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its curtains for Kevin posted:Mind you, you can spend literally the first year alone just learning about and becoming familiar with intervals, how to give labels to sounds that your ear is already used to hearing and you just don't know what they're called, understanding the order of the notes and how these shapes are put together. Google chord progressions for songs you like and then sit down and figure out how to play them. Agreed. I spent a lot of time harping on about learning intervals and stuff, but at the end of the day a good portion of your practice time should be spent just playing things and learning things that you like or interest you. Like I said originally, don't get too bogged down with theory, learn it as a tool to help, don't obsess over it. Edit: I harped on a bit much, but yeah I'd like to agree with the general consensus. Try something new, maybe a genre you aren't keen on and just see what they're doing. Don't worry about feeling like you aren't progressing, it takes a long time. It took me ages to play even simple four chord songs and much longer than that to get "comfortable" with the idea of doing lead work. It's self-harming to be like "oh well I've played for X days/weeks/months/years, why can't I do Y?" You'll just feel lovely and not want to play when that's exactly what would help. It's self fulfilling. I know it's really easy to get into that mind set. I've been playing for almost six years (jesus christ) and compare myself to other players sometimes and lament that I'm not playing as fast or technical or whatever. You gotta take a break and come back with fire. Or something. Point is, don't compare yourself to other players or worse, a line you've drawn in your head. If it takes you longer to get a strum pattern or whatever down that's cool. It's not a race and there's no finish line. Even guitar gods are always learning. Paul Gilbert just got into the blues after years of shreddy metal and rock. So yeah, try not to set a bar that you need to pass because I can guarantee that your brain will always set it out of reach. Instead make little goals. And if you're in a rut change it up. Hey, I'll take a break from chord changes and maybe noodle a bit to a backing track (which you should do anyway cause it's fun as gently caress and helps build timing and rhythm). Keep it interesting but don't be hard if you aren't great straight away. syntaxfunction fucked around with this message at 01:12 on Mar 19, 2018 |
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Mar 19, 2018 00:58
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Mak0rz: When I get burned out on guitar I find spending some time doing something else music related such as playing bass, working on drum programming or synthesis can help keep things fresh and regain perspective. Sometimes an idea I've written using some dumb synth patch will translate well to guitar. Other than maybe owning a bass there is little/zero financial outlay to at least trying the others between Reaper's generous trial and the multitude of decent free vsts out there. The other thing I would suggest would be an alternate tuning such as drop D. The different interval between the lowest and next lowest string means you can play power chords (and weird extended chords) with only a finger or two, it's a boon for self esteem. I second breadth of knowledge: never tried tapping? Harmonics? Pinch harmonics? Hammer ons and pulloffs? Give them a go. When it comes to learning songs don't be afraid of just learning the root notes and powerchording it (especially if you like Sabbath). Personally I get more satisfaction out of playing along to something with 'real' chords by cheating it with power chords and nailing the timing than trying to play real chords and fumbling through. I don't know if this is a controversial opinion or not, and the endgame of guitar is to have both hands perfectly in sync, but once I had spent some time focusing on strumming fast and in time then left hand stuff has followed on easier. If you like Sabbath then Paranoid is a really good place to start learning, as is the main riff from Iron Man. As you learn the main riffs from songs you like the rest will follow. I'm the first to admit that I should be far better than I am, but on the rare occasions I do play with others the general consensus is I have a unique style- it's actually derivative as hell but (cliche time) not pigeonholing yourself is important, if you say 'I'm a blues rock guitarist' then that is putting certain expectations on yourself, both from you and others. I certainly rate Ben Eller (especially his This Is Why You Suck series) as one of the best YouTube tutors. Being told what not to do is just as important as being told what to do, bad habits are hard to break and 17 years on I still find myself holding picks in a limiting way, fingering inefficiently  or muting sloppily cos I lean on a noise gate. You will get there, if its a bad day its a bad day, hard though it is, accept it and move on.Do you have any pedals or anything? Not necessarily suggesting going down the tonez rabbit hole but something like a delay can spark new ideas too. NonzeroCircle fucked around with this message at 01:08 on Mar 19, 2018 |
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Mar 19, 2018 01:00
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Anime Reference posted:I was revisiting the "search Reverb for your birth year" game we were playing a few months back and stumbled on the Gibson Sonex, a prime example of Norlin-era Gibson's unsuccessful attempts to expand their line. I'm weirdly intrigued; I kinda dig the janky late-70s look and since nobody likes them a decent example is actually affordable. Anybody ever played one? What the gently caress is “resinwood”? They say it has a mahogany core which doesn’t seem to make sense since anything encased in resin isn’t going to matter. They could cover poo poo with resin and it’d sound the same as mahogany. Is it really just a name for a smaller piece of wood covered in normal resin or is there something else going on?
