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Let the Good Times Roll!

6/9/2019

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Latest dispatch for these parts, where the tourists are arriving, the sun is shining and summer is just around the corner, whoo hoo!!
 
Some real fun times playing with friends lately. The best part is that the ol’ singing voice is coming back after quite a bit of neglect and misuse. When I’m teaching I tend to sing at a very low volume to not overpower the guitar, which I want to be the primary sound in the practice recordings I make. Now, I know better, back in the day when I took voice lessons in college my teacher emphasized the importance to relaxed singing and breathing. I’ve been trying to remember those things and it seems to be paying off; even got a nice compliment about my singing from a couple of young ladies at the Daily Brew last weekend. As an old fishing buddy once said, “Even an old dog likes to have his head scratched once in a while!”
 
Today at the Daily Brew two guys who were students of mine way back in early 1980s showed up, Don Newton and Marc Larrey. Don has an amazing collection of Martin guitars and he brought a few of them for me to try: M-38, D-76, D-45, J-40. Marc brought along his Martin D-18GE and his well-loved and battle-scarred Fender Strat that I sold to him back in the late 1970s or early 80s. He said he has done well over 1000 gigs with that guitar and it shows! Don’s Martins were all great and apparently he has quite a few more at home. Wow. 
 
Marc sat in with me for a couple songs, a blues tune and an old country-ish tune by The Band. He sounded absolutely fantastic and I sincerely hope we’ll get to play together again in the near future. He teaches at a private school and has made a successful career in music and I am so very proud to have at least in some small way set him on that course back when he was in high school. Plus, both Marc and Don are great people and we had a wonderful time discussing guitar geek stuff and reminiscing about gigs and times past. Times like these are one of the reasons I love teaching the guitar.
 
The week before I went over to another former student’s house for the first of his summer jam sessions. Another great, fun time and I’m looking forward to doing it again next week. 
 
Before Don and Marc arrived today I had a wonderful conversation with two other local musicians, Matt Beninghof and his brother John. These guys are absolutely superb musicians, both individually and when they play together. More guitar geek talk, gossip and laughs. Matt is going to sit in with me on mandolin two weeks from today and I am SO psyched! I am going to dig deep and have some tunes prepared that I know he’ll rip up. So – if possible, be there: Daily Brew Café, Rt. 28A, Cataumet, MA. Ten till noon or beyond, June 23. I hope I can keep up with Matt!
 
Another thing I’m psyched about: I finally bit the bullet and bought a new IPad (128gb), downloaded the OnSong app and spent a couple days loading in the lyrics to about 120 songs. On a few I uploaded copies that had chord changes and I’m pretty sure I can remember the changes for most of the rest. I’m a bit unclear about how or even if I can edit the songs as they were uploaded (as per what was advised in the app directions) as pdf’s. But for now, no more lugging around a big binder filled with paper copies. Also bought an Air Turn Bluetooth pedal that I synced successfully for hands-free page turns. Really looking forward to putting this outfit into operation at the Brew next weekend.
 
Apparently there is a new album coming out along with a movie to commemorate the historic Rolling Thunder Review tour with Bob Dylan and many others that took place in the mid 1970s. I heard one cut and it featured the absolute best, strongest singing I’ve ever heard from him, and here’s the kicker: That cut was one of a bunch that were recorded in a room at the Sea Crest Resort, which is about a mile from my home. I remember when Rolling Thunder was rehearsing there before the tour began. It was a poorly kept secret around town but I’m embarrassed to say I did not sneak around down there trying to hear some of the music. Although I am not what you’d call a big fan of Dylan, except when his tunes are covered by others, I think I will have to buy this album based on how great that one song sounds.
 
Another poorly kept secret of right now is that Dave Matthews will be playing at a private party in the nearby area called Grey Gables, which is part of the town of Bourne. Apparently this is the yearly event that is at the home of some record or radio person from Boston. Previous “secret” shows have featured Ed Sheeran, John Mayer and others. I am not a big fan of Matthews although I respect his musicianship and especially that of his band so I doubt I’ll try to hear it but I know many in the area will. He is scheduled to play a big show at the Xfinity Center in Mansfield on June 21 so my guess is that it will be the day before or after that. 
 
If anyone reading this has experience with using an IPad and the OnSong app I’d love to hear it, by the way. 
 
Peace & good music,
Gene
 
 
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Make it easy on yourself!

5/28/2019

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There’s an interesting thread going on one of the guitar forums right now regarding a dilemma. It seems the person posting has inherited a fairly valuable Martin from the 1960s and he is seeking a way to increase the nut width (or the neck width) from the standard Martin width at that time of 1 11/16” to 1 13/16”. That’s impossible in my opinion. Even increasing the string separation with a new nut will only gain a tiny fraction of an inch and in doing so would most likely make the strings apt to slip off the side of the fingerboard at times. Most of the responses are along the lines of: sell it and get what you really want.
 
So why does this person want to do such a thing? Because he has wide fingers and the 1 11/16” nut width means it’s difficult to play without a finger or fingers touching adjacent strings. This is something I see all the time. But I see other issues too. Mostly they fall along the lines of, man, this guitar is so hard to play! What can be done?
 
Back in the 1970s I ordered a guitar from a local guitar maker named Jim Boyce. He is long gone now and mostly forgotten as a guitar maker; his output was only perhaps 50 or so guitars and he preceded the “boutique guitar” movement of the last 20 or so years. The guitar I wanted was a mahogany body/spruce top, slope-shoulder jumbo. It was to have the standard 1 11/16” nut width of course and Jim never put adjustable truss rods in his guitars so I would be stuck with the action as he created it. In one of our first discussions about the guitar he said:
 
“You know what I hate? When someone says they want the action as low as it can be without buzzing!” Jim was a character, to say the least.
 
I kind of gulped and swallowed my words, which were about to be exactly what he didn’t want to hear. That guitar is long gone now, mostly because at the time I was into V-shaped necks and that one was built with a sharp V. 
 
This gets to crux of the matter. We all want our guitars to be as comfortable as possible for our fretting hand. These days there are a multitude of neck shapes from wide and thin to deep and with semi-V profiles. More and more makers of guitars in all price ranges are going to 1 ¾” nut widths as standard. I think these are good starting points.
 
Where is gets tough is a simple fact: most recreational players will buy just one guitar in hopes they won’t have to buy another. Some realize that it’s a classic “you get what you pay for” scenario and decide to upgrade when they realize both comfort and sound improve as you spend more money. Most of the time, anyway. I’m really talking about the player who wants the instrument they are playing to just get a bit easier. There are a few things you can do.
 
