Showcase Music Magazine January 2013 by Guitar Showcase

Showcase Music Magazine January 2013

Introducing two new guitar series from the company that understands the sound of the 60s.

All solid wood construction. Incredible sound. 100% Made in the U.S.A. To play one is to love one. Visit bedellguitars.com for more info and a list of exclusive retailers. 4

Letters

Editor’s Notes

Brian was so impressed by his visit to Guitar Showcase that he wrote us this Haiku: This place looks old now Dilapidated signage It’s easy to miss! I’ve been here before So signs didn’t affect me But for first-timers???!

Full Disclosure: AS YOU READ THROUGH THE FOLLOWING PAGES, you may see the name “Guitar Showcase” mentioned. “Who,” you might ask yourself, “is Guitar Showcase and why does their name keep popping up in Showcase Music Magazine?” The reason is that this magazine is published by a local music store called Guitar Showcase, based in San Jose, CA. Many of our contributors are associated with this store – I am myself, and right up front I should be clear: I think Guitar Showcase is among the greatest independent music retail stores in the United States. But while its contributors may be a little biased, don’t just dismiss SMM as a thinly-veiled advertisement for Guitar Showcase. The fact of the matter is that Guitar Showcase, as somewhat of a Bay Area institution since 1965, has managed to fill and surround itself with authentic music industry experts, through both the loyal circle of customers and friends it has developed over the years and the staff it has attracted and retained. Your typical Guitar Showcase employee has been with the store for at least 10 years (several go back 30 years or more!) and is a respected professional in the music industry, with decades of accumulated knowledge. They have come to the store from the field – as performing musicians, engineers, technicians, instructors, product specialists – and continue to spend their evenings and weekends in the field. Music and music equipment are the air they breathe. These people have a lot of legitimate expertise and genuine enthusiasm to share.

Yesterday, I had A great customer service Experience here! Someone on staff made The best recommendation On a guitar stand! Craig then helped me find A drum machine stand online Since they don’t sell them! Craig was on his break But his Burrito World lunch Got put on hold. Nice!

So while Guitar Showcase would love for you to stop by the store if you have the opportunity, and while a certain degree of Guitar Showcase devotion will invariably slip through, the ultimate purpose of this magazine is to disperse valuable musical information and spread an authentic love of all things musical: we just want to share our knowledge, and hope to inform and entertain you in the process.

He gave me his card Model number for the stand Suggested next steps!

Thanks for reading, I’ve had good service Here at this shop in the past Today, it stood out!

David Zimmerman Digital Content Editor Showcase Music Magazine

I recommend them But bring maps or GPS Drive slow when you’re close!

Let us know how we are doing – send your comments and questions to Feedback@ShowcaseMusicMag.com.

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agazine

Showcase Music Mag is published by Guitar Showcase, located at 3090 S Bascom Ave in San Jose, CA. Digital Content Editor - David Zimmerman Editor@ShowcaseMusicMag.com Director of Digital Marketing - Craig Hyatt Marketing@ShowcaseMusicMag.com Comments and questions may be sent to Feedback@ShowcaseMusicMag.com

Showcase Music Magazine January 2013

INTRODUCING THE NEW RICH, COMPLEX TONE FROM 100% ALL SOLID SUSTAINABLE TONEWOODS ■ Handcrafted In Bend Oregon, USA ■ Exclusive Fishman Electronics We at Breedlove have been building custom guitars with Myrtlewood for over 20 years, achieving exceptional results. We found Myrtlewood to be balanced - not too bright, not too dark - with the best sonic qualities of maple, walnut and mahogany.

Our new Oregon Series carefully pairs a Sitka Spruce top with Myrtlewood back and sides. An Ebony fingerboard further compliments this wood combination to produce articulation and depth. These guitars ship with a hardshell case and come with a limited lifetime warranty.

Photographed in the new Breedlove Custom Design Center

Experience Breedlove

breedloveguitars.com

Contributors Tim Allen (Bass Instructor, SMI) is a graduate of the Bass Institute of Technology in Los Angeles and has been a professional recording and performing musician for the past 28 years. Links: www.guitarshowcase.com/SMI/smi_teacher_bios.html

Dan Aronie (GM, Guitar Showcase) has accumulated decades of guitar, music, and general gear knowledge.

Jim Bruno (Founder, SMI) is a well-known vocal instructor, music innovator, performer, and creator of music programs for adults and children. Instruments: Guitar, Voice, Keyboards, Chapman Stick, Bass Links: www.guitarshowcase.com/SMI/smi_teacher_bios.htm, www.totallyvocals.com John Epp (Guitar Instructor, SMI) has been a popular guitar teacher and performer in the South Bay Area since 1980. Instruments: Guitar, Bass www.guitarshowcase.com/SMI/smi_teacher_bios.html

Craig Hyatt (DDM, SMM) is guitarist, singer, and songwriter for Ghost Town Hangmen, and has over a decade of

experience in performing, touring, and management. Instruments: Guitar, Voice, Bass Links: www.ghosttownhangmen.com, https://itunes.apple.com/us/artist/ghost-town-hangmen/id423428182?ign-mpt=uo%253D4

Kelly Murphy (Ukulele Dept Manager and Guitar Tech, Guitar Showcase) local ukulele guru and guitar set-up wiz with decades of music retail experience. Instruments: Guitar, Ukelele

Jim Swanson (Drum Department Manager, Guitar Showcase) is a local musician and member of the Mercy Hill Church worship band Instruments: Guitar, Bass, Keyboard, Vocals

Rich Longacre (Sales Manager, Guitar Showcase) is a product expert with decades of experience in the music merchandise industry. Instruments: Guitar, Bass Links: www.guitarshowcase.com/SMI/smi_teacher_bios.html

Jack Van Breen (Associate Manager, Guitar Showcas)

Instruments: Guitar, Bass, Vocals

Jeremy von Epp (Guitar Instructor, SMI and Sales Associate, Guitar Showcase) is lead guitarist for The Venting Machine Instruments: Guitar, Drums, Bass Links: www.guitarshowcase.com/SMI/smi_teacher_bios.html - www.reverbanation.com/blackgates - www.reverbnation.com/theventingmachine Adam Wisot (Pro Audio Manager, Guitar Showcase) is a professional audio engineer with over 12 years experience.

Instruments: Guitar, Keyboards, Voice Links: www.guitarshowcase.com/SMI/smi_teacher_bios.html - santacruzlivemusic.com

Showcase Music Magazine January 2013

GTK... How to use this magazine: As much as I love the smell of a freshly printed page, I have to admit that this whole digital magazine thing is pretty cool. Take SMM here, for example. It is filled with hyperlinks to guide you to additional information, while embedded video and audio content make it easy to see and hear the musicians and gear featured in the magazine. You may even find some of those funny-looking QR Code boxes, which are always fun. No dead tree ever managed all that. Plus, we can pretty much guarantee that you don’t have to worry about SMM giving you papercuts... On the down-side, we don’t recommend you use this digital magazine as tinder for your fireplace. So make sure to watch for those links and media clips, and enjoy Showcase Music Magazine!

Contest: Want to be a winner? Go to Rich’s “Tube Talk” column on page 24 and check out the picture of the glowing tubes. The first reader to correctly identify the piece of equipment those tubes are plugged into gets a free cool Guitar Showcase t-shirt! Email your answers to Contest@ShowcaseMusicMag.com.

