Roland en Mass Effect: The Top 50 Stomp Boxes, Devices and Processors of All Time <!--paging_filter--><p>Has any piece of musical equipment proliferated more, or more rapidly, than the humble electric guitar effect unit? </p> <p>Though there is no official tally, suffice it to say that thousands of stomp boxes, effect devices and processors have been created for the electric guitar over the past 60 years (and that’s not including rackmount effects). Conceivably, more than half of those devices are distortion, fuzz and overdrive effects.</p> <p>So how did we come up with a list of the top 50 electric guitar effects of all time? Actually, it was easy, as most of these stomp boxes and devices turn up in the pages of this magazine on a regular basis every time we ask artists what they use in the studio and onstage.</p> <p>Other effects got the nod for being the first of their kind (like the DeArmond Tremolo Control, which dates back to the Forties and was the first optional effect device) while a few passed muster for being undeniably cool or influential — even if they’re so rare that it will cost you a few thousand bucks to score one on eBay.</p> <p>Popularity also was a critical factor in our choices, although we generally passed over a few best-selling reissues or boutique clones in favor of the real deal. So even though the Bubba Bob Buttcrack Tube Overdrive may sound more soulful than an original Tube Screamer, if it’s little more than a copy with slightly upgraded components, it didn’t make the cut. </p> <p>If you love effects like we do, we hope you'll find this top-50 list a useful guide to discovering the classic effect boxes that have shaped the guitar sounds of rock, metal, blues, punk and many other styles. And if you're like us, it will undoubtedly compel you to plunk down a chunk of cash for a collectible pedal or two on eBay. Don't say you weren't warned.</p> 2011 Articles Boss GW Archive Ibanez July 2011 Roland Guitar World Lists Effects July News Features Gear Magazine Thu, 25 Jun 2015 12:25:16 +0000 Chris Gill 17196 at Motobunny Perform "Thinkin’ About Me” for 'Roland Sessions' — Video <!--paging_filter--><p>Motobunny are a new, Icona-Pop-meets-Iggy-Pop, American rock and roll band with two dynamic frontwomen and a debut album on Rusty Knuckles Music. </p> <p>Led by dual singers Christa Collins and Nicole Laurrene, the band’s aesthetic has as much to do with Laurrene’s Michigan rock roots as the surf sounds and pounding percussion of LA’s punk and garage scenes. Rarely does a rock band present with two such well-matched, intense vocalists, but the rest of Motobunny keep up easily, ripping through songs straight out of a Tarantino film. </p> <p>Motobunny inked a sponsorship deal with Roland recently and headed into their studio to film Roland Sessions. You can check out the first video below.</p> <p>The Roland folks hooked Nicole up with the custom keytar of her dreams, complete with a beautiful black sparkle finish, while Christa rocks the Roland Interactive Analog/Digital Crossover Synthesizer.</p> <p>Motobunny formed after members of two bands, the Love Me Nots and the Woolly Bandits, got on stage together in 2013. After years of sharing green rooms, tour vans and seedy motel rooms, it was the first time they had performed as one band, and the electricity was undeniable. Together they dashed off songs for a dual-frontwomen rock collaboration, enlisted the help of Love Me Nots drummer Jay Lien and headed to Detroit to record a full-length album with Jim Diamond (White Stripes, Electric Six, Dirtbombs). </p> <p>Mixed by Bob Hoag (the Format, Dear and the Headlights, Ataris) and mastered by Jason Livermore (Rise Against), the result is 12 tracks of tough rock and roll topped off with a girls-just-wanna-have-fun attitude.</p> <p><strong>For more about Motobunny, follow them on <a href="">Facebook.</a></strong></p> <p><em>Photo: Frank C. Photography</em></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> Motobunny Roland Videos News Thu, 04 Jun 2015 21:44:58 +0000 Guitar World Staff 24643 at Essential Listening: Eric Johnson's 10 Greatest Guitar Songs <!--paging_filter--><p>As much as he might try to deny it, Eric Johnson is a member of that small group of players sometimes referred to as "guitarists' guitarists." </p> <p>Players—like Jeff Beck, for instance—whose skills are (secretly, perhaps) the envy of his peers.</p> <p>Johnson is, however, well aware of the dual trademarks that are likely to become his legacy: instantly recognizable tone and a painstaking pursuit of perfection.</p> <p>"I've realized I've always been pretty hypocritical," Johnson told <em>Guitar World</em> in 2000. "My favorite albums have always had mistakes on them, but I can't stand to have mistakes on mine."</p> <p>Today, for your listening and viewing pleasure, we've gathered 10 of Johnson's greatest songs—tracks that we feel come pretty damn close to perfection. Although we've tried to make it a career-spanning list, we couldn't help but put a bit of extra emphasis on his 1990 masterpiece, <em>Ah Via Musicom.</em> </p> <p>We also couldn't help but include live clips of all 10 songs. After all, there are a hell of a lot of high-quality YouTube videos of Johnson in action.</p> <p>So sit back and enjoy some of the finest guitar playing you'll hear—and see—today! And even if you don't agree with nine of these 10 choices (no one's making an Eric Johnson best-of list without "Cliffs of Dover"), it's pretty much impossible to fault the playing in these 10 clips. Enjoy! — <em>Damian Fanelli</em><br /> <br /><br /> <span style="font-size:18px;font-weight:bold;">"Benny Man’s Blues"</span><br /> <em>Eclectic,</em> Eric Johnson and Mike Stern (2014)</p> <p>"Mike [Stern] was saying we should have an up-tempo blues piece for [<em>Eclectic</em>], which I thought was a cool idea," Johnson told <em>Guitar World</em> last year. "While I was figuring out what to do, I started thinking about some of those old Benny Goodman records where there’s just a couple of chord changes, but it still has that blues vibe."</p> <p>"That's a really cool track with a Texas-swing feel to it," Stern added. "I originally didn't know how Eric wanted to do it, but once [drummer] Anton [Fig] started playing the back beat, I immediately got where he was coming from."