Jupreguit

Bill FrisellA candid look at the creative process behind the experimental Floratone II.

Builder ProFile: Heritage guitarsGenerations of craft in Kalamazoo.

Forgotten Heroes: JoHnny guitar WatsonOriginal soul gangster and funk pioneer.

Gibson Jeff Tweedy Signature SG 61 Jackson Ampworks Newcastle Ibanez Gerald Veasley

GVB36 Signature Bass Taylor 710ce Rosewood Alairex H.A.L.O. Jason Z. Schroeder Chopper T-Pine Mojo Hand Nebula IV Phaser Orange OR50H Reissue Rivera Sustain Shaman Compressor Peavey Headliner Head and 410 Cab

REVIEWS:Bill Frisell (Photo by Michael Wilson)

sponsored by FenderJuneHigHligHts

digital adVantageIn addition to the kick-butt stuff in our June 2012 print edition, you also get the following fantastic material when you head online to premierguitar.com.

Musikmesse Videos: WEB3 More than 30 demos of transatlantic tone toys from the floor in Frankfurt, Germany.

Digital-Only Reviews:

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2012 TAyLOR PRODuCT GuIDEincluded in this issue!

Johnny Guitar Watson (Photo by Klaus Hiltscher/Affendaddy)

Bill Frisell strings 101 Heritage guitars

Guitar riGs of Broadway

Backstage with Spider-Man, Rock of Ages & Book of Mormon

Billy Duffys Back with his foam-filleD Gretsches

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6 PREMIER GUITAR JUNE 2012 premierguitar.com

EDITORIAL Editor in Chief Shawn Hammond

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Senior Editor Andy Ellis

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TuninG uP

nail it! BY shawn hammond

If youre bored enough to read or care even a modi-cum about what I say here on a semi-regular basis, you may recall that Ive evange-lized about celebrating your uniqueness [Fly Your Freak Flag High, September 2011], shaking off the chains of preci-osity [Banishing Gollum (or Discovering Your Inner Punk), August 2011] and simplifying your rig to get more sounds with your hands [To Stomp, or Not to Stomp, November 2011]. In retrospect, I guess all those diatribes have high-lighted various facets of a gen-eral curmudgeonliness thats coming over me as I get older. Naturally, I think its a healthy crustiness, but you may have a more unbiased viewpoint.

Anyway, one of the draw-backs Ive encountered in my general move toward more hands-on elicitation of primal rawness in my playing is that well, I was busting nails.

Yeah, you read right. Nails. The problem began three or

four years ago, when I switched string gauges to get a tougher, tauter sound and tamp down on the string warble I got when I dug in for heavy riffs. Moving up to .011s fixed the problem, but soon a couple of other evolu-tions in my approach changed everything again. First, thinking about the range of sounds that Jeff Beck and Brian Setzertwo of my favorite playersget with hardly any gear inspired me to decrease my stomp-able distrac-tions and try to wring more sounds from my bare hands. Soon after that, I acquired an amp whose unadulterated tones were so bloody titillating that I felt less need to augment theman amp that enabled me to dial in a single sound and either play light as a feather for glorious clean tones, or attack

ferociously for nasty, in-your-face sounds. More recently, Ive taken to flipping around my heavy, textured-grip nylon picks to get even more bristling tones out of my axeswhich sometimes unconsciously spurs me to ram my picking hand into the strings even harder. I know, I know my inner punk is out of control.

Integral to all this is the fact that I do a lot of hybrid pick-inganother nod to Setzer and Beck, and probably the biggest single takeaway from all

those teenage years of listening to Eddie Van Halen and Eric Johnson. But theres been a pretty significant drawback for the keratin plates at the end of my picking hands index, mid-dle, and ring fingers: Theyve not increased their gauges one iota to keep up! And the result isnt pretty. More importantly, it does not feel good. If youve ever had a nail detach, you know what I mean. It doesnt even have to come off that much for your finger to scream every time you touch a string.

Ive known for years, of course, that hardcore fingerstyle guitarists have pretty drastic fin-gernail-care regimensroutines

that require multiple specialty products, a lot of annoying fil-ing and buffing, and, worst of all, clunky, ugly-ass artificial nails. But I spend most of my guitar time playing electric, so I never really thought much about that until my recent predica-ment (besides, I always liked the sound of a little flesh rather than full-on nails on my acoustic).

When this whole fingernail-detachment thing reared its head a few months back, I had to decide whether to curtail my attack and

sacrifice the sounds Im totally digging, or figure something else out. Given PGs sloganThe relentless pursuit of toneI think you can guess which I chose. But as I thought of how to avoid pain and still get my sound, I had to come to terms with the fact that Im either too vain or too lazy to put that kind of time and money into something I know will bug the living hell out of me every second Im not playing. Yeah, I like it au naturel, baby.

So I showed my wife my owies, told her about freako fin-gerstylists nails, and asked for help figuring out a solution that wouldnt feel weird, take for-ever, and cost too much. Turns

out, we already had everything I needed. My loverwoman just had to sit me down and teach me how to do my nails.

I dont claim this is the ulti-mate solution, but its working for me. Heres what the missus taught me. After making sure my nails were trimmed neatly, she used a buffing block to pol-ish the surfaces. But, like I said, Im lazyplus, Im not worried about how smooth and perfect my nails look, given that theyre going to get scraped to hell any-wayso now I skip the buffing and go straight to applying a pH balancing agent that helps the protective final coat adhere longer and not chip as easily. That stuff dries faster than water, so step twoapplying a coat of nail-polish adhesivecomes fast, and it serves the same purpose as step one. Let the adhesive dry for a couple minutes, and then the final step is to apply the first of two layers of heavy-duty top-coat. Let that dry a couple more minutes, then do one more coat, and youre done. I now do this after every band rehearsal, and it usually lasts all the way through the week until my next two- or three-hour jam.

Happy manicuring, tone freaks!

Shawn [email protected]

Although not indestructible, my nail treatment lasts through a whole week and a long band jam, puts my sound literally at my fingertips, and isnt annoyingly distracting. Here, my nails had gotten a tad too long and ripped near the end of a long band rehearsal, but half of what you see is two lay-ers of topcoatimagine the damage if theyd been unprotected!

Learn more about the Martin 2 Concert Uke, Ocean Way Recording and Warner Bros. recording artist LP at martinguitar.com/lp

Singer and songwriter LPUke player 3 years

Music shook the studio walls, then the world.

CM

Y

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MY

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K

JB_CRYBABY_Spread_Premier.pdf 1 2/14/12 12:40 PM


TABLE OF COnTEnTS > FEATURES & REVIEWS

146 GIbSon Jeff Tweedy Signature SG 61149 jAckSon AmpWoRkS Newcastle154 IbAnEz Gerald Veasley GVB36 Signature Bass156 TAyloR 710ce Rosewood159 AlAIREx H.A.L.O.162 jASon z. SchRoEdER Chopper T-Pine165 mojo hAnd Nebula IV Phaser169 oRAnGE OR50H Reissue175 RIVERA Sustain Shaman Compressor179 pEAVEy Headliner Head and 410 Cab

REVIEWS

113

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i Ald

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FEATURES76 musikmesse 2012

We spare you the transatlantic jet lag and deliver the tone toy news to you.

86 The cults billy duffyThe rock veteran on his Gretsch White Falcon and other weapons of choice.

95 bill FrisellA candid look at the creative process behind the experimental Floratone II.

103 Gear of broadwayPlayers who rock NYCs biggest stages.

113 Strings 101A crash course in all things wound.

121 how to pick your pick Small details make a huge difference.

127 builder profile: heritage Guitars

Generations of craft in Kalamazoo.

