Youtube disclosure

Bricksnbeatles said:
I was lent a printout of it for a while. It's filled with errors and typos, and seems like a rush job meant to make money quick. I doubt anyone proofread it.

None really. If there are any topics you have particular interest in, I can recommend good free resources
Click to expand...
Oh I'm good, I have two too many theory books. Mine from "the year two thousaaaaaaand" and my father's from the late 60s. I wonder if the newest textbooks have updated their examples to things young people know like Tswift or Post Malone. "Open your books to chapter 6, Mastering the Two Note Melody."
 
These are the main channels I watch:

For pedals
Brett Kingman
R.J. Ronquillo
AndysDemos
Mike Hermans
Eric Merrow

Gear & Music
John Nathan Cordy
Tim Pearce
Leon Todd
Michael Nielsen
Riffs, Beards & Gear
Ola Englund

Others:
Gray Bench Electronics
SpectreSoundStudios
 
Last edited:
andare said:
I love Joe Gore's channel, tonefiend. Not active much these days, even though he just uploaded some killer new music including a collaboration with Jim Campilongo, however there are a lot of intriguing videos from the past few years.
Joe also makes killer pedals.



Click to expand...

Joe Gore and Jim Campilongo ! That's a MUST-SEE/HEAR for me.


Paradox916 said:
Are you even a member of this forum if you have never watched Dan’s channel? @jjjimi84 when are you going to start having guests on?🤣 (that would be a technical/logistical nightmare wouldn’t it?) I also have watched the pedal zone a few times, Spectre sound studios is great Glen cracks me up, and how can you not like Ola Englund? And hands down I love Bernth his older exercise videos helped me a lot.
Click to expand...

First guests: Chuck D Bones & Robert
Then a lot of the other forum members, too many to list...


andare said:
... I hate jazz guys and jazz guitar.
Click to expand...

You should clone Phil X's pedal:

bnbs417pyneqg43kpbjx.jpg






TouYube...
I tend to be random, having watched a few episodes of many of the channels mentioned here in the thread and others (ex once upon a time I watched a number of Simon the Magpie vids but not lately) but the thread has a lot of new stuff I'll be checking out such as RatherBWelding.


There aren't any channels that I follow regularly, but maybe semi-regularly or in fits and spurts:


MUSIC-RELATED
- That Pedal Show
- Adam Neely
- DK
- MichaelW
- Fran's channel
- Dave's World of Repair

CARS
Pretty much all "used-to" stuff now, but still occasionally...
- Roadkill before it got moved to MotorTrend's payed viewing
- Matt's Offroad Recovery, less so now 'cause it is moving away from its roots and the editing is flashing too many meme's/celebrity-clips/visual-jokes/blahrhgh
- DragWeek, following DragWeek channels such as Mike Finnigan's Garage, Cleatus McFarland, Riding With Alex Taylor and Boosted Boys and a few others
- Cars&Cameras which isn't about cars nor cameras but about small engine vehicles such as mini-bikes, go-karts, and other wacky-racer stuff.
- GrindHardPlumbingCo, which isn't about plumbing but building goofy gas-powered contraptions most of which have wheels. ex huge motorcycle-engine (relative to) in a Barbie Powerwheels jeep).

OTHER
?
Random, oh so random...
 
I’ve watched most of the channels you guys mentioned in this thread. Even the one you don’t mention and love to hate: JHS.

I got tired of most of them.

As all of them grew, they’ve become less interesting, and more commercial. Not a problem specific to these channels, but most YT channels in general.

Nowadays, one of the few channels I watch is Barbarach BC. The best thing about it is that is has an accompanying blog, where you can calmly read more about the project he shows on the video. I prefer reading than watching a video, specially if I want to learn something.
 
Feral Feline said:
bnbs417pyneqg43kpbjx.jpg
Click to expand...
I love Phil X even more now.

Dave's world of fun has taught me all I know about guitar setups, with a good dose of old man crankiness. He's gotten more cynical and bitter lately but I still watch his videos and sometimes the livestream.