Showcase Music Magazine January 2013

The After-Christmas Gift-giving for musicians is hard - we don’t just want a Les Paul, we want a Les Paul Standard Plus Sunburst - and not just any one, but the one we tried out in our favorite local music store, because it played and sounded just a little better than any other. So as often as not, we just get a gift card instead. January is the time to spend those giftcards on ourselves. Here’s a quick guide to some of the gifts you may not have seen under your tree.

Gibson Axecess

I’ve always been a Strat or Strat-variant player, but the Axecess is the guitar that could convert me over to the Les Paul school. As solid and beautiful and well-crafted as any Gibson, plus the genuine Floyd Rose trem and locking nut - something you usually don’t see on an LP - to appeal to my latent-shredder proclivities.

Gretsch 6122

Paul may play upright bass for the Ghost Town Hangmen, but he would rather have this mahogany semi-hollowbodied Gretsch 6122 - otherwise known as the Chet Atkins Country Gentleman - than another bass. Gotta love the Bigsby trem and the paintedon f-holes, too.

Showcase Music Magazine January 2013

D.Allen Pickups

Dunlop CAE MC404 Wah

Craig is going to go get a set of D.Allen Pickups to drop in his Paul Reed Smith Custom 22. These beauties are boutique hand-wound, and a guaranteed upgrade from pretty much anything you might be using now.

Jim’s wife really knows her stuff - Jim actually found this Dunlop CAE MC404 Wah under his tree on Christmas morning! It’s not just any wah, but has a boost switch on one side, a Red-toYellow Fasel inductor switch on the other, and true-bypass switching. AND it’s built to CAE’s own demanding specs.

Fender FSR Limited Edition Strat - Left Handed

By the way, Craig is also a leftie - so this 2012 Fender FSR Limited Edition Strat is perfect for him. The Fender American Standard pickups are his ideal of single-coil tone: they have a clear, chimey sound that’s crisp but not too bright. The maple neck, twopost Standard Strat bridge, and Seafoam Green lacquer finish round out Craig’s ideal Strat.

Showcase Music Magazine January 2013

Lexicon MX200 Dual Reverb Effects Processor

As Adam Wisot points out in this issue, products like the Mackie DL1608 make big racks of effects largely unnecessary - but that doesn’t mean that a good hardware effect processor can’t come in handy. So Adam will be getting himself a Lexicon MX200 in January. It has everything you should need - from reverbs and delays, to modulation and pitch effects, to compression and deessing - all laid out with a simple intuitive front panel. Add in the MIDI, footwitch, and USB compatibility, the flexible routing, and those legendary Lexicon reverb algorithms and you’ve got one strong argument to keep your Grundorf.

Digitech iStomp

Stage Ninja Mic-12B Did you get an iPad, iPhone, or iPod for Christmas? Well, you’re doing pretty good already. Still, you could use accessories. Maybe you could use a Mackie DL-1608 mixer for your iPad (see Adam Wisot’s review, page 36). Or how about a Digitech iStomp? This pedal can be whatever you need - just go to the Apple App Store, download the stompbox you want, and load it into your iStomp for real footswitch control. Awesome!

Focusrite iTrack Solo

Here’s another cool accessory for that iPad you found under your tree: the Focusrite iTrack Solo is a professional quality preamp/ interface that lets you plug your instruments and favorite mics - even condensers - into your iPad.

Showcase Music Magazine January 2013

This funny-looking piece of equipment is actually the most versatile modular gooseneck made - position your mic (or your camera, or your tablet, or your flashlight, or whatever depending the accessories you want) exactly where you want it. You can even mount it with a magnet base (pictured) or a heavy-duty clamp.

Quick Lok GS471 Lucky enough to get another guitar for Christmas? Then you need a stand capable of holding your collection. The GS471 from Quick Lok should do the trick - it will hold 7 guitars, and its clever design accomodates a wide range of body sizes and styles, while the unique neck rests make sure that each one stays secure and upright.

Roland Micro Cube Bass RX

On Stage RS400

The Roland Micro Cube Bass RX is great for practice. Its four 4â&#x20AC;? speakers put out plenty of volume for you to work on your chops, as you play along to the built-in rhythm guide or jam along to CD or iPod tracks you plug in to the provided stereo aux input. The 8 COSM amp models guarantee you get the sound you want, and the ability to run on 6 AA batteries means you can do it wherever you want. ...And how about tilting back that Roland Micro Cube Bass RX? Thereâ&#x20AC;&#x2122;s a lot I like about the On-Stage RS400 amp stand: namely that it folds flat for transport, holds up to 100 lbs, and - unlike a lot of other amp stands out there - it sits nice and stable on the ground (as opposed to being raised off the ground), just where I want it.

Showcase Music Magazine January 2013

Interview

Showcase Music Magazine January 2013

Feature Article He may be an in-demand, world-touring, arena-playing, star-backing, Nashville-based stage and studio veteran now, but Dave Ristrim started out many years ago selling guitars in a local music store in San Jose, CA. SMMâ&#x20AC;&#x2122;s own Craig Hyatt sits down with accomplished multi-instrumentalist

Dave Ristrim - Nashville Session Artist

CH: So you’re from San Jose Originally? DR: Born and raised, San Jose. Lived here most of my life, actually. CH: I understand that you used to actually work at Guitar Showcase? DR: Yeah. Bought my first electric guitar here at Guitar Showcase in the ‘70s. Met Dan (Aronie, General Manager), probably ‘77, ‘78, and been friends with him ever since. He’d been bugging me to work here for decades, so I finally gave in in about the mid- ‘90s. I worked here for four or five years, part-time, before moving to Nashville. CH: So you’ve been playing since the ‘70s obviously. What instrument did you start on? DR: Well, I started actually in the ‘60s on clarinet and piano and then got a banjo in 1972. That kind of threw me into the stringed-instrument world and I got kind of hooked on that for the rest of my life, but I played woodwinds through high school. (I’ve) picked up pretty much everything, even double reed instruments. I was kind of fascinated by that. CH: So you said you started guitar kind of later on... DR: Guitar, probably ‘73. I started teaching myself guitar, but just like with nylon string. It was my mom’s. I didn’t get a guitar until, we... ‘76 probably I got my first good steel string guitar. CH: What was your first guitar? DR: First steel string was a Takamine: a

solid wood one. It was a really great, great copy of a Martin. CH: Awesome! So do you play guitar primarily now, as a professional musician? DR: That’s a tough one to say. I’d say no on guitar, because I play pedal steel and banjo and acoustic guitar primarily right now. In other bands I would play more electric guitar. Right now I’m not playing any. This coming year I probably will, so I’m kind of a guy... if there’s a song that needs something, and they go, “Hey, can you do this?” I usually can. Pretty much anything but fiddle; I won’t touch a fiddle. CH: We’ve covered that you play an array of instruments, so I assume then that you have an array of influences. Is there one that stands out above the rest? DR: Interesting. I guess I’d have to break it down into different categories I suppose, because banjo was such a big part of my teenage years and all of that. You know, Bella Fleck, but even before him you’ve got guys like, obviously, Earl Scruggs and Bill Keith. I’d say I’d start with that as a stringed-instrument influence. Then from that, teaching myself guitar, I got into Clarence White and anything bluegrassoriented. Then electric guitar, I immediately got into this electric world, Clarence White’s B-bender stuff. Then I got into jazz, so I was a huge fan of all the classic jazz guitar players. I never got very good at playing jazz, but I learned a lot about chords and harmony and theory. CH: How did Guitar Showcase help you

