Strengthen your fingers and play any barre chord

This exercise is purely to strengthen your fingers up. If you have trouble playing barre chords then this is the place to start. It might be painful initially but if you do this enough, every time you practice you will be playing any chord you want in no time. This is the type of exercise that can easily be done well you are sitting in front of the TV or talking on the phone.

It should be done very slowly, stopping to hold each position for a count of 4. Starting from the thinnest string you are going to barre each string, count to 4, then add another one and repeat. Here is an example:

• Step 1: Barre the thinnest string with the index finger, hold for a count of 4.
• Step 2: Barre the thinnest string plus the second thinnest string with the index finger and hold for 4.
• Step 3: Barre the 4 thinnest strings with the index finger and hold for a count of 4.
• Step 4: Get the idea now? Use the diagrams below for more direction.

Once you are done, work your way back done the fretboard like in the diagrams below (read them from left to right). And then when you are done with the index finger, you can move to the middle finger, then the ring finger and then the pinky! That one will be tough…

If your fingers are really weak, you might want to start on a fret further up the neck. Starting on the 5th Fret for example, can be much easier then starting on the 1st Fret. I would try different places and see where you are most comfortable, then over time move closer to the first fret. This is how I learned to play barre chords, so I can assure you it totally works - it just takes some gumption, and don’t worry about your fingers always hurting, that will go away eventually once you build up enough strength in them.

The important thing is to stick with it. If your fingers get sore or tired, then take a break and come back later. Eventually over time you will build the required strength to play almost any barre chord.

How Chords are Formed

In any give key certain chords are more common then others. For example in the key of C, the chords C, F and G are usually present, and quite often they are complemented with Am, Dm, and Em. The reason for this is each key has it’s own set of chords constructed from the notes of it’s scale. This is basic music theory and will work starting with any note. We will start with C, consider the scale of C major:

C	D	E	F	G	A	B	C
I	II	III	IV	V	VI	VII	VIII

Chords are constructed by notes that are a 3rd apart in it’s scale. So the following positions would give us the root major chord of a key:

I - II - III

Using the C major scale written above, chords can be constructed by placing 2 third intervals above each note. So a C chord has C, E and G in it.

Here are the chords of the key of C and how they are constructed:

Chord Constructed	C	Dm	Em	F	G	Am	Bo
C Scale	C	D	E	F	G	A	B
III	E	F	G	A	B	C	D
V	G	A	B	C	D	E	F

The chords are always named according to their root note. They are chords in the key of C because they only contain notes from the C scale. This method of constructing chords can be applied to form the chords of any major scale. The result will always produce the chords of whatever root note you start with.

Scale Note	I	II	III	IV	V	VI	VII
Chord Constructed	major	minor	minor	major	major	minor	diminished

Chord Substitutions

The chords studied so far involve the placement of 3 notes. The root note of the chord and the 2 third interval notes above it. This method of building chords can be extended by adding another note illustrated below. These chords could then be substituted for chords in the key of C, to color things up.

Chord Constructed	Cmaj7	Dm7	Em7	Fmaj7	G7	Am7	Bo7*
C Scale	C	D	E	F	G	A	B
III	E	F	G	A	B	C	D
VII	B	C	D	E	F	G	A
V	G	A	B	C	D	E	F

From this example chords for any key can be substituted by using the chart below:

Scale Note	I	II	III	IV	V	VI	VII
Chord Constructed	major seventh	minor seventh	minor seventh	major seventh	seventh	minor seventh	half diminished seventh

10 Guitar Tuning Tips and Secrets

1. Tune your guitar every time you pick it up to play, guitars can go out of tune sooner then you think.
2. Avoid leaving your guitar in areas with extreme temperature changes, this will definitely mess up the tuning. Dropping or bumping the guitar will also make it go out of tune. Carry your guitar in a case as any damage to it could effect how well it tunes up.
3. In a noisy environment you will definitely want to use a guitar tuner. You should purchase a quality tuner. You don’t need to spend alot. An inexpensive tuner or tuning fork is definitely good enough to start out. Always bring it to gigs and jam sessions. But, remember try to develop your ear by using the traditional guitar tuning method when you can. In the long run you will be just that much better of a musician. Only use a guitar tuner to tune the Low E string and then tune the rest by ear. This will help develop your ear as a musician.
4. Learn to attach the strings to the machine heads properly.
5. ALWAYS TUNE UP! When you tune a guitar string, always start below the desired note and tune up to pitch not down to pitch. This will help prevent the string from going flat during play. Even if the note is too high you can stretch the string to give it some slack then tighten it.
6. Tuning heads have a certain amount of “play” in them so make a couple of deep bends and then fine tune the string.
7. Before tuning a suspect string, check it against both adjacent strings to determine which string is actually out of tune. The string you suspect may not even be the culprit.
8. Play a chord that you know well to test the tuning, if it sounds odd or out a bit it probably is, remember always trust you ear.
9. When tuning a guitar with a vibrato arm, tune the string, give the arm a good shake, stretch the string, give the arm another shake and fine tune.
10. When putting new strings on your guitar you must always make sure you stretch them as you tune them to pitch. Try holding them down on the neck around the 24th fret with your right hand while pulling them away from the guitar body with your left hand. You don’t have to use too much muscle, a few firm tugs should do the trick.

