Electric guitars are often compared to cars, but one important distinction is that car design continues to progress across the board, while guitar design, with a few notable exceptions, seems predominantly stuck in bygone eras.
Everyone eventually sits in with their spouse's Judas Priest cover band—and Dream Theater guitarist John Petrucci is no different! Below, watch Petrucci perform "Beyond the Realms of Death" with Judas Priestess, a band that happens to feature his wife, Rena Sands, on guitar.
It's our first SBMM 'Chameleon' finish, and was selected by JP himself earlier this year between DT tours. Needless to say, it's probably our most requested finish since day one, and we searched high and low for something that could be our counterpart to EBMM's Mystic Dream finish. John personally selected this out of several samples we sent him.
Hello, and welcome to my new Guitar World instructional column. In the coming months, I’ll share with you some of the guitar-playing concepts and approaches that have helped me develop my technique and overall playing style. I’d like to start off with an examination of ascending scalar shapes that, by design, cover the majority of the fretboard.
Late last week, the gang at Mesa/Boogie posted a video of Dream Theater guitarist John Petrucci (and his signature Ernie Ball/Music Man Majesty guitar) testing out a prototype of the company's Mark 5 Twenty-Five guitar amp.
In the newly posted video below, Dream Theater guitarist John Petrucci discusses and demos Ernie Ball's M-Steel guitar strings. Ernie Ball calls the strings, which were introduced earlier this year, "the world's loudest, most expressive strings ever created."
“I was also blown away by how a three-piece band could sound so majestic and huge and play in a style that’s inherently rock and roll yet still pushes the boundaries of what they’re doing musically—this idea of being experimental, using different time signatures and not really being concerned about song length and traditional constraints. I can’t tell you how huge of an impact that had on me. 2112 basically set the course for my musical career and how I approached Dream Theater.”
As I have discussed in previous columns, I often use triadic arpeggio forms within my riffs and solos as a tool to create rich-sounding, poly-chordal sounds. I’d like to continue in that vein in this month’s column by presenting different ways in which to move from one arpeggio form to another.