Slash Appointed as Gibson’s First Global Brand Ambassador

Posted on February 28, 2018 by admin

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Slash has joined Gibson, the world’s leading music lifestyle brand, as Global Brand Ambassador, the first such designation in the company’s history. As part of the new role, Slash is highlighting the music lifestyle of Gibson with a series of new signature products and exclusive content that will be released throughout the year.

Slash embodies Gibson’s values of quality, prestige and innovation and has brought the indelible sound and style of Gibson guitars to new heights of popularity and recognition over the last 30 years.

https://www.youtube.com/watch?v=RdXoEwp_jMU

“It’s an honor to be Gibson’s first Global Brand Ambassador,” said Slash. “I’ve been working with Gibson since the early days of my professional career and playing Gibson guitars since before that. I’m proud of the creative relationship we’ve developed over the years.”

Slash joined Guns N’ Roses in 1985 in Los Angeles and quickly rose to international fame by the summer of 1987 with the release of the band’s debut LP “Appetite for Destruction,” which has sold over 30 million albums and become one of the best-selling rock albums of all time. Slash’s signature sound and epic solos were recorded with several of his favorite Gibson guitars, which introduced an entirely new generation to the power and passion of music delivered through those instruments.

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Over the past three decades, Slash has collaborated closely with Gibson and the company’s CEO, Henry Juszkiewicz on several projects including product development, marketing, live events and supporting charitable initiatives with the Gibson Foundation.

“We are thrilled to recognize Slash as Gibson’s first Global Brand Ambassador,” said Henry Juszkiewicz, chairman and CEO of Gibson Brands. “Slash embodies the characteristics of creativity, passion and excellence that are so closely aligned with Gibson and we are very proud of the friendship and mutual success we have shared together for over 30 years.”

Slash is currently on the Guns N’ Roses “Not in This Lifetime” world tour extending through November, 2017.

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Contact Conner for Gibson questions or availability

Connor@napervillemusic.com

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Classic Design Made New: The Fender American Original Series

Posted on February 27, 2018 by admin

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For more than six decades, Fender’s core models of guitars and basses have developed their own distinct personalities and legions of devoted disciples.

Whether it was the Telecaster, Jaguar or Jazz Bass (just to name a few), many of those defining characteristics were formed through the 1950s, ‘60s and ‘70s.

Now, today’s players have the opportunity to re-live those classics through the new American Original Series, a collection of American-made basses and guitars that replaces the American Vintage Series, which was first launched in 1982.

This fresh line includes 13 models, with a ‘50s Stratocaster, Telecaster and Precision Bass; a ‘60s Strat, Tele, Jazzmaster, Jaguar, P Bass and Jazz Bass; and a ‘70s Jazz Bass. All of these updated instruments marry what players have always loved about the originals with contemporary enhancements, elevated playability and best-in-class performance.

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That constant innovation while remaining rooted in tradition is what initially made Fender an original and what continues to make Fender a visionary brand to this day.

“What makes a guitar classic is … after everyone’s gotten their hands on it and they’ve tried changing it and it just keeps going back to the same thing, that’s a classic,” said Modest Mouse frontman Isaac Brock. “You can try different stuff. It’s good that people keep trying to change things, but sometimes it’s just doesn’t need change. That’s what makes a classic. What is it that you go back to? What is the thing that despite trends, a lot of people find themselves back to [the originals].”

Staying true to the classic, ground-breaking Fender designs was a key focus of the American Original Series.

Throughout the American Original Series, each instrument boasts period-accurate pickups specially voices for the authentic sound and performance of specific model years, era-specific neck profiles sculpted for a vintage-style playing feel and original-era nitrocellulose lacquer finishes.

Contemporary updates include modern fingerboard profiles and vintage tall frets, in addition to several other details.

For singer/songwriter J.D. McPherson, having a guitar that feels like the foundational models is a breath of fresh air.

“A guitar from the ‘50s, that’s the golden age of guitars,” McPherson said. “There were designs introduced in the ‘50s that haven’t changed since, and if you think about it, those are the Fender Stratocaster and the Fender Telecaster. Those guitars popped up out of nowhere, and they’re still here.

“The single coil pickups, those were perfected. They were simple and beautiful and worked well, and that’s all everybody needed them to do. It’s getting a little unattainable at this point, which is why I’m glad they’re starting to remake them.”

