Features http://www.guitarworld.com/taxonomy/term/5/all/www.sunflowerdead.com/%3Ehttp%3A/%3Ehttp%3A/vanswarpedtour.com en Capo Classics: 15 Essential Guitar Songs Played with a Capo http://www.guitarworld.com/top-10-guitar-songs-played-capo <!--paging_filter--><p>The capo is to guitars what sugar—or Stevia, if you prefer—is to food. </p> <p>It makes everything sweeter.</p> <p>Musicians started noticing the capo's inherent sound-sweetening properties in the early 17th century, when primitive versions of the handy accessory were employed to raise the pitch of a host of fretted instruments.</p> <p>The point of a capo is, of course, to be able to perform a song in a different key while using the same fingerings and chord formations you'd use in an open position. This enables performers to stick to positions they're more comfortable with and to enjoy all the benefits—including ringing, open strings—high up on the neck. </p> <p>Capos also facilitate or create alternate chord voicings and help performers accentuate certain melody lines in a song. Of course, the higher up the neck you go with a capo, the more you change the voicing of the guitar — to the point that you can even imitate a mandolin, <a href="http://www.guitarworld.com/string-theory-jimmy-brown-hillbilly-shred-how-sound-bluegrass-mandolin-player">as demonstrated by music editor Jimmy Brown</a> (our own <a href="http://www.guitarworld.com/capo-crusader-acoustic-arrangement-guns-n-roses-sweet-child-o-mine">"Capo Crusader"</a>) in the May 2014 issue of <em>Guitar World</em> (<a href="http://guitarworld.myshopify.com/collections/guitar-world/products/guitar-world-may-14-zakk-wylde-joe-satriani">which is still available</a>).</p> <p>Former Eagle Don Felder says it best in the top video below, which he created for <em>Guitar World</em>:</p> <p>"When I originally wrote ['Hotel California'], it was in the key of E minor, which is a really great guitar key to play in and write in. We recorded the whole track in E minor, and then Don Henley went out and tried singing it ... and it was way too high for him ... . So I took a guitar, went out in the studio and said, 'OK, let's move it down to D minor.' Still too high ... C minor, a little bit too high; A minor; no, that's too low. It wound up being in the key of B minor, which is on the seventh fret." </p> <p>The seventh fret is exactly where Felder's capo wound up; the song is played as if it were in E minor. </p> <p>Below, members of the <em>Guitar World</em> staff—including Jimmy Brown, tech editor Paul Riario and online managing editor Damian Fanelli—have rounded up 15 essential "capo songs"—out of hundreds of worthy choices—that show off the benefits of, and alternate voicings created by, the capo. We tried to make sure no bands are repeated (although three bands are, indeed, repeated); we also set out to create a well-rounded, <em>diverse</em> list. </p> <p>Note also that we've chosen videos that aren't necessarily vintage or classic—or that don't even show the "classic" lineups of certain bands; they do, however, show the capo'd guitar being played (in most cases, at least).</p> <p>Feel free to suggest other capo songs in the comments below or on Facebook!</p> <p><span style="font-size:18px;font-weight:bold;">"Hotel California"</span><br /> <strong>The Eagles | Capo 7</strong></p> <p>As stated earlier, to play the Eagles' "Hotel California" in its original key, try using a capo on the seventh fret. The song is played as if it were in E minor, the song's original key, as explained by Don Felder above (and in the top video below). This makes the song "sound" in B minor. Note: The capo is used on the acoustic guitar part that starts the song.</p> <p>In the top lesson video below, Fender also shows you how to play part of the guitar solo (Note that Felder plays "Hotel California" in A minor now because he sings it when he performs it, and it works better with his vocal range). Below that, you'll find a clip of Felder performing the entire song with his band (Remember, we sought videos that best display the capo and fingering).</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/JLcL4MkpJQ4?list=UUqHkFMEmOPFO3ahcrrBAj4w" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/_mAy_tIWmls" frameborder="0" allowfullscreen></iframe><br /> <br /></p> <hr /> <p><span style="font-size:18px;font-weight:bold;">"Aqualung"</span><br /> <strong>Jethro Tull | Capo 3</strong></p> <p>This classic 1971 Jethro Tull tune features a capo on the third fret—for the acoustic guitar part, that is, which is performed by Ian Anderson in the vintage live video below. The acoustic part is played as if it were in E minor, but it "sounds" in G minor. Don't worry, we'll have more classic Tull for you later in the list!</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/8I58oeTvgNU" frameborder="0" allowfullscreen></iframe><br /> <br /></p> <hr /> <p><span style="font-size:18px;font-weight:bold;">"Wonderwall"</span><br /> <strong>Oasis | Capo 2</strong></p> <p>Jumping ahead to the height of the Britpop-dominated mid-Nineties, we bring you one of the songs Oasis will be remembered for—"Wonderwall," which was composed by Noel Gallagher. To play the song in its original key (as thousands of wide-eyed kids of all ages sing along with you), put a capo on the second fret and play the song as if it were in E minor. It, of course, "sounds" in F# minor.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/PzdJvDZdIKA" frameborder="0" allowfullscreen></iframe><br /> <br /></p> <hr /> <p><span style="font-size:18px;font-weight:bold;">"The Real Me"</span><br /> <strong>The Who | Capo 3</strong></p> <p>Although this one doesn't normally leap to mind when one thinks of "popular capo tunes," this rocking <em>Quadrophenia</em> track from 1973 was recorded by Pete Townshend using a capo on the third fret. The song, which is played as if it were in a power-chord-friendly A, "sounds" in C.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/7dlN55SoF4Q" frameborder="0" allowfullscreen></iframe><br /> <br /></p> <hr /> <p><span style="font-size:18px;font-weight:bold;">"Here Comes the Sun"</span><br /> <strong>The Beatles | Capo 7</strong></p> <p>George Harrison was fond of sticking a capo on the seventh fret of his guitar and playing songs in the "D" formation that sound like they're in A. He did it on the Beatles' "If I Needed Someone" and followed it up a few years later with 1969's "Here Comes the Sun," one of his greatest compositions. </p> <p>You'll find two videos below. The first one is a "Here Comes the Sun" lesson by Jimmy Brown. Below that, you'll find a clip of Harrison playing the song live. Although we tried to find the superior two-guitar performance from the Concert for Bangladesh, this much later video below shows Harrison's fingering nicely.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/RjI1r9cB5pY" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/yGKPHFrHVVY" frameborder="0" allowfullscreen></iframe><br /> <br /></p> <hr /> <p><span style="font-size:18px;font-weight:bold;">"The Chain"</span><br /> <strong>Fleetwood Mac | Capo 2</strong></p> <p>This classic Fleetwood Mac song is played in drop-D tuning—the studio version, that is—with a capo on the second fret. The song, which emphasizes a "swampy stomp" groove, incorporates an octave bass line on the guitar and some greasy finger picking.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/Z6WsaIbpUTE" frameborder="0" allowfullscreen></iframe><br /> <br /></p> <hr /> <p><span style="font-size:18px;font-weight:bold;">"Free Fallin'"</span><br /> <strong>Tom Petty | Capo info below</strong></p> <p>"Free Fallin'," the most popular track from Petty's first "solo" album, 1989's <em>Full Moon Fever,</em> was played like so:</p> <p>• <strong>Capo 1</strong> main, low guitar part and second, higher guitar part (played as if the song were in E; sounds in F.)<br /> • <strong>Capo 3</strong> third guitar part (played as if the song were in D; sounds in F.)</p> <p>In this song in particular, we hear the capo truly "sweeten up" the beefy chords.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/qzZiDGmr9F8" frameborder="0" allowfullscreen></iframe><br /> <br /></p> <hr /> <p><span style="font-size:18px;font-weight:bold;">"Fire and Rain"</span><br /> <Strong>James Taylor | Capo 3</strong></p> <p>This beautiful song by James Taylor is played as if it were in the key of A. It "sounds" in C. It features open-chord embellishments and sliding chord shapes.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/JOIo4lEpsPY" frameborder="0" allowfullscreen></iframe><br /> <br /></p> <hr /> <p><span style="font-size:18px;font-weight:bold;">"Don't Think Twice, It's All Right"</span><br /> <strong>Bob Dylan | Capo 4</strong></p> <p><a href="http://www.guitarworld.com/martin-issues-ed-sheeran-signature-edition-guitar">When we spoke to Ed Sheeran a few months ago</a>, we asked him to name a few acoustic guitar songs every guitarist should know how to play. He named this one, a bouncy track from Bob Dylan's 1963 album, <em>The Freewheelin' Bob Dylan.</em> At least John Mayer knows how to play it—and we've included his live video below. </p> <p>Note that there aren't many (or any) videos on YouTube that show Dylan playing this song the way he played it in '63. There is, however, an interesting clip of Dylan performing the song with Eric Clapton. By the way, "Blowin' in the Wind" is another fine capo tune by Dylan (capo 7).</p> <p>Almost forgot: For "Don't Think Twice, It's All Right," it's capo 4; play a C chord; "sounds" in E! There are some fun changes in this tune.