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stuartwbuchanan
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USA
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Posted - 06/13/2014 :  5:54:29 PM  Show Profile  Visit stuartwbuchanan's Homepage  Reply with Quote  [Reply to Topic]  | [Reply w/ Quote]
I especially like the Guitar tricks using Harmonics. Not mentioned is what I call Palm Vibrato. Actually like Palm Muting but you rest your hand on the Tremolo Bridge (no Muting) and with the side of the hand wiggle the floating Bridge for Vibrato effect while playing with both hands: https://plus.google.com/112885889121395946070/posts/eVe9NsGqeA9



Stuart

http://www.youtube.com/user/InventorDesigns/about
https://plus.google.com/112885889121395946070/about

Edited by - stuartwbuchanan on 06/13/2014 5:56:24 PM
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mcintalker
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Posted - 06/13/2014 :  7:10:49 PM  Show Profile  Visit mcintalker's Homepage  Reply with Quote
This video of Michael Reese demoing his Super Vee Blade Runner (I have one on my sunburst strat). He does a bunch of cool little palm vibrato moves through out the video. He is a killer player and has a great touch/technique.

http://www.youtube.com/watch?v=7xzttcDszA0

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mcintalker
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Posted - 06/13/2014 :  7:16:47 PM  Show Profile  Visit mcintalker's Homepage  Reply with Quote
Just got this Tim Pierce video. He teaches how to play Jimi Hendrix's Hey Joe, note for note. He really emphasizes the phrasing.

Close ups and note names phrase by phrase.
https://www.youtube.com/watch?v=BAh3Iyd0aks

Seemed like that could go here, if you are talking guitar tricks, Hendrix is always appropriate.
'
Michael
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stuartwbuchanan
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Posted - 06/13/2014 :  7:53:39 PM  Show Profile  Visit stuartwbuchanan's Homepage  Reply with Quote
I do not know if that is the correct name for that technique, but it seems to fit? I use 9's so most of my Trems have only (2) springs which is easy to shimmer, or more vibe; warble. It is faster and with more precise control than the whammy bar for vibing chords.

Stuart

http://www.youtube.com/user/InventorDesigns/about
https://plus.google.com/112885889121395946070/about
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stuartwbuchanan
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Posted - 06/13/2014 :  8:11:30 PM  Show Profile  Visit stuartwbuchanan's Homepage  Reply with Quote
Yeah that first Vid shows Palm Tremolo and that is a great Trem. Will it work in an Ibanez Guitar as well just drop in or are there major Mods? My Fender could use more sustain as well. Have to investigate that Trem. Thanks Michael for that Vid.

Stuart

http://www.youtube.com/user/InventorDesigns/about
https://plus.google.com/112885889121395946070/about
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mcintalker
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6359 Posts

Posted - 06/14/2014 :  10:08:09 AM  Show Profile  Visit mcintalker's Homepage  Reply with Quote
Super Vee's don't require mods to Strat routed bodies. The Super Vee trem does to the nut area, but not the Blade Runner ($169 for the base kit). You have to set the Blade Runner "up" so that the palm vibrato can work. Mine is set with the plate flat on the body and I think I am going to readjust it for that(pulling up).

I am also checking out the Trem King ($125 I think) which does require routing on a strat body. You might find that one more suitable for your style and since you are so clever/handy, you probably can do your own routing. There are lots of vids on that.

As far as other bodies/makers, etc you would need to compare the routings or see if a standard strat vibrato drops in or not.

Stetsbar is another option and they have a number of non mod drop in models, though how many guitars that would apply to, I don't know.


For those who don't want to replace their vibratos, Callaham makes lots of upgrade parts to improve a standard strat vibrato. Those seem to be regarded as the best "improvement" parts.

