News en Milk Carton Kids Guitarist Kenneth Pattengale Talks Tone, Playing in a Duo and New Album, 'Monterey' <!--paging_filter--><p>The Milk Carton Kids' Kenneth Pattengale and Joey Ryan are studied craftsmen of the folk tradition. </p> <p>Over the course of their five years together as a band, they have mastered the delicate vocal harmonies, sophisticated songwriting and subtle musical interplay set forth by seminal folk duos such as Simon &amp; Garfunkel or Gillian Welch and David Rawlings. </p> <p>Words like "enchanting" and "haunting" get tossed around when describing this intimate format, but the Milk Carton Kids have more than earned such distinctions.</p> <p>The two singer-songwriters formed the group in 2011 and promptly hit the road, touring the country. </p> <p>Since then, they have earned numerous accolades, including a Grammy nomination for <em>Ash &amp; Clay,</em> the 2014 Group of the Year Award from the Americana Music Association and a spot in the T Bone Burnett and Coen Brothers-produced concert film documentary, <em>Another Day/Another Time: Celebrating the Music of ‘Inside Llewyn Davis’</em>—in which their performance literally moved Marcus Mumford to tears. </p> <p>When first hearing the Milk Carton Kids, Pattengale’s guitar jumps out immediately. His counterpoint accompaniment is tasteful and undeniably impressive, utilizing a mix of cross-kicking, double-stops and single-note lines to create an elegant style that has made him one of the most exciting contemporary voices on the acoustic guitar. </p> <p>I spoke with Kenneth about achieving tone, his sense of harmony, playing in a duo and recording the Milk Carton Kids’ new album, <em>Monterey.</em></p> <p><strong>GUITAR WORLD: You play a very small-bodied acoustic guitar. What model is it?</strong></p> <p>It’s a Martin 0-15 from 1954. Outside of the little turn-of-the-century parlor guitars and the guitars that predate the OM model, it’s the smallest short-scale guitar Martin has made in the modern era. It's funny; yesterday we were doing a thing with Béla Fleck in Nashville and he walked by the guitar and said, “What, did your guitar shrink in the dryer?” </p> <p>So it’s from ’54 and it’s kind of beat to shit. I bought it off a lady on the Internet, sight unseen. I’ve bought a number of guitars that way, but this one just seems to have its own thing. And after touring it for five years with this band, it’s developed a kind of tone that’s hard to replace when I’m swapping guitars in and out. Every time that one’s in the mix, it seems to be saying the right thing.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>You incorporate a ton of single-note lines into your playing while always retaining a very even, full tone. I know the bluegrass guys have a very specific approach to achieving their tone on an acoustic instrument, but you seem to be going after something different.</strong></p> <p>I feel like tone is the most important thing. My impression of the bluegrass thing is really funny. I think those players are really precious about tone, but often times I feel like those guys are relying on their instrument more than their technique in a strange way. That big, clear, open, bell dreadnought sound you hear out of all those guys is such a particular thing. For me, maybe I had access to too many guitars, or maybe I didn’t have an ear for it … to feel comfortable in what I was playing, the only thing I could manipulate or change was just my technique. </p> <p>We’ll see if it hurts me in the end, but I think if there’s anything that sets me apart from other people is that when I know that I like what’s coming out of my instrument, it’s because literally I press down on the fingerboard harder than most players. I’ve always found that to get a really warm, sustained and clear tone that’s still sort of real and gritty, in order to get that out of the instruments I play, I always have to really take that string across the frets. </p> <p>I guess you could compare it to the way you need to make sure joints in woodworking are sound. When you glue two pieces of wood together, the closer you can get them to existing as a fundamental structure, and the more you create that bond, the more structural integrity it has. In a metaphorical way, that holds true in my mind for the guitar. The more you can establish a totally firm intentionally with which you play, and in how that’s represented physically, the truer it sounds. </p> <p>But then again I don’t know … I might be shooting myself in the foot. I might not be able to play the guitar when I’m 60 [laughs].</p> <p><strong>Is that something you’re aware of while playing? I’ve talked before with Julian Lage, whom I know you produced a record with, and he spoke of having a similar intentionality to his playing.</strong></p> <p>I think I’m more aware of it when I’m not playing. If I don’t play the guitar for a few weeks, and then I start to play again, the first four or five days I’m in excruciating pain. My calluses go away and my hand cramps up and feels overused. The opposite is like Joey, who doesn’t have light strings on his guitar, but to get the sound he gets out of his instrument he doesn’t have to press the guitar as hard. He can go months without playing and then do some strumming and it won’t really matter. </p> <p>When I’m actually playing and in the zone and not distracted by anything, I think I’m far enough in where I don’t have to think about technique anymore. When you’re performing, technique probably isn’t a good thing to focus on because you might miss some artistic information. </p> <p>You mentioned Julian; I’ve never had more conversations about technique with anyone than Julian. Not necessarily about playing the guitar but everything that surrounds playing the guitar. He’s given a lot of thought and made a lot of personal choices and corrections based on body posture and breathing and all of these theoretical ideas about what it means physically to play the guitar. Obviously, when you hear that guy play the guitar, anything that’s going into it is valuable information because what’s coming out of it is pretty astounding. </p> <p><strong>You have such an interesting and sophisticated sense of harmony in your playing. I hear half-step moves, close intervals, 9ths and 13ths. How did you develop this sound?