Exactly what makes a classic can be a nebulous idea to pinpoint, whether it is a guitar or an album or a song. When Phildelphia-based singer/songwriter Kurt Vile thinks of the word “classic,” the Jaguar enthusiast is reminded of the great Tom Petty. It’s a concept that is simply undeniable.

“I think you just know it when you hear it,” said Vile. “If something’s an instant classic, like Tom Petty, he’s got so many classic hits. It’s like a American punch in the face. You just know it when you hear it.”

Raphael Saadiq, who was inspired at an early age by pioneering Sly and the Family Stone and Grand Central Station bassist Larry Graham, thinks it’s important to strive for originality. It is a notion that transcends trends and genres, just like the Fender basses he grew up playing, and something he continues to apply to his prolific recording and producing career.

“It’s hard to be completely original,” said Saadiq. “The way you can find out where your truth lies inside of you is to make people turn their head and go like, ‘Well I’ve heard that before, but maybe not like that.’ I don’t really ask questions why people like music I do. I just keep doing it. That’s how I think you become original.

“If something is currently out and you know because it’s currently number one on the charts, it’s hot. I never want to do what people call hot. I will totally go the opposite way. Even if I had a hit record, the next record would be completely different. I just feel like it’s a waste of life. Like why do that? Just do something different.”

Just like current artists like Saadiq, Vile, Brock and McPherson were all influenced by the classic musicians and instruments that came before them, taking those foundations to build their own original sounds, Fender’s American Original Series offers a nod to the past while living in the present.

By Mike Duffy

For more information, contact Connor@NapervilleMusic.com

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What Makes The Fender Eric Johnson Thinline Stratocaster Sound So Good

Posted on February 20, 2018 by admin

GRAMMY-WINNING SOUND

Bringing to life the vision of one of the most respected guitarists in the world, the Eric Johnson Signature Stratocaster Thinline is the perfect marriage between a semi-hollow body and a traditional Stratocaster. Johnson is famous in guitar circles for questing for his ideal tone—liquid and articulate, it perfectly complements the playing style that earned his place in the modern guitar pantheon. In 2015 he approached us to co-design a lightweight, resonant instrument that combines the tones of his favorite semi-hollowbody guitars and his Stratocaster. Two years later, we hit the formula for tonal nirvana with the Eric Johnson Signature Stratocaster Thinline.

SEMI-HOLLOW 2-PIECE BODY
SEMI-HOLLOW 2-PIECE BODY

We tested many configurations before EJ settled on the lightweight capped alder body. With custom chambers and traditional Strat contours this guitar looks as good as it plays.

NITROCELLULOSE LACQUER FINISH
NITROCELLULOSE LACQUER FINISH

The nitrocellulose lacquer finish not only lets the body breathe with its true tonal character, it also ages and wears in a distinctively personal way.

ERIC JOHNSON SINGLE-COIL PICKUPS
ERIC JOHNSON SINGLE-COIL PICKUPS

Fender’s R&D engineers worked closely with EJ to craft the perfect pickups for his uniquely articulate sound. Carefully blending our legacy with EJ’s discerning sonic tastes, these Stratocaster pickups are a key element of his tone.

CUSTOM ERIC JOHNSON NECK
CUSTOM ERIC JOHNSON NECK

The thick “Soft V”-shaped neck slightly smooths the sharpness of a “V” profile, rounding it out so it’s more comfortable for rhythm and lead playing.

STAGGERED VINTAGE-STYLE TUNING MACHINES
STAGGERED VINTAGE-STYLE TUNING MACHINES

Not only do these tuning machines have a cool vintage look they also create optimal string break angle at the nut, removing the need for string trees.

NO REAR TREMOLO COVER
NO REAR TREMOLO COVER

According to EJ’s own specs, his signature Stratocaster has no tremolo cavity cover on the back and no screw holes for one.

Available at Naperville Music, contact connor@napervillemusic.com

 

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The Guitar Theory Cheat Sheet

Posted on February 20, 2018 by admin

Use this handy reference when you’ve forgotten some of the theory essentials.

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By Nick Stoubis

It’s impossible to memorize everything related to theory. So use this handy guide when you can’t remember your string names or your half steps.

