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That's very well done, Graham! Glad to see you're on the mend, and back at your music ... thanks for sharing this.

Classical strings aren't as stable to stay in tune as steel strings, simply because they have a nylon core not a steel core. Once fresh strings are installed, giving them a manual stretch on the instrument and then retuning will help. Just go up and down each string individually, and give them a stretch along the length of the string. Be careful when doing this, because nylon strings won't take as much brute force as steels will. You'll probably find that even after the initial break-in period, they keep stretching a bit until you replace them again, so a quick re-tune before you play will usually be necessary. Just the nature of the beast, I'm afraid.

Thanks, guys ...

At home in the rec room, the loudest I can run them is with the amp set at "2", and the volume pedal in the 1/2 to 3/4 range. Any more and there's uncontrollable feedback. At the hall, I was able to set it at "6" and really hear what it could do. We played through the 2112 Overture (Rush) several times, and it sounded quite good ... if I do say so myself.

Other fun pieces we played were "The Ocean", "Black Dog", and "Over the Hills and Far Away" (Led Zeppelin), "Southbound Again" and Money for Nothing" (Dire Straits), as well as "Breathe", "Comfortably Numb", and "Sorrow" (Pink Floyd). I love playing the opening section of "Sorrow", but was unable to do it properly with the trem now taken off.

Been a long time since I jammed with other musicians, and it was a real treat.

Yep, Bieber's a Canadian ... as I now hang my head in shame. Whatever it is they call that performance style he works with, it most certainly isn't music.

Downright awesome ... very nicely done, Roger! I'm pleased, proud, and honoured to have been a small part of this. By the way, you have a terrific voice ... I can't hit most of those notes in your vocal register.

Amazing pics, Russell ... thanks for posting. In our day, we've become so accustomed to seeing realistic special effects from Hollywood, but none of that even compares with how dramatic these are. Wow!

Any news on how our collaboration is progressing? I've tried putting some music to it, but it all sounds crappy ... never was good at that.

What's frustrating about these things is trying to reproduce the accident that caused the sound, especially if there's any chance one would want to use that sound for something. A Pink Floyd roadie apparently hooked up one of Gilmour's pedals backwards once, and a high pitched, whale-like sound came out of it. They spotted the cause, and used it in the song "Echoes" to suggest underwater life.

Didn't know such a thing existed, Russell ... thanks. Like KIR, I've also found the same problem trying to use a regular capo on my 12-string, and didn't see a way to solve it.

That's great stuff, Badeye ... agree with your evaluation of Merle's pipes!

Thanks again, Kev!

It also speaks volumes of you to keep us posted on Graham's recovery. It's not a surprise that they would be caring people, for it often seems that folks who are the most acquainted with hardships are the first ones to reach out to others.

The world needs a lot more Graham's & Pam's!

Glad you like it, Uncle Joe.

Peart is certainly in a select class of elite drummers. One thing that always strikes me about him is how high he mounts most of his kit. Most drummers have their toms at waist height and cymbals at the shoulders maybe ... but Neil has his gear so high that he's always reaching for it. Must be tiring, but one certainly can't argue with his quality.