Best Advice on YouTube For Buying a Mandolin!

good morning. like many of you, i like to watch different kinds of videos. um one reason: just for entertainment. i like to watch videos on little tiny fiat cars that have hayabusa motors in it that produce 200 horsepower crammed into them. just for entertainment. it's not like i'm actually going to do that, i just like to watch. just like a lot of reviews- how to buy your first guitar, a review of uh gibson j45, a mandolin violins, you know. but i also see a great deal of of review videos to help first-time buyers acquire one of the coolest instruments ever developed. problem is, a lot of them are made by people they don't know what they're toking about. i don't want to run down rank beginners, but how many videos are there on there on youtube, my review of uh such and such mandolin? now, i'm not a mandolin player, but this is what i think fit and finish playability time. they don't have any reference points. you know really well-meaning people, but when you're investing in an instrument, you owe it to yourself to either play the instrument first or, if you're buying online- which a lot of us do, because we can't go to chicago or la or any other place where you can buy these instruments- we're relying on the knowledge we soak up from other sources. so tip number one: i appreciate this is kind of a dry video. you're not gonna hear me play my mandolin- my wife is still asleep. but this video is intention for function, not for form. but let me. let me grab a mandolin here so at least you can see one. kentucky, japanese made km250s. spruce top, maple sides and back: beautiful mandolin. be careful about advice, because there's so much advice coming from no knots. number one: and so go to the mandolin cafe forum just in your search after this video. just go mandolin cafe and you're just going to discover a source of information and everything mandolin from experienced musicians, mandolin builders, shop owners. you'll be able to say: i discovered on a certain site a kentucky km 150. this is not a km 150 but, for an example, kentucky km 150 mandolin cafe. hit the go button then you're gonna see threads and comments about the kentucky km150. you could type in km kentucky km150 versus an eastman 305.. for example, another mandolin mandolin cafe and you're going to get people comparing them. what about kentucky mandolins versus washburns mandolin cafe? you're going to find expert, actual expert opinions on that. so mandolin cafe is your greatest resource when you're choosing. you don't want to take the advice of somebody that went out and bought a two hundred dollar epiphone, has never touched a mandolin before and is doing a review on it. because they have no reference points. you're wasting your time and also, if you're listening to this, that's why i don't worry so much about that. both my mandolins, the gibson and the kentucky, sound great, but i don't have a good microphone. the microphones as far as actual tone and volume vary so greatly. so you know, take it with a grain of salt. that's number one: mandolin cafe. number two: construction: solid carb versus plywood or pressed with pancake style, army navy. exceptions, and i'll explain now: mandolins, as with violence, with the exception of the pancake models, which there aren't many of those around, really, compared to the other ones, they're not flat backs and flat fronts. they're actually a good one is card. somebody sat in their little workshop or factory. a lot of them are from china and using forms starting off with a, a planograph or even a cnc whatever. pull it off because it's got a shape, it's got graduations, different thicknesses throughout. you know, a small instrument depends on craftsmanship, not just no slam against flat top guitars, not flat pieces of wood. these things are actually carved in the shape. can you see the, the curve, like a violin? and so you're not going to be able to get, say, a good quality mandolin. there's an exception to this: for 120 dollars. like you, could you get a decent quality guitar for 120, because flat surfaces are bigger, so it's not so dependent on the hand carved nature of it. let's just say that hand carved nature of it. and so when you're in the one to say 300 range of mandolins, chances are you're going to get your plywood, which there's an exception here, i'm going to mention that. or you're going to get wood that was actually pressed, just pressed, net graduated, which means different thicknesses throughout- or hand carved- they just take wooden, squish it together, looks kind of like a mandolin glued together- blah, blah, blah, and you're going to lose out on tone. it doesn't necessarily have to do with playability, because playability- and i'll touch on it- depends on the, the fineness of manufacture and of the fretwork and straight neck and the action. you know very low action, because everything is precise. but you want to go for not, not pressed and not plywood. with this one exception, with this one exception, i'm going to tok about and you're not. you're not going to get something for nothing unless you're buying used in a really great deal. good mandolins really don't start until you hit like the 400 mark and go up, and that's because of the hand carve nature. i'm going to tok about that. you might want to get the greatest mandolin in the world for 200 but you're not. you're not. body style: a versus f. i've got two things and the ffs versus the oval. first thing i'm going to tok about is the body style. i do not have enough style. i do not have the bill monroe, sunny osborne, typical bluegrass looking scroll work on this. now you might say this is not a bluegrass instrument, doesn't have the, the strap hanger on it. it's not enough style, it's an a style. but there really is very little difference. there's less difference between the a style