Japan Tap Seminar took place in Tokyo 5/16/09 - 5/17/09. The seminar was a great success, with many different styles of tappers. Instructions by Toshiaki Kanamaru & Kai Kurosawa.Many hours were spent on various topics, including a master class by master organist Kiyomi Otaka who shared her insight on independence.
A few weeks ago, the unfortunate reality that my stage rig was not cutting it became unavoidable. On the solo gigs I had just done, my combo could not adequately fill the rooms. With the percussion ensemble, the din of speakers distorting while trying to push my sound over a drummer and five percussionists was distracting to say the least (fortunately, I had a direct line running to the house system). I needed more clarity and headroom.
While making my way back home, I was contemplating the options available. The EA stuff kept popping into my head as a possibility. I knew Trey and others I admire have used the gear. But having had no personal experience I was unsure.
As serendipity had it, I arrived home and noticed Mark Warr’s post – only 17 hours old – that he would be carrying EA gear. So I picked up the phone and called. After Mark answered the slew of questions I had (and after the great talk with Randy Strom who had just started using EA himself) I decided to go for it; the iAmp800 and the 210 cab.
As the weeks passed, I’ve used the EA rig on about 12 gigs with three different routing configurations. To conclude first: the EA stuff sounds amazing and true. My 8 string sounds as pure as it does when I record direct. This is the best rig I’ve ever owned.
In the first configuration, I run the stereo outs of my instrument into a Muse Receptor (essentially, a DAW set up for live use of VST plug-ins). This is my most used routing set-up. From the board I run directly into the iAmp to the 210. The tonal quality seems lossless and there are no noticeable artifacts sometimes associated with running direct from a computer based system like the Muse. I imagine the EA stuff would sound great with a laptop running Guitar Rig or the like.
In the second configuration, I run the same as above but go direct from the iAmp to the board. The DI works better than I had hoped. It’s a true signal that sounds great as a feed to the house, and as in one instance so far, to a stand alone digital workstation. Other amp DIs I’ve used pale in comparison.
In the third configuration, I run directly into the iAmp. Having experimented, my instrument sounds best with the bass end into the active input and the treble into the passive. The magic of these instruments really shines through the EA stuff. The warmth of the lows, the texture of chords and the bliss of bell-like overtones are clear and articulate. (As I’m writing, I’m reminded that there are two other configurations I’ve used. The first is with a six-string student who plugged in and claimed, “It’s like I’m hearing my instrument for the first time”. The other is a gig I did on bass last week: unbelievable sound and tone control.)
I’m blown away with the EA gear. It’s absolutely clean and with the EQ off, flat. My headroom concerns are gone. I haven’t even come close to pushing the boundaries. I’ll be entering my next gig with the percussion ensemble at The Great Blue Heron Festival knowing the group members will be able to hear and enjoy my stage sound.
My only gripe is that I don’t yet have a second rig to run stereo during my solo gigs. But I’m saving…
Enjoy a rejuvenating four days (July 31- Aug 3) of guitar workshops, master-classes, recording sessions, impromptu jams and energizing concerts on the pristine mountain campus of Saint Francis University in Loretto, PA.
The 2007 Guitar Retreat Series is a one of a kind four-day guitarist learning community where you can learn everything from the basics to advanced concepts and techniques of this incredible instrument. If you're a complete beginner, this is for you. If you have some experience with the guitar, you'll gain valuable new skills and insights. If you're a pro already join us to further expand your capacity as a player and musician. Most of all, you'll enjoy and grow.
Since 2004, the focus of this program has been to engage students as well as adult learners from all over the United States in a culturally rich, all-inclusive music program.
Our philosophy is that students learn best in a completely hands-on, relaxed, safe environment without the pressure of being perfect. Beginners are warmly welcomed. This program is built for adults over 18. Enrollment is very limited. Register today. For more info, please visit: http://www.jimdonovanmusic.com/guitar07home.html
FOR TOUCH-INSTRUMENTALISTS: Whether you prefer to tap on 4, 6, 8, 10, 12 strings (or any number in between), I’ll be providing opportunities to learn techniques which encompass: bass and treble independence, recording of stereo instruments, effects routing and bussing techniques important to our approach, jamming concepts for solo, duo, trio, settings, etc.
With the registration of only a few more wishing to concentrate on touch techniques, we’ll be able to hire at least one more touch-guitar instructor to enrich the experience.
This is a great opportunity to concentrate on generalities and specifics, relax and play, play, play. To register, please visit: http://www.jimdonovanmusic.com/guitar07home.html.
