Gear and Effects (Guitar Lesson)

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Brad Henecke

Gear and Effects

This lesson is all about gear and effects. Brad begins his discussion with power conditioning and removing hiss from your amplifier. He progresses to discuss a plethora of effects pedals. Brad explores his personal settings for each pedal demonstrated.

Taught by Brad Henecke in Rock Guitar with Brad Henecke seriesLength: 52:48Difficulty: 2.5 of 5
Chapter 1: (02:12) Lesson Introduction Welcome back to the Phase 2 Classic Rock Series with Brad Henecke! In this lesson, Brad will explain and demonstrate various guitar effects. He will explains each pedal functions as well as a few practical applications for each effect. In addition, Brad demonstrates how to configure your effects set up in order to achieve the best tone with your gear.

Effects Pedal Basics

Every effects pedal has an input and an output. A cable connects the input on the amplifier to the output jack on the pedal. The input jack on the pedal is then connected to the output jack of the next pedal. Or, if it is the last pedal in the signal chain, the input jack on the pedal is connected to the guitar.

Using an Effects Loop

Guitarists that use very few effects pedals may run them directly through the input jack on the amplifier without a significant loss in tone. As more pedals are added to the signal chain, the strength of the signal becomes increasingly weaker. This results in a loss of tone. To combat signal loss, the effects pedals can be run through the effects loop. The effects loop is designed to minimize signal loss and noise from pedal to pedal. Most guitarists prefer to run distortion, overdrive, and wah pedals through the input jack. These types of effects yield the best tone when plugged directly into the input. Other types of effects such as chorus, delay, flanger, reverb, phase, etc. are then run through the effects loop.

Using the effects loop requires two additional patch cables. Run one cable from the "effects send" jack to the output jack of the first pedal in the signal chain. Connect the input jack to the output of the next pedal in the loop. Connect a final cable from the input of the last pedal to the "effects return" jack on the back of the amplifier.

Note: Since practice amps are not designed for public performances, they usually do not come equipped an effects loop.
Chapter 2: (04:13) Power Conditioner Electrical Grounding Issues

Electronic devices such as guitar amplifiers may hum or produce unwanted electrical noises. This is especially true of tube amplifiers. Most tube amps naturally produce a low buzzing sound when no guitar sound is coming through the speaker. Also, electrical wiring may differ slightly from building to building. This may cause grounding issues as well.

Fixing Grounding Issues

A ground lift is a quick, inexpensive fix for most grounding problems. A ground lift is a three prong adapter that an amplifier can be plugged into before it is plugged into the wall.

Unfortunately, a ground lift will not solve all electrical problems. Serious musicians should consider purchasing a power conditioner for potential electrical issues that may arise at a gig or recording session. Essentially, a power conditioner receives and filters the electricity coming from the building before it is sent on to whatever is plugged into it. It also protects equipment from damaging power surges.

The Monster Pro 200 power conditioner that Brad demonstrates in the lesson video is a favorite among musicians. For more information,
check out the Monster website.

Using a Power Conditioner

1. The outlet cover must be removed from the wall in order to use a power conditioner. Always ask the club / studio owner before removing any outlet covers. Always bring a Phillips head screwdriver to all gigs, rehearsals, and recording sessions. You never know when you might need it!

2. Plug the two prongs of the conditioner into the top holes of the outlet. Plug the bottom prongs with the ground into the bottom outlet.

3. Then, tighten the screw on the middle of the power conditioner. This will prevent the conditioner from pulling out of the wall. Band members, roadies, fans, photographers, and camera men may all potentially trip over your chord and unplug your amp. This can potentially ruin a performance.

4. There are two outlets available on the power conditioner. Plug the amplifier into one outlet and the power supply for your effects into the other.

5. The side of the power conditioner features two LEDs. Make sure both LEDs are lit up before turning on your equipment.
Chapter 3: (03:26) Hush Pedal Noisy Guitar Signals

A wide number of factors can contribute to a noisy guitar signal. The number of effects in the signal chain is proportional to the level of noise in the signal chain. increase noise across the signal chain. Guitar pickups can produce unwanted noise as well. Single coil strat pickups are notorious in this department. Humbuckers are wrapped in such a way that they reduce or "buck" hum. Bad cables can also cause problems. For this reason, you should always buy top of the line cables that come with a lifetime warranty. In the long run, you will definitely save money. The Monster company will replace a cable for any reason if it is damaged as long as you hang onto the original receipt.

Rocktron Hush

The following description of the Rocktron Hush is taken from the Rocktron website.
the Rocktron website. For more information about the Hush Pedal, read through the instruction manual listed in the "Support" section of the Rocktron website.

