Music Myths

A while ago I posted music truths.  Now, let’s expose some myths.

• You have to learn on acoustic guitar before electric – simply not true.  In fact, electric is easier due to the lighter strings and lower action and in the end, what we want is to make playing music easy for the beginning student.  There is no benefit to making things hard.  That being said, there is also nothing wrong with starting on acoustic.  Start on the instrument that the student is most interested in, keeping their interest is important.
• On a related point: You have to know another instrument (usually piano) or have some prior musical instruction before starting lessons – Nope, we take ‘em from complete, never touched an instrument before.  No bad habits to overcome!  Bottom line, come as you are, a good teacher will take you where you want to go.
• American instruments are more handmade than ones made overseas – Not always.  In fact, most larger US builders use CNC machines (which isn’t a bad thing) for carving out necks, bodies, etc.  Much of the process is automated.  CNC machines are often too expensive in other countries, human labor is actually more cost effective compared to the cost of human labor in the US.  So many times that Chinese or Korean guitar is more handmade than the top known brand US products.
• Older is better – Sometimes.  Sure, vintage guitars can often have that ‘vibe’ and it is true, some things are done differently now that aren’t necessarily improvements.  But, modern guitar making has moved forward in many important areas.  For instance, it is a well known fact that many Martins of a certain era had poor neck pitch, making playing more difficult.  Martin, as well as many other companies with similar issues, has since corrected that.  Another common issue is inconsistency in pickups.  Old Fred back in 1959 might have not been so precise when winding pickups.  These days, most pickup makers are incredibly meticulous and precise, so that you are assured the same quality and tone across a model.

Hope you enjoyed some ‘mythbusting’ and I welcome your comments.  Thanks Tim Renner for the blog idea too!  Bob C.  www.cmusicshop.com

Where did that guitar come from?

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Many of us over a few decades old may remember a time where products from Japan were considered junk. Cheap, poorly made and poorly working items foisted upon the US market, often as alternatives to American goods. Those of us also remember when the Japanese started making some really great, affordable alternatives to US goods. Cars like Toyota and Honda come to mind. In the guitar world it was brands like Ibanez, Aria and ESP that made products rivaling American giants like Fender, Gibson and Martin. A lot of this happened at a time when those US companies were slipping in quality as well.

Fast forward to today. We have so many products that come from other lands that it really has become a non issue. Our cars, TV sets and DVD players, toasters, clothing, you name it. Of course, there still can be some stigma attached to foreign made products but the question is ‘why?’ In some cases, it is rightfully earned for example, some of the bottom of the line guitars that have poor neck pitch, blotchy finish work, cheese grater action. But why is this? Is it because another country can’t make a good guitar or because the factory is given a low dollar figure and that’s the best the factory can squeeze into the instrument? Certainly, we’ve seen enough top quality guitars coming from countries like China that we know that they are capable. As I like to point out, China built a wall that spans over 4,000 miles and can be seen from space without the aid of bulldozers and cranes – they can build guitars.

So, the real issue is the people commissioning the building of the guitar that affect the quality. If they approach their workers saying we must stay under this price, then, as with all things, the quality will reflect that. If, as in the case of companies like Eastman, they are told to build the best they can, the results are outstanding.

Bob C. from Campbell’s Music

www.cmusicshop.com

Digitech Hardwire pedals review

Time for another review.  Digitech is seriously making a play for the boutique pedal market with their Hardwire series.  So serious in fact, that they initially opted to treat it like a totally separate brand, even requiring me to fill in additional paperwork to carry them.  Since then, Digitech has realized that they can use their well known name to help launch this series.  Smart move.

The basic premise is to offer a line of effects pedals that meet some of the criteria found in the more expensive, boutique pedals while offering a pedal that is affordable, somewhat uniform (in other words, it isn’t some weird shaped box that takes up a huge amount of room on the floor and plugs in at different angles, thereby making your pedalboard a mess) and sounds great.  To this end, they have acheived their goals and more.  Boutique pedals can often be expensive, hard to find and try out and many times, they may only provide a limited range of tones.  The Hardwire series features true bypass combined with the silent switching (no pops) and in some instances, multiple tone options.