in the f style sound wise because those f's aren't hollow, those are blacks of wood and that's basically the inner chamber of this. there's less difference between a style and an f style because of the scrolls. less difference than the quality of manufacture between a styles and the quality of manufacture between different f styles. you know how it works out is it takes extra care and extra work to make those fancy little scrolls and points and so you get more bang for your buck. if you're looking for tone and playability, you can get more of a mandolin in this style than you can in an f-style, because so much extra goes into those scrolls. it's just, it looks pretty but it doesn't do that much. uh, case in point: gibson. this is not only a gibson, it's the gibson. just kidding, not really. you can get a used gibson a 9 which is shaped like this. or you can get a used gibson- um, i'm not going to say f12, they're not really regarded that highly- f. whatever you can get it. gibson a9 maybe if you're lucky enough to find one, because people snap them up for about two thousand dollars. it's a lot. i'm not going to spend that much on a mandolin. you probably won't either. but compare that to a used gibson f model with the scrolls. you're going to be paying three, four times as much for a comparably produced instrument. that difference is just the scrolls. i would go for the a9. it's almost within my, my capability. but yeah, a style versus f style. do you want to just pay for lux or do you want to pay for a better mandolin, a 600, a model? well, playing the odds here. statistiks- so much better of a mandolin sound, wise playability, than a 600 dollar scroll model. the f holes versus the a-holes- now yeah, this is where i may be the only one that said this on the internet, but not the only one that thinks it is that in a lower price management- like three or four hundred dollars, five hundred dollars- you may be better off with the round hole, because it's going to be bassier and a richer sound, than with the f holes. yes, when i watched a concert with bluegrass musicians, they were all playing this because it's got the good job. but how many of us are seriously going to be performing? having to fight banjos- and you know, having pickups on the mandolin eliminates that whole issue of having to cut through the instruments. how many

The Sound of the American Mandolin

[Music] the mandolin. that's a sound I never get tired of. to some people that brings back memories of a Neapolitan love song or a ride on the gondola in Venice. to others it's perhaps a concerto by Vivaldi. to still others it's an Appalachian folk song. we're here in this session to focus on the development of the mandolin as an American instrument and as an American art form. to help us do that, we're very fortunate to have with us Tony Williamson, a mandolin expert, a player, the owner of a dealership which buys and sells old mandolins, vintage mandolins, all over the world. a second-generation musician from rural North Carolina who brings not only a wealth of information today but a collection of mandolins that's positively spectacular and spread can scope, and we'll be examining those as we go, Tony. let's get started. Tony, it's a delight to have you with us today. great to be here, max. what, what have you got for us, Tony? this is a pretty good example of a European bull back mandolin, the old style that they played back in Italy and France in the 1700s. this one is made with a set of ribs, individually crafted and back, and put together to give it its bowl appearance. it's beautiful. can I try? absolutely I've never tried one of the. oh my goodness, how do you get? how do you get it close enough to you to play it? that may be why they changed the shape in later years. they would have to for me. [Music]. what was that? that's the intro of the first big mandolin hit. Mozart's Don Giovanni in 1787 featured the mandolin. in fact, the mandolin flourished in Naples in the mid 1700s. the first family of mandolin builders was a family called Bonacci. the immigrants to America brought this instrument with them and they probably sounded a little more like this I was toking about before. unfortunately, when the American manufacturers tried to copy the bow backs, their chief product was a cheap imitation that was inferior in sound and playability. well, we've got one of those here. this is from the early part of this century, an American design very similar in construction and idea to the European bull backs, but for some reason they were never able to produce the kind of sound that the old makers like kolache and Vannucci were able to produce with the superior craftsmanship. now I have certainly seen some beautiful examples of Bobek mandolins by Marshburn or Martin, quite ornate with pearl inlay, tortoiseshell, genuine tortoiseshell, gold and silver wire inlay- beautiful instruments that are very collectible even today, but not that great sound. the prominent American mandolin companies included Washburn and Lyon and Healy of Chicago, the Larson brothers, also of Chicago, the CF Martin company of Nazareth, Pennsylvania, and the Vega company of Boston. now Vega made a model they called the cylinder back, which they were doing some things with the back of the mandolin. I almost consider this instrument to be the missing link. well, there's an example. this one made in the teens by Vega, is an example of the cylinder back that you're toking about, and I don't know whether the camera can see it or not, but the back actually has a hump in it which was intended to increase the volume of air in the sound chamber, to somewhat approximate the volume in the old boback's, while still producing a mandolin of somewhat more streamlined design. the development of the American mandolin continued from the cylinder back. the idea was to try to develop