Ah, yes.... The Strymon Timeline. Arguably the most sought after pedal for most worship applications out there today. One could argue that this pedal is the greatest invention for the ever growing need to get the creative juices flowing, all while keeping things automated over a spider-web of MIDI cables.
-Or, you could say that this pedal is just complete over-kill. A tip of the hat to decadence, a status symbol when all you really need is a good dotted eighth and quarter note delay. What would you use those other 99 banks of presets for, right?
Well, speaking as a Timeline owner and a former "peasant" delay owner, I can say that there are some things about the mysterious pedal I love, and some things I wish were better. The Timeline is a great multi-use pedal, and should definitely not be limited to your pedalboard. Let's dive in and explore some other uses that justify the $400 price tag.
1.) FOH delay bus insert.
You may have already thought this, but if not, your life will be changed once you use the Timeline as a Bus insert at FOH. The Timeline's delays are FAR superior to most built-in delay patches that come standard on most desks for FOH. The ability to navigate quickly through presets, adjust tempo and adjust settings from the encoders on the front panel not only makes this a more ergonomic solution for your FOH engineer, but it can encourage higher amounts of creativity in a mix, rather than focusing on the technicality of working the ins and outs of the board. If your show/church runs a MIDI solution such as QLab or Ableton, you can also send MIDI cues to the Timeline to seamlessly change patches and tempos.
2.) Think past the pedalboard.
While the Timeline is arguable the fan favorite for most six-stringed slingers on stages today, the Timeline can be used for a number of applications beyond the board. Try slapping the Timeline in between your Keyboard and your DI to add a little extra depth and movement for single-note melodic lines. Have an electronic drum pad like an SPD-SX? Insert a Timeline into the FX loop to give your repeats and echoes a more pristine quality than what comes standard in the box. Heck! Try even mixing it up and have a vocal microphone with a Timeline on it. Some modulated delay can really add depth to your performances.
3.) Take the Timeline "out of line".
This solution is a little less creative, but if your amp has an effects loop, try experimenting by putting the wet effects into the effects loop of your amplifier. What I've done before is run all of my gain-based effects, compression, drive, pitch and volume into the front of the amp. This goes directly to the pre-amp stage of your amplifier and will effect the volume and dynamics of your amplifier differently than if you ran everything into the effects loop, which is post the pre-amp stage. Having the wet-effects before the pre-amp stage in a traditional setup usually results in delay and reverb trails that can be overly distorted, for lack of a better term. Throwing them into the effects loop cleans up the repeats and gives you a cleaner pick-attack as well. Give it a shot!
Whether you're just now getting a Timeline, or you've had one for a while, experimenting with the uses of your pedals in general can really open up some creative doors in your musicality. You could find sounds that you never knew existed in a traditional setup! In my personal opinion, there is no "right way" to set up your signal chain. Just experiment and find what sounds good!
Friday, March 9, 2018
Wednesday, February 28, 2018
Create, not Replicate.
Let's all take a ride in the time machine back to the early 2000's. Before the advent of the Kempers, Axe-FX or the Strymons. When Line 6 was ruling the guitar effect game and Behringer's "V-Amp" was hot on it's tails as the go-to, all-in-one solution for amp modeling and effect modeling.
I still remember my old v-amp like it was yesterday. Oh the sweet tones that manifest from that ugly blue box. What shape would you even call that thing?
It was shaped kinda like a blue continental USA if you squint hard enough....
Luckily, DSP processing and manufacturing has come a long way in the past 10-15 years and we are able to get some of the most amazing and creative tools to use when we perform on stage. However, I've noticed a trend when it comes to pedals and effects for guys in the worship guitar sector. It seems that we're all in the same rut with types of effects. Myself included, I've noticed that we've all been limited to the requisite overdrive (excuse me, TRANSPARENT overdrive), delay and reverb core choices with maybe a chorus and compressor, or pitch shift thrown in.
Has worship music become that boring where we can't experiment with different effects or arrangements without making someone angry? Or has the musicianship just dwindled over time so that people are relying solely on delay and reverb to make themselves sound like James Duke rather than themselves?
Now, I am not perfect in all of my ways when it comes to breaking the guitar-pedal archetype. I use a pretty standard setup myself, but I think what sets my playing style apart is the fact that I am able to use those effects to supplement what my hands are doing, rather than using my delay and verb and a crutch in which all my playing leans on. Don't get me wrong, I LOVE my RV-5. I LOVE my Timeline. However, there comes a point when you have to step back and say "Do I really need this?" or "Is this adding anything constructive to this arrangement?", you know? Let's make worship guitar interesting again!
