How many times have you seen that comment as part of an argument online and kinda rolled your eyes at it? Well, if you are anything like me, you stopped counting when you ran out of fingers and toes.
So, to counter that, here is a bold statement. “Who cares if the audience can hear the difference?”
OK, so let me expand on that a little. When I play live (and I’m pretty certain that this applies to everyone I play with and coming to think about it, everyone I’ve spoken too about it), a great guitar tone (or bass tone – or drum tone or whatever) is about one thing and one thing only, giving the person who is behind the instrument the opportunity to feel as comfortable as possible in order to play at their very best. The audience, generally, only cares about two things. “Is the band any good?” and “Do I like the music?”. We can do nothing about the second statement, but the first we have total control over - I doubt very much if the audience is thinking about the composite parts that result in that what they are hearing.
An integral part of any live performance is whether or not the band is any good. It’s extremely rare that a band will sound good to the audience as a whole if they sound simply awful (unless of course, their whole existence is that rough around the edges feel). I’ve seen some amazing bands in the past that have given me a terrible night because they sounded awful – and that could be the FOH mix, the individual instrument tones or anything else. I remember one night were an entire pub emptied within 3 songs because the band sounded awful. And this was the same band that went on to sell out endless world tours and go on to become one of the biggest and influential bands currently performing.
In order for the band to sound great, each person has to be at the top of their game and a lot of the time you can peel that back to ensuring that every person on the stage is comfortable and loving what they are doing and hearing. Have you ever been on stage when for some reason your gear doesn’t react the way you expect it to and it go on to ruin your night? I have, many times. That’s the ‘beauty’ of playing in bars and clubs, some rooms naturally sound amazing and some kill the sound. The key to this, for me anyway, is that in order to feel comfortable I have to be in the right ‘zone’. And that zone is all about my mental state and the relation between me and my gear. If I’m not comfortable, then I don’t play as well. My wife can spot it by the time the first song is halfway through if I’m not comfortable.
Quite often, either during a break or after the gig, people wander over to the stage area and say “You don’t need all that… etc etc” and then go on to say how good it sounds and how much they enjoy/ed my playing. This always strikes me as a little odd, surely the only thing they care about is if it sounds good. It shouldn’t matter if I have one pedal and a £50 guitar into a crappy amp, or if I have boutique level stuff from start to finish… as long as it sounds good as part of the end product. In order for it to sound good, then I have to be stood there and feel 100% comfortable and ready to melt some faces. I think this is key to this debate and a word I've used several times already in this piece – 'comfortable'. Is the player comfortable? and is the gear making them comfortable? I am fully aware that my epic board is somewhat of a comfy blanket for me, I rely on it and most of the effects on it are used once, which is a lot of money to spend on something that is only used in that way – but consider this. I am there for two reasons. Firstly, to satisfy my desire to play live and make music with my buddies, and to see the audience enjoy themselves. The one song that flies into my head at this point is “Runaway” by Del Shannon, latterly covered by Gary Allen – and the version we go is somewhere in the middle of the two. The intro to that is quite a specific tone, and it uses a one time only patch from the Mobius and Timeline (although the TimeLine is used constantly throughout the gig the Mobius only features in 4-5 other songs, 1 for vibe, 1 for tremolo and 3 or so with chorus) - does it make having a £450 pedal worthwhile? My answer is a resounding YES! On that song, as when I hit that big Am riff to start it, people jump up and start dancing. That makes me comfortable, that makes me happy and so I play better.
The main question I have to ask myself is this. Would it sound any worse to the audience if I didn’t use those patches and just got myself a crappy cheap trem pedal. Or not use those sounds at all and just use a normal tone. Well, it may well do… but the fact it’s all midi controlled so the tempo is right makes me a happy boy. There is no tap dancing, there is no tweaking of speed, it’s just there and I know that it’s going to sound killer every night (not taking into consideration if the room is awful). This means I can relax, concentrate on one of the most finger bending solos I have to do later in the song and not worry about anything not sounding the way I expect it to.
There are a lot of players out there who survive beautifully going straight in, or using cheaper pedals and everything else, but as a player I need to know what to expect when I hit that button. When I know what to expect, I relax, when I am relaxed I play better. And the only thing the audience does care about, I’ve found, is that I play to the best of my abilities every time I get up on that stage. It’s not about sounding the best because the £2K Klon has more mojo than the £150 Tumnus, it’s about only having to concentrate on the playing. For me, the Klon is excessive as I feel I don’t need it as the Tumnus does the trick for me every night, but I know many players that only feel comfortable when they have a real vintage Klon in their chain. Now, I can barely tell the difference when I play them side by side, so incorporated into a band mix I’m 100% confident I wouldn’t be able to tell the difference, and I would go as far as saying that they can’t either… the audience wouldn’t have a chance – but if the player is happy, and therefore playing their best because they are so happy, then for me – it’s worth every penny spent.
For reference, here is my rig and I’ve taken the liberty of adding up the total cost of it all new.
PRS Brent Mason signature.
’94 Fender MIM Strat with hand wired Seymour Duncan Antiquities
Line6 G30, TC Electronic Polytune 2 into One Control OC-10 looper that contains…. Wampler Mini Ego Compressor, Wampler Mini Tumnus, Wampler Paisley Drive Deluxe, TC Quintessence, Strymon Mobius (split into pre and post), Strymon TimeLine, TC Electronic MiniHOF, Wampler dB+… All wired up with Evidence Audio SIS/Monorail.
Amps and Speakers
Custom made 2x12” speaker cab loaded with WGS Reaper HP and WGS ET65.
Spare amp – Quilter 101 MR
Yep. That’s £7k of gear to play covers in pubs once or twice a week. But, let's face it – I could double that figure EASILY! Yes, I know, that original figure is insane. I really know it is, but it makes me happy and this is my only hobby and I know whenever I go out to make a noise I sound as good as I personally can - so in that regard, it’s worth it. All of it!
Quite often you will see a conversation on the internet - usually started by a meme - that ends up with a few people arguing that playing isn't all about the gear, it's about the player. But what happens when the gear transforms the player? Here is a short piece sent to us regarding this by a moderator of our tone group on Facebook, Andrew Gordon.
"Can a new guitar pedal really make you a better player?
If you had asked me this question two months ago I would have "No! Don’t be ridiculous!" But since finding a couple of key pedals that really work for me I appear to have levelled up in my playing. Now, is it the pedal that is making me play better or is it that I am playing more and understanding more and really starting to find myself as a player?
I think the answer is, in fact, both, but it may not have happened without that pedal.
