Musings

Amps vs. Amp Simulators

by Rich Tozzoli

By now you’ve probably had a chance to run your guitar through one or more of the available amp simulators on the market. With hardware and software offerings ranging from the pioneering Line 6 POD to IK Multimedia’s AmpliTube and Digidesign’s Eleven, there are literally hundreds of amp models available at your fingertips. Want a ’64 Blackface Deluxe? A ’67 AC-30 Top Boost? How about a ’65 Marshall JTM-45 into a 4×12 cab loaded with Celestions? No problem, just dial it up.

Well, maybe there’s a little problem. You will need a fairly modern, fast computer and an interface to get the job done with software. Like their desktop and rackmounted counterparts, these simulators are all very well-suited to digital recording rigs, but if you want to use them as a preamp for a live setting you’ll still need to run them through speakers or a freestanding amp.

What happened to just plugging that ¼” cable into a good old tube combo and cranking it?

Amps and amp simulators. There is no answer to which one is intrinsically better, so the question becomes: What best suits your musical needs?

Live Rigs
If you’re mostly playing out live, a standard amp sure makes a lot of sense. However, more and more players are going the laptop route with interfaces such as the Stealth Pedal, which was built just for that purpose: live playing through a computer.

What are the benefits of a laptop for live performance? Well, aside from not having to lug your 50 lb. monster in and out of the club, there’s the flexibility of sound. You can call up a massive variety of amps, cabinets and effects to produce most any sound for any setting or style. That kind of Swiss Army-knife diversity would set you back a small ransom if you owned the actual hardware pieces. And who would want to hump all that gear on a gig?

On the other hand, there’s a great deal to be said for the simplicity and reliability of a conventional amp. It may not be a master of all trades, but it can be a master of tone. An amp (let’s say a combo amp) represents true, old-school plug and play, and troubleshooting is usually at a minimum.

Plus, you may not like the feel of playing through a computer. Even though many amp simulators sound amazing, they may not give you that sponginess or string attack you’re accustomed to as a player. That will in turn affect your performance — and we all realize what that leads to.

Another issue to take into consideration with a laptop rig is latency. Basically, latency is the delay (in milliseconds, or ms) that it takes for the sound to travel from your strings, through a computer’s processor, and out to a speaker. The current generation of speedy computers renders latency nearly a non-issue, but there are system/software combinations that are problematic. You’ll have to explore the options to learn which programs are most compatible with the computer you intend to use.

Recording
If you mostly work in the studio, an amp simulator can be an amazing tool to get sounds that are otherwise very difficult to come by. Recording a real amp comes with the complication of miking it properly (which includes owning the right mics), not to mention those volume levels when you’re working late at night. With a simulator you can put your headphones on and dial that JTM-45 up to blistering levels. Then, with just a few clicks of the mouse, instantly switch over to a small Fender Princeton.

Good as these simulators are, the sound of a real amp that’s miked up and dialed in just right is an incomparable thing of beauty. Sure, you have to get it set up just right, but that tone and feel can inspire great performances.

Some players throw in the towel on simulators, tired of working with digitized sounds that don’t meet their analog expectations. Some can’t understand why anyone would lose an hour of precious time moving around a room mic when great tone is a click away.

Suss for Yourself
In my work producing artists and on my own television tracks, I’ve found a combination of amps and amp simulators to be the best solution. No software can replace the sound of my ’62 Gibson Falcon, ’66 Magnatone M10, or ’91 MESA/Boogie Mark IV head. But none of those amps can provide me the amazing variety I get using my favorite amp simulator programs.

In deciding which approach works best for you, be sure to test both under optimal circumstances. That is, be sure to give each side a fair shake. Get the tubes changed in your amps and make sure they are biased properly so that when you plug in the sound will rock your world. But also poke around online and check out some cool amp simulators. Install the demos using sounds that grab you, and A/B them with your miked sounds. You just might change your thinking — and your tone — in the process.

Rich Tozzoli is an accomplished engineer, mixer, producer and composer. He has worked with artists such as Ace Frehley, Al DiMeola and David Bowie, among many more, and is the author of Surround Sound Mixing for ProTools. Rich is also a lifelong guitarist and composer. His work can be heard regularly on FoxNFL, HBO, and Discovery Channel.

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February 1st 2012

Robert Johnson On Speed?

By Steve “Red” Lasner

Much controversy has arisen about whether or not the recordings of Robert Johnson we have been listening to for years were speed altered. Some musicologists are convinced Johnson’s released recordings are 20% faster than those he performed in two solo sessions in 1936 and 1937, and they wonder how this happened, when it happened, and why it happened.

