dragan

havent yet either

I had insurance until around 77 , when they dumped me because of the high risk at locations the equipment was to be used ( their words ) never realized anyone offered it . Is this available for actively gigging musicians who travel and leave gear packed in vehicles ?

srv reprisents jimis voodoo child tone, (as oppossed to burning the mid night oil or purple haze or other of his tones) but its the way he played it made it convincing & enjoyable

I wish it were so , I'd be broke but happy tonewise

gear is always cool but this is the reallity^^^

hbd

done

thats a perfect sunburst !

also check out harmonized scales , this will give a better understanding of how chords and single note relate to each other in a "key ". the "c " scale is easiest 1C 2D 3E 4F 5G 6A 7B 8C harmonized in 3rds( as in 135, 246, 357, etc ) the 1 chord is CEG ( Cmajor ) , the 2 chord is DFA( D minor) , the 3 chord is EGB( Eminor ) the 4 chord is FAC (Fmajor) the 5th chord is GBD (Gmajor ) the 6th chord is ACE (Aminor ) the 7th chord is BDF (B diminished )an 8 is C again . these then are the chords in the key of "C" . If you do this for all the scales the chord type remains the same only the note names change from key to key . (ie 1MAJ, 2 MIN ,3 MIN ,4 MAJ ,5MAJ, 6 MIN , 7 DIM, 8 MAJ ). this also illustrates how & why modes sound major or minor , its all comparative to position within the scale .

taking another tack here , think of all the natural notes on the fretboard , this is the key of C ( one big pattern from nut to end of fretboard ) you can divide this up into any patterns you wish its all the key of C , this key can be used for Am ( natural minor ) or for Dm( dorian minor ) of course it can also be used for C . the point is you now have all of the notes in 3 keys ( mode just means what note you start & end on , akin to chord inversions ) so Cworks for Am & Dm , D works for Bm & Em , E works for C#m &F#m, Fworks for Dm & Gm , Gworks for Em & Am , A works for F#m& Bm and so on , the whole neck pattern works just like a bar chord you move it around for the right "note ". major keys are ez , minor key are typically played two ways natural & dorian which is determined by the chord progression . example stairway to heaven =Am, G ,F this is A natural minor (Am=C) .any song In Am using a Bm or D major chord will be Am dorian (Am =G) ( the difference Am, G, F has no sharps or flats hence Key of C ( actually A naturalMinor ) , where as any minor progression using a Dmajor or Bm chord has an F# in it hence the key of G) once you catch this I dea its way simpler than thinking of all those modes( modes are contained within the scale moving either up or across the neck )

^^^ yes but its really all the same stuff , there are only 5 areas on the neck, and 5 patterns that cover the neck , all are just slight variations ( couple extra notes here a few less there , played diagonally , whatever ) there are 5 basic areas on the nek before you repeat . you can call them whatever you want their all the same. it just makes it simpler if you know relative minors ,an Am scale can = a G major scale or a C major scale depending on the chords of the song . you can extrapolate this Idea to all keys, or deal with a hundred "modes ". Its all the same

No head shaking man -- the neck of the guitar is a wonderful puzzle and you'll spend your whole life learning how to coax out its secrets and mysteries. Your next challenge is modes. Figure out where the Pentatonic scale and positions super-impose over the modes --- wait till you figure that one out.... My dad exposed me to modal, be bop jazz from when I was a kid. I liked it, but wasn't familiar with modes until I watched the Charlie Parker movie. I have looked it up, but I still can't grasp exactly what it is in it's simplest nature. Any help appreciated. This video sorted my modal questions out straight away, it's all about drone notes. Drone the first note of the major scale then play the major scale and you have Ionian, now put your drone note on the second note of the major scale and play the same major scale as before, you have dorian etc etc, great video. Just search "rob chapman modes" into Google, it's the first hit Geoff Will do. Just reading this thread has me steered in the right direction. I also play a deviation of the pentatonic (blues scale), located at the same starting points but with an addition couple of notes. What is this? I use it back and forth with the pentatonic. Sometimes it sounds great playing to a key that is not the root in a simple chord progression, like using A when the root is D but A is secondary or something. If that makes sense. I am sorting things out, hopefully after after the video and reading Fretboard Logic SE I just ordered I will be able to see things with a larger scope and explain things clearly. Example for A, playing the scale down starting with the little E string. I repeat these notes at the same 5 pentatonic points. 6th = 8,7,5 5th = 8.6.5 4th= 7,5,4 3rd= 7,5 2nd= 8.7.5 1st = 8.7.5 Its a "c" major scale at the 5th fret ( what i was talkin about relativity of majors &minors as "modes " ) playing against an Am progression , if your using it against a power chord ( 2 note ) 145 progrression & calling it A your lead is actually makin the progrression Am. play your scale then hit a full c chord youll hear what I mean 6th = 8,7,5 your srtring numbers seem backwards I am assuming this is actually the first string (skinniest ) 5th = 8.6.5 4th= 7,5,4 3rd= 7,5 2nd= 8.7.5 1st = 8.7.5