</strong></p> <p>I think it comes from having global influences. I spent long stretches listening to Tom Waits recordings, long stretches listening to Duke Ellington recordings—composers that seem not to be afraid to work in the margins. Duke’s a perfect example of where there’s so much intentionally, and clearly composition, but he’s also not afraid to challenge the ear. </p> <p>Secondarily, not to be bashful about it, but I’m not the most consistent guitar player around. I feel like I kind of backed into this job. Joey and I started a band where there are only two guitars and two voices. There are a few ways to arrange those four elements, and to our ear the best way is to really be interesting with those four things. When we’re striving to sing as one with our voices, and Joey’s fundamentally providing rhythm, there’s all this wide-open space for me to play the guitar as counterpoint in and around that. There’s a lot of room to fill there and I guess I was the guy for the job. </p> <p>And I’m not the greatest guitar player, so a lot of that comes from trying to be ambitious on the guitar and then landing in the wrong place and having to find my way out of it while trying to make it musical. In that a lot of discovery happens. Sometimes I’d land in the wrong place but I’d really like how it sounded and what it did for the music. </p> <p>In some ways this feels like a running experiment for me trying to seek out the guitar in the public forum. I’ve also got a band mate and collaborator who can tell me if I sound shitty or if I’ve gone too far. I’m not necessarily stuck in my own world thinking this stuff sounds great or not. There’s always somebody else to tell if it’s working. </p> <p><strong>Even though you play a lot of very defined single note lines, it never sounds like you’re playing “lead guitar." It seems like you always make an effort to accompany the song even while you’re doing all this cool guitar stuff.</strong></p> <p>Yeah and that’s intentional. When we perform we do maybe 20 songs, and of the those 20, there are only ever two or three songs where we get to a point and it feels like, “Oh and now for a guitar solo.”</p> <p>There’s a song of ours, “Girls Gather Round” that has a guitar solo in the middle. But it’s really only there because the structure of the song is so traditional that when you get to that point in the song, everybody knows that it’s time for the guitar solo. </p> <p>We’re conscious of writing parts in our songs, sections that while they’re instrumental, usually have different chord patterns than in the verses and chorus. Sometimes these songs, over the course of a year or two will change from the recorded version to something we feel more comfortable in or something that can be lightly improvised around. Throughout that process we try not to reach points in songs where it’s just time for me to show off on the guitar. </p> <p>First I’m not capable of that, but more importantly, we found to have a clear idea of what the direction of my guitar part is really strengthens the songwriting. Or at least it gives an identity to the song that without it our band doesn’t actually work. It’s never supposed to feel like a guitar solo. It’s exactly like you said, it’s supposed to feel like accompaniment; it’s supposed to feel like it’s contextual and that it’s purposeful and serves the song. </p> <p>If somebody was going to pick guitar solos over our tunes there are plenty of other guys that would do that better. Julian Lage or Elbridge or Rawlins can all play a way better guitar solo than I can. </p> <p><strong>For the new album, I read you recorded it in empty rooms and halls to utilize their natural reverb. Was that the concept for making this record?</strong></p> <p>You know, that’s actually how I thought about the Critter [Chris Eldridge] and Julian album. That duo-guitar thing is a format that’s happened a few times, and my frustration with those recordings is that it seems like those type of players, who are so good and so detailed, the production aesthetics are always … you get this really close-mic’d, precise, pristine sound. It sounds so close and detailed; it’s hard for me to hear the context when I listen to those. </p> <p>I wanted to get them into a room where I could back all the mics off so that the context would be more firmly established before the listener hears it. In fact, we recorded that album in the middle of the tour that Joey and I recorded our album on. It was the same recording rig, and I found a hall in Easton, Maryland, to take them into. What ended up happening, standing on stage in this empty room with all of this reverb, is that all of a sudden everything was different. Just playing guitar sounded different than playing in the studio or sitting on the edge of your bed. You’d strike the guitar and hear the sounds in just an entirely different way. And it seemed to not only make you play differently, but that different context alone painted the whole picture differently.</p> <p>For Joey and me, it was important because we’ve done close to 500 shows, and we’ve only been in the studio eight days over those five years. At this point, he and I are much happier thinking about our accomplishments onstage rather than our accomplishments in the studio. And we’ve spent so much damn time out there; it occurred to us, “Why don’t we just record it here?” We thought it would feel a lot more natural and take away the preciousness of what going into the studio means. Every time you go into the studio, everyone gets emotionally psyched up, and you can’t expect that it’s not going to change what you do. </p> <p>I know that if I sit down at the studio and try to cut a song for three hours, knowing that at end of it I’m going to have to move on and that’s going to be the one, it means that I’m less ambitious playing the guitar and that sometimes I’m thinking about the wrong things—worrying about how the guitar sounds rather than thinking about how to make the guitar sound good.</p> <p>On that tour, I think we played 55 shows. We’d set up the recording studio every day on stage in these halls and play for a few hours and then take it down. We didn’t even listen to anything for about six months. So during that whole time we never thought, “Oh, this has got to be the one,” or “We gotta play this right.” Instead, we’d set up for the day and either we’d play or we wouldn’t. </p> <p>When we went back and listened, we found that the songs sounded totally different than if we were in the studio and precious about it. As a result, I think it’s much more reflective of what we do every day. It captures a side of our music that definitely hasn’t been captured on any of the previous records. But more importantly, it represents what we think we’re good at and how we think we found it. </p> <p><em>For more about the Milk Carton Kids, visit <a href=""></a></em></p> <p><em>Ethan Varian is a freelance writer and guitarist based in San Francisco. He has performed with a number of rock, blues, jazz and bluegrass groups in the Bay Area and in Colorado. <a href="">Follow him on Twitter.</a></em></p> Acoustic Nation Kenneth Pattengale The Milk Carton Kids Interviews Blogs Interviews News Features Wed, 27 May 2015 20:51:31 +0000 Ethan Varian 24561 at Betcha Can't Play This: The Commander-In-Chief Revisits "Introduction and Rondo Capriccioso" — Video <!