Remember when a case was just a case? You bought a new guitar and carried it home in a simple plywood hardshell case covered in black Tolex? Or if it was a Martin, you got this nifty blue-gray plastic thermo-formed case where the molded-in accessory pocket was so small you couldn't even carry the guitar strap in it?

Well, fellow flatpickers, as we all know, times have changed. Today, we're in the Golden Age of Acoustic Guitar Portage Systems. You've got your vault-like, super-duty cases like the Calton, Mark Leaf and Anvil which can withstand the rigors of even airline baggage handlers (for the most part). You've got beautifully crafted vintage recreation cases like the Geib cases Martin uses for its Vintage Reissue series guitars and the new TKL cases, which can be ordered in leather. You've even got a sub-section of soft cases including the sumptuous Reunion Blues bags and the workhorse Blue Heron and Colorado Case Co. gig bags.

The other major new entry in this market is Ameritage, a company which has spent the last 35 years crafting cases for fine shotguns and every other conceivable use. Now, they've entered the guitar case market in a big way, complete with a splashy advertising campaign.

Touting itself as an affordable alternative to the heavier Calton/Leaf cases, Ameritage incorporates an innovative atmospheric monitor/control system utilizing a case-mounted thermometer/hygrometer and a patented internal system intended to give the user control over the case's internal humidity. Retail prices for the cases are around $300, depending on the model.

Flatpicking Guitar acquired the largest case made by Ameritage, the model AME-30, which is intended for jumbo-sized and archtop guitars up to 17" wide. I've tested it for the past three months using my prized 1947 Gibson L-7 archtop, which I've carried to gigs and jams in a wide variety of climatic conditions.

The case is well-constructed and comes with six gold-colored latches, including two at the back of the case - a welcome touch. Only one latch locks, using a combination lock. Four gold-toned feet are attached at both the bottom end of the case, the side opposite from the handle and at the bottom side to keep the case off the ground however it's positioned. There's been minor wear in the plating here, but nothing unusual.

The case has a tounge-and-groove type seal around the edge to provide a tight fit. On the test case, the lid did not perfectly match the bottom, however, and had to be pulled slightly to close completely. Once latched, the closure was fine. A more serious complaint was the rigidity of the top. The arch in the top over the guitar's body deflected noticeable under pressure. This is a very wide case, but the deflection was still somewhat disturbing, although the case's unique suspension system (see below) makes this less of a problem.

Ameritage uses tough Cordura nylon to cover its cases. This breathable nylon packcloth material is an attractive tan color to resist absorbing heat, and has so far been very abrasion-resistant. Leather trim protects the case's edges. A comfortable leather handle is provided, but it's not located at the case's balance point, letting the heavier end of the case drop too low. At this price, the case also should come with shoulder strap hangers, but none are provided.

Inside, the case is lined in maroon plush material. The neck is supported at two points, not one as in most cases, and a large plush pad in the top of the case provides additional neck support. Ameritage's most innovative and effective feature is a system of plush-covered thick foam pads that cradle the guitar and keep the top and back suspended away from the case -- a system common in expensive violin cases. More thick padding lines the case. In my opinion, this is where Ameritage shines brightest. The suspension system works very well and is a true innovation in guitar case design.

Ameritage's other innovation-- a full humidity-control system inside the case-- is well-conceived, but needs more work to be effective. At the headstock end of the case, a small box ventilated with brass screens is permanently attached. Inside the box, Ameritage provides a a Guardfather-type humidifier-- a small plastic canister filled with a hard claylike substance which absorbs a great amount of water for release into the case's internal environment. These humidifiers have been around a long time, but most experts prefer the Dampit-type design. The box also accommodates a small bag filled with Silica gel packs to absorb excess humidity. Given the dry weather during the test period, I had no way to test this, but the experts I contacted all felt this was a gimmick.

Ameritage also includes both a thermometer and a hygrometer inside the case. These were very cheap devices similar to those found in low-end cigar humidifiers. I tested both against my Radio Shack digital unit, which has proven adequately accurate. The small analog units in the case were frequently way off, and I heard reports from other users saying the Ameritage hygrometer was off by as much as 18%, making it worse than useless. Overall, I'd have to grade the monitoring/humidifying system a weak effort that needs more work.

So, does the Ameritage case merit its premium price tag and truly provide a missing link between standard hardshells and the Leaf/Calton cases? For the most part, I liked this case, especially the way it suspends my delicate old archtop away from any potential bumps to the top or back. The Cordura covering is excellent, and the all-around latch pattern is very secure.

The downsides are simple. The handle ought to be moved to a better balance point and strap hardware attached. The top needs stiffening, although it's not so bad that I'd worry about the guitar.

The deficiencies in the humidity control system don't detract from Ameritage's other attributes as long as you don't depend solely on this system to maintain your fine guitar at an appropriate humidity and temperature. No case-mounted system has yet solved this problem, and at least Ameritage recognizes the importance of this issue.

With a few minor changes, the Ameritage case would make a strong alternative. As it is, it's certainly better than the average hardshell and its suspension system gives it a leg up even on the Calton design.

For information, contact: Ameritage Ltd. P.O. Box 498 Elkhorn, WI 53121 1-414-723-1480

What the heck is a software review doing in FPGM? Should you even read this article? I realize that not all pickers have a computer, but it won't be long before the computer is as common as a TV or radio. If you are a guitar player and want a cost effective way to improve your playing, then read on. When I was asked to do this review, I was a little skeptical about a computer program that might be of use to flatpickers. Flatpickers, I think, tend to lean toward being traditional in their approach to music and methods for learning. However, the technology has reached a point where those who embrace it will definitely have an edge over those who don't. I bought my first computer two years ago. Since that time I have learned that operating one is not a difficult task, and has been made easier by some great advances in software technology.

For years I have tried different ways to improve my flatpicking skills by using various devices such as metronomes, tape players, play-along CD's, etc. All of these things work and have their purpose, but they have all been bested with the release of Band in a Box (BB) version 7.0 from PG Music. Let me explain.

Over the past few months I have been working with BB to see if there was any value in this program for flatpickers. What has happened is that I now use BB for all of my practice sessions as a tool for learning new tunes, improving timing, increasing speed, improvising, printing cord charts and lead sheets, creating new ideas, recording my own ideas and sharing those ideas with other Band in a Box users.