Simply plug the HUSH in AFTER distortion boxes, wah-wahs, noisy vintage effects, or other noisy units and turn the Threshold knob until the noise goes away. It's that easy! You will not find a more effective noise reduction. Unlike noise "gates" that chop off the end of your notes, or ruin your sustain, HUSH the Pedal is actually a form of single-ended noise reduction that tracks your signal all the way and pushes the noise floor below the point where your ear can hear the noise. It does not hurt your sustain or chop off the end of your notes. Simply use the Threshold knob to smooth out your signal while wiping out noise. This is the best friend a guitar player could have!

Now hold on, partner. You must pay attention to the proper setup, with the HUSH pedal going AFTER your noisy stomp boxes. The HUSH is not designed to take the input directly from your guitar WITHOUT some processing happening between the guitar and the HUSH noise reduction. When setup correctly, with your signal going from your preamp and effects, or from your distortion and effects, into the HUSH, you WILL be amazed at how it will clean up the excess noise, including pickup buzz! The HUSH can also be used in your amplifier’s effects loop. However, if you are running multiple effects through this loop, the HUSH should always be the last dynamic device in the signal chain, but before digital delays or reverbs.

The HUSH pedal incorporates the latest version of the HUSH discreet circuitry which also includes Rocktron's patented Variable Integrated Release (V.I.R.) technology. V.I.R. technology utilizes a low-noise VCA with precision detector circuits to achieve the smoothest and most transparent noise reduction possible.

Boss NS-2

The Boss Noise Suppressor (NS-2) is another popular noise suppression device. Check out the Boss website for a full description of this product.

Noise Gates

A noise gate is slightly different from a noise suppressor. A gate features a specified threshold level. Frequencies and sounds beyond this threshold are not allowed through the gate. The gate must be set just so to eliminate unwanted hum, hiss, and feedback without damaging tone or sustain.

Some players use noise gates to tighten up the tone when playing with a high level of distortion. Metal players tend to use gates to clean up the massive amounts of gain that they use. The gate eliminates any feedback from the amplifier when a high gain setting is employed. This may or may not be desirable for you. Some guitarists like to use feedback as an ambient sort of effect.

Using the Hush Pedal

Brad begins this demonstration with his Marshall MG cranked to 11. Notice the humming noise emanating from his amp. Keep in mind that Brad plays through a solid state amplifier. If he were playing through a Marshall tube amp such as a JCM800, the noise level would be even more extreme.

1.Turn the threshold on the pedal all the way down.

2. Then, press the on / off button to engage the pedal. You will hear a slight reduction in noise at this point.

3. Bring the threshold of the pedal up until unwanted noise completely disappears.
Chapter 4: (02:27) Effects Pedals Powering Pedals

When it comes to powering pedals, there are several options available. A pedal can be powered by a single nine volt battery or by an AC adapter. You can also buy an external power source to power multiple pedals. Most professionals recommend this route. Nine volt batteries do not last very long. With rising energy costs, the price of batteries continues to climb. If you leave your pedals connected together, the batteries drain. Also, as you add new pedals to your effects set up cost of AC adapters begins to add up. In addition, the chords running from the adapters will clutter up your effects set up. The Dunlop DC power brick is an excellent product that can power multiple effects. Also, check out the Voodoo Labs Pedal Power 2.
Chapter 5: (00:48) Power and Batteries Most effects pedals require a single nine volt battery. However, some pedals such as the MXR Chorus require two nine volt batteries. To account for this difference in power, the Voodoo Labs Pedal Power has various outlets with different wattage settings. Check out the Voodoo Labs website for more information on this product.
Chapter 6: (02:00) Boost Pedal When engaged, a boost pedal simply increases the volume of the guitar signal. The level of volume increase can be adjusted directly on the pedal with the gain knob. This volume boost does not affect the overall tone. Many guitarists use boost pedals to bring out a guitar solo or important melody line. Brad prefers to use the BBE Boosted Grande pedal. For more information about this product, check out the BBE website.

Many amps have a boost feature located on the footswitch. The boost feature is becoming more and more popular with modern high gain amplifiers. Popular amp models such as the Marshall Mode 4 and the VHT Pitbull both have a boost feature.

Other players prefer to use overdrive or distortion pedals to beef up the tone for a solo. The Ibanez TS9 and the Boss DS-1 are two of the most commonly used pedals for this application. Using a distortion pedal will boost the volume of the signal. It will also add some additional gain and bite to the tone. Most rock and metal players prefer to use slightly more gain when playing a solo when compared to a typical distorted rhythm tone.
Chapter 7: (05:21) Flanger A flanger is an effect that produces a very distinct sound often described as a "swirling" sound or the sound of a plane flying.


