Regal Square Neck – Acoustic Series ~ 1 of 4

on February 23rd 2010 in Uncategorized

Discussion to follow…

57 Comments

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  1. Jeff

    That was beautiful!

    I really enjoyed that, and am listening again right now.
    “Near” DADGAD? Is that somewhere overseas? ๐Ÿ™‚

    I really like all the Air around those Notes. Such a beautiful Sound. It’s a 3D Sound, even through less than stellar speakers.
    What a great surprise!

    Thanx.

    Posted February 23, 2010 at 10:10 pm
    • Kimock

      Somewhere on the outskirts of Dadgad, yes.
      That guitar is just funky enough to have one of those schizophrenic low D strings that’s sharp on the attack and flat on the tail. . .
      Paint with the colors you got!

      It is a pretty sound tho, glass bar, played very open. If you check out the left hand position, that goofy looking “fingers up in the air” routine would be the opposite technique to blocking or muting the strings behind the slide, which would be a little more normal approach for most situations.

      In this case, some of that 3-D effect that you’re hearing could be from some strings ringing behind the bar.
      Some of it is the stereo pair of mics, one on the body and one up over the nut to hopefully catch some of that “downstream action”.

      There is no studio trickery involved, no reverb or EQ or anything. Just dry guitar, doing its best to ring a little.

      No drones or tuners, just basic entry level funk acoustic search for simple harmony.
      Kinda nice with all the snow outside on this end. Thanks for listening.

      Posted February 24, 2010 at 12:31 am
      • pdxtom

        Lovely. Steve, thanks for the reminder about how nice things can sound by sometimes not muting the strings.

        Posted February 24, 2010 at 1:02 am
        • Kimock

          Listening to both sides of the string ringing together was what got me started on the whole intonation chase.
          Hey! These notes are in tune with each other, but the bar isn’t over the fret!!!
          It’s a trivial demonstration with a really long, complicated backstory.

          Posted February 24, 2010 at 1:29 am
          • pdxtom

            Yep, that’s got to have been a great jump-in point to start exploring the intonation thing. Those danged frets can lock us down and impede understanding all that goes with intonation, can’t wait to hear more of the backstory.

            Posted February 24, 2010 at 8:19 am
          • Kimock

            Ok. The ENTIRE tuning, intonation, temperament issue is visible at a glance if you consider the fret and string separately instead of together.
            We’re used to combining string and fret when we play or think about playing.
            That’s what we do to play guitar, but if you see them as two different systems, it’s staring you in the face. Overtone series and 12 equal divisions.

            OOPS, sorry. those last two replies appeared out of sequence for some reason. I’ll fix it tonite after the gig.
            The above was in reply to pdxtom “frets” I believe, and the bit above that was supposed to be in reply to “more KK”. Still not the computer guy!!

            Posted February 24, 2010 at 2:53 pm
          • Cliff

            It’s always in tune? I’ve seen you pluck on both sides of the bar

            Posted February 25, 2010 at 8:41 am
          • Kimock

            No, it’s actually never exactly in tune.
            I’m not hip to the physics involved, but my casual observation would be that the contact area of the bar with the string must be larger than the harmonic node at that point on the string.
            You can locate the bar at a position along the string that gives you good in-tune harmony from one side of the string to the other, but that interval is never exactly in tune with the string.
            Ordinarily that would suck, but you get a little vibrato on it and it sounds like beautiful 3-D chorus.
            One little trick I like is to uncover the back of the bar when I’m up at the octave, smack the string to get both sides ringing, and then play some descending lick down to that 4th fret, 5:4 major third (whatever) you hear the pitch on the front side of the bar going down and the pitch behind the bar going up, and they both sound ‘in-tune’. It’s a cool sound.

            Posted February 26, 2010 at 5:05 am
          • pdxtom

            Ala the beginning of Samba, I think that’s where I first heard you use it. I’m finally getting a tad more comfortable with lap steel, and have started to play with this effect. I love those translucent, dancing harmonic pitch tones.

