Tag Archives: live

Welcome to the Twenties

Happy New Year, everybody & welcome to the Twenties!

The St Louis Cotton Club Band, in a truly epic photoshoot, crica 1925

It’s been a while since I’ve posted a blog. Life conspired to get in the way!

So here’s the main updates from me…

I’m fast approaching my third year as a music therapist, and for the better part of a year, I’ve been working five days a week, across Northumberland & Cumbria. For those of you from outside the UK, these two counties are not only the northernmost in England (bordering Scotland above), but also the most rural. This means as well as a full working week, I’ve got a longer commute than average, which eats into my free time somewhat.

To counter this, and because it’s less of an economic necessity nowadays, I’m stepping back a little from corporate live work. For the last decade, 80% of my gigs were weddings & events. While it’s been amazing, the time has come to be a little more selective with the performing work I take on.

I’ll still be gigging, but it’ll be music I fully believe in…

…such as my own projects, which are finally scheduled to get off the ground this year! Thanks to what I’ve started calling the Commune Method (using the same players on everyone’s projects, producing one person’s creative work at a time), I have a small team of talented musicians and producers to help me get my newer compositions down on a format I can share with you soon – updates to follow!

Finally, I’ll be refreshing my gear list in a new post soon, the crowing glory of which will be the custom-made classical guitar that has been built for me! Very excited to share more details with you soon in a post all of it’s own.

Naturally, since we’re in the ’20s now, it’s easy to draw parallels between the times we live in and those from a century ago. Far-right thinking is entering the mainstream, and it feels to many as if many G20 countries are bogged down in nationalism, isolationism and teetering on yet more war. Yet such times produce good art. Except this time around, more than ever, the art is all of us, and I hold out the hope that it’s not too late to learn from the mistakes of the past.

Finally, thinking about the ‘prohibition’ age in ’20s America, I’m struck by the creative lengths people went to in order to continue drinking. I’ve said it before but it bears repeating, true creativity comes from working in and around the rules, when necessary.

Until next time…

A ‘Harp Guitar’ – where can I get one?

Guitar News: Fender announce new Player Series to replace MIM models

Recent news from Fender. It looks like the ‘Made In Mexico’ tag is being either rechristened or replaced…


There’s more on the story via this link to Reverb.com:

https://reverb.com/uk/news/fender-discontinues-mim-standard-series-replaces-with-the-player-series

The general consensus amongst guitar gear fans is that the MIM range improved greatly from 2006. I briefly owned one from 2012 (a lovely HSH model I sold as I wasn’t using anywhere near enough) and can testify to the improvement. My first ‘proper’ electric guitar was a Fender MIM Strat from 2000, which I still own. Hopefully I’ll never part with it. The original pickups were a little flat but otherwise I can’t fault it – but that’s just my humble opinion.

(I upgraded the pickups on this old Strat around ten years ago – more in that in a new post coming soon).
Still, having given up the more recent MIM guitar, I might have to give these new ‘Player Series’ models a look-over in the very near future. Do let me know your thoughts…

Guitar tone: have you been missing the obvious trick?

Still looking for a better guitar tone? You might have been missing something obvious for some time. You have the guitar, the amp, the overdrive pedals, EQ, but that sound isn’t quite there? It just doesn’t feel right. The obvious answer is to do less. More specifically…

Dial down the gain. Clean up your sound.

Sound ridiculous? Stay with me for now and I’ll try to explain why I believe a cleaner sound makes for not only a better guitar tone, but also helps your sound cut through the mix of a full band. A few things to consider…

Here comes the science (sort of)

Adding overdrive or distortion to your guitar smooths out the tone. Yes, it can sound lovely and ‘syrupy’, not unlike Clapton’s famous ‘woman tone’ or the thick lead sounds of Gary Moor or Slash, but have you ever noticed how your solo cans till get lost in the live mix? This is particularly true if your band includes keys, a second guitar player or a horn section, as all of these instruments predominantly occupy the midrange of the frequency spectrum. In effect, your smooth tone is competing with many different voices, and all that lovely smoothing-out (which sounds so cool for your legato runs, etc) makes your sound more likely to dissolve into the wider sound of your band.

The trick is volume over distortion

Try listening to pretty much any classic rock record from the late sixties and seventies (the age of the ‘guitar hero’). Notice how so many of those riffs are only slightly overdriven, at best? Some, such as Lynyrd Skynyrd’s ‘Sweet Home Alabama’, make use of guitar sounds which are virtually clean. That classic sound you hear is usually a small amp (say 30 watts) being turned up full, and breaking up into a light overdrive sound. This applies to most of the back catalogues for most of your favourite ‘heavy’ bands, from Led Zeppelin and The Who to early Aerosmith and even Black Sabbath.