Let me put some context to this, I play the guitar as a hobby and buying and selling gear has also been my hobby for several years. Of late I’ve finally got an interest in theory and becoming a better player than I currently am. I’ve been watching more theory videos on youtube than gear videos and really trying to implement what I am learning. I have hit a point where I feel I have a much better understanding of some of the theory and where and how I can actually use it. It appears that you really do get out what you put in and you would think at my age that this would be a no-brainer, but if I am being honest I let the gear chase get in the way of actually playing and getting better. I’ve not only seen this in myself but I have seen it some of my other “tone chaser” friends and even some in real life too! It’s easy to lose sight of what’s really important, playing.
It’s been quite a few years since I have been in a band and I am starting to feel now that it is really time to get something together not only to have fun and jam, but to keep getting better as a player and to also make my gear relevant apart from my love of it.
But how did a pedal bring on this realistic revelation?
It started with one video on youtube about one pedal and I watched it over and over and over again to point where I pinpointed the exact sound that I had been hearing in my head for the last five years or so, but I had finally heard it in gear. I have chased many different tones over the years but this one had always been what I thought was my “core” tone. A while back I found out that I am a better player on Telecaster, I don’t know exactly why or how this happened as I always thought I was a strat player and that was it. But again I was wrong. For some reason, I am more melodic, more honest and expressive player with better tone on a Tele. I ordered the pedal at my local store and waited for its release. Once I got it and plugged it in and dialled it in over a couple of days something had changed. I was playing better! I was sounding better too!
Now we all love chasing tone, I know I do but sometimes the chase is not as good as the results you can achieve. The truth is you need to chase gear to find out what makes you, you, and how you can get to the point where you are sounding and feeling your best. It can take some time to find the right gear, but you also need to put the time in getting to know how the gear works for you properly rather than just playing it for a weekend and then flipping it straight away. It’s kind of like finding your life partner, it takes time and effort and you do get what you put in. Happy chasing and finding the tone zone."
I've read this a few times and finding myself agreeing with it more the more I re-read it. The reason I relate to it personally so much is because the latest interpretation of my tone, from my gig board, has complete revitalised my playing. I use three gain stages on my board, the Tumnus and the Paisley Deluxe. I was previously using the Dual Fusion instead of the PaisleyDog, but needed some more 'grunt' so swapped it out when the PaisleyDog was released. What I found is that because the UnderDog side is more gainy, more aggressive, I was starting to dig into my guitar more and finding more inspiration when improvising with the band. Not only did this make me sound more convincing in being me, I was also setting up my rig at home to just play it more. When I do this, I found that because I relating to my tone that much more I was wanting to learn more about what I was playing... Now, I'm no slouch when it comes to music theory, but then again, Tom Quayle is one of my favourite friends so I am painfully aware that I actually know very little. The more I played, the more I was analyzing what I was playing and then looking up teaching sites to work out what I was doing... this then pushed me into new areas which pushed me into more and the cycle of learning is now at it's most prominent it's ever been. The more I enjoy my tone, the more I play. The more I play, the more I wonder how I can make myself sound more interesting. The more I make myself sound more interesting, the more I want to make myself sound even more interesting. So, as far as Andrew and I are concerned, that by way of inspiration to play, gear can and does make you a better player.
As some of you have noticed, especially if you saw my blog piece from July 2018 and are connected to me on Social Media, I’ve been on a real Queen trip recently. Dusting down those old and vintage records is always great, but every now and then you get your hands on something that is so mind blowing you can’t quite comprehend it. Case in point, I was sent the original 24 track stems for Bohemian Rhapsody.
I instantly loaded them into LogicX and started to listen intently to all the various parts and marvelling how 4 guys in the 70’s could do all that, without the help of modern high tech gear (as the only gear they had were their instruments and the ability to record them). Basically, it’s incredible.
I’m guessing that BoRap is a song that everyone knows and at some point in their life, loved. Whether you were around when it first came out, or were familiar with it when you were young then fell about laughing at Wayne’s World, or just over the years that have followed discovered it on the radio and been fascinated, it’s one of those songs that will always be with us.
There are many videos around that discuss it all but they can get a little nerdy… so I thought I would isolate each track (there are 24) and just tell you, as a fan of the band and of music in general, what I can hear – I’m by no means a recording engineer or producer so this is as basic and real as it can be... So, this could be deemed to be a reaction piece, but in reality, it’s just me marvelling at being able to listen to a moment in history in my headphones.
Track 1: “KIT kick”
The first thing you notice is how big, loose and flabby the bass drum sounds. There is a LOT of overlap in the recording, you can just about hear the hats, the ride and the crash cymbals are fairly prominent. Seriously, the bass drum sounds like an old marching band one, with the player having it strapped to their chest. I can almost imagine an oompah band playing along with it! In the rock bit after the operatic section, Roger has a heavy 4 on the floor… you just can’t help hearing the guide guitars in the background from when they were recording it.
Track 2: “KIT Snare”
This is one of the more fascinating, before Taylor starts playing, you can hear Deacy’s bass and the piano leaking in, also copious amounts of snare rattle… but, the all time best thing a Queen fan can hear is contained in this track. Right at the start, you hear Freddie make a little giggle and then count in “1,2,3,4”… Every time a bass note is hit, the snare rattles and fizzes, it’s amazing that it wasn’t gated or something to remove this, maybe in the final mix they had 24 fingers on the console making sure this wasn’t heard. The snare is tight, once again, quite marching band like – quite gunshot in character - a lot of cymbal overlap, the toms are in this as well. The toms are quite loose and huge. Hearing Roger’s dynamics under the first guitar solo is amazing, he really is hitting them extremely hard. As soon as the operative bit starts, you can hear the sticks click together, sounds like he put them in one hand for a moment before starting again. The toms are all over the operatic section as well, absolutely huge in isolation, referring back to the record they sound a lot more in moderation... It would have been awesome to hear them more up in the mix. All the way through to the end of the operatic section you can hear the bass and the snare rattling… then you hear the guitar overlap into for the rock section once more.
Track 3: “Kit Toms”
This is the one where you start to hear the bouncing… The first thing you hear on the track is “No escape from reality” in perfect (what sounds like) 4 part harmony. Then, utter silence until your start to hear the bass overlapping. All the drums are overlapping into this track, but when the toms hit they are thunderous, loose and powerful.
Track 4: “Kit Room”
Once again, bounced over is “No escape from reality”. In what sounds like the higher part of the chord from the one on the toms track. Once again, lots of bass overlap, this time piano as well, and then later on the guitar. You hear everything with the drums, as it’s obviously capturing the room ambience… man, the toms really come through though and so do the hats in the rock section.