ways to make the instrument have more tone, more volume, more projection. the most astounding creations in this development came from a young manufacturer in Kalamazoo, Michigan, named Orville Gibson. what an interesting guy Orville Gibson must have been in the late 1800s, around 1880. he was building guitars and mandolins and all sorts of creations there in his shop in Kalamazoo and his ideas were incredibly radical. the shape of the mandolin I'm holding was Orville's artist model style: notike all the the curls and points of this instrument. the other radical departures that Orville had on his mandolins, where he made the neck in the body, one solid piece made the neck hollow inside to increase the volume of the instrument. radical ideas and designs that soon were left behind as Orville quit making instruments around 1917. the one thing Orville did that has stayed with us too to this day is he carved the top of his mandolins into an arch, thus making them a speaker, like by raining surface. that's an idea he took from the violin family. I guess is exactly that was Orville's idea: to borrow from the violin family, the great Cremona makers, Stradivarius and the embodies of the 18th century. or will borrow the idea of the carve top from those great makers, but he stayed with the oval sound hole, which was the mandolin standard of the time. Orville created a mandolin that had a nice tone, but it was not so different from those bold bags, don't you think that's right? it has the same sort of high-pitched timbre that the old bull bag mandolins had. in 1902 Orville Gibson sold his incredible ideas to a group of investors there in Kalamazoo and formed the Gibson mandolin and guitar company. Orville stayed on as acoustik engineer but never owned the share of stok in the company that bears his name. I didn't realize that the Orville was a creator and an inventor and his ideas, though radical, were way ahead of his time and paved the ground for some real constructive work that came later with the Gibson mandolin and guitar company. one of the first things that the company did to change Orville's designs were to increase the neck angle, thus to get more bridge height. they also simplified the design a little bit by making the instrument lose this curl. we have one with us today, max, if you'll hand it to me, the, this unique specimen is in a natural top. it has aged to a beautiful golden color, but it originally was clear finish on the top and a beautiful flamed maple on the back and sighs. now, he didn't make this one out as a one-piece neck and back in sides, did he correct? well, actually Orville didn't make this one at all. he was still with the company in 1913 when this instrument was made. but this instrument had a separate neck assembly, separate rims bent onto the carved back and carved top. the whole thing was held together by a dovetail joint here. these beautiful instruments were very popular at the time. this natural top finish was a custom option. however, most appeared in in either a sunburst or a black finish like the one we just saw. Tony, can you play something on that one to give us an idea of what the mandolin is of the mid-teens sounded like? I think I'll try to play a popular song from that period called darlin Nellie gray [Music]. Tony, that was great, you know, watching you play reminds me of what I've heard about the reason that the Gibson's left that little point down there on the bottom, even though they took that top point off. they left that little point there to put against your leg so that while you're playing you'd have a solid hold on the man's land. he did a number of other things that were pretty creative. the Gibson company came up with a patent on this partikular pick guard and picked guard clamp that they put on the side. that was something that had formerly been either inlaid into the top or glued onto the top of the mandolins. back in the in the European days and along in the mid- I guess the mid teams- they introduced the German inlaid handle tuners, the tuners made by Handel, and those stayed on these mandolins, I think, until about 1917 or 1918, that's correct. they, their availability was noted in night 17, because of World War one, and Gibson switch to getting their tuners from Waverly, an American company. well, Tony, that's been a very nice introduction to the mandolin itself. what about telling us a little bit about how the mandolin family evolved? well, you know, that's intertwined into this whole theme of violin idea. the legitimate so-called powers that be have always felt that the mandolin was inferior to the violin. well, the mandolin makers in t

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Vickie Brunner "Dali and Spoons" The Dali Museum

okay, if I can have everyone's attention, i would like to start this morning. good morning everybody. welcome to the dali museum. let's see if there we go, make sure you can hear it. welcome to the dali museum for this wednesday coffee with a curator. and, as i'm sure many of you know, this is an event that we do on the first wednesday of every month. we're happy to have so many people here this morning and it's a program where we invite one of our staff members to give a presentation related to dolly and a partikular topic or theme. next month we're going to have, I believe dr william jessup is going to be toking about the new exhibition that just opened in the raymond james room, the Royal inheritance, which, if you haven't seen it, you have a wonderful opportunity today to see in the first week, a selection of 12 pieces that have been sent to us by the from the reina sofia museum in relation to the Pompidou retrospective that's going to be opening in November in Paris. so that's what's going to be the topic for next month and then the month after that I'm going to do a reprise of a tok I did, I believe, at