In this installment, I'd like to briefly discuss three critical but often overlooked subjects in the acoustic world- noise reduction, tone production and nail care. I have performed on the acoustic guitar for many years. I have often been told by non-guitarists that I seem to have minimal finger noise, indicating that non-guitarists don't appreciate the miscellaneous squeaks and buzzes that go along with making music on the guitar.

These noises cannot be eliminated completely, but they can be minimized. Unfortunately, the frequencies involved in string noises seem to be those most easily amplified by the guitar soundboard! If you are playing amplified, you can roll off some high frequencies to help a bit; it seems, however, that it's very easy to mess up your tone in doing so. Remember too, some of the highs are lost as the sound travels through the room.

The best approach is to reduce noise with your fingers, rather than "in the mix". One way of doing this that I've discovered is: instead of moving from one position to the next in a very shallow arc (if any arc at all), think in terms of lifting the left-hand fingers off the strings at a sharper angle— say 45 or even 60 degrees. This will minimize the squeak that's so easily produced when lifting off the strings. Some players virtually drag their left hands up and down the neck, making an infernal racket that nobody likes to hear. Through practice this "angular" type of shift or string release will become automatic and you'll find that it doesn't slow you down a bit.

Another way to reduce noise is to know where you're going, and the easiest way to get there. I noticed early on that the best players made difficult music look easy, while less accomplished players made a big fuss about banging on an open e minor chord. Incidentally, the latter were making the most money! If you come across a difficult passage in a piece— first, see if there's an easier way to play it. Music is sound, not theatrics. If no easier path can be found, then slow it down, play it cleanly, and speed it up gradually. A smooth passage always sounds faster than a ragged one!

Next, let's talk about tone production. I'm always amazed when I hear an otherwise excellent guitarist, who apparently doesn't care one bit about getting a good sound! This seems true in all genres! For example, I recently listened to a jazz guitarist on the radio. This guy could play every demented scale known to mankind— naturally, at warp speed— but when he was done, I just wanted to hear someone like Jim Hall play a nice chordal passage! Why? Because (again) music is all about sound, not pyrotechnics or cleverness! If you play an acoustic guitar, the tone is in your fingers; you'll improve your sound more by playing better than by spending thousands on a better guitar! The buck stops with you.

For example, 20 years (or so) ago I was fortunate to have Carlos Barbosa-Lima as a guest in my home. He picked up my $250 classical guitar, and began playing it. How did it sound? Like a $25,000 guitar! He said he liked it, and asked me to bring it to the concert that night; in case he broke a string, he would finish the concert with my guitar— the guitar I was always moaning and groaning about! David Russell won a major guitar competition playing a junk guitar! As long as your instrument is decent, concentrate on improving your playing first. It's not the guitar!

Take the time to place the fingers soundly where they need to go to get a good tone, not weak or buzzing. With the picking hand, notice what angle of attack produces the "roundest" tone. Remember, the angle of the picking hand can alter the "perceived" volume— making the passage louder or quieter, with no extra effort. By combining great tone with effective dynamics (discussed in my previous Guitar Sessions column — November 2005) your playing will reach a higher level than most!

About Nails

Some are blessed with strong nails; some are not. There are now several sources of fake nails that work very well. I have kept nails made from ping-pong balls in my guitar case for years, along with super glue to attach them. I have found that rounding the nails to approximately the same contour as the fingertip works well for me, using a very fine emery board. Lastly, you may want to rub them on a piece of denim or leather to polish the edges to a high gloss, producing a cleaner tone and making them more impervious to dirt and moisture.

Experiment with various nail lengths. I find that short nails produce the strongest tone, but long nails offer a greater "target zone" and are a bit more comforting when I feel nervous about performing. There are great guitarists of both persuasions. I once watched a flamenco guitarist play some of the fastest passages imaginable. He must not have known that his nails were "too long" to play that fast!

You must simply be willing to find what works for you.

Good luck!