Bare Knuckle Pickups Forum
At The Back => Time Out => Topic started by: Twinfan on February 18, 2009, 02:43:15 PM
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After really sorting out my gear over the last couple of years, I'm now looking to really sort out my playing. Probably the wrong way round to do things, but hey ho... :roll:
I'm really comfortable with my rhythm playing. I can keep time, I know a lot of little 'tricks' to do with power chords and partial chord voicings etc. I'm working on some backing vocals for Doppelganger at the moment which will allow me to play and sing at the same time, so making the rhythm parts very instinctive and I won't have to think about them. No problems so far.
My soloing is 'OK', but just OK. I can improvise to most blues/rock tracks as I know the Pentatonic Major/Minor scales and by ear over the years I've learnt what extra notes I can throw in. I guess this means I switch into different modes and use the Blues Scale etc, but my theory isn't great. I don't actually want to learn any more theory as I believe it has the potential to stifle creativity. I'm also not interested in sweep picking, or two handed tapping etc. I'm proper old skool where the notes are the focus, not the technique.
So I'm trying to find ways to improve my soloing, specifically my improvisation. I'm really into harmony and melodic playing, such as Sloe Gin by Joe Bonamassa, Since I've Been Loving You by Led Zeppelin or Waiting For An Alibi by Thin Lizzy. Songs where the chords and the lead lines complement each other really well. Songs where the bends, slides and vibrato add atmosphere. Other than picking a few songs and learning them note for note such as those above, is there anything else I can look at? Do I actually need to learn more theory, much as I'm against it?
Any thoughts or comments gratefully received :)
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Great topic Dave - I was about to post something very similar to this. The only difference for me is that I suck at soloing and get stuck after a few bars! I'm fairly confident at rhythm playing but do need to tighten up on partial chords.
One of the things I have started to do lately is record a basic 12 bar rhythm, loop it and hum what I would want to solo over it (I never seem to get stuck for solo ideas whilst thinking about them in my head or humming them out loud). I then try to replicate the humming on the guitar. It has been pretty disastrous to start with but I reckon I'll get there eventually!
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Cheers Ian, that sounds like an interesting thing to do. I can probably get some backing tracks off the 'net, or use the Guitarist CD ones to do a similar thing? The Blues Healdines ones would be good I guess? I can put together a little compilation CD of backing tracks....
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(I never seem to get stuck for solo ideas whilst thinking about them in my head or humming them out loud)
+1!!!!
Does anyone have any tips on getting more time to do all of the things mentioned above, too!? :)
Roo
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(I never seem to get stuck for solo ideas whilst thinking about them in my head or humming them out loud)
+1!!!!
Does anyone have any tips on getting more time to do all of the things mentioned above, too!? :)
Roo
We can get together and start working on a time machine! I need more time aswell haha (although i do think i have a bit too much time on my hands sometimes)
Or just quit your job.
As for soloing, well i cant really help since im probably behind you, but fret some random notes? No? Okay, maybe not..
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i've been listening to /alot/ of uli jon roth and actively trying to be more experimental with my soloing - trying to copy his style. i think its been paying off, but theres still a long way for me to go.
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I probably can't help much, but for improvisation sake, try learning a new little phrase each week, and it will slowly build up.
Something I find interesting is focusing on the key of the song, (ie C major) and playing the notes of the (C) chord in different manners, focusing on the C mainly. ie palm muting, dead note, and add the occasional octave, with three notes you have 4 different sounds, and you aren't overplaying (which is my goal with it)
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Can't offer any tips, but strangely enough blues-rock soloing is the ONLY aspect of guitar playing I feel ever-so-slightly comfortable with (which isn't to say I'm any good at it).
I can't play rhythm to save my life.
I do agree with what Ian said about jamming over a 12 bar backing track (the only rhythm I can play over! :roll: ).
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For blues rock soloing, i try and find a really strong melody line first, once done, record and embellish over it, slow arpeggios sound awesome for blues too and you can just find different inversions of the chord sequence you are soloing over to use as templates or starter points.
