Thursday, February 5, 2015

Blowin' Through

Listen to this

On the suggestion of John Bohlinger, I'm taking the Jazz Improvisation course from Coursera. I've taken MOOC courses before, but always tend to peter out before the end, because I never carve time out to do it.

My gig prep time is similarly lazy, in that I maybe listen through the song a few times before practice, play at practice, and go back to the points where my failure to prepare stand out, and learn to nail those parts. Just-in-time rehearsal, so to speak.

I had the title before I hit record. The big difference between jazz and rock music is that, with rock, if you determine the key to the track is G major, you can play G major all through the song, no matter where. If there's a gear-change modulation, we've moved from G to A, and I can play there for the rest of the song.

With jazz, not so much. Instead, you're given chord changes, and what you play depends on what chord is going on at the time. At least, that's the rule for pre-modal jazz. I'm not sure what the rules are for Kind of Blue through Pangaea/Agharta, but that isn't important for this post. Line is, when John Coltrane passed out the chords for "Giant Steps", they didn't know the tempo was going to be that fast, and pianist Tommy Flanagan fell off.

A rock player can be distinguished in a jazz context by the way he things "I'll play in G" (or, because of horn players, Bb) and not pay attention to the specific chords going through. "Blowing through the changes", I'm told they say.

I was going to try to not do that. I went through the chord sheet and at least tried to sketch out what scales were usable where, to pull a Gmin7b5 into an arpeggio (G-Bb-Db-F) and get some clue as to what to do. Then, I plugged into my recording rig (for the second time in my life), figured out how to tell the Mac to use the USB input and not the mic, how to tell GarageBand I want to hear myself and the track, learned the keyboard shortcuts, and recorded the above.

First, man that's fast. Not faster than I can play, but faster than I can think, and there weren't clear signposts saying "You're on the F minor now". My saving grace is that you can go crazy with chromatic notes with jazz, where most musics I play, that's not so good. "If you play a sour note", the line goes, "play it again, play it like you meant it, and people will think you're playing jazz."

I have been trying to play to other jazz on occasion, especially "All Blues", and I'm finding that the tools I go to for most everything just don't work there. The brightness of the bridge pickup is too harsh, distortion and overdrive give a growl, and there's no reason to growl. Neck pickup into a clean amp is all the music needs, and that's all I gave it, and those lessons carried over into this. I could use more engineering, because the direct-to-board playing gave me a percussive click on picking that was not remotely welcome. So, I knew what to sound like, but jazz tone is not jazz playing.

Ultimately, though, I blew through the changes. I didn't even blow through the changes. Or maybe I acquitted myself reasonably well and I'm just too self-critical. Tell me, I'm listening.

Tuesday, January 13, 2015

My New Toy

I got a $35 Factory Clearance body and a bridge from GuitarFetish.

I got an $8 Squier Tele pickup from Reverb.

The neck came from a First Act mongrel (Gibson-style 3-per-side headstock, Tele body, Strat pocket, tremolo bridge and controls, single bridge humbucker pickup) that self-destructed years ago.

Nut is from another guitar, but really fits neither, so I have a capo on the first fret, making it effectively a zero-fret guitar.

I took the control plate, jack, and strap buttons from other projects, mostly hardware replaced on other guitars. I lost my old jack cup, so black duct tape is serving.

And, for now, it has no electronics besides a pickup and a jack, yet I still reversed the control plate, because that's how I roll. I'm torn between volume-only ("EVH"), volume w/ push-pull or push-push kill switch, volume/tone/kill, old Esquire wiring, Eldred "cocked-wah" wiring and leaving it just like this. I have a wiring harness I might stick in and leave alone, just to be like that.

Because is is a cheap factory reject body (and I still need to work on it to get the neck sitting right, so the high E stays on the neck), I feel free to modify the body in any way I feel like. I have vague plans of carving cool stuff into it with a laser cutter, and I've recently been inspired by the art on Johnny Hickman's "Lucky 7" Les Paul, but looking good pales in comparison to playing good, so that can wait. And I'm thinking about getting another, Tele-style neck, but honestly, I like the way this neck feels.

