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G I,J I]ARO N I= I|/IAG.CO IUIlN SEPTEMBER, 2oo4, we launched an exciting new era for guitarmagazines in the U.S., becoming the f i rc t to inc lude a CD RON4, f i l ledwith audio and video examples of our lessons, gear dernos, and featureani$ 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 ourexciting content to the Weh,frce ol charge, at wvwv.guitarcnemag.com,

Now, I know some ofyou are asking, l f the CD-RO[4 was such a success, why are you discont inuing i t?" I t 's a fa i r quest ion, but i th got afairly easy answer. The CD-RON4 is a ljmited mediurr, with very littlefile space (we had approximately 550 N,4 B to work with each month).We found that in s i tuat ions where an a( is t gave us a phenomenallesson, we of ten had to edi t out some tru lv k i l ler instruct ional mate-

r ia l just to f i t everyth ing on the disc. Or forexample, i f we did an amp roundup, we didn' t havethe space to show you each amp's feaiures and sounds in any sort of depth. Wel l , not anymore.Using the Web as our new interface, we'll have the freedom to provide more footage of our art-is ts, not only of their p laying but a lso their ins ights and advice on becoming a bet ter gui tar is t .

To cleaf up some potentialconfusion, Guitar One and GuitatWo dmagazines are sister publlcations. As such, we share space-and content----on theWeb. So when you surf on overto guitaronemag.com, you will also see the Guitar Worid logo and content on the various Web pages, butrest 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 note, th is month we say goodbye to longt ime art d i rector Adam Fulrath. He over-saw many exci t ing redesigns in h is s ix years at Gui tar One, and we wi l l miss him-espe-cia l ly h is penchant for pract ica jokes and his secondto none Star Wars t f iv ia knowledge. Adam, i f you're'eadirg th s, we do have one lasr qLest ;on'or you:Where's the chicken?

Lucky for us, Adam's departure opens the door fornew art d i rector Turt le Burkybi le, who comes to G1from Future Music magazine. Turt le is a top notch ar tis t who we expect wi l l br ing exci t ing and cut t ing edgeideas and designs to our pages. And i t just so happensthat Tunle also knows a th ing or two about parsecs,l ig ht sabers, and midichlor iansl

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alt*mf;l*tul['ffi'u*fi*ffilg"T;ffiEditor Dale Tumer) playing on the l€sson audio tracks eacn month.

" E!l[ In addition to being a popular instructor at Musici.ns Instihne (G.l.T.) sincepffi l"T;,';ffi%T"T.1fl trS:H:fl BffitlTi:'*'lff :1"'J:"j',i'""

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BY MICI{AEL MTJEI-I-ERPHOTOGRAPHY BY AT{NA DICKSON

himsel t h is sheet music, and his gui tar a long the way.Fonunately, the deluge did n1 dampen Gambale 's enthusiasm fof doing th is exclusive pr ivate lesson.

Af ter hanging up his sheet music to dry, Gambale began plugging his Yamaha AES1500 into a var iety of ourhouse amps to d ia l in the r ight tone, and ta lk soon turnedto last year's Wombat Records release, Natural H/gh hisf i rs t a l l -acoust ic record. " l t 's something l 'd been th inkingof doing a long t ime, about '10 years," says GambaIe." l love playing wi thout drums. l 'm not t ry ing to bel i t t ledrummers or percussionists in any way, but nowadaysi t of ten takes up too much of the mix. ! just wanted theacoust ic instruments lo sh;ne through."

In h is quest to h ighl ight those acoust ic instruments,Gambale recorded Natural Hlgh using a Yamaha FPX100steel s i r ing, wi th i ts d iminut ive body and wide, c lassicalsty le neck. ' l 've a lways preferred smal lbodied acoust ics,l ike old Gibsons and l !4art in OO 18s," says Gambale."They always sound r icher in the low end, to me."

These days, however, Gambale is f launt ing his ter-r i fy ing l ines wi th Chick Corea's Electr ic Band, a g ig thatrequires a whole di f ferent set of toois. In our interv iew,Gambale ta lks about h is swi tch f rom lbanez to Yamahagui tars and his d isdain for tube arr ]p i f icat ion; when hisc lothes and gui tar f inal ly dry out , he pfoceeds to demon-strate h is unmatched sweep pick ing techniques.

Al though they make great instruments, not many' , rockslars" are endorsing Yamaha gui tars 8ut you do.I swi tched to Yamaha gui tars about s ix years ago, af ter13 years wi th lbanez. With gui lars, i l s a very t radi t ionalwor ld. l t 's hard to get a g! i tar is t to even th ink about

n the day that Frank Gambal€ was sched'u l€d to appear at our N4anhattan studio,NYC was under s iege of a torrent ia l down-pour Unable to f ind an avai lable cab, thegui tar is t h iked near ly two mi les, soaking

something i f i t isnl Paul Reed Smith, Gibson, or Fender,and that 's t ragical ly f lawed th inking. 8ut Yamaha is rnak-ing some absolutely, undeniably wonder iu l instruments.Thefe 's a lot of creal ive energy being put into great newmodels and interest ing innovat lons. And Yamaha is l ikea giant bat t leship-when they point their guns at some'th ing, you're dead. l t 's just that they never bothered tosteer that ship towards electr ic gui tars. And that 's whatthey' re star t ing to do now

Tel l us about your new signature model .I t wi l l be based on the Yamaha SG, which is a b i t of aclassic. Even Car los Santana used to p lay one. l 'm playing one wi th the Chick Corea band r ight now They'reonly avai lable overseas at the moment, but my modelis supposed to be ready th is summer, and i t should beavai lable in rhe U.S. l t l 1a!e new in lays. coi tappingfeatures, and other opt ions. I th ink gu tars should have al lthe possib le sound opt ions.

Are you st i l lus ing the Carvin Tone Navigator preamp?Yes, and i t 's been sel l ing qui te wel l . I know a lot of peopleprefer amps, be i t combos or head and cab setups, butpeople who've been using the preamp are real ly lov ingi t . We modeled i t around the Marshal JIVP 1, which l 'dbeen using for a long t ime, and I wanted to improve onthat . I wanted more tone f lex ib i i ty . l t 's got two midrangeparametr ics, so you can dia l in any sound. There are notubes but i t s t i l l sounds rea ly fat .

Are you using a solid-state power amp, too?I haletube powef amps. l 'd love to be convinced thatthey' re good, but every s ing e one l 've l r ied sounded awful on the bot tom end. There's just no point in having atube power amp. I never thought ihat power should bean!.thing but power, I use a 1,000 watt Carvin power amp;theret so much more headroom, and i t 's jLrst beaut i fu l .

What about your cabinetsand speakers?I vacillate between 4x12Marshalls with 7s-watt Ce-lestions, which I like a lot,and two Carvin 2x12 open-back cabs, also with Celes-tions. I do have aboutfiveof the old Carvin 2x12 cabsloaded with Carvin G212speakers, which have a par-ticular characterthat I reallylike. Unfortunately, they'vestoPped making those.

eftects?

usrng anesame stuff

I lock intosomethingI l ike, Iuse it, I

love the TC Electronic G-Force. lt's all I nesd; it's gotbeautiful reverbs. delays,and choruses as wel lasharmoniz ing, EO, and pan-ning al l in one box, wi th avery high-quality sound. Icontrol it with a Rolls MlDlpedal , and I have a volume

In many guilar circl6,you arethe king of sweeppicking. Can you 6how ussome of your techniques?Sure. Two-string patternsare some ofthe hardestlittle internal sweeps. IFigs.1A-Dl. Most people usefour pickstrokes to play thattype of pattern, butthis isjust one up. one down.

Next, you can stretch itouttothree strings [Fig.2Al. You can do that on dif-lerent string sets lFig. 2Bland even use triads [Fig.2Cl. lfyou can get thoseclean, that's a really goodsweeping exercise. Thehard part, for most people,is the muting, becauseyou,re playing three adiacent stringswith one finger.

How about maior-7thshapes?The t radi t ional shape ofCmajT is th is one [Fig.3A],and I used to get reallyfrustrated with that shape,because you can practiceit for 100 years and neverget it uP to proper speed.So instead, I move the1oth-lret G note on the sthstring to the 5th fret on the4th str ing; l th€n playthreenotes on the D string, and

t " r - - - l v - - - - - - - l y - - - - - - - - - l F

l f - - - - - - . 1 \ r - - - - l v - - - - - - - , 1 -

CONTINUED

cont inue the sweep. At thehigh E str ing, though, I gor ight to the C note and thenbegin the descent on theB note tFig.3Bl . The resul tis that rather than making17 strokes to p lay i t v iaal ternate pick ing, l use onlyseven Pick strokes.

What about other chordqualities?For variations, you justmove the notes around. Forexample, to play majT{s,you raise the 5th by onefret , l ike th is tF ig.4Al . Otfor minorTth, do l ike th islFig.4Bl . You just adjust theshape to fit the arpeggio.

You demonstrated a three-string pentatonic lickearlier. Can you expand

I love peniatonic sweeps.The typical pentatonicscale shape has t\,vo noteson each str ing, but l tend todo it differently-l sweepwherever possiblel lt's a bitmore of a stretch, but herei t is IF ig.51.

You've mentioned thatthere's a mathematica I for-mula for it.Yes, there is.lf you wantto use sweep picking aseff iciently as possible,

You need to have an oddnumber of notes on eachstring-whether it's an arpeggio shape with just onenote per string IFig.6Ai, o.a more scale-like patternwith three notes per stringlFig.68l . Then, to changedkection, you need an evennumber of notes, so you'dplay onlytwo notes on thestring wherethe turnaroundoccurs, and then go backtothree notes per string forthe

What about improvisation?For instance, what wouldyou play over an Em7 chordTWel l lwouldn' t p lay anEm7 arpeggio; i t 's just toosquarel So instead, l mightstan on the 3rd of Em7 (G)and take i t up to the gth(F{) , leaving the root outaltogether, and that givesme a GmajT arpeggio lF ig.71. l t sounds jazzier but i t 'sa lso more harmonical ly

diseBsion of bluesand phrasing. onlineafGuitaronemag,coml

When it mmes to the "digft.lvs. analog- d€bab, FrantGambalo has sohe raih€r choico woiats or ths lubiost.Hers's what hs had to sayi

"l'm quito contary to the popularway th.t guitrr phyorsg€ttone. Wiih todoy's technology, ldont understand whywe can,t build a gr€a! amp without iub€s. Th€ guitar in-dustry is probably one olths only ones left on the planetthat still tfiink3tubas ar€ bette. tha. .nything else. I iusidont bal:ev. in h.ving . steam-poworod laptop-knowwhat lmesn? lt doesnt mak. s€n6e to m€. Peoplo stillthink rhat vinyl3oun& b€tt€r 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 leftanyway whon .veryons's listgning to mp3s oll iPods?"

Sitevie llaxVauglraqJGettirrg In step witha Blues-llocl< l-egencJBy Tom KolblN 1983, A YOUNG GUiTAR|ST named Stevie Ray Vaughan rockered out of theLone Star state l ike a Texas cyctone. Riding on the acctaim fueled by his scorch_ing leadwork on David Bowie 's chart- topper , ,Let ,s Dance,, ,Vaughan and his bandDouble Trouble quickJy recorded and re leased Texas Flood, which would herald theblues revival of the '80s_ Wortd tours and a str ing ol accla imed albums_ Couldn, t Standthe Weather, Soulto Soul, Live Alive, and ln Step {o owed. Appealing to blues androck audiences al ike, Vaughan remained in the t imet ight unt i l 1990, when his l i fe wascut l ragical ly short in a post-concen hel icopter crash.

Vaughan's uncommonly intense styte was character ized by a combinat ion of br i l ,l iant e lectr ;c-b lues chops, gargantuan tone, and a stra ight_from_!he_gut sotoing ap_proach. (Vaughan's inf luences inctude Atbert King, Buddy cuy, B.B. King, J imi Hendr ix,and his own brother, J immy.) A strong s inger, Vaughan accompanied his vocaJs wi th anaggressive r i f t ing sty le, inter taced wi th exquis i te f i l ls and counterbalanced wi th extendedsoloing excursjons. At though his t ime in the spot t ight was far too br ief , Vaughan is immortat-ized by the ever-growing tegion of young guj tar p layers inspired bv his sout fut stv le.

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Like most b Lres gui tar is ts,Vaughan favored the bluessca e (l ^3-4 15-5-.7). Fig.' lA is an example of h isopen-pos t ron approach tothe E blues scale {E G-A-B. B-D). Fashioned afterhis b iazing outbursrs in"Scut1 e Eutt in" ' (CouJdntStand the Weather), t fea-tures a whole s iep bendand severa legato moves(a s l ide and two sets of pul iof fs) . Feel f ree to exper iment wi th var lous pick ingdrrections, just be sure touse a st iong at tack. Fig. lBis anoiher hal lmark SRVick. This one mixes notes

irom both the A rn inor endA rnalor pentatonic sca eslrespective y, A-C-D E-cand A B-C:-E Fr) . Pick ingsuggestrons are includedbetw€en the staves.

Vaughan of ten employeddoub e stops (two notesplayed s imui taneoLrsly) andtr ip le stops ( three notes)tofat ten up his so os. Fig. 24ieatures a handful of h is fa-vof i te rnoves, a l l set against

F

E

J.= 60

an E7 chord, Strive to keepall three strings parallel asyou bend the lasttriple stopa quart€r step. IncidentallY,Vaughan would often useall u pstrokes for these typesof figures; listento "Prideand.Joy" and "Lovs StruckBabv" lTexas Flood)lorprime examples. Fig,28 isan example of his double-and triplestop moves an aslow-blues vein. Play thedouble-stop bend {1st and2nd strings)with the fleshyunderside ol your 3rd finger.

Fig.3 is an example ofVaughan's iniense, slow-blues soloing. Inspired bymemorabls moments in"The Sky ls Crying" afheSky /s Crying, the lines arecralted from the C minorpentatonic scal€ (C+F

G-Bt), played in the "AlbertKing" box {a live-note group

on the top three strings) in1 lth position. Stay in posi

tion throughoul using your

1st finger for the l lth-fretnotes, your 3rd finger for the13th-frst ones, and your 2ndJingerforthe 12th-fret G.

For allhisferocity,Vaughan had a tender side,too. Fig.4 msldssome lus-cious, Hendrix-intluencedmoves inspirsd by "Lenny"lTexas Flood)with somejazzier maneuvers in thestyle of "Riviera Paradise"

f/n Sfep). Use your wham-my barto provide gentle vi-brato on the Emaj13 and A6chords. At the close oI thepassage, swipe the top twostrings aggressively behindthe nut with your pick.

The SoloThe solo [E9.5]is over aslow blues piogression

in the key of E. Alter anintroductory pickup mea-sure, the torm follows astandard l-.lV-V (E7-A7-87)

in measures l-10 {thefirstmeasure), shiftsto a l-lvtag in measures 1l-12, andgo€s out on a bll-lchange

The solo opons with 3cycled B/G dyad (bend the2nd string a quarter stepwhile you keepthe lst sta-tionary) and an open-posi-tion tlurryof double- and

. triple-stop clusters (s€e

Fig.2A). Grab the 3rd- and2nd-fret clusters with a

, l =50Emajt3 Al3 (Eva)

@f

J .=60

CONTINUED

Iih;

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I

3rd-finger barr€. {Notice thatthe soto is notated in t2l8.lfthis is a newtime signatureforyou, think ofit as 4/4with an eighth-note triptetsubdivision on each beat.Try counting "one-and{h,two-and-uh, three-and-uh.fouFand-uh,")

The band comes in atmeasure 1 and the solostarts in earnest with aoth-string pop, a trill{rapidhammer-on/release motion),and a rapid-tire blues lick.Measure 2 brings the quick-ch€nge lV chord (ATlandthe solo slips into a seriesoftriple stops based on theprinciples set forth in Figs.2A-8. Msasurc 3 returns tothe lchord (E7) and the triptestops continue (add fret_hand vibrato to the frettednotes), ending in a tremolo-picking flurry. (Using an up_and-down motion, strum thetopthree strings as rapidty

Msasures 4-5 exploit the"Albert King" E minor pen-tatonic box in 1sth position{see Fig.3). Playthe l7th-frctdouble-stop bends with thetip ot your 3rd finger, bend-ing the 1st string towardthe 2nd string before tret-ting the latter. The segue inme€sures $$ f€atures twotrademark SRV moves: asliding Ag voicing foltowedby a 6th-string snap-grabthat string between yourpick hand's thumb and indexf inger and pul l up far enoughthat the string snaps backto the fretboard when yourelease it.

