Love it or hate it, tech is part of the guitar universe and here to stay, so make it work for you—not against you.
I've recently been thinking quite a bit about guitar and the way it's evolved throughout the YouTube and social-media era. Seemingly every day you can tune in and find a new guitarist somewhere on the globe who blows you away with his or her skills. There's an endless amount of instructional material just a click away. But amidst all this virtuosity, talent, and inspiration, I worry that some guitarists—of all proficiency levels—might get discouraged. In this month's “Tone Tips," I want to encourage everyone out there to remember something: This is supposed to be fun!
Our best selves. When you are watching musicians doing mind-blowing things on YouTube or Instagram, keep in mind that they are showing you their best selves. They've most likely taken ample time to warm up and practice whatever you are seeing them play. Trust me: It wasn't always as effortless for them as it may appear. Take comfort in knowing they had to start somewhere, too.
My good pal Tim Pierce recently made a YouTube lesson video called "5 Quick Tricks When You're Stuck." And it contains some terrific advice on learning from other YouTube videos and virtuoso guitarists.
Tim suggests taking just one or two simple ideas, licks, or concepts from each video. The trick here is to not get overwhelmed or discouraged, and if you can come away learning just one thing from everything you watch—voilà—you will have improved your playing!
Write! Playing incredible licks with flawless technique is one thing, but it's relatively pointless if those licks and techniques aren't used in service of a great song. Music is not a sport. If you find yourself spending all your playing time practicing technique and soloing over backing tracks, it might be a good idea to allot some time for actually creating music. I find that a good gauge is whether or not non-musicians seem to enjoy your playing. It's great if other guitarists like what you do, but ultimately it's important to reach the people who are simply just lovers of music.
B.B. King, Jimi Hendrix, Eric Clapton, and Joe Satriani are all good examples of guitarists who were able to reach far beyond the guitar community with their guitar-based music. Sometimes, guitarists tell me that their kids or other family members like to listen to my music. That is a compliment I love to hear! If you write great songs and then use your playing skills to serve the music, I guarantee you will reach a far wider audience. Given that our phones can be used as 4-track recorders these days, it's certainly never been easier to document musical ideas when creativity strikes.
Play with others. It's important to remember how rewarding it is to jam with others. I recommend finding a way to do it often, and for no other reason or end goal than creativity's sake. I was in a bar in Hollywood the other night and there was a group of three musicians jamming in the corner. Most of the patrons weren't paying attention, but the musicians were obviously enjoying themselves anyway. Playing at home by yourself can, of course, be enjoyable, too, but jamming with others is really on another level. It was refreshing to see a group of players simply enjoying their musical conversation with no one filming it for YouTube or livestreaming it on Instagram. Which brings me to….
Phones and cameras at shows. Today's younger musicians may not even remember a time without smart phones. To them, livestreaming and filming at shows is the norm. Yet many older musicians really despise the prevalence of phone cameras and filming at their shows. They grew up in a time when it wasn't happening, so it's easy to understand why it's a frustrating development for them. Beyond the potential legality issues, it just adds an element of pressure. From the musician's perspective, it provokes anxiety and is distracting when you're constantly being filmed and photographed. Not only that, it detracts from everyone else's experience when multiple people are holding phones up high and blocking lines of sight.
I don't think it's realistic to suggest it should stop, but I do think we should all exercise restraint and tact when we reach for our phones at a show. When I'm attending a show and an artist requests no filming or photography, I abide by that request. If it is allowed, I'll take a selfie or stage shot or two to document the occasion, and maybe film a portion of a song, but then I put the phone away and enjoy the music. It's what I like audience members to do when I'm onstage!
It's important to keep music an organic, fun, and creative pursuit. With some restraint and common sense, we can utilize modern tech to enhance our musical lives by using it to help us learn and create. In closing, I'd like to recommend the benefits of taking an occasional break from tech. Grab an acoustic guitar, go sit on the porch, and get lost in some music for a while. Leave the phone inside. Until next month, I wish you great tone!
Stompboxtober is rolling on! Enter below for your chance to WIN today's featured pedal from Peterson Tuners! Come back each day during the month of October for more chances to win!
Peterson StroboStomp Mini Pedal Tuner
The StroboStomp Mini delivers the unmatched 0.1 cent tuning accuracy of all authentic Peterson Strobe Tuners in a mini pedal tuner format. We designed StroboStomp Mini around the most requested features from our customers: a mini form factor, and top mounted jacks. |
Many listeners and musicians can tell if a bass player is really a guitarist in disguise. Here’s how you can brush up on your bass chops.
