Wednesday, April 28, 2021

A Note About Rickenbackers

 I've been meaning to write this post for quite some time and I'm just now getting around to it.  It's on my mind again since I just switched Rickenbacker guitars for the hundredth time.  Per my rough count, I've owned somewhere around 12-16 Rickenbackers in my lifetime, most being a variety of newer models and reissues, etc.  I've now owned at least 3-4 Rick 330/360's in Jetglo, and each and every time I end up getting rid of them.  Why?  Purely aesthetics, the dumbest reason possible, I know.  There's just something about the Rick 360 Jetglo look that I don't identify with, and my hunch is that it's so identifiable in my head with Peter Buck of R.E.M. that I simply never feel comfortable with it as my own.  I'll also say that black Rick's (well, all Rick's) have a finish on them that, if you even breath near it, needs to be wiped (in my viewpoint, at least) so I simply never want to touch them let alone actually play them.  And so, my 2012 Rick 360 Jetglo just got sold/traded for a brand new Rick 360 in Mapleglo, and again I know how ridiculous this sounds...but it was destined to happen.

I've always had a thing for Mapleglo 360's.  As much as they are incredibly identifiable with Roger McGuinn of the Byrds and Tom Petty, for some reason these just seem more at home with me and don't put me off like the Jetglo association with Peter Buck.  Again, I realize this doesn't make a ton of sense but...  Aesthetically, though, Mapleglo Rick's are not all equal.  Most look decent albeit fairly plain; some are downright kind of ugly due to the wood grain, and then every once in awhile you see one that's rather stunning.  I finally got my hands on one of the latter after searching for many years, hence the switch.  Of course, it's all personal opinion and preference, and one person's ugly is another person's beautiful, and so on.

Rickenbackers get a bad wrap overall, though, in my opinion, especially the newer one's with what they call "Hi-Gain" pickups.  Personally, I think Rickenbackers are the most attractive guitars out there AND are also the most consistently quality made electric guitar ever.  They've always been made in CA at pretty much the same factory and still deliver a highly superior product, and even though they're a bit more expensive than some guitars, I think you get a lot more for the money.  Overall, they're actually quite a good value given the quality and Rickenbacker Int'l doesn't tend to do many price increases either.  So, why not only play Rickenbackers then?  It's simple - they're not easy to play.

Most Rickenbackers are fairly heavy and have rather narrow necks with a larger than most C styled bulbous shape.  For someone like myself, it's just not preferable.  Fender Telecasters have narrower necks as well but they feel way larger than a Rick's.  Even worse, get your hands on a vintage Rick...I mean, it's absurd.  The vintage necks are so narrow that I can barely even play the damn guitars due to my arthritis and trigger finger issues.  So, that alone puts Rick's at a disadvantage.  Also, the 12 string versions have incredibly narrow necks for the amount of strings, so much so that Rickenbacker finally addressed the issue by creating the larger necked 660/12 model.  This proved popular enough that the neck was also put on the newer 1993Plus model, and upon playing that one, I immediately sold my 360/12C63 which was gorgeous to look at but a real pain in the you know what to play, especially if you were to switch from normally playing a 6 string electric.  I did a recording session once on the 360/12C63 and it took me 2-3 days just to get used to the narrowness, and then it still wasn't pretty.  Needless to say, I'm a huge fan of the 1993Plus guitar with the larger neck for the 12 string layout, and I personally think all of the 360/12's should have that same neck...but that's just me.

Strangely, the thing you read about most in regards to Rickenbackers is not what I've written above:  it's instead all about the sound and pickups.  Many players repetitively comment how the guitar has such a "jangle" and that it's a one trick pony, etc.  Other players say that you can't get enough power out of them.  Well, I think this is completely absurd.  A Rickenbacker with Hi-Gain's has a ton of power, so much so that when I plugged my new 360 in with the same settings that I used for my Tele, it sounded like the perfect rock guitar right out of the box without any tweaks to my pedals.  I mean, the guitar is one of the most powerful and full sounding guitars I own, second only to the Stratocaster.  If you need to do some power chording on your recordings, say, in stereo, mainly for accent during refrains and such, this is a fantastic guitar to use and that's where I tend to reach for it most.  It's not for death metal and that sort of thing, of course, but hopefully you already knew that.  If you're trying for even a vintage punk styled sound, the Hi-Gain's pull it off wonderfully.  It doesn't have the same sound as, say, my Gibson SG, but then again I have had a very hard time getting the SG's tone to record well.  The Rick, however, is a breeze to record and sounds on recordings pretty much how it sounds in the room.

VP's, or vintage styled pickups...that's a whole different story.  These are replica's of what Rickenbacker used back in the vintage days, and they are a bit more one trick pony, in my opinion.  Hi-Gain's are great, though, and if you only own one 6 string Rick, you want the Hi-Gain's on it, in my opinion at least.  They're incredibly versatile, being able to "jangle" but also have that hard rock tone that I already mentioned, and they even do a jazz tone, as evidenced from my tooling around with the guitar last weekend.  I should say that literal vintage Rickenbacker pickups do not behave like these newly made VP's.  They're close in sound and tone but the output of the pickup for VP's is probably 3x the amount of an actual vintage pickup (another thing that initially really threw me off about the vintage guitars).