The term "flanging" originates from the manipulation of the flange on a tape reel. Prior to the production of flanger effects units, three reel to reel tape machines were typically used. The original signal was recorded to two of the machines at the same time. The playback from these two signals was then bounced onto a third machine. The tiny differences in the motor speeds of each machine produced a distinct phase effect. A flange sound can also be produced by pressing a finger down on the flange of the tape reel. This results in phasing caused by the slowing of the tape speed.

How Flange Works

Flange is one type of phasing. In both phasing and flanging, the phase response and time delay are varied over time. This produces a sweeping sound effect similar to a jet flying overhead.

Similar to the tape method of producing flange, a flanger stompbox copies the original signal fed into the pedal. Then, the signal passes through all-pass filters. Finally, the copied and altered signal is added to the original signal. One signal is delayed by a small, gradually changing amount. The delay time is almost always less than 20 milliseconds. The human ear does not detect an echo unless the delay time is set to longer than 50 milliseconds. Between the two signals, constructive and destructive interference varies with frequency.

Instead of perceiving an echo, the delay produces a filtering effect on the signal. The filter in turn produces a set of notches in the frequency response of the combined signal. When the frequency response reaches zero, the sounds of that frequency are eliminated while others are passed through with some tiny changes in volume. These notches are similar to the teeth of a comb. For this reason, the frequency response of a flanger is referred to as a "comb filter."

Common Flanger Controls


The larger the depth, the more pronounced the notches are in the flanger.


The delay knob controls the minimum delay time in regard to the copied version of the original signal produced.

Note: When the delay control is changed, both the upper and lower limits of the first notch are changed. When the depth is changed, only the lower limit is affected.

Sweep Depth or Width

The width (sometimes referred to as "sweep depth" on some units) controls the width of the LFO (low frequency oscillator). It determines how low the first notch in the frequency response will reach.


The speed or rate control determines the rate at which the LFO waveform repeats itself. In other words, this control affects how many times per second the notches in the comb filter sweep up and down. Adjustments in speed and rate will cause some slight pitch modulation of the copied, flanged signal.

Boss Flanger (BF-3)

Click here to read up on this pedal at the official Boss website.

Key Features

-Holding the pedal down engages it. Relieving pressure from the surface of the pedal will turn it off. This enables you to throw in quick flanger stabs over short musical sections.

The primary setting on the pedal is a standard flanging sound. This effect is much more subtle than the tremolo effects that are available on the pedal. Listen as Brad demonstrates this effect with a clean tone as well as a distorted tone. The clean sound is demonstrated at 02:43. The dirty sound is demonstrated at 03:22.

-The second setting on the BF-3 is a tremolo sound. The rate and width of the tremolo can be controlled.

-The BF-3 features an "ultra" control. This parameter combines flanger with some intense phasing sounds.

Brad's BF-3 Settings

Brad usually uses the standard flanger setting. The first knob (inner and outer) are set to roughly 12 o'clock. The width is set to 2 o'clock, and the rate is set to 10 or 11 o'clock.
Chapter 8: (06:03) Chorus Overview

The chorus effect takes its name from a chorus of singers. Multiple singers are able to produce a thicker sound than a single singer by him / herself. Similarly, a chorus effect can be used to create a thicker sounding guitar tone. Chorus is typically used to fatten up the sound of a clean tone. It can be applied to a distorted signal as well. However, the overall resulting tone typically sounds rather muddy.

How Chorus Works

The chorus effect is a signal processor that makes a single signal sound like several signals playing in unison. Since performance in unison is never exact except when produced by a computer or other means, the time element is always slight different. Slight variations in pitch will occur as well. Consequently, a chorus pedal simulates this human performance element by producing independent, modified versions of the original signal.

Common Chorus Controls


The delay parameter controls the minimum delay time that is used. If the delay time is set close to 0 milliseconds, the chorus will act as a flanger. The delay time used in most chorus pedals is around 20 to 30 milliseconds.

Sweep Depth or Width

The sweep depth controls how much the total delay time changes over time. The sweep depth also increases the overall level of pitch modulation.


The speed knob controls the rate at which the LFO waveform repeats itself and also plays an important role in pitch modulation.

MXR Stereo Chorus

Click here to read up on this pedal at the official Jim Dunlop site.

Compare Brad's tone as he adjusts the settings.
Chapter 9: (02:35) Tuner Pedal Fender PT-100 Basics

Brad uses the Fender PT-100 tuner. This stompbox style tuner features LEDs that enable the user to tune in dark venues. It also features two outputs. One ouput silences the guitar signal when the pedal is engaged. The other output allows the user to hear the guitar signal while tuning.

Using the PT-100

When using the tuner, the string number or open string note name will light up as it is plucked. A meter will indicate whether the note is sharp or flat. If the meter is to the left of center, then the string is flat. If it is right of center, then the string is sharp. If the appropriate string number or pitch does not show up, the note is too far sharp or flat for the tuner to register properly.