Just the drum tracks in Isolation.
The first thing that catches you out, obviously, is the “no escape from reality” vocal. When put into balance you hear how they’ve managed to put these simple four track together to make a huge drum sound, makes me wonder… how would modern producers handle getting such a huge sound from only 4 tracks with massive amounts of overlap from the other instruments?
Track 5: “Bass1”
Exactly what you would expect, although some of Deacy’s note choices are odd, never noticed them before. The tone is thing and almost hollow, just seems to be high mids with no power and balls across the bottom. Loads and loads of drum overlap, especially with the bass drum, cymbals and a little snare.
Track 6: “Bass2”
This appears to be EQ’d to the opposite of Bass1, loads of low end and a nice amount of tightness around the top end.
Track 7: “Bass3”
Another EQ change, a lot warmer across the lower mid range almost giving it a nasal, honky feel... although by his playing style it doesn’t honk like a more funky bass, you can just really hear the wood in the tone. It’s really quite weird tbh.
Just the bass in isolation.
This is where you sit back and say “Ahhhhh” as it now all makes sense. The three put together just compliment each other perfectly (based on the bits at the end that you don’t hear, I am guessing that it was one line, split into three and each EQ’d differently to adjust during the final mix) making this a truly beautifully balanced bass tone. There is the right amount of low end, the mid is punchy and definite and the highs just add that clarity. I’m guessing these guys really knew what they were doing.
Rhythm section in isolation.
Now it’s starting to sound like the record we all know and love, your brain plays tricks on you and adds the piano, guitars and all those vocal lines.
Track 8: “Piano1”
This is where the recording technique and all the behind the scenes stuff comes into play, on the record the intro is 100% vocals... this track contains the guide piano line for that as well. Picking out the harmonies and then going into that famous cross hand line…. As always, copious amounts of drum and bass overlap… and then a little guitars as well. The piano just sounds beautiful. Makes the listener remember what a dynamic and expressive piano player Freddie was… Right in the middle of the “Let me go” vocal cascade section you can clearly hear Freddie say “one” as well, I don’t know why… Right after that, one of the more interesting spill over happens, you can clearly here Roger in falsetto singing “Mama Mia!”
Track 9: “Piano2”
Double tracked to give a wider sound… the difference in dynamics is subtle, but oh so obvious once you get right into it.
Both Piano’s together.
Well, hello Freddie. There is it. I would be lying if I said I didn’t see him in my mind during Live Aid playing it
Track 10: “Rhtm Gtr1”
Guitars. What guitars? Once again, you hear Freddie count it in… and then there are vocal harmonies all over it, and then what sounds like the most insane cymbal crescendo that sounds like it’s gone either through a filter or a something that appears to change the pitch… I had to listen to it 4 times to try to work it out. About 2 bars in from when the guitar starts, the mic opens up and all you can hear is the ground noise of Brian’s guitar hissing like mad… the tone is exactly as you would expect, screaming – it’s been pushed hard at the front end. It’s almost fuzzy at times, you can hear the sixpence scratching the strings… After the main solo, there are interesting out take notes from Dr May that I have omitted from the capture to save his dignity.
Track 11: “Rhtm Gtr2”
More vocal harmonies… man, this is getting complicated. Obviously double tracked for width and power. More interesting notes and outtakes after the first vocal section… and then the operatic section. Vocal stabs and harmonies everywhere. It’s almost like Freddie is in my head singing “Bismillah” – probably the most freaky thing on the entire track. Main vocal line for “So you think you can stone me and spit in my eye”… wow. Just wow. Tons of vocal harmonies, high end… probably Freddie and Roger… this track ends with the main vocal line of “Nothing really matters etc”.
Track 12: “BGR VOX & Gtr”
Hello Freddie, 1,2,3,4 again… then the main vocal line harmony in the intro. He is really pushing to the top of his range here, his voice is almost crapping out on his at some points. Loads and loads of overspill with Piano. The track then goes completely quiet until the “Thunderbolt and Lightning” then it’s all just lower harmonies, more Bismillah to freak me out… All the high end Mama Mia’s are on here as well. Then, hello Brian. It’s that riff that made us all laugh in Waynes World. Never heard him sound like that before, pretty certain this didn’t make the final track. The gain is insane, almost out of control… then during the second run through, before all the nice runs it tightens up again and you are hearing a more familiar tone.
Track 13. “BGR VOX1”
This, I’m guessing, is where the harmony nuts would get lost. In this track appears to be one half of the beautiful harmony opening. I think I can hear 6 different tracks bounced in. There are some unbelievably high harmonies on the section up to the first solo and then during the first few bars. Probably Roger Taylor, ridiculously high… opera. Scaramosh. High harmonies everywhere… the full Magnifico chordal break down. Full vocal chords on “No, we will not let you go”. The whole Beelzebub section is far more complex than the record gives away. How did they do this?
Track 14: “BGR VOX2”
The other side of the intro harmonies. The complexities of the chords they are creating here with their voices… Once again, insanely high harmonies running up to the solo and following bars. More operatic harmonies, more Magnifico… just a poor boy, from a poor family. More insanity around the Beelzebub line.
Track 15. “Lead VOX”
By now, you would have thought I would have expected the track to just contain what it’s labelled as! First line is the harmony from “caught in a landslide” and continues on into the harmony vocal line for ‘poor boy etc’… the main vocal line starts with “Mama, just killed a man”. Surprisingly breathy and laid back.. and then when he ramps it up, that classic Freddie metallic rasp as he’s really pushing it. Into the operatic sections, sounds like Roger doing the high “Let him go”. Low harmonies on “put aside for me”… piano for the main guitar rock section… And we welcome Brian in with some runs during the exit… main lead line for the outro… pretty breathtaking.
Track 16: “VOX1 & Snare”
More harmonies in a landslide, more eyes opening and ‘look up the sky and see’… ‘poor boy’ harmonies, ‘I don’t want to die’ harmonies… just everything… Full chords of vocal “Let him go”…. The “let me go” main vocal cascade… And then a snare overdub for the rock section. Tight, loads of attack and punch.
Track 17: “VOX2”
More complex harmonies from the intro… all Freddie. Double tracked lines for the main line and harmonies for “poor boy”. Double tracked “wind blows” and “to me…”. More double tracks for the “just killed a man” and on to the guitar solo. More full vocal chords of “Let him go” including Roger’s high parts… And we have Brian back with the rock guitar section… Man, that guitar tone is brutal!