--paging_filter--><p>Earlier this year, premiered a new performance video by the Commander-in-Chief, a Norwegian seven-string guitarist who lives in the U.K.</p> <p>The video was a <a href="">performance clip of Camille Saint-Saëns' "Introduction and Rondo Capriccioso" as played by the Commander-in-Chief and classical guitarist Craig Ogden.</a></p> <p>Earlier this month, the Commander-in-Chief visited <em>Guitar World</em>'s basement studio in New York City to shoot several videos. Among them is a new "Betcha Can't Play This" clip based on "Introduction and Rondo Capriccioso," which Saint-Saëns wrote in 1863 for virtuoso violinist Pablo de Sarasate; the Commander-in-Chief arranged the piece for seven-string guitar. </p> <p>"This is my favorite song of all the classical ones I have recorded," said the Commander-In-Chief in February. "It has a very sad but also unpredictable and playful vibe to it." You can check out the video and transcription below.</p> <p>"Introduction and Rondo Capriccioso" can be found on the Commander-in-Chief's new album, <em>2 Guitars: The Classical Crossover Album</em>, which she recorded with Ogden. Since late 2014, has premiered several songs (and videos) from <em>2 Guitars</em>, including <a href="">"Introduction and Rondo Capriccioso,"</a> <a href="">Niccolo Paganini's Caprice No. 24</a>, <a href="">"Por una Cabeza,"</a> and <a href="">an original song called "Let It Go."</a></p> <p><strong>For more information on the album and the Commander-in-Chief, visit <a href=""></a></strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p style=" margin: 12px auto 6px auto; font-family: Helvetica,Arial,Sans-serif; font-style: normal; font-variant: normal; font-weight: normal; font-size: 14px; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none; display: block;"> <a title="View Betcha Can&amp;#x27;t Play This: Commander-in-Chief Revisits on Scribd" href="" style="text-decoration: underline;" >Betcha Can&amp;#x27;t Play This: Commander-in-Chief Revisits</a></p> <p><iframe class="scribd_iframe_embed" src=";view_mode=scroll&amp;show_recommendations=true" data-auto-height="false" data-aspect-ratio="undefined" scrolling="no" id="doc_21547" width="100%" height="600" frameborder="0"></iframe></p> Betcha Can't Play This The Commander-In-Chief Videos Betcha Can't Play This News Wed, 27 May 2015 19:34:09 +0000 Guitar World Staff 24560 at Want a Career in the Music Industry? Six Things You Should Consider <!--paging_filter--><p>If you dream of having a successful career in today's competitive music industry, you'll want to start at the right place. That means thinking about gaining the knowledge, skills and experience that can only be taught at a music college.</p> <p>Musicians Institute, the College of Contemporary Music, has a state-of-the-art campus in the epicenter of the entertainment industry: Hollywood, California. The school's newly revised, hi-tech curriculum was designed by MI's vice president of Academic Affairs—experienced touring musician, session drummer and educator Donny Gruendler.</p> <p>Musicians Institute has a variety of programs to match your needs and interests. No matter where you decide to study music, knowing what it takes to have a successful career in the music industry should be your starting point. </p> <p><strong>MI's new e-book, <em><a href="">6 Things You Should Consider When Choosing a Music College,</a></em> is full of useful pointers!</strong></p> <p><a href="">You can check it out here.</a></p> <p><strong>For more about Musicians Institute, visit <a href=""></a></strong></p> Musicians Institute News Wed, 27 May 2015 18:48:41 +0000 Guitar World Staff 24559 at LessonFace with John Heussenstamm: Introduction to Electric Blues Guitar — Video <!--paging_filter--><p> <strong>This video and article offer introductory electric blues guitar concepts from guitarist and music educator John Heussenstamm. Author and co-author of multiple widely distributed books and videos from major music education publishers, and recipient of more than 10 million views on YouTube, Heussenstamm now can be reached for live online lessons via <a href="">Lessonface.</a></strong></p> <p>As you can see in the brief video below, the addition of certain key techniques can add a great deal of expression to your playing. In this video, I demonstrate some simple introductory concepts using the first position of the A minor pentatonic scale.</p> <p><img src="/files/imce-images/1-a-minor-scale.jpg" width="620" height="152" alt="1-a-minor-scale.jpg" /></p> <p>I also discuss how 7th chords allow you to interact with the major and minor pentatonic scales, and I briefly demonstrate the difference between these sounds.</p> <p><img src="/files/imce-images/2-common-chord-inversions.jpg" width="620" height="192" alt="2-common-chord-inversions.jpg" /></p> <p><img src="/files/imce-images/3-vibrato-riffs.jpg" width="620" height="180" alt="3-vibrato-riffs.jpg" /></p> <p>Of course, there's a lot more to learn after you digest this video. Before we can explore all the possibilities related to the electric blues style of guitar playing, we need to be familiar with concepts that relate to positions and keys. </p> <p>Even if we feel we are getting good at the techniques of the blues, such as hammer-ons, pull-offs, sliding, bending, vibrato, etc., sooner or later we have to focus on the different keys and ways to correctly position ourselves. For me, the most important thing to know is where the root notes are in the key the song is in. I chose the key of E for this lesson because there are more E notes on the fretboard due to open E strings. The first line shows E notes up and down the neck.</p> <p><img src="/files/imce-images/4_2.jpg" width="620" height="152" alt="4_2.jpg" /></p> <p>Did you notice an E note can be played on every string? Did you know the same E note or unison note can be played on different strings? The first five notes were all in the same register. The other E notes are organized in octaves.</p> <p>For me the best way to remember where these notes are and the significance of knowing that is learning how to play the same melody in different positions. The following nine riffs or melodies are all the same but in different positions and some in different octaves.</p> <p><img src="/files/imce-images/5_1.jpg" width="620" height="438" alt="5_1.jpg" /></p> <p>This knowledge really can boost your confidence. When you know where the root notes are in any key, you have the foundation points for improvisation and chord building. If you wanted to play in the key of F move everything up one fret. It's as easy as that. </p> <p>The next challenge would be to take a riff or melody and move it into other positions like I did without examples or any help. Find the E note within the riff and move it to another E note and repeat or recreate the same melody. If you succeed at this with full comprehension of what you are doing you're on your way to becoming a competent player. For me this became really important when I got interested in jazz.