randythoades

Ah yes, I see. You could use a multi DI such as the Behringer Ultra DI800 as that would give 8 DI inputs and 8 balanced XLR outputs into the H8. A much cheaper option than changing your interface.

Never heard of them. But it looks very cool though!

I haven't used those particular DI boxes before but I have used others and have and use several Zoom recorders for different applications. The H8 wouldn't be my choice for multitrack recording, it is more of a compact field recorder to capture band recordings, podcasting away from your desk etc. But it will do the job fine as long as you don't need the extra functionality. If you are at your desk, just use it as an audio interface and make all the corrections and parameters in your DAW. But I don't think you will need to run the DI at all, you should be able to plug straight into the combo jack, they are meant for guitar level signals and have switchable Hi-Z. Should be no problem if you have an onboard preamp or powered pickup. If it is just a passive pickup then you are still be able to plug in if you increase the gain enough but accept that there will be additional noise. There isn't a massive amount of EQ etc in the Zooms themselves so if you don't want to export into computer then your editing options are limited (not always a bad thing!) so you want as good a signal as possible going in. My own solution is to get an old Zoom 504ii acoustic effects box off eBay for like £25 and use that to boost and modify the signal as best I can before it gets to the recorder and ignore the PC until final mastering.

Looks great, especially with the Marshall!!

I was never about rhythm alone, but I started to imitate the guys who mixed lead and rhythm together in that slightly muted but melodic way rather than distinct rhythm and lead roles. Usually from small single guitar bands such as Eddie Van Halen, Fast Eddie Clarke, Scotty Moore, James Burton, Brian Setzer, Billy Gibbons, Pete Townsend

Very nice. Sorry the Laney didn't work out. Looked like it had lots of potential.

What's up the tree?? The dogs seem to like whatever it is.

I do happen to really like Gold tops, but I also have an 'attraction/repulsion relationship with PRS'. I love to look at them, but I have been disappointed with all the ones I have played (granted they have mainly been SE models). Just something about the way they are doesn't work for me, the neck feels too flat and too wide and I can't get many of the tones I like, they just seem too 'polished, smooth and grown up'. I can't seem to get that fat LP tone, a spiky punky tone, nor the direct Fender type tone. But watching other players use them is often jaw droppingly good!!

That is a great idea. I dabbled with mandolin but struggled with the string and fret spacing due to fat fingers!

I'm with @Dad3353. Even running at 10w, a valve amp is far too loud for home use (I would say that even a 1w valve amp is pushing it volume wise for me). A modelling amp provides much better flexibility and give you all the other options as well. The tones are excellent. Just a slight point though, to me they always sound like a 'recorded guitar tone' and you don't get that visceral, trouser flapping monster tone in your face. But for home and rehearsal levels they are a great option without a lot of the cost and the weight.

That looks really good actually. Not tried one but I would be interested in your thoughts when you have time to test it out.

Great track. Very good job.

There isn't an easy way, it is mostly just muscle memory. I don't think about what notes are which, I just know which note I start from, the rest is purely muscle memory and experience from playing various licks and melodies. If I am learning a new melody that needs to be precise rather than just improvised then I would do as I would suggest and start SLOW. Half speed usually until I can play that and just then speed it up gradually. I would normally dedicate a practice session to just play the same lick or melody over and over again until fingers do it automatically. Finding the start point is usually the hardest for me. Don't worry about getting it wrong at full speed, just slow it down again until you can play each section over and over one after the other then begin to speed it back up.

I respectively disagree about barre chords. I much prefer them to open chords. As @Dad3353 points out, you don't have to play all the strings. I don't like the way that the open strings sometimes resonate longer than the fretted strings when I change chords, but I can cut off or mute the whole sound whenever I like with a barre chord, especially on acoustic to add a percussive element. And all I am saying about simplifying is that whilst most players do simplify to a degree, you effectively restrict your guitar technique and vocabulary by avoiding chords or techniques you can't yet do and will not improve.

That does sound odd. It is unusual for even cheap tuners to come loose if the string is threaded properly as it's own tension prevents it from moving. You could replace them all relatively cheaply with new ones from Amazon etc. Most of my guitars stay in tune for days at a time, might just need a slight tweak at the start of a session if it has been particularly hot or cold. My ukulele slips out of tune a little over time but they are nylon strings. But maybe try and re-string but wind the string back over itself so it is gripped between the excess winds: