John Bohlinger helped write "I Don't Smoke," a track on Lee Brice's new album. Warren Haynes visited the sessions
to cut a guitar track for the song.
If you hang out with creative people, life can be one big art project.
During a few low points, my personal life could best be described as a carnival of phuckupery. Luckily for me, when life goes to shit, I take the shit show on the road, where I can effectively run from my problems while earning a living playing music with friends (#tourlife).
Around two years ago, during a particularly fubar phase, I was perhaps over self-medicating in the early evening prior to a show when a sober and concerned friend/coworker asked, āYou alright?"
I replied, āI can't get high enough to get over her," then stumbled toward the stage to play sad pedal steel alone in the dark before doors opened.
Luckily, I made that clever remark in front of three wildly talented songwriters: Lee Brice, Jon Stone, and Billy Montana, who recognize a solid hook when they hear it. (And have walls full of No. 1 plaques in their trophy rooms to prove it). They jumped on that hook like a puppy on a hotdog that rolled off your plate at a picnic. Roughly 30 minutes later, Lee texted me: āCome to the bus. We're writing your hook."
By the time I climbed the steps of that Prevost, these three had written a killer chorus, which is the songwriter's equivalent of hitting the Powerball. The facts are, if you have an infectious groove/chorus and you're writing with a multiplatinum artist/hit songwriter, you're probably going to have a solid song that could earn you some dough re mi ($)!
After playing the chorus, somebody asked, āWhat do you think for the verse?" Although still a tad wobbly legged and low-eyed, I came up with a little melody and began singing what I was feeling over the groove.
āEver been so down, that you can't see up?"
Lee immediately followed my start with the next three lines, which finished the verse and lead us back to the chorus.
Second verse went much like the first. Bemoaning my current state and missing my happy-go-lucky past, I sang, āI was the life of the partyā¦" My co-writers finished the thought and the song was done. With a bass, a few guitars, and somebody slapping out a groove on a couch, we played it down as Lee tweaked the melody until he had it where he wanted it. Once it felt right, a few of us pulled out our phones, hit record on a voice memo app, and recorded the only demo the song ever had.
About a year later, Lee texted, āCome over to the studio. I'm recording 'I Don't Smoke.'" When I walked in, my fellow members of Lee's band, the Love Cannons, were running it down and making notes on their charts. Co-writer Jon Stone and I got in the vocal booth next to the booth where Lee was singing and playing acoustic. Jon and I quickly came up with our BGV parts and they ārolled tape." It's been a while, so I can't remember how many takes we did, but it couldn't have been more than two or three. It may have been one. Details remain a bit foggy.
Skip ahead five months: We had four days off during the middle of a West Coast tour, so we hung in Bend, Oregon, renting a big house on the Deschutes River. After a day of kayaking, we brought the mobile recording rig into a huge yoga/Zen room on the second floor with a wall of windows overlooking the river and the Cascade Mountains in the background. Lee opened up the Pro Tools session of āI Don't Smoke" and had me lay down a few guitar solos as well as the pedal steel on a few other songs for what would become his current album. I thought my āDon't Smoke" part was pretty cool until our guitarist, Travis Bettis, played his solos, which I liked better. I was beginning to think this song might make the album.
Jump ahead another four months: We're sitting on Lee's bus after a gig. Lee says, āListen to this," as he presses play on a Pro Tools session. āI Don't Smoke" had been taken to a whole new level when Lee enlisted his buddy Warren Haynes to do his thing with a Les Paul and a Coricidin bottle. Haynes' part was the perfect approach. As a songwriter, I was thrilled, because now I knew this song was going to make the album, but as a guitarist I was humbled by Haynes' genius.
The final arrangement had been further ramped up with the addition of a soul-drenched female gospel trio that took it to church. It was the kind of part that, once you hear it, you can't imagine the song without it.
The album, Lee Brice, with the song āI Don't Smoke" came out November 3 and can be purchased any place that sells music. I stand to earn around two cents per sale, so if a million of you could please buy this song today, I'm buying a bargain '57 goldtop as soon as my BMI check comes in. Any money left over will be wasted on food and shelter.
The takeaway: There's magical power in collaboration. Hang around creative people and keep your mind open, and you'll find that life is one big art project.
Building upon the foundation of the beloved Core Collection H-535, this versatile instrument is designed to serve as a masterpiece in tone.
The new model features striking aesthetic updates and refined tonal enhancements. Crafted at the iconic 225 Parsons Street factory, home to other world-famous models like the H-150, H-157, and H-575 - the H-555 continues to exemplify the very best of American craftsmanship.
