Hi All,
I wanted to write about my newest gear passion: cheap guitars.
This all started about a year ago, when fueled by some advice from Garnet Rogers and Ed Gerhard I decided to explore the world of cheap guitars. I'd been looking for another outlet for my compositions, first thinking I'd get a Harp Guitar. But when I found out even the least expensive playable guitars started at $4000 and would take a year to learn to play I knew I had to look elsewhere.
Over the past year I've bought a handful of inexpensive 'novelty' instruments (all under $600 US, most under $400 US). To me a novelty instrument is something that has a very different sound than a standard guitar. Since I almost never play a guitar that is tuned or set up standard, this is an extention of what I'm doing with my custom Carruths, but the sounds I'm exploring, which are brasher and less subtle than what I compose on the Carruths can be found in cheaper packaging. Especially if it's an instrument on which I'm going to learn new techniques.
I'm the same as anyone else. I'm going to learn how to play on the least expensive, good sounding, and great playing instrument I can find. Later, if I'm really committed to the sound or style of that instrument, I'll go in pursuit of the holy grail. But know this, my continued experimenting with cheap guitars has brought me to my new playing passion: slide guitar. Both 'Spanish' style and lap style. That in and of itself has made the experiment worthwhile.
A word of caution. All my cheap guitar purchases have been through reputable on-line retailers who allow a 30-45 day return policy. This is plenty of time to decide on whether a guitar is suitable for my needs and is in good working order. If you buy from Craigslist or e-Bay, or it's a used guitar, your return options may be more limited. But you may find even better deals. It's the quintessential risk reward proposition.
My first dip in the cheap guitar pond was a little 19.5" scale Breedlove Passport, thinking to use it as a high-string travel guitar. That failed, it was too thin sounding acoustically as a high string. Since I've been miking my guitars at more concerts, the pickup, a Baggs,which was outstanding, is of less importance. It's turned out to be a great guitar for my very petite 12-year old daughter. So, no harm, no foul.
I also bought a little Breedlove 12-string. It's wonderful tuned standard with light strings or tuned lower with a heavier strings. And again, the Baggs electronics made the guitar sound as good or better plugged in as it did acoustically. But alas, my hands can't take the pounding a 12-string delivers, and my music doesn't really seem to translate well to 12-string. What I like on the 12 string I LOVE on the high string. This 12-string guitar is for sale, but it was still a worthwhile experiment. At least now I know not to pine away for a great 12-string; I couldn't play it anyway.
Then, on a whim, I got a Regal round-neck Dobro with a Spider Cone and Bridge. It's an Asian import, as are all the guitars mentioned above. But this guitar, as was true of the other guitars, was in immaculate condition; set up well with perfect fit and finish.
This guitar really grabbed my attention. I immediately took the guitar to JC, my guitar repair guy, and had him install a bone nut, Quartermann cone, a new spider bridge, and maple/ebony saddle. I had him set it up with medium action; something I could play in standard and dropped-D tuning as well as paying it in open E or open Eb for slide. After putting a set of Thomastik-Infeld strings on the guitar it sounded remarkable.
I've spent the following 10 months experimenting with tunings, gauges, right hand attack options, and what type of slide to use. Just this week I finally settled on all apsects of playing this guitar.
On my right hand, I'm using a Johnson X-Large Thumb Pick and brass fingerpicks. The louder I play this guitar the better and more vintage it sounds. It could be because that's how most people play this type of guitar. Aside from my comments in the nail blog, sometimes picks are the way to go.
And I've found my slide (s). After spending hundreds of dollars, and trying over a dozen slides, I've found the Holy Grail. It's called the Ultimate Slide made by Diamond Bottleneck Slides, and it is made from hand blown lead crystal glass. It's functional art if I've ever seen it. I'll have three when all is said and done: one in cobalt blue at 60mm in length that I'll use on my Carruths and two clear slides with lengths of 48mm and 40mm exclusively for the Dobro which has a narrower neck. The clear slides are the warmest sounding and the Dobro can use that to help refine its sound. I've also discovered that the shorter the slide the easier it is to control, and the real short slide will be a specialty slide to use when I'm playing a lot of single strings, or partial chords. All the sides have 5mm thick walls with 20mm internal diamaters designed to wear on my pinky finger.