This brings me to my next point; what do people have against misfit effects in a worship setting? I can't even recall the last time I've seen a wah-wah used in church. Phase 90? Probably back in the 90s. If someone can use that Korg Miku-Stomp pedal efficiently in a church service, then they win. They literally win at life. I say lets get a little more freaky with our effects and break free of the box that we've built ourselves into. Not only will that encourage guitarists to have more fun on stage, but it can encourage creativity in the local church. If you listen to the guitars on Chris August's "No Far Away", brilliantly demonstrates a tasteful use of the wah-wah pedal in a modern way.
I am a huge advocate for creating, not replicating. You can train anyone to play "How Great is our God" exactly like Tomlin does on the record. However, it takes a real musician to hash out an original arrangement, maybe with a few chord changes and tweaking dynamics. Not only does that give ownership to your team for that arrangement, you are working out that "creative muscle" so to speak 10x more that if you were to just regurgitate whatever you're hearing on K-Love that week.
Wrapping up, I would challenge you and your team as you're preparing for your weekend set to take a step back and think about how you're arranging your music. Think more critically about what parts you play and why you play them. Do your parts add anything to the arrangement? Are you taking up too much sonic space? Is it better if I sit out this verse? The biggest struggle that I had when first adapting to this paradigm was not thinking so highly of myself in a mix. I was always wanting to be the instrument or voice that was the most dominant, and truth be told, that way of thinking only really works if you're into solo athletics.
My favorite teacher ever, Mr. Bartlett, always said "There is no 'I' in the word 'band'". You need to be willing to sacrifice your pride and self arrogance for the greater good of the ensemble. This means that you're not always going to be heard. It may not be the best idea for you to have a solo in this arrangement. It may not make sense for you to even play during this verse, but you need to realize that for the group to go to the next level, you need to think less of yourself and more of the ensemble as a whole. Read John 3:30.
When its all said and done, you'll find that when your team is spending rehearsals lifting each other up musically and creating rather than replicating, your musical worship experience will only drastically improve. You will have more ownership and pride from your team as they have put dedication and hard work that they are not used to into their rehearsals. They have a product that they can put their names on and be proud of.
I still remember my old v-amp like it was yesterday. Oh the sweet tones that manifest from that ugly blue box. What shape would you even call that thing?
Luckily, DSP processing and manufacturing has come a long way in the past 10-15 years and we are able to get some of the most amazing and creative tools to use when we perform on stage. However, I've noticed a trend when it comes to pedals and effects for guys in the worship guitar sector. It seems that we're all in the same rut with types of effects. Myself included, I've noticed that we've all been limited to the requisite overdrive (excuse me, TRANSPARENT overdrive), delay and reverb core choices with maybe a chorus and compressor, or pitch shift thrown in.
Has worship music become that boring where we can't experiment with different effects or arrangements without making someone angry? Or has the musicianship just dwindled over time so that people are relying solely on delay and reverb to make themselves sound like James Duke rather than themselves?
Now, I am not perfect in all of my ways when it comes to breaking the guitar-pedal archetype. I use a pretty standard setup myself, but I think what sets my playing style apart is the fact that I am able to use those effects to supplement what my hands are doing, rather than using my delay and verb and a crutch in which all my playing leans on. Don't get me wrong, I LOVE my RV-5. I LOVE my Timeline. However, there comes a point when you have to step back and say "Do I really need this?" or "Is this adding anything constructive to this arrangement?", you know? Let's make worship guitar interesting again!
This brings me to my next point; what do people have against misfit effects in a worship setting? I can't even recall the last time I've seen a wah-wah used in church. Phase 90? Probably back in the 90s. If someone can use that Korg Miku-Stomp pedal efficiently in a church service, then they win. They literally win at life. I say lets get a little more freaky with our effects and break free of the box that we've built ourselves into. Not only will that encourage guitarists to have more fun on stage, but it can encourage creativity in the local church. If you listen to the guitars on Chris August's "No Far Away", brilliantly demonstrates a tasteful use of the wah-wah pedal in a modern way.
I am a huge advocate for creating, not replicating. You can train anyone to play "How Great is our God" exactly like Tomlin does on the record. However, it takes a real musician to hash out an original arrangement, maybe with a few chord changes and tweaking dynamics. Not only does that give ownership to your team for that arrangement, you are working out that "creative muscle" so to speak 10x more that if you were to just regurgitate whatever you're hearing on K-Love that week.