ARTICLE SOURCE

Tuning your guitar here

www.howtotuneaguitar.org

You can usetool above to tuning your guitar instrument or you can visit the link above

Tracking Clean Rhythm Sounds

Dialing In The Guitar Sound for "Clean" (Non Distorted) rhythm playing for Pop, Rock, Country and any other similar styles.

Most of the information in this article series is based upon a separate mixer and recorder. Yes, in this era, computer hard disk recorders have built in mixers and are becoming the norm. Throughout the series I'll make sure to note how to work with computer hard disk recorders/mixers, but I'll default toward separate components. There are still many users that have separate mixers and recorders so as to be fair to all readers, it is easier to adapt to using a separate mixer and recorder than it is to adapt using a computer hard disk recorder. Just the same, it should be easy enough for computer/hard disk recorder owners to adapt the information. Ok, let's get to work.

Now that we have the best mic position set and the mic stand and cable is anchored down (read previous part) and the amp baffled if needed, before we EQ the guitar signal, you may ask the guitarist to change amp tone control settings. Of course, if you are the guitarist, a one-man show, that allows total control. For example, you may think the sound needs slightly more treble, presence, mid-range, or bass. Depending upon the amp tone control options, this is the time to experiment. After achieving the best possible settings from the amp, it's almost time to add EQ on the recording mixer.

To make things easy I always refer to the mixer/recorder set up. Yes, you will need to refer to other details in previous articles from this series, so please do so after the mixer recorder set up. For our example, we are recording the guitar on track #7 and using mixer module #9 for the guitar mic input. If you're using a digital recorder with a built in mixer, simply adapt with the same layout.

1. Plug the guitar mic cable into mixer module #9 mic input.
2. On module #9, set the mic pre-amp trim to -20 dB. (If you have only one input gain trim pot, that is used for either a line-input gain or mic input. If you're using a computer hard disk recorder with outboard analog to digital inputs, use the same setting on the input level control to start.)
3. Assign mixer module #9 to buss #7 (buss #7 routes to the recorder track we are using for the guitar). Make sure that module #9 is not sent through the monitor chain and is only routed to record track #7.
4. Set recorder track #7 into "input mode" so we can monitor through the recorder. (In digital land, you may want to monitor the mic-input signal on module #9 BUT only do so if you notice a delay monitoring through the digital mixer and or recorder path. I will get into this subject in future articles).
5. Bring module #7 (recorder track return) about half way up on the fader throw.
6. Bring up the studio control room monitor level up to a normal listening level.
7. Ask the guitarist to play the part for the song. While the guitarist is playing, slowly bring up the fader on module #9 (guitar mic fader source) to zero (unity gain). This level setting is typically around 3/4ths up on the fader throw - Look at the etching next to the fader to find the zero mark.
8. Adjustments to Step 2 for analog/separate mixers: If you're using an analog mixer and recorder (hardly used these days) adjust the mic pre-amp trim level on the mixer to average zero dB on the recorder track meter for now.
9. Adjustments to Step 2 for digital mixer/recorders: If you're using a digital recorder format, adjust the mic pre-amp trim level to -4 dB on the recorder track meter for now (-4 dB is safe in case the guitarist players louder when recording - the odds are good that will happen!) Always remember that going "into the red" (past zero) on a digital format meter will definitely "clip" the A to D converter (analog to digital converter) which is not advisable. Digital distortion sounds terrible! Of course, as John Lennon proved (re-read my first column here) there are no rules - so this is a good time to slam the level to see what digital distortion sounds like.
   

Regarding the adjustments to Step 2, if you are the guitarist and engineer, if the amp is in a separate room or closet, you will be monitoring over the control room speakers. If you have no guitar amp isolation, meaning the amp is in the same room as the board/recording deck/monitors, you will be using headphones to monitor. In any case, if you're going to be playing chords for the guitar part, play all the open strings when adjusting the level with your other hand. If you're going to be playing single notes for the part, simply play one string for now, such as the "D" or "G" string, and adjust the mixer level with the other hand.

Experiment with EQ settings on your mixer, whether it's a stand-alone mixer or a computer hard disk recorder/mixer. After EQing to taste, go back to step 8 or 9 (depending upon your recorder format). Make sure to have the guitarist play as loud as he or she will be playing for the song. If you are the guitarist and engineer, do yourself a favor and play as loud as you will play for the performance.

