Gary Maggio has a reputation as a bonafide high energy rock guitatist who captures the audience through technical prowess and love of rock guitar. His take no prisones approach to performing combined with an emotional connection to the audiences never fails to elicit chills, and his unique approach to the guitar and roots in both blues rock, fusion, and old school loud and proud style of playing are completely authentic. Widely considered one of the best rock guitarists in New York, he has commanded the respect and acclaim of critics, peers and fans across the US. Gary has performed and toured throughout the US with some of the best musicians in the world including: Larry Coryell, Randy Coven, John Scofield, Mark Wood, Bobby Rondinelli, Roger Earl, Malo, Shiela Escovedo, Tower of Power. While Gary lived in South FLA he was featured on the front cover of The FLA Times in Arts and Entertainment for his arbitron rated #1 single "Just Walk Away". Gary also toured with the top Bon Jovi Tribute "Bad Medicine" up and down the east coast.
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1. Get excited as soon as you become aware of a deeply-rooted problem in your guitar playing, because you are about to become a better guitar player! Lets get started!
The goal here is to use mostly your first finger to do a lot of the grunt with the muting. There are two simultaneous muting devices going on with one finger here: the very tip of your first finger is going to always gently touch the string above it, as you move up to a different string or a different note then always maintain that the tip of your first finger is touching and muting the string above. At the same time, while fretting your target note, the fleshy part of your first finger should be gently resting against all the strings underneath your target note.
To use an example and to combine the two: if you are playing a note on the 5th fret of the D string with your first finger, the tip of your first finger should just be touching and muting the A string while the underside of your first finger will be gently touching and muting the G, B and high E strings. Again, test this by strumming from the A to high E string and with a bit of luck, you'll only be able to hear the one note. Now, obviously this should only be used when there are not any notes on the surrounding strings that you want to sound. You probably don't want to be using this approach on open chords for example.
Also it's worth mentioning that you can mute with the tip of your other fingers although it's generally not quite as easy, and you may find yourself fretting with your third finger and still muting underneath with your first finger if it not being used elsewhere. As a cheeky little side tip, if your hands allow it you can also wrap you thumb over the top of the neck to mute the low E string (and the Aand D string too if you are Paul Gilbert).
This is something that's easier to fix at the start of your playing but it's fixable later on if you focus on it. The tip/trick here is to make sure you are pressing hard enough the give the string strong and consistent contact with the fret wire. At the same time try to get each finger placed just to the left of each fret wire (the closer the better) but be sure not to press directly on the fret wire itself. Getting each finger to always fret this way might take a little practice but it's worth it in the long run.
Building finger strength is going to help give you more consistency in your legato lines and ultimately help clean up some of your legato playing. Practice single hammer-ons and pull-offs, trills, and longer legato lines and try to aim for consistency in note volume and overall dynamics. Try to also play the same lick over and over with varying dynamics. This will help to give you more control over the articulation of your legato lines.
Be careful when bending strings that you don't accidentally snag another string on the way back down. To help ensure that you don't catch other strings, push into the fretboard as you push upwards, this will make sure the other strings pile up on your finger tip rather than get caught underneath your finger.
Another trick is to use your right hand to mute when you bend. To explain, let's say you bend a note up on the B string, just after you pick the B string rest the side of your thumb on the string above (G string) and use a right hand finger such as your middle finger to touch and mute the string below (high E string). This is going to give you absolute confidence that ONLY the string you are intending to play and/or bend is going to sound.
Right hand muting can happen two ways as well. Firstly you can rest the fleshy part of your palm on and strings that aren't being played, for example a note on the G string means you can effectively palm mute the E, A and D strings. If you pick with an open hand you can also rest any unused fingers on strings high in pitch that the one you are playing on. For example, the previous example of a note on the G string, you can rest some fingers on the B and high E strings for muting.
Pick muting can be used to give staccato elements to your playing. The technique involves picking a note and then immediately bringing the pick back to rest on the other side of the string. So if you pick with a down stroke, then you immediately do an upstroke but instead of picking through on the upstroke you just rest it against the string. Likewise, if you pick with an upstroke you immediately go to do a down stroke and rest on the string (again don't actually pick through on the down stroke, just rest solidly against the string to mute it).
Another way to achieve a similar but slightly different affect is to release the pressure on the notes with your left hand, your fingers will still be touching the string in the same place except for the fact that you will not be pressing the string against the fret wire. This is very common in funk rhythm playing and gives you that super clean choppy rhythm vibe.
Experiment with both inside and outside picking and see how that effects the sound/feel of your playing. I'll quickly explain the difference. Outside picking is when you are alternate picking two adjacent strings, you down pick the lower string (B for example) and up pick the higher string (high E for example) like this: -> | | <-
Inside picking would be up picking the B string and down picking the high Estring. So you are picking from the inside of the string pair like so: | <- -> |
What you might find is that if you outside pick, when you down pick the first string you might accidentally catch the second string with a down pick as you're on your way around that string to get it with an up pick. This is going to give you an extra "click" and unwanted noise which might happen often if you're picking fast. In this situation choosing to inside pick the lick will prevent any accidental "string clicking" and clean up the lick a bit. It might even feel easier to play which will give you more consistency because you're not fighting against your physical limitations. Experiment with both inside and outside picking for your licks.
