Gear en The Commander-In-Chief Demos Xvive Micro XV5 Delay Pedal — Video <!--paging_filter--><p>In the new video below, the Commander-in-Chief discusses <a href="">Xvive pedals</a> and demos the company's <a href="">XV5 delay pedal</a> through <a href="">PreSonus' Studio One.</a></p> <p>For more about Xvive, visit <a href=""></a></p> <p>The Commander-in-Chief, a seven-string (Ibanez) guitarist who lives in England, has just released a new album with classical guitarist Craig Ogden. In recent weeks, has premiered three songs and videos from the album, all of which you can check out below:</p> <p>• <a href="">Paganini Guitar Duel: The Commander-In-Chief and Craig Ogden Play Caprice No. 24 — Video</a></p> <p>• <a href="">The Commander-In-Chief and Craig Ogden Play "Por una Cabeza" — Video</a></p> <p>• <a href="">The Commander-In-Chief and Craig Ogden Premiere New Song, "Let It Go" — Video</a></p> <p><strong>For more about the Commander-in-Chief, visit <a href=""></a></strong></p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> PreSonus The Commander-In-Chief Xvive Xvive Audio Videos Effects News Gear Thu, 18 Dec 2014 15:28:47 +0000 Damian Fanelli Ibanez RGKP6 Guitar with Mini Korg Kaoss Pad — Demo Video <!--paging_filter--><p>In the brand-new video below, several guitarists, including <em>Guitar World</em>'s Paul Riario, Tarra Thiessen of Sharkmuffin and Val Vallese of Pound the Lbs., demo the new Ibanez RGKP6 Kaoss Guitar. </p> <p>The guitar has a built-in Korg mini Kaoss pad. Let us explain ...</p> <p>From the company:</p> <p>For those looking to weave the dynamic elements of electronic music into their sound Ibanez introduces the RGKP6 Kaoss Guitar and the SRKP4 Bass.</p> <p>Each instrument includes a built-in/detachable Korg mini Kaoss pad 2S that puts 100 effect programs within fingertips distance. Other mini Kaoss pad 2S features include a synthesizer, built-in mp3 player and digital recorder. As if that weren't enough, both axes contain a built-in distortion circuit for additional sonic mayhem.</p> <p>For more information, visit <a href="">Ibanez online</a>. The link goes directly to the Ibanez/Korg page.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> Ibanez Korg Videos Electric Guitars News Gear Wed, 17 Dec 2014 21:13:41 +0000 Guitar World Staff Charvel Guthrie Govan Signature Guitar — Demo Video <!--paging_filter--><p>Below, check out a new demo video of Charvel's Guthrie Govan signature model guitar.</p> <p>The video was created and posted by the gang at <a href="">Matt's Music Center</a> in Weymouth, Massachusetts. I discovered Matt's Music because they're selling—via eBay—my next guitar. I won't tell you what it is because I don't want you guys swooping in on it before me! </p> <p>Anyway, it was nice to find out they also post quality gear demos—and for some uncommon brands.</p> <p>Here's some information on the guitar: </p> <p>• Caramelized basswood body<br /> • Available with bird’s–eye maple or flame maple top<br /> • Bolt–on "caramelized" flame-maple neck with two graphite rods for enhanced neck stability<br /> • Compound–radius (12″–16″) flame–maple fingerboard with 24 extra jumbo stainless steel frets<br /> • HSH pickup configuration featuring Charvel Custom MFB pickups for clear and transparent tone.</p> <p>For more information about the guitar, <a href="">head here.</a> To follow Matt's Music Center on Facebook, <a href="">head in this general direction.</a> Don't buy my guitar!</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><em>Follow Guitar World's Damian Fanelli on <a href="">Twitter.</a> He's a swell fellow.</em></p> Charvel FMIC Specialty Brands Guthrie Govan Matt's Music Center Videos Electric Guitars News Gear Wed, 17 Dec 2014 18:00:24 +0000 Damian Fanelli EVH Wolfgang Special Guitar in Vintage White — Demo Video <!--paging_filter--><p>In the video below, Dave Nassie demos an EVH Wolfgang Special model with an arched top basswood body. </p> <p>From the company: </p> <p>The EVH Wolfgang Special was crafted in EVH's Mexico facility with a re-imagined design that delivers more guitar at greater value than ever.</p> <p>Features include a quartersawn maple neck with an oil finish and special Wolfgang profile, smooth and fast compound-radius maple fingerboard (12"-16") with comfortably rolled edges and 22 jumbo frets, dual EVH Wolfgang direct-mount humbucking pickups, two domed black control knobs (master volume, master tone), EVH Floyd Rose bridge and locking nut, and EVH tuners.</p> <p>The Wolfgang Special is available in three solid finishes (Vintage White, Stealth and Gloss Black), as well as in four flame maple top finishes (Tobacco Sunburst, Burnt Cherry Burst, Natural and Three-Tone Cherry Burst).</p> <p>For more product details, visit <a href=""></a>.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> Dave Nassie EVH EVH Gear FMIC Specialty Brands Videos Electric Guitars News Gear Wed, 17 Dec 2014 17:31:51 +0000 Guitar World Staff Jackson Releases Phil Demmel Demmelition Pro Guitar <!