If you're using an analog recorder and you want to get a little "tape compression," it is acceptable to use a higher level than an average of zero dB (step 8 above). In this case, to set the level for tape compression (after setting the EQ, outboard compressor (if used), and possible other effects), you would need to put the guitar track in record and monitor it in "playback" mode (monitoring off the playback head). Bring up the level on mixer module #9 to taste. If mixer module #9 becomes maxed out and you want more level, use the line level trim pot. The VU meter for track #7 will be slamming way past +3 dB (+3 dB is the end of the meter range on most analog meters). Understand that there is a difference between tape compression and electronic distortion. We tend to like a little tape compression, but electronic distortion - which you get by pushing the machine too far, usually doesn't sound so good. To avoid ugly distortion in the mixer and tape machine electronics, back off on the level a little until it goes away. Note that you want to do this level setting after EQing since positive EQ adds level.

Note that when monitoring the guitar in "playback" mode there is a delay, so if the guitarist is not you and is wearing headphones, it may be best to take the guitar out of the headphones while doing the level settings. I know - I haven't gotten around to the headphone mix stuff yet, but I will do so in following articles.

If you're using a digital recorder (step 9 above), it's best to have the signal not go above -4 dB on the recorder track meter to play it safe. Always remember that digital distortion is simply awful! Yea, no rules as usual and just the opinion of the author.

If you don't think the guitar sound needs EQ, there's no reason to add any, BUT the only way you will find out is to experiment with EQ settings. So here we go.

Miking The Guitar Amp

Now that we have the best mic position set and the mic stand and cable is anchored down (read previous part) and the amp baffled if needed, before we EQ the guitar signal, you may ask the guitarist to change amp tone control settings. Of course, if you Before we get the mic's out, a word about amplifier speaker cabinet grill cloth, grill cane, or metal grill covers. These things are passive frequency filters, meaning they hurt frequency response and can actually ring if made of metal. If your's are made of cane, you may hear a buzzing sound that sounds like a blown speaker. This is rare but I discovered this myself on a 1956 Fender 4/10 Bassman amp.

The obvious purpose of the grill cloth is to protect the speaker, especially when transporting the amp. Yes, the trade off is obvious - the speaker will sound better with the grill removed, BUT you risk the chance of damaging the speaker. If the grill cover is removed. If you decide to remove your amp's grill cloth (if you can - and don't do it if it will ruin the look of your amp) it is most important to not let a mic hit the speaker. Be very careful! Sand bag down the mic stand and if using a boom, after positioning, screw it down tight! More on this as things unfold.

Positioning The Mic

We will be miking the speaker from the front. If you have an open back cabinet, you could mic from the rear, but we'll get to that later.

Diagram 1.1

Front view of the speaker. The circle in the center is the speaker cone (or dust cover over the cone). The small circle to the left of the center cone is the mic. The mic distance is about one inch from the left edge of the cone (or dust cover) Note that the mic (small circle) needs to be pointed at a 20 degree angle towards the cone center while remaining about an inch from the cone (or dust cover).

We will use a guitar amp speaker cabinet with one speaker to start. If the speaker bottom has grill cloth and you can't see the center of the speaker clearly, use a flashlight. Look at the speaker and notice the dust cover in the center. Point the mic at the exact center and then move the mic left without changing the height of the plane until you are about an inch left from the edge of the center dust cover. Now place the mic about once inch back from the grill cloth. If you have no grill cloth, imagine where the grill cloth would be in front of the speaker. Now position the mic capsule at a 20-degree angle pointing towards the center of the speaker.

We used the positioning to the left side but you could use the right side, or below or above the center point using the same positioning logic. For some reason, the left position seems to work best in most cases.

If the amp is a combo amp, the amp electronics may create an electronic field the mic may hear. This will be obvious when monitoring the mic over the studio monitors as you will hear a strange hum. In this case, you might need to mic on the low side of the speaker - closer to the floor - instead of to the left, right or above the center of the speaker.

There are a few good reasons to mic in such close proximity to the speaker. The main reason is this gives a "punchy" sound, since the speaker air is not diffused by distance, and the air movement is blasted into the mic diaphragm. There are other reasons that will be covered when we get into recording details.

The key to this mic positioning is to get a blend between the speaker cone (under the dust cover, if a dust cover exists), which produces the upper mid and treble frequencies, and the rest of the speaker, which produces the low mids and low frequencies. The farther the mic is placed away from the center cone in any direction, the more the sound will thicken up with lower frequencies. You will lose the upper-mids and treble information. You want to get the mic placement to sound as good as possible before adding EQ or anything else to the signal path. I'll give you more on this when we get into monitoring the guitar over the studio monitor speakers.