</p> <p><img src="/files/imce-images/6_0.jpg" width="620" height="150" alt="6_0.jpg" /></p> <p>Blues riff between two octaves. There's more to come in the future. </p> <p><img src="/files/imce-images/7.jpg" width="620" height="152" alt="7.jpg" /></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>If you found this information to be helpful and wish to continue studying along these lines, please follow our future articles with John Heussenstamm and look for Heussenstamm on <a href="link">Lessonface.</a></strong></p> <p><em>John Heussenstamm offers live online lessons and classes on <a href=""> Learn more.</a></em></p> John Heussenstamm LessonFace Videos Blogs News Lessons Wed, 27 May 2015 18:12:39 +0000 John Heussenstamm 24558 at B.B. King Tribute: 10-Year-Old Guitarist Toby Lee Plays "The Thrill Is Gone" — Video <!--paging_filter--><p>Here's one we intended to share last month, when blues legend B.B. King was still in hospice, suffering from diabetes-related health issues.</p> <p>It's a clip of 10-year-old U.K. guitarist Toby Lee performing an instrumental version of King's "The Thrill Is Gone" as a get-well tribute to his favorite guitarist.</p> <p>The video went viral, thanks to Joe Bonamassa and Gibson Guitar, both of whom shared the touching clip via social media. At this point, the video has been watched more than 5 million times.</p> <p>"I put up a tribute to B.B. King because at that moment he was my favorite guitarist," Toby said. "Joe Bonamassa helped. He's also one of my favorite guitarists, and he's really, really good, and I nearly fell down the stairs because I was so shocked [that he shared it]."</p> <p>King died May 14 at age 89.</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="/bb-king">B.B. King</a> </div> </div> </div> </fieldset> B.B. King Toby Lee Videos News Wed, 27 May 2015 16:53:31 +0000 Guitar World Staff 24557 at Review: EarthQuaker Devices Afterneath Reverb Pedal — Video <!--paging_filter--><p><strong><em>GOLD AWARD WINNER</em></strong></p> <p>While many reverb pedals can reproduce traditional spring-tank reflections or heavenly cathedral-like dimensions, reverb is most often handled as a “set and forget” effect, especially if you play splashy surf guitar or just add a smidgen of ambience to your overall guitar sound. </p> <p>And while that common approach is sufficient for many guitarists, some of us crave the unconventional when it comes to exploring the depths of the effect’s cavernous sound. </p> <p>And for that purpose, the EarthQuaker Devices Afterneath is a novel stomp box that combines bottomless pits of reverb with self-oscillating warp-driven delays, which in turn, create spatial soundscapes unlike anything you’ve ever heard.</p> <p><strong>FEATURES</strong> One look at the pedal’s screen-printed wizard-in-a-cave graphic makes it instantly clear that some otherworldly magic will be conjured from it. The Afterneath is housed in a sturdy chassis with a heavy-duty footswitch, a bright pale blue on/off LED and six controls crammed onto its compact surface. The length, diffuse and reflect knobs independently govern the digital reverb parameters, while drag hastens or slows its multiple pinging delays, and dampen and mix act like tone and wet/dry mix controls respectively. The pedal is true bypass with mono input and output jacks, and powered by a nine-volt adapter.</p> <p><strong>PERFORMANCE</strong> Six knobs may seem like overkill for a reverb, but the way the controls interact allows for sweeping aural pandemonium that’s fantastic for creating background ambience, static white noise or atmospheric layering. </p> <p>It should be noted that it’s difficult to coax traditional reverb sounds from the Afterneath. Even with the drag (short delays) and reflect (reverb regeneration) knobs fully counterclockwise, the pedal quickly begins to regenerate, with notes bubbling up to the surface and launching into a perpetual swirl. The effect is mesmerizing but what makes it even more intriguing is to turn drag clockwise as you play and hear how those same sounds start to stretch into hyperspace and ultimately get swallowed up into a black hole. It would be nice if drag had an expression pedal jack for hands-free control, but that’s just a minor quibble. </p> <p>For even more reverberation, diffuse adds washed-out spread when turned fully clockwise, and when it’s combined with both reflect and drag set close to noon, chords oscillate and ping into dense chaos. Twisting the drag control counterclockwise in this setting creates a pitch-bending effect of a descending alien spacecraft. </p> <p><strong>STREET PRICE</strong> $225<br /> <strong>MANUFACTURER</strong> EarthQuaker Devices, <a href=""></a></p> <p>Twisting the drag knob spits out short, ping-pong delays that can be slowed down or sped up for warped-out sounds. At high settings, the reflect knob regenerates the reverb into frenzied self-oscillation that lingers. </p> <p><strong>THE BOTTOM LINE</strong> The Afterneath is a captivating special effects pedal that pumps out cavernous reverbs and shimmering short delays for total orchestral-sounding ambience.</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 --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at --><script language="JavaScript" type="text/javascript" src=""></script><object id="myExperience4243292211001" 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="4243292211001" /> </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 --> EarthQuaker Devices July 2015 Videos Effects News Gear Magazine Wed, 27 May 2015 15:30:14 +0000 Paul Riario 24517 at Cracking the Code with Troy Grady: The Puzzle of Pentatonic Fours — Video <!--paging_filter--><p>We recently gave <a href="" target="_blank">Cracking the Code</a> viewers a cool homework assignment: find a way to play ascending fours, against the pentatonic scale, using the Yngwie Malmsteen and Eric Johnson downward pickslanting system.</p> <p>The assignment seems simple enough. </p> <p>After all, the pentatonic scale is nearly ubiquitous as a cornerstone of modern rock lead playing. And fours is a common rhythmic grouping, especially considering that most rock songs are written in 4/4 time. As a result, we hear pentatonic fours patterns in rock leads all the time, especially in keyboard and horn parts.</p> <p>Just not very often on guitar!