Acoustic Guitar - The Learning Issue

The first three measures state a returning The original motif returns at A3, which raised ninth, BJ (the open string 2). As seen in
repeats the first five measures of A2. Bars 30 Ex. 7, this grip is a little tricky—you have to bar
motif. In bar 1, Baker uses the combination of and 31 introduce more newfangled chord the bottom three strings at fret 4, while
shapes: an E7 with the third, GG, as the lowest arching your index finger such that it doesn’t
a familiar grip and the open strings to create note (see Ex. 5), which is then moved up two stop the top three strings from sounding.
an odd harmony (Ex. 1). He plays an AH5, or frets to voice a GH7 with a BH in the bass (Ex. Avoid the temptation to play a garden-variety
power chord, and adds the open G string to 6). You can play these two grips as dia- AH7 barre chord, as Barker’s odd configuration
imply an AHmaj7 chord, followed by the AH grammed or with a first-finger barre across all ends in the spirit of the tune.
and then the unusual choice of the minor six strings if it feels more comfortable.
third (CH/B) on the open second string. “I Steve Boisson is a Los Angeles–based freelance
really like the sound when you play a note on Finally, the coda moves through open writer and guitarist. His last AG piece was a
strings and small chords until it arrives at its tribute to British fingerstyle innovator Bert
one string and the next note, just a half step final—and oddest—chord, an AH7 that includes Jansch in the April 2017 issue.
both the ninth, BH (on string 1, fret 6), and the
away, is on a different string,” Baker says,
The Capo Company
referring to the interval between the open G
and the AH. “You get a slight harp effect.”

At the end of bar 2, Baker hits the tonic,
AH, on the G string, before moving to an E7
voicing of open strings—B, D and low E—and
hammering on and off the second-fret CG, an
ephemeral phrasing that is an example of one

of those funny places to play open strings. The

voicings in this section are mostly three-note

When you’re playing in
the flat keys and put open
strings in funny places,
you find all kinds of
unexpected chord voicings.

chord fragments. Before tackling the tune, you Beautifully in-tune
might practice fingering some of these grips—
see Ex. 2—especially if they’re not already in Performance 2 Capo
your muscle memory.
Silver • Satin Black • 18kt Gold-Plate
In bars 5 and 6, there’s an interesting har-
monic sequence as Baker moves a pair of Find out more:
7sus4–7 moves down a whole step two times. www.G7th.com/Performance2
Use the fingerings suggested in Ex. 3 to
smoothly execute this passage, and take note AcousticGuitar.com 51
of the cool movement between the chord
members. “The middle voice is bouncing up
and down while the high voice keeps going
down,” Baker says. “When I was first looking
at it they were going parallel, then I realized it
sounded cooler to bounce it back and forth.”

Section A2 begins with the same hesitant
motif—note the rests and double rests—then
it takes a different direction after the AH7
chord in bar 12. It moves to a DH7, formed
with the same grip as the AH chord, but relo-
cated to string set 5–3. You might isolate the
switch from the DH7 chord to the cumber-
some GH7, as they don’t share any common
notes—see the fingerings in Ex. 4.

Apply all that you learned in working
through the A section for the B section, which
starts in bar 17. The B section takes you through
variations on the eccentric theme, harmonically
enhanced with counterpoint bass notes. It
sounds freer, with fewer rests and restraints, and
moves on to larger, louder chord shapes.

TSHOENBGACSRIACFST

Bern can’t seem to stop WHAT DAN
creating, and can’t be BERN PLAYS
confined to one medium.
Dan Bern calls his gear
JUDD IRISH BRADLEY setup “almost embar-
rassingly simple.” He
plays a Gibson Song-
writer Deluxe, bought
off the rack in Chicago
around ten years ago,
amplified with its stock
pickup and preamp
through whatever DI
the house provides.
Occasionally, he plugs
into a small amp, like
a Fender Blues Junior
or Champ, for “a little
more edge and gristle.”
He uses Elixir Nanoweb
or Polyweb coated
strings, and picks with
either a large, triangular
Clayton flatpick or
ProPik metal fingerpicks
and a plastic thumbpick.
He uses Kyser capos; on
“Jerusalem” and a few
other songs, he holds
down an A shape with
a Kyser Short-Cut
three-string capo.

Songwriter on the Loose

Catching up with folk-rock troubadour Dan Bern

BY JEFFREY PEPPER RODGERS

“D on’t ask what kind of music I’m gonna music for movies and TV series, including second-guess. This was more like, decision,
play tonight/Just stay awhile, hear for Walk Hard, Get Him to the Greek, and, most move on, decision, move on. That’s the way we
yourself awhile,” Dan Bern sang in 1997, over recently, the Amazon cartoon The Stinky and recorded it and mixed it, mastered it, the
the steady strum of a Gibson J-45, on his self- Dirty Show. Plus, he’s published two novels artwork—it all had to happen super fast or it
titled debut album. “And if you must put me in (one under the pen name Cunliffe Merri- wouldn’t have happened at all.”
a box, make sure it’s a big box/with lots of wether) and a recent book of poetry, Reconsid-
windows and a door to walk through.” ering Nixon. He hosts his own 24/7 webcast, Some of the songs on Adderal Holiday have
Radio Free Bernsteinn. And he’s a prolific a punky edge, like “Kicked Out,” on which Bern
Catching up with Bern 20 years later, it’s painter. Like one of his big heroes, Woody lists places he’s been ejected from (hotels, bars,
clear that he found that big, open creative Guthrie, Bern can’t seem to stop creating, and radio stations, festivals, and so on) before pro-
space he wanted. His early albums established can’t be confined to one medium. claiming, “I ain’t getting kicked out of here.”
him as one of the feistiest and funniest singer- But overall, Bern’s songwriting these days is
songwriters on the scene—a sort of Lenny The latest album from this tireless trouba- much less brash than in early salvos like “Tiger
Bruce with a flattop guitar—and in the years dour is Adderal Holiday, which Bern just started Woods,” with its famous opening boast about
since, Bern’s world of words and music has selling at live shows in the fall without any pub- the size of his endowment. Bern attributes his
continued to expand. To date he has released licity or even an announcement on his website change in attitude partly to settling down and
26 albums, including themed collections of or on social media. “In my mind, it’s kind of a becoming a dad, and partly to writing so much
political songs, kids’ songs, lullabies, Hanuk- punk record in the way it was approached,” over the last ten years for movies and televi-
kah songs, and baseball songs. He’s written Bern says. “There really wasn’t any time to sion, rather than just for his own repertoire.

52 July 2017

A longtime resident of Los Angeles, Bern just a different kind of writing. You’re writing to the ASCAP Foundation that Bern is the winner of
broke into Hollywood thanks to an invita- fit the bill. You’re writing to work within some
tion to write songs, along with writer/producer larger context. You’re not necessarily doing it its annual Joe Raposo Children’s Music Award.
Mike Viola, for John C. Reilly’s Dewey Cox char- just to please yourself.”
acter in Walk Hard. In a delicious twist for an A songwriter with plenty of NSFW lyrics might
artist who’d been endlessly compared with Bob These days, Bern is busy as ever with multiple
Dylan, one of Bern’s assignments was to write projects. He’s working on the second season of The seem like an unlikely recipient of a kids’ music
Dylan parodies, and he produced wicked lines Stinky and Dirty Show, which follows the adven-
like these, from a song called “Royal Jelly”: “Mail- tures of a garbage truck (Stinky) and a backhoe award. But Bern’s playful writing style is perfectly
boxes drip like lampposts in the twisted birth loader (Dirty) and features Bern’s songs in every
canal of the coliseum/Rim job fairy teapots mask episode. He’s gathering songs by favorite artists to in sync with kids—in fact, that spirit underlies his
the temper tantrum, oh say can you see ’em.” play alongside his own on Radio Free Bernsteinn
(available on danbern.com and in an iOS/Android songwriting for people of any age. “Even to call it
Bern loved this new gig. “I would liken it to app). And he’s developing a live show combining
an actor who had always done a one-man show, his art and music, in which he’ll display portraits songwriting maybe makes it a little too hifalutin or
very autobiographical material, and who sud- of cultural icons (for example, Albert Einstein,
denly gets to play characters,” he says. “It was Vincent Van Gogh, John Lennon, John McEnroe) makes it seem like a difficult exercise,” Bern says.
just really liberating. I think if you’ve written and perform songs related to them.
many, many songs, at some point you start to “I don’t think Woody Guthrie said, ‘I wrote this
pass on certain ones when they come up—‘Ah, Meanwhile, Bern has just gotten two big song-
I’ve written that song before.’ But when you’re writing honors. One came unexpectedly from the one.’ He said, ‘I made this one up,’ which is a lot
writing somebody else’s songs, in somebody Who’s Roger Daltrey, who picked Bern’s “Marilyn”
else’s clothes, it’s all new. It’s like being 17 again and “God Said No” for a playlist of 17 all-time more the way little kids talk about it.”
and writing your first song.” favorite songs as part of a Music Industry Trusts
Award presentation in the United Kingdom, This down-to-earth perspective informs the
Writing for the screen also requires looking placing Bern in the company of such artists as
beyond your own artistic agenda, he says: “I’m Buddy Holly, the Beach Boys, and the Sex Pistols. teaching that Bern does at songwriting camps
handed a script, and it says ‘song here.’ That’s Shortly afterward came an announcement from
and festivals, where he particularly relishes the

chance to work with those who don’t consider

themselves songwriters. “I’m a big believer that

the elements of song are wired into our species,”

he says. “We sing more than we talk. We’re more

like birds than anything else. It actually pains me

when people say that they ‘can’t sing’ or ‘can’t

carry a tune’ or are ‘not musical.’ I think it’s dan-

gerous. I guess it’s part of our modern culture

where people feel like they can’t do things like

that, but it’s nice on occasion to be able to

remind them that they can.” AG

AcousticGuitar.com 53

ACOUSTIC CLASSIC VIDEO LESSON
ACOUSTICGUITAR.COM/TAG/JULY-2017

‘The Entertainer’ Scott Joplin

Learning Scott Joplin’s ragtime masterpiece isn’t easy—but it’s worth it

BY PETE MADSEN

“T he Entertainer,” Scott Joplin’s 1902 On the piano roll, the 16-bar A and B sec- It should be fairly straightforward to finger-
ragtime piano masterpiece, is known tions are each played twice, followed by an
the world over and is a great challenge for the abbreviated version of the A section. I play just pick “The Entertainer.” Pick the bottom three
blues fingerpicker. April 1, 2017 marked the the first four bars, before moving on to section
centennial of Joplin’s death, and what better C. I put my own spin on the C section by drop- strings with your thumb and strings 3, 2, and 1
way to celebrate his legacy than by tackling this ping the established alternating bass pattern,
classic American composition. which breaks things up a bit. In section D, I with your index, middle, and ring fingers,
default to the alternating bass and wrap things
Like many ragtime pieces, “The Entertainer” up by revisiting the opening phrase from the A respectively. The piece requires a lot of your
is composed of four distinct, repeating sections: section before ending on a C chord.
A, B, C, and D. To make the piece more guitar- fretting hand, as it moves frequently between
friendly—and to reflect my own interpreta- Throughout the arrangement, the melodic
tion—I’ve taken a few liberties in this accents falling between the beats are what put the chord grips and dyads. One particularly tricky
arrangement of Joplin’s original piano roll (the “rag” in ragtime—take measure 7, for instance, spot is the F/A–Fm/AH transition in measure
early 20th-century version of a MIDI file: a con- where the note expected on beat 3 is delayed to
tinuous paper roll with perforations, fed into a the “and” of that beat. Ragtime was originally 18. Grab the third-fret F with your first finger,
player piano that would reproduce a song played in saloons and brothels, and these synco-
without the aid of a human player). pated rhythms kept the customers dancing. fifth-fret C with your fourth finger, and third-

fret D with your second finger; catch the fourth-
fret AH with your third finger.