I also finalized the tuning and strings I use on the guitar ending up with a low C tuning,
(low-hi) C, G, C, E, G, C (open C tuning in open D intervals). This tuning and the strings give it a very throaty quality. It's got the mid-range honk, but a bigger bottom end and a sweeter high end.
I string it with T-I Spectrum Bronze strings in the following gauges: *59w, 52w, 43w, 32w, *26p, and 20p. The strings with an asterisk are from D'Addario since T-I doesn't make strings in those gauges. I'm having JC, my repair luthier, raise the action as well as shim the nut in such a way as to push the bass strings out a bit more. This will allow me to dig into the bass strings for that growling bluesy effect, as well as help me attack individual bass strings with more accuracy, as well as add to the overall sonic quality of the guitar. (At some point I'll write a blog about setting up our guitar.) It'll be stout, but it's within normal ranges for playing slide guitar with some left hand fingering. I'd never set up a non-slide guitar this way, but it'll be fun to dig in and not worry about fretting out with the slide.
I fully expect this guitar to joing the Carruths on stage and in the studio. It's a bit like the kid from the wrong side of the tracks becoming a member of the country club. But this is America and it's about what you do, not where you came from. I find this the most exciting aspect of buying cheap guitars; every once in a while you're bound to find a jewel.
So three guitars purchased, two keepers, with one becoming a stage and recording instrument. And I'm exploring a new way to express myself on the guitar. I've written three new songs on the Regal, and I'm working on three other arrangements of covers. I can't wait to see what the next year with this instrument will yield. I think this was a very successful experiment. So...
Next week I take possession of a Gold Tone Weissenborn Solid Mahogany Hawaiian Lap Steel that David Lindley, Bob Brozman and Ben Harper are known for using. I'll let you know how that experiment turns out next year.
Peace, kb
Thursday, April 30, 2009
Thursday, April 23, 2009
All things related to fingerstlye acoustic guitar
Hello,
Welcome to my Artistry of the Guitar blog where we'll discuss all things as it relates to playing, composing, performing, and recording fingerstlye acoustic guitar. I want your input. What would you like to know about? I have contact with some of the finest players in the world, and if I don't have an answer or opinion (unlikely) about something, I do know who to reach to get it.
First, I think a definition of fingerstyle guitar is in order. Since we don't play the guitar with our toes, what sets fingerstyle players apart? Simple, instead of using a pick to strum or pluck notes we use the fingers of our right hand (if we're right-handed) to pluck and strum the notes. The advantage is you can play the 6th string and the 1st string at the same time without hitting the 2nd-5th strings. It allows guitarists to play music with moving bass lines while playing a melody on top. For all practical purposes playing fingerstyle guitar allows us to turn our guitars into 6-string orchestras in a box.
So, to start off the first blog I thought it would be a great idea to talk about the great un-mentionable, the subject fingerstyle players bring up in hushed tones after a workshop; fingernails. Or as I like to call them, the "Freddie Krueger starter set."
While there are some contemporary artists who use fingerpicks on their right hand, Will Ackerman, Chris Proctor, and Don Alder come to mind, and others like Duck Baker and Tommy Emmanuel (with the aid of thumbpick), who stick to bare fingers when they play, most contemporary guitarists have longer than average nails on their thumb and/or 2 or 3 fingers of their plucking hand.
So this begs the question. Why? Why do guitarists need fingernails? What's the purpose. Well, for me it's like having 4 picks. With nails you get volume and articulation, or detail around the note. If I pluck a note with the flesh of my right hand the sound is muted and dead, but when I add my nail, the note is there in all its richness. Harmonics ring brighter, and my guitars come to life with the extra volume.
Fingerstyle guitar has been around since folks started playing the guitar in the 16th century, when it was originally strung with gut strings. The guitar was famously quiet and nails become a way for players to get volume. Since the late 1800's steel string guitars are used as much, or more often than nylon string guitars for fingerstyle playing, but they can eat a players nails up if you play 2-3 hours a day. Fingerpicks became the solution in the 20th century, and famous players from Leo Kottke to Preston Reed used National thumbpicks and fingerpicks on their plucking hand.
