Melodic-Harmonic Framework, part 2
The thumb pick provides tremendous power, which is also helpful for creating artificial harmonics.
What exactly do you mean?
The technique for playing the kind of cascading, harp-like harmonics that I do involves using the index finger to “fret” the harmonics as the thumb strikes the strings. The natural angle of the way my fretting hand dangles puts the thumb pick in the perfect position to generate the note very clearly. You can do the same thing with a thumbnail, but not as easily.
Do you mean the kind of harmonics Lenny Breau made famous and used to write about as a columnist in Guitar Player many years ago?
Yes. When I was a teenager I bought a 10-year stack of Guitar Player magazines from the ’70s and ’80s at the Salvation Army store. I read those from cover to cover, and that’s where I found out about a lot of legendary players. Chet Atkins kind of pioneered the cascadingharmonic technique, and Lenny Breau was incredible at it. He’s untouchable. Some good examples of how I use harmonics can be heard on the introduction to my instrumental tune “Royal Flush” and my version of “Misty.” They are both from Time Jumpin’, which is still relevant as a big part of who I am and what I do. I get tagged in videos on Instagram and YouTube every day as people send me links of them playing “Strutting It,” “Daddy Longlicks,” “It’s Not Easy” and “Misty.”
What specific elements do you need from an acoustic to produce quality harmonics?
The guitar has to be set up well because, if the action is too high, it’s very difficult to hold the chords down with your fretting hand while focusing on your plucking hand to create the artificial harmonics. I also replace the top E string in a set that would normally go from .012 to .054 with a heavier gauge, usually a .016, so it’s like having two B strings. That delivers better balance in the form of more volume for the top melodies, so it helps my fingerstyle playing in general, not just specifically harmonics.
What made you gravitate to Maton guitars?
Maton guitars are ubiquitous in Australia. My father had one, as did the fellow I took my first lesson from. Once I heard that unique Maton zing, I was hooked. When I heard Tommy’s sound playing his Maton through a P.A., I decided I needed that guitar, and when I was about 14 I got his initial signature model as my first Maton. Its smaller body size is great for fingerstyle playing because the focus is in the middle range. It’s made of Queensland maple, which
“OUR JOB IS TO BRING MUSIC THAT RELIEVES STRESS AND ENRICHES PEOPLE’S LIVES”
sounds a bit softer and smoother than what I eventually wound up with in my custom Maton, the J.R. Personal. Its back and sides are made of Tasmanian Myrtle, which has a throatier, more aggressive midrange and a faster attack. I was always playing a million miles an hour, so they figured that would work well for me! There have been a few versions, and we incorporated the best elements into my new signature model, so it’s made of Tasmanian Myrtle as well. Joe Glaser is a premier guitar tech in Nashville, and he turned me on to its unique fret size that is taller than a Gibson fret but wider than a Martin. He found a sweet spot in the middle that’s great for bluesy string bending.
Maton players all rave about the proprietary AP5 Pro pickup system. What are your thoughts?
It leaves everything else in the dust. Acoustic-electric players have become so accustomed to the tiny, tinny sound of a standard piezo pickup, but the Maton’s piezo delivers a full-range sound that
goes all the way down to 20Hz. The tone is balanced and super responsive, so you can play very delicately. Maton’s preamp system is very high output; it’s got a lot of juice. Onstage, I tend to crank both the mic and the pickup and use a feedback buster in the sound hole, like Tommy. I don’t use the pickup signal much in the studio though.
Can you share some details on one of the acoustic highlights from Borders, “Genevieve”?
That’s my fiancé’s name, and she lives in Quebec City, Canada. They closed the borders because of the pandemic, and we’re still waiting on the visa so she can move here and we can get married. I wrote that song about meeting her, and I wanted to incorporate some similar melodic elements from one of my more popular songs from around 2012 called “Adelaide.” The way I write music is very influenced by counterpoint. There is usually a distinct bass line and a distinct melody line, and everything in the middle is just kind of accentuating one or the other. James Taylor’s verbal phrasing and his beautiful sense of chord motion is a big influence that is most prevalent on another new song called “The One.” I pretty much stick to standard tuning. For “Genevieve” I put a capo on the first fret because I like how that sound tweaks the ear. The
Ab, song is in the key of and in this case the bass line comes from a straightforward chord progression moving from the G position to E minor to C to D. I play the verse melody on the D and G strings. I like to incorporate diminished chords as well, which is something Nashville writers don’t typically do.
What’s your strategy when it comes to a song featuring acoustic and electric?
I love the idea of combining good songs with guitar playing on a high level. Pushing the limits of what I can do excites me, and people feed off the energy when they see you stretching. I’ll have the band carry on while I put one guitar down and pick up another. If I’m playing solo, I’ll kick on my Boss RC-1 Loop Station using an external foot switch to lay down an acoustic loop while I make the switch to electric. Then I’ll use a Wild Dog percussion stompbox to get a kick drum groove going. The Maton is my always my acoustic voice. My main electric is a ’58 Gretsch Country Club, and I’ve recently started playing a Music Man Valentine a lot because it’s such a well-designed modern instrument. I’ve been talking with them about building a unique custom guitar. My electric amp is a little ’65 Fender Champ. My main effect is a Strymon El Capistan dTape Echo. My acoustic amp is an Udo Da Capo 75. Udo Roesner founded AER Amps, which I used for a long time. Last year he came out with his own new venture. The feature set is similar, but the Da Capo 75 sounds a bit more open. My overarching goal is to be able to put on a good show for people using everything: telling stories with words as well as entertaining people with some guitar pyrotechnics on either the Maton or an electric. I’m still searching for my real unique voice, but I feel like I’m getting close to that point.
What’s on the horizon?
I’ve been writing for a collection of solo acoustic instrumentals as well as a solo electric instrumental album. I have another album with drums, bass and some strings in the can. It features more of a roots-influenced production with no overdubs. We’re figuring out a release plan. I’ve really enjoyed being home this year and being able to write more and practice more. Doing the livestream each week is cool because people tune in from all over the world, and I’m looking forward to getting back out on tour. I have some shows planned with Tommy later this year. Our job, especially as we continue to deal with the pandemic, is to bring music that relieves stress and enriches people’s lives.