Official Luthiers Forum!

Mike Franks

Not to be contrary, but it sounds to me like those other players don't know to back off the volume when it's someone else's time to shine. I've been part of many bluegrass sessions like that and when things turn into a volume contest is when I leave. You shouldn't have to beat your instrument to death to keep up with the volume. Playing an instrument well is tough-- playing an instrument well *quietly* is tougher. I've been part of other sessions where the players were extremely gracious and backed off when it was someone else's turn to play-- that makes all the difference in the world, and in my mind, is what separates the "professional" (as in someone who takes the music as seriously as a professional, not necessarily meaning getting paid to play) from the "amateur" musician. It's a truly fun experience when all the musicians know what/when to play as well as what/when *not* to play.

John

Good post John and although I know nothing about bluegrass I am a jazz fan and what you said holds true with jazz too, when it's time for an individual to shine the others back off on the volume. I also have visions of Ginger Baker and the drum solo on Toad....... everyone else left the stage for 15 minutes.

I have it on very good authority that a good bluegrass guitar is all about attitude - source: Mario!

We're here...we just back off on the volume so we can hear you other guys....

<------That's a dread right there!!

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Brad Tucker

I have to agree with John. In bluegrass there is a time for drive and power and a time to set back and coast. I have been playing bluegrass jams weekly for more years than I want to say and John said it right, one needs to back off and blend in. I play a HD 28 Martin and play lightly so it doesn't over power the other instruments. When someone comes in with, say a HD 35 you just about know what they are going to do, not always but usually, play it for all it's worth. This is when the jam starts to breakup. Play with respect for the others in the jam.

From another DREAD-HEAD

Jack

I think a good combo for a loud, punchy dread with some cut to is would be an Adirondack topped Honduran Rosewood guitar. The price of the Honduran and availability of it makes it a great alternative to Brazilian as far as sound goes. I have built a Brazilian and a Honduran Rosewood dread, and was able to compare them side by side. The Brazilian one went to a hard playing bluegrasser, and the Honduran to a good friend of his. When they came to pick up the Honduran, the BRW owner brought his guitar with him. Keeping in mind that the BRW had about 5 months of hard, daily playing put into it, I got to hear the same guy play both guitars. My impression was that I would not have given you a nickel for the difference (the BRW may have had a slightly mellower tone, but it also had some months of playing put into it). Both were giving a banjo a run for it's money. I also got to watch the psychoacoustic principle at work when a friendly argument broke out between the two guys over which one sounded better.

These 2 guitars were built as close to identical as I could get them, at least by my standards, because the Honduran owner wanted it that way.

This is not to knock good ol' East Indian Rosewood though, because it makes for some good dreads too!

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Brad Tucker