If anyone is buying their first Rickenbacker and seeking advice, here's mine in a nutshell:  if you're buying a 12 string, do yourself a favor and try out the wider neck on the 660/12 and the 1993Plus BEFORE you purchase and compare it to the standard 12 string neck.  See what you think and which you prefer.  Also, I think VP's are probably the better choice for 12 string guitars since a 12 string IS sort of a one trick pony, and most of us don't really want a harder edged sound for that anyway.  If you're buying a 6 string, though, I'd opt for the Hi-Gain's because I just think they're better overall and way more versatile.  Again, it's just my opinion and I'm sure countless guitarists will highly disagree with me, but that's how I see it.

As for color, well, good luck.  If you're like me, you'll keep flipping through them until you're comfortable, and there's really nothing wrong with that either.

Monday, April 19, 2021

Found and then Some

  It was a nice weekend overall although I wish I had had more time to spend on music (once again).  The weather here hit 80 degrees which is quite warm for this time of year, and the downside is that it prompts the dreaded idea of yard work, hence some of my time getting hijacked.  I can tell you this, however.  The elusive last track for the jazz machine album has been uncovered and, not only that, I basically now have half of the next album as well, at least in rough idea form.

It's funny how this happens.  I actually "jammed" (if you can call it that, seeing as I'm completely alone.  Maybe brainstormed instead?) out around 7 new song ideas within seven days worth of time which is quite a lot, really.  One of them is pretty much what I was looking for; three others I'm engrossed with and therefore refuse to throw out so they'll be on the next album.  In fact, I even have them named and also working titled the next album title as well!  It's been a productive but strange week and I never cease to shake my head when this sort of thing happens.  It seems apparent now that I should have been working on instrumental work all along since I apparently have a plethora of ideas rattling around in my head.

The new track is called "Didn't I Tell You?" and has sort of an "Us and Them" vibe to it.  I'm also swapping the track numbering a bit, with this new track initially going in the 5th slot but it seems to make more sense in slot #4.  I pretty much blueprinted the entire track on Saturday and now I just need to listen to it back a few times, make notes, write down any necessary changes, and then prepare for the real recording.  I'll hopefully get it down on tape (er, disk) in the next couple of weeks.

I think I also finally made the decision to just stick with the "jazz machine" naming.  I wrote down a logo and such for the alt. named "Mystery Machine" and stared at it for a couple weeks but it just didn't flow as much for me so I'm sticking with the original naming idea.  I even have a couple loose ideas for the album cover which I'll have to start playing around with soon.

I also have about 3-4 other posts rolling around in my head so hopefully I'll get them typed out in the next couple of days.  As usual, my fingers can't keep up with my rambling brain.

Monday, April 12, 2021

Still Searching

 I spent some time this weekend toying around with different drum patterns in search of the last track for the "jazz machine" album.  This is sort of my process usually, especially for someone that 99% of the time writes completely alone.  I went through multiple drum patterns and an almost annoying thing happened in response...I didn't find really what I was looking for and instead came up with 2-3 new track ideas that I now have nowhere to place!

This isn't altogether unusual for me but it is different when it comes to instrumental work.  I'm going to listen to these samples over the next few days and see what I think.  Two of them are really great, I think, and I immediately was drawn to them since they're a bit unique.  The downside is that if I were to use one of them on this album, it'll completely change the tone of this record, which is exactly what I don't want.  If I use both of the tracks, then I have to cut the one that I'm already working on, or even worse abandon it altogether, AND change the tone of the record.  I'm just not a fan of these options on the surface.  So, I have a strong feeling that I already have 2 loosely structured songs ready to go for the next "jazz machine" album.  Ugh.  This is how this vicious cycle keeps happening to me, folks.

I'm giving myself through this week to keep looking for the elusive 5th track on the album and then I'll just have to make a decision in order to stay on track with the progress of the recording.  I also worked on learning some new jazz chords, and I also went through some videos on playing the Gershwin classic "How Long Has This Been Going On", one of my all time fav's in regards to the version from "Funny Face", and then lastly started working on an instrumental rendition of "Poor Unfortunate Souls" from "The Little Mermaid".  The latter is really quite fun and I could see playing this live someday.  I think it would be a hoot (yes, I said 'hoot').

Monday, April 5, 2021

Coming Along

  I spent a good part of the weekend, a long holiday weekend, mind you, working on the "jazz machine" album, putting the finishing touches on the first couple songs.  I must say that I'm really quite pleased so far with this album and I really think that it might be one of my favorites so far.  The opening track, "As Evening Brings Tears", has quickly become one of my favorite songs that I've ever written, even in it's simplicity.  I just feel like the mood of the track is there and it's pretty much what I was hoping it would be on paper which so far in my recording experience has been a rarity.

I've recently been having an internal argument about what this "band" or brand should be called.  The issue with calling it "...with the Jazz Machine" or "...and the Jazz Machine" is that it kind of sets up a high expectation that I don't think it'll really live up to.  I'm just not sure that I confidently call anything that I've written instrumentally as "jazz" as of yet, and in truth that wasn't really the idea behind that branding anyway.  So, I've been toying around with different names and such.  Who knows what it'll actually end up being called.  One thing that I DO know is that I'm hoping to do more than one album under this brand so it's rather important that I choose wisely.

In other news, the Spirit Awards movie watching experience is winding down for 2020.  I think I'm down to only 5 movies left.  After a fairly rocky start, I must confess that this may have been one of the best years yet with nearly every film being of fairly high quality.  I think there were really only 2 films that I took issue with and both were right in the beginning of my watching.  On the flip side, though, this year doesn't have as many mind blowing/out of this world/"you've gotta see it" content.  Instead, everything has been very good to maybe great.  I guess take your pick on which you prefer.  I'll hopefully be posting my top film picks for 2020 in the next couple of weeks.