First of all, thanks for all the effort to research and model this!
A friend of mine did some modeling as well, and came to the conclusion that there should be a treble increase, rather than the perceived decrease:
Even though the exact values differ from your (probably more correct) model, the effect is clear.
So, what could we really conclude from all this? That our models are too simplistic? It seems like they contradict your empirical tests? One indication of the complexity is the fact that in your real recording example, the 12th and 13th component is really louder in the rolled-off case, right?
Most people know him from the films, but he is one of the greatest songwriters for the guitar in history! Incredibly talented, funny and musical. He saw himself more as a "guitar writer" than "guitar player".. he said.. "I wrote it, now YOU play it!" :) But man,.. could he play... amazing!
Congrats! That's a nice guitar. In the future, just go out and play them. If you want to know the difference between two of these track them down at a guitar shop and play them. Nothing is better than your own hear. :)
@emilernebro I am working on Banjo Rolls. Just worked my way through the Cycle Solo and can more or less keep up at 1/2 speed. I posted a question regarding technique on a particular passage in the piece in another post. Cheers.
I have the neck on the guitars very straight, and I give it to my luthier for saddle/nut adjustments. Usually he does a fret job on it to make it not buzz too much even though the neck is straight.
I have the action set low, and I use D'Addario strings, phosphor bronze 12-53 (although I use a 14 on my high E string to get a bigger tone on the high E string. I rarely bend more than a whole step on that string anyways, so I can have a thicker string there.. Learned that from Joe Robinson :) )
Let me know if you have any other questions!
Kind regards/Emil from ProGuitar.com
Thanks for describing it like this - it's very clear what you mean now.
Awesome! This technique that you're describing was frequently used by Chet Atkins, Lenny Breau and others in the same style. It is a really great technique that I strongly recommend you to explore! I've used it too, but not enough! :) It's more commonly heard by nylon string players - for instance, I've heard the great Richard Smith use this "p m i"- pattern many times.
Check out this video at 1:42, where Chet Atkins is using the technique in the song "Cascade". There are SO many techniques and ideas to learn from in this video!!
So to answer your question; I'm actually not using this technique a lot since I feel that I can reach the same speed using only alternating between thumb/fingers - and I feel that its easy to get stuck when playing this technique on steel string guitars. On nylon it's much easier for me! But I need more practice! :)
Also, check out the lick at 0:42 in the video above (Chet Atkins playing Cascade), where he's using the "p m i"-technique when playing a descending line (3 notes per string).. It works great on descending lines. He's basically just playing a C major scale from the 3rd of the scale (note E) on the high E string, and playing the scale all the way down to the low A note on the low E string.. :)
The F# major is not as easy to find open string ideas that work well since the open string are E A D G B E, which are notes outside of the F# chord tonality. But there are definitely ways to find good sounding lines over that chord when using the open strings as passing notes. The best thing is to experiment with it a lot and I'm sure you will find ideas that sound great! The B harmonic minor scale is a cool one to try out.
The Bm chord is easier to find open string ideas that will sound good. Try using the D major (or B minor, same notes) tonality and find descending and ascending lines.
I don't have a specific line to share that I can think of at the moment, but whenever I practice a specific tune or so, I find ideas myself by just experimenting!