It wasn't until the early 80's when Michael Hedges and Alex DeGrassi in the US came along that guitarists started to hear the instrument played with nails. European players like Martin Simpson, Davey Graham, and Bert Jansch had played with their nails since the 60's, but it wasn't until the 80's that many folks heard these players. But it started a movement away from picks toward nails.
Nails are much more organic sounding than picks, they don't scrape, they don't add much noise to the plucked note, and they allow you to use your right hand thumb and fingers to mute desired strings. This is a very important thing for players who use alternate tunings; something else that was becoming more common in the early 80's.
But, as I said before, when you play 2-3 hours a day steel strings will eat your nails. Most players have dealt with this by adding a little extra to the nail. Some folks go to nail salons and have acrylic nails or fiberglass wraps applied. I did this for years and players like Ed Gerhard, Alex DeGrassi, Dakota Dave Hull, Martin Simpson (he does use a thumbpick), Larry Allen Brown, and countless others go this route. If you take good care of them you can go 6-8 weeks between 'fills'. Many guitarists just paint on several layers of super glue to reinforce their natural nail. For years Bill Mize glued ping-pong ball pieces shaped on top of his nails, and in the weirdest approach I've heard of, Benjamin Verdery used to glue his mother-in-law's toe nails to his fingernails. That's just wrong.
Other guitarists such as myself and Pierre Bensusan have taken control of our own nail care. I like the freedom of being able to repair or customize a nail at any time. And while I'm not an official endorser, I strongly encourage you to check out Guitar Player Nails if you go the self-help route. They have all the materials you'll need, and they have great instructions on how to safely apply and remove the nail products. And to my ear, they sound better than acrylic nails.
So, what should you do if you want to use your nails to play fingerstyle guitar? Experiment. If you've always had problems with your natural nails you'll probably enjoy the freedom acrylics or super glue give you: being able to dig in and play at louder volumes without worrying about wear or breakage is priceless. Personally I like the tone better than natural nails. Since the artificial nail is thicker it sounds warmer. I learned this from bluegrass flatpickers; the thicker or heavier the pick, the warmer the tone.
So what's the right length, shape, or composition for nails. There is none; the key is to experiment. For example I have to have a very long thumb nail, it extends 1/2" beyond the flesh, but my finger nails are quite short, barely longer than the flesh. It took years of experimenting, but that's what works for me. I also recommend that you experiment with shape, from almost straight across to very rounded, or almost sharp. Experiment with thickness; you can add as many layers of super glue , silk, or fiberglass as you want. The point is, find out what works for you. Don't worry if it's different from me or your favorite guitarist; if it's right for you, it's right period.
If you are able to stick to your natural nail, I envy you. It would save me 45 minutes to an hour every week; the time I spend on keeping my nails in good order. To me it's absolutely worthwhile, and as a bonus it's given me the opportunity to bond with my 4 daughters who've learned everything they know about nails from me. How many dads can say that?
So, after you've read this treatise on nails, offer your comments, questions, or other topics you would like to discuss.
Time for me to go work on my nails.
Adios, kb
Welcome to my Artistry of the Guitar blog where we'll discuss all things as it relates to playing, composing, performing, and recording fingerstlye acoustic guitar. I want your input. What would you like to know about? I have contact with some of the finest players in the world, and if I don't have an answer or opinion (unlikely) about something, I do know who to reach to get it.
First, I think a definition of fingerstyle guitar is in order. Since we don't play the guitar with our toes, what sets fingerstyle players apart? Simple, instead of using a pick to strum or pluck notes we use the fingers of our right hand (if we're right-handed) to pluck and strum the notes. The advantage is you can play the 6th string and the 1st string at the same time without hitting the 2nd-5th strings. It allows guitarists to play music with moving bass lines while playing a melody on top. For all practical purposes playing fingerstyle guitar allows us to turn our guitars into 6-string orchestras in a box.
So, to start off the first blog I thought it would be a great idea to talk about the great un-mentionable, the subject fingerstyle players bring up in hushed tones after a workshop; fingernails. Or as I like to call them, the "Freddie Krueger starter set."
