[Ty Ford]

Hi,

Neil Harpe taught me my first finger-pick licks in 1964. As amazing as he is
as a player, he has yet to be put up on Youtube....until now.

Here he is on a rare 1918 harp guitar and a Baltimore-made Holzapfel.

Ladies and Gents, Neil Harpe.

http://www.youtube.com/watch?v=Yu3-eYUY660

http://www.youtube.com/watch?v=oFswX...eature=related

Smoke 'em if you got 'em.,

Ty Ford

--Audio Equipment Reviews Audio Production Services
Acting and Voiceover Demos http://www.tyford.com
Guitar player?:http://www.youtube.com/watch?v=4RZJ9MptZmU

[Mark McDonald]

Thanks for posting that. I have always loved Neil's playing. It is very
nice to watch him in action.

Mark

[David Kilpatrick]

Ty Ford wrote:
Hi,

Neil Harpe taught me my first finger-pick licks in 1964. As amazing as he is
as a player, he has yet to be put up on Youtube....until now.

Here he is on a rare 1918 harp guitar and a Baltimore-made Holzapfel.

Ladies and Gents, Neil Harpe.

http://www.youtube.com/watch?v=Yu3-eYUY660

http://www.youtube.com/watch?v=oFswX...eature=related

Smoke 'em if you got 'em.,

Ty Ford


Great playing, grear sound, but... he never touches any of the
harp-guitar basses and keeps them damped with his arm for the entire
duration of the piece!

Surely the whole point of the harp guitar is to USE the basses?

David

[Ed Edelenbos]

"Mark McDonald" wrote in message
...
Thanks for posting that. I have always loved Neil's playing. It is very
nice to watch him in action.

Mark


He's a treat to hear live, also. Ty's work with the camera and mic isn't
too shoddy either.

Ed

[Gerry]

On Sep 19, 8:25*am, "Ed Edelenbos" wrote:
"Mark McDonald" wrote in message

...

Thanks for posting that. *I have always loved Neil's playing. *It is very
nice to watch him in action.

Mark

He's a treat to hear live, also. *Ty's work with the camera and mic isn't
too shoddy either.

Ed

Only if you like high-quality video and audio that's tastefully
presented. Otherwise it sucks!

Seriously though, Really enjoyed it - glad Neil's finally on YouTube!

Gerry

[Chris Hornbeck]

On Thu, 18 Sep 2008 17:00:44 -0400, Ty Ford
wrote:

Ladies and Gents, Neil Harpe.

http://www.youtube.com/watch?v=Yu3-eYUY660

http://www.youtube.com/watch?v=oFswX...eature=related

Wow. Great lighting, great camera op, and the guy can
sing pretty good for a white boy. Oh, yeah, nice pickin'!

Much thanks, as always,
Chris Hornbeck

[Ty Ford]

On Thu, 18 Sep 2008 18:02:57 -0400, David Kilpatrick wrote
(in article ):

Ty Ford wrote:
Hi,

Neil Harpe taught me my first finger-pick licks in 1964. As amazing as he
is
as a player, he has yet to be put up on Youtube....until now.

Here he is on a rare 1918 harp guitar and a Baltimore-made Holzapfel.

Ladies and Gents, Neil Harpe.

http://www.youtube.com/watch?v=Yu3-eYUY660

http://www.youtube.com/watch?v=oFswX...eature=related

Smoke 'em if you got 'em.,

Ty Ford


Great playing, grear sound, but... he never touches any of the
harp-guitar basses and keeps them damped with his arm for the entire
duration of the piece!

Surely the whole point of the harp guitar is to USE the basses?

David

David I don't know what hemisphere you're watching from, but he's not damping
the bass strings. Maybe because I was there, it's obvious to me, but trust me
on this, no damping.

According to Neil, these are sympathetic strings; not to be played. I suppose
you could, but I don't think that was the original idea.

Regards,

Ty Ford





--Audio Equipment Reviews Audio Production Services
Acting and Voiceover Demos http://www.tyford.com
Guitar player?:http://www.youtube.com/watch?v=4RZJ9MptZmU

[Ty Ford]

On Thu, 18 Sep 2008 19:35:01 -0400, Gerry wrote
(in article
):

On Sep 19, 8:25*am, "Ed Edelenbos" wrote:
"Mark McDonald" wrote in message

...

Thanks for posting that. *I have always loved Neil's playing. *It is very
nice to watch him in action.

Mark

He's a treat to hear live, also. *Ty's work with the camera and mic isn't
too shoddy either.

Ed

Only if you like high-quality video and audio that's tastefully
presented. Otherwise it sucks!

Seriously though, Really enjoyed it - glad Neil's finally on YouTube!

Gerry

Gerry,

I'll take that as the non-compliment it's not supposed to be.

A TLM 103 on the guitar, BTW.

Regards,

Ty Ford

--Audio Equipment Reviews Audio Production Services
Acting and Voiceover Demos http://www.tyford.com
Guitar player?:http://www.youtube.com/watch?v=4RZJ9MptZmU

[Ty Ford]

On Thu, 18 Sep 2008 18:25:04 -0400, Ed Edelenbos wrote
(in article ):


"Mark McDonald" wrote in message
...
Thanks for posting that. I have always loved Neil's playing. It is very
nice to watch him in action.

Mark


He's a treat to hear live, also. Ty's work with the camera and mic isn't
too shoddy either.

Ed



Funny story (for me). I played the clip for a guy here in my studio. He said.
"Why'd you cut the player's head off?"
I said, "So I could zoom in and get a better shot of his finger and the
guitar."
He said, "The way he plays, sometimes it looks like he only has three
fingers. But you cut his head off. That's weird."