What It Does Band in a Box 7.0 (BB) is a software application designed to work with your computer's sound card to create backup and solos to virtually any tune or song you can imagine. Basically, all you need to do is type in a chord progression and BB will build a backup as well as a solo to that tune. If you so desire, you can enter the melody to the tune and select the instrument you want to play it back. You tell it the tempo, push play and away you go. Now you are playing with a band that never gains or looses time, that never gets tired, that never complains and is always ready when you are.

How It Works Here's how I use BB and how it works. I first enter the chords to a tune, which takes about 1 to 2 minutes. This only has to be done once for each tune since they are saved in the program. I then select a tempo and the style I want to use. There are hundreds of styles available. Generally, the Jethro style works great for bluegrass and fiddle tunes, or one of the Django styles for swing or jazz. I then hit the space bar and hear a two measure tapped lead-in and the band starts playing. What I hear is a bass, guitar, banjo and mandolin. The sound of the bass is right on. The Jethro style uses an acoustic bass, which sounds very much like the real thing.

If you are expecting the guitar to sound like a Martin D-28, then you will be disappointed. It sounds a little more like a piano, but the effect is successful. The banjo sounds very close to a regular banjo (and of course the volume can be controlled for each separate track or the track can be eliminated all together). The mandolin plays a great chop and sounds a little like an electric piano. Again the effect works. As the band plays I practice my solo or sing or do whatever I want. The band members don't care; they just keep playing.

If I am working on speed, I will keep increasing the tempo until I start making mistakes, then back off a few notches. While working on improvising I will run it at a slower tempo, experimenting with new licks and phrases. After I run out of new ideas, I stop the music and punch the solo button. I now have the opportunity to select which soloist to use. Let's say I select the Doc Watson band. Then I tell BB I want to solo first and last. When I push play, I hear the lead-in and I play my solo with the band. Then it is BB's turn to jam and I get to practice my rhythm playing. To my surprise the box comes up with some great ideas and a decent sounding solo. The first solo is a guitar solo; the next is on fiddle, which sounds very acceptable. I solo again and then the banjo takes a break. How does it do this? Inquiring minds want to know.

I wanted to know so I called PG music. The designer, Peter Gannon, started back in the late 1980's to try to come up with a midi program to use for practicing jazz runs on his guitar. Since that time he has transformed his idea into a full-blown music program that is absolutely genius. All of the Soloists Disks have huge files of phrases specific to the genre. With the Soloist Disk #7 is an extensive file of flatpick, banjo, fiddle and mandolin phrases. PG Music hired Marty Cutler, a banjo and guitar player from the Bay area. Marty, armed with a midi guitar and a midi banjo, played in a plethora of bluegrass-type licks and phrases. The result is some realistic sounding solos for any of the standard bluegrass repertoire. I'm not sure how much music was entered but the program never seems to run out of ideas when it comes to creating a new solo. For example, I entered the chords to "Big Mon" just to see what the solo would sound like. To my surprise, much of the solo suggested and sometimes stated the melody. I felt as if I was jamming with Marty on these tunes.

I have entered the chords and melodies for tunes just as they were published in FPGM. For example, a few issues back, Bruce Dix published a jazz standard called "Avalon," which I had never heard before. I entered the chords and the melody and learned the tune by listening to it in BB. Although music entered in "step time" is a little stiff sounding I was able to learn the tune and have the band play backup. Also, by pressing a few buttons I was able to take the stiffness out and give the tune a more human feel.

Another nifty feature is the harmony function. If a melody is present, then with the push of a button, BB will create a harmony. BB will play the harmony as you play the melody or you can learn the harmony and play along with the melody. The best way to enter melodies would be in real time through the use of a midi guitar. Since I don't have a midi guitar I was not able to do this. A midi setup is next on my list. This will give me the capability to quickly enter my ideas and print them out or send the file to another picker through email.

What You Need This is a rather quick overview of what BB has to offer and unfortunately only covers the general capabilities of the software. In my opinion BB is an essential tool for the serious musician. I'm including a shopping list for those interested in giving it a try. The first three items are essential and the rest are nice to have.

1. Band in a Box 7.0 $88.00
2. Style Disk #7 $29.00
3. Soloist #5 $29.00
4. Bluegrass Midi-Fake book $29.00
5. The Bluegrass Band $49.00
6. Power Tracks Pro $29.00

Power Tracks will allow you to view and print music in TAB. A catalogue or demo program can be downloaded from their website, www.pgmusic.com. Or you can write or call PG Music, 266 Elmwood Ave. Suite 111, Buffalo, NY 14222 (800-268-6272).

I tested the software using a laptop computer with Windows 95, 32MB RAM, 150MHz processor and a wavetable sound card. I also loaded BB on my desktop computer, which has Windows 95, 16MB of RAM, a 100MHz processor and a wavetable sound card. Both systems handled all functions of the application without any problems. Minimum system requirements: Windows 3.1 or higher, 4MB available memory, 386Mhz or greater, 5MB of available hard disk space minimum, MIDI system (MIDI Interface/MIDI Synthesizer) or a PC sound card. I would say that these are bare minimums and that an FM synthesis sound card will only give disappointing results. I personally consider the wavetable sound card to be a necessity.

For those who are already BB users, this review is for version 7.0f using Style disk #7 and Soloist disk set #5. If you are using something else then you are missing out.

Capos are essential for most bluegrass guitarists, although it is sometimes difficult to explain their use to jazz and swing flatpickers who label them "crutches" and "cheaters". The capo works by clamping the strings down on a fret, thus creating a new virtual nut, and enabling the picker to use different chord positions than normally associated with the key. For instance, you could slap a capo on the third fret, play a G-shaped chord, and be in the key of Bb. G-runs sound better when played from a G or C position; you could play the notes from a closed Bb position, but the effect just isn't the same. Alternatively, you can have fun playing things like "The Gold Rush", normally done in A, by putting the capo on the 5th fret and playing from an E-position. And you can partially capo the neck, creating "fake" altered tunings; for instance, capo-ing all but the low E-string at the 2nd fret will give you a false "dropped-D" tuning.

