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Post by cynical1 on May 12, 2010 8:13:03 GMT -5
I'm with SG...the invocation of the word "physics" in a diatribe invites...no...under the motto of "Ego imbibo, ego imbibo nimium, ego occasum"...it demands investigation. Using the ever handy McDonald Patent Universal String Tension Calculator I came up with the following, based on standard tunings on a 25.5" scale guitar: Medium Set:String OneNote: E Gauge: .013 Plain String tension: 26.58 lbString TwoNote: B Gauge: .017 Plain String tension: 26.18 lb String ThreeNote: G Gauge: .022 Wound String tension: 31.86 lbString FourNote: D Gauge: .032 Wound String tension: 30.03 lbString FiveNote: A Gauge: .044 Wound String tension: 31.88 lbString SixNote: E Gauge: .056 Wound String tension: 29.66 lb Total Tension: 176.19 lbLight Set:String OneNote: E Gauge: .010 Plain String tension: 16.37 lbString TwoNote: B Gauge: .014 Plain String tension: 17.69 lb String ThreeNote: G Gauge: .020 Wound String tension: 24.62 lbString FourNote: D Gauge: .028 Wound String tension: 24.18 lbString FiveNote: A Gauge: .040 Wound String tension: 26.2 lbString SixNote: E Gauge: .050 Wound String tension: 23.52 lb Total Tension: 132.58 lbUltra-Light Set:String OneNote: E Gauge: .008 Plain String tension: 10.23 lbString TwoNote: B Gauge: .012 Plain String tension: 13.09 lb String ThreeNote: G Gauge: .016 Plain String tension: 14.76 lbString FourNote: D Gauge: .020 Wound String tension: 13.79 lbString FiveNote: A Gauge: .030 Wound String tension: 14.81 lbString SixNote: E Gauge: .040 Wound String tension: 14.7 lb Total Tension: 81.38 lbSo, it would appear that the string tension across 6 strings is not linear, as floated earlier, but more sawtooth. How does this help you in setting up your whammy bar? Beats me...I'm a bass player...never used one... I just toss this out for reference. Happy Trails Cynical One
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Post by ashcatlt on May 12, 2010 11:36:35 GMT -5
I picked this song for the lyrics, but it also happens that this guy does a whole lot of what the OP was asking about.
Unfortunately, I can't get it to start at a specific time here when embedded, but the story at the beginning is vaguely interesting. Skip to 1:10 for music.
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Post by 4real on Jun 2, 2010 23:06:01 GMT -5
More subtle vibrato use is the way to go for sure...dive bombing and horse winnying is so "80's"...that's 30 years back now!!! My whammi of choice these days is the Kahler...but if you set up a typical fender strat right you can get a great reliable and versatile and tune freindly response. I saw a vid from Carl V the other day, and he sets his strats up so that the G string goes up 3 frets, the b strings 2 frets and the high e 1 fret when pulled UP to the board. This kind of thing is 'floating" and you could check out Jeff Beck for a masterful way he uses a standard trem with this kind of floating feel and capability. EVH had his locking FR systems so that there was no up capability and many find this much better and easier to use, also no detuning of other strings when bending...there are lots of ways to set things up. I've been a big fan of the more subtle "bigsby" kind of sound even though my Kahlers are completely floating systems and can go to slack (till the strings stick to the pickups or fall off) and up until they break. They also feature on the newer Hybrid versions, the ability to completely lock the things to fixed. ... So...Jeff Beck is a master, Hank Marvin and the shadows made a complete sound of this feature of the strat and influenced generations...johnny A you might like for some very subtle bigsby shimmer...there are so many... I should say that it is well worth using an echo while doing the whammi thing...take the cue from Hank...basically, what you can get is a slight pitch bend with the vibrato and along with the echo you get an instant manual "chorus" effect that really gets that "shimmery" sound...doesn't have to be much, reverb is ok too... This is important to the "surf sound"...the Shadows with Hank Marvin was not really a 'surf band' btw...not a great 'fan' of the ventures though they were very influential...but there are and still are some fabulous and innovative bands and players and techniques from that era. You might want to check out some of the new wave of surf bands like 'slacktone' and such or the older guys like 'the atlantics' and check the subtle differences and surf cliches in relation to using the 'bar'... Check also for videos on things like 