A taste of some of the musical acts at SXSW ''09 Austin, Texas: March 19-22
The numbers are staggering: imagine more than 1900 acts from 53 countries playing 84 venues (mostly within in a six-square block area) for 5 days and nights. And those are the official numbers. Hundreds of āunofficialā bands also descended on the Live Music Capital of the World during the third week of March to feed on the music fan frenzy known as South by Southwest.
What began as a little indie music festival 23 years ago is now a humongous indie music festival that has somehow, perhaps by sheer volume, maintained its indie cred. The event now has a film festival and a technology geekfest rolled into it and lasts 10 days, but live music still anchors the experience. Hereās how it works: Mostly unsigned bands converge on Austinās 6th Street bar area and play one after another for about an hour at a time in front of dedicated fans, random music lovers, label execs and the press. Some venues host showcases of promising acts organized by genre, home country or parent labels. There are also festival stages where bigger names play for bigger crowds. The cool thing about SXSW is that some of the biggest bands in the world still participate, happy to play a hole-in-the-wall bar for honest cheers and the same $250 that upstart acts get, as Metallica did at Stubbās Barbecue.
Thereās also a trade show, seminars, panel discussions, a concert poster show and more. Some bands were throwing CD release parties while others were shooting their next video. Some were playing their first official gigs while others were reuniting. There were acoustic singer songwriters. There were zydeco bands. There were Norwegian metal fans in full leather-n-spike regalia, and there were girls wearing skirts with cowboy boots. In fact, there were a lot of girls wearing skirts with cowboy boots.
So imagine being charged with the task of covering this festival and crystallizing it into four pages. Where to begin? Which acts would be worthy of inclusion? We sweated the task over a Shiner Bock or three before realizing that the beauty of SXSW is in its diversity. Thereās great music everywhereāfamiliar and new. So, we went searching for a wide range of guitar-driven music. If thereās one festival where you can hear what our favorite instrument is truly capable of, itās SXSW.
So here it isāour list of 18 guitar-centric acts that made our SXSW experience a memorable one. Thrift Store Cowboys, Momoās
Hailing from Lubbock, TX, the Thriftstore Cowboys blend lonesome balladeer emotion with what might be described as alt country with a modern sensibility. Daniel Fluitt and fiddle player Amanda Shires share lead vocal duties, but much of the bandās distinctive sound comes from lead guitar player Colt Miller. He modded his ā06 Nashville Tele with a Bigsby and creates haunting textures with a Danelectro DE-1 Dan-Echo, a Fulltone Supa-Trem and a ā65 Twin Reverb.Metallica, Stubbās
They sought. They destroyed. Metallicaās āhush-hushā performance was the worst-kept secret of SXSW (and one of the best promotional efforts of the weekāthey were there to pimp Guitar Hero: Metallica) but some attendees still didnāt believe the real four horsemen were going to play such an intimate show. Both guitar-wielding metal icons came with a purpose, to literally blow the BBQ sauce off Stubbās famous beef brisket. That mission was accomplished with thrash-guitar favorites like āFor Whom the Bell Tolls,ā āMaster of Puppets,ā āSeek and Destroyā (Hetfield broke out āRustyā his black satin 1976 Explorer) and even the lethargically haunting āCreeping Death.ā Hammett used his signature ESPs including his black KH-2 and KH-2 Ouija White loaded with EMG 81/60 pickups (bridge/ neck) and an original Floyd Rose bridge and trem. Hetfield stuck with his battered and bruised signature mahogany body and set-neck ESP Truckster, but also went to his trusted assortment of Flying Vs. The Bay Area metal crew proved once again they are the masters of dual-guitar metal.Andrew Bird, Stubbās
Simply put, we were blown away by Andrew Birdās performance; it was singularly the most intellectual and all-worldly performance we caught at SXSW. For starters, the stage was littered with Janus Horn and XL Horn phonograph-esque speakers (custom-made by Specimen Products). Bird makes you rethink the concept of what it means to be a performing musician. He layers live loops of his Gibson ES-125 and plays unexpected instruments like the xylophone, banjo and the flute. He also whistles like, you guessed it, a bird and uses his voice like an instrument. In Austin, Bird used an assortment of amps and effects, including a Schroeder DB-7 head, two Schroeder prototype heads, a Music Man 4x10 combo and a ZVex Box of Rocks pedal. It was an odd and wonderfully impressive show.Texas Belairs, Momoās
