
Intermediate
Intermediate
- Develop a stronger fingerstyle technique.
- Understand the elements of counterpoint.
- Impress your friends with your classical chops.
Steve Morse is one of the most prolific and fascinating guitarists in the business. There's a reason why so many high-level players including John Petrucci, Jimmy Herring, Joel Hoekstra, and Andy Timmons list Steve as a major influence and inspiration. A deeper dive into his playing and songs will reveal a very refined technical and compositional approach steeped in classical studies.
Casual fans know Steve as a powerful rock guitarist, who has added his fiery, chromatic-laced lead work, tasty rhythm, and atmospheric tones to rock royalty Deep Purple, Flying Colors, and Kansas, along with his own projects—most notably the Dixie Dregs.
The classical influence of Morse's playing is where I want to focus. Below, I've touched on a few examples in the style of some of Morse's more well-known songs, both with the Dregs and his namesake trio. Each of the examples showcases his clever composing style and innovative classical approach which will help expand your arsenal of guitar tricks.
Even if you're a devotee of using a pick and never tried playing fingerstyle before, adding classical techniques and approaches to your rock playing can open new doors and help you evolve into a more adventurous and confident musician. Plus, with so many incredible players using their fingers (like Tosin Abasi, Derek Trucks, Jeff Beck, and Mark Knopfler), you might end up loving the tone and ditch your pick altogether!
I recently caught up with Steve for a chat in which he graciously shared his thoughts on guitar playing, creating a unique voice, making a name for yourself, and never giving up.
Just the Two of Us
"Point Counterpoint"
This is a great classical guitar/bass duo track from Southern Steel. This excerpt (Ex. 1) is based on the comping behind the bass solo by super-bassist Dave LaRue. The tune starts in the key of E, but for this excerpt, it modulates to G. Over an alternating G5 bass part, I add some two-note chord voicings over the G pedal. From there, it modulates to A for a moment, before landing back home to E.
Ex. 1
Point Counterpoint
Steve on Originality: "I want to play music that perks your ears up. Be as original as possible, and if it sounds like something else, it's out."
The Burst and the Baroque
"Flat Baroque"
Another fun guitar/bass duo, this wild composition from Coast to Coast brings an Irish/Scottish flavor to the table. This example in A (Ex. 2) features a small burst of speed from the picking hand. Keep your a-m-i fingers (ring, middle, and index, respectively) ready to keep those tremolo bursts clean. It might sound difficult at first listen, but try it slowly, and you'll find it much easier with practice.
Ex. 2
This is another example (Ex. 3) based on the comping under a bass solo by LaRue. Even though this is meant to be an accompaniment, it stands alone as a beautiful arpeggio exercise, starting with an Emaj7/9 chord, then modulating to C/F with really rich open voicings. The C/F chord shape calls for some ambitious pinky stretches, so approach them slowly, and go one note at a time.
Ex. 3
Flat Baroque
"The choices you make musically and in writing are a big part of your success." — Steve Morse
Break It Down
Ex. 4, inspired by a track from his solo record, High Tension Wires, is a great example of a part getting more and more exciting as it unfolds. It sounds more intimidating than it actually is, so begin with breaking it down into small chunks, and add more as you get comfortable with each phrase. Keep the thumb even with the bass as you play the chords above. Most of the chord movement is intuitive, and once you get it under your fingers, it's really satisfying to play!
Ex. 4
Highland Wedding
"Everyone is influenced by what they hear, see, and feel, but you have to put in time day after day to make it meaningful." — Steve Morse
"Little Kids"
Ex. 5 is based off a great guitar/violin duo from the classic '78 Dregs release, What If, and is proof that improvisation can weave itself seamlessly into a classical setting. The guitar trades fours with Dregs violinist extraordinaire Allen Sloan. The rhythm starts with a D major pattern for four measures, and the guitar responds with a nice low-string lick outlining the changes. The progression repeats again with the same rhythm, and on the second solo reply, two-note harmonics are utilized to nail the chord changes.