137 Forgotten heroes: johnny Guitar Watson

Original soul gangster and funk pioneer.

contents

Jackson Ampworks Newcastle

149

Volume 17 Issue 6 June 2012

Strings 101

149

premierguitar.com

Gibson Jeff Tweedy Signature SG 61

146

Fender Vibro King Two-Tone

Jackson Ampworks NewCastle

Fend

er 72

Tele D

eluxe

Collings

D2H

Xotic XJ1T-5

Fender Jaguar 50th Anniversary

Rickenbacker660 Ruby

cme6.com 1-888-686-7872more than just vintage


TABLE OF COnTEnTS > lESSonS & dEpARTmEnTS

lESSonS65 Fretboard Workshop

Marc Schonbrun

68 digging deeperJulian Lage

70 beyond bluesKid Andersen

73 Shred your EnthusiasmPaul Gilbert

contents (Contd) Volume 17 Issue 6 June 2012

19 opening notes

24 letters

26 news

28 Staff picksPG editors and Joe Bonamassa talk about the guitar lesson of their dreams.

30 media ReviewsJack Whites Blunderbuss Plus: Neil Young, Michael Landau, Anders Osborne, and M. Ward

182 new products

184 modern builder VaultKrusa Guitars

186 Guitar of the month1959 Danelectro Doubleneck #3923

192 last callKnow How, Know When

dEpARTmEnTS

58

GIGGInG & REcoRdInG

36 Tone TipsGoing Direct with Analog Equipment

38 on TrackPower and Protection for Your Studio

40 on bassTools of the Trade for Bassists: Eighth-Notes

42 Guitar TracksDelving Deeper into the Audio Interface

TEch TIpS

44 State of the StompEffects Loops 101

46 Esoterica ElectricaOff the Grid

colUmnS 48 Acoustic SoundboardOf Tree Elves, Hide Glue, and Such50 Ask Amp man

Recapping a Vintage Gibson GA-79RTV Stereo Combo

52 mod GarageEsquire Mods, Part 1

54 The bass benchPassive Tone Controls

VInTAGE & UpkEEp

56 bottom FeederOld Kraftsman Solo King

58 Vintage Vault1955 Gibson J-200

60 Trash or TreasureMartin Style A Mandolin

62 Restoring an originalReviving a 1965 Gibson Firebird

on ThE coVER Off Guitar Design/J. Lak Soulsista Italian Diva, Billy Duffy (photo by Dara Blumenhein)

19

Ph

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esy

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Vintage Vault

Opening Notes

Extending your tone lifelike no other stringEvery time you play your guitar, tiny bits of you are left to invade the windings to contaminate your strings and kill your tone. Elixir Strings are the only strings that keep dirt out of the windings by coating the entire string. Our ultra-thin NANOWEB Coating provides a clean, smooth feel and players tell us their tone lasts longer than any other string, uncoated or coated.

Learn more about Taylor Guitars and find out why Bob loves Elixir Strings: www.elixirstrings.com/bobtaylor

Guitar Shown:Taylor SolidBody Standard Double Cutaway in Borrego Red

GORE, ELIXIR, NANOWEB, POLYWEB, GREAT TONE LONG LIFE, e icon, anddesigns are trademarks of W. L. Gore & Associates. 2011 W. L. Gore & Associates, Inc.

Sometimes someone comes up with a different idea. It changes all the rules of the game. Thats what happened when Elixir started making strings. - Bob Taylor

ELX-001-ADV-US-NOV11


WEB ExCLuSiVES

This month on PremierGuitar.com

Mark Tremonti Goes SoloCreed and Alter Bridge guitar-ist (and quite the gearhead) Mark Tremonti talks about his upcoming solo effort, Creeds in-the-works album, and his affinity for Dumble amps in our interview and Rig Rundown. Online May 23. Search for: Interview: Mark Tremonti, Rig Rundown: Mark Tremonti

Head to facebook.com/premierguitar and Like us for exclusive access to all this and more.hEAd To FAcEbook...

Guitars on Broadway: the Videos

After reading our feature with the guitar-ists behind the hit Broadway shows Rock of

Ages, The Book of Mormon, and Spider-Man: Turn Off the Dark (p. 103), head online to

watch them run through their live rigs. Online Now! Search for:

Rig Rundown: Broadway

Guitar Picks of the StarsPage through our gallery of picks used by pro guitarists, and submit pictures of artist picks from your collection to [email protected] for a sec-ond gallery at the end of the month!Online May 23. Search for: GALLERY: Guitar Picks of the StarsOnline June 6. Search for: GALLERY: PG Reader Pick Collections

This month on

Guitars on Broadway:

Guitar Picks of the StarsPage through our gallery of picks used by pro guitarists, and submit pictures of artist picks from your collection to [email protected] for a second gallery at the end of the month!Online May 23.

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What is your favorite vintage Fender finish? While the runaway winner was Seafoam Green, our Facebook readers chimed in with a laundry list of gorgeous custom colors. Can you identify them all? Answers above. Colors appear in order of most votes, with A being the most popular vintage Fender finish.

premierguitar.com PREMIER GUITAR JUNE 2012 17

WEB ExCLuSiVES

Future RockThe Voice guitarist Justin Derrico takes your rock licks into the future with his new online lesson column. Check out his latest, Pentatonic Chords, and dig into the previous installments while youre there! Online Now! Search for: Pentatonic Chords, Tap, Sweep, and Shred, or Pentatonic Derby

Online-Only ReviewsWant even more gear reviews? Check out whats new online this month at premierguitar.com/reviews:Online Now! Reverend Sensei RA, Swell B-Peg V3,3rd Power Dream Solo 4Online May 23: Fender Pawn Shop Special Excelsior and Greta Amps, Ibanez George Benson SignatureOnline May 30: Multi-Effects Floorboard Roundup: Fender Mustang Floor, Boss GT-100, and Zoom G5

WIn IT!Sign up for our weekly

newsletter at premierguitar.com/newsletter or Like us

on Facebook for access to these weekly giveaways.

\

Electro-harmonix Stereo Talking machineMay 23 May 29

Way huge Red llama overdrive

May 30 June 5

T-Rex Gull WahJune 6 June 12

FAcEbook phoTo oF ThE monThWe immediately fell in love with the checked, golden finish of Dave Walkers 1966 Gibson ES-335 in this

unabashed offering of gear porn.

To submit your photo for consideration, post any guitar-related photo (that you own the rights to) and a cool caption to our Facebook wall. Take us back in time with kitschy shots of your first band, knock us out with the beauty of your favorite guitar, or make us laugh, and you could find your picture here next month!

\

VES

This month on PremierGuitar.com

FAcEbook phoTo oF ThE monThWe immediately fell in love with the checked, golden finish of Dave Walkers 1966 Gibson ES-335 in this

unabashed offering of gear porn.

To submit your photo for consideration, post any guitar-related photo (that you own the rights to) and a cool caption to our Facebook wall. Take us back in time with kitschy shots of your first band, knock us out with the beauty of your favorite guitar, or make us laugh, and you could find your picture here next month!

WEB1 PREMIER GUITAR APRIL 2012

Web exclusives

This month on PremierGuitar.comCheapskate Collective: Learning Licks on the CheapOur first crowd-sourced col-umn looks at different ways to up your chops without breaking the bank. See what online resources your fellow PG readers rely on.

3 Mods for 3 GuitarsCheck out our complete series of guitar mods for Strat, Tele, and Les Paul:Beginner: 50s-Style Wiring Intermediate: Out-of-Phase Advanced: Series/Parallel Switching

PLUS!Were diving right into the good stuff next month: electric guitars.

Doyouhavegear-scopingsecrets youd be willing to share with the group?

Areyouloyaltoaspecificbrandofhigh-valueaxes?

Whichcomponentsdoyoucompromise on, and what high-end features do you swear by?

Send your suggestions (including linkstovideosofyoudemonstrat-ingtheinstrumentifyouhaveem)[email protected] and we might use them (andcredityou,ofcourse!)innextmonths column.

Santana Gets Spiritually Horny Making Shape Shifter The guitarists chops return to the forefront with his upcoming instrumental album. In ourinterview,hemuseson forgetting that hes Carlos Santana, why he doesnt tour with his drummer wife, and how a PRS just isnt a Strat.

premierguitar.com PREMIER GUITAR APRIL 2012 WEB2

Web exclusives

Rig RUndownS

Every Time I DieHardcoreveteransJordanBuckleyandAndyWilliamsfromEveryTimeIDiediscusstheirloveforJCM800s,recent pickup swaps, and what Slayer album is the stan-dard for their tone quest.

