Acoustic guitarist Tommy Emmanuel is often asked why he tours so much. His response? “I’m trying to get good at this. This is what you do. You work at it! How else are you gonna get any good?” While Emmanuel’s mastery of the acoustic guitar can certainly be attributed to his years of touring, it’s also clear that he has a natural ability for the instrument like few others possess.
We are excited to give you not just one, but TWO chances to win a small body The Loar LO-16 acoustic guitar. Have you noticed that many players prefer a small body? Great tone and portability make it the perfect touring companion (and great for pretty much anywhere of course!)
Here’s some rare footage of two guitar legends at work. It’s Chet Atkins joined by Mark Knopfler in a 1987 performance. The duo plays the standard “I’ll See You in My Dreams” followed by a rendition of John Lennon’s “Imagine.” The former track appears on Atkins' and Knopfler’s 1990 collaborative album, Neck and Neck.
If you’re a steel string acoustic player looking to crossover into the world of nylon string guitars, then the Cordoba 12 Natural is for you. The 12 Natural belongs to Cordoba’s Fusion series, a line of high quality crossover or hybrid style nylon string guitars that are designed to play and feel like steel string acoustics.
R.E.M. delivered two knockout performances on MTV's Grammy® and Emmy® award-winning "Unplugged" series, the first in 1991 and the other in 2001, giving them the unique distinction of being the only band to headline the series twice. Surprisingly, audio from both shows has never been available, making these some of the most demanded music in the R.E.M. vaults.
Korg announces the Rimpitch, a new style of acoustic guitar tuner for players who want a tuner close by at all times, but in a more discrete format than a clip-on option. The Rimpitch is a unique tuner that attaches to the sound hole of an acoustic guitar. It provides an incredibly convenient viewing angle, since its tuning meter appears within the player’s natural line of sight when looking down at their guitar. Its compact size and slim profile in the sound hole offer a discrete tuning experience.
For his eighth studio album Twelve Tales, A.J. Croce (son of legendary songwriter Jim Croce) took on a recording approach that was ambitious, if not downright challenging. Recorded with a multitude of legendary producers across a variety of American cities, the songs represent a patchwork of styles and influences, making Twelve Tails a sharply written and effortlessly performed blend of Americana and folk rock.
Beginning this June, Matt Nathanson is teaming up with old touring pal Gavin DeGraw to co-headline a two month North American tour. Kicking off at the Anselmo Valencia Amphitheater in Tucson, AZ, additional shows include the Greek Theatre in Los Angeles (6/18), Greek Theatre in San Francisco (6/20), Humphrey’s in San Diego (6/15), Massey Hall in Toronto (7/16) and Central Park’s Summerstage in New York (8/13).
An Americana track with a tinge of British landscape, "Take Me Away" tackles the longing to be on the road and the wish to return home. It’s a simple strummed track with a few melodies embedded in the chords. It requires a big sounding guitar so my eye went straight to this 1950 Gibson Super Jumbo 200 Natural.
James Durbin was first launched into the national music scene as a contender on season 10 of American Idol. He was known for his rock edge on Idol, but after being eliminated from the show, Durbin explored this territory deeper with the harder sounds found on his debut album, Memories of a Beautiful Disaster. Recorded with heavy-hitter producer Howard Benson, the record is chock-full of gained-out guitars and pounding drums – there’s even a song featuring Mötley Crüe guitar god Mick Mars.
Candyrat Records, home to some to today’s most skilled fingerstyle acoustic guitarists, recently uploaded a video of musician Daniel Voth. Performing a new song called “Brazil,” Voth incorporates tapping techniques that, by this time, we’re well acquainted with. What’s different here, however, is the pace at which Voth propels his way through the arrangement, creating an ambient and enveloping experience through the use of delay.
Never has it been easier for songwriters to get their music heard. But never has it been harder to get paid for it. Now Legislation introduced last month by Rep. Doug Collins (R-GA) and Rep. Hakeem Jeffries (D-NY), members of the House Committee on the Judiciary, hope to address this inequity by updating two key provisions in the Copyright Act so that songwriters, composers and publishers receive fair compensation for the use of their intellectual property.