Essential tips for nailing that “high, lonesome” sound.
- Explore the fundamental techniques of bluegrass guitar.
- Learn different ways to use a metronome.
- Improve the efficiency of your practice time.
I didn’t grow up listening to or playing bluegrass music, although that’s what I do for a living today. I cut my teeth playing electric guitar in garage bands doing classic rock songs by bands like the Grateful Dead, Creedence Clearwater Revival, the Rolling Stones, and the Beatles. I got deep into blues and played on the New York circuit as primarily an electric guitarist. Eventually, my journey through American roots music led me to bluegrass and I got the bug. It was challenging to learn bluegrass guitar coming from electric guitar. There were different techniques to develop and it was significantly more physically taxing to me than playing the blues. So here are 10 tips I hope can help you if you are interested in grabbing that acoustic guitar and pickin’ some bluegrass music.
Metronome, Metronome, Metronome!
Having a good sense of time is the first step to sounding great with all music, but especially in bluegrass or string band settings where there aren’t drums. Practicing with a metronome is the easiest way to improve your timing, and you will see results pretty quickly. Whether you are practicing scale patterns, chord changes, or just playing a song for fun at home, put that click on. There are many free and cheap metronome apps for your Smartphone these days, so there’s no excuse not to have one. Take a listen below to a short passage with a quarter-note click.
Flip the Click
Speaking of playing with a metronome, here’s a tip to making it even more fun to play with. To my ear it’s most natural to play with the click on straight quarter-notes, but try playing with the click on the and of each beat. This is where the mandolin chop (the snare drum of the bluegrass groove, so to speak) would be and it seems to feel more like playing music rather than merely practicing with a metronome. To flip the beat in your head, let it click four times, then start your count between click 4 and 5 (as you can hear in the recording below), and keep counting the four beats of the measure until you are turned in your head, then start playing.
Learn It Slow
Always learn to play a new passage slowly, and always with the metronome. It’s much better to play even excruciatingly slow but in time, rather than speeding up and slowing down to get through a line or playing too fast and missing notes. If you do it slowly and commit it to muscle memory, it will be much easier to play the passage fast later.
Rhythm Is King
In a bluegrass ensemble, guitar players have a very important job—laying down a good solid rhythm. Think about it: We might spend maybe three percent of a song playing a solo, if there is one. That means 97 percent of the time our job is to play rhythm. Therefore, that should be the ratio of lead to rhythm in your practice routine until you’ve got rhythm mastered. There’s no glory in rhythm playing from the audience, but there will be plenty from the musicians. When you can play great rhythm people want to play with you, period. It’s the opposite if you aren’t a good rhythm player—no matter how many breaks of “Blackberry Blossom” you worked up at 220 bpm. Trust me.
Learn Some Standards
Every genre of music has its standards—the songs that define the sound and style of the genre—and bluegrass is no exception. Learning and working through these tunes will not only give you a great place to start building your musical vocabulary, but you’ll also know material when you roll up to a jam session. Start by learning the chord changes, then the simplest form of the melody. From there, you can work up a solo by incorporating the melody and adding “ornaments” like some passing notes during rests in the melody or inserting a lick between phrases.
Here are a few to get you started: “Old Joe Clark,” “Fireball Mail,” “Salt Creek,” “Whiskey Before Breakfast,” “Angeline the Baker,” “Big Mon,” and “Red-Haired Boy.” Pay attention at local jam sessions, as you’ll start to notice that certain songs might be called out more. Don’t be afraid to ask one of the more experienced jammers if they could suggest any tunes as well. If you take their advice, you’ll know you have at least one other person to pick it with! Take a look at the video below to see super-picker Bryan Sutton absolutely tear through “Salt Creek.”
Bryan Sutton - Guitar Workshop - Salt Creek - Merlefest 2011
Find Your Palette
There are many tonal colors on your palette, and this is mainly controlled by your right hand. Play a scale up and down at a slow or moderate tempo. I like the chromatic scale because it doesn’t take any thought for the left hand, and the idea here is to focus on the right hand. Try moving your pick back and forth from the end of the fretboard all the way to right against the saddle. Also, try changing the angle of your pick (Photo 1) against the strings, starting with the pick perfectly parallel to the strings, then moving it slightly clockwise to increase the angle. As you can hear below, you’ll hear different tones, and these can all be used to get whatever sound you feel fits the song.
