{"id":145867,"date":"2024-10-11T06:00:00","date_gmt":"2024-10-11T13:00:00","guid":{"rendered":"https:\/\/acousticguitar.com\/?p=145867"},"modified":"2024-10-15T10:48:35","modified_gmt":"2024-10-15T17:48:35","slug":"guitar-talk-singer-songwriter-maya-de-vitry","status":"publish","type":"post","link":"https:\/\/acousticguitar.com\/guitar-talk-singer-songwriter-maya-de-vitry\/","title":{"rendered":"Guitar Talk: Singer-Songwriter Maya de Vitry Sees Her 000-Sized Blueridge\u00a0as a Trusted Friend"},"content":{"rendered":"\n<figure class=\"wp-block-image size-large\"><img data-recalc-dims=\"1\" fetchpriority=\"high\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/09\/24.07.26_13.31.27_JayStrausser.jpg?resize=1024%2C683&#038;ssl=1\" alt=\"Maya-de-Vitry-Photo-Jay-Strausser\" class=\"wp-image-145869\" srcset=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/09\/24.07.26_13.31.27_JayStrausser.jpg?resize=1024%2C683&amp;ssl=1 1024w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/09\/24.07.26_13.31.27_JayStrausser.jpg?resize=500%2C333&amp;ssl=1 500w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/09\/24.07.26_13.31.27_JayStrausser.jpg?resize=768%2C512&amp;ssl=1 768w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/09\/24.07.26_13.31.27_JayStrausser.jpg?resize=300%2C200&amp;ssl=1 300w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/09\/24.07.26_13.31.27_JayStrausser.jpg?w=1200&amp;ssl=1 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Maya de Vitry, Photo: Jay Strausser<\/figcaption><\/figure>\n\n\n\n<p>There\u2019s a humility and a groundedness to Maya de Vitry\u2019s music. Maybe it\u2019s the result of growing up in a musical family in Lancaster County, Pennsylvania, learning songs around the kitchen table and playing in Sunday morning gospel-hour jams. Her years of traveling and busking and camping out at old-time festivals surely play a role, too. De Vitry taps into something pure and essential about music, something that exists not in any press release or recording studio, but in the moment when a song enters the air and spins an invisible thread between the singer and the listener.&nbsp;<\/p>\n\n\n\n<p>As a founding member of the Stray Birds, a harmony-driven roots trio, de Vitry honed her skills as a songwriter, singer, multi-instrumentalist, and performer. The band recorded five albums and toured internationally before parting ways in 2018. Immediately after the disbanding, de Vitry took a break from the music industry, working at a Starbucks in Nashville and writing dozens of songs in her free time. (A co-worker ended up inspiring one of her most affecting songs, \u201cStacy in Her Wedding Gown,\u201d which appears on her 2023 EP, <em><a href=\"https:\/\/amzn.to\/4dJJQUq\">Infinite<\/a>.<\/em>)&nbsp;<\/p>\n\n\n\n<p>In the post\u2013Stray Birds years, de Vitry has home-grown an abundant solo career, self-releasing four albums and an EP while collaborating prolifically with other songwriters in her adopted hometown of Nashville. She has also grown into an identity as an empathic and insightful producer, lending her talents to forthcoming albums by Joel Timmons, Shelby Means, and Hannah Delynn. De Vitry has begun producing her own releases as well, including her newest full-length album, <em><a href=\"https:\/\/amzn.to\/3NoBqah\">The Only Moment<\/a>.<\/em><\/p>\n\n\n\n<p>Recorded at Mike Elizondo\u2019s Phantom Studios near Nashville, <em>The Only Moment<\/em> features de Vitry\u2019s frequent collaborators Anthony da Costa (guitar), Ethan Jodziewicz (bass), Dominic Billett (drums), Alex Wilder (keys and engineering), and Phoebe Hunt (vocals). The album\u2019s emotive songs follow themes of presence and movement, and the production seems to grow organically out of the sound of de Vitry\u2019s voice, which flows from a gentle whisper to a soaring howl.