Links

This was the seminar's own links page. It is a period document as much as a resource — a snapshot of what the acoustic blues world looked like online when the seminars were running. Many of the destinations have gone. Where a listed organisation is still trading, it is linked; where it is not, the entry is preserved as a record of what was there.

Instruments and makers

• National Reso-phonic Guitars — steel-bodied resonators in the pre-amplification tradition.
• Santa Cruz Guitar Company — steel-string flat-tops built in California.
• John Pearse Strings.
• Avalon Guitar; Highlander Pickups; Mendocino Music (vintage guitars and blues); Roadcases (flight cases).

Instruction and publishers

• Homespun — instructional recordings, several of them by seminar faculty.
• Stefan Grossman's Guitar Workshop — the standing reference library for this repertoire.
• Kay Uwe Graw's Bottleneck and Slide Guitar Tabs; WS64 Guitar Chords; The Dobro Player's Tune Of The Week; MusicStaff.com.

Shops and labels

• Dusty Strings — the Seattle acoustic music shop.
• Acoustic Music Records; Shoreline Acoustic Music; Digibid.

Magazines and directories

• Acoustic Guitar magazine.
• Dirty Linen; Guitar Notes; Harmony Central; FolkLib Index; 1,000 Great Guitar Sites; Brad's Page of Steel; Sur les Sentiers du Blues.

Communities and societies

The seminar linked heavily to the regional blues societies that made up the live circuit for this music, and to the discussion communities where its players argued about sources:

• Mudcat Café — the long-running folk and blues discussion and song database, still active.
• Blues On Stage; Toronto Blues Society; Inland Empire Blues Society (Spokane); Manitoba Blues Society (Winnipeg); Detroit Blues Society; Washington Blues Society; Tobacco Road Blues On-Line (Charlotte); Beef Stew's Blues Playground; Stichting Rhythm & Blues (Breda, Netherlands); San Francisco Blues Festival.

Why the list looked like this

Two things stand out. The first is how much of it is regional: a dozen city and state blues societies, because that is how this music was organised before it was aggregated. The second is how much of it is instructional. A seminar whose method was "learn it off the records" naturally pointed students at tab archives, transcription publishers and discussion boards where the provenance of a particular recording could be argued over for a week.

The seminar's own board, which handled a great deal of that traffic, is described on the forum page. For the material these resources served, see the repertoire page.