--paging_filter--><p>Jackson is pleased to announce the latest addition to its popular Pro Series, the Phil Demmel Demmelition Pro guitar.</p> <p>Jackson’s Demmelition Pro model puts Machine Head guitarist Phil Demmel’s devastating style and double-cut King V specs right in your hands. </p> <p>Features include a three-piece through-body maple neck with graphite reinforcement, compound-radius (12”-16”) bound ebony fingerboard with 24 jumbo frets and pearloid piranha inlay at 12th fret, EMG 60 (neck) and 81 (bridge) humbucking pickups with three-way toggle switching, Floyd Rose locking nut and recessed double-locking tremolo, and black hardware. </p> <p>Now available in Black Tide Fade and Red Tide Fade finishes.</p> <p>For more information, visit <a href=""></a>.</p> <p><img src="/files/imce-images/Jackson%20Phil%20Demmel%20620.jpg" width="620" height="232" alt="Jackson Phil Demmel 620.jpg" /></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="/machine-head">Machine Head</a> </div> </div> </div> </fieldset> FMIC Specialty Brands Jackson Guitars Machine Head Phil Demmel Electric Guitars News Gear Tue, 16 Dec 2014 21:46:49 +0000 Guitar World Staff Review: Blue Mo-Fi Powered High-Fidelity Headphones <!--paging_filter--><p>One of the most frustrating aspects of making music today is toiling for hours in the studio to make a pristine recording and craft a perfect mix, only to end up selling your music to an audience that mostly listens to compressed audio files through tinny-sounding ear buds. </p> <p>And even though full-size headphones are growing in popularity, more thought seems to go into their colors and looks than their sound quality. The new Mo-Fi headphones from Blue Microphones are a welcome exception to the rule, designed to provide true audiophile sound quality when used with portable audio devices.</p> <p><strong>FEATURES</strong></p> <p>Like Blue’s outstanding studio microphones, their Mo-Fi headphones boast a distinctive design that’s as beautiful in form as it is practical in function. </p> <p>The amply padded earpieces entirely enclose the ears and are angled and ear-shaped to fit snugly and comfortably. A knob on the headband allows users to adjust downward compression to keep the headphones in place. The most important and distinctive feature is the built-in amplifier with 240mW of output, 10Hz to 20kHz frequency response and extremely low total harmonic distortion. </p> <p>The 50mm fiber-reinforced dynamic drivers deliver frequency response of 15Hz to 20kHz. The amplifier’s battery is charged via USB, and a three-way switch provides on (amp power on), on+ (bass boost) and off (unpowered) settings. Two audio cables (one with iPhone/iPad controls), a USB cable, AC-to-USB charger, 3.5mm-to-1/4-inch adaptor and two-prong airplane connector are also provided.</p> <p><strong>PERFORMANCE</strong></p> <p>I own and use pretty much every imaginable style of headphones, including pairs designed for studio monitor applications, DJing and home audio. I’ve used those headphones with my iPods, iPads and iPhones with mixed and generally disappointing results, but these Blue Mo-Fi headphones absolutely blew (pardon the pun) me away. I listened to songs I know quite well as well as music I’ve recorded myself, and I’ve never enjoyed such incredible detail from compressed audio before. The bass boost setting delivers deep but clear bass that retains the definition of higher frequency audio instead of obliterating it like most bass functions do. </p> <p>Although Blue Mo-Fi headphones are designed primarily for use with portable iOS devices, even audio professionals will want to consider having a pair or two in their studios. From the exceptionally comfortable design that users can wear for hours to the removable audio cables that are easy to replace should they get damaged, these headphones are built to provide a lifetime of audio bliss.</p> <p><strong>CHEAT SHEET</strong><br /> <strong>LIST PRICE</strong> $350<br /> <strong>MANUFACTURER</strong> Blue Microphones, <a href=""></a></p> <p>The built-in 240mW amplifier delivers crisp, clean audio to the equally impressive 50mm fiber-reinforced dynamic drivers.</p> <p>A three-way switch on the left earpiece provides off (passive), on (amp on), and on+ (bass boost) settings for use with a variety of audio sources.</p> <p><strong>THE BOTTOM LINE</strong>: Blue’s Mo-Fi headphones are a revelation, delivering the absolute best sound quality from portable iOS audio devices and mobile recording rigs.</p> Blue Microphones Holiday 2014 Accessories News Gear Magazine Mon, 15 Dec 2014 18:56:17 +0000 Chris Gill From the Archive: The Definitive Kurt Cobain Gear Guide <!--paging_filter--><p><em>This classic article from the August 1997 issue of </em>Guitar World<em> serves as the definitive guide to Kurt Cobain's grungy assortment of pawn shop prizes, turbo-charged stomp boxes and blown woofers.