Although this singular stylist is based in country blues, his music reaches for the cosmos! Check out his dazzling array of pedals and rhythm boxes, and the classic instruments he uses to make trailblazing sounds live and on his new album, The Fatalist.
Buffalo Nichols believes in the power of acoustic country blues. He also believes itās not a fossil, trapped in amber, but a living, breathing musical genre. Which is why he blends elements of the traditionāslide guitar, resonator, open tunings, themes of loss, redemption, and struggleāwith loops, samples, drum machines, myriad effects, and modern-day narratives. His new album, The Fatalist, is the culmination of his art to date. Listening to its echoes of Skip James, John Hurt, Pink Floyd, and Dr. Dre is an even stranger experience when you know Nichols started his career in the thundering, downstroke-chiseled trenches of the Midwest metal scene.
When you watch this Rig Rundown, Nichols will explain, and play, it allāit's a fascinating story. And the gear! Get ready for a feast, full of the trad and the rad.
Brought to you by D'Addario: https://ddar.io/wykyk-rr
and D'Addario XS Strings: https://ddar.io/xs-rr
Adirondack Rose
Those two woods dominate this Recording King RO-328, with its solid Adirondack spruce top, solid rosewood back and sides, rosewood fretboard, and herringbone purfling in classic rosette. In fact, this guitar would not look out of place in a photo from the early ā50s, and the brand itself has been available since the ā30s. Nichols keeps this 6-string tuned to open C# minor, a Skip James tuning, with a Seymour Duncan Mac Mic pickup. His preferred sting gauge is .016 to .056.
Sweet 'n' Elite
Nicholsā parlor guitar is a Recording King Tonewood Reserve Elite Single 0, with a spruce top, rosewood back and sides, a mahogany neck, and an ebony fretboard. Note the inlays and distinctive binding. It also has the Duncan pickup system. Nichols keeps this guitar tuned in standard with a medium string set (.013s).
Steel and Gold
This Gold Tone GRS Paul Beard metal-body Resonator puts a brushed aluminum cone and biscuits inside an all-steel body with a 19-fret maple neck. With a stock lipstick pickup, Nichols uses it as one of his essential electrics. He prefers it to the more traditional thick resonator body, for ease of performance and weight relief.
Get Behind the Mule
Nicholsā tunings include C#m, open F, and standard, tuned down a half-step. This guitar is a Mavis model, by Mule Resophonic Guitarsāan open tuning classic. Dig that pickguard and the warm patina on the body. āItās taken on a life of its own,ā says Nichols. āSome people will show up at my gigs just to look at it.ā The mini humbucker sounds sweet, with its basic volume control. The neck isn't too thick or too thin. "Kind of in the middle,ā Nichols says. And it mostly gets played clean, or with a nice flavoring of delay.
Banjo
The banjo is one of the oldest African-American instruments, and this one is a Recording King, with a scooped fretboard and two pickups (a K&K and a Fishman) that he sometimes uses to split the signal. Without a resonating back, Nichols notes that it caters more to old-school music, with its bright, ringing tone.
Travelin' Amp
These days Nicholsā road amp of choice is a Fender Tone Master Super Reverb. He likes the compression he gets from its four 10" speakers, as well as its back-saving weight. He also points out that he uses so many effects that his guitars sound the same regardless of his amp choices.
The Board's Big Brain
Nichols jokingly describes his pedalboard as "very confusing,ā but, running through his chain, he starts at a TC Electronic PolyTune to an Origin Effects Cali76 compressorā"and after thatās where it gets pretty weird.ā But also onboard, for drive, are a Wampler Tumnus and Belle, and a Fuzzlord Octave Master (āfor my Jimi Hendrix kind of tonesā). To control various effects and chains, thereās a Boss GT-1000 Core. Those are involved in the guitar-to-amp signal, versus the acoustic.