            Steve, your observation about the amount of bar contact area makes good sense to me. I imagine that’s also why bar slants, with a bit of vibrato thrown in, help our ears compensate and (excuse the pun) not ‘fret’ so much about the resulting notes in a slanted triad so we can get away with some shapes otherwise not possible.

            One of my current challenges is developing a natural, flowing bar vibrato. Any observations or suggested practice exercises (besides the obvious time investment) for bar motion/action to develop smooth bar vibrato?

            Posted February 27, 2010 at 2:39 pm
          • Kimock

            A little vibrato goes a long way to pulling some of those slants into useable condition, yes.
            If the tempo isn’t too quick, sometimes all you need is a little scoop up into a slanted double stop to get it to behave.
            Both techniques you mentioned, vibrato and slant bar are not the easiest techniques to do well.
            At some point I’ll do a little video demonstration of each, and suggest some exercises, but I’m telling you right now that some of that stuff is too personal to adopt from some other players technique.
            I have some favorite players that I’ve tried to borrow from outright, but what I was trying to ‘borrow’ never really stuck.
            I wind up defaulting to “me” at whatever condition my own chops are in.

            One thing for sure tho, you need to work on the slide stuff everyday for anything at all to stick, and you’re probably better off not switching up tunings, bars, picks, instruments etc.
            I make more progress when I stick to one set of variables.
            It’s great fun to experiment and explore, or just cut up, bottle neck Fender bass etc, but you need to separate that from maintaining your technique.

            Posted February 27, 2010 at 3:41 pm
          • pdxtom

            Ah yes – I bounced around and wasted a lot of time before I figured out, as you say, to start limiting the variables. That’s when I finally started to make some progress. As much as I like the feel of finger on string, I took some time to get reacquainted with finger picks so I could get some reliable articulation. For now, I’ve settled on open D, it works with a lot of common material and keys. Both my Supro and my squareneck have 23″ scales and string spacing is the same, I use the same string gauge for both. And you’re right, it needs work every day. But the payoff is…a bit of progress!

            And as it comes, I’m also starting to feel a bit of what you describe as personal technique.

            Posted February 27, 2010 at 4:31 pm
          • Kimock

            Sure feels like it takes forever tho, huh? :^ )

            Posted February 27, 2010 at 5:11 pm
          • pdxtom

            Truer words have never been spoken…

            Posted February 28, 2010 at 12:41 am
  2. Cliff

    Hi Steve, nice to see you the other day. This is how it went, I always ask the student what they want to do in the lesson, my student Isaiah suggested some Kimock,fifteen minutes later you pop in. Too much.

    So Steve, what are we listening to here, your tone choices?

    Very nice

    ps, what’s with the elephant in front of the cab?

    Posted February 24, 2010 at 7:06 am
    • Kimock

      Hi Cliff. Yeah, just listening to some different intervals, simple ones. Gotta run! Talk soon.
      What Elephant, I didn’t see any elephant??

      Posted February 24, 2010 at 3:04 pm
      • Cliff

        There is an elephant in front of that Vox cab
        at the bottom, it lives in the barn.

        or am I the only one?
        Oh man I’m seeing elephants.

        Posted February 24, 2010 at 7:46 pm
        • Kimock

          Oh that elephant!
          Ok, this is going to keep coming up so now would be a good time to point out that the object you’re referring to is not an actual elephant, it’s a toy.
          It’s quite a bit smaller than a real elephant, and it’s not warm blooded or animate in any way. It’s made of plastic.
          You could say it represents “elephant” or stands for elephant, but it’s elephant nature is superficial. I guess we’ll name him “Fret”.

          Posted February 24, 2010 at 9:29 pm
          • pdxtom

            Don’t fret, fret.

            Posted February 24, 2010 at 11:24 pm
  3. David

    Wow…what a gorgeous 4 minutes to start my morning. Thanks for that! Those 2 seatings in NYC are gonna be really special.

    Posted February 24, 2010 at 9:04 am
    • Kimock

      You are most welcome!

