Indholdsfortegnelse for March 2020 i Guitar World

SO, YEAH, LIKE the headline says, I just sold my pedal steel guitar on eBay. Even though I’ve been a “normal” guitarist for ages, I actually think the pedal steel — when played by a master like David “DB” Berzansky, Paul Franklin, Lloyd Green, Pete Drake, Tom Brumley, Al Perkins or Ralph Mooney — is the most beautiful-sounding thing in the universe. Sadly, I sucked at it. I got it in October 2014, took some lessons in NYC, worked really hard at it for a few months and made my big “pedal steel debut” in Louisville, Kentucky, in May 2015. I sucked so bad that I literally packed it up and never played it again. I did actually take it out of its case two years later, but it became…

STEVE VAI WILL BE THE FIRST TO TELL you how uncanny his charmed life in rock ‘n’ roll has been. While his work as a game-changing guitar expressionist (and his hallowed discography of instrumental albums) might take priority in the minds of guitar fans, Vai’s odyssey through the ranks of rock music is the stuff of legend. As a gifted teen, Vai travelled from bedroom woodshed to the bootcamp of Frank Zappa’s band, after which he took the reins from famously furious neo-classical shredder Yngwie Malmsteen in Alacatrazz. Vai left the Alcatrazz gig to join David Lee Roth in spearheading the singer’s wildly successful post-Van Halen solo group, a gig he left in 1989 only to have yet another coveted lead guitar role “fall in his lap” (as he tells…

LIST PRICES: American Ultra Stratocaster HSS: $1,899.99 to $1,999.99; American Ultra Jazzmaster: $1,999.99 to $2,099.99 MANUFACTURER: Fender, fender.com The Stratocaster HSS features an Ultra Double Tap humbucker (bridge) and two Ultra Noiseless Hot Strat single-coil pickups (middle and neck). The Jazzmaster provides a pair of Ultra Noiseless Vintage Jazzmaster single-coil pickups. An S-1 switch in each model’s master volume control provides a coil-tap function (Stratocaster HSS) or series pickup wiring (Jazzmaster) Generous modern contours provide enhanced playability and comfort, while the Modern D-shaped neck profile really delivers a flat, slim feel ideal for fast, precise playing. THE BOTTOM LINE Fender’s new Ultra series guitars are by far the best instruments to ever come off of Fender’s production line, providing truly luxurious playability and an impressive variety of awesome tones with…

WHILE MOST PLAYERS can agree that modulation effect pedals can create some of the coolest sounds out there, many also feel that these devices fall into a “special effects” category for occasional, sparing use compared to frequently used “meat and potatoes” stomp boxes like overdrive, distortion, EQ, compression, delay and reverb. As a result, players on restricted gear budgets often find it difficult to justify spending upwards of $150 for a decent flanger or phase shifter that they’d only use for a few seconds during a song, or spending even more for a multieffects unit that offers a full selection of mod FX but without the flexibility and character of single-effect stomp boxes. Even worse, if you wanted to go all out and buy a full assortment of modulation pedals…

THE MARKET FOR acoustic guitars under $1,000 has become so crowded recently that some of the few ways a newcomer can truly stand out is by offering a product that is either less expensive or better than the competition. Orangewood Guitars has done even better than that by producing instruments that are both less expensive and better. Although the company has been around for only two years, they’ve already built an impressive buzz amongst the acoustic guitar community for the incredible value their instruments offer. Here we take a closer look at two of Orangewood’s leading and most popular models on the market — the Hudson and the Sage Live. FEATURES Both the Orangewood Hudson and Sage Live are built from quality tonewoods: a solid torrefied (a thermochemical treatment that…

A Few Notable Omissions? The Guitarists of the Decade issue [January 2020] was quite a mix of players and styles. That being said, some omissions I noticed were Gretchen Menn, John 5 and Zakk Wylde. But props for the “Head Cuttin’ Duel” transcription! In closing, regarding the Tonal Recall section, it might be better served to pick a song in the issue to focus on for the feature. Thanks for doing a great job. —Wayne Harrod Some Sweet Words About Michael Thank you for featuring Michael Sweet in the Holiday 2019 issue. Sweet is a highly underrated guitarist. Heck, Sweet is a highly underrated talent, period. With Stryper, his solo career and side projects, he has been on an incredibly creative run over the last several years. As a singer,…

“IT’S NOT VIOLENT, actually. It might be kind of aggressive because you’re in this sound field, but it’s not a violent, destructive thing. It’s an expressive thing.” That’s Sunn O)))’s Stephen O’Malley on the misconception that he and sonic life partner Greg Anderson are maliciously looking to destroy audiences with their body of extended, speaker-and-ceiling-cracking drone experiments. In fact, 20 years into one of heavy music’s most unlikely success stories, the robe-donning duo are in the mood to celebrate. While their Life Metal is ostensibly rooted in the murkiest corners of metal — pulling inspiration from the slow-mo crush of early Melvins and Grief, as well as godfather of gloom Tony Iommi — the guitarists’ latest occasionally comes across as jubilant as its uplifting title. Take “Novae,” the double album’s…

Q: YOU HAVE A VERY DEFINITE MUSICAL AND TECHNICAL STYLE. I’D LIKE TO KNOW IF, WHEN NO ONE’S WATCHING, YOU PLAY OTHER STYLES. MAYBE SOME BLUES, JAZZ OR REGGAE? —DAVID ALVAREZ I will play blues or maybe jam along to a fusion album when I’m at home, but I don’t see myself as a guitarist that is most effective in these genres. I don’t think I can do a million different styles effectively. I am a specialist in my own weird guitar sound. Q: After five or so years of following DragonForce, I’ve looked up live performances for pretty much all your songs, but I haven’t found any trace of one of the fan favorites (and one of my favorites), “Cry for Eternity.” Why is this — and will we…

