Is country guitar difficult to play?
I received a comment on one of my YouTube videos and it really got me thinking about country vs. rock music.
This is the comment (quoted exactly as he typed it):
i like your playing. seems to be difficult. i m a beginner.. i have the feeling that country is much more difficult to play than Rock. thats why everyone plays Rock... maybe ??? haha.. i like country and Jim Reeves and Patsy Cline.. already learning their songs.. and Humperdink as well .. great songs.. but not rock.. i guess the Bullet is just the right guitar for that kind of music. soft. sweet. and warm tone..Lovesong country...
The Bullet he mentions is in reference to my Telecaster.
As for my playing style, yes I am leaning more towards a country sound these days. I was into rock for the longest time, then surf, then country.
I'm not personally into Patsy Cline or Jim Reeves, but do respect that old-school country vibe.
The main question the comment poster brings up is:
Is country music more difficult to play than rock music?
Yes.
Rock music's beginning point on the guitar is what's known as the power chord, which in musical terms is a fifth chord. The first fifth chord anyone learns is of course E, which literally only requires one finger to play.
Rock guitar also starts as a distorted guitar sound. The distortion effect does make it easier for guitar players because you can simply "hide behind" the effect and cover up mistakes relatively easily.
Country music's beginning point on the guitar are cowboy chords. And while the chords themselves are easy, rock players do experience frustration getting the technique correct.
Country guitar is also not distorted like rock guitar is. Much more emphasis is put on getting a "clean twang" out of the instrument instead of burying it behind muddy distortion.
Right out of the gate, getting a correct country sound does require more effort. More fingers are required to play the chords, more concentration is put on rhythm play, and you can't hide behind a guitar effect.
The #1 thing I've learned from country guitar play
Full chords are mandatory.
With country music, the guitar's voice is the full chord and not the solo. And what do I mean by full chord? I mean something that is more than just a fifth. Something that fills more sonic space, and does it clean without a bunch of ratty distortion getting in the way.
Full chords do require more effort to play correctly. An example of this is the 6/9 major chord, which is something I found out about while learning surf guitar, oddly enough. The 6/9 major is actually used in jazz, but surf uses a lot of "non-standard" chords and styles at times.
As it turns out, the major 6/9 finds its way into country music too from time to time.
That is but one example of a full chord. Many times in country guitar, 5 and 6-note chords are used often to bring out the fullness of the guitar.
Rock guitar however absolutely does not allow for use of the major 6/9. Rock is mainly a sea of fifths, all of which revolve around the minor scale, so when you try to throw in a major 6/9.... no way. Doesn't work.
You quickly discover the limitations of rock guitar when you try to use something like a major 6/9.
In country, it is important to bring the melody forward
I may (and probably will) write more about this later, but the guitar's function is to not be squarely in front as the lead but rather a supporting instrument in a proper country song.
You don't think of guitar when listening to Patsy Cline or Jim Reeves. At all. Ever. What you're thinking about is the entire song. The guitar is almost always there, but it's not about the instrument. It's about supporting the main melody from the vocalist and keeping that in the front.
This way of thinking when playing guitar can be a difficult concept for a rock guitarist to grasp. As far as a rocker is concerned, he's all about putting the guitar in front. To not do that yet still meaningfully contribute to the song is a bit of a foreign concept to Rock Guitar Dude...
...but it can be learned. Turn off the distortion, dive into full chords, and think about the song more than the guitar itself. Doing these things will make country guitar a lot easier to learn.
The Yamaha Pacifica you actually want
This is one of the best Pacifica guitars from Yamaha. And it's not in your local guitar store.
Yamaha for whatever reason does a really crappy job letting guitarists know this guitar actually exists. Or to be more specific, letting guitarists know the good versions of this guitar.
The Pacifica model has 5 trim levels. PAC100, PAC200, PAC300, PAC500 and PAC600. Any model starting with PAC6 is upper tier. The above model is a PAC611HFM, and wow is it loaded with goodies.