Please email with questions to: bill@billburke.net
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Bill Burke
Jim Wright gives a brief demonstration of the control knobs and switches on the 12-string Warr Phalanx touch-style bass guitar. Jim Wright is using the Roland GR-30 for his MIDI/Synth converter. For the analog side of things Jim is playing bass through an Eden World Tour 400 through a 4X10 Eden cabinet. For the guitar side Jim is playing through the Lone Wolf Amplification. http://www.lonewolfamps.com/
Thanks to my good friend Ed Thomas for making sure I was aware of the LA Amp Show, and in attendance one early Saturday morning in October.
This is definitely like porno for anyone as thrilled as I am by the concept of hand-made tube guitar amplifiers. The secret location in a hotel near the Van Nuys airport was set up with each different manufacturer in their own hotel room, providing some semblance of privacy and sound isolation. Even so, the same people you hear at "Guitar Barn" (y'all know who I'm talkin' about) managed to find the place and perform their time-tested versions of crunch classics at full volume. Deep Purple would have been proud.
But on to the amps.
I'm reticent to give reviews of each manufacturer, as there were so many good choices, and it would be unfair to choose one above the rest, but here are the high points for me.
The folks at Brown Note amps had me plugging in right away, and were only slightly confused when Ed insisted they find an amp to plug in the bass side of Blackie (my Warr Artist 12), so they could get the full effect. Since it was too early on Saturday morning for anything extremely complicated, I started with a 12-bar blues. The amps were just wonderful. I have been experimenting with guitar-side pickups in Blackie, and the amps seemed quite comfortable with the output and frequencies they were getting from my tapped strings.
The whole thing was going OK, when guitarist Chuck D'Aloia joined in, and sent it to the next level. Fortunately, Loren from Brown Note got some of it on video, and posted it on You Tube. (See Above).
What an honor it was to play with Chuck, who was brought in by Brown Note to demo the amps. His talent is obvious to anyone who views the video, and I'm planning on stealing all his great licks! Seeing and hearing the video convinced me that I am on the right track with my pickup experimentations...
Don at Club Amps spent a lot of time with me explaining why the amp you choose was dependent on the sound you ultimately wanted. His amps were made specifically for certain types of music, and each had it's own wonderful flavor. I thought the smallest was perfect for intimate jazz gigs.
Carr Amps were very nice. I have had some previous experience with their products, and find them quite enjoyable. Great tone and selection.
Schreyer amps found a special place in my heart with their Moonlight Twin, a sweet-toned amp with 2-10" speakers. It had the most subdued, but still very present, high end that seemed to compliment my tapped strings quite well.
At some point, it became all too much, and there was nothing left to do but pack the guitar in the car, and dream of how I could afford to buy a few of these wonderful amps.
A week later, I had the pleasure of playing Lone Wolf amps at a party in Simi Valley, and the list grew even longer.
This really could get out of hand!
Jim Wright
www.shreyeraudio.com
www.clubamps.com
www.brownnote.net
www.carramps.com
www.lonewolfamps.com
INDEPENDENCE DAY by Randy Strom
I have had the good fortune to work with a great keyboard player in our town by the name of John Raczka. He can play (on the B3) a bass line with his left foot, comp with his left hand, and blow any kind of bebop to blues solo with his right hand. He can even play with the right hand playing behind the time (creating a laid back swing feel) or with the right hand playing free time over the groove. I strive to emulate this kind of freedom and independence in my Warr guitar playing (although its kind of hard to get the foot involved).
The question is, how do we get to a place with our playing to make this kind of groove+head+soloing become second nature? Here are a few things I do.
First, I set my sequencer (drum mach, metronome) to a strict straight 8ths feel and play quarter-note octaves in the left hand, while playing scales in the right hand (mostly diatonic but also harmonic minor, whole-tone, dimished, blues and bebop) and start with strict 8th-notes over the left hand quarter-notes. A slow tempo with very even time and articulation is a must. Then I change the right hand to 8th-note triplets and finally to 16ths and 16th triplets. In this way, I'm working on my time and memorizing scale fingerings simultaneously.
Now this exercise is a bit boring, as it has no musical content. So, for the second step, I like to choose a left hand groove pattern (swing, latin, funk, etc.) and a few simple chord changes and sub-divide scales, arpeggios etc. with the right hand over the top of that. Staying strictly with the "click" or maybe just a frogs' hair behind. Never get in front.
The third step is of course, choose a tune, a standard, an original, etc., and keep a steady, strong left hand (stay with the click) and an expressive free grooving right hand playing the head, comping, and soloing.
This is my goal, to make every day a touch-style Independence day. I wish the same for you, especially on July 4th (barbeque, beer, fireworks, etc.).
RS
Randy Strom has been an innovator and key player in the touch-guitar world since 1976, and has many impressive credits as a musician, composer, performer, and in the field of music production.
For a complete list of his credits, please visit http://www.myspace.com/randystrom
