Blog - Has gear culture gone too far?

I’ll come outright and say it: I love looking at and learning about gear. Gear porn makes the day go by so much faster, and it’s interesting to see what various players choose to have on their board, why they chose it, what worked with each rig and what didn’t. Off the rack guitars, custom guitars, pawn shop finds and killer deals. All of it. From the simplest rig to the biggest rig, each setup tells a little something about that player and what their tastes are, and often it either spurs GAS or makes you curious about something else. Down the rabbit hole you go. I’m apparently not the only one either, seeing as gear culture is probably more at the forefront than ever. If you had to take a guess, how many FaceBook discussion groups would you say there are associated with tone in some fashion? You’re talking brand groups, podcast groups, general discussion groups, groups dedicated to a certain style of guitar or style of music?  I’ll guess on the low side and say hundreds, and those are just the ones I’ve seen personally or been on. That’s not even touching on other forums outside of FaceBook, or places like TGP or TDPRI or ILoveFuzz (all interesting boards for sure). It’s become a global culture, where if you’ve got a musical instrument and the internet, there’s a good chance you see or experience something gear-related throughout the day. I’ll admit that I’m so enthralled with gear that I often forgo watching TV to check my phone to see what the latest thread or blog or article discussing new releases have popped up. It’s truly an addiction, one that I barely keep at bay on most days. 

Most of these groups and pages have quite a varied group of members, with diverse backgrounds that range all over geographically, and with that comes the differences in cultures and varied view on race, religion, and many other variables. Thankfully, most of the places that I frequent don’t pay any attention to any of those external factors, and the focus remains on gear. Other than the subjective opinions that come up about that gear, they’re normally friendly and great environments. But not always. I’ve noticed a trend on so many groups lately that it’s become second nature to expect it to happen, and it eventually will. Inevitably there will be a member that will join, and they do NOT agree with opinions that go against their own. They disagree with a post or take a cheap shot at another member, and things devolve from there. I’m not talking about trolls necessarily. (I wrote another blog on that very topic, you can check that out here). These are people who are whole-heartedly invested in their belief, and if you question or bring up a counter-point, an argument inevitably ensues. I’ve found this especially prevalent on certain hot topics, such as discussing Klon Centaurs, Relic Guitars, or specific guitar brands and their quality. Any of those topics will ignite a burning flame in someone, who can DEFINITELY hear the magic in the diodes, or who only buys from a certain place of origin because they’ve got a stigma in their mind that guitars from XYZ are just garbage, no matter what.

I’ve come to ask myself this question on a regular basis: Are we taking gear and gear discussions too seriously? We all want to chase those ever-elusive tones, but how we each do it is going to depend on a lot of factors. Personal tastes aside, monetary reasons can put a big damper in our plans. Yes, we’d all love a Dumble or vintage Les Paul or Strat, but that’s usually not in the cards for the average player. So, we chase those tones we have in our head with the funds we have at our disposal, and luckily there are enough brands with various offerings that can get you close to that (some closer than others). Opinions are like buttholes though, everyone’s got them. I think we can all agree that not everyone is going to agree on loving all the same things. Variety is the spice of life and all that. But when I brought up selling my Centaur in my last blog, I was met with various comments regarding whether that was a good move or not. Some agreed totally, agreeing with my point that the used prices are a bit absurd and that they were able to find a great alternative for a fraction of the cost just like I did. There were a few people, however, that went out of their way to express that I was wrong and my thought process was off and that the price truly is justified and it’s the greatest in the world. That’s great, more power to you. If that’s what hit’s the spot then cool, go for it. Some got so heated in their beliefs that they felt they needed to convince me I was wrong, and subsequently various members started arguing, which led to people almost being banned from that group. Why in the heck is that so important that it’s worth getting into an argument over?  

Another example that I see frequently posted are the users posting pictures of large pedalboards with a wide range of effects, with comments to follow saying, “All you need is a guitar and an amp” or “You must be compensating for lack of skill” or “I only use amp dirt and a single delay”. I completely understand and can appreciate the traditional minimalist approach. Times change though, and if you’re in a band that covers a large variety of music, you’ll need the tools at your disposal to achieve whatever the song calls for. On the flip side, there are the players that flaunt their gear choices, going specifically into how many amps and how much each one costs (usually equaling a lot). That’s great, we get you have money and appreciate discerning tastes in gear. Owning a small fortune in gear doesn’t equate to knowing everything about tone. Just because something costs exponentially more doesn’t necessarily make the tone that much more superior, nor will it make someone play better. I refer to the video of Joe Satriani playing a cheap knock-off guitar into a Peavey Bandit and RP200. Granted, it didn’t sound like his rig, but raw talent got it close enough that you could immediately identify what was being played (Surfing with the Alien). It’s all just trivial, and it doesn’t matter if you invested $400 in a guitar or $4,000, if it hits the spot then that’s all that matters. Knocking another player’s rig solves nothing and if anything rains on their parade, instead of appreciating the effort they put into it and moving on. 

Lately, the big topic everyone has been discussing is Gibson’s current releases and the quality control, after a recent catch showing an advertisement for their new Les Paul that had dings in it. Many people were immediately dogging Gibson and discussing how overpriced their models are and the subsequent decline in attention to detail. There were some extremely heated arguments regarding the amount of money spent on Gibson’s, some saying they are still fantastic guitars and still an icon of sorts, where others were saying they are complete garbage and trashing the brand and people who appreciate their Gibson guitars. Around the same time, Fender released their Brad Paisley signature guitar, and the internet lit ablaze at the cost of the instrument being too high because they’re made in Mexico, the fact that it didn’t feature a rosewood neck like the one it was paying homage to, and the fact that it didn’t have a G-bender. Let’s look at just those 3 things and break them down. Brad wanted them to be affordable, hence having them MIM. That doesn’t mean cheap, that just means more cost-effective than labor costs in the US. Regarding the neck, Brad doesn’t like rosewood, if you look at his current touring guitars there are only a couple of them with rosewood necks. He’s always been a fan of maple. Lastly, the G-bender mechanism Brad uses is from Charlie McVay, a small business owner who literally couldn’t produce that many benders to suit Fender’s needs, let alone at a cost-effective level. Yes, there are other companies out there with alternatives, but there’s also the issue of consistency and longevity and added cost, which all adds up to a more expensive guitar. I guess my point is that until all of the facts are known and verified, or unless someone has experienced using the instruments themselves, passing judgment just comes off as trolling and disconnected. 

