How to make it easier to hold bar chords
This type of chord is difficult to hold for some, but there are ways to make it easier.
Three things to note up front:
First, it is okay to write out this style of chord as bar chord. Technically, it's supposed to be written as barre chord. But whether you write it as bar, barr or barre, it all means the same thing and they're all pronounced the same way.
Second, while what I'm about to say will totally work on an acoustic guitar (even for the inexpensive-but-good Jasmine S35), this applies to both acoustic and electric.
Third, I'm going to specifically be focusing on steel-string guitars because that's the kind people have difficulty with when trying to hold down bar chords. An acoustic guitar with nylon strings (such as the Fender MC-1) is by very nature much easier to hold down chords with. But that style of guitar isn't meant to be played with a pick, and the kind people want to know about is the one you can play with a pick, which of course is the steel-string.
Using thin strings
Thinner strings does make it easier to hold down bar chords.
I personally use the next-to-thinnest electric guitar string there is, which is a gauge set from .008 to .038, also known as "extra super light". The only set lighter than that starts with .007, such as this Reverend Willy's set that is .007 to .038. Do I recommend .007? No, I don't. That's too thin, even for me.
Where acoustic guitar strings are concerned, the lightest you can go before the strings start buzzing and flopping all over the place is .010 to .047, such as the D'Addario EXP10 set.
Detuning to Eb
For some people, a simple detune from standard E to E-flat works wonders. The overall string tension is loosened and sometimes that's all you need to do to make it easier to hold down bar chords.
Using a guitar with a shorter scale neck
The standard scale length on most guitars is the Fender standard (even if the guitar is not made by Fender,) 25.5 inches. This is the measurement from the string saddle to the nut and not the entire length of the guitar.
A guitar with a shorter scale length, such as the Epiphone Les Paul with its 24.75 inch scale or the Fender Duo-Sonic with its 24.0 inch scale, will make it easier for you to hold bar chords. A shorter scale length means the overall string tension will be slightly looser compared to using a guitar with a standard scale length.
Lowering the string saddles (if possible)
On most acoustic guitars, there's no way to lower the string saddle mechanically. Your only option there is to physically file it down. But I absolutely do not recommend that unless you're familiar with how to install a replacement saddle. This means knowing how to pull out the old saddle with pliers and then pressing in a new one. That may sound simple but it's almost too easy to seriously screw up your guitar if you've never done it before, so again, I don't recommend it.
With electric guitars, lowering the string height is fortunately easy. It is either done by lowering the entire bridge (like on a Les Paul) or lowering each individual string saddle (like on a Stratocaster or Telecaster.)
You will have to experiment with string height to see what works best for you.
Using a flatter neck bow
This is one that's a little scary for some, because it does require adjustment of the truss rod, and you have to know what you're doing before you do it.
Before continuing, know that this mostly affects just the middle of the neck, as in frets 7 through 12, because that's where the bow is on most guitars.
In other words, if you specifically have difficulty holding bar chords in the 7 through 12 fret range and only there, doing what I'm about to say may help.
If your guitar is properly set up where you can hold chords properly in the fret 1-6 range and the string height is to your liking, but anything after fret 7 gets more difficult, it is most likely true the neck needs a tightening of the truss rod.
What does a tightening of the truss rod do? It will bring the strings closer to the middle of the neck since tightening the rod decreases neck bow, i.e. makes it flatter.
How much should you tighten? Only a small amount. A clockwise 1/4 turn should be enough to bring the strings closer to the middle of the neck to make holding bar chords there easier.
Again, I have to stress to only do this if you specifically have difficulty holding down bar chords in the middle of the neck. If you have difficulty holding down bar chords across the entire neck, try detuning to Eb, try thinner strings, try lowering string height.
"I've tried everything above and I still can't do it"
Follow the advice above and try a guitar that has a short scale neck. I mentioned the Fender Duo-Sonic above, but a very cheap option is the Squier Bullet Mustang. That guitar with an .008 to .038 string set is pretty much as "light and loose" as you can get away with. Set that guitar with low action and a flat bow of the neck and that's as easy as it gets to hold down bar chords where steel-string guitars are concerned.
What are cowboy chords?
Using nothing but cowboy chords is arguably the easiest way to play guitar. And in fact, most people play guitar using nothing but these chords.
