The Difference a Pick Makes

Guitarists know that every piece of their equipment is of vital importance in creating their signature sound. While electric guitarists spend years finding just the right amplification and electronics that come together most pleasingly, acoustic artists spend more time experimenting with different tonewoods, fretboards, and often string combinations and bridge height. An interesting fact that many acoustic guitarists are well aware of is the different sounds that can be produced depending upon the material, size, and thickness of the pick used to create them. The pick is, apart from fingerpicking of course, the material that comes between a guitarist’s fingers and the strings, and its influence and importance should not be underestimated.

There are many different materials that have been used over the centuries in the manufacturing of guitar picks. Some of the earliest and most coveted picks were made from tortoise shells. Theses picks were known for their stiffness even when paper thin. Tortoise shell picks were also known to have lasted for many years, as long as the guitarist kept track of them of course! These picks are no longer made due to the international ban on their manufacturing in the 1970s, so guitarists will have to be satisfied with the non-organic imitators, and there are plenty to choose from. Celluloid is still used in pick making. It is also famously used in pin pong balls and hair styling combs. Their production is slowing due to their flammable nature, but can still be found. Many players enjoy the bright sounds produced by metal picks. The attack can be very aggressive and brassy; metal picks are often made of aluminum or copper and are found at most guitar shops. Japanese players are privy to the distinct sounds made from stone picks that are popularly produced in their country. These picks are quite expensive, going for nearly $20 a piece, but many players swear by their warmth of tone and durability. Most of today’s picks are made from a variety of plastics such as nylon. They, of course come in assorted colors, shapes, and sizes depending on the manufacturer. The thicker picks are usually most appealing to players that like to play at accelerated speeds because of the preciseness of their attack. A thinner pick does not have a high tensile strength, bending when coming into contact with the string and is unable to rebound quickly enough for the next strike. Plastic picks can have a brighter or a duller sound as well depending upon their thickness.

It is always good to try different picks made from different materials as part of efforts to find the desired sound. Most local guitar shops like Austin’s Strait Music Company have open containers of picks to try so get out there and put those picks to strings!

About the Author: Clint Strait is a third generation owner and assistant manager of the Strait Music, Austin Music Stores, providing the best selection of guitars and guitar accessories to Austin and the surrounding area for over forty years. For more information please visit www.straitmusic.com.

Choosing a Bass Amp

Playing bass guitar in a rock band can often be a thankless job. Thankless mostly, because bass players often go unheard beneath the screaming vocalists, the squealing lead guitarists, and the thunderous beatings of overzealous drummers. As a bass player, it is your right and responsibility to take your volume into your own hands. Allowing for enough volume, independent of PA amplification should be a primary concern. If included in the PA mix as well, so much the better, but an effort on your part to insure cut and volume is often a necessity.

The most important measure of volume for a bass player should be as compared to your fellow timekeeper, the drummer. The bassist and drummer can be viewed as a two-headed monster in a band, providing the integral rhythms upon which guitarists, vocalists, and keyboard players may build melodies and riffs. Drummer and bassist should have a nice mix between the two, allowing for clear articulation of the kick drum and of fingered bass strings in the lower registers. Bass players need much higher wattage than guitarists in order to produce a tight and cutting low end. As a rule, bass needs at least 150 watts to keep up with the 60 or so watts of a lead or rhythm guitarist and an un-miked drummer. If the drummer is amplified, another 50 to 100 watts is desirable to ensure your presence in the mix. The size of your speaker cabinet should be of special attention as well (Yes, size does matter!). A couple of 10 inch speakers are advantageous for their ability to carry the high end and provide the punch of trebles and mid-range frequencies. 10 inch speakers have less mass allowing their cones to move very quickly, providing punch and attack articulation. For low frequencies, especially the lower kilohertz provided by the B string on 5 and 6 string basses, a larger speaker should be considered. The larger amount of air that is moved by a 15 or 18 inch speaker will allow the large waves of the lowest frequencies to be heard and felt. A combination of both size speakers would be preferable, with many bass players opting for a couple of 10 inch and a 15 incher running in tandem to provide warmth and accuracy across the entire sound spectrum. Many bass cabinets also include a driver or horn that help provide well defined high frequencies by ensuring higher partials and overtones of notes cut through.

The best way to find the amplification you need is by trying all the many types and combinations that are made available at local music shops. Take your favorite bass down and play through a few setups and ask questions of the salespeople on hand. Local shops like Austin’s Strait Music Company stock all the major brands and have a friendly, knowledgeable staff that are willing to give you the straight low-down when comes to producing your deepest and baddest low end!

About the Author: Clint Strait is a third generation owner and assistant manager of the Strait Music, Austin Music Stores, providing the best selection of electric guitars and guitar accessories to Austin and the surrounding area for over forty years. For more information please visit www.straitmusic.com.

Replacing the Bass Strings on Your Bass Guitar

When bass guitar strings are new, they produce brilliant highs and resonant lows, and are extremely responsive across the whole tone spectrum inherent to their size and length. As strings age, the dust, grime, and oils from the player’s hands stick to the strings, dulling their response and tone. Oxidation can happen to bass strings as well, making their stainless steel makeup lose its brilliance in color and resonant response. Depending on how often a bass guitar is played, strings might need replacing as often as once every couple months for the professional player or as little as once a year (especially if kept in the closet).

Provided a player has found a brand of string and thickness that he or she is comfortable with, and unless experimenting with new strings to find new tones or response, we will take as a given that the same manufacturer and style of strings will be used when replacement time occurs. Because strings are tightened and continually placing stress upon the neck and body of the bass guitar, it is advisable to not remove all 4 (5, 6, or 7) strings at once. A balance should be kept in order to keep the neck straight and true and to make sure intonation is not affected because of a quick release of the stress that the strings provide when on the bass guitar.