But the āweird stuff,ā as he puts it, starts with an Old Blood Noise Endeavors Signal Blender for switching between the acoustic, banjo, or amp. While the Fuzzlord can color everything, a cluster of his boxes are used to conjure pads and other ethereal sounds. These include the EHX Superego, a Fishman Aura, a Hologram Electronics Microcosm Granular Looper and Glitch Pedal (he calls it his red herring), an EHX Mel9 Tape Replay Machine, a TC Electronic Death Rax3, and a lot more. Listen while Nichols displays his entire array of delays in the Rundown. Thereās an SPD-ONE Kick for stomping, and drum machinesāan Akai Professional MPC Live II and an Elektron Analog Rytm MKIIātoo!
Shop Buffalo Nichols' Rig
Recording King RO-328
Recording King Tonewood Reserve Elite Single 0
Recording King RK-R20 Banjo
Fender Tone Master Super Reverb
TC Electronic PolyTune
Origin Effects Cali76 Compressor
Wampler Tumnus
Wampler Belle
Boss GT-1000 Core
EHX Superego
Fishman Aura
EHX Mel9 Tape Replay Machine
SPD-ONE Kick
Akai Professional MPC Live II
Elektron Analog Rytm MKII
Conventional wisdom says a heavier set of acoustic strings will make a guitar louder, but letās not forget the other competing variables.
In the world of guitar, there are surprisingly few absolutes. We naturally want to understand what makes our beloved guitars work, and we often get lost in theories and formulas in an effort to draw irrefutable conclusions. In practice, theories can be clouded by exceptions and experience, and stir up confusion instead of adding clarity. One such debate explores whether a heavier set of strings will make a guitar louder. It seems logical that larger strings would draw more volume from a guitar, and this is certainly a commonly accepted notion. However, the reality is far less definite, thanks to the range of opposing factors involved in how a guitar produces volume.
Her fluidly picked Fender bass lines have propelled classic songs by the Beach Boys, Simon & Garfunkel, Joe Cocker, Frank Sinatra (and his daughter Nancy), Ray Charles, Lou Rawls, Glen Campbell, Barbra Streisand, Sonny & Cher, and the Monkees, to name just a few.
When we're talking about guitar strings, volume is a measurement of amplitudeāthe height or size of the vibration that moves the air and translates to sound in our ears. Simply put, the higher the amplitude, the louder the sound. From that fact, it seems obvious that string flexibility plays a key role in allowing a string to move freely with a large amplitude. If this were the only criterion, a rubber band would make a seriously loud guitar string.
However, the reality is that a string by itself doesn't displace enough air for us to really hear that vibration as volume. The string needs a resonating surfaceāacting as a natural amplifierāto displace sufficient air for us to experience the sound in an appreciable way. When the string transfers its energy to a larger surface, like the top of an acoustic guitar, the sound waves in the air are amplified and further intensified by a resonating chamber inside the guitar. In this context of a string on an acoustic guitar, a very flexible string creates more volume.
But amplitude and flexibility alone don't explain volume. In order for a guitar string to have a chance of setting the rest of the guitar in motion, it needs momentum. The top of a guitar has inherent weight and stiffness that the vibrating string's momentum must overcome before it, too, can vibrate. The more momentum the string possesses, the more easily and quickly the guitar will be set in motion.
If this were the only criterion, a rubber band would make a seriously loud guitar string.
Because a string's momentum is defined by weight and tension, a heavier string will produce enough momentum to get the guitar top going as well. When you increase the string tension, you make it easier for those vibrations to transfer to the guitar's topāso while a limp, down-tuned string might have weight and motion, the momentum will dissipate before it ever has a chance to make the guitar itself resonate.
So, we know that a heavier string and lots of tension will create more momentum directed at the top of the guitar, but remember that we still need flexibility. Using heavier strings and adding tension can reduce the string's flexibility, reducing its potential volume unless the stiffness is overcome, usually by the player simply hitting the string harder. In fact, this stiffness can make the string behave more like a solid-metal rod by damping out the high-frequency harmonics that occur along its length. The result is a more fundamental-focused vibration with fewer ringing overtonesāa sound guitarists often describe as "thick" or "round."
To compensate, we need to consider another variable: length. The string becomes more flexible as you increase its length, but even this is fraught with complications. Paradoxically, the longer you make the string, the more tension you must apply to achieve the desired musical pitch. When you add tension, you also increase the guitar top's resistance to movement, making it functionally stiffer. Again, more force from the player will be required to produce additional volume.
