Archive for February, 2013

km1My new guitar, “Katie May,” custom made by Perry Riggs of Slash L Guitars just gave me a VERY pleasant surprise yesterday. While I was researching the root cause of a grounding issue I had over the weekend, I contacted Perry Riggs about the wiring scheme of the guitar and how Katie May was grounded. He sent me a very detailed email, plus a hi-res picture of the control cavity, and also explained that Katie May’s humbuckers were coil-tapped!!!

I know what you’re thinking: How did I NOT know that the ‘buckers weren’t coil-tapped. The reason is that even though Katie May is a custom-built guitar, I didn’t specify anything in the build. However, as I shared with Perry, when I reviewed her, I very well could have specified the guitar because to me at least, it was perfect – almost as if I had specified everything, even the neck dimensions! Talk about a kismet moment!

In any case, I’ve been playing her for the last month or so completely ignorant of the coil taps. And upon finding out about it, of course, I immediately set out to try her out.

Now Perry had said to me in an earlier conversation that the Lollar Imperials didn’t sound too good coil-tapped, so I assumed he didn’t do it. Well, he must’ve worked some magic with the voicing because the single-coil mode tone is fantastic! Here’s a clip I recorded this morning before work. It’s a fingerstyle ditty with the guitar set to the neck pickup:

This was recorded directly plugged into my 1958 Fender Champ with a custom-made tweed cabinet with a 10″ speaker. Sorry for the little hum and crackling in the background, but the amp is showing its age. 🙂

I actually have a funky clip that I recorded with the guitar in middle pickup as well, but I forgot to upload it from my recording workstation. In any case, in single-coil mode, the maple of the through-neck really shows its contribution to the tone, which has a distinct top-end sparkle. When picked, the sound is “snappy,” which is perfect for clean, funky, comping.

So here’s yet another tonal dimension that Katie May offers. I just love surprises!

You gotta check out Slash L Guitars. Perry is just a stellar guy, and people who’ve worked with him just rave about his skills as a luthier. He’s not really well-known, and quite frankly, he’s not in it for the money. He just wants to build great guitars, and as a proud owner of one of them, I can attest to their greatness. Katie May is such a great guitar, I haven’t even touched my Les Pauls since I got her. I know, blasphemy! But at least for right now, she’s got everything I need! 🙂

Read Full Post »

You probably know what they are: Autotune and Compression.

But for me, the overuse of compression is the most heinous offense to pop music; way more so than autotune ever will be. Before I go on, check out this video of Adele singing “Skyfall” at the Oscars this past Sunday:

Did you notice that when she’d the chorus her volume actually went down? That wasn’t just her vocal volume relative to the whole orchestra coming into play; that was compression and a limiter to prevent her volume from going past a certain point. Not to mention it was also a really shitty job of compression and limiting at that. Wrote Rolling Stone about the performance: “Adele’s vocals sounded low in the mix at first, but she turned on the power as her theme song from last year’s James Bond film built to a crashing finale.”

The song as a whole was a mushy, over-produced disaster that was – at least to me – an absolute insult to one of the true power-voices in pop today. I’m not really a fan of Adele, but if I were her and I listened to that performance after the fact, I’d be pissed!
When I hear a production like that, I immediately think that the sound engineer was simply playing god. But it’s not just this particular performance. Almost all the pop songs we hear today are simply solid walls of sound with no dynamics. It’s an assault on the ears!
Admittedly, most of the public just can’t tell the difference because a lot of this has to do with the compression that comes along with MP3s. Then on top of that, you don’t hear any of the big names speaking out against this lack of dynamics. It’s uncanny and inexplicable, really.
But then again, with the music industry execs, things like dynamics and delivering a quality product don’t seem to matter to them. They’re just looking for catchy tunes that will fill their pockets. Why would they care about their packaging as long as the stuff sells, right?
To me it’s a damn shame.
For all you aspiring sound engineers out there: It’s easy to balance a mix by throwing a lot of compression and limiters on it. It requires absolutely no thought, and it certainly makes your life easier. But I think the truest testament to your skill would be to engineer a dynamic mix where you have to constantly work. I’ve observed lots of front-of-house guys over the years. Most just sit on their asses and make an occasional tweak. But the best ones I’ve seen are the ones who have their hands on the controls all the time, working the dynamics, and the results they produce are spectacular. So who do you want to be? Lazy asshole or freakin’ audio wizard? It takes a lot more effort to be a wizard…

Read Full Post »

ampendage2 Honestly, an amp stand is a fairly utilitarian, pedestrian accessory. But why settle for purely functional when you can look good at the same time? If the opportunity exists, there’s no reason not to add some style to function. The Ampendage Amp Stand gives you the best of both worlds!

A couple of weeks ago, I got an email out of the blue from Ampendage Industries, asking if I’d like to get a sample of one of their amp stands. I read through it quickly, but I was mired in a deadline for work, so I let it drop for a few days. When I finally could come up for air, I checked out their site and… came away impressed. Very impressed.