Lets begin with the lowest resonating string, E, on a 4 string bass guitar. Notice how the string is wound around the tuning post on the headstock, which direction is it wound around and how many times? This should be mimicked when replacing this string. Slowly turn the tuning key in the direction that loosens the string so as to not shock the neck with a quick release of tension. After the string is loose of the tuning peg, see how it is fed through the bridge at the base of the bass. Some bass guitars allow strings to be fed through the body and then through the bridge, while others are merely fed through the bridge. Again, take note, as this should be mimicked when putting on the new E string. While the string is off, it is good to take a rag and wipe off the grime that has collected on the fretboard before replacing the new string. Feed the new string through the bridge (and body, if applicable) and then through the tuning peg, holding it in place while winding the peg until enough tension exists to hold the string. If so desired, the E string an be tuned to E before proceeding, but just a relaxed tension is all that is necessary, fine tuning can be completed when all strings are replaced. This process should be repeated until all strings are in place, and then tuning can begin.

To find the bass strings and bass, for that matter, that suits your needs, it is in your best interest to try the different types offered at your local guitar shop. Austin’s Strait Music Company and other local shops stock many types and styles of bass guitar and bass guitar strings to choose from. Local stores are also a wealth of knowledge for musicians so get on down and ask and play away!

About the Author: Clint Strait is a third generation owner and assistant manager of the Strait Music, Austin Music Stores, providing the best selection of guitars and guitar accessories to Austin and the surrounding area for over forty years. For more information please visit www.straitmusic.com.

Acoustic Guitar Body Sizes

An acoustic guitar is a wonderful tool that allows a guitarist to express him or herself anytime and anywhere. Because no amplification is needed, a guitarist can create melodies and rhythms that can be heard by audiences of various sizes as the sound is projected from the resonating cavity of the instrument. The size of the guitar affects how loudly and deeply the resonant sound is.

Acoustic guitars come in various sizes that apply well to different situations, styles, and applications. A size that works well in accompanying a vocalist as well as for solo fingerstyle playing is the Grand Concert. It is smaller in size, so is very portable, and this compactness allows for a focus of tone that allows it to project well also. It works well for players with a slighter build without having to sacrifice tone or quality. The Auditorium size is a mite larger, allowing for more defined mids and lows, but still allowing for those smaller in stature to get their arms around it. For playing with others, the Dreadnought is a tremendous choice. It is larger and has the ability for more power and volume as well as possessing an extremely focused tone. The dreadnought is the most popular size acoustic guitar because of its unrivalled ability to be heard within an ensemble, especially with loud instruments such as fiddles, banjos, as well as other acoustic guitars. The articulation that a dreadnaught provides can be described as ‘punchy” allowing it to be easily heard and distinguished among other string instruments. One of the largest size acoustic guitars available is the Super Jumbo. Its large size allows for extremely pronounced low frequencies. Its bass is unrivalled by the other sizes because of the larger cavity it possesses. The power created by a super jumbo can easily fill a concert hall and cut through a large ensemble with ease. A super jumbo is also very “punchy” in tone as well as pleasing, warm, and vibrant with its ringing tones through the entire sound spectrum.

Acoustic guitars have long been the choice of flatpickers, blues players, fingerstyle players, and bluegrass players alike for their portability and organic sound. The best way to find which style and size is right for a particular guitarists is truly by trying them all on for size. Guitar shops like Austin’s Strait Music Company stock new and used models that are just waiting to be strummed, picked, and enjoyed.

About the Author: Clint Strait is a third generation owner and assistant manager of the Strait Music, Austin Music Stores, providing the best selection of guitars and guitar accessories to Austin and the surrounding area for over forty years. For more information please visit www.straitmusic.com.

Distressed Guitars Versus Vintage Originals

Every guitar player wants to rock and look good while doing it; but not every guitar player has the time, energy, commitment, or playing prowess, to allow their instrument to reflect years of love and abuse. The prized instruments of famous rock guitar gods like Eric Clapton, Jeff Beck, Jimmy Page, and others, are weather-beaten and worn from many years and many miles of touring and playing. These instruments, nearly as famous as their owners, have retained their mojo, their spirit or soul, the intangible prowess and feel that has allowed them to spawn some of the singularly memorable riffs and grooves that have made their owners famous and wealthy. In the last decade, a new phenomenon has become a major player in the worldwide guitar market. An idea originated in Fender Musical Instrument’s Fullerton, California, Custom Shop, has really taken off. Newly manufactured guitars are intentionally distressed, stripped, and weathered, or broken in, in order to (hopefully) look like and play like the original vintage instruments they are modeled after. While the amounts paid for these instruments are high, $2000 and more for some, their prices are nowhere near the amount one would shell out for the original vintage instruments they are patterned after, with true vintage instruments often fetching $250,000 or more.

Who buys these guitars that have been artificially aged? The same people who enjoy retro-styled motorcycles, broken in jeans, and other similarly antiqued items. What could be better than a guitar that looks and feels like it has been played and loved for many years, but is essentially new, possessing the electronic advances that make newer instruments less prone to unwanted electronic buzzes, hums, or feedback, that often plague their vintage counterparts. Many rock stars have actually purchased these relic imitations to take on tour, allowing them to leave their original treasured instruments at home, protected and safe.

The distressing process entails everything from whipping the instrument’s bodies with belt buckles, administering industrial solvents to the paint, and taking sandpaper to the fretboards. Some, like the replica of Clapton’s “Blackie”, are even burned to replicate cigarette burns from the original. The value of these artificially distressed replicas keep going up, with collectors buying them as quickly as they are produced. Whether a vintage original or a replica is what you desire, local guitar shops like Austin’s Strait Music Company stock many options for those looking for a new or “new-to-you” axe that will provide years of enjoyment and opportunity to add one’s own “mojo” into to the mix.

