Steve Vai recently suggested that guitar players seeking to improve their tone should start by examining their technique. He shared how adjusting his picking style helped him achieve a more satisfying sound.
Electric guitarists are often known for their obsession with gear. After all, experimenting with amps, pedals, and effects to create the perfect sound is a key part of the guitar-playing experience, as Zakk Wylde recently pointed out. Given the guitar community’s focus on equipment, some musicians have argued that the real source of guitar tone lies in the player themselves.
While Vai agrees with this idea, he takes a more nuanced approach. In a recent interview with Guitar Center, where he was promoting his signature Spark Mini amp, Vai acknowledged that gear does play a role in tone. However, he emphasized that guitarists can make significant strides in improving their sound without immediately spending money on new equipment (via Guitar World):
“People often say tone is in the amp, the guitar, the neck, the body, or the pickups. And yes, there is truth to all of that. But ultimately, you’re the boss of the tone because you’re the one playing, and you’re the one hitting the note.”
“The tone of the note has so many variables. One key factor is simply where you hit the string.”
Vai elaborated on the importance of picking technique: “It’s all about how you pick. How hard do you hold the pick? The intonation is influenced by how hard you push, pull, and how you apply vibrato. All of these elements contribute to discovering your unique tone. There are countless factors in creating the sound that comes from your fingers.”
Reflecting on his own journey, Vai explained how he improved his tone in the early ’80s by refining his picking technique:
“I just got tired of not having the tone I wanted. I tried out all these different amplifiers, searching for a sound that resembled what I was hearing from players like Edward Van Halen and Yngwie Malmsteen. But I couldn’t figure out why I didn’t sound as good.”
“I began experimenting with my picking—where I picked, how I picked, and the angle. You reach a point where you hear it and know it, and that’s when the real work begins.”
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