Friday, September 30, 2011

The Quest for Style: Dirty Blues


The Quest for Style: Dirty Blues
By PT

Note: This is the fifth installment in my year-long quest to become an acoustic bluesman. Find the other installments here, here, here and here.

One lazy afternoon many years ago, I decided it would be fun to sit down and listen to every version of the song “Red House” I could find. This was back in the days before streaming music on the Internet (my college computer lab had dialup), so I was limited to the CDs dorm mates and I actually owned.

I think I ended up with about five versions, but two of them stick out in my mind.

The first was Buddy Guy’s rendition. It was soulful, powerful and had a tone that reached out and grabbed you. To this day, it is one of my favorite tracks. It just sounds like the blues.

The second version is from G3 Live in Concert. This was the original G3 tour, and it featured a “Red House” jam with Eric Johnson, Steve Vai and Joe Satriani. There are some great songs on that album (“My Guitar Wants to Kill Your Mama” for example) but “Red House” is not one of them. Yeah, the guitar wizardry is there and the vocals are perfectly adequate. But it is too clean. Too perfectly executed. The soul that pours through the Buddy Guy version is missing in this one.

Listening to the two tracks back-to-back, one sounds like the blue and one doesn’t.

I am finally getting to a point in my blues journey where I kinda/sorta know what I’m doing. I can play some pretty cool stuff. Some of my tunes are not half-bad, and I have developed quite the arsenal of turnarounds.

But my blues sounds more like G3 than it does like Buddy Guy. Not that I am comparing myself with guitar greats like Satriani. It’s just that my blues doesn’t feel as gritty as it should.

Thankfully the most prolific guitar teacher of all time came to my rescue. That’s right; I’m talking about YouTube.

Digging around on YouTube, I found a user called ‘deltabluestips’. Promising name.

I watched one of his videos and really liked it. He approaches the blues in a way that strikes the perfect balance between controlled and sloppy. He sounds like the blues should sound. And his lessons are geared toward helping you achieve that same raw sound. The best part is that he has several hundred videos up, so it will keep me busy for quite a while.

So here’s to dirty blues. I look forward to reading you thoughts on the merits of raw, sloppy playing (and probably a defense or two of G3 Live in Concert) in the comments below.

PT Hylton is the co-host of the guitar talk podcast Six-String Bliss. He also writes fiction and has been known to throw a little disc golf. He lives in the birthplace of country music.


XXX---XXX




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Wednesday, September 28, 2011

Pro Tone Pedal Choices

Pro Tone Pedal Choices
By Pappy

Man!  Can you believe Pro Tone Pedals is going to offer a Buy One Get One Free (BOGOF is a term I've imported from the British) this weekend?  Even if Pro Tone wasn't a sponsor of the Fifth Fret, I'd still be drooling like crazy for a deal like this.

I mean, you buy a pedal you already want (it's hard not to want their pedals), record a video of the pedal you bought (something your online friends would love to see anyway because we're all tone junkies, right?  And who doesn't like seeing amateur video from friends?) and BOOM, you get a free pedal.


That is amazing.  If Boss came out with this deal it would be great, but a company that hand-makes their pedals with boutique quality, top-shelf tones, and eye-catching looks?  That's flat out stupendous.

I'm a huge fan of Top Five Lists, but top five doesn't really jive in this situation.  No, this situation calls for a Top FOUR list since Dennis at Pro Tone is letting anyone (ANYONE!  World-wide, amateurs, pros, even dealers) take advantage of this deal twice.  You can buy two pedals, record the videos and get two free!

BRILLIANT.

So, without further delay, here's my Top Four list or what I would buy (indicated by "B") and what I would get for free ("F")!

4) DBH Tremolo (B) - I miss the tremolo on my old Vox AC15 and always wished they were a little crazier.  Pro Tone Pedals is looking to satisfy this craving!
3) Viking Distortion (F) - bridging the gap between tube overdrive and metal tones, this Marshall in a box bring the Marshall crunch you just plain have to have sometimes!
2) PE Delay (B) - I love delays, but almost exclusively rockabilly slap-back delays.  I want vintage tones, the ability to thicken up a thin sound, and maybe a little dirt.  Guess what this pedal does?!
1) Monster Fuzz (F) - To date, this is the best fuzz I've ever played.  It's as extreme as I want it to be.  It can be the most annoying, over-the-top, shrill fuzz, but that's actually where I like to hang out and if I ever want to, I can bring it back down to a more conventional tone.  This pedal is versatile and lovely-sounding and it is Number One on my list!

I'm very curious what YOUR top four is!  Even your Top Two!  I know what I want, but I'm always curious what you, the highly-valued readers want as well!

Let me know in the comments below!

XXX---XXX


This post is brought to you by Flatline Guitars, a small guitar company that dedicate themselves to making the absolute best guitar possible and delivering amazing tone, amazing feel for an attainable price. I have a Delta 90, myself and it's quickly rising to "#1" status! Click the above link to find out more!

Monday, September 26, 2011

Buy One Get One Free From Pro Tone Pedals


Buy One Get One Free From Pro Tone Pedals
By Pappy

There’s  a store here in the US called Payless Shoes.  They’re constantly running this sale call BOGO or Buy One Get One but the catch is that it isn’t a true BOGO, it’s a BOGOHO because the REAL deal is Buy One Get One Half Off.  They leave off the last third to entice people to come in and buy two pairs of shoes.