NickelbackWebravethecontroversyofoneofthemosthated(yetbest-selling)bandsalivetodaytobringyoualookatthegear that powers Nickelbacks packed-house arena tours.

Jimmy VaughanSeethestripped-downrigVaughanusestogethisTexasblues-rock tones.

4 Unconventional Effects and How to Use ThemCheck out our complete series of lesser-known effects, the history behind them, and some ideas on how todigin,completewithprofilesandaudioexamples of select pedals in each category.Pitch Shifters-BossPS-6,DigiTechHarmonyMan,EventidePitchFactor,SnazzyFXWow&Flutter Synth-SnazzyFXMini-Ark,PigtronixMothership,Electro-HarmonixPog2andHOG,DwarfcraftDevicesSatanOscillateMyMetallicSonatas Ring Modulators - Way Huge Ringworm, Electro-HarmonixRingThing,DwarfcraftHas,MoogMoogerfoogerMF-102RingModulator,Z.VexRingtone Destruction-WMDGeigerCounter,DwarfcraftTheGreatDestroyer,DeathbyAudioTotalSonicAnnihilation,Apocalypse,andRobot,SynthmongerPulsemonger,Z.VexMachine

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opEnInG noTES

JiM MARShALLJuly 29, 1923 April 5, 2012

Photo courtesy of Marshall Amplification

The music world lost a legend on April 5, 2012, with the passing of

Jim Marshall. Musics most cel-ebrated names like Hendrix, Page, Townshend, Clapton, Van Halen,

and countless others, depended on Marshalls creationsfor defin-

ing both their individual tone and bringing rock music to entirely new

levels. Commanding autograph lines at industry events that dwarfed

those of big-name artists, the Father of Loud was an icon in the truest sense, to both pro and aspir-

ing musicians and to those who just love rock n roll. Rest in peace Mr.

Marshall, and thank you.


opEnInG noTES


opEnInG noTES

ROBBiE KRiEGERMarch 14, 2012

Seminole Hard Rock Live ArenaHollywood, FL

Photo by Sayre Joan Berman

Joining a heavy-hitter roster of all-star musicians, renowned Doors guitarist

Robbie Krieger delivers his tribute to one of the greatest of all time on the 2012

Experience Hendrix Tour. Very similar to his original SG Standard (which, unfor-

tunately was stolen in the early 70s) used for many of the Doors sessions and gigs, Krieger acquired this 1968 Gibson Standard SG in 1999 and has used it for

every show and session since.


opEnInG noTES

DAn AuERBAChMarch 19, 2012

Chicago, ILThe United Center

Photo by Chris Kies

Black Keys guitarist Dan Auerbach wields his current number onea 1964 Guild

Thunderbirdto serve up the fuzzy goods from Run Right Back during the beginning

of the bands Chicago show. This mid-60s gem is largely original, with the exception of

the custom coils wound by Lindy Fralin in the bridge pickup. For a closer look at Auerbachs

vintage-rich touring arsenal, check out our Rig Rundown at premierguitar.com.

Why does the new generation of premier guitar players turn to ESP and LTD? Because they never accept compromise in the sound, feel, and looks of a guitar. Because they want to push their performances to the extreme. With the new line of LTD 7 and 8 String guitars, you'll be ready to expand into new musical territories with the attention to detail and quality that's made ESP world renowned for over 35 years. Visit espguitars.com to locate an authorized retailer today.

CUTTING EDGE GUITARS FOR A NEW GENERATION OF PLAYERSIntroducing the Newest 7 and 8 String Guitars from ESP

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LETTERS

you more money in the long run for a bad show than if you pick up a few trinkets to travel with. Thanks for the advice ... great article. TJ Nugent in Nashville via premierguitar.com

Sonic Advice Ive just finished reading Paul TFO Allens article on Tone Stacking With Two Amps [May 2012]. Ive used two amps on stage for years and have a couple of comments to add regarding phasing, a subject that wasnt covered in the article.

If speakers or amps are out of phase, low frequencies get canceled and the sound becomes hollow without solid low-end bass. This can be caused by a couple of things, the simplest being that the speakers in the two amps are out of phase with each other. This problem is remedied easily by reversing the polarity to the speaker in one amp.

Another cause of being out of phase is the result of an additional gain stage in one of the amps. For example, each time a signal goes through one gain stage in a 12AX7 preamp tube, the output signal becomes 180 degrees out of phase from the signal that went into the 12AX7. If one amp uses three gain stages, while the other amp uses four, the signals will be out of phase (generally speaking). This problem becomes readily apparent if you use an amp that has more than one chan-nel and you switch channels. For example, when using the

keep those comments coming!Please send your sugges-tions, gripes, comments, and good words directly to [email protected].

uPRiGhT CiTizEnWow! Esperanza Spalding on the cover of Premier Guitar. That Esperanza Spalding is one bad-to-the-bone, jazz bass-playing, singing chick! Definitely up there in her own right with people like Walter Becker or Joe Satriani, for whom pedalboards are being given away.Geddy Lee Israelvia Facebook

Keep Em CominI sent an e-mail question to your new writer, Heiko Hoepfinger, about a different wiring from his latest article [Cheap and Easy Bass Mods, May 2012]. Not only did he respond within 12 hours (note the time difference between Texas and Germany), his reply was exactly what I needed! This guy is great, dont let him get away.Happy Subscriber,Daryl Reid Arlington, TX

Different Strokes, Different FolksTwo issues into my subscrip-tion, I wanted to write and let you know how pleased I am to have found your magazine. After a long search, its nice to have a magazine that realizes not all guitar players are shred-ders or bedroom technicians. Your emphasis on songwriting, recording, and performing is refreshing and most useful.

Your May issue was filled with great information presented in an engaging style. I particularly enjoyed When Is a Song Fin-ished? by John Bohlinger (Last Call), Session Dos and Donts by Rich Tozzoli (On Track), and 10 Tips for Summer Gigging, also by Mr. Bohlinger. Keep up the great workI look forward to being a long-time subscriber.Doug Osborne-Coy

Roadside AssistanceDear John, Thanks for writing 10 Tips for Summer Gigging [May 2012]. Its packed with years of experience and simplifies some of the harder lessons learned. Having that small spare amp is incredibly important. You dont always have the room to travel with two amps, but the way you do it makes perfect sense. I had an old Deluxe go out one night many years ago, and I didnt have a spare. That pretty much screwed up the night. I ended up plugging an overdrive pedal into a direct box, which sounded awful. It finished the night, but not the way it could have. I did a gig where a very nice PA was not working. The techs had just rewired a few racks and the B team was doing the show. We used this little 40-watt, solid-state amp with a couple of monitors to rehearse with and just so hap-pened to bring it by accident. We ended up turning the two monitors around and powering them with the cheap 40-watt amp, and made the night work with very low stage volume.

Having a few tricks in your back pocket can save your night. Nothing feels worse than screwing up a gig due to equipment failure when youre not prepared. It looks unprofessional and can cost

your Feedbackclean channels in both amps the output sounds fineno phase cancellationbut if you switch to a gain channel in one amp while leaving the other as it was, phase cancellation can occur due to an extra gain stage being added. Ive encountered this while using two VHT Pitt-bull amps. They are matching amps, but when I switch one amp from the clean channel to the gain channel, I sud-denly lose bottom end and the low-string notes go hollow and almost disappear. This is due to one more gain stage being added and the signal output be-ing switched 180 degrees from the other amp.

Paul TFO Allen does a wonderful job as does everyone else at Premier Guitar. I enjoy reading all the articles and just wanted to give some additional input on using two amps.Tim KniskernNorth East, Maryland

Hi Tim,Thanks for your letter. Phasing problems are certainly an issue that can be encountered when using two amps. Thats a whole other article in itself! Technical monsters that prey on our gear are lurking at every corner, just waiting to leap out and hum, phase cancel, and zap. The sonic superheroes that comprise PGs staff are always hard at work fighting these threats to our sound, so all the guitarists of the world can live in a safer tonal zip code.