progress as a musician? Or did it? sional, musicians I know in the Bay Area DR: Progress as a musician... myself, it all know about Guitar Showcase and all helped me actually just get a little extra shop here. You get that kind of common money so I could be able to move to bond thing. Tennessee. I’m mean, I’m not trying to be funny, but in a sense, the fact that “I’ve been playing for Luke Bryan. this is a local store and always had His records are selling like hotkind of a community, family vibe to ... I was attracted to that and would cakes. We were doing about 140 buy a lot of my instruments here, shows a year the first two years; especially my electric stuff. There’s another local acoustic store, that this year we did about 115 and Dan knows about (ED note: Gryphon next year we’re doing mostly all Stringed Instruments in Palo Alto), and they’re great people too, and I’ve headlining shows at arenas.” bought most of my high end acoustic stuff from them, just because I started buying from them in ‘72. CH: I understand that while you were CH: So you’re a mom and pop store kind of guy? DR: Yeah, but as far as how it helped me musically, I would just say there’s a good community of people here and a lot of musicians. All the higher-end, profes-

working here you were traveling, what, every month or couple of months you would travel to Nashville? DR: Yeah, you know, when I was working here I was trying to get extra money to get a down payment on a house in Tennesee. I was working in a band that

Showcase Music Magazine January 2013

was based out of the Bay Area originally. Most of them moved to Nashville, so I was touring with them. So I’d go back there and spend three months on the road, come back for a couple months, go back… so you know, Dan was really cool, and Gary (Wineroth, owner of Guitar Showcase). They were very nice about letting me have time off to just go do that and then come back and work my tail-bone off. CH: How did you get into performing and take it to the next level? You know, taking it out of the garage and out of local gigs and actually start touring? DR: Man, for every person and every situation it’s going to be different. For me, what happened was, I started playing banjo, a friend of mine says, “Hey, there’s a gig.” I mean this is my first professional gig. I had no idea you could even get paid money for playing an instrument. So nowadays most people, they think, “I’m gonna be a rock band/rock

star and make big money.” I didn’t have any idea about that. So I started making money doing that. Bought a pedal steel guitar (not too many people play that), started getting gigs in bars just like anyone else would probably. You know, parties, bar-b-ques, and bars. And from that, you start realizing, “This guy’s way

“...and the engineer says, ‘It needs some kind of low part.’ So I stuck a pencil underneath the strings at the 2nd or 3rd fret, and actually played a slide bass part that way.”

not just because I’m on it. It was actually kind of fun. But during that show he would have all these different people, actors and musicians, be on the show and we would back them up working on one of there original songs and also they’d be writing a song for the show, and I got to play with just so many people, I can’t even list them. I mean, as I mentioned earlier, George Clinton was on the show. We got to do things with him, and gosh... Sheila E. CH: I know that you’ve toured with a lot of really cool artists. Who have you been touring with lately? DR: Well, actually, for the last three years

I’ve been with Luke Bryan. I joined him at the beginning of 2010 and it’s been crazy. I mean he’s so busy. His records are selling like hot cakes. We were doing about 140 shows a year the first two years. Last year we did, or I should say, this year we did about 115, and next year we’re doing mostly all headlining shows at arenas and stuff, so it’s going to be great! CH: So you’ve done a lot of touring with Luke Bryan. I noticed last week you were on the CMA awards. DR: Oh gosh, yeah! Last week we were actually on the ACA awards, the CMT awards, the CMA awards, and we had a GAC special. I know there’s a lot of letters

more talented than everybody else in the band, so I’m going to hang out with him.” And then you learn other people that he knows. It’s like any sort of a family tree. You have roots and then it branches out, then all of a sudden you find yourself being asked to be in a band that just got signed to Atlantic Records, which was the Cactus Choir that was from the Bay Area, and that’s how I kind of got into that world of, you know, a little more highend musicians and stuff. CH: Speaking of high-end musicians, you’ve played with legends like Trace Atkins and Clint Black as well as pop and R&B icons such as Jewel and Bobby Brown. How do you manage to grow a list of contacts like that as a musician and line up gigs like that? DR: Well, I tell you, again it’s like part of the tree. Moving to Nashville, different bands I’ve played in lead to another band, lead to another band. I found myself working with Big and Rich for several years, and John Rich, a huge song writer, has contacts with everybody of all genres of music, so he was putting together a TV show called “Gone Country,” which I won’t go into details on it, it’s actually a trippy show. It’s like a reality show. It’s one of the only ones I actually like, and

Showcase Music Magazine January 2013

in there. I don’t know what they all mean to be honest, but yeah, we’ve got a lot of TV exposure because he’s really hot right now. Selling records like crazy, like I said, and the young girls love him, you know, he’s kind of a beefcake or something apparently (laughs). And he’s a great guy, man, he’s a great boss! Before Luke, I was working with Big and Rich and Jewel. I was in her last full band thing she did, and that was really great gig. Both of them actually are: Big and Rich and Jewel. CH: You were telling me about some of the interesting things you’ve done in the studio, one of them being a unique way of playing the mandolin. So, you just get a mandolin and turn it on its side? DR: Yeah, I put it lap-style instead of playing it this way (horizontally). You’d just (swoosh noise), with the strings up. Kind of like Jeff Healey would do. So I play it this way, with a flat pick or finger pick, whatever, and just play slide. CH: Do you have any videos of you doing that online? DR: Nope. Not that I know of. CH: I think there’s a niche in the video market there.

DR: I actually played slide bass out here in a session in the Bay Area. We were just trying to come up with “What does this song need?”. And the engineer says, “It needs some kind of low part.” I’m like, “Well give me that bass.” So I stuck a pencil underneath the strings at say the 2nd or 3rd fret, tuned it kind of weird and actually played a slide bass part that way. CH: Glass or steel slide? DR: Eh, probably steel. CH: We were talking about studio and touring. What percentage of time would you say you spend in each? DR: That’s a horrible question, because I’d say the answer’s probably 95% touring and 5% studio right now, because the thing about that… In Nashville, a quick story, when you’re out on the road all the time, the calls drop off for studio work because they know you’re not available, because you’re always gone, whether you’re at home or not. So that’s what happens. After a few years of being on the road constantly your session work drops down to nil. When you’re in town for several months off you have to make your calls and emails to people saying, “Hey, I’m around, I’m available.” It might pick back up. I’ve been lucky enough to

Showcase Music Magazine January 2013

start getting internet sessions, so that’s taking up the slack there. So I have time off from the road, I’m in my home studio cranking out stuff for people. CH: So working from home’s not a problem for you then? DR: No. Love it!

“I would say just take as many gigs as you can ... at some point maybe let some of the really awful gigs drop to the wayside and keep taking the better gigs. Hang around musicians that are better than you: that’s the first thing I would say.” CH: So You’ve spent a good chunk of your time on the road. Does that ever complicate the home life at all? DR: No, my wife is pretty understanding. You know, we’ve been married a long time and we’re both very independent, so I can spend time by myself and she doesn’t have to follow me around and vise versa. CH: Cool, so there’s no clawing at each other when you get home right?