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not that i'm an expert or anything... but i am more of a lead guitarist than rhythm...
if you ask me, refusing to learn more theory because it stifles creativity is a crock of shiteee, if you'll excuse the expression. it's a bit like saying that learning to spell and learning grammar will make you a worse writer. just because you learn it doesn't mean you have to slavishly use it all the time (if someone asks me to play a mixolydian mode i can do it, but when i'm just noodling, 99% of the time i'm in minor pentatonic, position 1), and also if you don't know more advanced theory, for all you know you're just using that advanced theory without knowing it. i always find it pretty funny when people say they get worse at writing songs when they learn theory- that's not true, they just now realise that they were using over-used cliches and progressions all the time! :lol:
that being said, learning more theory won't necessarily help your soloing, but it shouldn't do any harm either.
play and improvise a lot over backing tracks, songs, etc. etc. learn to play by ear, too- learn what sounds good, regardless of the theory- theory is a suggestion, rather than a rule.
concentrate a lot on vibrato (and by extension, bends etc. and other inflections which make a note sound more interesting)- you CAN practice it, anyone who says you can't is again talking utter cr@p. if your vibrato and bends are good but your chops aren't, it sounds like you're a kickass player but are tastefully holding back (lol, this is what i go for). however, if your chops are kickass but your bending and vibrato aren't too good, you sound like that dude with the shades and crazy wallpaper whose youtube vid was posted in another thread.
most importantly, which lead guitarists do you really like? listen to them. listen to them again. fast forward to the solos. listen really closely. etc. etc.
:)
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How about hearing those notes in your head, then finding them on the fret board and see what scales they fit in to. Bryan May used this approach, otherwise all that happens is your fingers go where they feel comfortable. Its a case of getting out of the comfort zone for a bit. I do this from time to time and you can find new ways through the strings and frets.
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if you ask me, refusing to learn more theory because it stifles creativity is a crock of shiteeee, if you'll excuse the expression.
Two schools of thought Dave - yours/Yngwie Malmsteen and mine/EVH. Both valid ;)
I hear what you're saying in the rest of your post though so cheers :)
Good stuff folks, keep it coming!
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i got a dvd called 'the guitar grimoire' which has a guy dressed like some satanic monk extra from a harry potter novel talking about fretboard positions and scales and using some enchanted keyboard to demonstrate stuff while sat in a chair surrounded by gargoyles...
...TERRIBLE!
i need to read thise thread more carefully. when i get to work later.
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if you ask me, refusing to learn more theory because it stifles creativity is a crock of shiteeeee, if you'll excuse the expression.
Two schools of thought Dave - yours/Yngwie Malmsteen and mine/EVH. Both valid ;)
I hear what you're saying in the rest of your post though so cheers :)
Good stuff folks, keep it coming!
No offence Dave but EVH was born that way, unless you are go the theory way. That was a Satch to student response not me!
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pentatonic and blues boxes are theory anyway - so you already know some.
can only echo the advice to learn a bit of theory and listen intently to some favourite lead players. you'll have some of their licks down in no time!
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get lessons on an ad-hoc basis from someone that really knows their stuff and can teach experienced players.
PM if you want to know some really decent local people and also some to avoid.
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All the above are great ideas. I would say that there are obviously many great blues players over the last 40 or 50 years that are worth listening to. I just think it is about finding the zone and to do that, I have absorbed tons of blues music over the years and at some point my addled brain turns it into something that is hopefully unique to me. I think it is a question of casting your net wide and listening to a wide variety of players from the blues era. A bit lame advice but all I can come up with. I did buy some backing tracks a few years back and I have had many a happy hour playing along. Snappily titled "Play The Blues" it is a set of 3 cds with a short example and then a lengthy backing track and covering the major styles and a variety of keys. www.musicroom.com
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Play from the heart.
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Two schools of thought Dave - yours/Yngwie Malmsteen and mine/EVH. Both valid ;)
I hear what you're saying in the rest of your post though so cheers :)
Good stuff folks, keep it coming!
i can't see how evh doesn't know theory, doesn't he play piano too? it's pretty hard to play piano without knowing theory (and according to wiki he learnt that as a child)... i mean, evh is well known to lie about his gear, why not about theory too? don't get me wrong, i love EVH, he's the reason i started to play guitar in the first place... just saying.
the other thing is, how do you know when someone tells you that they don't know theory that they aren't just lying in the hope of screwing you over, so only they can write good songs? :lol: if someone says he/she does know theory, that's pretty easy to test. much harder to test when someone claims to have no knowledge of something...
No offence Dave but EVH was born that way, unless you are go the theory way. That was a Satch to student response not me!
