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Guitar Musician e-zine 09/13/2006
In This Issue:
| "I had been to São Paulo the year before and
became pretty well acquainted with the music of
composer Antonio Carlos Jobim, I had already started
playing that music, and the audience response had
been pretty good because those songs are so
melodic. I knew it would be something that would be
appealing; I wasn't thinking that it would make the
top of the pop charts or anything like that."
- Charlie Byrd - Jazz Guitar |
Some Humor
| Donations To The Preacher After the church service, a little boy told the pastor he was going to give him a lot of money when he grew up. ''Well, thank you,'' the pastor replied, ''but why?'' ''Because my daddy says you're one of the poorest preachers we've ever had! '' |
A Lesson For The Learning
Interested in guitar lessons? - Be sure and check out the guitar lessons offered by Andrew Koblick at Amazing Guitar
|
GUITAR Q AND A
What is the Distal Joint?Justine Vickery; Lawrenceville, GA Q: I have heard some talk of bending the Distal Finger Joint to help your playing. Exactly what is this? A: Great question! Most people don't know about this. The distal joint is the finger joint closest to the fingertip. It often must bend to play chords and riffs properly. Many students don't bend it when they should. This is especially true of the 1st and 4th fingers. For a beginner this joint won't want to bend, but must be made to when doing finger exercises, scales, and other riffs. It's very important, for instance, to make sure this joint is bent on the first finger while doing a "C" chord. When I check my own private students I find that they often are missing this in their at-home practice, and the only way I can get them to pay attention to it is to make them do it! So start examining your distal joints as you play and practice. If you work with them, they will become more and more flexible. Hope this helps!
Yours in Music |
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Feature Paid Advertisement
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Tech Tip - Time-Based Effects: Reverb By Dennis Kambury Of all the gear you can add to your studio, perhaps the most enjoyable one is reverb. Used judiciously, it adds richness, complexity, and a sense of space to what might otherwise be a dry, sterile sound. Our ears love it, and musicians throughout the ages have sought it out in caves, concert halls, stairwells, and little black boxes with blinking LEDs. Virtually everything you hear indoors is colored by reverb. In any enclosed space, sounds are reflected from the various surfaces—walls, ceiling, architectural features, and other hard surfaces—and arrive at the listener's ear some time later than the original or direct sound. The amount and timing of the reflected sound in relation to the direct sound is how we interpret the size of the room. Various methods have been used to bring reverb to the studio and the stage. Reverb chambers use an empty room (or hallway, stairwell, bathroom, etc.) with a speaker on one end, and a mic on the other. The source signal is sent from the mixer to the speaker, picked up by the mic, and returned to the board to be mixed with the original source. Altering the reverb is simply a matter of adjusting the location of the mic and/or speaker and placing absorptive material on the walls. Although not at all portable, the result is very realistic! Spring reverbs are popular in guitar amps and are occasionally found in studios. As their name implies, they use one or more springs to create a reverberant sound. The source signal is sent to the spring's input transducer and converted to mechanical energy, which causes the spring to vibrate and generate internal reflections. These reflections are picked up at the other end and converted back to a musical signal that's returned to the board for further mixing. Springs are generally fixed, with the only adjustment possible being level. Plate reverbs are similar to springs in that they use a transducer to convert signal to mechanical energy and use another transducer to convert the mechanical energy to an electrical signal. Instead of a spring, they use a thin steel plate, resulting in a richer sound than a spring can deliver. They are also more adjustable—the transducers can be moved for different response characteristics, and dampers can be used to adjust the decay. Digital advances have resulted in radical improvements in reverb technology and capabilities. From the affordable DigiTech S-100 to the midrange Yamaha SPX-990 and the lush Lexicon PCM-91, incredible realism is now within the reach of even the most budget-oriented studio. Perhaps the best part about digital reverbs is their ability to adjust real-world type parameters to generate their sounds. You can adjust room size, density, decay, and more. To make things more interesting, most reverb units also include delays, choruses, panners, and other effects that can be used separately or in combination with reverb. The latest advances in computer technology are finally making good-sounding reverb plug-ins possible. One of the coolest of these offerings is Altiverb, software that uses a form of modeling to re-create the reverb characteristics of actual spaces.
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Recommended Listening - A Must For Your Collection!
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