A question to the group. When limited to only one camera (and without doing
multiple takes which wouldn't really match anyway), do you have any
suggestions as how to better shoot this type of performance than pan and
zoom?

Maybe it only "works" for guitar players who would want to see the playing.

Regards,

Ty Ford



--Audio Equipment Reviews Audio Production Services
Acting and Voiceover Demos http://www.tyford.com
Guitar player?:http://www.youtube.com/watch?v=4RZJ9MptZmU

[Chris Hornbeck]

On Thu, 18 Sep 2008 22:20:10 -0400, "Soundhaspriority"
wrote:

Chris, is there any kind of a "roadhouse" scene where you are?

Not in any way interesting to ya. Little Rock is locally called
"No Rock at All" for good reason. A band called Evanescence (hope
I haven't butchered their spelling too bad) apparently came out
of here without my ever having even heard of 'em. 'Course, I'm
a geezer - but I do get out some.

There are several local venues for small-regional bands to play
out; one in particular ("Vino's") is really really great. They
tend towards a crowd about two generations younger than me, so
they've survived - within this run-on sentence lies the secret
of bar success - you read it first here- young people drink beer.
(I do too, but shouldn't - a minor difference.) But, Guiness of
very good quality on draft - it's almost big-city.


Another way of answering your post is to say that I'm just back
a week ago from the People's Republic of Portland, PDX, where I
went to see my GodChild, 16 months old and the most beautiful
human yet to appear, and her (don't yet know the gender!) sibling,
age: minus five months.

And my favorite (and, of course, this is a really, really tough call)
dog Willie, who I met back here in Little Rock in 1999, and who looks
just like a black haired wolf. He's healthy and happy, as are all
of the family.


Portland is the home of Gus van Sant, Rebecca Gates (of the Spinanes),
the Dandy Warhols, and the greatest (IMO, natch) musician of these
dark times, Elliott Smith. Among so many others.

So, a better way of answering your post is:
When I was there, a coupla weeks ago, nothin' seemed to be on.
Or, more likely, I just didn't recognize something interesting.
Does this mean that Portland doesn't have a music scene? Of
course not. It just means that I can't recognise it from my distance.

Does Little Rock have a music scene? Actually, yes! although it's
harder, because it's a not-so-much-advertised-as-word-of-mouth-
kinda town, to break into. This barrier is a known and well
understood negative, and solutions run thin here. We'd sure appreciate
any comments.


Your question was about roadhouse. I haven't actually been into
anything that I'd call a real roadhouse bar since I left Oklahoma
at the end of 1982.

That was also the last time I wished, as a civilian, that I were
armed. Turned out my little brother *was*, and I'm here to (not)
tell the tale.

Much thanks, as always,
Chris Hornbeck

[Sean Conolly]

"Ty Ford" wrote in message
. ..
Funny story (for me). I played the clip for a guy here in my studio. He
said.
"Why'd you cut the player's head off?"
I said, "So I could zoom in and get a better shot of his finger and the
guitar."
He said, "The way he plays, sometimes it looks like he only has three
fingers. But you cut his head off. That's weird."

A question to the group. When limited to only one camera (and without
doing
multiple takes which wouldn't really match anyway), do you have any
suggestions as how to better shoot this type of performance than pan and
zoom?

I probably wouldn't lose his head while he's singing, but the rest of the
time, sure.

Not that I know diddly about video.

Sean

[Mitch[_4_]]

"Ty Ford" wrote.......
According to Neil, these are sympathetic strings; not to be played. I
suppose
you could, but I don't think that was the original idea.

Here's one good example of 'em "getting played"....

http://www.youtube.com/watch?v=TgKB8zG5qP0


M-

[Chris Hornbeck]

On Thu, 18 Sep 2008 23:58:45 -0400, "Sean Conolly"
wrote:

"Ty Ford" wrote in message
...

A question to the group. When limited to only one camera (and without
doing
multiple takes which wouldn't really match anyway), do you have any
suggestions as how to better shoot this type of performance than pan and
zoom?


Not that I know diddly about video.

I wish somebody would tell me what diddy wah diddy means.

But, yeah, I gotta say trust your instincts about your camera
choices - looks pretty friggin great to me. What makes it
work (and look professional) is to be able to anticipate.
Be there or be square. You're there (and f/8! Arf!).

I also appreciated the "hair light" without a strong
key light, very artsy and unusual, but perfectly suited.
Don't want to embarass ya, but it's really good photography.

Other folks may make different choices, but for my tastes,
your decision to play to the most observant viewers is the
best choice. Just a data-point, of course.

Much thanks, as always (and I *really* liked it, so sue me),
Chris Hornbeck

[Jenn[_3_]]

In article ,
Chris Hornbeck wrote:

Portland is the home of Gus van Sant, Rebecca Gates (of the Spinanes),
the Dandy Warhols, and the greatest (IMO, natch) musician of these
dark times, Elliott Smith. Among so many others.

So, a better way of answering your post is:
When I was there, a coupla weeks ago, nothin' seemed to be on.
Or, more likely, I just didn't recognize something interesting.
Does this mean that Portland doesn't have a music scene? Of
course not. It just means that I can't recognise it from my distance.

The great Doug Smith, Mark Hanson, Terry Robb, Mary Flower...
Not to mention the Oregon Symphony! ;-)

[hank alrich]

Ty Ford wrote:

According to Neil, these are sympathetic strings; not to be played. I suppose
you could, but I don't think that was the original idea.

