Misha Mansoor http://www.guitarworld.com/taxonomy/term/954/all en NAMM 2015: Jackson Releases Misha Mansoor Signature Juggernaut Guitars http://www.guitarworld.com/namm-2015-jackson-releases-misha-mansoor-signature-juggernaut-guitars <!--paging_filter--><p>Jackson is proud to announce the latest addition to its Artist Signature series instruments, the Misha Mansoor Juggernaut HT6 and HT7 guitars.</p> <p>Misha Mansoor is acclaimed for his masterful guitar work in fashioning the progressive metal of Periphery. </p> <p>Now, the esteemed Djent-leman himself and Jackson have collaborated closely on the Misha Mansoor Juggernaut HT6 and HT7 guitars, brand-new models like nothing else Jackson has ever seen—or heard—before. </p> <p>The instrument is crafted with a distinctive Jackson body shape inspired by the Dinky, with sleekly scalloped horns, a comfortably contoured neck heel and a gorgeous AAA quilt maple top on trans-finish models. The bolt-on quartersawn maple neck is sculpted with Mansoor’s own custom profile, and features graphite reinforcement, ivoroid binding and heel-end thumbwheel truss rod adjustment.</p> <p>The 20”-radius ebony fingerboard is crafted with 24 stainless steel jumbo frets, piranha inlays and Luminlay fluorescent side dots. The guitar’s tonally versatile sound comes from Mansoor’s dual direct-mount signature Bare Knuckle “Juggernaut” humbucking pickups with black covers, five-way switching and a push-pull (on/off) master tone knob. </p> <p>Other premium features include a Jackson reverse AT1 headstock with three Hipshot open-gear locking tuners on each side, Hipshot hard-tail bridge, single volume control knob, black hardware and more. Available in Amber Tiger Eye, Laguna Burst, Matte Black, Matte Blue Frost and Silverburst Sparkle finishes. Includes custom black Jackson case with blue edges and Mansoor’s “Bulb” logo.</p> <p>In addition, Jackson is offering the “Bulb” versions of the HT6 and HT7 models, which feature a special Periphery “P” inlay at the 12th fret, dual direct-mount signature Bare Knuckle “Juggernaut” humbucking pickups with brushed nickel covers and engraved “Bulb” logo, and a black anodized brushed aluminum rear cavity cover with laser-etched “Bulb” logo.</p> <p>For more information and to find a dealer near you, go to <a href="http://www.jacksonguitars.com/">jacksonguitars.com.</a></p> <p><img src="/files/imce-images/Jackson%20Artist%20Signature%20Misha%20Mansoor%20Juggernaut%20Bulb%20HT6.jpg" width="620" height="192" alt="Jackson Artist Signature Misha Mansoor Juggernaut Bulb HT6.jpg" /></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/GBk329fh7FQ" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/namm-2015-jackson-releases-misha-mansoor-signature-juggernaut-guitars#comments FMIC Specialty Brands Jackson Guitars Misha Mansoor NAMM 2015 NAMM 2015 video Videos Electric Guitars News Gear Fri, 23 Jan 2015 23:24:39 +0000 Guitar World Staff 23356 at http://www.guitarworld.com Periphery's Misha Mansoor Discusses Dream Theater's 'Metropolis Pt. 2: Scenes from a Memory' — The Record That Changed My Life http://www.guitarworld.com/peripherys-misha-mansoor-discusses-dream-theaters-metropolis-pt-2-scenes-memory-record-changed-my-life <!--paging_filter--><p><strong>Dream Theater</strong><br /> <em>Metropolis Pt. 2: Scenes From A Memory</em> (1999)</p> <p>“This is the album that got me into progressive music and made me think differently about guitar.</p> <p>"It’s the most formative album for me in deciding I was going to be a musician and take guitar seriously. Before hearing <em>Scenes from a Memory</em>, I was mostly a drummer. I was probably 15 or 16 when my friend from high school played it for me. </p> <p>"I had heard the name Dream Theater before, but I didn’t pay attention because sometimes the word prog gets a bad rap, so I kinda wrote them off. But my friend lent me the album along with their DVD, <em>Metropolis 2000: Scenes from New York</em>, where they play the album live. The combination of hearing the record and also seeing that they could actually play that stuff live was amazing. They nail it. I didn’t even know it was possible, and it rocked my world. </p> <p>“Before that, I played guitar a little bit, but it was mostly about playing drop-D power chords. Nothing serious. But the possibilities of what music could be expanded so much after I heard <em>Scenes from a Memory</em>. It was a mind fuck. I stopped playing drums and took guitar seriously. I sat down and learned as much of the solos and riffs on that album as I could. That’s how I started developing my chops. </p> <p>“The beauty of John Petrucci is that he’s the whole package. Shredders are a dime a dozen, but this guy writes some of the sickest riffs and best songs ever. I wanted to emulate him and absorb as much of his music as possible. I didn’t even want to be original. Dude, I wanted to straight up be John Petrucci! </p> <p>"<em>Scenes from a Memory</em> was my introduction to Dream Theater, and it’s still my favorite record by them. It has so much sentimental value for me because it had such a big impact on my guitar playing.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/9ErC9fF8RBY" 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="/dream-theater">Dream Theater</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/peripherys-misha-mansoor-discusses-dream-theaters-metropolis-pt-2-scenes-memory-record-changed-my-life#comments Dream Theater July 2014 Misha Mansoor Periphery The Record that Changed My Life Interviews News Features Magazine Fri, 01 Aug 2014 10:27:50 +0000 Misha Mansoor 21928 at http://www.guitarworld.com Review: Bare Knuckle Juggernaut Misha Mansoor Signature Humbuckers http://www.guitarworld.com/review-bare-knuckle-juggernaut-misha-mansoor-signature-humbuckers <!--paging_filter--><p><em>This video is bonus content related to the March 2014 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 in our <a href="http://store.guitarworld.com/collections/guitar-world/products/guitar-world-march-14-eric-clapton/?&amp;utm_source=gw_homepage&amp;utm_medium=article&amp;utm_campaign=JanuaryVideosPage">online store</a>.