Magazine http://www.guitarworld.com/taxonomy/term/149/all en Eric Clapton Discusses His Star-Studded J.J. Cale Tribute Album, 'The Breeze' — Exclusive Interview http://www.guitarworld.com/eric-clapton-discusses-his-star-studded-jj-cale-tribute-album-breeze-exclusive-interview <!--paging_filter--><p><em>This is an excerpt from the September 2014 issue of </em>Guitar World<em>. For the rest of this story, plus features on the Black Keys, Judas Priest, 17 Amazing practice amps, columns, tabs and reviews of new gear from Epiphone, ESP Guitars, Visual Sound, Blackstar, G&amp;L Guitars, Ibanez and more, <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-september-2014-the-black-keys/?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=BlackKeysExceprt">check out the September 2014 issue at the Guitar World Online Store.</a></em></p> <p><strong>Cool Breeze: <em>In this GW exclusive, Eric Clapton pays tribute to his friend and inspiration J.J. Cale and talks about </em>The Breeze<em>, his new star-studded tribute to the late Oklahoma guitarist and songwriter.</em></strong></p> <p>Robert Johnson and J.J. Cale represent the yin and yang of Eric Clapton’s musical influences. On one side is Johnson, the famously troubled Thirties-era Mississippi bluesman who moaned about hellhounds on his trail, spooks around his bed and those lowdown, shakin’ chills. On the other side is Cale, the famously laidback singer-songwriter from Tulsa who penned laconic odes to singin’ whippoorwills, “chugalugging” and shakin’ tambourines. </p> <p>Clapton has covered the music of both men on several occasions throughout his career, taking Johnson’s “Crossroads” to the heights of blues-rock jam-outs with Cream in 1968 and earning massive commercial success as a solo artist with his versions of Cale’s insanely catchy “After Midnight” in 1970 and breezy “Cocaine” in 1977.</p> <p>Yet, when looking back at Clapton’s work as a whole, one can’t help but notice that the Cale-influenced side of the equation takes up a much larger chunk of the pie, which was probably the result of the fact that Clapton actually got to meet and hang with Cale. Their bond lasted from the Seventies until Cale’s death in 2013 at age 74. </p> <p><strong><a href="http://www.guitarworld.com/eric-clapton-premieres-new-song-train-nowhere-jj-cale-tribute-album-breeze-exclusive">[[ Eric Clapton Premieres New Song, "Train to Nowhere," from JJ Cale Tribute Album 'The Breeze' — Exclusive ]]</a></strong></p> <p>Clapton even had Cale’s phone number, something he’s still tickled about.</p> <p>“Nobody had his phone number. You had to be in the inner circle to have that,” Clapton says with a laugh. “I’d call him, and sometimes I’d get his voice mail. Other times, I’d get him on the line and we’d talk for hours. I felt I had some kind of inside track, and that was a wonderful thing.”</p> <p>On July 29, however, Clapton will release a bona-fide tribute to his friend and former collaborator: <em>Eric Clapton &amp; Friends: The Breeze, An Appreciation of J.J. Cale</em>. The album features 16 Cale songs—from “Call Me the Breeze,” “Starbound” and “Lies” to “Magnolia” “Songbird” and “Crying Eyes”—performed by Clapton and a host of guests, including Mark Knopfler, John Mayer, Willie Nelson, Tom Petty and Don White. Other friends include Albert Lee, Derek Trucks, David Lindley, Doyle Bramhall II and Don Preston, all of whom split up the six-string duties.</p> <p>In the interview below, Clapton discusses Cale and the new album—which happens to be his only tribute album besides <em>Me and Mr. Johnson</em>, his 2004 homage to Robert Johnson. </p> <p><strong>It’s 1969. You’ve left behind Cream’s heavy blues-rock, extended guitar solos, freeform improvisation, high intensity and volume. Then you discover J.J. Cale’s music, courtesy of Delaney Bramlett of Delaney &amp; Bonnie. Before you know it, you immerse yourself in Cale’s “relaxed” Tulsa style, and the Clapton of Cream becomes a thing of the past. Did you see Cale’s music as the embodiment of something you had been seeking? Or were you not even looking for something new?</strong></p> <p>I think I was looking for someone to identify with. A lot of my musical growth and education came from players who weren’t around anymore. <em>The Best of Muddy Waters</em> [1958] was one of my primary sources of education, as well as a lot of the country blues guys who had been gone a long time. But even the Muddy album, which was an electric album—that band, by the time I got to hear that album, was long gone.</p> <p>What I’m trying to say is, if I was looking for something current, there it was. He had the root and the understanding—the knowledge about all the music I loved—in the same way Delaney and Leon Russell did. These guys understood the history of this thing I was attracted to, so it was logical to me that I should keep an eye on them and follow what they were doing. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/zsqF3p8ORDE" frameborder="0" allowfullscreen></iframe></p> <p><strong>Sometimes you immerse yourself in your influences to the point that you ignore your own ego and delve into the artist’s style, even including the way he sings and plays. When that’s the case, do you consider it a learning experience or some type of comfort zone?</strong></p> <p>A bit of both, I think. With J.J., for instance, and trying to learn to play some of the Robert Johnson songs…when you put those two things side by side, my intention is always to try and leave my ego at the door and go in and learn everything I can about how they did it. That’s the starting point. That will be the aspiration. And what happens inevitably is that my ego gets back in and I adapt what I’m learning to suit what I want to do. So my will is always present. </p> <p>Robert Johnson was the hardest thing to tackle because, in order to play any of the songs he put on tape exactly as he did it, that’s a life’s work in itself. Any one of his songs, they’re so strategically different in terms of technique and how to sing and play those things at the same time. It’s like master-class stuff. My approach is to get as far as I can and allow my will to come in and take over and make it so that I can play it now and not in five years’ time, because I’m too impatient to have to follow that through to its logical conclusion. And with J.J., it’s the same thing. So what I end up with, even if I’m trying to imitate and emulate, is a version, because my will has twisted me to make it easier for me.</p> <p><strong>How, when and where did <em>The Breeze, An Appreciation of J.J. Cale</em> come together?</strong></p> <p>Right after his funeral service, I flew from California back to Columbus, Ohio, where I have a house, and my wife’s family is there. At some point over the last couple of years, I started putting in a primitive little studio, and we started tracking there. I’d put rhythm tracks together and then I’d overlay guitars, and Walt Richmond came to play keyboards. Then, when we’d built enough with the artificial sounds, we went to L.A. I asked [drummer] Jim Keltner and [bassist] Nathan East to start putting down a proper rhythm section. Then we got some other players, including [drummers] Jamie Oldaker, David Teegarden, Jim Karstein and James Cruce. Then came [guitarists] Don White, Don Preston, David Lindley, Doyle Bramhall II, all to kind of build the sound.</p> <p><em>This is an excerpt from the September 2014 issue of </em>Guitar World<em>. For the rest of this story, plus features on the Black Keys, Judas Priest, 17 Amazing practice amps, columns, tabs and reviews of new gear from Epiphone, ESP Guitars, Visual Sound, Blackstar, G&amp;L Guitars, Ibanez and more, <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-september-2014-the-black-keys/?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=BlackKeysExceprt">check out the September 2014 issue at the Guitar World Online Store.</a></em></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> </div> </fieldset> http://www.guitarworld.com/eric-clapton-discusses-his-star-studded-jj-cale-tribute-album-breeze-exclusive-interview#comments Damian Fanelli Eric Clapton exclusive Interview J.J. Cale September 2014 Interviews News Features Magazine Tue, 22 Jul 2014 16:30:27 +0000 Damian Fanelli http://www.guitarworld.com/article/21879 Review: Epiphone Casino Coupe and Riviera Custom P-93 Guitars — Video http://www.guitarworld.com/review-epiphone-casino-coupe-and-riviera-custom-p-93-guitars-video <!