Track 18: “VOX3&LdGtr”
More of the above… more intro harmonies. All the way through, so many double tracks and multiple harmonies. And then, that solo. Pretty sure that’s not his Vox amps, but the Deacy amp… the mid range is so nasal! More freaky Bismillah. I’m going to hear that in my sleep tonight I think! And then you hear the guitar, open amp floor noise… that big Bb before the runs and then the big sound for the rock section, but it drops out quickly… then there is tons and tons of overspill from everything. This tracks ends with huge harmonies of the whole “oh yeah” section, layers upon layers upon of layers… Then there is that Brian exit that he plays with his fingers on his right hand. Right at the end of this track you hear Freddie say “Oh, fuck it, let…” – I’d love to know what bought that on.
Track 19: VOX4
As you can guess, it’s just layers and layers of intro harmonies and double tracking. This track also contains the chimes from “shivers down my spine”… based on the floor noise, I’d say this was a guitar, with the strings being played behind the nut. Operatic harmonies… just everywhere, more “magnifico’ cascades… The very high harmonies of “For me” before the rock section, appears then to have a double track of the “stone me”. More Brian playing the exit arpeggios.. and finally, the exit gong makes an appearance!
Track 20: VOX5
I’m guessing you know what is on here. More doubling, more harmonies, more opera… more mayhem. More ‘stone me’ including a wonderful moment where Freddie’s voice sounds like it’s right on the edge, pushing it further than he should.
Track 21: VOX6 & Guitar6
Yep, harmonies, harmonies, harmonies, harmonies. Also, Brian doubling up on the high notes from the main theme (the octave piano part in the main theme) that I’ve always heard him do live but never picked out on the original. During the operatic section, you can clearly hear Brian and Roger adding their sections, but mostly it’s just Freddie either doubling what is already there or adding yet another harmony. Brian outtake for the rock section, I don’t blame them cutting that bit, not a great tone! More exit scales from Brian, completing the exit runs…
Track 22: Vox Ovdub1
This feels like this was when they had it almost there and Freddie was dropping the final piece’s of the puzzle in… the main vocal line “Carry on, carry on” followed by ‘matters’ in here as well. Also, the overdub for “wish I’d never been born at all”. Full harmony chords of “scaramoosh” and “fandango”… more parts of ‘magnifico’… tons of Roger high harmonies… Timpani drums. Full vocal chords of “No no no no no” and some more Beelzebub”. Drum overdubs for the rock section… And then, my favourite bit. Brian’s beautifully constructed guitar harmonies at the end. There must be at least 5 guitars in there.
Track 23: Vox Ovdub2
More bits and pieces tidying up the into vocals… any way the wind blows… some oohs and ahhs over the solo… Rogers very highest Gallieo’s, the highest “he’s just a poor boy etc”. There’s that Bismillah again. More beelzebub harmonies… I never knew how complicated that little section was.. and then finally, we are treated to more Brian’s runs at the end of the rock section!
Track 24: Vox Ovdub3.
Even more overdubs of the main and harmony lines… obviously not all of these made it to the mix… when you put them all on… it’s insane. There is only the slightest amount of modulation coming from the pitching, so Freddie’s voice is on note, every times. Almost to a freaky level. Exit rock guitars in the rock section, sounds like this was the one that was used… I can hear that sixpence again! And the rest of Brian’s harmony exit…
This was a total guilty pleasure for me, and one I was reluctant to look at too deeply as I didn’t want it to ruin the masterpiece we have all heard countless times. But, you know, when you are presented the opportunity to look into something so monumental, you take the chance and have a listen. I’m so glad I did as the respect I have for their talent, especially the producer who managed to get this on 24 tracks has been blown out of all proportion… Basically, the word genius undersells it.
This week, I am giving the floor to a FB friend of mine called Nik Harrison… Who is Nik I hear you ask… Well... “I teach music (piano, guitar, theory, GCSE, A Level etc) but I also teach thinking skills. Critical thinking, applications of (and limitations of) logic, exam revision etc. Also do commentary and debates on various matters concerning philosophy etc for educational purposes, and “thinking horizon expansion”. Play acoustic gigs. Do demos at guitar shows for Stormshadow guitarworks. Run the contemporary guitar performance workshop, and conduct quite a lot of pedagogical (relative to teaching) research for that. Occasionally go out as a professional magician for corporate functions... A pretty broad range."
This all came about because I saw a question on FB… “Why is it called music theory? Shouldn’t it be called music rules?”
And Nik answered… “Music theory is the codification of the most commonly used frameworks within music. It’s a language, and as a language, it’s essentially a set of protocols. It’s not the ‘message’. The message is the music, and the music exists independent of any language that we may use to explain, quantify, or record it (which is essentially the three things that music theory serves to achieve). The music comes first. It’s for theory to keep up with music, not for music to keep up with the theory, or otherwise be dictated to by ‘theory’. Rules are for sports.”
I was quite fascinated with this response, so I asked him to expand on it for our blog… Over to you Nik...
There are essentially two means by which a ‘music theory’ may be devised (inclusive of the amalgamation of both). Firstly, there’s the analysis and quantification of music that people have created when drawn to the sounds and structures that they instinctively feel to be congruent with their musical taste. Secondly, you can take the fundamentals of sound itself, and analyse this. The only naturally occurring phenomena which could be used as a foundation for creating a music theory is the harmonic series. This would lead us to consider the overtone scale (or Lydian Dominant mode) to be the most ‘natural’ place to start, but we don’t do that, we use other things. What may be ‘natural’ may not always be (what we would identify as) ‘musical’ to some people... To my understanding, most ‘scales’ that we now consider to be commonplace evolved by means of primitive instrument engineering evolving to accommodate greater pitch accuracy, together with the influence of the harmonic series which supplied an acoustic physics-based foundation for the subdivision of octaves.
In extension of this, it’s worth noting that the only thing that makes music theory conversations and debates worthwhile is the fact that it's in a state of permanent evolution. This means that right and wrong are not as clear cut as they may be when debating other topics. To suggest that ‘rules’ come into music theory would require consensus amongst academics and scholars alike who are not actually qualified (either individually or collectively) to ascribe ‘rules’ to such a topic as music theory. This is because music (and its associated theory) belongs to the people. It doesn’t belong to academia, no matter how much it may be implied, or how much academia may attempt to take ownership of it. Music theory is very much a living and breathing 'language'. Worthy of note however, is that music itself isn’t a language. This is a common misconception, but it isn’t a language because music isn't authoritatively definable in terms of the same criteria (and respective fulfilment thereof) that a language would need to fulfil (and adhere to) in order that it may be defined as a 'language'. Analogies between music and languages might work at a very simplistic level, but there are a number of misconceptions, misunderstandings, and errors that are all too easy to make if this analogy is taken beyond the simplest of examples. Within a language the objective of communication is served by means of encoding meaning and concepts into syntax which is then assembled within a grammatical framework. There are a number of pre-requisites which need to be in place before it can be understood.
