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Posts Tagged ‘Guitars’

In a word, lots. Admittedly, I’m a recent Marshall convert, having been primarily a Fender guy for years. I blame Jeff Aragaki, owner of Aracom Amps for this. His amps, that are steeped in Marshall mojo got me craving for that type of sound. BUT, it wasn’t until I got the PLX18 BB, a Plexi “Bluesbreaker” replica that I “got” that Plexi vibe.

At least to me, the response I get is visceral. When I hear a cranked up Plexi, there’s something that just sparks within me. I literally sink into the tone! A bit dramatic? Probably, but to me, there’s nothing that defines classic rock more than a cranked Plexi. Here’s a video I found of some classic Cream with Eric Clapton, playing “Sunshine of Your Love:”

Mm, mm, good….

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Click on the picture to see an enlarged view.

Yamaha APX900 Thinline Acoustic-Electric Guitar

Summary: Yamaha got it right with its Acoustic Resonance Technology (ART) pickup system. Plugged in, the tone shaping possibilities are amazing. If you’re looking for a mid-range performance guitar, this is a guitar you have to consider.

Pros: ART pickup system rocks the house! Incredibly playable guitar with a great-feeling neck. Action out of the box was just right.

Cons: A little bright and thin-sounding unplugged, but this is a thinline, so that’s expected. But despite that, it has a nice, rich tone.

Features (from the Yamaha web site):

Top Solid Spruce
Back & Sides Flamed Maple
Neck Nato
Fingerboard Rosewood
Bridge Rosewood
Tuners Die-cast Gold
Body Style Thinline with Cutaway
String Scale 25 9/16″
Body Depth 3 1/8″ – 3 9/16″
Nut Width 1 11/16″
Colors Natural, Mocha Black, Ultramarine, Crimson Red Burst
Finish Hi-Gloss
Preamp System57 (3-way A.R.T.)

Price: $699 street

Tone Bone Score: 5.0 ~ This guitar offers the best of both worlds: Fantastic plugged in tone, and rich (though bright) unplugged tone.

My very first brand-new guitar was an old Yamaha FG335 that my dad gave me for my birthday. Up to that point,  I had been playing hand-me-downs from my cousins. Not complaining about those old guitars, but getting a brand-new guitar is always special. That FG served me well for 15 years before it had a bit of an accident, and I had to retire her (I had named her “Betsy”).Since owning “Betsy,” I’ve always been partial to Yamaha acoustics, though the FG was the only one I’ve ever owned. They make great-sounding and -playing guitars at an affordable price. What’s to complain about that? 🙂

As you may know, I just purchased a BOSS RV-5 Digital Reverb that I recently reviewed. At the shop where I did my evaluation, I just happened to do the evaluation with an APX900; hence, this review that you’re reading. But before I continue with the review, this is my next acoustic guitar! For what you get for the retail price, you just can’t beat it!

Fit and Finish

Even with the “cheap” product lines, I’ve always been impressed with Yamaha’s build quality. No errant coating, nice and straight joints, and well-dressed frets. The APX900 was no exception in this department. The frets ends were rounded off nicely, the action was perfect – not too low, not too high. I dig the “bookend” triangular mother-of-pearl inlays on the neck. It’s a real nice touch; and the binding about the sound hole and body add nice definition to the look of the guitar.

Playability

With a nice “C” shape neck, the APX is a very comfortable guitar to play. Cutouts are must for me to play high up on the neck and the action is such that high notes are easy to fret. I detected no buzz at all anywhere on the neck, and the intonation was perfect – at least from what I could tell. The neck is a bit on a narrow side, much like an electric guitar, but that’s the way I personally like it, so whether playing chords or picking individual notes, the key word with the APX900’s playability is “comfort.”

How It Sounds

As I mentioned above, as a thinline guitar, its natural, unplugged tone is a bit thin. But that doesn’t mean it’s tinny. It just happens to sit a bit higher up in the mids, which could actually be very useful when playing with larger acoustics. And despite its thinner body, the solid spruce top really helps to project the sound out, so it produces more natural volume than you’d expect.

Plugged in is a completely different matter, and this is where the ART pickup system comes into play. As I understand it, the ART system isn’t your traditional EQ. It is a system of three individual pickups placed at specific points in the body that produce or emphasize different EQ frequencies. Unlike traditional tone controls that act as frequency cut or boost, each slider for low, mid and high is a volume control, and your output signal is a mix of the three pickups.

