Welcome to, "Figure it Out Fridays - Lesson 018," the unique Ear Training Guitar Lesson on YouTube.
The focus of these lessons will be to study how to transcribe, (learn by ear), a new guitar melody or a chord progression every week...
Musical ideas are released on Tuesday's, with the Music and TAB's released that same week on Friday. Do your best on the days in between to learn the musical parts. Then, be sure to check out the "Part Two" video to learn exactly how the musical idea operates. Enjoy, and good luck transcribing!
When discussing musical performance, the topic of confidence is brought up often. From an audience perspective, a confident performer is a good performer, but how much does this quality have an effect on musical ability?
Some musicians may go into a performance feeling certain that they will play their best. Others tend to struggle with doubt and anxiety long before even showing up to the venue. Now, this doesn't make the second group of musicians any worse at their job, although it might make it more difficult.
Confidence will not guarantee success, nor will it guarantee failure. However, it won't hurt to have a little bit stored away in your arsenal. Before delving into the scientific reasons why confidence can help a performer, it's important to first understand a few misconceptions.
The confidence delusion
Confidence gets a lot of attention in music circles, and for good reason. You always hear that confidence breeds success, and even just by faking it you can "make it" in the industry. While there's some truth to that, many people tend to be quite delusional about it.
For one, confidence is not this unobtainable quality that only a few chosen ones are born with. Confidence is something that we have the power to change. We have a great deal of control over the levels of self-confidence we want to exhibit. It's not just a character trait.
Additionally, some believe confidence can only be built with continued success or positive feedback. That can help, but confidence can be built through experiencing failure and mistakes as well. In fact, some of the best methods of becoming more confident lie in failure. Failure can be a powerful tool of inspiration that ignites a certain drive in a musician.
The necessity of confidence is one of the largest delusions in the music industry. Many musicians, both famous and unknown, suffer from heavy loads of insecurities and doubt. Some have become experts at hiding it, but inside, they believe they are not as talented as they perceive to be.
So for those worrying if your lack of confidence will destroy your career as a musician, don't worry about it. You can succeed with doubt and still master your instrument without much confidence at all. That being said, a little bump in confidence can make performing easier.
The science of confidence
Confidence isn't necessary, but you still might want it. That's both understandable and obtainable.
There are certain methods that can help you become a confident performer. Among psychologists, one of the most popular methods to become more confident is mastering introspection. Introspection, or self-talk, is essentially the inner dialogue we all have with ourselves throughout the day. You're not crazy for talking to yourself; it's completely natural.
You know the voice all too well. It's the one that curses you out when you hit your head on the cabinet, the one that reminds you to get eggs at the grocery store, and the one that silently judges passengers on the subway. Some may take this a step further and actually talk to themselves out loud, while others keep it private. However you talk to yourself, it's important to realize that this voice can be helpful.
People tend to listen to themselves and actually believe the things we say over what other people say. By constantly telling yourself that you're a horrible failure and will never be a good musician, you'll start to believe it. Not only will you believe it, but you'll begin to physically respond to this negativity and become the failure from your thoughts. This is how confidence is destroyed. However, using this same method in a different way, confidence can be restored through positive self-talk.
Taking control of your mind to become a better performer
The mind is a powerful entity, but it can still be controlled. If you want to up your confidence game and potentially increase your musical ability, you must take control of your thoughts and believe these things can happen. To do this, you first have to weed out the negative or unnecessary thoughts in the brain.
A great deal of inner dialogue involves meaningless topics. Perhaps you're thinking what to eat before a gig, how your clothes look onstage, or about how bad you played last night. This kind of dialogue takes up valuable space in the brain – space that could be put to better use.
As powerful as the brain is, it has limitations. There's only so much you can think about at once. Using this logic, it's important to try to fill the brain with only certain sets of information that will be helpful to your performance. Think of it like strategically loading the van so everything fits just right, or budgeting your income over a tour. You (hopefully) wouldn't waste money on pointless things while on the road, so why should you waste brain space on pointless thoughts?
