By Spiritguitar

With the release of Workbench 1.5, Variax Acoustic 700 owners can now use Workbench to tweak their User Models, set Comp and Mic levels, save their custom Models to any location on the Variax 700 Model Select knob, and create alternate tunings using the Workbench GUI.

Another great WB feature for the Acoustic 700 is that you can use any 6 string guitar Body for 12 string tunings. To do this using the C&W Body, for example, just click Enable, set the dots on the fretboard to the desired tuning for each dual string, then set the Mix control to the desired blend. Taking this one step further, you might want to experiment with 10 string tunings, combining four dual high strings with single E and A strings.

In this installment we’ll check out two different 10 string tunings. I call them Dmaj+ and DropC+. As you can see in the Workbench screenshot below, Dmaj+ uses a Drop D for the 6th string, an open A, then four dual strings that add an upper 5th except for the E string, which adds an upper 4th.

For Dmaj+ I used the C&W Body with the low E and A Mix set to 100%. For the other four strings, Mix is set to 33% to blend in the harmony notes. Use any Mix balance you like, according to how much harmony you want blended in. I usually set my Detune parameter to 0 for accurate tuning.

These types of tunings can be restrictive regarding note choices, due to the fact that the high string harmonies are constant. So they may shift the scale depending on the notes you play relative to the key you’re in. As a simple example of this, when playing a D major chord, the 3rd F# note on the D string will add a Db note to the chord, creating a major 7th. So playing a flatted 7th with the standard D major chord won’t sound right. As usual, experimentation is in order, but that’s part of the process of songwriting.



In this fretboard graphics screenshot you can see the notes I used in MP3 #1, an improvised example of playing single notes in the Dmaj+ tuning. Try any of these notes using your own riffs and chord variations, and see what you come up with. Minor chords will also work, and you can change the harmony tunings to different intervals for experimentation with other scales.





Check out the Workbench screenshot for an example of DropC+ tuning. This time the low E is tuned to C, open A is tuned to G, and each of the four high harmony strings add an upper 5th. Again the Mix level on the two low strings is set to 100%, while Mix on the four dual strings is set to 35%. I used the Dread Body for this tuning because it sounds a little cleaner to me when tuned down to a Drop C.

In MP3 #2 I used the notes you see in the fretboard graphics below. As with the Dmaj+ example, it’s an improvisation using mostly the major scale, this time playing chords. Since you’re working with the constant harmonies of the dual note strings, it may take some time to find the right notes to use in your own chord patterns, but I think you’ll agree the sounds can be unique.

For the signal chain in these examples, I recorded the Acoustic 700 direct in mono, then used UAD-1 plugins at mixdown: an 1176 Limiter, a Dimension D for a wide stereo effect, a 140 Plate Reverb and a final Precision Limiter.

If you feel like experimenting, set up a few of your own 10 string tunings, or 8 or 9 string variations. It’s a good way to explore new musical territory. It may take some time to find the right notes to play, but accidents and surprises can often lead to new song ideas and inspiration. Good luck.

Spiritguitar is singer/songwriter Russell DaShiell, best known for his lead guitar work on the million-selling hit "Spirit In The Sky". Check out his original music at spiritguitar.com.

[original music by Russell DaShiell | copyright 2006 Aerial View Music | BMI]

By Spiritguitar

It’s October, and the Halloween decorations have gone up in the Line 6 Agoura Hills building. With all the ghosts and goblins lining the halls, it seems like a good time to use a dark track I’ve had in my Acoustic 700 archives for a few months. I actually made a mistake when I recorded it and left an AIR II setting on in my Vetta II head. I should have had it off, to get a cleaner full-range acoustic sound, but I was too busy recording to notice. I tried re-recording the track later, but I couldn’t reproduce the particular performance I got with this one take. So instead of doing a new hifi version, here’s the dark original, with a little ghostly synth added for flavor.

Last month’s installment featured a simple DADGAD clip, intended for less advanced guitarists, but this month the chords may be a bit difficult for the beginner. If you can get your fretting fingers working on this one, however, I think you’ll like the music you make with these chords. I must credit David Crosby for mentioning this tuning in an interview. After reading about it, I tried it and liked it, and the result is this month’s MP3 music clip.