My #1, besides my #1, is called "Johnny" because it was signed by John 5. My white Tele-style was signed by Bill Kirchen, so I call it "Bill". My dual-humbucker Bullet Tele has yet to be named, and the same with this one. Over time, it'll reveal a personality and receive a name.

I'll set up a camera and play something with it soon. Last time, the mic was close and the amp was far, so you only got the acoustic sound. I'll move an amp closer, or maybe DI it, and try again.

Monday, December 15, 2014

Guitar Strings 101: The Three Bears

We all know the story of Goldilocks, the young lady who thought she could mess with bears' stuff and not get the claws. The finer points of breaking and entering aside, it remains a good metaphor.

Strings come in ranges, measured in inches. Ernie Ball Regular Slinkys are 0.010 to 0.046 inches, high E to low E. The significant string is the thinnest, corresponding to the highest note. In this case, these are called "tens".

Jazz players and Stevie Ray Vaughn play with thicker strings, believing the greater mass gives the pickups more to get signal from. They hurt most players fingers, especially if they do something as foolish as try to bend them in standard tuning. Thrash metal players tune down from standard tuning, and the heavier strings make up for the slackness. This range starts at .011 and goes up from there, and we'll say that these are "Papa Bear" strings, too heavy for most uses.

Big bender types, like B.B. King, Billy Gibbons of ZZ Top, crazy bending country players, and the guitarist who writes this blog, go for thinner strings because they bend like butter, and if you want more signal, you can always turn up the amp or something, but they require self-control, so you only bend when you want to and don't bend/tighten until they break. This range starts at .008s, and is "Mama Bear" territory.

Somewhere between is the "just right", where you can bend what you want, but the strings are tight enough to not bend accidentally, where they don't hurt you, but you don't wreck them when tuning up or something. For some, it's .010s ("tens"), for some it's .009 ("nines"). Some makers even have a .0095 set. This is "Baby Bear", and since some guitars with tremolo systems are very hard to set up after string gauge changes, players get adamant. (Teles like mine are easy and forgiving in this regard.)

The same ideas are true for acoustic guitar, but since there's actual physics of making audible sound involved, and most acoustic players don't bend strings, the "Baby Bear" range is more like .011-.012 for the high string.

If you are an inexperienced guitarist: I suggest you go with tens, until you can express a reason related to your playing. Not "This guitarist plays heavy strings", but "I can't get the bends I need" or the like. If your fingertips hurt, you're squeezing too hard, which is pulling you out of tune, making your changes slower, and hurting your fingers. There is no good in it, and you're far better off getting your fingering together before you start playing around with other string gauges.

If you are shopping for a guitarist but know very little about guitar: This is not the place to guess. Ask them. They will tell you what they play, in greater detail than you really want. If they play with a tremolo system — if they have a strange metal arm sticking out of their guitar — there is a balance between strings and springs that needs to stay constant, or else they need to spend hours with screwdrivers and hex keys and tuners getting it back. The player in your life will tell you the gauges, the brand, the product line, and, if you get it wrong, it's like giving a fruitcake, socks, or an ugly Christmas sweater: they'll try to smile to be polite, but inside, they're groaning.

Wednesday, November 5, 2014

Cover Me Up

"Cover Me Up" by Jason Isbell.

Arranged and performed by Cameron Mizell.

Played on a Telecaster, like all songs should be.

Monday, October 20, 2014

All The Buzz

My baby.
I play guitar for my church. The core of my rig is a Boss GT6, but I've found it impossible to have a solid clean tone without the dirty tones just blasting it for volume, so I have a board with a compressor, Washburn Soloist distortion, DigiTech Bad Monkey, EHX LPB-1 clean boost, EHX Signal Pad attenuator, Danelectro Cool Cat tremolo, and Morley Little Alligator volume pedal, which I connect into the input of the GT6. The pedals are connected mostly with the kind of cables in a jar next to the cash register at Guitar Center. I power the board with a Visual Sound 1Spot, and normally, it's been no problem.

Signal starts with my #1, a mid-80s Telecaster I added a four-way switch to, which is my #1 guitar.

