General Chat (48)
I think like lots of people I’m totally and utterly ‘fed up’ (edited by request of the boss) with the price of concert tickets these days. I mean, it has been reported that on average people are paying nearly $400 to see Adele, nearly $240 to see Taylor Swift… the cheapest price for the Rolling Stones near me is about $160 (which you would need a telescope to actually see them) and so on and so forth. The question I’ve been asking myself recently is why?
I have a couple of theories about this - and they may be crap, or I may be full of BS (likely), but something somewhere has changed. And that thing, I think, is mostly due to us. But I’ll get to that in a minute.
Ticket touts… Scalpers…. Whatever you call them. The advent of the internet and sales on the internet has made it very easy for third parties to get involved and make a quick buck or two (million). It’s really hard to tell which are the legit sites and which aren’t, legislation has been passed to restrict this from happening but the trouble with the law is that it doesn’t move as quick as the brains of the people who are trying to take our money for effectively nothing. Is this a fight we can ever win? Also, the promoters of the events charge what they can get, so why not maximise on ticket prices if they know it’s still going to sell out? Everyone would do it if they could.
Those of us who are of a certain age will remember the Napster ‘revolution’ and remember seeing Lars from Metallica on TV moaning about theft, copyright infringement (and the subsequent lawsuits that followed) and most people laughed at him and treating him pretty badly… I do believe this was when the whole “Lars is crap” thing came from (well, that and the snare sound from St Anger, but that’s a different story) as he was actively stopping everyone’s fun in getting free music, because everyone loves free stuff, right? It’s always been interesting as being a kid listening to rock music in the 80’s, Lars was a legend up until around this time, then everything changed.
Since the whole filesharing thing has been embedded into our psyche (and lets it, pretty certain that at one point everyone has either done it or is close to someone who has) the eventual response by the music industry was to provide streaming services (I know it’s much deeper than this, but let’s face it, it was all they could do) and everyone jumped on it as, well, for all intents and purposes, it was still free. These days a lot people pay a company like Spotify about £10 a month to lose the adverts but in my experience, in just talking to people, most people just put up with the adverts and have it for free, because right now, that concept of ‘free’ music, or a variation of it, is legal.
What does that do for the bands? And I know what you are all thinking, 99% of the bands didn’t get an income from record sales so this doesn’t apply, but I’m looking at the large-scale acts here… obviously, a massive chunk of their income has gone. Completely. There is that famous break down of payments from Spotify that shows that a band in 2016 who had their songs streamed over 1,000,000 times and received a total payment of just under $5000. At this point, I could list how much that would have broken down if those had been airs on the radio or physical sales, but I won’t, because we all know that an income from that would be well in excess of $5000.
You know what this means, don’t you? Of course, I mean that the bands, record companies, management etc etc have to reclaim their income from elsewhere (as they ain't going to take a pay cut) and the only viable place to do that is either via endorsement deals (rare that they pay that well), merch sales (and those are now pirated ridiculously – just check out all the many adverts in your FB feed of companies selling cool band related shirts) and touring. Before the Napster revolution a band used to tour to support the album in order to provoke sales, but these days it’s pretty well their only source of real income. This is a hard pill for us to swallow, especially when you consider that the most expensive tickets these days are bands like Rolling Stones (and I’m pretty certain they’re fairly comfortable financially) but they are still a business, and guys who manage them aren’t going to let them go out on a tour to support an album that won’t sell, so that income figure has to come from somewhere else.
The fans fault (and yes, this is a little tongue in cheek)
Our expectations of live shows are somewhat more complicated than they used to be… Long gone are the days when you see a band and it’s a bunch of people playing the hell out of their instruments with a few lights behind them, you now have full interactive shows with everything from massive custom built OLED video screens showing content aimed specifically to the night of the performance, to fireworks, light shows that are just incredible, complicated sets with raising platforms etc and just about everything else… Shows are now events. Each time we go to see a show we expect it to blow us clean off our feet, it has to be better than the last one we saw so touring bands are obliged to up their game every time. It all kinda adds up. As an amusing aside to this concept of crowd expectation, a mate of mine – Tim Stark - is the chief builder at Mansons Guitar Works, so he makes every guitar Matt Bellamy plays, both in the studio and on tour. Those of you who have caught a live show from Muse knows what this means, as it’s expected now by the crowd… Let’s just say that the expectation of the crowd keeps Tim a very busy man, and those guitars are hand built in the UK, so they aren’t a $100 Squier used for the final song of the night!
The sad thing is that due to the way everything pans out, we are unlikely to see concert tickets come down to a more sustainable level for your regular person any time soon. You will always be able to see your favourite band, well, I doubt you’ll see them, but you’ll be able to hear them as you’ll be SO far away from them you’ll end up just seeing the video screens. The reason many people took the Napster route, and all the services that followed them, was because they couldn’t afford to buy all the music they wanted so they downloaded it. Stole it. The people who could afford to buy the music still did… And now, the people who could afford to buy the music still can and now they are the only ones who can realistically afford to pay top dollar to see the best bands, actually see them. The irony is not lost on me.
Here’s a final thought - I travelled 400 miles (round trip) by bus to see 6 bands in 1988… Helloween, Guns and Roses (full original band), Megadeth, David Lee Roth (with Vai), Kiss (without makeup) and Iron Maiden (full “7th Tour of a 7th Tour” production) for a total cost of £31 (about $60 USD at the time). Even with inflation that only comes to £80 ($115 USD) today. I wonder what that show would cost now?