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Mar 19, 2018 02:41
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Must've been an early experiment with tone glue.
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Mar 19, 2018 02:50
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rio posted:What the gently caress is “resinwood”? They say it has a mahogany core which doesn’t seem to make sense since anything encased in resin isn’t going to matter. They could cover poo poo with resin and it’d sound the same as mahogany. Is it really just a name for a smaller piece of wood covered in normal resin or is there something else going on? You've got it, basically. The wood is there to act as an anchor point for the bolt-on neck and the resin allowed them to make quick, cheap, and durable finishes on what was then a student guitar.
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Mar 19, 2018 03:18
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Southern Heel posted:What kind of overdrive works with a Marshall? I feel like I should know this by now. I have a klon-style pedal and it's ok, but thinking I'd like to investigate. My favourite sound is with the Klon gain/tone down and level up. metal zone
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Mar 19, 2018 04:03
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Speaking of birth-year Reverb: If you like your Kessel, that would be a sweet little player. Look at the insane placement of those humbuckers. Of course, I'd need A$10k to buy the drat thing but that's not the point. I wonder how many Kessel axes are out there.
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Mar 19, 2018 04:13
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If your hands start to ache after playing for a while, you probably have bad general posture and/or you're too tense. Especially if your strumming arm is aching, that should be moving up and down real casual-like. Try an exercise where you strum some chords or pick a pattern at a comfortable speed, and then make a point of loosening up and doing it as lazily as possible, using the minimum force. With picking especially you can really brush the strings and still get a strong sound, you don't need to dig in - that just makes it hard work. That's how I got into jazz 3 picks, I didn't like them but I used them for practice because you could be incredibly precise, just using the point of the pick (now I use them all the time of course) But yeah look up some posture videos, especially for your fretting arm/wrist. Stand up with a strap if you have to, don't sit in a bad chair
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Mar 19, 2018 04:14
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syntaxfunction posted:I personally found it detrimental to think of the box shapes for pentatonics for example, because I had to memorise a shape instead of actually knowing what I was playing. I think the mentality of rote memorisation of shapes and stuff is detrimental to a developing player, but I may be alone in that. I'm not sure if there's an expectation that someone should know a bit of music before picking up a guitar or if you are assuming way too much about how much music I actually know here because, while I know what intervals and scales are conceptually, everything quoted above might as well be gibberish. I guess my first step is learning some terminology?  syntaxfunction posted:Okay so that's a lot of fluff but my advice is to learn the following (in kinda order): This is info I can use though. Thanks! its curtains for Kevin posted:Learn how to play new music that you don't normally listen to. Explore flamenco guitar techniques, drop tunings, weird time signatures, exotic scales, and then try your hand at getting a really good handle on the forms of the 12 bar blues and rhythm changes. Fair. I'm mostly concerned about when it's appropriate to do these things, though. I wouldn't ski down a double black diamond slope if I'm still getting used to the bunny hill. You know what I mean? Of course I know that trying difficult things on a guitar isn't going to shatter my pelvis if I gently caress up, but is there a chance of developing bad habits if I try these things without having a good grasp on the basics first? its curtains for Kevin posted:Do you know the intervals for your major and minor 3rds? What about where your perfect 5th is? Can you go down in pitch as well as up when navigating by interval? I'm going to be honest with you: I don't know what most of this even means. I guess I'll have to start there. The Justin Guitar course goes over stuff like the note circle and pentatonic scale, but it's fairly late in the program so I just assumed it's something I should be learning later? I don't know. If it's not already obvious I'm extremely naive about all of this. its curtains for Kevin posted:What you SHOULDN'T do is focus on music that 'you like' and refuse to try to learn about other things. Transitioning from someone who has never played to a guitarist is a long, difficult road, and transitioning from a guitarist to a musician is 5 times that endeavor. Don't feel rushed, and listen to music. If you hear something that you like, discover why it is pleasing and how you can recreate it. I don't know if I'll ever "refuse" to play things I don't like, but right now trying to play the kinds of things I like is about the only thing keeping me motivated to learn.  