</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p>In fact, if we make a mental list of the most famous pickers of the last 50 years, I can think of none of them who play sequential pentatonic fours, fully picked, across the neck, at elite levels of speed and accuracy. </p> <p>And while I'm sure that out there in internet-land there are talented players who can do it, the fact remains that this feat is simply far less common than we'd expect.</p> <p>And it turns out, there's good reason for this. The complicated picking patterns that occur as we cycle the box in units of four can make life woefully difficult for the picking hand. On top of this, the barre fingerings that arise as we do this can make it tricky to avoid overlapping notes, which can sound messy on a high gain amp.</p> <p><strong>Pickslanting to the Rescue</strong></p> <p>But with a basic understanding of downward pickslanting mechanics, we can design a couple of really nice solutions to this problem that pay fantastic creative dividends.</p> <p>Cracking the Code viewers are already familiar with the downward pickslanting system, where upstrokes are used to switch strings with extreme efficiency. In fact, <a href="">we've written about this here at before,</a> with respect to both Yngwie Malmsteen and Eric Johnson's use of the technique.</p> <p>In Johnson's case, his legendary accuracy derives from his focus on two-note-per-string picking sequences. By starting these two-note units on a downstroke, Johnson can ensure that the second note on the string—the final note—is an upstroke. </p> <p>This is critical. In the downward pickslanting system, upstrokes "escape" the strings naturally as a result of the slanted picking movement. As long as that escape happens on the last note of the string, Johnson can transition effortlessly to the next string no matter how fast the picking hand is playing.</p> <p><strongEJ Fours</strong></strongej></p> <p>By harnessing the power of the escaped upstroke, we can reap instant performance benefits:</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/ej%20fours.png" width="620" height="515" alt="ej fours.png" /></p> <p>The key to this approach is position shifting. Each two-string, four-note unit is perfectly efficient thanks to the escaped upstroke. So by simply shifting up to the next position, we can maintain our two-note-per-string structure, and achieve the exact same efficiency for the next repetition of the sequence. After the second repetition, we simply move up to the next pair of strings, and repeat. Straightforward and elegant.</p> <p>The challenge of this approach is the fretting. By using three-note-per-string fingerings, we encounter third- and fourth-finger combinations that you may not be used to. </p> <p>But mastering these dramatically reduces the fatigue of always reusing the same two fingers. It also completely eliminates the error-prone jumping of the fretting hand between positions. Baking this coordination into your long-term memory is great exercise. And it also opens the door to all kinds of cool patterns and sequences you might come up with in the process.</p> <p><strong>Volcano Fours</strong></p> <p>In Season 2 Episode 2 of Cracking the Code, "Inside the Volcano," we encountered Malmsteen's famous expansion of the downward pickslanting system: sweeping. By using a single downstroke to move to the next higher string, we can completely sidestep the athletic challenges of switching strings with alternate picking.</p> <p>Because the pick is slanted downward, sweeping in the Malmsteen system only happens only during melodically ascending string changes. That works out fine for us, since that's precisely the direction in which our pentatonic sequence is moving:</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/volcano.png" width="620" height="515" alt="volcano.png" /></p> <p>By combining Yngwie's mastery of sweeping with the escaped upstroke of downward pickslanting, we experience a double-dip boost in efficiency. The first unit of four uses a downward sweep for the string change. The second unit uses an escaped upstroke and a sweep. So in other words, we have a formula: sweeping in the ascending direction, and alternate picking in the descending direction. </p> <p>This is the Malmsteen way. It's the key to the stunning speed of the "Volcano Lick," which we examine in <a href="">"Inside the Volcano,"</a> and it's the secret to Malmsteen's seemingly impossible accuracy in playing ascending scalar lines.</p> <p>Although it looks complicated on the surface, this Volcano-style solution is actually even easier to execute than the pure alternate picking method of the Eric Johnson-style approach. Gone are the awkward third- and fourth-finger fretting combinations. </p> <p>In fact, although the Volcano solution relies on three-note-per-string stretches, it only does so only every other repetition, instead of every repetition. The fact that sweeping makes two of the string changes nearly effortless is simply the icing on the cake.</p> <p><strong>Whole Diminished Power</strong></p> <p>These clever mechanical solutions are only two of the many possibilities that arise as a result of pickslanting thinking. But how can we make use of all this picking power? Well, if the pentatonic scale is just a two-note-per-string fingering, then we should be able to apply these picking patterns to almost any idea that we fret using two notes per string. How about diminished?</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/dim%204.png" width="620" height="417" alt="dim 4.png" /></p> <p>Very cool. Malmsteen is famous for his use of diminished sweep shapes on the top three strings. But here we've discovered a way to take this exotic tonality across the entire guitar. No how about whole tone?</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Ht4.png" width="620" height="807" alt="Ht4.png" /></p> <p>Also very cool. Like the diminished scale, the symmetrical nature of whole tone fingerings make them ideal for sequential ideas. And these shapes are even easier to reach than the diminished fingerings thanks to their more compact fretboard spans.</p> <p>But there's no need to play favorites. All three of these ideas—pentatonic, diminished and whole tone—can live happily together in a modern blues context. Here's what that can sound like:</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/funk1.png" width="620" height="697" alt="funk1.png" /><br /> <img src="/files/imce-images/funk%202.png" width="620" height="133" alt="funk 2.png" /><br /> <img src="/files/imce-images/funk%203.png" width="620" height="147" alt="funk 3.png" /></p> <p>Diminished and whole tone sounds work well with blues riffing because of their inherent tritone intervals. By lining these intervals up with the tritones that already exist in the blues scale—between the root and the flatted fifth, for example—you can generate some really cool fusion sounds that seem to protrude just beyond what the listener expects. Mixing in little bits of the sequenced feel takes this one step further as a kind of counterpoint to the looser, funkier feel of box-style blues riffing.