</em></p> <p>The traditional approach to creating high-gain pickups involved overwinding coils around heavy ceramic magnets. </p> <p>This flame-thrower style of design is terrific for figuratively frying everything in the sonic path, but it noticeably decreases clarity, pick attack and dynamics, sacrificing musicality for the sake of intensity and volume. </p> <p>Bare Knuckle’s new, hand-wound Juggernaut humbuckers—the signature pickup of Periphery’s virtuoso guitarist, Misha “Bulb” Mansoor—combine power and refinement equally, making them perfect for drop-tuned low notes and delivering the complex midrange and uncompressed pick attack preferred by today’s multi-genre artists. </p> <p><strong>Features</strong><br /> Bare Knuckle employs a lot of vintage mojo in all of its pickups. The bobbins are made from celluloid butyrate; the tapped pole screw holes and maple spacers ensure a solid assembly; the nickel-silver humbucker bases are made in-house; and the coils are scatter wound for an organic and detailed response. </p> <p>Many of today’s manufacturers wind their coils asymmetrically, so that one coil is producing more of the basic tone while the other is fine tuning elements of sound while reducing or cancelling hum. Rather than use offset coil winds, Bare Knuckle’s Juggernaut utilizes traditional, symmetrically wound coils to eliminate all hum—something that is key for high-gain pickups—and then brilliantly tailors the bridge pickup’s personality with a combination of Alnico V and Ceramic VIII magnets. A custom-sized Alnico V makes it possible for the neck-position Juggernaut to achieve compatible qualities of warmth and dynamics without the use of ceramics. </p> <p>The pickups come standard with four-conductor wires for series humbucking, parallel humbucking or coil-splitting wiring schemes. Six-, seven- and eight-string versions are available, as are numerous cover styles, including basic black, burnt chrome, camo and a custom-etched “Bulb” design in honor of Mansoor. </p> <p><strong>Performance</strong><br /> Many high-output pickups lack natural, open-sounding midrange, but not the Juggernauts. These pickups are engaging and warm, with copious even-order harmonics in the low mids and more odd-order overtones in the upper mids, making it possible to create sweet tones when softly picking or aggressive, chirping attack when digging in. Frankly, I can’t remember when I’ve heard this much high-end slice from an Alnico-based, neck-position humbucker. </p> <p>Lows are similarly tight and controlled when you pick hard or palm mute, but they don’t lose their musical elasticity or intonation when called upon to deliver more serene passages, even when your low string is tuned down to B. Instead of driving certain frequencies, as singularly focused pickups do, the Juggernauts have a multifaceted character and a noiseless, “black” background that allows the guitar and amp’s harmonics to shine. Bear in mind, these pickups are not going to help you sound like Albert Collins or Van Halen—the Juggernauts have a PhD in tonal complexity and are best suited to the modern guitarist who wants to paint with omnipresent clarity and a full palette of tonal hues, whether through a bone-dry clean rig or an insanely distorted super stack. </p> <p><strong>List Price</strong> $TK</p> <p><strong>Manufacturer</strong> Bare Knuckle Pickups Ltd. United Kingdom, <a href="https://bareknucklepickups.co.uk/main/">bareknucklepickups.co.uk</a></p> <p><strong>Cheat Sheet</strong><br /> A combination of Alnico V and ceramic VIII magnets give the bridge-position Juggernaut a rich midrange voice, taut lows and far-reaching highs. </p> <p>Ideally wound coils and specially sized Alnico V magnets help the neck position Juggernaut produce sweet tones that are simultaneously punchy and sharp. </p> <p><strong>The Bottom Line</strong><br /> Like the scintillating exhaust note of a Ferrari California, Bare Knuckle’s Misha Mansoor signature Juggernaut humbuckers turn sheer power into nuanced art, with crushing lows, thick midrange and string-defining treble snap. </p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="myExperience3122355666001" 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="3122355666001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. 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If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --> http://www.guitarworld.com/review-bare-knuckle-juggernaut-misha-mansoor-signature-humbuckers#comments Bare Knuckle March 2014 Misha Mansoor Periphery Accessories News Gear Wed, 05 Feb 2014 16:26:36 +0000 Eric Kirkland, Video by Paul Riario 20314 at http://www.guitarworld.com Preview Exclusive New Tracks by Tosin Abasi, Misha Mansoor, Ben Weinman, Kim Thayil and Dweezil Zappa http://www.guitarworld.com/preview-exclusive-new-tracks-tosin-abasi-misha-mansoor-ben-weinman-kim-thayil-and-dweezil-zappa-0 <!--paging_filter--><p><em>Guitar World</em> magazine has launched its Ultimate Subscription Offer! </p> <p>Receive 12 (13, actually — let's not forget the holiday issue!) issues of <em>Guitar World</em> AND instantly download four exclusive tracks: "Optimist" by Tosin Abasi and Misha Mansoor, "Pessimist" by Tosin Abasi and Misha Mansoor, "Nanna Banana" by Ben Weinman and Kim Thayil and "Vices" by Ben Weinman and Dweezil Zappa. </p> <p>As another bonus, you'll receive Asking Alexandria’s EP of covers, <em>Under The Influence: A Tribute To The Legends of Hard Rock</em>! This latest collection features the band covering songs by their idols. </p> <p>Songs include “Here I Go Again” by Whitesnake, “Separate Ways” by Journey, “Hysteria” by Def Leppard and “Kickstart My Heart” by Mötley Crüe.</p> <p>All this for only $14.95!</p> <p><strong>For more information, <a href="http://www.guitarworld.com/sub13">HEAD HERE!</a></strong></p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/PffE5ujMRO8" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/R75m5v-MsrM" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/preview-exclusive-new-tracks-tosin-abasi-misha-mansoor-ben-weinman-kim-thayil-and-dweezil-zappa-0#comments Ben Weinman Dweezil Zappa Kim Thayil Misha Mansoor September 2013 Tosin Abasi News Features Fri, 16 Aug 2013 08:06:07 +0000 Guitar World Staff 18825 at http://www.guitarworld.com Periphery to Support Deftones on Spring North American Tour http://www.guitarworld.com/periphery-support-deftones-spring-north-american-tour <!--paging_filter--><p>Washington, D.C.-based prog metallers Periphery will support the Deftones on their North American tour in March.</p> <p>Periphery are on the road now in support of their 2012 album, <em>Periphery II: This Time It’s Personal</em>, which was voted the No. 3 album of the year by <em>Guitar World</em>. </p> <p>“Deftones have been one of my favorite bands of all time since I discovered them when I was about 14 or so," says Periphery guitarist Misha Mansoor. "That was around when I first started playing drums and guitar, and they were such a huge influence on my approach to music, writing and even the kinds of tones and sounds I was after. </p> <p>"What is even more amazing is that in the 14 years since, they have consistently put out some of my favorite albums of all time, with <em>Koi No Yokan</em> being no exception to that. I can't even put into words how excited I am that Periphery is going to be touring with them in March. This is a bucket list tour for me.”</p> <p>For more about Periphery, check out <a href="http://www.facebook.com/PeripheryBand">their Facebook page.</a></p> <p><strong>Deftones w/Periphery</strong></p> <p>03/08 Atlantic City, NJ - House of Blues<br /> 03/09 New York, NY – Terminal 5
<br /> 03/10 Montclair, NJ – Wellmont Theatre
<br /> 03/12 Stroudsburg, PA – The Sherman Theatre
<br /> 03/13 Norfolk, VA – The Norva
<br /> 03/15 Charlotte, NC – Fillmore Charlotte
<br /> 03/16 Myrtle Beach, SC – House of Blues
<br /> 03/17 Atlanta, GA – The Tabernacle
<br /> 03/19 Miami, FL -Fillmore Miami Beach
<br /> 03/21 St. Petersburg, FL – Jannus Live!