What does any of this have to do with becoming a better musician? Music is not just about mastering the musical side of your craft, just as it's not solely about mastering the mental side. You shouldn't put off practicing your instrument in favor of positive thinking but instead, try combining the two.
As mentioned earlier, confidence isn't essential to becoming a superior performer, but there is a common trend between "winners" and positivity. According to social psychologist Barbara Frederickson, there's a positivity ratio. She states that people who experience positive feelings in a three-to-one ratio to negative emotions will ultimately come to a tipping point. At this tipping point, many find that they become more confident and less susceptible to failure.
Who would have thought that "fake it 'til you make it" actually works?
Anthony Cerullo is a nomadic freelance writer and keyboard player. In his spare time, he can be found reading, hiking mountains, and lying in hammocks for extended periods of time.
On Jeff Beck’s new studio album, Loud Hailer, his first in six years, the guitarist combines fluid fretwork with topical lyrics to make a powerful statement about everything from the love of power, to the power of love.
Loud Hailer is available now on Atco Records, an imprint of Rhino Entertainment on CD, LP and digitally. Loud Hailer, which is another name for a megaphone, is a suitable moniker for an album that isn’t shy about speaking its mind. The two-time Rock and Roll Hall of Famer explains: “I really wanted to make a statement about some of the nasty things I see going on in the world today, and I loved the idea of being at a rally and using this loud device to shout my point of view.”
To help him write the 11 tracks on Loud Hailer, Beck enlisted two fierce young females from London: singer Rosie Bones and guitarist Carmen Vandenberg. It was a chance meeting with Vandenberg last year at a birthday party for Queen drummer Roger Taylor that eventually led to the trio’s collaboration. “She invited me to one of their shows, and I was blown away,” the guitarist recalls. “When we got together in January, I explained the subject matter I had in mind, we sat down by the fire with a crate of Prosecco and got right to it. The songs came together very quickly; five in three days.”
Beck produced Loud Hailer with Filippo Cimatti, who also works with Rosie and Carmen. In addition to the core trio, the album also features drummer Davide Sollazzi and bassist Giovanni Pallotti, who were both recruited by Cimatti.
Bones lends her powerful voice to nine of the 11 songs on Loud Hailer, including the intense album opener “The Revolution Will Be Televised,” the reflective ballad “Scared for the Children,” the funk infused “O.I.L.” and the tranquil album closer “Shrine.” The album is rounded out by two signature Beck instrumentals in “Pull It” and “Edna.”
A few days after the album’s release, Beck will launch a summer tour of the U.S. with blues legend Buddy Guy. And on August 10, Beck, with special guests to be announced shortly, will make his Hollywood Bowl debut for a very special, career-spanning concert that celebrate 50 years of ‘dynamic music making.’ “It will be head teacher Beck in a gown and mortar board in front of the class giving everyone a history lesson,” he jokes. The show will also include an orchestra.
Over the course of Beck’s illustrious 50-year career, the trailblazing guitarist has earned many accolades. He has twice been inducted into the Rock and Roll Hall of Fame. First, as a member of the Yardbirds in 1992 and then again, as a solo artist, in 2009. Rolling Stone ranked him as one of the “100 Greatest Guitarists of All Time” and he has earned a total of eight Grammy Awards during his long career. In addition, Beck has been a guest performer at scores of sessions with everyone from Stevie Wonder and Buddy Guy to Tina Turner and Mick Jagger. Throughout his career, Beck routinely makes the fantastically difficult sound effortless.
In addition to recording Loud Hailer, Beck has been hard at work on his first official book, BECK01 (Genesis Publications, jeffbeckbook.com). Available now, this signed, limited-edition book explores Beck’s passions for hot rodding and rock and roll.
Inspired by the sleek curves, luxurious finish and iconic imagery of the hot rods he builds, BECK01 is hand-bound in leather and aluminum with every book numbered and personally signed by the author, Jeff Beck. The guitarist’s handpicked selection of more than 400 rare and unseen photographs and items of memorabilia is narrated with an original manuscript of nearly 20,000 words, making BECK01 the definitive visual and historical record of the dynamic musician. Included is an eloquent forward by John McLaughlin that begins, “Jeff Beck is my all-time favourite guitarist, what do I say after that?” Indeed.
