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lN SEPTEMBER, 2oo4, we launched an exciting new era for guitar
magazi nes i n t he U. S. , becomi ng t he f i r ct t o i ncl ude a CD RON4, f i l l ed
with audio and video examples of our lessons, gear dernos, and feature
ani$ lessons with each issue. Now, in a move that some of our read-
ers have coined as "going back to the future," we are moving all of our
exciting content to the Weh,frce ol charge, at wvwv.guitarcnemag.com,
Now, I know some of you ar e aski ng, l f t he CD- RO[ 4 was such a suc
cess, why ar e you di scont i nui ng i t ?" I t ' s a f ai r quest i on, but i t h got a
fairly easy answer. The CD-RON4 is a ljmited mediurr, with very little
file space
(we
had approximately 550 N,4 B to work with each month).
We f ound t hat i n si t uat i ons wher e an a( i st gave us a phenomenal
l esson, we of t en had t o edi t out some t r ul v ki l l er i nst r uct i onal mat e-
r i al j ust t o f i t ever yt hi ng on t he di sc. Or f or exampl e, i f we di d an amp r oundup, we di dn' t have
t he space t o show you each amp' s f eai ur es and sounds i n any sor t of dept h. Wel l , not anymor e.
Using the Web as our new interface, we'll have the freedom to provide more footage of our art-
i st s, not onl y of t hei r pl ayi ng but al so t hei r i nsi ght s and advi ce on becomi ng a bet t er gui t ar i st .
To cleaf up some potentialconfusion, Guitar One and GuitatWo dmagazines are sister publl
cations. As such, we share space-and content----on theWeb. So when you surf on overto guitar
onemag.com, you will also see the Guitar Worid logo and content on the various Web pages, but
rest assured, the Guiiar One content is there, too. So, take yourtime and check out the entire site;
betlveen us, there's more than enough to keep even the most die-hard guitarfan busy.
On a sad not e, t hi s mont h we say goodbye t o l ongt i me ar t di r ect or Adam Ful r at h. He over -
saw many exci t i ng r edesi gns i n hi s si x year s at Gui t ar One, and we wi l l mi ss hi m- espe-
ci al l y hi s penchant f or pr act i ca j okes
and hi s second
t o none St ar War s t f i vi a knowl edge. Adam, i f you' r e
' eadi r g
t h s, we do have one l asr
qLest ; on' or you:
Where's the chicken?
Lucky f or us, Adam' s depar t ur e opens t he door f or
new ar t di r ect or Tur t l e Bur kybi l e, who comes t o G1
f r om Fut ur e Musi c magazi ne. Tur t l e i s a t op not ch ar t
i st who we expect wi l l br i ng exci t i ng and cut t i ng edge
i deas and desi gns t o our pages. And i t
j ust
so happens
t hat Tunl e al so knows a t hi ng or t wo about par secs,
l i g ht saber s, and mi di chl or i ansl
Ul t l /
M \L(_UL//\-=_
EDITOR-INCHIEF
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Editor Dale Tumer) playing on the lsson audio tracks eacn month.
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In addition to being a popular instructor at Musici.ns Instihne
(G.l.T.)
since
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BY MICI{AEL MTJEI-I-ER
PHOTOGRAPHY BY AT{NA DICKSON
hi msel t hi s sheet musi c, and hi s gui t ar al ong t he way.
Fonunat el y, t he del uge di d n1 dampen Gambal e' s ent hu
si asm f of doi ng t hi s excl usi ve pr i vat e l esson.
Af t er hangi ng up hi s sheet musi c t o dr y, Gambal e be
gan pl uggi ng hi s Yamaha AES1500 i nt o a var i et y of our
house amps t o di al i n t he r i ght t one, and t al k soon t ur ned
to last year's Wombat Records release, Natural H/gh his
f i r st al l - acoust i c r ecor d. "l t ' s somet hi ng l ' d been t hi nki ng
of doi ng a l ong t i me, about
' 10
year s, " says GambaI e.
"l l ove pl ayi ng wi t hout dr ums. l ' m not t r yi ng t o bel i t t l e
dr ummer s or per cussi oni st s i n any way, but nowadays
i t of t en t akes up t oo much of t he mi x. !
j ust
want ed t he
acoust i c i nst r ument s l o sh; ne t hr ough. "
I n hi s quest t o hi ghl i ght t hose acoust i c i nst r ument s,
Gambal e r ecor ded Nat ur al Hl gh usi ng a Yamaha FPX100
st eel si r i ng, wi t h i t s di mi nut i ve body and wi de, cl assi cal
st yl e neck.
' l ' ve
al ways pr ef er r ed smal l bodi ed acoust i cs,
l i ke ol d Gi bsons and l ! 4ar t i n OO 18s, " says Gambal e.
"They al ways sound r i cher i n t he l ow end, t o me. "
These days, however , Gambal e i s f l aunt i ng hi s t er -
r i f yi ng l i nes wi t h Chi ck Cor ea' s El ect r i c Band, a gi g t hat
r equi r es a whol e di f f er ent set of t ooi s. I n our i nt er vi ew,
Gambal e t al ks about hi s swi t ch f r om l banez t o Yamaha
gui t ar s and hi s di sdai n f or t ube ar r ] p i f i cat i on; when hi s
cl ot hes and gui t ar f i nal l y dr y out , he pf oceeds t o demon-
st r at e hi s unmat ched sweep pi cki ng t echni ques.
Al t hough t hey make gr eat i nst r ument s, not many' , r ock
sl ar s" ar e endor si ng Yamaha gui t ar s 8ut you do.
I swi t ched t o Yamaha gui t ar s about si x year s ago, af t er
13 year s wi t h l banez. Wi t h gui l ar s, i l s a ver y t r adi t i onal
wor l d. l t ' s har d t o get a g! i t ar i st t o even t hi nk about
n t he day t hat Fr ank Gambal was sched'
ul d t o appear at our N4anhat t an st udi o,
NYC was under si ege of a t or r ent i al down-
pour Unabl e t o f i nd an avai l abl e cab, t he
gui t ar i st hi ked near l y t wo mi l es, soaki ng
somet hi ng i f i t i snl Paul Reed Smi t h, Gi bson, or Fender ,
and t hat ' s t r agi cal l y f l awed t hi nki ng. 8ut Yamaha i s r nak-
i ng some absol ut el y, undeni abl y wonder i ul i nst r ument s.
Thef e' s a l ot of cr eal i ve ener gy bei ng put i nt o gr eat new
model s and i nt er est i ng i nnovat l ons. And Yamaha i s l i ke
a gi ant bat t l eshi p- when t hey poi nt t hei r guns at some'
t hi ng, you' r e dead. l t ' s
j ust
t hat t hey never bot her ed t o
st eer t hat shi p t owar ds el ect r i c gui t ar s. And t hat ' s what
t hey' r e st ar t i ng t o do now
Tel l us about your new si gnat ur e model .
I t wi l l be based on t he Yamaha SG, whi ch i s a bi t of a
cl assi c. Even Car l os Sant ana used t o pl ay one. l ' m pl ay
i ng one wi t h t he Chi ck Cor ea band r i ght now They' r e
onl y avai l abl e over seas at t he moment , but my model
i s supposed t o be r eady t hi s summer , and i t shoul d be
avai l abl e i n r he U. S. l t l 1a! e new i nl ays. coi t appi ng
f eat ur es, and ot her opt i ons. I t hi nk gu t ar s shoul d have al l
t he possi bl e sound opt i ons.
Ar e you st i l l usi ng t he Car vi n Tone Navi gat or pr eamp?
Yes, and i t ' s been sel l i ng qui t e wel l . I know a l ot of peopl e
pr ef er amps, be i t combos or head and cab set ups, but
peopl e who' ve been usi ng t he pr eamp ar e r eal l y l ovi ng
i t . We model ed i t ar ound t he Mar shal JI VP 1, whi ch l ' d
been usi ng f or a l ong t i me, and I want ed t o i mpr ove on
t hat . I want ed mor e t one f l exi bi i t y. l t ' s got t wo mi dr ange
par amet r i cs, so you can di al i n any sound. Ther e ar e no
t ubes but i t st i l l sounds r ea l y f at .
Are you using a solid-state power amp, too?
I hal et ube powef amps. l ' d l ove t o be convi nced t hat
t hey' r e good, but ever y si ng e one l ' ve l r i ed sounded aw
f ul on t he bot t om end. Ther e' s
j ust
no poi nt i n havi ng a
t ube power amp. I never t hought i hat power shoul d be
an!.thing but power, I use a 1,000 watt Carvin power amp;
t her et so much mor e headr oom, and i t ' s
j Lr st
beaut i f ul .
What about your cabinets
and speakers?
I vacillate between 4x12
Marshalls with 7s-watt Ce-
lestions, which I like a lot,
and two Carvin 2x12 open-
back cabs, also with Celes-
tions. I do have aboutfive
of t he ol d Car vi n 2x12 cabs
loaded with Carvin G212
speakers, which have a par-
ticular characterthat I really
like. Unfortunately, they've
stoPped making those.
eftects?
usr ng ane
same stuff
I lock into
somet hi ng
I l i ke, I
use it, I
love the TC Electronic G-
Force. lt's all I nesd; it's got
beautiful reverbs. delays,
and chor uses as wel l as
har moni zi ng, EO, and pan-
ni ng al l i n one box, wi t h a
very high-quality sound. I
control it with a Rolls MlDl
pedal , and I have a vol ume
In many guilar circl6,
you arethe king of sweep
picking. Can you 6how us
some of your techniques?
Sure. Two-string patterns
are some ofthe hardest
little internal sweeps. IFigs.
1A-Dl. Most people use
four pickstrokes to play that
type of pattern, butthis is
j ust one up. one down.
Next, you can stretch it
outtothree strings [Fig.
2Al. You can do that on dif-
lerent string sets lFig. 2Bl
and even use triads [Fig.
2Cl. lfyou can get those
clean, that's a really good
sweeping exercise. The
hard part, for most people,
is the muting, because
you,re playing three adia
cent stringswith one finger.
How about maior-7th
shapes?
The t r adi t i onal shape of
Cmaj T i s t hi s one [ Fi g. 3A] ,
and I used to get really
frustrated with that shape,
because you can practice
it for 100 years and never
get it uP to proper speed.
So instead, I move the
1oth-lret G note on the sth
string to the 5th fret on the
4t h st r i ng; l t hn pl ayt hr ee
notes on the D string, and
t " r
- - - l
v - - - -
- - - l y - - - - - - - - - l
F
l f - - - - - - . 1 \ r -
- - - l
v - - - - - - - ,
1 -
CONTINUED
cont i nue t he sweep. At t he
hi gh E st r i ng, t hough, I go
r i ght t o t he C not e and t hen
begi n t he descent on t he
B not e t Fi g. 3Bl . The r esul t
i s t hat r at her t han maki ng
17 st r okes t o pl ay i t vi a
al t er nat e pi cki ng, l use onl y
seven
Pick
strokes.
What about other chord
qualities?
For variations, you just
move the notes around. For
example, to play majT{s,
you raise the 5th by one
f r et , l i ke t hi s t Fi g. 4Al . Ot
f or mi nor Tt h, do l i ke t hi s
l Fi g. 4Bl . You
j ust
adj ust t he
shape to fit the arpeggio.
You demonstrated a three-
string pentatonic lick
earlier. Can you expand
I love peniatonic sweeps.
The typical pentatonic
scale shape has t\,vo notes
on each st r i ng, but l t end t o
do it differently-l sweep
wherever possiblel lt's a bit
more of a stretch, but here
i t i s I Fi g. 51.
You've mentioned that
there's a mathematica I for-
mula for it.
Yes, there is.lf you want
to use sweep picking as
eff iciently as possible,
You
need to have an odd
number of notes on each
string-whether it's an ar
peggio shape with
just
one
note per string IFig.6Ai, o.
a more scale-like pattern
with three notes per string
l Fi g. 68l . Then, t o change
dkection, you need an even
number of notes, so you'd
play onlytwo notes on the
string wherethe turnaround
occur s, and t hen go backt o
three notes per string forthe
What about improvisation?
For instance, what would
you play over an Em7 chordT
Wel l l woul dn' t pl ay an
Em7 ar peggi o; i t ' s
j ust
t oo
squar el So i nst ead, l mi ght
st an on t he 3r d of Em7
( G)
and t ake i t up t o t he
gt h
( F{ ) ,
l eavi ng t he r oot out
altogether, and that gives
me a Gmaj T ar peggi o l Fi g.
71. l t sounds
j azzi er
but i t ' s
al so mor e har moni cal l y
diseBsion of blues
and phrasing. online
afGuitaronemag,coml
When it mmes to the "digft.lvs. analog- dbab, Frant
Gambalo has sohe raihr choico woiats or ths lubiost.
Hers's what hs had to sayi
"l'm quito contary to the popularway th.t guitrr phyors
gttone. Wiih todoy's technology, ldont understand why
we can,t build a gra! amp without iubs. Th guitar in-
dustry is probably
one olths only ones left on the planet
that still tfiink3tubas ar bette. tha. .nything else. I
iusi
dont bal:ev. in h.ving . steam-poworod laptop-know
what lmesn? lt doesnt mak. sn6e to m. Peoplo still
think rhat vinyl3oun& bttr th.n digltal; l'm sorry, hav
you listercdto an LP lately? Thoy sound horrible, and flat,
and thin-to my 66r" And how many audiophiles are left
anyway whon .veryons's listgning to mp3s oll iPods?"
Sitevie
llax
VauglraqJ
Gettirrg In step with
a Blues-llocl<
l-egencJ
By Tom Kol b
l N 1983, A YOUNG GUi TAR| ST named St evi e Ray Vaughan r ocker ed out of t he
Lone St ar st at e l i ke a Texas cyct one. Ri di ng on t he acct ai m f uel ed by hi s scor ch_
i ng l eadwor k on Davi d Bowi e' s char t - t opper
, , Let , s
Dance, , , Vaughan
and hi s band
Doubl e Tr oubl e qui ckJy
r ecor ded and r el eased Texas Fl ood, whi ch woul d her al d t he
bl ues r evi val of t he
' 80s_
Wor t d t our s and a st r i ng ol accl ai med al bums_ Coul dn, t St and
the Weather, Soulto Soul, Live Alive, and ln Step {o owed. Appealing to blues and
r ock audi ences al i ke, Vaughan r emai ned i n t he t i met i ght unt i l 1990, when hi s l i f e was
cut l r agi cal l y shor t i n a post - concen
hel i copt er cr ash.
Vaughan' s uncommonl y i nt ense st yt e was char act er i zed by a combi nat i on of br i l ,
l i ant el ect r ; c- bl ues chops, gar gant uan
t one, and a st r ai ght _f r om_! he_gut
sot oi ng ap_
pr oach. ( Vaughan' s
i nf l uences i nct ude At ber t Ki ng, Buddy cuy, B. B. Ki ng, Ji mi Hendr i x,
and hi s own br ot her , Ji mmy. ) A st r ong si nger , Vaughan accompani ed hi s vocaJs wi t h an
aggr essi ve r i f t i ng st yl e, i nt er t aced wi t h exqui si t e f i l l s and count er bal anced wi t h ext ended
sol oi ng excur sj ons. At t hough hi s t i me i n t he spot t i ght was f ar t oo br i ef , Vaughan i s i mmor t at -
i zed by t he ever - gr owi ng t egi on of young guj t ar pl ayer s
i nspi r ed bv hi s sout f ut st vl e.
'l'lre
l-id($
Li ke most b Lr es gui t ar i st s,
Vaughan f avor ed t he bl ues
sca e (l ^3-4
15-5-.7). Fig.
' l A
i s an exampl e of hi s
open- pos t r on appr oach t o
t he E bl ues scal e { E G- A-
B. B-D). Fashioned after
hi s bi azi ng out bur sr s i n
"Scut 1 e Eut t i n"' ( CouJdnt
Stand the Weather), t fea-
t ur es a whol e si ep bend
and sever a l egat o moves
( a
sl i de and t wo set s of pul i
of f s) . Feel f r ee t o exper i
ment wi t h var l ous pi cki ng
drrections, just
be sure to
use a st i ong at t ack. Fi g. l B
i s anoi her hal l mar k SRV
i ck. Thi s one mi xes not es
i r om bot h t he A r ni nor end
A r nal or pent at oni c
sca es
lrespective y, A-C-D E-c
and A B- C: - E Fr ) . Pi cki ng
suggest r ons ar e i ncl uded
betwen the staves.
Vaughan of t en empl oyed
doub e stops (two
notes
pl ayed si mui t aneoLr sl y) and
t r i pl e st ops
( t hr ee
not es) t o
f at t en up hi s so os. Fi g. 24
i eat ur es a handf ul of hi s f a-
vof i t e r noves, al l set agai nst
F
E
J.= 60
an E7 chord, Strive to keep
all three strings parallel as
you bend the lasttriple stop
a quartr step. IncidentallY,
Vaughan would often use
all u pstrokes for these types
of figures; listento "Pride
and.Joy" and "Lovs Struck
Babv" lTexas Flood)lor
prime examples. Fig,28 is
an example of his double-
and triplestop moves an a
slow-blues vein. Play the
double-stop bend {1st and
2nd strings)with the fleshy
underside ol your 3rd finger.
Fig.3 is an example of
Vaughan's iniense, slow-
blues soloing. Inspired by
memorabls moments in
"The Sky ls Crying" afhe
Sky /s Crying, the lines are
cralted from the C minor
pentatonic scal
(C+F
G-Bt), played in the "Albert
King" box {a live-note
group
on the top three strings) in
1 lth position. Stay in posi
tion throughoul using your
1st finger for the l lth-fret
notes, your 3rd finger for the
13th-frst ones, and your 2nd
Jingerforthe 12th-fret G.
For allhisferocity,
Vaughan had a tender side,
too. Fig.4 msldssome lus-
cious, Hendrix-intluenced
moves inspirsd by "Lenny"
lTexas Flood)with some
jazzier
maneuvers in the
style of "Riviera Paradise"
f/n Sfep). Use your wham-
my barto provide gentle vi-
brato on the Emaj13 and A6
chords. At the close oI the
passage, swipe the top two
strings aggressively behind
the nut with your pick.
The Solo
The solo [E9.5]is over a
slow blues
piogression
in the key of E. Alter an
introductory pickup mea-
sure, the torm follows a
standard l-.lV-V
(E7-A7-87)
in measures l-10 {thefirst
measure), shiftsto a l-lv
tag in measures 1l-12, and
gos out on a bll-lchange
The solo opons with 3
cycled B/G dyad
(bend
the
2nd string a quarter step
while you keepthe lst sta-
tionary) and an open-posi-
tion tlurryof double- and
. triple-stop clusters
(se
Fig.2A). Grab the 3rd- and
2nd-fret clusters with a
, l =50
Emajt3
Al3 (Eva)
@f
J. =60
CONTINUED
I
i
h
;
HI
4?n
-Tl
I
3rd-finger barr. {Notice that
the soto is notated in t2l8.lf
this is a newtime signature
foryou, think ofit as 4/4
with an eighth-note triptet
subdivision
on each beat.
Try counting "one-and{h,
two-and-uh, three-and-uh.
f ouFand- uh, ")
The band comes in at
measure 1 and the solo
starts in earnest with a
oth-string pop,
a trill{rapid
hammer-on/release
motion),
and a rapid-tire blues lick.
Measure 2 brings the quick-
chnge lV chord (ATland
the solo slips into a series
oftriple stops based on the
principles
set forth in Figs.
2A-8. Msasurc 3 returns to
the lchord (E7)
and the tripte
stops continue (add
fret_
hand vibrato to the fretted
notes), ending in a tremolo-
picking
flurry. (Using
an up_
and-down motion, strum the
topthree strings as rapidty
Msasures 4-5 exploit the
"Albert King" E minor pen-
tatonic box in 1sth position
{see Fig.3). Playthe l7th-frct
double-stop bends with the
tip ot your 3rd finger, bend-
ing the 1st string toward
the 2nd string before tret-
ting the latter. The segue in
mesures $$ fatures two
trademark SRV moves: a
sliding Ag voicing foltowed
by a 6th-string snap-grab
that string between your
pick hand's thumb and index
f i nger and pul l
up f ar enough
that the string snaps back
to the fretboard when you
release it.
The signature lick overthe
l V chor d ( bar
6) i s bui t t l r om
a combination
ot the A ma-
jor
and A minor pentatonic
scales, followed in bar 7 by
open-position
moves that
mirrorthose of bar t. (lfyour
lstfinger is too weak, play
the 3rd-string trill with your
2nd finger.)
Measure I hosts another
tremolo-strumming
outburst,
followed by a steadily esca-
lating bending maneuver in
measure 9, in which the lst
string is bent little further
with each attack. From here
on out, rapetition and pure
energy are the key factors
in copping Vaughan's fierce
sound. Dig in extra hard with
your pick. and use a wide,
vigorous f ref hand vibrato
wherever indicated.
,."N />
1 1 / 2 r v 4
A-'/\*
lI1,^.
t)
F--a
1 t 21 l n
*Puu
stdng w/ thhb &
*Pull
strirg
Vlhumb &
-l alldng
lul eter
l{ornr t<l CoLlnt ancl
Play in 6/tl' l' ime
Bv Dale Turner
YOU MAY NOT KNOWthe mechanics of 6/8, butvou've no doubt heard this lilf
ing time signature in sction. lt's used in eveMhing from children songs
("Hickory,
Dickory, Dock," "Jack and Jill") to Broadway rnusicals
("America," from lllest Side
Srory) to modern-rock masterworks
(PearlJam's
"Release " Jeff Buckley's "Grace,"
Radiohead's "subterranan Homesick Alien," A Perfect Circle's "Sleeping Beauty )
to pop-rocksmashes {Kelly Clarkson's "Breakaway"). In this lesson we'llunravel6/8's
many mysteries, studying its structure and examinjng its rh)'thm-guitar possibilities'
Deci pher i ng met er l s l i ke t hi nki ng i n i r act i ons For 6/ 8, t hi nk"6x1/ 8, "or si xei ght h
notes per measure. Understanding where 6/8's pulse resides and how it's divided is
the vickv
paft,
for it's a compound meter-aIime signature in whjch the top number
is divisible by three
(6,
9, 12, 6tc.), and the bottom number is eight {6/8, 9/8, 12l8, etc )'
In allcompound meters, a
pulse is felt everythree eighth notes. This means 6/8 \'tould
be counted "one-two-three-four-five-six."
