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NAMM 2018


The Crimson King

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1 hour ago, Snell41 said:

 


Practice for me changed significantly. In the old days I really spent hours at a time learning, but never really knew WHAT I was learning. Because I play in a Dead/JGB Band we do a ton of improv in the moment, so lately I’ve focused much more on the theory and what the play over chords and connecting the turnarounds using modes and chromatics. I now practice less but much more effectively.


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I think back on those days and what we thought we knew etc.   I would practice technique, thinking it was the key.  Its not, its sound, tone and style. When talking to non musicians,   I always use Dicky Betts solo in Blue Sky as an example of a beautiful lead melody.  Its not overly complex, can be played by almost anyone. BUT...  it is perfect for the song.

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more:

Roland with a JV-1080 plug-in. I love that series and still use my JV-1000.

Behringer, who clones standard equipment cheaply is doing some old synths including an OB-Xa. Jan Hammer anyone?

Speaking of clones, Korg is doing an ARP Odyssey. Talk about a wayback machine 

PRS with an HSS Strat type thing but with a mahagony body

This one is a nice idea: A Keely compressor with a switch for humbucker vs single coil and tone controls to dial back some of the highs you lose. I like the Keely product

Other news:  Gibson has discontinued Cakewalk and Sonar

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3 hours ago, Snell41 said:


f19d65479a6c6b7e0134778ceadc8009.jpg

Here you go. Very common to see the MIDI installed on some models so I wouldn’t be surprised.



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i think thats it! Imma gonna go visit next time i cross the bridge and see if he still has it. 

 

at the time i had no interest in roland midi stuff.....but now I do so.......

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36 minutes ago, The Crimson King said:

Back to the rumors:

Electro-Harmonix-95000-Performance-Loop-Laboratory.jpg

Just what I asked for from E-H

Looper with over 6 hours of memory and 100 loops. Perfect for not only open mics but maybe whole gigs? Just bring a drummer.

Looks like a big footprint though. 

 

Gear from RUSH in 2012. Im lucky enough to be friends with one of Alex's friends. Got to watch the stage get built etc.  Went on stage before show, had some food with the band.

SDC12135.JPG

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1 hour ago, southparkcpa said:

I think back on those days and what we thought we knew etc.   I would practice technique, thinking it was the key.  Its not, its sound, tone and style. When talking to non musicians,   I always use Dicky Betts solo in Blue Sky as an example of a beautiful lead melody.  Its not overly complex, can be played by almost anyone. BUT...  it is perfect for the song.

+1

its about feel.emotion . suttleness. when I see a "shredder" today, i seriously laugh. I just cant take it seriously and some guy would ask," oh you think youre better than him?' and the answer is, if thats ALL he can do, YES.

I do the second blue sky solo in my band. Not note for note, my own thing....but the feel is there.

Another good example of something technically simple, but beautiful is david gilmours lead in "fletcher memorial home". so simple but so emotional

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3 minutes ago, southparkcpa said:

Gear from RUSH in 2012. Im lucky enough to be friends with one of Alex's friends. Got to watch the stage get built etc.  Went on stage before show, had some food with the band.

SDC12135.JPG

SDC12134.JPG

SDC12099.JPG

SDC12096.JPG

NICE

Never quite understood the need for 12 les pauls. I mean a les paul, a strat a tele and a backup OK but 12 les pauls?

 

Man geddy has some good eyesight if he can read that ipad at his feet

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10 hours ago, The Crimson King said:

Can one have too many guitars? 

Unless you are a collector hoping to make a profit off their sale, yes.   I own a bunch, but usually only play two, maybe three.  But I could argue that half the fun is researching a guitar, then going around playing versions of that model.  Almost always, this leads to discovering another builder/model that catches your eye, which results in more research and "testing".

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11 hours ago, The Crimson King said:

Can one have too many guitars? 

 

1 hour ago, munchmemory said:

Unless you are a collector hoping to make a profit off their sale, yes.   I own a bunch, but usually only play two, maybe three.  But I could argue that half the fun is researching a guitar, then going around playing versions of that model.  Almost always, this leads to discovering another builder/model that catches your eye, which results in more research and "testing".