      Posted February 24, 2010 at 2:47 pm
  4. steve

    beautiful!!! .. what a touch…. have you studied indian raga’s with anyone in particular? do you base your improv’s off of any particular ragas? it would be amazing if you did a music session with musicians from india..
    thanks

    Posted February 24, 2010 at 9:59 am
    • Kimock

      No, no real study. Just more or less constant exposure since I was a teen.
      My improvisational stuff is whatever is floating around in my head or in the air at the moment. A little bit of everything I’ve bumped into and enjoyed. Would love to get more serious about the NICM thing, but instruction is hard to find on my schedule and I would be starting pretty late in life. Still would be nice tho, huh?

      Posted February 24, 2010 at 2:46 pm
  5. Chris

    That’s most beautiful and very inspiring , sounds like your snowbound ideas are taking shape rather nicely.

    Posted February 24, 2010 at 10:06 am
  6. Andy

    nice, steve. thanks for sharing. any chance you could add to kimock’s corner more frequently? ๐Ÿ™‚
    i know, i know…you’re not home much…it’s cool…but we do like K’s K….

    Posted February 24, 2010 at 1:21 pm
    • Kimock

      Yeah, I’ll be on it more. Had some technical difficulties on my end with the camera audio that took forever to resolve, but I think we’re up and running now. I am so not the computer guy. . .

      Posted February 24, 2010 at 2:39 pm
  7. Queenie

    NICM – why not with Ken (July in Cali)?
    and btw – I saw the elephant, too. Where are your glasses ;)?

    Posted February 24, 2010 at 4:25 pm
    • Kimock

      The glasses made some UFO spots on the guitar, so I took them off.
      Didn’t know Ken was going to be in Ca. Hope I get to see him, he’s an amazing musician, world class, huge respect for that guy.

      Posted February 24, 2010 at 9:33 pm
  8. I guess the lesson here (or the one most obvious to me) is that the intervals take higher priority than the song. This is a contrast to much of the music you hear in your daily life, where the song appears to take priority over the intervals.

    Someone unenlightened may shrug this off as noodling.

    Posted February 24, 2010 at 7:39 pm
    • Kimock

      That was certainly not how I intended that bit to be understood. That was just a couple of basic intervals with a few twists away from the tonic, just to demonstrate basic tune on the fly type playing.
      The vast majority of the music we hear owes its affect to the fact that there are a great many more intervals in play than the standard 12 tones recognized in European theory.
      The object here is to get some traction on the origin of those intervals, to understand their meaning, and how those meanings are rendered by different instruments, in different styles and cultures, and in different temperaments.
      That begins with hearing those basic resonances against a single tonic as specific low ratio intervals, non-modulatory, and expands from there. But you have to start somewhere, and if we begin on the guitar, that’s what some of those basic intervals sound like, and that’s what the association of some pitches do to those intervals when you play them melodically and harmonically.

      The unenlightened are forgiven for confusing exercise with composition, and tuning for noodling. Music IS pitch specificity, a song IS its constituent harmony, and the strength of the tonalities employed is based on the unequalness of the tuning.

      That’s what we’re looking at here, for the “unenlightened”.

      Posted February 24, 2010 at 10:17 pm
      • too cool.
        could you please elaborate on the idea that the strength of the tonalities employed is based on the inequality of the tuning

        and when you say that “a song IS its constituent harmony”, that makes some sense to me. i follow that to a place that suggests that songs have ‘harmonic safe zones’ and ‘sequential structuring’ to allow for musical layering and multiple perspectives.

        and if the quality of the song is the same quality of its constituent harmony, how do you develop, compositionally, that harmonic structure to a place where it will shimmer and shine, bask in all the overtones, be dripping wet with emotive relevance, and yet be understandable and even malleable by other musicians and even by the audience at large?

        drew

        Posted February 25, 2010 at 9:27 am
        • Kimock

          Yeah sure. We’re gonna go over this point a lot, it’s important.
          The basic idea is the same thing you would notice in the different size scale steps in the major scale, which is obviously “Tonal” as compared to the identical sizes of the steps in a whole tone scale, which is obviously “Atonal”.

