Shut Up and Play Your Guitar

Does Being a Dad Make You a Bad Teacher?

Is it wrong to start out with a quote from Frank Zappa? I would guess not, especially considering the guitar guru and founder of the Mothers of Invention can also be considered single-handedly responsible for the Valley Girl. Maybe it’s his fault I’m in the state I’m in!

Still, Zappa was the farthest from my mind in the laborious decision to let my two daughters take guitar lessons. It wasn’t like this was an easy decision. Their father, after all, plays and even recorded two CDs with his brother to moderate success, thank you very much. While the first attempt was less than stellar, our second release, The Blind Leading the Blind does enjoy a modicum of success, even if it does fit the stereotype of being “big in Europe”.

I did try, after all, though my spouse would probably relish saying it was a perfunctory attempt at best. I would dispute that, claiming frustration. I’m not sure why the attempt at teaching my six-stringed skills failed. I did teach myself.

At the ripe old age of 19 I made the decision that I was going to learn how to play the guitar like the man they called “God”. Slowhand, Cool Hand Luke, the man who created the “woman” sound, Eric Clapton. I even went so far as to buy a Fender Stratocaster, for way too much money, from the local music store. It was sunburst, meaning, the stains on the natural wood grain were light, almost yellow in the middle turning into a dark brown, almost black on the sides. I bought it because it looked exactly like the guitar on the back of the “Layla” album.

I was in college for journalism but had no job and nothing but time. I was an awkward, frustrated, angry teen from a small town relishing his newfound freedom and bored out of my skull in the process. So I eventually broke down and confessed to buying the guitar to my parents, who allowed me to keep it if I learned to play it. I had a reason now.

Over the next year I listened to every Clapton, Buddy Guy, Zeppelin, Allman Brothers, Hendrix, and Vaughan album I could find. I learned the simple riffs and screamed at the frustration of my inability to learn the complicated ones. It took me two straight days with no sleep and a cache of Old El Paso frozen Chimichangas to learn to play Stairway to Heaven, but I did it.

By the time I was 20 a guy doing his laundry in my building heard me playing “How Many More Times” through my new wah-wah pedal and knocked on my door, asking me to join his band. I immediately accepted, figuring I’d either be murdered tomorrow or playing music like I’d dreamed all my teenage life.

It took me one year to reach that first goal. One year.

It took me less than one month to fail teaching my kids to play guitar.

I thought it was the equipment. I had given my youngest daughter a 1960 Supro student electric. (I’d actually bought it because it looked cool with a tweed amplifier I had, but she loved it and I wanted her to have a cool guitar) I thought the neck too wide and the tuning machines too stiff.

Then I thought they weren’t paying enough attention. I bought a DVD with a chord book and thought I could reinforce what it said.

Nada.

Maybe it’s the material! I know they love that alternative, 3-chord, grunge meets dance techno stuff, with some Green Day mixed in for good measure. That’s not great guitar soloing and melody like “God”, that’s just a bunch of chords thrown together!

But it wasn’t the music. In fact, it was me that was the problem. I know how to read music from my days of playing trumpet in high school. I have no basis for the guitar.

I never got angry nor did I ever yell at my children, I just got frustrated. It turns out I was far more wise than I thought. I did the best thing I could ever have done and hired someone else to teach my kids.

Here is why: I did nothing right in how I learned to play the guitar. I had a finite way I wanted to do things and I did it. As a result, I am doing everything wrong. I know the chords, but have no idea what I’m doing that makes the “G” chord I’m playing a “Suspended fifth” or something like that. I just know it sounds good. Hell, I’m even holding the pick wrong. Everything I do comes from my angry, tortured, teenage years where I wrenched every note, sound and melody from the guitar. In the process, I beat the instrument into submission, tearing at the strings by holding a pick with two fingers, pulling up on the strings and plunking the notes out.

My children will do it right. They will know a suspended 5th from a major 7th. They’ll know how to delicately change the dynamic of a piece. They’ll know when to calm down and coax a note from their instrument, calmly, serenely.

Not long after I bemoaned my failure to my brother Adam, possibly one of the greatest musicians you’ve never heard of, he told me what I CAN teach them. Adam told me that sometimes you just aren’t a good teacher. But what he told me I had achieved as a musician is something my children will get from both watching me and listening to my performances: emotion.

