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Re: fretless looping guitars

on 3/15/01 8:15 PM, Curtis P Seiss at seisscp@washpost.com wrote:

> thanks for the advice roberto...    i'll make an attempt to remove the
> frets and give an update on my progress.  i have a few ideas of how i 
> gingerly get under them, maybe from the bottom edge, slightly from behind
> to get them started..??
See the message sent by Steve, his advice sounds much more accurate than
> do you fretless string players have a preference on playing style?   i.e.
> arpeggio based as opposed to hammering?   id be interested to hear what 
> majority of string playing loopers are doing...
Personally I very much enjoy using a technique that derives from 
like the oud, with "slanted" melodies, playing both with plectrum and
fingers. Also, particularly for the looped background atmospheres, I use an
e-bow and much tone-shifting both "by hand" and with the Zoom effects.
I suppose there can be as many styles as there are players.
For a completely different example you could listen to Antonio Forcione's
work. He uses a guitar that he designed himself, very much like a Spanish
Flamenco guitar (but fretless) with an extra set of eight open strings for
drones. A real virtuoso performance, in a firey gipsy style.
His music can be found at www.ejn.it/antonioforcione or through the UK 
distribution Kunst.
> "Stephen P. Goodman" <spgoodman@earthlight.net> on 03/15/2001 01:49:49 PM
> Please respond to "Stephen P. Goodman" <spgoodman@earthlight.net>
> To:   <Loopers-Delight@loopers-delight.com>
> cc:
> Subject:  Re: fretless looping guitars
> "roberto" <roberto@nomade.worldonline.co.uk> put forth:
>> Something to be considered is that, in order to obtain a decent sound
> with
>> some "body" you need thicker strings - I have tried various combinations
> and
>> am now using some electric bass and some metal wound mid-gauge guitar
>> strings. This results in a lower tone and different tuning, it also
> requires
>> strengthening the bridge and saddle as the strings' pull is stronger and
>> could easily rip the bridge off (or simply not keep the intonation).
>> There is plenty of room for experiments!
> Wouldn't it be of advantage then to have a harder fingerboard surface?
> Glass might for sure be very hard, but wouldn't it resonate in a much
> different manner than good ol' wood?  Secondly, one would probably get a
> kind of fretless bass sound out of the lower strings, wouldn't one?  
>Just a
> few thoughts.
> Stephen Goodman
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Roberto Battista
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