--paging_filter--><p><em>These videos and audio files are bonus content related to the September 2014 issue of </em>Guitar World<em>. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-september-2014-the-black-keys/?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=SeptemberVideosPage">Guitar World Online Store</a>.</em></p> <p>The thinline double-cutaway may be the most versatile electric-guitar design ever conceived. It works well for many styles of music, from jazz and country to hard rock and punk. </p> <p>Two new thinline models from Epiphone—the Casino Coupe and Riviera Custom P-93—prove there is still room for innovation without sacrificing the basic look and sound of classic examples. </p> <p>These new Epiphone models are so outrageously affordable and appealing that they deserve a closer look from anyone who wants to add a thinline guitar to his or her arsenal.</p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="myExperience3676442652001" class="BrightcoveExperience"> <param name="bgcolor" value="#FFFFFF" /> <param name="width" value="620" /> <param name="height" value="348" /> <param name="playerID" value="798983031001" /> <param name="playerKey" value="AQ~~,AAAAj36EdAk~,0qwz1H1Ey92wZ6vLZcchClKTXdFbuP3P" /> <param name="isVid" value="true" /> <param name="isUI" value="true" /> <param name="dynamicStreaming" value="true" /> <param name="@videoPlayer" value="3676442652001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. 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If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --> http://www.guitarworld.com/review-epiphone-casino-coupe-and-riviera-custom-p-93-guitars-video#comments Epiphone September 2014 Videos Electric Guitars News Gear Magazine Tue, 22 Jul 2014 14:03:43 +0000 Chris Gill, Video by Paul Riario http://www.guitarworld.com/article/21792 The Black Keys' Dan Auerbach Discusses New Album, 'Turn Blue' http://www.guitarworld.com/black-keys-dan-auerbach-discusses-new-album-turn-blue <!--paging_filter--><p><em>This is an excerpt from the September 2014 issue of </em>Guitar World<em>. For the rest of this story, plus features on Dan Auerbach's off-beat guitars, Eric Clapton and his new J.J. Cale tribute album, Judas Priest, 17 Amazing practice amps, columns, tabs and reviews of new gear from Epiphone, ESP Guitars, Visual Sound, Blackstar, G&amp;L Guitars, Ibanez and more, <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-september-2014-the-black-keys/?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=BlackKeysExceprt">check out the September 2014 issue at the Guitar World Online Store.</a></em></p> <p><strong>Black and Blue: <em>Dan Auerbach tells how the Black Keys made their latest hit album, Turn Blue, in the midst of personal hardship, using a handful of guitars, amps and effects and a whole lotta spontaneous inspiration.</em></strong></p> <p>Black Keys guitarist and singer Dan Auerbach is obsessed with arcane, el-cheapo mid–20th century guitars: Teiscos, Nationals, Supros, Silvertones. </p> <p>But that fixation is rivaled only by his passion for collecting vintage vinyl and under-the-radar new music. “Yesterday, I was listening to some dub [reggae] that I have on vinyl,” he says. “And this morning, I was listening to some South American Sixties psych music.”</p> <p>When it comes to current music, Auerbach’s passion for contemporary hip-hop is balanced by a fondness for less mainstream fare, like moody Canadian act Timber Timbre and U.K. retro-pop unit Metronomy. “I love their English Riviera album,” the guitarist raves. “There’s some really amazing plectrum bass playing on it. I just love the record’s experimentation and sonic limitlessness.” </p> <p>In one way or another, these variegated influences find their way into the Black Keys’ own music. Their new album, <em>Turn Blue</em>, takes them further along the ambitious sonic trajectory they’ve been following ever since Auerbach and drummer Patrick Carney teamed up with über producer Brian Burton, a.k.a. Danger Mouse (Gnarls Barkley, Beck, Gorillaz, Norah Jones) for the Keys’ 2008 album, Attack &amp; Release. Like all the Black Keys’ records, Turn Blue’s sound is firmly based in the garage-rock interplay between Auerbach’s bluesy squawk-box aggression and Carney’s flailing frenzy. But over this foundation, the Keys have woven a mesmerizing web of ghostly synths and eerie sonic textures. Auerbach plays bass as well as guitar on the album, and he splits keyboard duties with Danger Mouse.</p> <p>“Anybody can jump on any instrument at any time,” Auerbach says. “There are really no rules when we’re in the studio.”</p> <p>With its stately tempo, lazily strummed acoustic guitar and spectral synth line, the album’s opening track, “Weight of Love,” invites comparison with the classic-rock majesty of Pink Floyd. “We love that kind of music,” Auerbach admits, “so it’s in us to be capable of doing that. It’s just something that we’ve never tried to go for before. But we had the time and that little spark of creativity to start us in that direction, and on a couple of songs we saw it through.” </p> <p>“Weight of Love” also is the most guitar-solo-intensive Black Keys track to date. Auerbach’s psychedelicized midsong magic carpet ride is followed up by a soaring outro excursion to the creative dark side that lurks somewhere underneath his regular-guy, flannel-and-denim Midwestern exterior. </p> <p>“That was all spur of the moment,” he says. “We’d just built that song up, and the end has this massive crescendo where everybody’s really going for it. It really called for a guitar solo, and I just improvised something. Then I put a harmony guitar on top of it. Honestly, it was 20 minutes and done, not something I really labored on very long. Everything on this record happened very naturally.” </p> <p>Auerbach seems to have little or no use for premeditation. He appears to be proud of the fact that he and Carney were completely unprepared when they entered the studio to make True Blue, the heavily anticipated follow-up to 2011’s strong-selling, Grammy-winning and critically lauded <em>El Camino.</em></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/trk7P-9QDyc" frameborder="0" allowfullscreen></iframe></p> <p>“We didn’t have any songs written,” he says. “We had no sense of what we were gonna do. We just went in blind. The blind leading the blind. We didn’t have any real goal other than to make an album. So we wrote songs every day. We just improvised. I guess the goal was to try to have a song done every day, maybe every two days at the most. And we did.” </p> <p>Sessions for <em>Turn Blue</em> began at a studio in Benton Harbor, Michigan, called the Key Club, where Auerbach and Carney worked on their own. Danger Mouse joined them for subsequent sessions at Sunset Sound in L.A. and Auerbach’s own Easy Eye studio in Nashville. Auerbach also seems to take pride in the fact that he came up with the album’s infectious lead single, “Fever,” during the early sessions in Michigan, without assistance from Danger Mouse, who has served as the band’s co-writer as well as producer on the past few albums. </p> <p>“Fever” exemplifies Auerbach’s formidable strength as a tunesmith—he can write catchy pop hooks that go straight to your head like a sugar rush. The song’s main synth line wouldn’t be out of place in an early Eighties hit by OMD or Depeche Mode. “Fever” is also one of many seriously bass-driven songs on <em>Turn Blue</em>. Throughout the album sessions, Auerbach played a Fender Mustang bass guitar through “a good, old-time transformer D.I.,” he notes, usually employing a pick. “I really like palm-muted pick bass,” he says. “Especially if you’ve got flatwound strings. It’s just classic—a really nice bass sound that kind of sits well in a mix and is really propulsive.”</p> <p><em>This is an excerpt from the September 2014 issue of </em>Guitar World<em>. For the rest of this story, plus features on Dan Auerbach's off-beat guitars, Eric Clapton and his new J.J. Cale tribute album, Judas Priest, 17 Amazing practice amps, columns, tabs and reviews of new gear from Epiphone, ESP Guitars, Visual Sound, Blackstar, G&amp;L Guitars, Ibanez and more, <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-september-2014-the-black-keys/?