I never understood why this sale was popular, but it must be because they’re always having it.  I always looked at it like America was getting fleeced and I wouldn’t participate because they’re misleading – lying, basically – and I don’t really like being lied to, especially when my hard-earned money is at stake.

But you know who DOESN’T lie?  Dennis Mollan, CEO of Pro Tone Pedals.  In interviews and on his podcast he is unabashedly candid and honest and if you ask him a question, he’ll give you an honest answer.  He won’t try to pull one over on you and he’s pretty transparent in his dealings.

He also gets the point behind BOGO and doesn’t add the “HO.”

For a limited time, the weekend of 30 September to 2 October, 2011, he’s going to be having a sale on his pedals.  The sale is a pure BOGO.  Buy one pedal, get another pedal of equal or lesser value for free.

And while there are some stipulations to the deal, it’s not nearly as bad as Payless Shoes lying to you and not being completely honest about the sale they’re promoting.

The stipulations:

  1. No free signature pedals.  Signature pedals have royalties paid to the endorsing artist and it would be hard to pay royalties from nothing.  That’s just plain ripping off the artist who’s name is on the pedal.
  2. You have to record a video of you playing the pedal with at least three minutes of actual playing.  So if you’d like to talk for two minutes about the pedal, why you bought it, what the features are and how much the price is or anything like that, go nuts, but there needs to be three minutes of flesh on steel on wood through amp going on.

And that’s it.  I’m sure there’s going to be a limit on the pedals you can buy (the last I heard it was a tentative two free pedals) but I would definitely go to their website and check out the pedals available.

I’ve never seen a deal like this from a builder, especially a boutique builder like Pro Tone.  This is a pretty amazing deal.  It’s making me think about dipping in to my Taylor fund to pick up a Monster Fuzz and a Viking Distortion.

If you’re a guitarist, do yourself a favor and check this deal out.  Look at all the pedals available and give some serious thought to this deal because it’s a rare one that I doubt we’ll see again anytime soon from Pro Tone or anyone else.

XXX---XXX


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Sunday, September 25, 2011

Question for the Audience: Construction

Question for the Audience: Construction!
By Pappy

If you were looking to make your own custom guitar, would you prefer to:

A) Assemble it from parts bought from a distributor (Warmoth, Guitar Mill, etc)

B) Modify an existing production model that's close to the specs you're looking for, bringing it up to your dream level OR

C) Literally BUILD your own guitar, like, from a plank of wood up?

Friday, September 23, 2011

Rhythm and Roots Reunion


Rhythm and Roots Reunion

by PT


I had the pleasure of attending the Bristol Rhythm and Roots Reunion this weekend. R&R is a music festival in Bristol, Tennessee and Virginia that showcases the roots music of the Appalachian Mountains. The streets of this small dual-state community fill with 45,000 attendees. Like all music festivals, some are there to party, some of there to support their favorite bands and most are there to enjoy the atmosphere and music.

Kids under 11 are free and the festival makes an effort to keep the event family friendly during daylight hours, so my daughter and I hit the festival on Sunday. We ate funnel cake, watched a plane draw a guitar shape in the sky above our heads and took in a whole lot of Bluegrass.

While I appreciate roots music on a surface level, I am by no means a Bluegrass expert and have never spent any time in the Bluegrass community.  I walked away from the festival with a new respect for the genre. Here are a few of my key takeaways from the Rhythm and Roots Reunion.


1) Bluegrass knows no age-limits. My former hometown of La Crosse, WI hosts the largest Oktoberfest celebration in the U.S. each year. There are plenty of music tents but they are divided into two categories: The rock tents, where you can find the young people, and the polka tents, where you can find the old people (and young people who are trying to be ironic). R&R was different. Bluegrass does not seem to be as divisive as other genres. I saw kids, hipsters and the elderly all hanging out at the same stages and all unabashedly enjoying the music. The only other form of music I can think of that crosses the age-gap so easily is classic rock, and that is only because everyone has been hearing it at weddings for the last forty years.

2) The difference between a good Bluegrass band and a great Bluegrass band eludes me. I visited the popular stages where the crowds were wall-to-wall and everyone was going crazy. The tunes were catchy and the musicians were mind-blowingly masterful. The guitarists picked with speed and style. The upright bassists thumped passionately. The banjoists did whatever banjoists do (and well!). Then I would visit a stage with a thin, disinterested crowd. And the tunes were still catchy and the musicians were still mind-blowingly masterful.

3) Bluegrass groups/String bands have the best names. Langhorne Slim. Seldom Scene. Teddy & The Roosevelts. DangerMuffin. Frontier Ruckus. The Drunk Uncles.

4) Economics is often not taken into consideration when deciding how many members will be in a Bluegrass band. Is it really worth another cut of the profits to add that third mandolin player?

5) Roots music fans are extremely friendly, polite, welcoming and quick with a smile. Very different from your average rock crowd.

My daughter and I both had a great time at the Rhythm and Root Reunion. If you are in the area and can make the event, I recommend it. Maybe next year I will volunteer to roadie for the bands. Then I can bring you a report from the other side of the Bluegrass curtain.

PT Hylton is the co-host of the guitar talk podcast Six-String Bliss. He also writes fiction and has been known to throw a little disc golf. He lives in the birthplace of country music.


