Few things make me happier than a great song played on a fine acoustic guitar. The shimmer of the strings and the resonance of the body fill the room and warm my heart. I’m most definitely an electric player first and foremost, but there’s just something fundamentally satisfying about playing a well-built acoustic. This is…
If there is one effect out there than seems to cause guitarists the most confusion, it’s definitely the compressor. I read plenty of people on the Seymour Duncan Forums asking about them. What do they do? Do I need one? What do the controls do? Is it even working?
If you’re a regular forum visitor you may already know that the Custom Shop will sometimes build a limited run of pickups just for forum members. Best of all, forum members get to participate in the design of them! Past pickups have included the medium output Brobucker, the Crazy Eight (SD’s first ever Alnico 8 pickup), and the StraBro90 (a Strat pickup wound to sound like a P90). This time out, MJ at the Custom Shop has graced us with the Fugly Bucker. No, I’m not joking. That’s it’s real name.
There are two types of Telecaster lover. The first insists on vintage twangy purity all the way, and won’t put anything in their Tele other than the pickups Leo intended. The second type demands more from their beloved Tele: more output, more harmonics, more mids and lows, and more of that raunchy attitude that only a hot-rodded Tele can deliver.
For most of my career I’ve played in a band with another guitarist. I’ve even had the pleasure of sharing the stage with a second guitarist and a keyboardist. This always presents a bit of a problem though: how do I make my instrument stand out?
Success or failure at a gig often hinges on a single moment that tests you in some way. It could be a test of your gear, your chops, your energy level, your self-confidence, and at some gigs, your stomach. The best thing you can do to be ready for situations like this is to prepare in advance, and make sure you are ready for whatever a gig can throw at you.
This is the second part of my two-part article about the options we soloists have for being heard above the din when it’s our time to shine. In the first part I covered some of the more tried-and-true methods for boosting a solo: the guitar volume, switching pickups, and using an overdrive, distortion, or compressor pedal. In this part, we will explore some of the more refined, “professional” options for making your solo stand out.
Picture, if you will, two terrifying scenarios. You find the humbucker of our dreams, but it doesn’t have a nice, shiny nickel-silver cover to complete the look of your guitar. Or you’re looking to class up your axe with some covered humbuckers, but you don’t want to go through the hassle or expense of replacing the pickups. What now? I’ll tell you what now: you go out there and you buy a cover for that ‘bucker!
“Do I need a buffer?” It’s one of the most confounding questions on guitarist’s minds on the Seymour Duncan User Group Forums and elsewhere. Truth be told, there is no easy one-size-fits-all answer, but there are a few simple things you can try to figure out what your rig needs, and what it doesn’t.
The solo: for many of us, it’s one of the best things about playing guitar. For others, it’s a terrifying prospect. This article is for those of us brave enough to step up and take the lead for a while, and it deals with a problem as old as the guitar solo itself: how to stand out in the mix when it’s your turn for the spotlight.