Ex. 5
Little Kids
On Performing Live: "In any setting, if someone is playing music well, people will enjoy it." — Steve Morse
"Northern Lights"
This example (Ex. 6) is my take on a clever transition lick from this track off of the Dregs' major label debut Free Fall. With the key changing on each beat, I start with a descending Esus2 arpeggio followed by an ascending Bsus2 arpeggio. I then continue with a Dsus2 descending arpeggio into an ascending Gsus2 arpeggio. Finally, I play a slightly different pattern between G# and C#, before resolving to a nice Eadd9 chord. Try it slow and keep all the lines aslegato as possible, incorporating slurs/pull-offs for the descending E and D arpeggios.
Ex. 6
Northern Lights
Gotta Get Paid!
One of the nice surprises with my chat with Steve was discovering his first professional paying gig was playing guitar for a handful of musicals in an orchestra theater pit at a Miami playhouse. The gig came through fellow UM classmate Pat Metheny's recommendation while in college. Those gigs helped pay for his flying lessons, a passion of his that has allowed him to fly his band to their gigs.
"Up in the Air"
The solo in Ex. 7 is inspired by the lesser-known guitar duet from the Dregs album Industry Standard. The track was performed alongside Yes guitar legend Steve Howe. Though the original is played with a pick, I ended up using my fingers over the B minor progression to keep the sound consistent between the two halves of the solo.
Ex. 7
This example (Ex. 8) was inspired by the second half of the solo, which modulates to A with some elegant trills and pull-offs, before launching into a fiery 16th-note triplet major scale run, and then settling right back into the groove.
Ex. 8
Up in the Air
Odd Jobs
Doing other jobs can actually offer a different perspective on how music affects your life. In between his studio work and touring schedule, Steve has handled a wide range of jobs, from a commercial airline pilot, to digging with a bulldozer, to his current venture when not performing: hay farming.
"Point Counterpoint"
Ex. 9 is based on the closing phrase of the song. It's a simple but beautiful E major arpeggio with B major chord grips thrown in before shifting back to one more E, with the upper note jumping two octaves in a single lick! This was one of the first songs I ever heard from Steve when he played it live on the original Howard Stern radio show in the '90s. It completely blew me away, and when it reached this final lick at the end of the tune, I instantly became a fan for life.
Ex. 9
Point Counterpoint
On Success
Lastly, here are two great examples of Steve Morse's definition of success:
"Real success is getting gigs playing your own music."
"Most people who experience success don't realize it because it's a gradual process, like slowly boiling a frog in water."
Maybe the most successful thing about Steve, in my opinion, is his uncompromising vision and determination to "go around people who say 'no.'" Looking over his tremendous body of work and accolades, it's easy to see why fans and musicians worldwide say "Yes" to Morse!
- Rig Rundown: Deep Purple's Steve Morse - Premier Guitar ›
- Electric Etudes: Steve Morse - Premier Guitar ›
- Deep Purple's Steve Morse: 'InFinite' Mastery - Premier Guitar ›
- Andy Timmons Unveils New Song & Announces 'Electric Truth' Album - Premier Guitar ›
- Legendary Dixie Dregs Guitar Rigs: Steve Morse & Andy West ›
David Gilmour, making sounds barely contained by the walls of Madison Square Garden.
The voice of the guitar can make the unfamiliar familiar, expand the mind, and fill the heart with inspiration. Don’t be afraid to reach for sounds that elevate. A host of great players, and listening experiences, are available to inspire you.
In late fall, I had the good fortune of hearing David Gilmour and Adrian Belew live, within the same week. Although it’s been nearly two months now, I’m still buzzing. Why? Because I’m hooked on tone, and Gilmour and Belew craft some of the finest, most exciting guitar tones I’ve ever heard.