Bluegrass guitar is particularly physical, so it’s important to keep your muscles relaxed. This includes not only your hands and arms, but also your shoulders, neck, back, and mind. If you are feeling tension build up in your forearm—let’s say it’s at seven out of 10—try tensing up those muscles to 10 for a few seconds, then relaxing them. You should be able to feel the tension come down to a manageable level. Also, make sure you are breathing, which will aid in relaxing.
Playing smooth runs at fast tempos will sound better when you are more efficient with your motion. Try not to pull your fingers off the fretboard too much, and try not to over strum with your right hand. You can try to break bad habits by practicing very slowly, then increasing the tempo while always keeping tabs on your movements.
Practice for the Game
When you’ve mastered rhythm and start learning melodies to fiddle tunes, practice the rhythm with the melody. Once you’ve got the melody to the point that you can play it all the way through, put on your trusty metronome at a manageable tempo and play a round of the melody followed by a round of rhythm, then back to the melody and so forth. All too often I’ve seen intermediate players in jams play melodies and rhythm beautifully, but struggle transitioning between lead and rhythm. People forget to practice moving between these two roles, so when they get to the jam, they fumble with the transitions. Even if you are an absolute rhythm master, if the form is AABB, at least play one A and one B to shorten the rhythm time. It really does help to always be practicing those transitions.
It’s very difficult to fully analyze your own playing while you’re in the act. For a better perspective, record yourself and listen back. You’ll be able to hear problem areas, as well as identifying things that are sounding good. It’s important to understand your playing from the listener’s point of view. You’ll be surprised how different it sometimes can be.
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For these new recreations, Fender focuses on the little things that make original golden-era Fenders objects of obsession.
If there’s one thing players love more than new guitars, it’s old guitars—the unique feel, the design idiosyncrasies, the quirks in finish that all came from the pre-CNC era of instrument manufacturing. These characteristics become the stuff of legend, passed on through the years via rumors and anecdotes in shops, forums, and community networks.
It’s a little difficult to separate fact from fiction given these guitars aren’t easy to get your hands on. Fender Telecasters manufactured in the 1950s and 1960s sell for upwards of $20,000. But old is about to become new again. Fender’s American Vintage II series features 12 year-specific electric guitar and bass models from over two decades, spanning 1951 to 1977, that replicate most specs on their original counterparts, but are produced with modern technologies that ensure uniform build and feel.
Chronologically, the series begins and ends, fittingly, with the Telecaster—starting with the butterscotch blonde, blackguard 1951 Telecaster (built with an ash body, one-piece U-shaped maple neck, and 7.25" radius fretboard) and ending with the 1977 Telecaster Custom, which features a C-shaped neck, a CuNiFe magnet-based Wide Range humbucker in the neck position, and a single-coil at the bridge. The rest of the series spans the highlights of Fender’s repertoire: the 1954 Precision Bass, 1957 Stratocaster in ash or alder, 1960 Precision Bass, 1961 Stratocaster, 1963 Telecaster, 1966 Jazz Bass, 1966 Jazzmaster, 1972 Tele Thinline, 1973 Strat, and 1975 Telecaster Deluxe. The 1951 Telecaster, 1957 Strat, 1961 Strat, and 1966 Jazz Bass will also be offered as left-handed models. Street prices run from $2,099 to $2,399.
Fender '72 American Vintage II Telecaster Thinline Demo | First Look
Spec’d To Please
Every guitar in the series sports the era’s 7.25" radius fretboard, a mostly abandoned spec found on Custom Shop instruments—Mexico-made Vintera models, and Fender’s Artist Series guitars like the Jimmy Page, Jason Isbell, and Albert Hammond Jr. models. Most modern Fenders feature a 9.5" radius, while radii on Gibsons reach upwards of 12". Videos experimenting with the 7.25" radius’ playability pull in tens of thousands of viewers, suggesting both a modern fascination with and a lack of exposure to the radius among some younger and less experienced players.
T.J. Osborne of the Brothers Osborne picks an American Vintage II 1966 Jazzmaster in Dakota red.
Bringing back the polarizing 7.25" radius across the entire series is a gamble, and it’s been nearly five years since Fender released year-specific models. But Fender executive vice president Justin Norvell says that two years ago when the Fender brain trust was conceptualizing the American Vintage II line, they decided the time was right to “go back to the well.”
“We’ve been doing the same [models], the same years, over and over again for 30 years,” says Norvell. “We really wanted to change the line and expand it into some new things that we hadn’t done before and pick some different years that we thought were cool.”
