We went through this before with the prevalence of ascetic keyboard tunes assailing our cab doors back in the 1980s. The demise of guitar oriented music was widely proclaimed and then what do you know- along came Seattle to rescue us and renew our collective six-stringed love affair. Plus ça change- plus c'est la même chose n'est ce pas?
What with people seemingly prepared to pay a premium for the benefit of the excercise they get from jumping up to flip vinyl, a return if not to the heady days but at least sustainable guitar sales seems inevitable to me. It only needs for the manufacturers to come to terms with the conservative nature of six string stranglers. (We don't like change- well change at a premium price, present company excluded of course?) Tub thumpers are not so afflicted, but you can't compare the two because they enjoy measurably different volumes of production.
The other issue touched upon in that article (which I'd read before) is pricing. Just like vinyl, this is set at what the seller thinks the market will withstand, and has no bearing on fair pricing. Address this and you have a partial fix. Unfortunately that offers no short term solution for the big boys' cash flow situation.
And what's all that about shooting a Strat to bits at a corporate bonding event? Oh come on Henry J / Gibson.
So much drama. I thought the byline should have had a picture accompanying it.
The slow, secret death of the six-string electric.
“John Mayer?” he asks. “You don’t see a bunch of kids emulating John Mayer and listening to him and wanting to pick up a guitar because of him.”
Not at all surprising. Mayer plays intricate riffs and complex chord structures. Kids can't wrap their minds around that and they can't wrap their fingers around it either. Back in the day, when kids emulated Eric Clapton and Ritchie Blackmore they didn't gravitate toward the finesse guitar work. It was all about the simple shiz and power chords. Think Sunshine of Your Love and Smoke on the Water. Later kids latched onto Billie Joe Armstrong and Tom DeLonge.
"Never pass up a bathroom, never waste a hard-on, and never trust a fart. " -- Edward Cole
Post by blademaster2 on Jul 19, 2017 14:22:45 GMT -5
Like b4njo, I went through this already in the early 1980's when all of my 'cool' friends would poke fun at me for playing guitar. Guitar was very uncool - synthesizers and drum machines ruled. Even when guitar *was* used the sounds needed to be more electronic and less organic (same happened to drums sounds, where the closer a mix was to a drum machine sound the better, i.e. Sound Garden's 'Badmotorfinger' around 1990). In fact, this slump now is far less noticeable to me than the early 1980's, but evidently more of a problem to the guitar manufacturers' bottom line.
Like lapels and neckties (and reverb on studio recording mixes), I believe that this will turn around again... and again .. and again.
And heck, if I am wrong then maybe I can look forward to snapping up some vintage guitars for a lot less than they have been fetching recently .....
Well, back in the 30's Anslinger's American band or narrow minded prankster's were terrified of horns. These were the chosen weapons of "jazz musicians"...you know, those evil purveyors of anything wicked and rebellious capable of making young girls do unspeakable immoral things. They were the instruments of choice for anyone wishing to rebel against anything resembling conformity and social comfort to forge a new social order.
Moving into the 50's this trend changed to guitars as these evil hornsmen became more acceptable within polite society. Again, the need to rebel and create a new social order, or counter-culture, allowed for profits to be made by those wily enough to forge ahead into this new movement. The guitar industry coughed up blood for a bit in the 80's, but Grunge seemed to breath a bit of life back into them.
Sadly, with the crash of 2007 most industries took a hit. Anything resembling a non-essential or luxury item went on the block. I know it was the worst time in memory to own a horse farm...but I digress. With the advent of the Internet, social media became the vehicle for defining the next generation wishing to shed the debris of the old order.
Digital social acceptance and attention seeking seems to have circumvented the desire to rebel these days. As a culture, we would prefer to be "liked" more than "feared". And is it any wonder that the next generation coming up feel the need to shun their fathers...and in some cases, their grandfathers chosen instrument of choice to rebel with?
Some of you may have locked yourselves away for hours to learn and master your chosen instrument. The discipline required to acquire this mastery of an instrument appears to have faded in the coming generation. Expectations have changed. These days it's just easier to piss off your parents by getting a tattoo, piercing or dying your hair blue.
We live in a world where booksellers pay billions for grocery stores while Gibson and Fender become quaint references on the History Channel. But is it really that surprising? Times change and music always reflects the culture of the day. It seems the guitar has had its day as the phallic symbol of rebellion. What hurts most is that it appears to have been replaced by an iPhone.
newey alluded to it in another thread when he referenced a whimper.
"Fascism should rightly be called Corporatism, as it is the merger of corporate and government power." - Benito Mussolini "When fascism comes to America, it will be wrapped in the flag and carrying the cross." - Sinclair Lewis (1935)
"History, in general, only informs us of what bad government is." - Thomas Jefferson “Be yourself; everyone else is already taken.” - Oscar Wilde
I started playing organ in 1969 whilst listening to all the great rock and blues music of the time... although, I mainly learnt to play movie/show tunes and pop music on the organ (mainly 'coz the fellow I was learning from was ... an older fella... and he had accompanied Judy Garland when she performed in England, etc in the 1950s). I also dabbled in guitar through the early 1970s... even buying a Les Paul copy in 1974... but guitar was pretty much an 'add-on' to my music playing..
It was through my organ teacher that I developed my interest in the 'older' style music - Cole Porter, Gershwin, and so on... and I had always had a bit of an interest in classical music (obviously, since I have the same birthday as Beethoven) ...but it was when I heard Isao Tomita's version of Denussy's Snowflakes Are Dancing in 1978, followed by Ravel's Daphnis et Chloe in 1980 and all of Tomita's other albums, that I started in earnest with exploring synthesizers and home recording.
I listened... learnt a lot... bought and studied miniature scores of the pieces... even imported Tomita's 'Sound Creature' double album to learn the techniques he used... (listen to the link to hear how he develops the arpeggios, step-by-step -- up to about 9:50 -- after that it's more about some effects that he used musically in 'Pictures at an Exhibition' ... but skip to ~11:40 and marvel at the development of the choir sounds with a Mellotron ). ...and Jean Michel Jarre and Walter/Wendy Carlos were other great studies through the 1980s.
Anyway, I bumbled along with Teac Portastudios, Roland microcomposers and other gear in the early days of MIDI and 'SYNC' signals... and managed to record a few interesting things...
...and when this technology went ga-ga in 1999 and I was hacking around with Cakewalk Pro Audio 9, I found myself having a grand ol' time (Flintstones) with all things digital...
..but come 2006, I was getting disenchanted with all the button pressing, audio hacking and blah-blah-blah... and got back into learning and playing guitar (with lessons, yet).. 'coz I was sick of being a technician and wanted to *play an instrument* again.
The younger folk these days still seem to be interested in music but it's more about the beat and more about dancing... and 'modern music' is not 'our' ( oldies?! ) music... and 'twas ever thus, I guess... but they look for the 'instant result' and don't necessarily want to spend years learning an instrument before they can express their musical ideas - the technology lets them get to that point earlier, although, it's probably not any easier, just different. It's also one of the things with my getting back to guitar 'coz the DAWs and sequencers are all too complicated and just get in the way a lot of the time... so these days, I use the simplest (but still powerful) DAWs I can - energyXT and Mixcraft are what I'm currently using (and they're STILL too complicated)...
Anyway, enough blah blah from me... just another $0.02