Transcribing the older stuff in C#m7 and E7 and it's variants (a la McIntire, Nichols, Iona) is often pretty challeging for me. I haven't been at it too long, and usually stick to slower tempo numbers. That will help a lot Baz, as did Jesse's McIntire tab posted some time back.

Andy Iona, in particular, get an incredible low end "woooosh" as he slides into his phrases. Knowing he use that D down there should help a lot, Mike.

I'm not happy with "approximations" when I record copy, and can get kind of obsessive in search of "the" exact sound--which can be frustratingly elusive sometimes.

Either it's the difference in the timbre of the old recording setup vs. mine, or--what I fear most---some long lost, obscure vaudvillian-inspired novelty trick where I'll never figure it out in a million years. Kinda like the ones Roy Smeck says he used to stay up nights working out in order to keep the crowds entertained.

Thus far, it does seem to me that the older players on six string guitars in those tunings played along the length of the string more. More bar movement. At quick tempos, they seem to have an almost inhuman accuracy, jumping five or seven frets and back in a single fast run.

This is why I like playing 6 strings and why I use the tunings I do. My own personal preference is to move the bar to get the adjacent note. Having the interval of a major 2nd smack dab in the middle really bugged me. Must be the guitarist in me. I tend to play up and down the neck more than across.

That's what inspires me to try and tackle the older material. Nothing like plugging in a guitar and instantly having THAT sound. And that's through a solid state Peavey Blazer amp. What it might sound like through a vintage low wattage tube amp is almost too frightening to contemplate.

In my case, its not the player. My frypan puts you squarely in the 30's all by itself, and just comes alive in the Amaj, C#m7 and E tunings current at the time.

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