tag:thebunn.ca,2005:/blogs/test-1?p=2THE LOWDOWN2023-11-22T18:29:05-05:00Bunnfalsetag:thebunn.ca,2005:Post/73081292023-11-22T18:29:05-05:002023-11-24T16:45:56-05:00D.I.Y., Knowledge is Power & Creative Burnout<p><a class="no-pjax" href="https://youtu.be/rd-XuCwtDkw?si=nI-dqOpR6Wi_bujp" target="_blank" data-link-type="url"><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/175405/3d25a033f03d00f87cb7757d21d599922b2e5e5e/original/ct-thumb-b.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_orig justify_center border_" /></a></p><p style="text-align:center;">Chronically Talking interview with The Chron • <span style="color:rgb(0,0,0);">Premiered </span>Nov 21 2023</p><!-- more --><p style="text-align:center;"><i>[Note: Condensed and formatted for better readability. Some amount of A.I. was used to assist with the insane amount of raw text from the transcript. Apologies if we've missed some of the wonky reading lines]</i><br><br><strong>WATCH HERE: </strong><a class="no-pjax" href="https://youtu.be/rd-XuCwtDkw?si=nI-dqOpR6Wi_bujp" data-link-type="url"><strong>https://youtu.be/rd-XuCwtDkw?si=nI-dqOpR6Wi_bujp</strong></a></p><p><strong>C.O.</strong><br>How are you navigating the modern-day experience of being a solo musician and handling various roles like marketing and business?</p><p><strong>Bunn</strong><br>It's not a straightforward journey, as you can imagine. I delve into this extensively, discussing it in my email newsletter, YouTube videos, and various media. Many people inquire about the process, wondering how I manage it all. The truth is, it's tough, and not everything works. Wearing multiple hats is the reality, especially for those without significant funding. If you can afford it, hiring help, like an editor or a social media manager, is beneficial. However, for many, that's a luxury. There are options for those with limited resources, like tapping into student programs, but it's still a challenging path. Ultimately, it's not for everyone, and those suited for it usually already know.</p><p><strong>C.O.</strong><br>I've heard you discuss starting your channel with modest equipment, emphasizing the person behind the gear matters. Where do you draw the line between gear quality and the creator's skills?</p><p><strong>Bunn</strong><br>Absolutely. My approach is to do the best with what you have. I launched my channel in a tiny room with inexpensive gear, proving that quality doesn't always require a hefty investment. I lived in a modest apartment, worked in the same building, and made it work. You don't need the latest and greatest; you need the right tools to deliver what you want. Knowledge is crucial; having the latest gear won't help if you don't know how to use it. I recently documented an event with various cameras, including a phone, proving that understanding your equipment matters more than its cost.</p><p><strong>C.O.</strong><br>Do you think it's better to be a jack of all trades in smaller niches or to be in the most lucrative niche?</p><p><strong>Bunn:</strong><br>I think it's more a question of resources. Being a jack of all trades is strategically advantageous when resources are limited. It allows you to interact with every aspect of your organization or project. In my case, being a musician with a diverse skill set, acquired over the years, proved beneficial in various roles. However, it's not a one-size-fits-all scenario. Some people may find success focusing on a specific lucrative niche. It depends on personal circumstances, goals, and available resources.</p><p><strong>C.O.</strong><br>I'm still not really sure what Gary Vee does; uh, that might be a me problem.</p><p><strong>Bunn</strong><br>Gary Vee is, you know, his character is like, "Hey, I'm a Russian Jewish immigrant in the United States, and I came from the bottom up." The truth is, the guy is really smart and a workaholic. He preaches the gospel of hustle culture and all that. There's a division in the world about hustle culture, but I think it's valid. If you want something big, it's hard. It's really hard. You can talk about hustle culture all you want, but if you want something big or want to be a part of something big, bigger than yourself, it's going to be really, really hard. Even when it's good, you should never coast because that's usually when you should work harder; that's when your opportunity is to scale if your goal is to scale. Maybe your goal is not to scale, but, yeah, I get that whole hustle culture thing. Gary Vee is a very interesting personality. What does this guy do? He talks a lot, whatever, but he's very bullish on media trends, how the media industry is built, how it works—traditional media, social media, advertising, marketing—and the psychology of the market, the psychology of the buyer, what makes a customer, what makes a valuable offer. He's a master of all of that stuff for real. Anybody who kind of discounts him on that doesn't know what they're talking about. He's no joke, but he's a hard guy to keep up with because he's hungry.</p><p><strong>C.O.</strong><br>I wholeheartedly agree with your point about the importance of determination and the relentless pursuit of goals despite inevitable obstacles. Taking the plunge is commendable, but financial prudence is crucial to avoid dire consequences. If you have the means and have contemplated your venture, it's often best to act on it rather than overthink.</p><p>I'm also curious about maintaining an honest metric for what's interesting in a landscape that values a free-market approach. How do you balance the pursuit of authenticity with meeting the demands of a potentially broader audience?</p><p><strong>Bunn</strong><br>My perspective on the concept of "good" or "taste" differs. Rather than subscribing to universal standards, I believe it's about connecting with the right audience. For mainstream endeavors aiming at a broad consumer base, there's a need for qualifying metrics to satisfy a general audience. However, in niche markets like metal or punk, where deep passion for specific artists prevails, the dynamic is different. The "it factor" is about authenticity and resonance between the artist and their dedicated audience.</p><p>I recall an intriguing example: the band AIDS Wolf, an art project from Montreal, intentionally delved into music with no prior knowledge. Despite their unconventional and challenging approach, they built a substantial following within the niche. Their story reflects the power of genuine expression, even if it defies traditional notions of "good" or "tasteful."</p><p><strong>C.O.</strong><br>Moving beyond individual projects, do you ever worry that, in a landscape focused on building a personal brand, the music itself might become secondary?</p><p><strong>Bunn</strong><br>It's a fascinating thought experiment. As someone deeply immersed in the music scene, I've realized that individuals approach their creative pursuits from diverse perspectives. Whether as an entertainer, performer, singer, or producer, one's lens shapes their perception of success. The ease of entry into the music scene today doesn't diminish the challenge of reaching a level accepted by the audience. While occasional gimmicks may gain attention, they often fade quickly. There might be frustrations, like established artists opening for hyped newcomers, but staying focused on one's goals and not being swayed by external factors is crucial. The ability to pivot and adapt is a valuable asset.</p><p><strong>C.O.</strong><br>That's kind of what all those things end up being; they inform the future, I think.</p><p><strong>Bunn</strong><br>Absolutely. You realize that the thing that makes a business really work is change. It's about seeing what's happening and finding the product-market fit. It's not about manipulating the market; it's about making the product better. Maybe the band needs improvement, or the music needs to present better. I'm not saying this about my friends; it's a general observation. Sometimes, you need to present in a different way, or you have no presentation at all, and you've been stubborn about it.</p><p>One thing I've noticed in myself, especially, is that my biggest barrier to success has usually been myself—being stubborn or bullish about certain ideas or not knowing what I don't know. You don't know what you don't know, and that's a huge thing. As I get older, I wish I could go back to 20 and focus on learning as much as possible, being self-critical, and paying attention when others, who know more, are talking.</p><p>The fast-rising star, as a result of marketing hype or quick entry into a trend, could be in any category, music, video, or otherwise. The best thing is to focus on your own thing. It can be frustrating, but it's less so when you don't pay attention to it at all. Maybe ask, "What is interesting about it, and is there something I can understand that would be useful to me, philosophically?" It's a change in attitude that has evolved over the last 15 years. I've been doing the bun thing for a little over 10 years now. It was conceptualized in 2009, and in 2013, it was first actualized. It's been a long road, but there was a whole life of music before that. I did bands, the typical road, and had a much different attitude back then. There was a bit of jealousy, which I now see as more of a frustrated point of view. It might not be jealousy; it could just be frustration. You see someone in the other lane driving dangerously, and it's easy to get excited and start driving offensively yourself. Maybe it's best to chill out and get as far away from that person as possible or to pay attention and think, "I should never do that."</p><p><strong>C.O.</strong><br>There's also that. Some people also get the desire to educate that person, to say, "Hey, you need to realize it's wrong." That's one you must avoid at all costs. You should not be the proprietor of other people's lessons; that's life's responsibility. Nine times out of 10, you end up learning the lesson in the end.</p><p><strong>Bunn</strong><br>Yeah, I call it "dadding." Even if you're a woman, it's still “dadding.”.</p><p><strong>C.O.</strong><br>There's a lot there, though. I heard you on another podcast saying, and as soon as you said this, I was like, "Yeah," you said, "Who really cares about Dua Lipa?" And I also have to ask that question. I think it goes back to what we were saying earlier. Now we're really in this kind of rampant free market, and it's hard to watch people like that come through and get all this pedestalized praise as the new thing. But if you look at the average attention span of the people taking it in, and I'm not just saying her; I'm saying that level of entertainment.</p><p><strong>Bunn</strong><br>I think we should be clear and interject that Dua Lipa is the example. She's not the victim here. We're not picking on Dua Lipa; it's just an example of the archetype. Ten years ago, we could have said Katy Perry; it wouldn't have mattered. It's just that Harry Styles, who's the redhead guy, oh, Sheran, Ed Sheran, or any one of them— we're just talking about pop stars.</p><p><strong>C.O.</strong><br>Right, well, I'm glad we're at that point because I saw this the other day, and I just—I don't know, man. I know this isn't like a new practice, but I just want to bring this up: who is paying $3,000 for a Bruno Mars Fender Strat signature? Like, I don't think of that guitar when I think of Bruno Mars. I know he started as, wasn't he like a Michael Jackson impersonator?</p><p><strong>Bunn</strong><br>Yeah, he's a producer. He's a talented person. I don't know what his actual musicianship skills are. That world is actually very surprising. I've worked on the edges of the pop world, and I've seen certain things close enough. I've been surprised with some people's level of ability that was never publicized. Some of these people are monsters, like, they can do everything so good. I don't know Bruno Mars's full story. I do know he's a good producer. In terms of guitar playing and selling guitars, I don't know.</p><p><strong>C.O.</strong><br>I'm where you're at. I know what to do with it. It's not a dig at Bruno Mars; it's just, like, we were just talking about, it's the level of fandom. I don't know a Bruno Mars fan that—I mean, I'm sure there's somebody for everything, right? So there may be somebody, but I don't think the five people that are Fender Strat fans and also Bruno Mars fans to the extent that they're going to spend $3,000 on that guitar—which, by the way, when we get into this world of signature guitars, they really need to be something unique in order for them to do well. I mean, you look at the Jim Root Strat, and it's like, wow, a hard-tailed Strat that has EMGs and has 24 frets. I mean, this is a metal machine guitar, you know, and it's no wonder that that guitar is as popular as it is. I look at this, and I go, yeah, I mean, I could build that if that was my spec preference, but then, you know, we get to—I'm going to do my best to try and kind of explain this for the audience, someone who's not in our world and keep me honest if I start saying stuff that you're like, "Whoa, for sure, layman's terms."</p><p><strong>Bunn</strong><br>But, you know, there are little nitpicks that I, as an individual, could have, but the one thing that drives me nuts is when I see a $3,000 guitar and it's got vintage specs for a truss rod that I have to take the neck off of to adjust that thing. It's an instant no-buy.</p><p><strong>C.O.</strong><br>Yeah, that's like Fender's funny little branding for the fact that, "Oh yeah, it has a whammy bar." Okay, thanks. Is that on every Strat?</p><p><strong>Bunn</strong><br>I've never seen that before.</p><p><strong>C.O.</strong><br>There's nothing wrong with the way you answered that. I think that was great. Um, I just know that because, you know, your channel is of a particular size, I knew that you would have some experiences with something like that. Um, and I think every creator I've spoken to has a sort of different, um, a different answer to it. So I was curious about how that worked for you.</p><p>Um, I wanted to bring this up. I hope this will help the audience a little bit. I made this chart because I wanted everyone to kind of know when I accredited Bunn at the beginning of making most people aware of Baritone guitars. What we're talking about here. So I tried to, you know, do the same model so that visually it's not confusing for anyone. What we're looking at is a Gibson Les Paul. Yeah. We've got the regular traditional Les Paul at the top, and then you've got a bass guitar at the bottom. Um, the baritone sits between the regular guitar and a bass guitar, basically achieving lower tunings, lower frequencies. Um, and Bunn's kind of the guy that I think spearheaded everyone in the pandemic being, "Oh, I gotta buy a Warmoth neck for my Squire guitar." So you've obviously gone the opposite route again. It sounds like you've really gone back to your musical roots, and that's kind of what you've been doing.</p><p>Um, I mean, I know you're still doing streams on Bandlist. Um, but how has that been, taking that time away? Um, how are you feeling about that, and if I'm missing something, tell me.</p><p><strong>Bunn</strong><br>No, no, no. You're not, it's all good. Uh, I've definitely stepped away from... So I unintentionally stepped away from regular YouTube uploads besides the Bandless streams. Uh, as of, like, March last year, my last video was the video about micro labels, and it was sort of centered on I released a record, I released a 7-inch record, and, uh, it was sort of about that topic, kind of celebrating the record release, but more about that world of releasing records and, uh, everything leading up to that point. So I did a record release. I was making videos. I was finishing records. I was working on new records, um, and for many months previous, I was dealing with health things, unaddressed health things, health problems. Uh, I moved. I moved my mom. I moved my mom again. I had to do other family things, uh, and then I went to Vancouver to meet, uh, my partner's family, more of my partner's family. Nice. And, uh, she's from Vancouver, uh, British Columbia, which is very far from Toronto. And so a bunch of time away, a bunch of time doing other things, a bunch of things brewing up, uh, you know, due to just terrible habits, like just not sleeping enough, eating terribly, drinking a few too many beers on the regular, um, just, you know, regular life stuff catching up. And, uh, unaddressed anxiety, all that kind of stuff. So, uh, at some point, I was just like, I need to just focus on getting my life together and also focus on, like, why am I doing any of this?</p><p>So I don't know how long you've been grinding at, you know, the creative life, not just with the YouTube channel, just like on this path to try and do your own thing. Uh, for a lot of us, it's a lot longer than it seems. A lot longer than it looks publicly. Uh, the thing about it, about the path is you try a lot of stuff, and you end up with some things that kind of work better than others. And for me, like, YouTube was one of those things, and I and I really love... I never thought I'd ever be on a camera, like, previous to doing YouTube, I didn't like being on camera. I still don't like being on camera. But, uh, yeah, I never thought I would do anything like that with my life, ever. And then I did it, and I I saw something else in it that I never considered before artistically, like creatively.</p><p>Um, and the interesting thing about video is it touches... It's kind of like music in a way. It touches all these other mediums. Uh, the best thing about music is that it touches everything. It touches graphic design, video, audio production, photography, uh, copywriting, whatever, anything creative you can think of. Every creative medium possible, it touches all of them. And video is very similar. Um, but video, you express yourself from a different point of view, a different side, and there's a whole bunch of different ways you can do that. But I digress. On this path, you find these things. And for me, YouTube was one of those things that I'm like, "Oh, I like it. It's surprising. There's a lot to learn." But, um, you know, and it works really well in terms of connecting with people. The whole thing with a musician being a musician is you want to connect with people who are similar to you, who like similar things to you, which means, like, similar music, which is the music that you're making. And you want to meet other people who are making music kind of like you and all that kind of stuff. So YouTube was really great for connecting with all that. But you fall into this thing, and you just start doing it and doing it and doing it and doing it. And, and you get into this habit of doing it, and you think you're doing it for the cause. And to some extent, you are. Like, it is definitely serving. It serves to grow my connections and get my music out to more people and connect me with other people who are doing things in music that are interesting to me and all that. Very effective. But you get swept away with the whole thing, and you're like, "I don't really know why I'm doing this." Like, I know why. I know the core driver, but I don't know why I'm making the kinds of videos that I'm making exactly. I don't know who I'm actually trying to connect with. Like, what kind of meaningful relationships am I trying to build? Not to say that any of them are not meaningful, like a relationship is a relationship, but like, what are the kinds of relationships that really mean something to me and why am I trying to make them? Just questions I'm never really answered. And how does the... How do the videos and everything else fit together? So I ended up on this road of making all these videos, but it was just like picture like a train, but like none of the cars match, and even like some of the wheel sets don't match. So some of the train cars are just being dragged along the tracks and not even rolling.</p><p><strong>C.O.</strong><br>For sure. Yeah, it's part of what I was getting at without going too deep into that specifically. Feel free to share as much or as little as you want. I just wanted to put that out there so that people had the context going all the way back when we were talking about niches at the beginning. We were talking about niches off-camera before we even got started. </p><p><strong>Bunn</strong><br>One of the things that is really great, whether you're building a business, a music career, a YouTube channel, or something else entirely, is having a niche. Having a clear and distinct angle can be really helpful. Sometimes it's as simple as a person's demeanor or personality. We see that on YouTube a lot, where you might land on a channel, and it's just because this person has an interesting personality, and that's the niche. But there's still a niche. If it's quite successful, usually there's a niche. Occasionally, we'll see things that are successful that are not niched whatsoever—very general. But generally speaking, things fall into niches. One of the things about doing this YouTube thing, specifically YouTube because it's secondary for me, is that I'm a music person, a music artist. I know what I want to do there, and that's very niche. I can confidently anchor myself to that niche without any regard for regret. I can go full in happily with the YouTube thing. I adopted this mindset from having businesses, from having such a strong niche in my music life, from hearing other people talk about it, and also from seeing proof in the pudding. Like with the baritone content, it kind of took off. I hit a ceiling with it, but it was very niche. It was very about one thing. Even in the baritone category, it was niched down again. It was six-string baritone guitars specifically for heavy music over 27 inches in scale. It was very niche, a very narrow audience. But that's why an audience built around it. I saw it happen.</p><p><strong>C.O.</strong><br>Well, we needed you because I remember when the only videos on Warmoth baritone conversion were their own, and then yours came in, talking about the project.</p><p><strong>Bunn</strong><br>Right, things that you probably wouldn't think you would run into. I tried to include some of that perspective. It would be great if the project would be smooth sailing, but very few projects the first time around are smooth sailing. Sometimes people get lucky, but yeah, I digress. Niching down, there are a lot of benefits to it. The best way to get to a niche is to do so. How I got to the baritone niche is that I was using baritone guitars full-time myself. In the beginning of doing the YouTube thing, I made a couple of different videos. The video that popped off the biggest, my third or fourth video, was a demo of the Ibanez RGIB6 at the time. I had another video that did reasonably well before that about a bass amp. I did a few other videos about other things music-related but not so niche. When the baritone video caught on, I saw it and thought, "This is a thing." So I leaned into it. I was also learning how to make videos, so I wanted to run with it and go crazy. This was my opportunity to make videos about something that matters to me, is useful to somebody else, and I can practice making videos. I wanted to know more about making videos and had an interest in getting a cinematic image and all that kind of stuff. When I got to the end of that, I realized I haven't recorded much music or written much music since I've been on this baritone journey. The whole point of me being on YouTube is that I'm a musician, a music artist. Something's got to change. I don't have to worry about the baritone guitars. I always use baritone guitars. All of my projects are baritone guitars, so that's not going away. I'm just going to do it differently and talk about the whole thing of trying to make this music life thing work and what that is really about. Anytime I tried to find videos or resources about a lot of my questions, the things that were keeping me up at night, there's nothing. There's no roadmap. I thought, "I'll make videos about that because I don't even know what this path is, but I'll try and address things as they happen." That was my niche, but it's a difficult niche to define. It's also difficult to make produced content about it. Ideally, to make that content, it would be better if it was documented like documentary style. But to do that well, I would need somebody who could be a camera operator and follow me around some of the time. I could shoot some of it, but I would need somebody else to help me with stuff to do it right. So that's where I am. I haven't published since March, and I'm about to. It would be nice if I finish this video and got it out this month. But if it comes out in December, that's fine too.