</em></p> <p>Kurt Cobain must have been amused when magazines like <em>Guitar World</em> and <em>Guitar Player</em> requested interviews and when Fender approached him to design a guitar. But here's where another irony exists — although Cobain often said he didn't care very much about equipment, he certainly possessed more than a passing interest in the tools of his trade. </p> <p>Cobain may not have collected vintage <strong>Gibsons, Martins, D'Angelicos</strong> and what-not, but he owned an eccentric cache of budget models, low-end imports and pawn shop prizes — most pursued with the same passion as a Gibson collector seeking a mint '59 Les Paul. Even when he could afford the best, Cobain's taste in instruments never changed. "Junk is always best," Cobain stated matter-of-factly to Jeff Gilbert in a February 1992 <em>Guitar World</em> interview. "I use whatever I can find at junk shops."</p> <p>Over the years, rumors about Cobain using special processors and studio trickery to obtain his sound have proliferated, so we figured the time had come to get to the real bottom of the truth about Cobain's equipment to be revealed. To do so, we contacted the most reliable sources available — the dealers who sold him his equipment, the engineers and producers who worked with him in the studio and the technicians who looked after his gear on the road. </p> <p>A couple of well-researched websites, Chris Lawrence's site and Brian Haberman's site [<em>2013 Editor's Note: These websites no longer exist. Remember this story is from 1997!</em>], also supplied many useful details. Michael Azerrad's <em>Come As You Are: The Story of Nirvana</em> (Main Street/Doubleday) provided excellent background information and photographs, and we also pored over the few interviews on the subject granted by Cobain himself.</p> <p>Cobain almost certainly would have laughed at the idea of a magazine scrutinizing the minute details of his gear. "I've never considered musical equipment very sacred," he once said. But for the thousands of guitarists who consider Cobain's music sacred, it's important to understand what he played and why he played it.</p> <p><strong>SCENTLESS APPRENTICE: COBAIN'S VIRGIN MUSICAL YEARS</strong></p> <p>Kurt Donald Cobain was born in Aberdeen, Washington, on February 20, 1967. His first guitar, a used electric, was a 14th birthday present from his uncle Chuck. "As soon as I got my guitar, I just became so obsessed with it," Cobain told Michael Azerrad. "I don't think it was even a Harmony. I think it was a Sears." </p> <p>Cobain took guitar lessons for less than a month — just long enough to learn how to play AC/DC's "Back in Black." Those three chords served him well when he began writing his own songs shortly thereafter.</p> <p><strong><a href="">[[ Read Guitar World's Final Interview with Kurt Cobain from the February 1992 Issue ]]</a></strong></p> <p>Cobain soon set his sights on forming a band. One day, a couple of friends invited him to jam in an abandoned meat locker they used as a practice space. Afterwards, Cobain foolishly left his guitar in the locker and was subsequently unable to return and get it back. </p> <p>When he finally made it back to the rehearsal space a few months later, he found his guitar in pieces. He salvaged the neck, hardware and electronics and made a new body for the guitar in wood shop, but Cobain lacked the skills to make the restored instrument intonate properly.</p> <p>When Cobain was 17, his mother married Pat O'Connor, whose ensuing infidelity led to a situation that greatly facilitated Cobain's acquisition of musical gear. After Cobain's mother learned that Pat was cheating on her, she dumped his gun collection in the river. Cobain observed his mother's antics and later encouraged some of the neighborhood kids to fish his stepdad's weapons out. Cobain sold the guns and bought a used <strong>Peavey Vintage</strong> amplifier with two 12-inch speakers with the proceeds.</p> <p>In early 1985, Cobain moved in with his natural father who discouraged his son's musical pursuits and convinced him to pawn his guitar. After about a week, Cobain got his guitar out of hock and moved out. He almost lost the guitar again when he loaned it to a drug dealer, but managed to repossess it a few months later. With this unknown guitar and the Peavey amp in hand, Cobain formed his first band, Fecal Matter, in late 1985.</p> <p>The Peavey amp disappeared sometime between early 1986 and late 1987. Krist Novoselic remembers that Cobain gave the amp to him for about a week, in what apparently was a friendly attempt to get him to join Fecal Matter. Novoselic declined on both offers. </p> <p>The amp disappeared sometime after that. By late 1987 Novoselic finally agreed to form a band with Cobain and drummer Aaron Burckhard, which they called Skid Row. Photos from this era show Cobain playing a right-hand model sunburst <strong>Univox Hi-Flyer</strong> flipped over and strung for left-handed playing. According to Azerrad, Cobain's amp during this period was a tiny <strong>Fender Champ</strong>. Also around this time, Cobain acquired a <strong>Univox Superfuzz</strong>, but it was stolen from his rehearsal space.