As I noted earlier in the thread;
strings have different harmonic responces
at different places on the strings.
Those places also move close to the changer,
and narrower in their relative distances,
as you bar up the neck.
Many I suspect move their hand slightly closer or farther
from the changer to get GLOBAL sound changes.
But this is equally valid when going from low to high strings.
As well as slight variations relative to bar position.
How many actively move their hand toward the changer
as they bar notes for lower pitches,
or lower strings,
and away from the changer for higher strings or higher pitched bar positions?
Or move their thumb lightly closer to the changer
when playing lower strings?
---------------------------------
Paul F. nice to see you here also.
Someone mentioned that they were getting
something aproximating your tone on record,
in their live playing.
I am curious what percantage of your recordings
do you think get into the ball park for reproducing the tone you are making
when you play, or your prefered live tone.
Rough guess if you please.
(But ignore this i you please also
)
Or if you can reccomend a recording that MOST captures
what you are looking for through the recording chain.
-------------------------------------
Tonmeister Degrees really only existed in Germany
until the last few decades.
And then mostly for classical music heads.
The AES Audio Engineering Society took up most of the slack,
but it was much more a technical forum as an artistic one.
Most other countries just trained players, and you talked you way into a studio in the old aprentice way,
and read a few books.
Berklee didn't really even have a recording technique program until the 80's.
Someone there asked me to teach it a few times,
but I had no time nor inclination for that matter.
So most of the 'trained engineers' got their
practical experience in the trenches as it were.
It was only after some long term cross pollination of techical engineering
and classically train composers
working together with the aim of devising
a cross dialog they BOTH could understand,
that the musicallity and engineering
of music reproduction joined forces.
Addthe research efforts of certain universities,
and IRCAM in Paris, where I did some work.
This was more research than training though.
One thing was always clear;
Bad technique could not be over ridden by fantastic engineering.
But good engineering could at least, and AT BEST,
aproximate the original artists performance.
If the artist's had poor hands or a marginal vocal instrument,
No electronic designing or modification of reproduction could make up for that...
Pitch tracking softwere included.
This includes your steel pickup, through to your speaker cab holding a driver.
How you lip fits the mouth piece, stick fits in the hand,
or you hold your pick, and quaver your bar, is crucial to good sound.
<font size="1" color="#8e236b"><p align="center">[This message was edited by David L. Donald on 22 November 2006 at 10:50 AM.]</p></FONT>
