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Had yet another Les Paul in with a broken headstock this week, this
time an Epiphone but the problem seems to be with all makes.

I note that some Epis now have a spliced on headstock and that some
Gibsons have the "Volute" which strengthens the area behind the nut
However, it does seem to be a flawed design - the problem doesn`t
exist with Fender necks.

Will

On Tudo Bem, Joe Pass plays Wave slowly, but with double time feel. But, the groove is better described as samba. That is, the melody moves slowly, but the groove feels like twice the tempo.

There is some debate as to what Bossa Nova is (my Brazilian music teacher describes it more as an era than a musical style. That may be because he hears subtleties of groove that Americans tend to lump together.

Thomas,

By definition, bossa nova is pirmarily played at a moderate tempo, it's a form that combines Brazilian rhythmic syncopation with American jazz harmony. If it gets pretty fast, you may be thinking of a samba, which can get pretty uptempo. This is by no means a comprehensive response, Brazilian music has many variations. Bossa tends to be pretty moderate, tempo-wise. Hope this helps.

Cheers,
JV

Juan Vega

hi,
is there a "thing" called "double time bossa nova"? i heard parts of a bossa nova (kind of modern) on tv and did not have the feeling that it was a very fast bossa. i had the feeling that it was a kind of double time ( like in "jazz"), .......
many thanks in advance!!
have a nice day
bye
thomas

I tried the Tonelab SE, going direct into a PA. I couldn't get a sound I liked. I like to be able to adjust things on the fly and I just couldn't seem to do it with that unit and get a result I liked. I ended up going direct into the PA without it.

On 17 Dec 2010, at 14:51 , Brian Kelly wrote:

Mike,

It would be interesting to know when you visited the factory. There were
three of them. One in Arkansas, one in Mississippi and of course there was
the main plant and headquarters in Cincinnati.

I visited the Booneville, Arkansas plant around 1971 or so. I remember that the Chet Atkins Super Chet had just been introduced, but had not been shipped. I got to play one of the pre-production samples in the manager's office (I don't have a clue as to his name).

I thought Cal told me his guitar was one model down from the Country
Gentlemen. Is the one in the picture a New York built guitar or Baldwin?

I'm not knowledgeable enough to know for sure. It seems to be a Baldwin model, it has the distinctive pickguard they used then. It looks like a 6120, it has the mute and standby switch that I believe that vintage has. Also, it appears to have real f-holes, not the painted/inlaid ones that a Gent would have, so it is a "cut below" a Country Gent.

Where did Dan Duffy work. That name sounds familiar. He was in New York,
right?

Correct. He currently hangs around on one of the Gretsch forums and answers questions.


Mike

I don`t know of a single performer who is surviving by
performing alone - I think those days have long gone.

Life often goes in cycles so there may come a time when
people are sick of computerised Muzak and demand a live
performer at their favourite cafe. Probably not in my
lifetime though.

Will

I am not sure which one is the Broadway but I have both an Epiphone Joe Pass and and a Custom Shop L5 Signature. l like them both. The L5 is of course better but it cost 15 times what the Joe Pass costs so that’s no surprise. As it is, I leave the L5 at home and play my Gibson 137 on gigs and I used the Joe Pass n gigs before I got the 137.



Brian Kelly

From: David B. Klein
Sent: Friday, December 17, 2010 10:09 AM
To: jazz_guitar@... ; jazz_guitar@...
Subject: Re: [jazz_guitar] Re: Epi Broadway. Poor man's L5?


At 10:57 AM 12/17/2010, Marc Leduc wrote:

Sorry, I now recall it was a small repaired crack on the top near the
f-hole. That wouldn't have deterred me had it been a shorter scale,
however, still a steal for a thousand bucks.

Maybe 430 euros makes sense after all, approx. US$700? The cost of the new
"low end" Broadway...
Marc

Yeah, the list price was around the 2K mark and they were discounted
on the Internet by Musician's Friend et al..... real street price
around $1750.

Anyone else see this on PBS recently? It was awesome, and Albert was not using a pick - which surprised me. He had an unusual heavy thumbnail attack approach as well as using other fingers.

Ron I agree 100%. I dropped my last pick three years ago and play only with
fingers now. "Finger-style" is an apt description. It's quieter and more
precise. I don't think I could use my thumb only - I've tried it, but always go
back to Spanish style.

In addition to the above points, finger picking allows you to better control
feedback from your amplified archtop.

Ammo


.... I agree and disagree ... over the years I've incorporated finger style into
my playing but still play with a pick ... finger style is a lot more versatile,
etc., etc, but there's a certain sound and percussiveness plus a whole range of
dynamics and timbres that the plectrum method produces -- to throw that away in
favor of one method, that being finger style, for me is to limit the sounds
available ...






[Non-text portions of this message have been removed]

Jeff Beck's Rock & Roll Party with Imelda May and her band

Presented by Concerts East & State Theatre
Tuesday, March 29, 2011 at 8:00 PM
Location: State Theatre


John Amato
Isaiah 55:11

You might want to listen to some Merle Travis or Chet Atkins.

I fingerpick everything using a plastic thumb pick and metal fingerpicks on index and middle fingers.

You lose velocity, but pick up a lot of harmony.

Rick Williams

Hi Alisdair

Thanks for posting this, it is interesting!!! What is amazing
to me is that some of the mainstream media is now picking up on
this. Comments below.

The Guardian (UK) points out the recently release Berklee's salary survey:

"the study's salary figures for musicians appear optimistic to me.
Maybe it has something to do with the fact that Berklee College of
Music is reliant on thousands of students enrolling in its music
programmes. The reality facing the majority of its students – and
the thousands of music students at colleges and universities across
the UK – when they graduate isn't quite as rosy. Once past the
first hurdle of actually getting a job, they may find that club
gigs often pay nothing at all. Some promoters even demand that you
pay to play.

