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Oscars Peterson travelled for years with two Bosendorfer Imperial Grands.
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12-27-2018 02:37 PM
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Hi Mr. Miller, did I mention that the house Strat is left-handed and has one string missing (forget which), but apart from that we’ve had no complaints.
Originally Posted by christianm77
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good bows may cost more than L5Violinists even argue about their bow.
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Yes, guitar players today have many choices of strings, amps, pedals, etc. But did Charlie Christian have all the choices we have today? In other words, welcome to our 21st century consumerist culture with its embarrassment of riches and the internet which constantly dangles a plethora of consumer products in front of our eyes, all of which can easily be had with only a number from a plastic card and the simple click of a virtual button—delivered straight to your door!
Last edited by El Fundo; 12-27-2018 at 03:26 PM.
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Conductors...
There is a story about Furtwangler that the drummer of Berliner Philarmonike told that the orchestra was just warming up withut him.. usually you know it is such a mass... and suddenly they all sounded in tune and harmony.. the drummer turned around and saw that Furtwangler came in unnoticed and just stood in the doors
so the sound is in... eh...
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Indeed Originally Posted by Jonah
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Conducting is one of the areas in European culture which is kind of shamanistic? Magical? I've been lucky to work with some of the great conductors of the world. There is something a bit Woo going on.
In terms the piano. Well we know how the mechanism works. So chat to a pianist about technique and they will talk about things that really cannot have a significant effect on the piano mechanism scientifically... And yet....
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I doubt Charlie Christian would be involved with jazz guitar. He was a cool person you see, and cool people don't really play jazz guitar any more. Originally Posted by El Fundo
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Jazz was just “the popular music of his time”. I’m sure he would be a rapper or a hip hop producer if he were alive today, according to most of today’s youth. I know this to be true, as I have teenage stepsons who daily educate me on how old, stupid, and clueless I am regarding what constitutes “good music”. Originally Posted by christianm77
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And you have that horrifying realisation that in 1938 you would have thought the same thing about this goshddarned jitterbug music haha.... Originally Posted by El Fundo
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Yep. There really is nothing new under the sun. Originally Posted by christianm77
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Cab Calloway and Louis Armstrong hated bebop. Coleman Hawkins said, “Wow, this shit is great!” And immediately began to incorporate bebop into his playing. But I’m afraid I can’t be as “open-minded” as Hawk though, since, when it comes to mainstream hip hop in the 21st century, it really does, objectively speaking, SUCK. And I bet I hate it way more than Cab and Pops hated bebop.
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Sure!Conducting is one of the areas in European culture which is kind of shamanistic? Magical? I've been lucky to work with some of the great conductors of the world. There is something a bit Woo going on.
But inmy opinion only Furtwangler and Carlos Kleiber really had this thing. Methods were different (if Furt had any) but both were seemingly unconnected directly with the resultative performance. Furt murmured something and made unreadable gestures, Kleiber sang, gave strange analogies and conducted melodic lines instead of time... in real performance he did not actually conduct at all but rather 'improvized' on the orchestra... he did all in advance.
all the others I heard -- there were outstanding ones of course but I always could trace the work they did to achieve it (if if I did not like the result)
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Seriously? String choices are aren't 21st century consumerist culture. By the late 1940's and easily in the early 1950's guitarists were developing strong opinions about their gear. Originally Posted by El Fundo
And great as he was, Charlie Christian is not the standard for jazz guitar today. A great player, to be sure, but I feel no need to confine my choices to what was available to him. Farlow, Hall, Kessel, Johnny Smith... they were inveterate tinkerers with their guitars and very insistent on the specific tone they wanted.
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All this reminds me of when I was playing with a band called Cafe Noir all throughout the 90s. We recorded our third album at a studio called The Fire Station in San Marcos, Texas, which is about 30 miles south of Austin. The engineer on staff there had been Willie Nelson’s engineer—live and studio—for several years and he had many stories about some of the big names that had recorded at the Fire Station. One of those big names was Eric Johnson, who spent an entire day of paid studio time sending someone out to hardware stores in order to get different screws, made from different metals, for one of his pedals since he was convinced that that was the reason he was unable to get the tone he was after. This obsession took up the entire day and not a single note was recorded. He never did find the right screws and was very depressed about it.