So why did I write this whole thing? I don’t know, maybe making the issues stare people in the face will make them realize what’s going on and thinking before just posting the first thing that comes off the top of their mind? One can dream. I’d like to just reinforce the point of taking gear discussions a little more lightly, most people are there to learn and enjoy guitar and gear with like-minded people. Not everyone will agree, and that’s totally okay. How you respond to the disagreeing part is what sets people apart. So sit back, enjoy soaking in the info and comradery over our favorite instrument. To summarize, I’ll leave you with this quote from Travis Feaster: “If you’re offended, I forgive you.”

The state of the online troll, 2017 edition

Social Media trolling in 2017. Do you do these? I often get called a troll on social media, so I thought I would look into it a little and see what's what.

Upon looking I can identify four main areas of trolling in the industry this industry, and others, and I’ll try to quickly explain them here. This might be my “I’m watching you moment”.

The “Illinformed muck spreader”. Yes, I edited that. I wanted to call them something else, but I won’t!! Over the years I’ve seen certain companies (and people) attract hate for one reason or another – it’s a big circle and it goes around constantly. Most recently it’s been Josh Scott and his company JHS. Now, I’m not going to get into the specifics of it but I’m lucky enough to call Josh a friend (enough for me to partake in a little of the banter mentioned below) and be horrified in what has been said. Josh has made mistakes, but who hasn’t, but it would appear that many people are only interested in spreading certain things about him and the company, either by sharing a long since disproved Reddit link, or talking about something with half-truths, and then pass that information on widely. The classic example of this was when Josh appeared on That Pedal Show a few months back, I found myself on a Saturday afternoon putting people right on YouTube and them not believing a word of it. It’s so easy to share information these days, but it doesn’t appear to be that easy to get it verified first or to even admit when you are wrong when someone who knows more than you tells you the reality of a situation.

The “want to be in with the crowd, banter”. This is where the grey line sits, banter. A lot of people who ‘meet’ me on social media see the way I speak to my friends and then try to do the same thing back to me, Brian has said they are trying to get in with the guy from the pedal company, I understand that, but it seems weird. Some of the people I ‘troll’ the heaviest on social media are friends I’ve made through the company/industry. So, please take a bow Thomas Quayle, Jamie Humphries and Richard Lainegard (and many many others come to think of it). All three of them are now actual friends, but we met online, and the banter grew over the years. I think people see the way we all talk to each other (especially myself and Jamie, as let’s face it, we are basically kids in the way we act) and think that’s the way to talk to us. It isn’t, that’s how WE are, but just how can we articulate that online? It’s really quite hard… Mostly they get ignored, but sometimes you have to say “Excuse me?”, that never really ends well though…

The “Anonymous Hater”. You know the kind, they hide behind a false name online and then just drop the hate on anyone and everything. If only their Mother’s had given them more hugs as kids, or their Father had attended their sports events at school, they may be better people.

The “Classic YouTube Hater”. These are the ones that confuse me the most. As soon as someone drops a new video on YT, they press the dislike button, usually without seeing it. I’ve noticed that Rob Chapman tends to get a load of thumbs downs instantly, so people are doing it without viewing it. So this means they somehow object to him, I doubt they’ve ever met him, so you know… if this is you … just don’t watch it. You don’t have to. Remember, Rob is providing a service, in his own style, and if you don’t want that service, don’t partake in it.

The other kind of main YouTube troll that totally cracks me up is the vocal hater. Now, I don’t have ANYTHING to do with the company YouTube page (probably a good idea based on what I am about to say) but every time we launch a new video, that tends to have Brian being Brian in it, someone will ALWAYS say “Your playing sucks”, or “That sounds terrible” etc etc. As soon as I read these, I always click on the profile of the person commenting and watch their own videos. 99% of the time they sound like a beginner playing a cheap guitar through a crappy amp, yet most of them are not young and have great gear. My head tells me something about these people, but I won’t say it, I expect your head is telling you the same thing.

Here’s the important thing, the REAL players and companies tend to support each other. When someone drops a video of their playing online the real players tend to support the uploader, tell them they like it, share it and basically embrace the industry. The people who don’t appear to know their input socket from their strap locks are the ones who spread the hate.  What does this mean do you think? Are these people just jealous trolls who can’t be nice, in the case of the people 1, 3 and 4 above, yes. What about the people who are number 2, just people trying to get in on the scene and they think this is what you have to do? It’s pretty obvious to me that what we are lacking online at times is social etiquette (and I also put my hands up to this one, there have been times when I’ve been wildly inappropriate at the wrong time that’s led to embarrassment to all involved) and basic respect for the people who are out there.

In ANY online situation, and as my personal reference point, I give you Mr Andy Wood. The benchmark for social media politeness. I don’t know if this is a conscious effort on his behalf or if this is just the way things were done in his house when he grew up, but you can’t find a more respectful and gracious man out there. If someone posts something online, and even if it’s obviously someone working on something and it’s a bit rough, he supports the person and encourages them. It doesn’t matter if it’s a Quayle legato masterpiece or someone like me ham-fistedly trying to rip off someone else’s solo. Now, Andy also calls people ‘Sir’ in real life, if you ask him a question he says “Yes sir” in his response (which has led me to look over my shoulder in the past as I’m not used to people being that polite and I think he’s talking to someone else) - maybe we could all do with being brought up in East Tennessee to get some respect in our language. You’ll never see Andy undermining players, even those I know he looks up to – especially those he looks up to, if he classes them a better player than him, he has respect for the player and what they are doing.

To the others, I say this. One day Brian may be foolish enough to let me comment on the company You Tube page, and I can guarantee I would have a field day with you, but you know, I’m not allowed for this very reason as fortunately for us, these type of people aren’t so prevalent on Facebook, Instagram and Twitter. If you befriend someone on social media and they have a lively relationship with other people that appear to revolve around insulting each other, let them get on with it, it’s their thing, not yours. Be informed, if you are about to say something about someone or a company that is defamatory, look it up first. Don’t spread the hate for the sake of it, one day someone is going to go too far and get themselves sued. I kinda hope this happens one day, it would be a wonderful wake-up call to many people out there. And to the haters. I know haters are going to hate, but you know, all you are doing is making yourself look like a dick in the process. So, as usual, I’ll end this with my favourite saying: “Don’t be a Dick”

What about me being a troll, nah - I just have fun calling my mates names, it's what I do.

