1

(21 replies, posted in Chordie's Chat Corner)

Start over?

I didn't realize we'd quit!  smile

2

(4 replies, posted in Chordie's Chat Corner)

Kalaloch is one of my favorite places on Earth.   We used to camp out there a ton when I was a kid, and when my kids were still interested in camping, we went out there all the time.

Cm is the natural minor relative to Eb.  Fm is the natural ii of Eb. That part is in the key of Eb.  The only really "out of key" chord from Eb is the C major chord.

In the chorus, Dm is the natural minor of F.   So I'd say the song is in Eb, and modulates to F for the chorus.

4

(15 replies, posted in Other string instruments)

Doug_Smith wrote:

See you learn stuff on Chordie Too !!  If I'd known there were only Three Chords to have to learn, I might have made a different choice of instrument all those years ago!

Only three chords for guitar, too.  The I, the IV, and the V!

I did fool around with a friend's old "F" Mando way back in High School, but was intimidated by the petite thing and trying to get my big 'ol fingers down between those narrow frets.  Haven't looked back..... yet.

I hear that "big hands" thing a lot when it comes to mando.  Every time I do, I point the person to Mike Marshall.  Dude has hams with sausages hanging off them for hands.  He absolutely swallows the neck.

Here's Chris Thiele and Mike ripping it up a couple of years ago.

https://www.youtube.com/watch?v=5ypsqqKU2a8

Check out them meathooks!

5

(15 replies, posted in Other string instruments)

So, just finished up with another Wintergrass.  My oldest child showed up to help tending bar in the green rooms, and otherwise helping out with the liquor distribution.   She also decided she wanted to play mandolin, so she went and bought a student model.  Nice little mando.  She showed up in my office with it, very proud.   She had nothing else, though, and no idea she even needed it. 

Off we go shopping.  Case, strings, picks, tuner...  I'm $100 into the thing and I don't even play it!  big_smile

Anyway, she now knows all three chords.   It's pretty amazing all the lessons a pretty girl can get just walking the halls.

6

(28 replies, posted in Recording)

A lot of the stuff, because it's commercial, requires you to have an iLok account or otherwise register with the providing company.   That is a bit of a hassle, butyou'd have to do the same thing if you actually purchased the software, too.

My account page has a list of all the stuff I'm eligible for, along with whatever the latest Plugin Collective offer is about.   Beyond the secondary registration hassle, it's been relatively pain free.

7

(8 replies, posted in Chordie's Chat Corner)

Zurf wrote:

From now on, buy your guitars in Hawaii. Everybody's happy. Except your wallet.

The last time I "lost" a bet, I came home with a really nice Kala ukulele.   I play it every night with the baby.  It's got the exact same body style and finish as my Breedlove, so she gets the little one and I get the big one as we play "The La La" song together.

8

(28 replies, posted in Recording)

I just bought a Focusrite interface, and along with it comes a ton of good software, little of it free unless you are registered with Focusrite.  They have what is called "The Plugin Collective" where every month there is a commercial VST made available to members.  You don't actually have to own a Focusrite interface to take advantage of it, but more is available to those who do.   So far I've recieved

* Focusrite's Red 1 and Red 2 compressor and EQ
* Addictive Keys instrument of my choice (I went with the grand piano)
* Syntorus' Double Path analog chorus.

That's about $500 worth of software for nothing, which is quite a bargain considering the interface was $300.  smile

So I'd register with Focusrite just in case they decide to drop some freebies on everyone, which they do on occasion.

https://us.focusrite.com/home?rd=1

9

(8 replies, posted in Chordie's Chat Corner)

That's funny.

I have a couple of guitars that are the results of lost bets.  She loses, I get a guitar.  I lose, she gets a trip to Hawaii.

Despite the incredibly high maintenance, she's worth it.  smile

10

(4 replies, posted in Chordie's Chat Corner)

Nice!

Every day the almost-two-year-old and I sit down and sing songs.  I play guitar.  She plays the uke.  The song goes like this.  (It's in G, if you cared)

La lalaa lala la la la la lalalala la la la la laaa.

Sometimes she changes it up to "Lala la la lalalalala la la la".