While the girls will learn the notes, scales and dynamics, my brother said that what I considered wrong was what made my playing so right. That anger, emotion, sadness, joy, everything I thought was beating my guitar into submission was also the deeply entrenched feelings I could release. Adam reminded me of why I had bought that first guitar. I wasn’t learning to be proficient or get girls or be famous. The guitar was my way of opening up the gates and letting out all the emotions I couldn’t express.

My teenage years were difficult, almost depressing. I wasn’t happy, I couldn’t “get the girl”, and I was almost paralyzed when I was forced to talk about any of my feelings. But that guitar, it was the surrogate. I could be frustrated the girl of my dreams was dating my friend and play “Have you Ever Loved a Woman” with fierce abandon. I could miss home and play Zeppelin’s “The Rain Song”, but it always sounded like me playing it, not some note-by-note copy. That, Adam said, was what differentiated a guitarist from a “guitar player”. If you listen to their version of a song, you feel what they’re feeling.

So while my girls will learn how to read the music and play the notes, the greatest lesson they’ll get from their father and their uncle won’t involve sheet music. At home, after the amplifier is turned off, they’ll learn how to play with emotion. After all of that, one day, maybe, people will sound off the greatest players and find that with the Becks, Claptons, Santanas and Vaughans, one day, someone might just be able to say: “what about Manoucheri?”

God help me, though, if I ever start having to say “turn it down!”

How to Learn Guitar?

Learning Guitar is not easy and selecting the right method to learn it is even more challenging. If you plan to learn Guitar, you have a good number of resources available. You can choose from books, online and offline courses, video lessons or you can learn from an experienced teacher! But finding the best learning method could be as challenging as playing Guitar itself. This is especially true for new students who feel completely lost when exposed to a large number of Guitar learning resources.

Finding the best method to learn Guitar depends on several factors and there is no “One method fits all” solution. Since each individual is unique, you must select a method best suited to your needs and background.

Before you invest your time and money on a Guitar course, you must evaluate your situation based on the following criteria:

1) What is your motive to learn Guitar? If you want to play Guitar as a hobby, you can pursue any learning method but if you want to go pro and play in a band, you need exposure to as many learning resources as possible.

2) Do you have any previous exposure to music theory or playing another musical instrument? If you do, you can pursue Guitar lessons on your own as you are already familiar with music concepts. However, if you are completely new to music, it is highly recommended that you take help of a professional who can guide you till you are comfortable playing Guitar on your own.

3) Are you a fast learner? If you got a good ear, you can pick concepts easily and make good progress in short amount of time. But if you are a slow learner, you would need more time and help to master the lessons.

4) What is your best learning style? Can you grasp concepts easily just be reading/listening or do you need access to extensive audio and video training material?

5) How much money are you willing to invest on good lessons, books, courses etc? If you are a complete beginner, you need good reference books and a teacher to get started and all this costs money.

6) How much time can you devote to practice? Most teachers require you to devote few hours every week to practice the lessons that you learn. If you are hard pressed for time, you can invest in a home study course that lets you learn Guitar at your own pace instead of hiring a teacher.

7) Do you want to learn any specific style such as Blues, Classical or Jazz? Depending on your preferences, you would need specific resources to learn a particular style of guitar.

How to Do a Guitar Set Up

In this article I will explain how to set up your guitar. I have only done set ups on my ESP EC 400 which has a Tune-O-Matic bridge, so keep that in mind as you read. Different kinds of bridges will make setting up your guitar a little different. So all of this article will be about setting up a guitar with a Tune-O-Matic bridge.

First off, I’ll tell you the basic things you will need for this. You’ll need a few screwdrivers, hex keys, wire cutters, a string winder, a tuner, a polishing cloth, an old shirt or piece of cloth, guitar polish and fret board oil. I have a little case I keep all of this in, just for safe keeping and when set up time comes around it is all in one place and easy to get to.

