Lunch Report - Tuesday, May 10, 2011

Food Inglorious Food
Back in the late eighties, a good friend of mine introduced me to a Montreal restaurant with an unfortunate name, la Gourmathèque. What on Earth is a Gourmathèque you might ask? Is it anything like a discotheque? Is it a dimly lit dance palace with flashing lights and loud music where they also serve food? Thèque is a French suffix derived from the Greek “thuké,” which translates as case. In French, a bookcase is a bibliothèque (a transliteration of the Greek bibliothuké), a record case is a discothèque, and a videotape/DVD case is a vidéothèque. But bibliothèque (like the Greek word it is derived from) can also mean library, so the above terms also mean respectively record library, and video library. Was La Gourmathèque therefore a food library? And why was my friend dragging me to a neighbourhood that was best known for snack bars that served steamed hot dogs and greasy French fries?

It turns out that the Gourmathèque was the brainchild of a Cordon blue chef from France, a man who had trained at one of the finest culinary schools in Europe and who had run screaming from the gourmet food scene to open a dive in a working class neighbourhood in Montreal. And the Gourmathèque was dive. The walls were black and the chairs and tables looked like they came from a bankrupt suburban reception hall. There was no menu, simply a chalk board with three choices: the two daily specials and the chef’s special, which was a surprise. More often than not, the chef’s special turned out to be a combination platter with smaller portions of the day’s number one and two selections but every once in a while, it was something entirely different.

Back then; the big thing in French food was Nouvelle cuisine. Remember Julia Child and her unctuous butter-based sauces and huge portions drenched in wine? That was Cuisine classique. Nouvelle cuisine was all about plating, small portions and simple preparation that allowed you to taste every individual ingredient. It was taken up by American chefs and became the foundation for California Cuisine and a lot of the fusion stuff we now see on the Food Network. In the eighties, Nouvelle cuisine was revolutionary. However, palates accustomed to the generous portions and rich textures and flavours of traditional French cuisine were less than enthused by the trend. The guy who ran La Gourmathèque was among those, as was the friend who introduced me to the place.

A few years earlier while in his teens, said friend had spent a year in Paris while his father was on sabbatical. Because he was excellent cook and a gourmet his own right, his parents took him to Maxim’s, then the most famous restaurant in the Paris (and possibly the world), for an evening of haute cuisine. As it turned out, Maxim’s had embraced la Nouvelle cuisine and my friend had ended up complaining to his folks that the portions were tiny and bland and that, despite the massive price tag and the beautiful surroundings, he was still famished. His parents were not amused.

La Gourmathèque folded after a couple of years (or maybe we stopped going there), but for a few months, we would drop in for delicious French fare at the ridiculous price of eight dollars a plate. As a bonus, the place had a bring-your-own-wine policy, which allowed the owner to bypass the hassle of getting a liquor license while making the place more attractive to gourmets on a budget like me.

Today’s lunch is leftover spaghetti with turkey meatballs from yesterday. It’s comfort food on a day when I have far too many deadlines to deal with.

Mr. Mojo Rising
I don’t believe in mojo. I don’t believe in a mystical quality that imbues an instrument with magical sound. What I do believe in is a combination of biomechanics and engineering. Simply put, my fingers and my hands will produce glorious sounds with some guitars and amplifiers and, while the result will be rubbish with others. It’s all scientific and the method in the madness lies in trying different instruments and amplifiers, adjusting settings and just experimenting. When one does find that perfect combination, even by fluke, it is due to experimentation, but what happens after you find it?

As I discovered when I bought my Legacy late last year, what happens is change. Finding that perfect sound is a beginning rather than an end. I had to adjust my playing to the new guitar. I needed a lighter touch on the fret board and a sharper attack with my pick hand to take full advantage of the brightness that single coils offer, while bringing out the lower frequencies afforded by the resonant alder body. I also grew my nails longer for fingerpicking to further take advantage of the greater dynamic range offered by the Legacy (in contrast to my Gibson).

How did your playing change after you found that perfect G&L? Did you notice a significant difference in what you were doing after you tweaked your guitar for the right sound or upgraded (as I did) to a superior instrument?