Was bass your first instrument, or did you start out on guitar? Some of the world’s best bass players started off as guitar players, sometimes by chance. When Stuart Sutcliffe—originally a guitarist himself—left the Beatles in 1961, bass duties fell to rhythm guitarist Paul McCartney, who fully adopted the role and soon became one of the undeniable bass greats.
Since there are so many more guitarists than bassists—think of it as a supply and demand issue—odds are that if you’re a guitarist, you’ve at least dabbled in bass or have picked up the instrument to fill in or facilitate a home recording.
But there’s a difference between a guitarist who plays bass and one who becomes a bass player. Part of what’s different is how you approach the music, but part of it is attitude.
Many listeners and musicians can tell if a bass player is really a guitarist in disguise. They simply play differently than someone who spends most of their musical time embodying the low end. But if you’re really trying to put down some bass, you don’t want to sound like a bass tourist. Real bassists think differently about the rhythm, the groove, and the harmony happening in each moment.
And who knows … if you, as a guitarist, thoroughly adopt the bassist mindset, you might just find your true calling on the mightiest of instruments. Now, I’m not exactly recruiting, but if you have the interest, the aptitude, and—perhaps most of all—the necessity, here are some ways you can be less like a guitarist who plays bass, and more like a bona fide bass player.
Start by playing fewer notes. Yes, everybody can see that you’ve practiced your scales. But at least until you get locked in rhythmically, use your ears more than your fingers and get a sense of how your bass parts mesh with the other musical elements. You are the glue that holds everything together. Recognize that you’re at the intersection of rhythm and harmony, and you’ll realize foundation beats flash every time.“If Larry Graham, one of the baddest bassists there has ever been, could stick to the same note throughout Sly & the Family Stone’s ‘Everyday People,’ then you too can deliver a repetitive figure when it’s called for.”
Focus on that kick drum. Make sure you’re locked in with the drummer. That doesn’t mean you have to play a note with every kick, but there should be some synchronicity. You and the drummer should be working together to create the rhythmic drive. Laying down a solid bass line is no time for expressive rubato phrasing. Lock it up—and have fun with it.
Don’t sleep on the snare. What does it feel like to leave a perfect hole for the snare drum’s hits on two and four? What if you just leave space for half of them? Try locking the ends of your notes to the snare’s backbeat. This is just one of the ways to create a rhythmic feel together with the drummer, so you produce a pocket that everyone else can groove to.
Relish your newfound harmonic power. Move that major chord root down a third, and now you have a minor 7 chord. Play the fifth under a IV chord and you have a IV/V (“four over five,” which fancy folks sometimes call an 11 chord). The point is to realize that the bottom note defines the harmony. Sting put it like this: “It’s not a C chord until I play a C. You can change harmony very subtly but very effectively as a bass player. That’s one of the great privileges of our role and why I love playing bass. I enjoy the sound of it, I enjoy its harmonic power, and it’s a sort of subtle heroism.”
Embrace the ostinato. If the song calls for playing the same motif over and over, don’t think of it as boring. Think of it as hypnotic, tension-building, relentless, and an exercise in restraint. Countless James Brown songs bear this out, but my current favorite example is the bass line on the Pointer Sisters’ swampy cover of Allen Toussaint “Yes We Can Can,” which was played by Richard Greene of the Hoodoo Rhythm Devils, aka Dexter C. Plates. Think about it: If Larry Graham, one of the baddest bassists there has ever been, could stick to the same note throughout Sly & the Family Stone’s “Everyday People,” then you too can deliver a repetitive figure when it’s called for.
Be supportive. Though you may stretch out from time to time, your main job is to support the song and your fellow musicians. Consider how you can make your bandmates sound better using your phrasing, your dynamics, and note choices. For example, you could gradually raise the energy during guitar solos. Keep that supportive mindset when you’re offstage, too. Some guitarists have an attitude of competitiveness and even scrutiny when checking out other players, but bassists tend to offer mutual support and encouragement. Share those good vibes with enthusiasm.
And finally, give and take criticism with ease. This one’s for all musicians: Humility and a sense of helpfulness can go a long way. Ideally, everyone should be working toward the common goal of what’s good for the song. As the bass player, you might find yourself leading the way.Fuchs Audio introduces the ODH Hybrid amp, featuring a True High Voltage all-tube preamp and Ice Power module for high-powered tones in a compact size. With D-Style overdrive, Spin reverb, and versatile controls, the ODH offers exceptional tone shaping and flexibility at an affordable price point.