<br /> 03/22 Orlando, FL – Hard Rock Live
<br /> 03/23 Mobile, AL – Soul Kitchen
<br /> 03/25 Baton Rouge, LA – The Varsity Theatre
<br /> 03/26 Corpus Christi, TX – Concrete Street Amphitheater
<br /> 03/27 Pharr, TX – Pharr Entertainment Center
<br /> 03/29 Austin, TX – ACL Live at the Moody Theater
<br /> 03/30 Houston, TX – Bayou Music Center</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="/deftones">Deftones</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/periphery-support-deftones-spring-north-american-tour#comments Deftones Misha Mansoor Periphery News Tue, 15 Jan 2013 17:56:08 +0000 Damian Fanelli 17590 at http://www.guitarworld.com Guest List: Periphery Guitarist Misha Mansoor Picks His Five Favorite Pieces of Gear http://www.guitarworld.com/guest-list-periphery-guitarist-misha-mansoor-picks-his-five-favorite-pieces-gear <!--paging_filter--><p><em>With the year in music winding down, we reached out to some of your favorite guitarists to find out what music and gear rocked their worlds in 2012. Below, Periphery's Misha Mansoor fills us in on his five favorite pieces of gear in 2012.</em></p> <p><em>Last year, Periphery released their sophomore album, </em>Periphery II<em>, which landed at No. 3 on our list of the <a href="http://www.guitarworld.com/guitar-worlds-top-50-albums-2012">top 50 albums of 2012</a>.</em></p> <div style="padding:10px;background:#eeeeee;margin:10px 0;"> <span style="font-size:18px;font-weight:bold;">Fractal Audio AxeFx II</span> <p>"With the new version 9 update, you get 13 new amps, improved dynamics and feel and the tone is at a whole new level. This sounds like an amp moving air on a recording. For those who tour a lot, record a lot, or just like to jam a lot and have extreme versatility with the highest quality effects and amp modeling available, this is the greatest thing ever."</p> <p><iframe width="600" height="349" src="http://www.youtube.com/embed/uH-CC5DHYjA" frameborder="0" allowfullscreen></iframe> </p></div> <div style="padding:10px;background:#eeeeee;margin:10px 0;"> <span style="font-size:18px;font-weight:bold;">Bareknuckle Pickups Black Hawk Set</span> <p>"This is the pickup of choice for those players who want a compressed and aggressive dynamic out of a pickup with no cost to the incredible note definition and clarity that I have come to expect from BKP pickups."</p> <p><iframe width="600" height="349" src="http://www.youtube-nocookie.com/embed/VKw1F1Bd1-w" frameborder="0" allowfullscreen></iframe> </p></div> <div style="padding:10px;background:#eeeeee;margin:10px 0;"> <span style="font-size:18px;font-weight:bold;">Darkglass B7K Pedal</span> <p>"Okay this is bass gear, but having this in the mix seriously makes your guitars sound better. The ultimate bass overdrive."</p> <p><img src="/files/imce-images/DarkglassB7K.jpeg" width="600" /></p> </div> <div style="padding:10px;background:#eeeeee;margin:10px 0;"> <span style="font-size:18px;font-weight:bold;">Zilla 2x12 Fatboy cab</span> <p>"This cab sounds absolutely massive. And it's all focused in the low mids where it counts, as in the usable frequencies. If you tune low you will appreciate how well this handles the tunings and how tight it manages to be even when handling low frequencies. The top end is clear and smooth and the mids are pushed to cut through the mix. They make a 4x12, but if you had a blindfold on, I wouldn't be surprised if you thought this was it."</p> <p><iframe width="600" height="349" src="http://www.youtube-nocookie.com/embed/mUgkABk7azk" frameborder="0" allowfullscreen></iframe> </p></div> <div style="padding:10px;background:#eeeeee;margin:10px 0;"> <span style="font-size:18px;font-weight:bold;">Toontrack EzMix 2</span> <p>"This is the best easy mixing solution out there. Want to focus on the creative side of things without having to worry about the mix? Perhaps you just want to write on the road and not need external gear. Or maybe use it to track DI guitars and not have to mirror edit. This inexpensive piece of software is a game-changer for sure."</p> <p><iframe width="600" height="349" src="http://www.youtube-nocookie.com/embed/05eSIoTu0TU" frameborder="0" allowfullscreen></iframe></p> </div> http://www.guitarworld.com/guest-list-periphery-guitarist-misha-mansoor-picks-his-five-favorite-pieces-gear#comments Misha Mansoor Periphery News Fri, 11 Jan 2013 18:07:13 +0000 Guitar World Staff 17578 at http://www.guitarworld.com The Djent Set: The Guitarists Who Have Inspired Me, and How to Play “Jetpacks Was Yes” http://www.guitarworld.com/djent-set-guitarists-who-have-inspired-me-and-how-play-jetpacks-was-yes <!--paging_filter--><p>This month, I’d like to talk a little bit about some of the guitarists who have influenced my playing and writing style. Many of these influences—the main one being Dream Theater’s John Petrucci—use seven-string guitars, and I’ve long been drawn to the instrument’s expanded range and how it can be used in a musical way. Many guitarists who play standard six-string guitars have replicated the seven-string’s low B string by simply tuning their low E string down. But Petrucci proved to me that the seven-string enables you to create tones and sounds that would not be possible on a drop-tuned six-string. Through his lead playing, John has also showed me that there is a difference between playing notes that simply work within a given context and playing the right notes—those that really make a part sound perfect. </p> <p>Another guitarist that I would say the same thing about is Guthrie Govan, who always seems to hit every right note in an effortless way, even when he’s improvising. Allan Holdsworth does the same thing too, but in more of an alien way, in that his music sounds like it’s coming from some distant universe. If you haven’t heard Holdsworth check him out, because his sense of melody is truly unique. It may take a few listens before you understand it, because his music is very complex, but I’ve never heard anyone else play like him. Allan’s music illustrates the potential of where a melody can go, as well as how to voice chords and resolve musical ideas in unique ways. </p> <p>In terms of the jagged rhythmic syncopation we use in the music of Periphery, the band Meshuggah has been a huge influence. They also have a sense of melody that is very influenced by Holdsworth. I’ve learned a great deal from studying their music. Some people may find it hard to get past the harsh vocals and aggressive musical style, but many non-metal fans get into them because of their songs’ musical value. </p> <p>Another band that greatly influenced my approach to guitar is the now-defunct SikTH, from the U.K. They are phenomenal musicians who hit all the right notes in a catchy way and used syncopation brilliantly. Though some of the song sections could be simplified to three of four chords, they always made the music sound very colorful through the use of unique chord voicings and rhythm techniques. Ultimately, I try to take the best of all these different influences and apply it to my own playing. </p> <p>A good example of a Periphery song with Meshuggah-type syncopation is “Jetpacks Was Yes.” During the verse (see FIGURE 1), the main guitar part alternates between power chords and strummed octaves. Using downstrokes exclusively, I begin with a four-note power chord, articulated with a hard, staccato attack that reveals the Meshuggah influence. That sharp sound is where the term djent comes from when used to describe our music.<br /> Throughout the riff, I alternate between the D5 power chord and a D octave figure on the fifth and third strings, played in a highly syncopated 16th-note rhythm. As you can see, many of the accents do not fall on the downbeats, which lends the riff a playful kind of vibe. </p> <p><img src="http://dl.guitarworld.com/tabs/thedjentset0611.jpg" /></p> <p>Toward the end of the song, I play a riff, shown in FIGURE 2, that developed in a virtually random way. This riff, which is also played with consecutive downstrokes, begins with a single-note figure on the sixth string, once again alternated with octave shapes on the fifth and third strings, which this time pull off to the open fifth string. In bars 3 and 4, I alternate between E and D octaves.