About the Author: Clint Strait is a third generation owner and assistant manager of the Strait Music, Austin Music Stores, providing the best selection of electric guitars and accessories to Austin and the surrounding area for over forty years. For more information please visit www.straitmusic.com.

Analog Stompboxes Versus Multi-Effects Processors

Gone are the days of guitarists plugging their guitar into their amplifiers and just playing. While clean or high-gain distortion playing used to be the norm, most guitarists rely upon sophisticated gear in order to achieve the “drill through your face” distortion or “cloudy dreamy” chorus that makes their listeners beg for more. While a decade or two ago, most artists brought along one or two analog stompboxes to augment their tone, more often today, artists have custom pedalboards chock full of expensive boutique pedals or all-in-one multi-effects units, floor or rack-mounted, on their (or their soundguy’s) person for every gig.

Most stompboxes have a dedicated, single feature. An individual box might add chorus, distortion, flange, or any such effect to a guitarist’s tone. The amount of the effect added with a stompbox is easily regulated with simple twists of a couple of knobs, being very user friendly, but only just so adjustable. Most stompboxes run on 9 volt battery power, but many manufacturers offer AC powered “pedalboards” that allow often up to ten or twenty individual boxes to be placed within its friendly confines, all powered by one single outlet, saving batteries and hassle. The advantage of the individual stompboxes is that you can “chain” them together, and only use the effects you want in that chain by simply “stomping” the effect you would like to employ. Moving boxes to different locations in that “chain” can affect the sound by one effect being employed first, second, third, etc, with many possibilities for tone creation. Disadvantages for using stomboxes chained in a pedalboard are mostly expense. Individual pedals cost between $75 to $200 each, depending on their rarity or vintage production, and pedalboards themselves start at well over $150 for a reputable one. Many musicians have taken to building their own pedalboards, to save some cash. Just think how horrible it would be if your custom pedalboard, with nearly or over a $1000 of effects pedals housed inside, was stolen or lost. Finding all of those individual pedals again might be impossible, and definitely costly.

Multi-effects units have become an attractive option for musicians. They sound, react, and are manipulated differently of course because they employ silicone chips to produce sounds digitally instead of the analog transistors used in stompboxes. A multi-effects unit is a good way to get all the sounds you want (and some unnecessary ones of course) and house them within one easy to carry unit. Disadvantages of these units include the tedious knob turning and button pushing necessary to modify effects in order to employ a single effect. Usually, effects are paired together within these units to make their signature sounds, and this could be a deal breaker for the sound purists out there. Another disadvantage is that some modules will lose the presets you’ve created if there is a power outage or battery failure; imagine that happening in front of 1000 spectators! A guitarist can purchase these units for often around $100 to $500, so they are definitely the “more bang for your buck” option.

As always, guitarists should scoot on down to their local guitar shop for hands-on experience. Respectable stores like Austin’s Strait Music Company have employees with so much knowledge and experience with all sorts of guitar accessories and are happy to give advice, as well as provide opportunities for trying out all the equipment.

About the Author: Clint Strait is a third generation owner and assistant manager of the Strait Music, Austin Music Stores, providing the best selection of electric guitars and guitar accessories to Austin and the surrounding area for over forty years. For more information please visit www.straitmusic.com.

What Makes a Good Guitar Speaker Cabinet

Guitarists are known for searching for many years to find the right conglomeration of ingredients to achieve their ultimate, individualistic, signature guitar tone. Of course, professional guitarists rely on a singing tone to separate themselves from the overwhelmingly majority of “hack” guitarists and cover band “wannabes”. All guitarists know that their tone originates with the instrument in their hands, and that their amplifier plays an extremely important part in converting their kinetic energy into sounds, but how many guitarists ever think about the construction of their speaker cabinet? Since this is the last line in the chain of offense when it comes to tone production, as much time and effort should be afforded searching for the unique cabinet that suits your tone and playing style best.

A discussion of speakers, drivers, and speaker cones, will be left for another article, the purpose here, however, is simply to discuss the different aspects of speaker cabinet construction that give each individual cabinet an inherently different tone. The type of wood used is reflected directly by the tone produced. Some popular wood choices are particle-board, MDF, plywood, mahogany, maple, birch, and poplar. MDF (pressboard) and particle-board are chosen for three simple reasons: they are cheap, readily available, and relatively stable. Since these woods are not particularly special nor naturally occurring, they exhibit sounds that are flat, non-organic, and less responsive. A flat, non-organic sound can be described as lacking of vibrance or life. These woods are used in the cheapest cabinets, with more funds funneled towards (hopefully) better speakers for the sound. Higher end, more quality built cabinets rely on tried and true tonewoods with their own particular sound qualities. As with guitar bodies, maple, birch, and poplar exhibit warm and vibrantly bright tone. Mahogany’s tone color can be described as slightly darker and warmer, and very pleasing.

Because most guitarists place their heavy amplifier head on top of their speaker cabinet (when not in a mutual combo assembly), stability and strength of construction is so important. Most manufacturers use glue to join their cabinet walls together, but higher priced, boutique speaker cabinet makers often go even further, many offering finely crafted dovetail joints for strength and long-lasting assembly. In addition to woods used and construction details, cabinets can be either open backed, closed backed, or ported. Open backed cabinets have the rear of the cabinet and speakers somewhat exposed, resulting in a sound that is more surrounding and enveloping, while exhibiting higher mids and trebles, with somewhat diminished bass. Closed back design promotes a high bottom end, with lows being dialed high and very responsive. Ported cabinets allow sound to be funneled toward the closed back and then projected through vents in the front or rear, allowing for punch and articulation of lower frequencies.

