Tag Archives: overdubbing

High-strung fun; Nashville tuning

You’ve got to hand it to the guys and gals on Music Row. They know how to make records. They certainly know a thing or two about recording acoustic guitars. High-string tuning is so closely associated with the capital of country music that a majority of guitarists refer to it as Nashville tuning.

To reassure those of you who aren’t really down with endlessly retuning your instrument, Nashville tuning isn’t really an alternate tuning, per se; it’s more about the strings you actually put on your guitar. The tuning involves taking the four octave strings from a twelve-string (the E, A, D and G) and putting them on a regular six-string guitar. That gives you a guitar with only one wound string (the low E), and means the D and G strings will be higher in pitch than the B and E strings respectively, leaving you with a guitar that sounds jangly indeed. D’Addario and Martin both sell high-strung/Nashville tuning sets (10-27 and 10-25 respectively), and possibly other manufacturers do too*. All you need to do is maybe adjust the neck on your guitar. I have a spare acoustic I often Nasvhille-ise; saves a lot of hassle when, as now, I’m looking to add a few jangly touches to a nearly complete recording..

So what can you do with it?

I’m very fond of the massed – but unobtrusive – overdubbing of acoustic guitars. I love the tonal colours you get by blending tracks of different guitars, different tuned, and so routinely track two to four acoustic rhythm tracks of various types, with the aim of blending them together so it sounds essentially like one instrument, but with a richer sonority and wider frequency response than you get from a single track of one acoustic guitar.

Sometimes they’re all in standard tuning but I use a capo to play each track with different chord shapes (e.g. a song in E is played with open E shapes, and in D with a capo on the second fret, or C with a capo on the fourth). Sometimes it’s a mix of standard- and alternate-tuned performances. Sometimes it’s a mix of six- and 12-string guitars, and sometimes a Nashville-tuned part is in there, too. Adds a lovely shimmering brightness to a bed of acoustics.

But that’s just the easy stuff. If you don’t have access to a 12-string guitar but you want the effect on a recording, you can also try tightly doubling a six-string part in Nashville tuning to create an effect that’s very like a 12-string. Experiment with panning the parts  left and right in stereo as well as together down the middle for different effects.

If you’re really into making work for yourself, try doubling a fingerpicking part. If done perfectly and panned down the middle, voila, instant 12-string effect. And again, you can pan the parts off on opposite sides for a striking stereo effect.

To hear examples of Nasvhille tuning used outside a country context, have a listen to Hips and Makers and Strange Angels, the first two solo albums by Throwing Muses/50 Foot Wave singer-guitarist Kristin Hersh. Examples of Nashville-tuning parts are numerous on Strange Angels; you’ll have to hunt harder for them on Hips and Makers but they’re there (on Velvet Days and Teeth, at least, I think). Or for something a bit more mainstream, try Landslide by Fleetwood Mac. There’s a high-pitched fingerpicked part panned centrally, fairly low in the mix but audible between Stevie Nicks’s vocal lines. I’ve gone back and forth on whether it’s a 12-string or a Nashville-tuned six string, but the more I hear it, the more the thin-ness and clarity of the part suggests Nashville tuning to me.

nashville tuning
My old spare acoustic, Nashvillized

*When I bought a set of Martin 10-25s the other day, the dude in the shop told me he hasn’t been able to reorder them and thinks that Martin may have discontinued them. Nonetheless, you can still buy single strings of the appropriate gauge: to replicate the Martin set, you’d need the following gauges: E: 0.025; A: 0.017; D: 0.013; G: 0.008; B: 0.012; E: 0.010.

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Twice the strings, twice the fun

I’ve had my Seagull S12 since 2001. No guitar I own has put in more hard yards for me. It was my main acoustic guitar in both the bands I was in between 2006 and 2011, so it went to every rehearsal and every gig, it got tuned and retuned endlessly, it got dropped, dinged, scratched and beaten up, and I went through more high Gs than you can count. It’s a pretty great-sounding instrument and, by the standard of 12 strings, pretty easy to play too. The neck is wide enough that you can actually use it for fingerpicking, but not so wide that barre chords are problematic, and the action is reasonable too. You can’t really ask much more from an acoustic guitar

I should play it more really – these days I pretty much only get it out for recording. I’m still, years after I started doing it with my old band (the Fourth Wall, god rest them), really into the tonal effects you can get by overdubbing acoustic guitars, especially 12 strings against 6 strings.

All the reasons that you might double electric guitar parts apply equally to acoustic guitars parts: you can do it to provide width, to blend different voicings of the same chords, or to blend the tones of two different instruments to create a sound that wouldn’t be obtainable any other way, and so on. The practice of mass acoustic overdubbing is somewhat rarer than it is with electric guitar parts, though, which might be for no other reason than the fact that it’s more difficult to do well.

Acoustic guitar is an extremely percussive instrument. When you record two of them (whether you personally record two parts or the two guitarists in your band record one track each), it becomes very important that the two parts are in time with each other and in time with the snare drum. The further out the strums are from each other or – worse – the snare drum, the more the ear is likely to hear them as flams. This can get distracting for the listener pretty quickly.

If you’re undeterred, though, here’s a couple of tips. Blending a standard-tuned part with an open-tuned part can be super fun. Imagine using a C-based tuning like CGCFGC on a 12-string guitar in the context of a song where the main progression is something like C/dminor/aminor/G: you can create a rich, resonant blend that wouldn’t be possible from two standard-tuned parts, really taking advantage of the drone strings and the low C bass. And of course, the effect of this will be even greater if the open-tuned part happened to be played on a twelve-string.

Another tip, particularly if you don’t want to get involved in open tunings, is to use a capo to track a second part using different chord shapes to the first part. Take the progression from the previous paragraph. How about putting a capo on the third fret and playing A / bminor / f#minor / E? Yeah, that’s right: it’s the same sequence as the guitar is sounding a minor third higher than concert pitch because of the capo. Once again, this can be used to create a tone, a richness of sound, that simply can’t be drawn out of one instrument. Again, if one of these parts is played on a twelve-string, the effect is amplified still further.

Coolest of all, but oh so difficult to do even vaguely well, is blending 12- and 6-string fingerpicking parts. I think that’s what Lindsey Buckingham’s up to on Fleetwood Mac’s Landslide (from 1975’s Fleetwood Mac, the first album the band made with Buckingham and Stevie Nicks). The part on the right sounds like it’s got octave notes in it, but it might be some clever psychoacoustic trick. However he did it, it’s super-cool, and it definitely sounds like a 12 string is in there.