The Texas Belairs have been rocking their loud-ass hillbilly tunes for decades. Shad Daugherty brings a gritty edge to the current line-up, using an Epi Dot to mix rockabilly and blues licks. The band blew the roof off Momoās during the āLubbock New West Musicā Showcase with lead singer Kent Mings giving his best Buddy Hollyesque drawl on āIām Gonna Tell You How Itās Gonna Be.āValient Thorr, Emoās Annex
Valient Thorr conquered Emoās outdoor stage with an astral driven dual-guitar attack featuring humbucker-rich tones blasting from Eidan Thorrās Les Paul Black Beauty reissue and Voiden Thorrās Les Paul sunburst Deluxe. They both used Marshall 100 watt heads, but Eidan used two Marshall 4x12 cabs and Voiden went with creamy white Mesa Boogie 4x12 cabs. The Venusian guitarists (the bandās back story is that theyāre from Venus) not only had crushing tones at earbleeding volumes, but they also conducted acrobatic guitar tosses, twirls and flips to prove that the days of show-stopping theatrics arenāt over. At least not on Venus. Gary Clark Junior, Maggie Maeās Gibson Room
Gary Clark, Jr. has paid his dues in the Austin scene and is beginning to see his star rise. Heās been awarded Best Blues Artist at the Austin Music Awards and recently played a key role in the John Sayles movie, Honeydripper. Heās made quite a name for himself by implementing R&B, reggae, soul and rock into one ball of sensual guitar domination. During live shows heāll play the drums, bass and harmonica, but Clark is most impressive when abusing the fretboard on his semi-hollow Epiphone. Keep an eye out for Clark. Heās already opened for the Arc Angels and the Derek Trucks band. Youāll be hearing from him soon. New York Dolls, Smokinā Music
Somehow or another, a New York Dollsā appearance at an indie music festival is fuel for both the indie cred argument and the festival sellout argument. The Dolls have achieved a certain level of notoriety, but theyāve always been anti-establishment. Strangely, however, listening to Steve Conte strumming monstrous proto-punk, glam-rock chords on his ā04 white Les Paul Supreme, we could not help but feel the weight of their influence on todayās music. Conte also rocked his ā60 LP Jr. and his ā66 Melody Maker (refinished pink w/ white pearl guard). All his guitars were running through a requested backline setup of a Marshall JCM 800 head and 4x12 cab with Celestion 30 speakers. As Conte told us, that rig is the best way to capture his classic NYD-tone. Carolyn Wonderland, Austin Music Hall
Carolyn Wonderland and her band took a break from the road (they log more than 300 shows a year) and joined Ruthie Foster and Suzanna Choffel on stage for a round of jams at the opening of the Austin Music Awards (which coincides with the opening of SXSW), where she won Best Blues Band and Best Female Vocalist honors. Carolyn is known for two things in the Lone Star State and beyond: her soulful vocals and her guitar chops. Her playing draws from country, swing, zydeco, surf and soul. Wonderlandās arsenal included what she calls an all-original Lesline Pauline, a 50th Anniversary Tele with Barden pickups and a Fender Vibrolux Reverb. The Mighty Stef, The Rio
Hailing from Dublin, Ireland, the Mighty Stef and his backing band combined classic rock with Johnny Cash-esque lyrics about tough times, heartache and drinking a little too much Irish whiskey. The perfect blend of his Martin and his bandmateās Les Paul through an Orange head and stack gives his sound a rocking yet folksy foundation to support the poignant lyrics about his troubled Irish heart. This current trip to the US has fared much better than his 2006 trek to the Statesāthatās when the Mighty Stef was robbed of his wallet, passport, video camera and guitar, leaving the drifting singer/ songwriter alone with his thoughts and his Wayfarers. At least the experience inspired more material, which is wonderfully presented in the CD we picked up, 100 Midnights. Devo, Austin Music Hall
Yes, Devo is still around and still booking shows. They broke out the red plastic helmets as they whipped Austin Music Hall into shape and basked in their new-wave glory. With a huge LED screen behind them, they blasted the audience, both sonically and visually. It felt like ā81 again, when Strats competed with keytars and Martha Quinn was more than a corny reference point on VH1ās āI Love The 80s.ā The Massacoustics, the Vintage Lounge
