News http://www.guitarworld.com/taxonomy/term/4/all/%27http%3A/www.kickstarter.com/projects/realmofobscura/%3Ehttp%3A/vanswarpedtour.com en LessonFace with John Heussenstamm: Introduction to Electric Blues Guitar — Video http://www.guitarworld.com/lessonface-john-heussenstamm-introduction-electric-blues-guitar-video <!--paging_filter--><p><strong>This video and article offer introductory jazz 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="http://lessonface.go2cloud.org/SHW">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. </p> <p>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>And 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 lots more to learn after you digest this brief 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><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 http://lessonface.go2cloud.org/SHW">Lessonface.</a></strong></p> <p><em>John Heussenstamm offers live online lessons and classes on <a href="http://lessonface.go2cloud.org/SFS">Lessonface.com. Learn more.</a></em></p> http://www.guitarworld.com/lessonface-john-heussenstamm-introduction-electric-blues-guitar-video#comments John Heussenstamm LessonFace Videos Blogs News Lessons Wed, 27 May 2015 18:12:39 +0000 John Heussenstamm 24558 at http://www.guitarworld.com B.B. King Tribute: 10-Year-Old Guitarist Toby Lee Plays "The Thrill Is Gone" — Video http://www.guitarworld.com/bb-king-tribute-10-year-old-guitarist-toby-lee-plays-thrill-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="https://www.youtube.com/embed/bDA67dX3vEo" 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> http://www.guitarworld.com/bb-king-tribute-10-year-old-guitarist-toby-lee-plays-thrill-gone-video#comments B.B. King Toby Lee Videos News Wed, 27 May 2015 16:53:31 +0000 Guitar World Staff 24557 at http://www.guitarworld.com Review: EarthQuaker Devices Afterneath Reverb Pedal — Video http://www.guitarworld.com/review-earthquaker-devices-afterneath-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="http://earthquakerdevices.com/">earthquakerdevices.com</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 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="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 --> http://www.guitarworld.com/review-earthquaker-devices-afterneath-video#comments EarthQuaker Devices July 2015 Videos Effects News Gear Magazine Wed, 27 May 2015 15:30:14 +0000 Paul Riario 24517 at http://www.guitarworld.com Cracking the Code with Troy Grady: The Puzzle of Pentatonic Fours — Video http://www.guitarworld.com/cracking-code-troy-grady-puzzle-pentatonic-fours-video <!--paging_filter--><p>We recently gave <a href="http://www.troygrady.com/code/" 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="https://www.youtube.com/embed/GgqYebTmLuQ" 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="http://www.guitarworld.com/tags/cracking-code">we've written about this here at GuitarWorld.com 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="https://www.youtube.com/embed/ijhgBmX1Ugg" 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="https://www.youtube.com/embed/bILT9Ee2pBQ" 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="http://www.guitarworld.com/yngwie-malmsteem-lesson-cracking-code-season-2-episode-2-inside-volcano-video">"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="https://www.youtube.com/embed/F4MkvNjBn2k" 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="https://www.youtube.com/embed/Dja8SeTxfco" 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="https://www.youtube.com/embed/XhlWnE5hR7M" 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="http://www.troygrady.com/code/" target="_blank">Cracking the Code</a>, the show, as well as in our <a href="http://www.troygrady.com/mechanics/" 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="http://troygrady.com/code/">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> http://www.guitarworld.com/cracking-code-troy-grady-puzzle-pentatonic-fours-video#comments 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 http://www.guitarworld.com The Aristocrats Preview New Studio Album, ‘Tres Caballeros’ — Exclusive http://www.guitarworld.com/aristocrats-premiere-teaser-video-new-album-tres-caballeros-video <!--paging_filter--><p>Today, GuitarWorld.com 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="http://thearistocrats.spinshop.com">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="http://the-aristocrats-band.com/shows/">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="http://the-aristocrats-band.com/">aristocrats-band.com</a> or follow the band on <a href="https://www.facebook.com/aristocratsband">Facebook.</a></strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/Lk8QwLXAhKs" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/aristocrats-premiere-teaser-video-new-album-tres-caballeros-video#comments Guthrie Govan The Aristocrats Videos News Wed, 27 May 2015 14:33:49 +0000 Damian Fanelli 24554 at http://www.guitarworld.com B.B. King’s Death to Be Investigated As a Homicide http://www.guitarworld.com/bb-king-s-death-be-investigated-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> http://www.guitarworld.com/bb-king-s-death-be-investigated-homicide#comments B.B. King News Wed, 27 May 2015 14:16:00 +0000 Guitar World Staff 24553 at http://www.guitarworld.com Acoustic Nation with Dale Turner: The "Folk Baroque" Stylings of John Renbourn http://www.guitarworld.com/acoustic-nation-dale-turner-folk-baroque-stylings-late-john-renborun <!