'bigsby' tremolos...these are for the retro crowd and they are cool looking though not as reliable as more modern or better designs (IMHO) like the fender pivot. They are far more subtle actions and feels and are designed really only for a subtle effect or 'shimmer' to chords and such. ... But, a lot of this really comes down to listening to music and playing with the thing...not sure why everyone seems to block the things up ... it actually takes quite a bit of practice to get the thing right, but it can be a very expressive device. I really don't buy the digital synth bending and sampled whammy things...they are a great effect in of themselves, but they are and sound completely different form the organic sound of the real things...there are certainly some amazing things (at great cost and dedicated instruments) but it will never sound like bending or tremoloing the actual tension of the strings physically. Part of the "sound" and the shimmer is precisely because of the different ways the strings detune... Not sure why people were listing string tensions...I know a lot of string sets put this stuff out...I think there are a list of tensions on the DGB Studio site as well, along with scale lengths and such which make a huge difference of course. Most tuning problems arise from the nut end, staggered tuners (you can stagger normal tuners with washers effectively) and string tree tension and of course the nut itself. Too many or few springs and the tension in the back...mostly bad stringing technique. My Tele with kahler and LSR with locking tuners stays in tune better than just about any guitar I have ever owned, even with extreme bending, but the cost of this kind of thing is a lot...but you can get great results from most strats.
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frobro808
Meter Reader 1st Class
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Post by frobro808 on Dec 15, 2010 22:29:18 GMT -5
brian setzer of the stray cats and jim heath of reverend horton heat use bigsbys but use it nicely i think. 'i won't stand in your way' by stray cats has a cheesy 80's video but shows his solo and his use of the bar quite nicely!
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Post by BlackAngusYoung on Jan 2, 2011 9:08:38 GMT -5
the story at the beginning is vaguely interesting. Skip to 1:10 for music. Thanks... really enjoyed that. I don't know him but I know his name. It is kinda nice to know he didn't pick it.
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Post by Yew on Jan 4, 2011 7:34:54 GMT -5
Im an expert at whamying on my hardtail strat, just bend the neck a little ^^
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Post by asmith on Jan 6, 2011 8:59:46 GMT -5
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Post by ijustwannastrat on Jan 6, 2011 11:32:57 GMT -5
At 0:38 he uses my patented "hand sweat removal technique" ;D I still think that "Bad Horsie" is as relevant today as it was 20 years ago (NOT THAT.... ;D) All jokes aside, my uncle actually met him in an elevator, and got him to sign a copy of his GuitarOne (it was some ad with Vai in it). This uncle actually had a jungle print JEM, but sold it because of the whammy. Vai told him they were pretty damn rare, and facepalmed. Back to topic, I can't imagine ever wanting to actually do divebombs or any insane vibrato with those danged things. I'm with Yew, I prefer to push the back of the neck, and return to ALMOST PERFECT pitch. At least, perfecter than I ever have with a trem.
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Post by 4real on Jan 6, 2011 21:12:03 GMT -5
I'm not getting the hardtail bias thing...
I used to bend the head of my LP in the old days (very risky) after seeing the clip of Joan Jet's 'I love rock and roll'...but it's hardly the same thing. Met Tommy Emmanuel at a guitar clinic once as well who is a huge Shadows fan...he thought all that was done with neck bending and got kind of good at it too...
But really there are huge limitations to what you can do and the trem takes a lot to set up properly for what you use it for and adjustment and subtlety in technique...but there are a lot of rewards that can simply not be done on a hard tailed guitar no matter how good you are!
I just got a "brad Paisley" CD from the library "Play" which has some great moments...one of which is a 'surf' song called "Turf's up" played on a tele and baritone and features some surf moves using string bending and neck bends...but it's tough (surf doesn't necessarily mean easy)...impressive, but...still can do more with the trem...
