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When I first started learning I looked for and used some strumming patterns. I did that mainly just to help develop rhythm and to have a set pattern to practice chord changes to. After I learned a few songs and was comfortable with playing it just clicked and I've never really looked for patterns anymore. I find that if you play a song with just the guitar it's best to just trust in yourself to set the rhythm. Often times just playing what they play sounds empty and you need to fill in a little for the song to sound right. Most songs have multiple guitars going so you need to improvise to get the sound you want...

I think it's good to learn allot of diffrent patterns ,as it gives you more strumming options, as a beginner but they should never be followed religously. Good music is all about heart and you need to put a bit of your own into it to enjoy it. Just my thoughts... Peace! -Pix

Yea the vid is whacked...lol I couldn't find a good live version real quick so I just pasted that one. The artist is Jonathan Richman. He performs it with loops and it's a awesome track to hear live. http://www.chordie.com/chord.pere/www.u … ;id=161707  I upgraded my home studio last month so I've really been expanding my work now that I can layer tracks with multiple instruements and riffs.
   The gig was a hit! I had a blast! I'll post a little more in detail in the gigs section but It went really well!
Cure... GAS? :lol::lol::lol::lol:  That's like saying you figured out how to understand women...lol Peace! -Pix

http://www.youtube.com/watch?v=6LB6Q_oycfQ ...It's so true!

Or a more recent version by the presidents http://www.youtube.com/watch?v=Ibawg0lW7Kw I like this one a little better.

It's true though, music used to be about what you related to and now it's just a part of an image. It's seems that all the heart is gone from mainstream music. -Pix

Cort has really started to turn some heads recently with their acoustics. I haven't had a chance to try one myself but have heard good things about their Earth series. I haven't heard much about the SFX line but I know they are a slim guitar that seems to be more focused on their electrical side. They probably won't sound as full unplugged.
  In your price range I'd realy look for a good solid wood used guitar. A used Taylor 314ce would be in your price range along with several other great models/brands. Right now it's really a buyers market and the prices are great on gently used guitars that are often in near mint condition. You get allot more bang for your buck going this rought. Just my thoughts...
  Also, I know you don't really ever plan to sell when buying, but more than likely you will end up upgrading in a few years and you want to consider their resale value.
                                                 Peace!-Pix

I think the MIA hype comes from the american made companys like Martin & Gibson. If you go back in time a bit and look at it, There used to be pretty much either a Gibson or a Martin for a quality guitar. Both of those being american made. Then we get to the late 60's and an onslaught of cheap japanese/Chinese/Korean imported copys. While some of these turned out to be jems the majority were very poor quality and thus everyone began to associate poor quality with imports. They were labeled as cheap rip offs. A few of these imports established a name for themselves and live on today (Ibanez, Takamine,etc...) Then Gibson started contracting out epiphones to japan in the early 70's and the first few runs of these really lacked in quality control. A few would be good and them some would be total trash (more bad karma for imports). Then Martin followed suit with the Sigma line... It was just common practice that the higher end guitars were made in america and the cheaper models were done over seas due to the cheaper labor costs. So that's what everyone believed. Not to say that all american guitars are better. Martin had a bad run of incosistency in the 70's. Even today a comparable model 70's martin will not bring the money of an 80's model, usually. Gibson in the last 10 years has really fallen behind on their consistency as well. It's a gamble if you order one unplayed.. I think we are starting to come around though. Canada has really established itself in the guitar world as a force to be reconed with and more and more quality is starting to come from over seas (Blueridge,Morgan Monroe,The new Masterbuilts from epiphone,etc..) I'd say that in general more quality comes from america and canada at the moment but I'll grant that their are some very good imports out there as well. Just my .02  Peace! -Pix

Ok, I'm sure I'll get allot of static for this one but I think John Prine is way overated. Some of his stuff is ok but I really haven't been to impressed. I have a copy of his greatest hits and they're decent but I just don't get all the hype. I apologize to all the Prine fans...lol Peace! -Pix