How does it work? In a word, AWESOME! I took several minutes to play around with the controls, and just fell in love with the system! Where traditional EQ controls may muffle or muzzle the tone if you turn down, this doesn’t happen with the ART system. Clarity is retained, no matter what you do because after all, all you’re doing is adjusting a volume control. I have to admit that it was a little unsettling at first because I was expecting the tone to muffle, especially as I bled off some highs. But that didn’t happen at all. For instance, when I first started playing, I thought the tone had a bit too much high-end. So I adjusted it down. The cool thing was that the high-end was still there, it just wasn’t as prominent as it was before I made the adjustment. I found that to be incredibly cool! I also set up the ART so I could play an arrangement of Sting’s “It’s Probably Me” where I play sort of a bass line on the 5th and 6th strings. With that, I brought down the mid and high, and turned up the bass. I was rewarded with a rich, bassy tone that was not boomy at all.

Overall Impressions

The ART system makes this guitar a winner in my opinion. If it worked this well with the APX line, I can only imagine how well it works with the top-of-the-line LX series. I’m duly impressed!

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That’s BS of course, because throughout history there have been several formidable female guitarists. But one that isn’t mentioned much is Sister Rosetta Tharpe. I learned of her a long time ago, but was recently reminded of her when a friend posted a video of her on Facebook. Folks, this lady had chops! I wouldn’t be surprised at all to see her listed as a musical influence on blues and rock musicians the world over.  Check out this video of her playing the song “Up Above My Head.”

Damn! Her rhythm chops in that song were incredible. She had a great since of playing just the right thing at the right time.

Here’s the video that served as a reminder… She’s playing a Gibson SG in this clip!

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Click on the picture to see an enlarged view.

BOSS RV-5 Digital Reverb

Summary: No, it isn’t the be-all end-all in reverb pedals, but for what it offers as a nice, subtle reverb to add some spaciousness to your sound, then the RV-5 really excels.

Pros: Plate reverb is excellent on this pedal – especially with an acoustic guitar. Amazingly enough, the RV-5 is transparent to my ears and doesn’t suck tone. The RV-5 is also super-quiet, and makes no line noise at all; pleasantly surprising qualities.

Cons: The Spring reverb is a little funky on this pedal. At higher Decay settings, there’s a bit of an intended artifact in the tail of the signal. Not too pleasing to my ears.

Features (from the BOSS web site):

  • Stereo input/output for compatibility with other stereo pedals
  • 6 high-quality reverb modes on par with rackmount processors
  • First-of-its-kind Modulate mode detunes the reverb sound for added spaciousness
  • New spring reverb emulation offers realistic spring reverb sounds
  • New gate reverb taken from high-end Roland studio gear

Price: $149 street

Tone Bone Score: 4.5 ~ As I mentioned above, for what this pedal offers, it’s great! To me, its strong suit is to use it as a subtle effect to add some spaciousness to your sound. As long as you don’t overdo it, this pedal will work great. The Plate reverb is particularly fantastic with acoustic.

With all the great boutique pedals out there, BOSS tends to be a bit too run-of-the-mill for many tone connoisseurs. Even I’ve thought of BOSS as somewhat of an afterthought considering some of the great boutique pedals I have, and from my participation in various online forums. Like, “Oh yeah… BOSS has “xxx” pedal. But it’s BOSS, and that means cheap, production line stuff.” But after I purchased the BOSS RV-5, one of my first thoughts was: “Have I become such a boutique gear snob that I can so easily dismiss production line pedals like BOSS because they’re not hand-made, boutique, and cost far less than boutique stuff that’s SUPPOSED to be better. ‘Cause here I am walking out the store with a BOSS pedal!”

Admittedly, it was a sobering thought. It wasn’t that I was experiencing buyer’s remorse. I truly like this pedal. But I founded this blog to share gear I’ve either purchased or come across, and most importantly, with the premise that it’s tone that matters and not the price or who made it; that is, if it sounds good, who the hell cares who made it or how much it costs? The BOSS RV-5 is a perfect example of this. Yeah, it’s made by a company that is generally equated with “cheap” pedals. But who the hell cares? I like how it sounds. If it wasn’t for the Spring Reverb, which I don’t particularly like on this pedal, it would’ve gotten a higher rating.

