#16
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I probably play an archtop 1/2 of the time and fingerpick it 1/2 of that time. I've got an old one-off Gibson L4-C-something (oval hole) from the 40's, and a 4 or 5 year old Eastman 803ce (f holes). I think at the acoustic low levels I tend to play at that they're just terrific for fingerpicking.
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#17
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+1!!! Some VERY tasty playing there, Howard!
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1932 National Duolian 1934 Gibson L-00 1934 Gibson L-Century (retopped by Greven) 1950's Hoyer Meisterklasse 2003 Santa Cruz Vintage Artist 2013 Haxton Special (Nick Lucas model) 2019 Fairbanks Nick Lucas a bunch of other stuff I really ought to sell... |
#18
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I love the sound that Howard and Riovine get from fingerpicking their archtops. As a fingerpicker, I have tried many, many different archtops in the hopes of getting a sound that I like; I haven't succeeded yet. Either I just haven't found the right one, or my playing style simply isn't suited.
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1943 Gibson J-45 Martin Custom Shop 000-28 Authentic Aged 1937 Voyage Air VAOM-4 IBG Epiphone J-200 Aged Antique |
#19
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Wow some superb playing there boys...Howard I've always enjoyed your tunes...and you are in the same musical genre that prefer. My question for you is can you still palm mute comfortably on the arch top?
Cheers, Blue
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Blue in VT Larrivee OM-05MT "Mary Helen" Harmony Herd (1203, 162, 165, 6362) Silvercreek T-170 Composite Acoustics Cargo RAW |
#20
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Quote:
Thanks for the kind words! Playing an archtop is not so much different than playing a flattop from my perspective, especially from a tonal/sustain point of view because I've got such a freaky instrument. If it were like your typical archtop with sharp attack, limited bass response and quick decay, it would be a different story, but it's not any of those. I actually don't mute with my palm, so much as the side of my hand down from the pinky, and in truth I really don't do a lot of muting. I look at muting like any seasoning: A little, used judiciously, adds flavor. I'm certainly not from the Chet Atkin's school in that regard, especially his older electric stuff!! Some of the muting that I do entails grabbing strings that I don't want to ring with fingers that are otherwise idle. I refer to this as 'spidering' There's also the muting in back of the bottleneck with my trailing fingers. I suppose because I tend to pluck my strings closer to the bridge than many other players it might appear as if I'm resting on the saddle, but most of the time I'm just hovering above it. The saddle is the most controllable location from which to mute as it's closest to the fulcrum point. Too far forward and the string stops dead in its tracks. Too far back, nada. Hope that explanation helps some. Regards, HE http://www.howardemerson.com/ |
#21
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Hi Howard!
Yes, it's me, in Arizona. Hope all is well back east. When's the next CD due out?
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********************* David M. Bishop Tucson, AZ |
#22
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The next CD..........hmmmmm.......Very reasonable question. I don't know, but it is not for lack of having enough material. It's primarily just a function of me trying to keep my nose to the grindstone on construction and renovations around the house. If I have to concentrate on one thing at a time, that thing will benefit enough to assauge my frustration:-) Yeah............that's the ticket....... I'm so easy to convince............and hanging out here has definitely helped me learn how to use my time wisely. I'll keep you, and all the rest, posted when I'm fixin' to get into the studio again! Best, Howard |
#23
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#24
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Actually I use a table saw and pneumatic pin & nail guns..........I use a Bosch jig saw in place of a circular saw when I need to be 'portable'. Nothing cracks plaster like a hammer's repeated blows! HE |
#25
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-Arch |
#26
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I do some picking on an old Gibson L-50 (I think it is...)
http://www.youtube.com/watch?v=WagBNucykpo |
#27
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Wow...........Great sounding, played great! That guitar is probably late 1930's I think, but possibly early '40's. Nice arrangement. HE |
#28
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"Still a man hears what he wants to hear, and disregards the rest." --Paul Simon |
#29
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Howard -- just ordered both the CDs. After hearing the samples from the first one, I was kind of hoping the second one wouldn't be as good so that I'd only end up popping for one. I should have known better. Both are clearly must-haves.
Archtops really are visually striking. As part of my recent swap of a mandolin for a guitar (more about that later, perhaps), someone sent me some pictures of a great looking flat top with f-holes and archtop-like appointments. I think it was a Dell Arte, maybe. I have no idea what it sounded like but it was a very pretty guitar, having a lot of that archtop vibe visually. I suspect it would run less than an archtop because carving those puppies is a really time-intensive proposition (although some are pressed, I realize). Although less than an archtop, my impression was that it was still a pretty expensive box. Guitars come in so many different styles, it's little wonder that we all go crazy over them.
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Bob DeVellis |
#30
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In Roman numerals, what'd it setcha back? Yes, the priorities are a little odd sometimes. HE |