First and foremost, if you are fortunate enough to have a well-qualified guitar tech in your area (I’m lucky – there are now two good ones close to where I live), go to them for a “set up.” This may be a simple thing and the results can be remarkable. One guy who I’ve used for decades, Fran Ledoux of Bay Fretted Instruments is truly a magician when it comes to adjusting my guitars; I’ve known him so long that he knows exactly what I like and yes, he can get the action incredibly low with no buzzes unless I strum really, really hard. We also have a new guy in town, Ron Bolduc of Fretwerk’s. I’ve only used his services a couple times and he does stellar work. If you live in Southern Massachusetts (or Connecticut in the case of Ron), drop me a PM through my contact page and I’ll get their contact info to you.
 
The first thing you’ll want to do is look down the neck of your guitar along the edge from the body to the headstock. It is a commonly held belief that guitar necks are supposed to be straight. This is untrue for the simple fact that the strings move more radically in the middle than at the ends and a perfectly straight neck with low action is sure to have buzzes from the middle of the neck on up. All guitar necks must have a tiny bit of “relief,” which is almost imperceptible curvature. There is a way to measure this using a flat edge device like a steel yardstick and I urge you to check out You Tube for detailed instructions. If you need to adjust the neck you will find a small, round hole in the brace inside the sound hole on the neck side. A wrench is inserted to join with the end of the truss rod at the neck joint. You will most likely need a hex head wrench and unfortunately there is no standard size; you should do some research online to find the appropriate one for your guitar. Some guitars come with them. In the case of Martins (my favorites, if you’ve been reading this blog for a while!) you may want to purchase one directly from the company via their 1833 Shoppe. 
 
Some guitars may even have too much pressure from the truss rod i.e., a “backwards” bend. That is absolutely the first thing to eliminate before going any further. As you hold the guitar on your lap or laid flat on a table, turning the truss rod adjustment nut clockwise straightens or eliminates relief; turning counter clockwise increases relief or curve in the neck. This should always be done with at least a few of the strings on the guitar, although it is easier to do with them all off. That way you will get a more accurate idea of the amount of relief due to the string pressure on the neck. If you opt for removing all the strings you may have to do this a few times to get the guitar to the point you want. And don’t be surprised if there is a slight change a few hours later as the neck gets used to the new amount of pressure from the truss rod. It’s wood, after all! FWIW, I adjust the truss rods on my guitars at least twice a year, in the last Spring and Fall, to compensate for different levels of humidity and temperature where I live.
 
If you’ve never done it before on your guitar – and it’s never been done on that particular guitar – don’t be surprised if it takes a bit of elbow grease to get the nut to turn. Sometimes a disconcerting creak will be heard. In any case, take it slow, only a fraction of a turn at a time, and if the nut refuses to budge or is at its maximum or minimum range of movement, best to take the guitar to a guitar tech for further adjustment. Sadly, some guitars (less expensive ones especially) just won’t respond to this process at all, or develop nasty bends at certain points in the neck. Again – this is a job for a guitar tech.
 
What else can you do? Well, some simple things. First, change your strings! While there was a time that medium gauge strings were the norm, light gauge is now far and away more common. You could opt for extra light gauge or even “silk and steel,” which are low tension and easy to press down. But going that route will certainly diminish the tonal response from the guitar. If you can live with that you will find extra lights or silk-and-steels easier on your fingers, for sure.
 
You can change the saddle height, either by buying a new saddle from a company like Stewart McDonald or sanding the saddle you have. Saddles should be easy to remove from their slot in the bridge; they never should be glued in. If you try sanding, be sure to sand the BOTTOM of the saddle. It is imperative that the bottom is perfectly flat. I have a wood block onto which I glued some 120-grit sandpaper and this allows me to keep the saddle flat as I carefully sand a bit, replace on the guitar, string it up, check the action, and then repeat as needed. Remember to take your time, sand lightly and check the height frequently. Some guitarists keep a few saddles of different heights so they can swap them out as the action changes seasonally or their playing style requires different string heights.
 
Sharp fret edges can be an issue and are annoying at best and painful at worst. Stewart McDonald offers a variety of fret files to deal with this. Be sure to mask off the edge of the neck and the fretboard before trying to file and use the correct file. Again, take your time. You Tube has plenty of videos on how to do this adjustment. 
 
One thing I do not recommend is filing the nut slots. Although there are plenty of videos on how to this – and specialized nut files are an absolute requirement – there are way too many ways to mess this up and the result will be buzzing or muffled tone. Leave this one to a qualified guitar tech unless you are very brave and patient. Sometimes the best course of action is having a guitar tech install a brand-new nut, cut at the correct height. This can also improve the tone because good techs often use bone rather than the plastic that is often used on less expensive guitars; this improves tone and sustain.
 
A brand new nut made and installed by a guitar tech will also have the exact and correct distances between the strings and to edge of the fretboard. I’ve seen and played many less expensive guitars (and recently a quite expensive one by a premium import maker that was very disappointing) that have the strings kind of squashed together, making them virtually impossible to play cleanly and some that had high and low E strings so close to the fretboard edge that they slipped off when a string was depressed. These things are totally unacceptable and require a new nut.
 
So there you have it. Sorry for the long post but I feel it’s vital that a guitarist not struggle with his or her guitar any more than is absolutely necessary, especially the beginner. Said it before, I’ll say it again: In almost five decades of teaching I’ve seen bad guitars do more to discourage players from continuing than all other causes combined.
 
Peace & good music,
Gene
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Go along, get along - Playing with others

5/16/2019

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So let’s say you’ve learned some tunes and want to get together with other players and have some fun, maybe even think in terms of putting a group together. You’ve been to plenty of shows and it seems the players are having a wonderful time. Maybe they are, maybe not. How do you avoid the “not” and even learn something in the process?
 
We’ve all heard stories of players who have been together for years but basically hate each other. Perhaps you even know some groups like this. Why do they bother? Well, because when things do go right there is magic that happens and that can sometimes transcend all the squabbling. In the big leagues there is a money factor that figures in. What about smaller time groups? What can we do to avoid those situations?
 
Well, there are a number of roads to take here. One way of thinking is that you should just dive in and play with as many people as possible. If you throw enough of it at the wall, some is bound to stick as they say. I’ve tried this in years past and while I did manage to meet and play with some great people there were a few bad moments too. It was worth the effort, however.
 