 

Expectations vs. Reality

We all do it…we all have one dream (or multiple dreams) that are on our bucket list as something we’d love to experience in our life time. Could be meeting your favorite guitarist in the world, or getting to see or even hold a guitar that is priceless, cost-wise or because of the history and sheer mojo instilled in it. Could be seeing a band you’ve always hoped to see, and the idea of all of these things combined provide a bit of “light at the end of the tunnel” and a thing to strive for as we progress through life. Now let’s look at the flip side…a company announces a signature pedal of your absolute favorite artist in the world. This artist has had a massive influence on your playing, and now there’s a new pedal that can help chase the tones to sound just like that artist! New signature guitar as a homage to your favorite classic guitarist, with the accoutrements that make it feel and play exactly how that artist would have (or does) currently play. How about finally acquiring that magical piece of gear…the one that has seemed so unobtainable for so many years and is held in such high regard that you’d have to either sell an organ or steal it to obtain it? The satisfaction of finally reaching your goal is unrivalled, or even finally solving that curiosity to see if whatever “it” is, is as good as everyone makes it out to be. 
 
Now, let’s take a step back to reality and put things in perspective. In many cases listed above, the down and dirty of the situation is that unless you’re born with a horseshoe up your butt, these things take time (sometimes a LONG time). Yes, there are occasions where luck just makes things fall into place... “right place at the right time” type of stuff. Those times are magical and should be cherished, but definitely not betted on. My Mom always told me “Son, you’ve got to make good times happen. The world isn’t going to make it easy, so you have to enjoy it while you’re here because you don’t know when you’re gonna go.” And she’s right (like she usually is admittedly). Life is fleeting, and despite how it may seem long on some days/weeks/years, it’s short in the grand scheme of things. We all hope to be a perfect bill of health and live until we’re 100, but life throws curveballs. There are ups and downs aplenty, and our own versions of ups and downs differ completely.
 
Why am I talking about all of this you ask? It’s because there have been a lot of things going on recently where I, and many others, have had to step back and find the positives in a world full of negatives. TV, FaceBook, negativity is everywhere and you have to go out of your way to avoid it in most cases. So, what does that mean in the grand scheme of things related to guitar and music and all that? What I’m trying to say is that if you want something to happen, you’ve got to *make* it happen. If you want something, go get it! Want an original Klon Centaur, or a custom guitar? It might take months or even years, but set aside a bit of cash each week from your paycheck. Even if it’s $10, $5, or just spare change as you go along. It may take forever to get it, but if you hold steady and don’t touch that small pool of funds, it will eventually lead you to get what you want. Now, will the outcome be worth the investment? That’s really where it comes down to it. The expectations vs. reality part is that whatever you’ve saved for could very well be the absolute best thing in the world, and fulfil the void that has been in your soul that you didn’t know existed until you got the piece of gear. 
 
There’s always that other possibility though, that it could not be what you were looking for, and the reality sinks in that hype and the hive-mind has kicked in to take something that truly is really good, and boost it to legendary status based on lack of accessibility and subsequent costs. This personally happened to me after I grabbed a Silver Centaur at a *relatively* good price (compared to the others). I wanted a Centaur as long as I could remember, and over the years I had tried pretty much every Klone on the market. Some stood out above the rest (as they always do), and I sold the ones that weren’t where I wanted them and held on to the couple that hit the spot for what I was using them for. I always had that urge to try the real thing, and it was an insatiable desire to try it that kept me pushing. I finally saved up and found one in good condition, took a gamble and went for it. Got it in, plugged it in, and spent 3 hours just jamming my heart out. I loved it…at the time. I held onto it, and as I played more in the coming weeks, I found myself not switching it on that often. Then time passed more, and I wasn’t using it at all except for the buffer. At this point, the honeymoon phase was over, and I came to realize that I just couldn’t justify owning something so expensive that I used so little. I realized after it was all said and done that the other pedals that pay homage to the circuit got SOOO close (within 5%, to me) that it wasn’t worth it for me personally. Maybe it was bragging rights? I don’t know, but I just couldn’t bring myself to keep it, even as a collecting/investment which was what multiple people recommended. My results won’t mirror everyone’s result… there’s a lot of love for the Centaurs, and they are really great boost pedals. To each their own, I’ll stick with the Tumnus. The point being is that I had the need to experience that for myself, no matter what people said regarding how close other circuits were. The reality was that it’s a killer circuit, but for considerably less money something very, VERY similar could be acquired.
 
Keeping with the whole expectations vs. reality theme, let’s look at signature gear (again, your mileage may vary greatly). If it’s not apparent at this point, I’m a MASSIVE Brad Paisley fanboy. Not stalker level at all, but I’ve been a massive fan since about 2003. So much so that when I got his Mud on the Tires record, I dove into his recordings up until that point and it converted me to loving country music (to this day). In 2006, my graduation present from my parents was a Crook Custom Guitar (I think Dad was just tired of me never putting his tele down, and he wasn’t into PRS’s much). I talked with Bill for hours and finely tuned it down to exactly what I wanted, which leads to the first prototype of his green and silver sparkle paisley finish (you can see it here, that photo is actually the one my wife took). My Dad also had one built and we took an 8-hour road trip to West Virginia to pick them up. Again, I told you I was a fan. You know what? Those Crooks sounded like amazing Telecasters! Like the best ones I’ve ever played, even to this day over a decade later. But at the time, aside from the G-Bender, it didn’t rocket me into sounding exactly like Brad Paisley…just a bit easier to poorly rip off his licks. However, the design, from the feel to the sound to the aesthetics of the birdseye maple board and finish all made me want to play more.  I knew going into it that it wouldn’t make me sound exactly like Brad, but it’s about that endless chase for tone, and that was one of the keys to it. 
 
Fast forward to 2010 as I’m frequenting TDPRI and I discover that this company called Wampler Pedals were coming out with a signature pedal for Brad, called the Paisley Drive. My GAS ignited stronger than ever, and I immediately had to have it. I received it for Christmas that year, and guess what? I sounded a lot like Brad Paisley (tone-wise), or at least my closest approximation of it! I was so in love with it that I had to grab an Ego Compressor and a Pinnacle. A few years later I acquired a Dr. Z RXjr (my first boutique amp) and at that point, I was about as involved as I could be. The thing that I realized moving along is that yes, all of the tools gave me the ability to get in the realm of what I was chasing for, but it also solidified the old saying of “tone is in the hands”. Even with all the tools at my disposal, I could only approximate within a certain percentage of covering his tone because a lot of it has to do with the style he uses, from his choice of notes, picking habits, personalized tricks (like transitioning through speedy passages by incorporating open string licks or the G-bender) and the overall personal touch that is very difficult to master.
 
