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In this Guitar World exclusive, we’ve gathered together Mustaine and his Megadeth coguitarist, Glen Drover, Lamb of God’s Mark Morton and Willie Adler, Arch Enemy’s Michael Amott and Fredrik Akesson and Trivium’s Matt Heafy and Corey Beaulieu to teach you the essential skills of modern shred.
This month’s column focuses on an original composition of mine that acknowledges the influence of classical pianists on my playing style, specifically the way in which pianists will play arpeggios across several octaves very quickly (see FIGURE 1). In order to emulate that sound on the guitar, I’ve devised a few fretboard tapping techniques. In fact, much of my two-hand tapping technique is based on that goal and approach.
David Ellefson had an incredibly busy 2013. With Megadeth he released Super Collider, the band’s highest-charting album since 1994’s Youthanasia. In October he released his memoirs, My Life With Deth: Discovering Meaning in a Life of Rock & Roll, which he wrote with Joel McIver.
We're not gonna lie: The Dean scene at NAMM is always pretty cool. All the latest guitars and basses are there (Hopefully you caught GW's Twitter coverage of NAMM; if not, we'll have our photo galleries and videos posted very soon), and a heaping helping of Dean Guitars endorsees can be spotted in the general area.
Here's a very cool acoustic version of "Kingmaker" performed live acoustically by Dave Mustaine, Chris Broderick and the gang in celebration of the release their 2013 Super Collider album. Check out the all-acoustic performance with Dave Ellefson on an acoustic bass and Shawn Drover on the cajon. Dig it!
The sound of the guitar was so untamed, and it lit a fire inside me to approach the guitar like a weapon. The lore behind Let There Be Rock is that Angus and Malcolm Young would face a Marshall against the wall and crank the sucker all the way up. You can tell the amp was turned up unbelievably loud: you can practically feel Angus' fingerprints rubbing against the strings.