In my continuing quest to determine whether or not my ears/psyche are playing tricks on me, I would like to find out if anyone else has experienced the following with their Larrys:

Everytime my guitar sounds just about perfect, I've noticed that my strumming hand has more of a snap to it (at the wrist) and that I'm capable of faster and more complicated strumming patterns. (I'm pretty sure that it's not the opposite).

For lack of a better description, in such instances, it's like I can pull off some of those "pinball wizard" -ish strumming that so epitomizes Pete Townshend's playing.

Also, the guitar strings feel more springy (not season-wise) and "elastic-y". Almost like they're made out of rubber bands - I know that sounds unappealing- but I don't know how else to explain it.  And the rosewood certainly loses its' metallic sound -playing almost like a nylon-string but without the percussiveness- and that sometimes-annoying pick attack sound. 

Since I've never had the pleasure of playing Collings, Santa Cruz, and Goodalls, etc., I must confess then that in my head I can't fathom how a guitar can sound any better.   "When all is right in tone world", that is.   

Anyway, my goal is always the same: to be able to reproduce these ideal conditions "on demand".

Good post, d03nut.  I have experienced whay you're descibing.  I have a theory.  Feel free to shoot holes in it.  (but not me!)

(dberch assumes lecturing posture) Ahem.  I beliive that when a person gets their first (or newest, for the collector/players among us) quality instrument, several things happen: First, you play more.  As a result, the rate at which you learn new things increases.  This create more excitement/motivation to play even more.  As you play more, you also gain strength and coordination in both hands. This makes new things more fun, and old things seem fresh.  You play a song you've been playing for years, yet this time you unconciously give more attention to phrasing and dynamics, and you hear the results. 

Eventually, your significant other says "Are you going to come out of there tonight??" and you awake from the Nirvanic transe state and return to the real world, where you stare unbelievingly at the instrument in your hands.  But this is why we buy good guitars.

Sound familiar, anyone? 

Seriously, I think that some of the qualities we often attribute to a guitar 'opening up' might be due to this effect.  It takes time to learn an instrument, and it happens slowly, for me at least. 

David

Do3nut,

Every time I see a post of yours it makes me hungry for something, just can't quite place it . . . .

Whenever your instrument is at the point, for whatever reason, where it gets out of the way and is just an extension of your thoughts, the gap from your heart to the music is that much shorter, and isn't that what we all strive for?  I agree with dberch's theory - well said.  Inspiration comes in all forms, and yes sometimes it's even the guitar:-) 

Sixpickn, funny you should mention hunger.  'Cause my posts are usually the result of my "boozin".  Just kiddin'.  Well, sort of.

Dberch, you are correct about the "attention to phrasing and dynamics".  Along those lines, something else that I wanted to mention that is very important is the attack angle(s) and motion of the pick.

I've noticed that when I'm kind of in the zone, I manage to hit the strings in just about the perfect way in order to fully bring out a guitar's best qualities.  It's important to note that for that to happen, there's more than one angle to consider:

-First it's the pick's angle in relation to the upper/lower bout, the tilt angle, if you will.

-Then the angle the pick makes with the neck/top.

-Next up, it's the pick's path in the up/down strokes.  For example: I like to start strumming at the low E near the sound hole to accentuate the bass, and then move a little away from the hole and closer to the bridge as I'm reaching the high E sort of to bring out the shimmer.

-And finally, how soft (or hard) I hold the pick obviously makes a big difference.

Really, I would need a diagram to illusrate what I mean.  But think of it sort of like the x-y-z coordinates (in math).

Not that I'm saying anything new or that we need math to play.  All this to say that when I'm inspired to play the pick hits the strings in just the right way.

Hey, that rhymes........