Fuchs Audio has introduced their latest amp the ODH © Hybrid. Assembled in USA.
Featuring an ODS-style all-tube preamp, operating at True High Voltage into a fan-cooled Ice power module, the ODH brings high-powered clean and overdrive tones to an extremely compact size and a truly affordable price point.
Like the Fuchs ODS amps, the ODH clean preamp features 3-position brite switch, amid-boost switch, an EQ switch, high, mid and low controls. The clean preamp drives theoverdrive section in D-Style fashion. The OD channel has an input gain and outputmaster with an overdrive tone control. This ensures perfect tuning of both the clean andoverdrive channels. A unique tube limiter circuit controls the Ice Power module input.Any signal clipping is (intentionally) non-linear so it responds just like a real tube amp.
The ODH includes a two-way footswitch for channels and gain boost. A 30-second mute timer ensures the tubes are warmed up before the power amp goes live. The ODH features our lush and warm Spin reverb. A subsonic filter eliminates out-of-band low frequencies which would normally waste amplifier power, which assures tons of clean headroom. The amp also features Accent and Depth controls, allowing contouring of the high and low response of the power amp section, to match speakers, cabinets andenvironments. The ODH features a front panel fully buffered series effects loop and aline out jack, allowing for home recording or feeding a slave amp. A three-position muteswitch mutes the amp, the line out or mute neither.
Built on the same solid steel chassis platform as the Fuchs FB series bass amps, the amps feature a steel chassis and aluminum front and rear panels, Alpha potentiometers, ceramic tube sockets, high-grade circuit boards and Neutrik jacks. The ICE power amp is 150 watts into 8 ohms and 300 watts into 4 ohms, and nearly 500 watts into 2.65 ohms (4 and8 ohms in parallel) and operates on universal AC voltage, so it’s fully globallycompatible. The chassis is fan-cooled to ensure hours of cool operation under any circumstances. The all-tube preamp uses dual-selected 12AX7 tubes and a 6AL5 limiter tube.
MAP: $ 1,299
For more information, please visit fuchsaudiotechnology.com.
Jackson Guitars announces its first female signature artist model, the Pro Series Signature Diamond Rowe guitar.
“I‘m so excited about this new venture with the Jackson family. This is a historic collaboration - as I am the first female in the history of Jackson with a signature guitar and the first female African American signature Jackson artist. I feel so honored to have now joined such an elite group of players that are a part of this club. Many who have inspired me along this journey to get here. It’s truly humbling.” says Diamond.
Diamond Rowe is the co-founder and lead guitarist for the metal/hard rock band Tetrarch. Since co-founding the band in high school, Tetrarch has become one of the most talked about up-and-coming bands in the world - with several press outlets such as Metal Hammer, Kerrang, Revolver, Guitar World and many others boldly naming Diamond Rowe the world’s next guitar hero. Tetrarch has connected with many fans while performing on some of the world's biggest stages garnering spots alongside several of the heavy music world’s biggest names such as Guns N’ Roses, Slipknot, Lamb of God, Disturbed, Avenged Sevenfold, Sevendust, Rob Zombie, Trivium, and many many others. The Jackson Pro Series Signature Diamond Rowe DR12MG EVTN6 is based on Jackson’s single-cut Monarkh platform and is a premium guitar designed for progressive metal players seeking precision and accuracy.
Crafted in partnership with Diamond, this model boasts a 25.5 “ scale, Monarkh-styled nyatoh body draped with a gorgeous poplar burl top, three-piece nyatoh set-neck with graphite reinforcement, and 12˝ radius bound ebony fingerboard with 24 jumbo frets. The black chrome-covered active EMG® 81/85 humbucking bridge and neck pickups, three-way toggle switch, single volume control, and tone control provide a range of tonal options. The Evertune® bridge ensures excellent tuning stability, while the Dark Rose finish with a new custom 3+3 color-matched Jackson headstock and black hardware looks simply stunning.
To showcase the Pro Plus Signature Diamond Rowe DR12MG EVTN6, Diamond shares her journey as a guitarist, delving into the inspiration behind her unique design specifications and the influential artists who shaped her sound within a captivating demo video. This video prominently features powerful performances of Tetrarch’s latest release, “Live Not Fantasize,” and “I’m Not Right” showcasing the DR12MG EVTN6’s unparalleled tonal versatility and performance capabilities.
MSRP $1699.99
For more information, please visit jacksonguitars.com.