</p> <p>The band's name changed frequently, from Fecal Matter to such similarly choice monikers as Ted Ed Fred, Pen Cap Chew, Throat Oyster, Windowpane and Bliss. Eventually they settled on Nirvana. When Burckhard proved too unreliable, Cobain and Novoselic kicked him out of the band and enlisted drummer Dale Crover, who they temporarily stole from the Melvins. Three weeks later, on January 23, 1988, Nirvana recorded its first studio demo at Reciprocal Studio with Jack Endino-whose early production/engineering/mixing credits include Soundgarden, Green River, Tad and Mudhoney-behind the board.</p> <p><strong>BLOND AMBITION: THE <em>BLEACH</em> YEARS</strong></p> <p>A few months after working with Nirvana for the first time, Endino played the band's demo tape for Jonathan Poneman of Sub Pop Records, who signed the band to the label. Three of the songs that Nirvana recorded during that session ended up on <em>Bleach</em>, the band's first album.</p> <p>The band liked working with Endino, and they returned to Reciprocal Studios several times during the year to record more songs, although Chad Channing replaced Crover on drums. Nirvana signed a contract with Sub Pop, and in late December 1988, they entered Reciprocal Studios to record <em>Bleach</em>. The album was recorded in three days for $606.16, although five tracks from earlier sessions were included on the final album. Most of the remaining songs from the various Reciprocal sessions were released several years later on <em>Incesticide</em>.</p> <p>"When they recorded <em>Bleach</em>, Kurt's <strong>Randall</strong> was in the shop so they borrowed my amp, which was a Sixties <strong>Fender Twin</strong>," Endino recalls. "I'm a tube nut, so everything was tweaked and up to spec on that amp, but it didn't have speakers because I had fried them. Kurt brought in a little closed-back 2x12 cabinet with two <strong>Celestions</strong>, most likely 70-watt models. He was using a little orange <strong>Boss DS-1</strong> distortion pedal and these Univox guitars [Hi-Flyers] that looked like <strong>Mosrites</strong>. The pickups were stock. I ended up getting one of those pickups from him once, because he was smashing those guitars all the time. I said, `You must have some extra pickups,' and he said, `Oh yeah. Here's one.' It was in two pieces. I was able to stick the wires together and use it. It's not the greatest sounding pickup in the world, but it seemed to work for him."</p> <hr /> <p>In 1989, Nirvana went on its first American tour. According to Earnie Bailey, a Seattle guitar repairman who was friends with Novoselic and who often worked as a technician for the band, Cobain's live rig during this period was a red <strong>Epiphone ET270</strong>, a solid-state <strong>Randall</strong> amp head, a <strong>BFI Bullfrog</strong> 4x12 cabinet and a <strong>Boss DS-1</strong> distortion. When his guitar was destroyed beyond repair, Cobain would look for cheap replacements in pawn shops or have Sub Pop ship him guitars via Federal Express.</p> <p>"I heard stories about Kurt's guitar destruction from the Sub Pop people early on," says Endino. "When he was out on the road he'd call them up and say, `I don't know what got into me, but I just smashed up my guitar.' I don't think he was planning on smashing guitars from day one. It was just something he did. The poor Sub Pop people would call all the pawn shops up and down the coast, looking for Univox guitars."</p> <p>Between tours, Cobain often bought equipment from Guitar Maniacs in Tacoma, Washington, and Danny's Music in Everett, Washington. According to Rick King, owner of Guitar Maniacs, Cobain "bought a whole bunch of <strong>Univox Hi-Flyers</strong> — both the P-90 version and ones with humbuckers. Those pickups have huge output and are completely over the top. He broke a lot of those guitars. We sold him several of them for an average of $100 each over the course of five years."</p> <p>Although humbucker-equipped Univox Hi-Flyers apparently were Cobain's favorite guitars in the pre-<em>Nevermind</em> days, he often appeared on stage with other models, including a blue Gibson SG and a sunburst left-handed Greco Mustang copy he bought from Guitar Maniacs.</p> <p><strong><a href="">[[ Read Guitar World's Final Interview with Kurt Cobain from the February 1992 Issue ]]</a></strong></p> <p>Cobain purchased what probably was his first acoustic guitar, a <strong>Stella</strong> 12-string, for $31.21 on October 12, 1989. He brought the Stella to Smart Studios in Wisconsin to record some demos with Butch Vig in April 1990. The guitar wasn't exactly a studio musician's dream. </p> <p>"It barely stays in tune," Cobain told Jeff Gilbert in a February 1992 <em>Guitar World</em> interview. "I have to use duct tape to hold the tuning keys in place." At some point in the Stella's history, the steel strings had been replaced with six nylon strings, only five of which were intact during the session. However, the guitar sounded good enough to Vig, who recorded Cobain playing a solo acoustic version of "Polly" on that guitar. That track can be heard on <em>Nevermind</em>.