Carbon Fiber vs. Wood Acoustic Guitars

I am a little over 70 years old, a child of the 60’s, and up until recently an unabashed fan of solid wood dreadnaught guitars. I have owned (or presently own) a Martin D18, a Martin HD28, an Alverez MD60, a Takamine F350-M, and an Art & Lutherie HG Hi Gloss. My first step away from dreadnaught orthodoxy was to purchase two parlor guitars, A Gretsch Jim Dandy, and a Larivee PO-3ZW. My latest wood purchase is a Martin 000-15M, which is currently my very favorite piece of wood (solid mahogany).

Then, a friend of mine introduced me to his Composite Acoustics Legacy dreadnaught. Admittedly, I am a little hard of hearing, but I was surprised at the richness and clarity of the sound produced by an instrument without a stick of wood in it. The action was also superb. He explained that his guitar made of carbon fiber, was completely impervious to climate, built to the finest tolerances, and never needed any adjustment. To my mind, carbon fiber was associated with high end bicycles, fishing rods, golf clubs, and Ferraris –not acoustic guitars. But, hearing was believing. I was lucky enough to find a mint condition Composite Acoustics OX guitar online. Not a dreadnaught, but I was over my dreadnaught fixation.

To make a long story short, I love the OX and play it now almost exclusively, particularly when I play out somewhere. I leave it in the car in all weathers without worry. It has a strong bass, bright trembles, and a superb balance of tone. It is extremely comfortable to hold and play. The action feels like an electric guitar. It rarely needs tuning. Everyone who plays it loves it as much as I do. In fact, Frankie Revell, a Howlin’ Kitty recording artist, went right out and bought one of his own. I would be interested to know if anyone else has had experience with carbon fiber instruments and what you think of them.

Howlin’ Kitty Music’s secret weapon

So who is Ty Crawford? Simply put, he is Howlin’ Kitty Music’s secret weapon. Without his talent as a graphic designer, website developer, photographer, animator, and cinematographer, Howlin’ Kitty Music would be a feeble, pathetic shadow of its current self. He single-handedly designed our logo, developed our website, created our social media presence, and produced our current video on Youtube. Since he is also a highly qualified audio engineer, we rely exclusively on his artistry for all of our recording, mixing, and mastering. We cannot thank him or sing his praises enough. He is an indispensible part of the Howlin’ Kitty family, and we are fortunate to have him. But, we are willing to share. Get to know him yourself. Check out his website at

Cigar Box Joy

Cigar Box Joy! Larry Cuddy, a cigar box guitar maker from Washington PA, and friend of Howlin’ Kitty Music, creates hand made cigar box guitars that are absolutely superb in their craftsmanship and wonderfully playable. Each one is an original work of art, right down to his hand crafted fretboards. His selection of woods and even cigar boxes is meticulous. Even if you have never played a guitar before, in just a few days you will be playing blues with the best of them. This instrument is something you will be proud to own. If you are interested in a purchase or more information, please message us at Howlin’ Kitty Music.

Rev. Frankie Revell Clatter Coffee Shop

Howlin’ Kitty recording artist Rev. Frankie Revell displayed his unique “mountain blues” style in a Saturday night performance at the Clatter Coffee Shop in Frostburg, MD. Check out his homemade banjo!

Playmakers putting Pittsburgh on the musical map

Some record labels are foregoing physical media entirely.

A new local roots-music label, Howlin Kitty Music (, began in earnest when Mike McCauley retired.

“What makes us a little more special is that we’re only selling downloads,” says McCauley, 71. “The startup and production costs are much lower. When you’re dealing with downloads you’re dealing with a virtual product.”

He’s built a studio in his house in South Fayette.

“We’re trying to build a community of roots musicians,” McCauley says. “Part of that will be the audience that likes that stuff. Musicians from all over the country or maybe all over the world can share tracks back and forth, even if maybe they haven’t even met.”

“We have already produced an album, by Rev. Frankie Revell, an Appalachian folk album. He’s from Cumberland, Maryland — originally Berkley Springs, West Virginia. He is a three-or-four-time Maryland banjo champion.”

Running an independent record label forces you to always think long-term. Betten, for his part, mostly likes what he sees.

“This gives me hope,” he says. “I was just at a show …, a showcase for a label called Crafted Sounds, that’s run by this 18-year-old Pitt student. Before my very eyes I’m watching this next generation of incredible Pittsburgh musical talent getting their sea legs.

