How many guitarists here can proudly raise their hand and say they can call out every single note on the fretboard instantly?
Guitarists are an interesting bunch. We slave over the juicy details of every nuance of the instrument and its vast varieties. Guitars, amps, pedals, pedalboards, cables, strings, picks, nitro versus lacquer, fretwire, bridges, everything. Modeling, tubes, power scaling, attenuators, boutique, custom wiring, pickups, and on and on and on. We go to jams, hang with friends, join bands, record ourselves, have amp fests, and spend our coffee hours (work anyone?) online reading PG, The Gear Page, and vintage amp forums, and love every minute of it. No doubt we are a varied group and the levels go from fascinated collector to industry professional and every possible type in between. But one thing I know is that many of us areā¦illiterate! Thatās right. How many guitarists here can proudly raise their hand and say they can call out every single note on the fretboard instantly? If you raised your hand, pass Go and collect $200, youāre in the big leagues! If not, letās just take a little look at what we can do to bring up our level of musicianship and make communication easier as a guitarist...and a whole lot more interesting.
In a way, knowing the fretboard is a little like knowing the alphabet, right? If you donāt know it, you canāt spell, you canāt read, and you probably have a harder time understanding whatās going on in the language. Sure you can figure things out by using familiar sign posts, landmarks, etc., but itās not the same as knowing. I recall being in my pre-reading years as a child and pretending to read a book or the newspaper, knowing damn well I didnāt know what I was saying but hoping to fool my folks. Didnāt work and they got a kick out of my trying. Thatās not really the way you want to live as a musician though, is it?
When it comes down to it, the fretboard really isnāt that complex and it repeats itself after you count to 12! Some of us play a 24-fret neck (nice and easy math there), others have less and therefore donāt have as many notes to learn. With 24 frets, thatās a total of 144 notes, or just 72 if you look at it as the fretboard split 12/12. The other nice thing about the way the fretboard is designed (in standard tuning, that is) is that you get two strings for the price of one! The 6th and the 1st are the same, so that even narrows things down farther for easier recall. In standard tuning we get the benefit of patterns that form and help connect notes, but in the end it should just be a matter of looking at the fretboard and knowing the names of the notes. Itās not that hard and there are many ways to learn the notes with a little study. Letās take a look at a few ways available to us.
Books!
Fretboard Logic (billedwards.com) is an excellent, if not slightly insane, book series on the way the fretboard works on guitar and the specific patterns, chords, and scale shapes that define it. I have the SE version of this book, which combines volumes 1 and 2 and have found it to be a fascinating study on the way the fretboard is logically laid out. Itās very in-depth and gives you so many ways to see the notes and their interconnected relationship that with some study and time you could become a master. In my opinion this is the deepest resource for understanding more that than just the notes but the ālogicā behind them.
DIY
Hunt and peck. Play a note, call it out! This is a time-tested way of learning. We did it with typing, we can do it with the fretboard. Take a little time and drop in now and then and give yourself the challenge. Name a few notes and find them on the fretboard. In no time youāll find the notes appear in letter form when you look at the fret and string.
Flash cards. 4th string, 8th fret (Bb?). If youāre feeling like a little project you can make flash cards on paper or recipe cards. It might be overkill, but being able to shuffle the deck and make the order unpredictable can be an inspiring way to mix things up.
Friends
Hanging with friends is a great way to keep you honest and even bring on some friendly competition. Think of it as having a study partner. The best part of this method is it now opens up the whole point of understanding the fretboardā¦musical collaboration! Itās a language and if youāre both speaking it you are communicating on another level, and it makes getting your ideas across easier.
There are many ways to go about this and itās just one step to becoming a more knowledgeable player. It may inspire you to learn more about theory, sight reading, and other noble quests. Heck, keep it up and you might be on your way to becoming the next great session player. We all can dream!
Teamwork makes the dream work for the Charleston, South Carolina, twosome, who trade off multi-instrumental duties throughout their sets.
Michael Trent and Cary Ann Hearst have been making music as Shovels & Rope since 2008. The husband-and-wife duo from South Carolina specialize in rootsy, bluesy rock, Americana, and alt-country, but they donāt confine themselves to traditional two-piece arrangements. They switch off on vocal, guitar, percussion, and synth duty throughout their shows, orchestrating a full-band ruckus with all available limbs.
