I’ve wanted a 12-string for years. My grandfather gave me a Gibson electric in 1945 when I was 9. It’s still in great shape, but I still want an acoustic. Too late now I think. I’m 83. 🙂. I first heard Leo on A Prairie Home Companion, the radio show. Loved that program! Still miss it.
83? So why not? As an oblique reference, I had a friend who wanted a digital watch that only said "Now". No time like the present. Get a 12 string a give it a whirl. Who knows, Charlotte...by 85 you might be ripping it up!
I love you Leo, I grew up as a teenager listening to every record. Watermelon a hundred times. I heard you play live at the first American Fingerstyle Guitar Festival organized by my teacher, John Stropes. You really turned me on to guitar in every way.
I sure do love 12 strings!!! Leo, you're great!!! Thanks for giving this interview. I have lived in the shadow of St Louis all my life and it's been a lifetime dream to play the Sheldon at least once before I die. I haven't made it yet. I'm 53 now. Hopefully, I still have time to realize that dream.
Saw Leo in concert years ago at Portland, OR. He happened to come into the hotel bar afterwards to get cheeseburger to bring to his room; I asked if he would join us and he did. He was tired but he had all the time in world for us until we reminded him that his burger is getting cold and he left for his room. Yes, an amazing talent and a pretty damn nice fella. BTW, wish I had heard his tip about not tuning a twelve string to pitch a long time ago. My first twelve string was a Guild dreadnought that I tuned to pitch and the bridge tore off after two months.
@@bmfilmnut, as a devoted Twain--and Kottke--enthusiast, try this: Kottke "talks" with his guitar in ways that Twain wrote. Example: Twain went on for extraordinary lengths with sentences that were far too long and dangerously close to run-on status. Leo could and would repeat themes and patterns within his songs that kept doubling back on the original--or go on tangents (think "Eggtooth" on My Feet are Smiling). Twain also had a natural acerbic wit that is not the same as Leo. For sure, Mark was ferocious in his loathing for humanity's follies and choices. However, Leo is a bit more mild--sardonic, actually, and somewhat morbid in early concerts, talking about visiting mortuaries and knowing a childhood bully who fell off a rocket gantry and turned into mush on impact--and truly, no match for Twain's bitterness. But then, how do you argue with the man who said, "The Germans did for the consonant what the Hawaiians did for the vowel"? I have the shows on mp3; you're more than welcome to hear those comments.
This Leo, I spent an after concert evening and early morning with him at a friends house in the early 70's. I had an electric instrument that after some initial resistance Leo slowly warmed to. He was a good guy, very forthcoming with his knowledge and played beautifully for hours into the late and early hours. He is a marvel. Mike Wendling and George are gone now.
I love playing my LKSM 12 Leo! I picked it up because of your style and technique. Your thumb muting and string stopping methods really make the 12 sound so distinctive. I am HOOKED on it! Your a huge inspiration to me in my own playing. Hopefully see you in Woodstock later this year.
Now he says this. I got a ticket to see him for my 16th birthday in 76 in Toronto. Bought my 12 string in 78 and have been enjoying to this day. Thanks Leo
In 1971, my brother gave me Leo's Armadillo album, and it was like what I assume a religious revelation would be. I took up finger-picking, got myself an old Guild mid-sixties 212XL, tuned it down, and started trying to figure out the mysteries of Leo's 12 string playing. By 1977, I had a job and the possibility to travel for work. While in L.A., I rented a car and drove down to Escondido to visit Božo Podunavac, who at the time, made Leo's guitars. I couldn't believe the sound of them, and started having Božo build me all sorts of variations of his 12 strings: cutaway, elongated neck, mahogany, regular bell shape without cutaway. I must have six or seven all told. I only wish I had more different ones. In 2000, Božo built me a matching pair of 6 and 12 strings of a new, thinner design. These are good for studio or on stage with amplification. After 40 years of trying, I have gotten down the easier pieces of the Armadillo album, and some later ones, but I think I'd need a week with Leo to get down the technique like I wish I could. SInce I live in German now, and he's still up in Minnesota, I guess it'll never happen. In my younger years, I toured around Germany as a kind of more accessible and bookable "almost Leo Kottke," but if not all audiences noticed I was a pale imitation, I sure did. He remains the undisputed master of the instrument.