XXX---XXX




This post was brought to you by SixStrings.de, a German music-lessons website that offers high-quality lessons in the German language. I hear this is fairly rare, so if it helps a guitarist learn more with greater speed I am all for promoting it! Check them out!

Wednesday, September 21, 2011

StrngsAndBeyond Review


StringsAndBeyond.com Review
By Pappy

Does anyone remember the movie the Net with Sandra Bullock? Not the best movie by any means, but when I watched it as a youth, I was blown away at the possibility of ordering a pizza through this magical thing called the “World Wide Web.”

Now you can get just about anything delivered over the Internet and it has led to a couple interesting developments, particularly in the guitar world.

One is that you are not limited to your local guitar store for your supplies.

Another is that any small guitar store has the potential to be much bigger than its store-front would have you think.

But every guitar store has to compete with big box stores and the only feasible way is to establish a rapport with the customer – to make them feel loyal to you so that they’ll be willing to spend that extra amount of money that you have to charge to stay afloat because you don’t buy in such a volume that you’re able to offer the same discount as the bigger stores. I’m sure every customer knows that small shops can’t offer the same discounts that big shops could but you don’t get nearly the same high-quality service you do at small shops if you patronize the big boys.

This works across the board too and even niche suppliers are realizing it’s better to have loyal customers than to go for the customers that are just looking for the best deal.

Guitar Strings And Beyond contacted me and asked if I would be interested in reviewing their services. I love reviewing stuff so I said yes and they asked what my favorite brands of strings were. I told them that for most of my guitars I like Curt Mangan 9’s and for my Gretsch I like Thomstik Enfield 11’s (flatwounds). They sent me an email confirmation that my package had been shipped and it arrived a mere three days later.

A set of Curt Mangan 9-46 costs $4.95, which is cheaper than my local places (and they don’t stock this particular set of 9’s).

The Thomstik Enfield’s cost $20.95 and those are impossible for me to find locally. It's impossible to find these locally. The price scares people off, even though the strings are WELL worth it. They're the best flat-wound strings you can buy, featuring amazing string-to-string balance and silk-wrapped string ends.

So far there’s not all that much difference between string retailers price-wise. But my package arrived with more than just strings. It also came with magnets, stickers, cards, picks and a hand-written note telling me to enjoy the strings (specifically mentioning what kind of strings they were which means that it wasn't pre-written) and asking me to keep them in mind the next time I need strings.


I immediately wrote to the company and asked if this is what everyone else gets because to me, it seemed… preferential. But they do this with all of their customers! Personally, I think magnets are a great idea. Usually when a company sends me a sticker I make it a magnet (an easy task), but since they sent me magnets I saved myself a little bit of time and money and now it’s on the fridge. And since it’s on the fridge, just like magnets for my local pizza places, I’m being constantly reminded of the place so when it comes time that I need strings, I’m going to immediately think of this company.

But that’s not the smartest part of the package on the company’s part. It’s the note. I’m a sucker for personalization from companies. I know they’re busy filling orders so the fact that they set aside some time to write little ol’ me a note saying thank you is a great thing to me. This is the quickest way to my heart from companies. Even when someone – a pedal maker, for instance – builds me a pedal and writes my name on the inside, they just got a fan for life.

I’m a huge fan of Guitar Strings And Beyond. Whenever I need strings, this is the place I’m going to order from and I recommend them to everyone. Check them out, see if they have your strings, place an order and see for yourself. I bet you’ll be glad you did.

XXX---XXX

This post is brought to you by Guitar Noize!  Guitar Noize is one of my favorite blogs. It's also one of the biggest guitar blogs out there offering readers news, reviews, giveaways, lessons, press releases, interviews, an ebook on expanding your skills and it's all wrapped up in a slick page design (seriously, guitar cords as borders? That's awesome). Check them out, put them in your RSS reader (like Google Reader) so you can read all the posts and stay up to date in the world of guitar.

Monday, September 19, 2011

Tone Pursuit


Tone Pursuit
By Dave MacLeod

Like many others I have been on a decades long quest for tone nirvana. I seem to have bought into every product that promised improved tone, improved sustain and improved playability. My Telecaster has had saddles made of steel, stainless steel, brass and aluminium. Nuts made from bone, ivory, fossilised bone, brass and two different types of modern composites. Tone capacitors from every decade from the 60s onwards, made from almost every of dialectric ever discovered. Each individial one of these promised to improve my tone by a significant margin. So how come, when I get to the end of all this tinkering, it still sounds like the Tele I started with?

No more. I've had enough. I call BS on all those peddlars of sonic silver bullets. The worm might not exactly have turned - but it is certainly twisting slightly. In future, if you want to sell me some product that is going to revolutionise the tone of my guitar I'm going to insist on a couple of things...

1) Stop using the word "improvement". Guitar tone is a subjective thing. My idea of a good tone is different to your idea of a good tone. You can say that your product will CHANGE my guitars tone, I'll decide whether it is an improvement or not.

2) If your product makes such a seismic change to tone as you say then give me some examples to listen to. I want A/B samples - same guitar into the same amp, played the same way, with all settings consistent between the two. I might trust that you did this honestly but it would be better if you showed me. You can try to explain to me that current encoding technology is not up to capturing the subtleties of the difference but do you know what? Yep, you're talking crap. If I can't hear the difference on an mp3 encoded at a reasonable bitrate then your product is not revolutionary or orders of magnitude better than competitors.