Unlike me to start a blog post with the pure intention of starting an argument! But, you know, sometimes it just has to be done. For those of you who are unfortunate enough to know me in some way will know about my music preferences... My favourite players are on a constant rotation of being ‘the best’ in my head. There isn’t a day go by that I don’t listen to Gilmour, I have epic binges of Vai, Brent Mason is the ultimate studio musician I can think off, Jerry Reed is THE man, Randy Rhoads is immortal… Nuno has the right hand of the Gods.. etc etc. You know how it goes.
The strange thing about this, or maybe I should say “strange beautiful music” thing about this is that very rarely do I stand up and gush about Satriani, but in recent times I’ve been on a Satch trip that appears to be never ending. And it’s lead me to this conclusion. Joe Satriani is the ultimate rock guitar player.
Right, OK. So let’s get this out of the way. No one can EVER take away the impact of the three guys that made rock guitar what it is today, without them we simply wouldn’t have the music we have… So, Eddie Van Halen, Jimi Hendrix and Tommy Iommi. Accepted, vital. They are the heart of it all… but in 2018, are they the greatest?
Here is why I think Satch wins this title (of course, this is a massive subjective issue). Of course there will be dissenting arguments, however... I need to keep the word count down so I'll try to put it in bullet points, this could have been a definitive 20k word thesis!
When you break down what Joe’s music is, primarily you’ll find a shedfull of hooks. Little lead lines that you hum along too. And then right after that, some weird crap that no one can comprehend (at the time) will fall out of your speakers and you end up looking at the CD case (I’m thinking back here to when I first got his music in the 80’s) thinking “What the hell are you on?”. Then, more hooks, more melodies, more weird crap, melodies, hooks… This is where Joe wins for me, the melodic element. I mean, if you look at EVH and Vai, that’s the one thing they miss in their playing. Those hummable melodies that appear in EVERY song, usually multiple times. As musicians, we are constantly looking for melodies and hooks, Joe seems to have them falling out of everything he writes.
Joe’s playing is flawless, in every respect. Whether he be grooving along, sweep picking, tapping, legatoing (is that a real word?) or anything else, he does it perfectly. If you listen to ANY of Joe’s live recordings, or have seen him live, you’ll notice that he is complete control of his instrument at all times. How he manages to hold the whole thing at the edge of feedback in that way and only have it come in at certain times is beyond me… His right hand is permanently locked in, his left hand never seems to drop a note at all, basically, in terms of the physical act of playing, there isn’t a thing wrong.
This may not be a big one to those who are younger than I am, or weren’t into this style of music when it was released, but believe me, back in the day when Joe erupted onto the scene, it was like nothing we’d ever heard before. I was very fortunate as I was introduced to Joe’s music in the mid 80’s, I was early teens, and I couldn’t believe what I was hearing. I had heard Vai on DLR, I was well into EVH, Hendrix and all the others… but there was just something else unheard of here. I can remember with pretty well complete clarity the first time I put Surfin’ on, the title track was all well and good – but it was the following three tracks that confused the hell out of me. “Ice 9”, “Crushing Day” and “Always With Me, Always With You”. From that moment on, every album of Joe’s that I inhaled just blew my socks off. How many other people listened to “Mystical Potato Head Groove Thing” the first time and played it again and again thinking “What the hell was that and how the hell did he do it?”. Also, when we are talking about Joe being an innovator. Let’s remember, he taught Vai how to play, Alex Skolnick, Kirk Hammet (don’t go there, that’s another conversation, but if you want to, listen to Master of Puppets, And Justice For All etc and then stop talking) and so many other outrageously good players, you have to take note of the mans impact.
Who else can go out on stage every night, out Voldemort Voldemort and smile while playing like that. You gotta admit, he’s so damn cool it’s just not funny. Even at 61, he’s still a sizeable amount cooler than any of the younger crop of players out there today.
I’ve often heard that Joe is just one major scale away from being a major scale himself, maybe that’s why I love it so much, as I’m a fan of things being in a major key and even when he’s in a minor key it sounds major. I’m not going to delve into his theoretical approach via his concept of pitch axis etc, but everything is about the music and not just the mindless widdlewiddle that so many shredders rely on. This is where he sits apart from players like EVH, sometimes on EVH solos it’s just insanity and all over the place, in the best possible way, but with Joe it always feels like it’s just the song but in solo form. The only people who come close to constructing solos in this way, maybe Andy Timmons or Nuno Bettencourt.
Dude, he taught Steve Vai. End of argument.
As you can imagine, I’ve been writing this while listening to Joe, in particular, the Live! album from 2006. In between grabbing my guitar to play along, or the epic amounts of air drums I’ve been subjecting my wife and kids too (much to their amusement) and generally blubbering on about something that I have no right too, or been able to articulate properly, because it’s all just opinion and you know what they say about opinions. And what they are like. But, I ask you this… put personal favourite’s aside (Joe is not my favourite, at least not today, but who knows what tomorrow will bring?) and think about the wider scope of modern rock guitar and the person who has been consistently updating the genre for 35 years. Once again I’ll refer to the main arguing points… Vai: technique, stage presence, insanity… the top of the tree. EVH: Without him there would be none of this I expect, he broke the mould, but he only broke it once. Hendrix. In my own (highly contentious opinion) he was a blues player, although once again, without Jimi there wouldn’t be the others (but then again we can take that all the back to Chuck Berry and further). Who else? We can list and discuss them all, but when I really think about it all as a whole, it always comes down to one man. Joe Satriani.
Now, as the much-overused meme says… “Change my mind!” - but before you do, watch this. This has absolutely everything in it and just shows what a master of his instrument he truly is...
