In an effort to create the most unique music instruction and vacation experience around, guitar phenom Andy Wood is back for the third year of his Woodshed Guitar Experience. The Woodshed Guitar Experience will take place at Lake Francis in Crossville, Tennessee from August 25th – August 28th.
The four-day, three-night all-inclusive experience gives players the luxury of time, space, and access to world-class guitarists who are there to help them make breakthroughs in craft and creativity. Joining the already impressive lineup of instructors and performers is Tosin Abasi from Animals As Leaders and country-guitar icon Guthrie Trapp. More information on the Woodshed Guitar Experience can be found at: https://www.woodshedguitarexperience.com.
“The Woodshed Guitar Experience is a real passion project for me and one of my favorite things I get to do as a guitar player,” explains Andy Wood. “Getting together with some of the best players in the business to teach a group of dedicated attendees of all skill levels brings me more joy than I ever thought imaginable. I am so excited to get together with everyone this year for what I am sure will be the best camp yet.”
Now in its third year, the Woodshed Guitar Experience is organized by guitarist Andy Wood, who has toured professionally with Rascal Flatts, LoCash, Scott Stapp and others and just recently announced as part of the 2023 Shiprocked cruise. During the day, attendees enjoy small-group lessons, gear talks, jam sessions, and more. Players can bring their own gear or try out demo units from sponsors like Suhr, PRS Guitars, REVV Amplification, Wampler Pedals, and Open Chord Music, including some items that can be hard to find in local music stores. Guests are also treated to three nights of full-length concerts by the artists, showcasing world-class talent with top-tier production values in intimate venues.
The 2022 event features an international line-up. This year’s featured artists include Brent Mason, Mark Lettieri, Greg Koch, Nick Johnston, Martin Miller, and Tom Quayle. House band members Jim Riley, Daniel Kimbro, and Eli Bishop will also lead sessions. Attendance is limited to 125 people to ensure a VIP experience, and schedules are balanced so everyone can spend time with all the instructors. The result is a unique opportunity to learn from and jam with world- class players.
Experience options begin at $2,799 and include housing, all activities, meals, and an open bar, plus shuttle service for attendees in off-site accommodations. The camp stresses an all-inclusive philosophy, welcoming everyone from beginners and enthusiasts to veteran performers. Couples’ add-ons are available, and accommodations are made for special dietary requirements. Details and registration options are available at https://www.woodshedguitarexperience.com.
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A compact pedal format preamp designed to offer classic, natural bass tone with increased tonal control and extended headroom.
The BX1 begins with a boutique flat response, then Carvin added extensive tone control allowing you to carve out your signature sound. Harmonic content increases as you turn up the INPUT GAIN control, producing the rich harmonics you desire from your preamp. Lightweight, compact design, bullet-proof construction and a list of indispensable features assure the BX1 will be the heart of your tone for years to come. Now shipping worldwide.
- Preamp GAIN and master VOLUME controls
- BLEND control adjusts the EQ/dry mix
- Mid sweep semi-parametric EQ
- COMPRESSOR: Threshold and Strength controls
- Effects Loop
- True Bypass
- 9-volt power – can use external power supply or internal battery
- Switchable MUTE
- -12dB Attenuation switch
- DIRECT OUT balanced XLR and 1/4-inch
Carvin BX1 Bass Preamp Pedal
The BX1 is available on the Carvin website for a $239 street price. Order now at www.carvinaudio.com.
A blind horse wouldn’t be impressed, but this beautiful, double-horned instrument with one-of-a-kind engravings helped make luthier Tony Zemaitis famous.
Though they never reached the commercial success of some of their peers, the Faces have no doubt earned a place as one of the seminal rock ’n’ roll bands of the late ’60s and early ’70s. Combining influences as varied as instrumental funk à la the Meters, traditional folk music, and a heavy dose of rhythm and blues, the Faces brand of rock ’n’ roll can be heard in some way or another in the music of countless bands that followed. After the Faces folded in 1975, all five members went on to continue making great music, but their chemistry together was undeniable.
A huge part of their unique sound and stage presence came from the unusual instruments often employed by bassist Ronnie Lane and guitarist Ron Wood. Anthony Zemaitis was a British born cabinet-maker-turned-luthier. His guitars’ distinctive metal tops, often with elaborately engraved designs provided by Danny O’Brien, can be seen with some of the era’s most legendary guitar players, but it was his connection to the Faces that really put Zemaitis’ instruments on the map.
Engraver Danny O’Brien’s handiwork on the heel plate and control cavity covers are on display in this view of the bass’ back.