The second part I will go over is changing strings. I do this about once a month, more frequent players will do it every two weeks or so. I buy strings usually around the first of every month, then go home and swap the strings, and do whatever parts of the set up I need to do. I buy 10 gauge strings, but that really depends on your preference of strings. First thing is to slacken the strings. I usually unwind them a few times, this makes it so there is less tension when you cut the string. After they are slackened, cut the string at about mid length then just pull the one side out of the bridge, and the other side out from around the tuning peg. I cut all of the strings off at once, not one by one. With a Tune-O-Matic bridge it won’t matter if you cut them all off. Plus, if you cut all of them off it leaves a bare fret board, which is the easiest way to clean it. Anyway, get out your new set of strings and unwrap them carefully. The last thing you want to do is bend the string, so be very careful. Put the end of the string thru the back of the bridge and then up the neck and into the tuning peg. I usually leave about 3 inches or so of string out of the tuning peg, then make a sharp bend with that 3 inches so it will wrap around the peg. I usually wrap it about with my string winder 3 times or so around the peg. You want to wind the tuners so that the string will be facing inside towards the headstock, and not away. After all the strings are on, tune it up and you are ready to go!

Well, not quite ready to go. Next you want to set the intonation. To do this, you need to play a harmonic on the 12th fret, then play a fretted 12th fret. The notes should sound the same. If the note you played while fretted is sharp, you need to turn the little screw on the part of the bridge closest to the pickups back towards the tailpiece. If it’s a little flat, then you need to turn it the other way. After every time you adjust it, retune your string and see if it matches. If it does, move on to the next string. If not then keep repeating the steps until it’s correct.

The next thing to do is check and see if the truss rod needs to be adjusted. This is a very scary thing to do the first couple times, but after a while it’s an easy fix. You’ll want to put your guitar on the floor and stand it up. Tilt it towards you and look down the neck towards the body. I always close one eye and look down it, it makes it a little easier. You will see one of three things, the neck will be either bowed away from the strings, bowed in towards the strings or perfectly straight. This is where your hex keys will come into play. If the neck is bowed downwards, you will need to twist the truss rod to the left. The truss rod can be located where the headstock meets the neck. If it is bowed towards the strings, then you want to twist it the other way. NEVER twist the truss rod to much, do it very slowly. To much could break the neck. Keep that in mind!

The next part I’ll cover is cleaning. I always do this before putting the strings on, but that’s just what I do. First I put the fret board oil on. You can get this at any guitar store. Use very little, it goes a long way. Put it on the corner of an old t-shirt or bandana or something, and rub it into the fret board. Let it sit for a little bit then wipe it down. This cleans your fret board and helps the wood. I only do this maybe every 4 months or so, then I clean the body with guitar cleaner. Get a soft cloth and spray the cleaner onto the cloth and wipe down and buff your guitar for an awesome shine!

Nothing feels better than a freshly stringed guitar that’s set up perfectly. So now that you know how to achieve that, go out and rock!

Learn to Play the Guitar

I have known the joys of guitar playing for well over forty years. During this time I have taught the instrument, both privately and in group class situations and am always more than willing to share my experience with the aspiring guitarist. I have often given thought to writing an instruction book of my own, but there are already hundreds of these “systems” available through your local music store or on-line. When asked for advice on how to go about learning the guitar, I always review the points that every beginner should know. Here are the most important ones to consider.

1.Electric or Acoustic? For the beginner, I always recommend an acoustic guitar. At first an acoustic guitar is more difficult to play. Until the new player builds up some callouses on the hand that he or she fingers the neck with, practicing for a half hour will lead to painful blisters which can in turn leads to frustration. This applies to both electric and acoustic guitars, but electric strings are often less blister causing than even the lighter gauge strings on an acoustic instrument. However, after acquiring a good solid foundation of guitar basics on an acoustic guitar, making the transition to an electric is much easier than learning on an electric and than picking up an acoustic. Another reason that I recommend starting on an acoustic is the temptation for the beginner to let the range of electronic sounds and special effects that are possible with the electric guitar and amplifier to do all the work! Chaotic noise may be fun, but it really isn’t music and requires little dedication to master.

