News en Joshua Moore and Lou Cotton of We Came As Romans Talk Gear, New Album <!--paging_filter--><p>Troy, Michigan’s We Came As Romans have always been described as melodic metalcore, but never has the metal been as strong as on their new self-titled Equal Vision Records release. Nor, for that matter, has the metalcore. For album number four the six-piece has honed both extremes of their sound, holding their songwriting to incredibly strict standards in order to push their melodic sense without sacrificing the brutality, aggression and energy. </p> <p>To push into this slightly more rock direction the band worked with producer David Bendeth, who has previously produced or mixed Crossfaith, Breaking Benjamin, Asking Alexandria, and Paramore, to name a few. The veteran producer brought a strict sense of quality control to the sessions. </p> <p>“We started with 15 songs going in that Louie [Cotton, guitarist] and I had written and when we went in for pre-production they all ended up cut,” lead guitarist Joshua Moore says. “David said ‘All of these are mediocre. You’re just writing these to be good enough, not to test your limits!’ It gave us a swift kick in the ass so we started all over again.” </p> <p>From there the band rewrote the entire album, and even some of the rewrites ended up being cut. Ultimately a list of about 40 songs was culled down to 10 songs for a tight 33 minutes 33 seconds. </p> <p>Moore and Cotton complement work as a guitar team, each staking out their own sonic territory but with respect to the other’s sound too. Orange Amplification takes care of backline duties, with Moore plugging into a Dual Dark 100 head and Cotton using a Rockerverb. “Those heads give us the clean tone for all our melodic, pretty parts but also the heavy parts as well.”</p> <p>Lou Cotton plays ESP Eclipse models with EMG 81 and 85 active humbuckers. Cotton admits to having a sizeable collection of ESPs. “Because I play a lot of the rhythm stuff I just feel the EMGs are perfectly balanced for that kind of stuff,” he says. </p> <p>Meanwhile Moore uses Ibanez FR models, including two Prestige instruments and two from the L.A. Custom Shop, loaded with Bare Knuckle Aftermath passive humbuckers or Seymour Duncan JB and ’59s. “I used to play active pickups as well but as we started writing cleaner guitar parts I liked the response and warmth of passives so I switched,” Moore says.</p> <p>“We did this thing way back in the day which was a horrible idea: we wrote in every tuning possible!” continues Moore. “So when we were headlining we had guitars in four different tunings each! As long as nothing goes wrong it’s okay but when you have 12 different wireless frequencies for each member, and wireless microphones and wireless in-ears, sometimes there’s that one show where you get a radio station coming through your amp!”</p> <p>Moore’s choice of Ibanez guitars was initially inspired by August Burns Red’s JB Brubaker. “I got an RGA Prestige when I was 18, he says. “We were unsigned and still a local band and we’d played a few shows opening up for August Burns Red. I ended up buying an Ibanez back in the day because JB had one! I literally just searched for the model he used and I bought that exact one. I thought, If I buy his guitar I’ll be really good and then our band will be signed and we’ll go somewhere! I told JB that story once when I was a little intoxicated and full of courage and he just laughed.”</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> Joshua Moore Lou Cotton September 2015 We Came As Romans Interviews News Features Magazine Wed, 29 Jul 2015 18:05:58 +0000 Peter Hodgson 25125 at Fear Factory's Dino Cazares Talks Gear, Why He Tours With As Small a Rig As Possible <!--paging_filter--><p><em>Genexus</em>, the new record from industrial metal vets Fear Factory, is a concept album about the increasing hybridization of technology and humanity—and guitarist Dino Cazares says that their technologically advanced approach to recording the album fell right in line with its concept.</p> <p>“Aside from two days in a studio recording live drums, we recorded everything direct to Pro Tools in a bedroom in my house,” he says with a laugh. “I don’t know if that disappoints people or not, but that’s the way we did it. This is where we are today with music technology. The ‘bedroom hobby’ stuff is now professional shit!”