A good capo should be easy to put on, easy to keep track of, adjustable for various neck thickness', maintain the guitar's brightness, and not pull the strings out of tune. Those are some difficult requirements and most of the capos reviewed fall short somewhere. Capos fall into some distinct types. There are clamp-on types like the Kyers, U-shaped types with closing bars like the John Pearse, C-shaped types that slip on like the Shubb, and even the old standby elastic type like the Jim Dunlops (and the archaic, but useful in an emergency, pencil and rubber-band).

I used each capo reviewed for several weeks on several different guitars. Most were tested in actual jam session field conditions as well as the relatively safe and sterile environment of my home music room. I took note of how well they met my requirement list, and how well I liked them in general. I also solicited feedback from my fellow guitarists from Flatpick-L. Following conventional wisdom, I clamp the capo directly on the fret or just behind it; this minimizes re-tuning and tends to produce a brighter sound. If you clamp in the area between two frets, you may have different re-tuning experiences that I did.

The Shubb is a very popular capo, and the one I personally used for many years. It is a clean looking unit that comes in either silver or brass. It adjusts for various neck thickness' with a screw and fastens to the guitar via a lever action that is extremely simple and reliable. The pad is soft rubber and is easily replaceable, although mine has lasted for well over 8 years. The biggest complaints with the Shubb are that some guitarists find it hard to keep track of. It doesn't clamp behind the nut or onto the headstock very well (two favorite capo-storage places). Shubb does make a metal strap attachment to hold the capo, but I didn't test one. I just get in the habit of placing the Shubb in my left pocket or sitting on it when not in use, and still have my original Shubb. The Shubb was not as bright as some of the other capos, but it also tended to not pull the strings out of tune, both due to the soft rubber pad. A few guitarists said the Shubb pulled their strings to one side, but I didn't experience this- as with other capos, I used the least pressure required and that may have helped. Street prices on Shubbs run about $15.

The Victor is a less common capo than the Shubb. It is a "C-shaped" unit that comes in brass. It easily and quickly adjusts via a knurled brass screw. Both neck and fret pads are rubber, but are firmer than the Shubb's. I had no complaints about the Victor and found it simple and quick to use. It can be stored behind the nut or on the headstock. It produced a solid bright tone and held the strings firmly in place. It's a light, unobtrusive capo that does its job perfectly. Street price on the Victor is about $14.

The Kyser is another popular capo, easily recognizable when clamped to a fretboard due to its distinctive overhanging profile. It is a clamp-on capo that uses a spring for tension. As such, it is non-adjustable. The pad is firm rubber, and the capo clamps easily to the headstock, although clamping it behind the nut will pull the strings out of tune. I found the clamp to require a lot of pressure to open, and it was very difficult to get it on the fat neck of my Martin '1935 Reissue' D-28. I also didn't like the bulky profile and weight of the capo. In spite of my preferences, the Kyser is a very popular capo with a loyal following of users. The Kyser costs about $14.

The Bird of Paradise (BOP) is a newer entry to the capo field and uses a unique cam to produce pressure. The cam is almost infinitely adjustable, although the capo itself doesn't open very wide and I barely got it on the neck of the Martin mentioned above, and could not get it on past the 5th fret. In addition, the capo didn't curve enough to match the radius of my '73 D-28's fretboard, leaving either the high E or low E without enough pressure to withstand buzzing under attack. It fit fine of the flatter fretboard of my Collings, though, where it produced a clear, crisp sound. My fellow flatpicker Del Duncan uses one on his guitars, however, and is quite happy with it. He likes the bright tone of the BOP and doesn't mind the large look of the capo. The BOP costs $15.

The John Pearse is a U-shaped capo. This type of capo fits behind the neck and has a "gate" which closes over the strings. They slide easily over the nut and most guitarist leave them on the neck while playing (it's a good idea to remove any capo when the guitar is stored to both remove excess weight from the neck, thereby helping to prevent broken necks, and to keep the strings from getting dents from the frets). The Ol' Reliable is made from brass and has a sturdy feel, without being too massive. The fret pad is hard, clear plastic tubing while the neck pad is leather. The capo is easily adjustable and fit like a charm on the big Martin neck (which is also 1 *" wide). It produced a great tone and maintained the clarity of the guitar. At $16, the John Pearse is a good buy.

The McKinney is a sleek, slender, stainless-steel cousin to the John Pearse. It is a masterpiece of design and manufacturing. It can be custom-made, but the one I tried fit every guitar I tried it on. The pad is hard clear plastic tubing. As you might expect from a capo of this quality, the tone was excellent and the workmanship flawless. The McKinney is the Mercedes of capos and at $70, has a price to match.

The Paige is another U-shaped capo in the Ol' Reliable and McKinney mode. It's thinner than the Ol' Reliable, almost as thin as the McKinney. The fretboard pad is hard rubber and the capo itself is made of stainless steel. It worked as well as the McKinney, although the tightening screw wasn't quite as smooth, and the overall look isn't even close. I've heard reports of the screws stripping out on older steel models, but the capo was recently redesigned for stainless steel, and the stripped screws may be a thing of the past. It didn't fit very well behind the nut of the guitars with 1 3/4" necks and barely fit on the '73 D-28 with its 1 11/16" neck. It's also narrower in width than the Ol' Reliable and barely fits over the 7th fret. Also, the rubber was slick and the capo slipped around a bit when tightening. The Paige costs about $19.

This is the old fashioned straight bar and elastic strap capo, and it can actually work pretty well. The capo fits easily on any width neck. Sound-wise, it wasn't as bright as some of the other capos and didn't hold the strings down as securely. Still, they might be worth throwing in your case as a backup. Cost is about $2-3.

A rubber band and pencil There you are at the gig, and you open up your case to find....ahh!...no capo! And the first tune's in Bb, too! So what do you do? Simple. Get a stout rubber band and a pencil or pen from the gig-meister. Put the pen through the rubber band, lay the pen over your fretboard, wrap the rubber band around the guitar neck (doubling it if necessary), and hook the free end of the band over the exposed end of the pencil/pen. Presto, instant old-time capo. How's it work? Good to poor, depending upon the strength of the rubber band and the flexibility of the pencil/pen. The former should be stout and latter should flex a little to follow your fretboard curvature. Still, it's better than nothing and knowing how to make a rubber band capo is essential for your bag of tricks.