</p><p><strong>C.O.</strong><br>Well, I look forward to it, man. I hear everything you're saying. When I equate it to the opposite experience, often when I complete a produced video, I think in the back of my head, "This may be the last one." I feel like I'm out of ideas, but then something will hit, and I'm like, "Okay, thank God I have another one." I know what you mean about picking a market, operating in a niche, and continuing to deliver on that promise. But that's why I have to have the dichotomy on this channel of produced scripted videos, but I also have to do this podcast. If it was one or the other, eventually I would learn to hate that too. I'm in a pause with music because, like you, I've had to assess why I was even doing it in the first place. I found a lot of very honest things in that question. If you love something, let it go. That's where I'm at with music. I don't want to hate it. It was a place that I found so much belonging, knowledge, and for the first time in my life, I'm good at something. But right now, I'm letting it rest. That's not a sad thing. I just need a break.</p><p><strong>C.O.</strong><br>So if you weren't playing baritone guitars, I remember in a video, you were saying that ideally, you would not. What are some of the guitars that you play? What would you use instead?</p><p><strong>Bunn</strong><br>I need to come clean on that reference because there was definitely a video where I was expressing my frustration with baritone guitars. But I think the way that I did it wasn't very clear. My frustration is that nobody is producing baritone guitars that are optimum. Not one company, right? I don't dislike baritone guitars; I love them. I don't have options. Plenty of people are making baritone guitars, but none are addressing all of the issues. There's a bunch of issues with baritone guitars, and most companies just put a longer scale length on a guitar and sell it, done. Every company doesn't play the guitars. They just think, "We need a baritone model. Let's put a longer scale out the door. Great, we're in that market. We've expanded our market share." I was frustrated that way. I do like regular guitars as well. When it comes to guitars, I don't have a super strong preference for a guitar type. There are a lot of guitars that I really love. Telecasters tend to eke out, not because I'm in love with them, but because there's nothing to them. It's like a 2x4 with a slab of wood, and it works really well. They tune well, are really solid, and are moddable. They're a simple, great guitar. But I really love classic guitars—no fancy paint jobs or flame tops. Just wood, a wood body, a black body, a white body. Maybe vintage cream or vintage mint. I would never own one personally, but I think they look nice. Classic guitars, telecasters, and even stratocasters, but if I owned a strat, it would have to have a fixed bridge. I'm not a tremolo guy. So, Fender, when Bruno Mars's Telly flops, you just come talk to the Bun, and I'll hook you up with perfect specs.</p><p><strong>C.O.</strong><br>I'm right there with you, man. I grew up on Epiphone, so my first guitar was an Epiphone Les Paul. I upgraded to an SG, and I really didn't get around to guitars with whammy bars until I owned a PRS, but even that one, I blocked it. Yeah, I just don't like to mess with them.</p><p><strong>Bunn</strong><br>Yeah, I lock every guitar I've ever had with a tremolo. I lock it, other than the Gretsch; it has a Bigsby on it. The beautiful thing about a Bigsby is, if you don't touch it, it doesn't do anything.</p><p><strong>C.O.</strong><br>Right, you know? So do you do that trick where you put an eraser under the strings so that they don't fall out as you're changing them? You ever done that?</p><p><strong>Bunn</strong><br>I just put a, what do you call it, a capo. Oh, okay, nice. But changing strings on that thing is not my idea of a good day.</p><p><strong>C.O.</strong><br>Yeah, I remember, in, I think it was like a year or two after high school, my friend brought over his Sinister Gates Schecter, and he hadn't touched it in forever. You could just tell it was all grimy on the fretboard. I was like, I can't tell if that's gunk or if that's the Death Bat. But I was like, I'll set it up for you, and I gave it back to him with one string on it. I was like, I'm sorry, it won't cooperate. Like, they just kept flying out of that saddle, and it was driving me nuts. I was like, this isn't my guitar, so I can't smash it, but I really want to.</p><p><strong>Bunn</strong><br>For a minute of my life, I was like, oh, I think I want to do a setup shop; that would be a good job. But then I thought about tremolos. I thought about two things: tremolos and wiring configurations. Yeah, my favorite is, you know, a single coil in the neck, a humbucker in the bridge, done. I can get everything I need out of that. Maybe split the humbucker, but you don't even have to cause I got the neck single coil neck pickup and a fixed bridge. I'm like, that's it. I don't want to work on any guitars that are not that.</p><p><strong>C.O.</strong><br>Yeah, dude. I had the same thought. There was a time there where I thought I would maybe do a job as a tech or whatever, but then I started seeing some of the crazy ideas that these people—I'm like, are you guys hitting PCP before we get on the computer and, like, put this stuff together? Because I'm really, I don't want to take your Strat and carve it into some kind of X shape and then argue with you about why that's not going to sound good. I just, I don't know, man. My endurance and tolerance for people has really just kind of come to, like, a screeching halt. So I had to reassess that idea for sure.</p><p><strong>Bunn</strong><br>Well, I think there are people like you and I who considered for a moment maybe I want to be a tech, and then there's the thing that they like working on. Then they become, they actually jump through that fiery hoop, become the tech, and they have to work on day in, day out guitars they don't like working on. And so a lot of these folks, they want to do one of two things. They either want to, like, not deal with your guitar at all, so they just do the bare minimum and get through it, or they want to just, all it is now is a business transaction. They want to turn it around as fast as possible because they don't care. Their passion's gone. They got into it for one thing, and now they're working on stuff that they don't want to work on. And that happens a lot, I think, in the tech world. Another potential thing that might be going on with a lot of techs is people doing a business based on their beliefs of value. So one thing I run into a lot, I don't know, you tell me if you've ever experienced this, because I've never actually asked too many people, but I've run into so many times where I go to a tech, and I'm like, I want this and that and whatever done. And a lot of times, the first thing they'll come at me with is like, oh, well, that's going to be expensive or that's going to cost a lot. And I'm like, this is a business. I'm here to spend money. Yeah, you know? If the price is too high, like, maybe they're worried that the price is too high and that I'll leave. But maybe just give me the rundown and the options, and we can work it out together. Like, don't worry about what my reaction to the price is. Just tell me what the story is, and then we can figure out what we're going to do and how much it is. I can work on my guitars. I can do most things with my guitars. I can't do fretwork just because I don't have the tools. But like, if I wanted to, I could do the fretwork. I could buy the tools and do the fretwork. And I'm pretty handy. So like, you know, work doesn't nothing scare me about working on a guitar. And I've been doing my own setups for I don't know how long. So when I bring it to someone, it's because I just don't have the time, and it's way more valuable to me to just have it done.</p><p><strong>C.O.</strong><br>I'm trying to think when I was disparaged on something like that. Um, that has happened so many times at so many different places. Oh, it's going to be a lot. I'm like, I'm here to spend money. That's really strange, man. Yeah, for me, I would say more of my experiences have just been general incompetence. Right. So I'm and I'm hesitant to dive into the story only because I don't want someone who isn't in this world to be like, what the [ __ ] is he talking about? But right. Um, I too have, like, you know, brought in said guitar where I need parts changed. And I get it back, and maybe the new part's on there, but the new part didn't have the additional step that needed to be taken for it in order to be functional. And it's like, dude, are you kidding me? And they still charged me for the entire thing, but it was like, oh, I just forgot. I'm like, yeah, I don't know, man. And none of the none of the shops around me are close. So if mistakes get made, I'm having to drive another 40 minutes again, and I'm just like, nah. But my problem is, man, is that I like, I can't really set up my own guitars. Um, I can get close, but if some of the more exacting work like frets and string height in the nut aren't right, then I'm in trouble. And unfortunately...</p><p><strong>Bunn</strong><br>Don't be afraid of the nut. You can use like a nail file or, you know, just some emery cloth, like a pick with some emery cloth wrapped around it or just emery cloth folded. Like, you can kind of hack your way through it. And the key to the nut is go slow. Yeah. And one, just one thing at a time. Bam, pop the string in, rock the string. Be like, okay, a little bit lower. And yeah, you're always better off if you don't do too much with adjustments like that. Like, do a little bit, try, do a little bit, try, like, yeah. You can work on the nut for sure. And for folks who are wondering what the nut is, it's the thing that holds the strings on at the end of the neck.</p><p><strong>C.O.</strong><br>I have this problem, though, where I have like, I guess I could call it impatient psychosis where like I get in the process of doing stuff, and then I, like, you and I come too, and I'm like, oh, no, I got greedy. Yeah. Yeah. So yeah, but that's good advice, man. Yeah. It is a process if go slow and take your time. And um, yeah, I think even I am getting to that point, though, where like I don't have any guitars in the house right now. Um, but the next one that does eventually make its way here, um, I'm gonna probably try and do as much as I can on my own because I'm just tired of trying of paying $95 for it to not be right. Yeah. So that's ridiculous, and most um, most setup procedure you can do yourself frets take a lot more uh, it's, it's just more work.</p><p><strong>Bunn</strong><br>It's not hard. It's just you have to be very patient. You have to go slow, and you have to do things in the right order. And if you do that, it's fine. But uh, if you're not set up to do it, and you just need it to be done, and you're going to do it for the first time, I don't know. Like, I think it's the kind of thing to ease into, to pick a beater guitar and bring a beater guitar back to life like a guitar to learn how to do frets. Yeah. But everything else, like you could buy a brand new $5,000 PRS, and you should be able to set the entire thing up yourself with confidence.<br> </p>Bunntag:thebunn.ca,2005:Post/72977462023-11-02T13:09:32-04:002023-11-22T22:27:06-05:00Origins, Streaming Overlords & Starting From Zero<div class="video-container size_xl justify_center" style=""><iframe data-video-type="youtube" data-video-id="MpQ3NrJ_lC0" data-video-thumb-url="" type="text/html" src="https://www.youtube.com/embed/MpQ3NrJ_lC0?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" allowfullscreen="true"></iframe></div><p>Audioverse Interview with April Dawn Bernardo • Premiered Oct 31, 2023</p><!-- more --><p style="text-align:center;"><br><a class="no-pjax" href="https://www.youtube.com/@Audioverselive" target="_blank" data-link-type="url">Audioverse YouTube </a>| <a class="no-pjax" href="https://www.instagram.com/audioverse.live" target="_blank" data-link-type="url">Audioverse IG </a><a data-link-type="url"> </a>| <a class="no-pjax" href="https://audioverse.live/" target="_blank" data-link-type="url">Audioverse Website</a><br><br><a class="no-pjax" href="/podcasts" data-link-type="page" data-link-label="PODCASTS">More Bunn interviews & conversations here </a><br><br><i><u>Transcript edited for clarity and length</u></i><br> </p><p><span class="text-big"><strong>"The Bun." What's the story behind the name?</strong></span></p><p>Well, it's a nickname I've had since my teenage years. You know how high school nicknames are. I've been a lifelong skateboarder, starting at around four or five years old, and I still skate to this day. In skateboarding, it's a common phenomenon for everyone to have nicknames. It's not something you consciously choose; it just happens.</p><p>One of my skateboarding buddies in high school noticed that I was always asking for money during lunch breaks or between classes. It was usually small amounts, like 10 or 25 cents. I was always scrounging for money to buy honey buns. They're a kind of sweet, doughy pastry with syrup, and I couldn't get enough of them. My friend started calling me "The Bun," and the nickname caught on in the skateboard community and beyond.</p><p>I got into music through skateboarding. Music was a significant part of skateboarding culture, especially punk rock music. Skateboard magazines, like Thrasher, featured music reviews and introduced us to wild and crazy music. We'd order the music and started playing various instruments and forming bands. That's how I got into music, and here I am today.</p><p><span class="text-big"><strong>Did you imagine yourself in the music industry as a kid?</strong></span></p><p>Yes, it's interesting because, on one hand, yes, and on the other, no. I knew early on that music was my passion, and I had a strong desire for it, particularly the guitar. I believe everyone who gets into music has that Genesis moment when they see or hear someone play an instrument, and they connect with it. For me, it was the guitar, and it was my uncle, Kevin, who played a significant role. He's a world-famous session musician now, but back then, he was just a kid.</p><p>I vividly remember a moment when he played something specific on an unplugged electric guitar in my grandparents' living room. The way he played it left a profound impact on me, and it became the driving force behind my desire to pursue music. That moment was a turning point in my life.</p><p>There's a second part to the story involving my Uncle Kevin. He had moved to Toronto, Canada, which is the country's largest city and a hub for opportunities in the music industry. We were on the phone, and I was bombarding him with questions about guitar amplifiers and recording. He described how he was recording songs in his bedroom on a four-track cassette recorder. This was way before computers, and it blew my mind.</p><p>The idea that you could fully express yourself, tell your story in sound, and have the opportunity to do it all yourself was enchanting. It was then that I realized that this was what I wanted to do with my life, and I've been living that dream ever since.</p><p>I remember a different branch of my music history. I had started playing some guitar, and though I was terrible at it, I had a guitar and knew how to use it to some extent. A friend of mine, Keith Body, and I used to skateboard together. One day, we were at my house, skateboarding on a ramp behind my house. After we were done, we were back at the house, and he noticed the guitar.</p><p>He asked me, "Do you know how to play it?" I replied, "Yes, like this." I showed him something simple, and to my surprise, he immediately picked it up. It had taken me a long time to even coordinate my fingers to hold the guitar, but he just had a natural inclination for it.</p><p>I said, "You should do this; you're really good at it." He seemed surprised and asked, "Really?" I encouraged him, and he went home and told his parents that he wanted to learn to play the guitar. Within a week or two, he had learned all the songs of the bands we listened to and more. He couldn't get enough, and he had this natural ability. To this day, he's a phenomenal guitar player.</p><p>It's fascinating how people can pick up on their natural talents, especially when it's someone close to them. When you have that opportunity to get close to something you're passionate about, it can really propel you. It's different from just seeing your idols on television and thinking, "That looks exciting, I want to do that."</p><p><span class="text-big"><strong>Who is a person that you've looked up to on your music journey?</strong></span></p><p>I've never really had heroes or idols in the same way many people do. I look at the world a bit differently, probably because I'm neurodivergent in several ways. I've never had that one person I truly looked up to. However, there were things that I found interesting or captivating, almost like spectacles. I would see something visually and sonically interesting and want to delve into it.</p><p>When I was really young, a spectacle that caught my attention was the band Kiss. They had the makeup, the fire, the costumes, and it was all so over-the-top. As a four-year-old, I thought, "What is this? This is insane!" It was mysterious, and I wanted to understand more about it. It was not so much about their music, it was the spectacle and the performance that fascinated me. I didn't really care much about their music, but I think that experience had a role in shaping my ideas about being a music artist.<br><br><span class="text-big"><strong>What is "heavy without the metal"?</strong></span></p><p>Interviewee: My musical interests are driven by the punk rock scene, particularly the DIY (do-it-yourself) ethos. Heavy metal, while I find many aspects of it artistically and technically interesting, is a culture I don't entirely identify with. The metal aesthetic, attitude, and perspective don't align with my outlook.</p><p>I come from the punk rock background, especially the DIY scene of the 90s, which took on various influences while maintaining a DIY, no-Gatekeepers attitude. I don't wrap myself in the metal culture, but there are elements of metal that I find artistically intriguing.</p><p><span class="text-big"><strong>One thing you would change about the music industry?</strong></span></p><p>Interviewee: What I'd like to change about the industry itself is the overwhelming influence of major labels over how everyone else conducts their business. The internet initially disrupted this control, creating a bit of a "wild west" period where no one had complete dominance. However, in recent years, major labels have regained their hold, especially in the realm of streaming services like Spotify and Apple Music.</p><p>It's interesting to note that people have access to an incredible library of music but often opt to listen only to what's heavily marketed. While I understand that not everyone is a music enthusiast and just wants to jam to popular hits, it can hinder those who seek more obscure or experimental sounds. The problem is that major labels have found ways to overshadow awesome music and exercise control.</p><p>For example, Bandcamp was initially an amazing platform for discovering music, especially for music nerds who seek unique jams. However, it has gone through acquisitions and is in danger of losing its initial essence. Major labels are in the way, and it can be frustrating.</p><p>My hope is that we can let the listeners decide what they truly enjoy and encourage that power. This isn't to say we're powerless as listeners, but access manipulation and gatekeeping are the most discouraging aspects of the industry. It's frustrating when these elements take precedence over the proliferation of culture and ideas through music and art.</p><p><span class="text-big"><strong>Where do you get your inspiration when creating music?</strong></span></p><p>I approach the creative process somewhat differently from what is often considered traditional inspiration. While I do experience moments of inspiration, I don't heavily rely on it. When inspiration strikes, I make sure to follow it, as any artist would. However, my approach to creating music is generally more methodical and practical.</p><p>I'm motivated by an interest in design and the creation of things that don't yet exist. I believe it's essential to distinguish that not everyone pursues music for the same reasons. People have various motivations, ranging from wanting to be part of something or being drawn to the spectacle of it. So, not everyone is necessarily driven by artistic or creative motives.</p><p>For me, art and design serve as the main motivators. I'm inspired by the notion of creating something new, expressing thoughts, ideas, and unique perspectives on reality through music. Simultaneously, I approach music with a design perspective, where I analyze the architecture of music, seeking interesting aspects. I often find myself wondering about what if scenarios, such as combining different architectural elements or deconstructing existing ones. This deep curiosity and the drive to experiment and explore possibilities are at the core of my creative process.</p><p><span class="text-big"><strong>What’s the one project that you'd consider that best represents your music?</strong></span></p><p>That's an interesting question, and it's a bit challenging to pinpoint one particular creation. As an artist, I haven't always thought about my work being intertwined with my identity, but this notion has emerged more prominently in recent years. Over the last decade, my "Bunn" persona as a solo artist has gained increasing popularity, especially within the past three years. During this time, I've received feedback from listeners who express that they can distinctly identify my sound within my music. It's a signature sound that stands out, and I didn't actively set out to create it.</p><p>So, it's difficult for me to identify a single "Holy Grail" creation in my body of work, but my "WTLNDS" project has been significant. I was initially averse to using the blues, as I had a somewhat negative opinion of it based on my previous experiences. However, when I decided to explore the blues from my own unique perspective, it transformed into something that still sounded distinctly "Bunn." I realized that even with a foundational blues framework, I could make it sound like my own creation, which was a fascinating discovery.The fact that I could take something as ubiquitous as the blues and still make it sound like me was a revelation.</p><p><span class="text-big"><strong>If you had the chance to talk to aspiring artists what advice would you give them?</strong></span></p><p>I would say to go all in, to pursue it with full dedication. The path of an artist can be challenging, but it's less difficult if you're fully committed. I often find that idealism can be a problem, especially your own idealism. You can be your own biggest barrier. I used to be very idealistic about how things should work, how they should unfold, and the criteria and credentials that surround the process.</p><p>As an artist, you may want to control your story, but it's crucial to find a balance between authoring your story and allowing your audience to interpret it. A significant part of the storytelling happens on the receiving end. You may find that your music is understood differently than you intended, but that's part of the beauty of art.</p><p>I have artist friends who play styles of music that are just slightly outside the primary genres, not quite punk, metal, or rock. When listeners provide feedback, they often say things like, "I love the way you do this; it's so much like Metallica." This feedback used to offend us when we were younger because it was so off base and we would interpret it as being classified as something we were not. However, it's important to understand that people interpret what they hear based on their own understanding and exposure.