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=BlackKeysExceprt">check out the September 2014 issue at the Guitar World Online Store.</a></em></p> http://www.guitarworld.com/black-keys-dan-auerbach-discusses-new-album-turn-blue#comments Black Keys Dan Auerbach September 2014 The Black Keys Interviews News Features Magazine Mon, 21 Jul 2014 17:49:40 +0000 Alan Di Perna http://www.guitarworld.com/article/21872 Betcha Can't Play This: Tapping and Skipping with Andy Wood http://www.guitarworld.com/betcha-cant-play-tapping-and-skipping-andy-wood <!--paging_filter--><p>This is a tapping run that incorporates string skipping and a couple of fret-hand finger slides.</p> <p> It’s based on the A natural minor scale [A B C D E F G], but the notes are organized into arpeggios, which imply some interesting "tall" chord sounds. </p> <p>Although it is played in steady 16th notes, it sounds and feels out of time because of the unusual melodic contour.</p> <p> When skipping to another string, often the first note is hammered on "from nowhere" by one of the fret-hand fingers [indicated by "H"]. Strive for an even attack and volume note to note, making each hammer-on quick and firm. When pulling off, flick the string slightly sideways, in toward the palm. </p> <p>I tap a couple of the notes on the high E string with my ring finger, which makes the jumps across the strings a little easier. Mute the strings you’re not playing on with your pick-hand palm to keep them from ringing.</p> <p> The lick ends with a big bend on the B string, which I perform by tapping the string then bending it upward with both hands, using the fret hand’s fingers to help the tapping finger bend the string.</p> <p> For more on Wood and his band, Down from Up, visit <a href="http://www.andywoodmusic.com/">andywoodmusic.com</a> and <a href="http://www.downfromup.com/">downfromup.com</a>. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/uvyxn2kkEVY" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202014-04-07%20at%203.43.33%20PM.png" width="620" height="393" alt="Screen Shot 2014-04-07 at 3.43.33 PM.png" /></p> http://www.guitarworld.com/betcha-cant-play-tapping-and-skipping-andy-wood#comments Andy Wood Betcha Can't Play This Down From Up June 2010 Betcha Can't Play This Blogs News Lessons Magazine Mon, 21 Jul 2014 16:37:02 +0000 Andy Wood http://www.guitarworld.com/article/20956 Review: Ibanez Tube Screamer TS808DX Overdrive Pro Pedal — Video http://www.guitarworld.com/review-ibanez-tube-screamer-ts808dx-overdrive-pro-pedal-video <!--paging_filter--><p><em>These videos and audio files are bonus content related to the September 2014 issue of </em>Guitar World<em>. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-september-2014-the-black-keys/?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=SeptemberVideosPage">Guitar World Online Store</a>.</em></p> <p>Guitarists often prefer the flexibility of having two overdrive pedals in their signal chain: one dialed to increase distortion/gain and another set up strictly as a volume/signal boost. </p> <p>In celebration of the Tube Screamer's 35th anniversary, Ibanez engineered both into one pedal and used the reference-quality TS808 as its platform. The 808 gained almost mythic status when players learned that it was Stevie Ray Vaughan's go-to overdrive pedal. </p> <p>The new Ibanez TS808DX Tube Screamer Overdrive Pro offers the revered TS808 overdrive circuit, an independent clean boost and a few long-awaited performance-enhancing features, honoring the pedal's history and taking its legendary organic tones to new heights. </p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="myExperience3676377852001" class="BrightcoveExperience"> <param name="bgcolor" value="#FFFFFF" /> <param name="width" value="620" /> <param name="height" value="348" /> <param name="playerID" value="798983031001" /> <param name="playerKey" value="AQ~~,AAAAj36EdAk~,0qwz1H1Ey92wZ6vLZcchClKTXdFbuP3P" /> <param name="isVid" value="true" /> <param name="isUI" value="true" /> <param name="dynamicStreaming" value="true" /> <param name="@videoPlayer" value="3676377852001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. 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If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --> http://www.guitarworld.com/review-ibanez-tube-screamer-ts808dx-overdrive-pro-pedal-video#comments Ibanez September 2014 Videos News Gear Magazine Mon, 21 Jul 2014 16:31:55 +0000 Eric Kirkland, Video by Paul Riario http://www.guitarworld.com/article/21797 Review: ESP E-II ST-2 Rosewood RDB Guitar — Video http://www.guitarworld.com/review-esp-e-ii-st-2-rosewood-rdb-guitar-video <!--paging_filter--><p><em>These videos and audio files are bonus content related to the September 2014 issue of </em>Guitar World<em>. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-september-2014-the-black-keys/?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=SeptemberVideosPage">Guitar World Online Store</a>.</em></p> <p>Any guitar that features a flat top, double cutaways, dual humbuckers and a locking Floyd Rose is typically pigeonholed as a “shredder’s guitar,” suggesting a predetermined limit of expression and application. </p> <p>In fact, the platform was originally conceived to correct performance-limiting design flaws and, consequently, addressed the requirements of technically proficient virtuosos, helping them to develop their talents fully. </p> <p>A handful of modern luthiers have refined the style over the past 30 years, and ESP now joins this small club with the new, Japanese-built E-II Series ST-2. (The E-II guitars replace the company’s Standard Series.) It’s a true player’s machine that rivals the finest contemporary guitars for playability, and at less than half the typical price. </p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="myExperience3676378480001" class="BrightcoveExperience"> <param name="bgcolor" value="#FFFFFF" /> <param name="width" value="620" /> <param name="height" value="348" /> <param name="playerID" value="798983031001" /> <param name="playerKey" value="AQ~~,AAAAj36EdAk~,0qwz1H1Ey92wZ6vLZcchClKTXdFbuP3P" /> <param name="isVid" value="true" /> <param name="isUI" value="true" /> <param name="dynamicStreaming" value="true" /> <param name="@videoPlayer" value="3676378480001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. 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If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --> http://www.guitarworld.com/review-esp-e-ii-st-2-rosewood-rdb-guitar-video#comments ESP Guitars September 2014 Electric Guitars News Gear Magazine Fri, 18 Jul 2014 18:32:29 +0000 Eric Kirkland, Video by Paul Riario http://www.guitarworld.com/article/21793 Wild Stringdom with John Petrucci: Combining Triad Arpeggios to Form Polytonal Chordal Allusions http://www.guitarworld.com/wild-stringdom-john-petrucci-combining-triad-arpeggios-form-polytonal-chordal-allusions <!--paging_filter--><p>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. </p> <p> 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, using a series of specific triads that complement one another well.</p> <p> Let’s start with the triads F# diminished and D major, as shown in <strong>FIGURES 1</strong> and <strong>FIGURE 2</strong>, respectively. The F# diminished triad is built from the notes C, F# and A, and the D major triad is built from almost the same set of notes, D, F# and A. Both FIGURES 1 and 2 show these triads as played in fifth position for comparison. </p> <p> If I wanted to get a bluesy vibe, I’d use the D major triad and combine it with the F# diminished triad, as demonstrated in <strong>FIGURE 3</strong>. Here, the C note is heard as the b7 (flat seventh) of D, implying a D dominant-seven tonality.</p> <p> Now let’s try combining the F# diminished arpeggio with an A minor arpeggio—A C E—as shown in <strong>FIGURE 4</strong>. The combination of these two sets of notes gives an F#m7b5 arpeggio (F# A C E: see <strong>FIGURE 5</strong>). These licks work well over an Am chord, as the inclusion of the F# note, the major sixth of A, implies an Am6, A Dorian–mode type of sound.