</p> <p>And that's really the point. In Cracking the Code, mechanical explorations are never academic. Instead, finding interesting mechanical concepts and matching them with interesting tonalities is an incredibly powerful source of creativity.</p> <p><strong>If this kind of discovery appeals to you, you'll find much more of it in <a href="" target="_blank">Cracking the Code</a>, the show, as well as in our <a href="" target="_blank">Masters in Mechanics Series</a>, a monthly subscription series exploring an even wider array of fascinating topics at the intersection of mechanics and music.</strong></p> <p><em>Troy Grady is the creator of <a href="">Cracking the Code</a>, a documentary series with a unique analytical approach to understanding guitar technique. Melding archival footage, in-depth interviews, painstakingly crafted animation and custom soundtrack, it’s a pop-science investigation of an age-old mystery: Why are some players seemingly super-powered?</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-johnson">Eric Johnson</a> </div> <div class="field-item even"> <a href="/yngwie-malmsteen">Yngwie Malmsteen</a> </div> </div> </div> </fieldset> Cracking the Code Eric Johnson Troy Grady Yngwie Malmsteen Videos Blogs News Lessons Wed, 27 May 2015 15:15:13 +0000 Troy Grady 24555 at The Aristocrats Preview New Studio Album, ‘Tres Caballeros’ — Exclusive <!--paging_filter--><p>Today, presents the exclusive premiere of a teaser video for <em>Tres Caballeros,</em> the new album by the Aristocrats.</p> <p>This latest album by Guthrie Govan, Bryan Beller and Marco Minnemann will be released June 23 and is <a href="">available now for preorder.</a></p> <p>“We’ve learned a lot since we started this band—four years, three studio albums, two live DVDs and about a billion notes ago—and I think our latest offering reflects this in all kinds of ways,” guitarist Govan says. </p> <p>“The decision to road-test our new material in front of a live audience before commencing the recording process; the choice to record in a studio that had some thoroughly inspiring rock and roll "mojo"; our sudden urge to become more bold and experimental with overdubs rather than feeling any pressure to record exclusively in a strict “trio” format … all of this has had some kind of positive effect on the way the new record came out. </p> <p>"Plus, I think the material on this album is some of the most interesting stuff we’ve ever written for each other, so … here’s hoping our noble listeners will like the finished product as much as we do!”</p> <p>After two fairly raw trio albums, the Aristocrats set up camp at Sunset Sound studios in Hollywood, where Led Zeppelin, the Rolling Stones and Van Halen recorded landmark albums. </p> <p>The result: Nine new compositions of greater sonic depth and breadth than ever before, with unique textures and lush layering augmenting the band’s preternatural ability to improvise individually and as a group at the highest levels possible. But it’s all still tempered with a steadfast refusal to take themselves too seriously, and The Aristocrats are still having more fun than a fusion band has any right to have.</p> <p> An eight-week Tres Caballeros North America tour starts July 6, with the Aristocrats supported by fellow rock/fusion power trio the Travis Larson Band. Details on each date can be found <a href="">right here.</a></p> <p><strong><em>Tres Caballeros</em> Track Listing:</strong></p> <p>01. Stupid 7<br /> 02. Jack’s Back<br /> 03. Texas Crazypants<br /> 04. ZZ Top<br /> 05. Pig’s Day Off<br /> 06. Smuggler’s Corridor<br /> 07. Pressure Relief<br /> 08. The Kentucky Meat Shower<br /> 09. Through The Flower</p> <p><strong>For more information, visit <a href=""></a> or follow the band on <a href="">Facebook.</a></strong></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> Guthrie Govan The Aristocrats Videos News Wed, 27 May 2015 14:33:49 +0000 Damian Fanelli 24554 at B.B. King’s Death to Be Investigated As a Homicide <!--paging_filter--><p>The Nevada coroner’s office said Monday it will investigate B.B. King’s death as a homicide.</p> <p>King died May 14 at age 89 in Las Vegas, where he lived. His daughters have expressed concerns that his death might be the result of foul play.</p> <p>"Our coroner takes jurisdctn over #BBKing body, performs autopsy. Results:6-8wks min. Homicide investgtn w/ @LVMPD," the Clark County, Nevada coroner's office announced May 25 via Twitter.</p> <p>Two of King’s daughters allege that his business manager, Laverne Toney, and King’s personal assistant, Myron Johnson, hastened their father’s death by poisoning him.</p> <p>“I believe my father was poisoned and that he was administered foreign substances,” his daughters Patty King and Karen Williams said in identically worded sections of affidavits provided to the Associated Press by their lawyer, Larissa Drohobyczer. “I believe my father was murdered,” they say.</p> <p>Patty King, Williams and another of King’s daughters, Rita Washington, sought control of King’s affairs in the weeks before his death. In that claim, they contended Toney stole $20 to $30 million from King along with watches and a ring and denied him his medications and medical care.</p> <p>Those claims came within days of King’s hospitalization for a heart attack on April 30. According to Patty King, her father was not eating and was dehydrated, and Toney refused to take him to the hospital. Patty called the police, who sent paramedics to King’s residence, who agreed he needed medical attention. </p> <p>A Las Vegas judge said he found no reason to believe King lacked the capacity to manage his own health-care decisions. In addition, police and social services uncovered no evidence that Toney was abusing King or taking advantage of him.</p> <p>These new allegations that Toney poisoned King come days after a public viewing of King’s body, held May 22, and a family service, held May 23.</p> <p>King’s death was attributed to his two-decade struggle with Type II diabetes. In the days following the guitarist’s death, Clark County coroner John Fudenberg determined said King died from multiple small strokes that resulted from reduced blood flow due to diabetes.</p> <p>King is scheduled to be buried Saturday in his hometown of Indianola, Mississippi. The investigation into his death should not delay his burial, Fudenberg said Monday. The coroner said an autopsy was performed Sunday. Test results will take up to eight weeks and should not be affected by embalming. </p> <p><img src="/files/imce-images/Screen%20Shot%202015-05-27%20at%2010.09.16%20AM.png" width="620" height="475" alt="Screen Shot 2015-05-27 at 10.09.16 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="/bb-king">B.B. King</a> </div> </div> </div> </fieldset> B.B. King News Wed, 27 May 2015 14:16:00 +0000 Guitar World Staff 24553 at Acoustic Nation with Dale Turner: The "Folk Baroque" Stylings of John Renbourn <!