Get rid of those rock cliches by cutting your hair, dressing conservatively, picking some 12-string arpeggios, and letting those open strings ring!
Intermediate
Intermediate
- Arpeggiate the uncommon chord
- Work open strings into your hooks and melodies
- Find the right tone for your college-rock experience
College rock started as a generic term meant to cover the bands or genres that were neglected by mainstream radio in the 1980s—bands like Hüsker Dü (punk), Bauhaus (goth), P.I.L. (post-punk), Violent Femmes (folk-punk), and countless other nonconformists—but who dominated college radio. Eventually, and ironically, the term came to define a genre of its own. In this lesson, we’ll highlight a few of college rock’s guitar hallmarks, explain the theory behind the harmony, and point out the necessities of tone.
One could easily argue that there are two college rock bands—one from America and one from England—who set the tone for all others: R.E.M. and the Smiths, featuring, respectively, guitarists Peter Buck and Johnny Marr. So, what better place to start than with some variations on their open-string hooks and unique chord voicings, both of which helped create the college rock sound.
It should also be noted that both Buck and Marr made extensive use of 12-string guitars, giving college rock a reputation for being “jangly.” Regrettably, this is by far the most cost-prohibitive aspect of the college rock sound. Never fear, some not-so-subtle use of a chorus pedal can get you … well, if not close, closer.
College Rock Figureheads
Ex. 1 is reminiscent of R.E.M.’s “Harborcoat” (and various other songs from their first four albums). While the chord progression implied by the bass is relatively simple (most of the examples in this lesson follow suit), the voicings of the arpeggios help to create unusual chords, most notably in measure two, where the major 7th (D#) and the root (E) ring against each other creating a tension that resolves into the next measure.
In the second half of Ex. 1, chords are strummed with the top two open strings ringing throughout (excepting during the C#m chord), once again creating uncommon harmonies. Note, in particular, the last measure, which includes an A(add9, add#11) chord!
Ex. 2, inspired by R.E.M.’s “Orange Crush,” finds a common college-rock technique: taking a simple open-chord shape, in this case C, and moving it around the neck, even if just up two frets. This simple move creates a D(add4, add9) chord. These “add” chords—wherein you add the intervals 2 or 4 (or 9 and 11, depending on your point of view) to a triad—are heard frequently in this style of guitar playing. In measure three, the shape is moved down, into “normal” C position, but without the first finger, thus creating a melancholic Cmaj7. If you’re going to play college rock, 50 percent of it better be bittersweet.
With R.E.M. accounted for, let’s move on to Johnny Marr and the Smiths. Leaving the open-string moves aside for a few measures, Ex. 3 pays homage to “This Charming Man,” which will challenge almost any player with its unique use of dyads, or double-stops. This example moves down and up the fretboard, implying a myriad of exceptional harmonies while the bass pounds out the root notes. Is it a solo or a chord progression? Why not both?
Ex. 4 adds a swing feel to the college-rock sound and includes an unexpected syncopation by starting on the “and” of 1 instead of the downbeat. The unique rhythm recurs at the repeat, with the open D note tying itself over the bar on the “and” of 4. The Smith’s “What Difference Does It Make?” serves as a point of reference here.
Quintessentially American
With the college-rock figureheads accounted for, at this point we could move in any direction. So, let’s look at a couple of the heavier American bands—Pixies and the Replacements.
Ex. 5 comes to us via Pixies’ “Brick Is Red.” While this example sounds markedly different from the first four, you’ll notice that, once again, open strings play a central role in this quirky etude. Also, pay attention to the use of starts and stops, as well as dynamics. These two characteristics went on to inspire not only other college-rock bands but the alternative-rock scene that was to follow shortly thereafter. Frequently, as in this example, Pixies guitarists Black Francis (aka Frank Black) and Joey Santiago would double such an idea on acoustic guitar and electric respectively.
More open strings are heard in Ex. 6, which imitates the Replacements’ “Bastards of Young,” featuring Paul Westerberg and Bob Stinson on guitars. What makes this hook distinctive is how it is played over four different bass, root notes, implying four different chords, which are essentially Badd9–C#m9–Emaj7–F#6. Speaking of the Replacements, have a listen to their song “Color Me Impressed” and compare the opening riff to “Chartered Trips” by fellow Minnesotans Hüsker Dü. Coincidence?
Characteristically British
Our final three examples were all inspired by British bands and lead us into a brief discussion on college-rock tone.
