An Update And A Lesson On Technical Recycling

“It’s been a long…long…time”

I just realized that it’s been a while since I posted anything here.  Life has a habit of getting in the way of well laid plans.  So here’s a bullet point list to create a quick update.

  • Korisoron – We are currently working on a new KoriSoron recording and our most intensive material will be on this one!  Initial tracking is in progress and we expect to have the recording out in September.  I’m also writing new material for the project and-  Booking new gigs for the fall.
  • TEDx – Korisoron has been asked to perform at TEDx Schenectady this fall and I’ll be delivering a related talk.
  • Old Project  – I don’t want to jinx anything but I should be getting together with some former band mates of mine and putting some finishing touches on a project that was very near and dear to my heart (and that I’ve mentioned in prior posts).   Fingers crossed – that will be another EP out this fall.
  • “Eel-Ech!-trick-a-coup-stick” – is the tentative title of a solo acoustic recording I’ve been working on.  I had previously recorded some tracks but wasn’t happy with them so I’ve been cleaning some things up and moving forward with getting that out the door by the end of the year.
  • The new pedagogy approach I mentioned a while back – I’ve been working on this but, quite honestly, I seriously underestimated the amount of prep I’d need to do to make this work so I’m just rolling up my sleeves and trying to pull ahead.  I took some notes back from the presentation I did at the HVCC Guitar Festival and have been pulling the material together – but I’ve learned more in the last 6 months about how to deliver everything (and what to deliver) than I learned in all my previous years.  I’m super excited about what this is becoming.
  • The other things – I have a few other musical things in the works that are too tentative to discuss, but, well, let’s just say that it’s a lot of electric guitar in various fashions that will be disruptive.  Other things also include a lot of revision plans for this site as well.

A lesson while you’re waiting

One of the things that hold up posts are the fact that I don’t write them in an organized way.  I write them in real time based on a theme in my head because it makes the writing more immediate and (hopefully) engaging for the reader.  Good for the reader – bad for productivity.  A post with any kind of lesson content typically takes 3-5 hours but some of the mode ones took 10-12 hours in editing, layout etc. so that’s why the posts get a bit sporadic for actual lesson material.

The value of recycling

One trap I still find myself falling into is the trap of “short attention span theater” or playing an idea, discarding it like a child’s toy and then picking up another idea and doing the same.  Maybe it’s a little cultural ADHD kicking it – but it’s very easy to loose site of taking a theme and really developing it into something.  (A great example of this for me is Bill Frissell’s Nashville where you can really hear each of the players take care in developing musical solos based on the melody).

From a technical standpoint, this approach can also be really useful.  It can take a long time to really master technical aspects of performance (particularly at the early stages).  Finding new ways to utilize the approaches you’ve been practicing will dramatically reduce the time it takes to learn new things.  For example, alternate picking takes a long time to develop at the early stages of playing, but once you have it down it makes everything  you have to lean to play with alternate picking easier to perform.


Let’s take an A minor pentatonic lick.

Pentatonic Lick 1

Let’s say that you’re using hammer ons and pull offs to create a more legato feel.

For me, the most legato part of this passage is the last three notes.  I’ll move the E on the B string to the 9th fret of the G string to put 3 notes to that string and make the pattern more fluid.

(Note the change in fingering)

Pentatonic Lick 1a

This is more of how I approach pentatonic fingerings so I adapted the first fingering for one that works better for me.  Here’s the first part of the lesson – assuming that you have a base level of technique acquired – find fingerings that make sense for you!

If this fingering isn’t one that’s common for you and you want to practice the approach.  Here’s how I would do it.

 1.  Isolate. There are two technical hurdles in this lick. Combining the 1 note per string and 3-note per string notes with picking

 Lick 1CAnd this:

Lick 1D

And the transition between the two:
Lick 1E
2.  Practice

The first step is to just get the initial fingering and picking down.

  • Set a metronome for 5-10 minutes.
  • Slow it down! Playing fast before you’re ready just adds tension and makes the lick sloppier and harder to play.  The goal is to take something you can play perfectly and effortlessly and then systematically develop it so you can play it perfectly and effortlessly faster.

Lick 1 Slow

  • Pay attention to the 3 T’s (Timing, Tone and hand Tension).  If you find your attention wandering this will get it back.  Are there any biffed notes? (Watch that pinky!)  Is any part of the hammer-on/pull-off uneven? (Bonus credit – make a video recording and listen back.  Pay attention to what both hands are doing.  Be critical but not judgemental.  Imagine you are watching a friend play this.  What constructive criticism could you add to help him or her play it better?)
  • Write down what you just did.
  • Adapt this to the second lick and the transitional lick if need be.  Get it to the point that the entire lick can be played without mistakes.
  • Repeat as long as time allows.  Do daily (and if possible, multiple sessions daily).
  • Typically with something like this, I’ll also practice it as sextuplets and a few other rhythmic variations to have those at my disposal if need be.

3.  Extrapolate.

This is something I improvised over a C minor-ish feel that uses the same technical approach that I used on the previous lick with a C Blues scale.

Cmin Lick

Click on image to see a larger version

From a technical standpoint – this is the same basic idea as the first 6 notes from the previous A minor example.

C min lick 1
(Ah – the fingering is missing here – I’m using 2-1-2-3 for each of these)

Sequenced here from the b7:
C Min Lick 2
And from the 5th here:
C Minor Lick 3

In fact the only new thing is the string skipping at the end:

(I got lazy here – I’m using the tritone F#/Gb interchangeably).

Cm String Skip
If the string skipping is unfamiliar to you you can just use the same approach to get it down outlined above.

(Yet another) Shawn Lane Observation

I was watching some footage of Shawn Lane that someone posted the other day and this technical recycling was VERY apparent to me in the footage.  From a technical standpoint, it appears to me that he took six or seven technical approaches beyond the realm that anyone else was willing to develop them to (fretting hand taps as opposed to hammer-ons, rhythmic groupings variations (5,6,7,9, etc), wide interval string skipping, Hindustani / Carnatic slide playing and blues phrasing) and adapted those to all of the different music he was engaged in.

In Karate, it always comes back to the Kata.  In boxing – the basics, the jab, the hook, cross, the uppercut.  You can practice fundamentals your whole life and STILL find things to improve.  New techniques take a long time to get down.  Invest the time wisely to get the one’s you need REALLY down to help realize what you want to express and then explore your sonic world with the tools you’ve developed.  (and if you’re not sure which techniques those are – a good teacher can help!  You can email me at guitar (dot) blueprint at gmail if you’re interested in setting up skype lessons to help realize your goals.)

As always, I hope this helps!

Thanks for reading,




The Accidental Path To Authorship – Part I – Angry Guitar

Recently, I had a Facebook Memory that came up from 2011.

Facebook Memory


This prompted a question from a friend of mine.

“Is there any part of you that misses doing all that writing? Are you happy to have (seemingly) traded that out for a ton of playing and gigging lately? Do you seek a middle ground between the two?”