A question we get asked a lot is “how does someone become a signature artist and get their own pedal?”. Well, as with everything else, there is no rule book, but if there was one it would contain so many variables it would be impossible to give an explanation of the sure-fire route.
Right now we have a signature pedal at proto stage, one in ‘headscratching’ phase, and another in the negotiation phase, so it’s safe to say that this is subject that’s in my head a lot at the moment. So, for my own benefit in the process of consolidating all the information, I can give you a run-down of what is needed.
Let’s start at the business end of things. Why does a company bring out a signature unit? The obvious answer to that is the mysterious phenomenon known as “exposure”. If you look at our first two, Brent Mason and Brad Paisley (who now has 2, the regular and the deluxe), it’s easy to see why we did it. We were a very young company when Brent and Brian worked on the original Hot Wired, and when it was released it instantly gave us a good reputation and a great platform to market the brand from, and go on to have the brand come to the attention of a lot of people, myself included. I cannot begin to tell you what this pedal did for us as a company… Brent is one of the most respected musicians in the world, so to have his name on a pedal and have him use that pedal on countless recordings was massive to us. A couple of years later, we launched the Paisley Drive (the first release I was involved in) and that exploded the brand to a much bigger audience around the world and it’s safe to say that the high-end pedal world was now completely aware of Wampler and what we could do… 3 years after that, we did the signature pedal - the Dual Fusion - that made everyone say “What?” and has gone on to become one of the best-selling Wamplers of all time.
Tom Quayle was a relative unknown at the time, big amongst a certain genre of players (who followed him fanatically), but to the rest of the world, unknown. What we wanted from Tom was to not only bring the pedal into his genre (which was exploding), but also be part of a pedal that he was already using (although in separate units) that we felt could be massive to the market – provided we could match up our vision for it with his (which luckily for all involved was extremely simple, it was great fun working out how we wanted it and thinking up the features at the time what were revolutionary). He had found his tone with the Euphoria and Paisley stacked, and we knew that a dual pedal with these two elements (althought modified to suit him and the single pedal format) would be enormous. Also, having got to know him, we knew that he would market the living daylights out of that pedal at countless trade shows, videos, social media outlets, and just about everywhere else… Tom is one of the most hardworking guitar players I know that is often appearing at seminars, shows… just about everywhere around the world. We also knew that providing he stay true to himself (which to anyone who knows Tom knows that is what he always does) at some point in the future the rest of the industry was going to catch up with us and his name and picture would all over the place.
What does all of the above mean when looking at it closely it? Well, to a signature artist you have to fall into 1 of 3 categories:
- Is their idea for a pedal so unique and original that you have to sign them up then and there to being this piece of genius to market? (extremely unlikely, I would say impossible – “Hey man, I’ve got a great idea for a new pedal, no one has ever done this before”… the reality is – they may not have done it, but I can almost guarantee you that one of us would have thought about it at some point and gone on to discard the concept.)
- Is the artist in question so famous, and relevant, that just having their name on your pedal will explode your brand around the world? (unlikely, but when they come along, happy days – I mean, no one in their right mind would turn down a superstar like Brent or Brad.)
- Is the concept of the artist/pedal combination something that people will relate to - and will the artist network/promote you so much that the amount of traction gained from your combined marketing efforts going to make something truly special? (the most likely)
Now, it’s fairly obvious that as of today, we’ve had two #2’s and a #3 in our list. A lot of people mistakenly think that in order to get a deal you need to be #1 (everyone thinks they have THE next big idea which is usually, well… not so big), a lot of the people who think they are #2 are usually a few years past that point of their career (or are in no way big enough to even think about it) so think it will be a steady income stream for them for doing nothing, yet no one thinks about the concept of #3.
In order to be a signature artist, you have to have something special. Yes, you need to have the talent and ears to make it even to discussion stage, but what about the rest of it? To do it, and do it successfully, you have to work HARD to get there and even harder to keep it going… The main thing to remember that as a business we like to sell a lot of pedals and it is an aggressive marketplace out there with countless elements working against you. We’ve found that the people who even make it past the initial nanosecond of consideration are not in the least bit concerned with the monetary aspect (the commission) and are only interested in realising their vision for their sound by working together, combining ours and their marketing platforms, and most importantly… the vision for the future of both ours and their brand. In a nutshell - you have to jump in with both feet and take a ride with us, and sit right up front!
As you can imagine, I’ve seen a lot of people make a pass at us for signature units, Winter NAMM is a classic one where a lot of players are walking around in dark glasses trying their hardest to be noticed whilst looking like they are trying not to be noticed - and this year, most of the time, all I wanted to say to them is this: “You see that guy over there… the quiet one with the new signature Ibanez, yeah… him. He’s called Tom. Be like him.”
Well hey hey! Normally, I don't write many of these blogs, normally because i'm too busy doing the youtube's and the breadboarding (aka circuit design). Plus, Jason and Alex are way more interesting than I am.
In January a combination of things happened to me, and us as a company. One of those being that our company became recognized by probably the worlds best business guru, Gary Vaynerchuk. I know, I know, you don't care about business, you care about tone, right? Of course, we all do! Regardless, I wanted to take a minute and write a piece that we can reference back to every time we get business questions (and to be honest, we get A LOT of questions about how we do our marketing). As you read the following paragraphs, please understand that I'm coming at this from a place of love, and a place of wanting to help you if you are starting a business, trying to run your guitar/amp/pedal/whatever business, or just feeling like things overall are feeling impossible... like it's impossible to get ahead, and improve whatever it is that you're going through right now. I also want to point out first and foremost: The business isn't just me, it's Jason, Alex, Jake, Cathy, Jeff, Jerry, Amanda (of course), Travis, Max, and just about everyone that's ever worked for us.
