John Malcolm

Comments

John Malcolm — Thu, 10 Jun 2010 08:17:32 +0000

In response to a request for a comments page. I am providing this brief blog. If you have anything you want to say about me, say it here, as a reply to this particular blog. I will even let negative comments appear unless they are downright hateful. Of course positive comments will be appreciated very much. I react well to encouragement.

Thanks Pedro

John Malcolm — Wed, 17 Mar 2010 02:43:08 +0000

I’d just like to thank Pedro for incredible patience in guiding me through the set-up of this blog, amidst all kinds of viral attacks and other hitches.
Cheers Mate !!

Lap Slide in D6

John Malcolm — Wed, 18 Mar 2009 22:20:58 +0000

Having fun with lap slide in D6 tuning, both in key of D and key of A. The tuning is DADF#AB. If you wanted a guitar left in this tuning you would use a heavier string for the B note.

The Boroughs

John Malcolm — Tue, 23 Sep 2008 09:59:54 +0000

When The Boroughs (Wine Bar and Restaurant, Scarborough, Qld. Australia) recently won the catering industry’s award for Best Enterntainment Restaurant in Queensland, it was particularly sweet that this restaurant features original music. Odin, the manager takes a genuine delight in exceeding customers’ expectations, and deserves special recognition.

I have to say the Awards Night reminded me, once again, how widespread is ignorance as to the importance of room acoustics. The venue had the sound of a concrete barn, so an irksome, harsh resonance made comfortable listening impossible.

Giant screens remained on all night. I think screens instantly cheapen the atmosphere.

Whingeing out of the way, I wouldn’t have missed it; the food and service were excellent, the company was jovial, and that moment just after “..and the winner is..” YES!

Krishnamurti

John Malcolm — Fri, 12 Sep 2008 10:03:17 +0000

I have been reading Krishnamurti. (The Penguin Krishnamurti Reader). He was raised to be some kind of Messiah, but had enough sense to reject that whole concept. He has some extremely interesting things to say about creativity. A central theme is the concept of not being ruled by the mind. I highly recommend his work.

excellentleads.com

John Malcolm — Mon, 16 Jun 2008 10:04:55 +0000

I found a good site for those who want to know a little about basic electronics for guitars, for example how a simple electric guitar tone control works, and why different leads change the sound of the guitar.

www.excellentleads.com

John Martyn

John Malcolm — Sat, 14 Jun 2008 10:07:44 +0000

I’ve been watching some YouTube clips of John Martyn. He proves you don’t need a faked accent to sing with soul. He’s a very tidy guitarist and great songwriter as well.

Guitar Effects Line

John Malcolm — Wed, 11 Jun 2008 10:09:46 +0000

My current guitar effects line consists of (in order)…

From guitar…

TC Electronics Dual Parametric Equalizer.
Boss TU-2 Tuner
Boss CS-2 Compressor
Boss BD-2 Blues Driver
Boss OC-2 Octave Divider
MXR Auto Q
Dod FX100 Even Harmonic Overdrive
Boss RC-20 Loop Station

(in rack, with tap tempo pedal on floor) Lexicon MPX 100, usually on tape delay setting,

…to mixer.

Back to Steel Strings

John Malcolm — Sat, 07 Jun 2008 10:14:21 +0000

I went back to steel strings on the my main guitar. I use Dean Markley mediums. I was breaking a lot of phosphor bronze strings, and actually found even phosphor bronze super lights to be stiffer. I had to reset the pole pieces on my Sunrise pickup. I am now getting a good round tone. I also had to reset the action, which took most of a day.

Ahimsa House

John Malcolm — Sat, 22 Dec 2007 11:20:19 +0000

Last night’s Ahimsa House gig was a ripper. Aaron Hopper started the night with some magical delicate guitar playing and truly beautiful original songs, with lyrics of moving honesty about feelings of growing up. A piece called “The Sprinter” by a Japanese guitarist (whose name I will find out) combined unusual techniques like fret tapping, tinkling behind the floating bridge, and airy chords, sometimes fretted from above the neck.

A funny, almost rappy, precis of Aaron’s life up ’til now, saw Eddie Thompson join in on flute with his trademark ingenuity and good taste in improvising.

Then it was Barry Charles‘ turn to amaze and thrill the audience. Those previously unfamiliar with Barry’s work are always gob-smacked by the range of sounds he can produced with his voice, especially in the bass register; Barry extends his range into the bass with throat singing techniques, the transition being quite seamless. Tom Waits‘ songs really come to life with Barry’s arrangements. “Mrs. Smith” contributed church organ textures behind solid rhythm guitar. (“Mrs. Smith” is actually conjured up with very clever use of a Roland guitar synth system fitted to Barry’s acoustic guitar; a slow attack setting and a volume pedal ensures that “she” stays out of the way and fills in with swelling chords. This works really well, and Barry keeps it subtle.) Eddie lifted the vibe with some hot tenor sax contributions in the last couple of songs of the the set.

My set also received enthusiastic applause from the appreciative crowd of 60 or so music lovers. Eddie’s flute on “Tangerine” was very tasty. I found a lot of expressive scope in my voice, which still seems to be developing. In my 45 minutes, I worked my way through the 4 guitars I had along, and likewise managed to include techniques borrowed from Flamenco, Blues (including lap steel) and “stuffed guitar” (a piece of foam under the strings helps emulate the sounds of traditional music of Madagascar. I got this technique from the playing of D’Gary, whom I probably would have missed if not for Radio National’s “Daily Planet” show – always a rich source of inspiration to me.) Mark St. Ledger got a great sound out of the little sound system, which proved quite enough for the vibey room and the attentive audience.

Barry led us in a raging jam finale. What a night!!