Tweed Couch Guitar Therapy Session

I love going to guitar shops. It's fun to go, enjoy, play, and experience what is out on the market. I cannot think of a single shop I go to that doesn't have at least 1 guitar that inspires me when I pick it up. Of course this is usually out of a selection of 50 to 1000 guitars of my choosing because I am right handed. My buddies Barber and Swags are a different story because they are lefties. This is why I’ve offered to take either of them on a roadtrip to Houston, TX to shop at South Paw Guitars. A guitar sanctuary solely dedicated to stocking high quality left handed instruments.But how far is it to Houston? Did we make any stops along the way? Why are we looking for a new guitar? Should you trade in the old one? How quickly can you bond with a new piece of gear? Can it make you play better? What does Guitar Hero have to do with all of this? Can you put a right handed guitar in a left handed case? And he didn’t choose lefty… lefty chose him. Well we will discuss this, and more on this group therapy session with Swags, on the Tweed Couch.

If you have been listening to the podcast for a while then you know that each year my family and I head up to Oshkosh, WI to run what, I understand to be, the largest Christian Music Festival in the world. Of course, each year is filled with new stories about artists, staff, volunteers, setup, tear down, shenanigans, and the awesome gear we see!But what could actually go wrong? Could an artist lose all of their gear on a flight? How quickly can we get a sound system set up? Where can we find a balloon for Jason Gray? How did we go from Zombies to Mermaids in 3 acts? What does wheels to Jesus mean? How much time did Owen spend talking with artists talking about gear? Why on earth do we need a DVD player? Did Owen fall out of a cart? How does our tired stage production leprechaun like to load a trailer? And dead carcasses… should it be a festival souvenir?Well we will discuss this, and more on this group therapy session with Owen & Eli, on the Tweed Couch.

A few months ago I went on a quest to find the perfect PRS DGT. I took my 17 year-old cork sniffer along and was incredibly surprised by the outcomes and results. While we planned to make this podcast about our tonal quest, our plans changed when our local guitar shop (Tone Shop Guitars) sent an invite to a free David Grissom clinic. The stars aligned and we waited to meet the man behind the guitars and amps, hear the stories, and become reinspired all over again…But did we learn anything from David Grissom? Which hand is more important with regards to technique? What about tone… did he develop it playing live or in the studio? Can we really buy the amp he actually plays? Did we go home with any PRS DGT gear? Do we have any validations or real take-aways from his wisdom? Which is better… the core or the SE model? And boundaries… did Owen really manhandle David’s #1 guitar without him knowing?Well we will discuss this, and more on this group therapy session with Owen, on the Tweed Couch.

I remember seeing the Edge and James Hetfield with an Explorer. Billy Gibbons and Jimi Hendrix with a Flying V. Johnny Winter and Allen Collins with a Firebird… Such fascinating tones from such fascinating players. Of course I wouldn’t call these guitars traditional by any stretch of the imagination. Simply put… they look awkward, clunky, and like something out of a sci-fi movie. That said… I currently own the Gibson versions of an Explorer… Flying V… and Firebird… and they are probably some of the best sounding guitars I own.But… Why did these guitars fail early in production? Were they before their time? What keeps them from being popular now? Are they built any different than a Les Paul?  Do they have a unique sound? What artists are using them? Are they worth having in a guitar collection? Can they be a guitar players #1? And size… Do they fit in the trunk of my car?Well we will discuss this, and more on this group therapy session with Barber, on the Tweed Couch.

Nothing can beat a charismatic frontman. Then again, there are some Side Players that give them a run for their money. I mean… who is Bono without Edge? Freddie Mercury without Brian May? Roth or Haggar without Eddie Van Halen? Robert Plant without Jimmy Page? Anthony Kiedis without John Frusciante? Bon Scott or Brian Johnson without Angus & Malcolm? Or Mick Jagger without Keith Richards.Of course I would be remiss not to mention the few charismatic Frontmen that are also ripping guitarists. Like Brad Paisley, Keith Urban, John Mayer, Jimi Hendrix, Either of the Vaughn Brothers, Derek Trucks, Prince, Eric Clapton, Chet Atkins, Mark Knopfler, Vince Gill… and lets just say ALL of the Kings.But which is it better to be, a Frontman or a Side Player? Can you be both? Which carries more stress? Which carries more fame? Does one roll have more significance than the other? Who has the bigger influence on the sound? If we could give some advice, what would it be? When I think of a band, which member  comes to mind? And… job security… did I just get fired?Well we will discuss this, and more on this group therapy session with Lloyd, on the Tweed Couch.