  1. It is essential that a learner’s first guitar be playable! There is a false economy in purchasing a cheap guitar for the beginner, be it acoustic or electric. The strings on a cheap guitar often sit so far above the fingerboard that not only is the guitar nearly impossible to finger, the tones that are produced are woefully off pitch. Cheap instruments are difficult if not impossible to tune, and once “tuned” rarely stay that way for long. Difficulty of play and improper tuning will definitely lead to frustration. The beginner often thinks that it’s them and not the instrument. “I’ll never be able to play!” How to avoid this? Fortunately, there are a number of decent low-priced instruments on the market today. The best advice is to get a guitar-playing friend to accompany you when shopping for your or the beginner’s first instrument. Have him or her check over any prospective purchase for the best combination of playability and economy.
  2. Pick a “system” As I said above, there are many, many instruction books available. Today quite a few of them come with a cassette or CD recording of the material that allows even the beginner to play along. The first cut of these recordings is often an aid to tuning the instrument that plays the proper pitch of each of the six strings one at a time. Virtually all of the beginner’s books start out with a brief introduction to musical notation, how to hold the pick, an introduction to each string, and a few basic chord charts that show where to place the fingers. Some books will teach songs using “tablature” which is a system of musical notation that does not require a knowledge of traditional notes, but uses numbers to indicate the string played and its position on the neck.
  3. Pick a tune! Once the beginner can play a few chords comfortably, the next step is to pick a favorite simple song. Remember, most popular music is based on a handful of chords within a key. Most blues tunes consist of just three! Pick up the songbooks of your favorite recording artist. Strum the chords and sing along with yourself! Better yet, get that guitar-playing friend to play along with you. This is one of the most important and joyous parts of guitar playing. Playing with others builds confidence and really accelerates the learning experience.
  4. Learn more than the chords! Playing “lead” guitar in a band or taking turns playing solos around a chord structure requires practice. Find a teacher to guide you through your chosen system. Take the time to learn some basic scales in different keys and in different positions along the neck of your guitar. Then, think of a simple melody such as “Old MacDonald” or the first few notes of “Hey Jude.” Find the notes on your guitar. Then, play it. If you keep on trying, you WILL eventually get it. Later, when your confidence is expanding, try a part of a favorite solo. As with any new tune you learn, start SLOWLY. Then keep at it until you can play it without looking at your fingers. The speed will come later. I Promise.
  5. Learn some theory! Get a book. Ask your friend or teacher. Learn the basics of keys and the “Circle of Fifths.”

    Learn to read simple melodies. Study fundamentals of chord construction. Learning basic theory will improve your playing and expand your musical “ear” and your ability to play along with others.

  6. Practice, Practice, Practice! At first, devote at LEAST twenty minutes a day, but do NOT over do it. No more than an hour per session. Pushing too hard when you first start the adventure can lead to serious injury of the fingers. Even ten minutes of intentional, deliberate practice accomplishes much more than an hour of strained playing.
  7. Patience, Patience, Patience! It is NOT going to happen overnight! It may take weeks to see any progress at all.

    But, HANG IN THERE! It may not seem so at first, but you make progress every time you pick up your instrument. Any good player will tell you this. After a few months, ask yourself, “Could I play like this a month ago?” The answer more often than not will be “No.” Sometimes the beginner gets stuck on a particular tune or scale and does not feel any forward motion. If this happens, try a different tune. Work on a different chord progression. Then after a few days, go back to what was frustrating you. Often you will find that what was once difficult, now comes a little easier. And finally:

  8. Enjoy! Love your music. Get to know the joy of improvisation. Make good music and share it. Put it out there. Experience the thrill of the energy exchange that is felt when playing with other musicians. As you learn, share your new knowledge with a beginner. Teach what you know. Open your ears and heart to new sounds and concepts. But always, every time you make music, above ALL, let it come from your heart. Feel the flow. Feel the love. Know the joys of the guitar!

Guitar Recording

Recording guitar is rarely ever as easy as sloppily plopping down whatever mic’s handy at the moment in front of the speaker grille and hitting record. Majority would even argue that mic choice and placement only play bit parts in a larger production that involves pre-amps, guitar amps, cable length, A/D D/A converters, tracking through a console clean vis-a-vis applying processing going in, and of course, the choice of guitar itself! Instead of writing a fully comprehensive work (and a very, very long discussion and debate), this article aims to address some basic guitar micing technique using a dynamic cardioid microphone (such as the venerable SM57) and a condenser (such as a Neumann u87).

1 mic technique

If the situation calls for using one microphone, you can position your dynamic mic either as close to the speaker grille cloth as possible (less ambiance) or 3-6 inches away, either pointing to the center of the cone or off-axis. Listen through your monitors how the speaker sounds like, and change cones if you aren’t satisfied (as in the case of a marshall 4×12). Once you’ve decided on which cone to record, fine tune the guitar sound by angling the mic towards or away from the center of the cone as it makes a difference in the tone coming into your recording. A condenser is generally placed a bit farther because of its higher sensitivity (and in some cases, lower clipping point with regard to SPL handling).

