Boogie Bill’s List of Greatest Inventions and Things I Can’t Live Without
When I first started this, I barely had five items, and then it just kept growing. There are some pretty cool things on the list, some you might not agree with. That’s okay. Some of the things on my list are there because I have been playing a long time, and many of these things were not available when I started playing, like phosphor bronze strings, gauged picks, electronic tuners, etc. I really do appreciate these things. And the others, like the side cutters my father gave me—well, they have a special place in my heart.
I have a lot of other items that should rate at least an “Honorable Mention”, like my fold-up On-Stage music stand, or my favorite Dunlop .0225 brass fingerpicks and my Golden Gate and National thumbpicks; or the terrific Dunlop 65 Cleaning Kits with String Cleaner, Fretboard Cleaner, Fretboard Conditioner, Spray Polish, Carnauba Wax, micro-fiber polishing cloth and fret polishing cloth. Good stuff. You may not like all of my items, and use a different tuner, different strings, different picks—and that’s fine. I think it’s important to develop your own list. And when you find a gizmo that puts a smile on your face or makes your life as a musician easier, come back and tell us about it.
1. Xcelite 10-piece screwdriver set. I bought this set 34 years ago in Coos Bay, Oregon, while on the road far from home. It wasn’t very expensive, but it has been a lifesaver on many occasions. It has three Phillips-head, and five flat-blade screwdrivers, with a torque handle and a nifty little plastic carrying case. Don’t remember what I paid for it, but I think it was about $8. Value—priceless.
2. AVON Battery Checker. My Mom was an Avon lady and she gave me this neat little battery checker, probably 30 years ago. I use it all the time, both for gigs and around the house. Three LEDs tell you in an instant the battery’s status. It’s good for AA, AAA, C, D and 9-volt cells. Don’t know what I would do without it. Thanks, Mom!!!
3. A Sharp Knife. I carry a Victorinox Cyber-Tech 36 Swiss Army Knife on me at all times and it seems like I use it daily. It comes in handy at gigs, believe me. I also keep in my toolbox a mini-box cutter, about 2.5” long. Sharp blade, handy as heck for cutting tape or having to strip insulation.
4. Craftsman Wire Strippers. Another tool that I have had forever, and it has held up well. My advice is to buy good tools rather than junk. I used to make my own cables, and saved myself a ton of money and heartache by learning how to solder and repair my own cables. I think these are as sharp as the day I bought them. (I wish I was!!)
5. Radio Shack Solder Iron. Mine was a nifty little kit with a stand, solder, heat sink, clamp and an all-purpose 40-watt element. Learn to solder!
6. Behringer Cable Tester. Always wanted one of these gizmos, and these are so cheap you can’t justify not getting one. Works with many different types of plugs. Tells you whether the cable is good or bad--fast.
7. Sears Digital Multi-meter. This one is a medium size unit and it wasn’t all that expensive. I’ve had this one for about 20 years. I’m a novice when it comes to electronics and stuff, but this is another handy tool.
8. AC Outlet Checker. It’s always a good idea to check outlets to make sure they are properly wired and grounded—if you want to live. We had a situation last summer at a street fair where we could have been killed. They’re like six bucks—you can’t afford to not have one.
9. Rubbermaid Toolbox. I think I’ve had this kit since 1980. Mine’s about 22” wide and has two trays that nest together in the top of the box. Gotta have something to carry the tools in. Mine also holds my slide, amp fuses, pens, harmonicas, etc.--and a bottle of aspirin—for those gigs when nothing goes right.
10. Vice Grips. Handy to have around when you need a set of pliers. Makes a great stand for holding a cable plug while your trying to re-solder it on a dark stage. I carry one that’s full size, and another small one.
11. Stage Tape. I used silver Duct Tape for years but Stage Tape is better. It comes off much more easily, and doesn’t leave any glue residue. It’s more expensive, but well worth it. Tape those cable-paths down in high-traffic areas—it saves the embarrassment of tripping over your own cables and it’s cheaper than a cracked headstock on your prized guitar.