</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <span style="font-size:18px;font-weight:bold;">"Austin"</span><br /> <em>Up Close</em> (2010)</p> <p>On the gutsy, blues-rock stomper “Austin,” Johnson fills the verses with glassy, jazzy chords before letting loose with a jaw dropper of a solo in which notes seemingly somersault over one another.</p> <p>“I really love that song,” Johnson told <em>Guitar World</em> in 2011. “I’m a born-and-bred Texan, and I wanted to write something about the town I remember as a kid. Austin’s still a great place to live, but it’s changed in some ways environmentally that I’m not pleased about.” </p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <span style="font-size:18px;font-weight:bold;">"S.R.V."</span><br /> <em>Venus Isle</em> (1996)</p> <p>And speaking of Austin, “S.R.V.,” from Johnson‘s <em>Venus Isle</em> album, was written as a tribute to fellow Austin-based guitarist Stevie Ray Vaughan, who died in 1990. </p> <p>The studio version of the track features a guest solo by SRV's big brother, Jimmie Vaughan, who also appears on "Texas" from Johnson's <em>Up Close</em> album (The track also features fellow Texan Steve Miller).</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <span style="font-size:18px;font-weight:bold;">"Fatdaddy"</span><br /> <em>Up Close</em> (2010)</p> <p>“This song was kicking around for a few years, and I could never figure out what to do with it," Johnson recently told <em><a href="">Music Radar</a></em>. </p> <p>"Sometimes it takes a while for a number to find a home. And the funny thing is, this was the last track that I cut for the album, the one that I had in my back pocket for so long.</p> <p>“I didn’t plan on recording it for the record, but right as I was finishing, I thought I was lacking an uptempo instrumental song, something that kind of rocks in a no-nonsense way. So I cut 'Fatdaddy' at the last moment. To me, the riff is a little Jan Hammerish, and I definitely had that in mind for years. The solo, though, is completely improvised, which is why it sounds pretty fresh, I think.”</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <span style="font-size:18px;font-weight:bold;">"Trail of Tears"</span><br /> <em>Tones</em> (1986)</p> <p>As "Trail of Tears" proves, there's nothing quite like the sound of a '54 Fender Strat going through a 100-watt Marshall head. Especially when Johnson is playing it.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <span style="font-size:18px;font-weight:bold;">"Desert Rose"</span><br /> <em>Ah Via Musicom</em> (1990)</p> <p>Here's a touch of jangly Eighties pop made glorious by its guitar solos. In this particular video, Johnson's guitar is way too low in the mix during the first solo (although we have no problem at all hearing that snare drum); the problem is repaired in time for the second guitar solo.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <span style="font-size:18px;font-weight:bold;">"Trademark"</span><br /> <em>Ah Via Musicom</em> (1990)</p> <p>Here's "Trademark," one of the lesser-known <em>Ah Via Musicom</em> instrumentals, which has a definite Eighties vibe to it, often even bringing the Police's Andy Summers to mind. It's another fine example of the magic Johnson can conjure with a Strat.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <span style="font-size:18px;font-weight:bold;">"Zap"</span><br /> <em>Tones</em> (1986)</p> <p>"I guess 'Zap' is the only one we cut head on," said Johnson of the exciting, Grammy-nominated exciting fusion-rocker from <em>Tones</em>. "We recorded that as a three-piece, and I added just a very little bit of overdubs."</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <span style="font-size:18px;font-weight:bold;">"Manhattan"</span><br /> <em>Venus Isle</em> (1996)</p> <p>Here's this list's official smooth jazz entry, "Manhattan," from <em>Venus Isle.</em></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <span style="font-size:18px;font-weight:bold;">"Cliffs of Dover"</span><br /> <em>Ah Via Musicom</em> (1990)</p> <p>“I don’t even know if I can take credit for writing ‘Cliffs of Dover,’ ” says Eric Johnson of his best-known composition. </p> <p>“It was just there for me one day. There are songs I have spent months writing, and I literally wrote this one in five minutes. The melody was there in one minute and the other parts came together in another four. I think a lot of the stuff just comes through us like that. It’s kind of a gift from a higher place that all of us are eligible for. We just have to listen for it and be available to receive it.”</p> <p>While it is true that he wrote the song in a blessed instant, the fact is that Johnson, a notoriously slow worker, took his time polishing it up to form. “It took me a while to achieve the facility to play it right,” he says. “I was trying to work out the fingerings and how I wanted particular notes to hang over other notes.”</p> <p>Even allowing for Johnson’s perfectionism, it took an extraordinarily long time for him to record a song that “came to him” in five minutes. That epiphany occurred in 1982, and within two years “Cliffs of Dover” was a popular staple of his live shows. He planned to include the song on his solo debut, Tones (Capitol, 1986), but, ironically, it didn’t make the cut. “It was ousted by the people who were doing the record with me,” Johnson explains. “I think they thought the melody was too straight or something.”</p> <p>Luckily, wiser heads prevailed on <em>Ah Via Musicom</em>. Though he had been playing “Cliffs of Dover” live for four or five years by then, it still took Johnson multiple takes to nail the song to his satisfaction—and he was never pleased with any version. </p> <p>“The whole solo is actually a composite of many guitar parts,” Johnson says. “I knew exactly how I wanted it to sound—almost regal—and though I had versions that were close, none quite nailed it, so I kept playing around with different permutations of the many versions I had recorded until I got it just right.</p> <p>“As a result, I actually ended up using two different-sounding guitars. Almost all of the song is a Gibson 335 through a Marshall, with an Echoplex and a tube driver. But in the middle of the solo there’s 20 or 30 seconds played on a Strat. It really does sound different if you listen closely and at first I didn’t think it could work, but I really liked this string of licks so we just decided to keep it. It basically just sounds like I’m hitting a preamp box or switching amps."