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/OtQD-2--66k" frameborder="0" allowfullscreen></iframe><br /> <br /></p> <hr /> <p><span style="font-size:18px;font-weight:bold;">"No Sugar Tonight"</span><br /> <strong>The Guess Who | Capo 4</strong></p> <p>This classic Guess Who tune — which is performed with a capo as a straight chord melody—is played as if it were in D. It "sounds" in F#. Note: We're talking about the original version. In the video below, you'll notice the capo doesn't play a huge role in the song in modern times.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/9394wRPlvf4" frameborder="0" allowfullscreen></iframe><br /> <br /></p> <hr /> <p><span style="font-size:18px;font-weight:bold;">"Norwegian Wood (This Bird Has Flown)"</span><br /> <strong>The Beatles | Capo 2</strong></p> <p>This late-1965 Beatles song is played as if it were in the key of D, but it "sounds" in E, with a capo on the second fret. Right-hand-wise, it's a "strum-picky" chord melody—not quite picking, not quite strumming. Because there are no videos of the Beatles performing this song live (because it never happened), we've provided a basic (non-<em>Guitar World</em>) lesson video that shows everything clearly, including the capo on the second fret, the chords and embellishments.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/6ysBRpSThuw" frameborder="0" allowfullscreen></iframe><br /> <br /></p> <hr /> <p><span style="font-size:18px;font-weight:bold;">"Cat's in the Cradle"</span><br /> <strong>Harry Chapin | Capo 8</strong></p> <p>This 1974 Harry Chapin tune is played as if it were in the key of A but "sounds" in F. It's another example of a "chord melody" piece.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/GCpsD0ZDfus" frameborder="0" allowfullscreen></iframe><br /> <br /></p> <hr /> <p><span style="font-size:18px;font-weight:bold;">"Thick As a Brick"</span><br /> <strong>Jethro Tull | Capo 3 (acoustic guitar)</strong></p> <p>This classic Jethro Tull tune is played as if it were in D, but it "sounds" in F. It is packed with rolling arpeggios that make non-stop—and awesome—use of the capo.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/br0V0pH50qc" frameborder="0" allowfullscreen></iframe><br /> <br /></p> <hr /> <p><span style="font-size:18px;font-weight:bold;">"Landslide"</span><br /> <strong>Fleetwood Mac | Capo 3</strong></p> <p>We don't like to repeat bands in our lists (OK, we've already done it with the Beatles and Jethro Tull), but it's difficult to leave out this Fleetwood Mac tune. The song, which highlights a form of Travis picking, is played as if it were in the key of C. It "sounds" in Eb.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/NsLykJ17Oxc" frameborder="0" allowfullscreen></iframe><br /> <br /></p> <hr /> <p><span style="font-size:18px;font-weight:bold;">"I Am a Pilgrim" / "Soldier's Joy"</span><br /> <strong>Clarence White | Capo 2 ("Soldier's Joy," 3:47 in the video)</strong></p> <p>Here's a curve ball for you—a selection from the world of bluegrass. Here's Clarence White (on the left, with the beard) performing a medley of "I Am a Pilgrim" and "Soldier's Joy" with his brother, Roland, on mandolin and Bob Baxter on second guitar (later joined by Byron Berline on fiddle and Alan Munde on banjo for "Soldier's Joy"). </p> <p>The clip is rare in that it shows White's fingering and fretwork up close. Second, there's White unusual sense of timing in the first tune ("I Am a Pilgrim"); it's as if he's throwing in chord substitutions like a jazzer, while Roland plays it straight on mandolin. It can be a little disconcerting and confusing (but I love it). But pay close attention to the second tune (starts at 3:47), which is a traditional fiddle tune adapted to guitar. It is almost always played with a capo on the second fret, in D, although played with a C chord.</p> <p>For more about White, check out <a href="http://www.guitarworld.com/white-lightning-ode-original-b-bender-clarence-white-byrds">"White Lightning: Ode to the Original B-Bender, Clarence White of The Byrds and Kentucky Colonels."</a> </p> <p>If you'd like to download recordings of White playing "Soldier's Joy," check out the following albums on iTunes: <em>Long Journey Home</em> by the Kentucky Colonels; <em>A Potpourri of Bluegrass Jam</em> by Muleskinner; <em>Live in Holland 1973</em> by the New Kentucky Colonels; <em>Live at Royal Albert Hall 1971</em> by the Byrds. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/CMQuuZNvwLU" frameborder="0" allowfullscreen></iframe></p> <p><em><a href="https://soundcloud.com/damian-fanelli/mister-neutron-comanchero-1">Damian Fanelli</a> is the online managing editor at </em>Guitar World<em> and </em><a href="http://www.guitaraficionado.com/">Guitar Aficionado</a><em>. His New York-based band, <a href="https://www.facebook.com/pages/The-Blue-Meanies/226938220688464?fref=ts">the Blue Meanies,</a> has toured the world and elsewhere. Fanelli, a former member of Brooklyn jump-blues/swing/rockabilly band <a href="http://www.thegashousegorillas.com/">the Gas House Gorillas</a> and New York City instrumental surf-rock band <a href="http://www.cdbaby.com/Artist/MisterNeutron">Mister Neutron,</a> also <a href="https://www.youtube.com/watch?v=NsQ9pIkLXiA">composes</a> and <a href="https://www.youtube.com/watch?v=w7ICimc774Y">records film soundtracks.</a> He writes GuitarWorld.com's <a href="http://www.guitarworld.com/next-bend-clarence-white-inspired-country-b-bender-lick-video">The Next Bend</a> column, which is dedicated to <a href="http://www.guitarworld.com/next-bend-10-essential-b-bender-guitar-songs-damian-fanelli">B-bender guitars and guitarists.</a> His latest liner notes can be found in Sony/Legacy's </em><a href="http://www.amazon.com/The-Complete-Epic-Recordings-Collection/dp/B00MJFQ24W">Stevie Ray Vaughan: The Complete Epic Recordings Collection.</a><em> Follow him on <a href="https://www.facebook.com/damianfanelliguitar">Facebook,</a> <a href="https://twitter.com/damianfanelli">Twitter</a> and/or <a href="https://instagram.com/damianfanelligw/">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="/eagles">Eagles</a> </div> <div class="field-item even"> <a href="/jethro-tull">Jethro Tull</a> </div> <div class="field-item odd"> <a href="/fleetwood-mac">Fleetwood Mac</a> </div> <div class="field-item even"> <a href="/beatles">The Beatles</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/top-10-guitar-songs-played-capo#comments Clarence White D'Addario Damian Fanelli Don Felder Essential Listening Fleetwood Mac The Eagles Guitar World Lists Videos Features Mon, 27 Jul 2015 13:12:39 +0000 Damian Fanelli 20770 at http://www.guitarworld.com Gabriella Quevedo Plays All Parts of The Eagles' "Hotel California" on One Guitar — Video http://www.guitarworld.com/acoustic-nation-gabriella-quevado-plays-eagles-hotel-california-one-guitar-video <!--paging_filter--><p>At GuitarWorld.com, we've gotten used to the sight of talented young women performing <a href="http://www.guitarworld.com/15-year-old-guitarist-tina-s-plays-dragonforces-through-fire-and-flames-video">impressive six-string feats without even batting an eye.</a></p> <p>Which is the perfect segue to this late-2014 video of a Swedish-born fingerstyle guitarist named Gabriella Quevedo performing Tomi Paldanius' arrangement of the Eagles' "Hotel California."</p> <p>Something that will start to sink in at around the 3:01 mark is that Quevedo, who is 18, isn't just playing the vocal melody and guitar parts; she's also throwing in a bass line, some percussive moves and the backing melodies. She even handles the arpeggios from the iconic Don Felder/Joe Walsh guitar solo—while playing some of the other parts mentioned above.</p> <p>That's a entire band's worth of parts in one Taylor guitar. </p> <p>For your listening pleasure, we've also thrown in a video of Quevedo playing Tommy Emmanuel's arrangement of "Classical Gas" (bottom video).</p> <p><strong>For more about Quevedo, <a href="https://www.youtube.com/channel/UCbK6S8jFtYZ3UnPhWRIJ0bA">follow her on YouTube</a> and visit <a href="http://www.gabriellaquevedo.com/">gabriellaquevedo.com.</a></strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/j1q4-tzMI28" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/YH4e0KAjmEI" 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="/eagles">Eagles</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/acoustic-nation-gabriella-quevado-plays-eagles-hotel-california-one-guitar-video#comments Acoustic Nation Eagles Gabriella Quevedo The Eagles Videos Blogs Videos Features Mon, 27 Jul 2015 13:05:06 +0000 Damian Fanelli 24385 at http://www.guitarworld.com Hannes Coetzee Plays Teaspoon Slide Guitar — Video http://www.guitarworld.com/acoustic-nation-hannes-coetzee-plays-teaspoon-slide-guitar-video <!--paging_filter--><p>Ever wish you had the equivalent of a third hand?</p> <p>Below, check out some professionally shot footage of South African guitarist Hannes Coetzee playing teaspoon slide guitar.</p> <p>Coetzee, who is from the Karoo region, puts the spoon in his mouth and uses it as a slide. The technique is called "optel and knyp," which roughly translates to "pick and pinch."</p> <p>Coetzee, who is 71, was featured in <em>Karoo Kitaar Blues,</em> a 2003 documentary by David Kramer. </p> <p>The top video was posted by <em>Rolling Stone</em> in 2013. The bottom one (consider it a bonus), is from 2007, but it's much more impressive. You can follow Coetzee on <a href="https://www.facebook.com/pages/Hannes-Coetzee-The-Original-Teaspoon-Slide-Guitarist/153297851349263">Facebook here.</a></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/SNJHFxsN0hA" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/e28G35HnREs" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/acoustic-nation-hannes-coetzee-plays-teaspoon-slide-guitar-video#comments Acoustic Nation Hannes Coetzee News Videos Blogs Videos Features Mon, 27 Jul 2015 13:03:33 +0000 Damian Fanelli 23820 at http://www.guitarworld.com How to Build the Ultimate Pedal Board for Guitarists — Video http://www.guitarworld.com/video-guitar-worlds-guide-building-pedal-board <!