</p> <p>A longtime adherent of profiling amplifiers, Cazares says he used a Kemper Power Rack for all of the album’s guitar tracks. “With my Kemper, I’m able to profile all the heads I have—the Soldanos, the Diesels, the Engls, the EVHs, the Marshalls, all that stuff. I used a combination of tones on this record, an original EVH mixed with Marshalls. And the beauty of technology these days is that you can download any cabinet that you want, and experiment with all sorts of cabinets and mic positions. We just picked out the cabinets we wanted, and—boom!—we recorded direct.” </p> <p>Cazares primarily used his Ibanez DCM100 signature seven-string baritone on Genexus, though his Ibanez Custom Shop RGA8 eight-string baritone makes an appearance on the song “Soul Hacker.” He says that, these days, the two guitars, a backup seven-string and the Kemper are all he needs for touring as well as recording. </p> <p>“Financially, it makes the most sense for us to take the least amount of equipment on tour as possible; plus, there’s less stuff that can get stolen. I laugh at all these bands that are spending so much money taking all these cabinets, all these heads and all these racks with them on tour. I mean, if you can afford to do it, go for it; but technology has made it possible to leave all that stuff at home!”</p> <p><strong>AXOLOGY:</strong><br /> <strong>GUITARS:</strong> Ibanez DCM100 signature seven-string baritone and Ibanez Custom Shop RGA8 eight-string baritone, both with Seymour Duncan signature Retribution pickups<br /> <strong>AMPS/EFFECTS:</strong> Kemper Power Rack<br /> <strong>STRINGS:</strong> D’Addario NYXL .010–.054 (seven-string) and .010–.064 (eight-string)</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="/fear-factory">Fear Factory</a> </div> </div> </div> </fieldset> Dino Cazares Fear Factory September 2015 Interviews News Magazine Wed, 29 Jul 2015 17:48:51 +0000 Dan Epstein 25124 at Estate of Frank Zappa Partners With Universal Music Enterprises, Plans Massive Set of Reissues <!--paging_filter--><p>Earlier today, <a href="">we reported</a> that the Zappa Family Trust had given an Alex Winter documentary about Frank Zappa's life and music the green light. </p> <p>Now, <em>Rolling Stone</em> is reporting that the Zappa Family Trust has partnered with Universal Music Enterprises, allowing for new product releases, film and theatrical productions and trademark licensing.</p> <p>Some of the items that are allegedly being worked on include <em>Joe's Garage, The Musical</em>, the long-fabled <em>Roxy Movie</em> and an orchestra performance of <em>200 Motels</em> featuring the Los Angeles Philharmonic.</p> <p>The first confirmed release will be a remastered edition of Frank Zappa and the Mothers of Invention's 1974 album, <em>One Size Fits All</em>, which will come out on August 14th on 180-gram vinyl. </p> <p>For more about Zappa and his catalog, you can head on over to his <a href="">website</a>. </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="/frank-zappa">Frank Zappa</a> </div> </div> </div> </fieldset> Frank Zappa News Wed, 29 Jul 2015 17:32:15 +0000 Jackson Maxwell 25123 at Of Monsters and Men Premiere "Organs" Lyric Video <!--paging_filter--><p>Icelandic folk-pop group Of Monsters and Men have premiered the music video for their new single, "Organs." </p> <p>The single is taken from the band's new album, <em>Beneath The Skin</em>, which you can pick up <a href="">here</a>. </p> <p>The video prominently features Nanna Bryndís Hilmarsdóttir, the band's co-vocalist and guitarist, performing the track. </p> <p>Check out the video (and the band's tour dates) below, and be sure to let us know what you think in the comments and on Facebook!</p> <p><strong>Of Monsters and Men Tour Dates:</strong></p> <p>July 31-8/1 Montreal, QC Osheaga Festival<br /> August 1st Chicago, IL House of Blues<br /> August 2nd Chicago, IL Lollapalooza<br /> August 5th Calgary, AB Grey Eagle Casino and Bingo Event Centre<br /> August 6th Edmonton, AB Edmonton Folk Festival<br /> August 8th Squamish, BC Squamish Valley Music Festival<br /> August 9th Seattle, WA Marymoor Park Concerts<br /> August 12th Los Angeles, CA Greek Theatre<br /> August 13th Las Vegas, NV The Pool @ The Cosmopolitan<br /> August 15th Elverta, CA Radio 94.7 City of Trees<br /> August 16th Portland, OR 94.7 Alternative Portland’s Birthday Party<br /> August 19th Reykjavik, Iceland Harpa<br /> August 20th Reykjavik, Iceland Harpa<br /> September 15th Philadelphia, PA Skyline Stage at the Mann Center<br /> September 16th Pittsburgh, PA Stage AE<br /> Sept.18-20th Toronto, CA Toronto Urban Roots Fest<br /> September 20th Columbia, MD Merriweather Post Pavilion<br /> September 22nd New York, NY Beacon Theatre<br /> September 23rd New York, NY Beacon Theatre<br /> September 24th Brooklyn, NY Kings Theatre<br /> September 