For those who don't know me, my name is John Browne (but please call me Browne), guitarist and song writer for the progressive metal band Monuments. I've been playing guitar since I was 10 (although I didn't really start to play until I was bought my first electric when I was 13). I've also produced and recorded bands for the past seven years, including the production of our debut album Gnosis, which was released via Century Media on September 25th in North America.
Vibrato seems so simple, yet I feel it is taken for granted by many people. In turn, it is usually something that is never touched on in a practice regimen. The good news is, even if you've been playing for years, it's never too late to be aware of — and to start fixing — your vibrato, if you feel it could improve.
When learning how to play jazz guitar, one of the things that many players want to explore and get under their fingers is walking basslines. Though learning how to walk a bassline (and comp at the same time) can take a lot of experience and time in the woodshed, there are a few rules and pointers you can follow in order to get you off on the right foot as you begin to explore the world of basslines for jazz guitar.
This is Sam Dunn, one of the directors at Banger Films and the host of the series Metal Evolution, an 11-part series on the history of heavy metal and hard rock that recently aired on VH1 Classic and is airing on networks around the world. First off, I want to thank everyone that watched the series and bought the DVD. You guys helped push the series into the #1 spot on VH1 Classic and MuchMore in Canada! Horns up to all of you…
So you're stuck. You're stuck playing the same old tired Eric Clapton/Chuck Berry blues/pentatonic licks you've played for the past 20 years. You're stuck listing to the same bands and songs since high school. Your playing and musicianship is stagnant, spinning its wheels in quagmire of the same old same old. I get the picture. We've all been there.
I'll start this with a great day off in Portland, Oregon. Our guitar tech Milly and I went for a long walk in search of some Otter wax (to wax my jacket with) which I found out is made and distributed in Portland.
OK, it was web TV, but it was still live, and I was guessing it would be pretty weird playing to a virtual audience. But in reality I had a great experience when I sat down for an interview and informal performance on the set of Lunch with Dan, a web TV show hosted every Wednesday by Dan Boul, owner of 65amps.
Without the right tone coming out of your amp, it’s easy to get disappointed during recording sessions, gigging or practicing at home. It’s all about what you hear that counts. And if anyone knows about amplifier tone, it’s Jim Sabella.
As you read along this week, please excuse any typos or grammatical sloppiness you may encounter, as I’ve given myself a limit on the time allotted for the creation of this piece. In efforts to, hopefully, illustrate a point (if only to myself), in exactly T minus 20 minutes I will, despite all completest urges, stop writing.
I recently had the pleasure of meeting one of my idols, David Spinozza. From 1970 through the '80s, NYC was a hot spot for studio work. I came into the game in the early '80s. But David was one of the names I followed, along with others like Elliot Randall, Steve Kahn and John Tropea. They owned the guitar seats on countless sessions, and David happened to be in the right place at the right time.