Pacificas that you see in guitar stores are only the PAC1 and PAC2. I best describe those as "okay". Things get better with the PAC3 and PAC5, but it's at PAC6 where this guitar really shines.
Put simply, every upgrade that a guitarist would ordinarily put into a guitar is already here with the PAC611HFM. String saver saddles with Teflon that make your strings last longer, GraphTech TUSQ nut, Seymour Duncan SP90 at the neck, Seymour Duncan TB-14 at the bridge with push/pull at the tone knob for coil split, Grover locking tuners, alder body with flame maple top, 25.5" scale maple neck with satin polyurethane finish, rosewood fingerboard with 13 3/4" radius (very flat for effortless note bending)...
...wow. Just wow.
Considering the price this thing sells for, it should be selling for a lot more.
Good guitar? No. Great guitar.
The only problem is actually finding one. At the time I write this, there are a few of them on Amazon. Grab one while you can.
4 fretless bass guitars for under $500
A fretless bass is a cool thing to have because nothing else sounds like it. Usually you have to pay big money to get one. But fortunately there are 4 under the $500 mark that get the job done in fine style.
Squier Vintage Modified Precision Bass Fretless
For most bassists, this is the best choice because it has familiar Fender P-Bass feel without the Fender price. Also, because it's a P-Bass using a standard split-coil pickup, this bass can be easily upgraded. For example, you could easily install a Fender Precision pickup with alnico 5 magnets for not that much money. Great deal.
A killer fretless with several goodies for under $500. Note the pickups each have 2 pole pieces per string for unbelievably good clarity. The output jack's position is perfect for snaking your audio cable through the strap (very thoughtful design by Ibanez.) No neck dive here as the top horn is neatly placed above where the 12th fret position would ordinarily go. And let's not forget the 3-band EQ. This bass has it.
In other words, the SR370E literally needs no upgrades at all. This is a lean, mean and lightweight fretless that's ready-to-go.
This bass has everything the Ibanez does (including the 3-band EQ) but with the addition of a spalted maple top and a thin U-shape neck that still has a familiar 34-inch scale length. The difference is that the strings can go through the body on this one.
Squier Vintage Modified Jazz Bass Fretless
I saved this one for last because more often than not, this is the one bassists want when they want fretless for cheap. Yes, it very purposely has the look of the Fender Jaco Pastorious Jazz Bass. That's no accident.
This Squier has a 9.5" radius on the fingerboard, but also has the very familiar 1.5" nut width, meaning it has the close string spacing J-Bass players are very familiar with.
If you've absolutely gotta have a fretless Jazz Bass for cheap, this Squier is your best option.
Your two other options are the Jaco bass mentioned above, and the Fender Standard Jazz Bass Fretless (which is over $500 but not by a crazy amount).
If you want a Jazz that's the most mod-friendly, the Fender Standard is it. Yes, it's a Mexico build, but Mexico builds follow Fender USA spec a lot more closely compared to Squier. This means that switching out things like electronics, tuners, bridge and so on will be a lot easier, should you decide to do so. And because you get a pick guard, it's easier to work on from the space given under it.
My personal pick of this lot is the Ibanez, because you get the most for your money. And I meant it when I said it needs no upgrades. Most bassists do upgrades simply to get up to the level of electronics and hardware the SR370E already has.
How to make reverb not worthless
Reverb is worthless for the most part - unless you know how to wield it properly.
I've said before that where guitar effects are concerned, flanger is absolutely worthless because those who buy that effect actually want a phaser but bought the wrong thing.
Where the reverb effect is concerned, guitar players who buy a reverb effect actually wanted delay (the BOSS DD-7 digital delay, specifically), but bought the wrong thing...
...but maybe not.
If you've been following me for any time at all, you know I use a DigiTech RP360, which is a multi-effect unit that contains not just reverb but a whole bunch of them to choose from.
Do I use them? Yes, I do - but only a very specific way.
Before I get into that...