“It takes a lot of doing to go back in time and sort of uncover the secret-sauce recipes.”—Steve Thomas, Fender
To decide on which years to produce, Fender drew from what Norvell calls a “huge cauldron of information” from Custom Shop master builders to collectors with vintage models to former employees from the 1950s and 1960s. The hands-on manufacturing of Fender’s golden years meant guitars produced within the same year would have marked differences in design and finish. So, the team had to procure multiple versions of the same year’s guitar to decide which models to replicate. Norvell says some purists would advocate for the “cleanest, most down-the-middle kind of variant,” while others would push for more esoteric and rare versions. Norvell says that ultimately, the team picked the models that they felt best represented “the throughline of history on our platforms.”
Simple and agile, the Fender Precision Bass—here in its new American Vintage II ’54 incarnation—earned its reputation in the hands of Bill Black, James Jamerson, Donald “Duck” Dunn, and other foundational players.
Norvell says the American Vintage II series was developed, in part, in response to calls to reproduce vintage guitars. Just like with classic cars, he says, people are passionate about year-specific guitars. Plus, American Vintage II fits perfectly with the pandemic-stoked yearning for bygone times. “For some people, these specific years are representative of experiences they had when they were first playing guitar, or a favorite artist that played guitars from these eras,” says Norvell. “These are touchstones for those stories, and that makes them very desirable.”
Fender’s electric guitar research and design team, led by director Steve Thomas, dug through the company’s archive of original drawings and designs—dating all the way back to Leo Fender’s original shop in Fullerton, California. They found detailed notes, including some documenting body woods that changed mid-year on certain models. Halfway through 1956, for example, Stratocaster bodies switched from ash to alder. That meant the American Vintage II 1957 Stratocaster needed to be alder, too. That, in turn, meant ensuring enough alder was on hand to fulfill production needs.
Among the series’ Stratocaster recreations is this 1973-style instrument, with an ash body, maple C-profile neck, rosewood fretboard, and the company’s Pure Vintage single-coils.
Thomas and his team discovered another piece of the production puzzle when researching how pickups for that same 1957 Strat were made. “We realized that if we incorporated a little bit more pinch control on the winders, we could more effectively mimic the way pickups would have been hand-wound in the ’50s,” says Thomas. “It takes a lot of doing to go back in time and sort of uncover the secret-sauce recipes.”
Thomas proudly calls the guitars “some of the best instruments we’ve ever made here in the Fender plant,” pointing to the level of detail put into design features, including more delicate lacquer finishes which take longer to cure and dry, and vintage-correct tweed cases for some guitars. New pickups were incorporated in the series, like a reworking of Seth Lover’s famed CuNiFe Wide Range humbuckers, which were discontinued around 1981. Even more minute details, like the width of 12th fret dots and the material used for them, were labored over. Three different models in the line feature clay dot inlays at unique, year-specific spacings.
Ironically, modern CNC manufacturing now makes these design quirks consistent features in mass-produced instruments. While the hand-crafted guitars from the ’50s and ’60s varied a lot from instrument to instrument. “Everything needs to be located perfectly, and it wasn’t necessarily back in the day,” says Norvell. “Now, it can be.”
Don’t Look Back
With this new series so firmly planted in the rose-tinted past, Fender does run the risk of netting only vintage-obsessed players. But Norvell says the team, despite being sticklers for period-correct detail, sought to strike a balance between vintage specs, practicality, and playability. The 1957 Stratocaster, for example, has a 5-way switch rather than the original’s 3-way switch. Norvell also asserts that the “ergonomic” old-school radius feels great when chording. “It might not be [right for] a shred machine, but it feels great and effortless.”
The 1966 Jazz Bass is also represented, shown here in a left-handed version.
Norvell also pushes back on the notion that Fender is playing it safe by indulging nostalgia and leaning on their past successes. He says that while the vintage models are some of the most desirable on the market, the team “purposely did not stick to the safe bets,” citing unusual year models like the 1954 P Bass and the 1973 Stratocaster.There’s a good reason why anything that hails back to “the good ol’ days” hits home with every generation. We’re constantly plagued by a belief that what came before is better than what we’ve got now. But with the American Vintage II series, Fender makes the case that guitars from the ’50s, ’60s, and ’70s can very easily be a relevant part of the 2020s.
The Red Sea was born out of the vision to provide complex signal routing options available to the live/performing musician, that up until now, are only found in a studio mixing environment.
Introducing the Red Sea, an all-analog signal routing matrix, designed for countless stereo and mono signal path routing options. The Red Sea was born out of the vision to provide complex signal routing options available to the live/performing musician, that up until now, are only found in a studio mixing environment. The Red Sea has accomplished this in a compact, easy-to-use, and cost-effective solution.