</p> <p> As you probably have noticed, all of these arpeggios are played on the top three strings, and I often like to incorporate sweep picking when using arpeggios like this. <strong>FIGURE 6</strong> illustrates a combination of an Em7 arpeggio—E G B D—and a Gmaj7 arpeggio—G B D F#. As denoted in the example, in order to sweep pick these arpeggio shapes properly, begin with an upstroke on the first note and then use a single down-stroke to rake across the top three strings to play the next three notes. </p> <p> The form ends with another upstroke. I then slide up to 10th position and reverse the process, beginning with a down-stroke and then using a single upstroke to rake across the top three strings, moving from high to low. <strong>FIGURE 7</strong> offers an example of applying this approach to the chord progression Em7 Am9 F#m7b5 Gmaj7.</p> <p> This is the last installment of Wild Stringdom for now. I hope these columns have been useful to you and have served to broaden your knowledge of the guitar while building up your chops. Thanks for reading, and I’ll see you out on the road!</p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="myExperience3250126572001" class="BrightcoveExperience"> <param name="bgcolor" value="#FFFFFF" /> <param name="width" value="620" /> <param name="height" value="365" /> <param name="playerID" value="798983031001" /> <param name="playerKey" value="AQ~~,AAAAj36EdAk~,0qwz1H1Ey92wZ6vLZcchClKTXdFbuP3P" /> <param name="isVid" value="true" /> <param name="isUI" value="true" /> <param name="dynamicStreaming" value="true" /> <param name="@videoPlayer" value="3250126572001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --><p><br /><br /> <img src="/files/imce-images/Screen%20Shot%202014-04-30%20at%2010.38.33%20AM.png" width="620" height="693" alt="Screen Shot 2014-04-30 at 10.38.33 AM.png" /><br /> <img src="/files/imce-images/Screen%20Shot%202014-04-30%20at%2010.39.19%20AM.png" width="620" height="339" alt="Screen Shot 2014-04-30 at 10.39.19 AM.png" /></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="/john-petrucci">John Petrucci</a> </div> <div class="field-item even"> <a href="/dream-theater">Dream Theater</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/wild-stringdom-john-petrucci-combining-triad-arpeggios-form-polytonal-chordal-allusions#comments April 2014 Dream Theater John Petrucci Wild Stringdom Blogs News Lessons Magazine Fri, 18 Jul 2014 18:25:55 +0000 John Petrucci http://www.guitarworld.com/article/20542 Practice Makes Perfect: Five Amazing Practice Amps http://www.guitarworld.com/practice-makes-perfect-five-amazing-practice-amps <!--paging_filter--><p><strong>In the all-new September 2014 issue of <em><a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-september-2014-the-black-keys/?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=RolandPractice">Guitar World</a></em>, we round up 17 amazing practice amps that will help you sound better, woodshed longer and become the guitarist you’ve always wanted to be.</strong></p> <p><em>In the excerpt below, we focus on five (plus a bonus amp — for a total of six) of the 17 amps. To see all 17, check out the September 2014 issue of </em>Guitar World<em> now. <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-september-2014-the-black-keys/?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=RolandPractice">It's available at our online store right here.</a></em></p> <p>Playing live might be the best way to hone your performance skills, but when it comes to technique, you need practice, practice, practice. </p> <p>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. </p> <p>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. </p> <p>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. </p> <p>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> http://www.guitarworld.com/practice-makes-perfect-five-amazing-practice-amps#comments Roland September 2014 Amps News Features Gear Magazine Thu, 17 Jul 2014 17:40:18 +0000 Paul Riario http://www.guitarworld.com/article/21835 Out of the Box: Guitar World Celebrates the Time-Honored History of MXR Effect Pedals http://www.guitarworld.com/out-box-guitar-world-celebrates-time-honored-history-mxr-effect-pedals <!--paging_filter--><p>A stomp box may seem like an insignificant item in the history of rock and roll, but it’s hard to imagine how some of the greatest songs of the Seventies and Eighties would have sounded without the influential role of MXR pedals. </p> <p>The MXR Phase 90 was a prominent part of the guitar tones on records by Van Halen and Pink Floyd. Likewise, the MXR Distortion + was a key element in the distorted lead guitar tones of Jerry Garcia, Dave Murray and Randy Rhoads, while the company’s Dyna Comp compression pedal shaped the sound of records by the Police, King Crimson and just about every country-rock hit that came out of Nashville back then. </p> <p>From Jimmy Page’s “Fool in the Rain” solo (featuring an MXR Blue Box) to Keith Richards’ swirling rhythms on “Shattered” (produced by an MXR Phase 100), the sound of MXR effects has been nearly ubiquitous in rock music since the mid Seventies.</p> <p>Before the first MXR products were developed, pedal effects were generally treated as novelties. Most pedals made during the Sixties and early Seventies were housed in absurdly oversized boxes with rather flimsy construction that could barely withstand the abuse of overzealous guitarists wearing stack-heel platform shoes. </p> <p>When Keith Barr and Terry Sherwood opened a repair shop called Audio Services in Rochester, New York, in 1971, most of their early customers were guitarists who brought in their broken pedals. </p> <p>“When I saw the poor quality of the effects devices that were coming in for repair, I was really amazed,” Barr said in an interview published in Art Thompson’s 1997 book <em>Stompbox</em>. “Eager to start designing some things, I made up a few little boxes for my guitar-playing friends. They seemed to like them.”</p> <p>The response was so positive and encouraging that Barr and Sherwood decided to switch from repairing gear to manufacturing electronic devices for musicians. However, the first product that the duo produced was not a stomp box but rather an audio mixer, which also inspired their new company’s name. A friend suggested that they call the company MXR, which was short for mixer. Barr lengthened the name to MXR Innovations to make it sound more business-like and official.</p> <p>Barr made one mixer and found the process rather tedious and boring, so he turned his attention to the effect pedals that his guitar friends raved about instead. The first pedal effect circuit that Barr designed on his own was a four-stage phase shifter. “Guitarists would come into our shop and tell us that the phase-shifting thing was really happening,” Barr told Thompson. “I built one, and people said they liked it.”</p> <p>Barr designed his first phase shifter—named the Phase 90 because it provided 90 degrees of phase shifting—in 1972, but the pedal didn’t go into serious production until late 1973, a few months before MXR Innovations was incorporated in 1974. </p> <p>Sherwood and Barr invested most of the cash reserves from their repair business in a spray-painting kit and parts, including heavy-duty die-cast aluminum boxes made by a company called Bud. Inspired by the paint job he saw on a new Ford Econoline van, Barr selected Ditzler PPG Bold Orange automotive paint for the Phase 90’s finish. He also designed the script MXR logo that was silkscreened on each pedal’s top panel.</p> <p>Initially Barr, Sherwood and some teenagers who worked for minimum wage made the first Phase 90 pedals in a small factory in Rochester. Soon they hired Mike Laiacona to handle sales, and he played an important role in getting the pedals into the hands of pros and music stores across the entire United States before he left in 1975 to start Whirlwind, whose line today includes effect pedals, direct boxes, cables and more.</p> <p>After MXR raised a decent amount of funds, it purchased ads in major national music magazines like Rolling Stone and Downbeat to promote the Phase 90. Guitarists who purchased these early units were impressed by the pedal’s studio-quality sound, rugged build and affordable price, and word of mouth about MXR quickly spread.