</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/eric-johnson">Eric Johnson</a> </div> </div> </div> </fieldset> Eric Johnson Essential Listening Roland Videos News Features Thu, 16 Apr 2015 11:11:54 +0000 Damian Fanelli 24297 at Practice Made Perfect: Guitar World Rounds Up 17 Amazing Practice Amps <!--paging_filter--><p>Playing live might be the best way to hone your performance skills, but when it comes to technique, you need practice, practice, practice. If you play an electric guitar, your woodshedding sessions demand an amp that not only reveals the details and nuance of your playing but also sounds great—so great that it makes you want to practice more and become the best guitarist you can. Of course, it’s even better if it has built-in effects, a tuner, a metronome, and connectivity to the world of digital apps, downloads and MP3 players. With that in mind, we set out to find the best-sounding and best-outfitted practice amps currently on the market. Over the next pages, you’ll find practice combos and heads that pull double-duty as studio and rehearsal powerhouses and others that offer computer, USB, Bluetooth, iOS and Android connectivity. Whether you love an all-tube rig, solid-state power, or feature-laden digital/modeling amps, you’re sure to find that one of these tone machines makes practice perfect.</p> Carr Amplifiers Epiphone Fender Ibanez Peavey Roland September 2014 Amps News Features Gear Magazine Mon, 13 Apr 2015 13:59:40 +0000 Paul Riario 21835 at Review: Roland Cube 10GX Guitar Amplifier — Video <!--paging_filter--><p><strong><em>GOLD AWARD WINNER</em></strong></p> <p>Not too long ago, practice amps were about as exciting and satisfying as a mayonnaise on white bread sandwich. </p> <p>About the best thing anyone could say about them is that they produced a sound that was louder than someone talking, but their tones and features (if they offered anything beyond basic volume and tone controls) weren’t exactly inspirational. </p> <p>Enter Roland’s Cube series, which proved that tiny, affordable amps didn’t need to be boring. One of their latest products—the Cube 10GX—even allows you to customize it any time you want using an app for a smart phone or tablet. Surprisingly affordable and shockingly versatile, the Roland Cube 10GX is easy to use and so much fun to play that you may consider plugging into a bigger rig too much of a hassle.</p> <p><strong>FEATURES</strong> The Roland Cube 10GX has almost identical dimensions to the beloved tweed Fender Champ, but it’s probably 100 times more versatile. Power output is 10 watts, and a single 8-inch speaker is housed in a cabinet with a completely closed back to enhance bass response. A selection of three COSM amp models (Clean, Crunch and Lead) is accessible via a pushbutton on the top control panel, and volume and gain controls let users dial in a variety of clean, overdrive and distortion textures. The three-band EQ section provides the usual bass, middle and treble controls, and an Effect knob provides access to chorus, delay, reverb and spring reverb. Only one effect is available at a time, and the delay and reverb decay times are variable. The rear panel provides 1/8-inch auxiliary input and recording/headphone output jacks. </p> <p>Roland’s free Cube Kit app for iOS and Android devices allows users to replace the COSM presets with custom COSM amps. Currently the app provides 10 different COSM amp types: JC Clean, Black Panel, Brit Combo, Tweed, Classic Stack, Orng Stack, Metal Stack, R-Fier Stack, as well as acoustic guitar and bass amps, allowing you to use acoustic guitars and basses. Any custom COSM amp can be assigned to any of the amp type presets. For example, you can customize the Cube 10GX to provide Classic Stack, Metal Stack and R-Fier Stack amp types or JC Clean, acoustic guitar and bass.</p> <p><strong>PERFORMANCE</strong> The most impressive feature of the Cube 10GX is its sound quality. All of the COSM presets and custom amp types deliver outstanding tone and responsive performance that simply feels great to play. While the effects are somewhat basic and limited, they sound great as well and add a nice touch of professional polish to the overall tones and textures. The EQ section changes depending on which amp type is selected, but the voicing of the EQ always provides a useful variety of tones that never sound artificial or unnaturally harsh. The high gain amp types have the fast attack and crisp articulation of a solid-state amp or distortion pedal instead of the softer transients of an actual tube amp, which is ideal for perfecting speed-picked metal rhythms and precise soloing. The clean tones are satisfyingly harmonically rich and expressive, providing ample body for jazz and percussive twang for country.</p> <p>Loading new COSM amp types couldn’t be any easier, but note that the process requires a physical cable connection between the smart phone/tablet and the Cube 10GX amp. Wireless Bluetooth connection would provide the ultimate convenience for this application, but that feature would probably add quite a few extra bucks to the 10GX’s insanely affordable price, and most players will probably keep their three favorite COSM amp types loaded in the amp once they’ve narrowed down their choices.</p> <p><strong>CHEAT SHEET</strong><br /> <strong>STREET PRICE</strong> $129.00<br /> <strong>MANUFACTURER</strong> Roland Corporation, <a href=""></a></p> <p>Three COSM amp types are available, which provide the tonal variety and functionality of a three-channel amp.</p> <p>The free Cube Kit app for iOS and Android smart phones and tablets allows users to customize the amp by downloading new COSM models to the amp type presets.</p> <p><strong>THE BOTTOM LINE</strong> A fun practice amp and a versatile recording tool, the Roland Cube 10GX stands out from the usual compact practice amps with its amp type customization feature and outstanding tones.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> April 2015 Roland Videos Amps News Gear Magazine Mon, 09 Mar 2015 14:43:18 +0000 Chris Gill, Video by Paul Riario 23600 at Boss Waza Craft DM-2W Delay Pedal: Analog Delay Is Back, with a Modern Edge <!