Many blame advances in technology, some claim it to be a conscious decision made during the mastering process, and others claim that there actually is no speed alteration. If the recordings indeed were sped up by 20%, slowing them down would result in a significant change in pitch and tempo that would have a serious impact on the history of the blues and all of the music and musicians influenced by Johnson. Is it possible that we have never heard what this very influential singer-guitarist truly sounded like?

You be the judge:

“Crossroad Blues” – Fast (original):

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“Crossroad Blues” – Slow (revised):

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Steve “Red” Lasner has rubbed elbows and performed with many great and famous musicians including Buddy Miles, John Sebastian, Derek Trucks, Robben Ford and many more. In 2009 TrueFire released Red’s first instructional guitar course Blues Expose. Red continues to perform locally, nationally and internationally and continues to produce instructional material.

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January 19th 2011

Words of Wisdom from Thelonious Monk

by Brad Wendkos

Jazz saxophonist Steve Lacy was a diehard follower of Thelonious Monk. He wasn’t just a fan, either; Lacy became known for his recorded renditions of Monk tunes and later played in Monk’s band of the early ’60s.

When the master spoke, Lacy listened — and even wrote down Monk’s words of wisdom.

Stay with us here, because another great saxophonist and music educator, Jamey Aebersold, recently shared some of Lacy’s handwritten notes with the good folks at Steve Maxwell Drums, who in turn posted the notes on their website.

And we now share some favorites with you. We found the following seven bits of Monk wisdom particularly ageless and profound.

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Interviews

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October 3rd 2010

A Life for Music: An Interview with John Stowell

Learn from John Stowell with his latest jazz guitar lessons in “Modern Jazz Improvisation” – now available for instant download

“This is a jazz guitar player speaking about jazz,” said John Stowell.

He sat back in his chair, folded his hands.

Stowell is, by all accounts, a calm man when you’re sitting face to face with him in an office kitchen conducting an interview. But if you bother to peer a little deeper you soon see the intensity – the l’esprit de feu that no doubt drives his playing. Playing that, for lack of a better word, can only be called jazz, but for the better part of 30 years has also been called “daringly original,” “transcending,” and “unique.”

Friends and fans of Stowell all say his playing is as original as he is. That to let his music in, you also need to let in a piece of his spirit; a slow-burning ember that will eventually grow into an inferno. And in the span of 30 years, Stowell has started a lot of fires with his music; bright beacons that lead him all over the world. He says he just tries to be inclusive.

”I want to try to, as quickly as possible, establish a flow of energy back and forth between me and whoever I’m playing for,” said Stowell. “And if we can invite them in, then we can take them on a little journey with us and in some cases ask them to listen to something that’s fairly challenging.”

In many ways, Stowell’s music is challenging. You’d expect that from a master guitarist. But listening to him play leaves the average person scratching their heads with heavy hands of awe, and respect, which unfortunately seems to leave their hands too busy to pick up his records. His music isn’t terrible, it’s hauntingly good, but Stowell challenges you to listen to music in a way that isn’t done anymore – with patience, curiosity and a sense of wonder.

And some would say that’s why John Stowell still has one hurdle: finding his next gig.

The harmonies of jazz are what attracted Stowell to the style. He got his start in Connecticut, before moving to a small town north of New York City in the 1970’s. “Every jazz musician spends some time in New York,” explains Stowell. Looking for more opportunities to perform, Stowell built a tightly knit network of musician friends and started traveling the country to play gigs. His motto and advice is that when an opportunity presents itself, see if you can go with the flow. Eventually, Stowell’s gigs were not only in different towns, but different countries. He hasn’t stopped traveling since.

“I don’t have any regrets,” said Stowell. Most musicians Stowell’s age are teaching, have homes, families and responsibilities. He admits that he knows very few guys in their late fifties who are out on the road as mush as he is. But John Stowell’s only responsibility is his music and that’s exactly the way he wants it, “I’m doing what I have to in order to keep the music out there.”

John’s dedication is slowly paying off. He’s cultivated a small international following which has allowed him to perform on over 4 continents — to audiences of sometimes no more than 50 people. But even when he’s performing in the living room of a fan’s home, Stowell often makes more money than if he had performed in a club. An interesting trend that’s starting to pick up momentum.

But after 30 years, it becomes clear that each gig is still only the beginning for him.

