Jason Vieaux Launches the Classical Guitar School from ArtistWorks
The Jason Vieaux Guitar School includes lessons covering fundamentals through advanced techniques.
New York, NY (June 1, 2012) – Jason Vieaux launches the Jason Vieaux Classical Guitar School from ArtistWorks. This revolutionary online school, the first of its kind for classical guitar, gives students of any age, ability, or location an unprecedented level of access to studies with Vieaux through ArtistWorks’ Video Exchange accelerated learning platform.
The Jason Vieaux Guitar School includes lessons covering fundamentals through advanced techniques. Each video lesson is offered with multiple angles and in slow motion for optimal learning. In addition, students may submit videos of their own playing, which Vieaux responds to with personalized feedback via video. Other students benefit from viewing these interactions, creating an ever-evolving curriculum in a virtual master class environment. Subscriptions are $90 for three months, $150 for six months, or $240 for 12 months.
Founded in 2008 by former AOL executive David Butler, Napa California-based music and technology company ArtistWorks offers interactive music lessons from master musicians in a variety of different styles including rock guitar, jazz/gypsy guitar, finger style solo guitar, rock guitar, mandolin, fiddle, dobro, acoustic bass, harmonica, jazz/fusion drums, rock drums, DJ scratching, classical piano and banjo. ArtistWorks partners only with top-tier, virtuoso performers and features instructors including Tony Trischka, Bryan Sutton, Darol Anger, Martin Taylor, Andreas Oberg, Luis Conte, and more.
Guitarist Jason Vieaux is expanding the definition of what it means to be a classical guitarist and changing the face of guitar repertoire, building a devoted audience and fan base along the way. Vieaux is a musician noted for virtuosic and stirring performances, imaginative programming, and uncommon communicative gifts. His collaborations with flutist Gary Schocker, harpist Yolanda Kondonassis, mezzo-soprano Sasha Cooke, and bandoneon/accordion virtuoso Julien Labro continue to display Vieaux’s broad range of musical interests. Recent career highlights include solo performances at Lincoln Center, Spivey Hall, the Chautauqua Festival, and a return to Music@Menlo.
In the fall of 2011, Jason Vieaux inaugurated The Curtis Institute of Music Guitar Department with guitarist David Starobin, and he has been Head of the Guitar Department of the Cleveland Institute of Music since 2001, a position he continues to hold. He is also affiliated with Philadelphia’s Astral Artists, with which he gives annual outreach concerts.
During the 2011-2012 season, Vieaux has made his debut at the Chamber Music Society of Lincoln Center, performs at the Caramoor Festival, and has numerous return engagements, including appearances at the 92nd St. Y Guitar Marathon, the Peninsula Music Festival, the Maverick Series, Fontana Chamber Arts, the Elgin Symphony, and a Hartt School of Music residency. He toured the US extensively with The Curtis Institute of Music in spring 2012. This season, Vieaux performed concertos with the Buffalo Philharmonic, the Santa Barbara Chamber Orchestra, the Ft. Wayne Philharmonic, and the symphonies of Richmond, Kitchener-Waterloo and Amarillo, featuring works by Rodrigo, Vivaldi, Castelnuovo-Tedesco, and Roberto Sierra. He has to date played concertos with more than 50 orchestras, working with conductors David Robertson, Miguel Harth-Bedoya, Michael Stern, Jahja Ling, Stefan Sanderling, David Lockington, Andrew Constantine, and Alasdair Neale. His triumphant programs for Music@Menlo, the Strings Music Festival, the Grand Teton Festival and the Jupiter Chamber Players have forged his reputation as a first-rate chamber musician. Vieaux’s passion for new music has fostered premieres of works by Dan Visconti, David Ludwig, Jerod Impichchaachaaha' Tate, Eric Sessler, José Luis Merlin and Gary Schocker.
Jason Vieaux has eleven commercially successful albums to his credit, with more to come through his contract with Azica Records. His latest album, a recording of Astor Piazzolla’s music with bandoneonist Julien Labro and A Far Cry Chamber Orchestra, was released in 2011, and a new solo disc will arrive in 2013. His Bach: Works for Lute, Vol.1 hit No. 13 on Billboard’s Classical Chart a week after its release, and received rave reviews by Gramophone, The Absolute Sound, and Soundboard. Images of Metheny features music by American jazz legend Pat Metheny, who, after hearing this landmark recording, declared: "I am flattered to be included in Jason's musical world." Sevilla: The Music of Isaac Albeniz made several Top Ten lists the year of its release. Vieaux's recordings and live performances are regularly broadcast on radio and the internet, and he writes on various classical music topics for National Public Radio’s Deceptive Cadence blog series. His communicative gifts are the subject of feature articles in print and internet media outlets around the world every year, including magazines such as Acoustic Guitar, MUSO, and Gramophone.
