More Things Rig

Hi Everyone,

It’s been a while since I had a gear post, but I thought I’d put up a quick update that some of you might find interesting.

And besides – what guitar player doesn’t like gear (or reading about gear?)

That Muse Of Guitar

The Guitar-Muse posts are on a bit of a hiatus for the moment, but I did a short series for them about the evolution of my live rig and getting it down to something manageable for travel.  You can read those posts below:

Part 1

Part 2

Part 3

Part 4

I never got to do part 5 or 6, but for people that are interested here’s some of the things I make sound with now (and it may be something you can apply to your own live rigs):

Electric – The Exonerated

As part of the Buck Moon Arts Festival, I volunteered to do live accompaniment for a staged reading of the play, The Exonerated.  The play called for a Slingblade/Daniel Lanois sparse type of accompaniment.  As the drummer I wanted to work with wasn’t available, I brought my full rig and laptop.

Live Rig

Can improvise, arrange and mix multiple audio signals for a live show. Can not shoot a picture in focus.

What you’ll find here:

  • FnH Guitar (not pictured) being played with picks, slide and ebow running into
  • Nady TD-1 (with 12AU7) going into a
  • POD 500X HD
  • (there’s an additional expression pedal as well) running the effects send into a
  • Torpedo C.A.B. and running that out to a
  • QSC K-8 speaker.

The laptop is running Logic Audio/Absynth and a few other apps and I’m triggering sounds and loops with the Korg Nano Key.  The audio leaves my headphone jack and goes into the 1/8″ input of the POD.

Perhaps you noticed the white Zip Ties….I tried using just the Velcro on the PedalTrain and when I opened the bag, all the pedals were pulled off the board and on the bottom of the bag.  I went to the hardware store and got the longest ZIP ties I could to hold everything down and all was right with the world.  A dedicated power supply for everything would be nice, but as that would require having the power input completely re-wired on the TD-1, that’s on a back burner for now.

I really dig the Scuffham amps S-Gear, so if I could have gotten the Scuffham amps and SooperLooper plug in in AU Lab to play nice with the Line 6 USB shortboard I might have just brought the Apogee Duet, laptop and shortboard.

But my laptop isn’t getting any younger and a new laptop is out of the budget right now so rig B right now is my iPhone, Sonic Port, Positive Grid, Audio Bus and Loopy HD.  I dig the loop features a lot and if the AirTurn BT-105-PB4 works the way I think it will I might be able to make it one of my default live rigs.

Having said that, the POD rig does a LOT of things really well and while I like the Positive grid guitar tones, in its current incarnation it can’t touch the POD for non-guitaristic tones (i.e. the weird stuff – i.e. the good stuff).  Using a RADIAL splitter and a SONUUS i2M to allow the guitar to be a MIDI controller is also something I’ve experimented with before and will come back to.  Again – it depends on the consistency of the laptop.

I also have a ZT junior amp, which I really dig and I’ve done a couple of background music gigs that just required showing up with a small amp.  For a straight jazz, country or for just a warm clean tone in small settings it’s my go-to.

Acoustic Tone

The last set up on my Tam Hiep made it borderline unplayable due to a sympathetic vibration on the low E string.  File that under substantial repairs/bummer.

In the meantime, since I don’t want to gig with my Jeff Chappel guitar – I’ve gone back to Yamaha APX’s for live use.  I have an APX700 12 string that I’m using for more Dastgah/Maqam type things with a B-F#-B-F#-B-F# tuning.  Right now I have it set up for octave tuning but will likely use the same adaptations I used on the Rogue (i.e. making it a 10 string with unison strings on the D and G strings.

I’m keeping an eye out for another APX700ii, 700 or 500ii.  The Yamaha and the BT-105 are the last anticipated gear purchases for quite a while but we’ll see what happens.

In terms of amps and effects.  It depends on the situation but the Yamaha AG-Stomp does everything I could ask it to do in a live setting and a ZT Acoustic lunchbox is arriving via UPS today and I anticipate that that will solve any live need I could possibly have.

That’s it for now!

 

Deciphering Apple’s Eddie Cue’s “Music Is Dying Quote”

BuckMoon Arts Festival

As a reminder to anyone who happens to be in the upstate NY area, I’ll be performing live accompaniment for a staged reading of The Exonerated as part of the BuckMoon Arts Festival on July 12-13, and leading a series of panel discussions with working artists and industry experts on how artists can monetize their art.  You can read about both of those here.

