Our columnist takes a good look at his guitars—and a stroll down memory lane—via famed luthier Joe Glaser’s new, free Gearcheck service.
I started buying gear in junior high and I’m still using some of it. My organizational skills have not really improved since then, so the inventory looks like a stamped-on ant pile. The daily 6-strings are stuffed on racks in my room and in gig bags or cases near my door, good-to-go. The less-used guitars are hidden in closets, stashed under couches/beds, and loaned out to friends. Then there are six or seven old battle axes that I’ve played for years that have grown so valuable that they now spend most of their time locked in a huge gun safe in the guest room. I’ve tried several times to catalogue the tools using a notebook, and then a few different long-since-dead computers. I had no idea how many guitars I owned ... until now, thanks to my friend Joe Glaser’s Gearcheck.
Glaser, a famed luthier here in Nashville, started Gearcheck as a software platform for cataloging instruments. Gearcheck gives you a personal and private digital gear room where you can list instruments’ basic model details (year, wood, pickups, etc.), then document them with photos, receipts, Reverb listings, reputable repair records, appraisals, insurance details, as well as your setup specs, string gauge, action, and relief. I even track who I loaned them out to or where they are stored. This is not static information, and tracking the life of a guitar this way gives insight and builds the stories that we care about. All of this establishes provenance, which is a difference between just something and something collectible.
If you’re interested in how this works, go to gearcheck.com. The free membership gets you 1 GB of memory to list your instruments. You can subscribe to get more memory should you need it. To give you some idea of what 1 GB worth of gear looks like, I have 55 instruments listed (49 guitars, 2 mandolins, 3 pedal steels, 1 lap steel) with between three to 12 photos per instrument—some with short descriptions and some with long war stories of modifications, accidents and gig abuse, as well as high points of the instrument’s history. So far, I’ve used .93 of my free gigabyte. I’m setting a limit now: My gear gluttony ends at .999 GB of storage.
The listing process was good for me. I spent my free time over the past 10 days, working late into the night, tracking down all my guitars. I discovered a few I had not seen in years and thinned the herd a bit. I also found some guitars that were great but had some glitch that kept me from playing them, like this killer Kiesel Custom Shop T-build whose middle pickup was wired out of phase, so I finally got off my ass and rewired it, and while I was at it, I swapped the original pickups that were a bit too hot with some Pete A. Flynn ’buckers that I’d been holding.
“My favorite instruments have had a Red Violin-style odyssey.”
Once I decided who made the cut, I started taking photos and uploading guitars starting with my favs. At first, I just listed the main details and basic photos, but then I thought, “Why not make it more about the stories?” Stories are always more interesting than things.
My favorite instruments have had a Red Violin-style odyssey. Their pasts before I got them are mostly guesswork and imagination, but I can document the highlights of my short time in their history. For instance, my 1954 Les Paul has a second jack input in the body that was later refilled. No idea what that was about, but Michael Wilton of Queensrÿche, who sold me the guitar, documented what happened during his time with it. Wilton played it on Queensrÿche’s albums Promised Land and Hear in the Now Frontier. Wilton replaced the bridge pickup wire in the cavity (because the original disintegrated) and replaced a dead potentiometer. Since I’ve had it, Glaser refretted and Plek’d the neck, and added his Stud Finder bridge. I’ve also played it on a ton of gigs. Now I’ve got all these details safely documented on Gearcheck, along with some photos of me playing that goldtop with Lainey Wilson on her first awards show.
Similarly, my 1969 Fender Thinline had some mysteries when I bought it from Chicago Music Exchange. I’ll never know why somebody added a second input jack, but I did document my adding a Glaser B-bender and a 22-fret sweet, flat neck that Fender’s Chip Ellis built to replace the original neck that never really fit in the neck pocket.
Antonio Stradivari made 960 violins between 1666 and 1737. At least 282 still exist and are potentially being played. I imagine, with some basic care, that at least several guitars I live with today will still be rocking 350 years from now. I’m glad I can document our brief time together. You don’t really own legacy instruments, you just keep them for the next player, all the while adding to their legacy.
Coppersound’s booth at NAMM 2019 in Anaheim, California.
Our columnist shares his thoughts on the potential benefits of music stores organizing small-scale alternative trade shows.
“Are you guys going to NAMM this year?” This is a question I’ll receive from industry friends as soon as the next NAMM show is remotely out of view. For the uninitiated, NAMM is the National Association of Music Merchants—the largest U.S.-based trade show for any company or person involved in the music industry. It’s a trade show attended by a full range of “anybody who is anybody.” At least, it used to be….
Vendor attendance at the big show has changed over the last few years. There are several factors for discussion here—cost, logistics, booth preparation, return on investment (ROI). ROI is the main concern that I come across when chatting with friends in the industry. Networking is one of the biggest factors that NAMM had going for it. Now, in the age of the internet, that NAMM-only value has diminished. Top that off with a Covid shutdown and major companies finding out that they can prosper without the NAMM show, and you get the current state of the show.