</p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none">This is the Player for GW V2.0</div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><p><script src="http://admin.brightcove.com/js/BrightcoveExperiences.js" type="text/javascript"></script><object id="myExperience900446313001" 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~,0qwz1H1Ey90zj6aSwrtNkuwRnVAq25-q" /><param name="videoSmoothing" value="true" /><param name="isVid" value="true" /><param name="isUI" value="true" /><param name="dynamicStreaming" value="true" /><param name="@videoPlayer" value="900446313001" /></object></p> <!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. 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If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><p><script type="text/javascript">// <![CDATA[ brightcove.createExperiences(); // ]]></![cdata[></script></p> <!-- End of Brightcove Player --><!-- End of Brightcove Player --> http://www.guitarworld.com/djent-set-guitarists-who-have-inspired-me-and-how-play-jetpacks-was-yes#comments June 2011 Misha Mansoor Periphery The Djent Set Blogs Lessons Fri, 04 Jan 2013 15:33:33 +0000 Misha Mansoor 17401 at http://www.guitarworld.com Guest List: Periphery Guitarist Misha Mansoor's Top 10 Albums of 2012 http://www.guitarworld.com/guest-list-periphery-guitarist-misha-mansoors-top-10-albums-2012 <!--paging_filter--><p><em>With the year in music winding down, we reached out to some of your favorite guitarists to find out what music rocked their worlds in 2012. Below, Periphery guitarist Misha Mansoor offers his thoughts on his ten favorite albums from the last year.</em></p> <p><em>No strangers to year-end best-of lists, Periphery's sophomore album, </em>Periphery II: This Time It's Personal<em>, landed at No. 3 on our list of the <a href="http://www.guitarworld.com/guitar-worlds-top-50-albums-2012">50 best albums of 2012</a>.</em></p> <div style="padding:10px;background:#eeeeee;margin:10px 0;"> <span style="font-size:18px;font-weight:bold;">Trifonic — <em>Ninth Wave</em></span> <p>"An absolute masterpiece in electronic music. In a way, Trifonic is further exploring the path first explored by BT's <em>This Binary Universe</em> and the first two Telefon Tel Aviv albums. Incredible sound design and melodic ideas. If you pick one album up off of this list, make sure it is this one."</p> <p><iframe width="600" height="338" src="http://www.youtube-nocookie.com/embed/7oQDBxhtFHw" frameborder="0" allowfullscreen></iframe> </p></div> <div style="padding:10px;background:#eeeeee;margin:10px 0;"> <span style="font-size:18px;font-weight:bold;">The Contortionist — <em>Intrinsic</em></span> <p>"<em>Exoplanet</em> showed a band with a lot of potential, and Intrinsic shows a band capitalizing on it on their own terms and no one else's. This was written for themselves and is done amazingly so, this band will go very far."</p> <p><iframe width="600" height="338" src="http://www.youtube-nocookie.com/embed/DS0iwkM5wxA" frameborder="0" allowfullscreen></iframe> </p></div> <div style="padding:10px;background:#eeeeee;margin:10px 0;"> <span style="font-size:18px;font-weight:bold;">Between the Buried and Me — <em>Parallax II: Future Sequence</em></span> <p>"With every release this band has gotten better and more unique . This is them at their most ambitious and yet most cohesive, and having done our last two tours with them, I can say they keep us on our toes as they are absolutely flawless live."</p> <p><iframe width="600" height="349" src="http://www.youtube-nocookie.com/embed/iRbnY8EK4Ew" frameborder="0" allowfullscreen></iframe> </p></div> <div style="padding:10px;background:#eeeeee;margin:10px 0;"> <span style="font-size:18px;font-weight:bold;">The Faceless — <em>Autotheism</em></span> <p>"The Faceless is another band that has managed to forge their own path and sound and always stay true to what they want to express. With the band's strongest lineup thus far they have put out something that no one expected, but that everyone should at least hear as it is fantastic."</p> <p><iframe width="600" height="338" src="http://www.youtube-nocookie.com/embed/Ai8bUHYGB10" frameborder="0" allowfullscreen></iframe> </p></div> <div style="padding:10px;background:#eeeeee;margin:10px 0;"> <span style="font-size:18px;font-weight:bold;">Deftones — <em>Koi No Yokan</em></span> <p>"Deftones just get it. They always have, and at this point it is clear that they likely always will. They have remained powerful and relevant across many schisms in the music industry, and yet seem to get by just fine by sticking to what they know. I still have no idea how to classify their music, but I know that I loved them when I was 14 and I love them now, from their old releases up to this one. Amazing."</p> <p><iframe width="600" height="338" src="http://www.youtube-nocookie.com/embed/GIgNBxNvAJg" frameborder="0" allowfullscreen></iframe> </p></div> <div style="padding:10px;background:#eeeeee;margin:10px 0;"> <span style="font-size:18px;font-weight:bold;">Twelve Foot Ninja — <em>Silent Machine</em></span> <p>"This band is Australia's best kept secret, and for everyone who owns a working pair of ears's sake, I hope it doesn't remain a secret for long. This band opened up for us and TesseracT in Melbourne one night, and they honestly stole the show as a live band. This album shows that they are just as scary talents in the studio. Pick this up now, if anything you can have hipster cred or something."</p> <p><iframe width="600" height="338" src="http://www.youtube-nocookie.com/embed/-ST85Sui43Q" frameborder="0" allowfullscreen></iframe> </p></div> <div style="padding:10px;background:#eeeeee;margin:10px 0;"> <span style="font-size:18px;font-weight:bold;">Veil of Maya — <em>Eclipse</em></span> <p>"Okay I am slightly biased with this one because I produced it, but we have done a ton of tours with this band and I love the way they have progressed and the energy they bring live. This album is just a lot of fun to listen to."</p> <p><iframe width="600" height="338" src="http://www.youtube-nocookie.com/embed/CrJOAZUCcqg" frameborder="0" allowfullscreen></iframe> </p></div> <div style="padding:10px;background:#eeeeee;margin:10px 0;"> <span style="font-size:18px;font-weight:bold;">Meshuggah — <em>Koloss</em></span> <p>"You will notice a trend with the bands that I love, they seem to stick to writing whatever the hell they want, for better or for worse. Meshuggah has been alienating just as many fans as it has been garnering with each new release for the better part of two decades now, and this album is no exception. It sounds like nothing else they have done before. It is dark, raw and almost dronier than anything else they have put out and has such a specifically consistent vibe from beginning to end. Spend some time with this one."</p> <p><iframe width="600" height="338" src="http://www.youtube-nocookie.com/embed/m9LpMZuBEMk" frameborder="0" allowfullscreen></iframe> </p></div> <div style="padding:10px;background:#eeeeee;margin:10px 0;"> <span style="font-size:18px;font-weight:bold;">Gojira — <em>L'Enfant Sauvage</em></span> <p>"Gojira are Gojira on this album, and what more could you ask for? The mix and production are top notch and are incredibly representative of how this band sounds live. This band can make some of the most simple ideas and riffs sound so powerful and effective. It goes to show that you don't necessarily need to play 20 notes per second to make an impression musically."</p> <p><iframe width="600" height="338" src="http://www.youtube-nocookie.com/embed/IV8z3H-9Dy0" frameborder="0" allowfullscreen></iframe> </p></div> <div style="padding:10px;background:#eeeeee;margin:10px 0;"> <span style="font-size:18px;font-weight:bold;">Zedd — <em>Clarity</em></span> <p>"This is EDM at its finest. Zedd used to play drums for a metal band, and is also a very proficient pianist. As a result his beats are clever and infectious and the chord progressions and melodies are just like nothing else I have heard out of this style."</p> <p><iframe width="600" height="338" src="http://www.youtube-nocookie.com/embed/wEp9MCQlAa4" frameborder="0" allowfullscreen></iframe> </p></div> http://www.guitarworld.com/guest-list-periphery-guitarist-misha-mansoors-top-10-albums-2012#comments Misha Mansoor Periphery Blogs News Features Thu, 20 Dec 2012 18:56:56 +0000 Misha Mansoor 17439 at http://www.guitarworld.com Periphery's Misha Mansoor Working on New Animals as Leaders Album http://www.guitarworld.com/peripherys-misha-mansoor-working-new-animals-leaders-album <!