I've used a few trems now though most of my band playing days were all on the old hard tailed LP. My first guitar was a white SG with a bigsby...almost impossible to keep in tune, bend notes against each other and such...has some benefits, but mainly it's the retro cool look of the things.
Most familiar with strat trems and these can be fiddled around with to make them perfectly serviceable and reliable, even with a cheap trad version...there are a heap of things you can do from how you tie the strings on (to lock them) to the tuners, spring tension, down only (EVH style) rocking string trees with just enough tension to stop vibration, staggering standard tuners with plumbing washers behind...all kinds of 'tricks'...
I've never taken with the whole floyd thing, don't like locking nuts or having all those tools required...and I don't do that kind of hair metal bombs and such anyway...perhaps there is a need for them...don't get along with them.
In recent times I've gone the Kahler way and say on my tele, with locking staggered tuners, LSR nut, etc...the tuning stability is amazingly good...these also have some of the feel and benefits of the bigsby (the strings don't lift as on a fulcrum type), smooth feel and you can damp the bridge without any risk of messing with the trem...plus the whole range if not more of your average floyd...but then there is the expense...and that's one feel...
In recent weeks, I've had my strat back in a new form. This is a more modern two point strat trem, this is a bit of an improvement...but mine is set full floating and very high. Sure, damp behind the bridge and you will raise all the strings significantly...but why do that? Again, locking tuners and roller trees...but a pretty standard nut. It stays in tune remarkably well too. In this guitar It is set pretty stiff....and have been trying a tremsetter for the first time so I can have better luck with oblique bends.
But then my trem use is typically on the 'wistful' end of things. If you have a touch of delay or reverb you have a wonderful manual chorusing effect. You need to be able to drop a chord about a semitone for the 'surf dip' things and swoops...or those holdsworth scoops (he uses a very short cut down trem arm)...doing that with neck bending is pretty tricky though it can look cool.
Some restrictions are that for a lot of neck bending, you are going to find it difficult to be playing while exerting that much pressure on the neck...and to get the effect above the 12th fret, you will have to reach back with the picking hand to pull on it. With a really stiff necked guitar like my old ebony FB Lp...you have to bend the actual headstock to get the effect...not a good idea!
The trem is now indispensable to my 'sound' really...it's only a part but an important part of it and it's great learning all kinds of techniques that you simply can't do on a fixed bridge guitar.
Alternate tuning things is probably the biggest problem...but then I don't do that...or at least I could on a kahler by locking it i guess. EVH has a fair bit of pressure into the body meaning he can only bend down with it...this helps with oblique bends and bending in general and tuning stability, possibly 'tone' as well...and allows him to do something like dropped d (even use his d-tuna) if he chooses.
Each to their own of course, but I don't think that a decent trem should mean tuning problems with a good set up and technique...and it can be an important part of the 'strat' or other guitars 'sound' even if you do rarely use it.
I remember when I first got a hold on the things that I wasn't good at it...much like when you first learn to bend strings, always missing the pitch and such...you just got to put the time in to get it right...
The big downside is that if it does go out of tune, especially badly, it can take significantly longer to get it right, especially if the thing is fully floating...but I'm still prepared to put up with it and generally change one string at a time to keep the tension in the mechanism to make it easier.
But, why even by a Jem if you weren't into the Vai shtick...it's got a monkey grip for goodness sake and designed around the floyd? I recently showed my brother how to simply block the thing up like clapton as he hate the things...stick a bit of something in there and tighten the springs! Still, in the eighties we were all sucked into the whole 'sound effects' use of the trem from the shredding thing. That all got a bit tired quick, a bit of a novelty...but there are still a few of those guys that make decent use of it for their genre...Satriani does some interesting things...