</p><p>As an artist, you can be your own barrier by trying too hard to control how people perceive your work. You have to be 100% yourself, authentically you, and let your actions speak. Share those parts of yourself that are genuine, and don't worry about how people might initially perceive your work. You can't control how others interpret it; they bring their own lens.</p><p>The path to becoming an artist is challenging, but the worst thing you can do is not fully commit to it. It's not something you can dip your toes into; you have to dive in. Going all in means accepting that you might not be great at the beginning. Most people are not excellent when they start, even if they're talented. You have to accept that you'll make mistakes, but that's how you learn and grow.</p><p>If you don't go all in, you won't get far. Going all in means that you're committed to your craft, even when you're terrible at the start. It's about making mistakes, learning, and improving over time. The overnight success stories are rare; most artists work for years to find success. You have to keep going, make albums, and gain experience.</p><p>Becoming an artist involves understanding the mechanics and the process of creating and sharing music. It's about working with your audience, navigating the challenges of music platforms, and finding success, which can be measured in various ways, from streams and sales to views.</p><p>In the end, it's about getting out of your way, staying true to yourself, and going the distance in your artistic journey.</p><p> </p>Bunntag:thebunn.ca,2005:Post/72693792023-09-06T14:05:56-04:002023-11-02T12:53:58-04:00Public Makes Perfect!<p dir="ltr"><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/175405/181c1d2bd547c15c7bdf443b2cca160cd0302710/original/riffsimage.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_orig justify_center border_" /><span style="color:#000000;">Since The Bunn did the fill-in gig for Life in Vacuum, he’s been going hog-wild learning all of his own material.</span></p><!-- more --><p dir="ltr"><span style="color:#000000;">There is a decent amount of it now. 25 tunes across Foreigns, Venns & WTLNDS, including the Foreigns EP in work. </span></p><p dir="ltr"><span style="color:#000000;">Recently, Bunn discovered that if he records audio or video (video is better, especially if it will be posted), while working the parts out, they better stick to memory. It adds a little bit of “pressure” for some reason and seems to elevate focus. </span></p><p dir="ltr"><span style="color:#000000;">What do you do to burn songs into your head? </span><br><br><span style="color:#000000;">We’ve gathered up the most recent clips into this here blog post.</span> <br><br><strong>WTLNDS "Thinktank" Outro Riff - </strong>From the 2022 WTLNDS "Floral" EP <br><iframe width="560" height="315" src="https://www.youtube.com/embed/ZMtyS-L_Ccc?si=6a-3ZOaTGhLMR9If" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen=""></iframe> <br><br><strong>Venns "Defend" Verse Riff - </strong>From the 2022 Venns "Team Sports" EP <br><iframe width="560" height="315" src="https://www.youtube.com/embed/JxY7nxDlA7Y?si=ZKsJBc5rhlCKmSi3" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen=""></iframe> <br><br><strong>Foreigns "Harbour" Breakdown Riff - </strong>From the 2016 Foreigns "Metropolitan" EP <br><iframe width="560" height="315" src="https://www.youtube.com/embed/WFzJU9qKkT0?si=zlVO_oNvE5dWp6LQ" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen=""></iframe> <br><br><strong>Foreigns "Colony" Ender Riff - </strong>From the 2016 Foreigns "Metropolitan" EP <br><iframe width="560" height="315" src="https://www.youtube.com/embed/LLOwcpta6NE?si=OFUJeWN5fWts_n_q" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen=""></iframe> <br><br><strong>Foreigns "Ceremony" Breakdown Riff - </strong>From the up and coming 2023 Foreigns EP <br><iframe width="560" height="315" src="https://www.youtube.com/embed/bNnzlGCK3ec?si=xq-3rtvWZ28WKXra" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen=""></iframe> <br><br> </p>Bunntag:thebunn.ca,2005:Post/72659982023-08-30T20:07:36-04:002023-09-06T14:07:16-04:00Bunn on OPENmind/SATURATEDbrain<p><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/175405/5231684b3f87066dcce818172be9401bfe3a89db/original/podcast1920px.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_orig justify_center border_" /> The Bunn recently got to hangout with David Norman (of Zegema Beach Records) on his personal podcast OPENmind/SATURATEDbrain</p><!-- more --><p>The two went deep into early bands, Bunn's weird mirror movement issues, real Screamo (not the top 40, Alternative Press fake kind), and the risk of destroying your voice for the sake of "real" vocal deliveries in place of the more and more popular, ultra generic, "Zen and the art of screaming" vocals that are sweeping the heavy music nation. One of the most “one-on-one” conversations Bunn has had to date as a podcast guest.</p><p>This amazing podcast has been added to a page with many other rad podcasts, all in which the Bunn has participated in some fun way.</p><p><iframe style="border-width:0;height:120px;width:100%;" src="https://bandcamp.com/EmbeddedPlayer/album=303499370/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" seamless=""><a href="https://omsbpodcast.bandcamp.com/album/podcast-120-scott-venns-the-bunn-etc">PODCAST #120 Scott (Venns, The Bunn, etc.) by (((((OPENmind/SATURATEDbrain))))) Podcast</a></iframe> </p><p>Explore all of the podcasts here: <a class="no-pjax" href="/podcasts" data-link-type="page" data-link-label="PODCASTS">https://thebunn.ca/podcasts</a></p>Bunntag:thebunn.ca,2005:Post/72045992023-05-07T18:11:52-04:002023-08-30T20:06:27-04:00Foreigns Releases New Track "Ceremony" Ahead of 2023 EP<p><img src="//d10j3mvrs1suex.cloudfront.net/s:bzglfiles/u/175405/b2ac235ea4346743317126edab8f46580214c953/original/ceremony-banner.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_orig justify_center border_" /></p><p>Foreigns has shared a demo of its final contribution to the pool of material that will make up the 2023, 5 song Foreigns EP. </p><!-- more --><p>The track, titled "Ceremony", was released on Friday, April 7th, on Bandcamp as part of the monthly Bandcamp Friday event.</p><p><iframe style="border-width:0;height:120px;width:960px;" src="https://bandcamp.com/EmbeddedPlayer/track=2000115928/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" seamless=""><a href="https://thebunn.bandcamp.com/track/ceremony-single-demo">Ceremony [single / demo] by Foreigns</a></iframe></p><p>"Ceremony" delves into the emotional phases of life, moving through themes of normalcy, invasion, and occupation. From the midpoint out to the end of the track, "Ceremony" returns to a slower, sludgier delivery established on the Metropolitan EP.</p><p>The completion of "Ceremony" moves Foreigns into the final production phase of the EP, where the five pieces – "Cornucopia", "Harvest", "Transplant", "Spiritual", and "Ceremony" – will be picked over and reworked for a cohesive EP experience.</p><p>As of now, the working title of this EP is "Influence". That may or may not make it to the finish line. We'll see.</p><p>For those new or unfamiliar with the Bunn release schedule, all material is first written and released in demo format, one at a time, on the Bunn's personal Bandcamp page. It is only once there is a "collection of songs" that the material is reworked into an official EP or LP.</p><p>If you would like to follow that journey more closely, you'll find it on the Bunn's Bandcamp page.</p><p>For the earliest possible access to demos, Helix tones, drum midi, and more, one can join the Bunn Patreon.</p>Bunntag:thebunn.ca,2005:Post/71479342023-02-03T09:31:43-05:002023-05-07T17:59:47-04:00Foreigns “Spiritual” - The Fourth of Five<p><img src="//d10j3mvrs1suex.cloudfront.net/u/175405/e5539d574d12cd3136cebaaa1e31194c21845915/original/spiritualheader.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.jpg" class="size_xl justify_center border_" alt="Foreigns " /></p><p>Happy Bandcamp Friday! We've got a new Foreigns single titled "Spiritual" to celebrate. What is it all about and what is happening with the Foreigns EP? </p><!-- more --><p><iframe style="border-width:0;height:120px;width:100%;" seamless="" src="https://bandcamp.com/EmbeddedPlayer/track=3947762815/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"></iframe></p><p>“Spiritual” digs deeper into atmosphere and vibe, relying less on riffs, while still maintaining signature Foreigns melody and movement. With this track, the production and writing for Foreigns continues to burrow deeper into a more organic, “analog-like” vibe, despite being composed, performed and produced by only one person using digital tools. </p><p>The track mixes feels from 90s post-hardcore established by the likes of <i><strong>Four Hundred Years</strong></i> and <i><strong>Engine Down</strong></i> with more current post-sludge / post-metal aesthetics explored by outfits like <i><strong>Kowloon Walled City</strong></i> and <i><strong>Town Portal</strong></i>. </p><p>“Spiritual” was composed through observations of the dynamic between “elites” and society. The neverending attempt to convert populations into model consumers, servants and soldiers. A infinitely looping, broken record of conflict for the short term gains of a few. </p><p>This latest track drives Foreigns even further into the territory of "heavy" music that isn't metal. It's a panorama of a collage-esqe composition, stirring with melody rough in texture, and without human voices to dilute the performance. </p><p>------------------------------------------ <br>Sample “Spiritual” and more with your very own earholes by visiting The Bunn’s Bandcamp profile. </p><p><a class="no-pjax" href="https://thebunn.bandcamp.com/" target="_blank" data-link-type="url" contents="https://thebunn.bandcamp.com/&nbsp;">https://thebunn.bandcamp.com/ </a><br>------------------------------------------ </p><p>This is piece #4 [of 5] in the evolution of the 2023 Foreigns EP. The track goes public tomorrow for the first Bandcamp Friday of 2023. </p><p>All Foreigns tracks are written and released as demos, 1 at a time, on Bunn's personal Bandcamp page. </p><p>It is only once there is some sort of "collection of tunes" that the material is reworked into an official, Maxi, EP or LP. </p><p>Some of the material changes a lot by the time it is reworked, other pieces remain quite close to the originals. </p><p>Cheers! <br><strong>The Bunn</strong> & Co. </p><p>------------------------------------------</p>Bunntag:thebunn.ca,2005:Post/71011062022-11-12T18:09:53-05:002023-02-02T22:41:31-05:00It's that time of year again… <p><img src="//d10j3mvrs1suex.cloudfront.net/u/175405/14e1b223fd6dce686a201a50c93bb811dcf05299/original/thattimeofyear.jpeg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.jpeg" class="size_xl justify_center border_none" alt="" />It can take years to get clear on what really matters. For myself and many creatives around me, it’s something we tend to resist, to not want to acknowledge. A hyper narrow focus sounds like creative limitations. Like the art won’t be as interesting to do. </p>
<p>About a year ago I decided to risk a massive change. I had built a presence on YouTube as “the baritone guy on the internet”. Previous to November 2021, my focus was split between 3 areas: </p>
<p><strong>1.</strong> The mechanics and fictions as to what baritone guitars were, how they worked and the considerations in use. </p>
<p><strong>2.</strong> The available models, the manufacturers and product demos. </p>
<p><strong>3.</strong> Dabbling in composition and production.</p>
<p>With the first area, I had exhausted the topics and became a broken record. I quickly realized that if I were to proceed, my future was doomed to be repeating myself on a topic where there wasn’t much to understand in the first place. Additionally, the companies manufacturing the instruments saw (and still see) the niche as an addition or extension to their existing lines and continue to treat them as such. There is no interest in optimizing the instruments or product lines for the audience and use cases. </p>
<p>In the second area, I felt like I was becoming a marketing machine. I was promoting stuff that I wasn’t all that stoked on and none of it was of any benefit to me.</p>
<p><strong>A. </strong>I realized that I had no interest in driving consumerism.</p>
<p><strong>B. </strong>To this day, there are no companies focused on solving the problems that serious low tuned players and producers require. </p>
<p>The funny thing about it all is that I had never set out to become “the baritone guy” in the first place. It just happened. Baritones happened to be what I was using in my own music projects and that happened to be the thing that caught on in social surrounding my music. My music was supposed to be THE THING. And in that moment it was the things to bring everything back into focus. </p>
<p>I had to decide -Was I about baritone guitars? Or was I about what I used them for? It was clear that I had gotten way off course. </p>
<p>So in November of 2021, I decided that I was going to focus on the thing that I use the baritones for, which was all of the music under the Bunn umbrella. </p>
<p>I was absolutely certain that the interest in videos about my artist dilemma and journey would go to zero. But it didn’t matter. I was really jaded on the baritone topic, and desperate to prioritize composing and producing. Throughout the whole baritone phase of videos, new musical output had dropped to a few tracks per year. I had demos that needed to be completed into official releases and more material that needed to be written. If only a handful of folks were left from the baritone stuff, I was cool with that. The thinking was “anybody who is left, would probably be truly interested in the music. That was wayyyyyy more valuable to me than talking about baritones on repeat. </p>
<p>I rewrote and remade the first non-baritone video about 3 or 4 times. It took a bit to drill down on what it was about my personal story that might be of value to viewers. On December 9th 2021, I published the video - “the 50 year old "BARITONE GUY" from the internet”.</p>
<p>MUCH to my surprise it went to 30k + views rather quickly. I was so wrong, and the next video “STARTING a sludge metal career at 50 YEARS OLD” went even bigger to top out at over 190k views. </p>
<p>It seems that re-focusing on the thing that you are most true to, is the thing that you are going to be the best at and the most motivated to do. Not really surprising.. but in the midst of it all, I was really blown away. While I was totally stoked and thankful, it actually created a new problem. In the success of refocusing my video content on the music creation story, I suddenly got excited about making more VIDEOS about my music career path and not hyper focusing on MUSIC CREATION. My focus didn’t actually change that much. It did, but not enough. Instead of designing a new video workflow that prioritized music creation, I went even deeper into how I produce the videos with even deeper scripting and a more intense production routine. </p>
<p><strong>I didn’t really learn… Sort of, but not totally. </strong></p>
<p>So here we are. A year after I set out on that path, painfully realizing the lack of insight. A decent amount of good stuff has happened, I’m not complaining. But I know that I can do better, can do more. I love making the videos. But in truth, I prefer making the music. So if I am to continue making the videos, I have to figure out a different way to make them. A method that fully prioritizes the music. </p>
<p><strong>Q 1</strong>. <br>Do the videos need to be so “cinematic” and scripted? </p>
<p><strong>A 1. </strong><br>No, a more documentary type of approach may in fact be more valuable to the audience in that it might more authentically capture the artist's struggles and victories. </p>
<p><strong>Q 2.</strong> <br>What if people hate the new format? </p>
<p><strong>A 2.</strong> <br>As with last year’s refocusing, if the new format more meaningfully connects with a few folks completely, that’s all that matters. </p>
<p>I am a composer / producer on YouTube, not a YouTuber who dabbles in music? </p>
<p>All this cames to me in my recent time away. While I was away, all I could do was write scripts and such. Yesterday I completed the script that I started on, on the 17th of October. That was 2 weeks ago. Is that a good use of time if one's priorities are composing and producing new music? In contrast, this blog post has taken me 2 hours to write. I think it’s actually way more poignant and personal on the topic of the modern day musician’s struggle to make their art and connect with an audience. What do you think?</p>
<p>So, I’m scrapping that script (maybe it will become a blog post…). And at least for this next one, there will be no script at all. Instead I’m going to try and capture daily objectives, activities and challenges that I will roughly edit daily and then compile weekly. </p>
<p><strong>There a list of potential benefits here: </strong><br>1. More music <br>2. Weekly BTS content <br>3. A never ending stream of social content <br>4. Weekly YouTube content </p>
<p>The thing now is to develop a method of capture, a media management and processing routine that does not diminish the music focus. </p>
<p>So the next video is gonna be different. How different? I don’t know. How “good” and how “valuable” to viewers? Hopefully awesome, but again, I don’t know. I’m gonna have to dive in and see what happens. </p>
<p>So to summarize: It’s that time of year. Upon reflection of the last 12 months, we need to change the video format, it might suck at first. Maybe it will be awesome, but man-oh-man, I REALLY need to focus on music.</p>
<p><strong>A question for you </strong><br>I’d love to know if you have been immersed in something that you thought was totally in line with your greater goals but as it turns out, it’s not? I think it probably happens to everyone in some capacity. Few folks are superhero geniuses. Or at least, so I assume… Hahaaa! But yeah, what are you, or have you been misaligned with? </p>
<p>Cheers! <br>Scott</p>Bunntag:thebunn.ca,2005:Post/70906742022-10-28T10:55:09-04:002022-11-12T17:17:08-05:00Bumps, Curves & Splits in the Road<p><img src="//d10j3mvrs1suex.cloudfront.net/u/175405/29ca31af61f164e24996d9edd35c63a4a32583d0/original/newoffice.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.jpg" class="size_xl justify_center border_none" alt="" />Life is always happening. Sometimes it requires more from us than we are ready for. </p>
<p>Over the last while, my mom has endured some immense change. In her day to day activities, her living situation and her health. </p>
<p>For the longest time she and I have lived in the same city and helping her was pretty easy. Not only did she require little help, but we were geographically close, hence it was not as much of a disruption to lend a hand whenever needed. </p>
<p>In July, her personal situation was turned upside down and over the course of August and September I helped her shed 40 years of belongings, pack, and move 7 hours away. She is now super close to my brother and his family which is rad, but she needs a lot more care and my brother and his family will be out of town for a bit. So, The Bunn has flown in to hang out with the Mom and make sure she’s getting what she needs. </p>
<p>Ultimately this means that videos are still in a kind of limbo. I am squeezing them in, but it’s up in the air as to how much and how often. This has been somewhat the case ever since my covid setback in July. So, I’m kind of used to that for the moment. Hopefully everything will stabilize over the next few months. Fingers crossed.</p>
<p>On the plus side, I’m staying at my brother’s and he has a studio. I can still pick away at tunes and because my brother has a standard E1 tuned bass, I can very easily work on WTLNDS stuff. Foreigns and Venns require baritone guitars and long scale basses. So in the spirit of following the path of least resistance, WTLNDS it is.</p>
<p>Additionally, I’m gonna take this opportunity to start blogging (which is what this is). The goal for the blog is to reflect more of the personal journey as an artist. As opposed to just outlining highlights.</p>
<p>The reasoning is 2 fold, on the personal side - it’d be nice to keep track of how life unfolds. The past few years have been a blur and I can’t actually recall very much. On the public side - I think there is value in “seeing behind the curtain”. We often think that folks (like The Bunn) who are sharing all these videos and music are in some way elevated. That they have more money or possess some special talents, or have more time or all these “industry connections”. Sometimes there may be an actual shred of truth to some of that, but most often it’s just sacrifice, grit, grind and the juggling of life. None of that is “glamorous” or “cool” but I think it’s the stuff I would have liked to have more insight into when I was first embarking on any branch of all of this music career stuff. I definitely thought a lot of the folks that I looked up to had some sort of leg up and I rarely, if never considered the regular life stuff that they were juggling to do it all. </p>
<p>So to summarize: I’m 7 hours from home right now, helping my mom for a bit, but I’m still able to pick away at music. I’m not really able to make videos this second, but I’m still scripting and tackling a bunch of the much neglected admin. On top of it all I’ve started blogging what this whole journey is actually like (which I should have been doing all along). As well, I’ve started back on Twitter, so if you like hanging out there, we can connect at @TheBunnCa / https://twitter.com/TheBunnCa</p>
<p>How do you view other music and creative folks? Do you have a hard time seeing how it's possible to participate? That you need a "leg-up"? I thought that way forever (and sometimes still do).</p>
<p>Cheers!<br>Scott </p>Bunntag:thebunn.ca,2005:Post/69890692022-06-03T09:15:00-04:002022-06-07T21:24:29-04:00Wall of Bass Split release from WTLNDS & MONOVOTH <p><img src="//d10j3mvrs1suex.cloudfront.net/u/175405/a7f538b8296ab6359a2f405f5bc736332a080ce6/original/wetvoth-blog.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_orig justify_center border_none" alt="" />The Bunn has teamed up with Lucas Wyssbrod in a personal challenge to minimize the creative pallet and compose with high gain, fuzzy basses and NO GUITARS. </p><!-- more -->
<p>Each of us explored what was possible in creativity and texture, using only 4 string basses in place of all guitars. The goal was to write, compose and produce a piece of music this way. This is a split release, and not a collaboration, with a track by Monovoth titled "Lock" and a piece titled "Orbiter by WTLNDS. </p>
<p>From the creator perspective, the results have been VERY inspiring. So much so, that we may continue the process with select tracks pushing forward, independently. </p>
<p><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=235513860/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; width: 100%; height: 42px; width: 940px;"></iframe></p>
<p>These are produced demos. As with all Bunn projects, this track will most likely end up in an EP or LP, that will be released under the project name some time over the next year. </p>
<p><strong>Follow official MONOVOTH releases:</strong> <a contents="monovoth.bandcamp.com" data-link-label="" data-link-type="url" href="https://monovoth.bandcamp.com/" target="_blank">monovoth.bandcamp.com</a></p>
<p><strong>Looking for more Bunn demos?</strong> <a contents="https://thebunn.bandcamp.com/" data-link-label="" data-link-type="url" href="https://thebunn.bandcamp.com/" target="_blank">https://thebunn.bandcamp.com/</a></p>
<p><strong>For official WTLNDS releases: </strong><a contents="wtlnds.com" data-link-label="WTLNDS" data-link-type="page" href="/wtlnds">wtlnds.com</a></p>
<p><strong>Cover Design by: Artie W.</strong> <a contents="www.selfinflatable.net&nbsp;" data-link-label="" data-link-type="url" href="https://www.selfinflatable.net/" target="_blank">www.selfinflatable.net </a><br> </p>
<p>--------------------------------------------------- <br> </p>
<p>Made possible by Patrons and YT Members: </p>