That being said, I bring you: "Why good things never come easy."
Don't let anyone ever tell you "it can't be done", or that something is impossible. In 2005 or so, I started writing a few books to help guitar players learn how to modify their guitar pedals. It was intended to be a book that would simplify electronics and bring it to a bigger audience than just Engineering nerds (no offense nerds :p ). A little later I started building pedals and eventually quit my work as a remodeling subcontractor to focus full time on all things guitar tone related. So many people tried to discourage me, even some that were close to me.... but I kept going.
Around 2010 or so I learned of a guy named Gary Vaynerchuk, and bought a book called "Crush it!". His book excited me so much that I drove all of my employees, friends, and family nuts with his ideas and business principles, and insisted that we follow his lead. I think I've bought that book (and his newer ones) about 50 times and sent it to various people over the past years in hopes it would help them actually.
Fast forward to 2016... I found out that one of our customers knew Gary himself after I posted something about loving GaryVee's videos, who invited me up to their office, which lead to a chance to meet Gary (AND be in one of his videos)...
...which lead to Gary asking if I'd like to be part of his next book. That book is available today, and to all of my entrepreneurial friends: You've got to check it out - it's fantastic! Here it is... Oh, and make sure you check out page 48
However, that's not why I'm writing this. I'm saddened, humbled, and overall more than anything... grateful.
I'm saddened that people still don't believe in themselves. That they talk theirselves out of trying, out of taking a risk, the negative self talk defeats them before they even TRY to start anything. Even talking to people at other companies at NAMM, I'm astonished. When they ask how we do what we do, I have no problems telling them. The most common response: "Wow, that seems like a lot of work!"
Are you kidding me?! Seriously? If you own a business and you aren't going to give it 1000% you're going to get beat. Your competition, at some point in time, will take your lunch money and shove you down in the dirt (metaphorically of course). This applies to musicians, and writers, and creatives of all types. It applies to high school seniors who are wondering what to do with their life. It applies to those in college who feel stuck, or are doing what "Mom and Dad said I should do" yet have no passion for that area in which they (or more correctly their parents) have chosen.
Success is simple: BUST YOUR ASS AND BE PATIENT. That's all it takes. Work harder than everyone else, like your life depends on it. Do everything possible to improve your situation. Are you having money problems? Do something about it. Throw out the TV, and sleep less. Learn new skills. Are you upset because your coworker makes more money than you? Do something about it. Change. Change. Change! You can't have change in your life without changing yourself. But remember - life is a marathon, not a sprint. Don't expect some magical way to "Get rich/find love/become successful with these 3 easy steps!"
I'm completely humbled and grateful for our customers and friends who believe in us. We exist purely to make your world a little better. Granted, we aren't curing diseases here, but it's incredibly satisfying to meet those who have just a little bit more joy in their life because they are coming home after a long day's work and playing on that new piece of guitar gear that makes them happy. Or, they write a song and send it out to the world and that song affects other people. Grateful isn't a strong enough word. Just please understand that all of the youtube videos I do, all of the podcasts, all of the facebook, instagram, twitter, and snapchat posts that my team and I put out - they are for you. They are for your enjoyment, entertainment, and/or education. You'll notice we don't "sell, sell, sell" on 99% of our posts. We don't look at our business that way. We believe we are in the people business, not the guitar pedal business. I go to bed thinking how can I make your life better with what I have to work with and I wake up with the same thought. For now that looks like guitar pedals, but who knows - maybe it's amps, or guitars, or VR instruments, or something entirely different in the future.
To all those that have helped us get here, and to those who work for me, have worked for me in the past, and/or put up with me, I'm indebted to you.
Day 1, Wednesday – “…there’s two L’s in Hell…”
It started like any normal day, not enough sleep and getting up to get the kids off to school… Once they had gone there is that horrible moment when I catch Mrs Wilding’s eye and she looks sad. She doesn’t like me going away - we are one of those weird couples that spend 24/7 together and thrive on it so it’s very hard on her as let’s face it, I’m off to California with my peers and she’s at home - but she accepts that it’s a vital part of the job so she puts a brave face on. Once I’d got my shit together and packed up, I got in the car ready for the drive to Heathrow. Now, the journey up is usually indicative of my week and unfortunately, this year was the drive from hell. It was absolutely pouring down, in the most English way, all the way there. I don’t mind driving in the rain, but when you have visibility of about 50’ and people are going past you at what looks like about 100 and they don’t even have their lights on it’s just plain scary. The English, what are we like?
Arriving at Heathrow I quickly found my travel buddies, Tom Quayle (who was about to have the biggest show of his life due to his Ibanez signature model being officially released), Jay Henson, Jake Willson and David Beebee, and we started settling in for the long journey to LaLaLand. We got on early due to Jake being picked out as needing extra attention by the customs guys (so we blagged on through the line with him) and found our seats. The flight was barely 1/10th full so we spread out and for once, got as comfy as possible. The best thing about the flight is that this is the chance I get to truly catch up with Tom (who everyone who is connected to me on Social Media knows I love like a brother) and as usual he unwittingly gave me about 10 guitar lessons during the flight! Bonus. The conversation with everyone was as random as usual - it went from theology to philosophy, music to movies, life to death and a lot about how our kids are trying to send us to an early grave. The highlight for me was when we were talking about how people misspell, or mispronounce, our names that led to a conversation about what our Darts names would be, Jake “There’s two L’s in Hell” Willson and Tom “Legatenstein” Quayle. Believe me, 9 hours into the flight when half of the group had been drinking somewhat it was much funnier than it sounds written here.