Thanks for your readership!Paul TFO Allen

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nEWS

com to fund a run of guitar amps inspired by rare tube amps from the late 1960s to early 70s. The line, called Hovercraft Amps, takes inspiration from vintage Matamp, Orange, Laney, and Sunn Amplifiers. Each amp will be priced at $750 and uniquely tailored and voiced to the owner.

ThEFT

pettys Vintage Gear nicked, RecoveredFive guitars were stolen from Tom Petty and his band in April: a 1967 blonde Rickenbacker, 1965 Gibson

SG TV Junior, Fender Broadcaster, 1967 Epiphone Sheraton, and a Duesenberg Mike Campbell 30th Anniversary guitar. The guitars were recovered weeks later after one showed up at a Hollywood pawnshop and a private secu-rity guard was arrested.

RECOVERy

Iommi completes chemoTony Iommi updated his web-site on March 27, reporting that hes undergone his last dose of chemotherapy. The Black Sabbath guitarist continued to work with Ozzy Osbourne and Geezer Butler on an upcom-ing album, and Sabbath has been confirmed as headlining Lollapalooza on August 3, 2012.

AuCTiOn

les pauls personal Instruments hit the Auction blockJuliens will auction equipment, memora-bilia, personal effects, and instruments spanning Les Pauls entire career on June 8-9, 2012, in Beverly Hills. Among the instruments up for auction are a 1952 Les Paul Goldtop, 1968 Prototype Gibson Les Paul Custom Recording Model, 1927 Gibson L-5 Sunburst Cremona, and a 1951 Fender Nocaster.

news bits

OBiTuARy

The Father of loudjim marshall: 1923-2012London Like so many guitar-ists around the world, we were deeply saddened to hear that Jim Marshallthe creator of the iconic Marshall amplifierdied on April 5 at age 88. According to his family, Marshall was suffering from cancer and passed away at a UK hospice after a series of strokes. Its no exaggeration to say that Marshallaffectionately known as the Father of Loudforever changed the sound of rock n roll with his guitar amps. Marshall began his business in 1962 with a small drum shop in London. When Pete Townshend, Ritchie Blackmore, and other British rockers suggested he produce and sell guitar gear (they were keen to have an alternative to expensive imported Fender amps), Marshall began developing prototypes with tech-nicians Ken Bran and Dudley Craven. After hearing the sixth prototype, which was inspired by the 4x10 Fender Bassman, Jim pronounced that the Marshall sound was born. Before long, Marshall and his engineers had tweaked their Fender-derived circuit to produce a distinctive and original tone

that was raw, rich, and aggressiveperfect for a new form of rock that was emerging in England and had little to do with the glistening, reverb-drenched sound of surf music that was ruling America at the time. With the shops first production amp, the JTM 45, Marshall had discovered the voice of hard rock. Other early innovations included the 4x12 cabinet, which quickly led to the dual-cab full stacka tower of power that looked as impressive as it sounded. A young Eric Clapton used to practice at Marshalls shop, and at his request, Marshall built Clapton a 2x12 combo. When Clapton cranked it to amplify his 1960 Les Paul in the studio with John Mayalls Bluesbreakers, the world got its first taste of a throaty, singing sustain that was eventually dubbed woman tone. Soon Marshall amps became synonymous with rocks mighty roar, a fact that remains true today. Owning a Marshall stack wasand still isa dream for aspir-ing rockers around the world. In 1970, this writer acquired two full 100-watt Marshall stacks (of course, these were old-school, non-master headsall that was available at the time). Our trio hoped to be the next Cream, so the bass player was similarly equipped with his dual Marshall stacks. Perhaps there are audience members from our shows in Germany whose ears are still ringing. A cranked Marshall unleashes an unforgettable soundone so potent that it often changes lives. For that, and all the other ways you enriched our work, we thank you, James Charles Marshall. Rest in peace. Andy Ellis

Marshall signs autographs for fans at Summer NAMM 2007. Photo by Penmachine

LAunCh

dean zelinsky launches dean zelinsky private label Guitars The man behind Dean and DBZ Guitars has announced his new company, Dean Zelinsky Private Label Guitars. The gui-tars will feature both familiar shapes and new models with his Z-Glide reduced friction neck. The entire line will be available in Fall 2012 with imported mod-els ranging from $299 to $1,299 and USA Custom models start-ing at $3,599.

Solid cables Founder Funds Stoner Rock Amp company Via kickstarterSolid Cables founder Nial McGaughey used Kickstarter.

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chris kiesAssociate EditorWhat are you listening to? The Assemble Head in Sunburst Sounds swirling Slithery Thing (with its Stones Tattoo You vocal harmonies), Soundgardens crushing Live to Rise, and JJAMZs guilty-pleasure pop-per Never Enough are making me eager for summer releases.If you could take a lesson from any guitar-ist, dead or alive, who would it be and what would you ask to learn? Keef or Dimebag Darrell because they both took the simplest riffs and made them iconic. Id ask for a crash course in not over-thinking the guitar.

Tessa jeffersManaging EditorWhat are you listening to? I went vinyl digging recently and scored the La Bamba soundtrack (Los Lobos or Bo Diddley, anyone?) and some vintage Dolly Parton.If you could take a lesson from any gui-tarist, dead or alive, who would it be and what would you ask to learn? If it were possible to watch Jimmy Page play without losing my beans, Id be happy to glean even a single run incorporating his superhu-man finger slides and bends la Any Led Zeppelin Song Ever.

Shawn hammondEditor in ChiefWhat are you listening to? Sonny Landreth, Elemental Journey. The inimitable slide master returns with a badass instrumental whose only bummer is that the big-name cameos (Satch and EJ) arent as satisfying as the vocals he mightve laid down in their place.If you could take a lesson from any gui-tarist, dead or alive, who would it be and what would you ask to learn? Id rather try to develop my own style by organically absorb-ing musical influences than get too inside other players techniques or philosophies.

Andy EllisSenior EditorWhat are you listening to? Trace Bundy, Elephant King. Using radical fret-ting techniques, altered tunings, percussive effects, and multiple capos, Bundy creates melodic, memorable compositions that eclipse his incredible chops.If you could take a lesson from any gui-tarist, dead or alive, who would it be and what would you ask to learn? Id ask Hendrix to play Castles Made of Sand and explain how he spun soulful phrases from Curtis Mayfield and Teenie Hodges into a psychedelic masterpiece.

STAFF PiCKS

joe bonamassaGuest PickerWhat are you listening to? Im listening to a lot of Freddie King lately. I was just at the Rock and Roll Hall of Fame induction ceremony and we did Hideaway. That second break is the hardest guitar lick in the world! If you could take a lesson from any gui-tarist, dead or alive, who would it be and what would you ask to learn? I would sit down with Paul Kossoff and watch his pro-cess of setting up and adjusting his Les Paul. Id knick his amp settings, then ask him to show me the voicings for Fire and Water.

charles SaufleyGear EditorWhat are you listening to? William Tylers A Portrait of Sarah 7 is a tasty side of solo-electric 12-stringlike a lazy Saturday riverside shade tree sit with Robbie Basho and Roger McGuinn and a perfect little guitar record for your own shade tree, if you ask me.If you could take a lesson from any gui-tarist, dead or alive, who would it be and what would you ask to learn? Ill take whatever wisdom Bill Frisell is willing to share.

jason ShadrickAssociate EditorWhat are you listening to? Ry Cooders Paradise and Lunch. His solo break in Tamp Em Up Solid is the perfect example of how to turn the beat around and not lose your place.If you could take a lesson from any gui-tarist, dead or alive, who would it be and what would you ask to learn? The obvious answer would be Clapton, but I think I would get more out of spending the after-noon with Jim Hall and asking about his comping on The Bridge.

champ longWeb Production AssistantWhat are you listening to? Alex Clares The Lateness of the Hour. From the power rock of Up All Night, the piano in I Wont Let You Down to the dubstep in Too Closeit has a little of everything.If you could take a lesson from any gui-tarist, dead or alive, who would it be and what would you ask to learn? Jack Johnson. Ive always loved his music and I dont care what he would teach me because hed be awesome just to hang with.

