When my father took me shopping for my first electric guitar and amp, he gave me two choices: a cherry sunburst Gibson Les Paul (brand new: $575, no joke) with a Peavey 10-watt amp, or an Aria Pro II guitar with a Peavey 65-watt Bandit amp. At the time I was just joining my first band, so as much as it pained me to not show up looking like Jimmy Page, I knew a 10-watt amp wasn't going to cut it.
We interrupt our regular top nut series to bring you a request. I’ve had a lot of you asking for a guide to balancing your guitar’s vibrato unit. Well, here it is. The good news is that the whole balancing process is the same for most locking and non-locking vibrato units; i.e. any unit that’s based on the classic Stratocaster spring vs. string tension design.
In this Sick Lick, I'm using the E pentatonic scale with the added major 3rd. This is one of my favorite scales to use when soloing. It creates such a unique sound and is very noticeable, especially when adapted to rock or metal solos. It's a great way to really throw the listener, as we would predominately use minor scales in rock or metal solo. The listeners aren't really accustomed to hearing the major 3rd.
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.