<p><strong>PATRONS: </strong>Sunny, StolenSun, Blood Coffee Records, James Arnold, Yan Shcherbakov, Skip Fantry, Zegema Beach Records, Matt McGrath, Charl Fourie, Hunter Christian, Ryan Davis, Courtney Serumgard, Unai Bolivar, john, Gary, Rose Garcia, Richard Sly, Anothercouture, Veeeeeeeeeeeeeeeeeeeee, bc likes you, Gus, Kipp Grose, Riffs From The Abyss 666, Raziel Panic, John Voorhess, William Davis <br>Philip Miller, Tanner RoughRiffs Borglum, Tylah Nietrzeba, 1nc1n3rat0r, Vlad Datcu, panic_chords, Oleksandr Voronin, theseankid, Steve Hertz, Heavy In Hawaii, NON-CONTINUUM, Dan Massoglia, Rui Nunes, Hayden Molinarolo, Electric Meat Puppet, Jonathan, igor, Lucas Kokocinski, Mark 13, Phil S. Preston, Shawn Heath, The REAPER Blog, renato, Apoplexia, Donna Breit, computing.sound, Tyler Adams, Mack samson, Ben Drakeford, Adrian Benavides, LD, Anthony Nieto, Melih Kaleciklioglu, Nick Hill </p>
<p><strong>YOUTUBE MEMBERS:</strong> Casey McDermott, Ratho Quarter, Layne Anderson, NotAnotherBassPlayer, Treggify, Cesar Bouli, Nick Tacey, Aidan Hiller, Charles Untereiner, Datamouth, jason OCHO ochoski</p>
<p>--------------------------------------------------- </p>
<p>Cheers! <br><strong>Bunn & Co.</strong></p>Bunntag:thebunn.ca,2005:Post/69885132022-05-04T10:45:00-04:002022-06-07T22:24:04-04:00Foreigns “Cornucopia” Demo Single • Faster and "Realer"<p><img src="//d10j3mvrs1suex.cloudfront.net/u/175405/1a676a84da35f49374467974c8a25d241fce3853/original/foreignscornucopiablog.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_orig justify_center border_none" alt="" /> "Cornucopia" brings a faster, more organic Foreigns with greater swagger. Taking cues on all sides from a simpler time.</p><!-- more -->
<p>At the top of March, work began on new Foreigns material. At the outset, the questions were - how will the sound evolve, and how can it be made to sound less “computer” as most modern production does? Even though all Bunn music is produced on computers there is a strong desire to place more distance between Bunn and the world of overproduced “computer-metal”. </p>
<p>The most significant method in evolving the sound came from reaching back into sounds from Bunn’s past band projects, just in way lower tuning. While the new Foreigns vibe clearly continues from where it left off with the Concentric / Pneumatic release, it also borrows vibes from Bunn’s late 90s / early 2000s efforts. Slivers of Mathrock, Screamo and Post Hardcore. </p>
<p>There is a whole page of early Bunn band projects here for the curious: <a contents="https://fashionmachine.bandcamp.com/" data-link-label="" data-link-type="url" href="https://fashionmachine.bandcamp.com/" target="_blank">https://fashionmachine.bandcamp.com/</a> </p>
<p><strong>In the great escape from the ultra computerized sound, ripe in today’s productions, the main decisions are: </strong></p>
<p><strong>1. Play looser -</strong> Longer takes, and play with more swagger (always been the case in Bunn-land, but now emphasized). </p>
<p><strong>2. Never edit takes -</strong> besides trimming excess heads and tails, it is what it is (also something that has always been done but now to a maximum). </p>
<p><strong>3. Less processed tone -</strong> use a simple, pushed, low gain amp tone that does not need a gate </p>
<p><strong>4. Use way more tape & transformer saturation -</strong> nothing clean ever, not even drums. </p>
<p><strong>5. Looser drums -</strong> a bit tougher because Bunn stuff is programmed, but make it looser! <br> </p>
<p><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1897551819/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; width: 100%; height: 42px; width: 940px;"></iframe></p>
<p><br>In some ways, "Cornucopia" keeps with the vibes established on the "Concentric/Pneumatic" release, maintaining a higher energy delivery than how Foreigns had established itself with the more sluggish pace of the "Metropolitan" EP. </p>
<p>Where "Cornucopia" really differs however is in the tone and attitude. The Tuning and the scales are the same, but the tone is an un-gated, pushed, lower gain vibe with a hopeful outlook in the delivery. While in some ways there are parallels in movement with the now sort-of-famous "Harbour" riff, the principal theme in "Cornucopia" twists, dips and weaves quite a bit more than anything previous from Foreigns. </p>
<p>High energy drums and a focused arrangement round out this latest creation from Foreigns. With some elbow grease and a little bit of luck, let’s hope that the project can keep pace to deliver a full collection of new material by year end. </p>
<p><br><br><strong>Specs for Nerds: </strong><br>Guitar: Warmoth Parts Tele Baritone w/ Alumitone bridge humbucker </p>
<p>Amptone: Bunnsonics 2022 Foreigns Helix preset (Unreleased - Beta available to Members) </p>
<p>Bass: Dingwall Combustion w/ stock bridge humbucker </p>
<p>Amptone: Bunnsonics Foreigns bass preset (https://thebunn.ca/bunnsonics) </p>
<p>Drums: EZ Drummer II Kit: Bunnsonics DFH preset and mix template (https://thebunn.ca/bunnsonics) </p>
<p><br>Written: Spring 2022 </p>
<p>Recorded & produced: Spring 2022 </p>
<p>Location: Toronto Ontario Canada </p>
<p>Released May 4, 2022 </p>
<p>Written, recorded and designed by "The Bunn" </p>
<p><br>--------------------------------------------------- </p>
<p>Grab "Cornucopia" & the whole Bunn discography here:<br>https://thebunn.bandcamp.com/album/cornucopia-single-demo</p>
<p>--------------------------------------------------- <br> </p>
<p>Made possible by Patrons and YT Members: </p>
<p>Patrons: Yan Shcherbakov, Skip Fantry, Zegema Beach Records, Matt McGrath, Charl Fourie, Hunter Christian, Ryan Davis, Courtney Serumgard, Anybody, et al., Unai Bolivar, john, Gary, Rose Garcia, Richard Sly, Anothercouture, Veeeeeeeeeeeeeeeeeeeee, bc likes you, Gus, Kipp Grose, Riffs From The Abyss 666, Raziel, Panic, John Voorhess, William Davis, Randall Jenkins, Philip Miller, Tanner RoughRiffs Borglum, Tylah Nietrzeba, 1nc1n3rat0r, Vlad Datcu, panic_chords </p>
<p>YouTube Members: Layne Anderson, NotAnotherBassPlayer, Treggify, Cesar Bouli, Sebastian Bica, Nick Tacey, Aidan Hiller, Charles Untereiner, Datamouth, jason OCHO ochoski </p>
<p>--------------------------------------------------- </p>
<p>Cheers! </p>
<p>Bunn & Co.</p>Bunntag:thebunn.ca,2005:Post/69890622022-02-25T01:00:00-05:002022-06-07T20:43:49-04:00The Venns “Team Sports” 4 song EP • How it all happened<p><img src="//d10j3mvrs1suex.cloudfront.net/u/175405/ad5b341fd6bfc9709aabb7d7d4cc210baec8ef43/original/vennsteamsportsdidital.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_orig justify_center border_none" alt="" />A followup EP to the 2013 debut “Red Carpet release from Venns is LIVE! This also happens to be the second 2022 release for The Bunn. </p><!-- more -->
<p>“Team Sports” contemplates the possible historical intersections and parallels between athletics programs, spectators and broadcast programming. The social and psychological grooming, propaganda and “us against them” phenomenon of the human, tribal experience. </p>
<p><br>Demos for “Team Sports” began in the summer of 2013. It’s nice to see this 5min 15sec, 4 song stress-case grow up after 9 years of sitting in the corner. </p>
<p><br><strong>Enjoy the “Team Sports” EP here: </strong><br>Spotify • <a contents="https://spoti.fi/3JcPvnB&nbsp;" data-link-label="" data-link-type="url" href="https://spoti.fi/3JcPvnB" target="_blank">https://spoti.fi/3JcPvnB </a><br>Bandcamp • <a contents="https://bit.ly/3MOegZf&nbsp;" data-link-label="" data-link-type="url" href="https://bit.ly/3MOegZf" target="_blank">https://bit.ly/3MOegZf </a><br>Bunn.ca • <a contents="https://thebunn.ca/venns&nbsp;" data-link-label="" data-link-type="url" href="https://thebunn.ca/venns" target="_blank">https://thebunn.ca/venns </a></p>
<p><br>For those new to Venns, it is a collaboration between long time friend, vocalist and artist Theo Kaps. The Bunn does the music and production stuff while Theo takes care of lyrics and vocals as well as pitching in on the graphics and admin. </p>
<p>Back on the 20th of December 2012, there was one of them, doomsday cult scares flying around social media. </p>
<p>Bunn (drums) and Kaps (vocals) were on route to their last Horselover gig, which was decided on route. </p>
<p>Bunn was already playing with these slow, repetitive riff over fast bombastic beat ideas. While setting up for the last ever Horselover gig, he proposed to Kaps that this would be the next project. Kaps was in. </p>
<p>In January of 2013, Venns took 8 weeks to write, produce, record, design and manufacture the first EP “Red Carpet”. It made it to #2 on the Bandcamp best sellers list, saw good physical sales, while also gathering some decent press. </p>
<p>It was all a huge surprise. So much so, that we didn’t really know how to follow it up. A the same time, Bunn started a business, and Kaps went to school so Venns went dark. Thankfully, the core kept burning and the lights came back on. It was towards the end of 2015 that the pair circled back and began to pick away with a re-imagined approach and process. </p>
<p>Have a rad day! <br><strong>The Bunn & Co. </strong><br>----------------------------</p>Bunntag:thebunn.ca,2005:Post/69169252022-01-28T10:15:00-05:002022-11-04T17:55:48-04:002022 MERCH • NEW VENNS & WTLNDS LINES<p><img src="//d10j3mvrs1suex.cloudfront.net/u/175405/dc8d75f4af1310ed060df95770a18fe1d5a37fa7/original/merch-blogmarch2022.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_orig justify_center border_none" alt="Bunn Merch" />Clean, minimalist, merch offerings from WTLNDS and Venns.</p><!-- more -->
<p><strong>WTLNDS Profile & Merch • </strong><a contents="https://thebunn.ca/wtlnds" data-link-label="WTLNDS" data-link-type="page" href="/wtlnds" target="_blank">https://thebunn.ca/wtlnds</a> <strong>VENNS Profile & Merch •</strong> <a contents="https://thebunn.ca/venns" data-link-label="VENNS" data-link-type="page" href="/venns" target="_blank">https://thebunn.ca/venns</a></p>
<p><strong>Origin </strong><br>Growing up in the skate culture of the 80s, it was obvious that the graphics propelled it. The Illustrations, graphics and design on the boards, in the magazines and printed across all of the merch were a huge, rad part of skating. You knew who your tribe was in the highschool hallways just by the t-shirts they wore. That culture is also what led most of us to punk rock and is largely why The Bunn is who he is today.</p>
<p><strong>Development </strong><br>For The Bunn, the interest in graphics started with drawing all over binders in dry classes (every class was a dry class!). It was either drawing facsimiles of existing skate graphics or dreaming something up. </p>
<p>Fast forward, The Bunn spent a bunch of years as a designer in the music manufacturing and printing realms, both as an employee and studio owner, applying those years of scribbles in a real and legitimate way. </p>
<p>Designing for others was never a problem for The Bunn. Designing for personal projects.. that’s always been rough. “When it comes to clients, there are usually too many ideas, but when it comes to my own projects, it’s like staring into an empty void”. <br> <br><strong>Hits and Misses </strong><br>The very first tee designed for the Bunn was the “Tune Lower” pedal tee. It was a filler graphic that was created simply to populate the Threadless shop and figure out how everything worked. It was never intended to be an official merch item. The shop was stocked and launched, but the “Tune Lower” tee never got taken down. Strangely, it proceeded to sell like crazy. The Bunn noticed, decided to roll with it and left the design up for a time as an experiment and evaluation. Eventually the design was retired and replaced with designs more in line with what The Bunn himself was all about, releasing a line of merch to include not only tees and hoodies, but shoes and backpacks as well. </p>
<p>Venns Merch (scroll down) • <a contents="https://thebunn.ca/venns" data-link-label="" data-link-type="url" href="https://thebunn.ca/venns">https://thebunn.ca/venns</a></p>
<p>WTLNDS Merch (scroll down) • <a contents="https://thebunn.ca/wtlnds" data-link-label="" data-link-type="url" href="https://thebunn.ca/wtlnds">https://thebunn.ca/wtlnds</a></p>
<p><strong>The Takeaway </strong><br>None of it connected. It was obvious that designing for the designer wasn’t a great idea. Most folks are just not interested in design. Especially the crowd that enjoys slightly more aggro music. It doesn’t matter if the music is a bit artsy, they don’t tend to care about fashion or design. It was back to the drawing board. </p>
<p><strong>The Pivot </strong><br>At this stage, there are three roads to explore. <br>Road 1. Functional, minimalist designs with logos and release appointments. <br>Road 2. Treat each design as a total art project and with complete disregard. <br>Road 3. Both in parallel. Can one do it all? </p>
<p><strong>Right Now</strong> <br>The current merch selection for all 3 projects resides in the conservative minimalist space. This includes new offerings for both the WTLNDS “Floral” release and the Venns “Team Sports” release. The existing “Bunn Fashion Line” will be deprecated by April 1 2022. So, if you are interested in any of that, now is the time. As for total art merch, it is in it’s experimental phase. The key here will be to discard all beliefs as to what the merch is “supposed to be” or how it is “supposed to look”. To zero in on that original motivation of what would be rad and get us stoked. Time will tell. </p>
<p>--------------------------------------------------- </p>
<p>Cheers! </p>
<p>Bunn & Co.</p>Bunntag:thebunn.ca,2005:Post/69869522021-12-21T00:00:00-05:002022-06-04T22:19:52-04:00STARTING a sludge metal career at 50 YEARS OLD <p><iframe class="justify_inline" data-video-type="youtube" data-video-id="ec8gCRzMysU" data-video-thumb-url="https://img.youtube.com/vi/ec8gCRzMysU/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/ec8gCRzMysU?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="528" width="940" allowfullscreen="true"></iframe>Art is cool but how are we going to make enough money to live? And who listens to sludge? Isn't that way niche? </p>
<p><!-- more --></p>
<p>We’ll need a plan if we want to write and record and release Bunn music full time and earn an adult income. We need to figure out a minimum of 3 things to get started </p>
<p>First is Music - we need to write, record and release a lot of music this year, it has to sound decent. And we need to be happy with it. We want to grow our catalog of songs so that our body of work is working for us. Additionally, we want to develop a professional level of consistent output. We can only achieve that by doing it day in, day out. There’s a saying - amateurs wait for inspiration, pros show up and do the work. If we want to be full time, we gotta go pro </p>
<p>The second thing is revenue - We have to prioritize and develop methods of earning revenue from the music so that we can keep going and live a meaningful life. What are our revenue streams, what are we missing? How can we make it better? </p>
<p>Lastly, audience - we want to connect with people who are truly stoked on our music. People who connect with the music, people that we would probably hangout with. The challenge here is the Aspergers / ASD thing. I don’t think like the average person, I value things for very different reasons, I don’t understand the subtleties of social interactions. How do we communicate all this stuff in order to connect in a meaningful way? </p>
<p>Our plan for 2022 is pretty simple, we’re going to be focusing on musical output, connections and revenue. This is my first time “going for it” solo and at 50 years old. Everything could fail. but maybe we can figure it out. </p>
<p><strong>The Current Environment </strong><br>My music writing track record hasn’t been great, 24 tracks since 2013 - some of those were demo singles that got redone. On average, that’s only 2.666 tracks per year… That directly impacts our possible listeners and revenue. We’ve gotta shoot way higher but not too high. Dream big but plan actionably. Let’s shoot for 24 tracks this year. To double our output from the last 9 years in a year. That's a track every 2 weeks. Seems doable. </p>
<p>We’ll release demos to Bandcamp as they finish, EPs and Full Lengths will release everywhere as they finish. There will be no huge marketing campaigns or release strategies, just get the work done for 12 months straight, so that we have great work behind us. The very first thing to tackle is music that can be done right now. My past self would try writing new music instead of finishing what is near completion. We are going to focus on everything that is near completion first. We have Venns, Foreigns and Wetlands to work with, Venns and Wetlands are closest to completion right now. </p>
<p>There are 4 Venns tracks that need to be refined, vocals recorded and released. There are 5 Wetlands tracks - 3 done - 1 almost - 1 rough - this will be the fastest to finish. We are gonna start with Wetlands and pick away at Venns. </p>
<p>We’re gonna shoot to get a 5 song wetlands ep out by the 21st of January And the 4 song Venns ep by mid February, We are also gonna pick away at writing new stuff the whole time </p>
<p>With full time writing, recording and releasing, we have no time to wait for inspiration. What if we have writer's block? We can’t afford no output, we need to be releasing every month </p>
<p><strong>Let’s design a system so as to help us to hit our goals </strong></p>
<p>I realized that I didn’t actually know what my music writing process was. This is one of the reasons why I sometimes get stuck, when you don’t know what you are doing. </p>
<p>I broke down everything about how I create music so that I always have a reference, if I’m stuck or need better results I can refer to what I now call the OEC - <strong>Outline, Experiment, Conclusion </strong></p>
<p><strong>Outline • </strong>This is the art direction, ingredients and parts <br>- Art direction is the feel, vibe, and aesthetic we want to shoot for. <br>- Ingredients are the sounds, scales, rhythms & tempos that achieve the art direction <br>- For the parts, what are their functions? Verse, Chorus, Bridge, etc..? </p>
<p><strong>Experiment • </strong>This is where we riff dump, explore riff kinds, and riff treatments <br>- Riff dump is where we record every idea to a click and decide what to do with it after <br>- Riff kinds is trying our ideas as chords, chugs, arpeggios, licks, combos, etc.. <br>- The treatment is where we explore angular, bendy, slidey, open strings, drones etc.. </p>
<p><strong>Conclusion • </strong>Consists of blocks to form arrangements and determine transitions </p>
<p>- The blocks are 1 bar loops so to test parts against one another & discover new things. <br>- In the arrangement we’ll figure out the flows & # of repeats. Chorus, Verse, Bridge etc <br>- The transitions are how we get from one place to another with a specific purpose </p>
<p>Hopefully this will kill any potential writer’s block!</p>Bunntag:thebunn.ca,2005:Post/67359832021-09-04T14:52:23-04:002021-10-11T21:16:32-04:00New Music • Venns "foul" Demo<p><a contents="" data-link-label="" data-link-type="url" href="https://thebunn.bandcamp.com/album/foul-demo" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/175405/43cf1c4c330bb2a5aa9ffe7ebf6d21da6cf18f21/original/foulbanner.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_orig justify_center border_none" alt="" /></a>Friday September 3rd was another legendary Bandcamp Friday. Since Bandcamp Friday's inception, The Bunn has been trying to commit to as many as possible. At least one track per month.</p><!-- more -->
<p>It's been a challenge juggling the video and music making. One thing that nobody thinks about with doing a guitar channel is that you have to prepare and produce both the video AND music. On top of always writing new music.. Hahaaa! It's a lot, but with the right system, it can be done. Pretty sure we are finding that system around here, just takes a lot of scheduling and managing of time.</p>
<p>We were really getting down to the wire with this BCF. As of Thursday eve, the tracks really were not where they needed to be, even for demo tracks. Woke up Friday morning, decided to just focus on the one track, and boom! Suddenly the vision for where the track had to go became clear. Really wanted to commit to this BCF deadline no matter what. Missed too many of them this year, swept away with video production, life and bad priority management.</p>
<p>As for this track, this is a writing demo for Theo K. (Venns vocalist) to write lyrics and prepare his vocals. While he's doing that, I'm gonna sort the details of the parts and arrangement. There are a few things I'm not that jazzed about, but over all it stokes me enough. </p>
<p>The mix is just the writing mix, the mastering is just to get the level up a bit. It's quite bass heavy, more than usual. Will give everything the full going over upon completion. </p>
<p>If you are new to music from The Bunn, demo tracks are exclusive to The Bunn's Bandcamp profile. There are 2 more Venns demo tracks there and 2 from early Foreigns. </p>
<p><strong>listen to "<em>foul</em>" </strong><br><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3911007567/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; width: 100%; height: 42px;">Foul [demo] by Venns</iframe> </p>
<p><strong>Recording Specs: </strong><br><em>Guitar • PRS Mushok [27.75" scale / A1 Standard] <br>Bass • Roy Custom 5 [34" scale / A0 Standard] <br>Drums • EZ Drummer II DFH Kit <br>DAW • Reaper <br>Guitar Tones • Bunnsonics Venns Helix Presets [VNS PSV & VNS LOFI] <br>Bass Tones • Bunnsonics Venns Helix Presets [VNS ACT BSS] </em></p>
<p>Beats built mostly from the existing Venns Midi. Programmed a little bit of new stuff. </p>
<p><strong>Explore Presets and MIDI: </strong><br>Helix • <a contents="https://thebunn.ca/venns-helix-presets" data-link-label="VENNS HELIX PRESETS" data-link-type="page" href="/venns-helix-presets" target="_blank">https://thebunn.ca/venns-helix-presets</a><br>Midi • <a contents="https://thebunn.ca/venns-drum-session-midi" data-link-label="VENNS DRUM SESSION & MIDI" data-link-type="page" href="/venns-drum-session-midi" target="_blank">https://thebunn.ca/venns-drum-session-midi</a> </p>
<p>May the riffs be with you! </p>
<p>Cheers! <br>Bunn</p>Bunntag:thebunn.ca,2005:Post/67251782021-08-23T22:42:55-04:002021-09-04T14:55:43-04:00100% Free Baritone Info Resources<p><img src="//d10j3mvrs1suex.cloudfront.net/u/175405/b35d9923f5269758f96e1c37ab5f678644658958/original/barresourceheader.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_orig justify_center border_none" alt="" />Over the the last bunch of years The Bunn has gathered quite a bit of info surrounding Baritones, Bass VIs and all that comes with the super-low.</p><!-- more -->
<p>Over the last 5 or so years things have really developed with a lot more options for everything; guitars, basses, scale lengths, strings, custom options and more.</p>
<p>Things lagging behind are left handed models and base models (and bass models, but that's another article). Many players are left scratching their heads when a company offers their only baritone in a short scale length, with a 90s L.A. session finish, and some weird proprietary pickup config. Start with a black, white or natural 28" to 30" scale base model and load it with at least a humbucker in the bridge position. Add trems, exotic pup configs and crazy finishes after establishing a base model. Last thing that is massively lacking is a range of scale lengths. Why isn't every bari available in 27.5", 28.625" and 30"? </p>
<p>It's obvious that the companies building the stuff are generally not the people who use the stuff... That said, we are thankful for what we can get. </p>
<p><strong>The Bunn has shared 4 pages of different resources relating to baritones</strong></p>
<p>• An index of all known production baritones over 27.5" in scale<br>• An index of all know baritone conversion neck offerings over 27.5" in scale<br>• A string tension relative to scale and tuning index <br>• A string supplier index</p>
