With mass vaccinations of Iowans occurring daily, by most visible measures life is slowly returning to pre-pandemic normal. Though masking is still a prevalent and required, people are involving themselves in old routine behaviors like eating at restaurants, visiting coffee shops, and in the case of this posting, attending musical events such as Open Mic Night! We had the great good fortune of access to a most excellent coffee shop, Cup of Joe in Cedar Falls, to host such an event.
The Conditts perform at Open Mic Night
My friend Grant Tracey and I hosted our first Open Mic Night together this past Friday evening, May 7, 2021. In a previous blog posting I wrote in some detail about the technical aspects of hosting an Open Mic scenario, particularly the use of a Bose L1 Pro 32 PA system.
To the left you can see the general set-up situated in the rear of the coffee shop. Between the two performers, on the floor, you will note the Bose subwoofer, the line array speaker tower and hidden behind the singer a T4s mixer that all comprise the PA system. The Bose 32 is spec’d for a larger space than the coffee shop so it easily performed admirably without stress and filled the room with a pleasant level of performance sound. Audio level adjustments of volume, bass, treble and reverb were easily executed. Audience members commented positively on the quality of the sound, which was a relief to me since I personally invested in all the PA hardware. You’ll also notice guitar and mic cables everywhere, stools, mic stands, guitar pedal boards, guitars, and guitar and music stands.
The fact is, there was a great deal of schlepping to get the performance space properly set up. Even though the Bose PA is valued for its portability, by the time you pack in the PA, cables, stools, mic stands, guitars, guitar stands, and guitar pedal boards, its quite an effort! You can see below, in the image of me performing, all the surrounding support hardware required to pull off the event. At first glance, it might not seem like a lot, but it was a lot to haul from home, and then get from the parking lot into the coffee shop. I am grateful that we planned to take 90 minutes to get set up for our first time, and we needed every minute, considering that Grant had to make an emergency run back to my home to fetch a music stand and my iPhone which contained a Bose app to remotely control PA sound quality.
Me and my Collings I-35 knocking out my first set…
I would make the following preliminary conclusions regarding the Open Mic set up to consider before Grant and I do it again:
Get to the Coffee Shop early, because set up takes time. I still think we need 90 minutes. Perhaps we will be able to streamline matters in the future, but we’re not there yet.
Contrary to my above assertion, as advertised, the Bose L1 Pro 32 snaps together very quickly and gives solid performance. Its the routing of mics, guitars and pedal boards that take extra time.
It seems to me easiest to use the 3 channels available on the Bose L1 power stand because the sound quality can be easily manipulated using the Bose app on my iPhone. The app allows me to wander anywhere in the coffee shop to check sound level and tonality and easily adjust it where I stand. With a variety of performers using different guitar types and styles, quick and easy adjustments of sound are of great value.
That first night we set up three mics, but I think two is enough. Dropping to two will save time, space, and reduce cables.
The two guitar channels and a mic will run off the power stand. An additional mic can be routed through the T4s. This set-up is not written in stone.
I do not think we need 2 stools and am thinking one is enough.
It is my understanding that there are music stands in the basement of the Coffee Shop, so we do not need to haul one in on Open Mic night.
Grant Tracey and his Les Paul playing his set…
All in all, it was a good night. I’ve seen the coffee shop more crowded on previous Open Mic nights, but there are still some residual pandemic fears keeping people away, and there was an outdoor music venue in operation around the corner, down the street, which was drawing people in. Nevertheless, we had a respectable audience for our initial First Friday Open Mic night.
To the right, you can see fellow host Grant Tracey playing through his set. One of the perks of hosting Open Mic is the chance to play your self and depending on the number of performers who sign up, you may get to play even more.
Playing my National Reso_Lectric in a second set…
In the end, both Grant and I squeezed in two sets each. Anticipating that I might have the opportunity to play more than the standard 15 minute open mic set, I brought along two guitars, both of which made their first public appearances: my Collings I-35 Semi-Hollow bodied electric and my National Reso-Lectric, as seen with me on the left. In addition to the guitars, making a first public appearance, I, for the first time sang publicly. Ever since, Mrs. Silliman, in the 3rd grade, tossed me onto the “inadequate singer” refuse heap when sorting students for participation in grade school chorus, I’ve believed my singing voice somewhat suspect; however, with the encouragement of my wife, Annette, and others I decided to give it a go. Playing finger-style Travis picking technique is also a challenge when trying to sing simultaneously; however, after 5 years of concentrated dedication to guitar playing, I finally broke through this Spring and was able to play and sing simultaneously, which is no mean feat for me!
Here was my playlist:
Set One
If I Needed You – Townes Van Zandt
Long Distance Call – Muddy Waters
Pancho and Lefty – Muddy Waters
Vigilante Man – Woody Guthrie (arranged by Ry Cooder)
Set Two
Paris, Texas – Ry Cooder
You Got to Move – Mississippi Fred McDowell
Railroad Bill – traditional (arranged by Tom Feldmann)
Corrina, Corrina – traditional (arranged by Stephen Grossman)
Baby, Please Don’t Go – Big Joe Williams
Annette was kind enough to film a couple of my tunes… you can view one below, warts and all… I dropped a few notes along the way. This was my rendition of Muddy Waters’ “Long Distance Call.” A bottleneck tune played in standard tuning… You will note that the Coffee Shop was quite noisy and I found it a bit of a distraction, but powered through…
Steve Surles, waiting his turn to play at the Open Mic
If all goes as planned, I will be hosting First Friday Open Mic in June on the 4th. My regular co-host Grant, to my chagrin, is tied up with a local theater engagement, so Steve Surles, who also played the open mic with us on the first night, has volunteered to guest co-host in June. Hopefully too, my son Parker will come back from college in Iowa City to help haul equipment and listen-in which will be a great delight for me! See you then!
What to do? What to do with yourself in retirement that continues personal development? What do I like to do? I love the road and photography… Seeing live music is always fun too, but it’s even more fun to make music. Nevertheless, I’m not ready, nor interested in solo gigging at this time nor playing in a band… what is realistic for me is 15 minutes behind the open mic… I’ve missed the open mic as much as anything during the pandemic “lockdowns.”
Cup of Joe on Main in Cedar Falls, IA
Now consider this… What could be more fun than playing at an open mic night? Not only playing open mic night, but also hosting it! You get to play, organize the event, and operate the sound tech, and I’ve always loved tech. For example, I had a ball building a proper pedal board.
In my experience, the best existing open mic night in the Cedar Falls/Waterloo area is hosted by Rick Vanderwall and Bill Guernsey at the excellent coffee shop, Cup of Joe on Main Street. Yet it only happened (pre-pandemic) once per month on the third Friday.
It occurred to me a couple of months ago, as the pandemic began to wane somewhat, and I finished out my two Pfizer vaccinations, that it might be possible to add another open mic night at Cup of Joe on the first Friday of the month. I believed the interest would be there for an additional open mic session. This is especially true when you consider the sizable increase in guitar sales during the “lockdown.” My guess is there is now a more-than-modest increase in the number of live-performance aspirants with new guitars and open mic night is the place to start!
So… I asked Dawn, the proprietor of the coffee shop, if she would be interested in providing the space for an additional open mic night. Along with the request, I promised her that I would provide a “world-class” PA system to support the event… and, to my great, good fortune she said YES! Her only request was that I apply energy to make it a success by marketing the event in the community… fair enough!