And the winner is.... Whichever one you like! I've outlined the pros and cons and features of each capo, and maybe you'll see one you'd like to try. Personally, after testing all these capos, I reach for the John Pearse Ol' Reliable or Victor the most. You can't beat the price of the Ol' Reliable, plus it's built like a tank and fit all my guitars. FGM Editor Dan Miller has also adopted the Victor as his capo of choice. Even though I didn't care for the Kyser LOQO, many pros and parking lot pickers swear by it, primarily because they like to clamp it on their headstock. The people I know who own McKinneys claim they're worth every cent and it would probably be my favorite capo if I could afford one. My co-tester and idea bouncer Del Duncan likes the Bird of Paradise capo best. Finally, even though the Shubb produced a softer sound, I used one for years and they can be easily brightened by replacing the soft rubber with a strip of clear plastic tubing from any good hardware store.

Tricks with your Capo

1) As mentioned above, many capos can be brightened up by replacing a softer rubber with leather, hard plastic tubing, or even bone. 2) To minimize tuning problems, put the capo directly on, or just behind, the fret. Press it down to the fret BEFORE tightening the screw- don't allow the screw to pull the strings down. Use only enough pressure to keep the strings pressed against the fret. 3) Remove your capo when not in use, especially if you like to clamp it to the headstock. That extra weight on the headstock will just encourage breakage if your guitar should suffer an impact. Plus, many rubbers and leathers will damage your instrument's finish if left in continuous contact. 4) If you're playing with another guitarist, try using your capo to produce a different voicing. For instance, if the song is in C and the other guy/gal is playing it open, try capo-ing up to the 5th fret and playing from a G-position. This gives the two guitars different voicing and makes each stand out a little better. Norman and Nancy Blake use this trick frequently.

Rapid changes in heat and humidity are proven guitar killers which can cause severe damage to your beloved instrument. Finish checking, cracks, loose joints and braces, and warped necks are all potential effects of rapid heat or humidity changes. Unfortunately, the average guitar case doesn't protect your instrument very well against these dangers, and to make matters worse, most cases are black: the worst possible color for reflecting heat!

The Climate Case is one response to this problem. Made of a heavy "space-blanket" material, complete with padding, zippers, and internal pockets, the Climate Case is designed to fit over your current guitar case. A high-quality item, the cases are designed to fit over a variety of guitar and mandolin cases. Guitar cases cost $119 direct and are also available from retailers, including CF Martin and Elderly Instruments. The manufacturer claims that it will reflect 90% of heat in hot weather and retain 90% of warmth in cold weather, in addition to keeping humidity stable. Of course, your instrument has to start at room temperature; the Climate Case can only retain temperatures, it can't create heat or cold.

I tested the Climate Case using a stock black Martin case and a plywood Everest case with tweed covering. I've been using tweed Everest cases for several years because of their reasonable cost, additional strength, and light coloration compared to standard plastic instrument cases. However, as my instrument collection ebbs and flows, buying new cases and junking perfectly good ones gets expensive. I was hoping to use one Climate Case on whichever guitar case leaves the house, rather than buying a new case for each instrument.

To test the effectiveness of the Climate Case, I placed three cases (a tweed Everest, a black Martin, and another black Martin in the Climate Case) in direct sunlight (sans guitars, of course!). I use a previously calibrated Radio Shack thermometer/hygrometer to check conditions inside and outside each case at 1/2 hour intervals for a total of 2 hrs. All cases started with interiors of 78 degrees and 48% relative humidity (RH).

In spite of its black exterior, the unprotected Martin case did a surprisingly good job of keeping the instrument cool. With an outside temperature of 93 degrees and RH of 27%, the interior of the Martin case was 92 degress and 44% RH after 1 hour in direct sun. The outside of the case, however, was extremely hot and I had to remove the case after 1 1/2 hours because it started to warp and bubble. At that time, the interior of the case was 94 degrees and 38% RH. The tweed Everest case was equally hot inside, although its RH stayed up near 44% after two hours. The outside of the Everest remained relatively cool whereas the unprotected Martin case became almost too hot to touch. After two hours of blistering sun, the second Martin case inside the Climate Case was also cool to the touch. The interior of the protected case was 83 degrees with RH of 44%, a difference of 9 degrees from the unprotected Martin case, and an increase of just 5 degrees from its starting point.

Even though I didn't match the protection levels claimed by the manufacturer, I suspect that the Climate Case's temperature would have continued to rise rather slowly, and I suspect that the unprotected Martin case's temperature would have risen quite rapidly had I decided to leave it the sun. At the very least, the Climate Case did an excellent job of protecting the guitar case itself from thermal damage.

While it is probably not going to prevent damage from negligence, the Climate Case certainly seems to offer an additional measure of protection, particularly for dark-colored cases. I know I worry a lot less about heat and cold damaging my guitar while it's in the Climate Case and considering that it will fit any of my current and future guitar cases, the peace of mind provided by Climate Case is certainly worth the price of admission.

Climate Case, PO Box 506, Grass Valley, CA 95945. (800) 687-5088

Tired of carrying a heavy hard-shell case around the festival grounds when you really just need light protection for your guitar? Need to carry your guitar and have your hands free? Have to carry the 6-string a long ways? A gig bag might be what you're looking for. Gig bags are typically covered with tough Cordura or canvas, padded with an inch or so of high density padding, have backpack or carry straps, and outside pockets. They're designed for carrying your guitar in situations where hard cases are over-kill. Some folks, like Steve Kaufman, even take their gig bags on commercial airlines and store them in the overhead bins.

The Colorado Case Company bag is made from waterproof Cordura. Seams were tucked inside the bag and nicely trimmed with a contrasting color. The accessory pocket is flush with the case front and closes with a single horizontal zipper. There's no internal storage pocket, although the manufacturer is considering making one. A standalone "pick pocket" is available that could clip to a strap or inside the case. The Colorado Case uses a two-way zipper that runs completely around to the back of the case - when un-zipped the case lays completely flat. The zipper is protected by a storm flap. The case interior is nylon, and the peghead area is reinforced with Cordura. The backpack straps unclip at the bottom and can be moved to a several locations on the bag. The straps themselves are softer nylon, backed by Cordura in the shoulder area, with Fastex adjusters. Some older cases do not have carry handles, but the newer one I reviewed had lightweight, unobtrusive dual handles. A removable coat hanger hook is supplied. The bag's foam is adequate, about the same as the Blue Heron bag, but not as stiff as the Reunion Blues.