String Names – Thinnest to Thickest
  • E B G D A E (Easter Bunnies Get Dizzy At Easter)
String Numbers – Thinnest to Thickest
  • 1: High E
  • 2: B
  • 3: G
  • 4: D
  • 5: A
  • 6: Low E
Musical Alphabet
  • A, B, C, D, E, F, G
  • Each open string has all the same the notes of the alphabet, starting with the letter of the string name. For example, the notes on the open A string are: A, B, C, D, E, F, G. The notes on the open E string are E, F, G, A, B, C, D.
Half Steps and Whole Steps
  • Half Step: Notes that are one fret apart
  • Whole Step: Notes that are two frets apart
Notes Located a Whole Step Apart
  • Every note in the musical alphabet – except B-C and E-F
Notes Located a Half Step Apart
  • B and C
  • E and F
Major Scale Formula
  • WWHWWWH (using whole steps and half steps)
Notes in a C Major Scale
  • C D E F G A B C
Sharps and Flats
  • ♯ – Raises note by half step
  • ♭ – Lowers note by half step
  • No sharps or flats in C major and A minor scales

Keep these by your side, and you’ll speed up your guitar learning as well as impress your friends.

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Stratocaster or Telecaster: Understanding the Basic Differences

Posted on February 20, 2018 by admin

Stratocaster or Telecaster: Understanding the Basic Differences

Can’t decide between a Strat or a Tele? Here is a basic guide between the two.

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A Fender Telecaster (top) and Stratocaster.

By Mike Duffy

Both guitars are beloved by casual players and iconic artists alike around the world and have been used to create just about every genre of music imagineable.

For looking to purchase a first Fender or Squier Tele or Strat, there are a few differences that could help you choose between this iconic pair.

But first …

A BRIEF HISTORY LESSON

The world’s first commercially successful solid-body electric guitar, the Telecaster was groundbreaking when Leo Fender introduced it in 1951.

At the time, rock and roll was still a few years away, and Leo and his staff were building guitars and amplifiers for western swing guitarists looking to get more volume and projection.

“There are very few objects that you can think of that influence an entire movement in music that if they didn’t exist could have—and probably would have—changed the course of musical history. I think the Fender Telecaster is one of those iconic objects.” — THE EDGE

Twang-loving country legends like Luther Perkins and Buck Owens helped bring the Telecaster sound to the masses, influencing rock players like Keith Richards, Jimmy Page and George Harrison who would, in turn, change the face of music in the 1960s and beyond.

As for the Stratocaster, Leo was initially looking to refine the classic Tele design, but during the development process, an entirely new model rose from the sawdust. Owing many design elements to the Telecaster, in addition to the Precision Bass that also came out in 1951, the Strat was a step up, boasting three pickups with switching and controls that created greater tonal versatility, a contoured body, and an innovative bridge.

Introduced in 1954, the guitar piqued curiosity when Buddy Holly played one on the Ed Sullivan Show in 1957, but truly gained global acclaim in the hands of 1960s virtuosos like Jimi Hendrix, David Gilmour, Robin Trower and Eric Clapton.

When I first saw a Stratocaster, I realized it’s a thing of sculpted beauty. It could be something flying through space to me. It’s a utilitarian thing, but it’s beautiful.” — MARK KNOPFLER

Amazingly, traditional versions of the Stratocaster and Telecaster have gone largely unchanged for more than 60 years, and their popularity shows no signs of waning.

While Fender has made several iterations of both guitars over the years, here is a breakdown of what separates is thought of a traditional Tele and Strat.

STRATOCASTER PLAYERS

TELECASTER PLAYERS

  • Buck Owens
  • Luther Perkins
  • Stever Cropper
  • George Harrison
  • Muddy Waters
  • Buck Owens
  • Keith Richards
  • Graham Coxon (Blur)
  • Curtis Mayfield
  • Conway Twitty
  • Marty Stuart
  • Joe Strummer (the Clash)
  • Paul Westerberg (the Replacements)
  • Frank Black
  • Carrie Brownstein (Sleater-Kinney)
  • Jonny Greenwood
  • Brad Paisley
  • Keith Urban

STRATOCASTER NECKS VS. TELECASTER NECKS

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Both the modern Telecaster and Stratocaster bolt-on necks largely feature 22 frets and a 25.5” scale, with identical nut width and 9.5” fretboard radius.