You can play 'em or not, as you choose, whatever the original intent. I
spent some time with an old Gibson harp guitar. I played 'em.

--
ha
Iraq is Arabic for Vietnam

[Chris Hornbeck]

On Fri, 19 Sep 2008 00:29:15 -0400, "Soundhaspriority"
wrote:

Oklahoma

There's nothing wronger in Oklahoma, or in Arkansas, than
anyplace else. I'm sorry to have wandered off Ty's thread.

Nite, all,
Chris

[Six String Stu[_2_]]

"hank alrich" wrote in message
...
Ty Ford wrote:

According to Neil, these are sympathetic strings; not to be played. I
suppose
you could, but I don't think that was the original idea.

You can play 'em or not, as you choose, whatever the original intent. I
spent some time with an old Gibson harp guitar. I played 'em.

--
ha
Iraq is Arabic for Vietnam

Well from the looks of that harp/guitar there doesn't look to be very much
room for a hand to move very easy up and down the frets, between the two
necks.
Play a string in the open position or lay it on yer lap and use a slide bar
OR let the harmonics do what they do.
Also the sepperation of the two sets of strings would mean some pretty
complicated (and possibly difficult) picking between them simultaneously.
I've never played that style of 12 string, but I do happen to have a
FG-312II that I utilize from time to time. So I know a bit about 12 string
work.
And I think from MNSHO that playing all 12 of them strings, on that
configuration would be worth seeing.
I also don't think the guy is dampening the top set with his right. So the
harmonics issue still seems plausable.
How fat and nimble are your paws Hank?

[Gerry]

On Sep 19, 3:47*pm, "Six String Stu" wrote:
"hank alrich" wrote in message

...

Ty Ford wrote:

According to Neil, these are sympathetic strings; not to be played. I
suppose
you could, but I don't think that was the original idea.

You can play 'em or not, as you choose, whatever the original intent. I
spent some time with an old Gibson harp guitar. I played 'em.

--
ha
Iraq is Arabic for Vietnam

Well from the looks of that harp/guitar there doesn't look to be very much
room for a hand to move very easy up and down the frets, between the two
necks.
Play a string in the open position or lay it on yer lap and use a slide bar
OR let the harmonics do what they do.
Also the sepperation of the two sets of strings would mean some pretty
complicated (and possibly difficult) picking between them simultaneously.
I've never played that style of 12 string, but I do happen to have a
FG-312II that I utilize from time to time. So I know a bit about 12 string
work.
And I think from MNSHO that playing all 12 of them strings, on that
configuration would be worth seeing.
I also don't think the guy is dampening the top set with his right. So the
harmonics issue still seems plausable.
How fat and nimble are your paws Hank?

Watch Stephen Bennett or Andy McKee on youtube to see how the bass
strings are incorporated. I've got a Dyer -style harp guitar but I
don't see why you can't apply the same thing to this harp guitar. This
is not a 12-string guitar in the usual sense

Gerry

Gerry

[Six String Stu[_2_]]

"Gerry" wrote in message
...
On Sep 19, 3:47 pm, "Six String Stu" wrote:
"hank alrich" wrote in message

...

Ty Ford wrote:

According to Neil, these are sympathetic strings; not to be played. I
suppose
you could, but I don't think that was the original idea.

You can play 'em or not, as you choose, whatever the original intent. I
spent some time with an old Gibson harp guitar. I played 'em.

--
ha
Iraq is Arabic for Vietnam

Well from the looks of that harp/guitar there doesn't look to be very much
room for a hand to move very easy up and down the frets, between the two
necks.
Play a string in the open position or lay it on yer lap and use a slide
bar
OR let the harmonics do what they do.
Also the sepperation of the two sets of strings would mean some pretty
complicated (and possibly difficult) picking between them simultaneously.
I've never played that style of 12 string, but I do happen to have a
FG-312II that I utilize from time to time. So I know a bit about 12 string
work.
And I think from MNSHO that playing all 12 of them strings, on that
configuration would be worth seeing.
I also don't think the guy is dampening the top set with his right. So the
harmonics issue still seems plausable.
How fat and nimble are your paws Hank?

Watch Stephen Bennett or Andy McKee on youtube to see how the bass
strings are incorporated. I've got a Dyer -style harp guitar but I
don't see why you can't apply the same thing to this harp guitar. This
is not a 12-string guitar in the usual sense

Gerry
======================================
Andy McKee was introduced to me via an email alert from the son of Dean
Markley guitar strings (Ty Markley). If I remember correctly he was in the
Dean Markley booth at NAMM (or so I was led to believe ).
I was impressed by his use of precussion and the wacky way that he reverses
the roles of the hands when doing harmonics. Truly impressive.

I am vision impaired and suffer from memory and cognitive issues, so I went
back to look at those two original videos, hoping to catch a glimpse of
frets on the upper neck of that harp guitar. That video has been "removed by
the user", but it seems that open strings are how the two guys you mentioned
play the harp section of the instrument.

Still it would've been nice to be able to go back and "see" (lol) if there
were frets on the topmost guitar style neck in the first link. Those huge
sound boxes on the other style instruments obviously don't have any.
The second link shows a regular style 12 stringer.

[Gerry]

Six String Stu wrote:
Andy McKee was introduced to me via an email alert from the son of Dean
Markley guitar strings (Ty Markley). If I remember correctly he was in the
Dean Markley booth at NAMM (or so I was led to believe ).
I was impressed by his use of precussion and the wacky way that he reverses
the roles of the hands when doing harmonics. Truly impressive.