--paging_filter--><p>Are you a <a href="http://www.guitarworld.com/guitar-world-recommends-gator-cases-aluminum-pedal-boards-video/25084">pedal-board</a> dunce? Fear not! In this illustrated tutorial, <em>Guitar World</em> shows you everything you need to know, from choosing a board to powering up and laying out your pedals.</p> <p>The more effect pedals you use, the more you need a pedal board. Even the most basic unpowered board can provide a useful platform to hold your pedals securely, provide cable management and keep everything from sliding around onstage. </p> <p>Powered boards have the added function of supplying electrical connections to all your pedals, thereby eliminating the need for power strips and multiple wall warts that can take up space and create a nest of dangerous wires around your performance area. For more complex or specialized rigs, a custom <a href="http://www.guitarworld.com/guitar-world-recommends-gator-cases-aluminum-pedal-boards-video/25084">pedal board</a> can meet your specific switching requirements and make performance headaches a thing of the past. </p> <p>Unfortunately for those who have never had a <a href="http://www.guitarworld.com/guitar-world-recommends-gator-cases-aluminum-pedal-boards-video/25084">pedal board</a>, the prospect of building or buying one can be overwhelming. You have to determine not only what size you’ll need for your set-up but also make sure it matches the power requirements of your pedals, some of which might take require, 12, 16, 18 or 24 volts. </p> <p>There’s also the matter of cables, of which you’ll need many, each cut to the minimum length to ensure signal integrity and keep your layout tidy. The confusion only gets worse once you go online and see the plethora of pedal board models and options available to you. </p> <p>We wrote up this guide to make selecting and setting up a pedal board easier. In this tutorial, we’ll walk you through every step of the process, from choosing the pedal board, power supply and cables to laying out your pedals in the order that works for you and making it all work to meet your needs.</p> <p><strong>What Size?</strong></p> <p>The choice of a small, medium or large <a href="http://www.guitarworld.com/guitar-world-recommends-gator-cases-aluminum-pedal-boards-video/25084">pedal board</a> comes down to one thing: the number and size of the pedals you’ll need to use. If you use five or fewer standard-size pedals and don’t plan to add to your setup, a small <a href="http://www.guitarworld.com/guitar-world-recommends-gator-cases-aluminum-pedal-boards-video/25084">pedal board</a> should suit your long-term needs. If you have more than five pedals but fewer than 10, you’ll want to consider a medium board. More than 10 and you should choose a large board. And if you have only five pedals now but plan to add another two or three in the near future, it’s better to plan ahead and go for a larger board today. </p> <p>Remember, too, that pedals with large footprints take up more real estate, and even a small set-up consisting of a few oversized pedals may require a larger pedal board to prevent overcrowding. When planning, remember to leave enough space between the pedals to facilitate cabling and create a clean, uncluttered and easily accessible layout.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/8W41m302NGs" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Which Pedal Board?</strong></p> <p>Pedal boards can be purchased off the shelf, custom-built to your specs, or even built at home using readily available building materials, cables and power supplies. Music stores carry a range of boards, including bare unpowered platforms and boards with built-in power supplies and power strips. Other possible features include cable compartments, wheels, cases, heavy-duty corners and raised or pitched surfaces that make it easier to reach the pedals furthest away from you. </p> <p>Need something special? Many companies are available to build custom pedal boards to your specs, using the materials, power supply, hardware, wire and cables of your choice. If you have specialized switching, looping or MIDI requirements, a custom pedal board can meet your specific needs, though at a greater cost than an off-the-shelf unit.</p> <p>For this demonstration, I’m using medium and large Pedaltrain boards: the Pedaltrain 2 and Pedaltrain Pro, respectively. I like Pedaltrain boards for their lightweight frames and strong construction. The boards are slotted for easy management of cables and power supplies, all of which can fit under the board and out of sight. </p> <p>Slotted boards are especially nice in clubs, where spilled drinks can make a mess of your pedal board; with a slotted board, spilled liquids drip off, unlike a solid board, which will allow liquids to pool. The Pedaltrain boards are also angled, which makes it easy to reach pedals that are furthest away from you without accidentally stepping on other pedals or knocking their control settings with your foot. </p> <hr /> <p><strong>What Power Supply?</strong></p> <p>Whether you’re buying a pedal board with a power supply or choosing a power supply for an existing board, be sure that it meets your voltage requirements. Most pedals operate on nine volts of power, but many require 12, 16, 18 and even 24 volts. </p> <p>Before purchasing a power supply, check the power requirements of every pedal you’ll be using. Then, choose a power supply robust enough to deliver the voltages you require and a sufficient number of outputs for as many pedals as you’ll use. Also be sure to choose a supply that has isolated output sections to eliminate ground loops, hum and undesirable interactions between your pedals. </p> <p>Some examples of power supplies include Voodoo Lab’s Pedal Power series, T-Rex Engineering’s Fuel Tank offerings, the MXR DC Brick power supply, the Modtone Power plant, and the Pedaltrain Powertrain 1250 multi-output power supply. </p> <p>For this example, I’m using Truetone/Visual Sound’s 1 Spot power supply. The 1 Spot is a nine-volt adaptor that takes up just one power strip outlet, yet it can accommodate up to 20 guitar pedals. It works with more than 90 percent of the effect pedals on the market, including those that use popular adapters from Boss, Danelectro, Dunlop, Korg and others. </p> <p>In addition, as you add more pedals to any setup, it’s possible to introduce noise and hum by having too many effects on the same power source. The 1 Spot makes it easy and affordable to expand your system and isolate noisier effects by placing them on their own separate power supply. </p> <p><strong>What Cables?</strong></p> <p>Two rules here: always use cables with right-angle plugs, which are more compact than straight plugs, and keep your cable lengths to a minimum in order to cut down on clutter and ensure the shortest and quietest signal path.</p> <p>For these reasons, I prefer to make my own cables, as this lets me choose the exact hardware and lengths that I need. Planet Waves’ Cable Station pedal board kit is ideally suited for this. It features 10 feet of low-capacitance cable for signal transparency and 10 24k gold-plated right-angle plugs—pretty much everything you need for the average pedal board setup. The plugs are solderless, so you can create a cable in seconds, anywhere, to the exact length, and the kit even includes a cable cutter. </p> <p><strong>Layout</strong></p> <p>Before you start Velcro-ing pedals to your pedal board, take some time to think about the most efficient and easy-to-navigate way in which to arrange them. As a rule, you should lay them out left to right in order of how they connect together (more on this below). But pedal boards are typically deep enough, from front to back, to accommodate two and sometimes three rows of pedals, giving you yet another dimension to consider when planning your layout. </p> <p>It’s best to keep your most-used pedals nearest to you, where they’ll be easiest to adjust and reach with your foot. Staggering the pedals between the front and back edges of the pedal board will also make it easier to navigate your set up and avoid confusion in the heat of performance. </p> <p><strong>What Order?</strong></p> <p>There’s an ideal way to lay out effect pedals, and then there’s an individual way to do it. The ideal way is based on practical considerations, like placing a reverb pedal last in the chain rather than in front of the distortion pedal, where it will muddy up your sound. The individual way is all about how you make things work for you. </p> <p>Some guitarists like to place their wah before the distortion, while others put it after for a more pronounced and dirty tone. While there is no right or wrong way to order your pedals, it helps to understand the basic guidelines. In this section, I’ll show you the most logical, efficient and least noisy way to chain together your pedals.