If you could afford all those handmade Bozo guitars, it sounds like you were spoiled rich. I hope you've learned by now that buying guitars like your hero's doesn't make you like them. That's hero woship at its worst.
Funny, when I was young and still used fingerpicks, I could twelve string like a lunatic i.e. Kotke/Fahey, now that I'm an old man, I don't race like that, Play the surbihar, nylon guitar and a Les Paul among other things,
I’ve got to follow Leo’s advice and tune my 12-string guitar down to D-flat. I’ve fiddled with the neck relief and the bridge height, and perhaps lower strung tension will prove to be the key.
I have a stable of amazing guitars, Gibson Hummingbird (1963), Taylor T5C Koa (2007), Gibson J45 Custom (1963), Taylor T5Z Koa 12-string (2019), Taylor 514 CE (2002), Taylor GA 12 String, a custom built electric (as good as any I have played), Taylor GS-Mini (2017), Taylor GS-Mini Bass (2018), and a Taylor Leo Kottke Signature Model 6 string (2010) and the Leo Kottke Signature Model (LKSM) is my favorite to this day because of his neck design. It is slightly wider looking at it from the front while it is more shallow in the back so you can reach around more easily. It is the easiest guitar to play well. I say "play well" because the extra room between the strings makes it a breeze to hit the right string without deadening the string next to it with the fat in your fingertips. This guy sure inspires me to want to play more and think out of the box.
No, it actually doesn't. If that was so, why is the vast majority of great 12-string playing done when the guitar all the strings are NOT tuned down 1 to 2 stops. Tuning it down like that is fine for some music but not most music. Just listen to greatest 12-string songs of all time and you will find that, although the musicians usually use alternative tunings, they do NOT drop down all the strings 1 to 2 stops.
The trick is to play concert pitch with extra light gauge sets. That’s what new 12s are strung with. But even then, Leo uses dropped tunings, so you would still be in DGDGBD if you stuck to standard tuning as a base to tune down from.
Can't make this out; at about 3:35 he says, "...it makes you 'push'(?) the strings..."(?) First heard heard "Vaseline Machine Gun" in '69. Seen him a bunch over the years. Met him backstage in SLO. Seems a little odd, in a good way...
Back in the 90’s fingerstyle guitaists began to use slap harmonics and then drumming on the top until some played entire sets with nothing but percussion. Then, It was a novelty. Now it’s just irritating, extremely irritating. Gilding the Lily. I love it when an accomplished guitarist plays without that gimmick. Just play the darn notes. It worked for Segovia, Chet Atkins, and Leo Kottke. You don’t need to be your own freaking drummer.
@@rtmca1 You can drive any technique to the ground. The thing is to keep it within some conduit of musicality. Michael Hedges worked it really well into his pieces. And on a side note, the two even played and toured together briefly in the 80's. I can only imagine what those shows were like.
Been a Leo fan for 40 years! Seen him3 times and would love to sit down and pick his brain on the guitar. Leo if you read this it would be a real treat to hear from you!
You speak truth, Leo. I've just recently picked up the 12 string at the age of 60 years after finger-picking 6 string for over 40 years. It's an entirely different instrument and has to be approached in a very peculiar fashion. I also play double bass, so I'm not bashful of the challenge the instrument presents.
"If you tune down a step and a half, then you're in the best possible shape because you can then play in other people's keys without barring a lot" **immediately starts playing in B flat** lol whose key is that Leo?