Beyond this mix of opposing forces are other smaller contributing factors, like string height and setup, which need to be in balance with the rest of the guitar to achieve optimal results. Understanding all this, it seems the only conclusion is that different guitars and different playing styles will deliver results unique to that combination of instrument and player. And the ideal blend of string gauge, weight, and tension will vary widely from one case to the next. In this case, the only hard-and-fast rule is that there are no rules.
[Updated 8/5/21]
...There's a lot more to it than whether Billy Gibbons or SRV was "right."
Greetings, tone hounds! I'd like to discuss two terrific YouTube videos Rick Beato and Rhett Shull recently made regarding string gauges. In Rick's video, a group of players recorded themselves playing the same Les Paul and Marshall JCM2000 setup with the only variable being four different gauged sets: .011, .010, .009, and .008. Both videos reveal the differences in tone between different gauges, and I'd like to expand on this by adding a few observations I've discovered over the years.
Everything affects everything.
In Rick's video, he mentions a discussion he had with Dave Friedman of Friedman Amps. Dave said because lighter strings produce less bass, they help tighten up the toneāand this was one of the catalysts for Rick deciding to make a video demonstrating the phenomenon.
Dave Friedman is an old friend, and we've had countless discussions about tone. He has a great saying: "Everything affects everything." In other words, each link in your signal chain impacts the overall tone: cables, pickups, amps, woods, pedals, and, of course, strings.
Each link in your signal chain impacts the overall tone: cables, pickups, amps, woods, pedals, and, of course, strings.
In Rick's video test, they went for a classic, raunchy rock 'n' roll tone with the Les Paul/Marshall setup. Had they used, say, a Stratocaster with single-coils, or even a P-90-equipped Les Paul, the results would have varied. If you prefer the tone of .009s in the video, it's possible you may have preferred .010s had they used a Strat. It's all a recipe.
Expanding on this thinking a bit, what if they'd used a 4x10 Bassman for a bluesy overdrive? The results would also vary. A hotter alnico-5 pickup would also change the tone, and if you were to use a ceramic magnet humbucker, the bass, mids, and treble would completely change! Remember to consider these things when contemplating a different string gauge.
Youāre Probably Using The WRONG Guitar Strings
See and hear Rick Beato's video where he, Rhett Shull, Dave Onorato, and Ken Lanyon compare different sets of strings with the same guitar/amp setup.
Let's talk SRV.
In my estimation (and Rick mentions this too), it was Stevie Ray Vaughan who inspired many guitarists to use heavier strings. But Stevie played a single-coil-equipped Strat, mainly through Fender amps. He didn't use much preamp gain because he cranked these relatively low-gain amps until they broke up naturally. His tone formula consisted of a heavy right hand and heavy strings, combined with relatively low-output single-coils into a Tube Screamer that would add mids and cut bass. The amps he used are known for their scooped mids, so you see where I'm going with this? It's all part of the formula.
My takeaway analysis:
If you're after a fat, bluesy, loud, low-gain tone, the SRV formulaāheavy strings, single-coils, a Tube Screamer, and a relatively clean, cooking, low-gain amp with scooped midsāworks great. On the other hand, for a Marshall-style, midrange-heavy, tight-crunch tone, lighter strings with humbuckers and a gain-y ampāwithout too much bass in the preampāwill get you there.
Playability, bending, vibrato.
One last thing to consider: String gauge can have a huge effect on your bending and vibrato. Heavy strings can actually make players who have a tendency towards a "nervous" vibrato and over-bending sound more controlled. Rhett Shull commented that .008s made him feel a little more tentative on the guitar. I'm sure he could get used to them over time, but his preference for overall tone and feel were .009s. That's something to consider when switching gauges.
I Was DEFINITELY Using The Wrong Guitar Strings
Watch Rhett Shull follow up on Rick Beato's video with additional useful info about choosing the correct string gauge.
Thanks to Rick and Rhett for producing useful YouTube content like this. I encourage all guitarists to follow their example of learning through experimentation. Don't just assumeādiscover what works for you. Until next month, I wish you great tone!
[Updated 9/30/21]