Wrapping up, I would challenge you and your team as you're preparing for your weekend set to take a step back and think about how you're arranging your music. Think more critically about what parts you play and why you play them. Do your parts add anything to the arrangement? Are you taking up too much sonic space? Is it better if I sit out this verse? The biggest struggle that I had when first adapting to this paradigm was not thinking so highly of myself in a mix. I was always wanting to be the instrument or voice that was the most dominant, and truth be told, that way of thinking only really works if you're into solo athletics.
My favorite teacher ever, Mr. Bartlett, always said "There is no 'I' in the word 'band'". You need to be willing to sacrifice your pride and self arrogance for the greater good of the ensemble. This means that you're not always going to be heard. It may not be the best idea for you to have a solo in this arrangement. It may not make sense for you to even play during this verse, but you need to realize that for the group to go to the next level, you need to think less of yourself and more of the ensemble as a whole. Read John 3:30.
When its all said and done, you'll find that when your team is spending rehearsals lifting each other up musically and creating rather than replicating, your musical worship experience will only drastically improve. You will have more ownership and pride from your team as they have put dedication and hard work that they are not used to into their rehearsals. They have a product that they can put their names on and be proud of.
Monday, February 26, 2018
5 things a novice found out about making a career in the music biz
I will hit you with a disclaimer first; I am no career counselor or career professional. Heck, I'm not even a music professional. I am just relying on common sense and what has been said to me probably hundreds of times. I was just so naive to ignore these steps and think that I can do it on my own, in my own steps any better. Guess what? I'm no further along in my journey than I was when I said I would lone wolf it.
Here's a freebie right off the get go from a person who's tried to lone wolf it; don't try and lone wolf it. You will likely fail. Don't think you know everything. I am sooooooo guilty of this deadly sin and it has caused me to stall out in the music biz. There are literally hundreds of pros out there for you to ask your questions to and get advice from. Don't be too proud to ask for help. You might find out something that you didn't know that you didn't know.
With that being said, here are 5 things that I've observed are paramount if you intend on making a career in music. Do these things, and you're likely closer to not only being a better musician, but being a better person overall.
1.) Practice More.
We all knew that this one was coming. If you intend to get a gig where you're going to have to audition for a part or a spot, there's probably 10-20 people or more that are gunning for that spot as well. You need to be on top of your game, well rehearsed and ready to go every day. You are only setting yourself up for failure if you're only practicing a few times a week. If you can set aside an hour a day to keep your fingers limber, run through songs and charts, or even practice patch changes, that will only benefit you in the long run. Showing up to a gig unprepared not only makes you look like a dunce, but it wastes everybody's time, and time is money!
2.) Be a kind human.
This is basic knowledge. Nobody likes to hang out with a douchebag. Don't be that guy. Remember what your momma taught you; Say "Please" and "Thank You". "Sir" and "Ma'am" go a long way as well. Coming from a customer service background and dealing with angry or disgruntled customers on a regular basis, you'd be surprised at how quickly you can turn someone's day around with a smile and a good attitude. Always be appreciative of compliments and remember to stay humble.
3.) Learn to market yourself.
Honestly, this is something that I've struggled with for a long time. I am a complete noob at the whole marketing thing and I am still trying to figure it all out. The best thing I can recommend is figure out a way to start creating content. Don't just be a consumer, bring value to the marketplace. Try creating a YouTube channel. Set a weekly goal for how many times you're uploading. Make interesting content that showcases who you are as a person and a musician. Try making a blog, or writing your own music. Use social media to your advantage. You'll have a harder time being sought out if you don't have an online presence.
4.) Find a mentor.
As I said before, If you decide to lone wolf this endeavor, you're waayyyy more likely to fail. Find someone who you can get in your corner, who's in this business currently, whom you look up to and can get you where you want to go. Don't be afraid to ask frequent and dumb questions. Turns out, most industry pros are some of the nicest people around and are more than willing to answer our dumb questions if we approach them with the right attitude. They were all in our shoes at one point too.
5.) Play out more.
This goes along with marketing yourself. If you want to get your name known by other musicians and start getting more calls, then it makes sense to start making yourself available for more local shows, doesn't it? Start out by hanging out at the venues in your town. Meet the bands that play at the rooms in your town. Introduce yourself, make yourself known and known that you're available. Always say yes to gigs if you can. Support your local artists and musicians and they will do the same for you. If you can do this at a local level, you will have an easier time getting calls which might end up to getting calls for national acts someday.