Another school of thought is that you should start by being an observer. Go to places where live music is featured, hit up as many open mics as you can, network with friends and family. That last one can yield some pretty amazing results. Once in awhile someone will tell me about a friend of theirs who’s a “closet musician,” one who may be quite good but hasn’t the courage or interest to play with anyone else. Singers are the most common of this category. For example, right now I know a woman who I see on a weekly basis who is a fabulous singer. She can nail anything from blues and country to jazz and even show tunes. But for whatever reason she won’t sing with me! I’ll keep after her though. I know it would be worth it. The point is, with these types it may take some time.
 
So let’s say you’ve found another guitarist or other type of instrumentalist or singer and you’ve decided to get together. I’ve found that it really pays to be prepared. If you don’t have one, make a list of songs you know and if you have chord or lead sheets to share, so much the better. Nothing kills the buzz like sitting around going – what do you wanna play? Uh, I dunno…
 
Keep your expectations within reason. When I get together with another player for the first time I hope that maybe three or four songs will come out OK. If more do, so much the better. Write them down so you don’t forget which ones they were. Sounds silly, but it’s easy to forget. Keep the first couple of times you get together a reasonable amount of time and keep things loose. If your new playing partner or partners are inclined, a beer or two can’t hurt. 
 
Where things often go wrong when people get together with the idea of actually forming a group is the level of experience various members have. The best analogy I know is sports like tennis or golf. If one player is heads and shoulders better (or worse) than the others that person will not enjoy the experience unless all the others have a deep well of patience. In my experience that level of patience is a rare circumstance. Raw beginners can have a marvelous time playing together if for no other reason than they tend to be the best cheerleaders for the people they’re playing with. At the other end of the spectrum, highly experienced players can communicate on a level that allows some very fine music to be made right away. So if possible try to find players that are roughly at your own level. A positive session will usually be the result.
But getting back to those famous groups who hate each other, we have to ask – how did it get to that point? I believe it comes down to expectations and motivation.
 
The relationship between the Beatles, especially John and Paul has been well documented and scrutinized for decades. They started out as fast friends, endured a few years of grueling work in places like Hamburg and Liverpool. This forged their bond and the result was some of the greatest music the world has ever heard. But as time went by different members found their expectations diverging widely and when that happened the levels of motivation became impossible to reconcile. In spite of his continued success I’m sure on some level Paul will regret this for the rest of his life.
 
On a much smaller scale, what about a group you’ve been playing in for a while that’s starting to fray around the edges? Ego issues inevitably become more prevalent and if we’re talking about a group with three or more players, alliances begin to form. These things will break up a group as sure as the sun will rise. One good way around this is to work on projects with other players or go out and do a single. The result will be an ability to focus on what made you get together in the first place, the good stuff in other words. I had a conversation a couple years ago with a musician I played with decades ago who was in terms of pure ability the finest player I will ever have the privilege to play with. This person dumped me for one of the finest bluegrass guitar players alive and went on to have great career in studios in Nashville and elsewhere. But when we spoke this person said: You know, I think the most pure fun I ever had playing was when we were together.
 
This warmed my heart and I know if we didn’t live on opposite sides of the country we would probably get back together at least from time to time. All I’m saying is that sometimes a bit of time and distance can do wonders for musical relationships.
 
As a practical matter, when getting together with other musicians, check your ego at the door. Never try to show someone up even if you are clearly a more advanced player. If you are the lesser of the players, don’t be afraid to ask questions and admit what you DON’T know. Our egos may give us a push-back on that one but believe me, you will be a better player – and a better playing partner - for it. 
 
Don’t automatically assume you are instantly in some kind of obligatory musical relationship. You may end up getting together just once or twice. You may go further than that but finally figure out that expectations and motivation are just too wide apart and go your separate ways. 
 
But you may end up in a duo, trio or band that just clicks. There’s no way to know unless you try. 
 
And finally, keep an open mind. Shared musical interests should only be viewed as a starting point. Everyone benefits when this is understood.
 
Peace & good music,
Gene
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Embrace the Inner Game

5/14/2019

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Whether we play in front of one person or a thousand there’s no denying the fact that nervousness can be an issue. I think that is the case with just about any performer regardless of his or her level of experience. In my case, dealing with this reality has been a life-long struggle. The trick is finding a way to channel this energy because – and I believe this firmly – without that energy a performance will be lackluster at best.
 
I’m reading a great book called “The Inner Game of Music” by Barry Green (with W. Timothy Gallwey). I’m a bit late to the party on this one; it was published back in 1986 and is based on concepts put forth in Gallwey’s best seller, “The Inner Game of Tennis.” There are so many ideas, concepts and practical exercises covered in Green’s book that it would be impossible to cover them all here but the basic premise is that by tapping into the creative side of one’s brain to the exclusion of everything else your performance and satisfaction will radically improve. One of those things to exclude is nervousness.
 
Not everything in the book is applicable to playing the guitar. Green is a classical bass player and professor at a major university, or he was when the book was published anyway. So his examples and anecdotes relate to performance on many other instruments, and the musical examples he uses may not be familiar for someone whose interests and experience are in the world of popular music played on a guitar. However, there are plenty of take-aways.
 
He puts forth the idea that we are really two people when it comes to musical performance, which he calls Self 1 and Self 2. Self 1 is someone or something that is talking. Self 2 is the person in our brains who’s being spoken to. Any aspect or circumstance that interferes with your potential is Self 1. Any aspect or circumstance that expresses your potential is Self 2. 
 
“Self 2 may have access to the unconscious, or right brain, or whatever; so might Self 1. The point is simply to know whether you are experiencing interference or expressing you fullest resources.”
 
Of course, it is much, much more complex than that and a host of influences come into play. And when we factor in age and especially experience, pushing away or “leveraging” Self 1 becomes much more difficult for most of us. Think about how children learn and react. If they are trying an activity for the first time and find some success they almost instantly continue with that activity without thinking all that much about it and often find unbridled joy. First steps, blowing bubbles, petting and playing with a dog. It’s only when an adult cautions them (“Careful! Don’t fall!” “Don’t let the soap in the bubble blower get in your mouth!” “Be nice to that doggie!”) that their little Self 1’s begin to be heard.
 
A couple of my favorite points in the book: 
 
“Permission to fail leads to success.”
 
This is something I tell my students over and over. To be frank, I wish I was better at taking my own advice! Knowing that you will always have another chance is liberating, if you let it be. The result is often a better performance because you have a deeper sense of awareness. Self 1 wants to be critical and cautionary. Push him away.
 
 
“Our musical challenge is to imagine that we always have a second chance. Giving ourselves permission to fail sidesteps any concern we might otherwise feel about performance. We are left free to accomplish the task at hand. We can stop trying, and allow ourselves to become part of the music.”
 
