Today on a rainy sunday my friends came over to play a little jam stuf--
we just started to get together musically after 40 years apart-I really couldn't ask for two finer people to come over and play-we cover a lot of territory musically-they know about the Stick-today we agreed to work it into the music-
of course I will continue to play bass and whatever else-but having open minded friends makes a WORLD OF DIFFERENCE!!
Mike

yes.. i so agree with you... working for Guitar store i find out that majority of musicians out there are so close minded... ( not nessecarily closed minded about music) but Closed minded on Instruments... the only want Fenders or Gibsons.. but when you Mention Ibazez they look at u like you have potatoes growing from your ears...

I really want to play the stick with my band but i just joined them playing bass... one day i will bring it to practice and see how i get reactions from it

Darren/ Gnat

Musically, I use most of my playing time trying to get what's in my head to the board. I spent years trying to be "everybody's bitch" (scuse the language) as a bass player, so I'm dedicating my life as a Stickist to ME. A lot of this isn't as much about notes as it is about sound. IMO most people who play electric instruments spend too little time working on the sound they get with their hands vs. the sound they produce with amps and electronics. I rarely "practice", but I do play for about 4 hours most days.

I wouldn't have made the progress I made early on without Coup Detroit guitarist and band leader Dan Holmes. My foray into the Stick was something I'd originally planned on doing on the side and didn't figure on even bringing it up with the band for at least a year. As soon as I showed it to Dan though, he made me bring it to every rehearsal and started writing for it. When I started working on the first band tune with Stick, I'd only had the instrument for a week.

Oddly enough, Dan had no interest in even trying the instrument himself. As our main writer though, he loved it.

Restrictions in ways of thinking are programmed habits that are so easily adopted and so difficult to surrmount. Rarely does an advance in any form of creative thinking take place without the ability of the mind for expansion beyond its own established limitations.

The concept of the "open mind" is a really great starting place, from extending a creative welcome to those who play different "types" of music (jazz, rock, gospel, grunge, etc.), different "classes" of instruments (brass, woodwinds, strings, etc.), different brands within traditional classes (Fender, Gibson and even Ibanez), to embracing those players who might even hold a different "brand" of "tapping instrument," such as Koyabu, Abramzik, Warr, Megatar, or a host of others.

Don