We talk to Jim Cara, Lee Garver, Lindy Fralin, Ken Warmoth and Sara Ray about what they do and what the term Hot Rod means to them
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Check out the builders...
James Cara
Cara Hot Rod Guitar Shop
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My dad worked in a music store when I was eight years old. I just started hanging out there, and I liked the guitar atmosphere of it, but I was also into Hot Wheels and building model cars. I started working at the store, and after awhile I started putting wheels from model car kits and using them as knobs, decals and flames on the body. Through my whole life, both worlds of guitars and hot rods have always coincided.
With guitars, I never really fell in line with the ordinary stuff. I approached the guitar like the old guys did with their cars. They didnāt go out and look for parts, they went out and made the parts to accomplish the look, feel and drivability they wanted. I always approached it that way with guitarsāmostly for a lack of money. I never had a guitar with a tremolo growing up, but I figured out a way to make the bridge wiggle and that was my first modification on the actual guitar setup.
Whatās your building philosophy?
First off, youāve got to figure out what the customer wants out of it and what they want to achieve out of it. They might want EMG pickups, but in your head youāve got to know why they want these pickups. Is it because they read about them? A friend told them or a famous player uses them? That might not be the right answer. He could be this rockabilly dude who is going with his friends who use EMG pickups, and itās totally not what he needs to achieve that sound.
Tell me about your pickup selection process and how that works for your Hot Rod shop.
First off, I collect every freakinā pickup I can get my hands on. Iāve built a device that can test and measure pickupsālike a dynamometer for cars. Imagine a guitar sitting on a bench with an arm that hits the strings at a predetermined strength, with a pick on it, and it hits it consistently every time and it has a meter on the output of it, so that you can measure any pickup. I also use a spectrum analyzer to assess what tones and frequencies are coming out of the pickup and how they react to different room settings and setups, which helps decipher what pickups have the clarity, midrange, output, low frequency and breakup point that works best for what a particular customer needs for their tone.
Do you construct your own bodies or do you use others as a template for customers?
Itās going back to the hot rod car scene. For instance, youād walk through an old junkyard with all these mangled cars and youād say to a buddy, āThatād be awesome if you could fix it up.ā So I just apply that same principle to guitars. Any guitar could be a good guitar, if you just put the time and effort into it. We have tons of bodies up on the wall and people can just come in and look around and find a body style to start with, but if they want a custom shape or body, I have a CNC machine I can use through the CAD program and cut it out. While people may want a crazy shape or design, whatās more important to them is the paint, tone and playability.
Whatās the process at your shop like?
Since I have years of experience on design and computer graphics, after they decide on a body style and wood choice, I do computer mockups of their guitar with graphics, paint schemes and fully erected on the computer and email them the different designs. Itās totally like Orange County Choppers, where they see everything laid out and completed before it even begins the actual building process. I think thatās the most important thing that we doāthey build the guitars with us.
Why should people come to Caraās Hot Rod Guitars?
Because itās not one of our guitars, itās their guitar. They are so involved in building these guitars, and itās exactly the way they want the tone, look, feelā¦ the whole PT Barnum package. The guitar is all about them. Theyāre not buying a PRS or Les Paul thatās a different color, theyāre buying their own guitar and Iām just making it for them. Itāll be what they wanted or they wonāt pay me for it. Itās as simple as that.
Hit page 3 for the second of our 5 Hot Rodders...
Lee Garver
GMW Guitar Works
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Its funny because my background isnāt in art or paintā¦ I graduated from Stanford with a Ph.D. in Synthetic Organic Chemistry. After doing that in the field for a few years, I realized that I couldnāt do that the rest of my life. I actually got my foot in the door while searching for a keyboard in the eighties. The guy who was selling it to me introduced me to Wayne Charvel. From that point, I had Wayne build me some guitars, and then I met Neal Moser because Wayne was working with BC Rich. Moser got me into the industry by building, and then as we moved into the nineties, it became more autonomous with GMW.
For painting, I set up my own booth in 1990 ā 1991, and I had another guy that did all the painting. I just learned by watching over his shoulder, and in 1995 I just took it all over and painted everything myself. I just shut up, watched and took other paintersā advice.