Therefore,6, has lwo pulses, each divided
into three parts. (Th;s
actually makes ita compoundduple meter-) lJnderslanding this
is keyto feling 5/8 proporly and differentiating itfrom eighth notes in 3/4 and ?4 with
a triolet feel {2/4's
quarternoto pulse played wilh triplets), and so on'
Arpegglos
Let's conrpare 3/4 and 6/8
by modj f yi ng a f aml l i ar i n_
st r ument a r ock r i f f . Fi g l A
cont ai ns si x ei ght h noi es;
t he f i f st of each i s pai r
accent ed. Thi s
Pr oduces
t hr ee beat s, each of whi ch
i s dl vi ded i n t wo ei ght h
not es, count ed
( accent s
i t a i ci zed) r "on+and' t wo_
and-thrce-and," llke 314.
Fi g. 1B shows t he same r i f f
wi t h accent s ever y t hf ee
ei ght h not es,
Pr od! c
ng
t wo pu ses, count ed,
"ona
two three'fotrrjive'six" for
a 6/ 8 f e| .
( Hence
6/ 8 s met -
r onome maf ki ng of dot
t ed q uar t er l t hr ee
i ght h
not esl = 96. ) Fi g. 2
put s Fl g.
18' s 6/ 8 f eel i nt o a cl ass c
pr ogr essi on r emi ni scent
of hi t s i n 6/ 8 l i ko t he Beach
Boys"' l n My Room" and
t he Beat l es' "l Want Yo!
( She' s
So Heavy) . "
Rush' s Al ex Li f eson i s
a master of metrica ex-
per i ment at i on; he of l en
cor nbi nes 4/ 4, 5/ 4, 6/ 8, and
7/ 8 si gnat ur es wl t hi n a
I
counl oi e
'
dd. n\ o
1(t t uN nt.rth.tl
- - . 1
count: one
(\.
rlued
i.r,ir! rirtrrr!/rrrr
- -
' - - -
l
single section. However,
in more accessible mate-
rial-like "The Trees"
\Hemispheresl,
which
i nf or ms Fi g. 3- he' l l si t
j n
one meter for an extended
t i me bef or e l aunchi ng i nt o
othors. Interestingly, this
nylon-string
passage is
rem;niscent of the Renais-
sance composer Jonn
Dowl and' s
( 1563- 1626) gui
t ar wo*s, manY of whi ch
fall in 6/8,
Fi g, 4 t akes our f ami l i ar
6/8 arpeggio and plugs it
into fully frotted shapes,
addi ng chor d or nament s
similar to those played by
Neal Schon in Journey's
"Lights"
(lnfnlty).
Grab a
Fender Stratocaster, di6l
in
iust
a touch oI
gain. and
pick using mostly clown-
strokes, digging in
just
hard snough to coax
grit
Now let's add some 16th
notes, An entire measure
of l6ths in 6/8 is counted,
"One-and, tlvo-and, thre-
and, four-and, five-and,
six-and." Inspired by the
Ani mal s' t ake on "House
of r he Ri si ng Sun"
( I r e
Arimals). Fig. 5 reveals
how this new note value
adds interestto eighth-
note-based arpeggios.
We'll continue developing
'l6ths
in 6/8 in {orthcoming
Strum It
Over the past decade,
several mainstream rock
hits have been in 6/8 time.
Inspired by the Goo Goo
Dolls' "ltis" lcity of Angels
soundtrack). Fig. 6 features
chord roots
Pitted
against
vi gor ousl y st r ummed 16t h
notes.
(Note:
this Jigure
fatures guitarist Johnny
Rzeznik's B-D-D-D-D-D
t uni ng ar r anged f or st an-
dar d, ) Recent l y, John
.r.= 88
Bm
r
Iet rinr throwhoul
Count "one -
aid. lwo:dd, lhree
-
fld, fou md, nvefld, six and"
F- - - - -
- - - - - l
v - - - - - - - - - - l
I
=
. t
4
I
''one'and,
two md. tbrce-md,
t! l'f v - v
four sd, file-md, six ed'
N F VF V
J. = 88
) . =76
--n
I
- 0l l
E
---+t
3
Mayer st r uck
gol d usi ng
a si mi l ar aPPr oach wi t h
hi 6 6/ 8
gem "Daught er s"
lHeavier
Thingsl.
I n{ or med bY t he
Beat l es' "Nor wegi an
wood" l Rubber
Souk,
Fi g. Tf eat ur es aDma-
jor (D-E-Fi-G-A-B-Cl)
mel ody
pl ayed on st r i ngs
3-5 between strums ot
an open D chor d.
( Not e:
"Nor wegi an
Wood" was
or i gi nal l y
pl ayed wi t h a
capo pl aced at t he 2nd
f r et . ) Look out f or t he
gr ace- not e hammer - on,
f r om At o B, i n bar 1.
We' l l wr ap up our ex_
ami nat i on of 6/ 8 st r ums
wi t h Fi g. 8, si mi l ar t o
what John Fr usci ant e
pl ays on a 12- st r i ng
acoust i c i n t he Red Hot
Chi l i Pepper s"' Br eaki ng
the Gitl" lBlood sugar
Ssx Magik). KeP
Your
pi ck hand movi ng i n
swi ngi ng 16t hs { l i st en
t o t he met r onome cl i ck
at our Web site
(www.
guitarcnemag.com),
t hen hi t t he st r i ngs i n t he
prescribed funkY rhythm,
whi ch i s t he same i n bot h
Heavy Rock
6/8 can be extremely
effective in heavy rock
set t i ngs- check
out t he
di r ge- l i ke Fi g. 9, i n whi ch
low-register nots are
set agai nst mi ddl e- st r i ng
har moni cs. Whi l e t hi s
aPPr oach wor ked f or
Soundgar den i n songs
l i ke "Li mo Wr eck"
( SuPe-
runknownl , headv melal
pi oneer s l i ke l r on Mai den
speed- Pi cked t hei r waY
through 6/8 riffs, achiev_
i ng a "gal l opi ng" ef f ect
wi t h
power chor ds and
mut ed, open- st r i ng
dr ones t Fi g,
101.
Progressive rock acts
l i ke Ki ng Cr i mson, Yes,
and Genesi s have r ou-
t i nel y mi xed met er s I n
t hei r musi c, and heaw
r ock act s l i ke Ki ng' s X,
Dr eam Thoat er , Tool ,
Meshuggah, Syst em of
a Down have i n r ecent
year s aPPr oPr i at ed t hi s
concept . Al t sr nat i ng be-
tween 4/4 and 6/8 time
si gnat ur es, Fi g. 11 i s i n-
spi r ed by t hese f or war d-
t hi nki ng bands.
"oN-21t, two
-
akd, lhfte-4nd,
leiingthrotqhort
.
.
| r ( v n) v( F) v
fou
ann,
fue
-
ond, six-and"
F
( V)
F V N V
\/'
G5 Fmt BtmajT AlmajT({ll)
loco 8va
-j
locoS')a-1
loc.' 8w--l
(.lt =
))
G/B CsAsus2
G[7sus4
D5 E5
Hm.-l Han.-l
r . u. - - - -
- - - - - - - - - - - - - - - J
N ' VFVFVNVF
N FI
Goth'si
GmncleLlr
'flre
Gr.litar tilcills
l3elrincl tlre Eyeliner
By Mac Randall
TO OUOTE THE GnEAT John Lydon
{ a. k. a. Johnny Rot t en) , anger i s an
energy, and that energy revitalized the
mid-1970s British music scene in the
form of punk rock, as now_legendary
bands such as t he Cl ash, t he Damned,
and Lydon's own Sex Pistols stuck up
t hei r mi ddl e f i nger s at gover nment ,
soci et y, and anyone who t hought t hat
you needed to be a virtuoso to
PlaY
rock'n' roll, Unfortunately. one
prob-
lem with ange. is that it has a limited
vocabulary. Punk soon Proved
lo be a
musi cal dead end, as bot h pl ayer s and
listeners quickly gtew tired of hearing
the same old barre chords and recYcled
Chuck Berry licks. Someth:ng new was
needed, something nol necessarllY
more complicated but definilelY more
varied, with a wider sonic scope. And
so
got h was bor n.
Cr i t i cs and t ans wi l l wr angl e t i l l ki ng-
dom come over who the true forerun-
ners ofgoth were, but most agree that
the first indisputable
goth anthem was
Bauhaus' s 1979 debut si ngl e, "Bel a Lu-
gosi's Dad." with singer Peter Murphy
intoning cryptic lyrics aboutthe man we
all know better as Count Dracula and
guitarist DanielAsh spewing out shards
of noise that seemed to emanate from
beyond the grave, Bauhaus created a
dark, creepy, comPelling mood that
was soon widely copied Before long'
groups like Siouxsie and the Banshees
and the Cure, both ofwhich had started
out as punk, were adding horroFmovie
atmospherics to their songs, and the
subgenre they helped foster by doing so
cont i nuest o t h; s day.
Goth is oflen regarded more as a
{ ashi on choi ce t han a musi cal st yl e
but beyond the black lipstick and white
pancake makeup l i es a l ot of t er r i f i c
music-and as we ll see in the follow'
i ng exampl es, t he gui t at has al ways
been goth's plvotal instrument.
. -
-
. . , : .
,.,.. ii
: : ,
I
. : i
.
, "1
Dani el Ash' s gui i ar wor k
i n Bauhaus was r ar el Y
convent i onal
( t hough hl s
p ayl ng became somewhat
mor e nor r nal i n hi s sub
sequent band, Love and
Rockets). Distortion, delaY,
and modul at l on wer e al l
essential
parts of hlstone,
addl ng dept h and wer ght t o
what might otherwise have
sounded r udi ment ar y. Bal l s
out st r ummi ng and bends
evocative of seasickness
n
I
6
:i .
1,',-
14 14 14- 14 14 14 1l 11
-
12 12-12-12 12-12 12 12 1
al so f eat ur e pr omi nent l y i n
Ash's style, and both are
on di spl ay i n Fi g. r , l oosel y
based on part of Bauhaus s
"l n t he Fl at Fi el d. " Hi t t hose
strings as hard as you can
f or t he skai ght ei ght h not e
bi t s, l i ght eni ng up ever so
sl i ght l y f or t he bent not es.
John Mcceoch, gui t ar
man f or Si ouxsi e and t he
Banshees dur i ng t he ear l y
'80s,
was a moretechnicaily
skilled and musically knowl-
edgeabl e pl ayer t han Ash,
and you can hear t hat i n
the super-sma rt ch o rd voic-
i ngs of Fi g. 2, i nspi r ed by
t he Banshees' 1980 si ngl e
"Happy House. " Those
open- soundi ng mi n11 and
Tsus4chor ds ar e mor e
than a little reminiscent of
another great guitarist from
this era, the Police's Andy
Summer s. For Fi g. 3, we
move on t o t he cur e and
t hei r i coni c l eader Rober t
Smith, \,!hose striking hair
style could understandably
i mpai r your r eal i zat i on of hi s
estimable six-string abilities.
"Push, " f r om 1985' s l he
Head on the Door,isrhe
i nspi r at i on her e, showcas
ing one of Smiih's favorite
moves: supporting a simple
but striking melody on the
hlgher strings with a con-
stant eighth-note bassline.
A sense offoreboding
is an absolute requisite in
goth, and few have known
how to conveythat more
effectively than the Sisters
of Mercy, led byAndrew
El dr i t ch. Fi g. 4, si mi l ar t o
the centralguitar riff on
the Sisters' 1987 track "Do-
minion/lvlother Bussia,"
captures this quality. There's
something unsettling about
the lengthy spaces Eldritch
leaves between phrases,
and ihe waythat F, the sus-
pended 4th, hangs over the
C i n r neasuf e 3. Our f i nal ex-
ample draws on the catalog
of t he Cul t , a band t hat or i gi
nal l ywer e got h bul ar guabl y
were no longer so bythe
t i met hey
got f amous. St i l l ,
there's moody atmosphere
apl ent y i n Fi g. 5, i nspi r ed
by Billy Duffy's classic r;ff
on "She Sel l s Sancl uar y, "
which milks an archetypal
goth formula, layering a
modal si ngl e not e l i ne over
a dr one i n a manner t hat
vaguel y suggest s I ndi an and
Middle Eastern music.
tr2
I()NE$ ON TAIL
Want that doomy,
gloomy goth guitsr
sor$d? In short, herct how
Vou
g6t il modu-
lation 6ff6t3, and lots ol thern. Flangin$ .fio-
rur vibrato, phr5ing-rthoy're all
great .nd
whon you've got drem an going at the same
tim and at ditreredt spce&, they're even
bstt6r. You.ll also need a dolay.
prf*ably an
analog on. like dt ElecbqHarmonix Momoiy
Ma set io a Bhort rcpeat, and a
fudox of some sort if yo!'re look-
ing to nail tho D.ni.l Ash tone in
Fig. 1. Otherwis, d:slortion won't
b nc6sary. Mo6t crasic
goth gui
t'] tone6 ar actually dean, though
ce.tainly not dry. Ths type ol
guitar,
pickuFs. or amp you usa matte6 barely
a wfiil her;
iust
make srr6 you crank
flem loud nough so that the pedab can
produc havoc with little prompting.
) =126
5
9
Guitarisitsi
tl
lulegaclet
A Classic lUletal
()nslauglrt's
Inner \llfog6,tt*
By Troy Stetina
l N 19a3, af t er get r i ng unce. emoni ousl y boot ed out of t he
embr yoni c Nl et al l i ca, gui t ar i si Dave I \ 4ust ai ne f or med Mega
det h. I n t he near l y 25 year s si nce t hen, hi s band has pr oved
t o be a def i ni ng f or ce i n met al , as wel l as a shr ed bonanza-
t he l ead gui t ar sl ot has been occupi ed by no l ess t han seven
excepflonar
prayers-
Ear l y Nl egadet h l i neups i ncl uded gui t ar i st Ker r y Ki ng
( Sl ay
ed, among ot her s, bui by t he t i me of t he band' s f i r st al bum,
Killing ls My Business...And Eusiness ls 6oodl
(1985),
Chris
Pol and was on boar d, and he r emai ned so f or t he 1986 f ol
l owup, Peace sel l s. . . 8ut Who' s auyi ng?
( 1986) .
A mul t i f ac_
et ed pl ayer wi t h deep
j azz
f usi on r oot s, Pol and was, and i s,
capabLe of pl ayi ng exper t l y anl ahi ng he coul d dr eam up, no
mat t er how demandi ng. Hi s i mmedi at e successor was Jef f
Young, followed in 1990 by I!4arty Friedman, who'd previously
par t ner ed wi t h f el l ow shr edder Jason Becker i n t he i nst r u'
ment al gr oup Cacophony. Fr i edman' s decade wi t h t he band i s
seen by many as Megadet h' s "gol den er a. " The musi c evol ved
f r om i t s ear l y t hr ashi ness t owar d heavi er , mor e appr oachabl e,
and of t en mor e moder at el y paced gr ooves, whi l e Ff i edr nan' s
soloing finesse earned him well deserved status as a maste.
met al t echn; ci an. Li ke Pol and, Fr i edman al ways seems t o
ser ue t he mel ody f i r st ; hi s sol os ar e t i ght l y st r uct ur ed, wi t h an
excellent sense of pacing-
Af t er t he mi l l enni um, l ead dut i es i n N, 4egadet h f el l t o Al
Pi t r el l i
( Tr ans
Si ber i an Or chest r a, Savat age) f or sever al ai
bums. I n 2004, Chr i s Pol and r et ur ned br i ef l Y t o add sol o wor k
to The System Has Failed. And the band s upcorning Untted
Abomi nat i ons, cur r ent l y schedul ed f or a May 2007 r el ease,
f eat ur es i he l at est pl ayer t o
j oi n
t he f r ay, Gl en Dr over
( Ei do
l on, Ki ng Di amond) .
Fi g.
' l
i s a l i ck si mi l ar t o
l\4arty Friedrnan's me odic
sol o ent r ance i n "Lucr et l a'
/ Fust , r Peacel . l t ' s a good
exampl e of how you can
hug i he chor d t ones oi a
progression, decoraled with
wel p aced passing tones
and subtle shifts oftona ity.
Not et he t empor ar y F, mal or
ar peggl o
( Fr - A,
Cr ) , whi ch
br eaks up t he pr evai l i ng Fr r n
f eel . A so, over t he E, t he
col or at i on l s di st i nct y mi nor
instead ofthe expected lvlix-
olydian {which wou d be nat-
/-\ /
=
a 7
9 5 9 i 1 4 9 - 1 2 7 - 3 1 c i - - _ -
-
_
' r 1
9 _ I - 9 4 5 - t
_ -
9 8 -
A
l fl
i..{
L, 7
\
I
ur al t ot he key of FF mi nor ) .
The use oidisplaced octaves
in measure 2 adds furthef in
terest, while in measure 3we
see Bm superimposed over
D5, anoiherfusion move that
implies a DmO chord.
Chris Poland's lead ap-
proach gets a showing in
Fig.2, based on his solo in
"The Scorpion" /lhe Sysfem
Has FailedJ. Smoothly con-
trolled vibrato and bending,
along with precise left-hand
execution, gives Poland's
playing a smoother, "West
Ahhough Glen Drover's
overall s\,le occupies territo-
r ysi mi l ar t o
Fr i edman' s and
Poland's, he tends toward
more intense speed lines, as
can be heard in h;s recent
work with Eidolon. Fig. 3
gives a sample ofthis flashi
er appr oach, movi ng a si ngl e
basic fret-hand shape
(with
a
few variations) th rough sev
era I positions fo r a full-scale
shred assau lt. The tricky pan
here is the rhythm. Follow
.i = 100
B5
& & / -
.<"-;
1.t-8-8-11-8-8-14 1 1-1 1.14,1
lo lo-10-10 12-12-12 1
KXW
TTM
\
I
>
$hred $upplements
Moqadeth has sone drrough many inc.rnalions, bul it6 music ha5 st
Yod
ronsr*tblv consident
St;dout afbums trom tha M.rty Friedman
psriod
indud ausa it Psaca
(19901,
Courttdown
to Extinctior' 119921, and votnharrash l199al. In parlicrrlar, lbtn to the 3on$
-Hangar
l&-
"Lucrtia." "Svmohonv ol Dssbusbon," "Countdown to Exiincrton,-
'Sxroating
Bull6ts,"
"Youthan$la,; aird "T;in of Consequnc6.' Chrilt Polands b66t Mssaddth work can b.lound
on Peace Sells.,,but ttvhob Buyhs7 lls36.l and fhe Sysrent Has hilod l2oorl.
It's worth noting ihat in 2004, the bandi irs catalog uP to that point wa3 rdrsued in
rmixed .nd rma3t*od ve6ions. In addition, chck out Fridmat'3 origlnt Cacophorry .elo$e.
with Jason Bckar, Poland'3 solo.lbum F artt to,ltttlropol&, and Glen Drovst's wo.k with
Eidolon fhe Par|a eI
(Xh.two@,
Kins Diamond 4901136 otcodr, al|d Uon's Slitre.
each repetition of the pattern
and you' l l seet hat i t r epeat s
in a regular sequence, taking
exactly one and 3/10 beats.
To get something likethis
down, first practice each
shape paying no attention to
the rhythm. Afteryou can do
every portion of the pattern,
feeling a single downbeat
on each rcpetition, then
consider the hemiola-type
rhlthm above the staff. Feel
that rhythm and dropthe
pattern repetitions right into
it. This
js
a very advanced
concept, so don't feeltoo
bad i f i t gi vesyou any
problems-this is the Shred
column, after all!
It will certainly be interest
ing to hear how Drove/s
lead style fits in with the new
N4egadeth. Inthe meantime,
check out his recent black
metal side project Lion's
Share
(lionsshare.
org) for
some more over tne-Iop,
21st-century shred.
18 17- 151718 1&17. 15- 1718
- 17- 16
1
l3
l3
ig l3ill
r()orl:ay
'l'he
Acoustic
tityllngs
of
a Great
l3lues OomPoser
By Kehh Wy6tt
i r c at LL AnbONzV t U. 1898,
Scot t , N4S; d. 1958, chi cago, l L) was among t he most ver sat r l e
and pr ol i i i c mus i c i ans of hi s
gener at i on Rai s edi nr ur al s ur r oundi ngs '
he f ound hi s way
i o Ct r ; cago, wf t ur e hi s *i nni ng combi nat i on of d; ver se t eper t oi t e
( i ncl udi ng such or i qi nal
composi i i ons as "Key t o t he Hi ghway" and "l Feel So Good") and out st andi ng musi ci an-
shi p made hi m one oi t he def i ni ng f i gur es of pr ewar chi cago bl us Dur i ng t he gr owi nq
i ol k scene of t he l at e t 94Os, he began
pl ayi ng i n col l eges and cof l ee houses' wr appi ng
poi nt ea messag"" anout t ace and cl ass
( "Bl ack, Br own and Whi t e Bl ues") i n dr y' sel f - dep
i ecat i ng wi t . As- one ol t he f i r st Amer i can " r oot s" musi ci ans t o t our Eur ope' he di r ect l v
i nt l uenced many Jut ur e st ar s of Br i t i sh bl ues-
Fi g. 1 i s si mi l ar t o "Hey,
Hey Baby, " a Br oonzy
favorite that insPired a
young Er i c Cl aPt on, who
decades later covered lt
on Unp/ugged. BroonzY
pl ayed f i gur es l i ke t hi s wi t h
an easy assur ance t hat
coul d t ur n f t om sweet and
gent l et o har d edged on a
The sel f ' accomPani ment
is best performed with
bar e t humb and f i nger s
or a t humbpi ck.