I’m sure you already know all of this and think I’m crazy, but we still receive questions from people saying “I have XYZ pedal, why don’t I sound like that artist?”. It’s a combination of a lot of things, gear and technique all play a factor. When a company releases a pedal, or guitar, or amp, for an artist it’s designed as something specifically at the request of or for the artist to aid in their quest for tone. In some cases, it’s the basis of their tone and rig, but in other scenarios, it’s one effect of many that the artist uses in their tonal utility belt. Many artists change gear like they change their socks, so any given night they could have a different set of pedals or different amp to do what they want to do. Yes, these pedals are designed to get *that* or group of sounds, and still be versatile to achieve said sound in a plethora of various configurations of rigs. The reality is that sometimes it nails it, sometimes it doesn’t. Therefore companies (us included) try to show many different tones from many different demo artists to try to give the most comprehensive portrait of what the pedal will sound like. In the end, it comes down to the player’s rig and technique and tweaking to see if a pedal fits the bill. Again, those demos are designed to bring the distance between expectations and reality closer together. Will you like some demos but hate others? Sure! Could you get the pedal and love it? That’s always the goal. Could you try it and hate it? We hope not, but tastes vary we appreciate you at least trying them.
 
Finally, let’s talk about music events. This is a topic that comes up constantly between Brian and Jason and I, regarding the desire to see an artist when they’re in the area and the reality of obligations, time-wise or financially. Concerts are expensive, and depending on the artist the can be REALLY expensive. Several of our favorite artists have been touring in our general area lately, and the desire to go see them has been overwhelming. Back to the Brad Paisley thing, Brian met him by throwing a modded pedal on stage with his business card attached, and his tech ended up picking it up. Most of Brian’s story revolves around being out there and meeting people and being in the right place at the right time. It’s proof that sometimes if you take a chance then it could pay off in the long run. Not all of us build and mod epic pedals though, but we all love to see our favorite artists nonetheless. I can’t count the number of times each of us has passed up going to see a band, and have kicked ourselves ever since. So I say this, if you can swing the money, do it. Don’t regret it, take the leap and go see the ones you’ve always wanted to see, they won’t always be around (playing together, or alive) so you must seize the chance while you can. 
 
You don’t know if it’ll end up being the dream you always hoped for, or completely underwhelming. You’ll never know until you try and make good times happen.

Making your own luck in this crazy world of music

One of the more bizarre things I hear often is that I am “lucky” to do the job I do, I find it odd. It’s a job, sometimes, it’s cool as I get to do cool things (about twice a year) but mostly it’s being pushed for sales, deadlines, reports and everything else everyone does in their job. I’ve always said to people that I just move little grey cardboard boxes around the world, either by selling or marketing, it just happens what is in those boxes is quite cool to some people.

As I was writing that response to someone last week it put me in mind of a conversation I had with someone a few months back, who often gets the same thing (except his job REALLY is cool).

Before I get into it, I will put my hands up and admit that it’s the people you meet in jobs like this one that makes it cool, again, not lucky – as we work really hard, but it’s really cool to me these people for work. 

Before I get into the conversation I had, here’s the obligatory back story. I’m ‘quite’ the fan of Mr Steve Vai, anyone who is connected to me already knows that, but I need to get it out in the open. I find his levels of composition, stage persona, fearless technique and all round attitude to life inspirational. Basically, he’s up there for me as a human, player, and composer. So, it follows suit that I’ve ALWAYS wanted to play with him. Ever since I first saw him play live in 1988 I’ve wanted to be on stage with him. Secretly, I’ve always thought I could do it as well, as every time I’ve seen him live I’ve watched the other player and thought “I could do that, you’re so lucky”.

Yep, I do it as well. Guilty as charged.

With that in mind, you can imagine what it was like - December 2012 - when I was driving up to London (about 3 hours) one Sunday afternoon for one of my first artist visits to a touring production, Wampler artist Dave Weiner. Dave and I had exchanged a few emails over the preceding months, and he was using some of our pedals in the “Steve Vai: Story of Light World Tour 2012-13” so I went up to meet Dave, take some pictures, and generally (hopefully) enforce our brand with his (as that is what artists are, they are their own brand, a brand which we try to align with in order to make it beneficial for the both of us). I was extremely excited to be able to check out what it took to be that guitar player first hand, and you know, I planned to kidnap him and then take his job!

The gig was in central London, the legendary Hammersmith Apollo (previously known as the Hammersmith Odeon, now called Eventim Apollo) which I’m pretty sure you will recognise as not only does EVERYONE play there, but there’s been some incredible live albums and videos recorded there over the years. I was due to meet my mate, and Wampler Artist, Levi Clay up there as I had a plus 1 to the gig, and lets face it, pretty certain no one would miss a chance to see Mr Vai perform like that given half the chance so he was happy to lose an afternoon with me. I parked up, went to the venue, met Levi and made my way round to the stage door. Obviously, security treated us with complete disdain and we couldn’t get around them, so Dave came out to meet us. My first impression of Dave was that he was quite cool, very smiley, and easy to talk too. We spent a good hour or so on the stage (a real ERMAGHAD moment, I was on the stage at the Hammy Odeon, with Vais’ gear) with Dave that afternoon talking about his gear (we had to be quiet unfortunately as Steve was hosting an EVO Experience at the back of the theatre), stayed around for the sound check, went and grabbed a pint and something to eat, and then enjoyed the show. All the time during the show I was watching both Steve and Dave, seeing how they played together, saw how Dave did his job flawlessly, and I must admit, I came away more impressed with Dave than I was Steve that night.

Over the following years I’ve met up with Dave on his travels a few times, had lunch, he’s met my wife, we Skype, keep in contact often with business stuff and all that, so you know, we’ve become mates down the line. I’m not going to do that bullshit internet thing that means everyone is my “good friend” or my “best buddy” just because you have your picture taken with them, but you know, we are mates. It during one of our catch ups a couple of months ago (Dave had just come off the “Passion and Warfare 25th Anniversary Tour” and was really 'quite' tired) and we were talking about work, I jokingly said the words “Remember mate, you’re so lucky that you have that gig” and he responded with something like “Yeah right, it’s great, I love touring and it’s an honour to tour with Steve for the last 19 years, but what everyone needs to remember is that I made my own luck with that” and we both had a little chuckle about it – because, basically, that's the truth.

Dave did not wake up one day and find himself, aged almost 23 as the guitar player in the touring band for Steve Vai. He was a Vai fan (he secretly ducked away from the main group of his school trip to NYC to buy Passion and Warfare the day it came out) but he put himself in the position to get that job. He moved from the East Coast to L.A. to attend GIT at a young age to be the best player he could be, during this time he worked as an unpaid intern for a management company that just so happened to handle Vai. Dave used to deliver packages to Vai, and spent weeks and months gently getting to know him before even mentioning he played. Eventually, once Steve asked if Dave played, he handed him a tape of some stuff he had been working on and then just quietly left, never expecting it to be talked of again. So, he didn’t just blindly send a tape in, he worked hard to even get to L.A., let alone to work unpaid for that company, and then worked hard to remain professional and courteous in front of one of his favourite players, not throw a demo tape at the first opportunity and just allow what happened, happen.

