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An Actor-Network Study of Online Guitar Activities A UNIVERSITY OF CALIFORNIA, SAN DIEGO Hearing Connections: An Actor-Network Study of Online Guitar Activities A dissertation submitted in partial satisfaction of the requirements for the Degree Doctor of Philosophy in Music by David Joseph Bigham II Committee in charge: Professor David Borgo, Chair Professor Nancy Guy, Co-Chair Professor Anthony Burr Professor James Fowler Professor David Kirsh 2013 i Copyright David Joseph Bigham II, 2013 All Rights Reserved ii The Dissertation of David Joseph Bigham II is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Co-Chair Chair University of California, San Diego 2013 iii Dedication I dedicate this doctoral dissertation to my parents, Dr. Ngoc Thuy Bigham and David J. Bigham. You taught me to work towards my very best, embrace knowledge, and be firm in my convictions while remaining humble. Your love of learning and discovery continues to inspire me. iv Table of Contents Signature Page……………………………………………………………………. ……iii Dedication……………………………………………………………………….... ……iv Table of Contents……………………………………………………………….... ....….. v List of Figures…………………………………………………………….…...…. …...vii List of Tables……………………………………………………………………... ……ix Acknowledgements…………..…………………………………………………... …….x Vita……………………………………………………………………………….. ……xi Abstract……………………………………………………………………..…….. …...xii Introduction: Assembling a Rig of Connections……..…………………………... …….1 Actor Network Theory and its Application to Guitar Music Studies…………….. …..10 1.1 A Brief History of Actor-Network Theory……………………………….. …...14 1.2 Analytical Focus: ANT Localities……..…………………………………. ……17 1.3 Methodological Details: Locating and Linking “Uncertainties”…………. ……24 1.3a Uncertainty: Agency and Translation of Agencies………………….. ……24 1.3b Uncertainty: Objects and Technology in the Network……………… ……35 1.3c Uncertainty: Accounts and Documentation of the Network………… ……40 1.3d Uncertainty: Matters of Concern/Matters of Fact…………………... ……43 1.3e Uncertainty: Actors and Groups…………………………………….. ……46 1.4 Critiques of ANT…………………………………………………………. ……49 1.5 ANT Applied to Music Studies…………………………………………... ……53 Conclusion……………………………………………………………………. ……57 YouTube Guitar Lessons: The “Gravity” of Network Connections……………... ……59 2.1 Video Comparison: Songs as Actants……………………………………. ……63 2.2 Video Comparison: YouTube Videos as Black Boxes and Actors………. ……76 2.3 Flattening Pedagogical Interactions……………………………………… ……86 2.4 Extending Networks through Online Lessons……………………………. ……90 Conclusion……………………………………………………………………. ……96 Guitar Gear Demonstrations: Matters of Concern and Mythic “Tone”………….. ……98 3.1 Tone as a Matter of Concern/Fact………………………………………... …..101 3.2 Boutique Gear History and the Klon Centaur……………………………. …..105 3.3 Gear Demonstrations as Technological Black Boxes……………………. …..116 3.4 Klon Comparison Videos as Networked Documents…………………….. …..126 v 3.4a Video – Klon Centaur vs Bad Monkey: Sadie presents……………... …..130 3.4b Video – KLON Centaur overdrive guitar effects pedal shootout against a KLONE………………………………………………………. …..133 3.4c Video – PGS Smackdown - Klon Centaur Vs. Lovepedal Kalamazoo Overdrive…………………………………………………... …..136 3.5: The Klon KTR and the Evolution of Boutique Gear…………………….. …..140 Conclusion……………………………………………………………………. …..145 Appendix 3.A………………………………………………………………… …..147 Gathering Communities: Guitar-Vloggers and YouTube Heroes……………….. …..149 4.1 The Guitar Hero in Popular Media and Academic Literature …………… …..151 4.2 Media Methodology and Theories of Viewership: Building a Whirlpool.. ….161 4.3 Repertoire and Lineage: Rocking the Canon……………………………. ….172 4.4 YouTube Heroes and Equipment: Design My “Signature” Guitar……… ….179 4.5 Stage Presence and YouTube Aesthetics: Mediated “Live-ness”………... ….185 Conclusion……………………………………………………………………. ….188 Conclusion: Taking the Rig Apart in Search of Musical Possibilities…………… ….190 Bibliography……………………………………………………………………… ….198 vi List of Figures Figure 1.1: Instruments Sales by category and year, dollar figures in millions. (Data from Music Trades 2012: 51)………………………………………….. ……26 Figure 1.2: A diagram of an Actor-Network based on the Instrument Manufacturer as “Translator Spokesman.” ………………………………….. ……31 Figure 1.3: Scale pattern as displayed by a fretboard diagram…………………… ……36 Figure 1.4: The notes F, G, and A played on a guitar (photo by author)………… …… 38 Figure 1.5: The notes F, G, and A played on a keyboard (photo by author)…….. ……38 Figure 1.6: Keiran Foster’s “Glitch” software (Illformed.org, accessed May 2012) …………………………………………………………………………. ……54 Figure 2.1 Harmonic progression for verses in John Mayer’s “Gravity”………… …… 68 Figure 2.2a: Open G chord (photo by author)……………………………………. ……69 Figure 2.2b: “Bar” G chord (photo by author)…………………………………… ……69 Figure 2.2c: “Thumb-over” G chord (photo by author) …………………………. ……69 Figure 2.3: Mutually constrained relationships in song demonstrations………… ……70 Figure 2.4 Different interpretations of the last four measures of “Gravity” …….. ……72 Figure 2.5: Different interpretations of “Gravity” strumming rhythms………….. ……74 Figure 2.6: Network diagram of “Gravity” lessons on YouTube ………………... ……77 Figure 2.7: Comparison of time allocated in “Gravity” lessons………………….. ……80 Figure 2.8: Copyright claims as a form of interessement………………………… ……92 Figure 3.1: Image from Jaffe’s video Tone is a Lie – a Calm, Reasoned Discussion with Just Nick (Jaffe 2012b, screen capture by author) …………. ….. 