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Thanks, and thanks for listening as well! Much appreciated...

Thanks, and thanks for listening! I appreciate it...

I had this built custom for me and I'm very happy with it! I'm glad you enjoyed seeing it being played. Thanks for the comment!

Thanks and thank you for listening, I appreciate it! You're right about the volume levels, I never get that right lol.

Hey thanks Michael, I appreciate you listening.

Thanks Greg, and thanks for listening, I appreciate it. And I love that headstock too!

Thank you for listening DeCeDe. I appreciate it!

Thanks, and thanks for listening! I appreciate it...

Thanks, and thanks for listening dekotablair! I appreciate it...

Hello again, and thanks again for listening... and for the kind words, I appreciate it. Definitely pick up the G20, I've loved that amp for many years. Small, light, compact, basic no frills clean tone with plenty of headroom for pedals etc. You can't go wrong, especially when it's ridiculously cheap! Cheers.

Thanks, I appreciate that and thanks for listening. You're right about the Eastman, it has a beautiful tone. That's an old video but I was definitely using a mic on my amp at the time. These days I just DI to my studio speakers for everything.

Thank you my friend, that's very nice of you to say. It's been a long time, good to hear from you. Yes I'm still using P4, never going back! And now I've stop using a pick, so I'm trying to transition to fingers only. How have you been? 3+ decades of Violin as I recall but how's the guitar playing going? Did you decide to stick with P4 or go to standard?

’m pretty much settled on P4 as well. It is just hard to justify standard tuning when I practice and practice and I realize during practice that all I’ve done is practice moving 4 string chords across the three string sets. I’m not really moving forward with actually making music.

You're absolutely right, I couldn't agree more! Stick with P4 and keep on working hard and moving forward. Keep me posted on your progress, and I'm happy to answer any questions you might have. All the best!

Hello @porWoremicz and thank you for listening, I appreciate it very much. And greetings from America with all the best to you in 2024 as well!

Thank you very much, that's nice of you to say. I appreciate you listening.

Merci beaucoup pour votre écoute et vos gentils mots. J'apprécie beaucoup. Je suis désolé mais je n'ai pas de transcription à vous envoyer. Tout était une improvisation, sauf pour mon interprétation de la tête bien sûr. Mais, je viens de chercher et j'ai trouvé cette version de la tête originale: www.soundslice.com/slices/g9NMc/ Faites-moi savoir quand vous publiez votre version! J'ai utilisé Google Translate, j'espère que c'est exact. Être bien...

Thank you fjcara, I appreciate you listening and your very kind words as well. You're right about the guitar, it's a beauty!

I buy one today，China beijing，maybe next week I got it🎉

Thanks for listening, I appreciate it. Yes the guitar is a hybrid of a Jazz hollow body archtop and a Gypsy Jazz style guitar. Designed by Ryan Thorell. It's a beauty, I love it.

Wow you bought one, that's great my friend! You will love it. I'm looking forward to a video of you playing it soon. Let me know what you think of it when you get it.

Thank you stogies3, I appreciate you listening!

Thanks skeptical llama, I appreciate it. I'm loving P4! I should have switched sooner, and I'm never going back! Are you a P4 player as well?

Hello! I’m a fairly new guitar player, but have played violin/fiddle for 35 years. I have used P4 fairly extensively (well, for about 6 months), but I can’t make up my mind. I even wrote out all the Mickey Baker method book chords in P4 (happy to share that file with you if you’re interested, btw!). It makes so much sense, but I also like the possibilities with standard tuning, and the big chords possible. As a violin player, regular tunings like P4 just feel like home. I really need to commit one way or another. I’m just worried about what I’d be missing in P4. What are your thoughts, if you feel like writing them out?

Well first of all, welcome to the guitar world! As for using P4. I'd say it all depends on your goals with the guitar. If you are interested in developing extensive fretboard knowledge (scales, triads, arpeggios, modes, chords, etc.) and truly improvising over complex changes (your own compositions or others) i.e. just doing your own thing... then P4 is the best way to go. IMHO But if you want to play and explore the traditional guitar repertoire (including but not limited to pop, classic rock, blues, folk, bluegrass, etc.) and all that includes (maybe play in a band, work as a studio guitarist, etc.)… then P4 is not right for you. From what you said, I think you realize that already. You give up a lot with P4, so it all comes down to your goals. Now, I will also say that if your goals are such that P4 is right for you, you have two big advantages in your favor. Your knowledge and comfort with regular tunings and the fact that you are so new to the guitar that you are a clean slate! I hope that helps. I've got a lot more to say on the subject but I won't bore you lol. So, what are your goals with the guitar? Also, 35 years on the violin is very impressive! What genres of music do you play?

Thanks for listing Dom, I always appreciate it and I hope you are doing well.