Loud Hailer Track Listing:
1. “The Revolution Will Be Televised” 2. “Live in the Dark” 3. “Pull It” 4. “Thugs Club” 5. “Scared for the Children” 6. “Right Now” 7. “Shame” 8. “Edna” 9. “The Ballad of the Jersey Wives” 10. “O.I.L.” 11. “Shrine”
Jeff Beck Summer Tour w/Buddy Guy (*except where noted below):
July 20 Theater at Madison Square Garden - New York, NY July 22 Foxwoods Resort Casino - Mashantucket, CT * July 23 Borgata Spa & Resort Even Center - Atlantic City, NJ July 24 Sands Bethlehem Event Center - Bethlehem, PA July 26 PNC Bank Arts Center - Holmdel, NJ July 27 Wolf Trap - Vienna, VA July 29 Constellation Brands – Marvin Sands Arts Center - Canandaigua, NY July 30 Meadow Brook - Rochester Hills, MI July 31 Ravinia Festival - Highland Park, IL August 3 Ascend Amphitheatre - Nashville, TN August 5 Starlight Theatre - Kansas City, MO August 7 Fiddler’s Green Amphitheatre - Englewood, CO August 10 Hollywood Bowl - Los Angeles, CA August 11 Chumash Casino - Santa Ynez, CA * August 12 Pala Casino - Pala, CA August 14 Mountain Winery - Saratoga, CA * August 16 Masonic Auditorium - San Francisco, CA August 17 Luther Burbank Center for the Arts - Santa Rosa, CA * August 18 Jackson Rancheria Casino Hotel - Jackson, CA August 20 Maryhill Winery - Goldendale, WA August 21 Woodland Park Zoo Amphitheater - Seattle, WA * More dates TBA | *Jeff Beck ONLY on these dates | **All dates on sale now, with the exception of Saratoga, CA: On sale TBA For more on Jeff Beck, visit facebook.com/jeffbeck.
How to create lush sounds using open strings in chords outside of the open position...
If there’s one thing I’ve heard guitar students say over and over again, it’s that they love guitar and can’t wait to practice every single day of the week until they lose feeling in their fingers. But if there’s a second thing I’ve heard from guitar players, it’s that they feel trapped inside the patterns and shapes that they know and want to try and break free from them to feel more fluid on the neck. So let’s look at some ways to address the issue of fretboard confinement.
Most beginners learn their open chords before anything else. We can use the pitches of the open strings in chords outside of the standard major, minor, or dominant 7 set that most learn to create lush, dense sounds that are truly characteristic of the guitar itself. In this set of open-string chords, there are going to be some shapes that you may have seen before and others that you have not. We will be talking about the concept of extensions, which are notes that exist in addition to the root, third, fifth, and seventh of the chord.
The ultimate goal is for the guitarist to look at the pitches of the open strings as tools to be utilized, not ignored. The challenge is to find the perfect spot for an open chord, or to use these as a way to bust out of the shell and discover some new chords all your own. So here we go!
Amaj(add9)
We will start with this chord since it has a very clear connection to a shape many of you have already seen – the 6th string root major barre chord. To execute this fairly common open string chord, simply form the major barre chord as you would on the fifth fret, and un-barre your first finger, so that the first and second strings ring open.
Now we have the droning E, a nice consonant frequency, and the addition of the B, which is the 9th. We still have our major 3rd, though – the C# being played on the third string – so what we get is the slight rub of a major 2nd interval, which happens to work beautifully in the context of these chords.
Try sliding this shape around the neck and see what types of chords you come up with. Don’t worry about anything being right or wrong – just do it. And when you hear something that you like, stop and remember it. Writing things down is always a good idea. Then you can take a look at the theory behind whatever you’ve just created.
Fmaj7(add9)
The shape of this chord is based on the open-C shape, but is placed higher on the neck so that the third finger starts on the 8th fret. The open E gives us the major 7, which sounds especially colorful next to the F on the 2nd string. And with the open G ringing out, this chord is very lush and can be used a number of ways. Again, this is based on a common shape, so try sliding it around and discovering what you can!
