Features http://www.guitarworld.com/taxonomy/term/5/all en New Guitar World DVD: Dave Reffett Teaches You 'Metal and Thrash Rhythm Guitar' http://www.guitarworld.com/new-guitar-world-dvd-dave-reffett-teaches-you-metal-and-thrash-rhythm-guitar <!--paging_filter--><p>A new DVD, <em>Metal and Thrash Rhythm Guitar</em>, is <a href="http://guitarworld.myshopify.com/collections/dvds/products/metal-and-thrash-rhythm-guitar/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=MetalThrashDVD">available now at the Guitar World Online Store for $14.95.</a></p> <p>With <em>Metal and Thrash Rhythm Guitar</em>, you'll learn the secret techniques of metal’s greatest riffmasters, plus: </p> <p> • Gallop and reverse-gallop rhythms in the styles of bands like Metallica, Megadeth, Anthrax and Slayer<br /> • Palm muting and chugging<br /> • Double and quadruple picking<br /> • Machine-gun-like bursts punctuated by “holes of silence”<br /> • Chromatic alternate-picking exercises<br /> • Chord stabs and jabs<br /> • Power chord riffs with pedal tones<br /> • String skipping, raking and fret-hand muting<br /> • Natural-and pinch-harmonic “squeals”<br /> • Integrating riffing up and down one string with fret-hand muting<br /> • Stacked power chords, and much more!</p> <p>The DVD features 100 minutes of Instruction!</p> <p><strong>Your instructor</strong></p> <p>Hailed for his incendiary picking technique, Dave Reffett is a fast-rising star in the world of metal guitar and has worked with such renowned artists as Guthrie Govan, Jeff Loomis, Michael Romeo, Mike Mangini, George Lynch, Michael Angelo Batio, Chris Poland, Glen Drover, Glen Sobel, Derek St. Holmes, Michael Devin, Rusty Cooley, Craig Goldy and Annie Grunwald. He produced the critically acclaimed album The Call of the Flames and also played a big role on Batio's album Intermezzo.</p> <p>A graduate of Berklee College of Music, Dave teaches countless students across the globe via live guitar clinics, private lessons and videos and was a recipient of the Berklee World Scholarship Tour award and the Berklee Best award. Dave is an Official artist endorsee for the Dean Guitars, Eminence Speakers, Seymour Duncan Pickups, Mogami Cables, D'Addario Strings and Stone Tone Rock Blocks and has appeared on the covers of Gitar Plus and Heavy Riff Magazines in Asia and Mexico, respectively.</p> <p>Please note: This product includes a PDF booklet on the DVD and can be retrieved by opening the DVD on your computer.</p> <p><strong><a href="http://guitarworld.myshopify.com/collections/dvds/products/metal-and-thrash-rhythm-guitar/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=MetalThrashDVD">Head to the Guitar World Online Store now!</a></strong></p> http://www.guitarworld.com/new-guitar-world-dvd-dave-reffett-teaches-you-metal-and-thrash-rhythm-guitar#comments Dave Reffett News Features Mon, 24 Nov 2014 20:39:00 +0000 Guitar World Staff http://www.guitarworld.com/article/22953 Soundgarden's Kim Thayil Talks 'Echo of Miles,' a New Collection of Originals, Covers and Oddities http://www.guitarworld.com/soundgardens-kim-thayil-talks-echo-miles-new-collection-originals-covers-and-oddities <!--paging_filter--><p>Since the release of their excellent 2012 reunion album, <em>King Animal</em>, Soundgarden have been spending some time revisiting their storied past. </p> <p>In 2013 came a remastered reissue of 1990’s <em>Screaming Life/Fopp</em> album, itself a compilation of two late-Eighties EPs. Then, earlier this year, in recognition of the 20th anniversary of 1994’s <em>Superunknown</em>, the band released updated versions of the landmark album, including a five-disc “Super Deluxe” edition that included demos, rehearsals, B-sides and more from the sessions. </p> <p>Now, Soundgarden have essentially raided their own vaults for the new <em>Echo of Miles: Scattered Tracks Across the Path</em>, a three-disc release that gathers together rarities under three headings: An “Originals” disc presents Soundgarden compositions that have appeared as B-sides, on soundtracks or other compilations or that have remained unreleased; a “Covers” disc collects their interpretations of other band’s songs from over the years; and “Oddities” includes remixes and other bizarre musical moments from the band’s history. </p> <p>Soundgarden guitarist Kim Thayil has been hinting at a project of this scope for years, and the finished product is a virtual treasure trove of goodies, as well as essential listening for any Soundgarden completest. </p> <p>Just prior to the release of <em>Echo of Miles</em>, Thayil sat down with <em>Guitar World</em> to discuss this trip through Soundgarden’s lesser-known past—and also talk about what’s coming up in the near future.</p> <p><strong>GUITAR WORLD: <em>Echo of Miles</em> is the Soundgarden compilation album that we’ve been hearing you reference for years. Now it’s finally here. </strong></p> <p>Yes. This goes back at least 20 years. Of course, I’ve never referred to it as a compilation…although it is a compilation. [laughs] But I tend to think of a compilation as songs that have appeared on albums, or things that are arranged for other purposes, like greatest hits records, or best of’s. Or, back in the Fifties and Sixties they made “rocking” albums and “candlelight” albums. </p> <p>But this is kind of a banding together of a bunch of songs that were non-album tracks, with the exception of a couple songs that were on greatest hits compilations. But the band has never been that thrilled about producing things like B-sides, or material for international releases, or songs on movie soundtracks. You know, we enjoy being on movie soundtracks but we also want these songs to be part of a Soundgarden album. </p> <p><strong>You’ve divided the material into three separate discs: Originals, Covers and Oddities.</strong></p> <p>Basically it’s three albums. And we contemplated releasing the three albums in a serialized fashion, perhaps over months, or maybe over a longer period of time. But we thought that ultimately we’d release them all at once. But that’s one of the strange things about this [project]. In my liner notes I had a hard time establishing the identity of this kind of an album. It’s a collection, but 20 years ago I perceived “Originals” as being ultimately another Soundgarden studio album. </p> <p>Because they were loose ends—a song here, a song there. And these were all songs that we loved, because we went through the whole birthing process of writing them, learning them, recording them, mixing them. If we went through that entire process it’s because we believed in a song. And then to see that song as part of an EP that was released only in Japan was a little disappointing. We would have loved to have put those types of songs on an album here. </p> <p>But, of course, back in the day, with <em>Louder Than Love, Badmotorfinger, Ultramega OK</em>, we would orient our recordings toward vinyl and a single disc. So we were limited to only putting 11 or 12 songs on an album. Starting with Superunknown we oriented toward CD. And, if you notice, everything since then on vinyl is a double album—<em>Down on the Upside, Superunknown, King Animal</em>. We decided we were not going to force ourselves to omit material. So that was kind of the impetus for this.</p> <p><strong>When you were putting this material together was there anything that jumped out at you or surprised you?</strong></p> <p>There’s a lot of material that jumped out. The covers album…I really enjoy the way the covers album is set up, the way the songs flow, and listening to some of the performances. Because when we originally did many of those songs we would self-critically compare them to the original versions that we were covering. And you’d always say, “Well, I’m not playing guitar like this guy…” “Maybe this is sloppier…” “I think Chris [Cornell, vocals] is doing something here the original singer wasn’t doing…” Things like that. </p> <p>You’re always evaluating your performance against the original. But given this much time, I can now listen to these covers independently and not have to juxtapose them against the originals and see the flaws. Now I see them standing on their own as being standout performances by Soundgarden. The stuff with Ben [Shepherd, bass] in the band, or some of the early John Peel stuff with Hiro [Yamamoto, original bassist] in the band, it’s all very good. </p> <p>And it surprised me and impressed me that I could appreciate these covers on that level. There’s the whole session of recordings that includes [the Rolling Stones’] “Stray Cat Blues,” [Black Sabbath’s] “Into the Void,” the Devo song “Girl U Want,” “Touch Me” by [Seventies British pop group] Fancy—those were all done pretty much in, like, one day. And the guitar styles are so different from each other. We’re doing Devo, and then an hour later Black Sabbath. Then the Rolling Stones. Then Fancy, which, as far as the guitar playing, is reminiscent of Mother Love Bone. And I’m playing all the guitars on all these tracks in one day. It was fun and it was funny to have to do all these different styles and colors. And it’s like, How could we do that so easily when at other times we struggled with our own songs?</p> <p><strong>Let’s talk about the song “Storm,” on the “Originals” disc. It’s a new song but also an old song. Can you talk about the history of that one?</strong></p> <p>There are individual songs within this collection that have strange stories, and “Storm” is one of them. Chris wrote a demo of it in ‘85 that had some weird vocals and guitar effects. There was no real guitar part but there was a cool bass line. Then he showed it to the band, and Hiro interpreted the bass line into something pretty much like a bass solo, and I wrote those guitar parts with the seventh chords, some ninths in there, some other things. </p> <p>And our drummer at the time, Scott Sundquist, interpreted the drums as, like, rolling thunder. And locally, we played that song live all the time. It was a favorite—I know our peers in Green River, Mother Love Bone, Nirvana, Skin Yard, Melvins, all these bands we played with all heard the song because it was always in our set. Then when we got Matt [Cameron, drums] in the band we started writing new material, so a lot of the old material got pushed back. We tried doing “Storm” with Matt and it was a little bit of a different feel, so it kind of went from heavy rotation to medium rotation to low rotation. And that was it. It kind of got shelved. </p> <p><strong>So how did it come off the shelf?</strong></p> <p>We thought about how we never gave this song a good studio recording. So we decided to try it. We had some spare time, and then in May [producer] Jack Endino was available. He was the one who was so acquainted with our early material, and he loves this song so we thought we’d give him a chance at recording it. So it’s a brand new recording of a song we haven’t played live since ‘86 or ‘87. For all practical purposes it’s a new song, but it’s also something from 30 years ago. </p> <p><strong>I know you’re also currently working on a reissue of [1988’s] <em>Ultramega OK</em>. When will we see that? And is there any new material from Soundgarden on the horizon?</strong></p> <p>Well, a couple weeks ago Jack Endino and I finished up the remaining songs for Ultramega OK. It sounds way better, bigger and warmer than the original. We’re gonna sit on it for a few months and let everyone else hear it, see how we feel about it. We pulled the record from SST so it belongs to us now. So we’ll have to negotiate a new contract with a label and then we’ll hopefully put it out within a year. As for new material, when Soundgarden gets back from Australia in February and Matt’s Pearl Jam obligations are done, we’ll get together again. We’ll definitely start working on new music in 2015, for sure.</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="/soundgarden">Soundgarden</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/soundgardens-kim-thayil-talks-echo-miles-new-collection-originals-covers-and-oddities#comments Kim Thayil Soundgarden Interviews News Features Mon, 24 Nov 2014 18:18:09 +0000 Richard Bienstock http://www.guitarworld.com/article/22951 Jim Dunlop Effect Pedal Throwdown, Round 3: Zakk Wylde Signature Cry Baby Vs. Cry Baby Multi-Wah http://www.guitarworld.com/jim-dunlop-effect-pedal-throwdown-round-3-zakk-wylde-signature-cry-baby-vs-cry-baby-multi-wah <!--paging_filter--><p>GuitarWorld.com's latest readers poll—the first annual Jim Dunlop Effect Pedal Throwdown—has reached Round 3!</p> <p>For the past month, we've been pitting Dunlop, MXR and Way Huge pedals against each other in a no-holds-barred shootout. Now the competition is guaranteed to get even tougher.</p> <p>Therefore, we're pulling out all the stomps! Sixteen stompboxes will go head to head — or toe to toe, if you prefer — leading up to the king of Dunlop/MXR/Way Huge pedals.