I'm always curious about what instrument(s) someone plays. Not just "a guitar" but the details as in "a Fender Strat plugged into an old blackface Fender Twin Reverb". Or what keyboard or trumpet or accordian or banjo.....
In my years of playing I've had a number of guitars (electric and acoustic) and amps. Some were horrible, some were just OK, some pretty decent. Some I gave away, some grew legs and ran off to join the circus, and some I sold.
What I've been using for many years...
- electric Gibson ES-175 Gibson ES-335 Fender Telecaster Roland JC-120 amp - acoustic Martin D-28 Taylor 410
I live near a store that sells only used instruments and has a terrific rather large ever-changing stock and good prices. (Yeah... GAS heaven) I hadn't purchased a new guitar or amp in decades... why? What's wrong with what I'm using? I was just curious what was new and had time on my hands, so I stopped in. Big mistake. (or was it?)
What I purchased recently:
- electric Boss Katana 50 MKII amp Fender Standard Strat (MIM) (My third strat... sold the others. Will I keep this one?) Ibanez AG95 - acoustic Fender Acoustasonic amp Ibanez AE275BT (acoustic-electric baritone) Seagull Performer mini-jumbo (acoustic-electric) Martin Roadseries D-10 (acoustic-electric) - stuff Boss RC-5 loop pedal
I'm really impressed by the value in a lot of what is available in the affordable lines these days. There are some really nice electric and acoustic guitars that don't cost a fortune. They play well and sound good. Really impressive what's available today.
1943 Martin D-18 1949 Martin 0-15 1990’s Kentucky mandolin Meinl cajon Clarinet years ago
Bud:
1953 Kay Swingmaster upright bass
1972 Martin D-35 (employee made) Martin allows or allowed an employee to make a personal model for his/herself. No label.
J&B
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Lots of wind instruments and a few outliers like vibes. I’ll step away quietly from this guitar thread now…
We like wind instruments. Janice played clarinet years ago. Would love to know your favorites.
Last edited by Janice & Bud; 06/18/2302:49 AM.
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1. Fender Jazz Bass w/ flatwounds into a 40W Fender Bronco practice amp 2. Korg electronic keyboard into a pair of JBL monitors
I love all of this but Fender is no longer manufacturing the Bronco amp It's a sturdy, powerful unit with clean sound and I'd like to buy a 2nd new one if I could.
https://soundcloud.com/user-646279677 BiaB 2025 Windows For me there’s no better place in the band than to have one leg in the harmony world and the other in the percussive. Thank you Paul Tutmarc and Leo Fender.
Clarinet is the only common wind instrument I can’t play.
My favorites are flugelhorn and soprano sax. I play the jazz trumpet chair in big bands so I have to play trumpet, my original instrument. I like playing flute for classical music.
Whenever someone in my family was cast in a musical, I volunteered to play lead trumpet. One particularly low-budget show, I covered the trumpet, flute and bass books (I used my wind controller to play acoustic bass). So I guess I just play whatever is appropriate.
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Lots of wind instruments and a few outliers like vibes. I’ll step away quietly from this guitar thread now…
Don't mean it to be guitar only. I'm interested in all kinds of instruments.
I played trumpet for several years, tried violin (I was beyond awful), some piano, a while with recorder (alto, tenor and soprano.. playing Renaissance consort stuff and adapting string quartets to recorder (that didn't work out too well but it was a good try)). A little bit of 4-string tenor banjo too. Way back when I got to try vibes (a friend played one and he let me try my hand). I wasn't too terrific at it, but I certainly like the sound of vibes.
1943 Martin D-18 1949 Martin 0-15 1990’s Kentucky mandolin Meinl cajon Clarinet years ago
Bud:
1953 Kay Swingmaster upright bass
1972 Martin D-35 (employee made) Martin allows or allowed an employee to make a personal model for his/herself. No label.
J&B
I never knew Martin allowed an employee to make a personal model. How did you come by the employee-made Martin or did you work there and make it yourself?
Ibanez Gio, Squire Jazzmaster, Fender Blue Burst Strat Glen Burton AR-15 guitar, Fender Telecaster, Green IYV Les Paul clone, Epi Les Paul, Music Man St Vincent. Play through a Line6 Spyder 3 modeling amp and a 2x10 closed back cabinet. Or a Line6 15w practice amp. That amp is modified to use either the internal speaker or the 2x10 cabinet.
Rack top to bottom
Digitech Vocoder Furman power supply Digital Music MX-8 MIDI patching system Nord Lead synth module Proteus synth module (Thanks again Steve) Alesis mixer Yamaha TX-81z module Korg M3R module (A Korg M1 in modular form) Kurzweil 1000PX module Roland JU-6a module Korg drum machine and Zoom drum machine on bottom shelf Below is my Behringer keyboard amp that I never use anymore.
Not shown are the real keyboards
Ensoniq ESQ-1 synth Ensoniq EPS16+ sampler Yamaha DX9 (again, thanks Steve) Korg Krome Roland FA-06 Nord Electro4 Kurzweil K2500
The keyboard setup in the studio is so complex that it's a post of its own.