Their seventh full-length, Something Is Working Up Above My Head, released in September last year, and while touring in support of it, they stopped at Nashvilleās Brooklyn Bowl in late February. PGās John Bohlinger caught up with Trent before the gig to see what tools he and Hearst use to maintain their musical juggling act.
Brought to you by DāAddario.Black Bird
Trentās not a guitar snob: Generally speaking, he plays whatever he can get his hands on. While playing Eddie Vedderās Ohana Fest, someone loaned him this Gretsch Black Falcon, and he fell in love with it. He likes its size compared to the broader White Falcon. Itās also the bandās only electric, so if it goes down, itās back to acoustic. Hearst takes turns on it, too.
Trent loads the heaviest strings he can onto it, which is a set of .013s. It lives in standard tuning.
Ol' Faithful
As Trent explains, he and Hearst have done some DIY decorating on this beautiful Gibson J-45āitās adorned with sweat droplets, stains, and fingernail dust. It runs direct to the venueās front-of-house system with an LR Baggs pickup. This one is strung with Martin heavy or medium gauge strings; lighter ones are too prone to snapping under Trentās heavy picking hand (which holds a Dunlop Max-Grip .88 mm pick). And it rolls around in an Enki tour case.
On Call
These second-stringersāa Loar archtop and an LR Baggs-equipped Recording Kingāare on hand in case of broken strings or other malfunctions.
Need for Tweed
Trent doesnāt trust amps with too many knobs, so this tweed Fender Blues Junior does the trick. It can get fairly loud, so thereās a Universal Audio OX Amp Top Box on hand to tame it for some stages.
Shovels & Rope's Pedalboard
Because Trent and Hearst trade off bass, guitar, keys, and percussion duties, all four of their limbs are active through the set. Whoever is on guitars works this board, with an MXR Blue Box, Electro-Harmonix Nano Big Muff, EarthQuaker Devices Hummingbird, and Boss OC-5, plus a pair of Walrus Canvas Tuners for the electric and acoustic. Utility boxes on the board include a Walrus Canvas Passive Re-Amp, Radial J48, Livewire ABY1, and a Mesa Stowaway input buffer.
A Roland PK-5 MIDI controller, operated by foot, sits on the lower edge of the board. It controls the board for āThing 2,ā one of two MicroKORG synths onstage.
Thing 1 and Thing 2
Thereās no one backstage helping Hearst and Trent cook up all their racket; they handle every sound themselves, manually. During the first few sets of a tour, youāre liable to see some headaches, like forgetting to switch synth patches during a song, but eventually they hit a rhythm.
Affectionately given Seuss-ian nicknames, this pair of microKORGs handles bass notes through the set, among other things, via the foot-controlled PK5. āThing 1ā is set up at the drum station, and runs through a board with an EHX Nano Big Muff, EHX Bass9, EHX Nano Holy Grail, and a Radial Pro DI. A Walrus Aetos keeps them all powered up.
The board for āThing 2,ā beside the guitar amps, includes an EHX Mel9 and Bass9 powered by a Truetone 1 SPOT Pro, plus a Radial ProD2.
Featuring a newly-voiced circuit with more compression and versatility, these pedals are hand-crafted in Los Angeles for durability.
Messiah Guitars custom shop has launched a pair of new pedals: The Eddie Boostdrive Session Edition and Lilā Ed Session Drive.
The two pedals are full-size and mini-sized versions of a newly-voiced circuit based on Messiahās successful Eddie Boostdrive. The two new āSessionā pedals feature more compression and versatility in the overall tone, and showcase Messiahās ongoing collaboration with Nashville session guitarist Eddie Haddad.
The new Session Boostdrive schematic includes a fine-tuned EQ section (eliminating the need for the Tight switch on the earlier Boostdrive) and two independently operated circuits: a single-knob booster, and a dual-mode drive featuring a 3-band EQ. The booster consists of a single-stage MOSFET transistor providing boost ranging from -3dB to 28dB. At low settings, the boost adds sparkle to the tone, while a fully cranked setting will send your amp to a fuzzy territory. Thebooster engagement is indicated by a purple illuminated foot switch.
