jazz and dance bands) in the late 1920s and early 1930s. Nonetheless I titled my presentation "The banjo and guitar in transition: the 1920s and 30s." My aim in this essay is to explain the process by which the banjo largely disappeared from the musical mainstream (i.e. I am certainly no expert on guitars, banjos, or the jazz and dance bands of the 1920s and 1930s. I decided that this group might enjoy something on the banjo and guitar, subjects on which I have some knowledge and some playing ability. I have been a member of CAPS since January of last year, and whenever I can, I attend their meetings at the Centennial College campus. I was asked to put together an hour-long presentation to a group primarily composed of 78 and cylinder record collectors and aficionados and home repairers of wind-up record players from the Edison Home cylinder machine to the sumptuous Victor Victrola "Credenza" model. This is Part 1 of the written version of a talk that I gave at the Canadian Antique Phonograph Society on January 8, 2012. I'm sharing this with you because I wouldn't have thought it was possible to get a complete rig to a walkable size and weight, but I've done it and you can too. It's also nice to be able to have a beer and not worry about getting nailed by a spot check. Parking can be a real problem in the downtown core and the transit and traffic situations I've already mentioned. I can't overstate how much being able to carry my gear to gigs has improved my life and reduced my travel stress. If I really need to, I can carry a music stand or mic stand in the other hand, though I haven't had to so far. That goes on my back with the double straps and I carry the Lunchbox in one or the other hand. I use a double gig bag - I put a Strat or Tele in the bottom compartment and the M9 and cables in the top one. The nice thing about this unit, too, is that it's pretty small and not too heavy. I usually run it with a couple of different overdrives, a tremolo or wah, a reverb, delay and compressor. This unit allows me to arrange six pedal 'models', from which I can use three at a time. I now use a Line 6 M9 multi-effects unit.
This was great but very heavy and impossible to take on the streetcar, let alone walk to gigs. My Fender Twin has not left the house in over a year.įor years, I used a large Furman pedalboard for effects.
This setup works very well and I now use the Lunchbox for every gig. That way I get plenty of direct signal, but I also know that I'm getting out to the house and everyone on stage can hear me, without getting killed with volume. I put the amp on a barstool and lean it back on the cord, which gives it a nice angle to beam the sound right at my head. The line out sounds very good and I treat the signal as I would an acoustic guitar - some in the main speakers and some in the monitors.
The secret to the usability of the Lunchbox on gigs is plugging it into the PA from the line out on the back. The Lunchbox weighs about nine pounds and really does feel like a lunchbox as I walk. This very small and light but loud solid-state amp is easy to carry for long periods. The good news is that I've managed to miniaturize my gear over time and I can now walk to gigs with no problem.Īn essential ingredient is the ZT Lunchbox.
#Gitbox guitar full
Until recently I didn't think that I had the option of bringing a full rig to a gig on foot. An added advantage to walking is that I am not at the mercy of transit delays (common in Toronto) or heavy traffic (ditto) I can be sure that if it takes 45 minutes to walk to the gig, I will get there in 45 minutes. I prefer to walk over taking public transit or driving it's better for my health, better for the environment, and the walk gives me time to think or just listen to music on headphones.
I live in a downtown area of Toronto, and I find that quite a few of my gigs are within walking distance.
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