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Thanks for the info Larry. But the one in the video isn't a Martin repro. And it has Bresh on the headstock so it surely must be a custom made thing? It looks very ornate; I can't see Martin making it. Actually the last Martin Bigsby model I saw here in UK didn't even have the right pickguard shape, nor was it the right scale length. It was really peculiar.
Nick |
#17
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Clawhammer is a specific banjo technique - as I guess you know, but just in case, here it is applied to guitar: https://www.youtube.com/watch?v=TIPj2281hn8 It got attached to the normal kind of folk-blues fingerpicking because some UK players learned various fingerstyles from visiting US banjo players and just kind of lumped them all together. Ha! I get it! True.
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"There is a crack in everything. That's how the light gets in." - Leonard Cohen. Last edited by JonPR; 02-19-2020 at 06:38 PM. |
#18
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I don't know, it might have been his dad's. I knew it wasn't the Martin remake because they didn't issue those till 2017 I believe, and I've seen Thom playing it for years. |
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That’s brilliant thanks so much for all this wonderful information . A real education. Starting to see the wood from the trees.
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Guild D50 Bluegrass Special (Tacoma) Cordoba C5 CE Martin Dreadnought Junior D45 Replica in open D Squier Classic Vibe 50s Telecaster Marshall AS50D Amp. Line 6 Amplifi 30 Blackstar HT1R Tube Amp DigiTech JamMan Stereo Looper Pedal |
#20
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I like that Jerry. Makes sense to me and I play those styles. Many thanks
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Guild D50 Bluegrass Special (Tacoma) Cordoba C5 CE Martin Dreadnought Junior D45 Replica in open D Squier Classic Vibe 50s Telecaster Marshall AS50D Amp. Line 6 Amplifi 30 Blackstar HT1R Tube Amp DigiTech JamMan Stereo Looper Pedal |
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Guild D50 Bluegrass Special (Tacoma) Cordoba C5 CE Martin Dreadnought Junior D45 Replica in open D Squier Classic Vibe 50s Telecaster Marshall AS50D Amp. Line 6 Amplifi 30 Blackstar HT1R Tube Amp DigiTech JamMan Stereo Looper Pedal |
#23
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Guild D50 Bluegrass Special (Tacoma) Cordoba C5 CE Martin Dreadnought Junior D45 Replica in open D Squier Classic Vibe 50s Telecaster Marshall AS50D Amp. Line 6 Amplifi 30 Blackstar HT1R Tube Amp DigiTech JamMan Stereo Looper Pedal |
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Barry wonderful rendition of that fine tune. Many thanks. Was that with the Avalon?
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Guild D50 Bluegrass Special (Tacoma) Cordoba C5 CE Martin Dreadnought Junior D45 Replica in open D Squier Classic Vibe 50s Telecaster Marshall AS50D Amp. Line 6 Amplifi 30 Blackstar HT1R Tube Amp DigiTech JamMan Stereo Looper Pedal |
#25
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Guild D50 Bluegrass Special (Tacoma) Cordoba C5 CE Martin Dreadnought Junior D45 Replica in open D Squier Classic Vibe 50s Telecaster Marshall AS50D Amp. Line 6 Amplifi 30 Blackstar HT1R Tube Amp DigiTech JamMan Stereo Looper Pedal |
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Guild D50 Bluegrass Special (Tacoma) Cordoba C5 CE Martin Dreadnought Junior D45 Replica in open D Squier Classic Vibe 50s Telecaster Marshall AS50D Amp. Line 6 Amplifi 30 Blackstar HT1R Tube Amp DigiTech JamMan Stereo Looper Pedal |
#27
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Lots of accurate information already... there really is NO absolute, regarding palm muting...
One thing I do is to "partially" palm mute... by "bouncing" my palm slightly off the strings (especially the lower registers). Gives that "palm mute" sound, but with more definition and volume than a full palm mute. I will frequently vary my use of that technique (both full and partial) from each time I play the same tune... depends on what I'm wanting to hear at the time. I pllay with a flatpick between index and thumb, then use my other fingers for picking, whether Travis-style or grabbing clusters of notes simultaneously. I'm fond of playing thirds and sixths while using palm muting for more percussive tones and rhythms... although I can switch back and forth between strumming/single note and picking, it takes a refined touch to have the volume balance between them all... that's something I work at frequently and am constantly aware of... especially when coupled with the adrenaline "rush" when I'm performing!
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"Home is where I hang my hat, but home is so much more than that. Home is where the ones and the things I hold dear are near... And I always find my way back home." "Home" (working title) J.S, Sherman |
#28
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Guild D50 Bluegrass Special (Tacoma) Cordoba C5 CE Martin Dreadnought Junior D45 Replica in open D Squier Classic Vibe 50s Telecaster Marshall AS50D Amp. Line 6 Amplifi 30 Blackstar HT1R Tube Amp DigiTech JamMan Stereo Looper Pedal |
#29
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I only attempted palm-muting properly recently after a lifetime of playing solo fingerstyle. I just didn't play that style of music previously, but working my way through Dan C Holloways lessons I wanted to learn his version of Folsom Prison Blues. (Most of his arrangements aren't palm muted and are similar to my normal style.)
My natural right-hand setup is straight forearm through a 'straight' relaxed wrist with the hand nearer the neck side of the soundhole, more of a classical setup. To switch to palm muting I had to obviously move my hand back to the saddle, but the hard bit was rotating my hand upwards and to the left to get access to all the strings, creating an angle at the wrist. This restricts movement a lot (as well as the hand being 'anchored'!) and took about 4 weeks to get used to. It now feels completely natural and has opened up a whole new style of playing.... From this: https://www.youtube.com/watch?v=ZozKO1Hrea8 To this: https://www.youtube.com/watch?v=mNGYRKhGHYo
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Martin 000-18 - 2016 Atkin LG47 - 2020 Taylor 412CE - 1999 Taylor GS-mini mahogany - 2019 Guild GAD D-1212 12-string American Professional Tele - 2018 Last edited by Mr Picky; 02-24-2020 at 04:48 AM. |
#30
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First and foremost: It's NOT done with the palm, although it's been referred to as 'palm muting' forever. It's done with the side of hand down from the pinky. Depending on ones physical build, guitar type, playing position, etc, there is going to be some variation to a degree. Secondly, and perhaps more important: It's like the 'mute' pedal on a piano. It's not meant to be depressed and left 'on', unless you're trying to imitate a Chet Atkins recording from way back before he switched to nylon strings. Here's fairly decent demonstration where you can see my hand position and hear the bass notes juxtaposed to the melody notes. Keep workin'! HE
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