
Jonathan Pearce of the Beths joins us in discussing our most beloved acoustic strummers. Plus, musical obsessions!
Q: What’s your favorite song to play on an acoustic and why?
Jonathan Pearce (The Beths) — Guest Picker
Photo by Erza Simmons
A: I love the Kenyan guitarist Henry Makobi, and I’ve tried hard to learn his song “Likuta Bibi.” I’ll never be able to play it just like him; it’s just too idiosyncratic. But I can kind of get the gist of it and it’s a wickedly clever line.
Likuta Bibi
The trick I learned from this song is to harmonize a melody in sixths, with a top line melody that’s nicely “in the chords,” but a bottom line that can sneak out, and back in, harmonically. It’s a finger twister, too—you have to fully commit to have any hope of landing it. I learned about Makobi from an interview with another musical hero of mine, the Newcastle songwriter Richard Dawson.
Jonathan Pearce's Current Obsession:
Uilleann pipe music from Ireland. This segment is making my listening seem way more diverse than it really is, but truthfully this is my current obsession. Uilleann pipes are so rock ’n’ roll to me. Like a heavily distorted electric guitar, they scream, sustain, and squawk, like they’re on the edge of feedback. The drone element is so relevant to guitar music, too, and I’m trying to get my head around the way pipers adorn melodies with grace notes and turns. The repertoire is just so great, full of dexterous and rousing melodies. I’m trying to learn to play the tin whistle, with the hope of graduating to a set of pipes one day.
Mike Blue — Reader of the Month
Mike Blue
A: “Spain” by Chick Corea.
Spain
I worked on learning that song harder than I worked on any song in 50 years. So, I only play it for me.
Mike Blue's Current Obsession:
My obsession is easy: being able to make music. Not just play notes, but make some sort of musical contribution, whatever that may be.
Ted Drozdowski — Senior Editor
A: Big Mama Thornton’s “Ball and Chain” in open Dm. I came to the song through Big Brother and Cheap Thrills but backtracked to Big Mama—an astounding person.
Big Mama Thornton 1970
She was a great musician, an out gay woman writing hits and leading a band of men around the world in the ’50s, ’60s, and ’70s. Powerful! It’s also a gateway. Down a half-step and I’m in Bentonia tuning.
Ted Drozdowski Current Obsession:
My new stereo Carr amp rig blows my mind. See my most recent Love and Sockets column.
Jason Shadrick — Associate Editor
A: I’ve been getting deeper and deeper into learning fiddle tunes and love to use the classic “Blackberry Blossom” as a good warm-up to center my mind with both hands.
Tony Rice ~ Blackberry Blossom
The fact that these tunes are eighth-note based and use pretty strict alternate picking allows me to go into an almost meditative state while working on them.
Jason Shadrick's Current Obsession:
Hands down, it’s The Rehearsal on HBO. It’s one of the most mind-bending shows I’ve ever seen, and Nathan Fielder is an absolute genius. I hesitate to say much more about it, but I guarantee there are at least a half-dozen times in the first episode where I had to pause and go, “WTF?”
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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!
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.
Lenny Kravitz’s lead-guitar maestro shares how his scorching hit solo came together.
Hold onto your hats—Shred With Shifty is back! This time, Chris Shiflett sits down with fellow west coaster Craig Ross, who calls in from Madrid equipped with a lawsuit-era Ibanez 2393. The two buddies kick things off commiserating over an increasingly common tragedy for guitarists: losing precious gear in natural disasters. The takeaway? Don’t leave your gear in storage! Take it on the road!
Ross started out in the Los Angeles band Broken Homes, influenced by Chuck Berry, Buddy Holly, and the Beatles, but his big break came when he auditioned for Lenny Kravitz. Kravitz phoned him up the next day to tell him to be at rehearsal that evening. In 1993, they cut one of their biggest hits ever, “Are You Gonna Go My Way?” Ross explains that it came together from a loose, improvisatory jam in the studio—testament to the magic that can be found off-leash during studio time.
Ross recalls his rig for recording the solo, which consisted of just two items: Kravitz’s goldtop Les Paul and a tiny Gibson combo. (No fuzz or drive pedals, sorry Chris.) As Ross remembers, he was going for a Cream-era Clapton sound with the solo, which jumps between pentatonic and pentatonic major scales.
Tune in to learn how he frets and plays the song’s blistering lead bits, plus learn about what amps Ross is leaning on these days.
If you’re able to help, here are some charities aimed at assisting musicians affected by the fires in L.A:
https://guitarcenterfoundation.org
https://www.cciarts.org/relief.html
https://www.musiciansfoundation.org
https://fireaidla.org
https://www.musicares.org
https://www.sweetrelief.org
Credits
Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editor: Addison Sauvan
Graphic Design: Megan Pralle
Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.
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