A World-Class PA for Open Mic Night
Grant (left) and me (right) checking out axes at Bob’s Guitars in the days before COVID. I love the optical illusion in this photo. In real life Grant towers over me, but in this shot he looks like my little buddy…
I should note that before I embarked on this project, I enlisted my longtime-Iowa-best-friend and guitar playing partner in crime, Grant Tracey, as a cohost for open mic night with me. Running one of those events is really at least a two person operation. Without reservation he agreed to participate. Like me, he saw this as a routine way of getting to play publicly in an easily manageable way.
With Grant on the team, the next step was to acquire a sound system. Cup of Joe does not own a sound system, so a portable one is required to schlep in on the night of the event. A functional small venue sound system would offer multiple channels permitting a few microphones and two to three instruments, which are almost always guitars. Gigging performers at Cup of Joe often use multiple amplifiers; however, a multi-channel portable PA (short for public address system) is also commonly used. In fact, Rick Vanderwall, who hosts the third Friday open mic night has used a Bose portable PA system successfully for several years.
Rick Vanderwall (center) and his PA (seen arrayed behind him)
To the right, you can see Rick’s Cup of Joe open mic set up, with his early model, Bose portable line array in the background. Note in this image that he has three microphones and two instruments “plugged-in.” The Bose system is referred to as a “line array” because it uses a narrow vertical tower containing multiple two inch speakers alternatively angled left and right. In addition to the tower, which handles the mid and high ranges, there is a sub woofer to provide coverage for the lower sound frequencies. Sitting on a chair behind Rick you can just see a section of a mixer used to add extra channels to the PA and to manage tonal balances. I’m not sure about Rick’s, but some mixers, like Bose’s T4s also provide effects such as delay and reverb.
As I said earlier, I promised Dawn (of Cup of Joe) that Grant and I would deliver a quality sound system for our open mic nights. I did not want to beg or borrow a system, nor did I want to chase anyone around for funds. This project was initially my idea… I wanted to make it happen quickly and without complication, so I made the personal commitment to invest in a good PA. In the event that I ever do a solo gig, I would also be set up with a personal PA. These systems can be pricey, but I saw it as an investment in my primary retirement avocation. My retirement counselor at TIAA stated bluntly that if you want to do something that’s important for yourself, then do it now if it’s within reason and resources… don’t wait! So there it is… I went shopping for a PA.
I did some initial shopping at the local guitar shop and googled around on the internet, but I must admit I was predisposed towards Bose primarily because Rick Vanderwall’s system worked so well and reliably during the many open mics I played at Cup of Joe. Further, I’ve owned several Bose products, including floor standing speakers, bluetooth speakers, Wave radios and earphones. They were all solid products. In the end, if Bose was good enough for Rick, it was good enough for me!
Selecting a Bose PA for Purchase
Bose L1 Pro line of portable array PA’s. From left to right: Models 8, 16 & 32 (with two choices of subwoofer)
It so happened that Bose just introduced a whole new line of vertical array portable PA’s in late 2020, so I had available to me the latest Bose technology to select from. Referred to as the L1 Pro Systems, they came in with three different models. The diminutive Pro 8, the middle size Pro 16 and the full sized Pro 32. The numeral refers to the number of speakers in the vertical array.
I must admit that I was a bit astonished when I first saw Rick Vanderwall’s Bose with the narrow vertical tower. The vertical array of smallish speakers accompanied with a sub woofer is relatively new technology, but it’s been widely accepted (and copied) since its introduction some years ago. Following is a Bose PA introduction from Youtube:
I spent a good deal of time studying reviews of the various Bose L1 Pros. Many of the reviews were simply regurgitations of Bose marketing literature; however, out in YouTube world were several independent reviews which helped clarify my final decision as to which model to purchase.
Interior layout of Cup of Joe
First a word on the space in which the PA must perform for open mic night. As you can see in the image of Cup of Joe, it is a long, relatively narrow space. The performers are located way down at the far end of the facility, so a PA system would have to possess the power to project along the entire length and width of the space. The music should project evenly so that sitting and standing people get roughly the same sound level, as well as from front to back of the room. Fortunately, Bose claims a properly spec’d and set-up L1 system meets those requirements.
The disassembled L1 Pro 16, with small plastic spacer (center) that locates between the subwoofer and the speaker array.
In sum, my conclusion was the Pro 8 was underpowered for the venue in which Cup of Joe is located. The Pro 16 appeared to be a logical choice as it had the power to cover the space adequately, was reasonably priced and did not appear to be particularly cumbersome to move around. As you can see on the right, the Pro 16 comes in three pieces: the subwoofer, the longer array of sixteen two inch speakers and a 8 inch blank spacer that resides between the woofer and the speaker array. The purpose of the spacer is to raise the height of the sixteen two inch speakers to get a proper sound distribution. Unfortunately, the decision by Bose designers to use a “plastic” spacer has raised some criticism. Some reviewers claimed the spacer was insubstantially engineered resulting in wobbling of the tower. Other reviewers complained of a high pitched hiss emanating from the speakers. As I understand it, PA’s do come with a built in “noise floor” that varies by speaker design and system wattage; however, a high-pitched hiss is not what I wanted to contend with… period. I contacted Bose technical staff, but they were either evasive or oblivious to the critiques of the Pro 16. No help there…
Though it was more money than I initially wanted to spend, I decided to acquire the L1 Pro 32 because of the issues raised about the Pro 16. Bose offers either a very large Sub 2 or a smaller, (but big enough) Sub 1 woofer to pair with a two part vertical, floor standing tower. I chose the smaller Sub 1 because of its more manageable size and the low frequency sound profile was more in tune with live music, rather than DJ bass thumping that the Sub 2 is best designed for. Because both sections of the vertical array are substantial metal columns that lock into each other and because the column sinks several inches into the floor power stand, there is very little, if any, wobble.
L1 Pro 32 power stand into which vertical array is mounted.
The power stand offers a chunky, substantial, and stable base from which the vertical array arises. The stand connects to and powers the subwoofer with a proprietary cable, which is nice as only one 120 volt AC receptacle is required to power the entire rig. The stand also contains jack access to three channels. Two are 1/4″/XLR combo jacks, and the other is a 1/4″ jack with various other auxiliary possibilities, including bluetooth access. Lots of flexibility with channel tonal controls are available. The tonal controls are also remotely adjustable through an iPhone/Android app, which is super convenient. Finally, Bose has a baked-in library of tone profiles for various instruments and brands that can be deployed to fine tune the mix.
Here’s a Bose summary review of the L1 Pro 32:
Bose T4s
Because the L1 Pro 32 power stand offers only 3 channels, I decided to acquire the Bose Tonematch T4s mixer to provide an additional 4 channels. The mixer attaches to the power stand with a ruggedized LAN cable, which transmits digital instruction to the L1 and receives power from the L1, thus keeping power needs simple. The T4s offers deep functionality in terms of sculpting sound profiles and will take me some time to master to its best advantage.
Experience to date with the L1 Pro 32
The Bose system arrived a day later than expected because of a freak snow storm that prevented UPS from getting to my home, so I was delighted when it finally arrived. I set up the L1 tower first, which went together easily and quickly. The connection to the Sub 1 also was rapidly accomplished. Sadly, I could not use the T4s because Bose recommended a firmware update and I had to order a cable from Amazon to connect my computer to the mixer.