( Br oonzy
favored the former aP
pr oach, al t hough he
Pos
sessed wi cked f l at Pi cki ng
ski l l s as wel l . ) Coor di nai i on
of t he hammer l i ke bass
pattern and upper-string
syncopations is tticky but
wi l l yi el d t o sl ow, met hodi
At t he end of bar 2, sl i de
up to the sth string's 7th
fret A with
Your
1st finget
and in bar 3, catch the 8th-
fret G with your 3rd finger'
( Not i ce
t he l i ber al use of
open st r i ngs her e. ) The 87
chor d of bar I i s based on
a 1st - f i nger bar r e and i s f ol -
l owed i n bar 10 by a t r i cky
pull off on the 47 chord-
nai l i he 3r dj r et G wi t h
youf 3r d f i nger and I n a
si ngl e mot i on sl i de i t down
a fret, to Fl, then
qr'lickly
pul l of f t o t he open E
Big elllBroonzy
playd and recordcd with-or wa3
at lsast
photographcd with-everal notabl guitart
fiom an exotic carvsd'top single"cutawaY GibBon Stvle
O to a Gibson L-7 archtoP to his main guitar in the
1950s, a M.rtin 000-24
, = r r o
t , l =;
l )
l{annenic
lmne'ing
CmajT
(Emaj?)
r =r r o( , 1=,
Ji
Dm7
(DDr?)
(Er?)
, =l 4o( t =. . i )
BmajT
D7
l =l ao( ; =i
i )
Gmaj?
Bbl
Bb1
:.
E
The
Advanced
Progresslons
of John
Coltrane
B6ilii'sH=*" f,-"t
REcoReED
lN 1s5e, John coltrane's
"Giant steps".contains
i,i"ir"-J*"iiit
""".rthe
most challonsins chord
prosressions an im311Y':':11]-":'
:;::";i**;"J
;;;';'"' *t'o oi"o in rgez
""t
tre aie oi lt' anived at this harmonic'matrix
is a mvstery, as his exploratory
process was undocJmented
Some schola6 speculate
that
oi""iJ*tj";
** rn*ired by the B section of the Rodgers and Hart standard "Have
You
rur"liiiiJ"-io""".;
*itn its series oJ distantly retated ii-v-ls others surmise that coltrane
#:";;;;;ils;;";;n
from Nicolas slonimskv's
rhesaurus of scale"1'q
Y:r:do
ili"# '"
"'it "i"", "
.astery ot the
'Giant
steps"
prosression a k a "coltrane
,
ii""t"";
i*"lr"i."i
"r
any se;ious iazzer'
and this lesson should
help get
vou
started'
The top chords of Fig l
belong to a basic ii-V-l
pfogression in the keY ofC
(Dm7-G7-Cmaj7) Shown
in parentheses,the
lower
chords rePresent
Coltrane's
substitutions,
which move
through ihree keys: A', E'
and C. Fig. 1's single notes
outline the substitute chords,
creating an "outside," effeci
againstthe
ii-V-l
Fig.2 is based onthe first
four bars of "Giant Steps
'
The lines are built PrimaF
ilyfrom chotd tones, using
as little note repetition as
possi bl e. Shown i n Fi g. 3
are measures
5- ofthe
progression; check outthe
tetrachord
(fournote grouP)
ovr t he
Fi 7 chor d: 1
( Fl ) , 2
(Gf), 3 Gd),
and 5
(cf)
ofthe
F, maior scale. This move
works nicelYfor
both major
and domi nant Tt h
chor ds i n
any conten Once You've
learned these exerclses,
transfer them to the remaln
der of "Giant Steps," a lead
sheet of whi ch
i s avai l abl e i n
laam "C,oibans
Changs"
are
GiantSraPe
soud.In
lanscribing
the ritle track
ol GirrtsrePg
inlo Coltrans3
of
-Equinox,"
"Giant St6Ps"-tYPe
.fimmyPage
l{ammer
of tlre Gocls,
tf npluggecl
Bv Douql as Bal dwi n
ilinetuririiir
ron LED ZEPPELIN' Jimmv Pase helped ro creare
I'eavv :net?].s
c r us hi ' 1gl y
l oJ d r eput at i on bur t hebr eadl hof I hebands appeal al s ohadal ol Tooow' ul
ni.loiilit'." ac*"n
gritar. His love of traditional Celtic music' the exotic tonalities ofthe
fvfidafe East, ana the inirospective singer'songwriters
ofthe early'70s all{ueied the mighty
2ep' s r i s et ot het opWni l ewor k ngas as es s i onpl ay er i nt hemi dr 60s wi t har t i s t s l i k e.
i.'n"r"" V"" V"itt-, and Mari;nne Faithfull, Page undoubtedlv sawthe appeal of mix
-i"-g
,";;ti" i""irr."" *ith drums and electric
guitars London's thriving folk boomlcrought
piJkers like Davey Graham, Bert Jansch, and John Renbollrn to Page's attention as wet
The wide-ranglng acoustic
tastes of Zeppelin s resident
six strlngerwere
aPParent
on the quartet's veryfirst
al bum. Wi t h I ndi an Per cus_
si oni st Vi r am
Jasanr on
tabla, Page aPProPriated
Bert
Jansch! arrangement
of the
folk song "Blackwaterside,"
r enami ng i t "Bl ack Mount ai n
Si de" t Fi g
l l
"Goi ng t o Cal i f or ni a"
on Zep's fourth album, was
a full band effort in the
acoust i cvei n,
wi t h John
Paul Jones's mandolin Part
compl emeni i ng
Page' s
g! i
t ar wor k.
Amaze
Your f r l ends
by pl ayi ng t he mandol i n l i ne
along wiih the droning bass'
as shown i n Fi g. 2.
Ln spite of the "NO
STAIRWAYI"
signsthat hang
ln guitar stores, "StairwaY
t o Heaven" cont i nuest o
be
a benchmark song. I have
students begin by learnrng
the chords as blocked out rn
Fi g. 3. Pl ayt hi s evenl Y, wi t h
a t humb andj i nger s
st r oke,
and
you ll soon Ee readyto
wind on down the road
t . i
, , r h r r \ D t ' B E
j
= l,l8
Although he owned
i:t#i$fiJi- $
tr6cked ne$ to
l!
Les Pauls, so
:i
Pagey would
:i
use a HarmonY ,-:
sovereisn acoustic
ff
or Giannini 12- j5l
strins as
=h
3H""it:11" Gm
B:rJ*"(@
.
k
a
3
I
E
'ER
iE0
l0NS
WITH
Gl=All
This Month
in How-Ttl's and Reviews
MESA/BOOGIE
EXPRESS
SERI ES
We reviewthe Mesa/Boogie
Express 5:25, an EL84 powered
2s-wattcombo; and the 5:50, a
616-powered 50'watter classic
Boogie tone? Check. Boogie ver-
satilitv? Check. Are they forYou?
See and hear them forYourself
at Gui t ar onemag. com.
TAP
RACKS
8S0NS
AR
iKNOW
OOK
OF
t
BY CHITIS GILL
l l l
ho . hr i aca r ' ' n, r . : l Fn. l ar . l csi onal es 2007
- l
as i he year of t he pi g, but Dave Must ai ne
I
f eel s i hat h shoul d be consi der ed
t he
I
year of Megadeth. "This is mY year," says
I MLrstaine. "l've been really
patient over my
career, but now I feel that my tims has finally come.
Thanks to a resurgence of progressive and thrash
metal featuring technically
proficient guitar playing,
l ar gel y br ought about by a new gener at i on of bands
i nl l uenced by Megadel h, Must ai ne i s once agai n
at t he f r ont of t he met al movement t hi st i measa
knowing sage instead of a cocky young upstart This
has i nspi r ed Must ai ne t o pur sue hi s ar t i st i c vi si on
with renewed vigor, the results of which are boldlY
on display on the latest Nlegadeth album, Uniled
N4any f ans wonder ed i f Must ai ne s conver si nn
to Christianity five ysars ago would dilute the ag-
gressiveness of lvlegadsth's music, but Unifed
Abominations tocks even harder than the bandt 2004
comeback. The System Has Failed "N4ytongueand
hean may have changed, but t he weapons ar st i l l
i nsi de and t he hand i s t he same, " says l Must ai ne
"Maki ng t hi s al bum was such a huge under t ak-
ing because I was in the process of re-establishing
[ r egadet h and t he cr edi bi l i t y of t he band and mysel f
as a
plaver.
I needed to get back in touch with my
r oot s. Fi nal l y l t hr ew caut i on t o t he wi nd and deci dod
I was not going to write a radio song on this record I
was
iust
going to write from myTony Montanas lt
worked. The whole process has been a spiritual un-
der t aki ng t hat has bl own my mi nd. "
Hal f way t hr ough compl et i ng t he al bum, Must ai ne
hired Andy Sneap, known for his previous work with
Killswitch Engage, Nevermore, Arch Enemy, Trivium,
.'.-.-44
and numer ous ot her met al bands, t o co- pr oduce and
mix United Abominations. "We needed to make some
necessary changes," explains lvlustaine. "The recotd
needed to go more in the metal direction, and Jeff
Bal di ng, who co pr oduced t he sessi ons upt ot hat por nt ,
and I agr eed t hat we needed t o br i ng someone el se i n t o
hel p us do t hat . Thesound oi t hi s al bum i s a consi der
abl e
j mpr ovement
f r om t he sounds i hat l ' ve had i n t he
past. l'm going to work with Andy until I retire.
'
Forthe firsttime in Mustaine's career, he's left all of
hi s past baggage behi nd hi m. I n addi t i on t o enj oyi ng a
renewed outlook on life, Mustaine is surroundjng him'
self with an entirely new supporting team. He's working
with a new management company and record label
(Roadrunner), recording his first effort with a entirely new
lineup consisting of bassistJames Lomenzo and broth
ers Glen Drover on guitar and Shawn Drover on drums,
and even playing a new guitarthanks to an endorsement
deal he signed with Dean Guitars, which introduced
Mustaine s signature VMNT model in January 2007.
N4ust ai ne has endur ed many t r i umphs and st r uggl es
si nce N4egadet h f or med i n 1983, but now he l ooks f or _
war d t o t he f ut ur e i nst ead of dwel l i ng upon t he past . He
hopes to continue to pave a path for metal musicians
both by being a positive example and by providing
up- and- comi ng bands a boost of exposur e t hr ough
endeavor s l i ke t he 2005 and 2006 Gi gant our f est i val s.
"l ' m so happy t o shar e what l ' ve l ear ned, t o shar e my
clout, power, and authority with other musicians,"
says Must ai ne. "l t t my way of car vi ng a pat h f ot t hem.
Ever y door I open up makes i t t hat much easi er f or
t hose who f ol l ow me. "
N4ustaine invited Guitar Ote across the pond to
obser ve Megadet h i n act i on as t he band f i ni shed oveF
dubs at Andy Sneap's Backstage Productions studio in
Engl and' s West Mi dl ands.
When The System Has Failedcame out, you said it
would bs the last Megadeth alblm. What inspired you
t o change your mi nd?
The System Has Failedwas initially supposed to be a
sol o al bum. I had l ef t Megadet h behi nd i n 2002 and was
goi ng f or war d wi t h my sol o car eer Whi l e I was i n t he
st udi o I got a cal l f r om my publ i shi ng compan, and
t heyt ol d me t hat l owed my l abel anot her Megadet h
r ecor d. Unt i l I gave t hem t hat t hey woul d own me as a
sol o ar l i . t . I di dn' t l i ke t he i oea of someone owni ng my
r i ght s f or ever so my sol o car eer had t o wai i
That al bum was goi ng t o be t he l ast N4egadet h r e
cord, but when we went on tour the crowd response
was r eal l y sur pr i si ng. l t
j ust
cont i nued t o gt ow The
t l mi ng seemed r i ght f or i t . Al l t hese young gui t ar i st s
wer e ci t i ng Megadet h and my l ast band as t hei r i nf l u
ences, and t hese guys wer e r eal l y t al ent ed. To have
t hem payi ng homage t o me was r eal l y f l at t er i ng. As a
result ofthat, a lot of people were corning out to see us
Gi gant our i nf used a l ot of i nt er est i n I Vegadet h.
Did that praise affect your guitar playing?
l mi ssed bei ng t hat gui t ar pl ayer t hat ever ybody l ooked
up t o- not necessar i l y l i ked, but l ooked up t o. Thaf s
a degr ee of how good you ar e. You' r e goi ng t o have
peopl ewho l ove you andt hose who despi se you To
t he peopl e who l ove me, l ' m honor ed. Tot he peopl e
who desp; se me, l m happy.
The last five years h6ve been the best years of my
car eer because l ' m r eal l y cogni zant and i n t he moment
watching what is taking place. lt's been a period of soul
sear chi ng and i nt r ospect i on. l ' ve gone back t o t hat boy
i nsi de of me t hat l oves t o pl ay t hi ngs t hat make peopl e
go, "l hat e you Dave. " Gl en sai d t hat l ast ni ght when he
u/as trying to p{ay a riff I wrote. I wonder if l'm
jlsl
sup
posed to be a writer 6nd not a player because I always
write stuffthafs beyond what I can
pl ay. Usual l y when i i ' s beyond what
I can pl ay I have my ot her gunsl i ng-
er do it- Fortunately l've had some
of t he gr eat est l al ent i n t he musi c
busi ness on my si de
ANARCT{\'
rN ]'t{E tr(
Dave Mustaine with producer
Andy Sneap ar Backst6se Pro-
ductions, in England loppositl.
Mustaine's simple r.ck con-
sists of a pah of Line 6 custom
amps and a
Pair
of Rocktron
Prophosy
preamps, with a
Whirlwind Multiselector and
a Sony wirelss system.
How di d Gl en become a
member of t he band?
I met Glen about three
years ago after lsaw a LlttLe
vi deo sni PPet of hi m on
ihe Internet. MY sPirit knew
t hat Gl en was t he r i ght guY.
l coul d t eL bY t he way he
moved and how he hast nr s
interesting look that's almost
Nat i ve Amer i can or Asi an
He has t he r ock st ar vi be' t oo
As soon as I heard him
PlaY_
i ns I sai d, "That ' s mY guYl " i
st ar t ed t al ki ng wi t h hl r n and
I not i ced t hat he seems ver y
shy unt i l
You Pl t
a gui t ar
l n hi s hand- t hen
he' s l i ke
Bruce Lee.
I nol ; ced an unusual Lane
6 amp i n t he si udi o what
: s i t ?
Thal s a sl gnat ur e amP t hat
Ll ne 6 made f or me l t s an
i ncr edi bl e, st r ong- soundr ng
ar nP t hat was model ed at t er
a 1967 l vl ar shal l Pl exi ,
and
i t has some ot her
PLug
I ns
t hal we used. l t wei ghs onl Y
a i i f t h of my Mar shal EL34
100 Dual MonoB oc heads
I t ' s a much mor e r esPonsi ve
amP wi t h a r nor e moder n
sound, and i t has a bunch
of effects wired into it wLth
a l t he cl assi c sounds l l ke
Rush' s f l anget Van Hal en' s
phaser , ki l l er chor us, and
gr eat del aY. TheY made cabl
net s l or me t oo. I l i ket o have
my cabi net s caul ked and
seal ed. The onl Yt hi ngs t hat
aren't sealed are the speakers
themselves
because otnets
wi se you woul d not be abl e
t o get t hem out The speaker s
ar e Vl nt age Cel est i on 30s
The amP has a cool l ook
t o i t , t oo. l t l ooks l i ke t he
The amP has f our basr c
t ones: cl ean, my sr gnat ' r r e
sou nd, megadr l ve, and t he
pl exi sound You can r un
t hr ough t he ar np | ] sl ng
j ust
t he power amP sect i on'
whl ch i s what I ' l l do when
I ' m usi ng t he Rockt r on
Pr ophesY, al t hough seml
pr o
Pl aYer s
can al so use i he
head by i t se f . l t has some
i nt er est i ng chor us, t l anger
and t r emol o ef f ect s t hat
ar e r eal easyt o use as wel
as a del aY, nol se
gat e, t aP
t emPo, and nor mal t onal
adj ust r nent s
f or sound l
want ed t o have mor e l nan
bass, ml d, and t r ebl e' so I
added a
Pr esence
knoD.
The back
Panel
has a l ot
of different outPLrts There
ar e XLRS so
You
can Pl ug
Ll
st r ai ght i nt o a mi xi ng boar d.
DEAN GUITARS
INTRODUCES
THE DAVE
MUSTAINE
VMNT MODEL
By Ghri s Gi l l
l\
ave Mustaine was one ot Jackson Guitars
I luiss""t
"naor"ers
since 1985, and he even
I
attempred to purchase the companv on
l/ three separate occasions When Fender
uttimately outmaneuvs.ed
him to purchase Jackson
in 2002, they offered Mustaine an endorsement
lhat
was significantly
less attract:ve than hisformer ar-
rangement.
"l went from getting 11 guitars a
Year
for
Iree and being paid a commission, which I never re'
ceived a
penny of over the entire 17 years, to getting
one
guitar a year." says Mustaine "l said fotget it
"
lnstead Mustaine ngotiated a new endorse-
ment dsal with ESP Guitars, but he ieft them in late
2006 du to a disagreement
concerning terms of
EsP's sponsorship
otthe second Gigantour
festival'
Mustaine was
preparing to enter a new agreement
with Jackson when Dean Guitars made him an offer
that was too
goodto refuse
D6an made the public announcement
or
Mustaine's endorsement
in Anaheim. California at
the 2007 winter NAMM show, where they debrted
two new models-lhe limited edition IJSA Dave
Mustaine VMNT Limited and the Dave Mustaine
VMNTI. Here Mustaine discusses the details oI his
dealwith Dean and his new guitars:
"l{irst heardthat Dean was interested in melrom
a source that was
prettv reliable but:t was someone
who lhad some experiencs
with in the pastthat
were.t Derfest. ldidn't know whelherto take it at
face value or not. Hetold me lhat Dean
iust
signed
Michaelschenker
and theY we.e giving him this and
that.l thoughtihatwas
greatfor Mike, but lwanted
to sign with Jackson again, who were qoing to rein-
troduce mv entire line-all my classic old Jacksons
with the s6me paint
iobs
and stickers on them' and
even the doublenecks lwanted Jackson lo eliminate
all the other KV numbers and
go back to KV-l' but I
didntfeellike
I got a full'on commitment on that l
was the guy who made that modelfamous
"ltold mv sourcethat
Dean were going to have
to make me a ridiculously
large offerlor meto walk
awav from going back to Jackson-they did lt was
the biggest offerthey ever
96veto
anYbody
l've
gone from being with ESP and Jackson to t'erng
Dean' lrunchise Player,
"The new Dean VMNT guitar is a slisht modifica-
tion lrom mv normalV shape, namely because it has
a beveled body. The body shape is identical'
the neck
is better and the inlays are remarkable-lve
never
had deluxe inlays before. The guitars come stan_
dard wilh mv sevmour Duncan Livewire signature
picklps. .nd the headstock has changed l'm thrilled
becaosethev wantto do 10 models in a year'
"l'm happy where l'm at right now lf anvthing
goes wrong, which I don't foresee happening, I still
have an option to go back to Jackson, who were
very disappointed Grover himselt sent me an email
saying how much le respeds me and that thevte
waitinq tor my deat with Dean to exphe l still hold
the Jackson concept dear to my heart l can't look
back and saythat lhate any ofthe instruments
l've
endorsed because I don1,
TI
H
I
I
a
I|I
A
I
L
A
V
$
' F
Y
2
I
>
F
The i mpedance i s adj ust ab e
so
You
can r un i t wi t h a var i et y
of cabi net s, You can r un l he
out put wi t h or wi t ho! t ef f ecl s,
and t her e' s a l evel t r i m con-
t r o . Lt has a bui l l i n gr ound
l i f t , whi ch a l ot of amps don' t
have. l f you t ur n on yoLr r amp
and i t ' s buzzi ng, you don' l
have t o sear ch f or a gr ound
l i f t - you
j ust
f l i p a swi t ch. I
per sonal l y i ke t he t ouch on
t he back wher e i t says t hat
Li ne 6 r nade t he amp f or me.
What gu:1ars did you use to
r ecor d t hi s al bum?
l was st i l l usi ng my ESPS be
cause my deal wi t h t hem di dn' t
expi r e unt i l t he end of 2006.
l want ed t o do myt r ansi t i on
f r om ESP t o Dean i n a ver y
gent l emanl y way because
t hey know who and what I am
t oday. Even t hough l was r e
al l y di sappoi nt ed wi t h t he way
t hi ngs went down I st i l l r eal l y
l i ke t he peopl e t her e. I ESP
prestdenil Matt I\4asciandaro
has al ways been a st r ai ght
The gui t ar s have r ny si gna
t ur e Seymour Duncan Li vewi r e
act i ve pi ckups i n t hem, whi ch
ar e t he f i r st act i ve pi ckups
Duncan has made f or a whi l e.
They' ve had a good r un wl t h
t hem. I don' t know how popu
l ar t hey ar e no\ / , but f or me
they sound fantastic. lf I get a
case of 24 of t hem f or t he r est
of my l i f e t hat h f i ne. My new
Dean si gnat ur e gui t ar s wi l l
come st ock wi t h t hem because
l f eel t hey' r e as good as t he
l ast pi ckups I used, whi ch wer e
Duncan Jef f Beck humbucker s
wi t h a l i t t l e mor e oomph.
l \ , 4y st r i ngs ar e my GHS
Pr ogr essi ves PRDM si gnat ur e
set , whi ch goes f r om . 010 t o
. o52.
Your signal palh is very
straightforward. The guitat
goes i nt o t he Li ne 6 amP and
Rocktron Prophesy, then out
to the cabinets, and that's it.
That i s exact l yt he r i g
' m
us
i ng l i ve, t oo. I n t he st udi o l ' ve
p ayed st r ai ght t hr ough ei t her
t he Li ne 6 amp or i he Rockt r on
Pr ophesy. I r ecor ded a f ew l ay
er s wi t h r egul ar gui t ar amps
when l want ed t o get a cr uddy
sound. When you' r e usi ng t hi s
met al super col l l der i t doesn' t
always work to create those
wei r d sounds ot her wi se known
Glen prefers more gain than
l do. He has t hat l egat o pl ayi ng
style where he plays more on
t he neck pi ckup t han t he br i dge
pi ckupwhen he' s pl ayi ng hi s
leads. That's a very Chris Poland
thing to do, and he was a very
bi g Chr i s Pol and f an. I per sonal l y
think he's betterthan Chris. He
l i kes a chal l enge, t oo. l ' l l si ng l he
sol ost o hi m and l ' l say, "Dude,
come on. Not Fr ank Mar i nol Do
Ui i Rot hl " Fonunat e y f or me hi s
knowledge of music is very deep
and he has an expansive CD
Glen fits in exceptionally well
wi t h t he ba. d. How does he
compare to other guitarists
you've worked witt!?