And my remaining sax is a Kong alto from the early 60s. I bought it off Craigslist from a guy in New York. The backstory is great, especially on Father's Day. My father worked at a place that was first known as HN White, named for Henderson White. They made all kinds of brass instruments. When he died, his wife Edna took over. Soon after a guy named Tom King invested heavily and it became King Musical Instruments. The plant was on 52nd and Superior Ave in Cleveland. I lived in 61st and Superior. My father worked in that place in several roles for his entire working life. When I got that horn, I took it to Cleveland's version of THE repair shop, which is run by a guy named Tom. Tom's father Tom Sr worked at that place and from company picnics and such I have known Tom since we were about 8. I asked if he was ready to see what was in the case. He just said "Oh oh. Are you bringing me something that will take every waking minute for the next 2 weeks to fix?" So he took a look at it, called me in 2 days and told me it was done. I asked if I needed to rob a bank on the way to pay him and he said it was 27 bucks. 2 pads needed replacement and 1 upper key was slightly out of alignment. I told him then that I had called the company that King had evolved into and they ran the serial number. That horn was built some time in 1963 or 1964, meaning my late father had a hand in building it. I had a baritone sax in the past as well but sold it when a guy made me an offer that was over twice what I paid for it, well after I had a need for it. I use tenor reeds in my alto so I have more sugar cane vibrating on the mouthpiece and it sounds really full.
1943 Martin D-18 1949 Martin 0-15 1990’s Kentucky mandolin Meinl cajon Clarinet years ago
Bud:
1953 Kay Swingmaster upright bass
1972 Martin D-35 (employee made) Martin allows or allowed an employee to make a personal model for his/herself. No label.
J&B
I never knew Martin allowed an employee to make a personal model. How did you come by the employee-made Martin or did you work there and make it yourself?
I’m a lefty and found it many years ago at a shop. It was stamped D-35 L at the usual spot. I contacted Martin and they explained the employee deal. It’s identical in every detail to a factory model other than not having the headstock decal. It had extra nice Indian rosewood to be post Brazilian. Me? I can replace a bridge and other minor things but not a build!
Bud
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I personally have a 1969 Gibson SG which I used for many years plugged into various amps that came and went through the years, but eventually settling on a Mesa Boogie Studio 22. I still have and use both. (The SG has been stolen and recovered 2 times but that's a story for another thread. I did post that story here several years back. Both are fascinating and maybe we can start a stolen instruments thread.....)
I also have a Fender Modern Tele which I use a lot in the studio since it has a humbucker as well as a Strat & Tele pickup. I tend to use my Spark 40 modeling amp for this one and it's run direct to the interface for recording.
I've also got an Epiphone bass which also runs through the Spark on a bass model.
Then of course there's the Taylor 314 and the Ibanez AE400 that hangs on the wall for quick reference when writing and composing.
I also have a couple of keyboards that hand around the studio. One is a Radio Shack that my mom gave to me when she was clearing out stuff she didn't want or use and then there's the Yamaha DX-27S that I picked up from thye keyboard player in a house band I was in when she quit the band to go to work as a nurse. I play them both depending on the need or the mood.
I have dabbled with drums a bit being in the high school orchestra and band as a drummer. I do not however, claim to be a drummer, and don't have a drum set and absolutely zero interest in acquiring one.
Oh yeah... I've got a pretty red Strat copy that hangs on the wall. It's horrible to play (action is high, intonation is horrible, and cheap pickups) and it was given to me by a customer.... It looks good, and that's about all I can say about it.
You can find my music at: www.herbhartley.com Add nothing that adds nothing to the music. You can make excuses or you can make progress but not both.
The magic you are looking for is in the work you are avoiding.
1. Fender Jazz Bass w/ flatwounds into a 40W Fender Bronco practice amp 2. Korg electronic keyboard into a pair of JBL monitors
I love all of this but Fender is no longer manufacturing the Bronco amp It's a sturdy, powerful unit with clean sound and I'd like to buy a 2nd new one if I could.
Steve, I found one. You have the information in a PM I just sent you.
Note I tried to post it here but it really messed up the thread's format.
Why is it that doctors call what they do 'practice'? If flying is so safe, why do they call the airport, the terminal?
64 bit Win 10 Pro, the latest BiaB/RB, Roland Octa-Capture audio interface, a ton of software/hardware
I’m a lefty and found it many years ago at a shop. It was stamped D-35 L at the usual spot. I contacted Martin and they explained the employee deal. It’s identical in every detail to a factory model other than not having the headstock decal. It had extra nice Indian rosewood to be post Brazilian. Me? I can replace a bridge and other minor things but not a build!
Bud
I too am a lefty
In 1980 I walked into a music store and saw a brand new Martin D-35L hanging on the wall. I picked it for 5 minutes, paid the man his money and walked out. $950 with case if I remember correctly. I still own that guitar.
Used to be finding great lefty instruments was needle in a haystack stuff. Today the builds are fantastic and good value. Over the decades many guitars have come and gone. That D-35L is one guitar I just can't see myself parting with. For an acoustic guitar, its all you would ever want.
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I’m a lefty and found it many years ago at a shop. It was stamped D-35 L at the usual spot. I contacted Martin and they explained the employee deal. It’s identical in every detail to a factory model other than not having the headstock decal. It had extra nice Indian rosewood to be post Brazilian. Me? I can replace a bridge and other minor things but not a build!