</p> <p>Cobain didn't seem to be exceptionally particular about what equipment he was playing through, with the notable exception of his effects pedals. Sometime in 1990, he bought an <em>Electro-Harmonix Small Clone</em> from Guitar Maniacs, and it remained a favorite and essential part of his setup to the end of his life. On January 1, 1991, Cobain used the Small Clone to record "Aneurysm," which later was issued as the b-side to the "Smells Like Teen Spirit" single. </p> <p><strong>BREEDING GROUND: THE RECORDING OF <em>NEVERMIND</em></strong></p> <p>Prior to formally signing with Geffen Records on April 30, 1991, Nirvana received a $287,000 advance for the recording of <em>Nevermind</em>. The advance was somewhat meager, but it gave the band some freedom in choosing equipment. However, Cobain didn't exactly go wild with his spending.</p> <p>"I sold Kurt a bunch of guitars and effects for the <em>Nevermind</em> album," says Rick King. "When they got signed to Geffen and started getting money, Kurt was still very frugal. He bought some Japanese left-handed Strats and had humbuckers installed in the Strats' lead position. He didn't spend very much money on guitars."</p> <p>Apparently Cobain developed a taste for Fender guitars just prior to recording <em>Nevermind</em>. "I like guitars in the Fender style because they have skinny necks," said Cobain in a late 1991 interview. "I've resorted to Japanese-made Fender Stratocasters because they're the most available left-handed guitars." During this period, he also acquired a left-handed <strong>'65 Jaguar</strong> that had a <strong>DiMarzio Super Distortion</strong> humbucker in the bridge position and a <strong>DiMarzio PAF</strong> in the neck position in place of the guitar's stock single-coil pickups. These modifications were made before Cobain purchased the guitar. Cobain also bought a left-handed, Lake Placid Blue <strong>'69 Fender Competition Mustang</strong> around then.</p> <p>"Out of all the guitars in the whole world, the Fender Mustang is my favorite," Cobain told GW. "They're cheap and totally inefficient, and they sound like crap and are very small. They also don't stay in tune, and when you want to raise the string action on the fretboard, you have to loosen all the strings and completely remove the bridge. You have to turn these little screws with your fingers and hope that you've estimated it right. If you screw up, you have to repeat the process over and over until you get it right. Whoever invented that guitar was a dork. I guess I'm calling Leo Fender, the dead guy, a dork." To overcome these tuning problems, Cobain had his '69 Mustang fitted with a <strong>Gotoh Tune-O-Matic</strong> bridge, a modification that was routinely performed on the Mustangs he subsequently acquired.</p> <p>Some claim that Cobain's preference for low-end guitars was a punk statement, but he insisted that it was a matter of necessity. "I don't favor them," Cobain told <em>Guitar World</em> in 1992. "I can afford them. I'm left-handed and it's not very easy to find reasonably priced, high-quality left-handed guitars." Before entering the studio, Cobain purchased a rack rig consisting of a Mesa/Boogie Studio preamp, a Crown power amp and a variety of Marshall 4x12 cabinets. "I can never find an amp that's powerful enough," Cobain told GW. "And I don't want to deal with hauling 10 Marshall heads. I'm lazy-I like to have it all in one package. For a preamp I have a Mesa/Boogie, and I turn all the midrange up." Cobain brought this rig along with his Mustang, Jaguar, a Japanese Strat and his Boss DS-1 and Electro-Harmonix Small Clone pedals to Sound City Studios in Van Nuys, California, where the band recorded Nevermind with Butch Vig.</p> <p>"Kurt had a Mesa/Boogie, but we also used a Fender Bassman a lot and a Vox AC30 on Nevermind," Vig recalls. "I prefer getting the amp to sound distorted instead of using special effects or pedals, which lose body and the fullness of the bottom end."</p> <p>Still, Vig allowed Cobain to use a few pedals on the album, especially since the guitarist felt that the DS-1 was the main factor in his tone. Cobain also used the Small Clone liberally. "That's making the watery guitar sound you hear on the pre-chorus build-up of `Smells Like Teen Spirit' and also `Come As You Are,'" says Vig. "We used an Electro-Harmonix Big Muff fuzz box through a Fender Bassman on `Lithium' to get that thumpier, darker sound."