Ex. 7 plays off Siouxsie and the Banshees’ “Israel” (featuring John McGeoch on guitar), which is an ideal song for beginners working on fingering barres. As you’ll see, the chords are made by lying one finger flat across the top four strings (I suggest the index). The simplicity of this idea is belied by the complexity of the harmonies created, in this case Em7–C#m7–G#m7–B6. In the second part of the example, natural harmonics are employed, once again with one finger lightly placed on the strings. Regarding the obvious change in tone, compared to all the other examples, this part was recorded through a chorus pedal with the level at 100 percent, the rate at 50 percent, and the depth at 25 percent. Yes, the effect is doing much of the work here! That is not uncommon in the world of college rock, where sound is every bit as important as technique.
Be sure to check out more great guitar playing on Siouxsie and the Banshees records (Siouxsie featured several guitar players over the years), in particular John McGeoch’s playing on “Eve White, Eve Black,” which uses the whole-tone scale in a way more reminiscent of King Crimson than you’d expect.
The seemingly mundane E–A–B chord progression (I–IV–V) of Ex. 8 is enhanced considerably with both sus and add chords. Unlike add chords, sus chords replace the third in a triad with a second or fourth. Thanks to the inversions in this example, the chords never remain static. Look to Ian McCulloch and Will Sergeant of Echo & the Bunnymen for use of such chords, “Crystal Days” in particular. The 12-string guitar makes another appearance here.
Our last example was inspired by one of the numerous crossover hits that came out of the college rock genre, in this case, the Cure’s “Just Like Heaven.” Ex. 9’s open-string chords (reminiscent of Ex. 1) create a lush foundation over which the open-string hook is played. Both guitars are heavily chorused, though Robert Smith and Porl Thompson of the Cure frequently do play 12-string guitars.
I’d be remiss if I didn’t mention another iconic college rock group, Dinosaur Jr., and their fantastic cover version of “Just Like Heaven.” Here we get the best of both worlds, the Cure’s romantic atmosphere and J Mascis’ brutal yet playful guitar playing.
Who Did We Skip? Almost Everyone!
Like most genres, college-rock has a seemingly endless number of bands to draw from. Thus, this lesson could have easily filled a book. And there is no doubt, thanks to the rabid nature of legions of college rock fans, that many will claim I overlooked an incalculable number of bands and guitarists. They are correct. So, let this lesson serve as a primer. Take it upon yourself to seek out other inventive musicians in this genre, no degree required!
Growing up in Australia, guitarist Jedd Hughes tells us he dreamed of playing in Vince Gill’s band as far back as elementary school. Now, he lives in Nashville and stands next to the man himself on stage night after night. We’ve invited Jedd to join us on this episode of 100 Guitarists to talk about just what makes Vince’s playing so special.
Jedd tells us how his dream came true and how he first started playing with Vince. We dig deep into how everybody’s favorite country guitarist raises the bar every time he picks up the guitar, how he gets his amazing clean tone, and we take time to appreciate all aspects of his solos—including how he builds them and how he plays such clean bends. As for why his concerts are so long? “He loves to play.”
In our current listening segment, we’re covering the Black Crowes and Jimmy Page’s Live at the Greek box set and a live recording from Burlington, Vermont’s Breathwork.
This episode is sponsored by EMG Pickups.
Do you overuse vibrato? Could you survive without it?
Vibrato is a powerful tool, but it should be used intentionally. Different players have different styles—B.B. King’s shake, Clapton’s subtle touch—but the key is control. Tom Butwin suggests a few exercises to build awareness, tone, and touch.
The goal? Find a balance—don’t overdo it, but don’t avoid it completely. Try it out and see how it changes your playing!
By refining an already amazing homage to low-wattage 1960s Fenders, Carr flirts with perfection—and adds a Hiwatt-flavored twist.
Killer low end for a low-wattage amp. Mid and presence controls extend range beyond Princeton or tweed tone templates. Hiwatt-styled voice expands vocabulary. Built like heirloom furniture.
Two-hundred-eighty-two bucks per watt.
$3,390
Carr Skylark Special
carramps.com
Steve Carr could probably build fantastic Fender amp clones while cooking up a crème brulee. But the beauty of Carr Amps is that they are never simply a copy of something else. Carr has a knack for taking Fender tone and circuit design elements—and, to a lesser extent, highlights from the Vox and Marshall playbook—and reimagining them as something new.
