
Due to some recent health problems, Iām doing everything I can to push back my expiration date. I think itās helping me become a better guitar player, too.
A friend of mine owned an NBA team and an NFL team. Once, I overheard him talking on the phone about trading a player. When asked what goes into that, he told me that although actuaries cannot accurately predict your life span, there are hard numbers that show a highly accurate decline of muscle with age. This inevitable muscle loss leads to injuries and a general decline in performance. The numbers make it clear that thereās an expiration date on every professional athlete, even factoring in the outliers. Every time I groan as I load my amp into my car, I think about that conversation to fuel my anxiety and fatalism on the weary drive to and from the gig. If professional athletes in their late 20s are physically past their prime, how long can the average musician keep going, factoring in our proclivity toward late nights and the adjacent vices?
I donāt want to be the guy moaning, āOh, my aching back,ā but the reality is, mountains turn to dust and so do we. Thatās the price of admission. Iām doing everything I can to push back my expiration date: exercise, yoga, acupuncture, constant stretching, massage, practicing physical awareness, and trying not to eat poison. Despite these precautions, my hands have new issues with numbness and stiffness, and thereās a lot of pain in my lower back, forearms, neck, and shoulders. Many paranoia-driven Google searches later, Iāve narrowed my newish ailments down to a blend of carpal tunnel, arthritis, gout, vitamin B12 deficiency, lupus, rickets, Long Covid, and/or an adverse response to my multiple Covid vaccinations.
It could be a natural part of the aging process that has recently accelerated, or it could be something else. Iām just hoping to fix it if itās fixable.
Iām reluctant to even mention the latter. Eric Clapton told his friend, Italian architect Robin Monotti Graziadei, āMy hands and feet were either frozen, numb or burning, and pretty much useless for two weeks. I feared I would never play again.ā Graziadei shared this info on social media and Clapton was immediately labeled an old crank and became a pariah. These are strange times where an opinion shared even in private can undermine your personal and professional life. To be clear, Iām not saying the vaccine is the cause of my physical glitches. Iām saying Claptonās issues sound very similar to mine.
Diagnosing a physical problem is the most difficult task of any healthcare professional because weāre all physiologically unique. On top of that, this is not a lab; thereās no control group in the real world. Everyone has their own lifestyle, genetics, diet, and stress that combine to affect us differently. It could be a natural part of the aging process that has recently accelerated, or it could be something else. Iām just hoping to fix it if itās fixable.
What has helped the most is trying to be more present all the time, checking in with my body throughout the day, but particularly when Iām playing music, like the body awareness youāre supposed to be focusing on while doing yoga. Iām noticing how Iām holding too much tension, hitting too hard, trying too hard, tensing up my neck, arms, and hands when Iām playing. Iām trying to be aware of tension and letting it go. Iām attempting to do the same thing with my brain ⦠let go of those thoughts that undermine a performance, or basic happiness. That may be a secret to lifeā knowing what to hold onto and what to let go of.
Maybe itās because Basie was so in tune with the band and the music that he placed that note at the perfect place with the perfect volume, with the perfect attack and decay.
Honestly, although my hands are not at their prime, being more aware of what theyāre doing probably makes me sound better. Iām more relaxed. I try to slow down and feel it, which improves my pocket. Maybe thatās the way it works. You get older, your body disintegrates but you learn enough along the journey that you can compensate. I read an interview with Les Paul, who said:
āIt was a great pleasure playing with Count Basie just before he died. Talking about him, heād just lift his left hand and take one finger and hit one note. It was the best damn note I ever heard. Itās not how many notes you play; you just have to play the right ones!ā
Maybe Les felt it was the best note because of the emotional context of watching a dying friend performing. Or maybe itās because Basie was so in tune with the band and the music that he placed that note at the perfect place with the perfect volume, with the perfect attack and decay. The Count wasnāt counting bars or reading. That old dude was going full Jedi-Yogi and connected to the universe. Les Paul recognized it because he, too, was Jedi-Yogi.
So, if someday my hands turn to blocks, I will try to hit my one note in the perfect place, with just the right feel and volume to make it sing.
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Orange Amplification announces the arrival of its new Babies: the newly analogue designed Dual Baby, Tour Baby and Gain Baby guitar amps, plus the O Tone combo.