I am fortunate enough to live in an area that not only has amazing guitar shops, but 1-2 times a year guitar shops from around the nation will come to buy, sell, trade, and showcase musical gear all under 1 roof. Occasionally you’ll see a celebrity. Get a chance to listen to some live music. And possibly touch a true holy grail piece. I grew up going to these shows and now I get to take my own children.Of course this may sound like heaven but I assure you it has its downfalls. High prices, loud rooms, tiny isles, and sensory overload can leave you drained and exhausted after just an hour. But… What exactly is a guitar show? Does it cost anything to attend? How is it different from going to a guitar shop? Can you play the instruments? What kind of people do you find there? Is there anything worth buying? How many guitar shops make it? Do the vendors even have to be about guitar gear? What would you buy if you had the money? Do they have special deals? And Les Paul’s… ya… they weren't around in 1886.Well we will discuss this, and more on this group therapy session with Owen my 17 year old cork sniffer, on the Tweed Couch.

This has been a fun annual event to do each year. I enjoy the anticipation, the fun in the forums, and the chance to get something I normally would not pick out myself. I would also say that I am a consumer of Premier Guitar’s content and for me this is a small way to support what they do. Of course, not all people feel this way. Many believe it to be a disgrace and an irresponsible way to spend money. Some think it would be better to give the money to charity, some say it's better to support local businesses, and others just don’t like the concept. But what potential prizes are there this year? How big are our boxes? Which Tweed Couch co-hosts participated? What did we get in previous years? What did we get this year? Who got the biggest Box of Sad? Can we return it? What is the deal with the GloKnob? And… next year… are we doing it again or is it time to do something else? Well we will discuss this, and more on this group therapy session with Jason, on the Tweed Couch.

As you just heard in the intro, Jason is now a licensed therapist in Texas. Although this podcast has never been about true scientific therapy and the advice here was never meant to treat anything but an entertainment deficiency.  My hope was always that you left here encouraged, happier, and motivated to be a better person and musician… then in which you came. And all of this at no charge. Which is why I always ask for a like and subscribe on the YouTube Channel and podcast platform. It’s a free way to support this free to you content. But back to “Guitar Player or Collector”. Of course I also realize that I’m no guru and definitely no saint… I have my own therapy that is needed on something I have wrestled with for a years. You see, I love the guitar. I love playing, touring, talking, tweeking, and owning guitars. After 3 decades of playing I have also accumulated… guitars, pedals, amps, cables, picks, parts, etc… etc… etc… So this left me with the question… Am I a guitar Player or Collector? And thankfully Jason is licensed and ready to help me… kinda.  But… What makes a player a player? What makes a collector a collector? Could you be both? What draws some to purchase music gear? Are we slaves to subliminal marketing? Should we feel guilty about owning so much? What about pedals and amps… can we collect them too? When is enough… enough? And Quizzes… get your pencil and paper ready because we are about to  assess you as a Player or Collector too. And we will discuss this, and more on this group therapy session with Jason, on the Tweed Couch.

We all have passions. When I was a kid I loved playing sports and collecting baseball and football cards. As a young adult I was into playing guitar and music. Now as a middle age adult I love being with my wife and kids. Teaching and learning. Being in the music industry. And obviously I love collecting, playing, and fixing guitars.  Of course not all of these things can make us money. And if I’m honest, generally speaking, none of these things are going to make you filthy rich on its own.  But how do we turn passion into a paycheck? Is it worth it to even try? What about burnout? Can there be too much of a good thing? What sacrifices need to be made? Do I need a side hustle? And venn diagrams… can we really use a visual aid on a podcast? Well we will discuss this, and more on this group therapy session with John, on the Tweed Couch.

