Search options
Maybe the string has two "speaking lengths" when it is fretted in the middle area of the neck.
The section of string from the nut to your finger on the fret may also be ringing a tone - tho quieter than the string segment from finger-on-fret to the saddle (where you expect the good ringing tone). When you lift your finger off the fret to play a fretted note somewhere else, that secondary, unplanned string sound then disappears; but is heard again when another note is fretted near the
middle of the neck - and another upper (unplanned) string-segment tone is heard.
This is possible (but I can't say for sure). New strings probably would not help. Various techniques with both hands could lessen the secondary string-ring tone, but that may be months of playing
technique. But, still, a set of good "M" strings are only $5 and you can change strings and try it.
Good luck with that handsome guitar!
The two qualities of an acoustic guitar (has been said) are Sound and Playability. Instrument makers must cut corners to bring down the cost for the budget guitars. But we can enhance a cheaper guitar by changing those "cut corners" - change to a better nut and saddle; adjust string action; maybe even change to better tuning machines. These changes will affect Sound, too (not only playability), but it only makes sense to do this if the player enjoys the Sound first of all.
As luck comes this way, I borrowed a Breedlove 12-string for this week. It is a C25/E; the owner explained he visited the plant (in E. Oregon) and hand-picked the woods for it. Believe me, it looks fine and sounds great (for $7000-8000!). I immediately restrung it with $25 Elixirs (this was probably the 2nd set of strings on it!); that took 50 minutes to change strings. The tune-up took two days: at first I brought 'em up to ear-tune and stretched 'em; then tuned (to orchestra) next morning.
My local jam-mers enjoyed the sound, and I applied every force of attack I could muster and it shouted Tone! Nice guitar with low action and a wide nut - no barre chords! I recorded the sound of it just so the owner would hear from a listener's perspective. Next week I'll return it... The oddity is over and I'll go back to a 6-string, but it reminded me why I don't look for a 12-string; it bored me quickly. But that's me. If someone had only a 12-string, it would be different. By the way, the owner said he tired of it after a couple months!
Hey, *mekidsMom* -altho I do like Elixirs, I quickly wear out strings on the frets so even Elixirs don't last the hyped 3-5X longer... due only to my play-style. For me, they last twice the time of regular cheapies (the Martins, which are fine). But they are rather buzz-less!
IN Russia, they probably have two kinds of guitar strings - for sale and not for sale! Ha!
My standard acoustic strings are the Martin 80/20 Bronze Light gauge (not Marquis) that cost $4-5 a set. On my guitars they sound good; I know that I'll wear them out in a couple weeks, but they're not expensive. (I buy 20 sets each time I order.) However, I still branch out. I like the sound of John Pearse strings and buy a couple sets now and then; I also like Elixirs because I chord-slide often and will string those for solo gigs (but when I play ensemble and thus, solo often, I expect the G-string to break - even on a fresh set!); Cleartones sound great but the coating is thinner or less than the Elixirs and they do not hide the (sliding) string buzz well.
The Finale? In my guitar-junk closet, right now I have 5 different acoustic strings. Even the perfect one needs comparison to remind me it's perfect. For everyday, run-of-the-mill strings, I'd recommend the Martin 80/20 Bronze... for the tone, the price and durability. (I bend alot on acoustic leads; and have not broken a string on a Martin set!)
Jerry Douglas had a technique of angling the bar so it was not perpendicular to the strings (selective strings picked) - interesting technique to get away from regular major chord. I tune in open G... and buy resonator strings which I think are medium-gauge; have tried a couple different brands, not fixed on one yet.
Years ago I bought a new square-neck dobro (Wechter-Scheerhorn) with a high saddle: meant for lap or horizontal-with-strap playing; also preamp and pickup in it and battery compartment at the bottom end (handy!). A friend loaned me a Jerry Douglas instrucntl video which was probably 15 years old - Jerry looked young. It was very helpful for me to see him move into basic positions across strings, with technique with the bar/steel. In our group gigs it was a hit! No complicated playing for me, just that dobro sound was such a great addition to guitars and mando. Someone told me I play it like a lap steel guitar... It's a good-looking dobro too.
Somewhere, I read this quote about electric guitars and the pleasure we get from them: You play the guitar, but you hear the amplifier. With an acoustic guitar, nothing else is needed for good sound; an electric needs an amp or you don't hear it. Controls for the sound you want are located on the electric guitar AND on the guitar's amplifier. Today's guitar amplifiers present a huge range of tones and characteristics for the player.
The song is just a melody, like Twinkle, Twinkle Little Star. You the singer should pick what key you play/sing in - what note you sing it on, to start. A chord has other notes that harmonize with the melody notes...according to the key you sing in, you would pick chords for that key. Oh, the fun!
Recently I discovered a fine flexible, expressive guitar player (who died in 2010) who played much acoustic lead with Daryl Hall on the webcast show "Live from Daryl's House," and he was Tom Wolk aka T-Bone. He played Gibson Hummingbirds and Taylor acoustic-electrics.
Many minutes I've wasted in consideration of what strings he played - that I could see him play - to account for his flexibility, movement, facility, dexterity; they look and sound like extra-light gauge, plus he gets a very nice plugged-in guitar tone and affects it a bit electrically with chorus or reverb. Usually acoustic tones and great guitar essence he used, but what dexterity and a fast mind he had.
Tom Wolk seemed a great guitar player I would have enjoyed sitting and picking with around *the campfire*!
I share NELA's opinion, the final chord played is usually the feeling of satisfaction and resolution that comes from ending on the key (main chord). Chords that begin the song or piece may not be the main chord, and they build musical suspense, so that a listener (or the player) eventually feels satisfied by the chord at the end.
Posts found: 11