As you learn “The Entertainer,” practice each

section on its own, slowly. Gradually work up to

connecting all four sections. And don’t rush

things—it took me six months before I finally felt

adept at playing this ragtime classic. AG

SHUBB
The best performers will settle for no less.

“You quickly learn how
much pressure you need at
any point on the neck. It
is a brilliant invention.”

— Richard Gilewitz

[email protected] • www.shubb.com
707-843-4068

54 July 2017

THE ENTERTAINER BY SCOTT JOPLIN

LLiivveellyy AA
A...... CCC‰œ‰œ‰œ
&&&Li4444velyœœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ ###œœœ GGG œœœœœœœœœ œœœ ###œœœ œœœ œœœ œœœjjj œœjjj œœœ œœœ œœœjjj
œœœ
10 12 0 ˙˙˙ 3
10 12 13 10
10 12 13 10 12 301 0 .30 11
12 12 3 1 2 00 ....300300030 1 010 0
BBB 13 10 12 12 3 0 1 2 00 02 01 20 020
0230 01 31 20 1 020
12 2 0 0230 20 4 3 01 3 2 3
20 4 3 3 3 2
30 20 4 3
33

FF GG CCCœœœ˙˙˙... œœœ œœœ ŒŒŒœœœ ###œœœ œœœjjj œœœœœjjj œœœ FFF œœœ œœœ œœœ ### œœœ DDD###777œœœœœœ///jjjFFFœ##œœ# œœœ œœœjjj œœœœœœjjjœœœ œœœ œœœjjj
F6 œœœœ œœœœ œœœœ œœœœ Gœœœœ œœœ œœœœœœ œœœjjj
œœœ œœœ œœœœ œœœœ ######œœœœ œœ‰œ‰‰ œœœ œœœ œœœ œœœ œœœ
6

6&&& œœœ

00 0
13 4 0130 31 11 1 01
13 4 000 1 3 000 3 1 1 010 0 12 12
BBB 3 212 333 444 0 212 333 0 300 01 20 020 3 32 1 12 00 0 2
3 31 3 01 31 20 1 020 3 32 1 22 0 1 0 2
3 2 3 2 0
1 3 1 2 3 4 23 3 0 3 3 3 01 3 3 2 1 3 1 3 2 1 2 0
1 1 3 3 3 3 1 1 2

11 33 3 11 22

12 GG CCC‰œ‰œ‰œ œœœ œœjjj FFF œœœœ œœœœ œœœœ œœœœ GGGœœœœ œœœ œœœœœœ CCCœ˙œ˙˙œ... œœœ œœœ œœœœœœ œœœ œœœGGGbbbmmmœœœœœ///BBBœœœbbb
12 Gœœ˙œ˙˙ ... œœœjjj œœœ œœœjjj œœœœœ
œœœ œœœ ŒŒŒœœœ ###œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœœ œœœœ ######œœœœ œœœ œœœœ œœœœ œœœ
1&&&2 œ

00 00
3 11 13 4 0130 31 13 0130
3 1 0 10 0 1 34 000 1 3 000 3 1 13 1 3 575
0 01 2 0 020 3 221 333 444 0 221 333 0 030 31 13 3 0 1 223 0 5 57 5
BBB 3 0 1 2 0 1 020 3 2 34 3 3 3
0 01 3 3 3 œœœœœœ 3 3 5 75 5
3 3 3 œœœ 3 2 1 1 œœœ œœœŒŒŒ ###œœœ ...... 3 BBBCC3 3 3 32 6 5
3 3 01 3 2 1 111CCCœ˙œ˙œ˙ ... 1 23 3 0 3 3 3 6
3 1 1 ...... Cœœœœœœ
3 œœœ 3 22 3 36
œœœ 2
FFFœœœœœœ///AAAœœœ œœœFFFbbbmmmœœœœœœ///AAAœœœbbb œœœœ GGGœœœœœœ666jjjœœœ œœœjjj œœœœœœ œœœGGGœœœœœœ777
18 œœœœ ˙˙˙œœœ œœœ œœœœœœ ###œœœœœœ ###œœœœœœ œœ œœœ œœœœœœ œœœ œœœœ œœœ œœœœœœ œœ œœœ œœœœœœ œœœ œœœœ œœœ
18 œœœ œœœ

1&&&8

00 0 0 0 12 3 53 0 3 53 0
03 0 1 0 12
03 50 1 0 12
5 13 3 0 1 2
3 5 3 3 30 1 2
3 3 30 1 2
0 30 3 3 3 . .1 3 53 01 3 53 01
5 3 535 3 4 34 . .1 1 0 1 0
0 5 333 0 3 .. ..31 3 25 3 0 122 0 3 52 3 0 221 0
0 5 3 5 333 5 4 43343 01 3 2 2 0 3 2 2 0
5 3 5 4 3 3 01 3 2 3 3 2 3
BB 0 4 3 3 3 3 3 3
4 3 3 3
. .3
B0 01 33 33

4 3 33
FFF FFF CCC œœœœœœ œœœœœ œœœ œœœœœœ œœœ œœœœ œœœ DDDœœœœœœ111jjj333###œœœ œœœ œœœjjj œœœœœœjjjœœœœœœ... GGGœœœœœœ œœœ œœœœœœ œœœ œœœœœœ œœœœœœ ###œœœœœœ ###œœœœœœ
24 œœœœœ m œœœœœœœœ œœœJœœJJœœœ œœœ‰‰‰ œœœŒŒŒ ###œœœ œœœœœœ œœ œœœ œœœœœœ œœœ œœœœ œœœ
24 œœœœœœœ m œœœŒŒŒ œœœ
m
2&&&4 œœœœœœ bbbœœœœœœœ œœœœœ
œœœœœœœ œœœœœœœ œœœœœœ

3 301 2 3 53 0 3 53 0 7 7 3 30 1 2
1310 1310 13 13 0 1 2 3 5 3 0 1 3 53 01 77 7 7 33 330 1 2
21 23 21 02 1 13 1 01 10100223 02201013 0 1 1 0 1 0 7 5 75 3 4 3
BBB 21332 32 32123 02 31131 31 13113 01 2 2 2 3 25 3 0 212 0 3 25 3 0 122 0 07 7 5 7 0 75 3 3 54 3 3 0 1 2
2 2 1 1 3 2 2 0 3 2 2 0 0 0 5 3 54 3
3 3 2 3 3 2 3 0 5 3 5 3 0 1 2
33 33 3 3 3 0 0 1 2
0 1 2
3 33 33 33

AcousticGuitar.com 55

THE ENTERTAINER

C F Fm C F #F dim C

30 œ œœ œ œ œœ œ œ œœ œ œ œœ œ œœœ œœ œœœ œœ bœœœ œœ œœœ œœ Œ œœœœ œœœJœ œ œ œjœ œj œjœ.#œ œ œ œ œ œ œ œœ
œ œ œ œ œ œ œ ‰ œ #œ œ œ œ
& # Œœ œ

3 53 0 3 53 0 1310 33 11 03 0
1 1 1310 1111 11 2 13 1
0 0 2222 33 0 00 0 3 2
B2 2 2 2 33 22 4 42 2
3 3 3 3 3 1 33
2

#F dim 12

36 Gœ6j œ. CC œj F
œœ œ
& œ #œœ œ. ‰ Ó œ œ #œ .. œ œ œ #œ ‰ œ œ œj œ œ œj œ œœ œœ ##œœ
#œ œ œ œ œ #œ œ œ œ œ
œ œ

0 .0 1 2
13 1 1 11 13 4
2 3 0 00
B4 0 . 01 2 2 3 23 4
23 3 3012 3 3 3
3 3 11

G C C œœ Œ Dm F#m Gm
bœ œ œ
41 œœ œœ œœ œœ œœ œ ˙. Œ F Bb œ œ œœ œ bœ
œ œœœŒ .. œœœ #œœœ œœœ bœœ œ Œ Œ
& œ œ #œ
œ œ œ #œ œ

00 3 1 .5 4 5 6 10 5 6
13 0 33 6 56 7 10 66 3 3 23
3
00 3 .5 4 5 656 7
7
B 23 1
5
52

Aœmj œDœmj œj œ.œ GC E dim7 Am C F Bb œœ
œj œj b œœ
47 œ œj œ œ œ œ .œ 3 œœœ ˙˙˙˙˙ .. œœœ #œœœ œœœ Œ
œ œ bœ œ œ
& œœ œ #œ œ œ œ œ œ œ œ œ

56 0 1 0 .5 4 5 6 10
5 0 0 11 6 56 7 10
7 0 20
B7 7 3 2 0 320 22 .5 4 5 656
5 2 32 0 3
5 3 04 1

Dm F#m Gm Am C#7 F Cœj œj œ.œ
œj œ œj œj œj œ œ
53 œ œ œœ œ bœ œ œ œ œ .# œ œ œbœ œ#˙ œ œ œœ˙ ..
œ Œ Œ # .
& œ #œ .
œ œ #œ œ

66 5 6 0 6 68
3 3 23 1 59
7 4 7 10
7 2 6
B5 52 0 87654 88
4 8 81

56 July 2017

VIDEO LESSON
ACOUSTICGUITAR.COM/TAG/JULY-2017

#F dim #F dim G D

F C œj œ . C Fœj œj Œ ‰ œ œœ œ œjœ. œ
œœ œ œ œœ
59 œj œ œj œj œ.#œ œ œ œ œ œ œ œœ œ #œœ œ. ‰ Ó œ œ œ œ
œ #œ œ œ œ #œ œ œ œJ ‰ Œ œ
& œ

11 2 03 0 0 1 66 5 1313 1
2 2 13 1 13 33 5 7 33
2 7
B3 4 2 2 40 3 8 11
1 3 3 23 8

C œj œ G Adim7 #F dim7
œ
65 œj œ œ œj œj œ.œ œ œ œ œœ œj œ œ œj œj œ.œ œœ œœœ œj œ.œ œ bœ bœ œ ˙ #œœœœ
œ œ œœ œœ
& ‰
œœ

