#31
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__________________
SoundCloud |
#32
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Lovely work, Eric. You got it figured out.
scott memmer |
#33
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disparaging your choices, Todd. I just get a little rankled when more flexible picks get contemptuously dismissed by people like the guy who was "joking" about them. A large part of the reason I need some flex is that I play a sort of hybrid style where I play both rhythm and lead parts at the same time. I have to be able to cover a bunch of strings at once, and to do that I've evolved a right hand technique that allows me to do that. Having a bit of flex is necessary for me. Your comment about being plugged in brings up an angle I hadn't considered. While I used to play my Mossman in bars without any amplification other than an instrument mic, once the technology got better-sounding I did start using pickups in my guitars, while continuing to use an instrument mic as well. With mountain dulcimer, however, I've used pickups in addition to microphones from the very start. Dulcimers are just too difficult to get a good stage sound with using an instrument microphone alone. Particularly if you move around onstage, as I always have. So I play standing with the dulcimer hanging from a strap and plugged in, which was always considered highly unorthodox by my fellow dulcimer players back home in Missouri! I was always the rock'n'roll weird guy in their minds. Here's a photo of me in my 20's: This is me at the Anchorage Folk Festival last year: ˙˙˙ So the way we play and the picks we use depend on our own musical and performance needs. There's more than one way to skin a cat, and more than one way to get good tone. Wade Hampton Miller |
#34
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My intention was to point out some players who to my ear are/were fantastic players, but did not typically achieve what I consider great acoustic tone. Some make the argument that if you can't play better than Steve Kaufman (just picking one for example) then you can't say anything negative about his tone. I think I can, and I think I can do it in a respectful way. |
#35
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Not to start a food fight, but a far more important factor than a pick in live performance is almost always the pickup and amplification chain. I've heard some God-awful $5000 guitars that would sound like crap no matter WHAT kind of pick they used. This is not the place for most good players, but folks, if you're gonna play live, you really need to pay attention to what a guitar sounds like unamplified and invest a little time and $$$$ to try to replicate that.
Nothing beats playing into a live microphone without using a pickup at all. This is why they still do it that way at the Grand Ole Opry. Clearly this is a personal obsession of mine, and I apologize ahead of time if this appears as a hijack. I try to always focus on the audience, what they're seeing and hearing out there, versus what's going on onstage. Apologies, Scott |
#36
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Thank you! The materials are indeed gorgeous to look at. More importantly, They sound fantastic and with the bevels they play really well and without any resistance.
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#37
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Backwards is better
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Pat still wanted a rich, fat jazzy tone, so he turned the pick around backward, playing with the round end. And if you see him play today, he still does.
__________________
- Tacoma ER22C - Tacoma CiC Chief - Tacoma EK36C (ancient cedar Little Jumbo, '01, #145/150) - Seagull SWS Maritime Mini Jumbo ('16) - Simon & Patrick Pro Folk Rosewood ('01) - Godin Montreal Premiere Supreme - Ibanez Mikro Bass |
#38
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#39
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Good news!
They're still available from the store at patmetheny.com, five for $9.99. I have one left. I truly dislike playing with slippery, thin teardrop picks, usually preferring a medium V-Pick, or cocoanut shell. It's tempting to follow your hero's example, but I could rebuild my entire electric rig and buy a few Manzers, and I still don't think I could like that pick, but it does sound better reversed, like Pat plays it.
__________________
- Tacoma ER22C - Tacoma CiC Chief - Tacoma EK36C (ancient cedar Little Jumbo, '01, #145/150) - Seagull SWS Maritime Mini Jumbo ('16) - Simon & Patrick Pro Folk Rosewood ('01) - Godin Montreal Premiere Supreme - Ibanez Mikro Bass |
#40
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rct |
#41
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