When it comes to music, the pre-requisites that are necessary for any spoken or written language to be successful don't exist (unless you're operating from a number of assumptions regarding a very fixed definition of what music can be). As such, music doesn't operate in the same way, or within the same parameters as 'languages'. A listener needs no familiarity with any 'encoding' of meaning to understand the inherent 'truth' that is music, and this makes the formulation of any manifestation of “music theory” all the more complicated, challenging, and interesting.
Music evolves, and always came first. Theory comes second, and has only been devised (and subsequently evolved into the language of music that we now use) as a method by which we express, record, and preserve music. Because music is evolving, the language that we use to explain it needs to evolve with it, although because of the rate at which music evolves, theory will always be "behind", not at all helped by academics who misunderstand the true relationship "music" has to "theory", who seem to desire it's absolute preservation and maintenance (without really offering any consideration as to how appropriate this actually is). I would suggest that an understanding of music and the understanding of theory are two very different things. They are every bit set apart in the same way that and understanding of "meaning" is not the same as an understanding of "language".
Within a system where 15 key signatures are used to express 12 keys, any engineer would conclude that this is 3 too many than necessary and it’s about time we just got rid of them. I know where these key signatures have come from, and have a strong understanding of why we have ended up with 15 key signatures, but since evolution is a process of simplification, not complication, I think we can reasonably predict what will happen here as theory evolves anyway, so why don’t we just dispose of 3 unnecessary key signatures now? A more prominent over-complication in music theory can be seen in the time signature. Where the bottom "number" which is used represents a note value, why has it gone through an unnecessary process of "encoding" into a number? Why don't be just draw the note value as it would appear in the piece underneath the number telling us how many beats are in each bar?
To my mind, not enough people challenge these theoretical concepts and as such, I fear that it’s best hope of "catching up" with the music (which theory actually serves to record, explain, and preserve) is being systematically eroded by every music theory publication presenting this information and framing it as “the way it is” rather than thinking about it and offering appropriate consideration to what kind of future it actually has?
Thank you Nik! You can connect with Nik on Facebook.
Monday, July 2nd 2018 will go down as one of the greatest, mind-melting nights of my life. If you disregard the day I met my wife and the two nights I become a Father, I’m pretty certain nothing has been as monumental as this was.
I first ‘met’ Jamie Humphries many, many years ago on FB and over the years we’ve become very good friends. We have a very similar sense of humour (our partners will confirm that is being mostly like 13-year-old boys) and share a deep love for our instrument and music. When I first started to chat with Jamie I was painfully aware he was one of the resident guitar players in the London show of “We Will Rock You” and had toured with Dr Brian May… over the years he’s gone on to do the European Tour of WWRY and many other major touring shows. But, you know, he’s now just the guy that literally makes me cry with laughter on a regular basis. Jamie is widely regarded as one of the guys who can do Brian as well as Brian himself... along with that, his knowledge of the Red Special and Brian’s gear in general is frighteningly deep - we always joked about how I would react if I ever got to hold the Red Special. He always said that one day he would sort it for me but I never thought it would actually happen.
It was many months ago that Queen announced that they were touring with Adam Lambert again and hitting the UK in Summer. I mentioned it to Jamie and he said (in an off-hand way): “I’ll see if I can get us tickets, it’s right on my birthday so, you know, it may happen, I’ll try to get us backstage as well”. Lisa and I tried not to get too excited about it, but it was always in the back of our minds. Then, last Friday, I get a text from Jamie saying something along the lines of “Answer your phone you ******” - I hadn’t noticed he was repeatedly trying to call me… when I spoke to him he confirmed that we had tickets for the Monday night and the after-show party.
Then followed the strangest weekend of my life. Two gigs, one tremendous and the other one completely screwed up, all played out in slow motion. When Monday finally came around, we got in the car and made our way to London. The journey, as it often is, was awful but we got to the hotel next door to the venue (10 minutes’ walk from concert seat to bed – BOOM!), checked in and waited patiently for the clock to tick round. Jamie was frantically calling what felt like every 5 minutes as he was stuck in traffic coming from Lick Library in Essex to the o2, the language used was a thing of beauty. Filthy, but so articulately filthy I couldn’t help but laugh at him. We finally met up about 10 minutes before the show was due to start, at the box office, and made it to our seats with only a few minutes to spare.
I don’t know what it is about Queen. I’m yet to meet a rational person who doesn’t really like them on some level, it almost feels like they have been, at some point, everyone’s favourite band but at the same time, hardly anyone’s actual favourite band. They just seem to be deeply appreciated by almost everyone. For me, it’s a family affair - they were one of my Mother’s favourite bands, they are one of my favourite bands, one of my wife’s favourite bands and one of my kid’s favourite bands… It seems like everyone has several Queen songs that mean the world to them. It’s not hard to understand why, when you think of the songs, or think of Live Aid, or think of Freddie, or think of the guitar that Dr May made with his Father (Harold) between 1963 and 1965… it’s just one hell of a story and one hell of a back catalogue of simply great songs.
Judging by the way Facebook has reacted to my many posts about this since last Friday, it’s apparent that some people think Queen should have died a natural death when Freddie did. To me that’s a little crazy, why shouldn’t the surviving members carry on? Not only in tribute to the music they created but to Freddie himself, and to the fans that still hold the music very close to their hearts. It was as I was thinking this, that the lights went down and the show started. When you see a band like Queen for the first time, and you are staring a lifetime of memories and happy thoughts right in the face, it takes a few moments to get your head back on. And once I did, there were two things that kept going through my head… the first was “I think that’s the best live guitar tone I’ve ever heard” and “Adam Lambert is incredible” – I turned to Jamie and said something that rhymes with “Duck tree – that tone!” and he laughed and said, “Told you it was good!”.
The following two or so hours went by in a whirl. Song after song of massive hits, a flawless stage show, several guest appearances by Freddie via the video screens, masterfully edited in, and at the heart of it, one of my favourite players, playing the iconic guitar, with just the biggest and ballsiest tone I’ve ever heard. He didn’t play the original all night, but whenever he did, I couldn’t take my eyes off it. The great thing about seeing a show like that with a straight up Queen nerd is that all the way through I was being updated with what gear he was using. Just perfect for a perpetual tone chaser who can legitimately think of nothing better than avidly listening to Jamie telling me about Brian’s wet/dry/wet rig, modified AC30’s, treble boosters, and the various ‘other’ Red Special’s that were being used.