Procrastination is Free
Yesterday I made the mistake of downloading Amplitude 3 Free, an amp/cabinet/effects simulator for OSX and Windows. I say mistake not because it is a bad product but because I had real work to do, which I put aside to play the new toy. (My bad!)

Amplitude 3 Free is, as its name implies, a freebie version of an amp simulator that, in its $300 incarnation, offers everything but the kitchen sink. You want a Marshall head and cabinet? They’re in there? A Roland Jazz Chorus? Check. All these and many more are in the fully paid version, and the most of the models are fully licensed by the manufacturers.

As happens with software, Amplitude was widely pirated, with cracks freely available on the net. IK Multimedia, the company behind the product, hit on a terrific strategy, a free version that offered included models of some of the most desirable amps out there, including a Marshall JCM 8000 and a Fender Super Reverb. The catch with the freebie? The models are not officially licensed but sound-alikes that don’t have the same controls as the real thing. But a free JCM 8000 simulator is a pretty good giveaway, if you ask me.

Now here’s where IK Multimedia got smart: They followed Apple’s lead and integrated a “custom shop” inspired by the iTunes app store. Amplitude 3 Free has a built in connection that allows you to shop for amp, cabinet, pedal and mic models at a price. (A head and cabinet will set you back roughly $25, depending on the number of credits you pre-purchase). Of course, you can still buy the $300 version and get pretty much everything.

What do you think about this approach to business? IK is giving away a tremendously valuable product to seed the desire for additional purchases and, in the process, it is not only reducing piracy but also generating a ton of goodwill. Unlike a trial that runs out after a few weeks, Amplitude 3 Free never expires. It can be a lifesaver for someone who needs but can’t afford decent gear. And who else let’s you buy a vintage Fender amp (simulated or not) in the middle of the night and start using it right away?

As musicians, and in general, what do you think about giving away your work to attract new clients? Also, do you appreciate the way that the so-called “gift economy” is changing the way we do business?

Go to Hell, Pachelbel
Today’s YouTube clip is one my all time favourites. Are you sick of Pachelbel’s Canon? No matter where you live or travel to in this world, there is a busker performing Pachelbel’s Canon RIGHT NOW. In this piece, Comedian Rob Paravonian rants about finding this ubiquitous melody in the strangest places.

[youtube]JdxkVQy7QLM[/youtube]

Although some guitars have that good feeling, I didn't upgrade to G&L, infact I added one in beside a Carvin. The G&L is better by a very small margin, mostly in the attention to detail side of the pond. All my guitar skills (aside from whammy bar gymnastics) are transferable to the ASAT special, and I have no techniques I can do on it I can not do on any of my other guitars. I have my amp, a few but growing collection of pedals, 2 going on 3 guitars and I can capture whatever I require.

I don't like piece-wise business. Fortunately I don't use anything apple (I find their products quite overstated, and fairly restrictive) nor do I do any digital modelling for guitar purposes. I use a VST and a microphone, from there it all comes together. I am currently working again on the track I posted last month, restructured, expanded, and hopefully better.


There is but one version of Pachabels that has been interesting. The loose canon
[youtube]yflWG-e38OU[/youtube]

Your video reminds me of the Axis of Awesome 4 chord song

[youtube]5pidokakU4I[/youtube]

My G&L was definitely an upgrade from my older single coil guitars. Although basic technique is transferable, I find that I have to adjust my playing style to the guitar/amp/effects combo I'm using. Plus, I find that humbuckers sound much better than single coils when overdriven, so I will use a different guitar to achieve different ends.

I've seen the Axis of Awesome clip before but I'd forgotten it. I love it.

As for Apple products, I've used them for years because I run a home based business and I consider computers to be like toasters, i.e. uncomplicated appliances. I run some pretty complex apps on my Macs over the years, including a full blown HD video editing suite and a complete photography workflow that incorporates film and digital. I don't see how they're restricted. (Unless you're talking about iPhones and iPads, which are a different story entirely). Plus, I grew up on UNIX, and I'll take that as a substrate over anything Microsoft puts out there. As for Linux, if I was a hobbyist or a programmer, I'd be using that, but GIMP is just not a powerful enough photography tool for my purposes. Back when I bought my first Mac, I needed to use a classical Greek font for my University studies. To do so on Windows in 1991 required a 400 dollar Word Perfect plugin and a 500 dollar font, plus it wasn't WYSIWYG. The Mac required a 49 dollar Postscript font. The price difference between a Mac II and a 286 was about 900. I went with the Apple and never looked back.