<p><strong>NONE of these are affiliate links.</strong> It is for no other reason than to help other baritone players navigate the bari-world. <br><br><strong>SIX STRING, PRODUCTION, BARITONE, GUITAR INDEX </strong><br>This is a quick reference index for current, production, 6 string, Baritone Guitars and Bass VIs. The index covers scale lengths from 27.5" to 30" in length. <br>This index does not include semi-custom, custom, or pre-order brands. <br>(LH) refers to left handed available. "Recommended" refers to lowest tunings in which the instrument still works decently. Go lower if you want to, if you are happy with the results, then all is rad! <br>There are still more models to add, we are constantly discovering new options. <br><br><strong>Check it out:</strong> <a contents="https://thebunn.ca/production-baritones-27-5-longer&nbsp;" data-link-label="" data-link-type="url" href="https://thebunn.ca/production-baritones-27-5-longer" target="_blank">https://thebunn.ca/production-baritones-27-5-longer </a></p>
<p><br><strong>BARITONE & BASS VI CONVERSION NECK & KIT INDEX </strong><br>This index seeks to make conversion neck hunting faster. The current list includes the most reputable brands and builders. At the moment, if you are looking at options that are not on the list, do your research. <br><br><strong>Check it out:</strong> <a contents="https://thebunn.ca/baritone-conversion-necks-kits&nbsp;" data-link-label="" data-link-type="url" href="https://thebunn.ca/baritone-conversion-necks-kits" target="_blank">https://thebunn.ca/baritone-conversion-necks-kits </a></p>
<p> <br><strong>BARITONE SCALE, TUNING, TENSION INDEX </strong><br>This index is for players interested in maintaining as much tone, tuning accuracy and feel in their down tuning as possible. There will always be some compromise, but this should get you started. <br>Scaling down the feel and performance of a 25.5" scale guitar, tuned to E2 Standard, strung with medium gauge strings. The goal is to maintain a 17-ish to 19-ish lbs of average tension for each tuning, by incrementally increasing scale and gauge as the pitch lowers across the gradient of available scale lengths. <br>Of course, you should experiment. If you love "rubber bands" or "tower cables" for strings, do what you love. <br><br><strong>Check it out: </strong><a contents="https://thebunn.ca/scale-tuning-tension-index" data-link-label="" data-link-type="url" href="https://thebunn.ca/scale-tuning-tension-index" target="_blank">https://thebunn.ca/scale-tuning-tension-index</a> </p>
<p> <br><strong>BARITONE, BASS VI & EXT BASS STRING SUPPLY INDEX</strong> <br>There are tons of string options made EXACTLY for what you need. The index includes all known Baritone, Bass VI & EXT Bass string makers, from around the world. <br><br><strong>Check it out: </strong><a contents="https://thebunn.ca/baritone-bass-vi-ext-bass-strings" data-link-label="" data-link-type="url" href="https://thebunn.ca/baritone-bass-vi-ext-bass-strings" target="_blank">https://thebunn.ca/baritone-bass-vi-ext-bass-strings</a></p>
<p>Hope that helps!<br>The Bunn</p>Bunntag:thebunn.ca,2005:Post/67729912021-08-11T00:00:00-04:002022-03-08T10:14:23-05:00Sludge Fashions | The Story, The Legend<p><a contents="" data-link-label="" data-link-type="url" href="https://bit.ly/3xlVgIF" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/175405/c8531cfa70e7722c87da65c9e9cb85bd49ceccfb/original/merchemail.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==" class="size_orig justify_center border_none" alt="" /></a>Fresh to the Bunn Threadless Shop • CRUSHING Sludge Fashions!! </p><!-- more -->
<p>Received some CRAZY new merch samples. Print-all-over designs in the forms of tees, backpacks and shoes.</p>
<p>There are 2 designs - a “Years of Strings” design, actually composed of 3 years of strings (bass and bass-side strings) used in all of Bunn's recordings. And then a “Coiled.Cable.Worship” design composed of the coiled, vintage cable that Bunn adores and plugs into every day.</p>
<p>"Strings" design is available in the backpack and a tee, while the "Coiled Cable" is available in shoes and a tee. </p>
<p>Of course there are rumblings in the audience requesting the cable in a backpack and the strings in the shoes.. We can probably make that happen, but that'll be a few months. </p>
<p>Full photoshoot on the horizon. Thanks to all the early adopters! Super stoked that you are super stoked!</p>
<p>All Bunn Apparel • <a contents="https://bit.ly/3xlVgIF" data-link-label="" data-link-type="url" href="https://bit.ly/3xlVgIF" target="_blank">https://bit.ly/3xlVgIF</a></p>Bunntag:thebunn.ca,2005:Post/63854652020-07-14T23:48:24-04:002021-08-24T20:23:49-04:00SIX BARITONE SETUP HACKS • BO/021<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="a4f7iW-8bww" data-video-thumb-url="https://img.youtube.com/vi/a4f7iW-8bww/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/a4f7iW-8bww?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="528" width="940" allowfullscreen="true"></iframe></p>
<p>Today we are talking about 6 tips and tricks to save you from some frustration so that you can spend more time playing, writing and recording. Some of this is specific to baritone, some is good for any guitar.</p><!-- more -->
<p><span class="font_large"><strong>Problems </strong></span> <br> 1. String too big for tuning peg <br> 2. Intonation that gets worse with adjustment <br> 3. Tuners that don’t read your low notes <br> 4. Fresh strings to stay in tune faster <br> 5. Strings sticking / riding high in the nut <br> 6. Strings sticking / jumping in the nut </p>
<p><span class="font_large"><strong>The Hacks</strong> </span><br><br><strong>Strings too big for tuning pegs </strong><br> • First reaction - bore out tuning peg or buy new tuners <br> • Cheaper and non destructive way - unwind end of string </p>
<p><strong>Intonation that gets worse with adjustment </strong><br> • First reaction - assume something wrong with bridge or neck <br> • Arching string over saddle and nut needs to be flattened <br> • Just push down softly with finger </p>
<p><strong>Inaccurate Tuner </strong><br> • First reaction - buy new tuner </p>
<p> • Tune on neck pickup <br> • Turn tone control down </p>
<p><strong>String not stable after change </strong><br> • First reaction - change string brands <br> • Use paper sleeve from strings to stretch strings evenly (unless daddario) </p>
<p><strong>Strings too high / sticking (not actually advised - hire a tech) </strong><br> • First reaction - sell guitar on Reverb <br> • Save on waiting to get to a tech <br> • Nut widening with a string (or nail file, or emery cloth) </p>
<p><strong>Strings sticking </strong><br> • First reaction - Burn guitar in ritual <br> • Nutsauce lubricant in nut slots <br> • Pencil led also works </p>
<p><span class="font_large"><strong>Summary </strong> </span><br> • Strings too big - Unwind end <br> • Intonation worse - Arching string <br> • Tuner not reading - Tune on neck pickup / tone down <br> • String not stable after change - Stretch String with Paper <br> • Strings too high / sticking - Nut widening with a string (or nail file, or emery cloth) <br> • Strings sticking / jumping - Nutsauce (or pencil graphite)</p>
<p>If this was helpful, let me know.<br>If it was redundant let me know.<br>If you have some awesome hacks to add, let me know. </p>
<p>Email me: scott@thebunn.ca</p>
<p>Cheers!<br>Scott</p>Bunntag:thebunn.ca,2005:Post/63726782020-07-01T15:16:09-04:002020-07-10T11:19:06-04:00IBANEZ RGIB21 BARITONE • BO/020<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="ZpbehellgMw" data-video-thumb-url="https://img.youtube.com/vi/ZpbehellgMw/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/ZpbehellgMw?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="529" width="940" allowfullscreen="true"></iframe></p>
<p>The RGIB21 Baritone by Ibanez, it is the successor to the RGIB6 and is kiiiind of similar. Another 28” scale-length RG with EMGs.</p><!-- more -->
<p><strong>The Playthrough</strong></p>
<p>Signal Chain: <br>• EMG 81 bridge pickup<br>• PreSonus AudioBox22VSL interface <br>• Reaper DAW <br>• Neural DSP Fortin NTS (w/ Zuul gate & Hexdrive) <br>• TwoNotes Wall Of Sound III w/ Mesa OS Recto 2x12" horiz & 57 (left) <br>• TwoNotes Wall Of Sound III w/ Mesa RDKNG 2x12" horiz & R22 (right)</p>
<p>Note: The EMGs made for a challenge to dial in a bright, rich tone. They do not seem to be a favourable choice for low tuning.</p>
<p><strong>What’s different?</strong> <br>The woods - 3pc Maple/Purpleheart neck with a Jatoba fretboard and a Nyatoh body. In the hardware department, we’ve Gotoh Locking tuners, Luminlay side dots, the addition of face dots, and the removal of the kill switch. </p>
<p>Still that same classic, super clean RG look. </p>
<p><strong>What’s special about it? </strong><br>• Only Bari to accept both a guitar or bass ball-end on the lowest string.<br>• Only production 28” bari under $1k with luminlay side dots. <br>• A widely available, low noise, 28” scale bari that can tune at least down to G. </p>
<p><strong>Anything to be concerned about? </strong><br>• Heavier than RGIB. <br>• Even bigger neck than first gen IB6. <br>• Still EMGs (switch brings you up to or past $1k). </p>
<p>About the neck <br>Measurements for comparison: <br>RG6 Nut - 23.76mm 12th - 26.72mm <br>RG21 Nut - 24.68mm 12th - 26.82mm <br>SRC Nut - 23.82mm 12th - 25.51mm <br>RGR Nut - 21.25mm 12th - 24.79mm </p>
<p><strong>Who is it for</strong> <br>• Folks looking for a decently made, versatile baritone at a fair price. <br>• People with bigger hands who like the feel of a thicker neck. <br>• Players who enjoys the sensation and feel of a heavier guitar.</p>
<p>I’ve included a link from my friends at Reverb to help you find a seller in your area of the world. <a contents="https://reverb.grsm.io/RGIB21" data-link-label="" data-link-type="url" href="https://reverb.grsm.io/RGIB21" target="_blank">https://reverb.grsm.io/RGIB21</a></p>
<p>Cheers!<br>Bunn</p>Bunntag:thebunn.ca,2005:Post/62732152020-04-06T10:14:51-04:002020-04-06T11:17:07-04:008 Baritone Guitars Compared • BO/019<p><iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="529" src="https://www.youtube.com/embed/gO8Znkaj2uw" width="940"></iframe></p>
<p>8 different baritones ranging in scale lengths from 27.5” to 30”.</p><!-- more -->
<p>There are many differences in construction and pickup configuration. How big of a difference is there between them all and “what baritone should I get?”. </p>
<p>Rather than talk about it, we’ll play them all back to back so that you can hopefully answer the question - “Which one of these would be good for my own heavy riffs?”. </p>
<p><span class="font_large"><strong>Comparison Details </strong></span><br>As always, we only focus on the dirty tones here, and all playthroughs are on the bridge pickup. EQs are flat, tuning is G Standard and strings are Curt Mangan .014 to .068 Baritone strings. The amp tone is EXACTLY the same for every guitar. Nothing special - Bias FX Pro V1. Treadplate and double Screamer. The recording level is -6db Peak for every guitar. </p>
<p><span class="font_large"><strong>The Guitars </strong></span><br>Eastwood Sidejack Baritone • 27.5” in scale <br>Bridge Pickup • Dimarzio Virtual P90 Humbucker <br>CTS 500 ohm volume & tone, Mallory .047uF capacitor </p>
<p><strong>PRS SE Mushok </strong>• 27.75” in scale <br>Bridge Pickup • Seymour Duncan Invader Humbucker <br>CTS 1 meg ohm volume, no tone, no capacitor </p>
<p><strong>Ibanez RGIB6 </strong> • 28” in scale <br>Bridge Pickup • Seymour Duncan SH6B Distortion Humbucker <br>CTS 500 ohm volume, no tone, no capacitor </p>
<p><strong>Warmoth Tele Conversion</strong> • 28.625” in scale <br>Bridge Pickup • Lace Alumitone Standard Humbucker <br>CTS 500 ohm volume, no tone, no capacitor, switch & neck pup disconnected </p>
<p><strong>Danelectro 56 Baritone</strong> • 29.75” in scale <br>Bridge Pickup • Danelectro Lipstick Single Coil <br>Stock 250 ohm volume & tone </p>
<p><strong>Gretsch Jet Baritone</strong> • 29.75” in scale <br>Bridge Pickup • Stock Gretch Mini Humbucker <br>Stock 500 ohm volume & tone. Switch & neck pup disconnected </p>
<p><strong>Squier Jazzmaster Baritone </strong>• 30” in scale <br>Bridge Pickup • Pickup Wizard Wide-range Humbucker <br>CTS 500 ohm volume, tone, switch & neck pup disconnected </p>
<p><strong>Ibanez SRC6 •</strong> 30” in scale <br>Bridge Pickup • Stock EMG 35HZ Bridge Passive Humbucker <br>Stock Ibanez Custom Electronics 3-band Active EQ</p>
<p><span class="font_large"><strong>Personal Takeaways </strong></span><br>Even though I have all these guitars, I have never played all of them back to back in this way. The results were very illuminating. Very surprised with how in a mix, to me, they all sound satisfactory for heavy music and remarkably similar. There are differences, but I expected bigger differences. Second surprise would be the feel and play of each guitar. Each one influenced or hindered my playing in very different ways and in bigger ways than I assumed previously. </p>
<p>The Danelectro sound sticks out the most for me and was the most fun to play. If it didn’t have the noise…<br>What did you hear? What do you prefer?</p>
<p>Cheers!<br>Scott</p>Bunntag:thebunn.ca,2005:Post/62477552020-03-13T20:36:52-04:002020-03-13T20:56:31-04:00IBANEZ SRC6 BASS VI / BARITONE • BO/018<p><iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="529" src="https://www.youtube.com/embed/kPLuLgV2Lk0" width="940"></iframe></p>
<p>It looks like a bass, but a short one, with 6 strings that are a bunch lighter than normal...</p><!-- more -->
<p>Is it a bass, a baritone or a guitar? And is it any good for heavy music?</p>
<p>Probably the best way to define the SRC6 is through comparisons of these three instrument types. </p>
<p><strong>How is it as a Guitar? </strong> <br>Let’s compare it with the RGIB6. Arguably the most popular 6 string baritone ever produced. The RGIB6 is 28” in scale and the SRC6 is 30”. </p>
<p>We use a light 0.013 to 0.062 baritone string set from D’Addario on the SRC6 and tune it up a few steps. </p>
<p>The RGIB6 has a .014 to .068 baritone string set from D’Addario.</p>
<p>Both guitars are tuned to G standard, the SRC active EQ is flat, and both guitar’s pickup positions are set to bridge. </p>
<p><strong>Personal takeaway: </strong>The SRC6 was brighter, with increased sustain. The result of the tension / gauge / scale triangle feels and sounds more like a scaled up, lower register instrument, where as the RGIB6 feels more like a hack or a shortcut with a handful of shortcomings. While the end tone is very similar, the RGIB6 has less sustain, a duller feel with bigger but looser string play. </p>
<p><br><strong>Jazzmaster Comparison </strong> <br>For our second comparison, we’ll play the SRC against the Jazzmaster Baritone. The Jazzmaster being one of the most surprising guitars to reach popularity in the heavy music space recently. The Jazzmaster is also 30” in scale. </p>
<p>For strings we are using the D’Addario 0.024 to 0.084 Bass VI set on both instruments with the tuning going down to Bass E Standard. </p>
<p>The SRC EQ is flat, and both guitar’s pickup positions are set to bridge. </p>
<p><strong>Personal takeaway: </strong>The SRC6 has near zero noise at gain, the EMGs with a very impressive signal to noise ratio, are very quiet . The Jazzmaster, even with an aftermarket, boutique pickup installed produces almost tripple the noise. Additionally, the SRC6 string spacing and reach are far more compact than the Jazzmaster, making play not only easier, but more enjoyable. </p>
<p><br><strong>Bass Comparison </strong> <br>For our third comparison, we play the SRC against an Ibanez ATK 800 Premium 34” scale 4 string bass. </p>
<p>Strings on the SRC6 are the D’Addario 0.024 to 0.084 Bass VI set. Both tuned to Bass E Standard. </p>
<p>The SRC and ATK EQs are flat, and both guitar’s pickup positions are set to bridge. </p>
<p><strong>Personal takeaway: </strong>Better than decent is probably the best way to say it. It just doesn't "slay" as a bass. I wouldn't replace any of my basses with the SRC6. BUT! if I was traveling and wanted the most compact rig possible for writing and recording, I'd probably take this. Record both your guitar and bass parts, super low noise floor, fits in a regular guitar case. All cool stuff. But if I'm in the studio or playing shows, I wouldn't want a bass player showing up with this. Definitely the best at bass stuff compared to every other Bass VI I've ever played, and I've played most of the production models that have been produced from the last 60 years. Better than decent at bass, but NOT a bass.</p>
<p><br><strong>What’s Special </strong> <br>• Short feel <br>• Playability <br>• Incredible build quality <br>• Better at bass than other Bass VIs </p>
<p><strong>To Consider </strong><br>• Looks like a bass <br>• Replacement pickups are limited without hacks </p>
<p><strong>Who is it For? </strong><br>• Players seeking an easy playing, versatile Bass VI / Hybrid <br>• Those looking for an instrument to cover bass and guitar style rolls <br>• People looking for a inspiring instrument that is in it’s own space</p>
<p>Cheers!<br>Scott Bunn</p>Bunntag:thebunn.ca,2005:Post/60035352019-12-11T00:04:37-05:002020-02-14T19:18:09-05:0020 ways we went SUPER LOW in 2019 • BO/017<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="5Ntp7o02F1w" data-video-thumb-url="https://img.youtube.com/vi/5Ntp7o02F1w/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/5Ntp7o02F1w?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="529" width="940" allowfullscreen="true"></iframe>Production 6 string baritones, over 27.5” in scale, for tuning down to Drop G, all the way down to Low E Standard, for heavier music styles.</p><!-- more -->
<p>Doing this at the end of the year because many manufacturers can release mid or even late year. It’s be nice if they all came out in January.. But they don’t. </p>
<p>If you’d like to see a guitar featured on the channel, go to the manufacturer’s social media and request a Bunn / Baritone Obsessed demo. </p>
<p><strong>1. Eastwood Sidejack Baritone </strong><br>SCALE • 27.5” (listed as 28”) - Recommended tuning range • Standard A / Drop G <br>• Lefthand model available <br>DEMO VID • <a contents="https://youtu.be/DFqr3UxUT8s&nbsp;" data-link-label="" data-link-type="url" href="https://youtu.be/DFqr3UxUT8s" target="_blank">https://youtu.be/DFqr3UxUT8s</a><br>APROX RETAIL • $550.00 USD <br>WEBSITE: <a contents="http://bit.ly/2KreXck&nbsp;" data-link-label="" data-link-type="url" href="https://youtu.be/DFqr3UxUT8s" target="_blank">http://bit.ly/2KreXck </a></p>
<p><strong>2. Eastwood Jeff Senn </strong><br>SCALE • 27.5” - Recommended tuning range • Standard A / Drop G <br>• Lefthand model available <br>APROX RETAIL • $699.00 USD <br>WEBSITE: <a contents="http://bit.ly/2OwsCAr&nbsp;" data-link-label="" data-link-type="url" href="https://youtu.be/DFqr3UxUT8s" target="_blank">http://bit.ly/2OwsCAr </a></p>
<p><strong>3. LSL Baribone </strong><br>SCALE • 27.5” - Recommended tuning range • Standard A / Drop G <br>APROX RETAIL • $3,455.00 USD <br>WEBSITE: <a contents="http://bit.ly/37eHpb9" data-link-label="" data-link-type="url" href="https://youtu.be/DFqr3UxUT8s" target="_blank">http://bit.ly/37eHpb9</a> </p>
<p><strong>4. Paul Reed Smith SE 277 </strong><br>SCALE • 27.75” - Recommended tuning range • Standard A / Drop G <br>• 2020 model <br>DEMO VID • Mushok: <a contents="https://youtu.be/GoAIyTkiDJc" data-link-label="" data-link-type="url" href="https://youtu.be/DFqr3UxUT8s" target="_blank">https://youtu.be/GoAIyTkiDJc</a> <br>DEMO VID • 277 Semi-hollow: <a contents="https://youtu.be/ff35YApgM4s" data-link-label="" data-link-type="url" href="https://youtu.be/ff35YApgM4s" target="_blank">https://youtu.be/ff35YApgM4s</a> <br>APROX RETAIL • $750.00 USD <br>WEBSITE: <a contents="http://bit.ly/32URdUC" data-link-label="" data-link-type="url" href="http://bit.ly/32URdUC" target="_blank">http://bit.ly/32URdUC</a> </p>
<p><strong>5. Chapman ML1 Modern V2 Baritone </strong><br>SCALE • 28” - Recommended tuning range • G Standard / Drop F<br>DEMO VID • <a contents="https://youtu.be/oEZtNqJOpJs" data-link-label="" data-link-type="url" href="https://youtu.be/oEZtNqJOpJs" target="_blank">https://youtu.be/oEZtNqJOpJs</a> <br>APROX RETAIL • $579.00 USD <br>WEBSITE: <a contents="http://bit.ly/2OptDKy" data-link-label="" data-link-type="url" href="http://bit.ly/2OptDKy" target="_blank">http://bit.ly/2OptDKy</a> </p>
<p><strong>6. Chapman ML3 BEA Baritone </strong><br>SCALE • 28” - Recommended tuning range • G Standard / Drop F <br>APROX RETAIL • $1,399.00 USD <br>WEBSITE: <a contents="http://bit.ly/2NoZCIF" data-link-label="" data-link-type="url" href="http://bit.ly/2NoZCIF" target="_blank">http://bit.ly/2NoZCIF</a> </p>
<p><strong>7. Hagstrom Viking Baritone </strong><br>SCALE • 28” - Recommended tuning range • G Standard / Drop F <br>APROX RETAIL • $899.99 USD <br>WEBSITE: <a contents="http://bit.ly/2XpzLGv" data-link-label="" data-link-type="url" href="http://bit.ly/2XpzLGv" target="_blank">http://bit.ly/2XpzLGv</a> </p>
<p><strong>8. Ibanez RGIB6 Iron Label RG </strong><br>SCALE • 28” - Recommended tuning range • G Standard / Drop F <br>DEMO VID • <a contents="https://youtu.be/6ryhaIZZz3E" data-link-label="" data-link-type="url" href="https://youtu.be/6ryhaIZZz3E" target="_blank">https://youtu.be/6ryhaIZZz3E</a> <br>APROX RETAIL • $699.99 USD <br>WEBSITE: http://bit.ly/32USZVM </p>
<p><strong>9. Reverend PA Eastsider Baritone </strong><br>SCALE • 28.625” - Recommended tuning range • G Standard / Drop F <br>APROX RETAIL • $1400.00 USD <br>WEBSITE • <a contents="http://bit.ly/2NZveW7" data-link-label="" data-link-type="url" href="http://bit.ly/2NZveW7" target="_blank">http://bit.ly/2NZveW7</a> </p>
<p><strong>10. Music Man Silhouette Bass </strong><br>Scale • 29.625” - Recommended tuning range • Drop F / F Standard <br>APROX RETAIL • $2250.00 USD <br>WEBSITE • <a contents="http://bit.ly/2HaUcNz" data-link-label="" data-link-type="url" href="http://bit.ly/2HaUcNz" target="_blank">http://bit.ly/2HaUcNz</a> </p>
<p><strong>11. Dano 56 </strong><br>SCALE • 29.75” - Recommended tuning range • Drop F / F Standard <br>• Lefthand model available <br>DEMO VID • <a contents="https://youtu.be/kyHdXCYaumk" data-link-label="" data-link-type="url" href="https://youtu.be/kyHdXCYaumk" target="_blank">https://youtu.be/kyHdXCYaumk</a> <br>APROX RETAIL • $420.00 USD <br>WEBSITE • <a contents="http://bit.ly/2kG2jJu" data-link-label="" data-link-type="url" href="http://bit.ly/2kG2jJu" target="_blank">http://bit.ly/2kG2jJu</a> </p>
<p><strong>12. Dano Vintage (LH) </strong><br>SCALE • 29.75” - Recommended tuning range • Drop F / F Standard <br>• Lefthand model available <br>DEMO VID • <a contents="https://youtu.be/aBAHFg1Y_zs" data-link-label="" data-link-type="url" href="https://youtu.be/aBAHFg1Y_zs" target="_blank">https://youtu.be/aBAHFg1Y_zs</a> <br>APROX RETAIL • $490.00 USD <br>WEBSITE • <a contents="http://bit.ly/2zPnHWU" data-link-label="" data-link-type="url" href="http://bit.ly/2zPnHWU" target="_blank">http://bit.ly/2zPnHWU</a> </p>
<p><strong>13. Dano 66BT </strong><br>SCALE • 29.75” - Recommended tuning range • Drop F / F Standard <br>APROX RETAIL • $1000.00 USD <br>WEBSITE • http://bit.ly/2NVCkx8 </p>
<p><strong>14. Gretsch Guitars G5265 Jet Baritone </strong><br>SCALE • 29.75” - Recommended tuning range • Drop F / F Standard <br>DEMO VID • <a contents="https://youtu.be/-wF6s1Fs7iM" data-link-label="" data-link-type="url" href="https://youtu.be/-wF6s1Fs7iM" target="_blank">https://youtu.be/-wF6s1Fs7iM</a> <br>APROX RETAIL • $549.99 USD <br>WEBSITE • <a contents="http://bit.ly/2JmKwF5" data-link-label="" data-link-type="url" href="http://bit.ly/2JmKwF5" target="_blank">http://bit.ly/2JmKwF5</a> </p>
<p><strong>15. Eastwood Sidejack VI </strong><br>SCALE • 30” - Recommended tuning range • F Standard / Low E Standard <br>• Lefthand model available <br>APROX RETAIL • $999.00 USD <br>WEBSITE • <a contents="http://bit.ly/2LyowF2" data-link-label="" data-link-type="url" href="http://bit.ly/2LyowF2" target="_blank">http://bit.ly/2LyowF2</a> </p>
<p><strong>16. Fender SQ CV Bass VI </strong><br>SCALE • 30” - Recommended tuning range • F Standard / Low E Standard <br>APROX RETAIL • $429.00 USD <br>WEBSITE • <a contents="http://bit.ly/2QqpFnf" data-link-label="" data-link-type="url" href="http://bit.ly/2QqpFnf" target="_blank">http://bit.ly/2QqpFnf</a> </p>
<p><strong>17. Harley Benton GuitarBass VS Vintage </strong><br>SCALE • 30” - Recommended tuning range • F Standard / Low E Standard <br>APROX RETAIL • $218.72 USD <br>WEBSITE • <a contents="http://bit.ly/32SIkL5" data-link-label="" data-link-type="url" href="http://bit.ly/32SIkL5" target="_blank">http://bit.ly/32SIkL5</a> </p>
