{"id":147046,"date":"2025-02-02T06:00:00","date_gmt":"2025-02-02T14:00:00","guid":{"rendered":"https:\/\/acousticguitar.com\/?p=147046"},"modified":"2025-02-03T10:56:29","modified_gmt":"2025-02-03T18:56:29","slug":"dobro-master-jerry-douglas-talks-tone-phrasing-and-importance-of-listening","status":"publish","type":"post","link":"https:\/\/acousticguitar.com\/dobro-master-jerry-douglas-talks-tone-phrasing-and-importance-of-listening\/","title":{"rendered":"Dobro Master Jerry Douglas Talks Tone, Phrasing, and the Importance of Listening"},"content":{"rendered":"\n<p>With a slide in his hand, 16-time Grammy winner Jerry Douglas has one of the most distinctive and yet adaptable voices in the business. Whether he\u2019s playing with Alison Krauss and Union Station, or the Earls of Leicester, or working as a producer and master session player, Douglas can make a dobro or lap steel sing. But it\u2019s as a solo artist with his longtime ensemble of Christian Sedelmyer (violin), Daniel Kimbro (bass), and Mike Seal (guitar) where Douglas and his slide can sing their own tune.<\/p>\n\n\n\n<p>Although his latest release is a studio album, its title, <em><a href=\"https:\/\/amzn.to\/3WAsqUk\">The Set<\/a>,<\/em> is apt. Think of it as a fresh take on the career retrospective, drawing many of its songs from fan favorites in the band\u2019s show. In that way, it flips the script from the studio-to-live-album trajectory. While live records often seem like best-of compilations by giving studio tracks an update and a crowd reaction track, <em>The Set<\/em> captures a touring band at the height of its powers in the studio for the first time since 2017.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-embed-handler wp-block-embed-embed-handler wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Jerry Douglas - From Ankara to Izmir (from The Set) [Official Visualizer]\" width=\"1290\" height=\"726\" src=\"https:\/\/www.youtube.com\/embed\/2mA_Bz8rtBs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>The beautifully recorded tracks let the interplay come through like a conversation where everyone understands every word being said. But the collection goes beyond reinterpretations of old favorites. Thanks to the band\u2019s cohesion, Douglas classics like \u201cFrom Ankara to Izmir\u201d (originally recorded in 1987) slot in nicely with relatively recent additions to the repertoire, like his sweeping cover of \u201cWhile My Guitar Gently Weeps,\u201d compositions by his three bandmates, and a concerto called \u201cThe Fifth Season\u201d that Douglas says is designed to contain a few surprises.<\/p>\n\n\n\n<p>I caught up with Douglas over the phone last fall, where he opened up about tone, phrasing, gear, and the importance of listening.&nbsp;<\/p>\n\n\n\n<p><strong>How did you choose the songs for <em>The Set<\/em>?<\/strong><\/p>\n\n\n\n<p>I kept having people come up to me after concerts, saying, \u201cWhat was the third song you did in the first set? Where can I find that?\u201d And I\u2019d go, \u201cWell, that\u2019s on a Rounder record or Sugar Hill or Concord or Koch\u201d\u2014all these different labels I\u2019ve been on. The recorded songs people are asking for are scattered over four different companies.<\/p>\n\n\n\n<p>Also, if they went and got the songs they wanted to hear, they wouldn\u2019t sound the same as live because there\u2019s a different band and a completely different mindset on the song. When you record a song for the first time, no matter how good it is, it\u2019s not going to stay that way. It\u2019s going to morph into something else, and that\u2019s what\u2019s happened to all these songs.&nbsp;<\/p>\n\n\n\n<p>So I chose a couple of songs that I had from way back that we do completely differently. I love the sound of this particular band playing these songs because we\u2019ve been out there on the road playing them.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img data-recalc-dims=\"1\" fetchpriority=\"high\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2025\/01\/Band_w_Instruments_H_credit_Patrick_Sheehan.jpg?resize=1024%2C683&#038;ssl=1\" alt=\"Jerry Douglas with his longtime bandmates Daniel Kimbro (bass), Christian Sedelmyer (fiddle), and Mike Seal (guitar), Photo: Patrick Sheehan\" class=\"wp-image-147053\" srcset=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2025\/01\/Band_w_Instruments_H_credit_Patrick_Sheehan.jpg?resize=1024%2C683&amp;ssl=1 1024w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2025\/01\/Band_w_Instruments_H_credit_Patrick_Sheehan.jpg?resize=500%2C333&amp;ssl=1 