All of this foreign food talk is way over a guy from Nebraska's head. French fries are as close to French food as I usually get. My wife makes crepes' in the morning once in a while.

But I guess I do believe in "mojo". I think all things have a spiritual interiority and that's what is being spoken of by the term. But that's a long story.

As for Apple products, I've used them for years because I run a home based business and I consider computers to be like toasters, i.e. uncomplicated appliances. I run some pretty complex apps on my Macs over the years, including a full blown HD video editing suite and a complete photography workflow that incorporates film and digital. I don't see how they're restricted. (Unless you're talking about iPhones and iPads, which are a different story entirely). Plus, I grew up on UNIX, and I'll take that as a substrate over anything Microsoft puts out there. As for Linux, if I was a hobbyist or a programmer, I'd be using that, but GIMP is just not a powerful enough photography tool for my purposes. Back when I bought my first Mac, I needed to use a classical Greek font for my University studies. To do so on Windows in 1991 required a 400 dollar Word Perfect plugin and a 500 dollar font, plus it wasn't WYSIWYG. The Mac required a 49 dollar Postscript font. The price difference between a Mac II and a 286 was about 900. I went with the Apple and never looked back.

See I used to game, and as far as compatibility with hardware and games goes, Windows is the only OS that makes itself universal. I program Fortran, but I don't use word, I have taken to writing documents in LaTeX, WYSIWYG is far too annoying and inflexible. Too many rules and automations. Word Perfect is Corel btw, not microsoft.

Edit: Also, MOJO is poo poo (aka I don't buy that crap). Music comes from the player, the instrument has nothing to do with it overall. It may facilitate, but it is never the source.

Last edited by sirmyghin on Tue May 10, 2011 5:44 pm, edited 1 time in total.

I've worked in a French restaurant that served classic cuisine. The head chef (an Austrian named Herb) was a true master of unctuous sauces. Best pizza I've ever had comes from a French restaurant in Nedlands, Western Australia, called L'Hermitage. It's like any pizza you've ever had but waaaaaaaaaaaaaay nicer. It's always my first stop when I'm over that side of the country.

I've certainly improved since I had my G&L, but that's more because of the amount of playing I've been doing. One thing I've just got the knack of is picking in different positions and using the volume and tone knobs. I've been able to get so much more out the instrument. I think my new amp is partly responsible for this as it seems to pick up those little differences much better than any other I've owned.

CGT, I've been on a Shadows kick this last week and that red Legacy in your avatar has me GASing so badly!!!! For the sake of it I"ll post this video
[youtube]EriCZdLjw7o[/youtube]

CGT, I've been on a Shadows kick this last week and that red Legacy in your avatar has me GASing so badly!!!! For the sake of it I"ll post this video

I was was GASsing for a Fiesta/Fullerton Red Strat when I found the Legacy. It's like I asked the Universe to deliver one unto me, and there it was... If I was in the least bit inclined to think so, I'd say this guitar and I were meant for each other. But I'll chalk it up to chance, which is just as wondrous if not more so, if you think about it.

But I guess I do believe in "mojo". I think all things have a spiritual interiority and that's what is being spoken of by the term. But that's a long story.

I would venture that the maker(s) of an instrument and the player have a spiritual interiority that combine to create "mojo." No matter what your beliefs, however, you have to admit that mojo, like so many other terms connoting spiritual connectedness, have been co-opted by marketers and advertisers. I cringe when I hear a music store salesman or product literature describe an instrument or an amp as having mojo as a selling point. However, when somebody describes a player or a piece of music as having mojo, I can totally respect that because I do find that music and musicians express a spiritual quality through their art.

I also understand where you're coming from. Followers of Shinto and First Nations people believe that everything on the Earth possesses a spiritual interiority and is therefore sacred. While I don't ascribe to such spirituality myself, I do feel that it creates the kind of respect for nature and for all our surroundings and that, no matter what we may believe as individuals, we must all embrace the sacredness of our world.