Take the Chorus for example.  It has seven settings like Jazz, Boutique, Multi and Analog all of which are adjustable within those settings.  All of the settings are unique but still very usuable.  Sure, there are extremes but overall, the tones are crystal clear and full.  Some settings are very subtle, almost dry while others are bubbly and thick.  The Chorus, the Reverb and the Delay all feature stereo ins and outs which mean that if you are using, say, the Chorus and Delay that the stereo output from one can be fed into the other, retaining its ’stereoness’.

I won’t go into each pedal’s various sounds suffice to say that there is 3 different distortion pedals, a delay, a reverb with Lexicon settings, a chorus and a pedal tuner.  The pedals come with the Stomplock which is a rubber device that slips over the knobs so that your favorite settings can be protected (except for the tuner) and a velcro pad that you can put on the bottom of the pedal to make it pedal board friendly.  Each pedal is in a metal housing with metal jacks, making these nice and sturdy.

I’ll add that the Delay and Reverb are awesome, loaded with great sounds and lots of variety.  The Delay even has looping, though limited to 20 seconds (which really is plenty, if you need more you need a JamMan).  The effects are quiet also, no excessive background noise even on the distortions.  I’m hoping they add to this line with a compressor and phaser.  One more thing, these sell for $99 to $160 so even the most expensive one falls below most boutique pedals.  All in all, a good buy.

Guitar Buying through the ages

I’ve said it a hundred times and believe it more every time I say it.  There has never been a better time to buy a guitar (or most any musical instrument) than this time in history.  We have more options, brands, variations, color choices and so on than ever before in the history of mankind.  This is one reason I’m so adamant about exploring all the guitar world has to offer.  For the first time buyer, there are more brands and styles at very good prices that are infinitely better than much of the beginner junk that was around for previous generations to get started on.  For the high end player, there are more custom models and brands that virtually any thought that can be applied to a guitar can and will be done, for a price of course.  For the intermediate player, the world is wide open and affordable.  We’ll classify the intermediate player as someone not really pro but not beginner either, in other words most of us that have been playing for a while.  In this price range there are so many good companies that make guitars you could easily gig with but won’t cost you an arm and leg, like ESP and Ibanez.

Campbell American Transitone review

Transitone

By now, anyone familiar with my posts know I have a fondness for the Campbell American lineup. This is the third guitar I’ve reviewed for the brand and possibly the most surprising to me. When I first talked to Dean Campbell of Campbell American I flat out told him I wasn’t too fond of the Transitone styling. It just didn’t ‘trip my trigger’ as they say. My perception was that it was large and bulky (it’s not!) and generally less ergonomic, which to me matters a great deal. Dean wisely suggested I try one, that he’s been getting good feedback from the buyers. Ok, I’m a team player, let’s give it a go.

On the other Campbell Americans I picked more of the features, from the wood to the pickup combinations to the extras like coil tap or matching headstocks. On the Transitone I mostly went with Dean’s suggestions of American Tilia wood (basswood) and three Jason Lollar Firebird mini humbuckers. “Three? How about two?” “No, you’ll want the three, trust me” I did pick the color scheme (transparent white with tortoise pickguard – a classic look). After all, I’m going to sell them, it isn’t about my tastes, right?

Here’s where the surprises come in. The guitar arrives and of course, the workmanship is perfect but what’s this? The body is actually compact, not large at all and fairly contoured, not blocky, so it sits very comfortably on your lap. I even suggested to Dean that he features a picture of someone playing a Transitone to give people a better idea of the dimensions. So, instead of a cumbersome Firebird or Explorer feel the Transitone actually hugs you nicely without a lot of extra chunks of timber to bump into mic stands and the bass player (like I used to do with my Flying V, sorry Sluggo). Ok, I’m a big enough man to admit that I prejudged the body feel and give it high marks, but what about those Lollar pickups? Mini humbuckers? Lollar who?