Back in 1954, Leo Fender once again created a guitar that would revolutionize popular music. Although many changes have occurred over the last 7 decades… at the heart of it… the Stratocaster is still just as revolutionary today as it was back then. Of course it has been a long journey since then. In 1965 the headstock was enlarged. In 1971 the 3 bolt neck began. In 1977 the 5 way switch became the stock design. In 1982 they began releasing Squier versions. In 1985 Japanese Strats started getting a humbucker in the bridge. In 1997 the US made, double humbucker, “Big Apple” Strat was created… and the story goes on and on and on. But… what makes a strat a strat? Should we call similar designs an S-style guitar? Which is better, rosewood or maple fretboards? Can you call it a strat if it has humbuckers? What about a 5 switch? Should the tremolo be floating? Why do they call it a tremolo if its really a vibrotol? Is it really a strat if its a hardtail? What mods are worth the time? And sounds… what or should I say who makes the best “strat tone”?  Well we will discuss this, and more on this group therapy session with Chris, on the Tweed Couch.

Every year I talk about how this festival feels like a family reunion and this year was no exception. It’s not just because I get to see my normal Tweed Couch Buddies and not just because I get to perform music with my bandmates. It is because of the bond we share because of our desire to see this Christ centered event be successful. Of course, much like a family working together. There are plenty of stories, frustrations, laughter, sweat, blood, and tears as the event goes on… oh and a fair amount of shenanigans too. But what bands played this year at Lifest? Did they use real amps? Who is Lord Meniscus? Why was I called “The Rabbit”? What is a guitar vault? Can you decorate them? Did my 12 year-old get to drive? Did my 16 year old help run the main stage? Did the Newsboys really go on without Michael Tait or Peter Furler? Are big name artists actually nice people? And rain… did lightning really nearly strike a stage? Well we will discuss this, and more on this group therapy session with Owen & Eli, on the Tweed Couch.

There is something cool about the delay effect on guitar. Sometimes you need a little to add size. Sometimes you need a lot to add texture. Sometimes you need to go backwards or wobbly to do something completely different.  Of course delay isn’t perfect… and it could cover your sloppy playing but really… when done right… It's one of the best ways to sculpt your style and create a tasty tone.  But… who uses delay best? Is it the same as reverb? What do the knobs do? Does it have to be a pedal? Who makes the best pedal? I get ⅛ and ¼ note… but what does dotted and triplet do? Can I leave it on all the time? And… tap tempo… is it a must? Well we will discuss this, and more on this group therapy session with Barber, on the Tweed Couch.

There is a reason why we fall in love with the tones of songs from decades ago. The player, the phrasing, the technique, the gear. All of this ignites and inspires a guitar player. Of course that gear has become harder and harder to obtain as time goes on. Plexi’s to JCM’s. Tweed to Silverface. Burst Les Paul to Korina Explorer. Pre-CBS Tele to Grunge Jagstang. If you want the real deal you will have to pay for it… if you don’t mind a newer reissue. then there might still be hope. But… Are reissues the same as the original? Do they cost more? Why would people want the old model? Should you pay more to have it intentionally beat up? What is a clone? Is it better than a reissue? Who does them right? Who does them wrong? Does weight play a factor? What about the finish? Is time on its side? Who are reissues marketed for? And the automobile industry… when are you going to jump on board? Well we will discuss this, and more on this group therapy session with Lloyd, on the Tweed Couch.

Some trade their gear in and trade up. Others sell their unwanted stuff off to finance other endeavors. Some feel the clutter and just want to regain space and sanity.  Of course you never know if you might need that gear again. And most of the time, selling it off is actually more of a hassle than it's worth. Then again the ROI is often lower and you’ll never be able to buy it back for what you sold it for. Add that up to the memories you’ve created with the stuff and you might just be better off keeping it or giving it to a budding new musician.  But what gear do we currently have that goes unused? Is there a reason for holding on this long? If we did sell it then where would we do it? Would I have to deal with taxes and shipping? Have we ever given gear away? Can I justify buying more? What’s a tire kicker? Is there a reason to hold on? How has the market looked since the pandemic? And… Skeleton’s in the Closet… Did Barber really forget that he owned two guitars sitting in a closet until this podcast? Well we will discuss this, and more on this group therapy session with Barber, on the Tweed Couch.