But the Stratocaster has a noticeably larger headstock, whether the original iteration or the bulky one that was used from 1965-81. Some guitarists claim that the larger Strat headstock gives the guitar more sustain and tone, but that debate has raged for years.

READ MORE: What Is Fingerboard Radius?
READ MORE: How the Strat Came to Have Two Heads

STRATOCASTER BODIES VS. TELECASTER BODIES

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Telecaster and Stratocaster bodies are mostly constructed from alder—a lightweight, closed-pore wood with a resonant, balanced tone that imparts excellent sustain and sharp attack. Ash, mahogany and other tonewoods have also been used.

As for the body silhouettes, both are instantly recognizable. The Tele has a single cutaway and no body contours. In addition to its sleek contours that make it eternally comfortable to play, the Strat has another cutout on the upper horn for better access to the upper notes.

READ MORE: Ash vs. Alder: What’s the Diff?

STRATOCASTER ELECTRONICS VS. TELECASTER ELECTRONICS

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The Stratocaster and Telecaster generally have similar electronics. They each have a master volume control, but where the Tele only has one tone control, the Strat has dedicated tone knobs for the middle and bridge pickups.

The switching, however, is another story. The Telecaster has always carried a three-way switch, but after guitarists found that they could get more tonal versatility by jamming the Strat’s original three-way switch in between the first and second position and second and third position, Fender outfitted it with a standard five-way selector.

The Telecaster typically has two single-coil pickups, with the bridge pickup being wider and longer than its Strat counterpart. What’s more, it is mounted on the Tele’s metal bridge plate, which can give it a more powerful tone.

(Fender also makes Stratocaster and Telecaster models with humbucking pickup options.)

READ MORE: Understanding the Stratocaster Selector Switch
READ MORE: Decoding Standard Pickup Arrangements

STRATOCASTER HARDWARE VS. TELECASTER HARDWARE

The bridge is probably the most glaring distinction here. Both have six adjustable saddles (vintage Teles had three saddles), but the Telecaster’s houses the bridge pickup, while the Strat bridge is a two-point tremolo system.

The Strat bridge is attached to springs that allow the player to raise or lower the pitch of the strings through the use of a “whammy bar”.

“WHICH IS RIGHT FOR ME? A STRAT OR A TELE?

Whether a Tele or a Strat is right for you is a matter of personal opinion. Both guitars have a rich history and countless devotees, but the feel and sound can differ greatly.

That’s not to mention the variations on each that have come out over the years with assorted specs like pickup configurations, neck profiles and tonewoods.

Throughout the ages, guitarists have gravitated towards either the Strat or the Tele. And oftentimes, players sit somewhere in between.

The best thing to do is refuse to let the stereotypes themselves lead you down a certain path. You can only be truly informed after playing them yourself.

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Why Instrument Cables and Speaker Cables Aren’t Interchangeable

Posted on February 20, 2018 by admin

Why Instrument Cables and Speaker Cables Aren’t Interchangeable

Did you know you can’t just use one in place of the other?

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Two Fender cables. They’re not all the same.

By Jeff Owens 

You probably know that guitar cords and speaker cables aren’t interchangeable, but you probably don’t know why. While it usually suffices for most to leave it at “Hey, don’t do that,” a little understanding never hurts.

Guitar cables and speaker cables are two different kinds of cable designed for two very different purposes. Using one in place of the other can have unpleasant effects ranging from merely annoying interference to outright equipment failure.

Among novices and those in a hurry, confusion sometimes arises from the fact that both kinds of cable often share the same kind of connector—1/4″ phone plugs. That’s about the only important similarity, though. To understand why you shouldn’t use one in place of the other, let’s look at both cable types and examine their purpose and differences in more detail.

Your instrument cable is low power and high impedance. It’s built to convey a weak unamplified signal from your guitar to your amp, where it’s boosted up to a useable level. Since it doesn’t need to carry a lot of juice — a small DC current with a small voltage — it consists of a single small-diameter “positive” inner wire (usually 24 gauge) running through a braided shield conductor that works as the ground connection, plus various insulators and the outer jacket. Its small, lightweight wire size is good for cable flexibility (it needs to follow you around onstage, remember), and the shielding prevents much of the noisy external electromagnetic interference that low-power signals are susceptible to.

Your speaker cable, on the other hand, is just the opposite — high power and low impedance. It’s built to carry a strong signal from your amp to your speakers—a relatively high AC current and voltage. Unlike the instrument cable, it has not one but two wire conductors, both with a relatively large diameter in order to allow greater signal flow from amp to speakers.