+1
wasn't satch's response about srv? same idea, though. :)
pentatonic and blues boxes are theory anyway - so you already know some.
can only echo the advice to learn a bit of theory and listen intently to some favourite lead players. you'll have some of their licks down in no time!
yeah, definitely. :)
i seem to remember someone saying in an interview (it might have been dime, but i could be wrong... nuno is also ringing a bell) to learn as much theory as you can, and then try to forget it. that's pretty good advice right there. get the theory into your subconscious, so it's there if you ever get stuck, but then when playing play what sounds and feels right.
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Ummm... I think you need to free up your mind... and, er, fingers... (ma-an) :lol:
You're already playing lead live - and getting away with it? You've learnt a bunch of phrases and licks, enough of them so you can string together a solo and fool most people in the audience... but you don't feel like you're fooling yourself enough anymore?
What I found, to get past that blockage, was obviously some sort of "mind freeing" - but I'm blowed if I can figure out exactly how I did it. I'm still playing the same licks and phrases, but nowadays I feel like I'm talking with the thing.
If you've got another instrument lying around that appeals to you - put some time into it, it helps the guitar playing in some mystical hippyish way. I played bass in a worship band for a few years, and I taught myself to play piano so I could write more freely – both times really improved my guitar playing without me practicing guitar at all!!
Theory is not a bad thing - but don't take the stuff too seriously :lol: Don't feel you have to learn it - just know about it. I know about modes etc, and I know roughly which page on which book on which bookshelf I could find some - but I don't know the intervals for each mode, I couldn't play you one.
But I do know an AWFUL lot about harmony and how chords are constructed and what intervals are used to convey certain moods emotions, and how the melody and bass line change the chord that we guitarists think is the one we're all playing.
I'm also a dab hand at finding new ways of playing simple chords somewhere else on the neck so it sounds interesting - sounds like you might be as well? If so, start thinking about this - scales and melodies are just chords strung out, and chords are just scales all played at once.
I originally started playing lead years ago by thinking "the chord is A, so I know I can play an A, an E, and a C#, anywhere on the neck, I guess as long as I don't stick around too long on the inbetween notes, I can also play any linking note that's in the key the song is in..." – I actually walked on stage with that knowledge alone!! (what an arrogant git I must have been :lol:)
After that I started learning Black Sabbath, Deep Purple, Led Zeppelin, riffs - never solos, funnily enough - and then we discovered Chuck Berry licks, that sort of thing. And someone introduced me to pentatonic scales, and I picked up my own way of doing it which is pretty much a dorian mode with something else chucked in... And I stole what I could from where I could... But I've never really lost that "the chord is A, so I know I can play an A, an E, and a C#, anywhere on the neck..." approach.
What I'm saying is, if you're good at chords and harmony - use that knowledge to expand where you're allowed to wander on the fretboard when you play lead.
Lastly, make recordings - by all means jam along to backing tracks, that gives good sub-conscious work outs and relaxes you, and if you make a mistake that sounds good you've suddenly got a new phrase/lick/trick in your library... BUT what I've found really stretches me is RECORDING IT. Especially, trying to record a song where I've deliberately planned "NO Solo", but there's say 6 bars when there's no vocal and something interesting has to happen, and I happen to be a guitarist... so up steps "Mr Axe hero" for his lead-break, and at first I can't think of anything worth saying, but 5 hours and 100 takes later something evolves out of all the cliches and mistakes you chuck at it... you have that perfect little "guitar bit" that on commercial records sounds so spontaneous and original (but of course it's neither).
I think it's related to the hum a tune and try to play it suggestion, but you put yourself under pressure deliberately because you've only got 6 bars to show yourself how good you are, and - because you record it - you can judge, and you can't get away till it's done. Try it- you'll be amazed what you can come up with. Do this a few times, and you'll suddenly find one day that you can break free of the licks and phrases, if only a few moments maybe - but just enough to make it feel like you're talking when you're playing...
I do hope there was something useful in all that waffle! :D
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You make it all sound easy Andy.... so why did I feel more and more inept and intimidated as I read that post? :lol:
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get lessons on an ad-hoc basis from someone that really knows their stuff and can teach experienced players.
PM if you want to know some really decent local people and also some to avoid.
+1
I wanted to say the same. Try a teacher, if only a few lessons, it can open up new aspects and give you some feedback and different perspective.