What prompted you to go into the custom, hot-rodded paint world?
I think my influences started from just admiring the Jackson/Charvel and BC Rich companies back in the eighties. Iām a product of the Van Halen, George Lynch and Journey generation. My graphic artist, Dan Lawrence, used to work for Jackson and BC Rich, so I sort of followed into that mold because I loved and identified with those guitars. I wasnāt really a wood-based kind-of-a-guy back then; I was more interested in the graphics and flash on the guitars of those rock bands during that era. We started doing repairs and modifications on Jackson/Charvel and BC Rich guitars, and thatās how I built the GMW name.
As we moved into the nineties and the new millennium, I became disinterested in that kind of workājust this year I stopped doing repairs, modifications and new paint jobs on guitars from other companies, so we could focus solely on GMW and Empire guitars. I just turned fifty-five, so I wanted to take my company in its own direction before the wife puts the hammer down and makes me come home.
What models of guitars are you painting now?
We still have our influences from the eighties and nineties flowing in our shop with the graphics. With the Empire line, we blended it in a manner where weāll have exotic woods, but the overlays on those will be intense graphics. Weāll cover the traditional guys with straight ahead paint schemes and colorsāguys into graphics and eye-catching designsābut also a blend of both those worlds. While they may want different paint jobs and graphics, our client base seems to be rooted in that Jackson/Charvel camp of smokinā guitars and crazy, colorful designs.
Yes, weāre open to custom graphics and paint ideas, but with our extensive online archives, people usually find either a design or paint scheme usually find either a design or paint scheme that works for them. And if nothing else, it provides them a starting point. People just go through our āGeneratorā on the site and design the guitar how they want, with several options for each area and components of the guitar. When it comes to the paint, they just simply refer to the archived graphic or paint, and we can reapply that design or graphic to their particular body style. Even if the two guitars are different, they can get a basic feeling of what will be the end product.
What seems to be the go-to setup and paint style people go with at GMW?
Iād say most of them are going to be like a Fender Strat or Jackson-esque guitars, which is our SS model. Our graphics and paint schemes seem to just flow and fit better on those styles of guitars. Probably just another nod to our influencesā¦ the eighties rock/metal movement, in line with the Jackson Soloist models. But we do stuff on the LP-style, a Star-style and even quite a few Tele-style guitars too.
What are some paint schemes that embodies what GMW is all about?
Iād have to say our hot-rod flame, snakeskin and camouflage models are our most popular, with additional paint schemes on request. Who are some artists youāve done work for? The most recent were the two polka dot flying Vs for Zakk Wylde, plus we have also built guitars for Pat Smear of the Foo Fighters, Michael Anthony and Dweezil Zappa.
Why should someone buy a GMW guitar?
I think because we give you the most bang for your buck. We simply donāt have the massive overhead that the bigger guitar companies carry, which equates to consistent value. In addition, we listen to what you have to say and what youāre looking for in a guitar, and we make sure the end result is better than what you expectedāits all about customer service and satisfaction at GMW. In fact, I answer all the emails personally and within 24 hours.
Hit page 4 for the third of our 5 Hot Rodders...
Lindy Fralin
Lindy Fralin Pickups
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Well, I do remember when I bought my first hot pickupāit was a Duncan. It had to be around 1981 or so, and it made a huge difference in my Strat. It was a Strat bridge pickup; that was a pickup I thought was too weak. The other two pickups sounded great to me. They sounded like Hendrix, but the bridge was so trebly and thin it hurt my ears, you know?
I remember that all three pickups were about 5.7k. After about a year or two of that pickup being in thereāit was a 14k pickupā it became too much. And I started thinking, āThereās gotta be something in between 5.7k and 14k.ā Luckily, I met a friend here in Richmond who had been winding his own pickups. He somehow stumbled on a roll of wire, built himself something to spin the pickups and had some success. And after I wound two [pickups] on his, I made myself a similar rig. And I just did that for a while; my band didnāt play a whole lot. [laughs]
Comparing your pickups to the standard fare for Stratocasters, theyāre a little more forward voiced, a little more aggressive.