Wet | Dry | Wet
The Red Sea gives you the ability to run a FULL Stereo wet dry wet rig using only 2 amps or just 2 signals to the FOH, while also giving you complete control over your Wet & Dry mix! Use the Blend knob to control the overall mix between stereo wet effects and mono dry/drive signals.
Stereo Dual Amps
Run dual amp modelers if full stereo w/ stereo effects. Gone are the traditional ways of one amp in the Left channel and another in the Right channel. Now use the Red Sea to seamlessly blend between two separate amps in true stereo. Think of this as a 2-channel amp where you can blend anywhere between both amps.
Stereo Parallel FX
Red Sea has two independent stereo FX loops. Use each FX loop to run stereo delay's and reverb's in parallel, where each effect does not interact with each other. Huge soundscapes can be achieved with washy reverbs and articulate delay repeats while being able to blend between each FX loops mix level.
The Red Sea can also do the following routing options:
- Wet | Dry utilizing a single amp
- Clean Wet | Dry | Wet (drives DO NOT run into wet effects)
- Wet | Dry | Wet with dual delays (one in the L channel & other in R channel)
- Parallel Dual Amps (run dual amp modelers in FULL stereo)
- Convert a tube amp's serial FX Loop to a parallel FX Loop
- Stereo and Mono analog dry through (avoid latency in digital pedals)
Stardust V3 was designed to capture the sound and response of 3 distinct amplifier models.
Stardust V3 was designed to capture the sound and response of 3 distinct maxed-out amplifier models. An all-analog signal path with discrete gain stages featuring MOSFET transistors provides juicy overdrive tones with great note separation that clean up to that sparkly sound that we all love and heard in recordings of the past. Set gain and tone and control everything from your guitar. Sparkly clean to crunchy mean are all there.
You can select the amplifier voicing via the onboard toggle switch.
BSM: Voiced after a blackface amp head that was primarily targeted for bass guitar players but got famous for electric guitar classic rock tones.
VLX: Voiced after a chimey 2x10” combo offering the perfect amount of controllable crunch
DLX: Voiced after one of the most popular low wattage 1×12″ combo amps that have found their way in countless recording studios and clubs around the world.
Stardust V3 now comes with top-mounted jacks and soft-click true bypass via a high-quality relay. The pedal has loads of output volume and enhanced headroom provided by 18V DC (boosted internally) so that it can also be used as a preamp going straight into your Power Amp or AudioInterface when combined with a separate speaker simulation device.
Street price: 199 Euro / 199 USD.
For more information, please visit crazytubecircuits.com.
The Sunn O))) Life Pedal circuit has been meticulously tweaked from the original and includes a third footswitch.
Sunn O))) present an enhanced version of the Sunn O))) Life Pedal Octave Distortion + Booster, in collaboration with their comrades at EarthQuaker Devices. The Sunn O))) Life Pedal circuit has been meticulously tweaked from the original to squeeze every last drop of heavy crushing tone available. The octave section has been fine tuned to make it more pronounced without losing the bottom end and we added a third footswitch, utilizing Flexi-Switch Technology, for the octave to allow an additional method of quick and radical tone shaping.
“Working on this new version has been a great continuity of this collaboration which feels so right, and sounds so right,” says Stephen O’Malley. “It’s a really beautiful pedal and it’s also a beautiful art collaboration. I think we made something really interesting that people can enjoy to use for their own music, but also, it makes a lot of sense to release a piece of distortion as a release for our band. We’re really happy that this is a trilogy now.”
The Sunn O))) Life Pedal is designed to represent the core front end chain used in those sessions, to drive the tubes of the band’s multiple vintage Sunn O))) Model T amplifiers (or take your fancy) into overload ecstasy. This is a 100w tube amp full stack’s holy dream, or its apostate nightmare.
Sunn O))) Life Pedal is a distortion with a blendable analog octave up and a booster
- Features 3 different clipping options: Symmetrical Silicon, Asymmetrical Silicon & LED, and pure OpAmp Drive
- Distortion and booster can be used independently
- Expression and footswitch control over analog octave up
- Octave blend allows total control over how much Octave is mixed into the circuit
- True bypass with silent relay based soft touch switches
- Features EarthQuaker Devices’ proprietary Flexi-Switch® Technology
- Lifetime warranty
- Current Draw: 15 mA
- Octave Distortion: Input impedance: 1 MΩ / Output impedance: <1 kΩ
- Booster: Input Impedance: 500 kΩ / Output Impedance: <1 kΩ
- List Price: $299 USD