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I use DADF#AD (open D), DGDGBD (open G), and CGCGCE (John Fahey’s ‘Sunflower’ tuning)
It has a lot more sustain than I expected. I usually use a glass slide that’s over 1/4” thick, and this gives it a run for its money.
That’s a good idea. Ping me via email and I’ll throw you a couple of progressions which might help you get up that curve.
Ps learning tunes like Duke’s ‘Satin Doll’ might be good practice, as the finger movements and baseline chord changes require a certain amount of moving fingers around the neck in ways that train your hands…..
None of the products which purport to help with this really do much except make your strings greasy, imho.
It’s really a technique thing, and it comes with time and lots of playing. Be patient with yourself and keep playing – it comes with time and familiarity with the fingerboard.
The answer is, as it always is with natural materials, “it depends.”
I’ve seen sets that looked wonderful and straight grained that didn’t sound that great and wood that looked wildly unstable that did. It’s about choosing the right material and the right builder – and, honestly, the player’s touch has a lot to do with it. Listen to Lawrence Juber – I’ve heard him perform on a variety of his Martin OM models with different b/s woods from Braz to Indian to Madrose to whatever else, and he always sounds like himself.
I heard a dog, but it could have been a coyote. IJS….
Good podcast, guys. Can’t wait for the next one.
You’re using 7th chords? That’s fun – grab a Real Book and you’ll have more tunes than you can ever play to work with using those!
