Donovan Banks

I know that's a bold statement but I truly believe it.

If you look at what can be done on a guitar, try and find another instrument that you can do so much on. It has a greater range than most, except a piano, You can play slow, fast, single notes, chords, pick chords, strum chords. Buy playing with a pick it sounds different, if you use your fingers and have nails it sounds different, you can get percussion going, you can have harmonics in almost any position and you can pretty much cover for a whole band on that one instrument.

With most instruments you have variations in design, but they still sound the same. a guitar can sound so very different with steel strings, nylon strings, a deep body, a shallow body, fibreglass bodies, wood bodies, painted, treated, eaten by worms the variations are amazing.

That said I have to elaborate on Tuck Andress. He is one of the few guitarists I watch and I still want to play guitar. I find him interesting, inspiring and downright incredible. I'll let his playing do the rest.




Your Honour, the defence rests

I am getting myself an Epiphone Flying V. It is the Goth Series and made in 2002.

I like second hand guitars. They tell a story. I also particularly like guitars that I have to restore a little. It makes me feel like I have rescued an orphan that was being abused.










Now the next thing to do is take off that metal plate stuck on the front and restore it to the original goth beauty. I love the roman numeral inlay on the 12th fret.

Last night I played at the Blues Train with Swell Band at Zack's on Wilson's Wharf in Durban. I've been going on and off to watch some of the finest older musicians around play for a while. They are very good and it's a little intimidating to play in their company and I felt a little like I didn't belong there. That turned out to be one of my downfalls.

We were unprepared as a band and had no idea what to play or how we were going to. So we just hacked through some numbers we thought were bluesy enough.

I used someone else's amp which is never good for me. I found my tone wasn't the way I wanted and the GT8 responded differently to this amp. Although that was the least of my worries, I forgot all the chords. I had a shocker of an evening. Thankfully it was short.

My learning points were;
a) don't be intimidated by your surroundings. You deserve to be there.
b) Practice at least once, if not have some sort of discussion before or a plan in place.
c) Check the gear. I tell myself this all the time and I don't practice it. I like my amp and I know my amp so I should use my amp.

All in all, I had a rough one. I got a few compliments which means it was worse by my standards than others. But we are booked there again in September so I can implement my learning's.

The one thing I know above all is that Swell Band is good. We had an off night, so what. We all had our moments and I had a good, blazing solo in "Holding Back the Years." Most importantly, we live and we learn. Rock on!

This weekend I played at the Awakening as part of Nelisa Kala's band. We've been working for a few weeks to put together this show (hence the quiet blog).

We have a good band with very talented musicians, Keith Naidoo on guitar, Lazarus Pillay on Keys and Ross Viljoen on Drums.

We had some issues that we could learn from this weekend.

Friday: We arrived to do a sound check to discover they had a 6 channel sound desk with 2 monitor sends, they had no monitors and their equipment was shocking. One would normally expect a theatre to have top level sound systems and be well equipped for anything. We took it for granted that the venue provided what they said they would. As a result we had to fix it by borrowing equipment and using a separate feed as monitors and to try boost the quality of the house sound.

Saturday: The gig went very well. Keith played outstanding solo's and people loved it. Nelisa did something amazing in that she forgot the words to one of her poems but she covered it so well and nobody was the wiser. Being a professional is not about never making mistakes, it's about being able to handle them. The crowd LOVED the way she did so that night. She was brilliant and it showed in the audience reaction.

Sunday: we had a substantially smaller crowd. We were comfortable with the venue and sound by now so we were set to have a smooth gig. Keith had issues with his pedal which was buzzing badly every time he tried to change effects. This, of course, happened mid song. There are a few learning points here that we can look at.

1. check your gear before you play. If there are any problems that can't be fixed, and if there is a chance it would happen in the set, remove it and make do. A clean guitar solo can be just as effective as an over driven one. It is also impressive at times to see just raw guitaring. While effects can add to the ambiance, as long as your guitar works you are able to play.
2. Nelisa had walked over to the opposite side of the stage to give Keith focus at his solo time. That's when his gear failed so he could do nothing. She could have turned her focus to either the keys or even the bass to fill in the solo gap. Take the focus off the problem and get the audience looking somewhere else so the problem can be sorted out on the side.
3. When a lead guitarists gear fails on him, there is obviously a big gap. Other guitarists in the band should be able to cover the empty space. Again, get the focus off the problem so it can be handled quickly. If not another guitarist, the keys, bass or even drums can sort it out. You should generate a good enough feel for each other so you know who will step in if something goes wrong.

These are all things you learn from experience. I hope you can learn from my experience so you avoid embarrassing situations in front of your fans or potential clients.

Keep an eye out for Nelisa Kala and the Awakening. We'll be doing the rounds soon enough and it is something definitely worth watching.

I was playing bass on a Fender Bassman 100 recently. It had a constant annoying hum, but when the lead was unplugged or muted it went away. I asked the owner if he knew what the problem was and he said it had been like that since he got it.

It was being used in a church. On the stage each instrument is connected straight into a DI box, the signal is then split. One to the desk, and one to the amp for monitoring.

what happens with some DI boxes is that the desk supplies phantom power. It sends 48V up the cable to the DI box. In this case the phantom power was passing through the DI box and being fed into the amp, thereby creating the hum.
when I flicked the ground switch, the power was no longer passing through the DI but was being used up instead so the humming went.


I had a Fender Bassman 50 previously and it too had an annoying hum. although I never used a DI box the ground switch on that amp too was in the wrong position. If you have a hum, check that first before you start replacing costly parts. It could save you some good time and money in the long run.