As I've said before, I am not a professional but I am using common sense and tips that have been passed onto me over the years. I have been too arrogant and naive to use these tips to their full advantage. There is no reason that if a musician does these 5 things, that he shouldn't be successful.
Here's a freebie right off the get go from a person who's tried to lone wolf it; don't try and lone wolf it. You will likely fail. Don't think you know everything. I am sooooooo guilty of this deadly sin and it has caused me to stall out in the music biz. There are literally hundreds of pros out there for you to ask your questions to and get advice from. Don't be too proud to ask for help. You might find out something that you didn't know that you didn't know.
With that being said, here are 5 things that I've observed are paramount if you intend on making a career in music. Do these things, and you're likely closer to not only being a better musician, but being a better person overall.
1.) Practice More.
We all knew that this one was coming. If you intend to get a gig where you're going to have to audition for a part or a spot, there's probably 10-20 people or more that are gunning for that spot as well. You need to be on top of your game, well rehearsed and ready to go every day. You are only setting yourself up for failure if you're only practicing a few times a week. If you can set aside an hour a day to keep your fingers limber, run through songs and charts, or even practice patch changes, that will only benefit you in the long run. Showing up to a gig unprepared not only makes you look like a dunce, but it wastes everybody's time, and time is money!
2.) Be a kind human.
This is basic knowledge. Nobody likes to hang out with a douchebag. Don't be that guy. Remember what your momma taught you; Say "Please" and "Thank You". "Sir" and "Ma'am" go a long way as well. Coming from a customer service background and dealing with angry or disgruntled customers on a regular basis, you'd be surprised at how quickly you can turn someone's day around with a smile and a good attitude. Always be appreciative of compliments and remember to stay humble.
3.) Learn to market yourself.
Honestly, this is something that I've struggled with for a long time. I am a complete noob at the whole marketing thing and I am still trying to figure it all out. The best thing I can recommend is figure out a way to start creating content. Don't just be a consumer, bring value to the marketplace. Try creating a YouTube channel. Set a weekly goal for how many times you're uploading. Make interesting content that showcases who you are as a person and a musician. Try making a blog, or writing your own music. Use social media to your advantage. You'll have a harder time being sought out if you don't have an online presence.
4.) Find a mentor.
As I said before, If you decide to lone wolf this endeavor, you're waayyyy more likely to fail. Find someone who you can get in your corner, who's in this business currently, whom you look up to and can get you where you want to go. Don't be afraid to ask frequent and dumb questions. Turns out, most industry pros are some of the nicest people around and are more than willing to answer our dumb questions if we approach them with the right attitude. They were all in our shoes at one point too.
5.) Play out more.
This goes along with marketing yourself. If you want to get your name known by other musicians and start getting more calls, then it makes sense to start making yourself available for more local shows, doesn't it? Start out by hanging out at the venues in your town. Meet the bands that play at the rooms in your town. Introduce yourself, make yourself known and known that you're available. Always say yes to gigs if you can. Support your local artists and musicians and they will do the same for you. If you can do this at a local level, you will have an easier time getting calls which might end up to getting calls for national acts someday.
As I've said before, I am not a professional but I am using common sense and tips that have been passed onto me over the years. I have been too arrogant and naive to use these tips to their full advantage. There is no reason that if a musician does these 5 things, that he shouldn't be successful.
Friday, February 23, 2018
Welcome!
Welcome to the groundbreaking ceremony for my blog!
We will be exploring all sorts of guitar related topics, from music theory, to gear and tips I have been using to try to make a living as a musician.
First, I wanted to just give you all a brief introduction to myself, with a little background from where I'm coming from and what brought me to where I am today.
I have come from a musical background and have been exposed to making music since I was very little. I remember playing the "what's on the radio game" with my dad when I was 5 or 6. That's how I learned how to tell the difference between Led Zeppelin and ACDC, even though I thought Led Zeppelin was an actual person...not a band. (Oh to be young and naive again...).
My Dad always had guitars lying around the house and was a passive player. He had a Martin acoustic guitar that lived on a stand next to his favorite Lazy Boy recliner. Most of the time the TV was on, there was a bad Sci-Fi movie playing, and he would be strumming some chords softly while watching. Truth be told, he was probably the only one that enjoyed those movies...despite him falling asleep during most of them.