</p> <p>You can check out the current bracket — with all 32 competing pedals that starting things off in Round 1 — in the <a href="https://www.scribd.com/">Scribd.com</a> window below (Be sure to click on the "full screen" button in the lower-right-hand corner to expand the bracket). </p> <p>The bracket is updated after (almost) every matchup, and matchups will take place pretty much every day, excluding weekends. Each competing pedal will accompanied by a demo video created by the Jim Dunlop company, and you'll always find a photo gallery of the competing pedals at the bottom of each matchup.</p> <h1>Today's Matchup</h1> <p>In today's matchup, the <strong>Dunlop ZW95 Zakk Wylde Signature Cry Baby</strong> goes foot to foot against the <strong>Dunlop 535Q Cry Baby Multi-Wah</strong>. Start voting below!</p> <p><strong>YESTERDAY'S RESULTS</strong>: Yesterday, the <strong>Dunlop JHF1 Jimi Hendrix Fuzz Face</strong> (61.75 percent) destroyed the <strong>Way Huge WHE 101 Angry Troll Boost</strong> (38.25 percent) to advance to the next round! <a href="http://www.guitarworld.com/tags/jim-dunlop-effect-pedal-throwdown">To see all the matchups that have taken place so far, head HERE.</a> Thanks for voting!</p> <h1>Meet the Combatants</h1> <p><strong><a href="http://www.jimdunlop.com/product/zw45-zakk-wylde-signature-wah">Dunlop Zakk Wylde Signature Cry Baby Wah</a></strong></p> <p>Modern Cry Baby Master Zakk Wylde and Dunlop have joined forces to deliver the toughest, meanest wah pedal on the planet. Built from the ground up with great tone and rugged durability in mind, this pedal can stand up to the crushing stomp of metal's reigning king of lead guitar. </p> <p>The Wylde Wah features a heavy-duty raw-metal casing and road worthy components to withstand years of ass-kicking abuse. With guts that have been finely tuned to Zakk's specs, this wah is specially voiced to deliver an extra thick and cutting tone. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/RMPzL7gZROI" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong><a href="http://www.jimdunlop.com/product/535q-cry-baby-multi-wah">Dunlop 535Q Cry Baby Multi-Wah</a></strong></p> <p>The 535Q is the Swiss Army knife of wah pedals. It provides control over the most important wah parameters, making it easy for you to create your ultimate wah tone. Select the frequency center of the effect, then dial in the frequency range to be swept by the pedal. From narrow and sharp to broad and subtle, this amazing wah can deliver it. Once you've got your sound, make sure it gets heard with the adjustable, switchable boost that can create endless sustain on any note.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/jmLRkgWwGRQ" frameborder="0" allowfullscreen></iframe><br /> <br /></p> <h1>Vote Now!</h1> <script type="text/javascript" charset="utf-8" src="http://static.polldaddy.com/p/8467915.js"></script><p><noscript><a href="http://polldaddy.com/poll/8467915/">Jim Dunlop Effect Pedal Throwdown, Round 3: Zakk Wylde Signature Cry Baby Vs. Cry Baby Multi-Wah</a></noscript></p> <p style=" margin: 12px auto 6px auto; font-family: Helvetica,Arial,Sans-serif; font-style: normal; font-variant: normal; font-weight: normal; font-size: 14px; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none; display: block;"> <a title="View The Hellecasters Rule Sheet1 on Scribd" href="https://www.scribd.com/doc/247744087/The-Hellecasters-Rule-Sheet1" style="text-decoration: underline;" >The Hellecasters Rule Sheet1</a></p> <p><iframe class="scribd_iframe_embed" src="https://www.scribd.com/embeds/247744087/content?start_page=1&amp;view_mode=scroll&amp;show_recommendations=true" data-auto-height="false" data-aspect-ratio="undefined" scrolling="no" id="doc_83777" width="100%" height="400" frameborder="0"></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="/zakk-wylde">Zakk Wylde</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/jim-dunlop-effect-pedal-throwdown-round-3-zakk-wylde-signature-cry-baby-vs-cry-baby-multi-wah#comments Jim Dunlop Jim Dunlop Effect Pedal Throwdown Poll Polls Zakk Wylde Videos Effects News Features Gear Mon, 24 Nov 2014 12:04:31 +0000 Damian Fanelli http://www.guitarworld.com/article/22934 Guide to The Beatles' White Album: the Recording Equipment, the Songs, the Conflicts http://www.guitarworld.com/guide-beatles-white-album-recording-equipment-songs-conflicts <!--paging_filter--><p>Having opened a Pandora's box with their critically acclaimed and commercially successful album <em>Sgt. Pepper's Lonely Hearts Club Band,</em> the Beatles faced serious competition from a variety of open-minded artists who were expanding rock music's barriers. </p> <p>Newcomers like Jimi Hendrix, Frank Zappa, Pink Floyd and the Doors, and even contemporaries like the Rolling Stones, the Beach Boys and Bob Dylan were challenging the Beatles' role as innovators. But rather than continue to pursue the psychedelic excesses of the previous year, the Beatles went in the opposite direction. </p> <p>The result was a double-album that found the group returning to a more stripped-down rock and roll sound and often eschewing electric guitars for acoustics. Popularly known as the White Album for its stark white sleeve, <em>The Beatles</em> was made during a particularly tumultuous period for the band. </p> <p>In the wake of manager Brian Epstein's death in August 1967, Paul McCartney had begun to assume more of a leadership role, creating an imbalance in the group's seemingly democratic power structure. At the same time, John Lennon, newly in love with Yoko Ono, was beginning to lose interest in the Beatles. </p> <p>George Harrison had grown tired of having his creativity quashed by Lennon and McCartney and began pushing back against their authority. Starr, meanwhile, was becoming fed up with sitting around in the studio and waiting for the others to finish writing their songs. Ironically, the group's disintegration occurred after a fruitful period of togetherness, when the four Beatles traveled to India in spring 1968 to study transcendental meditation with the Maharishi Mahesh Yogi.</p> <p>While in India they wrote more than 30 songs, many of which became the basis for the White Album, including "Dear Prudence," "Julia" and "Mother Nature's Son." Upon returning to England, the group convened at Kinfauns, George Harrison's house in Esher, to record four-track demos for the new album. By some accounts, neither Lennon nor McCartney was willing to sacrifice some of his songs to make room for others, and thus <em>The Beatles</em> became a double album.</p> <p>According to Harrison, "The rot had already set in."</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/c66NZDB_1tc" frameborder="0" allowfullscreen></iframe></p> <p>But it's also true that the Beatles' creative energy could no longer be confined to a single album—nor a single studio. As a result, when it came time to record the album, the Beatles essentially took over Abbey Road, occupying several studios at once while they recorded their new songs, often working on them individually rather than as a group.</p> <p>Anyone who walked down the halls of the facility on a June evening in 1968 probably would have been shocked by the contrast between McCartney recording the wistful "Blackbird" on an acoustic guitar in Studio Two while Lennon was in Studio Three manipulating and mutilating tape loops for "Revolution 9," his and Ono's musique concrete tape experiment.</p> <p>After McCartney's dominant role on <em>Sgt. Pepper's</em>, Lennon was eager to assert more control on the White Album. His song "Revolution 1" was the very first tune the group tackled for the record when the sessions began on May 30. </p> <p>Though Lennon insisted the Beatles release the track as their next single—the first release on their new Apple label—McCartney convinced him that the tempo was too slow and unlikely to make the song a Number One hit. Lennon relented, but on July 10, he led the group through a faster, rocking version of the tune, called simply "Revolution," which was ultimately selected as the flipside for "Hey Jude," the Beatles' debut Apple single. </p> <p>As on <em>Revolver</em> and <em>Sgt. Pepper's</em>, engineer Geoff Emerick was responsible for the song's innovative sound, most notably the heavily fuzzed-out guitar tones. To create them, Emerick plugged Lennon and Harrison's guitars (probably their Epiphone Casino and Gibson SG, respectively) directly into Studio Two's mixing console, overdriving two REDD.4 7 mic preamps to create the warm distorted tones.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/rDCu1UjezDc" frameborder="0" allowfullscreen></iframe></p> <p>"I had an idea that I wanted to try," Emerick recalled of the session in his 2006 memoir, <em>Here, There and Everywhere</em>, "one that I thought might satisfy John, even though it was equipment abuse of the most severe kind. Because no amount of mic preamp overload had been good enough for him, I decided to try to overload two of them patched together, one into the other. As I knelt down beside the console, turning knobs that I was expressly forbidden from touching because they could literally cause the console to overheat and blow up, I couldn't help but think, If I was the studio manager and saw this going on, I'd fire myself."</p> <p>Emerick didn't have to worry about being fired—on July 16, just six days after the "Revolution" session, he quit. The day before, he'd worked on a particularly grueling vocal session for the McCartney track "Ob-La-Di, Ob-La-Da," and the tension had simply become too much for him. "I was on the verge of a breakdown during the making of the White Album," Emerick says. "It was because of the emotional stress for me. I was just not into it." </p> <p>The conflicts only became worse as the work continued through the summer and into autumn. Ringo Starr was next to leave. Feeling unappreciated by his bandmates, he quit the band in the middle of recording "Back in the U.S.S.R." on August 22. In his absence, McCartney (and possibly Lennon and Harrison as well) handled drum duties on the song, as he did when the threesome recorded "Dear Prudence" on August 28. (As these are the first two songs on <em>The Beatles</em>, Starr isn't heard on the album until "Glass Onion.") </p> <p>Starr returned on September 5, but his brief exit demonstrates how strained The Beatles' relations were becoming. Even though the band members spent a considerable amount of time working separately on the album, they recorded most of the backing tracks for its 30 songs live as a group. Typically, the writer of each song would then work on overdubs alone or with another Beatie or two assisting. </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/Z6ghgQe2ikA" frameborder="0" allowfullscreen></iframe></p> <p>As several tracks were being worked on at once, George Martin was unable to oversee all of the sessions. In his absence, the individual band members or Martin's assistant Chris Thomas took over. Harrison in particular seemed more empowered than he had been on previous albums. In addition to often working on his own songs in a separate studio, he made decisions without consulting anyone else, such as when he brought in Eric Clapton to play lead guitar on "While My Guitar Gently Weeps."</p> <p>Harrison recalled that Clapton's presence made his bandmates "try a bit harder; they were all on their best behavior." Harrison was also becoming less inclined to defer to Martin's authority. Once while Harrison was working on the mix for his song "Savoy Truffle," Martin said he thought it sounded too shrill and trebly. "I like it like that," Harrison said, turning his back on Martin and continuing his work.</p> <p>But amid the enmity, the Beatles were, as always, breaking new ground in the studio. By 1968, they had recorded in each of Abbey Road's three studios, but for the taping of "Yer Blues" on August 13, they found a spot that they had not used yet—a small utility closet known as the Studio Two "annexe." The tight quarters gave the recording an especially "live" sound, thanks to microphone leakage and sound-wave reflections off the walls.</p> <p>From a technological standpoint, the White Album is significant for marking the Beatles' transition to eight-track recording. In this respect, Ken Scott, who replaced Emerick in the engineer's seat, played an instrumental role. Abbey Road had purchased several 3M eight-track recorders in May 1968, but the machines required numerous modifications before George Martin would approve their use on Beatles sessions. However, during an evening of work on ''While My Guitar Gently Weeps," Scott removed one of the unmodified eight-track machines from storage when he could no longer tolerate being limited to four tracks. </p> <p>Although only 10 of the album's songs were recorded entirely on eight-track machines, by the time the album was finished, the Beatles' four-track era reached its end. Despite having more tracks at their disposal, the Beatles kept the album's music surprisingly straightforward and stripped down. </p> <p>They made up for the recordings' simplicity by offering listeners an impressively eclectic 90-minute musical journey that included acoustic folk, rock and roll, blues, country, acid rock, music-hall schmaltz, avant-garde experimentalism and smartly crafted electric pop rock. Few artists cover as much stylistic ground in their careers—the Beatles pulled off this monumental feat in a mere four and a half months.