Well, I have always played my amp just on the edge of distortion and rarely use pedals. That way with just how I hit the string, I can go from distorted to clean. A cleaner pickup lets me have really bright rhythms, if thatās what I want to do, or I turn the guitar down or play it softer. Likewise, I can get as nasty as I want by turning the guitar all the way up or changing my attack.
Your website mentions that the Strat is one of your favorite guitars. Whatās your idea of a perfect Strat?
The perfect neck, the perfect frets and a really versatile [pickup] set with a hotter bridge. I guess my theory in Fenders is that I want the loudest pickups I can possibly have, but still have brilliant wound strings.
How do you achieve that?
Itās a different pickup for every guitar. And thatās why we make a line with subtle variations between models, because every guitar of mine needs a different amount of power and high end to get what Iām looking for. In a Fender, if you go too far, your wound strings get clogged up. And thatās too much pickup. I would take it back out and go weaker until I got what I wanted. But basically in a Fender I want the loudest pickup I can have that still has brilliant wound strings. I love that sound.
Could you tell us about some of your higher output models?
We use the term āhigh outputā around our shop for pickups wound with 43 gauge wire instead of 42. Because the wire is one gauge smaller, you can fit more turns on a coil. Fender used mostly 42 gauge wire on Strats and Teles; if you want to wind something past a certain output on Strats you have to use a finer gauge wire. So if we use the term high output, weāre using 43 gauge wire. I can still vary the number of turns, but it leaves you room for somewhere between 10 and 15 percent.
Who would you recommend those higher output models for?
Our high outputs are for people who want a thicker midrange and a stronger pickup. It gives you a little longer sustain, a thicker midrange and a little more grind in your chords. The stronger the pickup, the more the tube amp distorts with a chainsaw grind, and that grind gets faster and faster. With a weaker pickup, you can get it up loud enough to distort the amp,
I know you handwind each pickup, but do you do custom builds? Or are customers limited to your established models?
We will build anything a customer can think of, with the parts available to us. An incredibly high percentage of our stuff is custom wound for somebody. They look at all of our models and still say they want something in between two specific models.
What is hot-rodding a guitar to you?
Itās making a guitar better in any way. To one guy, it might be bigger frets. The first time I put big frets on one of my Fenders, I was the happiest guy in the world. When you narrow it down to pickups, itās just getting them to do what youāre hearing in your head. There isnāt a perfect pickup for everybody; with us, it involves having a lot of options, listening to people and finding what theyāre looking for.
Hit page 5 for the fourth of our 5 Hot Rodders...
Ken Warmoth
Warmoth Guitar Products
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What did you want to provide to people? I began working with my dad at Boogie Bodies way back in 1978, and ended up running this enterprise up until early in 1980, when we dissolved that partnership and started up Warmoth. Dad was the machinery guy, he built the cool tools used to make necks; his partner was the guitar junkie/salesman. We supplied many parts to Charvel in their early years, but for the most part, we simply sold wholesale to guitar techs around the country. Warmoth supplied many of the early boutique builders, the biggest of which was probably Valley Arts, while they were still a California company.
We began making necks because nobody else was doing it, and there were a lot of Fender guitars with trashed necks. This was in the years prior to the āvintageā market and, hence, putting a new neck on your ā66 Strat was no big dealāit was even less of a deal on your CBS-era guitar that could well have come from the factory with a crappy neck. Most Fenders of the era had 1-5/8ā wide necks with 7.25ā radius fingerboards, and there was a buzz for wider necks and flatter fingerboards with Gibson frets; this is the bandwagon we jumped on.
The old Charvel guitars used by Van Halen had necks that we built on themāI know there has been a lot of fame-claiming on this one, but the fact remains that Warmoth built all the necks at Boogie Bodies with 1-3/4ā wide nuts and a 10ā fingerboard radius!
What should guitar players ask themselves before purchasing a replacement neck?
Guitar players donāt really analyze what it is about the mechanics of a neck that they like or hate. They do with pickups and bridges, but not so much with necks. If theyād simply get out of the idea that one size fits all, they could look at the size of their hand, the diameter of their fingers and ask themselves if a wider or narrower neck might be more accommodating, or if a different neck profile might make their fretting hand more comfortable. There has been more recognition of this in the past decade, however it still gets little coverage in the magazines. I would pose a few questions that might have great interest to your readership:
How does fingerboard radius effect neck playability?The list could go on and on in the parts/ custom guitar arena.
