#16
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There are three main causes of THUNK.
The first is the bad setup. The capo test is a good way to check if the nut is too high. If you don't have a capo read this article and then check your guitar. http://www.frets.com/FretsPages/Musi...nutaction.html This article describes how to measure neck angle and action. http://www.frets.com/FretsPages/Musi...neckangle.html The second is bad fretting finger position. The closer your finger is to the sounding fret, the easier it is to hold the string down. As your finger gets farther from the sounding fret, more pressure is needed to get a clear sound. It's not always possible to get every finger right up against the fret. Sometimes a compromise is needed, but you should get as close to the fret as possible. The third cause of thunk is another finger touching the string. This can be caused by fingers not landing vertically to the fret board and leaning against an adjacent string. It could be large fingers on a narrow fretboard of fingers not hitting the strings in the right place. Overall good chord sounding is a result of strength and precision. You get strength and precision by practising chord changes. Not just individual chords but pairs of chords and changing between them backward and forward. Strum a chord once and change, strum that chord once and change back and repeat this over and over. You are learning the fingers movements from one chord to another as much as you are learning the chord shapes themselves. If you are playing a guitar with a 0.013" first string you will find playing much easier if you change to 0.010" or 0.011" first string set. Incidentally the site 'frets.com' has a lot of fantastic reading for a guitarist. |
#17
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I'm looking at your post and don't see any question marks for the question. Just kidding...
You should not continue playing with the thunk. Keep practicing until you get it clean.
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Guild CO-2 Guild JF30-12 Guild D55 Goodall Grand Concert Cutaway Walnut/Italian Spruce Santa Cruz Brazilian VJ Taylor 8 String Baritone Blueberry - Grand Concert Magnum Opus J450 Eastman AJ815 Parker PA-24 Babicz Jumbo Identity Walden G730 Silvercreek T170 Charvell 150 SC Takimine G406s Last edited by robj144; 07-06-2015 at 04:35 PM. |
#18
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As Dan said a good set up will help, I remember the protocol post as well so I dont know how much that can be tweaked, I have been playing for only 10 months, so I dont know much. I started wanting a wide nut, now I prefer thinner. Someone else mentioned Yamaha's and i confirm I really like the Yamaha neck and IMHO the factory setups on the JRs 700 series and 335 are consistently good. you can find them for cheap used
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2010 Seagull S6 Original Taylor GS Mini 1969 Yamaha G-50-A 1996 Taylor 410 2012 Martin D15 |
#19
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You learn what you practice
Suggestions about string gauge and set up are good. I started with custom light, then light, then new medium.
You need to be aware that you ingrain habits during practice, so you need to practice ease and perfection. Keep striving to make it sound perfect. In the process your technique will improve. It is a fiction to believe that imperfect practice will produce the results you want. Your practice is to get it exactly right. Be gentle on yourself, enjoy the music you're making now, start slow, use your fingertips, and the improvements should be continuous. Justin is very good, but I recommend finding several versions of a lesson when you can. Then put together the way that is best for you. You don't always have to make it sound the way they make it sound. You make it sound the way you like it. (This assumes you've got the basic chords down correctly - notes always need to sound clearly, and improving tone production should be a continuous goal.)
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Martin OM-18 Authentic 1933 VTS (2016) |