25th Boston, MA Boston Calling Festival<br /> September 26th Uncasville, CT Mohegan Sun Casino<br /> September 28th Columbus, OH The LC Pavillion<br /> September 29th Detroit, MI Masonic Temple Theatre<br /> October 1st St. Paul, MN Roy Wilkins Auditorium<br /> October 4th Austin, TX Austin City Limits<br /> October 5th Houston, TX Bayou Music Center<br /> October 2nd Kansas City, MO Arvest Bank Theatre at Midland<br /> October 7th Nashville, TN Ryman Auditorium<br /> October 8th Charlotte, NC Uptown Amphitheatre at the Music Factory<br /> October 9th Atlanta, GA Chastain Park Amphitheatre<br /> October 11th Austin, TX Austin City Limits<br /> October 13th Broomfield, CO 1st Bank Center<br /> October 14th Salt Lake City, UT The Great Salt Air<br /> October 16th Berkely,CA Greek Theatre<br /> October 17th San Diego, CA Cal Coast Credit Union Open Air Theatre</p> <p><iframe width='620' height='365' src=';autoplay=0' frameborder='0' allowfullscreen></iframe></p> Of Monsters and Men Videos News Wed, 29 Jul 2015 17:01:19 +0000 Jackson Maxwell 25122 at Guitarist Steve Brown Talks New Trixter Album – ‘Human Era’ <!--paging_filter--><p>Hard rock band Trixter’s mantra has always been being the best band they can be. It’s a formula for success that’s reaped rewards for the New Jersey-based band for more than thirty years.</p> <p>Trixter’s new album, <em>Human Era</em> continues that trend with another infectious blend of rock and riff. Whether it’s the inspired performing on the opening track, “Rockin’ to the Edge of the Night” – a song which actually started out as a leftover from the very first Trixter album, the shuffle feel of “Midnight in Your Eyes” or the album’s title track which discusses the band’s history, <em>Human Era</em> is an inspired collection of songs from one of the genre’s finest.</p> <p>Guitarist Steve Brown has been with Trixter right from the beginning. In addition to being a principal songwriter and producer for the band – which also consists of Pete Loran (vocals), P.J. Farley (bass) and Mark “Gus” Scott (drums), Brown has also used his guitar and vocal prowess to fill in for Def Leppard’s Vivian Campbell during his recent treatments.</p> <p><em>Guitar World</em> recently spoke with Brown about the new Trixter album, his time performing with Def Leppard, gear and more! </p> <p><strong>How would you describe <em>Human Era</em> if you had to put it into words?</strong></p> <p>I think it’s Trixter at its best. The most important thing for us is that we’re doing the best music of our career. We take a lot of pride in that and as musicians, each of us is at our best. Plus we have Pete Loran, who has one of the best rock voices out there. Collectively, the band is better than ever. </p> <p><strong>What’s the songwriting process like for Trixter?</strong></p> <p>There are a lot of different avenues. “Rockin’ to the Edge of the Night” is a great story because that song was actually an old one that we reworked. It was originally one of the leftovers from our very first album that for some reason never made it. That was a song that was a gem with the right parts but just needed to be reworked.</p> <p><strong>How about the track, “Midnight in Your Eyes”?</strong></p> <p>I love the heavy, shuffle groove of that track. We’ve always had that side to us. It definitely has that “Def Leppard / Mutt Lange” inspired feel to it.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><strong>What can you tell me about the title track, “Human Era”?</strong></p> <p>That was the last song we wrote for the record. What’s cool is that where “Edge of the Night” is our oldest song, the album ends with our newest one - the title track. P.J. brought the concept in. Lyrically, it talks about our history. We’ve been through a lot together as a band for more than thirty years but we’re still brothers. The whole record has a lot of positive, human-based messages and about how every second counts. </p> <hr /> <strong>It’s now been 25 years since the band’s first album. A time when music was just getting its first taste of grunge. What thoughts come to mind when you think back to those days?</strong> <p>All I can say is, “Wow!” We always hear stories about how great it would have been if we had come out a few years earlier and how we might have been as big as some of the other bands of our genre. But we were just so grateful to be a part of it and get on the wave. Sure, it would have been nice if we came out earlier but we enjoyed every minute of it to the fullest. </p> <p>We were out on some amazing tours. At the time, you don’t really know what’s happening but now more than ever we appreciate every moment. We were just doing what we did as kids and every year it just kept building. The fact that people still come out to see us today because of what we built back then really means something. </p> <p><strong>Speaking of Def Leppard, you’ve recently filled in for Vivian Campbell for a few dates. What was that experience like?