DR: No, actually, if I’m home for too long, that’s when it gets weird (laughs). CH: Do you have any advice for aspiring musicians who maybe one day might want to play lap mandolin someday? DR: I would say just take as many gigs as you can and at some point you’re going to start figuring out which ones are better than the others and maybe let some of the really awful gigs drop to the wayside and keep taking the better gigs. Hang around musicians that are better than you. It’s the first thing I would say. I mean, I’ve been in too many bands where it’s mostly populated by people who... I mean I’m not saying I’m great and they’re not, but you kind of can suss it out. The drummer can’t keep the time. The bass player’s out of tune. You just try not to play with those guys much, because they’re going to drag you down to be honest. You could develop a tin ear. I know guys that work in bands that are always out of tune. They can’t play in tune now because they’re so used to hearing things out of tune. You just kind of have to pick and choose and go with what’s

good. Go with what excites you. And if you’re planning a career in music, look at what type of music you’re playing and go to the center of a city that does that and features that. If you want to be a metal/ rock player, L.A.’s probably the place to go. If you want to be anything related to country (and there’s plenty of rock in Nashville), go to Nashville. If you want to be a jazz player, you know, New York. Really, you kind of have to try those centers of what you’re going for. Yes, you can stay right here in San Jose, and absolutely make it. For sure. I mean there’s plenty of bands who’ve done it, but for what I do I had to go there to get to this level and I couldn’t have stayed here and done it. It just won’t happen for what I do anyway. CH: That’s definitely quality information. I wish we had spoken a few years ago, personally. DR: (laughs) There’s no guarantees either. That’s the thing. I mean, I was lucky you know? I’m one of the lucky ones. I went to Nashville and started working immediately and boom! You know? I haven’t looked back.

View the Complete Interview Here

CH: Favortie color? DR: Green. CH: If you had a million dollars to donate to a charity, which would it be? DR: Whew, now that’s a tough one. Probably St. Judes’. (ED Note: St. Judes’ Childrens Research Hospital - for info or to make a donation, go to www.stjudes.org.) CH: If you could have a Ben and Jerry’s flavor named after you, what would be in it and what would you name it? DR: I was actually talking about that earlier. Licorice would be the flavor. I know that sounds weird. Ah, boy. What would I call that? Eww...Dave’s Licorice stick? That’s kind of...eh maybe not. That’s kind of a little weird (laughs). But you know what a licorice stick is right? A clarinet. Which is my first instrument. They do quirky names, they might allow it, I don’t know. Don’t go to a dark place with that folks. I mean, seriously...it’s a clarinet.

Dave Ristrim With Jace Everett on Jay Leno

Craig Hyatt is frontman for the band Ghost Town Hangmen. He has a BS in Business Administration from SJSU. View the GTH website here: www.GhostTownHangmen.com

Showcase Music Magazine January 2013

Tube Talk by Rich Longacre

Greetings, fellow tube amp enthusiasts. In my previous gig with Mesa/Boogie, I had many an opportunity to impart much in the way of knowledge, tips and history about tube amplifiers. I labelled those seminars “Tube Talks.” Now that I have settled in at Showcase, it seems to make sense to continue this tradition for our valued clientele - hence the title of this column. Moving forward each month, I will endeavor to provide info herein for your perusal, embedding helpful video and audio as well for your tube-related edification. At any rate... here goes... hope you can benefit from this here and there... -Rich

Subject this month: Handling tubes with your bare hands-okay, or big no-no..?

Source #1: Back in the early days, the tubes used to power OST OWNERS OF TUBE AMPS LOVE THE TONE, but when it comes to servicing them, shy away radio and TV transmitters were these large, bulbous-and thinly

bigtime...for a variety of reasons. Indeed, many users have subscribed to the notion that even handling or touching the tubes with one's bare hands is strictly forbidden, for fear of ruining the temper of the glass of the tubes, thus shortening their lifespan. (I used to ask my “tube-talk” attendees to give me a show of hands if they thought this, and the majority would always raise them..) In any event, this belief needs to be done away with, at least as far as tubes installed in guitar/bass amps are concerned, as it is completely normal to handle those types of tubes with your bare hands. (once they have, of course cooled down...yo..!) Where did this whole thing come from, you ask? The genesis of this myth most likely originated from those involved with handling very different kinds of vacuum tubes than the ones players use...read on below...

glassed units that actually could be affected by the interaction of the various acidic properties found in the oil and sweat from human hands, especially given the much higher voltages they used. Source #2: Audiophiles, even today, continue to espouse not handling tubes as a general rule, and again, in their world, they run across way more varieties of tubes than the comparatively limited varieties guitar players use. At any rate, the glass used in making tubes for guitar/bass amps is way thicker, and is therefore immune from human contact, so...handle away people...it's really okay..! That's it for this episode - stay tuned for next month’s column, when the subject of how to properly trouble shoot your tube amp will be discussed. Until then, keep your ears healthy!

SMM

Prior to taking the Sales Manager position at Guitar Showcase, Rich Longacre worked for 10 years as Sales Rep for Mesa/Boogie. View his personal bio here: www.GuitarShowcase.com/bios/RichL

Showcase Music Magazine January 2013

Your Band - Business Matters

OR A BAND TO BE SUCCESSFUL, ESPECIALLY IN TODAY’S MUSICAL CLIMATE, IT MUST BE TREATED AS A BUSINESS. To some of you this may sound like an obvious statement, in which case you should feel good: you’re ahead of the curve. If, on the other hand, the idea that music might depend upon business strikes you as some kind of Rock-and-Roll heresy, slow down and take a moment to try this little experiment with me: think of some of your favorite bands and write down everything they have in common that is not directly related to the type of music they play (Websites, Facebook pages, merchandise, limited-time price breaks, press in magazines, T.V. appearances, etc). Now try the same exercise, but for any retail company; if you’re having a hard time coming up with one, use Target or Wal-Mart. List everything they do to make their business run that has nothing

to do with the types of products they sell. Notice any similarities? They sell tangible goods, manage inventory, build websites, run marketing campaigns, create and maintain a brand image, run special promotions, and so on. Running a band like a business is what it takes to make your musical goals achievable. It allows you to play music and make money by giving you a tangible product that separates your band from all those other bands that just sit around waiting for some kind of miracle. The knowledge I have gained while earning my degree in Business Management at SJSU, combined with more than a decade’s experience playing in working bands, have given me some insight into the things that do and don’t work for bands today.

The Books The decision to study Business Adminis-

Showcase Music Magazine January 2013

by Craig Hyatt

tration with a Concentration in Management was not a straightforward choice for me. Since the first time I picked up the guitar as a freshman in high school, I was certain that I wanted to be involved with music for my career. Contrary to the example of most of my influences, I chose to go to college because I knew I needed an education to fall back on should my musical career fall short of my expectations. In my first year out of high school, I was torn between following my passion by pursuing a degree in music, and sacrificing my dream for the relative security of a business degree. My decision was simplified after my success in my first music course made it clear that I had the musical ability to match my desire. At the same time, I understood that I could have all the musical talent in the world, but without a solid understanding of how to get people to listen, I would never be able to reach my goals. I decided that

studying business at college would be the best way to further my musical career.