My reply is long and probably will never be read by the people who want to learn more about retro-fitting Steinberger tuners on their guitar but it may be of interest to those of you at crossroads in your musical development as the path to learning guitar at a deep level in my case was not a straightforward journey.

Ultimately, it speaks more to:

  • having a deep seated “why” and a desire to learn
  • adaptability and having an ability to create opportunity rather than waiting for one to happen
  • simple endurance.  Being too pig-headed to refuse to give up and keep going despite not having any kind of external support structure.


Part I of my revised (and greatly expanded) reply is below.  I don’t know if this will help anyone, but I’m posting it with the knowledge that there’s much to be gained in examining what to do as well as what not to do.

The short answer is no, I don’t miss it.

I have another book that could have been edited and released 2 years ago and I decided to hold off on it, because at a certain point the inertia of writing was easier than playing – and playing was an important part of what I wanted to do. The more I was writing, the less time I had to actually play and the longer it was becoming before I released something.

Thank you!  Good night!

For those of you who want the MUCH longer answer, here you go…

My entire path to guitar started in anger.

I was in middle school and studying drums with Rex, who was a notoriously difficult teacher.  He would brag about having 20 people sign up for drums and only have 2 complete the program.  It took me years to realize that difficulty is not an indicator of the merits of an educator’s program, but instead an admission of an inability to engage students at a deeper level.  I would come to see this again with some of the faculty at Berklee when I went there years later.  It took me a long time to realize that truly great teachers (like Henry Tate, Mitch Haupers, Jon Finn, Stephanie Tiernan or Rick Applin at Berklee or Susie Allen, Vinny Golia or Miroslav Tadic at CalArts to name but a few) have an ability to explain things in an accessible way and draw students in rather than setting up artificial obstacles to knowledge to see if you were “worthy” of receiving it.
Anyways, back to drums.  I had done rudiments with the sticks and practice pad I got, but it was deadly dull and, as no one could explain the tie in to this and making music, I had no educational buy in.  So I decided to quit.  My friend Chad told me to check out this guy named  Jimi Hendrix and I taped the local classic rock station playing “Are you experienced?” on my boom box and that just burned a hole in my head.  I played that tape over and over again listening to the sounds he made on the guitar.

When I decided to drop out of the drum group, I said, “I think I’m going to learn guitar” and my classmate (and eventual high school band mate) Jeff said, “You’re never going to play guitar.” – and that’s all it took.  That one moment of, “I’ll show you!” fueled much of the rest of my life.

Lesson one – change can happen in an instant and one moment can affect the rest of your life.

My parents got me a beat up 3/4 size acoustic guitar that one of my cousins didn’t want to play anymore to play.   I liked it – but with approximately 1/2″ action at the 12th fret it was largely unplayable so with much cajoling, my parents bought a guitar.  I wanted a name model and what I got was an acoustic that my high school shop teacher Jeff Chappel made.

(Lengthy side note for you guitar geeks still reading this, my Chappel guitar is also one of the weirdest guitars that I own in that the scale length is completely non standard – something like 24.70″.  This in and of itself isn’t a big deal until you’re working at Sandy’s Music years later and have to reset the neck.  In doing so you realize that Jeff employed a furniture builder’s technique of doweling both sides of the dovetail joint for increased glue space after you DESTROY the heel of the guitar trying to get the neck out of the pocket.  This then requires getting Sandy’s guitar repair guy (and future FnH Guitar’s design guru) John Harper to rebuild the joint and ultimately employ a Taylor style screw system to keep the neck in place, reset the neck and create a new fingerboard where – lo and behold – the scale length becomes an issue when figuring out where the frets go.  All this took place over the decade long debacle that became the first of several guitar repairs on that instrument.)

At the time, owning a guitar my shop teacher made was unbelievably geeky – now it’s the coolest guitar that I own.  It was also geeky as I wanted to play electric.  At the time the acoustic in comparison just seemed lame and  much harder to physically play than electric. (This is more amusing as all the gigging I’ve done in the last 2 years has been on acoustic!)


My parents insisted that I have lessons so I studied with the only guitar teacher in the area, a lovely older lady named Flora who taught piano and guitar out of her house and basically had me play out of the Mel Bay book series for much of high school.  This curriculum was not super inspiring to a guy who wanted to play rock guitar.

One of her other students was a classmate of mine named Yio.  One day he heard me butchering a version of “Paranoid” that I got out of the Guitar For The Practicing Musician magazine I picked up at the local news stand and had me play in his parent’s garage.  I lugged my Pro Co Scamp amp and whatever mongrel distortion pedal I had at the time to Yio’s house and we played a couple of tunes.  Our friend, Vince, was playing drums and we tried to plow through the Scorpions “Rock me like a Hurricane”. After I tried to play the first lead in the beginning solo and just played as fast as I could, Vince said, “Scott Collins – lead guitar!” and from then on that was kind of my role.

Lesson one revised.  One positive comment can affect you forever.

Yio and I formed a band, part of that band became another band and I played in those groups all through High School.  What I remember about that time was taking it VERY seriously.  I spent every hour that I could with a guitar in my hand.  This was pre-internet so I spent a lot of time learning things from records and tabs from Guitar For The Practicing Musician. I didn’t have videos to watch or people to study with I just tried to learn with whatever was nearby.

I still took weekly lessons up through my junior year of high school but my teacher didn’t really know how to help me.  She was a piano teacher who knew how to read and play chords from the Mel Bay book – so I had to learn for myself.  What strides I made as a player just came from being willing to do what other people were not willing to do – namely sit down with a transcription of something like Mr. Crowley and play the parts over and over again until I could get them under my fingers.  As I didn’t have a lot of social obligations for things I needed to do if I wasn’t in school or working on jobs my dad gave me,  I had a guitar in my hand and played a LOT of guitar (and picked up every bad habit a self-taught player could learn).

During this time, I organized Battle of the Bands through the Yorker club, the New York State historical Society, partially as a way to play but more because my dad was a faculty adviser for the group and would be there to see me play.  He didn’t go to any of the performances I had outside of those events and always assumed I’d grow out of the guitar thing.  He was bitterly opposed to me going to school for music. To give you some perspective how deep this ran, two years ago we were talking on the phone and he said, “You know I finally realized that you’re really serious about this music thing.  You’re probably never going to give it up are you?”

I get it now.  He wanted the best for me and in his mind the best for me was a stable job, home and family – none of which he saw in a career in music (looking back at this today I would say he’s 99.9% correct about that as well.  If those things are of value to you – you will have to make them work despite a career in music not because of it.

My mom on the other hand, was the one who championed what I did.  She supported me and told me that I needed to try to do my best at whatever I did.  In the end, my parents were there when I needed them and I couldn’t have gotten into Berklee without them.

Lesson two – No person is an island.  You need to have at least one person to help champion your decisions while you establish your path.

