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Musician thread
- Thread starter masameet
- Start date
I wasn't able to sell my laney 50 watt head, since not many people have heard of laney amps. so I traded it for some stuff that I might be able to sell. I got an ESP/LTD viper 304 bass guitar which I think is worth about $350 used. And I got an early 90s Japanese made jackson kelly professional XL.
Anybody familiar with jackson guitars? I want to know how much its worth, The only bad thing is that it has a cheap paint job, the previous owner sanded it down and spray painted it white, it doesn't look bad but there are certain parts of the guitar that the paint feels rough
Anybody familiar with jackson guitars? I want to know how much its worth, The only bad thing is that it has a cheap paint job, the previous owner sanded it down and spray painted it white, it doesn't look bad but there are certain parts of the guitar that the paint feels rough
Attachments
Hooli
Bonafide
Bolt-on or neck-through? Is it American-made, or China/Korea/Indonesian?
Kornholio
:wave
Jeff, you missed our conversation about the real differences between American/overseas made instruments on Friday. 
its a bolt on neck, made in japan.
I did find this scan, Mine is the XL model with sharktooth inlays
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Hooli
Bonafide
Jeff, you missed our conversation about the real differences between American/overseas made instruments on Friday.
*shrug*
My Jackson Dinky is one of the last MIJ ones. My bolt-on Ibanez RG is Indonesian, and my neck-through model is Korean. As long as the neck wood is stable and the body isn't made from agathis or (gasp) plywood like the sub-$200 beginner's guitars, I can set-up an axe to play like a more expensive model. The secret is in the fretwork.
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Hooli
Bonafide
If that's true, then the Jackson Kelly Professional Neck-Through is close to the $1000 range. Too bad the previous owner hacked on it. What the hell was he thinking?
Kornholio
:wave
*shrug*
My Jackson Dinky is one of the last MIJ ones. My bolt-on Ibanez RG is Indonesian, and my neck-through model is Korean. As long as the neck wood is stable and the body isn't made from agathis or (gasp) plywood like the sub-$200 beginner's guitars, I can set-up an axe to play like a more expensive model. The secret is in the fretwork.
That's my point. I've never understood what in the hell makes an American Strat Standard worth so much more than the Mexican Standard.
Hooli
Bonafide
That's my point. I've never understood what in the hell makes an American Strat Standard worth so much more than the Mexican Standard.
It's all in the name. Kind of like BMW...
If that's true, then the Jackson Kelly Professional Neck-Through is close to the $1000 range. Too bad the previous owner hacked on it. What the hell was he thinking?
I know, I think I might pay to get a smooth lacquer finish. The paint is not so bad, it just has some rough spots and its pretty flat. I just want a factory looking paint job that is smooth to the touch. I'm selling the guitar either way. I already have a z shaped guitar.
Ratters
Is it summer yet?
- Joined
- Jun 23, 2004
- Location
- The Cordelia Junction
- Moto(s)
- '00.5 RSV Mille, '00 SV650 trackbike
- Name
- Maynard
When I first started playing guitar you had little choice but to try and learn songs just by listening to them. Luckily I found tablature shortly afterward.
Shouldn't have gotten rid of the Laney, that's a cool amp. Japanese Jacksons seem to go in the $400 range I think. Check ebay or craigslist for something similar and see what the going rate is.
Shouldn't have gotten rid of the Laney, that's a cool amp.
Japanese Jacksons seem to go in the $400 range I think. Check ebay or craigslist for something similar and see what the going rate is.
Ratters
Is it summer yet?
- Joined
- Jun 23, 2004
- Location
- The Cordelia Junction
- Moto(s)
- '00.5 RSV Mille, '00 SV650 trackbike
- Name
- Maynard
That's my point. I've never understood what in the hell makes an American Strat Standard worth so much more than the Mexican Standard.
Depends on the components. It's like comparing an Epiphone to a Gibson Les Paul. I've held Epiphones that sound great in the hand and seem really well put together, but if you open one up the wiring is way substandard to the real thing. Plus there is the cost of labor that is factored in as well. But if you have a guitar that plays well and sounds good, who cares where it came from.
When I first started playing guitar you had little choice but to try and learn songs just by listening to them. Luckily I found tablature shortly afterward.
Shouldn't have gotten rid of the Laney, that's a cool amp.
I know, I liked the amp, but I have to pay off my stupid credit cards, and the amp just wasn't going to sell. I'm pretty sure I can unload the jackson guitar and my ltd bass much easier on ebay.
actually most of the cost comes from the finishes. If you look at the epiphone les paul line up. There is the les paul standard plaintop and plus top. The only differences between them is one has binding on the neck and body and more color options. also about $200 more. The thing with some chinese guitars are that they have weak pickups or they do a poor wiring job, and they might be setup pretty bad from the factory. But then I have seen some gibsons that needed a setup when they were new.
electronics can be upgraded and setups can be done, so you can take a cheap import guitar, have it profesionally set up and swap out the electronics, and you have a professional playing and sounding instrument at a fraction of the cost of the domestic model
Hooli
Bonafide
In college, I did some course work at the New England Conservatory to augment what was not available at my school. The program was Third Stream Jazz and the course dealt with melodic memory. In a nutshell, we received training and course credit in a thing that street musicians have always done: We listened to melodies and memorized them.
