Nice pun Glenn
You're right, playing with effects takes practice too.
What I meant was, i learn a song without effects until I think it's good enough to perform on stage. Then, if the song benefits from it (it usually does in my case) i design the effects, which can also involve an expression pedal and some preset switching.
This way, when caught without effects (quick changeover, faulty unit, light travelling etc) I can still perform a song without destroying it


Cheers,
Bas

In the words of Jack Nicholson: "Wrong verb"*


*This post is what happens when a copy-editor has a second cup of good coffee.

Do you have any musical training? The only advice I can give is to listen to the notes being played, and that isn't exactly an exotic concept. If you can, do some intervallic ear training (Justin Sandercoe has a free course, and Rob Chapman has an affordable course). After a year or so of listening to Stick music as only a would-be player can, I can usually identify: the Stick model (though not 10 String versus 10 String Grand), the pickup, and the Stickist (Bob, Steve, Greg, Emmett, Per, Josh, or Virginia). Getting back to intervallic training, the way a musician develops melodies and harmonies is (typically) unique to them; Eric Johnson sounds like Eric Johnson regardless of whether Yngwie Malmsteen said "here, play my gear" (oh what a great concert that would be).

It certainly seems to be true that the Stick hasn't progressed from being a "signature" instrument, like a classical guitar, to being an "invisible" instrument like the electric guitar has. I think this is due, somewhat, to the limited pickup options for the Stick—and how little effect tonewood selection has on the instrument. For instance, I find myself getting a bit bored if I listen to several ACTV-2 songs in a row (probably because I prefer the PASV-4). It is all the more important to pay attention to the musician because of this. Listen to the player's attack, the rhythmic patterns they tend to employ, and his/her overall style of arranging and composing.

Practicing "naked" is definitely a good idea, but I think the balance of priorities should change when one is composing. When composing a song, you should make the song feel and sound they way that feels right to you. If that involves effects, tweak the effects the same way you tweak the arrangement as you write. In other words, develop the song as a whole. Having practiced the song both "naked" and "effected," you will then be in a better position to adapt your sound to a particular venue.

Good catch, but indeed it makes me sound smarter in my head as I read it, and I'm a big fan of auditation, both in written words and in composition/improvisation

"Naked" is an effect I'm not too keen on...

There is a certain style, with left hand chords and right hand scale-based melody that many of us use. In that way it can become like fingerstyle guitar or jazz guitar, where the language has core elements that players can perhaps rely on too much.

The answer to this is to not practice "scales", but to practice intervals. Not to assign fingers to notes but to learn how to move freely on the board. Not to play only arpeggiated chords but to play accompaniment parts that dissolve basslines and chords "in solution".

And lastly to use effects in the way a composer uses different sections of the orchestra...

as on "Water on the Moon":

http://greghoward.bandcamp.com/album/water-on-the-moon

I have thought of a great deal more to say, in clarification of my "signature instrument" versus "invisible instrument" categorization, but I won't post it unless someone shows interest. I am conscious of my tendency to dominate discourse ("the mind acquires speed," et cetera).

However, I will add the following:
[youtube]http://www.youtube.com/watch?v=v_LdD3vAntY[/youtube]

[youtube]http://www.youtube.com/watch?v=hxOvvhh-20Y[/youtube]

[youtube]http://www.youtube.com/watch?v=q1IJpL6zoXM[/youtube]

[youtube]http://www.youtube.com/watch?v=BAxM-KLWH9Q[/youtube]

[youtube]http://www.youtube.com/watch?v=ReAFEz9oJSA[/youtube]

[youtube]http://www.youtube.com/watch?v=e4BURldqRl8[/youtube]

Notice how each Stickist creates a unique sound.

To Robstafarian: So you're saying I need formal musical training to enjoy this music? I can't just listen to it as anybody would? I need to train myself to tell what Stick, pickup, etc is being used? That's even worse... music that only musicians can enjoy (or, even worse, music that only *stickists* can enjoy).

To Greg: I guess that style you mention is what I find similar between different players. It's a cool feature of the Stick, to be able to play 2 parts like that; but I think I especially like when both hands are playing something that sounds like *one* thing (fat chords, arpeggios, etc) and sometimes it sounds like 2 instruments, a moment later like one, then 2, then 1... that makes it very interesting for me.

Of course it's harder to discuss this here because we all play the Stick (or attempt to anyway). We're not listening *just* as listeners...

I am going to create a thread in response to this. What I intend to write is too substantial to post here without hijacking the thread. I will post a link to the thread when it is up, but it may be a while (I will probably add relevant subjects to the original concept after I have started writing).

It could have been written as: Utilising British spellings makes you sound smarter….

I always hear British spellings with British accents in my head, so the verb made perfect sense to me. Actually, any mention of the Railboard makes me think of aluminium, which is so much more fun to hear or say than then US version.

I thought the Railboard sounded great, sort of a blend of the clarity of the ACTV-2 with the body/fullness of the PASV-4.

As far as effects, I love the "naked" sound of the Stick, but also find that certain sounds and effects inspire different ideas. I just like to use whatever works in the musical context.