Bud
I too am a lefty
In 1980 I walked into a music store and saw a brand new Martin D-35L hanging on the wall. I picked it for 5 minutes, paid the man his money and walked out. $950 with case if I remember correctly. I still own that guitar.
Used to be finding great lefty instruments was needle in a haystack stuff. Today the builds are fantastic and good value. Over the decades many guitars have come and gone. That D-35L is one guitar I just can't see myself parting with. For an acoustic guitar, its all you would ever want.
One of my bigger regrets is selling a factory original lefty 1937 000-28 Martin. They were marked with an S then instead of an L. But the biggest regret music wise is selling a 1958 original Gibson Flying V that I bought for $350 via a local newspaper add for an "old guitar" in 1974. I later sold it for five grand and thought I'd done well. Over $200,000 nowadays.
Bud
Our albums and singles are on Spotify, Apple Music, Amazon Music, YouTube Music, Pandora and more. If interested search on Janice Merritt. Thanks! Our Videos are here on our website.
I want to thank everyone for responding. This is fascinating reading for me.
I've been around musicians (amateur and professional) and instruments of all kinds my entire life. I have always been fascinated by the various instruments and the sounds they produce.
Clarinet is the only common wind instrument I can’t play.
My favorites are flugelhorn and soprano sax. I play the jazz trumpet chair in big bands so I have to play trumpet, my original instrument. I like playing flute for classical music.
Whenever someone in my family was cast in a musical, I volunteered to play lead trumpet. One particularly low-budget show, I covered the trumpet, flute and bass books (I used my wind controller to play acoustic bass). So I guess I just play whatever is appropriate.
For us a sax is so close to a human voice. I'm sure a million others have said that. Billie Holiday and Lester Young on tenor sax are, again for us, some of the most wonderful interplay we've ever heard.
Bud
Our albums and singles are on Spotify, Apple Music, Amazon Music, YouTube Music, Pandora and more. If interested search on Janice Merritt. Thanks! Our Videos are here on our website.
Oh yeah... I've got a pretty red Strat copy that hangs on the wall. It's horrible to play (action is high, intonation is horrible, and cheap pickups) and it was given to me by a customer.... It looks good, and that's about all I can say about it.
Adjusting the action, setting the intonation and even replacing pickups on a Strat are actually fairly easy, at least straightforward and not very complex. I learned to do those sort of things (not because I like to but because I couldn't afford to pay someone else to do it). Basically, if I can do it anyone can.
Who knows, that Strat copy might be more than just good looking....
1. Fender Jazz Bass w/ flatwounds into a 40W Fender Bronco practice amp 2. Korg electronic keyboard into a pair of JBL monitors
I love all of this but Fender is no longer manufacturing the Bronco amp It's a sturdy, powerful unit with clean sound and I'd like to buy a 2nd new one if I could.
Steve, I found one. You have the information in a PM I just sent you.
Note I tried to post it here but it really messed up the thread's format.
Thanks Mario, When I say "new" I really mean new. I've never purchased anything from ebay and when they say "never used" (or similar) I take that with a large grain of salt and wonder what recourse I would have if it showed up as a pile of broken parts or failed in a week. This is why I like GuitarCenter.
This would be a back-up amp and so is not a high priority at all. But there are may features I really like about the bronco; one is it's steel mesh grille. Many manufacturers (including Fender) have gone to the flimsy cloth grille that a well motivated house fly could penetrate, not to mention a wayward foot. What were those engineers thinking?? To save $10.00 per unit? Pass that on to the customer, I'll pay a bit more for enhanced robustness.
I understand that Peavy has a 100W amp and Markbass a 60W unit both ranked well and with steel grilles.
But I do appreciate your effort buddy.
https://soundcloud.com/user-646279677 BiaB 2025 Windows For me there’s no better place in the band than to have one leg in the harmony world and the other in the percussive. Thank you Paul Tutmarc and Leo Fender.
Well, knowing they are not made anymore, that kind of narrows your odds of finding a new one, Wouldn't you agree?
Even when you buy it at a store it isn't "new". The store owned it first, possibly hundreds of shoppers have tested it. Everything is used to some degree. I'd like a new 1959 Edsel too...
That's like asking your baby to take his first steps again.
Well, knowing they are not made anymore, that kind of narrows your odds of finding a new one, Wouldn't you agree?
Even when you buy it at a store it isn't "new". The store owned it first, possibly hundreds of shoppers have tested it. Everything is used to some degree. I'd like a new 1959 Edsel too...
That's like asking your baby to take his first steps again.
Disagree totally Eddie, my experience in buying from a store or Amazon has been that the packaging/carton has not been opened so there's little risk of it being used/abused by a prior customer. I'm not talking about floor models or returns here; my policy is to not buy floor or returns, only new, especially when electronics are involved.
But that's not all. GuitarCenter (for example) has a very generous 45 day return policy. This I know about 1st hand as during the pandemic I bought a high-end Roland drum machine from them and after 2 weeks I determined it wasn't my thing. Two weeks after that I returned it for full refund; no questions asked. It was then put on the floor as used. With this policy and their competitive pricing, they will always have me as a customer.
Have you checked ebay's return policy?