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Odds of Getting Even\" width=\"1290\" height=\"968\" src=\"https:\/\/www.youtube.com\/embed\/aciJOA5GzyE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>On a Saturday morning Zoom call, de Vitry and I (full disclosure: she is a longtime friend) talked about her formative musical years, her deep rhythmic relationship with the acoustic guitar, and her love of instruments that don\u2019t feel delicate\u2014that she can throw in the back of the van and bring to the lake.<\/p>\n\n\n\n<p><strong>Tell me about how your primary guitar, that Blueridge [BR-143], came to you.&nbsp;<\/strong><\/p>\n\n\n\n<p>I just ordered it from the internet. I didn\u2019t even play it before I bought it. It was when I was in the Stray Birds. My Martin D-1 and our various other guitars had gotten really beat up, and it was too anxiety inducing to keep bringing those guitars on planes. I had wanted a smaller-bodied guitar anyway. Sometimes I do love playing a big, powerful dreadnought, and growing up in Pennsylvania, an hour and a half from the Martin factory, I always loved the idea of having a Martin dreadnought. But for what I do, something smaller works better.<\/p>\n\n\n\n<p>After I bought the <a href=\"https:\/\/amzn.to\/3ZWPSxx\" target=\"_blank\" rel=\"noreferrer noopener\">Blueridge<\/a>, I went to Carter Vintage Guitars and bought a Calton case to match it, and it felt funny that the guitar was less expensive than the case. But the guitar is still in perfect condition, and I\u2019ve traveled everywhere with it. I wasn\u2019t looking for a guitar to spiritually love when I ordered it. I was just looking for something that physically felt more comfortable to play, and that I could trust. It\u2019s like a relationship, you know? Like, I just need to be able to trust you.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><a href=\"https:\/\/amzn.to\/3NoBqah\" target=\"_blank\" rel=\"noreferrer noopener\"><img data-recalc-dims=\"1\" decoding=\"async\" width=\"1024\" height=\"1024\" src=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/09\/mayadevitry-1024x1024-1-1024x1024.jpg?resize=1024%2C1024&#038;ssl=1\" alt=\"\" class=\"wp-image-145870\" srcset=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/09\/mayadevitry-1024x1024-1.jpg?resize=1024%2C1024&amp;ssl=1 1024w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/09\/mayadevitry-1024x1024-1.jpg?resize=500%2C500&amp;ssl=1 500w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/09\/mayadevitry-1024x1024-1.jpg?resize=150%2C150&amp;ssl=1 150w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/09\/mayadevitry-1024x1024-1.jpg?resize=768%2C768&amp;ssl=1 768w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/09\/mayadevitry-1024x1024-1.jpg?resize=300%2C300&amp;ssl=1 300w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/09\/mayadevitry-1024x1024-1.jpg?w=1200&amp;ssl=1 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/a><\/figure>\n\n\n\n<p><strong>And to know that you\u2019re not going to be super temperamental.<\/strong><\/p>\n\n\n\n<p>Yeah. It\u2019s not my soulmate guitar, but it\u2019s like a really good buddy, a trusted friend. I\u2019ve written so many songs on this guitar at this point, but sometimes I play other guitars and I\u2019m like, Oh, hello, soulmate! Like the one I played on the new record, that was just amazing.&nbsp;<\/p>\n\n\n\n<p><strong>Was that one of Mike Elizondo\u2019s guitars?<\/strong><\/p>\n\n\n\n<p>Yeah, a 1963 Martin 000-18. I was so overwhelmed because I was producing the record myself, and we were tracking live, so even though there were a bunch of instruments at the studio, I chose to just play this one acoustic guitar because it was one less decision to make for each song. And I loved that guitar. I really like acoustic guitar in rock song settings. I love Tom Petty; I love when the acoustic guitar is really present in a band. And I love playing it as a percussive instrument.<\/p>\n\n\n\n<p><strong>It can be so much more percussive than electric guitar.&nbsp;<\/strong><\/p>\n\n\n\n<p>Yeah, and I feel like I\u2019m really dialed in with playing that role. For years I\u2019ve been playing in duos and trios where, as the acoustic guitar player, I am the drummer. And my Blueridge is really good at that. I\u2019m not trying to get lush, beautiful sounds out of that guitar. Again, I\u2019m trying to get a sound I can trust, and a groove I can trust.