Rich osweilerAssociate EditorWhat are you listening to? Sun Kil Moons Among the Leaves. While Im not the big-gest singer-songwriter fan, Mark Kozeleks guitar work and melancholy vocals have yet to disappoint. If you could take a lesson from any gui-tarist, dead or alive, who would it be and what would you ask to learn? My man Django Reinhardt. I own an amazing Selmer-style guitar thats never been done proper jus-tice, so a master class on Minor Swing with Grappelli and a bottle of Bordeaux joining us would be pretty cool.

In Our Dreams Weve all imagined sharing the stage with our favorite guitar gods. To take this a step further, PG editors enlist the help of Joe Bonamassa to hypothetically indulge in what it might be like to learn new tricks from any guitar player in the entire world.


ALBuM

neil youngAmericanaReprise

Complain all you want that Neil Youngeasily one of the 10 greatest songwriters of the rock n roll erahasnt written a classic album in years. But to define late-model Young via the recorded output of the last decade is to ignore guitar and vocal perfor-mances as incendiary, confrontational, and irreverent as ever. On Americana, Young frees himself from the constraints of original material, focusing instead on the textures and raw, adrenal possibilities of his greatest band, Crazy Horse, and a fistful of American folk standards.Like so much that Young does, the concept borders on the perverse, which is precisely why its such a kick in the ass.

Those looking for technical sorcery and smooth production need not read further.This is Neil and the Horse at their crustiest. But its more than Neils produc-tion nihilism and antipathy toward slickness that makes this record remarkable. Young and Co. approach and reinterpret these songs with arrangements that are often revelations. Take the schoolhouse classic, Oh Susannah, which becomes a funky and chugging minor-key stomp rivaling the barbarism of Neils old 66 Sunset Strip, fuzz-punk compatriots The Seeds. The miner tragedy, Clementine, is pervaded with darkness and desperation that conjures imag-es of the protagonist as a grimy mechanic mourning the drowning of his loveDown by the River revisited, perhaps? Meanwhile, the classic Carolina murder ballad of Tom Dula (aka Tom Dooley)blunted in the popular imagination by the Kingston Trios polite banjo versionis rendered tragic, brutal, and menacing on the back of Youngs wailing Deluxe and the zombie march rhythms of Crazy Horse.

The Silhouettes Get a Job provides a touch of party relief amid the dark balladry in this selection ofAmerican greats. Its a treat to hear drummer Ralph Molina and bassist Billy Talbot revisit their New York doo-wop roots: Its a fascinating insight into the odd stew that made Crazy Horse among the most singular and quirky garage bands of all time.

Wayfarin Stranger is Neil at his most alone, save for Molinas brushes-hi-hat-and-snare accompaniment to Youngs plaintive

MEDiA REViEWS

ALBuM

jack WhiteBlunderbussThird Man Records

Jack White is polarizing: People love him or love to hate him. Through his affinity for Americas musical roots (blues and country), his use of kooky, pawnshop-collected gear, working with artists like the Insane Clown Posse (maybe he deserves flack for that collaboration!), or his inclusion with the Edge and Jimmy Page in the rock documentary It Might Get Loud, White has garnered both praise and resentment. Regardless, he deserves respect for passionately creating and performing copious amounts of tunes in a wide spectrum of styles.

Since pioneering the rock duo scene in 1999 with The White Stripes self-titled debut, Jack White has been a key member of 12 studio and live recordings in multiple groups and roles, most notably as guitarist/frontman in the Stripes, sharing guitar/vocal duties with Brendan Benson in The Raconteurs, and as the drummer for The Dead Weather. Combined, the three bands tackle everything from power-chord blues and punk rock to traditional folk and country. Not surprisingly, each of these bands is felt and heard in Blunderbuss (which, for the curious, is a muzzle-loading firearm and a term with Dutch origins that roughly translates to thunder pipe.)

When it comes to guitar playing, White is best known for the heavy, raucous anthems like Seven Nation Army and Icky Thump that he banged out early in his career. Blunderbuss doesnt disappoint by satiating guitarists appetite for head-bobbin riffs. The solo in Freedom at 21 echoes the Stripes Blue Orchid by mixing dry and octave guitar tracks played on a Bigsby-equipped Tele. To differentiate from the latter, Freedom adds a smidge of delay that offers a trippy stereo effect from right to left with headphones on. The album opener Missing Pieces a Rhodes piano-led pop numberfeatures a harmonized fuzz solo in the vein of The Raconteurs Bang Bang, while Sixteen Saltines is a three-chord rocker that is as close to the Stripes as Blunderbuss gets. An acoustic duet, Love Interruption, pairs White with female vocalist Ruby Amanfu, collectively producing the albums emotional tour de force with a raw performance on par with Johnny Cash and June Carters rebel-rousin Jackson or Whites earlier collaboration with country legend Loretta Lynn.

The guitar riffs will get the headlines, but the albums real artistry and strength are shown in the writing and composition. Piano-driven tunes like the attitude-oozing Trash Tongue Talker and the soothing, two-timing ballad Blunderbuss reveal White as more than a 21st-century guitar hero.Those tracks and the caressing On and On and Oncarried by Fats Kaplins weeping steel guitar and the swirling piano played by White through a Leslie 3300 speakerhelp Blunderbuss bloom and blossom.

While most of the album can be traced to Jacks family tree of work, it does have a few tricks up its sleeves. The cover of Little Willie Johns Im Shakin has White providing eerily melodic vocals la Iggy Pops warbling in I Need Somebody. The songs bouncy distorted guitar and doo-wop background singers give the tickly vibe of a Little Shop of Horrors number. Equally entrancing is the foot-stompin, ragtime-esque Hip (Eponymous) Poor Boy.

This is a successful pseudo-debut for Jack White, who has always been somewhat of a solo artist under the cloak of a band name. His previous endeavors are accounted for in this effort, which has more Nashville twang and songwriting chops than Detroit Rock City power. But by showcasing a softer side, White opens up and offers his most well-rounded, inspired, and honest musical recording to date. Chris KiesMust-hear tracks: Trash Tongue Talker, Freedom at 21

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strumming. But none of the cuts sum up the twisted glory of Americana quite like Shell Be Comin Round the Mountain, sung and played with such sinister, slash-ing undertones that youre left confused about whether to run in terror from the girl rounding the bend or warn her about the pitchfork mob waiting at the station. Neil may pen a classic less frequently these days, but his penchant for finding the mystery and dark corners in any song still lends his work a restless vitality. Charles SaufleyMust-hear tracks: Oh Susannah, Shell Be Comin Round the Mountain

ALBuM

michael landauOrganic InstrumentalsTone Center

As a huge fan of Michael Landaus toothy Strat tonesespecially with Burning Water and The Raging HonkiesIve collected and studied his CDs over the years. Yet I wasnt prepared for Organic Instrumentals, Landaus latest solo effort. Aided by an ace band, he has crafted the most satisfying all-guitar album Ive heard since Jeff Becks Blow by Blow and Wired.

Perhaps thats not surprising: Theres a lot of Beck in these 10 tracks, principally in Landaus snappy, fingers-pulling-strings attack and supreme wang-bar artistry. These Beck-isms are balanced by equal amounts of Electric Ladyland sounds, specifically the epic riffs, slinky double-stops, and spacey bends Jimi worked into 1983 and Rainy Day, Dream Away.

And thanks to organist Larry Goldings, who plays on most of Organic Instrumentals, we hear another major Rainy Day themethe mesmerizing interplay between ringing Strat and churning Hammond. Organist Mike Finnigan introduced this grooving sound to the Hendrix catalog back in 1968, but here Landau and Goldings explore it more deeply. In Ghouls and the Goblins, they even push beyond psychedel-ic blues to echo the fusion John McLaughlin and organist Larry Young pioneered with drummer Tony Williams in Lifetime.