I used an Acoustic 700 for Clip #1, alt-tuning the strings one at a time and using the C&W Model. For those of you using a Variax electric and Workbench, here’s a Workbench screenshot. As you can see, the virtual fretboard is tuned to CGDDAE (low to high). I call it LoC 5ths, because every progressive string is tuned up a fifth, with the double D in the middle. The Model above is an Acoustic Jumbo Body, with Tone at 50%. As always, use any Variax Body and Pickup combination for the sound you prefer, then save the tuning as a Preset in Workbench for future use.

For my recording setup I plugged the Acoustic 700 into a Vetta II HD via the VDI digital cable, then sent my SPDIF output into a Mac G4 Dual 1.25 running DP. I used Amp Bypass with some Delay and Chorus in the Vetta II, but as I mentioned I forgot to turn off the AIR II Mic setting, which you can find on the Output Setup Page One. For the best acoustic sound, I’d suggest turning off the AIR II or recording direct into a mixer. If you’re using a PODxt Live, again I’d suggest using Amp Bypass plus Effects.



Chords (1), (2) and (3) in the fretboard graphic above are a little difficult to fret, but they’re worth the effort. In Clip #1 I started out with two free-form riffs, using the notes labeled Riff Low and Riff High. From there I got into the chord progression, starting with the 12th fret C minor (1). I usually use my thumb for the low E string notes, but you can also try a semi-barre technique using your 1st finger. Once you get comfortable with this chord, the progression goes from (1) to (2), (3) to (4), (5) to (2), and (3) to (4).

For the final section, as shown in the fretboard graphics below, the progression continues from (6) to (7) to (8). At that point I stayed at the low C minor position (8) for awhile, adding a few notes played on the A string 3rd fret to A string open, then I did a two-note chord walkup from (9) to (10), (11) to (12) to (13), ending with a slide down from (13) to (12) to (11).



As mentioned above, the sound in the MP3 is dark for an acoustic, and I’d prefer it to be brighter, but there was something about this take that I couldn’t duplicate. So the lesson here would be, make sure your guitar sounds are right when you press record, because you never know when you might get a great take, and usually those one-timers are hard to get on take 2.

On a music level, I’m sure most of you will like this LoC 5ths tuning. Of course there’s a lot more to be discovered than the few chords I’ve outlined here, so by all means experiment, and I hope you get a great take or two.

3 Spiritguitar is singer/songwriter Russell DaShiell, best known for his lead guitar work on the million-selling hit "Spirit In The Sky". Check out his original music at spiritguitar.com.

[original music by Russell DaShiell / copyright 2005 Aerial View Music / BMI]

By Spiritguitar

One of the most popular alternate tunings is called DADGAD. This month we’ll take an introductory look at DADGAD, using a simple MP3 example. This is directed to those of you who may be new to alternate tunings, or who may be learning to play guitar. If you happen to own a Variax Acoustic 700, you already know there’s an excellent alternate tuning feature built into the guitar itself, and it includes a selection of alt-tuned Presets. One of these is DADGAD, and here’s how you access it from the Acoustic 700 controls:

1.Rotate the Model Selector knob to Parlor, the Model I used in Clip #1
2.Push down on the Model Selector twice – the light will blink red/green
3.Move the Comp Slider to minimum (up), max (down) then minimum
4.Move the Mic Slider (closest to the guitar top) to minimum (up)
5.You should now hear a Preset with the low E and A tuned down an octave
6.Move the Mic Slider slowly down a short distance, to the 3rd Preset
7.Confirm it’s DADGAD by listening, then push in the Selector knob once



If you’re using an electric Variax and Workbench, here’s a Workbench screenshot of the DADGAD tuning. As you can see, the virtual fretboard is tuned to the notes DADGAD (low to high). There’s already a DADGAD Preset saved in the Workbench application, and to access it you simply click on PRESETS, select DADGAD from the list that comes up in the Presets window, click Load Selected Tuning, then click Done. In this case, I created an electric Model using the Special Bird Body with a Lester Custom Pickup placed near the middle position. For an acoustic sound, use either the Jumbo, Dread or Parlor Body, whichever you prefer. I usually save the Tone to 50% for Acoustic Models, for a bright but slightly ambient sound.

