SteveB

mojo sent for quick recovery...

Given the choice between E and G#m#5 I think I'd take E.

crap... that explains why that shelf full of guitar books doesn't seem to be having any effect...

yeah I could see that.

ok, more reading seems to indicate the following can be true of chord names.... that if you use "11" it implies a 7 whereas if you use "4" it does not, and that "Slash" chords do not necessarily mean that the referenced bass note is included in the chord name. Given that I think I'm calling this an Am add 4/F# ( not +4 because I forgot that means augmented) . I think if most guitarists read "Am add 4/F#" they could just about guess the correct fingering. Most guitarists being ME in this case when I read it later. Of course I really should just put down a chord grid too. This thing shows up at the end of a flamenco cadence where the basic tonality is Am G7 C. So with Am/F# G7 C creates a little moving bass line, and I guess my teacher threw in the add4 because it sounds cool. I also had to train my hand to not full bar F chords, because he often leaves the high B and E strings open. I guess that would be a Fmaj7#11 or something.

Thumb the F# would be my guess. If A is the root, then I would call it Am#6add4. on a classical guitar thumb = illegal, not to mention difficult. Its not that hard to finger, just in first position. It's being used as an Am variation which is why I was trying to name it with A root. Key is C. Why #6 though? F# is the major 6 in A major scale. Arn't chords usually named assuming a major scale from the root? actually open strings are sounded so not an F# dim. That tool calls it an F#m flat 5 aug5 7th. Or in Am form it calls it a Am sus4 6th, but I thought the sus nomenclature was only used if the third is not present. whats the rule on whether to call something a add4 verses add11?

from high E to Low E string... E C A D C F# it's most natural name is D9, but what would you call this as a variation on Am? Its not really suspended because it still has the third. Am+4/F#?

Or when Herb "Disturbed" Alexander left Primus. To me Herb was a huge part of that bands sound.

Portnoy might be the best prog drummer out there, IMO. He's a monster. DT will not be DT without him.

I wonder if in "real life" it has more of a fade from the yellow to the green? I'd like it better personally with more of a gradation.

so if you whip out a guitar at work are you immediately surrounded by fawning lingerie clad playmates?

Dogman FTW. Ogre Tones and XV their recent releases are really good too. I have every KingsX album though and I like something on all of them, but I think Dogman is their best album. http://www.youtube.com/watch?v=6Qv4p4mLKR4

just thought I'd post the best version of "Teddy Bear" ever... off the XXX album. Dusty's vocals are awesome.

Antenna is an awesome disk, probably my second favorite behind Deguello. gimee some of that PCH: http://www.youtube.com/watch?v=TLcKWcxw5KA Its definately "modern" ZZTOP but I like the type of balance they mostly came to on their material Antenna and after.

that would be quite the collaboration.

If I was Hamer or any good luthier, I would never offer "carte blanche" custom orders. Customers can come up with some stupid shit, and its still the luthiers name on the headstock, and their reputation on the line.

its been pretty obvious for a while that this is the direction Hamer has been going. Hamer doesn't want to be a big production shop. Its basically the same as if PRS jettisoned their entire business except for the private stocks. I'm sure some Hamer dealers will order up "custom orders" for stock just as PRS private stocks are often ordered for "stock". At least Hamer wins the "value" award if you compare them directly to the PRS private stock program, and even against Gibson custom shop stuff.

check out Seagull/La Petrie as well in that price range. I think those have quite a bit of bang for the buck. When I was looking for a classical I compared multiple copies of the same model Seagull both with and without electronics and I thought that the electronics package did seem to affect the resonance of the guitars a little, but with acoustics there is so much variation between even the same exact model that its hard to tell how much effect was really due to the package.

Your ability to lighten the load with an AxeFx depends on what you want on stage. If you can be satisfied basically not having the wind behind your back and listening to your rig purely through monitors, then the AxeFx with a controller board plugged into the PA will lighten your load alot. Many people going that route also have their own powered monitor for consistency and so they don't depend on the sound guy so much, or for the time when they prop it up in the backline for small gigs. If, OTOH, you require the feeling of guitar cabs blowing behind your back, you arn't going to get much weight savings. For those that don't like playing just through monitors, you still need to use a power amp and cab of some sort, although that will change somewhat when ever the Fractal/Atomic FR finally comes out. You won't save much weight that way, but you WILL have what amounts to the ultimate "Road King". At the moment I have my AxeFx setup like this, running into a Mesa Theile. Its really not that much of a pain to drag around, and whiile not giving you quite the 4x12 kindof feeling it definately gives you the "real cab blowing air" kindof feeling. I have a Carvin TRXN12 monitor coming in soon to try out too for full range application, or as a monitor combined with the Theile for backline. I use a Powerblock for backup. It can be backup for either the AxeFx or the Poweramp. One cool thing I discovered recently is that the powerblocks cam sims are always running, even with the guitar input. While that seems odd, it does have the interesting effect that even if I was using a full range speaker like the TRXN12, if something went down, I could still plug the PB into the TRX and it won't sound like shite. My goal is "one rig to rule them all". As soon as my MOTU 828mkII is repaired it will go into the rack to work not only as the MIDI/Recording interface, but also general purpose mixer. I'm going to start messing around with MIDI/synth stuff and will evenutally use an Axon AX100 in the system as well. So, I want to setup one system that can handle guitars,bass, keyboard sounds, vocals, etc etc.

why do I get the feeling that Stike was cursing every tape cut on that...

yeah no kidding. Mark boogies = Bass control at 2, crank the 80 EQ slider.

how can you not like Bradley Delp's singing? Great vocalist, RIP.

Ikea Hacker! http://ikeahacker.blogspot.com/

They sound great through my IIC+, and in my AxeFx with the Diezel emulation. Even with tons of distortion you can still play an arpeggiate a chord and hear the individual notes fine. With modern amps you don't need uber hot pickups anymore. The Heaven and Hell set could be cool, I'd like to try that one somtime as well.