Sub 1 with race track speaker (left) and section of vertical array of two inch speakers (right)
Without the T4s attached, I still had three channels and was able to test my Collings I 35 electric, my Taylor 812ce, my National Resolectric and a Shure SM 58 microphone all in my living room. In fact, via Bose software, I saved individual tonal setting in the system’s memory for each guitar. The system played clean as country water and interacted nicely with my pedalboard. The combination of the racetrack subwoofer and the 32 neodymium 2 inch drivers offered a consistent ear pleasing sound.
32 speaker vertical array
According to Bose literature, the speaker tower offers a floor to 7 foot high vertical sound spread outwards that also arrays itself 180 degrees, side to side. My experience was that you could sit anywhere in the living room of my house as long as you were not behind the tower and hear the music perfectly well. I made this test by bluetoothing my iPhone to the system and then playing the Beatles’ Revolver. When I disassembled the system and moved it up to my garage, the sound produced by the L1 could be heard across my yard quite easily when either Grant or I played guitar and sang.
Initial Disappointment and Concerns with the PA/Tonematch Combination
LAN cable to Connect T4s to L1 Pro
I will cut to the chase. After I updated the firmware on the T4s Tonematch mixer, I had intermittant success connecting it to the L1 Pro 32. In short, the instruments or mics channeled into the T4s received the signal as evidenced by a green flashing light, but failed to make it to the L1. It actually worked for a while in my living room, but when I disassembled the L1 and moved it to the garage, the T4s was a total fail! No matter what I tried, I could not get it to work.
Bose L1, T4s, my pedal board, an SM 58 mic and my Collings in my garage.
The fail was on a Saturday, and on Monday Bose frontline technical help in the Philippines had no suggestions to remediate my problem of connectivity, but agreed to replace the entire system including the L1 and the T4s. The new L1 came the next day, but the T4s took almost two weeks to arrive. Even then, after replacement I had some initial difficulty making the connection between the two devices. I concluded that the weak link is the LAN cable and unless it is solidly connected, signal failure will occur. When queried about this shortcoming the Bose people were evasive. This time around though I was able to get the device to work in my living room, and after disassembly and reassembly up in my garage. So we’re good to go, but I do have some remaining qualms about connectivity issues between the two devices.
To be prudent, I plan to run another garage set-up to calm my nerves and make sure the system is functional.
We are Good to Go!
My son Parker who is a dual major at the University of Iowa, including Graphic Design put this poster together for us, so in a month we will be at Cup of Joe!
A year or so ago, I posted a blog article about replacing paper with electronic charts using an Apple iPad, combined with the forScore app bluetoothed to a PageFlip DragonFly foot pedal. The pedal enabled page flipping for a multi-page tune. I use all this tech because I play a lot of country blues tunes, but simply cannot memorize them. While I develop finger-muscle memory for the tunes, it is necessary for me to have the chart as a cue when playing.
Smallish iPad Air in my practice zone…
In sum, with an iPad Air, a mic stand, a Hercules tablet holder, and finally, a DragonFly foot pedal, I replaced an ungainly, non portable music stand and sloppy, wrinkly, taped together hard paper music charts that flopped all over the place. How did it work out over time? Good, but after a while, I wished I’d purchased the larger, more expensive iPad Pro to make reading the music easier (the Pro screen actually projects a size equivalent to single standard 8×10″ page in a paper chart). Still, I made the investment in the smallish iPad Air and was initially loath to waste money by trading it in, much as I wanted to.
PageFlip Dragonfly foot pedal…
It’s important to note too that while the foot pedal functioned properly most of the time, I found it a challenge sometimes to stay focused on the music and simultaneously stab my foot out to find the proper forward shift pedal and avoid going accidentally backwards. Furthermore, the pedal would go to sleep when not in use for an extended period of time, and required multiple stomps to wake it back up, which was frustrating when immersed in the middle of a tune. Finally, the “in-screen” keyboard on the iPad was disabled by the pedal when active, which made typing annotations onto the music chart impossible.
Then, one day I was annotating a country blues chart and did a web search to see if it was possible to cut and paste lyrics or move a music bar to another location while using forScore. After finding online instructions for how to execute that capability and then fumbling around for an extended period of time trying to accomplish a simple cut and paste, I finally discovered that you had to be a member of forScore Pro to access that feature!
forScore Pro is similar to one of those patreon accounts that are so popular now for financially supporting online activities. For an additional small annual fee, you get added features like cut and paste and also support future improvements for the app. I joined because cut and paste is a very, very useful feature to arrange and annotate a chart. You also get occasional new update notes from forScore as a Pro member.
Apple True Depth Camera tech…
What I soon discovered after joining forScorePro was that the 2020 iPad Pro equipped with their True Depth Camera technology, combined with the latest iOS 14 operating system would allow page changing within forScore with facial gestures! This is the same highly sophisticated technology that allows a person to log into an iPhone or iPad with facial recognition.
12.9 inch iPad Pro
The enhancements offered by the new iPad Pro were enough to push me over the edge. I wanted a larger surface area to see the charts and I was really interested in using facial gestures to replace the foot pedal! So, easy as pie, I arranged a trade-in for my year-old iPad Air and ordered a 12.9 inch iPad Pro. When the new iPad arrived, I transferred forScore and my music library over to it in short order.
I found out right away that my existing iPad mic stand holder no longer worked with the 12.9″ iPad. I owned a Hercules holder (lower right) and really liked it as it was very stable and easy to get the iPad in and out of the holder, but sadly it does not open wide enough to easily get the larger iPad Pro into the grips. So, after searching around I found a “decent” holder manufactured by Caddy Buddy (lower left). It’s good enough, but I still would prefer the Hercules device for ease of getting the iPad in and out of it and it’s more robust in construction. It would be a relatively easy design change to fix the Hercules device, but I see no evidence that the manufacturer is planning to do so.
Caddy Buddy iPad Holder
Hercules iPad Holder
Once the iPad is mounted in the mic stand at roughly the same level as your face, it can then be set-up via forScore to activate facial gestures to turn pages in a musical chart. As a reminder, you cannot access this feature in the settings menu unless you are a Pro subscription member (lower left). Inside the Pro settings (lower center) you can access Face Gestures and activate a calibration procedure for facial recognition purposes.
Settings Menu
Facial Gesture Calibration
Fine tune Facial Gesture
You have two face gesture choices, which are “turning your head” or “moving your mouth” in a kind of smirk to the left or right. I hoped that one of the gestures would have been a head tilt, but that was not available, and when I queried the forScore people about adding that feature they demurred. Head turning made little sense to me because you have to take your eyes off the music, and to be frank, I could never get it to work reliably.
Lip movement to change page
On the other hand, lip/mouth movement does work! After calibrating the iPad to recognize you with 1) a relaxed face, 2) lips moved right, and 3) lips moved left the device will flip pages on command. In the upper right image you can see that there are sliders also available to fine tune sensitivity. There’s also a test protocol to see how well you’ve tuned sensitivity by ease of moving small blue dots on the screen by shifting your lips.
So… How does it work???