NonzeroCircle posted:When I get burned out on guitar I find spending some time doing something else music related such as playing bass, working on drum programming or synthesis can help keep things fresh and regain perspective. Sometimes an idea I've written using some dumb synth patch will translate well to guitar. Other than maybe owning a bass there is little/zero financial outlay to at least trying the others between Reaper's generous trial and the multitude of decent free vsts out there. I don't write music and I can't play any other instruments. Hell, I don't even own a guitar. I'm just renting this one. NonzeroCircle posted:I second breadth of knowledge: never tried tapping? Harmonics? Pinch harmonics? Hammer ons and pulloffs? Give them a go. I guess I could try them. Would you recommend someone try stuff like pinch harmonics and pull-offs if they can hardly get basic chord transitions down, though?  NonzeroCircle posted:(power chord stuff) This seems like useful information though. Thanks! NonzeroCircle posted:Do you have any pedals or anything? Not necessarily suggesting going down the tonez rabbit hole but something like a delay can spark new ideas too. Nah, I just have an acoustic right now. Edit: baka kaba posted:If your hands start to ache after playing for a while, you probably have bad general posture and/or you're too tense. Especially if your strumming arm is aching, that should be moving up and down real casual-like. Yeah, I think what's causing the biggest problem with my strumming arm is that I have to go slowly right now if I want to stay in time. I always feel the urge to go faster so I have to control it as it goes down, rather than just letting it fall or whatever. As for the fretting hand, I have no idea what's happening there because I seem to be doing it correctly. Maybe it's because I tend to press a little harder than I need to? I don't know. I guess I should invest in a strap. It's certainly cheaper and takes up less space than a new chair
Mak0rz fucked around with this message at 04:48 on Mar 19, 2018 |
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Mar 19, 2018 04:40
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The point really isn't so much to want to include all that in your playing, just to try out different ways that people have made music on the instrument; something might grip you.
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Mar 19, 2018 05:28
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Mak0rz posted:
I'm not really talking about speed, although that'll probably settle down too if you take it easy. I mean that you can be really gentle with the instrument, press lighter and strum softer, and pick with less force and just with the point of the pick, so it doesn't go in deep or move all the way to the next string You can be really economical with your pressure and movements, like you're doing the minimum possible to still get a decent sound. If you focus on it you can get really zen about it. And doing that, you'll relax and be aware of how you're playing way harder than necessary normally If you can keep that in mind, just an awareness of how little you actually need to do, you'll generally be less tense and play better all round - more control, more speed, better timing and dynamics
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Mar 19, 2018 06:35
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Oh also everyone learn to do a rasgueado. You can practice at work by flicking your leg, and it lets you do really fast strumming (any kind of pattern really) with hardly any movement. It's neat!
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Mar 19, 2018 06:40
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ewe2 posted:Speaking of birth-year Reverb: I’d love a Barney Kessel - they’re great guitars. Prefer one without a Bigsby but of course I wouldn’t turn that down. There are more out there than you would think but there are two models (you can tell the difference by the inlays to see which is which) and one is more rare than the other. Also a lot of them have been parted out unfortunately.
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Mar 19, 2018 10:35
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rio posted:I’d love a Barney Kessel - they’re great guitars. Prefer one without a Bigsby but of course I wouldn’t turn that down. There are more out there than you would think but there are two models (you can tell the difference by the inlays to see which is which) and one is more rare than the other. Also a lot of them have been parted out unfortunately. Yeah, the rise of the Burst has been vicious on the vintage Gibson market. An ES175 in good condition has nearly all of the parts required for a Burst repro, and there's definitely more 59s floating around now than strictly should have survived in good condition over the years...
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Mar 19, 2018 12:56
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Woo! Just got tickets to see G3 (Satriani, Petrucci, Uli Jon Roth) this coming weekend. Had just about forgotten about it, but they had a handful of seats left. Been a fan of Satch since the 80s so this is huge.
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Mar 19, 2018 18:00
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Clayton Bigsby posted:Woo! Just got tickets to see G3 (Satriani, Petrucci, Uli Jon Roth) this coming weekend. Had just about forgotten about it, but they had a handful of seats left. Been a fan of Satch since the 80s so this is huge. https://www.youtube.com/watch?v=eLoWPGPxaGo
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Mar 19, 2018 18:56
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Watched that one more than a few times. :-) (Along with Yngwie's Leningrad 1989...)
