You really should change but?

yeah thats the part that excites me still…even if its off in some foggy fantasy about what could be lol

There is nothing stopping me from making music as good as LEdZep or Halen or whomever lol. So what if I have to do it all by myself while Lennon had McCartney AND George Martin backing him up lol

on the schedule im on im looking at being about 140 years old when my first release hits lol

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Those 2 scenarios you just described regarding trying to get motivated, good players together sounds very familiar. They sound just like stories I hear from my friends who live in various parts of the country. Getting good, dependable band members has never been an easy thing but it’s harder now than ever.

It may sound callous to say it’s because the lack of financial incentive now compared to the 80s and 90s, since we’re all in this because we love music, but it was certainly easier to find band members when the general consensus was “This is an extremely competitive business, but if we work hard, there is some small chance that we could make a good living doing this.” After all, it takes money to live.

When you look at the possibility of taking several weeks off from a day job to go on a tour that might or might not even break even, and you may lose your day job in the process, it’s one hell of a risk to take. It’s an unreasonable risk. You literally have to be an unreasonable person to be dedicating your life to trying to make a living in the rock music business today. So, good luck trying to find reasonable band members. People used to take tremendous risks to make it in this business because the potential rewards of becoming rock stars were so great. Who becomes a rock star anymore? People look at the risk to reward ratio today and say it’s just not worth it.

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yeah its even weirder I guess when u look at it like me…which would be along the lines of “hey dudes, lets get together and write the best rock music ever, while still working our full time jobs” lol

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I had no intention of correcting my issues when I posted this thread
But maybe it was my subconscious telling me how dumb it was to handicap myself.

My amps are already in my room so I moved a drum stool in there and will force myself to do at least one session a day sitting upright and plugged in.

On another note I recently grabbed this crate and I can run through the ab box and hear both amps at the same time. The crate distorted and the vox clean.

It sounds suprisingly good.
I think the clean amp helps any clarity I lose on the distorted amp.

The fact that I have more speaker in play probably helps too.


Shizzle just got real.
My old pod is now running to the vox and It sounds really good doubled with the crate.

I guess more really is more

By the time it was done I had it sounding like crap. Vlol

I need to download the directions for the big line 6 floor board as its pretty confusing but at least I know it can sound good


I find that I have ‘mega sessions’ too, but like the Noa Kageyama interview suggests, my performance level doesn’t increase as much the next day. i’m interested in your 40 minute sessions, I’d love to read a write-up.

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My personal pet theory is that this is how Django developed his technique. We know from speaking to Ben Givan that before he went into the hospital he didn’t have it, and then when he came out, he did. Here’s more on that:

Imagine if you sat in a hospital bed with your arm slung over the body of a big acoustic, and it resulted in a supinated/flexed arm orientation. Because of this, you could easily play downstrokes and ascending sweeps. And if you only had two functional fingers on the left hand, and thus could mostly play even numbers of notes per string… Ta da!


If I ever were to get a non-instrumental band off the ground, I’d want to do it right… But, it would also come secondary to my full time job. There virtually no conceivable way I could make what I do from music that I do working my full time job from what I’ve heard about the music industry, short of, like, headlining arena tours, and even then, as a new band I’d probably get shafted there too. There’s just no money left in music anymore.

So, if I were ever to make a run at it in a proper band, my goal wouldn’t be to “make it,” exactly… but, just to dominate the local scene. Like, “If you want to see one band in Boston, this is the band you need to catch.” The odds of finding a group of like minded musicians, though - diciplined, hard working, but no aspirations beyond releasing albums and gigging locally and maybe a couple times a year all taking a day off and gigging out of the area, but nothing beyond that - who happen to be into the same kind of stuff as me is essentially nil.

So, I just do my own solo thing. It’s fun, I made a small amount of money off my first album, and I’m hoping to at least break even on the next. That’s enough for me.

yeah its so weird because there are a million people doing things sort of half ass. They are still schlepping gear around and all that type of thing and taking days off of work occasionally for gigs but it doesnt seem they are really into being great musicians

if they are having fun I guess more power to them

Wonderful theory!

It is corroborated by the only known video of Django:

Look at the way he plays for the first minute and a half! :scream:

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Ha! I’ve seen this before so it’s probably less of a coincidence than it sounds. Ben and I discuss this clip in the interview.

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That clip illustrates my problem pretty well.
His guitar balances.
Mine im clamping down with pick arm
Or supporting neck with fret hand.

Usually back n forth but never really free.
I need an acoustic or a big fat electric.
Pretty neat though