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Thanks Bobby,

I was thinking about a digital reverb and that price is what I was looking at and I want a delay with it. I'm not even close to being a professional musician, or ever will be, or I would be using a rack mounted effects processor.

But I guess I should take this in and see if I can repair it. On this amp it is very difficult to get to. It might be just a spring that is not correctly in place but you have to take the whole amp apart to get to it and then it wrapped up in all this foam insulation of some kind. I don't think I'm qualified to do it my self but I will inquire about that. Thanks a lot.

john

On 11/11/2010 12:04 PM, Dave Woods wrote:

I had a GREAT! hand exerciser that I kept with me at all times, I used it
every day and really enjoyed it, but one day my mother caught me. What can
you do, things were a lot stricter back in those days.

Yeah, but how's your vision?

:-)
Bobby

I had a GREAT! hand exerciser that I kept with me at all times, I used it
every day and really enjoyed it, but one day my mother caught me. What can
you do, things were a lot stricter back in those days.



Dave Woods

On 11/11/2010 11:28 AM, Ron Becker wrote:

Now morphine.....

Got any?

Hello? Hello? I'm sorry - we must have a bad internet connection...

Now morphine.....

Got any?

Ron
Living and playing outside the box.




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

On Nov 11, 2010, at 2:01 AM, 础苍诲谤� Rodrigues P. Silva wrote:

Greetings everyone,
I don't want to start a sort of dispute, my own experience in the
field of Jazz
is very limited, but i'd say stretching exercises strike me as
being pointless.
I'd say that every sort of practice routine has to be music
oriented. I don't do
exercises, i just warm up [this is essential as the absence of
warming up is
proved to lead to serious physical injury] with some melodic lines,
or bop
phrases that come across my mind, i also include moving to odd
chord positions,
very slowly at first, or whatever, but none of the 玪eft finger one
fret this or
that�, i think that the best practice is that in which you reharse,
that is,
you're preparing yourself for a real life situation, gig oriented,
i'd say. It's
easy to fall into a kind of 玡xercise trap�, which is quite
pointless. Music
isn't gymnastics. It's the quality of the expression that counts,
just that. And
eventually not having many physical barriers in the process.

Cheers, and please bear in mind that English is not my first language,
础苍诲谤�

Your english is fine and you probably won't get much disagreement
here on the guitar in hand. Tho I did just read that a study was done
claiming that warming up did not help marathoners run farther. The
one's who didn't warmup were either faster or went farther. It was in
Discovery Mag.

Ron
Living and playing outside the box.




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

On Nov 11, 2010, at 1:14 AM, Will wrote:

A few years ago I used a hand exerciser and developed
thick, stodgy, slow fingers after a couple of months.

The best finger exercise is scales - which is also good
for ear training, I suggest that students also sing
scales as they practise them.

Ten Four Will. Especially the singing. Thanks.

Ron
Living and playing outside the box.





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

On Nov 10, 2010, at 9:43 PM, dphidt wrote:

Common tones help, but I find that visualizing where the 3rd finger
needs to go, and then placing the 3rd finger first helps quite a
bit. Also try releasing all of the fingers on your left hand. I
suspect that the difficulties are occurring due to the mechanics of
the human hand. These techniques work for me. Give them a whirl and
see if it helps.

When I first started out, I came across a finger independence
exercise that is similar to what your are trying to do. If you're
interested, I can describe it later. For most of the exercises, it
can make you feel like you are trying to play with your feet.
Overall, the exercise was OK. You get better practical mileage by
playing common progressions (e.g. II-V, I-V7b9/II-II,-V,-I, etc. )
with good voice leading.

I know a little of what you mean about the third finger thing from
Pumping Nylon maybe I forget, they move thru the same sheath or
something like that. And also am aware of the finger pressure thing
from the same source and have read Dave's Left/Right hand thing. I
and I've been doing that with the third finger for the Gm7 in the
third to fifth fret in the top four. I often miss that D on the third
string. Thanks for the help. Oh yea, I do skip the anchor finger some
times too and let the chips fall where they may. Sometimes that's
just what they do!!

Ron
Living and playing outside the box.




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

On 11/11/2010 10:50 AM, Ron Becker wrote:

Anyone know if ultra sound
is good for inflammation in joints?

The only ones I know who endorse ultra sound or magnetic therapy are the chiropractors, and you know how I feel about them.

Now morphine.....

Bobby

On Nov 10, 2010, at 8:46 PM, akmbirch wrote:

Ron

You might want to look at this old thread:

Thanks Alisdair, I understand the reasoning there. And Dave's analogy
is right on. In the case of guitar players, increasing circulation is
the aim and relief of inflammation is the aim rather than growing
muscle tissue.

Ron
Living and playing outside the box.

I used to use an Alesis Nanoverb and found it OK at low effect levels.

These days, though, a lot of multi-effects are cheaper than stomp boxes and they seem to have got a lot better. I've just bought a Zoom G2 to use with my Lunchbox and it has a better choice of reverbs (hall/room/spring/early reflection). There's also a digital delay with several modes, but you can't use reverb and delay at the same time. It's pretty compact and easy to program with the 3 parameter knobs.

