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Post by premiumplus (Dave) on Nov 14, 2022 13:27:45 GMT -7
So I got my new camera and was trying it out today, along with the new Soldano SLO pedal. Heritage Custom Core H-150, Z-28 MKII, SLO pedal, and a JHS Bender fuzz at the end. Just messin' around, enjoy!
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Post by purpletele on Nov 14, 2022 15:13:58 GMT -7
So I got my new camera and was trying it out today, along with the new Soldano SLO pedal. Heritage Custom Core H-150, Z-28 MKII, SLO pedal, and a JHS Bender fuzz at the end. Just messin' around, enjoy!
Dave, The camera works well, and the sound is great, do you have a separate mic? The guitar and amp combo equals cool tone. BV
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Post by adam on Nov 14, 2022 16:18:19 GMT -7
You made the pedal sound good! Looks good, sounds good!
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Post by The Bad Poodle Experience on Nov 14, 2022 16:43:49 GMT -7
sounds good Dave. What camera did you end up buying?
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Post by premiumplus (Dave) on Nov 14, 2022 17:55:10 GMT -7
Thanks, fellas! I got the DJI Pocket 2. It's really cool, has a gimbal that keeps the camera stable while it's in motion, does 64MB stills and video up to 4k 60fps. Onboard touchscreen, and you connect it to your phone for use with their app. It's got intelligent modes like ActiveTrack, Zoom, Panorama, Timelapse, and HDR video.
There's a wireless mic that runs from 50Hz to 20kHz, but I was using the onboard mics for this video. I was just fooling around but it sounded so much better than anything else I've ever tried to video that I decided to upload it. The sound blew my mind. It's got three mics and the camera will follow you around and optimize sound for where you are in relation to the camera. Very cool. And the thing is small too. It really fits in my pocket, in it's case.
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Post by smolder on Nov 14, 2022 19:03:08 GMT -7
Nice playing. You’ve got some Z options there… great tone as well! What speaker are you using?
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Post by premiumplus (Dave) on Nov 14, 2022 20:17:34 GMT -7
Thank you so much! It's the Z28 MKII 1x12 Combo, loaded with the stock Creamback M. The Master was turned down to about 9:30, Volume around 11:00.
Doc's Master volume works so well. The SPL in the room was only around 90dB and I still got good tone. Hat's off to Doc, he really out did himself with this amplifier.
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Post by smolder on Nov 14, 2022 20:24:01 GMT -7
Thank you so much! It's the Z28 MKII 1x12 Combo, loaded with the stock Creamback M. The Master was turned down to about 9:30, Volume around 11:00. Doc's Master volume works so well. The SPL in the room was only around 90dB and I still got good tone. Hat's off to Doc, he really out did himself with this amplifier. thats great! I’m using a TT Purple Haze with mine (no creamback here unfortunately). Totally agree on the MV. I’ve not dialed mine down that far but am heading to the shop momentarily and will check it out!
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Post by Deleted on Nov 26, 2022 16:31:42 GMT -7
Wicked!! Love that tone!!
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Post by adam on Dec 5, 2022 19:26:49 GMT -7
So Dave, does the lifelong quest end here with this amp, a couple pedals, and you sell all the rest? It sort of sounds like you found a fantastic fit for you. I have something for you to try that's pretty easy and takes you out of the normal "box". Try bending a note 1/2 step from somewhere nobody really does and then resolve it. For instance, instead of bending a major 6th to a minor 7th (say both diatonic dorian), try bending the flat 6 to the major 6th, slowly release it and then hit the 5th. Or bend the minor 9th to the major 9th and resolve to the one. Or, bend the major 7th to tonic and release and land on the minor 7th. Basically take the notes that aren't in the scale and bend to something 1/2 step away that is. It's a cool sound. Very much the same as bending the minor 3rd to a major 3rd, or the 4th to a flat 5, so kind of think of it in that way. Nobody does except maybe Jeff Beck. It sound unique and different, and bends your ear a little. Even take just one of those, like the major 7th, and make that work against the tonic and minor 7th. Like hit the major 7th and slowly bend to the tonic, or start bent to the tonic and slowly bring it down and then hit the minor 7th. Once you phrase that one where you like it, you can pretty much do it anywhere.
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Post by The Bad Poodle Experience on Dec 6, 2022 10:40:22 GMT -7
So Dave, does the lifelong quest end here with this amp, a couple pedals, and you sell all the rest? It sort of sounds like you found a fantastic fit for you. I have something for you to try that's pretty easy and takes you out of the normal "box". Try bending a note 1/2 step from somewhere nobody really does and then resolve it. For instance, instead of bending a major 6th to a minor 7th (say both diatonic dorian), try bending the flat 6 to the major 6th, slowly release it and then hit the 5th. Or bend the minor 9th to the major 9th and resolve to the one. Or, bend the major 7th to tonic and release and land on the minor 7th. Basically take the notes that aren't in the scale and bend to something 1/2 step away that is. It's a cool sound. Very much the same as bending the minor 3rd to a major 3rd, or the 4th to a flat 5, so kind of think of it in that way. Nobody does except maybe Jeff Beck. It sound unique and different, and bends your ear a little. Even take just one of those, like the major 7th, and make that work against the tonic and minor 7th. Like hit the major 7th and slowly bend to the tonic, or start bent to the tonic and slowly bring it down and then hit the minor 7th. Once you phrase that one where you like it, you can pretty much do it anywhere. we need a demo!
