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Ansikter · June 24th, 2009, 04:00 PM

Thanks for all the replys. Seen some good suggestions and a lot of food for thought. I definitely like have two guitars playing two different things, dealing more in shades and colorings than in your face playing. (Steel is a really good instrument for this ,IMO, when it's not so much a lead instrument) I've done a lot more recording than I have playing live in the last 5 years or so and when you're dealing in subtleties it seems to hold up better and stay fresh longer.
of course there's exceptions but you get my drift.

I do understand what The Embezzler was saying, usually there is a de facto leader of the song to some extent. Sort of figure out who's going to work the gas and who's going to steer. I think another problem is when you start to recognize overplaying and then try to correct it, it feels awkward. 'Cause face it, most of us, when we were learning, played the instrument from the time we picked it up to the time we put it down. So we're sort of programmed to 'As long as this instrument is in my hands I have to play.'

But it's as much about what you don't play as what you do. You ever met some one who just kept talking and talking and they did it the point you tuned out? Before *they* were done they may have ended up saying something extremely brilliant but it doesn't matter if it's five minutes after you quit listening. You can do the same with guitar, or any instrument. You get right up in someones face long enough eventually they are going to turn their back to you.

Personally, I don't have have enough 'flash' to get right in your face and dazzle you. I've had to think of another approach.
A knew this one guy who could play circles around me. He had way more natural talent than I have. But you put him in a song and he was useless. All of that talent went from either extreme over playing or to playing basic rhythm that anyone else could play. You really couldn't get anything usable from him.
So my idea is stay out of their face as much as possible and try to get under their skin... in a good way ha. Take them where you want them to go with binding and gagging them, haha.

June 24th, 2009, 04:00 PM	#9 (permalink)
Ansikter NEW MEMBER! Join Date: Apr 2009 Location: Nc Age: 24 Posts: 8	there is no talent, only choices Thanks for all the replys. Seen some good suggestions and a lot of food for thought. I definitely like have two guitars playing two different things, dealing more in shades and colorings than in your face playing. (Steel is a really good instrument for this ,IMO, when it's not so much a lead instrument) I've done a lot more recording than I have playing live in the last 5 years or so and when you're dealing in subtleties it seems to hold up better and stay fresh longer. of course there's exceptions but you get my drift. I do understand what The Embezzler was saying, usually there is a de facto leader of the song to some extent. Sort of figure out who's going to work the gas and who's going to steer. I think another problem is when you start to recognize overplaying and then try to correct it, it feels awkward. 'Cause face it, most of us, when we were learning, played the instrument from the time we picked it up to the time we put it down. So we're sort of programmed to 'As long as this instrument is in my hands I have to play.' But it's as much about what you don't play as what you do. You ever met some one who just kept talking and talking and they did it the point you tuned out? Before they were done they may have ended up saying something extremely brilliant but it doesn't matter if it's five minutes after you quit listening. You can do the same with guitar, or any instrument. You get right up in someones face long enough eventually they are going to turn their back to you. Personally, I don't have have enough 'flash' to get right in your face and dazzle you. I've had to think of another approach. A knew this one guy who could play circles around me. He had way more natural talent than I have. But you put him in a song and he was useless. All of that talent went from either extreme over playing or to playing basic rhythm that anyone else could play. You really couldn't get anything usable from him. So my idea is stay out of their face as much as possible and try to get under their skin... in a good way ha. Take them where you want them to go with binding and gagging them, haha.