The signature lick overthelV chord (bar 6) is bui t t l roma combination ot the A ma-jor and A minor pentatonicscales, followed in bar 7 byopen-position moves thatmirrorthose of bar t. (lfyourlstfinger is too weak, playthe 3rd-string trill with your2nd finger.)

Measure I hosts anothertremolo-strumming outburst,followed by a steadily esca-lating bending maneuver inmeasure 9, in which the lststring is bent€ little furtherwith each attack. From hereon out, rapetition and pureenergy are the key factorsin copping Vaughan's fiercesound. Dig in extra hard withyour pick. and use a wide,vigorous f ref hand vibratowherever indicated.

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*Pull strirg Vlhumb &

-l alldnglul eterl{ornr t<l CoLlnt anclPlay in 6/tl'l'imeBv 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 "subterran€an 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'

Decipher ing meter ls l ike th inking in i ract ions For6/8, th ink"6x1/8,"ors ixeighth

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 fe€ling 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'

ArpegglosLet's conrpare 3/4 and 6/8

by modj fy ing a faml l iar in_

strumenta rock r i f f . F ig lA

contains s ix e ighth noies;

the f i fs t of each is pair

accented. This Producesthree beats, each ofwhichis d lv ided in two eighthnotes, counted (accents

i ta ic ized)r "on+and' two_and-thrce-and," llke 314.

Fig. 1B shows the same r i f f

wi th accents every thfeeeighth notes, Prod!c ng

two pu ses, counted, "ona

two three'fotrrjive'six" for

a 6/8 fe€| . (Hence 6/8 s met-ronome mafking of dotted q uarter l three €ighthnotesl = 96.) Fig.2 puts Flg.

18's 6/8 feel into a c lass cprogression reminiscentof h i ts in 6/8 l iko the Beach

Boys" ' ln My Room" and

the Beat les ' " l Want Yo!(She's So Heavy)."

Rush's Alex Li feson is

a master of metrica ex-per imentat ion; he of lencornbines 4/4, 5/4, 6/8, and7/8 s ignatures wl th in a

I

c o u n l o i e ' d d . n \ o

1(t t uN nt.rth.tl- - . 1

count: one (\. rluedi.r,ir! rirtrrr!/rrrr

- - ' - - - l

single section. However,in more accessible mate-rial-like "The Trees"

\Hemispheresl, whichinforms Fig.3-he' l l s i t jn

one meter for an extendedt ime before launching intoothors. Interestingly, thisnylon-string passage is

rem;niscent of the Renais-sance composer JonnDowland's (1563-1626) gui

tarwo*s, manY ofwhichfall in 6/8,

Fig,4 takes our fami l iar6/8 arpeggio and plugs itinto fully frotted shapes,adding chord ornamentssimilar to those played byNeal Schon in Journey's

"Lights" (lnfnlty). Grab a

Fender Stratocaster, di6lin iust a touch oI gain. andpick using mostly clown-strokes, digging in just

hard snough to coax grit

Now let's add some 16thnotes, An entire measureof l6ths in 6/8 is counted,"One-and, tlvo-and, thr€e-and, four-and, five-and,

six-and." Inspired by theAnimals ' take on "Houseofrhe Ris ing Sun" ( I re

Arimals). Fig. 5 revealshow this new note valueadds interestto eighth-note-based arpeggios.We'll continue developing'l6ths in 6/8 in {orthcoming

Strum ItOver the past decade,several mainstream rockhits have been in 6/8 time.Inspired by the Goo GooDolls' "ltis" lcity of Angelssoundtrack). Fig. 6 featureschord roots Pitted againstv igorously strummed 16th

notes. (Note: this Jiguref€atures guitarist JohnnyRzeznik's B-D-D-D-D-Dtuning arranged for stan-dard,) Recent ly, John

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Iet rinr throwhoulCount "one - aid. lwo:dd, lhree - fld, fou md, nvefld, six and"

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Mayer struck gold using

a s imi lar aPProach wi th

hi6 6/8 gem "Daughters"

lHeavier Thingsl.In{ormed bY the

Beat les ' "Norwegianwood" lRubber Souk,

F i g . T f e a t u r e s a D m a -jor (D-E-Fi-G-A-B-Cl)

melody played on str ings

3-5 between strums ot

an open D chord. (Note:

"Norwegian Wood" was

or ig inal ly p layed wi th a

capo placed at the 2nd

fret . ) Look out for thegrace-note hammer-on,f r o m A t o B , i n b a r 1 .

We' l lwrap up our ex_

aminat ion of 6/8 strums

with Fig. 8, s imi lar to

what John Fruscianteplays on a 12-str ingacoust ic in the Red Hot

Chi l i Peppers" 'Breakingthe Gitl" lBlood sugar

Ssx Magik). Ke€P Yourpick hand moving in

swinging 16ths { l is tento the metronome cl ick

at our Web site (www.

guitarcnemag.com),

then hi t the str ings in theprescribed funkY rhythm,

which is the same in both

Heavy Rock6/8 can be extremelyeffective in heavy rock

set t ings-check out the

dirge- l ike Fig.9, in which

low-register not€s are

set against middle-str ingharmonics. Whi le th is

aPProach worked for

Soundgarden in songs

l ike "L imo Wreck" (SuPe-

runknownl , headv melalp ioneers l ike l ron Maiden

speed-Picked their waY

through 6/8 riffs, achiev_

ing a "gal loping" ef fect

wi th power chords and

muted, open-str ingdrones tFig, 101.

Progressive rock acts

l ike King Cr imson, Yes,

and Genesis have rou-

t inely mixed meters In

their music, and heaw

rock acts l ike King's X,

Dream Thoater, Tool ,

Meshuggah, System of

a Down have in recentyears aPProPr iated th is

concept. Al tsrnat ing be-

tween 4/4 and 6/8 time

signatures, Fig. 11 is in-

spired by these forward-

th inking bands.

"oN-21t, two - akd, lhfte-4nd,leiingthrotqhort . .

| r ( v n )v (F )vfou ann, fue - ond, six-and"

F ( V ) F V N V

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G5 Fmt BtmajT AlmajT({ll)loco 8va -j locoS')a-1 loc.' 8w--l

(.lt = ))G/B CsAsus2 G[7sus4D5 E5

Hm.-l Han.-l

r . u . - - - - - - - - - - - - - - - - - - - J

N ' V F V F V N V F N F I

Goth'si GmncleLlr'flre Gr.litar tilcills l3elrincl tlre EyelinerBy Mac RandallTO OUOTE THE GnEAT John Lydon

{a.k.a. Johnny Rotten), anger is an

energy, and that energy revitalized the

mid-1970s British music scene in the

form of punk rock, as now_legendary

bands such as the Clash, the Damned,

and Lydon's own Sex Pistols stuck up

their middle f ingers at government,

society, and anyone who thoughtthatyou needed to be a virtuoso to PlaYrock'n' roll, Unfortunately. one prob-

lem with ange. is that it has a limited

vocabulary. Punk soon Proved lo be a

musicaldead end, as both players 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 goth was born.Cr i t ics and tans wi l l wrangle t i l l k ing-

dom come over who the true forerun-

ners ofgoth were, but most agree that

the first indisputable goth anthem was

Bauhaus's 1979 debut s ingle, "Bela Lu-gosi's D€ad." with singer Peter Murphy

intoning cryptic lyrics aboutthe man we

all know better as Count Dracula andguitarist 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 startedout as punk, were adding horroFmovieatmospherics to their songs, and the

subgenre they helped foster by doing so

cont inuesto th;s day.Goth is oflen regarded more as a

{ashion choice than a musical sty le

but beyond the black lipstick and whitepancake makeup l ies a lot of terr i f icmusic-and as we ll see in the follow'

ing examples, the gui tat has always

been goth's plvotal instrument.

. - - . . , : .

,.,.. ii: : , I

. : i .

,"1

Daniel Ash's gui iarwork

in Bauhaus was rarelYconvent ional ( though hlsp aylng became somewhat

more norrnal in h is sub

sequent band, Love andRockets). Distortion, delaY,

and modulat lon were al l

essential parts of hlstone,

addlng depth and werght to

what might otherwise have

sounded rudimentary. Bal ls

out st rumming and bends

evocative of seasickness

n

I

6

:i .

1,',-€

1 4 1 4 1 4 - 1 4 1 4 1 4 1 l 1 1 -12 12-12-12 12-12 12 12 1

also feature prominent ly in

Ash's style, and both areon display in Fig. r , looselybased on part of Bauhaus s" ln the FlatFie ld." Hi t thosestrings as hard as you canfor the skaight e ighth notebi ts, l ightening up ever sosl ight ly for the bent notes.

John Mcceoch, gui tar

man for Siouxsie and theBanshees dur ing the ear ly'80s, was a moretechnicailyskilled and musically knowl-edgeable playerthan Ash,and you can hearthat inthe super-sma rt ch o rd voic-ings of Fig.2, inspired bythe Banshees' 1980 s ingle"Happy House." Thoseopen-sounding min11 andTsus4chords are morethan a little reminiscent ofanother great guitarist fromthis era, the Police's AndySummers. For Fig.3, wemove on to the cure andtheir iconic leader RobertSmith, \,!hose striking hairstyle could understandablyimpair your real izat ion of h isestimable six-string abilities."Push," f rom 1985's lheHead on the Door,isrheinspirat ion here,showcasing one of Smiih's favoritemoves: supporting a simplebut striking melody on thehlgher strings with a con-stant eighth-note bassline.

A sense offorebodingis an absolute requisite ingoth, and few have knownhow to conveythat moreeffectively than the Sistersof Mercy, led byAndrewEldr i tch. Fig. 4,s imi lar tothe centralguitar riff onthe Sisters' 1987 track "Do-minion/lvlother Bussia,"captures this quality. There'ssomething unsettling aboutthe lengthy spaces Eldritchleaves between phrases,and ihe waythat F, the sus-pended 4th, hangs over theC in rneasufe 3. Ourf inalex-ample draws on the catalogof the Cul t , a band that or ig inal lywere goth bul arguablywere no longer so bythet imethey got famous. St i l l ,there's moody atmosphereaplenty in Fig.5, inspiredby Billy Duffy's classic r;ffon "She Sel ls Sancluary,"which milks an archetypalgoth formula, layering amodals ingle note l ine overa drone in a mannerthatvaguely suggests Indian andMiddle Eastern music.

tr2

I()NE$ ON TAILWant that doomy, gloomy goth guitsrsor$d? In short, herct how Vou g6t il modu-lation 6ff€6t3, and lots ol thern. Flangin$ .fio-rur vibrato, phr5ing-rthoy're all great .ndwhon you've got drem an going at the sametim€ and at ditreredt spce&, they're evenbstt6r. You.ll also need a dolay. pr€f*ably ananalog on. like dt€ ElecbqHarmonix Momoiy

Ma set io a Bhort rcpeat, and afudox of some sort if yo!'re look-ing to nail tho D.ni.l Ash tone inFig. 1. Otherwis€, d:slortion won'tb€ n€c6sary. Mo6t crasic goth guit'] tone6 ar€ actually dean, thoughce.tainly not dry. Ths type ol guitar,pickuFs. or amp you usa matte6 barelya wfiil her€; iust make srr6 you crankflem loud €nough so that the pedab canproduc€ havoc with little prompting.

) = 1 2 6

5

9

Guitarisitsi tllulegacletA Classic lUletal()nslauglrt'sInner \llfog6,tt*

By Troy StetinalN 19a3, af ter getr ing unce.emoniously booted out of theembryonic Nletal l ica, gui tar is i Dave I \4ustaine formed Megadeth. In the near ly 25 years s ince then, h is band has proved

to be a def in ing force in metal , as wel l as a shred bonanza-the lead gui tar s lot has been occupied by no less than sevenexcepflonar prayers-

Ear ly Nlegadeth l ineups included gui tar is t Kerry King (Slay

ed, among others, bui by the t ime of the band's f i rs t a lbum,Killing ls My Business...And Eusiness ls 6oodl (1985), ChrisPoland was on board, and he remained so for the 1986 fo llowup, Peace sel ls . . .8ut Who's auying? (1986). A mul t i fac_

eted player wi th deep jazz fusion roots, Poland was, and is ,capabLe of p laying expert ly anlahing he could dream up, nomatter how demanding. His immediate successorwas Jef fYoung, followed in 1990 by I!4arty Friedman, who'd previouslypartnered wi th fe l low shredderJason Becker in the instru 'mental group Cacophony. Fr iedman's decade wi th the band isseen by many as Megadeth 's "golden era." The music evolvedfrom i ts ear ly thrashiness toward heavier , more approachable,and of ten more moderately paced grooves, whi le Ff iedrnan'ssoloing finesse earned him well deserved status as a maste.metal techn;c ian. L ike Poland, Fr iedman always seems toserue the melody f i rs t ; h is solos are t ight ly st ructured, wi th anexcellent sense of pacing-

After the mi l lennium, lead dut ies in N,4egadeth fe l l to AlPi t re l l i (Trans Siber ian Orchestra, Savatage) for several a ibums. In 2004, Chr is Poland returned br ief lY to add solo workto The System Has Failed. And the band s upcorning UnttedAbominat ions, current ly scheduled for a May 2007 release,features ihe latest p layer to jo in the f ray, Glen Drover (Eido

lon, King Diamond).

Fig. ' l is a l ick s imi lar tol\4arty Friedrnan's me odicsolo entrance in "Lucret la '/Fust , r Peacel . l t 's a goodexample of how you canhug ihe chord tones oi aprogression, decoraled withwel p aced passing tonesand subtle shifts oftona ity.Notethe temporary F, malorarpegglo (Fr-A, Cr) , whichbreaks up the prevai l ing Frrnfeel . A so, over the E, thecolorat ion ls d ist inct y minorinstead ofthe expected lvlix-olydian {which wou d be nat-

/-\ /

=a7

9 5 9 i 1 4 9 - 1 2 7 - 3 1 c i - - _ - -_ ' r 1

9 _ I - 9 4 5 - t _ - 9 8 -

Alf l

i..{

L , 7

\I

ural tothe key of FF minor) .The use oidisplaced octavesin measure 2 adds furthef interest, while in measure 3wesee Bm superimposed overD5, anoiherfusion move thatimplies a DmO chord.

Chris Poland's lead ap-proach gets a showing inFig.2, based on his solo in"The Scorpion" /lhe SysfemHas FailedJ. Smoothly con-trolled vibrato and bending,along with precise left-handexecution, gives Poland'splaying a smoother, "West

Ahhough Glen Drover'soverall s\,le occupies territo-

rys imi lar to Fr iedman's andPoland's, he tends towardmore intense speed lines, ascan be heard in h;s recentwork with Eidolon. Fig. 3gives a sample ofthis flashierapproach, moving a s inglebasic fret-hand shape (with afew variations) th rough severa I positions fo r a full-scaleshred assau lt. The tricky panhere is the rhythm. Follow

.i = 100B5

& & / - .<"-;

1.t-8-8-11-8-8-14 1 1-1 1.14,1lo lo-10-10 12-12-12 1

KXWTTM

\

I

>

$hred $upplementsMoqadeth has sone drrough many inc.rnalions, bul it6 music ha5 st Yod ronsr*tblv considentSt€;dout afbums trom tha M.rty Friedman psriod indud€ ausa it Psaca (19901, Courttdownto Extinctior' 119921, and votnharrash l199al. In parlicrrlar, lbt€n to the 3on$ -Hangar l&-"Lucr€tia." "Svmohonv ol Dssbusbon," "Countdown to Exiincrton,- 'Sxroating Bull6ts,""Youthan$la,; aird "T;in of Consequ€nc6.' Chrilt Polands b66t Mssaddth work can b.loundon 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 inr€mixed .nd r€ma3t*od ve6ions. In addition, ch€ck out Fri€dmat'3 origln€t Cacophorry .elo$e.with Jason B€ckar, Poland'3 solo.lbum F artt to,ltttlropol&, and Glen Drovst's wo.k withEidolon fhe Par|a eI (Xh.two@, Kins Diamond 4901136 otcodr, al|d Uon's Slitre.

each repetition of the patternand you' l lseethat i t repeatsin a regular sequence, takingexactly one and 3/10 beats.To get something likethisdown, first practice eachshape paying no attention tothe rhythm. Afteryou can doevery portion of the pattern,feeling a single downbeaton each rcpetition, thenconsider the hemiola-typerhlthm above the staff. Feelthat rhythm and dropthepattern repetitions right intoit. This js a very advancedconcept, so don't feeltoobad i f i tg ivesyou anyproblems-this is the Shredcolumn, after all!