I dl dnl know t hat I coul d
ever r epl ace Mar t y Fr i edman.
When Al Pi t r el i i came al ong,
he was a good subst i t ut e, but
he cer t ai n y wasn' t a r epl ace-
ment . That per i od was so
.
i nane. Two peopi e i n t he band
di dn' t want t o cont i nue on and
anot her guy t hought i t was hl s
band and not r ni ne. As f ar as
r emember l t , when t he bus
Left l\,4etallica at New York and
weni t o cal i f or ni a, we di dn' t
st op i n Mi nnesot a. l Megadet h
i s my band and al ways has
been. Anyone who says t hat
N4esadet h i sn' t me i s a f ool .
l l s as asi ni ne as sayi ng Ozzy
Osbour ne i sn' t Ozzy Osbour ne.
l ' m a sol o ar i i st who has f an-
t ast i c musi ci ans and a band
ar ound me t hat pl ays under
i he moni ker of l Megadet h. l i
t he voi ce changed i t woul dn' l
be t he same. can' t t el l you
how I f el t t he f i r st t i me I hear d
Van Hal en wi t h Sammy Hagar
goi ng, I si ngs t he scat par t af
"Why Can't This Be Love"l
"do
doot , do' dool , do, do do
do do' doot , do doot , do- doot ,
do, do do do do doot . " Thi s
was t he i ceman? Sammy, what
happened t o "Thi s Pl anef s On
Fi r e"? You can t change t he
l know our f ans ar e ver y
f or gi vi ng, and I know t hat
t he publ i c i s ver y cur i ous
aboui what i s goi ng on wi t h
Mgadet h r i ght now Ther e
was a period a few years
ago when I compr omi sed
my di r ect i on. Ar ound 2002 |
l ooked at what l was doi ng
and sai d,
"l
don' t want t o do
t hi s anymor e. " That ' s why I
br oke up Megadet h t hen. But
now I r ef use t o compr oml se,
l ' m onl y concer ned about my
own musi c. l ' m r eal l y excj t ed
about what ' s goi ng on wi t h
56 GUITAR Or{E guitaronemag.com MAY 2OO7
'DE'TTI
vvlsilr
GUITARIST GLEN DROVER FULFILLS A LIFELONG DREAM
By Chri s Gi l l
len Drover played g0itar with King
Diamond and recorded several
albums with his own band Eidolon,
which featured his brother Shawn
on drums, before he caught Dave Mustaine!
attention in 2004thanksto a video oI him
playing severalMegadeth songs like "wake
Up Dead" and
"Hangar 18. " Must ai ne had
iust
compfeted recording The System Has
Fa,redand was putting together a band
to tour with him when he saw the video.
Mustaine needed someone who could Dlav
solos like tormer Megadeth guitarists Chris
Poland, Martv Friedman, and Al Pitrelli, and
Drover had the both the chops and ailitlde
thal Mustaine was looking for.
Although lte System Has Fairedwas sup-
posed to be the last Megadeth album, the
band's subsequent tours inspired Mustaine
to keep the band alive. This gave Drover the
opportunity to leave his own indelible mark
on the bands legacy through his impressivF
oerformance on Unrted Abominations. Ladon
with guitar solos, the album displays Drover's
considerable talents from besinning to end.
During a break in the overdub sessions,
Glen shared his xperiences of making Uaited
Abominations and exDlained his choices of
gear for recording the album.
You seem vory comfortable playing with
Megadeth.
For me it's black and white. You can tellwithin
a few minutes olplaying with a musician
whether it's going to click or not. When I start-
ed playing with Dave it aheady felt likewe had
been playing togetherlor a long time. lwas
ableto hone in on what hewas doing rhythmi-
cally andtighten up and adaptto hisfeel. Dave
is a very unique rhythm player. His pafterns are
58 GUIIAR OIE guiia]onemag.com MAY 2OO7
very unusual. and you cant always hearthe
details. l've leatned a lot o{ different tech-
niques {rom playing with Dave
What
guitars did you use to rcord tho
album?
On this album everything was miked l've used
both dhect and miked spproaches before, and
it reallv depends on the sound you?e going
for Our setup is not allthat complex, yet we
get allihe sounds we noed Simple is better' ll
you get too much clutter it gets too conlusing
and you have more opportunhies for error and
You'vo ben s Megadeth fan for many yeals
How did it felto sdd vour own crsative input
to tho band! sound snd shapo its futur6?
Shawn and I love the early Megadeth albums
so we oushed for that heaviet side Youte in'
fluenced by who you're around. so the album
is a reflection of the current lineup- lt was very
exciting to play the old songs on the previ'
ous tour but now il's going to be exciting in
a different way since we'll be playing songs
that I was a big part oI and tecorded When I
play a solo l'll be playing my own solo. I love
playing solos from the past records as wel
All the
players were so different and it's quite
a chal l enge. They al l sound compl et el v di f f er -
ent from Dave and {rom each other. Martv and
Chris are both incredible but theY're on diffeF
ent ends of the spectrum. What I like about
being in Megadeth is that you can reallY tell
that it's Dave when he plays a solo. Dave is in
a very good headspace 6nd het verv happy. A
lot otthe fans want to hear Dave's snad and
attitude that he's known fot as well as a lot oI
guitar solos. There are more solos on this te-
cord than there's been on anv other Megadeth
record lor manV years. There are going to be a
lot of happy lans.
dorsement deal with Dean Guitats, and
he's now playing Dean Cadi ac and
Vendetta models.ll'm using an Axxion
for these overdub sessions. I usually
play an Eclipse and Eclipse Custom,
which is ESP'S Les Paul-stYle guitar.
Some ofthose guiiars have Kahler
tremolos on thm. My main guilar
l ' ve been wi t h ESP si nce l i oi ned t he
band.IJust betore this issue went to
orcs' Drover announced a new en'
is a reverse headnock, Strat bodv,
two-humbucker-style
guitar' I used
to play only Strat-style
guitars, but
in the last couple yeais l've become
a lot moro open to playing ditferent
shapes. Ths ESP M2 is a reallY good
one, as is the M1000 LTD Deluxe
People wonder why I don't
PlaY
an ESP Custom or Standard series
instrument, but the LTD Deluxe
gui t ar s ar e si mi l ar i n qual i t y t o
ESP'S higher end models. I know
because l've
played ihem all. I
dth King
I Eidolon,
r Shawn
rstaine's
f him
rc had
rld
play
ts chris
.elli.
and
attitude
,lustaine
ible maft
rg to end.
fting
Urited
$
with
'ing rhythmi-
his feel. Dave
5
6
-4
recommend it to anvono
likes that shape.
Do
you abo uso activg
PickupsT
I usually uselhe Duncan Distortion in the bridge
and a Duncan Jazz or'59 in the neck They're
both great pickupslorthe neck position, but
I usually go with the'59 1 play a lol of solos
wiih the neck pickup selected l like that tone. lt
depends on whai you want lf you want a more
screeching and aggressive sound and you're
playing on the higher strings the bridge pickup
might be a better choice
Do
Vou
roll back the neck pickupbtone control?
Never. As a matter olfact lhad a couple of gui'
tars made for me by ESP and we bypassod the
tone circuit altogether so the tono is always on
lO. For me, backing oft the tone
just muddies
up the sound. ljust have one volume knob. a
three-way or five.way switch and two hum-
buckers-thore's less clutter that way.
What strings are on
Your
guitarc?
I use .009-.042 GHS Boomers. I canl play super
heavy strings because my vibrato is very wide
That gauge stays in tune great and feels great.
It works with the way I play. And I use Jim
Dunlop 1.14 purple Tortex
Picks.
What i5 your emplificstion rig like?
l'm using the Rocktron Prophesy, which is a
verv versatile
preamp. Since there are a lot ot
different colors and effests on the Megadeth
albums, we need to be able to reproduce those
sounds live. Having a preamp with multiPle ef_
lests lets us achiove that better than
iust
having
a head and external effects We need more bells
and whistles to do what we do.
A16
you also playing through Dave's signature
Line 6 smps?
l'm using that as 6 power amp right now.
Primarilv the sounds you hear on the album are
coming from the Prophesy with Line 6 cabinets.
GUEAN O E 59
l - OO l ( Si r he Fender vG st r at ocast er l ooks al most
i dent i cal t o a st ock St r at The onl y except i ons ar e t he GK
pi ckup mount ed bet ween t he si ngl e' coi l br i dge
pi ckup
and t r emol o br i dge, t wo smal l knobs l ocat e' l beneai h t he
st andar d si ze vol ume and t one cont r ol s, compar t meni s
f or t he bat t er i es and VG el ect r oni cs on t he back of t he
gui t ar , and a br i ght bl ue LED t hat l et s you know t he bat -
t er i es ar e char ged up and r eady t o go But ever vt hr ng
el se about t he l nst r ur nent f r om i t s cur vaceous cont our s
and whi t e t hr ee
pl y par chment pi ckguar d t o i t s t l mel ess
asymmet r i cal
doubl e cut away body shape i s 100 per -
cent cl assi c St r at . Fender of f er s f our ver si ons: bl ack or
t hr ee' t one sunb! r st
pol yur et hane f i ni sh wi t h a mapl e or
r osewood f i nger boar d. We opt ed f or t he basi c b ack wi t h
a r osewood boar d.
l=li l] l- witn *"
"'""ption
of the vc electronics the vG
St r at ocast er i s essent i al l y i dent i cal t o Fender ' s Amer i can
Series Stratocaster The 22Jret neck has Fender's standard
25. 5 i nch sc6l e, a 9 5_i nch r adi us and a moder n "C" pr of i l e
t hat ' s nei t her t oo beef y nor t oo sl i m Themedi ur nj umbo
frets have that "just rlght" feeL that probably 90 percent
of
pl ayer s out t her e pr ef er ' l f
You' r e
l ooki ng f or somet hi ng
qui r ky l i ke t he r adi cal l y t hi n v shaped
neck of a' 56 St r at made by LLr pi t a on
t he dayt hat she
r eal i zed her husband
was havi ng an af f al r wi t h t he JaYne
Mansf i el d l ook- al i ke who l i ved next
door , you' r e not goi ng t o f i nd t hat her e,
but anyone who l i kes t he St r at s Fender
makes t oday wi l l l ove how comf or t abl e
and f ar ni l i ar f eel i ng t hi s axe pLavs.
i
l=liAl-tf ltliSrhosetwo
fte
g
knobs located between the flve posi 6
tlon
pickup selector switch and output 1l
j ack may not l ook l i ke much, but t hose e
cont r ol s and t he pi ckup sel ect or pr o
vide access to 101 different tone and
E
i uni ng var i at i ons. Bot h cont r ol s ar e
-
rotary switches-a five_position mode
i
cont r ol and a si x- posi t i on t uni ng con'
?
t r ol . Set t i ngs ar e i dent i f i ed bv a si mpl e
E
el egant l et t er i ng syst em: N
( nor mal ) ,
=
S
(modeled Stratocaster),
T
(modeled
I
Tel ecast er ) , H
( model ed humbucker s) ,
>
Sitratocasiter
Ay Cht i s Gi l l
ROLANO STARTED THE gLr i t ar model l ng phenomenon
way back i n 1995 when t hey i nt r oduced t he vG 8 V_Gui t ar
Syst em. I n 1998 Rol and and Fender
j ol ned f or ces t o of '
f er t he "Rol and Ready" St r at ocast er - a St r at f eat ur j ng
a bui l t i n Rol and GK hexaphonl c
pi ckup f or cont r ol l i ng
Rol and' s V Cul t ar ancl gui t ar svnt h sYst ems Si nce t hen
numer ous compani es have devel oped t hel r own gui t ar
r nodel i ng
pr oduct s, i ncl udi ng amps and even gui t ar s
wi t h bui l t - i n model i ng f unct i ons l l ke Li ne 6' s Var i ax, so i t
makes per f ect sense t hat Fender and RoLand have pai r ed
up once agai n t o of f er t he Fender VG St r at ocast er - an
el ect r i c
gui t ar of f er i ng vi r t ual model s of var i ous el ect r i c
and acoust i c
gui t ar s.
The Fendet VG St r at ocast er combi nes t he st r engi hs
of Fender ' s gui t aFbui l dl ng cr af t smanshi p
wi t h Rol and s
di gi t al el ect r oni cs exper t i se The r esul l i s a gui t ar wi t h
a f ar ni l j af l ook and f eel t hat wi l l appease even t he most
t echnol ogy f ear i ng Luddi t e whl l e pr ovi di ng easy access t o
a r ai nbow' s wor t h of out st andi ng di gi t al l y model ed t ones
and t uni ngs. Even bet t er , t he VG Si r at ocast er a so f unc
t i ons l i ke a r eal St r at because i t l s a r eal St r at w t h t r adi
t i onal magnet i c si ngl e_col l
pl ckups i n addi t i on t o a Rol and
GK pi ckup f or t r i gger i ng vi r t ual gui t ar sounds
l=encler
\lG
FEATURES
Built-in Roland
101 difierent
PRICE
$2,428.56
WEBSITE
] VG
i g
- ^ 9 a
. : out 9
-cae
3
2
: . r pl e,
3
- 3
i , Z
i . eo
s
.
er s) ,
>
and A
(modeled acousticlfor the
mode control and N {normal),
D
(drop D-DADGBE),
G {open
G-
DGDGBD), d
(D
modal-DADGAD),
B
( bar i t one- BEADF*B) , and 12 { 12
string) forthe tuning control
With the mode controlsetto
N,
the
guitar operates as a normal
Strat with the magnetic PickuPs
selected by the five-position blade
switch, and none ofthe model-
i ng I unct i ons, i ncl udi ng t uni ng, ar e
activated,lt may seem redundantto
The VG's surs
are shieldedto
prvent oxcess noise.
main reason is
You
can still
play a gig with the
guitar
ifthe batteries that
Power
the VG circuit should drop
dead. Fender smartlY de'
signedthis
guitar for
PlaY_
er s who want t o haul onl Y
one i nst r ument t o
a gi g.
Another well-conceived
Ieature that sets the vG strat
aprt from the competitaon
is how it works with a stan-
dard
guitar cable. No bulky
SOUND
rrt" r"nder vc stratocaster
offers instant acceis to a versatile, no-nonsense
selection oftones that are sure to please most
wor ki nq
qui i ar i st s Ther e maY noL be any ob
scur" e-pi"meru su"h as models o{ a 62 Mos-
rite or the Supro that Link Wray used to play
"Rumbl e, " but t he St r at , Tel e, humbucker ,
and
acoust i c t ones
pr ovi de mor e t han enough var i _
ety to get most
players through a marathon
qlg
wi t hout changr ng axes
There is a slight output level drop when
switching from the conventional
normal Strat
setting to the modeled tones, but chances are
olavers will rely mostly on the modeled tones
ani onty re,,"tt to the normal setting when th
batteries
get weak, so there's no reason to wor_
r v about t weaki ng amp and pedal gai n set t r ngs'
Also, when
you let a chord or note sustain and
f l i ck t he
pi ckup sel ect or i n any of t he model i ng
modes, t her e i s an ext r emel Y br i ef
gap of s'
lence between each setting Most
players wont
not i cet hi s at al l when swi t chi ng Jr om t he br i dge
pickup Ior a rhythm
part to the neck pickup for
a solo-it's that brief. We actually liked the stut_
t r i nq ef f ect i t pr oduced when st r i ki ng a chor d
and ; pi dl y t oggl i ng t he
pi ckup sel ect or bank
and forth, which reminded us of a scratch DJ
flicking the fader on a mixer-just
don'ttellTom
Mor el l o about t hi s bug' um, f eat ur e'
Rol and' s vi r t ual model s ar e among t he best
'
in the business, and with Fender's cooperaflon
thev've really outdone themselves
The Tele
model has al l t he t l vang and bi t e of t he r eal
deal , and when vou
f l i ck on t he open- G t uni ng
it's instant Keef. The humbucker model has
t he appr opr i at e
mi dr ange bar k and gor geous
sustain vou'd
expect' and with tuning modes
that let you switch from standard to drop D to
baritone in a split second
you can now
plav
the Zeppelin/Soundgarden/Cryptopsy
medlev
vou've alwavs dreamed of performing'
The VG Slratocaster
manual doesnl
provide
any details about what guitars are modeled
for
the live acoustic settings, but to our ears the
t ones r anged f r om dr eadnought and i umbo
flattops to a honkin' resonator-style
model ln
Acoustic mode the
guitar's master tone switch
functions as a reverb control,
providing warm'
litelike room resonances One of ollr favonte
tones was in Acoustic mode with the five posi
tion oickup
selector at the "neck" setting
(which
eng; ges l he r esonat or model ) and t he t uni ng
m; de set l o 12 st r i ng whi ch was pr obabl y t he
most unusual t one t hi s
gui t ar can summon-
Ovet al l , we t ound al l of t he model and t uni ng
combinations
pleasing and useJul
include a Strat modelwhen the VG already
pro-
duces Stratsounds, butthe tuning lunctions only
availabl in the "virtual Strat" mode add consid-
erable versatility. ConveEely,
you may wonder
why a standard Strat circuit is included-the
breakout box, externalpower
supply, orspeoa
oroorietary
multi-pin cable {you know,the kind of
cabietharvou alwavs manag to leave behind in
vour reheaalspace
and cant buy at Radio Shack)
is reouired. lt's truly a
plug_in-and-play instrument'
IIffiII
SCH00L
0F BEC0RDI l ' l G
ARTS
52 GUIlAn O E guitaionmag'com MAY
2oo7
lS lT FOR Y0tl?,rvou'.""
workinq musician
who is tired of lugging sev_
er al gui t ar s t o gi gs and
you don' t have a gui t ar
rech to tend to an arsenal ol axes the Fenoer
VG Stratocaster
is a lifesaver. Sure,
you won't
dazzle the audience with an ever-changing
array
of vi nt age and cust om
gui t ar s l i ke Ri ck Ni el sen
or Joe Perry butyou'll definitely impress the
t one connoi sseur s
i n t he audi ence
wi l h you_
abiiityto sound like 95 percent ofthe records
made si nce 1954.
The FendervG Stratocaster
is a high-quality
Dlaver's insirument made by a companythat
re-
;llvknows how to build
guitars Anyone who's
ever Dlaved
a Strat will instantly{eel
comfort-
abl e and conf i dent
pl ayi ng i t . l { you l ove t he
Strat and wotild like to explore the exciting
pos-
sibilities offered by digital
guitar modeling, this
isthe instrument
you've been waiting {or
lulesia
l3oogie
lixlrresisi
il:zi,
and
5:50
FI:AII.JIl ES
Two lully indepen-
dent channels with
separate tone cnar_
acteristics: Chan-
nel 1 with Clean/
Crunch modes and
Channel2 with
Blues/Burn modes
'
Duo-Cla$ Power
amp with switch-
I ndependent Con'
t our cont r ol s l or
switch to control
channel select, con_
spring reve6 and
t)Rt():
Express 5:25
$1, 049
Express 5i50
$1, 199
\
rEl 3sfl ' l :
Mesaboogie com
ay Chr i s Gi l l
MESA BOOGI E ORI GI NALLY made hi st or v wi t h t he
Mar k l , whi c h pac k ed a power hous e amp i nt o a pe
t i t e package; t hes days t hev' r e best known f or t hei r
mons t er Rec t i i i er r i gs But t hr oughout t h c ompanv s
gr owt h t hey' ve al ways made ki l er combos t hat per
f or r n l i ke t he bi g boys. The new Expr ess ser l es cont l n
ues t hat t r adi t on, of f er l ng t he s ound or a br g amp na
The Expr ess ser i es of f er s t wo basi c model s- l he 5: 25
and 5: 50 but eac h i s av ai ab e i n a v ar i et v of head and
cor nbo conf l gur at l ons. Fo. t hl s r evi ew we l ooked at t he
mos t c ompac t c ombo v er s i ons of eac h: a 5: 25 c ombo
wl t h a s i ngl e 10' i nc h E50 s peak er and a 5r 50 c ombo
wi t h a sl ngl e 12- l nch C90 speaker ' Bot h model s of l er
sl mi l ar f eat ur es, and t he bi ggest di f l er ence bet ween t he
t wo l s t he t ube conf i gur at i on and cor r esponci i ng out pul
The 5: 25 comes wi t h t wo EL84 t ubes t hat pr ovi de 25
war t s of o! t p! t whi l e t he 5i 50 f eat ur es i wo 6Lo t ubes
t o pump o! t 50 wat t s. Mesa Boogi e i s mar kei i ng t he
5: 25 as hav i ng a Br i t i s h v oi c c ompar ed t o t ne mor e
Amer i can t one of t he 5: 50
l - 0Ol ( S Remi ni scent of Rancl ar smi t h' s r i r st Boo'
gi es , t he 5: 25 c ombo s about t he s ame s 7e ' s a c l as
si c Fender Pr l ncet on amp bLr t a f ew i nches deeper ' The
5: 50 k eeps appr ox i mat e
y t he s ame pf opor t ons , but i t s
abor t t hr ee i nc hes hi gher and wi der and s l ght y c l eep'
er . The f r ont
panel has a c l ean, ! nc ut t er e. r appear anc e,
f eat Lr r l ng separ at e r ows o{ cont r ol s f or e. ' h oi t he t wo
channel s, f i ve mi cr o t ogg e swi t ches anci a var et v or
hel pf u LEDs . Unl es s
y ou' r e f ac l ng t he c o. t r o pane
st r ai ght on, i t can be di f f l cu t t o see t he c' nr r ol names
si k- scr eened i n bet ween t he t wo r ows of knobs, but t he
conf i gur at i on i s si mp e enough t o mmor 7e ' f t er a l ew
gl gs . Thank s t o t he bl ac k
gr i l l c ot h, b a. k
- Li ' t her et t e
, o v e ' r S a ' d b d . . u o r ' r o l o l a r p .
r o F
" < d n p s . '
t u a l l y di s appear on s t age
The Exoress 5:50' s 6LG
power tubes sive
the amp a more
Amer i ; an t onal sl ant , wher eas t he 5: 25, wi t h i t s EL84s' has a
mor e Br i t i sh t i nge-
.)
q
5
o
e
=
; l
EI
+l
9.1
bl
i
E
z
2
E
l-A\tOtj'l' c"*r",s on both the 5:25 and
5: 50 ar e l ai d out i n f ol l owi ng or der f r om l ef t
t o r i ght : Cai n, Tr ebl e, Mi d, Bass, Revet b, and
Mast er , pl us a separ at e Conl our knob f or each
channel on t he f ar t i ght . Mode swi t ches t hat l et
you sel ect Cl ean or Cr unch char act er f or chan
nel 1 and Bl ues or Bur n char act er f or channel
2 ar e l ocat edt ot he l ef t of t hef r ont
panel near
t he si ngl e i nput
j ack,
whi l e t oggl e swi t ches f or
manual l y sel ect i ng channel s or engagi ng t he
Cont our f eat ur e ar e l ocat ed near t he mi ddl e Al l
three ofthese switches also feature fooiswitch
set t i ngs t hat al l ow you t o engage or dl sengage
Char r el sel ect and Cor t oLr f ur ct i ons wi t h r he
i nc, uded t ool sw t ch hne l oor swi t cl ' al so con-
trols reverb on/off).