I hate theory as well, but if you look at the really good players, they all have it in the pocket. Don't you think those players you mentioned didn't know their scales and stuff. It's just knowing it all and knowing it so well that you can forget it, as it becomes a muscle. Well, this is where I'd love to be ...
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One of the things I have started to do lately is record a basic 12 bar rhythm, loop it and hum what I would want to solo over it (I never seem to get stuck for solo ideas whilst thinking about them in my head or humming them out loud).
This is pretty much the best way to learn to solo better in my opinion. Ideally you shouldn't EVER be playing a note just because you know that particular spot on the fretboard works over any particular chord, or worse still, because you're playing a shape and that happens to be in it.
You should really be able to scat every single note you play in an improvised solo as you play. Now, not many of us are George Beson, but it's something to aim for :lol:
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You make it all sound easy Andy.... so why did I feel more and more inept and intimidated as I read that post? :lol:
Oh whoops! :oops:
Wasn't what I was planning :roll:
The more I think about it though - the more I think that the "recording it" bit has been quite important for me over the last few years. When we all play, we're communicating - if we haven't got anything, or much, to say, then we're not going to get too good at it. So force yourself into a position of having to say something - say to yourself "there's your eight bars mate, have a blow...", but make sure you're doing it in private (even if you're hoping it'll be good enough to show someone else).
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Play from the heart.
Or with your feet, now that would sound different!
Good Post AndyR!! I get what your saying with that recording thing, I'll check it out when i'm not so sore! :D
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You make it all sound easy Andy.... so why did I feel more and more inept and intimidated as I read that post? :lol:
Oh whoops! :oops:
Wasn't what I was planning :roll:
I know, I know! But I always get the impression that playing guitar - or playing music - comes fairly naturally to most people (to a greater or lesser degree, of course). But absolutely nothing comes naturally to me. When you talk about understanding harmony or "finding new ways of playing simple chords somewhere else on the neck", to me it's like you're discussing quantum physics :( .
Yes, I could understand individual examples, in an academic-exercise sort of way.... OK, there's a different way of playing a G7. But taking that little snippet and stringing it all together with some other stuff in a natural, instinctive fashion to make music? No way.
Anyway..... back on topic. I can see what you're saying about recording from the perspective of challenging yourself/putting yourself under pressure.
But I think it could have another benefit too - listening back to a recording can make you realise that what sounded great to you (as you played it) mightn't sound great to someone else! Maybe the timing was off, maybe there were mistakes you didn't notice, maybe your bends were a bit off-pitch. Of course, it might also make you realise that you're better than you thought you were! :wink:
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Phil, go and see Johnny Mizaroli for one of his courses, he'll sort you out, you'll love it you really will!
I know he comes over a bit trippy on his website but he can play anything and he'll show you how.
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I dunno, Johnny. We've discussed it before (thanks again for the info), and I've spent a lot of time reading his website, but all the Third-Eye hippy-dippy gubbins and heavy emphasis on improvisation does put me off.
I'd just like to be able to play meat-and-potatoes stuff, I'm never gonna be Uli Roth. I don't look good in a kaftan. :(
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personally I think you learn theory to break theory, I once read on some jazz theory site there are no bad notes, just bad resolutions
a good site for the basics that explains it well is www.musictheory.net
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yknow, the best thing I think I show people is the pent. scale in ALL POSITIONS...and then expand that to relative major/minor....for example, the g major pent. in ALL Positions...up and down the neck.....then, PRESTO!its also E Minor!!!woooo!Paul Gilbert, a shredmeister,as well as Shawn LAne, are masters at doing the penta thing every where on the neck(not just the classic box positions...)
......figure out intervals!!!!!!!!!it unlocks so many mysteries....
...and it just builds from there
...I am digging playing open string stuff, a la NASHVILLE GUITAR...I live 2 hours from Nash..go to see all of these Albert Lee wannabe's...it really opens up the fretboard......check out MArtin Tallstrom's website-free tab!! enjoy!!!!!!!!!
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I dunno, Johnny. We've discussed it before (thanks again for the info), and I've spent a lot of time reading his website, but all the Third-Eye hippy-dippy gubbins and heavy emphasis on improvisation does put me off.