3) One aspect of guitar tone that is not subjective is sustain. Strike a string at a given velocity and the time it takes the note to decay is something you can measure. If you're claiming an improvement in sustain I want measurements. Numbers. With your methods clearly explained too. I would add that more sustain is a change and not necessarily an improvement; #1 still applies.

All is not lost for suppliers of fancy accessories and enhancements. Tell me how cool it looks. Tell me how women will swoon at my feet. Just don't tell me it'll improve my tone without giving me proof.

I would ask all of you readers of this to help me in this quest. Next time you're in touch with a supplier who is promising you some product that will improve your tone, ask them how do they know that you'll like the change, ask them for sound samples, ask them for numbers and proof. The sooner that we consumers start demanding facts, figures and a little bit of integrity, the sooner the peddlars of snakeoil may move on to more fruitful pastures. I hear that hi-fi enthusiasts are particularly gullible...

XXX---XXX


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Sunday, September 18, 2011

Question for the Audience: Tonal Dissatisfaction

Question for the Audience: Tonal Dissatisfaction?
By Pappy

I'm going through a bit of a dry spell, honestly, with my electric guitar tone and the physical act of playing them.  They feel a bit awkward and I just can't get a sound that inspires me to play out of my gear.

As for the physicality of playing, it just seems like I'm getting worse and worse instead of getting better but only with electric guitars.  When I was a teen I was pretty satisfied with my playing and I just found a picture of me playing my Les Paul and it was slung pretty low - lower than I can play any guitar NOW without my fretting hand hurting or my right hand getting super sloppy.

So, if I could play well enough to be happy in a way that would currently hurt THEN, then why am I not happy now?

It's a weird situation, that's for sure.

And when weird situations happen, it's best to turn to the Internets!  That's why I'm asking you folks if you've had any experience with this kind of stuff.

Question #1: What is wrong with me?

Question #2: Are you ever dissatisfied with your guitar tone?  I've been feeling a bit in a slump (probably because of the above) and it's like no tone that I try either physical or virtual is cool enough for me to be like "Man!  I can play for HOURS with this tone!" and have fun.

What do you do when you're in this situation?

Friday, September 16, 2011

Familiar Tunes


Familiar Tunes
by PT

“Daddy, play ‘Twinkle, Twinkle, Little Star’,” said my daughter.

“Sure,” I said. My fingers went to the fretboard, and I played the first three notes of the familiar melody with confidence… then I hit the wrong note.

“That’s not ‘Twinkle, Twinkle’, said my daughter.

“Yeah, I know,” I muttered. “Just second. I have to figure it out.”

I tried again, this time making it five notes before screwing up.  And it wasn’t long before I was playing the melody all the way through. Unfortunately, my daughter’s attention had drifted by that point, and she was unimpressed with my performance. She didn’t even seem to appreciate the nice vibrato or the way I slid into the notes. Oh well.

The experience made me realize what a great exercise it can be to figure out simple tunes on the guitar. Seems like it should be the simplest thing in the world. But think of all the skills you are practicing. You are exercising you knowledge of the relationship between notes. You are figuring out what neck position is going to be the easiest for playing the melody.

Plus – as hard as it is to admit – your spouse/kids/friends/significant other will probably appreciate hearing a familiar tune more than your avant-garde rendition of some Steve Vai epic.

If you want to start working on your ear and have some quick fun on the guitar, I can’t think of a better way.

Now I’m off to work up a slide version of ‘Where is Thumbkin’.

PT Hylton is the co-host of the guitar talk podcast Six-String Bliss. He also writes fiction and has been known to throw a little disc golf. He lives in the birthplace of country music.


XXX---XXX




This post has been brought to you by ModKitsDIY.com. They provide kits for building your own pedals or amps and they come with clear and easy-to-follow instructions. If you do happen to get stuck, they're always there to contact and walk you through whatever trouble you may be having. Save yourself some money on your next pedal or amp by building it yourself with a kit from these fine folks.

Wednesday, September 14, 2011

Kurt Cobain And His Guitar

Kurt Cobain & His Guitar
By Pappy

A buddy of mine and I were talking about signature guitars and how much I love them. I think they're awesome because of the uniqueness behind them if an artist is actually putting in inputs and the company is actually listening to them and somewhere between conception and production things don't get butchered too badly for cost's sake or "estimated popularity" of the model or whether the 13-year-old down the street can afford it (no offense to said 13-year-old, but if every guitar was aimed at you, there would be a LOT of cheaply-made, horrible playing guitars out there).

He said the best example of a signature guitar comes from Kurt Cobain. He said that Cobain clipped out pictures of parts and glued them together and came out with the Jagstang.

Like this (courtesy of Wikipedia):


Then, somehow someone at Fender caught wind of the guitar (Wikipedia says Cobain approached Fender) and Fender must have looked at the popularity of Nirvana and said it was a good idea and made two prototypes, one blue and one pink.

Now, according to Wikipedia, Cobain wasn't such a big fan of the models, saying that certain parts needed modifications or replacements and eventually he gave up trying to make the guitar better.

The guitar was still released posthumously and eventually it was discontinued. But then there was a huge response asking for it back so it was resurrected and then discontinued yet again. Now here we are, a big milestone in Nirvana's career (20th anniversary of Nevermind being released) and Fender is putting out another Cobain model.

But the interesting thing about it is that they aren't putting out his reportedly popular signature guitar - the guitar he supposedly helped design to match the one in his dreams and glued to a piece of paper. Instead they're putting out a tribute model of the Jaguar he used a lot during his years with the modifications it has that were put there "by the previous owner."

