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Re: away with mirrors


Great post, LOL!  Mayhap the loop of my response might bring this 
slightly back into topic.
Have to agree using various instruments for a live gig, especially when 
a friend makes a request for you to use something that you've never 
used in a live experience (in this case it was a Tom Yocky 
http://www.tomyocky.com 6-string lap dulcimer, "With Wings") being run 
through with an A-B box also connected to a then stock MusicYo! 
Steinberger Spirit GT-Pro guitar and then going into a few effects and 
a Fender Princeton combo amp (this wasn't mine as well).  After having 
quite a few technical difficulties (all dealing with patch cables) and 
finally having one of them take out my guitar, I ended up playing the 
majourity of the gig with the lap dulcimer (Boss UV-50, Yamaha UD-Stomp 
and 2-4 minute Boomerang) and then was asked to jam with the next guy 
who was on in the open-mic night.  To say that I was mortified and 
would've given up the whole thing had it not been for several people 
(not to mention a few of the other acts/bands that were there that 
night) coming up and saying that they really dug what I was doing.
Won't rant about the quality of Guitar Center patch cables, really, I 
won't.  ;)

Majour Tangent:
The other bit of fun was getting to go to Chuck's 
(http://www.wmcworld.com) the week after in order to have the 
pickups/electronics yanked out and to have a set of Seymour Duncan 
(SH-2 in the neck, SCR-1 middle, and a SH-14 normal spacing in the 
bridge) pickups, a push-pull pot (turn on neck pickup for the three 
other settings from the 5-way switch), a dual concentric pot (neck and 
bridge tone), a new 1/4" jack put into the guitar.  Been fiddling about 
with the improved Spirit GT-Pro and man, what a difference!  I've got 
harmonics, I've got sustain and I've got a worlds better sound out of 
this instrument in my view.  Wonder what a GL would sound like with 
similiar electronics to it.


On Nov 20, 2004, at 1:02 PM, Travis Hartnett wrote:

> I also used to suffer from the beat-myself-up-after-every-bad-gig 
> syndrome.  For the first five or six years I played in public, I had 
> probably two or three enjoyable shows, and the rest left me despondent 
> and suicidal.  Two things that really helped were 1) playing out a lot 
> more (several times a week) and 2) playing a instrument other than my 
> primary one.
> A lot of musicans get wrapped up in identifying their musical ability 
> as their self.  "I am the Mighty Guitarist! Playing guitar is my 
> Reason To Be!!  As my playing go, thus goes my LIFE!!!" And so on.  
> This is frequently a recipe for disaster.  And if you're only playing 
> one 45 minutes gig a month, that's a lot of time to build it up in 
> your mind before hand as THE MOST IMPORTANT 45 MINUTES OF THE MONTH.  
> And, if it fails to meet expectations (and what could meet those 
> expectations?) a lot of time to kick yourself in the ass afterwards.  
> Some people can maintain a healthy perspective while listening to a 
> board tape of a show for three days after a bad show, but most can't.  
> If you're playing more frequently, and more than one set, a bad gig 
> becomes just one data point in many.  Also, once I started playing in 
> situations where we played more than one set, I was surprised to find 
> that the second set was almost inevitably better than the first.
> The second thing was when I started playing just keyboards in a band 
> (I'm primarily a guitarist).  Right before the first all-keyboard gig 
> I remember thinking  "Oh hey--I'm about to play in front of a lot of 
> people on something that I haven't spent years practicing on, maybe I 
> should be getting nervous?"  And then the gig started and it occurred 
> to me that my job  that night was to operate the musical tool in front 
> of me to the best of my ability.  Not to be THE MIGHTY KEYBOARD 
> PLAYER, MASTER OF ALL HE SURVEYS.  Which, is the perspective you 
> should always have, but being away from my surrogate Object of Power 
> and Self-Esteem (the guitar) really highlighted it for me.
> Oh, and the correct answer to any post gig "Hey man, that was great!" 
> type statement is always "Thanks, glad you enjoyed it!"  End of 
> discussion.
> TravisH
> On Nov 20, 2004, at 8:57 AM, 
> Loopers-Delight-d-request@loopers-delight.com wrote:
>> . . . I made a conscious effort to be a bit
>>  more gracious in accepting the kudos, while still
>>  being self-aware of the areas in which I needed
>>  improvement. This made a world of difference.
>> A simple 'thank you' worked much better than a
>> discourse on the importance of reliable patch cords
>>  This is a problem I still struggle with a bit. To audience
>>  members who are strangers it's easier to just smile and
>>  nod and say thanks and let the subject drop. But with
>>  friends and colleagues (particularly other musicians)
>>  it's hard not to admit seeing all of the problems/flaws
>>  that you assume were just as clearly evident to them.
>>  It's even worse if they're close friends . . . 'cuz then
>>  one's mind invariably plays the trick of coming up with
>>  the notion that these friends' compliments and praise
>>  are meant to be "encouragement" after a particularly
>>  BAD performance. My mind always says: "OH NO! IT
"Vi Viri Venivirsium Vivius Vicci."
- Faustus