I’ve got amp stands, but they’re those metal monstrosities that look like the tines of a forklift. What impressed me about The Ampendage when I went to the site was that it looked like furniture! So I quickly replied to Kevin (who contacted me in the first place), apologized for the tardiness of my reply. He replied a few days later, and lo and behold, the stand arrived a couple of days ago.

I would’ve actually had the amp stand assembled earlier than today but the box that it arrived in is pretty small: About a foot and a half by a foot and about two inches deep, and the delivery guy had stuck the box in an organic veggie box that was sitting on my porch for the veggie folks to pick up. I actually saw the Ampendage box sitting in there, but thought my wife had put it out for recycling. She was the one to tell me that it was a delivery for me. Oy-vay!

In any case, I brought it in this morning, and assembled it in all of 15 minutes. Super-easy to assemble, and they include an Allen wrench for the conformant screws used for assembly. All you need is a Phillips for the four screws that attach the rubber feet to the bottom.

ampendage1I gotta tell you: This thing is gorgeous! I thought they were going to send me one of their black, MDF models, but in lieu of that, they sent me the teak model, which is solid hardwood! Damn! I love teak! It has a great grain, it’s very durable, and best of all, it’s very light. The stand itself weighs just less than 8lbs (~3.5 kg for you metric folks), so lugging it to gigs will not be a problem.

For those of you who’ve never used an amp stand, I’ve them to be a must-have on stage. Yes, they do provide better sound projection by leaning the amp back a few degrees – which also helps hearing your amp better on stage, but more importantly, they eliminate ground-effect that really screws up bass frequencies.

I’ll be gigging with this all weekend. I’m pretty stoked about it, and I’m sure my band mates will want to get one for themselves. 🙂 But on the other hand, I may just keep this in my living room where I always have one of my amps for quiet practicing. It actually goes with the furniture in there. It’s really a lovely piece, and the fact that it looks like furniture makes it very tasteful indeed to place there.

In any case, I saved mentioning price until the end because I didn’t want people to dismiss it out of hand because of price. The basic, MDF model costs $59.95. Not a bad price. The hardwood models (maple or teak) cost $89.95. Before you say, “Ouch!” let me say that these are solid hardwood and they’re stained and finished like furniture. Click on the picture on the right side. It’s absolutely gorgeous. If that’s not your thing, that’s cool, but as for me, I like nice, shiny things. Sold!

5 Tone Bones - Gear has stellar performance, value, and quality. This is definitely top of the class, best of breed, and it's a no-brainer to add this to your gear lineup!



For more information, go to The Ampendage site!

Read Full Post »

I love these obscure emails that I get from out of left field! 🙂 Got a press release from a museum I’ve never heard of this morning, but it really intrigued me because it had to do with Jimi, one of my first electric guitar influences along with Clapton and Frampton. Here’s the press release:


Guitars! exhibit will showcase instruments played by African-American guitar legends

Indianapolis, IN – Guitars played by two African-American men, whose talent made a revolutionary impact on the way we hear music, will be displayed during the Eiteljorg Museum of American Indians and Western Art’s Guitars! Roundups to Rockers exhibit. The show runs March 9 – August 4, 2013. Among the more than 100 guitars on exhibit are instruments played by legendary guitar god Jimi Hendrix and Charlie Christian, who was the first to make the guitar a lead band instrument.

Jimi Hendrix – Gibson Les Paul custom guitar and remains of a Sunburst Fender Stratocaster
Hendrix is arguably the most influential electric guitarist in the world. But before he rose to greatness, he was asked by some Seattle band leaders to leave the stage. Many audiences were turned off by his playing style. Despite early setbacks, Hendrix persevered to become one of the greatest rock guitarists of all time.  He died in 1970.

Charlie Christian – Gibson ES-250 guitar, played with Benny Goodman
Christian is credited with being the first performer to make the guitar a lead band instrument. He took the world by storm when he joined Benny Goodman’s combo in 1939.  He was brought down by tuberculosis three years later.  His influences in many genres last even to today.  Among those he inspired are Wes Montgomery, George Benson, Chuck Berry and Jerry Garcia.

Both Hendrix and Christian died in their 20s. But their contributions to the music world live on. See their instruments, learn their stories, hear their gifts at the Eiteljorg!

Other guitar greats, honored in our gallery, include Roy Rogers, Kurt Cobain, Woody Guthrie, George Harrison, Buddy Holly, Lowell Fulson, Les Paul and many more.  Guitars!, presented by Eli Lilly and Company, will also include interactive content, guitar playing lessons and performances by local and national recording artists.

For more information about Guitars!, or to book an interview/media tour please contact public relations manager DeShong Perry, dperry@eiteljorg.com and (317) 275-1352.

The Eiteljorg Museum seeks to inspire an appreciation and understanding of the art, history and cultures of the American West and the indigenous peoples of North America. Through its Project New Moon campaign, the museum is attracting new audiences with dynamic new interpretations of its mission. The museum is located in Downtown Indianapolis’ White River State Park. For general information about the museum and to learn more about exhibits and events, call (317) 636-WEST (9378) or visit http://www.eiteljorg.org.


