jumpinjeff
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Changing from med to lights or lights to mediums and having to adjust the truss rod is pretty common on any guitar. The nature of the beast. A guitar that didn’t need adjustment is probably pretty heavy and over built, not that I have encounter one, I am just imagining. .07 to .10 is high for my playing but some like it high. You should be able to get to .05 without buzzing. If you get buzzing, may need some work, fretwork/neck angle/bridge,nut height. If you like .07 and no buzz you are all set and good to go.
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Are you looking for right hand work or right and left? There are so many types of arpeggios and they are woven in and out of the daily challenges. If you narrow it down I might be able to help you get to what you want. I don’t think there are any dedicated scale lessons solely playing arpeggiated scales if that is what you are looking for.
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Well you got me at “real player”: still trying to figure that one out. While I was scratching my chin whiskers in deep contemplation I stumbled upon this beaut. There is one in red but I like this pickup better. Real player or fake player (still don’t know) if I had the cheddar this would be in my guitarsenal pronto.😄
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I remember when I first started changing strings the thing that bothered me most was not knowing if I had the ball ends of the strings properly seated on the bridge plate. I went out and bought an inspection mirror at AutoZone that had lights so I could see inside the guitar to make sure I had those ball ends lined up and snug. Then I learned the best trick of all (and this works to if your bridge pin get stuck) I could reach inside the guitar through the sound hole and feel exactly how they were seated. Tony has a demo on how to change strings too in case you need a refresher, which I did every time about the first hundred changes I performed. Not too much else to go wrong.
This is his video found on acoustic life TV, Tony’s youtube channel.
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My method: Step one, learn the scale. Step two, play the scale in time with the backing track. Step three. Identify the changes and see what works in context with the change, just listening to what sounds good when and what doesn’t. Step four. Take the root of the scale and work rhythm of that note over the scale, playing whole notes, half notes, quarter notes, eighth notes, 1/4 note triplets then back and forth between the triplets and eighths then 16th notes and finally moving from 1/8th to 16ths then 8ths to triplets and back. Step 5. Add in just one more note. Take the root of the scale and the second degree and go between the two and see if you can rhythmically keep it interesting while changing the phrase from being centered on the first degree to the second degree, and then change it back. The next two note combo for me is the 3rd and 4th degrees. Then I start connecting the two, adding the note between while still controlling where the phrase is centered, meaning, I make the 2 part of the 3,4 combinations and then make the 3 part of the 1,2 combination. That is how I build the foundation of improvisation. Let me know if you get lost in the explanation and I will try to clarify as needed. Overarching all of this is having fun. Have fun!
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Hi @Mrfredsporty , I looked for the club option and the best price was 24.00 p/set. Do you have a secret connect? and be willing to share with me. Promise, I will keep it secret too.😃
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I know what your saying @Mrfredsporty . You ever heard that saying if you hang out in a barbershop long enough, eventually you will get a haircut? The opposite happened to me. When I started hear I was clean cut.🧔🏻 And I learned to play guitar. The other day I had a chance to jam with one of my Guitar heroes. We spent an hour playing Comfortably Numb trading rhythm and leads. Never in my wildest imagination would I have thought that possible when I began and yet here we are. Glad you are here. Stick around, just when you think it can’t get better it does.
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8/2/22 update: I have concluded my study of wood picks. I tried many and only three passed muster. All of them were pretty much useless as they come from the Woodworker. Out of the box it is like coloring with those fat crayons after the tops have been rounded by overuse. I had to modify all of them with speed bevels and once done, I found them to be heavenly pickers aiding my precision and accuracy. They elevate the volume of the sound coming out of the guitar so that I can attack lightly and have adequate volume. Firm up ever so slightly and volume goes to 11. There is no flex whatsoever so having your strumming down where there is Zero Tension is a must. Tension translates into string noise. I went with the hardest woods I could find looking at the Janka Scale. I found hardness is not the only thing that makes a pick sound good. There were many that looked cool and were just dead. I did drop testing and confirmed my favorites also plinked/resonated similarly to my Ultex, Primetone and Blue Chips. My Three favorites……#3. African Blackwood, 2.5mm. #2 Pink Ivory Wood, 2.0mm. #1 Snakewood Burl, 3.0mm. I know 3.0 seems thick but there is a depression on both sides to accommodate thumb and Forefinger. This totally helps orientation. One of the cool things about these is as you sweat they get easier to hold grippier, if you will. When I start I will moisten my finger slightly to improve the grip. I am hooked. Shout out to the maker of the picks Spencer Pickslay, Pickslays Woodworking for taking the time to have the conversations regarding what I was looking for. And now, back to picking on my guitar.
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You got it all fixed up. Good that you had the spare saddle. I have a breedlove myself. I always thought Breedloves to be an excellent value. If you have a staight edge rule you could check your third fret. If it is high, a smidge of fret filing might be the answer. Stew Mac sells fret files 50.00. A good tool to have. You could also eyeball it if you have an eye and hand for machining. If you go free hand remember to protect your fretboard from accidents. Less is more because more is irreversible.
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@MikeGaurnier , I have been a fan of Progreba for a while. I tend to seek a more guitar sounding resonator sound and this for sure fits the bill. Sorry but not sorry about the GAS. You were going to find it eventually. I figure it was only a matter of time 😅
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Tony thoughtfully puts together lesson sequences that target different skills and techniques. From what I have seen and experience it leads to overall well rounded player. It is meant to take the self teaching aspect out of the equation. I pay to be taught. If I were going to teach myself I probably wouldn’t be on TAC. That is the foundational part of it. Out side of that I do a considerable amount of self learning but the ease at which I can participate and benefit from this structured program is my back stop and home base and my insurance policy. Anything after that is gravy. It wasn’t until I had familiarized myself with fundamentals and basic theory learned here that I was able to have some success at self learning.
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Birds of a feather or rather maybe notes in a key? I am ever happy to share how I found ways to get down the road faster and more easily. I started guitar in earnest 7 years ago. Most of what slowed me down was my beliefs in what I could do or not. Hanging around here I blew up all those old beliefs and just played and the results have surprised the heck out of me. Way better than I could have ever imagined.
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I hear you @OhWowMan , my point at getting to the root of it will work for the Flatpicking too. I spent my time in the dark place flatpicking all the same until I got to the root of the cause of those two things. I hope you never get there and your path to flatpicking satisfaction is straightforward and the progress toward your goals comes easily.
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This reply was modified 3 years, 8 months ago by jumpinjeff.
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This reply was modified 3 years, 8 months ago by
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😱👍 😱
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Good Guitar Face there @Bill_Brown . : )