8 8 9 8 10 8 10 8 33 4 653 4 8 5
9 10 8 4 5 44 7 4
B8 5 55 88 5
10 8 10 10 7 4
88
33 33

C F C œj œ #F F dim
œ œjœ œ œj œjœ#œ.
70 œœœœ œœ œœ œj œ œj œ œ Œ ‰ œjœœ œ œjœ. œ œj œ œ œj œjœ.œ œ œ œ œœ œ #œ
œ œ œ œ œœ œœ
& Œ œ ‰
Œ œœ

0 0 66 5 1 313 1 88 9 8 10 8 10 8 11 2
1 1 5 7 33 9 10 8 2 4
0 2 7 10 3
8 11 8 10 10 2
B3 3 8 8 88 1

C #F dim G CF
œ #œœ
76 œ œ œ œ œ œ œœ #œ œj œ. œ. ‰ Ó ‰ œ œj œj œ œj œ œœ œœ ##œœ
œ œ œ œœ œ œ Jœ œ œ œ
& ‰ œ #œ œ œ œ

03 0 0 1 11 13 4
13 1 13 3 0 00
2
B2 2 40 3 3 01 3 2 2 3 23 4
33 23
3 11

C

81 œœ œœ œœ œœ œœ œœ œœ ##œœ œœ œœ œœ œœ œœ œœ œœ ##œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ Œ

& 1
2
00 134 00 134 00 13
13 234 13 234 13 23 3
3
00 00 00
23 23 AcousticGuitar.com 57
B 23

ACOUSTIC CLASSIC

‘The Body Electric’ Alynda Lee Segarra

Alynda Lee Segarra upends the classic murder-ballad form

BY ADAM PERLMUTTER

O n “The Body Electric,” Alynda Lee here is based on the original studio recording, Also note that Segarra, like many guitarists,
Segarra, the singer-songwriter behind from 2014’s Small Town Heroes (ATO).
Hurray for the Riff Raff (See feature on p. 16), tends to throw in the open strings when switch-
deconstructs the traditional murder ballad in There’s an economy of harmony in the
an interesting way: she tells a grisly tale from song, which gets maximum mileage from the ing chords, as seen here in notation. This neat
the perspective of the slain party rather than I (A or Amaj7) and IV chords (D), with the iv
the assailant or a third person. The song—a (Dm) appearing for a twist here and there. trick buys time for changing grips while adding
topical response to gender-based violence— The harmonic rhythm—the rate at which the
has a bright accompaniment that belies its chords change—is different from section to a little harmonic color to the proceedings.
subject matter. Segarra plays it in the key of A section. In the intro and chorus, for instance,
major, with a first-fret capo transposing it to the I chord is played for two consecutive bars, As for your picking hand, try strumming
BH. She tends to vary the strumming pattern but in the verse it occupies four measures.
when playing the song live, but the notation Keep this in mind as you work through the song all in firm downstrokes. In the intro,
the song.
verse, and interlude, add palm muting (lightly

rest your picking-hand palm on the strings

near the bridge) to beats 2–4. But do away

with the palm muting in the chorus, for an

appropriate textural and dramatic contrast to

this haunting song. AG

Up to 8x as many Locked in.
string options as the
leading competitors Introducing D’Addario CinchFit,
the first-ever strap saver that
12 FREE sets of strings adjusts to fit acoustic end pin
with each Guild guitar jacks and eliminates the need
purchased in 2017! to hack your strap. Designed
Includes unlimited for acoustic-electric guitars,
consultations to CinchFit enhances strap security
optimize your with a proprietary jack collar,
string choice cinching rope, and magnets for
perfect alignment. So you can
58 July 2017 keep every performance on lock.
daddario.com/cinchfit

THE BODY ELECTRIC WORDS & MUSIC BY ALYNDA LEE SEGARRA

Chords, Capo I Intro/Basic Strumming Pattern

A Amaj7 D Dm A Amaj7 D

xx111x x02130 xx0132 xx0231 & ### 44 œœœ œœœœ Û Û Û Û œœ œœœœ œœœœœ Û Û Û Û œœ œœœœ œœœœ œ œ œœœœ nœœ œœœœ œœœ Û Û Û œœœ nœœ

≥ ≥ ≥ ≥ ≥ ≥ ≥ sim.

P.M. 0 22 22

2 2 Û Û Û Û 2 2 Û Û Û Û 33 Û Û Û3 3 3 3
2 1 1 22 20
B 22 0 22 000 20 2 2 00
00 0 00 000 0 0
00

©2014 Wooden Wings Publishing. All rights administered by BMG Rights Management (US) LLC. All rights reserved. Used by permission. Reprinted by Permission of Hal Leonard LLC Intro Chorus
A Amaj7 D A Amaj7

A Oh and tell me what’s a man with a rifle in his hand
1. Said you’re gonna shoot me down, put my body in the river D Dm

Shoot me down, put my body in the river Gonna do for a world that’s so sick and sad
D A Amaj7
Tell me what’s a man with a rifle in his hand
While the whole world sings, sing it like a song
D Dm
The whole world sings like there's nothing going wrong Gonna do for a world that’s so gone mad

A A
2. He shot her down, he put her body in the river 3. He’s gonna shoot me down, put my body in the river

He covered her up, but I went to get her Cover me up with the leaves of September
D D

And I said, “My girl, what happened to you now“ Like an old sad song, you heard it all before

I said, “My girl, we gotta stop it somehow” Well Delia's gone, but I’m settling the score

Interlude Repeat Interlude
A
Oo oo oo oo Chorus
D Dm A Amaj7

oo Oh and tell me what’s a man with a rifle in his hand
D Dm

Gonna do for a world that’s just dying slow
A Amaj7
Tell me what’s a man with a rifle in his hand

D Dm A
Gonna do for his daughter when it’s her turn to go

AcousticGuitar.com 59

ACOUSTIC CLASSIC

‘Freight Train’ Elizabeth Cotten

Learn to play Elizabeth Cotten’s essential fingerstyle blues song

BY ADAM PERLMUTTER

E lizabeth Cotten was only 11 years old down—just play the song in standard tuning. the higher strings with one or two fingers.
when she wrote “Freight Train,” around In the instrumental intro as well as in the
1904. But it wasn’t until the 1960s—after First focus on playing the bass pattern
Cotten was discovered by the Seeger family verses, Cotten plays the melody to this popular
and subsequently began her performing and song over an alternating bass pattern. The key (down-stemmed notes) in steady quarter
recording career—that the song became a to playing these parts at the original tempo is
staple of the folk and fingerstyle repertoire. practicing them slowly and using efficient fret- notes. Then add the melody, paying close
hand fingerings. For example, in the first four
On Freight Train and Other North Carolina bars, keep your third finger anchored on string attention to where the notes fall in relation
Folk Songs and Tunes, Cotten plays “Freight 6, fret 3; play the third-fret notes on strings 1
Train” with her guitar tuned down a whole and 2 with your fourth finger, and the first-fret to the bass line.
step (low to high: D G C F A D). The transcrip- notes with your first finger.
tion here, based on that recording, sounds a Practice the guitar part measure by
whole step lower than written. If you use As for your picking hand, a good rule of
light-gauge strings—or don’t feel like tuning thumb, no pun intended, is to pick the notes measure until you can string the whole piece
on strings 6–4 with your thumb and those on
together. Then—as guitarists from Chet

Atkins to Julian Lage have done—work on

making the song your own.

For more tips, see Pete Madsen’s Wood-

shed “How to Play the Blues Like Elizabeth

Cotten” (p. 42). AG

60 July 2017

FREIGHT TRAIN WORDS AND MUSIC BY ELIZABETH COTTEN, PAUL JAMES AND FREDERICK WILLIAMS

Tuning: D G C F A D
Intro

Riff A C /G G7

&C ˙ ˙ ˙ ˙ ˙ œ œ œ. œj œj œ œj
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ

fingerstyle 31 31 0
let ring throughout 22 0 0

30 33 00 0
33
© 1957 (Renewed) PICADILLY MUSIC CORPORATION, All Rights Administered by DOWNTOWN DMP SONGS/DOWNTOWN MUSIC PUBLISHING LLC, All Rights Reserved Used by Permission, Reprinted by Permission of Hal Leonard LLC B2 2 0
33 0

33

5 œ œ C /G œ
œ
& œj œ œj œj œ œj œj œ œ œj œj œ. œ ˙ œ œœœ ˙œ˙ œ œœ .. œ œj
œ œ œœ œ œ

B3 3 1 0 3 30 0
0 0 0 3 11 22

0 0 3 22 3
3 33
33

9 E7 œ œj œj œj œ #œj F œ. œ œj œj œ. œ
# œj œj œ œj œ. œœ
& œ œ œ œ ˙. œ œœ
œœ
œœ œœ

0 3 0 3 1 1 3
1 2 3 2 3
11 1 2
B2 2 2 3 3
00
00 11 11

13 C /G G7 C End Riff A
œj
& œ. œ œj œj œ œ œj œ œ œ œj œj œ.œ œ. œ œj œj œ œ œj œw œ œœ
œ œ œ œ
œ

0 1 1 0 11
0 20 3 00
B3 0 22
2 2 0 22 3
3
3 33 3
3
E7 œ œj œj œ. œ
F œ

Riff B œ. œj œj œ.
17 œœ
œ. œ œj #œj œ. œ ˙. œ œœ œ.
& œ œœ
œœ œ
œ 0 0
01 33
0 22 1 1 3
22 3 2 3
B0 0 00 2
3 3

11 11

AcousticGuitar.com 61

FREIGHT TRAIN

C /G Gœ7j fiTo Coda End Riff B
œ C
21 œ. œj œj œj œj œj œ. œ œj œj œj œj œj
œ œ œ œ œ œ œ. œ œ œ œ œœ . œ œ œ.œ
& œ œ
œ

0 0 1 1 0 11 0 1
2 0 20 3 00 2 2
B3
2 0 22
33
3 33 3
3

Verse

Guitar plays Riff A sim.

25 ..C˙/G ˙ ˙ ˙ G7 œœ ˙ Ó ˙˙ ˙˙

& ˙ freight train,

1. Freight train, freight train, run so fast. Freight train, ˙

2.–4. See additional lyrics what

C /G œœ œœÓ E7 ˙ ˙

31 ˙

&˙

run so fast. Please don’t tell

F35 C /G ˙ G7 C ˙Ó

&˙ Jœ œ. œ œ Jœ œ. ˙ ˙˙ w ˙˙˙˙˙

train I’m on. They won’t know what route I’ve gone. 0
1
Interlude fi Coda 0
2
Guitar plays Riff B sim. play four times 49 w 3
œ
& 8 ..41 last time, D.C. al Coda & œ œ ˙˙˙

œ

.1 0
. 30 2
B B 30 3

2. When I'm dead and in my grave
No more good times here I crave
Place the stones at my head and feet
And tell ’em all that I’m gone to sleep

3. When I die, Lord, bury me deep
Way down on old Chestnut Street
So I can hear old number nine
As she come rollin’ by

4. When I die, Lord, bury me deep
Way down on old Chestnut Street
Place the stones at my head and feet
And tell ’em all that I'm gone to sleep

62 July 2017

COLLINGS + ACOUSTIC GUITAR MAGAZINE GIVEAWAY

WIN THIS
WATERLOO
WL-K GUITAR!

