Re: Sultan Strings Download Torrent
Anastacia Iacono
Listening to Sultans of Swing in 1979 was one of the reasons I started to learn the guitar. From this time on I wanted to get that magic guitar sound. One major component for a guitar sound is the right string gauge. I guess you all have heard about using heavier strings to get a fuller sound. On the other hand thinner strings are easier to play, and they give you a different kind of attack which can be nice as well.
I personally change string gauge periodically. After playing thin strings for some time I start to miss something and sooner or later I change to heavier strings, and with heavier strings the same is true so that I go back for thinner strings again.
I recorded the guitar straight through a treble booster into the mixing desk. You normally need a trebly amp setup (e.g. a vintage Fender or a Jazz Chorus) with a lot of reverb for this sound, plus a little bit of chorus. I added these ingredients in the recording software, just for convenience. Of course I cannot get the original sound 100% this way, as it requires a tube amp, some good microphones, a great recording room, a 1961 Strat, and more, but I was hoping to get something close enough to judge the strings.
One last thing. I have searched myself over the years as to what gauge strings Mr Knophler uses. And I was surprised to find out that apparently he used 8s on all his guitars until he switched to 9s in the 90s when he went solo.
Aurora Oud strings are one of the most popular Oud sets available today, promising "the brightest colors you've ever heard." With their clean sound, many professional Oud players are turning to Aurora strings.
rofessionalism in dealing, thank you for responding to my request as quickly as possible. I have been dealing with this wonderful company since 2018 and I did not find any difficulty in dealing with you. We wish you more success, thank you very much
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Kenny is a great fingerstyle blues guitarist, and his instruction dvd's and books are really good for moving from set blues picking pieces to a more improvising blues style with influences from Lightnin' Hopkins to many others, and some very good arrangements to move out of the cowboy positions and play some picking up the dusty end of the neck!
Yo BK! I hooked myself up with the KS instructional dvd, as I'm more of a flatpicker and figure I'll be able to warm up more to fingerstyle and maybe drop some bad habits I learned from John Prine's 2-finger method. Also, I could use some more help transitioning up the neck from the 'cowboy' chords. Thanks again.
I'm glad you said that 'cos I was starting to gas for a 36! (Still am). I have a 000-15 which is great and should hold the pains off. It also needs less 'damping'. Kenny said in the article that he damps heavily on 2 and 4. I guess that means he lifts his right hand on and off the bridge?
They have their regular gig just about every Sunday up at Cold Spring Tavern - a really cool place - an old converted stagecoach stop up in the hills - play outside - I used to call it 'blues in the dirt' - they seem to limit their outside gigs these days - they go to Europe every summer - England mostly - west coast Blues festivals and stuff...
Anyway, yeah, they are definitely still around and keepin' busy - about once a year I ask Kenny when his next book will be out and he always says he'll get it finished 'this winter' - he blames the loooog delay on Santa Barbara living - so I don't know when or if he'll ever get it done - plus he has that teaching app thingy on-line - geez, it's like 'virtual Kenny' - I'm not a fan of that kind of technology...
I had the good fortune to hang out with him for a few days a couple of summers back. He is not only a fantastic musician but a super guy as well. I remember a few of us were in a circle and he is bouncing all over the fingerboard while the rest of us tried to not do to much damage, then he leans my way and says "Take a break in here." I believe my heart actually came to a full stop. I like to think I did all right by the smile he gave me, however, he didn't ask me take another one. :unsure:
"Kenny said in the article that he damps heavily on 2 and 4. I guess that means he lifts his right hand on and off the bridge?When you say 'wash', do you mean what others call the strings out of control/undamped?"
With hog back & sides, you dont get as quick a response as you do w/RW or Maple. There's a delay before the note blooms. Hence the shimmery high end. Great for single note runs and slide. Or strumming. But when finger picking, the sound has a way of building up. The separate lines dont ring clear. Unless you damp like crazy (on the strings, btw, not the bridge). At least that's what I hear. One reason J45s and L00s are good for fingerstyle is that they are relatively dry for a mahogany guitar. Play a Martin 000 12 fret or an OM--you'll hear the difference right away.
I will go and have a look/play at my closest acoustic guitar shop - they have a couple of vintage Gibsons and Martin 000s I may try on the weekend. Last time I went there I was going to try this Taylor Doyle, but there were a group of old geezers talking about cars and hoggin' the space, and being the gentleman, I bought strings and went home instead of pushing them away from the row of vintage delights! It needs a quieter moment to hear the things you are talking about.... I still have never played a Taylor - I bet they are really good and you lot have been buying them up.
I will say that for me, while I definitely listen to what a guitar sounds like when I'm playing, the "feel" or feedback that I'm getting from the guitar is probably just as prominent in my thought process when I'm creating music. I have to admit that I haven't given too much thought to the phenomena of a wash of treble that has been pointed out when it comes to Martin 000s. I've got a 000-18GE that has scalloped bracing so you can probably pick up on that effect in the following recordings.
I've played very few modern Martins, but I've played a lot of Martins from the 1920s and 1930s. I agree that they tend to have more sustain that Gibsons. a couple of qualifications to that, though. The early, large body 12-fret Gibson Ls, and in particular, the L-2s have, to my ears, have sustain equivalent to the Martins of the period. That's why I picked those 2 guitars for comparison. I don't think that the Gibson honk happened until 1933 or 19340.
Still working with materials that lend themselves to highly textured surfaces, Sultan created the recent paintings and drawings presented at McClain Gallery simultaneously resulting in a seamless connection between the two media. Several drawings in charcoal, cont, and graphite on paper of mimosas range from delicate dangling strings to dense bushes of all over abstracted flowers. The paintings on masonite are richly textured; the use of smooth enamel, sticky tar, and gritty cement exacerbates the focus on surface. Exposed sides provide a particular insight into a complex creative process that is both sculptural and architectural. The multi-layer technique begins with Sultan drawing directly on the masonite panel followed by various masking layers that are cut away or painted over with thicker materials - enamel, tar. The contrast of man-made substances against the delicacy of a natural-world subject produces a fascinating juxtaposition.
In the painting Blue and Black Mimosa Dec 2, 2022, Sultan explores his long-standing interest in reducing recognizable imagery to simple shapes. The non-objective nature of abstraction is applied to figuration as a filter that essentializes the object into simple geometry and graphic impact. In this painting, the artist removes the mimosa blossom from its branches and places it against a stark white background. The disentangled deep blue and stark white blooms are depicted as layered circles which contrast sharply with the tar-black foliage. The circles bob along a flow of dark leaves, reminiscent of the movement of wind through trees, calling back to natural processes through the meticulous application of industrial materials.
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