Using Mbox 2 with Snow Leopard

As of today, I don't hate Digidesign anymore.

 Ever since I upgraded to the MacBook Pro, I had been extremely frustrated that my Mbox2 with Pro Tools 7 wasn't compatible with my laptop. I tried using a Firewire 800/400 adapter to plug the Mbox to the MacBook Pro's firewire port, but the Mbox wouldn't power on (it only showed the blinking orange light). The consensus online and at Guitar Center (a.ka. Guitar Hell), was that I was SOL and that I needed Pro Tools 8 and new hardware. Since I'm doing mostly demos and recreational recording right now, I'm fine using GarageBand and don't need a newer version of Pro Tools. I was almost ready to sell the Mbox 2 and on craigslist and buy a new basic interface, but today I had a breakthrough. If you've had similar problems and frustrations, there is a standalone driver available here for Leopard and Snow Leopard:

http://avid.force.com/pkb/articles/en_US/Download/en362883

Now I can at least successfully power up the Mbox, use it for recording in GarageBand, and power my monitors/headphones, etc. For those that need Pro Tools, to my knowledge, the Mbox 2 -> Firewire 800/400 adapter configuration can run Pro Tools 9. If you'd had similar problems using the Mbox 2 with Snow Leopard, I hope this gets you up and running!

A new lesson will be up soon, but I'm bogged down in schoolwork at the moment. However, I did want to take a minute to share this MacLife article with all you Garageband users out there. There are links to several free plug-ins, so why not take advantage of them? Free sound-shaping tools are never a bad deal!

http://www.maclife.com/article/gallery/8_free_plugins_garageband

How to Play Alabama Shakes' "Hold On"

Tonight, Alabama Shakes and others are playing a free concert in Nashville as part of the Live on the Green Series. To get the party started, here is a quick lesson on how to play their breakthrough anthem "Hold On." This video will cover the basics, and next time we'll explore the theory behind the patterns and how you can borrow the underlying concepts to develop your own style.


The Basics:

The song is in the Key of C. The intro/verse has a recurring pattern of playing the G and A notes (3rd and 5th frets) on the 6th string, then playing a different note of the C major arpeggio in each line.
The chord tones in order are E (7th fret, 5th string), C (3rd fret, 5th string), G (3rd fret, 6th string), C (3rd fret, 5th string). So, the whole pattern goes like this:

e|---------------------------------------------------|

B|--------------------------------------------------|

G|--------------------------------------------------|

D|--------------------------------------------------|

A|------7--------3----------------------3-3-3----|

E|-3-5-----3-5------3-5--3-----5---------5-|

For the chorus, each line uses a repetitive G-A-C triplet idea followed by a response phrase.

e|--------------------------------------|

B|-------------------------------------|

G|-------------------------------------|

D|--------10--------10---------------|

A|--10/12-----10/12-----10/12----|

E|--------------------------------------| REPEAT 2xs

Fill 1

e|----------------------------------------------|

B|---------------------------------------------|

G|--------------------------10--12-----------|

D|--------10--------10----12--14----------|

A|--10/12-----10/12-----------------------|

E|---------------------------------------------|

Fill 2

e|----------------------------------------------|

B|----------------------------------------------|

G|------------------------12--10---9---------|

D|--------10--------10----14--12---10-----|

A|--10/12-----10/12------------------------|

E|----------------------------------------------|

Fill 3 (same as Fill 1)

e|----------------------------------------------|

B|---------------------------------------------|

G|--------------------------10--12-----------|

D|--------10--------10----12--14----------|

A|--10/12-----10/12-----------------------|

E|---------------------------------------------|

Fill 4

e|-----------------------------------------------------------------|

B|--------------------------------------------13-13--13-12----|

G|-----------12------------------/12---14-14--14-12-12----|

D|---12*(14)------14*(12)---10---/14----------------14---|

A|----------------------------------------------------------------|

E|----------------------------------------------------------------|
         *bend&hold    *release bend

It’s Finally Summer!, or, How I Spent $100 on iTunes in a Single Day

After two weeks of exams and a short glimpse of summer, the write-competition took up another two weeks of my favorite month.   Now, I am finally ready to catch up sleep, exercise, and some sorely missed guitar playing.

Since I had limited playing time last month, I took advantage of Truefire.com’s free 30-day trial. They have a ton of good video lessons, , they’re very convenient, and even better when they’re free.