The absolute worst thing about the NAMM journey is US Customs. We’ve usually been up for 24 hours at that point and you are made to feel like a terrorist coming through… So, we puckered up and prepared for the inevitable. For once, we sailed through with barely any waiting and I found myself on the shuttle heading to the Wamplers and NAMM. Arriving at the hotel at around 9pm, I was almost dead on my feet – I got a text from Brian saying he had just left the convention center (he’d had to rewire one of the boards) so I had time to unpack… when I got the message they were back. I walked to their room and Amanda was half passed out already (not a good sign) and the first thing we said to each other was “You look as tired as I feel”. You would have thought that we’d all just hang for a bit and get some sleep, but no, that would be far too logical. I poured myself into bed at 2:25 having drunk a little too much.
Day 2, Thursday – “…my wife really fancies you…”
BOOM, 4 hours sleep. Thanks Jetlag, you are a cruel mistress. I Facetimed my family then staggered down to breakfast. We got to the show and I had a nightmare getting my badge so was about 30 minutes late getting to the booth. I was greeted with the booth being packed and poor Greg facing it on his own… This is the busiest Thursday I can remember at NAMM. It seemed like we were packed ALL day. The first couple of days tend to be all about the meetings and I was lucky that I didn’t miss any (a wise man doesn’t book the early slots). It’s usually the day that we all fly off in order to see industry friends around the immediate area as well and them dropping in to see us – it was a delight to see the likes of Seymour Duncan and Phil X – who I actually got a photo with this time based on the statement “Hey Phil, let’s have a photo together as my wife really fancies you”. Thursday is a bit of a blur to be honest, we had a LOT of people come by and they all loved the new pedals.
After the show we went out to someplace somewhere to eat. I don’t actually remember where. But, I think it was a Pizza. Probably was. We went back to the hotel via Target to get some supplies, accidently bought a ton of beer, and went back with the intention of being in bed by 11 so we would be prepared for the day ahead. Amanda did this… Brian and I on the other hand… 2:05 I went to bed after we talked about the new releases, next releases, our kids, our lives, absolutely everything. And we had the first discussion about my favourite time of the year… April 1st
Day 3, Friday - “…Nah mate, you’re talking bollocks.”
4.5 hours sleep. **sigh**. Up, Facetime, breakfast, show. Got there on time so had a moment to properly catch up with the guys on the booth. It still kinda freaks me out a little to see Groover Jackson and Bruce Egnator just walking around, and then there’s Dave Friedman, and Joe Morgan… most importantly Jerry Best, Steve Elowe, Paul Wilson and Avi Elkiss – the guys who make Wampler work from the manufacturing and distribution perspective, in other words, the guys that do the real hard work! Friday was also insanely busy, even more so than Thursday. It’s great, but it’s a nightmare. However, getting to meet Andy Martin was a highlight, he’s as cool in the flesh as he is on video!
Lord Thomas of the Quayle rocked up to the booth about 11:20, he was due to play on the booth at 12 but he had no patience so instead of 30 minutes everyone got almost an hour of unadulterated Quayle. That was the strangest part of the trip for me, it was the first time we got a little PA on the booth so Tom could use backing tracks… When I met TQ at Heathrow airport for my first NAMM in 2012 (effectively my first NAMM buddy) I instantly liked him and what a journey it’s been since then. We are now what you might call family friends, we talk regularly about the real world, he’s been a musical mentor to me… we did the Dual Fusion in 2013, I’ve seen him progress into this world class virtuoso and I don’t mind admitting that I got a fraction emotional when he was surrounded by a large group of people just marvelling at what he does best. Improvising. Yep, this was mainly improvised.
Yep, I know it’s portrait instead of landscape but this was for FB – people tend to hold their phones upright ;)
After the show (which included me sliding down the railings outside that Amanda assured me looked cool, but the massive bruise I’ve been left with meant it was anything but) we went out to meet up with some of the members of our Facebook Tone Group which was just ace. We all sat around drinking beer and eating food, just hanging out – for us this is what it is all about. The people, we do this as we are all the same, just people looking for great tone, so to directly connect with the people we help along the way is incredible. I ate too much, drank a little and just had the best time. Thank you guys for coming out, it was awesome. So… back to the hotel for an early night. As usual Amanda went to bed and Brian and I went to the firepit by the pool for a quick drink… we were joined this evening by a few other residents, one who quickly and with the deduction skills of Sherlock Holmes realised I was “European, probably British” and basically took over the conversation for an hour. The conversation actually started with him telling me that Princess Diana was murdered by MI5, to which I replied “Nah mate, you’re talking bollocks” and the conversation went on from there. He was mainly interested in talking about politics… which considering we appeared to be polar opposites on that subject it went quite well, he was much more drunk than I was so I’m not ashamed to admit I kinda walked him around in circles for a bit and then forced him to contradict himself repeatedly without him realizing it. I was actually being my online internet troll persona in real life! And no, he’s never been to a shithole country before... Once he had left the inevitable happened… we went to bed around 2:30 after Brian fell asleep mid conversation after a few beers were drunk!
Day 4, Saturday – “…two middle-aged guys loaded with camera equipment trying their hardest to get into a high school dance…”
The mad day. I arrived really early so actually got to try the new pedals properly. Although I was slightly hungover, I really enjoyed the day as so many people came by just to chat and hangout. We had Andy Wood on Synergy, another performance from Tom and it was all just incredible. I just don’t know where the day went. So many people! I had a load of meetings with dealers, saw some incredible playing and hung with friends – in particular PapaGates himself, Brian Haner, who is one of my favourite NAMM buddies and one of the few people who can talk as much rubbish as I can with the sole intent of saying everything and nothing at the same time... Perfect.