&nbsp;<\/p>\n\n\n\n<p>But different guitars change how you play. On the song \u201cCompass,\u201d I\u2019m not playing percussion at all. Dom [Billett] is really covering that on the drums, and I\u2019m just playing these long, delicate strums that are mixed super-hot with people rocking all around me. The guitar is definitely a strong character in the mix, and I think it\u2019s really cool that it can have that character on the record. But I have to adapt that guitar part for playing live when there\u2019s no drummer, and I have to provide that rhythmic scaffolding.&nbsp;<\/p>\n\n\n\n<p><strong>Tell me more about how your playing changes on different guitars.<\/strong><\/p>\n\n\n\n<p>At home, I play the Blueridge a lot, and I also have two parlor guitars that are set up poorly and in weird low tunings. When I pick up one of these little parlor guitars, I\u2019ll play a C chord but it\u2019s not actually a C, and I really like that I don\u2019t know what it is. I might play something different because my voice will react differently outside of the little bubble of the key of C that I would normally sing in.&nbsp;<\/p>\n\n\n\n<p><strong>What are those parlor guitars?<\/strong><\/p>\n\n\n\n<p>I\u2019ll show you! This one [a Harmony Stella] is more recent. I bought it in Thomas, West Virginia, when I played at the Purple Fiddle last August. This other one I took to Cuba, and I wrote songs like \u201cYou\u201d and \u201cGo Tell a Bird\u201d on it.<\/p>\n\n\n\n<p><strong>And you don\u2019t know what that one is?<\/strong><\/p>\n\n\n\n<p>It doesn\u2019t have any label in it at all.<\/p>\n\n\n\n<p><strong>Where did you find it?<\/strong><\/p>\n\n\n\n<p>I searched \u201cparlor guitar\u201d on Craigslist sometime around 2015, and a listing popped up in Gallatin, Tennessee, that turned out to be this guy\u2019s garage that was full of guitars. He showed me a few, and I liked this one. I honestly just wanted a guitar that I could throw in the car with no case and take to the lake.<\/p>\n\n\n\n<p>One of my values with instruments is that I don\u2019t want my relationship with them to feel too precious\u2014I don\u2019t want to be afraid to play them. With my guitars, I feel like I can just live my rough-and-tumble life, go to the lake with them, take them on planes, and not worry.&nbsp;<\/p>\n\n\n\n<p>Guitars still feel like another language to me, because I grew up as a fiddle player, so I\u2019m much more tuned into what fiddles need. It\u2019s taken me a long time to grow into thinking of myself as a guitar player. And I think part of how I\u2019ve dealt with that imposter syndrome, and also just my own practicality, has been saying, \u201cJust give me something basic that is not going to fail me.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img data-recalc-dims=\"1\" decoding=\"async\" width=\"1024\" height=\"625\" src=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/09\/Maya-de-Vitry_2-LEAD-PHOTO-for-PR-etc-photo-kaitlyn-raitz.jpg?resize=1024%2C625&#038;ssl=1\" alt=\"Maya de Vitry portrait. photo by kaitlyn raitz\" class=\"wp-image-145871\" srcset=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/09\/Maya-de-Vitry_2-LEAD-PHOTO-for-PR-etc-photo-kaitlyn-raitz.jpg?resize=1024%2C625&amp;ssl=1 1024w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/09\/Maya-de-Vitry_2-LEAD-PHOTO-for-PR-etc-photo-kaitlyn-raitz.jpg?resize=500%2C305&amp;ssl=1 500w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/09\/Maya-de-Vitry_2-LEAD-PHOTO-for-PR-etc-photo-kaitlyn-raitz.jpg?resize=768%2C468&amp;ssl=1 768w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/09\/Maya-de-Vitry_2-LEAD-PHOTO-for-PR-etc-photo-kaitlyn-raitz.jpg?resize=300%2C183&amp;ssl=1 300w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/09\/Maya-de-Vitry_2-LEAD-PHOTO-for-PR-etc-photo-kaitlyn-raitz.jpg?w=1200&amp;ssl=1 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Photo: Kaitlyn Raitz<\/figcaption><\/figure>\n\n\n\n<p><strong>Totally. There\u2019s something freeing about not feeling like you need to have the fancy guitar that the fancy bluegrass guys have.