Please do the following ASAP: -1- Watch the attached video and read the "Welcome" post. -2- Introduce yourself (make a new post in the "presentation" category) -3- Go a like and comment 2-3 guitarists' introduction on the JG Fellowship. Welcome aboard! 🎸 PS To consider this "action as complete", write a comment below such as "done!"
After I said that I was buying a Yamaha Silent Guitar SLG200S and a Borsi humbucker pickup system to go with it, some members expressed interest. Here are my views. The Borsi pickup system is produced in Hungary, replaces the scratch plate on the SLG200S, and it is completely non-destructive and restorable. It is necessary to unscrew and remove the right frame, and this is a little fiddly but not too difficult. When fitting the Borsi, it is a good idea to have the instructions to hand – there are a couple of processes that are not obvious. The Borsi requires a right angle plug because the frame obstructs a straight plug; this is a minor inconvenience. There is a three-position pickup selector, as well as a volume and tone control. The neck and bridge pickups are thin to fit under the strings, and there are no pole piece adjustments. This is what I like about the SLG200S/Borsi system: It is compact and can fit easily in a wardrobe, it is light - 2.2 kg or 4.8 lbs, it is quiet although not exactly silent, the SLG200S has an inbuilt tuner and headphone socket, headphone output from the Borsi can be achieved with a headphone amp such as the Vox Clean headphone amp, and the SLG200S is less susceptible to temperature and humidity variations than, say, archtops. What I don’t like about the system is that the unwound treble strings sound ‘tinny’ and rather thin. Actually, the Borsi makes the wound strings sound more mellow, but not the unwound strings, so the trebles sound lacking by comparison. I have achieved some improvement by reducing gain at 4 kHz using my Katana’s parametric e.q., but I’m still not completely happy with the sound. My current view is that this system is great for practice, but not so much for performance, at least for jazz. It may be fine for genres that have more treble, but I don’t think I would take it to a jazz gig.
Nice work Martin, I enjoyed listening to your version as well. You may or may not be interested, but I picked up my own Yamaha SLG200S a few days ago, and I have ordered a Borsi pickup attachment, which provides two humbuckers and controls. I am hoping that this will give me a light guitar that will not disturb my wife when I practice, yet provide a nice jazz sound when I need it.
@Martin Aust I have left a review elsewhere on this site. Generally, it was pretty good, but I don't like the sound from strings that aren't wound. Playing with the tone settings and taking the 1st and 2nd strings up two gauges has made some improvement, but it's still not 100 percent. On the other hand, the difference between wound and unwound strings is barely noticeable using the SLG200S pickup. After shipping and taxes, it wasn't cheap, and don't think I would rush out to spend the money again.
Recently, my grand-daughter asked me to accompany her for a coming school performance, which I regard as quite an honour. Apparently, her music teacher is comfortable with this. We first recorded the vocal and guitar parts, and I subsequently over-dubbed the guitar for the video. The timing is a little stilted in parts, because I had to ensure that the vocal would come back in at the right time after the guitar solo, and there was no metronome track (which I would have had difficulty sticking to in any case. This has been a work in progress, and some parts of the guitar have been cleaned up since the recording. https://youtu.be/tAdPJbabp9c
Please excuse the finger fumbles - I'm not sure if the wines for lunch helped or hindered. This should give some idea of this combination for anyone interested. The audio signal chain is Borsi pickup direct to high Z input of a Steinberg UR242 audio interface. Volume was on full, tone 50%, and there were no other effects, including eq or reverb. I apologise for the low volume, but my attempts to improve it didn't work. This was not a problem with the pickups. https://youtu.be/CHmf96_GzF8
This was my challenge in the accelerator. And it was a challenge. I'm happy with the result but i'll have to come back to it eventyally. Now i need a break from it i've been practicing it for quite a while! https://youtu.be/-5hgDuw2OB8?si=lg8E2UiBEtIe8Rky
This is far from polished, but I thought I'd post anyway. It's Autumn Leaves (again) played over a loop of just two chords: Am7(b5) to Gm. I created this loop a while back, but just realized I could play the entire Autumn Leaves melody over top with just a little rhythmic variation. If you have any alternate versions of Autumn Leaves, feel free to share them. https://youtu.be/53RPIHfWdgg
Nice work Mark (and sorry for the late response). I particularly like the voicings you have used. I hope you won't mind the sort of comment I would appreciate from those who see my submissions, but I get the sense that your timing might need some attention in places, for example, 'high' in 'way up high' could do with an extra beat. I am still coming to grips with a metronome, but singing the song and then playing as I would sing it seems to help.
Here's an exercise I'm currently doing using a transcription from a video by Nick Mainella about building a solo using only chord tones. Beyond the concept of limiting the notes to those of the arpeggios of the chords, very interesting by the way, my exercise consists of being able to count each beat to really realize where in the measure each musical phrase is placed and how these phrases lead us to the downbeats, the 1st and 3rd beats of the measures. My apologies if I count in French. I tried in English but I'm not able at that speed. Anyway, I think this exercise should be done much more slowly to get a good feel for the phrases and their placement in the measure. https://youtu.be/mjYfY77b_vU
@Frank Dernoncourt You are clearly competent in your playing, but I hope you don't mind a few comments that could help. You may have already noticed a difference in tone between the open strings of your guitar and those that you have fretted. It's not so apparent on nylon strings, but open chords don't work so well for jazz, particularly for chord-melody. If you want more of a "jazz sound" , I would encourage you to learn some closed chords, such as major and minor 7ths, 6ths and minor 6ths, as well as minor 7 flat 5 (also referred to as half-diminished). I find these easier to play than barre chords, they sound better, and they can be used across all keys, including Eb and Ab. Marc has recently released a video on a number of these at https://www.youtube.com/watch?v=5FOziKo_axU. If/when you can scrape together enough pennies, an electric guitar and amp would also help. There is plenty of advice on the web, but you could do worse than the Roland Cube amps and a semi-hollow body guitar, such as an ES-335 clone. Jazz guitar players don't use the bridge pickup much, and usually prefer humbuckers for the neck pickup for a smooth jazz sound. In reality, though, all sorts of guitars can be used for jazz. Sometimes, good second hand deals can be found, although it is much wiser to try before buying, and don't be afraid to turn down the treble tone controls to get the sound that you like. Best wishes for your journey in jazz.