--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="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/109513617&amp;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> http://www.guitarworld.com/acoustic-nation-dale-turner-folk-baroque-stylings-late-john-renborun#comments acoustic nation Dale Turner John Renbourn July 2015 News Lessons Wed, 27 May 2015 11:21:59 +0000 Dale Turner 24532 at http://www.guitarworld.com Session Guitar: Top 10 Guitarists to Emulate for a Successful Studio Career http://www.guitarworld.com/session-guitar-top-10-guitarists-emulate-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>Merry Christmas!</p> <p><em><a href="http://www.ronzabrocki.com/fr_home.cfm">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> http://www.guitarworld.com/session-guitar-top-10-guitarists-emulate-successful-studio-career#comments 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 http://www.guitarworld.com New Book: Learn to Play '25 Top Classic Rock Songs' http://www.guitarworld.com/new-book-learn-play-25-top-classic-rock-songs <!--paging_filter--><p><em>25 Top Classic Rock Songs</em> is <a href="http://guitarworld.myshopify.com/products/25-top-classic-rock-songs-tab-tone-technique/?&amp;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="http://guitarworld.myshopify.com/products/25-top-classic-rock-songs-tab-tone-technique/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=25TopClassicRockSongs">Head to the Guitar World Online Store now!</a></strong></p> http://www.guitarworld.com/new-book-learn-play-25-top-classic-rock-songs#comments News Features Thu, 21 May 2015 10:16:24 +0000 Guitar World Staff 23539 at http://www.guitarworld.com Yngwie Malmsteen Performs "Overture" at Guitar World Studios — Video http://www.guitarworld.com/yngwie-malmsteen-performs-overture-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="//www.youtube.com/embed/0gV7sT7gzMY" 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> http://www.guitarworld.com/yngwie-malmsteen-performs-overture-guitar-world-studios-video#comments Yngwie Malmsteen Videos News Wed, 20 May 2015 18:29:37 +0000 Damian Fanelli 21685 at http://www.guitarworld.com Jimi Hendrix Experience Perform "Voodoo Child (Slight Return)" in Stockholm — Video http://www.guitarworld.com/jimi-hendrix-experience-perform-voodoo-child-slight-return-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="http://www.setlist.fm/setlist/the-jimi-hendrix-experience/1969/konserthuset-stockholm-sweden-1bd49920.html">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="https://www.youtube.com/embed/9irsg1vBmq0" 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> http://www.guitarworld.com/jimi-hendrix-experience-perform-voodoo-child-slight-return-stockholm-video#comments Jimi Hendrix Videos News Wed, 20 May 2015 18:06:35 +0000 Damian Fanelli 24538 at http://www.guitarworld.com Review: Musicvox Space Cadet Custom Floyd Rose Guitar — Video http://www.guitarworld.com/review-musicvox-space-cadet-custom-floyd-rose-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="http://www.musicvox.com/">musicvox.com</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 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="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 --> http://www.guitarworld.com/review-musicvox-space-cadet-custom-floyd-rose-video#comments 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 http://www.guitarworld.com B.B. King Casually Changes His Guitar String Onstage Without Stopping the Song — Video http://www.guitarworld.com/bb-king-casually-changes-his-guitar-string-onstage-without-stopping-song-video <!--paging_filter--><p>Here's a little something we picked up from the gang over at <em>Guitar Player.</em></p> <p>It's a very cool video of the late B.B. King performing “How Blue Can You Get” at Farm Aid on September 22, 1985.</p> <p>What makes this performance so special is what happens about three and a half minutes in. King breaks a string on his guitar and changes it himself—onstage—while he continues performing the song.</p> <p>All the strings are still clearly attached to the guitar at the three-minute mark. The video then cuts to a shot of the horn players, and when it returns to B.B., the highest string is dangling from his headstock.</p> <p>At around 3:12 you can see a roadie in a blue cap running behind the band; a few seconds later he hands a replacement string to King. After nonchalantly removing the broken string, King winds the new one as he sings up a storm.</p> <p>This is pure showmanship and professionalism in action. It's one more reason the guitarist, who died last week, will be so dearly missed.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/P27tTNP7SFc" 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> http://www.guitarworld.com/bb-king-casually-changes-his-guitar-string-onstage-without-stopping-song-video#comments B.B. King Videos News Wed, 20 May 2015 17:16:22 +0000 Damian Fanelli 24537 at http://www.guitarworld.com Guitar World Recommends: PykMax High Performance Guitar Picks — Video http://www.guitarworld.com/guitar-world-recommends-pykmax-high-performance-guitar-picks-video <!--paging_filter--><p><em><a href="http://www.guitarworld.com/tags/guitar-world-recommends">Guitar World Recommends</a></em> shines the spotlight on new and noteworthy gear for guitarists. This week, <em>Guitar World</em> recommends PykMax High Performance Guitar Picks.</p> <p>The pick, the result of a multi-year design and engineering effort, features a patented ergonomic design that fits the hand comfortably and eliminates traditional muscle pressure associated with gripping traditional picks.</p> <p>“The guitar pick has always been somewhat of an obstacle for many beginning and intermediate players," says Jeremy Milikow, CEO of Pro Music Marketing, maker of Pykmax. "Pykmax enables those players to concentrate more on playing great music and less on gripping the guitar pick.”