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Great! Thank you!!! Originally Posted by lawson-stone
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If the issue is maximum excursion of the string, then the ideal place to pick and sense (with the pickup) a fretted note would be halfway from the fret to the bridge. And, for the occasional series of tied whole notes, you might actually be able to move your right hand around and pick in the idea spot for each note. Originally Posted by christianm77
But, if you're playing all over the neck (and not just cowboy chords) then wouldn't you expect the guitar to sound best with the pickup further towards the bridge, on average? Meaning, if you figure your "average" note is, say, around the 6th fret, why wouldn't you want the pickup halfway between the 6th fret and the bridge -- to make the largest number of notes sound as good as possible?
And yet, if memory serves, my old monkey on a stick D'Armond sounded best the further you pushed it towards the fingerboard.
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Any luthiers on the forum? Originally Posted by rpjazzguitar
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IME, the further from the bridge the better, for a rounder tone. I'm not sure I can explain the physics, but that's the way ti seems to me. Picking near the fretted end is brighter than the exact center, but not as bright as near the bridge.
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This image from wikipedia can give you an idea of the physics. It shows the amplitude of the first several harmonics of a string. Originally Posted by sgosnell
Let’s say the fretted end is on the left and the bridge on the right. All the harmonics drop to zero at the bridge for obvious reasons. But as the pickup moves slightly left from the bridge the amplitudes of the upper harmonics rise more quickly than that of the lower harmonics. That’s why a pickup placed near the bridge sounds bright. It is picking up more of the upper harmonics.
As the pickup moves a bit further left, you’ll see that amplitudes of the the lower harmonics continue to increase, but the upper harmonics begin to go through peaks and nulls.
As the pickup moves closer to the center of vibration, the fundamental becomes more prominent, followed by the first harmonic (the octave).
Note that while the pickup locations are fixed on the guitar the locations of all those peaks and nulls move around as you fret the instrument, which means as you play different notes the pickup locations would appear to move around when drawn on this chart.
As you fret notes up the fretboard the neck pickup gets closer to the peak of the fundamental, finally reaching the peak when you’re around the 9th fret. As you fret beyond that, the neck pickup is now moving leftward from the peak of the fundamental. When you finally reach the very top frets the neck pickup will now be very close to the left end of this chart, so the upper harmonics should become much more prominent,
I hope this explanation makes sense. I think it would be easier to explain with an animated chart. Comments are welcome.
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I dunno .. My sister in law and her husband do have 3 of them in their house, two of which are Steinways. It was quite the circus to get a Steinway installed on the first floor. We guitar players do have it easy Originally Posted by El Fundo
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Yes, but by comparison 3 still falls short of the number of guitars many of us have. I’ve really cut my collection down to 6: ES-275, Godin Montreal Premier, Strat, Tele, Martin acoustic, and a Carrington custom-made classical. I also have a P bass and a banjo. When I tell non-guitar players “I only have 6 guitars!” I get some pretty interesting responses. I do feel sorry for piano players not being able to carry their “axes” around with them though, and instead have to use digital keyboards. Originally Posted by Lobomov
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You asked about grand pianos .. I'm guessing they have 4-5 of the smaller upright pianos (or whatever are called in English) littered around the house Originally Posted by El Fundo
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Wow! I stand corrected then. They have the same affliction as ours! Originally Posted by Lobomov
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Upon reflection I do regret that I've sounded so adversarial in my replies to you. While we do have differing perspectives on questions and different views of the history of the instrument etc. I do regret my tone in a couple of my replies to you. I have appreciated most of your posts and usually people I don't agree with turn out to be some of the most profitable associations precisely for that reason. Originally Posted by El Fundo
To the extent that it rests with me, our future interactions will be more positive.
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16" 1920s/30s L5
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