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I’ve used inear monitors for over 20 years and floor wedges for even longer. Although there is a huge price difference between these two. Depending on the venue or concert you are playing, there is definitely a clear winner.
Of course a great mix with great musicians makes all the difference when it comes to the experience of the show. On top of that, everyone has a preference that suits their needs, style, and comfort level.
But is it okay to get budget level monitors? What options do I have? Can I control my own mix? Do I need to do the same thing as the rest of the band? Should I get custom molded inears? Is it okay to switch from one type to the other? Do I even have to have a monitor? And monitor mixes, iif I can’t hear something is the answer to just make it louder?
Well we will discuss this, and more on this group therapy session with John, on the Tweed Couch.
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By now we all know that I love Marshall amplifiers but I also love my Fender and my Vox.
Of course boutique amplifiers are incredible too and I’ve really enjoyed my Dr. Z, Clark, and Mesa amps. Then there’s Lloyd with his Saldono, Reason and Naylor… and Jason’s Carr… So many…
But what amps do we need? Why would we need more than one? Is every amp competing with Fender? What classifies something as a bedroom amp? How does wattage factor in? What if we take modeler’s off the table for discussion? How do you decide what’s essential? Does nostalgia matter? Are Dumble amps even all that special? Can I narrow it down to just one amp? And half stacks… who are they really for?
Well we will discuss this, and more on this group therapy session with Lloyd, on the Tweed Couch.
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Saknas det avsnitt?
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My first overdrive was a tube screamer circuit. It turned my solid state amp into a broken up tone machine. A few years later I went with a tube amp, and although I could get it driven, nothing beat the tones I got with an overdrive pushing the front end.
Of course tone is subjective. Some love the colors an EQ or clipping can give. Others prefer something more transparent or with a slight bump in a certain frequency. Either way, overdrives are necessary and overdrives are inspirational.
But which overdrive is king? Do they all sound the same? Why would you want more than one? Does the price matter? How many is too many? Is a fuzz considered an overdrive? Which should I try? Is there anything original out there? And Robert Keeley… What does he have to do with all this?
Well we will discuss this, and more on this group therapy session with Lloyd, on the Tweed Couch.
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I’ve seen the gear reviews. I’ve joined the Facebook fan pages. I’ve updated and updated and updated software. I have captured with it. I’ve owned it for about three years and use it at least twice a week in a live setting. So I guess it's time I finally talk about it.
Of course it's pretty amazing but I wouldn’t call it perfect. Being a beta tester for the last three years has only proven that there is room for growth. On top of that there have been new modelers that have come out since, that do very similar things.
But… Does it really sound like the amp? Does it really sound like the drive pedal? What gear did it replace? How do I use it live? Can I run a vocal through it? Can I use 2 guitars through it at the same time? Why did Fender make a modeler? Why did kemper make a smaller modeler? And soon… what in the world does that mean?
Well we will discuss this, and more on this group therapy session with Barber, on the Tweed Couch.
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Who doesn’t like getting a package in the mail? The excitement. The anticipation. The dopamine release… Now add to it that what you ordered is a surprise and you’ve essentially doubled down on all of these emotions.
Of course, “doubling down” is an interesting way to put it. The Premier Guitar Mystery Stocking is kinda like gambling. Some people get guitars. Some get pedals. Others get GloKnobs and output jacks… It is those people who have dubbed this similar form of guitar gear roulette as receiving a “Box of Sad”.
But… Where is Jason? Did he participate this year? Where does Premier Guitar get this stuff? Does the Grinch pack the boxes? Why did a drummer buy one? Was it worth the $40? Expensive or not, will we even use this stuff? And… Box of Sad… will we do it again next year?
Well we will discuss this, and more on this group therapy session with John, on the Tweed Couch.
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Drummers are awesome. Their ability to use every limb of their body to create syncopation and energy is astounding. A seasoned drummer with finesse and dynamics can take a song from meh to amazing!