I'd just like to be able to play meat-and-potatoes stuff, I'm never gonna be Uli Roth. I don't look good in a kaftan. :(
Phil, Phil, Phil, come on man, he isn't some kind of LSD casualty from the Vietnam war! He will know straight away what you need to work on in a couple of minutes. That out of body experience third eye improvisation stuff is for players at his level or thereabouts. That is on a different level of conscientiousness and he won't teach you that unless you really want to know about it. I had a lecture on it, yeah it was mental but good too.
He really made a big difference to my playing but i was cane-ing it in the wood shed to get my moneys worth. Starting at 3:00am two hours before work, then 4-5 after but I really punched through all the things that were holding me back and once you get there you won't loose it. It just takes a few good workouts every so often.
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Great thread ! I feel much the same way as you Dave (TF). I'm a very comfortable and confident rhythm player, all the way up and down the neck, but always feel my soloing is stifled, uncreative and generally rather cr@p. I don't think it's really down to a lack of technique. I just don't seem to be able to think of good stuff to play.
In a way that is strange because I used to play sax for years, and was a really quite accomplished improvisational soloist on that instrument. I just can't seem to translate what I use to do on the sax, back to the guitar.
I think some of it is definately what Dave_mc was on about earlier in the thread about different ways to make one not interesting with bends and vibrato. I really don't feel I make the most of that at all.
A lot of it also just comes down to effort. I get rather bored at widdling, soloing, playing scales, etc, anything like that, so I don't practice it much.
This thread has inspired me to put a bit more effort in though !
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Phil, go and see Johnny Mizaroli for one of his courses, he'll sort you out, you'll love it you really will!
I know he comes over a bit trippy on his website but he can play anything and he'll show you how.
mmm, you think its worth the money johnny? i was thinking about a lesson or two lately, obviously i don't mind the 'hippy' angle...
did you take a course together with a few students or one-to-one lessons with him?
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I'll have to go and visit this bloke's website...
I was little under the influence of alcohol last night when I wrote my post, and I had to severely edit it to remove a lot of references/sentences that I thought might come across a bit "hippy-ish" :roll:
I'm not in the least hippy-ish really, but I can get a bit, shall we say "esoteric", when discussing guitar playing, song-writing, arrangements, music in general... maybe I won't agree with his choice of words etc, but it sounds like I'd get where he's coming from (ma-an) :lol:
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personally I think you learn theory to break theory, I once read on some jazz theory site there are no bad notes, just bad resolutions
a good site for the basics that explains it well is www.musictheory.net
Thanks for posting the link JDC, :)
I was needing some clean, clear explaination of some theory ( i.e. Key Signatures & therefore naming notes 'on the fly' ) - and that site has a great sequencial 'powerpoint' type presentation on the whole thing AND no doubt a lot more that I will need. so Thanks ! :D
By the way Twinfan, - if you ever want me to lend / post you my 4 CD-Rom / DVD interactive Larry Carlton tutorial set entitled '335 Blues' ( details on Larry's '335 T.V,' Website ) - you are welcome to let it run through, and see if it breaks any ruts / triggers anything. I know that before I went down the mainstream Jazz route, he certainly started to help me break some of my Blues / Rock 'ruts'.
Even the last disc ( which is purely a small DVD collection of gear details - and snippets from one of his London 'Master classes' ) gives a few ideas.
The whole thing is aimed at someone who already knows how to play / improv / solo - but gives you the inside story of how and why he makes it look so easy, yet surprisingly sophisticated. Basically how a seasoned artist and session man 'stalks' his prey. A really chilled and down to earth presentation too. :)
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Thanks Derek - I may give that a try sometime :)
I've put together a Guitarist magazine backing track CD compilation so the first step is to improvise over the top of that for a bit.....
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one thing you could try but I dunno if it will help is to make a 1 bar lead and keep repeating it over a chord progression to see how it sounds on all the different chords
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Phil, go and see Johnny Mizaroli for one of his courses, he'll sort you out, you'll love it you really will!
I know he comes over a bit trippy on his website but he can play anything and he'll show you how.
mmm, you think its worth the money johnny? i was thinking about a lesson or two lately, obviously i don't mind the 'hippy' angle...
did you take a course together with a few students or one-to-one lessons with him?
Well I did at the time and I paid him 430 for 16 hours one to one, but i did get a lot more time than that as we shared a few spliffs and we just got on well anyway.
To be honest gwEm, I reckon I could save you some money and you Philly Q by passing on what he passed to me. I mean why not, I'm off work for 6 weeks! It's only probably going to be technique at this stage. That though will lead on to other things. So what do you say? I'm not after your money and besides you would be able to show me things I don't know. I've still got all the bumpf and discs stored away. I hope he isn't reading this lol!!