I wasn’t able to play guitar in high school bands because there was only one guitar chair and it went to the older players there.  I finally got to play in the Jazz band in my senior year (Yio was in concert band that year.  This is what happens when you’re in a school with 800 students K-12 – you get hand-me downs until your last day).  I was given charts for things like Chick Corea’s “Spain” with no explanation of what to do for rhythm (“How do I play this chord?”  “I don’t know”, the band teacher replied, “you’re the one who plays guitar.”) or lead or what was expected of me in the band.  With no information at hand,  I had to try to figure it out on my own.  Again – this is pre-internet – so my days were spent at the library trying to find out what a 7b9 chord was.  The Grove music dictionary I had access to wasn’t particularly helpful in this area.  This lead to a nightmare concert, and a feeling that Jazz was somehow beyond me.

Lesson three – mindset is everything.  If you don’t believe you can do something, you’ll never be able to do it with that mindset.

Somewhere in my Junior year, I picked up a copy of Musician magazine because my guitar god at the time, Yngwie Malmsteen was on the cover, and saw an ad for Berklee School of Music.  “You can go to school for music?”  I lead a sheltered life.  If you removed our cars, electricity and rotary dial phones we would have essentially been Amish.  I didn’t even know that going to school to play guitar was a possibility.   That became etched in my brain.  Again, since this was pre-internet you couldn’t go any look at something online to get a sense about it.  I sent away for some admissions material.  I took a trip and visited my friend Bob who was going to school there and we ended up seeing the midnight screening of an epic of American Film making, “Street Trash”.  Man was I sold!!  Sign me up.  This is the school I need to go to and the city I need to be in.

My high school wouldn’t release a transcript to me (and I didn’t know enough to fight it) so I had to give my Berklee application to them and they sent it off with the transcript.  I got a rejection letter in the mail.  It turns out the high school guidance office didn’t include my senior classes on the transcript, so Berklee rejected my application and said I’d have to re-submit.  We resubmitted and Berklee said that they’d already accepted too many guitarists into the program.  I’d either have to take the 5-week program or audition.  Well, my dad was violently opposed to me paying money to “take a God-damn summer music camp”, so I had to audition.  (Note:  auditioning now is the norm but at the time NO ONE auditioned to get into school.  Once I got there I found only 3 other people in my time there who had to audition to get in).

Again this is all pre-internet so there were no online resources to determine what Major 7 chords were.  There were chords, sight reading and a performance piece.  I went to the library and looked up all the information I could.  I created a book of my own chord voicings based on what I found there and learned Steve Vai’s final portion of “Eugene’s Trick Bag” for my audition piece.

Lesson four – when you face what is a seemingly insurmountable obstacle you can either make excuses or make it work.

I had a meeting with an admissions counselor at 9 am in Boston (a 4-hour drive away) and my performance audition at 10.  I stayed up until about 1 am working on the piece and my mom said, “You better get some sleep we have a long drive tomorrow.”  I went to bed.

I was laying on the bed and it took a while to go to sleep.  I remember waking up and my underwear were soaked.  “Did I just pee myself?”  Nope.  The heater for the waterbed heated through the liner and now the bed was leaking all over the floor (and precariously close to the power strip).  As I got out of bed, I also got the single worse charlie-horse I’ve ever gotten in my life.  I was pounding on the walls trying to get my parents to help, dancing around in a desperate (and futile) attempt to walk off the charlie horse for the better part of 5-6 minutes before they finally heard me.

My parents woke up and we ran a garden hose down the front set of stairs and out of the house.  My mom started to siphon the water at the bottom of the stairs and got a mouth full of bed-water which included the chemicals they use to prevent algae build up.  This resulted in chemical burns in her mouth which had to suck on the 4 1/2 hour drive each way to Boston.

We finally drained the bed around 3 am and I had to take a shower and go to the audition.  I slept a bit on and off on the way down.  The pressure was on.  In a bid to not leave myself an out – I didn’t apply anywhere else.  If I didn’t get into Berklee, there was no plan B.

I went to the admissions interview.  I remember the admissions counselor was cute and I tried to impress her with a number of books I read but (again) growing up in a vacuum, I didn’t know how to pronounce Sarte (“Nausea” and “No Exit” were two pretty influential books for me), Camus or Kierkegaard.  At the time I’m sure I thought I was being smooth, but now years later thinking about the 5-6 random long hairs that were passing as a mustache, my mispronunciations and awkward mannerisms I want to crawl back into bed and pull the covers up over my head as I type this.  I went from there to the audition in the 1140 Boylston building by walking down a flight of stairs that felt much longer than they were.

When I got to the audition there were awards and accolades for the man I was meeting with all over the wall.  It was more than a little intimidating.  He was perfectly nice and had me run through some chords (“We don’t get a lot of people coming in with drop-4 voicings” –  I had no idea what he was talking about.  There were just the voicings I figured out based on that I could get out of the Grove dictionary.)  some scales and then my prepared piece.  Which I hacked my way through as best I could.

I thought I blew it.  I remember sitting there thinking, “I didn’t get in.  My dad is going to kill me.  What am I going to do now?”

“I hear some promise in that.  I think you could probably figure it out and get tings together here.”

“Does that mean I got in?”

“Well, I have to give the recommendation to admissions but yes – you got in.”

“Oh my God!  I could kiss you.”

“Please don’t.”

Somehow, I made it through the audition and I got in.  We called my dad from a pay phone in Boston and drove back.

Lesson five – when your back is up against the wall you’ll find out very quickly just how bad you want something. 

In this case, I wanted nothing more than to play guitar.

I was incredibly excited.  I knew I was going to get my ass kicked, but anticipated learning a lot as well.

In Part II –

  • From the Farm to the Fusion Farm.
  • What’s it like to go to a music college?
  • Working for a livin’ – Band(s) in Boston.
  • The Escape Plan.
  • Books and life pre-and post music grad school
  • The Escape plan Part II

I hope this helps – or is at least amusing!

As always, thanks for reading!


New Lesson Part III – A Process To Get Better

Case Study

In part one of this series I laid a some ground work for the idea that improvisation can be utilized for a practice and compositional tool.  In part two, I showed how I used that approach to write a song and develop a lick for the solo .

Here in Part III of this series, I’m going to use the lick I came up with to show how I approach practicing.  While I’m demonstrating this to show how to get a specific lick under your fingers, this approach can be used for more rapid skill acquisition in any area.

Step 1: Separate A Specific Goal From A Desire

A lot of times, people will say they have a general goal like, “I want to get better at guitar” and then buy a book that they read a bit of any perhaps play something for a minute or two in an unorganized session and then play the same licks they were playing before and never open the book again.

“I don’t know why I don’t get any better.  I practice all the time and have dozens of books but I keep playing the same things.”

It’s because you have a desire but you don’t have a specific goal.

Desire is important.  It’s a motivator.  It’s the why behind the things that you do.  But desire doesn’t get things done.

“I want to be a jazz guitarist” is a desire.

“I’ve adopted a daily practice of learning a new standard in every key and transcribing my favorite artists soloing on those tunes.” is a more actionable goal that works in the service of the desire of becoming a Jazz guitarist.