</p> <p>Realizing that one product would not be enough to sustain their quickly growing company, Barr and Sherwood decided to expand their offerings with three additional products—the Blue Box, the Distortion + and the Dyna Comp—which joined the lineup later in 1974. </p> <p>The new models were housed in the same size Bud boxes as the Phase 90, but each had its own distinctive color that made it instantly identifiable onstage, a concept that was soon adopted by many of MXR’s subsequent competitors. The earliest versions of MXR’s first four pedals were made from circuit boards silkscreened and etched by Barr himself, identifiable by the phrase “hand built by guitarists” printed on the board. </p> <p>A simpler and cheaper two-stage version of the Phase 90 called the Phase 45 followed in late 1974, and in 1975 MXR introduced the Noise Gate Line Driver and the Phase 100, a much more versatile six-stage phase shifter with four selectable preset waveforms. Eventually, they company started making its own die-cast aluminum boxes, featuring an embossed MXR script logo near the rear panel’s lower right-hand corner. </p> <p>MXR grew quickly during this period, and Barr realized that he needed to hire additional engineers to help him design new products. He brought in Tony Gambacurta and Richard Neatour, who previously worked as technicians at Barr and Sherwood’s repair shop, and they helped to expand the product line without compromising quality. </p> <p>Both played an instrumental role in the development of the MXR Flanger, the first pedal flanger to hit the market, as well as the Analog Delay, the Envelope Filter and the Six-Band and Ten-Band Graphic Equalizer pedals, all introduced in late 1976. MXR also started to offer rack-mountable effects designed for studio installations and live sound reinforcement, including the Auto Flanger, the Auto Phaser, the Mini Limiter and one of the industry’s earliest digital-delay units. </p> <p>The pedal models introduced in 1976 had a newly designed MXR logo that is known as the “block logo” for its block text enclosed in a rectangle with rounded corners. The older models retained the original script logo, and the rear plates of every model had an embossed script logo. Eventually, though, around 1978, all of the products had silkscreened and embossed block logos. Today, pedal collectors pay considerably more for early MXR pedals with script logos, but the differences between the script- and block-logo versions of original Seventies MXR pedals are negligible.</p> <p>“The circuits really didn’t change much at all,” says Jeorge Tripps, who helped Dunlop create accurate reissues of MXR’s original script-logo pedals in recent years. “The Phase 90 had only very minor changes over the years, and the Dyna Comp didn’t change significantly at all. When MXR went to the block logo, the circuits were the same as those of the script-logo versions. It wasn’t until near the company’s end that they started using the dual op amp for the Phase 90 and added an LED to their pedals. All of the hype about script-version pedals being better is pretty much a myth.” </p> <p>It’s impossible to determine who was the first major artist to use an MXR pedal on a recording, but Jimmy Page and David Gilmour were certainly among the earliest. Page allegedly used a Phase 90 during overdub sessions for several songs on Led Zeppelin’s <em>Physical Graffiti</em> in 1974, and an MXR Phase 90 played a central role on Pink Floyd’s <em>Wish You Were Here</em> album, particularly on Gilmour’s solos for “Shine On You Crazy Diamond” and “Have a Cigar,” recorded between January and July 1975. </p> <p>During the late Seventies and early Eighties, MXR pedals increasingly showed up on pros’ pedal boards. Many players relied on multiple MXR pedals to shape and define their signature sounds. Among them were Eddie Van Halen (who used a Flanger, Phase 90 and Six-Band Graphic Equalizer), Joe Perry (Dyna Comp, Flanger, Phase 90 and Six-Band Graphic Equalizer), Jerry Garcia (Analog Delay, Distortion + and Phase 100), Randy Rhoads (Analog Delay, Distortion +, Flanger, Stereo Chorus and Ten-Band Graphic Equalizer) and Andy Summers (Distortion +, Dyna Comp and Phase 90). </p> <p>As MXR entered the Eighties, the company abandoned the compact, battery-powered stomp boxes that guitarists loved and instead offered larger, AC-powered pedals like the Distortion II, the Limiter and the Stereo Chorus. </p> <p>While these new products were built to professional standards, they were also more expensive than the compact pedals offered by Japanese companies like Boss and Ibanez, which cut into MXR’s market share. To compete, MXR introduced the Micro Chorus and Micro Flanger pedals as well as the budget Commande Series pedals, which were housed in plastic cases. </p> <p>MXR increasingly focused on rackmount gear, including digital-delay and reverb units, the Dual 15-Band Graphic EQ, the Flanger/Doubler, the Pitch Transposer and an early multi-effect unit called the Omni. The company also began to develop consumer home audio products in hope of expanding its business. By 1984, MXR discontinued its original pedal line, replacing it with the affordable Series 2000 pedals, which were housed in black cases and featured designs more than obviously influenced by those of their Boss and Ibanez competitors. </p> <p>However, the company was soon torn apart by internal labor struggles and disagreements with major shareholders. Before the end of 1984, MXR had closed its doors. Barr went on to found Alesis in Hollywood, California, where he refined his affordable digital reverb and drum machine designs. Gambacurta, Neatour, Sherwood and ex-MXR employees Phil Betette and John Langlois remained in Rochester to found Applied Research and Technology, better known as ART.</p> <p>After a three-year absence, the MXR brand re-emerged when Dunlop Manufacturing purchased rights to the name and resurrected the brand. Dunlop fittingly reissued the same four pedals—the Blue Box, Distortion +, Dyna Comp and Phase 90—that originally launched the MXR line in 1974. Dunlop also updated the reissue pedals with an LED and jack for a nine-volt DC adapter. Over the next decade, Dunlop began to bring back other popular classic MXR pedals that players still considered essential, like the Flanger, Phase 100, Stereo Chorus and graphic equalizer pedals.</p> <p>Around the dawn of the new millennium, Dunlop began to develop and introduce an impressive range of new models that expanded the MXR legacy. In 1999, MXR offered its first line of pedals designed exclusively for bass players. </p> <p>That was soon followed by the introduction of artist signature pedals designed with input from players such as Dimebag Darrell (Dime Distortion), Kerry King (KFK Ten-Band Graphic Equalizer), Eddie Van Halen (EVH Phase 90 and Flanger) and Zakk Wylde (Black Label Chorus, Berzerker Overdrive, Zakk Wylde Phase and Overdrive). New artist models that recently joined the MXR line include the Slash Octave Fuzz and Joe Bonamassa FET Overdrive.</p> <p>In 2008, Dunlop hired Jeorge Tripps to resurrect his Way Huge line of pedals and work with the MXR team, which included senior engineer Bob Cedro, to develop new products and produce accurate reproductions of the original MXR script-logo pedals. One of the team’s first products was the Carbon Copy analog delay, which has become MXR’s most popular new pedal since the release of the originals. Cedro and Tripps also helped MXR establish its Custom Shop line of pedals, which include the Custom Comp, La Machine octave fuzz, Micro Amp + and Phase 99.</p> <p>“When I came to Dunlop, one of my main responsibilities was to revamp the whole MXR script-logo line,” Tripps says. “We wanted to make them by hand the way MXR used to, so we gathered a bunch of old MXR pedals to look at. When we decided to reproduce the original Dyna Comp, I couldn’t find much reference material on it, so I decided to call Keith Barr. </p> <p>That was right before Keith died in 2010. I also have a bunch of old documents and schematics from MXR and even a prototype of a tremolo panner that never came out that I bought in 2006 when somebody sold a trunk of old MXR back stock.”