What is the compound radius?
How does neck thickness affect tone and or sustain?
How does nut width effect neck playability?
What are the advantages and disadvantages to the new stainless steel frets? Do they affect tone?
What are the advantages and disadvantages to the different nut materials available?
Locking tuners versus non-locking tuners: how do Sperzels compare to Gotohs or Schallers or Planet Waves?
What can you provide players that other people or companies canāt?
To the best of my knowledge, nobody else offers a scalloped replacement neckāeither a half or full scallop. No other outfit offers as many radius options, fret options, preps for locking nuts, LSRs or compensated nuts. Heck, nobody else offers precut nuts fitted to the individual neck, regardless of fret size or fingerboard radius (and no, there is no generic precut nut, off the shelf, that is going to fit well in any neck). Nobody else offers peghead veneers or custom inlay like we do. If you want much, say, in the way your neck is going to be made, and you want it at a reasonable price, there really arenāt a whole lot of choices out there.
Usually not, although we have done such necks in the past. Unfortunately, the cost for a craftsman to hand-fabricate a neck to very specific requirements takes a lot longer than pre-canned CNC operations with preprogrammed options. Ninety-nine percent of the guys wanting a completely custom neck for some esoteric guitar donāt have a budget to compliment it.
The phrase āparts guitarā is often used by guitarists in a less-than-positive sense. How would you respond to that?
A DIY guy can come up with a āparts guitarā that is like no other. He can appease his own heartās desire with no regard to whether anyone else in the whole world likes his ideas or not. As long as heās happy, who cares about the critics? Tons of players have been totally frustrated because they were unable to find a factory guitar that suited them, and they canāt afford to have a boutique guy do the job for them. Where else can they turn but the DIY parts guitar realm? I really feel like weāve pioneered the DIY guitar parts market, leading the way for others and offering opportunities that otherwise wouldnāt exist. In the years to come, I only see this market growing as more and more players discover what it has to offer them.
Hit page 6 for the last of our 5 Hot Rodders...
Sara Ray
Sara Ray Studios
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A lot of the guitar heroes have hot rods and whatnot; I think itās all part of the customized lifestyle. Thatās where you want more out of everything. You can start out with what everybodyās got, and thatās fine, but some people want to add their personal touch to it. Itās all very personalāsome guys will paint a ridiculously out-of-control, chopped and dropped hot rod bright pinkā itās just what they want. Thereās no way to rationalize it, because itās all personal taste. You grew up around hot rods, right? Yeah, living in California and having a family that was involved heavily in that, there were always custom cars around. I literally grew up on the beach, and thatās where youād take your car: down to the beach. Thereās a big culture of it that really began out here.
Youāve done some cool work with fellow SoCalites at Fenderās Custom Shop. How did that come about?
Someone at Fender/Gretsch came to meā¦ I think they actually found me at one of the big car shows, because a lot of the builders love cars and motorcycles, and theyāre usually there. And they asked me if Iād paint a guitar but they didnāt give me a theme. That turned into the Victory Guitar, which was a Gretsch 6120 that was going to be for the NAMM show in Tennessee. I did a WWII [theme], not really sure what they wanted from me, and itās now on display at the 8th Air Force museum.
Did the company just send you a 6120?
When I get the guitars, itās just the bodies usually, but sometimes I get the neck too. It all varies; every single one has been different and thereās really no standard. But I live fairly close to the custom shop, and the builders all live around me, so itās pretty convenient. I can call them or they just come by the houseāthey like coming by the house anyway, because they get to see all my stuff.
I understand you do an impressive amount of research on your projects.
Some people have a limited knowledge of what theyāre looking for, especially with history and artifacts, like airplanes. I make it a point to spend a lot of time around the actual things I admire like that. Iāve been on most of the airfields on the West Coast and to military museums all throughout Europe. I meet a lot of people that are involved with it, and so I have a big network of people that I can go to for information.