I just found my old 1977 Leo interview with Guitar Player magazine. As amazing at Leo is on the guitar, his technical knowledge of the instrument and acoustics is even more impressive. Back in 77' I couldn't make heads or tails of what he was talking about in the interview. Since taking up 12 string guitar a few years back, it all makes sense to me know. He is a true scholar of the 12 string guitar.
I have watched this video so many times - love the man and his humility. The 12 string is a wonderful instrument and demands your full efforts to achieve any success in playing it. All things considered I might just get a mandocello and lump it.
as great as he is and as original as he is---he is not the end all be all of the 12 string---he is very rhythmic--and hard driving--a little light on beauty and bringing out the charm of the guitar---I don't think he would want you to copy him--he wants you to forge ahead with your own style---for a different feel on the 12 string look up Alex Meleshenko Tiny Desk
Someone commented they’ve seen many way better twelve string guitarists I’d like to see them I don’t think they exist or they would have had a great career like kotke. It’s not what you have it’s what you deliver and kotke delivers
I'm laughing, the ending.....:) Leo, I have followed you all my life as a guitarist and 12 stringer-I forgot how kryptic you can be:) I have been re-assessing my 12 string technique, as i have my playing and recording lately, and frankly most of the people I watched really couldn't play the 12 string (strumming a few chords does not make you a 12 stringer), in truth the 12 string is a new instrument in the American lexicon, its been around and used sparingly but few people have mastered it, now I feel better, and I go back to mastering my 12 string..... sunaj
Ha ha. You mean the liner notes from the Armadillo record weren't kyrptic enough? :D But yeah, I think that's a great assessment of the 12-string and its players. It's pretty limited to Kottke, Fahey, McGuinn, and people like James Blackshaw.
There's a few others, especially past days - back when everyone used picks (hard to play a 12 with nails and get decent sound - Leo's unique). Lang, Basho. And some new - Daniel Bachman seems to have a handle on something worth a listen, and not derivative.
Got myself a 12 string a few months ago, ohhhh noooo whats it gonna do? haha I think i know what he means, haven't been able to put the fucker down haha.
Yeah I got fed up with the octave third also, cuz it was always breaking. I just go with unison third strings to go with the first and second strings - fuller sound, anyway.
Couldn't agree more the high octave on g sounds awful in some spots ...and does break because of the tension and thinness of the string....might throw mine aswell
Big strong hands. If you dont have big strong hands you can forget about playing his stuff on a 12 string at full speed and with tone. That unusually long and flexible right thumb allows him to do things with the other fingers (like pick perpendicular to the strings all the way down) that the average hands cannot do.
Kottke: "...i encourage you not to because you'll never get over what it makes you do." Yeah no joke, I'm probably going to end up homeless because of my 12 string.
I hate to say this but Leo seems to be a bit of an arrogant jerk in this interview. I've had Leo's music since his first album in 1969 but I don't listen to it much because, quite frankly, I don't it that much. Now I think I see why. In this interview, Leo seems to be on an ego trip and he seems to think that only his way works. Well, despite what others may think, I've seen far better 12-string players. I think Leo is in a weird situation where he has almost a cult following who worships him without really being objective. When Leo says that 12-string guitars suck when not tuned down, he reveals a "it's my way or it's no good" mentality. I like to tune down my 12-string too but for the type of music I play, it sound better when not tuned down although I do tune down certain strings - alternative tunings - Drop-D, Double Drop-D, Open G, DADGAD, DADDAD. But most of the music I play sounds better without tuning down all the strings. Listen to the best 12-string songs of all time (not counting Leo's). I think you'll find that the vast majority of players use alternative tunings but they DON'T tune down all the strings. Leo has a very closed mind about this and it reveals a huge ego, IMO.
Leo is an irreplaceable treasure. Thank you Leo.
I’ve wanted a 12-string for years. My grandfather gave me a Gibson electric in 1945 when I was 9. It’s still in great shape, but I still want an acoustic. Too late now I think. I’m 83. 🙂. I first heard Leo on A Prairie Home Companion, the radio show. Loved that program! Still miss it.
