Playing acoustic and line drawings are the two things I'm most competent at.
Linguistic sounds, considered as external, physical phenomena have two aspects, the motor and the acoustic.
If you play the very subtle jazz tunes with acoustic pianos, acoustic bass and it's a dead standard, you are going to play very differently. It depends on the music.
It is at least 10 times more difficult to get a good synthesiser sound than on an acoustic instrument.
To me, Bill's musical heart is in Earthworks, in the jazz they are playing, in the acoustic kit.
I even played bass for a while. Besides playing electric guitar, I'd also get asked to play some acoustic stuff. But, since I didn't have an acoustic guitar at the time, I used to borrow one from a friend so I could play folk joints.
I love the subtlety and tonal range of the acoustic guitar.
In 1996, I was in was in an acoustic kind of rock band, we were called Feeble. We were just playing locally.
Or like in the early 70's when we had the reaction against acid rock and all the fuzz tone, and feedback, and the noise. And you had James Taylor and everyone went acoustic and that.
I've made three studio albums and one live one with my brother. It's melodic singer-songwriter acoustic-rock music.
The thing is, acoustic could be like a four-letter word to a lot of kids.
I'm pursuing soundtrack work in the southern California area and down the line I plan to make a moody, intense acoustic album. Not all acoustic, but an acoustic - oriented guitar record that I've already written most of the material for.
On acoustic guitar I tend to stay in the key of D for some reason. On electric guitar I keep basic: C, G, D, and A. The key of D minor is also real good for me.
Any effects created before 1975 were done with either tape or echo chambers or some kind of acoustic treatment. No magic black boxes!
I just didn't expect an acoustic version of Rock'n'Roll All Nite.
To stand up on a stage alone with an acoustic guitar requires bravery bordering on heroism. Bordering on insanity.
I mean, there's times to rock and roll, and I love that too. But I think my first love is acoustic music.
The local music community here was dying for a place to record, so we started doing acoustic, folk and bluegrass and then did rock projects for other bands, as well as for my son Tal and my own work.
Artie travels all the time. The rehearsals were just miserable. Artie and I fought all the time. He didn't want to do the show with my band; he just wanted me on acoustic guitar.
Sometimes we drop in and do an acoustic set somewhere, and that's really fun to take all these insanely loud songs, and to do them quiet. It's really a sight to see... or to hear!
In the early 1970s. 1971, '72. The rooms were closing down, record labels weren't signing acoustic acts any more. Although they had been pretty much been getting out of that for some time before that.
So I played the acoustic guitar and harmonica and stomped my foot and I think I was right in assuming that Greenwich Village would be the best place to perform my own material and possibly get some attention, move on to making records and all.
My grandfather gave me my first guitar, an old acoustic with palm trees and dancing girls painted on it
One of the ideas behind doing this acoustic record is that I didn't want to have to produce it by committee.
When you have an acoustic bass in the ensemble it really changes the dynamic of the record because it kind of forces everybody to play with a greater degree of sensitivity and nuance because it just has a different kind of tone and spectrum than the electric bass.
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