When recording the Acoustic 700, or an electric Variax using an Acoustic Model, I prefer to go direct into a mixer or use a Vetta or PODxt Live in Amp Bypass mode. This way the full range of the acoustic sound comes through, without any Amp or Cab Modeling. For my recording of Clip #1, I used an Acoustic 700 plugged into a small Mackie mixer, then into my Mac G4 Dual 1.25 PCI sound card running Digital Performer. For the final mix, I added a little stereo delay and reverb, then converted the AIF file to MP3.

To create Clip #1, I started out the way I usually do, by improvising for a few minutes until I came up with something I liked. For all you beginners, I encourage you to do the same. It’s good to play popular songs you hear by other artists in order to learn new chords and riffs, but it’s also good to develop the ability to improvise and create your own music, so give it a try. Alt-tunings are good for this, because they usually enable you to play chords and riffs with minimal fretting on the neck, with the open strings ringing out.



Use the three fretboard graphics on the left of the above screenshot as your guide, and hear how Clip #1 begins with all six strings ringing out for the first note of the first melody phrase. This is a G note played on the open 3rd string. The notes of the first phrase are G, A, G, F#, G, F#, D (with the D played on the open 4th string). The notes in the second phrase are G, A, G, F#, G, A. The two phrases are played as a pair then repeated to establish the melody. I played the individual strings one at a time with my pick in an alternating fashion, like finger picking. Listen to the MP3, then find the notes using the fretboard graphics for reference, and work on the picking.

For the next section, refer to the fretboard graphics on the right side of the screenshot. You’ll be playing three variations of an A chord (one repeated), with the low open A or 5th string ringing out for all four chords. Start with A1, then A2, A3 and A2 again, then repeat the four chord phrase. Finish off with the original two melody phrases, played once using the open D chord.

You may have to listen to the MP3 a few times in order to learn the music and picking technique, but with a little practice you’ll get it. Once you do, you’ll have a few new chords and riffs to work with in DADGAD, and from there you can experiment with your own music ideas.

In future months I’ll be creating a chord resource, with fretboard graphic examples of several standard chords to use with DADGAD, as well as with other tunings I’ve used in previous Alternate Tuning Tips. Meanwhile, I hope this introduction to DADGAD was helpful, and perhaps provided you with a little music inspiration as you explore alternate tunings. Good luck.

3 Spiritguitar is singer/songwriter Russell DaShiell, best known for his lead guitar work on the million-selling hit "Spirit In The Sky". Check out his original music at spiritguitar.com.

[original music by Russell DaShiell / copyright 2005 Aerial View Music / BMI]

By Spiritguitar

With the development of Variax Workbench software, you can now tune your Variax electric to any alternate tuning you like. The Variax Acoustic 700 has this feature built into the guitar itself. With the Variax tuned to standard pitch, however, the Variax DSP must create the alternate tunings in real time, note by note as you play. This is no easy task, and as with any developing technology, there are limitations. To get the best musical experience from your alt-tuned Variax, please check out the following 7 Alternate Tuning Tips. They address the most frequently asked questions of Variax owners, along with some guitar playing tips. Let’s start with #1…

1.Guitar Volume Balance: If you hear the standard tuning of your physical Variax along with the alt-tuning, your ears may be fooled into thinking the alt-tuning is out of tune. This is especially true for Acoustic 700 owners, but the solution is easy. In a studio situation, turn up your headphones; in a live situation, turn up the volume of your alt-tuned guitar amp or stage monitor so that it drowns out the physical guitar sound. When you adjust your guitar volume balance so that all you hear is the alt-tuned guitar, your alt-tuning will sound the way you expect it to.

2.Odd-Sounding Notes: If you use pull-offs, especially on an open G string that's tuned down a full step or more, or if you use Capo mode and tune several frets up or down and play harmonics, you may sometimes hear odd-sounding notes. The general cure for this is to adjust your playing technique so that you play very cleanly when doing pull-offs, play with a lighter touch on extremely alt-tuned notes and harmonics, fret your notes accurately, and avoid any problem zones that may produce odd sounds. It’s not difficult to get clean-sounding alt-tuning tracks. It just takes a little time to adapt to the particular alt-tuning you're using, then avoid any obvious problem spots you may encounter by adjusting your playing technique and choice of notes.