RE harmonics I learned the Chet Atkins/pedal steelers way of touching your right hand index finger to which ever node point (that I want to hear) on the string while picking with either the ring finger or the pick -held by thumb and middle finger. I also got good at strumming chords and then using the side of my right hand to touch all the strings to chime an octave(12 frets higher than played), fifth(7 frets higher than played) or double octave(5 frets higher than played) up from the note/chord I fingered.
For more rock stuff, I learned to turn the pick 90 degrees to the string and dig into it as I pick, so that my thumb touches the nodal point semi-simultaneously. More Billy Gibbons? This works for Don Felder's classic solo in Hotel California( second half of the first solo at the Bm to F#). I used to teach that solo a lot, though I haven't played it in almost ten years! LOL

I love harmonics and learned to pinch with the pick and either my index or middle finger touching the nodal point while picking the string.
I would love to get a Feedbacker pedal as that also generates the harmonics and I am not playing loud enough (anymore)to generate them that way. Though I got really good at knowing where to stand in front of my amp(s) for that method, too. I did use the "Barney Rubble method" for that, too, where you rest the neck on the amp or against the speaker baffle board. That will generate all kinds of feedback! I used to teach my students that one, by cranking the little practice amp all the way and holding the amp up a little with my foot under the front and the neck resting on top of it. They would always love finding out about that one! LOL

Michael
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dirtysteve
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USA
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Posted - 06/14/2014 :  10:37:09 AM  Show Profile  Visit dirtysteve's Homepage  Reply with Quote
I'm going to have to try that palm vibrato technique. Never thought of that.

Always fly high
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stuartwbuchanan
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Posted - 06/14/2014 :  12:46:55 PM  Show Profile  Visit stuartwbuchanan's Homepage  Reply with Quote
Thanks for all that info. I think you covered all my questions. The musical feedback with it going to different harmonics using feedback is actually due to a combination of output Volume of your Amp and high gain settings of your Preamp. That is why many Heavy Rockers use Marshall Amps and most Tube Amps can be that pedal your looking for. Just turn down the Master Volume to a good listening level and you will get plenty of musical feedback with very high gain settings. Also Tapping is much easier (mono or polyphonic) at this setting.

I about 3 months ago stumbled on harmonic generation of 2 or 3 harmonics at once. I lightly touch the 3rd, 5th, or 7th fret at the middle strings D-G-B and strike hard using a Jazz pick at the treble area near the bridge while warbling the tremolo. I call this 'Slam Harmonics' and slamming those middle strings hard produces very loud overtone harmonics and with a lot of sustain. Another trick but it is very useful to know all these tricks when putting a Solo together.

Stuart

http://www.youtube.com/user/InventorDesigns/about
https://plus.google.com/112885889121395946070/about

Edited by - stuartwbuchanan on 06/14/2014 12:51:13 PM
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mcintalker
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Posted - 06/14/2014 :  7:03:35 PM  Show Profile  Visit mcintalker's Homepage  Reply with Quote
The world of "tricks" that you are referring to is vast. Roy Buchanan used to pull his palm away from his old Tele's bridge and the volume would go up! No one could figure that one out and he wasn't sayin'! LOL

I use what you are calling tricks, as embellishments to my solos, which have to be melodic (and sometimes counterpuntal) and related to the song or instrumental. I get really bored with solos that are just scales or mostly tricks, very quickly. I recognize that I am "of my generation"! LOL

I think that having done decades of jamming (in various altered states), only snippets of that stuff warranted further exploration. I listened to thousands of hours of taped shows and jams and would use the best bits in some song that came "after the fact", but as to whether that stuff (jamming) is "viable", I have doubts or really have just lost interest in that kind of soloing.

I am very pleased that lots of former bandmates have said they really looked forward to me taking a solo, because the song would take off from there, and they would find themselves "digging in more". I find it disappointing that speed and flash are "more important nowadays", but that's just me- my opinion.

Michael
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dirtysteve
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USA
1708 Posts

Posted - 06/14/2014 :  11:41:12 PM  Show Profile  Visit dirtysteve's Homepage  Reply with Quote
Have you guys ever done harp harmonics on an acoustic guitar?

Always fly high
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stuartwbuchanan
Platinum Member

USA
2190 Posts

Posted - 06/15/2014 :  12:09:47 AM  Show Profile  Visit stuartwbuchanan's Homepage  Reply with Quote
quote:
Originally posted by dirtysteve

Have you guys ever done harp harmonics on an acoustic guitar?


Had to Google that Steve and here is a Vid: https://www.youtube.com/watch?v=3QLPZ4KEtzw&index=9&list=PLmtBi3nQaU9e6EXNGIUcdFNBOzyKFJzLe

It is a fretted note (or Capo) Artificial Harmonic. The form of 12th artificial harmonic from the Fretted note. Sounds like a harp as the Video I found on it depicts. Cool Steve that is a new one to me.