--paging_filter--><p>Ever since being discontinued back in 1984, the Boss DM-2 Delay pedal has remained highly sought after by players everywhere for its warm, “bucket brigade” analog delay tone. </p> <p>Now the DM is back! With Boss's new <a href="">Waza Craft DM-2W,</a> the coveted stomp has been reborn with switchable sound modes and greater versatility for today’s music styles. </p> <p>Using 100-percent analog circuitry, the DM-2W’s Standard mode nails the lush sound and 20-300 ms delay range of the original DM-2. Flipping into Custom mode instantly changes the sound character to a cleaner analog tone with over twice the available delay time.</p> <p><strong>This special-edition Waza Craft pedal delivers the ultimate Boss tone experience, including:</strong></p> <p>• True reproduction of the vintage DM-2 Delay sound<br /> • Premium all-analog circuit with BBD (bucket brigade) delay line<br /> • Standard mode for authentic DM-2 tone with 20-300 ms delay time<br /> • Custom mode provides warm-yet-clear delay sound and over twice the delay time<br /> • Expression pedal input for foot control of delay time<br /> • Two output jacks allow separate output of delay and direct sounds<br /> • Boss five-year warranty.</p> <p><strong>For more information about the Waza Craft DM-2W, check out the demo video and specs below, and visit its dedicated page on <a href=""></a></strong></p> <p><iframe width="620" height="370" src="" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202015-03-03%20at%203.04.44%20PM.png" width="620" height="533" alt="Screen Shot 2015-03-03 at 3.04.44 PM.png" /></p> Boss March Madness Roland Videos Effects News Gear Wed, 04 Mar 2015 13:53:22 +0000 Guitar World Staff 23646 at NAMM 2015: Eric Johnson Demos His Signature Roland Blues Cube Tone Capsule — Video <!--paging_filter--><p><strong>Follow along with Guitar World's coverage of the 2015 Winter NAMM Show with nonstop gear news items and videos on <a href="">'s official NAMM 2015 Zone,</a> updates on <a href="">Facebook</a> and photos and more on <a href="">Twitter</a> and <a href="">Instagram.</a></strong></p> <p>Guitarist Eric Johnson and Boss/Roland have gotten together to create the new Eric Johnson Blues Cube Tone Capsule, which plugs into Roland's Blues Cube guitar amp.</p> <p>“I’ve spent years finding amplifiers to suit my tonal quest and discerning criteria to get my sound," Johnson said. </p> <p>"I’m excited to work with Roland to create many aspects and persona of that sound in a more compact, tangible and affordable version for all kinds of players.”</p> <p>You can watch Johnson playing and discussing the Blues Cube and the Eric Johnson Tone Capsule in the new video below. </p> <p>For more information, visit <a href=""></a></p> <p><strong>For more NAMM 2015 coverage, visit <a href="">'s official NAMM 2015 Zone,</a> get updates on <a href="">Facebook</a> and photos and more on <a href="">Twitter</a> and <a href="">Instagram.</a> It's like you're at the show!</strong></p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/eric-johnson">Eric Johnson</a> </div> </div> </div> </fieldset> Eric Johnson NAMM 2015 Roland Videos Amps News Gear Thu, 22 Jan 2015 17:01:55 +0000 Guitar World Staff 23341 at Anna Sentina Demos Roland CUBE-10GX Guitar Amp — Video <!--paging_filter--><p>In this new video, which was posted yesterday by Roland, multi-Instrumentalist and Roland/BOSS artist Anna Sentina demos the new Roland CUBE-10GX guitar amp.</p> <p>In the clip, Anna plays electric guitar, acoustic guitar and electric bass.</p> <p>From the company: </p> <p>"From bedroom practice to jamming with friends to tracking in the studio, the CUBE-10GX delivers top-shelf guitar tones wherever you play."</p> <p>For more about the amp, visit <a href=""></a>. For more about Anna, <a href="">follow her on Facebook.</a></p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> Anna Sentina Roland Videos Amps News Gear Tue, 28 Oct 2014 16:03:44 +0000 Damian Fanelli 22692 at Review: Boss GP-10 Guitar Processor <!--paging_filter--><p>A certain school of guitarists have adopted the mantra “WWJD,” which, of course, means “What Would Jimi Dig?” </p> <p>I have no doubt that if Hendrix were still alive and jamming, he’d be all over the Boss GP-10 Guitar Processor for its powerful combination of traditional tones, synth textures and stringed instrument emulations as well as for its instant access to alternate tunings and numerous other features. </p> <p>The COSM V-Guitar technology behind the Boss GP-10 has been around for a while now (since 1995, to be exact), but the GP-10 makes that technology both more affordable and more powerful than ever. </p> <p><strong>FEATURES</strong> The Boss GP-10 is housed in a compact, road-worthy metal case that’s about two inches wider and deeper than a Boss Twin Series pedal and painted mustard yellow, perhaps in tribute to the Roland GR-100 that shook up the guitar synth market way back in 1980. It has four foot switches for controller and up/down functions, a built-in expression pedal, and seven switches for scrolling through patches, selecting effects, models or alternate tunings, and accessing system settings. The 2x16-character alpha-numeric LCD is rather modest by today’s standards, but it gets the job done (and who needs to see pictorial depictions anyway?). Boss Tone Studio software, available as a free download, makes it easy to program or edit sounds and patches using a Mac or Windows computer.<br /> The rear panel has a standard guitar input and output, stereo 1/4-inch audio outputs, 1/8-inch headphone and aux in jacks, a 1/4-inch jack for an additional expression pedal or two control switches, USB, and a 13-pin connector for a GK pickup. The GP-10 is available with a GK-3 divided pickup that easily installs on most electric and acoustic guitars, or without the GK-3, for users who may have a GK-3, a Roland-ready guitar, or a piezo pickup, which can also drive the GP-10. </p> <p>In essence, the GP-10 combines the capabilities of a multieffect processor, a guitar synthesizer and virtual guitar technology. It provides a staggering variety of electric, acoustic, bass and resonator guitar COSM models, plus banjo and sitar, COSM amp models, GR-300 analog synth tones, stunning polyphonic effects, alternate tunings, and standard guitar effects like distortion, compression, pitch shift/harmonist, phasing, flanging, chorus, rotary, delay and more. Internally the GP-10 stores 99 patches, but an unlimited number can be saved to a computer via the USB jack, which can output digital