For those not in the know, Jason Lollar is THE tone guru, the pickup meister. The pickup maker’s pickup maker. Alright, so he’s good and these are probably well made but how do they sound? Stunning! Clear, glassy, enough output to rock out hardcore but articulate and clean when needed. I had a bias that mini humbuckers would be either too weak for fat distortion or too fat for snappy twang tones. Wrong! On a guitar like the Transitone the Lollar mini’s have plenty of spank while still being full and hum cancelling (actually quieter than the Duncans I A/B’d them against). They overdrive nicely, allowing a clarity that cuts through the heavier dirt. I’m one of those guys that play clean and dirty roughly 50/50 and trying to find guitars that do both well is tough. Beefy humbuckers can be too thick clean and single coils often are noisy and too weak to get those singing, Santanaesque dirt tones. I figured the mini’s would do neither well but they do both exceptionally. Yes, they’re brighter and snappier than a PAF type pickup but that’s what is cool – heavier distorted settings growl and grind and can be sweetened up rolling off the tone for the more woofier humbucking sounds. Clean this guitar retains a chimey strat/tele character but fuller with added depth. Pull the coil tap and there is plenty of true single coil snarl when needed.

Something Campbell American has done is make the middle pickup switchable into whatever setting the normal threeway is at. For instance, all the way back you get the bridge pickup as expected. Kick in the middle pickup and you get the bridge/middle, reminding one of the Strat #2 setting – ringy, a little hollow but fuller in the humbucker mode. Same with the neck position and Strat #4 setting. While you can’t get the middle by itself (no biggie) you can get the neck/bridge combo which is far more useful. By the way, the coil taps all three for a total of twelve settings, all pretty distinct!

I did find that lowering the middle pickup did two things for me, one was to get it out of the way of my pick. The other was to lower the output of the middle a little which when combined with the bridge or neck seemed to accentuate the ’stratiness’ of those combo settings where the middle was engaged. It almost took on the character of a channel switch where the gain dropped and the thickness of the bridge or neck thinned out a bit of the tone, great for rhythm.

On all other fronts the Transitone is a great guitar, excellent feel, impeccable finish work, sustain out the wazoo. The other points I’ve covered on other Campbell American reviews apply, like component and build quality, playability, etc. The Transitone has grown immensely on me, the shape works on the comfort and balance issues. Weight is light, body is resonant. Pickups and the clever switching options combined with Campbell’s normal versatile and hardy wiring scheme are an extreme in tonal offerings. Believe me, I went from the punk/funk of Andy Gill’s classic Gang of Four edgey harmonic explosions to soupy sweet jazz tones to chicken pickin’ twang back to full bore metal with no more than manipulating the controls and kicking on the amp’s dirt channel. Do not overlook or underestimate this guitar or you are missing out.

Bob (a convert) at CMusicShop.com

Campbell American Caledonian Guitar Review

Well, Dean and the boys at Campbell American have done it this time!!  This guitar has become my fast favorite in the store.  I bring you the Campbell American Caledonian.  Single cutaway, swamp ash body (option), Seymour Duncan JB and Jazz humbuckers (option) with coil tap (option) all set off with a glossy lacquer subtle cherry burst finish.  This sounds and looks awesome.

The Caledonian features a really contoured body unlike the more squared off UK 1 (see other review) which instantly gives this guitar a eye catching look and an even better feel.  I decided to go with a Swamp Ash body to have something different from the more expected mahogany/maple combination typically found on single cutaway designs.  I am very pleased with the results, instead of a dark, thick tone we get a nice spank out of the guitar with a pleasant midrange bite that can be darkened up if needed but has that clarity that is hard to achieve if it isn’t already in the guitar.  This combination is the perfect choice for a player that enjoys the Les Paul styling but needs a guitar that has some chime and bite.

Of course, the Seymour Duncan perform as you’d expect and the coil tap yields some very usable tones.  Sustain is no problem but not at the point what the notes thud and don’t ‘pop’.  As with all Campbell Americans the electronics are not only top notch but extremely useful.  I find myself setting up the amp with a fairly distorted tone and using the controls to achieve anywhere from that soupy (but still clear) ‘woman’ tone to full out scream to slightly dirty, Keith Richards friendly growl.  I really love this guitar and will most likely order one for myself in the near future.  It really is the type of guitar you can turn to again and again, a ‘go to’ kind of axe that covers all the basses.

