Articles in category: Life of a musician (18 found), page 2

More on airline travel with musical instruments

Since my post earlier this week about air travel with instruments, two of my favorite woodwind bloggers have also addressed the subject, both inspired by the “United Breaks Guitars” video phenomenon.

I think it’s also worth sharing the musical instrument policies of a few of the major (US) airlines:

Travel safely.

Airline travel with musical instruments

airplaneDuring the past few months, I’ve had the opportunity to do some traveling with my instruments, on a number of airlines and through quite a few airports. Here are a few thoughts on getting instruments safely and smoothly to your destination.

Going through airport security

  • In most cases, your plan should be to carry your instrument(s) onto the plane with you. That means taking the instrument through airport security, and sending it on the conveyor belt through the x-ray scanner. In my experience, security personnel are generally very good about recognizing musical instruments as such, and sending them on through without raising an eyebrow.
  • Security personnel may, however, wish to open instrument cases for closer inspection. In my experience, inspectors are uniformly courteous and respectful about this, and usually notify me before they begin. Earlier this week I had a security officer let me know that he needed to open my oboe case, which I had sent  through the x-ray within a larger carry-on bag. I asked politely if he would let me open the case for him, and he was more than happy to allow this. I recommend taking this approach, since security personnel may not know which side is “up.” If you open the case yourself, you won’t have to worry about instrument parts rolling out onto the airport floor.
  • I also like to lock any carry-on instruments cases that can be locked, and, of course, make sure I keep the keys handy. This ensures that security personnel can’t open the case without me while I’m still trying to get my shoes back on. Besides, airports and planes can be crowded, and I like to be sure that my cases won’t pop open if jostled or bumped. Read more →

Why I don’t list my equipment

Many musicians are eager to tell you what equipment they use. They list their equipment on their websites, in the signature lines of their forum postings, and so on. I don’t.

I’m rarely impressed with what I see on fellow woodwind players’ lists. Ownership of impressive equipment (assuming the gear is, in fact, paid for?) does not make a fine player. Ownership of unimpressive equipment seems, well, like it’s not worth boasting about.

Some musicians seem to see their equipment listing as a service to the musical community, as though others will benefit from knowing what instruments they play. Buying instruments, mouthpieces, reeds, and so forth just because another player uses them—even a truly fine player—is much like buying the same shoes your favorite basketball player wears. No doubt they are fine shoes, but they might not suit your feet, your ability level, your playing surface, or your personal sense of style. Equipment listings are especially hazardous to younger beginners, who may be easily convinced that owning certain equipment will solve their problems, or who may ill-advisedly buy equipment that isn’t a good fit for them. Read more →

Why musicians cost money

I very much appreciate this brief article by trumpet player Jeff Purtle: Why Do Musicians Charge? Mr. Purtle makes the point that it costs a lot of money to be a musician. This is painfully true for woodwind doublers, who need not only a large number of high-quality instruments, but also reeds, maintenance and repairs, insurance, stands, cases, and more for each instrument, not to mention the cost of lessons or even college or conservatory study.

I think the overhead costs of being an instrumentalist are a really important and valid point. But I do think are some more reasons why musicians should expect to be compensated fairly for what they do: Read more →

Why I don’t loan out instruments

I am slowly building a good collection of high-quality instruments. It’s not easy to do that on a graduate student’s budget; I accomplish it by living frugally, saving carefully, shopping around, and generally putting a great deal of thought and planning into each purchase. I don’t buy instruments on credit. I protect my investments with conscientious care and maintenance, as well as an excellent insurance policy by a company that specializes in musical instrument coverage. (Incidentally, this policy quickly paid for itself, several times over, when there was an “incident” with my flute a couple of years ago. Seriously consider getting one if you don’t have one already!)

Every now and then someone asks to borrow an instrument from me. Often it will be a saxophonist who needs a flute or clarinet for a gig they have already agreed to play. My policy, which I have upheld almost perfectly for several years now, is simple: I don’t loan instruments to anybody, for anything, period. Read more →

Buying woodwind instruments

General advice

The information on this page is intended for beginning and intermediate players, including woodwind doublers who already play another instrument. Here are some rules of thumb:

  • Get the advice of a good teacher, preferably one that doesn’t get a sales commission from a music store. It’s okay to ask advice before starting lessons. A good teacher wants you to have a good, working instrument.
  • In fact, be very skeptical of anything you are told by music store salespeople. My students frequently begin lessons with poor, non-working woodwind instruments that were highly recommended by the guitar player working behind the counter. Ask the salesperson to demonstrate the instrument. If they can’t do it, there’s little reason to take their recommendations.
  • The most important consideration for a beginner’s instrument is its condition. Woodwind instruments use pads made of leather, skin, or cork that MUST seal properly. Poorly adjusted instruments are one of the top causes of frustration in beginning players. Don’t waste your time fighting with a leaking instrument. Cosmetic flaws like worn or scratched finish or small dents (except in vital spots such as a flute’s headjoint or saxophone’s neck) do not necessarily affect an instrument’s playability, but may be warning signs of larger problems. It is possible to buy a non-working instrument and have a good technician restore it to playable condition, but it would be a good idea to get their appraisal of the instrument before you buy it.
  • Don’t buy musical instruments from department stores, megastores, or warehouse stores. These temptingly cheap instruments are made from inferior materials and are almost always in poor adjustment. Good repair shops won’t even work on them because they tend to break under the normal strains of routine maintenance.

Read more →