Wait.

Can we just wait a second here and consider this? Instead of putting out a proven guitar model that fans would probably like (especially if it featured a limited finish that was some beautifully underused color that would fit in with Cobain like, say, a light and cheery yellow) and instead opted for a guitar that was used by Cobain and featured mods done by someone else?

Honestly, this guitar doesn't make much sense to me. I mean, logically - sales-wise - it does. There has been a resurgence in the demand for classic guitars and shapes. Add this to the still-going-strong relic business and the apparent demand for guitars that are made to not only look vintage but to look exactly like the owner's guitar and BAM, this model works.

The Jaguar also looks better than the Jagstang, at least to my eyes.

But there are problems with it, at least to me.

1) It's not the guitar Cobain helped design which seems a little messed up. If there were issues (I'm not doubting that input at all - after all, how many sigs get the go-ahead after one pass?) why not look at the inputs Cobain made, fix them, and put out a guitar and say "while we here at Fender have released the Jagstang before, in celebration of the 20th anniversary of Nevermind, we went back in the archives and looked at the scribbled, barely legible notes sent in on scraps of paper and fixed the guitar to be more like what Kurt had in mind. God rest his soul." Would that be too hard? I mean, if it's true that he helped design it then it must have meant he would have preferred IT to be put out there with his name attached to it, otherwise he would have pitched a signature Jaguar.

Right?

2) The mods. On Fender's website describing the guitar they say that a lot of the modifications were made by the owner previous to Cobain. Which means that he didn't make the mods, he just went along with them. Makes sense to me! Going by everything I read about Cobain, he seemed to gravitate to the cheap and just use it. He'd use anything any way he saw fit and nothing about my research made me think he was really big into nailing a specific tone. There wasn't a lot of similar bullet points comparing him to Eric Johnson is what I mean.

3) Price! I'll give Fender this: it has got to be tough to put out relics that are a) cheap and b) quality. The idea of making them all look the same must also be pretty daunting. The Joe Strummer Tele is a great example. It looked nothing like Strummer's Tele, featured a poly finish so it couldn't be any more roughed up than it already was and had a price tag of something like $600.00.

They must have learned their lesson though with this model because Musician's Friend has it listed at $1,299.99. That's surely high enough to get the quality while still considerably lower than what most relics cost, right?

Photo Courtesy of Musician's Friend

Ah! Except the Road Worn Tele features a lacquer body, almost identical wear to each other, great tones and playability and is priced at a penny shy of $900.00. Four hundred bucks cheaper than the price of this Jaguar.

And, on another note, I think there's some merit to putting out a guitar that can easily be wrecked to fit you and display your wear and tear and make it your own. I hear the Highway One series, for instance, has a thin lacquer finish on the body and can show your wear quickly. I don't think this is a bad thing and I would even go so far as to say that this is possibly a good idea for relics. I mean, if the biggest complaint is that they all have the same wear pattern, why not put them out with no wear but easily able to acquire it (advertise it as such, too) and let the player dictate the wear? The Highway One Tele retails from MF at $729.99.

Both the Road Worn and especially the H1 seem to be much more in the ballpark of what I think people would expect from a Cobain sig. Possibly even a tribute guitar. Just close your eyes (after reading this) and think "Kurt Cobain's guitar" and imagine the price tag. How expensive is this guitar, with the name of someone who would scour pawn shops buying the cheapest crap he could to see how it sounded on stage?

I'd say $730 is perfect. I'd even believe $900.00. I may even believe $1,065.76 but that's the high point. Not $1,300. Seems greedy, frankly. Of course, it's not like Cobain's around to argue the price point which brings me to my next beef and that is that Cobain's not around to approve this.

I guess that's a small beef considering the amount of tribute or signature guitars released posthumously - hell, ALL of Cobain's signature guitars have been released posthumously so my beef is even more weak. I just think that there's a difference between continuing the release schedule of a signature guitar already in the process of being made/released, and releasing a completely different guitar.



Honestly, I would have been fine with a reissue Jagstang, even one with all the accoutrements attached making this one more special than the previous offerings, because it makes sense. He helped design it so it would theoretically have mods that he wanted, not ones that he could live with, it sold for a fair price of $619.99 on the street in 1996 ($852.60 in 2010 dollars) without a case and $774.99 with a case ($1,065.76 in 2010 dollars) so everyone could potentially afford it (bonus points go to Fender in 1996 for not insisting on a case but offering it as an option) so it could theoretically be reached, even by the 13-year-old down the street and it would just make sense.

On the other hand, I'm torn because the Jaguar looks better and is more up my personal alley playing-wise.

So many conflicting ideas...

XXX---XXX


This post is brought to you by Flatline Guitars, a small guitar company that dedicate themselves to making the absolute best guitar possible and delivering amazing tone, amazing feel for an attainable price. I have a Delta 90, myself and it's quickly rising to "#1" status! Click the above link to find out more!

Monday, September 12, 2011

Certified Guitar Player


C.G.P.
By Pappy

One day Chet Atkins decided he was going to give himself a title, similar to Ph.D. and named himself C.G.P. (Certified Guitar Player). It seems he did it on a lark, but he didn’t keep the title to himself and bestowed it on other players like Tommy Emmanuel. I don’t think that CGPs have handed it down since though, which is a shame.