I’m also excited to check out Wes Montgomery/Grant Green class at the Nashville Jazz Workshop starting next week. Their course listing looks awesome, and I can’t wait to check out the workshop and meet some other local musicians. In the mean time, I’m trying to work off the rust by playing through some arpeggio studies and Wolf Marshall’s Best of Jazz Guitar book. 

Additionally, I finally spent the $100 iTunes gift card that came with my laptop. I did it in style, too, spending it all in one day! I picked up some new releases, but I also reacquired some albums I only had on CD or had even lost. It was like catching up with old friends, especially when some of the artists are in fact my friends!

Here are some of the highlights of the iTunes binge:

Cary Ann Hearst - "Dust and Bones"
When I moved back to Charleston after college, Cary Ann was playing with the Gun Street Girls. They were the first Charleston band to really blow me away when I got back in town. Cary Ann has an amazing stage presence, and Lee Barbour was a jazz pyrotechnician trying out his country chops at the time. In the following months I got to know Cary Ann and other musicians in Charleston's music scene, and I had an amazing time building these friendships and sharing the stage with many talented and kind musicians. This album takes me back to those times. Check out "Long Road," "1200 Miles," and "Dresden Snow." Heck, get the whole thing.

Beach House - "Bloom"
With album opener "Myth," Beach House pick up right where "Teen Dream" left off. The sound is quintessential Beach House, yet their growth is obvious. The best way I can describe their live show was like a "bizarro 80s prom," and this album retains that vibe. Makes me want to dust off the drum machine and play along.

My Bloody Valentine - "Loveless"
Classic album. I think it's probably the third time I've bought it. One CD copy was scratched beyond recognition, and I lost another. Why wasn't it on my computer? Well, problem solved now. If I lose this album again, I am really in trouble because I'd need a laptop too...This album is  genre-defining and launched about a gazillion shoegaze/noise-rock bands in its wake. Some people might not get it on the first listen, but after a few spins, Loveless=Timeless.

Wilco - "The Whole Love"
Given my devotion to this band, you may be surprised I was so late to pick this up. For their previous 3 releases, "late" would have been any time after release day. Well, I listened to it on NPR enough to memorize most of it before its official release, and I had a burnt copy as well. I saw the Deluxe version on iTunes (I'm a sucker for these things), and made a proper purchase. Hopeful my 10 bucks went toward another boutique guitar pedal for the Loft.

Alabama Shakes - "Boys & Girls"
This album pays immediate dividends. Guitarist Heath Fogg's style rang true with me, and the first time I heard "Hold On" while driving home, I could just picture those hammer-ons in my head. I hadn't been inspired to learn a whole album in one sitting like this since My Morning Jacket's "Evil Urges." Perhaps because the style felt similar to my own, I thought this was a manageable goal. Great stuff.

Lee Barbour - "Nonfiction"
Lee was the first Charleston-based guitarist to blow me away (see Cary Ann's blurb above). He continues to do so with this full-length album of jazz/rock greatness. After seeing several of these songs performed live over the years, it's great to get lost in this collection of recordings. Lee is a formidable guitarist, so look him up if you're in the Charleston area.

School's out for summer. I'm really looking forward to exploring the Nashville scene and getting back to having  quality guitar time. Here's another great video with Nels, this one is from the folks at Premier Guitar.

Record Store Day is My Jam

I should be doing more of this right now:

Instead, I'm taking a quick break to get ready for Record Store Day. I am pumped about my first RSD in Nashville!  Record Store Day and Earth Day make for an awesome weekend, and my sister-in-law is also here for a visit. The only thing raining on my parade is the impending doom of  Law School Exam Week(s). Ideally, I would do a city-wide RSD tour, but with limited recreational time I was torn between Grimey's and Third Man Records. I decided to go with Grimey's, and I hope the weather permits the big yard sale they have planned. I am justifying the study break as a necessary errand to get some tunes that will help me get through finals. Here's what's on my list:

Shuggie Otis - "Inspiration Information" 7" w/"Magic"

One of my favorite songs by one of my favorite artists. I have most of his discography on iTunes, but "Magic" is an unreleased track. The purple vinyl is also insanely cool. If you don't know about Shuggie, do yourself a favor and look him up. Son of legendary bluesman Johnny Otis, Shuggie's career was arguably hurt by the fact that he was a multi-instrumental prodigy (in Stevie Wonder's shadow). Despite his lack of much deserved fame, Shuggie put out some quality work and made an appearance recently on Mos Def's The New Danger. They are rereleasing the full-length Inspiration Information album for the first time in forever in the U.S., but I got the import from 52.5 a few years ago in Charleston. 