12. Colored Tape. Comes in real handy for color-coding cords, inputs and outputs. Makes set-up simpler, especially if your Roadie is inexperienced. Makes it really simple to patch effects into my amp’s EFX loop—yellows to yellows; reds to reds.
13. Zip-Lock Quart-Sized Plastic Bags. I’ve used these for years to keep my guitar and mic cables in. They are clear; you can see right away what’s in the bag. I carefully curl the cables, and place them in the bag, which is a much better way of winding the cables than hanking them. Cheaper than cable ties or Velcro strips, and since you don’t have to actually seal them—they will last for years. A nifty little way to keep your cables neat, organized and untangled.
14. String Winder. Do you realize that I am so old that when I started playing, they didn’t have string winders? Shocking!! I keep one of the 99-cent Dunlop winder in each of my acoustic cases, in my acoustic and electric “Jam Night” bags, and in my toolbox. But I keep a couple of special ones with my string changing supplies. Dunlop makes a fancy one for about six bucks that is more ergonomic, and it seems to be more durable and better quality than the cheapies. The best of the bunch though, is one I found that’s made by Shubb. It was expensive, but it has a wonderful feel—very smooth. Of course if you’re really lazy or need really fast winding, you can get adapters for your cordless screwdriver or your drill; or buy one of the new powered string winders. I really like the Shubb.
15. Side Cutters. I saved these for last because I have a set of Diam-alloy cutters that my Dad gave me when I was 15 and just learning how to play. They are very old, I think they were antiques in 1965. But he pulled them out of his toolbox and gave them to me. He was really conscientious about keeping a sharp edge on his cutting tools, and these are no exception. You can still cut a piece of paper with them. I’ve never had to sharpen them in 45 years of use. I think of my Dad every time I change strings. It might not seem like much, but it was truly a wonderful gift, and his way of supporting my music. Thank you so much, Dad. So get yourself a good set of side cutters and clip those string-ends off. You don’t want to put someone’s eye out.
16. D’Addario Strings: Well, I have to admit that I use Fender Super Bullets on my G&L guitars with the DF Vibrato, because I feel that the Bullet end really does help tuning stability. But every other guitar I own gets D’Addario. When D’Addario came out with their Phosphor Bronze strings around 1974, they were an instant hit. I have tried other strings since then, but I always come back to D’Addario. Ernie Ball deserves lots of kudos for developing the Slinky sets. (Back in the old days you had to buy a banjo string for the high E, and you just threw away the low 6th.) But D’ Addario’s not only sound great and last me a long time—they are available EVERYWHERE, and they are very, very consistent.
17. Big Bend’s Nut Sauce. I’ve been using this stuff since it first came out. I bought a distributor kit of 15 tubes, and gave some of them to my friends. I think I’ve used three tubes in six years, so a little goes a long way. No lube is better than a well-cut nut, but this stuff is amazing. It doesn’t turn everything black, like pencil graphite; it stays in place and doesn’t run like liquid Teflon. I use it on my saddles, string trees, tuner gears—and yes, I even use it on my nuts—even the graphite nuts! Laugh all you want, this is a GREAT product!
18. Shubb Capo. There are several good capos on the market these days, but the Shubb is Number One in my book. I can’t see paying $60--$100 for some of the “boutique” models out there, when the Shubb works so well. I’m really impressed with the 12-string version. Clamp it with the right amount of pressure, and none of the strings on my Takamine 12-string go the least bit out of tune.
19. Digital Guitar Tuner. Does anybody NOT have an electronic tuner these days? My pedalboard now sports a Boss TU-3, but I probably have 15 tuners floating around. I have a couple of Korg CA-10 Chromatics that will easily fit in a guitar case pocket—add a ten dollar contact mic and it’s a peg-head tuner! I use a Peterson Strobo-Stomp at home to set intonation. Another handy-dandy tuner is the Planet Waves Strobe Pick. It’s a very nifty thing to have when you want to try out all 346 guitars in the Guitar Center store. Or, check out your Android or iPhone marketplace—I have a really cool app on my HTC Hero Android phone—the G-Tuner tuner app. Great app, and it was freeeeeee, AND, it’s VERY accurate!!
