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I think it’s a matter of word of mouth, ultimately. Yes, we could probably grow this faster but too much growth too fast can lead to instability and contention and the occasional pot-stirrer.
I’ve shared this with a few people and one or two of them have shown up. It’s a matter of self selection – people will find us if they need to. Maybe SCGC can mention us in one of the email updates, or put in a brief blurb on the website….
This forum has led to a variety of good things – at the 35th, Matt and I getting to play with Bob Brozman while he was counting out different rhythms with each hand and foot, the 40th where I got to play the Zorro D – that thing is LOUD in addition to sounding beautiful – playing with Chris and Tad and Eric and Matt and Bill, watching my Swedish friend Anders fall in love with a 00-Skye and getting it on Sunday morning (Hank, you drove him to Sylvan for that, right?). It’s not an enormous group but it’s a great one. And we need to invite people we trust if we want it to grow.
Glad you liked the book – it is a really good collection of tunes, isn’t it?
i would like to try the tree OM sometime. It’s probably both beautiful sounding and beautiful to see.
Tune the G down to F# and make a slide out of a wine bottle and that’s the next frontier!
/mh
Yeah. That extended thing was was mostly whining about not being able to play – thanks for indulging.
Playing with other people well requires playing with other people….sometimes poorly…first.
Raif Zabor talks about this in his novel “The Bear Comes Home”:
“Look, there are three kinds of chops and they have less to do with each other than you think: the kind of chops when you’re practicing alone, the kind when you play with other people, and then there’s the kind of chops you play with other people in front of an audience. They’re three different things. The way I understand it, you’ve been sittin’ home for a long time. Of course you’re gonna have some off nights. There’s no possible way you can expect yourself to know how to road.”
Play with other people as much as you can….it comes with time. And don’t neglect the ‘nome at home.
I’ve got a not-quite-twenty-year-old 312ce that I received in trade for some woodwork.
It’s a perfectly ok guitar. Not great but it plays well and is ergonomically comfy.
When I first got it, I hoped it’d be sort of OM-ish, with a lot of balance, but it *is* biased towards higher frequencies. Acoustically it sounds ok but not great (“great” being defined by my SCGC OM cutaway and its siblings).
Plugged in is another matter – it came with a Fishman Onboard Blender in mono; that died and got replaced by a stereo version. It sounds *great* amplified, which came as a surprise. My OM also sounds great amplified, but the Taylor’s lower value and relative replace-ability mean that it gets used for shows where there’s greater risk of loss or serious damage (e.g., the biker bar in town here, which is fun to play, but dayum I’ve seen too many instruments broken by stumbling drunks).
They all have their place. Keep playin’ ‘em and you’ll figure out what works.
Irvine – in the article, it noted that several of the larger European wood suppliers were selling wood to Americans, and Abies glauca was indeed being subbed for Picea abies. I don’t think they look at all alike – Picea abies has a lot of transparency compared to Abies spp – but this was twenty years ago.
Just added Marti Jones’ 1985-ish song “Crusher” to the list at a friend’s request. INteresting tune; she’s rewritten some of the lyrics to make it work better.
That is what dedication and practice produce….Eric’s got amazing talent and it’s facilitated by how hard he works and how much attention he pays to the details of tone and time and taste.
His work sets the bar pretty high.
