he is talking about concepts that really have no specific technical language... that's why it is so hard to explain. these virtuosos are picking up on subtleties of sound that go beyond normal everyday experience of "loud, soft, shrill, low pitch, high pitch" etc that is why terms like "round, full, bright, dark, etc" are used, these terms are not related to sound at all, but are needed to fully capture the nuances that these virtuosos experience in their experience.
Jerry is right on track. Everything he said is what I've done now for 50 years....
Jerry is the master... most comments are trash ...here!
Reed guards are the best, especially the Old Metal ones.
i should say "experience in their playing"
he is talking about concepts that really have no specific technical language... that's why it is so hard to explain. these virtuosos are picking up on subtleties of sound that go beyond normal everyday experience of "loud, soft, shrill, low pitch, high pitch" etc that is why terms like "round, full, bright, dark, etc" are used, these terms are not related to sound at all, but are needed to fully capture the nuances that these virtuosos experience in their experience.
Ur full of,s**t
noooooo!!!...hahahahahaha.....
hahaa...
he plays better than he talks
the uh.....the uh.... (what was i talking about?)
reed too hard, scrap it
reed too soft, clip it
hahaha...he is slow when he try to talk and think at the same time
That's petty dude.