Once the show was over, we made our way to where the after-show party was being held. Myself, Lisa, Jamie and Kim (the fourth member of our little group who owns Lick Library and Guitar Interactive Magazine) found ourselves in a room with a free bar and bizarrely, a Rock DJ playing some RAWK classics. It was then that the gravity of the situation started to hit me… Big Phil, who is Brian’s personal security guard - and has the title of being one of the most lovely and terrifying people I’ve ever met - came over for a chat… Phil Hilborne – whos impact on guitarists of our age can never be overstated through his work with Guitarist Magazine and Guitar Techniques Magazine - was also was a long-standing member of the WWRY band – came and joined us, I turned around and noticed next to us were Rami Malik, Gwilym Lee and Joseph Mazello – who play Freddie, Brian and John in the upcoming film “Bohemian Rhapsody”… edged on by the comfort of having a couple of beers on an empty stomach I had a chat with them, and it was clear just what big fans they are of the band as well. That film is going to be epic. There were so many people indelibly connected to Queen, just there, all around me.
It was when I had just been to the bar again (to replace the beer that Lisa had dropped) that I noticed that Jamie was talking to a guy with a gig bag strapped to his back, I thought “No, that can’t be”, but judging by the way Jamie smiled at me, I knew it was. I knew that Pete Malandrone – Brian’s long-term tech – who kept the original Red Special with him at ALL times, and I mean, at all times, was right there and he had ‘it’ with him. There I was, within touching distance of the guitar that played on all those hits, stole the show at Live Aid, was the cornerstone of that Guitar Legends gig, and is quite possibly the most iconic guitar of all time... So near, yet so far.
Pete wandered off, and then about 10 minutes later, Jamie tapped me on the shoulder and said: “Come with me”. I stood up, grabbed Lisa’s hand, and we were quickly led into another room. After we were all in and the door was closed behind us, Pete took the gig back off his back, opened it up and I was confronted with I can only describe as what looked like a military grade carbon fibre shaped guitar case. My first thought was “That’s so small, it can’t be”. He opened it up (the whole thing was like that scene from Pulp Fiction when Travolta opened the briefcase and Samuel L Jackson said, “Are we happy?”) and it was.
Pete picked up the Red Special… THE original Red Special, and handed it to me. In that instant, it was almost like people describe as “your life flashing before you” trick of the brain, the whole history of that guitar flooded through me. So… what did I do? Well, like an idiot I sat down and started to play the first solo from Bohemian Rhapsody. Jamie started laughing and said “Don’t play Queen licks on that you muppet” and we all just started laughing. I mean, fair comment really. I looked up and noticed Pete’s face was just lit up with a huge smile. There must have been many times when he’s handed that guitar to someone and they react the way I did - in complete awe – and it looks like he genuinely loves to see that reaction. Then he started to go through the history of its construction, you know how it goes... The fireplace mantelpiece, the bike rack tremolo arm and knitting needle top, where the finish had been worn off over the years and where it had been refinished… the buttons used for the fret markers, the bike springs in the tremolo, the single bolt holding the neck on… I stopped playing and just looked at it. Even though I’ve read about it a million times, when it’s in your hands and the guy who knows it as well as Brian does is telling you about it, it takes on a whole new meaning. It was at that point Pete put his hand in his pocket and said “Have this, it was the one he used tonight, I just found it on the stage by his mic stand” and handed me a classic Six Pence piece… I then started to play again (very gently with the sixpence) and that’s the point it jumped out at me. The neck was enormous, the frets are non-existent (it’s never been refretted)… and to be completely honest, the neck feels like a baseball bat that’s had a small part of the front shaved off. It’s uncomfortably huge. The profile of the board is actually really quite rounded but… you know… it’s THE Red Special. He made it with his Father over 50 years ago and it feels like it. It may be weird to play, but it doesn’t matter - that is truly a guitar of legend. After what felt like a second I gave it back to Pete, who put it back in the case (cue Travolta in my head again saying “yeah, we’re happy”), put the case back in the gig bag and we left the room to carry on enjoying the free bar. As the night progressed, more beers were drunk, more people met, more laughs were had (including the continuation of a long-held discussion we’ve been having about Phil’s Red/Pink PRS) and even a free curry. As Lisa and I walked back to the hotel some hours after, most definitely quite squishy from the beer, I’m pretty certain my feet never touched the ground even once.
If you are a Queen fan, go and see them. Especially if you love them but think that it won’t be Queen without Freddie, because other than everything I explained above, the one memory I will have about that night was just how perfect for the job Adam Lambert is. As he said during the show “I know a lot of you think ‘He’s not Freddie and he shouldn’t be trying to be him’… All I can say is this… I’m not trying to be him, I could never be Freddie. I’m here for the same reason you are - I love Freddie and I love Queen and I’m so lucky I get to pay tribute to him with those amazing guys”.
I’d like to thank Jamie Humphries for giving me a true memory of a lifetime, Pete Malandrone for his love of the instrument and allowing me to play many, many inappropriate licks on it, and Dr Brian May for being, well… Brian May.
*header photo: Dave Watson.
I’m a creature of habit, 100%. Borderline OCD makes me happy when things are “normal” and in a routine. It’s something I’ve noticed for many years that permeates through all of my daily life, down to food choices, what deodorant I use, all that stuff. When I go to one of our local restaurants, I’ll normally order one of the three or four different dishes I usually get. This same thing was overtly apparent after getting a Suhr a few months ago, then the PRS Silver Sky. My OCD kicks in, and when things are out of place, it’s just impossible for me to bond with instruments, pedals, amps, etc. A lot of it is expectation versus reality, then adding my desire for consistency it makes for a lot of gear flipping.
I was very fortunate to find an incredible deal several months back on a Suhr Antique heavy relic, with three Thornbuckers in it. It was an incredible sounding guitar, and the neck felt great in my hands. I had it for about two weeks, to where I was enjoying it but there just wasn’t something quite right. At the time, I had it built up in my mind that “It’s a Suhr, it has to be something wrong in my mind, these guitars are supposed to be perfect.” I played it for another couple weeks and found myself still feeling like it wasn’t quite where I wanted it. Despite my better judgment, and complete lack of experience, I watched a couple of YouTube videos, changed to my favorite strings that I use on every guitar (Ernie Ball Regular Slinky’s, I’ve been using them for over a decade now), and adjusted the truss-rod and the saddles on the bridge. Threw a set of Dunlop strap locks on there, and sure enough, that’s what it needed. It came down to it being a comfort level thing, where those strings and the security strap locks give me mentally helped complete the puzzle.
