I haven't touched an electric guitar in years, but recently have become interested in learning about acoustic amplification. The goals are to be able to:
1) ...plug in when getting on stage for impromtu sets at bluegrass festivals. I'm tired of having to rely on sound guys dialing-in the instrument microphones. They never seem to get the signal hot enough (which is understandable, given the issues with feedback and that they don't have much time to get things set up between sets).
2) ...have a second channel/option when I'm playing out with our band(s). Typically I've used an instrument microphone (Shure SM81) which has worked fine, but having an additional option for more volume while reducing feedback would be nice.
3) ...mess around with this stuff at home, both to (a) get to know the equipment and dial the sound in before heading out to play live, but also to (b) reinforce the sound a bit at jams. So in addition to getting a guitar pickup, I'll need a small acoustic amp.
After spending way too much time researching online, here's what I ended up getting:
I decided the best option was a soundhole pickup so I could potentially swap it between several guitars without too much fuss, and ended up selecting a Fishman Blackstack magnetic pickup ($250). These are supposedly a modern take on the classic Sunrise pickup that some of my favorite artists play (e.g., Lyle Lovett, Richard Thompson), and what I like about the Blackstack is that it can be disconnected from its cable and moved between guitars for different mounting strategies with minimal fuss. The Blackstack comes with a 10' cable that can be run out of the soundhole and connected to a standard guitar cable for a "temporary" installation. But Fishman also sells a 22" cable and endpin jack for a more permanent installation ($40). I installed this shorter cable/jack in my Collings CJ, which previously had a pickup so the endpin was already drilled for a jack. When I want to plug in a different guitar, I'll disconnect the Blackstack from the cable in the CJ (which takes a couple of minutes with nimble fingers and a small screwdriver), connect it to 10' cable, and temporarily mount it in another guitar.
Note: I also considered the Baggs M1, M1A, and M80, and Schertler Magnetico AG6, which are similarly swappable between guitars, but ultimately chose the Blackstack due to it's similarity to the classic Sunrise pickup. To be fair, the Sunrise system can also be set up to be swappable, but I likely would have needed a guitar tech to do the wiring. With the Blackstack I was able to do it myself in less than 15 minutes.
Since the Blackstack is a passive pickup and doesn't have any controls, a preamp is a good idea, and I ended up choosing the Fishman Platinum Pro EQ.
David recently posted an update of the build on his website. Things are moving quickly, and soon it will be time for the finish to be applied!
Last Sunday (8/15/15) some friends and I played a short set at the Lanchester Fiddlers Picnic in Atglen, PA. We called this impromtu band "John EZ and the Gigolos." I'm playing my Collings D1ASB, and the sound guy did a great job amplifying my guitar.
Thanks to Lynn for taking this videos, and to Jeff for editing/posting them.
I've had my Apple Watch for about a week now (42mm space grey Sport model with black band). This isn't meant to be a comprehensive review. Instead, here are some disorganized thoughts from the first few days of wearing/using it.
- The space grey watch with black band is pretty discrete. Other than my friend who knew I got the watch and a few other friends who noticed me using it, no one has commented or asked about it (which is good). My guess is the bright blue, green, and pink bands catch more attention. The Sport band is very confortable; no complaints here.
- I only have one friend (a work colleague) that also has a watch, so I haven't tried any of the especially personal communication features. But I can't see needing to send a doodle or my heartbeat with any regularity.
- Apple Pay worked the one time I tried it (at an Apple store) however the LevelUp Passbook card did not work on the scanner at my local coffee shop and I had to use my phone like usual. If we were still shopping regularly at Whole Foods or Wegman's, Apple Pay would be fantastic. But the smaller grocery store we've been frequenting recently doesn't seem to take Apple Pay, even though they claim to have NFC on the payment terminals. Once Apple Pay is pervasive, this will be super-convenient.
- The "activate on wrist raise" feature works well (I've read some reviews that complained about it), but it is triggered while playing Dobro and Hawaiian lap steel guitar. Yes, I know this probably impacts all of maybe three people in the whole world, but sliding one's left hand and raising the tone bar makes the display light up. So I have to remember to turn that feature off when playing to save battery and not get distracted.
A couple of weeks ago, David sent me some samples of sugar maple, finished with subtly different shading, to get my feedback. All of these are beautiful, but I decided to go with the second from the left. This is going to be a stunning guitar!
