Practice Studio

Eric Johnson - Steves Boogie Pt.1 - First Half - Guitar Lesson

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Classic Rock

Gain6
Bass6
Mid7
Treble6
Presence5
Master7
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AI-selected preset based on genre and era — adjust the knobs to taste.

Roll back the gain slightly and pick near the neck for a warmer, more open crunch.

About Steves Boogie Pt.1 - First Half


Boogie vocabulary and clean fingerpicking precision collide in this piece from Eric Johnson, recorded in 1986. The first half sets up a driving, repetitive boogie pattern that looks deceptively simple on paper but demands real evenness from your picking hand. At 120 BPM in E Standard, the tempo is brisk enough that any inconsistency in your alternate picking or fingerpicking attack becomes immediately audible. The Blues Rock feel here requires you to lock the groove tightly, keeping the low-end boogie figures steady while leaving just enough looseness to avoid sounding mechanical. Johnson's right-hand control is the real lesson: every note needs a consistent volume and tone, which is harder to sustain over a repeating figure than it sounds. Use the Practice Toolbar to loop the core boogie pattern slowed down until your picking hand finds a relaxed, even rhythm before bringing it back up to full tempo.

  • The piece is in E Standard tuning, so no retuning is needed, but clean intonation across the boogie pattern still requires careful left-hand fretting pressure.
  • At 120 BPM, the main challenge is keeping your picking attack perfectly even throughout the repeated boogie figures without tensing up your wrist.
  • Looping the opening bars slowed down in the Practice Toolbar will help you identify any inconsistency in pick angle before locking in at full speed.

How to Play Steves Boogie Pt.1 - First Half

Tuning: E Standard · Tempo: 120 BPM

Use the section loop to isolate a passage, drop the speed below 100%, and set the metronome to 120 BPM to build it up to tempo.

Fender Stratocaster
Guitar

Fender Stratocaster

Eric Johnson's primary instrument, with vintage single-coils and a rolled-back tone knob that deliver warm, articulate lead tones and dynamic range. His signature model features a 1-meg volume pot preserving high-end clarity, essential for his layered clean and overdriven tones.

Gibson Les Paul Standard
Guitar

Gibson Les Paul Standard

Johnson uses original PAF humbuckers on his 1958/1959 model for heavier, mid-rich lead work, providing thicker sustain and compression on songs like 'Cliffs of Dover' when pushed through his Marshall head.

Gibson Les Paul Custom
Guitar

Gibson Les Paul Custom

While not explicitly mentioned in Johnson's primary setup, this model shares PAF humbucker characteristics that would deliver similar thick, creamy lead tones and compressed sustain for heavier passages.

Gibson ES-335
Guitar

Gibson ES-335

Johnson switches to this semi-hollow body for jazzier passages mid-song, its balanced tone bridging his bright Strat clarity and Les Paul warmth for sophisticated, articulate lead work.

Fender Twin Reverb
Amp

Fender Twin Reverb

Johnson's core clean and light-crunch amp, run at volumes 5-6 for shimmering clarity and natural reverb that blends with his Marshall's grit to create his signature layered tone.

Ibanez Tube Screamer TS9
Pedal

Ibanez Tube Screamer TS9

Set with low gain and high level as a clean boost, Johnson's TS9 pushes his amps into natural breakup while preserving the dynamic articulation crucial to his playing style.

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Play with Backing Track

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