</p> <p>In the most general sense, pedals that amplify should go near the front of the signal chain. This includes filters (which can boost and cut frequencies), compressors (which reduce dynamic levels but can also boost the overall signal), and all types of distortion and overdrive pedals. Tone modifiers such as chorus, phase and flangers go next, followed by ambience effects, such as reverb, delay and echo. The effects in a signal chain can be arranged and grouped into four general categories:</p> <p>• First: Filters, pitch shifters, harmonizers and dynamic pedals (such as compressors)<br /> • Second: Distortion, overdrive, fuzz, boost and EQ pedals<br /> • Third: Modulation pedals (phaser, chorus and flangers)<br /> • Fourth: Time-based effects (echo, delay, tremolo and reverb)</p> <p>For example, if your pedal board consists of a distortion, a wah, a compressor and a reverb pedal, you would probably connect them as follows:</p> <p>Wah > Compressor > Distortion > Reverb</p> <p>In the next section, I’ll explain the rationale behind the ordering of these categories to help guide you along. </p> <hr /> <p><strong>Filters, Pitch Shifters, Harmonizers and Dynamic Pedals</strong></p> <p>These pedals typically work best at the front of the signal chain, where they act upon the pure signal from your guitar. Filters include pedals such as wahs and low-pass filters. Pitch shifters and harmonizers also include the ever-popular Whammy Pedal, all of which benefit from having a strong and unaffected signal from your guitar so that they can track your notes cleanly and accurately. </p> <p>Dynamic pedals include compressors, which “squeeze” a signal’s dynamic range—its quietest to loudest values—by reducing signal peaks as they occur. Compressors typically feature volume or make-up gain controls that let you boost the overall signal to compensate for the lower volume that results from compressing. For that matter, auto wahs/envelope filters are actually dynamic filters that allow a filter’s frequency cutoff to respond to changes in signal response due to variances in pick attack and volume. </p> <p>Bear in mind that you should be careful of the effect order within these categories. For example, a compressor placed after an EQ pedal will be more responsive to the frequencies that the EQ is boosting, because the compressor seeks out the loudest part of the signal and reduces its volume. It’s probably better to place the compressor before the EQ, where it can respond to your guitar’s signal rather than the frequencies boosted by the EQ pedal. </p> <p>Conversely, placing a compressor before an auto wah will reduce the guitar signal’s dynamic range of the and thereby impede the auto wah’s expressiveness (auto wahs thrive on dynamics). On the other hand, placing a compressor before a wah pedal can help you control some of the guitar signal’s inherent brightness that can make some wahs sound shrill and piercing at the top end of their range. Of course, some of these considerations change if you raise your compressor’s make-up gain to the point that it’s actually increasing the signal like a gain boost (see the next section on distortion and overdrive). </p> <p>On the subject of wah pedals, it’s worth noting that some guitarists prefer to place wahs after distortion pedals, where they can be driven hard for a funkier sound. Again, none of this is carved in stone. Set up your effects as they work best for you, but try to be aware of the interactions that result from the order of pedal placement.</p> <p><strong>Distortion, Overdrive, Fuzz, Boost and EQ</strong></p> <p>Distortion, overdrive and fuzz pedals affect harmonic content by enhancing overtones and compressing peaks in the signal. Their purpose is to simulate the sound of a cranked amp through a speaker cabinet. In the natural order of things, these pedals go after filters and EQ, just like your amp’s output and speakers. They also follow the compression pedal, whose purpose is to flatten peaks and ensure the entire signal is “hotter.” </p> <p>Which brings us to another reason why you shouldn’t put a compressor after a distortion pedal: they can add volume to everything that comes before them, including noise generated by effects like—you guessed it—distortion, overdrive and fuzz pedals.</p> <p>Most modern fuzz pedals work very well after wah pedals, but the same isn’t true of some vintage fuzz units. If you have an older fuzz pedal that doesn’t sound good when placed after the wah, try moving it before the wah and see if it improves things.</p> <p>If you use boost or EQ pedals to give your tone a kick for solos, try placing them after the distortion, overdrive and fuzz pedals. This will help to raise your overall level without having an undue impact on the sound. As always, experiment to see what works best for the pedals in your setup. </p> <p><strong>Modulation Effects</strong></p> <p>These are tone modifiers and sweeteners, and they include effects like chorus, phase, flange and vibrato. Traditionally, these can be noisy effects, and placing them before gain-increasing pedals like distortion or compression will tend to intensify their noise. </p> <p>In addition, chorus, phasing and flanging all introduce time delays and pitch fluctuations that create a sense of spatial movement similar to what happens in the physical world. Placing them after amplification-style effects like distortions and overdrives produces results that are in keeping with naturally occurring sound. Plus, the extra boost a signal gets from an overdrive pedal can help emphasize the oscillation of modulation effects.</p> <p>Of course, plenty of players like to put modulation effects like Uni-Vibes and phasers before distortion. Think Jimi Hendrix (Uni-Vibe) and Eddie Van Halen (MXR Phase 90). Doing this delivers more harmonic content to the distortion box and can result in more dramatic and animated effects. </p> <p><strong>Time-Based Effects</strong></p> <p>This one is pretty obvious. Reverb, delay and echo are ambience effects that imitate how sounds are affected within room environments. Naturally, they go at the end of the chain. Tremolo, for that matter, is amplitude modulation—amp on, amp off—and therefore goes at the end of the signal chain. </p> <p><strong>Tuners</strong></p> <p>Though they’re not effects, tuners are a part of every guitarist’s setup, so it’s important to think about where they’ll go in your signal chain. Some guitarists like to have them at the front of the chain, while others like them last or somewhere in between. If you place your tuner at the head of the chain, activating it will silence your guitar but not your pedals. </p> <p>This is fine if you want to allow time-based effects to continue trailing off while you tune up, but it’s not ideal if you want to silence your rig between songs. For that you’ll need to place the tuner last in the chain, though doing so will require you to turn off your distortions and other effects prior to tuning. As you can see, there are trade-offs to either scenario. Pick the one that works best for you.</p> <p><strong>The Bottom Line</strong></p> <p>The bottom line is that pedal order is subjective and varies from player to player. If you’re trying to nail a certain guitarist’s tone, then it’s useful to know what effects he uses and the order in which they’re placed. But when it comes to your tone, you have to decide what works for you. </p> <p>Experimenting can be fun, so start plugging away. And don’t worry, there is no right or wrong order. Besides, the best part about effect boxes and pedal boards is that you can always move things around as your needs and tone goals change.</p> http://www.guitarworld.com/video-guitar-worlds-guide-building-pedal-board#comments How to May 2014 Mick Mars Paul Riario pedal board Accessories Videos Effects Features Gear Magazine Fri, 24 Jul 2015 20:16:40 +0000 Paul Riario, Christopher Scapelliti 20799 at http://www.guitarworld.com Guitar World Recommends: Gator Cases Aluminum Pedal Boards — Video http://www.guitarworld.com/guitar-world-recommends-gator-cases-aluminum-pedal-boards-video/25084 <!--paging_filter--><p><em>Guitar World Recommends</em> shines the spotlight on new and noteworthy gear for guitarists. This week, <em>Guitar World</em> recommends aluminum pedal boards from Gator Cases. </p> <p>These pedal boards feature a universal mounting bracket provided for mounting most common power supplies beneath the board, and are angled for ease of access to pedals. </p> <p>They also feature cable routing perforations that make routing signal and power easy, adjustable no slip rubber feet for board leveling and adhesive velcro strips. </p> <p><strong>For more about these pedal boards (and so much more), visit <a href="http://gatorcases.com/">gatorcases.com.</a> Or go directly to <a href="http://gatorcases.com/p/16108-2197/gpb-bak-or">the company's lightweight aluminum GPB-BAK-OR model!</a></strong></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/K-vq_6voO3E" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/guitar-world-recommends-gator-cases-aluminum-pedal-boards-video/25084#comments Gator Cases Guitar World Recommends Accessories Videos Features Gear Fri, 24 Jul 2015 20:09:02 +0000 Guitar World Staff 25084 at http://www.guitarworld.com Crowbar Premiere "Walk with Knowledge Wisely" Playthrough Video http://www.guitarworld.com/crowbar-premiere-walk-knowledge-wisely-playthrough-video/25082 <!--paging_filter--><p>Today, GuitarWorld.com presents a new playthrough video by sludge metallers Crowbar. </p> <p>The song, "Walk with Knowledge Wisely," is featured on the band's 2014 album, <em>Symmetry In Black</em>. </p> <p>The video, which was filmed right here at the lovely and talented <em>Guitar World</em> studios in New York City, showcases the technical abilities and power of Crowbar's guitarists, Kirk Windstein and Matt Brunson. </p> <p>For more about Crowbar, follow them on <a href="https://www.facebook.com/crowbarmusic/">Facebook</a>. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/9lsgq-3KauA" 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="/crowbar">Crowbar</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/crowbar-premiere-walk-knowledge-wisely-playthrough-video/25082#comments Crowbar Guitar Playthrough Kirk Windstein Matt Brunson Videos Features Fri, 24 Jul 2015 19:19:21 +0000 Guitar World Staff 25082 at http://www.guitarworld.com Paul Gilbert's Public Service Announcement About Guitar-Strap Length — Video http://www.guitarworld.com/paul-gilberts-public-service-announcement-guitar-strap-length-video <!