83? So why not? As an oblique reference, I had a friend who wanted a digital watch that only said "Now". No time like the present. Get a 12 string a give it a whirl. Who knows, Charlotte...by 85 you might be ripping it up!
A true guitar hero so often overlooked.
From “My Feet are Smiling “ 70s blew my mind, tone, taste, chops from hell, humility, humor, still killing it!
Agreed!!!
Legend!!! People forget because it was so long ago, he was inducted into the guitar player gallery of greats back in the 70s.
I love you Leo, I grew up as a teenager listening to every record. Watermelon a hundred times. I heard you play live at the first American Fingerstyle Guitar Festival organized by my teacher, John Stropes. You really turned me on to guitar in every way.
One of the greatest.
I like your videos, and I'm only half surprised you like Kottke.
Inspired many and still does, best picker of the last century, in my book. { great lesson style to boot...}
I sure do love 12 strings!!!
Leo, you're great!!! Thanks for giving this interview.
I have lived in the shadow of St Louis all my life and it's been a lifetime dream to play the Sheldon at least once before I die. I haven't made it yet. I'm 53 now. Hopefully, I still have time to realize that dream.
Such an awesome musician. And cool dude.
I can't stop bawling. I love this man so much.
I love this man so much.
Oh, jeez! Get a life!
"Leo is the ultimate groove master" (Michael Hedges)
Cool dude
Great, can't get enough of Leo. Missed your concert at the Coach House in Cali. I am sad now.
Saw Leo in concert years ago at Portland, OR. He happened to come into the hotel bar afterwards to get cheeseburger to bring to his room; I asked if he would join us and he did. He was tired but he had all the time in world for us until we reminded him that his burger is getting cold and he left for his room. Yes, an amazing talent and a pretty damn nice fella.
BTW, wish I had heard his tip about not tuning a twelve string to pitch a long time ago. My first twelve string was a Guild dreadnought that I tuned to pitch and the bridge tore off after two months.
The Mark Twain of the Guitar
That is brilliant and perfect.
With a dash of Kafka or Vonnegut, perhaps?
That's a insult to Twain. Leo is good but comparing him to arguably the greatest American author of all times is a bit much, don't you think?
Oh, jeez!
@@bmfilmnut, as a devoted Twain--and Kottke--enthusiast, try this: Kottke "talks" with his guitar in ways that Twain wrote. Example: Twain went on for extraordinary lengths with sentences that were far too long and dangerously close to run-on status. Leo could and would repeat themes and patterns within his songs that kept doubling back on the original--or go on tangents (think "Eggtooth" on My Feet are Smiling). Twain also had a natural acerbic wit that is not the same as Leo. For sure, Mark was ferocious in his loathing for humanity's follies and choices. However, Leo is a bit more mild--sardonic, actually, and somewhat morbid in early concerts, talking about visiting mortuaries and knowing a childhood bully who fell off a rocket gantry and turned into mush on impact--and truly, no match for Twain's bitterness. But then, how do you argue with the man who said, "The Germans did for the consonant what the Hawaiians did for the vowel"? I have the shows on mp3; you're more than welcome to hear those comments.
Recipe for kottke: one guitar virtuoso, a generous portion of raconteur, a wry smile and a dash of genius.
Seconded and may I add, great wit, story telling, and self-deprecating humor.
Good advice..!!!!...thanks for picking the 12 string back up, inspite of what it did to you....
This Leo, I spent an after concert evening and early morning with him at a friends house in the early 70's. I had an electric instrument that after some initial resistance Leo slowly warmed to. He was a good guy, very forthcoming with his knowledge and played beautifully for hours into the late and early hours. He is a marvel. Mike Wendling and George are gone now.
The true master of the 12 String!
