Tag Archives: sound

After the nuclear war there will only be cockroaches and Keith Richards!! So let`s get practicing…with  some general tips that you oughta bear in mind when you want to get all Zen on your fretboard.

1. Cultivate a desire to try and achieve excellence. But do so on your own terms!
When your lazy friends are down at the bar setting the world to rights you could stay at home beginning a journey to set either your own world on fire, or, even set the real world on fire. Progression naturally requires a level of dedication but don’t kill yourself – find the pace that suits you . It is NOT a race, just a journey. Excellence does not necessarily equate with conventional ideas of virtuosity – you may want to cultivate your skills as songwriter like Noel Gallagher or George Harrison for example. If you aren’t sure in which direction you`d like to go just watch the river flow – it`s no big deal.

2. Set yourself goals  – both  sensible  & unattainable.

Set yourself some goals and schedule your practice and try to STICK to IT.
Perhaps consider two goals:

A.
An aspirational one such as becoming as good as Jeff Beck (insert your favourite guitar maestro here) but also,

B.
A realistic, realtime short term goal:
for example “In six months I will be able to play Johnny B. Goode by Chuck Berry”.
Remember though it’s the journey not the destination that counts, a guitar is for life not just for Christmas if you want to go anywhere with it.

Don`t use your aspirational goal to beat yourself about though. Expecting to be able to play like (insert your favourite guitar maestro here) is akin to expecting to replicate the Cistine Chapel Ceiling on the interior of a ping pong ball – it’s a long hard difficult road walked only by those with a unique, god-given gift…you CAN begin to unlock that gift in even the smallest ways.

3. Find an environment that really works for you.

It may be outside beneath your favourite weeping willow or it may be in  a quiet corner of your barn – make it as comfortable and as appealing as possible with few, or no distractions or interruptions.
If you can and you are serious about progression try to practice alone in a silent area. Also get the right chair, I`ll sometimes find myself thirty minutes into a jam session only to realise  I`m curled up like a pretzel with a `dead` leg that feels like someone else’s! …no good man!

4. Make it easy…

…as the playing will initially be hard enough make it easy by using the tools that help. Buy the best guitar you can, buy a decent tuner and invest in learning materials that suit where you want to take your playing. Read this blog for more advice on the learning tools available. There is a veritable cornucopia of new digital practice tools such as the Ovation iDea guitar,  the Fretlight guitars, Loopstation pedal or Fender G-Dec amplifier.

5. Develop Routines and excercises

Start off with an easy rewarding warm up work before moving onto your structured learning path (or course) – this may be a couple of songs you really enjoy, so write them down,  and maybe singalong if it helps you relax. When you fist begin to play you may find a great deal of tension in your wrists, fingers and arms; try to learn to relax – it may take some time to lose that whole “stiff as a board”, heavy feeling but it will ultimately pass.

Remember to breathe properly and don’t fight the guitar – relax INTO it; if that makes sense.

If you are finding the wealth of learning materials at your disposal somewhat confusing, if you’re finding it hard to join all the dots don’t fret – take a step back and relax. Everything is interrelated and will ultimately become clear. There is no one method, way or route. Frustration will be gnawing away at your toes like a hungry dog – use it as fuel to try and figure things out.

If you are struggling to figure out musical theory then have a look at playing a piano because the piano keyboard is in a sense one single long guitar string and may help you clarify some of the more confusing parts of musical theory.

Piano+Keyboard+with+Letters ZEN guitar Practice.Another idea is to write, or using stickers the actual corresponding notes along the top of your guitar neck; and maybe on the fretboard itself using marker pen. Only do this if you are happy with bastardising your guitar…

6. Join a band – the fastest way to learn is from other more competent players. Use your ears and your eyes, ask questions, never be intimidated. EVERYONE was once a beginner and it’s a healthy tenet to try to always consider yourself a beginner, no matter how good you may be because there is no end to the guitar – it’s an infinite lifestyle decision.

7. It`s never too late to start and whatever happens don’t give up. If David Geffen isn’t ringing you up don`t worry. The journey is usually far more interesting than the destination anyway.