Cowboy chord is another name for open chord. It is a chord played on the guitar that uses open strings and only requires three of your fret hand fingers to make (index, middle and ring fingers).
How many cowboy chords are there? Eight. Five major and three minor.
These are the chords:
- E major
- E minor
- A major
- A minor
- D major
- D minor
- G major
- C major
Cowboy chords are used in many songs. Everything from Louie, Louie to Fortunate Son to Sweet Child O' Mine to Take On Me to Another Brick in the Wall to Yellow Submarine... and believe me, I could list many more. Every one of those songs uses a variation of the 8 cowboy chords.
Cowboy chord use is why your only acoustic guitar should be a 12-fret
Where acoustic guitars are concerned, there are the traditional 12-fret kind, i.e. your standard full-size dreadnought or smaller parlor acoustic guitar, and then the cutaway kind that gives you access to frets higher than the 12th.
If you want an acoustic that rings the best (and you should), go with a 12-fret. Chances are very likely you're only going to play cowboy chords on it, maybe use a capo from time to time, and that's pretty much it.
Seriously, think about it. Are you going to do high-fret soloing on your acoustic? Of course not. Get the 12-fret.
Cowboy chord use is the reason many vintage guitars only show wear at the first 5 frets
On both the front and back of the neck, it's usually true that on well-used electric guitars, the most wear is shown from frets 1 to 5. This is totally normal. In fact, it's so normal that it's expected.
It's rare you ever see worn frets after fret #5. And where the back of the neck is concerned, any gloss from frets 1 through 5 will be dulled away after years of use. This is true no matter how the neck was finished, be it nitrocellulose lacquer, urethane or something else. The only real difference is that nitro will flake off and expose the wood grain while urethane won't and instead just show a duller look.
Cowboy chord use is also why it's OK to do a partial refret if the guitar needs it
If you or someone else is going to refret your guitar and all the wear is at the first 5 frets, then a partial refret of the neck is fine. No need to spend the extra money on 21 to 24 fret wire replacements if only the first 5 are worn out.
Yes, there are exceptions to the rule. If on a refret you're going to switch fret material from nickel/silver to stainless steel, you might as well do a full refret there. But for nickel/silver (which the vast majority of electric guitars use), a partial refret is fine. After installation of the new frets, a fret leveling and a proper polishing with 0000 steel wool, you'd never know that new frets were installed at the first 5.
Bass guitars for church and worship players
I don't talk about bass guitars very often, but as much as people say that bass players aren't needed anymore, they are - especially in a worship setting.
The place where you see bassists quite often are in churches. Stage types for churches come in all sizes, from small cathedrals all the way to full blown arena style venues that somewhat resemble a rock show (yes, really).
Bass players look for very specific things with certain basses for use in worship settings, and these are some that fit the bill nicely.
(Note: I'm purposely listing 4-string models but may do an article later on basses with more strings, such as the Schecter Stiletto Studio-6.)
This is absolutely perfect for church playing. The look is right, the EMG 35HZ pickups are right (responsive, quiet and a very nice place to rest the thumb), the shape is right, and most importantly the price is right.
The Stiletto Custom-4 is a no-brainer buy for church bassists.
This is another no-brainer buy for bassists, but for a totally different reason compared to the Stiletto Custom-4. The GSR200 model has two major selling points. First, it's cheap. Second, it's pretty much the best bass for the price it sells for. There are other basses as cheap as the GSR200, but you get the most for the money with the Ibanez. And by "most for the money", I mean "everything works like it's supposed to and won't fall apart in a year".
The other nice thing about the GSR200 is that it's arguably the best cheap bass that covers the most tonal range. Why? The P/J pickup layout and four control knobs (volume and tone for each pickup.) That's actually really good on a bass priced as low as the GSR200 is.
When you look at this one, you'll probably say to yourself, "This looks almost identical to the Ibanez GSR200. Why show it?" The reason is something I guarantee you missed. The P pickup. On the Ibanez, the P pickup is mounted flipped while the Yamaha has a traditional Fender Precision Bass P pickup orientation.
Why does this matter? Because some bassists rest their thumb on the P pickup, and many are used to the Fender style orientation. But then there are other bassists who actually prefer the P pickup flipped because it feels better to rest the thumb with the pickup mounted that way.