20. Pedalboard. Got your Tuner, got a wah, a chorus, a delay and two distortion pedals—and you’re still taking an hour to manually set them on the floor in exactly the right spot? Sheesh! GET BOARD!!! I’ve got a Furman SPB-8 with a built-in 9v power supply, three AC outlets and stereo patching loops. Expensive? Yeah, but it saves me a whole lot of time and frustration, every time I want to plug into my pedals. If you don’t have the money for a fancy board—you can make one out of a modest piece of plywood, some Velcro, a power strip and a 9-volt power supply, like BBE’s Supa-Charger. I did my own, and used that board for 12 years before I got the Furman.
21. Straplocks: Now G&L’s have THE best strap button ever made; but if you have a Gibson guitar, you are just ASKING for trouble if you don’t install straplocks. (Actually, I have them on a couple of my G&Ls, too!) My personal preference is for the Schallers, but the Dunlops are good, too. Twenty bucks for a set of straplocks is cheap insurance.
22. Dunlop Tortex Picks. I don’t remember when these came out—late ‘70s, early ‘80s?? Doesn’t matter, it seems like I’ve been using them for forever. I think they might have been the first company to gauge picks in actual thickness, rather than just light, medium, heavy. They have a warmer tone than celluloid, and they are very durable. I used to use a different pick for my acoustic, but now I use the same pick for both electric and acoustic. I like Gators for their grip, and Ultex for their tone and durability too—but I always seem to come back to Tortex.
23. Pick Holder. One of the coolest gizmos ever! I use a Pic-Clip that clips on my mic stand and keeps a spare pick handy should I drop one. I think it will hold about 5-6 picks. Sure, you can use a piece of tape, but I’ve gotten my fingers stuck to the tape and sent the picks flying—without getting one.
The old ones were made of hard plastic. The original design was bought out by Jim Dunlop and they are now made of a more durable, softer rubber. At a jam, I’ll just slip an extra pick under the pickguard of my Legacy on the treble side—and then whine about not having my Pic-Clip!!!24. Atlas Sound LO-2B: I’ve been telling people about these since I read an article about the Grateful Dead back in the early ‘70s. The Dead always had state-of-the-art PA systems, and the little LO-2B adaptor actually IS the “Greatest Thing Since Sliced Bread!!!!” Okay, you got a mic, got a stand, got a mic clip. You don’t want to be screwing that mic clip on the stand at every gig. And if you are touring and you leave the mic clip on the stand—it WILL get broken. (I speak from experience!) Enter the LO-2B. One part screws on top of the mic stand, the other half into the base of the mic clip. Now the mic clip just slips over the part on the stand and locks into place. Push the button to release the clip and remove it from the stand for transport. It is FAST; it is secure. I use one between my mic boom arm and the stand, and then again for the mic clip. You can find them now from On-Stage Stands—but the old Atlas Sound version isn’t compatible—probably the new version is metric.
25. Shure Microphones: Yeah, yeah—there’s Beyer Dynamic, and AKG, and Sony, and Audix, and Audio-Technica, and EV, and Sennheiser, and, and, and…HEY—you wanna be ROCK STAR?? Well, young man you need a Shure mic!!! Buy as many of those mics and you need for your recording studio; but the odds are that you will encounter the ubiquitous SM-56, -57, and -58. (BTW, “ubiquitous” means, “Everybody in the world has one!!!”) And there are lots of reasons why, and that’s why they are the standard. The SM-57 works on damn near everything--guitar, drums, horns, etc. If you record an electric guitar—shove a 57 in front of the speaker about 30 degrees off angle—done! If you are a singer, you better know how to use a 58. If you have four guys singing in the band and only one monitor buss—everybody should be using he same brand and model of mic to minimize feedback and phase cancellation. And the odds are, three of the four guys will have SM-58s. So don’t be that fourth guy. Go get a SM-58 for your vocals, and an SM-57 for your guitar and keep them in your kit—for the gigs where your XYZ mic won’t cut it. (And yes, I have pounded on something with a Shure microphone!)