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Dave, remember this got posted last year?
Audley freed talking about exactly what you're after
http://www.youtube.com/watch?v=iyQzzViczLM
I'm going to spend some time on this myself this week
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Well I did at the time and I paid him 430 for 16 hours one to one, but i did get a lot more time than that as we shared a few spliffs and we just got on well anyway.
To be honest gwEm, I reckon I could save you some money and you Philly Q by passing on what he passed to me. I mean why not, I'm off work for 6 weeks! It's only probably going to be technique at this stage. That though will lead on to other things. So what do you say? I'm not after your money and besides you would be able to show me things I don't know. I've still got all the bumpf and discs stored away. I hope he isn't reading this lol!!
I'm dead keen for that! I'm a moderately busy over the next six weeks - on a business trip in the US for 10 days, moving house maybe, a couple of gigs in the UK, and then a 10 day tour in the US. However I absolutely have the will and interest to make some time. Maybe we should discuss ith with Phil on the private message? Thanks alot for the suggestion! :)
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Dave, remember this got posted last year?
Audley freed talking about exactly what you're after
http://www.youtube.com/watch?v=iyQzzViczLM
I'm going to spend some time on this myself this week
OH!
MY!
GOD!
Audley is a legend to me, how did I miss this!
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Well I did at the time and I paid him 430 for 16 hours one to one, but i did get a lot more time than that as we shared a few spliffs and we just got on well anyway.
To be honest gwEm, I reckon I could save you some money and you Philly Q by passing on what he passed to me. I mean why not, I'm off work for 6 weeks! It's only probably going to be technique at this stage. That though will lead on to other things. So what do you say? I'm not after your money and besides you would be able to show me things I don't know. I've still got all the bumpf and discs stored away. I hope he isn't reading this lol!!
I'm dead keen for that! I'm a moderately busy over the next six weeks - on a business trip in the US for 10 days, moving house maybe, a couple of gigs in the UK, and then a 10 day tour in the US. However I absolutely have the will and interest to make some time. Maybe we should discuss ith with Phil on the private message? Thanks alot for the suggestion! :)
Nice one gwEm! Sounds like your're busy!
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Well my piece of advice is to listen to any cream era clapton - especially the live stuff. He is just on fire during this period. He has the stock phrases, the licks and the subtle aggression that he's never showed again (IMHO).
Its easy enough to work out what he's doing but its the note selection phrasing and vibrato that set it apart. BB king is another good one to listen to.
Blues playing is emotive stuff - if you get into the mood of it then it all comes naturally.
the best blues based solo in the world is the live version of crossroads - considering it is improvised it is brilliant
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Dave, remember this got posted last year?
Audley freed talking about exactly what you're after
http://www.youtube.com/watch?v=iyQzzViczLM
I'm going to spend some time on this myself this week
OH!
MY!
GOD!
Audley is a legend to me, how did I miss this!
Great stuff - I had completely forgot about Audley Freed. I think I may have even posted the link about it last year!
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personally I think you learn theory to break theory
yeah, definitely. as i said, theory is a suggestion rather than a rule, but you kind of have to know the rules (suggestions? :? ) to break them...
i agree that recording is a good idea. it's hard to devote enough energy to listening to yourself objectively if you're trying to play something, as most of your mind will be on playing properly...
I think some of it is definately what Dave_mc was on about earlier in the thread about different ways to make one not interesting with bends and vibrato.
thanks :) it's not just bends and vibrato, slides, legato versus picked, etc. etc. there are many different ways to play the same notes to make them sound subtly (or not so subtly) different...
Thanks Derek - I may give that a try sometime :)
I've put together a Guitarist magazine backing track CD compilation so the first step is to improvise over the top of that for a bit.....
there are some websites where you can download (free) backing tracks too... :) though if you have a ton of guitarist ones, that's probably enough to be getting along with...
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Dave, remember this got posted last year?
Audley freed talking about exactly what you're after
http://www.youtube.com/watch?v=iyQzzViczLM
I'm going to spend some time on this myself this week
OH!
MY!
GOD!
Audley is a legend to me, how did I miss this!
Great stuff - I had completely forgot about Audley Freed. I think I may have even posted the link about it last year!
You did!