Hello Phil, there is absolutely no need to appologize for posting another slow Blues. It’s always a pleasure listening to it 
. I want more 
.
Phil: Enjoyed that…RG
Sounding great Phil! Really smooth and relaxed!
@NicoleKKB @onemanband @Eddie_09 Thank you for the nice comments. The blues is a lifelong learning thing, hopefully I can do some better ones in a few years!
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Great playing Phil! Really enjoyed listening to this
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Keep up the great work.
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So great to listen to. Just loved it.
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Hey Phil, that was great. A fantastic listen for this little blues grasshopper. No need to apologise for another slow blues… i enjoy them very much.
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That was sweet. I will never get tired of hearing more great slow blues. Keep it coming. 
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That was amazing Phil. I wish I could play like that. Question do you or anyone really try play the licks over the beat i.e in 4/4 timing you might play a lick that hammer ons/pull offs etc are over the timing precisely. So for example you might have a simple lick that follows 1, 2 & 3 that is precisely played over these beats in the bar. I might be “in” the bar when I play (if I am lucky!) but I am confident that I am not playing over the beats precisely. Just wondering.
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@cdpadilla42 @MadCityJack @Willsie01 @Socio @kamkor @Steve1967 Thank you everyone, your comments mean a lot!
@Steve1967 My understanding is yes, you can start the lick on any of the beats in the bar, and it is really good practice to vary the beat that you start on. You can also start the lick on the offbeats i.e. the sub-beat (what do you call it?) between the beats. Sometimes when you do this, if you’ve picked a lick out of tab, or Justin’s blues licks for example, you have to massage the lick a bit to make it fit.
What I was doing some of the time in this clip was a bad example of that because I was trying out that other blues trick where you forget about the timing entirely until the last note in the lick where you aim to end exactly on a beat. The good people usually play the freeform timing bit really fast, which I can’t manage yet.
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Man, that was so lush. What a great vibe it had going on. Really well played Phil.
It must be so hard doing what you are trying to do. From the beginning it’s all focused on the beat and keeping that rhythm, so to go off and then get back on cannot be easy. Though you sounded to do a great job with it.
This is a track from Atom Heart Mother that I did at Open Mic 13 last weekend.
I transcribed it from the album version - it’s a bit of a rough transcription, though hopefully captures the main melody reasonably.
I hope the guitar/backing track mix is better this time - I think the guitar was a bit high on the OM. Although, tbh, I think it’s a tad low on this one 
. I really should try recording into a DAW so I could fix stuff like this instead of just chucking a single signal into Audacity. I’m curious to hear people’s opinions on the mix.
I also think that in a few of the places where I have vibrato here, it’s a bit too fast and sounds like “nervous vibrato” ?
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Hi Phil,
That was again very good to listen to 
, (but actually last time was much more special after your reboot, that was really great 
)
But this was amazing for me and as far as I’m concerned this doesn’t need any extras in the mix at all…but there will be some with good ideas 
Greetings…
That was very good to listen to, Phil. I didn’t notice anything nervous sounding. Above my pay grade to comment on mix I’m afraid apart to say it sounded ok to me.
@twistor59
Thanks for this update. Thanks to your performance I picked up my electric and I am going to learn some gilmore guitar. A goal of mine is to do what you did @open mic. Great performance even after technical difficulties. I just watched Gilmore at Pompeii performing comfortably numb.
Atom heart mother favorite Floyd album. You sounded great to me.
@twistor59
Just read you transcribed yourself very nice. I actually listened to to atom heart mother after the open mic . Which lead me to the new Pompeii video.
Thanks Roger! For this youtube video, I had to re-start the recording about 6 times because I kept hearing mistakes. No chance to do that in the live one, which I guess makes it more authentic.
Thanks John, I was thinking of, for example, right at the end at 5:06 - the vibrato is too fast - I’ve heard Justin describe that as “nervous vibrato”.
Thanks Jason - I’m really pleased if I gave you the idea to play electric! David Gilmour’s solos are great for me because they’re so melodic (I think he composes them rather than improvises them), and generally not too fast (I can’t shred, sadly). So they’re a good place to start.