As the show was ending and it quietened down, I ran over to see the “competition” and had a great play through a load of Keeley pedals (Super Phat Mod is HUUUGE), hung and chatted with Robert, sat on Stefan Fast, trolled Josh Scott, checked out Chase Bliss and popped up to see CatalinBread which was kinda weird. It felt empty, obvious since Nic’s death it’s not the same as he would always be there, but no Howard… Scott… I dunno what’s happening, but I didn’t hang around long enough to properly find out. I just couldn’t.
After the show we popped into Downtown Disney to see our friend’s band play, and Brian and I trundled off to the annual pedal builders party… Rather stupidly we didn’t check the address and rocked up to the place it’s always held. We were denied entry by a well-dressed woman stating it was a private party. We told her we had been invited… when she dropped the bombshell that this was a high school dance did we realise how bad it looked… I mean, two middle aged guys loaded with camera equipment trying their hardest to get into a high school dance… we made our excuses and left VERY quickly. Once we arrived at the correct location it was wonderful, this is the only time we all get together so the conversations are tremendous. I shared a lot of abuse with Stefan Fast, trolled the crap out of Josh, laughed with Robert and shot some video with Andy Martin. We had a very interesting conversation outside that concerned how one of us had been totally disrespected by a heavyweight of the regular effects industry. I won’t go into details, but there is a video up, and it’s been heavily edited. Us ‘boutique’ guys kinda stick together and there are a lot of us now that have lost a lot of respect for that one guy. I’ll leave you to work out how that was! The venue was open to the public and there was Karaoke happening as well – a lovely lady called Bunny who must have been about 60 sang some incredible older lounge Jazz stuff in a really low register so everyone who sang after her was just treated to a load of drunken pedal builders chanting “BUNNY! BUNNY! BUNNY!” over and over. I honestly have no idea who started that **ahem**.
We got back, intended to go to bed early… beers, firepit, 2:10….
Day 5, Sunday “…Where’s Heidi?”
Got up super early as it’s the day I go home and I’m always really excited. The booth is always quieter on a Sunday so we all did loads of playing and everyone just floats around to see everyone else. April 1 was discussed a lot, hugs were had, goodbyes were said and at 5pm I walked outside, got smashed in the face by the heat and jumped on the shuttle to the airport. I arrived at the airport before TQ did, and he woke me up when he arrived (I know, how classy am I – I was snoozing as I was sat forward in my seat) and as with the rest of the journey, we just flew through customs and made our way to the plane via the Sushi bar. A couple of years ago we were served by a hilarious woman called Heidi and we wanted to be entertained by her again, but our calls of “Where’s Heidi” were greeted with “She got fired because she… well… kinda…” and we stopped him there, we didn’t want to taint her memory!
The plane was half empty again so we spread out and slept for 6 glorious hours. Once again, Passport control was easy and before I knew it I was doing 100 miles an hour past Stonehenge, home and into the arms of my family and one stupidly excited dog.
NAMM is great, but it’s bloody hard work and extremely tiring. It’s the only time I get to spend one on one time with Brian and we make more plans in those 5 days than we do in the next 360. I see the most inspiring players and come back a better player. Unfortunately for me and my family I was completely dehydrated when I got back and the next 2 days were a complete write off. I blame Brian. It’s always his fault.
Following on from bDub’s video about the 12 things he’s learned making videos for YouTube (see below), I thought I’d piggyback that and make 12 things I’ve learned being the main social media guy for Wampler in the last 7 years. For those of you who don’t know, I’m the guy that has been the constant with the social media for Wampler since early 2011. Other people have worked with me during that time, most notably Alex who’s been with us for almost 3 years now, but, most of it has been me and my warped sense of humour.
- People have opinions and they think they are facts. People are passionate about music, and they are passionate about their opinions associated with them. Especially when it comes to favourite guitar players. They may love the blues, or shredders, or whatever, but there are a LOT of people who misunderstand the concept of opinions. They have the final word and are prepared to destroy all those who dare to disagree! Let’s face it, we’ve all got into arguments on social media over pointless crap with strangers, but recently it appears to have hit new highs. My ban hammer finger seems to get twitchy much quicker these days.
- Memes are made to be stolen. One of the things that has caused me the most headaches is irate people shouting (well, typing in caps) “YOU STOLE THIS FROM MY BLOG WOT I MADES IN 2013” or something. The unfortunate thing about meme’s and graphics is that once they are on the internet, they spread like wildfire and it only takes one person to download it and put it somewhere else and all traces of the originator are lost forever. Subsequently, there have been times when things I’ve made have come full circle and come back to us, which makes me chuckle, and there have been cases when well-known outlets have been downloading stuff from us directly to reshare… It’s a difficult one, and one I try not to get grumpy about, but… you know… sometimes when a repeat offender does it over and over it becomes obvious and I let myself down and make a snide comment on their thread. I should know better really.
- Everyone thinks that you are the face of the company and you better not show any trace of personality. This is one that happens to me often. I quite often get a *insert expletive here* who thinks he can come on to my own social media presences and tell me off for putting them down when they act like an arse to either me or my actual real-life friends. I’ve been called many names, most recently a Nazi. As you can imagine, that wasn’t particularly nice but I’m a big boy now and sticks and stones and all that...
- Everyone thinks that because you work for a company like Wampler it’s all jamming with Brent Mason, making fancy meme’s and drinking fine wine with Seymour Duncan at NAMM and nothing else. Nah… it’s mainly planning strategy for marketing, B2B selling, watching market trends, trying to predict market trends, justifying decisions made about the current market, the future market and maintaining relationships. Basically, it’s about moving little grey boxes around the world. Sometimes you get the fun stuff, but it’s really really rare.