For the most part it works pretty well; however, I do have some concerns with over sensitivity of the device. Sometimes, for reasons unknown to me, the page will flip without command. If you reduce sensitivity with the calibration slider to much to avoid phantom page flips, then you must really wrench your face to flip a page, which is distracting to you and an audience. Consequently, it takes time to fine tune the system’s sensitivity to your facial movements. I have some concern that changes in ambient lighting may also affect the reliability of the page flip. Also, I play sitting down and am concerned about seat height variation from home to perhaps a coffee shop open mic stage seat also affecting page flip accuracy. Finally, on occasion when I am playing for someone I will miss a note, then grimace at the pain of musical failure, and at that moment the device will sometimes respond to my dismay by flipping the page on its own, which makes matters all the worse.
Cut and paste option for moving lyrics to the chart…
In conclusion, the iPad Pro combined with forScore Pro is a keeper… I really like the larger surface area for viewing a musical chart and the cut and paste option for annotation is a great addition to the app. As far as page flipping goes, I am intent on working with the facial gesture feature, but will probably keep the foot pedal on standby to reverse unwanted spontaneously flips. There you have it…
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I believe it was on Flipboard, the online, choose your own content magazine, that I first learned that National Guitar Company had redesigned it’s bridge and biscuit, which they referred to as the Revolution Biscuit-Bridge. Having owned 3 National Resonators and still possessing two of them, I was naturally interested in the innovation, but decided at first glance that it looked a bit too complicated to install and it was expensive… still, I remained interested and would occasionally look for a review… when I queried one of the National Guitar Facebook groups about the new bridge all I heard was crickets… So, I pretty much forgot about the subject…
Mike Dowling on Zoom…
Earlier in the Summer of 2020, I had the great, good fortune of spending several Zoom sessions with recording artist and highly accomplished performer, Mike Dowling. Being prevented from doing his usual summer festival and workshop gigs because of the COVID pandemic, he was recruiting guitar enthusiasts to study with him via Zoom from his home in Mexico. So, I spent several hours with him over the course of a month.
My favorite Mike Dowling recording…
If you’re not familiar with Mike Dowling he is a guitar virtuoso and I discovered him because of his particular artistry with National Resonator guitars. He’s made a couple of excellent educational DVD’s for Happy Traum’s Homespun Music Instruction enterprise. That’s how I found him as I was looking for some basics about how to play bottleneck guitar.
After working with his DVD’s, I was delighted to learn that Mike was performing at the Creek House venue in Minneapolis in May 2018 on a Friday Night and the other two days he would host a guitar workshop. Having never done a workshop before, I decided to attend! The concert was sublime and the workshop was great fun though I was in over my head, surrounded by guitarists far more accomplished then me.
Me and Mike Dowling at Creek House Workshop
To the right you can see a shot of me and Mike at the Creek House Workshop. You will also note I am holding, what was at the time, my recently acquired National Reso-Rocket WB (wood body). Mike is holding the metal version of the same guitar.
I involved myself with resonator guitars because of my interest in playing country blues. I tried out an inexpensive Fender resonator at my local guitar shop and really liked it; however, I thought it was a little under-built and decided to go with the gold standard and purchased a National NRP Steel resonator online through Reverb. I liked the NRP but thought a wood bodied guitar might be even more to my liking so I subsequently purchased the WB from Dream Guitars near Asheville, NC via Reverb. I remember sitting at a concert in the balcony of the Englert Theater with my wife in Iowa City, and covertly communicating via text with Dream Guitar’s owner Paul Heumiller. He made me a great offer and we closed the deal right there… I was stoked! The short Youtube segment below gives more detail about the WB and it’s developer Steve James:
Reso-Rocket WB with Hot Plate
On the left, you can see that my WB has two knurled knobs for tone and volume control when the guitar is plugged into an amp. The sound pickup is a single coil design located between the guitar’s bridge and finger board. This whole arrangement is referred to as a Hot Plate and was actually designed by Mike Dowling. In fact, Mike sold me mine. In addition to performing and teaching, Mike also is an agent for National Guitars. You might be interested to know that Mike also worked with National Guitars to resurrect the deeper wooden bodied El Trovador model.
All this brings me to the fact that during our time on Zoom, Mike brought up the new Revolution Biscuit-Bridge, which he had installed on two of his resonators. He enthused about the flexibility of the bridge, particularly that it could be raised or lowered with set screws while the standard one could not. As he described it, he would lower the bridge when playing finger-style and raise it when he planned to play bottleneck. I became interested because the action was very high on my WB and it made playing anything other than bottleneck-style difficult, which was not really a monumental problem because I had plenty of other guitars that would serve for finger-style, but I was intrigued anyway.
Screen shot of Revolution Biscuit from National Guitar website…
Mike also mentioned that the new biscuit was machined aluminum, thus appearing shiny and metallic, which was very different from the black painted wood of traditional National biscuit/bridge combinations. I inferred from his discussion that traditionalists might be put off by the shiny metallic appearance of the new bridge. He informed me that National was considering selling painted black versions of the new bridge in the future and that I might want to wait. I was not particularly bothered by the shiny appearance of the new bridge and actually like it a lot.
Screen shot of National resonator cone…
About a week or so later I ordered a Revolution Biscuit bridge from Mike. He said he would be happy to consult with me during the installation, and strongly recommended that I purchase a new cone along with the bridge. The traditional biscuit is both screwed and glued into the cone and removing it leaves a dimple that can prevent the new bridge from seating properly unless the dimple is sculpted out, which is difficult given the fragility of the cone. Since I wanted to DIY this conversion, I purchased a new cone with the Revolution bridge to avoid sculpting the older cone.
Various Bridge saddle woods available from National Guitars… another website screenshot…
In addition to the newly machined biscuit, National now offers a choice of bridge saddle woods, including, maple, ebony, rosewood, walnut and holly. I was under the impression that I would receive the full set of saddle woods with my order, but only received the traditional maple one, which is just as well because it was a bit of a stressful effort to “fit” it out for the biscuit. I do remember Mike recommending the maple saddle wood and I like the way it eventually came out in both appearance and sound. Just today in a note to me, Mike wrote that in a “blind” sound test he cannot tell much difference in the various woods or between old and new biscuits. To him the real value of the Revolution Biscuit is the ease of string height adjustment.
So, the package arrived from National about a week or so later. Contained therein was the cone, the aluminum biscuit, a single maple bridge saddle, a length of synthetic sandpaper, and two small Allen wrenches… Why the sandpaper? Because the saddle wood must be shaved down to achieve the proper string to fretboard action…
Measuring string height bridge to biscuit…
For starters Mike had me measure the string height off of the original biscuit and from there he recommended that I shave one 1/8th of an inch off of the bottom of the new maple saddle. Below you can see an image sent to me from Mike Dowling illustrating how to mark the saddle wood for trimming. You will note that he angled his where-to- sand-to mark so that the saddle is slanted, which would allow for the treble string to be closer to the fret board than the bass string. He recommended, in the end, for the bass string to be 7/64 of an inch off of the twelfth fret and for the treble string 6/64 of an inch off of the twelfth fret for a good nominal setting. I had to do quite a bit of sanding in stages, fitting the saddle into the bridge and then measuring before the process was completed.
Before (left) and after (right) images of saddle wood as a result of trimming.