Three universal truths about the reverb effect
1. Surf is the only guitar sound "allowed" to use reverb live
A mandatory thing to get a surf guitar sound is "drip tone," which refers to an electric guitar with a very high treble response (like a Stratocaster, Telecaster, Jaguar or Jazzmaster), played through a very high level of vintage style spring reverb.
You need spring reverb to do proper surf guitar. It's absolutely mandatory.
2. Reverb is completely worthless live
For literally EVERYTHING ELSE besides surf guitar, don't use reverb live. Ever. It will sound terrible.
If you dare use reverb live (and you shouldn't), what will occur is that while you will be able to hear the reverb effect when standing next to your amp or PA speaker, the audience simply will not hear it because the effect does not carry well over a distance.
There is no good way to project artificial reverb. Never has been, never will be.
Surf guitar can get away with using reverb because without it, there's no surf guitar sound. Reverb is a prerequisite of the surf "drip" tone - and only for surf. It's a ratty, clanky sound that only works there.
When you want to sound "big" live, delay is what you want
Excluding surf guitar, reverb sounds awful live because it alters the guitar tone too much and there's simply no good way to get an accurate amount of effect level that works. You'll never get that happy medium no matter how hard you try.
Digital delay, however, does work. Using short digital repeats from the delay effect is something you will have much finer control over that can actually sound good.
For example, setting a delay of 3 short repeats about 0.3 seconds apart with rapid decay works for most guitar players. And if that sounds too "muddy", decrease the delay effect or simply engage it only when needed (such as for guitar solos where a little extra "space" is needed).
Why do I specifically recommend the BOSS DD-7? It's built like a tank and has all the options you could ever want out of a delay effect. It has what counts, that being plenty of delay time, modulate, reverse and even an "analog" mode for more classic delay effects such as the original BOSS DM-2.
How to make reverb work for guitars recorded at home
Reverb is awful live. But for home recording, reverb really works well because all you're dealing with is a direct signal.
It's actually fairly easy to make reverb sound great for guitars if you follow a few simple rules.
Rule #1: Don't use "Hall"
On most digital reverb effect pedals such as the BOSS RV-6 seen at top (arguably the best reverb pedal you can buy), you will have the option of "hall", which is a washy style of reverb meant to simulate a large stage or church style reverberation.
Don't use this.
What you're doing when using Hall is putting the effect before the guitar, which is a backwards way of thinking when recording. You want the reverb effect to accent the guitar and not overtake it.
When you start adding Hall reverb to all your recorded guitars, everything turns into a mess quickly because you've got all this effect in the mix drowning out the instruments.
Rule #2: Do use "Room"
The classic electric guitar sound most players are chasing after is that "guitar sounds like it's being played with a band in a studio or garage" reverberation. That style of reverb is Room (which is also a setting on the BOSS RV-6).
A Room reverb effect has a much shorter decay that gives a sense of space without overpowering the instrument. It works very well and sounds pleasant to the ear.
Rule #3: Knowing where certain reverbs work best
The general rules of thumb where reverb is concerned for at-home recordings is this:
- Electric guitar: Room reverb.
- Bass: Never apply reverb here. Doesn't work. Whether it's fretted, fretless, slapped, plucked, thumbed, or whatever, do not use reverb on the bass. Just don't do it.
- Drums: Room reverb with emphasis on snare if possible.
- Vocals: Plate reverb applied lightly and only if necessary (yes, this is also on the BOSS RV-6).
- Synthesizers: You can actually get away with more washy reverbs with synths. This is the one time where Hall might actually work, or even Plate. Old-style analog synth sounds take very well to washy digital reverbs for the most part.
Should a master reverb be put over the entire mix of a song?
More often than not, this doesn't work.
An example of where this fails is with bass, even if the bass is electronic. You simply don't want reverb there, because it can make a good, punchy bass tone sound all mudded up and terrible very quickly.