It will certainly be interesting to hear how Drove/slead style fits in with the newN4egadeth. Inthe meantime,check out his recent blackmetal side project Lion'sShare (lionsshare. org) forsome more over tne-Iop,21st-century shred.

18 17-151718 1&17.15-1718 -17-16 1

l3l3

ig l3illr()orl:ay

'l'he Acoustic tityllngs ofa Great l3lues OomPoserBy Kehh Wy6tti rc atLL AnbONzV tU.1898, Scot t , N4S; d.1958, chicago, lL) was among the most versatr le

a n d p r o l i i i c m u s i c i a n s o f h i s g e n e r a t i o n R a i s e d i n r u r a l s u r r o u n d i n g s ' h e f o u n d h i s w a y

io Ctr ;cago, wf ture his * inning combinat ion of d;verse teperto i te ( inc luding such or iq inal

composi i ions as "Key to the Highway" and " l Feel So Good") and outstanding music ian-

ship made him one oi the def in ing f igures of prewar chicago blu€s Dur ing the growinq

io lk scene of the late t94Os, he began playing in col leges and cof lee houses' wrapping

pointea messag"" anout tace and c lass ("Black, Brown and White Blues") in dry ' sel f -dep

iecat ing wi t . As- one ol the f i rs t American " roots" music ians to tour Europe' he di rect lv

int luenced many Juture stars of Br i t ish blues-

Fig. 1 is s imi lar to "Hey,Hey Baby," a Broonzyfavorite that insPired ayoung Er ic ClaPton, whodecades later covered lt

on Unp/ugged. BroonzYplayed f igures l ike th is wi than easy assurance thatcould turn f tom sweet andgent leto hard edged on a

The sel f 'accomPanimentis best performed withbare thumb and f ingersor a thumbpick. (Broonzy

favored the former aPproach, a l though he Possessed wicked f latPickingski l ls as wel l . ) Coordinai ionof the hammer l ike basspattern and upper-stringsyncopations is tticky butwi l l y ie ld to s low, methodi

At the end of bar2, s l ideup to the sth string's 7th

fret A with Your 1st fingetand in bar 3, catch the 8th-fret G with your 3rd finger'(Not ice the l iberal use ofopen str ings here.) The 87

chord of bar I is based ona 1st- f inger barre and is fo l -lowed in bar 10 by a t r ickypull off on the 47 chord-nai l ihe 3rdj ret G wi thyouf 3rd f inger and In asingle mot ion s l ide i t down

a fret, to Fl, then qr'licklypul l of f to the open E

Big elllBroonzy play€d 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 ro t , l= ; l )

l{anneniclmne'ing

CmajT(Emaj?)

r = r r o ( , 1 = , J i

Dm7(DDr?) (Er?)

, = l 4 o ( t = . . i )

BmajT D7

l = l a o ( ; = i i )

Gmaj? BblBb1

:.

E

The Advanced Progresslonsof John ColtraneB6ilii'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-lpfogression 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-lFig.2 is based onthe first

four bars of "Giant Steps '

The lines are built PrimaFilyfrom chotd tones, using

as little note repetition as

possib le. Shown in Fig.3

are measures 5-€ oftheprogression; check outthe

tetrachord (fournote grouP)

ov€rthe Fi7 chord: 1 (Fl ) ,2

(Gf), 3 Gd), and 5 (cf) ofthe

F, maior scale. This move

works nicelYfor both major

and dominantTth chords in

any conten Once You'velearned these exerclses,

transfer them to the remaln

der of "Giant Steps," a lead

sheet ofwhich is avai lable in

laam "C,oibansChang€s" areGiantSraPe

soud.Inlanscribingthe ritle trackol GirrtsrePg

inlo Coltrans3

of -Equinox,"

"Giant St6Ps"-tYPe

.fimmyPagel{ammer of tlre Gocls,tf npluggeclBv Douqlas Baldwinilinetuririiir ron LED ZEPPELIN' Jimmv Pase helped ro creare I'eavv :net?].sc r u s h i ' 1 g l y l o J d r e p u t a t i o n b u r t h e b r e a d l h o f I h e b a n d s a p p e a l a l s o h a d a l o l T o o o w ' u l

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

2 e p ' s r i s e t o t h e t o p W n i l e w o r k n g a s a s e s s i o n p l a y e r i n t h e m i d r 6 0 s w i t h a r 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 acoustictastes of Zeppelin s resident

six strlngerwere aPParent

on the quartet's veryfirsta lbum. With Indian Percus_sionistViram Jasanrontabla, Page aPProPriated Bert

Jansch! arrangement of the

folk song "Blackwaterside,"renaming i t "Black Mountain

Side" tFig l l"Going to Cal i fornia"

on Zep's fourth album, was

a full band effort in the

acoust icvein, wi th John

Paul Jones's mandolin Partcomplemeni ing Page's g! i

tarwork. Amaze Yourfr lendsby playing the mandol in l ine

along wiih the droning bass'

as shown in Fig.2.Ln spite of the "NO

STAIRWAYI" signsthat hang

ln guitar stores, "StairwaY

to Heaven" cont inuesto be

a benchmark song. I have

students begin by learnrng

the chords as blocked out rn

Fig.3. Playthis evenlY, wi th

a thumb andj ingers stroke,

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 :iPagey would :iuse a HarmonY ,-:sovereisn acoustic ffor Giannini 12- j5lstrins as =h

3H""it:11" GmB:rJ*"(@

.k

a3I

E'ERiE0l0NS

WITH

Gl=AllThis Month in How-Ttl's and Reviews

MESA/BOOGIEEXPRESSSERIESWe reviewthe Mesa/BoogieExpress 5:25, an EL84 powered2s-wattcombo; and the 5:50, a

616-powered 50'watter classicBoogie tone? Check. Boogie ver-satilitv? Check. Are they forYou?See and hear them forYourselfat Gui taronemag.com.

TAP

RACKS8S0NS

ARiKNOWOOK OF

t

BY CHITIS GILLl l l

ho .hr iaca r ' 'n , r . : lFn. lar . lcs ionales 2007- l

as ihe year of the pig, but Dave Mustaine

I feels ihat h should be considered the

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,

largely brought about by a new generat ion of bands

in l luenced by Megadelh, Mustaine is once again

at the f ront of the metalmovement th ist imeasa

knowing sage instead of a cocky young upstart This

has inspired Mustaine to pursue his ar t is t ic v is ion

with renewed vigor, the results of which are boldlY

on display on the latest Nlegadeth album, Uniled

N4any fans wondered i f Mustaine s conversinn

to Christianity five ysars ago would dilute the ag-gressiveness of lvlegadsth's music, but UnifedAbominations tocks even harder than the bandt 2004

comeback. The System Has Failed "N4ytongueandhean may have changed, but the weapons ar€ st i l l

ins ide and the hand is the same," says lMustaine

"Making th is a lbum was such a huge undertak-

ing because I was in the process of re-establishing

[regadeth and the credib i l i ty of the band and mysel f

as a plaver. I needed to get back in touch with my

roots. Final ly l threw caut ion to the wind and decidod

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-

dertaking that has blown my mind."Hal fway through complet ing the album, Mustaine

hired Andy Sneap, known for his previous work with

Killswitch Engage, Nevermore, Arch Enemy, Trivium,

.'.-.-44

and numerous other metal bands, to co-produce andmix United Abominations. "We needed to make somenecessary changes," explains lvlustaine. "The recotdneeded to go more in the metal direction, and JeffBalding,who co produced the sessions uptothat pornt ,

and I agreed thatwe needed to br ing someone else in tohelp us do that . Thesound oi th is a lbum is a considerable jmprovement f rom the sounds ihat l 've had in thepast. l'm going to work with Andy until I retire. '

Forthe firsttime in Mustaine's career, he's left all ofh is past baggage behind him. In addi t ion to enjoying arenewed outlook on life, Mustaine is surroundjng him'self with an entirely new supporting team. He's workingwith a new management company and record label(Roadrunner), recording his first effort with a entirely newlineup consisting of bassistJames Lomenzo and brothers Glen Drover on guitar and Shawn Drover on drums,and even playing a new guitarthanks to an endorsementdeal he signed with Dean Guitars, which introducedMustaine s signature VMNT model in January 2007.

N4ustaine has endured many t r iumphs and strugglessince N4egadeth formed in 1983, but now he looks for_ward to the future instead of dwel l ing upon the past . Hehopes to continue to pave a path for metal musiciansboth by being a positive example and by providing

up-and-coming bands a boost of exposure throughendeavors l ike the 2005 and 2006 Gigantour fest ivals." l 'm so happy to share what l 've learned, to share my

clout, power, and authority with other musicians,"says Mustaine. " l t t my way of carv ing a path fot them.Every door I open up makes i t that much easier for

those who fo l low me."N4ustaine invited Guitar Ote across the pond to

observe Megadeth in act ion as the band f in ished oveFdubs at Andy Sneap's Backstage Productions studio inEngland's West Midlands.

When The System Has Failedcame out, you said itwould bs the last Megadeth alblm. What inspired you

to change your mind?The System Has Failedwas initially supposed to be asolo a lbum. I had lef t Megadeth behind in 2002 and wasgoing forward wi th my solo career Whi le I was in thestudio I got a cal l f rom my publ ishing compan, andtheytold me that lowed my labelanother Megadethrecord. Unt i l I gave them that they would own me as asolo ar l i . t . I d idn' t l ike the ioea of someone owning my

r ights forever so my solo career had to wai iThat a lbum was going to be the last N4egadeth re

cord, but when we went on tour the crowd responsewas real ly surpr is ing. l t just cont inued to gtow Thet lming seemed r ight for i t . Al l these young gui tar is ts

were c i t ing Megadeth and my last band as their inf luences, and these guys were real ly ta lented. To havethem paying homage to me was real ly f lat ter ing. As aresult ofthat, a lot of people were corning out to see us

Gigantour infused a lot of interest in IVegadeth.

Did that praise affect your guitar playing?

lmissed being that gui tar p layerthat everybody lookedup to-not necessar i ly l iked, but looked up to. Thafsa degree of how good you are. You're going to havepeoplewho love you andthose who despise you To

the people who love me, l 'm honored. Tothe people

who desp;se me, l m happy.The last five years h6ve been the best years of my

career because l 'm real ly cognizant and in the momentwatching what is taking place. lt's been a period of soulsearching and introspect ion. l 've gone back to that boyinside of me that loves to p lay th ings that make peoplego, " l hate you Dave." Glen said that last n ight when he

u/as trying to p{ay a riff I wrote. I wonder if l'm jlsl supposed to be a writer 6nd not a player because I always

write stuffthafs beyond what I canplay. Usual ly when i i 's beyond whatI can play I have my other gunsl ing-er do it- Fortunately l've had someofthe greatest la lent in the musicbusiness on my s ide

ANARCT{\'rN ]'t{E tr(Dave Mustaine with producerAndy Sneap ar Backst6se Pro-ductions, in England lopposit€l.

Mustaine's simple r.ck con-sists of a pah of Line 6 customamps and a Pair of RocktronProphosy preamps, with aWhirlwind Multiselector anda Sony wirel€ss system.

How did Glen become a

member of the band?I met Glen about threeyears ago after lsaw a LlttLe

video sniPPet of h im onihe Internet. MY sPirit knew

that Glen was the r ight guY.

lcould teL bY the way he

moved and how he hastnrs

interesting look that's almostNat ive American or Asian

He has the rock star v ibe' too

As soon as I heard him PlaY_ins I said, "That 's mY guYl" i

s tar ted ta lk ing wi th h l rn and

I not iced that he seems very

shy unt i l You Pl t a gui tar

ln h is hand-then he's l ike

Bruce Lee.

I nol ;ced an unusual Lane

6 amp in the s iudio what

:s i t?Thals a s lgnature amP that

Llne 6 made for me l t s an

incredib le, st rong-soundrngarnP that was modeled at ter

a 1967 lv larshal l Plexi , and

i t has some other PLug Ins

thal we used. l t weighs onlY

a i i f th of my Marshal EL34

100 Dual MonoB oc heads

I t 's a much more resPonsive

amP with a rnore modern

sound, and i t has a bunch

of effects wired into it wLth

a l the c lassic sounds l lke

Rush's f langet Van Halen'sphaser, k i l ler chorus, andgreat delaY. TheY made cabl

nets lor me too. I l iketo have

my cabinets caulked and

sealed. The onlYthings that

aren't sealed are the speakers

themselves because otnetswise you would not be able

to get them out The speakers

are Vlntage Celest ion 30s

The amP has a cool lookto i t , too. l t looks l ike the

The amP has four basrc

tones: c lean, my srgnat ' r resou nd, megadr lve, and theplexi sound You can run

through the arnp | ]s lng just

the power amP sect ion 'whlch is what I ' l l do when

I 'm using the RocktronProphesY, a l though semlpro PlaYers can also use ihe

head by i tse f . l t has some

interest ing chorus, t langer

and t remolo ef fects that

are real easyto use as wel

as a delaY, nolse gate, taP

temPo, and normal tonal

adjustrnents for sound l

wanted to have more lnan

bass, mld, and t reble ' so I

added a Presence knoD.

The back Panel has a lot

of different outPLrts There

are XLRS so You can Plug Ll

st ra ight into a mix ing board.

DEAN GUITARSINTRODUCESTHE DAVEMUSTAINEVMNT MODEL

By Ghris Gil 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 n€gotiated 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 experienc€s 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,

TIHIIaI|IAI

LAV

$'FY

2I>F

The impedance is adjustab eso You can run i t wi th a var ietyof cabinets, You can run lheoutput wi th or wi tho! t ef fecls,and there 's a level t r im con-tro . Lt has a bui l l in groundl i f t , which a lot of amps don' thave. l f you turn on yoLrr ampand i t 's buzzing, you don' lhave to search for a groundl i f t -you just f l ip a swi tch. Ipersonal ly ike the touch onthe back where i t says thatLine 6 rnade the amp for me.

What gu:1ars did you use torecord th is a lbum?lwas st i l l us ing my ESPS because my dealwi th them didn' texpire unt i l the end of 2006.lwanted to do mytransi t ionfrom ESP to Dean in a verygent lemanly way becausethey know who and what I amtoday. Even though lwas real ly d isappointed wi th the waythings went down I st i l l real lyl ike the people there. IESPprestdenil Matt I\4asciandarohas always been a stra ight

The gui tars have rny s ignature Seymour Duncan Livewireact ive pickups in them, whichare the f i rs t act ive pickupsDuncan has made for a whi le.They've had a good run wl ththem. I don' t know how popular they are no\ / , but for methey sound fantastic. lf I get acase of 24 of them for the restof my l i fe thath f ine. My newDean s ignature gui tars wi l lcome stock wi th them becausel feel they' re as good as thelast p ickups I used, which wereDuncan Jef f Beck humbuckerswith a l i t t le more oomph.

l \ ,4y str ings are my GHSProgressives PRDM signatureset , which goes f rom .010 to.o52.