It’s useful here to imagine the current flow from amp to speakers as water pumped through pipes. The amp puts out whatever “water pressure” it’s capable of (and it’s a lot), and your speaker cable is the pipe that carries that water pressure to the speakers. If you reduce the size of that pipe, you restrict the flow of water to the other end. Speaker wires work much the same way—smaller-diameter wires present more electrical resistance to the signal flow, wasting energy in the form of heat. The bigger the wires, the better the signal flow from amp to speakers.

If you use an instrument cable as a speaker cable, you’re probably OK at low signal levels. At high signal levels, though, trouble brews—all that amp power attempts to flow through the instrument cable’s too-small conductor. The unhappy result is that a lot of amp power is converted to heat and never even reaches the speakers. You get reduced speaker output, some probable distortion and, in extreme situations, heat-induced cable or cable connector failure. And you definitely don’t want your amp overheating.

If you use a speaker cable as an instrument cable, the large conductors handle the weak signal just great. But there’s a catch—speaker cables aren’t shielded. Since they normally carry strong, already-amplified signals, any noise they pick up is inconsequential, making shielding unnecessary. If used as an instrument cable though, the unshielded conductors can pick up interference from fluorescent lighting, amp power supplies and various other external AC sources.

From the time it’s created at your pickups to the time it enters the amp’s input, the low-level signal from your instrument must travel through a conductor shielded from interference along the entire length of the cable, but that’s not what’s happening if you use a speaker cable. The low-frequency humming or buzzing you’ll consequently hear is the 60-cycle frequency of U.S. AC power leaking through the unshielded cable, internal guitar wiring, amp wiring or any combination thereof. And your amp is boosting it all to the point of sounding like giant mutant bees.

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2018 Fender Custom Shop Prestige Collection

Posted on February 7, 2018 by admin

Go Inside the 2018 Fender Custom Shop Prestige Collection

See the Fender Custom Shop’s most daring creations, straight from the 2018 NAMM Show floor.

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The Prestige Collection, on display at the 2018 NAMM Show, pushes the limits of guitar building every year.

Photo: Mark Keraly

By Mike Duffy

Each year at the NAMM Show in Anaheim, Calif., the master builders in the Fender Custom Shop showcase some of their finest work in the Prestige Collection, a group of guitars and basses that are truly design marvels.

2018’s edition was no different, as each of the models proved to be breathtaking.

“The Prestige Collection is the foundation of the Fender Custom Shop,” said Fender Custom Shop Vice President of Product Development Mike Lewis. “It’s really what we’re all about – continually pushing the envelope of design innovation and craftsmanship to create one-of-a-kind playable works of art.”

Among this year’s Prestige Collection is a massive nine-necked guitar made by Master Builder Paul Waller and a Pinball Telecaster created by Master Builder Yuriy Shishkov using parts and materials from a vintage pinball machine.

Get a closer look at Fender’s 2018 Prestige Collection below.

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(L to R)

Jason Smith’s California Mission PJ Bass is an homage to the California Missions lining the coast of the Golden State. The inspiration for this came from his son studying the California Mission Trail in school, which led to a summer vacation trip up the coast of California to see all 21 missions. This bass is inspired by the San Francisco Mission in particular, as Smith was drawn to the hand-painted pattern of the ceiling and ceiling beams. Featuring a reclaimed roasted pine body and roasted maple neck, this bass has a very warm, resonate tone, reminiscent of a vintage bass. The hand-painted body and position markers on the neck show brush strokes, which give the bass a one-of-a-kind look and style. With its unique features, the California Mission PJ Bass will appeal to bassists wanting something different and to anyone interested in California history.

Dale Wilson’s Buckeye Burl Top Tele pairs a buckeye burl top with a lightly flamed mahogany body and Ivroid-bound mahogany neck. This high-end natural wood guitar features an open sound with a Curtis Novak gold foil pickup in the neck position.

Greg Fessler’s Australian Myrtle Tele was born from a unique piece of Blackwood that Fessler had never heard of before. Ideal for figured wood aficionados and players alike, this guitar features P-90 pickups, a vintage Strat hardtail bridge and AAAA roasted flame maple neck with a Blackwood fingerboard.