Musically, the Massacoustics deserve a write-up without even mentioning the simultaneous multi-instrumental talents of Matt Thompson, who plays bass one-handed while sitting behind the drums and actually playing them with his other three limbs. As if that werenāt enough, he also sings incredibly tight harmonies. Itās unclear how he doesnāt just fall over. Anyway, his brother, Andy Thompson, sings lead and plays a wicked Gretsch Duo Jet with a Line 6 PODxt and Bad Cat amps. As guitarists in trios know, there is an art to getting full band tone, soloing without rhythm under you, etc., and Andy has got it down pat. This duo from Massachusetts (hence the name) is not a gimmick act, though. Their songs are tight and radio friendlyāwe suspect youāll be hearing from them soon.Don Tetto, Flamingo Cantina
Making the trip north from Bogota, Colombia, Don Tetto lit Austinās Flamingo Cantina on fire with their punk-influenced riffs and hooky ditties that had the crowd pogo-stick jumping. The 20-something rockers are sponsored by Gibson, so there were Pauls and SGs aplenty, not to mention an Explorer bass. These guys have quite a following in South America and now we know why. ARC Angels, Antoneās
The Texas blues-rock vets appropriately reclaimed their position as Austinās anointed supergroup by reforming (but w/o Tommy Shannon) and playing four shows, including a tribute to legendary club owner Clifford Antone. The band announced that theyāre working on a new record, DVD documentary and prepping for a tour that will include opening for Eric Clapton at Royal Albert Hall. The band was given the honor of having March 21st proclaimed as ARC Angels day in the city of Austin. At the Antoneās gig, Doyle Bramhall II used two Strats (not his red one) and his red LP Jr for slide work, while Charlie Sexton switched between his James Trussart Steeltop, a Zemaitis, several Strats and his Ric. Sexton used a 65Amps London and a Vox AC50 while Bramhall used his ā68 Marshall Super Bass. The Queers, Red7 Patio
Weāll never tire of power chord-driven trio rock full of sketchy pop hooks delivered in two-anda- half minutes or less, thanks to the Queers. Their SXSW performance was raw and energetic, with the band pummeling the crowd with probably the most songs per setlist than any other SXSW act. Joe Queer (guitar/vocals) and Dangerous Daveās (bass/vox) rigs were punk-simple: Strats and P basses straight through Marshalls and Ampegs. Mad Juana, Continental Club
Imagine the characters of a Tim Burton film forming a band and rocking your socks offāthatās what a Mad Juana live performance is like. Mad Juana fuses an eclectic mix of vaudeville, swamp blues, reggae and mariachi with a healthy slice of rock that goes from Velvet Underground cool to Stooges-type aggression. The band was formed by former Hanoi Rocks/ NY Dolls bassist Sami Yaffa, who plays acoustic guitar, and his wife, Karmen Guy, who handles lead vocal duties. Donāt let the accordion, trumpet, melodica or Dia de los Muertosfestooned violin player scare you, Mad Juanaās hypnotic voodoo is worth checking out. Ben Harper & Relentless7, Stubbās
Ben Harper introduced his new band, the Relentless7, at SXSW. With this outfit, Harper is moving into decidedly political material. Musically, the groove is heavier, faster and angrier than his previous work with the Innocent Criminals. The night included several long-form jams, a cover of Bowieās āUnder Pressureā and Harper playing his Les Paul on his lap.
We dropped in to see a guitar-slinger named Guy Davis en route to another show. Heās one of those old school blues guys who stands up on stage with his 12-string Guild and lets the downtrodden songs filled with passion pour out of his soul and his pinky slide. We were fascinated by how closely his music resembled that of the old Delta masters. In addition to his slide work, Davis played a ā50 Kalamazoo Archtop, a Gold Tone resonator banjo, and what he told us was a 100-year old Vega banjo. Needless to say, we stayed for the whole set.
Kylesa takes their name from ākilesa mara,ā a term ancient Buddhists used to refer to demons of defilement and delusion. Appropriately, the concept is a fitting description of the bandās soundāscary and demonic, with machine-gunning dual guitars and thundering dual drum sets. Both duos complemented each other well in front of a raucous Red7 crowd. Co-lead guitarist Laura Pleasantsā gear included an ā89 Pre-Historic Gold Top, ā90s Laney GH50L and Krank Rev Series One heads and 4x12 cabs made by Krank and Mesa Boogie. Cope played a Guild S-100 Polara, Rev Series One and Laney GH100L heads and Krank 4x12 cabs.
Building upon the foundation of the beloved Core Collection H-535, this versatile instrument is designed to serve as a masterpiece in tone.
The new model features striking aesthetic updates and refined tonal enhancements. Crafted at the iconic 225 Parsons Street factory, home to other world-famous models like the H-150, H-157, and H-575 - the H-555 continues to exemplify the very best of American craftsmanship.
