Unlike a magnetic pickup, which translates the vibrations of the guitar strings into electronic sound, a contact microphone senses audio vibrations through direct contact with an object. The contact mic can be a boon for the modern guitarist, as a way of allowing direct translation of body vibrations, or amplifying the sound of picking behind the bridge or nut in a more direct way.
I recently decided that one of the culprits responsible for my back problems was the cheap office chair in which I spent way too many hours. Considering how long I spent practicing and playing guitar, writing articles, watching videos and movies, recording, etc. it was apparent I needed a better chair. When I got an email about a chair Carl Tatz was marketing, it looked promising, not just for the audio engineering purposes for which it was designed, but for all of the above as well. I reached out to Carl and he had one sent me for review. Here is what I found.
When I interviewed Scott Henderson for Guitar Player, we had a great conversation that resulted in way too many words for the space allotted. I decided to concentrate on his playing and gear for the GP piece and cut out the parts that dealt with recording specifics. It is great information for any guitarist who wants better studio sound, so I am posting it in Guitar Moderne.
The pugnacious title did not bode well; leading me to expect a collection of “hey you kids, get off my lawn” screeds about the sorry state of today’s music and music business. I should have paid more attention to the subtitle: The Search for Balance in the Art, Technology, and Commerce of Music.
While the quality of writing varies from a cutesy rambling gumshoe parody to Will Ackerman’s terse summing up of the recording industry’s past and possible future, editor David Flitner has, in fact, assembled a well balanced, readable picture of the current state of the art and business of music.