Itās really important for me that itās as historically accurate as it can be for a paint job. Iām not sure what it is, but ever since I can remember, Iāve always been completely enthralled by history and wars and whatnot. I think itās a past life kind of thing. [laughs]
Theyāre all antiqued generally. I donāt think there are a lot that havenāt been aged that much. But being surrounded by antiques, I like them better. Everything I have is older and some of the stuff I have is almost ruined, old and just falling apart, but it gives it such personality. I try to take that and reproduce it on something to give it a little bit of history, to give it a little bit more story. I donāt really buy anything new that I donāt have to; everything is old and beat up, and when you have a house filled with that, it really is a whole different kind of world.
Youāre also using a matte finish on a lot of these guitars.
Yeah, pretty much. I donāt think Iāve ever been asked for a gloss finish. If itās a Masterbuilt guitar, we talk about what it should look like when itās done, and theyāve all agreed with me on the finishes I pick. Itās all been matte or satin; there have been a couple of flats, but I donāt think Iāve done a glossy one yet.
And if I customer is interested, they should just get in touch with you?
Definitely. I tell people, āThe quickest way to get something done by me is to get it started.ā If you wait and you want deadlines, thereās no way to know because each project is so different and thereās really no set standard of how long itās going to take or what Iām going to do with it. The Red Baron guitar took three whole months, and it was just an adventure in guitars. I lived and slept it for three months; it was constant reference work. I flew to London and went to the Imperial War Museum. And then some only take me like two weeks. I like to do pinups that are a little different, and I can do those fairly quickly, but it still requires two solid weeks of work. I wake up, I have my coffee and start and donāt stop until the sun comes up.
Framus Hootenanny Re-Issue Guitars: John Lennonās Favorite Reimagined | PG Plays
Join PG contributor Tom Butwin as he explores all-new versions of the Framus Hootenanny 12-string and 6-string acousticsāmade famous by John Lennon and now available with modern upgrades. From vintage-inspired tone to unique features, these guitars are built to spark creativity.
This Japan-made Guyatone brings back memories of hitchinā rides around the U.S.
This oddball vintage Guyatone has a streak of Jack Kerouacās adventurous, thumbing spirit.
The other day, I saw something I hadnāt noticed in quite some time. Driving home from work, I saw an interesting-looking fellow hitchhiking. When I was a kid, āhitchersā seemed much more common, but, then again, the world didnāt seem as dangerous as today. Heck, I can remember hitching to my uncleās cabin in Bradford, Pennsylvaniaāhome of Zippo lightersāand riding almost 200 miles while I sat in a spare tire in the open bed of a pickup truck! Yes, safety wasnāt a big concern for kids back in the day.
So, as Iām prone to do, I started digging around hitchhiking culture and stories. Surprisingly, there are organized groups that embrace the hitching life, but the practice remains on the fringe in the U.S. Back in the 1950s, writer Jack Kerouac wrote the novel On the Road, which celebrated hitchhiking and exposed readers to the thrill of maverick travel. Heck, even Mike Dugan (the guitarist in all my videos) hitched his way to California in the 1960s. But seeing that fellow on the side of the road also sparked another image in my brain: Yep, it always comes back to guitars.
Let me present to you a guitar thatās ready to go hitching: the Guyatone LG-180T, hailing from 1966. The āthumbs-upā headstock and the big āthumbā on the upper bout always made me think of thumbing a ride, and I bought and sold this guitar so long ago that I had forgotten about it, until I saw that hitchhiking dude. Guyatone was an interesting Japanese company because they were primarily an electronics company, and most of their guitars had their wooden parts produced by other factories. In the case of the LG-180T, the bodies were made by Yamaha in Hamamatsu, Japan. At that time, Yamaha was arguably making the finest Japanese guitars, and the wood on this Guyatone model is outstanding. We donāt often see Guyatone-branded guitars here in the U.S., but a lot of players recognize the early ā60s label Kentāa brand name used by an American importer for Guyatone guitars.
With a bit of imagination, the LG-180Tās āthumbs upā headstock seems to be looking for a roadside ride.
Kent guitars were extremely popular from the early ā60s until around 1966. The U.S. importer B&J fed the American need for electric guitars with several nice Kent models, but when the Guyatone contract ended, so did most of the Kent guitars. After that, Guyatone primarily sold guitars in Japan, so this example is a rare model in the U.S.