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Post by premiumplus (Dave) on Dec 6, 2022 10:41:43 GMT -7
Right on, Poodle!
Truth is I've gotta tell you that I am pretty stuck on this setup. I'm loving what I can do with less pedals; we had our first Christmas concert series gig Sunday night and I mainly stuck with the Keeley 30MS to widen the sound a little and add a touch of reverb, and for drives it was the Smallbox and the Soldano. The Z28 MKII has really spoiled me and to quote another forum members comment, my other amps are jealous. When I plug into another amp I catch myself trying to make it sound like the Z28. That's a great tip and I'm going to try it. I can imagine how it catches the ear and then sweetens with the resolve. Is this the way Jeff Beck never seems to play a wrong note?!? I know that bending has saved me more than once, and I love doing 1/2 and 3/4 bends. Pre-bending is great too. I think bending is why I never pick up the acoustic guitar; I rely on it too much.
Thanks, Adam. I appreciate all you guys on this forum; I'm learning something all the time.
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Post by helmi on Dec 6, 2022 17:16:43 GMT -7
I have something for you to try that's pretty easy and takes you out of the normal "box". Try bending a note 1/2 step from somewhere nobody really does and then resolve it. For instance, instead of bending a major 6th to a minor 7th (say both diatonic dorian), try bending the flat 6 to the major 6th, slowly release it and then hit the 5th. Or bend the minor 9th to the major 9th and resolve to the one. Or, bend the major 7th to tonic and release and land on the minor 7th. Basically take the notes that aren't in the scale and bend to something 1/2 step away that is. It's a cool sound. Very much the same as bending the minor 3rd to a major 3rd, or the 4th to a flat 5, so kind of think of it in that way. Nobody does except maybe Jeff Beck. It sound unique and different, and bends your ear a little. Even take just one of those, like the major 7th, and make that work against the tonic and minor 7th. Like hit the major 7th and slowly bend to the tonic, or start bent to the tonic and slowly bring it down and then hit the minor 7th. Once you phrase that one where you like it, you can pretty much do it anywhere. My God my good man, what foreign language are you speaking here? your not talking to Berklee graduates! LOL
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Post by Russell B on Dec 6, 2022 19:24:13 GMT -7
Sounds great!!!
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Post by The Bad Poodle Experience on Dec 6, 2022 19:59:00 GMT -7
My God my good man, what foreign language are you speaking here? your not talking to Berkeley graduates! LOL i played it just as described and turns out it's one of my favorite Henry Kaiser songs.
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Post by helmi on Dec 7, 2022 2:39:30 GMT -7
My God my good man, what foreign language are you speaking here? your not talking to Berkeley graduates! LOL i played it just as described and turns out it's one of my favorite Henry Kaiser songs. That guy’s influence seems to pop up everywhere!
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Post by adam on Dec 7, 2022 5:40:27 GMT -7
My God my good man, what foreign language are you speaking here? your not talking to Berklee graduates! LOL That's was all stuff I learned in my first few months of guitar lessons. I think I got lucky with that guy.
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Post by adam on Dec 7, 2022 5:52:46 GMT -7
That's a great tip and I'm going to try it. I can imagine how it catches the ear and then sweetens with the resolve. Is this the way Jeff Beck never seems to play a wrong note?!? I know that bending has saved me more than once, and I love doing 1/2 and 3/4 bends. Pre-bending is great too. I think bending is why I never pick up the acoustic guitar; I rely on it too much. There's something about hitting a wrong note and it's just wrong, and it's hard to recover from that. If you intentionally play the wrong note knowing that your are resolving it afterwords as part of the initial thought and phrase, it comes across as the complete opposite. Forget bending for a second, say your are soloing natural minor. That sound sort of gets engrained, the you play the major 7th, let it hang for a second, then hit the one. It can be really powerful, and instead of sounding wrong, it couldn't sound more right... because it had that intention behind it. Just things to experiment with and keep things interesting, and it's really pretty simple.