Some love them. Some hate them. Those that feel the love appreciate the history, tone, feel, and inspiration these guitars embody. Those that feel the hate. Disapprove of the hype and blinded devotion to a flawed guitar design  that reeks of terrible tuning stability, inferior quality control, headstock breakage, high price, and heavy weight. Of course these are a few examples of the extremes based on the guitars. Add in the sketchy corporate decisions that has led the company to bankruptcy more than once the acquisition of “non-guitar related businesses”, the lawsuits brought down on other popular brands, the campaign to “Play Authentic” and license the use of the guitars or else, and… ugh… the destruction of hundreds of firebird X guitars by an excavator… ya… they said they were “unfixable”... sure… But why do people love Gibson guitars? Does it count if it's an Epiphone? Is Custom Shop really that much better? How are the acoustics? Is the weight really a problem? What's a pancake body? Does more price really get you more guitar? How many do Jason and I own? Were the robot tuners really that bad? What is neck dive? Should a Gibson cost more than a Fender? And… Ted McCarty… the man that is still saving the company today. Well we will discuss this, and more on this group therapy session with Jason, on the Tweed Couch.

I’ve used inear monitors for over 20 years and floor wedges for even longer. Although there is a huge price difference between these two. Depending on the venue or concert you are playing, there is definitely a clear winner.  Of course a great mix with great musicians makes all the difference when it comes to the experience of the show. On top of that, everyone has a preference that suits their needs, style, and comfort level. But is it okay to get budget level monitors? What options do I have? Can I control my own mix? Do I need to do the same thing as the rest of the band? Should I get custom molded inears? Is it okay to switch from one type to the other? Do I even have to have a monitor? And monitor mixes, iif I can’t hear something is the answer to just make it louder?  Well we will discuss this, and more on this group therapy session with John, on the Tweed Couch.

By now we all know that I love Marshall amplifiers but I also love my Fender and my Vox. Of course boutique amplifiers are incredible too and I’ve really enjoyed my Dr. Z, Clark, and Mesa amps. Then there’s Lloyd with his Saldono, Reason and Naylor… and Jason’s Carr… So many… But what amps do we need? Why would we need more than one? Is every amp competing with Fender? What classifies something as a bedroom amp? How does wattage factor in? What if we take modeler’s off the table for discussion? How do you decide what’s essential? Does nostalgia matter? Are Dumble amps even all that special? Can I narrow it down to just one amp? And half stacks… who are they really for? Well we will discuss this, and more on this group therapy session with Lloyd, on the Tweed Couch.

My first overdrive was a tube screamer circuit. It turned my solid state amp into a broken up tone machine. A few years later I went with a tube amp, and although I could get it driven, nothing beat the tones I got with an overdrive pushing the front end.  Of course tone is subjective. Some love the colors an EQ or clipping can give.  Others prefer something more transparent or with a slight bump in a certain frequency. Either way, overdrives are necessary and overdrives are inspirational. But which overdrive is king? Do they all sound the same? Why would you want more than one? Does the price matter? How many is too many? Is a fuzz considered an overdrive? Which should I try? Is there anything original out there? And Robert Keeley… What does he have to do with all this? Well we will discuss this, and more on this group therapy session with Lloyd, on the Tweed Couch.

I’ve seen the gear reviews. I’ve joined the Facebook fan pages. I’ve updated and updated and updated software. I have captured with it. I’ve owned it for about three years and use it at least twice a week in a live setting. So I guess it's time I finally talk about it. Of course it's pretty amazing but I wouldn’t call it perfect. Being a beta tester for the last three years has only proven that there is room for growth. On top of that there have been new modelers that have come out since, that do very similar things. But… Does it really sound like the amp? Does it really sound like the drive pedal? What gear did it replace? How do I use it live? Can I run a vocal through it? Can I use 2 guitars through it at the same time? Why did Fender make a modeler? Why did kemper make a smaller modeler? And soon… what in the world does that mean?  Well we will discuss this, and more on this group therapy session with Barber, on the Tweed Couch.

Drummers are awesome. Their ability to use every limb of their body to create syncopation and energy is astounding. A seasoned drummer with finesse and dynamics can take a song from meh to amazing! Of course they do have their quirks and downfalls to us guitar/vocalists. Their high volume and massive footprint create such a confined space in a mix and on a stage that it is easy to become annoyed… but then again we aren’t perfect either. Our quest for perfect tones and tendency to push tempo can drive a drummer to their breaking point. We noodle, we tune and retune, we switch out gear, we sometimes use their gear as a platform to jump off of… I mean… I can see we have our issues too. But what are the drummer's pet peeves about guitar players? Do we even care? What are the guitar players' pet peeves about a drummer? Do they even care? Could we have the same issues with each other? Is it okay to tell them to stop it? Are these issues even solvable? And… collections… John said he owns how many drum sets and how many guitars? Well we will discuss this, and more on this group therapy session with John, on the Tweed Couch.