-Keith

On Nov 10, 2010, at 5:19 PM, George Hess wrote:

I have a similar problem with pain in the muscles in the outer part
of the forearm near the elbow. There are two things that seem to
help. One is a light (< 5 lb.) dumbbell with standard bicep and
tricep exercises along with some wrist curls. The other, believe it
or not, is more regular practice, but never too much at one time.
It seems to build up the strength.
However if the problem is inflammation, you should be careful as
more exertion would likely make it worse.

I play every day, and I'm pretty sure inflammation is involved. It's
pretty much the source of the discomfort. Anyone know if ultra sound
is good for inflammation in joints?

Ron
Living and playing outside the box.

On Nov 10, 2010, at 6:36 PM, Bob Hansmann wrote:

Spending more time with guitar in hand will help you the most. It's
not
just about strength, but also about independence, coordination of
LH and
RH, and even eye/ear/hand coordination. It's the whole process, and
dedicated hand exercises can actually do more harm than good (however,
proper hand stretching exercises are extremely valuable, as are back
stretching exercises for musicians).

Thanks Bobby, This idea of guitar in hand always appealed more to me
than separate exercises. But it's good to have confirmation.

we've discussed how to get from C maj to F maj so many times now
over the phone that I really didn't
think you had to bring it up here. :-)

Where is that C chord again? And you know?...I never liked that sick
little F chord, those F and C notes laying right next to each other
in the same fret like that! Sick I tell you!


Living and playing outside the box.

Hi John,

Is there any good small external reverb unit that you guys would suggest to use with this amp?

There are some good ones out there, but they are not cheap. On EBay, the Peavy (now discontinued) Reverb/Tremolo comes up from time to time for around $300 (it was originally around $800 new), but I've heard mixed reviews. Most everything else out there is rack-mounted, or fair at best. If you can live without a spring, there are plenty of used digital reverbs out there for a song. For example, the Yamaha REX-50 multi-effects processor has a pretty good digital reverb sound, and it's got other effects also, most notably the harmonizer (not diatonic, though). Mike Stern still uses his, if you want to hear it. They go for under $100 on EBay.

Anyway, it doesn't sound to me that your reverb is "shot". It's probably Op-Amp driven, and is probably a repair that won't put you in the poor-house (unless you didn't like its sound in the first place). I would check that avenue first, if I were in your shoes.

hope this helps,
Bobby

I have this Polytone Mini Brute amp, the one with the big speaker, I think it is 14". Anyway the reverb is shot on it. Otherwise it has a very good strong clean sound with good bass response. The reverb makes all kinds of high pitch distorted sounds when I try to use it.

Is there any good small external reverb unit that you guys would suggest to use with this amp? It would actually be nice to have a digital delay as well but that could come separately in a foot pedal.

I used to have one of those Boss digital delay/digital reverb combo stomp boxes years ago that I used with a small Fender amp and the reverb always seemed to thin out the tone of my Es175.

Is there something cheap I could find used on EBay that sounds good?

john

--- In jazz_guitar@..., "akmbirch" <akmbirch@...> wrote:

Jazz guitarist Eddie Hazell, at 76
Thursday, November 11, 2010
By Jay Levin
The Record

Little Falls native Eddie Hazell, a jazz guitarist and singer who performed nationwide, including many gigs at North Jersey and Manhattan venues, died Nov. 2. He was 76.

FYI

Someone Out There Is Listening: The Life of Eddie Hazell, Jazz Guitar-Vocalist by Ed Petkus

Rudy Regalado

Percussionist of Latin bands El Chicano and Chevere

Rudy Regalado, 67, a salsa and Latin jazz percussionist and bandleader who was a member of the Latino rock band El Chicano, died Thursday at his home in Las Vegas from complications of pneumonia, said his daughter, Norka.

Regalado joined El Chicano in the early 1970s, singing and playing the timbales, a cylindrical drum that originated in Cuba. El Chicano, an East L.A. band that mixed rock, R&B and jazz, had Top 40 hits during the 1970s with "Viva Tirado" and "Tell Her She's Lovely."

In 1983, Regalado formed his own band that eventually became known as Chevere.

Chevere has played at the Playboy Jazz Festival and Los Angeles' Fiesta Broadway, among other engagements. Regalado also toured as part of Aretha Franklin's band. In 2009, he joined a reunited version of El Chicano and last played with the group in August at the Greek Theatre in Los Angeles, his daughter said.

Trumpeter Harry Kim, who has known Regalado since the 1970s, said he was "unbending in his love for jazz. He was without an agenda, totally flexible. 鈥� He loved the old style of mambo bands, his concept was kind of like a big band in Latin."

Hector Jose Regalado was born Jan. 29, 1943, in Caracas, Venezuela. He moved to Puerto Rico in the early 1960s and started playing in hotels and clubs in San Juan while studying percussion in college. He came to California in 1970, his daughter said.