Vieaux was the youngest First Prize winner in the history of the prestigious Guitar Foundation of America International Competition. He is a Naumburg Foundation Competition top prizewinner, a Cleveland Institute of Music Alumni Achievement Award recipient, a Salon di Virtuosi Career Grant winner, and a former NPR Young-Artist-in-Residence. In 1995, Vieaux was an Artistic Ambassador of the US to Southeast Asia, touring seven countries, and he now regularly concertizes abroad to Asia, Europe, Australia and New Zealand. His primary teachers were Jeremy Sparks and John Holmquist.
Jason Vieaux’s Concert Schedule
Sunday, June 3, 2012 at 4pm
Classical Guitar Weekend
Cleveland Institute of Music’s Mixon Hall
11021 East Boulevard | Cleveland, OH
Friday, June 22, 2012 at 7:30pm
12th Annual New York Guitar Seminar at Mannes
Mannes College The New School For Music
150 West 85th Street | NYC
June 19-24, 2012
Jason Vieaux Guitar Workshop
Holy Cross Monastery | West Park, NY
Sunday, June 24, 2012 at 4:30pm
Caramoor International Music Festival
Sunken Garden | 149 Girdle Ridge Road | Katonah, NY
Sunday, July 8, 2012 at 7:30pm
Cooperstown Summer Music Festival
The Farmers’ Museum | 5775 State Highway 80 | Cooperstown, NY
Thursday, July 12 & Friday, July 13, 2012 at 8pm
New Hampshire Music Festival
The Silver Center of the Arts’ Hanaway Theater
17 High Street | Plymouth, NH
July 14-17, 2012
East Carolina University Guitar Festival
East Carolina University | Greenville, NC
Saturday, August 18, 2012 at 7:30pm
Sauble Beach Guitar Festival
Sauble Christian Fellowship Church
25 Southampton Parkway | Sauble Beach, ON Canada
For more information, visit:
jasonvieaux.com
We’re giving away pedals all month long! Enter Stompboxtober Day 11 for your chance to win today’s pedal from Hotone Audio!
Hotone Wong Press
Cory Wong Signature Volume/Wah/Expression Pedal
Renowned international funk guitar maestro and 63rd Grammy nominee Cory Wong is celebrated for his unique playing style and unmistakable crisp tone. Known for his expressive technique, he’s been acclaimed across the globe by all audiences for his unique blend of energy and soul. In 2022, Cory discovered the multi-functional Soul Press II pedal from Hotone and instantly fell in love. Since then, it has become his go-to pedal for live performances.
Now, two years later, the Hotone team has meticulously crafted the Wong Press, a pedal tailored specifically for Cory Wong. Building on the multi-functional design philosophy of the Soul Press series, this new pedal includes Cory’s custom requests: a signature blue and white color scheme, a customized volume pedal curve, an adjustable wah Q value range, and travel lights that indicate both pedal position and working mode.
Cory’s near-perfect pursuit of tone and pedal feel presented a significant challenge for our development team. After countless adjustments to the Q value range, Hotone engineers achieved the precise WAH tone Cory desired while minimizing the risk of accidental Q value changes affecting the sound. Additionally, based on Cory’s feedback, the volume control was fine-tuned for a smoother, more musical transition, enhancing the overall feel of volume swells. The team also upgraded the iconic travel lights of the Soul Press II to dual-color travel lights—blue for Wah mode and green for Volume mode—making live performances more intuitive and visually striking!
In line with the Hotone Design Inspiration philosophy, the Wong Press represents the perfect blend of design and inspiration. Now, musicians can channel their inner Cory Wong and enjoy the freedom and joy of playing with the Wong Press!
A more affordable path to satisfying your 1176 lust.
An affordable alternative to Cali76 and 1176 comps that sounds brilliant. Effective, satisfying controls.
Big!
$269
Warm Audio Pedal76
warmaudio.com
Though compressors are often used to add excitement to flat tones, pedal compressors for guitar are often … boring. Not so theWarm Audio Pedal76. The FET-driven, CineMag transformer-equipped Pedal76 is fun to look at, fun to operate, and fun to experiment with. Well, maybe it’s not fun fitting it on a pedalboard—at a little less than 6.5” wide and about 3.25” tall, it’s big. But its potential to enliven your guitar sounds is also pretty huge.
Warm Audio already builds a very authentic and inexpensive clone of the Urei 1176, theWA76. But the font used for the model’s name, its control layout, and its dimensions all suggest a clone of Origin Effects’ much-admired first-generation Cali76, which makes this a sort of clone of an homage. Much of the 1176’s essence is retained in that evolution, however. The Pedal76 also approximates the 1176’s operational feel. The generous control spacing and the satisfying resistance in the knobs means fast, precise adjustments, which, in turn, invite fine-tuning and experimentation.