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Mar 19, 2018 19:11
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rio posted:I’d love a Barney Kessel - they’re great guitars. Prefer one without a Bigsby but of course I wouldn’t turn that down. There are more out there than you would think but there are two models (you can tell the difference by the inlays to see which is which) and one is more rare than the other. Also a lot of them have been parted out unfortunately. darkwasthenight posted:Yeah, the rise of the Burst has been vicious on the vintage Gibson market. An ES175 in good condition has nearly all of the parts required for a Burst repro, and there's definitely more 59s floating around now than strictly should have survived in good condition over the years... Ah, shades of the "genuine" late 50's-early 60's Strat. That's terrible. I think the fakes that most weird me out are the Epi fakes, at which I am a loss to understand the attraction for. They're the laziest fakes too, using the same serial number.
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Mar 20, 2018 07:17
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So I have a more philosophical question regarding music. I'm sure I've asked it before but I'd like to ask again cause I forget. I'm in the process of writing an album. Right now I'm sitting at 14 tracks, with another four or so on the burner. The album is going to be all me and self produced and stuff. Main goal is to attract people to play with. Anyway, I'm obviously not going to put like twenty tracks on an album. I was thinking of recording and mixing all of them to my best ability and then doing a serious listen and cull on a bunch of them, leaving only the best ones. My question is what other's approaches are. Do you do the same, or do you write just enough to make a release? Also do you so writing while recording final tracks (in a studio for instance) or is it all written and you just perform to your best? Seriously interested to see how people go about this.
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Mar 21, 2018 01:12
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What is everyone's go to place to buy replacement tubes? My Peavey Classic 30 is humming, and it was suggested that the most likely reason is old tubes. I am in the US. Also, I think I need to clean the pots because they are pretty scratchy too. Any products people like to use for that? I have heard just standard contact cleaner works, but not so sure about how to get it in there.
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Mar 21, 2018 01:14
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Any good amps out there for under $300? Under $200? I had a Yamaha THR5 and enjoyed it, but wanted something a little louder and with better FX. I tried the Boss Katana and was a little let down, it just didn't seem quite right to me. I see the Fender Champion but haven't been able to track one down yet.
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Mar 21, 2018 01:15
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syntaxfunction posted:So I have a more philosophical question regarding music. I'm sure I've asked it before but I'd like to ask again cause I forget. I find that songs either pair well together or that I specifically write them to be connected. If one doesn’t fit a theme or connect somehow then I won’t record it and save it for live. With jazz that is more abstract but still true and for songwriting stuff it is all basically a musical diary so that fits together easily as well, so I don’t have a lot of deciding to do but that does sum up how I feel about it and also what I prefer to hear when listening to records too. Of course if the music is good then it isn’t a huge deal if the songs all connect in some way so it isn’t a dealbreaker. If you are making it as a playing demo then that is a little different and I would choose what highlights your strengths. Also remember that in those situations it is common for people not to listen to more than a little bit of the album or each song. You know the deal about why people choose certain songs to open an album with, what the 3rd song should be, what the song 3/4 of the way through is and what the closer is? That is kind of a holdover from people having to very quickly catch a record exec’s ear but you still hear that on a lot of albums because it does make the flow of an album good. One danger is to put the strongest stuff up front and the weaker stuff at the end because if they do happen to listen all the way through then they’ll be left with a lackluster impression. You can look up some of your favorite albums or classics that most people like and model yours after them and get a good flow like that too.
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Mar 21, 2018 01:32
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syntaxfunction posted:So I have a more philosophical question regarding music. I'm sure I've asked it before but I'd like to ask again cause I forget. So many bands only write as many as they need for a record, but personally I find you should try to get as many as possible and then whittle them down later. Writing lots of songs is how you improve, after all! Linkin Park used to write about 150 songs per record - now probably 130 of them were terrible and never got past the demo phase, but that's a lot of raw material to work with and break down for parts. Oasis had three records ready before they even got signed so didn't have to scramble for material to follow up their debut. In terms of recording, then unless you have a home studio or a huge amount of financial backing then really you should have all the arrangements written and preferably recorded to demo standard before you even go in. Sometimes we might get inspired by a certain sound and come up with something wild in the middle of a session that ends up changing the song entirely, but in my experience most producers aren't actually fans of listening to bands fart around with half-written arrangements while on the clock. They're still getting paid but it's boring as hell. I always admired the Minutemen, who used to not only have all their arrangements written and nailed down but then recorded them in the track order they'd be on the record so they didn't have to pay for tape editing...