3.Ringing Overtones: When you play certain notes and you don’t mute your other strings, occasionally a note you're playing may cause a harmonic to resonate from a non-muted string. This can be a good thing, but sometimes it may result in an odd sound as in #2 above. The solution is to mute the strings you aren't using, especially when playing single notes. This way the DSP won't be 'confused' by unwanted notes resonating against the intended note.

4.Ringing Strings: A guitar playing tip…alternate tunings create unusual voicings when you play simple open chords, so try using as few fretted notes as possible to take advantage of the ringing strings. This gives you richer chords that are difficult to play in standard tuning. With the exception of the problematic overtones mentioned in #3 above, let your open strings ring out for more interesting chords.

5.Learn Your Scales: When in alt-tuning mode, most of the standard chord patterns won't work. This is obviously because the notes aren't in their standard locations on the fretboard. With each alt-tuning you use, take time to learn where the harmonic notes are for the key you're playing in, and memorize the patterns they form on the fretboard. With practice you'll move around as freely as you normally do with standard tuning.

6.Old + New: Once you know where the good notes are, as mentioned in #5 above, try some of your traditional chord patterns and lead guitar riffs. Often the new notes will sound great with a riff or chord you usually play. There may be one or two notes that don't fit, but if you adapt accordingly you can apply your usual riffs to the new notes. The results can be inspiring.

7.Amp Sounds: For Variax Acoustic Models, use an Amp Bypass setting or go direct whenever possible. Acoustics, Resos, Sitar, etc. don't like preamp gain, so cleaner is better in order to bring out the full range of these Models. If you use a Vetta II or PODxt Live, it’s a good idea to set up an Amp Preset for each of your favorite alt-tuned Variax Models, and save the Variax Model with your Amp Preset. That way, if you like to use acoustic and electric versions of DADGAD, for example, you'll have both available including your pre-programmed effects for instant recall.



Speaking of Acoustic Models, back in June, I wrote about one of my favorite 12-string tunings, but didn't include an MP3 clip. Here’s a Workbench screenshot of the 12-string tuning I call Acoustic 5ths, using a Jumbo Body, Tone saved at 50%. In Clip #1, I recorded some basic riffing in Em going into E major. I wanted to demonstrate how rich the Variax can sound when playing standard chords and riffs with a 5th added to each string. As I mentioned previously, this tuning is also nice because it avoids the guitar volume balance problem noted in Tip #1 above, due to the fact that the 5ths are in perfect tune with the physical Variax.



As an example of how you can get good results when playing harmonics, Clip #2 is a harmonic improvisation I recorded using a Variax Model I call Rain Electric. As shown in the second Workbench graphic, the virtual fretboard is tuned to DGCGCD, a popular tuning used by the legendary Mr. Page in that song we all know. At times, alt-tuned harmonics can cause problems, as described in Tip #2, but in this example, by playing with a clean technique and light touch, there's not a single off-pitch note in the clip. As shown in the fretboard graphic (Harmonics), I'm alternating between the 7th and 12th frets, adding a low open D note here and there. The high gain amp setting I used actually helps out with harmonics. For all the electric MP3 clips this month, I played a Variax 600 into a Vetta II, running Ableton Live 5 on a Mac. See the Line 6 Edit graphic for my Vetta II settings. (FYI, each red dot on the four graphic fretboards represents a single note, to be played one or two at a time as desired).



As I was jamming in the Rain Electric tuning, I found a few good locations on the guitar for playing simple riffs. As shown in the fretboard graphic (Riff 1, Riff 2), Clip #3 is played between the 2nd fret and open position, while Clip #4 is played between the 5th and 7th frets. Check out the MP3s and give these positions a try. By moving between the Riff 1 and Riff 2 locations, you can come up with some simple but funky lead guitar riffs.



