GT:You have a broad vocabulary that encompasses rock, country and blues.What elements in those genres do you favour most?
DG: For me it all starts with blues. The vocal quality of playing with areas like vibrato, bending using in-between notes, and phrasing to emulate the expressive sound of a great singer. From country I have definitely appropriated pedal steel bends and use them in all styles and modes. While country pedal steel double-stop playing centres in the Mixolydian mode, I use these techniques in every tonality. I am really influenced by the rhythm playing of Pete Townshend, Paul Kossoff, and Malcolm Young by using chords with no 3rds. I use this ‘no 3rd’ voicing concept quite often in all styles.
GT: How did you develop your hybrid picking and for what aspects of your playing?
It developed out of wanting to hear sounds that can’t be produced with just a pick. Seeing Danny Gatton was really instrumental in cultivating that approach. I use it for rhythm playingacross strings. Certain techniques are almost impossible with just a pick.
