Good stuff. Imagine hearing that for the first time back in the 70s. Must have been a trip.

Red light fever is real. I reckon the only way around it is to just leave the camera rolling and play long enough until you forget it's running. You'll notice a lot of Youtubers have a DAW running in their videos. I reckon some of them will show the takes of them actually playing so it's all synchronized but clean up the audio or copy and paste from other takes so all we hear is perfection. I wonder how many can get up in front of an audience and do it.

Usually I post short cover clips in my Instagram stories and definitely need to film like 5-10 takes before posting something. But most of the time it’s because I fukk up a lead line while improvising, not necessarily cause of the recording process

G'eve mate....

For the record: I've never done that. I'd be embarrassed to even contemplate doing that.
My play-along copy favorites are me playing with the cut.
The tricky part is getting the balance right between them.
I've had to do a few takes on some of them to get it right.

Wayne was Van Halen in 1978 a big deal for you or not really on your radar? Just wondering what it was like back then.And these days everything is recorded to a phone and uploaded so if you cock up it lives on forever.

Actually I reckon life would have been pretty sweet back then. If I can get a time machine going I'll be attending this gig in 1978.

Back in the day there was a late night music show on weekends called Rage that ran from late at night until early in the morning. They'd sometimes have a band on to play their favorite videos but most of the time it was just random chit until the Top 40 which would start around 5am. I'd stay up just to watch this AC/DC footage.

In a word....no, not really.
Not being able to tolerate David Lee Roth's persona probably didn't help my lack of affinity for them.
But, their all damn fine musicians & performers.

I thought the band was good but I was just into other bands at the time.
Steely Dan, Doobies, Little River Band, Alan Parsons, Santana, Allman Brothers, Lynyrd Skynyrd, Chicago, Kansas to name several.
Admittedly, I'm not easily impressed andwhat I perceive to be good song writingis what draws me to bands efforts.

Ha....

Hmmm....I'll have to get back to you to confirm & corroborate.
I can't recall accurately as arithmetic is not my strong point.

Totally get it, you like what you like, and nice to see an Australian band made it onto your radar back then. My old man was around 30 when VH came out and never cared for them either but he bought me Diver Down on cassette in the late 80s which is how I got into them.

Absolutely!

They were a great band, great song writers with impeccable vocals.
Unfortunately, get ubiquitous among many banks...."The pressures of success and constant touring gradually took their toll on LRB and members gradually left."

I worked out The Night Owls long ago and it's a cool track to play along with.
No....I haven't video recorded & uploaded that one as a play-along....yet.

Speaking of SD and play-alongs.....this one was one my most difficult challenges.
IE: Kid Charlemagne
https://www.youtube.com/watch?v=7TA0...nnel=chulaivet

I almost phucked up at the beginning but pushed on through.
I couldn't have done it without my guitarist-collaborator-in-chief tutelage.

have you got everything for your kit, kick pedal, hi hat pedal, drum seat etc?

or is it all included

nice, be interesting to hear if you prefer headphones or the drum amp

is it the bike seat shaped roc n soc?

MXR Script Phase 90 (or EVH model in Script mode) around 9 o'clock. That's how he had it set on his pedalboard playing it live.



FM3:

Block/Script 45/90
Based on the MXR Phase 90 and Phase 45 pedals.

The "45" uses subtle two-stage phasing, while the "90" type uses more pronounced four-stage phasing.

"Script" refers to the early MXR pedals which had the name printed in script font. They feature a more subdued sound with higher headroom and greater clarity. The later "Block" pedals are more modern and rely on internal feedback to create light harmonic distortion and give the effect a more accentuated swoosh.

The "Stripe 90" type is based on the MXR EVH Phase 90, an EVH-specific version of the Phase 90.

Cool....I hadallTama hardware and stool with my trap set.
Glad to see their still going strong.

Tomorrow is getting close.

You can have my Epiphone Starling lol

The man doesn't even try to hide his snobbery.

I had a 1989 Epiphone SG. Looked exactly like this with the black plastic pickup covers. Wish I still had it but unfortunately it was stolen. Gibson made a lot of garbage during that time so Epiphone was a solid option back then.

That got me thinking. If you're a great player with cheap gear it would really rustle guys who have forked out for the best gear but can't make it sound anywhere near as good. I'm surprised more don't do it. Matteo Mancuso plays Yamaha Revstars and Pacificas.

Too many people listen with their eyes. You could turn up to a blues gig with a pink Jackson with a Floyd Rose and kill it but the Gibson/Fender crew would still say "imagine how good you'd sound playing..."

That's why I like the classical guitar aesthetic where the headstock is the same, there are no inlays, and there's typically no visible branding unless you look up close. You're focused on how the guitar is being played rather than what guitar is being played. Some of those musicians can't even afford the luthier built guitars they play — they're on loan. Most people watching them perform wouldn't know how expensive those guitars are or how they differ from an entry level model at their local Guitar Center.

start learning classical acoustic fgt

You've got your reasons. I'm a believer in every guitar being unique, some have the magic, so you could pick up a $500 Epiphone that sounds better than a $5000 Gibson. That's why custom guitars are such a crapshoot. They can use the best materials and deliver the highest level of fit and finish, but they can't guarantee it will produce a tone commensurate with what you paid for it.

I'll concede MIJ and Made in USA still mean something to me and I'd pick up a prestige Ibanez before a premium but I've got remind myself that great tone can be lurking in any guitar so it's important to keep your mind open and not to get caught up in what's on the headstock. Wayne's got a lawsuit era Ibanez Tele — I'll bet in the late 70s the perception was that it must be inferior to Fender despite the build quality of those guitars being superior to what CBS Fender was pumping out back then.

I played that black Epiphone for years before I got the JS and I have to say the JS was really underwhelming given what I paid for it. Not that it wasn't a great guitar, it's the equivalent of any $4K Prestige model today, but I didn't plug it in and go "wow." The Epiphone played and sounded great. I just had it in my head that if Joe plays the thing it must be better. Of course I soon learned that there was a difference between the guitars in stores and what his tech worked on for him not to mention when he's got Steve Blucher of Dimarzio at his disposal he's playing all sorts of prototype pickups to chase the tone he's after. That's another discussion.

That's why I like the partscaster approach with bolt on guitars. You can experiment. As you know I do all my own setups, wiring, fret work, etc. so I can't justify paying stupid money for electric guitars. Take EVH for example. The guy was doing exactly what I said in the 70s experimenting with different necks and bodies from the equivalent of Warmoth back then. Stuck a PAF in there. He wasn't dropping big money on this stuff. Yet today kids will convince their parents they need an expensive EVH model to sound like Ed. Satriani pimps high dollar Ibanez guitars today but he recorded Surfing with the Alien with a Kramer Pacer and a partscaster. List goes on.