</p> <p>Under Dunlop’s direction, MXR has offered more than 80 different products over the years. Popular and acclaimed new products in today’s MXR line include the Talk Box (MXR originally developed a prototype talk box called the Waak in 1975 that never went into production), the Custom Badass ’78 Distortion, the Super Badass Distortion, the Uni-Vibe Chorus/Vibrato and Custom Shop reproductions of the original script-logo Phase 90 and Dyna Comp. </p> <p>Products like the Smart Gate and the Custom Audio Electronics Boost/Line Driver and MC403 Power System can be found in the touring rigs of countless pros.</p> <p>Thanks to Dunlop, MXR’s legacy is alive and well, as the new products remain faithful to the original company’s ideals of value, sound quality and ruggedness. </p> <p>After 40 years of providing guitarists with innovative tools that influence and inspire new tones, MXR shows no signs of slowing down. “We have a very talented team of engineers and product designers who are always coming up with new ideas,” Tripps says. “We’re keeping true to the original concept of MXR but moving forward at the same time.”</p> http://www.guitarworld.com/out-box-guitar-world-celebrates-time-honored-history-mxr-effect-pedals#comments Jim Dunlop June 2014 MXR News Features Gear Magazine Thu, 17 Jul 2014 13:40:11 +0000 Chris Gill http://www.guitarworld.com/article/21839 Review: G&L Tribute Series Fallout Guitar — Video http://www.guitarworld.com/review-gl-tribute-series-fallout-guitar-video <!--paging_filter--><p><em>These videos and audio files are bonus content related to the September 2014 issue of </em>Guitar World<em>. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-september-2014-the-black-keys/?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=SeptemberVideosPage">Guitar World Online Store</a>.</em></p> <p>http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-september-2014-the-black-keys</p> <p>In 2013, G&amp;L debuted the Fallout model, which was based on the company’s original SC-2 guitar introduced 30 years before. </p> <p>While the Fallout retained the SC-2’s slim body shape and 25 1/2–inch-scale length, it featured a different pickup configuration that made it ideal for a wider range of players. </p> <p>This year G&amp;L has expanded the Fallout family with an affordable Tribute Series version that offers nearly identical features but sells for about a third of the price.</p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="myExperience3676378458001" class="BrightcoveExperience"> <param name="bgcolor" value="#FFFFFF" /> <param name="width" value="620" /> <param name="height" value="348" /> <param name="playerID" value="798983031001" /> <param name="playerKey" value="AQ~~,AAAAj36EdAk~,0qwz1H1Ey92wZ6vLZcchClKTXdFbuP3P" /> <param name="isVid" value="true" /> <param name="isUI" value="true" /> <param name="dynamicStreaming" value="true" /> <param name="@videoPlayer" value="3676378458001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --> http://www.guitarworld.com/review-gl-tribute-series-fallout-guitar-video#comments G&L Guitars September 2014 Electric Guitars News Gear Magazine Wed, 16 Jul 2014 09:26:08 +0000 Chris Gill, Video by Paul Riario http://www.guitarworld.com/article/21796 Full Shred with Marty Friedman: Using Various Articulation Techniques to Expressively Interpret a Melody — Video http://www.guitarworld.com/full-shred-marty-friedman-using-various-articulation-techniques-expressively-interpret-melody-video <!--paging_filter--><p><em>These videos and audio files are bonus content related to the September 2014 issue of </em>Guitar World<em>. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the <a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-september-2014-the-black-keys/?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=SeptemberVideosPage">Guitar World Online Store</a>.</em></p> <p>An essential element of guitar soloing, one that to me separates the grownups from the kids, is the player’s ability to interpret single-note melodies in a musical way, with emotion and expression. </p> <p>There are countless ways in which one could play a note or series of notes on the guitar, and if you do not focus on being in control of how each note sounds, you’re wasting an opportunity for expression, via articulation, which is the one of the most important tools that is available to you as a soloist. </p> <p>The little details in the manner by which you choose to play each note in a melody is what will give you the opportunity to sound different than any other guitar player and develop a unique sound and musical “voice.” </p> <p>Using articulation as an expressive element is the one thing I concentrate on the most when playing live or recording, simply because there are so many options. The way in which you ultimately interpret a melody is the way you reveal your musical personality, which, to me, is the whole point in making music in the first place! </p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="myExperience3676486982001" class="BrightcoveExperience"> <param name="bgcolor" value="#FFFFFF" /> <param name="width" value="620" /> <param name="height" value="348" /> <param name="playerID" value="798983031001" /> <param name="playerKey" value="AQ~~,AAAAj36EdAk~,0qwz1H1Ey92wZ6vLZcchClKTXdFbuP3P" /> <param name="isVid" value="true" /> <param name="isUI" value="true" /> <param name="dynamicStreaming" value="true" /> <param name="@videoPlayer" value="3676486982001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --><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="/marty-friedman">Marty Friedman</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/full-shred-marty-friedman-using-various-articulation-techniques-expressively-interpret-melody-video#comments Full Shred Marty Friedman September 2014 Artist Lessons Videos News Lessons Magazine Wed, 16 Jul 2014 09:06:22 +0000 Marty Friedman http://www.guitarworld.com/article/21798 Dear Guitar Hero: Albert Lee Talks Gear, Technique, "Cocaine," "Country Boy" and Performing with Eric Clapton http://www.guitarworld.com/dear-guitar-hero-albert-lee-talks-gear-technique-cocaine-country-boy-and-performing-eric-clapton <!--paging_filter--><p><em>He’s a veteran breakneck picker and fingerstylist who has performed with Eric Clapton among many others. But what Guitar World readers really want to know is…</em></p> <p><strong>My all-time favorite Albert Lee solo is on Eric Clapton’s live <em>Just One Night</em> version of “Cocaine” [recorded December 1979]. What can you tell me about it? What gear were you using? — Jim Mikmaq</strong></p> <p>I have a fairly fluid technique, and sometimes it runs away with me when I play too many notes. [laughs] I can’t remember exactly what I played, but I’d hazard to guess I played four times as many notes as Eric did on his solo, for good or bad. More than a few people thought it was Eric at the time, but the more you listen to it, the more you hear how different the two solos are. I was using the Gibson Les Paul Custom that Eric gave me. </p> <p>That’s the one he used with Delaney &amp; Bonnie and Cream. He gave me that guitar when we started playing together in ’79. It’s one of my treasures. We were both using Music Man amps, 130-watt heads with large, open-back cabinets with two 12s.</p> <p><strong>What was it like being onstage at the Concert for George, the 2002 George Harrison tribute show at the Albert Hall? How well did you know him? — Lena Sciancalepore</strong></p> <p>It was quite an event and such a large band. There were six guitar players and three keyboard players. At one point, there were three or four drummers, and there was a small string section behind us. It was amazing, not only because it was for George but also just to be in the middle of all that. </p> <p>George and I didn’t hang out a lot, but I’d met him a number of times and he was always very friendly. The first time I met him was at an Eric Clapton gig. At the ends of his tours, Clapton would do a local gig at a church hall just for the fun of it. George came to one of those. We went back to his house and had a jam. Then I ran into him at the first Australian Grand Prix in ’85. He showed me around the pits and introduced me to the drivers, because he was into Formula One.