Most of us in the class had pretty good foundations in music theory; some more than others. It was helpful in the sense that the more you know what you're hearing, the easier it is to memorize it.
For example, you might hear a melody and quickly recognize which note is the tonic. You might even discern the tonic before it has been played. The ability to do that gives you a reference point against other important notes in the melody.
These important notes are often the high and low points where the melody changes direction. When you hear these notes and memorize them, the notes in between may be scale steps, or may be other intervallic leaps. If any notes are not diatonic (in the key), they tend to stand out and you remember them. An example might be the flat 5 in a blues scale. If you're not intimately familiar with the blues scale, you might think, "OK, that was a flat 5." If the blues scale is a common part of your playing, you might think, "Ah, that's just a blues scale from the 6th step down to the 1." One way or the other, you're putting what you hear into a framework that relates to something else that you already know. Maybe you hear a lick and think it sounds just like the first phrase of "Mary Had a Little Lamb," but with the third note dropped a half-step.
But a theory background isn't mandatory. Interval training of one sort or another is. You need to be able to tell how far apart notes are from one another. This is more of a brute force approach, though, because you have to memorize the entire sequence of notes individually, by interval. If you get one wrong, you're conceivably fouled up for the rest of the phrase. This is where having a sense for where you are relative to the tonic is a valuable cross-check.
All of this can be done without knowing what key you're in. We would internalize these melodies without our instruments, just singing them back. Unless you have some other way of knowing the key, only folks with perfect pitch would reliably know. This way, the business of getting the tune into your head wasn't hampered by fumbling with your instrument. Correlating what's in your head to your instrument is a separate process and one whose limits are set by your chops.
Once you do know the melody, you can pick up your instrument and try to play it back. At that point, you probably do figure out what key you're in as you find the actual pitches on your instrument. The business of groping for the notes can goof up your recall of the melody itself, much in the same way as someone can screw you up when you're counting by blurting out random numbers to mess with you. In the early stages of these exercises, it's pretty important to know the melody cold before trying to play it on the instrument. Knowing what fingerings will produce a given interval makes it much easier to render the melody on your instrument without too many mistakes.
As one gets better at it, they can go right to playing it back on their instrument. The eventual use for all of this is to be able to improvise with others in a call & response fashion, so being able to take in a melody and augment it on the fly is huge.
masameet
Rawr!
Ugh. Tablature. Not a fan of it. Chords, sure. But not tabs.
masameet
Rawr!
Aye. Which is why I tend to reduce Gospel songs (the Catholic in me calls them "Protestant" songs
) to something simple. For instance, last Thursday night we did a rousing rendition of "Are You Washed In The Blood Of Jesus?"As with most "Protestant" aka Baptist songs, I'd never heard it before. Listening to it as the lead sang the verses and it went around the group, I found it reminiscent of another song. Even joked to the older lady at the table that the song reminded me of "X" (can't remember what I likened it to). And if she could have reached over and tapped me lightly, I'm sure she would have. Instead she said, with a smile, That's a song we believe is inspired by God.
As always, great stuff, Andy. Thanks!
And I'll add that one of the gals, Pat, when she's not soloing, will put up the fingers of her right hand and signal to us which note in the chord we're playing, as in five fingers mean 5th note (dominant), four fingers mean 4th note (subdominant), one finger means 1st note (tonic). In fiddling fill-in music I find I tend to harmonize instead of playing the melody (as somebody else is soloing). So seeing her raise her fingers and noting which notes I'd play correspondingly made me begin to appreciate the importance of music theory. If I understood it fully, I'd not need to guess with the wrong note. Good thing my guesses tend to be spot on.
The great thing about improvising is that of the 12 notes in the chromatic scale, 8 of them will be in key. So your chances of being "in" are 2/3. If you happen to hit one of the four out notes, you can slur them up or down and be back in. "I meant to do that!"
masameet
Rawr!
Well, that night during one song I lovingly bowed the B below high C. And it was the wrong note at the wrong time. :| Wanted to crawl under a table, I felt so instantly miserable. Fortunately I didn't bow it loudly.
And just discovered while looking up the lyrics that one of my favorite Ralph Stanley songs, with Mike Compton on the mandolin, is a cover. It's Hank Williams, Sr.'s "Calling You."
Luckily for us, old Hank loved the easy keys, and this one's in D! So easy for everybody to sing and play. Now to figure out how to sing and fiddle at the same time!
And just discovered while looking up the lyrics that one of my favorite Ralph Stanley songs, with Mike Compton on the mandolin, is a cover. It's Hank Williams, Sr.'s "Calling You."
Luckily for us, old Hank loved the easy keys, and this one's in D! So easy for everybody to sing and play. Now to figure out how to sing and fiddle at the same time!