The Healing Power of Music

Why do we love music?  Think about it, it is extremely rare to find someone that doesn’t like some kind of music.  I’d be willing to bet that in those few cases that the person may have a hearing problem, not allowing him to hear music properly.  For the rest of us, we love our music.  A lot of us even get rabid about our listening choices, be it classical, heavy metal, country, blues or whatever.  For every style of music, there are fans and I think that is great.

So, why do we love music?  What is it about music that it is such a large factor in our lives?  Recent studies have shown things like improved academic skills and lower instances of substance abuse in children involved in musicmaking.  Other studies have shown a reduction of the severity of Alzheimer’s amongst patients that played music.  I know firsthand, that after my father’s stroke that his playing music aided greatly in restoring his lost motor skills.  There have been other links between music making and improvement of autism, language issues, math skills and so on.

Without getting into the physiological elements, of which I’m not qualified, I think we can safely say that, as musicians of all levels, performing music and even passive listening to music can have positive effects on our moods.  Given the many links to the mind/body connection, improving our moods can improve our physical health.  Besides the actual physical movement of playing an instrument, we exercise our creative muscles, we allow ourselves to wander off for a moment, leaving today’s worries behind.  We sharpen our concentration, we play a sad song and empathize, a happy song and get carried away with the upbeat.  When I would get depressed, I’d often play depressing music.  Not to wallow in and deepen my depression, but more as ‘misery loves company’, in other words, I wasn’t alone and that made me feel relieved.  And when I had energy to burn, fast, hard rockin’ music would pump me up and get me ready to take on the world.  I bet you could tell similar stories.

So, next time the world feels like it is sitting on your shoulders, reach for your guitar (or whatever you play).

Bob at www.cmusicshop.com

It isn’t a competition

Music making.  It isn’t a competition, though you can make it one.  Sure, you can try to top the skills of another musician but most serious musicians are more interested in being better players for the reward of being able to play what you want, not to outdo someone else.  In fact, I generally see more respect in musicians for other musicians than in other groups of people.  We tend to be more healthy in attitude when we see someone better than us.  Maybe it is because we know how much effort it takes to achieve proficiency in an instrument.  We admire someone’s tone because it, to us, reflects some of who they are.  Watching someone tear it up on an instrument makes us want to try harder.

Making music isn’t a race or a game where an end is in sight.  No, music making is a journey without end and yet, with amazing sights and sounds to take in along the way.  Like life, there is always more to learn with no end to what can be achieved in music.  The best thing a parent can do is to allow their children the chance to become musicians.  While having goals like getting a spot in the school band or even entering a contest are fine, they should never interfere with the simple goal of making music for the sake of making music.  Do what you love because you love it and everything else will fall into place from there.

One of the coolest things about music is that it can’t be measured.  Is Steve Vai a faster and technically more proficient guitarist than Eric Clapton?  I think if we are analytical about it we’d have to say ‘yes’.  But, who has sold more records, touched more lives and had the longer career?  Clapton.  However, neither really matters, probably even less so to Steve Vai and Eric Clapton, because both of them don’t do it for those reasons and I suspect both of them totally respect the other’s ability.  In music you can be Keith Richards or Yngwie Malmsteen, Frank Zappa or Lawrence Welk, Brittney Spears or Elizabeth Frasier and in the end, it’s all good.

Bob Campbell at CMusicshop.com

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

He might not stick with it….

We hear the phrase “he/she might not stick with it” referring to a child’s interest in music and the parents need to invest in an instrument.  I can certainly understand that concern.  As a parent myself I know that kids often do not stick with those things that only a short while ago were ‘gotta haves’.  Our son’s interest in BMX bikes is a good example.  But music is a little different.  Sure, there are plenty of people who tried and gave up playing and I feel safe in saying that most of those regret not being able to play.  A recent study suggests somewhere in the area of 70% of non musicians wish they had pursued playing a musical instrument.  And I honestly have never heard of someone who can play a musical instrument who wished they couldn’t.

Much of the concern comes from previous failed attempts at music, usually through a school band program.  Now, please understand that I think all instruments are great and that I’m very happy schools have music programs but there is a common problem which causes little ‘Timmy’ or ‘Suzie’ to drop out.  One point is that the child is rarely playing music that correspondes to their actual listening habits.  A person who listens to Green Day is not going to enjoy playing Sousa marches most likely.  The other issue is that the instrument the child is given is often not what they’d choose if given a free pick.  In some cases it isn’t even the first choice out of a limited offering (‘No, you can’t have trumpet, we have too many now, here’s a clarinet’).  Of course this leads to drop outs.

If you want to get your child into music, hurray for you!!!  It is absolutely one of the greatest gifts you can give a child.  It isn’t seasonal, there is no age limit, it allows for creativity and expression and exercises the brain!  Certainly investing a lot of money into an instrument where longevity of interest is concerned may not be wise but investing in a playable, worthwhile instrument that the child can and wants to play is smart.  Bottom of the basement priced instruments often have playabilty issues but great beginning instruments can be found at reasonable prices and allow the student to really have a chance at making your investment worthwhile.  So….

Consider the child’s interests – music they listen to, instruments they are truly interested in not what slot they can fit in a band

Instruments they can handle (no Tubas for 5 year olds)

Instruments that don’t impede their chances of learning a continuing (guitars with high action, warped necks, flutes that don’t note correctly, etc.)

Teachers that want to teach what the student wants to learn while at the same time, teaches what they need to progress.  Teach a man a song and he only plays that song, teach him how to play music and he can play anything

Over and out, Bob C., Campbell’s Music Service, York, PA

www.cmusicshop.com

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

Listening with your eyes, not your eyes

I’m guilty of it and so are you most likely.  We look at an instrument and immediately assign a tone to it without hearing it.  In many cases, if you have experience with many styles of instruments, you may be right.  But, you also may not be and that would be a shame.  I’ve looked at a guitar with a certain shape or certain pickups and made the assumption that it would sound like this or that.  However, I’ve been fooled too.

I remember a legendary Telecaster we had pass through here years ago.  Now this Tele was legendary because of its weight, it weighed a TON.  We joked that the body must have been concrete.  Now, to look at the guitar, well, it looked like every other Tele and you would expect the same classic tone.  It seemed though, that because of the incredibly dense body that the warmth had been vacuumed out of the guitar, it was thin and biting.

Other times I’ve looked at a new style of pickup design and decided, without hearing it, what it sounded like.  Well, that’s just dumb.  For instance, I got to play some of the Lace Alumitone pickups and was amazed at how great they sounded.  Totally new, unusual design, you’d think they’d have some weird, experimental tone but no, they sounded full and warm and very clear.  I’ve seen this with the G&L ASAT Special pickups – fat with twang, very full yet to look at them you’d think they’d be more midrangey.

In any case, next time you see something different, sit down, listen to it with open ears and an open mind.  You just might find that what didn’t look like the sound you were looking for is actually the sound you’ve been listening for.

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.