How to Mute Your Guitar for Quiet Practice


Sometimes, it’s nice to play guitar without others hearing it. When we want this, we need ways to mute the guitar.

For quiet guitar practice, we have several options. We can stop or reduce the sound that comes from the guitar.

Here are ways to mute your guitar, save your relationships, and secretly improve your guitar prowess.

 

Why Mute Your Guitar?

We may have personal reasons to mute the guitar. Loud, annoying scales and exercises may affect other people in the house.

Or it may be late and we want to respect a quiet house.

Or it may be that we feel self-conscious when other people hear us practicing. Here, we can relax and do better work with a silent or near-silent guitar.

Below are a few of the most common methods to mute your guitar.

Method #1: Mute the Strings

The most common way to quiet your guitar is to dampen the strings. Not with water! But with a sock or dry sponge (cut to size with a pair of scissors).

We can slide a cloth under the strings to the area just this side of the bridge.

This method stops the sustain. We can still hear the pitches of the notes, but the guitar no longer resonates or rings out.

NOTE: A sock with the toe cut out can also be used as a guitar sleeve. This is useful when wearing short sleeves, but we would rather not have our bare forearm resting on the guitar.

And this is especially important with guitars using a French polish finish, which dissolves under a sweaty arm. So an old sock can be a useful addition to your guitar case.

Method #2: Cover the Sound Hole

We can also cover the sound hole to reduce the volume of the guitar. When we do, the sound waves do not enter the box and resonate.

Here, we keep the general sound of the guitar. The strings act and resonate as usual, but quieter.

To cover the sound hole, we can purchase a soundhole cover that fits across the hole. Soundhole covers are more popular for steel-string acoustic guitars. But they are available for classical guitars as well. Cordoba makes a soundhole cover.

Humidifiers may also fit over the soundhole and act as a mute. However, some fit close to the strings and affect playability. But if you take a chance and test one, you’ll at least end up with a humidifier for your guitar.

Method #3: Fill Your Guitar with Soft Fabric

This solution takes more time than the others but works well. You can fill your guitar with soft fabric.

This allows the guitar to play as usual. The strings still vibrate and feel the same. The main difference in feel is that the guitar is heavier than usual and may balance differently.

For material, we can use socks and underwear, a soft towel, or a small blanket.

This method does come with risks. If we stuff the guitar too full, it may push on the bracing inside the guitar. If a brace loosens, it will rattle in a most aggravating way. In this case, it will need professional help.

And if you have electronics in your guitar, it may be best to avoid this method completely. The stuffing could disconnect wires or loosen connections.

For travel, this can be a good option. Not only can we use the empty space for soft clothes, we can also practice in hotel rooms without disturbing the neighbors.

Another Option: Practice Playing Quietly

This is not a muting method, but it is worth mentioning. We can take the opportunity to work on our quiet playing.

Playing at low volume with high energy is a special skill. It takes practice, control, and awareness.

So on occasion, we can use our desire for low volume to work on developing this ability.

Whatever method you choose, it’s better to practice with a muted guitar than not at all. So if noise is ever a factor, a mute can help us keep momentum. We can steadily progress even though the full guitar sound is not appropriate or wanted.


Allen Mathews

Hi, I’m Allen Mathews. 


I started as a folk guitarist, then fell in love with classical guitar in my 20’s. Despite a lot of practice and schooling, I still couldn’t get my music to flow well. I struggled with excess tension. My music sounded forced. And my hands and body were often sore. I got frustrated, and couldn’t see the way forward. Then, over the next decade, I studied with two other stellar teachers – one focused on the technical movements, and one on the musical (he was a concert pianist). In time, I came to discover a new set of formulas and movements. These brought new life and vitality to my practice. Now I help guitarists find more comfort and flow in their music, so they play more beautifully.
Click here for a sample formula.





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