In Clip #5, I played a very basic walkup and back down using the open A string (tuned down to G) with a single-note melody on the G string, as shown in the fretboard graphic (Walkup A). In Clip #6, I played a similar walkup (Walkup B), this time in low D, finger picking the 3 open high strings in-between. The point here is that you can come up with a variety of simple musical ideas that may be worth expanding on when using alternate tunings.

Of course there's a lot more music to be found in the DGCGCD tuning, so do some exploring on your own and see what you come up with. In closing, I hope the 7 tips and the MP3 examples provide you with a little inspiration. For me, that's the most important ingredient whether I'm recording, writing a song or just jamming on guitar.

Spiritguitar is singer/songwriter Russell DaShiell, best known for his lead guitar work on the million-selling hit "Spirit In The Sky". Check out his original music at spiritguitar.com.

[original music by Russell DaShiell / copyright 2005 Aerial View Music / BMI]

By Spiritguitar

Your mission, should you choose to accept it, is to dedicate a weekend to jamming on your guitar, write a short original song using an alternate tuning, record it using the equipment you have at your disposal, and by Monday morning have it mixed and ready to play for your friends. Okay, you might not get it all done in time, but if you give it a try I’m sure you’ll end up with a few new guitar riffs and improve your playing. Here’s what I came up with this past weekend - I call it "Radiation Man" - I’ll tell you how I did it.



I started with an Em7+4 tuning and set up a clean electric Variax sound. As you can see in the Workbench screenshot, the virtual fretboard is tuned to EBDGAD (low to high), using the Special Bird Body and one Toaster Pickup in the middle position. As always, use any Variax Body and Pickup combination for the guitar sound you prefer, then save the tuning as a Preset in Workbench for future use.

For my recording setup I used a Variax 500 plugged into a Vetta II HD via RJ45, output via SPDIF into a Mac G4 Dual 1.25 running my DAW. The composite Line 6 Edit screenshot shows my Vetta II patch parameters. This dual amp Preset features chorus on the left and delay on the right for a clean stereo spread. It worked well for the melodic rhythm part I came up with. If you don’t have a Vetta, use any guitar amp for the sound you prefer.



I have a few favorite riffs I usually use with the Em7+4 tuning, but I wanted to come up with something different, so I did a little exploration and found three or four chord positions I haven’t used before. I’ll describe the guitar track I came up with in three sections, so you can try the various riffs one at a time. Don’t worry about learning what I did note for note. Instead see if you can get a few of the riffs working and write a new song of your own.

First, there are the two different riffs you hear at the beginning of the guitar track after the solo intro; these are repeated twice. Riff 1 goes from Fig. 1 to Fig. 2. I let all the non-fretted notes ring out as I played the riff, going to a brief open Em7 (Fig. 7) at the end of the riff. This is followed by Riff 2, which goes from Fig. 4 to Fig. 5, again with open strings ringing out.



Next is the Am7 (Fig. 3), Bm7 (Fig. 6) and Em7 (Fig. 7) alternating with the chord in Fig. 8. After the Am7 and Bm7 the second time around, there’s the A Riff in Fig. 9, which gives you 3 cascading notes that ring out – just pick the 3rd, 4th and 5th strings while fretting the three low strings at the red dots. Try this combination a few times to hear how the chords work together.



The third section is the Em Walkup illustrated by the red dots in Fig. 10. Simply play the first dot at fret 2 and follow the dots up the fretboard with all the open strings ringing out. After the highest note at the 7th fret, go to the C Open chord in Fig. 11, which is followed by Fig. 12, as the walkup comes back down with the C root note underneath it. With the open strings ringing out it almost sounds like two guitars playing. The track ends by returning to Riff A and the Em7 Riff, repeating a few times, then I played a walkup riff that’s basically the Em scale ending with the Fig. 4 chord.

This track may seem complicated, but if you work on the separate riffs one at a time you can hopefully use one or two as a starting point for a new track of your own. For those of you at a more beginning level, start with the open chord in Fig. 7 and try fretting a few notes at the 2nd fret to add some melodic content. Then play the Am7 (Fig. 3) and Bm7 (Fig. 3) barre chords for a 1,4, 5 progression. Till next time, good luck and enjoy your guitar.