audio and MIDI. </p> <p><strong>PERFORMANCE</strong> Once you have the GK-3 pickup installed on your guitar (or if you already have a compatible pickup system), setup is easy and painless. To get the most out of the system, I recommend connecting a cable from the guitar output to your guitar amp (this passes the guitar signal through without any GP-10 processing) and connecting the standard outputs to a sound system. This allows users to blend normal guitar tones with the wide variety of textures provided by the GP-10 in full fidelity. </p> <p>The GP-10’s sounds are incredible. Boss has always been at the head of the pack when it comes to effect processing, but the COSM modeled guitar and amp tones are also better than ever, and the synth and polyphonic processing effects greatly expand the guitarist’s tonal palate. The GR-300 analog synth tones can make guitar solos sound amazing, and being able to switch alternate tunings instantly greatly expands the creative possibilities of live performances. Tracking is dead-on accurate with no latency or glitchiness. Unless you’re an exceptionally sloppy player, you won’t need to change your playing style to get the best performance out of the GP-10. </p> <p><strong>CHEAT SHEET</strong><br /> <strong>LIST PRICES</strong> With GK-3, $699; without GK-3, $559<br /> <strong>MANUFACTURER</strong> Boss, <a href=""></a></p> <p>COSM V-Guitar modeling provides a huge variety of electric/acoustic/bass guitar, amp, effect, and synth tones.</p> <p>The USB jack sends both digital audio and MIDI to a computer, and it also allows users to program sounds with Boss Tone Studio software.</p> <p><strong>THE BOTTOM LINE</strong> Affordable and as easy to use as a stomp box, the Boss GP-10 offers guitarists an incredible variety of new tones and textures to explore and provides instant access to effects, alternate tunings and even complete virtual guitar rigs. </p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> Boss December 2014 Roland Videos Effects News Gear Magazine Mon, 13 Oct 2014 15:40:37 +0000 Chris Gill, Video by Paul Riario 22525 at Boss Unveils RC-1 Loop Station Compact Looper Pedal for Guitarists — Demo Video <!--paging_filter--><p>Boss has announced the RC-1 Loop Station, the new entry-level model in the company’s lineup of dedicated loop recording devices. </p> <p>From the company:</p> <p>Battery-powered and affordable, the RC-1’s straightforward operation makes it easier than ever for guitarists, bassists and other musicians to incorporate the fun of looping into their live performances and practice sessions.</p> <p>For more than a decade, Boss has led the industry in loop recording technology. Five current Loop Station products serve the needs of all types of musicians, and looping functions are integrated into many other Boss products. Designed with guitarists and bassists in mind, the RC-1 sheds the more sophisticated features found in other Loop Stations, offering a streamlined approach that will appeal to both beginning players and advanced musicians who like to keep things simple. </p> <p>Built to record loops and nothing else, the RC-1 is all about instant musical satisfaction and creative enjoyment. Housed in the famous, ultra-durable Boss compact pedal case, the stripped-down RC-1 lets players experience the fun of spontaneous loop creation with no complicated controls or features to get in the way.</p> <p>Loop recording has never been more intuitive and hassle-free than it is with the RC-1. Record, overdub, play/stop, undo/redo, and clear operations are all accomplished with one integrated pedal, while the loop level is controlled with the panel’s single knob. The unique circular loop indicator features 24 multi-colored LEDs, providing instant feedback on the operation mode and cycle status of the current loop.</p> <p>The RC-1 offers high-quality sound with up to 12 full minutes of stereo recording time. The last loop session is stored in memory even when the power is turned off, so players can preserve their performances for the next practice session or gig. The pedal can be powered with an optional PSA-series AC adapter or a single 9-volt battery. Up to 4.5 hours of battery operation provides great convenience for busking, street performing, open-mic nights, and other mobile playing situations.</p> <p>Just like other Boss compact pedals, the RC-1 integrates easily onto a pedalboard loaded with other stomps. Dual inputs and outputs let guitarists and bassists with sophisticated effects setups loop in true stereo. By using just one input and one output, the RC-1 can be used in a standard mono rig as well. Stereo operation also allows synth players to loop without sacrificing the rich, full stereo sound of their instruments.</p> <p>Users can connect an optional external pedal to the RC-1 to expand their real-time control options if desired. The new FS-7 Dual Footswitch is an ideal companion, offering control of the looper’s stop, clear, and undo/redo functions in an extremely compact footprint. The FS-7 includes status LEDs, and comes with a DC splitter cable to allow a single PSA adapter to provide power to both the RC-1 and FS-7.</p> <p>For more information, visit <a href=""></a> </p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> Boss Joe Robinson Roland Videos Effects News Gear Mon, 01 Sep 2014 17:27:21 +0000 Guitar World Staff 22246 at Roland at 2014 Summer NAMM: Blues Cube Stage and Blues Cube Artist Guitar Amplifiers — Demo Video <!--paging_filter--><p>As always, several members of the <em>Guitar World</em> crew were on hand at the 2014 Summer NAMM Show in lovely and talented Nashville, Tennessee, taking pics, getting the latest gear news and shooting plenty of videos.</p> <p>Speaking of which, while we were down there, we had the chance to pay a visit to the Roland booth. You can see what we saw at the booth in the clip below.</p> <p>The video features demonstrations of Roland's new Blues Cube Stage and Blues Cube Artist guitar amplifiers. </p> <p>Take a look and tell us what you think in the comments below or on Facebook. And while you're at it, be sure to check out our massive <a href="">2014 Summer NAMM photo gallery.</a></p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> Blues Cube Aritst Blues Cube Stage Roland Summer NAMM 2014 Videos Amps News Gear Mon, 28 Jul 2014 16:50:33 +0000 Guitar World Staff 21961 at Synth City: 10 Classic Guitar Synth Songs <!