Which works, too.  smile

11

(23 replies, posted in Chordie's Chat Corner)

Shawn Lane "Paris" show.
1970 Atlanta Pop Festival - Jimi's last big show.
Late Zeppelin '75 tour (The Physical Graffiti tour)
The Dwarves, anywhere.
'91 Lollapalooza in Enumclaw, WA.  Notes on this beyond a whole lot of really good acts.

Enumclaw is my home town.  It is a tiny little redneck cow town southeast of Seattle.  It is also home to the King County fairgrounds.  Seattle is the King County seat.    So Lollapalooza brought in all these super alternative acts (Jane's Addiction, Butthole Surfers, Nine Inch Nails, Fishbone, Rollins Band) and their super alternative crowd into tiny little redneck square peg Enumclaw.   The town went nuts.  I was in the Navy at the time  getting ready to deploy to the Persian Gulf, so I couldn't attend.  My mom had been sending me copies of the local newspaper, the Courier-Herald.  After the show, the editorial page took up most of the issue with letters about all these purple haired weirdos invading the town.  I wish I was there not so much due to the concert, but because uptight civic hysterics always amuse me.

Shows I have seen that I'm glad I did see.

Primus at the Palladium in SFO.
Jane's Addiction at Iguanas in Tijuana
Social Distortion at Iguanas in Tijuana
Van Halen 1984 tour
Grateful Dead at Memorial Stadium in Seattle.  This more for the crowd than the show.  Entitled hippies everywhere!
GWAR at the Showbox in Seattle
Bill Frisell at Jazz Alley - I love Bill and have seen him multiple times, but his bass player (Tony Scherr) absolutely robbed this show.
Maynard Ferguson at Jazz Alley - This was actually a terrible show.  Maynard had kind of lost his chops at this point, but he died shortly afterwards so I'm glad I got to see it.
Robert Cray - Key Arena in Seattle - This was the last time I went to Bumbershoot, and that was maybe 1986?.  The city has fairly ruined that festival since.
All that early grunge in a whole lot of venues in Seattle - Those were good days, my friends...
Green River - This band in and of itself didn't amount to much.  Locally they got kind of popular, but former members went on to form bands like Perl Jam, Mudhoney, and Mother Love Bone.  Hugely influential in that regard.
Queensryche - Enumclaw High School.  This might have been 1983?  It was just before they blew up into what they are now.  Town did not freak out.  smile

I'm sure there's more.  I've seen a brazillion shows.

12

(16 replies, posted in Chordie's Chat Corner)

Baldguitardude wrote:

You'll wind up a much better player too.  Think of this as overcoming a plateau.  Like learning barre chords lol.

Yeah, that.    Set aside half an hour a day to practice, and then do it.   Come up with a plan, or use a guided book to help.    I bought this https://www.amazon.com/Guitar-Aerobics- … 1423414357 and it's been invaluable for those  times when I'm just not feeling it.  I know at a minimum I can open that thing up to any random page and at least have something to practice.

13

(16 replies, posted in Music theory)

beamer wrote:
jerome.oneil wrote:
Baldguitardude wrote:

While this is technically true, knowing how to play them and knowing how to use them are very different things, agree? I can play locrian up and down the fretboard.  Using it in a musical way? No idea.

That is true of all things, though.  No point having the most awesome set of tools in the universe if you're the worst carpenter in the world.

Well heck by that logic Jerome, I shouldnt have but one guitar either, but lets not forget the FUN  of it to.

I'd be curious for you to  walk me through the chain of logic that lead you to that conclusion.

Because if tools:carpenters as guitars:musicians leads you to that conclusion,  then either you've got a serious logic problem or you're a carpenter that only owns a hammer.

Edit:  After further reading, that came off as kind of snarky and I don't mean it that way.

You're a musician.  You make music (don't deny it, I've heard you!) and are entitled to all the hammers you want.  smile

14

(16 replies, posted in Music theory)

Baldguitardude wrote:

You talking to my wife? I've been called an awesome tool before.

Are we married to the same woman?