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Post by premiumplus (Dave) on Dec 7, 2022 9:05:58 GMT -7
That's a great tip and I'm going to try it. I can imagine how it catches the ear and then sweetens with the resolve. Is this the way Jeff Beck never seems to play a wrong note?!? I know that bending has saved me more than once, and I love doing 1/2 and 3/4 bends. Pre-bending is great too. I think bending is why I never pick up the acoustic guitar; I rely on it too much. There's something about hitting a wrong note and it's just wrong, and it's hard to recover from that. If you intentionally play the wrong note knowing that your are resolving it afterwords as part of the initial thought and phrase, it comes across as the complete opposite. Forget bending for a second, say your are soloing natural minor. That sound sort of gets engrained, the you play the major 7th, let it hang for a second, then hit the one. It can be really powerful, and instead of sounding wrong, it couldn't sound more right... because it had that intention behind it. Just things to experiment with and keep things interesting, and it's really pretty simple. This comes at a great time. We're doing a song called "Fum Fum Fum" for Christmas shows and I have a solo in it. It's a kind of Samba style piece. The solo progression is over | Gmi, D7/G | Gmi, Cmi/G, Gmi | 4x. That part I'm ok with, doing a Santana vibe. But the last 4 bars throw me. | Bb/F, Bb/F | Bb/F, F, Fmi7, Bb7 | EbMA7, Ami7-5, D7+9+5 | Gmi/D, D7/G, Gmi ||. I'm struggling to resolve the thing. In the original recording it's a killer jazz guy that plays a smoking solo on acoustic guitar (here, Fum Fum Fum ) starting around 1:25. I had the solo cut to 12 bars because I couldn't keep the thing in the air! I love playing in minors but this one keeps eluding me somehow. Playing in this band the last 9 years has really taken me to school and I'm flunking chord theory.
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Post by adam on Dec 7, 2022 17:14:16 GMT -7
On the Gmin progression when it hits the D7, play a F#dim arpeggio (F# A C D# F#). Easy pattern, 4th fret second string, 7th fret second string, 5th fret third string, 4th fret second string, 7th fret second string. Get that under your ears and then move it around in minor 3rds (3 frets up or down). That will spice that one up. Next part I think you have to switch scales around. Maybe try Bb major pentatonic (which works on the Gmin part too). When it hits the Bb, still Bb man pentatonic, but if you can throw the minor 7th in there, all the better. From there (Ebmaj7), just look at it as G natural minor and then when it hits that altered D7 again, smack them with the F#dim arpeggio again. 🤘 You might also just try limiting yourself to Bb major pentatonic to see how that works and try to sneak in one note of the chord where it's off (Ab on the Bb7 chord). TMI, but don't dismiss the power of the pentatonic scale. Lots of really power vocal melodies just move around 3 notes of the pentatonic. There's a familiarity of that sound that is powerful. To bend your ear and really stay "in" (but out), take 3 strings of the pentatnic (say strings 2-3-4) and play a triad as the exist in the pentatonic shapes, like say string/fret 4/3 3/3 2/3, then up to 4/5 3/5 2/6, etc., and keep going. They sound like chord extensions, but all the notes are always "in", and you already know the pentatonic shapes so it makes it pretty easy to visualize as you go up and down then neck. All kind of cool, simple musical stuff in there that makes you sound smarter than you are.
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Post by premiumplus (Dave) on Dec 7, 2022 18:26:09 GMT -7
I'm printing this out and putting it on my music stand...Thanks a million, Adam.
PS...It's never TMI!!!
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Post by The Bad Poodle Experience on Dec 7, 2022 19:45:56 GMT -7
i think C minor pentatonic or dorian over the EbMaj7/Amin7 section sounds good. in fact, C dorian sounds good over the Gmin as well (ties the room together, as it were). then again, C dorian is just a Bb Maj. scale.
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Post by LT on Dec 9, 2022 14:03:44 GMT -7
Nice tone and playing Dave!
And thanks Adam and Ian for the tips!
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Post by adam on Dec 9, 2022 16:48:05 GMT -7
I'm printing this out and putting it on my music stand...Thanks a million, Adam.
PS...It's never TMI!!!
I think the trick with this is you have to take one idea, like say that diminished arpeggio, and you mess around with that for days. Then you sort of understand the sound and vibe of it, and it becomes part of your vocabulary. Eventually you'll hear Dom 7 chords and just start wanting to play that dim7 thing. The 1/2 step bend is like that too. You have to really mess with it for a while before you begin to hear how it works, then it can become part of your vocabulary. If you take the idea of pre bending the minor 7th up a whole step and then down to the minor 7th, then you try it by bending the major 7 up 1/2 step, then down, then play the minor 7th, you hear the detail in that transition. If you try to do that with one whole step bend coming down, it's almost impossible to target that 1/2 step in the middle. It's like the whole step takes 100% power, but the 1/2 step takes 24% of the power and you never get that detail (unless your name is Beck, and then lets just do it with a whammy and make it another 10 times harder). You can try to take that stuff to another level like bending a 1/2 step and finding the quarter step in the middle, but it's so hard, and our ears aren't used to discerning 1/4 steps. THE POINT is that if you have to take one simple thing and work on it and remove the distractions. It's even worse than that though, like the great players will take a concept and work on it for a month, and then it's a part of them. Then on to the next thing. If you do too much, nothing sticks. Maybe also realize that that whatever thing you kind of do by habit that sounds good, it's not going to go away because you ignored it for a while, those are already are part of you and will come out.
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