Observation on Live Tone:

Hahaha, you sure like your Rush, chili! I see your point. Venues have different acoustics, but you would think an experienced sound crew could fix at least some of the problems.

I try my best to know my Rush, Gahr.

Here is a 1979 concert I am pretty sure some friends attended. But since I was too young and not driving yet I did not see Rush live until maybe 1 year after this in a time after I bought my first of their albums, 2112.


A write up made on youtube on this clip from the venue I saw Rush and many other great bands play at in the early 80's.

Here's another concert upload! This is recorded at the famed (Though sadly defunct) Capital Center in Largo, Maryland! The quality was very hissy and muffled, but I improved it! It's also around 90% complete (The "Overture" to 2112, as well as most of "The Trees" are missing). This is a REALLY important show! It's the first recorded show on Rush's brief "Semispheres" to of August-September 1979, (The first of many "warm-up" tours where they would preview new songs) and the 5th overall. This means we get the FIRST recorded performances of "The Spirit of Radio" and "Freewill" which would become some of Rush's most popular songs, over a month before they were recorded and a full FIVE months before release! They are completely formed (They were written in July), with only a couple differences in solos. As for the show itself, the band plays great, and since it's early on this brief warm-up tour, Geddy's voice is great! He sounds well-rested, the airiness that plagued the Hemispheres (and later the PW and MP Tours) less prominent, (almost sounding like his prime voice at times!) and he delivers strong performances!

"2112" (With this tour "Discovery" would be cut out) is incomplete, but what we have is a mixed bag. "Temples of Syrinx" has him dropping notes throughout, but the notes he does hit are powerful, "Presentation" has some note dropping but is pretty strong as the E5s are hit well and the solo is blistering, "Soliloquy" has Geddy really going for the wails, and "Grand Finale" rocks! "A Passage To Bangkok" has Geddy hitting the highs well throughout, "By-Tor And The Snow Dog" sounds pretty weak, but the jam rocks, and "Xanadu" has a killer intro before the main song, but Geddy struggles on the highs.

Since "The Spirit of Radio" and what we have of "The Trees" aren't demanding for 1979 Geddy, they sound good (Spirit also has him taking the closing E5 up to F#!) "Cygnus X-1" however isn't good as Geddy struggles to hit the notes, but "Hemispheres" ("Dionysus" is cut out) sounds great. The "Prelude" is played with fire, and Geddy hits the notes powerfully, "Apollo" and "Armageddon" are nailed, "Cygnus" features wonderful eerie parts, and good vocals, and "The Sphere" is beautiful! "Closer To The Heart" and "Freewill" are unsurprisingly strong.

Final songs: "Working Man" has strong vocals and good jamming, the "Finding My Way" riff has Geddy hitting the A5 well, "Anthem" and "Bastille Day" are weak with speak-singing aplenty, "In The Mood" sounds good, and the closing "La Villa Strangiato" is performed well!
 
From sound clips I hear of your playing and singing, you make nice music, Gahr. I'd have no regrets with your skills.
Thanks, Chili! I'm a happy camper, but I long ago realized that I can only play like me, and not like a technical fretboard wizard. When I was a kid I really wanted to play fast and complicated stuff, but it didn't take too long for me to see that I would never be able to play like van Halen or Vai. But then I discovered J. Geils. I realized properly that it is not how many notes you play but how you play them.
 
Gahr, Robert etc,

Here is another band I was blessed to see live at the Capitol Center as well as RFK Stadium in DC. Sadly Moon had passed, but there is no question the TONE of THE WHO was ROCK YOUR SOCKS OFF R n R. It might not have been Orchestral music, but it kicked it in the decibels and attitude department. I will take raw kick ass performing and grit over noodling and perfect tone any day.

 
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Thanks, Chili! I'm a happy camper, but I long ago realized that I can only play like me, and not like a technical fretboard wizard. When I was a kid I really wanted to play fast and complicated stuff, but it didn't take too long for me to see that I would never be able to play like van Halen or Vai. But then I discovered J. Geils. I realized properly that it is not how many notes you play but how you play them.