So..interestingly, checkout FURCH/Stonebridge. I never heard of them until I bought one from a songwriter I know. He is/was an endorsed artist in Nashville who got in financial trouble.  I bought his, sounds awesome BUT this model is made for blue grass etc so the neck is a bit thick but has a rich deep tone. So now I have a Taylor, Stonebridge and a Seagull.

 

 

 

 

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36 minutes ago, southparkcpa said:

 

So..interestingly, checkout FURCH/Stonebridge. I never heard of them until I bought one from a songwriter I know. He is/was an endorsed artist in Nashville who got in financial trouble.  I bought his, sounds awesome BUT this model is made for blue grass etc so the neck is a bit thick but has a rich deep tone. So now I have a Taylor, Stonebridge and a Seagull.

 

 

 

 

I can see (hear) why it's designed for bluegrass.  It's very bright.  

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NAMM used to be just for music industry folks- shop owners, etc- and it’s become more and more easy to get in as a consumer. NAMM badges used to be impossible to get if you didn’t work in the industry. I’ve been working in the music industry for most of my life and the show used to be fun. Now it’s just obnoxious. Last time I went was 2008 when I worked for Gretsch. It was a total cluster and I vowed never to go back. I can’t imagine what it’s like now.

Seeing the new gear is fun but it’s waaaay out of my comfort zone. I play Pedal Steel and guitar and go for the old beat up stuff. The new effects systems that do everything but your taxes just don’t do it for me. I like to plug into an old amp through a tuner and just play. Boring, but I can concentrate on the music rather than worrying about my “patches.”

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1 hour ago, the Claw said:

NAMM used to be just for music industry folks- shop owners, etc- and it’s become more and more easy to get in as a consumer. NAMM badges used to be impossible to get if you didn’t work in the industry. I’ve been working in the music industry for most of my life and the show used to be fun. Now it’s just obnoxious. Last time I went was 2008 when I worked for Gretsch. It was a total cluster and I vowed never to go back. I can’t imagine what it’s like now.

Seeing the new gear is fun but it’s waaaay out of my comfort zone. I play Pedal Steel and guitar and go for the old beat up stuff. The new effects systems that do everything but your taxes just don’t do it for me. I like to plug into an old amp through a tuner and just play. Boring, but I can concentrate on the music rather than worrying about my “patches.”

Seems like everything has become tainted by the crass commercialism.  Thanks for the insight.

What was it like working for Gretsch? Saw a Paul Simon concert on TV the other day.  For one number, he comes out playing a Jupiter Thunderbird (maybe a "Billy Bo" now) of all things.  Shocked me but in a good way.  I always loved the look and vibe of that guitar.

Billy_and_Bo_Billybo_Gretsch_Bo_diddly_G

 

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Seems like everything has become tainted by the crass commercialism.  Thanks for the insight.
What was it like working for Gretsch? Saw a Paul Simon concert on TV the other day.  For one number, he comes out playing a Jupiter Thunderbird (maybe a "Billy Bo" now) of all things.  Shocked me but in a good way.  I always loved the look and vibe of that guitar.
Billy_and_Bo_Billybo_Gretsch_Bo_diddly_Guitar_Fab_Gear.gif&key=7809786574ad662982a6f845d163514616ae1d7e734bc3806d6c7c93691395ce
 

Working for Gretsch was... interesting. I’m a luthier by trade, but I thought I’d try my hand at a “real job” so I went to work for them in Scottsdale. I was in Marketing working under Joe Carducci. Met a lot of cool people (Billy Gibbons, Steve Howe) and a lot of not cool people (Brian Setzer) and did some interesting things, but that job bled me dry. I honestly don’t know how people work in a cubicle all day. I went crazy. For someone a little more inclined toward spreadsheets and being a human resource, it would have been great. I’m living in Chicago right now doing guitar repair and playing music for a living. Way more my speed.
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41 minutes ago, the Claw said:


Working for Gretsch was... interesting. I’m a luthier by trade, but I thought I’d try my hand at a “real job” so I went to work for them in Scottsdale. I was in Marketing working under Joe Carducci. Met a lot of cool people (Billy Gibbons, Steve Howe) and a lot of not cool people (Brian Setzer) and did some interesting things, but that job bled me dry. I honestly don’t know how people work in a cubicle all day. I went crazy. For someone a little more inclined toward spreadsheets and being a human resource, it would have been great. I’m living in Chicago right now doing guitar repair and playing music for a living. Way more my speed.

