For the uninitiated, a B-bender is a contraption (the perfect word for it) that lives in- or outside your guitar and allows you to pull—usually with some sort of arm, palm, shoulder or hip movement—your guitar's B string up a perfect whole step. So, a B note would suddenly become a C# (or a C, if you don't bend the string all the way).
Eric Clapton, Jimmy Page, Eddie Van Halen, blah, blah, blah … We know those guys can play, but what about Speedy Haworth, who dazzled audiences in the Fifties with his appearances on ABC-TV’s Ozark Jubilee? Or how about the underrated, mustachioed Canadian guitar hero Frank Marino of Mahogany Rush?
While recording equipment and software has become increasingly more affordable and easy to use, mastering has remained an elusive and expensive final step in the recording process. To successfully master a track, you either need to download and learn how to use a pricey plug-in or bite the bullet and hire a professional.
Have you ever bought a guitar slide and had intentions of ripping new leads with it, only to discover when you get home that it’s damn near impossible to use? Yeah, I’ve been there, too. Playing slide guitar, well, takes a little dedication in practice, but also in the way you set up your gear, too.
It seems like only yesterday that the Fabulous Thunderbirds, an upstart rocking-blues band from Austin, Texas, released their debut album, Girls Go Wild. It was, in fact, more than three decades ago. Since that time, Jimmie Vaughan, the T-birds’ founder and guitarist from 1976 to 1989, has gone from being a skinny kid with a Strat and a perm to one of today’s elder statesmen of the blues.
Many guitarists complain that they can't keep guitars with Floyd Rose (or Floyd Rose-style) tremolo systems in tune. Because of this, many players write off the Floyd Rose all together. So, with that in mind, I've prepared a few tips to help you with the three most common problems you might encounter.
It’s impossible to think about Eighties rock without vibrant visuals of half-naked dudes prancing around stage wearing more makeup and hair product than a horde of groupies. Even though the period broke almost every unwritten rule of rock and roll, it became one of its most successful sub-genres. So, what if this current Eighties revival is stronger than we realize and hair metal rises from the ashes like a Spandex and lace-clad phoenix?
What possesses a musician to obscure his or her ugly mug with a mask or makeup? There are probably as many reasons as there are noodles in a box of Kraft Macaroni & Cheese: showmanship, shyness, chronic acne and participation in the witness protection program are a few of the more popular explanations.
In this first lesson, you’ll learn how to use 7th and 7#11 arpeggios to outline the tritone sub in a ii V I chord progression, allowing you to take your soloing chops up a notch and begin to create lines in the same vibe as your favorite jazz guitarists at the same time.