Your music is worth releasing. Really. Do it now!
This is my final State of the Stomp column, so I thought I would leave with some encouraging words. This is a message for the perfectionists: release your music.
Let me start by saying this: I believe music can be a private practice. I believe you can be a musician and never play a show in your life. Never share a thing. This is for the people that want to release music, but always feel like it's not quite ready.
As I write this, I'm wrapping up the first solo project I've made in years, and I really don't know that any of this would've helped me when I was in the thick of it. Things just weren't clicking and that's all I could see. I knew it wasn't right yet. But I'm going to share some thoughts anyway because something got through to me eventually.
The realization that helped me the most is that music is a tool. It's a bit cold, maybe, but thinking of it that way has really helped me decide when things are done and if they're worth releasing. (Yes, they are.)
The thing is, it's not about you. It's not about perfection or being impressive. It's definitely not about getting it right. How would anybody know that? It's about what the listener can do with it. And there is always, always something to do with it.
I've never met a song I couldn't tear apart. The point being, perfectionism makes you unfair and unreasonable.
A good test of this idea is just to observe your own listening habits. Do you ever get nothing from a piece of music? Music is so emotional that it's easy to take it for granted. Every time, every song, you're probably feeling some kind of way. And if you decided today to bundle up your music and release it just as is, it would be the same.
It's right there in the expression: release. Call it done, and let it go. No one will ever know if you get a song right. Not even you. A friend was telling me recently of a quirk of the brain. Our brains like to help us feel good, so they're always tidying up our senses in the background. They filter and organize what we experience to keep us from getting overwhelmed. In the case of music, our brains will actually correct or smooth over mistakes as we work, because they know that's the version we want to hear.
Listening test: Pick out a song that's similar to what you're trying to make, one of your favorites. Give it a listen and come back. Now, give it a listen again as if it was your own music, and look for things to criticize. Whenever I do this, I realize what an asshole the critical mind is. I've never met a song I couldn't tear apart. The point being, perfectionism makes you unfair and unreasonable.
There are just so many damn tools, and their purpose is only clear to the people who need them. You may not even understand your own music's purpose, but it could really help someone. Different tools for different jobs. You don't use a hammer on screws, you don't use Brian Eno at the club. Just put it out there and see if people have a use for it. The only way to fail is by letting perfectionism kill it.
So, I hope that gives you a little something to take with you. Easier read than done, but you'll get there.
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Learn how Adrian Belew's BEAT Tour came together to include Tony Levin, Danny Carey, and Steve Vai—plus King Crimson, Bowie, Zappa, Talking Heads, and more.
The BEAT Tour, featuring a superband of Adrian Belew, Tony Levin, Steve Vai, and Tool’s Danny Carey, begins on September 12 in San Jose, California, and continues into December, playing repertoire from King Crimson’s highly influential ’80s albums Discipline, Beat, and Three of a Perfect Pear. PG’s editorial director Ted Drozdowski sat down with Adrian in his home studio to talk about how these four great players came together, Adrian’s decades in Crimson, and Robert Fripp, Bowie, Zappa, Talking Heads, and more. Also, stay tuned for our exclusive Rig Rundown, coming soon!
Featuring dual-engine processing, dynamic room modeling, and classic mic/speaker pairings, this pedal delivers complete album-ready tones for rock and metal players.
Built on powerful dual‑engine processing and world‑class UAD modeling, ANTI 1992 High Gain Amp gives guitarists the unmistakable sound of an original "block letter" Peavey 5150 amplifier* – the notorious 120‑watt tube amp monster that fueled more than three decades of modern metal music, from Thrash and Death Metal, to Grunge, Black Metal, and more.
"With UAFX Dream, Ruby, Woodrow, and Lion amp emulators, we recreated four of the most famous guitar amps ever made," says UA Sr. Product Manager Tore Mogensen. "Now with ANTI, we're giving rock and metal players an authentic emulation of this punishing high gain amp – with the exact mic/speaker pairings and boost/noise gate effects that were responsible for some of the most groundbreaking modern metal tones ever captured."
Key Features:
- A complete emulation of the early '90s 120‑watt tone monster that defined new genres of modern metal
- Powerful UAFX dual-engine delivers the most authentic emulation of the amp ever placed in a stompbox
- Complete album‑ready sounds with built‑in noise gate, TS‑style overdrive, and TC‑style preamp boost
- Groundbreaking Dynamic Room Modeling derived from UA's award-winning OX Amp Top Box
- Six classic mic/speaker pairings used on decades of iconic metal and hard rock records
- Professional presets designed by the guitarists of Tetrarch, Jeff Loomis, and The Black Dahlia Murder
- UAFX mobile app lets you access hidden amp tweaks and mods, choose overdrive/boost, tweak noise gate, recall and archive your presets, download artist presets, and more
- Timeless UA design and craftsmanship, built to last decades
For more information, please visit uaudio.com.
- YouTube
The legendary Queen guitarist shared an update on his social media that he noted as a "little health hiccup." "The good news is I can play guitar,” he said.
Brian May revealed that he was rushed to a hospital after suffering a minor stroke and temporarily losing control of his left arm. In a message to his fans, May addresses the events of the past week:
“They called it a minor stroke, and all of a sudden out of the blue, I didn’t have any control of this arm. It was a little scary, I have to say. I had the most fantastic care and attention from the hospital where I went, blue lights flashing, the lot, it was very exciting. I might post a video if you like.”
“I didn’t wanna say anything at the time because I didn’t want anything surrounding it, I really don’t want sympathy. Please don’t do that, because it’ll clutter up my inbox, and I hate that. The good news is I’m OK.”
Introducing the new Seymour Duncan Billy Gibbons signature offerings: The Hades Gates Humbucker set for a mid-forward punch with extra heat, and the Red Devil for Tele, capturing his hot Texas tone.
Billy Gibbons Red Devil for Tele
When Seymour Duncan first introduced the Signature Billy Gibbons Red Devil set, his fiery sound was captured in Strat-sized humbucker pickups. Now, that hot Texas tone is available as a drop-in replacement bridge pickup for any Telecaster wielding guitarist.
Approved by Reverend Willie G himself, the Red Devil for Tele is built with an Alnico 5magnet, 4 conductor cable, and a hot wind that drives amps and pedals harder than a traditional vintage humbucker. Whether you’re looking for cutting leads, tight pinch harmonics, or thick rhythm tones, it’s all at your fingertips with the Red Devil for Tele.
Billy Gibbons Hades Gates Pickup Set
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.From scorching lead guitar to his own line of hot sauces, Billy Gibbons has never been afraid of a little extra heat. The Pearly Gates pickup set from his coveted 1959 Les Paul has been a favorite among P.A.F. purists for decades. For the Reverend, some guitars in his collection benefitted from additional output to deliver his signature sound.
This demand for a hotter wind forged The Hades Gates humbucker set – a fiery take on the mid-forward, punchy sound Billy is known for. Alnico 2 magnets and this added output drive your amp into some hot, blue, and righteous territory.
Hades Gates Humbuckers are hand-built in Santa Barbara, California with 4-conductor cables and short mounting legs.
For more information, please visit seymourduncan.com.