开云体育

Mine has a sticker on it.? 59B, for 59 bridge.? I guess if the sticker is gone,
it would be tough to ID.? It is stamped with the Seymour Duncan logo, but the
stamped part does not say what kind it is, only the sticker gives that
indication.

Troy

--- In jazz_guitar@..., Nat Janoff <natjanoff@...> wrote:

Just because you can doesn't mean you should.

Has anyone ever heard this phrase ?

It was one of Barney Kessel's favorite sayings, he used to say:

"Just because it can be done, doesn't mean has to be"

He used it often when referring to musicians who he felt were over technical, fast, flashy, intellectual, but did not convey good emotional music. Or to use another of Barney's favorites "They were playing to impress rather than express".

RIP Barney


--
Alisdair MacRae Birch
Guitarist/Bassist/Educator/Arranger

Does anybody care???" :-)

I think the queston is valid. If the thread has gone on for several
days w/o him doing the most obvious thing possible i.e. look at the
back of the pu I'm not sure why anyone else would be overly concerned
about the answer. Its usually no more than four screws. How concerned
could he be if he hasn't done it yet?
Ron

Living and playing outside the box.

--- In jazz_guitar@..., "Palmer" <rivmuse2@...> wrote:

Simmon's vow to "get them all, track them down" is vile to me. He is talking
about kids! They are just kids. If you charge per song, they will find
something else to do, not just bow down before the great leader of Kiss.

He is talking about those who illegally UPLOAD content, content that they have not the rights to upload, and those that profit from that illegally UPLOADED content.

The semi-equivalent to your radio analogy would be Pirate radio. However, ironically, Pirate music radio stations, out of the love of music and respect for artists and musicians, more often paid royalties to the music collection agencies, they just did not get the required government broadcasting licenses and permissions!

My favorite is a Matrix MR-550. It is a battery powered unit but is slightly larger than most battery powered metronomes and has the best sound of any portable unit I have ever heard. It also has several sound options and it will count in odd time signatures.





Brian



From: JVegaTrio@...
Sent: Tuesday, October 19, 2010 11:31 AM
To: jazz_guitar@...
Subject: Re: [jazz_guitar] Good Metronome?




Hi Jeff,

I have a Boss DB-30 that works pretty well. They're around $39.

Cheers,
JV

Juan Vega

Hi,

to understand the changes there you just need to have a grasp of the idea of a "secondary dominant". To make it simple, here's the idea in a nutshell: you can approach any chord (of the key you're in) with a dominant chord a perfect fifth above (or a perfect fourth below). That's the basic idea. In other words, in the key of C major, you can approach the Dm7 with an A7 chord, the Em7 with a B7 chord, the Fmaj7 with a C7, the G7 with a D7 and the Am7 with an E7. And of course you approach the Cmaj7 with a G7 but that's the "primary dominant".

Now, to take a step further, you can also approach these new dominant chords with another secondary dominant - to have an E7 that leads to A7 that leads to the Dm chord. Or to have an F#7 chord that leads to Em via the B7 chord. So you can have a chain of secondary dominants that eventually lead somewhere, just like the trick where you play F#7-B7-E7-A7-D7-G7-C7-F7 for the first four bars of Rhythm Changes and it fits just because you land on the Bb at the next juncture.

So, that's what happens in the first part of "All Of Me". Two secondary dominants leading to the D minor that's back in the key of C major.


Hope that helps,


Petri

--- In jazz_guitar@..., "Palmer" <rivmuse2@...> wrote:

Alistair wrote:

Unfortunately you are missing a big chunk of the equation. The music was

not free, the radio stations paid for it.

John: That was in response to my writing:

We all used to get FREE music all the time!
It was a little thing called RADIO!

But Alistair I think you are "Cherry Picking" a little on my email. I said
that music was "free" to the listener and paid for by ADVERTISING. This is
the model I am suggesting for the internet.

This is the current model, and it works now for those tracks that are legally uploaded. Unfortunately the majority of music is illegally uploaded. See comments below.

