Imagine one day you get a job. You think it’s only gonna be for a few months and then you’ll move on. Then you look up and 25 years have gone by. Were you under a spell, an enchantment of sorts? Esther Marron, the No. 1 employee at Fender's Ensenada, Mexico, factory, can answer that question.
Is this the right time to record the rock opera you've been putting off? Should you join that death-metal-bluegrass band that keeps inviting you to sit in? Check in every week with Margaret Santangelo's Rock Stars column.
What do you do if you are having an off day? Just not feeling it? We all have off days. However, I am a professional. That means I'm expected to perform. So even if I'm having an off day, my playing can only get so bad. I can always call upon experience. And being well practiced helps give a good performance. It may not be magic, but it will be damn good.
Greetings Guitar World readers! Before I get started, I'd like to introduce my band as many of you probably have never heard of us. We are Stealing Axion, a progressive groove metal band from Tacoma, Washington.
These arpeggios are one note per string. I love this technique because it allows me to cover the neck very quickly while freely changing positions on the fretboard. My inspiration for this kind of playing came from listening to piano players. I would hear the way they played arpeggios and try to mimic it on the guitar. Because piano players have both hands on the keys, they are able to create some monstrous-sounding arpeggios and runs.
I've spent most of the past three months in underground labyrinths supporting Nickelback on an arena tour. And while I'm not really burned out, I am looking forward to going home for a week. I rented a home in Los Angeles days before Bush left for Southeast Asia and Australia. That was in January. It's now the end of June, June 27 to be exact. I've spent a total of seven days in said house in said time period.
Revered by experienced tunesmiths but often overlooked by novice writers, the bridge, or the middle eight as some call it (derived from its typical, but not set in stone, 8-bar length), is a songwriting device/song section that’s traditionally used to change things up mid-tune, breathing new life into the structure of a song.
Look at that Fender Strat in your hands. Did you ever think about how many hands touched it before it landed in your capable grip? To be honest, I didn’t -- until I made a visit to Fender's factory in Ensenada, Mexico, to help celebrate the facility’s 25th anniversary. Our stay included a tour of the production facilities.
I remember listening to Holdsworth play when I was a kid -- with complete disbelief at what I was hearing. It almost didn’t sound like a guitar. The speed and the wide intervalic playing was simply amazing. It wasn’t until I saw live footage of him playing that I began to understand how he created that amazing sound.
Here are some tidbits of advice from 10 ladies who have put their doubts and reservations aside (Yes, they still have them, but that’s a topic for another article). They’ve faced skepticism, arrogance, confusion, exhaustion and so much more. And they’ve been gracious enough to share a morsel of inspiration with all of you who are doing the same.