![]() ![]() There's great sounding guitars and banjos live and on recordings now that just could not have been executed that way previously, or so it seems to me, anyhoo. For banjho, particularly, I think this change is phenomenal, as some players deliver airy tone and great, expressive touch rather than the sort of machine gun (I'm exaggerating) of some conventional bluegrass. ![]() One big plus of single-instrument miking and sound processing is that the old sonic assault (massive attack, fast decay, major transients, volume) of bluegrass is no longer necessary. ![]() etc.) but the necessity is, IMO, much reduced. The generic look and sound is of course conservative (just like speed metal or classic rock. Norman Blake plays all kinds of guitars, and he's done some amazing bluegrass and fiddle tunes on non-dread guitars (as well as on dreadnoughts). Guitar The Jazz Guitar studio is a forum for the development of a wide range of skills. The old "banjo killer" Martins are no longer necessary, and some of us are glad to be rid of booming bass and piercing trebles in favor of a different balance. This type of jazz music features an acoustic guitar providing a. ![]() The above is true to my experience (lots) but what has changed, for all acoustic music, is that bluegrass is now delivered almost entirely through microphones (etc.) and via recordings, so what had been necessary for live sound into one group mike is essentially irrelevant. ![]()
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