Listeners did not PAY A FEE to listen to the radio. I was not saying that
the radio stations didn't pay. I said music had to be paid for and that USER
PAY is not the way to go.



Model one: British television. User pays a licensing fee to own a
television.



Model two: North American television: Programming is paid for by
advertising. (User "pays" with time spent watching said adverts).



As a kid I never BOUGHT any music. Not because I was cheap, but because I
didn't have any money. But I listened to a LOT of music, for "free".



Also, someone wrote that suing everyone all the time is the answer. But that
has led to a complete TRAVESTY of justice with the welfare mom who was sued
for hundreds of thousands of dollars for the six songs her 12 year old
downloaded.

I agree with you. As you have read in ALL my previous post in the group you will have seen I agree with you that suing end-users is not the way forward.

But this is the issue....

Corporates such as Google/Youtube are making a profit through
advertising.

To drive people to the site where their advertisements are placed be it Youtube or File Lockers or Torrents, they need content that makes people visit.

Content is of two types:

1/ Legally uploaded content - the minority - content legally upload with permission from the rights holders such as a record company. On sites like Youtube they do pay royalties on this.

2/ Illegal uploaded content - the overwhelming majority - content which the people uploading do not have permission from the rights holders to upload, and therefore is illegal.

Illegal content forms the overwhelming majority of the content on the sites.

The fact is the majority illegally uploaded content helps drive traffic to the sites and increases their advertising revenue and profits.

If Google and the other sites had to pay royalties on ALL the content their business model would not work. It only works because they are not paying royalties. Their profits come from the fact the illegal content drives visitors to these sites. They use the mantra, "we only provide the technology, we are not responsible for the content".
The end result is that they are getting rich off the back of musicians, artists, etc...

Another previous post of mine has more details please watch the video in the link for more explanation:

Just because you can doesn't mean you should.

Has anyone ever heard this phrase ?




www.natjanoff.com

Reg,

Just think of that E7 as a dominant III chord, don't over analyze it.

Joe

Ok, I can't figure this out. Maybe you guys can help explain what's going on with the changes here.

So the song starts with CM7 so i'm thinking key of C here but then the E becomes a dominant so maybe V-I to an A, but that one's a dominant as well.

Can you treat bars 7 to 10 a ii-V in A? and then a ii-V in G after that and finaly a ii-V again in C to get back.

So what's going on in the first 6 bars?

regalado

There have been many replies to the original post and only a few mention the
players own technique, this is one of the most essential ingredients to the
tonal quality that you get from your playing.

There are so many variables in the final sound, guitar, strings, amplifier,
venue and the one that seems to have been missed (unless I have not seen it
mentioned) is the choice of plectrum - This plays a HUGE part in the overall
tone that you get when playing. IMHO it is worth spending some time on this
before you decide what else you require to do, it is by far the least
expensive change you can make to your overall rig and yet the choice of
plectrum material and weight can be very dramatic. Hope this helps.

Best wishes to all and thanks for a great site, I never get tired of reading
the views of contributors and so far I have never taken exception to
anything that has appeared (after all we do not want to be the only site on
the web that has censorship do we?) or is that a matter for another post?

Keep smiling and when you can't keep taking the tablets.

Roger

IMHO it is worth spending some time on this
before you decide what else you require to do, it is by far the least
expensive change you can make to your overall rig and yet the choice of
plectrum material and weight can be very dramatic. Hope this helps.

Roger,

No doubt there is great truth in your analysis ... tonal quality inherent in
one's own
physicality is one concept that grows with experience, years playing, and
attitude.
Without canceling out your correct sentiment, inmany cases a 'specialized' pup
can make a world of a difference...even with 'experiential' physicality
incorporated...

Okay, just to try to make my point here clearly, without emotion.



When I was a youth, I DID NOT PAY for the music I listened to. Yes, it was
PAID FOR. I recognize that fact. By advertising, not user pay.



Now, flash forward forty years.