And although I use it obviously though fairly subtley...i think...i do use a few 'sound effect' kind of gestures on occasion, especially prebending things and having the guitar spring back to perfect tune on a chord say. Page did this masterfully and extremely on the song 'in the evening' (as I recall) wanting the solo to sound like someone kicked in a door...and that's exactly the effect he got from it...after making an opening gesture like that in a solo, it doesn't matter quite what you play for the rest of it...LOL
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Post by cynical1 on Jan 6, 2011 22:50:08 GMT -5
And I thought so to. So is this. I'm not ashamed to admit I've been a fan of Steve Vai since he was with Zappa. I did drop off during the Alcatrazz and David Lee Roth days, but the guy has always been a rare talent, IMHO. Dizzy Dean once said "It ain’t bragging if you can do it." Zappa referred to him as "our little Italian virtuoso". Like him or not, he really is an amazing player. HTC1
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Post by 4real on Jan 7, 2011 23:16:57 GMT -5
C1...yeah MrV is amazing...I've seen him play a couple of times...not how I play but the dedication he's put into that ability is stunning. And he can do the most amazing things live...a real performer.
He's also pretty generous with his advice and isn't simply some 'natural' player, he's put the time in and worked effectively to do the things he does...it does come across as kind of 'stunt guitar' sometimes, but hey, he does it so I don't have to I guess!
I was very taken with his solo accompaniment on the grammy's on Nelly Futardo's 'I'm like a bird' you can find on you tube. You certainly know when you hear him, it's him.
But there are so many great guitar players about and you don't have to be as over the top as Vai to be regarded as 'good' even by Vai himself. There's only a few tracks of his that I'd really like to listen to (love 'sisters' for instance) but he certainly works hard and as I say, has put the hours in.
Personally for Trem bar stuff, Jeff Becks my main man...the thing is constantly in his hand and in use and done subtlety and expressively that gives his sound a real vocal quality that I love. Very much in the vein of Hank Marvin on steroids...not so much an 'effect' but an integral part of the 'sound'...
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Post by cynical1 on Jan 8, 2011 0:14:02 GMT -5
I agree that Jeff Beck is a one of a kind. I read somewhere in an interview a while back that whenever he sets out to do a new album he starts thinking about what rules of style and technique for playing the guitar that he can break next. Jeff seems to be another one that you either love or you hate. He can do something off the wall like this: ...or something beautiful and timeless like this, which was originally written for uillean pipes - ...but this, even though the quality is marginal, is my favorite clip - Click the link...it'll save you most of the sappy Billy Squier introductionThe last time I saw Jeff Beck was about 20 years ago at the Pavillion in Chicago. He was touring with Stevie Ray Vaughn. That was an amazing evening. You really have to see Beck live to appreciate him. Happy Trails Cynical One
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Post by 4real on Jan 8, 2011 1:36:08 GMT -5
There's so many great JB material...not sure that I'd pick those particular tracks (didn't like the Batten Lukether things of that era)... Guitar shop was a fantastic reinvention...not bad for dropping a car on your picking hand and having to reinvent the entire way of picking the guitar...inspired harmonics and melody playing entirely with the whammy bar on things like 'where were you'. Nadia from 'You had it coming' stopped me in my tracks the first time I heard it. But then, his new album is a bit of a dog...weird cause I saw him live last year and him and his band was cooking. You can see it well on the Live from Ronnie Scott's DVD well worth a look. Tal Wilderfeld is a fantastic young bass player and really reinvents some of the material like 'cause we've ended as lovers...brilliant...not bad for 21....he's not bad for 65+ and still got the same hair!!! I actually like it when he adds his guitar to other peoples work as well...usually female singers like Lauper, Bush, Stone....or like this idol performance with Kelly Clarkson... Hadn't seen that LP clip...thanks, appreciated...he does some good work with BB King I have here somewhere as well. This Jools Holland TV appearance of "Drown in my own tears' is great....really shows his style and constant use of the guitars controls and of course 'vocal' style of trem use without the need to do any real 'dive bombing'... He certainly knows how to get some unique sounds out of a guitar though and stamp his personal sound on things tastefully. But then, obviously I'm a fan...there are people who don't like JB? I use a lot of 'beckisms', but I've learned a lot from his approach other than the sound. I'm never going to be able to run around the way a Vai can, but a Beck will really get inside a melody and also be just as powerful with a dramatic gesture as shear speed...lot's to learn from the guy. That the guy is still innovating at his age and being on the cutting edge is amazing...he's playing better than ever. LesP also was the original Nutz with guitar mods and innovation not to mention the innovations he made to multitrack recording and...well everything...he's another guy that just kept improving and did his own thing till the day he died...you got to admire that...