</p> <p>Cobain's pawn shop Stella was used again for "Something in the Way." Vig recorded the performance while Cobain sat on a couch in the control room. Against Vig's wishes, Cobain plugged his guitar direct into the board for "Territorial Pissings." During the recording of "Lithium," Cobain instigated the noise jam that became the "hidden" track "Endless, Nameless." (This track does not appear on the first 50,000 copies of the CD.) Towards the end of the track, Cobain can be heard smashing his Japanese Stratocaster.</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="/nirvana">Nirvana</a> </div> <div class="field-item even"> <a href="/kurt-cobain">Kurt Cobain</a> </div> </div> </div> </fieldset> August 1997 GW Archive Kurt Cobain Nirvana News Features Gear Magazine Mon, 15 Dec 2014 18:23:16 +0000 Chris Gill Guitarist Sarah Michelle Demos Seymour Duncan Yngwie Malmsteen YJM Fury Pickups — Video <!--paging_filter--><p>Earlier today, the gang at Seymour Duncan posted this shot-in-2012 video to its Facebook page. </p> <p>In the clip, a guitarist named <a href="">Sarah Michelle</a> tries out Seymour Duncan's Yngwie Malmsteen YJM Fury STK-S10 pickups, which live in her Fender Stevie Ray Vaughan Signature Strat.</p> <p>"I've always been a fan of Yngwie's gnarly strat tone," Sarah says in the information posted along with the video on YouTube. "[I'm] playing some Yngwie licks for most of the video but jamming some other riffs toward the end. These pickups are perfect for rock!"</p> <p>What do you think?</p> <p>For more about these pickups, visit <a href=""></a>.</p> <p>For the hell of it, we've also included a video (bottom) of Sarah Michelle covering Malmsteen's "Far Beyond the Sun." Enjoy!</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/yngwie-malmsteen">Yngwie Malmsteen</a> </div> </div> </div> </fieldset> Seymour Duncan Yngwie Malmsteen Accessories News Gear Mon, 15 Dec 2014 16:12:04 +0000 Damian Fanelli It Might Get Weird: Blind Buddha Vintage Box Guitars <!--paging_filter--><p>When Brian Carrier started building and customizing guitars 15 years ago, he toyed with the idea of making cigar-box guitars but wanted to make something more durable and long lasting. </p> <p>“I wanted to make something that a touring musician could play and tour with,” Carrier says. </p> <p>“First and foremost, it had to be a great-sounding and -playing instrument, but it also had to be beautiful enough to hang on the living room wall. I found a small antique walnut box, and on a whim, I put a very old banjo neck on it. I was astounded by the tone and projection. My concept of the Vintage Box guitar grew from there.”</p> <p> Since the late Nineties, when Carrier made his first instrument, he has sold more than 150 Blind Buddha Vintage Box guitars. “They have gone all over the world to all types of players, from beginners to recording pros,” he says. </p> <p>“The different size, shape and wood of each box make for a very unique tone. No two are alike, and they each have their own personality. I offer a choice of four- or six-string, electric or electric-acoustic, resonator, built for slide only or slide and fingers, and a selection of box, neck and parts if I haven’t already put the guitar together.”</p> <p> Each Blind Buddha Vintage Box guitar is crafted almost entirely from found and repurposed parts. “Everything I use, with the exception of the tuners, pickups, resonators and strings, must be at least 50 years old,” Carrier says. </p> <p>“I do a lot of legwork to locate vintage and antique parts, which can include Victorian drawer pulls and clockworks. I can’t just call Allparts or Stewart-MacDonald and order parts. I have to track down wooden boxes that are suitable for conversion. The old guitar and banjo necks that I use must still have years of playability ahead of them.”</p> <p> Surprisingly, Blind Buddha guitars are affordably priced, from $295 to $695. Carrier will build instruments on a custom-order basis, but the less patient may want to visit the Ralph Lauren Polo store on Fifth Avenue in Manhattan, which just started selling Blind Buddha guitars.</p> <p>For more information, visit <a href=""></a>.</p> <p><em>Have you created a custom work of guitar art suitable for "It Might Get Weird"? Email us at</em></p> December 2014 It Might Get Weird Electric Guitars News Gear Magazine Fri, 12 Dec 2014 20:45:53 +0000 Chris Gill Meet the Bojotar, Created by Bow Thayer and Eastwood/Airline Guitars — Video <!--paging_filter--><p>The Bojotar is a new stringed instrument developed by guitarist <a href="">Bow Thayer</a> in collaboration with Joey Leone for Eastwood/Airline Guitars.</p> <p>The instrument, which is demoed by Thayer in the video below, should be available December 15 and <a href="">can be pre-ordered here.