A positive attitude won’t fix your problems, but accepting things as they are is a good start.
I did not enjoy the transition from childhood to adulthood. Going from a loving, nurturing home to an indifferent and, at times, seemingly cruel real world was not a good fit for me. My freshman year in college, I was adrift, scared, and, occasionally, what I now recognize as clinically depressed. Out of desperation, I took a philosophy course to get some answers. There, I read Nietzsche’s book, The Gay Science (perhaps the greatest title ever), and learned the phrase amor fati, which is Latin for “love of one’s fate.”
Nietzsche wrote:
“My formula for greatness in a human being is amor fati: that one wants nothing to be different, not forward, not backward, not in all eternity…
“I want to learn more and more to see as beautiful what is necessary in things; then I shall be one of those who makes things beautiful. Amor fati: let that be my love henceforth! I do not want to wage war against what is ugly, I do not want to accuse; I do not even want to accuse those who accuse.”
I’ve tried to embrace amor fati as my personal battle cry ever since. When applied, that philosophy has gotten me through a lifetime of catastrophes, beautiful moments, and the mundane. It’s also been a valuable tool to make me a better and happier musician. Here’s how:
Collaboration
When playing with a band, the goal is to serve the song, to make the music feel good. Sometimes my idea of where the song should go does not align with other players’ visions. If we stopped and talked it through, we could try a few ideas and see what works best. But in a live jam, that’s not an option. When ideas clash live, that can become a battle of wills. When I try to force it by playing louder and leaning harder into my idea of what it should be, it almost never works. Embracing what the other player is doing rather than forcing what I imagined is usually the quickest and most practical way to make the music feel right. It doesn’t matter how great your idea is if it rubs the wrong way against another player. Let go of your plan and try making what is happening work. The song will go where it was supposed to go.
Envy
There’s an old musician saying: “Whenever a friend succeeds … part of me dies inside.”
Success doesn’t only visit the most talented, or go to the most deserving, so it’s easy to compare yourself to others and feel like you are shortchanged. There’s always somebody else doing something bigger and better, and that’s when it’s hard to love where you are. Yesterday, I was playing the CMT Awards. The show’s big finale was a Skynyrd tribute with an all-star lineup (Slash, Billy Gibbons, Warren Haynes, Chuck Leavell, Paul Rodgers, etc.). During rehearsal, I watched my friends Rich Redmond and Ethan Pilzer playing drums and bass with these legends and caught myself feeling the bitter sting of envy, even though I’m a terrible drummer, a mediocre bassist, and I was literally booked on the same show. That’s like a greedy child in a room full of toys wanting somebody else’s. Count your blessings.
Career
Currently, I’m not touring. I get four to eight cool TV gigs a year and a few monthly sessions, but most of my present work is on Nashville’s very non-glamorous Lower Broadway. Two to six times a week, I haul my gear down and play four-hour slots. At times, it’s grueling, frustrating, embarrassing, too loud, and there’s a physical toll. You either get better or bitter. Your choice.
Singer checks into rehab and a gig is same-day canceled? Amor fati. Carpal tunnel is making the fingers flow like Elmer’s glue from a clogged tube? Amor fati. Your bandmate plays horribly? Amor fati. Amp dies, strings break, back aches? Amor fati. If you can laugh about it later, you can laugh about it now. It’s been a wildly entertaining chapter that’s made me a better musician and a better person. Not what I planned, but right where I’m supposed to be.
You either get better or bitter. Your choice.
Nietzsche gleaned amor fati from Epictetus, a Greek philosopher (c. A.D. 50), who was born into slavery, crippled by his master, and later exiled from his homeland after gaining his freedom. Epi knew a bit about things not going as planned.
Epictetus said:
“Every difficulty in life presents us with an opportunity to turn inward and to invoke our own submerged inner resources. The trials we endure can and should introduce us to our strengths.”
Loving your fate doesn’t mean you plaster on a smile and ignore the hard truth. A positive attitude does not fix issues. But getting depressed and dwelling on your problems won’t fix them either. Once you accept it is what it is, then you can focus on a solution rather than the problem. You stop wishing and start doing.
Life is one big improv jam. What’s happening to you is happening for you. Amor fati.- Last Call: Find Your Purpose ›
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PG contributor Zach Wish demos Orangewood's Juniper Live, an all-new parlor model developed with a rubber-lined saddle. The Juniper Live is built for a clean muted tone, modern functionality, and stage-ready performance.
Orangewood Juniper Live Acoustic Guitar
- Equipped with a high-output rail pickup (Alnico 5)
- Vintage-inspired design: trapeze tailpiece, double-bound body, 3-ply pickguard, and a cupcake knob
- Grover open-gear tuners for reliable performanceReinforced non-scalloped X bracing
- Headstock truss rod access, allowing for neck relief and adjustment
- Light gauge flatwound strings for added tonal textures
The range of clean, dirty, and complex tones available from this high-quality, carefully crafted Dumble modeler make it a formidable studio and performance device.
Fantastic variation in many delicious sounds makes it a bargain. High-quality. Easy to use and customize. Killer studio path to lively, responsive guitar sounds.
Price may be hard for some to swallow if they don’t leverage the whole of its potential.