--paging_filter--><p>Animals as Leaders' latest release, <em>Weightless</em>, was a bit of a stylistic departure from the band's self-titled debut, thanks in big part to a full-band dynamic that wasn't present with Tosin Abasi and Periphery guitarist Misha Mansoor hammered together the first album.</p> <p>For fans who missed Misha's touch on <em>Weightless</em>, there's good news: Mansoor is apparently working with Tosin Abasi on Animals as Leaders' third album.</p> <p>"Tosin Abasi and I have been hard at work on the new Animals As Leaders material," wrote Mansoor in a post on his <a href="">Facebook page</a>. "Six songs down so far!"</p> <p>It's fairly safe to assume Mansoor will be handling production duties, but the extent of his involvement on the new record is unclear. Mansoor handled keyboards and drum programming along with engineering production on the band's debut album.</p> <p><iframe width="620" height="349" src="http://www.youtube-nocookie.com/embed/NmfzWpp0hMc" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/peripherys-misha-mansoor-working-new-animals-leaders-album#comments Animals As Leaders Misha Mansoor Periphery Tosin Abasi News Fri, 07 Dec 2012 17:06:25 +0000 Josh Hart 17341 at http://www.guitarworld.com The Djent Set: Marrying Opposing Musical Ideas, Plus How to Play the Intro to “Buttersnips” http://www.guitarworld.com/djent-set-marrying-opposing-musical-ideas-plus-how-play-intro-buttersnips <!--paging_filter--><p>Over the course of the next few months, I’d like to share my approach to songwriting within the context of my band’s self-titled debut album, Periphery. Specifically, we’ll look at the ways in which I combine unusual chordal patterns and single-note riffs in the quest to create new sounds and unearth fresh musical concepts and ideas.</p> <p>When it comes to describing my approach to songwriting, a good place to start is the song “Buttersnips.” The intro itself offers a good example of how I try to meld different aspects of my influences as a musician and guitar player. When it comes to writing riffs, if I have two opposing licks that I like a lot, I’d rather put them together than have to choose between them. That, in turn, creates the effect of two riffs of different styles fighting each other for attention, which adds a degree of tension to the music that really appeals to me. </p> <p>Whether it’s in regard to a syncopated chord part or a single-note line, I like everything to maintain a clear sense of melody and create the impression of forward motion as well as resolution. I don’t like to simply collect different riffs and string them together in either a chronological or random way with no regard for the broader musical picture. </p> <p>Before we begin breaking down the guitar parts to “Buttersnips,” I should point out that in Periphery we use both six- and seven-string guitars and employ drop tunings. For “Buttersnips,” my guitar is tuned to drop-D down one whole step (low to high: C G C F A D). </p> <p>The “Buttersnips” intro begins with a repeating low-note pattern played over a grinding half-time groove, followed by a quickly ascending, atonal single-note line that reveals the influence of jazz-fusion guitarist Allan Holdsworth, who is one of my biggest inspirations. “Buttersnips” begins with a very Holdsworth-like five-note riff, illustrated in FIGURE 1. It’s built from wide, two-whole-step hammer-ons, followed by a half-step slide on ascending pairs of strings. I start on the fifth and fourth strings and then move over, and up one fret, to the fourth and third, third and second, and second and first strings. The riff begins with the index finger on D, fifth string/fifth fret, followed by a hammer-on with the pinkie to Fs at the ninth fret. This hammer-on shape is repeated one string higher, followed by a slide with the pinkie, from B on the fourth string’s ninth fret to C at the 10th fret. The pattern is then repeated, albeit one fret higher, on each higher pair of strings.</p> <p>In FIGURE 1, I’ve notated the five-note pattern as quintuplets (five-note groups) for the purpose of illustration, but I actually play the phrase in straight 16th notes within the context of the song, which creates a cool and unusual syncopation and melodic contour. </p> <p>FIGURE 2 shows the song’s main intro riff, starting with a low-note figure that “bounces” the open sixth and fourth strings with notes hammered high onto on the fretboard. In this example, bar 1 is notated in 5/4 meter. In bar 2, written in 3/4, I play the previously shown climbing single-note riff, but here it is presented as straight 16ths. </p> <p>When you combine one bar of 5/4 with one bar of 3/4, you end up with eight quarter notes over two bars, which is the same as two bars of 4/4. In order to make these two ideas sit over that “eight beats across two bars” framework, I had to cut off the end of the climbing lick in bar 2. The first time I play the lick, I end with a half-step ascending slide from D to Ef. The second time, I hammer-on from D up two whole steps, to Fs. </p> <p>Another twist is offered in bar 3: across beats three and four, I move the hammer-ons down on the neck, hammering on to the eighth fret on the sixth string and to the 12th fret on the fourth string. </p> <p>In combining these opposing licks, my goal is to create a certain feel and mood by improvising around these different fretboard shapes and patterns. </p> <p>I’ll be back next month with more on “Buttersnips” as well as a look at my primary guitar influences. See you then. </p> <p><img src="http://dl.guitarworld.com/tabs/djentset0511.jpg" /></p> http://www.guitarworld.com/djent-set-marrying-opposing-musical-ideas-plus-how-play-intro-buttersnips#comments May 2011 Misha Mansoor Periphery The Djent Set Blogs Lessons Tue, 04 Dec 2012 16:01:11 +0000 Misha Mansoor 17235 at http://www.guitarworld.com Interview: Periphery Discuss Their New Album, 'Periphery II: This Time It's Personal' http://www.guitarworld.com/interview-periphery-discuss-their-new-album-periphery-ii-time-its-personal <!--paging_filter--><p><em>This interview originally appeared in the September 2012 issue of </em>Guitar World<em>. Pick it up in our online store <a href="http://store.guitarworld.com/collections/guitar-world/products/guitar-world-sept-12-steve-vai-tosin-abasi">here</a>.</em></p> <p>Once upon a time, video games were considered the nerdy domain of geeks, freaks and social misfits. Over the past couple of decades, however, the $65-billion gaming industry has become as ubiquitous and all-American as baseball and apple pie. </p> <p>The long-term cultural and psychological impact of gaming and the relentless pursuit of “the next level” will undoubtedly fuel countless sociology books and psychiatric papers, but for now one only has to listen to the ambitious, cutting-edge prog-rock of Periphery for a glimpse of how gaming is shaping art and music in the 21st century. </p> <p>The band’s leader and primary composer, guitarist Misha Mansoor, is struck by the notion. “I hadn’t given it much thought,” he says, “but I would say video game music has had a very strong influence on my writing. Nobuo Uematsu, who composed the music to the majority of tiles in the Final Fantasy video game series, is an incredible talent. His sense of melody and use of texture is definitely a big reference point for me.”</p> <p>Guitar virtuoso and recent Periphery addition Mark Holcomb sees parallels as well. “The band is always talking about getting to the next level in terms of our playing skills. We’re all huge gaming dorks, so I can’t deny that the complexity of our music and dedication to our playing has some connection to that relentless pursuit of ‘beating’ the game.”</p> <p>Adds Mansoor, “I remember learning John Petrucci’s Dream Theater solos back when I was just trying to get better at the guitar. I’d sit down for hours, and in many ways it was like trying to clear a level. I got the same sort of satisfaction when I mastered one of his licks. That kind of hyperfocus used in gaming definitely transferred into how I practiced the guitar. Playing a great lick or solo was never about showing off; it was more about the challenge of getting better and reaching new heights.”