<p><strong>18. Ibanez SRC6 </strong><br>SCALE • 30” - Recommended tuning range • F Standard / Low E Standard <br>• Demo soon <br>APROX RETAIL • $749.00 USD <br>WEBSITE • <a contents="http://bit.ly/32SS3RB" data-link-label="" data-link-type="url" href="http://bit.ly/32SS3RB" target="_blank">http://bit.ly/32SS3RB</a> </p>
<p><strong>19. Schecter Hellraiser C-VI </strong><br>SCALE • 30” - Recommended tuning range • F Standard / Low E Standard <br>APROX RETAIL • $870.00 USD <br>WEBSITE • <a contents="http://bit.ly/33L9DZh" data-link-label="" data-link-type="url" href="http://bit.ly/33L9DZh" target="_blank">http://bit.ly/33L9DZh</a> </p>
<p><strong>20. Schecter Hellcat-VI </strong><br>SCALE • 30” - Recommended tuning range • F Standard / Low E Standard <br>APROX RETAIL • $599.00 USD <br>WEBSITE • <a contents="http://bit.ly/33L9DZh" data-link-label="" data-link-type="url" href="http://bit.ly/33L9DZh" target="_blank">http://bit.ly/33L9DZh</a> </p>
<p><strong>21. SubZero Rogue VI Baritone </strong><br>SCALE • 30” - Recommended tuning range • F Standard / Low E Standard <br>APROX RETAIL • $258.04 USD <br>WEBSITE • <a contents="http://bit.ly/359ZwNW" data-link-label="" data-link-type="url" href="http://bit.ly/359ZwNW" target="_blank">http://bit.ly/359ZwNW</a> </p>
<h3><strong>Honourable Mentions </strong></h3>
<p><strong>Rondo Music </strong><br><a contents="http://bit.ly/2Oe6ri0" data-link-label="" data-link-type="url" href="http://bit.ly/2Oe6ri0" target="_blank">http://bit.ly/2Oe6ri0</a> </p>
<p><strong>Rivolta Mondata Baritone VII </strong><br>SCALE • 28” <br><a contents="http://bit.ly/2P7HzZG" data-link-label="" data-link-type="url" href="http://bit.ly/2P7HzZG" target="_blank">http://bit.ly/2P7HzZG</a> </p>
<h3><strong>SemiCustom / Custom Options </strong></h3>
<p><strong>Balaguer Guitars</strong><br>Scale •up to 28.5” <br><a contents="http://bit.ly/2r4n1Jd" data-link-label="" data-link-type="url" href="http://bit.ly/2r4n1Jd" target="_blank">http://bit.ly/2r4n1Jd</a> </p>
<p><strong>EGC </strong><br>Scale • up to 30” <br><a contents="http://bit.ly/33W7kCK" data-link-label="" data-link-type="url" href="http://bit.ly/33W7kCK" target="_blank">http://bit.ly/33W7kCK</a> </p>
<p><strong>Grez </strong><br>Scale • 28.5 <br><a contents="http://bit.ly/2mrNY4c" data-link-label="" data-link-type="url" href="http://bit.ly/2mrNY4c" target="_blank">http://bit.ly/2mrNY4c</a> </p>
<p><strong>Grosh Guitars</strong><br>Scale • 28.5 <br><a contents="http://bit.ly/2OhpGY1" data-link-label="" data-link-type="url" href="http://bit.ly/2OhpGY1" target="_blank">http://bit.ly/2OhpGY1</a></p>
<p><strong>TV Jones</strong> "C Melody Baritone"<br>Scale • 29.4" <br><a contents="http://bit.ly/2CNOH7X" data-link-label="" data-link-type="url" href="http://bit.ly/2CNOH7X" target="_blank">http://bit.ly/2CNOH7X</a></p>Bunntag:thebunn.ca,2005:Post/58709932019-08-26T23:04:32-04:002020-07-09T15:22:21-04:00REC & RELEASE a TUNE WITH A DANO BARI • BO/016<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="aBAHFg1Y_zs" data-video-thumb-url="https://img.youtube.com/vi/aBAHFg1Y_zs/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/aBAHFg1Y_zs?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="529" width="940" allowfullscreen="true"></iframe></p>
<p>Instead of another, "same-ol" guitar demo, we are gonna use this here Danelectro Semi-hollow Vintage Baritone to write, record, and release a swampy, sludge track. </p><!-- more -->
<p><strong>Here's how we're gonna do it</strong><br>• We’ll write 3 parts + transitions and arrange it. <br>• We’ll record, mix and master in the Reaper DAW. <br>• We’ll share it with the world via Distrokid to Spotify, Apple, Google +++. </p>
<p>A HUGE thanks to the rad folks at Distrokid who are sponsoring this video & blog, helping to make this whole thing possible. I’ve been using Distrokid since 2016 to distribute all of my Foreigns material. DistroKid makes it easy, affordable and fast to distribute your music to Spotify, Apple, Google and all of that. </p>
<p>If you are releasing music, save 7% off the whole first year's membership with this link <br><a contents="http://distrokid.com/vip/thebunn" data-link-label="" data-link-type="url" href="http://distrokid.com/vip/thebunn" target="_blank">http://distrokid.com/vip/thebunn</a></p>
<p>In the last Dano demo (<a contents="the Danelectro 56 Baritone" data-link-label="" data-link-type="url" href="https://thebunn.ca/blogs/test-1/posts/bo-003-danelectro-56-baritone" target="_blank">the Danelectro 56 Baritone</a>), we touched on how the qualities of the Dano sound were favourable for that sludgy, stoner, doom type tone. Additionally, folks seemed to enjoy the <a contents="5 second example clip" data-link-label="" data-link-type="url" href="https://youtu.be/kyHdXCYaumk?t=117" target="_blank">5 second example clip</a>, wondering where the rest of the track was... That’s all there ever was.. Sooooo, today we are gonna make a WHOLE TRACK in that style. With this model being a "semi hollow" (the 56 bari was also hollow, just no "F" hole), it has a slightly different tone, although it shares many similar qualities with the 56, but also the same challenges. </p>
<p><strong>The plan</strong><br>• Know the sound you are going for / Pick a style / key / scale system / tempo <br>• Today we are going for - Swampy Stoner Metal / G minor blues / 220bpm <br>• Come up with an arrangement idea (can come from the riffs that you end up with) <br>• We are gonna go with - Intro / outro bookends, a 2 phrase main theme, and a transition phrase <br>• Riff dump - put down as many ideas as you can muster to a click - pick 3 or for of the best ones</p>
<p><strong>A few parts and transitions</strong><br>• Pick your riffs <br>• Figure what riffs offer more opportunity<br>• Make sure they loop and flow </p>
<p><strong>Build with blocks and use it like Lego</strong><br>• Put basic bass and drums to these parts <br>• Lego - These blocks should fit together, in almost any configuration <br>• Chop em up, add new bits to existing block and more blocks that are an evolution of the existing blocks as needed </p>
<p><strong>Finalize and mix</strong><br>• Re-record ALL THE GUITARS AND BASS once you have the final drums. <br>• Mix throughout this process <br>• Bounce / render to a high res 24bit stereo wav file </p>
<p><strong>Master and prep for distribution</strong><br>• Open a new session for mastering <br>• Prepare from your 24bit bounce file, a 16Bit, 44.1Khz, stereo, WAV file for final release and distribution <br>• Spice up the final track with some crushing limiters, saucy saturation and spicy EQs<br>• Get your cover art together. If you suck at graphics, you should probably find a graphic designer</p>
<p><strong>Release it</strong><br>Upload to Distrokid to release on (almost) every platform that exists </p>
<p><strong>DISTRO</strong>KID <br>If you don’t know Distrokid, they launched in 2013. They are an independent digital music distribution service. For a very small, yearly fee, they get your music up to the major online vendors and streaming services like Spotify, Amazon Music, Apple Music and allllll the rest of them. And they do this without taking a % or cut from any of your sales / streams. </p>
<p>If you are releasing music, save 7% off the whole first year's membership with this link<br><a contents="http://distrokid.com/vip/thebunn" data-link-label="" data-link-type="url" href="http://distrokid.com/vip/thebunn" target="_blank">http://distrokid.com/vip/thebunn</a></p>
<p>Cheers!<br>Bunn</p>
<p>------------------------------------------------- </p>
<p>BARITONE OBSESSED GROUP (answer them sign-up questions) <br><a contents="www.baritoneobsessed.com&nbsp;" data-link-label="" data-link-type="url" href="http://www.baritoneobsessed.com" target="_blank">www.baritoneobsessed.com&nbsp;</a><br>(or) <a contents="https://www.facebook.com/groups/baritoneobsessed/&nbsp;" data-link-label="" data-link-type="url" href="https://www.facebook.com/groups/baritoneobsessed/" target="_blank">https://www.facebook.com/groups/baritoneobsessed/ </a></p>
<p>SUPPORT THE CHANNEL <br>If you enjoy this channel and would like to see more videos, more frequently, you can help that along in the following ways - </p>
<p>PATREON <br><a contents="https://www.patreon.com/TheBunnCA&nbsp;" data-link-label="" data-link-type="url" href="https://www.patreon.com/TheBunnCA" target="_blank">https://www.patreon.com/TheBunnCA </a></p>
<p>BUNN TEES <br><a contents="https://thebunn.threadless.com/&nbsp;" data-link-label="" data-link-type="url" href="https://thebunn.threadless.com/" target="_blank">https://thebunn.threadless.com/ </a></p>
<p>MUSIC <br>Bandcamp • <a contents="http://bit.ly/2IrR01N&nbsp;" data-link-label="" data-link-type="url" href="http://bit.ly/2IrR01N" target="_blank">http://bit.ly/2IrR01N </a><br>Spotify • <a contents="https://spoti.fi/2PiXtU7&nbsp;" data-link-label="" data-link-type="url" href="https://spoti.fi/2PiXtU7" target="_blank">https://spoti.fi/2PiXtU7 </a><br>iTunes • <a contents="https://apple.co/2DuZTbV" data-link-label="" data-link-type="url" href="https://apple.co/2DuZTbV" target="_blank">https://apple.co/2DuZTbV</a> <br>GooglePlay • <a contents="http://bit.ly/2Zq7eEh&nbsp;" data-link-label="" data-link-type="url" href="http://bit.ly/2Zq7eEh" target="_blank">http://bit.ly/2Zq7eEh </a><br>Amazon • <a contents="https://amzn.to/2ZpJP1D" data-link-label="" data-link-type="url" href="https://amzn.to/2ZpJP1D" target="_blank">https://amzn.to/2ZpJP1D</a></p>Bunntag:thebunn.ca,2005:Post/57855652019-06-09T15:36:55-04:002019-06-09T17:41:08-04:00Warmoth BARITONE CONVERSION • BO/015<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="qrIsyJNaj7s" data-video-thumb-url="https://img.youtube.com/vi/qrIsyJNaj7s/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/qrIsyJNaj7s?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="529" width="940" allowfullscreen="true"></iframe><br>You have a cheap squier Strat or Tele laying around and you think that you are gonna save yourself a pile of money and do a baritone conversion.</p><!-- more -->
<p>You forget about the pickups sucking and probably having to get new tuners. Now that you are kind of building a custom, you think “I’m picking the best parts and this guitar is gonna be killer!” </p>
<p><br>You end up in a spot like me. </p>
<p><strong>My situation </strong><br>I had a 2012 Squier 72 Vintage Modified Tele. It was cheap, like.. really cheap. One of the bridge saddles stripped out the very first time I tried to adjust the intonation. Pretty much from the start I knew I was gonna convert it. </p>
<p>In 2016 I started buying parts. I was like.. “I’M GONNA DO THIS!” In the winter of 2019, I finally had all the parts. </p>
<p><strong>The Parts </strong><br>28-5/8” Baritone Conversion Neck <br>Warmoth • <a contents="http://bit.ly/2Wp1WbB&nbsp;" data-link-label="" data-link-type="url" href="http://bit.ly/2Wp1WbB" target="_blank">http://bit.ly/2Wp1WbB </a><br>$352.50 US </p>
<p>Gotoh Locking Tuning Machine Set <br>Philadelphia Luthier • <a contents="http://bit.ly/2WqxQEs&nbsp;" data-link-label="" data-link-type="url" href="http://bit.ly/2WqxQEs" target="_blank">http://bit.ly/2WqxQEs </a><br>$91.00 US </p>
<p>Gotoh Non-Tremolo Bridge <br>AllParts • <a contents="http://bit.ly/2Z9so5G&nbsp;" data-link-label="" data-link-type="url" href="http://bit.ly/2Z9so5G" target="_blank">http://bit.ly/2Z9so5G </a><br>$84.00 US </p>
<p>Lace Alumitone Humbucker <br>Lace Pickups • <a contents="http://bit.ly/31n3b9O" data-link-label="" data-link-type="url" href="http://bit.ly/31n3b9O" target="_blank">http://bit.ly/31n3b9O</a><br>Item # 1806-C <br>$207.00 US </p>
<p>Barrel Knob for Split Shaft <br>Next Gen • <a contents="http://bit.ly/2KucHlr&nbsp;" data-link-label="" data-link-type="url" href="http://bit.ly/2KucHlr" target="_blank">http://bit.ly/2KucHlr </a><br>$22.50 US </p>
<p>Long & Mcquade • <a contents="http://bit.ly/2WNgH7c&nbsp;" data-link-label="" data-link-type="url" href="http://bit.ly/2WNgH7c" target="_blank">http://bit.ly/2WNgH7c </a><br>CTS 550k Audio Taper Pot <br>$12.00 US </p>
<p>Switchcraft Short Frame Lever Switch <br>Long & Mcquade • <a contents="http://bit.ly/2wGuWfm&nbsp;" data-link-label="" data-link-type="url" href="http://bit.ly/2wGuWfm" target="_blank">http://bit.ly/2wGuWfm </a><br>$24.00 US </p>
<p>Switchcraft Jack 1/4'' Mono <br>Long & Mcquade • <a contents="http://bit.ly/2KrETFP&nbsp;" data-link-label="" data-link-type="url" href="http://bit.ly/2KrETFP" target="_blank">http://bit.ly/2KrETFP </a><br>$3.00 US </p>
<p>Terminator - Single Volume kit (didn't fit)<br>Mad Hatter • <a contents="http://bit.ly/2WywKXo" data-link-label="" data-link-type="url" href="http://bit.ly/2WywKXo" target="_blank">http://bit.ly/2WywKXo</a><br>$100.00 US </p>
<p><strong>Total </strong><br><strong><span style="color:#c0392b;">$894.00 US </span></strong></p>
<p><strong>Putting it together </strong><br>Mounting the neck and installing everything else was easy. The neck fit PERFECTLY. Getting it to play right though, has been a nightmare. </p>
<p><strong>The Snags - Neck Choice </strong><br>I went for the traditional tele neck. The truss-rod is in the heel of the neck.This means that you have to take the neck off for every truss-rod adjustment. </p>
<p><strong>Setting it up </strong><br>I’m ok with basic setups, but this setup is full of problems. <br>Setting up a guitar that already has a foundational setup is really easy. Setting up a guitar from nothing takes experience and time. </p>
<p>I initially went with the MadHatter wiring kit. It didn’t fit. <br>The switch was too long and the leads were too short. I do not have hookup wire or a bunch of switches laying around. </p>
<p>I took it to a tech to speed things up, the tech didn’t actually do the setup. So I brought it back, offered to pay ANY price, and still didn’t get a full setup which required some neck levelling that didn’t happen. </p>
<p><strong>Should you do a conversion?</strong> <br>• If you have time and money <br>• If you already have a decent collection of guitar specific tools and strong setup knowledge. <br>• You'll need insight and planning. If you have a thorough ability to plan and forecast technical challenges, you should do ok.<br>• If you know an awesome tech. </p>
<p><strong>Chris' Channel </strong><br><a contents="https://www.youtube.com/watch?v=BarC-x3nb-s&nbsp;" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=BarC-x3nb-s" target="_blank">https://www.youtube.com/watch?v=BarC-x3nb-s </a></p>
<p><strong>Baritone Obsessed Group </strong><br><a contents="https://www.facebook.com/groups/baritoneobsessed/&nbsp;" data-link-label="" data-link-type="url" href="https://www.facebook.com/groups/baritoneobsessed/" target="_blank">https://www.facebook.com/groups/baritoneobsessed/ </a></p>
<p><strong>SUPPORT THE CHANNEL </strong><br>If you enjoy this channel and would like to see more videos, more frequently, you can help that along in the following ways - </p>
<p><strong>PATREON </strong><br><a contents="https://www.patreon.com/TheBunnCA&nbsp;" data-link-label="" data-link-type="url" href="https://www.patreon.com/TheBunnCA" target="_blank">https://www.patreon.com/TheBunnCA </a></p>
<p><strong>BUNN TEES</strong> <br><a contents="https://thebunn.threadless.com/&nbsp;" data-link-label="" data-link-type="url" href="https://thebunn.threadless.com/" target="_blank">https://thebunn.threadless.com/ </a></p>
<p><strong>MUSIC </strong><br>Bandcamp - <a contents="http://bit.ly/2IrR01N&nbsp;" data-link-label="" data-link-type="url" href="http://bit.ly/2IrR01N" target="_blank">http://bit.ly/2IrR01N </a><br>Spotify - <a contents="https://spoti.fi/2PiXtU7&nbsp;" data-link-label="" data-link-type="url" href="https://spoti.fi/2PiXtU7" target="_blank">https://spoti.fi/2PiXtU7 </a><br>iTunes - <a contents="https://apple.co/2DuZTbV&nbsp;" data-link-label="" data-link-type="url" href="https://apple.co/2DuZTbV" target="_blank">https://apple.co/2DuZTbV </a><br>Google Play -<a contents=" http://bit.ly/2DuOglw&nbsp;" data-link-label="" data-link-type="url" href="http://bit.ly/2DuOglw" target="_blank">http://bit.ly/2DuOglw&nbsp;</a><br>Amazon Music - <a contents="https://amzn.to/2OB4hau" data-link-label="" data-link-type="url" href="https://amzn.to/2OB4hau" target="_blank">https://amzn.to/2OB4hau</a></p>
<p>Cheers!<br>Bunn</p>Bunntag:thebunn.ca,2005:Post/57369482019-04-29T22:53:21-04:002019-04-30T09:50:51-04:00COUNTRY or CRUSHING? The 29.75" Gretsch • BO/014<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="-wF6s1Fs7iM" data-video-thumb-url="https://img.youtube.com/vi/-wF6s1Fs7iM/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/-wF6s1Fs7iM?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="529" width="940" allowfullscreen="true"></iframe></p>
<p>Is the Gretsch Electromatic Jet Baritone any good for heavy music? With looks straight from out of Nashville, most would never even consider playing this guitar with any amount of gain. </p><!-- more -->
<p>Ever since I stared playing and loving Danelectros, I started paying way more attention to guitars considered “country” or “surf”. Guitars that metal people would never even look at, let alone play. </p>
<p>Not surprising, there are more than a few great options with unique tone and features. Not to mention some of my favourite guitars to date. </p>
<p> </p>
<p><strong>THE GOODS </strong><br>• Thick and lively tone. Plenty of cut. Low noise. </p>
<p>• Super satin neck. Very comfortable and smooth playing. </p>
<p>• 29.75” scale tunes to G or F without effort and maintains great intonation. </p>
<p>• 29.75” scale allows for light strings in G and F (lighter than .072). .064 for G and .068 for F. </p>
<p>• Medium-low output pickups offer great dynamics and are awesome stock. Will not be changing them. </p>
<p>• Gretsch strap buttons are the typical nice touch that Gretsch is known for. </p>
<p> </p>
<p><strong>THINGS TO CONSIDER </strong><br>• 29.75” can be felt on this guitar. It is a long reach. Contributing factors are the Term does not allow the bridge to be set any further back. </p>
<p>• Cutaway and heal are such that super fret access is awkward. Although I like the look of how things are and would not want to see a larger cutaway. I would like a contoured, possibly slimmer heel. </p>
<p>• Break angle over the bridge is steep. Strings can bind and go flat with them use. Have known others to solve this with a roller bridge. <br> <br>• Sparkle finish is funny. But at least it’s a black sparkle. </p>
<p> </p>
<p><strong>WHO'S IT FOR? </strong><br>1. People tuning to G and F who want better tension with lighter strings. </p>
<p>2. People who want to buy a guitar and immediately start using it. No pickup swaps needed for a killer tone. </p>
<p>3. Accommodates a wide range of baritone tunings from B all the way down to F. The 29.75 scale length can accommodate all of it with little setup. </p>
<p>4. People getting into super low baritones and want to ease in with a friendly price </p>
<p><strong>Gretsch site: </strong><br><a contents="http://bit.ly/2JmKwF5" data-link-label="" data-link-type="url" href="http://bit.ly/2JmKwF5" target="_blank">http://bit.ly/2JmKwF5</a> </p>
<p><strong>TimberTimbre video with Gretsch as bass: </strong><br><a contents="https://youtu.be/aF28yQkO744?t=519&nbsp;" data-link-label="" data-link-type="url" href="https://youtu.be/aF28yQkO744?t=519" target="_blank">https://youtu.be/aF28yQkO744?t=519 </a></p>
<p>---------------------------------------------------------- </p>
<p><strong>PATREON </strong><br>If the stuff I share helps you in any way, stokes you in any way. I invite you to co-produce it all with me via Patreon <br><a contents="https://www.patreon.com/TheBunnCA&nbsp;" data-link-label="" data-link-type="url" href="%E2%80%8B%E2%80%8B%E2%80%8B%E2%80%8B%E2%80%8B%E2%80%8B%E2%80%8Bhttps://www.patreon.com/TheBunnCA" target="_blank">https://www.patreon.com/TheBunnCA </a></p>
<p><strong>BUNN TEES </strong><br><a contents="https://thebunn.threadless.com/&nbsp;" data-link-label="" data-link-type="url" href="https://thebunn.threadless.com/" target="_blank">https://thebunn.threadless.com/ </a></p>
<p><strong>MUSIC </strong><br>Bandcamp • <a contents="http://bit.ly/2IrR01N&nbsp;" data-link-label="" data-link-type="url" href="http://bit.ly/2IrR01N" target="_blank">http://bit.ly/2IrR01N </a><br>Spotify • <a contents="https://spoti.fi/2PiXtU7&nbsp;" data-link-label="" data-link-type="url" href="https://spoti.fi/2PiXtU7" target="_blank">https://spoti.fi/2PiXtU7 </a><br>iTunes • <a contents="https://apple.co/2DuZTbV" data-link-label="" data-link-type="url" href="https://apple.co/2DuZTbV" target="_blank">https://apple.co/2DuZTbV</a> <br>Google Play • <a contents="http://bit.ly/2DuOglw&nbsp;" data-link-label="" data-link-type="url" href="http://bit.ly/2DuOglw" target="_blank">http://bit.ly/2DuOglw&nbsp;</a><br>Amazon Music • <a contents="https://amzn.to/2OB4hau" data-link-label="" data-link-type="url" href="https://amzn.to/2OB4hau" target="_blank">https://amzn.to/2OB4hau</a></p>2:21Bunntag:thebunn.ca,2005:Post/56941902018-12-01T10:20:00-05:002019-04-29T22:48:51-04:00Can The Drop REPLACE a BARITONE? • BO/013<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="tHnl-Tr949o" data-video-thumb-url="https://img.youtube.com/vi/tHnl-Tr949o/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/tHnl-Tr949o?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="529" width="940" allowfullscreen="true"></iframe>Can we take a 24.75” scale guitar (Gibson scale) which is tuned to E standard and can we use The Drop to go SUPER low? </p><!-- more -->
<p>The DigiTech Drop is a polyphonic drop tune pedal that allows you to drop your tuning by 7 semitones (or 7 half-steps), all the way down to a full octave. There is also a dry signal option on the full octave. </p>
<p><strong>POLYPHONIC </strong><br>Unlike a typical octave pedal, the drop can produce more than one note at a time, meaning it can reproduce not only multiple notes that make up a chord, but also does a pretty good job of the overall harmonic content of an electric guitar. </p>
<p><strong>WHAT IT DOES </strong><br>From E standard, you can pitch the whole guitar down in these increments - E flat standard, D standard, D flat standard, C standard, B standard, B flat standard, and A standard. Beyond that we have a whole octave down. </p>
<p><strong>STUFF TO CONSIDER </strong><br>- There is slight latency. Especially when used in front of a modeller which already has very slight latency. Together the latency can be felt. Not enough to bother me, but the picky-Petes out there might have issues. <br> <br>- On the lower side of things chugs are a bit soft and aliasing / tracking errors become more prevalent </p>
<p>- If playing at low volume, original, naked string notes harmonize and can be distracting. Up the amp volume to fix that. Or only play an octave down. Headphones are the ultimate solve. </p>
<p>- As good as it pitch corrects such complex material, it does sound processed. It’s a sound. Not bad or good, it’s just there and audible. </p>
<p>- the more complex the chords the more difficulty the box has. </p>
<p>- For you contra-bass fans, pitching the low E of a bass down, doesn’t really work. The bass in this track standard tuned and played in unison. </p>
<p><strong>DOES IT REPLACE A BARITONE?</strong> <br>Kind of. It’s a quick solution to going lower. It seems best for down-tuning very simple material, Single notes / power chords. </p>
<p>Where it shines is as a momentary special effect in a section or part of a song. </p>
<p>All that said, if you work with it’s strengths, you could base an entire project around this pedal. </p>
<p>It doesn’t do what my actual baritones do, but I don’t think that’s the point of this box. I had A LOT of fun with the Drop and look forward to being creative with it. If you work with it, you can make some cool stuff. </p>
<p><strong>SOME TIPS IN USING THE DROP </strong><br>- works better when the guitar is in higher tunings - E, D, C. Gets muddy and tracks poorly the lower the source notes. </p>
<p>- cut that bass, cutting bass on the amp settings or using a hi-pass in your modeller or daw helps with mud </p>
<p>- mid boost after the the Drop (tube screamer or eq) to get a bit more clarity. </p>
<p>- other than a noise gate, put all pedals after the Drop <br>- minimize compound latency. Using it in front of a analog amp will yield the least latency. Into a modeller, then into a DAW is 3 x latency. </p>
