad will have the same shape in every key.
In this respect, grid controllers are very easy to learn, especially for someone with a bass or guitar background, and they do in fact pack a lot of notes into a very small space!
Overlap is also relevant in diatonic modes. Again, the most common one is fourths; that way, you can rapidly play scales with three fingers. 1 2 3 [move up a row] 1 2 3 [move up] 1 2 3 etc. Some people like thirds because they can run up and down scales with only 2 fingers; others like octaves, so there's a diatonic scale from root to octave on every row and a full 8x8 grid gives you 8 octaves of notes (well, until you run out of MIDI Note numbers).
If every note looks the same, how do you tell where you are? Usually with the help of LED backlighting. The tradition is: root notes in one color, scale notes in another color (or white), accidentals off. Most machines will let you specify a diatonic scale even when you're in chromatic mode. The notes are all in the same places, but different ones light up to indicate your root and scale/chord fingerings. This is the best of both worlds: you can play any note you wish, but your primary scale is indicated so you can see where you are. It's very common for more accomplished grid players to simply set the scale/mode to C Major and leave it there, so they get used to where the notes are and play the grid as if it had "black" and "white" keys.
Some examples:
The Ableton Push does everything in fourths, whether chromatic or diatonic. It's a very popular device, so its choice of note overlap has become the de facto standard. Usually non-root notes are in white, and the root notes are colored according to whatever color has been assigned to the instrument you're playing.
The Novation Launchpads work exactly the same way, but if you activate Scale Mode (their term for a diatonic layout) you can select from various overlaps... it's common to see the completely separate octave per row on the Novation Circuit, so its 8 x 4 grid can give you four octaves of notes.
The Roger Linn Design LinnStrument is a 20 x 8 or 16 x 8 grid controller that can be set up in a variety of overlaps. However, it is chromatic at all times. Roger Linn feels that diatonic modes ruin the learnability of the grid, so he doesn't support them.
I can't speak to every single grid controller out there, but those are the basics. I have all of the above and use them for different things; depending on what software you want to use and how small you want to get, one or another will be a better choice.
I hope this helps. Hit me up with any questions you might have!
mike
Grid controllers feature a layout where the most common overlap is in fourths, akin to guitar string tunings but with slight differences. This uniform layout ensures that scales and chords remain consistent across all keys, making it easier for those with a bass or guitar background to learn and use grid controllers effectively.
-
1
-
-
On 2/3/2024 at 8:21 AM, hurricane hugo said:
Attn: Ambience chasers!
Since the early 1990s, Robert Fripp has utilised the latest in looping technology and digital effects to create Soundscapes, a gradually unfolding, highly textured, expansive and overtly symphonic music. 'The Wine of Silence' is the first album to feature orchestral arrangements of Fripp's groundbreaking work in this field. Orchestrated by composer Andrew Keeling and performed by the Metropole Orkest, under the baton of Jan Stulen, the results of this inspired collaboration evoke the works of Part, Gorecki, Tavener and the 'holy minimalist' school of composition. Andrew Keeling's sensitive and often startling orchestrations emphasise the reverie, passion and contemplation which is at the heart of Fripp's Soundscapes and capture the spirit of the original performances, reflecting the guitarist's rich musicality. While sometimes sombre and elegiac, Fripp's music radiates a sense of hope, affirmation and resolution. With the tapes of the Metropole Orkest performance subsequently 're-imagined' by David Singleton - co-producer of all of Fripp's Soundscapes recordings to date - 'The Wine Of Silence' comprises a sublime and moving collection of contemporary orchestral music.
"The Wine of Silence" is a groundbreaking collaboration between Robert Fripp's Soundscapes and orchestral arrangements by Andrew Keeling. With the Metropole Orkest and conductor Jan Stulen, it achieves a symphonic depth akin to Part and Gorecki. David Singleton's re-imagining adds further dimension, resulting in a sublime collection of contemporary orchestral music, reflecting Fripp's musicality and hopeful spirit.
-
3
-
-
This technique involves turning the volume knob for one pickup all the way down, playing on the other pickup, and quickly flicking the switch to produce the pulsing effect.