The Reunion Blues gigbag is also heavy Cordura, and also features tucked in seams, although it doesn't have contrasting trim. The exterior accessory pocket is square, bellowed, and sewn to the outside of the bag, closing with hook and loop material. No internal storage pocket is supplied, although a "banjo parts bag" is available. The one-way zipper runs around the headstock. The case interior is a soft velvet-like material, and both peghead and bridge area are reinforced with leather. The Reunion Blues bag uses heavy duty canvas backpack style straps and dual hand-holds which are also leather, backed with nylon. The backpack straps are riveted in place and are adjusted by a simple thread-through adjuster. The bag's foam is thicker than the other gig bags reviewed and quite stiff. There's a hanging loop and front hand-hold. All attachments (straps, handles, etc.) are reinforced with leather.

In keeping with the competition, the Blue Heron case is also Cordura. Seams tuck outwards and are covered with a second layer of contrasting material. The external accessory pocket stretches from edge to edge, bellows outwards, and is closed with a zipper. An internal accessory pocket is optional and fits nicely beneath the neck. The bag uses a two-way zipper that runs around the headstock. The case interior is nylon and the peghead area is reinforced with Cordura. A single strap can be fastened to a variety of points, allowing the bag to be carried over neck and shoulder like a bandolier or over a single shoulder like a handbag. The strap is adjusted via a metal thread-through adjustment. A single handle on the bag's side folds almost flat and is handy yet non-obtrusive. The bag's foam is about the same as the Colorado Case Company's.

Overall Impressions

The Colorado Case Company bag impressed me with its clean look. The protected zipper, integral outside accessory pocket, and contrasting trim give the case a streamlined and attractive look. The Blue Heron, by contrast, was the boxiest and least attractive case with its outward protruding seams, and bulging accessory pocket. The Reunion Blues was right in the middle, look-wise. It has clean-looking seams, but the double-loop handles, bulky backpack straps, and square exterior pocket hurt its streamlining. While the Colorado Case had the cleanest looking pocket, it won't hold as much gear as the outwardly bulging pockets of the other two cases- it's fine for sheet music and capos and such, but don't expect to stuff the kitchen sink in it. Of course, putting the kitchen sink against the top of your instrument isn't such a hot idea, anyway, and I didn't feel the shallower pocket was a drawback at all.

The softer backpack straps and Fastex adjusters of the Colorado Case Company bag allow you to adjust the bag while it's being carried, whereas the Reunion Blues straps have to be adjusted beforehand. Also, the Colorado Case Company straps were spread wider apart at the shoulder area than the Reunion Blues, making them more comfortable for wide-necked, broad-shouldered people. The Reunion Blues straps, to their credit, are very heavy duty and will probably last forever. Also, the Reunion Blues straps are riveted to the bag, whereas the Colorado Case Company bag uses nylon connectors which sometimes turned sideways. The Colorado Case Company strap could be completely and easily removed, and fastened in several different locations. The Reunion Blues had the least versatility in strap positioning since the riveted straps can't be removed or clipped to different areas, but they are positioned well. The Blue Heron's single strap system was versatile and could be clipped in a number of different ways, but I thought the top fastener was too high, making the bag ride too low on my body. Also, I would prefer nylon fasteners to the shiny metal ones used on the bag.

I preferred the soft lining of the Reunion Blues bag to the nylon linings of the Blue Heron and Colorado Case Co. bags. Nylon is tough and easily cleaned, but I felt that it might be abrasive to thin finishes over the years. The Reunion Blues was the only bag to protect and reinforce both the peghead and bridge areas. The foam in the Reunion Blues bag also felt stiffer and thicker than the other two bags, although it was a small difference and all three bags had adequate padding. I appreciated the longer zipper on the Colorado Case Company and Blue Heron bags because they let the bag lay completely open. The Colorado Case Company bag zipper was the only one protected by a storm flap. The double handles of the Reunion Blues bag were a bit bulky, but they could hold the bag close in case of zipper failure. The softer handles of the Colorado Case Co. bag weren't as comfortable for carrying the instrument, but were fine for simply maneuvering the case. You'd probably use the backpack straps to carry it more than 10 feet anyway, and I liked the way the hand-holds stayed out of the way when not needed. The Blue Heron's single strap was well-padded, comfortable, and non-obtrusive; the only beef I had with it was that it wouldn't hold the case closed if the zipper should ever break a long way from home. That's an unlikely situation, of course, but zippers are notorious in my household for failing at exactly the wrong time!

All 3 bags are excellent and I can recommend any of them. Look over their features carefully and pick the ones that most appeal to you. For a trim, streamlined case with easily adjustable backpack straps, the Colorado Case Company bag is my first choice. If you carry a lot of gear in the bag, the Blue Heron, with its external expanding pocket and internal under-neck storage is an excellent choice, particularly if you're comfortable with its strap positioning. The Reunion Blues has the nicest interior, best padding, and most indestructible straps and is the one I'd most like to carry a delicate instrument in.

The Ultimate Case

I've mentioned this idea to a couple of the gig bag manufacturers, but I'll bring it up here, too. What I'd really like to see is a hard-shell/gig-bag case combination where the gigbag fits inside a hard-shell case. You could use the hard case in the car while traveling, and then remove the gigbag at the festival. I don't feel comfortable carrying my guitar in a gigbag inside my fully-loaded festival-bound Suburban, and that means I have to carry both a hard-shell and gigbag which just takes up more room. At the festival, I have to switch all my capos, strings, tuners, etc., etc. from one case to another and invariably forget something. Thus, it would be great to have just one case to deal with. Since the gigbag has its own padding, the hard case could be unpadded. I did experiment with this on my own and found out that a Colorado Case Company bag will fit inside a Everest dreadnought case with the padding and storage box ripped out of the latter. Still, it would be nice to see a major case company offer a pre-made combination case. What do you think?

I've been living with a McIntyre guitar pickup for about a year now and it's high time to write something about it! The McIntyre pickup comes in several flavors for small-bodied guitar, dreadnought, mandolin, and other instruments. It's a stick-on piezo pickup that is usually installed inside the guitar, although you could also install it on the outside if you wanted to. It uses a standard 1/4" plug, and if you install it inside, you'll either have to route out the endpin to 1/2" or run the cable out through the soundhole of your instrument. Alternatively, you could drill out a standard endpin, run the wires out, and put your jack somewhere besides the guitar (on the strap, for instance). I picked up both the small and large bodied version to test in a Martin 000-1R and Martin D-28. The 000-1R already had a Martin Thinline Gold plus installed and the D-28 had a Donnell Mini-flex. I was curious to see how the McIntyre would fare against these two favorites.