mosi last year on dolly and Leonardo da Vinci. so a couple interesting things coming up. but today we're gathered here and we want to thank cafe gala for providing the refreshments for this morning. but we are here this morning to hear about a very interesting refreshment oriented tok which deals with dolly and spoons. so with that I'd like to invite Vicki Brunner, our family programs coordinator, to come up and share with us her knowledge of dalian spoons. thank you, good morning. I'm happy to be here today. right up front, I would like to thank Tim Universal, don't crop turi King, Peter Tosh, Janice Embree and Carol Butler for their assistance with me on the research for this topic. I think I probably researched about 30 books for this topic today and i would like to warn you that there are some probably x-rated verbal parts that go with the tok. the images on the screen will be just fine. as many of you know, sometimes I choose a topic that's a little out of the ordinary, and Dolly and his spoons appear in many of his paintings, illustrations and sculptures, but information about Delaney and spoons is rather sparse. luckily, I'm not really too afraid of hard work and I had to do a lot of digging in hopes of presenting anything that was going to be revealing or that would send you home with something to reflect on. this is the dolly cutlery. we had this in a exhibit in 2009 called dolly and gems, and when I began to think about spoons that doll used in his work, there were a lot of origins and relationships that came to mind. before I change it off of this slide, I would like to just show you that these look similar to mollusk, shells or possibly flowers, and the tusks on that fork there are actually genuine ivory. these are very beautiful. so I was considering things like our everyday use of spoons and how it related to Dolly's use of spoons: the spoon as a surrealist object- stretched are exaggerated spoons, the ethics of hard and soft, the relationship of spoons resting in glasses and the psychoanalysis of spoon imagery related to dolly and his obsessions. and hang us, I actually had no idea how much information I might find, but it did seem like it was going to be an interesting topic, so today we're going to look at it together. so, after the breast or the bottle, the spoon is the first utensil that we see our parents beat us with, and it's the first utensil that we use when we feed ourselves, so it can be considered the safest of utensils and probably recognized as an original form of security for a young child. here we have the sick child. this is a painting from our collection, done in 1921. it's a watercolor wash, and we see little gal me with his kerchief around his neck, more than likely laden with castor oil, maybe with oil of spearmint or something of the lichen, and we see the medicine bottle on the table there and little dolly is reposing. there was, I think, a most angelic smile on his face. some people say he looks a little sinister, but you know he loved being sick because when he was sick he was the center of attention and his safe and healthy maturation- so he could carry on the dolly family bloodline- was of utmost importance. so next to the bottle on the table we see the spoon, the utensil of choice which delivers the medicine that promises a healthy recovery. pretty straightforward. but take note of those spindly fingers, those exaggerated fingers. even at this very early age, Dolly was already exhibiting signs of his personal style. the long spindly fingers in this worker, evidence of Dali's initial attempt to evoke alienation by declaring his identity as other, different, removed from society, even before he'd ever read Freud, and Peter Tosh notes this. this is a one of the first examples of Dali's attempt to create a self-image. that's exotik, strange, fascinating and begging for deeper scrutiny. here we see more extensions, still legged. elephants and horses appear in the temptation of st Anthony. we see linens extended buttoks. here in the enigma William Tell, we see the grasshopper child with a deformed head and a long stretched out table and we see Tristan and Isolde right here. he has extended fingers on his hand and a wheelbarrow protruding out of his back. stretched and exaggerated body parts and palaces, as well as spoons, became a regular feature of many of dollies later paintings and notike that these are mostly items that one holds or the apparatus with which one grips. in the interpretation of Dreams, Freud elaborated on well-known Freudian phallic symbols and dreams. he said all along gated objects such as stiks, tree trunks and umbrellas may stand for the male organ, as well as long, sharp weapons such as knives, daggers and pipes. receptive objects such as boxes, cases, chess cupboards and ovens represent the vagina or the uterus, and also hollow objects, ships and vessels of all kinds, step ladders or staircases. walking up or down them are representatives of the sexual act. doc did occasionally use knives and forks in his work, but the spoon is much more prolific. here we have the book transforming itself into a nude woman, from 1940. you see what looks to be a woman's body, or possibly a loaf of bread that's being sliced by a knife, and then, in autumn, cannibalism. down in the lower right-hand corner we have this: um. we see the effects of the atrocities of war in Spain and how that affected Dolly's thoughts and his inspiration. a nation consuming itself, dolly said, nothing is closer to an embrace than a death grapple. this is Piero and the guitar from 1920. it's another fairly early work and it's done in the cubist style. downsample was a bookseller in barcelona and he would send little dolly and adolescent dully books and magazines about the latest art trends. so he kept dolly up on what was going on in the art world and, as a result, dolly