They’re wildly different players. Gilmour, essentially, takes blues-based guitar “outside”; Belew takes “outside” playing inside pop- and rock-song structures. Both are brilliant at mating the familiar and unfamiliar, which also makes the unfamiliar more acceptable to mainstream ears—thereby expanding what might be considered the “acceptable” vocabulary of guitar.
Belew was performing as part of the BEAT Tour, conjuring up the music of the highly influential King Crimson albums of the ’80s, and was playing with another powerful tone creator, Steve Vai, who had the unenviable role of tackling the parts of Crimson founder Robert Fripp, who is a truly inimitable guitarist. But Vai did a wonderful job, and his tones were, of course, superb.
To me, great tone is alive, breathing, and so huge and powerful it becomes an inspiring language. Its scope can barely be contained by a venue or an analog or digital medium. At Madison Square Garden, as Gilmour sustained some of his most majestic tones—those where his guitar sound is clean, growling, foreign, and comforting all at once—it felt as if what was emanating from his instrument and amps was permeating every centimeter of the building, like an incredibly powerful and gargantuan, but gentle, beast.
“The guitar becomes a kind of tuning fork that resonates with the sound of being alive.”
It certainly filled me in a way that was akin to a spiritual experience. I felt elevated, joyful, relieved of burdens—then, and now, as I recall the effect of those sounds. That is the magic of great tone: It transports us, soothes us, and maybe even enlightens us to new possibilities. And that effect doesn’t just happen live. Listen to Sonny Sharrock’s recording of “Promises Kept,” or Anthony Pirog soloing on the Messthetics’ Anthropocosmic Nest, or Jimi Hendrix’s “Freedom.” (Or, for that matter, any of the Hendrix studio recordings remixed and remastered under the sensibilities of John McDermott.) Then, there’s Jeff Beck’s Blow by Blow, and so many other recordings where the guitar becomes a kind of tuning fork that resonates with the sound of being alive. The psychoacoustic effects of great tones are undeniable and strong, and if we really love music, and remain open to all of its possibilities, we can feel them as tangibly as we feel the earth or the rays of the sun.
Sure, that might all sound very new age, but great tones are built from wood and wires and science and all the stuff that goes into a guitar. And into a signal chain. As you’ve noticed, this is our annual “Pro Pedalboards” issue, and I urge you to consider—or better yet, listen to—all the sounds the 21 guitarists in our keystone story create as you examine the pedals they use to help make them. Pathways to your own new sounds may present themselves, or at least a better understanding of how a carefully curated pedalboard can help create great tones, make the unfamiliar familiar, and maybe even be mind-expanding.
After all these years, some players still complain that pedals have no role other than to ruin a guitar’s natural tone. They are wrong. The tones of guitarists like Gilmour, Belew, Vai, Hendrix, Pirog, and many more prove that. The real truth about great tones, and pedals and other gear used with forethought and virtuosity, is that they are not really about guitar at all. They are about accessing and freeing imagination, about crafting sounds not previously or rarely heard in service of making the world a bigger, better, more joyful place. As Timothy Leary never said, when it comes to pedalboards and other tools of musical creativity, it’s time to turn on, tune up, and stretch out!
With 350W RMS, AMP TONE control, and custom Celestion speaker, the TONEX is designed to deliver "unmatched realism."
"The next step in its relentless pursuit of tonal perfection for studio and stage. Born from the same innovative drive that introduced the world's most advanced AI-based amp modeling, TONEX Cab ensures that every nuance of modern rigs shines onstage. It sets the new standard for FRFR powered cabinets for authentic amp tones, delivering unmatched realism to TONEX Tone Models or any other professional amp modeler or capture system."