Landau also breaks out his flattop on this album and thats a real treat. Delano suggests some of Bruce Cockburns ringing fingerpicked lines, and The Family Tree

MEDiA REViEWS

brings Kelly Joe Phelps to mind, at least until Landaus acoustic meditations morph into trippy electric textures.

Speaking of those, the album is laced with feedback, reverse delay, robotic chat-ter, and layers of shimmering chords that swirl around Landaus solos and lines. Such aural peek-a-boo has always been a hallmark of Landaus recordings, but on Organic Instrumentals, it reaches a new level of sophistication. Landau mixed the record, so he had free rein to indulge his sonic fanta-sies, and every tune has two or three prima-ry guitar parts that bob and weave like Asian fighting kites. Still, theres a remarkable amount of space in the music and most of these tracks evolve pensively before Landau erupts into a blistering solo. If youre into masterful fretwork, Organic Instrumentals will leave you transfixed. Andy EllisMust-hear tracks: Smoke

ALBuM

Anders osborneBlack Eye GalaxyAlligator

Much like the eats youd find down on Bourbon Street, the music of New Orleans draws from a smor-gasbord of influences. Armed with a worn Stratocaster (usually tuned to open-D and sporting a capo), Sweden-native Anders Osborne combines heavy riffs, psychedelia, and an introspective sense of lyricism on Black Eye Galaxy to tackle a range of top-ics from life as a junkie, to his relationship with his adopted homeland of Louisiana.

Osborne has never been afraid to get heavy. Thanks to drummer and co-producer Stanton Moore, Osborne brings the thunder here, too, but in a subtle way. He covers the gamut of Americana styles, infusing a country blues feel into Tracking My Roots and then taking things way out into the land of explor-atory jams with Black Eye Galaxy. The biggest surprise is the closing track, Higher Ground, which opens with a pensive string section evoking more of the contemporary classical scene rather than the gumbo-infused blues that permeates the Delta region. Even though theres little to no guitar, the track cements Osborne as a standout songwriter. The grooves and tones are so deep, its like what Jackson Browne might sound like if he

grew up hanging out with Jimmy Page in New Orleans. By casting such a wide swath, it can be risky for artists to keep cohesiveness throughoutbut not for Anders. If you seek rock with substance, take a trip South and check out Black Eye Galaxy. Jason ShadrickMust-hear tracks: Send Me a Friend, Black Eye Galaxy

ALBuM

m. WardA Wasteland CompanionMerge

Fans of folk journeyman and indie icon, M. Ward, have been eagerly awaiting a new solo release since 2009s Hold Time. In the time since, Ward has collaborated with the likes of Zooey Deschanel and is one fourth of the supergroup Monsters of Folk with Conor Oberst and Mike Mogis (Bright Eyes), and Jim James (My Morning Jacket). A Wasteland Companion adds another layer to Wards catalog of melancholy, gospel-folk upon which hes crafted a signature sound.

Wards legend has been built on a seam-less juxtaposition of honest roots music with toe-tapping vintage twang. Opening track Clean Slate exhibits the former with honey-soaked, ethereal vocals that dance over minimal instrumentation. But the albums next three tracks head in an electric direction. Ward makes a flawless transition between melodious acoustic guitar and soaked, heavy fuzz on the rousing, Me and My Shadow, which introduces Deschanel on background vocals. The grunge is brilliantly balanced against Motown-esque harmonies and a pulsing Rhodes. The final three tracks are the Portland native in his element: haunt-ing, beautiful, and simple. Crawl After You and Pure Joy are classic Ward, with solemn strumming and reservedbut always musi-calstrings and piano.

Aside from its all-star cast, myriad lyrical themes, and sweeping sonic palette, what stands out most is Wards ability to write near-perfect songs. A Wasteland Companion recenters Ward as a solo artist and one of the premier folk crooners of his generation. A long-awaited release and a worthy listen, it delivers exactly what fans have been craving while continu-ing to push the envelope of the genre he has done so much to foster. Luke ViertelMust-hear tracks: Me and My Shadow, Pure Joy

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GiGGinG & recordinG > Tone Tips

PAUL TFo ALLen is a multi-instrumentalist who has worked withBig & Rich,Adele,Sebastian Bach, 112,Jake Owen, Larry The Cable Guy, and many others. He also has his own project called Ten Finger Orchestra. Reach him at [email protected].

GoinG direcT WiTh AnALoG eqUiPmenT By Paul TFO allen

C lubs are often small and crowded, which can make the seemingly simple task of setting up your amp, cabinet, and pedalboard a bit of a hassle. Furthermore, if there are several bands playing on a given night, stage space can be limited and set changeovers can get quite claustrophobic. For these kinds of situations, I have come up with some lightweight, space-saving solutions that sound every bit as good as an amp when used properly.

There are several digital modelers on the market today that simulate a wide variety of tones. Though the flexibility of in-depth editing on these units can be a nice feature for laboratory-like sculpting, sometimes I just want a few simple knobs that provide me some great, core sounds. That way, I can leave the laptop and multi-effects units with screens and scroll menus at home.

Its interesting that people have asked me on countless occasions about what kind of guitars, amps, and pedals I use, but no one has ever asked me about my choice of direct (DI) boxes or how I use them. This is an important component of playing live, so lets take a look at some of the different DIs and tone-shaping pedals I use to help me get the right sound in various musical settings.

My main setup for getting a variety of direct electric tones is a Tech 21 SansAmp GT2 into a Radial ProDI. Tech 21s SansAmp products model the preamps of classic amplifiers, as well as the power section and speakers, which makes for a direct tone that is complete and full sounding. And the GT2s forte is providing the semi-broken-up tone in the vein of Malcolm Young. To get this tone, Ill set the mic switch to classic, the mod setting to clean, and the amp setting to California, though my EQ preferences will vary depending on the tonal color of the venues monitors and the guitar Im playing.

When it comes to getting crunchy sounds from the GT2, I treat it the same way as a real amp in that Ill push the clean channels gain stage hard, instead of running an overdrive channel at a low-gain setting. The clean setting on the GT2 is like a stock tube amp, so its very responsive to pick attack and subtle changes to the guitars volume knob. This is helpful since I can dial in a setting on the GT2 that allows me to get both clean and overdriven sounds just by changing my playing approach. While the GT2 can be used directly into a console, I

find that my tone gets some added consis-tency when it hits the ProDI firstespe-cially helpful when traveling from venue to venue and having to play through different consoles and monitor rigs.

Another Radial product I like to use is the JDI, which is tonally very similar to the ProDI. Ill use the JDI when play-ing a guitar with stereo outputs like my PRS Hollowbody 1, which has one output for the humbucker pickups and another for the piezo. The merge function on the JDI accommodates both outputs and the acoustic sounds from the piezo and the electric sounds from the humbuckers will all go down the same line to the sound-man. Depending on the situation, however, sometimes its best to split the two sounds into a pair of separate DIs.

When it comes to DIs for acoustics, Ill generally go with my Whirlwind IMP 2. Compared to my Radial ProDI, Ive noticed that the Whirlwind has slightly less high-midrange and highs than the ProDI, which makes the Whirlwind well suited for acous-tics with high-output pickups. Generally speaking, piezo pickups have a tendency to be bright, so the Whirlwind helps curb the harsh highs and saves me time when trying to dial out the unwanted frequen-cies. On the other hand, I like to use the Countryman Type 85 DI for acoustics with weaker pickups. The Countryman sends a very hot signal to the board, which adds a lot of life to an acoustic needing some assis-tance in the output department.

Low-tuned instruments can also sound great going direct, and the Tech 21 VT Bass pedal through the Radial JDI is a great way to get that full, rumbling SVT-style sound. Its also a winning combination for baritones and 6-string basses. Though these instruments can be really difficult to dial in direct, the VT Bass gives me a lot of tone-sculpting options in the absence of an amplifier. Another advantage of the VT Bass pedal is that you can turn the speaker emulation off and on. The benefit of this feature is that the pedal can still be used as an overdrive pedal in front of an amp with the speaker emulation off.