--paging_filter--><p>Here's an ode to a piece of gadgetry rarely heralded on, something that has brought a whole new world of sounds to guitarists' fingertips: the guitar synthesizer, aka the guitar synth.</p> <p>A guitar synth is a synth module whose input device is a guitar instead of a keyboard. To quote Norm Leet from Roland's UK website, "The most important part of a guitar synth system is the divided — or hexaphonic — pickup, which allows each string to be treated individually and for the attached synth to be able to detect finger vibrato and string bending." </p> <p>At first these systems were farily sizable, taking up so much space that they had to be housed in specially designed guitars that were part of the entire synth system. Today's synth systems, however, are tiny things that can fit into pretty much any guitar.</p> <p>Modern systems send the pitch information as MIDI to allow you to control external modules or keyboards. This also means that pitch information can be recorded by a MIDI sequencer. </p> <p>Countless artists have dipped their toes into the world of guitar synths -- everyone from Eric Clapton to Steve Hackett to Eric Johnson and Jeff Loomis — and some players made it a massive part of their sound, including Pat Metheny, Robert Fripp and Adrian Belew. Carlos Alomar even recorded an entire album for synth guitar — 1990's <em>Dream Generator</em>. </p> <p>Here are 10 classic songs that feature guitar synths. They demonstrate at least some of the many dreamy, bizarre sounds (or "soundscapes," as some people like to say in this context), these devices can create.</p> <p>10. <strong>"Stranger In a Strange Land," Iron Maiden, <em>Somewhere in Time</em>, 1986</strong></p> <p>After completing a masterful trilogy of albums with 1984's <em>Powerslave</em>, Iron Maiden took a turn for the progressive, unleashing a barrage of synth guitars on their listeners with their sixth studio album, <em>Somewhere in Time</em>. </p> <p>Easing their fans into the idea, the album's first single, "Wasted Years," was the only track on the album to feature no synthesizers at all. Its follow-up, "Stranger in a Strange Land" — the tale of an Arctic explorer frozen and lost in time — featured Adrian Smith and Dave Murray's guitars processed through synth effects, giving their dual guitar attack a distinctive larger-than-life chorus sound.</p> <p><iframe width="620" height="360" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>09. <strong>"Never Make You Cry," Eric Clapton, <em>Behind the Sun</em>, 1985</strong></p> <p>By the mid-'80s, the guitar synth was officially a bandwagon, and even ol' Slowhand himself, Eric Clapton, hopped on — if only briefly.</p> <p>Clapton used a Roland guitar synth to record "Never Make You Cry" from his successful 1985 album, <em>Behind the Sun</em>, which was co-produced by Phil Collins of Genesis (a major guitar synth band, especially during the <em>Duke</em> tour). </p> <p>It's only fitting that Clapton experimented with cutting-edge technology on <em>Behind the Sun</em>, the album that kicked off a period of slick commercial releases by the venerable guitarist, including 1986's <em>August</em> and 1989's <em>Journeyman</em>. </p> <p>Before its release, he had been coasting along on a series of rootsy, laidback, Band- and J.J. Cale-inspired albums, from 1974's <em>461 Ocean Boulevard</em> to 1983's <em>Money and Cigarettes</em>.</p> <p><iframe width="620" height="360" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>08. <strong>"Are You Going With Me?," Pat Metheny, <em>Offramp</em>, 1982</strong></p> <p>Over the decades, guitarist Pat Matheny has become closely associated with Roland guitar synths — especially the GR-300. But it all started with his 1982 album, <em>Offramp</em>, which featured his first documented use of the Roland GR-300.</p> <p>The album features the samba-based "Are You Going With Me?," which has since become a trademark Metheny song. Its lengthy, trancelike guitar solo is played on the Roland. Check it out below.</p> <p>Metheny still uses his GR-300, which has since been discontinued by the company.</p> <p><iframe width="620" height="360" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>07. <strong>"Who's to Blame," Jimmy Page, <em>Death Wish II,</em> 1982</strong></p> <p>In 1981, former Led Zeppelin guitarist Jimmy Page was asked to compose and record the <em>Death Wish II</em> soundtrack by his neighbor, director Michael Winner. </p> <p>It was just what Page needed — an opportunity to start creating music again, now that John Bonham (and with him, Led Zeppelin) was gone.</p> <p>Page mirrored the film's moodiness and edginess with a slew of new devices, including the Roland GR-505 guitar synth and TR-808 Rhythm Composer. The guitar synth can be heard on the entire soundtrack album, which was re-released on late last year in a "heavyweight vinyl package." Only 1,000 copies were made.</p> <p>Page continued experimenting with guitar synths and even appeared in several Roland print advertisements in the early to mid-'80s.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>06. <strong>"Venus Isle," Eric Johnson, <em>Venus Isle</em>, 1996</strong></p> <p>Texas guitar great Eric Johnson started dabbling with guitar synths in the late '80s, but he didn't seriously record with them until his 1996 album, <em>Venus Isle</em>, an album full of what he calls "extra textures." </p> <p>Johnson uses a Roland guitar synth to create those textures on several tracks, including "Mountain," "Battle We Have Won," "When the Sun Meets the Sky" and the title track, which you can check out below.</p> <p><iframe width="620" height="360" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>05. <strong>"Discipline," King Crimson, <em>Discipline</em>, 1981</strong></p> <p>If you were putting together a dream team of guitar synthists, you'd probably want King Crimson's Robert Fripp and Adrian Belew batting third and fourth in your lineup.</p> <p>The guitarists were among the most proficient guitar synth users of their generation, and Fripp continues to push the boundaries of synthetic sound with his mesmerizing Soundscapes shows.</p> <p>On King Crimson's <em>Discipline</em> album, Fripp and Belew made great and bountiful use of the Roland GR-300. On later albums, they moved into GR-700 territory.