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Moderators: pompeiisneaks, Colossal
Re: (deleted)
Yes. Kinda sucks, but I'm with you on the stopped gigging = stopped playing thing as well. Every few weeks I'll pick it up and play for an hour, thinking to myself why did I ever stop, this is so much fun and fulfilling. Then it's time to walk the dog, weed the garden, mow the greass, etc.
While I primarily play(ed) classic and hard rock, I've actually started listening to more international music, reggae, etc. when I'm not listening to news or talk. Guess I'm just getting old.....
While I primarily play(ed) classic and hard rock, I've actually started listening to more international music, reggae, etc. when I'm not listening to news or talk. Guess I'm just getting old.....
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I became acquainted with the music of The Living End some years ago. They played on a Kacey Chambers track "Crossfire" I love a lot, so learned more about them and picked up several of their CDs. They're an Australian based punk-rock band with great chops and tone. Recommended.
After gigging, doing the weekend warrior bit, for 30+ years I've become extremely disenchanted with the current state-of-play. Makes me feel like I've outlived my usefulness. The irony is I play better now than ever, but there seems to be a lot of age-discrimination ..... most of the younger players want no part of old-fogey's regardless of experience or ability. I'm thinking of refocusing on strictly session work again.
As for production values ...... I think most commercial releases suffer from way-the-heck-too-much compression. It's exciting to listen to for about 30 seconds, and then it gets progressively more painful to listen to. Most of what I listen to these days is generations old. Any new stuff I listen to usually comes from iTunes, and MP3 quality isn't all that great. Oh well, it's a sign of the times I guess.
Hang in there.
After gigging, doing the weekend warrior bit, for 30+ years I've become extremely disenchanted with the current state-of-play. Makes me feel like I've outlived my usefulness. The irony is I play better now than ever, but there seems to be a lot of age-discrimination ..... most of the younger players want no part of old-fogey's regardless of experience or ability. I'm thinking of refocusing on strictly session work again.
As for production values ...... I think most commercial releases suffer from way-the-heck-too-much compression. It's exciting to listen to for about 30 seconds, and then it gets progressively more painful to listen to. Most of what I listen to these days is generations old. Any new stuff I listen to usually comes from iTunes, and MP3 quality isn't all that great. Oh well, it's a sign of the times I guess.
Hang in there.
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Yeah, I for sure would prefer listening to a great tune with average tone, than a average tune with great tone. Gotta have a hook to catch my ears, great sound and great playing are bonus points and can add some drama/emotional content to heighten the song writing.
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Wish I could find stuff to listen to that wasn't recorded decades ago. I love the analog, less than perfect approach. Some jazz work lately is still pretty "real" and some live stuff. I'm an old fogey.
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JazzGuitarGimp
- Posts: 2357
- Joined: Mon Jul 23, 2012 4:54 pm
- Location: Northern CA
Re: (deleted)
I consider myself a reasonably good guitarist. Me to guitar has always been like fish to water: I've never really had to work at it. This is both a blessing and a curse. When I think about what I could have accomplished if I had actually applied myself, it's easy to get depressed over it.
I had exposure to the guitar early on. My brother, who is 11 years older than I, played guitar in a surf band in high school. He also gave lessons, so there was always a guitar in the house. He started showing me stuff on the guitar when I was five. A year later, he got married and moved out of the house. No more guitar for me until I was eleven. My best friend came home from the swap meet one Sunday, with a solid body 12-string guitar. I kind of idolized the guy, so of course, I had to go out and get a guitar. There was a guy in the neighborhood with a few guitars for sale. I got a Marco Polo solid body with a chrome pickguard from him. It had three single coil pickups. He wanted $30 for it and all I had was $14. At the time, I was given forty cents a day for lunch at school. So I told him I could give him $2 a week until it was paid for. I played that guitar for about three years, then bought a Tiesco Del Ray 2-pickup at Clarke Drug Store for $35. That was about 1973.
I did a whole bunch of woodshedding early on. For one thing, playing guitar was new and fascinating. But for another thing, my father was overbearing and strict. I spent a lot of time on restriction, in my room. So I made the best of a bad situation and played a shitload of guitar.
I also did most of my music listening when I was young. Once I got into my twenties, I was overtaken by work, and didn't do much listening anymore. Though I always played in one setting or another. Over the years, I've had several friends and girlfriends who were puzzled because here I am, a musician, but I don't listen to music all that much.
As for guitar tone in the music I listen to, I'm, not really picky. Not like I am with my own tone, which is of the utmost importance to me. But one thing I've noticed is that my tone tends to sound the same regardless of the equipment I am using.
I just spent the last three and a half years playing in a classic rock band. I started with a Tweed Deluxe clone I built. That worked well for the first two years. I always liked the sound I got from that amp. Occasionally, I wished for cleaner tones, but that was easily eclipsed by the beautiful, creamy saturation I was getting out of it. Two years in, a keyboardist joined our lineup, and it was clear that the Deluxe wouldn't cut through anymore. For the next year, I switched to a Fender Custom Shop Tone Master head with an open back, single EVM12L cabinet. It sounded as much like me as the Deluxe did. Slightly different tone, but just as usable. For the last six months of the band, I used a Blackface Vibrolux Reverb. I liked this better than the Tone Master, but again, it was unmistakably my tone.
I had exposure to the guitar early on. My brother, who is 11 years older than I, played guitar in a surf band in high school. He also gave lessons, so there was always a guitar in the house. He started showing me stuff on the guitar when I was five. A year later, he got married and moved out of the house. No more guitar for me until I was eleven. My best friend came home from the swap meet one Sunday, with a solid body 12-string guitar. I kind of idolized the guy, so of course, I had to go out and get a guitar. There was a guy in the neighborhood with a few guitars for sale. I got a Marco Polo solid body with a chrome pickguard from him. It had three single coil pickups. He wanted $30 for it and all I had was $14. At the time, I was given forty cents a day for lunch at school. So I told him I could give him $2 a week until it was paid for. I played that guitar for about three years, then bought a Tiesco Del Ray 2-pickup at Clarke Drug Store for $35. That was about 1973.
I did a whole bunch of woodshedding early on. For one thing, playing guitar was new and fascinating. But for another thing, my father was overbearing and strict. I spent a lot of time on restriction, in my room. So I made the best of a bad situation and played a shitload of guitar.
I also did most of my music listening when I was young. Once I got into my twenties, I was overtaken by work, and didn't do much listening anymore. Though I always played in one setting or another. Over the years, I've had several friends and girlfriends who were puzzled because here I am, a musician, but I don't listen to music all that much.
As for guitar tone in the music I listen to, I'm, not really picky. Not like I am with my own tone, which is of the utmost importance to me. But one thing I've noticed is that my tone tends to sound the same regardless of the equipment I am using.
I just spent the last three and a half years playing in a classic rock band. I started with a Tweed Deluxe clone I built. That worked well for the first two years. I always liked the sound I got from that amp. Occasionally, I wished for cleaner tones, but that was easily eclipsed by the beautiful, creamy saturation I was getting out of it. Two years in, a keyboardist joined our lineup, and it was clear that the Deluxe wouldn't cut through anymore. For the next year, I switched to a Fender Custom Shop Tone Master head with an open back, single EVM12L cabinet. It sounded as much like me as the Deluxe did. Slightly different tone, but just as usable. For the last six months of the band, I used a Blackface Vibrolux Reverb. I liked this better than the Tone Master, but again, it was unmistakably my tone.
Lou Rossi Designs
Printed Circuit Design & Layout,
and Schematic Capture
Printed Circuit Design & Layout,
and Schematic Capture
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