Instrumental breaks

When it comes to purchasing a musical instrument, the phrase “ignorance is bliss” most certainly does not apply.
At the same time, having too much information can be just as perplexing. This is particularly true in an age of mass media, electronic auction houses, artist endorsements and the information superhighway.
Some musicians can be intimidated by high-tech language. They can even feel excluded from their own profession or hobby.
For such reasons, musicians should aim for a close, frank and ongoing relationship with their local music store.
The Irish singer-songwriter Roesy, who features on the free CD with this issue and who is currently in Nashville with US country star Buddy Mondlock, Brian Hewson and Niall Toner, reckons he’s gone some way down this particular road.
“Because I’m primarily a singer, I’ve been using a small-bodied Lowden guitar,” he explains. “It works well when I want to fingerpick. It has a good body and I don’t need to belt it hard to get the sound I want. I also use a lot of open tunings. I’ve been through quite a few guitars, including a solid mahogany-bodied Martin that I got from Gemma Hayes.”
More recently, Roesy has linked up with The House Of Music, based in Cork. He’s so smitten with the Lakewood, a German guitar he got there, that he has signed an endorsement deal with the company. And he regards House Of Music owner John Christie as his chief sounding-board for any problems that might arise with his guitars.
“I don’t think customer service for musical instruments is all it should be in Ireland," he says. "I originally met John when I developed a small problem with the Lowden,” he says.
“I took it to John and he fixed it very quickly. I became so impressed with his attitude, his knowledge and his Lakewood guitars that I will now travel all the way to Cork to discuss key issues about my instruments with him,” he says.
Roesy will probably use both instruments for his next recording. But be warned. He’s also done a Dylan and gone electric!”
He modestly claims he’s still learning to master the electric guitar. However, if he can apply his acoustic skills to the electric approach, then you can expect sparks to fly.
For amplification, he is happy with his Peavey Rockingham – “an old rockabilly jazz thing”. “But ultimately,” he warns, “your instruments are the tools of your trade, and if you’re not getting the best out of them, then you’re not performing at your best and you’re short-changing yourself as well as the fans.”
For that reason, he believes every musician should have a close relationship with shops that sell instruments.
Another area where reliable advice is crucial is the rapidly-expanding field of music technology. It is here that an established company such as MTI (Music Technology Ireland) comes in.
Cormac Smith, MTI managing director, says that many new musicians need guidance when it comes to deciding what to buy
“Today’s musician has more choice than ever before, with so many different brands and variations from instrument to instrument. There’s more of everything and the prices are getting cheaper,” he tells hotpress.
Perhaps as a result of this array of choice, Smith believes musicians often buy more equipment than they actually need. He thinks they should spend a little more time considering what they want to achieve with their equipment or instrument. Only then, should they approach a dealer.
He says: “Some musicians buy the wrong instrument or equipment for the wrong reasons. Just because something is in fashion or looks cool or your favourite player uses a particular instrument, doesn’t mean it’ll automatically suit you. What you want may not be quite be what you need,” he strongly advises.
Having said that, he also reckons that about 80% of musicians know what they want. Newer players, especially, still need assistance in achieving their desired sound.
He is most excited by the fact that what he calls the “entry-level home-recording interface” is getting progressively cheaper.
As proof of this, he points to an mBox (microstudio music production system), which two years ago cost €600, but which can now be snapped up for just €299.
Smith believes that MTI offer their customers a range of equipment at prices that compare very favourably with any on-line retailer in Europe.
“Because we have no shop and sell our products through e-mail or phone, we’re not tied to any manufacturer or any specific brands,” he explains.
“We don’t have a warehouse of expensive items costing us money. So we can be totally unbiased when we come to recommending a purchase,” he says. “I’m also very optimistic about the future. Now that nearly every single person has access to a computer, they can open up a whole world of possibilities for themselves for just a few hundred euros.”