The Experience I soon got the chance to apply my business degree toward my musical interests. After graduation, I immediately devoted myself to promoting my band, Ghost Town Hangmen (check out our website here: www.ghosttownhangmen.com). Since forming in the late fall of 2009, we have released two EPs and one full length album (visit us on iTunes HERE), shot several music videos, and toured the western United States. During this time, I learned from experience what it really takes to make a touring band work. I have performed routine tasks: I have designed T-Shirts, arranged photoand video-shoots, tracked inventory and managed finances, set price-points, built websites, and planned and booked tours. Not everything is routine though: I have also driven 19 hours from one gig straight to another only to make $10 and play in front of the bar staff; I’ve broken down at 2 a.m. in the middle of Poo View, Washington in the pouring rain; and I’ve been stiffed guarantees. I have not only had my life threatened and been shot at, but I’ve had to take my bass player to the hospital after he was shot in a club after a show (he’s fine now). And that’s not even the half of it. My point here is that committing to a life as a musician takes

more than a desire to sing or play guitar, drums, bass, keyboards, or whatever you happen to do, and it takes more than just business acumen: it takes a combination of talent, drive, knowledge, experience, and an almost insane willingness to endure pain and disappointment all in the name of your passion. You need to be prepared for this. But the musical life is also incredibly rewarding. Not only have I had the opportunity to headline soldout shows and open for some of the top acts in our genre, I have also experienced many amazing things, created lasting memories, and met some incredible people along the way.

This Column This column is designed as an elementary course on how to manage your musical project in a way that positions you for success and keeps you from losing money in the process. I do understand that there are those who enjoy music as a purely artistic pursuit and are happy to enjoy it recreationally; however, in this column I will be speaking directly to those of you who intend to make a career in music, who are not satisfied just to enjoy a casual weekly jam session in your drummer’s garage, but who are ready to actualize your band’s potential to make both music and money. Whether you want to admit it or not, the music is an ever-changing business and your success, now more than ever, rests in your hands.

In future installments we’ll look at print medias, websites, personal networking, social media, branding, videos, search engine optimization, and whatever other giblets of information I can muster up. I warn you here and now that I do not claim to have all of the answers. There is no single formula, no one-size-fits-all method that can guarantee fortune and fame. Making your band successful is not a task for the faint of heart and will require dedication, hard work, and perseverance. You will undoubtedly get frustrated, irritated, and feel ill-equipped, but don’t worry; this is all normal. What I can and will do in this column is share the knowledge and experiences I have gathered throughout my years in the music business by discussing tried-and-true business practices that open doors to success in the music industry today.

Your Dream We all have dreams, but too often lack the knowledge it takes to make meaningful progress towards realizing them. I am here to help fill in as many voids in your music management knowledge as I can, in hopes that you may gain something useful towards the pursuit of your musical aspirations. If you have any comments or questions, feel free to email me at Bizmatters@ ShowcaseMusicMag.com.

SMM

Craig Hyatt is frontman for the band Ghost Town Hangmen. He has a BS in Business Administration from SJSU. View the GTH website here: www.GhostTownHangmen.com

Showcase Music Magazine January 2013

How to Buy a Uke by Kelly Murphy

Use Your Eyes and Ears

HE UKULELE IS IN THE MIDST OF A RESURGENCE. Uke en-

ing task. A good place to start might be

joys a popularity today that it has

as Kala, Lanikai, Cordoba, Kamoa, Martin,

Tonal quality varies with every example,

Gretsch, Hilo, or Epiphone.

even in the same model. Sometimes a

not known since the 1950s. A diversity

with a proven quality, reliable brand such

less expensive model will have a more

of popular artists from Adam Sandler, to Paul McCartney, to Eddy Vedder have brought the ukulele public attention,

Consider Your Budget

while such virtuosos as Jake Shimabubu-

Understandably, the bottom line when

ro, James Hill, and the immortal Brother

choosing your first uke is often, well,

Iz continue to demonstrate the instru-

the bottom line – your budget. Price is

ment’s surprising range – from volcanic

generally determined by an instrument’s

wizardry to transcendent melodies. As a

materials & cosmetic appointments

result, the ukulele is now broadly recog-

(“bling”). Generally, less-expensive ukes

nized as a serious instrument.

are made with laminate woods (usually Agathis or Mahogany). Geared tuners

Where to Start? No surprise, then, that so many new musicians are attracted to the ukulele. But with dozens of makes and models to choose from (Guitar Showcase alone stocks more than 40 different models),

pleasing tone than a more expensive one. Ultimately, the key to choosing the best uke for you is to approach the situation with an open mind and ears. Working within your budget, strum several ukes that fall within your price range. A bouncy “C” chord is really all you need to get a quick take on an individual uke’s tonal quality (volume, treble, mids & lows).

add to the cost, but make tuning easier and more precise. Mid-priced ukes may upgrade to exotic wood laminates or

Go For It!

feature solid wood tops, while at the

It can be easy to overthink this - your first

high end you will find solid wood con-

impression is usually your best, so don’t be

struction throughout the instrument –

afraid to go with it. Choose the uke that

often of beautiful, highly figured woods

satisfies your desires for visual appeal and

such as Koa.

tone. Then take that baby home & play!

choosing your first uke can be a daunt-

SMM

Kelly Murphy is a ukulele afficianado. He is the official Guitar Showcase guitar repair tech. Contact him at kelly@guitarshowcase.com

Showcase Music Magazine January 2013

Joyful Noises

by Jim Swanson

Photo Credit - Apostles Lutheran Church and School

Hi there! My name is Jim Swanson and this month marks my seven-year anniversary as a Guitar Showcase employee. I have been playing the guitar for about 40 years and have done so in a variety of settings: I’ve been in Top-40 club bands and original project bands; I’ve found work in the studio and as an instructor; I did a stint in a backing ensemble for a jazz vocal group; and of course, I’ve played in a whole bunch of garage bands that got together just for fun. In 1998, I found myself at a crossroads. I was playing in a club band here in San Jose and felt myself becoming more and more dissatisfied with the scene. The bars and the late hours held no attraction for me anymore. I had been attending church regularly since ’97 and had experienced more than a few changes in my life. That being said, I still needed to play! Well, as they say, “The Lord provides”. Within two weeks of leaving the club band, the worship pastor at my church approached me about playing with the team. (I had submitted an application almost a year before and had not heard a word until that day!) I accepted his offer and since that day I have played in worship bands. I served as the worship pastor at City Vineyard from 2001-2005 and currently play guitar for the team at Mercy Hill Church in San Jose. O.K., enough of the boring stuff, let’s see what we can stir up…

FTER MULLING IT OVER and asking myself, “What do I

like to see in a team member?” and “What was helpful for me?” I came up with a few things to offer for your consideration (I thought about writing these in the “Thou shalt” and “Thou shalt not” format but, it’s been done and stone tablets are not cheap):

1. Never lose sight of the fact that you are part of a band. This gig is not about you. That is hard news for some - especially lead guitar players. We struggle to learn our parts and look forward to our solos like a kid on Christmas Eve. Although chops are a great tool to have, the ability to play well with others is really the most desirable attribute in a worship

Showcase Music Magazine January 2013

situation. We are there to support the vocalist(s) in the creation of a worshipful environment, period.

2. Have a servant heart and a teachable spirit. Over the years, there have been many times when my ego has been bruised in a musical situation and it did not stop when I began playing in a worship band. For example, I have offered a take on a particular musical passage only to have my idea shot down. Often my first inclination is to respond in the negative and disagree with the leader. But I do not let that negativity become manifest in words or actions. I will humbly accept what I am being asked to do and give his suggestion a try. Occasionally the leader will say “Let’s go with

your original idea” and, when that happens, I play the part as if it were his idea in the first place. These days I am fortunate to serve with a guy who loves the electric guitar (he is a very good guitarist himself ) who gives me a lot of freedom to worship with my instrument. That leads me to my next thought…

3. Worship with your instrument! As a member of a worship team, you are playing to glorify the God of the universe. When I play on Sunday mornings it is with a mixture of awe and gratitude. The Lord delivered me from a really dark place and to use my musical gifts (Thank you, Lord!) in His service is an honor and a privilege. That being said, I play the best that I can with the best gear as I can afford. God deserves the very finest of offerings. I do not want my lack of preparation or an equipment failure to distract anyone for any reason. If there is one gig that demands we be on our game, this is it, baby!