2 mic technique

Applying the technique above, one may also add another microphone such as a condenser (or a ribbon mic, if you prefer) to get a different flavor coming from the same guitar and guitar amp. When placing the second mic, be sure to keep in mind the 3:1 phase rule, wherein the second mic should be at least 3 times as far from the source as the first mic so as to minimize phase. One doesn’t necessarily have to follow this rule, and in some situations where an out of phase guitar is called for by creative considerations, just go for whatever fits the music and gets you the sound that you’re looking for.

3 mic technique

One can use the 2 mic technique above in conjunction with one more microphone placed at a distance from the sound source, serving as the captor of the sound of the guitar amp is it is being influenced by the recording environment. An omni-directional condenser mic is usually used for this situation because of its 360-degree pickup pattern.

One constant principle to remember is that in recording guitar, the overall tone is largely influenced by the guitarist’s technique above all. An unskilled guitarist playing a rare vintage Les Paul through a great sounding Mesa Boogie will still sound unpleasantly unsatisfying.

C-Tuning Your Guitar Heavy Metal Style

 

A lot of heavy metal and alternative rock musicians tune their guitars down to create a darker, deeper sound. Guitarists commonly tune their instruments in c-tuning, which looks a lot like standard e-tuning only a few notes down per string.

If you haven’t already, make sure your guitar is in perfect standard tuning. That means the fattest string on the bottom should be tuned to low E, and the second fattest string A, and the third fattest D, and the fourth G, and the fifth B, and the top string a high E, one octave above the lowest string. To make sure their tuned, hold down the bottom E string on the fifth fret and it should sound identical to the A string. Hold down the A string on the fifth fret to make sure it sounds like the D string. Hold down the D string on the fifth fret to make sure it sounds like the G string. Okay, now hold down the G string on the third fret to make sure it sounds like the B string. Hold down the B string on the fifth fret to make sure it sounds like the top E string.

Now, with the aid of a keyboard, you can tune the top and bottom E strings down to C.(Tuning each string a little lower and then up to where you want it will prevent the string from getting out of tune too quickly.) Now, adjust each string to accommodate the top and bottom strings. Tune them the same way you did in step one, so the strings from lowest pitch to highest will be C-F-B flat-E flat-G-C.

Now your guitar will sound just like your E-tuned guitar only a few notes down. Have fun!(If you miss E-tuning, you can always readjust the strings).

Tips: Try playing familiar songs that you would usually play in standard tuning in c-tuning. The song will sound very different and, probably, darker and more depressing.

Tuning Your Guitar

Whether you are playing guitar alone or you are accompanying other instruments, your guitar must be tuned. There must be a standard applied first to your guitar; and if you’re playing with other instruments, all must apply the same standard. If not, the result is noise, not music.

Without bogging this article down with too much technical jargon, the American Standards Association and International Organization for Standardization have long established that “Concert A” (also called “A440“) would be accepted as the standard for the pitch of the “A” note above middle “C”. For what it may be worth, that pitch resonates at precisely 440 Hz1. Here’s what that means to you and your guitar:

Your third string from the bottom, fretted in the second fret should be tuned to that note. There are many ways to achieve this, each worthy of discussion.