However, there are instances where it can work. If the recording is just one acoustic guitar and one singer, that's something where adding a light reverb over the entire mix might provide the right sound.
When I use reverb...
...I will usually go for a Room reverb, and keep it on the light side. And I'll only use it for at-home recorded stuff.
For live, digital delay would be the only thing I use for a "bigger" sound, and only if necessary, which is not that often.
Is the best reverb no reverb?
No. I think having reverb is necessary as long as you know how to apply it well.
Don't use it live, and when recording at home, don't make it sound like you recorded your guitars in a cave because that never sounds right.
Use reverb for its intended purpose, that being to create a sense of space. Ask yourself, "What sense of space am I trying to create here?", then choose your reverb effect wisely...
...if your guitar and/or recordings actually needs it.
The Better DigiTech JamMan Solo XT Manual book is live!
Done and ready to rock.
My book The Better DigiTech JamMan Solo XT Manual is now live, so if you own the actual JamMan Solo XT (such as I do), this is a book worth owning.
I state this in the book itself, but I want to make clear that this is not a replacement for the actual manual, but rather more plain-English-friendly supplemental documentation. DigiTech actually did do a good job for the most part with the manual provided with the JamMan. But that ultimately doesn't take away from the fact the JamMan Solo XT is an advanced device that needed more friendly documentation to describe its operation better.
I only have two real complaints with the way DigiTech wrote their manual. First, a fair chunk of it seems out-of-order, and second, the odd choice of words here and there.
Concerning the out-of-order part, there's a lot of flipping back and forth of pages in some areas just to follow specific directions. Some of this flipping back and forth is well more than 10 pages apart. That's annoying.
For the weird word choice thing, page 14 of the DigiTech's manual is literally "Free-Form vs Auto Quantized Looping". It's the use of versus that's bad here. Bad use of the word, because that sends the message to the reader "one of these is bad" when that's not true at all. Both looping methods are obviously just fine. In addition, versus isn't an instruction... yet it's in an instruction manual.
I pick up on things like that and other foibles when reading documentation. Is this digging too deep into semantics? No, because this is the documentation on how to use the thing.
There have been many guitar players as well as synth players and vocalists who just outright gave up on using the JamMan Solo XT because of the learning curve. The manual provided simply did not do a good enough job.
My hope is that with my book, more people keep their JamMan pedals and do wonderful things with them. I honestly believe it is the best bang-for-your-buck looper for sale right now. If it weren't, I wouldn't have bought it myself.
How the JamMan won me over
I had the choice between the JamMan and the BOSS RC-3 Loop Station. Bear in mind I already had a simple 40-second looper with my DigiTech RP360 multi-effect unit. What I wanted was an advanced looper.
The JamMan ultimately beat out the BOSS RC-3 for two reasons.
First, it has a memory card slot where up to 32GB of additional data storage can be installed. For audio-only data, that is a massive amount of space and one heck of an upgrade - and dirt cheap!
Second is something easily missed. There is no way to exactly set a tempo by beats-per-minute on the RC-3. And I know exactly why. It's because the digital display on the RC-3 is 2 digits long while the JamMan's is 3 digits.
If for example you want to set a loop to have an exact tempo of 138 beats per minute on the JamMan, you can do it with ease. This is not possible on the RC-3. You can manually tap your tempo, but you cannot directly input a precise BPM number.
Why does this matter? If you decide to bring your WAV loop data into software on a computer later for multitracking, you *must* know what the exact BPM is.
I read through the RC-3 documentation online thoroughly, looking for any way to manually set a metronome tempo by a precise beats-per-minute number. Couldn't find anything. The RC-3 simply can't do it...
...and that pretty much sealed the deal right there. I bought the JamMan instead, and it was the right choice.
Does this mean the BOSS RC-3 Loop Station is bad? No. But once you go JamMan and see what it can do over the RC-3, and do it for much less, it makes the choice to go with the JamMan an easy one.
All the JamMan needed was some extra documentation that explained how it does what it does better. So I wrote it.