Goals address what what and the how of the things that you do. The specific mentioned above  is important as:

Specific Goals Get Specific Things Done.

Depending on the thing you’re working on, a setting a realistic time frame for the goal might be make it easier to achieve as well.

In this case, my goal is to try to get this lick:

32nd Note Lick Revised

up to the tempo of the song I want to use it in.

Step 2: Identifying The Thing(s) To Work On

In my example above, my goal is very specific so in this instance that’s the thing I’m going to work on.

It’s important to note that in going through this process you will very likely realize that what you’re working on uncovers all sorts of other areas that need to be developed to achieve that goal.

For a non-musical example, if you made a New Year’s resolution to loose 50 pounds by summer you might have identified working out at a gym as one of the things to work on but actually getting to the gym consistently might be a bigger problem in realizing that goal.  So you’d have to address things like willpower / motivation or other issues in addition to the initial area identified (the need for more exercise).

In the lick above, there might be a whole host of technical issues (sweep picking, string muting, etc.) that needs to be addressed in order to be able to play on the lick.  That aspect of it can become very frustrating if you didn’t anticipate it.  Just be aware that working on one thing will often mean working on multiple things.

Step 3: Contextualize And Analyze

One common mistake that I see people make is learning a lot of licks and then not knowing how to use them.  By understanding what you’re playing and how it works in a harmonic context, you can then take that information and re-contextualize it – (i.e. use it for soloing in other songs).

I already did a lengthy contextualization and analysis of this in part two of this lesson.  But here’s a cliff’s note version.

In this case:

32nd Note Lick Revised

The lick is a diminished lick that I’m using as a solo over an ostinato.

Ganamurti Ost

Step 4: Deconstruct

So when faced with a lick like this:

32nd Note Lick Revised

many players will just set a metronome and just start whacking away at it to try to get it up to speed.

This is NOT the best way to address something like this.

I recommend breaking it down into components.  So if I look at the first two beats and slow them down – essentially I see:

four four sixteenth first
Which is just the same fingering repeated at the 8th fret:

four four positional sixteenth two

and the 11th fret:

Four Four Positional three

So if I look at that first lick again:

four four sixteenth first

I can see that it’s the same basic idea on three strings in terms of picking and fingering – a minor 3rd on the same string, a single note on the next string and a minor third on the third string.

Or isolated further essentially this.

Diminished 7th quint

While the fingering might be adjusted slightly for the note on the middle string,  the first thing to do is address this initial shape.  Because if I don’t have this down then the rest of the lick won’t come together.

Step 5: Refine

If the lick features something really unfamiliar to me – I’ll break it down even further.

  • My initial focus is to just make sure I get the right notes.  Rather than even looking at 1/16th or 1/8th notes I might break it down to this:

D Dim 7 to octave

or even this:

5 Note half Note

  • The first thing to address is the fingering.  I’ll use the 1st and 4th fingers for the notes on the outer strings and the 2nd finger on the inner string.

5 note fingering

This will keep the fingering the same on the D-G-B strings:

5 Note fingering-2

And when I get to the G-B-E strings the only finger I’m changing is the note on the B string:

5 Note fingering 3

  • The next thing I’ll address is the picking.  Note that I’m going to pick the form in a semi-sweep pick that might seem unusual:

Initial Picking

The reason for this can be seen better when you look at the lick in full position:

16th Note Initial Picking

The reason I start the lick on an up-stroke is to create a small sweep going between patterns:

Picking Excerpt

But this solution is just what works for me.  You could use hammer-ons to play the whole lick as downstrokes and that would work as well:
Hammer On Lick

The point here is to find what makes the most sense to you to play the lick to make sure that you’re playing it properly.

Step 6: Measure

Tim Ferriss has frequently thrown out this quote (proper citing needed)

“That which gets measured gets managed.”

When I go on a trip, my sense of direction is typically terrible.  If the sun is out I can work out “the Sun rises in the East and sets in the West” to at least get my general bearings but at night – left to my own devices without a GPS of some kind – I will typically go in the wrong direction.

I mention this because past experiences have shown me that using perception without any kind of concrete markings is a terrible measure for how I’m progressing on something.

In my case, I do several things to help measure how I’m doing.

  1.  I use a stop watch.  I’ve been practicing for a while so I can sit for longer periods of time and generally stay on task, but for the beginner I’d recommend a 5-15 minute block.  If I only have an hour to work on a few things, I’ll take 4 15-minute blocks and really focus on only one thing for that interval.  That’s why the stop watch is so important because it allows you to focus on the task at hand without spending any mental bandwidth on how long you’re working on something.  (Bonus tip – 4 FOCUSED 15 minute sessions over the course of a day will get you infinitely further than one unfocused 1 hour practice session at a time).
  2. I use a metronome or a time keeping device.  If I can play the lick at the beginning of the session at 100 and end at 105 I’ve made progress.
  3. I write it down and by that I mean I (generally) keep a daily log of whatever I’ve practiced for whatever length of time I practiced it for and make any notes of things I addressed.


    “3/13/16:  5-Note Diminished run- 15 mins @160.  Work on articulating middle notes.”

    That’s really important.  So many of my students who say that they’ve never made progress before become VERY surprised when they have to write something down and REALLY see exactly how much (or in most cases how little) time they’ve actually put into something.

Step 7: Play it (or perform it, or do it) and observe it

Okay – we’ve covered a LOT of preliminary groundwork but the reason for that is because practicing something wrong will only make you better at playing it wrong and you will plateau at a much lower performance level.  Playing it correctly (i.e. with no tension, proper form, timing and phrasing will take longer in the short run but will save you insurmountable time in the long run.

I hope you’ll take this advice from my own experience.  I have had to start from scratch – from the beginning – TWICE – because of all of the bad habits I picked up and had to get rid of.  Had I know what I know now, I could have gotten where I am now in 1/4 of the time.

Here’s the trick to practicing this.

You need to really focus on what you’re playing and pay attention to how you’re playing it.  But you need to do this in an impartial way.

This means divorcing yourself from the outcome and just focusing on the moment.  The way I do this is somewhat schizophrenic in that when I practice I almost view it as if someone else is performing it.  While I realize that this may sound insane –  the point for me is to not get caught up in judging myself (“that sucked” doesn’t help you get better) but instead to focus on the process (i.e. the physical mechanics of what I’m doing. “Is it in time?  Is it in tune?  Am I playing that with minimal hand tension?)  The goal is to be as impartial an observer as you can be and just focus on the execution.

To do this, you’ll want to perform it at a level where it’s engaging (don’t make it too easy) but not so difficult that it’s overwhelming OR where you’re bringing in bad practice habits. 

When I was in high school I used to just practice everything as fast as I could and then use a metronome to try to make it faster and all that did was had me play with a lot of tension and not in a rhythmic pocket.  I could never figure out how people could play effortlessly and smoothly and it was years later that I realized that they played that way because they practiced that way.