  1. On a full keyboard (88 keys), like for instance a piano, in the middle you will find a pair of black keys (they are in groups of two and three). The white key immediately to the left of them is “middle C”. From that note, only playing the white keys and ascending to the right, the notes are: D, E, F, G, and A. That note is the “Concert A”. But, let’s count down the keyboard to find the note that should correspond with your top string. Go back to middle C, and descending to the left on only the white keys are: B, A, G, F, and E. You are now at the first E below middle C. Now continuing down: D, C, B, A, G, F, E. This note, 2nd E below middle C, is the note your top string should be tuned with. Once tuned, you now have a standard. You may continue to tune your guitar with the keyboard by counting up the white keys to the corresponding notes, A, D, G, B, and your high E string. Your guitar will then be as perfectly tuned to the keyboard as your ear is accurate. I say that because some people have a naturally good ability to distinguish pitch, while others have to work to train their ears. A piano makes a good source for your standard because they stay in tune very well. Also, a standard piano is technically a stringed instrument, and therefore produces a similar sound. Even though the pitch may be exactly the same, sometimes tuning with a non-stringed instrument can be a little tougher because the tone is different. An electric keyboard does not lose tune.
  2. You may tune your individual strings using a pitch pipe. This is a wind instrument specifically designed with the six pitches of the guitar strings. Some of the disadvantages to using this method are: The pitches are produced by your breath, and can actually fluctuate if you blow too hard. Also, there is the difficulty of different tone, although the pitch may be the same. I usually discourage my students from using a pitch pipe.
  3. You may choose to use a tuning fork. This piece of metal is calibrated so that, when struck and then placed against the body of your guitar, to ring at a perfect A440. Isn’t that neat? I don’t usually recommend this method for beginning guitar students.
  4. Whereas, I HIGHLY RECOMMEND electronic tuners as an inexpensive and reliable means of guitar players, from beginners to pro’s, to tune their guitar. Various models have diverse displays, from needle graphs, lights, to digital readouts. Some models simply need to be in close proximity to your guitar to accurately detect pitches. Often, they include jack plugs so you can plug your electric guitar directly into the tuner, and without amplification, it will discern. Most electronic tuners also tell whether your string is sharp (too high) or flat (too low) from the standard. The end result is a digitally perfectly-tuned guitar, fast and simple.
  5. But every guitar player should know the tune-by-ear method. You know, “old school”. You must have a standard to start with, even if it comes down to what you think your low E string should sound like. Once you have your standard, all of the other strings will relate to it. Here’s how:

1) Beginning with your 6th (top string, Low E) as your standard, when you play that string in the 5th fret, you are playing the note “A”.

2) This is the same “A” as your 5th string should be. Adjust the 5th string (adjustment string) to match your standard. Now this becomes your standard.

3) Playing your standard string (5th) in the 5th fret, you are playing the note “D”. This is the same as your 4th string should be. Adjust to match your standard.

4) Your 4th string is now the standard. Played in the 5th fret, you are playing the note “G”, the same as your 3rd string. Adjust to the standard.

5) The 3rd string is now the standard. Playing it in the 4th fret, it is the note “B”, the same as the next string. Adjust to the standard.

6) Your 2nd string is the standard. Playing it in the 5th fret is the note “E”. You guessed it… the same as your 1st string. Adjust to the standard.

Tuning can be frustrating. Guitar strings react to humidity the same as some people’s sinuses. Guitars go out of tune if they just sit, or if they’re played. Some guitars lose tune easier than others. But it is an essential skill to master.

  1. 1.Source: http://en.wikipedia.org/wiki/A440

A Guide for the Aspiring Guitarist

Guitar picks are the under-appreciated gear. They’re difficult to notice, and often are just thrown around, however, do they actually affect your playing? The answer is a resounding yes. Picks come in all shapes and sizes, and finding the right one for you can be difficult at times, you’ll often pass through phases, as with your playing. Here are some tips to refine your search for picks.

Picks can affect everything from tone to control. If you have a chance to try a new pick, always take it. Originally, I only used light plastic picks, but then I tried a thin nylon pick and found they worked better with chords. I tried metal picks and found they worked better with leads. Tiny jazz picks seemed to work great for most any situation.

Below is an overview of several different types of picks.

Plastic:

Plastic picks are a combination of flexibility and rigidity. You can find a plastic pick that has precise control, but enough give to produce a smooth tone just by messing with thickness. For rhythm guitarists, I suggest an ultra thin nylon pick, they are easy and comfortable to grip, and they’re wonderful for chords (Don’t play too hard though, they can break easily). For lead guitarists, get your hands on a heavier pick. Dunlop’s Stubby series of picks have worked well for me, they are almost useless for faster chord progressions however.

Exotic Plastic:

Jazz:

Jazz picks are extremely small, lightweight, and usually have no tip bending, and are great for precise quick playing. Their small size makes playing rhythm sections slightly difficult however.

Dava:

A very strange pick I came across, the handle of it is made of a soft, bendable plastic, but the tip is made of an extremely rigid plastic, making a comfortable, precise pick with a nice tone.

Grip:

This pick is plastic, and contours to fit your fingers. It is extremely comfortable, but it feels odd to play with it, because its difficult to reposition while playing. The result could be a very clean and precise sound with someone well practice, but it may alienate some newer players.

Metal:

Metal picks fall into the realm of the lead guitarist, playing rhythms with a metal pick is a great way to damage your guitar or strings. Metal picks have almost no give and produce a harder tone. They are perfect for lightning fast playing and quick lead runs and solos.

I wish you the best of luck in your pick search!