Dan McAvinchey

I have done interviews with quite a few leading Japanese and European magazines. My experience with them has been very positive. As far as US magazines are concerned, it is hard for me to say how they are handling guitar-oriented music, because I haven`t dealt with them much in the past. There just doesn`t seem to be that much of a market for insturmental music in the US as there is overseas.

The talented artists associated with Guitar Nine reveal offbeat and unusual ways to get noticed.

I never thought I`d be CEO of Virgin Independent, nor would I want to. I had material to release. No major or indie label wanted to hear about it, so I did it myself. And let`s face it: guitar music is a tough sell, so most majors won`t cut you any slack.

The talented artists associated with Guitar Nine recall their mentors and heroes.

I find it hard to believe that some people have trouble getting press. It`s not really that difficult to do. I think the hardest part is letting go of the fear of a bad review. I`ve spoken to colleagues who don`t send their CD out because they`re afraid it`ll get trashed. Yeah, it might. But you have to take that chance.

I believe that back in the 80`s it was a very novel thing to be an instrumental rock guitarist. I mean we`ve had rock instrumental songs since rock began, but the technical advances made by many of us were very charming and, for a while, in vogue. These are the very same qualities that almost killed the genre.

We have our own recording facility at our rehearsal studio and have been doing all recent recording there. We also rent time if necessary at a more elaborate studio. Ralph (Perucci) has his own studio in Manhattan.

As far as releasing independently - there`s really no other way. Instrumental music (other than `happy saxophone` music I suppose) doesn`t really get a lot of support from record labels, guitar magazines, radio, whatever. So, if you love doing this kind of thing, then you really have to accept that you`ve gotta do it yourself.

Except for distribution, I`ve always made out better doing it myself using investor money then any contracts I`ve been offered. I have a "go in the studio and play" mentality. I don`t overdub, and I usually only do two or three takes for each piece. I make sure when I go in, I`m ready! So my costs are embarressingly low!

I like to take another artist`s song and vision and take it to another level. My experience with Fourth Estate, as well as contributing to many other projects and playing in countless cover bands, gives me a broad perspective in which to approach working with a variety of different artists. I am also very picky about sounds and tones and I think that translates in most of the projects I`ve produced.

McAvinchey signs off on the popular series; what will the future bring.

But even with my success in Belgium, it was impossible to get any industry support/interest generated. It was then the time of Kurt Cobain and friends, people like Tony MacAlpine and Greg Howe weren`t having any luck, what hope was there for me? Releasing my own CD seemed like the only answer.