
The Colfax High School Orchestra from Colfax, Washington, back in 1936. Not pictured: John Bohlinger.
From pitch and dynamics to how to play well with others, the lessons you learn from school orchestra are the perfect prep for pro gigging.
In 1986, Robert Fulghum published a book of short essays entitled All I Really Need to Know I Learned in Kindergarten. The book became a hit, then was widely criticized as a trite, saccharine oversimplification. That may be the case, but the truth is, if everybody followed these 11 kindergarten rules, the world would be a better place.
Play well with others. Listen when others speak. Donāt interrupt. Share everything. Play fair. Donāt hit people. Put things back where you found them. Clean up your own mess. Donāt take things that arenāt yours. Say youāre sorry when you hurt somebody. Wash your hands before you eat.
While thatās an excellent start, I needed a few more lessons before I was ready for the world. Luckily, the Montana public school system gave me basically all the tools I needed to be a professional musician by the end of ninth grade.
Grades 1 through 3 were pretty blurry. But in the first week of fourth grade, things got interesting when the traveling orchestra instructor did a demonstration in the school cafetorium and I signed up for violin.
In the school orchestra, I learned how to zone in on pitch, how dynamics change feel, how to adjust tone with my hands, and, most importantly, I learned that music is a conversation between instruments, so you have to listen and follow. I also learned that space is music too. And, although I almost never need it today, I learned how to slowly and poorly read music. If you understand the basics of your instrument and go into a gig listening, taking cues, finding your spot, and watching your intonation, youāll be fine anywhere. Orchestra taught me all of this.
āIf you understand the basics of your instrument and go into a gig listening, taking cues, finding your spot, and watching your intonation, youāll be fine anywhere.ā
I was the worst kind of orchestra student; I played terribly and felt ashamed of being part of the nerd herd. I was a self-loathing nerd trying to pass for normal. I desperately wanted to quit but stayed from fourth grade through ninth, because as poorly as I played, being able to be part of a string section, or better yet, a full orchestra, was a deeply moving experience. Also, my parents laid out $120 on my used violin and wanted a return on their investment. By the end of ninth grade, guitar won the battle when I started jamming with friends and dropped the school orchestra for a garage band. But Iām glad I was able to build on that classical base.
Most guitar players start by learning the basic āhowā by memorizing scale patterns, riffs, and chords. The last bit of the puzzle is to determine when you play. Learn the blistering run, but if youāre shoehorning those blistering runs where they donāt belong, you wonāt accomplish your goal. Some players never really get that, because they get focused on the āhowā and never learn āwhen.ā The cool thing about orchestra is, youāre part of something bigger than yourself, working together, ideally in harmony. What a beautiful, spiritual life lesson.
The other great lesson I learned came from my ninth grade speech and drama class. Iāve referenced this before, but dammit, itās worth repeating. One day, a professional actor came to our class and asked for volunteers. I walked to the front of the class and the actor said, āOkay, pretend you are all monkeys.ā We all became monkeys, doing the simian, knuckle-dragging bounce, and loudly āooh ah ahā-ing as we jumped around.
The actor then said, āPretend youāre swimming.ā We all happily, animatedly swam around. āNow, just be yourself.ā
I donāt know what the other kids did, but I quietly freaked out as I stared at the floor, horribly uncomfortable as kids giggled. It only went on for a minute or two, but it felt like an eternity of anxiety.
The actor said, āItās really hard to be yourself when youāre standing in front of people watching you. You feel like they are judging you, and sometimes, they are. But if you get in character and become that thing you want to portray, you can do anything without judgment. Itās just fun.ā
Iāve used that trick ever since, and probably will for the rest of my life. If Iām playing a big show, I just pretend Iām Keith Richards. If Iām walking into a party, I pretend Iām well-informed and charming. If Iām filming a Rig Rundown or a gear review, I pretend I know what Iām talking about. Iāve been fooling the public with this trick for decades and have bluffed myself into a cool little career. I highly recommend it.
Although I did end up spending a lot of time in school, I can honestly say that everything I learned or accomplished was built on these few simple lessons. I utilize them everyday. Play well with others, listen, share, donāt interrupt, mind your intonation, and with great pretend-confidence, carry on like you know what you are doing.