Alternate Tunings

The PT-100 is a chromatic guitar tuner. It will enable you to tune to any alternate tuning. Simply pick an open string. The LEDs will indicate which pitch the string is closest to. It will also indicate whether this pitch is sharp or flat according to A=440.
Chapter 11: (02:14) Slap Back Setting Brad demonstrates another rapid slap back delay in this scene. Compare and contrast the various sounds he demonstrates in this scene. This type of delay is great for a Brian Setzer rockabilly type of tone.
Chapter 12: (01:50) U2 Style The delay time is much longer in this example. This type of delay is commonly used with busy strumming rhythms. The Edge from U2 pioneered this signature sound. The delay is set to coincide with the beat of the music. Otherwise, the echoing notes will feedback out of time.
Chapter 13: (02:21) Volume Swell Setting: Like Brad demonstrates, this delay setting is excellent for volume swells. Roll the volume knob on the guitar up and down along with the echo of the delay. Brad demonstrates some licks reminiscent of Van Halen's "Cathedral." The swell setting is used in this song.
Chapter 14: (04:37) Overlapping Notes When playing scalar lines with delay, the echoing notes combine with picked notes to create interesting harmonies. Queen guitarist Brian May has recorded numerous guitar tracks using this technique. Watch and listen as Brad demonstrates this delay technique in the lesson video. His delay is set so that the echoing notes regenerate in time with the beat.
Chapter 15: (01:31) Long Delay Brad and many other guitarists like to kick on a delay pedal for guitar solos. This is especially common when there is only one guitarist in the band. The delay produces a massive guitar sound that helps maintain sonic intensity when the guitar is no longer playing a thick rhythmic part. An interesting interview with Jane's Addiction guitarist Dave Navarro on this topic can be found on the Boss website. Click here for more information.
Chapter 16: (01:25) Hold Function The Boss delay pedal features a hold function that infinitely repeats a strummed chord or note. This allows you to establish a loop that you can play over. The delay time controls how long the time interval is between repetitions. Consequently, you can match the feedback of the delay to coincide with the beat of the song you are playing.
Chapter 17: (02:55) Rhythm and the Hold Function Watch and listen as Brad demonstrates some practical applications of the hold function.

Video Subtitles / Captions


Supplemental Learning Material



Member Comments about this Lesson

Discussions with our instructors are just one of the many benefits of becoming a member of JamPlay.

philmanphilman replied

Great lesson. How does Amplitube compare to real hardware?

jopincarjopincar replied

I learned a ton from this. Thanks!

alexmarblekingalexmarbleking replied

I HAVE AN IDEA sorry for the caps, Gear and Effects 2!

Brad.HeneckeBrad.Henecke replied

I like that Idea !

Mr.BlakeMr.Blake replied

this was great

kevinkevin replied

what guitar an where to get it

JZCode45JZCode45 replied

That was an excellent lesson buddy.....One of your best! I just ordered a DD6 and the timing couldn't been better.

mlc2074mlc2074 replied

Very useful lesson. I was just starting to look into getting some pedals and this helped a lot.

anmol100anmol100 replied

Awesome effects!!

fourwheelerfourwheeler replied

Where do you plug your guitar into,The input of the amp or into your first pedal?

cmp1969cmp1969 replied

Another question would you recommend using an eq burner along with a chorus pedal? I play alot of music that calls for clean at the beginning with rythem distortion in the middle then going back to clean at the end.

cmp1969cmp1969 replied

Going back to hiss and other unwanted sounds from your amp, I am also picking up a radio station. Any advice on how to get rid of that?

jordanzaradichjordanzaradich replied

awesome lesson. i never really thought about buying any pedals besides my distortion one before I saw this, that noise suppressor looks badass

fourwheelerfourwheeler replied

How do you know what effects to put before an amp that already has effects,without spending a lot of $$$?

epiphoneslashepiphoneslash replied

wow. amazing lesson

dash rendardash rendar replied

Awesome lesson Brad! This is the first comprehensive introduction to all the effects and how it hooks together than I've seen. I love the Delay peddle. I might have to get down the shops and buy one!

mkorsmomkorsmo replied

Another benefit of the Pedal Power (and the Fuel Tank) power supplies is that each channel is isolated which will reduce the hum caused by ground loops.

mkorsmomkorsmo replied

Woot. Gear Pron....

Rock Guitar with Brad Henecke

Found in our Beginner Lesson Sets

In this Phase 2 series Brad Henecke will school you in the art of rock guitar. You will not only learn how to play some of your favorite songs in this series, but you will also learn how to create your own.

Basic Rock GuitarLesson 1

Basic Rock Guitar

This lesson covers the absolute basics of rock guitar. Learn about the electric guitar, pickups, amplifiers, changing strings, and more.