I also learned how to make my Jazzmaster playable from Mike Adams. He literally made me buy my Squier 40th anniversary JM with his review and he was dead on. Not the biggest fan of his verbose style but his videos are very thorough and I really enjoy his demos, he's a tasteful player


For bass I like LowEnd Lobster and Serek basses. Can;t afford his basses but I like his series about his bass collection He also interviewed the bass players from IDLES when he went to pick up a bass


I'm subscribed to D-Lab and of course Gray Bench electronics. I understand very little about amps but one day I'll be ready to build my own reverb unit and maybe even a 5e3


I also follow I like to make stuff. I will never have the space and the tools but it's cool to see people build stuff

 
giovanni said:
Aw that hurts my feelings! :)
Click to expand...
Nothing personal. I just find jazz musicians excessively cerebral and a lot of jazz has no balls. Jazz guitar can be pretty but it also sounds very uninspiring to me, especially the stereotypical jazz lines played on a hollow body. Thuddy tone with no mangling of the notes, very little dynamics. I don't care what diminished scale you play, make me feel something.
I'll take a Marc Ribot solo in a Tom Waits song any day over jazz guitar.

 
andare said:
Nothing personal. I just find jazz musicians excessively cerebral and a lot of jazz has no balls. Jazz guitar can be pretty but it also sounds very uninspiring to me, especially the stereotypical jazz lines played on a hollow body. Thuddy tone with no mangling of the notes, very little dynamics. I don't care what diminished scale you play, make me feel something.
I'll take a Marc Ribot solo in a Tom Waits song any day over jazz guitar.

Click to expand...
To me, that is jazz guitar.

More-so than the smooth pablum-cum-baby-poo that is mistakenly and erroneously called "jazz" but is anything butt [sic].

True-Jazz was and IS about fire, brimstone and balls — taking chances, trying new things, experimenting, pushing music to the edge 'til it f'ng breaks.

Alas, somewhere along the line, jazz got anal-ized by being over-analysed, stuffed into a straight-jacket of a dull muffled hollowbody and confined to a safe rubber-room where it couldn't be hurt/heard/felt — buncha tossers forcing a definition of what jazz-tone is just because the early progenitors they worship didn't have access to the mind-bending array of equipment and knowledge we have available to us today.

If Charlie Christian had access to modern equipment, would he still be playing an ES150 guitar through an EH150 amp?
It might be still one of the colours in his palette, but I bet he'd have experimented with all sorts of gear and tones...

Death to the tyrants of "stereotypical jazz lines played on a hollow body" and smite down "thuddy tone"; jazz guitarists, I beseech you to free your minds of the matrix-construct of what jazz is, make jazz free to fly in the face of convention once again as it originally did, become sonic explorers and push the boundaries of what jazz is and explore what jazz was and can become in future. Strangle notes so they whisper then make them bloody scream; use every pedal, amp, apparatus available to create searing new sonics; smash the fetters of standard technique, established pedagogy, and neutralise the neutered-norm.



I implore...
Let's make Jazz [GUITAR*] great again.





*edit
 
Last edited:
Feral Feline said:
To me, that is jazz guitar.

More-so than the smooth pablum-cum-baby-poo that is mistakenly and erroneously called "jazz" but is anything butt [sic].

True-Jazz was and IS about fire, brimstone and balls — taking chances, trying new things, experimenting, pushing music to the edge 'til it f'ng breaks.

Alas, somewhere along the line, jazz got anal-ized by being over-analysed, stuffed into a straight-jacket of a dull muffled hollowbody and confined to a safe rubber-room where it couldn't be hurt/heard/felt — buncha tossers forcing a definition of what jazz-tone is just because the early progenitors they worship didn't have access to the mind-bending array of equipment and knowledge we have available to us today.

If Charlie Christian had access to modern equipment, would he still be playing an ES150 guitar through an EH150 amp?
It might be still one of the colours in his palette, but I bet he'd have experimented with all sorts of gear and tones...

Death to the tyrants of "stereotypical jazz lines played on a hollow body" and smite down "thuddy tone"; jazz guitarists, I beseech you to free your minds of the matrix-construct of what jazz is, make jazz free to fly in the face of convention once again as it originally did, become sonic explorers and push the boundaries of what jazz is and explore what jazz was and can become in future. Strangle notes so they whisper then make them bloody scream; use every pedal, amp, apparatus available to create searing new sonics; smash the fetters of standard technique, established pedagogy, and neutralise the neutered-norm.



I implore...
Let's make Jazz great again.
Click to expand...
I agree with all this. And I can go further: most modern jazz guitar has nothing to do with the dull archtop tone and sleepy chords. I think that may be “jazz club” jazz guitar, where people try to mock the old greats (usually Jim Hall really, which I’m not a fan of). But if you listen to more modern musicians the style has evolved. Even Metheny back in the 90s used to use guitar synths and some of his music is on fire (there is a live video with Hancock, DeJohnette and Dave Holland that is pure insanity, plenty of balls there). More recently, Julian Lage has created his own modern concoction with roots solidly in jazz vocabulary with tones that are very rock and a repertoire that has nothing to do with jazz standards (you could call it Americana). I could go on for days… :)
 
You must log in or register to reply here.
Back
Top