Me thinks, the Berklee salary survey was an obvious marketing stunt
to parents and those thinking of attending Berklee to persuade them that spending $$$ on Berklee would result in a viable financially rewarding music career. I think it is totally unrealistic.

It will be interesting to see how music colleges make out in the
coming years. I suspect we will see them down-sizing their
on-site classes, putting more short-term and summer programs
in their catalog and up-sizing more and more online courses so
they pump up the students and their income.

Furthermore, according to a study recently conducted by the
UK-based Word Magazine, a majority of charting British pop and rock
artists were educated in private, tuition-based schools. The
magazine found that 60 percent hailed from schools requiring annual
tuition, academic admissions, connections, or all of the above.
Yet overall, just 10 percent of the general population enjoys such
privilege. Even crazier, just one percent of charting British
artists claimed the same pedigree in 1990.

It does not surprise me at all. Lady GaGa, also went to a private
school on Manhattan's Upper East Side before attending NYU.

"Lady Gaga's uncomfortable childhood included parents whom Vanity Fair describes as "middle class," who raised their family on Manhattan's Upper West Side—where a modest, two-bedroom apartment typically costs $1 million or more. Her parents sent Gaga and her sister to an elite private school where tuition is currently $35,000 per year."



I do think this does have a bearing on being a musician today.

Mark

--- In jazz_guitar@..., RONALD VITARELLI <ronald.vitarelli@...> wrote:

Join lots of other jazz players who use their thumb.? Wes wasn't the only one.?
Some of the guys I study with (all very advanced pros) use not only their thumb, but one or two other fingers.? They knock me out with the sound they get when comping.
For my money, the mechanical sound of lightning-fast picking with a pick often lacks a swinging or soulful quality.?
Not so with the thumb.? I use it exclusively.? Getting YOUR SOUND is a function of your touch and the way you set up your equipment, especially the amp.

Ron I agree 100%. I dropped my last pick three years ago and play only with fingers now. "Finger-style" is an apt description. It's quieter and more precise. I don't think I could use my thumb only - I've tried it, but always go back to Spanish style.
In addition to the above points, finger picking allows you to better control feedback from your amplified archtop.
Ammo

Had to wait a few months for my Vox ToneLab ... but it was well worth the wait
... but it dfoesn't include distortion ... I heard the Line6 for distortion ....


John Amato
Isaiah 55:11

I had 2 TV Jones pups put in my Gretsch Electromagnet ... they sound great!


John Amato
Isaiah 55:11








________________________________

Mike,

The last line in the first paragraph should have said "Some had sound posts, some not".

It would be interesting to know when you visited the factory. There were three of them. One in Arkansas, one in Mississippi and of course there was the main plant and headquarters in Cincinnati.

I thought Cal told me his guitar was one model down from the Country Gentlemen. Is the one in the picture a New York built guitar or Baldwin?

Where did Dan Duffy work. That name sounds familiar. He was in New York, right?





Brian

something a bit cheaper than the lexicon pcm 91

is a lexicon mx200-which i use, and love. i got mine used for $100 about 2 yrs ago. it's a 1-space rack unit (not sure if you want to carry one around for gigs, although they are pretty shallow in depth).
(new they are 199$)

i used to have a lexicon mpx100, i liked it until it died on me, but i know that bill frisell still uses his mpx100 in his studio for reverb.

there are also the older model pcm models, 80 & 90 that i know i've heard people still rave about also. i believe david torn still uses a pcm 90 for his reverbs...

no experience w/, but i've also heard people like the reverbs in the boss reverb pedal. more portable for sure.

good luck.
s---

It comes down to what kind of bang you are after. There is a pcm 91 w/
a buy it now price of 1999.00.
If you want really good reverbs in just about any flavor then
compared to Lexicon's $10,000.00 model it's plenty of bang. They are
not in high demand now and you probably could get one for alot less
than that ebay price these days. Starting bids are in the 8 to 9
hundred range. These came out about 10 or 15 years ago. The newer
software stuff with recorded ambiance from cathedrals and halls
famous for their sound and everything else imaginable makes these are
kind of old news. They just sound very good and are very very quiet
in a recording situation. And if you don't want to take a computer to
the gig you need some kind of box. The poster indicated he wasn't big
in to lots of effects which is why I even responded. Doing standards
in a quiet setting these things are magic especially in stereo into a
mixer. I do like the pod verb better than most amp verbs. Line 6
makes good stuff and my pod is built like a tank.

Ron
Living and playing outside the box.




[Non-text portions of this message have been removed]

Brian, For all I know we could be talking about Cosmo Kramer from Seinfeld.

What I heard, and have no way on knowing whether or not it's true, is that Baldwin made a serious attempt to build high quality guitars for about 2 years. Then according to rumor, there was a fire at the factory, and everything went to crap after that.

My former guitar was not only had real F holes, but the neck heel was in the right place at the 18th fret instead of the 14th, it didn't have that stupid mute that threw the intonation off on anything above the 3rd fret, and if you looked inside the F holes, you could see that the inner bracing was totally different. This was the guitar that Chet Atkins and (?)Kramer redesigned, presumably to Atkins' specs.

As I mentioned, Art Wiggs, who had been Gretsch's factory authorized service guy, told me this was the best guitar Gretsch ever made. That opinion was seconded by a guy who owned a small guitar store who told me that one of these was his personal guitar and not for sale.

My guess is that the story about how they tried in the beginning is true, and that at some point, whether or not there was a fire, they either gave up, or simply blew it.

All I can say for sure it that it was a great guitar, and although the trade worked out really well for both me and they guy who got it, I kind of wish I still had it.