The featherweight WL-K is an exciting new
addition to the Waterloo line built with maximum
responsiveness in mind. The WL-K is built using
lightweight materials and supported by thinly
carved braces. When paired with a minimal lacquer
finish, the resulting tone is dry and transparent with
just the right level of complexity in the overtones,
capable of capturing the expressiveness of the
player down to the finest nuance.

Includes Hardshell TKL case.

MSRP: $2,600

®

By Collings Guitars

ENTER TODAY AT ACOUSTICGUITAR.COM/WIN

GIVEAWAY ENDS JULY 31, 2017

GIVEAWAY RULES No purchase necessary. Void where prohibited. Entrants must be 18 years or older. Each entry must be individually submitted using the Official Entry
Form at AcousticGuitar.com and received by July 31, 2017; facsimiles may not be substituted. Prize drawing will be made on or around August 15, 2017. Collings Guitars
will fulfill the grand prizes within 60 days of receipt of winner’s written acceptance. Employees of Acoustic Guitar Magazine and Collings Guitars are not eligible to win.
Odds of winning depend on the number of entries received. Limit one entry per person with unlimited additional bonus entries per referral or social action. Acoustic
Guitar Magazine reserves the right to notify the winner by mail or by e-mail and to identify the winner in the magazine as well as the Acoustic Guitar website and
Facebook page. International entrants, please note: If the winner is resident outside the United States and Canada, he or she is responsible for all shipping, customs, and
tax costs. In the event that an international winner is unwilling or unable to cover these costs, he or she will forfeit the prize and a new winner will be selected at random.
Giveaway entrants may receive information from Acoustic Guitar and Collings Guitars. For the name of the prize winner, send a self-addressed, stamped envelope to
Collings 2017 Giveaway, c/o Acoustic Guitar Magazine, 501 Canal Blvd, Suite J, Richmond, CA 94804. This offer ends on July 31, 2017. Taxes are the responsibility of the
winner. No prize substitutions are permitted.

ASK THE EXPERT

that your strings take the brunt of the wear;
stainless frets might never wear out, but your
strings will tend to break more often. 

Guitar collectors do get geeky about small
details being original, but the original frets will
be cool only if they’re in usable shape. Vintage
frets on working instruments are usually not
going to be considered terribly special or irre-
placeable. Frets are meant to be used. If they
have light divots or some uneven wear, they can
likely be leveled and dressed, but if they are so
worn and gouged out that they don’t do their job
anymore, it’s time for replacements. Your repair
person will choose new fret wire of the same
dimensions and the only thing you’ll notice
when they’re done is how easy it is to play.

Q: I have been hearing a mysterious
metallic fret buzz when I use my capo
above the fourth fret on my ’90s
Martin. It’s so weird—I don’t hear it when I make
chords up the neck, only when I use a capo, but it
is pretty constant and really hard to ignore! Help!  

—Annie, Brooklyn, New York

Is It Time to Re-Fret? A: There is nothing worse than playing
a game of chase-that-buzz on your
How to get used frets to perform well guitar. Of course without handling
your guitar I can only speculate, but I have an
Q: My question is about the frets on a upgrade for these guitars! I’ve always liked idea of what this could be. If it only happens
vintage Gibson that is new to me. It’s a these—they’re neat Gibsons that were built when you use a capo up the neck, and is consis-
1960s B-25 (solid spruce top and to be less expensive, and having a rosewood tent when you play, here’s a possible diagnosis:
mahogany body with solid back and laminated bridge and bone saddle put on will really The problem is what’s called “back buzz.” It’s
sides, and a rosewood fingerboard) in pretty good enhance the sound.  when the string rattles against the tops of your
shape, and it’s even had the plastic bridge replaced frets between the nut and the capo, and if you
with a rosewood one at some point (I understand Now, about those frets: You can think about play with a capo often, it can be really
this is an upgrade). The frets seem like they’re your frets like the tires on your car. They’re a annoying. Your repair person could do a couple
original, but the first few are awfully flat and have part of your guitar that gets a lot of direct use, of different things based on what else she
deep divots. Should I keep the vintage frets for the and eventually, they’re bound to wear out. They notices about the guitar. She would probably
sake of the guitar’s authenticity? Clearly, with the need to be replaced every so often. Like a new start by making sure the truss rod isn’t over-
new bridge, it’s not all original. set of tires, especially with a nicer product, a tightened. She might raise the nut slot for that
re-fret isn’t cheap, but they feel so much better string (by filling the slot, shimming the nut, or
—Elizabeth, New York, New York afterward that you’re always glad you did it. cutting a new higher one), or she might dress
Most frets are made of 18 percent nickel silver, the frets to make sure that there isn’t one
A: Congrats on the new old guitar. which is softer than your steel strings and slowly slightly high fret to blame. I feel for you; this is
You’re right, replacing the hollow wears down with use. Stainless steel and other a pretty annoying issue and you shouldn’t have
plastic bridge (and removing the harder alloys are also available, but if the frets to suffer—get thee to the repair shop!
tone-killing bolts that held it in place) is an are harder than your strings, the tradeoff will be
Mamie Minch is the co-owner of Brooklyn
Lutherie. She is the former head of repair at Retro-
fret Guitars and an active blues player.

GOT A QUESTION? Ask Acoustic Guitar’s resident If AG selects your question
Uncertain about guitar care repair expert Mamie Minch. for publication, you’ll receive
and maintenance? The ins- Send an email titled “Repair a complimentary copy of
and-outs of guitar building? Expert” to Senior Editor Greg AG’s The Acoustic Guitar
Or a topic related to your gear? Olwell at greg.olwell@ Owner’s Manual.
stringletter.com, and he’ll
Mamie Minch forward it to Mamie.
64 July 2017

Would you rather build Completely Pre-configured and ready-to-
a computer or record a record, TASCAM Track Factory Project includes
great song? everything you need to start recording your next hit song.
Simply Turn On, Plug In and Rock Out.
We thought so.
And to ensure that the Track Factory delivers on
Including a hot-rodded Intel-based music the TASCAM promise of rock-solid performance,
computer, TASCAM Track Factory has everything the system has been optimized for recording by
you need to get started in desktop recording: an the pros at PCAudioLabs - and you’ll receive a
award-winning TASCAM US-2x2 Audio Interface, free 20 minute session with your own personal
studio-quality TM-80 condenser microphone, TH- OBEDIA recording expert to help you get rolling.
02 headphones and a completely Pre-Installed
version of Cakewalk SONAR Professional Visit your local TASCAM dealer and check out the
recording software. No stripped down “lite” TASCAM Track Factory for yourself.
version, SONAR Professional offers unlimited
recording tracks, world-class mastering effects
and powerful VST instruments.

NEW GEAR AT A GLANCE

Guild M-40E GUILD M-40E
Troubadour TROUBADOUR

A small-bodied Guild well suited BODY Concert size; Sitka spruce top;
for the performing guitarist African mahogany back and sides;
satin finish
BY PETE MADSEN NECK Mahogany; rosewood
fingerboard; 24.75-inch scale;
A s new guitars start to emerge from 1¾-inch nut; Guild nickel vintage-style
Guild’s Oxnard, California, plant, I am open-geared tuners
hearing a characteristic sound that’s prob- ELECTRONICS LR Baggs Element
ably the result of luthier Ren Ferguson’s VTC pickup
finely attuned sonic palette. The latest to CASE Guild hard-shell case with built-
emerge is the M-40E Troubadour. Last year, I in humidifier
reviewed the Guild M-20, also known as the PRICE Starting at $1,599;
Nick Drake guitar, one of the first guitars $1,899.99 with options as tested
produced by the nascent Guild factory in Made in the USA
Southern California. From the M-40E’s beau- guildguitars.com
tiful satin-antique burst finish to its sparkling
midrange, I see and hear striking similarities
to the M-20. The M-40E is based on the
1960s-era Guild F20 model. It is a concert-
sized instrument that packs a punch, espe-
cially when plugged in.

Looks can be deceiving. From a short dis-
tance, the M-40E could almost be called cute,
with its smoky sunburst finish and diminutive
size. The grain of the solid Sitka spruce top
beautifully shows through the elegantly
antiqued sunburst top. The African mahogany
back and sides are stained Cabernet Red. The
open-geared tuners, with their cream buttons,
have a cool vintage vibe. There are some other
nice touches, such as the bone nut and saddle,
and the Indian rosewood fretboard and bridge.
I’m not a huge fan of the binding, which is
listed as “cream” although it looks a couple of
shades whiter, but that’s a small quibble. A
peek inside the guitar shows an X-braced top
with some interesting little diamond-shaped
additions. The frets are dressed nicely and
overall workmanship is impeccable.

The satin finish feels silky smooth against
your body and your fretting hand, a feature that
translates into easy navigation of the rosewood
fretboard. The C-shaped neck profile and 1
¾-inch nut, as well as a comfortable 2 ¼ inches
of string spacing at the bridge, provide a com-
fortable fit for fingerpicking. You are apt to be
surprised when you play and hear this guitar. It
is loud and punchy. The small size keeps the
M-40E from sounding boomy, but it has a thick
midrange that should cut through most environ-
ments. Keep in mind that this is not a big guitar,
so the bass response is more tightly wrapped
around the midrange spectrum.

66 July 2017

ACOUSTICGUITAR.COM/TAG/JULY-2017

Lead players should be pleased with the tunes—I am especially interested to hear how West.” I experience great balance between
playability of the M-40E. I picked some bluesy the M-40E, with its shorter scale and light
single-string solo runs with ease and comfort. gauge strings, will respond to a lower tuning. bass and treble, with clear definition in the
The short scale (24.75 inches) and the light First, I lower the sixth string and play Blind
D’addario Coated Phosphor Bronze Light Blake’s “Chump Man Blues” in drop-D. Every- higher and lower registers, giving the guitar
gauge, .012-.053” strings made string bends a thing sounds great, with no buzzing. Then I try
breeze. I also appreciate the balance in volume Skip James’s “Hard Time Killing Floor” in an intimate quality.
between strings as I play through some arpeg-
giated runs. Guild’s attention to sonic detail Guild’s attention to sonic The M-40E comes equipped with an LR
has resulted in a finely balanced instrument detail has resulted in a
that rings true from low to high. finely balanced instrument Baggs Element VTC under-saddle pickup. The
that rings true from low
THE ROAD TEST to high. unobtrusive volume and tone dials are
Shifting gears, I strum my way through Sam
Cooke’s “Bring It On Home to Me,” which D-minor tuning (D A D F A D). With the pitches mounted inside the soundhole closest to the
produces not a shimmery, but a throaty dropped significantly the guitar does not buzz
sound. I thoroughly enjoy the articulated and it seems to adopt and even darker tone that bass strings. I have played the VTC in a
midrange response whether I’m strumming is reflective of material I am playing.
or picking my way through Blind Faith’s couple of other guitars and am impressed by
“Can’t Find My Way Home” or the cowboy Spooky!
classic “Home on the Range,” completing my I switch back to standard tuning with the accurate reproduction of a guitar’s acous-
“home” trilogy. more fingerpicking, including John Fahey’s
arrangement of “In Christ There Is No East or tic sound without any of the “quack” associ-
Next up, I want to hear how the M-40E
responds to alternating bass on old blues ated with under-saddle transducers. Even

with the tone wheel dialed all the way up, the

M-40E sounds warm and lush.