</a></p> <p>The instrument has a chambered guitar body with a resonator, two pickups (a humbucker by the neck and a piezo under the resonator's biscuit) and a three-knob blending system that allows for many different varieties of tone. </p> <p>Thayer removed the low E string of a standard guitar by cutting the neck down to the fifth fret and replacing it with a drone string like a banjo, leaving it with an extra-low note that a five-string banjo doesn't have. </p> <p>This hybrid can be tuned to an open G, just like Keith Richards, or any other open tuning you want to explore. Thayer plays it with a flat pick and two finger picks on his middle and ring finger, but the sky is the limit. </p> <p>The Bojotar can be played with a banjo roll, strummed or as a single note pick. Or with a blues finger style and a slide riff, all in one tune. Thayer also plans on adding a B-bender to, as he puts it, "get into the world of some pseudo-pedal steel licks."</p> <p>For more about the Bojotar, visit <a href=""></a>. For more about Thayer, visit <a href=""></a>.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> Bow Thayer Eastwood Guitars Videos Electric Guitars News Gear Fri, 12 Dec 2014 17:06:30 +0000 Damian Fanelli Gear Review: Donner Alchemy Modulation Effect Guitar Pedal with True Bypass <!--paging_filter--><p>Alchemy is Donner’s latest offering for working guitarists. The handy pedal features eight modulation effects packed into one box. </p> <p>Yes, you’ve probably seen something like this before, but the Alchemy doubles its eight effects with Deluxe or Normal mode and boasts stereo inputs and outputs. At a mere $43, it costs less than a major U.S. city parking ticket.</p> <p>What are those eight effects? Chorus, Flanger, Phaser, Tremolo, Pan, Rotary, U-vibe and Vibrato.</p> <p>There’s a three-way toggle switch labeled Deluxe, T. Lock and Normal. Normal offers a clean subtle version of each effect. Deluxe gets a bit funkier paying tribute to older analog effects with deeper delays and de-tuning variables. </p> <p>T. Lock stands for Tone Lock, which stores and locks your tone setting. When engaged it turns off the knobs, preventing any change to your sound if you accidentally bump a knob. It will save the setting, even after the pedal is turned off. It's a great feature if you’ve dialed in a tone at home that you want to use later on a gig.</p> <p>The pedal is powered either by a supplied 9-volt battery or an external Boss-style power supply. Switching is true bypass. </p> <p>The clips below were recorded with a Gibson Les Paul Studio in stereo with a Fender Blues Jr. on the left and a Taurus Stomp Head 4 on the right. </p> <p><strong>Web</strong>: <a href=""></a><br /> <strong>Price</strong>: $42.99</p> <p><iframe width="100%" height="450" scrolling="no" frameborder="no" src=";auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;visual=true"></iframe></p> <p><em>You can't believe everything you read on the Internet, but Billy Voight is a gear reviewer, bassist and guitarist from Pennsylvania. He has Hartke bass amps and Walden acoustic guitars to thank for supplying some of the finest gear on his musical journey. Need Billy's help in creating noise for your next project? Drop him a line at</em></p> Billy Voight Billy's Breakdown Donner Effects Blogs Gear Thu, 11 Dec 2014 21:35:29 +0000 Billy Voight Seymour Duncan Releases Dino Cazares Retribution Active Pickups — Video <!--paging_filter--><p>Seymour Duncan has released its Dino Cazares Retribution active pickups.</p> <p>From the company:</p> <p>The Retribution pickups were designed with Dino Cazares of Fear Factory and Divine Heresy to provide the essential attack, clarity and increased headroom that 7- and 8-string players like Dino have been asking for. </p> <p>They feature a specially tuned preamp with just the right amount of gain, enhanced attack definition and maximum string clarity. Like the standard Blackouts series and Mick Thomson EMTY Blackouts, they maintain an organic open sound that isn't sterile but instead is huge and powerful with a lower noise level and an increased dynamic response compared to other active pickups. </p> <p>Dino Cazares says of the Retribution, "It has a richer tone that's more evenly voiced so the low string is not fighting with the high string. It's a very crunchy sound, great for low tunings. It has more articulation in the pick attack and the distortion has less unwanted noise and compression.” </p> <p>These pickups were designed with extended range players in mind by maintaining definition on the low B and F# strings. The Retribution is the same pickup that is featured on the new Dino Cazares signature Ibanez DCM100 7-string. </p> <p>Like the Blackouts active pickups series, Retribution comes with wiring schematics and all necessary mounting hardware including pots, stereo jack, and battery clip. They are available separately as neck and bridge models or as a complete calibrated set for 7 string guitars (passive and soapbar sized) and 8 string guitars (soapbar sized). Each Retribution is wound and assembled at the Seymour Duncan factory in Santa Barbara, California.</p> <p>For more information, visit <a href=""></a></p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/fear-factory">Fear Factory</a> </div> </div> </div> </fieldset> Dino Cazares Divine Heresy Fear Factory Seymour Duncan News Gear Thu, 11 Dec 2014 21:02:24 +0000 Guitar World Staff Living Colour's Vernon Reid Demos Boss GP-10 Guitar Processor — Video <!