30 May 2009

Here is a partial list of the musical instruments and accessories fellowship funding from the University of Pittsburgh has exclusively enabled me to purchase. Most of these items are now sold, but the list is alarming. '*' denotes my still having possession of the item.

1. Roland KC-150 keyboard amplifier*
2. Dave Smith Instruments Mono Evolver Keyboard
3. 1978 Wurlitzer 200A electroacoustic piano*
4. Calzone ATA case for the Wurlitzer*
5. Moogerfooger FreqBox
6. Moogerfooger MuRF (x2)
7. Moogerfooger 12 step phaser
8. Voodoo Labs Sparkle Drive
9. Keeley 4-knob compressor
10. Keeley Katana clean boost
11. Ernie Ball volume pedal*
12. BBE Boosta Grande *
13. Onstage keyboard stand*
14. Onstage microphone stand*
15. Sennheiser e835 microphone*
16. Onstage guitar stand*
17. Ibanez Performance acoustic guitar
18. Sequential Circuits SixTrak analogue synthesizer
19. MIM Fender Deluxe Jazz Bass
20. Lexicon Alpha USB recording interface
21. M-Audio UNO USB-Midi interface*
22. Maxtor external hard drive*
23. MFB-503 Drumcomputer
24. Peterson StroboFlip
25. Sonic Research ST-200 strobe tuner*
26. Boss Dr. Beat DB-30 metronome*
27. Fender Deluxe electric bass guitar case*
28. Genz-Benz Shuttle 3.0 bass amplifier
29. Markbass Traveler 102p bass cabinet
30. Markbass Little Mark II bass amplifier
31. Aguilar Tone Hammer preamp/DI box
32. Aguilar GS112*
33. Aguilar GS112NT*
34. Aguilar DB 750*
35. Roadrunner 4 space ATA-style rack case*
36. Fender MIA Standard Jazz Bass*
37. Proline memory foam keyboard stool*
38. Hohner Symphonic 320 analogue organ
39. Pair of Mackie MR5 studio moniors*
40. G&L USA Legacy guitar*
41. 1978 Mark I Rhodes Seventy-Three electroacoustic piano*
42. THD Bivalve 30 guitar amplifier*
43. Apogee Duet*
44. Sennheiser HD 280 headphones*
45. M-Audio Keystation 49e MIDI keyboard*
46. Ultimate Support hanging guitar stand*
47. Vox AC30 headphone guitar amplifier*

This proves, without any ounce of doubt, that my musical reinvention has been a direct consequence of the very generous financial support provided to me by my doctoral programme. In what other scenario might I have had the time and funding to pursue being a professional musician from the ground up -- on an instrument (or, as it were, a series of instruments) I had never even played before?