          That same idea continues to hold as things grow progressively microtonal.
          This isn’t some kind of scientific bullshit, or new age bullshit, or useless trivia, it’s how we play guitar: everybody does it.
          That’s what a “lick” is on the guitar, a little push and pull, a little english, a little wiggle, flick of the wrist etc.
          It’s the personality and the personalization that we enjoy in our favorite players’ touch.
          Some of it’s natural and intuitive hearing, some of it is the size of our hands and strings, scale length, “physical balance of resistances” between player, instrument and set up, and some of it is very deliberate intonation away from 12 tone equal temperament. Jeff Beck comes immediately to mind, but EVERYBODY that plays worth a shit does it, and everybody who doesn’t play worth a shit is just doing it wrong, period.

          That’s what the majority of this is about for me, just trying to understand in a more formal, conscious way WTF is going on with the specific pitches that my favorite players use, and to be able to understand and consistently apply those sounds in my own performance of my own stuff.

          Re: the rest of your post, I don’t have a clue, but it’s all worthy of discussion if anybody else wants to pick up the ball.

          Posted February 26, 2010 at 5:49 am
          • Thanks. I still don’t really get it, but I think you are doing a good job explaining it, it is just a big concept that takes some work understanding.

            I tune my guitar… ok all the open strings are in tune. But then play a note up the neck on any string and it will be out of tune, some worse than others. So I understand that the guitar has a fundamental tuning problem that the keyboard, for example, does not.

            What I don’t understand, and what I think you might be talking about, is how guitar players mature to work around and maybe even work with this problem.

            I understand the concept of pushing and pulling the string in tune, and I understand the concept of trusting your ears when playing with a slide and not taking the fret line to be any absolute indicator. But I don’t understand the other stuff, just intonation or whatever. All I know about equal temp is that it made a note match up with its octave. And some people say in the process of creating this system we have ruined harmonics.

            But I still can’t draw a clear line from this discussion back to me sitting with the guitar, the open string being in tune but a note up the neck being out of tune.

            I hope this helps.

            And thanks, by the way. Many ‘pros’ that I know would never, I a million bajillion years, take the time to help young guys like this. SO THANKS BUD

            Posted February 26, 2010 at 9:23 am
          • Kimock

            Hang in there. The whole thing is pretty complicated when you’re just trying to talk about it or think about it, but it’s totally natural if you roll up your sleeves and do it. It won’t all come to you at once, but every bit that does come you are going to OWN, and that’s pretty cool.
            Lots of other stuff to work on while we wait, so just hang in there, use your good ear and try not to think too much!

            Posted February 26, 2010 at 12:00 pm
          • i listened to this slide thing again today, twice actually, and instead of viewing it as a song, i thought of it as an exposition of intervals, something like you had suggested.

            boom. it instantly made sense to me, both as a piece of music and as an educational experience. later when i was thinking about this, i realized that i made a piece of music like this. and i never really liked it or did anything with it, because it just had no structure, but i went back and listened to that again, with the idea of an interval exposition in mind, and boom again, it suddenly made great sense to me. if you want to check out the track, it’s The Winter’s Door at myspace.com/tonewoodblack . anyway, thanks again

            Posted March 3, 2010 at 1:15 pm
  9. Jerry

    Thanks for the new Video ! The fret and string allusion is a great visual aid !

    Posted February 25, 2010 at 12:46 pm
  10. Eric

    Do you ever sleep?

    Posted February 26, 2010 at 8:21 am
    • Kimock

      Not really.

      Posted February 26, 2010 at 11:50 am
      • Peerfct shot! Thanks for your post!

        Posted December 12, 2011 at 2:59 pm
  11. Jeff

    SK: “Thatโ€™s what the majority of this is about for me, just trying to understand in a more formal, conscious way WTF is going on with the specific pitches that my favorite players use, and to be able to understand and consistently apply those sounds in my own performance of my own stuff.”