26. RocknRoller Cart: Miss Leslie got me one of these for Christmas about eight years ago, and I have used the heck out of it! It virtually goes to every gig. See, I’m OLD; I’m FAT; and I’m a little bit broken from a car accident back in 1981 that still affects my upper back. I bought a lightweight tubular hand-truck many years ago, and that helped a lot. The hand-truck is really good, but the RocknRoller cart is better. I have the small one, and it folds up really compactly. (Be careful though, you can pinch your fingers if you’re not careful!) It weighs 15 pounds and can carry 350. It’s versatile—use it as a cart or as a hand-truck. It is so handy, you’re gonna wanna get those Marshall 412 cabs out of the back of the closet and start taking them to the gigs—‘cause the RocknRoller makes them really easy to move around. So save your back—get a RocknRoller cart!
27. A Great Guitar! Okay, a shameless plug for the people who sponsor the board. I really love my G&Ls. I play Legacy bodies, though I do have one lonesome ASAT Deluxe. As a vintage Strat player, the Legacy is the guitar I wished the Strat was. To me, the Legacy has the right combination of upgrades that address the weaknesses of the Strat. It has the upgraded features I want, without losing the flavor and essence of a vintage guitar. I love the quality! I love the finishes! I LOVE the VALUE!!! Trust me, when I hit it big and get to plug my new record on The Tonight Show with Jay Leno—I’ll have a Legacy-bodied G&L in my hands!!
So, the final part of the list has some gizmos, but it has some other stuff—what I call the important stuff. I couldn’t put a list together without including these things, because when it comes right down to it—these are the heart of the matter—the things I really can’t live without. Read on, and I hope you’ll understand.
28. Drum Machine. I got a lot better when I started using a drum machine back in the 1970s. They have gotten so much more sophisticated. You can play to preset patterns, or program patterns in complete songs. The Alesis SR-16 is a good basic unit and you can find used ones for less than $100. Many of the newer machines allow you to add bass lines. Yeah, you can get by with a basic metronome, but what fun is that? The drum machine can really inspire you as a songwriter. All you need is a few bad relationships, and you can be the next Taylor Swift!!
29. Tascam CD-1 Guitar Trainer. I’ve had this for a few years and gotten a lot of use out of it. It has built in effects and a tuner, and allows you to play along with a CD and learn songs and guitar licks. The neat feature is the ability to mark off a section, slow it down, and loop it, so you can really hear that one part that’s giving you trouble, and practice it until you have it down. You can also use Jam Trax CDs. They provide you with a backing band, and you can really learn a lot by playing with these, inventing your own lead lines. Stretch yourself. The Tascam is just one of many products you can use to practice with. Boss has the new Jam Station, and it looks killer.
30. Practice Space. The one thing I really don’t have right now, and I really miss having a room of my own to practice in. I want a space with no distractions, where I can close the door and work on stuff ALONE. Family might hear you through the walls, but no comments allowed. I perform in public; but I need a space to practice and learn—and where I can scream when it gets ugly.
31. Recorder. Again, if you want to get better, you need to listen to yourself. Sure, if you can afford a dedicated fast computer and Pro Tools and racks of processing gear to record your masterpieces—go for it. What you need is simple yet accurate recorder that allows you to listen to your practice sessions, your guitar lessons and your jam sessions. You will learn so much. And it WILL be painful!
32. Gear/Equipment List. I can’t tell you how much easier it makes my life—even though it is four pages long. All 48 guitars are listed; as are all my guitar amps, my PA speakers, toolbox, pedalboard, rack amps, lighting pieces, cord bags, mic stands—EVERYTHING is on that list. Miss Leslie is my roadie, and she helps load the car. Usually the night before, we discuss the gig, and I highlight the items I need to take to the gig. Makes it really easy for her, and I think I have only forgotten something one time in last ten years. I own the PA, and the lights; so I can’t just grab an amp, guitar and stand and head for the club. I have to think about it, especially when my gig might be 90 miles away. The back page is mostly personal items—things we might need to take on an overnight trip—and there is space to write in any items not on the list that we need to take. Make a list, and check it twice—and you won’t be in a panic at your next gig.
