TIPS FOR WORSHIP LEAD
GUITARISTS
1. Different approach to acoustic
When
acoustic players pick up an electric they tend go one of two ways. They either
strum it just like an acoustic or play pentatonic bluesy lead lines. If you
strum with an electric you basically need to play it a lot less than an
acoustic. So strum the essential groove and work with the natural sustain of
the solid body rather than against it with too much rhythm.
2. Play rhythmically
The typical
job for an electric in most worship band settings is not so much a lead guitar
but mainly to add color and dynamics to the rhythm of the song. So try picking
out the notes in the chords, use different voicings further up the neck, use
combos of fretted and open strings but above all make it sound like a part that
backs up the main groove of the song.
3. Use CAGED voicings
The CAGED
system is based around the major and minor open chord shapes of C, A, G, E and
D moved up the neck sometimes in conjunction with a bar chord. CAGED will give
you a complete framework of how to play any chord in any position up and down the neck.
4. The capo is your friend
Some people
say the capo is a crutch. Think of it more of a tool that helps you make new
voicings. If you play rolling jangley parts then use a capo to put the open
strings in key and then the combo of open and fretted notes can create some
great drone sounds.
5. Don’t clash with the keyboard
You play in
the same octave spectrum as the keys so be careful not to clash with their
parts. If you can’t hear them then watch their fingers to compliment their
rhythms. Try to play in different spaces, with different tones and in different
octaves. Also remember you don’t have to play all the time so if they are doing
something nice, give them space!
6. Play texturally
Think about
using your electric to add textural parts to a song a bit like in the way
keyboard players use pads and filters.
7. Effects
You can use two
overdrives, one for general and one for big out there sounds, a delay, some
compression for tighter cleaner sounds and the occasional bit of modulation
like chorus or tremolo to add some texture. The key things are really drive and
delay. Delay can thicken up tones, add a sense of sustain to ringing chords as
well as rhythmic textures like dotted 8th notes for U2 type sounds. However the
golden rule is the delay time must be in synch with the songs’ tempo. Too slow
and your notes sound indistinct and muddy and too fast and they sound like they
are running away from you. Generally the more delay and reverb type effect you
use the more your sound will seem to place itself at the back of the mix. So
don’t overdo it unless you are specifically trying to create a texture or a
wash.
8. Don’t use as much distortion as you think
Listen to
the guitars on some of the quintessential classic rock tracks and many have
much less distortion than you think. In fact too much distortion will lose you
clarity in the mix. So practice playing with less gain, and executing each
chord more clearly. Also great distorted tones are often quite dry so be
careful of adding too much rev or delay as it can accentuate the high
frequencies in a not too pleasant way. Again using both of these ideas will
help you cut through the mix much better.
9. Play with volumes and tone controls
Guitar
volumes are really designed to work best fully open. Backing them off can loose
treble, same with tone controls too. However for some sounds this may be
exactly what you want and there are many players who can create a variety of
great tones just by playing with these controls. For overdrive with my
Telecaster I’ll back the tone off to 8 and then adjusting the volume gives me
more or less distortion.
10. Use more mid
If your
motifs and lines don’t cut through the mix then use a little more mid to add
punch. This is exactly why the Eric Clapton Strat has an active mid boost
control. Pedals like the Ibanez Tubescreamer also have a natural mid ‘hump’ in
their inherent tone and if your amp doesn’t have a mid control there are
various drive pedals that will give you a dedicated mid pot.
11. Small tube amp
Most
churches play at a volume WAY below the level most classic tube amps sound best
at so there’s no point in buying your ultimate 100, 50 or even 30 watt weapon
if it’s just for church environments. However nowdays amp makers have cottoned
on to this and there are now loads of good quality 5-10 watt amps that sound
great at low volumes.
12. Amp positioning
If you stand
right next to your amp you’ll only hear a very bassy tone but the people in the
front will hear all the treble. So try to place the amp 6-10 ft away from you
if possible. Speaker stands to get the sound up towards your ear lifting it
away from the floor can lose bass and low end. Angle the speaker up towards you
but keep it locked to the floor.
*BE BLESSED AS YOU MOVE TO THE NEXT LEVEL*
