Partial Capo Versus Alternate Tuning

I have to admit, until maybe a few years ago, I had never played around with any kind of partial capo. I didn’t have a specific reason for not looking into how useful it would be for my own music, I just never felt drawn to it. In some ways, I was also not pulled towards alternate tunings, albeit for a different set of reasons. Two sides of the same coin? Maybe. Both a partial capo and alternate tunings change your relationship to the guitar and, until relatively recently, that wasn’t something I was super interested in. Probably that has a lot to do with my training on the guitar (read classical and jazz) and how I vastly prefer to know the fretboard as well as I can.

Now before I go on, if you’re reading this and new to the world of guitars and guitar accessories, what the heck is a partial capo anyways? Partial capos are a subset of capos. See, cleared that right up, eh? Now seriously, partial capos work just like any other kind of capo in that they clamp onto the neck of the guitar and raise the pitch of a string or strings. Where a partial capo differs from a standard capo is that a partial capo allows certain strings to not be clamped down. A partial capo allows some strings to have their pitch raised and others to perform and sound in their “normal” unaltered state. I use a SpiderCapo for the times I want to use a partial capo and it allows me to capo each of the six strings individually.

So why did I get interested in partial capos? For a lot of things artistic for me, I can’t truly point to a single reason. I’ve been moving towards incorporating folks elements in my music for quite some time and open tunings play a role in some of that music. And then a friend online suggested trying out a partial capo. Seemed like a good match — I could get some of the open tuning sound I wanted and still retain my knowledge of the fretboard.

The partial capo certainly has opened up new sounds and colours for me. It’s pushed me to think differently about the guitar and challenged some of my preconceptions. But it hasn’t become an all or nothing type of thing. I still play in standard tuning without any kind of capo most of the time. I still use an old “regular” capo as well. The partial capo has just increased the number of possibilities for me as a player and as a writer and I sure am happy I found it.

“To Feel the Music” by Neil Young and Phil Baker

I love the meeting point between music, technology and business. And I also have a soft spot for people and companies that pursue quality. So “To Feel the Music” by Neil Young and Phil Baker brilliantly checks off many of my reading interests. The book takes you on a somewhat out of control odyssey primarily detailing the creation and eventual demise of the high resolution audio player Pono. But the genesis of the device and the core of the book is what matters most.

For Neil Young, Phil Baker and the Pono team sound quality was the philosophical and business driver. It’s what informed the entire project and it’s also what ultimately drove the company out of business. The challenge for Pono was three fold. First there was educating the consumer as to what high resolution audio is and why they would want it. Second, the technical hurdle of building not only a physical player but also a distribution system in the form of a dedicated website. And third, convincing record companies that the pricing of high resolution audio should be similar or equal to the cost of compressed audio formats. None of these elements are what one would call a breeze to achieve.

I probably should add another massive mountain that Pono had to climb. Money. As the book details, product development is not cheap and at pretty much every step Pono was hunting for capital. To say it was an uphill battle would be an understatement. Just about every setback you could think of, they encountered — from personnel to engineering to finally losing their dedicated distribution website. All of these setbacks were costly and in the end lead to the demise of Pono.

Was it a worthwhile effort? On the business side, Pono burned through a whole bunch of cash and are no longer in business, which obviously isn’t a good thing. But from a purely audio quality and art perspective, I would say absolutely Pono did what they set out to do. Recordings should sound the best they possibly can and compressed audio doesn’t do that. There’s the argument that the consumer simply wants more songs and not better sounding songs, but why can’t they have both? Computing horsepower and bandwidth are not the limiting factor they were even in the recent past. If you can stream high definition video you certainly can stream high resolution audio. And that’s exactly what the Neil Young Archives are doing right now. My hope is that the large labels and streaming companies will follow in Pono and Neil Young’s footsteps and give listeners a chance “To Feel the Music”.

New Acoustic Pedal Board

Acoustic Pedal Board (2019)

Put together a new acoustic pedal board yesterday.  Pretty much in line with my ongoing quest to simplify/streamline my gear, this board is even more refined than my previous one.  Just four pedals (Radial StageBug, TC Electronic Polytune 2, Mooer Radar with IR from 3 Sigma Audio and a TC Electronic Hall of Fame) all mounted on an Outlaw Effects Nomad Rechargeable Powered Pedal Board.  It’s light, battery powered and most importantly, sounds amazing!

“Who Said It Was Easy?” – Nominated for “Best Instrumental – Acoustic Album” (2019 ZMR Awards)

Pleased as punch that my new album, “Who Said It Was Easy?” has been nominated for “Best Instrumental – Acoustic Album” for the 2019 ZMR Awards!  As the album title alludes, this was a tough record to make, so I’m particularly grateful for the nod.  Thanks to ZMR for the nomination and best wishes to the other nominees!

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