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>04. <strong>"Racing in A," Steve Hackett, <em>Please Don't Touch,</em> 1978</strong></p> <p>The upbeat and catchy "Racing in A" is from Steve Hackett's <em>Please Don't Touch</em> album from 1978. </p> <p>It was the first solo album he recorded after leaving Genesis and his first album to feature his pioneering work with the Roland GR-500 guitar synth. </p> <p>"Racing in A" is a five-minute-long progressive-rock masterpiece that glides along for more than a minute with its almost-Yes-like rhythm before the vocals kick in (But Hackett keeps the spotlight squarely on the GR-500). </p> <p>As is the case with several other selections on this list, be sure to check out the entire <em>Please Don't Touch</em> album for more examples of Hackett's guitar synth work.</p> <p>By the way, that's Hackett's photo at the top of this page (and all the pages in this story). </p> <p><strong>NOTE: We've included a cool live performance of "Racing in A," plus (for the purists), the studio version.</strong></p> <p><iframe width="620" height="360" src="//" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="360" src="//" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>03. <strong>"Turbo Lover," Judas Priest, <em>Turbo</em>, 1986</strong></p> <p>"Turbos were all the rage, the in-thing," said Judas Priest bassist Ian Hill of the mid-1980s. "I'd even bought a vacuum cleaner because it had the word 'turbo' on it!"</p> <p>Perhaps this obsession with the super-charged is what lead the boys in Priest to experiment with guitar synthesizers on their 1986 classic "Turbo Lover." </p> <p>Taken from the album <em>Turbo</em> — easily among the most divisive albums for diehard fans — the song featured a whole new sonic palette for the band, with guitarists K.K. Downing and Glenn Tipton employing guitar synths and anything else they could get their hands on to give the song its distinctive futuristic, sci-fi feel.</p> <p><iframe width="620" height="360" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>02. <strong>"Don't Stand So Close to Me," The Police, <em>Zenyattà Mondatta</em>, 1980</strong></p> <p>"Don't Stand So Close to Me," which appeared on The Police's 1980 <em>Zenyattà Mondatta</em> album, features Andy Summers jamming away on an early Roland synth (He had a few models during the band's heyday, including a GR-707).</p> <p>"After Sting had put the vocals on 'Don't Stand So Close To Me,' we looked for something to lift the middle of the song," Summers said in 1981. "I came up with a guitar synthesizer. It was the first time we'd used it. I felt it worked really well."</p> <p>"I was sort of known for [guitar synth] then, and I was in a pretty high-profile band," Summer said in a more recent interview for Roland. "I was trying to fill out two hours with a trio, trying to keep it interesting all the way. The Roland synths blended in quite well."</p> <p><iframe width="620" height="360" src="" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>01. <strong>"Ashes to Ashes," David Bowie, <em>Scary Monsters (and Super Creeps)</em>, 1980</strong></p> <p>It's Hammer time. Guitarist Chuck Hammer is an accomplished player and Emmy-nominated digital film composer who has recorded with Lou Reed, David Bowie and Guitarchitecture, to name just a few. </p> <p>But Hammer might be best known for his textural guitar synth work on "Ashes to Ashes" from Bowie's <em>Scary Monsters (and Super Creeps)</em> album. Hammer used a Roland GR-500 with an Eventide Harmonizer to get the synthetic string sound that can be heard in the video below. He actually used four multi-tracked guitar synths, each one playing opposing chord inversions. Be sure to check out the rest of album, which features a healthy dose of Hammer.</p> <p><em>Rolling Stone</em> put Hammer in the category of "musical pioneers" along with guys like Robert Fripp and Allan Holdsworth.</p> <p><iframe width="620" height="360" src="" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/eric-clapton">Eric Clapton</a> </div> <div class="field-item even"> <a href="/jimmy-page">Jimmy Page</a> </div> <div class="field-item odd"> <a href="/iron-maiden">Iron Maiden</a> </div> <div class="field-item even"> <a href="/judas-priest">Judas Priest</a> </div> <div class="field-item odd"> <a href="/eric-johnson">Eric Johnson</a> </div> </div> </div> </fieldset> Adrian Belew Andy Summers David Bowie Iron Maiden Judas Priest King Crimson Robert Fripp Roland The Police Guitar World Lists News Features Thu, 24 Jul 2014 16:21:33 +0000 Damian Fanelli, Josh Hart 15794 at Roland Debuts Blues Cube Guitar Amplifiers — Video <!--paging_filter--><p>Roland has announce its Blues Cube Artist and Blues Cube Stage, two new 1x12 combo amplifiers with genuine tube tone and feel. </p> <p>From the company:</p> <p>Featuring Roland’s unique Tube Logic design, the Blues Cube amps deliver the rich sound and musical touch response of finely tuned vintage tube combos, along with convenient modern features and reduced weight for easy portability.</p> <p>The Blues Cube series offers serious guitarists a highly evolved sound experience with the very latest advancements in Roland guitar innovation. Road-tested and fine-tuned with feedback from top players, these gig-ready combos deliver the sweet, magical tone and satisfying feel that makes a great guitar amp a highly expressive musical instrument.</p> <p>Going far beyond modeling, Roland’s Tube Logic approach starts by carefully reproducing the inner workings of the revered tweed-era tube amp in every way, including preamp and output tube distortion characteristics, power supply compression, and much more. Great feel, distortion control with touch and volume, warmth, elasticity, sparkle, power supply “sag,” and more—everything that players love about a dialed-in vintage tube amp is present in abundance with the Blues Cube.</p> <p>The Blues Cube Artist features 80 watts of power, while the Blues Cube Stage is equipped with 60 watts. Designed for performing pro guitarists, both amps have open-back cabinets built from poplar plywood, which provides an acoustically vibrant tone for enhanced presence on stage. Each amp is outfitted with a custom 12-inch speaker that’s been specially designed for maximum tonal response with Tube Logic.