Because this might be the most interesting guitar topic ever – at least to me.

I think it’s the fact that it was THE Chet Atkins, the man responsible for SO much of the guitar world and a man loved by so many that deterred others from naming themselves a CGP or coming up with their own titles. There’s a reverence here to the man, and as an extension, to his title. Perhaps this reverence is why other CGPs haven’t handed the title out themselves.

But how cool would it be to be certified as a guitar player? Imagine! You put in all this time working on licks and songs and then writing your own licks and songs, constantly challenging yourself, constantly pushing your own abilities for the sake of your art and yes, it’s fun when you nail that lick or write the song you’re happy with, but the entire time leading up to that the guitar gives you a very unique feeling of frustration.

“You’re way off, now you’re kind of off, you’re close, you almost nailed it, now play it a bit faster, play it again, play it again, play it again, getting close to nailing it at speed… YES! FINALLY! I got it!” You jump from the chair almost dropping your guitar and call out to someone – anyone – nearby that you got it, here, check this out…

But now it’s gone.

Eventually you do get it though and you can perform it for others and if they aren’t guitarists they might say it’s pretty, or that it “looks challenging” but they don’t know, really. They don’t know just how much work you put into these eight bars or whatever. Even if they go over the moon about how proud they are and how great you are as a player and you should go out and start a band, you’d be filling stadiums instantly, you’ll probably have a feeling that this isn’t what they really feel. They’re family or friends after all. They HAVE to say encouraging stuff, right? There will always be an acorn of doubt.

And if you play it for another guitarist, they might say the nicest things, but there’s a good chance they’re thinking they can play it just as good if not better – just give them some time to woodshed. Even if they don’t, even if they’re genuinely impressed and encouraging, will you be able to shake the feeling that they’re really less so?

No, what we need is a certification program! We need to have a syllabus and we need an outside party to judge and say yes, no, work on your legato, etc. Like getting a real title, pay out everything I need to do to get to the finish line and I will try to get there and at the end, some guy I don’t even know, but who I know is better than me, or at least packed with the ability to judge me and make the certification matter. They look at the materials and recording I’ve provided, perhaps I audition and take a final exam and then I get certified.

And yes, I know that it doesn’t REALLY matter, that there are folks out there who are playing just for fun and they could give a flip how good they get or who likes them, but if there was a board to meet who could certify you without bias and you can walk away with some outside source saying you’re good enough to warrant a title, wouldn’t that be cool?

I think it would.

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Sunday, September 11, 2011

Question for the Audience

Question for the Audience: Body Shapes
By Pappy

Greetings, again, folks!  In my next attempt to get to know you better, I was thinking we could talk body shapes.  There have been some pretty crazy numbers indicating popular sales of certain shapes (dreadnought, Stratocaster, Telecaster, Les Paul, x14 from Taylor, etc.) but I was wondering what your favorite body shape is?  Sales has nothing to do with it as some body shapes have some expensive price tags attached to them.

I'd love to know what you think is the coolest or best and, if you can, why.

This kind of thing is interesting to me!

Don't be scared of commenting either.  More than 200 people a day read the posts on the front page, yet only a fraction of them comment and there's no reason not to.

Think of it as National Delurking Day even though that day is real and elsewhere on the calendar.

Let's hear it!

Friday, September 9, 2011

Snark Clip-On Tuner Review


Snark Tuner Review
By PT


Man, have I had a lot of tuners.

My first was a bulky Sabine that was meant to clip to the bottom of your music stand. Since then I’ve had tuners built into picks and tuners built into pickguards. I’ve had tuners the size of a business card and tuners the size of guitar pedals. Most of the time, I just end up using my old $10 Korg.

A few weeks ago at the Nashville Amp Expo, my friend Matt from the Gear for Guitar podcast hooked me with something I had never seen before: the Snark tuner.

The Snark clips to the headstock of your guitar. It swivels in all directions, giving you a plethora of angle options for various headstock shapes and styles. I prefer to clip it upside down so the display is on the underside. The tuner has the added benefit of looking like some sort of stubby tentacle growing out of your guitar. Now that’s Metal!

The coolest thing about Snark is that it tunes based on vibrations rather than sound. So if I am tuning onstage – or tuning in the living room with Sponge Bob blaring on the TV - the noise level is a nonissue. It is bright enough and the display is large enough to see clearly in any lighting conditions. It also has pitch calibration in case you want to get all fancy and play with a slightly out of tune piano or something.

My least favorite feature is the built in metronome. It is a great idea, just poorly executed. Instead of the whole screen flashing to the beat, a tiny heart lights up to the rhythm. Since there is no sound, the tiny heart is all you have to go by, and it is really not useable.

The metronome’s shortcomings are the only strike against this very handy tuner. The red ‘all instrument’ version retails for a reasonable $39.00. However, in some fit of insanity, Amazon currently has it priced at $11.20. Check it out. I think you’ll be glad you clipped it on.

PT Hylton is the co-host of the guitar talk podcast Six-String Bliss. He also writes fiction and has been known to throw a little disc golf. He lives in the birthplace of country music.

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Wednesday, September 7, 2011

Deluxe Editions


Deluxe Editions
By Pappy

Red, the great hard rock band from Nashville that I wrote about a couple of times recently, recently put out a question on their Twitter account asking if there would be any interest in a deluxe edition of their latest album. The results were overwhelmingly positive, but I completely disagree.