āUnless you are a master at guitar setups, this would be a difficult player.ā
This headstock is either the ugliest or the coolest of the Guyatone designs. I canāt decide which. I will say, no other Japanese guitar company ever put out anything like this. You have to give the Guyatone designers a thumbs up for trying to stand out in the crowd! Guyatone decided to forgo an adjustable truss rod in this model, opting instead for a light alloy non-adjustable core to reinforce the neck. Speaking of the neck, this instrument features the most odd-feeling neck. Itās very thin but has a deep shoulder (if that makes any sense). Totally strange!
Another strange feature is the bridge, which offers very little adjustment because of the three large saddles, which sort of rock back and forth with the tremolo. Itās a shame because these pickups sound great! Theyāre very crisp and have plenty of zing, but unless you are a master at guitar set-ups, this would be a difficult player.
This could be why the LG-180T only appeared in the 1966 and 1967 catalogs. After that, it disappeared along with all the other Yamaha-made Guyatone electrics. By 1969, Guyatone had gone bankrupt for the first time, and thus ended guitar production for a few decades. At least we were blessed with some wacky guitar designs we can marvel at while remembering the days when you could play in the back end of an explosive 1973 AMC Gremlin while your mom raced around town. Two thumbs up for surviving our childhoods! PG
There's a lot of musical gold inside the scales.
Intermediate
Intermediate
ā¢ Develop a deeper improvisational vocabulary.
ā¢ Combine pentatonic scales to create new colors.
ā¢ Understand the beauty of diatonic harmony.Improvising over one chord for long stretches of time can be a musician's best friend or worst nightmare. With no harmonic variation, we are left to generate interest through our lines, phrasing, and creativity. When I started learning to improvise, a minor 7 chord and a Dorian mode were the only sounds that I wanted to hear at the time. I found it tremendously helpful to have the harmony stay in one spot while I mined for new ideas to play. Playing over a static chord was crucial in developing my sense of time and phrasing.
The following is the first improvisational device I ever came across. I want to say I got it from a Frank Gambale book. The idea is that there are three minor pentatonic scales "hiding" in any given major scale. If we're in the key of C (CāDāEāFāGāAāB) we can pluck out the D, E, and A minor pentatonic scales. If we frame them over a Dm7 chord, they give us different five-note combinations of the D Dorian mode. In short, we are building minor pentatonic scales off the 2, 3, and 6 of the C major scale.
Viewing this through the lens of D minor (a sibling of C major and the tonal center for this lesson), D minor pentatonic gives us the 1āb3ā4ā5āb7, E minor pentatonic gives us 2ā4ā5ā6ā1, and A minor pentatonic gives us 5āb7ā1ā2ā4. This means you can use your favorite pentatonic licks in three different locations and there are three different sounds we can tap into from the same structure.
If you smashed all of them together, you would get the D Dorian scale (DāEĀĀāFāGāAāBāC) with notes in common between the D, E, and A minor pentatonic scales. Ex. 1 uses all three scales, so you can hear the different colors each one creates over the chord.
Ex. 1
Ex. 2 is how I improvise with them, usually weaving in and out using different positional shapes.
Ex. 2
The next idea is one I stole from a guitarist who often came into a music store I worked at. On the surface, it's very easy: Just take two triads (in our example it will be Dm and C) and ping-pong between them. The D minor triad (DāFāA) gives us 1āb3ā5, which is very much rooted in the chord, and the C major triad (CāEāG) gives us the b7ā9ā4, which is much floatier. Also, if you smash these two triads together, you get 1ā2āb3ā4ā5āb7, which is a minor pentatonic scale with an added 2 (or 9). Eric Johnson uses this sound all the time. Ex. 3 is the lick I stole years ago.
Ex. 3
Ex. 4 is how I would improvise with this concept. Many different fingerings work with these, so experiment until you find a layout that's comfortable for your own playing.
Ex. 4
If two triads work, why not seven? This next approach will take all the triads in the key of C (CāDmāEmāFāGāAmāBdim) and use them over a Dm7 chord (Ex. 5). Each triad highlights different three-note combinations from the Dorian scale, and all of them sound different. Triads are clear structures that sound strong to our ears, and they can generate nice linear interest when played over one chord. Once again, all of this is 100% inside the scale. Ex. 5 is how each triad sounds over the track, and Ex. 6 is my attempt to improvise with them.