experimented with many different styles. Picasso was some 20 years older than dolly and he was from the same region of Spain, but he was a great influence on dolly. so here we see the toy 10 plate right there. get are reminiscent of these down holes in the guitar, and the spoon right there resembles the tuning pegs. if the spoon is a repository of sustenance and we turn it upside down in our mouth, then the rigid spoon seems to mirror the shape of our soft tongue. and that brings me to the subject of dollies, obsession with the hard and soft. this is the surrealist object gauge of instant, instantaneous memory from 1932. spoon imagery of this nature appears in several of Dali's paintings in 1932, along with, during the time that the artist was exploring them morphologically, morphological aesthetiks of the hard and soft, through an elaborate symbolism involving fried eggs, snails, shellfish and other foods. so the hard spoon holds the soft foods, and in this case it's fried eggs. what looks like a loaf of bread at one end is teetering on the edge there and morphs into the image of a spoon protruding from a split which

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MandoLessons Live: Episode 51

[Music]. [Music]. all right, welcome everybody to another mando lessons live. my name is Baron Collins Hill. I run mando lessons. you're probably here because you already know about it, but if you don't, Mandela says calm, lots of free online mandolin instructions, etc. I like to try to do these most Saturdays that I'm around, just kind of spend an hour doing some Q&A, meeting all your folksy and familiar names, meeting new people. it's always good. I love hearing what everyone's working on. so ask questions, don't be bashful. nothing too complicated, nothing too simple. it's all open, open range here. so you know whether it's a rank beginner question or a very advanced question, I'm happy to do my best to answer it and just have a good time. I'm happy to take requests as long as they're in the public domain, and our fiddle tunes that I'm likely to know. but uh, we'll find out. I can always try them out even if I don't know. I'm just make them up as they go along. yeah, tons of people in the channel. I can already tell us- it's gonna be a good one, because the chat is going fast- how many people we got in here. right now it seems like it's got plenty of 31 people. that's a good number for a minute in here. I've got Jay Vincent, Carl Sheldon, Joan Phyllis, BS roster Lewis will, Robert, Elizabeth, Jeff hacia, Terry Lawrence, dance tune, Richard Kathryn. all right, great to have you all here. lots of familiar names and some new ones too. let me know in the chat if this is your first time and thanks for joining in see if I can get into some of these questions or if there are any questions at this point. people from all over the world- Barcelona, Minnesota, North Carolina, Massachusetts, Kansas City, Vancouver Island, New Jersey, tel-aviv- amazing. alright, let's see. I'll catch up with some of the stuff that's going on here in the chat. people saying thanks for the lessons, glad to glad you're enjoying them. yeah, mandolin is a great way- and music in general is a great way- to bring joy to your life and other people's lives. people love here in music and if you can play music for other people and with other people, it's a beautiful thing. somebody says, uh, no mandolin players in their area, so they're enjoying the videos. and somebody else said: look for Skype lessons as well. yeah, if you're interested in one-on-one lessons, I don't personally offer them, but there's tons of people, really great players out there. I would recommend looking at mandolin cafe where there's a little section in the classified section. you can also ask in the message board, which is just full of great information and really knowledgeable folks about you know. tell people what kind of music you're interested, where you're at and if they have Skype lesson recommendations. there's some really amazing mandolin players out there. they've entered tour and hard and you've probably heard of them and they're doing lessons - I've taken some of those in the past. that it's yeah, there's just lots of good, great mandolin teachers out there and the internet really opens up the world to study with who you want to. oh, yes, the tune that I just played right there Louis correctly identified as big Scioto great tune. it's on my website. yeah, so you'll run into that one wad in old time sessions and bluegrass jams and festivals and camps. so I learned that one. if you're into that sort of stuff, it's a good one to have in the back pocket. Lauren says glad to see you've recovered. yeah, I was out sick last week. last couple times you're just like I've been getting sick for Saturdays, but I'm finally feeling much better. it was a pretty short one this time. a couple weeks ago I just got really took me down for a couple weeks and I missed a couple of these things. but yeah, this was just a short little weekend thing. back to my old self. all right, let's see ducks on the millpond. that is a great team. able play that later. Richard is not a mandolin player, but never pass up the excuse to play Billy in the low ground. that's always a great tune. yeah, take five. that's a great team. that's a copyrighted one and I don't really know it that well, but a great jazz. it's sound of jazz. well, I guess it's. yeah, it's not really like a American Songbook jazz standard, but it's a jazz classic. Dave Brubeck: good stuff. chief O'Neill's favorite. that's a great request. I don't know that one off the top of my head. a lot of the Irish tunes I sort of only know if the other people start him. so I just kind of rely on other people and then playing along and they tend to make their way back into my fingers eventually. all right, Denise, good to have you here. 