In doing some research for the panel discussions I was listening to the CD Baby podcasts this week and I caught up on two interesting, and somewhat related stories to the panel.

1.  Apple’s Eddie Cue announced that Apple bought Beats because “Music Is Dying”

2.  Indie artist Shannon Curtis came on to promote her new book, “No Booker, No Bouncer, No Bartender: How I Made $25K On A 2-Month House Concert Tour (And How You Can Too)”

Is Music Dying?

I’ve never seen anyone at Apple make any kind of negative statement about the music industry, which is why iTunes Eddie Cue’s quote is somewhat telling:

“Music is dying,” said Cue. “It hasn’t been growing. You see it in the number of artists. This past year in iTunes, it’s the smallest number of new releases we’ve had in years.”

As quoted from  http://readwrite.com/2014/05/28/apple-beats-eddy-cue-jimmy-iovine#awesm=~oHLbiOYNIxpYCB

My guess is that he’s talking about the smallest number of major label releases, as there is no shortage of independent music being released.  and that might be true. A recent Variety article entitled, Music Sales Continue to Plummet for Albums and Digital Downloads, brought up the following statistics comparing sales for the first 1/2 year of 2014 with sales from 2013.

  • Total album sales (any format) dropped nearly 15%.
  • Sales of individual digital tracks were down by 13%
  • Streaming was up 42% (but streaming revenues for music are almost nothing)
  • Vinyl sales were up 40%, with Jack White’s Lazaretto selling over 48,000 units.
  • The year’s best seller is the Frozen soundtrack which has sold over 2.6 million units.

As the article’s author, Christopher Morris put it:

“To put the steepness of the decline in perspective: Just 18 months ago, Adele’s Grammy-winning “21” – the bestselling album of 2011 and 2012 — finished the latter year with sales in excess of 10 million. It is conceivable that such a phenomenon will not be seen in the industry again.”

In contrast, check out the story about Indie Artist Shannon Curtis who went from playing clubs to making $25,000 on a 2-month tour of house concerts.

So, is music dying?

Well….music itself isn’t dying (that quote is just silly) but music making is being altered in a way that professional musicians are not able to make a living at it with traditional means. The traditional major label model has moved from a terminal status to life support and musicians are having to find ways to try to make money with more revenue streams than ever, that pay less money than ever, with more people competing in the market forever.

Shannon Curtis was able to bring in some money doing house concert shows to audiences who wanted to see her in a non-traditional venue (but I’m guessing she’ll make more money from her e-book from musicians looking for a new angle than she ever did from her concert tour!)  But the real problem most new artists face is that culturally we’ve created a Vine audience with a short attention span.  One that demands immediate gratification and doesn’t want to have to wait to experience something.

Having said that, people still want to connect with things on a deeper level, and the artists that can weather the storm and actually touch people – consistently in an honest emotional way, are the ones who will be building a career and those artists are going to face even bigger challenges over the next 10 years.  Perhaps that struggle will make some great art.

Back to the panel prep!  As always, thanks for reading!

My Interview With Daniel Donato On Guitar-Muse and Positive Grid JamUp Update

Hello everyone,

Two quick Things

Guitar-Muse

Just a quick note to let you know that my interview with Nashville Guitarist Daniel Donato is up on Guitar-Muse.  At the ripe old age of 19, he’s accomplished a lot more than seasoned players twice his age and has a new DVD out on Hal Leonard.  He also offers some great tips on Practicing, the value of Post It Notes when pushing one’s limit’s when performing, and how to go from being in the audience to being on stage.  Also, some great tone tips as well.  You can check that interview out here.

I’ve got an interview with Joe Romagnola at Grooveyard Records, a guitar-centric label in Upstate NY coming up soon as well. There are some more interviews in the pipelineand some gear things as well.

Positive Grid Jam Up Release

Positive grid released a massive new update for Jamup.  If you own any type of supported IOS device, you need this.  It’s a free upgrade for current owners but if you’re new to the game here’s an overview.