Now, I don't know what triggered me wanting to start playing off the get-go. I could tell you it was listening to Eric Clapton's "Unplugged" record, or the guitar work of the "Hell Freezes Over" album from the Eagles. Maybe it was the smooth and subtle jazz guitar from "The Christmas Song" by Nat King Cole right after Thanksgiving. Truth be told, there was always music on the stereo in the house and our family preferred that type of bonding rather than sitting in front of the TV. I think just being exposed to so much music, at such a young age, and with such a high variety, really piqued my interest.
Once I reached 2nd or 3rd grade is when I decided to dive head first into taking guitar lessons and being engulfed in the world of music. I vividly remember taking Musician's Friend catalogs with me to school and reading them on the bus, reading them at recess and reading them when I had free time at my desk. Other kids in my school would be reading about dirt-bikes, 4 wheelers, or basketball (I grew up in rural Indiana, so it came with the territory). There were two problems I faced with this trend in my school.
Lessons were interesting. I only took lessons continuously for about a year before the instructor made me stop. My dad took me to this small music store in town after school where I had a 30 minute lesson every week. We would pick a song and go over the chords and work on it week by week. My dad and my instructor knew something was up when I figured out that I was getting taught the wrong chords for the song I had picked. I ended up correcting the instructor in one of my lessons and he told my dad not to bring me back after that week. Soon after that incident, I heard Tom Petty's "Mary Jane's Last Dance" on the radio during a drive home. As soon as I got home, I went and started playing the opening riff on the Martin that lived next to Dad's recliner. I hadn't known what was going on, because I had been taught those chords in previous lessons, and had heard those same chords in the song on the radio, so I just put 2 and 2 together and it sounded the same when I played it myself. Turns out it's a thing called "Relative Pitch" and it is something that I actually developed over time as I started playing out more and as I got older.
At this point, Im probably 11 or 12. I had been playing for a few years and just gotten competent enough to start playing in "ensembles". Luckily, our family was really involved with serving in the local church, and our church at the time had a great music program. I was able to get my foot in the door by volunteering with the student ministry by playing acoustic guitar a couple times a month. Things got a little more serious when I started declining sheet music, but would rather play by ear with everybody. I started playing regularly on Sunday mornings when I was 12-13 years old and would lead from time to time in the student ministry. Once I had gotten into Jr. High school, I had the chance to meet new friends from other schools who were also musical. While it wasn't grammy material, we did have fun making our own music and recording our own CD's on a 4 track Tascam machine. Needless to say, we never got signed. If only we had the proper representation.....
I spent High School learning more about music theory and basic orchestration. I also got really into brass instruments and marching band. I was in my high school's marching band as a Tubist (I think that's the proper term?). I don't ever expect my tuba or brass skills to make me a fortune anytime soon, but they did help me out once I got to college. I ended up studying music in college where tuba was my primary instrument. Looking back, I probably should have stuck with guitar...but If only...
Nowadays, I can best describe the phase I'm in as 'limbo'. I've tried the corporate job gig, with the 401K and 8-5 hours, but had a horrible boss and worked for a horrible company. I have tried working 4 jobs part time and that was just too much to handle. I've even tried teaching but the combination of my stupidity and other intangibles made that fall through as well. Turns out, that the only thing I really know how to do is make music. I guess I'm an ok barista too, but that doesn't really pay the bills well. I want to start busting my hump and get to the point where I can be the musician I know I can be and have the life I know I can have all while doing what I love. I don't want to sit around 30+ years from now in a job that I regret wondering "what if?". I don't think God would have given me this talent to squander it like this. Or maybe, I just need to try and fail spectacularly to find out that it's not for me. Either way, this is my last ditch effort and I am willing to give everything to make it happen. I don't care who's feelings I hurt, how uncomfortable I become, or how much I struggle in the beginning. Hopefully, in the end it will be all worth it.
-B
We will be exploring all sorts of guitar related topics, from music theory, to gear and tips I have been using to try to make a living as a musician.
First, I wanted to just give you all a brief introduction to myself, with a little background from where I'm coming from and what brought me to where I am today.
I have come from a musical background and have been exposed to making music since I was very little. I remember playing the "what's on the radio game" with my dad when I was 5 or 6. That's how I learned how to tell the difference between Led Zeppelin and ACDC, even though I thought Led Zeppelin was an actual person...not a band. (Oh to be young and naive again...).