</p> <p>Both Blues Cube models offer two independent channels—one voiced for cleaner tones, and the other for crunch. Each channel has its own Boost and Tone switches to shape the character, and the Crunch channel has a variable gain control for setting subtle distortion and response in combination with the volume knobs. A unique Dual Tone mode lets players blend both channels together for expanded tonal possibilities.</p> <p>With Tube Logic, the Blues Cube accurately reproduces the complex output tube distortion characteristics of a tube amp when the volume is turned up. The Blues Cube’s variable Power Control provides settings of 0.5 W, 15 W, 45 W, and Max, allowing users to enjoy this musical, cranked-up tone while matching the volume to any situation, from recording to rehearsals to nightclub gigs.</p> <p>Both amps are equipped with a high-quality reverb effect. The Blues Cube Artist also includes a tremolo effect, as well as an effects loop for patching in an external device. Footswitch jacks are provided for remote control of channel selection and other functions while performing.</p> <p>The Blues Cube Artist and Blues Cube Stage also feature USB connectivity, making it simple for players to capture tones directly into their favorite computer recording applications. </p> <p>For more information, visit <a href=""></a></p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> Roland Summer NAMM 2014 Videos Amps News Gear Thu, 17 Jul 2014 18:26:02 +0000 Guitar World Staff 21851 at Boss Introduces Waza Craft Effect Pedals — Super Overdrive, Blues Driver and Delay — Demo Video <!--paging_filter--><p>Boss has announced its Waza Craft series, a new line of special edition compact pedals that offers players the ultimate Boss tone experience. </p> <p>The debut of the Waza Craft series includes the SD-1W Super Overdrive, BD-2W Blues Driver, and DM-2W Delay. </p> <p>From the company: </p> <p>All three pedals provide the classic sound signatures of the past and present Boss pedals they’re based on, plus switchable modes for customized tones sought after by discerning guitarists.</p> <p>Designed with a passion for premium sound by the master engineers at Boss in Japan, the Waza Craft series introduces a new chapter in the company’s legacy of exceptional tone. Through meticulously-selected analog components, refined circuitry, and careful attention to the finest design details, Waza Craft embodies the essence of Boss engineering and the spirit of generations of technical and musical wisdom.</p> <p>“Waza” is the Japanese term for art and technique, and each of these special edition pedals proudly carries the Waza symbol to represent the artful wisdom and tech-savvy spirit flowing within Boss design and craftsmanship.</p> <p>In continuous production for over 30 years, the Boss SD-1 Super Overdrive is one of the best-loved stomps ever created. The Waza Craft SD-1W hot rods this players’ favorite with a revised circuit design, all-discrete analog components, and switchable Standard and Custom sound modes.</p> <p>The Boss BD-2 Blues Driver is also one of the most popular overdrive pedals in the world, and the Waza Craft BD-2W takes this classic’s signature creamy grit to a new level. Like the SD-1W, the BD-2W is built with all-discrete analog components and a revised circuit, and features Standard and Custom sound modes. </p> <p>Highly sought after since being discontinued in 1984, the Boss DM-2 Delay is universally revered by tone aficionados for its warm, “bucket brigade” analog delay sound. With the Waza Craft DM-2W, the coveted stomp has been reborn with greater versatility for today’s music styles. Using all-analog circuitry and an authentic BBD delay line, the DM-2W’s Standard mode captures the lush sound and 20-300 ms delay range of the original DM-2. Custom mode instantly changes the sound to a cleaner analog tone with over twice the delay time. </p> <p>The DM-2W also includes a jack for controlling delay time with an optional expression pedal. Two output jacks allow for separate output of delay and direct sounds if desired. </p> <p>For more information on the Waza Craft series, visit <a href=""></a>.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> Boss Roland Summer NAMM 2014 Videos Effects News Gear Thu, 17 Jul 2014 18:19:49 +0000 Guitar World Staff 21850 at Roland Introduces CUBE-10GX Guitar Amp <!--paging_filter--><p>Roland has introduced its new CUBE-10GX guitar amp.</p> <p>From the company:</p> <p>Compact, affordable and equipped with built-in effects, the CUBE-10GX is perfect for beginning players or any guitarist looking for a small amp for practice, jamming, and recording. </p> <p>The CUBE-10GX also offers a unique sound customization feature, allowing users to swap out different COSM amp types with the free CUBE KIT app running on their smart phone or tablet. </p> <p>The CUBE-10GX is equipped with 10 watts of power and a custom-designed 8-inch speaker. Roland’s superior CUBE construction standard provides sound quality and durability that far exceeds other amps in its class, with rigid cabinetry, heavy-duty corner protectors and more.</p> <p>The CUBE KIT app gives users the ability to customize the CUBE-10GX’s sound in seconds by loading up to three different amp types, which can then be selected from the amp’s panel. CUBE KIT offers 10 different COSM amps to cover any style, from jazz to classic rock to high-gain metal. There are also amp types designed for bass and acoustic-electric guitar. Out of the box, the CUBE-10GX comes ready to play with three amp types from the app: Clean, Crunch, and Lead.</p> <p>Available as a free download (July 2014), the CUBE KIT app is offered in versions for both iOS and Android mobile devices. </p> <p>The CUBE-10GX also features Bass, Middle and Treble controls and three high-quality effects. Chorus, delay or reverb can be dialed up easily with a single intuitive knob, and the reverb section offers plate and retro spring variations for a wide range of sound. </p> <p>Via the rear-panel Aux In jack, users can connect a music player or smart phone and jam with their favorite songs. Plugging into the Rec Out/Phones jack mutes the onboard speaker and provides a direct output with COSM speaker modeling. </p> <p>This is ideal for quiet practice with headphones, and also for using the CUBE-10GX’s high-quality COSM tones for direct recording applications.</p> <p>For more information, visit <a href=""></a> </p> Roland Amps News Gear Tue, 01 Jul 2014 14:24:46 +0000 Guitar World Staff 21709 at