</strong></p> <p>It was an absolute honor. Those guys have been friends of mine for 27 years. Vivian is a good friend who has always been a hero of mine. Every time I'm with him he always tells me some really cool Dio stories. During my stint with them I learned so much about how they make records and do live vocals. It was amazing.</p> <p><strong>Did you always know that you wanted a career in music?</strong></p> <p>I was born into an athletic family and played sports growing up. I started playing guitar when I was eight and as time went on, I started becoming more and more obsessed. I remember seeing the original KISS line-up in 1979 at Madison Square Garden on The Dynasty tour and then saw the original Van Halen there too. After those shows, I knew exactly what I wanted to do!</p> <p><strong>What’s your live setup like these days?</strong></p> <p>Right now I’m using EVH 5150 half stacks with Digitech and Rocktron effects along with AKG wirelesses. For guitars, I’m using EVH Wolfgangs and a D'Anngelico EX-SD. I also have a DBZ Korina Flying V that I used on the Leppard Tour. </p> <p><strong>Of all the highlights of your career are there any that stand out to you as most memorable?</strong></p> <p>The obvious one is the first time we played our hometown arena – The Meadowlands. We played there on the Scorpions tour and got our gold records that night. To have our family and friends be there when we were presented with our records was unbelievable. </p> <p>But I’m the luckiest guy in the world. I’ve been able to do things that most people just dream of and am still doing it. </p> <p><strong>What excites you the most about <em>Human Era</em>?</strong></p> <p>What always excites me is when the record is done. You always go through all of these emotions whenever you make a record but the best part is when the record is finally complete. That’s when you put it in you car, listen to it and go “Man, this is really fucking good!” Doing our best work so many years into it…that’s what I’m most proud of.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><em>James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, <a href=""></a>. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on <a href="">Twitter @JimEWood.</a></em></p> James Wood Steve Brown Trixter Interviews News Features Wed, 29 Jul 2015 16:38:25 +0000 James Wood 25121 at Clutch Premiere "X-Ray Visions" Music Video <!--paging_filter--><p>Clutch has premiered the official music video for their new single, "X-Ray Visions." </p> <p>The track is taken from the band's new album, <em>Psychic Warfare</em>, which is set for an October 2 release via the band's own Weathermaker Music label. </p> <p>The title of <em>Psychic Warfare</em> was taken from the lyrics of "X-Ray Visions," according to singer Neil Fallon. </p> <p>“It’s a tale about an unnamed protagonist who is forced to seek refuge in a flop house motel," Fallon said. </p> <p>"He is hiding from several nefarious psychic forces, the worst of which is his own sleep deprived paranoia.”</p> <p>You can check it out below, and be sure to let us know what you think in the comments and on Facebook!</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="/clutch">Clutch</a> </div> </div> </div> </fieldset> Clutch Videos News Wed, 29 Jul 2015 16:04:21 +0000 Guitar World Staff 25120 at Guitarist Chris Feener Shreds His Way Through Darius Rucker's "Wagon Wheel" — Video <!--paging_filter--><p><a href="">Guitarist Chris Feener</a> posted this video earlier this month with the caption, "I finally learned how to play 'Wagon Wheel'."</p> <p>Check out this one-minute-plus clip that finds Feener shredding his way through a tune made popular by Darius Rucker in 2013 (although it's been around for many years and is credited to Bob Dylan and Ketch Secor of Old Crow Medicine Show).</p> <p>Don't take it too seriously; it's meant to be funny. Enjoy!