I’d like to make it clear that this is in no way meant to disparage NAMM, its employees, or its attendees. My company has presented at both the summer and winter shows over a five-year lifespan. Those outings were overall positive experiences that created lovely memories and relationships. However, I’m highly skeptical that the cost was worth those experiences and relationships. Herein lies the main discussion. Not, “Do we really need NAMM anymore?” but, “What else can companies do besides NAMM?” This topic instantly gives me David vs. Goliath imagery.
“Nothing that I’ve mentioned here is new, revolutionary thinking by any stretch. It’s simply a call to attention.”
Much like how we appreciate and seek out small music stores because of the unique inventory offered and customer services rendered, I believe these stores can offer those very things in the form of mini trade shows—small stores hosting live, in-store events consisting of small builders, specially curated for local musicians and enthusiasts. I’ve had the pleasure of attending these expos around New England, to the degree that I’ve been inspired to encourage and help music stores host events just like this.
These small shows aren’t uncommon or unheard of. Even Reverb sponsored a small-builders expo at Chicago Music Exchange last August, so these events are definitely on the radar. Likewise, the Brooklyn Stompbox Exhibit is a recurring show that has become quite popular with guitar and synth players over the years.
So, what can we do to assist in this NAMM-alternative era? I’d break it down into three sections: create, organize, and attend. I’m actively working towards creating and organizing small expos that would be hosted by music retailers. The core model is pretty straightforward:
Step 1: A music store invites brands that they already carry (and possibly some that they don’t).
Step 2: Those brands attend the show with demo stations to display their product line.
Step 3: The store and attending brands promote the event through any and all channels available.
Step 4: People attend the show and try out gear while getting to chat and engage with the builders.
Some expos like to incentivise their events with giveaways and the like. These stores also have a propensity to tailor the show to their specific/local community or customer demographic. All of these things help give the shows their own character and vibe.
Nothing that I’ve mentioned here is revolutionary thinking by any stretch. It’s simply a call to attention. So, let these closing remarks be my plea to music store owners, their employees, boutique builders, and members of the community: I encourage you to start the conversation about hosting your very own in-store gear expo and inviting brands to attend, even if it’s focused solely around the brands that are local and semi-local to your store. I would love to see “mini NAMM” shows all around the country throughout the year. As we’ve witnessed with NAMM, these events have great potential, but they have to start somewhere. The very first Academy Awards ceremony had an attendance of 270 people and was hosted on a Thursday.
Rhett and Zach are joined by Irish-born, Chicago-based Instagram guitar star Nathaniel Murphy (known to many by his handle @ZeppelinBarnatra) for a conversation about meeting your heroes, picking styles, and where Murphy’s mysterious social media moniker came from.
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This episode starts off with Zach and Rhett catching each other up on their 4th of July festivities. Rhett’s was classic: he treated some visiting European friends to fireworks off a dock, barbecue, smoked wings, more fireworks, and a bunch of beer. Zach, meanwhile, was knocking on doors to tell neighbors to knock off the mortar shelling in the middle of the night. To each their own.
Then they’re joined by Nathaniel Murphy, the Chicago-based guitarist who has racked up nearly 400,000 followers on Instagram with jaw-dropping videos of solo guitar work. Rhett doesn’t mince words—he says Murphy is “one of the best players out there.” Murphy’s videos break people’s brains, they say: no one can work out how he’s playing all the parts by himself at the same time. Plus, Murphy works full-time now with Chicago Music Exchange, where he brushed shoulders with Noel Gallagher and Carlos Santana within a few days of one another this summer.
Murphy shares how he came to the U.S. to coach soccer for nearly a decade before being hired to do video demos for CME. He was busking downtown Chicago, too, and within a few years, CME brought him on full-time to cut videos. When it came time to join Instagram, he registered with his infamous handle, ZeppelinBarnatra. Murphy breaks down how the moniker came to be when he entered a contest to win tickets to Led Zeppelin’s 2007 reunion concert. Murphy names his favorite all-time guitar—Noel Gallagher’s Gibson J-150, which Gallagher recently signed for him—before the crew reflects on how to behave when meeting your guitar heroes.
That leads to a discussion of U2’s The Edge, whom Rhett and Murphy defend from detractors. They also agree that Teles are the most versatile guitars out there, but Zach, ever the contrarian, dissents: “To me, there’s a reason why all the dudes that played Teles back in the day switched to Les Pauls,” he shrugs. Murphy talks about his current favorite players, like Justin Derrico, Stephen Taranto, and Michael Romeo, then the trio dissect different picking techniques and go long on Blue Chip pick manufacturing processes.
Rhett, who groans that he has the touch of a blacksmith when it comes to guitar playing, praises Murphy’s sensitive playing. But even Murphy, with his prodigious playing, says he gets overwhelmed watching other players’ styles. In guitar playing, as in life, the grass is always greener.