15

(16 replies, posted in Music theory)

Baldguitardude wrote:
jerome.oneil wrote:

If you can play a major scale, you already know all seven modal scales as well.

While this is technically true, knowing how to play them and knowing how to use them are very different things, agree? I can play locrian up and down the fretboard.  Using it in a musical way? No idea.

That is true of all things, though.  No point having the most awesome set of tools in the universe if you're the worst carpenter in the world.

16

(182 replies, posted in Chordie's Chat Corner)

You would think at some point Dan Quinn would figure out you can not go into even a little bit of a prevent defense against Tom Brady.    If you give that man so much as an inch underneath, he's going to take you to the house even if it's a mile down the road.    Dan did the exact same stunt when the Pats beat the Seahawks two years ago.

Anyway, as much as I hate the Patriots, that was awesome to watch.   Brady has cemented his place in football history.

17

(16 replies, posted in Music theory)

If you can play a major scale, you already know all seven modal scales as well.

If you understand how chords map to the major scale, you already understand exactly the same thing for a given modal scale.

18

(182 replies, posted in Chordie's Chat Corner)

Russell_Harding wrote:

you may be right but I still think there are a few guys out there who are as big and fast as he is maybe not in the present NFL but upcoming drafts and I agree it will be a darn good game and if Atlanta plays anywhere close to how they played the Packers New England is in for a tough day ahead.

Sure, but that right there is the problem.  There are a very few guys out there that can play him man to man.   Maybe Patrick Peterson has that kind of size and speed, but even a guy like Richard Sherman, one of the most physical CBs in the league,  isn't fast enough to do it alone.  Jones is just one of those freak show athletes that you have to plan against.  He's generally the best guy on the field no matter who they're playing.  Think Jerry Rice, except only bigger and faster.

19

(182 replies, posted in Chordie's Chat Corner)

I don't think the combined '85 Bears and '75 Steelers defenses could slow down Atlanta's offense.   All the passing and a running game to match.  And their defense is really good, too!

Julio Jones would kill you in man to man defense, Russ.  He's too big to put a fast corner on, and too fast to put a big corner on.  The only way to play him is in a zone where the safety can come and help.

Anyway, the Superbowl should be an offensive showcase, which should make it entertaining.  I'm a fan of the other birds for the time being.  big_smile

My prediction - Atlanta 42, New England 35.

20

(182 replies, posted in Chordie's Chat Corner)

dino48 wrote:

Green Bay just won over Dallas,One of the best games I have seen.


Instant classic.  The Cowboys are going to be dominant for a long time with those kids.  But like I said, "Old age and treachery over youth and skill!"  big_smile

21

(182 replies, posted in Chordie's Chat Corner)

TIGLJK wrote:

Falcons played great
Seahawks at full strength would have a tough time winning

They've looked wobbly most of the last 8 games.  Since Earl Thomas went down their pass defense has been terrible, which shouldn't happen as there are a whole lot of good players not named Earl Thomas on that defense.    The problem this year is the same problem for the last four years, "terrible offensive line," except that this year it was minus Marshawn Lynch and Russel Wilson's legs.   They *have* to do something to address that dumpster fire, or their run is over.   I'm not optimistic, though.  Pete Carroll's greatest asset, his eternal optimism, is also a huge liability some times.  There is only so much shine you can put on a turd.

Atlanta's offense looks *fantastic.*  It's just fun to watch those guys move the ball.   And I'm sure everyone here knows how I feel about Aaron Rodgers (best QB ever, if you didn't) so the NFC championship game is going to be a doozy,  and I'm OK with either team winning.   Atlanta coach Dan Quinn was Seattle's Defensive Coordinator when he got the Falcon's job, so seeing him win the big one would be cool.  And because I'm a big Aaron Rodgers fan, I'm OK with Green Bay winning, too.  From a pure football fan perspective, I win either way there.