Is the P pickup's tone affected based on orientation? No. I'm sure some bass players would disagree with me, but I've never heard a significant difference in a P pickup's tone based on just that.
Oh, and there is one more cool thing about the Yamaha over the Ibanez. Truss rod adjustment. It's at the heel and done so in the best possible way. There's a channel there where you can insert a wrench very easily to make relief adjustments. No need to take the neck off, no truss rod cover plate to remove (it's always open), and you don't even need to detune the strings. The channel was very smartly designed with proper length and a raised "lip" so you have plenty of room to get a wrench in there with absolutely no danger of scratching the body. It really doesn't get any better than that.
Squier Vintage Modified '70s Jazz Bass
You can go cheap and buy the Squier Affinity Jazz Bass, but spend a little extra and you get a much better bass with the VM '70s Jazz from Squier.
The Affinity model gets the job done, but you will probably find yourself fighting with the instrument from time to time, and that's no fun at all. The VM model just outright feels like a proper Jazz Bass. Yes, it's Squier, but it easily captures that "feels like Fender" vibe. Everything is where it's supposed to be and it is a mod-friendly Jazz, so it's ready for upgrades later on.
VM '70s Jazz is one that can easily be used to gig regularly and reliably with. Can't say the same for the Affinity.
If you play bass, you knew the tried-and-true Fender Jazz Bass would make an appearance here, and for good reasons.
The trusty Fender J Standard (and yes I am specifically talking about the Mexico made J) is a bass you can rely on. It just works. But that's not really its main selling point.
What really makes the J Standard a good buy is the unbelievable amount of mods and upgrades out there for it. Unless stated otherwise, anything third party made that "fits Fender Jazz Bass" will fit the Mexico made J.
I'll say it another way. If you want a Fender you can mod, get the J Standard. If on the other hand you have no intention of modding the bass, get the USA made Professional Jazz instead.
What about the more ritzy expensive stuff?
If you're more than just a casual bass player, you've probably drooled over an Alembic or maybe a Sadowsky, Pedulla or Dingwall bass. These are all fine instruments, but are out-of-reach for most bass players. Not everyone has $3,000 or more to drop on an instrument.
My advice for church and worship bassists is to use a bass that looks nice but isn't a trophy queen. Church gigs are still gigs whether you get paid for it or not, and you need a bass that can take a knock.
Remember that getting a ding or a nick in a bass you paid $600 or less for doesn't hurt nearly as much as one you paid over $3,000 for.
Guitar deals for Black Friday 2017
There's some good ones this year, and you'll definitely want to check these out. If you get the jump on them before November 24 (which is when Black Friday is for 2017), you won't have any problem getting any one of these.
Gibson Les Paul Studio Gold Series
Definitely one of the best looking Les Paul guitars I've seen. It's done so well that you forget the fact it's a Studio and not a Standard model, which basically means no body/neck binding. And since it's a Studio model, it's priced lower than the Standard. You really don't get all that much more with the Standard other than a higher price tag, so this one is a really good deal.
It should also be noted that, thankfully, there is absolutely none of that wacky robot tuner garbage nor any other "improvements" on the Studio model. It's a true Les Paul, the way it should be. No awful surprises here.
This is a guitar I've mentioned recently, and as luck would have it, it's an unbelievably good Black Friday deal. The price is LOW and the quality is HIGH. Great guitar to give as a gift or to have as a spare. It's also mod-friendly, so if you want to swap out the pickups and tuners (not that you need to,) no problem.
Protege by Cordoba C100M Full Size Classical Guitar with Gig Bag and Tuner
Where nylon string (meaning not steel string) classical guitars are concerned, I like the fact this one comes with everything you need. Guitar, gig bag and tuner. Do you need anything else? Nope.
If you've never played a classical guitar before with nylon strings, they are very easy to play - especially for those with sensitive hands and fingers. The nylon strings don't hurt the fingers at all and are easy to press down to the fingerboard.
This guitar is already priced low, but right now it's priced even better.