I am vision impaired and suffer from memory and cognitive issues, so I went
back to look at those two original videos, hoping to catch a glimpse of
frets on the upper neck of that harp guitar. That video has been "removed by
the user", but it seems that open strings are how the two guys you mentioned
play the harp section of the instrument.

Still it would've been nice to be able to go back and "see" (lol) if there
were frets on the topmost guitar style neck in the first link. Those huge
sound boxes on the other style instruments obviously don't have any.
The second link shows a regular style 12 stringer.

Stu,

That's right. They tune the bass strings to the configuration they
need for a particular tune, at least in the case of Bennett. With
regard to Ty's videos, yes, the second link is for a regular 12
stringer. I don't believe that the neck had frets. I found these
photos of Stella harp guitars:
http://www.stellaguitars.com/Stella_...arp_guitar.htm
http://www.stellaguitars.com/12string_doubleneck.htm

By the way, check these ones out - some very nice playing he
http://www.youtube.com/watch?v=FTg_yETG6yY
http://www.youtube.com/watch?v=oWNwaimJbP4

Gerry

[Six String Stu[_2_]]

"Gerry" wrote in message
...


Six String Stu wrote:
Andy McKee was introduced to me via an email alert from the son of Dean
Markley guitar strings (Ty Markley). If I remember correctly he was in
the
Dean Markley booth at NAMM (or so I was led to believe ).
I was impressed by his use of precussion and the wacky way that he
reverses
the roles of the hands when doing harmonics. Truly impressive.

I am vision impaired and suffer from memory and cognitive issues, so I
went
back to look at those two original videos, hoping to catch a glimpse of
frets on the upper neck of that harp guitar. That video has been "removed
by
the user", but it seems that open strings are how the two guys you
mentioned
play the harp section of the instrument.

Still it would've been nice to be able to go back and "see" (lol) if
there
were frets on the topmost guitar style neck in the first link. Those huge
sound boxes on the other style instruments obviously don't have any.
The second link shows a regular style 12 stringer.

Stu,

That's right. They tune the bass strings to the configuration they
need for a particular tune, at least in the case of Bennett. With
regard to Ty's videos, yes, the second link is for a regular 12
stringer. I don't believe that the neck had frets. I found these
photos of Stella harp guitars:
http://www.stellaguitars.com/Stella_...arp_guitar.htm
http://www.stellaguitars.com/12string_doubleneck.htm

By the way, check these ones out - some very nice playing he
http://www.youtube.com/watch?v=FTg_yETG6yY
http://www.youtube.com/watch?v=oWNwaimJbP4

Gerry

Ah ha! there's one less mystery for me to obsess over now. It was a fretless
6String Bass TYVM

I got a huge lift out of Paper Moon by Andy Wahlberg. What a talent that guy
has. Lots of character to go with it to.

Appreciate the searching for those pics that you did. Now I'm headed to bed.
4 am my time.

[Dec [Cluskey]]

On Sep 18, 11:02*pm, David Kilpatrick wrote:
Ty Ford wrote:
Hi,

Neil Harpe taught me my first finger-pick licks in 1964. As amazing as he is
as a player, he has yet to be put up on Youtube....until now.
Great playing, grear sound, but... he never touches any of the
harp-guitar basses and keeps them damped with his arm for the entire
David-

David/Ty

I know nothing about harp guitars ... it just looks like a normal 12
string to me .... rattled to pieces as a guitar of that age would
be ... I wonder how the original guitar sounded when it was first
built? Probably warm, lush and wonderful.

The bass notes are damped [to my ear] as that style is usually played
[Chet Atkins?]

As you can tell, I am not a fan of old 'old' and 'venerated'. I want
them to sound 'great' not sound just 'interesting'. Give me a brand
new guitar any day. Having said that I borrowed an ancient Hofner
round hole from my brother's collection [probably circa 1960] The in-
built electrics were shot as was the later fitted under bridge pick
up. I brought it to a pal who looks after Chemical Brothers stuff and
Gary Neuman's ... he stripped the electrics down and although a little
hummy got the original pick up that was slotted into the end of the
neck and the under bridge pick up to work as a stero pair. I was able
to clean out the hum on ProTools.

I used it for a solo in a R&B smooth groove track ... it sounded
awsome .... the warmth from one side and the zing from the other ..
each reacting differently to the volume of playing, uncanny effect...
would be useless for stage work but for the odd 'innovative' solo ...
brilliant.

So I am not altogether against ancient instruments ... only at the
right time, right place.

Regards

Dec [Cluskey]

Re. the bass strings, yes they appear to be damped but I have always
understood that style of picking to demand that? Chet Atkins etc.?

[Dec [Cluskey]]

On Sep 19, 12:33*pm, "Dec [Cluskey]" wrote:
On Sep 18, 11:02*pm, David Kilpatrick wrote:

Ty Ford wrote:
Hi,


The bass notes are damped [to my ear] as that style is usually played
[Chet Atkins?]

Just realised ... the video I watched was of the standard twelve
string ... the other video was 'removed' and could not be viewed ...
so I lost the whole point ... must have been a twin necked guitar.

Regards

Dec [Cluskey]

[Mike Rivers]

On Sep 18, 5:00 pm, Ty Ford wrote:
Hi,

Here he is on a rare 1918 harp guitar and a Baltimore-made Holzapfel.
http://www.youtube.com/watch?v=Yu3-eYUY660

This morning I got "This video has been removed by the user." at that
link. The other one, the conventional 12-string, sounded really nice
on the Minimus 7 speakers connected to the computer. I'll have to give
it a listen on the studio computer when I trot back there.