I love playing my LKSM 12 Leo! I picked it up because of your style and technique. Your thumb muting and string stopping methods really make the 12 sound so distinctive. I am HOOKED on it! Your a huge inspiration to me in my own playing. Hopefully see you in Woodstock later this year.
You know, Leo didn't post this video so you're not writing to him.
I hope you realize that this isn't Leo's YT channel. If you want to kiss his butt, you should go to his website.
Now he says this. I got a ticket to see him for my 16th birthday in 76 in Toronto. Bought my 12 string in 78 and have been enjoying to this day. Thanks Leo
I have been a fan since 6&12 String came out
In 1971, my brother gave me Leo's Armadillo album, and it was like what I assume a religious revelation would be. I took up finger-picking, got myself an old Guild mid-sixties 212XL, tuned it down, and started trying to figure out the mysteries of Leo's 12 string playing. By 1977, I had a job and the possibility to travel for work. While in L.A., I rented a car and drove down to Escondido to visit Božo Podunavac, who at the time, made Leo's guitars. I couldn't believe the sound of them, and started having Božo build me all sorts of variations of his 12 strings: cutaway, elongated neck, mahogany, regular bell shape without cutaway. I must have six or seven all told. I only wish I had more different ones. In 2000, Božo built me a matching pair of 6 and 12 strings of a new, thinner design. These are good for studio or on stage with amplification. After 40 years of trying, I have gotten down the easier pieces of the Armadillo album, and some later ones, but I think I'd need a week with Leo to get down the technique like I wish I could. SInce I live in German now, and he's still up in Minnesota, I guess it'll never happen. In my younger years, I toured around Germany as a kind of more accessible and bookable "almost Leo Kottke," but if not all audiences noticed I was a pale imitation, I sure did. He remains the undisputed master of the instrument.
FreedomToasted Hi
I am considering to buy a Taylor LKSM-12. Is that the best guitar for playing Leo Kottke style? Or are these Bozo guitars better?
If you could afford all those handmade Bozo guitars, it sounds like you were spoiled rich. I hope you've learned by now that buying guitars like your hero's doesn't make you like them. That's hero woship at its worst.
Funny, when I was young and still used fingerpicks, I could twelve string like a lunatic i.e.
Kotke/Fahey, now that I'm an old man, I don't race like that,
Play the surbihar, nylon guitar and a Les Paul among other things,
please keep this man in production
What a sound!!!!
I’ve got to follow Leo’s advice and tune my 12-string guitar down to D-flat. I’ve fiddled with the neck relief and the bridge height, and perhaps lower strung tension will prove to be the key.
I have a stable of amazing guitars, Gibson Hummingbird (1963), Taylor T5C Koa (2007), Gibson J45 Custom (1963), Taylor T5Z Koa 12-string (2019), Taylor 514 CE (2002), Taylor GA 12 String, a custom built electric (as good as any I have played), Taylor GS-Mini (2017), Taylor GS-Mini Bass (2018), and a Taylor Leo Kottke Signature Model 6 string (2010) and the Leo Kottke Signature Model (LKSM) is my favorite to this day because of his neck design. It is slightly wider looking at it from the front while it is more shallow in the back so you can reach around more easily. It is the easiest guitar to play well. I say "play well" because the extra room between the strings makes it a breeze to hit the right string without deadening the string next to it with the fat in your fingertips. This guy sure inspires me to want to play more and think out of the box.
Legend
Definitely right about tuning to concert pitch, it sucks to play like that.
Disagree.
No, it actually doesn't. If that was so, why is the vast majority of great 12-string playing done when the guitar all the strings are NOT tuned down 1 to 2 stops. Tuning it down like that is fine for some music but not most music. Just listen to greatest 12-string songs of all time and you will find that, although the musicians usually use alternative tunings, they do NOT drop down all the strings 1 to 2 stops.
The trick is to play concert pitch with extra light gauge sets. That’s what new 12s are strung with. But even then, Leo uses dropped tunings, so you would still be in DGDGBD if you stuck to standard tuning as a base to tune down from.