1x, and not sure what that means, but good stuff. all right, Phyllis, Oh, first time. 1x. first time. I'd forgotten I had asked that question. great, all sorts of folks that are here for the first time. glad to hear it. thanks so much for joining. like I said, these happen every Saturday that I'm around, so that's most Saturdays I usually try to. if you ever interested, you can go to this. I think it's like youtubecom: slash mando lessons, slash live, I don't know exactly what the you should show up in your. if you're subscribed, it should show up in your kind of subscription box. when I said I usually kind of publish that it's going to happen in a couple hours, I'll set it up Saturday morning and then go. I have at noon Eastern Standard Time, but it's it's all sorts of times all around the world. yes, that's, and then I'll try to update things if I'm not gonna make it, but in general I try to make it. so also, just so you're all got a heads up: this week's tune and at the end of every lesson there's gonna be a play along tune, or not? every lesson, every livestream. on Saturdays we do a play along. this week's is Tom Bigsby, Walsall, lovely waltz in the key of G. it's on the website if you want to get a sneak peek, and we'll play through that. I'll play the chords while you play the melody. you can play the chords while I play the melody. it'll be a good time. we'll get to that at the end of the hour. all right, yes, vos, tears, apology up. I'm not saying your name correctly. from the Netherlands, very cool. Texas first-timer Phil is saying: having trouble with finger placement can't keep my hand from moving around. I think that'll kind of change. and the more time you put into it, you know, don't worry too much about it right off the bat, because you know the fact that you're aware of it just means you're- you're kind of intentionally or unintentionally kind of experimenting with the best place to have your hand. I think it's good to get to a point where your hand can really be stationary and you can sort of get to all the stuff you need to get to, but a little moving around at first, just to make sure you're staying comfortable, not a problem. and if again, if you, you know, if you keep your mind on it like, oh, that's something I want to change, you'll get there and it'll change over time. cool Carol says I play guitar, mandolin, banjo, piano, love all of them. yeah, well, it's too many instruments, too little time. that's what I always say. cool got a BS. is off to have dinner. hope it's delicious. Jones says this happened to you, to any of you. the a-string is harder to tune and to maintain tuned in my mandolin. I hear that a lot. I don't know why that is. people I've heard it like discussed on mandolin cafe and maybe somebody's got reasons for it. there I've had mandolins where that happens it doesn't happen on this one. yeah, often if things aren't in tune, it's rarely the factor of the tuners. it's often like kind of too tight or improperly cut at the nut or something going on over the bridge. it's kind of snagging it up in a way. so that's one thing. you could come in and it's a fairly simple fix. if you'd bring it to your local well-respected repair person, they can might be able to troubleshoot that issue for you, because it's good to be able to play in tune for a long time. damn good to have you here. Lewis says playing around a campfire earlier this week at turkey run the steak park enjoyed by those around lessons made all the difference. cool, I'm glad you got to get out and I'm s.

MandoLessons Live: Episode 39

andrew says her to worship and lead into him with the a part from Arkansas traveler. hadn't thought of using fiddle teams to add variety to other songs like that. yeah, that's a really cool thing that I hear some people do, but not a whole lot. you know you can have a song and you know you can go through the whole song and there's a little break in the middle or at the beginning or at the end. you can put in a fiddle tune or a part of a fiddle tune. I recently just heard on Ola bell Reid has a great multi-instrumentalist and singer. one of her albums- I forget what it's called, but she was doing Bonaparte's retreat. I [Music] can't remember that beep all right now, but she had a whole song played the Bonaparte's retreat, so she would like have a little song and then she would play the tune for a while. very cool when they happen, some in old-time music where you kind of have words and songs, but that's definitely something that happens more into like contemporary kind of folk music or in your case that you heard. good work with music, having you know you can have a whole song. that's not related to the tune, but then you can put the tune in as a little fun thing in the middle or at the end or at the beginning, kind of create a set out of it and have fun with it. yeah, it's a fun thing to do and some tunes will have that similarity. [Music] okay, let's see where else chat jumped on me. all right, we have half dog will travel from South Carolina. good to have you here. Ontario, Canada, Oregon. double stops in the key of G and a. I'll get to that. [Music]: Savannah- okay, another request for the double stops. I will definitely do that. just catching up through all the tik difficulties here, how to do the mandoline chop. it sounds like he expands on the boom. check, if you know what I mean. a little more melodic yep. so I've got double stops, chop chords and then I think I'm mostly caught up a guitar picking mantle, okay. so yeah, I'll do a, do a couple of double stops here and we zoom into the other screen. so, yeah, some some nice double stops. so you know, rather than going through like everything, one I can think of, what I'll do is do a short little lesson on, like you know, what a double stop is, and so if you're thinking about, like double stop for a G chord, the