Your signal palh is verystraightforward. The guitatgoes into the Line 6 amP andRocktron Prophesy, then outto the cabinets, and that's it.That is exact ly the r ig 'm using l ive, too. In the studio l 'vep ayed stra ight through ei therthe Line 6 amp or ihe RocktronProphesy. I recorded a few layers wi th regular gui tar ampswhen lwanted to get a cruddysound. When you're using th ismetal supercol l lder i t doesn' talways work to create thoseweird sounds otherwise known

Glen prefers more gain thanldo. He has that legato playingstyle where he plays more onthe neck pickup than the br idgepickupwhen he's p laying hisleads. That's a very Chris Polandthing to do, and he was a verybig Chr is Poland fan. I personal lythink he's betterthan Chris. Hel ikes a chal lenge, too. l ' l l s ing lhesolosto him and l ' l say, "Dude,come on. Not Frank Mar inol DoUi i Rothl" Fonunate y for me hisknowledge of music is very deepand he has an expansive CD

Glen fits in exceptionally wellwi th the ba.d. How does hecompare to other guitaristsyou've worked witt!?I d ldnl know that I couldever replace Marty Fr iedman.When Al Pi t re l i icame along,he was a good subst i tute, buthe certa in y wasn' t a replace-

ment. That per iod was so. inane. Two peopie in the band

didn' t want to cont inue on andanother guy thought i t was hlsband and not rn ine. As far as

remember l t , when the busLeft l\,4etallica at New York andweni to cal i fornia, we didn' ts top in Minnesota. lMegadethis my band and always hasbeen. Anyone who says thatN4esadeth isn ' t me is a fool .

l ls as asin ine as saying OzzyOsbourne isn ' t Ozzy Osbourne.l 'm a solo ar i is t who has fan-tast ic music ians and a bandaround me that p lays underihe moniker of lMegadeth. l ithe voice changed i t wouldn' lbe the same. can' t te l lyouhow I fe l t the f i rs t t ime I heardVan Halen wi th Sammy Hagargoing, Is ings the scat part af"Why Can't This Be Love"l"do doot , do 'dool , do, do dodo do'doot , do doot , do-doot,do, do do do do doot ." Thiswas the iceman? Sammy, whathappened to "This Planefs OnFire"? You can t change the

lknow our fans are veryforgiv ing, and I know thatthe publ ic is very cur iousabouiwhat is going on wi thM€gadeth r ight now Therewas a period a few yearsago when I compromisedmy direct ion. Around 2002 |looked at what lwas doingand said, " l don' t want to dothis anymore." That 's why Ibroke up Megadeth then. Butnow I refuse to compromlse,l 'm only concerned about myown music. l 'm real ly excj tedabout what 's going on wi th

56 GUITAR Or{E guitaronemag.com MAY 2OO7

'DE'TTIvvlsilr

GUITARIST GLEN DROVER FULFILLS A LIFELONG DREAMBy Chris Gill

len Drover played g0itar with KingDiamond and recorded severalalbums with his own band Eidolon,which featured his brother Shawn

on drums, before he caught Dave Mustaine!attention in 2004thanksto a video oI himplaying severalMegadeth songs like "wakeUp Dead" and "Hangar 18." Mustaine had

iust compfeted recording The System HasFa,redand was putting together a bandto tour with him when he saw the video.Mustaine needed someone who could Dlavsolos like tormer Megadeth guitarists ChrisPoland, Martv Friedman, and Al Pitrelli, andDrover had the both the chops and ailitldethal Mustaine was looking for.

Although lte System Has Fairedwas sup-posed to be the last Megadeth album, theband's subsequent tours inspired Mustaineto keep the band alive. This gave Drover theopportunity to leave his own indelible markon the bands legacy through his impressivFoerformance on Unrted Abominations. Ladonwith guitar solos, the album displays Drover'sconsiderable talents from besinning to end.

During a break in the overdub sessions,Glen shared his €xperiences of making UaitedAbominations and exDlained his choices ofgear for recording the album.

You seem vory comfortable playing withMegadeth.For me it's black and white. You can tellwithina few minutes olplaying with a musicianwhether it's going to click or not. When I start-ed playing with Dave it aheady felt likewe hadbeen playing togetherlor a long time. lwasableto hone in on what hewas doing rhythmi-cally andtighten up and adaptto hisfeel. Daveis 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 r€cord thoalbum?

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 weget 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 b€en s Megadeth fan for many yeals

How did it fe€lto 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 Iplay a solo l'll be playing my own solo. I loveplaying solos from the past records as wel

All the players were so different and it's quite

a chal lenge. They al lsound completelv d i f fer-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 aboutbeing 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 andattitude that he's known fot as well as a lot oIguitar 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 andVendetta models.ll'm using an Axxion

for these overdub sessions. I usuallyplay an Eclipse and Eclipse Custom,which is ESP'S Les Paul-stYle guitar.

Some ofthose guiiars have Kahlertremolos on th€m. My main guilar

l 've been wi th ESP since l io ined theband.IJust betore this issue went to

orcs' Drover announced a new en'

is a reverse headnock, Strat bodv,two-humbucker-style guitar' I usedto play only Strat-style guitars, butin the last couple yeais l've becomea lot moro open to playing ditferentshapes. Ths ESP M2 is a reallY good

one, as is the M1000 LTD DeluxePeople wonder why I don't PlaYan ESP Custom or Standard seriesinstrument, but the LTD Deluxegui tars are s imi lar in qual i ty toESP'S higher end models. I knowbecause l've played ihem all. I

dth King

I Eidolon,r Shawnrstaine'sf him

rc had

rld playts chris.elli. andattitude

,lustaine

ible maft

rg to end.

fting Urited

$ with

'ing rhythmi-his feel. Dave

5

6

-4

recommend it to anvonolikes that shape.

Do you abo uso activg PickupsTI 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 rhe Fender vG stratocaster looks almost

ident ical to a stock Strat The only except ions are the GK

pickup mounted between the s ingle 'coi l br idge pickup

and t remolo br idge, two smal l knobs locate ' l beneaih the

standard s ize volume and tone contro ls, compartmenis

for the bat ter ies and VG electronics on the back of the

gui tar , and a br ight b lue LED that lets you know the bat-

ter ies are charged up and ready to go But evervthrng

else about the lnstrurnent f rom i ts curvaceous contours

and whi te three ply parchment p ickguard to i ts t lmeless

asymmetr ical double cutaway body shape is 100 per-

cent c lassic Strat . Fender of fers four vers ions: b lack or

three' tone sunb!rst polyurethane f in ish wi th a maple or

rosewood f ingerboard. We opted for the basic b ack wi th

a rosewood board.

l=li l] l- witn *" "'""ption

of the vc electronics the vG

Stratocaster is essent ia l ly ident ical to Fender 's American

Series Stratocaster The 22Jret neck has Fender's standard

25.5 inch sc6le, a 9 5_inch radius and a modern "C" prof i le

that 's nei thertoo beefy nortoo s l im Themediurnjumbo

frets have that "just rlght" feeL that probably 90 percent

of p layers out there prefer ' l f You're looking for somethingquirky l ike the radical ly th in v shaped

neck of a '56 Strat made by LLrpi ta on

the daythatshe real ized her husband

was having an af fa l r wi th the JaYne

Mansf ie ld look-al ike who l ived next

door, you're not going to f ind that here,

but anyone who l ikes the Strats Fender

makes today wi l l love how comfortable

and farni l iar feel ing th is axe pLavs. i

l=liAl-tf ltliSrhosetwo fte gknobs located between the flve posi 6

tlon pickup selector switch and output 1ljack may not look l ike much, but those e

contro ls and the pickup selector pro

vide access to 101 different tone and Eiuning var iat ions. Both contro ls are -rotary switches-a five_position mode icontro l and a s ix-posi t ion tuning con' ?tro l . Set t ings are ident i f ied bv a s imple Eelegant let ter ing system: N (normal) ,

=S (modeled Stratocaster), T (modeled ITelecaster) , H (modeled humbuckers) , >

SitratocasiterAy Cht is Gi l lROLANO STARTED THE gLr i tar model lng phenomenon

way back in 1995 when they introduced the vG 8 V_Guitar

System. In 1998 Roland and Fender jo lned forces to of '

fer the "Roland Ready" Stratocaster-a Strat featur jng

a bui l t in Roland GK hexaphonlc p ickup for contro l l ing

Roland's V Cul tar ancl gui tar svnth sYstems Since then

numerous companies have developed thelr own gui tar

rnodel ing products, inc luding amps and even gui tars

wi th bui l t - in model ing funct ions l lke Line 6 's Var iax, so i t

makes perfect sense that Fender and RoLand have paired

up once again to of fer the Fender VG Stratocaster-an

electr ic gui tar of fer ing v i r tual models of var ious electr ic

and acoust ic gui tars.The Fendet VG Stratocaster combines the strengihs

of Fender 's gui taFbui ld lng craf tsmanship wi th Roland s

dig i ta l e lectronics expert ise The resul l is a gui tar wi th

a farni l ja f look and feel that wi l l appease even the most

technology fear ing Luddi te whl le provid ing easy access to

a ra inbow's worth of outstanding dig i ta l ly modeled tones

and tunings. Even bet ter , the VG Siratocaster a so func

t ions l ike a real Strat because i t ls a real Strat w th t radi

t ional magnet ic s ingle_col l p lckups in addi t ion to a Roland

GK pickup for t r igger ing v i r tual gui tar sounds

l=encler \lG

FEATURES

Built-in Roland

101 difierent

PRICE$2,428.56

WEBSITE

] V G

i g

- ^ 9 a

.:out 9

-cae 32

: . r p l e , 3-3 i , Zi. eo s. e r 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 tone-BEADF*B), and 12 {12

string) forthe tuning control

With the mode controlsetto N,

the guitar operates as a normal

Strat with the magnetic PickuPsselected by the five-position blade

switch, and none ofthe model-

ing Iunct ions, inc luding tuning, are

activated,lt may seem redundantto

The VG's surs are shieldedtopr€vent oxcess noise.

main reason is You can still

play a gig with the guitar

ifthe batteries that Powerthe VG circuit should drop

dead. Fender smartlY de'

signedthis guitar for PlaY_ers who wantto haul onlY

one instrumentto a g ig.

Another well-conceivedIeature that sets the vG strat

ap€rt from the competitaon

is how it works with a stan-

dard guitar cable. No bulky

SOUND rrt" r"nder vc stratocasteroffers instant acceis to a versatile, no-nonsense

selection oftones that are sure to please most

workinq qui iar is ts There 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

"Rumble," but the Strat , Tele, humbucker, and

acoust ic tones provide more than enough var i_

ety to get most players through a marathon qlg

wi thout changrng axesThere 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_

rv abouttweaking amp and pedal gain set t rngs'

Also, when you let a chord or note sustain and

f l ick the pickup selector in any of the model ing

modes, there is an extremelY br ief gap of s '

lence between each setting Most players wont

not icethis at a l lwhen swi tching Jrom the br idge

pickup Ior a rhythm part to the neck pickup for

a solo-it's that brief. We actually liked the stut_

t€r inq ef fect i t produced when str ik ing a chord

and ;p id ly toggl ing the pickup selector bank

and forth, which reminded us of a scratch DJ

flicking the fader on a mixer-just don'ttellTom

Morel lo aboutth is bug' um, feature '

Roland's v i r tual models are among the best '

in the business, and with Fender's cooperaflon

thev've really outdone themselves The Tele

model has al l the t lvang and bi te of the real

deal , and when vou f l ick on the open-G tuning

it's instant Keef. The humbucker model has

the appropr iate midrange bark and gorgeous

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

tones ranged f rom dreadnought and iumbo

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 lhe resonator model) and the tuning

m;de set lo 12 str ing which was probably the

most unusual tone th is gui tar can summon-

Ovetal l , we tound al lof the model and tuning

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 rehea€alspace and cant buy at Radio Shack)

is reouired. lt's truly a plug_in-and-play instrument'

IIffiIISCH00L 0F BEC0RDI l ' lG ARTS

52 GUIlAn O E guitaion€mag'com MAY 2oo7

lS lT FOR Y0tl?,rvou'.""workinq musician who is tired of lugging sev_

eral gui tars to g igs and you don' t have a gui tar

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 v intage and custom gui tars l ike Rick Nielsen

or Joe Perry butyou'll definitely impress the

tone connoisseurs in the audience wi lh you_

abiiityto sound like 95 percent ofthe records

made s ince 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-

able and conf ident p laying i t . l {you love the

Strat and wotild like to explore the exciting pos-

sibilities offered by digital guitar modeling, this

isthe instrument you've been waiting {or

lulesia l3oogielixlrresisi il:zi,and 5:50

FI:AII.JIlESTwo lully indepen-dent channels withseparate tone cnar_acteristics: Chan-nel 1 with Clean/Crunch modes andChannel2 withBlues/Burn modes

' Duo-Cla$ Poweramp with switch-

Independent Con 'tour cont ro ls lo r

switch to controlchannel select, con_

spring reve6 and

t)Rt():Express 5:25$1,049

Express 5i50$ 1 , 1 9 9

\ rEl3sfl' l:Mesaboogie com

ay Chr is Gi l lMESA BOOGIE ORIGINALLY made historv wi th the

M a r k l , w h i c h p a c k e d a p o w e r h o u s e a m p i n t o a p e

t i te package; thes€ days thev' re best known for their

m o n s t e r R e c t i i i e r r i g s B u t t h r o u g h o u t t h € c o m p a n v s

growth they've always made k i ler combos that per

forrn l ike the big boys. The new Express ser les cont ln

u e s t h a t t r a d i t o n , o f f e r l n g t h e s o u n d o r a b r g a m p n a

The Express ser ies of fers two basic models- lhe 5:25

a n d 5 : 5 0 b u t e a c h i s a v a i a b e i n a v a r i e t v o f h e a d a n d

cornbo conf lgurat lons. Fo. th ls review we looked at the

m o s t c o m p a c t c o m b o v e r s i o n s o f e a c h : a 5 : 2 5 c o m b o

w l t h a s i n g l e 1 0 ' i n c h E 5 0 s p e a k e r a n d a 5 r 5 0 c o m b o

with a s lngle 12- lnch C90 speaker ' Both models of ler

s lmi lar features, and the biggest d i f lerence between the

two ls the tube conf igurat ion and corresponci ing outpul

The 5:25 comes wi th two EL84 tubes that provide 25

warts of o! tp! t whi le the 5i50 features iwo 6Lo tubes

to pump o! t 50 watts. Mesa Boogie is markei ing the

5 : 2 5 a s h a v i n g a B r i t i s h v o i c € c o m p a r e d t o t n e m o r e

American tone of the 5:50

l-0Ol(S Reminiscent of Ranclar smith 's r i rs t Boo'

g i e s , t h e 5 : 2 5 c o m b o s a b o u t t h e s a m e s 7 e ' s a c l a s

sic Fender Pr lnceton amp bLrt a few inches deeper ' The

5 : 5 0 k e e p s a p p r o x i m a t e y t h e s a m e p f o p o r t o n s , b u t i t s

a b o r t t h r e e i n c h e s h i g h e r a n d w i d e r a n d s l g h t y c l e e p '

e r . T h e f r o n t p a n e l h a s a c l e a n , ! n c u t t e r e . r a p p e a r a n c e ,

featLrr lng separate rows o{ contro ls for e. 'h o i the two

channels, f ive micro togg e swi tches anci a var etv or

h e l p f u L E D s . U n l e s s y o u ' r e f a c l n g t h e c o . t r o p a n e

stra ight on, i t can be di f f lcu t to see the c 'nrro l names

si k-screened in between the two rows of knobs, but the

conf igurat ion is s imp e enough to m€mor 7e ' f ter a lew

g l g s . T h a n k s t o t h e b l a c k g r i l l c o t h , b a . k - L i ' t h e r e t 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 d i s a p p e a r o n s t a g e

The Exoress 5:50's 6LG power tubes sive the amp a more

Amer i ;an tona l s lan t , whereas the 5 :25 , w i th i t s EL84s ' has a

more Br i t i sh t inge-

.)q

5

o

e

=

; lE I+ l9.1bl

iE

z2

E

l-A\tOtj'l' c"*r",s on both the 5:25 and5:50 are la id out in fo l lowing order f rom lef t

to r ight : Cain, Treble, Mid, Bass, Revetb, andMaster, p lus a separate Conlour knob for each

channel on the far t ight . Mode swi tches that letyou select Clean or Crunch character for channel 1 and Blues or Burn character for channel2 are locatedtothe lef tof thefront panel near

the s ingle input jack, whi le toggle swi tches for

manual ly select ing channels or engaging the

Contour feature are located near the middle Al l

three ofthese switches also feature fooiswitch

set t ings that a l low you to engage or d lsengageCharrel select and CortoLr furct ions wi th rhe

inc,uded toolsw tch hne loorswi tc l ' a lso con-

trols reverb on/off).