Step 8: Correct

This is where the adjustments happen.  If my hands are tense, I adjust to play with less tension.  If my rhythm is off, I adjust to get back in time.  If other strings are ringing out, I adjust my hands to mute the strings better.

Step 9: Isolate the problem area(s) – Deconstruct Again

If I’m working on a big lick and have a problem switching position – I’ll apply this entire process to just that one problem area and correct that. Don’t spend 15 minutes playing 100 notes if you’re tripping up on 4 in the middle.  Get the problem area sorted out and then (once that’s worked out and smooth) work on playing the areas immediately before and after the problem and ultimately playing the whole thing.

Step 10: Play/perform/do it and observe it again

So I apply the correction.  When I get to the point where I can play it 5-6 times in a row perfectly, then I’ll adjust appropriately.

This Specific Lick:

Here’s how I tackle this:
32nd Note Lick Revised

  • Since it’s a repeating 5-note pattern, I start with the first 5 notes and establish a fingering and picking pattern.  I practice that with proper technique and timing and get it to where it’s smooth and effortless at a tempo.
  • I repeat this process with the 5-note pattern on the D-G-B strings and on the G-B-E strings, again getting each individual pattern smooth and effortless.  Spending more time on the first pattern gets these patterns under my fingers more rapidly.
  • Once I have the three patterns down I’ll focus stringing them together in position.16th Note Initial Picking
  • Once that position’s down I’ll do the same thing in the other positions:
    four four positional sixteenth two

11th Fret four four revised

  • Then I’ll focus on tying them all in together and look for trouble areas.  One issue I had with this pattern is making the switch from the high E string to the first note of the next pattern on the A string.
  • In this case, once I could play the full pattern with 16th notes at 160, I cut the tempo in half and started working on 32nd notes at 82.  I typically raise the metronome marking anywhere from 2-5 bpm when developing something like this until I get to my desired tempo.  The end tempo is typically 10-20 bpm above where I’m planning on playing it as playing it live with adrenaline kicking it in, we always play things faster so I like to be prepared (or at least more prepared).

That’s the process in a (rather large) nutshell!

My recommendation is to give it a go with something that you’re specifically trying to learn and see how it works for you.

  • You may find that it takes you longer than you expect it to
  • You may find the process uncovers a LOT of other things that need work

Those are both okay!  They come with the territory.  The good news is once you start doing this consistently, you’ll find that you make REAL progress in the things you’re working.


Here’s the big secret no one is probably telling you:

Practice requires practice!

Just like anything else, you actually have to practice practicing to get better at it (practicing).

The good news is you CAN get better at practicing and in doing so you will find that it actually takes LESS time to work on things because you get more efficient at what you’re practicing and how you’re practicing it.

As I mentioned before, I am working on a whole new pedagogical model that uses this methodology as it’s core to get better playing results in a shorter period of time.  I’m just about through the development stage – but if it’s something that interests you – please send me an email at guitar (dot) blueprint @ gmail (dot) com – and I’d be happy to send you more information once it’s ready.

Finally, consistent and steady wins the race

To get better at something isn’t any secret at all.  It’s putting in consistent focused time, day after day.

  • Be clear on what you want to do
  • Be clear on HOW you’re going to do it
  • Do it every day until it’s done

Move on to the next thing and repeat

I hope this helps and, as always, thanks for reading!


A Few Connor McGregor Quotes To Consider

Right now some of you might be reading this and thinking,

“Oh Geez…what is up with this guy and MMA?  I just want to play guitar.”

But to me they’re related.  Completely utterly and totally.

Because what it takes to get on a stage and improvise is also what it takes to get in a ring with someone who wants nothing more than to knock or choke you out.

You have to prepare endlessly and ruthlessly and get yourself to the best possible place you can be in and even then, in your absolute prime, you might get caught and KO’d.

The fighters who quit at that point are the ones who look at the match and say, “All that work was for nothing.”  They’re wed to an outcome.

The fighters who stick it out are the ones who are wed to the process.  They know that sometimes you have a good night and sometimes you have a bad night but if your training and preparation is excellent, then there’s a likelihood that even on a bad night you might be better than your opponent is on a good night.

When asked, “Why would you post something about Connor McGregor after he just lost a fight?”  the above is the answer.  Everyone loses a fight.  Everyone gets knocked down but the question is what is it that motivates you to get back up again?

“There’s no talent here, this is hard work…This is an obsession. Talent does not exist, we are all equals as human beings. You could be anyone if you put in the time. You will reach the top, and that’s that. I am not talented, I am obsessed.”

and (Re: the Jose Aldo 13 second KO)

“To the naked eye it was 13 seconds, but to my team and my family it has been a lifetime of work to get to that 13 seconds.”

I’m going to be posting a lengthy description about what it really means to practice something as that relates to both short term skill acquisition and long term mastery.  It may provide you some solace that most people know nothing about practicing, because most people do the same thing over and over, make very little progress and assume that because they put in the time that they know how to do it.

And I know this because I’ve been there.  Heck, I spent most of my life there!  I’ve now been playing guitar for most of my life and I’m STILL confronting the differences between what I think and what I know.

A recent story from a recent gig

Last Friday, I played a gig with Korisoron.  It was our usual repeating gig with a big difference – we had a special flamenco trio playing with us and as my wife was the dancer, I wanted to make sure it went well.  (If you live in the capital region of New York and you’re looking for Flamenco dance lessons or someone to dance for your show you can find her here!)

So I was running around a lot.  There was a lot of pre show and packing and set up and I didn’t get to warm up before I played.

In the OLDE days, I would have an entire ritual that I’d go through running scales and whatnot trying to get my hands ready.  Eventually I figured out that those gigs never worked well.  The gigs I played the best were ones where I was very lightly wamed up and not thinking about it too much.

Instead of running scales, I’ll play parts of songs or, in this case, pick a slow tune to start of the set and warm up over a song or two.  By the second tune I was largely good to go.

Is that a strategy I’d recommend for other people?  Absolutely not.  It worked for me in that context because I’ve already put the work in.  The work happens in the shed.  If the prep is done then it’s just a matter of going out an executing the best you can.

In my experience there is no cookie cutter formula to gigs where you’re improvising a lot other than being able to gauge the situation, making yourself as comfortable as possible and working from there.  As a kid, i got frostbite in my hands and feet and now even on days with mild weather my hands need extra time to warm up.  If it’s a hot gig with a lot of sweat I have to make other adjustments for my hands.  If I’m in a room where I can’t hear that well – I have to adjust again.

That kind of self-awareness happens over years of playing and learning how you respond to things.  Of getting to the point where you know what works and what doesn’t for you.

If you put the work in, then 90% of what happens in the ring, on the stage, is mental.  IF YOU PUT THE WORK IN.  That’s an important clarifier I’ve seen a lot of people talk a good talk about the mental game and fall apart on stage because they thought something they didn’t know.

“To the naked eye it was 13 seconds, but to my team and my family it has been a lifetime of work to get to that 13 seconds.”