Spiritguitar is singer/songwriter Russell DaShiell, best known for his lead guitar work on the million-selling hit "Spirit In The Sky". Check out his original music at spiritguitar.com.

[original music by Russell DaShiell / copyright 2005 Aerial View Music / BMI]

By Spiritguitar

When trying out a new alternate tuning, it helps to have a few chord charts as guides, but it’s also important to discover new chord patterns on your own. To me each tuning has its own sweet spot, which you can usually hear by strumming all 6 open strings and adding 2 or 3 fretted notes around the second fret to create a chord. This sweet spot musically defines the tuning. Often the best results can be achieved by starting from this musical sweet spot, keeping your chords as simple as possible, then expanding from there.

Let’s check out a tuning I call Lo C 5ths. As you can see in the Workbench screenshot, the virtual fretboard is tuned to CGDDAE (low to high, each progressive string tuned up a 5th plus the double D). Using a Variax 500, I selected the Acoustic Jumbo Body, clicked the Controls tab and saved the Tone/Mic position at 50%. I already knew an obscure minor chord for this tuning that sounded great, but it was very difficult to fret, so for the purpose of today’s example I decided to try something easier. I found that if you play the two middle strings at fret 2 (indicated as the red dots labeled 5 in the fretboard graphic), you get a nice sounding C-6th chord. Since these two middle strings are in unison, you can play them together at any fret in the C scale. Expanding on this two-finger chord pattern, I also discovered an easy way to play F, G and Bb chords, which sound good with most of the open strings ringing out (as illustrated in the middle fretboard graphic).

To record Clip #1, I plugged in my Variax 500, set up a Stylus RMX drum pattern in DP 4.5 and started jamming. I soon found the chords I described above and created the melodic walkdown figure, which simply goes from position 1 to 2, 3 and 4, then repeats to include position 5 on the way to the F and G chords. I especially like the G to Bb in the second turnaround. In between the melodic walkdowns I improvised some guitar riffs while grooving with the drums. I won’t describe them note for note, but the positions I used are illustrated in the lower of the three fretboard graphics. Riff Low uses primarily the 4th and 5th strings, playing quick notes between the 5th and 7th frets, with my index finger holding down all four notes at the 5th fret to create the harmony you hear at the end of each riff. I played similar riffs higher up at the 10th and 12th frets, as illustrated in the Riff High fretboard graphic.

To record the Variax using an Acoustic Model, I usually plug into a PODxt Live or a Vetta II HD via the VDI and select a Preset with Amp bypassed, which gives you a clean full-range acoustic sound. When using a Vetta II, by the way, make sure your AIR II Mic is set to OFF on the Output Setup Page 1, so you don’t add unwanted EQ. When getting the sound for Clip #1, I turned off the Chorus and Post EQ and used only Stereo Delay and Reverb.

After recording a few takes, I got one I was happy with and edited the drum tracks to fit the guitar arrangement, adding crashes and removing numerous beats that got in the way. I was tempted to leave the track as guitar and drums only, but after playing a Variax 700 bass with the track I decided to record it. I used the Prebass Green Model through a Vetta II HD with Amps bypassed, adding a little Comp. Before mixing the final track I decided the live guitar intro I played was a little too basic, so I did some experimenting and created a backwards version of it, which is what ended up in the mix.

I mentioned at the top that when playing a new alternate tuning it’s best to keep the chord patterns as simple as possible, and it worked out well for me on this example. As always, there are many more chords that work with the Lo C 5ths tuning, so try these simple chords as a starting point then do some exploring on your own. You're sure to find some interesting chords.

For an alternate tuning that doesn’t require learning any new chord patterns at all, here’s one of my favorites: In Workbench, use a 12 string Body and tune the upper-octave strings to a 5th above the standard strings, setting the red dots at the 7th fret. The beauty of this is you can play all your standard guitar chords and get a rich musical sound without having to learn any new chord patterns. Till next time, good luck with your own original music.

Spiritguitar is singer/songwriter Russell DaShiell, best known for his lead guitar work on the million-selling hit "Spirit In The Sky". Check out his original music at spiritguitar.com.

[original music by Russell DaShiell / copyright 2005 Aerial View Music / BMI]