Bill Dutcher

I played a wonderful fundraiser event last week in Michigan with a great player/friend of mine named Duffy King, and we took the ‘typical request’ phenomenon to the extreme.  We dared the audience to try and stump us with requests.  The only thing was that they had to put $100 in the tip jar for each tune….All proceeds went to the fundraiser by the way.  Well, as the night went on the tables starting challenging each other and people were putting $1,000  in the jar for EACH request!  I think we had close to $9,000 by the end of the night.  We got stumped on “Lying Eyes” by The Eagles.  We both knew the chorus but could not peg the verse structure.  So Duffy gets his I-Phone, Google’s the lyrics and chords, Sets the phone on the music stand and we totally winged it!  At the end of every verse he quickly reached over and flicked the screen to the next verse.  This really got a laugh from the crowd, not to mention from us.  Talk about thinking quick on your feet!  So the next time your  put’on-the-spot’, keep that Droid phone within reach!

1.  When ever I fly to a gig I take pictures of whatever gear I’m bringing.  I type up a word document with make, models and serial numbers.  I put all the pictures and descriptions on a memory stick (portable flash drive) and keep it in my pocket.  If there’s any problem with theft or if your instrument shows up with damage, you’ve got documentation to show the airlines if you need to file a claim.  I STRONGLY recommend you research the policies and procedures of the airlines your flying as to instrument policies AND what are the weight and size limits.  When I fly with my harp guitar I always get hit for the over-sized, over-weight charge.

2.  Getting your guitar to the plane.  This is THE BEST scenario.  Remember TSA policies and procedures are NOT the same as the airlines.  Whenever possible carry your guitar to the plane.  You’ll most likely have it tagged and you’ll be asked to leave it at the door to the plane where all the strollers and wheelchairs are.  This is THE BEST way to do it in my opinion.  The instrument will be carried by hand from where you left it, to the baggage storage area of the plane.  When you arrive it will be brought back up and you can get it once you get off the plane.  This  bypasses any possibility of it getting mangled by the ‘baggage gorrilas’. NEVER, NEVER check your guitar at the kiosk or at curbside check-in, as long as it is not over-sized and overweight.  Depending on the capacity of the flight and the mood of the flight attendants you may be able to actually get it on the plane if it fits in the overheads.  Some people have luck with this if you have the guitar in a soft gig bag but this is NOT a sure thing.  You might have a full flight or the flight attendants are having a bad day, so in my opinion, bring it in a hard case.

3.  How to get your guitar through TSA:  I’ve had a few TSA agent ‘know-it-alls’ tell me, “Sir!, you’ll have to go back and check that guitar!”  “It’s not allowed through here!”  Well…Here’s your ‘golden ticket’ that is sure to shut them up!  Click the blue link.

TSA Carry On letter    Once Mr. know-it-all thinks he’s got you, smile and pull out this letter.  It’s from the President of the AMA to the President of the TSA confirming that musical instruments are cleared for carry-on.  I print two of them.  I keep one in the guitar case and one in my pocket.

3.  Keeping your guitar secure while waiting for your flight:  Here’s an inexpensive solution to securing your instrument while waiting for your flight.

I keep a bicycle chain/combination lock on my case handle.  That way I can lock it to the leg of the chair I’m sitting in and leave it there if I need to use the restroom.  Of course I ask someone next to me to watch it as your not supposed to leave unattended bags, but at least that person can say something if security walks up and asks.  I also lock it around the case before I leave it at the gate to be loaded on the plane.  Just an extra precaution.

4.  To loosen or not to loosen the strings:  This is a tough one.  Some people do and some don’t.  As long as the instrument is securely positioned in the case and does not shift back and forth inside the case in any way, you should be o.k.  I stuff a sock underneath the headstock and roll my strap up and stuff it next to the cut-a-way of the guitar.  That way it does not move.  What breaks the head stocks on guitars is if the instrument shifts around and suffers a fall.  Some say to loosen the strings messes with the set-up of the guitar and while flying in the cold baggage compartment, can effect the playability once you arrive and re-tune it.  If heard of situations were even after loosening the strings the headstock broke due to moving around in the case.