To the untrained ear, an improvised solo is just magic notes from some mystic place that flow out over a verse or a chorus.  To those in the know, it’s a lifetime of work to pull those notes from a very concrete place to then make that moment sing.

In the next post, I plan to outline a specific practice strategy for how I get something done on a deadline – but in the meantime I hope you’ll consider a few points.

  • You can’t get anything of long term value without putting in the work for it.
  • Focus on the process not just to the outcome.
  • It’s not just about mindless work.  Learn what works best for you and use that knowledge to make better gains in what you’re working on.
  • Talent is just practice in disguise.

Thanks for reading!


For those of you in NYC this Friday (3/11/16) KoriSoron is opening for Persian Tar and Setar virtuoso Sahba Motallebi at le poisson rouge – 155 Bleecker Street.  Doors at 6:30.  Music at 7:30.  $15 in advance.  $20 day of show.  More information on the Facebook event page here!

New Lesson PT II – Improv(e) and Applied Theory

Case Study

In Part I of this lesson,  I laid some ground work for the idea that improvisation can be utilized as a tool for practicing and composition.  You might want to read that post here.

In this lesson I’ll use a real world example to demonstrate how improvisation and applied theory led me to develop a lick.

Ganamurti Melankarta

I’ve written before about how theory can not only help you understand what you’re playing but can also expose you to new sounds you never considered before.

I was fortunate enough to have some studies with Aashish Khan at CalArts in Hindustani (Northern Indian) Music – the Carnatic (South Indian) has been of interest to me as well.  In South   I have a photocopy of L Shankar’s 1974 AWESOME Wesleyan dissertation, The Art of Violin Accompaniment in South Indian Classical Music (typically available through interlibrary loan – Reminder – SUPPORT YOUR LOCAL LIBRARY) but as that text is not accessible to some people I’d recommend fellow Berklee alumni Charlie Mariano’s An Introduction to South Indian Music as a really good source for making South Indian melodic material accessible to people who wish to adapt the music.

One Melakarta (this is an oversimplified definition but for discussion purposes here – a 7-note scale) I got exposed to was called Ganamurti

(scale formula: Root, b2, bb3, 4, 5, b6, 7)

or with A as a root:

A Bb Cb D E F G# A  (aka A Bb B D E F G# A).

I feel the best way to internalize new scale ideas is to write a new tune with them.  Here’s an excerpt of a new tune based on this idea I’m playing with KoriSoron.  You’ll be able to find it on our next EP.

What’s notated below is what I wrote for Farzad’s part on the A section of the tune.  I’m playing a counterpoint line and doubling some parts of the tune.

Ganamurti A section

So this gives you a basic idea of the melody and vibe of the tune.

Han(d) Solo

There are a few other sections of the piece and then some sections to solo over.  One of those sections has a repeating pattern like this.

Ganamurti Ost

Now this is the basic form.  There’s a lot of melodic variation and fills thrown in on the last beat so it’s not played robotically but you get the general gist of one of the ostinatos being soloed over.

So what I’m going to do now is walk you through the process of how I approach improvising over something like this and how I generated a new lick to add to my vocabulary.

To review the process from Part I of this lesson:

  • Improvise. (Create)
  • Record everything.
  • Listen back and find the new things that you improvised that you like. (Assess)
  • Learn (and when possible improve upon) the best ideas you came up with when improvising.

Here’s the ostinato.

Ganamurti Ost

Thought Process #1. 

I start negotiating the scale looking for melodic fragments to utilize.

I see D F G#

D F G#

aka D, F, Ab

D F Ab
which I recognize as a Diminished triad.

The scale also has a Cb (B) (This is going to be referred to as B from here on out for simplicity.)

D F Ab Cbb

Which makes it a Diminished 7th.

Thought Process #2:

This means I can play dimishished arpeggios over the ostinato.

As diminished arpeggios are made up of all minor 3rd intervals, the notes repeat over the same string groups every three frets.  This is useful information because whatever I come up with melodically here:

D F Ab Cbb

Can be played at the 8th fret:

8th fret 4 note

And the 11th fret:

11th Fret 4 note revised

And so on to create a melodic sequence.

What’s your Position on That?

Before I look at developing a multi-positional lick I’m going to look at it in position.  Since the intervals are made up of all minor thirds – this arpeggio:

D F Ab Cbb

will have a D on the G string as well:

D Dim 7 to octave

Thought Process #3.

THIS is useful information because if I have an arpeggio that’s contained on three strings (in this case using 2 notes-per-string, 1 note per string and 2 notes-per-string which I think of as a 2-1-2 form) then I can take whatever I’m using as picking and fingering for that shape and (with slight modifications to the fingering) apply the same basic idea (more or less) positionally.

So this:

D Dim 7 to octave

Becomes this:

Positional Ab

And this:

Positional D

**Note on playing with patterns:  I find pattern playing to be extremely useful when improvising because it makes modifying those patterns (i.e. making music from them) in real time feasible.   Having said that playing this as quintuplets (i.e. 5 notes to the beat)

Diminished 7th quint

will give you a very robotic feel.  (This IS a really good way to practice getting quintuplets under your fingers but that’s another discussion).  With arpeggios like this I typically play them as 1/16th notes to alter up the feel a bit.

With all this in mind – here is the lick I improvised initially:

four four sixteenth first

It basically involved:

  • Seeing a diminished shape
  • Seeing it on three strings
  • Manipulating it in position

While I’ve detailed a lot of the thoughts out BEHIND the scenes here,  Once I saw the initial shape I arrived at this intuitively.

Then I just moved it up 3 frets:

four four positional sixteenth two

And three frets more:

11th Fret four four revised

Once I saw the whole thing – I tied it together into this monstrosity:

Ganamurti Diminished lick full

News Flash!

We play this tune around 100-110 BPM on acoustic guitars.  What looks like a pristine metronomic moment of perfection in the example above was a train wreck when I first tried to pull it off.

In order to have it under my fingers (and at my disposal) when we play live I’m going to have to practice it and in Part III of this series, I’m going to show how I’ve been practicing this to get it up to tempo.  If you’ve ever felt like practice lessons are not fruitful for you or wondered if you’re doing it the right way – Next week’s lesson will be an awesome one for you!

A call to action:

As always – thanks for reading.  I hope that this helps!

I’d like to continue to keep the lesson content I put up here for free but, in addition to the amount of time it takes to generate lesson content this in depth, there are also expenses associated with putting any content online.

If you like this lesson, or the other material on the site, there are a number of ways you can contribute (and enrich your own quality of life) and help keep the information here free.

  • You can schedule a private lesson.  You can email me at guitar (dot) blueprint at gmail for information on skype or in-person lessons.

Any and all support is appreciated.  As always, thanks for reading!



