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In recognition of my ludicrous amount of tenure at the day job, the folks at the office presented me with a guitar the other day. One of the weirder events in my career, but it was surprisingly touching.

Now, buying a musical instrument for somebody who takes their musical instruments *very seriously* is a dicey proposition. They did their homework, though, and I played in a band for a long-ass time with one of the guys at the office, so they were at least in the right ballpark. Still, I own some very nice instruments, and I'm very picky about certain things, so when I got wind of what was up, I thought, "Uh-oh."

They presented me with what I believe is a Gibson Les Paul Special Limited Edition in Pelham Blue, and I'm happy to report it's a pretty decent instrument! The frets are reasonably tall (a requirement of mine), the body is comfortable, and it plays pretty well. I had to dramatically lower the action, but that's not such a big deal. It sounds good, too! It's a nice, balanced sound, and, really, if all my other guitars disappeared tomorrow, I could make this one work indefinitely and be okay with that.

One oddity: The neck is actually a shade wider than the fretboard, which is weird as hell and I've never seen that before. It creates this tiny little lip or step on the top side of the neck. Maybe 1/32" or something, and nothing that's really bothersome, but it's very, very weird.

About fifty people or so actually signed the instrument. On one hand, that's not maybe what I'd normally want to see done to a guitar, but it was cool for the occasion. I have to admit, the mess of signatures is kind of growing on me.

One of the guys at work asked me the next day: "Did you play it or just hang it on the wall?"

To which I replied that I absolutely played it. I won't own a guitar I don't play--that's what they're for!
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With most of the bed tracks done for ITSOTW, I'm now working on the six million guitar overdubs. The other day, I laid down a solo for the tune "Help Isn't Coming," and, well, it's terrible. Or, as D put it, "Can you play something that sounds a little less like Journey?" We agreed that the best and most appropriate solo for the tune was one I just tossed off like a year ago in rehearsal. It's the canonical version, as it were, though I have never played it like that a second time.

So tonight I figured I'd just re-learn whatever the hell it was I played that night and get it ready so I can record it here in the next day or so. And, well. It took me two fucking hours to figure out what I was playing for bars five and six. It's this weirdly sequenced burst of stupid fast sixteenth notes and it comes out into quarter notes at an odd place, and the whole thing is wildly nonintuitive. The thing I improvised one day. At a speed that is significantly faster than the final version of the song. Nonintuitive. Can't play the fucker. Was I bodysnatched that day or what?

It's not uncommon for me to forget what I played (or even wrote) and for D to have to teach it back to me or dredge up an old recording and tell me to do, for example, whatever I was doing at the one minute and thirty second mark. We've been doing that shit for years. But, seriously, anything I improvised at the tempo we played this song at must have had its components firmly lodged in muscle memory, so where the hell did it go? Why is it alien music now?

I think I finally got the thing sussed out by slowing it down and working backwards from the quarter note bit. Of course I can't physically play it--it's probably going to take another few days of work with the metronome to get the thing up to speed, since I fall apart playing that passage about 20 bpm shy of where the song needs to be (which is another 18 or so bpm shy of the tempo we recorded it at back when).

This is good for me, or so I will tell myself.

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Jamie

June 2019

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