--paging_filter--><p>Here's a word-for-word reprint of something the uber-talented Paul Gilbert recently posted to <a href="https://www.facebook.com/paulgilbertmusic">his Facebook page.</a> It does a perfect job of setting up the new video below.</p> <p>"I was making <a href="http://www.guitarworld.com/paul-gilbert-demos-dimarzio-paf-master-pickups-video">a video for DiMarzio pickups recently,</a> when I felt a sudden urge to make a 'public service announcement' about rock-and-roll strap length. </p> <p>"I suspect I might get in trouble with the high-strap-wearing crowd, but if even one guitarist gets better vibrato because of my message, it will all have been worth it.</p> <p>"And no matter what height you prefer, <a href="http://www.dimarzio.com/straps">DiMarzio makes some great straps."</a></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/Z2nJTu2FVNM" 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="/paul-gilbert">Paul Gilbert</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/paul-gilberts-public-service-announcement-guitar-strap-length-video#comments DiMarzio Paul Gilbert Videos Blogs Features Fri, 24 Jul 2015 18:41:11 +0000 Damian Fanelli 23254 at http://www.guitarworld.com Joe Satriani Demos and Discusses His Signature Ibanez JS25ART Limited Edition Guitars — Video http://www.guitarworld.com/joe-satriani-demos-and-discusses-his-signature-ibanez-js25art-limited-edition-guitars-video/25074 <!--paging_filter--><p><a href="http://www.guitarworld.com/ibanez-js25art-guitars-offer-chance-own-original-piece-joe-satriani-artwork-and-great-instrument">Although we've already reported on Joe Satriani's new limited-edition JS25ART guitars from Ibanez,</a> we have an update!</p> <p>In this brand-new video—posted this month by DiMarzio—Satch demos and discusses the JS25ART guitars, which happen to feature DiMarzio Satch Track and Mo' Joe pickups.</p> <p>You can check it out below.</p> <p>“Ibanez approached me and asked if I’d do something special for the 25th anniversary,” Satriani told <em>Guitar World.</em> </p> <p>“They didn’t know what I was going to do, but I decided to illustrate some guitars myself. The idea took a lot of setup, because I had to figure out, ‘Am I going to paint them or use pens? What would the process be? Could I erase?’ So I wound up using these color pens. I spent about a week down in L.A. late in 2014 doing the illustrations and it was a lot of fun. But it was intense. With the pens, you can’t really put color on color. Nor can you erase. Some of the ones I did are more detailed; others are just line drawings. They’re all signed.” </p> <p>Technically speaking, the JS25ART embodies all the design refinements distilled over Satriani’s quarter century of collaboration with Ibanez. Besides his signature DiMarzio pickups, this includes a maple, JS Prestige neck with hand-rolled fret edges, a hi-pass filter on the volume pot, a coil tap on the tone pot and a low-profile Edge tremolo bridge. </p> <p>Longtime fans of Satriani’s visual art many recognize some of the bizarre faces and characters depicted on some of the guitars. Many of these characters are soon to come to life in an animated sci-series, tentatively titled <em>Crystal Planet,</em> that Satch is working on with fretless guitarist and digital animator Ned Evett.</p> <p>Satriani's new album, <em>Shockawave Supernova,</em> is out now.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/PhhaDGoJsdU" 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="/joe-satriani">Joe Satriani</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/joe-satriani-demos-and-discusses-his-signature-ibanez-js25art-limited-edition-guitars-video/25074#comments DiMarzio Ibanez Joe Satriani Satch Videos Electric Guitars News Features Gear Fri, 24 Jul 2015 15:18:55 +0000 Damian Fanelli 25074 at http://www.guitarworld.com Guitarist Eva Vergilova Covers Prince's "Purple Rain" — Video http://www.guitarworld.com/guitarist-eva-vergilova-covers-princes-purple-rain-video <!--paging_filter--><p>Every now and then—more like every 13 seconds—there's a video that suddenly clicks with the universe and racks up an untold number of Instagram, Facebook and Twitter shares, views and comments. </p> <p>Below, we present one such video. It's a homemade clip of Bulgarian guitarist Eva Vergilova performing an instrumental version of Prince's "Purple Rain."</p> <p>While we don't know much about Vergilova, we know her <a href="https://www.youtube.com/user/abudalim">YouTube channel</a> features several covers and playthrough videos, including tunes by Jimi Hendrix and Scorpions (See her cover of Scorpions' "Sails of Charon" in the bottom video below).</p> <p>For all about Eva, follow her on <a href="https://www.facebook.com/Eva.Vergilova">Facebook</a> and <a href="https://www.youtube.com/user/abudalim">YouTube.</a></p> <p><iframe src="//player.vimeo.com/video/110391469" width="620" height="365" frameborder="0" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe> </p><p><a href="http://vimeo.com/110391469">Eva Vergilova "Purple Rain"</a> from <a href="http://vimeo.com/user33857883">Eva Vergilova</a> on <a href="https://vimeo.com">Vimeo</a>.</p> <p><br /><br /> <iframe width="620" height="365" src="//www.youtube.com/embed/3SZoRxElCe8?list=UU9qxrmVzOWsw5dg9LDn3KuQ" 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="/scorpions">Scorpions</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/guitarist-eva-vergilova-covers-princes-purple-rain-video#comments Eva Vergilova Prince Scorpions Videos Blogs Features Fri, 24 Jul 2015 15:03:42 +0000 Damian Fanelli 22927 at http://www.guitarworld.com Rex Brown Recalls the Making of Pantera's 'Cowboys from Hell,' 'Vulgar Display of Power' and More http://www.guitarworld.com/rex-brown-recalls-making-cowboys-hell-vulgar-display-power-and-other-legendary-pantera-albums <!--paging_filter--><p><em>From the May 2013 issue of </em>Guitar World.</p> <p>While Pantera vocalist Philip Anselmo and the Abbott Brothers—guitarist Dimebag Darrell and drummer Vinnie Paul—were flinging insults at each other in the press throughout 2003, bassist Rex Brown remained largely silent. </p> <p>His ex-bandmates viciously blamed each other for the demise of Pantera, the band that held the torch aloft for metal throughout the Nineties and paved the way for metalcore. </p> <p>But Brown refused to choose sides. By then, he and Anselmo were performing together in Down, and fans might have expected he would take the singer’s side. But Brown continued to say nothing. Instead, he let the resounding notes of his bass express the pain and frustration he felt for what had become of his band. </p> <p>“Vinnie drew this imaginary line in the sand,” explains Brown, who is currently wrapping up the second album by his new band, Kill Devil Hill. </p> <p>“He said, ‘You’re either on our side or not.’ I didn’t want to take sides. Every fucking day before Dime was killed [in December 2004], Vinnie would email me when Phil would say something stupid in the press and go, ‘See what your boy said?’ I was like, ‘Dude, why is he my boy? Because I wanted to get out of your bus because you were throwing fucking tacos at everybody because you’d lost your mind on booze?’ The whole thing was ridiculous, but I never talked about it.”</p> <p>Until now. In his revealing memoir, <em>Official Truth 101 Proof: The Inside Story of Pantera</em>, Brown stops short of blaming anyone for Pantera’s breakup and the subsequent murder of Dimebag Darrell. Instead, he and co-writer Mark Eglinton spend the majority of the book addressing the formation and development of Pantera through five legendary albums. In the process, Brown analyzes how four musicians that were once closer than most families grew apart because of their differences in personality, musical tastes and choice of extracurricular activities. </p> <p>Brown has particularly strong recollections of the six major-label albums he recorded with Pantera. In this <em>Guitar World</em> interview, he gives us an unvarnished, no-holds-barred look at the making of those records and of his life with the original Cowboys from Hell. </p> <p><strong>Cowboys from Hell (1990)</strong></p> <p>While we were writing the songs for <em>Cowboys from Hell</em>, we were listening to a lot of different kinds of music—a lot of Metallica, Slayer, Mercyful Fate and Minor Threat—and that changed our sound. We had grown such a huge following in Texas by then that we could play one set a night and draw 2,000 people. Since we didn’t have to play six shows a night anymore, we had more time to spend in the Abbotts’ studio [Pantego Sound], and we became total perfectionists. </p> <p>Vinnie would lay down all the drums, then Dime would play guitar. We’d put the bass on last. We turned all the drum channels off, and I just played along with Dime’s track. That became known as “the microscope.” If something was off, we’d get a razorblade and cut and splice the tape. We didn’t have Pro Tools back then. And that’s what created our trademark sound, where the guitar and bass are just spot-on. </p> <p>By that point, Dime had already surpassed all of his influences as a player, and we were making a lot of money playing Friday and Saturday nights within a radius of Dallas, Houston, Austin, San Antonio, Shreveport and New Orleans. Then, after getting turned down 29 times, we finally got signed to Atco. The thing is, that actually made our financial situation worse at first. We weren’t playing shows, so we didn’t have any money coming in. So I had to get a job. Me and our lighting guy, Sonny, got gigs putting up lights for fashion shows. It actually turned out real cool. We met all these fashion models, got laid all the time and made a month’s rent a night. </p> <p>But playing with Pantera back then was even better. We were such good friends, and our chemistry was undeniable. Dime would make these riff tapes on his four-track and bring them in, and we’d turn them into songs. One day, Dime came in with this tape loop of a lick he played over and over in a high register. It drove us crazy, because he wouldn’t stop playing it. That’s what became “Cowboys from Hell,” and it was the start of the power groove every band follows today. </p> <p>As much as you still hear that song, when it came out no radio stations would play it. One of my favorite memories is when we did “Cemetery Gates.” Dime already had the riff in the song where it starts getting heavy, but we didn’t have an intro. One day, I picked up an acoustic guitar and messed around with a part, which we recorded. </p> <p>We recorded a piano in reverse so that it created this big swell of sound at the end of the section. When we put the acoustic intro together with the heavy part, there it was. That was huge for us, and that’s how all those sessions went. We were all working together with Terry Date, who we liked a lot, even though our first choice was [famed metal producer] Max Norman. But he canceled at the last minute and we got Terry, who we bonded with from the start. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/i97OkCXwotE" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Vulgar Display of Power (1992)<strong></strong></strong></p> <p>When we got back from touring for Cowboys, the music scene had changed so drastically. You had Nirvana on one side and Metallica’s Black Album on the other. As good as that record is, it’s no <em>Master of Puppets</em>. We figured this was our chance to be the heaviest game in town. Dime had riffs pouring out of him. He’d bring them in, and it was hard to choose between them, because they were all so good. </p> <p>One time, Dime and Phil walked out and smoked a joint and came back with the idea for “A New Level.” A couple hits of weed and we were all flying. It was so easy to play, but it was the chemistry we had that made it sound so good. That’s how it was with us. I mean, anybody can write something like “Walk,” but to play it like we did, with that groove—that’s pure chemistry. Even “Fucking Hostile” is totally brutal but hooky as hell. </p> <p>This was the second record we did with Terry Date. He and Vinnie worked hand in hand to get the perfect sound, and Dime was writing riffs that were better than any band out there and taking his solos to an entirely new place. That record just came easy. All the riffs on <em>Cowboys</em> had been written by me and Dime. </p> <p>Philip came in with his own ideas on Vulgar, and that made us even heavier. After it was mastered, we had a tape of the record and we put it in a cassette player and played it for everyone at the label, and their jaws hit the fucking ground. If you play an album for someone and they say, “Yeah, man, I fucking love it,” that’s cool. But when nobody says anything after it’s done and they all have blank stares on their faces, and then someone finally says, “Holy shit!” then you know you’ve done something great. </p> <p>As blown away as everyone was by <em>Vulgar Display of Power</em>, it was the tour opening for Skid Row that changed everything for us. Vinnie had met up with them on tour and drank so much that he threw up all over their dressing room. But they had a good time, so they asked us to go on tour with them. </p> <p>Philip was really resistant at first, and I told him, “Look, there’s two ways we can look at this. We can view it the hard way and say, ‘Fuck you all! We’re gonna tear you apart!’ Or we can take the crowd with us every fucking night,” which is what we did. We turned all these hair farmers into Pantera believers. Vulgar was our second real record, so no one could say <em>Cowboys</em> was a fluke. The songs came out at the right time, and we tore it up every night.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/a3JSbOt7CLo" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Far Beyond Driven (1994)</strong></p> <p>It would have been easy for us to write another <em>Vulgar Display of Power</em>, but fuck that. We wanted to try something completely different that was even heavier. We moved everything up to Jerry Abbott’s new place in Nashville, and that’s the first time we started taking breaks between recording. We’d do three or four songs, put them on tape, let them sink in and then go back in and do more. </p> <p>That was about the time that Dime started messing around with the Whammy Pedal and Vinnie was getting completely crazy about getting this clicky sound on his drums, and that required a lot of takes and a lot of tweaking our sound. We drove Terry crazy. But we had been playing through the same gear for 500 dates between 1989 and 1994, so we felt it was time for experimentation, and we did tons of takes of everything, which is why it was our most expensive album to do.</p> <p> “I’m Broken” was the first single. That was a classic southern groove, and we remixed that thing 16 times. But we were raging. Take a song like “Good Friends and a Bottle of Pills.” Where the fuck does that come from? Out of the blue! We just bashed it out. Dime came up with a lot of those riffs at soundchecks, and he wrote other ones on the shitter. He always had an acoustic guitar in the bathroom. He’d go in there to take a dump and come out with an amazing song. We also covered Black Sabbath’s “Planet Caravan.” I played keyboards on it and fretless bass. Vinnie played congas. And Dime’s solo…to this day, I can’t listen to it. Just talking about it chokes me up. And Dime did it first take.</p> <p>Everything was happening. We renegotiated our contract with Warner Bros., and they gave us a huge amount of money each. When stuff like that happens, it can either ruin you and wipe the band out or you can bond together, which we did. Part way through the recording, we left Nashville and went back to Dallas Sound Lab, in Texas, and from then on it became one big fuckin’ party. We were boozin’. </p> <p>Vinnie was doing a lot of Ecstasy. Me and Dime were just taking little dabbles here and there, but Vinnie was out of his mind, and he was co-producing this thing, so he’d sometimes get real crazy. It took a long time to finish the overdubs, because the brothers were partying so heavy, but we were still “all for one, one for all,” even though Philip had moved back home to New Orleans when he was done with his vocals. That removed him from the equation, which was probably a good thing. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/2-V8kYT1pvE" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>The Great Southern Trendkill (1996)</strong></p> <p>Metal is a full-blown contact sport, especially the way we did it. So it was only a matter of time before Phil was gonna need something for the damage he caused himself. We used to jump 15 feet in the fucking air, and I’d usually land on my feet and feel the shock on my knees, which are shot now. But Philip would make these giant jumps and land on his fuckin’ ass. I used to always think, Fuck, man, that’s gonna hurt later.</p> <p>Back then, we would wake and bake. That was just a given. So that made us a little foggy. But at one point, I noticed Phil was fuzzier than usual. One day when we stared doing <em>The Great Southern Trendkill</em>, he looked at me and slapped his armpit [a technique to inflate a vein prior to shooting heroin]. </p> <p>I went, “What!?” I’ve never stuck a needle in my arm. I used to watch some of my friends shoot up, but I would never do it. No way. I hadn’t seen that reference in 10 years, and Philip doing that at me made me go, Oh shit! I hope he’s not doing what I think he’s doing. </p> <p>Sure enough, he was doing smack. And he was a wreck through the writing sessions of <em>Trendkill.</em> We were all so burned out by that point. A lot of the discipline and structure we used to have went out the window. I’m not crazy about two or three songs on the album, but there’s a lot of good stuff on it. It was all created very spontaneously. We didn’t go back and re-record anything.</p> <p>That record was even more experimental than Far Beyond Driven. Far Beyond still had a coherent structure, and on Trendkill there was hardly any. Dime wasn’t even bringing riff tapes in anymore. So we winged it, and Terry just rolled tape, and a lot of the random stuff we captured is pioneering. And of course, the more we worked on them, the more cohesive the songs became. </p> <p>It was the first time Philip didn’t track vocals with us, which left Dime leery, because he didn’t know what to do with the leads. But he got it done anyway, and it was killer. Just listen to “Floods.” That’s the three of us locked in, and it’s got all these different shades to it and all these dynamics, and Dime’s solo couldn’t be better. In the end, we were psyched about the record, and we toured it to fucking death.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/4hx8TW6sYys" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Reinventing the Steel (2000)</strong></p> <p>Doing that album was closest we’d been in 10 years—since <em>Vulgar</em> or <em>Far Beyond</em>—to capturing what we wanted to do. </p> <p>We went, “Okay, let’s listen back and take the best elements of what we’ve done. Everyone pick your five favorite songs from each album, and let’s roll.” There were four different opinions of what we should do, but we tried to work within those confines, and we did a great record. But what we should have done instead was check into rehab and then, when we were all clean, get a real producer, instead of Vinnie Paul. At this point, Vinnie was trying to take control of everything.