Well-worn 1176 formulas deliver very satisfying results from the Pedal76. The 10–2–4 recipe (the numbers correspond to compression ratio and “clock” positions on the ratio, attack, and release controls, respectively) illuminates lifeless tones—adding body without flab, and an effervescent, sparkly color that preserves dynamics and overtones. Less subtle compression tricks sound fantastic, too. Drive from aggressive input levels is growling and thick but retains brightness and nuance. Heavy-duty compression ratios combined with fast attack and slow release times lend otherworldly sustain to jangly parts. Impractically large? Maybe. But I’d happily consider bumping the rest of my gain devices for the Pedal76.
Check out our demo of the Reverend Vernon Reid Totem Series Shaman Model! John Bohlinger walks you through the guitar's standout features, tones, and signature style.
Reverend Vernon Reid Totem Series Electric Guitar - Shaman
Vernon Reid Totem Series, ShamanWith three voices, tap tempo, and six presets, EQD’s newest echo is an affordable, approachable master of utility.
A highly desirable combination of features and quality at a very fair price. Nice distinctions among delay voices. Controls are clear, easy to use, and can be effectively manipulated on the fly.
Analog voices may lack complexity to some ears.
$149
EarthQuaker Silos
earthquakerdevices.com
There is something satisfying, even comforting, about encountering a product of any kind that is greater than the sum of its parts—things that embody a convergence of good design decisions, solid engineering, and empathy for users that considers their budgets and real-world needs. You feel some of that spirit inEarthQuaker’s new Silos digital delay. It’s easy to use, its tone variations are practical and can provoke very different creative reactions, and at $149 it’s very inexpensive, particularly when you consider its utility.
Silos features six presets, tap tempo, one full second of delay time, and three voices—two of which are styled after bucket-brigade and tape-delay sounds. In the $150 price category, it’s not unusual for a digital delay to leave some number of those functions out. And spending the same money on a true-analog alternative usually means warm, enveloping sounds but limited functionality and delay time. Silos, improbably perhaps, offers a very elegant solution to this can’t-have-it-all dilemma in a U.S.-made effect.
A More Complete Cobbling Together
Silos’ utility is bolstered by a very unintimidating control set, which is streamlined and approachable. Three of those controls are dedicated to the same mix, time, and repeats controls you see on any delay. But saving a preset to one of the six spots on the rotary preset dial is as easy as holding the green/red illuminated button just below the mix and preset knobs. And you certainly won’t get lost in the weeds if you move to the 3-position toggle, which switches between a clear “digital” voice, darker “analog” voice, and a “tape” voice which is darker still.
“The three voices offer discernibly different response to gain devices.”
One might suspect that a tone control for the repeats offers similar functionality as the voice toggle switch. But while it’s true that the most obvious audible differences between digital, BBD, and tape delays are apparent in the relative fidelity and darkness of their echoes, the Silos’ three voices behave differently in ways that are more complex than lighter or duskier tonality. For instance, the digital voice will never exhibit runaway oscillation, even at maximum mix and repeat settings. Instead, repeats fade out after about six seconds (at the fastest time settings) or create sleepy layers of slow-decaying repeats that enhance detail in complex, sprawling, loop-like melodic phrases. The analog voice and tape voice, on the other hand, will happily feed back to psychotic extremes. Both also offer satisfying sensitivity to real-time, on-the-fly adjustments. For example, I was tickled with how I could generate Apocalypse Now helicopter-chop effects and fade them in and out of prominence as if they were approaching or receding in proximity—an effect made easier still if you assign an expression pedal to the mix control. This kind of interactivity is what makes analog machines like the Echoplex, Space Echo, and Memory Man transcend mere delay status, and the sensitivity and just-right resistance make the process of manipulating repeats endlessly engaging.
Doesn't Flinch at Filth
EarthQuaker makes a point of highlighting the Silos’ affinity for dirty and distorted sounds. I did not notice that it behaved light-years better than other delays in this regard. But the three voices most definitely offer discernibly different responses to gain devices. The super-clear first repeat in the digital mode lends clarity and melodic focus, even to hectic, unpredictable, fractured fuzzes. The analog voice, which EQD says is inspired by the tone makeup of a 1980s-vintage, Japan-made KMD bucket brigade echo, handles fuzz forgivingly inasmuch as its repeats fade warmly and evenly, but the strong midrange also keeps many overtones present as the echoes fade. The tape voice, which uses aMaestro Echoplex as its sonic inspiration, is distinctly dirtier and creates more nebulous undercurrents in the repeats. If you want to retain clarity in more melodic settings, it will create a warm glow around repeats at conservative levels. Push it, and it will summon thick, sometimes droning haze that makes a great backdrop for slower, simpler, and hooky psychedelic riffs.
In clean applications, this decay and tone profile lend the tape setting a spooky, foggy aura that suggests the cold vastness of outer space. The analog voice often displays an authentic BBD clickiness in clean repeats that’s sweet for underscoring rhythmic patterns, while the digital voice’s pronounced regularity adds a clockwork quality that supports more up-tempo, driving, electronic rhythms.
The Verdict
Silos’ combination of features seems like a very obvious and appealing one. But bringing it all together at just less than 150 bucks represents a smart, adept threading of the cost/feature needle.