Imagine his surprise when a couple of weeks later Vai phoned him and asked him to learn 17 songs and to leave almost immediately for tour rehearsals.

Over the years I’ve admitted to Dave my insane jealousy of his job, asked him about it almost to the levels of interrogation, and he’s always been very honest and open about it. Dave worked hard to get that opportunity, put himself in a position to take it, and then worked extra hard to keep that position for what is now 19 years. Steve’s in a position to be fussy about who plays his material live, so as you can imagine, Dave has to do it properly each and every night. Steve isn’t a hard task master, mistakes happen and they are laughed about, but the laughter would soon stop if Dave wasn’t performing to up to Vai’s standard each and every night. Not only is Dave a stellar player who has to match who is arguably the greatest guitarist of that genre, he also has to be wonderful human being to be in that band, it’s well known that the Vai camp is family like, and people who don’t fit don’t last long, fortunately for Dave, he doesn’t have to work at that bit too hard. 

So, the next time you think about saying “You’re so lucky to be in that job” take a moment to think about what that person did to get into the position to be in that job in the first place, Dave worked hard to get there and worked even harder to stay. He is one of the internet’s primary guitar educators with his subscription website guitopia.com (you should be a member, it’s awesome and I’ve learned SO much from it), he has released 4 solo albums with more in the pipeline… So, you know, there is an element of you make your own luck in this world - and you make it by working your socks off. I’m not going to be one of those people that blindly says “You make your own luck” with crossed arms and a bad attitude, but you know, you can certainly push it along as much as you can in order to achieve your goals.

The moral of this story: Work hard, play hard, don’t be a dick. Come to think of it, that’s the moral of every story I tell. I need to work at that last bit though.

You check out Dave on daveweiner.com - join his guitar education community (I'm a member and thoroughly recommend it) guitopia.com or buy his music from here - you should get them all, but if you like that rock guitar thing, I still think OnRevolute is one of the finest instrumental guitar albums ever made!

Here is a video that I took that night. It's all about peace, love and good happiness stuff. It's quite distorted... apologies.

Dave, Paris 2013 playing Ignition, from the album OnRevolute.

Old Faithful or Out of the Box?

Music culture has changed a lot over the years, and to accompany the shift in musical preferences the gear community has also shifted to meet the needs of all players. It doesn’t matter whether you’re looking to play I-IV-V blues tunes in a dive bar, play to 10,000 people in a stadium, or to make speaker-destroying noise in your room, we’re currently in the golden age of guitar effects where nearly anything is possible. Want to make your tone sound like one of your guitar hero’s? Easier than ever. Want to make your guitar sound absolutely nothing like a guitar? Done. There are so many effects on the market and constantly in development that if you can dream it, there’s a good chance you can achieve it.
 
Recently there has been a slew of unconventional products released by various companies, and the reaction has been a mixed bag at best. There are people who absolutely love some of these pedals and immediately want to purchase them, and there’s also the counter group of players who despise the idea completely and think that the designs are garbage* and want nothing to do with them. It’s a stark line drawn in the sand, and admittedly I’ve found myself hovering over top of the line in regard to a love/hate feeling for some of the noisemakers and more out-there effects. They’re so bizarre that they’re repulsive but intriguing at the same time. Usually, for me, all it takes is one demo with a single cool sound to catch my ear and then the GAS just grows from there.
 
My first thought with a pedal is normally “How is it versatile enough to be usable in multiple musical contexts, while also not overlapping too much with the stuff I already have?” Noisemakers blow that out of the water typically because despite my love of a plethora of different genre’s and styles, noises aren’t in there (except for self-oscillation on a delay, which isn’t everyone’s cup of tea either). All that being said, I do totally get why they’re interesting. There’s NOTHING like some of the current pedals being released, or rather nothing widely available at a reasonable price. Curiosity above all else makes me wonder what cool sounds I can coax out of these pedals, even though they’re not in my wheelhouse in the least bit. I’ve seen a lot of comments regarding the musicality of such noisemakers, and if they’re just noise for the sake of noise. That’s to be debated because tone and musicality are generally one of the most subjective things in existence. Out of all of this, I broke it down into two groups of mindset, but there are a lot more people that fall in between or don’t fit into it at all.
 
Ode to the Classics - The classics are classics for a reason, these guitar heroes and their tones are what sparked generation after generation of players to want to pick up a guitar. Many of their setups have become the go-to standards for measuring tone, from EVH’s “brown sound” using hot-rodded plexi’s to Eric Clapton’s “Woman Tone,” and how many people try to nail SRV’s tone…thousands? Literally hundreds of artists that created their niche at the time of their heyday have sparked the love of many players who desire to chase those tones. As we all know, a lot of tone is in the fingers, but that’s part of the equation. The tools were limited years ago, so the players used what they had and literally pushed them to the boundaries at all times. Now there are a plethora of options (amps, pedals, modeling software, etc) designed to take those vintage and sought-after effects and make them accessible in the modern world. All the same while, vintage instrument prices are soaring through the roof because players want that authentic “mojo” that older equipment has.
 
Free Spirits - On the flip side of the coin, you have no non-traditionalists and players who don’t want to sound like anyone else. Guitar and music are voices to the world, and in many cases copying others can make the feeling seem less authentic. Having so many great tones already defined by artists and genres, it’s forced gear companies to think outside of the box in terms of users want to leave their unique mark on the world in their own way. This has led to an influx of stompboxes that give more control than ever to shape tones. Look at Chase Bliss Audio, Montreal Assemble, Hologram Electronics…the list goes on and on. These companies are leading the forefront in terms of “out of the box” tones and tweakablility, with some truly mind-bending effects being created on a daily basis. It’s allowing true artistic freedom by not having any boundaries in the least bit. This can be a bit terrifying for some (me included) because there’s no telling how you can get to a tone, no guarantee that you can replicate it, and that’s the beauty of it. There is no box, so to speak.
 
So where do you fall on the spectrum? Are you a traditionalist with tones built on the foundation of some of your favorite players, or do you like going outside the box and defining your own style, even if it defies convention? Somewhere in the middle? Don't care? Let us know in the comments!
 
*The original words were substituted due to the obscene nature of some comments left online in some comment threads.

What would I say to my younger self about learning the guitar?

A question was asked on our main FB page last weekend that made me sit and think, it was a question that made me peer into the rabbit hole of my own history. Fortunately, for my own sanity and those who read it, I managed to stop myself going into it completely as that’s a place no one wants to visit too much!

“If you could go back in time and give your younger self any piece of advice when starting out playing guitar, what would it be?”