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Mar 21, 2018 01:37
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Gripen5 posted:What is everyone's go to place to buy replacement tubes? My Peavey Classic 30 is humming, and it was suggested that the most likely reason is old tubes. I am in the US. Also, I think I need to clean the pots because they are pretty scratchy too. Any products people like to use for that? I have heard just standard contact cleaner works, but not so sure about how to get it in there. I liked amplified parts/antique radio supply/whatever other names they got when I dealt with them for random old NOS things, but really for new tubes just buy JJ tubes. They have pretty solid quality control (haven't had a random buzzy tube with their branding yet) and they aren't crazy expensive.
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Mar 21, 2018 01:42
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nitsuga posted:Any good amps out there for under $300? Under $200? I had a Yamaha THR5 and enjoyed it, but wanted something a little louder and with better FX. I tried the Boss Katana and was a little let down, it just didn't seem quite right to me. I see the Fender Champion but haven't been able to track one down yet. I've heard very good things about the Fender Mustang III V.2. Never owned one, but I have played them in music stores and they seem like a really nice amp. You can get them used for under $300. The V.1 had some fizz issues that may or may not have been fixed via a firmware update. I have heard VERY mixed reviews of the Mustang GT. Some people think its the greatest thing ever, especially the Fender cleans, while others thing it sounds horrible under any conditions. Some have speculated that the speakers are out of phase, thus making it sound whimpy. Which in theory would only affect the amps with 2 speakers, which is the 40 and 200. The 100 is a 1x12. I never got around to testing it out myself, and its possible they fixed it with some firmware updates. The Marshall Code series has similar mixed reviews. But as expected, it does Marshall sims well, but not Fender cleans. I think Yamaha makes a larger TH series amp as well. But I have never touched any of the Yamaha stuff. I think those are the Boss Katana's main 3ish competitors. All have good value if you like them. So go to your store of choice and try them out.
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Mar 21, 2018 01:50
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Gripen5 posted:What is everyone's go to place to buy replacement tubes? My Peavey Classic 30 is humming, and it was suggested that the most likely reason is old tubes. I am in the US. Also, I think I need to clean the pots because they are pretty scratchy too. Any products people like to use for that? I have heard just standard contact cleaner works, but not so sure about how to get it in there. i've been buying from eurotubes for close to 20 years now. i'm sure there's cheaper places but whatever i'm stuck in my ways as for cleaning pots, there's usually an open spot on the casing that you can spray into, but if not just aim for the gap in between the casing and where the lugs connect
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Mar 21, 2018 02:43
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The Muppets On PCP posted:i've been buying from eurotubes for close to 20 years now. i'm sure there's cheaper places but whatever i'm stuck in my ways I ended up just getting it from Amazon. None of the tube specialty places seem to also sell contact cleaner. And didn't want to pay for shipping twice. Plus Amazon said they would get me the tubes next day as part of prime. So I will have it tonight. They are supposed to be a matched quad set of JJ's. I will let you know if it doesn't work out as advertised.
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Mar 21, 2018 17:19
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Thoughts on the current Chapman guitar line? Now that they’re easily available in the US I wouldn’t mind checking them out. I’ve been gasing for a new guitar. Likely an Ibanez but hey options are always fun.
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Mar 21, 2018 20:41
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Kilometers Davis posted:Thoughts on the current Chapman guitar line? Now that they’re easily available in the US I wouldn’t mind checking them out. I’ve been gasing for a new guitar. Likely an Ibanez but hey options are always fun. I gather they are pretty decent guitars for the money (if you stick to the more affordable ones), but so are so many others in that price range. Wish they'd do something more than a Tele clone, a Strat clone, an LP clone, a Flying V clone, and an Explorer clone. If you're looking at the Pro series, I think I'd look long and hard at the PRS SE guitars as well. They are in the same ballpark price wise and are really drat nice. Schecter also makes some drat fine guitars worth considering.
