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Random (Music and Guitar Related) Thoughts Thread


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Thought I would make one of these for when it is late and I (or anyone else who has mental diarrhea) decide to post passing thoughts that I am sure everyone is just DYING to see posted. I walked i

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Some days I feel like when you have played long enough, you've tried all the bullshit, and used every trick, then you are finally ready to understand the true beauty of the telecaster. It's like earning a doctorate, the day you pick up a tele on an slightly overdriven amp (or T-51, ASAT, Nash, you get the idea) and it all just finally makes beautiful sense.

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I am in love with the SD Quarter Pounder. I realized this today, although I had a feeling for a couple weeks. This love supersedes everything on earth. I just ordered a bunch more with the punch-drunk idea of putting these pickups into everything I own. Need to come back to reality....but the tone is like heroin.

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Not if it makes you happy. I used to have a customer that bought a case of Johnnie Walker Blue every week. He mixed it with Coke, and it was one of his favorite things in the world (well that and being drunk I'd guess). Who am I to tell him how to spend the money he worked to make?

Edited by LucSulla
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I think that just one decent guitar and amp, any one, would give me 90% of the pleasure that I get from my entire collection.

And if I spent the time that I spent GAS'ing, I be a better player.

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The Charlie Christian Bo Diddley guitar joined me on travel. I can't say how great it is to be able to practice on the road.

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Man, I was going to make a topic on this, but it's too fucked up.

Whilst trying to read up on Dave Mustaine's current insanity, I stumbled across a page of Metallica themed fan fiction. It's like watching a car accident.

http://archiveofourown.org/tags/James%20Hetfield*s*Jason%20Newsted/works

I was out after one of these ended with James blowing Jason while he was dressed like Batman.

Is this what the more literarily inclined teenage girls are doing with their time these days?

On third thought, just know it exists. Don't read any of it. My god, I'm going to have to go soak in the shower and cry now.

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I'm having to learn "Peace Sells" and "Symphony of Destruction" for le metal band. I alway though Chris Poland was the true wizard of that band just because I played so outside, but Marty is kicking my ass. Aside from a couple of things my right hand just won't do at the moment (which is frustrating because I can pick the rhythm fine on a string but not as an arpeggio between strings), Friedman's sliding these arpeggios so gracefully up and down the neck is fucking tough. I would have never guessed "Symphony" was really all that hard to play until I tried to do it.

I am a big fan of making tricky stuff sound simple though, so I have to give Marty the nod after messing around with these two songs.

Now I am caught between, "Ah, fuck it, I can fake it and only MegaDave fans will know the difference," and, "I should really learn this because it will make me a better player."

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I am a big fan of making tricky stuff sound simple though,

I prefer to make simple stuff sound tricky. Usually through rhythm, accents, etc...

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The chorus licks for "Bark at the Moon," are some of my favorite ever precisely because they are harder than the damned solo, IMO. But Jake is so fluid that until you sit down to play it, you'd never know just how crazy they are. Even when you play it, you think the 16th notes are going to be the pain in the ass, but hitting those octave slides is really the trickiest part.

That all had a big influence on my writing when I lean more toward this kind of stuff.

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I'm actually more into learning licks/fills than learning solos. Those little two-/one-/half-bar passages can be devilish, fun, cool-sounding, and can make the song. Think: Stone In Love.

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Now I am caught between, "Ah, fuck it, I can fake it and only MegaDave fans will know the difference," and, "I should really learn this because it will make me a better player."

I believe you're being too modest. You clearly have the skills and ear to make any of it happen.

Marty always throws a few curveballs compared to textbook pattern players, but Symphony is easy compared to most everything else I've tried. Peace Sells is a fine choice to tackle, but can the rest of your band do it too? They had no slouches on their stage.

Edited to add: I can't believe I used the word 'easy.' Maybe I should have said 'straightforward' or 'conventional' or something.

Edited again to remind myself that I have nothing useful to offer here.

--

Edited by Feynman
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As mentioned before, our old band (no slouches on any instrument) tried to pull off Hangar 18 and we ended up canning it since we couldn't pull it off with consistency. (I was a hell of a lot better at sweep picking back then.) Good luck, I feel for you, that can tie up a bunch of time trying to nail.

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I just read this on Gibson's blog: "Others use germanium circuits, which also tend to be warm and more responsive to the dynamics and attack of a performance. And then there’s silicon-based circuits, which have a brighter, edgier sound"

"WTF?!", I thought. But, after giving it just a little more thought, I believe that guitar-industry marketing BS is tame and well-grounded compared to other industries.

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Now I am caught between, "Ah, fuck it, I can fake it and only MegaDave fans will know the difference," and, "I should really learn this because it will make me a better player."

I believe you're being too modest. You clearly have the skills and ear to make any of it happen.

Marty always throws a few curveballs compared to textbook pattern players, but Symphony is easy compared to most everything else I've tried. Peace Sells is a fine choice to tackle, but can the rest of your band do it too? They had no slouches on their stage.

Edited to add: I can't believe I used the word 'easy.' Maybe I should have said 'straightforward' or 'conventional' or something.

Edited again to remind myself that I have nothing useful to offer here.

--

It is definitely more straightforward, but for some reason, all of Poland's weirdness is easy (well, easier) for me to figure out. It might be the country band, believe it or not, but a lot of his jazzy little twists and turns are kind of there. However, the stretches and precision used by Friedman are just not like what I do. I'd really like to do it though - I love how lyrical those arpeggios can sound vs. my usual scale crap I always end up doing.

I can't see ever screwing around with anything on RIP - that stuff sounds hard to begin with.

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Saw a license plate on the commute to work this morning:

VOX AC30

That's my license plate.

(I'm not kidding)

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