--paging_filter--><p>A certain school of guitarists have adopted the mantra “WWJD,” which, of course, means “What Would Jimi Dig?”</p> <p>I have no doubt that if Hendrix were still alive and jamming, he’d be all over the Boss GP-10 Guitar Processor for its powerful combination of traditional tones, synth textures and stringed instrument emulations as well as for its instant access to alternate tunings and numerous other features.</p> <p>The COSM V-Guitar technology behind the Boss GP-10 has been around for a while now (since 1995, to be exact), but the GP-10 makes that technology both more affordable and more powerful than ever. </p> <p>Below, Living Colour's Vernon Reid gives the GP-10 a test drive and explains its features.</p> <p>For more about the Boss GP-10, visit <a href=""></a>.</p> <p><iframe width="620" height="365" src="//" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/vernon-reid">Vernon Reid</a> </div> <div class="field-item even"> <a href="/living-colour">Living Colour</a> </div> </div> </div> </fieldset> Boss Living Colour Vernon Reid Videos Effects News Gear Fri, 05 Dec 2014 15:47:42 +0000 Guitar World Staff Babicz Introduces Full Contact Hardware Z Series Bridges <!--paging_filter--><p>In addition to the already-revered original Full Contact Hardware system, AP International and Babicz are announcing the release of the Z Series system, a more budget-friendly alternative with the same beloved features. </p> <p>Instead of aluminum, the Z Series bridges are made of zinc allowing for everything functionally but without the price tag. It will be immediately available in several popular styles of guitar bridges: 2-Point Strat tremolo, 6-hole Strat tremolo (wide and narrow variations), hardtail and Tele (single-coil and humbucker versions).</p> <p>Babicz hardware is designed to maximize and keep consistent contact between the vibrating guitar string and the guitar body as a resonator. Most conventional guitar bridges, especially after making adjustments for intonation and action, leave air gaps between the saddle and bridge, which greatly reduces the sonic integrity of the string. </p> <p>With Babicz hardware, you can adjust your action as high or low as desired without ever reducing contact of the string to the body, for maximum tone and resonance. </p> <p>See Babicz Full Contact Hardware at Winter NAMM 2015 in booth 4860 in Hall C.</p> <p>For more information, visit <a href=""></a></p> <p><img src="/files/imce-images/Babicz-Z-Series-Release-12..jpg" width="620" height="620" alt="Babicz-Z-Series-Release-12..jpg" /></p> Babicz Accessories Electric Guitars News Gear Fri, 05 Dec 2014 13:42:32 +0000 Guitar World Staff Review: Fender American Standard Stratocaster HSS and Telecaster HH Guitars — Video <!--paging_filter--><p><em>These videos and audio files are bonus content related to the January 2015 issue of </em>Guitar World<em>. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the <a href=";utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=January2015VideosPage">Guitar World Online Store</a>.</em></p> <p>Whether you’ve been playing guitar for only two years or more than 20, you probably already know that Fender’s American Standard Series Stratocaster and Telecaster guitars are a great value. </p> <p>Thousands of guitarists rely on these workhorse axes on a daily basis, and odds are good that you already own one if you’ve ever shopped for a new Strat or Tele. </p> <p>However, many guitarists may not be aware that Fender offers American Standard Stratocaster and Telecaster models that stray from the traditional three- and two-single-coil pickup designs, respectively. </p> <p>The Fender American Standard Stratocaster HSS features a full-size bridge humbucker in addition to middle and neck single-coils, while the American Standard Telecaster HH swaps a pair of humbuckers for the bridge and neck single-coils. Recently, Fender introduced new pickups for both models to offer the performance of a hot-rodded custom guitar while retaining the value and versatility that has made Fender’s American Standard series so popular.</p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at --><script language="JavaScript" type="text/javascript" src=""></script><object id="myExperience3920034316001" class="BrightcoveExperience"> <param name="bgcolor" value="#FFFFFF" /> <param name="width" value="620" /> <param name="height" value="348" /> <param name="playerID" value="798983031001" /> <param name="playerKey" value="AQ~~,AAAAj36EdAk~,0qwz1H1Ey92wZ6vLZcchClKTXdFbuP3P" /> <param name="isVid" value="true" /> <param name="isUI" value="true" /> <param name="dynamicStreaming" value="true" /> <param name="@videoPlayer" value="3920034316001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --> Fender FMIC Specialty Brands January 2015 Videos Electric Guitars News Gear Magazine Fri, 05 Dec 2014 13:24:55 +0000 Chris Gill, Video by Paul Riario