Lutefish, the real-time music collaboration device and platform, is excited to announce a suite of new features designed to simplify setup, streamline collaboration, and offer more flexible subscription options for Lutefish Stream users. These latest updates, Audio Presets, Automatic Session Recall, Improved Scheduling with Contact Visibility, and a new Yearly Subscription Plan, are all about making it easier than ever for musicians to jam together, no matter where theyāre based.
Save Time and Stay in the Flow with Audio Presets & Session Recall
Musicians can now save and reuse their exact audio settings, reducing setup time and ensuring every session sounds exactly as they want.
- Automatic Session Recall: When users leave a session, their current audio levels are automatically saved and restored when they rejoin.
- User-Defined Audio Presets: Each user can create and name up to five custom presets, like āBand Practice,ā āStudio Mic Setup,ā or āQuick Jam,ā making it effortless to jump back in with the perfect sound.
āThese tools are all about saving time and hassle,ā said Patrick Finn, Business Manager at Lutefish. āMusicians want to make music, not spend time rebalancing levels every session. With presets and recall, weāre giving them time back and helping them sound their best, every time.ā
Smarter Scheduling and Contact Visibility
The latest update to Lutefish also made it easier to find collaborators and book sessions. Users can now:- View all their contacts at a glance when scheduling a session.
- Instantly identify which contacts own a Lutefish Stream deviceāso they will always know whoās ready to jam.
Go Yearly and Save 20%
Lutefish now offers a Yearly Subscription Plan, providing users with the same great access as the monthly plan at a 20% discount.
This option is now available within the Lutefish app and web platform, and current monthly users are eligible for a discount with an upgrade to a yearly subscription.
Lutefishās mission has always been to empower musicians to connect and collaborate without boundaries. With these new updates, Lutefish Stream continues to break down barriersāwhether youāre jamming with a friend across town or collaborating with a bandmate 500 miles away.
For more information and to start jamming today, visitlutefish.com.
The veteran Florida-born metalcore outfit proves that you donāt need humbuckers to pull off high gain.
Last August, metalcore giants Poison the Well gave the world a gift: They announced they were working on their first studio album in 15 years. They unleashed the first taste, single āTrembling Level,ā back in January, and set off on a spring North American tour during which they played their debut record, The Opposite of December⦠A Season of Separation, in full every night.
PGās Perry Bean caught up with guitarists Ryan Primack and Vadim Taver, and bassist Noah Harmon, ahead of the bandās show at Nashvilleās Brooklyn Bowl for this new Rig Rundown.
Brought to you by DāAddario.Not-So-Quiet As a Mouse
Primack started his playing career on Telecasters, then switched to Les Pauls, but when his prized LPs were stolen, he jumped back to Teles, and now owns nine of them.
His No. 1 is this white one (left). Seymour Duncan made him a JB Model pickup in a single-coil size for the bridge position, while the neck is a Seymour Duncan Quarter Pound Staggered. He ripped out all the electronics, added a Gibson-style toggle switch, flipped the control plate orientation thanks to an obsession with Danny Gatton, and included just one steel knob to control tone. Primack also installed string trees with foam to control extra noise.
This one has Ernie Ball Papa Hetās Hardwired strings, .011ā.050.
Here, Kitty, Kitty
Primack runs both a PRS Archon and a Bad Cat Lynx at the same time, covering both 6L6 and EL34 territories. The Lynx goes into a Friedman 4x12 cab thatās been rebadged in honor of its nickname, āDonkey,ā while the Archon, which is like a ārefined 5150,ā runs through an Orange 4x12.
Ryan Primackās Pedalboard
Primackās board sports a Saturnworks True Bypass Multi Looper, plus two Saturnworks boost pedals. The rest includes a Boss TU-3w, DOD Bifet Boost 410, Caroline Electronics Hawaiian Pizza, Fortin ZUUL +, MXR Phase 100, JHS Series 3 Tremolo, Boss DM-2w, DOD Rubberneck, MXR Carbon Copy Deluxe, Walrus Slo, and SolidGoldFX Surf Rider III.