It’s simple logic on my part: who are the first people to buy your album? The fans, of course. They’re the ones who pre-order it, they’re the ones who are going to buy it regardless of the quality - often quality-unknown! They’re the ones who are then going to push it on their friends resulting in more albums being sold. Releasing one standard album, waiting months and then releasing a deluxe version with ore tracks/a DVD/a picture booklet/etc is basically ripping off the fans. You are at the very least rewarding the people who come late to the party with a better product than the people who faithfully bought your album first and helped make it popular. At the worst you are expecting your fans to buy the same basic album twice for the extra candy that comes with the deluxe version.

That’s completely disrespectful to the fan.

Not only that, but it will come back to bite you if you make it a common practice. If I knew a band liked to wait six months after releasing an album to release a better version of it and I’m a fan, guess what I’m NOT doing on release date for the first version? I won’t buy it because I know a better one is coming out soon and why waste my money buying an album twice for six more songs (or whatever)? This lack of original version sales is going to translate poorly if there are enough like-minded people who don’t want their money sent down the tube. Initial record sales will be down and what record company would look at low numbers and say “let’s invest more and release another version!”

Probably not a smart one.

Red’s not the only band to do this though so I don’t want it to seem like I’m calling them out specifically – they’re just the most recent to do it that I’ve seen. Fear Factory released two versions of their album Obsolete, the last being the one featuring the biggest single from the album, their cover of “Cars.” How is it fair to the people who bought the first iteration of an album to come out with two more versions (merely adding songs) and then pitching one of the latest additions as a hit? Jeez!

And it's not just the music business that's doing this either. After HBO released both seasons of their show Flight of the Conchords, they released a deluxe package with both seasons include and the initial live show they did that got them so much attention - a live show that is not available to purchase on its own. So yeah, people that are wicked late to the awesome party that is Flight of the Conchords, be sure to enjoy the extra DVD that I can't buy unless I buy both seasons of the show AGAIN. That's SUPER fair, don't you think?

But hey, I didn’t come here to complain. I’m an idea guy and I’ve got ideas and alternatives for all occasions!

Red, you have enough material, whatever it may be, to release a deluxe version of Until We Have Faces. Why not release JUST the bonus material, whatever it is? If it’s more songs, you can call it an EP, if it’s a DVD documenting the making of the album, it can make a cool addition to the album that was purchased already. Price them lower than the album so fans won’t feel burned and pitch it as an epilogue to the album.

To all the other bands considering this, I recommend releasing the deluxe edition alongside the regular version on the same date. That way the fans can buy the deluxe edition if they want to, and people are merely interested in new music can get the lower-priced one. Everyone’s happy. If the idea of people choosing to go the cheaper-route is making you feel like your investment won’t pay off, make the deluxe version limited.

But don’t release a deluxe edition after the initial release of the album as you’re only hurting those that care most about your band. It’s not going to help you in the long run.

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Guitar Noize is one of my favorite blogs. It's also one of the biggest guitar blogs out there offering readers news, reviews, giveaways, lessons, press releases, interviews, an ebook on expanding your skills and it's all wrapped up in a slick page design (seriously, guitar cords as borders? That's awesome). Check them out, put them in your RSS reader (like Google Reader) so you can read all the posts and stay up to date in the world of guitar.

Tuesday, September 6, 2011

Question for the Audience

Question for the Audience: Songs From Your Youth
by Pappy

I like reaching out to you folks. Because you're cool and also because it's fun to talk guitar stuff!

I have TWO questions for you tonight though!

1) Do you use virtual studios like AmpliTube, Guitar Rig, Revalver, etc. etc.? Inquiring minds want to know!

2) What was your favorite song to play when you were beginning you playing journey?

Actually, let's break that up a bit for funsies.

2a) What was the first part of a/whole song that you learned?

2b) After a while of playing and you got some skills, what was the song you enjoyed playing the most?

My answers are:
1) You bet. I love them even more than real amps for the most part because they're way more quiet and oh so portable.

2a) "Come as You Are" by Nirvana (Nevermind) - it's very easy. VERY easy.

2b) "Jerk-Off" by Tool (Opiate) - I liked the blending of power chords and single note runs, the pure emotion you can put behind them, the fact you really had to focus on your rhythm playing and it's a song that makes you feel accomplished when you're done learning it because there's all sorts of (simple and) different parts to it to memorize and perfect.

What about you?

Monday, September 5, 2011

Blues Licks & Solos Review


Blues Licks & Solos Book With DVD & CD Review
By Pappy

I remember my very first instructional book I ever bought. I remember the introduction was short and it basically said it will teach me as the writers were taught: by diving right into some licks! Then there were short licks in TAB that I was supposed to learn. The book came with an audio CD with each lick played at speed as well, which I thought was a pretty good bonus since it’s a good way to make sure you’re playing it the way it was intended (then you can throw off such limitations and play it how you FEEL it).

Overall, it was an OK book. Not much to write home about though. I mean, say I was having issues with the harder parts of the book. An audio CD of licks at speed is not going to help me figure out why my fingers are having such a hard time with the lick.

And there’s also the issue of learning alone and the problems that come with it. Yes, you can play the lick fine, you may even be playing it with a metronome to make sure your timing is right, but as the Science channel would say, time is flexible and our own creation, so while you’re playing 4/4 exactly, if you were playing with others, the time would flex here and there getting longer or shorter and if you’ve practiced too much in a non-band scenario, you risk falling out of the band’s time.