The r ear panel i s s i mi l ar l y s i mpl e but
f unct i onal , of f er i ng an al l ' t ube ef f ect s send
and r et ur n sect i on pl us separ at e
i acks
i or
r emot el y swi t chi ng t he Cont our , Channel
Sel ect , and Rever b cont r ol s. Thi s may seem
r edundant c ons i der i ng t hat t he Ex pr es s
al r eady i ncl udes a mul t i pi n connect or f or
t he i ncl uded f oot swi t ch, but t hese
j acks gi ve
you t he opt i on of usi ng a separ at e cust om
c oni r ol l er .
- he
or l y f eat ur e t hal |
' eel i hi s
sect i on i s mi ssi ng i s a bypass swi t ch f or t he
ef l ect s l oop, bLr consi det i ng t ' 1ar n' ost el
f ect s al r eady f eat ur e t hel r own bypass f unc
t i ons t hi s f eat ur e i s not essent i al
Near t he s i ngl e 8- ohm and pai f of 4 ohm
speaker out put s i s Mesa Boogi e' s pat ent ed
Duo Cl ass Power Swi t chi ng f eat ur e, whi ch
gr eat y enhances. t he Expr ess amps' ver sat i l -
i t y. Wi t h t he f i i ck of a swi t ch you can t oggl e
bet ween f ul l power Cl ass A/ B oper at i on
( 25
wat t s wi t h t he 5: 25 and 50 wat t s wi t h t he
5: 50) or r educed- power Cl ass A oper at i on at
f i ve wat t s. I n addi t i on t o sel ect i ng oper at i ng
cl ass, t he f unct i on al so swi t ches t o a di f
f er ent wi r i ng conf i gur at i on, whi ch makes i t
much mor e ef f ect i ve t han t he t ypi cal "hal f
SO[ JND l ' " e" or ess 5: 25 and 5: 50
may be somewhat di mi nut i ve i n si ze, but
r hey
. emai n
r ' . r e r o r he Boogi e ; oeal of de
i ver i ng t he sound and per f or mance of much
l dr ger amps i n t he s nal l es t pac l age pos s i
bl e. Thanks t o i t s EL84 t ubes t he 5: 25' s t one
i s i ndeed mor e Br i t i sh wi t h a sweet , com'
pr essed ovr dr i ve and vocal - l i ke mi dr ange
at maxi mum sat ur at i on. The 5: 50 wi t h i t s
616 power t ubes i s mor e wi l d and wool
l y, del i ver i ng mof e cl ean headr oom bef or e
br eaki ng up and r et ai ni ng mor e dynami c r e-
s pons e wi t h t he
gai n t ur ned uP.
The Cl ean mode on bot h amps del i ver s
whar couj d ver y wel l be r he besr Ll edn t ones
ever hear d l r om a Boog e. Wi t h car el r l ad
j ust ment
of t he Cont our coni r ol and a hi nt of
r ever b, t he 5: 50 r i val s t he covet ed t one of a
bl ackf ace Twi n Rever b wi t h per haps a t ouch
l ess bass and a si mi l ar l y gor geous r ever b
wi t h a smoot h, l ush t ai l and no
"boi ngy"
over t ones. Wi t h Cr unch mode engaged, t he
souno becor nes dar l er as l l ' e power t ubes
get pushed i nt o over dr i ve. The vast pal et t e of
powedul r hyt hm t ones t hat l ur k i n t hi s mode
r ange f r om Kei t h Ri char ds chi me t o I \ , 4al col m
Young cr ush.
The Bl Jes r node i s appr opr at el y nTed as
i t of f er s ever l t hi ng i r om st i ngi ng Al ber t Ki ng
t ones I o si ng: r g Foboe' r For d so o vo: ci 1g.
Whl l e t he Bur n mode m6y not be as vi ci ous
as t he out r ageous
gai n of Boogi e' s Rect i f i er
amps, i t di shes ou! ampl e l evel s of del i ci ousl y
dar k dl st or t i on and sust ai n t hat l ast s a l i f e
t i me. Al t hough bot h model s l ack a gr aphi c
EO, t he Cont our cont r ol l et s you di al i n wi cked
scooped- mi d t ones.
wi t h t he 5 wat t swi t ch engaged t he t ones
r emai n pr et t y much t he same except t he vol
ume i sn' t near l y as l oud and t he amp di st or i s
mor e qui ckl y. These t ones and vol ume l eveLs
ar e gr eat f or pr act i ci ng i n an apar t ment or f or
r ecor di ng pur poses. ALt hough bot h model s
ar e aboLt Lne si ze ol a p' act ce amp, t hev r e
pl ent y l oud enough f or a c l ub
gi g, and when
t hey' r e
pl ugged i nt o a 4x12 cabi net t hey can
keep up wi t h and even out per f or m most 50'
lS fl- FOll YOtf? eothth"e*
pr ess 5: 25 and Expr ess 5: 50 model s ar e i deal
f or gui t ar i st s who want a ver sat i l e amp t hat
t hey can easi l y car r y wi t h one ar m They de-
l i vef a sat i sf yi ng r ange of t ext ur es f r om cl ean
j azz
and count r y t ones t o power f ul har d r ock
di st or t i on, but har dcor e met al f ans may not
f i nd t he over - t he- t op super - sat ur at d gai n
t hey des i r . But i f y ou need an amp t hat de
l i ver s a f ul l pal et t e of cl assi c t ones and can
per f or m eq u al l y wel l i n t he st udi o as i t does
onst age, t he Expr ess wi l l get you wher e you
want t o go n a hLl r r y.
66 GUITAR O E
suitaronemas.corn
MAY 2oo7
l=irsit
Act
\fli59'l
il*
F a.
FE/\TtJIIES
i
string' through_
Prllcl:
s399
wEllsfl' l:
By Phi l i ppe Her ndon
r Ver u I CUt r l n
pLI YER
who l i ved under a r ock
or obabl v di dnl ml ss Fi r st Act ' s col l abor at i on
wi t h Vol k
s\ aagen i n 2006 Wi t h a t r i o of cl ever ads f eat Lr r i ng John
Mav- "r . N gel Tul nel
"nd
Sl ash
pl Jgq' ng i n ano ' anl
i r si t , e' i ; i I eo- . o' r i or
r : r sl A' l Gar ageMasl er
- dva: l dbl e
on; V wi r h t he pr r cnas" of sever al VW
- nodel s
t hr o' r gh
l ne car sl er eos. l he spor s pi or ed t he cJl osi l v of aul o
mot i ve consumer s
and axe sl i nger s al i ke
Wl t h t he r e
l ease of Fi r st Act ' s si r ni l ar VE591 model ,
gur t ar pl ayer s
ar e spar ed f r om havi ng t o { el gn i nt er est i n a new car at
l - O( ) l ( S
our t est moder ar r i ved wr t h an ! nder -
st at ed r net al l i c
pl at i num f i ni sh wi t h bl ack bi ndi ng and
chr ome har dwar e Whi l e di ver sl ng
f r om t he Gar age-
Mast er ' s doubl e' cut away
body shape and VW- i nspi r ed
pl ai es and knobs, t he VE591 i s f unct i onal l y
t he same i n'
st r ument
A near f l at
r osewood
f r et boar d
si t s upon a sat i nJi n
wi t h a Gi bson- st Yl e
t i l t ed headst ock The
har dwar e
i s vi sual l Y
t r adi i i onal wi t h
some
i nt er est i ng f l our i sh-
es such as cnr ome
pi c k up r i ngs and a
' , t ai l pi ece"
t hat r eal -
l y ser ves as a gul de
bet ween t he r ear _
r nount ed, t hr ough_
body st r r ng r et ar ner
and t he br i dge.
l=lil!l-
'n"
VE591' s
pl aYabi l i -
t y i s ver Y good, wi t h
an ext r emel Y sl i nky
f eel even t hough r t
has a 25. 5 i nch scal e
length. First Act says
t he neck
Pr of i l e
i s a
C- shape, but t he con-
t our i s not i ceabl Y f l at _
t er appr oachl ng a
e
2
z
2
' _ : : . . .
'
j
flat
f i n
t h
, , "
The
al l y
h i t
,ly flat-
g a
6
6,
n
The Alnico V Filtertron-style
humbucki ng pi ckups excel i n bot h
clean and overdriven tones.
mor e moder n "U' pr of i e. The basswood body
i s ext r emel y l i ght and comf or t abl e, f eat ur i ng a
ni cel y scu pt ed neck
j oi nt
f or easy access t o t he
hi gh not es. The subt e angl e on t he pi ckup se
l ect or and t he r ear - mount ed bat t er y door ar e
t wo ot her t hought f ul desi gns we not i ced.
SOtJ N DS *n' ,e thi s
sui tar' s
pri mary
sel l i ng poi nt i s t he onboar d V St ack anal og pr e-
amp, many pl ayer s di smi ss any i nnovat i ve i n
st r ument t hat doesn' t hol d up i n t r adi t i onal set
t i ngs. We' r e pl eased t o say t he VE591 passed
our t est s wi t h f yl ng co or s. Thr ough a Ful l t one
Ful l dr i ve 2 i nt o a r ei ssue Fender Bassman, t he
gui t ar i s r esponsi ve, gr i t t y and f un t o pl ay. The
A ni co V Fi l t er t r on- st yl e humbucker s del i ver
spar kl i ng cl eans and der nonst r at e f i r m r eso ve
and df i ni t i on wi t h over dr i ve. Wound t o r ough
l y 8. 5k DC r esi st ance wi t h 42' gauge copper
wi r e, t he pi ckups pr ovi de sol i d out put and ex'
cel l ent dynami cs wl t h i he pr eamp of f .
We wer e exci t ed at t he oppor t uni t y t o out do
Fi r st Act ' s cel ebr i t y endor ser s, so wi t h a $12
i nvest ment i n var i ous coupl er s and adapt er s
f r om Radi o Shack, we t ook t he VE591 and i t s
pr eamp on a t est dr i ve. Wi t h t he pr eamp on,
t he VE591' s onboar d di st oni on, mi dr ange
scoop, and mast er vol ume cont r o s openec
up a ni ce r ange of sounds t hr ough al most
ever y home and car audi o set up we pl ugged
i nt o. Whi l e t he VE591' s hi gh ga i n sounds
wonl i nspi r e anyone t o dump t hei r So dano
on eBay, t he sound qual i t y t hr ough a pai r of
Al t ec Lansi ng comput er speaker s was cer
t ai nl y compar ab e t o t hat of many pr act i ce
amps we' ve hear d. We di a ed i n an ar r ay of
di s r on on f av or s t har wo' l ed wpl wi t h oLl
Toyot a Aval on' s pr eset EO cur ves by backi ng
down on t he gui t ar ' s vol ume whi e keepi ng
t he pr ear np' s mast er cr anked. Ther e ar e a
f ew l i mi t at i ons t hat t he V St ack pr eamp can' t
over come, as our 1994 Honda Ci vi c wi t h f ac_
t or y t ape deck and 4 i nch speaker s cenai n y
der r onst r at ed. Bui st r essi ng out about f i del l t y
seems poi nt l ess when you can
i ust
l ean back
i n t he passenger seat , put youf f eet on t he
dash, and cr ank away.
l $ 11- l =Ol t YOIJ? n,n"cu-
r ageMast er caught your i nt er est when i t came
out l ast year , you no l onger have t o un pr mp
your aut o, l et your f ast out , or i nvl t e V dub i nt o
da ha! s t o get a ver y sl mi l ar gul t ar . l f you' ve
cr aved a f un i nst r ument t hat can t ur n al most
anyt hi ng wi t h speaker s l nt o an amp, t he VE591
may be your cup of t ea.
&,
70 GU|lAn O E guiraronsmag.com MAY 2oo7
GI
liastman
All905-Gli
Gustom
LJpttl\ftfll
Arclrtop
,t:t:
-.
-a
. :
l
':.
-''.
...".|
;:.:-
i.:
; , 1- . :
: ; - : '
nuiCiu
ilt8t 0I IxsEU,t[cI
FEAI'I',IIES
Car ved, hi ghl y
3 1 l 4 x 1 6 1 1 4 '
Ptltcl:
s3, 395
wEll$fr' l:
By Mi chael Ross
RUDY' S MUSI C STOP i n New Yor k Ci t y i s i ke t he
Tl f f any' s of gul t ar shops As you ent et
vot l
wi I see on
your r i ght a decor at i ve wooden showcas f ul oi vi nt age
Fender s and Gi bsons so cl ean t hat l hy l ook i ke r ei ssues
Next t o t hese f i ve_ and si xJi gur e beaut i es ar e a coupl e ol
; r "l _l op, t ' r a- l oo_ r ' gr r dr l - one w' l l - l ' e r '
"ssi (
dop' "
_
anc and mi r r or f l n shes. You coul d be f or gi ven f or as
sumi ng t hat t hese
j azz
boxes car r y pr i ce t ags i n t he ! pper
st r at ospher e as wel l , but t hse gui t ar s, whl ch ar e manu'
f act ur ed by East man St r i ngs i n Chi na, se I f or l ess t l r an
S5, 000. Ar e East man ar cht ops wor t hv oi shar Lng cLose
company wi t h Amer i can c assi cs and t r ul v t he bar gai ns
t hat t hey appear t o be7
LOO l ( S r he ARe05 cE cust om upt own mode we
t est ed i s dr op dead gor geous Spect acu ar f l ame map e
wi t h
j ungl e cat woi t hy st r i pes i s Lr sed f or t he sr des back,
neck, and even bi ndi ng. The car ved spr uce t op exhi b t s
a r emar kabl y even gr ai n t hat peeks t hr ough a pedect l v
b ended br own sunbur st f i ni sh. The f ve_pi ece neck i s dec_
or at ed wi t h t wo gener ous st r i ps of f l amed mapl e al ong
t he si cl es pl us a sl r i p of st andar d mapl e up t he mi ddl e
The vol ut e i s l ayer ed as wel l , i nc udi ng a st r i ki ng combl _
nat i on of ebony veneer and nat ur al mapl e t hat b ends i nt o
t he br own par i of t he neck s bur st
l : l ] l i l - o" " oi , " hav i ns a wound t hi r d s t r i ns ' t he
East man' s l ow act i on, we
- f
nl shed f r et s, and comf or t -
abl e car ve make i t as easy t o navi gat e as a sl Lnky st r ung
St r at { except when you 1r y t o bend i he heavy st r r ngs)
The sl i shl y downs zed 16 nch bodv f eel s mor e com-
f o( abl e agai ns t t he t or s o t han a s t andar d 17 i nc h or
ar ger ar cht op, and t he a most l r agi e f ee i ng, excep
t onal l y i ght wei ght wi l l appea t o per i or mer s wno p av
SOt J N D Bef or e we even pl ussed l t i n' t he awk
war dl y named AR905 CE sounded bet l ef t han 85% oi
r he acoLr st i c
gui t ar s t hat come t hr ough our por t al s The
r napl e body gi ves t he t one an i n
voLr r _t ace
pr esence ano
t he X br aced t op spr eads t he sound evenl v t hr oughout
t he f r equency r ange. Even t hough i t s a br and new i n
st r ument , t he East man exudes t he smoot h war r nt h of a
vl nt age
j azz
box. Thl s
sui t ar
pf ovi des pl aver s wi i h hour s
of unpl ugged
p eas r r , and manv gu t ar l s t s wl l L want t o
r ecor . i i t s acoust i c t ones as much as i t s el ect r i f i d sour d
Whet her pl ay i ng t he Eas l man t hr ough a Fender Bl ues
. l uni or or an AAD acoust l c amp, r t s gor geous r eso'
nanc e was t r ans paf ent l y enhanc ed by t he s i ng e Kent
Ar nr s t r ong humbuc k i ng nec k pi c k up One qui bb e: t he
22 f r et neck seems unnecessar v, as 20 f r et s ar e mor e
t han enough. Des Pi t e hav r ng a
cut away, t he gLr i t ar ' s bot l Y shaPe
n' r akes l t har d t o r each t hose
upper most t wo f r et s. Al so, i t
woul d be ni ce t o have t he
P
ck_
up p aced a I t t l e cl oser t o t he
20t h f r ei l o make t he t one even
war mer and r ounoer ,
l s t]-t=0l l YO[J?
The Nat i onal t Vuseum i n Tal pei f ea'
t ur es f oom ! pon r oom oi ast ound
i ng exampl es of Chi nese cr af t s-
r nanshi p. The East man AR905' CE
pr ovest hat t hi st r adi t l on ssi i l l al i ve
andwel l , and r naybe one dayoneof
r hei r i nst r l r ment swi l ear n apl ace
l n t hese ha owed hal s. l f YoLr
Pl aY
t r adi t i ona
j azz gul t ar you owel l t o
your se f and yoLr r bankaccount t o
exan- r i net hi sf i newor kof al t .
4
FX
rtaGSaJ
lingineering
l=X'li'acl<er
l3acl<line
FEAI' IJRES
i ng Ml Dl out put
Sol i d al l - met al
t)tt tct:
$599
!VEBSfTE
By Rober t Hanson
TEMPO- SYNCHED EFFECTS ar e some of t he most
exci t i ng and i nspi r l ng ways t o br eat he new l i f e l nt o your
gu t ar pl ayi ng. Wi t h so many bands now r e yi ng on back
i ng t r acks and synt hs t o augment t hei r sound, i t ' s al most
become essent al f or most gui t ar pl Eyer s t o have at east
a t ap t empo enab ed t r emol o or de ay i n l hei r pedal co
_
l ect on. Bul havi ng t o pl ay peda boar d hopscot ch at t he
r o p o f e ! e '
r
c
o r g j I c I l o do I n yoLr l "npo s d pa r . d4. l
st r i ngl ng I Vl l Dl cabl es acr oss t he st age
j ust t o get ever y-
one ocked l o Ml Dl cLock i s ent i r el y anot her headache.
The FX Tr acker f r om Backl i ne Engi neer i ng- a r n! l l i ef
f ect s uni t t hat can synchr oni ze t empo based ef f ect s l o
l i ve p ayl ng was bu l t t o sol ve t hi s conundr ur n The FX
Tr acker can sync ef f ect t i mes and modul at on depi h based
or
r oLr
p a, ng speeo or vo LTA ar o
(
r eal Lr p"
a vd'
abl e t hr esho d cont r ol t hat a l ows t he FX Tr acker t o be t ai
or ed i o i ndi vi dLr al p ayl ng st yl es. Ho! sed i n an al ! mel a
chassl s, t he FX Tr acker de i ver s a host of sl udl o qual i t y ei
f ect s, f eca l ab e/ r ewr i t ab e pr eset s, and f , 4 Dl f l r nci i onal i t y
i n a st andar d st ompbox desi gn.
FEAI-I,Jl tl =S FXrrackerreat!res a w,oe arayo,
aval l abl e ef f ect s, l ncl udl ng de ay. chor us, t r emol o, i anger ,
f i l t er , p t ch shi f t i ng, and an af peggi at or as wel L as enve
ope and t Vl Dl cont r ol opt i ons. An addi t i ona del ay can
be set pf e, post , or par al e t o anot her ef f ect f or a r nor e
comp ex, l ayer ed sound. Roughl y a t hi r d of i t s 87 di f f er enl
ef f ect var i at l ons ar e st andar d f l xed r at e ef f ect s, so you
coui d t heor et l cal y r ep ace some of your exi st l ng dl ay,
chor ! s, and f ange peda s wi t h t he FX Tr acker
The bas c pr emi se of t he FX Tr acker i s t hEt t he unr t
adj ust s aLr t omat l ca l y t o var i at ons i n pl ayi ng. What l hi s
boi s down t o s f ai r l y sl mpl e. l f , f of nst ance, you r e Lr s
i ng a del ay or t r emo o ef f eci , t he | ] ni t wi I al t er t he t i mi ng
based on how f ast you' r e pl ayi ng, whi ch means shoder
del ay l i mes when you pl ay f asl and l onger dei ay t i mes
when you p ay s ow. The uni t exami nes your pl ayr ng on
t he f l y and adj ust s l he t i mi ng accor di ng y.
The | ] nl r ' s sl mpl eset of cont r o s be i es t he pedal s capabi l
r y. Two r oLr posi l o I s der s al ow \ o I r o 5ar ge o es' r s
ddj Jr t n' o par anFl e. s o"r e' j pLl . a. . scl r l a r 1pL. l ev". a' -
fect type, effect wevdry mix, threshold/tirne, and headphone
volume/M Dl channe . Two 360 degree knobs above each
- , der al ov\
) o
I or "r n r l ' e - or Fspol dr l g
r r
l : o4 o' o" dn
et er . Roundi ng oLr t t het op of t he Lr ni t i s a t wo dl gi t LED and a
standard stom pbox footswlich. The Lrnit's backside includes
st andar d 1/ 4 i nch l nput and out put j acks, an' l / 8- i nch head
phone/stereo oLrtpLrt, one 1/4 nch footswltch
jack (allowing
you t o set t he uni t on your amp and cont r o i t wi t hanadd_on
footswllch), one MlDl In and one lvl Dl OuVThru port, power
i npl t j ack, and an on/ of f swi t ch. Power l s pr ovi ded by an i n
cl uded wal l war l power suppl y onl y no opt i on f or baf t er i es.