500w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2025\/01\/Band_w_Instruments_H_credit_Patrick_Sheehan.jpg?resize=768%2C512&amp;ssl=1 768w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2025\/01\/Band_w_Instruments_H_credit_Patrick_Sheehan.jpg?resize=300%2C200&amp;ssl=1 300w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2025\/01\/Band_w_Instruments_H_credit_Patrick_Sheehan.jpg?w=1200&amp;ssl=1 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Jerry Douglas with his longtime bandmates Daniel Kimbro (bass), Christian Sedelmyer (fiddle), and Mike Seal (guitar), Photo: Patrick Sheehan<\/figcaption><\/figure>\n\n\n\n<p><strong>Why did you elect to go without drums?<\/strong><\/p>\n\n\n\n<p>We used to have drums all the time, but after I produced the John Hiatt record [<em><a href=\"https:\/\/amzn.to\/42BBmwN\" target=\"_blank\" rel=\"noreferrer noopener\">Leftover Feelings<\/a><\/em>, 2022], we haven\u2019t used drums since\u2014and there\u2019s all this space.&nbsp;<\/p>\n\n\n\n<p><strong>Are you referencing the original versions of the songs, or are these live-tested arrangements different?<\/strong><\/p>\n\n\n\n<p>I\u2019m changing the version. Take \u201cFrom Ankara to Ismir\u201d on the new record: I originally cut that with a lap steel, trying to make it a tougher kind of song. But as I\u2019ve been playing it over the years on dobro, it\u2019s just taken on a different color, a different feel. Many of the songs, as I\u2019ve played them and fleshed them out, I found countermelodies, added to them, and just changed all the parts.<\/p>\n\n\n\n<p><strong>How has the current band influenced the arrangements?<\/strong><\/p>\n\n\n\n<p>When you change the players, you\u2019re going to get a different interpretation of the melody. But I don\u2019t think I\u2019m taking away anything. I think these versions are better because they\u2019re more thought out. And I just like the sound of this band better, too. It\u2019s not all over the place\u2014it\u2019s not a whole bunch of different instruments coming and going. It\u2019s a band record. The only extra person is Aoife O\u2019Donovan [adding vocals to the Mike Stern composition \u201cWhat Might Have Been\u201d].&nbsp;<\/p>\n\n\n\n<p><strong>The dynamic interplay between the solos and backing really comes across\u2014it\u2019s way more conversational than trading choruses.<\/strong><\/p>\n\n\n\n<p>Yeah, that\u2019s Mike [Seal]. He\u2019s very supportive. He\u2019s really good at not giving the farm away behind me. He\u2019ll voice a chord a different way, and it\u2019ll just send you in a different direction. He\u2019s really wonderful musician. And all these guys are like that. We\u2019re not trying to pass the baton and not trying to overplay or outplay each other.<\/p>\n\n\n\n<p><strong>Has playing in a quartet without drums influenced your own playing?<\/strong><\/p>\n\n\n\n<p>I\u2019m taking on more of a rhythm guitar role than I would normally in any other band. I find that I play less behind everybody. All I\u2019m thinking about while they\u2019re playing is supporting them, reacting to whatever they do. A lot of times I\u2019ll play a line first, then they\u2019ll play the line in their solo. We really listen to each other.<\/p>\n\n\n\n<p>If you\u2019ve got a great drummer, there\u2019s just less space. You can\u2019t hear everybody else as well because the tonal spectrum is full, so you have to fight for frequencies. We\u2019re not fighting for anything. We\u2019re all spread out in the sonic spectrum, so there\u2019s less clutter.<\/p>\n\n\n\n<p><strong>What inspired the concerto \u201cThe Fifth Season\u201d?<\/strong><\/p>\n\n\n\n<p>I got a commission from FreshGrass [festival in Massachusetts], and they go, \u201cYou can write your own concerto, or you can write a piece to a silent film.\u201d I started working on it, got a couple parts, and then I just thought, \u201cThis needs to get weird.\u201d<\/p>\n\n\n\n<p>So I called Mike Seal, and we started changing a note here and there just to make it like, whoa\u2014why\u2019d it do that? We started building the parts and figuring out how they went together. When we got in the studio, we started shifting things around. Everybody was involved in it, but it was Mike and me on the front end. We filled in the blanks and made the tunes go different places. What I was trying for wasn\u2019t \u201cLet us impress you with our chops\u201d but \u201cLet\u2019s make something nice that flows together and is demanding and challenging without going too far. Let\u2019s be able to play it.