My favourite example to highlight this is the classic song, Smoke On The Water by Deep Purple. The link takes you to the studio recording. Compare this with every covers band that had played this song. Ever. Heck, compare it with how Deep Purple play it now! Everyone has a different opinion, but wouldn’t most agree that the original sounds better?

These bands sounded heavy because they were playing the loudest amplifiers available, and as they got bigger, the sound got heavier, but we’re still a long way from the Mesa Boogie levels of heaviness the eighties would bring along…

Wouldn’t these bands have played heavier, if they had been able to?

Quite probably. They were considered pretty noisy for their time! If those full, thick distortion sounds had been more readily available in the mid-sixties, would the sound of rock guitar have been very different? The truth is, we’ll never know. Those artists used the equipment they had available, and we can only hypothesize as to alternative outcomes. Here it becomes a little too ‘chicken-and-egg’ for my liking, though there are numerous threads on guitar forums across the internet if this is the kind of debate you’re looking to investigate further.

Of course, one counter-argument would be the fuzz pedal. This was heavily used by some artists, notably Hendrix (if you’re not sure how that fuzz sounds, think of the opening riff to ‘Satisfaction’ by the Rolling Stones as your starting point). This effect created a thick and – it goes almost without saying – ‘fuzzy’ sound to the guitar’s tone, making solos sustain for longer and creating a warm, distorted sound. However, the fuzz pedal didn’t take over the sound of rock guitar as we know it. Perhaps distortion wasn’t the end-goal for guitar players back in the sixties, after all?

So should I play clean but loud for the rest of my guitar-playing career?

Probably not a good idea. Your band mates will most likely not appreciate it!

However, I might suggest you start by dialing back the gain a little on your drive channels, pedals, etc, and make better use of volume and tone controls (on the guitar, amp and any stompboxes you are using) to allow the sound of your guitar to ring through.

But what about sustain?

It’s not always possible to turn up loud and play away. I currently gig with a digital amp which is DI’d into my band’s mixing desk, with no output from the amp itself. My main channels are a clean and a slightly overdriven channel, both of which are fairly ‘dry’ signals (not effects except for a very small amount of reverb). My lead sound (for solos) is another version of the overdriven sound, with a slight boost in volume and treble frequencies. Crucially, this sound also includes a fair bit more reverb dialed in, plus a short delay mixed low underneath the original signal. The reverb and delay both act to thicken up the sound, and assist my guitar sound not only through increased sustain, but in helping the sound to cut through the mix.

Another trick to use in the studio is to use two amps when recording; one with an overdriven sound, and another set to an almost clean tone. The cleaner of the two amps can be mixed quite low, but it’s presence will add some clarity of definition which the heavier sound loses. The whole thing makes for a guitar tone which is not only more thick, but more true to the sound of your guitar – try it!

Take away points:

  • Clean up your tone – wind back that gain!
  • Use effects to create the impression of more volume (such as reverb and delay) instead of piling on the distortion

Caveats:

I fully appreciate that everyone’s opinion is bound to differ on subjects as personal as guitar tone. What works for me may not necessarily work for you. It is also worth remembering that certain styles of guitar-based music rely on a super-distorted sound as an integral element to their sound (think of bands like Nirvana and Skunk Anansie, for instance). However, don’t be afraid to try experimenting with a cleaner tone. Be warned though, with a clean sound, there is nowhere to hide any weaknesses in your playing technique!

R.I.P. Glen Campbell (1936-2017)

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).

Video: Funk & Soul Medley (with Switch)

Been a while since my last post (several life-changing events recently – all positive!) but thought I’d post a new video from Switch.

For those new to my blog, Switch are my main function band at the moment. I’ve been their guitar player since the beginning of 2015, and we’ve performed at all manner of function & event in that time.

This medley was recorded last winter, but only recently uploaded by the band. It features three funk & soul songs, all of which are staples of the wedding/function band scene:

  • Signed, Sealed, Delivered (Stevie Wonder)
  • Never Too Much (Luther Vandross)
  • Ain’t Nobody (Chaka Khan)

This medley showcases Switch’s full six-piece lineup of female vocals, bass, drums, keys, guitars & male backing vox (me), plus alto sax & female backing vox.

For my part in this recording, the guitar used was my Fender Modern Player Stratocaster (short scale model), DI’d direct into the studio desk. Recording took place at Nemix Studios in Newcastle upon Tyne, England. I must admit that I don’t know which ‘re-amp’ patches were used for my guitar tones, other than I requested a Fender Blackface/Deluxe style amp for the clean sound. Sorry there isn’t any more detail….

As always, let me know what you think. In case the video above does not play, you can access it on YouTube here.

Enjoy! xx

R.I.P. Chris Cornell (1964-2017)

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).