Dude, that's the dream right there.  Congrats on getting out of the corporate abyss.  

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After mentioning the Gretsch Billy Bo earlier, found this video.  What an absolutely gorgeous guitar.  The "old days Jets" green with gold has me swooning.
 

Awesome guitars. I helped put together a Billy Bo with the White Falcon treatment for Billy Gibbons while I was there. It was gorgeous.

I wanted to do a Country Club in Jets colors but they wouldn’t do it. Bums.
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4 hours ago, Snell41 said:

 


I actually find it difficult to go from one guitar to another. I see guys going from a strat to LP to SG in a single show and am amazed. I am a one guitar guy, in fact I change my strings for every gig I play because I don’t want to snap a string and have to change it.


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Funny, I'm the opposite. Different guitars make you play differently depending on the nut, radius, fret size and pickups. It kinda adds to the fun, but then again there is always one or two in the bunch that seem to make you play your best.

If it were up to me, I would have one of everything plus a slave/tech in my closet to take care of all of them. I'm also a pedal whore and can't stop buying them. Must be some sort of sickness. I've seen people with the same problem with amps and one guy who can't resist the Musician's Friend SDOTD to the point where several times he mistakenly bought something more than once

None of this is a problem after I win LOTTO. A Tom Anderson and a Bradshaw rack for all !!!

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2 hours ago, the Claw said:


Working for Gretsch was... interesting. I’m a luthier by trade, but I thought I’d try my hand at a “real job” so I went to work for them in Scottsdale. I was in Marketing working under Joe Carducci. Met a lot of cool people (Billy Gibbons, Steve Howe) and a lot of not cool people (Brian Setzer) and did some interesting things, but that job bled me dry. I honestly don’t know how people work in a cubicle all day. I went crazy. For someone a little more inclined toward spreadsheets and being a human resource, it would have been great. I’m living in Chicago right now doing guitar repair and playing music for a living. Way more my speed.

Setzer is a dick? He seems like he would be a nice enough guy, but then again I know a lot of people who are real assholes when they think no one is watching. 

I'm only a couple hours away from Chicago; I'll come watch you play sometime. 

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Setzer is a dick? He seems like he would be a nice enough guy, but then again I know a lot of people who are real assholes when they think no one is watching. 

I'm only a couple hours away from Chicago; I'll come watch you play sometime. 

I couldn’t believe it either. I’ve always loved his style, but he was a very difficult guy to work with. Threatened to pull his sponsorship if his guitars were placed after Chet Atkins models in the 2008 catalog. We had to appease him by putting his likeness on nearly every page in that catalog. It was very strange and disappointing. Total diva. He was really the only one. Everyone else that I worked with were laid back and kind. I got to take apart Tim Armstrong’s (Rancid) old 70’s Country Club to get specs for his Signature model. Super cool guy.

 

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13 hours ago, the Claw said:


Awesome guitars. I helped put together a Billy Bo with the White Falcon treatment for Billy Gibbons while I was there. It was gorgeous.

I wanted to do a Country Club in Jets colors but they wouldn’t do it. Bums.

This just gave me more morning wood. lol

gretsch-g6196t-country-club-cadillac-gre

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11 hours ago, the Claw said:

I couldn’t believe it either. I’ve always loved his style, but he was a very difficult guy to work with. Threatened to pull his sponsorship if his guitars were placed after Chet Atkins models in the 2008 catalog. We had to appease him by putting his likeness on nearly every page in that catalog. It was very strange and disappointing. Total diva. He was really the only one. Everyone else that I worked with were laid back and kind. I got to take apart Tim Armstrong’s (Rancid) old 70’s Country Club to get specs for his Signature model. Super cool guy.

