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Chat about Equipment Info

Postby playingdead » Tue Aug 26, 2008 1:28 pm

Playing Dead traditionally feasts on Vietnamese food before our Harpers gigs ... usually chicken bun with plenty of red-hot sriracha sauce and fried spring rolls, followed by Vietnamese coffee, which is very strong and spiked with sweetened condensed milk. Good eating!

You get a hella buzz off the coffee, too, which we try to tone down with a little pre-show blueberry treat, if you know what I mean :cool:
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Postby mttourpro » Tue Aug 26, 2008 1:31 pm

hmmmmmm......blueberry goodness..... :cool:
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let your life proceed by its own design....
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Postby pappypgh » Tue Aug 26, 2008 2:08 pm

Blueberry goodness is coming our way again, Tour Pro.... :cool:

TS - I disagree...I think Bolt was the cause of the brittle sound. But I think JG must've preferred it that way. I don't even know if brittle is the right word - I'd say it sounded more "processed" - less warm.

I most prefer a HUGE sushi throw-down. At Umi. Finest sushi anywhere. (new thread?! :lol: )
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"Once in awhile, you can get shown the light in the strangest of places, if you look at it right." - R. Hunter

"If we had any nerve at all, if we had any real balls as a society, or whatever you need, whatever quality you need, real character, we would make an effort to really address the wrongs in this society, righteously." - Jerry Garcia
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Postby Tennessee Jedi » Tue Aug 26, 2008 2:15 pm

Blueberry goodness is coming our way again, Tour Pro..

Shoot me a Pm and I'm there.
Sickleberry !
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Postby waldo041 » Tue Aug 26, 2008 2:51 pm

pappypgh wrote:Blueberry goodness is coming our way again, Tour Pro.... :cool:

TS - I disagree...I think Bolt was the cause of the brittle sound. But I think JG must've preferred it that way. I don't even know if brittle is the right word - I'd say it sounded more "processed" - less warm.

I most prefer a HUGE sushi throw-down. At Umi. Finest sushi anywhere. (new thread?! :lol: )


not trying to get into a pissing match here, but i am with TS on this. his reference is spot on also. with the same guitar and rig in the GD he was processed because he went directly to the board with NO onstage monitors to include his mac and jbl's. same rig with the mac and jbls with the JGB and his tone was just as phat as it used to be. clearly showing just what was the culprit to the "brittleness".

peace,
waldo
"Tone is in the instruments. Technique in the hands. Do what you will." ~ quote from some guy at the TGP forum
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Postby old man down » Tue Aug 26, 2008 2:57 pm

playingdead, thank you for not taking my critique too hard. Before I posted it I thought should I do this or should I just send in a You guys rock. I opted for the former. I figured I'd wait and see what reply I got from you, see how you felt about your rendition, and I could always backpedal nice later, which is what I'm doing now. The truth of the matter is, bands, the performers themselves, are always their worst critique. You guys will be much harsher on yourselves than me, but I had to wait and see how you felt about the rendition before I could respond further.

The band I used to play in did this song and we did it based off of Europe '72. (A very inspiring version.) We also had our ups and downs. For the rhythm guitarist it is very difficult to get it into a groove. I know, I was playing the Bobby part. I knew when it wasn't turning the corner on the riffs and I knew what it was like to be in quicksand, trying to get it working. You have to be slippery on that Bobby part, opting to exchange perfection for fluidity. The rhythm guitarist has to take the tempo away from the lead guitarist or the lead guitarist will overwhelm the tempo with the bass lines. The drummer will hear the bass lines more than anything and opt for that as his clock. Then you start sinking in quicksand.

So for the rhythm guitarist, to enable things a little better, he should really try to turn those lead riffs over and in the process turn sideways to the drummer, get eye contact, and use body language to add umph to things. The RG and the drummer then own the show at that moment. The LG will be so thankful for this going into the first break.

At the break, the RG should come in strong on that G chord with nice even rhythm strokes, again working with the drummer, eye contact, body language, an insider's in-the-know sort of mentality of let's get this baby off the ground. Once it levitates, you don't even have to worry about the beat. The beat goes along tacitly understood, and you guys dance around it, playing with it, being ahead of it at times and in back of it at times, even right on it for PUNCH.

I'm sure you know when you have those magical moments when it just floats on air and you can do no wrong. It is because you've gotten lift off.
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Postby pappypgh » Tue Aug 26, 2008 3:34 pm

waldo041 wrote:
pappypgh wrote:Blueberry goodness is coming our way again, Tour Pro.... :cool:

TS - I disagree...I think Bolt was the cause of the brittle sound. But I think JG must've preferred it that way. I don't even know if brittle is the right word - I'd say it sounded more "processed" - less warm.