Unique construction and woods along with speaker choices are instrumental in the tonal differences present in various manufacturers’ speaker cabinets, and should be closely observed before purchasing. Knowledgeable salespeople at local guitar stores like Austin’s Strait Music Company are able to answer questions, pointing musicians in the right directions, and allowing them ample time and opportunity to try all sorts of combinations in their quest to find the perfect tone.

About the Author: Clint Strait is a third generation owner and assistant manager of the Strait Music, Austin Music Stores, providing the best selection of electric guitars and guitar accessories to Austin and the surrounding area for over forty years. For more information please visit www.straitmusic.com.

Guitar Neck Choices

A guitar, like many other musical instruments, is a finely crafted assemblage of many individual parts coming together to (hopefully) create beautiful melodies and harmonies in the hands of a gifted musician. Specific tonewoods are chosen and picked especially for their resonating qualities in an effort to make the body ring and vibrate pleasingly with the notes produced by the strings. In a previous article, the effects and qualities of popularly chosen body tonewoods were discussed and detailed. In this article, the aim is a dialogue concerning different aspects and considerations to be mindful of when choosing the type of neck for your favorite guitar.

The neck of the guitar is usually composed of a different wood than the fretboard or body. Most commonly necks are made from mahogany or maple. These two woods are known for their beauty, stability, and ease of carving. Newer companies have been experimenting with other materials than wood for neck construction. Graphite and carbon have become popular because they are extremely lightweight yet possess enormous strength and resistance to bowing over time. Necks have a metal rod inside the neck called a truss rod that must be adjusted periodically in order to keep the neck straight and in tune. A neck is constantly subjected to the stress put upon it by the strings, so a strong straight neck is direly important. In addition to the wood or other material used for the neck itself, necks are available in different neck shapes and widths, and some might feel more ergonomically natural to your hand or playing style than others. The variations of neck curvature can be anywhere from a gentle “C” to a more angular, almost “V” shape. Depending upon your style of playing and hand size, the neck’s curvature and width is definitely something to experiment with. A wider neck would possess a larger space between each string; a thinner neck the opposite. The way in which the neck is attached the body can affect the tone and sound of the guitar as well. Cheaper guitars have a bolted on neck. The body has been manufactured and a suitable neck has been bolted on. This is an easy and inexpensive process versus the more labor intensive, neck-through design used on many high end, custom guitars. Most players swear by neck-through construction claiming that the neck feels much more like an extension of the body and possesses much more sustain and tone because of this relationship.

In a subsequent article, fretboard construction will be discussed, and its effects on guitar sound will be outlined. In order to get a feel for the different necks described in this article, it is essential to get down to a local guitar dealer like Austin’s Strait Music Company and try all the different guitars they have in stock. One will feel just right in your hands, promise!

About the Author: Clint Strait is a third generation owner and assistant manager of the Strait Music, Austin Music Stores, providing the best selection of electric guitars and guitar accessories to Austin and the surrounding area for over forty years. For more information please visit www.straitmusic.com.

Guitar Fretboard Construction and Alternatives

As noted in previous articles, the guitar is an amalgam of many individual parts working harmonious and congruently to produce sweet sounds. Along with the choices, styles, and different wood components of a guitar’s neck and body, it is important to note the differences of the fingering or playing surface of the neck: the fretboard.

The fretboard, or fingerboard is the piece of wood or other material that provides the surface of the guitar’s neck upon which fingering is done. As fingers press the string to the surface of the fretboard, the length of the string is shortened, resulting in a higher acoustical pitch being produced. Unlike string instruments such as the double bass, violin, or cello, most guitars, fretless ones being the exception of course, have their necks embedded with nickel or stainless steel strips called frets which have been placed at proper intervals to provide a change of an upward half step movement as one fingers towards the body on the instrument. The mathematical ratio used for this placement results in equal temperment, allowing for a correct and even division of the octave into 12 half step intervals. Cheaply made guitars such as those made for children as toys do not possess this equal temperment and are not suitable for true playing since the rules of a tunable neck will not apply. The woods used for fingerboards on guitars and string instruments vary, and each possesses its own distinct sound and feel. Many guitars possess a maple neck and a maple fingerboard existing as one piece of wood. This construction is well known in Fender guitars, and many players swear that the sound of the maple fretboard in conjunction with the maple neck possesses a brighter, more cohesive sound and sustain than models that have a maple neck and a fretboard made of a different wood, namely rosewood. Rosewood is a very popular wood because of its brighter, more pronounced attack when compared to maple fretboards. Rosewood is often paired with necks made of maple or mahogany. Gibson is well known for its ebony fretboards that are paired with the mahogany-necked SG or Les Paul signature guitars. Ebony is the wood used for fingerboards of violins and other string instruments. As ebony is the densest of the three woods most often used (rosewood, maple, and ebony), it stands out as having the brightest sound and most articulated attack. Other materials used in fretboard construction are graphite and carbon fiber composite. Listeners and players might note their precisely articulated sound, if a tad more “manufactured”.

As well as the material used for the fretboard, detailing inlays and position markers differ from one guitar manufacturer to the next. These can be as simple as painted plastic to extremely ornate mother of pearl designs. Inlays should be chosen according to aesthetic taste for they have no affect upon guitar tone. To get the feel for each fretboard material and find your druthers, it is best to visit your favorite local guitar shop like Austin’s Strait Music Company, pick up every neck you can get your hands around, and get to fingering. You’ll be able to notice the differences described straightway and make a well-informed decision when purchasing.