The McIntyre uses stick-on putty for adhesion and it's a simple matter to lightly stick the pickup to the outside of the guitar face to help find the best sounding area before sticking it inside the guitar. In my case, the "small" and "large" models were well-labeled since the small one sounded "boomy" on the D-28 and the large one sounded "hollow" on the little guitar. In both cases, I ended up with the pickup on the bass side of the bridge plate, about 1" behind the bridge. This location kept the natural balance of each instrument and still had plenty of bite.

The McIntyre compared very well to the other pickups and quickly became my favorite pickup. The Thinline gold tends to have hot-spots which have to be ironed out by filing away the underneath of the saddle, or by using a different saddle material- both of which slightly compromise the acoustic and which are a pain to do anyway. Because the McIntyre can be moved around on the face of the instrument before installation, it's much easier to find the best spot for it and it doesn't care what kind of saddle you're using. The McIntyre was also more feedback-resistant than the Thinline and gave a more natural sound. The Mini-flex gave the most natural sound of all, but it tends to emphasize whichever area of the guitar it's nearest. On my D-28, I use this to my advantage by angling the Mini-flex (which is essentially a small mic on a flexible gooseneck) to the treble side of the guitar for a little more bite. However, on an already well-balanced guitar like the 000-1R, the Mini-flex is tougher to accurately place and the McIntyre gets the edge here because it was less sensitive to placement. When in the wrong place, the McIntyre didn't overemphasize anything, it just didn't sound very good. When in the right place, it sounded very good indeed.

I haven't had the chance to compare the McIntyre to more sophisticated setups like the LR Baggs ribbon/transducer system favored by Sean Watkins and Brad Davis. How well it fares against them likely depends upon your volume, and whether you use the pickup as your sole means of amplification or whether you supplement it with a microphone. Last time I saw him, David Grier was using the latter system and it sounded very good (and good enough for David is certainly good enough for me!). Certainly, quite a few pros use the McIntyre pickups, including Jack Lawrence who helped develop the pickup. The McIntyre is certainly a lot cheaper than some more sophisticated arrangement and that might be a factor for the casual plugger-inner. If you're looking for an inexpensive rig, you can't beat the McIntyre, and with the addition of a pre-amp and/or auxiliary microphone, it can handle just about any situation. And, even though they're not intended as such, the McIntyre does a pretty good job of amplifying my upright acoustic bass!

Perhaps the most practical reason for using a case cover is to keep your case from getting banged up. I once had a case that was held together with generations of electrical and utility tape (funky, but not terribly chic). Another reason for case covers is to offer additional protection against the elements, most notably excessive fluctuations in temperature and humidity. Small Dog Case Covers are a well made product designed to the rigorous needs of a traveling musician having been developed by a working road musician to meet his needs.

Made by hand in Massachusetts with an outer shell of waterproof high tenacity packcloth--the same kind of material used for high end back packs--with a durable polyester fleece lining, Small Dog Case Covers offer exceptional protection against the elements. The fleece lining acts on the same principle as an ice chest, creating a pocket of dead air to insulate against temperature change. It works. Recently I had to keep my guitar in my car all day--including a round trip drive from Boston to New Hampshire with an outdoor temperature of about 15 degrees. After some ten hours riding in a car, the guitar was only slightly cooler than room tempature when removed from the case. In fact, the guitar nearly kept its tune.

Small Dog Case Covers were designed by a working musician and it shows in all the small details. There are no metal parts (the zippers are nylon) to corrode or cause potential scratches. The large pocket can hold a number of books--A Steve Kaufman Parking Lot volume, The Fiddlers Fakebook, and assorted magazines fit neatly. In addition to the shoulder strap, which is designed to help distribute the weight of the instrument on your side, there is also a unobtrusive strap on the lower bout of the case to help unload your gear when placed in the back of a van. Even the color scheme, black with pewter pocket comes from the musicians need to avoid standing out. While some products on the market scream "look at me," Small Dog offers a far more subtle look.

"Necessity is the mother of invention," goes the cliche, and the story of Small Dog reads like a case study. In the early 90's, Jim Rohrer was playing mandolin for Southern Rail and driving a truck for his day job. "I had been frustrated trying to find a good case cover for my O'Brien (Jack O'Brien, Jaffrey, New Hampshire). I had a shaped F style case, but there weren't any good covers on the market." While driving his truck route, picking up recyclable material for an interactive exhibit at Boston's Children's Museum, Rohrer noticed that one of his regular stops was Cavallaro Case Covers. While Cavallaro specialized in wind and early instruments, Rohrer was able to convince them to custom make a shaped cover for his prized O'Brien.

As Rohrer toured with Southern Rail mandolin players, and later guitarists, would ask him where he got his case cover. By 1993 Small Dog was born. One of Small Dog's unique features is that they will custom make a case for any instrument. The price sheet lists 28 different guitar styles--from Martin, Taylor, Calton, Mark Leaf and more. Indeed a strong competitive advantage for Small Dog is that they will custom make a case for virtually any instrument. "A while ago, we made a case cover for an 1890's Martin coffin case. I thought we would never make another like it. Sure enough, a few weeks ago, we got an order for a Martin coffin case...One of the most fun projects was for this fellow who made his own lap steel. We made a case cover with four pockets--one for each leg." At present, Rohrer says, Small Dog has some 60 guitar, 20 mandolin and six banjo patterns on file. "We're also recommended by Taylor, Gibson and Calton," Rohrer says proudly. He is also quick to add that Small Dog was the winner of the best case cover by Acoustic Musicians Reader's Poll. Small Dog has a strong list of notable endorsees like Robbie McCroury, Scott Vestal, Kenny Smith, Herb Pederson and many more. While not endorsers, you might just see a Small Dog case cover at concerts by many of Nashville's leading players and noted personalities.

While Rohrer has recently sold Small Dog to Cavallaro, he will remain as a consultant to the company. "I set out to make the finest product I could--I wouldn't sell something unless I believed in it and used it myself," says Rohrer. "Our cases are still hand made in Massachusetts," he continues, "all the cloth is milled here in New England. We use no overseas labor, and maintain strict quality control."