\u201d<\/p>\n\n\n\n<p><strong>Your album cover features a painting, and you\u2019re known for your ability to add color tonally and through phrasing. Is that conscious or instinctual?<\/strong><\/p>\n\n\n\n<p>It\u2019s instinctual. Phrasing has a lot to do with the situation. Take Alison Krauss. The way she phrases is really straight, and I might float something backwards and drag a few notes just to kind of stay there a little bit longer but not wreck the feel she\u2019s set up\u2014just putting the notes in certain places, not exactly where you would expect them.&nbsp;<\/p>\n\n\n\n<p>Phrasing is so important; it maintains the feel. If you\u2019re just firing bullets\u2014if it\u2019s just rapid fire\u2014that\u2019s one thing, but there\u2019s so many things that we do that are really like, \u201cOK, we need some purple over here,\u201d or, \u201cThings have gotten dark\u2014bring it back to light again.\u201d You shift from one palette to another.<\/p>\n\n\n\n<p>With a slide, you can sustain. If I\u2019m playing with Alison, I can ghost her vocal, and it\u2019ll sound like a harmony part\u2014but nobody\u2019s singing. I really get off on that. That\u2019s the most exciting part about all of this to me at this point is just reacting to things that are going on around me.&nbsp;<\/p>\n\n\n\n<p><strong>Do you listen differently today than you did as a young musician?<\/strong><\/p>\n\n\n\n<p>I\u2019ve always listened, but I don\u2019t think I ever listened as closely as I do now. I think I\u2019ve learned over time that that is what makes it cohesive. Is everybody playing in the same genre at the same time? I\u2019ve heard guys take a bebop solo in the middle of something. It\u2019s just like, \u201cDude, I know you can do that, but you didn\u2019t have to do it right now\u2014you just blew us up.\u201d You\u2019ve got to be careful with these songs. They\u2019re delicate things, and with the wrong stuff going on behind them, it just negates the importance of what\u2019s being said.<\/p>\n\n\n\n<p><strong>Your version of \u201cWhile My Guitar Gently Weeps\u201d is getting a lot of attention. Have you been playing it for a long time?<\/strong><\/p>\n\n\n\n<p>I haven\u2019t. One day in rehearsal we were working out new songs, and I just started playing it. I wasn\u2019t thinking about adding it to the set, but it was a perfect fit for dobro. It\u2019s in A minor, and I\u2019m just pulling off my second string. I can create this sort of minor feel right from the front, and that whole thing lays just so well on dobro. But you know, then you want to create your own melody; you want to move the song through some paces. I thought, \u201cWhy have I never played this before?\u201d<\/p>\n\n\n\n<p><strong>Are you exclusively using your Paul Beard signature models?<\/strong><\/p>\n\n\n\n<p>I\u2019m playing only them when I go out. I love mahogany guitars. I just think it\u2019s the greatest tone. I chose the wood. I asked Paul Beard to build me a guitar that\u2019s black and has a red fingerboard. He said, \u201cNobody will want that.\u201d&nbsp;<\/p>\n\n\n\n<p>I said, \u201cJust build me one and let me see it.\u201d And about that time the Hipshot came along too [see What He Plays sidebar]. About a year later, we started putting Hipshots on them\u2014and that\u2019s the only guitar he was selling for a long time. It did work. Everybody did like that guitar. They\u2019re all over the place.&nbsp;<\/p>\n\n\n\n<p>The Beard doesn\u2019t have a tone ring inside of it like dobros. It has sound posts\u2014like a violin\u2014in different places inside to take the sound from the top to the bottom, evenly distributed through the guitar. And there are some baffles close to the top of where the cover plate is, which have the sides open so sound can move into the top of the guitar. In dobros, that\u2019s where the bass is\u2014under the screens. It\u2019s not in the big part in the back, which gives off more high end. The farther you go toward the tailpiece, the more high end you pick up.&nbsp;<\/p>\n\n\n\n<p>If I\u2019m looking straight down at the guitar, where the neck joins the body and hits the cover plate, that\u2019s noon. I\u2019m trying to put the microphone at two o\u2019clock, so I\u2019m getting the best of both worlds.&nbsp;<\/p>\n\n\n\n<p>I started pulling the screens out of my guitar when I was in the studio so I could get more bass\u2014because screens compress the sound back down into the guitar a little bit. It\u2019s not quite as bassy. If you pull those screens, you\u2019ve got a wider tonal spectrum to choose from. If the miked sound is too bassy in that position, I might slide more back toward the cover plate to get more high end.