The good

  • The price is now $19.95 – but you get BIAS bundled with it for free.
  • There’s a drop box feature for tonesharing
  • The New acoustic bundle ($9.99) is awesome!
  • There’s an acoustic simulator that sounds really good.  It’s a decent acoustic tone on it’s ow and I think it would sit well in a mix but the real excitement for me is that it’s one of the best Jazz guitar tones I’ve ever heard!  If you were playing Gypsy Jazz or wanted to incorporate more of the warm acoustic tone into your playing.  What’s also amazing about this is that JamUp has been asking players on FB if they would have any interest in being able to choose pickups or wood materials for bodies – which could mean that they are getting closer to releasing something akin to a software version of the Variax (which honestly Line 6 would have made infinitely more money from than every Variax sale that they’ve ever made).
  • The acoustic processing is also very good.  There’s a new EQ, amp and reverb to go with it.  I could show up at an open mike with a sonic port and my iPhone and do a set no problem.
  • There’s a new Vintage effects pack (also $9.99) with some cool choices.  I’m still not down with the decay on the notes in some of the gain settings (and the gate) but the effects are cool.
  • There’s also a new amp pack (again a $9.99 add on).  It’s cool.  I don’t know that it’s anything radically different than other amps that are there (or that you could build in BIAS) but they sound good – particularly the clean amp.

The bummer

  • Still no dual signal path.  That’s a minor quibble.  But it would make it awesome.

Also, the BT-4 Bluetooth Midi Switcher is really cool but I think sending audio through it is a waste of time.  I’d rather see the energy spent on being able to daisy chain boards so you could run multiple boards and say use one for the looper and one to switch patches.  The addition of the expression pedal is a great feature though.  Even with that said, the BT-4 looks like a great product and I’m psyched to check it out.

Okay!  That’s it for now.  As always, thanks for reading!

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New Guit-A-Grip Posts, Festival Cinema Invisible and June News

Hi everyone, this is just a short series of updates of things that may be of interest to you.

Guit-A-Grip

There are a few new posts up on my other site, Guit-A-Grip. The first post (Differentiating between action and change) has to do with why people take action to deal with problems (like buying a book) but don’t follow through (i.e. actually reading the book).  If you struggle with getting things done, this post may help and you can read it here.

Also there’s a (semi) return to the podcast.  If you’re thinking about doing your own podcast or running your own promotional effort, you can learn a lot from the mistakes I made on mine.  You can listen to that podcast here.

Guitar-Muse

Guitar-Muse should be running my interview with Daniel Donato soon.  Also, it looks like an interview with Joe Romagnola of the Rochester-based Grooveyard Records is in the works.  If you want to know what inspires a guy to start a guitar-centric record label when a lot of other labels shut their doors, this will be a good interview to check out.

Schenectady and The Festival Cinema Invisible

In 2006, right before I relocated to California to go to Cal Arts, I took a trip back to the capital district to visit family with my wife and FnH Guitar’s John Harper.  We took a drive down state street in Schenectady into Central Avenue of Albany and it looked like a post-apocalyptic nightmare.  Every other building was boarded up, and the only thing that seemed to be open was dollar stores.  I was in shock at how far down it had gone from even the last time I was thereh.

Last September I relocated to upstate New York and this past February I moved to Schenectady.  It’s come a long ways from where it was just several years ago and with places like the excellent Persian Bite, Tara Kitchen and Mexican Radio opening soon – there is a real sense of revival here.

The excellent efforts of the good people behind The Festival Cinema Invisible go a long ways to highlight the best elements of what’s happening here.  President and Artistic Director Mahmood Karimi-Hakak and executive director Elahe Golpari have curated a massive 3-day festival that is screening over 40 short and feature length films at at Proctors Theatre this weekend.  As a number of these films have not been seen in Iran, almost all of the film screenings are world premiers, US premiers and/or East Coast premiers.  In addition to helping artists get their voices out into the word – they are committed to the transformative power of art and community.  I am grateful to be here in Schenectady while this is happening, to make some fantastic friends and I look forward to see what I can contribute to arts and community here as well.

These are great people and if you live in the area, they could use your support.

  • The festival runs through this Sunday and culminates in a concert with the incredibly gifted guitarist and visual artist Farzad Golpayegani.  I saw Farzad’s work at the kickoff event for the festival on Thursday and you owe it to yourself to see him perform his Persian inspired instrumental rock music.  His cd, FOUR will be available to pick up there and I believe his artwork is available for sale as well. Farzad’s website is  here.
  • Big thanks to Brona Jafari and Elahe Golpari for posting an impromptu interview with Candace and I.
  • Mahmood has a new book out, Love Me More Than the Others – Selected Poetry of Iraj Mirza that’s available at the festival.  Having picked it up last night and read it until the wee hours of the morning, I can tell you that it’s fantastic.
  • Also, a big shout out to Modi, the bassist for Toltec Band.  Modi’s in town for the festival and has cds for sale there as well.