Yesterday, toward the end of service, I noticed a small buzz coming out of my system. I nudged some pedals and got a big buzz. I used the volume pedals to drop the volume and tried to figure out where the buzz was coming from. After service, I poked and found that switching out the cable connecting the board to the GT6 caused the buzz to go away, and switching in two longer cables brought the buzz back.

This is close, except I swapped locations for the Signal Pad
and Cool Cat, and swapped out the Death Metal,
which as too much gain for anything I need. I should redo
with the dirt pedals in the front row. 
Yesterday evening, setting up to play again, I simplified to just Tele -> GT6 -> DI, and immediately got all the buzz in the world, and found that, by turning down the volume on the guitar, I could change the pitch of the buzz. I expected either 1) nothing would happen, showing the problem was in the pedalboard, or 2) the volume would go down, showing the problem was with the instrument or involved the single-coil hum. What I got surprised me and I could base no diagnosis on it.

I was handed a loaner guitar and the issues went away.

This morning, I plugged my #1 into my amp at home and it sounded just like I'd expect.

I honestly have only the slightest idea as to what went on. I've had problems at that venue before, and the problems I've had with buzz there, I've had nowhere else. Then again, I'm normally either into the DI at church or my amp at home (or elsewhere).

My thoughts about the fix include:
  • taking the #1 to the shop and see if my rewiring is problematic
  • moving up to the next level for patch cables
  • going from a 1Spot to a Voodoo Labs Pedal Power or the like
  • finding a means to have a special ground for my gear
I'm in a confused state on the issue, and will have to plug things in and try things out to try to solve things. Any comments or suggestions?

Saturday, October 18, 2014

Walking Bass for "Without God"

This is Robert Randolph from the album Sacred Steel Vol 2: Live! This is before Family Band, before playing with Clapton at Crossroads. My favorite version of this is from the album The Word, which was Robert playing with the North Mississippi All-Stars and John Medeski on organ, where they just pump on this jam for seven minutes. Get the album.

There's a bass part that gets repeated for a long time that goes something like this:
G +------------------------------------
D +--3---------0-1-2-3---------0-1-2-3-
A +----0-1-2-3---------0-1-2-3---------
D +------------------------------------

I could play it for a long time before I got what was going on there.

What's going on is, it outlines an F chord, starting with the octave, dropping to the major third (A), then climbing chromatically through the fourth (Bb), flat fifth (B), perfect fifth (C), jumping to the major sixth (D), minor seventh (Eb), major seventh (E) and back up to F. I hadn't really broken up what else was going on, so in my mind, I was categorizing it as being about the A chord, not the F chord.

Tuesday, July 22, 2014

That Went Better

It's been a while since I've written up anything, and that's largely because I haven't been playing much to write about. I did play last Sunday, though.

My #1 with colorful reflection and a skinny western-style strap.
I bring my #1, a 1988 MIJ Fender Tele, and my newer HH Squier Bullet Tele as a backup. I took to getting skinny western-style guitar straps, but with my recent weight loss, I've found they hurt my collar bone, so I swapped in the 30-year-old wide strap I've mostly used for my acoustic.

I've put my amp pedalboard (currently comp > Washburn OD > DigiTech Bad Monkey OD > EHX LPB-1 clean boost > EHX Signal Pad attenuator > Danelectro Tremolo > Morley volume pedal) in front of my Boss GT-6 because I've found it very easy to choose settings that change the sound without the volume that way, while doing the same with the GT-6 is more difficult, and the sound of GT-6 through a PA is different than the sound via an amp, so I can really only do it before practice/soundcheck/service where there's a time crunch.

What made it interesting to me was the styles I had to cover. We started with "Alive" by Hillsong Young & Free, which had me hit a bright and clean disco tone with a very loose right hand, followed with "Your Love Never Fails". I hit grainy arpeggios with the Bad Monkey while the acoustic player held the major part of it.

At the end, there was a surprise substitution of "Revelation Song", which was great for me, because it's a song I know by heart and have a lead in. There were a few train wrecks and we could've gone with another run-through, but by and large, I think we nailed it, which always feels good.