In my last blog about modes, I explained their names and what they are. Now is where the fun begins. We will take a look at each mode in our C scale, and figure out why just playing the notes in a different order makes so much of a difference. Trust me, it does. We will start at the first mode of course. That is right, C major, or C Ionian. This one is easy. Continue reading “Breaking Down the Barriers: The Ionian and Dorian Modes”

After reading Adam Gotch’s excellent case for using 100 watt amps at gigs big and small, I am compelled to come up with a counter-argument.

There is simply no sonic reason outside of tight, riff-based metal to use a stack these days. Even then, I’d argue that there are probably plenty of instances a well-defined metal tone can be had that is quieter, in a smaller size, and more sound-person friendly. There, I said it.

First, let me explain. I am not a vintage snob. The music I write can be described as ambient. I am a fusion guitarist playing in a blues band using very unconventional guitars, amps and pedals who gets weird looks whenever I play at a blues festival. I am not one of those people who think only tube amps have the best tone. I will use anything that sounds good, but sounding good is only one of the requirements of this pro guitarist.

This is the amp I use the most live. No master volume, and 18 watts.

Wait? It isn’t all about the sound? Then, its gotta be the looks, right? It is certainly the looks. Nothing looks cooler than a row of stacks, right? Continue reading “In Defense of Small, Low-Wattage Amps”

David Graef is country at heart, but rock n’ roll in spirit. He was raised on a Texas farm thinking he’d end up a farmer. In the ’80s, he took a chance, moving to Nashville hoping to make a living with a guitar. Years later we can look back and say that chance definitely paid off. David is an accomplished guitarist and highly regarded guitar tech in Nashville. He’s currently on the road with Rascal Flatts as Joe Don Rooney’s guitar tech. We were able to catch up with him and ask a few questions. Continue reading “Shop Talk With Rascal Flatts Guitar Tech David Graef”

Papa Roach is synonymous with Last Resort, their major hit off their debut album Infest. With their newest album, The Connection, they come out with the ferocity that this is their last resort. They push the envelope to new areas with electronic add-ins while revisiting the past they’ve long forgotten with raps & flows reminiscent of Between Angels And Insects. With their first single off The Connection aptly titled Still Swingin’, they’re letting the world know they’re not going down without a fight. This album is their long awaited knockout punch! Continue reading “Reconnecting with Papa Roach”

If there were one pickup out there that was misunderstood it would be the Screamin’ Demon. Developed for George Lynch (Dokken, Lynch Mob, Souls of the We), many think that the Screamin’ Demon is going to be one hell of a high output humbucker. But as George explains in The Story of George Lynch’s Screamin’ Demon Humbucker, the opposite is the case. George discovered that a moderate output pickup was more suitable for sustain and playing dynamics.

Continue reading “The Screamin’ Demon – One Misunderstood Pickup”

In this article I want to talk about the physics behind pickups in order to explain why using the DC resistance as a measure of output is not the best way of viewing the output of a pickup. But first, what is DC in the first place? Why is it relevant at all when it comes to pickups? When those questions are answered we have to take a look at the origin of the signal itself: where does the signal come from? Why are magnets and coils so crucial?

Guitar Pickup Impedance

Continue reading “Impedance: How It Works In Your Pickup”

I’m sure we’ve all glared at our keyboardist friends with envy at the sheer volume of sounds they’re able to call up at will while we’re happily stuck within the confines of what a guitar, effect and amp setup can naturally do. And not to get all ‘infomercial‘ about it, but synth/MIDI guitar can be pretty expensive to implement. You need a guitar with a suitable pickup for capturing the basic information from each individual string, and this can take the form of a special hex pickup or piezo elements linked into an electronic brain. You need an interface to turn that information into MIDI data. And then you need a MIDI sound module to turn that data into music again.
It’s enough to make you throw your hands up in the air and shout “There’s got to be an easier way!”
Well, there is. Sort of. Continue reading “How To Use Autotune For The Forces Of Good”

Ever been to a club with a live band, and halfway through the first set something breaks down on the guitarist or bass player’s rig – sometimes something as simple as a string breaking – sending the player into a tailspin? I once saw a show on the Sunset Strip (think “pay to play”) where the guitar player didn’t bring a backup anything, and upon breaking a string during the first song he spent three quarters of the remainder of their pricey 30-minute set trying to get his guitar re-strung and back in tune. It was painful – and he was paying for it, in more ways than one! Continue reading “Essential Items No Guitarist Should Leave Home Without”

Every original band dreams of making a recording. After you’ve rehearsed together, written new songs and played a bunch of shows, it’s the question most often asked: “Hey, do you guys have a CD I can buy?”

This probably isn’t what your studio looks like.

Going into the studio can be a fun and amazing time for any band, but it is work. It isn’t like what we read about- an endless parade of press and groupies with everyone slowly nodding their head as they listen to your superhuman solo. I mean, that is what we might want it to be, but it pretty much never is. Continue reading “Recording the Beast: Being Prepared for the Studio”

Ever since musical instruments were crafted of wood they had to be protected. Whether it’s protection from the player (sweat can be quite aggressive; just take a look at the gold plating of your (friend’s) vintage Les Paul Custom) or from the elements, wood has to be safeguarded from hazardous,external influences. This is because the woods that are being used for instrument building are fragile. Some woods, like spruce, alder or basswood, simply can’t take much of a beating and are easily dented, bruised or maybe even worse. Other woods, like maple, tend to warp or maybe even crack under the influence of salts, acids, moisture or a combination of those influences. Some woods don’t need a thick coating, a thin coating will work (think of Musicman’s maple necks; they’re finished in gunstock oil to ensure a ‘raw’ feel but are protected nonetheless). Other woods don’t need a finish at all, such as rosewood, pau ferro or ebony. Continue reading “Lacquer: The Barrier Between Your Guitar And Hazard!”