--paging_filter--><p>On March 26, 2015, the guitar community lost a legend: progressive folk master and founding member of Pentangle, John Renbourn, a picker who literally did what he loved—playing and teaching—up until the end. (When Renbourn didn’t appear at a concert in Glasgow, Scotland, police checked his nearby home, where he was found deceased from an apparent heart attack.) </p> <p>With a steady stream of albums issued since 1965, Renbourn is among the first of the influential English fingerstyle “folk baroque” heavyweights (a list which includes Davey Graham, Bert Jansch and Martin Carthy); he had a profound impact on pickers in the U.K.—everyone from Jimmy Page and Richard Thompson to Nick Drake and John Martyn—and abroad (Jorma Kaukonen, Jerry Garcia, Pierre Bensusan and many others). </p> <p>A fan of music beyond “folk,” Renbourn incorporated classical (in the mid Eighties, he studied composition and orchestration at Dartington Collage of Arts), jazz, blues and “early” music (Medieval, Elizabethan and other eras) into his overall artistic vision. He also played a key role in exposing the Renaissance music of John Dowland to the masses in the late Sixties. Let’s pay our respects to Renbourn with a retrospective look at his influential solo output.</p> <p>In 1965, around the time he issued his self-titled solo debut, Renbourn met Bert Jansch at a London club. The two became roommates and began playing duo renditions of traditional and contemporary folk songs with an emphasis on counterpoint (creative musical interplay between two or more single-note “voices”). The results are documented in 1966’s <em>Bert and John</em> album, marking the birth of “folk baroque.” </p> <p>In 1967, Renbourn’s <em>Another Monday</em> hit the streets, an LP containing the bluesy fan favorite “Buffalo,” which informs <strong>FIGURE 1</strong>. That same year, Renbourn and Jansch made a full-time “band” commitment, forming the seminal “folk-jazz” group Pentangle, a collaboration that continued until 1973.</p> <p>When Pentangle disbanded, Renbourn prioritized his solo career and released <em>The Hermit</em>, a record ripe with intricate cuts like “Faro’s Rag,” not unlike <strong>FIGURE 2</strong>, the latest challenge for Renbourn’s hardcore “picking” fan base (the album art even included guitar transcriptions). </p> <p>Interestingly, Renbourn’s revitalized direction was a direct reaction to having been in a band for several years; after Pentangle, the guitarist realized he’d become a bit out of touch with developments on the solo acoustic guitar scene and felt compelled to contribute in impressive fashion. This pursuit continued throughout the decade, evidenced in 1979’s <em>The Black Balloon</em> title track, a feast of pianistic voicings and strategically placed natural harmonics, like those in <strong>FIGURE 3</strong>.</p> <p>In his later years, which included Pentangle reunions, as well as collaborations with Stefan Grossman and Wizz Jones, Renbourn would conjure more impressionistic sounds from his ax, which were chiefly facilitated by his use of unorthodox tunings, such as open G minor, used in the Celtic-flavored title track to <em>The Nine Maidens</em>, which informs <strong>FIGURE 4</strong>. This tuning is somewhat similar to the D A D G Bb E tuning Renbourn used in the title track to his final album, 2011’s <em>Palermo Snow</em>, akin to <strong>FIGURE 5</strong>.</p> <p><iframe width="100%" height="450" scrolling="no" frameborder="no" src=";auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;visual=true"></iframe><br /> <br /><br /> <img src="/files/imce-images/dalekkkkk.jpg" width="620" height="722" alt="dalekkkkk.jpg" /></p> acoustic nation Dale Turner John Renbourn July 2015 News Lessons Wed, 27 May 2015 11:21:59 +0000 Dale Turner 24532 at Session Guitar: Top 10 Guitarists to Emulate for a Successful Studio Career <!--paging_filter--><p>I'd like to address a very meat-and-potatoes bit of info that very rarely gets mentioned. </p> <p>Who should you emulate in order to be a session guitarist? </p> <p>The answers and the reasons for each might very well surprise you. Also, you might assume you know how to play like these guys, but, until you really try it, you do <em>not</em> know how! </p> <p>I'm not kidding here; I guarantee you don't know how. And not a week goes by when I'm not asked to imitate at least one of these guys.</p> <p>So now, in the photo gallery below (in no particular order), I give you a list of players you'd better become intimately aware of and learn at least a few of their licks! It will start, save and prolong your "studio guitarist" career.</p> <p>One more thing before I start: These names are used in the way "Kleenex" means "tissue." If someone asks you for a Kleenex and you give them an off-brand tissue, it's the really same thing. So if someone asks for EVH, you know they want some tapping, whammy bar, bluesy, fast playing. Get it?</p> <p>One final note! Learn the history of popular music as seen through the eyes of a guitarist. Play in a wedding band. Play in a show band. Play in a cover band. You will thank me.</p> <p><em><a href="">Ron Zabrocki</a> is a session guitarist from New York, now living in Connecticut. Says Ron: "I started playing at age 6, sight reading right off the bat. That’s how I was taught, so I just thought everyone started that way. I could sight read anything within a few years, and that helped me become a session guy later in life. I took lessons from anyone I could find and had some wonderful instructors, including John Scofield, Joe Pass and Alan DeMausse. I’ve played several jingle sessions (and have written a few along the way). I’ve “ghosted” for a few people who shall remain nameless, but they get the credit and I get the money! I’ve played sessions in every style, from pop to jazz.</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="/slash">Slash</a> </div> <div class="field-item even"> <a href="/eric-clapton">Eric Clapton</a> </div> <div class="field-item odd"> <a href="/chuck-berry">Chuck Berry</a> </div> <div class="field-item even"> <a href="/eddie-van-halen">Eddie Van Halen</a> </div> </div> </div> </fieldset> Eddie Van Halen Eric Clapton Ron Zabrocki Roy Clark Session Guitar Slash Blogs Galleries News Wed, 27 May 2015 11:14:09 +0000 Ron Zabrocki 23171 at New Book: Learn to Play '25 Top Classic Rock Songs' <!--paging_filter--><p><em>25 Top Classic Rock Songs</em> is <a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=25TopClassicRockSongs">available now at the Guitar World Online Store.