BigWheeledWagon

Well, if this is your first trip to Nashville, you'll probably want to spend some time downtown, so you might as well stay near the Ryman. You can check out some of the honky-tonks, etc., if that's your thing -- I'd recommend Tootsie's for that sort of thing.

I imagine the forum bouncers will probably move this thread elsewhere, so I'll engage in a little non-Wilco discussion here and say that I'm not sure seeing Son Volt is the second best thing to seeing Wilco. I have no idea about how the live shows have been with the current incarnation of the group, but I saw Farrar solo a few years ago, and based upon my experience, I would probably pass on seeing him live again. He seemed utterly bored to be there, and the whole thing had a going through the motions quality to it.

I've got '67 Gibson Dove with the notorious adjustable bridge, and I've been reluctant to change it out just for authenticity's sake as well. My dad bought it new, and although it now belongs to me, I thnk he'd be upset if I modified it in any way. Apparently, changing out the bridge also would affect the collectibility of the guitar -- collectors know the bridge is problematic but see it as an essential part of those model years. I've gotten used to the bridge and can now usually keep it from buzzing.

You're not too cool for earplugs, but it does appear you are too cool for apostophes and capitalization. Just kidding. I'm glad to see that you're taking the initiative to protect your hearing. I wish I'd done the same thing years ago when I did misguidedly believe I was too cool for earplugs. Hopefully by starting this thread you've also made a few other young musicians consider protecting their hearing.

Unfortunately, my experience has been that this was way too expensive an option for me to pursue -- at least back in the days when I was still playing in bands. However, a quick browse of Musician's Friend shows that such a device may now be had for around $100.

Wow, sorry to hear about that. I've got my great-grandfather's banjo, and although he didn't use it to play with Hank Williams or anything, it means the world to me to have that link to him. In fact, same goes for my dad's '67 Gibson Dove, which he kindly gave to me. Anyway, my condolences to you.

Back in the day, the drummer in my band always wore earplugs, but the rest of us did not. I now wish I had. Every now and then out of the blue my ears will start ringing (thankfully not all that often). So, while earplugs are inconvenient and make it hard to sing, they will be worth it in the long run. Another (albeit expensive) option would be to have an in-ear monitor/earplugs.

It occurs to me that you might get some more replies to this question if you post it in the tabs section as well. Drummers who could help with a transcription may not think to check in the forum for discussing gear (even though your question does involve what gear to use, it is also a question about how to play it). Good luck learning the part -- drums are the instruments with which I have the least experience, but I can only imagine that Glennn's parts are not the easiest to replicate.

I didn't realize that the color chosen often dictates the wood used for the body. I, too, like the tone of ash much more than alder. Makes sense, thought, that they would use ash for a finish where the wood grain shows through some. Alder doesn't present much of grain pattern -- it's the reason I'm grabbing a replacement swamp ash body for my strat project (well, that and the fact that the original body appears to be perhaps, um, poplar -- yikes. I guess that's what Fender used on their cheaper Japanese Strats in the 80s).

UPDATE So, I've made a little progress. Upon doing a little stripping away of the finish, I am not happy with how the original body wood might look refinished with a stain so . . . I'm getting a replacement body. Swamp ash with a flame maple top and black pinstripe between the top and the body. I'm going to put a clear amber laquer over it. Oh, and a decorative leather pickguard.

"Thank you for your order. Please find your order details and delivery instructions below. 3/2/2008 Wilco, Ryman Auditorium Number of tickets: 2, Seat Locations: Section SECTION 7, Row H, Seats (5, 6) Orchestra All Ages" Much better!

I just received this email: Dear Fan, As per box office request, your seat locations to the 3.2.07 Wilco show at the Ryman Auditorium have been upgraded! You will receive a new order confirmation with your new seat locations shortly. Nice.

My vote is for sunburst. Surf green just seems so campy.

What a weird presale. I got tickets only after about a minute of trying, but they appear to be further back in the balcony that the ones you got 40 minutes later. Crazy.