Sometimes it helps to categorize and deal with exactly what is making us nervous, even to the point of listing individual responses. Green recommends going so far as to write down each physical manifestation of the nervousness. He lists such things as loss of breath, dry mouth, increased heartbeat, sweaty hands, shaking hands, fingers or knees. He also lists mental problems such as forgetting words or fingering, losing sense of timing, even forgetting the music entirely. 
 
Then, says Green, the object is to focus on those individual elements brought to the forefront by Self 1. His belief is that by focusing on them individually rather than in the whole (i.e., I’m so nervous I just can’t play!) you will begin to minimize those individual elements over a shorter amount of time overall. I think this is valid.
 
As I said, there is much, much more in this book. If I had to find a major fault with it I would have to say that he assumes the player has at least a basic command of the piece of music as a starting point. What if you don’t have that command? Is it possible to still apply his techniques?
 
I don’t really know. What I do know is that I have some things I do when I’m nervous, which can be from any number of causes. 
 
First and foremost: simplify. Even if I’ve been practicing a piece for weeks before I put in front of people and I’m proud of some elements I’ve added or the overall sound of the piece I always start by playing it without embellishments, “straight ahead” as jazzers say. Maybe I’ll play an entire piece that way. Hopefully, assuming that rendition was satisfactory I’ll try adding those cool little things the next time I play it. Or not. Depends on how I’m feeling.
 
That gets to another thing I try to do. No matter what has been going on in my life externally or internally I do my best to let those things go before I play a note. This is sometimes difficult, for sure. The trick for me is to refocus. For example, if I’ve succeeded in dialing in the best overall sound possible (new strings, perfectly adjusted amp) I try to rejoice in that. It almost always helps.
 
Taking my time before I begin to play is key, for me anyway. I know some professional musicians who can arrive 10 minutes before a gig, set up and jump right in and sound great. Not this guy. I always try to arrive AT LEAST a half hour before I’m supposed to start playing; an hour is better. That way I can focus on the playing as soon as I start and my Self 1 is not asking if I left the lights on in the car, if I wore the right clothing, how heavy the traffic will be when I drive home and what I have to do when I get there. None of those things have any place in my consciousness if I’m going to play well and play relaxed.
 
Breathing. Don’t forget to breathe! I always take a few relaxed, deep breaths before I start playing and things are sure to get off right. This is another thing I remind my students regularly, even when they are about to begin practicing at home. What bookends with breathing is counting a measure or two before I start playing. It’s another way to focus.
 
As soon as possible when I’m playing in front of people I try to find at least one person who is enjoying the music. This doesn’t always happen of course; most of the places I play are NOT concert situations and the people have every right to pay little or no attention to me. These days, being a recent grandfather, what will banish any nervousness I may have is seeing a youngster enthralled with my playing. Kids are the best audience you could hope to have! 
 
Although I can’t recommend The Inner Game of Music without a couple reservations – there may be some ideas that you just can’t put into practice – I still feel just about everyone who plays guitar, beginner or seasoned pro will find something in there that will benefit their playing, or at the very least give them lots to think about.
 
Peace & good music,
Gene
 
 
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The Cruise Ship Gig

4/27/2019

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I know I’ve mentioned a few times in this space that I’ve been on many a cruise. Today I thought I’d relate what I know and have experienced on those cruises regarding music and the people who play it on cruise ships. It’s a fascinating gig, for sure.
 
Since 1998 my wife and I have been on many cruises, all in the Caribbean. We just completed our 19thwith Princess, have done two with Royal Caribbean and one with Carnival (yuck!). We plan to go again early next March on a new ship in the Princess line, the Sky Princess. Now, we know that cruising is not for everyone although almost without exception those who say they would never do it are speaking from ignorance about the experience or pre-conceived ideas of what it’s like. The truth is that modern era cruising has something for EVERYONE and you can be as active or as chill as you want. 
 
Over those many years I’ve heard an amazing variety of music on the ships ranging from single guitarists and pianists to duos to classical quartets to big deal featured performers to dance bands in the lounges and on deck to a few downright incredible jazz ensembles of various sizes. I’ve made a point to speak with as many of the performers as possible because I am fascinated by what it’s like to play on the ship.
 
The way it works is this: using an agent or applying online with audition recordings the artist is then asked to come to the cruise company headquarters for an audition. If chosen they will be offered a “contract” that will run anywhere from four to seven months. They must accept whatever ship or destination they are offered, although long-time players can sometimes request specific ships.
 
After that they can re-apply for a contract although there are no guarantees about which ship they will end up on or where they will be going. But many artists end up doing a few contracts as the overall experience is very good (with some provisos that I’ll get into in a minute) and the pay is in cash (!) with virtually NO expenses, i.e., shared room and food are provided. Their only expenses are cleaning of their clothing and drinks, although they are heavily discounted in the crew bar below decks where no passengers ever go. I read a book written by a musician who did contracts for Royal Caribbean a few years ago and it was normal for him to leave the ship at the end of a contract with $5k - $8k in cash! So you can see the appeal.
 
So what is the experience like? Well, the pluses are that you will probably play only once or twice a day, starting at mid-day and possibly into the late evening but there will also be a day or two that you don’t play at all over the course of a week or two. So you can play your gig – usually exactly one hour for single performers – and you can sleep in when most of the crew members have to get going very early in the morning and work until quite late. You also have full deck and port privileges. What that means is that you can be on deck whenever you want and can get off the ship at some cool island if time allows. This is definitely NOT the case with many if not most of the close to 2000 crew members on ships such as the Regal Princess that we just sailed. Some can never go up on deck unless the ship is docked or they are needed for some maintenance project. And in any case, crew members such as the waiters and waitresses are usually required to work breakfast, lunch and dinner. 24/7. For seven months. NO days off, only a few hours of down time when they must get their uniforms laundered, email their families or do other things we take for granted on shore. So as you can see, the musicians have it pretty darn good! They can even eat in the buffet, which is off limits to much of the crew except people like the officers, dancers in the production shows and staff from the gym and spa. This is huge because from all reports the food in the crew mess is not very good. That is, no Baked Alaska, tiramisu, steak or gelato down there!
 
Of the many musicians I’ve spoken with a few conversations stick out. I always seek out single guitarists as that is something I can totally relate to. One told me he was in his third contract – he was a great jazz/bossa nova type player – and he said: “You know, sometimes I feel like they are paying me to practice!”  I heard a husband/wife duo (guitar and vocals) a few years ago, young Australians, who were superb and we had many wonderful conversations with them when they took their breaks during their two-set show in one of the lounges. They echoed what I’d heard many times, that this was as steady a gig as one could hope for with happy audiences every night. They had worked many contracts and intended to continue. We also saw them on the beach at Princess Cays in the Bahamas, soaking up the sun. Very nice indeed.
 