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(L to R)

Dennis Galuszka’s The Boardwalk Telecaster is for beach and wood-lovers alike. Inspired by some reclaimed redwood from the Santa Cruz pier, the guitar features a perfectly matched roasted maple neck, as well as a carving of an old weathered boardwalk on the top, by V. Lee Cabanilla.

Yuriy Shishkov’s Prehistoric Telecaster features a body and fingerboard are made from nearly 5,000-year-old, Jet Black “Bog Oak” – coming from a tree that grew before the Egyptian Pyramids were built. This wood was submerged in the swamp for thousands of years, getting a Jet Black color because it’s one step away from becoming coal. The Telecaster also features a custom tailpiece, making it even more of a unique instrument.

Todd Krause’s Fire Pit Stratocaster is inspired by the glowing embers of a campfire. This guitar includes several custom features, including the color, a highly figured quilt top and “roasted” flame maple neck-ideal for players that favor a modern look with vintage sound.

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(L to R)

John Cruz’s Custom Hand Tooled Paisley Leather Tele_ builds on the resurgence of paisley designs. Cruz was inspired by friend Dru Whitefeather to create a leather guitar. Something new and unique to the Fender Custom Shop, the guitar features a leather covering, paisley design and custom inlay work that will surely appeal to collectors, artists and players.

Paul Waller’s Prestige 9-Neck Guitar features nine popular pre-CBS models and scales Fender produced before 1965. Necks featured include those from a four-string mandolin, Mustang, Jaguar, Telecaster, Stratocaster, Jazzmaster, Bass VI, Jazz Bass and Precision Bass.

See more from the Fender Custom Shop here.

Contact Conner about Custom Shop  connor@napervillemusic.com

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Fender’s Gold Sparkle 2018 Grammy Guitars

Posted on February 7, 2018 by admin

First Look: Fender’s Gold Sparkle 2018 Grammy Guitars

Take a look at some of the special guitars Fender artists are taking home as an appreciation of their Grammy nominations.

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By Mike Duff

The 60th-annual Grammy Awards took take place on Sunday January 28th, and there were over 30 Fender artists included in the list of this 2018 nominations.

From Bruno Mars set to potentially add to his stacked resume of Grammy honors to talented up-and-comers like K.Flay and Daniel Ceasar being recognized for the first time, all of these artists were responsible for music loved by countless fans around the world in the past year.

In appreciation for the acknowledgement by their peers in the music industry and the Recording Academy (and to celebrate the 60th anniversary of this time-honored ceremony), Fender created an assortment of Gold Sparkle American Professional guitars as a gift to the many nominated artists with a passion for the Fender brand. Whether it’s a Stratocaster, Telecaster or Jazzmaster, these guitars truly stand out.

Below, get a closer look at the Gold Sparkle Grammy guitars and a rundown of nominated Fender artists:

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  • Bruno Mars: Record of the Year, Album of the Year, Song of the Year, Best R&B Performance, Best R&B Song, Best R&B Album
  • Brody Brown: Album of the Year, Song of the Year, Best R&B Song
  • James Fauntleroy: Album of the Year, Song of the Year, Best R&B Song
  • NO I.D.: Record of the Year, Album of the Year, Producer of the Year (Non-Classical)
  • Alessia Cara: Song of the Year, Best New Artist, Best Pop Duo/Group Performance, Best Music Video
  • Blake Mills: Producer of the Year (Non-Classical)
  • Brent Cobb: Best Americana Album
  • Bruce Springsteen: Best Spoken Word Album
  • Chris Stapleton: Best Country Album, Best Country Solo Performance, Best Country Song
  • Code Orange: Best Metal Performance,
  • Daniel Caesar: Best R&B Album, Best R&B Performance
  • Foo Fighters: Best Rock Performance, Best Rock Song
  • Greg Kurstin: Producer of the Year (Non-Classical), Best Song Written for Visual Media
  • Jason Isbell: Best Americana Album, Best Americana Roots Song
  • Julian Lage: Best Contempmorary Instrumental Album
  • K.Flay: Best Rock Song
  • Kaleo: BEst Rock Performance
  • Kesha: Best Pop Vocal Album, Best Pop Solo Performance
  • LCD Soundsystem: Best Alternative Music Album, Best Dance Recording
  • Lady Gaga: Best Pop Vocal Album, Best Pop Solo Performance
  • Mura Masa: Best Dance/Electronic Album, Best Recording Package
  • Portugual. The Man: Best Pop Duo/Group Performance
  • Steve Lacy
  • The Chainsmokers: Best Pop Duo/Group Performance
  • The Mavericks: Best Americana Album, Best Americana Roots Song
  • The National: Best Recordings Package, Best Alternative Music Album
  • Troy Sanders (Mastodon): Best Metal Performance, Best Rock Album
  • Troy Van Leeuwen (Queens of the Stone Age): Best Rock Album
  • The War On Drugs: Best Rock Album
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Flying With Your Guitar