[Steve King]

"Ty Ford" wrote in message
. ..
| On Thu, 18 Sep 2008 18:25:04 -0400, Ed Edelenbos wrote
| (in article ):
|
|
| "Mark McDonald" wrote in message
| ...
| Thanks for posting that. I have always loved Neil's playing. It is
very
| nice to watch him in action.
|
| Mark
|
|
| He's a treat to hear live, also. Ty's work with the camera and mic
isn't
| too shoddy either.
|
| Ed
|
|
|
| Funny story (for me). I played the clip for a guy here in my studio. He
said.
| "Why'd you cut the player's head off?"
| I said, "So I could zoom in and get a better shot of his finger and the
| guitar."
| He said, "The way he plays, sometimes it looks like he only has three
| fingers. But you cut his head off. That's weird."
|
| A question to the group. When limited to only one camera (and without
doing
| multiple takes which wouldn't really match anyway), do you have any
| suggestions as how to better shoot this type of performance than pan and
| zoom?
|
| Maybe it only "works" for guitar players who would want to see the
playing.
|
| Regards,
|
| Ty Ford

Maybe shoot another take just for cut-aways: tight head shots so we can
'get to know' the player's mind as he plays; tight shots on fret work ---
you only have to synch up a few seconds to make it work keeping the audio
from the primary take.

[hank alrich]

Six String Stu wrote:

"hank alrich" wrote in message
...
Ty Ford wrote:

According to Neil, these are sympathetic strings; not to be played. I
suppose
you could, but I don't think that was the original idea.

You can play 'em or not, as you choose, whatever the original intent. I
spent some time with an old Gibson harp guitar. I played 'em.

--
ha
Iraq is Arabic for Vietnam

Well from the looks of that harp/guitar there doesn't look to be very much
room for a hand to move very easy up and down the frets, between the two
necks.
Play a string in the open position or lay it on yer lap and use a slide bar
OR let the harmonics do what they do.
Also the sepperation of the two sets of strings would mean some pretty
complicated (and possibly difficult) picking between them simultaneously.
I've never played that style of 12 string, but I do happen to have a
FG-312II that I utilize from time to time. So I know a bit about 12 string
work.
And I think from MNSHO that playing all 12 of them strings, on that
configuration would be worth seeing.
I also don't think the guy is dampening the top set with his right. So the
harmonics issue still seems plausable.
How fat and nimble are your paws Hank?

The Gibson harp guitars don't have fretboard under the harp strings.

http://www.minermusic.com/cc/charliebrown.htm

I played them as open, resonating bass notes, sometimes as pedals,
sometimes plucked and muted.

--
ha
Iraq is Arabic for Vietnam

[Six String Stu[_2_]]

"Dec [Cluskey]" wrote in message
...
On Sep 18, 11:02 pm, David Kilpatrick wrote:
Ty Ford wrote:
Hi,

Neil Harpe taught me my first finger-pick licks in 1964. As amazing as
he is
as a player, he has yet to be put up on Youtube....until now.
Great playing, grear sound, but... he never touches any of the
harp-guitar basses and keeps them damped with his arm for the entire
David-

David/Ty

I know nothing about harp guitars ... it just looks like a normal 12
string to me .... rattled to pieces as a guitar of that age would
be ... I wonder how the original guitar sounded when it was first
built? Probably warm, lush and wonderful.

The bass notes are damped [to my ear] as that style is usually played
[Chet Atkins?]

As you can tell, I am not a fan of old 'old' and 'venerated'. I want
them to sound 'great' not sound just 'interesting'. Give me a brand
new guitar any day. Having said that I borrowed an ancient Hofner
round hole from my brother's collection [probably circa 1960] The in-
built electrics were shot as was the later fitted under bridge pick
up. I brought it to a pal who looks after Chemical Brothers stuff and
Gary Neuman's ... he stripped the electrics down and although a little
hummy got the original pick up that was slotted into the end of the
neck and the under bridge pick up to work as a stero pair. I was able
to clean out the hum on ProTools.

I used it for a solo in a R&B smooth groove track ... it sounded
awsome .... the warmth from one side and the zing from the other ..
each reacting differently to the volume of playing, uncanny effect...
would be useless for stage work but for the odd 'innovative' solo ...
brilliant.

So I am not altogether against ancient instruments ... only at the
right time, right place.

Regards

Dec [Cluskey]

Re. the bass strings, yes they appear to be damped but I have always
understood that style of picking to demand that? Chet Atkins etc.?
------------------------------------------
I guess we will have to agree to disagree on the damping taking place. I
tend to think it was a mic positioning thing.
Good grief ya old fart, how can you in good consciousness call a 1960 guitar
"achient"?
That would mean that you too are only worthwhile for the "odd 'innovative'
solo" and I know for a fact you don't feel that way. ;-)
Neither do I btw and I'm only 47. Pops lol

[Six String Stu[_2_]]

"Dec [Cluskey]" wrote in message
...
On Sep 19, 12:33 pm, "Dec [Cluskey]" wrote:
On Sep 18, 11:02 pm, David Kilpatrick wrote:

Ty Ford wrote:
Hi,


The bass notes are damped [to my ear] as that style is usually played
[Chet Atkins?]

Just realised ... the video I watched was of the standard twelve
string ... the other video was 'removed' and could not be viewed ...
so I lost the whole point ... must have been a twin necked guitar.