The musicians I have the most respect for on the ships are the show bands, typically 7- or 8-piece ensembles with horns. They must be great readers to handle a huge array of music styles for the production shows but also must be able to improvise at a very high level when they do the occasional dance or jazz show in a larger lounge. On the last cruise I found the young guitarist from the show band doing an afternoon jazz set in one of the lounges. He made good use of a looper and his jazz chops were excellent. We had a nice conversation and when I asked him where he was in his contract he said he had just started a week before. He had done many contracts before and intended to take some time off but Princess contacted him and asked him to take the guitar seat in band right away. “That was because the guy they had hired couldn’t cut it,” he said. “They sent him home after only a week.”
 
See what I mean? To do this gig you have to be a pro and understand what’s expected of you – and deliver, day after day and night after night. He did not elaborate on why the other guy was let go.
 
Is all the music great on cruise ships? Certainly not! On this last cruise for some reason Princess had hired a young woman guitarist/singer who took the place of a piano player in one of the more popular venues on board. While she would have been OK at some local bar back on shore she was definitely not of the caliber that you should expect on a cruise ship. I didn’t want to diss her on the survey that the cruise line always send shortly after you return home but I seriously doubt she will be offered another contract.
 
I’ve also heard the occasional band or single performer who is obviously burned out and is just going through the motions. It’s likely you will hear a band a few times over the course of a cruise and these types of burn-outs always play exactly the same set list. This is curious to me. Considering the amount of down time (for practice) a musician gets during their contract, wouldn’t he or she want to work out some new songs just to keep things fresh?
 
Another negative we’ve noticed lately is a cutting back of musical offerings. Little things that might not be noticed but we’ve been cruising so long we certainly do notice. Things like musicians playing with backing tracks rather than full ensembles. Princess used to always have a string quartet that played at various times in the atrium, which is the heart of the ship. It was so nice to board the ship and have that quartet playing some lively Mozart, or when returning to the ship after a wonderful day on a beach on some island. Now there is a duo (violin and cello) playing with backing tracks – which are limited. On this cruise they were both great players, especially the gorgeous young violinist (!) but I miss the organic sound of a full quartet. There are fewer guitarists doing solo sets than in the old days, too. And the show bands, which once had 10 – 12 players have been reduced. I totally understand why this is happening: money. Cruising is still the most amazingly affordable vacation you can find when you consider how many things are provided without additional charge but the cruise lines are constantly nickel-and-diming passengers these days. After so many cruises my wife and I have “Elite” status and we get a few perks so I really shouldn’t complain. It’s just that I miss some aspects of the musical experience.
 
But then there are the truly special ones. On this cruise we were lucky to be on board for the final week of a contract by a Beatles tribute band called Beatlemaniacs. Now, I’ve heard many, many Beatle tribute bands over the years and this one I would put near the top. They did a show in the big main theater but on their final night did a special show in the atrium. It was an hour long with absolutely no stopping between songs and perhaps because it was their last show they put it all out there! My wife and I sang along at the top of our lungs; I had no voice the next morning. They were fantastic. And this is one reason we will keep cruising with Princess!
 
After reading that book by the musician who worked cruise lines the little man on my shoulder said: If only you were 20 years younger (and single!!), you would go for it. You know you would!
 
Peace & good music,
Gene
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Performance reality

4/25/2019

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Quite a space of time since I’ve checked in I know, but I have an excuse. My annual trip to points South has concluded, 4007 miles driven, 2200 nautical miles sailed. I did bring a guitar along as I always do but (again, as always) didn’t play as much as I’d like or should have. In a way this helps me be more understanding when students say they didn’t have time to practice – even though they wanted to. Life gets in the way and all that.
 
But in the past week I dove back in as I’ll be resuming my teaching schedule next week plus playing my regular gig at the Daily Brew café on Sunday. So I’d better be ready! I took a couple weeks off from teaching before the trip to recharge the ol’ musical batteries and charted out a few songs for students. They include “Change of Time” by Josh Ritter; “Green Lights” by Sarah Jarosz; “The Stable Song” by Gregory Alan Isakov; “Breathe” by Eddie Vedder; and a couple oldies – “Evangelina” covered by Jonathan Edwards (written by Hoyt Axton – always loved this tune) and the classic “Until It’s Time For You To Go” by Buffy St. Marie (covered by countless musicians including Frank Sinatra!). This should get me going again with the teaching. There are a couple others awaiting my attention.
 
Of a slightly larger concern is working on my own repertoire which has gotten a bit stale I think. Soon though I’ll be back outside on the back deck at the Daily Brew where I can add vocals to my regular sets of all instrumentals. I don’t usually sing inside as the space is really too small to use a mic and sad to say, I don’t have the vocal chops to project enough without one. Out back it’s another matter. Which brings me to something I learned on my trip. Or maybe I knew this all along but didn’t recognize it.
 
I heard many singles and bands on the trip, both in bars here and there and on board the Regal Princess cruise ship. Some were excellent, some were adequate, some were marginal at best. The thing they had in common was understanding the value of familiarity. That is – not once did I hear a song that made me go: what is that? The hardcore musician in me objects to that just a bit. I WANT to hear new music from time to time. I want musicians to take chances once in a while and hit me with something that requires my attention. That, my friends, is a not a thing these days in most places that have live music.
 
The take-away here is that in 99% of the circumstances the audiences certainly did NOT want that kind of challenge. Over the many years I’ve been playing and performing I’ve looked long and hard for songs I believe have something of value for the listener. A catchy melody, insightful or truly heartfelt lyrics, a compelling arrangement that cannot be ignored. But hey….that’s pie-in-the-sky stuff. 
 
So my plan for this summer will be to dig back in my old repertoire and not be too judgmental about what I may find. Skip the obscure (but in my opinion, great) songs by the likes of Tom Waits, Steve Earle, Lyle Lovett, Townes Van Zandt, Guy Clark, Warren Zevon. Stick to what I’ll call “modern standards” by the likes of Jimmy Buffett, the Eagles, Beatles, Paul Simon, Johnny Cash, Tom Petty, Bob Marley, the Dead…. You get the idea. It’s what people want and expect from one guy with a guitar. Performance reality. Not that those are bad artists or songs. There’s a reason why people still want to hear them decades after they were first played. 
 