Those that playedCarr’s dazzling original Skylark know it didn’t go begging for much in the way of improvement. But Carr tends to tinker to very constructive ends. In the case of the Skylark Special, the headline news is the addition of the Hiwatt-inspired tone section from theCarr Bel-Ray, a switch from a solid-state rectifier to an EZ81 tube rectifier that enhances the amp’s sense of touch and dynamics, and an even deeper reverb.
Spanning Space Ages
With high-profile siblings like the Deluxe, Bassman, Tremolux, and Twin, Fender’s original Harvard is, comparatively, a footnote in Fender’s wide-panel tweed era (the inclusion of Steve Cropper’s Harvard in the Smithsonian notwithstanding). But the Harvard is somewhat distinctive among tweed Fenders for using fixed bias, which, given its power, makes it a bridge that links in both circuit and sound to the Princeton Reverb. The Skylark Special’s similar capacity for straddling tweed and black-panel touch and tone is fundamental to its magic.
Like the Harvard and the Princeton, the Skylark Special’s engine runs on two 6V6 power tubes and a single 12AX7 in the preamp section. A 12AX7 and 12AT7 drive the reverb and the reverb recovery section, respectively, and a second 12AT7 is assigned to the phase inverter. (The little EZ81 between the two 6V6 power tubes is dedicated to the rectifier). Apart from the power tubes and the 12AX7 in the preamp, however, the Skylark Special deviates from Harvard and Princeton reverb templates in many important ways. Instead of a 10" Jensen or Oxford, it uses a 50-watt 12" Celestion A-Type ceramic speaker, and it includes midrange and presence controls that a Harvard or Princeton do not. It also features a boost switch that manages to lend body and brawn without obliterating the core tone. There is also, as is Carr’s style, a very useful attenuator that spans zero to 1.2 watts. Alas, there is no tremolo.
“I’d wager the Skylark Special will be around every bit as long as a tweed Harvard when most of your printed-circuit amps have shoved off for the recycler.”
It goes without saying, perhaps, that the North Carolina-built Skylark Special is made to standards of craft that befit its $3K-plus price. Even still, Carr upgraded nine of the coupling capacitors to U.S.-made Jupiters. They also managed to shave six pounds from the Baltic birch cabinet weight—reducing total weight to 35 pounds and, in Steve Carr’s estimation, improving resonance. Say what you will about the high price, but I’d wager the Skylark Special will be around every bit as long as a tweed Harvard when most of your printed-circuit amps have shoved off for the recycler.
Sweet Soulful Bird
Fundamentally, the Skylark Special launches from a Fender space. But this is a very refined Fender space. The bass is rich, deep, and massive in ways you won’t encounter in many 12-watt combos, and the warm contours at the tone’s edges lend ballast and attitude to both clean tones and the ultra-smooth distorted ones at the volume’s higher reaches. All of these sounds dovetail with the clear top end you imagine when you close your eyes and picture quintessential black-panel Fender-ness. The presence and midrange controls, along with the 50-watt speaker, lend a lot in terms of scalpel-sharp tone shaping—providing a dimension beyond classical Fender-ness—especially when you bump the midrange and turn up your guitar volume.
The tube rectifier, meanwhile, shifts the Skylark Special’s touch dynamics from the super-immediate reactivity of a solid-state rectifier to a softer, more-compressed, more sunset-hued kind of tactile sensitivity. But don’t let that lead you to worry about the amp’s more explosive capabilities. There is more than enough high-midrange and treble to make the Skylark Special go bang.
Anglo and Attenuated Alter Egos
The Hiwatt-inspired setting is still dynamic, but it’s a little tighter than the Fullerton-voiced setting. There’s air and mass enough for power jangling or weighty leads. The differences in the Bel-Ray’s tube selection (EL84 power tubes as well as an EF86 in the preamp) means the Skylark Special’s version of the Hiwatt-style voice is—like the amp in general—warm and round in the low-mid zone and softer around the edges, where the Bel-Ray version has more high-end ceiling and less mellow glow in the bass. It definitely gives the Skylark Special a transatlantic reach that enhances its vocabulary and utility.
Attenuated settings are not just practical for suiting the amps to circumstances and size of space you’re in; they also offer an extra range of colors. The maximum 1.2 watt attenuated setting still churns up thick, filthy overdrive that rings with harmonics.