Gmin6
This chord was a major discovery for me. G minor doesn’t lay easily on the guitar – there are no standard minor shapes for G in the open position.
If we forego the first string and simply play the root in the bass, open D, and the B♭ and D on the 3rd and 2nd strings respectively, we have a G minor chord. With the open E on top, the major 6th, we create an air of mystery. It’s not a disturbing tension, but it’s the fedora on a detective smoking under a streetlamp on a misty night, unsure of his next move.
Amin7+(add9)
Since we’re exploring minor tonalities now, let’s go back to A as our key center. Just like we had done with the last A root chord, we are going to keep the 1st and 2nd string open for 5th and 9th scale degrees, respectively. This time, we are going to need a minor 3rd – that’s the C we play on the 5th fret of the 3rd string.
The most characteristic note of this chord to my ear is the major 7th, which we play on the 6th fret of the 4th string. The combination of major 7th with minor 3rd, in addition to the sound that the ringing 9th brings, is one of haunting beauty, distant tragedy, or mourning.
A♭min7(add9)
The key of A♭ is not an easy place for guitar players to live. A song in A♭ means constant barre chords, with little to no opportunity to use any of the open strings. At least that’s what I used to think, until I came across this rather unconventional little voicing.
The open B string gives us our third (technically it’s called C♭ in this key), and we double the 7th on the 1st and 4th strings. Try playing the 3nd and 2nd strings together to hear the wild dissonance of that minor 2nd interval, and then play the whole chord again to hear how it fits so perfectly inside. Little earworms like that are what keep me so inspired by music theory – it’s math you can hear!
B♭#11(add9)
For the last open chord I want to show you, we turn to another tough area for guitarists – B♭. This voicing also has a 9, which by now you should start to see is a scale tone that just works beautifully in most contexts.
We also utilize the #11, a characteristic of the Lydian sound. I like to think of the #11 as being “super-major” – it’s the brightest sounding scale tone, loud, proud, and shimmering, like Prince Charming or Napoleon. This is another shape that can be placed on different frets around the neck for interesting results. Another option is to try and put your pinky finger on the 7th fret of the 4th string for the major 7th, a nice sounding addition to this chord.
These chords are just a few of the discoveries I’ve made while messing around on my guitar. I’m sure that some of you out there have come across these voicings, but the most important thing I can try to impart is the spirit of trial and error – there is no shortage of possibilities on our instrument, so keep playing! And share what you discover in the comments below!
Elyadeen Anbar is a guitarist, writer and educator residing in Los Angeles, CA. He has had the pleasure of contributing music and production to some of his favorite artists, and graced stages the world over.
Welcome to, "Figure it Out Fridays: Lesson 017 - Part Two," Ear Training Guitar Lesson.
Here's the Answer Key for, "Figure it Out Fridays," Ear Training Lesson 017.
In this series, we study how to transcribe a new guitar melody or chord progression every week. Musical ideas are released on Tuesday, with the Music and TAB's released that same week on Fridays. Do your best on the days "in between" to learn the different guitar parts.
Up-Load your guess of Tuesdays guitar idea (from the part one lesson) to your YouTube channel. Share your examples on; GooglePlus, Twitter and on FaceBook.
Be sure to check-out the "Part Two" video released every Friday to learn exactly how Tuesdays guitar part looks charted to TAB and in Music Notation. Enjoy the series!
While there are a number of compelling arguments supporting the use of beta-blockers in the realm of music. This article, however, is not one of those arguments...
There are various musicians out there who claim that certain drugs help their craft by enhancing concentration and technical skill. That may be true in the minds of those musicians, but to succeed in music, taking beta-blockers and other drugs aren't necessary. In fact, they may even hold you back from reaching your full potential. To understand why this is and how to find an alternative solution, we must first understand beta-blockers from their foundation.
What are beta-blockers?
Originally, beta-blockers were used to manage cardiac problems and prevent the heart from having a second attack. Besides that, they've been used to treat hypertension, although this is no longer the first choice for patients as of 2016.
