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Thanks guys. I've uploaded a picture of me with my new guitar in the PICTURES OF MEMBERS thread in the Recording section.
I've been playing it every day since I bought it and practicing a tune I usually play on another guitar. I hope to record this tune and upload it so you can hear how she sounds in the next couple of days.

Here's me in the garden posing with the guitar rather than playing it!

It's "Gold" by John Stewart

You can get straight to the forum by typing www.chordie.com/forum in the address bar. It works for me anyway.

Look after yourself, Zurf. It happened to me too but I was not so lucky. It was my heart. That was 7 years ago and, fortunately, I've made full recovery.
Keep eating the garlic as as Restless Spirit says (but keep away from Mrs Zurf for while after!)
Also, eat lots of fish oil and drink plenty of green (China) tea.
It works wonders for me.
The fish oil is good for the joints too. Get them fingers working on the B-cord - no trouble.

Typing spaces will never work, but using tabs "should". Computers being what they are will usually mean that something somewhere isn't right, though.
The problem is that nearly all the fonts used are so called "proportional". This means that the characters don't have a fixed width. A "l" is narrower than a "W".
If you use the font Courier New, it will often do the trick. It is a very old fashioned looking font, but if you can put up with that, give it a try. It works because it is a mono spaced font where all the characters are the same width.

Has anyone ever heard you play? Do you have a friend who also plays or who can sing or play some other instrument?
The post above is right. You will get bored with songs if you don't have a goal or reason for learning them.
Ask yourself the question "why am I actually learning/playing this song?". Honestly. Why? Is it just to amuse yourself? Is it just because it's fun messing about on the guitar?
If you have a problem sticking with a song, the best way to get motivated is to set yourself the task of singing it for someone. Anyone. Anywhere. It doesn't matter.
You can do this by collaborating with some other musician(s) or by singing for a friend or family - or in public.
I must admit that I have always considered music a social thing that is best enjoyed with like minded people. They will act as a catalyst and get you motivated. Unless you are strong willed and/or self motivated, making music on your own can be unproductive
Good luck.

You'll certainly break a few strings there Kajima! You need to increase the tension by 4 times to get the octave.

http://www.noyceguitars.com/Technotes/Articles/T3.html

It's heavy going reading the link, by the way.

I'm not surprised the Fibonacci series might be linked somewhere because it seems to pop up in a number of interesting places.

Thanks Phill
I don't normally write poems or lyrics, I stick to the tunes and music.
This is probably the only "poem" I've ever sat down and written with the intention of it being just that. A poem, rather than a song.
It was written about 10 years ago when I met "Judith". I found it in a text file on my old computer and thought I would share it.
Judith and I are still together.

PS. It probably could be made into a nice love song, but I'm too close to the words to do it. Whenever I try to think about a tune, all I hear is tunes I already know from other, famous, love songs. It's really strange.
I'll leave it to someone else to set. All welcome...

A quick search found this (you need to scroll down the page a bit to find it)
http://www.thetabworld.com/Chris_Isaak_ … chord.html

Hi docmartin.
I don't know this song but I found it on YouTube at http://www.youtube.com/watch?v=3iaxtY_mt-0
This is the botsweeds' version.
It's a very complicated chord progression so I had to listen a few times to get it right. I'm not surprised you are having problems getting it to sound right. The recording starts in C minor and I can give you the chords in C minor, but I'm guessing they play this starting in A minor with the capo on the 3rd fret. I'll give you both versions anyway.
The C minor version uses chords such as Db min and Gb which can also be played as C#min and F# respectively.
I can't post the lyrics on here because of copyright so I'll just give the 1st word of the lines so that you can see how the chords fit.
Each chord is one beat and further beats are indicated by /

