How President-Elect Obama''s proposed policies could affect musicians
What an exciting election season we just finished! A new era is being ushered in! No matter which side of the political fence you were on, we have to agree that it is exciting to see the entire world celebrating the change with us. The first African-American presidentā¦new feelings of hopeā¦watchfulness to see if the economy can improveā¦hope for a change from a war-culture to one of productivity and emphasis one environmental/energy issues. It is a revolution in how we see ourselves and how we hope to interact as part of a global community.
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The big question for us: What could all this mean for those working in music-related fields? Teachers, part-timers, performers, studio players, local gigging musicians, weekend-warriors, those who deal in new and used instruments, those desiring formal music educationāall will be affected, hopefully for the better, by the election results of November 4. The value of the dollar, our health insurance, our taxes, seeing friends and family members go to war, seeking education, and the leisure time that makes more performance opportunities possible are all things on the table that will have a great impact on the music scene and its related workers. If things go according to plan, musicians, I hope, will greatly benefit from the new administration and the new era.
Health Insurance
One of the largest concerns of many of my friends and colleagues in music-related professions centers on health care benefits. Adjunct music professors, full-time performers, studio teachers and small music businesses all struggle with the question of how to acquire (and afford) health insurance. Many people who might otherwise work in music fields choose not to do so because of the problem of acquiring health
benefits for their families. Under President Obama, it may become possible, for the first time, for these workers to more easily acquire health insurance. This alone may affect the number of people who can now consider a career in a music field.
Taxes
Most of the average working musicians, teachers, and owners of retail stores who I know do not make more than $200,000 a year. For this group, it will mean tax cuts and a lighter burden at the end of the year. This was a controversial topic between the opposing candidates in the election season. If it comes to fruition, the players and teachers who I know will benefit.
Energy
Jimmy Carter was the first president to take seriously the question of a need for energy independence. He was ahead of his time and the idea had no traction. Following a clear crisis, the past eight years were lost as well and should have been used toward that end.
Finally, after being confronted with the pressing nature of the issue, it is being taken seriously, and under Obama we may see changes that, before long, will leave us driving to the gig in an electric car.
Will we be singing songs of the electric hybrid car, like we did in the first rock song (Ike Turnerās āRocket 88ā)? It may not have quite the same nostalgic appeal.
Education
For those desiring a college degree in music performance and music education, the nature of how one goes about this may be drastically changed. In theory, university and community college attendance will become possible for many, in part, through a plan of trading community service for education. Tax credits and a revamped financial aid process will change how music students will apply for college and how they will pay tuition.
Technology
Of huge concern for modern musicians is the future of the internet. The Obama website promises the following: ā(We) will protect the openness of the internet: Obama and Biden strongly support the principle of network neutrality to preserve the benefits of open competition on the Internet. (We) believe we can get true broadband to every community in America.ā For those who are involved in internet music sales, promotion of bands, and a whole host of music-related internet activities, the future looks bright. The administrationās interest in technology and research can only help those whose livelihood has a connection
to the internet.
Beyond these considerations, the most important aspect of this era of change ā something that could potentially and strongly impact musicians ā is the general feeling of hope that seems to be emerging. When the economy is doing better, and when our primary focus is not on a wartime culture, the ground becomes fertile for the arts. If people are feeling better and more hopeful in general, they spend more money and they spend more time in leisure activities. For musicians and retailers (vintage dealers, too), this is all good news, since more money is spent on event tickets, concerts, clubbing, instruments and accessories, lessons, DVDs, computers, etc. Contrastingly, when people are fearful, and especially when they are fearful of the financial future, all the āextrasā are ended, such as spending money to be entertained by live music. We have reason to be hopeful in the New Year!
Happy New Year, from Jazz Guitar Hardball!
Jim Bastian
A clinician and jazz educator, Jim Bastian is a 10 year veteran of teaching guitar in higher education. Jim holds two masters degrees and has published 6 jazz studies texts, including the best-selling How to Play Chordal Bebop Lines, for Guitar (available from Jamey Aebersold). He actively performs on both guitar and bass on the East Coast.
An avid collector and trader in the vintage market, you can visit Jimās store at premierguitar.com (dealer: IslandFunhouse).
Selenium, an alternative to silicon and germanium, helps make an overdrive of great nuance and delectable boost and low-gain overdrive tones.
Clever application of alternative materials that results in a simple, make-everything-sound-better boost and low-gain overdrive.
Might not have enough overdrive for some tastes (although thatās kind of the idea).
$240 street
Cusack Project 34 Selenium Rectifier Pre/Drive Pedal
cusackmusic.com
The term āselenium rectifierā might be Greek to most guitarists, but if it rings a bell with any vintage-amp enthusiasts thatās likely because you pulled one of these green, sugar-cube-sized components out of your ampās tube-biasing network to replace it with a silicon diode.
Thatās a long-winded way of saying that, just like silicon or germanium diodesāaka ārectifiersāāthe lesser-seen selenium can also be used for gain stages in a preamp or drive pedal. Enter the new Project 34 Selenium Rectifier Pre/Drive from Michigan-based boutique maker Cusack, named after the elementās atomic number, of course.