Length: 52:09 Difficulty: 0.5 Members Only
Learning ChordsLesson 2

Learning Chords

The first step of your rock guitar experience is learning some of the more popular chords and that is what this lesson is all about.

Length: 42:30 Difficulty: 1.0 Members Only
Barre Chords and MoreLesson 3

Barre Chords and More

Brad Henecke introduces common strumming patterns and barre chords.

Length: 42:23 Difficulty: 2.5 Members Only
Your First SongLesson 4

Your First Song

In this lesson Brad covers some of the more advanced barre chord shapes. He applies these shapes to the song "Hotel California."

Length: 41:31 Difficulty: 2.0 Members Only
Blues and ScalesLesson 5

Blues and Scales

Rock has its roots in the blues. Brad helps you explore the wonderful world of blues in this lesson. He also covers some chord theory.

Length: 48:14 Difficulty: 2.0 Members Only
Tricks and LeadLesson 6

Tricks and Lead

This lesson is all about specific techniques used by lead guitarists.

Length: 52:02 Difficulty: 2.5 Members Only
Jammin' with ScalesLesson 7

Jammin' with Scales

This lesson details how to improvise with the blues scale.

Length: 27:27 Difficulty: 2.5 Members Only
3 SongsLesson 8

3 Songs

In this fun lesson, Brad Henecke teaches you riffs from 3 classic rock songs.

Length: 28:28 Difficulty: 2.5 Members Only
Power ChordsLesson 9

Power Chords

Power chords help give rock music that "punch you in the face" feel. Learn basic power chords in this lesson.

Length: 13:22 Difficulty: 2.5 Members Only
2 New SongsLesson 10

2 New Songs

Are you ready to learn "Ain't Talking About Love" by Van Halen and "You Shook Me All Night Long" by AC/DC? That's what this lesson is all about.

Length: 27:32 Difficulty: 2.5 Members Only
Pentatonic ScaleLesson 11

Pentatonic Scale

Brad teaches the first pattern of the minor pentatonic scale and explains how it relates to the blues scale.

Length: 14:30 Difficulty: 2.5 Members Only
Second PatternLesson 12

Second Pattern

Brad covers the second pattern for both the minor blues and minor pentatonic scales.

Length: 9:07 Difficulty: 2.5 Members Only
Message in a BottleLesson 13

Message in a Bottle

Learn the classic rock song "Message in a Bottle."

Length: 10:22 Difficulty: 3.0 Members Only
Third PatternLesson 14

Third Pattern

This great lesson covers the 3rd fretboard pattern of the minor pentatonic and minor blues scales.

Length: 7:19 Difficulty: 2.5 Members Only
Colorful Chord TensionLesson 15

Colorful Chord Tension

Brad demonstrates how open strings can be added to chord shapes you are already familiar with.

Length: 9:09 Difficulty: 2.5 Members Only
The Fourth PatternLesson 16

The Fourth Pattern

Brad covers the fourth pattern of the minor pentatonic and minor blues scales.

Length: 8:28 Difficulty: 2.5 Members Only
DaytripperLesson 17


In this lesson Brad demonstrates how to play the Beatles song "Daytripper."

Length: 15:21 Difficulty: 3.0 Members Only
The Fifth PatternLesson 18

The Fifth Pattern

Brad demonstrates the 5th pattern of the minor pentatonic and minor blues scales. He also discusses practicing and memorizing them.

Length: 13:05 Difficulty: 2.5 Members Only
Lesson 19

"Brown Eyed Girl"

Learn the classic rock song "Brown Eyed Girl" in this episode of Rock Guitar.

Length: 11:23 Difficulty: 3.0 Members Only
PhrasingLesson 20


Brad introduces you to the importance of phrasing. Quality phrasing is essential when performing any melodic line.

Length: 14:19 Difficulty: 3.0 Members Only
Basics of TappingLesson 21

Basics of Tapping

Tapping is an idiomatic guitar technique that offers a unique sound.

Length: 14:34 Difficulty: 3.0 Members Only
Intro to ModesLesson 22

Intro to Modes

Learning the modes is essential to the development of your scale vocabulary.

Length: 31:04 Difficulty: 3.0 Members Only
Understanding Chord ShapesLesson 23

Understanding Chord Shapes

Brad further explains what chord shapes are and how they relate to barre chords.

Length: 10:15 Difficulty: 2.0 Members Only
Natural HarmonicsLesson 24

Natural Harmonics

Learn the right and left hand mechanics involved in playing harmonics.

Length: 13:16 Difficulty: 3.0 Members Only
Advanced HarmonicsLesson 25

Advanced Harmonics

Brad covers more advanced harmonic techniques such as harp harmonics, pinch harmonics and tap harmonics.

