Tone Quest: Gear and Technique

When electric guitarists talk about good
tone, especially someone else’s tone, the conversation usually turns to gear:
what guitar, amp, pedals, strings, picks, etc. By the same token, guitarists
are just as likely to say, “it’s in the hands” because some players can make
any crazy combination of gear sound good. For myself, gear that sounds and
feels good to me will help me convey my ideas better and spark creativity,
while gear that I struggle with can be musically frustrating.

Tone is highly subjective. You may not like
a player’s tone, even if it’s appropriate for the music they’re playing and the
parts are well executed. Additionally, a guitarist may only play a few notes or
chords, but the sound of them speaks to you on an emotional level.

Technique is more quantifiable. To be
clear, my definition of technique is broad; it’s more than the ability to play
things that are fast or intricate. It’s more about manipulating the instrument
to make the sounds you want to hear — more specifically, controlling dynamic
range, articulations and accents, rhythmic subdivisions and groove, playing
anywhere on the neck in any key, at any tempo, and making it all sound and feel
good.

Of course, just because someone has good
technique doesn’t mean they have good tone. And, we’ve all heard players who
have all the “right” gear and still don’t sound good.

How then do we blend the seemingly
disparate elements of gear and technique to achieve good tone? I submit to you
that it’s a delicate balance of both: great technique is enhanced by the right
gear. To go a step further, the root of great tone is in your ear and
imagination first, your hands are the vehicle, and the gear is the
manifestation. Or think of it this way: gear is the tool, your hands do the
work, and your mind decides what’s going to happen.

Practice

Making this harmonious sequence a reality takes deliberate preparation — practice and research. Let’s start with practice. Start with the guitar gear you have and work toward making every note sound the way you want it to sound. This takes right- and left-hand coordination, efficiency of movement, and steady consistency. The best way to achieve that is through patient repetition and really listening to the results. Practice with a metronome, drum groove, sequence, or pre-recorded track. Then, record the results and listen back. What do you hear that you like? What needs work? A basic DAW and simple interface will get you started. Don’t get bogged down in technology here — think of this as a practice tool and not necessarily a home-recording studio. For example, the Focusrite Scarlett 2i2, Universal Audio Apollo Solo, and PreSonus AudioBox USB 96 are all excellent yet simple recording interfaces.

Toontrack’s EZdrummer will help your groove, because you’re playing with MIDI tracks recorded by a live drummer. Start by playing to repetitive patterns and really locking in.

A looper pedal is another excellent practice tool. It’s compact, fits right on your pedalboard, and integrates easily into your rig. Plus, you’re working on two skills simultaneously by playing your own rhythm part and soloing over the top of it. Some of the many great looper options I like include the TC Electronic Ditto+ and the MXR Clone Looper. The BOSS RC-10R and the DigiTech Trio+ both give you drum loops and a built-in looper function.

TC Electronic Ditto+ Looper Pedal

MXR Clone Looper Pedal

Research

Research is two-sided because part of it is
listening and part of it is understanding gear. Listen to and imitate (or at
least glean from) all of your favorite music, not just guitarists. This will
expand your horizons greatly, beyond just learning guitar licks. Remember, your
cumulative listening experience gets funneled through your brain and into your
hands; it’s all going to come out.

Gear research is multifaceted in its own
right. It’s good to know what your favorite players use, but don’t be a slave
to it. Numerous interviews, rig tours, and forums online give unprecedented
insight into exactly what players use, but remember that this is the gear
that’s right for them.

The goal is to find the gear that feels and
sounds right to you, to facilitate your musical voice. Talk to your peers and
ask them what they like and use; try out gear and see for yourself. Another
excellent resource is your Sweetwater Sales Engineer. Your Sales Engineer can
provide a wide overview of the incredible amount of gear that they see every
day. They’re trained on it, have first-hand experience with it, and more
importantly, they’re passionate musicians who are on the same journey as you.
They’re excited about gear, and it’s literally their job to help you find the
gear that suits you best.

I hope this helps you on your quest for
great tone. It’s a journey that continually uncovers new revelations and
rewards. Find your voice; make your music.
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