I never got along with the neck on the Ovation 1768. My brother has it now.
I’m not sure I ever plugged it in… It sounded great unplugged though.
My understanding is that there’s a whole niche of overdrive pedals for acoustic guitars. I imagine once you’re OD’d you can stack whatever you want. But just because you could, doesn’t mean you should… 
Has anyone here done Eric Haugen’s CAGED course?
The one on Truefire? Yes, it’s great. I actually recently just picked up his next course on double stops, which is basically the extension of that CAGED course.
That reminds me, Molly Miller is teaching a live lesson on using CAGED to make music at 8pm EST, at Pickup Music.
Apparently this is free for Pickup Music subscribes.
Good enough for me, thanks! I was hovering over the buy button.
SG style guitars often suffer from this as well, although I think the balance is just poor.
I have an older ovation, unless they’ve changed something it feeds back and does not sound good with fuzz. Unplugged the deep bowl models sound robust and project a lot but not like a normal acoustic, the mid-range is very round, the bass is more prominent than the top end shimmer that you get with a standard acoustic.
The thin body ovations sound noticeably narrow and unplugged it’s a bit of a disappointment, plugged in it’s an improvement and there is a lot of note separation but again, doesn’t sound like a normal acoustic which sometimes I wish it did. plunky but melodic, that might be the best description.
That was a fun live session.
Seems like the majority of attendees already had some idea of what CAGED is. It also seems like a fair number have been on Miller’s CAGED Learning Pathway.
2 people signaled they didn’t so Miller did a quick intro for them. She chose to cover the CAGED shapes in the key of D instead of C as a nice changeup from the usual intro to CAGED lessons you see on the web. She had us take a simple lick through all 5 regions in the key of D.
The remainder of the 1-hour session was Q&A, which is where we really got value, because we could ask the teacher and get a response in real time, and even have her see what we’re trying to do on our guitars if needed.
One question I remember was about 3-note per string scale patterns. These patterns can confuse some students because they sit between CAGED shapes, instead of fitting neatly into one of those 5 shapes. Miller admitted she doesn’t really focus on 3-note per patterns. A couple of people commented “the 3-notes per string stuff is for metal players”. 
Randy Vincent comes to mind as a guitar instructor who shows both CAGED (he calls them “non-stretch forms”) and 3-note/string (calls them “stretch forms”) scale shapes in his book(s).
I was inspired to revisit Sean McGowan’s Organic Improv course on TrueFire. It too uses CAGED as a template for learning notes of the fretboard, but goes a lot deeper than Fretboard Logic.
i may check out Molly Miller’s take on CAGED too since it doesn’t cost me extra except my time.
I’m pretty sure caged patterns has been around for a long time. My uncle used to talk about it a lot back when I first started playing guitar in the early 90’s and he had been playing guitar since the 70’s at least, maybe longer.
sure but it was interesting to see in the live session how many peeps hit the “raise hand” button vs the “thumbs down” button when Miller asked the group “do you know what CAGED is?”
Definitely, as opposed to an obscure concept I’d hope so. It’s not something you see in guitar world but a lot of people who have taken lessons at any point have probably been exposed to it somewhere along the lines. I don’t know that everyone who’s aware of it knows all the caged forms though, I certainly don’t.
yeah that’s what makes an online group class interesting - seeing and hearing in real time the range of experiences that other students have, then watching how the teacher addresses their questions and concerns.
Also frustrating though, I wouldn’t necessarily want to be too far behind or too far ahead of a group. You are either slowing everyone down and feeling like you don’t have the basics down, or not learning anything new because everyone else is a step behind. I tend to be more autodidactic, it’s great to get examples but I have always been able to learn things by ear even when there’s no sheet music available. Theory is not my strong point either.
Great recordings ! I particularly like this song and Radio One one. IIRC it was my first Hendrix CD album…
I once thought of volunteering with Guitars Not Guns, then possibly progressing towards becoming a music teacher, so I approached Molly Miller’s CAGED live session from the perspective of learning how she teaches.
I have not yet attended a class, real or virtual, where I felt so far ahead of everyone else that I couldn’t learn even just one thing that was new to me. I have not seen any teacher teach the same thing in exactly the same way as other teachers. Watch the same topic covered by more than one teacher might seem boring to some, but this fascinates me, especially if I pick up that one nugget that no other teacher offered.
That said I took a peak at the CAGED Learning Pathway since I’m a Pickup Music subscriber and can access anything on the website at no extra charge. She has chosen to really grind the sound of the major scale and chord into the students’ heads as they dive into CAGED. The minor triad/scale is not introduced until Grade 4, Part 2, Day 7. Her reasoning is she really wants the student to have a strong understanding of the major sound first. I’m guessing peeps who mainly want to play rock would prefer this to how Sean McGowan teaches CAGED in his course… and forget about Randy Vincent (best known as Julian Lage’s teacher). 
Oh yeah I remembered another question from Molly Miller live session: “Can I study CAGED and fingerstyle at the same time?” The boomer dad types would have laughed this one off but it’s the kind of question that a beginner guitarist might ask, and should be answered respectfully, which is what indeed happened.
If you’re paying for it by all means milk it for every cent it’s worth 
The list of TrueFire courses that i did not complete is shamefully long. I won’t even start on the list of guitar related books I bought but didn’t finish.
I’ve come close to completing a grand total of 2 TrueFire courses, out of the over 100 courses (holy crap!) I’ve bought over the years.
There is some overlap between the two but also quite a bit of difference in content. I’ve gone through almost everything in both courses - I only have to learn a couple more performance studies at the end to “complete” the course. The main value I got out of them is the fingerstyle technique, which has come in handy for learning some of Melanie Faye’s stuff, and the fingerstyle tunes that come with Neo Soul Learning Pathway on Pickup Music.
I’ve been learning so much on this thread.
Nice to know there’s some inspiring players in my area.
now I’m thinking about tickets for this:
About a year ago, I started to put together my first pedal board. During the past 25 years (yes, that sounds like a very long time), I used to play with 0 to 4 pedals in front of crunchy loud tube amps. Mostly I used 1 tuner (Boss TU2), 1 volume pedal (Ernie Ball), 1 boost/overdrive/fuzz pedal (Fulltone Fat Boost 2, EHX Double Muff, or Alairex Halo Jr), and 1 delay pedal (Boss DD3). Two years ago, I bought a used Simplifier and started to plan a pedal board around it. It was surprisingly difficult to put together the right combination of pedals (for my taste). Here I proudly present my current favorite little set of pedals on a Pedaltrain Metro 16.
I think you owe it to your rig to pick up a delay.