<\/strong><\/p>\n\n\n\n<p>Yeah. Like, I love my 2012 Toyota Sienna. It\u2019s the basic model; it doesn\u2019t have rails for a roof rack, the doors aren\u2019t automatic, and I love that. There\u2019s less that can go wrong. It gets me from place to place, and that\u2019s how my guitar is, and that\u2019s the most important thing to me right now. I also have been opening for people a lot lately, in bigger rooms. My Blueridge has a K&amp;K pickup in it, and the easiest thing for me in that context is just to plug in.&nbsp;<\/p>\n\n\n\n<p><strong>Do you use a preamp with it?<\/strong><\/p>\n\n\n\n<p>I just plug into a tuner and a [Fire-Eye] Red-Eye preamp, which has a boost for when I\u2019m fingerpicking, and I\u2019m good to go. I\u2019m not trying to capture the most gorgeous, natural wood tones of the instrument in the most aesthetically perfect way. I\u2019m just trying to get a stable, smooth, reliable sound to support my singing. When I first started playing solo, I experimented with plugging the acoustic into an amp. It was fun, but ultimately it compromised the percussive, rhythmic nature of my playing.<\/p>\n\n\n\n<p><strong>Who are some of the acoustic guitar players that inspired you early on?<\/strong><\/p>\n\n\n\n<p>Originally, it was my dad and his friend who we call Lefty. The two of them just sitting around and jamming songs was so formative to me. I think they met at a bus stop! We used to have \u201cgospel hour\u201d on the porch most Sundays. They\u2019d play a couple of gospel songs to start, and then play whatever they felt like playing. And it would literally last just one hour, because they had other things they needed to get done.<\/p>\n\n\n\n<p>My dad\u2019s playing really showed me how the guitar can support so many different sounds and moods. He\u2019d play a Steve Earle song, and it would have a certain angst and a certain propulsion, and then he\u2019d play a fingerpicked version of [Graham Nash\u2019s] \u201cOur House.\u201d I shared a room with my siblings, and he\u2019d just sit there singing us to sleep with that song. I don\u2019t think I even thought about whether my dad wrote the song or not, but I remember thinking, yes, that\u2019s just so: we have two cats in the yard, just like the song says. Hearing stripped-down acoustic guitar versions of tons of different kinds of songs, that was the absolute sound- track of my childhood, even though I didn\u2019t play guitar yet at that time because I was so violin obsessed.<\/p>\n\n\n\n<p>Another acoustic guitar player I\u2019m really inspired by these days is my brother [Lyle de Vitry]! He\u2019s got a record that\u2019s about to come out, and he\u2019s just a ridiculous player. Lyle and I are both very inspired by Nick Drake, but Lyle is much more of a composer on the guitar than I am.<\/p>\n\n\n\n<p><strong>This is a very abstract question, but I would love to know what some of your favorite sounds are on the acoustic guitar, whether it\u2019s you or another player.<\/strong><\/p>\n\n\n\n<p>I honestly just love the C chord. On the song \u201cNothing Else Matters\u201d from the new record, I started by strumming a C chord for a while because I was just loving how that chord sounded on that [Martin 000-18] guitar.<\/p>\n\n\n\n<p>And I love that the acoustic guitar is like a drum. When I\u2019m playing my song \u201cHow Do I Get to the Morning,\u201d I can play it really open when I have a full band, but when I\u2019m playing it without a drummer, there\u2019s much more of this chunky, muted, percussive sound. I think a lot of my guitar technique comes from being a fiddle player, playing old-time music, and thinking about right-hand bowing grooves. I love that you can have sustain and then percussion in the same moment if you want to.<\/p>\n\n\n\n<p>Again, I was just obsessed with that guitar I played on the new record, and you can hear it, especially on the song \u201cWatching the Whole Sky Change.