For a long time, I assumed a DI was a DI and thought that its only role was to convert impedance. I later discovered that DIs have a huge impact on tone and are often an overlooked component of a guitar-ists rig. Think about it: The DI is the last piece of gear your signal passes through before it travels to the soundman. You need to be sure that the DI is appropriately con-figured to help you get the tone you want. So instead of just using whatever DI the venue has available, try out a bunch of DIs and consider investing in one to take with you to gigs. Next time, well explore differ-ent ways of getting your guitar to sound like other instruments. See you next month!

You can travel light and still command big tones using bite-sized boxes. Top row: Radial JDI, Tech 21 SansAmp GT2, Tech 21 SansAmp VT Bass, Radial ProDI. Bottom row: Countryman Type 85 DI, Whirlwind IMP 2.


L ets talk about power and protection. Sure, it sounds like a mob movie intro, but its really about making sure our studio gear doesnt turn into ashes during the next storm, surge, or outage. Many of you own some form of recording gear, be it a simple GarageBand laptop setup or a full-blown Pro Tools HD rig. But how many of you just plug right into a simple power strip or even worse, directly into the wall? Its time to think about taking steps to not only clean up your power, but to protect your valuable gear.

Luckily, there are several different layers of protection you can go with, both in terms of price points and actual defense from spikes, magnetic interference, and other gremlins. At the very least, you should invest in some form of power/line conditioning, which will protect you from those nasty power surges commer-cial power providers can deliver.

Typical AC (alternating current) electric-ity flows forward and backward at a rate of 60 times per second, or 60 Hz. Ever hear the term 60-cycle hum? Well, thats where it came from, and youll want to ground it by making sure your gear has a 3-prong adapter, which is the modern standard. If you do suffer from hum, something like the Ebtech Hum X (around $70) will help filter out the unwanted voltage and current from your line and elimi-nate ground loop hum. Hey, its a start.

In addition to protecting you from those power surges and hums, a good studio-grade power conditioner will filter out some EMI (electromagnetic interfer-ence) and RFI (radio frequency interfer-ence). Any of you who have ever recorded in New York City know that radio waves constantly bombard your sessions, often sneaking through even the most robust RFI protection. Products like the rackmounted Furman M-8Lx (around $100) can offer some extra outlets, two small lamps, RFI/EMI filtering, and surge protection. Before

GiGGinG & recordinG > on Track

PoWer And ProTecTion For YoUr STUdio By Rich TOzzOli

rich ToZZoLi is a Grammy-nominated engineer and mixer who has worked with artists ranging from Al Di Meola to Ace Frehley. A life-long guitarist, hes also the author of Pro Tools Surround Sound Mixing and The Ultimate Guitar Tone Handbook, as well as a composer

for shows such as Fox NFL, Pawn Stars, American Restoration, and Gene Simmons Family Jewels.

your gear blows, the Furman will (and thats a much cheaper alternative).

Kicking it up a bit, you can look at something like the SurgeX SX2120 (around $700), which features two banks of switchable outlets, full EMI/RFI filter-ing, a self-test circuit, and a thermal circuit breaker for overload protection.

In addition to rackmounted power con-ditioners, I run everything through a voltage regulator in my studio. This provides my gear with a constant and steady source of voltage. I happen to use a Monster Pro AVS 2000 Automatic Voltage Stabilizer. By plug-ging this into the wall, and then my power conditioners into the AVS unit, a constant 120 volts AC is maintained at all times. This helps protect my gear and ensures that Im not suffering any loss of audio quality due to bad or fluctuating power.

On this unit (which is quite large and weighs 69 pounds), theres a correction range of 80 to 140 volts. You can actually watch the incoming voltage, amperage draw, and voltage correction on the front panel meters. Its pretty amazing to see the power fluctuation in my condo complex (both above and below 120 volts).

The AVS also has a sequential power-on feature, which powers up some of the outlets at a programmable delay time so you dont pop your system by turning everything on at once. What I do is power up the AVS 2000, which then slowly turns on some of my power conditioners. I then power them up, which turns on my sub/speakers, then the computer, then the outboard gear and Pro Tools rig. It simply lightens the load on my system.

I do feel a sense of confidence with this piece of gear. Even though its pricey (around $1,700), this is what I do for a liv-ing and I want my gear protected. There are, of course, other companies that make voltage regulators, but as you might expect, they all cost more than power conditioners.

In addition to power conditioning and voltage stabilization, some professionals like to have an uninterruptable power supply, or UPS. A UPS will provide electricity to your rig should the power fail completely. For this, check out something like the APC Back-UPS BR1500G (around $250). The size of the units battery will determine how long your gear will stay on should the power go out, but at least you will have enough time to shut down properly and save your session data. You could also go with a product like the Furman F1500-UPS (around $1,200), which combines a voltage regulator with a UPS power supply.

No matter how far you go with it, at least take the minimum step of picking up a power conditioner for your studio setup. This way, you can be sure a spike or surge in the power wont blow up your rig. On top of that, you will have additional protection for EMI and RFI interference. Combine that with a good voltage regulator and UPS and you can survive the nastiest storm and keep on rocking.

1. The Ebtech Hum X is useful for nuking noise caused by pesky ground loops. 2. Products like the Furman M-8Lx will filter out EMI (electromagnetic interference) and RFI (radio frequency interference) that can plague your studio gear. 3.Within a window of 80-140 volts, the Monster Pro AVS 2000 Auto-matic Voltage Stabilizer adjusts incoming electricity to 120 voltsexactly what your gear wants to see.

1 3

2

At the very least, you should invest in some form of power/line condition-ing, which will protect you from those nasty power surges commercial power providers can deliver.

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VicTor brodn Nashville bassist and producer Victor Brodn has toured and recorded with more than 25 major-label artists, including LeAnn Rimes, Richard Marx, Casting Crowns, and Randy Houser. His credits also include Grammy-winning albums and numerous

television specials on CMT and GAC, as well as perfor-mances on The Tonight Show and The Ellen DeGeneres Show. You can reach him at [email protected].

GiGGinG & recordinG > on Bass

TooLS oF The TrAde For bASSiSTS: eiGhTh-noTeS By VicTOR BROdn

A renowned guitarist friend of mine once asked me, If a guitarist spends 90 percent of his time on a gig playing rhythm and 10 percent of his time playing lead, why does he spend 90 percent of his prac-tice time playing solos? That question was an eye-opener for me. But I was young at the time, and though I completely under-stood his point in theory, I still went home and practiced flashy bass licks. Later in life, however, his words would serve as my mantra while practicing and cultivating my growing infatuation with eighth-notes.

Some 15 years ago while in school study-ing bass, one of my teachers told me that the 80s was a dark decade for rock bass because most guys were playing eighth-notes on the root, and not exploring the possibilities of the instrument. I actually had the opposite opinion and reaction to this statement. In fact, my love and fas-cination for playing eighth-notes on the root has grown exponentially since then. I dare say I have built a large part of my career doing so. And, for any bassist with the ambition of sounding professional and solid, I believe the single most important piece of advice is to obsess over playing eighth-notes well.

While teaching private lessons, Ive had students with plenty of theory knowledge and soloing chops who have graduated from some of the nations top universities and music departments. To my surprise, these students had been given no information whatsoever about note-value choices and techniques that make up the foundation for every popular music genre: eighth-notes! Its like teaching someone woodworking skills without giving them a hammer and nails. So, here are some essential tips in the science of eighth-notes for bass the true tools of the trade.

The static eighth-note feel. This sound dates back to older soul and rock songs. One of the biggest songs of the past couple of years, Rolling in the Deep by Adele, is a shining example of this feel. The feel is static and the notes are so short they almost turn into a round, warm-sounding version of a click or a metronome. If you are using a two-finger alteration, you can get a short note value by laying the next picking finger on the string immediately following the note. I achieve this sound by actually lift-ing my left hand off the fretboard between

every note. I also enhance the muting effect by fretting notes with my first finger when possible, and letting the other three fingers rest loosely on the string to provide addi-tional muting. This feel is generally used in more up-tempo scenarios and you can even play slightly on top of the click to make the song feel more eager.

