Our inner critics constantly tell us we need to be better. Humble Hendrix knew that imperfection is part of the art equation.
“How bold one gets when one is sure of being loved."
Sigmund Freud
Although the music world is reportedly full of egomaniacs, it seems like there are a lot of wildly talented, self-deprecating guitar players out there. When great guitar players deflect compliments and say they're stinking up the joint, I used to think they were so comfortable with their own bad-assery that they could afford to be gracious and appear humble. Now I think it's more likely that a lot of groundbreaking, talented players are as insecure about their playing as any of us.
During an interview with Dick Cavett in 1969, Jimi Hendrix said: "I hate compliments, you know, compliments are so embarrassing sometimes because you know it's not really the truth…. I'm constantly trying to create other things, that's why I make a lot of mistakes." It takes absolute fearlessness to be as innovative as Hendrix, yet his self-doubt is genuine. How can this strange dichotomy be so common among musicians?
Jimi Hendrix on Performing The National Anthem at Woodstock | The Dick Cavett Show
Playing guitar is immensely rewarding but learning guitar is mostly frustration and hand cramps. That's why most people quit. At one point, none of us could make an F chord. For some reason, we stuck with it and eventually that plunking, strummy strum began to resemble music. Eventually you learn a dweedly dweedle, apply it successfully to a solo and think, "Sheaze, I'm really good." That gives you the confidence to try more difficult things.
But as we get better and more deeply invested in music (with both time and money), we begin to love music more deeply, and love like that breaks your heart. We start to notice the music we're performing is not as good as the music we imagine. We detect ourselves rushing or dragging or we hear ourselves playing our same bag-o'-riffs until every phrase is as predictable as a nursey rhyme. That's when self-doubt, fear of judgement, and the unhealthy tendency to compare ourselves to others starts to make us hate what we play.
Artists hating their own work is nothing new. Vladimir Nabokov spent five years working on Lolita, then set the manuscript on fire in his backyard. Thankfully, his wife pulled it from the flames and insisted he finish the book. Emily Dickinson begged her sister to burn all of her 40 handbound volumes of unpublished poetry after she died. Woody Allen hated his movie Manhattan so much that that he offered to make another movie for free if the studio agreed to not release Manhattan. If left to the artists, none of this work would have ever been seen by the public. Outsiders saw the value in this art that the artists could not see themselves.
"It's the artist equivalent of body dysmorphia, but instead of a thin person looking at themselves in the mirror and seeing fat, we listen to ourselves and only hear what we wish we didn't do or should've done differently."
It's the artist equivalent of body dysmorphia, but instead of a thin person looking at themselves in the mirror and seeing fat, we listen to ourselves and only hear what we wish we didn't do or should've done differently. When I hear players like Joe Bonamassa or John Mayer talk with such reverence about their guitar heroes, I feel like telling them "How can you not notice that you play way better than your heroes?"
But the truth is, what we perceive is not what is. Descartes argued that there is no reality behind the senses. We can't actually hear or see ourselves accurately because everything runs through a filter of our inner critic. That nasty inner voice is like an abusive teacher that undermines not just your performance, but your sense of self.
Life is one big art project. Art is supposed to be free, not perfect, so I'm trying to adopt a zero-tolerance policy toward self-criticism or imagined criticism. Even as I type this, I imagine the inevitable criticism in the comments. It's paralyzing until I remember that a critics' anger rarely has anything to do with what they criticize and more to do with their general unhappiness. Demanding perfection from yourself is so counter-productive, because perfection is irrelevant in art. Jeff Beck remains one of my all-times favorite players, but nobody would argue that he's perfect. He intentionally bends under or over the note to create tension. Beck is about emotion, not perfection. We accept that in others; we should accept it in ourselves.
For decades, I hated listening to myself in a playback, but a breakthrough came unexpectedly when I recently upgraded cars (sadly, my 1994 Mercury Grand Marquis now rests in a junkyard in a rainbow pool of oil). My current fancy car automatically syncs to my phone, so by virtue of random shuffle I've been listening to literally hundreds of demos and sessions I've played over the past 25 years (all stored in the cloud). I remember leaving some session cursing myself for not demanding another pass at a solo, but in listening back years later, I don't know what I was so worried about. I want to go back in time and find that earnest, not particularly bright, younger me and say, "That part totally serves the song. Good job Johnny boy. Now let that shit go."
[Updated 11/8/21]
Beetronics FX Tuna Fuzz pedal offers vintage-style fuzz in a quirky tuna can enclosure.
With a single "Stinker" knob for volume control and adjustable fuzz gain from your guitar's volume knob, this pedal is both unique and versatile.
"The unique tuna can format embodies the creative spirit that has always been the heart of Beetronics, but don’t let the unusual package fool you: the Tuna Fuzz is a serious pedal with great tone. It offers a preset level of vintage-style fuzz in a super simple single-knob format. Its “Stinker” knob controls the amount of volume boost. You can control the amount of fuzz with your guitar’s volume knob, and the Tuna Fuzz cleans up amazingly well when you roll back the volume on your guitar. To top it off, Beetronics has added a cool Tunabee design on the PCB, visible through the plastic back cover."
The Tuna Fuzz draws inspiration from Beetronics founder Filipe's early days of tinkering, when limitedfunds led him to repurpose tuna cans as pedal enclosures. Filipe even shared his ingenuity by teachingclasses in Brazil, showing kids how to build pedals using these unconventional housings. Although Filipe eventually stopped making pedals with tuna cans, the early units were a hit on social media whenever photos were posted.