My intent with getting yet another reverb pedal was to get a journeyman pedal that would just do the job for my solo acoustic gigs. I wasn’t looking for a reverb where I’d layer on tons of the effect; just something subtle. After all, I was plugging into a PA board, and just wanted a touch of spaciousness, not have the reverb be the primary tone. In my experience, at low levels, even “cheap” stuff works pretty well, so I took the RV-5 for a spin, and was rewarded with a very nice-sounding reverb. As with any digital reverb that I’ve used, using them judiciously and in moderation is the key, and that was how I did my evaluation in the shop.

The net result is that I purchased the pedal. It does the job of providing a subtle, background reverb VERY well. Someone commented in my Gig Report that they’d take the RV-3 over this. I think this was motivated by the fact that the RV-3 is great for ambient stuff, as it is both reverb AND delay. But the RV-5 is really a different animal. Heavy, ambient reverb is not its strong suit. But for adding a slight spacious texture to your tone, it clearly excels in my opinion.

How It Sounds

For what it provides for me, I think this reverb sounds great. It’s not the be-all, end-all in reverbs, and it’s definitely not something I’d use for ambient stuff, but frankly, I never use a reverb pedal for that anyway, which is why I have a delay pedal. I put together samples of the same chord progression to give you an idea of what it sounds like in its various modes. The pedal is set with Level and Tone at noon, and Decay at 2pm. All clips were played with my Gibson Nighthawk, and running into the reverb pedal and into my Aracom VRX22.

Modulate

This mode adds an ever-so-slight slight chorus modulation to the tone. It’s nice.

Gate

Gate is interesting. Both pre-delay and decay are very short. This is actually kind of cool when you want a reverb tone that doesn’t tail.

Room

This setting really started growing on me when I was doing my tests. This is really a small-room type of reverb.

Hall

Nice, expansive tone with this mode.

Plate

Probably the most subtle of the modes, it really shines with acoustic guitar, but is very useful with electric.

Spring

BOSS claims to have added real spring reverb effects to this mode. Well, it didn’t succeed. The little motes of slightly buzzing spring are absolutely annoying to me, and I would never use this mode. You can hear it a little in the clip. I wasn’t expecting it at all, so it’s out as far as I’m concerned.

Overall Impressions

Sans the Spring mode, I like the reverb this produces. Plate and Room are definitely my favorite modes on this pedal, and Modulate comes in a close third. All in all, if you’re looking for journeyman reverb where you just want to lay on some spacious texture, this is a great pedal to consider!

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What? No formal review? Well, being that the pedal is less than 24 hours old, and I gigged with it before doing a full review, I thought that I’d share how it performed first before giving it a rating.

First the back story…

I do a solo acoustic gig at  local restaurant every Friday. Rig-wise, my rig has been very simple: An acoustic/electric and a DigiTech Vocalist Live 4. I’ve brought amps in the past, but usually err on the side of convenience to keep things as simple as possible. The Vocalist Live has worked fine for several years, and it’s easy to hook up to the PA and go. Unfortunately, it’s showing its age and wear and tear from using it so much (I do at least two gigs a week where I use it). Lately, the guitar input has been crackling a little, so I’ve had to use the “Thru” jack to go out to the PA. That’s not a problem, but typically a raw signal into a PA can be a bit muddy and harshly so.

So yesterday, knowing that I would have to go direct to the PA, I went down to my local music store and got a great passive DI box from Radial Engineering called the “ProDI.” I’ll have a review of that in a bit. But since the PA at the restaurant doesn’t have any effect inserts or a loop, I decided to get a reverb pedal specifically for this gig. Enter the RV-5

BOSS may be considered a bit too mainstream for most people’s tastes, but I have to hand it to them. They’ve created some wonderful pedals in the past that have served to define certain tonal genres; for instance, the CE-2 Chorus. Now, I’m not saying the RV-5 is a standard by any stretch of the imagination. But considering how long BOSS (Roland) has been around, they do know how to get some great sounds. And the fact that almost everything they make is pretty affordable, that’s not a bad thing at all!

Add to the fact that BOSS pedals seem to last forever, and that is a testament to their build quality. My thought is that BOSS has always been able to produce “giggable” tones at a great price that may not be absolutely perfect or the ideal I may be after with a particular tone, but they’re well-built, reliable, and I can get my tones “close enough” so that most folks would never notice. Hell! I had my all-digital CE-5 on my board for years, and no one was the wiser (though, of course, it’s no match to the liquid, smooth tones of the CE-2).