The Explorer's Club - Grand Hotel

These guys would rock even if they weren't my homies. Their new record sounds fantastic and it has been well received. Catch them in Washington, DC for Earth Day on the National Mall!

Destroyer - Destroyer's Rubies

I'm not sure what's different about the "RSD Exclusive Release" version, but this is a great album and I'd like to pick up a vinyl copy.

There will be way too much music for my limited budget come Record Store Day. New music from M. Ward, Beach House, Blitzen Trapper, and the T-Rex Electric Warrior vinyl box set are all tempting. Even if you're not in Nashville, RSD has something to offer you. I'd like to give a shout out to Earshot Records, the newest record store to open in Charleston, SC. Check them if you are in Chucktown. It's great to support your local record store, and many stores will have free live music on Saturday. If you are in Nashville, I hope you take advantage of RSD and the wealth of our local record stores.  Maybe I'll see you at Grimey's. Just save the last Shuggie 7" for me!

_____________________
FYI, I don't get paid to promote or advertise for anyone. I'd rather recommend things that I find truly valuable and noteworthy. I hope to contribute more about my experiences playing music, living in Nashville, and attending law school. Your donations make it possible to keep this going without relying on advertising.

Amps I've Owned - Retrospective Power Rankings

Most guitarists I know continuously pursue an unattainable tone. With limits on money, space, and permissible volume, my quest has been more normative lately. What SHOULD my guitar sound like? Often, it feels like it should sound like something else; something my gear is incapable of achieving. However, the grass isn't always greener. Eliciting the widest possible range of tones from a limited gear setup is a rewarding challenge. Embrace It. Look at what Nels Cline, a known gear junkie, did with his amp du jur experience.


Additionally, it's nice to feel like your gear has been earned and not just the product of wiping out your bank account or maxing out a credit card. I haven't always had great gear. Looking back, even my lesser amps brought me a great amount of joy. Here's a retrospective, in descending order of rank:


Fender Deluxe Reverb Reissue: (9/10)

The grass isn't always greener, but my top-ranked amp is one that I no longer own. The Deluxe Reverb has the best clean tone and the best tube spring reverb of just about any amp I've ever played. The footswitchable vibrato is also really nice. I loved that it had less headroom than a Twin so that it could get nice crunchy tones when cranked. It was also a lot lighter than the Vox! Ultimately, before moving and starting law school I had to sell one of my amps. I thought it would be easier to replace the Deluxe than the AC30, so I sold the Deluxe. You can't really go wrong with either, but I definitely miss the Deluxe Reverb. I without a doubt see another one in my future.

Vox AC30 Custom Classic 1x12: (8.5/10)

The chime, the look, the history. I went to Ye Olde Music in Charleston, SC for some strings and walked out with an amp AND a guitar! I traded the Pod, Tech 21 cab, and my Mexican Telecaster Thinline as a down payment on both the AC30 and an American Strat. Probably the most substantial and transformative gear upgrade I've made. Instead of having a ton of processor effects, I had NO effects pedals for the first time since 1996. Having just a guitar and amp, I couldn't hide my inabilities. I was forced to work on my technique, and I learned to get more tones out of my guitar knobs than I previously thought were possible. I finally learned how to use the master volume and gain control for a variety of clean to crunchy tones.

This amp is fantastic. I've heard some people knock the Custom Classic, but my only negative experience was blowing the recto-tube a few times. Amp whiz Bill Nance was able to work his magic, and I haven't had a problem in years. The reverb doesn't stack up to the Deluxe Reverb's (obviously), but it's much easier to get nice overdrive tones at a low volume. I use an Electro-Harmonix Holy Grail Reverb and an Aqua Puss Analog Delay with the AC30, which more than handle my reverb and echo needs. This is a great amp.

Line 6 POD - Tech 21 cab: (6/10)

I ditched the Marshall-Fender setup for the kidney bean and a 1x12 Tech 21 cab. I didn't need casters, had several effects available, and the Marshall emulation sound was actually better through this setup because the Fender cab wasn't involved. The POD was also convenient for practicing and using as a DI box for recording.

