_ Are you a musician who’s played most their life, and [also] plays guitar? Have you found that the more digital efx you use, the more your special unique personality of your guitar is degraded to generic?
_ I hadn’t noticed how much this was becoming true until plugging my Guild solid body electric in directly to a small crate amp 8″ speaker, no efx, volume @ 1/4. What I found was a warmth and punch and definition missing from all the pedals and efx, and also renewed desire to explore all the ways we can naturally enhance this uniqueness, two of which are where (along the neck) and how we pick the strings. Both have vastly more capabilities and pleasures to our ears than anything modelled!
_ Many years earlier, I played keys in David Rowan’s band with the funkiest bass player I know, Doug Grigsby, amazed at his talent for thumb pops and hammer-ons, and all varied ways to hit the strings, both traditional and brand new. My question became, how could I apply similar techniques to guitar playing, and which type, acoustic or electric, would it be most beneficial and most enhancing?
_ I’m not a formally trained guitar player (as I was piano), so exploration in this department was not a straight line, only now, years later have I had a chance to truly develop something I find unique and very much possible. I am just now recording some of the newest songs and ideas, and these alternate ways of “hammering” the strings are providing a vastly wider assortment of aural tickling, especially with my Guild Electric. And yes, it means loosing your pick!
_ So, as I begin the early stages of my next collection of new songs, I will try to get at least some video of these techniques during the recording process, to demonstrate and educate those who may be interested in my quest. And those of you who may be in attendence at live performances, you will find me more often without my Guild 12 string acoustic, which has been my first go to favorite, in favor of offering your ears some of the same goose bumps I’ve been experiencing!
_ My hope is that we might share our experiments in technique for sonic tweeking of guitar, and renew interest in guitars, all with subtle personalities unique to each.
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