As for narrowing odds, nope. There are other manufacturers (see above) that I can do business with.
https://soundcloud.com/user-646279677 BiaB 2025 Windows For me there’s no better place in the band than to have one leg in the harmony world and the other in the percussive. Thank you Paul Tutmarc and Leo Fender.
This photo brings back a memory from about 15 years ago.
We were attending a Church and one Sunday a guest trumpet player was introduced and played with a backing track for about an hour; he was good.
Inbetween songs he made a remarkable (to me anyway) statement. He said
If I skip a days practice, I notice it. If I skip 2 days practice my wife notices. If I skip 3 days practice the audience notices.
I wonder if this is specific to brass instruments because, in part, of the lip and breath control required. Or if this is true for pro muscians in general. Apparently for this guy, a vacation from his instrument was not an option.
https://soundcloud.com/user-646279677 BiaB 2025 Windows For me there’s no better place in the band than to have one leg in the harmony world and the other in the percussive. Thank you Paul Tutmarc and Leo Fender.
My brother, pro trumpet player in New York City who taught me how to play, got the gene that required at least four hours of practice per day. I got the gene that allows me to get the horn out of the case two days before a concert, check it over, play about an hour, and I’m ready for the gig. So I suppose different things work for different players. My practice is in my head.
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Dude, you said yourself they ain't made anymore, you have no option. So if want one you really do, used it will have to be. Packing, return policies.. all moot if they aren't made anymore. Wish in one hand and crap in the other and tell me which hand is full and which is empty.
Did the 1959 Edsel reference not explain that concept of "There ain't no mo' of these"?
Dude, you said yourself they ain't made anymore, you have no option. So if want one you really do, used it will have to be. Packing, return policies.. all moot if they aren't made anymore. Wish in one hand and crap in the other and tell me which hand is full and which is empty.
Did the 1959 Edsel reference not explain that concept of "There ain't no mo' of these"?
What part of I do have options don't you understand??
They aren't made anymore . . . check I buy only from outlets that offer return policies . . . check, not moot as you say Other manufacturers have acceptable product . . . check . . . for the 2nd time, see above No crap here . . . check Life is good . . . check
https://soundcloud.com/user-646279677 BiaB 2025 Windows For me there’s no better place in the band than to have one leg in the harmony world and the other in the percussive. Thank you Paul Tutmarc and Leo Fender.
Play through a Line6 Spyder 3 modeling amp and a 2x10 closed back cabinet.
<... end snip ...>
I recently picked up a Boss Katana 50 MKII (1x12" open back combo) modeling amp. It hooks up to the PC and has a program to create and save settings and whatnot similar to the Line6.
The JC-120 remains my #1, but the modeling amp is different, a lot of fun and very interesting.
Some days I seem to spend more time monkeying with different settings and effects than actually playing guitar.... I'm not playing the guitar, I'm playing the amp. Not a bad thing, though.
I do like the flexibility and options of the modeling amp. A lot of potential there.
@Matt I had a pair of Pioneer CS99a that I bought at the PX in Vietnam and shipped home. No markup, no tax, no duty. That was a nice perk for us. Bought those, a Son8y reel to reel, a power amp, 2 turntables... Since we got paid in military script, we weren't earning US dollars and paid no taxes. 18 months of that! Plus I was a good poker player and had a little loan business going. When the dopers were out of money (I was NOT a user) and needed 40 bucks to buy "things" I would lend it to them and on payday I stood at the end of the pay line with my notebook and they paid me 50 back. 40 for 50, 60 for 75, 80 for 100. That was what I called the "dope tax". LOL
I sold those speakers in 1999 for $400 each when I went to Bose..
Oh yeah... I've got a pretty red Strat copy that hangs on the wall. It's horrible to play (action is high, intonation is horrible, and cheap pickups) and it was given to me by a customer.... It looks good, and that's about all I can say about it.
Adjusting the action, setting the intonation and even replacing pickups on a Strat are actually fairly easy, at least straightforward and not very complex. I learned to do those sort of things (not because I like to but because I couldn't afford to pay someone else to do it). Basically, if I can do it anyone can.
Who knows, that Strat copy might be more than just good looking....
As a guitarist, yes, I'm aware of all that. In fact, I did work on this guitar including removing the old strings, adjusting the action and putting a new set of strings on it. None of that brought the action into a reasonably playable state. I realize that a high action by itself can be the source of intonation issues. I did not however, remove the bolted on neck and shim it so the angle of neck to body and string alignment was changed. Perhaps, one day when I have the time to mess with it, I will remove the strings and unbolt the neck and shim it to see if that will affect the play-ability of the guitar. It's worth giving it a try to see if it will make a difference.
I looked these guitars up on the internet and most comments are that they are very cheaply made in Indonesia and are not worth the cost to put a single good pickup on it. Folks are saying $20 to $50 on average. I was aware of that and as such, I don't plan on spending any money on it. Putting a shim in the neck doesn't cost a dime so I might try that.
For now, it's a great looking wall hanger that gets dusted every so often.
You can find my music at: www.herbhartley.com Add nothing that adds nothing to the music. You can make excuses or you can make progress but not both.
The magic you are looking for is in the work you are avoiding.
1. Fender Jazz Bass w/ flatwounds into a 40W Fender Bronco practice amp 2. Korg electronic keyboard into a pair of JBL monitors
Sweet! Very similar here too, Steve (nice name!)