<p>- if bedroom playing, use headphones to eliminate naked string harmonization. </p>
<p>- write to the Drop, don’t get mad if your existing material isn’t working with it. It likes tidiness and simplicity. </p>
<p>The Drop • <a contents="Digitech.com" data-link-label="" data-link-type="url" href="https://digitech.com/en/products/the-drop" target="_blank">Digitech.com</a></p>
<p>-------------------------------------- </p>
<p>If you are STOKED and wanna join Bunn in the cause, you can pitch in via any or all of the following methods: </p>
<p><strong>PATREON </strong><br><a contents="https://www.patreon.com/TheBunnCA&nbsp;" data-link-label="" data-link-type="url" href="https://www.patreon.com/TheBunnCA" target="_blank">https://www.patreon.com/TheBunnCA </a></p>
<p><strong>BUNN TEES</strong> <br><a contents="https://thebunn.threadless.com/&nbsp;" data-link-label="" data-link-type="url" href="https://thebunn.threadless.com/" target="_blank">https://thebunn.threadless.com/ </a></p>
<p><strong>MUSIC </strong><br>Bandcamp • <a contents="http://bit.ly/2IrR01N&nbsp;" data-link-label="" data-link-type="url" href="http://bit.ly/2IrR01N" target="_blank">http://bit.ly/2IrR01N </a><br>Spotify • <a contents="https://spoti.fi/2PiXtU7" data-link-label="" data-link-type="url" href="https://spoti.fi/2PiXtU7" target="_blank">https://spoti.fi/2PiXtU7</a> <br>iTunes • <a contents="https://apple.co/2DuZTbV&nbsp;" data-link-label="" data-link-type="url" href="https://apple.co/2DuZTbV" target="_blank">https://apple.co/2DuZTbV </a><br>GooglePlay • <a contents="http://bit.ly/2DuOglw&nbsp;" data-link-label="" data-link-type="url" href="http://bit.ly/2DuOglw" target="_blank">http://bit.ly/2DuOglw </a><br>Amazon • <a contents="https://amzn.to/2OB4hau&nbsp;" data-link-label="" data-link-type="url" href="https://amzn.to/2OB4hau" target="_blank">https://amzn.to/2OB4hau </a></p>
<p><strong>FACEBOOK GROUP </strong><br><a contents="http://www.baritoneobsessed.com&nbsp;" data-link-label="" data-link-type="url" href="http://www.baritoneobsessed.com" target="_blank">http://www.baritoneobsessed.com&nbsp;</a></p>
<p>Be STOKED. Go LOW! <br>Bunn</p>Bunntag:thebunn.ca,2005:Post/56941892018-10-01T10:20:00-04:002019-04-18T10:30:40-04:00BARITONE STRINGS, 7 Brands Compared • BO/012 <p><iframe class="justify_inline" data-video-type="youtube" data-video-id="rf9b2jWTzyI" data-video-thumb-url="https://img.youtube.com/vi/rf9b2jWTzyI/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/rf9b2jWTzyI?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="529" width="940" allowfullscreen="true"></iframe>Today we are gonna cover 7 brands of 6 string baritone strings and some of the differences between them, so that YOU can decide which is right for you. </p><!-- more -->
<p>This comparison is geared towards aggressive / heavy music players </p>
<p>It’s very important to understand that this comparison is NOT Scientific. </p>
<p>All these strings are in Alphabetical order by brand, based on a 28” guitar tuned to G Standard. </p>
<p>I purchased them all via juststrings.com - I’m not affiliated with them, that’s just where I buy strings.</p>
<p>The site isn’t "sexy", but the selection and prices are great. </p>
<p><strong>1. Curt Mangan</strong><br>Baritone Nickel Round Wound<br>.014 - .068<br><a contents="http://bit.ly/2zJejSE&nbsp;" data-link-label="" data-link-type="url" href="http://bit.ly/2zJejSE" target="_blank">http://bit.ly/2zJejSE </a></p>
<p><strong>2. D’Addario </strong> <br>Baritone Nickel Round Wound XLs <br>.014 - .068 <br><a contents="http://bit.ly/2OoDzG0&nbsp;" data-link-label="" data-link-type="url" href="http://bit.ly/2OoDzG0" target="_blank">http://bit.ly/2OoDzG0 </a></p>
<p><strong>3. Elixir </strong><br>Baritone Nickel Round Wound NanoWeb Coating <br>.012 - .068 <br><a contents="http://bit.ly/2IuiyEn&nbsp;" data-link-label="" data-link-type="url" href="http://bit.ly/2IuiyEn" target="_blank">http://bit.ly/2IuiyEn </a></p>
<p><strong>4. Ernie Ball </strong> <br>Baritone Nickel Round Wound Slinkys <br>.013 - .072 <br><a contents="http://bit.ly/2DSrepk&nbsp;" data-link-label="" data-link-type="url" href="http://bit.ly/2DSrepk" target="_blank">http://bit.ly/2DSrepk </a></p>
<p><strong>5. GHS </strong><br>Baritone Nickel Round Wound Wounds <br>.014 - .070 <br><a contents="http://bit.ly/2Ng8Who&nbsp;" data-link-label="" data-link-type="url" href="http://bit.ly/2Ng8Who" target="_blank">http://bit.ly/2Ng8Who </a></p>
<p><strong>6. La Bella </strong><br>Baritone Nickel Round Wound Lights <br>.014 - .070 <br><a contents="http://bit.ly/2DK3Yd8&nbsp;" data-link-label="" data-link-type="url" href="http://bit.ly/2DK3Yd8" target="_blank">http://bit.ly/2DK3Yd8 </a></p>
<p><strong>7. Pyramid </strong> <br>Baritone Nickel Round Wound <br>.014 - .068 <br><a contents="http://bit.ly/2NcDwbG&nbsp;" data-link-label="" data-link-type="url" href="http://bit.ly/2NcDwbG" target="_blank">http://bit.ly/2NcDwbG </a></p>
<p>The full track that was used as the clip example at 3min 55sec is "Emission by Foreigns and can be streamed in full below. </p>
<p>-------------------------------------- </p>
<p>If you are STOKED and wanna join Bunn in the cause, you can pitch in via any or all of the following methods: </p>
<p>PATREON <br><a contents="https://www.patreon.com/TheBunnCA&nbsp;&nbsp;" data-link-label="" data-link-type="url" href="https://www.patreon.com/TheBunnCA" target="_blank">https://www.patreon.com/TheBunnCA </a></p>
<p>BUNN TEES <br><a contents="https://thebunn.threadless.com/&nbsp;&nbsp;" data-link-label="" data-link-type="url" href="https://thebunn.threadless.com/" target="_blank">https://thebunn.threadless.com/ </a></p>
<p>MUSIC <br>Bandcamp • <a contents="http://bit.ly/2IrR01N&nbsp;&nbsp;" data-link-label="" data-link-type="url" href="http://bit.ly/2IrR01N" target="_blank">http://bit.ly/2IrR01N </a><br>Spotify • <a contents="https://spoti.fi/2PiXtU7&nbsp;" data-link-label="" data-link-type="url" href="https://spoti.fi/2PiXtU7" target="_blank">https://spoti.fi/2PiXtU7 </a> <br>iTunes • <a contents="https://apple.co/2DuZTbV&nbsp;" data-link-label="" data-link-type="url" href="https://apple.co/2DuZTbV" target="_blank">https://apple.co/2DuZTbV </a> <br>GooglePlay • <a contents="http://bit.ly/2DuOglw&nbsp;&nbsp;" data-link-label="" data-link-type="url" href="http://bit.ly/2DuOglw" target="_blank">http://bit.ly/2DuOglw </a><br>Amazon • <a contents="https://amzn.to/2OB4hau&nbsp;&nbsp;" data-link-label="" data-link-type="url" href="https://amzn.to/2OB4hau" target="_blank">https://amzn.to/2OB4hau </a></p>
<p>FACEBOOK GROUP <br><a contents="http://www.baritoneobsessed.com&nbsp;&nbsp;" data-link-label="" data-link-type="url" href="http://www.baritoneobsessed.com" target="_blank">http://www.baritoneobsessed.com </a></p>
<p>Be STOKED. Go LOW! <br>Bunn</p>3:00Bunntag:thebunn.ca,2005:Post/56941872018-08-06T10:15:00-04:002019-04-19T12:35:07-04:00THE 2018 6 STRING BARITONE ROUNDUP (27.5" & UP) • BO/011 <p><iframe class="justify_inline" data-video-type="youtube" data-video-id="1FQ0M7DEX4w" data-video-thumb-url="https://img.youtube.com/vi/1FQ0M7DEX4w/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/1FQ0M7DEX4w?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="506" width="900" allowfullscreen="true"></iframe>Going lower in 2018 looks pretty Awesome. A whopping 18 models, between 27.5" and 30" in scale that can take you lower today. </p><!-- more -->
<p>As per usual, we’re only looking at production 6 string baritones that are at least 27.5” or longer in scale length. 27.5” or longer because (again) we wanna tune to at least Drop G with decent tension and intonation. </p>
<p><em>So here they are in order of shortest to longest scale: </em></p>
<p><strong>Who Might Care </strong><br>• People tuning below Drop A <br>• Those with a preference for 6 strings <br>• Guitarists picky about tuning but like to tune way down. </p>
<p><strong>1. Eastwood • Sidejack Baritone STD - Blackout </strong><br>Scale Length: 27.5” <br>A flat std - drop G <br>+ Affordable <br>- Needs Upgrades <br>$550.00 USD <br><a contents="Bunn Demo Video&nbsp;" data-link-label="" data-link-type="url" href="https://youtu.be/DFqr3UxUT8s" target="_blank"><strong>Bunn Demo Video </strong></a><br><a contents="Manufacturer&nbsp;" data-link-label="" data-link-type="url" href="https://eastwoodguitars.com/products/sidejack-baritone-dlx-blackout" target="_blank">Manufacturer </a> </p>
<p><strong>2. PRS • SE 277 Baritone </strong><br>Scale Length: 27.75” <br>A flat std - drop G <br>+ Solid construction <br>- Only available in a single decorative finish <br>$750.00 USD <br><a contents="Manufacturer&nbsp;" data-link-label="" data-link-type="url" href="https://www.prsguitars.com/index.php/electrics/se/se_277_baritone_2018" target="_blank">Manufacturer </a> </p>
<p><strong>3. PRS • SE 277 Semi-Hollow Baritone</strong> <br>Scale Length: 27.75” <br>A flat std - drop G <br>+ Unique sound / character <br>- Only available in a single decorative finish - Single coil noise <br>$770.00 USD <br><a contents="Bunn Demo Video&nbsp;" data-link-label="" data-link-type="url" href="https://youtu.be/ff35YApgM4s" target="_blank"><strong>Bunn Demo Video </strong></a><br><a contents="Manufacturer&nbsp;" data-link-label="" data-link-type="url" href="https://www.prsguitars.com/index.php/electrics/se/se_277_semi_hollow_soapbar_2019" target="_blank">Manufacturer </a> </p>
<p><strong>4. Chapman • ML3 BEA Baritone </strong><br>Scale Length: 28" <br>G std - drop F <br>+ High quality guitar <br>- Only available in a single stylized finish <br>$1,350.00 USD <br><a contents="Manufacturer&nbsp;" data-link-label="" data-link-type="url" href="https://chapmanguitars.co.uk/guitars/ml3b-bea/" target="_blank">Manufacturer </a></p>
<p><strong>5. Chapman • ML1 Modern Baritone </strong><br>Scale Length: 28" <br>G std - drop F <br>+ All around quality instrument at a great price <br>- Stylized look that will not stand up over time <br>$500.00 USD <br><strong>Bunn Demo Video </strong><br><a contents="Manufacturer&nbsp;" data-link-label="" data-link-type="url" href="https://chapmanguitars.co.uk/guitars/ml1b-mod/" target="_blank">Manufacturer </a> </p>
<p><strong>6. Hagstrom • Viking Deluxe Baritone </strong><br>Scale Length: 28" <br>G std - drop F <br>+ Unique sound / character <br>- Feedback at higher volume <br>$680.00 USD <br><a contents="Manufacturer" data-link-label="" data-link-type="url" href="https://www.hagstromguitars.com/electric-guitars/viking-deluxe-baritone.html" target="_blank">Manufacturer</a></p>
<p><strong>7. Ibanez • RGIB6 Baritone </strong><br>Scale Length: 28" <br>G std - drop F <br>+ Lean metal machine with clean looks <br>- Active pickups <br>$700.00 USD <br><a contents="Bunn Demo Video" data-link-label="" data-link-type="url" href="https://youtu.be/6ryhaIZZz3E" target="_blank"><strong>Bunn Demo Video</strong></a><br><a contents="Manufacturer" data-link-label="" data-link-type="url" href="https://www.ibanez.com/na/products/detail/rgib6_02.html" target="_blank">Manufacturer</a></p>
<p><strong>8. Grez • Mendocino Baritone </strong><br>Scale Length: 28.5” <br>G std - drop F <br>+ Awesome scale length for G Standard with bright low noise mini hums <br>- A price that is worth 3 guitars <br>$2,800 USD <br><a contents="Manufacturer&nbsp;" data-link-label="" data-link-type="url" href="https://www.grezguitars.com/baritone" target="_blank">Manufacturer </a> </p>
<p><strong>9. Reverend • Pete Anderson Eastsider Baritone </strong><br>Scale Length: 28.625” <br>G std - drop F <br>+ Awesome scale length for G Standard / Drop F <br>- Noisy single coils at gain and trem tuning problems <br>$1250.00 USD <br><a contents="Manufacturer" data-link-label="" data-link-type="url" href="https://www.reverendguitars.com/guitars/pete-anderson-eastsider-baritone" target="_blank">Manufacturer</a> </p>
<p><strong>10. TV Jones • Spectra Sonic C Melody Baritone </strong><br>Scale Length: 29.4” <br>F std - drop E <br>+ Bright low noise mini hums <br>- trem <br>$2,375.00 USD <br><a contents="Manufacturer&nbsp;&nbsp;" data-link-label="" data-link-type="url" href="https://tvjones.com/products/spectra-sonic-c-melody-baritone" target="_blank">Manufacturer </a></p>
<p><strong>11. Danelectro • Vintage Baritone</strong> <br>Scale Length: 29.75” <br>F std - drop E <br>+ Unique sound / character <br>- Needs upgrades - Single coil noise <br>$450.00 USD <br><a contents="Bunn Demo Video&nbsp;" data-link-label="" data-link-type="url" href="https://youtu.be/kyHdXCYaumk" target="_blank"><strong>Bunn Demo Video</strong> </a><br><a contents="Manufacturer&nbsp;&nbsp;" data-link-label="" data-link-type="url" href="http://danelectro.com/product/vintage-12string-and-baritone/" target="_blank">Manufacturer </a></p>
<p><strong>12. Gretch • G5265 Electromatic Jet Baritone</strong> <br>Scale Length: 29.75” <br>F std - drop E <br>+ Bright low noise mini hums <br>- trem / sparkle finish <br>$550.00 USD <br><a contents="Manufacturer&nbsp;&nbsp;" data-link-label="" data-link-type="url" href="https://gretschguitars.com/gear/build/solid-body/g5265-electromatic-jet-baritone-solid-body/2515900506" target="_blank">Manufacturer </a></p>
<p><strong>13. Music Man • Silhouette Bass </strong><br>Scale Length: 29-5/8" <br>F std - drop E <br>+ Solid long scale baritone <br>- Price of 2.5 guitars <br>$2,200.00 USD <br><a contents="Manufacturer&nbsp;&nbsp;" data-link-label="" data-link-type="url" href="https://www.music-man.com/instruments/guitars/silhouette-bass" target="_blank">Manufacturer </a></p>
<p><strong>14. Eastwood Sidejack Bass VI </strong><br>Scale Length: 30” <br>Low E std - drop D <br>+ Unique sound / character <br>- High price for an Eastwood / Needs upgrades for heavy music / Trem / Single coil noise <br>$1000.00 USD <br><a contents="Manufacturer&nbsp;" data-link-label="" data-link-type="url" href="https://eastwoodguitars.com/products/sidejack-bassvi" target="_blank">Manufacturer </a> </p>
<p><strong>15. Ibanez • SRC6 Bass VI </strong><br>Scale Length: 30” <br>Low E std - drop D <br>+ Solid, comfortable multi-use bari / bass VI / Bass<br>- Looks like a bass <br>$700.00 USD <br><a contents="Manufacturer&nbsp;&nbsp;" data-link-label="" data-link-type="url" href="https://www.ibanez.com/na/products/detail/src6_1p_04.html" target="_blank">Manufacturer </a></p>
<p><strong>16. Squier • Vintage Modified Baritone Jazzmaster </strong><br>Scale Length: 30” <br>Low E std - drop D <br>+ Unique sound / character, multi-use bari / bass VI / Bass <br>- Needs upgrades for heavy music / Single coil noise <br>$450.00 USD <br><a contents="Bunn Demo Video&nbsp;" data-link-label="" data-link-type="url" href="https://youtu.be/Dqwg7abyP60" target="_blank"><strong>Bunn Demo Video</strong> </a><br><strong>Discontinued </strong></p>
<p><strong>17. Schecter • Hellraiser C-VI </strong><br>Scale Length: 30” <br>Low E std - drop D <br>+ Well made multi-use bari / bass VI / Bass <br>- Only available in a single decorative finish <br>$700.00 USD <br><a contents="Manufacturer&nbsp;" data-link-label="" data-link-type="url" href="https://www.schecterguitars.com/guitars/hellraiser-c-vi-detail" target="_blank">Manufacturer </a> </p>
<p><strong>18. Schecter • Ultra-VI </strong><br>Scale Length: 30” <br>Low E std - drop D <br>+ Unique sound / character, multi-use bari / bass VI / Bass <br>- Needs upgrades for heavy music <br>$650.00 USD <br><strong>Discontinued</strong></p>
<p>-------------------------------------- </p>
<p>If you are STOKED and wanna join Bunn in the cause, you can pitch in via any or all of the following methods: </p>
<p>PATREON <br><a contents="https://www.patreon.com/TheBunnCA&nbsp;&nbsp;&nbsp;" data-link-label="" data-link-type="url" href="https://www.patreon.com/TheBunnCA" target="_blank">https://www.patreon.com/TheBunnCA </a></p>
<p>BUNN TEES <br><a contents="https://thebunn.threadless.com/&nbsp;&nbsp;&nbsp;" data-link-label="" data-link-type="url" href="https://thebunn.threadless.com/" target="_blank">https://thebunn.threadless.com/ </a></p>
<p>MUSIC <br>Bandcamp • <a contents="http://bit.ly/2IrR01N&nbsp;&nbsp;&nbsp;" data-link-label="" data-link-type="url" href="http://bit.ly/2IrR01N" target="_blank">http://bit.ly/2IrR01N </a><br>Spotify • <a contents="https://spoti.fi/2PiXtU7&nbsp;&nbsp;" data-link-label="" data-link-type="url" href="https://spoti.fi/2PiXtU7" target="_blank">https://spoti.fi/2PiXtU7 </a> <br>iTunes • <a contents="https://apple.co/2DuZTbV" data-link-label="" data-link-type="url" href="https://apple.co/2DuZTbV" target="_blank">https://apple.co/2DuZTbV</a> <br>GooglePlay • <a contents="http://bit.ly/2DuOglw&nbsp;&nbsp;" data-link-label="" data-link-type="url" href="http://bit.ly/2DuOglw" target="_blank">http://bit.ly/2DuOglw </a> <br>Amazon • <a contents="https://amzn.to/2OB4hau&nbsp;&nbsp;&nbsp;" data-link-label="" data-link-type="url" href="https://amzn.to/2OB4hau" target="_blank">https://amzn.to/2OB4hau </a></p>
<p>FACEBOOK GROUP <br><a contents="http://www.baritoneobsessed.com&nbsp;&nbsp;" data-link-label="" data-link-type="url" href="http://www.baritoneobsessed.com" target="_blank">http://www.baritoneobsessed.com </a> </p>
<p>Be STOKED. Go LOW! <br>Bunn</p>Bunntag:thebunn.ca,2005:Post/56941842018-06-21T10:15:00-04:002019-06-09T11:26:07-04:00CHAPMAN 28" ML1 MODERN BARITONE • BO/010<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="oEZtNqJOpJs" data-video-thumb-url="https://img.youtube.com/vi/oEZtNqJOpJs/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/oEZtNqJOpJs?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="506" width="900" allowfullscreen="true"></iframe></p>
<p>A rad and very accessible baritone for modern, low tuned, heavy music players looking for great tuning and tension. </p><!-- more -->
<p>What is it? • 28” scale baritone that sells for $500.00 US <br><strong>• Factory tuning B Standard <br>• Tuned to G Standard in this video <br>• Using 13 - 72 gauge strings from Ernie Ball </strong></p>
<p><strong>What’s it all about? </strong><br>• The quality and feel of this guitar exceed the price. Chapman really over delivers here. This is not a budget guitar. It’s good guitar at a great price. </p>
<p>• Stock locking tuners and a super solid bridge. I set the intonation in about 10 min and the guitar holds tune well over time. </p>
<p>• Loaded with humbuckers so noise is low and upgrade options are plentiful. You can even play without a gate at decent gain levels. </p>
<p>• Long feel - it’s a little longer than the RGIB. The bridge and pickups ARE cut back a bit. But they COULD go back a bit more. It’s fine for me, but may inhibit players with shorter reach. </p>
<p>• Only big gripe is the 12th fret brand inlay. Ornate inlays are a major turnoff for me and most guitarists I’ve ever know. It’s the only thing that prevents me from keeping it. </p>
<p><strong>Who’s it for? </strong><br>• A rad and very accessible baritone for modern, low tuned, heavy music players looking for great tuning and tension. </p>
<p>• People who want to try a long scale baritone at a low financial risk </p>
<p>Visit Chapman Guitars for specs and details.</p>
<p>-------------------------------------- </p>
<p>If you are STOKED and wanna join Bunn in the cause, you can pitch in via any or all of the following methods: </p>
<p>PATREON <br><a contents="https://www.patreon.com/TheBunnCA&nbsp;&nbsp;&nbsp;&nbsp;" data-link-label="" data-link-type="url" href="https://www.patreon.com/TheBunnCA" target="_blank">https://www.patreon.com/TheBunnCA </a></p>
<p>BUNN TEES <br><a contents="https://thebunn.threadless.com/&nbsp;&nbsp;&nbsp;" data-link-label="" data-link-type="url" href="https://thebunn.threadless.com/" target="_blank">https://thebunn.threadless.com/ </a> </p>
<p>MUSIC <br>Bandcamp • <a contents="http://bit.ly/2IrR01N&nbsp;&nbsp;&nbsp;" data-link-label="" data-link-type="url" href="http://bit.ly/2IrR01N" target="_blank">http://bit.ly/2IrR01N </a> <br>Spotify • <a contents="https://spoti.fi/2PiXtU7" data-link-label="" data-link-type="url" href="https://spoti.fi/2PiXtU7" target="_blank">https://spoti.fi/2PiXtU7</a> <br>iTunes • <a contents="https://apple.co/2DuZTbV&nbsp;&nbsp;&nbsp;" data-link-label="" data-link-type="url" href="https://apple.co/2DuZTbV" target="_blank">https://apple.co/2DuZTbV </a> <br>GooglePlay • <a contents="http://bit.ly/2DuOglw" data-link-label="" data-link-type="url" href="http://bit.ly/2DuOglw" target="_blank">http://bit.ly/2DuOglw</a> <br>Amazon • <a contents="https://amzn.to/2OB4hau&nbsp;" data-link-label="" data-link-type="url" href="https://amzn.to/2OB4hau" target="_blank">https://amzn.to/2OB4hau </a> </p>
<p>FACEBOOK GROUP <br><a contents="http://www.baritoneobsessed.com&nbsp;" data-link-label="" data-link-type="url" href="http://www.baritoneobsessed.com" target="_blank">http://www.baritoneobsessed.com </a> </p>
<p>Be STOKED. Go LOW! <br>Bunn</p>0:42Bunntag:thebunn.ca,2005:Post/56941832018-05-16T10:15:00-04:002019-04-18T10:26:58-04:00IBANEZ 26.5" RGR621XW BARITONE • BO/009<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="7PP1hxo-JrA" data-video-thumb-url="https://img.youtube.com/vi/7PP1hxo-JrA/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/7PP1hxo-JrA?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="506" width="900" allowfullscreen="true"></iframe>There have been a bunch of requests for short baritones. Ibanez RGD, Reverend Decent, Jericho, ESP etc.. This one is kind of special. It’s a secret badass shorty. </p><!-- more -->
<p><strong>A few quick points: </strong></p>
<p>- An Indonesian made RG in 2016 exclusively sold by Shimamura Gakki in Japan. <br>- 26.5” scale baritone <br>- Ships tuned to Drop C but performs very well as low as B Standard. </p>
<p><strong>What's Special </strong><br>- Gotoh locking machines stock <br>- Stock Ibanez “Quantum” PUPs sound sick <br>- Thick Wenge fret board <br>- Reverse headstock - super cool <br>- On this particular model, the fit and finish is SUPERB. On par with a Prestige RG. </p>
<p><strong>Closing Thoughts </strong><br>- Trying it for A standard - not as stable as a 27” + <br>- Having played longer baritones for so long now, I find this a little too wonky in the tuning. <br>- Love the tone, probably wouldn’t change the PUPs (I always change PUPs) <br>- I don’t know what to think about the finish. No inlays is def rad but a bound body without a bound neck is weird and the body binding is pearloid… Still not sure. <br>- Perfect for people tuning to C and B <br>- Classic Ibanez playability, very shred worthy <br>- This guitar is super sick stock. </p>
<p><strong>At the Ened of the Day</strong> <br>If you can find one, they are selling for about $800 to $1100.00 USD <br>If you only tune as low as B or maybe Drop A and love the Ibanez feel / look, you’ll probably love this guitar. </p>
<p>Check it out at • <a contents="Shimamura Gakki" data-link-label="" data-link-type="url" href="https://www.shimamura.co.jp/" target="_blank">Shimamura Gakki</a></p>
<p>The full track that was used as the clip example is "Spotlight" by Venns and can be streamed in full below.</p>
<p>-------------------------------------- </p>
<p>If you are STOKED and wanna join Bunn in the cause, you can pitch in via any or all of the following methods: </p>
<p>PATREON <br><a contents="https://www.patreon.com/TheBunnCA" data-link-label="" data-link-type="url" href="https://www.patreon.com/TheBunnCA" target="_blank">https://www.patreon.com/TheBunnCA</a> </p>
<p>BUNN TEES <br><a contents="https://thebunn.threadless.com/&nbsp;" data-link-label="" data-link-type="url" href="https://thebunn.threadless.com/" target="_blank">https://thebunn.threadless.com/ </a> </p>
<p>MUSIC <br>Bandcamp • <a contents="http://bit.ly/2IrR01N&nbsp;" data-link-label="" data-link-type="url" href="http://bit.ly/2IrR01N" target="_blank">http://bit.ly/2IrR01N </a> <br>Spotify • <a contents="https://spoti.fi/2PiXtU7&nbsp;" data-link-label="" data-link-type="url" href="https://spoti.fi/2PiXtU7" target="_blank">https://spoti.fi/2PiXtU7 </a> <br>iTunes • <a contents="https://apple.co/2DuZTbV" data-link-label="" data-link-type="url" href="https://apple.co/2DuZTbV" target="_blank">https://apple.co/2DuZTbV</a> <br>GooglePlay • <a contents="http://bit.ly/2DuOglw&nbsp;&nbsp;&nbsp;" data-link-label="" data-link-type="url" href="http://bit.ly/2DuOglw" target="_blank">http://bit.ly/2DuOglw </a> <br>Amazon • <a contents="https://amzn.to/2OB4hau&nbsp;" data-link-label="" data-link-type="url" href="https://amzn.to/2OB4hau" target="_blank">https://amzn.to/2OB4hau </a> </p>
<p>FACEBOOK GROUP <br><a contents="http://www.baritoneobsessed.com" data-link-label="" data-link-type="url" href="http://www.baritoneobsessed.com" target="_blank">http://www.baritoneobsessed.com</a> </p>
