Devotion

Sorry if I posted incorrectly, sometimes it's all I can do to get a picture to post at all! I didn't mean to offend you, I hope you at least liked my guitars!
Eric.

hey there, I completely missed this line:

Edit 30/8/2011: ]Please post only builds!!!! this is to keep the thread clean

http://www.sevenstring.org/forum/2639907-post26.html

Your pic, was my face when I saw that guitar.

Yea I'll post them maybe after I get my mic'd drum mix better. It's fine already, but I'm not a millionaire you know.

Hah, thank you mister.

I honestly think myself that I nailed it on Firth, but that's not the best I can so for sure.

You be too kind. :]

Don't wanna go OT in the thread so I'll post here.

I doubt that it's the Queen Elisabeth Competition, I tried finding information on where they are playing, but they're all high-school students so I don't think it's a world class competition

Thanks for the endorsement, dude. It's good to hear.

It's difficult to say. In some ways, I've taught myself a lot. In other ways, I get a lot of it from school (I'm a composition undergrad). I'm an analytical guy by nature, and I was put into an environment that supported the intellectualism I like in my music during a time when I was particularly receptive to it. I started playing the guitar when I was sixteen, and I didn't really learn it correctly. I hardly know any songs, because the songs I was into were far above me when I was learning, and the songs everybody else learned, I was simply not interested in. I think that because of that, music existed for me more in concept than in actual practice, so when I was told about rhythmic cycles in Indian music and crazy-ass bitonality in Stravinsky, it clicked. Nobody taught me to analyze Rush and whatnot; that's something I've had to build the courage to do.

It's so much more than that, though. Music is my life, and it would be hard for me not to try to figure out how it all works.

As luck would have it, I am in my second attempt of writing a book. I'm giving online lessons, as well, which is helping me draft the concepts for the book. It's a lot of work, and I've been really busy lately, but I really hope to turn it out - I think it would offer a valid perspective on composition and analysis in the non-classical, non-jazz musics.