</p> <p>While we're on the subject, be sure to check out <a href="http://www.guitarworld.com/13-techniques-pykmax-high-performance-guitar-pick-demo-video">"13 Guitar Techniques with Pykmax High Performance Guitar Picks — Demo Video."</a></p> <p><strong>For more information, visit <a href="http://www.pykmax.com/">pykmax.com</a>.</strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/BO-nnidrLiA" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/guitar-world-recommends-pykmax-high-performance-guitar-picks-video#comments Guitar World Recommends PykMax Accessories Videos News Gear Wed, 20 May 2015 16:49:08 +0000 Guitar World Staff 24536 at http://www.guitarworld.com Review: Orange Rockverb 100 MKIII Guitar Amp — Video http://www.guitarworld.com/review-orange-rockverb-100-mkiii <!--paging_filter--><p><strong><em>PLATINUM AWARD WINNER</em></strong></p> <p>The original Orange amps of yesteryear were known for their outrageous clean headroom, eardrum-shattering overdrive, and earth-shaking volume—just the perfect thing for blues-based boogie rock during the early Seventies, but not the most modern sound in today’s high-gain world. </p> <p>When Orange introduced its Rockerverb series amps just over a decade ago, they forever changed perceptions of Orange amps by offering a product that could hang with the high-gain crowd and even stand out with its own aggressive personality. </p> <p>Over the years, Orange has made a few changes and refinements to the Rockerverb’s design to satisfy the needs of guitarists who have come to rely on the amp as a stage and studio staple. The latest and greatest of those changes are reflected in the new Orange Rockerverb 100 MKIII 100-watt head, which provides impressive tonal refinements and new features certain to satisfy the most demanding players.</p> <p><strong>FEATURES</strong> The Orange Rockerverb 100 MKIII is a two-channel head driven by four EL34 tubes in the power section, four 12AX7 tubes in the preamp section, and two 12AT7 tubes for reverb and the effects loop. The clean channel features a non-master volume circuit and provides volume, treble, and bass controls. The dirty channel has volume, gain, and bass, middle, and treble EQ controls. Both channels share the tube-driven spring reverb section featuring a reverb level control and a footswitchable attenuator that maintains the character and response of power tube distortion while allowing users to play at reduced volume levels. The amp also includes a half-power switch on the front panel and a 4/2 tube selector switch on the rear panel that let users select 100-, 70-, 50-, or 30-watts of output. </p> <p>Other rear panel features include a pair of 8-ohm 1/4-inch speaker outputs, a single 16-ohm 1/4-inch speaker output, individual footswitch jacks for the attenuator, reverb, and channel switching, and send and return jacks for the serial effects loop. The amp is housed in Orange’s characteristic orange-colored cabinet, but Orange also the amp with black basket-weave vinyl covering for players who want a more traditional, stealthy look. The control panel is decorated with Orange’s classic “pictogram” graphics instead of boring names.</p> <p><strong>PERFORMANCE</strong> Orange refined the voicing of both the Rockerverb 100 MKIII’s clean and dirty channels, making it a much more versatile amp than previous iterations of the Rockerverb. The clean channel has increased clean headroom and tone that is more sparkling and “chimey” than before, combining the zing of an AC30, the percussive attack of a Hiwatt, and the powerful punch of a classic late-Sixties Orange. The clean channel is very lively and sexy, particularly when the amp’s luscious spring reverb with its long, velvety-smooth decay is dialed in. The clean channel also provides tantalizing overdrive crunch when the volume knob is cranked up past the three-o’clock mark. </p> <p>The dirty channel remains the main reason why Rockerverb amps have found homes on stage and in the studio with a new breed of hard rock and metal guitarists, producing everything from classic British crunch to mind-melting modern high-gain distortion textures that are thick and harmonically complex. </p> <p>The attenuator and selectable output make it easy for guitarists to achieve the exact clean or distortion character and responsiveness they want from the amp at any volume level from an apartment dweller’s whisper to a stage-filler’s scream. The control panel is quite simple and streamlined, but it makes it easy to dial in a surprisingly wide variety of tones ideal for almost any style of music from the most chilled out country to the heaviest metal.</p> <p><strong>LIST PRICE</strong> $2,149; Rockerverb 50 MKIII, $1,999<br /> <strong>MANUFACTURER</strong> Orange Amplification, <a href="http://orangeamps.com/">orangeamps.com</a></p> <p>The revoiced clean channel provides expanded clean headroom and enhanced treble chime. A footswitchable attenuator maintains the power, character, and responsiveness of a fully driven amp at lower output levels.</p> <p><strong>THE BOTTOM LINE</strong> The Orange Rockerverb 100 MKIII is designed to provide Orange’s heaviest tones to date, but the refined clean channel is so sweet that players of any musical style should check it out. </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="myExperience4243223290001" 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="4243223290001" /> </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-orange-rockverb-100-mkiii#comments July 2015 Orange Orange Amplification Videos Amps News Gear Magazine Wed, 20 May 2015 16:19:03 +0000 Chris Gill, Video by Paul Riario 24515 at http://www.guitarworld.com