Gigs

I’ll doing live improvised accompaniment for a staged reading of The Exonerated as part of the BuckMoon Arts Festival at Fulton-Montgomery Community College July 12th and 13th. I’m also involved in organizing a series of workshops for emerging artists and we’re going to have some great panelist and panel discussions on being a working artist.

Some other gigs are in the works for this summer and fall.  More info as it becomes available.

Tracks

I’m working with an engineer to put some finishing touches on the long-awaited Rough Hewn Trio ep and will also have an EP of acoustic guitar music out this fall.  Some projects I’ve been trying to pull together for a while now, may actually have traction – so we’ll see what happens there!

Books

I’m still currently outlining the book on Practicing book, editing/ reviewing the material for the Pentatonic Extraction book that should be out this year and still looking at an e-book modal series that I think would be cool.

As always, thanks for reading!

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Rig-O-Tone-y or More Hybrid Tone Approaches

When Gear Acquisition Syndrome is fuel for the fire

After my last post on using the Torpedo Cab and the Nady TD-1 in conjunction with the POD HD500X, I thought I’d talk a little bit more about the configuration I’m currently using and then A/B the approaches for you.

The TD might stand for “Terrible Design”

I had done a substantial amount of research for a BIAS review for Guitar-Muse that may or may not be see the light of day and in researching all aspects of the tube pre-amp, rediscovered the 12AU7.

12AU7

This tube is a direct replacement for a 12AXA7 but has some different tonal characteristics and offers less gain.  On a recent trip to Drome Sound, I found a NOS Groove Tubes 12AU7 for $10 and decided to swap it out in my Nady TD-1.  The TD-1 is a cool pedal in terms of tone, and a terrible housing design as replacing the tube requires completely dismantling the casing.

As a first step, you’ll need 3 tools to do this.

ToolsOn my first dismantling attempt, I realized that I didn’t have a star shaped driver to undo the sides of the casing.  It seemed cruel for Nady to not simply use philips head screws but a quick trip to Radio Shack got me the driver I needed (with some other attachments) and soon I had this.

Nady Pedal DisassembleThere are 36 parts holding the casing together.  You need to remove all 36 to get the tube out (a Chinese made 12AX7B in this case).

Pedal Interior

You’ll also notice that you don’t have a lot of wiggle room to extract the tube.  The photo above shows the replaced GT in the socket.

The A/B Rig

First off.  I had a strange experience with my hybrid solution at the last gig I played.  Soundcheck went fine and then live when I switched to my lead patch the volume dropped by 70% or more.  I had to full crank my QSC K-8 (which I’ve never had to turn past 10 o’clock [the off position starts at 6 o'clock]) to be heard.  I assumed it was a cable or a bad connection but checking the cables after the gig, they were all fine.  Line 6 just released a new Firmware update to deal with volume drops with that occurred when switching patches with specific configurations and I guess mine was one of them as it seems to be working now.

I started the process this weekend of porting all of my patches from the HD-500 over to the 500-X (and trying to recreate some of my POD Farm patches there as well) and thought I’d give you an A/B example of the dual rig.

This was one of my old POD patches that I liked.
Dual 800It was a great dirty rhythm sound but the leads were hit and miss.  I put a FX loop in with a 6 DB increase and used it as a boost for solos.

In contrast, here’s my current configuration.  The tube screamer is gone and replaced by the TD-1.

J800 + J45_1The TD is also the first step of my signal chain so I use that for the lead boost.  Here are the amps:

800 + 45_2You may notice that the cab models are turned off.  The FX loop now goes out to the Torpedo for the cab simulation.

So this means that I have 2 extra things plugged in with my POD.  Which is way more of a pain than simply using the POD direct.  But does it make a difference?

Well the tones are completely different but here’s the A/B.  I’m just improvising some D major patterns over a D5 chord.

Recorded the TD/Torpedo is more saturated, but the biggest difference is live.  When played through my QSC, the second tone has substantially increased presence in the room.  I don’t know how to describe it but seems to jump out more from the speaker.  There’s also a little hiss from the pedal, but I can live with it in a live context.

Wait there’s a third option?

Having said all of that I took advantage of a recent cancelled rehearsal I showed up to to put my Positive Grid Jam Up App through the paces.  I can work with it at home but it’s a different context to put it through an amp on a stage in a large hall and see what happens and I have to say – I was pretty blown away.

I’m going to be doing live accompaniment for a production of The Exonerated at the BuckMoon Arts Festival in July and currently it looks like I’ll just be bringing my iphone, a laptop for some synths and looping and a powered speaker.  It doesn’t have the flexibility that the POD set up does, but for situations where I just need a decent clean/dirty tone – it gets the job done and then some.

