Just thought I'd share a clip I made today.
I don't profess to be a master player but thought
I would share this off the cuff improvisation.
I had just installed a new Celestion AlNiCo Gold in my Blues Deluxe RI
More details about that is in the (1985-current) forum
Please let me know whatcha think.

Audio Sample 1


Equipment

Guitar: 2010 Fender American Standard Stratocaster (SSS)
Strings: OEM Fender Bullets .009-.042
Settings
Volume: 8
Tone: 10
Tone: 10

5 way pickup selection switch
(From the beginning to 2:32 I am playing either 5way position 4 (Neck & Middle pickup) [or 3(Middle)], then switch to position 1 Bridge pickup @ 2:32 and play in that position until almost 3:12 when I switch back to switch pos. 4. I don't touch the tone knobs at all.)


Amp: 2009 Fender Blues Deluxe Reissue
Speaker: Celestion Gold (new approx 15 hours on it)
Direct input 2
Channel: Clean
Settings
Volume: 3.5
Middle: 5
Bass: 6
Treble: 5.5
Reverb: 0
Presence: 0

FX/Pedals: None

Microphone: Shure SM57LC
Mic. Placement: Direct in front about 5" away from grillcloth @ approximately 10 o'clock
and halfway between center and edge of speaker

Mixer: Mackie 802-VLZ3
Settings
Gain: -45dB
EQ
High (12kHz): U (halfway between -15 and +15)
Mid (2.5kHz): U (halfway between -15 and +15)
Low (80kHz): -15
Fader: +12dB

DAW PC
XP SP3
1998 Soundblaster Live Value soundcard

Recording Software: Magix Music Studio 2005 Deluxe
EQ Settings: Neutral EQ

Ok.....
Laughter is easy to spell.
it's
L. O. L.

Good question. I forgot to not that critical info.

From the beginning to 2:32 I am playing either 5way position 4 (Neck & Middle pickup) [or 3(Middle)], then switch to position 1 Bridge pickup @ 2:32 and play in that position until almost 3:12 when I switch back to switch pos. 4. I don't touch the tone knobs at all.

Ref.
http://support.fender.com/diagrams/stra ... 02CPg4.pdf



Someone asked if I was playing two guitars, for the record no. From start to finish it is one track, one guitar. I don't have a chorus pedal or anything like that. nor was there any manipulation of the track in any way. I think the mixer's gain is a bit strong as you can vaguely hear some overdriven distortion. I don't know for sure, it could be the proximity of the microphone to the speaker.
I am still familiarizing myself with the audio equip and their personalities as it were.
Seems the dynamic SM57 microphone has a gain ceiling that cannot be crossed. I also have an MXL 990 and 991 condenser mic. Not a whole lot of gain is needed for those phantom powered microphones.

Thanks for asking and bringing that to my attention, I'll add my clarification to my guitar setting.

I really enjoyed your recording. It had many good ideas in it. I did like a lot when you would play your enharmonic tones between chords in a fixed beat. Some good ideas present, good job.

_________________
“The guitar is a small orchestra. It is polyphonic. Every string is a different color, a different voice.”


- Andreas Segovia

Thank you playalot86, I am glad that you enjoyed my recording.
I am sorry but I am afraid I don't understand what you mean by "enharmonic tones between chords in a fixed beat." Could this be something I am doing that would lead someone to think I am playing two guitars at once? I am not a formal student of music so I don't know a whole lot in the way of proper language and brevity as an educated musician would. It would be fair to say that I am very base.
I hear things in my head and try to match it up on fret/string. Sometimes I just play like you hear the recording. I know for sure I need to work on keeping better time and polish up my finger control among a lot of other things.

I have no idea what genre that style of playing in the recording would fit in. I wish I knew, though.

btw, I like Andres Segovia, too. He was absolutely brilliant with his hands.
And those were good words of advice of his that you quoted.

I kinda like them both as switching back and forth breaks the tonal cycle.
The bridge pu has a kinda rock & roll/country/blues tone while the mellower tone adds a jazzy flavor to it.

Were your thoughts geared more toward a proper selection for the composition as a whole?

I am still experimenting with mine. I spend a bit more time on my classical guitar than I do my strat or Goldtop. But that may change as they are kinda like wimmin. They love you for a bit then kick you out when they've had enough of you for awhile then beckon you back only tor repeat the love ya and hang ya routine all over again.

I can see the validity in a number of points that you made.
I think a pure acoustic guitar possesses a certain magic that electrics cannot provide. Same is true between a digital/midi piano and the acoustic and digital drums. Of course there is a difference between electric guitar and a 100% digital so the distinction I am making isn't a perfect one. However, there are tones in both electric and acoustic that you cannot get from the other.
For me, my greatest hinderance are my ears. I don't hear very good which is why I posted this in part to share with you what sounds good to me. I am thinking audio quality as well as playing quality.
As for the near constant max volume, it's a product of my hearing loss.

Nice work Twinhit.............. Mike

_________________
The blues ain't nothin but a good man feelin bad.

Cool man, I really like that song.

_________________
Tune Low, Play Hard & Floor it!

Thank you, Mike.

Thank you, Voodoo Blues and I'm glad you enjoy it.

nothing to laugh about here, this is some really solid playing. if i was to ever post a clip of my laying, then THAT would be something to laugh about! Keep up the good work!

_________________
Blues with a feeling.

GUILD GUITARS: MADE TO BE PLAYED!

Enharmonic tones, in a nutshell, are the tones in between not only chords, but also other notes it is kind of hard to explain. Say I play a D Chord Form and it is a D Chord. I strum that for a little bit then I break away from the form and play some eighth notes in between and then go to an A Chord Form and it is an A Chord. Basically the transitions from the two chords are the Enharmonic Tones. Think of them as fill in between transitions from notes, and chords.

I know that is quite a lot to get one's head around, but if one were to think about it. Enharmonic Tones are kind of like the glue between one's chords and single notes. This could lead some people who have never worked with Enharmonic Tones to believe that two guitars are indeed being played when in fact one's smooth transitions from chord to chord, or from note to note are doing the talking.

_________________
“The guitar is a small orchestra. It is polyphonic. Every string is a different color, a different voice.”


- Andreas Segovia

Also as a side note: Everyone works with Enharmonic Tones. It is not a conscious effort it is all natural. Everyone uses Theory when they play their guitar. They just don't know it because it is natural.

_________________
“The guitar is a small orchestra. It is polyphonic. Every string is a different color, a different voice.”


- Andreas Segovia