Ex. 5
Ex. 6
If we could find all these possibilities with triads, it's logical to make the structure a little bigger and take a similar approach with 7 chords, or in this case, arpeggios. Naturally, all the diatonic chords will work, but I'll limit this next idea to just Dm7, Fmaj7, Am7, and Cmaj7. I love this approach because as you move further away from the Dm7 shape, each new structure takes out a chord tone and replaces it with an extension. I notice that I usually come up with different lines when I'm thinking about different chord shapes, and this approach is a decent way to facilitate that. Ex. 7 is a good way to get these under your fingers. Just ascend one shape, shift into the next shape on the highest string, then descend and shift to the next on the lowest string.
Ex. 7
Ex. 8 is my improvisation using all four shapes and sounds, but I lean pretty heavily on the Am7.
Ex. 8
This last concept has kept me busy on the fretboard for the last five years or so. Check it out: You can take any idea that works over Dm7 and move the other diatonic chords. The result is six variations of your original lick. In Ex. 9 I play a line that is 4ā1āb3Āā5 over Dm7 and then walk it through the other chords in the key. These notes are still in the key of C, but it sounds drastically different from playing a scale.
Ex. 9
In Ex. 10, I try to think about the shapes from the previous example, but I break up the note order in a random but fun way. The ending line is random but felt good, so I left it in.
Ex. 10
While all these concepts have been presented over a minor chord, you can just as easily apply them to any chord quality, and they work just as well in harmonic or melodic minor. Rewarding sounds are available right inside the harmony, and I am still discovering new ideas through these concepts after many years.
Though the above ideas won't necessarily be appropriate for every style or situation, they will work in quite a few. Developing any approach to the point that it becomes a natural extension of your playing takes considerable work and patience, so just enjoy the process, experiment, and let your ear guide you to the sounds you like. Even over just one chord, there is always something new to find.
Building upon the foundation of the beloved Core Collection H-535, this versatile instrument is designed to serve as a masterpiece in tone.
The new model features striking aesthetic updates and refined tonal enhancements. Crafted at the iconic 225 Parsons Street factory, home to other world-famous models like the H-150, H-157, and H-575 - the H-555 continues to exemplify the very best of American craftsmanship.
The Core Collection H-555 features a set of Custom Shop 225 Hot Classic Humbuckers, meticulously wound in-house with carefully selected components, and voiced to deliver added punch and richness while preserving exceptional dynamics and touch sensitivity. Seamlessly complementing the H-555ās semi-hollow construction, they blend warmth and woodiness with refined, articulate clarity.
The Core Collection H-555ās aesthetic has been elevated with multi-ply binding on the body, headstock, and pickguard. Its neck, sculpted in a classic ā50s profile, delivers effortless comfort and is adorned with elegant block inlays, seamlessly blending style with playability. Gold hardware complements the aesthetic, exuding elegance while presenting the H-555 as a truly premium and versatile instrument for the discerning player.
Available in Ebony and Trans Cherry, each Core Collection H-555 is beautifully finished with a nitrocellulose vintage gloss that features a subtle shine and gracefully ages over time. An Artisan Aged option is also available for those seeking an authentically well-loved look and feel, achieved through a meticulous, entirely hand-finished aging process. The new Core Collection continues Heritageās tradition of world-class craftsmanship, offering a true masterpiece in tone and design for discerning players. Each guitar is shipped in a premium Heritage Custom Shop hard case.
Key Features
- Finest Tonewoods: Laminated highly figured Curly Maple (Top & Back) with solid Curly Maple sides
- Heritage Custom Shop 225 Hot Classic Humbuckers: Designed and wound in-house
- Headstock: Multi-ply bound headstock, featuring a Kite inlay, 3Ć3 tuners laser-etched with Heritage graphics
- Neck Profile: Comfortable ā50s C-shape for a vintage feel
- Bridge: Tune-O-Matic with aluminum stopbar tailpiece for enhanced sustain
- Made in the USA: Crafted at 225 Parsons Street
For more information, please visit heritageguitars.com.