The Core Collection H-555 features a set of Custom Shop 225 Hot Classic Humbuckers, meticulously wound in-house with carefully selected components, and voiced to deliver added punch and richness while preserving exceptional dynamics and touch sensitivity. Seamlessly complementing the H-555ās semi-hollow construction, they blend warmth and woodiness with refined, articulate clarity.
The Core Collection H-555ās aesthetic has been elevated with multi-ply binding on the body, headstock, and pickguard. Its neck, sculpted in a classic ā50s profile, delivers effortless comfort and is adorned with elegant block inlays, seamlessly blending style with playability. Gold hardware complements the aesthetic, exuding elegance while presenting the H-555 as a truly premium and versatile instrument for the discerning player.
Available in Ebony and Trans Cherry, each Core Collection H-555 is beautifully finished with a nitrocellulose vintage gloss that features a subtle shine and gracefully ages over time. An Artisan Aged option is also available for those seeking an authentically well-loved look and feel, achieved through a meticulous, entirely hand-finished aging process. The new Core Collection continues Heritageās tradition of world-class craftsmanship, offering a true masterpiece in tone and design for discerning players. Each guitar is shipped in a premium Heritage Custom Shop hard case.
Key Features
- Finest Tonewoods: Laminated highly figured Curly Maple (Top & Back) with solid Curly Maple sides
- Heritage Custom Shop 225 Hot Classic Humbuckers: Designed and wound in-house
- Headstock: Multi-ply bound headstock, featuring a Kite inlay, 3Ć3 tuners laser-etched with Heritage graphics
- Neck Profile: Comfortable ā50s C-shape for a vintage feel
- Bridge: Tune-O-Matic with aluminum stopbar tailpiece for enhanced sustain
- Made in the USA: Crafted at 225 Parsons Street
For more information, please visit heritageguitars.com.
Ariel Posen and the Heritage Custom Shop Core Collection H-555 - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Watch the official video documenting the sold-out event at House of Blues in Anaheim. Join Paul Reed Smith and special guests as they toast to quality and excellence in guitar craftsmanship.
PRS Guitars today released the official video documenting the full night of performances at their 40th Anniversary celebration, held January 24th in conjunction with the 2025 NAMM (The National Association of Music Merchants) Show. The sold-out, private event took place at House of Blues in Anaheim, California and featured performances by PRS artists Randy Bowland, Curt Chambers, David Grissom, Jon Jourdan, Howard Leese, Mark Lettieri Group, Herman Li, John Mayer, Orianthi, Tim Pierce, Noah Robertson, Shantaia, Philip Sayce, and Dany Villarreal, along with Paul Reed Smith and his Eightlock band.
āWhat a night! Big thanks to everyone who came out to support us: retailers, distributors, vendors, content creators, industry friends, and especially the artists. I loved every second. We are so pleased to share the whole night now on this video,ā said Paul Reed Smith, Founder & Managing General Partner of PRS Guitars. āI couldnāt be more proud to still be here 40 years later.ā
With nearly 1,400 of the whoās who in the musical instrument industry in attendance, the night ended with a thoughtful toast from PRS Signature Artist John Mayer, who reflected on 40 years of PRS Guitars and the quality that sets the brand apart. āThe guitars are great. You canāt last 40 years if the guitars arenāt great,ā said Mayer. āMany of you started hearing about PRS the same way I did, which is you would talk about PRS and someone would say āTheyāre too nice.ā Whatās too nice for a guitar? What, you want that special vibe that only tuning every song can give you on stage? You want that grit just like your heroes ā¦ bad intonation? The product is incredible.ā
Be sure to locate your sample library where it can be quickly referenced on your DAW.
Improve your recordings using your own samples. Bryan Clark, house producer at Nashvilleās Blackbird Studio, tells you how to take the final steps in building your own sample library.
Mastering the sample import process in your chosen DAW can significantly enhance your creativity and streamline your workflow. With a clear understanding of the tools and techniques available, you will be better equipped to bring your musical ideas to life and make your productions stand out.
This month, we finish up a three-part series on creating your own sample libraries. In this final installment, Iām going to give you the basic ways to import your samples into various popular DAWs. Each one has its unique workflow and user interface, but the fundamental process remains very similar. This Dojo guide will cover how to import samples into Ableton Live, LUNA, Logic Pro, Pro Tools, and Studio One.
Ableton Live
Steps to Import Samples
Drag and Drop: Simply locate the sample file in your computerās file explorer, then drag and drop it directly into an audio track in the session or arrangement view.
Browser Window: Use Abletonās built-in browser (on the left-hand side). Navigate to the sampleās location on your hard drive, then drag it into the workspace.