An Ounce of Pre-Vention
As quirky as the Project 34 might seem, itās not the first time that company founder Jon Cusack indulged his long-standing interest in the element. In 2021, he tested the waters with a small 20-unit run of the Screamer Fuzz Selenium pedal and has now tamed the stuff further to tap levels of gain running from pre-boost to light overdrive. Having used up his supply of selenium rectifiers on the fuzz run, however, Cusack had to search far and wide to find more before the Project 34 could launch.
āToday they are usually relegated to just a few larger industrial and military applications,ā Cusack reports, ābut after over a year of searching we finally located what we needed to make another pedal. While they are a very expensive component, they certainly do have a sound of their own.ā
The control interface comprises gain, level, and a traditional bright-to-bassy tone knob, the range of which is increased exponentially by the 3-position contour switch: Up summons medium bass response, middle is flat response with no bass boost, and down is maximum bass boost. The soft-touch, non-latching footswitch taps a true-bypass on/off state, and power requires a standard center-negative 9V supply rated at for least 5 mA of current draw, but you can run the Project 34 on up to 18V DC.
Going Nuclear
Tested with a Telecaster and an ES-355 into a tweed Deluxe-style 1x12 combo and a 65 Amps London head and 2x12 cab, the Project 34 is a very natural-sounding low-gain overdrive with a dynamic response and just enough compression that it doesnāt flatten the touchy-feely pick attack. The key adjectives here are juicy, sweet, rich, and full. Itās never harsh or grating.
āThe gain knob is pretty subtle from 10 oāclock up, which actually helps keep the Project 34 in character.ā
Thereās plenty of output available via the level control, but the gain knob is pretty subtle from 10 oāclock up, which actually helps keep the Project 34 in character. Settings below there remain relatively cleanāamp-setting dependent, of courseāand from that point on up the overdrive ramps up very gradually, which, in amp-like fashion, is heard as a slight increase in saturation and compression. The pedal was especially fantastic with the Telecaster and the tweed-style combo, but also interacted really well with humbuckers into EL84s, which certainly canāt be said for all overdrives.
The Verdict
Although I almost hate to use the term, the Project 34 is a very organic gain stage that just makes everything sound better, and does so with a selenium-driven voice thatās an interesting twist on the standard preamp/drive. For all the variations on boost and low/medium-gain overdrive out there itās still a very welcome addition to the market, and definitely worth checking outāparticularly if youāre looking for subtler shades of overdrive.
You may know the Gibson EB-6, but what you may not know is that its first iteration looked nothing like its latest.
When many guitarists first encounter Gibsonās EB-6, a rare, vintage 6-string bass, they assume it must be a response to the Fender Bass VI. And manyEB-6 basses sport an SG-style body shape, so they do look exceedingly modern. (Itās easy to imagine a stoner-rock or doom-metal band keeping one amid an arsenal of Dunables and EGCs.) But the earliest EB-6 basses didnāt look anything like SGs, and they arrived a full year before the more famous Fender.
The Gibson EB-6 was announced in 1959 and came into the world in 1960, not with a dual-horn body but with that of an elegant ES-335. They looked stately, with a thin, semi-hollow body, f-holes, and a sunburst finish. Our pick for this Vintage Vault column is one such first-year model, in about as original condition as youāre able to find today. āWhy?ā you may be asking. Well, read on....
When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fenderās eye. The real competition were the Danelectro 6-string basses that seemed to have popped up out of nowhere and were suddenly being used on lots of hit records by the likes of Elvis, Patsy Cline, and other household names. Danos like the UB-2 (introduced in ā56), the Longhorn 4623 (ā58), and the Shorthorn 3612 (ā58) were the earliest attempts any company made at a 6-string bass in this style: not quite a standard electric bass, not quite a guitar, nor, for that matter, quite like a baritone guitar.
The only change this vintage EB-6 features is a replacement set of Kluson tuners.
Photo by Ken Lapworth
Gibson, Fender, and others during this era would in fact call these basses ābaritone guitars,ā to add to our confusion today. But these vintage ābaritonesā were all tuned one octave below a standard guitar, with scale lengths around 30", while most modern baritones are tuned B-to-B or A-to-A and have scale lengths between 26" and 30".)
At the time, those Danelectros were instrumental to what was called the ātic-tacā bass sound of Nashville records produced by Chet Atkins, or the āclick-bassā tones made out west by producer Lee Hazlewood. Gibson wanted something for this market, and the EB-6 was born.
āWhen the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fenderās eye.ā
The 30.5" scale 1960 EB-6 has a single humbucking pickup, a volume knob, a tone knob, and a small, push-button āTone Selector Switchā that engages a treble circuit for an instant tic-tac sound. (Without engaging that switch, you get a bass-heavy tone so deep that cowboy chords will sound like a muddy mess.)
The EB-6, for better or for worse, did not unseat the Danelectros, and a November 1959 price list from Gibson hints at why: The EB-6 retailed for $340, compared to Dano price tags that ranged from $85 to $150. Only a few dozen EB-6 basses were shipped in 1960, and only 67 total are known to have been built before Gibson changed the shape to the SG style in 1962.