In closing:  There’s nothing more heartbreaking then a damaged or stolen instrument and if you follow these simple steps the chance of anything bad happening will be diminished!

The first thing I like to confirm are the details of the room.  If the client is calling you, find out how they heard of you.  If it’s from another venue be ready to send a thank you card to that person for the referral.

1.  How big is the stage or the performance area?  Is there adequate access to A/C power outlets and how far are they from where I’m playing?  It’s always good to bring along an extra 25-30 ft. extension cord.  I’ve had situations where I was told that there are A/C outlets on stage but I had one experience where the ice machine and coolers were on the same circuit!…Not cool when your playing a pretty, quite piece and a 60 cycle hum kicks in on the chorus!

2.  What time can I load-in and soundcheck?  Where do I park to load-in?  Who is my contact when I arrive to load-in?Is there CLEAR AND UNOBSTRUCTED access to the stage?  Are there stairs?  If so, how many?  Am I playing indoors or outdoors.  If I’m playing at night are there house lights?  Will there be patrons at the establishment when I arrive?  I’ve had situations where I’ve had to load-in during a lunch hour or dinner and was not able to do a full sound check.  In those situations I performed a line check (making sure signal was present for all instruments and mics with the volume off). 

3.  Security for your gear and instruments.  Will my equipment be safe if left unattended after sound check?  Will there be someone there to watch it?  If there is a Green Room? (A private room backstage for artists to hang out and prepare for the show).  Find out if it can be securely locked if you choose to leave your personal items and instruments in there if you leave the venue after load-in.  I always travel with two 8′x8′ pieces of black cloth that I use to drape over my pedal board and rack gear.  Just a precaution to keep any ‘curious eyes’ from possibly stealing f/x pedals and such.  If you travel with your own microphone take it off the stand after sound check and stash it somewhere safe!

4. P.A Gear:  Does the venue have sound gear?  If so, chances are it’s adequate for the room.  Do they provide a sound man?  If not bring a good pair of running shoes as you may be running back and forth from the stage to the soundboard when sound checking!…In other words give yourself plenty of time if this is the case.  Do they have monitors.  Some peoples perception of what sound gear is can be very different from what you think so verify make, models and how many!    If you bring your own gear ask what is the capacity of the room.  You’ll then know if your gear will fit the bill or if you need to bring more. Some rooms may request a tech rider and stage layout diagram asking for your requirements.  Have these ready!

5. After the gig:  Before hanging up the phone after you initially book the gig confirm with whom you need to talk with that night to get paid.  Is it cash or check?  Make sure they know who to make the check out to.  Are there ticket sales?  Who will be collecting at the door?  If there are ticket sales plan time to sit down with the manager of the venue that night to reconcile ticket sales and money brought in.  What’s the percentage and split if any of all monies brought in?  Some rooms will pay a flat guarantee, some will only do ticket sales, some might do combinations of both.  VERIFY this before hanging up the phone!  Now is a good time to tell them you’ll put all of this in writing and fax over a contract that confirms all details so there’s no confusion that night.  Make sure to bring a copy of the agreement with you if there are any discrepancies.  Some rooms will want to pay you a little bit later after the gig as they have responsibilities of shutting the venue down so use that time to strike your gear and get packed up, or meet and great with patrons and sell merchandise.  Some rooms will want to pay you right after your done.  If so, don’t waste time!  Find that person, get the money then bust-ass packing.  These people have families and want to get home.  If you enjoyed the gig  and the crowd went nuts and want to come back, now is the time to book a future date.  Whoever paid you, look that person straight in the eye, shake there hand thanking them and say, “I really enjoyed the show tonight and  received so many great compliments from your crowd.”  “You have a wonderful staff and I appreciate everyone here helping me with tonight’s show.”  Hand this person a business card and say, ” I’d love to come back. I’ll call (Contact name here) tomorrow and see what open dates are available.”