About the Author: Clint Strait is a third generation owner and assistant manager of the Strait Music, Austin Music Stores, providing the best selection of electric guitars and guitar accessories to Austin and the surrounding area for over forty years. For more information please visit www.straitmusic.com.

Bass Guitar: Fingers, Picks, or Thumbs?

Beginning bass players often need a little guidance when approaching the large fretted, wide necked, and heavy handed instrument that is the electric bass guitar. So you’ve got it, now, how do you play it, right? Well, first, the strap needs to be adjusted for comfort and placement on your chest; usually beginners enjoy the bass a little higher on the chest for easier ergonomics and find that sightlines are better with the bass at a closer adjustment when getting used to the size of the frets and length of the neck. Many professional players in jazz and funk styles find that a higher placement allows for a better field of motion when using advanced techniques as well as higher proficiency during passages requiring more intricate, dexterously fingered playing.

Now that the bass feels comfortable around the body, how should it be played? Short answer: anyway you please. Long answer: there are a myriad of options. Bass players switching from guitar may find that the pick will be an excellent choice. However, thinner picks often must be traded in for thicker ones when attacking the thick cords of roundwound steel that make up the thick strings of a bass guitar. Once the right pick is acquired, let the picking and strumming begin! Now, of course, the bright sound resulting from the attack of nylon on steel by the pick will not work for every situation, and that is exactly why your right (or left, southpaws) hand has fingers and a thumb! You can float your hand over all the strings as you play, but that can get tiresome after awhile. A great place to rest your thumb when playing finger style is on the edge of the pickguard or on the string nearest you that’s not being played. Some bass players even place a block above the lowest sounding string to rest their thumb on as well, while others have a block on the other side (away from the player) to rest fingers when thumbing (not to be confused with slapping) the bass strings in the thumb technique used by players such as Sting. Slapping is a technique pioneered by funk bassists of the ‘60’s and ‘70’s, most notably Larry Graham and Louis Johnson. The thumb is used to strike the strings in a hatcheting, tomahawk sort or fashion, often paired with a plucking (away from the bass) of other strings with the forefingers. All styles of playing require the player to do much more muting of strings than in traditional guitar playing. This can be achieved either with the palm or the upper divisions of the forefingers after thumbing, fingering, picking, slapping, or plucking.

Bass guitars can be played in all of the above ways, and new innovative techniques are coming to the fore each year by new virtuosic players bringing low down playing to new heights. Picks, cables, and basses, are all available at preferred local music shops like Austin’s Strait Music Company that are excellently stocked for outfitting musicians of all types and abilities with the gear they need.

About the Author: Clint Strait is a third generation owner and assistant manager of the Strait Music, Austin Music Stores, providing the best selection of electric guitars and basses to Austin and the surrounding area for over forty years. For more information please visit www.straitmusic.com.

Electric Bass: The Choice of the New Generation?

In a rock and roll rhythm section, the drummer and the bass guitarist provide the essential foundation over which the electric guitarist (lead and otherwise) and vocalist can provide melodic movement and main thematic material. Take the mighty Led Zeppelin for instance; Jimmy Page and Robert Plant’s virtuosic exploits were made possible because of the sure and true foundation provided by the locked in groove of drummer John Bonham and bassist John Paul Jones. An excellent bassist must have the ability to be a seamless extension of the rhythm of the drums. Perhaps better described, drummer and bassist should be the two-headed monster, inextricably bound by beat and groove.

Everybody knows the guitarists and the singers get the girls (exceptions and apologies of course to the many female artists like Joni Mitchell and Ann Wilson who “get the guys”). You never hear of the offstage antics of the Rolling Stones’ Bill Wyman, only of Sir Mick’s latest conquest (continuing to sire new heirs in his late sixties). Bassists have been painted as workmen over the years, playing their basses with precision (pardon the pun), but always staying out of the way of the fleet fingered, show-stopping guitarist noodling away stratospherically above. Case in point, can anyone think of memorable lines offered by Van Halen’s Michael Anthony? Without his sure foundation would Eddy’s slick lines be possible or could they get any monkey, strike that, Wolfie to do it? Okay, maybe Michael Anthony isn’t the best example, known mostly for his accomplished background vocals, not for his prodigious counterpuntal basement bass lines, but the point should be well taken. Bass playing has not been the choice of most young men and women growing up in America because it has been painted as boring compared to guitarists’ exploits. Name one bassist who has set their rig aflame or smashed it. Okay, I’ll give you Nirvana’s Krist Novoselic, any others?

What America’s youth need to remember when thinking about picking up a bass or a traditional guitar is that guitarists are a dime a dozen. An excellent bassist is in high demand, because so many are simply “want to be” guitarists. A bassist in a rock and roll band might not be glamorous, but he or she is nonetheless essential. This is a call to all youngsters, get down to your local guitar shop like Austin’s Strait Music Company, and pick up a sweet bass guitar. Feel its heft in your hands. Plug it in and give that low E a good pluck or thwack. You won’t be sorry. You might not be on a course to move mountains like Hendrix’s Voodoo Chile, but you’ll most definitely move hips and booties if you hone those chops just right!

About the Author: Clint Strait is a third generation owner and assistant manager of the Strait Music, Austin Music Stores, providing the best selection of electric guitars and basses to Austin and the surrounding area for over forty years. For more information please visit www.straitmusic.com.

Sturdy and Reliable: The Dynamic Microphone

In music recording or in live performance, the clarity of the sound heard by the audience and performers will only be as good as the quality of the sound capturing and amplification devices utilized. Whether it is the “boom-boom” of the kick drum or the sweet melodies of a beautiful soprano voice, the correct microphone for each situation is essential in achieving the perfect mix in both live and studio applications. What good is the best music if no one can hear it accurately?