T h e r e a r p a n e l i s s i m i l a r l y s i m p l e b u tfunct ional , of fer ing an al l ' tube ef fects send

and return sect ion plus separate iacks ior

remotely swi tching the Contour, ChannelSelect , and Reverb contro ls. This may seemr e d u n d a n t c o n s i d e r i n g t h a t t h e E x p r e s salready includes a mul t i p in connector forthe included footswi tch, but these jacks give

you the opt ion of using a separate custom

c o n i r o l l e r . - h e o r l y f e a t u r e t h a l | ' e e l i h i s

sect ion is missing is a bypass swi tch for theef lects loop, bLr considet ing t '1ar n 'ost e lfects a l ready feature thelr own bypass func

t ions th is feature is not essent ia lN e a r t h e s i n g l e 8 - o h m a n d p a i f o f 4 o h m

speaker outputs is Mesa Boogie 's patented

Duo Class Power Switching feature, which

great y enhances. the Express amps' versat i l -i ty . With the f i ick of a swi tch you can togglebetween fu l l power Class A/B operat ion (25

watts wi th the 5:25 and 50 watts wi th the5:50) or reduced-power Class A operat ion at

f ive watts. In addi t ion to select ing operat ingclass, the funct ion also swi tches to a d i fferent wir ing conf igurat ion, which makes i tmuch more ef fect ive than the typical "hal f

SO[JND l ' " e "oress 5 :25 and 5 :50may be somewhat d iminut ive in s ize, butr h e y . e m a i n r ' . r e r o r h e B o o g i e ; o e a l o f d eiver ing the sound and performance of muchl d r g e r a m p s i n t h e s n a l l e s t p a c l a g e p o s s i

b le. Thanks to i ts EL84 tubes the 5:25's toneis indeed more Br i t ish wi th a sweet, com'pressed ov€rdr ive and vocal- l ike midrangeat maximum saturat ion. The 5:50 wi th i ts616 power tubes is more wi ld and woolly , del iver ing mofe c lean headroom beforebreaking up and reta in ing more dynamic re-s p o n s e w i t h t h e g a i n t u r n e d u P .

The Clean mode on both amps del iverswhar coujd very wel l be rhe besr L ledn tonesever heard l rom a Boog e. With carel r l adjustment of the Contour coniro l and a hint of

reverb, the 5:50 r ivals the coveted tone of a

blackface Twin Reverb wi th perhaps a touchless bass and a s imi lar ly gorgeous reverb

with a smooth, lush ta i l and no "boingy"

overtones. With Crunch mode engaged, thesouno becornes dar ler as l l 'e power tubesget pushed into overdr ive. The vast palet te ofpowedul rhythm tones that lurk in th is mode

range f rom Kei th Richards chime to I \ ,4alcolm

Young crush.The BlJes rnode is appropr ate ly n€Ted as

i t of fers ever l th ing i rom st inging Albert King

tones Io s ing:rg Foboe'r Ford so o vo:c i1g.Whl le the Burn mode m6y not be as v ic ious

as the outrageous gain of Boogie 's Rect i f ieramps, i t d ishes ou! ample levels of del ic iouslydark d lstor t ion and sustain that lasts a l i fe

t ime. Al though both models lack a graphic

EO, the Contour contro l lets you dia l in wicked

scooped-mid tones.wi th the 5 watt swi tch engaged the tones

remain pret ty much the same except the vol

ume isn ' t near ly as loud and the amp distor ismore quickly. These tones and volume leveLsare great for pract ic ing in an apartment or forrecording purposes. ALthough both models

are aboLt Lne s ize ol a p 'act ce amp, thev rep l e n t y l o u d e n o u g h f o r a c l u b g i g , a n d w h e n

they' re p lugged into a 4x12 cabinet they can

keep up wi th and even outperform most 50'

lS fl- FOll YOtf? eothth"e*press 5:25 and Express 5:50 models are ideal

for gui tar is ts who want a versat i le amp thatthey can easi ly carry wi th one arm They de-l ivef a sat is fy ing range of textures f rom cleanjazz and country tones to powerfu l hard rock

distor t ion, but hardcore metal fans may notf ind the over- the-top super-saturat€d gain

t h e y d e s i r € . B u t i f y o u n e e d a n a m p t h a t d el ivers a fu l l palet te of c lassic tones and canperform eq u al ly wel l in the studio as i t doesonstage, the Express wi l l get you where you

want to go n a hLlr ry.

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 ippe HerndonrVeru I CUtr ln pLIYER who l ived under a rock

orobablv d idnl mlss First Act 's col laborat ion wi th Volk

s\aagen in 2006 With a t r io of c lever ads featLrr ing John

Mav-"r . N gelTulnel "nd Slash plJgq'ng in ano ' anl

i rs i t ,e ' i ; i Ieo-.o ' r ior r : rs l A ' l GarageMasler -dva: ldble

on;V wirh the prrcnas" of several VW -nodels thro ' rgh

lne car s lereos. lhe spors piored the cJlosi lv of aulo

mot ive consumers and axe s l ingers a l ike Wlth the re

lease of Fi rst Act 's s i rn i lar VE591 model , gurtar p layers

are spared f rom having to {e lgn interest in a new car at

l -O() l (S ourtest moder arr ived wrth an !nder-

stated rnetal l ic p lat inum f in ish wi th b lack binding and

chrome hardware Whi le d ivers lng f rom the Garage-

Master 's double 'cutaway body shape and VW-inspired

plaies and knobs, the VE591 is funct ional ly the same in '

st rument A nearf latrosewood f retboardsi ts upon a sat inJin

wi th a Gibson-stYlet i l ted headstock The

hardware is v isual lYtradi i ionalwi th someinterest ing f lour ish-es such as cnromep i c k u p r i n g s a n d a' , ta i lp iece" that real-ly serves as a gulde

between the rear_rnounted, through_body str rng retarnerand the br idge.

l=lil!l- 'n"VE591's p laYabi l i -

ty is verY good, wi th

an extremelY s l inkyfeel even though r t

has a 25.5 inch scalelength. First Act saysthe neck Prof i le is a

C-shape, but the con-

tour is not iceablY f lat_

ter approachlng a

e

2

z2

' _ : : . . . '

j

flat

f in

t h

, , "Theal ly

h i t

,ly flat-g a

6

6,

n

The Alnico V Filtertron-style

humbuck ing p ickups exce l in bo th

clean and overdriven tones.

more modern "U' prof i e. The basswood bodyis extremely l ight and comfortable, featur ing anicely scu pted neck jo int for easy access to thehigh notes. The subt e angle on the pickup selector and the rear-mounted bat tery door aretwo other thoughtfu l designs we not iced.

SOtJ N DS *n',e this suitar's primarysel l ing point is the onboard V Stack analog pre-amp, many players d ismiss any innovat ive instrument that doesn' t hold up in t radi t ional sett ings. We're p leased to say the VE591 passedour tests wi th f y lng co ors. Through a Ful l toneFul ldr ive 2 into a re issue Fender Bassman, thegui tar is responsive, gr i t ty and fun to p lay. TheA nico V Fi l ter t ron-sty le humbuckers del iversparkl ing c leans and dernonstrate f i rm reso veand d€f in i t ion wi th overdr ive. Wound to roughly 8.5k DC resistance wi th 42'gauge copperwire, the pickups provide sol id output and ex 'cel lent dynamics wl th ihe preamp of f .

We were exci ted at the opportuni ty to outdoFirst Act 's celebr i ty endorsers, so wi th a $12investment in var ious couplers and adaptersfrom Radio Shack, we took the VE591 and i tspreamp on a test dr ive. With the preamp on,the VE591's onboard distonion, midrangescoop, and master volume contro s openecup a nice range of sounds through almostevery home and car audio setup we pluggedinto. Whi le the VE591's h igh ga in soundswonl inspire anyone to dump their So danoon eBay, the sound qual i ty through a pair ofAl tec Lansing computer speakers was certa in ly comparab e to that of many pract iceamps we've heard. We dia ed in an array ofd i s r o n o n f a v o r s t h a r w o ' l e d w p l w i t h o L lToyota Avalon's preset EO curves by backingdown on the gui tar 's volume whi e keepingthe prearnp's master cranked. There are afew l imi tat ions that the V Stack preamp can' tovercome, as our 1994 Honda Civ ic wi th fac_tory tape deck and 4 inch speakers cenain y

derronstrated. Bui st ressing out about f idel l tyseems point less when you can iust lean backin the passenger seat , put youf feet on thedash, and crank away.

l$ 11- l=Olt YOIJ? n,n"cu-rageMaster caught your interest when i t cameout last year, you no longer have to un prmpyour auto, let your fast out , or inv l te V dub intoda ha!s to get a very s lmi lar gul tar . l f you'vecraved a fun instrument that can turn almostanything wi th speakers lnto an amp, the VE591may be your cup of tea.

&,

70 GU|lAn O E guiraronsmag.com MAY 2oo7

GI

liastman All905-GliGustom LJpttl\ftfll Arclrtop

,t:t:- . -a . :

l ':. -''....".|;:.:- i.:; , 1 - . :

: ; - : '

nuiCiuilt8t 0I IxsEU,t[cI

FEAI'I',IIES

Carved, h igh ly

3 1 l 4 x 1 6 1 1 4 '

Ptltcl:s3,395

wEll$fr'l:

By Michael RossRUDY'S MUSIC STOP in New York Ci ty is ike the

Tl f fany's of gul tar shops As you entet vot l wi I see on

your r ight a decorat ive wooden showcas€ fu l o i v intage

Fenders and Gibsons so c lean that lh€y look ike re issues

Next to these f ive_ and s ixJ igure beaut ies are a couple ol

; r " l_ lop, t ' ra- loo_ r 'grr dr l -one w' l l - l 'e r ' "ss i ( dop'" _

anc€ and mirror f ln shes. You could be forgiven for as

suming that these jazz boxes carry pr ice tags in the !pper

stratosphere as wel l , but th€se gui tars, whlch are manu'

factured by Eastman Str ings in China, se I for less t l ran

S5,000. Are Eastman archtops worthv oi sharLng cLose

company wi th American c assics and t ru lv the bargains

that they appear to be7

LOO l(S rhe ARe05 cE custom uptown mode we

tested is drop dead gorgeous Spectacu ar f lame map e

with jungle cat woi thy str ipes is Lrsed for the srdes back,

neck, and even binding. The carved spruce top exhib ts

a remarkably even grain that peeks through a pedect lv

b ended brown sunburst f in ish. The f ve_piece neck is dec_

orated wi th two generous str ips of f lamed maple along

the s ic les plus a s l r ip of standard maple up the middle

The volute is layered as wel l , inc uding a str ik ing combl_

nat ion of ebony veneer and natural maple that b ends into

the brown par i of the neck s burst

l : l ] l i l - o " " o i , " h a v i n s a w o u n d t h i r d s t r i n s ' t h e

Eastman's low act ion, we - f n lshed f rets, and comfort -

able carve make i t as easy to navigate as a s lLnky strung

Strat {except when you 1ry to bend ihe heavy str rngs)

The s l ishl y downs zed 16 nch bodv feels more com-

f o ( a b l e a g a i n s t t h e t o r s o t h a n a s t a n d a r d 1 7 i n c h o r

arger archtop, and the a most l ragi e fee ing, excep

t o n a l l y i g h t w e i g h t w i l l a p p e a t o p e r i o r m e r s w n o p a v

SOtJ N D Before we even plussed l t in ' the awk

wardly named AR905 CE sounded bet lef than 85% oi

rhe acoLrst ic gui tars that come through our porta ls The

rnaple body gives the tone an in voLrr_tace presence ano

the X braced top spreads the sound evenlv throughout

the f requency range. Even though i t s a brand new in

strument, the Eastman exudes the smooth warrnth of a

vlntage jazz box. Thls sui tar pfovides plavers wi ih hours

o f u n p l u g g e d p e a s r r € , a n d m a n v g u t a r l s t s w l l L w a n t t o

recor. i i ts acoust ic tones as much as i ts e lectr i f i€d sourd

W h e t h e r p l a y i n g t h e E a s l m a n t h r o u g h a F e n d e r B l u e s

. lunior or an AAD acoust lc amp, r ts gorgeous reso'

n a n c e w a s t r a n s p a f e n t l y e n h a n c e d b y t h e s i n g e K e n t

A r n r s t r o n g h u m b u c k i n g n e c k p i c k u p O n e q u i b b e : t h e

22 f ret neck seems unnecessarv, as 20 f rets are more

t h a n e n o u g h . D e s P i t e h a v r n g a

cutaway, the gLr i tar 's bot lY shaPen'rakes l t hard to reach thoseuppermost two f rets. Also, i t

would be nice to have the P ck_up p aced a I t t le c loser to the20th f re i lo make the tone evenw a r m e r a n d r o u n o e r ,

ls t]-t=0ll YO[J?The Nat ional tVuseum in Talpei fea'tures foom !pon room oiastounding examples ofChinese craf ts-rnanship.The Eastman AR905'CEprovesthat th ist radi t lon ssi i l l a l iveandwel l , and rnaybe one dayoneofrheir instr l rmentswi l earn aplaceln these ha owed hal s. l fYoLr PlaYtradi t iona jazz gul taryou owel l toyourse fand yoLrr bankaccounttoexan-r inethisf ineworkof a l t .

4

FXrtaGSaJ

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ing MlDloutput

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By Robert HansonTEMPO-SYNCHED EFFECTS are some of the mostexci t ing and inspir lng ways to breathe new l i fe lnto yourgu tar p laying. With so many bands now re y ing on backing t racks and synths to augment their sound, i t 's a lmostbecome essent a l for most gui tar p lEyers to have at easta tap tempo enab ed t remolo or de ay in lheir pedal co _

lect on. Bul having to p lay peda board hopscotch at ther o p o f e ! e ' r c o r g j I c I lo do In yoLr l "npo s d pa r . d4. ls t r inglng IVl lDl cables across the stage just to get every-one ocked lo MlDl cLock is ent i re ly another headache.

The FX Tracker f rom Backl ine Engineer ing-a rn! l l ie ffects uni t that can synchronize tempo based ef fects lol ive p aylng was bu l t to solve th is conundrurn The FXTracker can sync ef fect t imes and modulat on depih basedor roLr p a, ng speeo or vo LTA ar o ( realLrp" a vd 'able thresho d contro l that a lows the FX Tracker to be ta iored io indiv idLral p aylng sty les. Ho!sed in an al ! melachassls, the FX Tracker de ivers a host of s ludlo qual i ty e ifects, feca lab e/rewr i tab e presets, and f ,4 Dl f l rnc i ional i tyin a standard stompbox design.

FEAI-I,Jlt l=S FXrrackerreat!res a w,oe arayo,aval lable ef fects, lnc ludlng de ay. chorus, t remolo, i anger,f i l ter , p tch shi f t ing, and an afpeggiator as welL as enveope and tVlDl contro l opt ions. An addi t iona delay canbe set pfe, post , or paral e to another ef fect for a rnorecomp ex, layered sound. Roughly a th i rd of i ts 87 di f ferenlef fect var iat lons are standard f lxed rate ef fects, so you

couid theoret lcal y rep ace some of your exist lng d€lay,chor!s, and f ange peda s wi th the FX Tracker

The bas c premise of the FX Tracker is thEt the unrtadjusts aLrtomat lca ly to var iat ons in p laying. What lh isboi s down to s fa i r ly s lmple. l f , fof nstance, you re Lrsing a delay or t remo o ef feci , the | ]n i t wi I a l ter the t imingbased on how fast you're p laying, which means shoderdelay l imes when you play fasl and longer deiay t imeswhen you p ay s ow. The uni t examines your p layrng onthe f ly and adjusts lhe t iming according y.

The | ]n l r 's s lmpleset ofcontro s be ies the pedals capabi lry. Two roLr posi l o I s ders a l ow \o I ro 5arge o es ' rsddjJr t n 'o paranFle.s o"r e ' jpLl . a. . sc l r la r1pL. lev". a ' -

fect type, effect wevdry mix, threshold/tirne, and headphonevolume/M Dl channe . Two 360 degree knobs above each-, der a l ov\ )o I or"r n r l 'e -orFspoldr lg r r l :o4 o 'o" dneter . Rounding oLrt thetop of the Lrni t is a two dlg i t LED and a

standard stom pbox footswlich. The Lrnit's backside includesstandard 1/4 inch lnput and output jacks, an' l /8- inch headphone/stereo oLrtpLrt, one 1/4 nch footswltch jack (allowing

you to set the uni t on your amp and contro i twi thanadd_onfootswllch), one MlDl In and one lvl Dl OuVThru port, power

inpl t jack, and an on/of fswi tch. Power ls provided by an included wal lwar l power supply only no opt ion for baf ter ies.