I started playing guitar in the early 80’s. It was one of those childhood memories that sticks out with complete clarity. I watched my older brother and his friend Rob working out a song by the Shadows called “Shazaam”. I just sat there and watched for about an hour, while they worked it out. When they got bored and left, I picked up the guitar and then copied what they did. I was surprised that I seemed more physically able to do it than they were, as I was playing it quite quickly. I then copied whatever they did on guitar until some point soon after I had about 10 Shadows songs under my belt and started working stuff out for myself. We all shared the knowledge between the three of us (Rob introduced me to a lot of rock and roll stuff and then my brother went off to explore U2) I learned quite a nice and interesting range of stuff as a kid, I thought at the time I was cool because I could play songs for 4 or 5 different artists!

To my younger self, I say this… in fact, I’m going to capitalize them as I want to shout them at me… 

GET SOME BLOODY LESSONS: It’s taken me years to remove the bad habits I’ve learned from when I first started - I was only exposed to the music I really liked so I was narrow minded, had a narrow field of musical exposure and my theoretical knowledge is shockingly bad. It’s better now (thank you Tom Quayle) but it’s no where near where it should be considering I’ve been playing for over 35 years. So, get lessons, play properly and embrace the music your teacher suggests you listen to!

LEARN TO READ THE BLOODY DOTS YOU IDIOT: This is probably my greatest regret. By the time I was in my late teens and early 20’s I was, in terms of physicality, a great player. I could do almost anything. But, my lack of reading meant once again I was narrow viewed, I couldn’t stand in, I couldn’t work as a player professionally as easily as it would have been had I learned to read properly.

LISTEN TO EVERYTHING AS EVERYTHING IS COOL: I never listened to jazz, blues, country… anything other than what was in my CD collection. I didn’t properly first listen to the Beatles until I was in my mid 20’s. I had never heard Johnny Cash, Jerry Reed, Rory, Chet, BB King, Robert Johnson, Jimi, Muddy Waters, Grant Green, SRV, Jansch, Larry Charlton, Django… none of it until I was much much older than I should have been. I thought that because I had the “Still Got The Blues” album by Gary Moore I could play the blues. I missed out on SO much it’s hard to comprehend.

PLAY FOR THE SONG: I played to (try to) look cool and (try to) attract the girls. I never played for the song, when I think about some of the inappropriate Vai licks I put into Blues songs it makes me cringe now. I never played for the song. Only for me and my sex drive.

GEAR DOES NOT COMPENSATE POOR TECHNIQUE: I got a compressor early, this meant I could do a note for note copy of “It’s a Monster” by Extreme without warming up as the band opener, but only if I had my compressor with me and enough gain. Again, showing off. If you can’t play it totally clean, you can’t play it properly.

WORK OUT EVERY SONG YOU HEAR, BY EAR: I wish I had done this, I’ve learned so much from working out songs by ear and then thinking about “why did they do that?”. You don’t do that when you go and buy the tab books, which of course was what I did. I almost feel sorry for the people learning now as they have so much in the way of short cut respouces available to them via the internet.

EVERYTHING BETWEEN YOUR FINGERS AND YOUR EARS IS IMPORTANT: In my first band I had a wonderful guitar. An Ibanez JEM 77FR. Unfortunately, I put it through a Boss BE-5 into a stock Peavey Bandit 112. In other words, I successfully made a great guitar sound bloody awful night after night. These days all of my gear choices are for a reason. My guitar, my wireless, my pedals, my patch cables, the cable running to the amp, the amp, the speaker cable, the cab and the speakers. Everything is considered and chosen to make me sound as good as I possibly can. I don’t really have any weak links in my signal chain, although it leaves me vulnerable in terms of what goes in comes out, I’m a better player for it and much more pleasing on the ear of the audience.

PLAY WITH AS MANY BANDS AS POSSIBLE: I don’t know about you, but I remember mistakes on stage far more than I do if they are made at home. So, I would tell myself to go and join a blues band early on. Join a wedding band. Join ANY band, because you learn so much in those bands it will make you an infinitely better player.

DON’T TAKE THE PEOPLE THAT MAKE THE EFFORT OF COMING TO SEE YOU PLAY FOR GRANTED: When you play live in front of a fee paying public, or people that are supporting free venues by drinking the beer, give them the best musical experience you can. They don’t care how great you think you are.

FFS, PRACTICE MORE: Once again, as I was a flashly player and had the gear to allow me to keep the notes I didn’t quite hit, I thought I was much better than I was. It’s taken me YEARS to get my right hand up near to where my left is now, and it’s still waaaaaay off from where it should be all things considered. I’m actually a little embarrassed by my rhythm playing. I didn’t practice my right hand technique anywhere near as much as I should have, also my timing is awful, without a drummer or a click track I can’t keep in time worth a beat, although in my defense, I am considerably better than I was 10 years ago. So, young Jason, practice practice practice.

DON’T BE A DICK: Pretty certain that one doesn’t need any further explanation.

There, I feel better for that. I just wish I’d been around to tell me this all these years ago. And yes, that statement and all the contradictions within confuses me as well!

Gigging - Part 2

Following up on my last blog regarding the shining example of where things can go very wrong at a gig (you can read that here: http://www.wamplerpedals.com/news/blog/general-chat/gigging-what-not-to-do-part-1) , I’ve compiled this quick list with the help of some friends from the industry regarding things that will help prepare anyone for a successful gig.
 
1.    Know the material – Practicing learning and knowing the songs back and forth is a major thing. If you’re not comfortable with a part, discuss it with the band and see what options there are. In the end though, there’s nothing that can replace good practice. Practicing the full set will help get the bugs out of the performance. Your singer can even practice the banter with the crowd during each set. Locking down that show to where it’s second nature will make your performance and the audience’s experience much more enjoyable for everyone. In the end that’s the main goal, right? We all love playing music and the audience is there because they love the music. It’s far more fun when you don’t have to worry about whether you recall the chord changes in the verse or what key the solo is in!
 
2.    Be Prepared – I’m sure you’ve heard the old saying of “It’s better to have it and not need it than need it and not have it.” This doesn’t necessarily mean you need to pack an extra amp and 15 guitars, but you can if you want! We do our best to maintain our gear, but often it’s at the least opportune timing that something is prone to failure. Having a few backup items can really help when the time comes and you’re in a pinch. An extra set of strings, extra picks, extra patch cables and long cables, a headstock tuner, super glue, a multi-tool, and even in some cases a fallback for when an amp goes down. If your amp goes down mid-gig, it’s not a bad idea to have some backup setup, maybe a cheap cab sim that you can run directly into the mixer from your board. The hopes are that you’ll never need it, but again it’s better to have it. Having trusted and reliable gear will cut out a lot of worries. Make sure you’ve got solid patch cables that can handle a bit of contorting and movement. If you notice a short at any point then troubleshoot or swap it out. If a guitar has a problem, it’s good to bring a spare just in case as well.
 