4. Accept the fact that it is not about the music. Having played behind vocalists, this reality did not hit me as hard as it may hit some of you. Playing worship music is akin to playing behind someone like Leonard Cohen. That is to say: the lyrics come first. Though there are times when purely instrumental music will be requested, for the vast majority of the time you will be supporting the vocals. There are going to

be times when the arrangement will be altered “on-the-fly” and the solo that you worked so hard at will end up on the cutting room floor. At other times, the leader may be moved to reduce the accompaniment down to just one guitar and you will not play at all! A properly functioning worship band is a dynamic organism that balances musical skill with a sensitivity to what the Spirit is doing in the moment. Sometimes, the perfect notes are the ones we do not play. Although there are a whole lot more things and ideas that I could explore, I hope that this brief distillation was of value to you. It is my prayer that your individual experiences playing worship music are as rich and rewarding as mine have been. Stay tuned for more in next month’s issue, as I look at the gear that I use and how it allows me to achieve my personal “vision” on Sunday mornings. We will also be exploring some very practical theory tips to help your services go as smoothly as possible. Until then, keep making that joyful noise! Peace and Love, Jim Swanson

SMM

Jim Swanson is Drum Manager at Guitar Showcase. He is a member of the Mercy Hill Church worship band. Contact him at Jim@guitarshowcase.com.

Showcase Music Magazine January 2013

The Bassics 12 Bar Blues Bass Lines

by Tim Allen

12 BAR BLUES is a standard form that is the basis of many popular songs. What follows is a brief explanation of 12 bar

blues bass lines, with a sample bass line included for a 12 bar blues in the key of A.

Harmonic Form

generally play the root note - that’s the

learning your fingering and fretting. The

note the chord is named after - on beat

italicized numbers to the right of each

HOUGH BASS PLAYERS RARELY PLAY

one of the measure. For example, the

note indicate suggested fingerings. If the

CHORDS (also called harmony), bass

root of an A major chord is an A note, so

third finger is an uncomfortable stretch,

lines are usually based on a song’s

that is the note we play on beat one.

you can use your fourth instead - just

Exhibit A

make sure to be consistent. The lower

ture. If you don’t know much or anything

On the next page is an example of a 12

shows guitarists and bassists which fret

about harmony, don’t worry: you can

bar blues in the key of A. Conveniently,

and string is to be played.

still play the example included with this

the notes in the key of A are A, B, C, D, E, F

article, provided you can read TAB or

and G, so A is the first note (or I), D is the

The analysis of the bass line, in the space

standard musical notation. But it’s always

fourth (IV), and E is the fifth (V).

between the music staff and the TAB

chord progression, so it is still important to know about chords and chord struc-

a great idea to learn a bit about music

staff is in TAB, a type of notation that that

staff, is based on the interval distance be-

theory if you really want to enhance your

Our example is transcribed in bass clef

tween the bass note played and the root

playing.

and each quarter note takes up the same

note of the accompanying chord. For

amount of time (one quarter note per

example, if an A chord is being played, A

The 12 bar blues chord progression is

beat). Above the music staff, each Roman

would be the root note (R), E would be

often referred to as a “I-IV-V” progres-

numeral indicates if the chord named

called the 5th because it is an interval

sion because the chords played are built

below it is a I, IV or V. The tempo marking

of a 5th from A, and G would be called

on the first, fourth, and fifth tones of the

is 120bpm (beats per minute), but if you

the b7 (or flat 7) because it is a minor 7th

major scale. Again, as bass players we

find that speed difficult you might want

from A. For a D chord, D would be the

usually don’t play chords but we must

to start out slower, perhaps at 60bpm. If

root, A would be the 5th, and C would be

play notes that fit with the chords being

you are a new bass player, don’t worry

the b7. Notes an octave higher than the

played on the guitar or keyboard. We

about playing in time – just focus on

root note are marked with an O.

Showcase Music Magazine January 2013

First Things First Once again, if you donâ&#x20AC;&#x2122;t know music theory, donâ&#x20AC;&#x2122;t worry about this stuff - just learn to play the notes. Theory will be important when you want to play these changes in other key or expand beyond the basics. When you are ready, a good teacher can help you out there. MM

Tim Allen is a graduate of the Bass Institute of Technology in Los Angeles. He is a bass instructor at SMI and regular performer. View his bio here: www.guitarshowcase.com/SMI/smi_teacher_bios.html

Showcase Music Magazine January 2013

The Vocal Booth The Vocal Producer’s Checklist

ELIEVE IT OR NOT, SINGING OUT OF TUNE IS NOT A PROBLEM: it is merely a side effect of poor singing technique. This is good news because it means that when I am working in the studio there are specific things I can listen for to help pinpoint the problems causing a vocalist to sing out of tune.

by Jim Bruno

1 On-set 2 Sustain 3 Release 4 Rhythmic placement 5 Emotional delivery

You can use the Vocal Producer’s Checklist to help troubleshoot your own pitch problems. Think of every note as a threeYou can improve your pitch, with the help step on-set/sustain/release process. A of a little knowledge and self-awareness. problem with any of these three steps can cause you to go out of tune. If your I have a little checklist I call the “Vocal on-set is too strong and you push too Producer’s Checklist,” which I developed hard you are likely to go sharp. If your years ago to use in the studio to help a sustain is weak and your breath supsinger get a good vocal take: port is incorrect, you may have difficulty holding a note in a controlled way. If you

drop your breath support off at the end of a note or phrase, it’s easy to go flat. Of course, it is always best to get started with the help of a good vocal coach, who will be able to accurately identify any problem notes, prescribe specific exercises to try, and set you on track to troubleshooting and correcting yourself. And always make sure to keep a good positive mental attitude and practice, practice, practice! Hope this helps, Keep singing TV Jim

View the Video Lesson Here

Jim Bruno is the founder of Showcase Music Institute. He is an in-demand performer and respected instructor. Visit his website here: www.totallyvocals.com

Showcase Music Magazine January 2013

SMM

Mackie DL-1608 by Adam Wisot

HOUGH WE MIGHT HARBOR SOME NOSTALGIA FOR OLD ANALOG GEAR, no musician can

deny the world of benefits that digital technology has opened up. The advantages audio engineers have today would make earlier engineers’ heads spin. Digital technologies offer savings in the studio both in time and

big, heavy equipment. Instead of loading up

Onyx preamps, balanced outputs, and six

on rack equipment, live sound engineers can

aux sends - can be carried under one arm.

save themselves multiple trips to and from

It’s built solidly, but weighs less than 30 lbs.

the equipment van by opting for a mixer

Mackie has really done a good job packing a

with the full range of digital signal process-

lot of durability and function in such a rela-

ing built-in.

tively small package.

But for the most part, cabling and preamplifi-

Features

cation remain as stubborn analog holdovers

money. On stage, digital amps built into our

that must be dealt with. This is where the

speakers can reduce their weight to less than

Mackie DL1608 is so brilliant, in blending dig-

35 lbs, eliminating the need to lug around

ital quality and convenience with an analogfriendly package.

