GT: Do you have a type of pick that you can’t live without?
SM: Lately, I’ve been changing my technique around, experimenting with different picks. Now, I often practice with an Ernie Ball nylon pick, and switch to celluloid picks for the shows. On at least one section of the show, I switch back to the nylon pick. For Flying Colors gigs I’ve done so far this year, I used just the nylon pick (similar to Dunlop .88).
GT: If you had to give up all your pedals but three, what would they be?
SM: It would be my two TC Electronic Flashback delays (with my ‘toneprint’ preset loaded in) and the Keeley compressor pedal. They sound great, are easy to carry, and always help things when I need them.
GT: Do you play another instrument well enough to do so in a band?
SM: I’ve played a number of gigs on bass. I was in a musical production company in college, and the only position available was for bass, so I grabbed it. I’ve also stood in for my friend in a rock covers band, playing bass, when he was seriously ill.
GT: If a music chart were put in front of you, could you read it?
SM: Yes, but slower than would be called for, I’m afraid. It takes some practice to read quickly, and it’s not something I’ve done for decades.
GT: Do guitar cables really make a difference? What make are yours?
SM: Yes, they do! I found out for sure when some companies had me try out their super ‘hi-fi’ type of cords. It turns out that they did indeed transmit more high end, but it also turned out that I prefer my old school Music Man cords with the grounding switch on one plug.
Denne historien er fra January 2019-utgaven av Guitar Techniques.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
Allerede abonnent ? Logg på
Denne historien er fra January 2019-utgaven av Guitar Techniques.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
Allerede abonnent? Logg på
THE MOODY BLUES
This month Stuart Ryan delves into the picking style of this British prog legend whose acoustic guitar has powered many a Moody Blues song.
WAYNE KRANTZ
This issue Nick Mellor provides an insight into this brilliant jazz stylist, focusing on his approach to improvising over static chords.
OPEN G TUNING
Open tunings are great fun and can help create exciting new ideas. Simon Barnard shows how to incorporate open G tuning into your playing.
RODRIGO GOUVEIA
Last month we featured Mateus Asato, and mentioned the importance of the neo-soul style in his playing. Here we turn to his fellow Brazilian, the master of neo-soul fusion.
MARK KNOPFLER
Our topic this month is a master craftsman as both guitar player and songwriter. His style is unique and his influence spreads far and wide.
U2
Martin Cooper checks out the chiming pedal delay tones of this stadium-filling band from Dublin, Ireland, and guitarist The Edge.
LUTHER ALLISON
It’s blues with a touch of soul this month, as David Gerrish explores the dynamic, expressive style of an often overlooked Chicago bluesman.
JOHANN KASPAR MERTZ Capriccio
This month Declan Zapala explores the music of Austria at the turn of the Romantic period with a fiery caprice to level up your fingers and unlock your inner virtuoso.
THE CROSSROADS Michael Landau
John Wheatcroft explores the playing of a session ace _ and blazing blues-rock maestro who graces the top-flight m band of singer-songwriting legend, James Taylor.
VIDEO MASTERCLASS Troy Redfern
This month GT welcomes this slide guitar virtuoso. If you've been wanting to take your slide playing to the next level then this is one's for you. With Jon Bishop.