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/pBJqPxpWD5w" frameborder="0" allowfullscreen></iframe></p> <p>In the end, even the double-album format was not enough to contain all of their creative ambitions, and several of the songs they wrote during this period were put aside for later release. Some, like Harrison's "Not Guilty" and Lennon's "What's the New Mary Jane," were recorded during the White Album sessions but not issued. </p> <p>And while George Martin has always believed that the group should have trimmed the collection down to a single disk, even the most casual Beatles fan would have trouble picking five songs to cut from the White Album, let alone 15.</p> <p><strong>THE BEATLES: EXTRA FACTS</strong></p> <p><strong>Recorded</strong>: May 30 to October 13<br /> <strong>Location:</strong> Abbey Road One, Two and Three; Trident Studios<br /> <strong>Released:</strong> November 2, 1968</p> <p><strong>TRACKLISTING</strong></p> <p>Back In the U.S.S.R<br /> Dear Prudence<br /> Glass Onion<br /> Ob-La-Dt, Ob-La-Da<br /> Wild Honey Pie<br /> The Continuing Story of Bungalow Bill<br /> While My Guitar Gently Weeps<br /> Happiness Is a Warm Gun<br /> Martha My Dear<br /> I'm So Tired<br /> Blackbird<br /> Piggies<br /> Rocky Raccoon<br /> Don't Pass Me By<br /> Why Don't We Do It in the Road?<br /> I Will<br /> Julia<br /> Birthday<br /> Yer Blues<br /> Mother Nature's Son<br /> Everybody's Got Something to Hide Except for Me and My Monkey<br /> Sexy Sadie<br /> Helter Skelter<br /> Long, Long, Long<br /> Revolution 1<br /> Honey Pie<br /> Savoy Truffle<br /> Cry Baby Cry<br /> Revolution 9<br /> Good Night</p> <p><strong>RELATED SINGLES</strong></p> <p>• "Hey Jude" / "Revolution," August 30,1968 (Apple)</p> <p><strong>THE 3M M23</strong></p> <p>Abbey Road's first eight-track, the M23 was rejected by George Martin for various technical issues. The tape deck remained out of use for months while the studio's technicians modified it to his specifications. Fed up with recording on four-track, The Beatles "liberated" the M23 on September 3, 1968, and used it to record 10 tracks on the White Album.</p> <p><em>Photo: The Beatles, 1968—thebeatles.com</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="/paul-mccartney">Paul McCartney</a> </div> <div class="field-item odd"> <a href="/john-lennon">John Lennon</a> </div> <div class="field-item even"> <a href="/george-harrison">George Harrison</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/guide-beatles-white-album-recording-equipment-songs-conflicts#comments 2011 George Harrison Holiday 2011 John Lennon Paul McCartney Ringo Starr The Beatles Holiday News Features Magazine Sat, 22 Nov 2014 21:14:58 +0000 Chris Gill http://www.guitarworld.com/article/15212 Celebrate the Holidays with 'The Ultimate Christmas Guitar Songbook' http://www.guitarworld.com/celebrate-ultimate-christmas-guitar-songbook <!--paging_filter--><p><em>The Ultimate Christmas Guitar Songbook</em> is <a href="http://guitarworld.myshopify.com/products/copy-of-fingerpicking-christmas/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=UltimateXmasSongbook">available now a the Guitar World Online Store for $19.95.</a></p> <p>The book features 100 songs in a variety of notation styles, from easy guitar and classical guitar arrangements to note-for-note guitar tab transcriptions. </p> <p>Includes: All Through the Night • Auld Lang Syne • Away in a Manger • Blue Christmas • The Chipmunk Song • The Christmas Song (Chestnuts Roasting on an Open Fire) • The Gift • (There's No Place Like) Home for the Holidays • I've Got My Love to Keep Me Warm • Jingle Bells • My Favorite Things • One Bright Star • Rockin' Around the Christmas Tree • Santa Baby • Silver Bells • Wonderful Christmastime • and more.</p> <p><strong><a href="http://guitarworld.myshopify.com/products/copy-of-fingerpicking-christmas/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=UltimateXmasSongbook">Head to the Guitar World Online Store now!</a></strong></p> http://www.guitarworld.com/celebrate-ultimate-christmas-guitar-songbook#comments News Features Fri, 21 Nov 2014 22:00:00 +0000 Guitar World Staff http://www.guitarworld.com/article/22933 'The Turn': Live Guitarist Chad Taylor Discusses New Album, Guitars and ‘Throwing Copper’ http://www.guitarworld.com/turn-live-guitarist-chad-taylor-discusses-new-album-guitars-and-throwing-copper <!--paging_filter--><p>It was a turning point when the band Live took a self-imposed hiatus in 2009. </p> <p>Lead singer Ed Kowalczyk wanted to focus on a solo career while the band wanted to return to a more ensemble-based format. Unable to resolve their impasse, the band and Kowalczyk decided to go their separate ways.</p> <p>Enter vocalist Chris Shinn, who over the years had developed a strong rapport with members of Live. Now, after a therapeutic three-year soul search, Live are back with a new singer, album and perspective.</p> <p><em>The Turn</em>, Live's first album in eight years, reunites the band with Jerry Harrison, who produced three of the band’s previous albums — <em>Mental Jewelry</em> (1991), <em>Throwing Copper</em> (1994) and <em>The Distance to Here</em> (1999).</p> <p>The release of <em>The Turn</em> also coincides with the 20th anniversary of the group’s 8 million selling <em>Throwing Copper,</em> a monster album that yielded the band’s biggest single, “Lightning Crashes,” which was Number 1 at Modern Rock radio for 10 consecutive weeks. </p> <p>With 20 million in worldwide album sales to go along with a dynamic new lead singer and a redefined focus, Live are ready to enter the next phase of their career.</p> <p>Live consists of Chad Taylor (guitars), Patrick Dahlheimer (bass), Chad Gracey (drums/percussion) and Chris Shinn (lead vocals/guitars).</p> <p>I recently caught up with Taylor to discuss <em>The Turn,</em> guitars, the 20th anniversary of <em>Throwing Copper</em> and what he’s most looking forward to with this new version of Live.</p> <p><strong>GUITAR WORLD: It’s been five years since Live took a hiatus/break. Was the expectation always that you’d one day get back together?</strong></p> <p>The end of Live 1.0 was open-ended. What we knew at the time was that the chemistry that had been so essential to making Live exuberant, exciting and creative had just dissipated. We were a band that could have probably have used a therapist, but like most men, we just decided that separation was the best idea to try to salvage any kind of relationship we had we each other. </p> <p>During the time of the break/hiatus the clarity that helped solidify everyone's future was the fact that Ed [Kowalczyk] made it clear he wanted to make solo music, and we made it clear we wanted to make ensemble music. There's such a difference in the way you do it. You can hear in the transition of Live through our subsequent records how the band became more focused on the singer/songwriter than on ensemble creativity. In my opinion, the thing that always made Live was our ability to play off of each other. When we lost that, the spirit of the band went away. </p> <p><strong>How has the addition of Chris Shinn changed the dynamic of the band?</strong></p> <p>There were no commercial aspirations when we brought in Chris. It was originally just a group of guys getting together in a small rehearsal facility in York to make music. We played some of the older material and it felt so organic and real that we thought about what we wanted to do with it. We figured out right away that it worked musically so the next step was to see if it worked spiritually. We called it “band therapy” and knew from that point forward that there was no looking back.</p> <p><strong>How would you describe <em>The Turn</em>?</strong></p> <p>It's full of energy and confidence yet seeking at the same time. It was actually a three-year process to write this record. The first year was us just getting to know each other. Year two, we took the band on the road. That’s where we evolved and came together. Then it was just a matter of taking the energy and songwriting that we had been working on and coupling it together with Jerry Harrison. We took this big ball of energy and captured it very quickly. </p> <p><strong>What was the band’s writing process like as it pertains to <em>The Turn</em>?</strong></p> <p>In ensemble creativity the idea is to put all of the members of the band in a room and act as scribe to capture the energy that's around you. The songs are in there air and we just capture them. So it’s not so much about starting with a riff or anything like that. It’s more about being mentally and physically in the right place. </p> <p><strong>When you look back at the whirlwind that was <em>Throwing Copper</em>, what comes to mind?</strong></p> <p>I think it’s a masterful representation of the dynamic and relationship Ed and I shared as songwriters and creative visionaries. It's also the only album Ed and I ever wrote huddled together in a room. We were able to capture lightning in a bottle. The entire recording process only took about two weeks, so almost everything you hear on the album is a live performance. </p> <p><strong>What’s your current setup like?</strong></p> <p>I'm really a purist at heart. I play Les Pauls, a “Ruby Lou” Jazzmaster and Strats. I like the sounds of those through a high-gain amp. Usually, that's my Diaz CD-100's and Marshall JMP’s. They've been my go-to amps since I was a kid. Over the years, each song the band recorded required a particular gain and effects stage to create those sonic signatures. With that came the need to switch up and change those controls. </p> <p>I actually run two separate rigs. My “A” rig contains two modified Marshall JMPs and CD-100s. I rely a lot on my guitar volume so other than gain stages those amps are generally unaffected. My “B” rig is a stereo rig where all of my effects (reverb, delays and modulations) are controlled by a separate pedal. So it’s really four amplifiers in total creating one wall of sound. There's also a company that I recently incorporated that makes handmade cabinets. They’re called JANICE and have been the biggest upgrade to my sound. They're custom built by hand and have been great. It's also the first time I’ve been using Eminence speakers in addition to Celestions. They really bring out a sound that has a high end brilliance I was missing.</p> <p><strong>What excites you the most about Live 2.0?</strong></p> <p>It’s the feeling of elation I have about getting my band back and sharing the music with the fans. With each show it's a celebration of our past as well as what the band is doing now. I'm not interested in becoming a heritage rock band. I want to create new, relevant music. It's all about celebrating our relevance. Whatever audience is there to listen to guitar based rock is the audience we're going to play for.</p> <p><em>For more about Live, visit <a href="http://freaks4live.com/">freaks4live.com</a>.</em></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/turn-live-guitarist-chad-taylor-discusses-new-album-guitars-and-throwing-copper#comments Chad Taylor James Wood Live Interviews News Features Fri, 21 Nov 2014 21:42:50 +0000 James Wood http://www.guitarworld.com/article/22932 'Ouroboros': The New Orleans Suspects’ Funkified Masterpiece http://www.guitarworld.com/ouroboros-new-orleans-suspects-funkified-masterpiece <!--paging_filter--><p>You could apply the term “supergroup” to the New Orleans Suspects, and it wouldn't be hyperbole. These cats have been there, done that and have the chops to prove it.</p> <p>Saxophonist Jeff Watkins’ career includes a dozen years leading James Brown’s band; Willie Green drummed for the Neville Brothers for more than three decades; CR Gruver has played keys with Outformation and Leo Nocentelli; guitarist Jake Eckert laid it down funky for years with the Dirty Dozen Brass Band; and Reggie Scanlan’s bass provided the low-end wump for New Orleans’ beloved Radiators. </p> <p>Dig deeper and you’ll find all of these players are multi-genre monsters, with histories that span the gamut from jazz to jam.</p> <p><em>Ouroboros</em> is the New Orleans Suspects’ third album and is the best example yet of what the band is capable of. Co-produced by Eckert and Watkins, <em>Ouroboros</em> offers up big grooves and big pictures, heavily flavored with N’awlins magic and hoodoo.</p> <p>In the following conversations Reggie Scanlan and Jake Eckert share a few behind-the-scenes secrets about some of the ingredients of that magic and hoodoo. (You might be surprised …)</p> <p><strong><em>Reggie Scanlan: Keeping It Pure — and Stealing from the Greats</em></strong></p> <p><strong>GUITAR WORLD: Reggie, you cover an amazing amount of rhythmic and sonic ground on <em>Ouroboros</em>. What were you running for gear? </strong></p> <p><strong>SCANLAN</strong>: I wanted to keep the bass sound very consistent from song to song because the songs themselves were going to change so much. I basically stuck with one of my stage basses, which is an 8- or 10-year-old Fender Jazz bass. And I ran that through a SansAmp in the studio.</p> <p><strong>Tell me about the SansAmp. I’ve heard of them but don't know much about them.