Can't make this out; at about 3:35 he says, "...it makes you 'push'(?) the strings..."(?)
First heard heard "Vaseline Machine Gun" in '69. Seen him a bunch over the years. Met him backstage in SLO. Seems a little odd, in a good way...
+William Moser "one of the things that this does is that there are pushes in it, rhythmic pushes"
What was that pete seeger tune he was playing?
A brilliant musician and guitarist who doesn't need to drum the guitar to be impressive.
Back in the 90’s fingerstyle guitaists began to use slap harmonics and then drumming on the top until some played entire sets with nothing but percussion. Then, It was a novelty. Now it’s just irritating, extremely irritating. Gilding the Lily.
I love it when an accomplished guitarist plays without that gimmick. Just play the darn notes. It worked for Segovia, Chet Atkins, and Leo Kottke. You don’t need to be your own freaking drummer.
Good point
@@rtmca1 You can drive any technique to the ground. The thing is to keep it within some conduit of musicality. Michael Hedges worked it really well into his pieces. And on a side note, the two even played and toured together briefly in the 80's. I can only imagine what those shows were like.
Shots fired! Tommy Emmanuel was just startled awake.
Thank you Leo. I wish you could teach me more.
This isn't Leo's channel!
That snippet he played that he said sucks sounded just as good as the non-sucks version.
Oh No....huge difference. That bass line is fabulous.
I agree.
Been a Leo fan for 40 years! Seen him3 times and would love to sit down and pick his brain on the guitar. Leo if you read this it would be a real treat to hear from you!
Great!
I've had a love / hate relationship with 12 string guitars all my life. I have owned as many as I have sold.
I love how he keeps ALMOST playing "William Powell."
Wish he would have finished it....one of my faves....
Is the mic right by the a/c vent?
You speak truth, Leo. I've just recently picked up the 12 string at the age of 60 years after finger-picking 6 string for over 40 years. It's an entirely different instrument and has to be approached in a very peculiar fashion. I also play double bass, so I'm not bashful of the challenge the instrument presents.
thanks
Leo:
*illustrates what I TRY to do to sound like Leo*
"SUCKS."
LOL I couldn't empathize with this comment enough. Perfect comment!
I love his last comment!
What is the name of the Seeger tune here?
Hi, I think it`s `Living In The Country`
Thanx!
"If you tune down a step and a half, then you're in the best possible shape because you can then play in other people's keys without barring a lot"
**immediately starts playing in B flat**
lol whose key is that Leo?
Anyone know of someone who can actually teach Leo's style of finger picking? I learned classical technique; just cannot figure out picking patterns.
@wakbot Check out Andrew Lardner. He's my teacher, he's great!
The current acoustic guitar magazine has just that lesson.
leo are you ever going to perform in Spartanburg ,SC come on down with that bad ass style such a different approach
This isn't Leo's channel. If you want to contact him, go to his website.
Lots of clues here.
I just found my old 1977 Leo interview with Guitar Player magazine. As amazing at Leo is on the guitar, his technical knowledge of the instrument and acoustics is even more impressive. Back in 77' I couldn't make heads or tails of what he was talking about in the interview. Since taking up 12 string guitar a few years back, it all makes sense to me know. He is a true scholar of the 12 string guitar.
Genius
Luvit
Finger style on a 12 is really tough...too tough for my old hands
I have watched this video so many times - love the man and his humility. The 12 string is a wonderful instrument and demands your full efforts to achieve any success in playing it. All things considered I might just get a mandocello and lump it.
Humility? IMO, he came across as arrogant.