Setting a New Standard
- Professional full-range flat-response (FRFR) powered cab for guitar
- True 350 W RMS / 700 W Peak with audiophile-grade power amps and advanced DSP control
- The most compact 12" power cab on the market, only 28 lbs. (12.7 kg)
- Exclusive AMP TONE control for amp-in-the-room feel and response
- Custom Celestion 12'' guitar speaker and 1'' high-performance compression driver
- 132 dB Max SPL for exceptional punch and clarity on any stage
- Programmable 3-band EQ, custom IR loader with 8 onboard presets and software editor
- Inputs: XLR/1/4" combo jack Main and AUX inputs, MIDI I/O and USB
- Output: XLR output (Pre/Post processing) for FOH or cab linking, GND lift
- Durable wood construction with elegant design and finish
- Swappable grill cloths (sold separately) and integrated tilt-back legs
Finally, Amp-in-the-room Tone and Feel
Thanks to its unique DSP algorithms, TONEX Cab's exclusive AMP TONE control stands apart from any other FRFR in the market today, allowing players to dial in the perfect amount of real amp feel and response to any room or venue.
It achieves this through advanced algorithmic control over the custom high-wattage Celestion 12'' guitar speaker and 1'' high-performance compression driver. Together, they deliver the optimal resonance and sound dispersion players expect from a real cab. Combined with a wood cabinet, this creates a playing experience that feels alive and responsive, where every note blooms and sustains just like a traditional amp.
Ultra-portable and Powerful
TONEX Cab is the most compact 12'' powered cab in its class, leaving extra room in the car to pack two for stereo or to travel lighter. Despite its minimal size, the TONEX Cab delivers true 350 W RMS / 700 W Peak Class-D power. Its unique DSP control provides true-amp sound at any volume, reaching an astonishing 132 dB Max SPL for low-end punch and clarity at any volume. With larger venues, the XLR output can link multiple cabs for even more volume and sound dispersion.
Amplify Any Rig Anywhere
TONEX Cab is the perfect companion for amplifying the tonal richness, dynamics and feel of TONEX Tone Models and other digital amp sims. It adds muscle, articulation, and a rich multi-dimensional sound to make playing live an electrifying and immersive experience.
Its onboard IR loader lets players connect analog preamps directly to the cab or save DSP power by removing the modeler's IR block. Precision drivers also work perfectly with acoustic guitars and other audio instruments, ensuring that time-based effects shine with studio-quality clarity and detail.
Pro-level Features
TONEX Cab offers plug-and-play simplicity with additional pro features for more complex rigs. Features include a 3-band EQ for quickly dialing in your tone to a specific room without editing each preset. You can program the eight memory slots to store both EQ and AMP TONE settings, plus your cabinet IR selection using the onboard controls or the included TONEX Cab Control software. Seamlessly select between memory slots with the onboard PRESET selector or via the built-in MIDI I/O.
On Stage to FOH
TONEX Cab's balanced audio output makes it easy to customize the stage or house sound. It features pre- or post-EQ/IR for cab linking or sending sound to the front-of-house (FOH). The AUX IN allows users to monitor a band mix or play backing tracks. These flexible routing options are ideal for fine-tuning the setup at each gig, big or small.
Stereo and Stacking
With two or more TONEX Cabs, any rig becomes even more versatile. A dual TONEX pedal rig creates a lush, immersive tone with spacious, time-based effects. Players can also build a wet/dry or wet/dry/wet rig to precisely control the direct/FX mix, keeping the core tone intact while letting the wet effects add depth and space. Stack multiple cabs for a massive wall of sound and increased headroom to ensure the tone stays punchy and powerful, no matter the venue size.
Designed to Inspire
The TONEX Cab's Italian design and finish give it a timeless yet modern look under any spotlight. The integrated tilt-back legs let users angle the cab and direct the sound, which is optimal for hearing better in small or dense sound stages. Swappable optional grills (Gold/Silver) make it easy to customize each rig's appearance or keep track of different TONEX Cabs between bandmates or when running stereo rigs.