</strong></p> <p>It’s the best piece of gear I’ve bought, next to my bass and my Hartke cabinets, which never seem to go bad after ages. Jeff Watkins, our sax player, turned me onto the SansAmp: it’s basically a direct box that you have controls on—volume, presence, treble, bass—and you can send your signal out the way you want it. In the studio, we ran everything through the SansAmp and Jeff did his magic to make it sound killing.</p> <p><strong>The track “Hoodoos and Cunyans” is an absolute full-length feature movie in your head, and part of that vibe is what sounds to me like a big old upright bass.</strong></p> <p>Yeah! [laughs] I used my Juzek upright bass, which was made in Germany back in … 1922? … somewhere around there. It has gut strings with no pickups or anything. Totally acoustic and sounds great when you mic it. It’s just beautiful.</p> <p><strong>I know you’ve told me before about how much you enjoy playing acoustic bass. You’ve mentioned the jazz guys who were your heroes: Mingus … Paul Chambers …</strong></p> <p>Oh man, Paul Chambers. You know, it almost didn't matter what he played because his tone was so good. It was like there weren’t any bad notes. It was just this beautiful tone, pushing and pulling through the music. It was great. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/2BLRJ3yN-l0" frameborder="0" allowfullscreen></iframe></p> <p><strong>If I was trying to describe your bass voice to someone, I’d say you can get as out there and funky as anyone, but you’re never far away from your jazz roots. It’s the same basic broth anyway …</strong></p> <p>Yeah, that’s right. I mean, I steal a lot from those jazz guys. It's a good place to go to build up a library of things you can fall back on in jams and stuff.</p> <p>Something happens and you’re feeling it, but you don't know what it is … and all of a sudden you’ve got this old bass riff that Paul Chambers did as a solo and it’s the perfect thing to drop in. Nobody knows where it came from, unless they're really paying attention. [laughter] I love taking something out of one genre and putting it in another, you know? To me, that’s the fun of playing music.</p> <p>That’s one of the major lessons I learned years ago from James Booker: all of this stuff is the same.</p> <p>Everybody’s got the same bunch of notes to work with, whether it's classical or you’re doing street music. It’s what made it possible for us to be playing “Iko Iko” or something like that, and all of a sudden Booker’s piano solo would turn into a Chopin piece. And it would make sense; everything would be cool … I wouldn’t know what was happening [laughter], but to him, everything was everything. That was a major lesson: it’s all just music and everybody’s fooling with the same notes. You just mix them up differently.</p> <p><strong>That’s a great approach for anyone. I don't care if it's a kid just getting going or somebody who’s been in it a while and their attitude’s taking a bad turn: don't worry about labeling stuff, just play.</strong></p> <p>Yeah! Just play, and play something that feels good, you know? If it feels good, it's probably the right thing to play. </p> <p>It's like everything else in life. You have as much freedom as you want, as long as you don't step on the next guy’s freedom. With music, you should play what you feel, as long as you’re not stepping on the next guy or playing all over them, getting in their tonal space.<br /> <br /><br /> <strong><em>Jake Eckert: “It’s Not the Kitchen — It’s the Cook”</em></strong></p> <p><strong>GUITAR WORLD: Jake, you’re cranking out a lot of great playing on this album: from kick-ass funk grooves and nasty leads to some wickedly hot slide work. What were your weapons for the <em>Ouroboros</em> sessions?</strong></p> <p><strong>ECKERT:</strong> My main guitar is the ES-335 Gibson I’ve played for years, through the Dirty Dozen and now with the Suspects. It’s kind of been my baby. I have other 335 guitars, but that’s my main one. It’s been through the wringer: I’ve had the neck broken off on the road three times over the years. [laughter]</p> <p><strong>What year is it?</strong></p> <p>It’s a Dot Neck reissue from the early 2000s. I don't know exactly what year. It’s all stock; nothing fancy, but it sounds great and I love the way it plays.</p> <p>I also use a 1979 Strat with Pearly Gates pickups and a new PRS Starla with a Bigsby on it.</p> <p><strong>You know, I’ve heard of those, but I’ve never sat down with one. A PRS with a Bigsby …</strong></p> <p>I know: it’s kind of an oxymoron, right? [laughter] If you listen to “Walk Of Shame,” there’s this one little part where it goes to the minor on the bridge and you hear me wiggle the Bigsby … it really does sound like an old pawnshop guitar.</p> <p><strong>How about for slide? The stuff you do on “Madgalena,” for instance.</strong></p> <p>That’s my Gibson SG, a 1991 I’ve had since then. I traded a 1974 Goldtop for it.</p> <p><strong>Ooh …</strong></p> <p>Yeah, well … somebody chopped out the original humbuckers on the Les Paul and put some other ones in with a screwdriver. [laughter] I used the SG plugged directly into my Ampeg Reverb Rocket, turned all the way up. It's a great sound.</p> <p>I also have an ’89 Strat Plus with a Jeff Beck pickup in the rear position that I use for slide sometimes. </p> <p><strong>You pull some wildass bends at times during your leads, but you run fairly heavy strings, don't you?</strong></p> <p>Yeah, D’Addario EXL115s, 11 to 49. I use them for slide and regular-tuning stuff. I was using 10s for a while and switching back and forth, but I kind of grew into the feeling of the 11-gauge strings and noticed the tone was just a little bit beefier. Now I enjoy the feeling when they fight back just a hair.</p> <p><strong>You mentioned the Ampeg Reverb Rocket; what else did you use for amps?</strong></p> <p>Actually, I endorse the Mega Boogies and I used my Lone Star a lot … most of the cleaner stuff you hear is the Mesa. And along with the Ampeg, sometimes I use a 1964 Super Reverb.</p> <p><strong>Effect pedals?</strong></p> <p>I use Mesa Boogie pedals: a Grid Slammer overdrive and a Tone-Burst boost. They’re really great. They have that Mesa vibe to them. I also have an Xotic AC booster and an RC booster. </p> <p>You know, the pedals are all cool, but … I was able to record a song with Larry Carlton one time and he was using that same Ampeg Reverb Rocket I mentioned. Larry plugged into the amp and that was it, no pedals; no nothing. He started soloing … and he sounded just like Larry Carlton. </p> <p>That’s when I realized it's not the kitchen, it's the cook. [laughter]</p> <p><strong>There’s some story I’ve heard for years about Jeff Beck walking into some hole-in-the-wall guitar shop. He grabbed a totally shitbox guitar off the wall, plugged into a little amp on the floor, and let it rip. No doubt about it: it was Jeff Beck playing. </strong></p> <p>Yeah! I remember the Little Feat guys telling about Eric Clapton showing up for one of their gigs—this was post-Lowell George—and I think they had some really beat-up Dean Markley amp up there or something. It was all they had, that and an extra guitar. They said Clapton walked out, fiddled with the amp for a second and started playing.</p> <p>He just sounded like Eric Clapton. [laughter]</p> <p><em>Photo: Jeffrey Dupuis</em></p> <p><em>A former offshore lobsterman, Brian Robbins had to wait a good four decades or so to write about the stuff he wanted to when he was 15. Today he’s a freelance scribe, cartoonist, photographer and musician. His home on the worldwide inner tube is at <a href="http://brian-robbins.com/">brian-robbins.com</a> (And there’s that <a href="https://www.facebook.com/BrianRobbinsWords">Facebook</a> thing too.)</em></p> http://www.guitarworld.com/ouroboros-new-orleans-suspects-funkified-masterpiece#comments Brian Robbins New Orleans Suspects Interviews News Features Fri, 21 Nov 2014 21:20:02 +0000 Brian Robbins http://www.guitarworld.com/article/22931 Pedal to the Metal: The 25 Greatest Wah Solos of All Time http://www.guitarworld.com/pedal-metal-25-greatest-wah-solos-all-time <!--paging_filter--><p>Since the guitar's inception, there have been countless talented players who could make the instrument sing, but it wasn't until the mid-Sixties and the arrival of the wah pedal that guitarists could make it cry.</p> <p>Perhaps because it entered the collective consciousness at the hands—or feet, rather—of guitar gods like Jimi Hendrix and Eric Clapton, the wah pedal has been a vital part of the rock and roll lexicon since it was introduced by Vox, finding favor with guitarists who wanted to bring a whole new level of expressive possibilities to their playing. </p> <p>More than any other effect pedal, the wah has played a key role in some of modern guitar's shining moments, from Slash's epic, ascending run in "Sweet Child O' Mine" to Eddie Hazel making wah synonymous with funk in the Seventies to Hendrix simply doing that voodoo that he did so well. </p> <p>In honor of its place in rock history, the <em>Guitar World</em> staff recently picked out the very best wah solo moments of all time, each a snapshot of a great guitarist letting his voice be heard through a truly rock and roll pedal. Of course, we considered the quality of the solo itself and the song's iconic status in the world of rock and roll.</p> <p><strong>25. "1969" — The Stooges (<em>The Stooges</em>, 1969)</strong><br /> <strong>Soloist:</strong> Ron Asheton </p> <p>Raw, visceral and distorted to the max, Ron Asheton's solo on this Stooges classic may not win any composition awards, but it was the perfect compliment to Iggy Pop's gutteral snarl.</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/k0mRfECsHrc" frameborder="0" allowfullscreen></iframe></p> <p><strong>24. "Walk Away" — James Gang (<em>Thirds</em>, 1971)</strong><br /> <strong>Soloist:</strong> Joe Walsh</p> <p>It comes in just at the end of the song, but Joe Walsh's solo spot on "Walk Away" is a bit of a late-in-the-game show-stealer. Since 2007, Walsh has had his very own <a href="http://www.guitarworld.com/say-wah-five-essential-signature-wah-pedals?page=0,3">signature wah</a> made by Real McCoy Custom.</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/lmpJZ8hNZR0" frameborder="0" allowfullscreen></iframe></p> <p><strong>23. "Cult of Personality" — Living Colour (<em>Vivid</em>, 1988)</strong><br /> <strong>Soloist:</strong> Vernon Reid</p> <p>"Cult of Personality" was the song that instantly made Vernon Reid a household name in the alt metal community, combining manic use of the wah with a stream-of-conscious flurry of notes straight from the mind of a true guitar junky. Even more impressive, Reid stated in a 1988 <a href="http://www.guitarworld.com/archive-living-colour-guitarist-vernon-reid-talks-vivid-1988-interview"><em>Guitar World</em> interview</a> that the solo was a first take.</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/7xxgRUyzgs0" frameborder="0" allowfullscreen></iframe></p> <p><strong>22. "25 or 6 to 4" — Chicago (<em>Chicago</em>, 1970)</strong><br /> <strong>Soloist:</strong> Terry Kath</p> <p>On the second half of a lengthy guitar solo on this Chicago classic, Terry Kath introduces a distortion-drenched, wah-driven guitar line that melds incredibly well with the song's horn section. Fun fact: Kath was once referred to as "the best guitar player in the universe" by Jimi Hendrix.</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/WLiuMkGCOC4" frameborder="0" allowfullscreen></iframe></p> <p><strong>21. "Maggot Brain" — Funkadelic (<em>Maggot Brain</em>, 1971)</strong><br /> <strong>Soloist:</strong> Eddie Hazel</p> <p>On the opposite end of the the spectrum from the ultra-tight, ultra-clean guitar sounds many listeners identify with funk is Eddie Hazel's tone on this 10-plus-minute track from Funkadelic, which features no vocals and serves primarily as a vehicle for Hazel to explore the deepest reaches of space in his wah-wah-powered mothership.</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/a9MgoRIXEqc" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>20. "Stop" — Jane's Addiction (<em>Ritual de lo habitual</em>, 1990)</strong><br /> <strong>Soloist:</strong> Dave Navarro</p> <p>Written all the way back in 1986, it would take four years for this <em>Ritual de lo habitual</em> cut to be unleashed upon the music world as large, climbing to No. 1 on the <em>Billboard</em> Modern Rock Tracks behind the strength of a high-energy performance from vocalist Perry Farrell and a muscular, wah-driven lead from Dave Navarro.</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/ZwI02OHtZTg" frameborder="0" allowfullscreen></iframe></p> <p><strong>19. "The Needle and the Spoon" — Lynyrd Skynyrd (<em>Second Helping</em>, 1974)</strong><br /> <strong>Soloist:</strong> Allen Collins</p> <p>A clear tip of the hat to Eric Clapton's solo from "White Room," Allen Collins pulls out the wah to blend Sixties psychedelia seamlessly into a bona-fide Southern-rock classic.