I wasn’t expecting much out of the RV-5. After all, despite BOSS’s longevity in the marketplace, most of their new stuff is simply okay. But when I auditioned the pedal at the shop, going through a PA system, I was really impressed with its tone – especially with the “Plate” setting, which provides a nice, warm and snappy reverb that’s ideal for acoustic guitar. I didn’t play too much with the other reverb settings at the time, but I was really pleased with the Plate just the same. On that voicing alone, I knew I had a winner for my gig yesterday.

The other thing that REALLY stuck out for me was that the RV-5 is dead quiet. No errant hiss or artifacts at all, and that is a real delight, not having to deal with line noise.

So last night, I ran my guitar into the Vocalist Live, went out the “Thru” jack, into the RV-5, into the Radial ProDI, then straight into the board. I was crossing my fingers that it would work, and it work it did! I was pleasantly surprised about how transparent the pedal was! My Stratacoustic Deluxe has this quirky, but pleasing jangle from the Tele lipstick pickup in the neck that I absolutely love, and I was actually concerned that I’d lose that with the RV-5. But my concerns were all waylaid as that jangle was retained.

What I discovered through tweaking the pedal last night was that I actually like the “Hall” setting quite a bit, and switched back and forth between “Plate” and “Hall” all night. I really didn’t get into the “Spring” setting that much, and frankly, I’ve never really liked digitally modeled spring reverbs – even the Lexicon spring that’s on my Hardwire RV-7. But that’s just a nit. It’s not bad, but it’s not really my cup of tea. I tend to like a more spacious-sounding reverb.

So all in all, I really dig the Boss RV-5. I’ll do a full review in the next couple of days!

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Wow! Just got finished playing a little gig with me mates at the church for Saint Paddy’s Day. Lots of fun drinking Guinness, playing tunes, and watching my daughters do some jigs and reels (they’re Irish dancers via their Irish mama). 🙂 So, I got to thinking, who were some influential Irish rockers through the decades. So I want to celebrate Irish Rockers on Saint Paddy’s Day! Here’s a quick list:

Van Morrison
Rory Gallagher
Thin Lizzy
The Boomtown Rats
Sinead O’Connor
Gary Moore
U2
The Pogues
The Cranberries
Ash
Snow Patrol

I love the derivation of The Pogues’ name which is short for the Irish “pogue mahone” which in Gaelic is: póg mo thóin which means “kiss my arse.” 🙂 From what I heard from an Irish friend, they had to shorten their name for the record company so as not offend the public. Too bad. It’s a great friggin’ name!

Anyway, let’s raise a pint to those great Irish Rockers!

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If you’ve read this blog with any regularity, you’d know that I’ve lamented trading away my original BOSS CE-2 Chorus for a Multi-function DigiTech pedal. Hey! I didn’t know better at the time. The CE-2 was cheap when I got it new back in the early 80’s, and so I figured, what would be the harm in trading a cheap pedal for another cheap pedal, especially if the new cheap pedal was all-digital! Oh well, I’ve redeemed myself. I finally got a CE-2, and for a GREAT deal on EBay!

To me, THIS chorus sound is the chorus sound that defines the entire gamut of chorus pedals. Say what you want about the others. While they’re all good – and I’ve heard and played many – the CE-2 chorus is the sound I grew up with as a young guitarist. To me, nothing matches its warmth and the liquidity of its tones. This is pure analog Chorus goodness.

I did some really quick demos about fifteen minutes ago. All clips were played clean with my Squier CV Tele 50’s running into my pedal board and into my Aracom VRX22. Excuse the 60Hz hum from my Tele and the ambient background noise of my fridge. 🙂 Each clip starts with a dry version then the CE-2 is engaged.

First up is a little clean blues groove. The chorus, when engaged is set to 3pm on both Rate and Depth to get a sort of vibey effect:

Next up is a simple chord progression done finger style. The CE-2 has both Rate and Depth set to noon:

Finally, the last clip demonstrates how well the CE-2 plays with other modulation effects. It first starts out with my VOX Time Machine and Hardwire RV-7 Reverb. When I play it over with the CE-2, the CE-2 is set to my favorite setting, with Rate at noon, and depth at 2pm (some things are just etched in your memory):

Of course I realize that appreciation of tone is an entirely subjective matter. But even after all these years, I just can’t get over how much I love this chorus sound and thick and liquid it can get, but still be crystal clear and articulate. My CE-5 did a great job for real subtle chorus, but cranked up, it was unusable. But with the CE-2, there are usable tones, no matter where you set it!