The Skylark Special’s richness and variation means you’ll spend a lot of time with guitar and amp alone. Anything more often feels like an intrusion. But the Skylark Special is a friend to effects. Strength in the low-end and speaker means it humors the gnarliest fuzzes with grace. And with as many shades of clean-to-just-dirty tones as there are here, the personalities of gain devices and other effects shine.
The Verdict
Skylark Special. It’s fun to say—in a hep-cat kind of way. The name is très cool, but the amp itself sounds fabulous, creating a sort of dream union of the Princeton’s and Harvard’s low-volume character, a black-panel Deluxe’s more stage-suited loudness and mass, and a zingier, more focused English cousin. It can be sweet, subdued, surfy, rowdy, and massive. And it works happily with pedals—most notably with fuzzes that can make lesser low-mid-wattage amps cough up hairballs. The price tag smarts. But this is a 12-watt combo that goes, sonically speaking, where few such amps will, and represents a first-class specimen of design and craft.
The author dials in one of his 20-watt Sonzera amps, with an extension cabinet.
Knowing how guitar amplifiers were developed and have evolved is important to understanding why they sound the way they do when you’re plugged in.
Let’s talk about guitar amp history. I think it’s important for guitar players to have a general overview of amplifiers, so the sound makes more sense when they plug in. As far as I can figure out, guitar amps originally came from radios—although I’ve never had the opportunity to interview the inventors of the original amps. Early tube amps looked like radio boxes, and once there was an AM signal, it needed to be amplified through a speaker so you could hear it. I’m reasonably certain that other people know more about this than I do.
For me, the story of guitar amps picks up with early Fenders and Marshalls. If you look at the schematics, amplifier input, and tone control layout of an early tweed Fender Bassman, it’s clear that’s where the original Marshall JTM45 amps came from. Also, I’ve heard secondhand that the early Marshall cabinets were 8x12s, and the roadies requested that Marshall cut them in half so they became 4x12s. Similarly, 8x10 SVT cabinets were cut in half to make the now-industry-standard 4x10 bass cabinets. Our amp designer Doug Sewell and I understand that, for the early Fender amps we love, the design directed the guitar signal into half a tube, into a tone stack, into another half a tube, and the reverb would join it with another half a tube, and then there would be a phase splitter and output tubes and a transformer. (All 12AX7 tubes are really two tubes in one, so when I say a half-tube, I’m saying we’re using only the first half.) The tone stack and layout of these amps is an industry standard and have a beautiful, clean way of removing low midrange to clear up the sound of the guitar. I believe all but the first Marshalls came from a high-powered tweed Twin preamp (which was a 80-watt combo amp) and a Bassman power amp. The schematic was a little different. It was one half-tube into a full-tube cathode follower, into a more midrange-y tone stack, into the phase splitter and power tubes and output transformer. Both of these circuits have different kinds of sounds. What’s interesting is Marshall kept modifying their amps for less bass, more high midrange and treble, and more gain. In addition, master volume controls started being added by Fender and Marshall around 1976. The goal was to give more gain at less volume. Understanding these circuits has been a lifelong event for Doug and me.
Then, another designer came along by the name of Alexander Dumble. He modified the tone stack in Fender amps so you could get more bass and a different kind of midrange. Then, after the preamp, he put in a distortion circuit in a switchable in and out “loop.” In this arrangement, the distortion was like putting a distortion pedal in a loop after the tone controls. In a Fender amp, most of the distortion comes from the output section, so turning the tone controls changes the sound of the guitar, not the distortion. In a Marshall, the distortion comes before the tone controls, so when you turn the tone controls, the distortion changes. The way these amps compress and add harmonics as you turn up the gain is the game. All of these designs have real merit and are the basis of our modern tube–and then modeling—amplifiers.
Everything in these amps makes a difference. The circuits, the capacitor values and types, the resistor values and types, the power and output transformers, and the power supplies—including all those capacitor values and capacitor manufacturers.
I give you this truncated, general history to let you know that the amp business is just as complicated as the guitar business. I didn’t even mention the speakers or speaker cabinets and the artform behind those. But what’s most important is: When you plug into the amp, do you like it? And how much do you like it? Most guitar players have not played through a real Dumble or even a real blackface Deluxe Reverb or a 1966 Marshall plexi head. In a way, you’re trusting the amp designers to understand all the highly complex variations from this history, and then make a product that you love playing through. It’s daunting, but I love it. There is a complicated, deep, and rich history that has influenced and shaped how amps are made today.