Of course they do have their quirks and downfalls to us guitar/vocalists. Their high volume and massive footprint create such a confined space in a mix and on a stage that it is easy to become annoyed… but then again we aren’t perfect either. Our quest for perfect tones and tendency to push tempo can drive a drummer to their breaking point. We noodle, we tune and retune, we switch out gear, we sometimes use their gear as a platform to jump off of… I mean… I can see we have our issues too.
But what are the drummer's pet peeves about guitar players? Do we even care? What are the guitar players' pet peeves about a drummer? Do they even care? Could we have the same issues with each other? Is it okay to tell them to stop it? Are these issues even solvable? And… collections… John said he owns how many drum sets and how many guitars?
Well we will discuss this, and more on this group therapy session with John, on the Tweed Couch.
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I’m not sure if you’ve ever been in this place for gear? Content. You love what you have. It inspires you to play. Simply put, you have found your voice and you have found your mojo…
Of course, you’d love some vintage gear. Or a custom built instrument. Or a signature artist’s piece of gear. Then there are pedalboards, amps, modelers, straps, mics, interfaces… You know, maybe no one is ever done. And if you only knew the amount of change that has occurred in Jason’s gear over the last 2 months… well your jaw would drop.
But… What new gear has Jason recently purchased? Did he sell anything off? How many custom guitar orders does he have in que? Did he sell a guitar to me? How many G’s are in the name Gregg? Why is he quoting sir mix-a-lot again? And drive pedals… is it possible that he’s overcompensating for something?
Well we will discuss this, and more on this group therapy session with Jason, on the Tweed Couch.
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How do you describe tone? Seriously… how do you describe guitar tone? Lush, responsive, meaty, throaty, organic… its a never ending thesaurus of adjectives to describe the feeling we have when we hear it.
Of course tone is very subjective and opinions may differ. Some like a tone that is flabby and others like it tight. Some like it scooped and others want it in your face.
But… Why do we use these terms? Do they have an origin? Is it okay to use them with the band? Can 2 people have a different meaning for the same tone word? When is the right time to use them? Are there naughty words of tone? Can you describe tone to a beginner? Can you describe tone to a sound engineer? When is it better to just talk in frequency? And… words like Transparent, Quack, Sag, Ballsy, and Trashy… are these good things?
Well we will discuss this, and more on this group therapy session with Chris, on the Tweed Couch.
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The magnificence of a big stage. The PA, lights, smoke, and the size that allows you to be able to move and perform with high energy.
Of course a small stage has its charm too. Generally it means a more intimate crowd, more accessibility to the audience, and less pressure to perform visually.
But which stage is better? Does it affect your gear choices? Is there more pressure on a certain stage? Should you use inear monitors or wedges? What is a thrust? Can I walk on it? How do you get a big stage gig? Should I turn down small ones? Can an amp sound different on different stages? And nostalgia… oh we have lots of stories.
Well we will discuss this, and more on this group therapy session with Lloyd, on the Tweed Couch.
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I love this festival! I love playing music at this festival. I love bringing my family. I love the community. I love this festival!
Of these 25 years of Lifest, I have been to 17 of them in Oshkosh, WI. In 2000 I was there to play with Echelon. 2004 - 2007 I played with Second Adam. 2008 I played with Echelon & Lynn Stoneking. And from 2012 - now, I have driven the 1300 miles up to play with Echelon, Lynn, Swen & Dean, and Jonathan Cain of the Hall of Fame rock band Journey. I’ve played Electric, Acoustic, Mandolin, Bass, and Drums. I ‘ve been an artist on their Grandstand, Edge, Pit, Kid Zone, Prayer Journey, Expo, and Bonfire stages. I have been the most used artist every year I’ve been there… and I love doing.
But what shenanigans happened this year? Is it okay to teach your kid how to do a B & E? Why was Matthew West throwing Cheese Curds? Does Lifest hate TV’s? How awesome was it to play on the grandstand again? Is there a reason we need a keeper of the keys? What does it mean to pull a snake? And… sketchy trailers… Well, we’re not going to Mexico.