I i - Ml Dl
co( '
or a o^" yoJ o dod a Ml Dl et or essi o'
peda
, updat e f i r mwar e, access a PC pr esel management
appl i cat i on l whl ch
you can down oad f r om t he company s
web si t e) , and even out put Nr l Dl CC dat a t o synt hs ancl
ot hef Ml Dl - capab ef f ect s. Yo| ] can al so use t he FX Tr acker
t o out put l \ , 4l Dl cl ock t o a dr um machi ne or sequencer and
have t he uni t t r ack t o t he var i at i ons i n
Your
pl ayi ng. The
uni t won' t sync i o i ncomi ng Ml Dl cl ock, whl ch may seem
l i ke an odd over si ght t o some, but t he whol e pol nt of t he
FX Tr acker l s i o put t he gui t ar i st n cont r oi of t h e t er n po.
SOt J N D r he FX r , acker i s a ver y cr ean soundLns unt ,
addi ng vl r t ua l y no addi t i onal noi se l o your si gnal chai n. The
delays and chorus effects range from perfect single repeats to
l ush, vol vl ng dub and psychedel i c st yl e of f er l ngs. And wl t h
sel ect ab e waveshapes and t empot r acki ng, t het r emol os can
go far beyond a basic gating efiect. The array of pltch shlfting
effects run the gamutfiorn slrbt e bendsto massive drop offs
that most users wi I use sparingly. Basically, the FX Tracker
serves up the effects of a we apportioned mu tieffects unit in
a compact st ompbox pedal desl gn.
l S 11- F( ) l l \ ' 0[ J' l n. , *r . " ki nst oac, da
heal t hy se ect i on of de ays and synt h- l nspi r ed ef i ect s t o your
r i g, t he FX nacke. i s a gr eat al l l n one uni t . l t r equl r es yo! t o
i nvest a l i t t l e t i me t o make i t wor k wi t h your i nd vi duaj p ay
i f g s1y e, and t hi s ack of i nsl ant gr at l f i cat l on may t ur n of f
some user s. I n or der t o t ake advanl age of i he t empo t r ack-
l ng, you r ea y have t o spend some t i me get t i ng t he t hr esh-
ol d set conect l y. The unl t i snt t ot a y per f ect - i t mi sses
ever y once and a whi l e, whl ch can be a bummer i f you' r e
. ecor d ng- but t he f r eedom o{ be ng abl e t o use t empo
synced effects without having to tap ln iempos is worth the
pr l ce of adm ssi on on i t s own.
UNI VERSAL
AUDI O
TC POY{ERCORE
colrPACT
FEATURES
tion
Two 150MHz Mo'
266MHz PowerPC
Bundlod with 1/t
plug-ins
PRICE
s995
WEBSITE
U}IIVEESAL
AUDIO
UAD.XPAIIDER
FEATURES
Uftra-fast
{2.scbps)
Expr$s-
Card 3/t interfac
Nobelest fanless,
.lumi-cool chassis
design
Bundld with
five plug-ins plu!
Xpert)
and UAD-'Ie PCI
PRICE
$999 {Xpr3ss,
in-
cludes S500 UAD
31,399
(XPert, in'
cludes 51,000
UAD voucher)
$2,199 txtrem)
WEBSITE
By Ght i 3 Gi l l
TiE FEATUREs AND capabilities of recording software
are expanding at an exponential rate, and sometimes
it
seems likethe onlyway to keep up is to constanfly up-
qrade your computer. Even with your RAM maxed out a
ireoa-track session with tons of plug-ins can significantly
sloi down
your CPUt
performance, especially ifyour
comDuter is last Year's
model.
lnstead of emptying
yourwallet every six months to
keep up with the fastest
processor speeds and biggest
RAM capacities, one wayto streamline
your system's
performance is by adding an external
plug-in processing
device or DSP expanderto
your computet
Like instalF
ino a comDuter
inside your computer, these devices take
th; load off ot your CPU bv divening the heavv lifting
required {or effects
processing to a PClcard or outboard
processor designed specificallyforthsetasks'
Because laptop computers don't offer PClcard slots'
outboard
processors likethe TC Powercore Compact and
th new UAD-Xpander ar the anly wayto
go for mobile
recording enthusiasts. Both devices come with an impres-
sive sel;ion ofcustom
plug-ins that only run with their
resDective
prccessors-your choice of unit will probably
be detsrmined more bythe supporting solwarethan
any
otherfeature. But for less than the price ofthe latest top-of
theline laptop Vou
can have both and more than enough
pro-quality plug-insto tackle any recording
proiect
TG POWERCORE
COMPACT
While TC offers rackmount Firewire and PCI card vercrons
oJtheir Powercore
DSP processors, the Powercore
Com-
Dact, which is aboutthe size and weight of a book' is the
perfect companion for a laptop recording
studio The unit
connects to a computer via a Firewir iack,
and ils two
150MHz chi ps and si ngl e 266MHr Power PC
pr ocessot can
handl e mul t i pl e i nst ances of
pl ug- i ns.
The 14 plug-ins bundled with Powercore Compact
cover t he
gamut f r om EO 6nd compr essi on/ l i mi t i ng
t o a
monooho;ic svnth and mastering tools Guitarists
will
especiallv appreciate Tubifex, a virtual
guitar amp wjth
riee tube
gain stages and a speaker simulator' 0ptional
oluo.ins in;lude
pro effects based on TC s Svsiem 6000 al
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plus fullJeatured soft
;vnths and TC Thirty-an outstanding vinual model of a
classic Vox AC3O.
UAD-XPANDER
rn" uoo-t Pcr card has
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selection o{top-notch
classic ef{ects like the Neve 1073
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top users can enjoythe same ultra_lush
plug-in process_
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This unit takes full advantage of Exprss-
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i nst ead of USB or Fi r ewr e' and
as a result it offers much faster
performance to Mac OS X
and Window XPr(64/Vista
usets
Universal Audio offers several different bundl6s-the
XDress, Xpert, and Xtreme. The Xpress and Xpert bun-
dles both include the 1176SE, Pultec EOP-1A, Realverb
Pr o, CS- 1 channel st r i p and Ni gel gui t ar amp/ ef f ect s em-
ul 6i or and come wi t h a $500
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l Xoen) f or DUr chasi ng
opt i onal UAD
pl ug- i ns For gt t i t ar _
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ver b. t he Boss CE- 1 chor us, Rol and Di mensi on
D' ancl t he
Roland RE-201 Space Echo-the most uncannily accurate
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ll
yolr want it all, the Xtreme version comes with every
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lS lT FOR YOU?
ttYou""nontY"tto' o
one DSP expansi on
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l i kel vt o be i nf l uenced by whi ch
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you
.o"i.
gotn
ofi"t
"n
outslanding selection of classic
pro ef
fects, but iI vou'd
like to dabble with soft synths as well
the Powercore Compact is the way to
go llyou
prefer
the mojo of funky classic Neve and Roland efJects
(with
more t; come in the futurei, the UAD-Xpander
isthe obvi-
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go fot it as both
Drovide every recording effect
you'llver need Your com-
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lirnie
l3all
\f\falr
Peclal
By Mi chael Ross
pizeo
ron rs smooTH TAPER and near indestructi-
bl e const r uct i on, t he Er ni e Bal l Vol ume pedal r emai ns a t op
choice for guitarisls who prefer to adjust dvnamics with
t hei r f eet . The new Er ni e Bal l Wah pedal combi nes t hese
at t r i but es wi t h a cl assi c wah sound. Wi t h i t s smoot h Kevl ar dr i ve and
' 12
degree foot sweep itt extremely comfortable to
play, and a small access
hoie in the side lets vou
adiust the sweep to youf taste Though mounted
on t he si des, t he br i ght
pai r of on_of f LEDs i s cl ear l y vi si bl e Whi l e not t he
mosl vocal - soundi ng wah l hi s
peoal ' s bass- t o t ' eol e r ange i s genet ous
wi t hout st r ayi ng i nt o speaket bl owi ng l ows or ear poppi ng hi ghs Ot her
pi uses: t he wah t ones r emai n musi cal t hr oughout t he
pedal ' s ent i r e
i hr ow; t he r ocker
pedal st aYs f i r ml y wher e you l eave i U and t he si gnal
mai nt ai ns uni t y gai n when engaged- no unexpect ed vol ume
j umps her e
Awah
pedal bea; i ng t he Et ni e Bal l moni ker i s l ong over due, but i n t hi s
case ith well worth the wait.l2ttg enieball com
Danelectro
lulxll
Dano
Pro
Dist
By Mi chael Ross
t ni r gg r ut r uer t f S, t t e Evet s Cor por at i on st ar t ed maki ng f ai t hf ul
Danel ect r o
gui t ar r epr oduct i ons at Si xt i es
pr i ces A f ew year s ago
t hey i nt r oduced a second ser i es oJ Danel ect r os f eat ur i ng upgr aded
par t s at a hi gher pr i ce poi nt Thi s
vear
Evet s i nt r oduces t wo new
banel ect r o modei s- t he' 59 Dano and t he Dano Pr o- bot h f eat ut i ng a
l ower - r han_l ow
pr i ce t ag, yet somehow r et ai ni ng t he pr o upgr ades'
The Dano Pr o hat ks back t o t he Jet sons_
st yl e Pr o- 1 bodY shape or i gi nal l y
pr oduced
f r or n 1963 69 and of f er s a f abul ous combo of
new and ol d f eat ur es. Si gnat ur e Dano t ape
sur r ounds t he body, and t he or i gi nal met al
nut r emai ns. I Moder n t ouches i ncl ude a br r dge
wi t h i ndi vi dual adi ust abl e saddl es, upgr aded
t uner s, and t wo l , pst i ck t ube pi ckJps I nst cad
of t he or i gi nal ' s s i ngl e Pi c k uP-
We t est ed a st r i ki ng Tanger i ne model t hat
pl ayed gr eat and sounded bei t er - per haps
even bet t er t han many vi nt age Danel ect r os
st i l l i n ci r cul at i on. The boxy bow t l e shape
may not be f or ever yone, but t he gui t ar s
t onal r ange i s di ver se enough t o pl ease anV-
one f r om r oot s r ocker s t o i r oni c met al heads
The Dano Pr o comes i n a choi ce of t en st r i k
i ng c ol or s , i nc l udi ng aqua,
peac h and Keen
gr een- buy t hem al l l f or
l ess t han a hi gh end
Amer i can made
gui t ar ) and you' l l al ways have
a gui t ar t hat mal ches Your
out f i t
$299
danelecto.com
Noise
lulalcersi
Your First Lool< at the l-atest in Gear
:
Scratch Pad
'
Gui tar Fi nl sh
Protectors
Cust omi ze your i nst r ument
whi l e pf ot ect i ng i t f r om
bel t buckl e and pocket r vet
scr at ches. These i nt er change-
abl e "desi gner " f i ni sh pr ot ec-
t or s cl i ng gent l y bul secur el y
t o your gui t ar wi t hout t he use
$26.95 suatch? ad usa.co m
EWS
'.
Arlon SCH-Z
chorus/Vlbe Mod
Thl s f ul l y modi f i ed Ar i on ScH- Z
pedal adds swi t chabl e chor us and vi be
modes, an l r npr oved t one set t i ng t hat
pr ovi des smoot her sound whi e r et ai n_
i ng t he or i gi nal t one, a bl ue LED, and a
3PDT swi t ch f or t r ue bypass.
5220 Dtoso u nclc o m m u n ic ation s.com
lbanez
2oth Annlvefsafy ltG550xx
l banez announces t hr ee l l mi t ed_edi t l on r el ssues of t he RG5505 ador ned
wi t h Deser t Sun Yel l ow, Road Fl ar e Red, and basl c Bl ack f i ni shes wi t h
mai chi ng case. Al l model s f eat ur e an or gi na Edge t r emol o and super t hi n,
flat Wizard neck reinforced wlth five plece map e/bubinga construction
51.199.99 ibanez.com
Vox
. --'..;.
AC15Hl TV
l n commemor at i on of Vox Ampl i f i cat i on' s 50r "
Annl ver sar y, Vox i nt r oduces i t s new Her i t age
Col l ect l on of hand- wi r ed amps. The ACl 5H1TV
i s a 15 wat t amp f eat ur i ng an EF86 Pent ode
val ve ci r cui t , 1963 Top Boost channel , and "TV
Fr onf ' - st yl e Bahi c Bl r ch cabi net .
$1,699 voxamps.co.uk
Godi n
-
Redl i ne 1
Feat ur i ng a si ngl e act i ve EMG' 81 hum-
buckef and si ngl e vol ume knob, t he
Godi n Redl i ne 1 i s a sl eek, st r eaml i ned
shr ed machi ne wi t h a si l ver l eai mapl e
body wi t h popl ar wi ngs cover ed bY a
b ack gr aphi t e SG f i ni sh.
$559
godinguitarc.com
Di gi t ech.
-
CF-7 Clrorus
Factory
Thi s compact pedal
pr ovi des st unni ng
r nodel s of seven of
t he i ndust r Y S most
popul ar chor us ped
al s. Feat ur es i ncl ude
speed, dept h, var i abl eJLr nct i on cont r ol 1/ 2, and
chor us model sel ect cont r o s, pl us st er eo out put
$149.95 digitech.com
Sta$h |ticl($
Classlc
plck
t \ r l ol ded i n a i ear dr op f or m, t he Cl assi c i s
h
9n v dLr dbl e ar d l as t s l 0 r i nps l onqPr l r dr
st andar d
pi cks. A l ogo gr i p on t he f r ont and
added gr i p t ext ur e on t he back ensur es no-
sl i p pl ayi ng. The pi ck comes i n l our gauges:
0. 8mm, 1. 0mm, 1. 2mm, and l - 4mm.
$5.99
(bag
of seven plcksl stashpicks com
'lhP
q
-t
MEM'RY
t
lemp()
liync
liffect
Parameters
\l\fitlr \totlr
l=eet
t aP t emPo f sat ur s.
Her e' s how t aP t emPo wor ks r n
sl mpl e t er ms: When
YoLr
f i r st st eP
on a t ap t emPo swl t cn, I n
i nt er nal t mer i s cl ear ed and
st aned. when you t ap on
t he swi t ch a second t i me
!L
f
f.
ri '
Ay Chr i s Buono
BECAUSE GUI TARI STS NEED t hE hANdS t O
PLAY'
t hey' r e f or ced i o ! se t hei r f eet t o do most r ea t i me
t weaki ng A t ap i empo f eat ur e i s t he per f ect so ut r on' as
I t al l ow; gui t ar i st s
t o cont r ol t he r hyt hmi c r esponse of
t l me- based modul at i on
( f l anger ' phaser ) , pLr r e modul a_
t i on
( t r emo o, st ep sequenci ng) '
and put e t Lme Daseo
ef f ect s
( de ay) by sl mp y t appi ng on a st omp swi t ch at t he
desl r ed t empo. Thl s cr eat es a c ock sour ce Tor
a spcj f i c ef f ect
par amet er { f or exampl e'
de ay r epeat s, LFO sweeps, or sequenced
f l her pat t er nsl i o f ol l ow
MEMORY
f or m
qener at or
{ LFO) ,
t he t l me i s d vl ded by t he wavef or m
r eso ut i on. The r esoLl t i on of t he t i met combi ned wi t h t he
r esol ut i on ol t he wavef or nr , det er mi nes how accur at el y
vou can r ecr eat e t he t aPPed t l me
Tap t er npo used t o be r eser ved f or di gl t al ef f ect s' i ke
dedi cat ed di gi t al del ay uni t s, but t hanks t o r ccent i nnova_
t l ons by some ver y l ndust r i ous desi gner s' di gi t a t ap t empo
s now an opt i on f ound on pedal s t hat boast
pnst ne ana
l og si gnal pat hs. Sor ne anal og t ap t empo dr i ven
pedal s out
t her e t o wat ch f or ar e t he Empr ess Tr emol o, t he Li ght f oot
Labs Goat Keeper Tr emol o, Mi ke Knappe' s ot r t st and ng
Di amond Mer nor y Lane
( pi ct ur ed above) , whi ch f eat ' r r es
a hybr i d di gl t al / anal og t i mj ng syst em, and t he amazl ng
Guyat on Ul t r on envel ope f i l t er and Ul t r em
t r emol o
For an examp e of how f ar t ap t mpo t echnol ogy nas
come, check out t he Cusack Musi c Tap' A_Whl r i t r emol o
and Tap A- Phase
pedal s' whi ch f eat ur e dl gi t al Ly
gener -
at ed wavef or ms t hat ar e cont r ol l ed onl y by a t ap t empo
swi t ch- no r at e knob her e Cusack' 5 ef { ect s of f er comp ex
wavef or ms t hat can onl y exi st di gi t a l y' as wel l as t he abl l i _
t y t o accur at el V "t ap di vl de" t empo modul at i ons by var i oLr s
not e va ues such as 3/ 8t hs or 5/ 16t hs l r addi t l on, bot h ped'
al s al l ow you t o st or e cor nbi nat i ons of t hese wavef or ms
and t ap r at l os i n pr eset s Anot her cool f unct l on i n Cusack' s
desi gn i 6 3 r eset f unct i on t hal al l ows a user t o r esync t he
wavef or m' s
pat t er n t o st ar t over on t he beat wl t h
j ust
one
t ap, whi ch wi l l cut your dr ummer a l i i t e sl ack i f he i s
havi ng an of f ni ght .
Per haps t he Ho
Y
Gr ai l i n t aP t emPo
advancement ,
at l east f or z Vex
f ans, i s t he addi t l on of a t aP
t empo f eat ur e t o
Ped_
al s f eat ur i ng Z Vex s
sequence0
pat er n
en gl n l i k e t he Ooh
Wah, Tr em O- Rama,
'
and Rl ngt one- some'
t h i ng even Zachar Y
( hopef ul y on t he desl r ed
beat ) t he t i mer st oPs,
and t he t mer now st or es
t he t i me t hat has
Passed
bet ween t he t wo t aps I n LI s
menr or y.
( Because of
"h! "
man er r of , " i t i s r ecommended
t hat you t ap t hr ough t wo cycLes-
f our t aps- f or best r esuLt s. ) Based on
t he l ype of ef f ect and t he desi r ed speecj , t he
r i me l s t hen di vi ded i o cr eat e t he t mebase f or
i nst ance, i f
Vou
wer e wor ki ng wl t h a del aY wl t h 1 024
st ages, t he t i mer val ue woul d be di vi ded bY 1 024 t o cr eat e
t he c ock si gnal f or t he del ay chi p l n t he case or a wave
wi t h t hes e peda l s mak l ng
/i
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7
r ve nsr r unTenr s.
/
. l ot rn cusact ' s rovot ut i onarv
. nd
,
Vex hi ms el f t hought
'
was i mpossl b e Cusack' s
desi gn i s now i nt eg r at ed
b
EYPASS
one Awar d- wi nni ng TaP- a- Whi r l
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down
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pr obl em t o I x
Heat up
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can t r Y sever al var i a
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. l i f f er ent cap val ues- anyt hi ng
f r om 068pi t o
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r e- ; st or va. r - ed . . r t h' r e
f i om 100k l o 150( '
m;;;;tester'
this caP wirr breed hishs whd the vorume's row
Guirar
guG, readvfor
a caPacitor
imPlant'
The cap i s wi r ed up and r eadv t o cl ar i l v Your
si qnal
llolrin
'li'()\tver
Bv Mi chael noss
6l Jpnr I cmeen
t har spans f i vF decades'
Bobi n
i-\v", t".uin"
on" ot tock's most underrated
guitar_
i "i . i r ' " r . t r n"| .
pt *a gar um gLi t dr r st i s besl I nown l or
"-uir'
crussr"
'los
t"'"us"s as &idse ol Sighs and Robin
i r o. e. r ; "". f
""s
*er f t nown
i s I hat he st r l l t ecor ds
hi oh- oual i t v musi c: f or exampl e'
on l asl year s L' v' ng
'oi"i
ai-L
ti,",n.*'
ock doesn't set
anv
hctrer rhan
t hi s) . Tr ower showst hat
he hasnl l ost a beal
W; l h d gui | ar
' r g
si r ni l ar t o t hai ol Ji mi Hendn) ( '
nower h; nonetheless
cultivated
an instantly
, "i ooni r "Uf "
"ounO
u" ni s own H; s gui t ar s i ncl ude t ht ee
t ". a"", ni S, ' "t "
, Cr . t . m Shop) l oaded w; t h 50s npck
oi "r | . , os, l os m' adr "
pi "kups and Texas Speci al s
i n i he
i ' i l "!
"""ni *
t "'
"' ps
he f avor s a Mar shal l JcM800
i oo- "wat t
neaU anO a t s76 I ! 4ar shal l
Ma' k l l ' each oai r ed
-iin'u rgls fu\tvn-"ao|."d
Marshall
4x12 bottom The
; ; i ; ; ; "1; i l ;
"r so
pl aces a coupl e oi eces ol
pr ywood
. " i ^"
i ' l r "o
* t "' "
' el l edor s when per f or nr ns i n
venues that do not have a wooden stage'
'-flis
ut""ts
"train
isvety straightforward
An avid fan
"t
*' t " f uf f "f "
er f f , o*
pedal s, he ' r ses I he Ful l dr i ve 2
tn" OCO tOUse""iu"
Compulsive
Drive) the Clyde Deluxe
;;h. ;nd the Deja 2 vibraro
He enlists a Boss TU-2 to
i ."r i i " J"i " e"r' nps
"tri nss
{ 012' 015' 01? 026 036
.o+ri) in trn".
Mmhdl JcL! 100
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ll
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(|OD Fullbn! GlYd'
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Fulllon! Full.Dflvo 2
Bo$ TIJ-2 unfi
Fullton!
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I
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I
J
SPECI AL ADVERTI SEMENT
EIVIINENCE
FRONT
SPEAKER
TATKWTH
GEORGE
LYTIICH-
uitarist George L],nch emerged from rhe
'80s
guitar blitz wilh one oirhe most recognizable
guitar tones ofthe era. Tharb an accomplisbment
that few can boast, and Lynchjust mav have
achieved it because he urdersrands horvjust
about everyvariable affects the signat chain.,,One ofthe
biggest obstacles we encounrer as guirarisls
is furorng a rone
that helps us translate rhe ideas we hear in our imagination
to reality,
'
says L]nch. "Every
element in our signal chain
affects our tone, from rhe pickwe hold in our hano ro Ine
equipmentand soli-ware rhatl used to record and master
our CDs and everything in between. Speakers are one
ofthose elements that are commonlv and mistakenlv
overiooked as not being of critical importance.