8. Make mistakes and every now and then try stuff well outside your usual playing boundaries. Experiment as much as possible and try unusual positions. Try sliding chords around or even moving them across the strings. Be unusual, be unique, be yourself, break the rules, do what you want.

9. If your fingers, hands and wrists are hurting then stop awhile and rest.]

10. Enjoy using effects and guitar toys but don’t fall into the trap of letting them do all the playing for you – one day you`ll  want to be at the stage where you compliment the effects and not vice versa.

11. Reward yourself afterwards with something you enjoy like “icecream”.

12. Try and listen to the right records for a start but don’t limit yourself to the world of guitar. Choose your poison for example  saxophonists Sonny Rollins, Roland Kirk and Miles Davis play some fantastic lead lines.

13. Adopt a meditational approach to your playing.

The nature of sound is infinitely associated with consciousness and there are interesting listening exercises you can perform.

Acoustically, a note perceived to have a single distinct pitch in fact contains a variety of additional overtones.

If you listen very carefully to just one note and work hard to train your ear you will begin to hear more than just the fundamental – try spending some time just playing single notes – what you hear most clearly is the fundamental (sometimes called the first harmonic) but it is accompanied by several frequencies known as partials, by several harmonics, overtones and undertones – try and hear them. You’ll need to concentrate though.  Some people like to think synaesthetically whilst playing and try to see different notes or chords  as different colours.

If you would actually like to experiment with sound colour have a look at

1. Metasynth – mindblowingingly powerful sound painting tool

2. Audio paint – FREE

Have a look at the book “Zen Guitar” by Philip Toshio Sudo – it’s about motivation and fulfillment, not technique.

14. Most importantly – make sure it’s fun.

I hope that this helps you to create an environment where you can engage with your guitar in a more philosophical sense and in a way that will inform and aid your learning – after all when you stretch that string you’re stretching your life!

Cheers,

Jake Edwards

honey 300x211 Choosing Acoustic guitars

If you’ve been following the progress and adventures of my recordings on the Elijah Few blog then you`ll know that thus far I’ ve had to do battle with some extremely unversatile firewood. Yes, I`m talking about acoustic guitars and I`m going to try and outline what you should be looking for in your search for acoustic guitar satisfaction and it applies to any guitar, whatever your price range. Dan receives alot of questions in customer support regarding these matters so I`m going to outline a strategy to help make the right selection.

Apparently “a bad workman blames his tools” and to some extent this is true, but a good workman will select his tools wisely. If all you have available is a plank then that’s what you have to use, and I’ve been there myself and still managed to muster a half decent sound…In the picture below one of these guitars is an old plank, the other a mellifluous heaven of tone:

The kind of tone you are looking for should be along these lines -  smooth, rich and highly natural; bright, lively and warm with an entirely even response across the strings. A breeze to play, with a low action,  and when simply strumming an E chord resonates with rich, manuka, gently oscillating overtones.

blackstrap Choosing Acoustic guitars

If this kind of language baffles you some, then here is my strategy for discovering exactly what I mean and finding the right guitar for you. Begin at your local retailer by selecting guitars that fall somewhere near the most expensive available in the store – these will be guitar brands such as Martin, Taylor, Gibson or Guild.

Don’t be shy, because it`s all about sound. Play them and get a good feel for the different sounds that each produce. You will notice that different materials used for the soundboard, upon which the bridge sits, will produce different sounds. Simply try strumming an E chord on each model and place your ear on the top of the body.

Also pay close attention to the high, mid and low tones that each model produces – in an expensive model these should harmoniously blend together and there will be no noticeable loss of volume, attack or tone from string to string.

Honey bee 300x191 Choosing Acoustic guitars

Consider the feel of the neck profiles as well, and how they sit within your hand. The action of the strings, the gap between the fretboard surface and the strings, should be low, but with no abolutely buzzing anywhere. Play up and down the neck and spend a bit of time getting to know each instrument. It`s a good idea to give each guitar a name that relates to how it sounds – molasses, coffee, warm, bright, hollow, rich, liqourice, etcetera. It`s all about the sound and the feel of the guitar – you should know which one you prefer almost intuitively – trust your instincts and use your HANDS and YOUR EARS – never use your eyes.