Create a Simpler or Sampler Instrument: Drag the sample into a MIDI track with Simpler or Sampler loaded. This allows you to trigger the sample using MIDI notes.
Tips: Use the warp feature for time-stretching and syncing samples to your projectās tempo.
Organize your samples into collections using the āAdd Folderā option in the browser.
LUNA
Steps to Import Samples
Drag and Drop: Drag the sample from your file explorer directly into the timeline. Then hold the CTRL key down, click on the end of the loop, and drag it to the length it needs to be.
Browser/Workspace: Use the media browser to navigate to your sampleās location on your hard drive. Drag it into an audio track in your session.
Audio Track Import: Right-click on an empty area in the timeline or a track and select āImport Audioā to locate and add your sample.
Tips: Use LUNAās built-in varispeed capabilities to match your sample to the sessionās tempo.Logic Pro
Steps to Import Samples
Drag and Drop: Drag the sample from the Finder directly into an audio track in the workspace.
File Browser: Use the file browser (accessible via the media sidebar or āFā key) to locate and drag samples into the timeline.
Quick Sampler: Drag your sample onto a MIDI track with the Quick Sampler plugin loaded. This lets you play the sample chromatically.
Tips: Use Logicās flex time feature to sync samples to your projectās tempo. Organize samples into Logicās library for quick access.Pro Tools
Steps to Import Samples
Import Audio Dialog: Go to File > Import > Audio; then locate your sample and click āConvertā or āAddā to bring it into the session.
Drag and Drop: Drag the sample directly from your file explorer into an audio track.
Workspace Browser: Use the workspace (accessible via Window > New Workspace) to locate your sample. Drag it into your session.
Tips: Use the elastic audio feature for tempo matching and pitch adjustments.
Place your samples into playlists for efficient access during editing.
Studio One
Steps to Import Samples
Drag and Drop: Drag your sample directly from your file explorer into the timeline or browser.
Browser: Open Studio Oneās browser (on the right-hand side), navigate to the folder containing your sample, and drag it into your project.
Sampler Track: Drag the sample onto a MIDI track, and use the Sample One sampler for additional manipulation.
Tips: Enable the āStretch Audio Files to Song Tempoā option in the browser for automatic tempo synchronization. Create sample folders within Studio Oneās browser for quick access.General Best Practices
Regardless of the DAW you use, it is important to maintain a smooth and efficient workflow. Organize your sample library with clear folder names and categories to make locating files easy (see last monthās installment for detailed strategies). Where possible, learn DAW-specific shortcuts for importing and editing samples to save time. Always check if your DAW offers a feature to sync the sampleās tempo to your project to ensure seamless integration. Finally, regularly back up your sample collection to avoid losing important audio files and preserve your creative assets! Seriously. Do it now.
Next month, weāre off to āconsoleā land and Iāll be investigating console emulations (hype or not?), summing bus processors, and more to give you a more āstudioā sound. Until then, blessings and namaste.
Stretching the boundaries of reverbās realm through dynamic and pitch control.
Nice core reverb sounds. Invites cool compositional and arrangement directions. High quality.
If you lack patience, it will be hard to unlock its coolest secrets.
$329
Gamechanger Audio Auto Reverb
gamechangeraudio.com
When the first Moog synthesizer appeared, it freaked out a lot of musiciansānot least for the way it blurred the divisions between instruments and their roles. Was it percussion? A keyboard? A reed instrument? Many effects makers build from this philosophical foundation. The Latvian company Gamechanger often seems to revel in itāan attitude thatās manifest in the companyās Auto Series pedals, which includes the Auto Reverb.
Thereās no reason you canāt use the Auto Reverb in a very straightforward fashion. The plate, spring, and hall settings are all very nice digital representations of their analog inspirationsāand Iād be perfectly happy playing an instrumental surf set with the spring mode, for instance. But because you can control the parameters like the reverbās level, decay, tone, and the filter with changes in pitch and dynamics, the Auto Reverb can function in highly orchestral ways, transforming itself from subtle to outlandish as a musical piece shifts in intensity or rises from low to high keys toward a blurred, hyper-spacious climax. While these attributes make the Auto Reverb a great fit for prepared guitar and conceptual piecesāand invites many themes and compositional ideas within those formsāit can just as easily be configured to create an especially dynamic and dramatic pop song arrangement on stage or in the studio that might otherwise be relegated to automations within a DAW. Itās fun to use, if not always intuitive. But knowing its ways can expand your musical options significantly.