I often find myself in discussions with friends about effects pedal order for guitar and bass. Now that my kid has started playing guitar and is getting into pedals, I realized that I didn't have a good go-to resource for the topic. I decided to write my own article on the subject, not because I have something fundamentally different to say than other people, but because I think I have a better way of presenting the information.
I love guitar effects pedals. Oh mah science, do I love guitar pedals. I love 'em! Give me more! It's a bit of an addiction. I've had a lot, I still have a lot, and I want more. Pedals, pedals, PEDALS! I think you're starting to see the picture here: pedals = good. :)
This is the story of my latest guitar effects pedalboard build, including the successes and failures.
When I was 17, my jazz choir teacher introduced me to the Jim Dunlop Jazz III guitar pick (in black, incidentally). From then on, I was hooked. When I wasn't strumming or swinging my whole arm for Texas bluesy goodness, I had a black or red Jazz III in my hand. It was especially great for jazz as I could hybrid pick for comping...that was before I even know what hybrid picking was.
Fast forward a nearly a decade and a half.
This is intended to be a living document, so check back often for new tips and tricks to help your guitar playing. These appear in no particular order.
Use a metronome when you practice. This helps establish consistent timing, accuracy, and synchronization between your left and right hands. Your playing will improve much faster by using a metronome. You can also build up speed by slowly increasing the tempo in small increments such as 8bpm at a time.
Learning to speed pick can be quite difficult. Many guitarists do it different ways from circular picking to stiffening their arm and wrist. I recommend trying to keep your arm and wrist as loose as possible and let the movement come from the wrist. Try to minimize the range of motion.
Illustrated in A Major
The Shape 3 Major Scale is an alternate moveable root-6 (meaning that the 6th string contains the root of the scale) major scale. This example is illustrated in A major and should be practiced in all available positions.
Illustrated in C Major
The Shape 2 Major Scale is a moveable root-5 (meaning that the 5th string contains the root of the scale) major scale. This example is illustrated in C major and should be practiced in all available positions.
Illustrated in G Major
The Shape 1 Major Scale is a moveable root-6 (meaning that the 6th string contains the root of the scale) major scale. This example is illustrated in G major and should be practiced in all available positions.