</p> <div id="fb-root"></div> <script>(function(d, s, id) { var js, fjs = d.getElementsByTagName(s)[0]; if (d.getElementById(id)) return; js = d.createElement(s); = id; js.src = "//"; fjs.parentNode.insertBefore(js, fjs);}(document, 'script', 'facebook-jssdk'));</script><div class="fb-video" data-allowfullscreen="1" data-href="/ChrisFeener/videos/vb.734060367/10155760021590368/?type=1"> <div class="fb-xfbml-parse-ignore"> <blockquote cite=""><a href=""></a> <p>I finally learned how to play Wagon Wheel. &lt;3</p> <p>Posted by <a href="">Chris Feener</a> on Tuesday, July 7, 2015</p></blockquote> </div> </div> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> Chris Feener Darius Rucker Videos News Features Wed, 29 Jul 2015 15:53:12 +0000 Guitar World Staff 25119 at The Darkness Premiere "Last of Our Kind" Music Video <!--paging_filter--><p>The Darkness have released the official music video for their new single, "Last of Our Kind." </p> <p>The single, which is set for an August 21 release, is the title track from the band's newest album, which you can pick up <a href="">here.</a> </p> <p>For the video, the band chose 15 members of their devoted Darkness Army, and asked them to simply "get freaky on camera." The results are quite interesting, to say the least. </p> <p>"Where would we be without our fans? Well, we wouldn't have a video for a start," lead singer Justin Hawkins explained. "Or at least, we wouldn't have a video with quite so many brilliant people in it. I'm so proud of them; they never disappoint us."</p> <p>Check it out below, and be sure to let us know what you think in the comments and on Facebook!</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> The Darkness Videos News Wed, 29 Jul 2015 15:49:52 +0000 Guitar World Staff 25118 at Jimmy Lovinggood Joins HRS Unlimited as Executive Vice President of Sales & Marketing <!--paging_filter--><p>HRS Unlimited has announced that industry veteran Jimmy Lovinggood has joined the company as Executive Vice President of Sales &amp; Marketing. </p> <p>Lovinggood will direct sales and marketing for the company’s John Page Classic Guitars and Bloodline by John Page Pickup brands, and for additional brands as HRS Unlimited expands its musical instrument portfolio. </p> <p>Lovinggood joins HRS Unlimited after nearly six years at Premier Builders Guild (PBG), where he previously collaborated with HRS Unlimited Founder &amp; CEO Howard Swimmer during a four year period when Swimmer served as PBG’s Co-Founder &amp; President. </p> <p>“Jimmy brings unsurpassed marketing and sales leadership to HRS Unlimited,” Swimmer said. “He was instrumental in the development and execution of game-changing marketing and sales programs at PBG, and I look forward to collaborating with Jimmy once again as we continue to take the John Page Classic and Bloodline brands forward.”</p> HRS Unlimited Jimmy Lovinggood News Wed, 29 Jul 2015 15:28:40 +0000 Guitar World Staff 25117 at Alone at 3AM Premiere New Song, "I'm Dying" <!--paging_filter--><p>Today, presents the exclusive premiere of "I'm Dying," a new song by Alone at 3AM.</p> <p>The track is from the Midwestern band's new album, <em>Show the Blood,</em> which will be released September 18 via Sofaburn Records. </p> <p>"This song is about growing up and hearing my parents fight over money," says Alone at 3AM frontman Max Fender. "We were lucky that my dad always kept a job doing carpentry during the Nineties. A lot of families weren't so lucky.</p> <p>"It was recorded with my Mesa/Boogie Maverick 4x10 amp and faded 2002 Gibson SG. I love the crunch!"</p> <p>On the new album, Fender ruminates on his home in the Midwest, a place that's never quite here or there. And though influences can be heard throughout—a buzz through Detroit, Southern California or St. Paul—the end result is a testament to the power of a confident and road-tested rock band coming to terms with living in the in-between.</p> <p><strong>For more about Alone at 3AM, visit <a href=""></a> and follow the band on <a href="">Facebook.</a></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></p> <p><strong><em>Show the Blood</em> Track List:</strong></p> <p>01. Story on Sixth<br /> 02. I'm Dying<br /> 03. Sticks and Stones<br /> 04. Upsides<br /> 05. Most Men<br /> 06. Could Work Out<br /> 07. Nothing Really Changes<br /> 08. Just Can't Let Go<br /> 09. Not Quite Yet<br /> 10. Late '90s</p> Alone at 3AM I'm Dying Max Fender News Wed, 29 Jul 2015 15:24:16 +0000 Damian Fanelli 25115 at Zameer's Northern Exposure Guitar Contest: Time Is Running Out! <!--paging_filter--><p>Time is running out to submit your entry to the <a href="">Northern Exposure Guitar Contest.</a></p> <p>The winner will join international singer-songwriter Zameer’s Canadian tour to play in front of tens of thousands of people, get your music judged by industry legends and get a five-star trip to Toronto for free. </p> <p><em>Guitar World</em> readers have until August 2 to submit a video of them selves playing a cover of one of Zameer’s songs and uploading it to <a href="">Sonicbids</a> or emailing <strong></strong> </p> <p>You can find the full terms and conditions at <a href=""></a> Good luck!