Jazz guitarist Eddie Hazell, at 76
Thursday, November 11, 2010
By Jay Levin
The Record

Little Falls native Eddie Hazell, a jazz guitarist and singer who performed nationwide, including many gigs at North Jersey and Manhattan venues, died Nov. 2. He was 76.

He had Parkinson's disease, said his wife, Anne.

While a student at Passaic Valley High School, Mr. Hazell formed a group called the 3 Echoes, which occasionally became the 4 Echoes when Eddie brought in another musician.

"He knew what he wanted to do from the beginning 鈥� there was no doubt he was going to be a musician," said Ed Petkus, who knew Mr. Hazell from the neighborhood and authored a biography of the guitarist.

Mr. Hazell toured extensively early in his career and cut his first album in 1961. He appeared on the "Today" show, "The Merv Griffin Show" and "Kraft Music Hall."

Mr. Hazell was playing at Bakers Keyboard Lounge in Detroit in 1964 when he asked a local trio to back him up. Some years later, the trio's bassist, Jim Hankins, received a job transfer to New Jersey and was invited by Mr. Hazell to join the Eddie Hazell Trio. They shared stages for a quarter century.

Hankins, of Hillsborough, said Mr. Hazell's stock in trade was "the American songbook."

"Broadway stuff, Gershwin," Hankins said. "He didn't have an exclusively jazz repertoire. Eddie was quite the professional. He knew what he wanted to play, and how he wanted to play it."

In a review of a 1975 performance at Stryker's Pub in Manhattan, John S. Wilson noted in The New York Times that Mr. Hazell's greatest attribute was neither his voice nor his "excellent" guitar playing.

"What gives Mr. Hazell his basic distinction," Wilson wrote, "is the adventurousness, imagination and taste shown in his choice of repertory, supported by the skill with which he realizes the possibilities of the material he has chosen."

The following year, The Record praised his album, "Take Your Shoes Off, Baby," calling it a collection of standards "enhanced by Hazell's deceptively casual approach."

Mr. Hazell, who moved to Vernon from Pompton Plains about 20 years ago, last performed in 2007, at Manhattan's Tavern on the Green. His trio appeared at venues across New Jersey, including the Williams Center for the Arts in Rutherford, Liberty State Park, Jimmy Reid's in Ramsey, Newark Airport, the Julius Forstmann Public Library in Passaic and the Bergen Museum in Paramus.

Petkus, a retired William Paterson University professor, interviewed Mr. Hazell, his family and his fellow musicians for the biography, which was published in February. It is titled "Someone Out There is Listening: The Life of Eddie Hazell, Jazz Guitar-Vocalist."

Mr. Hazell may not have been a household name, Petkus said, but he made his mark.

"He had a successful career and a successful life," Petkus said. "The people who don't necessarily become the big stars are the ones who keep the genre going, and Eddie was certainly an innovator.

"He didn't compromise; he was unique in the way he sang and played the guitar. 鈥� He cared deeply about his musicians and cared deeply about his music. I would say he had star quality."

Mr. Hazell is survived by his wife, Anne Nielsen Hazell, and the children from his marriage to Naedine Thompson Hazell, who predeceased him: daughter Naedine Hazell and sons Edward and Kevin Hazell. He also is survived by his stepchildren, Maegann Struble, Deborah Gallagher and Ned Meeder, and nine grandchildren.

Visiting will be Saturday from 2 to 4 and 7 to 9 p.m. at M. John Scanlan Funeral Home in Pompton Plains.

E-mail: levin@...

On 11/11/2010 4:01 AM, Andr茅 Rodrigues P. Silva wrote:

...but i'd say stretching exercises strike me as being pointless.

As well as helping to extend the productive length of an individual practice session, stretching exercises help immensely to extend the life of an active career in music, as well as life in general.

I don't understand your statement, I guess. The benefits of stretching are so well established at this point - Try 'em, you'll like 'em.

best,
Bobby

Hi Alisdair,

You might want to look at this old thread:

Agreed. Strength exercises do more harm than good when using fine motor skills. If I ever need brain surgery, I will not go to the muscle-bound surgeon. Guitarists suffer most from ulnar-type neck and back problems, and from hand problems. The only exercises which can help in the long run are those which stretch. Their is a book called "Stretch and Strengthen" (by Judy Alter)
[]

which is straightforward and helpful. It's one of many out there, though.

Ron's pain in or around his elbow is an example of how pain can shoot up the nerve. He probably has some inflammation of the nerve over there, and would best be advised to see a doctor. The only problem with that is that id he sees 5 doctors, he's likely to get 6 different opinions, at least one of them recommending surgery. I suggest that he goes to see a good (emphasis on "good") Osteopath, even though he'll probably have to do some traveling to get to one.

I don't recommend Chiropractors. Though some people swear by them, and though there are some good ones out there, I think most do mare harm than good, though my saying this will probably have the whole Chiropractic Industry breathing down my back. But a good Osteopath can accomplish a lot, and can do it quickly.

In the end, it's about longevity. The most common cause of early retirement for musicians, regardless of instrument (before the Internet came along and bankrupted all of them, that is) has always been back pain.

best,
Bobby