$399
UAFX Enigmatic ’82 Overdrive Special
uaudio.com
I’ve never played a realDumble. I’d venture most of us haven’t. But given my experiences with James Santiago’s UAFX modeling pedals, most recently theUAFX Lion, I plugged in the new Dumble-inspired UAFX Enigmatic confident I’d taste at least the essence of that very rare elixir. You could argue there is no definitive Dumble sound. Each was customized to some extent for the customer, and they are renowned nearly as much for dynamic responsiveness and flexibility as their singing, complex, clean-to-dirty palettes.
The Enigmatic nails the flexibility, for sure. To my ears, its tone foundation lives somewhere on a sliver of Venn diagram where a black-panel Fender and a 50-watt Hiwatt intersect. It’s alive, dimensional, snappy, sparkly, massive, and, at the right EQ settings, hot and excitable. But the Enigmatic’s powerful EQ and gain controls, multiple virtual cab and mic pairings, rock, jazz, and custom voices, plus additional deep, bright, and presence controls enable you to travel many leagues from that fundamental tone. The customization work you can do in the app enables significant changes in the Enigmatic’s tone profile and responsiveness, too. All these observations are made tracking the Enigmatic straight to a DAW—making the breadth of its personality even more impressive. But the Enigmatic sounds every bit as lively at the front end of an amp, and black-panel Fenders are a primo pairing for its saturation and sparkly attributes. The Enigmatic is nearly $400, which is an investment. But considering the ground I covered in just a few days with it, and the quality and variety of sounds I could conjure with the unit just sitting on my desk, the performance-to-price ratio struck me as very favorable indeed.
Lollar Pickups introduces the Deluxe Foil humbucker, a medium-output pickup with a bright, punchy tone and wide frequency range. Featuring a unique retro design and 4-conductor lead wires for versatile wiring options, the Deluxe Foil is a drop-in replacement for Wide Range Humbuckers.
Based on Lollar’s popular single-coil Gold Foil design, the new Deluxe Foil has the same footprint as Lollar’s Regal humbucker - as well as the Fender Wide Range Humbucker – and it’s a drop-in replacement for any guitar routed for Wide Range Humbuckers such as the Telecaster Deluxe/Custom, ’72-style Tele Thinline and Starcaster.
Lollar’s Deluxe Foil is a medium-output humbucker that delivers a bright and punchy tone, with a glassy top end, plenty of shimmer, rich harmonic content, and expressive dynamic touch-sensitivity. Its larger dual-coil design allows the Deluxe Foil to capture a wider frequency range than many other pickup types, giving the pickup a full yet well-balanced voice with plenty of clarity and articulation.
The pickup comes with 4-conductor lead wires, so you can utilize split-coil wiring in addition to humbucker configuration. Its split-coil sound is a true representation of Lollar’s single-coil Gold Foil, giving players a huge variety of inspiring and musical sounds.
The Deluxe Foil’s great tone is mirrored by its evocative retro look: the cover design is based around mirror images of the “L” in the Lollar logo. Since the gold foil pickup design doesn’t require visible polepieces, Lollartook advantage of the opportunity to create a humbucker that looks as memorable as it sounds.
Deluxe Foil humbucker features include:
- 4-conductor lead wire for maximum flexibility in wiring/switching
- Medium output suited to a vast range of music styles
- Average DC resistance: Bridge 11.9k, Neck 10.5k
- Recommended Potentiometers: 500k
- Recommended Capacitor: 0.022μF
The Lollar Deluxe Foil is available for bridge and neck positions, in nickel, chrome, or gold cover finishes. Pricing is $225 per pickup ($235 for gold cover option).
For more information visit lollarguitars.com.
The legendary string-glider shows Chris Shiflett how he orchestrated one of his most powerful leads.
Break out your glass, steel, or beer bottle: This time on Shred With Shifty, we’re sliding into glory with southern-rock great Derek Trucks, leader of the Derek Trucks Band, co-leader (along with wife Susan Tedeschi) of the Tedeschi Trucks Band, and, from 1999 to 2014, member of the Allman Brothers Band.
Reared in Jacksonville, Florida, Trucks was born into rock ’n’ roll: His uncle, Butch Trucks, was a founding member of the Allman Brothers Band, and from the time he was nine years old, Derek was playing and touring with blues and rock royalty, from Buddy Guy to Bob Dylan. Early on, he established himself as a prodigy on slide guitar, and in this interview from backstage in Kalamazoo, Michigan, Trucks explains why he’s always stuck with his trusty Gibson SGs, and how he sets them up for both slide and regular playing. (He also details his custom string gauges.)
Trucks analyzes and demonstrates his subtle but scorching solo on “Midnight in Harlem,” off of Tedeschi Trucks Band’s acclaimed 2011 record, Revelator. In it, he highlights the influence of Indian classical music, and particularly sarod player Ali Akbar Khan, on his own playing. The lead is “melodic but with Indian-classical inflections,” flourishes that Trucks says are integral to his playing: It’s a jazz and jam-band mentality of “dangling your feet over the edge of the cliff,” says Trucks, and going outside whatever mode you’re playing in.
Throughout the episode, Trucks details his live and studio set ups (“As direct as I can get it”), shares advice for learning slide and why he never uses a pick, and ponders what the future holds for collaborations with Warren Haynes.
Credits
Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editor: Addison Sauvan
Graphic Design: Megan Pralle
Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.