 

Woah, that's awesome. I have loved Rancid & Operation Ivy ever since I was a kid. Matt Freeman was one of the main reasons I first picked up a bass. 

 

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Funny, I'm the opposite. Different guitars make you play differently depending on the nut, radius, fret size and pickups. It kinda adds to the fun, but then again there is always one or two in the bunch that seem to make you play your best.
If it were up to me, I would have one of everything plus a slave/tech in my closet to take care of all of them. I'm also a pedal whore and can't stop buying them. Must be some sort of sickness. I've seen people with the same problem with amps and one guy who can't resist the Musician's Friend SDOTD to the point where several times he mistakenly bought something more than once
None of this is a problem after I win LOTTO. A Tom Anderson and a Bradshaw rack for all !!!


Haha, Gear Acquisition Syndrome. I know it well. I used to have every pedal under the sun, and found over time I’ve whittled down to less and less. As for guitars I remember when I got an SG it felt like it was a good 3 frets longer than a LP. Took me a while to get used to it, though I loved it once I did.


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Speaking of Gretsch:

 

NAMM 2018: Gretsch makes celebrating your 135th Anniversary a thing and unveils new Players Edition Jets as the Company still hopes to recover from losing The Claw's talent and expertise  

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Ha! Yeah, I guess I deserved that. All in all, I was terrible at my job.
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32 minutes ago, the Claw said:

 


Ha! Yeah, I guess I deserved that. All in all, I was terrible at my job.

 

Yeah, but it is a great story. When you are an old guy having dinner at 4:30 in the Bob Evans with the other retirees from your condo, you'll be glad to be able to tell it. The cool part is that you are humble about it, very un-musician like :) 

Of course, if you really want to be cool about it, quit what you are doing, move to NC and get a job with Terry McInturff so you can offer insider discounts to Jets fans. 

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Back to the NAMM news:

Harmonic Hendrix Home Guitars

A set of 10 acoustic guitars made out of woods from the bedroom and living room of Jimi's boyhood home

After the "huh?" this brings you find out that proceeds go to a charity called Jimi Hendrix Park Foundation. http://www.jimihendrixparkfoundation.org/park.php. 

I know someone who would go crazy for one of these to show off next to his $3,000 Eric Clapton signed guitar that would cost $150 unsigned. He might even learn how to play the darn thing

 

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Roland Announces Full Suite of New Products at The 2018 NAMM Show

RowlandV2%5B1%5D.jpg?itok=efe6zk0a

Be sure to make plans to visit TEC Awards Sponsors Roland, BOSS, and V-MODA in their new ACC North Hall exhibit space during NAMM for a hands-on “Music Connects” experience as well as to check out their newest products.

Roland Announces GP609 Digital Grand Piano

Roland (ACC North, Level 2, Exhibit 17218) announces the GP609 Digital Piano, a stylish and sophisticated grand piano.

Roland Virtual Sonics Announces Roland’s First-Ever TR-808 and TR-909 Software Instruments Exclusively for Roland Cloud

Roland Virtual Sonics (ACC North, Level 2, Exhibit 17420) announces software versions of Roland’s TR-808 and TR-909 Rhythm Composers as an exclusive offering through Roland Cloud.

BOSS Announces GT-1000 Guitar Effects Processor

BOSS (ACC North, Level 2, Exhibit 17820) announces the GT-1000, a premium amp and effects processor for guitarists.

Roland Unveils RT-MicS Hybrid Drum Module and TM-6 PRO Trigger Module for V-Drums

Roland (ACC North, Level 2, Exhibit 17420) introduces the TM-6 PRO Trigger Module, a compact and powerful device for professional hybrid drumming, and the RT-MicS Hybrid Drum Module, an innovative new hybrid percussion product that makes it easy to trigger electronic sounds from any acoustic snare or tom.