Another favourite shop among musicians is the excellent Perfect Pitch on Exchequer Street, Dublin. One of the capital's leading professional level music stores, it has a wide range of guitars and amps. Under the direction of Gerry Crowe – himself a musician of some standing – the store has developed its specialisation in acoustic guitars, catering for beginners up to professional level. In addition, among some superb high end instruments, they stock the prestigious – and wonderfully rich-sounding – Martin Artist signature series, currently on special offer. Further details are available at www.perfectpitchmusic.ie
Stage lighting is another area where ambitious artists have more and more to chose from. Paul Smith, of Just Lite, based in Finglas, Dublin, recommends that a band first recruits a friend who has an interest in stage lighting.
“They can learn about lighting and plan a set to fit the venue, using whatever lighting is available,” he says. “Then, they can build a show from that and get into renting certain lights to bring with them to venues, to augment whatever’s there already. They can keep building it up to a full-blown live show and rent out a whole light rig to take on tour.”
Just Lite not only provide the equipment. They also work with bands at a production level. They’ve even been known to do deals for new bands on tour. Naturally, if bands come to them for advice they’ll gladly give it.
Smith adds: “Of course, the advice we give depends on individual circumstances. Basically, the lighting show starts with whatever venue a band is working in, and what power is available to them, and you take it from there. You can’t really create a live show until you suss the venue.”
Significant preparation is needed. Just Lite will typically begin work on a show one to three months before an event.
They also have to deal with acts who don’t really know what they want or can’t communicate it.
Smith feels strongly that certain music requires certain lights. “If it’s soft country music you don’t want a load of strobes! It depends on what’s needed to set the mood,” he says.
Just Lite provides a full service, letting the artist concentrate on making music.
“We’d advise bands all the way on what’s cheapest and what’s the best way to do it,” Smith says. “The band is only really required to make music. Even DJs are really working at their rigs.”
It’s not only new bands that can benefit from a light show. Just Lite has an impressive array of big names on its CV too.
“We’ve done the lights for Blur, The Chemical Brothers and Westlife. One of our bigger events this year was Fatboy Slim at the Electric Picnic. He’s got a huge lighting set up and he mixes video to his lighting system. He puts video though LED lights. That’s how you get that crazy stuff that comes up in front of him.”
Fatboy’s video display is mixed in the same way that he mixes his tracks, says Smith.
With nearly 20 years experience and a vast stock of top-end equipment, Just Lite can deliver just about any type of lighting effect you could possible need.
“You have to really to keep up to speed with changing technology,” says Smith. “Bands should have no fear of not knowing anything about lighting. Make good music, but leave the lights to us.”
Without practise, no musician would reach the top of his or her profession. Of crucial help in this regard is the music book. At McCullough Pigott booksellers in Dublin, many top tutorial texts are at half price, says manager Geraldine Relph. Among the titles on offer are the Play Guitar With... and Jam Session series, in which the player gets a step by step breakdown of particular guitar solos and riffs. Groups who feature in the books include Coldplay and Jimi Hendrix.
For anyone who prefers a more visual approach to tuition, McCullough Pigott also stock the full range of the Lick Library DVDs.
This sequence has scored top reviews in major guitar magazines, and offers a step by step breakdown of guitar solos and riffs. It is very easy to follow, since instructor Jamie Humphries has a concise technique. This helps the fledgling musician to learn to play in the style of a variety of guitarists. Full details of the range of DVDs can be browsed at www.licklibrary.com.
Books with CD tutors are always very popular and, at McCullough Pigott, you’ll find the full range of old favourites, such as The Complete Guitar Player, Absolute Beginners Guitar and The Hal Leonard Guitar Method.
These books have done terrific service over years, and are still among the most popular tutorials on the market. Of course, as soon as you have learned the basics, you might fancy trying different styles, such as jazz, blues, fingerstyle or flamenco.
To help you, McCullough Pigott stock a variety of titles, from publishers such as Music Sales, Mel Bay, Guitar Rockschool and Koala. All of these offer tutorials that will suit every grade, from the beginner to the more advanced player.
WORDS Steve Cummins