11-26-11
Changed strings on The Loar LH-500 NA (Blondie #1). Dean Markley 2006 Vintage Bronze medium set: 013p, .017p, .026w, .038w, .048w, .058w
Notes and commentary from an amateur musician as he attempts to keep fresh strings on his collection of instruments...
Saturday, November 26, 2011
Changed strings on TC 250 Mandolin
Friday, November 11, 2011
Changed strings on Epiphone DR-500MNS
Saturday, November 5, 2011
Changed strings on Epiphone EF-500R VS
Tuesday, November 1, 2011
Changed strings on Epiphone EF-500M NS
10-29-11
Changed strings on Epiphone EF-500M NS. Cleartone 7411 Custom Light set: .011 .015 .024w .032w .042w .052w
Changed strings on Epiphone EF-500M NS. Cleartone 7411 Custom Light set: .011 .015 .024w .032w .042w .052w
Labels:
7411,
Cleartone,
custom light,
EF-500M NS,
Epiphone
Saturday, October 29, 2011
Friday, September 23, 2011
For the Record: Gold Tone OT-6 LoJo Banjo- with pickup
For the Record: Gold Tone OT-6 LoJo banjo acoustic
Wednesday, September 14, 2011
Changed strings on TC 250 Mandolin
Sunday, August 21, 2011
The GR-30: Update
Saturday, July 30, 2011 I posted:
The Roland GR-30.
The Godin Multilac Steel SA.
The Glenside Contra.
8-4-11
What could possibly go wrong...?
Actually, not much at all. The GR-30 performed very well, with no glitches or problems. I stayed on one patch for the entire evening, specifically D-11 (Mute Bass), which added a nice octave-below sound; and the Multilac's onboard electronics make it incredibly easy to mix the synth signal with the Godin's piezo pickup. Kind of like having a Bajo Sexto without the inconvenience of tuning 12 strings. Speaking of tuning, the built-in tuner in the GR-30 was a pleasure to use. My only regret was not bringing either a volume pedal or a mute switch for silent tuning and whenever I wasn't playing.
I should also mention the Fender Acoustasonic Junior amp I've been using for the past few years. It's been a constant companion, mainly as a personal monitor, and I really think it's helping me play better by allowing me to hear my own playing in more detail in a live situation than is possible with the monitor systems most dances use. It even went up to NEFFA in 2009 and saved the day when we played on a big stage in a echoey school gym. I had the PA guys mic my guitar for the house, plugged my guitar straight into the Junior, and got what I couldn't get for the all the previous years- a clear, full guitar sound onstage.
Btw, the Godin Multilac is strung with a Darco D9100 Nickel Wound Light Jazz set:
.012, .016, .024w, .032w, .042w, .052w
Saturday, July 30, 2011
The GR-30
The Roland GR-30.
The Godin Multilac Steel SA.
The Glenside Contra.
8-4-11
What could possibly go wrong...?
Monday, July 4, 2011
Changed stings on Epiphone EF-500R VS
06-28-11
Changed stings on Epiphone EF-500R VS. Martin M240 Bluegrass set: .012 .016 .025w .035w .045w .056w
Changed stings on Epiphone EF-500R VS. Martin M240 Bluegrass set: .012 .016 .025w .035w .045w .056w
Changed stings on Larrivee L-03
Wednesday, June 1, 2011
Changed strings on Tacoma DR8C Roadking
Tuesday, February 1, 2011
Saturday, January 29, 2011
Changed strings on Trinity College TM 275 Mandola
01-28-11
Changed strings on Trinity College TM 275 Mandola. D'Addario J76 phos bronze - .015p, .025w .035w .052w, same strings as used on the TC325 Octave Mandolin. Tuned down 1 whole step from standard, or a minor 3rd up from the octave mandolin- Bb, F, C, G. Actually sounds better this way; less nasal and more full than in standard tuning with the John Pearce strings I was previously using. So far no problems with string tension or action; no neck adjustment needed. This tuning should allow me to play flat-key English Country Dance tunes in the same keys I use when playing them on guitar with a capo on the 3rd fret: Bb=G, F=D, C=A, etc. Can also capo at 2nd fret to play in standard mandola tuning C G D A.
Changed strings on Trinity College TM 275 Mandola. D'Addario J76 phos bronze - .015p, .025w .035w .052w, same strings as used on the TC325 Octave Mandolin. Tuned down 1 whole step from standard, or a minor 3rd up from the octave mandolin- Bb, F, C, G. Actually sounds better this way; less nasal and more full than in standard tuning with the John Pearce strings I was previously using. So far no problems with string tension or action; no neck adjustment needed. This tuning should allow me to play flat-key English Country Dance tunes in the same keys I use when playing them on guitar with a capo on the 3rd fret: Bb=G, F=D, C=A, etc. Can also capo at 2nd fret to play in standard mandola tuning C G D A.
Saturday, January 15, 2011
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