The strap lock thing is entirely for a reason, and to this day I’ll put a set of strap locks on every guitar I ever own in the future. When I was in my early to mid-twenties, I had a PRS Custom 22 in Scarlet Red. That PRS was a guitar that I had saved for over two years for, and it was my first genuinely nice guitar. I was in a hard rock band and did a lot of jumping around and carrying on, and we were practicing before a gig in a garage. We were mid-jam when I jumped in the air, and when I landed the back of the strap broke and my beloved PRS went flying and hit the concrete floor. I immediately felt like I was going to throw up. I was fortunate because it mainly took a 1’ chip of finish off down to the wood near the jack, but the back as absolutely scratched to death. I couldn’t repair the considerable chunk of finish that chipped off, but I was able to at least wax some of the scratches out of the back. No guitar to this day feels safe unless I have strap locks on it now. I soon stopped jumping around pretty permanently after that.
The string situation comes down to preference and comfort. I’m used to the tension and tone that the Regular Slinky’s (10’s) give me, and although I’ve played guitars with other strings that worked just fine, nothing quite feels like home like a set of Slinkys’. I’ve gone through the phases of trying heavier and lower gauge strings, and for me, heavier than 10’s make my carpal tunnel act up, and anything lower than 10’s feel like playing spaghetti. I’ve tried various brands, from NYXL’s, D’Addario’s, and even boutique strings, and though they all sounded good and played fine, it always comes down to a manner of familiarity and what my ears expect along with how the strings feel under my fingers. The same thing went on with my PRS Silver Sky, where I just wasn’t comfortable until I put my favorite strings on there, adjusted the truss rod how I liked it, and even adjusted the pickups down to better suit my tastes. After those small adjustments (and a set of strap locks), it immediately felt sturdier and like I was “at home.” It just proved that I’m horrendously set in my ways, sometimes to a fault. The irony is that I’ve changed “favorite picks” so many times that I can’t count on my fingers and toes (albeit most revolve around a thicker, JazzIII XL shape).
Am I weird and the only one who does this? Not sure. I guess one way to look at it is that I know what I want more-so than in years past. The same has occurred recently with pedals too. I’ve moved more OD’s and fuzzes and dirt boxes on and off my board for so long now that there were days when I had a board full of nothing but dirt, to try them all. Now, I’m down to 3 dirt pedals that have stayed relatively consistent on my board, and they’re about what you’d expect: Klone (depends on the board size as to whether it’s a mini or a large one), Tubescreamer, and a Bluesbreaker of some sort. I like them versatile enough to cover lots of ground, but not so much that they overlap a whole lot. The same goes for most of the rest of my board, and I think it’s what it means when people talk about finding their own personal tone. I still flip pedals, but nothing like I’ve done in the past. I think in that situation, getting in the comfort zone can be kind of nice (especially financially).
A few days ago Brian, Alex and I were talking as Brian was thinking about video ideas for YouTube, and we were discussing guitarists who play live regularly but still get a few things wrong. Not necessarily in terms of their playing, but their approach to the instrument. Once I started to give ideas for subjects it occurred to me that I was just talking about me when I first started playing live, some 27 or so years ago (Man, that makes me sound old).
This conversation made me think about what I would say to myself if I had the opportunity to go back and advise the younger me with the benefit of what I have learned in the thousands of gigs I’ve done since…
- You aren’t as good as they tell you.
When I was 17 I was able to play virtually anything I wanted, I was in a rock covers band playing stuff that was designed purely to impress other guitar players. After a year or so, I thought I was brilliant because people kept telling me I was as I could play fast complicated stuff, but the reality of it was that I was just showing off. Playing for their appreciation and not caring one iota about what really mattered. I should have been more humble and understood that just because I played “It’s a Monster” as an opener, including the solo without warming up (see, still showing off), it didn’t mean I was good, I was just flashy. All style and no substance, or as my dear ol’ cockney Granddad would have said, “all mouth and no trousers”. Which leads me nicely too…
- Take some lessons and learn to read.
My biggest regret in life, thus far, was not sourcing a decent teacher and learning to read properly. I was proud of the fact “I’ve never taken a lesson in my life” and thought it made me a better musician. It didn’t, it just restricted the future me. In the last few years I’ve had the pleasure and honour of becoming good friends with amazing guitar teachers and the things I’ve learned from them, just in passing, have made me 100 times the player I was. Imagine if I’d actually had some proper lessons earlier in life…
- Listen to the rest of the band, ALL of the time.
This was the hardest learning curve of them all, and it’s something I struggle with now. I really wish I had got this into my head much much earlier. After all, being in a band is about creating and playing music with a bunch of like-minded people. Listening to them, bouncing off them, playing WITH them (instead of just playing with yourself – double entendre COMPLETELY intended) is everything. Be in a band, they are not there to back you up, you are an equal part in the end product.
- Gain. GAIN! Turn it the hell down!
The most powerful gain tones are not the ones with loads of gain, just the ones with the right amount properly EQ’d. You will probably need two distinct gain tones, one for rhythm and one for lead. How this is achieved is variable, either volume control on the guitar or via a boost pedal, but you know, your lead tone is gonna sound utterly horrible for rhythm. Usually. Also worth remembering the louder you play, the less gain you are likely to need. I expect there is a technical explaination for this, but I don’t know it!
- Practice the subtle stuff, it’s what will define you to your peers.
Especially vibrato and bends. Make sure your intonation is on point, make sure your vibrato isn’t crap. Because when you don’t work on either, you will sound bloody awful and to the guys in the know that are listening, you will be severely lacking.
- Don’t be afraid of new music.
When grunge hit I was terrified, my dazzling technique meant nothing to anyone, I got completely lost so I decided I hated it and refused to play it. What an idiot. Roll with it youngling, roll with it.
- Learn the neck properly
This is something I’ve been working on recently after a long discussion with Mr Tom Quayle on a very long flight. As usual, he was trying to help me and I was arguing for the fun of it, but he won in the end. He calls it fretboard visualisation. This is knowing what all the notes are on the neck, and how the relate to each other… this way, when improvising, you can move around the neck easier as you know where the sweet spots are. And not the complicated ones, ending a passage on a third, fifth or seventh of the chord you are currently over sounds so much better than landing on the root… so, this is directly related to breaking out the boxes I suppose, something else I was stuck in when I was trying to be me back in the day.