The Core Collection H-555 features a set of Custom Shop 225 Hot Classic Humbuckers, meticulously wound in-house with carefully selected components, and voiced to deliver added punch and richness while preserving exceptional dynamics and touch sensitivity. Seamlessly complementing the H-555ās semi-hollow construction, they blend warmth and woodiness with refined, articulate clarity.
The Core Collection H-555ās aesthetic has been elevated with multi-ply binding on the body, headstock, and pickguard. Its neck, sculpted in a classic ā50s profile, delivers effortless comfort and is adorned with elegant block inlays, seamlessly blending style with playability. Gold hardware complements the aesthetic, exuding elegance while presenting the H-555 as a truly premium and versatile instrument for the discerning player.
Available in Ebony and Trans Cherry, each Core Collection H-555 is beautifully finished with a nitrocellulose vintage gloss that features a subtle shine and gracefully ages over time. An Artisan Aged option is also available for those seeking an authentically well-loved look and feel, achieved through a meticulous, entirely hand-finished aging process. The new Core Collection continues Heritageās tradition of world-class craftsmanship, offering a true masterpiece in tone and design for discerning players. Each guitar is shipped in a premium Heritage Custom Shop hard case.
Key Features
- Finest Tonewoods: Laminated highly figured Curly Maple (Top & Back) with solid Curly Maple sides
- Heritage Custom Shop 225 Hot Classic Humbuckers: Designed and wound in-house
- Headstock: Multi-ply bound headstock, featuring a Kite inlay, 3Ć3 tuners laser-etched with Heritage graphics
- Neck Profile: Comfortable ā50s C-shape for a vintage feel
- Bridge: Tune-O-Matic with aluminum stopbar tailpiece for enhanced sustain
- Made in the USA: Crafted at 225 Parsons Street
For more information, please visit heritageguitars.com.
Ariel Posen and the Heritage Custom Shop Core Collection H-555 - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Watch the official video documenting the sold-out event at House of Blues in Anaheim. Join Paul Reed Smith and special guests as they toast to quality and excellence in guitar craftsmanship.
PRS Guitars today released the official video documenting the full night of performances at their 40th Anniversary celebration, held January 24th in conjunction with the 2025 NAMM (The National Association of Music Merchants) Show. The sold-out, private event took place at House of Blues in Anaheim, California and featured performances by PRS artists Randy Bowland, Curt Chambers, David Grissom, Jon Jourdan, Howard Leese, Mark Lettieri Group, Herman Li, John Mayer, Orianthi, Tim Pierce, Noah Robertson, Shantaia, Philip Sayce, and Dany Villarreal, along with Paul Reed Smith and his Eightlock band.
āWhat a night! Big thanks to everyone who came out to support us: retailers, distributors, vendors, content creators, industry friends, and especially the artists. I loved every second. We are so pleased to share the whole night now on this video,ā said Paul Reed Smith, Founder & Managing General Partner of PRS Guitars. āI couldnāt be more proud to still be here 40 years later.ā
With nearly 1,400 of the whoās who in the musical instrument industry in attendance, the night ended with a thoughtful toast from PRS Signature Artist John Mayer, who reflected on 40 years of PRS Guitars and the quality that sets the brand apart. āThe guitars are great. You canāt last 40 years if the guitars arenāt great,ā said Mayer. āMany of you started hearing about PRS the same way I did, which is you would talk about PRS and someone would say āTheyāre too nice.ā Whatās too nice for a guitar? What, you want that special vibe that only tuning every song can give you on stage? You want that grit just like your heroes ā¦ bad intonation? The product is incredible.ā
Be sure to locate your sample library where it can be quickly referenced on your DAW.
Improve your recordings using your own samples. Bryan Clark, house producer at Nashvilleās Blackbird Studio, tells you how to take the final steps in building your own sample library.
Mastering the sample import process in your chosen DAW can significantly enhance your creativity and streamline your workflow. With a clear understanding of the tools and techniques available, you will be better equipped to bring your musical ideas to life and make your productions stand out.
This month, we finish up a three-part series on creating your own sample libraries. In this final installment, Iām going to give you the basic ways to import your samples into various popular DAWs. Each one has its unique workflow and user interface, but the fundamental process remains very similar. This Dojo guide will cover how to import samples into Ableton Live, LUNA, Logic Pro, Pro Tools, and Studio One.
Ableton Live
Steps to Import Samples
Drag and Drop: Simply locate the sample file in your computerās file explorer, then drag and drop it directly into an audio track in the session or arrangement view.