The bouncy eighth-note feel. This feel is my favorite one to play. You simply play short downbeats and long upbeats to execute the technique properly. The origins of this approach can be found in Everyday People by Sly and the Family Stone, and you can hear it in many varying styles. It drives a song like a locomotive, providing a self-propelling motor to the groove. And because it grooves so hard on its own, it can even eliminate the need for a drum-mer! Modern-country star Keith Urban has several big hits based on this feel with Somebody Like You being a great exam-ple. The 90s rock classic One Headlight by the Wallflowers employs this groove beautifully, with a galloping single-string rhythm guitar enhancing it. And Al Greens Love and Happiness is another equally great tune that showcases the bounce. I use this in most recording sessions.

The rhythm guitar approach. When using a plectrum, you can mute the strings with the palm of your right hand and play with gentle, even downstrokesmuch like you would when playing rhythm guitar in

a rock song. I find myself employing this technique when recording mid-tempo, fairly mellow pop songs. Listen to L.A. session great Lee Sklars playing on Don Henley classics like The Last Worthless Evening and The Heart of the Matter. The tone is mellow, but relentlessly even, which is key for nailing this feel. Placing your notes slightly behind the beat does wonders in this scenario.

The legato chorus driver. Everyone from 12-year-old punk rockers to seasoned pro-fessionals use this technique daily. For total evenness, playing with a plectrum or with one finger works the best. All the notes ring out legato style and provide a flying carpet for everyone else to take a ride on. Though you probably often use this approach throughout a song, it will shine if you save it for choruses! This is the simplest and most common way to play eighth-notes on the root.

Eighth-notes as an arrangement tool. I focus on how the drummer plays the hi-hat. The duration of the notes should, in most cases, match the duration of yours. In a verse, you might be playing short notes. In the pre-chorus, try increasing the note value ever so slightly, and then right before the chorus, play a little harder. Finally, when the chorus hits, you play long notes to match the open hi-hat. This approach will make the chorus feel like a car pulling off the entrance ramp onto the freeway. By simply changing your note value and attack slightly, youre able to give the song dramatic dynamics and direction for the other players to build on. You are playing bass like a pro-ducerbuilding each section independently while giving the song invaluable structure.

U2, Coldplay, Kings of Leon, and countless other acts have enjoyed enormous success, partly because the bassist put his ego aside and provided a wall of eighth-notes. Lastly, I would like to nominate Cliff Williams of AC/DC for president of the eighth-note states. Listen to the first 30 seconds of Shot Down in Flames and you just might join the campaign.

Fretting the note with the index finger while muting softly with the remaining fingers will give you the short, staccato Rolling in the Deep eighth-note feel.

When very even eighth-notes are required, play-ing with one finger and your thumb steadily an-chored is a good way to go. It will give you the evenness of pick playing, but with finger tone.

This is the fix for your tone jones. If you know Darryls discography, then you know hes played with some heavyweights...Miles Davis, Sting, Madonna, The Rolling Stones...

The Darryl Jones Signature 4 and 5 strings are some of the most renown basses Lakland has ever produced, and now theyre back for 2012 with Darryls own pick of colors and options; including pearl fingerboard blocks on a beautifully bound neck with matching color headstock.

Check out the 2012 Skyline DJ4 and DJ5 or the USA Series Signature 4, were confident your Jones will be satisfied!

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is handy for checking for problems with phase cancellation in the stereo outputs.

Direct Monitoring/Latency Management. Sending an audio signal into an audio interface, converting it to digital, sending it down the line to your DAW software, turning around and send-ing it back out, converting it back to ana-log, and then routing it to your speakers or headphones takes some time. And the time it takes will cause a delay that can often be audible. This delay is called laten-cy and it can be especially problematic when overdubbing tracks. Many interfaces have special features for reducing or elimi-nating latency, and I consider it essential to have this technology onboard.

Onboard DSP. Some interfaces feature built-in chips that can be used for a variety of tasks. While some use onboard DSP for handling latency, others use these built-in chips for generating reverb, delay, or other effects that can be used when tracking. Having effects available that dont add latency or load down your computer can be a godsend in certain situationsmany a take has been saved by providing com-fort reverb for a singer who isnt used to singing in headphones. Though onboard DSP isnt a must-have, it is a useful tool.

Metering. Level meters on your inter-faces front panel can be a real help in recording healthy levels without worry of clipping or distorting a track.

With that, weve completed our discus-sion of both the computer and the inter-facethe core of our system. Next time, well start looking at capturing and moni-toring our signals!

miTch GALLAGherS latest book is Guitar Tone: Pursuing the Ultimate Guitar Sound. He is the former Editor in Chief of EQ magazine. In addition to being a writer, he is a freelance recording engineer/pro-ducer/mastering engineer, teaches music business and audio recording at Indiana

University/Purdue University, and is Sweetwaters Editorial Director. www.mitchgallagher.com

GiGGinG & recordinG > guiTar Tracks

deLVinG deePer inTo The AUdio inTerFAce By MiTch GallaGheR

A re you ready to continue our quest for the best home studio gear? In last months column [Choosing an Audio Interface, May 2012], we looked at one of the primary pieces of gear in most modern studiosthe audio interface. By talking about inputs and outputs, moni-tor outputs, and headphone outputs, wed gotten as far as considering an interfaces basic connectivity. This time around, lets delve even deeper into I/O territory and also touch on some other features and extras that will help you narrow down your interface choices.

MIDI I/O. MIDI signals are used to control various pieces of equipment, as well as store performance data from key-boards, drum controllers, guitar synths, and more. While many synths and drum machines are virtual instruments or soft-ware, and USB connections are available on a lot of new gear, you will still likely run into the need to connect a device by MIDI sooner or later. You might have an older keyboard with MIDI connections. Or it may be a digital processor that needs to connect to your computer so you can edit patches, update the software, or back up presets. In these scenarios and oth-ers, its necessary to have a MIDI input and output available. While you can buy separate MIDI interfaces, having the con-nections built into your audio interface means one less piece of gear to purchase and hook up.

Word Clock. Digital signals can be very picky about whos in charge. When routing signals in S/PDIF, AES/EBU, or ADAT Optical format, one device has to be the master and the other has to be the slave. The master establishes the sample rate and locks everything together, while the synchronized slave follows merrily along. This is easy in a basic system where youre only sending around one digital signal. In fact, it may all be handled in the background by your software, without you having to worry about it.

But in a more complex systembe it mic preamps with digital outs, effects with digital ins and outs, or a digital mixermanaging digital synchronization can take a bit more planning and effort. Word clock I/O (often carried on BNC/barrel connectors) makes this easier since the digital clock part of the equation can be

separated out from the digital audio signal and managed independently.

Perhaps well dig deeper into this in a future column, but thats as far as we need to go into word clock I/O for now. Having word clock I/O may or may not be a deal-breaker for you, but its definitely a handy bonus to have on your interface.

Mic Preamps. Microphones put out very low-level signals that must be pre-amplified before other electrical devices can deal with them. Having built-in mic preamps means that you dont need to purchase additional gear for routing micro-phones into your interface. And the num-ber of mic preamps in your interface will determine how many mics you can plug in

at once. Though it may seem like a good idea to go for the most mic preamps possi-ble, be realistic about what you really need. Unless you are recording multiple musicians at once, one or two may be plenty. But youll need at least eight mic preamps, if not more, to record a full band. If an inter-face doesnt have enough built-in preamps for your projects, you can always add more and route them into the analog inputs of your interface (assuming the interface has enough free analog inputs). Other features to look for include phantom power, which will allow you to use condenser mics with the interface. Also, a low-cut/high-pass fil-ter is useful for cleaning up low-frequency rumble when recording with a mic.

Control Room Features. Some interfaces with monitor outputs provide additional control room features, such as the ability to switch between two sets of speakers. Interfaces with a dim switch allow you to reduce the speaker level so you can converse with your collaborators without stopping playback, while a mute switch will temporarily silence

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