This guitar is Les Paul shaped, but the neck is a thin-U shape contour with extra jumbo frets on the fretboard. That basically means if you like a Les Paul but prefer the thinner neck with bigger frets for easier soloing, this is the guitar for you. Yes, it has the same 24.75" scale as a Gibson Les Paul, yes it does have body and neck binding and yes, it has traditional passive electronics (which makes for easy modding.)
Again, this guitar is priced low, but with the 20% extra taken off, it's a steal.
How to sound like Dimebag Darrell
This sound is actually not difficult to achieve when you know how it was done.
There are a lot of metal guitarists that think that Dimebag's tone was amazing, specifically on the Vulgar Display of Power album.
I'll tell you how to get that guitar sound, but before I do, know this: It's actually a really crappy sound.
Why is Dimebag's sound so crappy? Because on its own, it's nothing but awful '90s era solid-state digital junk. Dimebag was known to use Randall solid-state amps and Korg (yes, Korg) digital pedal effects.
Today, we have proper digital amp modeling technology that actually sounds right, such as with the DigiTech RP360 or even the cheapest Fender Mustang amplifier. But back in 1991 when Vulgar was recorded, guitar tech was in this weird state where it was a mishmash of '70s solid-state and late '80s/early '90s digital nastiness.
On to the tone...
I'll use Walk as the example and explain how to get this. First I'll describe the guitar you need, the rhythm sound, then the lead sound.
Which guitar to use?
All you basically need here is any guitar that has a pair of high-output pickups. Even a cheap Squier Mustang HH would work.
If however you also want to capture Dime's lead tones, you'll need a guitar with a proper Floyd-Rose style tremolo system. And by proper I mean the kind that won't fall apart in a year from regular use. The guitar I suggest here is Schecter Hellraiser C-1 FR.
Rhythm
It's very obvious the guitars are doubled to add in mids and bottom end. My ear hears this immediately, which tells me one recorded guitar on its own during recording sessions wasn't good enough.
If recording at home, this isn't a problem to recreate. Just record the rhythm guitar twice and then adjust levels.
In a live situation, the easiest way to simulate this is to use a digital delay pedal like the BOSS DD-7. What you do is add one very short repeat, almost like a slap-back delay. The end result of this is a tone that has more mids and bass. It won't sound exactly like doubled-up guitars, but it will be real close.
Lead
On Walk, this is nothing but neck pickup. It was EQ'd to be nothing but midrange frequencies. There is no bass and not much treble going on either.
If you're a metal player, you know what "scooping the mids" means. This lead tone is the exact opposite of that. Instead of mid down/bass up/treble up, it's mid up/bass down/treble down. This is what was done in the studio to allow the lead guitar sound to cut through the mix and be heard.
A ridiculous amount of distortion was used for the lead tone. At no time during the solo does Dime pause significantly between notes, because it's probably true if he did, a BUZZZZZZ (pickup noise) would have been heard from all the crazy amounts of gain used. You'll also notice at the end of the solo, the lead guitar is very quickly cut out of the mix, again to prevent hearing that BUZZZZZ...
As idiotic as this sounds, the way to get this sound live is to actually use a second gain pedal. Overdrive, specifically. Yes, I am literally saying to overdrive your distortion.
Before telling you what pedal to use, know that distortion + distortion is bad. It won't work, sound terrible and the sound coming out of the amp will actually get quieter.
The pedal that will work best for layering over your distortion for a Dime style lead tone is a cheap BOSS SD-1 Super Overdrive. That pedal has exactly what you need. Drive, level, and most importantly, tone.
If you're crafty enough, you could actually use the bridge side pickup and make it sound like a neck pickup. How? Turn the tone control on the overdrive pedal down. Will it work for you? It might. If it doesn't, just switch to your neck pickup instead. No big deal.
Will distortion + overdrive be a buzzy mess? You will get some buzz and there's just no way around that. When adjusting your overdrive, don't just crank it up all the way. Use only what you need to get the sound you're chasing after, and remember that when soloing, don't stop between notes or buzzy nastiness will break through.
Solos aren't that long anyway, so you can kick on the overdrive for the brief time needed, then kick off when going back to the rhythm sound.
...and that's it.
There's really no magic to Dimebag Darrell metal tone. It was early '90s nastiness combined with doubling up guitars. You can use any guitar you want as long as it has high output pickups. And for the solo stuff, Floyd-Rose is needed for that.
Seriously, that's it.