The Package

View the Product Demo Here

Showcase Music Magazine January 2013

But the key to this mixer is the iPad, which the DL 1608 uses brilliantly as interface and processor. The Mackie “Master Fader” app offers a sixteen channel display with a main channel output and reverb and delay return channels as well as a separate channel labeled” iPad” for music played from iTunes.

The first thing I no-

Users can custom-label channels and even

ticed about this mixer

stick in an image from their photo library as

was its size: with the

an icon for quick reference. A quick click on

DL1608, sixteen XLR

any of the Aux tabs on the right hand side

channels - complete

can quickly send individual channel volumes

with Mackie’s own

to monitors, pre or post fader. The paramet-

boutique-quality

ric EQ, available for every input, has a very

graphic visualization to it and includes the choice of a shelf or bell curve for the lows and the highs. Each of the two sweepable mids has an adjustment for a narrow or wide Q. Additionally, every output (aux included) has a graphic EQ with a very cool draw feature that allows the creation of any desired EQ curve with a simple sweep of the finger. As if all that weren’t enough, the DL 1608 offers adjustable gate and compression for every input channel, as well as several choices of simultaneous delays and reverbs. Settings can be saved and recalled for frequently played venues. And everything runs through 24 bit Cirrus Logic AD/DA converters, ensuring exceptional sound quality. Finally, Ethernet capability allows connection to a wireless

router for the always popular remote mixing capabilities.

The Wrap-Up All in all, I have to say that I love this little mixer. The flow of the app is seamless and has an approach consistent with how the layout of a mixer would be. And all this is available for under $1,000. Personally, I’d like to see the app add the option of joining two channels together to create a stereo channel, and multi-track recording capability would also be welcome. But I guess that is what app updates are for, right?

Mackie DL1608 Features: 16 Onyx preamps Cirrus Logic Converters 6 aux sends Master L/R output Touch-sensitive plug-ins 4-band EQ, gate & compression on inputs 31-band GEQ and comp/limiter on outputs Global reverb and delay Wireless mixing, up to 10 iPads simultaneous Master Fader app “Grow & Glow” visual feedback Preset and snapshot recall Record mix straight to iPad Integrate music from any app into mix PadLock feature for permanent installs Kensington lock 15/5” x 11/5” x 3.9”

SMM

Adam Wisot is Pro Audio Manager at Guitar Showcase in San Jose, CA. He is a professional audio engineer with 12 years experience. View his bio here: www.guitarshowcase.com/SMI/smi_teacher_bios.html

Showcase Music Magazine January 2013

Pigtronix Mothership by Adam Wisot

HESE DAYS, WITH SYNTHESIZED

market is pretty saturated.

justing the VCO’s tuning, you can create

MUSIC AT AN ALL-TIME HIGH, some There is one pedal, however, unlike any

an almost limitless range of cool sounds

“Les Paul through a Marshall half stack”

other. I recently had the opportunity to

with the Mothership.

or “Stratocaster through a Fender Twin”

try the Mothership, a monophonic (sin-

tones, as rich and as powerful as they

gle-note) guitar synth from Pigtronix and

As if that weren’t enough, the Mother-

may be, can sound a little dated. The

I must say it is everything that I hoped it

ship also has an intelligent ring modula-

huge jump lately in the pedal market is

would be. What makes this effect pedal

proof positive that many guitar players

different from the rest is that it isn’t an ef-

are looking for a way to get new sounds

fect pedal at all - it’s an analog synth.

guitarists feel that the standard

and effects out of their instruments. The number of guitar pedal manufacturers has increased exponentially over the last

triangle and square waveforms and ad-

Features

tor, which follows every note you play and keeps the exact harmonic intervals between the output and the signal. The ring modulator can track either the clean input of the guitar or the VCO signal, and its tuning can be adjusted to create some pretty amazing harmonies to mix with

ten years. There are so many fuzz ped-

The Mothership has great note recogni-

als out there that it can be difficult to tell

tion and pitch-to-voltage translation,

them apart. The amount of delay and

which just means that it can listen to the

To top it all off – or to bottom it all out

reverb pedals is staggering, and the same

notes you play and synthetically recreate

– the Mothership has a sub-octave bass

goes for the several varieties of modula-

them accurately. By switching its VCO

generator matched to the signal input.

tion and multi-effects. It’s safe to say the

(voltage-controlled oscillator) between

When this button is engaged, the Moth-

Showcase Music Magazine January 2013

your original tone.

ership generates a synth tone one octave below the incoming note. Though the sub-octave tone is present in the main output of the pedal, there is also a separate output for the sub-octave that can be sent to a bass amp or a subwoofer at the FOH, for those who want really to make the building shake. The ring modulator can also be routed through this output, just to make everything even more outrageous. The Mothership has independent volume controls for each of its three main tone generators/oscillators, as well has a separate input volume so that the original “clean” guitar tone can be blended in to taste. There is an expression pedal input for continuous pitch control and a pedal input for remote glide control, which ad-

justs how fluidly you can change between notes. Matched up with all true-bypass switches to eliminate tone degeneration, this pedal is a truly professional piece.

Pigtronix Mothership Features

Triangle or Square wave VCO Pitch tracking Ring Modulator Fast and Accurate Tracking Variable Portamento F.A.T. Sub-Octave Expression pedal for Analog Whammy Final Thoughts True Bypass Pigtronix 18VDC adapter included I absolutely love this pedal. I really can’t think of a negative thing to say about it. It is definitely meant for someone who is looking for something different. After playing the Mothership for a couple of days, I want to start a new band based entirely around the sounds I’m getting out of this

pedal. At $499 it is no impulse buy, but if you’re ready to try something entirely new, this is a good place to start.

SMM

Adam Wisot is Pro Audio Manager at Guitar Showcase in San Jose, CA. He is a professional audio engineer with 12 years experience. View his bio here: www.guitarshowcase.com/SMI/smi_teacher_bios.html

Showcase Music Magazine January 2013

Digitech Whammy (5th Gen) by Jeremy von Epp

Background

IGITECH HAS BEEN A LEADER IN INSTRUMENT-BASED EFFECTS SINCE 1974. In the early ‘80s the company started out with the DOD line of effects at an entry level price point; more recently the Digitech name has been reserved for their pro products. Digitech has continually developed new

View the Product

special effect ideas, pushing guitar effect boundaries to new heights.

In 1989 Digitech released the original Whammy pedal. This pedal features special pitch-shifting, harmony, and doubling abilities never before available in a pedal form, along with some brand new never-before heard-of effects. This pedal became an instant classic when big league players Demo Here like Steve Vai and Pantera’s Dimebag Darrel incorporated it into their playing.

Showcase Music Magazine January 2013

Digitech has made several improvements to the Whammy pedal over the years. The most recent version, the Whammy 5, adds a new drop tune function and the ability to bend full chords in perfect tune. Being an owner and a fan of the Whammy 2, and 4.....I just had to check this one out!!

