Query failed: connection to localhost:9312 failed (errno=111, msg=Connection refused).
It looks like you're new here. If you want to get involved, click one of these buttons!
Subscribe to our Patreon, and get image uploads with no ads on the site!
Base theme by DesignModo & ported to Powered by Vanilla by Chris Ireland, modified by the "theFB" team.
Comments
He played a lot of steady bass fingerstyle stuff with plenty of electric style lead lines thrown in for good measure.
Instead of plucking the high strings try some brush ups instead.
FWIW, I came from nylon string, plugged in to gig, and about five years ago decided I wanted to play a lot more electric, and decided to quit using a pick on electric. It's been a ride.
My experience has been that the most important thing has been muting - when I use a pick, I can use the whole side of my hand to mute, but with fingers I've found using the left palm to mute top strings, resting the thumb on the lower strings and keeping the pads of the fingers on the strings to stop them from ringing is the way to go. And keeping the downstrokes clean - if you want a technique that's not locked in to one position (which is how a lot of electric players seem to go, tbh, and I note that they've achieved a lot more than me), looking up the basics of classical technique can help.
The other thing I found was that I needed the tone rolled off more than I would with a pick, as the strings picked up a lot more finger noise, etc - with a less bright tone I wasn't so self-conscious about that sort of thing. Otherwise it was like being under a microscope, and although that can be a good discipline, sometimes you need to give yourself a break, especially if you want to have fun. In general, I find the sound more pleasing if I start with the tone down almost half and the volume down maybe a quarter and then adjust effects and amp from there.
Try using a compressor and then - equally importantly - not using a compressor. With gives you something to push against, without gives you a lot more dynamic range. Similarly, with and without a low-gain overdrive or combination of.
Also, you can do a lot more with a lot less - simple triads sound amazing, especially with reverb, and might be enough, especially if you move them around (there are a lot of different ways to play a simple major triad across all six strings in all inversions).
Tuck Andress used to have a section of the Tuck and Patti website (Tuck's Corner, I think), which had some very useful information - I just checked and it says it's being reconstructed, and already contains this incredibly detailed PDF: https://static1.squarespace.com/static/5a5bd42e8fd4d2aea7b0b426/t/5eddf0091cb53938998f511c/1591603210434/Pick+and+Fingerstyle+technique+6-7-20+version.pdf which is probably a bit much, but full of really useful information.
On the other hand, if that's a pleasing direction, may I suggest looking at Tim Lerch (jazz-blues) on YouTube and if you want to go really hardcore, old student videos of Ted Greene. I found his stuff really useful (though way beyond what I can actually do), though the consensus seems to be that it's like suggesting learning particle physics.
Also worth looking at some of the things Steuart Smith does (although with a thumb pick)
*An Official Foo-Approved guitarist since Sept 2023.