</p> <p>A burning ambition to break on through to the other side has been evident throughout Periphery’s history. The group burst onto the progressive rock scene in early 2010 with the three-guitar attack of Mansoor, Jake Bowen and Alex Bois, the multi-octave singing of Spencer Sotelo, and the impossibly agile rhythm section of bassist Tom Murphy and virtuoso drummer Matt Halpern. </p> <p>Their impact was immediate and electrifying: highlighted by the “djent”-metal signature of high-gain palm-muted guitars, Periphery’s highly idiosyncratic sound spawned two underground hits—“Icarus Lives!” and the soaring “Jetpacks Was Yes!”—as well as scores of imitators. With its mixture of aggressive seven-string guitars and glitchy electronica, punctuated with ethereal New Age and off-kilter polyrhythms, Periphery’s music was so stylistically set and distinctive that it was hard to see how it could further evolve.</p> <p>But like any good group of gamers, Periphery has spent the past two years building solid strategies to move on to bigger, better and more challenging environments. Their second album, <em>Periphery II: This Time It’s Personal</em>, is a perfect reflection of their desire to advance their music. </p> <p>The album is structurally tighter and compositionally more sophisticated than their debut. The ebbs and flows between the heavy sections and the more ambient textures are less forced, and the group has cut back on the chugging “djent” moments that threatened to turn it into a novelty act. The album features two new members—guitarist Holcomb, who replaced Bois, and bassist Adam “Nolly” Getgood—and it is the band’s first release to feature live drums and live orchestral elements.</p> <p>A battery of superstar guest soloists also adds fresh color to the proceedings while adding credibility to the claim that Periphery is an important new voice in progressive rock. Dream Theater’s John Petrucci, Guthrie Govan and Wes Hauch of the Faceless all dazzle as they trade some of this year’s trickiest solos with new guitar hero Mansoor.</p> <p>“We invited them to play for pure bucket list happiness,” Mansoor says. “It’s just a thrill to have them on our album. All three of those guys are guitarists’ guitarists. We can all solo in this band, but no one can play like them and it’s very cool to have their sound on this recording.”</p> <p>In the following interview, Mansoor, Bowen and newbie Holcomb expound on their expanding universe and explain how listening to Periphery’s new album might actually make you more intelligent.</p> <p><strong>GUITAR WORLD: A lot has happened to Periphery since last year. You released an EP and replaced two band members. Then it was announced that you were releasing two albums simultaneously, but in the end you released only one. </strong></p> <p><strong>MISHA MANSOOR</strong> The whole point of the EP was to give people something to chew on while we recorded a new album, which we knew we would need a lot of time for.</p> <p><strong>JAKE BOWEN</strong> We had an ungodly amount of new material, and initially we wanted to do two full-length albums. One was going to be a normal collection of songs and the other was going to be a concept album. But once we realized the magnitude of that undertaking, we realized we needed to slow down a little bit.</p> <p><strong>MANSOOR</strong> We tried to set aside six months to work on both projects, which would’ve given us plenty of time, but then we were offered an opportunity to tour with Dream Theater. As far as we were concerned, when you get a chance to play with Dream Theater, you rearrange your plans!</p> <p><strong>What was it like touring with them? </strong></p> <p><strong>MARK HOLCOMB</strong> One of the things I really took away from watching a band at their level is that it takes dedication. They warm up in their dressing rooms for hours every night before they go onstage. It’s a harsh reminder that there’s work involved and there’s a reason they’re on top.</p> <hr /> <p><strong>Before we talk about the new album, could you expand a little bit on the upcoming concept album?</strong></p> <p><strong>MANSOOR</strong> I always thought that it would be really cool to compose an album of music in the same way that you’d score a movie. In other words, the lyrics and storyline would come first and the music would be almost secondary to the plot. The arrangements are going to be very unconventional, even by our standards.</p> <p><strong>While not a concept album, <em>Periphery II</em> has some reoccurring themes.<strong></strong></strong></p> <p><strong>BOWEN</strong> It certainly does. The first, the seventh and the last track are the beginning, middle and end of a story. They share lyrical themes, melodies and guitar parts.</p> <p><strong>MANSOOR</strong> It’s a little dorky, but the three songs—“Muramasa,” “Ragnarok” and “Masamune”—refer to three swords from a Final Fantasy video game. Muramasa and Masamune were Japanese legendary sword makers, and Ragnarok is a Scandinavian reference to the end of the world—Viking stuff. That’s the cool explanation…but really we just ripped off Final Fantasy!</p> <p><strong>You’ve recently undergone some changes in band members.</strong></p> <p><strong>BOWEN</strong> Things didn’t work out with Alex Bois, and Mark had been playing in a band that Misha produced called Haunted Shores. They had written some really great songs together, so when it came time to pick somebody to fill Alex’s immense shoes, Mark was an obvious choice for us. It also helped that he lived right down the road from us.</p> <p><strong>We had a headlining gig in Australia last summer and Mark’s challenge was to learn an hour-long set of ours by ear, and he completely nailed it. As a player, he’s set a new standard for the band.</strong></p> <p><strong>HOLCOMB</strong> They gave me the instrumental version of the album, and I just picked it apart. Sometimes I’d have to refer to videos of live performances on YouTube to get hand positions. For example, Alex’s parts on “Frak the Gods” were a little buried and they were also very fast, so I’d run video in slow motion and see where his fingers were. It was a lot of work, but in the end, it was one of the main reasons that they hired me.</p> <p><strong>On the new album, you invited outside players to solo on some of the tracks. You have three excellent guitar players in your band, why did you feel compelled to go outside the group?</strong></p> <p><strong>MANSOOR</strong> My top three guitarists of all time are John Petrucci, Guthrie Govan and Allan Holdsworth, so it’s always been a dream of mine to play with those guys. We weren’t able to get in contact with Allan, but we reached out to John and Guthrie and got them to participate. </p> <p>I play the first solo on “Have a Blast” and Guthrie plays the second. On “Erised,” once again, I play the first solo and John plays the second, and Wes Hauch from the Faceless plays on “Mile Zero.” Wes is the best guitarist that no one’s heard of yet, and I guarantee that you will have him in your magazine very soon. And when you hear what he can do you will understand why we had him as a guest soloist. He’s unfairly good. In some ways, his solo might be the biggest surprise.</p> <p><strong>Despite the guest spots, there’s so much stylistic continuity on the album, it almost feels like one continuous piece of music.</strong></p> <p><strong>HOLCOMB</strong> We intentionally have the songs spill into each other so you lose track of what you are listening to. We want people to lose themselves in it.</p> <p><strong>MANSOOR</strong> It’s our way of rebelling against this short attention span that is destroying the album format. We figured if people can’t tell where the track ends then they can’t stop the song.</p> <p><strong>The structures of your songs aren’t tied into anybody’s traditional notion of verse, chorus, verse, but they do have their own internal logic that is consistent. Your ideas aren’t classical, but they are symphonic.</strong></p> <p><strong>MANSOOR</strong> I really admire bands like Dream Theater and composers like Devin Townsend and Nobuo Uematsu, who are good at writing themes and bringing them back with a twist. Their music evolves, but it doesn’t ramble. </p> <p>I hear a lot of music that has no regard for big picture—it just feels like one riff tacked on to another. It really creates another dimension of emotion when you can create a musical roller-coaster ride that is clear in its intent.