Reso-Rocket sound cavity exposed…
To the right you can see the Reso-Rocket with the original cone and bridge removed. To avoid having to restring the guitar, I controlled the strings on the neck with a capo and used electrical tape to hold the string balls within the tail piece. This way after setting the new cone and biscuit in place it was easy to refasten the tailpiece and tune the guitar back up.
As I said earlier, I went through several stages of sanding the saddle, placing it in the biscuit and mounting the biscuit on the cone. Then I would drop the cone into the guitar, replace the coverplate, remount the tailpiece, retune the guitar and then make my string measurements. The bridge guard was also removed and stayed off throughout the fitting process. During one iteration of fitting, I realized I had to make sure that there was more of a slant sanded into the base of the bridge. I think I did this three, maybe four times… it was a tedious process and not for anyone in a hurry.
Above you can see the two cones, side by side with the new one on the left. If you’re not familiar with resonator technology, the string vibration is intercepted by the bridge, then transferred down to the cone via the biscuit. The cone then amplifies the string vibration giving the characteristic resonator sound back outwards to the listener. The original biscuits were wood, so the transition to an aluminum biscuit makes some traditionalists uncomfortable. Some posters on FaceBook do not like the new biscuit, either on face value or after they’ve tried it out. There are others who have adopted the new approach.
To the left you can see a close-up of the new aluminum bridge and maple saddle mounted onto the cone. You will note that there are three holes set into the saddle that are located in between the carve-outs where the guitar strings traverse. The holes allow access to set screws that are located below in the biscuit itself. Adjusting the set screws can raise the height of the saddle and consequently the height of the strings off of the fret board.
The saddle fits very firmly in the biscuit. The biscuit is machined with a slight zig-zag shaped channel and the saddle is shaped to fit snuggly in the aforementioned channel so that there is only one way for the two to combine together. I really had to press firmly to get the saddle into the channel and the only way I could get the saddle back out was to raise it with the set screws and then pry it out with a small flat head screwdriver, being mindful that the Maple bridge was pretty delicate and kind of expensive.
I was not prepared to make a wood vs aluminum biscuit comparison after completion of the project; however, below you can see a quick A/B comparison made by Steve James:
I do have below a couple of short videos of my WB with the new Biscuit installed. Just below is a short clip of me playing Muddy Waters’ I Can’t Be Satisfied in Open G tuning, bottleneck style. I am using a brass Tone Dome slide purchased from National:
I Can’t Be Satisfied… McKinley Morganfield
I am also presenting a brief finger-style tune on the same guitar. Before I installed the new bridge, it was very difficult to play finger-style on this guitar because the action was so high. Here now I am able to do it, but I must admit because I followed Steve James advice on Youtube and installed a heavy set of Newtone Archtop strings, it was more difficult for me than it should have been… those strings are fine for bottleneck playing but a bit heavy for me to play finger-style… another lesson for me in the school of hard knocks and dirty socks! This is a Stef Grossman arrangement of the Rev. Gary Davis’s Cocaine Blues in standard tuning.
In sum, I am pleased with the biscuit conversion… I believe the saddle as currently located is in a sweet spot where I can play it bottleneck or finger-style without adjustment; however I think I will eventually migrate to the lighter string gauge I was using before following Steve James’s advice.
I like the sound of the guitar too; however, I just noticed during this writing that National Guitars is now recommending placing a wooden gasket between the aluminum biscuit and the cone which probably alters the sound somewhat… According to Mike Dowling, in correspondence while writing this blog, the gasket may be most important for people mounting the Revolution biscuit on an older cone… While the folks at National believe the tone may be mellowed out with the wooden gasket, that remains to be assessed… I may explore this wooden gasket further…
The soundtrack from the Coen Brother’s film O Brother, Where Art Thou? is one of my longtime favorites in my CD collection… I practically wore the bits and bytes off the disc it was played so many times… The film was great too… The tunes on the soundtrack are a broad sampling of old time American music, mostly sung by contemporary musicians… My favorite recording was an old country blues tune performed by Chris Thomas King… it was a haunting rendition and I searched King’s other recordings to find more tunes just like the one he sang; however, I did not have very good luck and gave up… most of his other body of work was very different, so far as I could tell…
click for Amazon link…
It wasn’t until just this summer 2020 that I tumbled onto what Chris Thomas King was singing in the film. I had the great good fortune to take a few online guitar lessons with a highly accomplished performing musician/recording artist and he pushed me, after hearing some of my video recordings, to listen more closely to the original tunes that I was playing and listed several 8 bar blues tunes as starter examples, one of which was a Skip James tune called Crow Jane. Suddenly, I remembered reading about Skip James in Zeke Schein’s excellent book, Portrait of a Phantom. Schein’s book actually inspired me to dig deeper into roots music and I eventually committed to learning and playing country blues. Back at the time of reading Schein’s book the connection of Skip James to O Brother! went completely over my head, other than to note that Schein had a very high regard for the musician, and that he was somewhat obscure except to country blues aficionados.
After purchasing and listening to a Skip James CD to study Crow Jane, it finally occurred to me that Chris Thomas King was playing a Skip James tune in O Brother! I was awestruck by James’s precision finger-style guitar playing and his haunting and unique, for that genre, falsetto voice. It was at that point that I decided to try to learn to play some Skip James tunes, which I thought might be difficult but would be a great summer challenge!
click on image for link to Guitar Workshop
Having had excellent experience with DVD lessons sold on Stefan Grossman’s Guitar Workshop website, I went shopping for Skip James material and found this wonderful set of lessons including tabbed tunes of some of James’s most memorable tunes. Similar to the way in which Grossman teaches a tune, Tom Feldmann breaks down the song section by section and then plays it slowly with a split screen showing both hands in action. This approach works great for me.
Nehemiah Curtis “Skip” James, was born in the very early 1900’s in Bentonia, Mississippi, and died after a lengthy battle with cancer the year I graduated high school in 1969. For the most part, he was obscure much of his life and today is barely mentioned in books about country blues in comparison to other genre musicians like Lonnie Johnson or Blind Lemon Jefferson. He recorded a few sides in the early 1900’s and drew some notice, but the depression of the 1930’s drove him into obscurity, so he quit performing and entered into the ministry. Years later while languishing in a hospital room, dealing with the onset of cancer, he was discovered by country blues aficionado John Fahey, and in 1964 Fahey brought him to the public’s attention at venues such as the Newport Folk Festival. As a result, he was re-recorded so there are two sets of James recordings that can be found either from his early days or later in the 1960’s. Below you can listen to an early recording of Hard Times Killing Floor Blues, the tune that initially beguiled me when I saw O Brother!
According to the introduction of my Guitar Workshop DVD, Tom Feldmann explains that James wrote and played songs in standard tuning (EADGBE) and also in what’s referred to as Cross-tuning or D Minor tuning (DADFAD) which is somewhat similar to Open D/Vastapol tuning except the F# string is flatted to F. I like D Minor tuning and the somewhat unusual haunting tone it creates. I currently have my Taylor 914ce tuned to D Minor all of the time.
Well, I dove right into Skip James tunes. I began with the standard tuned 8 bar, Crow Jane, although my tabbed transcription varies from 8 to eleven bars from verse to verse depending on how James played it when he recorded. The source of Crow Jane is unknown; however, it is believed to have emanated originally in the Piedmont region of Virginia, North and South Carolina. My online teacher found James’s approach “crooked” because of the verse/bar variation, and it annoyed him as well as my use Feldmann’s tablature, which actually ended with us parting ways, even though I liked him a lot. Below you can see my rendering of a few versus of Crow Jane on my Taylor 812ce piped through a Fishman Artist amp, some compression, octaver, and reverb.