The guitar should provide plenty of plea-

sure for all kinds of pickers, but especially for

players seeking the comfort of a small-bodied

guitar. But don’t expect a “big” sound like a

dreadnought or OM-sized acoustic guitar.

Still, in a market that is flooded with diminu-

tive guitars, the M-40E stands out for its solid

craftsmanship, superior tone, and comfort-

able playability. AG

INTRODUCING

synapse

PERSONAL PA SYSTEM

BY

WATCH THE VIDEO AT LRBAGGS.COM/SYNAPSE

AcousticGuitar.com 67

NEW GEAR

The Taylor Academy 12e (left)
and 10e (right) are a study in
ergonomics and affordability.

Taylor 10e and 12e Academy

Taylor introduces the affordable Academy line, ideal for students and gigging guitarists

BY ADAM PERLMUTTER

I f I hadn’t had their spec sheets in front of secondary factory in Tecate, Mexico. In completed with a smooth matte-varnish finish.
me, I might not have known that a pair of designing these instruments, Taylor’s luthier, Taylor is, of course, well known for its
new Taylor guitars—the Academy 10e dread- Andy Powers, stripped the guitars of their
nought and 12e Grand Concert—were afford- nonessentials to arrive at designs that are not consistently fine craftsmanship, and in build-
able instruments, each selling for well under a only rugged and cost-effective, but hand- ing the Academy line, the company has held
grand with a deluxe padded gig bag. Both some in their simplicity. itself to the same standards as on its more
guitars have a high-quality feel and play expensive offerings. Both the 10e and 12e are
effortlessly. They sound great, too: clear, As such, neither guitar has binding or any cleanly built, inside and outside. On each
balanced, and responsive. It strikes me that other ornamental detail, save for a simple guitar, the 20 medium frets are tidily dressed,
these guitars are vastly superior to the first wooden rosette and black heel cap. Each sports without a hint of sharpness at their ends—the
entry-level steel-string I bought in the late- a solid Sitka spruce soundboards with an ergo- Nubone nut and Micarta saddle are set up
1980s—and they’re actually less expensive. nomic armrest—a detail, normally found on just right. Under the hood, the top bracing
high-end guitars, that lends playing comfort. (there’s no back bracing) looks cleanly
MINIMALIST DESIGN The back and sides of each instrument are shaped and glued, as do the sides’ linings.
The 10e and 12e are members of Taylor’s made from layered sapele, another cost-effec-
new Academy series, made at the company’s tive option that adds durability, while the fret- A NICE-SOUNDING DUO
board and bridge are ebony. Each instrument is In terms of playability, the 10e and the 12e

68 July 2017

ACOUSTICGUITAR.COM/TAG/JULY-2017

feel much alike. The neck on each has Taylor’s standard as well as open-G and D A D G A D
trademark sleek profile, which, in concert
with a relatively short-scale fretboard (24 tunings, the 12e has a warm, round tone, suit- AT A GLANCE
7/8-inch) and narrow nut (111/16-inch), will be
inviting to a beginning guitarist and comfort- able for everything from folk to fingerstyle TAYLOR ACADEMY
able to a player who’s further along. If you’re 10E & 12E
an electric guitarist and an Academy is your jazz. The guitar also shines when strummed
first acoustic, you’ll find it a breeze to play. BODY Dreadnought size (10e) and Grand
with moderate picking-hand force. Concert size (12e); solid Sitka spruce top;
Overall, each guitar has a good balance layered sapele back and sides; ebony
between registers, and from string to string. Each model is rounded out with Taylor’s bridge with Micarta saddle; armrest;
At the same time, their voices are nicely con- varnish finish
trasting. The 10e is a dreadnought, and it ES-B electronics—a combination pickup,
likes to be strummed and flat-picked. A few G NECK Mahogany neck; ebony fretboard;
runs and boom-chuck strums demonstrate preamp, and tuner that’s straightforward to 24 7/8-inch scale length; 111/16-inch
that the guitar has a decent amount of projec- Nubone nut; chrome tuners; matte-
tion and volume, if not quite as much use, having just a tone and volume control. varnish finish
low-end oomph as you get from the finest
dread. Single-note runs fare well, too, with This system isn’t as sophisticated as the EXTRAS Elixir Phosphor Bronze Light
good definition and crisp trebles. strings (.012–.053); ES-B electronics;
Expression 2 System that Taylor uses on its gig bag
The 12e is based on Taylor’s popular Grand
Concert size—a small body with a big sound. more expensive guitars, but it’s good. Plugged PRICE 10e: $798 list/ $599 street; 12e:
It responds a little better to fingerpicking— $798 list/$499 street, Made in Mexico
and to a light touch in general—than its into a Fender Acoustasonic amp, the guitars taylorguitars.com
dreadnought companion. When played in
sound warm and realistic.

Historically speaking, student and budget

guitars have hardly been known for their

sound and playability. Taylor addresses this

problem brilliantly in the Academy series.

The 10e and the 12e are great-playing right

out of the box, and their fine sounds should

make it inspiring to learn any style on the

instruments. At the same time, these smart

guitars would be appropriate for a gigging or

recording player on a tight budget. AG

AcousticGuitar.com 69

NEW GEAR

Trance
Amulet M
Phantom
Pickup
System

A battery-free pickup that runs
on phantom power

BY DOUG YOUNG

A coustic guitars and electronics can be an installing the Amulet M Phantom is remarkably easy to reposition the elements to fine-tune the
uneasy match. In addition to the sonic simple and the unit is a good candidate for self- sound if you wish. The preamp also allows you
challenge of amplifying the complex sound of installation. The pickup comes with detailed to adjust the balance between the two trans-
the instrument, guitarists often have strong feel- instructions for placing the transducers, which ducers, adjust the overall gain, and invert the
ings about filling their guitars with things that are attached with a proprietary pressure- pickup phase—handy for more complex
are decidedly non-acoustic, including the ubiq- activated double-sticky tape. I had my local systems involving additional pickups.
uitous 9-volt battery. Batteries can be difficult to guitar shop drill the required standard end-pin
change, can come loose in the guitar, add weight hole, but otherwise my self-install was a A BALANCED TONE
and wires, and worst of all, have a habit of going breeze, with no soldering, no glue, and only a The Trance Acoustic Lens is a soundboard
dead at exactly the wrong time. For those who few basic tools. The lack of a battery, along transducer (SBT) design, so the vibration of
would like to break free of batteries, Trance with its associated wires, made the process the guitar’s top plays a significant role in the
Audio, a boutique company in Northern Cali- noticeably easier than active systems I have tone. The system comes closer than many
fornia, has a solution—a version of their highly installed. Trance does recommend clamping pickups to conveying the personality and
regarded pickup system with a built-in preamp each transducer using an included turnbuckle- responsiveness of the instrument, and
that runs off phantom power, completely elimi- style clamp and letting them cure for 12 hours, produces a balanced tone that is largely free
nating the need for an onboard battery. which adds to the total time required until you of pickup artifacts. Players who are used to
can plug in and hear the results, but the process undersaddle pickups will appreciate that the
The Amulet M Phantom is an intriguing addi- itself is simple and fast. Trance system is completely free of the noto-
tion to a product lineup that includes the origi- rious “quack” that can occur with more
nal Stereo Amulet, as well as the Other than the need for an endpin hole, the aggressive playing. Fingerstyle players will
battery-powered Amulet M and Amulet M Plus. Amulet M Phantom is a relatively non-invasive be pleased that the Trance preamp includes a
At the heart of each system is a pair of Acoustic pickup, which should appeal to guitarists who 40 Hz low-cut filter that virtually eliminates
Lens transducers—the pickup element itself. The are reluctant to modify their instruments. With the thump some SBTs create when fingers
Acoustic Lens is a rectangular element that no internal battery, the system adds little contact the strings. The filter also cleans up
attaches to the bridge plate inside the guitar, weight, and the pickup elements can be subsonic mud and helps reduce low-end
under the saddle line. Both the phantom and removed cleanly without leaving a trace. It’s
non-phantom versions of the Amulet M support
optional volume and tone controls—small dials
that mount unobtrusively inside the soundhole.

The Amulet M Phantom requires a cable
with a TRS (tip-ring-sleeve) ¼ inch plug on the
guitar side and an XLR plug on the other to
plug into a source of phantom power, such as
the mic input on a PA system’s mixing board.
Trance supplies a high-quality Canare cable
with replaceable/repairable plugs on each end.
TRS/XLR cables are also readily available
online or from major music stores.

EASY INSTALLATION
While it’s always a good idea to have pickups
installed by an experienced guitar tech,

70 July 2017

ACOUSTICGUITAR.COM/TAG/JULY-2017

completely free of the notorious “quack” that the right voltage, but watch out for guitar amps or comparing prices that the low-impedance
can occur with more aggressive playing. Finger- other gear that may offer only 24 volts.
style players will be pleased that the Trance balanced output of the Amulet M Phantom
preamp includes a 40 Hz low-cut filter that THE FREEDOM OF PHANTOM POWER
virtually eliminates the thump some SBTs All versions of the Trance Amulet are high- eliminates the need for a DI or external
create when fingers contact the strings. The quality pickup systems. The stereo system has
filter also cleans up subsonic mud and helps been a bit of a “secret of the pros” for years, preamp.) The Amulet M Phantom combines
reduce low-end feedback. The optional volume- and has been a favorite of performers like
tone control system provides a nice range of Jackson Browne, who is known as a connois- the freedom from dealing with batteries with
sounds, from mellow to more aggressive. seur of tone. The new “M” versions bring the
Amulet sound to a wider audience at a compet- an installation that has minimal impact on your
Of course, the most significant feature of itive price point. (Keep in mind when
the Trance M Phantom system is the way it guitar. If you prefer a more standard setup and
changes how you plug in. It’s hard to describe
how liberating it feels to simply plug the guitar the ability to plug directly into ¼-inch guitar
directly into a mixer, with no DI. You can walk
into a gig with nothing but a guitar and the inputs, and don’t mind (or prefer) an internal
TRS/XLR cable, plug directly into the board,
and get a great sound. The system’s balanced battery, the two non-phantom Amulet M
low-impedance, high-output signal helps
reduce noise from stray electromagnetic fields models offer the same sound quality in a more
and also means you can use extremely long
cables if necessary. Trance’s TRS to XLR cable traditional package. AG
is only 10 feet long, but you can extend it with
any standard XLR mic cable.