Posted on February 7, 2018 by admin

Flying With Your Guitar

Flying with your guitar

TSA lock on a guitar case. Airline security personnel can open and re-lock these for inspection purposes when you’re not present (they can break non-TSA locks if they have to).

TSA lock on a guitar case. Airline security personnel can open and re-lock these for inspection purposes when you’re not present (they can break non-TSA locks if they have to).

If you’re like most guitarists, you view the prospect of taking a guitar you care about on a commercial flight with something ranging from unnerving trepidation to outright dread.

And well you should, since we all know how delicate airline baggage handlers can often be. We’re reminded of that time in 2008 when United Airlines baggage handlers in Chicago nearly destroyed passenger Dave Carroll’s $3,500 acoustic guitar, and Carroll struck back after a year of unsuccessful attempts at redress by posting a video for a charmingly scathing ditty of his called “United Breaks Guitars.” A viral hit, the song racked up 4 million views in just over a week, after which United finally offered to compensate Carroll. Several news outlets somewhat dubiously reported that the airline’s share value subsequently dipped by ten percent; what’s certain is that United definitely got tons of bad press in the wake of the turbulent incident despite the fact that it doesn’t actually break a lot of guitars.

Your best bet is to avoid checking your baggage because it will likely get tossed around like a rag doll by baggage handlers who have an Everest of luggage to load and a very tight schedule to keep.

Baggage hold of an Airbus A320 airliner, typical of the space in which your guitar accompanies you on your trip.

Baggage hold of an Airbus A320 airliner, typical of the space in which your guitar accompanies you on your trip.

Instead, take it to the gate with you, which is where things sometimes get tricky. Although you currently have the right to carry a musical instrument on board or check it in, it’s not unusual for customer service agents and flight crews to order the instruments into the cargo hold.Fortunately, the Department of Transportation has announced that “Carriers must allow passengers to stow their small musical instruments [guitars, violins, etc.] in an approved stowage area in the cabin.” The new rule is due to take effect on March 6, 2015, and will allow those traveling with guitars to board the aircraft and store it in a forward closet or, if size permits, an overhead compartment.

For larger instruments, sometimes it is possible to secure them to a seat as “seat baggage” or “cargo in passenger cabin.” Carriers are required to place large instruments in the cabin if the passenger wishing to carry the instrument in the aircraft cabin has purchased an additional seat to accommodate the instrument (which must also be in a case and not exceed 165 pounds or applicable weight restrictions for the plane).

Also, before you two fly together, loosen your guitar’s strings by a whole step or so. In aircraft baggage holds, guitars are subjected to significant changes in temperature and pressure, both of which can harm the body and neck if the strings remain tuned as usual. Not too loose, though—you want some string tension; just not the regular full amount.

If you still decide to go the route of checked baggage, the U.S. Department of Transportation Aviation Consumer Protection and Enforcement Division offers several sensible tips on avoiding baggage problems:

  • Don’t put items that are valuable, fragile or irreplaceable in checked baggage (a guitar can be any one or all three). Carry such items with you.
  • Like any checked bags, guitar cases may need to be opened for security inspections away from your presence. Use a case with TSA locks, which airport security personnel can open and re-lock (security staff will break non-TSA-approved locks if necessary).
  • Tag your guitar case on the outside with your name, home address, and personal and work phone numbers. Airlines provide free stick-on tags; most offer “privacy tags” that conceal this information from passers-by.
  • Put the same information inside your guitar case, and add an address and telephone number where you can be reached at your destination city.
  • Don’t check in at the last minute. This is good advice anyway, but just barely making your flight all but ensures that your baggage will be handled roughly—if it makes the flight with you at all.
  • If you check your guitar, be sure to get a claim check. Do not lose the claim check.
  • If possible, choose flights that minimize the potential for baggage disruption. The likelihood of your guitar going astray increases as the numbers of stops and connections increases. Go nonstop if you can.
  • Buy “excess valuation” from the airline if your guitar is worth more than the airline’s liability limit.
  • If your guitar case arrives open, unlocked or visibly damaged, check immediately to see if anything inside is missing or damaged.
  • On arriving at your destination airport and receiving your guitar case, open it to see if anything inside is missing or damaged. Report any problems to your airline before you leave the airport. Insist that the airline fill out a form and give you a copy. Get the agent’s name and an appropriate phone number for following up (not the number for reservations).