</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> Northern Exposure Guitar Contest Zameer News Wed, 29 Jul 2015 15:21:31 +0000 Guitar World Staff 25114 at Wild Stringdom with John Petrucci: Recognizing Repetitive Fretboard Shapes on All String Groups <!--paging_filter--><p>Hello, and welcome to my new <em>Guitar World</em> instructional column. </p> <p>In the coming months, I’ll share with you some of the guitar-playing concepts and approaches that have helped me develop my technique and overall playing style. I’d like to start off with an examination of ascending scalar shapes that, by design, cover the majority of the fretboard. </p> <p>I have found such patterns to be very useful for both melodic and shred-style playing and also very helpful in regard to the “greater mission,” which is to gain a fuller and deeper understanding of the construction of musical ideas within the framework of the guitar’s fretboard. </p> <p>The following examples are built from phrases made up of three notes per string that are played across two strings, resulting in various six-note shapes. I play these shapes in a rhythm of straight 16th notes, however, so there is an inherent “threes on twos” kind of rhythm that is alluded to throughout. </p> <p>All of the phrases in this lesson are based on the E natural minor scale (E F# G A B C D), also known as the E Aeolian mode. </p> <p>In <strong>FIGURE 1</strong>, using alternate (down-up-downup) picking throughout, I ascend the D and G strings, beginning on the note E on the D string’s second fret, fretted with the index finger. I follow with two more notes on the D string, fretted with the ring finger and pinkie, and then I move over to the G string and play three ascending notes fretted in exactly the same manner—index to ring to pinkie.</p> <p>On the upbeat of beat two, I shift up to the next fretboard position of E natural minor and use my index finger, middle finger and pinkie to sound three notes per string on the D and G strings. A third six-note shape then appears when we move up one more time, with the index finger, middle finger and pinkie employed for the wider stretch needed for the subsequent pair of three-note shapes.</p> <p>Notice that, as you ascend through this riff, there are slight variances in the shapes used on each specific string in order to accommodate the notes of E natural minor. If we move the idea down to the bottom two strings, as shown in <strong>FIGURE 2</strong>, we find that the same fretting shapes are used, albeit in a different sequence. </p> <p>And the same is true when we move the idea up to the top two strings, as illustrated in <strong>FIGURE 3</strong>. Only three different physical shapes are used to form the three-note patterns, and this is good, because it enables one to develop muscle memory in the fret-hand, which is immeasurably beneficial.</p> <p>The only exception to this consistency of shapes occurs when playing similar patterns on the G and B strings. That’s because these two strings are tuned a major third apart, whereas the adjacent strings in the other pairs are tuned a perfect fourth apart. </p> <p>As shown in <strong>FIGURE 4</strong>, one must move up an additional half step—one fret—when crossing from the G string to the B. <strong>FIGURE 5</strong> offers a clearer representation of this B-string shift within a longer example that moves across all of the strings. Once you have these shapes under your fingers, experiment with moving them to every area of the fretboard, and then transpose the patterns to all 12 keys.</p> <p><img src="/files/imce-images/Screen%20Shot%202014-03-13%20at%2011.10.34%20AM.png" width="620" height="530" alt="Screen Shot 2014-03-13 at 11.10.34 AM.png" /></p> <p><img src="/files/imce-images/Screen%20Shot%202014-03-13%20at%2011.10.45%20AM.png" width="620" height="305" alt="Screen Shot 2014-03-13 at 11.10.45 AM.png" /></p> <p><strong>PART ONE</strong></p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>PART TWO</strong></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="myExperience2717386885001" 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="2717386885001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. 