Narrow it down to your favourite one…Next start comparing and playing the guitars from your price range against the expensive guitar you most liked. Try and find one that most nearly matches the qualities you had admired in the more expensive model. You will have to make a compromise somewhere but hopefully you`ll be on your way. Better still sleep on it and go back the next day and spend some time playing the model you chose the day before just to see if it sill sounds good to your ear.

Best regards,

Jake Edwards

Wilkinson Guitar Pickups guitar parts Choosing Guitar Pickups and amps

John has written in asking about pickup and amplifier configurations:

Hi my name is john I bought your jamorama and lead programs. I was wondering if you can explain the difference in the pick-ups in the fender guitars. There are the 500.00 – 1700.00 dollar guitars and up, I am confused because they look like single coil p/u but can sound like dual humbuckers to me.
If I was to buy one how would I know which ones would give me a heavy rock distortion sound, you know, switch between clear clean sound to heavy distortion?

Hi John,

Jake Edwards here. Personally I use a fender stratocaster plus with gold lace sensors used exclusively by Fender from 1987 to 1996. These were used by Eric Clapton for some time, and Jeff Beck also. So if you`re interested, check out the sounds these guys achieve between these dates in a live situation. I think they deliver a great sound through a range of amplifiers and I`d recommend them.

slash Choosing Guitar Pickups and amps

humbuckers

The options for pick ups are pretty vast these days but if you are keen on Fender guitars Fender are now producing their own Fender Special Design dual-coil ceramic Noiseless™ pick ups in Stratocasters, so these, which Clapton (using the vintage model) and Beck have in their current signature guitar models should be pretty good. In telecaster they are using Samarium Cobalt Noiseless™ Telecaster pickups.

The best course of action is to try and find a guitar that really has that magic feel, playability and sound for you. Try a telecaster and a stratocaster.  Consider the sound that Bruce Springsteen, Joe Strummer, or Keith Richards get with a telecaster and then maybe have a listen to some strat` users – Buddy Guy, Eric Clapton, Rory Gallagher or Jeff Beck….

dodge charger 300x225 Choosing Guitar Pickups and amps

There are two main styles of electric guitar pickups: single-coil and humbucker.

Single-coil pickups are most commonly seen in Fender Stratocaster and Telecaster guitars.

The humbucker is basically, two single-coil pickups stacked on top of each other. They are the muscle car pick up of the guitar world and produce thicker, punchier tones. Humbuckers are seen in all kinds of guitars but are most closely associated with the Gibson Les Paul. It’s called a hum bucker because it was designed to do exactly that – buck the hum.

Country rock or blues players often choose single-coils, while heavy metal music is predominantly played on guitars with humbuckers. There is no limit to your imagination either and you can combine any array of pickups you like.

p1281448wy5 Choosing Guitar Pickups and amps

Really at the end of the day your choice of pickups is a highly individual matter and it is well worth taking the time to choose a pickup that suits your style and sound. One of the best ways to do this is to listen to some of your favourite records and use the internet to find out what kind of guitars, amplifiers and equipment the artist is using.

Cruise on over to GUITAR GEEK and check out what your favourite professional guitarist is using. You`ll be surprised at some of the set ups.


DualRecto Stac Lg Choosing Guitar Pickups and amps

Just for example here is the set up used by Head from Korn:

korn head 1997 Choosing Guitar Pickups and amps


Maybe start by playing the guitars unplugged so you can gain an insight into the feel of the neck, the balance of the machine and the kind of tones it makes before amplification. When you think you’ve found a guitar that really feels right then you can plug it into something!

Are you going to be playing live to 500 people or just playing at home? Will you be recording with your amplifier in the studio? Or will you be having a small jam down at your local bar?

These are the types of questions you should ask yourself when thinking about an amplifier to begin with. Having a huge stacking amplifier set up with a head and cabinets is great  for high volume applications but difficult to move and incredibly loud.  <a href=”http://jamorama.com” rel=”nofollow”>Personally</a> I would suggest a valve amp but at the end of the day use your ears carefully. A Fender twin sounds markedly different from a Marshall amplifier for example and a Session.