Regards

Dec [Cluskey]
========================
Right you are Dec. It was a double neck, with the two necks close togather.
ie: good room for a thumb but not suitable for a hand. And it was fretless
btw.

[[email protected]]

On Sep 18, 5:00*pm, Ty Ford wrote:
http://www.youtube.com/watch?v=Yu3-eYUY660
http://www.youtube.com/watch?v=oFswX...eature=related
Smoke 'em if you got 'em.,


Real good stuff, thanks. Go ahead and cut off his head, but
leave his left hand.

[Ty Ford]

On Fri, 19 Sep 2008 00:21:59 -0400, Chris Hornbeck wrote
(in article ):


I wish somebody would tell me what diddy wah diddy means.

But, yeah, I gotta say trust your instincts about your camera
choices - looks pretty friggin great to me. What makes it
work (and look professional) is to be able to anticipate.
Be there or be square. You're there (and f/8! Arf!).

I also appreciated the "hair light" without a strong
key light, very artsy and unusual, but perfectly suited.
Don't want to embarass ya, but it's really good photography.

Other folks may make different choices, but for my tastes,
your decision to play to the most observant viewers is the
best choice. Just a data-point, of course.

Much thanks, as always (and I *really* liked it, so sue me),
Chris Hornbeck

Thanks Chris,

I've been trying to sponge every scintilla of lighting voodoo I can from the
shooters I work with and they have helped me immensely. The space is fairly
small by video standards; 7.7' ceiling and not much wider or deeper than you
see when I'm wide. This was my first effort at throwing a gel on a light and
washing the background a bit to pretty things up some.

The TLM103 worked on the Stella Harp guitar; bringing it out a bit. It was a
fairly quiet instrument. I did the audio tinkering in Soundtrack Pro which is
NOT user friendly.

As an audio guy :lease stop me before I light and shoot again::

Regards,

Ty Ford

--Audio Equipment Reviews Audio Production Services
Acting and Voiceover Demos http://www.tyford.com
Guitar player?:http://www.youtube.com/watch?v=4RZJ9MptZmU

[hank alrich]

Six String Stu wrote:

"Dec [Cluskey]" wrote in message
...
On Sep 18, 11:02 pm, David Kilpatrick wrote:
Ty Ford wrote:
Hi,

Neil Harpe taught me my first finger-pick licks in 1964. As amazing as
he is
as a player, he has yet to be put up on Youtube....until now.
Great playing, grear sound, but... he never touches any of the
harp-guitar basses and keeps them damped with his arm for the entire
David-

David/Ty

I know nothing about harp guitars ... it just looks like a normal 12
string to me .... rattled to pieces as a guitar of that age would
be ... I wonder how the original guitar sounded when it was first
built? Probably warm, lush and wonderful.

The bass notes are damped [to my ear] as that style is usually played
[Chet Atkins?]

As you can tell, I am not a fan of old 'old' and 'venerated'. I want
them to sound 'great' not sound just 'interesting'. Give me a brand
new guitar any day. Having said that I borrowed an ancient Hofner
round hole from my brother's collection [probably circa 1960] The in-
built electrics were shot as was the later fitted under bridge pick
up. I brought it to a pal who looks after Chemical Brothers stuff and
Gary Neuman's ... he stripped the electrics down and although a little
hummy got the original pick up that was slotted into the end of the
neck and the under bridge pick up to work as a stero pair. I was able
to clean out the hum on ProTools.

I used it for a solo in a R&B smooth groove track ... it sounded
awsome .... the warmth from one side and the zing from the other ..
each reacting differently to the volume of playing, uncanny effect...
would be useless for stage work but for the odd 'innovative' solo ...
brilliant.

So I am not altogether against ancient instruments ... only at the
right time, right place.

Regards

Dec [Cluskey]

Re. the bass strings, yes they appear to be damped but I have always
understood that style of picking to demand that? Chet Atkins etc.?
------------------------------------------
I guess we will have to agree to disagree on the damping taking place. I
tend to think it was a mic positioning thing.
Good grief ya old fart, how can you in good consciousness call a 1960 guitar
"achient"?
That would mean that you too are only worthwhile for the "odd 'innovative'
solo" and I know for a fact you don't feel that way. ;-)
Neither do I btw and I'm only 47. Pops lol

There are so many terrific sounding "ancient" guitars that Dec's view
can be ignored.

--
ha
Iraq is Arabic for Vietnam

[Ty Ford]

On Fri, 19 Sep 2008 07:37:07 -0400, Dec [Cluskey] wrote
(in article
):

On Sep 19, 12:33*pm, "Dec [Cluskey]" wrote:
On Sep 18, 11:02*pm, David Kilpatrick wrote:

Ty Ford wrote:
Hi,


The bass notes are damped [to my ear] as that style is usually played
[Chet Atkins?]

Just realised ... the video I watched was of the standard twelve
string ... the other video was 'removed' and could not be viewed ...
so I lost the whole point ... must have been a twin necked guitar.

Regards

Dec [Cluskey]

Sorry Del;

Neil asked me to do an edit. I couldn't replace the clip and the new harp
guitar clip is at:
http://www.youtube.com/watch?v=-2IMIP8drZo

--Audio Equipment Reviews Audio Production Services
Acting and Voiceover Demos http://www.tyford.com
Guitar player?:http://www.youtube.com/watch?v=4RZJ9MptZmU

[Ty Ford]

On Fri, 19 Sep 2008 14:54:53 -0400, wrote
(in article
):

On Sep 18, 5:00*pm, Ty Ford wrote:
http://www.youtube.com/watch?v=Yu3-eYUY660
http://www.youtube.com/watch?v=oFswX...eature=related
Smoke 'em if you got 'em.,


Real good stuff, thanks. Go ahead and cut off his head, but
leave his left hand.