1. Fender Jazz Bass w/Ernie Ball Slinky Cobalts into a Roland KC 500 Watt Keyboard amp or the JBL LSR 4328 8" Powered Monitors 2. Korg N5 electronic keyboard into the Roland or JBLs. 3. Fender Mexi Strat (matches black/white color scheme of the Jazz Bass) into the JBLs. 4. Yamaha DX-9 --> To Eddie, thanks sir.
You've done reasonable stuff.... I assume you checked the neck and its not bowed or warped, so I too think resetting the neck is about all that's left. Like you say, worth a try just to find out since you don't have to spend any money on it.
Good luck... have some fun with it and no matter what it can still be a great looking wall hanger.
Actually, the Armstrong has better tone than the Selmer.
Plus, I've had the Selmer so many years now, the silver plating is coming off.
The nastiest looking instruments get played in the salt spray. Except for the guitar, since I only have one good one.
I'm on the other side of the dune from the ocean. The venue is covered with a canvas cover, and we are on the east end with the dune to our back. On windy days, the salt covers everything.
We do this 3 days a week, and the owner keeps us all summer, even though the business is not very good that time of the year. His philosophy is that if he wants great entertainment in the winter tourist season, he needs to keep them all summer when it's slow. He does that with the cooks, bartenders and wait staff, too.
So if the instruments turn to rust, they are paid for.
I bought a used sax for this purpose. I got the used Armstrong to play outdoors, but since it has better tone than the Selmer flute, I decided to make it the indoor flute.
We also play twice a month at a huge, outdoor RV Resort. It's outdoors too, but about 3 miles west of the ocean, so there is no salt spray. But I use the outdoor instruments anyway.
Playing in a place like this, Caig DeOxit Red and Caig DeOxit Gold are staples of life. They keep the connections working, but not the finish on the instruments.
The picture is at low tide, you can see how high the water comes by the change of sand color.
Thanks for the explanation. I’m surprised the Armstrong sounds better than the Selmer but now your choice makes sense. Actually I’ve never played a Selmer flute so it was just an assumption based on saxes. I had a Mark V tenor. And I’m very familiar with the Atlantic coast from Ponte Vedra. It certainly adds a challenge for you.
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I traded it in for a Mark VII which in the shop sounded great. The problem was I play pop music, and I couldn't overblow the VII. It had nice tone, a little brighter than the VI which was good for rock and blues, but it had only one tone. So I went back to the shop on Monday to buy my old VI back, but they sold it already.
I traded the VII for a Couf Superba, and I liked that even better than the VI and the VII. The problem with that was it had a lot of copper in the brass, and shops don't relacquer anymore. It eventually turned green with a surface that had the texture of a cantaloupe skin.
A few more horns, and I got the MacSax. I did a custom job and had it plated with silver colored nickel. It's a Taiwan horn, and I found out from a couple of manufacturers, that other than ornaments, all the Taiwan horns are the same. The body and parts are farmed out to different factories, so the working parts are all interchangeable. MacSax only makes mouthpieces now.
The guy I had overhaul both flutes told me he has never been impressed with Selmer flutes, but he said mine was an exceptionally nice Selmer. He thought the Armstrong sounded better too.
I'm not really a flute player, just a doubler. I wouldn't take a gig playing nothing but flute. But I do a Jethro Tull tune, a Herbie Man tune, and a few others. It's fun to have that voice.
Ha; I'm a flute doubler at best, also. I see the quizzical looks when someone glances up and says, wait a minute - the trumpet player took that flute solo?
BIAB 2025 Win Audiophile. Software: Studio One 7 Pro, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Presonus 192 & Faderport 8, Royer 121, Slate VSX, Adam Sub8 & Neumann 120 monitors.
I'm on the other side of the dune from the ocean. The venue is covered with a canvas cover, and we are on the east end with the dune to our back. On windy days, the salt covers everything.
Playing in a place like this, Caig DeOxit Red and Caig DeOxit Gold are staples of life. They keep the connections working, but not the finish on the instruments.
Notes ♫
Yep...everything at the ocean is going to be covered in the salt mist. Between the humidity, the wind, the sand, and the salt spray, that is one harsh environment.
Walking down the beach it looks like smoke/mist coming off the ocean.
One of the pickups on my SG... the bridge pickup, is missing all of it's chrome plating. Not from playing at the ocean, but from the salt in my sweat from countless nights on stage. We did, over the course of time, play several indoor nightclubs that were at the beach. They used huge fans for ventilation which pulled in the salt spray and the marsh mosquitos. Might as well have been outside. It was a case of wipe them down after the sets, and then go home and clean the guitars fully.
You can find my music at: www.herbhartley.com Add nothing that adds nothing to the music. You can make excuses or you can make progress but not both.
The magic you are looking for is in the work you are avoiding.
Ha; I'm a flute doubler at best, also. I see the quizzical looks when someone glances up and says, wait a minute - the trumpet player took that flute solo?
My brother-in-law does that. He is both a great trumpet player and a great flute player. It's a rare combination. He plays flute better than I do. Sadly, there isn't a lot of work for trumpet players around here, so he teaches school too.
On stage in my current duo, I play tenor sax, flute, wind synth, and I sing. I get the "How many instruments DO you play?" Question a lot. It's good for show biz appeal.