While there are some contemporary artists who use fingerpicks on their right hand, Will Ackerman, Chris Proctor, and Don Alder come to mind, and others like Duck Baker and Tommy Emmanuel (with the aid of thumbpick), who stick to bare fingers when they play, most contemporary guitarists have longer than average nails on their thumb and/or 2 or 3 fingers of their plucking hand.
So this begs the question. Why? Why do guitarists need fingernails? What's the purpose. Well, for me it's like having 4 picks. With nails you get volume and articulation, or detail around the note. If I pluck a note with the flesh of my right hand the sound is muted and dead, but when I add my nail, the note is there in all its richness. Harmonics ring brighter, and my guitars come to life with the extra volume.
Fingerstyle guitar has been around since folks started playing the guitar in the 16th century, when it was originally strung with gut strings. The guitar was famously quiet and nails become a way for players to get volume. Since the late 1800's steel string guitars are used as much, or more often than nylon string guitars for fingerstyle playing, but they can eat a players nails up if you play 2-3 hours a day. Fingerpicks became the solution in the 20th century, and famous players from Leo Kottke to Preston Reed used National thumbpicks and fingerpicks on their plucking hand.
It wasn't until the early 80's when Michael Hedges and Alex DeGrassi in the US came along that guitarists started to hear the instrument played with nails. European players like Martin Simpson, Davey Graham, and Bert Jansch had played with their nails since the 60's, but it wasn't until the 80's that many folks heard these players. But it started a movement away from picks toward nails.
Nails are much more organic sounding than picks, they don't scrape, they don't add much noise to the plucked note, and they allow you to use your right hand thumb and fingers to mute desired strings. This is a very important thing for players who use alternate tunings; something else that was becoming more common in the early 80's.
But, as I said before, when you play 2-3 hours a day steel strings will eat your nails. Most players have dealt with this by adding a little extra to the nail. Some folks go to nail salons and have acrylic nails or fiberglass wraps applied. I did this for years and players like Ed Gerhard, Alex DeGrassi, Dakota Dave Hull, Martin Simpson (he does use a thumbpick), Larry Allen Brown, and countless others go this route. If you take good care of them you can go 6-8 weeks between 'fills'. Many guitarists just paint on several layers of super glue to reinforce their natural nail. For years Bill Mize glued ping-pong ball pieces shaped on top of his nails, and in the weirdest approach I've heard of, Benjamin Verdery used to glue his mother-in-law's toe nails to his fingernails. That's just wrong.
Other guitarists such as myself and Pierre Bensusan have taken control of our own nail care. I like the freedom of being able to repair or customize a nail at any time. And while I'm not an official endorser, I strongly encourage you to check out Guitar Player Nails if you go the self-help route. They have all the materials you'll need, and they have great instructions on how to safely apply and remove the nail products. And to my ear, they sound better than acrylic nails.
So, what should you do if you want to use your nails to play fingerstyle guitar? Experiment. If you've always had problems with your natural nails you'll probably enjoy the freedom acrylics or super glue give you: being able to dig in and play at louder volumes without worrying about wear or breakage is priceless. Personally I like the tone better than natural nails. Since the artificial nail is thicker it sounds warmer. I learned this from bluegrass flatpickers; the thicker or heavier the pick, the warmer the tone.
So what's the right length, shape, or composition for nails. There is none; the key is to experiment. For example I have to have a very long thumb nail, it extends 1/2" beyond the flesh, but my finger nails are quite short, barely longer than the flesh. It took years of experimenting, but that's what works for me. I also recommend that you experiment with shape, from almost straight across to very rounded, or almost sharp. Experiment with thickness; you can add as many layers of super glue , silk, or fiberglass as you want. The point is, find out what works for you. Don't worry if it's different from me or your favorite guitarist; if it's right for you, it's right period.
If you are able to stick to your natural nail, I envy you. It would save me 45 minutes to an hour every week; the time I spend on keeping my nails in good order. To me it's absolutely worthwhile, and as a bonus it's given me the opportunity to bond with my 4 daughters who've learned everything they know about nails from me. How many dads can say that?
So, after you've read this treatise on nails, offer your comments, questions, or other topics you would like to discuss.
Time for me to go work on my nails.
Adios, kb
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