There are country blues fans who believe that the tunes should ONLY be played on acoustic guitars, which, in truth, has never constrained me. I like playing the tunes on both acoustic and electric platforms. Occasionally, I have a posting kicked off a FaceBook group for violating that sanctity, but if it was good enough for Muddy Waters, it’s good enough for me. So in that regard below I am posting a more complete version of Crow Jane played on my Taylor T3z acoustic/electric hybrid piped through a Mesa Boogie Filmont 50 amplifier on a clean channel, and pedal effects including octaver, compression, tremolo, delay, and reverb:
I will note that for me, a tune, is a work in progress for weeks, months, and even years until I have it nailed down to where I am totally happy with its rendering. I will also point out the obvious that I choose not to sing these tunes, though there are lyrics for them. To quote Stefan Grossman, “I am a guitar player, not a singer.” Consequently, the tunes I choose to play must stand on their own as instrumentals, at least in my judgement. My James tunes are early in the process, but I have them functional enough and absolutely love playing them. After getting Crow Jane through its initial paces I moved onto a the D Minor tuning, Hard Time Killing Floor Blues, the tune that initially attracted me to James’s work.
There are a few other James tunes that sound good as instrumentals that I intend to add to my repertoire in the future. In fact, I am currently working on another D Minor tune Four O’Clock Blues… until then, thanks for looking in… comments are welcome…
Butterfly shot on the banks of the Cape Fear River…
We have a longstanding tradition in my family to visit one of my grown daughters during Spring Break. In year’s past we’ve travelled either to Jacksonville, FL or Wilmington, NC for our brief escape from the typically raw, cold, dreary Iowa late Winter/early Spring.
Sadly, for us and many more fellow inhabitants of the U.S. travel plans were kiboshed because of the volatile circumstances revolving around the dreaded Covid19 Corona virus. Being of retired age, I’ve been repeatedly warned by the media and government that I’m flying in the danger zone, so I, along with my wife, college age son and Brittany dog are hunkered down in our home waiting for the Angel of Death to passover…
Here’s an interesting mini-documentary elaborating on key factors leading to the Angel of Death’s most recent origin…
In addition to packing for my cancelled Spring Break trip, I was also in preparation mode for my first official gig along with my pal Grant at our local coffee shop in Cedar Falls, IA, so rather than learning any new tunes, I was focused on refining those in my repertoire. I planned on playing a country blues bottleneck/fingerpicking guitar set and Grant plays his original folk/punk/Americana tunes. The gig was scheduled for April 3 and it does not take a lot of imagination to conclude that our national virus drama will not be over by then, and our show will be postponed until another time. Hopefully, Cup of Joe weathers the storm…
Cup of Joe exterior
Cup of Joe interior
Pre-Covid (PC), Grant and me (standing) hanging out at Bob’s Guitars
So, what to do? Take walks, read, cook, make tea, watch the tube, obsess over the stock market collapse and look on in dismay at the latest word on community spread of the virus… Learning a new tune might take my mind elsewhere to a more constructive space… So that’s what I decided to do…
National Reso-Lectric…
Because I so enjoy playing my new hybrid acoustic/electric National Reso-Lectric, which is tuned to Open D, I decided to learn another bottleneck tune on that particular guitar. I own an educational DVD with instruction and tablature available from Stef Grossman with tunes still unlearned in Open D, so I dug in and decided to study the last tune on his set list called Guitar Rag.
Stef Grossman Bottleneck DVD
Stef Grossman is an extraordinarily excellent teacher in video format and the included tablature’s are accessible and easy to follow, though the tab arrangement is a little idiosyncratic. Rather than placing the fretting instructions on the lines of the tab which is the usual format, they are in-between the lines… i.e., the spacing between the lines symbolizes the six guitar strings instead of the lines themselves. It takes a little getting used to and I like it now.
Typically, Grossman introduces a tune and gives some brief historical background, then he plays through it at speed, following that he breaks down the key elements to playing the piece and finally does a slow split screen playback showing both hands in motion.
Stef Grossman at work on my MacBook…
To the right you can see Stef Grossman at work on my MacBook. The pair of DVD’s that come with this instructional are packed with country blues to learn, as well as film and recorded examples of the tunes in their original form, pulled straight off the 78 rpm platters. One DVD focuses on Open G while the other on Open D bottleneck tunes.
Weaver and Martin…
Upon first pass, I did not listen too closely to Grossman’s introduction, but on second review I learned that Guitar Rag was a tune played/recorded originally by Sylvester Weaver in the early 1920’s, and written by Weaver with blues singer Sara Martin. Even more interesting, Guitar Rag was the first solo blues tune ever recorded! Consequently, this tune is exceptionally important in country blues history. Weaver was one of the first guitarists to accompany blues singers like Martin. Before then, larger bands backed the singers.
Below I include a link to Weaver’s recording of Guitar Rag. He first recorded this tune in 1923 and later re-recorded it in 1927, which sounded much better. Known also as The Man with the Talking Guitar, he spent most of his life in Louisville, KY. It’s written that he played slide-style with the guitar flat on his lap and used a knife as the slide. After recording about 50 tunes, he retired from music in 1929 and chauffeured a wealthy family for years afterwards. This is his 1927 version of Guitar Rag:
Not only was Guitar Rag an historically important tune, it was also popular and covered by other artists, including Bob Wills and his Texas Playboys playing it as Steel Guitar Rag. The YouTube recording I share below suggests that the Bob Wills’s pedal steel guitar player Leon McCauliffe claimed to have written the tune in 1936, which I hope is not true, but if it is, seems all wrong and exploitative… Steel Guitar Rag was immensely popular and introduced the archetypal pedal steel guitar to country music.
https://youtu.be/hxzxH6wIPCY
Guitar and associated amp with pedal board…
As I wrote earlier in this piece, my go-to guitar for this tune is my acoustic/electric hybrid National Reso-Lectric. I run it through a Black Faced Fender Princeton Reverb Amp, as well as an Octaver, Compressor, a bit of boost, Tremelo, Delay and Reverb. The pedals fatten the sound and enhance the natural sustain of the resonator cone. I use mostly, the P90 neck pick up, with a dash of the piezo that resides on the biscuit bridge to get a warmer tone.
Guitar Slides…
I own a variety of slides though I have never tried using a knife like they say Sylvester Weaver used. My favorite slide now is the solid brass one located second from the left. It gives me a nice, fat, warm tone that I am partial to. That particular slide I purchased from National and it is a Tone Dome design created originally by master slide guitar player Ben Powell.
I’ve been working on this piece just a few days; however, it is coming along enough to generate an excerpt recording of part of the tune, which I decided is necessary to end this blog entry properly. There are still some rough spots as I lack full familiarity with the piece. I’ve attached an image of the first page of Stef Grossman’s arrangement of Guitar Rag. If you’re interested in acquiring the DVD’s you can find them here at this link.
Grossman tablature…
Recording at home is a bit of a challenge when my wife and son are both sequestered here with me, but here is my latest version of this classic piece. For information about how I record, follow this link.