Both of Neil's hands are an amazement to me.

Again, if you missed the previous post the new link for the Stella harpe
guitar is: http://www.youtube.com/watch?v=-2IMIP8drZo

Regards,

Ty

--Audio Equipment Reviews Audio Production Services
Acting and Voiceover Demos http://www.tyford.com
Guitar player?:http://www.youtube.com/watch?v=4RZJ9MptZmU

[Tony Done]

"Dec [Cluskey]" wrote in message
...
On Sep 19, 12:33 pm, "Dec [Cluskey]" wrote:
On Sep 18, 11:02 pm, David Kilpatrick wrote:

Ty Ford wrote:
Hi,


The bass notes are damped [to my ear] as that style is usually played
[Chet Atkins?]

Just realised ... the video I watched was of the standard twelve
string ... the other video was 'removed' and could not be viewed ...
so I lost the whole point ... must have been a twin necked guitar.

Regards

Dec [Cluskey]

Same problem, but you can get to the first vid from the second one, via
"related videos" - worth a listen, great sound and good playing in the very
early blues style.

I want one!!! Think of the slide/lap steel guitar possibilities on that
thing.

Tony D

[Six String Stu[_2_]]

"hank alrich" wrote in message
...
Six String Stu wrote:

"Dec [Cluskey]" wrote in message
...
On Sep 18, 11:02 pm, David Kilpatrick wrote:
Ty Ford wrote:
Hi,

Neil Harpe taught me my first finger-pick licks in 1964. As amazing
as
he is
as a player, he has yet to be put up on Youtube....until now.
Great playing, grear sound, but... he never touches any of the
harp-guitar basses and keeps them damped with his arm for the entire
David-

David/Ty

I know nothing about harp guitars ... it just looks like a normal 12
string to me .... rattled to pieces as a guitar of that age would
be ... I wonder how the original guitar sounded when it was first
built? Probably warm, lush and wonderful.

The bass notes are damped [to my ear] as that style is usually played
[Chet Atkins?]

As you can tell, I am not a fan of old 'old' and 'venerated'. I want
them to sound 'great' not sound just 'interesting'. Give me a brand
new guitar any day. Having said that I borrowed an ancient Hofner
round hole from my brother's collection [probably circa 1960] The in-
built electrics were shot as was the later fitted under bridge pick
up. I brought it to a pal who looks after Chemical Brothers stuff and
Gary Neuman's ... he stripped the electrics down and although a little
hummy got the original pick up that was slotted into the end of the
neck and the under bridge pick up to work as a stero pair. I was able
to clean out the hum on ProTools.

I used it for a solo in a R&B smooth groove track ... it sounded
awsome .... the warmth from one side and the zing from the other ..
each reacting differently to the volume of playing, uncanny effect...
would be useless for stage work but for the odd 'innovative' solo ...
brilliant.

So I am not altogether against ancient instruments ... only at the
right time, right place.

Regards

Dec [Cluskey]

Re. the bass strings, yes they appear to be damped but I have always
understood that style of picking to demand that? Chet Atkins etc.?
------------------------------------------
I guess we will have to agree to disagree on the damping taking place. I
tend to think it was a mic positioning thing.
Good grief ya old fart, how can you in good consciousness call a 1960
guitar
"achient"?
That would mean that you too are only worthwhile for the "odd
'innovative'
solo" and I know for a fact you don't feel that way. ;-)
Neither do I btw and I'm only 47. Pops lol

There are so many terrific sounding "ancient" guitars that Dec's view
can be ignored.

--
ha
Iraq is Arabic for Vietnam

Well he is allowed his opinions. I have some that arent main stream either.
I think Dec would be extreemly happy enough with an original Les Paul
ES-175D (circa 1961).
U C, I wasn't the only good thing that showed up that year.

[Tony Done]

"Ty Ford" wrote in message
. ..
Hi,

Neil Harpe taught me my first finger-pick licks in 1964. As amazing as he
is
as a player, he has yet to be put up on Youtube....until now.

Here he is on a rare 1918 harp guitar and a Baltimore-made Holzapfel.

Ladies and Gents, Neil Harpe.

http://www.youtube.com/watch?v=Yu3-eYUY660

http://www.youtube.com/watch?v=oFswX...eature=related

Smoke 'em if you got 'em.,

Ty Ford

--Audio Equipment Reviews Audio Production Services
Acting and Voiceover Demos http://www.tyford.com
Guitar player?:http://www.youtube.com/watch?v=4RZJ9MptZmU


Very nice. I think the harp guitar piece is called "Old Country Rock". Do
you happen to know what tuning he is using, and how the sympathetic strings
are tuned?

Thanks,

Tony D

[Mike Rivers]

Tony Done wrote:

Very nice. I think the harp guitar piece is called "Old Country Rock".

Could be. It (like the title you named) was a collection of licks, hard
to tell for sure if it's the same as something that's been titled on a
record.

Do you happen to know what tuning he is using, and how the sympathetic strings are tuned?

He was playing in D, standard tuning with the 6th string tuned down to
D. I didn't see or hear the harp strings being played so it's really
hard to tell without asking (or care). A common way for that style of
guitar to be tuned is with the highest of the harp strings tuned to the
same D an octave below the 4th string of the standard neck, then down
scale C, B, A, G, F but there are a bunch of ways to tune them.
Basically, you looked at the sheet music and if there was a note you
needed that wasn't on the standard neck, you tuned a string to it.
Sometimes the strings were tuned chromatically so that you could play a
harp-like glissando.