Well we will discuss this, and more on this group therapy session with Owen, on the Tweed Couch.
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The Beatles, The Rolling Stones, The Yardbirds, U2, Queen, Brad Paisley. What do they all have in common? They are part of the story of the iconic tone that is Vox Amplification. Starting out, I was a Fender guy. Early professional, I made my way to Vox Modeling amps. Professional, I rocked a Marshall half stack. Now I play them all when I can but when I fly into a gig I generally ask for Vox.
Of course, over time I had a lot of trial and error but it wasn’t until I played a cranked Vox AC15 or AC30 that I realized that I had missed the boat and there is something special… even magical about a Vox amplifier.
But what era is the best? Who do we know that plays these stellar amps? Where did the name Vox come from? Is there a difference tonally from amp to amp? What is a warfdale? Are Greenbacks or Blue’s better? Can you still find an AC30 for less than $500? What do the numbers mean? And settings… how do you find your Vox tone?
Well we will discuss this, and more on this group therapy session with Lloyd, on the Tweed Couch.
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My first guitar pedal was a Visual Sound Jekyll & Hyde. My second was a Dunlop Crybaby Wah. Then I jumped over to the world of modulation and pedal building. As my pedal needs grew and my situations changed. It didn’t take long before I realized that I took longer to set up than the drummer and I needed to speed up which started me on the journey of finding the perfect pedalboard.But how do you layout a pedalboard? Are there templates or online resources? What is the best way to attach pedals to the board? Could you damage them? Who makes the best boards? How expensive are they? Do the cables matter? What about the power supply? And interventions… have we gone too far?Well we will discuss this, and more, on this group therapy session with Jason, on the Tweed Couch.--- Support this podcast: https://podcasters.spotify.com/pod/show/tweedcouch/support
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Gigs are great. Fly gigs are special. Weekend events are amazing. Doing all 3 with some of your best friends in the world… priceless.
Of course getting a gig, with fantastic gear and tone, is only one part of what makes touring special. Doing all this in a different region or town where you get to take in the sights, food, and visit a few guitar shops along the way is pretty awesome as well.
But how did the show in Minneapolis go? Who all was there? What kind of event was it? What gear did we play? How many Vox amps do you need? How many Tele’s do you need? Can you get a good complementing tone if both players play the same type of guitar? Who provided all the gear? And… what makes a sound guy a party pooper?
Well we will discuss this, and more on this group therapy session with Lloyd, on the Tweed Couch.
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There are many reasons why someone picks the gear they have. Influence, recommendation, budget, necessity… but at the end of the day, the gear that is picked creates your tone. Of course after a few decades of playing and some transitions in life you may find yourself a gear hoarder and what you have created is a timeline of tone.
But why did we purchase this gear in the first place? Is there a good story on how we got it? Did we get the sound we were looking for? What happens to the stuff that doesn’t get played anymore? Should I sell it off? Do we still have our first guitar? And… is the gear you tour with different than the gear you have at home?
Well we will discuss this, and more on this group therapy session with Lloyd, on the Tweed Couch.
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Sometimes you just feel claustrophobic. You go one direction in tone… then another… then another. You join new bands, you scratch the itch of the new gadget, you find a deal you can’t pass up… years go by and then you see it and you feel it. Cluttered and Claustrophobic.
Now I realize this is a blessing and I also realize that this is a first world problem. So today we will talk about my recent Gear Purge and my justification of it. Also we are going to talk about where I’ve been the last couple months and the life changing diagnosis that has led me to my current situation and my new normal.
But what gear is Dr. T getting rid of? How do you choose what goes? Will there be any regrets? What life changing event happened in the last 8 weeks? Can I still continue to podcast over 40 times a year? Will the dynamic or the format change? And… what does this mean for the fate of the Tweed Couch?
Well we will discuss this, and more, on the Tweed Couch.