In addition, we've been talking about neck size and profile, as well as the location of the adjustment bolt for the neck. David is using a system that allows the neck angle to easily be adjusted without removing the neck (and potentially that allows the angle to be adjusted while the strings are tuned to pitch). This bolt could be accessed via the neck block, through the interior of the guitar. But I've decided I want to show off this awesome design feature, and he is building this guitar with the access point at the heel of the neck, where the whole world (or at least people playing the guitar) can see it. With feature this cool, you have to show it off. See more about the neck joint on David's site.
I've been doing some consulting work which has yielded some "fun money," so I've been able to pick up a couple of new lap steel instruments recently. The first was the 1930 National Tricone Squareneck I grabbed at the Philadelphia guitar show in November. Following with my growing interest in the lap steel, I've been wanting a Weissenborn-style guitar as well, and luckily one just fell into my lap (pun intended).
David Dart* is a California luthier who began building in 1966 and has made a few hundred instruments in that time, including guitars, mandolins, and Hawaiian lap steel guitars. His clients have included Ben Harper and David Lindley, and I just stumbled into a used Style 1 Hawaiian (i.e., "Weissenborn-style") all-koa guitar at an amazing price.
Update (3/13/15): Here's an interview with David Dart from the Fretboard Journal.
*Since I bought the guitar used from a shop in Los Angeles, I have not met or spoken with Mr. Dart. This info comes from his website and other sources I found online. If you are looking for a similar guitar, I encourge you to commission one directly from him since (a) supporting independent luthiers makes for good karma, and (b) his instruments don't hit the market very often.
Update (2/8/15): As I've been doing more reading on the history of Hawaiian guitar I'm coming to understand that calling these "Weissenborn-style" instruments is inaccurate, although that term is commonly used. Although Hermann Weissenborn certainly made (relatively) many guitars in this style, the design of these instruments was not original to him. Read more here, and also check out the book by Noe & Most (1999), Chris J. Knutsen: From Harp Guitars to the New Hawaiian Family.
This video is from 2001 (a year after our van was built) and seems so dated now...
(my documents & links page has a section with Eurovan Camper files if you're looking for any EVC documentation.)
We're now a couple of months into the process, and we have finalized most of the design decisions. David has also started construction on the top and back, and is currently getting ready to dive into the neck. Here are the specs:
- Top - Adirondack spruce
- Back, sides, and neck - Flamed sugar maple
- Fretboard and bridge - Honduran rosewood fretboard with pearl dot inlays, radiused; bridge TBD
- Binding and accents - Hormigo center strip down the middle of the neck and back; hormigo and maple rosette
- Headstock veneer - Honduran rosewood or hormigo, with a maple center wedge
- Finish - Light sunburst top, body, and neck
- Hardware - Banjo tuners
While there are still a few design decisions to make, the guitar is starting to come together. David has been documenting the build process on his blog (see here). Here are some pictures I pulled from his site:
The sugar maple back, getting ready to be joined.
The Adirondack spruce top with the rosette installed.
The top and back, with the rough bracing.
David put these samples together to show the accents. Understated, elegant, and classic.
This is a previous tenor guitar he built in 2012, with a light sunburst finish on a sugar maple body. David photoshopped the version on the right to show me what it would look like with a backstrip. Mine will be similar (with the backstrip), with a slightly darker full-body sunburst.
A couple of years ago I posted on "what I'm GAS-ing for..." (i.e., what Guitars I wished I could Acquire, which is a bit of a Syndrome). Here's an updated list of what I'm currently lusting after:
- A Weissenborn-style lap slide guitar. Mission accomplished.
- A 12-fret dreadnought, like a D-18S, or a Gibson Roy Smeck-style guitar (converted original, or Fairbanks/Kopp take on this model).
- I'd like to play a Collings CJ35. I'm not necessarily jonesing to buy one, but I'm really intrigued by this guitar.
- I have a tenor guitar incoming from luthier David Cavins, which should be here in a couple of months, and I'm looking forward to that a lot.
- A case or gig-bag for my banjo. The case it came with is crap. I should probably get a better case for my National Tricone Squareneck too, but I don't see taking that with me to jams much, so that's less pressing.
Surprisingly, that's about it. I've pretty much satiated my desire for guitars, other than what's above. I have a banjo, mandolin, ukulele, and a couple of resonators, so I'm pretty much flush. At least until I take up the fiddle :-)
It's interesting to see that the 2012 and 2014 lists are pretty different. It's not that I've aquired everything (or anything, for that matter) from the 2012 list. But tastes and interests change. As much as I'm first and foremost a guitar player, my interest in banjo and resonator guitars has taken center-stage recently. That being said, all of the stuff on the 2012 list is still appealing to me. I was seriously considering a Martin OM-18 Authentic as my 40th birthday present, but ended up going for a Collings D1ASB instead. Would still like that Authentic, though.