<a href=”http://www.cornfordamps.com” rel=”nofollow”>Cornford amps</a> have a great series of versatile amps, some specifically for club playing or recording.

Most of your overdrive and distortion can be achieved through your choice of amplifier. Look for an amp with both a clean and an overdriven channel  – then you can switch between the channels or combine them with a footswitch. At the end of the day a good guitar and a decent amp will deliver a huge range of tonal and sound possibilities and characteristics.

Try  clean sounds first with all combinations of pick up and tone control possibilities on the guitar and then play with the controls on the amplifier as well. Roll all your tone on and off across each pick up and do the same with the EQ section of the amp.

Then do the same thing with the dirty channel and a distorted sound. The combine the two and listen to the results. Spend as long as you can and concentrate on what your hear. It may take you an hour, a day or a even week. I used different Marshalls, combined with Fender Twins and a few others before I settled upon <a href=”http://www.promenademusic.co.uk” rel=”nofollow”>SESSION AMPLIFIERS</a>.

Then if you really want to kick out the jams try some distortion boxes.

ABOUT LACE SENSORS

Lace Sensors are true single-coil pickups; however, internally they are different from classic single coils. The chief difference is that the coil is surrounded by metal barriers which blocks electro-magnetic interference such as power line hum. These barriers also help concentrate the magnetic field, allowing weaker magnets to be used, which results in less string pull. Less string pull, in turn, means truer pitch and intonation, and superior sustain. There are three main types gold red and blue:

GOLD: A classic 50′s Style single coil sound with a classy bell.

BLUE: Slightly increased output with the warmer 50′s humbucking sound in a single coil configuration

RED:  The hottest output of our Sensor Series. Perfect for the bridge position when fat, punch humbucking output is required.

Jake Edwards current musical projects are <a href=”http://jamorama.com” rel=”nofollow”>available here</a>

Maybe start by playing the guitars unplugged so you can gain an insight into the feel of the neck, the balance of the machine and the kind of tones it makes before amplification. When you think you’ve found a guitar that really feels right then you can plug it into something!

Are you going to be playing live to 500 people or just playing at home? Will you be recording with your amplifier in the studio? Or will you be having a small jam down at your local bar?

These are the types of questions you should ask yourself when thinking about an amplifier to begin with. Having a huge stacking amplifier set up with a head and cabinets is great for high volume applications but difficult to move and incredibly loud. Personally I would suggest a valve amp but at the end of the day use your ears carefully. A Fender twin sounds markedly different from a Marshall amplifier for example and a Session highly different from a Peavey.

a Choosing Guitar Pickups and amps

Cornford amps have a great series of versatile amps, some specifically for club playing or recording.

Most of your overdrive and distortion can be achieved through your choice of amplifier. Look for an amp with both a clean and an overdriven channel – then you can switch between the channels or combine them with a footswitch. At the end of the day a good guitar and a decent amp will deliver a huge range of tonal and sound possibilities and characteristics.

Try clean sounds first with all combinations of pick up and tone control possibilities on the guitar and then play with the controls on the amplifier as well. Roll all your tone on and off across each pick up and do the same with the EQ section of the amp.

mofo Choosing Guitar Pickups and amps

Then do the same thing with the dirty channel and a distorted sound. The combine the two and listen to the results. Spend as long as you can and concentrate on what your hear. It may take you an hour, a day or a even week. I used different Marshalls, combined with Fender Twins and a few others before I settled upon SESSION AMPLIFIERS.

Then if you really want to kick out the jams try some distortion boxes.

Cheers,

Jake Edwards

ABOUT LACE SENSORS
Lace Sensors are true single-coil pickups; however, internally they are different from classic single coils. The chief difference is that the coil is surrounded by metal barriers which blocks electro-magnetic interference such as power line hum. These barriers also help concentrate the magnetic field, allowing weaker magnets to be used, which results in less string pull. Less string pull, in turn, means truer pitch and intonation, and superior sustain. There are three main types gold red and blue:

GOLD: A classic 50′s Style single coil sound with a classy bell.
BLUE: Slightly increased output with the warmer 50′s humbucking sound in a single coil configuration
RED: The hottest output of our Sensor Series. Perfect for the bridge position when fat, punch humbucking output is required.