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/bFPaxK-q5gI" frameborder="0" allowfullscreen></iframe></p> <p><strong>18. "If You Have to Ask" — Red Hot Chili Peppers (<em>Blood Sugar Sex Magik</em>, 1991)</strong><br /> <strong>Soloist:</strong> John Frusciante</p> <p>On this cut from 1991's mega-selling <em>Blood Sugar Sex Magik</em>, Chili Peppers guitarist John Frusciante turns in a sparse, stop-start wah solo fitting for the song's funk-rock minimalism. Fun fact: On the studio version, you can hear the band and production crew applauding Frusciante's guitar work as the song comes to an end.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/dii6bZT0V74" frameborder="0" allowfullscreen></iframe></p> <p><strong>17. "Whole Lotta Love" — Led Zeppelin (<em>Led Zeppelin II</em>, 1969)</strong><br /> <strong>Soloist:</strong></p> <p>While much of the bizzare, alien soundscape in the middle section of "Whole Lotta Love" is directly attributable to Jimmy Page's groundbreaking use of backwards tape echo and Page and engineer Eddie Kramer "twiddling every knob known to man," the wah pedal does make an appearance, adding a valuable, extra dimension to Page's most otherworldly guitar work this side of the <em>Lucifer Rising</em> soundtrack.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/Mln0RciE2o0" frameborder="0" allowfullscreen></iframe></p> <p><strong>16. "The Joker" — Steve Miller Band (<em>The Joker</em>, 1973)</strong><br /> <strong>Soloist:</strong> Steve Miller</p> <p>Perfect for all those midnight tokers out there, Steve Miller's laid-back lead work on "The Joker" doesn't go overboard on the wah, opting instead for the tasteful, restrained approach. Fun fact: This song shot back to the top of the charts in 1990, thanks to a popular ad for Levi's jeans.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/DzSC2__LXk4" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>15. "I Ain't Superstitious" — Jeff Beck Group (<em>Truth</em>, 1968)</strong><br /> <strong>Soloist:</strong> Jeff Beck</p> <p>On the debut album from the Jeff Beck Group, Beck uses this wah-laden take on a Howlin' Wolf tune to show off his mastery of the multitude of sounds one can coax out of a guitar. Somehow, he still continues to baffle us with this skill.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/mQFdHlxMhZ0" frameborder="0" allowfullscreen></iframe></p> <p><strong>14. "Blue on Black" — Kenny Wayne Shepherd (<em>Trouble Is ...</em>, 1997)</strong><br /> <strong>Soloist:</strong> Kenny Wayne Shepherd</p> <p>Kenny Wayne Shepherd burst into the mainstream consciousness with this cut off his 1997 album, <em>Trouble Is ...</em> Any questions over who he was hoping to channel are laid to rest with the inclusion of a cover of "Voodoo Child" as the single's B-side.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/UulEF42mlVQ" frameborder="0" allowfullscreen></iframe></p> <p><strong>13. "Pain and Sorrow" — Joe Bonamassa (<em>So, It's Like That</em>, 2002</strong><br /> <strong>Soloist:</strong> Joe Bonamassa</p> <p>Another blues-rock revivalist, Joe Bonamassa lays out some fiery wah work on this deep cut from his sophomore album, <em>So, It's Like That</em>. </p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/tjEOxHrM-Xo" frameborder="0" allowfullscreen></iframe></p> <p><strong>12. "Blinded by the Light" — Manfred Mann's Earth Band (<em>The Roaring Silence</em>, 1976)</strong><br /> <strong>Soloist:</strong> Dave Flett</p> <p>This tune may have originally been written by Bruce Springsteen, but it didn't become a hit—and eventually a classic—until guitarist Dave Flett and the rest of Manfred Mann's Earth Band got a hold of it for 1976's <em>The Roaring Silence</em>. </p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/OlBifX0H3yg" frameborder="0" allowfullscreen></iframe></p> <p><strong>11. "Gets Me Through" — Ozzy Osbourne (<em>Down to Earth</em>, 2001)</strong><br /> <strong>Soloist:</strong> Zakk Wylde</p> <p>Split between powerful melodies and a heaping helping of shred, the solo from "Gets Me Through" sees Zakk Wylde take his Hendrix Cry Baby to the edge and back on this standout track from Ozzy's 2001 comeback record. Zakk would eventually merit his <a href="http://www.guitarworld.com/say-wah-five-essential-signature-wah-pedals">very own wah pedal, complete with the Fasel inductor that was responsible for some of the classic wah sounds of the Sixties.</a></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/sthHMnytQOs" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>10. "Surfing with the Alien" — Joe Satriani (<em>Surfing with the Alien</em>, 1987)</strong><br /> <strong>Soloist:</strong> Joe Satriani</p> <p>"Surfing with the Alien" sees Joe Satriani put the pedal to the metal in every conceivable sense, not the least of which is his stunning work with the wah pedal. Paired with a Tubedriver and a classic Eventide 949, the wah provides just enough control over his alien tone for Satch to weave his way in and out of an asteroid belt of notes.</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/uoERl34Ld00" frameborder="0" allowfullscreen></iframe></p> <p><strong>09. "Turn Up the Night" — Black Sabbath (<em>Mob Rules</em>, 1981)</strong><br /> <strong>Soloist:</strong> Tony Iommi</p> <p>It's a rare occasion when Tony Iommi brings out the wah, but on this <em>Mob Rules</em> cut, the Godfather of Heavy Metal uses it too great effect, upping the aggression level one step further on what may be his most furious studio solo.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/qeepyLDSqgA" frameborder="0" allowfullscreen></iframe></p> <p><strong>08. "Telephone Song" — Vaughan Brothers (<em>Family Style</em>, 1990)</strong><br /> <strong>Soloist:</strong> Stevie Ray Vaughan</p> <p>Were you expecting to see the long-winded instrumental "Say What!" from Vaughan's <em>Soul to Soul</em> album? Not a chance, not when this mini-masterpiece of a wah solo exists. Even without the wah, it's one of his best-constructed, catchiest solos. This track comes from SRV's first full album with his brother, Jimmie Vaughan—which, sadly, turned out to be his last record.</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/CYgIQF6WgPU" frameborder="0" allowfullscreen></iframe></p> <p><strong>07. "Bad Horsie" — Steve Vai (<em>Alien Love Secrets</em>, 1995)</strong><br /> <strong>Soloist:</strong> Steve Vai</p> <p>Like Hendrix before him, Steve Vai wanted to take the wah pedal to its limits, and he accomplished just that on his 1995 EP, <em>Alien Love Secrets</em>. And in all due fairness to the remaining songs on the list, "Bad Horsie" remains the only track in this whole feature to have its own wah <a href="http://www.guitarworld.com/say-wah-five-essential-signature-wah-pedals?page=0,2">named after it</a>. </p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/BJfhFZ684SU" frameborder="0" allowfullscreen></iframe></p> <p><strong>06. "Even Flow" — Pearl Jam (<em>Ten</em>, 1991)</strong><br /> <strong>Soloist:</strong> Mike McCready</p> <p>"That's me pretending to be Stevie Ray Vaughan," Pearl Jam guitarist Mike McCready told <em>Guitar World</em> of his classic solo from "Even Flow" back in 1995. A fitting tribute to the late SRV, the solo saw McCready break out the wah and churn out perhaps the most iconic solo of the grunge era.</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/tkbgtVFlyCQ" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>05. "A New Level" — Pantera (<em>Vulgar Display of Power</em>, 1992)</strong><br /> <strong>Soloist:</strong> Dimebag Darrell</p> <p>Dimebag Darrell is among those guitarists that utilized the wah pedal more subtly, using it as a tone control in most cases. This isn't one of those cases. Darrell's use of the wah on his "A New Level" solo is as surgically precise as one comes to expect from the master craftsman, lending an all new connotation to the phrase, "on a Dime."</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/77f8u7puTFc" frameborder="0" allowfullscreen></iframe></p> <p><strong>04. "Enter Sandman" — Metallica (<em>Metallica</em>, 1991)</strong><br /> <strong>Soloist:</strong> Kirk Hammett</p> <p>We're going to let Kirk take this one: "There's something about a wah pedal that really gets my gut going! People will probably say, 'He's just hiding behind the wah.' But that isn't the case. It's just that those frequencies really bring out a lot of aggression in my approach." (Read the full 1991 interview with James and Kirk <a href="http://www.guitarworld.com/metallicas-james-hetfield-and-kirk-hammett-talk-guitar-solos-and-gear-1991-guitar-world-interview">here</a>)</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/CD-E-LDc384" frameborder="0" allowfullscreen></iframe></p> <p><strong>03. "Sweet Child O' Mine" — Guns N' Roses (<em>Appetite for Destruction</em>, 1987)</strong><br /> <strong>Soloist:</strong> Slash</p> <p>Known to break out the wah and fiddle around with "Voodoo Child (Slight Return)" as a live lead-in for "Civil War," Slash forged his own piece of rock and roll history with his unforgettable ascending run into one of the shining moments in Eighties guitar rock. Bookended by the feral yowl of frontman Axl Rose, Slash makes this would-be ballad anything but with a fierce lead made possible by a stock Cry Baby wah.</p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/1w7OgIMMRc4" frameborder="0" allowfullscreen></iframe></p> <p><strong>02. "White Room" — Cream (<em>Wheels of Fire</em>, 1968)</strong><br /> <strong>Soloist:</strong> Eric Clapton</p> <p>A masterful performance on "Tales of Brave Ulysses aside," with "White Room," Eric Clapton virtually wrote the book on how the wah pedal would be used in the context of rock guitar for decades to come. </p> <p><iframe width="620" height="365" src="http://www.youtube-nocookie.com/embed/pkae0-TgrRU" frameborder="0" allowfullscreen></iframe></p> <p><strong>01. "Voodoo Child (Slight Return)" — The Jimi Hendrix Experience (<em>Electric Ladyland</em>, 1968)</strong><br /> <strong>Soloist:</strong> Jimi Hendrix</p> <p>The go-to song of any guitarist trying out a new wah pedal at Guitar Center, "Voodoo Child (Slight Return)" stands as a mammoth moment in rock history, setting a mark that has yet to be breached by any ambitious guitarist with a Cry Baby and a dream. Of the song's recording, engineer Eddie Kramer recalls that the track "was recorded the day after Jimi tracked 'Voodoo Chile,' the extended jam on <em>Electric Ladyland</em> featuring Traffic’s Stevie Winwood on organ and Jefferson Airplane bassist Jack Casady. </p> <p>Basically, Jimi used the same setup — his Strat through a nice, warm Fender Bassman amp. Jimi’s sound on both tracks is remarkably consistent, leading some to think they were recorded at the same session.” Stevie Ray Vaughan's version is no slouch either, by the way. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/5RQCzKE0tws" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/jimi-hendrix">Jimi Hendrix</a> </div> <div class="field-item even"> <a href="/eric-clapton">Eric Clapton</a> </div> <div class="field-item odd"> <a href="/stevie-ray-vaughan">Stevie Ray Vaughan</a> </div> <div class="field-item even"> <a href="/jeff-beck">Jeff Beck</a> </div> <div class="field-item odd"> <a href="/steve-vai">Steve Vai</a> </div> <div class="field-item even"> <a href="/joe-satriani">Joe Satriani</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/pedal-metal-25-greatest-wah-solos-all-time#comments Cream Eric Clapton Guns N' Roses Jimi Hendrix Metallica Slash Stevie Ray Vaughan Guitar World Lists News Features Fri, 21 Nov 2014 15:38:12 +0000 Guitar World Staff, Intro by Josh Hart http://www.guitarworld.com/article/16934 Jim Dunlop Effect Pedal Throwdown, Round 3: Dunlop Jimi Hendrix Fuzz Face Vs. Way Huge Angry Troll Boost http://www.guitarworld.com/jim-dunlop-effect-pedal-throwdown-round-3-dunlop-jimi-hendrix-fuzz-face-vs-way-huge-angry-troll-boost <!--paging_filter--><p>GuitarWorld.com's latest readers poll—the first annual Jim Dunlop Effect Pedal Throwdown—has reached Round 3!</p> <p>For the past month, we've been pitting Dunlop, MXR and Way Huge pedals against each other in a no-holds-barred shootout. Now the competition is guaranteed to get even tougher.</p> <p>Therefore, we're pulling out all the stomps! Sixteen stompboxes will go head to head — or toe to toe, if you prefer — leading up to the king of Dunlop/MXR/Way Huge pedals.</p> <p>You can check out the current bracket — with all 32 competing pedals that starting things off in Round 1 — in the <a href="https://www.scribd.com/">Scribd.com</a> window below (Be sure to click on the "full screen" button in the lower-right-hand corner to expand the bracket). </p> <p>The bracket is updated after (almost) every matchup, and matchups will take place pretty much every day, excluding weekends. Each competing pedal will accompanied by a demo video created by the Jim Dunlop company, and you'll always find a photo gallery of the competing pedals at the bottom of each matchup.</p> <h1>Today's Matchup</h1> <p>In today's matchup, the <strong>Dunlop JHF1 Jimi Hendrix Fuzz Face</strong> goes foot to foot against the <strong>Way Huge WHE 101 Angry Troll Boost</strong>. Start voting below!