There are essentially two different types of microphones used in live performance and studio recording. A microphone converts the mechanical energy created by the sound from an audio source (voice, drum, guitar, tuba, etc) and converts this energy into an electrical signal. Dynamic microphones convert the sound to signal using an electromagnetic principle, while the other, capacitor microphones, use an electrostatic principal to convert the sound. In this article, the discussion will be limited to the construction, advantages and disadvantages of dynamic microphones.

Dynamic microphones see the most prevalent use because they are durable and relatively inexpensive. They employ a lightweight, often plastic diaphragm that is attached to a small wire coil and suspended within a magnetic field. The sound energy issued by the performing instrument or voice causes the diaphragm and coil to vibrate, generating an electrical current so diminutive that it must then be amplified by a microphone preamp in order to be usable by the sound engineer or mixing board personnel. The advantages of dynamic microphones comes from their tough construction allowing them to be roughly (moderately now!) handled, inexpensive to make, and able to perform straight out of the box without batteries, just plug and play. Their tough construction is also at the core of their disadvantages as well. Because the sound produced by the performing instrument must cause both the diaphragm and the wire coil to vibrate, a large amount of the sound energy is lost in the production of this movement. The fine details and high frequencies of instruments that employ a wide sound spectrum of harmonics and dynamics can be lost in this transference of energy. Another disadvantage can be seen in the minute amount of electrical current produced through this electromagnetic method. Because the current is so small, the necessary large amounts of amplification applied adds excess noise to the signal, making dynamic microphones not so useful in instances where the microphone is not in close proximity to the sound or when less robust sounds are produced (acoustic instruments, vocals).

Dynamic microphones are the microphone of choice when capturing the sound from large volume producers such as guitar or bass cabinets and drums. Less amplification is needed to magnify the current produced from these instruments, and the dynamic microphone’s tough construction allows it to be placed mere inches from the source. Dynamic microphones are an essential part of every recording and live application, and local music stores like Strait Music Company of Austin, Texas, employ musicians with all the necessary knowledge in recording techniques to help every musician find the perfect dynamic microphone to suit his or her needs.

About the Author: Clint Strait is a third generation owner and assistant manager of the Strait Music, Austin Music Stores, providing the best selection of recording and pro audio gear to Austin and the surrounding area for over forty years. For more information please visit www.straitmusic.com.

Professional-Level Amateur Recording Options

While electric guitars, basses, and drum sets, have mostly maintained the same basic designs and options over the years, the ways in which to capture their sounds have progressed in leaps and bounds. Used to be, performers were forced to book studio time, paying high professional fees in order to produce professional level demo tapes or recordings. New innovations in recording technology has made it possible for artists to produce their own professional level recordings from the comfort of their home, on the road, and even outside in nature. This article will profile new products the budding amateur or professional musician can’t live without.

Since the advent of the personal computer, software companies have been working vigorously, realizing new software for home use that mimics and often times, is the exact same software used in large established studios in New York, Los Angeles, and Nashville. A leader in this field is the ProTools line of software, living up to its name by being the first choice of professional music studios around the world. ProTools offers many different options for all levels of musicians and recording enthusiasts, and even their more affordable software options possess the same usability and many of the same technical advances existing in their more expensive cousins. DAWs, or Digital Audio Workstations can be configured with different software, different audio interfaces that allow instruments to enjoy “plug and play” operation, and various “plug-ins” or extras offered by assorted software companies. The portability of laptops and the portability of smaller and smaller interfaces (a company named M-Audio has one that is fob sized, about as big as your thumb) are allowing musicians to take their projects on the road, experiencing total freedom of operation. If a musician doesn’t have the computer know-how or funds necessary to go the DAW or notebook route, there are many companies who offer standalone machines which record, mix, and often include onboard Cd burners to produce professional level Cds. Many of these machines come equipped with onboard microphones and battery powered operation, allowing them to be used at home or even around the campfire, whenever the mood strikes. A forerunner in this technology is Zoom, offering a portable four track and field recorder packed with editable effects that runs on AA batteries allowing musicians to go anywhere their spirit takes them without compromising quality or missing precious moments of inspiration.

Local music stores like Austin’s Strait Music Company carry a myriad of options, and employ dozens of well informed salespeople who are eager to talk about the many recording options available today.

About the Author: Clint Strait is a third generation owner and assistant manager of the Strait Music, Austin Music Stores, providing the best selection of recording software and interfaces to Austin and the surrounding area for over forty years. For more information please visit www.straitmusic.com.

What Makes an Electric Guitar a “Good One”

A good electric guitar has the ability to free the inner voice within a special guitar player, giving him or her the ability to sing from deep with in their soul, sending melodies outward from the tips of their fingers. Much work and extreme attention detail goes into the construction of a finely made electric guitar whether it be made on an assembly line of a large manufacturer or in a shop of a private luthier (guitar maker). A good electric guitar can be seen as a sum of individually selected parts that come together in a cooperative way to perform successfully, expressively and masterfully, in the hands of gifted and learning musicians alike.

A master luthier’s first mission is to find the wood for the body of the guitar. The resonance and tonal quality is different for every particular kind of wood. Ash, for example, is a very popular wood used in making electric guitar bodies. “Southern Soft” or “Swamp Ash” is found in the swamps of the Southern United States. Swamp ash trees spend their lives well hydrated by the waters they grow in, so the wood is very porous and lightweight, lending to resonance and sustain across the whole frequency spectrum of a guitar. A standard, non-exotic wood often used is alder. Alder is popular because of its lightweight and harder, thicker grains, offering long sustain, balanced tone, with a complex resonance, and good dynamic range, making alder very desirable for blues playing. As first choice body materials such as alder, ash, and mahogany become more scarce in the United States, luthiers look to other continents such as Africa and Australia, choosing woods such as bubinga and blackwood whose tonal qualities mirror those of woods found on the American continent.

