Our inner critics constantly tell us we need to be better. Humble Hendrix knew that imperfection is part of the art equation.
āHow 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 truthā¦. 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 Emily Dickinson begged her sister to burn all of her 40 handbound volumes of unpublished poetry after she died.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]
PRS Guitars celebrates 40 years with the limited edition McCarty SC56. Featuring vintage-inspired design and modern innovations, this single-cutaway guitar pays tribute to Ted McCarty and his impact on the industry. With only 400 pieces available, this instrument is a must-have for collectors and performers alike.
PRS Guitars today announced the 40th Anniversary McCarty SC56 Limited Edition. With a classic PRS single-cutaway body shape and carefully chosen specifications, the McCarty SC56 is both a tribute to tradition and a reliable tool for the modern performer. Only 400 pieces will be made.
āThe SC56, signifying Singlecut and 1956, model is our most recent tribute to my late mentor Ted McCarty and his impact on the guitar industry. We started with our take on a classic late ā50s singlecut body. 1956 marks the year that Ted first had guitars made with his newly coined 'humbucker' pickups. It also happens to be the year I was born. Bringing vintage design into the modern era, we loaded this model with our McCarty III pickups, meticulously designed to deliver warm, clear, vintage tone with exceptional note separation and dynamics,ā said PRS Guitars Founder & Managing General Partner, Paul Reed Smith.
Anchored by a maple top and mahogany back, the 24.594ā scale length and 22-fret Pattern Vintage neck work with Phase III non-locking tuners and PRS two-piece bridge to promote its musical sustain. The PRS McCarty III pickups are controlled by a simple layout ā two volume controls, two tone controls, and a three-way toggle on the upper bout.
Single-cutaway guitars are known to be heavier than their double-cutaway counterparts. The McCarty SC56 Limited Edition design incorporates weight-relief, decreasing the weight of the guitar by about 2/3 of a pound, while maintaining several points of attachment between the guitar top and back to eliminate the āhollowā sound of the cavities and promote tone transfer.
With appointments like binding on the fretboard, classic bird inlays, and a vintage-inspired nitrocellulose finish, the 40th Anniversary McCarty SC56 Limited Edition blends heritage and innovation into a timeless instrument.
PRS Guitars continues its schedule of launching new products each month in 2025.
For more information, please visit prsguitars.com.
40th Anniversary McCarty SC56 Limited Edition | Demo | PRS Guitars - YouTube
His credits include Miles Davisā Jack Johnson and Herbie Mannānext to whom he performed in Questloveās 2021 documentary, Summer of Soulāand his tunes have been covered by Santana and the Messthetics. But itās as a bandleader and collaborator where Sharrock cut his wildest recordings. As groundbreaking as Sharrockās music could be, his distorted tone and melodic tunes helped bring rock listeners into the jazz tent. Our callers let us know how much Sharrock meant to them and why heās one of the ātop guys of all time.ā
Belltone Guitars has partnered Brickhouse Toneworks to create a one-of-a-kind, truly noiseless Strat/Tele-tone pickup in a standard FilterāTron size format: the Single-Bell pickup.
The Single-Bell by Brickhouse Toneworks delivers bonafide single-coil Strat and Tele tones with the power of a P-90 and no 60-cycle hum. Unlike typical stacked hum-cancelling designs, Brickhouse Toneworks uses a proprietary āsidewindā approach that cancels the 60-cycle hum without sacrificing any of the dynamics or top-end sparkle of a Fender-style single coil.
Get the best of both worlds with clear bell-like tones on the neck pickup, signature quack when combining the neck and bridge pickups, and pristine twang in the bridge position backed with the fullness and power of a P-90. Push these into overdrive and experience the hallmark blues tone with plenty of grit and harmonic sustain ā all with completely noiseless performance.
Key Features of the Single-Bell:
- Cast Alnico 5 Magnet, designed to be used with 500k pots
- Voiced to capture that signature Fender-style single coil tone without the 60-cycle hum
- Lightly potted to minimize squeal
- Made in the USA with premium quality materials
The retail price for a Bridge and Neck matching set is $340.00 and theyāre available directly and exclusively through BelltoneĀ® Guitars / Brickhouse Toneworks at belltoneguitars.com.
Designed for players who demand flexibility without sacrificing tone, the Aquanaut fuses the rich warmth of classic analog delay with the extended range and clarity of modern digital designs. Featuring up to 600 milliseconds of delay time, the Aquanaut easily covers everything from tight slapback echoes to lush, ambient textures and rhythmic soundscapes ā all with a simple, intuitive control layout.
Unlike many digital delays that can sound sterile and detached, the Aquanaut retains an organic, analog-inspired voice. Repeats are smooth and musical, gently fading into the mix to create depth and dimension without overwhelming your dry signal. Whether youāre chasing vintage tape echo, adding subtle space to your solos, or building massive atmospheric layers, the Aquanaut keeps your tone clear, present, and inspiring.
Berserker Electronics Aquanaut Delay/Echo
Key features include:
- Up to 600ms of delay time for expanded creative possibilities
- Analog-voiced digital architecture for warm, natural-sounding repeats
- Ambient-style echo that enhances, not distracts from, your core tone
- Simple, intuitive controls for delay time, feedback, and blend
The Aquanaut is available direct at www.berserkerpedals.com and Reverb at a $149 street price.