The Babies
Each lightweight, studio grade 100W, twin channel, Class A/B, solid state amp weighs only 3kg and is compact, reliable and tour ready. Watch the launch video here.
The 2-channel, Tour Baby guitar amp is incredibly versatile in a variety of playing situations. The onboard studio grade VCA compressor of Tour Babyās refined clean channel, offers pristine clean tones with active or passive pickups. It provides a consistent dynamic range and low noise in extreme settings without the need for separate pedals. It includes precise bass and treble EQ controls.
The naturally voiced dirty channel of this tone machine allows players to easily get that sought after āpoint of breakupā sound . A custom voiced presence control and powerful 3-band EQ control means the Tour Babyās tone can be shaped to cut-through the mix. Add to that a footswitchable volume control, that provides a stage-friendly volume boost option for live applications. Watch the Tour Baby video here.
The Gain Baby clean channel is the same as that of the Tour Baby with its integrated VCA Compressor to alleviate the need for an additional stomp box and incorporates bass and treble EQ controls to dial in a desired frequency. The compressor provides smooth, transparent compression for dynamic control without compromising tone.
Four distinct stages are available on the high gain channel allowing players to dial in their preferred level of crunch and saturation. Like the Dual Baby, Gain Babyās Tight Switch operates as a bright switch, boosting the upper mid at lower gain levels, to give shredding solos a little something extra. Volume control is footswitchable, the buffered FX allows effects from pedals to be patched in and the onboard 3-band EQ allows tone to be tweaked even further.
With multiple output options such as a balanced XLR output with no Cab Sim, as well as dual speaker outputs, the Gain Baby is equally comfortable on stage or in the studio. Watch the Gain Baby video here.
The Dual Baby is a powerhouse in a pint-sized package. Itās simple A and B channel design offers duelling tones and alternating rhythm opportunities. Channel A mimics the rich responsive tones of the Orange flagship Rockerverb amps in a reliable solid-state design. From clean to classic crunch to full-on saturation, there is no shortage of Orange mojo. The brand-new Tubby Switch, which boosts the bottom end early in the signal path, offers a much ārounderā tone when playing clean or when searching for just the right ādirty-cleanā sound.
Channel B allows players to dial in the desired level of grit, with ample saturation and a valve-like high-gain tone, unheard of in any other solid-state unit. The ābright boostā of the Tight Switch gives the amp spring and bounce and raises the top end at lower gain levels for players who want to tighten up, shred and play blistering solos with plenty of cut. The 3-band sweepable EQ presence control allows frequencies to be tweaked, shimmer added and mids that sit perfectly in the mix to be dialled in. Watch the Dual Baby video here.
Pack or rack any of the three Baby amps with included gig bag or an available rack ear kit. Each Baby is a mighty unit that delivers100-Watts into 8 ohms or 70-Watts into 16 ohms, to power any full-sized guitar amp with ease!
Check out the triplets, Dual Baby, Tour Baby and Gain Baby and all the other Orange products at
https://orangeamps.com/
The O Tone 40 Combo Amp
Watch the launch video here.
The single channel, 40-Watt Class A/B solid state combo has onboard tremolo and reverb controls, a buffered effects loop and plenty of punchy volume. With a distinctive clean tone, it is an ideal amp for any pedal set-up or a small venue workhorse for guitarists who are fond of warm, vintage tones.
The ampās bias-wobbled, single-ended JFET tremolo circuit offers huge depth and breadth, delivering everything from grand sweeps to a staccato sonic character via insistent, whirling helicopter patterns. The effect is footswitchable, allowing for even more adaptability during performances.
Modelling a classic spring reverb, the O Tone 40 incorporates a digital reverb module to add a warm spaciousness to sounds, ranging from subtle shimmer to ethereal trails.
The comboās fully buffered, low-impedance FX Loop allows for any number of effects and cables to be patched between the ampās input and output sections without sacrificing tone, making it an excellent pedal platform.
The powerful volume of the 12ā Voice of the World speaker, combined with the amazingly sweet tones and harmonic chimes of the new O Tone 40, makes it ideal for rock, country, blues and so many more music genres. A direct output is included to facilitate studio and live non-miked situations.
The amp is finished in trademark Orange Tolex with Orangeās signature basket- weave grill and Crest badge. Check out the O Tone 40 and all the other Orange products at https://orangeamps.com/
The Los Angeles League of MusiciansāLA LOM for shortābrought the vintage vibe with them on the road last year.