What good is the resonance of an electric guitar’s body if that resonance is not transferred somehow to the listener? The purity of tone can be heard by placing one’s ear up to the body, experiencing the tonality and resonant vibration firsthand, but of course, that sound must be captured and amplified for it to be enjoyed by others. This is where the pickups on an electric guitar become important. Pickups on electric guitars act as microphones, picking up string vibration and sending it through the 1/4” cable to an awaiting amplifier for amplification. There are basically two different types of pickups, piezoelectric that capture vibrations of all types of strings, and magnetic pickups which naturally only work with steel strings.

Along with a choice of fingerboard and neck, the body and pickups work together resulting in a sweet amalgam that successfully captures and transmits the melodies and rhythms from guitarists’ hands to listeners’ ears. Specially trained salespeople at fine music stores like Strait Music of Austin, Texas, are available to assist all levels of musicians in the choosing and purchasing of a fine instrument that will prove to be an extension of the musician’s very soul.

About the Author: Clint Strait is a third generation owner and assistant manager of the Strait Music, Austin Music Stores, providing the best selection of electric guitars and guitar accessories to Austin and the surrounding area for over forty years. For more information please visit www.straitmusic.com.

Pricey Guitar Cables: Worth the Cost?

Electric guitar players search for many years, striving to find just the right guitar that provides just the right tone they desire. Most prefer tube amplifiers for their axes, because of the purity of tone and the clarity and ease of manipulation tried and true tube technology provides. After emptying their wallets and pocketbooks at their local music stores around town, does it make sense to plug a sub-standard, economy 1/4” cord into the boutique setup they’ve searched and searched for? The answer is a resounding “NO!”

Cheaply priced guitar cables are cheaply made. The inner cable is usually made from a less expensive, thinner gauge copper that will lose its integrity and fail at the worst possible moment whether it be on stage or in the recording studio. This thin copper cable also does not support the frequency response that a thicker gauge, copper cable provides. Since tone is an issue with all guitarists, attention to the entire frequency band should be essential. What’s the point of paying top dollar for the twelve-band equalizer on your favorite amplifier if the cheap guitar cable used merely supports the middle tone partials of the guitar’s broad frequency range? The thickness of the surrounding casing of the cable can be marginal in inexpensive cords as well, allowing for any twisting or bending of the cord at right angles to interrupt the signal immediately and irreparably without soldering the inner cable together again, costing much time and effort.

Most professional guitar players agree and would never use a cheaply made instrument cable on the road or in the studio, happily paying higher prices for higher quality cables because of the purer tone that the higher quality constructed cables provide. The amount paid for one, often lifetime guaranteed, guitar cable far outweighs the headaches incurred by choosing a less expensive, poorly made cable. Well-stocked retailers like Strait Music of Austin, Texas, carry many various options of guitar and instrument cables. When your favorite music store employee steers you in the direction of the higher priced instrument cables, it is not because they want to charge you this higher price unnecessarily. The higher quality cable is simply the better choice. Perhaps you enjoy often returning to your local music store, buying replacement cables; there are always friendly salespeople there who enjoy talking about guitars and amplifiers as much as you do. But if you’d rather enjoy playing and making music with your friends, a higher priced, better-made cable is the obvious choice.

About the Author: Clint Strait is a third generation owner and assistant manager of the Strait Music, Austin Music Stores, providing the best selection of instrument cables and other guitar accessories to Austin and the surrounding area for over forty years. For more information please visit www.straitmusic.com.

Tuning Your Guitar

One of the first skills necessary when learning to play the guitar has to be the process of tuning it. The wonderful thing about a guitar, and all string instruments, is the ability to tune to itself. This means that all strings can be in a state of “tuneness” with each other whether or not they are truly in tune as far as correct acoustically resonating pitches are concerned. For example, the true resonating frequency for the note “A” is 440 hz using a strobe tuner; if a tuner is not available, one can pick from a range of tones for this “A string” and then tune other strings to that theoretical “A”. Now, one must realize that if a tone is picked that is too far removed from the spectrum of a true “A” tone, this might prove difficult when tuning higher strings; undue stress could be placed upon their tensile strength, resulting in breakage from over-tightening. It is best to receive a true tone from either a tuner or perhaps a nearby piano (though they are not always in tune!) and begin the process.

It is easiest to begin with the lowest sounding string that should be tuned to the note “E” resonating at 329 hz. Match the tone given by the tuner or chosen instrument by turning the tuning pegs on the headstock of the guitar clockwise or counter-clockwise until the pitch lines up in your ear or on the meter of the tuner. You have now successfully tuned the lowest guitar string and are now one sixth of the way towards completion! Now look at the guitar neck. It is separated into different quadrants by vertically aligned pieces of metal called “frets”. The space to the left of each metal division or “fret” is usually also referred to as the fret position corresponding to the number of the dividing fret (metal piece). By pushing this “E” string to the fretboard at the fifth position (to the left of the 5th fret if you are right handed), it will result in the next string unfretted, or “A”, 440 hz. Turn the tuning peg to match accordingly. In order, the next four strings should be tuned in the same fashion: 3rd string “D”, fifth position on 2nd string, “A” – 4th string “G”, fifth position on 3rd string “D” – 5th string “B”, FOURTH position on 4th string “G” – and 6th string “E”, fifth position on 5th string “B”.