3.    Tuning – This seems like a no-brainer, but there are still some that jump in head first without tuning, and that’s completely preventable. Take the time to ensure each band member with applicable instruments are in tune (also part of #2). There’s nothing worse than an out of tune instrument. Pedal tuners and headstock tuners are cheaper and more reliable now than ever. They’re also great because you can tune silently so you’re not bothering the audience while you’re getting setup. If you’re having problems with your guitar staying in tune, throw on a new set of strings and stretch them properly before the gig. If there’s still a problem it may be worth taking it to a tech to see if it needs a setup. Also, if you have songs in different tunings, be prepared to either tune quickly and quietly, or have a backup guitar that’s already in the alternate tuning (see #1).
 
4.    See #1
 
5.    Stage Prep and Presence – Before getting to the gig, practice setting up and tearing down your rig. Getting it down to a science will make it quick and efficient (especially if playing with another band at the gig). It’s a good idea to get a feel for the stage if possible. When plugging in your guitar, be sure to loop it through your strap to ensure that when it’s stepped on, that it won’t rip the cable out of the input jack. Make sure cables going into and out of your pedalboard are away from high traffic areas if possible. You don’t want your drummer or singer stomping on the output cable and breaking the jack on your pedal. Aesthetics are a big part because the audience will be looking at the band as their source of visual entertainment. That may seem contrived or like selling out, but people judge with their eyes first (it’s just the way the world is now). Trying to keep a cohesive attire that’s appropriate for the gig is great. Stage presence, lights, all of it adds up to the combined experience for the audience, so plan accordingly to give the best visual representation of where you want the band to be. Again, it’s leaving a lasting impression on the audience as to what they will remember. 
 
6.    In the Mix – After setting up, it’s good to test the mix with a soundcheck. Be sure to take the time to setup each instrument so the level sits right in the mix. Nobody wants to hear only one instrument drowning out the others. If you can find a way to do so, step back from the stage to where the audience will be to see how it sounds. Having the levels right can really make a dramatic difference, especially when it comes to guitar tone. Depending on the height of the stage, you don’t want to blow the ear drums of the people in the front row, so the position of the amp makes a difference too. An important thing to remember is that your tone at home is going to be very different than in a live situation. Each room has its own contours and obstructions that absorb or reflect the sound, and the natural compression of the speakers and the added character of a louder amp will make your drives sound different. All of those goes back to #1 (can you see a pattern yet) where practice makes perfect and eliminating variables can make for a smoother gig. Usually, more often than not, the venue that you’re playing in won’t need a 100w half stack. Finding a nice combo amp (1x12 or 2x12, etc) makes for easier portability and less overkill on volume. 
 
7.    Identify Yourself – It’s good practice to make sure that your band’s name is very easy to see, so that way it leaves an impression and something memorable. If you can have it advertised by the venue, perfect! The goal is to create brand/band awareness to create an image for the band and subsequently what kind of a show people will expect when they see or hear the name. It’s not a bad thing at all to promote your social media pages, so long as it’s tastefully mentioned. Having a defined name that’s memorable and easily searchable will make it easier for users to find your page and your music going forward.
 
8.    See #1
 
9.    Promote the Venue – Venues have bands come play because it offers a show for their patrons. The end goal is that everyone likes getting paid, so the more the venue makes, the higher chances there are of being asked to come back and subsequently fostering that relationship with venues. While we’re on venues, it’s not a bad idea to have a contract signed by the band and the venue owner, just to be covered. You never know sometimes…
 
10.    Promote Yourself – The goal is always to spread the word and help people identify your band. Taking the time to make sure your band’s name and social media usernames are present makes a significant difference in our age of technology. You want to be easily searchable, so a banner or something that has the username of your pages is great to have posted somewhere for people to easily see. Have the singer promote the pages and repeat the band name periodically through the gig to leave that impression on people’s minds.
 
11.    Make People Move – People come out to have a good time, and they’re choosing to spend their money and time to see a show. Playing covers establishes a connection for a feeling of familiarity, and depending on the song it can make people dance (fast or slow songs), sing along, etc. Original songs are fine sporadically mixed in, but when just starting out it’s good do have a set of songs that will keep your audience entertained and wanting more. As much as it may not be fun to do, top 40 songs and songs that are currently relevant go a long way. Not saying that originals are terrible in the least bit, but gradual introduction will go a lot further to building your audience. If you can get people moving and involved, you’ve done your job! 
 
12.    Be good to your audience – I recently saw a video of Nickelback in Portugal that was having rocks thrown at them. Despite the hate they receive, they were there to play their music and the people paid to see them. After the second song, the band gave them the middle finger and walked off the stage. I know I’m beating a dead horse here, but keeping the audience happy is an integral part of any gig. Reading the crowd and gauging their responses as you go along is key. If things aren’t going so well (maybe a low-key crowd, etc), have a few songs that are a bit different than ones you played before. 
 
13.    See #1
 
14.    Play for the Song – We all want to include massive solos in songs, mainly because they’re insanely fun to play. That being said, knowing when to play is just as important as knowing WHAT to play (see #1). Just like Miles Davis said: “Don’t worry about playing a lot of notes. Just find one pretty one.” It’s okay to embellish some, but it’s also good to let the song “breathe” so to speak. 
 
15.    Have Fun – The main thing is to have fun! Yes, it may be a gig that will put food on the table, but most of us picked up the instrument because we love it and love playing. Most of the things listed above are all precautionary and once you do a once-over on your rig they’re done for good. Play the music you love, soak in the moment and enjoy yourself. You put in the work to get there, you deserve a bit of fun!
 
These are definitely not all of the things that can help create a successful gig, but it at least gets you started!

Gigging - what not to do - Part 1

Gigging… the term is often very fluid in its definition. When someone says they are going to a gig, it could mean a lot of things: It could be a massive outdoor show with thousands of audience members in attendance, or a small obscure bar on a weekday night with a hand few of people listening and all sorts of other things in between. Either way, no matter where you’re playing, it’s in front of a group of people outside of a controlled environment (practice space, home, etc.). Getting out there and playing music in front of an audience is an unrivaled feeling. Equal parts excitement, nervousness, focus and a plethora of other emotions washing over you in waves before, during, and after the gig. A great gig can truly connect with the audience and it just feels like the crowd and the band become one cohesive unit, moving and singing together that everyone can feel the collective sonic aura that is in the air. It’s a truly awe-inspiring moment. Conversely, a poorly executed gig can really wreak havoc that could prolong past the gig in question. Bad gigs turn away customers, which in turn hurts the venue and the band's subsequent change of returning (and even procuring other gigs). I’m not necessarily saying that a bad gig will ruin everything, but with a few minor tweaks and preparations, it can eliminate variables that are possible to mess up. 
 