Now that I'm becoming proficient on a few different stringed instruments, most notably the banjo and lap-slide guitar in addition to guitar, I've been looking for a way to deal with with increase amount of gear that comes with these. In particular, my desk had become a mess of capos, finger- and flat-picks, and slides. In addition to desktop organization, being able to have everything in one place and ready to grab to take to a jam is important. I looked into little boxes and containers, but nothing seemed to work for this assortment of bits (i.e., some long, heavy, skinny things like slides and dobro capos; metal finger-picks that shouldn't get squished; my favorite picks that are easy to lose).
It dawned on me that a tool rool, like I've seen bicylists use (and seem popular with motorcyclists) might work. I ended up googling "waxed canvas tool rool" and ran across the Coffin Tool Roll by Red Clouds Collective. At $65 it's not cheap, but it's handmade by hipsters in Oregon and is a quality product that should last a lifetime. Along with multiple slots/pockets, it has a zippered pouch that seemed perfect for securing those little pieces (like picks) that are easy to lose. I found a 10% off coupon code which basically offset the shipping, and a few days later it arrived.
Rather than calling it a "guitarist's tool roll," which makes me think of the things like truss rod wrenches and small screwdrivers to tighten tuners etc., I think of it as a "guitarist's toy roll" since it's for all the little gadgets and gizmos that are commonly used in playing acoustic music.
Although we moved into our apartment more than two years ago, I finally finished setting up my office last month. And with winter just around the corner (i.e., low humidity), I've been looking into ways of humidifying the room so that I can keep some guitars out on stands without worrying about them getting too dry. The buidling is an old converted schoolhouse with radiators, and the humidity can get really low in the winter. I set up a small Holmes humidifier that we've had forever, but had been boxed up since a previous move about 10 years ago. It did the job, but it was way too loud for an office.
Based on some online recommendations, I picked up a Venta Airwasher LW25, which has a 2 gallon tank and is made for rooms up to 400 square feet. What I like about this unit is that (a) it doesn't need any replaceable wicks, (b) the tank can be easily filled (i.e., pour water directly into the unit), and (c) it's supposedly pretty easy to clean. And the best part is that it's really quiet. On the lowest fan setting, it's basically silent. At medium, it's no louder than the street traffic I can hear from my office (I haven't needed to turn it to the highest fan setting yet). So far, so good; it works like a charm, keeping my office at 45-55% humidity without any problem.
Update: On the coldest days during the winter, when it gets down in the 20s, I find that I still need to run the small, loud Holmes humidifier along with the Venta to get up to the 45-50% range. The Venta alone can keep things in the mid-30 to low-40% range, which is probably fine but I'm being extra careful. So I run the supplemental humidifier at night and when I'm not in the office, and turn it off when I'm working in that room. Although the Venta should be fine for the square-footage of the room, I forgot to account for the high ceilings; the total volume of air is more than the typical 400 square foot room.* I probably should have gone with the largest Venta rather than the medium size.
*Why do they sell humidifiers based on square footage of the room? It should be cubic feet.
I have become increasingly enamored with my Beard Vintage R squareneck resonator recently. I've had it for years, but have just rediscovered it in the back of my closet. While I’m clearly still a beginner, I can play proficiently in an intermediate bluegrass jam, assuming things stay in the key of G or A.
Over the weekend I headed over to the semi-annual Philadelphia Guitar show. I hadn't been in a couple of years, and I’ve never purchased a guitar there, but it’s a fun way to spend a couple of hours. Since I’m pretty flush with flattop guitars, other than the vintage Martins and Gibsons I couldn’t afford, I spent more of my time browsing the vintage Dobros, Nationals, and other lap steels. There were a couple of interesting Gibson house-brand instruments with original Hawaiian set-ups (a blond Kalamazoo Oriole and a sunburst Recording King Carson Robison Model-K), but the guitar that captured my attention was a National Style 1 Squareneck Tricone.
This particular National was being offered by a dealer from Arkansas who had made his way up to Philadelphia for the show. He acquired the instrument from the family of the original owner in Kansas City. The serial number dates it to 1930, and it is in remarkable condition. There are no big dings or dents, and it is purported to be all original, including the tuners (i.e., have the correct engravings) and cones. The dealer even mentioned that the screws on the coverplate look untouched, so the coverplate may never have been removed.