Small Dog case covers are a sound investment. They do, however, require a period of adjustment. Because the D-rings for the shoulder strap are placed to evenly distribute the weight of the instrument on your shoulder, the strap hooks are on different sides of the case requiring the strap to be removed when opening the case. For this reason, the strap can be inconvenient on the guitar size covers. On the mandolin covers this is not an issue. The material used is easy to clean with a damp sponge and can be machine washed but should not be machine dried.

Small Dog Case Cover 1-800-732-3016 or at many major music stores

Consider the humble flatpick- made of everything from turtle carapace to milk jug bottoms to colorful celluloid, the flatpick is our friend. But it hasn't always been that way; there actually was a time when flatpicking as we know it did not exist. Will Hoover, in his book Picks, credits Nick Lucas as the first guitar player to gain commercial acceptance using a plectrum. The standard Fender teardrop we are all familar with was first emblazened with Lucas' name and the shape developed by D'Andrea. Early picks were made from tortoise-shell, but by the early 1900's were being replaced by celluloid. Tortoise made a strong comeback during the 30's and was preferred by discriminating pickers, but celluloid remained king to the masses. When the rock 'n roll boom hit and flatpicks became even more popular, other materials, including phenolic plastics, nylon, Delrin, acetyl polymers, composite plastics, metal, and even stone were pressed into service as flatpicks. Today, there is a bewildering array of picks, but the old standby of celluloid and tortoise remain popular, challenged by Delrin, phenolic plastics, and close guarded variations.

In the old days, picks were hand-punched from sheets of material. Today, the stamping is done by machine. Today, D'Andrea- the largest pick manufacturer in the world- uses basically the same process, with machinery doing the hard work. Celluloid material is made in 2" x 5" sheets which are then cut into narrower 2" wide strips. These strips are fed into the machine and picks are stamped out. The fresh-cut picks go into a series of tumblers for polishing. All picks are inspected before leaving the factory. Materials such as Delrin and nylon are generally poured into molds instead of being stamped.

A flatpick must meet several requirements. First, it must have good "memory", meaning that it snaps back to its original shape quickly and precisely. This is particularly important when playing at high speeds where a pick that doesn't snap back quickly hinders the player. Another requirement is that the pick sound good against the strings. Many metal picks have great memory (particularly if they're so stiff they don't even bend!), but don't sound good against a guitar string. A good pick will give a rich, complex, musically satisfying tone and, indeed, is a primary component in producing that tone. Once these two primary requirements are met, the invididual picker's preferences like feel in the hand, thickness, grip on the strings, size, and shape are important.

There are some rules of thumb attached to flatpicks. Thicker picks are generally stiffer, but tend to produce a denser and less bright tone, while thinner picks offer a brighter sound. Thicker picks often have less string noise, though, and may offer greater dynamics, depending upon the picker's abilities. Because stiffer picks deflect less than more flexible ones, it's often easier to play fast with the former, although a supple picking motion is a requiste. A beveled edge on a thicker pick can offer the best of both worlds; a beveled edge will give any pick extra crispness and help the pick slide off the strings, while still maintaining the stiffness of the pick.

In addition to thickness, there's the matter of which part of the pick to use. Many guitarists like the pointy end of a teardrop pick, while others use the round edge, or even the back of the pick. Of those who use triangular picks, some prefer a rounder edge and some prefer a sharper edge. In any case, a pointed end will tend to give a crisper, more trebly sound while the rounder points give a fuller, deeper tone.

Perhaps the most important component of a flatpick is the material. Tortoise-shell has traditionally been a favorite of acoustic musicians because it is stiff- and yet thin for its stiffness, produces a complex tone and feels great in the hand. "Tortoise" comes from the shell of hawksbill sea turtles, which are currently on the Endangered Species List. Sale of tortoise-shell is therefore very restricted and rightly so (see sidebar). This paucity has encouraged the development of other materials of which celluloid is the grandaddy and still one of the best. The familar Fender/Nick Lucas/D'Andrea pick is celluloid. In recent years, other excellent alternatives have been developed of which Jim Dunlop's Tortex and Clayton's "Gold" (officially called Ultems) are standouts. Shell-like natural materials such as water buffalo horn, bull horn, and coconut shell have also been used, with varying success.

I queried members of the Internet's Flatpick-L mailing list about their pick choices and found the average thickness pick to be just over 1.0 mm. Clayton "Golds" were the most popular pick, followed by real tortoise, and Tortex. Other popular choices included Golden Gate, John Pearse, and Fender teardrops. Teardrops, triangles, and pointed/rounded edges are all about equally favored with many members switching between picks and edges as the situation demands.

I also asked numerous professional pickers about their choices. Charles Sawtelle uses the point of a Dunlop 500 in 1.14 mm, although he'll also use the edge of the pick for crosspicking gospel number where he wants a fuller sound. Steve Pottier, columnist for this magazine, also uses this pick. Keith Little, of Kathy Kallick's Little Big Band, uses tortoise in a triangular shape. Triangular tortoise is also the choice of Tony and Wyatt Rice. Peter McLaughlin likes Fender heavys and uses the rounded edge of a teardrop. Steve Kaufman uses Tortex yellows in 0.73 mm and likes them so much he has them made with his name on them (so nobody will steal them?). Kaufman uses the pointed end of the pick and drives it well into the strings, thus a more flexible pick is a key component to his technique. David Grier is almost a direct contrast to Kaufman in that he uses the very thick, stiff, and rounded Golden Gate pick and floats on the strings (except when digging in for special effects). Most of the pros commented that pick choice was a highly personal matter and that most listeners probably couldn't tell a difference. Even so, many of them had some very definite opinions on their choice of pick!

That's the story on Our Friend The Flatpick. It's a fairly simple device that's responsible for a good portion of your final sound. If you're not getting the sound you want, a different pick or change in grip might help. If you're looking for the perfect pick, consider some of the choices suggested by Flatpick-L members and professional guitarist (many of these are reviewed on the following page).