</p> <p>His ego went through the roof. He didn’t want Terry Date involved. Where we used to drink for fun, we were drinking out of frustration, and during the sessions we were yelling at each other, throwing shit at each other, breaking stuff. </p> <p>Many times Dime was so fucking drunk, Philip would jump on him, and I’d have to jump on Phil. Somehow we made it through the record, and if you put it next to <em>Far Beyond</em> and <em>Vulgar</em>, you come out with something very close. Take a song like “Revolution Is My Name.” That could have been on <em>Far Beyond Driven</em>. And even though he wasn’t necessarily in a good place, Dime really came out of his hole and delivered. </p> <p>During the recording, Dime had these cases of fucking ginseng. He would drink two or three of these bottles and stay up for days. Dime never did speed, cocaine or heroin. He smoked a lot of weed and did some acid. But he loved ginseng, and it made him fucking crazy. Rehearsal for the tour was surreal. Philip was so wasted, he’d be singing a different song than we were playing. He was always on for the shows, but touring was a nightmare. </p> <p>Dime tried to get his own bus, because he couldn’t stand his own fucking brother anymore. Vinnie just kept booking shows, and we were touring with all the problems that went along with drug and alcohol abuse. Dime would blast the speakers out until 10 in the morning every day. You can’t sleep in a bus like that. So I went to Phil’s bus and stayed in the back lounge. He stayed in the front lounge, and we kept people out. Phil calmed down to a certain extent, even though he was drinking and smoking weed like it was going out of style.</p> <p>We really all should have stopped, but there was so much money on the table, and that made everything worse. We’d drink so fucking hard trying to relieve the tensions of drinking so hard, and that sent everybody into a fucking spiral. After a show, I’d go smoke a joint and drink a glass of wine and go to bed instead of staying up and trying to get laid, which Vinnie was all about but couldn’t make happen. We didn’t know if we were coming or going. We just know we had another gig to do, so goddamn, you get up and you do it. None of us ever missed a show. Ever.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/_XI1DD_vJuY" frameborder="0" allowfullscreen></iframe></p> <p><em>Photo: James Bland</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="/pantera">Pantera</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/rex-brown-recalls-making-cowboys-hell-vulgar-display-power-and-other-legendary-pantera-albums#comments Dimebag Darrell GW Archive May 2013 Pantera Rex Brown Interviews Features Magazine Fri, 24 Jul 2015 12:22:13 +0000 Jon Wiederhorn 18075 at http://www.guitarworld.com Was This Song the Inspiration for Black Sabbath's “Paranoid” Riff? — Video http://www.guitarworld.com/did-black-sabbath-steal-paranoid-guitar-riff-video/25067 <!--paging_filter--><p>Black Sabbath’s “Paranoid” is one of the legendary U.K. metal band’s most famous tunes, distinguished by Tony Iommi’s guitar riff that opens the track and propels it along to its chugging verses.</p> <p>As it so happens, the riff from that 1970 hit seems uncannily similar to the riff in “Get Down,” a song released the year before by Half Life, an obscure four-piece garage-rock act from Detroit. </p> <p>Half Life recorded the song in a single take and released it on A-Square Records, an independent label that released records for a number of rock acts in the Detroit–Ann Arbor area. “Get Down” failed to take off, and probably would have been lost forever were it not for its inclusion on the compilation, <em>A-Square (Of Course): The Story of Michigan’s Legendary A-Square Records.</em></p> <p>“Paranoid” came together in a similarly quick fashion. As has been well documented, Sabbath wrote the song in the studio for their second album after learning they were one song shy of a full LP. </p> <p>“The song ‘Paranoid’ was written as an afterthought,” bassist Geezer Butler told <em>Guitar World.</em> “We basically needed a three-minute filler for the album, and Tony came up with the riff. I quickly did the lyrics, and Ozzy was reading them as he was singing.”</p> <p>The song was so good that the album, originally titled <em>War Pigs,</em> was renamed <em>Paranoid.</em> The track became a hit, of course, and helped to build Sabbath’s popularity. </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/Wn6iEy7qWnw" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/J4Eu6pFmXCg" 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="/black-sabbath">Black Sabbath</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/did-black-sabbath-steal-paranoid-guitar-riff-video/25067#comments Black Sabbath Half Life Paranoid Videos Blogs Features Thu, 23 Jul 2015 20:03:57 +0000 Christoper Scapelliti 25067 at http://www.guitarworld.com Ricky Phillips of Styx Talks Def Leppard Tour and Ronnie Montrose’s Final Recordings http://www.guitarworld.com/styx-bassist-ricky-phillips-talks-touring-def-leppard-and-ronnie-montrose-s-final-album/24965 <!--paging_filter--><p>To fans of classic rock and arena rock, it just wouldn’t be summer without the music of Styx. </p> <p>For more than 40 years the band, whose hits include “Blue Collar Man (Long Nights),” “Renegade,” "Too Much Time on My Hands” and “Come Sail Away,” has been delivering the goods the only way it knows how: through infectious live performances.</p> <p>This summer, Styx—Tommy Shaw (vocals, guitars), James “JY” Young (vocals, guitars), Lawrence Gowan (vocals, keyboards), Todd Sucherman (drums) and Ricky Phillips (bass)—are teaming up with Def Leppard and Tesla on what promises to be one of the season’s hottest tour packages.</p> <p>I recently caught up with Phillips to ask him about the new tour as well as his time with Styx, the Babys and Bad English. He also gave me an inside look into his new album project, the final recordings of Ronnie Montrose.</p> <p><strong>GUITAR WORLD: What can fans expect from the new tour with Def Leppard and Tesla?</strong></p> <p>We’ve been wanting to work with Def Leppard again for quite some time. We did some dates with them around 2007 and it was a really good fit. If you’re familiar with Tesla’s catalog you already know that they're a very aggressive, cool, no-frills band. They just come balls out and do it! Then we go everywhere from a little bit of prog to the guitar duo of Tommy Shaw and James Young to having three lead singers. Then Def Leppard come out with their big arena rock show. It’s a special package where fans will really have a great time.</p> <p><strong>You’ve been with Styx for more than a dozen years. What’s it like being part of such an iconic band?</strong></p> <p>The cool thing about this band is that everybody recognizes that what we have is really special. It’s rare to get a group of guys that gel as good as this band does. We all have a lot of strengths to lean on personally and musically. There’s a lot of fun and joking around to keep things entertaining, but once we get on stage it’s all business, which is a good time as well.</p> <p><strong>Has there been any talk of new Styx music in the future?</strong></p> <p>I can’t talk about it too much, but there’s certainly some stuff in the works. It’s going to happen. We’re just not sure when. </p> <p><strong>Let’s discuss a few of the other bands you were involved with. What was the story behind you joining the Babys?</strong></p> <p>I had always been a big fan of Tony Brock and John Waite and thought “Isn’t It Time” was just a masterpiece of cool rock. Shortly after I got to LA, a sound man for the band saw me play and tracked me down. It was around the same time that John had decided he wanted to front the band and not be weighed down by playing an instrument [Waite had also played bass in the Babys].</p> <p>I was working in the music store across the street from where they were auditioning when the sound man came in and told me that I needed to go across the street and play. I remember pulling a bass off of the wall and (with the price tag still swinging from the headstock), went over and jammed with the guys for about 15 minutes. We played “Run to Mexico” and “Head First” and then Jonathan Cain and I harmonized with John on “Isn’t It Time." After that, they all left the room and came back in with their manager and asked me to join the band. That’s how it all started.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/2DOcro7VeDo" frameborder="0" allowfullscreen></iframe></p> <p><strong>A few years later, you were involved in the super group, Bad English. What do you remember most about that experience?</strong></p> <p>It was a fantastic, rapid speed project. We got one really incredible record but I actually think the second record is my favorite. You can really feel the tension that was going on in the band at the time. Not in a dark way but there was just something very deep about that second record and a level of maturity in the musicianship and writing. </p> <hr /> <strong>Many people may not know this but you also played a big part in the David Coverdale/Jimmy Page album project. How did that relationship begin?</strong> <p>David called me up one day and told me that he and Jimmy were doing a project together and they wanted me to be involved. I started working with them and we had a good working system going and in a few months had a strong sounding record. It was a great hang and I learned a lot from both Jimmy and David. It was a good combination. </p> <p><strong>What’s your bass of choice these days?