- If it’s being played properly, there’s no such thing as crap music
Kinda guessing that I wasn’t alone in thinking that the music I liked was great and the rest was crap when I was young. I don’t particularly like certain styles/genres of music still, but I listen to it often, because you absorb stuff when you listen to it and it will increase your vocabulary considerably when you are in full flow without realising it.
- If the crowd aren’t being responsive, it ain’t their fault
If the band is boring, make up to you to make it more interesting. Well, this is going to be a contentious one I think... As a lead guitar player, or even the rhythm guitar player, it’s kinda up to you to bring the colour to the songs. If you are working with a great bass player, they will do their bit, but if you are still banging out boring chords and predictable solos, then look at yourself before you judge your audience.
- Protect your hearing
Pretty certain I don't need to explain this any further...
- Carry spares. Of everything
I know, kinda obvious isn’t it. However, there was a time when I didn’t… turned out to be the worst gig of my life!
That’s my ‘have a word with yourself’ moment... For your amusement, the header picture of me is from 1992, and this is the 2018 version - and yes, I do miss my hair!
I’ve been trying to write this blog for over a week, and each time I sit down it just hasn’t clicked. I normally have no problem with just starting to write and letting it flow, but here lately it’s just not clicking. I read Jason’s blog last week, and in the midst, it dawned on me what my deal was. I’m suffering from a bit of a slump. Not in a pity-party kind of way, but more accurately a social media and gear kind of way. In the past few weeks I’ve been extremely busy with work, the kids, working on the house, and just things pulling from every direction it seemed. That’s not unusual and accurately describes life in general, especially as a parent. But it hit me too that I couldn’t really nail down the last time in the past few weeks where I was able to truly jam without interruption for more than a couple of minutes. The combination of lack of playing plus spending more time on social media trying to stay connected with the every-changing gear world, I realized that I was starting to burn out on guitar. Not playing, but all of the other facets of gear culture. Overexposure to it made uninteresting and not nearly as fun. I took a step back this weekend, worked it out so my mother-in-law could keep the kids for a couple of hours, and let loose for a solid two hours. It felt like the stress melted away, and my shoulders felt lighter.
So, what is it that was burning me out? I don’t want to get back to that state again, and my goal is to cut it off at the pass and recognize the signs before it gets to me. For me, the overexposure to gear culture and the constant chase just wore me out mentally. Chasing tone is a self-imposed deal, so I’m not expecting any sympathy. It’s so easy to hop on Facebook and talk on whatever group you’re into at the time (there are hundreds to choose from, one for just about any sub-faction of gear you can imagine) and see what the current trend is. Most of it reflects the constant chase for the next tone (more on that later), some questions, some jokes, incredible or cool videos that keep your attention for 3-4 minutes. Then it’s on to the next group… and it’s the same stuff. There are the hardcore collectors of individual pieces of gear that are fascinating to watch, but then at some point, it becomes “Okay, we get it.” This is not a dig at collecting at all. It’s just the realization of what the gear community is in general. Mix in some of the things Jason mentioned in his previous blog, and things can get ugly, very quickly. Bad attitudes, light-hearted people trying to diffuse the situation, and the agitators, who have nothing to do with the argument but feel they need to interject something witty to get involved or push some more buttons for entertainment. The internet (and Facebook especially) is a fantastic place to meet great people all around the world, but it also becomes a soapbox for people to yell their ideas out to the world. Here lately it seems like people are actively looking to be ticked off or offended. Some days it’s, and everyone gets along, and some days it seems like someone collectively peed in everyone’s cornflakes that day.
Now, back to the constant chase for tone I mentioned earlier. I’ve chronicled my quest for tone starting early in my guitar-playing life, and it kind of arced to a peak the past few years and is slowly arcing back down to less desire to chase tones and acquire new stuff at the rate I previously had been. Along with the social media overexposure of talking gear day in and day out, I’ve come to learn awhile back that no matter how expensive the pedal, it’s not going to change the way I play *usually*. Again, (in general) a lot of the pedals I’ve tried from all manner of builders have been excellent, but it got to where it was more of the same with slight variations than something overtly new and exciting. No matter what pedals I play through, I still sound like me. It’s been a bit refreshing as it’s eased the GAS off a bit, but it’s also very enlightening how much time I spent twisting knobs instead of learning and playing the instrument. It was very apparent when my buddies and I got together for a jam a few weeks ago, where I had forgotten more than I care to admit…but my TOAN WAS SICK! Yes, I sounded great, but some of the theory I knew before had a lot of dust that had to be cleaned off, and some I forgot altogether. That was officially the day that it hit me that no piece of gear makes up for skill and knowledge of what the heck you’re going to play, and how well you adapt and improvise using the experience you have. That same day, I let someone talk me into unnecessarily selling a piece of gear before I honestly had time to bond with it because it didn’t fit a “traditional mold.” I ended up repurchasing the guitar back from who I sold it to and love it even more now than I did before. I know that sounds cliché to let other’s play so heavily on how I feel, but I’m truly guilty of it, and I dare say that many others are on social media as well. How many times has someone bought a pedal or guitar or amp off a recommendation from a friend you trust, only to find out it doesn’t gel with you and your playing style and rig? There’s a large element of “keeping up with the Jones’” that happens a lot in gear culture, and the desire to like what’s currently popular despite it not hitting the spot. The idea of such a popular pedal means there shouldn’t be a reason not to like it, but sometimes it’s just simply the case.
I know this entire article seems a bit cynical, but it’s the side-effect of doing something you love to the point where you don’t necessarily love it as much as you did before (or that’s what it was in my case). Yes, there are incredible new offerings by a multitude of companies that are still pushing the boundaries, and it’s not knocking them at all. For me it’s more so the need for a hard reset, disconnecting for a bit, reassessing what’s real and enjoyable in life outside of Facebook. I also have been letting the race of the gear culture pass by a bit before jumping back on the freeway to chase again (so many euphemisms in this article). Yes, there are pedals that still interest me, but I'm gear-fasting a bit to try to hone my craft instead of covering it up with effects. For me, disconnecting from social media this past weekend, cranking my amp and genuinely practising and learning some new songs was a bit of a therapy session for me that was much needed. It made me value what gear I love, sold off ones that had been sitting for a while, and gave me a bit of a renewed interest in learning and growing in my guitar knowledge again. It’s like I spent so much time wanting to play and not being able to that social media and gear flipping filled that void for a bit, but it’s not substantial or sustainable. But the feeling of picking up that slab of wood with strings on it and the joy it brings will never go away.