Bundled Software
TONEX Cab includes a dedicated TONEX Cab Control software application for managing and loading presets and IRs. As part of the TONEX ecosystem, it also includes TONEX SE, the most popular capture software program, with 200 Premium Tone Models, unlimited user downloads via ToneNET and AmpliTube SE for a complete tone-shaping experience.
Pricing and Availability
TONEX Cab is now available for pre-order from the IK online store and IK dealers worldwide at a special pre-order price of $/€699.99 (reg. MSRP $/€799.99*) with a black grill as the default. The optional gold and silver grill cloths are available at a special pre-order price of $/€39.99 (reg. MSRP $/€49.99*). Introductory pricing will end on March 18, with TONEX Cab shipping in April.
*Pricing excluding tax.
For more information, please visit ikmultimedia.com
IK Multimedia TONEX Cab 700-watt 1 x 12-inch Power Guitar Cabinet
TONEX Powered FRFR CabWith over 350 effects models, 120 sampling slots, and a Groove Station with a 480-second looper, this pedal offers unparalleled versatility for guitarists worldwide.
In 2025, MOOER has announced that it will be set to release its latest multi-effects pedal, the GS1000 Intelligent Amp Profiling Processor, an augmented intelligent amp profiling processor. Built on MOOER’s advanced third-generation digital platform, the GS1000 introduces groundbreaking MNRS 2.0 technology, allowing guitarists around the world to emulate their favorite gear with immense precision–specifically, for distortion pedals, preamps, amplifier heads, and cabinets.
With this innovation, guitarists can fully capture the essence of their favorite guitar gear without owning the physical hardware, enabling them to carry their favorite tones wherever they go. Users are even able to use third-party IRs for cabinets of their choice, further enhancing the flexibility of this feature.
It’s unforgettable how much MOOER’s multi-effects pedals have impressed audiences so far, primarily thanks to their robust tone libraries. However, even still, the GS1000 continues to build upon this with storage for up to 120 sampling profiles, along with continued integration with the MOOER Cloud app. Essentially, this cloud integration facilitates infinite upload and download possibilities, giving users access to a global community of shared tones, widely expanding the number of accessible tones. More still, the GS1000’s previously mentioned third-party IR cabinet simulations support up to 2048 sample points, guaranteeing studio-grade tonal accuracy across the board.
Even more impressive for the price is how the GS1000 inherits the dual-chain effects architecture that made previous MOOER gear so versatile, making it suitable for highly complex usage scenarios. With over 350 factory effects models and a Sub-Patch preset grouping mode, the GS1000 makes it far simpler for users to make seamless transitions between tones, all while maintaining effect tails to guarantee seamless transitions. Additionally, the reintroduction of the innovative AI-driven EQ Master builds upon MOOER devices’ previous capabilities, using intelligent adjustments in real-time to match the musical style of players to tones, while still allowing manual tweaks for precise control.
Impressively, the GS1000 also comes packed with a Groove Station module, consisting of a combination of drum machine and looper features–including 56 high-quality drum kits! It offers a 480-second phrase looper with infinite overdubs, automated detection, and synchronization capabilities, resulting in an intuitive platform for solo jamming, composition, and live loop-based performance. Overall, the Groove Station acts as an all-in-one suite for creating full arrangements, without having to depend on additional backing tracks or bandmates.
Visually and functionally, the GS1000 really stands out thanks to its sleek visual design and enhanced user experience. For example, it features a convenient 5-inch high-resolution touchscreen, which is also paired with ambient lighting to add a visually stunning element to the pedal. As a result, the GS1000 is not only designed for convenient touch-based control but also as a standout centerpiece in any guitar rig.
In addition to this touchscreen control system, the GS1000 also provides expanded connectivity options, improving upon the already impressive flexibility of past pedals. Most notably, it supports connectivity with the MOOER F4 wireless footswitch, as well as the ability to control presets via external MIDI devices.