</p> <p><strong>When performing, do you make up your “Country Boy” solos on the spot? [The song was a 1971 hit for his band, Heads Hands &amp; Feet, and was later covered by Ricky Skaggs.] — John Thomas</strong></p> <p>In all the breaks in “Country Boy,” there are certain things I will go to. But even though I start out playing something I’ve played before, it always ends up being different. It’s the nature of my playing. I’m lucky enough to be able to think on my feet and let things take their own course. If I make a mistake, I’ll turn it into something else. None of my solos are planned, but you’ll notice a certain familiarity if you’ve heard me play a number of times.</p> <p><strong>How often do you practice, and do you follow a regimen? — Earl Pobjoy</strong></p> <p>[laughs] Not at all. I’m fortunate enough to have a technique that comes together pretty quickly. I pick up a guitar and everything falls into place, more or less. If I’m not working for two or three weeks, I generally won’t pick up a guitar. I might pick up an acoustic and strum a bit, but that’ll be it. And I generally don’t warm up for gigs. I should, really. I guess soundcheck is good enough. I’m sure that if I were to spend time practicing, I’d come up with some new things.</p> <p><strong>What string gauge do you use? — Mike Caro</strong></p> <p>I’m using .010 to .046, an Ernie Ball Regular Slinky set, except I’m using a .015 instead of a .017. I like to be able to bend that third string. When I started using pre-gauged sets, I used Fender Rock N’ Roll strings, which were .010, .013, .015, et cetera. That’s what I’m using now, but with Ernie Ball.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/p2Wv0ZyuLhc" frameborder="0" allowfullscreen></iframe></p> <p><strong>Were you involved with the unusual shape of your Music Man Albert Lee model guitar? — Pete Canard</strong></p> <p>I didn’t design it. It’s different, but I don’t think it’s weird looking. I see a lot of guitars people play now, and I think, Boy, that thing is ugly. They’ve got ugly horns on them and they look like a battle ax from the Middle Ages or something. I think this one is very cool, because it’s understated but doesn’t have the curves of a Strat-type guitar.</p> <p><strong>How did the Albert Lee/Music Man association come to be? — Gifford Pinchot</strong></p> <p>When I first came to the States with Head Hands &amp; Feet, we were playing in Los Angeles, and our record [“Country Boy”] had been on the radio. Ernie Ball and his son Sterling heard it, liked it and were surprised to find out we were English. They came to gigs, we became friends, and I started using Ernie Ball strings. Sterling’s godfather was Tom Walker, who started Music Man with Leo Fender, so I was showered with Music Man amps in the early Seventies. </p> <p>Leo left Music Man to start G&amp;L, and Ernie ended up buying the Music Man name. They decided they wanted to build a new electric guitar. A number of us pitched in our ideas. Even Steve Morse was involved. The first guitar they came out with was the Silhouette, which I loved. But they also made a prototype, which they tried at the NAMM show, but there wasn’t much interest. They kind of shelved the idea for a while, but Sterling had a nice prototype made up for himself, which was all maple. He told me about it: “You’ll love this guitar when you see it.” I fell in love with it, and he gave it to me. That became my main guitar. </p> <p>At that time, it was called the Axis. I played it for a number of years. They weren’t able to do much with it at that time, because they had limited production and they were starting to make guitars for Eddie Van Halen. So I had to wait until they built a new factory. That’s when they brought out my guitar. They’ve been quite popular. I’m fortunate to have a first-class guitar with my name on it.</p> <p><strong>What amps are you using these days? — Zooey F.</strong></p> <p>I use Fender Tone Masters. In the late Seventies when I joined Clapton’s band, he was using Music Man amps, and he had vents cut in the back of his big cabinets. I thought that was a great idea. I never really liked the idea of a big 4x12 closed-back cabinet. I know it’s supposed to be more efficient, but I just like the overall surround-sound of an open-back cabinet, like you’d get from a Twin. So I had the idea of having cabinets built like Eric’s. The first thing I did when I got my Fender Tone Master was cut ports in the back of them. They work really well. I love the sound of them.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/GwRGrAa0MyQ" frameborder="0" allowfullscreen></iframe></p> <p><strong>Why and when did you start using B-benders? — Lucy Lepore</strong></p> <p>I was mesmerized in the late Sixties listening to Clarence White bend strings, thinking, How did he do that? It’s too perfect to be a regular string bend! Then I read about the StringBender [the mechanical device invented by White and Gene Parsons that is now known as the B-Bender], but I still couldn’t picture it. On my first trip to the States, we went to see [bluegrass band] the Dillards. I went backstage and met their guitarist, Billy Ray Latham, and he had this Tele with a B-Bender in it. I think his was made by Gene Parsons—one of the originals. </p> <p>I said, “Where can I get one?” He said, “There’s a guy in L.A. making them named Dave Evans.” He was making Tele bodies out of exotic woods. I bought one of the bodies, and he put a humbucker in it. This would’ve been around ’71 when I started playing my B-Bender. Not long after that, Evans kind of disappeared, but I’m glad to say I’m back in touch with him. </p> <p>I loved Gene Parsons’ units, because they were the first. Actually, I have to qualify that, because I saw Carl Perkins play a Gibson Switchmaster in the U.K. He had this little bit of metal he’d attached to the headstock. When he was playing in the first position, he could press this little lever with his thumb and it would raise the second string a whole tone. He could get these banjo bends with his thumb. </p> <p>I have two or three Teles with B-Benders and three of my signature Music Man guitars with B-Benders. You can’t buy them; I had them modified by the factory. Sterling called me recently and said, “Joe Bonamassa wants one of your guitars with a B-Bender in it. Are you okay with that?” I said, “Of course I am!”</p> <p><strong>I know you’ve done clinics for Ernie Ball, but do you offer private or online lessons? — Clarence LeBlanc </strong></p> <p>I’ve had people over to the house once or twice, but I’m not a good teacher. I’m self-taught. I had piano lessons for a couple of years, but there was no one to learn from in 1957. It was just from listening to records. You start out with Buddy Holly solos and go from there. When I do clinics, I show people how I came across things, and I tell them, “This may or may not work for you.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/qjbR_Os9GWE" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/dear-guitar-hero-albert-lee-talks-gear-technique-cocaine-country-boy-and-performing-eric-clapton#comments Albert Lee Damian Fanelli Dear Guitar Hero July 2014 Interviews News Features Magazine Tue, 15 Jul 2014 20:51:11 +0000 Damian Fanelli http://www.guitarworld.com/article/21842 Guitar World Magazine Covers Gallery: Every Issue from 2008 to 2014 http://www.guitarworld.com/guitar-world-magazine-covers-gallery-every-issue-2008-2014 <!--paging_filter--><p>Below, check out the latest photo gallery of <em>Guitar World</em> magazine covers. This time, we "cover" 2008 through the present — 2014.</p> <p>Because we're in a "completist" mood, this photo gallery also includes all the different variations of certain covers, including four different versions of an Eddie Van Halen cover from 2009.</p> <p>We hope you enjoy this trip through GW's recent history. Because this gallery will go through 2014, you'll have to wait till 2015 for the next one!</p> <p>If you're in the mood for more, be sure to check out our photo gallery of every <em>Guitar World</em> magazine cover from <a href="http://www.guitarworld.com/guitar-world-magazine-covers-gallery-every-issue-1980-1986">1980 to 1986</a>, from <a href="http://www.guitarworld.com/guitar-world-magazine-covers-gallery-every-issue-1987-1993">1987 to 1993</a>, from <a href="http://www.guitarworld.com/guitar-world-magazine-covers-gallery-every-issue-1994-2000">1994 to 2000</a> and from <a href="http://www.guitarworld.com/guitar-world-magazine-covers-gallery-every-issue-2001-2007">2001 to 2007.