When I first tried to get tickets (at 10:00 precisely) it told me none were available, but I kept trying, and I got some. Here's the weird thing, though. My confirmation says I have orchestra seats, and I clicked on the orchestra pull-down. My seats, however, are listed in Section 11 -- which is balcony. Row F, Seats 1&2. Weird.

Nashville may be a long drive for you, but trust me, it you make the drive, it will be worth it to see Wilco play at the Mother Church -- their last show at the Ryman was unbelievable. At his solo show in Nashville back in January, Jeff promised a return to the Ryman -- I'm glad he kept his word.

He's got two sons -- one goes by the pen name Joe Hill and briefly tried to hide the fact that he is King's kid (before the media picked up on it anyway) so he could try to get published on his own merits. His publisher didn't even know until after the book came out. You've got to respect his attempt to make a go of it without trying to use his dad's fame. His book "Heart-Shaped Box" is pretty good genre fiction. It reads a lot like his dad's work from the mid-eighties. Generally, Uncle Stevie makes some pretty good music picks for EW -- he's also recommended Spoon (one of the few band

Yeah, the banjo is fun, but I will say that the transition from playing guitar to playing banjo is not as intuitive as, say, guitar to mandolin. Still, the banjo just has that extra something -- I would recommend it to anyone.

$80 sounds cheap because it is cheap. Several years ago, I made the same mistake you are contemplating making. I, too, had never really played lap steel and thought that since I would just be messing around with it, I might as well get something inexpensive. The damn thing will not stay in tune. At all. You would not be able to gig with it, and even if it would stay in tune, you wouldn't want to gig with it -- it has a terrible tone. I would recommend saving up a little and checking around for a bargain on a used lap steel at your local music store or pawn shops.

That was my original thought, too, but there is, in fact, a "Holy Stain" (I'm assuming the "Strain" is a typo): http://www.ehx.com/ehx2/Default.asp?q=f&am...2F56_Holy_Stain I have no experience with said pedal, however, so there is little I can offer in way of advice about whether to purchase one. The descripton does make it look like it would be pretty effective in achieving that classic shoegaze sound, though.

One thing to keep in mind is that the Jaguar was designed as a jazz guitar and as such was intended to be used with heavier guage flatwound strings (I'm talking .11-.13). Heavier guage strings like this will be less likely to jump out of the saddles, and setting the bridge closer to the body while adjusting the saddles upwards should minimize any string buzz. Of course, there are other options for the non-jazz player or those that prefer lighter guaged strings. I know that a lot of Jag owners replace the original bridge with one from a Mustang so that you only have one groove per saddle, e

Here's a previous discussion about the pros and cons of the Blues Driver: http://forums.viachicago.org/index.php?showtopic=28204

Gruhn is a true Nashville landmark. As a teenager, I would spend hours just staring at all their old Gibson flat tops and their amazing assortment of antique Martins and dream of one day owning one (still do -- though I do now have a '67 Gibson Dove). I'm glad to hear they've successfully entered the internet sales arena (or at least have a website for browsing). They really do have some wonderful unique old guitars, and if I had an extremely valuable vintage guitar, it is the place I would take to have any work done. I may just have to head over there this weekend and marvel at some gu

I'm glad to hear that things worked out in the long run, but what a horror story. I can't imagine the sick feeling you must have had upon seeing your guitar destroyed (typical UPS -- I never ship anything with them that is the least bit fragile). What Nashville store did you order from originally? Other than the UPS fiasco, how were they? I'm always looking for good places here in Nashville (and there are several).

Glenn definately has crotales (or something akin to them) in his setup (an extensive group of them no less), but I think the tuned tiles of discussion were something else entirely. If I recall from IATTBYH, they were more akin to ceramic tiles than to crotales and thus had less of a bell-like tone and more of a xylophone or vibraphone tone, but I would have to go back and watch the DVD again (never a bad way to spend a few hours). After watching Glenn open for Jeff back in January, I am still in awe of the amazing variety of his kit and his ability to work with such a wide tonal pallet.