Tapping efficacy
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LLL
New member
Re: Tapping efficacy
That's cheating.
And the frequency of the Gods & the Universe.
Sympathetic vibrations, dontchaknow?
That's cheating.
And the frequency of the Gods & the Universe.
Sympathetic vibrations, dontchaknow?
metalchurch79
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L
Little Pigbacon
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Re: Tapping efficacy
I just remembered something about tapping when I first started out. It was pretty important to me, so I worked on it a lot. I also didn’t have the money to change strings frequently, so I always went around with nasty finger cheese on my strings. When I finally changed strings, it felt like a completely different guitar, and I couldn’t tap worth a piss. I had to wait for the strings to break in and halfway die.
Years later, I no longer have that problem; I can stink at tapping no matter the condition of my strings.
I just remembered something about tapping when I first started out. It was pretty important to me, so I worked on it a lot. I also didn’t have the money to change strings frequently, so I always went around with nasty finger cheese on my strings. When I finally changed strings, it felt like a completely different guitar, and I couldn’t tap worth a piss. I had to wait for the strings to break in and halfway die.
Years later, I no longer have that problem; I can stink at tapping no matter the condition of my strings.
metalchurch79
New member
Re: Tapping efficacy
I tap a little bit and am fairly proficient at it but its not one of my go to flavor enhancers when playing my own stuff. That being said, my hats off to you Aceman cause that tapping lick is currently kicking my butt!
Chris Broderick comes to mind when I think of guys who tap with boths hands like it’s their job or something. Haha
I tap a little bit and am fairly proficient at it but its not one of my go to flavor enhancers when playing my own stuff. That being said, my hats off to you Aceman cause that tapping lick is currently kicking my butt!
Chris Broderick comes to mind when I think of guys who tap with boths hands like it’s their job or something. Haha
DavidRavenMoon
New member
Re: Tapping efficacy
First, try some stainless steel round wounds on bass and get back to me. Especially try unpolished Rotosounds.
Second, why do you want to tear your hands up? Seems counter productive, no?
And that’s what calluses are for. I can stick pins in my fingertips. Lol.
And that physics is wrong. String tension is based on scale length and core to wrap ratio.
Notice that all the virtuoso players that don’t tune lower use lighter strings. There’s a reason why they were invented in the first place.
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First, try some stainless steel round wounds on bass and get back to me. Especially try unpolished Rotosounds.
Second, why do you want to tear your hands up? Seems counter productive, no?
And that’s what calluses are for. I can stick pins in my fingertips. Lol.
And that physics is wrong. String tension is based on scale length and core to wrap ratio.
Notice that all the virtuoso players that don’t tune lower use lighter strings. There’s a reason why they were invented in the first place.
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DavidRavenMoon
New member
Re: Tapping efficacy
Exactly. People always say “but SRV used... “ yeah and he tuned a step down!
I use a 09-46 set most of the time so I can drop the E to D without being too flabby. This is on 25.5” scale. On shorter scales I use 10s.
And I have pretty low action with really big frets and use a 1.5mm pick. There’s nothing frail about my tone. Lol.
I like the snap you get with lighter strings. Has nothing to do with bending, etc.
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Exactly. People always say “but SRV used... “ yeah and he tuned a step down!
I use a 09-46 set most of the time so I can drop the E to D without being too flabby. This is on 25.5” scale. On shorter scales I use 10s.
And I have pretty low action with really big frets and use a 1.5mm pick. There’s nothing frail about my tone. Lol.
I like the snap you get with lighter strings. Has nothing to do with bending, etc.
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DavidRavenMoon
New member
Re: Tapping efficacy
Yeah, I know what it means. I was a classically trained tubist. I should have said “standard tuning.”
But while we are being pedantic about the A-440 pitch standard, in other parts of the world orchestras tune to different pitch standards.
440 is standard in the USA and UK. Modern baroque standard is between 440 to 415. Some parts of Europe use 444.
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Yeah, I know what it means. I was a classically trained tubist. I should have said “standard tuning.”
But while we are being pedantic about the A-440 pitch standard, in other parts of the world orchestras tune to different pitch standards.
440 is standard in the USA and UK. Modern baroque standard is between 440 to 415. Some parts of Europe use 444.
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DavidRavenMoon
New member
Re: Tapping efficacy
Is is 'tubist' or 'tubaist'...and how is it pronounced? I don't think I've ever seen that word typed out.
Is is 'tubist' or 'tubaist'...and how is it pronounced? I don't think I've ever seen that word typed out.
NegativeEase
New member
Re: Tapping efficacy
In my very experienced opinion, I agree with the fret size factor being of primary importance for the guitar setup side of this discussion -and actual individual string tension is actually more of a factor than the string gauge if someone is trying to argue the merits of using 8 vs 9s or 10vs 11 etc.
-String tension along with touch and fret height dictates the physical feedback against you touch which is incredibly important to the rhythmic proficiency of tapping and hammering.
I feel like just arguing string size is an oversimplification which is proceeded by many other factors such as style, touch, frets, tuning and tension etc.
In my very experienced opinion, I agree with the fret size factor being of primary importance for the guitar setup side of this discussion -and actual individual string tension is actually more of a factor than the string gauge if someone is trying to argue the merits of using 8 vs 9s or 10vs 11 etc.