An Update and Part 1 of a new lesson

One small step for man

I’ve been doing a LOT of research on pedagogy and rapid skill acquisition versus mastery in preparation for the new teaching project I’ve been developing.  It’s reinforced a lot of what I’ve learned through trial and (a great deal of) error, and it’s given me some new tools and insights for how to get people to learn new skills quickly and how to get people who want to go past competence to go past their current limits towards mastery.  The new project I’m working on is audacious and big and, to be candid, intimidating to try to develop, encapsulate and ship out to people, but it’s getting closer to being done!

In the meantime, it’s been a while since I wrote a lesson post.  Mostly, it’s because what takes 5-10 minutes to explain in person takes hours of work to explain to people in a way that you can learn from reading online.  With that in mind, I’m going to take a lesson regarding how to come up with your own licks and how to learn them efficiently and break it up into a multi-part lesson.  In this lesson, I’m going to give you an approach to generating new ideas and then in the next lesson, I’m going to take you through a practical application and show how I develop a new idea and get it under my fingers (and into my ear so I can have it at my disposal when I play).

Where do licks come from?

In my experience there are two primary ways to develop your lick vocabulary.

  • Learn licks from other people and make them your own.
  • Discover licks on your own.


There are several ways to discover your own licks but a the one I invest the most time in myself is improvisation.  When I’m really improvising (and not just sticking licks I already know into things I’m playing over), I always find some new angle or approach that I never expected.  But if you’re really in the moment, it’s impossible to keep of all those ideas afterwards using only memory.

Let’s talk about improvisation for a moment.  As even Derek Bailey couldn’t really encapsulate it over a hundred or so pages it’s not something that I’m going to be able to do here in a few sentences, but I’ll do my best to give you some thoughts on improvisation.  I’m going to use language as an example as we improvise when we speak every single day and generally do so quite naturally without a great deal of stress or worry.

Let’s say you’re going to give a speech.  You want the speech to be professionally delivered and polished so you write it in advance, edit and revise it endlessly and practice giving it over and over again so that when you go in front of a room full of people you can execute it in a perfect manner.  This is kind of  a classical music approach to having every performance be perfect.  It’s like working out a solo and playing the same solo every night over a song.  There’s nothing wrong with that, you may need to be that comfortable with the material to get up in front of an audience and speak.  But over time, you’ll probably find that it will be difficult to maintain the passion in performing the same material exactly the same way every time.

As an intermediate step, you might find yourself interjecting some new observations into the speech on the fly.  Perhaps someone asks for a clarifier about something you said and you need to come up with a more detailed explanation or an analogy.  Maybe a Q&A is added at the end of the speech.  It becomes a “thinking on your feet” moment.  Now you’re improvising a little.  Maybe you add little flourishes in a pre-written solo, or throw some licks in between a vocal melody if you’re playing guitar on something.

Now you know the speech (and the subject matter) thoroughly.  You don’t want it to be stale, so you have a series of talking points on an index card.  You know how you’re going to start the speech and how it’s going to end, but you just have a few bullet points on an index card to use as a launching point for talking about them in more depth.  This is how many people approach jazz/rock improvisation.  They know the material enough to be comfortable, they’re going to start with a lick or two – develop a few ideas and then target specific things to happen at certain points in the solo with an end in mind.

Then you have the next level.  You walk into an unannounced meeting and have to make an impromptu presentation on something. Now you’re REALLY improvising.

In my mind, improvising in any capacity involves some level of working without a net and limiting yourself to specific approaches.

For example: If I’m improvising on a tune I’m practicing –   I’ll pre determine things like:

  • I’m not going to play any licks I already know.
  • Perhaps I limit myself to a scale or hand full of tetra chords
  • I’m only going to solo on certain strings or solo in certain areas of the fret board.

Save it for the ages

One thing I recommend doing is dedicating at least one part of your practice session to developing new ideas and recording it in some way, shape or form.

In Korisoron, we have an inexpensive Tascam recorder that doubles as a live mixing desk that we use to record shows just so we can do pre-production for tracks we’re working on – but you don’t need anything fancy.  I picked up a ZOOM mini recorder used for well under $100 that just sits on my desk top for this exact thing (or when inspiration strikes) but an iPhone of android device would also work just fine.  Whatever you use – just make it something that is easy to access and works for you! 

Assess and Analyze

Now here’s the part a lot of people don’t want to do.  You gotta go back and listen to what you recorded and find the things you like.  Since you’re improvising a lot of these things won’t be pristine ideas, they might have mistakes or only be partially formed ideas.  The process here is two fold:

1.  Really assess where you’re at with your playing to determine what you need to work on.  If you find that your time is all over the place – that’s something to work on.  If you find yourself going back to the same rhythmic approaches for every phrase – that’s something to work on.  You want to be detached in this process.  This isn’t about beating yourself up over what you didn’t do well or giving yourself a pat on the back for something you did.  This is about coming up with an accurate assessment of where you are really at.  One way to detach yourself is to go into third-person mode and listen to the recordings as if someone else made them.   You don’t listen to it directly as a measure of what you did but as what happened musically.   One way to do this is to listen to the recordings a few days (or weeks) after you record them.  I’ve come back to recordings I did months ago and have no memory of any of the ideas that happened there.

2.  Find the diamonds in the rough and clean them up.  This is where the vocabulary part comes in.  For me, when I improvise my ideas and approaches are not often pristine.  So when listening back, I’ll take a little fragment of something I like and practice it and try to add it to my repertoire.  By practicing it – I mean:

  • Getting the lick under my fingers and being consistent in picking.
  • Working the lick in a variety of harmonic and rhythmic contexts.
  • Expanding the lick.  So if it’s an intervallic lick from a scale moving that interval up and down the scale to see what else it yields.

Get Swoll

Doing this consistently can not only add new ideas to your playing and writing (I can’t tell you how many of the things I improvised and recorded became songs at some point), but it can radically improve technical aspects of your playing.

To Review:

Here’s part one of the plan:

  • Improvise. (Create)
  • Record everything.
  • Listen back and find the new things that you improvised that you like. (Assess)
  • Learn (and when possible improve upon) the best ideas you came up with when improvising.

In Part II of this series, I’m going to use a specific example from my own practicing to show how I generate ideas by:

  • Creating.
  • Deconstructing.
  • Refining.
  • Executing.
  • Observing.
  • Correcting (and)
  • Executing Again.

You might want to write that down somewhere you can post it.  That’s an important key to getting things done.

As always, I hope this helps!  Thanks for reading.


Recording Prep, A Mini String Review And Why I Rarely Write About Gear Anymore

KoriSoron’s Recording!

KoriSoron is going into the studio next weekend to record 3-4 songs for release before the end of the year.

By “studio” I don’t mean tracking something at one of our homes and self mixing and releasing it (though there’s nothing wrong with that), I mean actually going to a distinct physical location where a professional has set up gear to mix and record and recording something, mixing it there and releasing it.

Now I hear a number of people saying, “Well that’s dumb – why would you do that when you can do it at home and save money?”  The answer is multi-faceted.

