It’s one of the most traumatic moments in a guitarist’s life. You’re at a rehearsal or playing a show. You sound great. Never better, actually. You get ready to take a solo, you step forward, put on your best sex face and ... nothing. Your guitar has gone dead. At that moment, you just want someone to give you a big hug and tell you everything is going to be alright.
This time around we’re going to focus on recording technique and some production tips to address some things that some folks often overlook when trying to achieve the sounds of their favorite records. These are techniques that I have used on many records, including the last two Bret Michaels albums, as well as the theme songs to Rock of Love, Life as I Know It and Speed Channel’s Supercross.
Whether you are a beginner or an advanced player, we need to seek out instruction. There is no way to get to the next level without it. As teachers, we have an immense responsibility to a student's growth as a player and as a person. It is one I take very seriously and I hope you do also. We are entrusted with the authority to shape a student's musical future.
The technique is simple: Take a fingering pattern “shape” and shift it across the neck over three octaves. Use of this technique can, however, impart a broader and more sophisticated scope to a lick while also acting as a no-brainer means of navigating greater expanses of fretboard terrain.
Sometime way back when, in the summers of 1991 and 1992, I pieced together my first solo acoustic record, Oh Yeah. I called it Oh Yeah because it seemed like the only thing to call it. Shit, it was a dream to make a record. Oh Yeah!!
Brooklyn-based guitarist, vocalist and songwriter Sonia Montez failed her first time around at a crowd-funding attempt. Her Kickstarter campaign only funded 25 percent and she had to walk away with no money at all. “It was rushed. I was kind of pushed into it. And I had a bad feeling from the beginning,” she says. “It was heart breaking.”
In this Sick Lick, I'm using the E pentatonic scale with the added major 6th. When you add the major 6th to the pentatonic, it creates a dorian-sounding scale, so this is a cool thing to remember if you're chasing that sound but don't want to lose the rock vibe of the pentatonic.
While there are many different voicings you can use to comp or solo over this common progression, with many offering important chord colors that should be explored in your practice routine, sometimes the easiest way to navigate this progression is to stick to one voicing and use it for multiple chords in a minor ii V i.
Last time we looked at how to get your guitar’s vibrato into line. Before I move onto the next juicy guitar maintenance task, I thought I would give you some additional balancing tips. You may need to balance your vibrato whenever you change your guitar’s strings; it might just take a subtle tweak to get it back in line.
If you want your songs to be loved by most who hear it, this is what you must consider: The song must be excellent. Next, the musical arrangement must be correct to sell the song. The performance of the song must be emotional. Finally, it must be recorded as well as possible in the correct environment using the best gear available. Notice: What is the last thing I mentioned?