Final notes: Guitar Strap by El Dorado. Hat by Carlos Santana. If you can’t play like him, look like him… Sweatshirt logo: Tar Heel Bred, Tar Heel Dead…
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I have the great, good fortune now in my retirement to spend as much time as I wish focused on all things guitars. After a harrowing visit to the Mayo Clinic for an annual physical, I was eventually declared good to go, so when I returned home I felt even more fortunate to have time to develop my musical sensibilities and skills.
To that end, I scheduled my first “gig” at the local coffee shop for early April. Along with my friend Grant, we will perform for a couple of hours on a Friday night. Cup of Joe is a pleasant, low pressure venue to perform… the coffee, tea and snacks are great and the people are kind…
Cup of Joe in Cedar Fall, IA
Grant and I will take turns alternating at the mic during the evening. He plays his original Folk-Punk-Americana on acoustic guitar, while I play finger-style and bottleneck country blues on a couple of resonators and a Taylor hybrid acoustic/electric guitar. So we are both feverishly sharpening our chops for the performance next month.
I am not particularly anxious about this gig, as I’ve performed at Cup of Joe numerous times at Open Mic Night… This time it should be more pleasant for me, as I won’t feel the time pressure that you do when all you have is fifteen minutes at the mic and there are people lined up to play after you…
In addition to working on my chops, I also have the freedom to read as much as I can abut all things guitars and blues… Here are some the books, on my short stack that I am either reading, have read, or intend to get to in the short term:
I just finished reading this wonderful book. Compiled by Jas Obrecht a lifelong musical journalist for journals like Guitar Player Magazine. Of the dozens and dozens of guitarists he’s interviewed over the years, he offers in this book some of the very best. It was fascinating to read what some of the best players think about their music and how they approach the instrument. Included are interviews with Neil Young, Jerry Garcia, Tom Petty, Carlos Santana, Ben Harper and Johnny Winter. Highly recommended if you love all things guitars! Published by the University of North Carolina Press, so it’s a classy binding.
I was so pleased with Obrecht’s Talking Guitar, I went ahead and picked up two of his other books that fall right into my wheelhouse of interest. Both new books are about blues players. The first about the early pre-electric country blues players and the second about the players who led the transition to Chicago/Detroit style electric blues. Reading these books should add to my knowledge base when I banter with an audience about the music I play…
Pedal Crush is a monumental tome about anything you could possibly want to know about the pedals that are used to augment and enhance the sound of a guitar. Published by Bjooks, I had to order this one out of Denmark. It’s coffee table book big and pricey, and I am just about 1/4 of the way into it. Including interviews with various pedal builders and guitar players who use pedals, it is a comprehensive and wonderful journey through this particular world of technology.
If you’re wondering why I am so fascinated by pedals, here’s my latest board iteration. It’s great fun to sculpt sound with a pedal board. For more details about most of my pedals, check here…
The scene at Cup of Joe in Cedar Falls during the early stages of Open Mic Night… Hosts Rick Vanderwall and Bill Guernsey…
It’s been two months since I played at Open Mic night at Cup of Joe, located in downtown Cedar Falls, IA… I missed the last one to attend a Wilco concert in Cedar Rapids.
Wilco playing at the Paramount in Cedar Rapids, IA
The Wilco show was a lot of fun and it was a treat seeing Nels Cline play guitar, as he is one of the top players in the country. The venue in which Wilco played was also quite marvelous. It was an ornately restored old downtown theater with marvelous acoustics.
Nevertheless, I was glad to be back at the Cup again with a chance to perform in a small intimate setting… I am clearly not a headline performer… instead, the specter of performing in front of people really motivates me to work at the craft of playing guitar!
Me and my Taylor Solid Body Custom Walnut, with a newly replaced neck…
In the above image, you can see I was delighted to be back. This is me posing before the coffee counter just before my performance… Call my performance costume, ” old man cool-eclectic.” 😁
It was a big night for me because I was going to play publicly, for the first time, Stefan Grossman’s arrangement of A Tribute to Lonnie Johnson… this piece is epic in length and requires a reasonable amount of finger-style skill to pull it off so for me at least it marked a stage of development along my guitar playing journey…
I’d been working on the Lonnie Johnson piece for weeks and weeks and though I’ve pretty much mastered it, it is still difficult for me to play it flawlessly even alone at home, so playing it publicly was going to be quite an adventure for me, but I was looking forward to seeing how well I could do.
A year ago, my fingers would sometime disassociate themselves from my brain on pieces of music much simpler than the Lonnie Johnson charts, so I set a high bar for myself.
Taylor T5z Pro Ltd; Molasses Burst…
I actually began working on the Lonnie Johnson piece using my newest guitar, shown above, the Taylor T5z Pro, which is an acoustic/electric hybrid that sounds great whatever you play on it, but especially nice when playing old finger-style country blues; however, at the last moment I decided to play that night on my Taylor Solid Body Custom, which you can see me holding above. After playing the T5z for weeks on end, I think I just needed a change of pace. I am holding the Solid Body in the photo at the top of this article. It is a lovely instrument and plays like butter… While the T5z plays beautifully too, it is bit more demanding than the Solid Body, and that is probably why I made the last moment switch…
I’ve written before on this weblog about finger-style blues and why I am so dedicated to that genre:
It’s a musical style that can be played strictly instrumentally or accompanied by singing. In instrumental form, the music holds up on its own, so it is suitable for a single guitar player to perform without accompaniment. Since I have no interest in being in a band, this genre is perfect for me.
Country blues pieces span from the elegantly simple to the moderately complex and there are available lots of charts and educational videos from which to learn, so it is a great genre to develop playing chops, which can be very satisfying.
While there is a very active global community of country blues players, they are still diminutive in size compared to other musical genres, so it is a smaller fairly supportive group of players.
As a baby boomer, I grew up with early rock ‘n roll and this music serves as its foundation. Country blues are THE essential roots of much of the popular music that I grew up with. My experience is that audiences are not exposed to country blues that often but like it when they hear it. Much more interesting than the millionth cover of Moondance they’ve heard before.
While players use picks or strum through country blues, the really authentic way to play it is with the fingers. Finger-style playing is way too cool… just sayin’
As testament to the roots nature of country blues, I am embedding a link through the photo of classic bluesman Charlie Patton on the right. It leads to an interesting blog article that gives a nice comparative sampling of rock music to its original country blues form. The blog is called Please Kill Me… This is what is cool… Click on Charlie Patton and then come back!
Grant and me at Bob’s Guitars, our favorite hang out…
As is typical for me, I signed up to play first. There are actually only 6 15 minute slots available for open mic wannabes, so I usually get to the shop about 45 minutes before Rick and Bill, the hosts arrive and when they do I hit the sign-up sheet promptly. My friend Grant is almost always there too and he signs up to play second. In fact, we are hoping to play a full set on our own at the Cup some time in the near future!
That particular night I played in the following order:
A Tribute to Lonnie Johnson in Drop D tuning… (Stefan Grossman) – I did ok… shanked some into the rough, but pulled it off… at Open Mic it would be too challenging to record myself; however, I do have a decent sampling of Lonnie Johnson that I made at home, which is embedded below. Note that I am playing the T5z.