Length: 16:10 Difficulty: 3.0 Members Only
The Dorian ModeLesson 26

The Dorian Mode

Brad moves on in his modal lesson series to explain the Dorian mode. This lesson includes 2 backing tracks.

Length: 22:00 Difficulty: 3.0 Members Only
Phrygian ModeLesson 27

Phrygian Mode

Brad explains and demonstrates the Phrygian mode.

Length: 13:33 Difficulty: 3.0 Members Only
The Lydian ModeLesson 28

The Lydian Mode

Brad continues his discussion of the modes. You will learn the Lydian mode in this lesson.

Length: 9:27 Difficulty: 3.0 Members Only
Mixolydian ModeLesson 29

Mixolydian Mode

Brad explains the Mixolydian mode and its practical applications.

Length: 10:00 Difficulty: 3.0 Members Only
The Aeolian ModeLesson 30

The Aeolian Mode

Continuing with his modal lessons, Brad Henecke teaches the Aeolian mode.

Length: 9:09 Difficulty: 3.0 Members Only
The Locrian ModeLesson 31

The Locrian Mode

The final lesson in our modal series covers the Locrian mode.

Length: 9:00 Difficulty: 3.0 Members Only
The Ace ZoneLesson 32

The Ace Zone

Brad teaches some licks inspired by Ace Frehley of KISS. Incorporate these licks into your own solos.

Length: 7:18 Difficulty: 3.0 Members Only
Learn LicksLesson 33

Learn Licks

In this lesson Brad Henecke teaches you some fun licks that can be used in your own guitar solos.

Length: 10:00 Difficulty: 3.0 Members Only
Blues LicksLesson 34

Blues Licks

Brad Henecke demonstrates some cool blues licks.

Length: 17:00 Difficulty: 3.0 Members Only
Modes and ScalesLesson 35

Modes and Scales

Brad Henecke provides an alternate way of comparing modes and scales.

Length: 8:00 Difficulty: 3.0 Members Only
A Different ViewLesson 36

A Different View

In the last lesson, Brad Henecke compared some scales that are major or dominant in quality. Now, he repeats this process with minor scales.

Length: 7:00 Difficulty: 3.0 Members Only
One String ScalesLesson 37

One String Scales

This lesson is all about 1 string scales. Learning scales on 1 string is essential to your knowledge of the fretboard.

Length: 8:34 Difficulty: 3.0 Members Only
One String Ionian ModeLesson 38

One String Ionian Mode

Brad demonstrates a one string version of the Ionian mode. This lesson demonstrates the importance of horizontal scales.

Length: 7:27 Difficulty: 3.0 Members Only
Aeolian Mode on One StringLesson 39

Aeolian Mode on One String

Brad continues his discussion of single string scales. He explains how to play the Aeolian mode across a single string.

Length: 4:11 Difficulty: 3.0 Members Only
Octave ScalesLesson 40

Octave Scales

Brad explains how to locate octaves within scale patterns. He demonstrates a cool lick that involves playing simultaneous octaves.

Length: 7:07 Difficulty: 3.0 Members Only
Using OctavesLesson 41

Using Octaves

Brad explains how to use octaves in the context of an exercise. Octaves can also be used to build effective licks.

Length: 5:18 Difficulty: 3.0 Members Only
Harmonic Minor ScaleLesson 42

Harmonic Minor Scale

Brad introduces the harmonic minor scale. He explains how it can be applied to the solo break in "Sweet Child O' Mine."

Length: 7:00 Difficulty: 3.0 Members Only
Learning by EarLesson 43

Learning by Ear

Brad Henecke provides valuable tips regarding the process of learning songs by ear.

Length: 23:00 Difficulty: 3.5 Members Only
Ear Training GameLesson 44

Ear Training Game

Improve your ear training by playing "The Tone Is Right" with Brad Henecke.

Length: 29:00 Difficulty: 3.0 Members Only
Diminished ArpeggioLesson 45

Diminished Arpeggio

Brad Henecke explains diminished chords and provides a fun diminished arpeggio exercise.

Length: 19:00 Difficulty: 3.0 Members Only
Understanding Time SignaturesLesson 46

Understanding Time Signatures

Brad Henecke addresses time signatures.

Length: 10:00 Difficulty: 2.5 Members Only
Diminished ChordsLesson 47

Diminished Chords

Brad Henecke explains the construction of diminished seventh chords. He also provides a diminished chord exercise.

Length: 10:30 Difficulty: 2.5 Members Only
Open G TuningLesson 48

Open G Tuning

Brad Henecke introduces open G tuning in this lesson.

Length: 23:50 Difficulty: 2.5 Members Only
Drop D TuningLesson 49

Drop D Tuning

Brad Henecke introduces drop D tuning in this lesson. He explains many advantages of this tuning.