I used to bring a keyboard and not the guitar, but as we started playing fewer standards and more rock, the guitar became more important. It has better stage appeal, too.
In bands, I've been in through the years, I learned from the other guys in the band to play bass, some keys, and rhythm guitar (barre chords only). I've also doubled on drums (my first instrument). Not every song has a sax part, so it was good to learn other instruments. In one band, the drummer was a good singer, so I'd get behind the kit for a few songs and let him get out front (the girls loved it).
It's show biz, so switching instruments gets people talking about you, and that generates more audience members, which means more gigs.
During the psychedelic years, I played bass, as nobody wanted to hire a sax player. I had a Fender P Bass and a used Ampeg amp. Heavy stuff to tote around and hang on your shoulder, but I was much younger then.
Playing notes on the bass taught me how to find my way around the fretboard, so in my 60s, when I decided to buy a guitar and learn lead, I progressed quickly.
I like playing different instruments, as they require different forms of expression. You don't play the instrument, you let the instrument play you.
I also like playing different genres of music for the same reason. It's all fun.
1 Thrown together parts 50's P Bass knock off (I hand made the pickguard) 2 Takamine Acoustic 3 Fender MIM Jazz Bass Squier Series (Check the headstock & pickguard - I still don't quite know what this is) 4 Fender MIM Jazz V 5 String 5 Mini I don't know P Bass knockoff - 5 bucks at a pawn shop 6 Fender MIA Jazz (used to be my favorite to play) 7 Fender MIJ '62 Precision Reissue - My current favorite 8 Fender MIM Jazz with some cool upgraded pickups 9 Squier Bronco Bass - $15 at a yard sale . . . Fender Bassman 4x0 / 1X15 Combo with a Genz Benz Amp
Custom strap by Cody Hixon at Great Point Custom Leather
Guitars Martin Acoustic Custom Built Tele Fender "Waylon Jennings" leather covered Tele Fender Acoustic Boss Katana 2x12 MK II Amp Johnson Mandolin
I have a lot more guitars but those are my "go too"
Last edited by Sawmill Music; 06/22/2307:24 AM.
Don't ever try and be like anybody else and don't be afraid to take risks. -Waylon Jennings
Hah! I bet! I think I'll keep them where they are for now . . . my grandson (at 18 months) has already taken a liking to them LOL - Counting on him being MUCH better at this music thing then his old granddad
Don't ever try and be like anybody else and don't be afraid to take risks. -Waylon Jennings
THIS collector would still rather be playing but the physical ability left the building like Elvis. So now, like me in my younger days, all that matters is that they are pretty to look at.
Some days I just cant wait to see how you are going to fit in your flex and boast about how much you work and how rich and famous you are. You manage to do it on 4 of every 5 posts you make. (Even though nobody asks are cares.)
What HAS been lacking is your bragging about the expensive world destination vacations. You're slipping, ol' timer!!!
Hey everyone. I mostly hang around on uke territory, but I see so many guitar folks here, I figured I’d drop in. I switched to ukulele partly because I wanted something lighter and less gear-intensive. Now and then I’ll grab a song off Ukulele Tabs Ukulele Tabs, but mostly I just like how simple and relaxing the uke is. It’s been a fun way to mix things up without stepping away from guitar completely.
Before my stroke, anything with strings, keyboards, percussion, voice, conducting.
Since my stroke, I record some fretted instruments through tuning and capos, play bass live by tapping on the glass of an iPad, keys with my right hand only, conduct, sing—did some opera a few weeks ago, oldies band that’s gigs now and then, folk music.
BIAB 2025 Audiophile Mac 24Core/60CoreGPU M2 MacStudioUltra/8TB/192GB Sequoia, M1 MBAir, 2012 MBP Digital Performer11, LogicPro, Finale27/Dorico/Encore/SmartScorePro64/Notion6 /Overture5
XPro and Xtra Styles PAKs Special Extended Until August 31st!
XPro & Xtra Styles PAKs Special Extended Until August 31st!
The XPro Styles PAKs and Xtra Styles PAKs special offers are now available until August 31st at 11:59pm PDT!
Ready to take your Band-in-a-Box® 2025 experience to the next level? Now’s the perfect time! Expand your style library with XPro and Xtra Styles PAKs—packed with a wide variety of genres to inspire your next musical creation.
What are XPro Styles and Xtra Styles PAKs?
XPro Styles PAKs are styles that work with any version (Pro, MegaPAK, UltraPAK, UltraPAK+, or Audiophile Edition) of Band-in-a-Box® 2025 (or higher). XPro Styles PAKS 1-9 includes 900 styles!
Xtra Styles PAKs are styles that work with the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box® 2025 (or higher). With over 3,500 styles (and 35 MIDI styles) included in Xtra Styles PAKs 1-20, the possibilities are endless!
Get the XPro Styles PAKs 1 - 9 for only $29 ea (Reg. $49 ea), or get them all in the XPro Styles PAK Bundle for only $149 (reg. $299)! Listen to demos and order now! For Windows or for Mac.
Note: XPro Styles PAKs require Band-in-a-Box® 2025 or higher and are compatible with ANY package, including the Pro, MegaPAK, UltraPAK, UltraPAK+, and Audiophile Edition.