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If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --><fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/john-petrucci">John Petrucci</a> </div> <div class="field-item even"> <a href="/dream-theater">Dream Theater</a> </div> </div> </div> </fieldset> December 2013 Dream Theater John Petrucci Wild Stringdom Blogs News Lessons Magazine Wed, 29 Jul 2015 14:58:05 +0000 John Petrucci 19402 at Frank Zappa Documentary Gets Green Light from His Estate <!--paging_filter--><p>A new documentary about Frank Zappa has received approval from the Zappa Family Trust.</p> <p>The film is presently in its early stages of development and is scheduled to come out in 2017, according to <em>Variety.</em></p> <p>The documentary is being directed by Alex Winter. Best known for his role as Bill S. Preston, Esq. in the Bill &amp; Ted movies, Winter now creates tech-based documentaries, with credits that include Downloaded, Deep Web and the newly released <em>Smosh: The Movie.</em></p> <p>“There has yet to be a definitive, authorized documentary on the extraordinary life and work of Frank Zappa,” Winter says. “I am beyond thrilled to be embarking on this journey. Our tale will be told primarily in Frank’s own words; he will be our guide through this journey.”</p> <p>The Zappa film will be based on Winter’s script and will encompass the many aspects of Zappa’s life and music.</p> <p>“This is not an easy story to tell,” notes Ahmet Zappa, “and we trust that Alex truly understands the complex and multifaceted man that my father was.”</p> <p>Zappa, who died in December 1993 of prostate cancer, explored a remarkable range of music in his life, including pop, rock and classical. His guitar-centric albums of the Eighties—including the <em>Shut Up ’N Play Yer Guitar</em> series and 1988’s <em>Guitar</em>—remain favorites of many players and serve as prime examples of Zappa’s remarkable improvisational skills on the instrument.</p> <p>Overseen by Zappa’s wife, Gail, the Zappa Family Trust has managed the release of his recordings since his death, and holds the title and copyright to his musical and artistic products, as well as his commercial image.</p> <p>As for how Zappa might have wanted to be remembered, he offered a clue in his 1993 interview with NBC’s <em>Today Show</em> when asked the question.</p> <p>“It’s not important,” he said. “The people who worry about being remembered are guys like Reagan, Bush. These people want to be remembered, and they’ll spend a lot of money and do a lot of work to make sure that remembrance is just terrific. I don’t care.”</p> <p>The full interview is shown below. </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="/frank-zappa">Frank Zappa</a> </div> </div> </div> </fieldset> Frank Zappa News Wed, 29 Jul 2015 14:24:25 +0000 Christopher Scapelliti 25116 at George Harrison, Eric Clapton and Ringo Starr Reunite to Play The Beatles' "While My Guitar Gently Weeps" in 1987 — Video <!--paging_filter--><p>As any rock fan knows, the Beatles never got back together.</p> <p>What you might not know is that even partial Beatles reunions and "near misses" were frustratingly rare back when such things mattered (prior to George Harrison's death in 2001).</p> <p>Which is why the video below is so enjoyable.</p> <p>On June 5, 1987, three of the five original musicians who appeared on the classic Beatles White Album track "While My Guitar Gently Weeps" reunited to perform the song live at the Prince's Trust Rock Gala at London's Wembley Arena.</p> <p>George Harrison, Ringo Starr and Eric Clapton were joined by an all-star U.K. band, including Elton John, Phil Collins, Jeff Lynne, Ray Cooper and ... well, if you're wondering who that understandably happy bassist is, it's Mark King from Level 42. Harrison, Starr and Clapton last performed the song live 16 years earlier at the Concert for Bangladesh in New York City.</p> <p>What's most interesting about this performance is the fact that <strong>A.,</strong> the normally Strat-happy Clapton is playing a beautiful Gibson Les Paul, just as he did on the original 1968 recording, and <strong>B.,</strong> the also-Strat-happy Harrison joins Clapton in the extended guitar solo at the end of the song. The two guitarists trade solos and feed off each other's energy, and their intertwining lines are often pretty damn cool.</p> <p>Paul McCartney, another one of the five original musicians who appeared on the original Beatles recording, would later perform the song <a href="">with Clapton and Starr in November 2002 at the Concert for George. </a></p> <p>Of course, for the closest thing to a full-on Beatles reunion, there's nothing quite like the mid-Nineties footage of McCartney, Harrison and Starr hanging out together during the making of <em>Anthology</em> (bottom video). </p> <p>For studio recordings that come close to full reunions, check out Starr's "I'm the Greatest" from 1973 (written by Lennon and featuring Lennon, Starr, Harrison and <em>Let It Be/Abbey Road</em> keyboardist Billy Preston) and Harrison's "All Those Years Ago" from 1981 (featuring Harrison, McCartney and Starr).