    That’s what I’m after, myself.
    Stuff I’ve always accepted as the “Norm”, but could never really find concrete explanations of.
    You, Mr. Kimock, are the first person I had ever heard who actually seemed to be doing the same search. And you’re way ahead of me, here! So, that’s why I’m always pestering you with questions. There’s NO ONE AROUND MY NECK OF THE WOODS who feels comfortable discussing these topics in depth. So, I ask, I play, I listen, etc. I am working my butt off, actually! LOL But, it’s what I need to do. I always learn through Trial and (Lots of) Error.
    I often wonder if other Musicians don’t want to discuss this stuff as much as the more commonly discussed “Modes”, etc., because they are either unfamiliar with it all, don’t think it’s real, or because they don’t want to do the legwork. Either way, I do think it’s solid stuff. And I do want to be more than familiar with it! ๐Ÿ˜‰
    Your Video above is something I will try to sit and Mimic, this time. As maybe I can get more of the depth that way. I have resisted doing this (mimic’ing) up to now, as I was just working on the most basic understanding of the many Topics you’ve written about.
    So, I will try to Sing along with this Video, and also try to play some of the Lines and Harmonies. Maybe I can internalize it…..
    I’ve been a little scattered between your Posts, Harmonic Experience and Clifford’s work. Basically, like a Tennis Shoe in the Dryer, I’ve been making a lot of noise and just tumbling around.
    I will try to focus on the above Video for awhile.

    Andrew: “I tune my guitarโ€ฆ ok all the open strings are in tune. But then play a note up the neck on any string and it will be out of tune, some worse than others. So I understand that the guitar has a fundamental tuning problem that the keyboard, for example, does not.”

    I think I can speak to this a little. But please correct me, if anyone thinks I’m not getting it right.
    The Piano/Keyboard does have the same “Tuning Problem”. All Instruments that are using Tempered, 12 EDO System, are subject to the same thing. In fact, a Piano has it worse because a Piano doesn’t allow for using all 3 Points of the “Grid” (good word here? Not sure.). Whereas a Guitar CAn be “Bent/Pushed/Pulled” into either Camp. JI or EDO.
    Unless you’re talking about the new Fluid Piano. But, I’m wondering if the whole “Piano World” will take up the challenge of finally moving into the new Century, and embrace the possibilities. But, that’s a different discussion.
    Back on track here:

    Mr. Kimock has written of the INTERACTION between the Fretboard, the Overtonal Series and Harmony. It’s kind of a 3 Point Matrix.

    As far as the idea of the Harmony and the idea of it having a type of “Personality”, that’s one thing I’ve always gravitated towards. That Mindset/Approach has been something that I have exploited since I started playing. Mr. Kimock is one of the first people I’ve heard really speak on this. However, Howard Roberts also touched on this in some ways.
    And I see it kind of like this; Different Temperments, Scales, etc., do indeed have different Personalities. Or maybe a better Term is an “Accent” or “Dialect”?

    To me, the idea of a b5th. kind of shows this. Splitting the Octave in Half gives you a non-commital, lackluster Harmony. It is so “Neutral” in it’s Position that it just doesn’t have anything to say on it’s own.
    Now, firmly put your Foot down on either side, and you’ve said something. You’ve made a point. Say a 4th. or a 5th. Either taking the 12 EDO Pitches and going up to the 4th. or 5th., and you are on one side or the other. But dead in the middle? It’s like it can’t decide what to say.

    And I would recommend searching around in here:

    http://www.online-discussion.com/SteveKimock/index.php

    There are a LOT of good Posts, with Q & A. Requires some serious study, though.

    And here’s a particular Post of Mr. Kimock’s from over there. I hope it’s okay to Copy And Paste it here:

    SK: “You can hear and see the difference on your very own guitar.

    The just intervals are the same size as indicated by the harmonics, the et intervals are the frets.

    If you play the harmonic right behind the 4th fret, that’s ballpark for the just major third. The difference in size between the just and et 3rd is the same interval difference you see between the fret and the harmonic.

    I said “ballpark” because the sound of that harmonic might be a little sharp, an overtone as opposed to an exact harmonic. Usually if you copy that harmonic/overtone pitch onto another string and compare it too the fundamental that you got it from you need to relax it a little to get it smooth.

    The smooth version, as beatless as possible would be the JI 5:4.
    Same for the 7th, copy the 7th partial onto another string and relax till smooth. You always need to hear both notes to do that, it’s harmony don’t forget.