Taverās Teles
Vadim Taverās go-to is this cherryburst FenderĀ Telecaster, which he scored in the early 2000s and has been upgraded to Seymour Duncan pickups on Primackās recommendation. His white Balaguer T-style has been treated to the same upgrade. The Balaguer is tuned to drop C, and the Fender stays in D standard. Both have DāAddario strings, with a slightly heavier gauge on the Balaguer.
Dual-Channel Chugger
Taver loves his 2-channel Orange Rockerverb 100s, one of which lives in a case made right in Nashville.
Vadim Taverās Pedalboard
Taverās board includes an MXR Joshua, MXR Carbon Copy Deluxe, Empress Tremolo, Walrus ARP-87, Old Blood Noise Endeavors Reflector, MXR Phase 90, Boss CE-2w, and Sonic Research Turbo Tuner ST-200, all powered by a Voodoo Lab Pedal Power 2 Plus.
Big Duff
Harmonās favorite these days is this Fender Duff McKagan Deluxe Precision Bass, which heās outfitted with a Leo Quan Badass bridge. His backup is a Mexico-made Fender Classic Series ā70s Jazz Bass. This one also sports Primack-picked pickups.
Rental Rockers
Harmon rented this Orange AD200B MK III head, which runs through a 1x15 cab on top and a 4x10 on the bottom.
Noah Harmonās Pedalboard
Harmonās board carries a Boss TU-2, Boss ODB-3, MXR Dyna Comp, Darkglass Electronics Vintage Ultra, and a Voodoo Lab Pedal Power 2 Plus. His signal from the Vintage Ultra runs right to the front-of-house, and Harmon estimates that that signal accounts for about half of what people hear on any given night.
Kiesel Guitars has introduced their newest solid body electric guitar: the Kyber.
With its modern performance specs and competitive pricing, the Kyber is Kiesel's most forward-thinking design yet, engineered for comfort, quick playing, and precision with every note.
Introducing the Kiesel Kyber Guitar
- Engineered with a lightweight body to reduce fatigue during long performances without sacrificing tone. Six-string Kybers, configured with the standard woods and a fixed bridge, weigh in at 6 pounds or under on average
- Unique shape made for ergonomic comfort in any playing position and enhanced classical position
- The Kyber features Kiesel's most extreme arm contour and a uniquely shaped body that enhances classical position support while still excelling in standard position.
- The new minimalist yet aggressive headstock pairs perfectly with the body's sleek lines, giving the Kyber a balanced, modern silhouette.
- Hidden strap buttons mounted on rear for excellent balance while giving a clean, ultra-modern look to the front
- Lower horn cutaway design for maximum access to the upper frets
- Sculpted neck heel for seamless playing
- Available in 6 or 7 strings, fixed or tremolo in both standard and multiscale configurations Choose between fixed bridges, tremolos, or multiscale configurations for your perfect setup.
Pricing for the Kyber starts at $1599 and will vary depending on options and features. Learn more about Kieselās new Kyber model at kieselguitars.com
The Sunset is a fully analog, zero latency bass amplifier simulator. It features a ¼ā input, XLR and ¼ā outputs, gain and volume controls and extensive equalization. Itās intended to replace your bass amp both live and in the studio.
If you need a full sounding amp simulator with a lot of EQ, the Sunset is for you. It features a five band equalizer with Treble, Bass, Parametric Midrange (with frequency and level controls), Resonance (for ultra lows), and Presence (for ultra highs). All are carefully tuned for bass guitar. But donāt let that hold you back if youāre a keyboard player. Pianos and synthesizers sound great with the Sunset!
The Sunset includes Gain and master Volume controls which allow you to add compression and classic tube amp growl. It has both ¼ā phone and balanced XLR outputs - which lets you use it as a high quality active direct box. Finally, the Sunset features zero latency all analog circuitry ā important for the instrument most responsible for the bandās groove.
Introducing the Sunset Bass Amp Simulator
- Zero Latency bass amp simulator.
- Go direct into the PA or DAW.
- Five Band EQ:
- Treble and Bass controls.
- Parametric midrange with level and frequency controls.
- Presence control for extreme highs.
- Resonance control for extreme lows.
- Gain control to add compression and harmonics.
- Master Volume.
- XLR and 1/4" outputs.
- Full bypass.
- 9VDC, 200mA.
Artwork by Aaron Cheney
MAP price: $210 USD ($299 CAD).