</p> <p><strong>YESTERDAY'S RESULTS</strong>: Yesterday, the <strong>Dunlop 535Q Cry Baby Multi-Wah</strong> (55.12 percent) destroyed the <strong>Dunlop GCB95F Cry Baby Classic Wah Wah</strong> (44.88 percent) to advance to the next round! <a href="http://www.guitarworld.com/tags/jim-dunlop-effect-pedal-throwdown">To see all the matchups that have taken place so far, head HERE.</a> Thanks for voting!</p> <h1>Meet the Combatants</h1> <p><strong><a href="http://www.jimdunlop.com/product/jhf1-jimi-hendrix-fuzz-face">Jimi Hendrix Fuzz Face Distortion Info</a></strong></p> <p>Hendrix was the master of fuzz, an artist with many subtle shadings at his command. His love affair with the legendary Fuzz Face pedal began in the early days of the Experience and continued to evolve throughout his brief but blazing career. The Dunlop Jimi Hendrix Fuzz Face is a meticulously faithful reproduction of the 1969-70 Dallas Arbiter Fuzz Face that Jimi used on classic albums like Band of Gypsys. Dunlop's engineering department examined hoards of vintage Fuzz Faces, honing in on a few units which possessed that unmistakable Jimi voodoo. </p> <p>The Hendrix Fuzz Face is built around the toneful BC108 silicon transistor. It is authentic in every detail, a handwired brown circuit board with no solder mask and circuitry carefully matched to the original specs. The look is 100% accurate too, that groovy circular chassis with tooled clones of the original Fuzz Face knobs in the rare and vintage turquoise hammertone finish. A truly playable collectable for any Hendrix or Fuzz Face fanatic.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/kMEXoo0pKNI" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong><a href="http://www.jimdunlop.com/product/Angry-Troll">Way Huge Angry Troll Boost</a></strong></p> <p>The mighty Angry Troll from Way Huge Electronics serves up gorgeous portions of volume and gain to pummel the input of your amp with up to +50dB of gain. It adds bite and punch while transforming your mild mannered tone into a beastly sonic onslaught! The Angry Troll’s two controls interact like a vintage mic pre amp. </p> <p>The Anger knob—a rotary switch with six Fists of Fury positions—adjusts the amount of gain created by the Troll’s op-amp, while the Volume knob regulates the overall output level. High grade components are used for a precisely tuned circuit that works like an extension of your amp. Another tone monster from the mind of Mr. Huge! · Delivers up to +50dB of boost · Precisely tuned to work like an extension of your amp · Adds a little dirt at higher settings · Heavy duty foot switch with quiet relay based true bypass · High grade components for low noise operation</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/EOQo1yl2iZs" frameborder="0" allowfullscreen></iframe><br /> <br /></p> <h1>Voting Closed!</h1> <p>The <strong>Dunlop JHF1 Jimi Hendrix Fuzz Face</strong> (61.75 percent) destroyed the <strong>Way Huge WHE 101 Angry Troll Boost</strong> (38.25 percent) to advance to the next round! <a href="http://www.guitarworld.com/tags/jim-dunlop-effect-pedal-throwdown">To see the current matchup and all the matchups that have taken place so far, head HERE.</a> Thanks for voting!</p> <p style=" margin: 12px auto 6px auto; font-family: Helvetica,Arial,Sans-serif; font-style: normal; font-variant: normal; font-weight: normal; font-size: 14px; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none; display: block;"> <a title="View The Hellecasters Rule Sheet1 on Scribd" href="https://www.scribd.com/doc/247744087/The-Hellecasters-Rule-Sheet1" style="text-decoration: underline;" >The Hellecasters Rule Sheet1</a></p> <p><iframe class="scribd_iframe_embed" src="https://www.scribd.com/embeds/247744087/content?start_page=1&amp;view_mode=scroll&amp;show_recommendations=true" data-auto-height="false" data-aspect-ratio="undefined" scrolling="no" id="doc_83777" width="100%" height="400" frameborder="0"></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/jimi-hendrix">Jimi Hendrix</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/jim-dunlop-effect-pedal-throwdown-round-3-dunlop-jimi-hendrix-fuzz-face-vs-way-huge-angry-troll-boost#comments Jim Dunlop Jim Dunlop Effect Pedal Throwdown Jimi Hendrix Poll Polls Way Huge News Features Fri, 21 Nov 2014 15:05:47 +0000 Damian Fanelli http://www.guitarworld.com/article/22922 Learn Heart and Soul of Country with 'The Best of Johnny Cash Songbook' http://www.guitarworld.com/learn-heart-and-soul-country-best-johnny-cash-songbook <!--paging_filter--><p>Learn all your favorite Johnny Cash songs with <em>The Best of Johnny Cash Songbook</em> (Second Edition), which is <a href="http://store.guitarworld.com/collections/tab-books/products/the-best-of-johnny-cash-songbook/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=BestJohnnyCash">available now at the Guitar World Online Store</a>. </p> <p>The book features 27 songs from the heart and soul of country, including "A Boy Named Sue," "Folsom Prison Blues," "Ring of Fire" and "I Walk the Line."</p> <p>All the songs are in easy arrangements with notes and tabs. </p> <p>Songs Include:</p> <p>• "A Boy Named Sue"<br /> • "Cry, Cry, Cry"<br /> • "Daddy Sang Bass"<br /> • "Folsom Prison Blues"<br /> • "(Ghost) Riders in the Sky"<br /> • "I Walk the Line"<br /> • "It Ain't Me Babe"<br /> • "Jackson"<br /> • "Orange Blossom Special"<br /> • "Ring of Fire"<br /> • "Sunday Mornin' Comin' Down"<br /> • "Understand Your Man"</p> <p>The 64-page book is <a href="http://store.guitarworld.com/collections/tab-books/products/the-best-of-johnny-cash-songbook/?&amp;utm_source=gw_homepage&amp;utm_medium=daily_scroller&amp;utm_campaign=BestJohnnyCash">available now for $16.99 at the Guitar World Online Store.</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="/johnny-cash">Johnny Cash</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/learn-heart-and-soul-country-best-johnny-cash-songbook#comments Johnny Cash News Features Fri, 21 Nov 2014 14:55:31 +0000 Guitar World Staff http://www.guitarworld.com/article/16273 Jim Dunlop Effect Pedal Throwdown, Round 2: Cry Baby Classic Wah Wah Vs. Cry Baby Multi-Wah http://www.guitarworld.com/jim-dunlop-effect-pedal-throwdown-round-2-cry-baby-classic-wah-wah-vs-cry-baby-multi-wah <!--paging_filter--><p>GuitarWorld.com's latest readers poll—the first annual Jim Dunlop Effect Pedal Throwdown—has reached Round 2!</p> <p>For the past month, we've been pitting Dunlop, MXR and Way Huge pedals against each other in a no-holds-barred shootout. Now the competition is guaranteed to get even tougher.</p> <p>Therefore, we're pulling out all the stomps! Sixteen stompboxes will go head to head — or toe to toe, if you prefer — leading up to the king of Dunlop/MXR/Way Huge pedals.</p> <p>You can check out the current bracket — with all 32 competing pedals that starting things off in Round 1 — in the <a href="https://www.scribd.com/">Scribd.com</a> window below (Be sure to click on the "full screen" button in the lower-right-hand corner to expand the bracket). </p> <p>The bracket is updated after (almost) every matchup, and matchups will take place pretty much every day, excluding weekends. Each competing pedal will accompanied by a demo video created by the Jim Dunlop company, and you'll always find a photo gallery of the competing pedals at the bottom of each matchup.</p> <h1>Today's Matchup</h1> <p>In today's matchup, the <strong>Dunlop GCB95F Cry Baby Classic Wah Wah</strong> goes foot to foot against the <strong>Dunlop 535Q Cry Baby Multi-Wah</strong>. Start voting below!</p> <p><strong>YESTERDAY'S RESULTS</strong>: Yesterday, the <strong>MXR M169 Carbon Copy Analog Delay</strong> (66.14 percent) destroyed the <strong>Way Huge Echo-Puss Delay</strong> (33.86 percent) to advance to the next round! <a href="http://www.guitarworld.com/tags/jim-dunlop-effect-pedal-throwdown">To see all the matchups that have taken place so far, head HERE.</a> Thanks for voting!</p> <h1>Meet the Combatants</h1> <p><strong><a href="http://www.jimdunlop.com/product/gcb95f-cry-baby-classic">Dunlop GCB95F Cry Baby Classic Wah Wah</a></strong></p> <p>The heart and soul of the original wah pedals was the legendary Fasel inductor, and the Cry Baby Classic has it. Why is that important? Because the Fasel inductor was the key to the gorgeous tone, voice, and sweep of those first wahs. Plus, these inductors have been unavailable for decades. Now you can get that magic tone again. Go back in time with the Cry Baby Classic with Fasel Inside. Hear what you've been missing.</p> <p><strong>NOTE: For today's matchup, we have only one demo video. Both pedals are demoed in the same clip. We'll go back to our two-video format tomorrow. Enjoy!</strong></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/Bw6PNyN9-JY" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong><a href="http://www.jimdunlop.com/product/535q-cry-baby-multi-wah">Dunlop 535Q Cry Baby Multi-Wah</a></strong></p> <p>The 535Q is the Swiss Army knife of wah pedals. It provides control over the most important wah parameters, making it easy for you to create your ultimate wah tone. Select the frequency center of the effect, then dial in the frequency range to be swept by the pedal. From narrow and sharp to broad and subtle, this amazing wah can deliver it. Once you've got your sound, make sure it gets heard with the adjustable, switchable boost that can create endless sustain on any note.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/jmLRkgWwGRQ" frameborder="0" allowfullscreen></iframe><br /> <br /></p> <h1>Voting Closed!</h1> <p>The <strong>Dunlop 535Q Cry Baby Multi-Wah</strong> (55.12 percent) destroyed the <strong>Dunlop GCB95F Cry Baby Classic Wah Wah</strong> (44.88 percent) to advance to the next round! <a href="http://www.guitarworld.com/tags/jim-dunlop-effect-pedal-throwdown">To see the current matchup and all the matchups that have taken place so far, head HERE.</a> Thanks for voting!</p> <p style=" margin: 12px auto 6px auto; font-family: Helvetica,Arial,Sans-serif; font-style: normal; font-variant: normal; font-weight: normal; font-size: 14px; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none; display: block;"> <a title="View Got a Late Start Today Sheet1 on Scribd" href="https://www.scribd.com/doc/247151416/Got-a-Late-Start-Today-Sheet1" style="text-decoration: underline;" >Got a Late Start Today Sheet1</a></p> <p><iframe class="scribd_iframe_embed" src="https://www.scribd.com/embeds/247151416/content?start_page=1&amp;view_mode=scroll&amp;show_recommendations=true" data-auto-height="false" data-aspect-ratio="undefined" scrolling="no" id="doc_86870" width="100%" height="400" frameborder="0"></iframe></p> http://www.guitarworld.com/jim-dunlop-effect-pedal-throwdown-round-2-cry-baby-classic-wah-wah-vs-cry-baby-multi-wah#comments Jim Dunlop Jim Dunlop Effect Pedal Throwdown Poll Polls Videos Effects News Features Gear Thu, 20 Nov 2014 22:30:41 +0000 Damian Fanelli http://www.guitarworld.com/article/22916 2015 Guitar World Review Guide: Gear Year in Review, with Playboy's Jaclyn Swedberg, Raquel Pomplun and Pamela Horton http://www.guitarworld.com/2015-guitar-world-review-guide-gear-year-review-playboys-jaclyn-swedberg-raquel-pomplun-and-pamela-horton <!--paging_filter--><p><a href="http://guitarworld.myshopify.com/collections/buyers-guide/products/guitar-world-2015-guitar-review-guide-1/?&amp;utm_source=facebook&amp;utm_medium=daily_ad&amp;utm_campaign=ReviewGuide15"></a></p> <p><em>Guitar World</em>'s 2015 Guitar Review Guide is <a href="http://guitarworld.myshopify.com/collections/buyers-guide/products/guitar-world-2015-guitar-review-guide-1/?&amp;utm_source=facebook&amp;utm_medium=daily_ad&amp;utm_campaign=ReviewGuide15">available now for $7.99!</a></p> <p>The 2015 review guide includes the top picks of the year's best gear, modeled by <em>Playboy</em> Playmates Jaclyn Swedberg, Raquel Pomplun and Pamela Horton. The issue also features the hottest new gear for this holiday season: electrics, recording gear, acoustics, basses, effects, amps, holiday gift ideas, stocking stuffers and more! Plus a special 2015 sneak preview to help you stay current.</p> <p><strong>Sections Include:</strong></p> <p><strong> Electric Guitars</strong> - Whether you like them curvy, slim, big or thick, you'll find just the thing to keep you performing all night long.<br /> <strong> Acoustic Guitars</strong> - If you like your tone au naturel, you'll love this collection of flattops, archtops and acoustic electrics.<br /> <strong> Bass Guitars</strong> - Lift up the low end with big-bottom beauties in every shape and style.<br /> <strong> Amplifiers</strong> - Our combos and stacks have all the knobs and inputs you could possibly want. Plug in and make your main ax scream.<br /> <strong> Effects </strong>- Like to get weird? We've got a throng of boosters, boxes, plug-ins and more that will surely tickle your fancy.<br /> <strong> Recording &amp; Accessories </strong>- Time to freshen up your bag of tricks? Mix things up with some leather straps, a wang bar or maybe even a perky pair of knobs.</p> <p><strong><a href="http://guitarworld.myshopify.com/collections/buyers-guide/products/guitar-world-2015-guitar-review-guide-1/?&amp;utm_source=facebook&amp;utm_medium=daily_ad&amp;utm_campaign=ReviewGuide15">The 2015 Review Guide is available now at the Guitar World Online Store.