I most prefer a HUGE sushi throw-down. At Umi. Finest sushi anywhere. (new thread?! :lol: )


not trying to get into a pissing match here, but i am with TS on this. his reference is spot on also. with the same guitar and rig in the GD he was processed because he went directly to the board with NO onstage monitors to include his mac and jbl's. same rig with the mac and jbls with the JGB and his tone was just as phat as it used to be. clearly showing just what was the culprit to the "brittleness".

peace,
waldo


Thanks Waldo - and apologies to TS! I never knew he went direct into the board (who's idea was THAT?!). I always assumed that their amps were in a basement of the venue, or backstage somewhere. I only assumed that 'cause I heard that they put Vinnie's leslie under the stage, or off-stage. The tool wouldn't use a real rig, but I was under the impression he was hooked to a Leslie for organ "patches".

OMD -

Dude, you're like the Robert Frost of describing a jam! :cool:

Good stuff. Although I would add that it really comes down to the RG hitting the "4-and" before the "1" - a LOT - during that jam. Dancing about the C to the D, with the C on the "4-and" to the D on the "1"....then, it IS a lift-off as the C holds for a full measure...the D for a full measure...back and forth until it EXPLODES in the full crescendo... uh...ooops, sorry, I gotta go change. :oops:
www.theCAUSEjams.com

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Postby GratefulPat » Tue Aug 26, 2008 6:15 pm

i know this is a crazy question but do you in playin dead, any of you have day jobs? cuz ur good and i dont think you need one...but judging by crowd size and whatnot im figuring out about how good i need to get before i can play dead music for a living
Comes a time, when the blind man takes your hand and says "dont you see?"
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Postby playingdead » Tue Aug 26, 2008 7:04 pm

old man down wrote:At the break, the RG should come in strong on that G chord with nice even rhythm strokes,


OMD, I was with ya until that bit about the "G chord," which part are we talking about there? Do you mean that little very-major FOTD style step-down part they did 73-74 that resolved on a G before they went back to the D and started Rider?

GratefulPat wrote:i know this is a crazy question but do you in playin dead, any of you have day jobs? cuz ur good and i dont think you need one...but judging by crowd size and whatnot im figuring out about how good i need to get before i can play dead music for a living


Actually, we all have fulltime professional careers; I'm an art director at the Boston Globe, we have a lawyer, an engineer at Bose, an architect/real estate developer and two guys with sales jobs. We never rehearse, gig a couple of times a month, and sometimes I find myself wondering how good we could be if we did do this fulltime and were playing constantly together. It would be nice to actually have time to pick up a guitar and practice on my own, but I rarely have the time to even do that, and when I do, I'm usually screwing around with the gear instead of trying to actually learn some scales and theory, I play completely by feel and intuition. And it shows ... LOL
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Postby old man down » Tue Aug 26, 2008 7:30 pm

playingdead, I'm really just refering to the CC part, because the download was so slow, I think I only got to the end of the middle of CC, you know all the way through the D > C > D > E, hang out, I'd need my guitar here to name the next few chords (still in Singapore, God, ten days of not playing and I aint comin' home soon), but finally to the A > B and back to the CC riff. That's all I listened to. You guys may have really picked it up going into Rider but I never got to that part. (I think it was like 20 minutes to get it downloaded just 21%.)

But the G I was refering to was after the CC riff at the beginning just after the first lyrics, and Garcia comes in with some high note 15th to 17th fret high E string stuff, Weir is on just a G chord, and he synchopates it to match Jerry's motiff segments, and what we used to do was hit that rhythm with nice full strokes working it on down strokes, then to upstrokes as it turned over to the D chord, and then the C > D...G F G F... Lots of rhythm strokes. I think it is like synchronicity or something. (not an expert here on Dead terminology) That is what you want, where the rhythm mirrors the lead lines to add context and really strong momentum. Then the lead lines sound so GOOD, like everything is one, and it all comes together and they're back to the lyrics.
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Postby old man down » Tue Aug 26, 2008 7:43 pm

Yes, coffee and blueberries before playing :D , and ideally having one set behind you so that you're already warmed up when you sling it over your shoulder. :cool:
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Postby Chuckles » Tue Aug 26, 2008 11:23 pm

I rather enjoyed it! Especially the up-close of you and lefty's fretwork.

Pinky? we don't ned no stinkin' pinky!
:-)

Sounds great, dude.
Seems like I've been here before...

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