I played at church Sunday morning, and call time is 7:45am.
We play through Avioms for stage monitors, and they come with a headphone jack. I had a pair of Shures on-loan from the church, and they had been sounding worse and worse, to the point that, on the practice for this week's practice, I finally gave up on them. I brought my work headphones home precisely so I could use them for service. And somewhere between home and church, they broke somehow. I was able to use the worship-leader's pair, as he was using someone else's loaner higher-end Shures, but when I found out, I almost cried.
Because I slept well from 10pm to 2am, then woke up, and because of a headache that could've been illness, could've been caffeine withdrawal, or any humber of other things, I could not sleep for more than a half-hour after that. So, I was coming into this situation tired and with a headache. In fact, between the headache, the sleeplessness and the snow, I was considering calling in sick.
In general, when given a choice between playing a lead part and playing big chords that fill the sound, I'm asked to play big chords, and through the many years of playing, I have come very able to play the rhythm parts to songs I don't know, just by reading the charts. I find it improvisational and fun. But, I found at practice, he wanted me to play the lead parts. Which I did not know.
Practice was Thursday, and so was the funeral of the drummer's family member, and practice without the drummer makes everything suck.
The final two pieces are the first two songs. The first song has an unaccompanied guitar lead-in, and the second song is in a slower tempo, but the worship leader wanted them to segue, so the first song was given a slower tempo to match. I learned the lead-in on Friday, but I learned it at standard tempo, not the slower tempo. And even if I had it down on Thursday, I couldn't have practiced it slowly with the drummer, because the drummer was not there.
So, we never were able to have that intended intro come off as planned. I was too tired to adjust the timing. I was unprepared coming in to play that lead lick that slow. Broken gear and exhaustion pushed me off my game. (I had my walking-around headphones, which, having a third channel for the mic, did not it well in the jack, but it could've worked too. Remember, kids: Two is one, one is none.) There were other leads, and I handled them well, but the beginning is the one I judge that morning by, and by that, I judge that I came in and stunk up the place.
Give me a chord progression and a tempo, I can find something cool to do with it. Give me a strong composed lead and change the tempo from the recorded version and I fall down, it seems. And knowing how you suck is the first step to stop sucking like that.
Monday, March 3, 2014
Friday, February 28, 2014
Wednesday, January 29, 2014
That guitar is an x-ray of a 64 Tele reissue, part of Project X-Ray, getting a deeper picture into classic guitars. It really shows how bear-bones the thing is. There's also shots of some harp guitars, guitars made by C.F. Martin and Orville Gibson, and some golden-era Gibson's and Martins. The project started to see if there's a difference between the Gibson instruments built pre-WWII and those built by the "Kalamazoo Gals" during the war. Check it out!
Tuesday, August 20, 2013
|Guitars, left to right: |
1986 MIJ Fender Tele, murdered out by owner,
2013 Squier Bullet Tele, murdered out by factory.
Honestly, I like the look of a maple neck on an all-black body (heavily influenced by Sting's video for "Fortress Around Your Heart" — I should get a black Strat with a big CBS headstock some day) so I've been thinking of getting a maple Squier neck off eBay for it.
I was a little worried, because I've played budget guitars from even decent brands that had issues, and getting a guitar you never touched is somewhat worrisome. The biggest issue I've had is frets that stick out of the side of the neck. But this guitar has none of those issues. As you might guess from the picture, I've played it out once. The humbuckers have higher output than my #1 guitar's single-coils, which means I'm going to have to set up another set of patches to my pedalboard so that the output is about the same.
Right now, it is my "working" guitar, as I'm not liking the stage buzz on my old Tele, I have to work out some issues and maybe get some new pickups for my Hohner Steinberger copy, and my white Tele copy has some fretboard issues above the 12th fret, making it only good for rhythm playing. That means I won't do any mods until I have another guitar fully functional. But, when I get to that point, I have so many ideas for this thing. Since it has a six-saddle bridge, I could easily put on a GraphTech Ghost system and fairly easily switch between acoustic and electric sounds on it. No, wait: Looks like GraphTech now sells 3-barrel Ghost saddles for Teles. They didn't before. Maybe I should put that in my #1? And when I do, switch to Seymour Duncan Hot Rails to up the output?
Or maybe not. I've been thinking of that mod for over a decade. Anyway, eventually I will have the HH set up for volume-tone-switch, like my #1, instead of switch-volume-tone. That's the non-negotiable.
I've been curious about getting a guitar synth setup and putting it on a lap steel for a while. This shows me that it'd be everything I'd want and more. The "Crazy Vibrato Opera Singer" patch, if used with single notes and not chords, seems like it'd be all the setup you need to simulate theremin playing.
That is, if you're playing it like Clara Rockmore, not Jimmy Page.
Monday, August 19, 2013
I have always loved this song, from the first I heard it. I've not heard of Pedro Javier González before, but I know that John Jorgenson is a Hellecaster and that Tommy Emmanuel was given the coveted by c.g.p. by Chet Atkins himself, so he's among great company and acquitting himself well.