I had moved from punk to learning classic rock, blues, and some basic jazz. I didn't really have a stylistic direction, and the versatility of the POD was accommodated my exploration. By this time amp modeling had come a long way, but it was still sometimes obvious I was using amp simulation. Despite its shortcomings, I would have used this setup longer, but a great deal at Ye Olde Music led to a major gear overhaul.

Marshall Valvestate 100 Head: (6/10)

This would have been really decent if I wasn't using it with that godawful Fender speaker cabinet (See Fender, Infra). I might have even kept the Fender head if I had a better cabinet. At the time, that cursive Marshall logo was like the holy grail. My bandmate just bought a Valvestate half stack and a Les Paul Studio, and I had to try to keep up. The Marshall-Fender 4x12 setup gets a comedic boost for when it showed up in high school band room for the first day of jazz band. Classic.

I got the used Valvestate head for a reasonable price when I traded in the Fender head. It was actually a good middle ground between the out-of-reach JCM 900 and Marshall's low end offerings. It's a 3-channel (Clean and 2 Overdrives) hybrid amp with solid state components and a 12AX7 preamp tube. They are on Ebay now for $199, a good price for a starter Marshall.

Kramer KA22R: (5/10)

My first amp ever, so some sentimentality points are due. It showed up under the Christmas tree in 1995. It was part of a guitar/amp set from Sam's Club, and that Christmas I was the luckiest kid on Earth. There's one on eBay right now for $35. Maybe I'm sentimental, but I remember this being a decent starter amp. I thought I discovered reverb. Then, I thought I blew out my speaker and was bummed out. Instead, the guy at the local music store explained what the "boost" channel was. I didn't really understand how it worked, but I proceeded to do injustice to more Nirvana songs than you could possibly imagine. That's when my parents pointed me to the headphone jack.


Peavey VT Classic 50w: (5/10)

I cut grass all summer for (1) this bad boy and (2) a Hondo Flying V. They were both for sale at Monck Corner's best, smokiest, and only guitar store. I made my way through the cloud of Marlboro smoke and saw this Peavey amp on the far wall of the store. What's this?? Multi-colored knobs? TWO speakers? That had to be better. I didn't know what a tube was. All I knew was this amp was louder than mine, and that made up for the fact that it took "longer to turn on." It was $200, a life savings at that point. I thought the amp was nice, but when I was shown the footswitch, it became essential.


This 2x12 amp had multiple channels that could be blended (I could NEVER get this to work right), but the highlights were the footswitchable reverb AND phaser. Why doesn't every amp have a built in phaser? I probably could have made this amp sound halfway decent, but I was too preoccupied with the awesomeness of my new 4-button footswitch.


I used this amp when I joined my first band in high school. I remember something in it blew up when I was playing at a Relay For Life, and I had to run my Kramer amp through the Peavey speakers, creating my poor man's half-stack. I honestly can't tell you whether this amp is capable of making good sounds. I'm going to err on the side of no, but bonus points for the footswitchable phaser.


Fender Roc Pro 1000 Half Stack: (3/10)

Getting two speakers (See Peavey, Supra) was a slippery slope. Before long, I needed a 4x12 cabinet. In 10th grade, certain aspects of the band became a status symbol. Half-stacks, multiple cassette demos, and double bass drum pedals were are signs of bands on the way up.


So, I finally got a half stack. It was a joyous occasion when I came home from school to a massive Musician's Friend box on my front porch. It didn't matter that the speaker cabinet boomed, woofed, and sounded flat out terrible. Instead of covering the speakers with a grille cloth, Fender just screwed a metal screen on the front. I wanted it to sound like a Marshall for my punk band, but I could have lived with anything serviceable. Unfortunately, this didn't even meet my modest tonal needs at the time.
___________________________


The takeaways from the amp shuffle are that finding the right gear is a  process, that joy can be found with "substandard" gear, and that ultimately you must live within your means. Don't blow your money, but don't be scared to experiment either. There are great deals on used gear, but use a reputable seller. In retrospect, some of my purchases were unnecessary and comical, but I loved every minute of playing and exploring the capabilities of new gear. I still do!

Coming Soon:
My new music, culture, and law blog to help pay off my student loans. Not to be confused with Caine's Arcade, another awesome cause!
My PayPal account is active, and I'll have lots of good content up right after finals.

For now, I've added some of my previous guitar lessons. Enjoy, and let me know what you'd like me to cover.

Also, any donations that exceed my student loan debt will be donated to Caine's Arcade! Thanks everyone!