I think he is very much down to earth he has achieved greatness and damn nice of him to give an impromptu guitar lesson before a show Most would not
respect dog
(sorry foramhq, original post and your nice comments got accidentally deleted)
as great as he is and as original as he is---he is not the end all be all of the 12 string---he is very rhythmic--and hard driving--a little light on beauty and bringing out the charm of the guitar---I don't think he would want you to copy him--he wants you to forge ahead with your own style---for a different feel on the 12 string look up Alex Meleshenko Tiny Desk
Someone commented they’ve seen many way better twelve string guitarists I’d like to see them I don’t think they exist or they would have had a great career like kotke. It’s not what you have it’s what you deliver and kotke delivers
Not everybody is famous for duck's sake
I'm laughing, the ending.....:) Leo, I have followed you all my life as a guitarist and 12 stringer-I forgot how kryptic you can be:)
I have been re-assessing my 12 string technique, as i have my playing and recording lately,
and frankly most of the people I watched really couldn't play the 12 string (strumming a few chords does not make you a 12 stringer),
in truth the 12 string is a new instrument in the American lexicon,
its been around and used sparingly but few people have mastered it,
now I feel better, and I go back to mastering my 12 string.....
sunaj
Ha ha. You mean the liner notes from the Armadillo record weren't kyrptic enough? :D
But yeah, I think that's a great assessment of the 12-string and its players. It's pretty limited to Kottke, Fahey, McGuinn, and people like James Blackshaw.
There's a few others, especially past days - back when everyone used picks (hard to play a 12 with nails and get decent sound - Leo's unique). Lang, Basho. And some new - Daniel Bachman seems to have a handle on something worth a listen, and not derivative.
Got myself a 12 string a few months ago, ohhhh noooo whats it gonna do? haha
I think i know what he means, haven't been able to put the fucker down haha.
Yeah I got fed up with the octave third also, cuz it was always breaking. I just go with unison third strings to go with the first and second strings - fuller sound, anyway.
Couldn't agree more the high octave on g sounds awful in some spots ...and does break because of the tension and thinness of the string....might throw mine aswell
I had a 12 string made by a luthier 35 years ago just so I could emulate Leo's special picking style...Please don't tell me it wasn't worth it!
Big strong hands. If you dont have big strong hands you can forget about playing his stuff on a 12 string at full speed and with tone. That unusually long and flexible right thumb allows him to do things with the other fingers (like pick perpendicular to the strings all the way down) that the average hands cannot do.
"Sssucks" *unless you're John Fahey*
Kottke: "...i encourage you not to because you'll never get over what it makes you do."
Yeah no joke, I'm probably going to end up homeless because of my 12 string.
Normally I love his playing, but now...unfortunately I don.t understand any word! Good, he became no teacher!
Huh? I have no idea what you are trying to say.
Leo isn't adept at teaching. You leave the session more befuddled than when you came.
+fouramhq If you have enough musical understandment his tips can be very usefull. Obviously not for beginner.
+fouramhq The 12 string isn't really an instrument for beginners
Just weeding out the dross.
Sounds just like Kottke, befuddled:)
Leo, you need a haircut.
I hate to say this but Leo seems to be a bit of an arrogant jerk in this interview. I've had Leo's music since his first album in 1969 but I don't listen to it much because, quite frankly, I don't it that much. Now I think I see why. In this interview, Leo seems to be on an ego trip and he seems to think that only his way works. Well, despite what others may think, I've seen far better 12-string players. I think Leo is in a weird situation where he has almost a cult following who worships him without really being objective.
When Leo says that 12-string guitars suck when not tuned down, he reveals a "it's my way or it's no good" mentality. I like to tune down my 12-string too but for the type of music I play, it sound better when not tuned down although I do tune down certain strings - alternative tunings - Drop-D, Double Drop-D, Open G, DADGAD, DADDAD. But most of the music I play sounds better without tuning down all the strings. Listen to the best 12-string songs of all time (not counting Leo's). I think you'll find that the vast majority of players use alternative tunings but they DON'T tune down all the strings. Leo has a very closed mind about this and it reveals a huge ego, IMO.
Go away.
Hook it up to 2 octave pedals and get like 96 notes at a time??????????? You do the math!