Tenerife with Rollacoaster

Earlier this week I was privileged to be flown with the Rollacoaster guys to the Ritz-Carlton hotel in Tenerife for a gig with a Canadian insurance company.

This is the second time I’ve been lucky enough to be flown abroad for a booking, and as such I was very much looking forward to it, especially since I hadn’t been to Tenerife before.

The weather was fantastic – 27•C and wonderfully sunny – which made the time spent on the beach and by the pool before the gig all the more enjoyable!

Having said that, there are many trials and tribulations a guitarist needs to navigate while in one of these ventures, and the critical one is to do with gear.

Ordinarily, the amp would be hired from a local company, and in this case I turned up expecting a Marshall JCM2000 head and 4×12 cab, and actually got two Fender Twins…! Either amp would have been fine for me, but with uncertainty in what amp will actually be on site when you arrive, you need to be quite clever with your pedal selection so you don’t get caught short, particularly in the overdrive department.

The Fender Twin I used – only one in the end! – was beautiful, and the clean setting was lush as you would expect. The size and volume of the cabinet moved air really effectively, and made for an exciting amp to use.

I had to strip a few pedals from my board and cram them cleverly into my small luggage case, and for this reason I was extremely selective and methodical.

The Fulltone wah, Wampler Ecstasy, Zvex Distortron and Line6 Echo Park all made the grade, and since I wasn’t sure what the power situation would be like at the venue, I used trusty 9V batteries to fix this problem. Only the Line6 drained its initial battery and needing replacing halfway through.

While this got me through the gig, I also like to have a chorus, phaser and additional tuner/buffer/boost/compressor units at my feet. /9 this was a but if a challenge and encouraged me to be creative with the wah especially in moments that needed a bit more interest.

The final piece of the gear puzzle is the guitar (my red Fender Strat with Seymour Duncan Little ’59 in the bridge), and I managed to get this on as hand luggage in my Reunion Blues case. This is a great case. While it is a soft case, it is super sturdy and has a great set of pockets which are well thought-out for accessories and cables etc. I want to try and avoid having it hit the hold of a plane, but from what I’ve seen in promo videos it would probably be ok – it seems to protect guitars well enough when thrown off a two-storey building, so that’s a start!

The gig itself was great fun, but at 2.5hrs straight playing was tough at times, especially since it’s a reading gig. The whole band did great, and the quality of all the other guys really forces you to raise your game. On to the next one!

P.S. Contrary to all the 5* pictures, some work was done!!

IMG_6720.JPG
IMG_6723.JPG
IMG_6725.JPG
IMG_6709.JPG
IMG_6729.JPG

A new venture – Aylesbury Guitar Setups and Repairs

Since mid-August I have started offering a number of guitar repair and maintenance services to the musicians of my local area, in addition to my performances and tuition.

I’ve started off quietly but I’ve already had a number of repairs and services to do, and I feel it’s time to let my wider circle of friends, colleagues, and connections know about what I’m up to!

The main area of work I do is in general setups – reviving an instrument and refreshing elements such as action, intonation, pickup heights, and work to do with the fretboard including cleaning and fret profiling. I can also offer electrical repairs including pickup replacement and switch/control cleaning and modification.

Don’t be afraid to ask if I can cover other obscure aspects of repair – I’ve also had to recently re-glue a broken headstock, replace a classical bridge, cut deeper nut slots, and more besides.

My prices are competitive and I’m handily in the centre of Aylesbury, so quite easy to find. Please do pass on my details if you think anyone else could make use my services – I really appreciate your support and for thinking of me! Have a browse of my website and check out the Facebook page to see some of the work I’ve been doing recently.

Facebook Ad Image

Some recent testimonials…

“Oh my god it’s just amazing! Feels brand new, great job mate. Thank you! ” – Ross S, General overhaul, October 2014

“Hi Gary, …(I) got on very very well thanks – really loving the low action! Makes it even more fun to play now 🙂 Thanks again!” – Daryl G, Nut repair, October 2014

“Gary checked over a few problems with an old guitar of mine and had it good as new in no time. I highly recommend him – great guy and great service, cheers!” – Dan G, Electric problem, August 2014

Thanks for reading, and I hope to breathe a bit more life into a guitar of yours soon!

Grease at the Court Theatre with TFC

I’m the sole guitarist for this production of Grease, so my part has changed slightly from the production I did earlier in the year. I exclusively used my USA Strat with a Seymour Duncan Little ’59 mini humbucker in the bridge position.

This is a great guitar. In fact all strats offer the options I’ve enjoyed on this show. The switching combination is sonically diverse and has offered real flexibility, sensitivity and power, whenever I’ve needed it.

I’ve made a great deal of use of the middle pickup; a key position which I feel is generally undervalued and under-used. It cuts beautifully but isn’t too bright, and is weighty enough to be used for choppy rhythm.

The out-of-phase positions offer some real delicacy in moments where I’m playing ballads, country-esque pieces, in the sensitive moments in tunes, or if I simply want an option to the neck pickup, which I’ve used in turn for a warmer alternative to the middle pickup.

Since this is a 50’s show, I’ve employed my Line6 Echo Park unit set to the Slap Back setting, along with another Line6 pedal – the Tap Tremolo – for a light tremolo in a couple of ‘dreamy’ and sustained parts of songs like ‘Beauty School Drop Out’.

The material is interesting to play too. Lots of high ‘chips’ with little chord voicings of triads and 7th chords, with one staccato strum per bar. Coupled with lots of arpeggio based parts there’s a lot of tight plectrum control and confident timing required.