The bass pictured here was one of his earliest custom designs for Ronnie Lane. Though all of Tony’s designs are one-of-a-kind, this stands out as a bass guitar truly unlike any other we’ve ever seen. This instrument has a chambered body with a neck-through design and features a 6-screw heel plate purely for cosmetics. The hollow chambers on either side of the neck block were stuffed with cotton to eliminate feedback below a laminate-wood carved top. The distinctive “suit of cards” inlays along the 32"-scale neck would become a signature of Ronnie Lane, but this is perhaps the earliest example of that motif on one of his instruments. Both the headstock and end of the fretboard are delicately carved into a crown-like pattern, perhaps drawing inspiration from mandolins and lutes of the previous century. The controls are two tone dials with on-off switches for each, plus a master volume—with a missing knob—on the upper body. Every piece of metal, from the pickup surrounds, knobs, tailpiece—even the heel plate and control cavity cover—have been intricately engraved by O’Brien. This is as much a work of art as it is a unique instrument with an inspiring tone.
Ronnie Lane is hardly the most famous name associated with the Faces, but it could be argued that the spirit of the band was largely due to his influence. His love of folk and country music even left its mark upon early Rod Stewart solo records on which Lane and his Faces bandmates played a large part. This bass was with him for early Faces performances and could easily have been used on some of these classic recordings, including the albums First Step and Long Player.
This headstock has flourishes fit for a king—possibly of clubs.
There are numerous iconic photos of the band onstage where this bass can be seen, but its value goes well beyond pure memorabilia. Zemaitis instruments hold a special place in the evolution of guitar design, and the masterful engravings of Danny O’Brien are unmistakable. The sad loss of Ronnie Lane to multiple sclerosis in 1997 makes this instrument even more special. The wear and tear he put on the bass and the music he made with it are part of his lasting legacy.
Eventually this bass found its way to a pawn shop in the southern United States, where its second owner purchased it, unaware of its famous history. The bass was played locally from the late 1970s until about three years ago, when that owner passed away, leaving the bass to his cousin. His research over the past few years led him to realize the provenance of the instrument in his possession, and he ultimately confirmed his findings with us at Rumble Seat Music in Nashville, where this legendary instrument is now proudly offered—a perfect example of the kind of rock ’n’ roll artifact we love!
Oh no—it finally happened! Now the big question: How long before my verve for guitar recovers from Covid?
This past Sunday I awoke to a very un-Sunday sensation. Hovering on the edge of consciousness, as yet still incapable of contemplating what Sunday mornings are for (lounging in bed till coffee’s made and lunch plans are set, of course!), I was suddenly struck by a godawful stench. As one does, I wrinkled up my nose, lifted my head to look around in disgust, and took a couple more sniffs to see if … I don’t know—maybe I’d dreamt it? Or woke up incontinent? Then I tasted the putrescence. Then … nothing.
Given that my wife hadn’t mentioned the unspeakably rank odor, I concluded I’d woken in time to witness the neurological flashpoint at which my olfactory system officially snuffed it. See, it was day four of what had been, until then, a pretty tame Covid infection—my first and only to date, as far as I know (thank you, vax scientists!). I’d been feeling drained, achy all over, and had a slightly sore throat and ears. But until then I’d never experienced the strangeness of eating without tasting. Just to be sure, I scrambled for the nightstand, threw three mini Altoids in my mouth, and groaned. No minty sting. No tingle. Just three flavorless little chalk blocks floating around my infected maw.
Since then, I’ve been contemplating the futility of consumption. Coffee tastes like water tastes like whiskey. Minus the burn of alc-e-hol. (Not that one drinks these things for interchangeable reasons.) Putting food in my face has become about two things: staving off hunger pains and storing up enough nourishment to recover ASAP.
Sometimes when I pick up my guitar, I have the same feeling. This song is in a different key and a different tempo, with a different pickup selected and maybe a different stompbox combo. But no, it still sounds like boring ol’ me.
Then something miraculous happened: In the wee hours that night … or maybe the next, who can keep track? … I found my stomach wrenching for lack of grub and went down for a quick bowl of my favorite cereal—Raisin Nut Bran. As I chomped down on the first mouthful, I was elated to find I could taste again.
Only I couldn’t. My mouth felt the sloshing of refreshingly cold milk, the bran flakes’ crisp, rough texture, the chewiness of the yogurt-covered raisins, and for a split second my brain made the final leap. Of course the sweet, nutty taste was there too!
Alas, no. Out of sheer habit, my mind wantedto join in with flavor party favors. But the bowl’s contents could’ve tasted like sardines and rats for all my mouth truly knew.
Sometimes when I pick up my guitar, I have the same feeling. This song is in a different key and a different tempo, with a different pickup selected and maybe a different stompbox combo. But no, it still sounds like boring ol’ me. Maybe if I grab a different guitar and/or plug into a different amp. Nope, still me. How. Lame.
I’m certain I’m not the only one who feels this with regard to my playing. We all go through it. Covid or not, we just have to keep reminding ourselves that, for whatever reason, I might not be feeling it right now, but I do know how to make a good cup of coffee, I do know the difference between bilge and potable water, and I certainly know Skrewball is a delightfully tasty, if ridiculously sweet whiskey. Likewise, I do know some cool chords, and I do have a feel for rhythms and melodies that are kind of neat. My palate for them may be lacking at the moment, but it will return sooner or later. In the meantime, keep the nutrients coming and the guitars twanging.