For Further Reading: "Picks!" by Will Hoover. ISBN 0-87930-377-8. $12.95

Pick Comparision

Following are my observations from testing some picks in my collection. With a few exceptions, all are of comparable thickness (1.0-1.14 mm). Remember that everyone's body chemistry is different, and a pick that feels slick to my hand may feel just fine in yours. Also, your attack may produce more or less pick noise- several Flatpick-L members mentioned that the Clayton Gold, my personal favorite besides tortoise- has too much noise. Others found the David Grisman/Saga picks to their liking, whereas I couldn't get as good of a treble response from them as I could from some other picks. Hopefully, though, this comparison will point you toward the pefect pick.

So far at Flatpicking Guitar Magazine we've reviewed capos and picks, and now comes the toughest one of all: strings. Strings are the final component in your guitar's sound and can have a dramatic impact on the overall sound. They can make a dull guitar sound bright, or a bright guitar mellow. They can feel soft or stiff, depending upon the gauge and material. There's a lot of variables in play, but I didn't let that deter me from drawing some conclusions about the strings we tested.

Guitar strings come in essentially two types with hybrids showing up occasionally. Phosphor bronze is probably the most popular string and is composed of 92% copper and 8% zinc. It produces a long-lasting, ringing sound. Brass strings are made of 80% copper and 20% zinc hence their nickname "80/20's". They produce less tension and therefore feel softer, and generally produce a brighter but shorter lived sound. In addition, some players feel that 80/20's are cleaner sounding. Some of the hybrid types are the 85/15 set produced by D'Addario and the 'vintage' bronze by GHS.

String Gauges
The 'standard' medium gauge runs .013, .017, .026, .036, .046, .056 from high E to low E. A .035 and .045 are sometimes used instead. The 'standard' light gauge set usually runs .012, .016, .024, .032, .042, .054. The so-called 'bluegrass' gauge uses lights on the trebles and mediums on the bass, for a typical set of 012, .016, .025, .036, .046, .056. Another gauge is the GHS True Medium which uses mediums on the outside, and lights on the inside for .013, .017, .024, .032, .042, .056. Other variations occur, but most fall within these standards.

It's interesting to examine the tensions that these various sets produce. Using D'Addario phosphor bronze strings as an example, the standard medium set is a fairly unbalanced set, ranging from a low of 26.3 lbs tension in the B-string to a high of 36.8 lbs in the D. That's over 10 lbs of variation, or a 40% difference! Total tension of a standard medium phosphor bronze set is 188.8 lbs. Although overall tension of a 'bluegrass' set is lower at 179 lbs, the spread is even greater, with the .016 B-string producing 23.3 lbs and the .035 D-string pulling 36.8 lbs for a range of 13.5 lbs tension (58% difference). By contrast, the GHS True Medium set ranges from a low of 26.3 lbs in the B-string to a high of 30.5 lbs in the lighter D-string. That's a much lower difference of 4 lbs, or 15%, giving the True Mediums a much more balanced feel and sound than standard mediums. Total tension of True Mediums is 173.3 lbs, a good 15.5 lbs less than standard mediums.

These tension differences mean that you have to push harder to fret a D-string than a B-string. Your right hand has to hit the D-string harder to make it vibrate with the same energy as the B-string. The additional mass of the bigger string means you've got to really wallop it compared to thinner strings. Graphically, the 'bluegrass' set feels to me like a triangle, with the combined mass, diameter, and stiffness of the A and D strings making up the fat end of the triangle, and the lighter, thinner, and looser treble strings making up the skinny end. 'Standard' mediums feel like a kite - fat in the middle and skinny on the ends. True Mediums feel like a rectangle with even tensions all the way across.

I admit that I'm biased toward True Mediums having been using them for the past 10 years or so. However, I did so because I just couldn't play standard mediums cleanly and because light gauge strings didn't offer enough sound. The neat thing about True Mediums is that you still get a medium gauge sound when playing rhythm, since the outer strings are mediums, but the lighter inner strings make picking easier. The majority of people I've introduced to True Mediums have stuck with them and claim there's little, if any, difference in overall volume. When going back to standard mediums, I'm always struck by how bass-heavy they are and how "tubby" they sound. But, as they say on the Internet, "your mileage may vary", and the standard medium is by far the most popular set among bluegrass players, followed by the "bluegrass" sets.

In any case, you shouldn't be afraid to buck the popular trend and try out different strings. Some luthiers believe that heavier strings can bind the tops of lightly braced guitars and actually inhibit sound. A lighter gauge may help your guitar breathe and may even produce more volume and better tone. Also, try switching from phosphor to 80/20, or vice-versa, every so often. At the beginning of this test, I was a die-hard phosphor user, but by the end I was ordering a dozen 80/20's.

About the Test
For this test, I generally used standard mediums . I set up some criteria and judged each set of strings against these standards. Whenever possible, I also enlisted the ears and opinions of other guitarists and hapless house guests. I judged each string on the presence or absence of brightness, amount of volume, degree of flexibility/stiffness, clarity, life, and overall feel and impressions. I used two tests: 1) a quick comparison in which I installed a set of new strings, played them a few minutes, and then installed another set. This enabled me (and my helpers) to compare one set of new strings against another set of new strings. I used D'Addario J17 phosphor bronze as a starting set for each session (and used them as my 'standard' throughout this test). 2) a long-term test in which I left the strings on for 2 weeks or until they went dead or until I couldn't stand them anymore. I obviously couldn't compare old strings to new ones, but this test let me live with the strings for awhile and get overall impressions on them. And finally, I compared phosphor bronze strings to each other and 80/20's to other 80/20's.

I used several guitars for this test: a 1993 Martin '1935 Reissue' HD-28 which has the rich bassy sound typical of Martin HD-28s, a 1992 Collings Clarence White model which is a very balanced guitar, and a 1973 Martin D-28 with a voice closer to the Collings than the other Martin. I also shipped off select strings to some picking buddies for their feedback. In most cases, their experience paralleled mine (and I didn't tell them what my impressions were until after I got theirs). Members of the Internet's Flatpick-L supplied some very useful information and preferences, too. I evaluated all strings with bluegrass-type flatpicking in mind. For the record, I like strong snappy trebles, a punchy mid-range, and a clear bass - in other words, a balanced sound, rather than a bass-heavy one. My hands don't sweat very much and strings tend to last a long time. Keep this in mind when reading my comments.

I feel that you can't go wrong with any of these strings. They all had good points and were remarkably consistent from brand to brand. I know that some people swear by one brand or