Beta-blockers are part of a certain drug class that helps stop the body's normal reaction to stress. Sometimes, stress is a key instinct that we rely on in dangerous situations, but many musicians find that stress can inhibit their ability to play.
Performance anxiety is quite common among musicians who will tell tales of shaky hands, a racing heart, and loss of breath. Reactions like these are based on our instinctual system known as "fight or flight." When the body encounters a stressful situation, it cranks up the energy. While this is great if you're being chased by a rabid wombat, nervous energy doesn't exactly come in handy while onstage.
For this reason, it's easy to see why a musician would be attracted to a drug that blocks this response. Many might even be searching where to get beta-blockers at this instant. Before you continue, realize that they might not be as effective as you think.
Why are some musicians taking beta-blockers?
Performance anxiety can be overwhelming. It can turn some of the most talented musicians into cowering shells of their former selves. Many might not even believe in the effects of beta-blockers but are willing to try anything. They have not had success eliminating stress in the past, so they turn to a pill for a quick fix. It might not even work for them, but the comfort of addressing the issue is enough for some people, at least temporarily. For this group, anything is better than nothing.
Then, you have the other group who believe beta-blockers actually work. This group of people claim that beta-blockers eliminate stress, increase focus, and reduce annoyances.
Getting up onstage in front of a large group of people comes with a variety of distractions. Suddenly that song you may have mastered earlier in practice becomes an impossible feat. Every aggravating noise in the room seems to target you, and the smallest points of physical discomfort are magnified tenfold. By taking a pill, though, all these distractions disappear and you're left to focus solely on the music.
Now, everyone experiences the effects of this drug differently. It's possible for beta-blockers to have a positive effect on you, but there's also a large group of people who are fooled by the placebo effect. According to clinical trials, one in three people who try any given drug (assuming that they believe in it) respond positively to its reaction. Using that logic, it's fair to assume that one out of every three people who use beta-blockers and find them useful are actually falling victim to the placebo effect.
This isn't necessarily a bad thing. If taking a drug can fool someone into ridding himself of performance anxiety, there doesn't seem to be any harm in that. The purpose of this discussion isn't to say beta-blockers are an evil entity that are killing musicians everywhere. It's quite possible that they can improve the situation of performance anxiety, but it should be noted that there are other ways. These alternatives are not only natural but more permanent than the effects of a beta-blocker.
How to (naturally) cure performance anxiety
Everyone loves a quick fix, but they aren't always the best solutions to a problem. Performance anxiety is a very real problem for musicians and can have a negative impact on their careers. It's quite understandable why the urgency to fix it has become so fierce. There's no time to sit with a psychologist when you have a headlining gig six hours away. As a result, we see quick fixes come into play.
Performance anxiety is complicated, though. It cannot be fixed overnight, but there are a few strategies you can learn. Over time, these strategies can be implemented into your practice and living habits, which will eventually help take your performing abilities to new heights. Besides performing at a high level, these strategies will change your perception about anxiety altogether.
1. Self-evaluation
One helpful alternative to beta-blockers is self-evaluation. Self-evaluation is the process of getting to know yourself better, both as a musician and a person. All it takes is a few minutes each day.
Start by finding a quiet environment. From there, start to identify the issues of your stress. Ask yourself what your motives are for performing, what your strengths and weaknesses are, and what exactly you're afraid of. Remember, this is self-evaluation, not criticism. It's just a simple way to organize your issues, as anxiety tends to cloud the mind.
2. Gradual improvements
This may sound crazy, but an effective way to cure the effects of stress is to seek it out in small doses. Search for opportunities that would put a minor level of stress on you and challenge your skills. You don't want them to overwhelm you, but overcoming these small bouts of anxiety will help build confidence.
Additionally, incorporate visualization of a performance into your routine. Visualization can help the mind better prepare for the onslaught of stressful emotions that come with a gig. Eventually, your body will adjust to the feeling of stress and convert it into an exciting energy than can be used onstage.
