Other people show pictures of their kids. I go on about my three ‘workhorse’ gigging guitars…
Summer has ended, and with it wedding season. The number of gigs I’ve been playing each week is now returning to a level more compatible with two other jobs and a master’s degree. Now I have time to take stock and update you on my two new working guitars…
My previous Strat, one of the new Fender Made in Mexico Standards, featured coil-tapping on both the neck & bridge pickups. In my current function band, I found myself playing it almost exclusively in the single-coil setting. After years of having a humbucker in the bridge position, I finally fell in love with the classic single-coil Strat sound. As it turned out, the Mexican Strat’s neck didn’t feel quite right for me – a trifle too thick, certainly compared to the thinner, vintage feel of my favourite blue Strat (see ‘Gear Talk’ 1 & 2). At the same time, I’d read several reviews singing the praises of the top-end Squier models. It seemed that Squier were no longer solely the savvy choice for the beginner.
I’d been looking for two guitars which sound and feel similar enough to each other to make mid-gig changes much smoother. The weight and shape/feel of the neck needed to feel close to identical, while the sound had to match up as best as it could. I had also been hoping to use more budget-concious instruments – if the build quality was up to it – in order to retire my favourite blue Strat from regular function gigs. On paper, the squires seemed ideal, so I took the plunge and bought two varying models on a retro theme…
Squier Vintage Modified Stratocaster
The rave reviews on the deluxe, Classic Vibe and new Vintage Modified lines claimed that many guitarists might well be fooled in a blindfold test with some of Fender’s classic guitars. Likewise, build quality and parts were considered by some to surpass the recent Mexican standards. With this in mind, I purchased a brand new Squier Vintage Modified Strat, finished in a quote lovely custard yellow colour they call Vintage Blonde.
The Vintage Modified range aims to replicate a vintage guitar that’s been retro-fitted with player upgrades. Here, that means Duncan-designed pickups, a better bridge than the entry-level Squiers, a thin, tinted neck and vintage style tuners for better stability. The pickups appear to be a slightly aged off-White, adding to the retro vibe. Best of all (in my opinion), it has the large headstock that Fender started using in the last sixties/early seventies, which is the most obvious nod to the past.
I really like the sound of this guitar. And that’s not compared to Squier’s Affinity range, but the Mexican standards. The basswood body is lighter, but it doesn’t have an obvious effect on either the sound or sustain if this guitar, even compared to my Blue Mexican. Likewise the feel, not to mention the incredible playability, of this guitar far exceed its humble price tag. This has become my main axe for function work. All I needed now was a similar beast to partner it with…
Classic Vibe Simon Neil Stratocaster
I’m going to come clean here and admit I’d never heard of Simon Neil. While I had heard of his band, Biffy Clyro, I couldn’t name or even recognise a single song of theirs, nor could I adequately describe their style. However, friends more clued up on this sort of thing than I am informed me they have a mix of street cred with a younger audience and play interesting, heavy rock music. The specs on this guitar imply that Mr Neil has good, and indeed similar, taste in guitars to me. While I wouldn’t normally buy a signature model (other than a Les Paul, naturally), seeing this guitar going for £200 second hand was too good an opportunity to pass up. Heck, if I didn’t like it, I could always sell it on.
This (now discontinued) guitar is essentially a budget-friendly version of the Fender Simon Neil signature model. Based on a ’62 Strat in gorgeous Fiesta Red, it certainly looks the part. The Mark Knophler/early Hank Marvin vibe in the aesthetic was enough to override any boggling doubts about the subtle Biffy Clyro logo on the headstock. The rosewood fingerboard is slightly lighter than expected, but sounds as warm and dark as you’d expect. As with the Vintage Modufied guitar, the bridge and tuners are an upgrade from those axes at the lower end of the Squier range, and the overall build quality feels like another great job from their Chinese factory. The pickups are a custom mix of Alcino 3 and 5 magnets, which offer up a delightful blend of early and late 60’s Strat tones in one guitar. Very nice!