Bob Campbell, Campbell’s Music Service

www.cmusicshop.com

Namm at Nashville 2008

Just came back from Summer Namm in Nashville, TN.  Namm stands for National Association of Music Merchants for those who don’t know.  Anyway, twice a year they hold shows where dealers, vendors, manufacturers and other industry folk get together to show or see new product.  We were there for 3 1/2 days and even though it was small by comparison to the winter shows, we barely got to see it all.

It was a lot of fun but I have to say I didn’t see much, especially from the larger manufacturers, really groundbreaking.  New colors, some new options but most of the innovative stuff was coming from the smaller companies.  I was excited by some of the models I saw at the Vintage (that’s the brand name) Guitar booth – relic versions of vintage guitars but much more affordable than the Fender Custom Shop stuff, revamped classic designs.  Michael Kelly guitars and Traben basses also had some great products with really cool options and woods.  There was lots of interesting new gear at the Digitech booth.  I was especially excited by the Hardwire series which are boutique style pedals with greater versatility and more reasonable pricing compared to a lot of the boutique stuff.  We should have some of those in pretty soon.

Some non product related highlights for me was meeting many members of our independent dealer group, the MSO (www.musicstoreowners.com) for the first time face to face.  This group is dedicated to preserving the independent dealer, you know, the ones that actually teach, repair, service, etc. your instruments.  Our group also got a lot of recognition from Namm, the vendors, the music press and people in general, so that was great.  Also, I can’t forget meeting Cousin Dean (Dean Campbell of Campbell American Guitars, no relation) in person.  Great guy.

We also got to see Muriel Anderson’s All Star Guitar Jam at the Ryman Theater.  Players included Muriel, Tom Bresh, Richard Gilewitz (who’s done clinics for us), Rick Vito, Larry Carlton, Victor Wooten, Ladd Smith, Rob Ickes and special guest, James Burton.

If I think of anything else….

Daring to be different

Originally posted April 2008 on the CMusicBlog at www.cmusicshop.com

Being different. We all want to be different and yet, not too different. In the end, we’re often not different at all. Take guitars. You will hear me say this a million times, there has never been a better time to be a guitar player (or a musician in general). Why? Because we have more choices than ever before, more options, more brands, more of everything. So it kind of breaks my heart to see people ‘ooh’ and ‘aah’ over the same guitars that have been around since the 1950’s. Don’t get me wrong, those are great guitars and it is truly a testament to their greatness that people still like them.

But there are so many more choices. Choices that will help define your tone, your style. The giants of classic rock had so many less models to choose from but thank goodness there were some great ones to choose. However, if they were in the same mindset as many modern players they would be playing lutes! Someone has to step up and innovate.

I look at the guitars out there and think, no matter what you want, it is available from one company or another. You don’t have to compromise or limit yourself. Want a flame top, hum/sing/hum with a whammy that works – you got it! Want a semi hollow, twin single coil in baby blue with a matching headstock – sure thing! It wasn’t that long ago that you didn’t have those choices, at least not at reasonable prices.

Now you have those choices. Choose wisely.

Where is Brand X?

Originally posted on the CMusicBlog at www.cmusicshop.com on May 27, 2008

Sometimes I have to take a step back and remember that most folks don’t understand the workings of a business like ours. They might wonder why we don’t carry this brand or that. Well, I’ll try to explain some of what goes into this issue.

One thing we have to consider is what demands a brand may place on us and if we feel they are reasonable for our business. Some of the larger known brands place demands on stores that can be too much, whether it is the amount of money or actual pieces needed to carry the line. Other times that line may be overexposed in other places like Guitar Center, online or catalogs. Sometimes the line just doesn’t fit into our overall plan. Maybe we already have that type of instrument well represented with other lines or maybe there is another local business carrying that line, which would make it less sellable for both stores. Sometimes there just isn’t enough room for more products.

There is a lot to consider when choosing lines to represent. The first thing the public sometimes isn’t aware of is that we own the instruments you see. They are not given or loaned to music stores, we have to buy them. So, if we see issues with selling them, for any of the above reasons, we don’t want to get stuck with them, because in 99 cases out of 100, the brand won’t take them back.

So, when you see that a store doesn’t carry a particular brand, remember there are a lot of factors that enter into that decision.