”My goal is to just be the best musician I can be and hopefully have some people enjoy it along the way.” Stowell says, looking out the window. It’s a gray November sky. “I’m not a money maker for anybody. It’s a little grassroots life that I still like enough to keep doing. I don’t have a family, no debt, so I can travel around as much as I want to. But I’m basically surviving on the road from the good graces of friends.” Stowell references an email he received, that basically said if you can find 1,000 fans in the world, you’re fine. I tell him he has a new fan in me. His response is humbling and gracious.

Hanging on the wall behind Stowell’s head is a framed print of Van Gogh’s At the Foot of the Mountains (seen right).

“In my case, my goals have been the same for the past 30 years. To be the best player and teacher I can, travel as much as I can, play with as many good players as I can, stay positive, stay ethical, keep going, document my work, record my CD’s and keep it growing,” Stowell said.

There is a famliar allure to Stowell’s life. He has no teather holding him back from his dreams. And perhaps that notion is the little piece of his soul you have to let inside. That is the ember that lights the path. Because to discover John Stowell‘s music, you are discovering what’s really at the end of a road less traveled.

Check out these two beautiful performances by John during his last trip to TrueFire:

“Useless Landscape”

“How Deep Is The Ocean”

Learn from John Stowell with his latest jazz guitar lessons in “Modern Jazz Improvisation” – now available for instant download

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September 2nd 2010

7 Mistakes Every Beginner Guitarist Makes

by Corey Palmer

For the beginning guitarist, it’s all too easy to run into pitfalls and stumbling blocks — especially when you’re trying to learn guitar on your own with online video guitar lessons. Obstacles of all sorts can cause you to form bad playing habits or prevent you from progressing to a higher playing level. Wost of all, they can cause you to get so discouraged that you give up trying.

To help fight the frustration, we asked teacher Corey Palmer to offer some tips for first-timers.

1. Not practicing correctly.

When you pick up your guitar to practice, do you just play what you already know — or do you work on new riffs and techniques? Often the best way to progress it to find a balance between playing what you already know and working on something new. Divide up your practice time between mastering the techniques you already know and challenging yourself with new learning material.

2. Trying to play beyond one’s ability.

You cannot expect to be able to shred out Steve Vai licks if you haven’t mastered Mary Had A Little Lamb yet (the nursery version, not the Stevie Ray Vaughan song). Trying to play far outside of your current ability will only bring frustration. You have the entire rest of your life to build your guitar playing up to a level of mastery — take your time and find your own path.

3. Choosing the wrong gear.

When you’re first starting out, it is easy to get caught up in what a guitar looks like or how much it costs. These days, well-made instruments are available at virtually every price point. The best thing to do when going shopping for that first guitar is to bring someone who knows the ins and outs of guitar shopping. Let them help you choose the best guitar for your budget and the playing style you’d like to learn.

4. Playing an out of tune instrument.

Learning to tune is your first job as a budding guitarist, and you should tune your instrument every time you pick it up. If you are always playing a guitar that is out of tune, your ear never really gets to learn what each of the notes and chords should sound like. Plus, an out-of-tune instrument will always sound bad no matter how well you’re playing.

5. Learning in a vacuum.

These days there’s an abundance of online guitar lessons, videos, guitar books, DVD’s and other materials that allow you to learn at your own leisure. Given all the available tools, you could gain a ton of chops and know-how. But someone who spends all his time learning in isolation can be at a total loss when it comes to performing or to playing with other people. Once you get a little comfortable with the instrument, seize every opportunity to interact with other musicians and with teachers. You’re sure to benefit from any constructive feedback, and there’s no better way to learn the dynamics of making music in a group.

6. Not warming up before playing.

Ever wondered why there are times when you pick up your guitar and cannot play something that you have played with ease before? The main cause is not warming up first. Try going through various finger exercises, running through scales, or just riffing on some licks that you’re familiar with. You’ll be surprised what a five-minute warm up session before beginning your practice will do for your playing.

7. Memorizing, but not applying.

Sure, you can memorize a ton of various riffs from other guitarists and play them all flawlessly. But are you actually thinking about how to apply what you learn to your own playing? The next time you learn a lick or phrase created by another player, try twisting and turning it until it becomes something of your own. It can make the difference between regurgitating someone else’s music by rote and becoming an actual musician.

Corey Palmer is a guitarist and teacher in Woodstock, New Brunswick, Canada. Now that you’re a smarter beginner, get started with some of Corey’s easy guitar songs to learn– and stay away from those seven points!