Having played this guitar for a couple of weeks now, I feel it’s here to stay. I’m currently setting it up so it’s gig-ready, as the action on the two guitars wasn’t quite matching up. There is a slight difference in the sound, particularly when overdriven, but it’s close enough to be complimentary. Other than that, and the obvious differences in finish, these guitars feel the same in my hands and under my fingers, which is exactly what I was looking for.
Finally, even though I never thought I’d say this, I encourage you to give Squier (and indeed other budget models) a go before spending all your money on the top-end guitar brands. Now, more than ever, you may well find the difference is that you’re paying extra for the name. All in, these two new guitars cost less than one New Mexican standard, and for what I need as a working musician, they do the job exceedingly well. Join us, and you too can live the two Squier dream onstage!
I’m writing too many of these. Am I nostalgic? Or was there a truly golden period, filled with stars who so much that their passing inspires grief in even the most removed and passive music fan?
This morning, I leaned of the Glen Campbell’s passing. He was 81 and has only recently retired from performing following a diagnosis of Alzheimer’s Disease in 2011.
Beyond the country-pop hits Campbell enjoyed in his long career (‘Rhinestone Cowboy’ to ‘Gentle On My Mind’, as well as the classic ‘Wichita Lineman’, in the video below), he was also an accomplished session guitarist.
Campbell’s early influences included gypsy jazz legend Django Reinhardt and one of my own guitar heroes, session guitarist Barney Kessel. Campbell’s career would see him in the same first-call bank of musicians as Kessel (now referred to as ‘The Wrecking Crew’ – I highly recommend you read up on these amazing musicians and the inumeroua hits they helped to create). In this role he performed on records by Phil Spector, The Monkees, Frank Sinatra, The Beach Boys and countless others. In fact, he was the live replacement in The Beach Boys for Brian Wilson, who was not up to touring by the mid-sixties.
Aside from and indeed above his beautiful singing voice, I will remember Campbell as a highly versatile and talented guitar player. I hope you enjoy the video below.
R.I.P. Glen Travis Campbell (1936-2017).
The music world faced another sad loss with today’s news. Chris Cornell, lead singer and songwriter with three great rock bands, namely Soundgarden, Temple of the Dog & Audioslave, passed away on Wednesday.
In all of these groups his voice rings out & grabs your attention. The video in this post is one of Audioslave’s best songs, performed live.
Back in 2005, Audioslave were playing in Stockholm while I was visiting a friend there, and by chance I ended up catching their show. Cornell played Soundgarden’s ‘Black Hole Sun’ as a solo acoustic number, then followed on with ‘I Am The Highway’ in the same style as this video. It was a brilliant performance which I don’t expect to forget anytime soon.
Rest in peace, Chris Cornell (1964-2017).
This is a short video from TED Talk on how to practice more effectively. It includes some useful tips & really interesting information based on what we know about the brain & how we learn tasks.
This ties-in with my previous blogs on rehearsal & my own (admittedly rather limited) research on music and the human brain [see previous posts]. Let me know what you think!
If the above video doesn’t work, here’s a link so you can access the short TED Talk video on YouTube.
It’s been almost two years since the last post running through all of my gear (which you can read here), and a lot has changed since then! Time for an update…
What’s the same?
First off, my blue/purple Strat is still my main weapon of choice (pictured, below).
Known as the Standard Stratocaster HSS, this Mexican made beauty has been with me for sixteen years now. A few years ago, I upgraded the pickups to:
- Fender Vintage Noiseless (neck)
- Seymour Duncan Cool Rails (middle)
- Seymour Duncan ’59 humbucker (bridge)
I love the combination of these pickups, not to mention their individual tones. I’m buying a new ‘fat Strat’ soon (expect a review to follow) and should I find the standard pickups somewhat lacking in quality, I’ll be replacing them with the same choices mentioned above.
What else has remained the same?
My acoustics – the Taylor 314ce, Admira classical and Tanglewood electro acoustic – are the same as before. My ukulele is a standard concert model by Kauai.
Most of my pedals have remained the same but here’s a quick rundown of my main stompboxes:
- Joyo Vintage Overdrive (highly recommended!)