'
L\'ncht classic rock tone owes much to his famous ESp
custom guitars
and Randal amps. But the vinrage spealGrs
he pl dced bchi nd f i c. peal er gr i l j e. al . o had . r gr edr
effect on his sound. "I personallv tend to favor
real old-rimey vintage speakers, such as pre,
rota Celestion, Goodman, Elac, square-back
Eminence, certain iBLs, Urais, Br tdogs, and
certain Fanes," says Lynch.
'Over
the last
coupie ofyears, though, t've been working
with Eminence ro develop a speaker rhat
incorporates the qualiries
ofa lot ofthese
older speakers-ones that breal< up atjusr the
rightpoint, arld thar have the optimum magnet
Lynch Box heads conraining rhree of
lbur modules (Mr.
Scary Bmima, Super
V and Grail) into Baltic bi.ch porred
Lynch Box cabs l oaded wi t h f Dur 12, '
Eminence SuperV spealers. His guitars
include an ESP mohaganv bodied Super
V an ESP GL-56 re issue, an ESp.Sku s
and Snakes" cust om, and hi s cl assi c
ESp Tiger. All his guitars are loaded wirh
Seymour Duncan Scr eami n, Demon
or SuperV pickLrps, and they re strung
with Dean Markley SuperV.0I0 gauge
strings. Llnch uses a Morley Tripler to switch between
amps. His effects include a custom overdrive pedal built
by IimmyWiggle at croove Tubes, a vinrage IIXR
phas
90, a vinatge
'70s
em Echoplex, an old Boss 10-band Ee, a
Fulttone DejaVibe, and a Mutron Ocravider.
To see and heat uhat Gearge Lynch is workinE on, go Lo
truwSeorgelynch.com.
composrrron, cone coDsrruction, and power_hanalling
capabilities thar moden and classic players
require.'
Those efforts have culminated in the creation of
the Eminence SuperV Driver, which fearures a casr vs.
stamped lrame, cusrom voice coil and cone, ano a ceramrc
magnpl . 5d\ \ Lwc1.
"
, hc
\ uper V
hd. a punchy. i n- your _
face clarity yet stil rerains a sense of warmth with jusr
the
right "brealup point" for creamysarurated
soloing.
Actualy Llnch's affiniq, for Eminence speakers
toes
oac(
a long wal,1 "The amp I prefiy much glew up with back in rhe
day rvas an Acoustic 150," L].nch rccalls.
.Wllafivas
great
about itwas that itwas loaded wirh six t 0,,Eminence speakers
Though the amp was transistor, the Eminence speakers
helped make up for its lack ofwarmth and satumtion.,,
These days, L]'nch has retumed to his ESp through
a-Randall rig. Specifically, he is running rhree Randall
SONG$
'l'lris
lVl<lntlr's'l'ranscriptions
WAKE UP
DEAD
MEGADETH
,t -r
ft-l
lrt
r
-
WHERE
WERE YOU
JEFF BECK
10rT
-
PAIN
THREE DAYS
GRACE
110
-
MESSI\GE
IN A BOTTLE
THE POLICE
'l 'lt-r
-
CUITAR ONE 89
b."#
DigiTech' GNX4 Guitar Workstation' Powered Presets
JEFF BECK
"Where
were You" MEGADETH
"Wake
Up Dead"
llFil
Chan 0n iQ
GeNetX
Chrnlwo tQ
Tone
By Billy Clements
l sood lesson thal will help us zuilarisls
A
beller ouj playing vocabulary is to l-ry
L \he r ones Fo m anirts we may not usually
Iisten too. Whether it be experimenting with
the rampant metal guitar of Megadeth, or the
classic tones ftomAndy Surnmers and JeffBeck
your next prdcrice session can benefil from
opening up to trying these different tones and
musical styles along with those of the rest of
this month's artists.
Now that I have used the GNX4 Guitar
Workstation@ for the last lew montis, I have
onl y begun l o t ap i nro t he many appl i cat i on\
it has to offer. Not or y do you have all the
great modeling and effects available for
getting this month's tones
(you can get them at
www.disitech.com/suilarone), bul il features
a weal$ of options for recording, practicin8,
and song crcation.
One of the coolest features is the MP3
player
Just
grab all fie
Breat
lesson ffacks
off the included CD-ROM and rip them into
MP3s. Load these or your favorite artist
songs onto the Compact Flash card and you
have your own pofiable tutor to practice
with. Feeling inspfted? The onboard B-track
recorder/looper and General MIDI Dnrm
machine with over 100 pattems and B kits will
keep those creative
juices flowing long into
the nighL
Check out wurwguitarworkstation.com
for the latest updated application tips and
tutorials that show you how to get the most
outofyourGNX4.
Seeyou on stage.
Tone Guru Bi y ClemenLt is a 2o-year uetemn of the
stage and studio and i-\ a prclifc .rcator of ton"s heaftl
in ..untless rccarditrys ani perfomlances around. the
Chan one EQ 0r 0.0 150 $0 lm0 0
GeNetX0lrn? tMd V|r{lrll 99 [r$li r lritl l
ftanTwo EQ 0n 0.0 150 1000 4800 0
Tone0v0l 99/99 1/6 l/lt 4/ 4 85/81
jnJffl
hnml hrtlnl Phranl hnml Pirdn 5
off
off
6l
0n klire.r 99 66 6t
NoireGate0n Sileffer l0 0
ChonryModoff
0n Aia|08 t9l 10 ofi l0
Reverb0n HI B 50
ixp kriSn trpl 99
0r 0.0 150 800 5000
i|Ltral 8|i4rll Iibhk
0n 0.0 150 1800 5000
:hl/ftl 99 /W 0/ 0 ltl10 ) / l
0n/off Prnmlfhnnl PaEnl hBn4
Off
otr
off
off
0n iilen(er t] 0
otf
0ff Pong 60 off
off
NoiseGale
Chorus/Mod
Reved
kp AsiSn tupl
THE PotlCE
"l,lessage
in a Bottle"
rlEi5B5E
THREE DAYS GBACE,.Pain''
PF]I]
Chan one tQ
6eNetx
Tone
Noi5e Grte
Chorus/Mod
ExpA55ign hpl
&it4rll
w/61
hnm5
Name:
ftan 0r 0.0 t50 u00 1500 0
GeNetXf t l ebd{i(
qner}ll
Sitbl ftrdnl
ChanTtYo [Q Ofl 0.0 150 2200 t00 0
lone 1l / 01 89/0 t / l l / B l /n 6t/81
&r/off Panml Pacml hraJnl linm5
otr
0ff
otf
0n lRamr l6 7l 99
|{oiseGate0n lileKer lr 0
Choru!/Mod0n flanSer I6 0 { l
0ff
180 16 6T 54
ReYed 0ff Sprng 0 84 l0 2l
t4 ArsiSnkpl 0 99
0r 0.0 150 1000 5400
tlffl Solll\Lr Ynlg4rl2 I &i!ftt
0r 0.0 lt0 1600 4000
thl/ft] u/90 0/ 0
.5/9
5/ \
0n/off hGm I Piffrl Finml
otf
0ff
tfiy/
' Tilk off
0n iilencer 20 0
otr
otr
otr
ADVERTISEMENT
:!
IJtgiF_e"gS,
sets
A
e
Frl
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r\
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g
ftr
a- t
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f i 5
Rht , Fi e, l
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!ch.
8
a. pf , , i r '
. r r :
l i nE [ / ] USTA NE l \ 4US C af d I FEl t Fy t / t US C
A Bi g h Gl o r DAVL l , , l UST: . . r . l i l ! . t r o e d a n d Ad mn s t c r c d l E. 1 3 L ACKWOOD MUS C NC
A F. r l r : : ,
_: ' . : t ona
Copyr i ght Sc. ur d t t : . . i o! Per i n ss on
..::. -.
.:
:.
artssDn af Hat L-..nani h.rti,;i iton
-
\f\fAtG
IJP Dl=At)
As llecrlrclecl lry lVlegacletlr
(From
the CapitoUEMl Recording PEACE SELLS...BUT WHO'S BUYING?)
Transcri bed by Jordan Baker
R.c.rtinr sound\ 1/.1 detni
! ast Rock. = 168
Cl r ! l & l ( l i r l . l
sncik n m) orvn housc..
PNr.
- -l
Ths "P.H." in bai 10 stands lor "pinch
h.ho.tc_---{n s.enlial h6avy{.tal technique. aodt playsd whh gob3 ot distortion, rhis typ ot
harmon:c i5 produced
by att.ckins ihd 3t'ins with your pick whils lishtly touchitrg ihs;rdng wirh d outlid;dse oI you. pick"hand ihirmb.
producing tn awssome, squealins sound. You can v.ry lhe pirch ot a pinch harmonic by pioiingihe rrring in diff;'ent iocarions<xperiment
with valiour spors and hand positions
ro trnd our whar works besr tor you. Fol rhs vib'dro-br. diva bon6. marked "w/
bar,-
itt.r
to;er your
tiemolo bar.6 far as possibte dlr:ng the indicarsd durarion.
@
Gui t ar Sol o I
G! \ . I & l : $/ Rh! . l i ! . r i l l nnet
l.{5 ,{5
l5,xt
- -
r.{5 ( 5
Words and Musi c by Dave l \4ustai ne
GU]'tn o lgt
F{5 C5
,-/\,^-..\
2 a
. ,
' \ - , . '
+ : + ; . ^
3r'a
,-?-.
r?5 D5
8rd
h{ 5 E5
' ?1
.
"-:\
;: i: ^,4
MAV 2OO7
19- 17 1 17-14-1v17 14-17-19 17 14-18-17-14
. :14-----:
@
I nt r l ude
CJ
. a
[ t : cl 5 D5 c5 Fri
Gtf\ I & l: r' / Rhr" Figs I & 24 (l tnncsl
(]5
D5 {i5 r:i5 cr5 D-i G5 r ' 15
i--l
tr
..r,tr]
a
E
=\
-,1
g
>1,
t - i
:-
F--
=
=
-:t
notci \unarned $/fccdhd.k nert 8 ncns.
Rht , l i g. 2, \
Dnd Rhr . Fi g. 2A
PNI.
.l
Rh ! . l i g . 2
Ddd Rh\ . Fi g. 2
P M .
]
12 1
cl5 D5 G5 I:!5 C:5 D5 C5 fi5 C: i i l i U5 l l i c?5 Dr c5 I . 1) Ci5 I}J
a
-
H
l
=
l =
:
:
; l 2r
+
Sosn_in bar 34-is_an .xample of dtvi.i noiaiion; w'vs norated two guiral parts on tho.am saaff, so thar you can oasity sse how thy intsr_
acr._For an a_dded ch eng-You-might try playingboth p.ns at once-iGt novs cir.2's loth-f.er c torhl4th srring'j$h frst. Bar.37-39
contarn anothr mlal slaple:
Pitling
the open 6th ltring againat moving power
chords, which ad& boih rhythmi;.nd rextur.t into1e3r.
For a poworrl sound, uso all downsr.okos here, and bs sura nor ro g.r t;ippod up by th suddn bar oI2,/4.
'
PNr
l
GUITAI OJIE
gI
l s.
E5 C5 E5 D5 Dt 5 A5 C5 85
t)kt)
J rni.s
Bt 5 F5 E5 t 5 C5 C5 Bt 5 G5
Gr . 3
l5
@
Guitar Solo
Gl5
End Rhy. Fig. l
Rhr , Fi g. 3
Gns. I &: s/ RhY. Fi g 3( 2t r me9
c45
85
E5 C5 E5 D5 Dt 5 A5 C5 85
MAY 2OO7
F
I
Bars 49 and 50 conrain rhe chromatic scale, which contains all 12 notes a.d sounds Darticulatlv
sinister in a heavv-metal Gonrext while
in this case the chromatic scale is ptavea lii;;"i;;r.-il;';r'ilita
le a gooo iaea io' vou to inaP it our in a varietv or othr
posirions'
tor erampre, usins a ro"."",.*p.",t.,.g
"pili-.*r'-i
l-iiiJilr"i wi r.tfie scale, a run exercise i3 ro stan and end on a scare tone rrv
1""r"1.Jiiiil
lf,-a p,og,."sii. or trelJi;o t'.s, at 'iena
"t
iour
phrase tarsetins the root
(a) of the 85 chord'
ci 5
Gi :
Di cj ) B- \
P\ 1
- _
l
P\ I
i-n
Guilar Solo -l
Brr
,\b5 llt'< Dt
n"r(
Bt-r
^bi Bt5
-]
l l
t t t
- t
_)
t t : a
, - ]
:
- 1
a
t 1 9- 10 l 1 10
- 11
12- 11 I 1
- 2
13
13- 14- 15 14- 14- 15- 17 15 16- 18 15- 17 1
pl \ L
- l
t a a
GUltaR ol{E t5
Gn \ . 1 & 2
59
r---l
a
li
!!
=
H
l
: a
-
1
- =
I
:
- , -
a
=
_1
!,=2
t
=
EH
a =--
; t
-t
=
GUIIAR OI{E 97
tl5
Rhl. fig
'l
End Rh!, Fig.
' l
Plavlns a lick again.t a high opd--'r?ing it
Vot
'nothtr common mdtal l'chniqus'
whioh hat its antscdsnt3
in tho wo*t
of clas6ical
vinuo.o. tike viorinisuco-p"...
*,.."," ;;d";iiitldz-reao.t
ro. '.
"-""{'.l.ri'i!"'ii'il'
in bars 77 and 7s' plav rh arh't'ei c and
7rh-frut B with, rc3pcti'.rv. vo,,,
zno a"i i$i'iiji"'
p'":riiiiv
t'' t"t
""t"r
'liiirii' it' l;und 'll ths olho' ntttos wiih s oonrinu'
ous succs.lion of pu
-or. .no n.-rrr"r-o-r.s.-6rii"1
ro. ."enn.ti rrougl'"utt
"tt
ut-lii{t'ittt-hsnd
mov6monl at
Po"ibl''
and b' 3ut to
.void inadvrtntlv
pulling ih. tiing shtrp'
I . : l l
Guitar Solo 4
Ct r \ . I & 2: N/ RhY Fi ! . 4
( 8 t ' mes)
E5
1.._o-7
---s-o.._8.'._7
4-7-s-0-8-7
!-!-!
y-!-
9! Gulrln o G
MAY 2OO7
13 13- 12 10-
n
=
=
-
=
=
-)
10-12-13 13-12-
L5
1- 12 14- 14 12- 11- 12 14- 15- 15
D5
6, !
L5 f 5
i ^*
.,---. ;-T--
14 13_14 16_17
15-17-18-18-
GUFAN O E'O
E5
D5
:-T-.
@
Outro
Grs. I & 2: Rhy. Fie.4{3 12 rines)
Lyrics
Verse 1
|
. neal '
i n m) o" n hou. e. rl r l our
' n
l he momi ng
I had l oo much ro dnr*, , ard l wa. our $ i rh l he boy\ .
I . reep i n m) bedroom. | ' l i p I nt o bed.
I knos i l I $al e hcr. I l l *xl e up dead.
Verse 2
I wonder, wili she find out'boul lhe other,
other lover named Diana.
0utro
Wake up dead. you die.
Wake up dead and buried.
Wake up dead, you die.
Wake up dead.
tgAY 2007
\ftft{ l=llt= \ftfl=Rl= Y()1,,
As llecorclecl lry Jeff l3ecl<
(From
the Epic Recording GUITAR SHOP)
Transcri bed by Jordan Baker
xl
lib
q/
blr rrtr.ushour
. .Ll$r.k dclnr. ambie.l deL) & r.r.rlr
F
rl
s
7.
rc!
l!
18- 19- 1
Masures
zt-5
conr6in a whammy-ma.ipulated harmonic phrrse ihat occurs .everal tims ir the song. Althougn a floaling trmolo 3ysiem
is ideat tor lecreatins Beck's baj movei. one workaround wirh a dive-only 3etup i. to ben.l lhe strins behind the nut instead of pullins uP
on irre uar. Consiaeiptay:ng rhe harmo;ic abov rhe 7rh lret {salne
pitch s the one al the ls}th) if trying it this wav, a
vou'll
be Gloser
ro rhe nur tor ah to ;wi'ng_bnd. tr eirher case, carelul listening and trmilia?ity with rhe response ot a pa.ticulat guitar's ttenolo ar the
kevs io keepins this melody in rune,
/.)
t L
I
t 9
- 9-
16 18
r j .
-
:
_
I 989 WB MLI S C CI PP
: . :
r r or ALFFED PLI BL St s [ ] l i i -
_
' Rr ! r i s Feser ved
Words and Musi c by Jeff Beck, Terry Bozzi o
and Tony Hymas
19-
GUttaB oitE tos
D/Fi
/:\
Gadd2
,,)
a1,.--*
r r a m
q i b n l l - - - - - - - - - - - , -
l
t2 | )ta t/l
Am7
,,:\
? t t l
. A
$ / b r
- - - - . 1 - <
8ar nr . +r
Hann.
.
l / l
1 U2
s / b a r
- - - - -
l
<
) | 1
I l / l
Tak noto of.the hslf_toP b.r divo porfom6d bofore 3triking th hamonic on best 4 ot msasure 24. G6lning ths bar into the cor|6c't position
nd keo_Ping it rhers while plucking ths saring may take a bit of praotio, Ths locarion ot thi3 harmonic i. slighrty in ths d:locaion of rhe'4th trsr
niht than diisctlY above the 3rd fts!, to tfy picking ths 3tnng rcpcaredly whils moving yorr frt-hand 6n;er ;bng ths string, raking nore ot
wh.l tho not.
iumPs out mott clearly. Rsmomb? rhi. location and ihe amount of rorcJipplid ro rhe brr ;nd you,It be ready-io
so.
Efr/B Bm B!
N/ bar
- - - - - . -
, f t j f
- - -
l l
+ l
' r/r
2 tt ^-::-
t
E
\ renrpo
/:\
-* /\*
2- t ?
+ l
''*
+L/ 2
| nmgasur gs33. 35, B6cksound3. s6r i . . o' not cawi l hf . . l +andhamm6r . on' ( no- pi cki nc| . wi t hvo| umknobswe| | ssnd. ba. vi br at o, l hs
s;E3$g$rtlTf;iliq$rfr'1fLtll##t:
i#ilti.*l'i:*ii*11#r**'
18-
' ' .
I
TI
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D
Gsus2
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^^..^.*
Jdon
a ftt
. ' - l
"a-
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<<
- * * * *
A5
n h.tr
- t
9 f.l9j-16-18-
2 t l z
w/ bar
- - _
+ l
Dadd9ll{
Ijrc!
cunan o E IOt
I'AIN
As llecorclecl
lry 1'lrree
Days Grace
(From
the Zomba Recording
ONE'XI
Droo D tunine:
0d\i
ro highlb-A D G-B E
ln bars 3-5, fiv ditfoionl cholds ar mado bY playing t dgscanding chromric th'lt_stepl
line
(E-Da-D!-C'-C) agsinst tho opn l3t and znd
sirinqs. Noie rhar th fi..t rou.
"rroro:
are ii*;rcii$p*
or s min6r' rrrls is a.cornmon'Jop
prisre$ion---+omp;' it io that ot the seatl6'
"Michfre.- for e,.ampre. e", .r," t"". .n"ii'jii'1Jiii5;ii;;i";;;s-ing"'
r"-'"tl"i' iJ hi;ho'r' s-1' 2-i' 2-3' and 1r' rhe ratiel of
which vou'[ atso us on re cmaiz cnori.
-r-lt -.-ri
"i
ir'" n"t." ii"g ioseriel, and u; whicheic' combiharion of
Pick3rroker
l6el3 most
lntro
Modcr at l Ysl ow. =80
Em
Transcri bed by Adam Perl mutter
,nf
6
RhY. Fig. I
Em(naj?)
Words and Musi c by Nei l Sanderson. Adam Gonti er,
Brad Wal st. Gavi n Brown and Barry Stock
D5
This havielfiff revsab a handy aspecr ot dlopD runing:
you can ptay poweJ cho.d6 wirh iust on6 fingor. Try batring each E5 chord with
vour 1sr finqer, and cs ,.,ifi,
vou.
a,a o, ririii!.1.-iiiii'i."i'irl,
r..irr',i i*"2 cr'o'a'-r"'"u'i
n"te to his-h."t, with
vour
15t' 2nd or 31d' and
4rh nnss,.. RspFrgnied on bear 2 or bal!'6;1ii'i,."i
i
"t
ri'.
g
ir . composit..1;;s;;;;i
or ft;. 2 a;d 3 ns notatod hie thouehr
th*e odtavos csn bc
praveo ar one pan. 'l ihitt too much troubte' lust s'ab
the lowst note ol oach
pai''
c'p!rqhrio2oo6EM'***":'"J3ii!3,-!ily',!ii!':"'-i'iliii't.Ii?!t+iiilg'J:fl:::::','il"il'J:;""",,,".,.
^ c, o
. o, r vr B
A vooD
a\ aDA
" ' : t o, l , i j l " uot ooJ, l i - ' E o. . t " ' "
Y) " " . ; : " " ; ^"
d, - oh. F. / ^Dq. , v
I r \
'
ArRshrsforEM AeFTLMUSc{cANADArhL'i#i['!i#:,.1l#i"",}zu
ii"i';,;;.b,";;r.";;
Lm(nel7)
tto Gunan oI{E
MAY 2OO7
Ri t f , \ l
I
Gl r \ . & r : r / Ri f t : ; \ &Al l l r Desl
Em7 F.n(naj7)
End RiffAt
n. r 7t
Interlude
Ct r \ 1 & l : s/ Ri l Tsr \ & Al
Ilnd Fill I
End Rhl . l i i l l I
\ nu' r c ! . 1 of f eel i n numb. . .
llJrnr i
hd
End RilfA
=
=
_)
E
Chor us
Gt r \ l . \ r r , . : r
( n F I a : : .