The Trance M Phantom does come with a few
caveats, of course. For example, you can’t simply
plug this system into most amps or pedals using a
standard guitar cable. However, there are small
phantom-power supplies available for as little as
$20 that can provide the required power while
acting as a bridge to a standard guitar ¼-inch
input. The Amulet M Phantom also strictly
requires 48 volts. Most mixing boards will supply

AT A GLANCE

TRANCE
AMULET M
PHANTOM
PICKUP SYSTEM

SPECS Pair of Acoustic Lens
transducers, Preamp/end-pin module,
with 40Hz low-cut filter, adjustable
gain +/-14db, trim control on one
channel to balance pickups. Internal
phase switch. Optional soundhole-
mounted volume/tone control module.
TRS output jack. Requires 48-volt
phantom power.

PRICE Amulet M Phantom: $330;
optional volume and tone module: $40

Made in the USA, tranceaudio.com

AcousticGuitar.com 71

NEW GEAR

Boss
Acoustic
Singer Pro

Big sound in a small package
for the solo performer

BY DOUG YOUNG

A coustic guitarists have more choices in
amplification than ever before, and the
quality keeps getting more impressive. Amps
in all shapes and sizes offer both good sound
and features aimed at acoustic performers.
One new candidate in what has become a
crowded market that aims to raise the bar is
Boss’s Acoustic Singer amp. Available in two
packages with similar features, but different
power ratings and sizes, the Acoustic Singer
Pro, as the name suggests, is targeted at the
solo performer who plays and sings, and
offers some compelling advantages for both
voice and instrument.

A LOOK AT THE CORE FEATURES What sets the Acoustic well-laid-out and easy to access, with even
The Acoustic Singer Pro packs a lot of power Singer apart from many the power switch right on the front panel
into a small package. With 120 watts—100 to other two-channel amps within easy reach.
the woofer and 20 to the one-inch tweeter— are the extra performance
the amp is loud enough for any gig, yet weighs features to support BEYOND THE BASICS
a manageable 32 pounds. There are two input solo performers. What sets the Acoustic Singer apart from many
channels, along with an auxiliary input for an other two-channel amps are the extra perfor-
external sound source such as an iPod. Both Resonance” effect that is designed to add “body” mance features to support solo performers. For
channels feature the usual basic controls— to the sound of an acoustic-guitar pickup. vocalists, the amp leverages the technology
volume, bass, treble, and mids—along with an from Boss’s Acoustic Singer Pro pedal to
excellent-sounding reverb, phase switch, and The Acoustic Singer has flexible outputs for provide a three-mode harmony feature. The
anti-feedback notch-filter. The amplifier’s both stage and recording applications. A pair of harmonizer section can add a high harmony (a
overall tone can be fine-tuned with a tweeter DI outputs can be individually set to output third above the input), a low harmony (a sixth
attenuater switch, which adjusts the crossover either a mix of the two channels, or each below), or a unison doubling effect. The
network to create a warmer tone. channel individually, while a USB output pro- harmony mode takes a cue from the input
vides a digital interface for computer-based signal of the guitar channel to produce diatonic
The two main channels are optimized for recording. An additional output jack can drive harmony within the key, and also tracks
microphones and acoustic-guitar inputs, respec- a headphone or be used as an analog audio-out changes in tonality, such as changing from
tively. The mic channel supports a combination for recording or sending to a monitor. The major to minor as the guitar input changes.
balanced XLR and unbalanced ¼-inch input, analog-output level is affected by both the The harmony effect can be turned on and off
with a 2.5K ohm input impedance. The mic individual-channel volume controls and the with an optional footswitch.
channel offers a dual-mode delay control, pro- master volume, while the DI outs are not
viding two different types of echo in a single affected by the master-volume control. The DI The second key feature is a built-in
knob. The mic channel supports full 48-volt outputs can be set to bypass effects. 40-second looper that operates on both chan-
phantom power for condenser mics, and could nels. The looper is basic, but effective, and can
be used with other devices, such as phantom- It’s worth noting that the Acoustic Singer be operated directly from the amp or via an
powered DIs or preamps. The guitar channel Pro has an impressive physical presence. The optional footswitch. When used from the amp,
provides an input impedance of 5M ohms, to amp is visually attractive, with a dark brown pressing record “arms” the recording loop,
support both active and passive pickups, and stained-wood cabinet, matching brown grill which starts automatically with the first note.
offers a dual-mode chorus that can range from cloth, and very comfortable handle. The amp When used with a footswitch, the looper can be
subtle to heavily chorused sounds. The instru- tilts back slightly, and the controls are started, moved into overdub mode with a
ment channel offers a three-mode “Acoustic button-push, and stopped with a double-tap.

72 July 2017

SOUND CHECK setting that could add an attractive sense of many performers. A solo singer/songwriter act
Bells and whistles are interesting, but make realism to the tone. The vocal channel was
little difference if an amp doesn’t sound good equally effective, with its own excellent or a small duo can easily create a wall of sound
to start with. In this respect I was pleasantly reverb-and-delay effect, and it’s hard not to
surprised. The guitar sound is warm and full, enjoy (and sound good!) singing though the between the effects, harmonizer, and looper
and the EQ controls are effective. The reverb harmony effect. Having the looper available
is smooth—one of nicest-sounding reverbs for both guitar and voice offers lots of controls, all from a small amp that can be
I’ve heard on a combo-amp. The two-mode creative potential.
chorus knob allows you to dial in anything carried into a gig with one hand. The amp has
from subtle to heavy chorus. The Acoustic WHY IT MIGHT BE RIGHT FOR YOU
Resonance control is also effective, and The Acoustic Singer Pro has the potential to more than enough clear, clean volume to fill
depending on the guitar, I usually found a replace a lot of gear and simplify the setup for
most venues, and its flexible outputs make it

easy to interface with a PA system when more

volume is needed. Although the amp is clearly

aimed for vocalists, the excellent sound quality

makes the Acoustic Singer Pro attractive even

for strict instrumentalists. AG

AT-A-GLANCE input impedance, mic input EQ & EFFECTS Bass, mid, footswitch for effects and
channel with combo XLR, ¼-inch treble EQ and reverb on each volume pedal
BOSS inputs, 48-volt phantom power, channel. Delay effect on mic
ACOUSTIC 2.5K ohm input impedance channel, dual-mode chorus on DIMENSIONS 16 7/16 x 13
SINGER PRO instrument channel. Built-in x14 1/8 inches, 32 lbs
CONNECTIONS Aux input, looper for both channels.
POWER 120-watt amplifier, with headphone out, dual-DI outputs Harmonizer effect on mic PRICE
1-inch tweeter and 8-inch woofer. (switchable between mix and channel with three styles of $949 list; $699 street
Guitar channel with 5M ohm individual channels), and USB harmony. Support for optional Made in Malaysia
recording output www.boss.info

GREG BRANDT

Distinctive Nylon String Guitars

gregbrandtguitars.com
(818) 980-9348

AcousticGuitar.com 73

NEW GEAR

Fender Acoustic 200

New amp matches player-friendly features with more power

BY PETE MADSEN

T hink Fender and your mind fills with grip, which might seem a minor detail, but can of low-end feedback and a “woofy” tone. After
images of Stratocasters, Telecasters, and a be a lifesaver when you leave the club at 2 AM achieving low-end equilibrium, I was able to get a
wide array of tube-driven electric-guitar ampli- after a grueling three-hour set with hands full of pleasant and warm sound from the Acoustic 200
fiers. However, of late, Fender has been busy guitars, mic stands, and other paraphernalia. (Note: I usually keep the Fishman pickup dialed
developing several lines of acoustic amplifica- permanently at 75 percent pickup and 25 percent
tion that range in price from $99 to $999, Inputs for the two channels are located on mic, but the Fender had me playing around with
offering options for every level of player. the top panel at opposite ends of the cabinet. the amount of pickup vs. mic. I ended up with
Each channel accepts either XLR or ¼-inch about 10 percent more mic than normal). All
At the 2017 NAMM show in Anaheim, Cali- inputs. The channels have duplicate controls three tone controls are responsive, yielding a
fornia, in January, the Fender folks unveiled the that allow you to dial in volume, bass, middle, colorful spectrum of tonal options.
Acoustic 100 and 200 amps. Each combo ampli- treble, phase (button), FX, and FX amount. An
fier sports a handsome wood cabinet, a brown interesting feature is the effects LED display, I’m not a big acoustic-guitar effects guy, so I
speaker cloth cover, and a set of easy-to-use con- which is in the middle of the control panel, sepa- was a little dubious when I flipped through the
trols for two channels that have separate effects, rating the two channels. various options, which range from room/hall
volume, and tone knobs. The 100 model is a reverbs to echo, delay, “vibratone,” chorus, and a
hundred watts of power matched with one THE TEST DRIVE couple of combos: delay + chorus and delay +
8-inch “whizzer” cone speaker. The 200 doubles With all the tone dials set to noon, I plugged in reverb. The reverbs were serviceable, adding
the wattage and speaker count. my Martin 00-18 outfitted with a Fishman Matrix some richness to the sound. On the other hand,
blend pickup system. Immediately I had to turn the chorus sounded shimmery and lush—I felt
The 200 that I reviewed emerged from its down the bass, as I was getting a heavy amount my inner Andy Summers get all “de-do-do-do,
shipping box easily via the top-mounted hand

74 July 2017

ACOUSTICGUITAR.COM/TAG/JULY-2017

de-da-da-da.” The “vibratone” is a tremolo I did not use the Bluetooth feature on the
effect—think pulsating “Boulevard of Broken
Dreams”-type sound. It’s a great sound to throw Fender, but I see how this would be a great AT A GLANCE
in once in a while. There is also an echo and
delay that can be adjusted via a tap tempo foot application for the gigging musician. You can FENDER
controller, which our review model did not have. ACOUSTIC 200
connect your phone, tablet, or other elec-
I took the Fender to a gig at a local brew- FEATURES 2 channels, each with
house to see how it would fare for the tronic Bluetooth-enabled device wirelessly 3-band EQ and XLR/ ¼-inch inputs;
working musician. It was easy to set it up and 200 Watts; 2 x 8-inch speakers with
dial in a good sound. I plugged a Shure SM58 and provide your own backing tracks or whizzer cone; plywood construction;
microphone into the second channel and USB input; Bluetooth
dialed in some reverb to give my vocals a between-set music. The extra benefit being
little color. The Fender had plenty of volume EFFECTS Reverb, delay/echo,
to fill the beer garden, which I estimated had that, unlike a USB connected device—which vibratone, chorus
about 75 to 100 folks.
the Fender also has—this one lets you DIMENSIONS 16 x 18.5 x 9.5
The venue parked me on an outdoor stage inches; weight: 23 lbs.
with no cover from the sun, so I was a little con- remotely change music or settings.
cerned—based on a previous experience with a OPTIONS Foot switch available
different amplifier—that the Fender might get One quibble I have is that the Fender has no
too hot and shut down. But the amplifier per- PRICE $549 street
formed great through my entire three-hour set, master volume control: each channel has a fenderguitar.com
with no ill effects from the solar onslaught. I, on
the other hand, was pooped, so when I had to separate volume control. Most acoustic ampli-
return my equipment to the car I was glad that
the 23 lb. amplifier was easy to transport. fiers have not only an individual volume control

for each channel, but a master control that

allows you to set your individual levels and

then bring the master up when you start your

set. I would say this is a minor annoyance, and

did not negatively affect my performance.

