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Pretty good review Just wish he played to show more then just doing arpeggios

Do you think you understand modulation pedals? Or want to know more about them? Or starting out with pedals and don't understand the category, "modulation pedals". This video is for you. Actually, if you are early in L&MG and starting to think about pedals, and starting down that "rabbit hole" we call tone, there's nothing wrong with jumping ahead to session 15, "Electric Guitars - The Heart of Rock & Roll". At least I don't think there is anything wrong with doing so. In addition to the excellent lesson on power chords and everything else that makes R&R, Steve goes into a section he calls "Guitar Effects". Here he discusses distortion, chorus, delay and reverb. Or, if you have started your pedal board, or are ready to, you need to study Steve's video on how to do just that, How to Build an Electric Guitar Pedalboard. So much information for only $15. But now you want to know more about modulation? As I said, this video is for you. I don't think there is any more nebulous group of pedals than the modulation one. We all know the chorus as a representative member of this group. And it's one of the first pedals to go on most of our boards. But what about tremolo, vibrato, rotary, phaser, flanger? Josh Scott, of JHS Pedals, goes through all the different categories and types of modulation pedals. And he does it in historical order, adding a little historical insight with each, making it even more interesting. And he does it with his usual tongue-in-cheek humor. If you are getting started on your (addictive?) journey on pedals and tone I'm confident this is going to add to your knowledge of modulation.

Yes, Ron, I am on his mailing list. He teaches the style of rootsy blues I want to be able to play. I am working my way through his TrueFire courses, which will keep me busy for many months.

Thank you so much!!!!! 😀

Fretboardconfidential.com with YouTube pdf download page I believe.

Wim, really nice recording. I enjoyed it a lot. David has some very good blues courses on TrueFire. And I don't know if you are on his mail list or not. If you are, you know his writing is right up there with his blues teaching, always fun and entertaining.

Of course!!! Which type of guitar you use should be dictated purely by which you enjoy most. Nothing else. Some use an acoustic for the course; some an electric. Some, like Doug ( @Eracer_Team-DougH) and myself, use both.

@Marshall many of us have both acoustic and electric I alternate on both through the lessons

Hello guys, Unfortunately, my old acoustic guitar is unplayable anymore. I am planning to purchase a new one, and I was thinking to buy a electric guitar. Question: Is it okay to continue the course with a electric guitar? Any thoughts? Thank you!

All the posts and pics make me "homesick". Already looking forward to June 15 next year!

Great photos Dave!! Thx for sharing. Greg

@Wim VD1 I liked the muted base, good ‘thump’ separation from the melody. Your right hand timing is coming along nicely. Well done!

I can't add much to what Diane and Greg have posted above. It was a great week of seeing old friends and making new ones. We were able see, hear and rub elbows with some of the finest talent in Nashville. Thanks to Gruhn's, Artisan, North American Guitar, Carter Vintage, and the new Gibson Garage, we saw and played more guitars than we would in a lifetime back home. Looking forward to next year. Below is a link to all the photos I took last week - starting from packing the car to the closing session. https://www.dropbox.com/sh/svwd4aeu4lpob35/AAACnryfaU3BwSUFb2hkIEcna?dl=0

@Wim VD1 sounds good slow acoustic blues. Sounds like blues, I bought Chris Buono's Guitar Lab Blues solo ($5 on sale) doesn't sound bluesy to me, I'll work and learn best I can from it, but certainly not making me a good blues player, This blues Fingerstyle course sounds like it's doing that for you

Rosedale Blues is a slow steady thumb blues in E from David Hamburger's Fingerstyle Blues Factory course on TrueFire. Wim.

Thanks Diane for articulating so well , good memories for me and and other attendees, as well as for the whole of The Guitar Gathering community. It is such a special time for those that can find opportunity to visit Nashville and share treasured moments with so many like-minded and wonderful enthusiasts of all things of guitar learning. Every year I expand my friendships with more and more faces and names to look forward to seeing again in 12 months. It is a joyous time for me as I hope it is for others who attend as well. I thank Steve, Paulette, their family and Trevecca University for giving so much of themselves to make this happen . As I do every time I go to the annual event, I encourage anyone who wishes to spend an uplifting , entertaining and inspirational musical experience and fellowship to consider attending the GG conference. It is one of life’s highlights for me. Greg

