Lydia Loveless was born into country music. But she wasn’t content to just join the family business; she had to put her own personal stamp on it. Or, more likely, she had to stomp all over it! Loveless grew up with a dad who owned a country music bar, and she often woke up in a house full of musicians. When she got older, she blazed her own path and immersed herself in punk, soaking up the musical influences.
Our next move is making a nut for this guitar. This component is one of the most important found on any guitar. No matter how beautiful your fret work is, the nut will make or break your guitar. Many people take a nice nut for granted. That’s because a guitar won’t work right without one. Even the cheapest production guitars are usually sold with a functional nut.
Remember the early part of the 2000s? The time when every critic and their brother was saying this was going to be the "Age of Garage Rock?" Artists like the Strokes, the Vines, the Hives, the White Stripes (plus the rest of Detroit) and the Black Keys were all breaking onto the scene, leading many to proclaim we had entered into a golden era in raw riffage.
On this day in 1965, The Beatles recorded “Help!” -- the song -- during a four-hour session that started around 7 p.m. at Abbey Road Studio Two in London. Twelve takes were recorded; the first eight were of the rhythm tracks only, with vocals appearing for the first time on take nine. John Lennon -- the song's primary writer -- sang lead vocals, backed by Paul McCartney and George Harrison.
While there is no shortage of guitar-oriented apps for the iPhone, iPad and iPod Touch, many of them can be full of so many configurations and settings that they become cumbersome to use -- especially on the smaller screens. And even after mastering the settings, you can quickly rack up a hefty sum with in-app purchases.
Improvising with arpeggios is a great way to dig into chord changes, bringing out the exact sound of each chord in your lines. While scales and modes are great for outlining keys and creating modal colors, when you want to sound each chord in a progression, arpeggios are the way to go. While they are great for outlining chord changes, arpeggios can often become boring or predictable when you overuse them in a solo.
I've been noticing a trend amongst younger guitarists on YouTube and elsewhere; it's a distinct lack of melody. Speed, blazing technique, sweeps and taps are all fine and incredible and have my deepest respect. I know the hours of practice and dedication it takes to acquire these techniques. But in the studio world, the place where people hire you to play the way THEY want, these styles are rarely used.
And we're off! Writing this in Montreal, which is the fourth show on this run. Things are starting to get organized step by step. Aside from the blown-up stage power transformers and jetlag, it's all going smooth. What can I say? It's great to be back in the U.S. and Canada!
Here's a technique I use that also helps me break out of a "guitar" sound and allows me to groove with an electronic four-to-the-floor dance groove. It basically consists of executing octaves with unassisted hammer-ons using your fret hand while tapping the first, third, and fifth string using the ring, middle and index finger of your right hand.
Every great rock song has a great riff, be it a single-note melody or a chordal-based sequence, and that's probably what makes it a great song. Like a great frontman, a really good rock riff should have a hypnotic, star quality. A great riff can take you over; you might find yourself playing it repeatedly for ten minutes. There's something about it that makes you want to indulge in it.