So what can I do? Well, the bottom line is this: Play those old warhorses as best I can, maybe even put my own spin on a few of them. Not too much of a spin though; that can lead to disinterest by the listener. Just don’t go slack or take the easiest way through the thing. That is something I often see in bars that feature the one-guy-with-a-guitar format. In those scenarios I always try to default to my #1 rule about performers who are work a day musicians: yeah, kinda ordinary and maybe even lazy but he (or she!) has a gig. God bless ‘em. Don’t be too critical. 
 
There’s another aspect in play here too, one that took me many years to understand and appreciate. Compared to my younger days, I really don’t care all that much if the song I’m hearing has been played a zillion times. What really matters is – does the performer look like he’s having fun doing it? If so, none of that other stuff really matters. I say that because I’m fortunate enough to be able to play the guitar and sing reasonably well. How many people can say that? How many people WISH they could say that? I am grateful for the ability I have and I need and want to put it out it out there. So yes, there will be some old nuggets on display again, ones I’ve filed away for a long time. If you happen to hear me, I hope you like them. I just like playing, no matter what it may be.
 
But you will not hear me doing “Sweet Caroline.” Damn it!!!!!
 
Peace & good music,
Gene
 
 
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The power of a song

3/4/2019

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In like a lion, or so they say about the month of March. We had a bit of a storm here on Olde Cape Cod over the last couple of days but as with all the storms this winter it didn’t amount to much compared to the rest of New England, thank goodness. And better still, as with all the minor storms we’ve had this winter the temperature actually went UP after the storm and melting was fast. Usually our coastal storms are followed by bitter cold arctic air and everything freezes. Not this winter. Climate change? Oh wait, there’s no such thing. My president said so and so it must be true, right? Enough of the weather report. 
 
My musical experiences over the last couple of weeks have been varied but interesting, to me anyway. My wife and I went down to northern Virginia late last week for the memorial service for my sister-in-law’s step son. He was just 23 years old and suffered a long and awful decline as he battled a neurological condition called ataxia, which mimics ALS but is not that. What caused it to come on remains a mystery after years of tests and visits with the best neurologists to be found. The service was the saddest but most beautiful thing I’ve ever seen. When one so young dies I think it hits their peers hardest of all on a certain level. Most have never encountered death in one of their friends. A couple of his friends spoke and you could see their hearts breaking. But music…. At one point a young soprano sang a stunningly beautiful acapella rendition of “Danny Boy.” The young man’s name is Daniel. The power of music was on full display and I doubt there was a dry eye in the church among the 200+ people attending. 
 
My own beliefs are deeply felt but I consider them private. But I will say this. I sincerely believe in the “circle of life” and all that implies. Although I did not know Daniel I do know that he is in a better place, a place that we all will be.
 
On my way back to the Cape I stopped at a small independent music store in Mystic, CT, the town where I spent the first 20 years of my life. That store was not there when I was growing up but I often make a point to stop there and check out what they have in used guitars. They often list a few on Craigslist and I was particularly interested in playing two guitars. One was a recent vintage Gibson Hummingbird that was listed for a very good price. It was nice overall but looking down the edges of the neck it was apparent that guitar suffered from a condition that I’ve seen on many Gibson acoustics in the last few years. At about the 12th fret there was pronounced “hump” in the fingerboard. The action was good and sound was good (although I think most Gibson acoustics are much more appropriate for strumming rather than finger picking due to their lack of sustain or complexity of tone). That hump would certainly be something that would have to be dealt with at some point. But the stock on-board B-Band electronics sounded awful – this was no surprise. So in spite of the very good price I passed on that one.
 
More interesting was an Alvarez 5055 Bluesman. That model was made from the late 90s until the early 2000s but was apparently just too radical a design for general acceptance. It is a grand concert size but has f-holes instead of a round sound hole – but still has a flat top as opposed to most guitars with f-holes. When plugged in it sounded very good, a nice fat jazz kind of sound in spite of having extra light gauge strings with an unwound G string. There were two reasons I didn’t buy it though in spite of the fact that it looked great with a tobacco sunburst gloss finish, no scratches or structural issues and a very comfortable neck. Again, sighting down the edge of the neck there was a pronounced rise at about the 12th fret and that fret was also quite high. Now, this may have been fixable by my regular guitar tech but more disturbing was the electronics quitting from time to time. The shop owner stated that it had a new battery and he thought the problem was with the amp I was using (I probably should have asked to try a different amp) but this problem made me very nervous because I couldn’t imagine how a new pick-up could be installed with the f-hole design. So I passed on that one too. If I’m passing through Mystic again soon I may just bring my own amp and cable to try that guitar again if he still has it. The thing was intriguing and not often seem these days.
 
Another one that got away on purpose. I pulled the trigger on one of the new Martin Modern Deluxe series guitars a couple weeks ago, this one an OM-28. I love the size of this model and have owned a few over the years. I played one briefly at the NAMM show and was impressed although the playing environment there was far less than ideal. If you’re unfamiliar with this new line up from Martin they feature some very interesting and potentially innovative design features although the jury is still out on that. These include a titanium truss rod for lightness and strength; a titanium “sandwich” bridge plate for increased sustain and resonance; “liquid metal” bridge pins. The cosmetic features are gorgeous and understated: maple binding, traditional Martin logo on the headstock inlaid in mother of pearl, herringbone trim. Yes, it sounded fantastic right out of the box. But….the neck. Damn. It is a new profile for Martin, 1 ¾” nut width (although it felt wider than that) and the area from the nut to about the 7th fret is quite thin with a very slight V. The fretboard edges are slightly rolled. Above the 7th fret it thickens up quite a bit and is more of a low oval profile. I played it for two days, probably a total of about three hours and that neck profile just didn’t work for me. I tried to talk myself into the idea that I would get used to it, but why? This is a $4k guitar and I shouldn’t have to talk myself into liking it. So back it went. I guess the lesson here is not to be too impressed with a pretty face and a nice voice until you really get to know them.
 
Let’s end with a positive note. Yesterday at the Daily Brew was one of my most satisfying sessions in the eight years I’ve been playing there. Everything just came together. I played as well I can play (and my confidence grew as I played, knowing this was the case). There were a number of repeat customers there who had come to hear me – and they weren’t even my friends! And they clapped! I received many compliments too. The tip jar was full. And the staff were playing a trivia game between customers and when the owner Kathy Hickey came in to ask me if I knew the answer to two questions that had them stumped, I got them both right! I pride myself on being a wealth of semi-useless information so that was no surprise!
 