Mojo'd instruments- You may not believe in them but I have played a few and I own several. They are more than the sum of their parts even though this is far from scientific. I have no other way to describe them.

When you play such an instrument, your playing does change. Hopefully, for the better, since you will be inspired to play more frequently, and by doing so, improve in technique and composition.

Referring back to yesterday's report where you wondered how G&L would be affected by Jimmy page touring with a couple of ASATS. Actually I think you said that it would change everything for G&L.
I am not sure that it would to the degree you thought because I don't think that the die-hard Led Zeppelin fan of 40 years would be ready to accept an ASAT as a replacement for the Sunburst '59 Les Paul that Jimmy used to tour with back when said fan was in high school.

It would have an effect on how ASATs were valued in the market but I don't think that G&L could sell a tour version of J. Page's ASAT for anything near the $15K you suggested. Its a nice thought but the G&Ls just don't have the history with Led Zep or Jimmy Page.

Gift Economy- Or Come on guys, do this job for me -it will give you lots of publicity"
I have heard that line many times over my playing career, but there are times when I play for free at open mikes or for charity events. It does make sense and often does lead to jobs if done correctly.

Mojo'd instruments- You may not believe in them but I have played a few and I own several. They are more than the sum of their parts even though this is far from scientific. I have no other way to describe them.

When you play such an instrument, your playing does change. Hopefully, for the better, since you will be inspired to play more frequently, and by doing so, improve in technique and composition.


Gift Economy- Or Come on guys, do this job for me -it will give you lots of publicity"
I have heard that line many times over my playing career, but there are times when I play for free at open mikes or for charity events. It does make sense and often does lead to jobs if done correctly.

I agree that "mojo'd" instruments are more than the sum of their parts and that there is no other way to describe them, but I also feel that such instruments feel mojo'd in the hands of the right player, and therefore the mojo exists at the human level. My Legacy hung from a wall for a week or more and nobody thought there was anything to it. I walked in, played it and I knew within seconds that it was special. But special to me. I had two friends play it after I got it: a flamenco player and an alt/classic rock player. The flamenco player thought it was magic. The alt/classic rock player said it was nice but it was just another Strat. It wasn't a Tele!

There is no question in my mind that there is something special about my Legacy. Perhaps it was one of the last ones made before the Fullerton facility switched to CNC. Maybe the craftsman who planed the neck shaved a few extra millimeters off the back. Maybe its extra-heavy alder body makes it more resonant. Perhaps the extra heft makes it more appealing to me. I'm not going to deny that it's a very special instrument. But all that is physical and maybe yields an instrument that is only special to me.

The "work for publicity" mantra is the opposite of the gift economy. It's the Huffington Post slave labour model. However your take on playing open mics and charity events is exactly what it's about. Especially if it gets you future gigs and, in the case of open mics and free appearances of your choosing, allows you to sell discs and other merchandise.

People ask why I "give away" photography by posting it on flickr and on Facebook. I answer that it gets me commissions. One friend sold 5,000 dollars worth of images to a gaming company because they found his work on flickr. In the old days, press kits and advertising might have been enough to generate sales, but now giving away product is what often creates the incentive to buy more.

Love the "mojo" talk. Perhaps we're speaking more about an "event" that exists between subject and object as they meet. ha, ha, we just dethroned the scientific method as the incarnation of ultimate truth. What a lunch!

"mojo" is definitely subjective, from what I have experienced with all the different variables that go into making a guitar at least some unexpected ones with affect the tone for the better. now the best tone in the world is nearly useless unless it is properly tapped, this is where the player comes in. now we all know that tone is in the fingertips (and a knob usually very near to the volume) and that a great player could make sweet tunes come out of cheapest piece of wood attached to some unknowable material with monster strings on it but for the rest of us when we wrap our fingers around our choice guitar the sweet tunes just come because we don't have to work as hard. guitar and player bonded together, a proper tool in the hands of a craftsman. that is what I think "mojo" is. now after I have waxed poetic I'll just say that free is always good, if I can try a program first there is a greater chance that I will pay for the whole thing.

i'll stick with Denny's...it's much simpler...

what is a "Pachelbel"