Getting your left and right hands in sync is going to be a big deal for how clean you sound and something I'm personally trying to improve myself. You want mechanical precision between when your left hand finger comes down to fret the note and when your right hand picks the string. Getting this movement robotic isn't going to make your playing sound robotic because you can still choose to place notes behind/in front of or dead on the beat. It's just that your placement of the note will become more accurate and precise. Bad hand sync is going to give you unwanted staccato notes or maybe string clicks because at the microscopic level because you might pick the string, and then fret the note with your left hand afterwards.
Another tip to clean up your playing is to let notes ring out for their full value. If you are playing 16th notes, don't rush to raise your finger off of the notes in order to hit the next note in time because you will get the note short and give an accidental staccato sound. Sure, if staccato is what you're after then that's great but you want to be doing this because you choose to and not because it's the only way you know how. Bad technique in this area will become more apparent at higher speed when you might notice your lines don't sound as fluid as you would want them to be.
Most of the time if your playing isn't sounding as clean and controlled as you would like, it's going to be your technique that needs to be addressed. There are occasions though, when the changes you need to make are outside of your playing, although luckily not outside of your control. The final 5 tips involve gear setup, maintenance, and accessories.
Noise gates can be used to cut any amp/pedal hiss and uncontrolled string noise. It's not going to replace decent technique but it may help you out mid gig in unfamiliar situations. Maintaining your gear is very important; loose connections, dodgy soldering, old tubes, wobbly jack inputs, dirty volume/tone pots and noisy pickups are all going to give you unwanted noises that you don't want coming out of your amp and cluttering up your pure tones and your crystal clean playing.
This can be linked to "Gear" but is a little closer to home. Improper/poor guitar setup is also going to get in your way when you play. Your action could be too low causing string buzz and fret noise. Your truss rod may need adjusting causing certain frets/strings to cut out when you bend upwards and hinder sustain. Your intonation might need adjusting making your single notes sound out of tune and giving your chords in certain places a strange chorus-like effect. In all of these are situations you will be fighting against your guitar if it isn't set up properly, and if fixed it will not only make your notes sound cleaner and clearer but also your guitar will feel much more pleasurable and easy to play.
There are several places on the guitar where resonating frequencies can cause certain parts to vibrate and emit sounds. A few of these include unmuted open strings, springs in the trem cavities of floating bridges, strings between the nut and machine heads, and also loose screws. The screws can be tightened but the others are sometimes harder to control. You can buy neck mutes sometimes called fret wraps to cover the open strings near the nut, these are almost essential for recording (providing no open strings are being played) and if you don't want to buy one you can use a loose fluffy hair band, or even a loose thick sock!
Fret wraps and hair bands are favored by many technically efficient players and players that use right hand tapping frequently and although they are also not a replacement for good muting technique they can help a lot. For trem cavities you can use a slice of foam or a hanky and another sock for the post-nut strings. Sure, it doesn't look very "rock 'n' roll" but if you are in the studio, there's nothing worse than really nailing that perfect take, only to hear that your guitar is ringing out with some funky dissonant chiming sound that ruins the take.
Distortion is going to cloud and hide your mistakes. Mistakes that you might not have even known were there before. Try playing your favorite riffs and ideas with as clean a tones as possible, don't crank the bass, don't drip it in delays or reverbs, just a clean pure even tone. Distortion and higher gain tones naturally compress the signal anyway so it will kill your dynamics a bit and bring up the quieter details in your playing which is effectively hiding inconsistencies in your technique. Even more so when repeats from delays and dreamy reverbs are swirling around. So cut all the effects or even play unplugged and try to get your playing/tone as clean, articulate and consistent as possible. If you can get used to playing this way and even out your technique, you'll hear/feel a real difference when you plug back in and crank it back up.
If you're struggling to play a difficult riff cleanly, switch to an acoustic guitar preferable with thicker gauge strings and a high action. The thicker strings and the fact that your fingers need to press harder and a greater distance to sound the notes, combined with the thicker neck is going make playing even harder. Also the unforgiving nature of the pure acoustic guitar tone will in no way cover the sound of your own incompetence. So if you can nail the riff on a hard to play acoustic, switching back to an electric guitar again is going to make everything feel and sound a lot cleaner.
So there you have it, left hand muting, solid string contact, decent finger strength, string bending tips, right hand muting, pick muting, inside vs outside picking, good left/right hand sync, playing full notes, well maintained gear, a proper guitar setup, neck mutes, not hiding behind your amp and switching riffs to acoustic. If you put some time in and master each of these I can personally GUARANTEE you that your playing will sound and feel cleaner, more concise, more articulate and easier to play. Try it, record an idea or riff, spend a decent amount of time on each one of these tips in turn. Only moving on when you feel you've really cracked it, then come back and record the same idea again and compare the two. It WILL sound better, even if only in the details. They do say however, that the devil is in the details and it really is the details that will be the difference between something sound good, and something sounding great. S Martin.
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