REQUESTS…
Want to see something in the mag? Tell us at guitarist@futurenet.com
Reader Paul Kelly wants to see more inexpensive guitars, recording tips and diverse British makers in the mag in coming issues...
Hi, just want to throw in a few thoughts about the mag! Quite a few of the last issues have been superb, featuring bands such as Khruangbin, Dweezil Zappa, Cory Wong and even the occasional jazz player. I am on the wrong side of 70 but I have always been into new bands and guitar players who bring something new to the art. I would like to see a feature on Pat Martino and maybe one on Terje Rypdal, who are both awesome guitar players.
I would also like to see fewer articles on instruments costing way more than a car, although the exception to that would be Emerald Guitars who have proved to be really worthy instrument makers by using sustainable construction methods. Maybe we could have something about recording techniques, too, perhaps at a basic level – for example, bass guitar coming through a mix sounding louder with just a hint of distortion. Drum machines can also sound better by adding a hint of distortion.
I think you should also be supporting more British manufacturers and suppliers such as Studiospares who supply top-quality products at affordable prices. On upgrades for Strats we have lots of companies in the UK who can supply really affordable components.
A feature about music education is surely long overdue, too, as most big cities in the UK now have education facilities such as LIPA in Liverpool. Reviews and discussions about music education could be of interest. For example, does the USA have better trained musicians than the UK?
Can we also have more articles about cheap guitars and cheap recording? Cory Wong is proud of his cheapo Strat and so is the dude from Khruangbin. Both of those guys are worthy creative guitar players – so more of that, please! Paul Kelly, via email
Thanks for your welcome thoughts, Paul. We were blown away by all the positive feedback we had about the Giant Killers issue on inexpensive guitars so look out for more in a similar vein in future. The aim is always to cover quality guitars in the mag but that doesn’t preclude inexpensive stuff. Not every guitarist – or indeed many guitarists – can afford really top-end instruments so we’ll be looking at the balance of gear that appears in the mag to make sure it stays as relevant to readers as possible, while still celebrating the best in guitar making. Your point about British makers is well taken but with Gear Of The Year awards going to small UK outfits such as PJD last year and regular features on Brit builders from innovative cabmaker Barefaced to resurgent brand Gordon Smith in recent issues, we think there’s a good foundation to build on. It may take a while to get around to everyone’s favourite Brit makers but we pledge to try.
The case for buying high-end is this: the extra money spent means someone who knows what they’re doing took the time to pick the best woods and components, so you don’t have to rely on luck. Then they lavished more time on the details than a worker on the standard line could: things like rolling in the edges of the fingerboard expertly and cutting the nut perfectly, dressing the frets with care and ensuring that the setup is excellent. All these things are small refinements but good high-end makers make sure that they are built in as standard. Cumulatively, it adds up to a guitar that in most cases is tangibly better across the board than its entry level or mainstream counterparts. There are exceptions, of course, and not everyone will feel these cumulative refinements are worth the extra dough. But a production process that prioritises enhancing a guitar’s performance wherever improvements can be gained rather than building to a target price could be said to be the thing that really justifies the value of high-end guitars.
WHEN THE GUITAR’S THE STAR
There’s another downside to playing a fancy guitar on stage beyond the risk to your investment – and that’s the risk of being upstaged by it. I managed to get hold of a lovely ES-175 with figured top and gold hardware for a very reasonable price when I started playing with a local jazz group. I’m very pleased with the guitar both in terms of its good looks and the way it plays. However, at a recent gig we found ourselves playing to an audience that included none other than the superb Clive Carroll. Clive ended up being invited up on stage to perform a couple of numbers with the band. Not having a guitar with him, I graciously handed over my prized Gibson for him to play, which he did, of course, very well. Unfortunately, the only words he spoke to me as he handed it back were “nice guitar”. I really would have preferred him to comment on my playing… Peter Platt, via email
Thanks for sharing your bittersweet story, Peter. Clive’s a lovely bloke so I’m sure he was aiming for a sincere compliment there but possibly overlooked the obvious!
To be fair, you’re in good company. We know of one very accomplished blues-rock guitarist who expressed frustration at having to field endless questions about the minutiae of his gear from guys hanging round afterwards, with nary a compliment on his actual playing. The non-cynical reason for this may be that it can feel awkward to deliver a personal compliment if you’re feeling a bit self-conscious in the presence of your heroes, whereas asking about someone’s amp or pickups is a bit easier. Take it from us, though, no-one will mind if you say their playing is amazing first!