Being that it’s Black History Month, my eldest son is half-black, and my third son is currently on a trip throughout the South on a Civil Rights History tour, I thought it appropriate to show my support by plugging this. But moreover, take away Jimi Hendrix, and you still have a plethora of black musicians who paved the way for rock and roll. Without the blues, without that piece of American history, we’d be nowhere with respect to the rock and roll we all love and enjoy.

But it’s sobering to think that that music arose out of one of the ugliest periods of our great nation. It’s not something we think about too much, but we should.

In any case, if you’re in or around the Indianapolis area, check out this exhibit! Myself, I’d love to see that Les Paul!

Read Full Post »

Fender and Volkswagen came out with this last year, and Fender’s plugging it again. I dismissed it at first as a gimmick, but it looks like it’s here for another round for this year’s Beetle, Passat, and Jetta, though the premier plug is for the Beetle. As both Fender and Volkwagen put it, “the best seat in the house behind the wheel of a Volkswagen.” This time I watched videos, and sure, it’s a pretty cool system. But despite that, I still have a beef: An American guitar icon in a German vehicle? At least for me, when I think rock and roll and cars, I picture an American muscle, bad-ass, pussy-wagon like a Camaro SS, Shelby, Charger, or a Corvette. But a Beetle? I don’t give a rat’s ass if it has a turbo-charger. It ain’t a bad-ass American muscle car!

Think about it yourself. Think of rock and roll and then picture a car that goes with that rock and roll ideal. It’s quite likely that it’s not a Euro-bred exotic like a Lambo or Ferrari or Mercedes. Or if you’re into bikes, it’s a Harley, not a Gold Wing. Even if you compare drivers and rock and roll, who pops into your mind? It ain’t Michael Schumacher. It’s John Force or Don Garlitz (goin’ old-school here) or Paul Tracy or Dale Earnhardt (Senior and Junior).

Fender and Volkswagen don’t seem to fit to me. The brand targets are so different. Look, I had a New Beetle when they first came out. It was a fun, cruiser-mobile. I even had a daisy that I put in the mini flower vase on the control panel. But in no way would I consider it to be a rock and roll vehicle. I always knew while I had it that the New Beetle was for 20- or 30-something chicks who were into or needed something eclectic in their lives, or techno-geeks like me who didn’t want to buy a beemer with their high-tech winnings (thank gawd the Prius wasn’t out then).

Read Full Post »

I subscribe to the Lefsets Letter. Bob Lefsetz is a music industry “insider” without really having been on the inside. But he tooted his horn, was often brutally honest with his views, and the industry listens to the guy. I’ve got to admit that despite his often pessimistic vitriol he makes a helluva lot of sense; enough sense that major, heavy-hitters read his letter, and send him email on a regular basis. This morning, I was surprised to see an email from Steve Lukather. Here’s an excerpt:

Damn the soundtrack of my childhood Bob.
I LOVE all these records so much.
The whole 60’s era of music will never get old to me.
The songs, the production the musicians, and let us not forget the STUDIO players in LA-NYC-Nashville-London and Motown!!
Oh the bands were great too but many had ‘ ringers’ ya know. THE guys.

And the singers!
Nothing remotely close today for me.

Everyone uses the same f**king plug in’s and over compression on everything and the same drum samples etc..
It is like seeing how many twinkies you can shove in your urethra. Painful and pointless.

I was recently thinking about what singers are doing today, and it’s all the same crap. It seems that very few pop singers can get through a song without doing some sort of Whitney-Houston-gospel-chorus-inspired vocal run every chance they get. Male and female vocalists alike are guilty of this. Singers like Whitney could pull it off because they were some of the first to really use it and it set them apart. But now all of pop-dom does it, whether they have the vocal chops (as in strength) to do it or not. Believe me, most don’t. You need lots of power to pull off those modulated vocal runs, and there just aren’t very many powerful singers out there. Unfortunately, for many pop singers, this is the norm, and it’s perpetuated by the music industry. But if you want to be different, you gotta break out of the box.

On Lukather’s view on over-compression and using the same drum samples, I totally agree, and the twinkie thing says it all! 🙂

Read Full Post »


Saw this on Facebook and had to share it. Here’s the accompanying blurb:

Gibson Custom has reformulated its Goldtop finish to match the original’s deep, dark, gold luster. The Goldtop’s back is also reformulated to match the original from the 1950s.

In the case of the updated Gold, you will notice a deeper, richer finish with a slightly “greener” caste. On the guitar’s back, you will see a noticeable increase in the visibility of mahogany grain and a more severe effect on the final color that comes from the wood’s individual personality. As it was in the 1950s, each guitar back results in a very individual look, based on the use of vintage finish formulations and application techniques, and the characteristics of each individual piece of wood.

That’s pretty awesome if you’re into Les Pauls, and a part of me is saying, “Oooh. I want one.” But the more pessimistic side of me is peaking out and saying, “Nice. Now let’s see what surcharge they’ll apply to these…”

Read Full Post »

Older Posts »