    The blue third is the easy on the guitar.
    It’s the 7th partial of your A string along with your low E string open.
    The physical location of that node, about 1/3 the distance behind the 3rd fret, is where you put your slide to hit that pitch. You can see it. 7:6 sub minor third or blue third.

    The septimal 7th would be that same location 1/3ish the distance behind the 3rd fret up a big ass whole step to the tonic, or down from the tonic a big ass septimal whole step to that 7:4.

    The just minor third is a little tricky cuz it’s not an overtone, but it’s easy on the guitar because you’ve been doing the move all your life.

    You know when your playing your “blues lick box stuff” in A, how you bend that C on the G string up a little bit?
    Bend that C on your 5th fret G string up a little and play it with your open high E string. When you hear that make a good major third, C up to E, hit your low A string open.
    That’s Just minor. A to that slightly bent C. 6:5

    It’s the same proportion down from the 5th as the major third 5:4 is up from the tonic.
    Anyway, do it yourself on your own axe.
    There’s no education in listening to somebody else do it, and a lot of the demonstrations are midi files that compare the pitches directly, which is pointless, trivial.
    It’s not a pitch discrimination issue, it’s a harmonic context issue, and it’s only going to have any real value if you do it yourself.
    There’s no way to get this shit second hand.
    It might take a minute, and you might poke around the edges for a while, but if you’re a human being and this is earth, you’ll fall in eventually.
    It’s totally natural, it’s just not how most people learn music, so it takes a minute to see it if your already studying from a different perspective.”

    Anyway, I don’t want to derail anything here. So, if needed, just delete this Post.
    I hope I got this all semi-correct. I think I did.
    And I hope this helps with “getting this stuff”.

    Off to work……..

    Posted February 26, 2010 at 12:38 pm
  12. yeah i need some time to digest all this

    but wow thanks

    Posted February 26, 2010 at 2:15 pm
    • Jeff

      Andrew,

      I frequently check in to the Discussion Forum to study these Topics. However, I seem to be the only person who Posts over there, except for the Gear discussions.
      If you ever want to discuss these things, please let me know. I am also a Student of it all, and would be happy to talk.

      Posted March 6, 2010 at 11:53 am
  13. i guess everyone has different tactics and techniques that they employ to make their guitar sound correct to their ears and tonal sensibilities

    so, a lot of it IS personal

    Posted February 28, 2010 at 9:14 am
  14. this is somewhat unrelated but maybe steve or some of you other guys can help me out with this

    so, i am a new guitar player, and i have been playing the stratocaster for a while now. don’t get me wrong, i absolutely love the strat, but i am ready for a more serious instrument and am primarily interested in an active guitar.

    i am just confused, though, because i can walk into any of the music stores around here and find multiple active basses, but active guitar seem to be a bit of a rarity.

    any suggestions? (for someone that doesn’t have a million dollars)

    Posted February 28, 2010 at 5:29 pm
    • pdxtom

      If you’re really set on active electronics, you could stay with your strat and try something like what I did with a Japanese strat copy back in the late ’70’s, slip some active EMG’s in there. They sell a Pro Series where you can select a variety of their active pickups and have them prewired & installed on a pick guard that you can easily install in your strat, all you need to do is dig out a bit of space for a 9v battery.

      http://www.emginc.com/products/category/11/1

      Posted March 2, 2010 at 1:35 am
    • Kimock

      Here’s my active option: http://http://www.caesound.com/cae_prod_new.html

      Posted March 2, 2010 at 4:10 am
      • thanks boys, i will let you know if i pursue any of these avenues

        Posted March 2, 2010 at 7:07 pm
      • pdxtom

        Ah, Scott Walker uses these components, ya? Have you used the CB1 Steve?

        Posted March 5, 2010 at 1:27 am
        • Kimock

          Yep. The CB-1, that’s my favorite so far.
          Unity gain and extremely transparent. It does a very cool thing to a humbucker, it’s basically what Garcia used the whole time he was doing the active thing with the loop in the guitar. I’m not sure if anybody knows exactly what else he was doing in the guitar electronically that might have affected the performance of the buffer/pre-amp, whatever.
          Pot values, power supply, etc, but the CB-1 straight up pretty much nails that shit with a humbucker.
          They sound great with single coils too, but the clarity isn’t quite so surprising to me compared to the buffer with the humbucker.

