Photos uploaded live from Winter NAMM 2011
Neil Young announces the love earth world tour, kicking off this summer.
Starting on June 18 in RƤttvik, Sweden, the first leg of the tour travels through the EU and UK. The North American leg begins in Charlotte on August 8 before concluding in Los Angeles on September 15.
Tickets are available beginning tomorrow, February 25 via an exclusive, 48-hour presale for Neil Young Archives members. General on-sale begins Friday, February 28. Click HERE for tickets and see the full list of dates below. More dates will be added shortly.
With his band, the chrome heartsāSpooner Oldham (Farfisa organ), Micah Nelson (guitar and vocal), Corey McCormick (bass and vocal), Anthony LoGerfo (drums)āNeil Young (guitar and vocal) is bringing his music and songs, new and old, to you. Their recent single ābig changeā is the first introduction of whatās to come on the love earth tour.
Neil Young is proud to partner with Farm Aid (co-founded by Neil Young in 1985) to bring HOMEGROWN Concessions to this tour, leading the way to change the live music food system. HOMEGROWN Concessions brings family farm food ā produced sustainably with a fair price paid to the farmer and served on compostable serviceware ā to music venues.
love earth world tour dates:
Jun 18 ā RƤttvik, Sweden ā Dalhalla
Jun 20 ā Bergen, Norway ā Bergenhus Fortress
Jun 22 ā Copenhagen, Denmark ā TiĆøren
Jun 26 ā Dublin, Ireland ā Malahide Castle
Jun 30 ā Brussels, Belgium ā Brussels Palace Open Air, Palace Square
Jul 01 ā Groningen, Netherlands ā Drafbaan Stedpark
Jul 03 ā Berlin, Germany ā WaldbĆ¼hne
Jul 04 ā Mƶnchengladbach, Germany ā Sparkassenpark
Jul 08 ā Stuttgart, Germany ā Cannstatter Wasen
Aug 8 ā Charlotte, NC ā PNC Music Pavilion
Aug 10 ā Richmond, VA ā Allianz Amphitheater at Riverfront
Aug 13 ā Detroit, MI ā Pine Knob Music Theatre
Aug 15 ā Cleveland, OH ā Blossom Music Center
Aug 17 ā Toronto, ON ā Budweiser Stage
Aug 21 ā Gilford, NH ā BankNH Pavilion
Aug 23 ā New York, NY ā Jones Beach
Aug 24 ā Bethel, NY ā Bethel Woods
Aug 27 ā Chicago, IL ā Northerly Island
Sep 01 ā Denver, CO ā Fiddlerās Green Amphitheatre
Sep 05 ā George, WA ā The Gorge
Sep 06 ā Vancouver, BC ā Deer Lake Park
Sep 10 ā Bend, OR ā Hayden Homes Amphitheater
Sep 12 ā Mountain View, CA ā Shoreline Amphitheater
Sep 15 ā Los Angeles, CA ā Hollywood Bowl
A digital pedal designed by Andrew Barta to replicate the dynamics and responsiveness of analog tube amplifiers. This stompbox offers preset clean, dirty, and lead tones, MIDI interface, and rugged all-metal housing.
As a staunch proponent of analog, Andrew Barta has never had the desire to venture into digital designs. The inventor of the SansAmp tube amplifier emulation technology, which debuted in 1989, Barta has remained loyal to the analog domain. That is, until now.
According to Barta, āTo me, the main drawback of a digital modeler is the feel and the sound quality. It lacks dynamics and responsiveness. It sounds one-dimensional and it isnāt touch-sensitive, so the nuances of your playing style get lost. It limits your ability to change the tone by using your volume knob, picking lighter or harder. No matter how hard you hit the strings, the result is mostly the same. Thereās no headroom and it doesnāt breathe. You are forced go to a different patch for a different tone. Ultimately, you have to conform to the device and play in a different way. So your artistic expression suffers. Artists have told me itās like being in a cage. You have to wrestle harder to squeeze out the results and their fingers get really tired.
āWhatever device youāre using, be it an amp or SansAmp or modeler, itās really a part of your instrument. Your instrument actually consists of the entire signal chain, not just the guitar. Digital is just a numeric translation and isnāt capable of preserving the individual personality of the guitar you use. The output is pretty much the same whether itās a Fender or Gibson or Ric.ā
Just as the original SansAmp was a personal mission to encapsulate tube amplifier sounds in a compact, portable pedal, Barta has long been on a quest to do the same in the digital domain. Never one to jump on a bandwagon, Barta wouldnāt āgo digitalā until he found a way to replicate the dynamics, responsiveness, and fluidity of its analog counterpart.
After many years, Barta ācracked the code.ā This happened to coincide with the opportunity to collaborate with Marty Friedman. The result is the Marty Friedman Signature SansAmp.
An iconic guitarist who eloquently serves up enchanting and tearful melodies, as well as complicated notes that make your head spin, Marty Friedman surprisingly likes to keep his arsenal quite simple. The goal for Tech 21 was to embody his tone in a neat, compact, plug-and-play footprint. Martyās focus is always on the music taking the spotlight rather than complex gear with distracting bells and whistles or requiring a cumbersome learning curve.