3. Embrace anxiety
The whole point of taking drugs like beta-blockers, smoking pot, doing cocaine, and alcohol, and other substances is to cover up anxiety. It takes an "out of sight, out of mind" approach to treatment. While that may work temporarily, that's no cure for anxiety. Like those drugs, simply trying to ignore anxiety while onstage won't work either.
The best approach to coping with performance anxiety is acknowledging its presence. Don't block out the audience or any source of your stress. Instead, see it as a part of the act.
Every musician has to battle with performance anxiety at some point. It's a necessary aspect of the process. Approach it as a challenge and use it as an inspirational force. By conquering the anxiety, you'll be more likely to improve your performance, and also get over some damaging fears in the process.
Anthony Cerullo is a nomadic freelance writer and keyboard player. In his spare time, he can be found reading, hiking mountains, and lying in hammocks for extended periods of time.
Used music gear is obviously buyer beware. So it pays off to be a buyer that takes care...
Nothing beats the feeling of finding that piece of gear you’ve wanted forever. I’ll never forget buying my first used guitar. I rode the train three hours round trip and carried it all the way home on my lap.
The person I bought it from was very helpful. He showed me how it worked, some of the presets, and how to operate it. He even printed off the manual for me. The price was negotiable and he gave me a great deal as long as I “promised to make music with it.” I was more than happy to oblige.
Even though there’s a million awesome free VST plugins out there, nothing compares to getting your hands on a real piece of gear once in a while. But buying used gear can be a nightmare if you’re not prepared – something I found out very quickly.
I’ve bought all sorts of gear since then, but no purchase has been as smooth as my first time. Some gear hasn’t worked, some has needed major fixes, and some has even been full of cat hair. I guess you could say I learned my lesson the hard way. But over time I’ve figured out a checklist that I go through every time I buy so I don’t get burned by a shady deal.
Here are my seven essential steps every shopper should follow when buying used gear.
1. Know what you want and what you need
So you’ve decided you need a new toy. The excitement is starting to build. But remember: everyone wants all the gear in the world. But do you really need it?
Getting into buying used gear means doing your research. Figure out if it’s gonna be the best tool for your project. Try to hear how it will fit in your process. I sometimes even download the VST plugins that are modeled after the gear I want to see if it will be a fit.
Get to know exactly what that gear is gonna do for you. This will help you avoid buyer’s remorse when you get the instrument home and it doesn’t do what you thought it would.
Set a budget and stick to it. If you have a realistic budget, your chances of being let down are a lot lower. So count those pennies.
2. Spec it out
Now that you know your budget and what you’re in the market for, you’re ready to start shopping. It’s time to learn all the specs.
Some of the key facts you need to know are:
- what the gear should sound like - common problems or breaks - how much they cost new - approximate resale value Does that synth you want tend to have a burnt out display? You should know. Is $200 a good price for that drum machine? You should know that, too. Sites like Vintage Synth Explorer and Synth Mania are great for finding specs on older gear. Even bigger manufacturers like Yamaha, Moog, and Fender are still happy to answer questions about older gear as well. Don’t hesitate to reach out to their support to get some info.
Knowing about what you’re buying will give you all the right questions to ask when you start shopping around. Don’t get hosed because you didn’t have the facts.
3. Buy from the best
Okay, so you finally found the perfect instrument. The price is right, and you’re interested in buying. You’re getting so close. But first you’ve gotta know the seller.
When you’re shopping for gear, do your best to know who you’re buying from before you commit. If you’re buying from a shop, make sure you have all the info you need to make a smart purchase before you go in. If you’re using eBay or other gear marketplaces like Reverb, study the seller’s history, comments, and rating. It will give you a good idea of whether or not someone is legit.
Craigslist or any other local classified services are great places to find used gear as well, but they don’t often supply users' past sale information. If that’s the case, then look for ads that give you the most information possible. Sellers that are up front about condition and usage tend to be more trustworthy.
Hot tip: avoid ads that don’t provide a picture of the actual instrument. If it’s a picture from the web, or there’s no picture at all, something fishy is going on.