Stuart

http://www.youtube.com/user/InventorDesigns/about
https://plus.google.com/112885889121395946070/about
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dirtysteve
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Posted - 06/15/2014 :  08:32:30 AM  Show Profile  Visit dirtysteve's Homepage  Reply with Quote
quote:
Originally posted by stuartwbuchanan

quote:
Originally posted by dirtysteve

Have you guys ever done harp harmonics on an acoustic guitar?


Had to Google that Steve and here is a Vid: https://www.youtube.com/watch?v=3QLPZ4KEtzw&index=9&list=PLmtBi3nQaU9e6EXNGIUcdFNBOzyKFJzLe

It is a fretted note (or Capo) Artificial Harmonic. The form of 12th artificial harmonic from the Fretted note. Sounds like a harp as the Video I found on it depicts. Cool Steve that is a new one to me.



It's a new one on me too Stuart. I just started learning how to do it yesterday. Thomas Leeb is this amazing fingerstyle guitarist that just rocks this technique. Here's a video of him going at it:
https://www.youtube.com/watch?v=JEBVpB8jNXA

Also, check his cover of Comfortably Numb, the video is crazy.
http://youtu.be/KhsPYRUqphk

Always fly high
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mcintalker
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USA
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Posted - 06/15/2014 :  09:37:08 AM  Show Profile  Visit mcintalker's Homepage  Reply with Quote
Check out Lenny Breau. He invented harp harmonics after hearing Chet Atkins do some chordal stuff.

https://www.youtube.com/watch?v=qGCSgWqg0Fg

and a cleaner vid by a young guy/student of Lenny's thing.

https://www.youtube.com/watch?v=nh2BMKNyoRE

I mentioned writing an acoustic tune in '69 that's main hook/theme was in harmonic pairs climbing in E minor, which has every scale note but the C. (C# is available, if you're doing E harmonic minor). I was at my friend Jan Burda's Hogeye Music, in Evanston IL around '68 and saw a NYC session guy (who was in town for a gig) strum a chord on this lovely old Martin and then he angled his right hand pinky across the strings 12 frets up from the chord, producing an octave up. This was so cool, that I took that and the Chet Atkins thing, pointing your right hand index finger at the fret that would be 12 frets higher than any note or chord and picking with your thumb or a pick held by the thumb and middle finger.
Try a C major chord 1st position (regular old C) and touch the string 12 frets higher than whatever string is fingered. IE the 1st and 3rd would be at 12, but the 2nd would be at 13 (right in the center of the 13th fret, by the way) and the 4th would be at 14 and the 5th string would be at 15. That's Chet's method. The NYC session guy did it in two moves; strum then stop the fundamental by placing his right hand pinky 12 frets higher on a similar angle to the C chord.
You can strum the harmonic in one move, if you point your index finger at the 12th fret higher than the chord notes being fingered, as you pick/strum with your thumb or a pick being held again, by the thumb and middle finger.
Remember that the harmonics are divisions of the whole vibrating string, so "cutting" the string in half (12th fret or 12 frets higher than a fretted note)produces an octave higher harmonic.
"Cutting" the string into 3rds (7 frets higher than the note) produces a 5th above that (actually a note 17 frets higher than your open or fingered note.
Dividing the string into 4ths (5 frets higher than your note/chord) produces a 2 octave harmonic above whatever open string or fretted note.
The nodal points exists at each division of the string, so there are two places to get that 5th- one and "half" octaves higher harmonic; 5frets higher and 19 frets higher. That 19 fret one is the other nodal point.
Check it out. Lay the guitar on it's back pick any string. If you interfere with the fundamental (the open whole string) at a point that divides the string by a whole number, you will get a harmonic.
Try getting a major third at the 4th fret just touch the string right above the 4th fret. You will get the same harmonic at 9, 16 and approximately 5 inches from the bridge/saddle.
Knowing this (the physics of strings) allowed me to easily get feedback from any note in whatever octave I liked and made me get lots of students.

Try this for slide (learned from Bob Brozman)hit your 3 string harmonic chord (the G major with 4+3+2 strings open at 12 fret)and put the bottleneck or slide down on the strings as close to the nut as you (quickly, too)can and slide up the neck. The harmonics will slide up!
Noisey bar crowds would shut up when I would be jamming with my pal Brett Hartenbach (accompanist to Rachael Davis and Daniel Johnston) and I would hit a 2 octave up harmonic and slide that up! LOL They all intuitively knew that guitars don't normally go that high!