As is expected from MOOER these days, the GS1000 also excels when it comes to routing opportunities, going above and beyond the typical stereo ¼” inputs and outputs that would be expected from other brands. Yes, it still includes such staples, but it also includes an XLRmicrophone input, alongside balanced TRS outputs for long-distance signal clarity. The configurable serial/parallel stereo effects loop enables seamless integration of external effects, and the addition of Bluetooth audio input and MIDI compatibility broadens its wide range of use cases for live and practice-based applications.
Furthermore, the pedal also serves as a professional audio solution thanks to its low-latency 2-in/2-out ASIO USB sound card. Supporting up to 192kHz sampling rates, the GS1000 makes recording and live streaming effortless, as it can easily be used with software DAWs, MOOER’s editing software, as well as the USB-based MIDI control.
The GS1000 will be available in two versions–the standard white edition, which is powered by mains power, and the GS1000 Li version, which introduces a 7.4V 4750mAh lithium battery, chargeable through its power port. With this upgrade, users can enjoy up to six hours of continuous power-free playtime, making it ideal for practicing, busking, and generally performing on the go.
Overall, for fans of MOOER’s previous amp simulation offerings, the GS1000 represents a natural evolution, building on everything that made its predecessors great while introducing cutting-edge features and expanded capabilities. Most importantly, MOOER has promised to continuously update its MOOER 4.0 tonal algorithms on the MOOER Cloud in line with therelease, keeping things fresh for the company’s dedicated user base.
- MNRS 2.0 sampling technology for emulating distortion pedals, preamps, amplifier heads, and cabinets
- Over 350 original factory effects models
- 120 sampling slots with upload/download support via the MOOER Cloud app
- Supports third-party cabinet IR files up to 2048 sample points
- Integrated Groove Station with a drum machine and 480-second looper, featuring infinite overdubs and synchronization capabilities
- 54 high-quality drum kits
- 4 metronome tones
- Tap-tempo control for timing effects
- Advanced AI-driven EQ Master for intelligent tone adjustment based on music styles, with manual customization options
- Built-in high-precision digital tuner
- Quick-access dual-chain effects architecture for seamless creative workflows
- 5-inch high-resolution touchscreen with ambient lighting for enhanced usability
- Four multi-purpose footswitches
- Configurable serial/parallel TRS stereo effects loop for external effects integration
- 6.35mm instrument input and XLR microphone input for expanded connectivity
- Balanced TRS stereo outputs for long-distance signal transmission without quality loss
- Bluetooth audio input functionality for accompaniment playback
- Low-latency ASIO 2-in/2-out USB sound card supporting up to 192kHz sampling rate
- MIDI controller compatibility for managing presets and features
- USB-C port for preset management, USB audio, and USB MIDI functionality
- Supports MOOER F4 wireless footswitch for extended control
- Also available as the GS1000 Li, which features a built-in 7.4V 4750mAh lithium battery, offering up to 6 hours of continuous playtime, chargeable through the power port
The GS1000 will be available from the official distributors and retailers worldwide on January 16th, 2025.
For more information, please visit mooeraudio.com.
Hand-crafted in Petaluma, California, this amp features upgrades while maintaining the original's legendary tone.
The Mesa/Boogie Dual Rectifier Solo Head’s arrival in 1992 was a watershed moment for alternative rock and metal that changed everything; heavy music would never sound the same again, and the Dual Rectifier’s crushing, harmonically rich tone became the most sought-after guitar sound of the era. With a feel as empowering as its sound, the Rectifiers provided an ease of playing that supported and elevated proficiency and was inspirational, rewarding, and addictive.
Its sound and impact on the generation that used it to define what rock music would become were as sweeping as they have been lasting. And it remains arguably the most modeled in today’s digital amp landscape. Now, the 90s Dual Rectifier is back with a vengeance, built in Petaluma, California, by the same artisans who made the originals the most desirable high-gain guitar amplifier of all time.
For more information, please visit mesaboogie.com.