- Everyone is a world leading expert. On everything. No matter what evidence you place in front of them about running a business, they still don’t see why they should buy a pedal for $200 when they can buy a soldering iron and parts from “Hanks fishing tackle and Radio Spares for $35 and making it their damn self and it being just as damned good”.
- People think that who you are online is who you are in real life. What people have to remember is that working from home and doing online stuff can be kinda boring. When I get bored I partake in the age-old English past time of taking the piss. Although I do it in my real life, I pretty certain I’m not the stereotypical grumpy Englishman people think I am, or appear to be – here’s the thing, I often have to play bad cop to Alex’s good cop when dealing with trolls and people who don’t know when to stop talking. I dunno, maybe I am grumpy… but my wife tells me I’m not, and I’m not man enough to disagree with her on anything.
- People will tell the world with righteous indignation about bad things with a company on social media before even venturing into speaking with the company about the issue. Or, they will expect you to be online to sort their problem out 24/7 and have the answer for you in seconds. How many times have you seen “I’ve not received a response from them when I mailed them”… most of the time it will be 2 am on a Sunday, they’ve emailed you through the website and 10 minutes later they’ve gone out in public slamming you for the problem and your unprofessional way of not getting back to them. It’s massively frustrating, but you know, I’ve got to poop at some point!
- People will look for a correlation of events and try to draw conclusions from them, and they’ll do it all the time. “Yeah, well, Brian said he likes Uni-Vibes and next doors cat looks like Brian’s, he said the word vibe and wet in the same paragraph in a video in 2016 so I KNOW that a WampVibe is coming this year!”. Or something like that. You’ll know when stuff is coming because we’ll tell you. I mean, it’s not in my nature to tease people at all or anything like that **ahem**
- You get free stuff, all the time. I expect some of you have seen the pictures I post online of ‘my’ gear. The main thing is, it ain’t my gear. It belongs to the company (and others). I actually own 2 electric guitars, about 5 or 6 pedals (none of them are overdrives or distortions) and no amp. So, when I do gigs and take amazing gear, people think I’ve got amazing gear coming out of my arse. I don’t. I’m just lucky that this particular job means I have to have it here, for marketing. So, you know, it ain’t all bad…
- You spend all day chatting on social media. This is the one that confuses me the most. I am prolific on social media when I’m working, within the realms of my job – watching and analysing. But, once I take the work hat off, I disappear completely for a period of time. I am a family man and I protect the relationship with my wife and kids fiercely, so when I walk away from the computer, you won’t catch me on Facebook. I work from home and it’s 7 days a week, virtually 365 days a year, making multiple posts over multiple platforms for multiple brands. I keep in touch with a lot of our artists and dealers on FB and most of my relationship building is done there, so when I walk away, I walk away. It’s that, or I’ll end up being divorced.
- Fundamentally, most people (and companies) do not understand the concept of social media marketing. Which, in terms of other companies is great!! Hahahaha – KIDDING! But, I spend a lot of time watching and learning on social media, seeing what others are doing, analysing what we are doing and then making decisions on how to proceed based on what I see. I do have to say though, it’s a big rush when I see some of the biggest companies in the world blatantly taking our style and doing their version of it. It’d be better if I got 10% of the fee though! I speak to a lot of people who are allegedly marketing experts and most of them don’t get it. Don’t get demographics, don’t get what it means to try to get into people’s heads in the best possible way. A few do, and when I find them, I talk to them a LOT!
- A lot of people want to take your job. I understand that, completely. I have a cool job and people can think they can do better. Especially on the graphical side. We’ve, well – I’ve, really honed the look of the range in recent years graphically. We made a conscious decision on our look and I’ve continued to produce the graphics according to that plan. I’ve lost count of the number of times I’ve read “Your pedals look shit mate” or something. It’s usually a graphic designer from the other side of the world who’s looking to get the work for themselves. Unfortunately, unless they want to do all the other stuff I do as well, it probably won’t happen. Because you see, we don’t all have one job at Wampler, we have about 4!
Thank you for listening to me ramble and for your support of this blog, this is my first one of 2018 and I hope to be filling your eyes and minds with more irrelevant crap in the future! Despite what I have written above, I genuinely adore my job and interacting with people as much as I do. It's one of life's simple joys to be able to connect with so many people, from so many cultures, from so many countries, each and every day...
... and, there is a lot more to this, but I'm not going to give all my secrets away!
Yesterday, this question was asked on the Wampler Pedals tonegroup on Facebook.
“Do you ever get to a point in your music that you just feel stuck where you’re at? And that you find yourself losing sight of where you need to be in your music to inspire yourself to learn new things? What do you do to re-inspire yourself to get you back on track?”
This struck somewhat of a chord with me (da daaaaaa) and my personal experience is why I have so many strings (da daaaaaaaa) to my bow as a player. You see, I’ve been in so many ruts with my playing I think I could write a book on how to get out of them. Well, maybe not a book, but probably a blog piece.
So, in the many ruts I’ve historically been in, how did I elevate myself out of them? The trouble I’ve been in is that I’ve been in one for a while and I was lifted out of it this weekend. But, I’ll get to that in a minute.