I i - MlDl co( ' or a o^" yoJ o dod a MlDl et oressio 'peda , update f i rmware, access a PC presel managementappl icat ion lwhlch you can down oad f rom the company sweb s i te) , and even output Nr l Dl CC data to synths anclothef MlDl-capab € ef fects. Yo| ] can also use the FX Trackerto output l \ ,4 lDl c lock to a drum machine or sequencer and

have the uni t t rack to the var iat ions in Your p laying. Theuni t won' t sync io incoming MlDl c lock, whlch may seeml ike an odd oversight to some, but the whole polnt of theFX Tracker ls io put the gui tar is t n contro i of th e tern po.

SOtJ N D rhe FX r ,acker is a very crean soundLns unt ,adding v l r tua ly no addi t ional noise lo your s ignal chain. Thedelays and chorus effects range from perfect single repeats tolush, €volv lng dub and psychedel ic sty le of fer lngs. And wl thselectab e waveshapes and tempotracking, thetremolos cango far beyond a basic gating efiect. The array of pltch shlftingeffects run the gamutfiorn slrbt e bendsto massive drop offsthat most users wi I use sparingly. Basically, the FX Trackerserves up the effects of a we apportioned mu tieffects unit ina compact stompbox pedal deslgn.

lS 11- F() l l \ '0 [J ' l n . , * r . "k instoac,daheal thy se ect ion of de ays and synth- lnspired ef iects to your

r ig, the FX nacke. is a great a l l ln one uni t . l t requlres yo! toinvest a l i t t le t ime to make i t work wi th your ind v iduaj p ayi fg s1y e, and th is ack of ins lant grat l f icat lon may turn of fsome users. In order to take advanlage of ihe tempo t rack-lng, you rea y have to spend some t ime get t ing the thresh-old setconect ly . The unl t isnt tota y perfect- i t missesevery once and a whi le,whlch can be a bummer i fyou're.ecord ng-but the f reedom o{ be ng able to use temposynced effects without having to tap ln iempos is worth thepr lce of adm ssion on i ts own.

UNIVERSAL AUDIOTC POY{ERCOREcolrPACT

FEATUREStion

Two 150MHz Mo'

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PRICEs995

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FEATURESUftra-fast{2.scbps) Expr$s-Card 3/t interfac€

Nobelest fanless,.lumi-cool chassisdesign

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PRICE$999 {Xpr3ss, in-cludes S500 UAD

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By Ght i3 Gi l lTiE 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 specificallyforth€setasks'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 COMPACTWhile 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 chips and s ingle 266MHr PowerPC processot can

handle mul t ip le instances of p lug- ins.

The 14 plug-ins bundled with Powercore Compact

coverthe gamutfrom EO 6nd compression/ l imi t ing to 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

oo;thms and Sony's Oxford seties, plus fullJeatured soft

;vnths and TC Thirty-an outstanding vinual model of a

classic Vox AC3O.

UAD-XPANDER rn" uoo-t Pcr card hasbecome a favorite with recording pros for its impresslve

selection o{top-notch classic ef{ects like the Neve 1073

and 1OS1 EO,1176 LN, Fairchi ld 670, and LA 2A Now lap-

top users can enjoythe same ultra_lush plug-in process_

in; capabilities as their desktop brethren thanks to the

UiD-Xpsnder. This unit takes full advantage of Expr€ss-

Card s l ;ndard technology instead of USB or Fi rewre' 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

Pro, CS-1 channelstr ip and Nigelgui tar amp/ef fects em-

ul6ior and come wi th a $500 (Xptess) or S1,000 voucher

lXoen) for DUrchasing opt ional UAD plug- ins For gt t i tar_

ists we highly recommend thP Neve EOs, the Plate 140 re

verb. the Boss CE-1 chorus, Roland Dimension D' ancl the

Roland RE-201 Space Echo-the most uncannily accurate

dig i ta l emulat ion o{ a tape echo uni t we've ever heard

ll yolr want it all, the Xtreme version comes with every

plug-in currently offered by UniversalAudio'

lS lT FOR YOU? ttYou""nontY"tto'oone DSP expansion processor, your personal choice is

l ikelvto be inf luenced by which plug ins appeal to 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-

ous choics. lfyou can afford both, we say go fot it as both

Drovide every recording effect you'll€ver need Your com-

puter's CPIJ will be a lot happier, too'

lirnie l3all\f\falr PeclalBy Michael Rosspizeo ron rs smooTH TAPER and near indestructi-ble construct ion, the Ernie Bal l Volume pedal remains a top

choice for guitarisls who prefer to adjust dvnamics with

their feet . The new Ernie Bal l Wah pedal combines these

att r ibutes wi th a c lassic wah sound. With i ts smooth Kevlar dr ive 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 the s ides, the br ight pair of on_off LEDs is c lear ly v is ib le Whi le not the

mosl vocal-sounding wah lh is peoal 's bass-to t 'eole range is genetous

without st raying into speaket b lowing lows or earpopping highs Other

piuses: the wah tones remain musical throughout the pedal 's ent i re

ihrow; the rocker pedal staYs f i rmly where you leave iU and the s ignal

maintains uni ty gain when engaged-no unexpected volume jumps here

Awah pedal bea; ing the Etnie Bal l moniker is long overdue, but in th is

case ith well worth the wait.l2ttg enieball com

Danelectro lulxllDano Pro DistBy Michael Rosstni rgg rutruert fS, t t e Evets Corporat ion star ted making fa i thfu l

Danelectro gui tar reproduct ions at Sixt ies pr ices A few years ago

they introduced a second ser ies oJ Danelectros featur ing upgraded

parts at a h igher pr ice point This vear Evets int roduces two new

banelectro modeis- the'59 Dano and the Dano Pro-both featut ing a

lower-rhan_low pr ice tag, yet somehow retain ing the pro upgrades'

The Dano Pro hatks back to the Jetsons_

sty le Pro-1 bodY shape or ig inal ly produced

frorn 1963 69 and of fers a fabulous combo of

new and old features. Signature Dano tape

surrounds the body, and the or ig inal metal

nut remains. IModern touches include a brrdge

with indiv idual adiustable saddles, upgraded

tuners, and two l ,pst ick tube pickJps Instcad

o f t h e o r i g i n a l ' s s i n g l e P i c k u P -We tested a str ik ing Tanger ine model that

played great and sounded bei ter-perhaps

even bet ter than many v intage Danelectros

st i l l in c i rculat ion. The boxy bow t le shape

may not be for everyone, but the gui tars

tonal range is d iverse enough to p lease anV-

one f rom roots rockers to i ronic metalheads

The Dano Pro comes in a choice of ten str ik

i n g c o l o r s , i n c l u d i n g a q u a , p e a c h a n d K e e n

green-buy them al l l for less than a high end

American made gui tar) and you' l l a lways have

a gui tar that malches Your out f i t

$299 danelecto.com

Noise lulalcersiYour First Lool< at the l-atest in Gear

:

Scratch Pad 'Guitar FinlshProtectorsCustomize your instrumentwhi le pfotect ing i t f rombel t buckle and pocket r vetscratches. These interchange-able "designer" f in ish protec-tors c l ing gent ly bul securelyto your gui tar wi thout the use

$26.95 suatch? ad usa.co m

EWS '.Arlon SCH-Zchorus/Vlbe ModThls fu l ly modi f ied Ar ion ScH-Zpedaladds swi tchable chorus and v ibemodes, an l rnproved tone set t ing thatprovides smoother sound whi e reta in_ing the or ig inal tone, a b lue LED, and a3PDT switch for t rue bypass.5220 Dtoso u nclc o m m u n ic ation s.com

lbanez2oth Annlvefsafy ltG550xxlbanez announces three l lmi ted_edi t lon re lssues of the RG5505 adorned

with Desert Sun Yel low, Road Flare Red, and baslc Black f in ishes wi th

maiching case. Al l models feature an or g ina Edge t remolo and superth in,

flat Wizard neck reinforced wlth five plece map e/bubinga construction

51.199.99 ibanez.com

Vox . --'..;.AC15Hl TVln commemorat ion of Vox Ampl i f icat ion 's 50r"

Annlversary, Vox introduces i ts new Her i tageCol lect lon of hand-wired amps. The ACl5H1TVis a 15 watt amp featur ing an EF86 Pentodevalve c i rcui t , 1963 Top Boost channel , and "TV

Fronf ' -sty le Bahic Blrch cabinet .$1,699 voxamps.co.uk

Godin -Redl ine 1Featur ing a s ingle act ive EMG'81 hum-buckef and s ingle volume knob, theGodin Redl ine 1 is a s leek, st reaml inedshred machine wi th a s i lver leai maplebody wi th poplar wings covered bY ab ack graphi te SG f in ish.$559 godinguitarc.com

Digi tech. -CF-7 ClrorusFactoryThis compact pedalprovides stunningrnodels of seven ofthe industrY S mostpopular chorus pedals. Features includespeed, depth, var iableJLrnct ion contro l 1/ 2, and

chorus model select contro s, p lus stereo output

$149.95 digitech.com

Sta$h |ticl($Classlc plckt \ r lo lded in a ieardrop form, the Classic ish 9 n v d L r d b l e a r d l a s t s l 0 r i n p s l o n q P r l r d r

standard picks. A logo gr ip on the f ront and

added gr ip texture on the back ensures no-s l ip p laying. The pick comes in lour gauges:

0 . 8 m m , 1 . 0 m m , 1 . 2 m m , a n d l - 4 m m .

$5.99 (bag of seven plcksl stashpicks com

'lhP q -t

MEM'RY t

lemp()liync liffect Parameters \l\fitlr \totlr l=eet

taP temPo fsaturs.

Here's how taP temPo works rn

slmple terms: When YoLr f i rs t s teP

on a tap temPo swltcn, In€

internal t mer is c leared and

staned. when you tap on

the swi tch a second t ime

!L

ff.r i '

Ay Chr is BuonoBECAUSE GUITARISTS NEED thE hANdS tO PLAY'

they' re forced io !se their feet to do most rea t ime

tweaking A tap iempo feature is the perfect so utron' as

I t a l low;gui tar is ts to contro l the rhythmic response of

t lme-based modulat ion ( f langer ' phaser) , pLrre modula_

t ion ( t remo o, step sequencing) ' and pute tLme Daseo

effects (de ay) by s lmp y tapping on a stomp switch at the

deslred tempo. Thls creates a c ock source Tor

a sp€cj f ic ef fect parameter { for example '

de ay repeats, LFO sweeps, or sequenced

f lher pat ternsl io fo l low

MEMORY

form qenerator {LFO), the t lme is d v lded by the waveform

reso ut ion. The resoLl t ion of the t imet combined wi th the

resolut ion ol the wavefornr , determines how accurately

vou can recreate the taPPed t lme

Tap ternpo used to be reserved for d ig l ta l ef fects ' ike

dedicated dig i ta l delay uni ts, but thanks to rccent innova_

t lons by some very lndustr ious designers ' d ig i ta tap tempo

s now an opt ion found on pedals that boast pnst ne ana

log s ignal paths. Sorne analog tap tempo dr iven pedals out

there to watch for are the Empress Tremolo, the Light foot

Labs Goat Keeper Tremolo, Mike Knappe's otr ts tand ng

Diamond Mernory Lane (pictured above), which feat ' r res

a hybr id d ig l ta l /analog t imjng system, and the amazlng

Guyaton€ Ul t ron envelope f i l ter and Ul t rem tremolo

For an examp e of how far tap t€mpo technology nas

come, check out the Cusack Music Tap'A_Whlr i t remolo

and Tap A-Phase pedals ' which feature dlg i ta lLy gener-

ated waveforms that are contro l led only by a tap tempo

switch-no rate knob here Cusack'5 ef{ects of fer comp ex

waveforms that can only exist d ig i ta ly ' as wel l as the abl l i_

ty to accuratelV " tap div lde" tempo modulat ions by var ioLrs

note va ues such as 3/8ths or 5/16ths l r addi t lon, both ped'

a ls a l low you to store cornbinat ions of these waveforms

and tap rat los in presets Another cool funct lon in Cusack's

design i6 3 reset funct ion thal a l lows a user to resync the

waveform's pat tern to star t over on the beat wl th just one

tap, which wi l l cut your drummer a l i i t e s lack i f he is

having an of f n ight .P e r h a p s t h e H o Y G r a i l i n t a P t e m P o

advancement, at least for z Vex

fans, is the addi t lon of a taPtempo feature to Ped_

als featur ing Z Vex ssequence0 paterne n g l n € l i k e t h e O o h

Wah, Trem O-Rama,'

and Rlngtone-some'th ing even ZacharY

(hopeful y on the deslredbeat) the t imer stoPs,and the t mer now stores

the t ime that has Passedbetween the two taps In LIs

menrory. (Because of "h!"

man errof , " i t is recommendedthat you tap through two cycLes-

four taps-for best resuLts.) Based on

the lype of ef fect and the desired speecj , the

r ime ls then div ided io create the t mebase for

instance, i f Vou were working wl th a delaY wl th 1 024

stages, the t imer value would be div ided bY 1 024 to create

the c ock s ignal for the delay chip ln the case or a wave

w i t h t h e s e p e d a l s m a k l n g

/i ,n:*i"-l;t.""*::7

r ve ns r runTen rs .

/ . lotrn cusact 's rovotut ionarv .nd

, V e x h i m s e l f t h o u g h t' was imposslb e Cusack's

design is now integ rated

bEYPASS

one Award-winning TaP-a-Whir l

l3leecl l=tlrYou$aving Your l{iglrs at l-orrv \folume

Bv Douqlas aaldwinin i iooiv 's orcrr l l -n - rooroces'or worrd thF

" * i , . , o " ' r '

" ' " ' " , 5 s l u o r o r v s ' T o r p A ' o u p l e o l

c o i r t o r w i r " s o n e n a q r e - s ! a a D l e ' e s i - t o r s d 1 a d

" u o " " , r o r " ' " a l l t l _ P r a i > 1 o : I / o l L h F s e s ' m p l o ' o n p o

" " " , t r i l ' i " " " t . " . o J ' k s . o n e D e 1 9 r h " l o ' s o h q l '

e n d w h e n v o L r t u r n t h e g u i t a r ' s v o l u m e c o n t r o l d o w n

E v e r ! r n i n q s o J r d s c ' r ' o a n d c r e d r w r \ l l ' c v o J r ' l e

" o n t - ' u " , n " t w a v L o o L l w 5 e n l \ o v o ' d f i " ' o n l o l

n r s s e s b a l o w d L e r a ' r p o ' _ l i r ' o ' i n d s l i l " s o m P o r e

, ' " * "

* " ' b , d n l " t o v e r v o u _ d m o f h s i c a o n n o l

" ; ; ; ; ; ; . " . 1 o ' o e r s u ; r a ' c w i r h o d s s v ' I a L : - ' v b L I

1 " . " " " *

n r ' , " ' " - " t D e c ' a v l r o s e w r T n v a t a c l e - s l v e

ci rcul ts-suf fer i rom th is as we r '- i i i " r ' 'uop"n" l " "uu"e a passive volume pot redLrces

ni . f , i t "or"n" i " . to* quicklv than low f iequencles when

i t ' ; turned down Fortunately ' i t 's an easv problem to I x

Heat up your solder ing i ron, and I l l show vou how to aoo a

trphle b leed capdci tor to your vo!ume pol- in"

" 'ooir ' ar ior s ' :nple: a apa" lor br 'ogFd a ' ross

'* .1ro. o1-"" - , , .e pol w l ' a l 'ow n gr ' eqJFl" ies Lo

frr"""" "

f r ' . . " t " , . rqf lho vo' r ne pol evar a\ rhe over

' '11"," . " a-* 'qn""usl- 'oe n qn r 'Fquprc es renain a1

i"" * . " "" ' r . " " ' ,

t " " wdv oo' t r ro Lra \ ̂ I rne 'o l t rors

'o*"" , a" t , inqt ' " "u t ""T lo orop " voru ' r" bo' au 'e h qn

f ,eouerci"" a . . t as oe'ueol o 'e d l or^er v ' ruTes as r l - los

" ." ' i "* t " "" o" , " " . , ' I I a gu rd s rora rFmai 's ' redr '

When the volume pot gets down to i is lowest Level l rs

r"" ' " ,u""" * t "*"" tn ' t of the capaci tor and the volume

shl ts of f iust l ike i t should '