Length: 12:57 Difficulty: 2.0 Members Only
G Major PentatonicLesson 50

G Major Pentatonic

Brad Henecke teaches the G major pentatonic scale. He demonstrates all 5 patterns and explains how they can be transposed to any key.

Length: 22:50 Difficulty: 2.0 Members Only
Changing Scales with ChordsLesson 51

Changing Scales with Chords

In this lesson Brad Henecke talks about changing the pentatonic/blues scales with each chord in a chord progression.

Length: 11:08 Difficulty: 3.0 Members Only
Mixolydian Scale and ChordsLesson 52

Mixolydian Scale and Chords

Brad will show how to use the Mixolydian scale with a blues chord progression.

Length: 6:56 Difficulty: 3.0 Members Only
Gear and EffectsLesson 53

Gear and Effects

This lesson is all about gear and effects. Brad begins his discussion with power conditioning and removing hiss from your amplifier. He progresses to discuss a plethora of effects pedals. Brad explores...

Length: 52:48 Difficulty: 2.5 Members Only
The Wah PedalLesson 54

The Wah Pedal

In this lesson, Brad Henecke introduces the wah pedal and demonstrates its many applications.

Length: 15:53 Difficulty: 1.5 Members Only
Brad Henecke

About Brad Henecke View Full Biography Brad Henecke was born in Cedar Rapids, Iowa on May 5th of 1963. He has been a fan of music for as long as he & his family can remember. You could always find him running around the farm wailing on his cardboard guitar, pretending to be a member of the rock band KISS. Additional inspiration came during his first concert when he got the chance to see Boston & Sammy Hagar in the early 1970's.

This opened up a whole new world of rock and roll music for him; his parents noticed his growing interest in music and enrolled him into guitar lessons when he was 13.

From there he jumped into two years of lessons at a local music store in Cedar Rapids. After discovering Eddie Van Halen, Brad knew that the guitar would always be a part of his life. He took his love throughout the city as he played as a pit musician & jammed at parties for friends.

This made him thirsty for more. He enrolled classes at Kirkwood Community College & also took lessons from the one & only Craig-Erickson (

His love for music landed him a gig opening for Molly Hatchet in Cedar Rapids with a band called "Slap & Tickle". He has also played in the Greeley Stampede show for quite a few years with "True North".

Brad is currently playing in Greeley, Colorado with a rock band titled "Ragged Doll". They play a wide variety of music with an emphasis on classic rock from the 60's to present, with Brad playing electric guitar in the five piece lineup.

He currently jams on his all-time favorite guitar: a Paul Reed Smith Custom 24. Beyond guitar, he plays also plays drums & bass guitar. He has also been known to thrash a banjo from time to time. He is still actively playing & passing his 31 years of playing experience on to others (you!).

Lesson Information

Acoustic Guitar Lessons

Acoustic Guitar

Our acoustic guitar lessons are taught by qualified instructors with various backgrounds with the instrument.

Danny Voris Danny Voris

Lesson 7 is all about arpeggios. Danny provides discussion and exercises designed to build your right hand skills.

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Hawkeye Herman Hawkeye Herman

Hawkeye teaches several Robert Johnson licks in this lesson. These licks are played with a slide in open G tuning.

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Jim Deeming Jim Deeming

Jim discusses the importance of setting goals. He provides some tips that will help steer your practicing in the right direction.

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Mitch Reed Mitch Reed

Mitch teaches his interpretation of the classic "Cannonball Rag." This song provides beginning and intermediate guitarists...

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Mark Lincoln Mark Lincoln

Lesson 40 takes a deeper look at slash chords. Mark discusses why they're called slash chords, and how they are formed.

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Evan Taucher Evan Taucher

In the classical guitar world, there seems to be a lot outdated instructional advice. And while this type of information...

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Orville Johnson Orville Johnson

Orville Johnson introduces turnarounds and provides great ideas and techniques.

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Maneli Jamal Maneli Jamal

Tapping is a great tool that can be used to create the sound of two guitars without ever having to pluck a note! The tricky...

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Marcelo Berestovoy Marcelo Berestovoy

Marcelo teaches the eight basic right hand moves for the Rumba Flamenca strum pattern. He then shows you how to apply it...

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Justin Roth Justin Roth

In this lesson Justin introduces his series on playing with a capo and dishes out some basic tips, including how to properly...

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Electric Guitar Lesson Samples

Electric Guitar

Our electric guitar lessons are taught by instructors with an incredible amount of teaching experience.

Bryan Beller Bryan Beller

Bryan Beller of the Aristocrats, Dethklok, and Steve Vai takes you inside his six step method to learning any song by ear....

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Sarah Longfield Sarah Longfield

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Michael Mennell Michael Mennell

Mike introduces himself and his series.