Spoonful in Drop D tuning… (Charlie Patton, arranged by Stefan Grossman) a briefer and lighter tune to cleanse the palette after the heavy low down Lonnie Johnson piece…
Cocaine Blues… (traditional, arranged by Stefan Grossman) a favorite of mine and the rare tune I have completely memorized… breezed through it… a crowd favorite too… a lovely, complex finger-style tune that stays at home in the top three frets… relaxing and also cleansing to play…
Police and a Sergeant… (Robert Wilkins, rearranged by Catfish Keith) I love this piece and it’s a great way to end the set. It’s very meaningful to me because I took a lesson with Catfish Keith to work on it! Last time I played it at the Cup, I pretty much lost my way and unravelled, though I got through it somehow… The other night I played it clean as country water…
Below you can see a photo that my wife took of me playing… it’s been post processed and posterized a bit to make it more fun… Note that I am for the first time performing with my iPad and foot pedal for page turning…
It was a great night closed out by the Jacobs playing some jazzed-up seasonal tunes!
The Jacobs knocking out jazzy holiday tunes…
Thanks also to my friend Grant for the call out at the end of my set! He played a fine set too!
I was born in New York City, but came of age in Southeastern U.S., spending the most time in North Carolina and Virginia through my middle passages; however through some simple twists of fate I am now a Midwesterner, having lived in Cedar Falls, IA longer than anywhere else in my life.
My dog Nike looking dolefully at the early winters cape in IA…
Compared to the Southeast, the summers in Iowa are sublime; however, the winters here are long and brutal… hateful… I just read we are ranked 11th worst state for harshness of winters. I cannot tell you the number of times I’ve fallen on my rear end because of ice, but it’s been too many times.
Now that I am retired, the natural question is do I want to remain in Iowa to muddle through what is essentially six months of winter, with an almost non-existent Springtime? While the winters here present a compelling reason to leave, there are strong arguments to stay. Iowa is ranked one of the top states for retirement primarily because of low cost of living and access to great medical services with Mayo Clinic being just less than two hours drive from here. I love the non-pretentiousness of Iowans too and there is such a thing as Iowa “nice.”
Another important thing to consider are the roots that I’ve sunk into my community during the course of 20+ years and that is to what I will speak to in a series of blog articles that I refer to as local treasures which focus on the small business enterprises that make Cedar Falls/Waterloo a special place to reside.
Located on College Avenue at the “Hill” adjacent to the University…
I’ll begin this series by referencing one of my favorite locations in town and that is Milkbox Bakery which is by definition a local treasure. Owned and operated by Andrea Geary, it is an old world, artisanal bakery specializing in breads and pastries; however, they do offer some meal worthy creations, such as Avocado bread and killer homemade soups!
an excellent place to hang out…
As I mentioned earlier, I lived in New York long enough as a child to appreciate that city for its fine breads and pastries. In fact, those New York creations are the standard by which I measure all others and Milkbox measures up big-time! The bakery holds its own with European breads too, which is no small accomplishment. Andrea has spoiled my family… we will no longer eat loaf bread unless she’s baked it and there’s nowhere in the midwest that bakes a better bagel! Yes… that is true, and I am an aficionado of such things.
I have great admiration for Andrea as she is the creator, heart and soul of this wonderful local treasure! She does it all…
the author and super-baker Andrea Geary in her domain…
So when I am feeling a bit of cabin fever during our long, cold winters, I am sure that one of the best options in town is to get a coffee (free-trade) and hang out at Milkbox Bakery for a bit. If you’re lucky, you may even have a chance to chat with Andrea when she emerges from the bakery where she does her magic. Oh yes… and when I leave I’ll be sure to have a fresh loaf of “Rustic White” bread and a bag of bagels…
A couple of weeks ago, I had the great good fortune of spending some time in the Evanston/Chicago area with two of my college frat brothers. It had been 8 years or so since we last gathered and was great fun. We are all retired or semi-retired and are coincidentally afflicted by some of the same age-onset challenges, including remembering where we left our keys, walking across the house to do something and forgetting what it was, or trying to remember the actor’s name who played Mick in the Rocky films… I used to fret about memory loss until I realized during my visit that we all experience the same phenomena, so I’ll just have to accept it and go with the flow!
Me and Widi
Me and Maish
I only mention our common memory issues as a lead-in to the challenges I face with my major retirement avocation, which is guitar playing.
Country Blues Tunes I am currently playing
I’ve been playing country blues tunes for the past three and a half years and have accumulated a substantial body of work. Sadly, try as I might, I simply cannot memorize them all and find it most effective to have the chart in front of me while I play.
So, for most of my practices, guitar lessons, and public performances I am surrounded by paper charts, ranging from a single to four plus pages in length. When moving from tune to tune, I can be found shuffling through a massive sheaf of paper, which can be seen in the accompanying photograph.
By the way, my music charts come almost exclusively from training DVD’s offered by Happy Traum’s Homespun and Stef Grossman’s Guitar Workshop. The charts are in PDF form, downloadable from the DVD. Typically standard notation and, most importantly to me, tablature are given on printable charts.
Recent performance at Cup of Joe in Cedar Falls, Iowa…
The massive sheaf of charts I’ve accumulated becomes a problem if I want to travel with my guitar(s), or when I perform, which is mostly at the local coffee shop open mic night. As you can see from associated photograph, I am typically hidden behind a music stand and overflowing charts, which separate me from the audience and that is not an ideal performance mode for someone like me who likes to interact with the crowd. And, why perform finger-style if nobody can see your hands at work on the guitar?
forScore home page…
My wife Nettie concurred with me that getting out from behind the music stand would be a good thing when I perform. She notices it when photographing a performance.
So, I did some research and discovered that there were iOS apps available for storing, presenting and scrolling through musical charts and one of the most popular among musicians was forScore which is downloadable for $15. forScore can be used with an iPhone and/or an iPad. (the app works on other platforms too, but for better or worse, I happily exist in the middle of Apple world!)
forScore is capable of storing piles of charts and those charts can be organized in a number of logical ways based on your choices. Bookmarks can be assigned to your favorite tunes for quick access and setlists cutting across your entire collection of charts can be conjured up for a performance.
iPad and forScore software mounted with Hercules mic stand holder…
While I own the larger sized iPhone it is still not large enough for me to feel comfortable reading a chart, so I opted to use an iPad which can be adapted to a mic stand with a holder, which in my case was made by Hercules.
It took me the better part of two days to get all my music on board the iPad and to organize it. It helped that there are multiple Youtube videos available by people who’ve developed expertise with this app. I’ve yet to annotate the electronic charts but intend to do so. I used annotations frequently when noting on which finger to begin a slide!
Firefly PageFlip on floor beneath iPad
Finally, it would break the continuity of playing a tune to have to release the guitar with one of my hands and slide a finger across the iPad screen to transition to the next page of the chart. Consequently, a necessary adjunct to this paper-replacement project was a foot-activated pedal to advance the chart page. The iPad and the forScore app work well with the bluetoothed Firefly PageFlip, so I acquired one and it gets the job done. It does take some adjustment getting used to advancing and reversing the chart pages with my foot while I am playing.
I just completed this project yesterday so I do have an experiential learning curve to travel through in the short term before I feel entirely comfortable with this new system when used either at home or in front of an audience. Nevertheless, I have high hopes for the benefits of getting out from under all that paper. Below is a shot of me on my first night of practice with the completed set up… It went reasonably well…