</a></strong></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/eJz4qQUGwgs" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/2015-guitar-world-review-guide-gear-year-review-playboys-jaclyn-swedberg-raquel-pomplun-and-pamela-horton#comments 2015 Review Guide News Features Thu, 20 Nov 2014 22:14:37 +0000 Guitar World Staff http://www.guitarworld.com/article/22864 2015 Guitar World Buyer's Guide: Nonstop Gear Plus Playboy Playmates Nikki Leigh, Gemma Lee Farrell and Dani Mathers http://www.guitarworld.com/2015-guitar-world-buyers-guide-nonstop-gear-plus-playboy-playmates-nikki-leigh-gemma-lee-farrell-and-dani-mathers <!--paging_filter--><p><strong>Guitar World Buyer's Guide 2015 is <a href="http://guitarworld.myshopify.com/products/guitar-world-buyers-guide-2015/?&amp;utm_source=facebook&amp;utm_medium=daily_ad&amp;utm_campaign=BuyersGuide15">available NOW at the Guitar World Online Store!</a></strong></p> <p><em>Guitar World's</em> 2015 Buyer's Guide issue features more than 1,000 products and photos. </p> <p>The 2015 Buyer's Guide features more brands and models than any other guide and includes electrics, acoustics, basses, amps, effects and accessories modeled by <em>Playboy</em> Playmates Nikki Leigh, Gemma Lee Farrell and Dani Mathers.</p> <p>The best guitar Buyer's Guide ever — we've got reviews on all the gear:</p> <p> • Electrics<br /> • Acoustics<br /> • Basses<br /> • Amps<br /> • Effects<br /> • Accessories<br /> • and many more!</p> <p><strong><a href="http://guitarworld.myshopify.com/products/guitar-world-buyers-guide-2015/?&amp;utm_source=facebook&amp;utm_medium=daily_ad&amp;utm_campaign=BuyersGuide15">For more information, head to the Guitar World Online Store now!</a></strong></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/MRVRzaQ0I0s" frameborder="0" allowfullscreen></iframe></p> <p><img src="/files/imce-images/Screen%20Shot%202014-07-02%20at%2012.25.57%20PM.png" width="620" height="812" alt="Screen Shot 2014-07-02 at 12.25.57 PM.png" /></p> http://www.guitarworld.com/2015-guitar-world-buyers-guide-nonstop-gear-plus-playboy-playmates-nikki-leigh-gemma-lee-farrell-and-dani-mathers#comments Buyer's Guide News Features Thu, 20 Nov 2014 15:37:03 +0000 Guitar World Staff http://www.guitarworld.com/article/21833 Acoustic Fingerstylists Andy McKee, Jon Gomm and Daryl Kellie Are Blazing a Daring Style of Percussive, Alternate-Tuned Shred http://www.guitarworld.com/acoustic-fingerstylists-andy-mckee-jon-gomm-and-daryl-kellie-are-blazing-daring-style-percussive-alternate-tuned-shred <!--paging_filter--><p>In the Eighties, radical fingerstylists like Michael Hedges and Preston Reed pioneered an acoustic guitar style based on an alternate-tuned, percussion-heavy, new age–tinged sound. </p> <p>Kaki King explored it further in the new millennium beginning with her 2002 debut, <em>Everybody Loves You</em>.</p> <p>Some people have dubbed the style “progressive acoustic guitar,” while others prefer “modern fingerstyle.” </p> <p><strong><a href="http://www.jongomm.com/">Jon Gomm</a></strong>, one of its latest (and most popular) exponents, has even heard it referred to as banging, due to its practitioners’ tendency to rap, slap and knock their hands against the body of an acoustic guitar for percussive effect. </p> <p>Whatever you call it, there’s no doubt that this genre of acoustic guitar–based music is experiencing a major resurgence, thanks to the internet. In 2006, an unassuming-looking acoustic guitar teacher from Topeka, Kansas, named <strong><a href="http://www.andymckee.com/">Andy McKee</a></strong> uploaded to YouTube a handful of videos of himself playing some original and incredibly complex instrumental acoustic guitar compositions. </p> <p>Among the many techniques he employed in these performances was the use of unique alternate tunings, percussive knocks, two-handed tapping, over-the-fretboard playing, partial capos and natural and artificial harmonics. One video in particular, for a propulsive yet ethereal tune called “Drifting,” became one of YouTube’s first viral sensations—likely because it was both melodically appealing and visually stunning—and racked up millions of views on the then-new site. </p> <p>McKee has since become the figurehead of this style of playing, and scores of exceptionally talented guitarists have followed in his wake. Many of them, such as French-Canadian fingerstylist Antoine Dufour and British picker Mike Dawes, have recorded for the Wisconsin-based independent imprint CandyRat Records, which has become known as the leading purveyor of this music. </p> <p>Like McKee, Dufour and Dawes have found much success online, partly through elaborate solo reimaginings of full-band songs, in which they recreate rhythm, lead and vocal parts on acoustic guitar. (<a href="http://youtu.be/G1bzUaf_gvU">Dawes’ version of Gotye’s “Somebody That I Used to Know”</a> and <a href="http://youtu.be/gNPCI8y9avc">Dufour’s take on Imogen Heap’s “Hide and Seek”</a> have respectively registered 2.8 and 1.5 million YouTube views.) </p> <p>One of the newest and brightest entries in this realm is <strong><a href="http://www.darylkellie.com/">Daryl Kellie</a></strong> [pictured above], who created an online stir with an elegantly arranged version of Queen’s “Bohemian Rhapsody.” </p> <p>Then there is Britain’s Jon Gomm, who employs a dizzying combination of extended techniques that explore the outermost reaches of the acoustic guitar. Gomm tends to play in a fluid, eight-finger, above-the-fretboard manner, and seemingly manipulates every bit of his instrument, knocking his hand against the guitar’s top, back, sides and the fretboard, scratching his nails across bridge pins, twisting tuning pegs mid-song, and using an assortment of pickups and pedals. </p> <p>Like many of his peers, he has found his greatest success on YouTube, after his signature song, “Passionflower,” went viral in 2012.</p> <p>That the online world has proved to be a vital forum for these artists is understandable, given that there is an uncharacteristically prominent visual component to what they do. Each musician’s playing style is a marvel of not only creativity and ability but also coordination. “There’s a pretty interesting visual aspect to it, with all the wild techniques,” McKee says, “which is one of the reasons I think YouTube has been such a great arena to showcase the music.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/Ddn4MGaS3N4" frameborder="0" allowfullscreen></iframe></p> <p><em>Guitar World</em> recently caught up individually with McKee, Gomm and Kellie to discuss their unique approaches to the acoustic guitar, as well as how each cultivated his impressive technique and style. Interestingly, they all share not only a love for Michael Hedges and his ilk but also a background in heavy-metal guitar. Says Gomm, “This new acoustic movement is almost like the unplugged version of shred.” </p> <p>Adds McKee, “I think what ties the two together is the complexity of the music. When all of us guys were first getting into the guitar and wanting to learn these different techniques, metal music was the place to go, because you had guitarists doing unbelievable things on their instruments. In a way, we’ve now transferred some of that over to the acoustic.”</p> <p><strong>Andy McKee</strong></p> <p>Perhaps no musician better represents the new progressive acoustic guitar movement than Andy McKee. The 34-year-old is so much the face of the scene that some call this form of music “ ‘Drifting’-style guitar,” a reference to his most famous composition, which has notched almost 50 million YouTube views since its 2006 debut.</p> <p>At the time, McKee was giving guitar lessons around his hometown of Topeka, Kansas, and recording for CandyRat. “[CandyRat label head] Rob Poland had this idea to shoot some performance videos for this new web site called YouTube,” he recalls. “He thought, Maybe we’ll get a few new fans. So we filmed, like, eight videos in one day and put them up.”</p> <hr /> <p>One of them, “Drifting,” went viral after being featured on YouTube’s homepage, and McKee became an online phenomenon. Soon, he was accepting offers to tour with Tommy Emmanuel and record with Josh Groban. </p> <p>“I went from teaching guitar in Kansas to playing guitar all over the planet,” he says. “Which is what I always wanted to do.”</p> <p>Amazingly, “Drifting” is the first song McKee ever wrote in the style with which he has become so closely associated. He composed it when he was 18, just two years after hearing the percussive-heavy instrumental acoustic guitar work of Preston Reed. </p> <p>“When I was 16, my cousin took me to see Preston at a guitar workshop here in Kansas,” he recalls. “At the time, I was playing electric guitar and was way into Pantera and Dream Theater and Iron Maiden. Then I saw Preston and he was doing all these amazing things with just one acoustic. It blew my mind. I wanted to figure out how he was able to cover melodic, harmonic and rhythmic ideas all at once.”</p> <p>McKee also cites fingerstylists like Don Ross, Billy McLaughlin and Michael Hedges as primary influences. Of all his acoustic contemporaries, McKee’s style most closely mirrors that of Hedges, in both his use of the guitar’s body to add percussive elements and his tendency to create lush, harmonically rich soundscapes using altered tunings and droning open strings. On occasion, he plays a double-neck harp guitar, an instrument popularized by, and closely associated with, Hedges.</p> <p>Since the success of “Drifting,” McKee has become a force in the acoustic world. A few years back he created a tour called Guitar Masters, a sort of G3 for the acoustic set. He also performs upward of 100 dates each year on his own, and sometimes in front of enormous audiences, such as when John Petrucci invited him to open some arena gigs for Dream Theater in the U.S., Mexico and the Far East. </p> <p>Equally thrilling, and even more unexpected, in 2012 McKee received an offer to join Prince for a series of shows in Australia. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/JsD6uEZsIsU" frameborder="0" allowfullscreen></iframe></p> <p>“He watched some of my videos, and one in particular, ‘Rylynn,’ [See the video above] really stood out to him,” McKee says. “He invited me to Minneapolis to jam with him and his band, and from there he brought me out on tour. And it was amazing. I would start the shows with an acoustic arrangement of ‘Purple Rain,’ and during Prince’s set I’d sit in with him and his band and we’d do a medley of his songs.”</p> <p>As for his own music, McKee has released a series of well-received albums, including his most recent, 2010’s <em>Joyride</em>. He also continues to seek out new avenues to explore with his own music. </p> <p>To that end, his new Razor &amp; Tie–issued EP, <em>Mythmaker</em>, features not only his distinct acoustic guitar playing but also a solo piano piece and an electric guitar–and-synth composition. “I’m trying some different things out and letting inspiration take me wherever it does,” McKee says. “I don’t feel like I have to write the next amazing acoustic-guitar song necessarily—I just want to write the next amazing piece of music.” </p> <p><strong>Andy McKee Axology</strong><br /> <strong>GUITARS</strong> Michael Greenfield G4.2 (fanned fret), Michael Greenfield G2B and G4B.2 (fanned fret) baritone, Michael Greenfield HG1.2 harp guitar<br /> <strong>PICKUPS</strong> K&amp;K Pure Mini<br /> <strong>EFFECTS</strong> None<br /> <strong>CAPOS</strong> Shubb S1 and S5 Deluxe (banjo)<br /> <strong>PREAMP</strong> D-TAR Solstice </p> <hr /> <p><strong>Jon Gomm</strong></p> <p>A few years back, Leeds, England–based singer-songwriter Jon Gomm was just another guitarist—albeit one with a devastatingly advanced extended technique—trying to carve out a musical career by gigging extensively across Europe.</p> <p>Then his life was changed by a single word: in early 2012, British actor and comedian Stephen Fry sent out a tweet consisting of “Wow” and a link to a video of Gomm playing his song “Passionflower” live. </p> <p>Today, that video has close to 6 million views, and Gomm has become one of the most talked-about players in the acoustic guitar scene, with fans ranging from David Crosby to Steve Vai to Lamb of God’s Randy Blythe. </p> <p>One look at any of Gomm’s many videos makes it easy to see why his playing has caused such waves. On the main melody of “Passionflower,” for example, he builds an entrancing and hypnotic rhythm pattern by, among other things, scratching, banging and knocking the body of his guitar, a Lowden he calls Wilma. </p> <p>He sounds notes, including harp harmonics, exclusively using eight-finger tapping and with both hands positioned over the fretboard, and he continually reaches behind the headstock to retune his two highest strings as they ring out, to create a synth-like effect. To top it off, he sings over the whole thing.</p> <p>But despite the practically acrobatic nature of his playing, Gomm insists that his music is not a gimmick. “Every song has to have a meaning and connect with people emotionally,” says the 36-year-old guitarist, who actually composes his lyrics first and adds instrumentation afterward. “And you can’t make that connection just by doing gymnastics.” He adds that his favorite thing about playing in this style is that “there are no boundaries. I can think in any genre I want and try to put that into the music.”