Jay Wanamaker, Roland Corporation U.S. president and CEO, added, “We were thrilled to be the first exhibitor to sign on for the new space at ACC North. The bigger footprint will give attendees a more immersive, hands-on experience, providing the perfect environment to showcase our new products.”

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Always a highlight for me is the Roland/Boss announcements, I love Roland sound modules and FX, but the big news is that apparently Roland will be in the ACC and will compete with Alabama and Clemson, etc. What? Not THAT ACC? ... oh, nevermind.

The GT-1000 looks interesting but could it really differ that much from the GT-100? Besides, isn't it better to just put together a pedal board? (I for one need to do that with what's in my basement, wanna help?). Red faced, I have to admit to using a GT-1 in recent days but only because it is battery operated. 

  • Here's what they say:
  •  
  • Flagship guitar amp/effects processor with uncompromising sound quality and unmatched expressiveness
  • Industry-leading 32-bit AD/DA, 32-bit floating-point processing, and 96 kHz sampling rate throughout
  • Next-generation BOSS DSP engine, custom designed specifically for music applications
  • AIRD (Augmented Impulse Response Dynamics) technology realizes BOSS’s acclaimed Tube Logic concept in a digital guitar processor, delivering natural feel and optimized integration with all types of external devices
  • Highly expressive amplifiers, meticulously crafted with AIRD
  • Massive selection of onboard effects, including BOSS MDP effects and algorithms directly ported from the DD-500, MD-500, and RV-500 pedals
  • Amps and effects can be routed in numerous series and parallel combinations
  • Ultra-fast patch switching and delay/reverb carryover
  • Innovative Stompbox feature greatly simplifies using common effects settings in many different patches
  • Easy operation with large display and six user-assignable switching knobs
  • Ten footswitches and integrated expression pedal with user-configurable assignments and LED colors
  • High-resolution tuner with two display modes and mono or polyphonic operation
  • ¼-inch main outputs and XLR sub outputs with independent AIRD Output Select settings; loop for external stereo or mono effects
  • Support for external control via footswitches, expression pedals, MIDI, and USB
  • Built-in Bluetooth for wireless editing from iOS and Android mobile devices
  • USB audio/MIDI interface for computer-based recording and editing

 

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Launch of PLASMA Pedal

GAMECHANGER AUDIO

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Audio effects innovators Gamechanger Audio reveal their new invention PLASMA Pedal which is a new and refreshing take on the distortion/fuzz/overdrive effects class.

The PLASMA Pedal creates very heavy, yet transparent distortion with tons of unique character and lightning-fast dynamic response by transforming audio signal into a series of high-voltage plasma discharges inside of a special gas-filled tube. Yes - You are actually playing a bolt of electricity, and the beautiful open design allows you to observe the electrical discharges as you play.

By creating PLASMA Pedal, Gamechanger Audio are marking a new chapter in the evolution of overdrive, distortion and fuzz effects.

“There has never been a pedal like this on the market” say the pedal’s creators, “and we are certain that PLASMA Pedal will inspire players, producers and engineers to reimagine what can be done with distortion.”

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OK, tell me that this doesn't at least sound like a cool idea

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ZYLIA Portable Recording Studio

Zylia

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What if... you could record your whole band at once, anywhere... with just one single microphone and then mix your songs afterwards - with the flexibility of a multi-track recording setup!

ZYLIA is the world’s first Portable Recording Studio that allows you to record entire sound scenes with only one microphone and then separate the individual sound sources from the recording. By combining advanced digital signal processing algorithms and microphone array technology we have created a truly unique and innovative product.  

BENEFITS OF ZYLIA

 

ZYLIA FOR MUSIC BANDS

 

  • Multi-track record your whole band with one-mic-only!
  • Separate individual instrument tracks from your recordings
  • Easily mix your tracks in ZYLIA Studio or export to DAW

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I'm getting a headache trying to figure out how this works. A bunch of crossover circuits maybe? If it does work, it would be a great tool to have. Also good for making bootleg albums :) 

 

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