Get Xtra Styles PAKs 1 - 20 are on special for only $29 each (reg $49), or get all 19 PAKs for $199 (reg $399)! Listen to demos and order now! For Windows or for Mac.
Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 19 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
Don’t miss this chance to supercharge your Band-in-a-Box setup—at a great price!
Mac 2025 Special Upgrade Offers Extended Until August 15th!
It's not too late to upgrade to Band-in-a-Box® 2025 for Mac® and save! We've extended our special until August 15, 2025!
We've added many major new features to Band-in-a-Box® 2025 for Mac®, including advanced AI tools like the amazing BB Stem Splitter and AI Lyrics Generator, as well as VST3 plugin support, and Equalize Temp. Plus, there’s a new one-stop MIDI Patches Picker with over 1,100 MIDI patches to choose from, all neatly categorized by GM numbers. The MultiPicker Library is enhanced with tabs for the SongPicker, MIDI Patch Picker, Chord Builder, AI Lyrics Generator, and Song Titles Browser, and the tabs are organized into logical groups. The Audiophile Edition is enhanced with FLAC files , which are 60% smaller than AIFF files while maintaining identical audio quality, and now ships on a fast 1TB SSD, and much more!
Check out all the new features in Band-in-a-Box® 2025 for Mac® here:
Purchase your Band-in-a-Box® 2025 for Mac during our special to save up to 50% off your upgrade purchase and receive a FREE BONUS PAK of amazing new Add-ons. These include the 2025 RealCombos Booster PAK, Look Ma! More MIDI 13: Country & Americana, Instrumental Studies Set 22: 2-Hand Piano Soloing - Rhythm Changes, MIDI SuperTracks Set 44: Jazz Piano, Artist Performance Set 17: Songs with Vocals 7, Playable RealTracks Set 4, RealDrums Stems Set 7: Jazz with Mike Clark, and more!
Upgrade to the 2025 49-PAK for just $49 and add 20 Bonus Unreleased RealTracks and 20 RealStyles, FLAC Files for the 20 Bonus Unreleased RealTracks, Look Ma! More MIDI 14: SynthMaster, MIDI SuperTracks Set 45: More SynthMaster, Artist Performance Set 18: Songs with Vocals 8, and RealDrums Stems Set 8: Pop, Funk & More with Jerry Roe.
Learn more about the Bonus PAKs!
We’ve expanded the Band-in-a-Box® RealTracks library with 202 incredible new RealTracks (in sets 449-467) across Jazz, Blues, Funk, World, Pop, Rock, Country, Americana, and Praise & Worship—featuring your most requested styles!
Jazz, Blues & World (Sets 449–455):
These RealTracks includes “Soul Jazz” with Neil Swainson (bass), Mike Clark (drums), Charles Treadway (organ), Miles Black (piano), and Brent Mason (guitar). Enjoy “Requested ’60s” jazz, classic acoustic blues with Colin Linden, and more of our popular 2-handed piano soloing. Plus, a RealTracks first—Tango with bandoneon, recorded in Argentina!
Rock & Pop (Sets 456–461):
This collection includes Disco, slap bass ‘70s/‘80s pop, modern and ‘80s metal with Andy Wood, and a unique “Songwriter Potpourri” featuring Chinese folk instruments, piano, banjo, and more. You’ll also find a muted electric guitar style (a RealTracks first!) and “Producer Layered Guitar” styles for slick "produced" sound.
Country, Americana & Praise (Sets 462–467):
We’ve added new RealTracks across bro country, Americana, praise & worship, vintage country, and songwriter piano. Highlights include Brent Mason (electric guitar), Eddie Bayers (drums), Doug Jernigan (pedal steel), John Jarvis (piano), Glen Duncan (banjo, mandolin & fiddle), Mike Harrison (electric bass) and more—offering everything from modern sounds to heartfelt Americana styles
And, if you are looking for more, the 2025 49-PAK (for $49) includes an additional 20 RealTracks with exciting new sounds and genre-spanning styles. Enjoy RealTracks firsts like Chinese instruments (guzheng & dizi), the bandoneon in an authentic Argentine tango trio, and the classic “tic-tac” baritone guitar for vintage country.
You’ll also get slick ’80s metal guitar from Andy Wood, modern metal with guitarist Nico Santora, bass player Nick Schendzielos, and drummer Aaron Stechauner, more praise & worship, indie-folk, modern/bro country with Brent Mason, and “Songwriter Americana” with Johnny Hiland.
Plus, enjoy user-requested styles like Soul Jazz RealDrums, fast Celtic Strathspey guitar, and Chill Hop piano & drums!
With your version 2025 for Mac Pro, MegaPAK, UltraPAK, UltraPAK+, Audiophile Edition or PlusPAK purchase, we'll include a Bonus PAK full of great new Add-ons FREE! Or upgrade to the 2025 49-PAK for only $49 to receive even more NEW Add-ons including 20 additional RealTracks!
These PAKs are loaded with additional add-ons to supercharge your Band-in-a-Box®!
This Free Bonus PAK includes:
The 2025 RealCombos Booster PAK:
-For Pro customers, this includes 33 new RealTracks and 65+ new RealStyles.
-For MegaPAK customers, this includes 29 new RealTracks and 45+ new RealStyles.
-For UltraPAK customers, this includes 20 new RealStyles.