</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> <p><em><a href="">Damian Fanelli</a> is the online managing editor at </em>Guitar World<em> and </em><a href="">Guitar Aficionado</a><em>. His New York-based band, <a href="">the Blue Meanies,</a> has toured the world and elsewhere. Fanelli, a former member of Brooklyn jump-blues/swing/rockabilly band <a href="">the Gas House Gorillas</a> and New York City instrumental surf-rock band <a href="">Mister Neutron,</a> also <a href="">composes</a> and <a href="">records film soundtracks.</a> He writes's <a href="">The Next Bend</a> column, which is dedicated to <a href="">B-bender guitars and guitarists.</a> His latest liner notes can be found in Sony/Legacy's </em><a href="">Stevie Ray Vaughan: The Complete Epic Recordings Collection.</a><em> Follow him on <a href="">Facebook,</a> <a href="">Twitter</a> and/or <a href="">Instagram.</a></em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/beatles">The Beatles</a> </div> <div class="field-item even"> <a href="/eric-clapton">Eric Clapton</a> </div> <div class="field-item odd"> <a href="/george-harrison">George Harrison</a> </div> </div> </div> </fieldset> Damian Fanelli Eric Clapton George Harrison Ringo Starr The Beatles Videos Blogs News Features Wed, 29 Jul 2015 13:44:44 +0000 Damian Fanelli 25111 at Review: JHS Pedals Twin Twelve Channel Drive — Video <!--paging_filter--><p>When I was younger, one of my best friends owned a vintage Silvertone Model 1484 Twin Twelve head. </p> <p>Looking like a hi-fidelity preamp for my record player, it was the perfect garage-rock amplifier to turn up loud and get some pretty raucous tones. </p> <p>Because of its scrappy sound, artists like Jack White, Beck and Coldplay along with a subterranean army of lo-fi bands have adopted this underdog of an amp when their music calls for a dose of raw power. </p> <p>As a result, the 1484 has become fashionably hip, making it highly sought after. But guitarists no longer have to search eBay or hit pawnshops to find one thanks to JHS Pedals, who have managed to nail this amp’s rowdy attitude in a pedal with its Twin Twelve Channel Drive.</p> <p><strong>FEATURES:</strong> The pedal relies on four controls for volume, drive, bass and treble to deftly emulate the preamp/overdrive tone of a Silvertone 1484 amplifier. Since an original 1484 didn’t have a master volume, the Twin Twelve volume control works similarly but without clipping, providing maximum clean headroom and boost when fully clockwise. </p> <p>Using the drive control in tandem with the volume imitates a master volume amp, introducing tube-like grittiness or full-on distorted snarl at manageable levels. The bass and treble are custom tuned to ensure every frequency value comes across in great detail, unlike the 1484’s fussy tone circuit. In addition, the Twin Twelve’s nine-volt power input internally converts it to eighteen-volts, which offers incredible touch sensitivity and liveliness.</p> <p><strong>PERFORMANCE:</strong> The Twin Twelve is not merely an overdrive—it’s a refreshingly unique preamp pedal that combines elements of fuzz, distortion and overdrive. With the volume up high and the drive set low, it acts like a buffered preamp that transforms your amp’s sound to closely duplicate the 1484’s inherent drive characteristics with greater clarity. </p> <p>For some punk-rock dirt, I set the controls roughly midway, revealing a low-end growl and crumbly overdrive grind in the highs, with some velvety fuzz in the background. The sound is indeed very garage rock, but with more verve and controlled dynamics. I found some of the most articulate and spiky overdriven tones were when the bass is dialed back, the volume and treble at 2 o’clock, and drive around 11 o’clock. </p> <p><strong>LIST PRICE:</strong> $199<br /> <strong>MANUFACTURER:</strong> JHS Pedals, <a href=""></a></p> <p><strong>THE BOTTOM LINE:</strong> The Twin Twelve Channel Drive is a punchy stompbox that convincingly apes the saturated tones and speaker breakup sound of the prized Silvertone 1484 Twin Twelve amplifier.</p> <p><iframe width="620" height="365" src="" frameborder="0" allowfullscreen></iframe></p> JHS Pedals September 2015 Videos Effects News Gear Magazine Wed, 29 Jul 2015 13:25:21 +0000 Paul Riario 24979 at