Rudi

By designed I assume you mean genetic. Playing music and playing music to the public are both examples of performance. They are usually very different though. I think it unlikely that either are genetic. I've known (and experienced) dreadful nerves before playing in public. Most of us get used to it after a while. The people that are entirely without nerves are often glib performers. It helps to have a mild case of butterflies just to keep you sharp. Playing in public teaches you how to connect to people. Playing for your own self only is a whole different reading. Playing in the studio is different again. Jerry Garcia said that working in the studio is like building a ship in a bottle, and that playing live is like being in a rowboat on the ocean. I happen to concur with that view.

I can understand this. I have to try to work reasonably quickly, or I will lose the zest to perform. If I did 100 takes, the last 90 might be workmanlike, but without feeling. Of course some people can sound passionate because they use sobs and such as part of their technique. Its false, but can be very effective nevertheless.

David Crosby said that the most important part of songs was the tale telling

I preferred your version man.

I thought you had answered your own question when you mentioned showcase, but I suppose you meant WIP video? anyway http://forums.songstuff.com/forum/167-videos/

Its something about the build that gives that sound Tom. I love the Fender sound. The bolt on neck maybe part of it? Its not only the pickups. I put low output single coils onto the Esprit hoping for a Fender sound. Failed! It sounds great, but it doesnt sound like a Fender.

This is a good thing to talk about. We each get to where we are musically with a different impetus, even though we might end up at the same place. When I tried a Telecaster Thinline (for the first time) last year. I loved the sound. It was mellow, would have been excellent for jazz of course. I rejected it quickly though because the E strings are too close to the edge of the fretboard. This was a problem when I used a strat, though in my case I think the maple neck made it worse in that respect. Its a design feature that I know I couldnt overcome.

I just read this from the 'Persona' thread by Pahchisme Plaid. Well I dreamed of being here on songstuff and hearing an excellent recording of 'Popcorn' played by Tapper Mike. He played it on a Fender guitar which sounded exactly like a chicken. I awoke determined to try and get the chicken sound, and incorporate it into something of mine.

Good question. I am not brand loyal. Yesterday my son turned up with a guitar that was given to him. He wants to start learning now at 35 years of age. He has never heard of Gibson. He has heard of Fender, possibly because I played one for so long. This included his childhood. So the public are likely to be very unaware of stuff we take for granted. Brands and models included. I want it to be understood that I dont play to musicians. I usually have no idea who anyone is in an audience. They may be musicians. I dont kow, I dont care. After pretty much exclusively gigging a Japanese guitar for 20 years, I now use one of 6 that I've collected over the last 3 years. 3 of them are American. 2 of them are Korean. 1 is Chinese. So the USA ones are expensive (to me anyway) and the others are cheap. I've upgraded hardware on two of the cheapies. They are now all equal in my estimation. At different times I may favour one over the others. Presently I have been using the Squier Esprit (Korean) for the last 18 days or so. I'm trying out a new brand of strings on it together with a new pick that I designed & made. In some ways I prefer to use a cheap guitar at gigs because when I use the Les Paul, guitarists come and speak to me about it. So maybe I'm unsociable, but its nearly always after a gig when I'm tying to pack away gear and they are drunk. For most of my playing career I have been very ignorant of guitars. I knew how to play them, but I knew next to nothing about them at all. I now know a fair amount about brands, models and history. This has not made me a better guitarist. It has made me buy more guitars.

Good ideas!

It sure is. My WIP is Nietzsche's Yard. Its in 5/4 and goes "didit-dang-diddee-dahhhh, didit-dang-didee-didit-didit-didit"

The guitar lutherie option might be great option for you Mike. This fellow does pretty much just that http://www.ebay.co.uk/usr/sam_deek?_trksid=p2047675.l2559 I was close to buying one of his 'oakcasters' at one time, but he began solely by making average guitars into very playable ones. He seems to do ok at it. He has made a lot of videos of the guitar 'transformations' in his workshop. I suspect that his vids and blogs help a lot, because people can see exactly what he does & know what to expect. Now I have retired (3 weeks now) I expect to do something beyond simple setups myself. I have collected a few tools such as fret dressing files and a notched straightedge. What I really need is a workshop. I usually use a spare bedroom.

Always grateful for your impacted wisdom there Rob.

what a good idea. I think I will too hang on.... 'Free Somehow'

No. If I read a description in a book I will visualize the description. Other than that, I have never experienced what you describe. Sounds interesting though. Some people associate colours with musical sound. I never understood that either. Does your visualisation help in any way? Recall or association maybe?

I'll look 'em up next time I'm in Lyon.

I don't think I ever imagined what a singer (or musician) looked like just by listening.

Everyone can improve. I dont need to listen to your links. Looking forward to your 2nd post.

I see how you reason that, buts its not correct. You can be arrogant and still fully informed. BTW when I said encompass empathy I meant ABSENCE of empathy.

A pal of mine used this sort of definition of Skank in the 90s. Other than that I just thought it was a dance style. This this the fisrt time Ive seen it similarly used since.

It looks as if this has become a 'lets re-define arrogance' exercise so Symp can feel justified, or at least better about it. Arrogance encompasses ignorance, or at least empathy. The only way you can justify arrogance is if you are genuinely superior to everybody else. I believe this to be a contemporary social condition. Modesty and good manners exist to help keep this sort of thing in check, but both have been eroded. So now maybe arrogance now doesn't look too bad after all?

That is odd. I agree you shouldn't need a tight grip, especially for solos. I've started to wonder about it. 1/ Can you feel the pick ok? Are your fingers numb? 2/ Grip. The fellow at Gibson asked for pics of the pick 'in grip'. Pictures 1 & 3 (2nd post) show my grip. In fairness, the posed pic 1 is not typical because I dont usually have that much plectrum sticking out from between my fingers. The less protrusion of the pick, the more control (and feel) you have. I aim for about 3/8" (10mm), which is just the point showing. Do you grip with fingertips or flat of index finger?