The Whammy (5th Gen) Like earlier Whammys, the Whammy (5th Gen) is housed in a bright red, sturdy metal case and is about the size of three pedals put together. My Whammy 2 from ‘93 is still holding up just fine, and this new Whammy (5th Gen) is sure to look

good 20 years from now as well. It comes

if your guitar is strung in standard “E”

packaged with a power supply, manual,

tuning, the Whammy 5 can drop it down

and a cool Whammy sticker. Overall, it’s

to “A” tuning – so you can play in drop

a great looking unit that’s built for the

tunings with normal string tension and

road.

no latency or warbling (thanks to its powerful 24-bit/96kHz analog-digital-

Features

analog converters). This is a HUGE leap

The Last Word After heavily exploring the new Whammy (5th Gen) pedal and its new features,

Digitech Whammy 5 Features: Next generation pitch shift algorithms Classic and Chords shifting modes True bypass 10 Whammy settings 9 Harmony settings 2 Detune settings Rugged metal chasis MIDI input 9V DC power adapter included

up from the previous Whammy pedals

I’m sold! This

mainly because the previous models did

is without a

not have the processing power to avoid

doubt the best

ability to shift harmonies via its built

a slight amount of latency and warble

Whammy pedal

in expression pedal, can still transform

when in use. If you don’t want to bend

Digitech has re-

your original pitch up and down two oc-

whole chords, you can choose from the

leased. There is no other pedal that even

taves, and still features a world-class oc-

Whammy (5th Gen)’s nine 2-note Har-

comes close to giving you all these dif-

taver and detuner. But the new Wham-

mony settings or two Detune modes.

ferent sounds and capabilities especially

my 5 adds four new presets to the same

When you want the original Whammy

for $199.99 (the same price as the previ-

15 presets available on the previous

sound, you can still select the Classic

ous model). I highly recommend coming

model. The new Chord mode allows you

mode for single-note pitch shift. And

down to Guitar Showcase and plugging

to play your instrument tuned up a 4th

don’t worry – the Whammy 5 features

in one of these bad boys. Every guitarist

or a 5th from the original pitch as well

true-bypass switching, so it won’t affect

should have a Whammy pedal!

as down a 2nd, 4th or 5th. For example,

your tone when you switch it off.

The Whammy (5th Gen) still has the

SMM

Jeremy Epp is an instructor at Showcase Music institute in San Jose, CA. He is the guitarist for The Venting Machine. View his bio here: http://www.guitarshowcase.com/SMI/smi_teacher_bios.html#epp

Showcase Music Magazine January 2013

Playing Nice With Others

HEN I TALK TO MUSICIANS BOTH HERE AT GUITAR SHOWCASE AND AT GIGS AND JAM SESSIONS AROUND TOWN, one of the questions I most often hear is “How come when I go to some jams, I don’t get invited up early - or at all - or if I do, I only get to play one or two songs?”. Well, there could be several reasons for this.

The purpose of jam night, like any live entertainment, is to attract a paying audience. The first thing to realize is that while many musicians might assume that jam sessions are held for their benefit, the reality is that the purpose of jam night, like any live entertainment, is to attract a paying audience. While the jam leader does need to create a good environment for the performers, his first responsibility is to create an entertaining evening the

folks who come to hear them play - and who spend money on food and drink in the process. Gotta keep the venue profitable, after all, or nobody gets to play. The second job of the jam leader, in keeping with job one, is to put together groups of musicians who have the best chance of sounding good. In a wellrun jam, to keep the jam moving along smoothly with a minimum of down-time between players, jammers will most likely be called up when they will have the best chance of sounding good, not necessarily in the order they sign in. Oftentimes this means that an unknown player (or one who is just learing the ropes) will be brought up with the house band so that the guest will have a situation that will hopefully make him sound his best. In my own experience, I once put my street name on the sign up sheet first and was skipped over 3 times before I mentioned to the leader who I was! Once he knew it

was me, he got me up right away. The third and last job of the jam leader is to make the jammers happy, because if he doesn’t they won’t come back. Again, this means putting the better players together and asking the more seasoned regulars if they would mind supporting the newer or unknown players - a frustrating situation for some - but again, if the jam leader doesn’t produce a good show, the venue owner may have to replace the live jam with karaoke or some other form of entertainment. Over the next several issues, I will be sharing some tricks that will not only enhance your jamming experience, but may get you more (and earlier) stage time. See you next month. In the meantime : Keep jamming!

SMM

Jack Van Breen is Associate Manager at Guitar Showcase. He is a frequent local performer. Contact him at jack@guitarshowcase.com

Showcase Music Magazine January 2013

The Right Size Guitar by John Epp

lot of us have seen YOUTUBE VIDEOS OF LITTLE FIVE-YEAR OLD KIDS

Sizing the Guitar

PLAYING BEAUTIFULLY ON BIG FULL-SIZED GUITARS.

Admittedly, they’re often amazing: What you my not know is

Let’s start with standard guitar posture. Set your kid down on

that those kids practice for months with a teacher, for hours

an armless chair and prop up his feet so his lap is level. Put the

every day, on one or maybe two pieces. That’s great…but most

guitar in his hands and help him rest the guitar on his right leg.

of us just want our kids to have a positive experience that will

The right arm needs to be able to reach over the guitar body.

create a lifelong love for music – which is difficult if they have to

The most important thing to look for is the left arm (see image

struggle with an incorrectly-sized instrument.

2). Have your child put his left hand under the guitar neck at the first fret: if his arm is straight, the guitar is too big. The left

Choosing the right-sized guitar for your child is easy if you

arm must be bent at the elbow.

know a few things about proper posture with the instrument.

Standard posture is the most popular. This is when the guitar

Hohner makes a 19 inch scale (Scale is the distance in inches

rests on the right leg in the sitting position. Classical posture

from the nut to the bridge) classical guitar that work well for

is when the guitar is resting on the left leg with the left foot

my very young students (age 5). Buying an oversized guitar

elevated on a foot stool (see image 1).

to grow into is not a good idea. The guitar may be the most

Showcase Music Magazine January 2013

popular instrument on the planet, but it is already awkward. If your kid has to struggle unnecessarily, it will put a damper on the whole thing. Guitar Showcase has a good selection of “kid” guitars from 19” scale to 21”, 22”, 23”, 24”, and of course the full size standard 25.5”. The smallest electric guitar I found is the Fender Squire Mini. It has a scale of 22.5”. Ibanez also makes a very cool electric guitar, the Mikro, at a 22” scale. Ask one of the sales people to help you. They really know their stuff. FYI: When you are shopping at Showcase, keep one eye peeled on your kid’s reactions when he looks around at different guitars. It is important for a beginning musician to really like his guitar. It really makes a big difference. Happy shopping.

image 2

SMM

John Epp is a guitar and bass instructor at SMI. He has been a popular teacher and performer in the South Bay Area since 1980. View his bio here: www.guitarshowcase.com/SMI/smi_teacher_bios.html

Showcase Music Magazine January 2013

Gear Abby, Musical Advice and Reminiscences by Dan Aronie

Dan Aronie is General Manager and a Guitar Showcase veterean since 1974. Send your questions to GearAbby@ShowcaseMusicMag.com

Showcase Music Magazine January 2013

Coming Next Issue:

The Vintage Vault What happens when you’re not only a serious lifelong guitar collector, but have access to all the resources of a premier guitar store for 48 years? You end up with one of the world’s most comprehensive guitar collections, that’s what. Guitar Showcase owner Gary Wineroth inaugurates a new regular column with a feature article overviewing his own personal guitar museum.

Plus: Flying With Your Guitar: Don’t let this happen to you!

Melanie Meija’s comprehensive guide to getting your guitar there in one piece.

Report: The Texas Amigos World Guitar Show Vintage and rare guitars in San Rafael, California

Jim Bruno’s Vocal Booth - Transitioning

How to get from down low to up there without going flat.

...and much more! Showcase Music Magazine January 2013