A r . v o L a e e d i " a 0 0 1 T r d , / f r I d o 3 ' t o ' ' t v d l a b l e a l

-o-L Radio Snac. acd " ecl ronir " sJoolv srore- T 'y ro

oei a polvester or polypropylene cap instead ot a ceramrc

ine. Lnev + bigg"r r , lFrAfore edsrer 'o wnr\ wi l r r dnd

,""" " , , " " | |U

-o" .o l " t ' " . PHOTO 1 crows a polve' le ''

; ' ,^ , i in rhe crvor ' . o"s isaar on . 'A102(T ' r l - iq is t tF

, . ; " , , " ' ' " ; ; - a l " o r -

n " " d r o L n o w i s r r i T l h o r 0 2 s r q r i

i " l .or i i r r "

n i 'o l " aos aro t5ar l l^e K srqn'r ie- -0

; ; ; . ; ; , i . ' " ' , . " " r r !o" ' |e cJ ' ior 's 'oou' r -ow ro redd

ir ' " "" "oau", " le" t

o ' t the numeroLrs resources avai lable

onl ;ne. PHOTO 2 .howt rhP volJrne oor r \ i is w rFd r

, ' " l . r r " ' - . r " r 1 e g d v \ ^ i ' o n l h e e h c o r e s f r o r r h "

" ' . '^1" . ' -o "*o - * 'o sw r 'h ano t le ver ow w re r i \e

l ' 'n l [ " . . . . i . 's"n,

s oLtpLt PHoTo 3 snows l l "e cdo

'"4"rF0 o"t* ' " . i " re l ano c"n "- 'ug ' t ra l - ar l thPre

is to i t ll ivou' re aown wi t r ' t r r is mod' vou can t rY several var ia

t ion; for even mor€ contro l of your tone First ' t rv some

. l i f ferent cap values-anything f rom 068pi to the recorn_

meno,d .001| l l s | , r ' gdrre Anotner na' I r 'cr ; - add rq a

," . i . i " ra." * , t no "ap wtrc l - r ar o" addeorr se ies

; ; ; ' , r ' : r ' ; " . " . onmo l varLre Io ' noos' wolrd be

j l . r r i , ' r o r , a " . " ' " " " ' t h F

v o l u r r e . o ' ' v o L r " l r o l r c e t h F

i . i n 1ne e"o 'os ' r - ' " 'kPo 250\ ' so in rh is uase I d add a

re- ;stor va.r-ed . . r th ' re f iom 100k lo 150( '

m;;;;tester' this caP wirr breed hishs whd the vorume's row

Guirar guG, readvfor a caPacitor imPlant'

The cap is w i red up and readv to c la r i l v Your s iqna l

llolrin'li'()\tverBv Michael noss6lJpnr I cmeen thar spans f ivF decades' Bobin

i-\v", t".uin" on" ot tock's most underrated guitar_

i" i . i r ' " r . t rn" | . pt*a garum gLi tdrrst is besl Inown lor

"-uir' crussr"

'los t"'"us"s as &idse ol Sighs and Robin

i ro.e. r ; " " . f " "s

*er f tnown is Ihat he str l l tecords

hioh-oual i tv music: for example ' on lasl years L 'v 'ng'oi"i

ai-L ti,",n.*' ock doesn't set anv hctrer rhan

this) . Trower showsthat he hasnl lost a beal

W;lh d gui |ar ' rg s i rn i lar to thai o l J imi Hendn)( '

nower h; nonetheless cultivated an instantly

," ioonir"Uf" "ounO

u" n is own H;s gui tars inc lude thtee

t" .a"" , n iS, ' " t " ,Cr. t .m Shop) loaded w;th 50s npck

oi"r | . ,os, los m'adr" p i"kups and Texas Specials in ihe

i ' i l " ! " ""n i*

t " ' " 'ps

he favors a Marshal l JcM800

ioo-"watt neaU anO a ts76 I !4arshal l Ma'k l l ' each oaired

-iin'u rgls fu\tvn-"ao|."d Marshall 4x12 bottom The

;; i ; ; ; "1; i l ; " rso places a couple oieces ol prywood

." i^" i ' l r "o * t " ' " 'e l ledors when perfornrns in

venues that do not have a wooden stage''-flis ut""ts

"train isvety straightforward An avid fan

"t * ' t " fuf f " f " er f f ,o* pedals, he ' rses Ihe Ful ldr ive 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 "trinss

{ 012' 015' 01? 026 036

.o+ri) in trn".

Mmhdl JcL! 100

M!t.hrll4xl2

M.r$!llMlrk ll

Mt hl l4xlz

Fudlr Sttrho[br

c

eee

FulltDn! (|OD Fullbn! GlYd'Ddu$V'!h

Fulllon! Full.Dflvo 2Bo$ TIJ-2 unfi Fullton! o.la 2

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SPECIAL ADVERTISEMENT

EIVIINENCE FRONTSPEAKER TATKWTH GEORGE LYTIICH-

uitarist George L],nch emerged from rhe '80s

guitar blitz wilh one oirhe most recognizableguitar tones ofthe era. Tharb an accomplisbmentthat few can boast, and Lynchjust mav haveachieved it because he urdersrands horvjust

about everyvariable affects the signat chain.,,One ofthebiggest obstacles we encounrer as guirarisls is furorng a ronethat helps us translate rhe ideas we hear in our imaginationto reality, ' says L]nch. "Every element in our signal chainaffects our tone, from rhe pickwe hold in our hano ro Ineequipmentand soli-ware rhatl used to record and masterour CDs and everything in between. Speakers are oneofthose elements that are commonlv and mistakenlvoveriooked as not being of critical importance. '

L\'ncht classic rock tone owes much to his famous ESpcustom guitars and Randal amps. But the vinrage spealGrshe pldced bchind f ic .pealer gr i l je . a l .o had . r gredreffect on his sound. "I personallv tend to favorreal old-rimey vintage speakers, such as pre,rota Celestion, Goodman, Elac, square-backEminence, certain iBLs, Urais, Br tdogs, andcertain Fanes," says Lynch. 'Over the lastcoupie ofyears, though, t've been workingwith Eminence ro develop a speaker rhatincorporates the qualiries ofa lot oftheseolder speakers-ones that breal< up atjusr therightpoint, arld thar have the optimum magnet

Lynch Box heads conraining rhree oflbur modules (Mr. Scary Bmima, SuperV and Grail) into Baltic bi.ch porredLynch Box cabs loaded wi th fDur 12, 'Eminence SuperV spealers. His guitarsinclude an ESP mohaganv bodied SuperV an ESP GL-56 re issue, an ESp.Sku sand Snakes" custom, and his c lassicESp Tiger. All his guitars are loaded wirhSeymour Duncan Screamin, Demonor SuperV pickLrps, and they re strungwith Dean Markley SuperV.0I0 gaugestrings. Llnch uses a Morley Tripler to switch betweenamps. His effects include a custom overdrive pedal builtby IimmyWiggle at croove Tubes, a vinrage IIXR phas€90, a vinatge '70s em Echoplex, an old Boss 10-band Ee, aFulttone DejaVibe, and a Mutron Ocravider.

To see and heat uhat Gearge Lynch is workinE on, go LotruwSeorgelynch.com.

composrrron, cone coDsrruction, and power_hanallingcapabilities thar moden and classic players require.'

Those efforts have culminated in the creation ofthe Eminence SuperV Driver, which fearures a casr vs.stamped lrame, cusrom voice coil and cone, ano a ceramrcmagnpl . 5d\ \ Lwc1. " , hc \uperV hd. a punchy. in-your_face clarity yet stil rerains a sense of warmth with jusr theright "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 rheday rvas an Acoustic 150," L].nch rccalls. .Wllafivas greatabout itwas that itwas loaded wirh six t 0,,Eminence speakersThough the amp was transistor, the Eminence speakershelped make up for its lack ofwarmth and satumtion.,,

These days, L]'nch has retumed to his ESp througha-Randall rig. Specifically, he is running rhree Randall

SONG$'l'lris lVl<lntlr's'l'ranscriptions

WAKE UPDEADMEGADETH,t -rft-llrt r-

WHEREWERE YOUJEFF BECK

10rT-PAINTHREE DAYSGRACE

110-MESSI\GEIN A BOTTLETHE POLICE'l 'lt-r-

CUITAR ONE 89

b."#

DigiTech' GNX4 Guitar Workstation' Powered Presets

JEFF BECK "Where were You" MEGADETH "Wake Up Dead"

llFilChan 0n€ iQ

GeNetX

Chrnlwo tQ

ToneBy 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 JeffBeckyour 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

only begun lo tap inro the many application\

it has to offer. Not or y do you have all the

great modeling and effects available forgetting 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 MP3player 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 thestage and studio and i-\ a prclifc .rcator of ton"s heaftlin ..untless rccarditrys ani perfomlances around. the

Chan one EQ 0r 0.0 150 $0 lm0 0GeNetX0lrn? tMd V|r{lrll 99 [r$li r lritl l

ftanTwo EQ 0n 0.0 150 1000 4800 0Tone0v0l 99/99 1/6 l/lt 4 /4 85/81

jnJffl hnml hrtlnl Phranlhnml Pirdn 5

offoff

6l

0n klire.r 99 66 6tNoireGate0n Sileffer l0 0

ChonryModoff0n Aia|08 t9l 10 ofi l0

Reverb0n H I B 50ixp kriSn trpl 99

0r 0.0 150 800 5000i|Ltral 8|i4rll Iibhk

0n 0.0 150 1800 5000

:hl/ftl 99 /W 0/0 ltl10 ) / l

0n/off Prnmlfhnnl PaEnl hBn4

Off

otroff

off0n iilen(er t] 0otf0ff 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

ExpA55ignhpl

&it4rll

w/61hnm5

Name:ftan 0r 0.0 t50 u00 1500 0

GeNetXf t l ebd{i( qner}ll Sitbl ftrdnlChanTtYo [Q Ofl 0.0 150 2200 t00 0

lone 1l/01 89/0 t / l l /B l /n 6t/81&r/off PanmlPacml hraJnl linm5

otr0ff

otf0n lRamr l6 7l 99

|{oiseGate0n lileKer lr 0Choru!/Mod0n flanSer I6 0 { l

0ff 180 16 6T 54ReYed 0ff Sprng 0 84 l0 2l

t4 ArsiSnkpl 0 99

0r 0.0 150 1000 5400tlffl Solll\Lr Ynlg4rl2 I &i!ftt

0r 0.0 lt0 1600 4000thl/ft] u/90 0/0 .5/9 5/\

0n/off hGm I Piffrl Finml

otf0ff

tfiy/'Tilk off

0n iilencer 20 0otrotrotr

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sets AeFrlr-lL:]

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gftra- t-!e:--)

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8

a.p f , , i r ' . r r : l i nE [ / ]USTA NE l \4US C a fd IFE l tFy t / tUS CA B i g h G l o r D A V L l , , l U S T : . . r . l i l ! . t r o e d a n d A d m n s t c r c d l E . 1 3 L A C K W O O D M U S C N C

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(From the CapitoUEMl Recording PEACE SELLS...BUT WHO'S BUYING?)

Transcribed by Jordan Baker

R.c.rtinr sound\ 1/.1 detni

!ast Rock. = 168

C l 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€ otharmon: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<xperimentwith 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 yourtiemolo bar.6 far as possibte dlr:ng the indicarsd durarion.

@Guitar Solo I

G!\ . I & l : $ /Rh! . l i ! . r i l l nne t

l.{5 ,{5l5,xt - -

r.{5 ( 5

Words and Music by Dave l\4ustaine

GU]'tn o lgt

F{5 C5

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3r'a,-?-.

r?5 D58rd

h{5 E5

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MAV 2OO7

19-17 1 17-14-1v17 14-17-19 17 14-18-17-14 . :14-----:

@Int€r lude

C J

.a

[ t : cl5 D5 c5 Fri

Gtf\ I & l: r'/ Rhr" Figs I & 24 (l tnncsl

(]5 D5 {i5 r:i5 cr5 D-i G5 r '15

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notci \unarned $/fccdhd.k nert 8 ncns.

Rht , l ig .2 , \ Dnd Rhr . F ig .2A

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R h ! . l i g . 2 Ddd Rh\ . F ig .2

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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

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l =

::

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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 th€y 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.37-39contarn anoth€r m€lal 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€ sudd€n bar oI2,/4.

'

PNr l

GUITAI OJIE gI

ls .

E5 C5 E5 D5 Dt5 A5 C5 85

t)kt) J rni.sBt5 F5 E5 t5 C5 C5 Bt5 G5

Gr.3l5

@Guitar Solo

Gl5

End Rhy. Fig. lRhr , F ig .3

Gns. I & : s /RhY.F ig 3 (2 t rme9

c45 85

E5 C5 E5 D5 Dt5 A5 C5 85

MAY 2OO7

FI

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 oth€r 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'

c i5

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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 antsc€dsnt3 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, rc3p€cti'.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 inadv€rt€ntlv pulling ih. tiing shtrp'

I . : l lGuitar Solo 4

Ctr \ . I & 2: N/RhY Fi ! .4 (8 t 'mes)

E5

1.._o-7 ---s-o.._8.'._7 4-7-s-0-8-7 !-!-! y-!-

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13 13-12 10-

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1-12 14-14 12-11-12 14-15-15

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GUFAN O E'O

E5

D5

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@Outro

Grs. I & 2: Rhy. Fie.4{3 12 rines)

Lyrics

Verse 1| .neal ' in m) o" n hou.e. r l r lour 'n lhe momingI had loo much ro dnr*, ,ard l wa. our $ irh lhe boy\.I .reep in m) bedroom. | ' l ip Into bed.I knos i l I $ale hcr. I l l *xle up dead.

Verse 2I wonder, wili she find out'boul lhe other,other lover named Diana.

0utroWake 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)

Transcribed by Jordan Baker

xl lib q/ blr rrtr.ushour

. .Ll$r.k dclnr. ambie.l deL) & r.r.rlr

Frls

7.rc!l!

18-19-1

M€asures zt-5 conr6in a whammy-ma.ipulated harmonic phrrse ihat occurs .everal tim€s ir the song. Althougn a floaling tr€molo 3ysiemis 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 uPon 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 Gloserro rhe nur tor ah€ to ;wi'ng_b€nd. tr eirher case, carelul listening and trmilia?ity with rhe response ot a pa.ticulat guitar's ttenolo ar€ thekevs io keepins this melody in rune,

/.)

t L

I

t 9 - 9 - 1 6 1 8 r j . -

: _ I989 WB MLIS C CIPP: . : r r or ALFFED PLIBL Sts [ ] l i i - _

' Rr! r is Feserved

Words and Music by Jeff Beck, Terry Bozzioand 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 - <8 a r n r . + r H a n n .

. l / l

1 U 2

s / b a r - - - - - l<

) | 1I 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 trsrnih€t than diisctlY above the 3rd fts!, to tfy picking ths 3tnng rcpcaredly whils moving yorr fr€t-hand 6n;er ;bng ths string, raking nore otwh.l€ tho not. iumPs out mott clearly. Rsmomb€? rhi. location and ihe amount of rorcJippli€d ro rhe brr ;nd you,It be ready-io so.

Efr/B Bm B!

N / b a r - - - - - . - , f t j f

- - - l l+ l

' r/r 2 tt ^-::-

tE

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|nmgasurgs33.35,B6cksound3.s6r i . .o 'notcawi lhf . . l+andhamm6r.on' (no-pick inc| .wi thvo|um€knobswe| |ssnd.ba.v ibrato, lhs

s;E3$g$rtlTf;iliq$rfr'1fLtll##t: i#ilti.*l'i:*ii*11#r**'

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Dadd9ll{ Ijrc!

cunan o E IOt

I'AINAs 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 chrom€ric th'lt_stepl line (E-Da-D!-C'-C) agsinst tho op€n 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'

"Mich€fre.- 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

Modcrat€lYslow.=80

Em

Transcribed by Adam Perlmutter

,nf

6 RhY. Fig. I

Em(naj?)