Tuna Fuzz features include:
- Single knob control – “Stinker” – for controlling output volume
- Preset fuzz gain, adjustable from your guitar’s volume knob
- 9-volt DC operation using standard external power supply – no battery compartment
- True bypass switching
One of the goals of this project was to offer an affordable price so that everyone could own a Beetronicspedal. For that reason, the pedal will be sold exclusively on beetronicsfx.com for a sweet $99.99.
For more information, please visit beetronicsfx.com.
EBS introduces the Solder-Free Flat Patch Cable Kit, featuring dual anchor screws for secure fastening and reliable audio signal.
EBS is proud to announce its adjustable flat patch cable kit. It's solder-free and leverages a unique design that solves common problems with connection reliability thanks to its dual anchor screws and its flat cable design. These two anchor screws are specially designed to create a secure fastening in the exterior coating of the rectangular flat cable. This helps prevent slipping and provides a reliable audio signal and a neat pedal board and also provide unparalleled grounding.
The EBS Solder-Free Flat Patch Cable is designed to be easy to assemble. Use the included Allen Key to tighten the screws and the cutter to cut the cable in desired lengths to ensure consistent quality and easy assembling.
The EBS Solder-Free Flat Patch Cable Kit comes in two sizes. Either 10 connector housings with 2,5 m (8.2 ft) cable or 6 connectors housings with 1,5 m (4.92 ft) cable. Tools included.
Use the EBS Solder-free Flat Patch Cable Kit to make cables to wire your entire pedalboard or to create custom-length cables to use in combination with any of the EBS soldered Flat Patch Cables.
Estimated Price:
MAP Solder-free Flat Patch Cable Kit 6 pcs: $ 59,99
MAP Solder-free Flat Patch Cable Kit 10 pcs: $ 79,99
MSRP Solder-free Flat Patch Cable Kit 6 pcs: 44,95 €
MSRP Solder-free Flat Patch Cable Kit 10 pcs: 64,95 €
For more information, please visit ebssweden.com.
Upgrade your Gretsch guitar with Music City Bridge's SPACE BAR for improved intonation and string spacing. Compatible with Bigsby vibrato systems and featuring a compensated lightning bolt design, this top-quality replacement part is a must-have for any Gretsch player.
Music City Bridge has introduced the newest item in the company’s line of top-quality replacement parts for guitars. The SPACE BAR is a direct replacement for the original Gretsch Space-Control Bridge and corrects the problems of this iconic design.
As a fixture on many Gretsch models over the decades, the Space-Control bridge provides each string with a transversing (side to side) adjustment, making it possible to set string spacing manually. However, the original vintage design makes it difficult to achieve proper intonation.
Music City Bridge’s SPACE BAR adds a lightning bolt intonation line to the original Space-Control design while retaining the imperative horizontal single-string adjustment capability.
Space Bar features include:
- Compensated lightning bolt design for improved intonation
- Individually adjustable string spacing
- Compatible with Bigsby vibrato systems
- Traditional vintage styling
- Made for 12-inch radius fretboards
The SPACE BAR will fit on any Gretsch with a Space Control bridge, including USA-made and imported guitars.
Music City Bridge’s SPACE BAR is priced at $78 and can be purchased at musiccitybridge.com.
For more information, please visit musiccitybridge.com.
Floyd Rose introduces new USA-made Original saddle sets in various configurations, crafted from premium hardened tool steel with precision CNC machining. Available in chrome and black finishes now.
The new facility offers immediate availability of the legendary Floyd Rose Original saddles in multiple radius configurations for the first time. Engineered to perfectly match specific fretboard curvatures, these saddle sets provide a range of radius options without the need for individual saddle shims. Alongside the classic 12” radius, Floyd Rose has unveiled 8”, 10”, 14”, 16”, and 17” radii saddle sets. Crafted from premium hardened tool steel with precision CNC machining and finished with durable, smooth plating, these saddles are built to withstand the demands of intense performances. Chrome and black sets of USA-made Floyd Rose Original Saddles in various radii are available now at the company’s website, followed by gold and black nickel finishes in the 4th quarter of 2024.
The new Floyd Rose manufacturing center in North Carolina was designed to meet growing demand while ensuring the highest quality available using modern high-tech processes. Bringing production in-house enhances control over every aspect of the process including engineering, material selection, quality control, and scheduling. The facility features four Haas VF-seriesCNC machines, delivering precision machining fine-tuned for high efficiency and clean surface finishes. Alongside machining, the company has established a state-of-the-art metal finishing department and acquired stamping equipment with new capabilities added monthly.
At the heart of the Floyd Rose USA manufacturing center is a dedicated team of engineers and technicians who excel in their craft and are deeply passionate about the legendary product line. With decades of collective experience, the company’s experts meticulously craft each component to exacting standards.
“We are ecstatic to be making these new Original saddles in the USA, giving us better control over quality and production times while offering more robust options like these new radii,” said Andrew Papiccio, longtime president of AP International Music Supply / Floyd Rose and an original owner of Kramer Guitars. "With this new state-of-the-art facility, we are poised todeliver unparalleled quality and performance to musicians worldwide. As we integrate newproducts into this facility, we are expanding our commitment to ‘Made in America’ craftsmanship.”
The company plans to ramp up production of parts and innovations at their USA factory forFloyd Rose and their new AxLabs Hardware division.
For more information, please visit floydrose.com.