</strong></p> <p>I designed an Italia bass that they made for me and I play a lot. It’s got EMG pickups and a neck-thru body with an ebony fretboard. I’ve also added a few little things I’ve noticed over the years that I wish I had. They did a great job and it sounds fantastic. </p> <p><strong>Are there any other projects you’re working on?</strong></p> <p>I’m producing the last recordings of Ronnie Montrose, which I’m very excited about. We have all of the performances done and are in the mixing stage right now. Ronnie, myself and Eric Singer from Kiss went in and cut 10 songs, and Ronnie was calling it “Ten By Ten." The idea was to have the three of us as the core of the band along with 10 different singers. </p> <p>So, Sammy Hagar is on one, Tommy Shaw sings one, Edgar Winter, Eric Martin, Greg Rollie, Mark Farner, Davey Pattison (Ronnie’s singer in Gamma) and Glenn Hughes also sing. When Ronnie passed, he hadn’t been able to do the solos. So we brought in guys like Rick Derringer, Steve Lukather, Phil Collen and Brad Whitford. But this isn’t a tribute album. It’s Ronnie’s last recording. Everyone who’s guesting on this record makes perfect sense. I could go on for hours talking about it but that’s the heart and soul of it! It’s very exciting!</p> <p><strong>Of all the highlights of your career, which ones are the most memorable?</strong></p> <p>When the Babys played Madison Square Garden that was pretty magical, because I had heard about the Garden my entire life. It was a benchmark for success for me as a kid. Then there was meeting, working and playing on stage with Jeff Beck in Japan with Neal Schon, Steve Lukather and Terry Bozzio on drums. That was a pretty amazing experience. I find myself doing all of these things, and sometimes can’t believe that a kid from a small town in Northern California is able to do them. I’m not sure what tomorrow’s going to bring but I feel very blessed. </p> <p><em>James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, <a href="http://gojimmygo.net/">GoJimmyGo.net</a>. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on <a href="https://twitter.com/JimEWood">Twitter @JimEWood.</a></em></p> http://www.guitarworld.com/styx-bassist-ricky-phillips-talks-touring-def-leppard-and-ronnie-montrose-s-final-album/24965#comments James Wood Ricky Phillips Ronnie Montrose Styx Interviews Features Thu, 23 Jul 2015 19:32:02 +0000 James Wood 24965 at http://www.guitarworld.com Steve Terreberry's "How to Play Guitar Fast!" — Video http://www.guitarworld.com/steve-terreberrys-how-play-guitar-fast-video/25059 <!--paging_filter--><p>Steve Terreberry—also known as Stevie T—is a popular YouTube guitarist, which is a very 21st-century thing to be.</p> <p>He posts a host of six-string-centric clips over at <a href="https://www.youtube.com/channel/UCl16xaNY2arX3OzZBvTlsPQ">his YouTube channel,</a> and he even released an album, cleverly dubbed <em>Album of Epicness,</em> earlier this year.</p> <p>In fact, GuitarWorld.com premiered his latest serious <a href="http://www.guitarworld.com/stevie-t-premieres-djenstrumental-playthrough-video-exclusive/24955">playthrough video, "Djenstrumental," just last week.</a></p> <p>Below, check out one of his more popular 2015 videos, "How to Play Guitar FAST!"</p> <p>In Steve's own words:</p> <p>"In this video, I will teach you how to shred super fast! I'll even give you some tips on how to CHEAT and make it LOOK like you can play fast! ;)"</p> <p>Tell us what you think of it in the comments or on Facebook. Later!</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/u63OD7KNwYE" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/steve-terreberrys-how-play-guitar-fast-video/25059#comments how to play fast Steve Terreberry Stevie T Videos Features Thu, 23 Jul 2015 17:04:15 +0000 Guitar World Staff 25059 at http://www.guitarworld.com Guitar World Magazine Covers Gallery: Every Issue from 2015 to Eternity http://www.guitarworld.com/guitar-world-magazine-covers-gallery-every-issue-2015-eternity/25055 <!--paging_filter--><p style="margin: 0px 0px 10px; padding: 0px; border: 0px; outline: 0px; font-size: 14px; vertical-align: baseline; color: #000000; font-family: Arial, sans-serif; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 1; word-spacing: 0px; -webkit-text-stroke-width: 0px; background: #ffffff;">Below, check out the latest photo gallery of<em style="margin: 0px; padding: 0px; border: 0px; outline: 0px; font-size: 14px; vertical-align: baseline; background: transparent;">Guitar World</em><span class="Apple-converted-space">&nbsp;</span>magazine covers. This time, we "cover" the magazines we've releases thus far this year.</p> <p style="margin: 0px 0px 10px; padding: 0px; border: 0px; outline: 0px; font-size: 14px; vertical-align: baseline; color: #000000; font-family: Arial, sans-serif; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 1; word-spacing: 0px; -webkit-text-stroke-width: 0px; background: #ffffff;">We hope you enjoy this trip through GW's recent history. Because this gallery is our current one, keep checking it for updates!</p> <p style="margin: 0px 0px 10px; padding: 0px; border: 0px; outline: 0px; font-size: 14px; vertical-align: baseline; color: #000000; font-family: Arial, sans-serif; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 1; word-spacing: 0px; -webkit-text-stroke-width: 0px; background: #ffffff;">From Chris Broderick and Gus G to Eddie Van Halen, you can check out all the legends who have adorned our covers this year.</p> <p style="margin: 0px 0px 10px; padding: 0px; border: 0px; outline: 0px; font-size: 14px; vertical-align: baseline; color: #000000; font-family: Arial, sans-serif; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 1; word-spacing: 0px; -webkit-text-stroke-width: 0px; background: #ffffff;">If you're in the mood for more, be sure to check out our photo gallery of every<span class="Apple-converted-space">&nbsp;</span><em style="margin: 0px; padding: 0px; border: 0px; outline: 0px; font-size: 14px; vertical-align: baseline; background: transparent;">Guitar World</em>magazine cover from<span class="Apple-converted-space">&nbsp;</span><a style="margin: 0px; padding: 0px; border: 0px; outline: 0px; font-size: 14px; vertical-align: baseline; color: #cc0000; text-decoration: none; background: transparent;" href="http://www.guitarworld.com/guitar-world-magazine-covers-gallery-every-issue-1980-1986">1980 to 1986</a>, from<span class="Apple-converted-space">&nbsp;</span><a style="margin: 0px; padding: 0px; border: 0px; outline: 0px; font-size: 14px; vertical-align: baseline; color: #cc0000; text-decoration: none; background: transparent;" href="http://www.guitarworld.com/guitar-world-magazine-covers-gallery-every-issue-1987-1993">1987 to 1993</a>, from<span class="Apple-converted-space">&nbsp;</span><a style="margin: 0px; padding: 0px; border: 0px; outline: 0px; font-size: 14px; vertical-align: baseline; color: #cc0000; text-decoration: none; background: transparent;" href="http://www.guitarworld.com/guitar-world-magazine-covers-gallery-every-issue-1994-2000">1994 to 2000</a>, from<span class="Apple-converted-space">&nbsp;</span><a style="margin: 0px; padding: 0px; border: 0px; outline: 0px; font-size: 14px; vertical-align: baseline; color: #cc0000; text-decoration: none; background: transparent;" href="http://www.guitarworld.com/guitar-world-magazine-covers-gallery-every-issue-2001-2007">2001 to 2007</a>and from<span class="Apple-converted-space">&nbsp;</span><a style="margin: 0px; padding: 0px; border: 0px; outline: 0px; font-size: 14px; vertical-align: baseline; color: #cc0000; text-decoration: none; background: transparent;" href="http://www.guitarworld.com/guitar-world-magazine-covers-gallery-every-issue-2008-2014#slide-99/">2008 to 2014</a>.</p> <p style="margin: 0px 0px 10px; padding: 0px; border: 0px; outline: 0px; font-size: 14px; vertical-align: baseline; color: #000000; font-family: Arial, sans-serif; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: 1; word-spacing: 0px; -webkit-text-stroke-width: 0px; background: #ffffff;"><strong style="margin: 0px; padding: 0px; border: 0px; outline: 0px; font-size: 14px; vertical-align: baseline; background: transparent;">NOTE: Remember, you can click on each photo to take a closer look.</strong></p> http://www.guitarworld.com/guitar-world-magazine-covers-gallery-every-issue-2015-eternity/25055#comments Guitar World Guitar World Lists Galleries Features Magazine Thu, 23 Jul 2015 16:38:08 +0000 Guitar World Staff 25055 at http://www.guitarworld.com Watch Metallica's "Nothing Else Matters" Played from the Inside of a Guitar — Video http://www.guitarworld.com/hear-metallicas-nothing-else-matters-played-inside-guitar-video/25057 <!--paging_filter--><p>Below, check out a recently posted (July 18) video of a guy who puts his camera inside his acoustic guitar and plays Metallica’s "Nothing Else Matters."</p> <p>Like similar videos that show the brilliant shapes, oscillations and motions of strings that are being plucked or strummed, this is a mesmerizing clip.</p> <p>Sadly, the clip, which was posted by <a href="https://www.youtube.com/channel/UC8wjVQlKh4Vmn8Y8ptiQGqQ">Link-Wall.com,</a> doesn't name the guitarist or tell us which camera or phone he's using.</p> <p>Anyway, sit back and enjoy this Black Album hit from a whole new angle!</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/ee5lNMysoi8" 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="/metallica">Metallica</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/hear-metallicas-nothing-else-matters-played-inside-guitar-video/25057#comments Metallica Nothing Else Matters Videos Blogs Features Thu, 23 Jul 2015 16:09:08 +0000 Damian Fanelli 25057 at http://www.guitarworld.com