The overdrive contains a soft-clipped op-amp stage, inspired by a screamer-style circuit. The pedal includes a classic Silicon clipping mode (when activated, the pedalās indicator light is blue)and an LED mode for a more open, amp-like break up (indicator light is red).
The active 3-band EQ is highly interactive and capable of emulating many popular drive sounds. Although both effects can be used separately, engaging them simultaneously produces juicy tones that will easily cut through the mix. Both new pedals accept a standard 9V pedal power supply with negative center pin.
āI love my original Boostdrive,ā says Haddad, ābut I wanted to explore the circuit and see if we could give it more focused features. This would make it more straightforward for guitarists who prefer simplicity in their drive pedals. The boost is super clean and loud in all the right waysā¦it can instantly sweeten up an amp and add more heft and sparkle to the drive section.ā
Like their custom guitars and amplifiers, Messiahās pedals are hand-crafted in Los Angeles for durability and guaranteed quality.
The Lilā Ed Session Drive pedal includes:
- 5-knob controls, a 2-way mode side switch
- Durable, space-saving cast aluminum alloy 1590A enclosure with fun artwork
- True bypass foot switch
- Standard 9V/100mA pedal power input
The Eddie Session Edition pedal features:
- 6-knob controls, a 2-way mode switch; space-saving top-side jacks
- Durable, cast aluminum alloy 125B enclosure with fun artwork
- Easy to see, illuminated optical true bypass foot switches
- Standard 9V/100mA pedal power input
The Eddie Boostdrive Session Edition retails for $249.00, and the Lilā Ed Session Drive for$179.
For more information, please visit messiahguitars.com.
Eddie BoostDrive and Lil' Ed pedal review with Eddie & Jax - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Joe Glaser has been a pillar of Nashville's guitar community for decades. He's a man that dreams in mechanical terms often coming up ideas while deep in a REM cycle. Through his various companies he's designed, developed, and released a handful of "blue water" solutions to age-old instrument problems making the tolerable terrific. In this comprehensive visit to Glaser's home base, we get up close and personal with several of the products that enhance intonation and playability without disrupting the guitar's integrity.
In addition, Music City Bridge CEO Joshua Rawlings introduces us to a couple software ventures. Shop Flow helps increase productivity and efficiency for guitar builders and repair shops, while Gear Check aims to help guitarist's keep track of their collection and its history. Join John Bohlinger as he goes inside this inconspicuous six-string sanctuary.
With 700 watts of power, built-in overdrive, versatile EQ options, and multiple output choices, this bass head is designed to deliver unparalleled clarity and performance in a lightweight, rugged package.
PowerStage 700 Bass is compact and durable for easy transport yet powerful enough to fill any venue. This world-class bass head can also serve as the ideal clean power platform to amplify your preamp or modeler. Streamline your rig without compromising your sound and focus on what truly mattersāyour music.
Designed by Seymour Duncanās legendary engineer Kevin Beller, a lifelong bass player, this 700-watt bass head delivers unparalleled clarity and performance in a lightweight, rugged package. Whether plugging in on stage or in the studio, PowerStage 700Bass provides tight low-end and rich harmonics, with a footswitchable built-in overdrive for an extra layer of sonic versatility.
A robust, bass-optimized EQ (treble, low mid, high mid, bass and presence) tailors your sound to any room. Need to switch between active and passive basses? Youāre covered - PowerStage700 Bass includes a convenient -10db pad control. Multiple output options (Ā¼ā, Speakon, XLRDI, and headphone) work for any setup, whether powering cabinets, going direct to a PA, or recording straight into your audio interface.
- 700 Watts of Power at 4 ohmsā¢ Preamp voiced for a wide range of vintage & amp; modern bass sounds
- Built-in Overdrive that can go from a light vintage saturation to full-throttle bone-grinding distortion (with optional foot-switchable control)
- Effects loop allows for post-preamp processing and easy integration with modelers and preamp pedals
- 4 band EQ, Sweepable mid controls, and presence button offer dynamic tone shaping possibilities
- Aux input
- Super lightweight and durable chassis for easy transport with our optional gig bag or rack ears.
For more information, please visit seymourduncan.com.