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img data-recalc-dims=\"1\" decoding=\"async\" width=\"1024\" height=\"709\" src=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2025\/01\/Jerry_Douglas_Playing_Dobro_-_Stained_Glass_Window_Credit_Scott_Simontacchi.jpg?resize=1024%2C709&#038;ssl=1\" alt=\"Jerry Douglas playing dobro while standing in the light of a stained glass window. Photo by Scott Simontacchi\" class=\"wp-image-147054\" srcset=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2025\/01\/Jerry_Douglas_Playing_Dobro_-_Stained_Glass_Window_Credit_Scott_Simontacchi.jpg?resize=1024%2C709&amp;ssl=1 1024w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2025\/01\/Jerry_Douglas_Playing_Dobro_-_Stained_Glass_Window_Credit_Scott_Simontacchi.jpg?resize=500%2C346&amp;ssl=1 500w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2025\/01\/Jerry_Douglas_Playing_Dobro_-_Stained_Glass_Window_Credit_Scott_Simontacchi.jpg?resize=768%2C532&amp;ssl=1 768w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2025\/01\/Jerry_Douglas_Playing_Dobro_-_Stained_Glass_Window_Credit_Scott_Simontacchi.jpg?resize=300%2C208&amp;ssl=1 300w, https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2025\/01\/Jerry_Douglas_Playing_Dobro_-_Stained_Glass_Window_Credit_Scott_Simontacchi.jpg?w=1200&amp;ssl=1 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Photo: Scott Simontacchi<\/figcaption><\/figure>\n\n\n\n<p><strong>How do you create your tone?<\/strong><\/p>\n\n\n\n<p>I have this sound that I want to make. I\u2019ll start out warming up on just one note, search all over the place and find myself a really juicy note, and then build everything around that for the rest of the evening. I just try to stay in that zone. It depends on what band I\u2019m playing with, too. If I\u2019m playing in a band that\u2019s got drums, I\u2019ll play more high-end stuff because the low, beautiful stuff won\u2019t be heard. But the smaller the band gets, the more acoustic the band gets, the more I\u2019m going for a really nice tone.<\/p>\n\n\n\n<p>I want to <em>feel<\/em> that. I want to feel the tone in the strap of the guitar. Some instruments you\u2019ll pick up and you can feel the tone moving through everything that\u2019s connected to it. These Beard guitars were the first time I ever felt that. I felt the guitar going into my back, even going into my shoulder, all the way down. And, boy, that\u2019s important. It just to keeps you in close touch with the instrument\u2014being able to feel that warmth and power. Especially moving down the fifth, fourth, or sixth string, going for a real big, deep slide.<\/p>\n\n\n\n<p><strong>How would you advise a player looking to improve their slide tone?<\/strong><\/p>\n\n\n\n<p>I try to not play a string that I\u2019m not using. [Late dobro player] Mike Auldridge once told me one of the coolest things: If you\u2019re not playing the first two strings, pull your bar off of them, because you\u2019re transmitting energy into those strings that\u2019s not needed. You\u2019re robbing tone from somewhere else to throw it over where you\u2019re not going to use it.&nbsp;<\/p>\n\n\n\n<p>I\u2019m really going for tone with every note. But there are times to be sloppy. I\u2019ve studied my whole life to try to be as clean as possible\u2014but you have to know when it\u2019s OK to let up on that, just go crazy and be a percussive instrument at the same time.<\/p>\n\n\n\n<p><strong>How much pressure do you use on the slide hand?<\/strong><\/p>\n\n\n\n<p>I wish you could accurately measure that in foot-pounds. I put enough on it to not push the string out of tune. I don\u2019t look at the neck as much as I used to, just because of muscle memory. But you should be able to see the front edge of the bar\u2019s bottom lined up with the fret, and use just enough pressure so there\u2019s no string rattle.<\/p>\n\n\n\n<p><strong>How about your right hand?<\/strong><\/p>\n\n\n\n<p>You\u2019ve got multiple things to do with your right hand. My palm is always muting. But a lot of things I do, I don\u2019t notice.&nbsp;<\/p>\n\n\n\n<p>When I was learning to play, there was nobody to show me anything. It was like learning a foreign language and then going to that country and speaking it, and somebody understands you. That was a big moment\u2014just to play something for [resonator guitar pioneer] Josh Graves. And he said, \u201cYeah, that\u2019s right.