The Marty Friedman programmable Signature SansAmp comes preset with his main clean, dirty, and lead tones. Operationally similar to the SansAmp PSA 2.0, there are two modes: Performance mode to have your 3 main presets at the ready and Studio mode for up to 128 locations for custom presets.
Says Marty, āThis is it! This pedal has been in the works for a long time and only an exceptional design engineer like Andrew Barta could make something with these beautiful tones so incredibly simple to use. Such bonehead easy-to-use effects havenāt been known to have world class sounds in them until now. Iām proud to put my name on the first one."
Controls include Reverb, 3-band active EQ, Drive, and Level. Thereās also an adjustable Gate that dynamically and smoothly cleans up the signal, rather than cutting it off abruptly. Filteralters the tonality by manipulating the mid-range and is specifically voiced for Martyās unique sound.
Other features include a MIDI interface to control the SansAmp externally, a chromatic tuner, an effect loop, 1/4-inch and XLR Outputs, and rugged all-metal housing and knobs. Utilizes included 9V DC auto-switching power supply with interchangeable international plugs for use anywhere in the world. Measures 7.5āl x 5.25āw x 2.0āh.
For more information, please visit tech21nyc.com.
Thereās so much to explore when you decide to dip your toes into altered tunings.
Thereās so much to explore when you decide to dip your toes into altered tunings. The jangly beauty of DADGAD and the new shapes found in open E and open C offers new inspiration. Caitlin Caggiano teaches you not only the easiest way to get into these tunings, but also a few handy shapes that will kickstart your playing today.
An imperfectly perfect routing job.
Take a moment to appreciate those quirks in your instruments that reveal their makerās hands.
Letās talk about obsessions for a minute. They come in all sizes and shapes; some are benign and harmless, while others can be cruel, crippling, or even life threatening. Members of 12-step and self-help programs remind us of how insidious our own self-delusion can be, which intrigued me enough to take a look at my gear and, ultimately, myself.
I took stock of any compulsive behaviors or things that kept me up at night. I tabulated items that pushed my buttons or irritated me. In the end, I had to admit that Iāve got issuesāIām obsessed. I canāt help myself, but I donāt want to either.
There are names and acronyms for what I have, but it all boils down to one thing: Iāve been obsessed with the little details. The little stuff that most people can pass by without a second thought. That candy wrapper teetering on the edge of the waste bin; I wonder, who could possibly tolerate that? That screwdriver with a worn tip? Iāve got to replace that! A small gap between a maple top and the binding? We canāt let that go. An uneven seam? To the bandsaw it goes, and then the dumpster. Those are the little glitches that make a statement individually and add up to a total that is less than what it could be. No, make that should be. Or should it?
The ancient Greeks were fascinated with the concept of arete, which refers to excellence or virtue. Arete represents the highest quality or state that something or someone can achieve. The German auto designer Ferdinand Porsche considered it almost a religionāindeed, the companyās motto has been interpreted as āexcellence is expected.ā Iām not imagining that I have the chops of a Porsche engineer, but we all have goals.Of course, there is a limit; otherwise, Iād never get anything done. Iām not crazy. So, in order to save myself, and possibly you, I encourage embracing a get-out-of-jail-free concept of sorts known to the Japanese as wabi-sabi.
Wabi-sabi plays a profound and integral role in Japanese culture and traditions, influencing various aspects of art, philosophy, and daily life. This aesthetic concept, ingrained into Japanās culture, actually celebrates imperfection, impermanence, and simplicity. Some of the aesthetic principles of wabi-sabi include appreciating asymmetry, valuing roughness and simplicity, recognizing beauty in natural things, and embracing natural wear and tear. I think those of us who appreciate a real road-worn vintage instrument may already be part of the way there!
āAs much as I donāt want my toaster to project sloppy construction, I do want beautiful instruments to approach perfection, while leaving little breadcrumbs that are evidence of the makerās hand.ā
For me as a musician and builder, Iāve come to soften my obsessions to appreciate and even look for the little āmistakesā in music and craft that tell me that a human being actually created those things. Things like off-mic banter in studio recordings, or fret buzz. As much as I donāt want my toaster to project sloppy construction, I do want beautiful instruments to approach perfection, while leaving little breadcrumbs that are evidence of the makerās hand. Of course, under the microscope anything can be dissected and proclaimed imperfect, but there is a beauty to something that says, āThis is as good as you need it to be.ā Furthermore, you could say itās beautiful the way it is because it has character shaped by virtues and flaws, just like a human being.
So, before I jump to a conclusion or judgement on a guitar, song, or most anything that is created by humans, I take a breath and consider character and personality. You might say that a perfect execution of lutherie might be flawless, but itās the cold, sterile presence of the totally immaculate that I find flawed. When I look at the flatness of the finish on the top edge of a Collings headstock, I marvel at the determination behind it. But itās not the entire beast, for that same guitar has telltale marks that prove it was made by people, not an alien force. They are the wabi-sabiāthe makerās mark.
I once owned a vintage Telecaster that was stunningly mint, but had a tiny knot in the maple fretboard, just past the 12th fret. Would I have returned it as unacceptable if I had been the original owner? Even at the time, many decades ago, I recognized the character that birthmark brought to my guitar. Even though itās long gone from my collection, if I ever saw it again, Iād recognize it like an old compadre. And that, my friends, is what makes our instruments real to us. And Iām now obsessed with that.