  1. Time is money and I want to save time.  If I’m working on a project with a budget and a deadline, it’s pretty easy for me to knuckle down and get things done.  But when I’m working on projects without a deadline…’s just too easy to go down the rabbit hole of distraction.  What’s the quote, Perfect is the enemy of done?  If you want it done, you need to have limitations and the external studio is an awesome limiter.
  2. A big part of our sound is the group playing together.  Doing something where Dean records a percussion part and Farzad and I overdub everything would ruin the sound.  It would be sterile.
  3. Live we improvise a great deal.  That requires getting it off the stage instead of making 100 passes at something and comping it together in a take.
  4. Recording acoustics at home – without an iso booth – is a nightmare.  Really.  It’s worth it to me to just let someone else do it.

So that means I’m spending time in pre-production so I’m not wasting time in the studio.  We use a Tascam DP-32SD to mix our shows and generally hit the record button which gives us valuable information on how things sound in reality (often very different than it sounds in memory and/or in our head at the time) and allow us to really prepare for things.

In a live setting everything I play for solos is improvised – but in the studio that ratio is probably more like 25-30%.   Live, I’m dealing with immediacy and in recording I’m dealing with posterity.  Recordings for me are sonic documentaries in that they’re a reflection of where I am in the moment.  Although I really like the work I did with Tubtime (and some of my other projects) I don’t go back and listen to them often as it’s like finding a picture of yourself in your high school year book and cringing a but while asking, “What was I thinking?”.

Since I relate all music to communication –  in a live context I try to have a moment of inspiration where I start to say something and come to a conclusion or observation that is engaging and surprises me as well.  A recording is more like a speech where I have have talking points and a general idea where I’m going to end up, but want to keep the transitions loose so I can engage the audience more.

Preparation in this case means really being aware of what the other guys in the group are doing and being aware of what I’m doing as well.  Sonically, that means really having my sounds down so I can be adaptable in that what might sound great in the practice room or on stage will not work for the studio.  I not only have to be dialed into the nuances of my tone to be able to adapt to what’s going on but I also need to be comfortable enough with what I’m playing to be able to play even if I don’t like the sound coming out of my headphones.

The Gear (and why I rarely write gear reviews here anymore)

My electro-acoustic rig is a Yamaha APX-1000 and a ZT Amps lunchbox acoustic amplifier with a boss volume pedal, a looper and (lately) a LR Baggs Session DI in the effects loop.  Everything is cabled with D’Addario/Planet Waves cables. Sometimes a Yamaha THR-5A is thrown into the mix as well.

For strings, I’ve used a bunch of them but keep coming back to D’Addario for my steel strings and electrics.  A while back D’Addario was looking for beta testers for their Acoustic Alloy N6 strings and I sent them my bio and they send me a pack of beta strings.

I really dig them, and they’ll be my go-to acoustic string once they’re commercially available.  They look more like electric guitar strings in that they don’t have that phospher bronze color.  D’Addario cites their use of hegagonal cores and High Carbon Steel in the construction.  All I know is the harmonics of the pitches seem to be clearer, and warmer.  They hold tone really well and also hold tuning really well.  It’s a great sounding string.  If you pick up the upcoming KoriSoron recording you’ll hear it on there.

Two other quick notes about my current rig.

1.  My electro-acoustic.  I really lucked out with this guitar.  I think Yamaha is doing really great work at a great price point.  Originally I played at APX 500’s as they were easier to get my hands on – but I like the nut spacing and construction better on my APX1000.  This is just a great acoustic-electric guitar and I hope to expand my relationship with Yamaha in the future.

2.  My amp.  The ZT Amplifier folks have been really supportive of KoriSoron and their amps have actually made me a better player in that they have a hi-fi quaility to them.  By that I mean, that they take whatever you are playing and reflecting that accurately at a higher volume.  In my case, it meant  some of the things  I was playing that I thought was “good enough” turned out to have technical issues and every biffed note and non articulated thing I played became apparent.  I had to go back to the drawing board for and really clean up some of the things I was playing to get them to sit in the live setting properly.  Those are things I might not have noticed with a mic – but it’s really re-focused how I play lead on acoustic in a good way.

Not all traffic is good traffic

When I write about gear on my blog, I only write about things that interest me or that I use (or have used) that I think would be of interest to other people.  There are a lot things that I’ve used that I don’t like and I don’t write about them because there’s enough other negativity on the web.  I’d rather be constructive about what I like and what could be made better about it, than trash something.

From a traffic standpoint that’s not a good idea.  I’d get much more traffic knocking something than writing about liking it – but it’s not the kind of traffic I’m looking for here.  Several years ago I write about a brand of tuners that I was using at the time.  I won’t mention them here because I don’t want additional traffic from them.  I found out that people were VERY opinionated about these tuners.  I started getting daily notifications from people who had technical questions about the tuners.  Requests for advice on installation or repair of the tuners.  Several people tried hijacking the blog and making it a marketplace for the tuners.  One person accused me of being a liar and fabricating my experience leading up to my use of the tuners.

I had posted my opinion about the tuners on the blog because I was using them and because I thought it would generate some traffic.  I thought that traffic might lead to people checking out other things I was doing and maybe buying a book or a cd.

But that’s not how the internet works.

People find a blog based on searches.  If they are looking to have an opinion validated or disputed about their a piece of gear, they are not going to read other things on your site to find out your approaches to pedagogy or art and artistry.  I have always been upfront about my posts here.  I write about things that interest me and write from a standpoint of what will help other people on the same journey.  I also promote things that I create.

Not all things are going to be of service to all people. In the words of one would-be commentator on a post about paying dues;

“Hey Man, WTF? I subscribed to your list as a way to learn. Your explaining company policy? Ok, that’s your focus. Cool. Thanx, but I’m out.”

Think about this from my perspective.  Someone came to the website, got free information and then got offended because I didn’t post another free lesson?  That person will never buy a book, buy a cd or support me in anyway.  They came because they wanted something free and only because it was free and I’m supposed to be upset because they’re gone?

Oh well….

Not all traffic is good traffic.  You’re not going to please everyone with everything that you do.

  • My interests are music and the deeper developments that we make as people by going deeper into art (or deeper into any kind of interactive experience).
  • My interests are how musicians and artists can navigate the current economic landscape to allow them to devote the time and resources to their art that they wish to.
  • My interests are in how to communicate on a deeper level and reach people.

That’s why my posts are generally longer.  From a pure traffic standpoint it’s dumb to write a 3,000 word blog article.  My writing is improvisational as well so these posts typically take hours to write as it requires substantial editing to make it something readable – but I engage in this process because it makes the writing more immediate and, in my experience, makes it more engaging and thus more rewarding for the reader.  Again, not smart from a business perspective but necessary for my goals.

I don’t write the article for the reader who is looking for a quick hack to get 1% better at this thing to then move on to the next thing to get 1% better at.  There’s nothing wrong with that, but it’s not the focus here.

I write for the person who wants more.  Who wants more deeply.  Who wants to engage with the world on a deeper level.

If you’re reading this and nodding your head.  I write for you and I’m grateful for the opportunity to reach you.

As always, thanks for reading.