Peace & good music,
Gene
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A few big questions

2/13/2019

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How do our listening tastes evolve over time? What effect does personal experience influence have over what we find compelling? Is it possible for a musician to let go and appreciate what he or she hears compared to the average person who has no frame of reference to how that music is made? For the hard-core guitar geek: As guitar players are we able to divorce ourselves from the oft asked question (“could I play that?”) or even learn to appreciate or (gulp) like something that has no guitar playing at all?
 
Each one of those questions is probably worthy of an entire blog entry on its own. Back when I was the editor of On The Water magazine my publisher (also an editor) taught me to thoroughly examine each point made by a writer and not be blown away by massive amounts of information or outright BS. Once I sent him a feature I had written and was quite proud of, but he rejected it because he said I hadn’t fully expanded on the many good points he said I’d made. He was right. I rewrote it. He would probably flinch at the attempt I’m about to make to tackle those questions above. Oh well. I don’t work for him anymore, ha!
 
There’s no question about the evolution of musical taste, not to anyone who’s seriously into music. From a player’s perspective I think the trick is to keep what you need or like as you move on and learn to separate the wheat from the chaff, so to speak. The certainty of youth gives way to many-layered reality. But I’ve noticed something curious over the last decade or so. I know some very good local musicians who see no need to evolve and seem to be perfectly happy playing popular music from a generation or even two, before. Part of me finds this to be a bit lazy but hey, they get work and the audiences don’t seem to mind hearing the same songs over and over. The better ones know which side the ol’ bread is buttered on – they will keep playing those old nuggets – but when they are playing for purely their own enjoyment they often spring some pretty amazing music on their friends. One bass player I know (he is also a fine guitarist and mandolin player) is fine with playing in a couple groups whose entire repertoire is semi-acoustic oldies but he also pays plenty of attention to the latest crop of young singer-songwriters and does a great job with covers of their stuff. You’ll just never hear him play that music at the local watering hole. I suspect that there are plenty of serious and semi-professional players out there who do the same. They are evolving but in a quiet way. Pragmaticism wins again. This is not a criticism; I do that myself!
 
Taste. Likes. What we find compelling again and again. This is one of the joys of music I think. Quick example. Way back when I was in college the first Crosby, Stills and Nash album was released and for a period of a few months “Suite for Juby Blue Eyes” was absolutely inescapable. I loved it then and I love it today! And here’s why. That song has reappeared countless times at pivotal moments in my life, almost like a soundtrack. Every time I hear it a rush of emotion comes over me, recalling good times with dear friends, road trips to beautiful places and much more. I’m sure we all have songs like that. Sometimes we even have the joy of remembering a song or an album that we loved years ago but has slipped our minds. Last summer I rediscovered the classic Little Feat album “Let It Roll,” which was released back in 1988. I positively loved that album for a while – I defy anyone to sit still while its playing. It became my go-to album last summer when I sat out on my back deck in the evening after finishing teaching, slipping on a glass of Petron Anejo. Man, does that make me feel good (not just the tequila!). 
 
One of the standard raps I give my students goes something like this:
 
Guess what? Now you’re cursed! Your days of going to a music show and just sitting back and enjoying what you’re hearing are gone. You’ll be sitting there asking yourself – what chords is the guitarist playing? What kind of guitar does he have? 
 
OK, I mean this totally in jest but for many budding guitarists it’s a real thing. Not a bad thing, just a reality. What I’ve found over the years is that it’s certainly possible to note those things but then if the performance is really outstanding the music can take me to an emotional depth that non-players just can’t understand or appreciate. If the performance is not that great, I can always go back to focusing on those chords and the guitars. So I think this is a win-win!
 
My last question bumps into a lot of issues, not the least of which is ego. I’ve written about the pitfalls of ego-based music making many times in this space. Hopefully, our ego allows us to accept and appreciate a wide range of music that it totally unrelated to guitar playing. There is a great article in the latest issue of Fretboard Journal magazine that profiles the amazing flat-pick style guitarist Molly Tuttle. If you haven’t heard Molly, check her out, I guarantee you will be blown away. When the interviewer asked her who she listens to, who’s on her Spotify play lists, she rattles off many of the people you’d expect but also included are 2Pac and Thugz Mansion. Wow. “I try to stay open to everything,” said Molly. 
 
But hey, she’s young. I’m not going to be exploring hip-hop any time soon, OK, never, but Luciano Pavarotti singing “Nessun Dorma” slays me every time, without a guitar in sight. There’s plenty of classical music I feel that way about. All I’m saying is, take Molly’s words to heart. 
 
Peace & good music,
Gene
 
 
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John and Steve and the voice of experience

2/11/2019

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My two passions beyond my wonderful family and friends are guitar playing and fishing. Both of those last two things have brought me untold hours of joy with occasional bouts of impatience and frustration. But never boredom! So when I discover songs that combine both those things I’m a happy guy. For example:
 
“Fishin’ Blues” by Taj Mahal. Been playing that one for years but I probably don’t do it justice compared to the great Taj. Super fun to play though with some worldly wisdom that is obvious but complex too. 
 
“Many fish bite if you got the right bait!” Yup. Words to live by, folks! 
 
I recently discovered a positively wonderful tune by John Prine, “Fish and Whistle.” God, I love John Prine’s music. Oh so deceptively easy from a musical perspective but oh so deeply layered and occasionally hilarious lyric-wise. 
 
I’ve come to believe that the two living masters of the Americana/singer-songwriter genre are John Prine and Steve Earle. Sometimes I have to warn students about what they will hear from those guys if they are unfamiliar with them. Neither has a voice that’s immediately easy on the ears and occasionally I’ll have a student who just can’t get past that. With those folks I’ll encourage them to listen to other artists covering their material, like Bonnie Raitt’s classic cover of Prine’s “Angel from Montgomery.” Quite a few of the legendary Texas singer-songwriters are like that too, people like the late, great Townes Van Zandt and Guy Clark. But most of my students – the adults, anyway – learn how to listen to those artists because there is so, so much more to their music from a poetic standpoint. 
 
All of the musicians I just mentioned employ basic chords and strum or finger patterns so their music is do-able by the vast majority of guitarists, even those barely past the beginner stage. Sure, it’s fun and challenging and ultimately beautiful and gratifying to delve into the guitar styles of “better” guitar players (whatever that really means…) like James Taylor, Paul Simon, and the myriad younger players who employ open tunings. I am attracted to those complexities most of the time but I came to realize that the guitar stylings of writers like Prine and Earle are really just frames on their lyrical paintings. The same could be said for Dylan. 
 