Folkie players who dug up those guitars in the '60s (and I'm not lumping
Harpe into that bunch even though he was a folkie in the '60s) tuned
them to an open chord or two in the key the song was being played. David
Lindley did that in his days with Kaleidoscope, though he also used a
chromatic, or near-chromatic tuning. They didn't usually play more than
one or two tunes on the harp guitar, so a single tuning would usually
suffice except on studio sessions. (for all the session harp guitar
players out there)


--
If you e-mail me and it bounces, use your secret decoder ring and reach
me he
double-m-eleven-double-zero at yahoo -- I'm really Mike Rivers
)

[Jenn[_3_]]

In article 2yXAk.439$Yw1.74@trnddc03,
Mike Rivers wrote:

Tony Done wrote:

Very nice. I think the harp guitar piece is called "Old Country Rock".

Could be. It (like the title you named) was a collection of licks, hard
to tell for sure if it's the same as something that's been titled on a
record.

Do you happen to know what tuning he is using, and how the sympathetic
strings are tuned?

He was playing in D, standard tuning with the 6th string tuned down to
D.

Yep, "dropped D tuning". One of my favs. The great Ed Gerhard calls it
"the king of all tunings".

I didn't see or hear the harp strings being played so it's really
hard to tell without asking (or care). A common way for that style of
guitar to be tuned is with the highest of the harp strings tuned to the
same D an octave below the 4th string of the standard neck, then down
scale C, B, A, G, F but there are a bunch of ways to tune them.
Basically, you looked at the sheet music and if there was a note you
needed that wasn't on the standard neck, you tuned a string to it.
Sometimes the strings were tuned chromatically so that you could play a
harp-like glissando.

Sometimes they are tune to the same tuning as the regular strings, down
an octave, not played at all but there for the sympathetic resonance.

[Martin Harrington]

Just a suggestion guys.
Lets keep thread thread OFF RAMPS, please.
Interesting to some, but not many.

Martin H
Lend An Ear Sound



On 20/09/08 8:40 AM, in article , "Six
String Stu" wrote:


"hank alrich" wrote in message
...
Six String Stu wrote:

"Dec [Cluskey]" wrote in message
...
On Sep 18, 11:02 pm, David Kilpatrick wrote:
Ty Ford wrote:
Hi,

Neil Harpe taught me my first finger-pick licks in 1964. As amazing
as
he is
as a player, he has yet to be put up on Youtube....until now.
Great playing, grear sound, but... he never touches any of the
harp-guitar basses and keeps them damped with his arm for the entire
David-

David/Ty

I know nothing about harp guitars ... it just looks like a normal 12
string to me .... rattled to pieces as a guitar of that age would
be ... I wonder how the original guitar sounded when it was first
built? Probably warm, lush and wonderful.

The bass notes are damped [to my ear] as that style is usually played
[Chet Atkins?]

As you can tell, I am not a fan of old 'old' and 'venerated'. I want
them to sound 'great' not sound just 'interesting'. Give me a brand
new guitar any day. Having said that I borrowed an ancient Hofner
round hole from my brother's collection [probably circa 1960] The in-
built electrics were shot as was the later fitted under bridge pick
up. I brought it to a pal who looks after Chemical Brothers stuff and
Gary Neuman's ... he stripped the electrics down and although a little
hummy got the original pick up that was slotted into the end of the
neck and the under bridge pick up to work as a stero pair. I was able
to clean out the hum on ProTools.

I used it for a solo in a R&B smooth groove track ... it sounded
awsome .... the warmth from one side and the zing from the other ..
each reacting differently to the volume of playing, uncanny effect...
would be useless for stage work but for the odd 'innovative' solo ...
brilliant.

So I am not altogether against ancient instruments ... only at the
right time, right place.

Regards

Dec [Cluskey]

Re. the bass strings, yes they appear to be damped but I have always
understood that style of picking to demand that? Chet Atkins etc.?
------------------------------------------
I guess we will have to agree to disagree on the damping taking place. I
tend to think it was a mic positioning thing.
Good grief ya old fart, how can you in good consciousness call a 1960
guitar
"achient"?
That would mean that you too are only worthwhile for the "odd
'innovative'
solo" and I know for a fact you don't feel that way. ;-)
Neither do I btw and I'm only 47. Pops lol

There are so many terrific sounding "ancient" guitars that Dec's view
can be ignored.

--
ha
Iraq is Arabic for Vietnam

Well he is allowed his opinions. I have some that arent main stream either.
I think Dec would be extreemly happy enough with an original Les Paul
ES-175D (circa 1961).
U C, I wasn't the only good thing that showed up that year.

[Dec [Cluskey]]

On Sep 19, 2:10*pm, "Steve King"
wrote:

'get to know' the player's mind as he plays; tight shots on fret work --- *
you only have to synch up a few seconds to make it work keeping the audio
from the primary take.

Another great trick is to borrow three or even four similar format
digital movie cameras... set them up in weird artistic places showing
the best of the playing.

Use the main camera as a hand held and go in for the ultra close shots
and even the extremely far away shots.

Keeping the main audio track intact, edit the rest of the camera
footage to give 3-8 sec. shots .... there is easily available software
for this job. Lay the original sound track back on after treatment
and mastering .... the result is a highly professional presentation to
be proud of.

Dec [Cluskey]