My Dad always had guitars lying around the house and was a passive player. He had a Martin acoustic guitar that lived on a stand next to his favorite Lazy Boy recliner. Most of the time the TV was on, there was a bad Sci-Fi movie playing, and he would be strumming some chords softly while watching. Truth be told, he was probably the only one that enjoyed those movies...despite him falling asleep during most of them.
Now, I don't know what triggered me wanting to start playing off the get-go. I could tell you it was listening to Eric Clapton's "Unplugged" record, or the guitar work of the "Hell Freezes Over" album from the Eagles. Maybe it was the smooth and subtle jazz guitar from "The Christmas Song" by Nat King Cole right after Thanksgiving. Truth be told, there was always music on the stereo in the house and our family preferred that type of bonding rather than sitting in front of the TV. I think just being exposed to so much music, at such a young age, and with such a high variety, really piqued my interest.
Once I reached 2nd or 3rd grade is when I decided to dive head first into taking guitar lessons and being engulfed in the world of music. I vividly remember taking Musician's Friend catalogs with me to school and reading them on the bus, reading them at recess and reading them when I had free time at my desk. Other kids in my school would be reading about dirt-bikes, 4 wheelers, or basketball (I grew up in rural Indiana, so it came with the territory). There were two problems I faced with this trend in my school.
1.) I was horrible at sports. I tried coach pitch baseball, basketball and karate when I was young and ended up being pretty bad at it. Imagine a little husky version of me trying to run to first base after hitting a baseball...yeah, didn't work out so well.
and
2.) my family didn't want me killing myself on a dirt bike or a quad. I whole heartedly understand.
Lessons were interesting. I only took lessons continuously for about a year before the instructor made me stop. My dad took me to this small music store in town after school where I had a 30 minute lesson every week. We would pick a song and go over the chords and work on it week by week. My dad and my instructor knew something was up when I figured out that I was getting taught the wrong chords for the song I had picked. I ended up correcting the instructor in one of my lessons and he told my dad not to bring me back after that week. Soon after that incident, I heard Tom Petty's "Mary Jane's Last Dance" on the radio during a drive home. As soon as I got home, I went and started playing the opening riff on the Martin that lived next to Dad's recliner. I hadn't known what was going on, because I had been taught those chords in previous lessons, and had heard those same chords in the song on the radio, so I just put 2 and 2 together and it sounded the same when I played it myself. Turns out it's a thing called "Relative Pitch" and it is something that I actually developed over time as I started playing out more and as I got older.
At this point, Im probably 11 or 12. I had been playing for a few years and just gotten competent enough to start playing in "ensembles". Luckily, our family was really involved with serving in the local church, and our church at the time had a great music program. I was able to get my foot in the door by volunteering with the student ministry by playing acoustic guitar a couple times a month. Things got a little more serious when I started declining sheet music, but would rather play by ear with everybody. I started playing regularly on Sunday mornings when I was 12-13 years old and would lead from time to time in the student ministry. Once I had gotten into Jr. High school, I had the chance to meet new friends from other schools who were also musical. While it wasn't grammy material, we did have fun making our own music and recording our own CD's on a 4 track Tascam machine. Needless to say, we never got signed. If only we had the proper representation.....
I spent High School learning more about music theory and basic orchestration. I also got really into brass instruments and marching band. I was in my high school's marching band as a Tubist (I think that's the proper term?). I don't ever expect my tuba or brass skills to make me a fortune anytime soon, but they did help me out once I got to college. I ended up studying music in college where tuba was my primary instrument. Looking back, I probably should have stuck with guitar...but If only...
Nowadays, I can best describe the phase I'm in as 'limbo'. I've tried the corporate job gig, with the 401K and 8-5 hours, but had a horrible boss and worked for a horrible company. I have tried working 4 jobs part time and that was just too much to handle. I've even tried teaching but the combination of my stupidity and other intangibles made that fall through as well. Turns out, that the only thing I really know how to do is make music. I guess I'm an ok barista too, but that doesn't really pay the bills well. I want to start busting my hump and get to the point where I can be the musician I know I can be and have the life I know I can have all while doing what I love. I don't want to sit around 30+ years from now in a job that I regret wondering "what if?". I don't think God would have given me this talent to squander it like this. Or maybe, I just need to try and fail spectacularly to find out that it's not for me. Either way, this is my last ditch effort and I am willing to give everything to make it happen. I don't care who's feelings I hurt, how uncomfortable I become, or how much I struggle in the beginning. Hopefully, in the end it will be all worth it.
-B
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