It wasnāt long ago that LA LOMāguitarist Zac Sokolow, bassist Jake Faulkner, and percussionist Nicholas Bakerāwere cutting their teeth together as the house band at the Roosevelt Hotel in Hollywood, playing poolside for guests. Now, with eight EPs and a full-length record (2024ās The Los Angeles League of Musicians) since 2021, theyāre a full-blown sensation, celebrating and interpreting instrumental tropical guitar traditions.
The trio played Nashvilleās The Basement back in December, where PGās John Bohlinger caught up with Sokolow and Faulkner to see what road rigs they use to bring their psychedelic cumbia and Peruvian chicha dreams to life.
Brought to you by DāAddario.Red Rider
This vintage National Val-Pro, circa 1960 to 1962, belongs to Faulkner, who received it as his very first electric. When he switched to bass, the Val-Pro took a backseat, so Sokolow had been more than happy to borrow it long-term. All the controls are disconnected except for the volume knob. Sokolow strings it with a .012ā.052 gauge set of roundwounds, and heās partial to DāAndrea Pro Plec 1.5 mm picks.
Leader of the Pack
Sokolowās other sidekick is this Kay Style Leader from 1960. Each of the three pickups has a volume and tone control. The bodyās been mostly routed out, so it lends the resonance and darkness of a semi-hollowbody.
Live and Loud
While heāll often play through Fender Deluxe Reverbs at home, Sokolow trusts the Twin Reverb to get the job done in performance settings. The stage volume is loud enough that he and his bandmates often donāt need monitors: They can just listen to each otherās instruments onstage.
Zac Sokolow's Pedalboard
From his guitar, Sokolowās signal runs through a spicy-red Voltage Cable Co. coil cable into his board. A TC Electronic Polytune 2 starts things off, followed by a Fulltone Full-Drive 3 for just a hint of dirt, then a Boss DM-3 delay, followed by a Catalinbread Topanga spring reverb. A TC Helicon VoiceTone handles some more echo work along with the DM-3.
Flight-Friendly Upright
Jake Faulknerās traveling upright is thisJohnson bass, which has been modded by Tom at Fantastic Musical Instruments in Pasadena, California. Tom gave the upright a bolt-on neck that comes off easily, making it a perfect travel mate. For amplification, Faulkner uses pickups from Underwood, based in Palm Springs. On a tip from Tom, he glued a small piece of wood to the side of the pickups to reduce noise issues, and two sound posts have been installed inside the body to reduce feedback concerns.
Thumbin' Through
For electric needs, Faulkner uses this Fender Vintera II ā60s Precision Bass; heāll switch between the two basses depending on what he feels best suits the song. He uses a thumb pick from time to time to accentuate certain rhythms.
Lightweight Low End
Faulknerās been converted to this Ampeg Venture V12, a compact bass head weighing less than nine poundsāa godsend for sore-backed bassists. Itās set for a pretty neutral, SVT-style sound and runs into a Fender Bassman 410 Neo cabinet, which has four neodymium-loaded speakers.
Jake Faulkner's Pedalboard
Rather than at the start of his chain, his Korg Pitchblack Advance tuner goes at the end, with everything running out of it to the Venture V12. An Origin Effects Bassrig Super Vintage lends color and tone to the V12, then the Fire-Eye Development Red-Eye Twin acts as an A/B switch to maintain output and gain between the Johnson and the P-bass. An MXR Ten Band EQ helps balance out the uprightās tone.
100 watts of clean-to-dirty power in a slim, light, 2-channel, tour-ready design that's as easy on the billfold as your back.
The 2-channel, Tour Baby guitar amp is incredibly versatile in a variety of playing situations. The onboard studio grade VCA compressor of Tour Babyās refined clean channel, offers pristine clean tones with active or passive pickups. It provides a consistent dynamic range and low noise in extreme settings without the need for separate pedals. It includes precise bass and treble EQ controls.
The naturally voiced dirty channel of this tone machine allows players to easily get that sought after āpoint of breakupā sound . A custom voiced presence control and powerful 3-band EQ control means the Tour Babyās tone can be shaped to cut-through the mix. Add to that a footswitchable volume control, that provides a stage-friendly volume boost option for live applications.