4. Ask the questions
So the seller you found seems legit. The price is in your budget and things are shaping up well. You can almost hear the sounds echoing through your studio already. But first, ask heaps of questions! This is the number-one key for not getting ripped off.
Not sure about something? Then ask! You’re the buyer and you’re entitled to ask a lot of questions. If you’re purchasing on the web, ask for as many pictures as possible. You should inspect every nook and cranny. Or better yet, ask for a video of it being played. It’s as close as you’ll get to actually being there. So make the most of it.
Buying through the web can be very sketchy. Get as much info as you can before you pull the trigger.
Hot tip: gear that uses batteries often has corrosion issues if it's been in storage for a long time. So always check.
When buying in person, you should ask just as many questions. Find out how it was used, how much it was used, where it was stored, and how the owner maintained it. Ask about any issues it’s had in the past, if it has been repaired, and where that person bought it from. Ask if he or she played live with it or ever toured with it. These are all good questions to ask so you don’t end up buying a lemon.
5. Plug it in
It’s finally time to go see it. You’ve been counting down the minutes. You’re itching to buy and bring that puppy home. But does it even work? The only way to know for sure is to plug it in, turn it on, and play it before you buy.
This is good for two reasons. The first reason is that you’ll figure out whether it actually makes sound or not. Don’t just turn it on and off again. Play something on it. Test absolutely everything. If it has 91 buttons, you should push all 91 buttons. If you aren’t able to try it out, then you shouldn't be buying. Don’t settle for the classic “I don’t have speakers right now” excuse from the seller.
The second reason is so you can actually hear it. Sometimes the sound isn’t what you expected. If it’s not for you, then be honest. Don’t be afraid to say no. Take your time. Check all of the problem areas that you researched before you came to look at it. This is your one and only chance to make sure it’s in good shape.
6. Haggle, but be fair You checked and everything works. It sounds amazing. You’re vibrating with excitement. But keep your cool. There’s one step left, and it’s mega important: negotiating a price. Ask yourself, “Is the price right?” If it’s not, then don’t be shy to haggle effectively. Have a price in mind and aim for it.
Try to get a sense of how far the seller is willing to go with the price. If the ad says "price firm," don’t try too hard to get a few bucks shaved off. But if you arrive and find out that it’s in poorer condition than you thought, or the price doesn’t match the quality, then make an offer you think is fair.
Haggling is a lot more effective in person because you can negotiate based on the condition of the gear a lot more easily. Keep in mind that when someone is selling gear, they either need room for new gear or need the money right away. Use those two facts in your favor when it comes to bargaining.
7. Stay in touch
You finally lugged your shiny, new prize home. But suddenly something doesn’t work like it did before. Or you’re having trouble booting it up. Who do you turn to? This won’t always work, but if a seller is friendly enough, ask if you can keep in touch after you buy.
This will help with any questions that you have once you’ve brought the new gear home. Certain gear can have some finicky issues. No one will know them better than its previous owner. So ask politely if you can stay in contact.
Most musicians are nice, right? So there’s a good chance he or she will be happy to help out. Stay in touch to make sure you get what you paid for.
BONUS TIP: Avoid getting GAS Now that you’re comfortable buying used gear, don’t overdo it. GAS (Gear Acquisition Syndrome) can be a big problem. The best way to avoid GAS is to make the most of what you have. Become a master of your gear and push it all the way to its limits. And always remember: gear doesn’t make good music, people do. So use your gear limitations as inspiration. Buy new gear only when it’s absolutely necessary.
Another way to avoid GAS is to trade gear instead of buying new stuff. If you have something sitting around that you don’t use anymore, then trade it for something better. Gear value is always relative. Just because you don’t need it anymore doesn’t mean someone else doesn’t. Trust me, your studio and bank account will thank you.
Enjoy for best results
Used gear is a great way to save money and diversify your sound. Use these steps to make sure you don’t make a bad deal. And let us know some of your used gear stories, good and bad. We wanna hear about all your gear-buying adventures.
So get out there, find something that’s right for you, and make new music today. Happy hunting!
Scott Parsons is a full-time music enthusiast and semi-professional pinball player. Editor at LANDR.