Following this easy procedure has resulted in your guitar being in tune with true acoustically resonating pitches provided the guitar is properly constructed. One way to make certain your guitar is made properly is by purchasing it from or having it inspected by a respected local dealer like Strait Music Company of Austin, Texas. Friendly musicians are employed by music stores and are happy to help answer all questions a budding guitarist might have.

About the Author: Clint Strait is a third generation owner and assistant manager of the Strait Music, Austin Music Stores, providing the best selection of electric guitars and guitar accessories to Austin and the surrounding area for over forty years. For more information please visit www.straitmusic.com.

Choosing Electric Guitar Strings

It is very easy to be overwhelmed in the string section of your favorite guitar shop if you don’t know what you’re looking for. The display wall is stocked full of many different brands in all different colors of attractive packaging, but how do you choose which one is right for you? The best way to avoid being overwhelmed by the shop’s selection is to be well informed about the differences between strings, not necessarily brands, but weights, and having an idea of what styles you are looking to play as well before perusing the assorted brands.

As one can imagine, the thickness of a guitar string has a large effect on its sound. Many players enjoy the thicker, more resonant sound a thicker string makes. One player of note who enjoyed thicker strings was the blues legend, Stevie Ray Vaughan. If you ever marveled at the thickness of Stevie Ray’s legendary tone, marvel no longer. His secret, besides his favorite Fender Stratocaster, was in the fact that he used some of the thickest strings on the market. Of course, when choosing thick strings, you must be confident in your ability to press them successfully to the fretboard at all different positions in order to make a full and stable tone. Not everyone possesses the hand strength of a fantastic player like Stevie Ray Vaughan, but if you desire his tone, thicker strings are the way to go.

Thicker strings, because of their larger surface area, are much more difficult to press to the fretboard, so many beginning players opt for the higher playability of thinner strings, though in trade, they receive a thinner tone as well. The playability, especially when bending strings to higher pitches while soloing can be very expressive and less physically demanding than with their thicker counterparts. Of course with a little manipulation of your favorite equalizer or effects pedal, a player can add more thickness to make up for the thinner tone a thin string creates. But remember, this thinner sound created by a thinner gauge of string is very desirable in many styles of playing such as surf rock and rockabilly, so perhaps this manipulation of tone by effects is not necessary.

In the end, the style of playing, ability and hand strength, as well as desired timbre of sound are all determining factors in string selection. At locally owned shops such as Strait Music Company in Austin, Texas, helpful salespeople have plenty of time and knowledge to help ensure each customer leaves with the perfect strings to fit their particular hands.

About the Author: Clint Strait is a third generation owner and assistant manager of the Strait Music, Austin Music Stores, providing the best selection of electric guitars and sheet music to Austin and the surrounding area for over forty years. For more information please visit www.straitmusic.com.

Choosing between Acoustic or Electric Guitars

If you are thinking about learning to play the guitar and have already been looking at Austin TX guitar stores, one of the first questions you must answer is whether to buy an acoustic or an electric guitar. Besides their obvious difference in appearance, there are other factors to consider when deciding between the two. Though you may be tempted to choose a guitar based on shape, finish, or image, it is most important to choose a guitar by how much you will enjoy playing it. What good is a nice guitar if you never feel like playing it? Here are a few things to think about when deciding on the right guitar for you.

Electric guitars are considered easier to play than acoustic guitars, in regards to pressing down the strings, picking, strumming. This is largely due to that fact that electric guitars have a much lower “action,” or distance between the strings and the frets. Because of the lower action on most electric guitars, it requires less strength to cleanly press the strings to the fret board. Also, electric guitar strings are closer to each other, requiring less of a reach for particular chord patterns. The fact that pickups and an amplifier produce the dynamic sound of the electric guitar also means it requires slightly less precision when holding the strings to the frets, picking, or strumming. Minimal contact is all that is necessary to create a nice, clean sound.

Acoustic guitars are somewhat more difficult to play in terms of finger strength and reach. Because the vibrations of the wooden body produce the actual sound of an acoustic guitar, heavier gauge strings must be used. This causes the action to be slighter higher and the strings to be farther apart so that the strings do not accidentally vibrate against each other or against the wrong fret. These heavier gauge strings are also somewhat more difficult to bend, requiring more strength to cleanly press them to the fret board.

The size of guitar is also a valuable consideration. Most electric guitars are far smaller than acoustics. They do not require a wide neck or body, whereas acoustics need more space for the size of vibrations needed to produce an acoustic sound. Regardless if you choose an acoustic or electric, be sure to pick a guitar that fits your own body size. One that is too large or even too small can affect your posture, which will ultimately impact your ability to improve as a guitarist.

When it comes to picking a guitar based on its sound, many people have differing opinions. Some will say that the acoustic sound is far superior because of the all natural vibrations and projection from the cabinet, but others will say the electric has a better sound because it is far more adjustable due to the development of various electronic devices. This includes effect petals, amplifiers, and various enhancements. However, the right sound should be chosen depending on an individual’s taste. You must enjoy the sound you are producing or it will be quite unmotivating to practice.

One last major consideration when choosing between an acoustic and an electric is the equipment needed and the convenience of use. Obviously, all of the setup required for playing an acoustic guitar is to take it out of the case. The acoustic guitar can stand completely on its own, while the electric guitar will require a small amount of additional setup. You will need an amplifier and whatever pedals you need to create your desired sound. You will also need cables to connect your electric guitar to these devises. Plus, you will have to have a power source for plugging everything in. That is why an electric guitar might not be best choice for playing around the campfire.

About the Author: Clint Strait is a third generation owner and assistant manager of the Strait Music, Austin Music Stores, the best in Austin TX guitar stores. For more information please visit www.straitmusic.com.