- HotOne Boost
- Boss OD3 (overdrive) & DS1 (distortion)
- Marshall Bluesbreaker overdrive
- Snarling Dogs Wah
- Joyo Digital Delay
I have a pedal board to house all of these. However, I often simply take two or three pedals out to a gig without the board. This changes from gig to gig, but looking back through the pics on my Twitter account, I find the Joyo Vintage OD (a top quality tubescreamer clone for a fraction of the price) usually makes an appearance.
So what’s new?
My current second Strat is a Chinese made Modern Player Stratocaster. Interestingly, it is short scale (24 inches instead of the usual 25.5). Apart from being a feet shorter on the neck (only twenty) you barely notice when playing, though the body is a little smaller. In terms of sound, the pickups on this are classic Strat and I love the Guild humbucker in the bridge – the chrome looks really cool against the scratch plate (see pic below, sun best guitar on the left)!
Finally, I also own an Epiphone Les Paul plus top PRO. The main difference between this and the standard Epi LP is that both the top quality pickups are coil-tapped. They’re also uncovered, which looks very funky against the gold finish (see pic, below).
When I bought this guitar, I thought I’d be using it with bands in the heavier end of the rock spectrum. However, I’ve found myself using it more & more for blues & jazz gigs. It was my main guitar for my blues workshops at the Sage Gateshead this summer, and provided those early blues times perfectly.
I’ve finally bowed to the inevitable and invested in a digital amp. I’m glad I waited, because evidently Fender did too. The first wave of modelling amps were full of lags & bugs. By waiting, Fender’s first foray into the genre ensured they got it right first time. Even then, they were minor bugs, quickly improved in the line of amps released when I started looking – and now I’m a very happy owner of a Mustang III version 2 (pictured below).
This has every amp option you can think of, as well as every effect you’ll ever need. I prefer to keep my overdrive stompboxes, which frees up the amp to add modulation effects (such as phaser or their wonderful chorus choices). There’s room for a hundred saved channels, which is more than I need but useful to have. Also, their pitch-shift effect allows me to down tune the entire guitar without the need to, well, actually down tune the guitar! Very cool!
Well… I’ve just today ordered a Fender HSH Strat, so expect a review when that arrives. I’m also quite keen to look at a few more pedals from Joyo. Watch this space.
Until next time…
Interpretation is key to making music more than the robotic sounding of written notes on a page. It plays a large part in ensuring music remain an art, rather than a means of sequencing sound (this too can be a form of art, when done well, but that’s another article altogether).
I was recently asked to perform Spanish guitar music at a friend’s wedding service. Amongst other choices was Leyenda (meaning ‘legend’), one of the ‘big’ pieces classical guitar repertoire. Originally written by Spanish composer Isaac Albêniz (1860-1909) for piano, but transcribed for guitar within Albêniz’s lifetime.
The most famous transcription of this piece is by Andrés Segovia. Hear the great player performing it himself on this YouTube video. You may notice that Segovia’s interpretation is slower than more recent recordings. I’ve had some pretty interesting discussions with guitarists in the last few weeks and months regarding artistic interpretation. In almost all of these chats, the focus has been on the interpretation of the performer.
However, what we hadn’t considered is the interpretation of the composer, or the arranger. When I say arranger, I mean one who transcribes music for other musicians to perform, rather than a player making interpretive changes solely for their own performance.
I came across a great article by composer & arranger Stanley Yates about this piece, which I wholeheartedly recommend you read here. In this article, Yates not only provides a large (and most welcome) amount if background information on the piece, but explains why his new arrangement differs more from Segovia’s than you might expect. The chief differences for me are the absence of sixteenth triplets in the opening section, which was Segovia’s invention (be honest, how many of you knew that?!) and a few differences to the interval of certain ‘grace notes’.
You can download Yates’s arrangement of Leyenda for free via this link to his website. I strongly recommend that you do this, in order to see these differences for yourself, and experience a very different side to a piece you thought you knew intimately.
The source for Yates’s arrangement is the original published piano work. He argues that he has attempted to stay true to the original piece without being pressured by the subsequent traditions of this piece which have grown over the last century. To say any more would be to rob Yates’s article completely – take some time to read it for yourself, and as always, please let me know your thoughts. Artistic interpretation has been a keen area of interest to me for a long time, and I am happy to open up a long-running conversation on the topic with readers & fellow music lovers. Get in touch!