More tone reports as the summer progresses – but hopefully this is useful to some of you.

As always, thanks for reading!

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So You Want a “Budget” 8-String – An Omen 8-String Update

Go With What You Know

Of all the posts on my site – by far the two most popular are my post on Guitar Street in Vietnam and the post on my Omen 8-string.  Since I’m not going to be able to make it back to Vietnam anytime soon, I thought I’d post on some things I’ve been working on with the 8-string.

Budget is the mother of invention

I basically have two views on gear.

On one hand, I fully believe that you should invest the money and buy quality gear that works for you.  On the People’s Court, Judge Millian has an common quote I’ll cite here, “Lo barato sale caro” – The cheap comes out expensive.  I have often found that when trying to cut corners on certain things (“That $30 chorus pedal doesn’t sound that bad”) that it ends up costing me more in the long haul (like having to spend valuable studio time testing out a bunch of other gear because that $30 pedal and that $100 amp DO sound that bad).  My QSC K-8 is not a cheap speaker, but given that it can push me in front of an entire band, it’s a bargain.

On the other hand, the quality of gear available now is better than it’s ever been.  I’ve been using Positive Grid’s JamUp and Bias with a Line 6 Sonic Port and I’m consistently blown away with the high gain tones and the quality of some of the effects coming out of my iPhone.

Transformer Front

Mind you, the hidden cost of this IS the iPhone but the apps are ridiculously inexpensive.  With the discounts they were offering before the BIAS release, I think I was fully loaded on the software for $60 or so.

Moving this argument to guitars, the building standards on mass produced guitars are constantly improving and the price is consistently dropping.  So when I looked at getting into an 8-string guitar, there were two routes.

  • Spend (for me) a lot of money on a custom model or
  • Try out an inexpensive model and see if it would work for me

Since it was a large unknown for me, I decided to go with the Schecter Omen 8-string.  You can read that gear review here, but a lot has happened to the guitar since then which may be of interest to people who are looking

This is another example of “Lo barato sale caro” BUT in this case it’s still much less expensive than purchasing a custom guitar and it’s good to see how these things develop.

There’s no going back to Kansas Dorothy

8 String Close Up

You’ll notice that on the right hand side of the body, there’s a modification that there’s no real turing back from.  (Side note:  When Mrs. Collins saw this mod she had a strange expression on her face and when I asked what was wrong she said, “Now you’ll never be able to sell it.” ;) – Very true.)  However, you need to make gear work for you.  And this mod was done for a very specific reason.

Tuning

 Initially, I was experimenting with the following tuning:

(low to high) B-E-A-D-G-C-E-A.  

And then using a .007 for the high A and a .062 for the B.  But it didn’t work for me because the high A was incredibly unstable.  When I tracked some alternate takes for the Trials Evolution game, I ended up going through 3 of them at the session.  

So I thought I’d try the Tobin Abasi (Animals as Leaders) tuning with an additional Low E/A added to the standard 6 string tuning [(low to high) E-A-E-A-D-G-C-E].

I got a DiMarzio D Activator bridge pickup and had FnH Guitar’s John Harper install it and set the guitar up for the heavier gauge strings.  I got it back earlier in the year and used a F#-B-E-A-D-G-C-E tuning and I didn’t dig it.  I just couldn’t find a tone that worked with that tuning.

So I went back to the drawing board and decided to try to see if dropping the entire tuning down a step would give me the stability to make it through a live show.  I had about 20 .007 strings to experiment with so I figured I’d give it a try.  Also, I was reading about a string development that was interesting to me

Ernie Ball 7-String Cobalt set

After experimenting with various strings over the years I’ve always come back to using D’addarios for my electrics.  I still swear by their Pure Nickle .011s for my FnH – but I didn’t like the strings that shipped with my Omen and I didn’t like any of the 8 string set options that I tried.  When I realized that I’d have to throw a high string on the top anyways, I just started looking at 7 string sets that would work for me.  I liked a Rotosound set that I found, but when Ernie Ball announced their Cobalt 7-string set that supposedly had more output and clarity, I figured that I’d give them a try.

Out of the bag, the wound strings had an interesting texture.  I realize that interesting is a terrible descriptive, but I don’t really know how to describe it other than to say that they felt more “metallic” than the strings I was used to.  Not in a bad way, just a different way.  Using the new tuning, I found that the guitar had a lot more clarity on the lower string on high gain settings.  Often with high gain tones, the bottom end becomes mud – but I found that I could still use 4-5 note voicings and have clarity in each note.

