Is playing on multiple style guitars counterproductive?

[Jak Angelescu]

Hey there everyone. I have been taking my Gibson Les Paul studio with me twice a week where I have 8 hours to do nothing. I sit in a little office and I get to play for 8 hours a day. I have been getting a little bit more proficient with some things but I find the reach on the neck to be harder. I was trying to play Syn’s Ètude alternate picking number one, and I could not reach the low E string with my pinky very well even sitting down. Then I finally had the ability To come out and play on my Schecter. The feeling was completely different and it was a lot easier to play. It is easier to play the Ètude standing up on my schecter than it was sitting down with my Gibson. Also, I was playing on my Gibson primarily for about a week. I went to go back to play on my schecter and on my ESP and it was like trying to relearn how to play the guitar basically. Everything felt so weird and so different. I believe they all 3 have different feeling necks for sure. So my question is, should I stick to one type of guitar? Is that why professional musicians usually stick to 1 model and 1 company? Or is it something that I just have to get used to?

 

[Tory Capman]

I would assume that it would be best to become proficient at as many models as possible. This would train your hands to not expect the same setup every time and would make you quicker at adapting.
The way I see it, you wouldn’t want to be caught without your preferred guitar one day and not be able to perform as well as you normally would.
I also notice the same issue between my Syn model and my Schecter blackjack which is like a les Paul. So I try to make a point to use the blackjack more because it bothers me when I sound crappy playing things I know I’m good at

 

[Ed Seith]

I would say get used to jumping around. As far as necks go, I have a distinct preference for a bare or satin neck, and my PREFERENCE is for a thin profile.
Scale length is something that is easy to feel a difference in. The Les Paul (all of them) have a 24.75″ scale length, which means there is no other full-size guitar out there where the space between frets is smaller.
My Ibanez standards are the Fender 25.5″ scale length, which is about the longest you’ll find for a standard-tuned guitar. It’s what I started with, so I’m kinda used to it. The PRS, by Paul’s design specifically, splits that difference and settles on 25″.
It’s good to be used to all three, and able to jump around from one to the other with ease.
Extended range guitars, like baritone sixes or 7/8 strings typically have a 26.5″ scale length. It can be REALLY HARD for people with small fingers to do stretches on the lower frets there, but it makes noodling above the 18th fret much easier. Fanned frets are about giving you the clarity of the long scale on the chugga strings, and the tightness and ease of a shorter scale on the noodly strings.
I try to avoid really thick necks overall.
I also don’t pay a ton of attention to fretboard radius, as those can be very different, too. The higher the radius, the flatter the fretboard. Some magic guitars have what’s called a “compound radius.” This is similar in concept to the fanned frets – it’s flatter down by the nut for easier chording and rounded more up above the 12th fret for more bending clarity. This is also helpful for keeping low action, since the strings are much closer together at the nut than they are at the bridge.
But year, after all that bullshit, it’s probably better to be versatile, at least until someone is willing to pay you to play their model on The Stage.

 

[idssdi]

ITot is true for some part. However, I think a lot of artists play the same uttar all the time because of endorsements. I think when they go home they sometimes play on a different type guitar. In the end the most important thing in the end is that the neck diameter is not significantly different because that’s probably what screws you up.

 

[Noah Berends]

I have four different guitars and all four of them feel very different, almost none of them share a commonality. I try to play all four consistently because I feel like it increases my personal versatility. When I learn a piece of music, I’ll get it up so I can play it on all four of my guitars, and when I do that I feel it also greatly helps me to learn the piece better. The littlest things on a guitar will change the feel like Ed said, scale length being most prominent. It’s absolutely important to play on what you feel is best, but personally I don’t want to limit myself to that one thing. Reason being let’s say a scenario comes up where someone asks me to fill in as a backup last-minute and gives me a Les Paul when I’ve been personally playing Stephen Carpenter’s 7-string baritone exclusively, I won’t be completely lost.

 

[Sayonil Mitra]

I also think that getting used to lots of guitars will ultimately help. Who knows? Maybe someday Jak will develop 2 different styles of playing for 2 different guitars. (as Mark Knophler does with a Fender and a Les Paul)

 

[Ed Seith]

Mark Knopfler can do anything, as long as you don’t hand him a pick.

 

[Dominik Gräber]

Again, everything is basicly Said and although I have Not too much experience I want to throw my hat in the Ring too (is this actually a saying in english too? Lol)
As mentioned I bought a schecter dir my Birthday and already played it shortly for quality Check. So I played ok an Ibanez, with pretty thick Neck – it felt and still feels great to Play dir 200€ but the Switch to my Epiphone is enormous. It has a really Smooth flat Neck and Just feels awesome to Play. It kinda feels Like another Attitude. If I hold the Paula I want to Play heavy Riffs or beautiful Picking patterns. Only downside: bends are kinda hard in the LP. And now the Schecter, neckthrough construction, beautiful Inlays, Smooth to Bend and I am in a Moos to Play Clean melodies Like the second Intro of buried Alive.
So what I want to say. I think if you like a guitar and Like to Play it, it will grow on you and as Others mentioned already, May inspire you for new Things, new directions.
Oh and it is an awesome Feeling to Visit Somebody who Happens to have a guitar and to pull off the coolest stuff right away

 

[Jake Young]

I’m not sure there’s a correct answer here? It does make sense to be proficient with any guitar though! I own a few also but I tend to really only play my ghost fret because it’s most comfortable..it feels like that thing was made for me! I have a Gibson SG standard that never really comes out of its case..mainly because I don’t like how the neck feels, although it’s an awesome guitar. I sold my 2002 Tremonti model PRS after I bought a Syn Custom-S and realized a thin necks felt better in my hand.. And Mark himself wanted to buy it and you can’t say no when his name is on the 12th fret. Then comes the almighty Ghost Fret!!…I sold my Syn Custom-S because that neck felt thick compared to the ghost fret haha aaand signature model guitars aren’t really my thing anymore..we as guitarists are always telling other guitarists to do what feels natural.. Soo do what feels natural!
Aand Ed brother, you’re the man!! But a compound radius is actually more rounded toward the nut to make chording easier..and flatter towards the bridge to make bends a little easier

 

[Ed Seith]

Fuck, I had it backwards? Ahh well. What can you do? I can blame it on my age.
I love Syn’s playing, but I tried a few of his guitars, and I just didn’t get along with them at all. Mostly the necks. That’s a sick story about the Tremonti. He’s a hell of a guy and a monster guitar player.

 

[Jak Angelescu]

Thank you all so much for your helpful insight!! I really appreciate the detailed responses. It looks like I have to tell myself, “Suck it up, buttercup.”