In closing; There are so many of us players that practice, practice, practice and yes, while we can have all the ’ chops from hell’ you have to have a smart business sense, charisma and personality that equally, if not supercedes, your playing ability.  I used to work in music retail sales and went to all these training seminars on how to sell.  I’m glad I did because I’m still using all those same ‘closing techniques’ on getting gigs.  The only difference is that the product I’m selling is ME and not a GUITAR!  Pick up a copy of Harry Friedman’s “No Thanks, Just Looking”…You’ll be glad you did.

The more I play the more I try to see how ‘scaled down’ I can make my equipment.  I’m waiting for the day when they can put all this great technology into a package the size of a soup can!

I travel with a road case that has all my pedal, cables and such in it and I always travel with a big roll of black ‘stage tape’…Keep in mind it’s not the typical grey-colored duct tape we all see at the local hardware store.  That stuff leaves a nasty residue on anything it touches.  Stage tape is more of a cloth based material and leaves no residue on stages or gear.  Most music stores should be able to get it.

The problem is that I don’t seem to have room to keep the whole roll in my case so……Tear off a few long pieces and stick it on the top back or sides of your guitar case.  You can tear off as much as you need for any ‘in-the-field” repair you come across.  This has saved my rear more than once…as well as a few friends!

Check them out!

I’ve played a few rooms that had elevated stages that had wood plank flooring and as fate would have it I broke a string in the middle of a song and the bridge pin popped out of the guitar and fell between the cracks of the stage and was forever lost!  Sure I had strings but…uhh….another bridge pin????

Here’s the tip of the week!!! (See picture)

Take some stage tape and tape an extra bridge pin to the front of your guitar strap near the end that connects to the heel of the guitar.  If you break a string and you hear a richocet off in the dark…good luck finding the bridge pin!  At least you know you have a back-up and if your thinking like me….You have an extra set of strings within reach.  You can have all the chops in the world and the best gear, but are you truly prepared for ANY situation?

Break it down into segments.  Start with the first four bars and play it for 5-10 minutes without stopping.  I CANNOT stress how important it is to use a metronome.  Start slow.  Play the four bars for 5-10 minutes.  Then move on to the next four bars.  Play for 5-10 minutes .  Now start over and play bars 1-8 and play for 5 minutes.  Then repeat this process for the next 8 bars.  Then play all 16 bars…and so on and so on.  It’s like you build a foundation and keep building your pyramid.  After you have done this with the “A” section take a little break…Don’t want any carpel tunnel here!

Now, whatever the tempo of the piece is cut it in half.  Now play the “A” section until you can play it all the way through with no mistakes.  Put that away for the day and start the next day with the “B” section using the techniques explained above.  Repeat this whole process for any additional sections until the song is completed.

Once you have the whole song down at half time it’s time to start increasing the tempo.  You may find that there are sections that you may miss.  Isolate that section and reduce the tempo of that section until you can play it with no mistakes.  Whatever that tempo is, start over playing the whole section at that tempo until it’s perfect.  Repeat this process until your at the desired tempo.

This continued repetition will ‘engrain’ the tune into your brain and muscle-memory will take over and you’ll be surprised at the confidence you’ll exhibit while playing…So build that pyramid!

Try using setting in the 50ms to 80ms range.  Pre-delay determines the amount of time it takes for the reveb effect to kick in.  It makes it sound as if the guitar is more in front of you or ‘in your face’ while this huge reverb sound is way off in the distance.  Without it the guitar can sound a little muddy, but if that’s what your going for do it!  Some rack mount units have lo-cut and hi-cut filters.  When using big room reverb sounds trying using the lo-cut filter.  It limits how much of the low-end signal is processed by the effect and can reduce rumble and low-end feedback.  When using the hi-cut it can take off the harshness to the signal and give more clarity to the upper register notes as you play.  Start twisting knobs and see what you come up with!