</p> <p>Gomm has played many genres over the years. Early on, he schooled himself using Steve Vai’s instructional book Shred Extravaganza and later studied at the Guitar Institute in London and earned a jazz degree from the Leeds College of Music. </p> <p>Thanks to his father’s career as a record and concert reviewer for a British newspaper, he received first-hand tips and pointers as a teenager from a famous players, including B.B. King, bluesman Walter Trout and the late steel-guitar virtuoso Bob Brozman, whom he credits with turning him onto the idea of using the guitar as a percussion instrument.</p> <p>“He would flip his guitar over and play drum solos on the back of the body, which was mind blowing to me,” Gomm says. “I also had a guitar teacher who was great at flamenco, and percussive playing is a big part of that style. So while a guy like Michael Hedges was huge for me, it was probably less for the percussion thing and more for his amazing way with altered tunings.”</p> <p>Altered tunings are a big part of Gomm’s style as well. For him, it serves as a way to further unleash his creativity. “I went to guitar school, and I learned a million scales,” he says. “But if I take the guitar and just twist a few pegs, all of a sudden everything is new. Sometimes the most creative thing you can do is tune your guitar wrong and let your ears, rather than your brain, do the work.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/nY7GnAq6Znw" frameborder="0" allowfullscreen></iframe></p> <p>Gomm also pushes his creative boundaries by using banjo pegs on his B and high E strings. The pegs can be set to toggle between two notes, allowing players to loosen and tighten a string’s tension to hit distinct pitches at will. </p> <p>The effect, as demonstrated by Gomm on songs like “Passionflower” and “Telepathy” (both of which appear on <em>Secrets Nobody Keeps</em>), is similar to bending a note on an electric guitar or playing with a synthesizer’s pitch wheel. On another composition, “Hey Child,” which features an overdrive-laced shredding solo, he uses the banjo pegs to create dive-bomb-like whammy-bar effects. </p> <p>“You can get really creative with them and bring your sound into so many different worlds,” Gomm says.</p> <p>Which, essentially, is how he feels about this acoustic guitar style. “There’s just so much you can do,” he says. “When I pick up an electric guitar now, it feels like a toy. The acoustic feels so much more powerful and free to me. It’s a beast of an instrument.”</p> <p><strong>Jon Gomm Axology</strong><br /> <strong>GUITAR</strong> Lowden O12-C (“Wilma”)<br /> <strong>PICKUPS</strong> Fishman Rare Earth Blend, Fishman Acoustic Matrix<br /> <strong>STRINGS</strong> Newtone signature super-heavy gauge (.014–.068)<br /> <strong>EFFECTS</strong> Three Boss PQ-3B Bass Parametric Equalizers, Boss OC-3 Super Octave, Boss DD-7 Digital Delay, Boss RV-5 Digital Reverb, Tech 21 SansAmp Character Series Blond, Line 6 Verbzilla, Line 6 Echo Park<br /> <strong>AMP</strong> Trace Elliot TA 200</p> <hr /> <p><strong>Daryl Kellie</strong></p> <p>In contrast to many of his contemporaries in the progressive fingerstyle world, Daryl Kellie’s musical proclivities and background lean more toward jazz and classical forms rather than the ethereal, percussive-heavy approach of Hedges and Reed. </p> <p>Which, in a sense, made Queen’s “Bohemian Rhapsody” an ideal showcase for the 30-year-old’s abilities as a solo guitar arranger and performer. </p> <p>Kellie’s interpretation of the song is remarkably evocative of the original, with the guitarist employing complex chords, tapping, hammer-ons and plenty of harmonics (both natural and artificial), to great effect.</p> <p>Explains Kellie, “I’ve always come at this from a jazz-fingerstyle guitar angle, and the classical guitar thing is something I’ve always kept up as well. With that in mind, something like ‘Bohemian Rhapsody’ is in a way similar to the kind of very dense arrangements you often find in classical guitar music. So arranging the song came pretty naturally to me.” </p> <p>In general, most any style of playing seems to come naturally to Kellie, who began his guitar life as a hard rock and metal fan. </p> <p>Growing up in Hampshire, England, he was an avowed acolyte of shredders like Steve Vai, Joe Satriani, Eric Johnson and Eddie Van Halen (“I actually snapped the whammy bar off my Fender Squier trying to learn ‘Eruption,’ ” he says), and in his late teens he toured Britain as the lead guitarist in a “proggy, gothy” metal band named Season’s End. </p> <p>At the same time, he began cultivating an interest in jazz and classical solo guitar, studying the playing of everyone from Joe Pass to Lenny Breau (from whom he cultivated his skillful harp-harmonic technique) to Martin Taylor, who also served as his guitar teacher for a time. </p> <p>Then, in his early twenties, Kellie’s older brother gave him a copy of Andy McKee’s 2005 CandyRat effort, <em>Art of Motion</em>, which includes the songs “Drifting” and “Rylynn.” Recalls Kellie, “I thought it was amazing. I was already getting into the solo guitar thing through my jazz studies, so to see what Andy and some of the other CandyRat artists were doing, with the percussive element and all the interesting techniques, it felt like the next frontier. It was a style of guitar that seemed to be all encompassing, like you could go anywhere with it.”</p> <p>Kellie threw himself wholeheartedly into this new style, and in 2010 he self-released his first EP, <em>Don’t Expect Much</em> and <em>You Won’t Be Disappointed</em>. But it is his growing online catalog of inventively arranged cover songs that has been garnering him the most attention. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/_fxbx0-O8kY" frameborder="0" allowfullscreen></iframe></p> <p><strong><a href="http://www.guitarworld.com/exclusive-video-lesson-bohemian-rhapsody-tutorial-daryl-kellie">Exclusive Video Lesson: "Bohemian Rhapsody" Tutorial by Daryl Kellie</a></strong></p> <p>A quick search on YouTube brings up videos of Kellie tackling songs in a variety of genres, from rock classics like the Beatles’ “When I’m Sixty-Four” and the White Stripes’ “Seven Nation Army” to Tetris and Super Mario Bros video-game music and pop hits like Beyoncé’s “Single Ladies (Put a Ring on It),” which appears, along with “Bohemian Rhapsody” on Kellie’s new, self-released full-length effort, <em>Wintersong.</em> </p> <p>“I like the idea of doing something that’s unexpected,” he explains. “If it’s the first time someone’s been to one of my gigs, they might be like, ‘Is that freakin’ Beyoncé that he’s playing?’ And I also want to show that these are great songs and there’s some interesting things going on in them.”</p> <p>The success of his “Bohemian Rhapsody” arrangement has inspired Kellie to create more covers. “I’ve been considering some Nirvana arrangements, using lots of artificial harmonics and that type of thing,” he says. “And it’d be fun to do something really ‘outside,’ like a Megadeth song, perhaps.” </p> <p>Ultimately, his goal is to keep pushing his acoustic-guitar technique into new realms. “I want to continue to learn and try new things,” he says. “I would love to incorporate techniques like tapping and harp harmonics into jazz and jazz improvisation pieces, which I don’t feel is done very much, particularly on the acoustic. I think that would be really interesting.”</p> <p><strong>Daryl Kellie Axology</strong><br /> <strong>GUITARS</strong> Gibson L-50, Taylor 810 custom, 110ce and 310ce<br /> <strong>PICKUPS</strong> Fishman Rare Earth Blend<br /> <strong>EFFECTS</strong> Electro-Harmonix Holy Grail Reverb Nano, Boss RC-30 Loop Station<br /> <strong>PREAMP</strong> BBE Acoustimax </p> <p><em>Photo (Daryl Kellie): Alex Flahive</em></p> http://www.guitarworld.com/acoustic-fingerstylists-andy-mckee-jon-gomm-and-daryl-kellie-are-blazing-daring-style-percussive-alternate-tuned-shred#comments Acoustic Nation Andy McKee April 2014 Daryl Kellie GW Archive Jon Gromm News Interviews Interviews News Features Magazine Thu, 20 Nov 2014 15:35:54 +0000 Richard Bienstock http://www.guitarworld.com/article/21084 Jim Dunlop Effect Pedal Throwdown, Round 2: MXR Carbon Copy Analog Delay Vs. Way Huge Echo-Puss Delay http://www.guitarworld.com/jim-dunlop-effect-pedal-throwdown-round-2-mxr-carbon-copy-analog-delay-vs-way-huge-echo-puss-delay <!--paging_filter--><p>GuitarWorld.com's latest readers poll—the first annual Jim Dunlop Effect Pedal Throwdown—has reached Round 2!</p> <p>For the past month, we've been pitting Dunlop, MXR and Way Huge pedals against each other in a no-holds-barred shootout. Now the competition is guaranteed to get even tougher.</p> <p>Therefore, we're pulling out all the stomps! Sixteen stompboxes will go head to head — or toe to toe, if you prefer — leading up to the king of Dunlop/MXR/Way Huge pedals.</p> <p>You can check out the current bracket — with all 32 competing pedals that starting things off in Round 1 — in the <a href="https://www.scribd.com/">Scribd.com</a> window below (Be sure to click on the "full screen" button in the lower-right-hand corner to expand the bracket). </p> <p>The bracket is updated after (almost) every matchup, and matchups will take place pretty much every day, excluding weekends. Each competing pedal will accompanied by a demo video created by the Jim Dunlop company, and you'll always find a photo gallery of the competing pedals at the bottom of each matchup.</p> <h1>Today's Matchup</h1> <p>In today's matchup, the <strong>MXR M169 Carbon Copy Analog Delay</strong> goes foot to foot against the <strong>Way Huge Echo-Puss Delay</strong>. Start voting below!</p> <p><strong>YESTERDAY'S RESULTS</strong>: Yesterday, the <strong>MXR Super Badass Distortion</strong> (66.67 percent) destroyed the <strong>MXR Distortion+</strong> (33.33 percent) to advance to the next round! <a href="http://www.guitarworld.com/tags/jim-dunlop-effect-pedal-throwdown">To see all the matchups that have taken place so far, head HERE.</a> Thanks for voting!</p> <h1>Meet the Combatants</h1> <p><strong><a href="http://www.jimdunlop.com/product/m169-carbon-copy-analog-delay">MXR M169 Carbon Copy Analog Delay</a></strong></p> <p>Go from crisp "bathroom" slap echoes to epic, Gilmouresque delays with the MXR Carbon Copy Analog Delay. Featuring 600ms of delay time with optional modulation, and a three-knob layout that controls Delay, Mix, and Regen. </p> <p>In addition, there are two internal trim pots that offer user-adjustable width and rate control of the modulation for even more tonal options. All done by a completely analog audio path for authentic rich, warm analog delay—made possible only by old-school analog bucket brigade technology. True bypass.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/ZU0ct39DeBI" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong><a href="http://www.jimdunlop.com/product/echo-puss-standard">Way Huge WHE 702s Echo-Puss Delay</a></strong></p> <p>The Way Huge Echo-Puss was designed by delay expert Jeorge Tripps for players who want an organic analog delay pedal that allows them to fine-tune their delay sound with a simple user interface. It serves up 600ms of delay with a pair of gravelly-voiced bucket-brigade chips. Additionally, a fully tweakable LFO modulation circuit allows you to add a liquid texture to the sound of the repeats. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/Qm0-cpqlZqw" frameborder="0" allowfullscreen></iframe><br /> <br /></p> <h1>Voting Closed!</h1> <p>The <strong>MXR M169 Carbon Copy Analog Delay</strong> (66.14 percent) destroyed the <strong>Way Huge Echo-Puss Delay</strong> (33.86 percent) to advance to the next round! <a href="http://www.guitarworld.com/tags/jim-dunlop-effect-pedal-throwdown">To see the current matchup and all the matchups that have taken place so far, head HERE.</a> Thanks for voting!</p> <p style=" margin: 12px auto 6px auto; font-family: Helvetica,Arial,Sans-serif; font-style: normal; font-variant: normal; font-weight: normal; font-size: 14px; line-height: normal; font-size-adjust: none; font-stretch: normal; -x-system-font: none; display: block;"> <a title="View Got a Late Start Today Sheet1 on Scribd" href="https://www.scribd.com/doc/247151416/Got-a-Late-Start-Today-Sheet1" style="text-decoration: underline;" >Got a Late Start Today Sheet1</a></p> <p><iframe class="scribd_iframe_embed" src="https://www.scribd.com/embeds/247151416/content?start_page=1&amp;view_mode=scroll&amp;show_recommendations=true" data-auto-height="false" data-aspect-ratio="undefined" scrolling="no" id="doc_86870" width="100%" height="400" frameborder="0"></iframe></p> http://www.guitarworld.com/jim-dunlop-effect-pedal-throwdown-round-2-mxr-carbon-copy-analog-delay-vs-way-huge-echo-puss-delay#comments Jim Dunlop Jim Dunlop Effect Pedal Throwdown MXR Poll Polls Way Huge Effects News Features Gear Wed, 19 Nov 2014 17:58:19 +0000 Damian Fanelli http://www.guitarworld.com/article/22909