Intro
Cm/////

If you...
Cm/// Ab/// G7///

Pussycat...
Fm/ Dbm/ Gb/// Dbm///

It's that she...
Ebm/ Ab/

What's...
Ebm/ Fm/

She's...
Bb/ Eb/

Child...
Gm/ C/ Cm/

In her life...
Cm     Gm Cm Gm Ab/// G7///

Pussycat
Fm/ Dbm/ Gb/// Dbm /

Gb/ Dbm/
Gb/ Dbm/
Gb/ Dbm/
Gb/ Dbm/   to end

In A minor the chords are as follows
Intro Am/////

Am/// F/// E7///
Dm/ Bbm/ Eb/// Bbm///
Cm/ F/
Cm/ Dm/
G/ C/
Em/ A/ Am/

Am Em Am Em F/// E7///
Dm/ Bbm/ Eb/// Bbm/
Eb/ Bbm/
Eb/ Bbm/
Eb/ Bbm/  to end

It's a strange song as it starts in one key and finishes in another!
As I say it's a very tricky song.
If there's still a problem, let me know.
I'm 99% certain of the chords but you never know.

Mikeshead
What you do depends a lot on what equipment/fx you have available, what recording equipment you use, and what instruments you are recording. I could only answer for my own setup. There is nothing "wrong" with putting reverb on individual instruments.
My comment about different "rooms" was just my own preference for when building up a recording on a multitracker.
If you have no effects then recording a track the bathroom is a way to get reverb if you are using a mic to record acoustic instruments or voice. Once recorded, the reverb is always there and can never be removed. Moving the mike nearer or further from the source will reduce/increase the amount of reverb recorded. In this case, the reverb is put on each track. It's not really practical to try to put reverb on the whole final mix in the bathroom.
If you have sufficient effects (reverb and delay/echo) and the recording equipment to do it, I always recommend these FX are placed on afterwards and the sound is recorded initially "dry". (Or as dry as possible within the room you have).
As to what effect to use on what... I agree with the other guys really. Listen to what you think sounds right.
There are some general guidelines. I always say that it's probably better to use a little less than too much. It's very easy to get carried away and overdo the effect. You don't want your recording to be swimming in reverb and echo.
The voice always sounds better with some echo or delay added (in addition to the reverb).
In general, instruments like flutes and violins when playing a melody will benefit from some echo or delay.
As I said in my other post, you need to be careful when putting echo/delay (and in some cases reverb) on rhythmical instruments or tracks.
This is because the delayed sound interacts with the original.
I personally never put echo/delay on a bass guitar, for example, and usually only a little reverb if it seems to need it. The reverb or echo from a bass track can easily swamp the whole mix if you are not careful.
I had a look on the web for sites to explain the delay time and beats per second issue. They all go on about mathematical equations and generally make it even more complicated.
What it boils down to is that the listener will hear a beat, say a snare, twice a second, shall we say. (This is 120 beats per minute, 2 beats per second)
If you put a delay/echo on that, the listener will also hear the echo just after the original sound. How long after depends on the delay time. You need to make sure that the delay time is such that the echo comes before the next beat.
In my example, the echo must come in less than half a second. Most delay/echo units have an adjustment to do this. Just turn it down untill you hear the echo clearly coming in before the next beat. Exactly where the echo happens is up to you. What sounds right.
Reverb is different. The reverb time is a measure of how the reverb sound "decays". In a large hall or cave the reverb lasts a long time before it slowly dies away. In a smaller room the reverb dies away more quickly. Reverb is made up of multiple echoes.
Of course, in a bathroom (not usually very large) the reverb dies down more slowly because the smooth walls create multiple echoes.
Increasing the decay time on a reverb, puts the sound in a larger space.
Increasing the "amount" of reverb (compared to the volume of the original sound) places the sound further back in the mix. It's like moving the mike away from the instrument you are recording and picking up less of the original instrument, and more of the sound from the environment.
I'll stop here because this is starting to sound like a tutorial!
I hope it has been of some help. Remember, use your ears to judge the final sound. But don't overdo the effects!

Just a word of warning here. The link above has a number of errors in it. In the diagram at the bottom of the page the chords above the guitar tabs have the following errors
the B maj chord, 3rd note from top shows Eb. It should be D#
the F# maj chord shows a Bb at the top. This should be A#
the C# maj chord shows F (natural) It should be E#
the G# maj chord shows Eb. It should be D#.
These are enharmonic errors. The note would sound the same when played on the guitar or piano. However, the notation is incorrect.
This problem relates directly to the other thread in this section asking about E# and B#, and my reply to the poster, and canudigit's reply to my reply.