33. A Band. Look, the bottom line is that if you really want to get good, you need to play with other people. So get out, form a band. Go to jam sessions. Go to open mics and meet musicians that you can jam with—start a guitar circle at your local coffee shop. Go to seminars and clinics. Post an ad for jam buddies at the local music store. Learn the etiquette of playing with other musicians—and go make some REAL music. Go on tour. Get groupies. Get rich. Retire. Piece of cake. Money for nothin’.
34. A Good Roadie. Okay, you’ve got a band; three or four or five guys. You’re having fun; you’re getting good. It’s the Sixth man that can really make it work. In my old four-piece band, Tracy was one of my best friends and I asked him to take on the role. One of the things I asked from him was honesty. When we sucked, I needed him to tell me that. And when we were good, I needed to hear that too. Tracy loves the same kind of music that I do, and we would listen to a record, and I would say, “I want my guitar to sound like that. I want the vocals to sound like this.” I taught him how to run the PA mixer, and had complete trust in him. I gave him the authority to start nagging us to get back up on stage at eleven minutes into our break, so we’d be back promptly at 15 minutes. (Club owners really appreciated our short breaks.) He helped keep the volume wars in check, and let us know when we had no energy. He was strong enough to handle the PA gear, and I taught him how to set it up. I was able to download and delegate a lot of responsibilities to Tracy—and that allowed me to do what I do best—hit the stage and play my ass off. Mentally, it was a great relief; and he handled a lot of the physical stuff that would have totally worn me out before the show even started. I made him wear a back brace belt; I didn’t want him to break himself. I set this rule: everybody helps load gear. The big speakers—don’t lift them by yourself—everybody helps. Our amp rack weighed about 300 lbs., so we NEEDED to help each other. We get the cars loaded at the end of the night, and we all leave together. Eventually, we started giving Tracy an equal share of the money. He earned it, and it was totally worth it. He was our MVP, for sure. So if you can find someone you can trust, with the skills you need—get a good roadie—and treat him well.
35. Fans. It really helps if you can get your fans to the gigs. I invite everybody—I’ve even invited the grocery checker! My pharmacist! The dentist’s office staff! Start an email list. Get your band on Facebook. Put together flyers or poster. It helps if they drink expensive drinks—the kind with little pink umbrellas, but if they don’t, that’s okay, too. Sometimes a crowd attracts a crowd, and a crowd will make the club owner happy. If they have smart phones like an Android or an iPhone, make sure they download one of the free cigarette lighter apps. When they light up their phones for “Freebird”, you will finally feel the power of being a ROCK STAR!! But, you gotta get them there first.
36. Sundries: Anybody ever had to play a gig with a headache? Yeah, me too—lots of times. I have an upper back injury, so aspirin (now Tylenol) is my drug of choice and I always make sure I keep some in my toolbox. Frankly, a hangnail or a cracked, split fingernail can be worst than a migraine to a guitar player. I can’t tell you how many sets of fingernail clippers I own—and I have them stashed in several of my gig bags, with an emery board or two. You need your heart pills; or Zantac or Tums or Preparation H, cough syrup or Hall’s or toothpicks or contact lens solution or reading glasses—plan on carrying them to the gig. Some day, I promise, you will NEED them in the worst way. You’ll remember this post, and while you’re kicking yourself in the rear, my ghost will be standing on your shoulder saying I told you so! And if you’re planning on meeting up and partying with the Kardashians, you might want to include some Altoids, and some….well, you know.
37. Taylor Gig Bag. This is a neat little ballistic nylon bag from Taylor; it’s kind of the other half of my toolbox. Mesa makes one, and I think Peavey does too; but a duffle or a briefcase might work for you. I use this for my acoustic guitar support, like when I go to an open mic night. I keep some strings in there, with a winder and a polishing rag and some Dunlop 65 Spray Polish. I have a flashlight, a couple of cords, a direct box, a Shure SM-57, picks—whatever I might need at a gig. I have a D’Addario small duffle that I use for my electric jams—it has my spare wah and I keep a 12AX7 preamp tube in a little Rubbermaid food container. Oh yeah, and a nail clipper, you betcha!