any understanding of "Lead " playing or improvisation should start with understanding song structure . popular western music almost always falls into one of three catagories . (using" A "scales as an example )1: A major 1A 2B 3C# 4D 5E 6F# 7G# 8A( half steps between 3/4 & 7/8 ) the chords are 1maj (A) 2 Min (Bm ) 3min (C#m ) 4maj(D ) 5 maj(E) 6 min (F#m) 7 dim (G#dim) = use A scales for Lead ,,,, 2: Am = C ( natural minor ) 1A 2B 3C 4D 5E 6F 7G 8A ( half steps between 2/3 &5/6 ) The chords are 1m (Am) 2dim(Bdim )3major (cmajor ) 4min (Dmin) 5 min (Em) 6major ( F major ) 7major (G major) = use C major scales ( think of them as Am /A root ),,,3: Am = G (dorian minor )1A 2B 3C 4D 5E 6F# 7G 8A ( half steps between 2/3 & 6/7) the chords are 1min (Am) 2min (Bm ) 3maj (Cmajor) 4maj (Dmaj ) 5min (Em ) 6 dim ( F#dim ) 7 maj (Gmaj)= use Gmajor scale ( think of them as Am/A root ) recoginzing which scale to use by what the song structure is,is the trick, now your 5 patterns work in any key , theyre just called all sorts of different names ( what I like to refer to as enharmonic bull shit ) also pentatonics do not make the natural minor/ dorian minor distinction as theres not enough notes in the scale to do so.

if you know the neck in all keys your ear will most likely sort out the modal stuff for you

5 positions of scales or (5 note scales ie pentatonic ) ea one relates to a " cowboy" major chord . then relate the 5 major positons to minor: ala am= gmajor or am= cmajor & youve got the whole neck dicked in any key ! of course any note can be used in any key , it just depends on how its used ( accidentals / blues notes )

John Ginty & Warren Haynes " Mirrors"

geez , I'm going to investigate a new project tonight , Imelda May/ Josh Stone sorta thing . I hope I brought the right gear cuz its in the car & to far to go home !? .....Newport & 64 princeton 1 delay & 1 od ???( no Strat ) !

Its your VooDoo workin - Amelda May http://www.bing.com/videos/search?q=imelda+may+voodoo&qs=n&form=QBVR&pq=imelda+may+voodoo&sc=0-13&sp=-1&sk=#view=detail&mid=88E3895C04B304B5196C88E3895C04B304B5196C

david gilmore is a very tasteful player and has wonderful tone, one of my favs is the tone he gets in "the wall"

re: bassman this was the amp all others followed into their legendary status ( old western electric circuit ) , the mod back in the mid 70s was to take the output of channel one ,bass ch ( before it hits the output section 6l6s ) & drive the normal channel with it and add a master volume . you could not turn ch 1 up past 2-3 without uncontrolled oscillation but It really sounded good for over drive & crunch. I used this with a marshall 412 for most of the 70s............ edited to add I dont think I've seen anyone not use a pedal board in recent times , even with an ax fx dwezil zappa had a huge pedal board

great sounding amp , famous for catching fire !

i like a combination ,push the input a little(pedal ) drive the pre amp a little , turn the output up enough to get some dirt there also (power section & speakers ). to me to much gain at any one stage doesnt sound as good as a little push at each

which issue is this guy in !

i'd say your not ,regarding your original post ,you seem to be a pretty full time musician & theyre usually mutually exclusive due to lack of funds ! I would like to be ! but have a lack of funding as well . edited to say : I understand & support a musician spending as much as possible ( often every penny they have ) for his / her instrument.

the term cork sniffer used to mean anyone who thrived on elitism , I think recently its used more to denote" that guy bought something I cant afford & hes sucks for it" . ........leo 's thing was practicality , form follows function .musicians liked his guitars because they could fix just about everything themselves and the sound cut though the band . Ive been on the G&L bandwagon since I bought my first f100 in 1980 or 81 . the music store I worked at took on the line as soon as they came out . I also had a conversation with Leo about the 3 bolt vs 4 bolt neck and he was a firm believer in the 3 bolt claiming it to be more stable than the 4 bolt ( for whatever thats worth ).