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In this double DVD lesson I explore my approach to lick techniques on the acoustic guitar. I have been an electric guitarist for most of my life. I had to adapt the things I do on electric to the acoustic guitar. I had to learn how to incorporate these techniques to my thumb picking arrangements.
The Blues has been called The Devil's Music. It can be played in many different ways. Each brings a different dimension to this timeless musical form. In this lesson we travel the roads and byways of the South in search of various approaches to translate this musical form to the strings and frets of your guitar. From Atlanta to the Mississippi Delta, from New Orleans to Texas, this lesson presents diverse and exciting fingerstyle blues techniques and styles.
The CAGED system has become the most popular of many methods for understanding how to navigate the guitar fingerboard. In this DVD, Rolly Brown discusses its strengths and weaknesses, how to use it in order to get the maximum result with the least effort, and how to transcend its weaknesses, becoming able to move up and down the neck in the most fluid and fluent fashion.
Mannes guitar faculty includes renowned guitarist Michael Newman and newly arrived classical guitar star Joo Luis, both alumni of Mannes. They are joined each semester by guest artists from all over the world who lead students in master classes, special projects, and innovative coursework. Recent visitors include Oscar Ghiglia, Roland Dyens, Benjamin Verdure, Eliot Fisk, and Scott Tennant and William Kanengiser, members of the Los Angeles Guitar Quartet. These masters are currently joined by our resident guitar ensemble, the Newman & Oltman Guitar Duo.
Pristine melodies. Crunchy chords. Soaring leads. Spark gives you a full guitar amp modeling and multi-effects engine, powered by our state-of-the-art BIAS platform. The most realistic virtual tube amps and effects on the planet are now all yours.
One amp to rule them all. Spark is the perfect fit for electric guitar, but also comes stocked with amps and effects created for bass and acoustic. Robust, deep bass tones. Shimmering, natural acoustics.
SFCM produces some of the top guitarists in the world, including winners of the JoAnn Falletta International Guitar Concerto Competition and Guitar Foundation of America International Concert Artist Competition.
Faculty include Meng Su, first-prize winner of the Parkening International Guitar Competition, and internationally recognized composer Srgio Assad, who teaches online classes throughout the year and leads a two-week residency each semester with a focus on performance, composition, and arranging for guitar.
The historic John L. Harris Guitar Collection at SFCM features 40 instruments made by the great classical and flamenco guitar makers of the 19th and 20th centuries, which are made available to students for recording and performing projects.
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Built in Japan, the ESP E-II Series represents a new standard in high-quality guitars and basses. Designed for professional recording and touring players, ESP E-II guitars and basses bridge the gap between our premium ESP and LTD models, with great looks, sound, and craftsmanship built into each instrument.
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Guitars are our passion. Since 1975, ESP has created numerous iconic instruments for legendary players spanning every genre of music. Our decades of experience in the design and manufacture of guitars and basses has allowed us to provide the very best options for you as a player. Every guitar that bears the ESP name undergoes a careful and rigorous process of quality control and craftsmanship that culminates in some of the finest instruments on the planet.
The first subject I concentrated on is (you guessed it) recording electric guitars. What became immediately apparent was that there was a huge range of different techniques being used, and also that there were strong differences of opinion between different professionals, which left the question 'who do I believe?' The only way I could answer that question was to put the different techniques into practice in the studio, and then A/B them to sort the sheep from the goats.
Also using his room to advantage is Jay Graydon, who talks about placing a guitar amp on his studio's drum riser for certain sounds. "The riser eliminates low-end coupling with the floor. I am looking for a sweet mid-range tone, so as to not take up too much room in the track, meaning that I do not want low-end information for solos."
On a practical note, Steve Churchyard has this to add: "You'll want a good A/B box so that you can split the guitar feed to the two amps and obviously use the shortest [cable] run. Ideally have the amps in the control room and run the longer leads to the speakers."
Shure SM57.Sennheiser MD421.For a rock sound, many (though not all!) engineers will use a dynamic mic placed close to the speaker (sometimes on its own, sometimes in combination with other mics) like this Electrovoice RE20.Why such a strong preference? These days, force of habit has got to be part of the answer, but there is also a lot about the microphone's frequency response which suits guitar recording. For a start, the sub-200Hz response roll-off reduces low-end cabinet 'thumps', which might otherwise conflict with the kick drum and bass in the mix. This also compensates for proximity boost when the mic is used very close to the speaker cone. However, there's also a slight 'suckout' at 300-500Hz, an area where muddiness can easily occur, and a broad 2-12kHz presence peak, which adds bite and helps the guitars cut through the rest of the track.
Producers as varied as Chuck Ainlay, Mike Clink, Mike Hedges, Gil Norton, Bob Rock, Elliot Scheiner and Tony Visconti all claim to have recorded electric guitar using this mic alone, and it would probably be fair to say that it's often the first mic to come out of the locker for many more than these.
Small-diaphragm condenser mics, on the other hand, tend to have flatter frequency plots and a better-behaved off-axis response, giving a sound sometimes described as more focused, but they seem to be less commonly chosen by the interviewees than large-diaphragm ones. Neumann's KM84 seems to be the most regular choice of small-diaphragm condenser, and numbers John Fry and Bill Price amongst its high-profile users, while Sennheiser's MKH40 warrants a particular mention from Mike Hedges: "I started using [these mics] when I was working with the Beautiful South. I started off with two and now have more than 20. I think they were originally designed for classical recording, because they have very high gain and very low noise. This means that you can get a very clean sound. They also accept massive amounts of volume, so you can put one against a guitar amp on full and it will take it." Hedge's concern about the ability of the microphone to handle the sheer volume of some guitar amps is echoed by several of the other producers, who make a point of mentioning that they switch in a condenser's 10dB pad when recording electric guitars.
However, John Leckie states an interesting preference for an SM58 and U67 rig instead: "SM57s tend to be that little bit brighter than the SM58, which really isn't what you want when you're miking up an electric guitar amp. You really want to pick up a flat signal, an 'unstimulated' signal I suppose is the word... The U67 gives you the warmth and a broader sound."
Coupling an SM57 with a small-diaphragm KM84 condenser finds favour with Bill Price and John Fry, while Mike Hedges chooses his favourite Sennheiser MKH40. Bill Price also mentions the importance of finding a very close phase match between the two microphones. "What one had to do was balance those mics equally, grab a pair of headphones out in the studio that were turned up nice and loud, and fractionally position one of the mics so that they were perfectly in phase at high frequencies, because if you had one mic five inches away and the other six inches away you'd obviously get really bad phase shift that would take the top off the guitar sound."
Beyond specific favoured mics, a number of engineers also mention more general principles when choosing pairs of mics for guitar recording. Jim Scott and Stephen Street both mention using a 'cheap' or 'bad' mic with a good mic (both give the SM57+U87 combination as an example). "Between the two you can find the ideal sound," remarks Jim, "and you can get brightness and fullness."
While recording AC/DC's Back In Black, Tony Platt used a pair of condenser mics to pick up different speaker cones and give a wider sound to each guitar: "I developed a technique for recording guitars with two microphones roughly pointing at different speakers, which can be spread out in the stereo mix so it's not just a series of mono point sources. It makes for a more open-sounding guitar. That sound suited their particular technique, which involved Angus and Malcolm playing the same chords but with different inversions to get a very big unison guitar sound." 5376163bf9
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