So what makes the lyricism of John Prine and Steve Earle so compelling? I think that’s easy to answer: life experience. Both of those writers have seen more than most of us ever will and have the ability to convey what they’ve lived. John Prine has had more than the average amount of heartbreak, from what I’ve read, and he survived a serious bout of cancer, which is why he tilts his head when he sings. Steve Earle survived serious drug addiction and spent time in jail, which he credits for being the reason he’s still with us today. Steve has also loved and lost. Read up on his relationship with the fabulous country singer-songwriter Alison Moorer. Plenty of fodder there for plenty of songs by both those guys, songs that come from real experience and not some contrived down-home persona that I see these days from some of the young bearded, flannel shirt wearing, floor gazing exponents of retro country and Americana. I’m talking to you, Shakey Graves and Father John Misty!
 
And now, a shift of gears. 
 
As I mentioned in a recent post, my gear quests over the last couple of years have shifted more and more toward finding the BEST sounding amplifier designed specifically for acoustic guitar. After trying and becoming quickly dissatisfied with a bunch of expensive and generally well-regarded amps of this type (Schertler, AER, Henriksen, others….) I bought an ACUS Oneforstrings 8 and it may be “the one.” I’ve been using it every week at my regular gig at the Daily Brew Café in Cataumet, MA for the last two months and I couldn’t be happier. The sound is pure and sweet, it has plenty of power, is relatively light weight but solidly constructed, and has all the features I want with three independent channels for guitar and/or vocals. Plus its wood casing is beautiful and an eye-catcher. Just yesterday a woman musician I used to play with came in the Brew and she remarked at how wonderful it sounded, clear and lush and natural without being overbearing. This Italian-made amp is not easy to find; they only have a few dealers in this country but I’m so glad I took the recommendation to buy one from a member of one of the guitar forums I visit regularly. Quite pricey, yes, but if you’re looking for the best, purest acoustic sound I highly, highly recommend this amp. I do still have a Bose S1 Pro that I like primarily because of its built in battery and overall good sound but it can’t hold a candle to my ACUS. I’ll keep the Bose for those outdoor gigs I get like beach weddings where power is not available.
 
My relaunch of my web store is progressing. I still have some important details to attend to regarding platforms and shopping carts, plus getting good detailed images to use but I’m hopeful it will be up and running in the near future. I’m very psyched to be able to offer a less known but fantastic guitar line and cool and useful accessories that you won’t find at your local guitar super store or via the mega music sites. Stay tuned.
 
Peace & good music,
Gene
 
 
 
 
 

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Tales of NAMM, conclusion

2/7/2019

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Picture
The back of that McPherson was spectacular too!
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Martin custom shop Excalibur HD-28. Yours for $20k
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Martin custom shop D "Homeward" Spectacular inlay work!
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Back of the Martin D "Homeward"
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Hanging with Dana Bourgeois, one of the great guitar builders of our time
PictureA $30,000 McPherson. Best sounding acoustic I have ever played!
Continuing the story of my adventures at the NAMM show a couple weeks ago. Here are some images of what I saw (and played!):

 



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​As I sat in LAX airport waiting for my plane to begin boarding I perused the catalogs and materials from the many companies I spent time with. While I only spent one full day at the show and only saw a small fraction of what was on display I felt I had a good overview of the current state of the musical instrument business. Some of the things I learned surprised me, some not so much. Here are a few reflections from my notes.
 
This is truly an amazing time to be a guitar player. There are a dizzying array of options for both the beginner and the experienced, professional player. This is great! But if I was the owner of one of those companies I’d feel more than a bit stressed out. The competition is coming from literally everywhere in the world. The famous American guitar companies have to be feeling the pressure from the Far East as never before because gone are the days when a guitar coming out of that area was inherently inferior to the American brands. Yes, there are still some cheapo’s that are pretty bad but the vast majority are good; some are excellent and rival or even surpass what’s being made in this country – for a fraction of the cost. I’ll always be loyal to Martin guitars; they were my first love and still hold my heart but if I were contemplating a big investment in yet another professional quality guitar I would be hard pressed to ignore some of the better Chinese-made instruments. In fit, finish, looks and most importantly, SOUND there are some clear winners. What I find interesting is that the stigma of going on stage with a Chinese guitar has largely disappeared. Not long ago, no serious player would do such a thing but not today.
 
So what are the American companies doing to counter this? From what I can see they are focusing on re-styling or “re-imagining” (in Martin parlance) existing models. Or redesigning guitars from the inside, out. See Taylor’s new “V-bracing.” The danger there is that the companies are banking on older players with disposable income will take notice. I feel that it’s too early to tell if that will be the case. Just how many $4000+ guitars will a middle-class Baby Boomer buy? Time marches on…none of us are getting younger… 
 
And a bit more troubling – how about that be-all and end-all guitar from Martin or Taylor or Gibson of a few years ago that is suddenly not quite so special anymore? The fact is, right now in this country at least it’s a buyer’s market for perfectly fine and very nice but common and standard models from those companies, and others. Will the higher end guitar buyer suck it up, accept that their guitar that was oh-so-special a few years ago has plummeted in value and jump at the current latest/greatest? Again, time will tell.
 
Another observation. The world of electric guitars is RULED by pedals! Players routinely do gigs with pedal boards holding dozens of sound-altering devices. The starting point is the guitar and the end point is the amp but what comes in between is much more important it seems. This is not news of course; electric guitar players have been using pedals for decades but now it seems that the pure sound of a fine electric through a warm and sweet tube amp is passé. Lots of pedals do cover up a multitude of sins, with some players anyway. Now the pedal frenzy is coming into the world of acoustic/electric guitars with a vengeance. For my part, just a bit of reverb and a bit of equalization are enough. But hey, have fun. Grab a few pedals and have at it. It’s supposed to be fun, right?
 
At the NAMM show you could find both software and hardware to make studio quality recordings for a fraction of the price similar devices were not long ago. I think this is great! In some cases the options on these devices and the software used with them can be quite daunting to an old dog like me. I still would like to do some more home recording. Haven’t done much in the last couple of years but if I could just find some smart and tech-savvy youngster to help me out I’d be much more inclined to dive into this new world. My recording software is archaic by today’s standards, unfortunately. Might have to step up to some of the new stuff though. Anyone out there want to help me?
 
And finally, my lasting impression of the show will be the wonderful enthusiasm, friendliness and love of making music that permeated every moment I was there. As I wrote to my wife while I was there: I’m with my people! I’m on the fence about whether I’ll attend the East Coast summer NAMM show in Nashville this summer as I’ve been told it is quite a bit smaller than the annual show in Anaheim but who knows? Embarrassed to say, I have never been to Nashville and I’m only a few decades overdue. It could be a great excuse!
 
Peace & good music,
Gene
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