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I’ve said it for years, “Failure IS an option”. Most people hate this statement but it’s true. Of course I’d rather see success and sometimes things are out of your control but nevertheless… It is an option. Another statement I often remember saying was, “If you fail to plan. Then you plan to fail”. It is because of these statements that today we will discuss the failures we have seen, what we did to solve it, and how we took action to make sure we never had to deal with it again.
But how important is a backup? Does it matter what cases I use? Can others learn from my failures? Should I worry about my other bandmates? What do I do when the whole sound system fails? Does duct tape really fix everything? And who breaks a bass string?
Well we will discuss this, and more on this group therapy session with Jeromy, on the Tweed Couch.
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90’s country made a positive mark on me. I loved the stories they told, the sense of pride they carried, and the twangy stringed instruments. Of course Country wasn’t always like this. Country music pioneers, for better or worse, created new sounds and new tones by mixing genres in order to infiltrate and widen their market. People like Conway Twitty & Johnny Cash paved a way for 90’s country artists like Billy Ray Cyrus, The Dixie Chicks, and Sawyer Brown. People of the early 2000’s like Keith Urban, Rascal Flatts, and Big & Rich paved a way for today’s artists like Florida Georgia Line, Morgan Wallen, and Jason Alden. And that brings me to today’s topic of John Rich of Big & Rich. A little on his career, a little on his extracurriculars, and a lot on his whiskey “Redneck Riviera”.
But Where did John Rich get his start? Has he ever been in a full band? What is Texasse? Is his whiskey any good? Does it Mix well? Can you class up a Redneck Riviera? What does Proof mean? And is this the American version of a Canadian whiskey?
Well we will discuss this, and more on this group therapy session with Nick, on the Tweed Couch
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There is no denying the ease of use of a modeler when recording. Sure there is an argument of simplicity when you put a mic in front of a speaker, hit record and let it be what it is… but there are downfalls of the analog situation too. Amps are bigger, have less options, more noise artifacts, and of course the elephant in the room… sheer loudness in order to get the tubes cooked and the speakers moving. Pedals have their issues too. Cables fail, powering issues, number of pedals, size of the enclosure, and of course buffering and impedance issues.
But why is a modeler such a good option? Can you record more than one track? What is re-amping? Does phase matter? Is phase really a math equation? How do you use modelers with an interface? Do you even need an interface? Can you fly with it? And… IR’s are they a tone game changer?
Well we will discuss this, and more on this group therapy session with Beth, on the Tweed Couch.
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If you are listening to this then you have probably been there. You sit down to watch a movie and somewhere in there you see guitar gear. From Tom Hanks’, That Thing You Do to Rob Reiner’s Spinal Tap… nothing is more engaging, entertaining, and aggravating to a guitarist than a movie with guitar gear.
But what does Steve Vai, Ralph Macchio & Brittany Spears have in common? Did Back to the Future make critical Gibson, Fender & PRS errors? Is Huey Lewis’ hearing okay after Marty’s band audition? How great was LaBamba? How bad was the Buddy Holly Story? Is Stairway really denied? Is it really possible to turn to 11? And what is this thing called… suspend disbelief?
Well we will discuss this, and more on this group therapy session with Paul, on the Tweed Couch.
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Ah the age old debate.. Is tone really in the fingers? From the grip of the neck to the pluck of a string. This debate has been heard time and time again. Of course the gear has to play a part too, right? I have been told that a 51 Nocaster is magical and a 59 burst is godly and if the right Marshall Plexi gets cranked to 11 then “ultimate tone” is achieved.
But where does most guitar tone come from? Does the gear really make all the difference? Can you get heavy metal tones out of an acoustic? Why is this subject even a debate? Should you focus more on gear or technique? Where does this stem from? And if tone is in the fingers then how does a robot play a guitar?
Well we will discuss this, and more on this group therapy session with Chris, on the Tweed Couch.
--- Support this podcast: https://podcasters.spotify.com/pod/show/tweedcouch/support - Visa fler