38. The Number ONE-A Guitar. I have written about this many times, but I think it bears repeating. For me, I play a Legacy—that’s my Number ONE guitar. I also play a 2HB guitar at my gigs, usually a Les Paul, ES-335 or clone, or one of my Ibanez Ghostriders. I could use a Legacy all-night long and get by, but it would be tough to do a four-hour gig with just a Les Paul. It’s great to have a big guitar collection, with an acoustic, a Lester, a Gretsch, a Ric, a tele, a strat. But if you are tied deeply into one style of guitar, you need a backup for that guitar. A tele or an ASAT isn’t going to cut it for me—I need a Legacy. Some guys are really picky; they might want an EXACT duplicate of their Number ONE. I’m a bit looser; for example, I don’t care if it has a maple or a rosewood board. I just want that same neck, same controls, same pickups, and the same feel. So, if you’re just as comfortable playing your Gretsch as you are your tele, and can do the same songs on them, great. If not, the second guitar in your collection needs to be a Number ONE-A. Get that one, and THEN start building your collection with the variety of tone weapons you want. Things happen: guitars get knocked off stands, pickups die, or they get stolen. They need to spend three weeks getting a re-fret—whatever. If you have a gig and your Number ONE isn’t available, you’d better have a Number ONE-A.
39. Professional Attitude. When you start making music for money, things change. I read a book one time that was based around the principle that to get what you want you have to give people what they want. I made my living solely from music income for about 12 years. You need good jobs skills to succeed. Desire, commitment, focus, work ethic—these things can take you places where talent can’t. You need people skills, sales skills, good communication skills and the ability to get along and play well with others. You’ll often be in negotiations, so be prepared to compromise. Learn what you need to give to the music buyer to make him happy. Learn to read your audiences, to assess their mood. And above all, BE PREPARED!!! And even if you know you’re just small-time, it’s okay to act like professional, even if you’re not.
40. LOVE. That’s right, all your need is LOVE! You need to give it, and man it is really great when you get it! I am so lucky to be in an open and honest, and supportive relationship. I am able to talk to her about this guitar obsession I have, and she listens. She is hugely involved in what I’m doing.
I think having a good relationship is really important, but the most important relationship might be the one you have with yourself. If your relationships aren’t working, if you’re not centered in mind, body and spirit—it is going to show in your music, in a negative way. I’ve seen guys that were unhappy, self-centered, selfish people who were not in a good place in their lives, and it really showed.
I always try to be humble, but I really do everything I can to build my confidence. I recite a series of positive affirmations before the gig, and that helps to relieve stress and keep me focused. I can remember someone asking me, after I’d been playing for a number of years, if I was any good. Well, I’d been asked that before, and did my “Aw shucks,” routine; but that day something changed. I looked that person right in the eye, and said, “Yes, I am good.” And I knew it and I believed it from that day forward. I don’t brag, and there are about 4 billion better players than me, but…I’m good.
And I am thankful for the talent that God gave me. I am so blessed. To my Mom and Dad who sacrificed so much that I could play music, I am thankful. I am thankful for the many friends who supported me all these years. And I am thankful for the many lovely women who have played a part in my life; into whose eyes I gazed into and sang love songs to. I’m even thankful for the ones that broke my heart. (You know who you are!) I probably wrote songs about them, and I am thankful I was able to express my deepest emotions through my music. My D-28 has been a part of a lot of cathartic therapy!
So find a way to get centered in your life. Find that place where you can feel inner peace and let that talent and creativity begin to flow. Let those people around you know that you love them. Take the time to have a conversation with the people who influenced you, the people who made it possible for you to play music, and say “Thank you!” Love yourself. Love that guitar. Love the tone your getting. Say the words out-loud, “I LOVE MY GUITAR!!! The more love you give, the more love you get. The more you love your guitar, the better it will sound. The more love you put into those relationships around you, the better they will be.
Yes, the lads from Liverpool got it right when they wrote and sang, “All You Need Is Love”. And I hope all of you have that song floating around in your head all weekend!!! Believe in the magic, and please pass it on and “Pay It Forward.”