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Jamming with my 55

Decoy205

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Joined
Sep 30, 2008
Messages
621
Thanks guys for the nice comments.



Absolutely, I used the "king of clean" Two Rock Studio Pro 100 amp which works well with almost any pedal. In this case a Friedman Dirty Shirley. And in order to push the amp a bit and keep my girlfriend happy at the same time I use a Torpedo Live loadbox.

View attachment 6415


great playing and tone! Thanks for sharing! I totally get that rig with the torpedo live. I really like the freidman pedal too. Well done.
 

Highway Star

New member
Joined
Oct 8, 2017
Messages
192
great playing and tone! Thanks for sharing! I totally get that rig with the torpedo live. I really like the freidman pedal too. Well done.

Thanks a lot. I can recomend the torpedo live for recordings at home and I guess it works fine on gigs as well. Dirty Shirley sound a bit "modern old school" in my opinion. Which I like :hank
 

renderit

Well-known member
Joined
Jan 19, 2009
Messages
10,950
OH MY! I LUBS ME SUM GOLD!

I also use a Torpedo Live and love them. I play very similar to you.

If we broke all of your fingers and you lost all sense of rhythm...

36388543341_9e9d63325e.jpg


 

Highway Star

New member
Joined
Oct 8, 2017
Messages
192
OH MY! I LUBS ME SUM GOLD!

I also use a Torpedo Live and love them. I play very similar to you.

If we broke all of your fingers and you lost all sense of rhythm...

36388543341_9e9d63325e.jpg



LOL, I really did laugh out loud when I read your comment. Nice one :laugh2:

Marty got some pretty impressive goldtops there :dude:
 

JPP-1

Well-known member
Joined
Jul 11, 2006
Messages
1,336
Great playing and tone.

I’ve looked for a vintage P90 les Paul and came close a couple times. For me, finish originality would be critical along with secondarily hardware: pickups caps tuners etc. However, given everything else being equal I would choose the LP with a well done refret over one with compromised playability everyday of the week.

While not cheap by any stretch of the imagination vintage P90s are kinda like the unloved siblings of the PAF bursts and still provide an entry point for players who want a vintage Les Paul. I can’t imagine a professionally done refret doing anything but enhancing an already fantastic guitar.

Very true. Hard to find a 55 les paul with its original strings :biggrin:



Absolutely, not playng that guitar is a crime. Just worried that a refret would cause the value to drop like a lead zeppelin (always wanted to fit that in somewhere :laugh2:).
 

Highway Star

New member
Joined
Oct 8, 2017
Messages
192
Great playing and tone.

I’ve looked for a vintage P90 les Paul and came close a couple times. For me, finish originality would be critical along with secondarily hardware: pickups caps tuners etc. However, given everything else being equal I would choose the LP with a well done refret over one with compromised playability everyday of the week.

While not cheap by any stretch of the imagination vintage P90s are kinda like the unloved siblings of the PAF bursts and still provide an entry point for players who want a vintage Les Paul. I can’t imagine a professionally done refret doing anything but enhancing an already fantastic guitar.

Thanks for your input. I agree with every word. I decided to refret the guitar with the original size. Original frets or not. The guitar was made to create music and be played. At least as long I have it :hank
 

Pellman73

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Joined
Aug 9, 2016
Messages
1,762
Very nice playing

and I love your guitar. Just great.

some of your note choices remind me of the solo to Kid Charlemagne— I’m not sure I can articulate what that means from a musical stand point— but I like it.

what scales are you using to solo— do you know?

trying to broaden out to something other then major and minor pentatonic
 

Highway Star

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Joined
Oct 8, 2017
Messages
192
Very nice playing

and I love your guitar. Just great.

some of your note choices remind me of the solo to Kid Charlemagne— I’m not sure I can articulate what that means from a musical stand point— but I like it.

what scales are you using to solo— do you know?

trying to broaden out to something other then major and minor pentatonic

Thanks a lot :). It's a pretty easy and classic progression Gm7/D7. The first choise would be G-dorian and over D a mixolydian scale. It is the same notes in those scales with different emphasis. Then I play different arpeggios and triads and some chromatic stuff etc. which leads towards the notes in the scale in different formations. Nothing fancy I would say. The main thing is to play the notes with certain feel and the choise of notes. The feel, phrasing, choise and rythmics etc. and your approach is essential. For instance, the blues scale you mention does not have to sound like anything blusey at all. The scale itself is just a bunch of notes. A great way to start after learning G Dorian as in this case is to divide the scale into all the triads within the scale in all the positions over the neck. That way you can make it more interesting and also mix it with the blues scale for instance (which works perfect with the dorian). Blend in all kind of stuff that makes your heart tick. Listen and steal licks from your favourite musicians and then shape them into your own and eventually create your own lines.

Hope it made sense?
 
Last edited:

Pellman73

Well-known member
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Aug 9, 2016
Messages
1,762
Thanks a lot :). It's a pretty easy and classic progression Gm7/D7. The first choise would be G-dorian and over D a mixolydian scale. It is the same notes in those scales with different emphasis. Then I play different arpeggios and triads and some chromatic stuff etc. which leads towards the notes in the scale in different formations. Nothing fancy I would say. The main thing is to play the notes with certain feel and the choise of notes. The feel, phrasing, choise and rythmics etc. and your approach is essential. For instance, the blues scale you mention does not have to sound like anything blusey at all. The scale itself is just a bunch of notes. A great way to start after learning G Dorian as in this case is to divide the scale into all the triads within the scale in all the positions over the neck. That way you can make it more interesting and also mix it with the blues scale for instance (which works perfect with the dorian). Blend in all kind of stuff that makes your heart tick. Listen and steal licks from your favourite musicians and then shape them into your own and eventually create your own lines.

Hope it made sense?

It does -- a lot!

and I would say it sounds pretty durrned fancy to me ! I need to learn these other scales. that's the bottom....line if you will

thank you.
 

Highway Star

New member
Joined
Oct 8, 2017
Messages
192
It does -- a lot!

and I would say it sounds pretty durrned fancy to me ! I need to learn these other scales. that's the bottom....line if you will

thank you.

Thanks and good luck. To get fast results in the beginning I recommend to start your practice in the same "box" of the neck as first position of the blues scale. :hank
 

renderit

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Joined
Jan 19, 2009
Messages
10,950
It's da Nope if'n ye scurrilous and sacrilegious beasties care!
 
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