Browser Window: Use Abletonās built-in browser (on the left-hand side). Navigate to the sampleās location on your hard drive, then drag it into the workspace.
Create a Simpler or Sampler Instrument: Drag the sample into a MIDI track with Simpler or Sampler loaded. This allows you to trigger the sample using MIDI notes.
Tips: Use the warp feature for time-stretching and syncing samples to your projectās tempo.
Organize your samples into collections using the āAdd Folderā option in the browser.
LUNA
Steps to Import Samples
Drag and Drop: Drag the sample from your file explorer directly into the timeline. Then hold the CTRL key down, click on the end of the loop, and drag it to the length it needs to be.
Browser/Workspace: Use the media browser to navigate to your sampleās location on your hard drive. Drag it into an audio track in your session.
Audio Track Import: Right-click on an empty area in the timeline or a track and select āImport Audioā to locate and add your sample.
Tips: Use LUNAās built-in varispeed capabilities to match your sample to the sessionās tempo.Logic Pro
Steps to Import Samples
Drag and Drop: Drag the sample from the Finder directly into an audio track in the workspace.
File Browser: Use the file browser (accessible via the media sidebar or āFā key) to locate and drag samples into the timeline.
Quick Sampler: Drag your sample onto a MIDI track with the Quick Sampler plugin loaded. This lets you play the sample chromatically.
Tips: Use Logicās flex time feature to sync samples to your projectās tempo. Organize samples into Logicās library for quick access.Pro Tools
Steps to Import Samples
Import Audio Dialog: Go to File > Import > Audio; then locate your sample and click āConvertā or āAddā to bring it into the session.
Drag and Drop: Drag the sample directly from your file explorer into an audio track.
Workspace Browser: Use the workspace (accessible via Window > New Workspace) to locate your sample. Drag it into your session.
Tips: Use the elastic audio feature for tempo matching and pitch adjustments.
Place your samples into playlists for efficient access during editing.
Studio One
Steps to Import Samples
Drag and Drop: Drag your sample directly from your file explorer into the timeline or browser.
Browser: Open Studio Oneās browser (on the right-hand side), navigate to the folder containing your sample, and drag it into your project.
Sampler Track: Drag the sample onto a MIDI track, and use the Sample One sampler for additional manipulation.
Tips: Enable the āStretch Audio Files to Song Tempoā option in the browser for automatic tempo synchronization. Create sample folders within Studio Oneās browser for quick access.General Best Practices
Regardless of the DAW you use, it is important to maintain a smooth and efficient workflow. Organize your sample library with clear folder names and categories to make locating files easy (see last monthās installment for detailed strategies). Where possible, learn DAW-specific shortcuts for importing and editing samples to save time. Always check if your DAW offers a feature to sync the sampleās tempo to your project to ensure seamless integration. Finally, regularly back up your sample collection to avoid losing important audio files and preserve your creative assets! Seriously. Do it now.
Next month, weāre off to āconsoleā land and Iāll be investigating console emulations (hype or not?), summing bus processors, and more to give you a more āstudioā sound. Until then, blessings and namaste.
Stretching the boundaries of reverbās realm through dynamic and pitch control.
Nice core reverb sounds. Invites cool compositional and arrangement directions. High quality.
If you lack patience, it will be hard to unlock its coolest secrets.
$329
Gamechanger Audio Auto Reverb
gamechangeraudio.com
When the first Moog synthesizer appeared, it freaked out a lot of musiciansānot least for the way it blurred the divisions between instruments and their roles. Was it percussion? A keyboard? A reed instrument? Many effects makers build from this philosophical foundation. The Latvian company Gamechanger often seems to revel in itāan attitude thatās manifest in the companyās Auto Series pedals, which includes the Auto Reverb.
Thereās no reason you canāt use the Auto Reverb in a very straightforward fashion. The plate, spring, and hall settings are all very nice digital representations of their analog inspirationsāand Iād be perfectly happy playing an instrumental surf set with the spring mode, for instance. But because you can control the parameters like the reverbās level, decay, tone, and the filter with changes in pitch and dynamics, the Auto Reverb can function in highly orchestral ways, transforming itself from subtle to outlandish as a musical piece shifts in intensity or rises from low to high keys toward a blurred, hyper-spacious climax. While these attributes make the Auto Reverb a great fit for prepared guitar and conceptual piecesāand invites many themes and compositional ideas within those formsāit can just as easily be configured to create an especially dynamic and dramatic pop song arrangement on stage or in the studio that might otherwise be relegated to automations within a DAW. Itās fun to use, if not always intuitive. But knowing its ways can expand your musical options significantly.