And to JRJ, I appreciate your broad observations about my style and about Stick playing in general - a "man from Mars" perspective. The player's "Free Hands" are right there as equals over the strings for all to see, and so the method communicates powerfully on a visual level.

The pianist plays on a 1-D row of horizontal B&W keys, literally a line between musician and audience. You see the keyboardist's arm motion and general temperament more than any exact fingering. Also, there is little expressive variation on piano except by way of its main forte (I couldn't resist), that is, strength of forearms and wrists to vary the volume, and the audience usually experiences this dynamic from the side view.

The guitarist's fingers are of course in plain front view but are somehow obscured compared to Stick technique for reasons I can't adequately explain. The guitarist's LH fingering tends to be more convoluted as one hand must select all the notes, also, the timing is ahead of picking/plucking execution (initially confusing to the eye). Then in the RH, details of plucking and strumming techniques are not so easy to see although the general energy level comes across well.

Because the Stickist's hands are out in the open, each stylist communicates something personal and different, both via sound to immerse you in the music, and via sight to give you a sensation of how the performer moves and feels while playing.

And yes, JRJ, I always had my own feel and moves on Sticks of all prototypes and vintages, and for better or worse, that always seemed to communicate strongly. It's why I always preferred playing live to studio recording - but now we have DVDs.

One other observation was packed into your small post. Yes, I always liked to play both string groups simultaneously with each hand individually (how best to say this?). I call the fretboard layout "two boards on one board" and I try to explore the permutations of each hand having access to all ten or twelve strings.

Thanks JRJ for some "deep thoughts" - getting closer to the essence of Stick. Best, Emmett.

Yes that's my shot, part of a series I think for an album to be. The first time we shot "Stick over L.A." was part of the series. The shot at the first part of this thread was from a second shoot "over L.A." with pickups more like the current design.

Here's another shot of Em and Les DeMerle at the Cellar. (must log in to view).

But hey, let's talk about the documentary! This topic always seems to get hijacked into another subject. This is a real documentary that hopefully you will be seeing in a local theater (maybe not your blockbuster mega-plex).

I very much intend to include an overview of interesting players from different parts of the globe. This was my vision from it's inception in 2003. I may need to include more characters too for the sake of the story. But it takes $$ to visit players and get interviews and such. I need your help with donations, if at all possible. There's a donation page on my site. So far I've received zero donations. I know you're asking "Why should I help him? I've got my own bills to pay." Fair enough. If you can't do it, you can't do it. But if you can...

Somebody needs to make this documentary and I've taken it on for better or worse. This is a grass roots operation and you guys are the roots. There's a great story here. If someone wants to help me tell it, I welcome it. But I've invested so much time and work into it, that I'm out on a limb now and I can hear the branch cracking.

Help.

Update.

We've now received donations from two generous Stickists. My deepest and most sincere thanks to Paul and Johannes.

To anyone else who would like to see this documentary made, I need urgent financial support to continue my work. If anyone in our tapping community is able, please donate what you can.

Also if anyone has contacts with greater funding sources or suggestions for me to pursue please let me know.

UPDATE

This is a really important time for the documentary.

A professional preview screening is set for 2/23. And I'm happy to announce, I've been invited to show up to 40 minutes of work-in-progress cut at a film festival coming up in March, along with some yet-to-be announced live Stick performances. More details will be revealed soon. Editing this will take time and I also have more shooting that needs to be done (one involves foreign travel).

Your donation of $10 will help make these goals possible. I need your support.

Please donate at: http://www.chapdoc.com/contribute.html

thanks,

A bit more funds on the way, hope it helps!

Cheers,

EG

Much appreciated to all who have donated. This documentary is for everyone here. I have the deepest feelings of gratitude to know you care.

Just watched the trailer on the Chap Doc website once again. Looks great indeed. I´m really looking forward to when it´s all done. Important piece of work. If someone hasn´t seen it yet, you really should. Inspiring.

http://www.chapdoc.com/trailer.html

Sincerely//Jan

I'm struck by the images of Emmett working in the shop; building our instruments with care and precision. Look how he is hunched over his bench, sanding and filing away at the metal and wood. I can't imagine just the physical toll it would take on someone after 35 years! Emmett, I hope your lower back is faring well!

As of this writing, you are probably putting the finishing touches on my new instrument, and I want you to know how much I appreciate all of the hard work and pure magic that goes into it. You are the best! - Matt

Oh. Couldn´t agree more. Emmet, Yuta and everyone at SE are fantastic. Truly amazing lifetime achievement. I get humble when I think about it. I´m grateful.

Sincerely//Jan

Thanks Matt and Jan for your good words about brother Dan's inspired and disciplined work toward completion of his documentary film about me. And Matt, not to be smug about it (there are no guarantees), but my lower back is strong.

You use what you have, what you were born with and what you've developed. I like to bring in my ancestors. My original Dad was slender and looked like my twin as a young man, but my Grandpa from Bari was built like a tree trunk - short but very strong in the midsection. I am the riddle that inherited both qualities.

In any event Matt, it's never the physical work that gets to me, it's the administration. All other work is play by comparison.

Any and all things, Emmett.

BTW Matt, your wenge laminate "Stick Guitar" (SG12) with MIDI'd bass side is set up and ready to ship.