I hope this is clear. I got into it. Still a teacher after all these years, I guess.
I LOVE harmonics!
Michael

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stuartwbuchanan
Platinum Member

USA
2190 Posts

Posted - 06/15/2014 :  11:20:28 AM  Show Profile  Visit stuartwbuchanan's Homepage  Reply with Quote
We need to do some You Tubes of these techniques. Thanks Michael and Steve for your valuable contributions to this thread. I got the general idea Michael and I have not done to much slide yet but it makes sense that you can obtain harmonics with Slide bottle.

Another way to generate harmonics is electronically. Vacuum Tubes generate harmonics when distorted. With (2) Output Tubes (also with 4 and 6) some harmonics are cancelled out but with a Single-Ended (1) Tube Amp like the VOX 4 Watt or Laney 5 Watt, these harmonics do not cancel out. Push-Pull output versus Single-Ended. But Vacuum Tubes in general have rich harmonic content even during feedback!

Steve have you tried the Palm Vibrato yet? This technique opens up a whole new dimension using the floating bridge!

Stuart

http://www.youtube.com/user/InventorDesigns/about
https://plus.google.com/112885889121395946070/about
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stuartwbuchanan
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USA
2190 Posts

Posted - 06/15/2014 :  12:29:31 PM  Show Profile  Visit stuartwbuchanan's Homepage  Reply with Quote
There are also, what I call, 'Muted Harmonics'. At the 5th position play A major Barre and lift up on the Barre chord while playing downward strokes and the harmonic is muted on the low E string. Then play B major at the 7th position another muted harmonic note. You do not have to be exactly over the 5th or 7th fret so you just lift up on the Barre chord and play dead notes except for the low E string harmonics.

If you also Palm Mute it is even more muted and will not ring for very long but is really awesome with electric Guitar with OD and Vacuum Tubes.

Stuart

http://www.youtube.com/user/InventorDesigns/about
https://plus.google.com/112885889121395946070/about

Edited by - stuartwbuchanan on 06/15/2014 12:39:35 PM
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mcintalker
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Posted - 06/15/2014 :  6:07:19 PM  Show Profile  Visit mcintalker's Homepage  Reply with Quote
Because of knowing where the nodal points are on any note (by dividing the remaining string length in half, thirds, or quarters), I can play any note on any string and make it go up an octave or two
(or an octave and a "half" to the 5th of said note). I used to love doing this in the middle of a solo! I would get to some point, solo-wise and hold a note the touch that string 12, 7 or 5 frets up and it would keep ringing up an octave and was always this "leaping or soaring note". With two overdrives on, (so I could do this in an acoustic or quiet setting) it would feedback, but I was in control of it -what, when, and where it started.
I loved to do it with my right hand, ala' Chico Marx (Brothers)and the audience would always respond to the "register leap".
Never having owned a Marshall, I used the physics of the string, but understood the tube harmonics method and used that with my various small amps; '60 Champ, Silvertone 1482, '46 Noble 5 watter, Princeton and Deluxes, though they would be loud/cranking! In jam bands I used a real '59 Bassman and a '67 TwinReverb with a volume pedal coming out of the 2nd input on the Twin thru the volume into the Bassman which was turned up! I could blend in my overdrive, before pedals really came into "daily life". I had a Maestro Fuzz Tone but hated it unless I rolled off all the highs and treated it like a French horn/trombone flavor.
That '69 Riviera was lots of to play behind the bridge while fingering notes normally. A leader/guy asked me to turn off my reverb
and I told him to go turn it off himself. He got pissy and then freaked out 'cuz my '60 Concert and '59 Bassman didn't have it! LOL
I loved rolling off the tone on the neck pup and rocking the selector switch while strumming (Spencer Davis' I'm a Man comes to mind!), producing a wah wah. That same jerk leader asked me not to use my wah wah pedal, until I pointed out that I didn't have one! At that point he started bragging about me being in his band!

Thomas Leeb is doing what I just described, by the way, when he does fretted note jumping to harmonic, then bending it up a half step.
Michael
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