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Jeffery Marshall Jeffery Marshall

Welcome to Inside and Out with Jeff Marshall! In this lesson series, Jeff takes a bottom up approach to fret board proficiency....

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Rex Brown Rex Brown

Dive into the playing of Rex Brown. As the bass player for Pantera, Down, and Kill Devil Hill, Brown's real world experience...

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Horace Bray Horace Bray

Horace provides a short etude on how to practice connecting the different shapes of the G Major open triads. This helps you...

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Daniel Gilbert Daniel Gilbert

Known around the world for his inspirational approach to guitar instruction, Musician's Institute veteran Daniel Gilbert...

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Dan Sugarman Dan Sugarman

Dan Sugarman gives us an introduction and preview to his series - Sugarman's Shredding Revolution.

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Brent Mason Brent Mason

Learn Nashville style country guitar from one of the most recorded guitarists in history. Check out rhythm grooves, solos,...

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Alex Scott Alex Scott

Find out what this series is all about.

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Join over 517638 guitarists who have learned how to play in weeks... not years!

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Unlimited Lesson Viewing

A JamPlay membership gives you access to every lesson, from every teacher on our staff. Additionally, there is no restriction on how many times you watch a lesson. Watch as many times as you need.

Live Lessons

Exclusive only to JamPlay, we currently broadcast 8-10 hours of steaming lesson services directly to you! Enjoy the benefits of in-person instructors and the conveniences of our community.

Interactive Community

Create your own profile, manage your friends list, and contact users with your own JamPlay Mailbox. JamPlay also features live chat with teachers and members, and an active Forum.

Chord Library

Each chord in our library contains a full chart, related tablature, and a photograph of how the chord is played. A comprehensive learning resource for any guitarist.

Scale Library

Our software allows you to document your progress for any lesson, including notes and percent of the lesson completed. This gives you the ability to document what you need to work on, and where you left off.

Custom Chord Sheets

At JamPlay, not only can you reference our Chord Library, but you can also select any variety of chords you need to work on, and generate your own printable chord sheet.

Backing Tracks

Jam-along backing tracks give the guitarist a platform for improvising and soloing. Our backing tracks provide a wide variety of tracks from different genres of music, and serves as a great learning tool.

Interactive Games

We have teachers covering beginner lessons, rock, classic rock, jazz, bluegrass, fingerstyle, slack key and more. Learn how to play the guitar from experienced players, in a casual environment.

Beginners Welcome.. and Up

Unlike a lot of guitar websites and DVDs, we start our Beginner Lessons at the VERY start of the learning process, as if you just picked up a guitar for the first time.Our teaching is structured for all players.

Take a minute to compare JamPlay to other traditional and new methods of learning guitar. Our estimates for "In-Person" lessons below are based on a weekly face-to-face lesson for $40 per hour.

Price Per Lesson < $0.01 $4 - $5 $30 - $50 Free
Money Back Guarantee Sometimes n/a
Number of Instructors 127 1 – 3 1 Zillions
Interaction with Instructors Daily Webcam Sessions Weekly
Professional Instructors Luck of the Draw Luck of the Draw
New Lessons Daily Weekly Minutely
Structured Lessons
Learn Any Style Sorta
Track Progress
HD Video - Sometimes
Multiple Camera Angles Sometimes - Sometimes
Accurate Tabs Maybe Maybe
Scale/Chord Libraries
Custom JamTracks
Interactive Games
Learn in Sweatpants Socially Unacceptable
Gasoline Needed $0.00 $0.00 ~$4 / gallon! $0.00
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Mike H.

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I am 66 years young and I still got it! I would have never known this if it had not been for Jamplay! I feel like a 12 year old kid with a new guitar! Ha! I cannot express enough how great you're website is! It is for beginners and advanced pickers! I am an advanced picker and thought I had lost it but thanks to you all, I found it again! Even though I only play by ear, I have been a member a whopping whole two weeks now and have already got Brent's country shuffle and country blues down and of course with embellishments. Thank you all for your wonderful program!

Greg J.

"With Jamplay I can fit in a random session when I have time and I can go at my own pace"

I'm a fifty eight year old newbie who owns a guitar which has been sitting untouched in a corner for about seven years now. Last weekend I got inspired to pick it up and finally learn how to play after watching an amazing Spanish guitarist on TV. So, here I am. I'm starting at the beginning with Steve Eulberg and I couldn't be happier (except for the sore fingers :) Some day I'm going to play like Steve! I'm self employed with a hectic schedule. With Jamplay I can fit in a random session when I have time and I can go at my own pace, rewinding and replaying the videos until I get it. This is a very enjoyable diversion from my work yet I still feel like I'm accomplishing something worthwhile. Thanks a lot, Greg


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