\u201d I said, \u201cOh, man, you\u2019re kidding. I have no idea how to do this. I just listen to the records, look for the tones, and try to figure out where everything is coming from.\u201d <\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>What He Plays<\/strong><\/h2>\n\n\n\n<p>Onstage, Jerry Douglas plays the prototype of his <a href=\"https:\/\/reverb.grsm.io\/ag?query=jerry-douglas-beard\" target=\"_blank\" rel=\"noreferrer noopener\">Beard Guitars signature model<\/a>. He uses a Beard 2010 steel bar and D\u2019Addario EJ42 Resophonic strings with custom heavier gauges of .16 , .18, and .28 on the top strings.&nbsp;<\/p>\n\n\n\n<p>His Beard has a Hipshot DoubleShot that changes the tuning from the standard dobro G B D G B D to open D (D A D F# A D,) with the flip of a lever. To facilitate the retuning of the strings, the guitar has Hipshot\u2019s Roller Nut. \u201cYou don\u2019t want to get caught up in friction,\u201d he says. \u201cThey all move, and they come right back in tune. It\u2019s great. I only have to bring one guitar to most shows.\u201d<\/p>\n\n\n\n<p>The Beard guitar has a Fishman Nashville bridge pickup, and Douglas worked with Larry Fishman to create a signature Aura pedal that models its acoustic sound. Working with famed Nashville engineer Bil VornDick, Douglas recalls, \u201cWe recorded 16 different mics at different distances\u2014six inches, eight inches, and 20 inches\u2014and Larry [Fishman] used modeling software to work with the pickup to emulate those mic sounds. It\u2019s given me the dobro sound back.\u201d<\/p>\n\n\n\n<p>Onstage, he has been playing through an AER Compact 60 amp. \u201cTommy Emmanuel got me into those,\u201d Douglas says. \u201cThey\u2019re just amazing-sounding amplifiers.\u201d&nbsp;<\/p>\n\n\n\n<p><em>\u2014EM<\/em><\/p>\n\n\n\n<div>\n<a href=\"https:\/\/store.acousticguitar.com\/products\/no-351-march-april-2025\" name=\"magazine\"><img data-recalc-dims=\"1\" decoding=\"async\" style=\"width: 150px; height: 198px; margin: 0px 20px 10px 0px;\" src=\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2025\/01\/001_351_Cover-150px.jpg?w=1290&#038;ssl=1\" alt=\"Acoustic Guitar magazine cover for issue 350\"><\/a>\n<p style=\"font-family: sans-serif; margin: 0px 0px 15px 0px;\">This article originally appeared in the <a href=\"https:\/\/store.acousticguitar.com\/products\/no-351-march-april-2025\">March\/April 2025<\/a> issue of <em>Acoustic Guitar<\/em> magazine.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>The 16-time Grammy winner revisits his classic songs with a fresh perspective and a cohesive, road-seasoned band on \u2018The Set.\u2019<\/p>\n","protected":false},"author":5,"featured_media":147051,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"advanced_seo_description":"The 16-time Grammy winner revisits his classic songs with a fresh perspective and a cohesive, road-seasoned band on \u2018The Set.\u2019","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[1155],"tags":[1963],"ppma_author":[1588],"class_list":["post-147046","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-guitar-talk","tag-march-april-2025"],"blocksy_meta":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2025\/01\/Jerry_Douglas_Smiling_w_Dobro_-_Wallpaper_Credit_Scott_Simontacchi.jpg?fit=1200%2C830&ssl=1","jetpack_sharing_enabled":true,"authors":[{"term_id":1588,"user_id":0,"is_guest":1,"slug":"emile-menasche","display_name":"Emile Menasch\u00e9","avatar_url":{"url":"https:\/\/acousticguitar.com\/wp-content\/uploads\/2015\/11\/Emile-Menasche.jpg","url2x":"https:\/\/acousticguitar.com\/wp-content\/uploads\/2015\/11\/Emile-Menasche.jpg"},"author_category":"","user_url":"","last_name":"Menasch\u00e9","first_name":"Emile","job_title":"","description":"Guitarist, composer, writer."}],"_links":{"self":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts\/147046","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/comments?post=147046"}],"version-history":[{"count":5,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts\/147046\/revisions"}],"predecessor-version":[{"id":147131,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/posts\/147046\/revisions\/147131"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/media\/147051"}],"wp:attachment":[{"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/media?parent=147046"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/categories?post=147046"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/tags?post=147046"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/acousticguitar.com\/wp-json\/wp\/v2\/ppma_author?post=147046"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}