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Post by asmith on Jan 8, 2011 10:47:47 GMT -5
Certainly is. Having said that, Steve Vai's way of 'approaching notes' has had a massive influence on how 'vocal' I seem to be able to play a melody. I've never jumped into a fascination with Jeff Beck myself - I've simply never searched out his stuff - but he seems to have a similar fashion. They're two players who understand fundamental differences between the myriad of ways to begin a note; bending in, pre-bending, sliding this way or that way. I'm not going to get too far into comparing two different guitarists, that's a minefield well-trodden. To stay on topic, I seem to have snatched from these guys the technique of using the whammy as a 'reverse bend,' more than anything else. Here's an example of what I mean, using PowerTab. I find it much more natural to play the first example. It's nothing to do with the sound, it's the position of my fingers - other times, something akin to the second example occurs. I remember asking my father once what exactly he was doing when he was driving, in terms of the pedals, gear shifts, double-de-clutch, all that jazz. "I don't know, I just do it." And we always got from A to B in exactly the way intended.
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Post by cynical1 on Jan 8, 2011 12:42:05 GMT -5
There's so many great JB material...not sure that I'd pick those particular tracks... Well, I played bass with the same guitarist off and on for over 15 years who was a Jeff Beck junkie...and What Mama Said was one I had the a lot of fun playing...maybe it's me... Plus it was the only one I got to do the vocals on...it was a great encore song and it was the last song I played in a live band...so I kind have an attachment to it. I liked that album. I always thought he could have used Bozzio a bit more on that album, but hey, I wasn't paying him.... But Jeff, as you say, is always re-inventing himself. To me, he's one of the few musicians that I look forward to his new stuff. And you're right, I could have picked different clips, but you could devote an entire thread to this guy and take quite a bit of time getting through it... Glad you liked the Les Paul clip. There's a series where Jeff plays the Iridium to honor Les. He plays all Les Paul tunes, but you know it's Jeff playing them. This is just one of them. Slightly off topic, as there's no whammy included...but thought I'd toss it out there. Happy Trails Cynical One
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Post by 4real on Jan 8, 2011 15:33:19 GMT -5
Interesting stuff...and not really 'off topic'...
JB and SV are just a couple of guitar players that use the trem arm extensively to get 'their sound', hank marvin made great use of the thing too...there is an unfortunate perception of the things as being 'flashy' or something or just for 'bombing' and such...and there are plenty of examples of the thing being used in bad taste I guess or dating the music...
Those 'rebends' are kind of important little touches. Often you see them notated as 'scoops' so that's what I call them. Holdworth has an interesting version of them...emulated well by short lived but great player, Alan Murphy best known for his work with 'go west' and kate bush.
I actually got on to some of these little details well before I had a whammy guitar...in fact I probably had a bit of an anti-whammy bias back a few decades.
I'm going through a mountain of instructional tapes at the moment and transferring to DVD as well as doing a bit more actual practicing and revisiting some of this stuff.
One big influence was Larry Carlton, not known for his whammy stuff, but he introduced actual pre-bending and used a bit on his Steely Dan era work. I used to practice bends so that they would be in pitch before playing them so they could be lowered to another note or just drop off. Or holding a bend and just at the end, let it down before cutting it off...just little touches, but these details seem to make a big difference to the character of ones playing.
Another really big influence was when I was at Uni studying Jazz. I came across a book somewhere that had a whole page of notation symbols specifically for the trumpet I think...it was being used to study miles davis transcriptions.
Miles is a player that is extremely loose with his pitch and time to great effect. But there were so may details like scooping into notes and letting down from pitches and ways and tones of doing that. I started to look at how to add more variety into my playing consciously as a result.