-
1
-
-
On 3/3/2024 at 12:52 AM, MathOfInsects said:
I think that (accurate) statement also means that it's not reasonable, when starting yet another thread about him, to act surprised when the discussion heads to the only place it ever goes.
I think the polarizing aspect of Beato (and I want to reiterate that I don't dislike him, I just don't spark to his content as some do) is completely in the generational struggle. Beato validates a lot of concerns or fears or beliefs among folks that the music of "their" period was better than the music of today. I think for them, there's finally someone saying all the things they believe--that this 1970 guitar solo is the best ever, or that that 1976 rock song is the best ever, etc. He's describing things in the terms of their first exposure to this stuff, and I think it feels comfortable and "right."
For those who don't like his content as much, that is also the exact reason for it.
This board skews toward the first contingent, so it can be easy and comfortable to forget about the worldview and experiences of rest of the demographic here (and everywhere). And never the twain, etc.Beato validates the beliefs and preferences of these individuals, affirming their perspective that their music was superior.
-
1
-
-
Just imagining the ground noise and calculating power consumption sends my early morning head into a spin.
-
1
-
-
3 hours ago, o0Ampy0o said:
What is this the opportunity you have been waiting for to release saved up rage towards me for calling you out on your wise crack comment a while back?
It was a serious question. I don't associate anything negative with any of those sessions. I know the definition of session however the context in which the word is used and more importantly in this case NOT used makes a big difference.
I have never heard anyone refer to surfing using "session." I have several friends and coworkers who are surfers. I don't surf myself. I never learned to swim. However I enjoy hearing about it. I live in a surfer's beach town called Santa Cruz, California in the USA, the home of Jack O'Neill. From my limited perspective surfing and the sensation of it reminds me of snow skiing. Once I discovered it I never wanted to give it up.
I have no idea what race you are. I don't care. I just believe you live in Hawaii based on your moniker location. Obviously you have a problem being Filipina and that is YOURS not everyone's. You are not the center of the universe. If you believe you are somehow attractive to me and that I would fantasize about you in any way you are mistaken. I don't think of your gender at all.
As for the "sessions" I mentioned, I have encountered just as many males as females in each of those forms of sessions. Why not object to tattoo artist and session musician instead of focusing on massage therapist? Do you feel empowered by the opportunity to accuse people of stereotyping you? In my life massage therapist are good people. I have been around psychics and healers and "New Age types most of my life. My wife was a channeler before she died. The GF before her was a pro psychic. My friends have been psychic. I have known many massage therapists. None have been sex workers as you seem to believe they are.
Modulation effects like the Leslie speaker, Univibe, phase shifters, and flangers are often linked to specific eras, notably the 70s. However, advancements in pedal technology have made these effects more accessible and versatile today.
-
1
-
-
FilmRise Music on SlingTV sounds like a treasure trove for music lovers! With a diverse lineup of concerts featuring iconic artists like Jackson Browne, Peter Gabriel, and The Rolling Stones, there's something for everyone.
-
On 2/19/2024 at 10:27 PM, KuruPrionz said:
Yes, it does look cool and is historically correct as well. A friend had a 57 Strat with an original gold anodized aluminum pick guard. It was one of Leo's interesting innovations.
I did not know that was the case.
-
On 2/15/2024 at 6:33 AM, KuruPrionz said:
Could just be a factory stock recent P-Bass that somebody added an aftermarket brass colored pickguard.
When I was a guitar tech I did that for a few players. It does look cool but so does the white/black/white/black/white guard and the tortoise shell guard.
Parts is parts, my P-Bass is entirely parts with a Warmoth Jazz neck (ebony fretboard), EMG pickup, a custom red paint job and I forget the bridge. I own a Peavey Fury and it's more or less the same except for a maple fretboard. Both great basses.
It's a nice touch specially on all black guitar.
Restoring a Legend Strat which was going to be trashed
in Guitar Forum
Posted
That's a sad conclusion. But I guess free stuff can really help someone start out in the journey of learning the guitar.