Most players who come across an EB-6 today think it was a response to the Fender Bass VI, but the former actually beat the latter to the market by a full year.
Photo by Ken Lapworth
Itās sad that so few were built. Sure, it was a high-end model made to achieve the novelty tic-tac sound of cheaper instruments, but in its full-voiced glory, the EB-6 has a huge potential of tones. It would sound great in our contemporary guitar era where more players are exploring baritone ranges, and where so many people got back into the Bass VI after seeing the Beatles play one in the 2021 documentary, Get Back.
Itās sadder, still, how many original-era EB-6s have been parted out in the decades since. Remember earlier when I wrote that our Vintage Vaultpick was about as original as you could find? Thatās because the modelās single humbucker is a PAF, its Kluson tuners are double-line, and its knobs are identical to those on Les Paul āBursts. So as people repaired broken āBursts, converted other LPs to āBursts, or otherwise sought to give other Gibsons a āGolden Eraā sound and look ... they often stripped these forgotten EB-6 basses for parts.
This original EB-6 is up for sale now from Reverb seller Emerald City Guitars for a $16,950 asking price at the time of writing. The only thing that isnāt original about it is a replacement set of Kluson tuners, not because its originals were stolen but just to help preserve them. (They will be included in the case.)
With so few surviving 335-style EB-6 basses, Reverb doesnāt have a ton of sales data to compare prices to. Ten years ago, a lucky buyer found a nearly original 1960 EB-6 for about $7,000. But Emerald Cityās $16,950 asking price is closer to more recent examples and asking prices.
Sources: Prices on Gibson Instruments, November 1, 1959, Tony Baconās āDanelectroās UB-2 and the Early Days of 6-String Bassesā Reverb News article, Gruhnās Guide to Vintage Guitars, Tom Wheelerās American Guitars: An Illustrated History, Reverb listings and Price Guide sales data.
An '80s-era cult favorite is back.
Originally released in the 1980s, the Victory has long been a cult favorite among guitarists for its distinctive double cutaway design and excellent upper-fret access. These new models feature flexible electronics, enhanced body contours, improved weight and balance, and an Explorer headstock shape.
A Cult Classic Made Modern
The new Victory features refined body contours, improved weight and balance, and an updated headstock shape based on the popular Gibson Explorer.
Effortless Playing
With a fast-playing SlimTaper neck profile and ebony fretboard with a compound radius, the Victory delivers low action without fret buzz everywhere on the fretboard.
Flexible Electronics
The two 80s Tribute humbucker pickups are wired to push/pull master volume and tone controls for coil splitting and inner/outer coil selection when the coils are split.
For more information, please visit gibson.com.
Gibson Victory Figured Top Electric Guitar - Iguana Burst
Victory Figured Top Iguana BurstThe SDE-3 fuses the vintage digital character of the legendary Roland SDE-3000 rackmount delay into a pedalboard-friendly stompbox with a host of modern features.
Released in 1983, the Roland SDE-3000 rackmount delay was a staple for pro players of the era and remains revered for its rich analog/digital hybrid sound and distinctive modulation. BOSS reimagined this retro classic in 2023 with the acclaimed SDE-3000D and SDE-3000EVH, two wide-format pedals with stereo sound, advanced features, and expanded connectivity. The SDE-3 brings the authentic SDE-3000 vibe to a streamlined BOSS compact, enhanced with innovative creative tools for every musical style. The SDE-3 delivers evocative delay sounds that drip with warmth and musicality. The efficient panel provides the primary controls of its vintage benchmarkāincluding delay time, feedback, and independent rate and depth knobs for the modulationāplus additional knobs for expanded sonic potential.
A wide range of tones are available, from basic mono delays and ā80s-style mod/delay combos to moody textures for ambient, chill, and lo-fi music. Along with reproducing the SDE-3000's original mono sound, the SDE-3 includes a powerful Offset knob to create interesting tones with two simultaneous delays. With one simple control, the user can instantly add a second delay to the primary delay. This provides a wealth of mono and stereo colors not available with other delay pedals, including unique doubled sounds and timed dual delays with tap tempo control. The versatile SDE-3 provides output configurations to suit any stage or studio scenario.
Two stereo modes include discrete left/right delays and a panning option for ultra-wide sounds that move across the stereo field. Dry and effect-only signals can be sent to two amps for wet/dry setups, and the direct sound can be muted for studio mixing and parallel effect rigs. The SDE-3 offers numerous control options to enhance live and studio performances. Tap tempo mode is available with a press and hold of the pedal switch, while the TRS MIDI input can be used to sync the delay time with clock signals from DAWs, pedals, and drum machines. Optional external footswitches provide on-demand access to tap tempo and a hold function for on-the-fly looping. Alternately, an expression pedal can be used to control the Level, Feedback, and Time knobs for delay mix adjustment, wild pitch effects, and dramatic self-oscillation.
The new BOSS SDE-3 Dual Delay Pedal will be available for purchase at authorized U.S. BOSS retailers in October for $219.99. To learn more, visit www.boss.info.