- The first and most important thing I’ve done as a player is to see live music. As much as I could, as often as I could. My wife always kinda laughs at me when we see music together as, apparently, I stare at the guitar player’s hands, all the time. My concentration levels are so high I am barely aware of the world around me, I’m just drinking it in. Absolutely everything they do. Notes, rhythms, vibrato, phrasing… everything. I just watch them. Any decent player, that doesn’t have to be decent on the level other than playing in a local pub band, will have something to offer you if you only pay attention. For example, on Saturday our band shared a bill with a Reggae/Dub band called The Barefoot Bandit. I quite like Reggae and Ska, so I was always going to like it, but they had a guitarist in that band (Harry) that enthralled me. He had the kind of right hand you don’t come across often, his rhythm work was sublime – yet subtle, his chord inversions were perfect (he was complimenting the other guitar player of the band) and his solos were genre perfect. When we went on after them I was so inspired to make my right hand stand out better. I didn’t play anywhere near as many notes as I usually do, but I hope I was a little funkier. Ever since then, I’m been working on my right hand, I hadn’t planned to, but it’s opened a new door for me.
- The second most important thing I’ve done is learned that it’s not all about your preconception/expectation of a player. View every player you hear/see as a potential teacher and take something away from them for yourself. If you pick something up from a player, take it home and incorporate it into your own. For example, the one thing Vai has taught me over all the years I’ve been listening to him is phrasing. It’s the same lesson I got from Clapton, Nuno, Beck and Quayle. When I first heard those players the last thing I thought about was their phrasing, but that’s what I’m left with from them. I looked past my expectation and found something they had that I didn’t. I unexpectedly learned from them, after I first got into them.
- Listen to everything you can bear to listen to. Don’t just listen to your comfy music, the stuff you love, stick something on you wouldn’t normally and try to hear something different in it. When I am coming home from a gig (when the wife isn’t with me) I often listen to Classical Music, or Jazz, or something else I would never listen to at home – so, use your radio. Put a channel on and listen to it. There will be something there for you to latch on to, even if it’s just one thing – the more you do it, the better you will become at picking stuff up. And DON’T just listen to the guitar parts, listen to the phrasing and attack of brass sections, listen to the depth and power that a certain inversion of a chord that is being made by the strings in an orchestra… It’s all the same thing, it’s all just the application of the notes and the intervals between them. Then think about that in your own playing, something will pop out at you.
- Don’t be afraid to stop playing, or go to a different tuning, or pick up another instrument. A piano in the house is the best thing for me to have as a guitar player, I often sit down at it and play with chord inversions or different scales over chords on the piano… I look at the patterns on the piano I wouldn’t normally look at on guitar - I try to play guitar stuff on piano and then piano stuff on guitar. Most of the time it sounds like utter crap but the thought that has gone into it ALWAYS opens another door in my head, and when I get back to being me on the guitar again I usually notice something has changed somewhere, something new has arrived.
How does all my waffle above deal with the question posed? When I’ve been in a rut I’ve found that someone, somewhere, will pop me out of it. Harry did it on Saturday, I heard something that I wasn’t expecting, and dived into it. I’ve also found that if I take something from someone musically and put it into my own playing, it will then open another door. So, if you want a challenge, learn a song by someone you never normally would. Then look at the chords underneath it, then take a hook from that song and put it in a completely different one and see what happens. You will find that your playing will become more interesting and you will discover a new direction to play. This is the reason I successfully play a lick from Steve Vai as part of my stock solo in “Bring Back The Sunshine” by Eddie Rabbit - and I’ve been told it sounds good.
Most of all, do not limit yourself to one genre or group of players. Listen to everything, take a walk with a different tuning or a different instrument. Primarily, just stop worrying. Someone will come along and scare the crap out of you enough to make it all exciting again.
Thank you Harry, you did it for me on Saturday.
I am at a complete loss as to what to write today. I had loads of ideas laid out in my head, I was going to talk maybe about the TC Electronic MiMiQ, or the new Quintessence, the Quilter 101 Reverb, but seriously, none of that matters right now.
I am despairing as to what has happened, as to what is happening. This is the third (that I can remember off the top of my head) time in recent history where a music event has been attacked. December 2015, the Bataclan - Eagles of Death Metal concert, 90 dead and over 200 injured by persons with automatic rifles. Manchester Arena, Ariana Grande concert, 22 people killed and 250 injured by an IED. The question I keep asking myself is "why".
I'm in the UK, so I was aware of this as it was happening pretty much, I get up early in order to tip my kids out of bed in time for school, so in my gently hungover state this morning I turned the TV on (as I like to have background noise other than my kids moaning about being tired) while I wake myself up by playing Clash of Clans and was greeted by live news as it was unfolding. I was, and still am, speechless. Confused.
Music is supposed to bind us. Music is supposed to inspire us. Music is supposed to bring us together. To attack a place where nothing else matters apart from the shared enjoyment of something that transcends colour, race, nationality, sex and everything else, to me, is about as low as it can get. If that's not enough, on social media, you get everything that always happens after, happening. People offer opinions, solutions, political postures, justifications, excuses and it all descends into pointless arguments that will change nothing and just solidify more hatred and more things to not understand about the world we live in.
I often get called names because of my opinions on humanity, and all that does is nothing but show the ignorance of the people who say it. All because I dream of a world where people don't hate, not where everyone is being treated with suspicion and people are judged on their own personal actions and attitudes rather than anything else. A place where people from all over the world can get together and enjoy music without the fear of being punished for it.
We exist as a company to bring enjoyment to the people who play our products. And some of those products were on the stage last night in Las Vegas. All we want to do is allow the entertainers to entertain and for those who are listening to enjoy the experience, it’s one of life’s simple pleasures and it sickens me when people use violence to disrupt it.
All you need is love. All you need is love. All you need is love, love. Love is all you need. And pedals.