On to the finish line. It’s Showcase Day, which means I wear my heart necklace with the music note on it. Steve’s workout was a short pentatonic lick in various keys. To my dismay, I noticed that even after some warming up, my fingers were not cooperating. Wake up, little Susies, I muttered, we gotta get to work in a few minutes. We scattered the chairs and music stands and clambered around the stage for Chuck Thompson to take the group photo. A dozen exposures and twice that number of wisecracks later, it was snack time. Now, for any teacher’s favorite moment: seeing his students go for it. The Student Showcase hour featured a dozen first timers and old hands alike. One could sense everyone in the room silently rooting for their friends on stage. I like to watch Steve watching us. He simply glows with pride. When I leaned into the microphone for my first line, it sounded like someone else singing, someone better than me. My fingers were still sleep deprived, but as I looked out on the faces before me, including Steve’s, that didn’t matter. Applause and cheers for all. The heartfelt hugs. Once more, the clang of chairs stacking, the snaps of cases closing, the calls for just one more picture. The cars and trucks coming to life, ferrying away the guitars and the memories. Later, Greg, Pat, and I rendezvoused back in the parking lot — my usual tactic — for a night at the Opry. We scored center seats near the front for Ricky Skaggs, Sara Evans, Vince Gill and others on Bill Anderson’s 60th anniversary with the Opry. The house was packed and appreciative for the occasion. Finally, even we three die hards had to part. One last check to ensure the lights were off, and no stray picks were left on the sidewalk. Then our triad arpeggiated into the Nashville night.

Well I can only live through these gatherings via everyone else . Gonna be a hard time for me to convince my banker to return Hope for a bigger turn out next year (not that 50 is shabby)

Down the backstretch hard, and turning for home. Does Pat Lindgren ever sleep? She had a jam going at 8:30 am when I walked in the door. Eventually they had to stop to give Steve a chance to run his show. We started with a lesson from Steve and Dino on solo improvising. Joe Robinson returned for a masterclass on fingerpicking, for which I afterwards heard only praise for his skill as a teacher. Check out JoeRobinson.com to see for yourself. My noon expedition with Greg in search of the Hattie B’s on 8th street, only 12 minutes away, devolved into a 45 minute loop of central city, two crossings of the Cumberland, an encounter with a funeral procession, and a near collision with an idiot who cut in front of us. He promised to have the GPS app humanely euthanized. Back to theory land with Steve for me. He responds to the phrase “tritone substitution” the way most most people respond to “free dessert”. Enough said. Another new guest artist this year was Scott Bernard, side man to Kenny Loggins. Scott walked us through his pedalboard as he explained how he gets the tone he wants. The gearhounds among us couldn’t get enough. We wrapped with singers Debi Shelby and Peter Penrose demonstrating how guitarists can be proper accompanists. They closed with soaring harmony on a hymn that brought a tear to my eye and the whole gang to their feet. After a short break at my hotel to panic about tomorrow’s song and where to find dinner tonight, I scooped up Liz at Trevecca and executed Operation Tell Greg Where to Go. He was already waiting at the LongHorn when Liz and I pulled up. We toasted our teacher and cheerfully took the rap for each other for Liz’s benefit. Then off to Franklin. On Main Street I had to wait for some tourists to cross in front of me. They looked a lot like David, Keith, and Mark. We parked and strolled towards towards the Franklin Theatre as Greg rolled by, shouting out his window: “Diane! Where did you park?” Operation TGWTG still nominal. The Franklin Theatre is a little gem within a diamond of a town. Poor Liz, sitting to my right: I had not been sitting next to the gentleman on my left for more than five minutes before we were into George Gruhn’s albino snake, Carter guitars, and David Grier. Tonight a full house welcomed the return of Larry Carlton to the stage after a year’s absence for the shutdown. Drums, sax, trombone, keys, bass, and everything of Steely Dan except Donald and Walter. They bid us goodnight; we clapped for an encore. I turned to Liz and shouted, “Well, he has to come back for ‘Peg’”. He did. Liz and I looked at each other and grinned.

Your practice room looks amazing.

Sounds amazing and jam packed with all manner of goodness 👍😀

Around the first turn we go. Steve’s workout exercised the mechanics of picking and strumming. If the morning coffee had yet to kick in, the pot of Bart Walker’s steaming hot blues got us in gear. SRV at ten a.m.? Only at this affair. I strolled with Greg, first timer Liz, and our fellow migrating bluesbirds to the Subway at the front entrance. It felt good to walk around in the warmth — briefly. Liz and I camped at a table in the music building’s loft and enjoyed some leisurely quiet time getting acquainted over our sandwiches. Back in songwriting class, Kim critiqued some raw and finished compositions that had been sent to her overnight. She pitched us an pop exercise straight out of a prose writer’s workshop — two minutes to write seven song titles — 3, 2, 1, go! I managed three duds, a maybe, and a keeper that got her attention. Meanwhile, Steve and Paulette continued teaching theory and Collin had the fingerpickers a-boom-chucking away. Andy Reiss set the jazzers’ axes to “Phrase”, and Jim Hurst mowed down the bluegrass tricks. Kim kept my class running overtime, and I was on a roll, so I lingered until she had to leave. It meant skipping Steve’s worship music class, but my compensation was a blissful, quiet respite in the lounge before returning to Dino’s blues jam. We all piled back into the main room to wrap up with Parker Hasting’s thumb picking masterclass. He’s not quite twenty one years old and already teaches with more clarity and poise than a lot of tenured professors I’ve known. Jim Hurst and his trio entertained us at our evening concert with a sweet mix of toe tappers, ballads, and endearing stories. And his handshake? Warm as the Tennessee sunshine.

If songwriting comes as easily to you as creative writing does, you've got it made! Enjoyed your writing as always, thanks for posting.