<p>Be STOKED. Go LOW! <br>Bunn</p>2:11Bunntag:thebunn.ca,2005:Post/56941822018-04-15T10:10:00-04:002019-04-02T19:55:54-04:00FENDER SQUIER 30" JAZZMASTER BARITONE • BO/008<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="Dqwg7abyP60" data-video-thumb-url="https://img.youtube.com/vi/Dqwg7abyP60/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/Dqwg7abyP60?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="506" width="900" allowfullscreen="true"></iframe>The most unlikely guitar to become popular in heavy music has become popular in heavy music. The Jazzmaster Baritone is a 30” scale baritone that ships tuned to B standard but you can tune it A LOT lower.</p><!-- more -->
<p>The Duncan Designed Jazzmaster pickups retain some of that Jazzmaster character, which makes for a very articulate higher gain sound. The quality of this instrument at the $400.00 price tag is surprisingly great. </p>
<p><strong>What’s Good </strong><br>+ Intonates very easily below B all the way down to low E. <br>+ Nice pick attack and note definition (pickups and tension). <br>+ Very comfortable “short” feel even at 30”. <br>+ Use as baritone, Bass VI, or bass. <br>+ Very decent build <br>+ Great price. ($400.00 USD) </p>
<p><strong>What’s not so Good </strong><br>- Extreme noise (unless middle position). <br>- VERY Awkward intonation adjustment. <br>- Low gain tone not as sweet as a true fender Jazzmaster. <br>- Shape / style not for everyone. <br>- Neck profile feels closer to a bass than a guitar. </p>
<p><strong>Most Special Feature </strong><br>+ Use as a Baritone, Bass VI or Bass </p>
<p><strong>Who might dig it </strong><br>People who want to go super low with a 6 string on a budget. <br>People looking for a guitar that supports a range of lowwww tunings. </p>
<p>Cheers! <br>The Bunn </p>
<p>Squire Guitars • Jazzmaster Baritone</p>Bunntag:thebunn.ca,2005:Post/56941812018-03-07T10:10:00-05:002019-04-02T17:49:03-04:00PRS 27.75" 277 SEMI-HOLLOW BARITONE • BO/007<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="ff35YApgM4s" data-video-thumb-url="https://img.youtube.com/vi/ff35YApgM4s/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/ff35YApgM4s?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="506" width="900" allowfullscreen="true"></iframe>There’s been quite a few comments asking about the PRS SE277 series. The Semi Hollow model is the one I’m the interested in, so that’s what we’re looking at. </p><!-- more -->
<p>I’ve had the SE Mushok model since 2011 which is where the 277s got their start. While they are massively similar, the 277 series brings the OG PRS flavour around full swing to the 277s. </p>
<p><strong>What’s Good </strong><br>+ Usable without upgrades <br>+ Unique Tone <br>+ Very comfortable (does not feel cheap or super long) <br>+ Quality fit and finish </p>
<p><strong>What’s not so Good </strong><br>- P90s are NOISEY <br>- Decorative finishing - ornate inlays & flame top, Very 90s </p>
<p><strong>Most Special Feature </strong><br>+ Usable without upgrades </p>
<p><strong>Who might dig it </strong><br>Would be pretty great for post metal, post hardcore, sludge and doom. <br>Well made, easy to tune lower than B, very comfortable reach </p>
<p>Cheers! <br>The Bunn </p>
<p>• PRS Guitars "SE 277 Baritone" </p>Bunntag:thebunn.ca,2005:Post/56941802018-01-07T10:10:00-05:002019-04-02T19:59:54-04:00BARITONE - TUNING RANGE OR SCALE LENGTH? • BO/006<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="57cLo1CAR54" data-video-thumb-url="https://img.youtube.com/vi/57cLo1CAR54/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/57cLo1CAR54?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="529" width="940" allowfullscreen="true"></iframe>A longer scale length does not mean baritone. BUT - More scale length can GREATLY improve baritone tuning, especially when tuning below B Standard or Drop A. </p><!-- more -->
<p>There are 3 popular ways people have come to solve this: </p>
<p>SO WHAT IS BARITONE EXACTLY? <br>Baritone is a range of pitch. The 5 basic ranges are; soprano, alto, tenor, baritone, and bass. </p>
<p>There is always debate on the specifics, but the baritone range is generally thought to be somewhere between C Standard (a major 3rd down) and F Standard (a major 7th down). A whole octave down (E standard) takes us into the bass range. </p>
<p>SO WHAT ABOUT SCALE LENGTH? <br>Adding scale length as the pitch goes down helps us with string tension, tuning and action. If we look at the average Bass guitar, the most common scale length is 34”. That’s 8.5” additional scale length, and as well, the strings near double in gauge to perform well, that whole octave down. </p>
<p>For example - if we pitch a standard 25.5 inch scale guitar down to B Standard (4th lower), we officially have a baritone guitar. In order for it to perform better, we have to increase the string gauge. If we want to tune even lower, we may want to consider more scale length. </p>
<p>Depending on the kind of music you are playing, tension, tuning and action challenges generally start to become very apparent when tuning a 25.5” scale guitar to Drop A and lower to G and F. </p>
<p>So - Baritone is a tuning range, not a scale length. However, just like a bass guitar, a longer scale length helps immensely in the guitar’s tension, tuning and action as the pitch lowers. Especially evident wen you start to tune below Drop A. </p>
<p>The focus here is to hopefully help other creators of heavier music who tune below A Standard. </p>
<p>The things I focus on are: <br>1 • Baritones over 27.5" in scale. <br>2 • Production models not custom builds. <br>3 • Usually a humbucker pickup in the bridge position (low noise for gainy tones). <br>4 • Is available in a solid black finish, that will be in fashion forever. <br>5 • For use in heavier music. </p>
<p>Some of the music I use baritones for: <br>Foreigns • METROPOLITAN EP <br>Foreigns • PARTIES <br>Venns • RED CARPET EP <br>Venns • SERVE (demos) </p>
<p>Cheers! <br>The Bunn</p>Bunntag:thebunn.ca,2005:Post/56941792017-12-11T10:05:00-05:002019-04-02T10:14:51-04:003 WAYS TO ADD BASS TO YOUR BARITONE • BO/005<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="G5OKaeAkOYY" data-video-thumb-url="https://img.youtube.com/vi/G5OKaeAkOYY/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/G5OKaeAkOYY?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="506" width="900" allowfullscreen="true"></iframe>We thought getting a baritone was gonna fix all of our low tuning problems, but it only fixed half of those problems. Trying to tune our 34” scale bass down lower than A just doesn’t usually work so well. No tension, no tone, no power. </p>
<p>There are 3 popular ways people have come to solve this: </p>
<p><strong>1 • LONG SCALE BASS TUNED AN OCTAVE DOWN </strong><br>An octave down bass can really give the low notes of a composition their power. But similar to a piano or a harp, longer strings better accommodate lower pitches. </p>
<p>Some of the challenges in going this road are the availability of both basses and strings. Kalium seems to be the only solid offer for strings. For basses, I’ve listed all the models I know of that are 37” or greater. </p>
<p><strong>Tip - </strong>Some people are concerned with the fundamental being too low. You don’t actually need the fundamental. I personally Highpass anywhere between 50 and 75hrz to keep it tight. There is more than enough information in the partials / harmonic content to deliver plenty of solid bottom. </p>
<p><a contents="Dingwall Combustion (and many other Dingwalls) • " data-link-label="" data-link-type="url" href="https://www.dingwallguitars.com/combustion" target="_blank"><strong>Dingwall Combustion (and many other Dingwalls) • </strong></a>37” to 34” Fan Fret <br><a contents="ESP / LTD B-1005 SE • " data-link-label="" data-link-type="url" href="https://www.espguitars.com/products/21006-b-1005-multi-scale?category_id=1963318-b-series" target="_blank"><strong>ESP / LTD B-1005 SE • </strong></a>37” to 34” Fan Fret <br><a contents="Kalium Guitar Works Quake • " data-link-label="" data-link-type="url" href="https://kaliummusic.com/guitars/" target="_blank"><strong>Kalium Guitar Works Quake • </strong></a>39.5” <br><a contents="Brice Defiant &amp; Earthquake • " data-link-label="" data-link-type="url" href="https://www.rondomusic.com/defiant53437natb.html" target="_blank"><strong>Brice Defiant & Earthquake • </strong></a>37” to 34” Fan Fret & 39” </p>
<p><strong>2 • STANDARD BASS TUNED TO THE SAME OCTAVE </strong><br>It’s good enough for Meshuggah and it’s great for recording and live with the super “piano” tone + very accessible. Most basses work and actually sound better when you tune them up a step or two. The only real shortcoming here is when a bass is not an octave down a lot of the “darkness” and “power” will be missing and will depend quite a bit on how you tweak the amp. </p>
<p>Tip - that super dark but tight ampeg 8x10 and RE20 sound really helps to give the bass tone the darkness and distinction from the guitar. </p>
<p>Any decent 4 string with light strings (short scale 30” is even better) through a killer amp tone will work </p>
<p><strong>3 • GUITAR WITH AN OCTAVE EFFECT DOWN </strong><br>This is the fastest way to get some work done that is SUPER CHEAP. Some challenges here are; a guitar pitched an octave down lacks the “boing and clang” harmonic richness and tamber of a real bass. As well, it’s kind of restricted to recording, but honestly if you wanna use a Digitech Droptune live, and say “eff the bass”, you should do exactly that. </p>
<p>Tip - New strings and super clean playing make a big difference here. Also, using the brightest guitar you have (single coil) can help the authenticity of this approach. </p>
<p>Most DAWs come with some kind of octave down effect. <br>For hardware there is the DropTune and POG. <br>Just add a killer bass amp tone. </p>
<p>Cheers! <br>The Bunn</p>Bunntag:thebunn.ca,2005:Post/56941692017-10-30T10:00:00-04:002019-04-02T20:06:49-04:00EASTWOOD 27.5" SIDEJACK BARITONE (W / MODS) • BO/004<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="DFqr3UxUT8s" data-video-thumb-url="https://img.youtube.com/vi/DFqr3UxUT8s/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/DFqr3UxUT8s?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="529" width="940" allowfullscreen="true"></iframe>The Sidejack Baritone merges the cool retro looks of Mosrite most popularly used by the Ramones and the Ventures, with a sweet baritone scale length for tuning a bunch lower. </p><!-- more -->
<p>My pal Artie bought this guitar. I actually borrowed it before he got it modded and setup by Zack at Electric Standard) here in Toronto. It was completely stock, it sounded super flat, was stupid noisy, and played like crap, so I gave it back immediately. </p>
<p><br>Thankfully this guitar isn’t too expensive (Even with the Canadian Dollar being THE WORST) so putting an additional $300.00 into it to make it SUPER CRUSHING is somewhat of worthwhile endeavour. </p>
<p>Besides all the whack “Grandma Gold” hardware being switched out to chrome, the really important stuff is the Dimarzio Virtual P90 humbucker in the bridge, CTS pots, Mallory 0.047 capacitor Mallory 0.047 capacitor, Sperzle locking tuners, Gotoh bridge and a bone nut. All that coupled with a slick setup in G Standard and suddenly I love this guitar. </p>
<p>The scale length on the newer Sidejack Baritones is only 27.5” (they used to be 28" and still advertise as such..). I definitely find the tuning above the 12th fret slightly unstable in G standard. But, depending on how you play / write / compose, you might be able to make it work. </p>
<p>So, if you are like me and work 3 jobs, have no interest in anything more than 6 strings, and wanna tune super low but be decently in tune with out selling your soul, this could be a cool project guitar for ya. </p>
<p>Cheers! <br>The Bunn </p>
<p>• Download "Parties" by Foreigns <br>• Visit or sign up with The Bunn <br>• Artie's full video </p>Bunntag:thebunn.ca,2005:Post/56941682017-10-08T09:55:00-04:002019-04-02T20:08:20-04:00DANELECTRO 29.75" SCALE 56 BARITONE • BO/003<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="kyHdXCYaumk" data-video-thumb-url="https://img.youtube.com/vi/kyHdXCYaumk/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/kyHdXCYaumk?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="529" width="940" allowfullscreen="true"></iframe>In the last video (Missed, Wronged & Rejected 2017 BARITONES), the last guitar included was the Danelectro Baritone because the thought was it would be the last guitar we would ever use for heavy stuff. </p><!-- more -->
<p>After spending way more time with it, I got pretty stoked on the unique sound of it and how insanely clear low G and F Standard are. It's noisy, but a gate and / or new pickups can fix that. </p>
<p>Let me know what you think of it. </p>
<p>LINKS <br>• Danelectro guitars: https://goo.gl/y2n83o <br>• Foreigns "Colony" free download visit: https://goo.gl/HfJcsZ </p>
<p>Other music that I use baritones for: <br>Venns • https://goo.gl/KufEky </p>
<p>Cheers! <br>The Bunn</p>Bunntag:thebunn.ca,2005:Post/56941662017-09-04T09:55:00-04:002019-04-02T20:10:06-04:00MISSED & REJECTED 2017 BARITONES • BO/002<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="Ihjr0wqtZ6M" data-video-thumb-url="https://img.youtube.com/vi/Ihjr0wqtZ6M/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/Ihjr0wqtZ6M?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="529" width="940" allowfullscreen="true"></iframe>Sharing newer discoveries, corrections and the stuff I left out of the initial 2017 Baritone Roundup that a lot of YOU GUYS have commented on, messaged and emailed me about.</p><!-- more -->
<p>In this episode we talk about:</p>
<p><strong>CHAPMAN ML1 MODERN BARITONE</strong> <br>Humbucker in the bridge position <br>28 inch scale <br>Tuning range • G Standard - Drop F <br><a contents="https://goo.gl/CWzN6j&nbsp;&nbsp;" data-link-label="" data-link-type="url" href="https://goo.gl/CWzN6j" target="_blank">https://goo.gl/CWzN6j </a></p>
<p><strong>CHAPMAN ML3 BEA BARITONE </strong><br>Humbucker in the bridge position <br>28 inch scale <br>Tuning range • G Standard - Drop F <br><a contents="https://goo.gl/MGjDXn" data-link-label="" data-link-type="url" href="https://goo.gl/MGjDXn" target="_blank">https://goo.gl/MGjDXn</a> </p>
<p><strong>SQUIER VINTAGE MODIFIED BARITONE JAZZMASTER</strong> <br>Single coil in the bridge position <br>30 inch scale <br>Tuning range • E Standard - Drop D <br><a contents="https://goo.gl/WSx4uv" data-link-label="" data-link-type="url" href="https://goo.gl/WSx4uv" target="_blank">https://goo.gl/WSx4uv</a> </p>
<p><strong>SQUIER VINTAGE MODIFIED BASS VI</strong> <br>Single coil in the bridge position <br>30 inch scale <br>Tuning range • E Standard - Drop D <br><a contents="https://goo.gl/STGK9x" data-link-label="" data-link-type="url" href="https://goo.gl/STGK9x" target="_blank">https://goo.gl/STGK9x</a> </p>
<p><strong>GRETCH G5265 ELECTROMATIC JET BARITONE</strong> <br>Mini-humbucker in the bridge position <br>29.75 inch scale <br>Tuning range • F Standard - Drop E <br><a contents="https://goo.gl/nFoUXE" data-link-label="" data-link-type="url" href="https://goo.gl/nFoUXE" target="_blank">https://goo.gl/nFoUXE</a> </p>
<p><strong>DANELECTRO BARITONE </strong><br>Single coil in the bridge position <br>29.75 inch scale <br>Tuning range • F Standard - Drop E <br><a contents="https://goo.gl/y2n83o" data-link-label="" data-link-type="url" href="https://goo.gl/y2n83o" target="_blank">https://goo.gl/y2n83o</a> </p>
<p>Hope this helps you go SUPER LOW!</p>
<p>Cheers! <br>The Bunn</p>Bunntag:thebunn.ca,2005:Post/56927722017-08-02T10:15:00-04:002019-04-02T20:09:03-04:00BARITONE INTONATION IS EASY • BO/001 <p><iframe class="justify_inline" data-video-type="youtube" data-video-id="riLVmOtH73w" data-video-thumb-url="https://img.youtube.com/vi/riLVmOtH73w/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/riLVmOtH73w?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="529" width="940" allowfullscreen="true"></iframe>Youtube subscriber Mark Bark asks "How hard it is to adjust the intonation should I want to drop the tuning down to F# or some other lower tuning than the factory B?". </p><!-- more -->
<p>Intonation is pretty easy, you can definitely do it yourself. I do my best to explain in the simplest way possible, how to intonate your new baritone for going SUPER LOW. I also touch on some of the other things to consider in setting up below B standard. </p>
<p><br><strong>Setup Education </strong><br><a contents="John Carruthers" data-link-label="" data-link-type="url" href="https://www.youtube.com/playlist?list=PLDDFFCA0046AA9F7D" target="_blank">John Carruthers</a><br><a contents="Stew Mac" data-link-label="" data-link-type="url" href="https://www.stewmac.com/How-To/Online_Resources/" target="_blank">Stew Mac</a></p>
<p>Hope this helps you make the music you love! </p>
<p>Cheers!</p>
<p>Bunn</p>
<p>Explosion composites • curtesy of www.youtube.com/blinkfarm </p>Bunntag:thebunn.ca,2005:Post/56927712017-02-10T10:20:00-05:002019-04-02T20:14:12-04:00THE 2017 BARITONE ROUNDUP • 27.5" & LONGER<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="oiZW6B2A9Do" data-video-thumb-url="https://img.youtube.com/vi/oiZW6B2A9Do/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/oiZW6B2A9Do?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="506" width="900" allowfullscreen="true"></iframe><let a="" about="" all="" and="" any="" anything="" are="" at="" bunn="" can="" don="" doomy="" down="" drop="" enough="" g="" go="" how="" if="" is="" isn="" it="" just="" length="" like="" look="" low="" lower="" more="" need="" not="" or="" play="" really="" scale="" secret="" sludgy="" strings="" stuff.="" take="" than="" the="" this="" to="" tuning="" wanna="" we="" year="" you=""> </let></p>
<p>We’re looking at production 6 string baritones that come standard with a humbucker in the bridge position, and are at least 27.5” or longer in scale length.</p><!-- more -->
<p>27.5” or longer because we wanna tune lower than A Standard. So at least Drop G with decent tension and intonation. </p>
<p><em>So here they are in order of shortest to longest scale: </em></p>
<p><strong>Who Might Care </strong> </p>
<p>• People tuning below B standard or Drop A <br>• Those with a preference for 6 strings <br>• Guitarists picky about tuning but like to tune way down. </p>
<p><strong>Eastwood Sidejack Baritone (Blackout) </strong><br>Scale Length • 27.5” <br>US Retail • $500.00 <br>Recommended lowest tuning • Drop G <br>Manufacturer’s link • <a contents="Eastwood Guitars" data-link-label="" data-link-type="url" href="https://eastwoodguitars.com/products/sidejack-baritone-dlx-blackout" target="_blank">Eastwood Guitars</a> <br>What’s special • Very affordable at $500.00 US. Mosrite aesthetics are super sweet. <br>Down side • You’ll probably want to upgrade hardware and pickups. Not shipping until May 2nd 2017 </p>
<p><strong>PRS SE 277 </strong><br>Scale Length • 27.7” <br>US Retail • $670.00 <br>Recommended lowest tuning • Drop G / G Standard <br>Manufacturer’s link • <a contents="Paul Reed Smith" data-link-label="" data-link-type="url" href="https://www.prsguitars.com/index.php/electrics/se/se_277_baritone_2019" target="_blank">Paul Reed Smith</a> <br>What’s special • Super solid construction (I have the predecessor - The SE Mushok) <br>Down side • Pickups are pretty flat sounding. Not available in a standard black finish. Bird inlays are the worst. </p>
<p><strong>Hagstrom Viking Baritone </strong> <br>Scale Length • 28” <br>US Retail • $720.00 <br>Recommended lowest tuning • G Standard / Drop F <br>Manufacturer’s link • <a contents="Hagstrom&nbsp;" data-link-label="" data-link-type="url" href="https://www.hagstromguitars.com/electric-guitars/viking-deluxe-baritone.html" target="_blank">Hagstrom </a><br>What’s special • Semi hollow construction, P90 style neck pickup <br>Down side • Bridge pickup has a flat tone. Semi hollow construction makes higher gain settings and feedback a challenge. </p>
<p><strong>Ibanez RGIB Baritone </strong> <br>Scale Length • 28” <br>US Retail • $700.00 <br>Recommended lowest tuning • G Standard / Drop F <br>Manufacturer’s link • <a contents="Ibanez&nbsp;" data-link-label="" data-link-type="url" href="https://www.ibanez.com/na/products/detail/rgib6_02.html" target="_blank">Ibanez </a><br>What’s special • Bass ball-end string ferrule for lowest string <br>Down side • EMG active pickups </p>
<p><strong>Chapman ML3 BEA </strong><br>Scale Length • 28” <br>US Retail • $950.00 <br>Recommended lowest tuning • G Standard / Drop F <br>Manufacturer’s link • <a contents="Chapman&nbsp;" data-link-label="" data-link-type="url" href="https://www.chapmanguitars.co.uk/guitars/ml3b-bea/" target="_blank">Chapman </a><br>What’s special • Rabea Artist model. High quality components. Tune SUPER LOW! <br>Down side • Not available in a standard black finish. Obtrusive brand inlay at the 12th fret. <br>Note • Production model not shown. Will ship with a standard humbucker and Hipshot flat-plate bridge. </p>
<p><strong>MusicMan Silhouette</strong> <br>Scale Length • 29.625” <br>US Retail • $1900.00 <br>Recommended lowest tuning • Drop F to Drop E <br>Manufacturer’s link • <a contents="Music Man" data-link-label="" data-link-type="url" href="https://www.music-man.com/instruments/guitars/silhouette-bass" target="_blank">Music Man</a> <br>What’s special • Long enough scale to use as a Bass IV. <br>Down side • Super long scale starts making some guitar techniques difficult. Expensive.</p>
<p> </p>
<p>Cheers!</p>
<p>Bunn</p>
<p> </p>Bunntag:thebunn.ca,2005:Post/56886892016-07-10T09:10:00-04:002019-04-02T10:09:33-04:00IBANEZ RGIB6 BARITONE • 28" SCALE<p><iframe class="justify_inline" data-video-type="youtube" data-video-id="6ryhaIZZz3E" data-video-thumb-url="https://img.youtube.com/vi/6ryhaIZZz3E/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/6ryhaIZZz3E?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="506" width="900" allowfullscreen="true"></iframe></p>
<p>In 1999 I started messing with trying to tune below B standard on a 24.75” “Gibson scale” guitar. It didn't work at all, even with HUGE strings. I found “Fender scale” of 25.5” a bit better- I could get down to drop A and things be somewhat in-tune up the neck, but I wanted to go lower. I wanted a greater range of “dark” notes. I looked at what Meshuggah was doing and realized that it wasn't about how many strings they had as much as it was that their custom guitars were quite a bit longer than average. Their necks were 29.4". </p>
<p>Seeing as I only wanted to go down to G standard, somewhere around 28” seemed to make sense. At the time (winter of 2010) the only guitar I could find was the PRS SE Mushok. It was a 27.75” 6 string, pretty close to 28” and came stock as a solid body, humbucker equipped electric. That guitar worked pretty decently with a 13 to 72 gauge string set. It was a hair “floppy”, and there were a few dead spots, but it got me 80% of the way there.</p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/175405/64318fd55d20e64a6d858b251263000ed9fe6fca/original/prs.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /> </p>
<p> </p>
<p><strong>The RGIB6 </strong><br>Out of the blue in January of 2014 Ibanez dropped the RGIB6. I'm pretty sure that Artie and I were instant messaging each other about it at the exact same time that day.. Hahaa! Anyhow, I grabbed one a few months later and that extra 8th of an inch made all the difference with both sustain and tuning. </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/175405/da64cfaaf72b0a7367fe479ab1b70cbe1e7e9c3d/original/p-region-rgib6-bk-1p-02-en-1.png/!!/undefined/b:W1sic2l6ZSIsImxhcmdlIl1d.png" class="size_xl justify_center border_" /></p>
<p>If you are tuning down, hate 7 and 8 strings and want stable tuning all the way up the neck, you might really enjoy hitting your local shop and messing around with this rad piece of wood. </p>
<p>Check the specs on the RGIB here > <a contents="Ibanez.com&nbsp;" data-link-label="" data-link-type="url" href="https://www.ibanez.com/na/products/detail/rgib6_02.html" target="_blank">Ibanez.com </a> </p>
<p>Download or stream the full track of <a contents="“Harbour”&nbsp;" data-link-label="" data-link-type="track" href="/track/1688596/harbour">“Harbour” </a></p>Bunn