I have to admit that I am absolutely emotional right now. I’ve got all these memories flooding through my head from almost 30 years ago when I first bought it: Memories of watching a young Michael Hedges work his magic on his acoustic; trying to cop Andy Summer’s tone; late nights in my parents’ house plucking away at my guitar; lots of memories, both good and bad. Wow!

This pedal will NEVER leave my board again!

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…your lead sheets, that is…

I’ve been writing music for a very long time, and I’ve used a variety of methods to get my songs written down, from notating on staff sheets to using full-blown music notation software. The notation software I’ve used extensively in the past is called “Mozart,” and it provides a full range of staff-based and even guitar tab notation features. I’ve used it for orchestral work and songwriting, and it has been a real life-saver. But as guitar is my primary instrument, Mozart is a little overkill, especially when all I want to do is put a lead sheet with chords together for my band. Furthermore, nothing can shake me out of my creativity when I have to focus on the minutiae of notes. So having a quick way of putting lead sheets together so I don’t lose my creative spark is critical.

Enter ChordPro

This is where a text-based notation system called “ChordPro” has been so instrumental for me in quickly assembling lead sheets. ChordPro is a very simple markup “language” similar to wiki markup, but far more limited. All it does is provide formatting directives to programs that can parse the ChordPro markup for easy output, either to print or PDF (depending upon your system setup). If you look at the ChordPro format, you can see that there just aren’t that many formatting commands. But that’s its power. Why be inundated with a bunch of features? That’s just more to learn, and the point is to get a lead sheet together quickly.

The most sophisticated feature of the ChordPro format is the ability to define chord shapes. Not all ChordPro parsers are created equal, but one thing they all do is optionally print chord shape grids, and if you use alternate or altered chords, having the ability to notate them is vital – especially if you’re sharing your songs. In my latest song, “The Breakup,” I needed to get a lead sheet together to send to people to look over. In that song, I used both alternate and altered chords, and needed a way to show them.

For instance, I have a B7b9 in the song. People who know altered chords could easily figure it out, but it’s so much easier to see a grid. In that case, I notated the following {define:B7b9 base-fret 1 frets x 2 1 2 1 0} to tell the parser to draw out the chord. The syntax is very simple:  define:<chord name> base-fret <fret of the lowest fretted note> frets S6 S5 S4… <position of fretted notes relative to the base fret. The base-fret is one (1), not zero. So for the B7b9, the base fret is the first fret, or 1, then I set the fret positions of each string relative to that position. Zero (0) denotes an open string, while x denotes a muted string.

Here’s the whole song notated in ChordPro format:

{t:The Breakup}
{st:Brendan Delumpa}
#Chord definitions
{define:B7b9 base-fret 1 frets x 2 1 2 1 0}
{define:F#7#9 base-fret 8 frets x 2 1 2 3 x}
{define:C#m7b5 base-fret 4 frets x 1 2 1 2 0}
{define:Em7 base-fret 7 frets 0 1 3 1 2 1}
{define:Cmaj7 base-fret 3 frets x 1 3 2 3 1}
{define:Am7 base-fret 5 frets x 1 1 1 1 1}
{c:VERSE 1}
[Em7]Why don't you say just what's 	[Bm7]on your mind
[Em7]instead of leaving clues for [Bm7]me to find
Been on the [Cmaj7]trail to your [Bm7]heart but I'm [Am7]lost from no [B7b9]direction
[Em7]you've been turnin' me a[B7b9]round[F#7#9]

{c:VERSE 2}
[Em7]The way to your heart used to [Bm7]be so clear
[Em7]Now I can't see past this fog of [Bm7]doubt and fear
I'd like to [Cmaj7]reach out to [Bm7]you but you've [Am7]left me in iso[B7b9]lation
[Em7]I don't know where to turn... 

{c:CHORUS}
{soc}
We've taken our [Cmaj7]hearts as [Bm7]far they will [Em]go
our summer of [Cmaj7]love has turned to [Bm7]rain and snow[Em]
no more [Cmaj7]rays of hope to guide us
there's [C#m7b5]nothing left to hide [B7b9]behind[B7] (let it ring)
{eoc}
{c:Chorus Endings}
1st: You take yours and I'll take mine...
2nd: We wasted all this time...