Look Ma! More MIDI 13: Country & Americana
Instrumental Studies Set 22: 2-Hand Piano Soloing - Rhythm Changes
MIDI SuperTracks Set 44: Jazz Piano
Artist Performance Set 17: Songs with Vocals 7
Playable RealTracks Set 4
RealDrums Stems Set 7: Jazz with Mike Clark
SynthMaster Sounds and Styles (with audio demos)
128 GM MIDI Patch Audio Demos.
Looking for more great add-ons, then upgrade to the 2025 49-PAK for just $49 and you'll get:
20 Bonus Unreleased RealTracks and RealDrums with 20 RealStyles,
FLAC Files (lossless audio files) for the 20 Bonus Unreleased RealTracks and RealDrums
Look Ma! More MIDI 14: SynthMaster,
Instrumental Studies Set 23: More '80s Hard Rock Soloing,
MIDI SuperTracks Set 45: More SynthMaster
Artist Performance Set 18: Songs with Vocals 8
RealDrums Stems Set 8: Pop, Funk & More with Jerry Roe
New! Xtra Styles PAK 20 for Band-in-a-Box 2025 and Higher for Mac!
Xtra Styles PAK 20 for Mac & Windows Band-in-a-Box version 2025 (and higher) is here with 200 brand new RealStyles!
We're excited to bring you our latest and greatest in the all new Xtra Styles PAK 20 for Band-in-a-Box! This fresh installment is packed with 200 all-new styles spanning the rock & pop, jazz, and country genres you've come to expect, as well as the exciting inclusion of electronic styles!
In this PAK you’ll discover: Minimalist Modern Funk, New Wave Synth Pop, Hard Bop Latin Groove, Gospel Country Shuffle, Cinematic Synthwave, '60s Motown, Funky Lo-Fi Bossa, Heavy 1980s Metal, Soft Muted 12-8 Folk, J-Pop Jazz Fusion, and many more!
All the Xtra Styles PAKs 1 - 20 are on special for only $29 each (reg $49), or get all 209 PAKs for $199 (reg $399)! Order now!
Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 20 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
New! XPro Styles PAK 9 for Band-in-a-Box 2025 and higher for Mac!
We've just released XPro Styles PAK 9 for Mac & Windows Band-in-a-Box version 2025 (and higher) with 100 brand new RealStyles, plus 29 RealTracks/RealDrums!
We've been hard at it to bring you the latest and greatest in this 9th installment of our popular XPro Styles PAK series! Included are 75 styles spanning the rock & pop, jazz, and country genres (25 styles each) that fans have come to expect, as well as 25 styles in this volume's wildcard genre: funk & R&B!
If you're itching to get a sneak peek at what's included in XPro Styles PAK 9, here is a small helping of what you can look forward to: Funky R&B Horns, Upbeat Celtic Rock, Jazz Fusion Salsa, Gentle Indie Folk, Cool '60s Soul, Funky '70s R&B, Smooth Jazz Hip Hop, Acoustic Rockabilly Swing, Funky Reggae Dub, Dreamy Retro Latin Jazz, Retro Soul-Rock Fusion, and much more!
Special Pricing! Until July 31, 2024, all the XPro Styles PAKs 1 - 9 are on sale for only $29 ea (Reg. $49 ea), or get them all in the XPro Styles PAK Bundle for only $149 (reg. $299)! Order now!
XPro Styles PAKs require Band-in-a-Box® 2025 or higher and are compatible with ANY package, including the Pro, MegaPAK, UltraPAK, UltraPAK+, and Audiophile Edition.
New! Xtra Styles PAK 20 for Band-in-a-Box 2025 and Higher for Windows!
Xtra Styles PAK 20 for Windows & Mac Band-in-a-Box version 2025 (and higher) is here with 200 brand new RealStyles!
We're excited to bring you our latest and greatest in the all new Xtra Styles PAK 20 for Band-in-a-Box! This fresh installment is packed with 200 all-new styles spanning the rock & pop, jazz, and country genres you've come to expect, as well as the exciting inclusion of electronic styles!
In this PAK you’ll discover: Minimalist Modern Funk, New Wave Synth Pop, Hard Bop Latin Groove, Gospel Country Shuffle, Cinematic Synthwave, '60s Motown, Funky Lo-Fi Bossa, Heavy 1980s Metal, Soft Muted 12-8 Folk, J-Pop Jazz Fusion, and many more!
All the Xtra Styles PAKs 1 - 20 are on special for only $29 each (reg $49), or get all 209 PAKs for $199 (reg $399)! Order now!
Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 20 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
One of our representatives will be happy to help you over the phone. Our hours of operation are from
6:00AM to 6:00PM PST (GMT -8) Monday thru Friday, and 8:00AM to 4:00PM PST Saturday. We are closed Sunday. You can also send us your questions via email.
One of our representatives will be happy to help you on our Live Chat or by email. Our hours of operation are from
6:00AM to 6:00PM PST (GMT -8) Monday thru Friday; 8:00AM to 4:00PM PST (GMT -8) Saturday; Closed Sunday.
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Norton Music
Hah! I bet! I think I'll keep them where they are for now . . . my grandson (at 18 months) has already taken a liking to them LOL - Counting on him being MUCH better at this music thing then his old granddad
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