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Mar 21, 2018 21:42
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Clayton Bigsby posted:If you're looking at the Pro series, I think I'd look long and hard at the PRS SE guitars as well. They are in the same ballpark price wise and are really drat nice. Schecter also makes some drat fine guitars worth considering. they're all made in the same factory 
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Mar 21, 2018 23:45
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Clayton Bigsby posted:I gather they are pretty decent guitars for the money (if you stick to the more affordable ones), but so are so many others in that price range. Wish they'd do something more than a Tele clone, a Strat clone, an LP clone, a Flying V clone, and an Explorer clone. Cool cool, I was thinking 1k and under but I haven’t even looked at what they have at the different pricing tiers. Time to jump on the guitar center site. The Muppets On PCP posted:they're all made in the same factory True but that doesn’t mean they have the same general standards. There can be a lot of varied qc and quality of parts in my experience/my understanding of how that all works.
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Mar 21, 2018 23:48
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Kilometers Davis posted:Thoughts on the current Chapman guitar line? Now that they’re easily available in the US I wouldn’t mind checking them out. I’ve been gasing for a new guitar. Likely an Ibanez but hey options are always fun. I really like the look and features of Rabea's signature model. The rest aren't doing much for me, but only because they feel too similar to other things I have, I'd definitely take a look at them if I needed another HH shredder. Although they don't seem to offer the one thing I'm actually looking for, an HH shredder with a Floyd.
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Mar 22, 2018 01:00
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Having trouble practicing as much as I'd like. Work and life are both slightly falling apart so it's been more like 3 days per week instead of every day. I guess that'll have to be good enough for the next few weeks!
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Mar 22, 2018 01:39
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Kilometers Davis posted:True but that doesn’t mean they have the same general standards. There can be a lot of varied qc and quality of parts in my experience/my understanding of how that all works. that's technically true (the best kind) but the stuff around the same price point like the chapman pro/prs se/korean schecters are gonna be fairly comparable
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Mar 22, 2018 02:35
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Clayton Bigsby posted:Wish they'd do something more than a Tele clone, a Strat clone, an LP clone, a Flying V clone, and an Explorer clone. Amen. They seem like solid guitars, but my god they're boring with their lineup. Not a single original design and that's honestly a good sign to me. Why would I get a Chapman Strat of the hundred other Strats/Superstrats? I guess if I really like the colour... Even companies like ESP/LTD who do a bunch of clones still have original designs or twists. Even if an original design fails at least they're trying something new. I guess it's the idea that guitarists don't want new things. Looking at the Andertons videos (which I do watch and find alright, not great) they tend to fawn over traditional stuff "BUT MODERN" and sort of gloss over anything actually different.
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Mar 22, 2018 02:43
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I think the whole aim of Chapman guitars is too be pretty vanilla mod/customisation platforms, they seem good for the price! The tele body especially has a bunch of obvious QOL stuff fender refuses to add.
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Mar 22, 2018 04:16
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syntaxfunction posted:I guess it's the idea that guitarists don't want new things. Looking at the Andertons videos (which I do watch and find alright, not great) they tend to fawn over traditional stuff "BUT MODERN" and sort of gloss over anything actually different. tbf i don't think either rob or lee believe any music was made after about 1988
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Mar 22, 2018 05:19
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The Muppets On PCP posted:tbf i don't think either rob or lee believe any music was made after about 1988 Not true. It's just that all music since than has been made by John Mayer. Everyone on the Anderton's channel has a huge crush on him.
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Mar 22, 2018 06:40
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The Muppets On PCP posted:tbf i don't think either rob or lee believe any music was made after about 1988 Guitar-based music definitely had a hey-day in the 70's and 80's. Andertons is very guitar forward. The presenters of their YT channel are men in their 40's who grey up in that period. What did you expect? ps. 1987-88 is objectively the best 2 year period for guitar based rock/metal IMO. Mak0rz posted:Words AF Addressing some specific points: - I thought (and think) that acoustic guitar is Bad^tm and only ever 'got' guitar when I grabbed a cheap Epiphone SG and a practise amp. - That said, play what you want to play - don't spend hours learning jazz chord shapes and open chords if you want to rock out to Offspring or Metallica, and don't spend loads of time learning Pentatonic shapes when all you want to do is strum cowboy chords on the back porch. (you will end up learning all of this stuff eventually). - Strumming on an acoustic is awkward as gently caress because you need to give it a little bit of welly and that makes a big sound and if you're not confident, consistent, fingering the frets properly it sounds like hot dogshit.
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Mar 22, 2018 11:40
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I think this may be dream rig complete: (haha who am I kidding)
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Mar 22, 2018 12:31
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