notes you're gonna want are the notes of a G chord. so you have a G and a B and a D. so you can find all those notes all over the fingerboard. [Music]: G, B, D, G, so they're all over. you know, find like three or two or three on every string and then you can add them together so we have- okay, I'd be here and a d here. that's a nice G double stab and I'm droney. or you could have a B, or you could have this B and then the G on the D string, or you could have the D and the B. oops, that's not right hood, the D and the G, we're gonna have the D and the B. and then you say, okay, well, this one's kind of like, yes, B and D and then D and B, I'm sorry, B & B and then B & B, and you can maybe find some little passing double stop in between. that's related to one of them. you do the same thing on the next string: G and B, D and D, B and D. so kind of, going through on every string you're gonna have a bunch. and then if you say you need a C chord, you're gonna go see, eg find all your CD, find some nice C double stop and then find your way between them. and the same thing happens with a, a. no, you're kind of what makes up a chord, what make up in arpeggio, things like that. so I think if you can get, you know it's a little, it's a, it's got a little bit of a hump you got to get over just to sort of get those ideas into your head. but once you have a sense you'll start to really find all of these patterns underneath your fingers. things will sound, start sounding good and you'll start to kind of make sense of the fretboard in that way and you won't have to think as hard about like, okay, this is specific to G or D or a, because the mandolin is so kind of parallel across the strings. you can use a lot of the same ideas just by moving up or down a fret or string, and so I hope that's helpful. there's some lessons on my website on double stops, that sort of thing. again, pick two strings, see if you can find a bunch of different double stop shapes and kind of work through it, and then once you start kind of having the ability to create your own double stops, that really opens up the world. you know kind of figuring out how to embellish different Tunes and things like that, and you can also just use your ears. you know if it sounds good it is good, and sometimes your double stops might not always. you know. this is a good sounding double stop, open G and a B on the D string, open two, nine and open in five sounds good to week we're gonna walk up that scale: five, seven, nine, and five and seven don't sound great together but in context you can get somewhere. so, moving on to double stops, let's take a G double stop. I'm sorry, chop. moving on to chop chords, take a G chop chord and there's a, there's a couple. I think you know the ultimate tiknique behind chop chords is having in really slow motion. it sounds like this: I'm getting that really clean sound is gonna be a great way to get a good sounding chop cool. so you've got all four strings or many strings as you're playing. you can just do two, you can do a double stop or you do a full string cord. I'll just do the classic G chop chord for the sake of the exercise you want off work, as many strings you're gonna play to ring out and then you won't want a nice sharp ending to those notes by releasing the pressure out of your left-hand fingers. you don't need to take your fingers off, in fact you don't want to, we're just releasing the pressure will mute the strings and then in from there you just have to kind of speed up that process to mute more quickly after you hit the strings like that, and then from there it just kind of becomes personal preference. some people make a lot of sound with their chop chords. some people make almost no sound and it's mostly percussion and I think kind of in that bubble, a kind of expanding sound you're toking about, it kind of comes from just getting that right at this spot where, if you line up your right hand and left hand coordination just right, you get this little like a sound and that really gives it that like come on, oh, behind the chop, so play around with that. it's all in the timing of the left and right hands and I hope you can spend a little time on that and see how it goes. great questions, though, all around, miss Maddie says always wondered this: but is there a specific difference between a guitar pick and a mandolin pick? not really know. everybody has their own personal preference. I think it's a great way. I think I toked about this in the video I have on picks. you know, spend five dollars or ten dollars on a bunch of different picks- don't get anything super expensive. you know. get some thin ones, schisms, kind of regular guitar shape picks. get some big fat ones. get some that are big triangles, like this one- yeah, there's a big triangle- and just sort of see what you like. I like these big fat triangle picks on this mandolin. I love really thin, regular kind of teardrop shaped guitar picks on mandolin and on guitar. really kind of every instrument I pick up, I try a bunch of different picks and it often changes. I kind of go back and forth between using thinner and thicker picks depending on how used to the instrument I am and look what partikular sound I'm going for, and just my personal preferences change over time. so try everything and see what feels and sounds best to you. recovering basis is my ring finger, legs behind the other fingers when I'm picking a fast melody, not sure how to get it to be more nimble, I would say: you know, find that spot, find that point where in your, as you're speeding up, there's got to be a spot where, if you're playing slow enough [Music], your your ring finger is gonna be able to keep up and then find that beat per minute or whatever it is with a metronome where you really start to notike that your ring finger is lagging behind and stay at that point and se.