</p> <hr /> <p><strong>Amidst the virtuosity, the album has plenty of hooky choruses, so you are completely capable of writing a fairly radio-friendly song. Is that something you are opposed to? </strong></p> <p><strong>MANSOOR</strong> I don’t think it really occurs to us. We just write music that sounds cool to us.</p> <p><strong>Dream Theater had a hit with “Pull Me Under,” and the classic progressive band Yes had several hits, including “Roundabout” and “Owner of a Lonely Heart.” They managed to write for the radio and maintain their dignity.</strong></p> <p><strong>MANSOOR</strong> I don’t think we’re against writing a radio song, but I have a hard time imagining sitting down to do it. It’s funny: many of the album’s most commercial moments come together in such a weird way. One of the catchiest choruses on this album is on the song “Ji.” We wrote the instrumental backing tracks first and gave them to Spencer to write lyrics and sing over. For the life of me, I couldn’t figure out what he was going to do because it was so weird harmonically. Somehow he reeled it in and was able to make it really hooky with his vocal line. That’s part of his genius—he can write a great melody over anything.</p> <p>“Scarlet” is probably our most conventional, because it has a verse-chorus-verse-chorus arrangement. When we were working on it we noticed that the first couple of riffs were pretty catchy, and we decided to follow that—we thought it would be an interesting exercise to make each part ear candy. That’s probably the closest we’ve come to writing something commercial, but it certainly wasn’t premeditated.</p> <p><strong>Your music often features three or four independent melodies that happen simultaneously. There have been studies that have shown that listening to Bach’s four-part inventions or music that regularly employs two or more independent melodic voices stimulates your brain. Will listening to Periphery make you smarter?</strong></p> <p><strong>BOWEN</strong> [laughs] Yes, I think it can! I think if the rhythms and the melodies are stimulating enough, you might notice things about music that you haven’t really considered before. Any musical intelligence I might have is from listening to bands that play stimulating music. </p> <p><strong>MANSOOR</strong> I’m not sure whether our albums will make you smarter, but I’d say that it probably doesn’t hurt your brain to be challenged with something you like. </p> <p><strong>Is it me, or does this album have less “djent” moments in it?</strong></p> <p><strong>BOWEN</strong> It’s not you…</p> <p><strong>MANSOOR</strong> Well, where it happens, we tried to make it count.</p> <p><strong>Jake you were quick to say, “Yes, we did cut back on that.”</strong></p> <p><strong>BOWEN</strong> Yes, and I’m not ashamed to admit it. </p> <p><strong>MANSOOR</strong> That’s funny. I didn’t even know Jake felt that way! That’s fine, and that’s probably a big part of why the “djent-y” moments are a little less evident. But it’s also probably an example of how we work. We don’t really talk that much about our music. We just play and get excited over ideas and riffs.</p> <p><strong>On the previous album, Misha wrote most of the music. It’s been mentioned that this album was more collaborative. Can you give me some examples of how that worked? How about “Have a Blast”?</strong></p> <p><strong>MANSOOR</strong> I was jamming around on the opening series of riffs forever and I remember being very intimidated by them because they were a little all over the place. But I would pull them out on occasion and play around with them to see if anything developed. I got up to the two-minute mark, right after that first solo and that bit right after it, but that’s all I could come up with. So the beginning of “Have a Blast” just sort of sat around for two years. It was a little frustrating, because the initial idea was cool, but I just don’t know what to do with it. Mark came over one day and we just put our heads together.</p> <p><strong>HOLCOMB</strong> We were on our U.S. tour last September and I was soundchecking on a couple of riffs that happened to be at that same tempo as the ideas Misha had been working on. I made the connection, and soon we were on our way to a six-minute song.</p> <hr /> <p><strong>What about “Facepalm Mute”? It’s one of your more “metal” songs.</strong></p> <p><strong>MANSOOR</strong> Our singer wanted to write a heavy song for the band and that was the result. Spencer’s not a great guitar player, but he can play his riffs and he can record himself well enough to where you would never be able to tell. We heard it and we were like, “Dude, this is awesome. We didn’t know you wrote metal!” I produce other bands, so I’m used to working with raw ideas and arranging them. He showed me how to play the riffs and I expanded on it, but I wouldn’t have written a song like that if he hadn’t brought in those ideas. </p> <p><strong>Can you point to as something that is specifically new territory for Periphery?</strong></p> <p><strong>MANSOOR</strong> Yeah, there’s this section in the middle of “Ji” that is probably one of my favorite moments on the album by virtue that we’ve never done anything like it before. Mark and I composed what I would call a “rhythm solo,” where the rhythm parts just evolve, layer and never repeat.</p> <p><strong>You guys have been one of the champions of the Fractal Axe-Fx system, an all-in-one amp modeler, preamp and effects processor. Is that still your primary sound source?</strong></p> <p><strong>MANSOOR</strong> Yes, our work with Fractal is still evolving. “Erised” was the result of an experiment with the Axe-Fx. One night I was playing guitar to my girlfriend, who was playing video games. I thought, If she’s going to listen to me, I better play something pretty. So I dialed in a really trippy-sounding patch, and it ended up being that sound you hear in the beginning of “Erised.” I really don’t know how you’d recreate a sound like that on any other rig. It’s just insane.</p> <p><strong>BOWEN</strong> It’s definitely affected how we perform live. For example, we don’t have pedal boards—our computer does all of our switching for us. It’s great, because we can stand wherever we want and just play. We are definitely using the technology to our advantage.</p> <p><strong>Do you ever feel like the Fractal is too digital sounding? Do you miss the tone of a tube amp?</strong></p> <p><strong>MANSOOR</strong> No, not at all. The new Axe-Fx II has this Tone Matching feature that is just incredible. And don’t get me wrong; I love amps. I have a killer EVH, but the Fractal is so much more practical when you are playing live. I feel like Fractal is at the point now that if you don’t tell people, they will really have no clue that it’s not a traditional tube amp. </p> <p><strong>You have three guitar players in the band. As time passes, have your roles become more defined?</strong></p> <p><strong>BOWEN</strong> Absolutely. With the personnel changes that we’ve been through, we’ve kind of realized that there’s a lot more to being in a band than just showing up at a gig and playing the parts. There are a number of things that need to be attended to when you’re in this business. When it comes to figuring out who’s going to do what, it’s always best to play on the strengths of what each member brings to the table. I think its pretty clear to everybody that’s in the band what their role is. That’s why Mark fits in so great. He’s eager to pick up new responsibilities and he’s eager to learn. </p> <p>Besides playing and writing, I’m primarily dealing with the business and financial side. Misha is very heavily into the production side of things and making sure everything fits this vision that he has for the sound. Matt, our drummer, contributes creatively, but he also has this other business that he runs in parallel with the band called Band Happy, which is an online music web site where you can take lessons from your favorite musicians. While it doesn’t seem connected, he’s networking our band to all these people who would never normally listen to us.