-String tension along with touch and fret height dictates the physical feedback against you touch which is incredibly important to the rhythmic proficiency of tapping and hammering.
I feel like just arguing string size is an oversimplification which is proceeded by many other factors such as style, touch, frets, tuning and tension etc.
JB_From_Hell
Jomo's Nimions
Re: Tapping efficacy
I use 11s sometimes and it doesn't sound clunky, and don't feel as if I lose any finesse. No macho attitude, either. I just prefer how they feel. I've seen plenty of the macho attitude, and have no use for it, either. That said, the constant "Billy Gibbons uses 7s" is just as useless.
I use 11s sometimes and it doesn't sound clunky, and don't feel as if I lose any finesse. No macho attitude, either. I just prefer how they feel. I've seen plenty of the macho attitude, and have no use for it, either. That said, the constant "Billy Gibbons uses 7s" is just as useless.
Howlermonkey
New member
Re: Tapping efficacy
A good playing neck guitar will usually lend itself to tapping.
As mentioned, action height but I feel proper neck relief has a lot to do with it as well.
A good playing neck guitar will usually lend itself to tapping.
As mentioned, action height but I feel proper neck relief has a lot to do with it as well.
NegativeEase
New member
Re: Tapping efficacy
Yes, agreed -a typically setup neck from the store will often lose the nice tapping feel above fret 15 or so because the relief often flattened out above 12 somewhere.
for tapping, it's quite an art to dial one in perfectly all the up to fret 21, 22 or 24 or whatever you get to.
Yes, agreed -a typically setup neck from the store will often lose the nice tapping feel above fret 15 or so because the relief often flattened out above 12 somewhere.
for tapping, it's quite an art to dial one in perfectly all the up to fret 21, 22 or 24 or whatever you get to.
DavidRavenMoon
New member
Re: Tapping efficacy
Yeah the Billy thing is just to demonstrate that light strings aren’t thin sounding. Tone comes from your hands. They do require a different attack though. But I like banging on them and hearing the string bounce to pitch like in Communication Breakdown. [emoji2]
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Yeah the Billy thing is just to demonstrate that light strings aren’t thin sounding. Tone comes from your hands. They do require a different attack though. But I like banging on them and hearing the string bounce to pitch like in Communication Breakdown. [emoji2]
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Francois
New member
Re: Tapping efficacy
I would like to mention Tony Iommi most probably the first to get a thick tone out of very thin strings, something like 8 and downtuned !
He had to use them because of his injury.
In his biography he wrote that at the time he had often been told something like "You can't get thick tone with skinny strings"
I would like to mention Tony Iommi most probably the first to get a thick tone out of very thin strings, something like 8 and downtuned !
He had to use them because of his injury.
In his biography he wrote that at the time he had often been told something like "You can't get thick tone with skinny strings"
Re: Tapping efficacy
I'm not much of a tapper, but string gauge is currently a big issue for me and they may be related.
Ive been playing 12s at standard pitch for over 10 years because I like the tone and my fingers are strong enough for bends. For most of that time, I couldn't play anything less than 11s- it felt like the strings didn't have enough tension and would slide from under my fingers...
However, I got strat a few years ago that just loves 8s and I slowly added lighter strings on guitars that really needed them.
Here's the funny thing... I cant play the light stringed guitars live! They are fine for warming up, but they revert to the slinkey behavior on the first song of the first set and I usually move back to 12s by 3rd song.
I think what happens is I play a lot harder live than I do offstage.. I dont really notice it, but I do a lot of flatpicking leads live that I rarely do without a bands worth of volume.
And I think that may be the reason I tap ok in practice, but im rarely happy with tapping live.
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I'm not much of a tapper, but string gauge is currently a big issue for me and they may be related.
Ive been playing 12s at standard pitch for over 10 years because I like the tone and my fingers are strong enough for bends. For most of that time, I couldn't play anything less than 11s- it felt like the strings didn't have enough tension and would slide from under my fingers...
However, I got strat a few years ago that just loves 8s and I slowly added lighter strings on guitars that really needed them.
Here's the funny thing... I cant play the light stringed guitars live! They are fine for warming up, but they revert to the slinkey behavior on the first song of the first set and I usually move back to 12s by 3rd song.
I think what happens is I play a lot harder live than I do offstage.. I dont really notice it, but I do a lot of flatpicking leads live that I rarely do without a bands worth of volume.
And I think that may be the reason I tap ok in practice, but im rarely happy with tapping live.
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JB_From_Hell
Jomo's Nimions
Re: Tapping efficacy
I usually bounce around 10s and 11s, occasionally heavier. Every so often I try 9s, and I couldn't hate them more. Everything about them just feels wrong. However, I put 8s on an Epiphone Les Paul awhile back, and it was kind of fun. Better than the 9s anyway.
I usually bounce around 10s and 11s, occasionally heavier. Every so often I try 9s, and I couldn't hate them more. Everything about them just feels wrong. However, I put 8s on an Epiphone Les Paul awhile back, and it was kind of fun. Better than the 9s anyway.
Aceman
I am your doctor of love!
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