Also, an Air Transport Association (ATA) hard case can provide great protection for your guitar. On the low end, you can usually get one of these for around $250—well worth it if you’ve made a big investment in your instrument. You might also want to pad the neck and headstock with bubble wrap (the headstock is typically the most fragile part of a guitar)—use enough to make it slightly difficult to close your case.

By using common sense and observing these guidelines and precautions, your guitar will most likely arrive with you at your destination intact and unharmed. Horror stories aside, the odds are in your favor—the December 2014 U.S. Department of Transportation Air Travel Consumer Report notes that in October 2014, the 12 U.S. airlines listed therein amassed 143,000 mishandled baggage reports (loss and damage) for 49.9 million passengers. That’s 2.87 reports for every 1,000 passengers, and we can probably safely assume that not all of those incidents involved guitars.

Written by on December 1, 2010

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Violinist to introduce Naperville to healing power of music

Posted on February 3, 2018 by admin

A local arts group is hoping a violinist with the Los Angeles Philharmonic Orchestra can inspire the Naperville community to develop a means of bringing classical music to underserved populations.

Vijay Gupta will be in Naperville at the end of February to speak about how music inspires hope and how all people are connected by a human need for art. His visit is being hosted by Naperville-based ARTSpeaks, a group that raises awareness of the role of the arts in public education.

An accomplished violinist, the Indian-American made his solo debut at age 11 with the Israel Philharmonic. Eight years later, Gupta joined the Los Angeles Philharmonic after having completed an undergraduate degree in biology and a master’s degree in violin performance.

Since then, Gupta founded Street Symphony, a nonprofit organization that brings to live classical music to the homeless and to those incarcerated in the Los Angeles County jail system.

During his Feb. 26-28 visit, Gupta will address high school students and educators at Naperville School District 203 and Indian Prairie School District 204.

He also will give a community talk on “The Power of Music to Heal” at 7 p.m. Feb. 27 in North Central College’s Wentz Hall, 171 E. Chicago Ave., in Naperville. Admission is free, but a ticket is required and can be obtained at finearts.northcentralcollege.edu by clicking on the Feb. 27 date.

Charles “Chip” Staley said he’s been working to bring Gupta to Naperville since ARTSpeaks was created six years ago.

Staley, the organization’s chairman, thinks Gupta’s message of music being essential to human life will resonate with Naperville-area residents.

Among the ideas Gupta will explore is the connection between music and mental health and how his work as director of Street Symphony can lift people from the darkness they’re experiencing.

Many of the people Gupta and his fellow musicians reach would never get the opportunity or have the money to hear quality, live classical music, Staley said. “They don’t have access to music. They can’t go to a symphony,” he said.

What Gupta has learned, Staley said, is how much the music gives people hope so they can envision their lives outside their current condition.

In cities like Naperville, people feel connected to their community, he said. But people who are homeless, incarcerated or transient often are treated as separate or hidden, he said. Music can be that link.

“We’re all connected as human beings,” Staley said. “We all share a common bond through the arts” The problem is “some people have access to art; some people don’t.”

Staley said he’d like to see Gupta’s talks inspire partnerships between Naperville businesses, schools, civic groups and social service agencies to bring music to people who don’t have access to it. What form that takes will be up to people’s imaginations, he said.

The violinist’s trip to Naperville won’t be all talk. Gupta will spend a portion of his time practicing what he preaches by performing at a local homeless shelter, Staley said.

“Ultimately it’s an introduction of ideas on serving the underserved and helping people have an elevated view of the future,” he said.

subaker@tribpub.com

Twitter @SBakerSun1

This article originated at the Naperville Sun/Chicago Tribune and is reposted as a public service

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