</p> <p><strong>MANSOOR</strong> Periphery is more of a vessel to find likeminded people. I actually have less power than I did a year ago. I don’t make micro decisions anymore, and I love it. I handle the big picture—the deals and the concepts for everything, and the vision for what the business side should look like and the vision for what the artistic side should look like. But the details come down to everybody: it’s all split up, and that allows me more time to focus on being creative. It just makes for a much more well-oiled machine. We are all business partners—we’ve all invested in our LLC. Our stake is a financial one, as well. </p> <p>When you are a band in the music industry, you are always dancing between that line of art and commerce. You are trying to monetize your creativity as best and as efficiently as you can without destroying the artistic side. And it’s a dance that you do every day, but you have to manage the business side of it or it will go to crap and people will take advantage of you.</p> http://www.guitarworld.com/interview-periphery-discuss-their-new-album-periphery-ii-time-its-personal#comments Justin Borucki Misha Mansoor Periphery September 2012 2012 Interviews Features Magazine Tue, 25 Sep 2012 11:37:57 +0000 Brad Tolinksi, Photo by Justin Borucki 16815 at http://www.guitarworld.com Misha Mansoor: The Djent Set (November 2011) Video http://www.guitarworld.com/misha-mansoor-djent-set-november-2011-video <!--paging_filter--><p><em>This video is bonus content related to the November 2011 issue of </em>Guitar World<em>. For full print reviews, lesson tabs and more, look for the November 2011 issue of </em>Guitar World<em> on newsstands now, or purchase this issue in our online store <a href="http://secure.nps1.net/guitarworld/index.php?main_page=product_info&amp;cPath=9&amp;products_id=270&amp;utm_source=guitarworld.com&amp;utm_medium=article&amp;utm_campaign=091411MishaLesson">here</a>.</em></p> <p>In this month's edition of The Djent Set, Periphery guitarist Misha Mansoor talks about fretboard tapping with rhythmic displacement, and tackles the second part of how to player "Letter Experiment."</p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="myExperience1149661781001" 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="1149661781001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --> http://www.guitarworld.com/misha-mansoor-djent-set-november-2011-video#comments 2011 Misha Mansoor Periphery November Magazine Wed, 14 Sep 2011 16:28:46 +0000 Misha Mansoor 12749 at http://www.guitarworld.com Periphery to Support Dream Theater for Two October Shows http://www.guitarworld.com/periphery-support-dream-theater-two-october-shows <!--paging_filter--><p>It has been confirmed that Periphery will support Dream Theater on two upcoming dates: October 15 at Palace Theater in Albany, New York and October 16 at the Merriam Theatre in Philadelphia.</p> <p>Periphery guitarist Misha Mansoor commented on the dates, saying: "To say that the chance for Periphery to open for Dream Theater is a dream come true would be a gross understatement. Dream Theater has been one of my favorite bands for about as long as I can remember. I started taking guitar seriously and bought my first seven-string because of John Petrucci. If it weren't for Dream Theater, Periphery simply would not exist. I can't express in words just how excited we are for the opportunity to share the stage with them."</p> <p>Periphery just began a headlining run as part of the Frak the Gods Tour, which also includes The Human Abstract, Textures and The Contortionist.</p> <p>We recently caught up with Misha Mansoor to chat about the progress on the new album(s) from Periphery, as well as the Frak the Gods Tour. You can check out the interview <a href="http://www.guitarworld.com/interview-periphery-guitarist-misha-mansoor">here</a>.</p> http://www.guitarworld.com/periphery-support-dream-theater-two-october-shows#comments Dream Theater John Petrucci Misha Mansoor Periphery News Wed, 07 Sep 2011 14:03:44 +0000 Josh Hart 12633 at http://www.guitarworld.com Misha Mansoor: The Djent Set (October 2011) http://www.guitarworld.com/misha-mansoor-djent-set-october-2011 <!--paging_filter--><p><em>This video is bonus content related to the October 2011 issue of </em>Guitar World<em>. For full print reviews, lesson tabs and more, look for the October 2011 issue of </em>Guitar World<em> on newsstands now, or purchase this issue in our online store <a href="http://secure.nps1.net/guitarworld/index.php?main_page=product_info&amp;cPath=9&amp;products_id=263&amp;zenid=l9vharhlnksm5dg69kd0tmgs27">here</a>.</em></p> <p>In the October edition of "The Djent Set," Periphery's Misha Mansoor talks about the art of rhythmic displacement and shows you how to play "Letter Experiment" (part 1.)</p> <!-- Start of Brightcove Player --><!-- Start of Brightcove Player --><div style="display:none"> </div> <!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><!-- By use of this code snippet, I agree to the Brightcove Publisher T and C found at https://accounts.brightcove.com/en/terms-and-conditions/. --><script language="JavaScript" type="text/javascript" src="http://admin.brightcove.com/js/BrightcoveExperiences.js"></script><object id="myExperience1099622128001" 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="1099622128001" /> </object><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><!-- This script tag will cause the Brightcove Players defined above it to be created as soon as the line is read by the browser. If you wish to have the player instantiated only after the rest of the HTML is processed and the page load is complete, remove the line. --><script type="text/javascript">brightcove.createExperiences();</script><!-- End of Brightcove Player --><!-- End of Brightcove Player --> http://www.guitarworld.com/misha-mansoor-djent-set-october-2011#comments 2011 Misha Mansoor Periphery Videos October Lessons Magazine Tue, 06 Sep 2011 15:15:05 +0000 Misha Mansoor 12327 at http://www.guitarworld.com Periphery Guitarist Misha Mansoor Puts "Musical Elitists" in Their Place http://www.guitarworld.com/periphery-guitarist-misha-mansoor-puts-musical-elitists-their-place <!--paging_filter--><p>Periphery guitarist -- and <em>Guitar World</em> columnist -- Misha Mansoor seems just a tad ticked off in a post he wrote for <a href="http://www.metalsucks.net/2011/08/24/mishasucks-netgear_geek-the-art-of-not-burning-bridges/">Metal Sucks</a> yesterday. In a very well-written diatribe on the state of the music industry -- and the state of the fans that inhabit the dark corners of metal forums and comment sections everywhere -- "Bulb" took on the "musical elitists" who make life all the more frustrating for aspiring musicians. You can check out an excerpt below.</p> <p>"I see so many 'musical elitists' on all sorts of forums get their little endorphin rush from putting bands down in a rude manner. Many of these people are in bands themselves, which is what I want to talk about today. These people thrive on sites like MetalSucks, Metal Injection, Blabbermouth, The PRP and Lambgoat to name a few. Sometimes it’s just trolling to get a rise out of people, sometimes it’s elitism, sometimes it’s just peoples’ way of dealing with insecurities."</p> <p>"I am all for self expression and I am in no way suggesting that you should not say what you mean or feel. What I am trying to convey is the simple and common fact that HOW you say something is oftentimes more important than WHAT you are saying. Watch <em>Thank You For Smoking</em> if you literally have no idea what I am talking about."</p> <p>Music is wonderfully subjective, and that is what makes it so good. It’s so personal, and you feel a strong connection to it in a way you do with few other things because of that. So it only makes sense that someone would speak strongly for or against music they love or hate. There isn’t a single band in the history of music that EVERYONE has liked, so it stands to reason that every band has haters; how vocal they are about it depends on the band and their demographic, but they are out there nonetheless. This is especially true for people who are themselves in bands because they are so involved and emotionally invested in their art on a daily basis."</p> <p>You can -- and we highly recommend that you do -- read the full thing <a href="http://www.metalsucks.net/2011/08/24/mishasucks-netgear_geek-the-art-of-not-burning-bridges/">here</a>.</p> http://www.guitarworld.com/periphery-guitarist-misha-mansoor-puts-musical-elitists-their-place#comments Misha Mansoor Periphery News Thu, 25 Aug 2011 22:30:28 +0000 Josh Hart 12482 at http://www.guitarworld.com