{c:VERSE 3}
[Em7]Expectation was our [Bm7]deadly sin
[Em7]It's a game that we could [Bm7]never win
"You can [Cmaj7]do what you [Bm7]want, just make [Am7]sure you do it [B7b9]my way."
[Em7]You know I'm always [B7b9]right...[F#7#9]

{c:VERSE 4}
[Em7]We see the world from our [Bm7]point of view
[Em7]Where nothing changes, nothing's [Bm7]ever new
We hold [Cmaj7]on to a [Bm7]vision and [Am7]never seek a [B7b9]better way
[Em7]and we never see the light...

{c:CHORUS}

{c:VERSE 3}
[Em7]Here's to the end, here's to [Bm7]being free
[Em7]No more blame for each other's [Bm7]misery.
I will be [Cmaj7]strong and sur[Bm7]vive and I [Am7]won't be shedding [B7b9]any tears[Em]
I will be [Cmaj7]strong and sur[Bm7]vive and I [Am7]won't be shedding [B7b9]any tears[Em]
I will be [Cmaj7]strong and sur[Bm7]vive and I'll [Am7]fly from all these [B7b9]wasted years.[Em]

{c:Brendan Delumpa}
{c:(c)2010 Brendan Delumpa}

Pretty simple, right?  When I’m first constructing a lead sheet with chords, I normally insert the chords first into the lyrics, then do the chord definitions, then add the rest of the formatting. It keeps the process fairly simple.

Another advantage of having a standard notation method is that band members can quickly put together lead sheets to share with their bandmates. If everyone has a ChordPro parser, they can easily print out stuff someone else in the band has sent them. Now that’s really powerful!

Songsheet Generator by Ten By Ten Software

There are number of ChordPro parsers on the market right now, but the one I like to use is called “Songsheet Generator” by TenByTen Software that runs on both Mac and Windows. Click here to see the PDF of the output that Songsheet Generator produces. As I said, parsers are not all created equal, but Songsheet Generator has some good formatting options that make customizing your output a breeze; not to mention that it’s donation-ware, so you have the option of paying for it. It’s only $18.00, so I recommend supporting the creator. I sure am. It makes the printing and managing of songbooks so easy.

I realize that some people might be turned off by doing things so manually, but believe me, using ChordPro notation is MUCH faster than pointing and clicking.

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No, I’m not talking about a resonator guitar. This is an effect. It essentially adds tons of sustain and feedback kind of like one of those Moog guitars, but in a pedal connected to a gooseneck stand that appears to have an optical scanning device attached to the end that “reads” your strings, then processes the vibrations. It’s interesting to say the least, and Uli Jon Roth apparently uses it.

That said, I like the idea of having something like this to get super-sustain and feedback, and totally get that you don’t have to spend an arm and a leg to get at least part of what the Moog guitar does, but it’s another piece of equipment to lug around. Don’t know how I feel about that.

Don’t know how practical it is, but I’ve seen worse things.

Check out the Vibesware site for more information!

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…I gotta go with it! I just got home from playing a three hour solo acoustic gig. I’m physically tired from playing and singing, but I’m going to go out to my garage and play some more after I write this entry! I’m on a real high from getting a great evaluation back from my latest song, “The Breakup,” and my gig tonight was really magical because I had breakthrough with letting my emotions pour out while I was performing. I’ve been doing this gig now for almost 8 years, week in and week out (except for vacations), and even after all this time, all I want to do is sling my axe!

Call it an obsession, but I could think of a lot of worse things to be obsessed with…

I’ve been trying to develop an idea for a new song. It’s a softer one, but I don’t necessarily want it to turn into a ballad…. oh well… Like I said, I’ll just go with the flow for now and see where this latest burst of creativity takes me. I guess that’s the point of this entry, just going with it. Tonight at my gig, I was feeling really passionate about playing. Normally I restrain myself from letting it all hang out emotionally, but tonight I just said, “Screw it. I’m feeling this way, so I’m going for it. I’m going to put everything I’ve got into my performance.” What that produced was magic. Normally, diners at the restaurant don’t seem to be paying attention – I get pretty good tips so I know they’re hearing it – but tonight, they really listened, and I think they connected with what I was feeling because the room was unusually much quieter than it normally is when I stick to the background, and I observed people just watching me play. That was so over-the-top cool!

I learned a great lesson tonight, and that is if you play with sincerity and with all your heart, great things can happen!

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