Over all, the Fender makes for an affordable,

stylish, and good-sounding combo amp for

gigging and non-gigging musicians alike. It can

fill a decent-sized room and has a number of

solid-sounding effects and features that should

satisfy a wide variety of musicians. AG

DDIGOWITNALOLADETDHEITFRIOEEN

Simply log on to store.AcousticGuitar.com/digital-edition, select this issue, then
enter the code JUL295FR when you check out to get your version for free!

DANNY KORTCHMAR | HURRAY FOR THE RIFF RAFF | DAN BERN

THE ENTESRcoTAtt IJNopElRin 4 SONGS

THEABlyOnDdaYLEeLeESCeTgRarIrCa
FREElizIaGbHetThTCRoAttIeNn

ODD FELLOWDSuMckABRaCkeHr

JULY 2017 | ACOUSTICGUITAR.COM

GEAR
REVIEWS

GUILD
M-40E
TAYLOR
ACSAEDREIMEYS
FENDER
AC2O0U0SATMICP

THELEARNING ISSUE
FDGIENEVTDELTTOHHPEEYMORUOIRGSHTOTWFRNTOEFMAINCGSHEKERYRSPTFEYOLLREES•YSPOLOUANY•STE•HVNEAABLIULLUAETTSHELEYIKBOEAUESRLIICZOSAWBONEFTHPSLOCAOLYOTITINNEGNG

AcousticGuitar.com 75

NEW GEAR

The Elliott Elite (left) and
Elliott Integrity (right) capos

Elliott Elite and Integrity Capos

For design geeks, Elliott’s improved Elite and Integrity capos are stunning

BY GREG CAHILL

T he Elliott capo’s aura of old-world crafts- exact center of the neck make it the most tuning- the McKinney-style saddle. Designed to keep the
manship is evident as soon as it’s pulled stable capo I’ve ever used.” capo aligned over the fret board, the saddle is
from its burgundy velour pouch. The capo padded with leather to protect your instrument’s
itself is elegant in its simplicity: The Elliott’s The screw operation is so effective that finish. The Elite is available in three standard
simple screw mechanism moves a leather- other major capo brands that had banked on sizes: 1 11/16, 1 ¾, and 1 7/8 inches. The Elliott
lined neck cradle in the center of its U-shaped ease of operation are adopting it. So Elliott is Elite is not only stylish, but exceedingly nonin-
metal frame and allows the guitarist to set staying one step ahead of the competition by trusive. The price is $160.
precisely the amount of tension the device refining its own classic design.
places on the strings. The actual string The new Integrity capo is built to the same
contact is accomplished by a bar (covered Enter the improved Elliott Elite guitar capo exacting standards as Elliott’s other capos. Hand-
with clear plastic padding) that flips over the and the Elliott Integrity capo. crafted from satin-finished stainless steel, the
top of the U—it is held in place by a push Integrity model also features the patented Elliott
button secured with an internal spring. The Elite began with small banjo-capo frames push-button locking system, allowing for easy on/
with which banjo great Tom McKinney was exper- off operation. The Integrity capo utilizes a long,
Screw operation is among the oldest imenting. McKinney sent some rough frame wide saddle design that cradles the neck of your
approaches to capo design. The primary advan- examples to Elliott capo company founder Phill instrument to keep the capo securely centered
tage of this capo type is its precision, which allows Elliott, who refined the design. He’s been pro- over the fretboard. The saddle loops on the Integ-
the tension to be set exactly the right amount, ducing this model since the mid-1990s. The rity capo have a unique look that is less elegant
generally resulting in excellent tuning stability. result of that careful refining process is evident in and more square than the original rounded
The downside is that screw-operated designs take the Elite capo available today. Crafted for both design. The capo is wider than the Elite and
longer to install and to remove than some other guitar and banjo, the Elite capo has a thinner, sports a satin stainless-steel finish. The leather
designs, and the process typically requires using sleeker profile than other Elliott capos, ideal for padding of saddle seat protects your instrument’s
both hands. “The Elliott’s most impressive aspect players who want more comfort for the fretting finish. The Integrity can accommodate both
is its tuning stability,” AG’s former gear editor Teja hand. The sleek Elite frame has been narrowed by 1 11/16- and 1¾-inch nut widths. Price: $99.95.
Gerken once opined. “Its smooth screw operation 1/8 inch from the standard ¼-inch frame width.
and the fact that the adjustment point is at the In addition, the Elite guitar capo features the Teja Gerken contributed to this article.
exclusive patented Elliott push-button quick-
release top-bar locking system combined with

76 July 2017

ITED TIME OF Learning to Play Guitar:
Chords, Scales, and Solos
70%
off Taught by Dr. Colin McAllister

FERRDER BY JULY
O
LIM 1. Guitar Basics: Play a Song in 60 Seconds
31 2. Tuning Up, Reading Music, and Dexterity
3. Classical Guitar Position and Posture
Discover That You Can 4. Learning How to Practice the Guitar
Play a Musical Instrument 5. Playing Fingerstyle Guitar
6. Playing Rhythm Guitar
The guitar is the perfect instrument to not only learn how to play, but 7. The Pentatonic Scale
also to learn how to read, understand, and enjoy music. Whether you’ve 8. The Blues Scale and Lateral Stretching
had a few years of lessons, taught yourself, or never picked up a guitar, 9. Planting for Control and Accuracy
this course is the perfect way to start. This engaging course, developed by 10. Guitar Tremolo: Gaining Speed
Dr. Colin McAllister, concert guitarist and celebrated teacher, will teach 11. Legato and Power Chords
you to play the guitar in a surprisingly short time. 12. Travis Picking for Folk, Country, and Rock
13. Hammer-Ons and Pull-O s
14. Finger Independence and Chord Theory
15. Crosspicking and Bass Lines
16. Piano-Style Guitar and Fingernail Care
17. Syncopated Strumming and Movable Scales
18. A New Pentatonic Scale and the Capo
19. Barre Chords: Movable Chords
20. Flamenco Technique: Rasgueado
21. Playing with Natural Harmonics
22. Jazz Harmony and Dorian Mode
23. DADGAD Tuning and Lydian Mode
24. Taking the Guitar to the Next Level

Learning to Play Guitar:
Chords, Scales, and Solos

Course no. 7776 | 24 lessons (30 minutes/lessons)

SAVE UP TO $190

In 24 fast-moving lessons, you’ll learn: left hand fingering and shifting, DVD $269.95 NOW $79.95
right hand strumming, finger picking, pick playing; as well as note Video Download $234.95 NOW $69.95
reading. You’ll also explore the basics of music theory; a wide range of
chords, the foundation under a melody; the essential scales for guitar; plus +$10 Shipping & Processing (DVD only)
melodic “licks,” which equip you to play lead guitar lines and melodies.
By the end of the course, you’ll know how to play complete songs and and Lifetime Satisfaction Guarantee
tunes in a range of musical styles, and so much more. Learning to Play
Guitar: Chords, Scales, and Solos offers you a highly effective way to Priority Code: 146388
master the fundamentals of this universal instrument.
For over 25 years, The Great Courses has brought
O er expires 07/31/17 the world’s foremost educators to millions who want
to go deeper into the subjects that matter most. No
TG C . /5 exams. No homework. Just a world of knowledge
available anytime, anywhere. Download or stream
1-800-832-2412 to your laptop or PC, or use our free apps for iPad,
iPhone, Android, Kindle Fire, or Roku. Over 600
courses available at www.TheGreatCourses.com.

79 79 MIXED MEDIA

Playlist Playlist
Mount Eeirie’s A duo of master
Requiem flatpickers

Todd Albright

Detroit Twelve String: Blues & Rags

Third Man Records

Todd Albright

A Motor City Blues Thing

Todd Albright grabs a handmade 12-string Fenezia for this homage to his heroes

BY DERK RICHARDSON

E verything about Todd Albright’s second recorded this one on a Fenezia model 12-string singing adds emotional authority, as well. Where
record hollers “vintage.” The eight-song EP, (with walnut back and sides), commissioned authenticity might be too much of a good thing
the follow-up to the Detroit-based guitarist’s from luthier Todd Cambio of Fraulini Guitars, for some listeners, it’s in the overall sonics of the
2016 LP debut, Fourth Floor Visitor (Jett Plastic), who is similarly obsessed with the sounds of the recording. Produced by Kenny Tudrick at the
was released on vinyl. Its repertoire includes 1920s and ’30s. Black River House in rural Michigan, Detroit
traditional country blues by or associated with Twelve String is aurally rough-hewn—with the
Blind Willie McTell (“Savannah Mama,” “Kill It As Cambio wrote on his blog, he based volume turned up, the heavily chorded 12-string
Kid,” “Delia”), Lead Belly (“Sweet Mary Blues”), Albright’s Fenezia on “the Auditorium-sized approaches the bright jangle you anticipate from
Skip James (“Cherry Ball Blues”), Frank guitars made in independent shops operated by the instrument, but Albright’s vocals hang back,
Hutchison (“Train that Carried My Gal from Italian immigrants in New York . . . the favorite somewhat muddied in the mix.
Town”), George Carter (“Rising River Blues”), of top jazz and ‘hillbilly’ recording artists,” and it
and Blind Blake and Gus Cannon (“My Money has a “nice hollow, old-time tone.” Albright plays The character and emotional vibe of the per-
Never Runs Out”). And Albright, a blues fanatic it fingerstyle with powerful authority, generating formance are delicious, how much so hinges on
since he first heard a John Lee Hooker album, a huge sound with coarse timbres. He toys with your appetite for a finished product that almost
the beat, much as his forebears did, and his raw sounds like it was recorded in 1929.

78 July 2017

PLAYLIST

Mount Eerie Grant Gordy & Ross Martin

A Crow Looked at Me Year of the Dog

P.W. Elverum & Sun Free Dirt

Death and a grief-stricken diary are Master flatpickers play a wide-ranging
bolstered by time-signature shifting guitars series of duets

With plainspoken poetry and unsettling Grant Gordy and Ross Martin travel in blue- Want to Pass it On?
candor, Mount Eerie’s Phil Elverum looks grass circles, but the flatpickers venture far
death in the face because he has to. In 2016, beyond the genre’s normal confines on their The Guitar Legacy Program
Geneviève Castrée, Elverum’s wife and the recent duo album Year of the Dog, sort of a Learn More Today!
mother of his infant daughter, died of pancre- chamber recital for the steel-string guitar.
atic cancer. A Crow Looked at Me was recorded Gordy plays a 1944 Martin 000-18, a 1998 guitarsintheclassroom.org
mostly on Castrée’s musical instruments in the Collings D1, and a 1975 Martin D-28,
room where she died. It’s Elverum’s love letter while Martin plays 2002 a Collings D2H. The AcousticGuitar.com 79
to her, and a journey’s logbook where the engineer Aaron Youngberg captures this
destination is unknown. formidable selection of guitars in warm and
expansive detail.
Over Spartan strummed acoustics, droning
accordion, and percussion that resembles a respi- The beautiful sonic treatment is equaled by
rator, Elverum’s dry whisper cracks on “Death is the depth of the duo’s musicianship. Gordy
Real,” as he recalls receiving a package his wife and Martin play J.S. Bach’s “2-Part Invention
ordered before she died. Time-signature shifting No. 2 in C minor” with a sharp attention to
guitars mimic nature’s rhythms on “Seaweed,” timbral and ornamental detail. Their seem-
where Elverum deposits his wife’s ashes at a lake- ingly effortless command of jazz harmony is
shore. He knows Castrée is not in the ashes, but noticeable on arrangements of the popular
wonders if she is somehow in the churning water, standard “I’ll Be Seeing You,” and “Celia,” by
or in the wind that moves the waves. the great bebop pianist Bud Powell.