Those two problems are serious ones and I certainly don’t expect an instructional book to tackle them.

But one did!

Yes, Watch & Learn released a book called Blues Licks & Solos and it features a book with TAB (and musical notation) so the licks are easy to understand what you’re supposed to do, there’s a DVD where all the licks are played slowly, the instructor explaining the lick as it goes on, and then playing it at speed so you know 1) how it’s supposed to sound and 2) the appropriate fingers to use so instead of thinking you’re doing it the most inefficient way, you know you’re learning it the easiest way and after that it’s just a matter of memorizing the pattern and increasing the muscle memory.

That’s a sweet bonus.

Also, there’s a jam-along CD included so you can play with a band. How about that? If you’re a new player or you’re just shy, you can use this jam-along CD and learn how to play with a band, how to leave spaces, how to integrate with the band, and how to make yourself a more valuable member. It will boost your confidence and then eventually you can branch out of the bedroom and start looking for a real band.

And even though this is a blues book, you aren’t going to be limited to the blues. So much of rock and roll is blues-based that you’re just giving yourself an easier time with anything of the sort that you’d like to learn later on OR you can just turn the gain up and play it faster.

So the book is valuable and packed with the super-sweet bonuses of an instructional DVD to go along with it and a jam-along CD to get you from playing by yourself and playing with others. Alone, they would all be good, but bound together, it’s a really sweet package.

It’s cheap too.

I mean, it’s relatively cheap. Music books are expensive, as are DVDs and jam-along CDs, but this whole package is $19.95.

That’s not bad at all.

The book targets beginners to intermediate players and you can tell from the TAB alone that if you’re a beginner and you get all the way through the book, you’ll be packing some pretty serious blues punch at the end. The licks get tough, but with the DVD, none are out of anyone’s grasp, it just means you may have to practice more or less to be able to nail the lick slowly and then built up to speed. DVDs don’t wear out with repeated viewings, so rewind it to our heart’s content so you can learn the licks correctly and move on to the next one.

The size of the licks is also pretty great because they’re pretty short (which means you won’t have to frustrate yourself for too long before you can get through it slowly and then build up speed) but can usually be strung together so the four short licks you learned has morphed into a full-blown blues solo. I love it when things come together like that because learning licks are fine, but you don’t want to be really good for two bars and then fake a coughing fit or something to get yourself out of the rest of the solo, right?

Yes, the instructional style is good, the DVD is good, the jam-along CD is good, the TAB book is easy to understand, and the price is amazingly low for what you get. If you’re a beginner to intermediate guitarist or you’re just looking to brush up on your blues portfolio, this is well worth checking out.

Thank you to Watch & Learn for sending me a copy of this book to review!

You can learn more about Watch & Learn HERE.

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Sunday, September 4, 2011

Question for the Audience

Question for the Audience: Spoiler Alert!
By Pappy

Do you think that sound samples taken out of context with no written review around them would be somehow damaging to the eventual review that gets published with sound samples included?

What I mean to say is this: if I published the sound samples I have recorded so far on the Taylor 616CE, would anyone think I spoiled the full review when it comes out?

Friday, September 2, 2011

Reading Music: Big in China by Alan Paul


Reading Music: Big in China by Alan Paul
By PT

Many of us fall into the trap of thinking life’s greatest adventures are behind us. This is especially true when it comes to musical adventures. Sure, we play in our basements or music rooms. We practice hard. We love our gear and we love to talk music. But joining a band and playing on stage? Those times have passed. For a guy like me, a decade removed from his early twenties, playing onstage on a regular basis seems logistically impossible. And having a successful band seems downright outlandish.

In the book Big in China, author Alan Paul writes about how he and his family defied the status quo and had a pretty awesome adventure.

Alan was a guy like most of us. He loved guitar but had never played regularly with a band. He was 40 years old and married with three kids. And, like most of us, he was a writer and former editor for Guitar World magazine. Wait, that is not like most of us at all. Still, aside from having conducted some high profile guitar god interviews for GW, he was your average non-performing guitarist. And, like me, he assumed he had missed his shot at being a rock star.

When Alan’s wife is offered a position in China, the Paul family leaps at the opportunity to relocate, and their adventure begins. They are still settling in and adjusting to their new culture when Alan meets some Chinese musicians and forms a blues rock band.


The book alternates chapters with about half focusing on the Paul family’s expat life in China, and the other half focusing on his musical journey with his band ‘Woodie Alan’. Both stories are fascinating. As you might guess from the title, his band has an unexpected amount of success.

I’ll admit I felt a vicarious thrill while reading about some of his on-stage experiences. To have a large crowd chanting your name and rocking out to your music is still an unfulfilled dream for most of us. Alan lived that dream and he takes us along for the ride.

But the best part of Big in China is the way it inspired me to be a better husband and father. While most of us would probably consider our families a reason not to make life-changes like moving to China and forming a rock band, Alan look at it another way. He wants to show his kids a larger world and awaken their senses of adventure. Alan didn’t neglect his wife and kids in pursuit of a rock n roll rush; he brought them along on the journey. And it is an odd and endearing journey he never could have taken alone.

Now that rocks.

PT Hylton is the co-host of the guitar talk podcast Six-String Bliss. He also writes fiction and has been known to throw a little disc golf. He lives in the birthplace of country music.

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