Rl t F i g | ( l n me \ l
Pr n wi t houl
ri-:t
Verse 2
Gt j s t Nr r I t r r r : . \ &, \ l ( 2 l n n e s )
Jah
r|r,
CJ
B
Chorus
Gr ^ : r i
I
. r Rh \ . I r i ! \ l & l A( l t r d e s )
Gl ' ] r| n o El l l
To mal(6 the bt:d93 rsally
iump
our, you'll n3d to gst the syncop.ted 16th-note rhythms in bal r1:| down tight. To h6lp with this, fils-r put
yoor guitar down and count "On}ea-and-urr two-anduh, rhlse-oa-r,|d{rh, fouFee-rn.r-uh." Nxr, try counting and
ttaying
rh. 85 at ihs
samo tims, inssning a chor.l on oach italicized syllable. Stant slowlyand gradually wolk rp io the sorg's tempo ofSO b.p.m. ifyou rake the
tiire to ca!6tully tocu6 on thi3 pasrag, th. nsxt time you encounter , .imilar ihyrhm, you'll be abte io phylt much aasier.
@
Bridce
B5
Rhr . l ' i E, 2A
End Rhr . Fi g. 2A
Ct ^. 2 & l : qy' Rhy. Fi gs. 2 &: A( l r i nr es)
v!4
Chorus
Cr $. 2 & l : WRhy. Fi g. I ( 2r i mes)
zq
Interlude
Cr s . z &l
Cs us 2
L-v rics
Intro/Chorus
Pain. without love.
Pai n, l can t get enough.
Pai n, I I i ke i t r ough.
Cr u. e I d
- .
her f eel par n r hcn nor \ r ne ar . 1 .
Verse 1
You're sick offeeling numb.
You' r e not t he onl y one.
I ll lake you by the hand.
And i ll show you a world thar you can understand.
Thi s l i f e i s f i l l ed wi t h hur t .
When happiness doesn t wofk,
Trusl me and lake my hand.
When the lights go out you will undersrand.
Verse 2
Anger ano agony
Are betier than misery-
Trust lne, l ve gor a plan.
When the lights go up, you'll undentand.
Br i dge
I know thal you're wounded-
You know lhat I'm here to save you.
You know l m always here fbr you.
I know t hat you' 11dr ank me l at er
lull=sisAcl=
lN
A
13()
l-rLE
As llecorclecl
lrY tlre P<llice
(From the A&M Recording
REGATTA
DE BLANCI
Transcri becj by Adam Perl mutte,
Musi c and Lyri cs by Sti ng
Thesong. 3t i gnat ur ei i f | i ' p| ayedbY. Gt ' . r . ndha' moni zdp' i mi r i | Yi n. di ar oni c3. d! byGt . . 2. { | | you' 16! band, 6on| ygui t ar i si , i ust
orav Riff A th,oushou, .n" .o"e, o..-"..
pii'il ilji-pji'ir,#t.r
loi. rr," -"1- i"T rti--oli
ri'-;J t't*"' ths.two-euitar!
on rhs
Bsu32 cho,rt. Eorh suiiu."
pro.v."u.,, .n".aili,"i each Joicins,low.'t
n"t"." r'igh.li,i"jii i"'i'-iii,
i'lo or s'a'
""a
4ih nnse's' holdine
sach Erip
lor a3 long a3 Po.srDr'
L
L
^S
iT
I
I l ( , der at l Y
Fast ,
= 150
Gr r I . r ' r r . . . r
Ri t r l
Asusl
Bsusl
lisur2
@@E
X v".""s r-:
Gl r \ 1 &l : r ' / Ri r ' l : A&Al
( 8 h m 9
trnd RifiA
Flnd Rifinl
I
b
E
nl
@EE
Pre-Chorus
i & r
5
CoDl r . l ht O 1979 G M SUMNEF
Acm i st e e; l b- vEM MUS c PUBL sH NG Li [ l TED
er r n, r , ' t
q"r ". . . , i
i "i . ' nl r r onal Copl nsl r t Sec! r ed
Ll sed bvPer m ssor l
R ep.t I r t -".1 b f
Pe n t ss ia n af Ha I L''a t)a I d C tt Da I a tt an
GUtran oil| llt
I{, Coda O
Chorus
l ndl i De. Gh l : w/ Fi l l I
RhJ Fi g. l
Cr s l &2 : $ / Rh Y.
Fi8. I l: limet
c{m
End Rhy, Fi g. l
Fi5
Lowi nl hmi x, anovi dubbdgui i ' ' t Gt r . 3l add. l ! . t yf i | | sdur i ngt h6cho] u' . The. . | i n! a. edr awt r f r omi hac' mi nol p. dsl oni cac| g
iC#-E-FA1-BI in
gth posiiion. KsY to naitins rhi. pan itI'lavrrg th' bends in-tun6';;-ii-;;;"t;t; ser
rhe pirch or. ihs 11ih-ftst Fl in You'
he.d b.lor6 bondinq up a whole rtep, trom-ttre
gdrr'rret
i' dtro, le suts to listor Garslultv to summirs's tiaomark sweet vibrato' 3o that
JJi-"ii'Jip
't-idl'nv-.'v;u srro,rra ali" try improvi'ins lomo of
vour
own in thi' ssdtion'
fr.
l-lnl
a--------------o
G t ( . 1 & l
zt\ -
i1,:
Filt t
Glr :l
IIQ GUITAN OI|E
MAY 2OO7
t*
r-
=
7f
:7
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(
=
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P,' l
I
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(41
dit
F,I
fl
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=
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Cli\. I & l: uy' RhI. Fi8. I 14lnnes)
( r m
A
Ba|s 32-3:| coltarlr ro.fl lovely harp hrinonie, a i..h.ktu fio.6.ioq6ly s3lociltsd with c{unw..d
iaz
guitafsts liko Chai Atkins and
lenly
Brau. To ptay $k p.n, ba.r6 you lst fingpr.cr!6. .ll !3(.irlng. at dto 2rd tu Pick rll oI $e |gul'l nots! wilh your right hand'. thumb, in lho
v:cinitv ot the 14rn ftet Fo? ach 2tt4lEiamond norotcsd you .3o, lighdy touch your right hrnd's index finger dircrly sbove rhe given ttt whilo
picking rhe sfinq with your rigtrr+a.d 6urnb, prcdrcing. chimelike ton. tst all of th. noiea ring rogErher, fola nice oasoading efiecr-
hr
=
D.S. al Coda
i
GUtlAR OI|E ltt
O coda
Message in a botde,
clm
@
Outro
GE. l: \r/ RiffA
(2 tires)
Message in a
' botde,
^^-t^7!r^/r^-^^^
c^. r az
lO--:--O
Ghs. I & 2: W Ritrs A & Al (9 tises)
'
Asus2 Bsus2
Gns. 1 & 2: w/RiffsA&AlGn end)
Clsus2 Asus2 Bsus2 Flsus2 Clsus2
8 y a - - - - - - - - - - - - - -
52
c" i
A,---:-\
=
-
I
-
-
=
- -
Asus2 Bsus2
A$rs2 Bsus2
tssus2 llsus2
Bsus2 F{sus2
b,
5
Clsus2 Asus2
=
-
Cl$rs2 .Asut Bsus2 Flsus2 ci{sus2 FIsus2
C$sus2 Asu!2 Bsus2
Lydcs
Verse I
Just a castaway, arr island lost at sea, oh.
Anothe! lonely day, with no one herc but me, oh.
Morc loneliness than any man could bear,
Rescue me before I fall into despair, oh.
VeIs 2
A year has passed since I wrcte my note.
But I should have known lhis dght ftom the start
Only hope can keep me together
l,ove call mend
your life but
lrve can brcat your heatt,
Verse 3
Woke up this morning,
I don't believe what I saw.
Hundrcd billion bottles washed up on the shorc.
Seems I never noticed being alone.
Hundred billion castaways, looking for a home.
F sus2 Cls s2
; l /)
lll,*,-()H!'
Siltstems
Klng Crimson
1'he Coltectabte Kjng
Crimson Volume One
( DGMI
THE KI NG CRI MSON ar chi ves ar e r e- openi ng
t o an audi ence out si de t hei r f an cl ub. The f i r st
of t he ser j es i s t hi s doubl e- di sc set , cont ai ni ng
concer t s r ecor ded i n Fr ance and NewJer se,
wj t h Rober t Fr i pp, John Wet t on, Bi l l Br uf or d,
and Davi d Cr oss
( not t he
comedi an, t hough
i magi ne how cool t hat woul d have been) .
Cont ai ni ng unr el eased mat er i al , al ong wi t h
Cross's restored violin parts that didnl make itto
the LJS album, the live,n Asbury Parlt N.J., 1974
set boasts the more solid consistency ofthet!vo.
The band is on top of its game, giving a devastat
ing demonstration of how a fouFpiece rock band
can sound huge and spont aneous, Fr i pp' s angu-
larfeedback solo and spurts of legato in "Easy
lvloney" are downrighi hypnotizing.
fhe Live in Mainz.1974 set occasionally suf'
fersfrom improvjsational overindulgence. Butthe
menaci ng bui l d' ups i n "St ar l ess" and "Lament , "
driven by Frippt abstract noodling and Wetton's
thundering bass lines, are astight and hea\ry as
anything King Crimson has ever recorded.
MOMENT OF TRUTH: "Asbury Park"
(1:08
10: 25) Mat chi ng wi t s wi t h Cr oss, Fr i pp expl odes
f r om a hi gh
; ng and hast y
bl ues and
di mi ni shed
i nt er l ude, t hi ngs
mor ph i nt o an i mpr ov
tunk
jam with a nasty and distorted
bass solo by Wetton and psychic interplay
bet ween Fr i pp and Cr oss. Thi s i s t he band pl ay
i ng at i t s peak.
Dave Martone
When the Aliens
Come
lLion Music)
Mar t one i s a shr edder t o
wat ch. The Vancouver
axeman i s so f or war d-
t hi nki ng t hat t he met al -
f unk f usi on on hi s l at
est CD i s i nt ended t o
appeal t o t he al i ens of
t he f ut ur e. UFO- ol gi st s
mi ght not t ake t o i t ,
but gui t ar af i ci onados
wi l l pr obabl y l ose t hei r
j aws
af t er hear i ng hj s
i ns ane t appi ng ant i c s ,
The effect-heavy "The
Four Hor s emen" and t he
embar r assi ngl y t i t l ed
"Fl at ul at i on Far m" have
Manone i nser t i ng l egat o
f i l l s bet ween f unk r i f f s
t hat suggest Sat r i ani
and Vai mul t i pl i d by ' 10.
MOMENT OF TRUTH:
" Real l y Now"
( 4: 16- 4: 42)
I \ , 4ar t o ne ends t he song
by t aPPi ng out ar peg
gi os so f ast and wi t h
such wi de and st r ange
i nt er val s t hat t hey def y
any f ur t her descr i pt i on.
Set y our t l me mac hi ne
Luclnda Wllllams
West
{Lost Highwayl
As a sur pr i se choi ce,
t he al t - count r y chan-
t euse hi r ed Bi l l Fr i sel l
t o col or her col l ect i on
of dar k and dr eamy
br eak- up bal l ads. Sur e
enough, Fr i s el l t ags hi s
t r ademar k at mospher -
i cs t o t he r oot s pr oceed-
i ngs; hi s sLr bt l e ch o r dal
f i l l s and dr eamy r ever b
f or m an i nt egr al par t of
such t r acks as "Ar e You
Al r i ght ?" and " Res c ue"
wi t hout di st r act i ng f r om
Wi l l i ams' s r ough and
pr et t y si ngi ng. Mor e
sur pr ; si ngl y, Fr i sel l adds
edgy, met al l i c sust ai n
and vi scer al bl uesi ness
t o downt empo r ocker s
l i ke "Unsuf f er Me" and
"Wr ap My Head Ar ound
That . "
MOMENT OF TRUTH:
" Fanc y Funer al " ( 2: 11-
3: 10i I n a l y r i c al and
beaut i f ul sol o, Fr i sel l
makes ever y not e of t he
maj or scal e count .
The John
Butler Trlo
Grand Natlonal
{Atlanticl
Bushel s of dr eadl ocks
wi l l hi t t he dance f l oor
at t he f i r st sound of t he
Aust r al i an gui t ar i st ' s
j am- band mi sh mash of
l unk, f ol k, and r ock. Not
onl y i s But l er an envi -
abl e f i nger pi cker and
sl i de pl ayer , he has a
knack f or wr i t i ng i nf ec-
t i ous gr ooves, hooks,
and si ng- al ong chor us-
es. And h l eaves you
guessi ng about what si x-
st r i ng t r ; cks he' l l pul l out
of hi s Washbur n acous-
t i c. l t coul d be a banj o-
i nspi r ed f i gur e doubl ed
by act ual banj o { "Fu nky
Toni ght ") , r agi ng sl i de
( "Fi r e
i n t he Sky") ,
or wahed- out g r u nge
( " Dev i l
Runni ng" ) .
MOMENT OF TRUTH:
"Gov' t Di d Not hi ng"
( 3: 55- 6: 10) Pef cussi ve f i n-
ger pi cki ng and quasi New
Or l eans f unk t ake a t r i p
i nt o out er space when
But l er hi i s hi s over dr i ve
pedal and hammer s t he
st r i ngs wi t h hi s sl i de.
Aghora
Formless
{Dobles
Productionsl
The N4i ami pr og met al
band l ed by gui t ar -
i st Sant i ago Dobl es
advances t he sound of
t hei r r eg i onal ances-
t or s Deat h and Cyni c t o
mor e mel odi c and c om-
pl ex past ur es.
1l n f act ,
dr ummer Sean Rei ner t
di d t i me l n bot h bands,
as di d Dobl es' s gui t ar
menl or , Paul l vl a svi d a l . )
Dobl es di spl ays f l aw
l es s pi c k i ng t ec hni que
compar abl e t o t hat of an
l Mal mst een or Pet r ucci ,
but he set s hi msel f apar t
wi t h some et her eal ,
f usi on- i nspi r ed chor ds,
of t en pr oceeded by
wr i st br eaki ng t hr ash.
MOMENT OF TRUTH:
"Open Cl ose t he 8ox"
12: 01- 2: 47)
Dobl es comes
out f l yi ng wi t h sweep
i ng ar peggi os and speed-
pi cki ng, t hen devel ops
a mel odi c t heme whi l e
a t r ack of bl i ndi ng scal e
r uns l oops i n t he back'
gr ound.
Tlshamlngo
The Point
lMagnatudel
Southern rock is defined
by the balanced ten-
sion betweenNvang and
buzz-saw guitar, and this
Georgia quartet knows the
style inside and out. lt fol
lows they have a talnt-
ed guitar duo in Cameron
Williams and Jess Franklin,
who lead the hard driving
blues rock and coun!ry bal-
ladry
(in
thetrue sense of
the word). Not onlydo they
show noticeable restraint
and taste, they both carry
distincttones, makingthe
trade offs more power-
ful, as in thefunky "Are
We Rollin'." Also check
out "Tennessee Mountain
Angel" for some slide that
woul d make Duane Al l man
MOMENT OF TRUTH:
"Thi s Ti me"
( 3; 12
3: 40)
Swagger i ng soul number
f eat ur i ng Camer on l et t i ng
loose with deftly phrased
bends t hat pi er ce t he
speaker s. He cl i maxes t he
l eads wi t h a cl ever choi ce
of not es t hat cl i mb wi t h
t he chor d pr ogr essi on.
ln Our
fivsitemsi
'l'lris
lVlontlr in DVDs, Vicle<li6ncl
l3<xrlcs
Dold(en
trndrailr tlre Night
{ Rhi no)
Despi t e hi s ar r ogance and despi t e t he l ack of chemi st r y he had wi t h f or mer l v skunk hal r ed gul t ar ge
ni ! s Geor ge Lynch, headband_wear i ng bandl eader Don Dokken st i L managed l o put out musi c of i m
mense i nt er est t o gui t ar i st s. Yeah, Don' s vocal s st o e pr eci ous sol oi ng t i me f i om Lvnch, but Lynch
got er o! gh l cksl nt ot ur nhl r nsel f i nt oashr ed_savvv, mLr sceboundher o
Unchai nt he Nl ght made
on Super 8 back bei or e dl gi t a , i s a 45_mi nut e r ockl r ment ar v f r om l 986 ar ound t he band' s commer
ci al peak. The f m mi xes i nt er vi ew segment s wi t h st agd vi deos, makl ng l t campv as he ( cl r eck out
Ly nc h' s g! t ar " c hai ns " ont hei r 1982s ' Br eak i ngt heChal ns " ) ' but s t l
pr et t y ent ei l ai ni ng A handf u
of bonus vi ds, i ncl udi ng bi g b! dget r eel s l i ke "Wal k AwaY' and "Dr eam War r i or s, " l st ar r i ng Fr eddv
Kr uegef L) f l l l out t he package, whi ch l s a compani on
pi ece i o a r ar e' ear l y ve CD f r om 198l
Alben Collins & the lcellleal(els
ln Concen
(lnakustik)
Al bef i Col l i ns has never r ecel ved t he cr edi t he deser ves;
vou
l agr ee at t er checki ng out t hi s r l ppi n' set
f r om St ut t gar t i n 1985. The l ceman
( at
t he t l me 53 and at hi s peak) i s l i t he enoug h t o whi p of f i ncr ed
i bl e f Lr nk l i cks and wl se enough t o st i ck wi t h t he spar e, sear i f g so os t hat gave hi m hi s "i cv" r eput a
t i on. Thanks t o a hi gh- on t he neck capo and f r equent ml nor t un ngs, Col l i ns cr anks out t he R&B/ bl ues
madness, and sends t hem b l st er i ng l nt o t he smoke f l l ed Ger man ai r ' Pr ops t o Col l i ns' band' t oo'
whi ch l nc udes guest har pl si Sout hsl de Johnnv anr l r h) , ' t hm gui t ar l st Rob Nol ' The vl deo i s sof t her e'
not bad f or a 20
year - ol d r eel , and t he camer as ar e ki nd t o Col l i ns gr i sl v axe wor k, especr al Lv on h s
cover of GLr t ar Sl i m' s "The Thi ngs That I Used t o Do "
Helloweerr
'l'lre
l(eeper of tlre Seven l(elr$:'l'he l-egaclr \
(nlcl
'li)ur
2005/2006 Lirre ou
'l'lrtee
Oolltinentli
{SPV)
The Teut onl c her oes of He I oween have a waYs been on t he f r nges of t he Ar ner can met al scene l May_
be t hel r b end i s t oo headv f or domest l c headbanger s, but t hey got st uck l n t he mar gl nal dar kness be
hi nd bands i ke l r on N4al den. The f act i s t he band' st heat r i cal nol se i s exp l osi vel v ent e r t a n ng' and l he r
sound ls prototypica power meta , especia y on their andmark dlsc Keeper afthe Seven Keys Each
member s a monst er nst r ument al i sl , and gui t ar st s Mi chael Wei kat h and Sascha Ger st ner get pl ent y or
t i me l o chug, chl l l , f i l , and t r i l l Thei r wor k l s col or f ul and pr ec se, wi i hout as r nLr ch f i r e br eat hi ng shr ed
as many of t hei r met a c ount er par t s Thedoubl edi s c v : deol s l av l s handf un, madel nf r ont of f ar hf Lr
l e
gi ons ar ound t he wor l d. Lj ust wonder whyt hedamn t hl ng needs t hr ee nar nes
()anis
[Jn(le[ l?evie\
r: lvknning Glor]t
{Chrome Dreams/Sexy Intellectual)
Fewbandssi ncet he al t er nat l ve exp osl on oi t he' gos have madeendur i ng po p- r ock mel odl es i ke Oa_
si s. Hundr eds and t housands have t r i ed, most end ng up copi es of copi es Thl s i n- dept h anal vsi s of t he
bands t r l umphant second r ecor cl i ng ef f on de ves deepl y l nt o howt he al bum became t h cent er pl ec of
t he Br i t - ooD r evol ut i on, how i t ef f ect vevf o oweduponeof t hegr eal est r ockdebt r t sof our gener at on
tn Definitelv Mavbe, a^dhow brl liant singer/g!itarist Noe Gallagher' desp te hls persona tv derects
andt ur r i of abr ot her , hasr emal nedoneof r nodr nr o. l ' st r uv
coni c songwr i t er s 4oB GULr a
TNSTRUC'l'l()NAl-
VIDEOS OF
-ft{E
t|/t0N'll.l
ln an effortthai redeflnesthe
word "painstaking," instruc-
t or Danny Gi l l t akes si x Joe
Satrianitunes apart note bv
note, then shows you howto
put t hem backt oget hr agai n,
ani: Classic
Sorgs
(CheF
r y Lane) . l t s
wi t h "Bi g
Bad Moon, '
"Cryin,"'
i ng i n a Bl ue
Dream"
di sc one whi e "Fr i ends, "
"Rubi na, " and "Summer
Song" gei lhe sarne tfeatmenl
on disc wo. No intro, melo_
dy, solo, or outfo is forgotten,
whi ch means t hi s i s one l ong
package-nea rly fou I hours
Gi l l ' s absor pt i on of al l t hi ngs
Satch is almosttoial;yes, he's
r ocki n' an ESP i nst ead of an
lbanez, but l'd say his shaved
head makes up for that.
On Rockabi y Guitat lHal
Leonard), session ace TroY
Dext er examl nes t he st yl es
of sever al r esi dent s of t he
Twanger s' Hal l of Fame, i n-
cl udi ng Scot t y Moof e, Car l
Per ki ns, Eddi e Cochr an, and
Br i an Set zef . Al l r ockabi l
l o pi ck r ak-
i ng, and Dex
I ngs r or
sur e. Too bad t he f ol ks i n
char ge of onscr een caPt i ons
di dnt doubl e' check t he sPel l _
i ng of Duane Eddy' s name,
but t hat ' s goi not hi ng t o do
wi t h t he musi cal exar nPl es,
whi ch ar e guar ant eed t o hel P
you spi ce up your next hoot e-
nanny.
-MAc
nANDAr.r
i v
j ,t+,
'.$
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lijl!?!?1,*i[A:rj"T:l:1;=-:;]'l;iij'Jfi.l:ii"xig:;f;,i,11*:i^'i$?
-i r; bd. i *{ Ei ' ] . e cd-l oov