Ok maybe a few pics will help. I just took these to give you an example.. In this first pic. I'm simple using a ruler to form a bridge between the slot of the E string and the second fret. http://www.flickr.com/photos/10950798@N05/2568132941/  Now in this pic I'm using a piece of paper over the first fret to gauge the distance. http://www.flickr.com/photos/10950798@N … otostream/ It should touch the paper just enough for it not to slide between them freely. Keep in mind that we are only talking about one aspect of a proper set up. Before you can perform this step you should have settled on the string gauge you are going to be using and the truss rod should be adjusted properly. It should have a "very" slight upbow to it. This will effect the nut setup some so it should be performed first. Then you can adjust nut and then you move on to the saddle. About 3/32 at the 12th is considered the norm for a good setup.... Some may want it a little closer or higher. It just depends on your style of play...

Oh Yea as an extra tip you can fret the string on the second and use the string as a straight edge. then just use the piece of paper between the string and 1st fret. It's not as accurate but will give you a good idea of how yours sets... And again, this does take practice. If you do decide to try it just remember to take a little off at the time. You can always sand more but it really sucks when you go to far and have to get a new nut or saddle and start over. If you don't feel absolutly confident you can handle it, I'd carry it to a pro and see if you can watch. Then maybe you'll be ready for the next time. Peace -Pix

It's funny that charlie brown (my avie) Is talking guitars with Linus...lol

If your wanting a soundhole pick up todays the day to buy it! Check out the stupid deal of the day from Musicians friend http://www.musiciansfriend.com/stupid Better act quick though, these will probably sale out quick. -Pix

Hey Cam, I call Chadbourn home. A small town between Lumberton and Wilmington. I'm about 2.5 hrs. from ya. Well we've got 3 chordians fairly close together... We need to organize a jam session sometime!

As far as the fingerings... Assuming you know the F (133211) We'll start with that fingering. Lift your middle finger (133111) and you have a Fm. Simply doing this on any E shaped barre chord will make that chord a minor. Lift your pinky finger and you turn it to a 7th chord.

On your A shapped Barre chords like B (x24442), To make it a minor you just form an E shaped barre chord on the same strings. So a Bm would be x24432. Just like a F# but lowered one string. Same rule applys for 7th chords just lift you pinky.
Hope that was more along the lines of what you were looking for.. Peace! -Pix

Hey Cameron, Lets look first at E shaped barre chords. The chord is based on the root note which is the E string of E shaped barre chords. So lets look at the E string going up the fretboard.
E string open = E
1st fret = F
2nd fret = F#
3rd = G
4th = G#
5th = A
6th = A#
7th = B
8th = C
9th = C#
10th= D
11th = D#
12 th is E again.

So it goes in this order E F F# G G# A A# B C C# D D#   You'll notice that all chords move in half steps with the exception of E to F and B to C. The # symbol represents a sharp chord. It can also be considered a flat chord... for example a A# on 6th fret can be considered an A Sharp or a B flat. A flat chord is usually reprsented with a lower case b (for example a E shaped barre chord on the 4th fret may be shown as G# or Ab) the same rules apply to A shaped barre chords.

A string open is A
1st = A# or Bb
2nd =B
3rd = C
4th = C# or Db
5th = D
6th = D# or Eb
7th = E
8th = F
9th = F# or Gb
10th = G
11th = G# or Ab
12 th repeats the cycle going back to A

Hope that was fairly understandable...lol Peace!

BTW... have to ask what part of NC you call home?

LoL... Thanks Tops! No fame here though...lol

Is it really the performance you'd want to see or possibly the mention of OPEN BARR is what caught your attention...lol I'll fill you in on details when I get them Monday after I go by his store with my set lists for his approval. Look forward to jamming with you again sometime!Are you still planning the beach trip and possible stop by this summer? Peace! -Pix

Glad you liked it!  Listening to my weekly fix of Gaijin Invasion at the moment! Love these guys...They always put me in a good mood...lol  http://www.youtube.com/watch?v=rgyh-5EQHjg