</a></p> <p>This series includes performance notes and accurate tab for the greatest songs of every genre. </p> <p>From the essential gear, recording techniques and historical information to the right- and left-hand techniques and other playing tips, it's all here! Learn to play 25 classics note for note.</p> <p>Including: </p> <p> • Addicted to Love<br /> • After Midnight<br /> • Another Brick in the Wall, Part 2<br /> • Beat It<br /> • China Grove<br /> • Dream On<br /> • Fortunate Son<br /> • Go Your Own Way<br /> • Life in the Fast Lane<br /> • Lights<br /> • Message in a Bottle<br /> • Reeling in the Years<br /> • Refugee<br /> • Tom Sawyer<br /> • Wild Night </p> <p><strong><a href=";utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=25TopClassicRockSongs">Head to the Guitar World Online Store now!</a></strong></p> News Features Thu, 21 May 2015 10:16:24 +0000 Guitar World Staff 23539 at Yngwie Malmsteen Performs "Overture" at Guitar World Studios — Video <!--paging_filter--><p>Recently, just as his Guitar Gods tour was getting off the ground, shredder Yngwie Malmsteen visited the <em>Guitar World</em> studio in New York City.</p> <p>Why? Why else! To melt some faces! </p> <p>In the exclusive <em>Guitar World</em> video below, Malmsteen performs his instrumental "Overture," the track that kicked off his 2014 Guitar Gods tour shows—and that opens his 2010 <em>Relentless</em> album. Of course, Malmsteen is playing along to a backing track (The band isn't hiding somewhere off camera).</p> <p>Stay tuned for more "Malmsteen in motion," courtesy of the fearless GW video crew!</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="/yngwie-malmsteen">Yngwie Malmsteen</a> </div> </div> </div> </fieldset> Yngwie Malmsteen Videos News Wed, 20 May 2015 18:29:37 +0000 Damian Fanelli 21685 at Jimi Hendrix Experience Perform "Voodoo Child (Slight Return)" in Stockholm — Video <!--paging_filter--><p>In 2015, where everything, and we mean everything, is turned into a video with minimal effort—whether it deserves to be or not—we tend to forget that it wasn't always like that.</p> <p>While YouTube abounds with clips of your favorite bands in action from the Seventies onward, "filming things," including live shows by Cream, the Beatles, the Who and the Jimi Hendrix Experience, was still something of a novelty in the Sixties.</p> <p>Which is why it's so nice to be able to watch all of the Jimi Hendrix Experience's January 9, 1969, show in Stockholm, Sweden. And, as a bonus, to see the <a href="">full set list from both shows the trio performed that day.</a></p> <p>One of the highlights of both shows was the always-epic "Voodoo Child (Slight Return)," the studio version of which appears on 1968's <em>Electric Ladyland.</em></p> <p>Below, check out Hendrix, bassist Noel Redding and drummer Mitch Mitchell as they simply pound out this droning masterpiece in E (or Eb if you figure in Jimi's tuning). Enjoy!</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="/jimi-hendrix">Jimi Hendrix</a> </div> </div> </div> </fieldset> Jimi Hendrix Videos News Wed, 20 May 2015 18:06:35 +0000 Damian Fanelli 24538 at Review: Musicvox Space Cadet Custom Floyd Rose Guitar — Video <!--paging_filter--><p>Musicvox may have concocted some of the most far out and wacky guitar body styles of anything out there today, but generally speaking their guitars’ features are actually somewhat traditional. </p> <p>In fact, until now all of their models have featured stop tailpieces, with nary a tremolo, vibrato, or whammy bar to be seen. While the Floyd Rose tremolo has been around long enough to be considered vintage or even antique, the addition of a Floyd Rose brings the Musicvox Space Cadet Custom into the modern era and opens up a whole new world to players who have always wanted to try a Musicvox guitar but can’t live without their whammy.</p> <p><strong>FEATURES</strong> The Space Cadet model may be one of Musicvox’s more conservative designs, but it still has very distinctive styling that’s sure to appeal to players who are tired of the same old thing. Construction features include a mahogany body and maple neck with rosewood fingerboard. </p> <p>Our example was decorated with a limited-edition custom two-tone black and white finish, with contrasting black binding on the body and headstock and white binding on the neck, and gold-plated hardware adding a touch of class.</p> <p>In addition to the licensed Floyd Rose double-locking tremolo system, the Space Cadet Custom Floyd Rose is equipped with a pair of Musicvox vintage-style humbucking pickups, master volume and tone controls, and a three-position pickup selector switch. The bolt-on neck has 22 medium-jumbo frets, pearloid block inlays, a 25 1/2-inch scale, and a relatively slim and flat C-shaped profile. </p> <p><strong>PERFORMANCE</strong> Musicvox guitars have previously found happy homes in the hands of garage rock, punk, new country, and surf guitarists, but this may be their first model ideal for metal and hard rock guitarists. The vintage-style humbuckers produce loud and proud twang through a clean amp, but when treated with delicious doses of overdrive and distortion they deliver a snarling tone that falls between the honk and howl of a Gretsch Filtertron and the dominant mids of a Gibson PAF. This guitar does both surf and turf equally well.</p> <p>The Floyd Rose is set up perfectly out of the box in a floating configuration for performing dive bombs and raised pitch shrieks. The flat profile makes the neck comfortable for shredders, and the medium jumbo frets provide plenty of metal to latch onto for sweep picking or over-the-top bends. This is by far Musicvox’s most hot-rodded model to date.</p> <p><strong>LIST PRICE</strong> $999<br /> <strong>MANUFACTURER</strong> Musicvox, <a href=""></a></p> <p>The licensed Floyd Rose tremolo is set up in a floating configuration and features a gold-plated finish.</p> <p>Musicvox’s vintage-style humbuckers provide an alluring balance between twangy clean surf tones and aggressive midrange distortion.</p> <p><strong>THE BOTTOM LINE</strong> If you’ve always loved the looks of Musicvox guitars but wanted a whammy bar or even more shred-friendly features, the Space Cadet Custom Floyd Rose is the one you’ve been waiting for.</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 --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at --><script language="JavaScript" type="text/javascript" src=""></script><object id="myExperience4243223196001" 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="4243223196001" /> </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 --> July 2015 Musicvox Videos Electric Guitars News Gear Magazine Wed, 20 May 2015 17:26:21 +0000 Chris Gill, Video by Paul Riario 24516 at