My other string discovery was more counter intuitive.  After going through 6-8 .007s with the high G tuning – I decided to try to use .008s and they’re holding up much better!  I can only bend a step or so on the high frets – but I’ve only broken 1 .008 string so far and I’m pretty sure I can make it through a live set now.

Getting back to the photo:

8 String Close Up

With that tuning in mind, the upper bout on the treble side made it impossible to access the upper frets.  The reason for this is that the chunky bolt-on joint

Heel Cut

required pushing the wrist out to access the frets above the 18th fret which bumped it right into the bout.

It doesn’t sound like much, but if you’re going to go through the trouble to have a high G string, you want to be able to fully utilize it.  So out went the bout.

It was a great decision!  Not only did I get access to the upper frets on the high string, but it gave my full access above the 17th fret on the lower strings which wasn’t possible before.  Second only to this mod:

8 String Guitar

which allowed me to comfortably rest my arm on the body, it’s done a lot for the playability of the guitar.

Mod Review:

Okay – so for those of you interested in going the “inexpensive” route with an 8-string – here are the mods that were added to the guitar.

Pickups:  I’d say that you have to go into this guitar an expect to replace the pickups.  I like the Bare Knuckle and the DiMarzio for completely different reasons – but I find that they compliment each other really well.

Tuners:  Same thing with the tuners.  I’ve replaced the Low A and high G with Grover Rotomatics, but the middle 3+3 need tuner replacement as well.

Kill Switch:  Some people thought that was really gimmicky – but it’s turned out to be really great when acting as a uber-noise gate.  I can hold it down and get ultra-tight exits and entries into tunes.

Lower Bout Bevel:  The carving on the lower edge looks nice but doesn’t feel good when resting your forearm on it.  Also, aesthetically I think the single line of natural wood peeking through the black looks bad-assed.

Upper Bout Removal:  You’ll have to wear a strap with this mod as the guitar won’t be sitting on your knee, but what it does for upper fret access is a game changer.

This might sound like a lot, but as I said in the initial review, the Omen is a well built guitar at a great price point and that was the template that was really necessary for this to be possible.  All in when everything is said and done – I’ll probably have about $850 into the guitar but the Omen is a serious player now and the ability to go from the A on a bass guitar to a high G a full octave above the G on the 15th fret of a high E string gives me all the range I could possibly hope for.

Now comes the hard part

Actually getting around on the thing at the same level I can with my string is still taking me a while.  The strings are REALLY close together so every time I go from playing this to playing my electric 6 string or acoustic I can’t believe how far apart the strings are.  Also the modified tuning means that I have to transpose everything in my head.  This means that occasionally I’ll start to play something and have to switch mid-stream because I’m in the wrong key!  Fortunately, those “whoops!” moments get worked out at home so they’re not being made on the stage.

(It’s also interesting just how different this guitar is in terms of timbre from my other guitars.  In JamUp Pro for example, I had to make my own amps in Bias to find a high gain model that worked with my guitar well as none of the high gain models provided did what I needed them to do.  With the 8-string even stock models like the Jeff Loomis model sound really good to my ears with no modification necessary.)

I’ll be documenting some of the strategies that I use in navigating the 8 string fingerboard later this year – but suffice to say that without the 2-string visualization methods that I’ve been using (and writing about) on the 6-string, I don’t know how I’d be able to tackle this.

More gear and playing posts in the pipeline.  As always, thanks for reading!

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Guitarchitecture Book Sale on Lulu and New Guit-A-Grip Posts

GuitArchitecture book sale on Lulu

Lulu is running a 10% off sale for all of my books (pdf and bound editions) through May 11th. You can find those books here. Just enter the code MOM10 at checkout for the discount.

Guit-A-Grip

There are a few recent Guit-A-Grip posts up on both the 10,000 rule for mastery as well as a post on what might when major acts adopt a DIY model late in the game.

GuitArchitecture

I’ll have a post up next week with a whole bunch of mini reviews and observations contained within it regarding the Omen 8 string, Dimarzio 8 string pickup, Positive Grid Bias and Ernie Ball Cobalt 7-string sets.

Practice Post

I’ll also have a post up that will detail some approaches from my forthcoming practicing book that I hope you’ll dig.

Tracks

Finally, I’m writing some tracks for upcoming projects and trying to put some long overdue nails on coffins and check things off the to do list.  More on that as it gets closer.

As always, thanks for reading!

-SC