We’ve used the broadway arrangement of Greased Lightning which is more interesting and challenging than the original version. I get to use the bridge humbucker here in conjunction with a Zvex Distortron distortion pedal. This is a great sound (although it is a liberty taken) and I get the chance to bust out a few chops in a solo here, too.

All of this goes through the Blues Junior, so I have a compact and versatile sound. I hope I get to do it again soon!

IMG_6431.JPG
IMG_6510-0.JPG

Recording at Barnicott Studios

Over the last couple of days I have been recording at Barnicott studios for an original pop project with Kevin Hall, Stewart Sibley and Gayle Fraser and with Simon Barnicott. It was a wonderful experience working with ‘Barny’ Barnicott in such a beautiful location with some truly fantastic musicians, and it was a privilege to be involved with the project.

Barny’s credits include Arctic Monkeys and Kasabian, as well as Coldplay, and to see how he worked was really interesting. He has a very no-nonsense approach to recording, and especially with timbre and quality of sounds. He’s good at making quick decisions about whether something will be sonically appropriate and if it will work in the context of a piece of music, and has an altogether efficient approach to recording.

In this case I had to play a mixture of electric and acoustic guitar parts, but critically some mandolin too, and I thought that the parts sat really nicely in the early mixes. There’s still much to do on the tracks, but I’m very much looking forward to seeing how they come together.

I can highly recommend the studio. The location near Chatham means leaving the city and getting some clean air, and the views in that part of the world are truly exquisite. There’s comfortable accommodation on site, so multiple days of recording is an easy decision to make, and it made a big difference to be able to stay over on the Monday night start afresh on the Tuesday. The live room is spacious with many genuine vintage synths and keyboards lining the room, and the control room is a thing to behold – containing a beautiful SSL desk running with a Pro Tools HD rig. And boy that guy knows how to use it!

Check out Barny and studio at barnybarnicott.com, and I’ll keep you posted of how the project is going!

20140723-174733-64053528.jpg

20140723-174734-64054843.jpg

20140723-174735-64055732.jpg

20140723-174733-64053832.jpg

20140723-174736-64056611.jpg

Variety is the Spice of Life

Over the last few weeks I have been doing a great deal of different types of work, each with different responsibilities. It has been a real thrill too, because I feel like I’ve succeeded in doing a good job with each of the challenges in front of me – particularly with the time I’ve had to prepare – and that gives me the sort of buzz I am looking for.

Since playing in Grease at the New Theatre in Oxford, I’ve spent quite a bit of time with the Denmark Street Big Band, playing three gigs with two of them being a bit of a trek, including ventures to Inverness (at the castle where Madonna got married), and to Great Yarmouth to play in a Big Band festival. All three gigs were fantastic fun with material ranging from Glenn Miller to Sinatra, Buble, and Basie, as well as two shows dedicated to the work of Bobby Darin.

I had the privilege to be able to play solo at my brother’s wedding, and also as a special part of his wedding speech, a solo gig for Team GB Triathlete, plus a jazz performance with my quartet to relaunch a stately home/hotel for DeVere Hotels.

Things are fairly relentless at the moment with final rehearsals on Monday for this year’s Live at the Rose event, as well as an Irish-themed recording session coming up where I need to get the mandolin out. Coupled with new ukulele and bass students it’s a very busy time!

Grease at the New Theatre, Oxford

As I write I an currently sat under the stage at the New Theatre in Oxford, half way through the third show of the run with the Oxford Operatic Society.

The show is a lot of fun, and while it differs from the film in it’s focus on the wider friendship group rather than just the relationship between Danny and Sandy, it still maintains a charm comparable with it’s iconic partner.

The music is, as you’d expect, very 50’s in it’s composition, and there are a number of repetitive themes which would be comforting if they weren’t in different keys! Still, there’s a lot of tasty stuff to play in my Guitar 2 part and it’s very pretty and delicate in places.

I’m using my Les Paul, with my Blues Junior. The LP is great for a wide variety of sounds, and I’m making use of all of the pickup positions which is really nice – the middle position is surprisingly delicate and sensitive and at times choppy.

I’m combining the guitar and amp with a number of pedals – Ibanez TS9 overdrive, Zvex Distortron, Line6 Tap Tremolo and Line6 Echo Park. I’ve also got my volume pedal at the end of the chain which I’m making a lot of use of. The tremolo only comes on when I can let chords ring, and it really sets them off and sends my coins back to the fifties. Coupled with a regular use of slap-back delay and I’m pretty much there. I occasionally kick on the TS9 for a little ‘hair’ for single notes, and the Distortron is wound right down, although heavy enough to wail when I need it.

Most of the shows have sold out so, it’s even more of a privilege to be involved. The band members are great and I can’t wait for the rest of the run!

Jesus Christ Superstar

Just before Easter I was involved in a production of Jesus Christ Superstar at the Theatre Royal, Windsor. While I didn’t get to see the production itself, it sounded fantastic as the band were great musicians directed by a fantastic musical director. We were left largely to interpret the music how we saw fit, which gave me a lot of room to express myself and put my own stamp on this iconic musical.

I used my Paul Reed Smith Custom 24 Artist pack guitar for the majority of the run, along with my trusty Martin acoustic.

The music is consistent throughout the show, and there are no natural opportunities to change from electric to acoustic, therefore I had have my acoustic mounted in a playing position beside me so I could play it still wearing my electric. This system worked ok, although it wasn’t ideal! Still, I’d have rather have a true acoustic sound than compromise, so it was worth the stretch!

I had to use my POD as an amp sim to keep the volume down in the pit, and I thought it sounded lovely, and took the sound of my pedal board well.

I felt the run was brilliant – really consistent and a great show with fun music to dig into, be expressive and delicate in equal measure. I can’t wait to do it again!