Multi-tracked acoustics wheel like restless On a spirited arrangement of Pat
birds on “Ravens,” while Elverum lingers over Metheny’s “Bright Size Life,” the duo finds
notes, as if he’s hesitant to remove his hands common territory between this fusion classic
from his wife’s guitars. Blunt specificity punc- and their genre of origin as Gordy adds some
tures sentimentality on “Toothbrush/Trash,” bluegrass bass runs on an open-G chord.
where Elverum throws out bloodied tissues The effect feels natural and not contrived in
used by Castrée. the slightest.

Elverum’s grief-stricken diary finally turns a Gordy and Martin explore more typical
corner on “Crows,” the only song addressed not repertoire on selections like “Dear Old
to his wife, but to his daughter. As he hikes Dixie”—but with dizzying modulations of key
through a forest carrying his dozing, dreaming and tempo. There’s a feeling on this piece—
child, a crow follows overhead, suggesting that and throughout the album—that the guitar-
Castrée may be with the infinite, which is ists are sharing a deep conversation,
reflected in nature and in dreams. improvising at the highest level.

—Pat Moran —Adam Perlmutter

READ IT
ANYWHERE.

ANY TIME.

DANNY KORTCHMAR | HURRAY FOR THE RIFF RAFF | DAN BERN

THE ENTERTAINER 4 SONGS SUBSCRIBE TO
Scott Joplin ACOUSTIC GUITAR.

THE BODY ELECTRIC store.AcousticGuitar.com/Subscribe
Alynda Lee Segarra
FREIGHT TRAIN
Elizabeth Cotten

ODD FELLOWS MARCH
Duck Baker

JULY 2017 | ACOUSTICGUITAR.COM

GEAR
REVIEWS

GUILD
M-40E
TAYLOR
ACADEMY
SERIES
FENDER
ACOUSTIC
200 AMP

THELEARNING ISSUE
FIND THE RIGHT TEACHER FOR YOU • EVALUATE YOUR OWN PLAYING
DEVELOPYOUROWNFINGERSTYLE • PLAYTHEBLUESLIKEELIZABETHCOTTEN
GET THE MOST FROM SKYPE LESSONS • NAIL THE BASICS OF SOLOING

MARKETPLACE

GDEIGTITTAHLE ACOUSTIC Don’t miss your cue...
EDITION CONNECTIONS. with the VoxGuard VU™!

DANNY KORTCHMAR | HURRAY FOR THE RIFF RAFF | DAN BERN Microphones and pickups "I was impressed by the VoxGuard VU’s e ectiveness. It excels
for guitars, violins, mandolins, where the vocalist is surrounded by other instruments... and I
THE ENTERTAINER 4 SONGS banjos, and other stringed can’t imagine using one for vocal work without the window.”
Scott Joplin instruments. Brands include:
MiniFlex 2Mic Soundhole Microphones; ~ Strother Bullins - S&VC, Pro Audio Review
THE BODY ELECTRIC GHS Soundhole mics; McIntyre,
Alynda Lee Segarra L.R. Baggs, and B-Band pickups;
FREIGHT TRAIN Elixir strings and Homepsun Tapes.
Elizabeth Cotten International orders are welcome.
On the Web at www.acousticon.com
ODD FELLOWS MARCH
Duck Baker

JULY 2017 | ACOUSTICGUITAR.COM

GEAR store.acousticguitar.com www.primacoustic.com/voxguard
REVIEWS
introducing finger-tone® fingerstyle
GUILD Guitar Picks by ProPik®
M-40E
TAYLOR
ACADEMY
SERIES
FENDER
ACOUSTIC
200 AMP

AcousticConnenctoiowns.yinodud c1an get the same 5/29/12 4:22 PM

THELEARNING ISSUE pure sound of fingernails �n�� th� �n�st
FIND THE RIGHT TEACHER FOR YOU • EVALUATE YOUR OWN PLAYING and fingertips from a woods and
DEVELOPYOUROWNFINGERSTYLE • PLAYTHEBLUESLIKEELIZABETHCOTTEN light weight metal
GET THE MOST FROM SKYPE LESSONS • NAIL THE BASICS OF SOLOING finger pick craftsmanship

• No fingernails to fuss with
• Fingertips touch string as you play

• Large and medium sizes available

store.AcousticGuitar.com/ available at your favorite
Digital-Edition Music store or contact:

code: JUL295FR Guptill Music
(714) 556-8013
www.guptillmusic.com

Acoustic Guitar, acousticguitar.com . . . . . . . . . . . . . . . . . 75, 80 Greg Brandt, gregbrandtguitars.com. . . . . . . . . . . . . . . . . . . . 73 Sam Ash, samash.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Acoustic Remedy Cases, acousticremedycases.com. . . . . . 60 Guitar Foundation Of America, guitarfoundation.org . . . . . 33 Santa Barbara Acoustic Instrument Celebration, sbaic.com . . 54

American Music Furniture, americanmusicfurniture.com. . . 53 Guitar Town at Copper Mountain, copperguitartown.com . 60 Shubb Capos, shubb.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Bread & Roses, breadandroses.org . . . . . . . . . . . . . . . . . . . . 73 Guitars in the Classroom, guitarsintheclassroom.org . . . . . 79 SLP, AcousticGuitar.com. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Breezy Ridge Instruments, Ltd., jpstrings.com . . . . . . . . . . 79 Homespun, homespun.com . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Steven Kaufman Enterprises, Inc, flatpik.com. . . . . . . . . . . . 6

C.F. Martin & Co., Inc., martinguitar.com . . . . . . . . . . . . . . . . 84 Ibanez Guitars, ibanez.com. . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Strings by Mail, stringsbymail.com . . . . . . . . . . . . . . . . . . . . . 58

D’Addario & Company, daddario.com . . . . . . . . . . . . .4, 29, 58 IK Multimedia, ikmultimedia.com . . . . . . . . . . . . . . . . . . . . . . 83 Sweetwater Sound, sweetwater.com. . . . . . . . . . . . . . . . . . . . 9

DR Music, drstrings.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Kyser Musical Products, kysermusical.com . . . . . . . . . . . . . 37 Tascam, tascam.com. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Epiphone Guitars, epiphone.com . . . . . . . . . . . . . . . . . . . . . . . 3 L.R. Baggs, lrbaggs.com. . . . . . . . . . . . . . . . . . . . . . . . . . . 67, 69 Taylor, taylorguitars.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Fender Acoustic Guitars, fender.com . . . . . . . . . . . . . . . . . . . 7 Media Brokers International, thegreatcourses.com/5gta. . 77 Thalia Capos, thaliacapos.com . . . . . . . . . . . . . . . . . . . . . . . . . 8

Fishman Transducers, fishman.com. . . . . . . . . . . . . . . . . . . . 11 Original Guitar Chair, originalguitarchair.com . . . . . . . . . . . . . 8 The Swannanoa Gathering, swangathering.com . . . . . . . . . . 6

G7th, Ltd., g7th.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Paul Reed Smith Guitars, prsguitars.com. . . . . . . . . . . . . . . 26 Waterloo Guitar Giveaway . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Grace Design, gracedesigns.com . . . . . . . . . . . . . . . . . . . . . . 31 RainSong Graphite Guitars, rainsong.com. . . . . . . . . . . . . . 15 Yamaha Corporation of America, yamaha.com. . . . . . . . . . 47

AcousticGuitar.com 81

GREAT ACOUSTICS

Bubbles 2, a nylon-string cedar-top COURTESY OF GREG BRANDT
classical guitar, has playful inlay
of walnut and koa effervescence.

Bubblicious

A handmade classical guitar spilling over with whimsy

BY GREG CAHILL

M aybe it’s the glint in his eye, but you were doing,” the affable Brandt recalls. “It But the walnut (and walnut and koa) inlay
get the impression that luthier Greg was always clear that steel-string makers had
Brandt has a whimsical soul. And one look at a wider wood and decorative palette and that transformed those guitars. One featured the
his guitar “Bubbles” confirms it. I first I always felt I needed to toe the line in
encountered Bubbles and Bubbles 2 last year dealing with classical players, who would “bubbles” style (named by a client) and the other
at the Santa Barbara Acoustic Instrument often accept almost anything on the inside
Celebration. The story behind these guitars is [of a custom guitar], as long as it looked like a “tiles” style. Bubbles 1 and 2 featured a cedar
that Brandt, who specializes in handmade what Segovia played 70 years ago.”
nylon-string guitars, and his apprentice, top, Indian rosewood back and sides, Honduran
Chace Miller, had a little extra time on their Though Brandt is a traditional maker when it
hands while working in Brandt’s North Holly- comes to building a box and bracing a top, he mahogany neck, and ebony fingerboard.
wood studio and preparing Miller for her decided to try a couple of different looking guitars
introduction to steel-string building. “We for the 2015 La Guitarra California Festival just to “[The bubbles] started while making some
started looking at what steel-string makers see how they were received. Those were made
from a matched set of Indian rosewood. different rosettes, deciding that I liked them, and

wanting to use the design elements on other

places on the guitar, including the bridge, the

back, and butt.”

The project suited Brandt’s whimsical

nature—he has a third Bubbles on the bench and

more have been commissioned. AG

Acoustic Guitar (ISSN 1049-9261) is published monthly by String Letter Publishing, Inc., 501 Canal Blvd, Suite J, Richmond, CA 94840. Periodical postage paid at Richmond, CA 94804
and additional mailing offices. POSTMASTER: Send changes of address to Acoustic Guitar, String Letter Publishing, Inc., PO Box 3500, Big Sandy, TX 75755. Changes of address may also
be made online at AcousticGuitar.com. Printed in the USA. Canada Post: Publications Mail Agreement #40612608. Canada Returns to be sent to Imex Global Solutions, PO Box 32229,
Hartford, CT 06150-2229.

82 July 2017

IK MultIMedIa. MusIcIans FIrst.

Tuning the
Harmony of Time

IN HONOR OF MARTIN GUITAR’S
2 MILLIONTH GUITAR MILESTONE

D-200 Deluxe

A custom RGM watch
included with the
D-200 Deluxe

Find an Authorized Martin Dealer
at martinguitar.com/find-a-dealer