\u201d It\u2019s just me strumming that guitar so delicately and basking in that simple strum.<\/p>\n\n\n\n<p><strong>That\u2019s totally what it feels like. You just want to live inside of that sound.<\/strong><\/p>\n\n\n\n<p>Yeah. Another sound I love is great bluegrass flatpicking. I can\u2019t do it at this moment in my life, but I love listening to it. I was just listening to the Bluegrass Album Band the other day. I love Tony Rice. Some of my favorite sounds coming out of a guitar are in that style of lead playing. I also just thought of this moment in \u201cDogs Run On,\u201d from [my album] <em>Violet Light. <\/em>Critter [Chris Eldridge] is playing the acoustic lead on that song.<\/p>\n\n\n\n<p><strong>That\u2019s a beautiful song.<\/strong><\/p>\n\n\n\n<p>And in his solo, it\u2019s like he\u2019s skating. He gets from point A to point B, but there\u2019s not a ton of definition in how he gets there. It\u2019s all in the feeling of getting there, and then you\u2019re suddenly somewhere else. I love that sound. It\u2019s a very emotional sound.<\/p>\n\n\n\n<p><strong>That\u2019s the power of the acoustic guitar. It can be so many things.<\/strong><\/p>\n\n\n\n<p>Totally. Now this conversation is just making me want to sit here and play guitar all day! <\/p>\n\n\n\n<div>\n<a href=\"https:\/\/store.acousticguitar.com\/products\/no-349-nov-dec-2024\" name=\"magazine\"><img data-recalc-dims=\"1\" decoding=\"async\" style=\"width: 150px; height: 198px; margin: 0px 20px 10px 0px;\" src=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/08\/001_349_Cover-150px.jpg?w=1290&#038;ssl=1\" alt=\"Acoustic Guitar magazine cover for issue 348\"><\/a>\n<p style=\"font-family: sans-serif; margin: 0px 0px 15px 0px;\">This article originally appeared in the <a href=\"https:\/\/store.acousticguitar.com\/products\/no-349-nov-dec-2024\">November\/December 2024<\/a> issue of <em>Acoustic Guitar<\/em> magazine.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Maya de Vitry discuses her formative musical years, her deep rhythmic relationship with the acoustic guitar, and her love of instruments that don\u2019t feel delicate.<\/p>\n","protected":false},"author":5,"featured_media":145869,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"advanced_seo_description":"de Vitry discusses her formative musical years, her deep rhythmic relationship with the acoustic guitar, and her love of instruments that don\u2019t feel delicate.","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[1155],"tags":[1954],"ppma_author":[1960],"class_list":["post-145867","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-guitar-talk","tag-november-december-2024"],"blocksy_meta":[],"jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/09\/24.07.26_13.31.27_JayStrausser.jpg?fit=1200%2C800&ssl=1","authors":[{"term_id":1960,"user_id":0,"is_guest":1,"slug":"isa-burke","display_name":"Isa Burke","avatar_url":{"url":"https:\/\/acousticguitar.com\/wp-content\/uploads\/2024\/10\/isa-burke.jpg","url2x":"https:\/\/acousticguitar.com\/wp-content\/uploads\/2024\/10\/isa-burke.jpg"},"user_url":"","last_name":"","first_name":"","job_title":"","description":""}],"_links":{"self":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts\/145867","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/comments?post=145867"}],"version-history":[{"count":5,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts\/145867\/revisions"}],"predecessor-version":[{"id":146102,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts\/145867\/revisions\/146102"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/media\/145869"}],"wp:attachment":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/media?parent=145867"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/categories?post=145867"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/tags?post=145867"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/ppma_author?post=145867"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}