HAHA Gahr, that realization is what caused me to sell my 1979 Les Paul way back in 1991 ( MY FIRST GUITAR EVER) :(
 
You mean Jimmy Page, right? Lots of people feel that way


In complete honesty, I wasn't a fan of Page when I was younger. However, I now see his creative genius as opposed to his playing from a strictly technical standpoint.

Page and Blackmore are at the top of my list currently.

Listen to Albert King - lack of technique - sloppy playing - and yet profoundly genius as an artist.
 
Robert, I know you have a hard time with Geddy Lee's voice, so I am sure you won't enjoy this next clip,
but I would say that Chi ( bass) and Abe Cunningham ( drums) and Chino singing, held nothing back at this show.
I was there but missed it to take a Pee break. I can now only see the clips on the computer and on a VHS I recorded of the PPV of portions of the show we bought the next day.


Needless to say I give the Deftones a lot of credit for the energy and vibe their tone and playing conveyed here. The crowd surely got their money's worth.


That's a great performance!
 
Hahaha, you sure like your Rush, chili! I see your point. Venues have different acoustics, but you would think an experienced sound crew could fix at least some of the problems.

What I know of' sho' is that for me to be able to play like Alex Leifson would require two things:

1. Me dying.
2. Me being born again an incredibly much more talented guitarist.

No. You are already there.
 
To sum it up, I can recall practicing with a tuner to make sure bends were perfect - and then discovering a greater connection with an audience playing with a higher energy level - and I think this describes Mr. Page to a ' T.'
 
The way I look at it is sometimes you make music for yourself and sometimes you have an audience. If I am playing for myself I am very particular. If I'm playing for an audience if they are tapping, clapping, or dancing everything is good. If they are sitting talking then it's a very different vibe and I try to play better. If they are dancing then I just try to make them dance harder and don't worry too much about the tone or even any fancy playing. Playing live is about the audience. Playing for myself is about me.
 
Thanks, Chili! I'm a happy camper, but I long ago realized that I can only play like me, and not like a technical fretboard wizard. When I was a kid I really wanted to play fast and complicated stuff, but it didn't take too long for me to see that I would never be able to play like van Halen or Vai. But then I discovered J. Geils. I realized properly that it is not how many notes you play but how you play them.

I could never play fast either (didn't want to), so, I like the quote:

Music is the silence between the notes

Debussy
 
I've been experimenting with the Middle Eastern Shiraz Scale - A Phrygian Scale of sorts - and it has really yielded a very unique quality to everything.
 
Thanks, Chili! I'm a happy camper, but I long ago realized that I can only play like me, and not like a technical fretboard wizard. When I was a kid I really wanted to play fast and complicated stuff, but it didn't take too long for me to see that I would never be able to play like van Halen or Vai. But then I discovered J. Geils. I realized properly that it is not how many notes you play but how you play them.

Yes....you got it!!!!

Vai/Satch/EVH/Malmsteen are monsters. But Albert King had more emotion in his playing than all 4 of them combined.
 
The way I look at it is sometimes you make music for yourself and sometimes you have an audience. If I am playing for myself I am very particular. If I'm playing for an audience if they are tapping, clapping, or dancing everything is good. If they are sitting talking then it's a very different vibe and I try to play better. If they are dancing then I just try to make them dance harder and don't worry too much about the tone or even any fancy playing. Playing live is about the audience. Playing for myself is about me.
Well said, kerry

A year or so ago, I watched a movie called The Grand Budapest Hotel and saw my first Balalaika playing. I was blown away. Talk about skill and tone on 3 strings. Listen to the speed demons in the 2nd clip. Shewie


 
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He sure is sumn and so is the Balalaika


Also, speaking of tone, I always was a sucker for good nylon string Classical guitar playing and this is the SH if I ever heard good Classical tone.

 
Amazing!!!!



This once again confirms the theory that tone is indeed in the fingers.


This provides another opportunity to point out that the Flying V is really a solid body, rear-cutaway, six string balalaika!

full
 
And THIS is what makes me never want to quit learning how to play my guitars. Simply inspiring and beautiful creations from this woman and her 6 strings. WOW

 
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