I’d like to share a story about a gig I recently attended that sparked this blog piece. My wife and a few friends of ours went out to celebrate my wife’s birthday. We ended up at a local restaurant and bar that has been known for having quite good bands play in the past. Everyone ordered drinks around 8 pm with the band starting at 9 pm. We had no clue who the band was, the sign only said, “Live music”. At around 8:15 a few guys started showing up, one carrying pieces of his drum kit, the other carrying a combo amp with a Mesa/Boogie cover and a small pedalboard (We’re guitar players, I can’t imagine I’m the only person who scopes out other rigs at places).  The drummer sets up and begins testing his snare and it was easy to tell outright that he was a heavy-handed guy. The guitarist pulls out his sticker-covered black 70’s-era headstock Strat with the string ends flopping around the headstock. He proceeds to tune (unmuted) and starts riffing. I’m not talking about just quiet noodling; the guy was full-on digging in with his Dunlop Crybaby Mini and Boss DD7 raring to go. Finally, about 8:45 they stop and go to the bar.
 
Prior to taking positions at 9 pm, each of the band members takes between 3-5 shots each of some sort, then they head up and start their set. Prior to playing a single note, the bassist proceeds to inform the crowd that they were playing all original music and no covers, or as they like to call them “Future covers.” They proceeded to play a ska/reggae song that was… okay. The guitarist took an extended solo that lasted about 7 minutes with his wah and delay on with the mix set REALLY high no tap tempo, off beat). After finishing the song, they followed up with reinforcing they were playing future covers, and noted, “One day other bands will be covering our songs. Just remember Led Zeppelin had to start out playing original songs too.” … more on that later. After the first song, the bassist and the guitarist switched and started playing the other’s instrument for the remainder of the time we were there. Into their second song, the bass player started getting a little wound up. The rest of the band was low-key and had a swing feel, where the bassist was jumping around like he was at a punk gig. Amid his carrying on, he proceeded to jump on his cable and rip it out of the input jack. We’ve all been there… you know exactly what that sounded like. He fumbled for a moment then mid song you could hear him crackling the amp trying to plug the cable back in. We endured a few more songs that were accompanied by cliff notes such as, "We wrote this one while we were doing acid on the beach in Australia" and similar things. At 9:45 we decided to move on a check out what else was going on in the city, so we departed.
 
Ever since that night, I’ve been thinking about what went on and how they could have prevented or improved the experience with a few adjustments in the process. In my next blog, I’ll run through a few good practices and tips and tricks of what works and what doesn’t after discussing the topic with colleagues who gig regularly in all sorts of venues.
 
Part 2, coming on Thursday. I know, exciting isn't it! :D

Pride and Ego my lads, it's what makes the world rotate

I was talking to Alex about a forthcoming blog he has coming and I (as usual) ended up quoting an Iron Maiden song to him. The song is B side from 1986, so you know, not one of their most well-known, but me being the Maiden geek I am, it did seemed appropriate.

Alex’s blog is going to be about common problems for people starting out in bands, and I instantly thought of the Maiden’s song “The Sheriff of Huddersfield” which was basically them mercilessly taking the piss out of their manager Rod Smallwood. There is a wonderful line in that (Bruce doing an impression of Rod) that says “Pride and Ego my lads, pride and ego, it’s what makes the world rotate.”

As I was then thinking about what he said, I had somewhat of a revelation myself, so I thought I would put it down on th’internet (one for the good people of Huddersfield there, and Yorkshire in general to enjoy) to remind myself in the future about my place in the universe and playing in a band.

I play in a pub band, doing covers. Nothing outrageous, but we make good noises at all the right times. We do our favourite songs in the hope that the people coming to see us enjoy them also. We are not a note for note type of band, we do everything our way – sometimes that way is like the record, sometimes it’s really not. This means I have a lot of scope as the guitar player to go off on one and enjoy myself with rather long and protracted solos. 

Last week we played a gig and did a song we don’t do very often, “Bring Back The Sunshine” by Eddie Rabbit. We do it nothing like the original, it’s more done in a rock ballad style and I get the opportunity every time to pretend to be David Gilmour.

In my opinion, I did the greatest improvised solo of my life last week in this song, I literally gave myself goosebumps as I was playing it. Mrs Wilding comes to virtually every gig (she often plays the piano with us as well, but wasn’t on the night in question) as she just loves listening to me play. As we’ve been married for over 15 years she knows my playing well and knows when I am happy playing and when I am not, once I had finished my solo I looked up at her and she was beaming at me, smiling all the way up to her eyes and back down again, so I know that she appreciated it also.

Once the set had finished I went outside to cool down and waited for the inevitable glory to be poured on me by my bandmates. You may think I’m joking but we’ve all known each other for literally decades and I’ve been playing with them for that long, not as a regular member of the band but I’ve been dropping in and out for ever, so we know each other really well and we have absolutely no issue with telling each other when one of us does something really good, or really bad. I think it makes us a better band as we trust each other implicitly. I joined the band full time 18 months ago and we’ve often commented on how musically we are a good fit as we are all just fans of each other’s playing. I’ve said before I consider Rick, the bass player, to be the greatest I’ve ever seen and stand by that.

So (there it is again, I really must stop going that), I’m outside and out they come and I say “That was great”… the bass players says “Love that picking thing you did on Liza Jane” and the singer said, “Bring Back The Sunshine…” (here we go, I was about to receive the glory I so richly deserved) “… would be great if you went down low at some point, give it some more dynamics”.

I was devastated. Literally felt like my heart dropped into my stomach. Nothing about my mega solo at all. Mrs Wilding had said it was great, she loved it, she even recognised some of the set pieces I had done within it

It’s taken me until today to realise that my pride and ego have got the better of me, and for that, I openly and publically apologise to them. If I think the solo was that good, but it didn’t catch their attention enough to comment, then I need to make it better. I can remember exactly what I did and how I did it (which is rare when you are a prolific improviser) as a lot of it was sections of some tasty licks from other players put together to make my own version of a solo. I obviously need to make it better, I need to think about its structure and a way to make it more memorable. If I want to catch their attention, I need to actually catch their attention with something and not just assume that because I think something was good, that they should notice it.

Basically, I need to work on me. Pride and Ego my lads, pride and ego. It’s what makes the world rotate.