Tweed Couch Guitar Therapy Session

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.