Words and Music by Neil Sanderson. Adam Gontier,Brad Walst. Gavin Brown and Barry Stock

D5

This h€avielfiff 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 h€ie thouehr

th*e odtavos csn bc praveo ar one pan. 'l ihitt too much troubte' lust s'ab the low€st 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 , rv rB A vooD a \aDA

" ' : t o , l , i j l "uo tooJ , 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

Glr \ . & r : r /R i f t : ; \&A l l l rDes l

Em7F.n(naj7)

End RiffAt

n . r 7 tInterlude

Ctr \ 1 & l : s /Ri lTsr \ & Al

Ilnd Fill I

End Rh l . l i i l l I

\nu ' rc ! .1 o f fee l in numb. . .

llJrnr i

hd

End RilfA

==_ )

EChorus

G t r \ l . \ r r , . : r( n F I a : : . R l t F i g | ( l n m e \ l

Prn w i thou l

ri-:tVerse 2

G t j s t N r r I t r r r : . \ & , \ l ( 2 l n n e s )

Jah

r|r,

CJ

BChorus

G r ^ : r i I . r R h \ . 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 n€3d to gst the syncop.ted 16th-note rhythms in bal r1:| down tight. To h6lp with this, fils-r putyoor guitar down and count "On}ea-and-urr two€€-anduh, rhlse-oa-r,|d{rh, fouFee-rn.r-uh." N€xr, try counting and ttaying rh. 85 at ihssamo 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 thetiire to ca!6tully tocu6 on thi3 pasrag€, th. nsxt time you encounter , .imilar ihyrhm, you'll be abte io phylt much aasier.

@Bridce

B5Rhr. l ' iE,2A End Rhr . F ig .2A

Ct^ .2 & l :qy 'Rhy . F igs .2 & :A( l r in res)

v!4Chorus

Cr$.2 & l :WRhy. F ig . I (2 r imes)

zqInterlude

C r s . z & l C s u s 2

L-v rics

Intro/ChorusPain. without love.Pain, l can t get enough.Pain, I I ike i t rough.Cru.e I d - . her feel parn rhcn nor\ rne ar .1 .

Verse 1You're sick offeeling numb.You're not the only one.I ll lake you by the hand.And i ll show you a world thar you can understand.This l i fe is f i l led wi th hurt .When happiness doesn t wofk,Trusl me and lake my hand.When the lights go out you will undersrand.

Verse 2Anger ano agonyAre betier than misery-Trust lne, l ve gor a plan.When the lights go up, you'll undentand.

Br idgeI know thal you're wounded-You know lhat I'm here to save you.You know l m always here fbr you.I know that you'11drank me later

lull=sisAcl= lN A 13() l-rLEAs llecorclecl lrY tlre P<llice(From the A&M Recording REGATTA DE BLANCI

Transcribecj by Adam Perlmutte, Music and Lyrics by Sting

Thesong.3t ignaturei i f | i 'p |ayedbY.Gt ' . r .ndha'moniz€dp' imir i |Yin.d iaronic3.d!byGt. .2.{ | |you'16!band,6on|ygui tar is i , iustorav 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€'

LL^SiT

I

I l ( ,derat€lY Fast , = 150

Grr I . r ' r r . . . r R i t r l

Asusl Bsusl lisur2

@@EX v".""s r-:

G l r \ 1 & l : r ' / R i r ' l : A & A l ( 8 h m € 9

trnd RifiA

Flnd Rifinl

I

bE

nl

@EEPre-Chorus

i & r 5

CoDlr . lht O 1979 G M SUMNEFAcm i ste e; lb-vEM MUS c PUBL sH NG Li [ l TED

err n,r , ' t q"r" . . . , i i " i . 'n l r ronal Coplnslr tSec!red Llsed bvPerm 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

lnd l iDe. Gh l :w /F i l l I

RhJ F ig . l

C r s l & 2 : $ / R h Y .Fi8. I l: limet

c{mEnd Rhy, F ig . l

Fi5

Lowinlh€mix,anov€idubb€dgui i ' ' tGtr .3 ladd. l ! . ty f i | |sdur ingth6cho]u ' .The. . | in€!a.edrawtr f romihac'minolp.dslonicac€|giC#-E-FA€1-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--------------oG t ( . 1 & l

zt\ - i1,:

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IIQ GUITAN OI|E MAY 2OO7

t*r-

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(

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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 lenlyBr€au. 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 lhov:cinitv ot the 14rn ftet Fo? €ach 2tt4lEiamond norotcsd you .3o, lighdy touch your right hrnd's index finger dir€crly sbove rhe given tt€t whilopicking 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 Bsus2Gns. 1 & 2: w/RiffsA&AlGn end)

Clsus2 Asus2 Bsus2 Flsus2 Clsus28 y a - - - - - - - - - - - - - -

52 c" iA,---:-\

=-

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 IJust 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€ 2A year has passed since I wrcte my note.But I should have known lhis dght ftom the startOnly hope can keep me togetherl,ove call mend your life butlrve can brcat your heatt,

Verse 3Woke 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!' SiltstemsKlng Crimson1'he Coltectabte KjngCrimson Volume One(DGMI

THE KING CRIMSON archives are re-openingto an audience outs ide their fan c lub. The f i rs tof the ser jes is th is double-disc set , contain ingconcerts recorded in France and NewJerse,wj th Robert Fr ipp, John Wetton, Bi l l Bruford,and David Cross (not the comedian, thoughimagine how cool that would have been).

Contain ing unreleased mater ia l , a long wi thCross's restored violin parts that didnl make itto

the LJS album, the live,n Asbury Parlt N.J., 1974set boasts the more solid consistency ofthet!vo.The band is on top of its game, giving a devastating demonstration of how a fouFpiece rock bandcan sound huge and spontaneous, Fr ipp's angu-larfeedback solo and spurts of legato in "Easylvloney" are downrighi hypnotizing.

fhe Live in Mainz.1974 set occasionally suf'fersfrom improvjsational overindulgence. Butthemenacing bui ld 'ups in "Star less" and "Lament,"driven by Frippt abstract noodling and Wetton'sthundering bass lines, are astight and hea\ry asanything King Crimson has ever recorded.MOMENT OF TRUTH: "Asbury Park" (1:08

10:25) Matching wi ts wi th Cross, Fr ipp explodes

from a high

;ng and hasty

blues anddiminished

inter lude, th ingsmorph into an improvtunk jam with a nasty and distortedbass solo by Wetton and psychic interplaybetween Fr ipp and Cross. This is the band playing at i ts peak.

Dave MartoneWhen the AliensComelLion Music)Martone is a shredder towatch. The Vancouveraxeman is so forward-th inking that the metal-funk fusion on his latest CD is intended toappeal to the al iens ofthe future. UFO-olgistsmight not take to i t ,but gui tar af ic ionadoswi l l probably lose theirjaws af ter hear ing hjsi n s a n e t a p p i n g a n t i c s ,The effect-heavy "TheF o u r H o r s e m e n " a n d t h eembarrassingly t i t led"Flatu lat ion Farm" haveManone insert ing legatof i l ls between funk r i f fsthat suggest Satr iania n d V a i m u l t i p l i € d b y ' 1 0 .MOMENT OF TRUTH:" R e a l l y N o w " ( 4 : 1 6 - 4 : 4 2 )

I \ ,4arto ne ends the songby taPPing out arpeggios so fast and wi thsuch wide and strangeintervals that they defyany fur ther descr ipt ion.S e t y o u r t l m e m a c h i n e

Luclnda WllllamsWest{Lost HighwaylAs a surpr ise choice,the al t -country chan-teuse hi red Bi l l Fr isel lto color her col lect iono f d a r k a n d d r e a m ybreak-up bal lads. Suree n o u g h , F r i s e l l t a g s h i st rademark atmospher-ics to the roots proceed-ings; h is sLrbt le ch o rdalf i l ls and dreamy reverbform an integral part ofsuch t racks as "Are YouA l r i g h t ? " a n d " R e s c u e "wi thout d ist ract ing f romWil l iams's rough andpret ty s inging. Moresurpr;s ingly, Fr isel l addsedgy, metal l ic sustainand v isceral b luesinessto downtempo rockersl ike "Unsuffer Me" and"Wrap My Head AroundThat."MOMENT OF TRUTH:" F a n c y F u n e r a l " ( 2 : 1 1 -3 : 1 0 i I n a l y r i c a l a n dbeaut i fu l solo, Fr isel lmakes every note of themajor scale count.

The JohnButler TrloGrand Natlonal{AtlanticlBushels of dreadlockswi l l h i t the dance f loorat the f i rs t sound of theAustra l ian gui tar is t 'sjam-band mish mash oflunk, fo lk, and rock. Notonly is But ler an envi-able f ingerpicker andsl ide player, he has aknack for wr i t ing infec-t ious grooves, hooks,and s ing-along chorus-es. And h€ leaves youguessing about what s ix-str ing t r ;cks he' l l pul l outof h is Washburn acous-t ic . l t could be a banjo-inspired f igure doubledby actual banjo { "Fu nkyTonight") , raging s l ide("Fire in the Sky") ,or wahed-out g ru nge( " D e v i l R u n n i n g " ) .MOMENT OF TRUTH:"Gov' t Did Nothing"(3:55-6:10) Pefcussive f in-gerpicking and quasi NewOrleans funk take a t r ipinto outer space whenBut ler h i is h is overdr ivepedal and hammers thestr ings wi th h is s l ide.

AghoraFormless{Dobles ProductionslThe N4iami prog metalband led by gui tar-is t Sant iago Doblesadvances the sound oftheir reg ional ances-tors Death and Cynic tom o r e m e l o d i c a n d c o m -plex pastures. 1 ln fact ,d r u m m e r S e a n R e i n e r td id t ime ln both bands,as did Dobles 's gui tarmenlor , Paul lv l a sv id a l . )Dobles displays f lawl e s s p i c k i n g t e c h n i q u ecomparable to that of anlMalmsteen or Petrucci ,but he sets h imsel f apartwi th some ethereal ,fusion- inspired chords,of ten proceeded bywrist breaking thrash.MOMENT OF TRUTH:"Open Close the 8ox"12:01-2:47) Dobles comesout f ly ing wi th sweeping arpeggios and speed-picking, then developsa melodic theme whi lea t rack of b l inding scaleruns loops in the back'g r o u n d .

TlshamlngoThe PointlMagnatudelSouthern rock is definedby the balanced ten-sion betweenNvang andbuzz-saw guitar, and thisGeorgia quartet knows thestyle inside and out. lt follows they have a tal€nt-ed guitar duo in CameronWilliams and Jess Franklin,who lead the hard drivingblues rock and coun!ry bal-ladry (in thetrue sense ofthe word). Not onlydo theyshow noticeable restraintand taste, they both carrydistincttones, makingthetrade offs more power-ful, as in thefunky "AreWe Rollin'." Also checkout "Tennessee MountainAngel" for some slide thatwould make Duane Al lman

MOMENT OF TRUTH:"This Time" (3;12 3:40)Swagger ing soul numberfeatur ing Cameron let t ingloose with deftly phrasedbends that p ierce thespeakers. He c l imaxes theleads wi th a c lever choiceof notes that c l imb wi ththe chord progression.

ln Our fivsitemsi'l'lris lVlontlr in DVDs, Vicle<li6ncl l3<xrlcsDold(entrndrailr tlre Night{Rhino)Despi te h is arrogance and despi te the lack of chemistry he had wi th former lv skunk halred gul tar ge

ni !s George Lynch, headband_wear ing bandleader Don Dokken st i L managed lo put out music of im

mense interest to gui tar is ts. Yeah, Don's vocals sto e precious solo ing t ime f iom Lvnch, but Lynch

gotero!gh lckslntoturnhlrnsel f intoashred_savvv,mLrsceboundhero Unchainthe Nlght made

on Super 8 back beiore dlg i ta , is a 45_minute rocklrmentarv f rom l986 around the band's commer

cia l peak. The f m mixes interv iew segments wi th stag€d v ideos, maklng l t campv as he (c l reck out

L y n c h ' s g ! t a r " c h a i n s " o n t h e i r 1 9 8 2 s ' B r e a k i n g t h e C h a l n s " ) ' b u t s t l p r e t t y e n t e i l a i n i n g A h a n d f u

of bonus v ids, inc luding big b!dget reels l ike "Walk AwaY' and "Dream Warr iors," ls tarr ing Freddv

KruegefL) f l l l out the package, which ls a companion piece io a rare ' ear ly ve CD from 198l

Alben Collins & the lcellleal(elsln Concen(lnakustik)

Albef i Col l ins has never recelved the credi t he deserves; vou l agree at ter checking out th is r lppin ' set

f rom Stut tgart in 1985. The lceman (at the t lme 53 and at h is peak) is l i the enoug h to whip of f incred

ib le fLrnk l icks and wlse enough to st ick wi th the spare, sear i fg so os that gave him his " icv" reputa

t ion. Thanks to a h igh-on the neck capo and f requent mlnor tun ngs, Col l ins cranks out the R&B/blues

madness, and sends them b ls ter ing lnto the smoke f l l ed German air ' Props to Col l ins ' band' too '

which lnc udes guest harpls i Southslde Johnnv anr l rh) , ' thm gui tar ls t Rob Nol ' The v ldeo is sof t here '

not bad for a 20 year-old reel , and the cameras are k ind to Col l ins gr is lv axe work, especralLv on h s

cover of GLr tar Sl im's "The Things That I Used to 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 Teutonlc heroes of He Ioween have a waYs been on the f r nges of the Arner can metalscene lMay_

be thelr b end is too headv for domest lc headbangers, but they got stuck ln the marglnal darkness be

hind bands ike l ron N4alden. The fact is the band'stheatr icalnolse is exp losivelv ente r ta n ng' and lhe r

sound ls prototypica power meta , especia y on their andmark dlsc Keeper afthe Seven Keys Each

member s a monster nstrumental is l , and gui tar sts MichaelWeikath and Sascha Gerstner get p lenty or

t ime lo chug, chl l l , f i l , and t r i l l Their work ls color fu l and prec se, wi ihout as rnLrch f i re breathing shred

a s m a n y o f t h e i r m e t a c o u n t e r p a r t s T h e d o u b l e d i s c v : d e o l s l a v l s h a n d f u n , m a d e l n f r o n t o f f a r h f L r l e

gions around the wor ld. L justwonderwhythedamn th lng needs three narnes

()anis[Jn(le[ l?evie\ r: lvknning Glor]t{Chrome Dreams/Sexy Intellectual)Fewbandssincethe al ternat lve exp oslon oi the'gos have madeendur ing po p-rock melodles ike Oa_

sis. Hundreds and thousands have t r ied, most end ng up copies of copies Thls in-depth analvsis of the

bands t r lumphant second recorc l ing ef fon de ves deeply lnto howthe album became th€ centerplec€ of

the Br i t -ooD revolut ion, how i t ef fectvevfo oweduponeofthegrealestrockdebtr tsofourgeneraton

tn Definitelv Mavbe, a^dhow brl liant singer/g!itarist Noe Gallagher' desp te hls persona tv derects

andturr iofabrother,hasremalnedoneofrnod€rnro. l 's t ruv conic songwri ters 4oB GULra

TNSTRUC'l'l()NAl-VIDEOS OF-ft{E t|/t0N'll.lln an effortthai redeflnestheword "painstaking," instruc-tor Danny Gi l l takes s ix JoeSatrianitunes apart note bvnote, then shows you howtoput them backtogeth€r again,

ani: ClassicSorgs (CheF

ry Lane). l ts

wi th "BigB a d M o o n , '"Cryin,"'

ing in a BlueDream"

disc one whi e "Fr iends,""Rubina," and "SummerSong" gei lhe sarne tfeatmenlon disc wo. No intro, melo_dy, solo, or outfo is forgotten,which means th is is one longpackage-nea rly fou I hoursGi l l 's absorpt ion of a l l th ingsSatch is almosttoial;yes, he'srockin 'an ESP instead of anlbanez, but l'd say his shavedhead makes up for that.

On Rockabi y Guitat lHalLeonard), session ace TroYDexter examlnes the sty lesof several residents of theTwangers ' Hal l of Fame, in-c luding Scot ty Moofe, Car lPerkins, Eddie Cochran, andBrian Setzef . Al l rockabi l

lo p ick rak-ing, and Dex

Ings ror

sure. Too bad the fo lks incharge of onscreen caPt ionsdidnt double 'check the sPel l_ing of Duane Eddy's name,but that 's goi nothing to dowith the musical exarnPles,which are guaranteed to helPyou spice up your next hoote-nanny. -MAc nANDAr.r

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