Oh, how insulting, all those kids downloading music. How dare they expect to
get it for free? (when we walked around all day with an AM radio stuck to
the side of our head)



Any new technology takes its time to work out. It is a little like
biology.things are tried here, maybe fail, maybe succeed, maybe need to be
tweaked, but the fittest will be the overall winner in the end!



The "new" technology belongs to the young people who are growing up using
it. We will never be able to stop them from reinventing and evolving the
'net in ways that we cannot even imagine.



I was realizing the other day that I have had email for more than
twenty-five years now! No wonder they are all Twittering and Facebooking,
and even those are getting old!



The freakin' music industry can just poop, or get off the pot! By which I
mean suing welfare moms is not EVER going to turn the clock back.



The one and only thing I know about the music business is that it is going
to go FORWARD, and never backwards. And those that cannot adapt will be
forgotten and left in the dust the same as the buggy whip making business.



Simmon's vow to "get them all, track them down" is vile to me. He is talking
about kids! They are just kids. If you charge per song, they will find
something else to do, not just bow down before the great leader of Kiss.





All the best, John







Reciprocity

Hi Mark, I have a GB200 as well. (and a GB10) There are quite a few
guitarists playing in that style. A few that quickly come to mind are
Mark Whitfield and Norman Brown.
Scott

On Tue, 19 Oct 2010 10:15:37 +0100 "Houghton, W" <wmh@...>
writes:

Dear all. Hi this is my first post to this excellent list (I usually
frequent Classical guitar lists and recognize some regulars here -
Bob-H and Ron-B at the least).
I'm a big fan of George Benson (I own a GB-200 signature Ibanez
amongst other jazz guitars) and i'm wondering who list members
consider to be the players carrying forward the Montgomery/ Benson
lineage/ style in the modern era?

____________________________________________________________
$350,000 Life Insurance
Coverage as low as $13.04/month. Free, No Obligation Quotes.

I have an extra unplayed copy of this set if anyone is interested.
(still partially sealed) $25 shipping included anywhere in the US. (not
sure what shipping would cost internationally, it is a heavy box set with
book)
Scott Dercks

On Tue, 19 Oct 2010 00:17:13 -0500 Jeff Shirkey <jcshirke@...>
writes:

I missed the original post somehow, but here's a quick recommendation

to get started learning who the greats are. Pick up "Progressions:
100
Years of Jazz Guitar", a 4 cd box set. Tip of the iceberg...and you

can then follow up on whatever players move you most.

Jeff

____________________________________________________________
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Franz ... (electric) .... if you can find one ... (I saw them on E-Bay).

My brok down ... but I took it apart and fixed it ... very simple mechanism but
it works great ... has a clear and concise CLICK<

I've had mine for 40 years and it still is going strong. They also made them
with a light and an optional bell (or something similar) for indicating "one."


Brad



Yes, my Franz also has a light ....








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

I have a Franz metronome that I bought in 1972, or thereabouts. It's in a walnut box, & it can either click, or there's a light on top for silent practice. It's kind of big though, and doesn't have the "tap tempo" feature, but it's certainly a classic!

Cheers,
JV

Juan Vega

I swapped out the pups on my Sheraton II with Duncan P-Rail 90s ...(with
separate 3-way switch - not included) ... and that guitar is SO SWEET .... the
variation are numerous of single coil, humbucker, and P-90 sounds ... when I go
through my Vox ToneLab with all the different amp & cabinet models I'm just
awe-struct at the beautiful, funky, wide, close, short and long sounds available
...

BTW ... my Jim Hall Sadowsky has a DiMarzio ... couldn't sound better1

John Amato
Isaiah 55:11

Franz ... (electric) .... if you can find one ... (I saw them on E-Bay).

My brok down ... but I took it apart and fixed it ... very simple mechanism but
it works great ... has a clear and concise CLICK<

I've had mine for 40 years and it still is going strong. They also made them with a light and an optional bell (or something similar) for indicating "one."

Brad

Hi Jeff,

I have a Boss DB-30 that works pretty well. They're around $39.

Cheers,
JV

Juan Vega