From that I picked up that Django would often end phrases with a little 'zip' up the string...then I noticed that in one of the 'hotel callifornia' solos there is the exact same thing...and noticed I conspicuously didn't have such detail in my playing and started to add those things in. I noticed that JB had some techniques like that where he would actually hit the back of his floating trem with his fist to get that kind of 'zipping' sound...LOL
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I also looked into speech patterns a bit for a while. If you listen carefully to your own, though others are easier to listen to when you are not part of the conversation, people tend to have an amazing array of little pitch variations at the end of phrases particularly that have meaning. I imagine that is a part of the 'vocal' quality that may have. A lot of scooping into pitches can sound like 'screaming' while a let down at the end can sound 'sad' while those 'up zips' can sound excited or frantic. Of course there are lots more to this, the density and staccato of sounds, but we are attuned to these little details and if you say the same thing with different 'inflections' you can put whole different meanings on words and sentences...similar things apply to music and especially the character of a persons playing, their identity...playing the actual notes is just a part of the expression, the details are where a lot of the character and individuality live.
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The trem offers a lot of extra little details that can be applied easily...most of them fairly subtle in my playing, but I really notice now if I don't have the arm there at my disposal. I still tend to use bending if going up in pitch, but for bending into a note (or group of notes) into pitch, there is no easy way to do that in the time allowed. It can gently adjust things that can sound a bit 'sour' into something sweeter sounding by going flat...very Miles Davis playing 'flat'
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I also found that playing with trem guitars, especially fully floating things, that it forced me to tighten up my technique a little and attack the guitar differently. A bigsby or Khaler has the advantage in that the bridge is still fixed and you can put any amount of pressure on it without affecting the tuning...but a strat type can go way out if you aren't careful...so I became more careful in damping!
And, that the trem just like any other technique like bending or even vibrato takes some actual practice, you aren't just wanging away on the thing. That powertab example gave precise time and pitch changes with the bar for instance. 'Scoops' and 'let downs' and things can have fairly precise ways of doing them and it really took a bit of time consciously working out what 'works' and what just sounds 'wrong' or under water.
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Another thing that is important to my current sound is some reverb or echo (in fact I've had this kind of wet sound for decades now) but by adding in the trem subtly you can get a really wide sound and manual chorusing effect. I think this has a lot to do with that 'hank marvin' shadows sound, just a gentle rocking below the pitch combined with the echo creates a wonderful 'shimmer' and bigness.
Like most players in the eighties I probably overdid the chorus effect and I had one out the other day...chorus tends to be a straight pitch combined with a modulating pitch above and below it delayed, giving you this shimmer...but it also has this weird out of tuneness that dated anything that over did it from that era...someone should make a chorus that will modulate a pitch only below the note for that sweeter effect...but it still wouldn't match the manual modulation that you can get out of a whammy subtley used with a touch of reverb or delay.
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Some things though I do tend to avoid, and Mr Vai and a lot of 'shredders do have a kind of 'yowwwl' kind of thing like someone stepped on a cats tail that I tend to avoid...but then that's me, there's a bit to what you leave out of the mix as what you put into it.
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Post by sumgai on Jan 9, 2011 3:00:19 GMT -5
...not bad for dropping a car on your picking hand... Citation needed, please.
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Post by 4real on Jan 9, 2011 3:52:28 GMT -5
...not bad for dropping a car on your picking hand... Citation needed, please. www.jeffbeck.com/news.php?start=20His name is lauded throughout the world of rock, yet his career has oscillated as wildly as his fretwork. Something of a loner, he left behind a trail of discarded bands before going solo in the mid-1970s. There have been a number of breaks from music, several caused by car-related injuries. A head-on crash in 1969 sidelined him for six months; he trapped his thumb under a car while mending it; another time he blew holes in both hands while sand-blasting a chassis. It is a wonder he can pick up a guitar, let alone play it.I read it pre-internet so not sure where exactly...but the story goes that he lost strength in his picking hand thumb as a result of dropping a car on it in the early eighties resulting in him dropping the pick altogether... On a related thing...my island home has been invaded by the custom car nationals here at the race track...so been taking in a bit of JB lifestyle away from the guitar...