“We’re just caretakers, but we’re leaving this city to a good generation. The kids are all right.”

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New ‘Open Mic’ in Carnegie draws performers and audience

Performers in all genres and talent levels are laying down the sound in monthly “open mic” sessions at the Church of Atonement in Carnegie.

The Artists of Atonement Open Mic, as the group is officially known, held the first of its monthly get-togethers on Dec. 3 with 14 performers. By the time the second open mic rolled around on Jan. 7, the roster of performers and the audience packed the undercroft of the church located at 618 Washington Ave.

The brain child of Mike and Diane McCauley, members of the congregation and business partners of Howling Kitty Music, the events offer free admission to listeners and performers alike as well as complimentary snacks such as biscotti, pretzels, cookies, candy and coffee. Donations, however, are accepted.

One by one, from 7 to 9:30 p.m., the performers take the stage in the sequence of signing in at the door while the audience sits at small tables that give the venue a cabaret-style feel. People may bring their own alcohol, which is limited to beer and wine.

As owners of Howlin Kitty Music, a song publishing and recording enterprise, Mike McCauley said he and his wife are always looking for new and undiscovered talent. As members of the church congregation, they also knew the church was searching for new forms of community outreach and proposed the idea of the open mic to the vestry.

“It was a perfect fit, and they loved the idea,” said McCauley, who emcees the events.

Although the next open mic would normally be scheduled for Feb. 4, which happens to be Super Bowl Sunday, the date has been moved back to Feb. 11 to allow performers and audience to enjoy the game.

“The open mic is open to musicians, poets, songwriters, spoken word artists and storytellers of all ages,” he said. “So far, our youngest performer was a 3-year-old Zanya Smith, who sang ‘Twinkle, Twinkle, Little Star.’”

The January session featured mainly singers and guitarists who played mostly country/folk music. The roster also included spoken word artist, David Minniefield, who gave a dramatic recitation from the Book of Ecclesiastes, and flutist Suzanne Levinson, a member of the Pittsburgh Savoyards Orchestra and teacher at the Johnstonbaugh Music Center in Bridgeville. Levinson played an aria by Rossini, a classical work by Schubert and ended with the Irish song “Danny Boy.”

Steve Chess of Dormont attended both sessions as a listener, although he said he also plays the guitar and five-string banjo and may perform sometime down the road.

“The level of quality of the performers varies from professional to amateur, but all are worth listening to,” he said. “Some of the songs were original; others were familiar standards from current country to Credence Clearwater.”

Husband and wife folk duo Annie Trimble and Curt Cooper have been performing together for over 27 years – ever since they first laid eyes on one another while recruiting for old time dance band, Corn Dogs. They met the McCauleys a couple years ago at one of the monthly “song swaps” they hold for musicians at their home in Mt. Lebanon.

“We’ve had the opportunity to attend over 20 different open mics and always find them fun,” said Cooper, who runs a small music business with his wife through their website at “We find it a good way to share our music with an appreciative audience and plan to continue doing them with (McCauley).”

As for McCauley, he said had some early song writing success in Nashville in the late 1970. During his five-year residence in the Tennessee capital of country music, his biggest hit was “Ugly Women & Pickup Trucks,” recorded by five different artists, including Ronnie Dunn of Brooks and Dunn fame. The version by Bill Arwood is available on

After deciding to leave Nashville to make a “steady living,” McCauley taught high school English in Bethel Park, then became a computer science professor at LaRoche College

Following his retirement, he and Diane formed Howlin Kitty Music, named for their cat Woodstock.

“Through the open mics, we hope to be able to find local talent we can record in our studio in our home and put them on our record label,” McCauley said.


read full article at theAlminac

IN Community Magazine

After a 26-year hiatus from song writing, Mike McCauley never thought he would create his own music label. McCauley fell in love with roots music growing up in West Virginia. He remembers listening to adults playing the banjo and singing. McCauley learned to play the banjo at age 10 and picked up the guitar as a teenager. “Music is in my blood,” he explains. “It was always something I enjoyed listening to and doing. I think it was embedded in my nervous system. You can never get rid of it, no matter how far you run from it. It’s always there.”

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Right Wing Redneck Blues Video

Mike McCauley’s Right Wing Redneck Blues Lyric Video