I'd live if the Steelers won through (no opinion on it, in fact).  If the Pats end up winning it again, someone is gonna have to talk me off the ledge, though.  big_smile

22

(182 replies, posted in Chordie's Chat Corner)

topdown wrote:

2 thoughts

- The ACC one again proved they weren't the pushover conference everyone thinks they are

When was the first time.  big_smile

23

(26 replies, posted in Chordie's Chat Corner)

sisyphus wrote:

There's a world of examples of artists being coerced by industry bureaucracy Jermone

Richard Berry , writer of Louie Louie sold for $750  (later winning  a $2M lawsuit)

It was the Kingsmen (the band that blew the song up) that got sued, specifically *because they hadn't paid any royalties for their cover* of it.  They won that suit.  And they weren't sued by Berry.  They were sued by the guy who ran the company Berry sold it to.

Berry sold his publishing rights for $750 but retained radio play rights.  He bought 3/4ths of the publishing rights back in the 80s.   He didn't get ripped off.  He wrote a song, sold it, and it blew up huge.   He made a pretty decent living writing songs, had one blow up to huge fame, and bought and sold his rights to it just as the law says.

So yes, you may claim it's the'law'  , but it can not achieve, nor can it assume any moral high ground as the 'law'

It is absolutely morally correct that the owners of a song have 100% complete control over what happens with that song.  That includes all rights for play, copy, publishing, and reproduction.

Were I to have the grand priviledge to play Paul McCartney, Chuck Berry , Robert Plant's creations in front of them, do you really think they'd have hat in hat?, speed dial their lawyers?

No, they'd simply wait for their check from BMI or ASCAP, just like the thousands of other artists those organizations protect.  It is their job to look after McCartney and Plant's best interests.

Where i to do the same for some up/coming area artist (yes i've met my share) do you think they're approach would differ?

What they do with their property is entirely up to them.  If they think it's cool you play their stuff, then good on them.  If they think you should pay them for the right to use their material then you should break out the checkbook.

How  anyone steals by simply presenting the 'works' of said entities is purely the machinations of greedy recording industry elitists , who have so little in common with the real musical world it makes me wonder why they pursue it other than stuffing their own coffers

It is the theft of someone's right and privilege to control how their work is used by those who think they should simply have access to whatever they want regardless of the artists desires.  And it's usually with some contorted justification based on "greedy executive" straw men and the singularly bizarre notion that by violating those artists rights, they're actually doing them a favor.  By your line of reasoning, Berry shouldn't even have received $750 for Louie Louie as anyone should have just been able to use it however they wanted.

If you want full control over stuff, write your own stuff.  When you're playing someone else's stuff, you do it according to their rules.  And for a whole lot of people, their rules are "I've joined a rights enforcement group to do that for me."

That's how it should be, as well as being the law.

24

(26 replies, posted in Chordie's Chat Corner)

sisyphus wrote:

A club has no right to host performances of a work owned by someone else any more than a publishing company has a right to put someone's work on a record if they don't own it.  That is not only morally correct, it's the law.

BMI distributed $950 million in royalties to artists this year on a little over a billion in revenue.   Most of the money they take in goes back to their member artists.

Add in any shopping mall , televised , or otherwise 'public airwave' accessible media playing say, oldies , and the issue would appear to boarder on moral turpitude Jerome

Further, the $$$ goes to the 'copywrite owners',  which in what i understand is the majority of cases , isn't the original creator at all, instead the record labels as well as music industry CEO's are the one's  sucking up the $$$
~S~

That's perfectly OK.  In 100% of those cases the rights to the work were explicitly transferred by contract.   That is also just and the law.  If I write a song and Sony Entertainment buys the rights to the song from me, that is my choice.  I got paid.   If that song goes on and makes Sony a bazillion dollars because they have access to massive marketing and distribution channels, and had Justin Beber sing it, then that is *also* just and correct.  They bought the rights to the song. It belongs to them now.  The reason labels get a large portion of that revenue is because they purchased a large portion of songs from people.

If you sell your car and someone goes and wins the Indy 500 in it,  it doesn't entitle you to any of the winnings.

25

(26 replies, posted in Chordie's Chat Corner)

beamer wrote:

Its a crap shoot, and all opinions differ.  Why not ask the club owners?

Because club owners are the ones in violation of the artist's rights.  It's essentially asking a thief what he thinks of the police.

If they are making money (and they are) off of other people's music,  they need to pay those other people.  That is what BMI and ASCAP do.