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Post by sumgai on Jan 9, 2011 14:29:30 GMT -5
...not bad for dropping a car on your picking hand... Citation needed, please. www.jeffbeck.com/news.php?start=20
There have been a number of breaks from music, several caused by car-related injuries. A head-on crash in 1969 sidelined him for six months; he trapped his thumb under a car while mending it; another time he blew holes in both hands while sand-blasting a chassis. It is a wonder he can pick up a guitar, let alone play it.Now if I'd known to look for "trapped thumb" instead of "dropped car on your picking hand"..... I've been trapped under a car before, but I wasn't crushed by any means. More embarrassing than painful, to tell the truth. But help was needed, none-the-less, so trapped is the correct word here. I also note that this (trapped thumb incident) occurred in the 1970's, well before he changed his playing style. In fact, as I read it, he didn't change for any particular physical reason, so much as he changed due to both control over his tone, and enhanced ability to extricate other-worldly possibilities out of his axe. But then again, well, we all know about my perfect memory by now, right? FWIW DepartmentI'm sure I'm not the only member here who's handled early sand-blasting equipment, whether for cars or otherwise. My hands have been mildly abraded (skin scraped away from an area greater than a dime, or several areas totaling more than a quarter in size), and they've also been chemically abraded (really, burned is the more correct description), and while it's painful, it's not debilitating in the long run. D. Reinhardt's deformity certainly didn't set him back, I doubt JB would've been slowed down more than a few moments by any of his mishaps, had they been even more severe. (Well, OK, the fractured skull thing could have blossomed into a real bummer.....) But thanks for setting me on a World Wide Wait chase, I loved it! ;D sumgai BTW..... You guys must not have heard that there's a gasoline shortage going on in the world these days. That Roots blower is likely to be pumping two atmospheres into that Chevy small-block, and that means that his gas mileage is gonna have to suck something fierce.
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Post by newey on Jan 9, 2011 14:50:47 GMT -5
There's a guy out in California making electric Deuce Coupes for just that reason.
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Post by 4real on Jan 9, 2011 18:34:45 GMT -5
HaHa...well, it was years ago that I read the interview with JB where he said it himself...but I'm sure he could have kept the pick if he wanted to.
I've tried to consciously change my technique...there is something great about fingers only, Knophler, beck, etc...but then there is a lot you can't do as well. Hybrid picking I use a bit but not quite the same either. With the amount of rhythm work I do, I need that pick.
I know that JB used a pick for his rockabilly album 'crazy legs' so it isn't cause he cant or wouldn't use a pick. I think i read recently that he cut his fretting hand just before cutting the solos on his latest album (might explain it being not one of his best IMHO) ...but then, I admire that he has other interests, keeps much to himself and leads a full life asides from being 'rock star' that so many others appear to be...perhaps that's why he's still playing and innovating in his mid-sixties.
I've done many a stupid thing over the years...hopefully i'm wiser now...a lot of things that have caused injuries are from employment where you do things on trust and as instructed that are just wrong. I recently discovered that a friend has been soaking her hands in bleach as per instruction from an employer for the last 6 months with the expected results...in the end though, you got to take such care into your own hands...so to speak!
As for the cars...yeah, they are a labour of love but really you would hardly ever see such vehicles on the road except for events like this. It's good to see people enthusiastic about such things, I could never afford it...but it's much like my approach to putting together guitars really...only considerably cheaper~!
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Post by cynical1 on Jan 9, 2011 19:44:09 GMT -5
Well, I've been playing bass with my fingers for 30+ years and I genuinely suck with a pick. Project #1 is almost done and it'll be time to fish or cut bait...
The string spacing is going to be a challenge to get used to playing a guitar fingerstyle. I haven't touched a guitar in over 15 years, so more then likely, however I start will probably be the way I stay with it.
All this will offset the fact that after playing a 34" scale all this time, a 25.5" scale is a pleasant adjustment. It's truly a gift to be able to fret a note on the 12th fret and reach the 21st fret without lifting my index finger...now if I could only get the pick or my fingers to find the right string...
I'm saving any whammy contraptions for project #3. That should give me time to learn the instrument before I start creating sounds to beach whales by...
Happy Trails
Cynical One
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