103 Figure 3.2 The Boston Guitar Center’s “Wall of Guitars” (http://www .berklee.edu/news/4620/guitar-center-is-coming-to-the-berklee-neighborh, accessed August 5, 2012)…………………………………………………….. …..109 vii Figure 3.3: Chicago Music Exchange (http://www1.chicagoreader.com /best_of_chicago_09/music/guitar_shop/, accessed December 30, 2012)……….. ….. 111 Figure 3.4: Guitar Sanctuary in Austin Texas (http://www.Guitarsanctuary .com, accessed December 30, 2012)………………………………………………... ….. 112 Figure 3.5: The first version of the Klon Centaur overdrive pedal (http://www.dirtbox.net/news/klon-centaur-is-no-more/, accessed December 30, 2012)……………………………………………………………………… …..114 Figure 3.6: The “gooped” circuit of a Klon Centaur (http://www .diystompboxes.com/smfforum/index.php?topic=1139.0, accessed December 30, 2012)……………………………………………………………………… …..115 Figure 3.7: Technological “black boxes” mediating gear demonstrations………. …..120 Figure 3.8: Citations between Klon comparison videos and TGP discussion threads. Circles represent TGP discussion threads and decagons represent YouTube demonstration videos. See Appendix 3.A for specific viewership and forum post data…………………………………………………………... …..129 Figure 3.9: Brett Kingman’s Klon Centaur/Digitech Bad Monkey comparison video (Kingman 2009, screen capture by author)……………………………. …..131 Figure 3.10: Gear Mann Dude’s Klon/Klone comparison video (2009c, screen capture by author)…………………………………………………………….. …..134 Figure 3.11: Pro Guitar Shop’s Klon/Kalamazoo “Smackdown” (ProGuitarShopDemos 2010a, screen capture by author)……………………. …..137 Figure 3.12: Barefoot and Fisher’s new Klon premier (2011a, screen capture by author)………………………………………………………………………… …..142 Figure 3.13: Klon KTR Prototype and Development Board w/ Bill Finnegan (Finnegan, Barefoot, and Fisher 2012b, screen capture by author) ………….. …..143 Figure 4.1: It Might Get Loud publicity photo featuring Jack White, David “The Edge” Evans, and Jimmy Page (Eric Lee/Sony Pictures)……………………. ..…154 Figure 4.2: GuitarTV’s “Periodic Table of Guitarists” (http://guitartv.com /artists/, accessed November 5, 2012, screen capture by author) ……………. …..159 Figure 4.3: Marty Schwartz’ home studio (photo by author)…………………….. ….. 165 viii Figure 4.4: Martyzsongs viewership statistics(2011g, accessed January 18, 2013, screen capture by author) …………………………………….………………. …..167 Figure 4.5: Funtwo performing “Canon Rock” (2006, screen capture by author).. …..174 Figure 4.6: Guitarist Phil X (Fretted Americana 2009, screen capture by author). …..177 Figure 4.7: Rob Chapman discussing endorsements (Chapman 2008, screen capture by author) …………………………….……………………………… …..183 Figure 4.7: Phil X at the NAMM trade show (Fretted Americana 2011, screen capture by author) ……………………………………………………………. …..188 ……………………………………………………………………………………. ……… List of Tables Table 2.2: Listing of “Gravity” videos compared……………………………….. ……83 Table 3.A.1: TheGearPage.net discussion threads referencing Klon videos…….. …..147 ix Acknowledgements A whole ensemble of people devoted a lot of time and effort for my sake, and for that I am grateful. First, thank you Professor David Borgo for seven years of guidance, and Professor Nancy Guy for encouraging me to write about the things I care for deeply. I would also like to thank Professor Anthony Burr and Professor David Kirsh for broadening my perspectives and walking me through complex ideas, and Professor James Fowler for providing an outside perspective of my work. Thanks to my friends who followed me along the writing and proof-reading processes: Shelley Burns, Jeff Kaiser, Laura Mauler, Sara McConnell, Aviva McPheron, Jonathan Piper, Ben Powers, and Andy Zahurak. Their enthusiasm and support helped make the writing process more enjoyable And my deepest thanks to my wife, Anne Mauler, who stuck by me and helped me through the toughest intellectual challenges and doubts. This work is nothing without her belief in me. Lastly, this work is a testament to the many connections I made through online guitar sites. In particular, thanks to Ken Rosser, Andre La Fosse, Marty Schwartz,
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