</a></p> <p><strong>NOTE: Remember, you can click on each photo to take a closer look.</strong></p> http://www.guitarworld.com/guitar-world-magazine-covers-gallery-every-issue-2008-2014#comments Guitar World Lists Galleries News Features Magazine Tue, 15 Jul 2014 15:15:17 +0000 Guitar World Staff http://www.guitarworld.com/article/20189 Full Shred with Marty Friedman: Finding Your Path to Musical Individuality — Video http://www.guitarworld.com/full-shred-marty-friedman-finding-your-path-musical-individuality-video <!--paging_filter--><p>When it comes to evaluating a musician, individuality is the characteristic that I hold in highest regard. We all have our heroes and favorite players from whom we’ve learned a great deal through trying to emulate their playing styles. </p> <p>In rock, for example, most players list Jimi Hendrix, Jeff Beck and Jimmy Page as major influences, and in metal it’s not uncommon to hear the names Eddie Van Halen, Randy Rhoads, Zakk Wylde or Dimebag Darrell mentioned as primary influences. </p> <p> In that sense, many of us have learned from the same sources. The trick is to take those influences and push yourself in your own unique and distinct direction. Though it may be easier to learn other people’s solos—which is fine if that’s the goal you’re pursuing—I believe it’s much more rewarding to go out on a limb and take some musical chances, just to see what new and different sounds you can discover in the pursuit of forming a style that you can eventually call your own.</p> <p> For example, playing fast is not the be-all and end-all of anything. In fact, it’s utterly unimportant. But if you are like most guitar players, you’ll want to be able to play fast, because everyone wants to play fast. So to my mind, you might as well try to do it in a way that’s cool and different from everyone else.</p> <p> The first step to playing fast in a unique way is to find things that are easy for you to play. For this, I suggest using patterns rather than things that you hear on recordings or have found in a book or magazine. <strong>FIGURE 1</strong> is a pattern built from four notes—D Cs Bf A—that is played between the B and G strings quickly, using hammer-ons and pull-offs, and can be thought of as something one might play over an A chord.</p> <p> Notice that the order of the notes is altered slightly as the lick progresses, which gives it its “unpredictable” sound. Just the fact that this phrase is not constructed from an identifiable repeated pattern makes it appealing to me right away.</p> <p> If we use this type of idea as a jumping off point, we can move it up the fretboard and change one of the notes in the pattern. <strong>FIGURE 2</strong> is played in fifth position and can be thought of as working over a C chord, Am or even A7. The one twist I add here is to alternately change one of the notes on the B string from F to G. My penchant is to constantly change the order of the notes to create a random feeling and sound.</p> <p> In <strong>FIGURE 3</strong>, I elaborate on the idea of using F to E and Df to C by playing lines based on the C Phrygian-dominant mode (C Db E F G Ab Bb). In <strong>FIGURE 4</strong>, I take a simple idea based around a B7 arpeggio (B D# F# A) and add a few passing tones to make the phrase more interesting.</p> <p> It’s fine to copy other players just to learn about the guitar and to see how things tick. Ultimately, though, what’s most important is to find your own musical identity. Hopefully, these examples will help get you on your way.</p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="myExperience3578183555001" class="BrightcoveExperience"> <param name="bgcolor" value="#FFFFFF" /> <param name="width" value="620" /> <param name="height" value="348" /> <param name="playerID" value="798983031001" /> <param name="playerKey" value="AQ~~,AAAAj36EdAk~,0qwz1H1Ey92wZ6vLZcchClKTXdFbuP3P" /> <param name="isVid" value="true" /> <param name="isUI" value="true" /> <param name="dynamicStreaming" value="true" /> <param name="@videoPlayer" value="3578183555001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --><p><br /><br /> <img src="/files/imce-images/Screen%20Shot%202014-07-14%20at%204.29.23%20PM_0.png" width="620" height="635" alt="Screen Shot 2014-07-14 at 4.29.23 PM_0.png" /><br /> <img src="/files/imce-images/Screen%20Shot%202014-07-14%20at%204.29.40%20PM.png" width="620" height="150" alt="Screen Shot 2014-07-14 at 4.29.40 PM.png" /></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="/marty-friedman">Marty Friedman</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/full-shred-marty-friedman-finding-your-path-musical-individuality-video#comments Full Shred July 2014 Marty Friedman Artist Lessons Videos News Lessons Magazine Mon, 14 Jul 2014 20:34:53 +0000 Marty Friedman http://www.guitarworld.com/article/21313 Morbid Angel Bassist David Vincent's 2014 Summer Tour Survival Guide — Summer Slaughter http://www.guitarworld.com/morbid-angel-guitartist-david-vincents-2014-summer-tour-survival-guide-summer-slaughter <!--paging_filter--><p><em>In this new feature from the August 2014 issue of <em>Guitar World</em>, the guitarists of Avenged Sevenfold, Morbid Angel, Trivium and other metal acts tell how they'll beat the heat and tame the crowds on the season's biggest tours.</em></p> <p><strong><em>TODAY: Morbid Angel Bassist David Vincent — SUMMER SLAUGHTER</em></strong></p> <p><strong>Tips for playing in extreme heat?</strong></p> <p>I’m one of those fellas that sweats like a pig by song number two, and it doesn’t matter what the heat is. As my grandmother told me, I’m damned to go to hell anyways, so I look at this as preparation. </p> <p><strong>One item you’ll carry with you at all times this summer?</strong></p> <p>My iPad. That’s one small item that seems to pack easily and gets me through most of the tasking I need to do. </p> <p>Considerations when playing an outdoor show versus an indoor show?<br /> Usually, the indoor ones are worse than outdoor ones, because at least there’s a breeze or fresh air outside. Sometimes, indoors, it’s not even hot—there’s just no fresh oxygen. So that’s challenging. You just have to condition your body to jive with a different climate. So I work out every day; I do my stretches. I don’t like fans. All they do is blow hair into my mouth. </p> <p><strong>Primary gear you’ll be playing this summer?</strong></p> <p>I only use Dean Guitars, and Trey [Azagthoth, guitarist] uses Dean and some Ibanez. We have our full backline, and we have some stage accoutrements that we bring with us. </p> <p><strong>Tips for winning over a tough crowd?</strong></p> <p>It’s not a question of winning but earning. From my perspective, when there’s a band that’s playing and I’m observing them for the first time, I like some form of convincing emotion—something that’s believable and doesn’t seem like it’s just the band going through the motions. </p> <p><strong>Highlight of your band’s set list?</strong></p> <p>It doesn’t matter what set we play, when we go out and play, we are Morbid Angel and that is the important thing.</p> <p><strong>Advice for a band just starting to play live?</strong></p> <p>Well, I would probably ask them what else do they do. And if it sounded like something that was a real career choice, I would probably encourage them to just stick to that, because this business is anything but kind or fair. If you’re not a soldier prepared to go into battle on a daily basis and deal with that kind of stress and emotion, then it’s probably not for you. </p> <p>Watch the video for "Rapture" here:</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/M0kjr1xesZ8" 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="/morbid-angel">Morbid Angel</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/morbid-angel-guitartist-david-vincents-2014-summer-tour-survival-guide-summer-slaughter#comments 2014 Summer Tour Survival Guide August 2014 David Vincent Morbid Angel Interviews News Features Magazine Mon, 14 Jul 2014 16:12:01 +0000 Sammi Chichester http://www.guitarworld.com/article/21714