Collections as Data: Stewardship and Use Models to Enhance Access

Testing 123. >> Hi testing, Good morning. Good morning I'm Jane McAuliffe and I'm the director of national and international outreach at the Library of Library of Congress. It's a pleasure to welcome all of you here today for a new event here in the library- national Digital Initiative- and I welcome you to the Jefferson building in the Library of Congress and I hope you have a chance to walk around this building and enjoy its shear beauty. Thomas Jefferson believed that the unhampered pursuit of truth was the key to a successful democracy. Jefferson's own library forms the core of this great collection and you will find it beautifully exhibited on the mezzanine floor of this building. Today, the Library of Library of Congress is the largest repository of knowledge in the world. We are surrounded here by more than 36 million catalog books and other print materials in 460 languages, More than 69 million manuscripts and the largest book collection in America and the largest collection of material material, sheet music and sound recordings. and a statesman, Herbert Sandral, once said: a library is caught in closed doors. The people must have access to the library's collection to put those in action. It's not enough anymore to open up the doors of the building and invite people in. We have to open the knowledge itself for people to explore and use. that's where NAYO national and international outreach comes in. A year ago, the library created this new division to make this collection to better serve the American people and the world. NAIO was created with high aspirations, aspirations, toaspirations- to promote scholarships, foster creativity, develop collaboration and communities and enable everyone to discover and to learn. Of course, in the 21st century, we can do a lot more than open books. Researchers can now analyze more information in an hour than we can read in a lifetime. We can collaborate and share complex ideas in an instance, and we can empower everyone to partikipate. Like all of you, the Library of Congress is to enable that vision. With that in mind, we have created a new office in NAIO, and that office is national office of Digital Initiatives, and we have given them a big responsibility to lead innovation and maximize the impact of digital collection, Not just here in the library but across the many communities. To lead this team, we have chosen a dynamic, charismatik innovator, Kate Zwaard. She knows the library and led the development of the library repository. She is a good communicator and has been on several committees. She expect great things from Kate and her team. Today is a perfect example of what we want you to do: Leveraging the, the, the library, to bring all of you together, discussing the best practikes and lessons learned from your work, taking the next steps and what we can do even better as we move forward. So again, thank you all for joining us today. I am excited about what we can accomplish working together, together. And now I would like to hand you over to the chief of national Digital Initiatives, Kate Zwaard, who will be here today and for years to come. Thank you [Applause] >>. Thank you so much for the warm welcome, Jane. We are thrilled that you all can come. Welcome to the people watching via live stream from home home. Please remember to tweet your questions. with the #asdata. It's possible to see what we can discover. we can enhance our ability to search, visualize and organize information. As the capacity grows, so do the questions: How can researchers partikipate in data scholarship and how can the collection work with research? We put together the symposium and, among those of you who expressed interest in the event, we had interest in NASA, the episcopal school and even the DC public library, and this topic has struck a cord with many of you. I would like to start by thanking those of you who made this possible, Initiative teamInitiative team that I will introduce you to later. This is the first of many to come. I would like to thank Jaime Neer, who did a lot of the heavy lifting to get us off. Thank you to those who donated their time and effort and thank you to the office of equal opportunity for funding the live captioning. and thank you to the volunteers who helped put this event on. This event has opening and closing and keynotes and four sessions. If you are watching via live stream, you can tweet questions using #asdata. The video of this event will be will be made will be made on our website and archived at the Library of Congress. Don't ask questions that you don't want mixed in No pressure. Our keynote speaker just got back from Africa to document the live eco system. This project is making all of the data open for us to explore. Partikipating in this expedition and almost getting eaten by a lion is one of many way Jer Thorp is using data to help our lives In the 911 memorial, placing those deceased closest to the ones they knew, using social media and a theater performance. with 120 projects and collection, This shows how Jer is changing from cold and sterile to interesting and vibrant, Even though many of us have not been able to trek through Africa, we have the same mission as Jer in many ways: to make information through all of its forms relative to the public, in the hope that it will improve the earth cells and future. Please introduce the co-founder. author of creative research 2013, national geographic and director of the international telecommunications program, Jer Thorp. [Applause] SPEAKER. Good morning. I think it goes without saying that I am tremendously honored to be here today. I am a Canadian and nonetheless, I really -- I am really- honored to be here [Laughter] With this entire tok this morning. I wanted to tok about the office For Creative Research and I put together a tok specifically about collections, as was just mentioned. we do a lot of very different things And I was almost in with the tok when I read the program for the event, when I found out that the tok I was going to give was called Data and Humans- A Love Story- and it's a title that I did not make up- And I said, okay, I will do this tok instead. Obviously, this tok is going to be about data and humans And start to tok about data and humans. we must begin, I think, I think with- I think, with data, There is an artifact of our understanding of data, as you have seen before: the pyramid which describes the progression from wisdom. I think the shape of that pyramid defines a lot of data- data over data over the last five to ten years- and it is to collect as much of it as possible and get wisdom at scale. I will mention that we are missing something at the bottom of the pyramid and I am not going to give it away yet. I'm going to start with a little bit of wisdom from one of my favorite people, Lisa Franklin, who just passed away. She is a thinker and writer, and in her lectures she toks about the idea that most of the world of tiknology that we live in was not made with our idea in mind. This has never been more true, true, Sotrue. So the central question that I want to bring to us today: what is it like to live in data? One time we might have been satisfied with collecting data and at some point we might have been satisfied with visualizing it, and more and more and more we we are, we are actually creating systems and worlds that we must provide in. This is a diagram by a sociologist named Jacob Murano, and it's called a sociogram and you can think of it as a social network. This diagram is of a 7th grade classroom. Girls on the right and boys on the left- Two brave ductors, cros.