          The Jangletone version kills for the high gain stuff, and I’m sure I’ll pick one up in the future for that application, but for right now I’m kinda leaning in a different direction.
          That’ll change. . .

          Posted March 5, 2010 at 3:49 am
  15. Jeff

    Are these Posts all coming in and not posting in order? I’m feeling a little schizophrenic! ๐Ÿ™‚

    Posted March 3, 2010 at 9:57 am
    • Kimock

      That was me screwing it up and not having the time to fix it, sorry! I’ll figure it out eventually, and in the meantime I’m pretty sure it won’t happen again.

      right. . .

      Posted March 5, 2010 at 3:51 am
  16. Cliff

    Steve, could you talk about the glass slide and prefered string gauge with your Regal?

    Thanks friend

    Posted March 4, 2010 at 8:11 am
    • Kimock

      Yeah sure. I got that glass bar a couple of years ago from a guy on TGP who goes by the handle Hep Cat, I think. . .
      I don’t know if he still makes them, but they’re really cool sounding light weight little bullet bars, and I would be lost without that one I’m using in the video.

      Normally I string the Regal with the D’Addario Bronze acoustic smooth wound dobro set. If you go to their site, you’ll find ’em, I forget the exact name and number, I very rarely change them.
      Right now it’s got Pyramid 13 gauge acoustic bronze with a 16 for the high string, again I don’t remember why at this point because I so rarely change the strings on that guitar.

      If you don’t have frets to mess up the strings cross section, they still eventually go dead, but they never really go bad, so there’s not a lot of point to changing them. If they still play more or less in tune, I’m fine with that.

      One more thing about the bar. . .
      I don’t use the glass for everything. If I need the sustain or some more body to the tone, I have a very old Stevens bar with all the chrome worn off that I’ve used forever, and one or two misc. old chrome bullets if I need it brighter.

      The deal with the glass is the short sustain gives you a little more articulate sound. It’s a little plinky for most guys probably, but I love it.

      Posted March 5, 2010 at 3:36 am
  17. Heard of you from friends in Lehigh Valley & would love to hear you live. Music is a soul trip-you are so invested in your playing.
    Thanks,
    Foxy
    P.S. Can I e-mail you to inquire of gear ‘n stuff-I am a new performer?

    Posted March 5, 2010 at 12:50 pm
    • Kimock

      Hey Foxy, regarding the email, I don’t really have the time right now to answer private emails regarding tech stuff. Too busy. . .
      I’ll do my best to get the shared stuff online, but I would be completely useless if I started trying to go one on one with everybody.
      Hope you understand, only so much time in the day.

      peace.

      Posted March 5, 2010 at 1:28 pm
  18. seltz

    if i could only play what i feel inside. there’s a big leak between my brain and my finger execution. i’m happy i can hear it and feel it. working on my rythm work with some small leads around the chords. timing getting a little better. forever the student.

    Posted April 19, 2010 at 2:41 am
  19. AQ

    Hey Steve,

    I just borrowed Harmonic Experience from the library, so I’m finally understanding some of the terminology you’ve brought into the posts at “the forum” (I’m better known as “fretgears”).

    The approach in this book is so much more reasonable for getting to the root of the subject and I have to thank you for basically leading me down this path with that Schoenberg chapter that dealt with my whole C to Ab issue.

    My question for you is what other resources on this do you recommend? Harmonic Experience will easily take me a good amount of time to get through, but I would like to have any other materials you’d recommend to take in concurrently with that.

    I’m quite comfortable with my playing for what I want to do with it, and I have the vocal style that I want out of the instrument (“zappafingers” on youtube).

    I really like how you brought us into the process of digging out tones in these clips.

    Have a good day,
    Anthony

    Posted April 24, 2010 at 7:15 am
  20. Bill

    Little late to the party but better late than never…
    This is the first I’ve heard you play lap steel and it sounds beautiful. What you are doing here reminds me of Hindustani lap steel guitar – VM Bhatt and Debashish Battacharya.

    Posted November 19, 2012 at 5:08 pm

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