Too many overtones

[simplygoodmusic]

How do you guys deal with overtones?

 

It never used to be a problem. But after spending a lot of time learning to pick the gypsy jazz manner, I don't know what to do. I love the sound of this technique, as it gives out SO much more tone...but then again, I hit one note, and every string is singing away. Its really too much.

 

How do you guys deal with it? How do gypsy jazz musicians deal with it?

 

Any help would be appreciated.

[iago]

Go back to picking the old way?

[simplygoodmusic]

But then I lose all the tone and sound gained from this technique;)

[riovine]

What kind of guitar are you playing. What I've noticed is that those Selmer-type gypsy guitars tend to have less sustain and overtones than a traditional steel string. They are made to have a bright, loud fundamental that can cut through an ensemble and decay quickly. Maybe that could be part of the problem.

[simplygoodmusic]

I guess that would make sense. I'm not playing a selmer-maccafferi type guitar at all. Not for now anyway. I'm playing on a takamine N-10 - a dread.

 

Pity, seeing as the technique really enhances things for the most part.

[riovine]

Well, I wouldn't give up on it so quickly. Maybe you just need to work with it a little more and see if you can make it work. Usually it can take a little time for you to work out all the nuances of playing with a new technique. It does procude a nice attack and tone that can really cut. I don't use that picking technique, although I've considered it, but at this point of my playing, I don't have the energy or time for a major technique overhaul.

Good luck...

[Stackabones]

I've done some work on the rest-stroke/GJ technique, but I'm not sure how to advise you on your problem. Have you checked out the forums at djangobooks.com? Might be someone there who can help.

I use a hybrid approach ... some gypsy-picking, some of my old habits (flatpicking, chicken picking). This'll will get you in hot water in certain corners of the gypsy jazz world.

The guitar could have something to do with it, though I'd bet there's something you can do technique-wise to resolve the problem.

Have you had a chance to use the technique on a Selmac-style guitar? Do you get the same results?

[BrandonBrinley]

spray the soloution finger ease on your strings it prevents string talk and improves the life of your strings :]

[recordingtrack1]

I don't know what a gypsy jazz picking style is, but what I have always done, whether fingerpicking or flatpicking, I rest my hand right on top of the bridge at the saddle. Over the years I have learned to comp the strings just enough that I can kill any unwanted overtones. If want to 'let ring', I just lift my hand. I actually learned this technique from playing southern rock on electrics.

I don't know if that helps any or not, but it is a technique that works well for me.

RT1:thu:

[Stackabones]

I don't know what a gypsy jazz picking style is, but what I have always done, whether fingerpicking or flatpicking, I rest my hand right on top of the bridge at the saddle. Over the years I have learned to comp the strings just enough that I can kill any unwanted overtones. If want to 'let ring', I just lift my hand. I actually learned this technique from playing southern rock on electrics. I don't know if that helps any or not, but it is a technique that works well for me. RT1:thu:

The gypsy jazz picking style doesn't have you rest your picking hand on the bridge ... it floats above the strings (kinda like a classical player). Done properly, the guitar just cranks out volume and tone. The fat picks help, too.

[JasmineTea]

It's your technique. I play fast-picking jazz, jypsy-jazz, all kinds of crazy jazz, and I don't have the problem you're describing.

The fix is in both hands. Mute the strings you're not playing with the fingers that are'nt busy on the left hand, and, with parts of your palm and fingers on the right.

Django did'nt have this problem, and he only had two working fingers on his left.

[simplygoodmusic]

BUT muting with my right hand seems to completly throw the gypsy jazz technique out the window. With my left...well its just not always possible, especially when soloing.

 

I haven't had the chance to try a selmac style guitar.. as much as I wish I had:rolleyes:

[Hudman]

I don't know what a gypsy jazz picking style is, but what I have always done, whether fingerpicking or flatpicking, I rest my hand right on top of the bridge at the saddle. Over the years I have learned to comp the strings just enough that I can kill any unwanted overtones. If want to 'let ring', I just lift my hand. I actually learned this technique from playing southern rock on electrics. I don't know if that helps any or not, but it is a technique that works well for me. RT1:thu:

 

Yes sir, you are a rocking guitar player.

 

You learn to mute unwanted strings with your picking hand when you crank up those electric guitars with a bunch of distortion.

[Cripes]

It's your technique. I play fast-picking jazz, jypsy-jazz, all kinds of crazy jazz, and I don't have the problem you're describing. The fix is in both hands. Mute the strings you're not playing with the fingers that are'nt busy on the left hand, and, with parts of your palm and fingers on the right. Django did'nt have this problem, and he only had two working fingers on his left.

 

 

Frethand muting is what I do. There's always a loitering finger ready to do something and muting is one of them.

[recordingtrack1]

Yes sir, you are a rocking guitar player. You learn to mute unwanted strings with your picking hand when you crank up those electric guitars with a bunch of distortion.

Now wait a minute. I'm not sure if this is a compliment or a jab.:poke: I never said I was a "rocking guitar player". Far from it.

I just like to get that "thumping" sound on my downbeats. Comping the strings with the heel of my hand is how I do it. It actually works well on acoustic playing too.

RT1:thu:

[Hudman]

Now wait a minute. I'm not sure if this is a compliment or a jab.:poke: I never said I was a "rocking guitar player". Far from it. I just like to get that "thumping" sound on my downbeats. Comping the strings with the heel of my hand is how I do it. It actually works well on acoustic playing too. RT1:thu:

 

No way man. I know you have an electric guitar background similiar to mine. I started off playing classic rock and heavy metal. It's impossible to play that stuff with out using palm muting. I use palm muting on acoustic guitar from time to time.

[recordingtrack1]

No way man. I know you have an electric guitar background similiar to mine. I started off playing classic rock and heavy metal. It's impossible to play that stuff with out using palm muting. I use palm muting on acoustic guitar from time to time.

Thanks Hud,

I know this is a little off topic but I can't help it. Palm muting is cool in the middle of songs on the second verse and sometimes in the bridge(s) of songs and then open up and strum hard on the chorus parts. It really livens up a song. I love to do that. When I dampen down on the verse parts, I like to quieten down my volume a bit, which lets the vocals really stand out front. Man, it's exciting!

Anyway, sorry about the thread-jack.

RT1:blah:

[guitarist21]

With my left...well its just not always possible, especially when soloing.

You could just use your middle and ring fingers and only use your forefinger for muting the strings. (Hey Django only had two he could use, why not you?)



Ellen

[simplygoodmusic]

You could just use your middle and ring fingers and only use your forefinger for muting the strings. (Hey Django only had two he could use, why not you?) Ellen

Because I'm no Django:cry:

But I guess I could give that a shot. Thanks.