Hi Dom...thanks for listening! And thanks for letting me know about the mono recording. I got some new gear and something must have gone wrong. I can't believe I didn't notice it myself? Oh well, it was an improvisation so there's nothing that can be done now, but I'll look into the issue for the next time. Thanks again! Vinny

Thank you Dom, I appreciate you listening. And I appreciate feedback from someone who understand what players like us are doing. I liked your recent "Sunfireblues", great playing and a really nice tone!

LOL... That wasn't intentional, it was during lockdown and my hair needed to be covered lol. Thanks for listening David.

Thanks Lost Mountain, I appreciate that. And I agree, that guitar is a beauty!

Thanks Steve, I appreciate it.

Thanks John, I appreciate you listening.

Thanks, I appreciate it!

Thanks for listening Marc. You're right, they are great guitars!

LOL...It's been a while since I got a Hugh Laurie reference! Thanks for listing sgringo.

@@VincentSolimine People have made the comparison before? YES! The usual response I receive when I point out such similarities is, "What?? They look nothing alike!" 😁

I appreciate that Master Motos, thanks for listening.

Thanks Dave, I appreciate you listening. The short and honest answer to your question is that it's everything combined. The longer version is that I use the POG2's LP Filter and Attack to shape the dry signal and the wet signal which is one octave below and lower in volume. As you know, that removes the transient pick attack, but the problem then is the latency of the note. To combat that I have a compressor on max Level and max Attack after the POG2 so the note now blooms at the moment of attack. The other pedals enhance the swell, I use the the Key9 chorus setting (Dytronics CS-5 Tri chorus simulation) to thicken the note just slightly with the triad, the WA SLO Reverb is set to give a short trail, and the Boss Delay is set quick with short trails (but just slightly longer then the SLO). It takes a lot of dialing in on all the devices to get what you want. Also, on this particular video, I used the Boss MT-2 with the Distortion on minimum. Placed after the compressor and with the EQ tweaked, this gives a slight edge that is very responsive to your fingers...sort of on demand. All in all, I'm going for a horn/violin sound and feel with the bloom of the note and the swell attack. Of course, the hands and pick choice play a big role too, you have to adopt to it. It's a work in progress and I have different versions of the base tone that I use. BTW, I checked out your page and you've got some impressive music there. I really enjoyed your compositions. I dabble in Baroque style composing myself. I'm using Noteflight on-line now but I'm thinking of making the move to a Mac and one of the popular DAWs (Ableton etc.)...I'd appreciate any advice you might be able to share. Thanks again for checking out my video and your feedback. Vinny...

@@VincentSolimine Thanks for the in-depth reply - frankly it's a bit beyond a blues-rock idiot like myself, but I respect the work that's gone into it. I have my varying drive pedals with some modulation effects for special occasions, that's about it, though I do enjoy my Freqout for synthetic feedback. Thanks also for your comments on my music, these days that's where most of my effort goes with guitar as a sideline. Any advice I can give depends on what your end goal is; creating good-sounding mockups with sample libraries, or scores to be performed/recorded (or both)? I'm biased towards mastering orchestration and engraving myself, but having decent mockups helps with promotion and convincing players/ensembles to get involved. Personally I would invest all you can in hiring people to record your music, though that's just me. String quartet is a great and affordable option for baroque string works. I'm on a mac using Logic Pro 9 (now very outdated) and the Logic notation software, which is powerful enough to handle scores for all the live sessions you might have heard on my channel. My main samples these days are Spitfire's BBC Symphony Orchestra. They work well for the post-Romantic orchestral pieces I like, but aren't as well suited for the slightly more intimate atmosphere of a baroque orchestra or ensemble. Because sample libraries are driven by demand, most libraries are for modern hybrid soundtrack composers rather than classical, especially baroque. You could definitely compose appropriately with the one I use though. Every DAW will have its own foibles and learning curves, but Logic has always been good for me. Like I said, it's all about what you want to do and aim for.

Thanks for listening Billy, I appreciate it. You are correct, that's the Eastman version of the Ryan Thorell design that Vignola used to play. He retired the handmade Thorell guitar a few years ago and now I understand he only plays the stock Eastman model. It's a great guitar.

Hi Dom, thanks for listening. You are correct, but of course it depends on what you're playing over. If the changes are from the Dorian mode, then the G major scale will be Dorian. But I don't teach modes that way, I teach them as individual scales that have been altered relative to their major scale, for example A Major compared to A Dorian. But in this case, with non-modal harmony, I was able to play Dorian, Phrygian, Aeolian, Melodic Minor and Harmonic Minor, as well as all their related pentatonic scales, triads etc. And for that matter, if all you're playing over is a static A bass note, then you could play major as well...anything you want really. I hope that helps. Vinny...

Thanks...

Thanks Jittapol, I appreciate it.

Thanks Char, you're the best! We all miss you...