BY THE STANDARDS TO WHICH WE USUALLY tend to hold rock stars, Steve Vai doesn’t quite fit: He’s never been arrested. He’s never punched anybody out. He doesn’t have a drug or alcohol problem. He’s never wrecked a hotel room or driven a car into a swimming pool. He doesn’t engage in Twitter wars with fellow musicians (in fact, he routinely offers kind words for anybody he’s ever played with, and those compliments are summarily returned). He’s never released a sex tape, nor does he have a string of ex-wives dishing dirt on him. Truth is, his home life could be described as a model of everyday suburban stability: He’s been married to the same woman, Pia, for 31 years, and the couple have two great kids, Fire and Julian…

DURING THE PAST two decades, Tim Stewart has established himself as the first-call guitarist for pop music’s biggest stars. Even a cursory glance at the 44-year-old Los Angeles-based ax man’s credits is nothing short of staggering: He’s toured and/or recorded with artists such as Rhianna, Jennifer Lopez, Janet Jackson, Mariah Carey, Miley Cyrus, Britney Spears, Adam Lambert — and that’s just for starters. So what is it about Stewart — or more specifically, what is it about his guitar playing — that places him in such high demand? By his own admission, he’s not much of a showboater. Given his druthers, he’s content to lay back and play deep, in-the-pocket grooves — although when called on to bust out a solo, he’ll uncork a metallic-tinged doozy. “It’s a funny thing,…

We’re pretty sure that — by now — everyone out there knows what a “Spinal Tap moment” is. But, just in case, let’s just call it an unplanned, unfortunate, embarrassing and (obviously) comical rock ‘n’ roll happening. Two years ago, we asked Spinal Tap bassist Derek Smalls if he found the term offensive. “No, it’s a tribute,” he said. “Look, mate, any time they say your name, it should be — if you don’t have someone like [former manager] Ian Faith running the cash register — a cha-ching, shouldn’t it? So please, have some more Spinal Tap moments, or some Derek Smalls moments — on me! If somebody says they’re having a 10cc moment, you wouldn’t know what that meant. But if they say it’s a Spinal Tap moment, you…

THERE ARE ACOUSTIC guitars, and then there are Yamaha’s TransAcoustic guitars. For those in the dark, Yamaha TransAcoustic series guitars are solidly crafted acoustic-electric instruments as is, but what makes them unrivaled is that they come equipped with TransAcoustic technology that incorporates built-in reverb and chorus, which upon activation, elevates the natural acoustic sound into an entirely transformative experience. If you’ve never tried one, it’s something to behold once you hear it, because the effected sound emanating from the guitar’s body chamber sounds as if it were processed in a recording studio or even a live setting — and it’s achieved without adding any external gear, pedals or amplifiers. I totally gushed over the steel-string FS-TA TransAcoustic in an earlier review, but after playing the Yamaha CG-TA TransAcoustic, I find…

STREET PRICE: $151 MANUFACTURER: Electro-Harmonix, ehx.com Eleven sophisticated modulation effects, each with selectable modes to provide a comprehensive selection of sounds from tremolo and Univibe to flanging and chorus The secondary mode provides access to additional “hidden” parameters that allow users to program effects with impressive precision and flexibility. THE BOTTOM LINE Whether you’re on a limited effects budget or want an incredible variety of truly awesome modulation effects, the Electro-Harmonix Mod 11 offers the industry’s best bang for the buck by far.…

STREET PRICES: Hudson, $645; Sage Live, $945 MANUFACTURER: Orangewood Guitars, orangewoodguitars. com Both models have a torrefied solid spruce top that is thermo-treated to remove moisture, oils and resins to duplicate the tone of a vintage instrument. Numerous high-quality details abound, including herringbone purfling, Grover open-gear tuners, scalloped bracing and an L.R. Baggs Anthem pickup system (Sage Live only). THE BOTTOM LINE Orangewood’s Hudson and Sage Live models deliver the tone, performance, playability and features of high-end acoustic models at affordable prices that are appealing to beginners and pros alike.…

UP AROUND THE BENDS More on unusual string-bending techniques AS MENTIONED IN the previous column, string bending is a highly expressive technique that creates a portamento sound, which is defined as “a pitch sliding seamlessly from one note to another.” On a fret-less instrument, such as a violin, a portamento can be produced by sliding one’s finger along the length of the string. On guitar, one can achieve a similar effect by bending a string. In both instances, the sound of moving seamlessly between notes emulates that of the human voice and offers the player a great range of emotional expression. I’d now like to show you some cool ways to combine string bending with the use of open strings, with examples presented in the key of F#. Though not…

SHAPES OF THINGS, PART 2 A deeper look at arpeggiating triads LAST MONTH, I introduced the concept of mapping out a series of arpeggiated triad shapes on the fretboard that basically outline a 12-bar blues progression in the key of G minor. I find studying these forms very beneficial, as they serve as essential tools for playing the guitar. Whether one is performing the melody to a song or embarking on an improvised solo, the ingredients — chordal arpeggios — are the same. These shapes and patterns should be studied thoroughly and included in one’s daily practice routine. As I stated previously, the art of improvisation requires instinctual response, and it’s important to examine simple material and common progressions like this and to be able to draw upon this material…

ROBIN TROWER’S SOPHOMORE solo effort, 1974’s Bridge of Sighs, truly ranks among the top albums that every guitarist should hear. While the guitarist’s Jimi Hendrix influences are far from subtle — he used a Strat/Marshall/Uni-Vibe rig nearly identical to Hendrix’s and also played in a power trio format — Trower developed his own signature style by using Jimi’s tonal palette and riffs as a springboard for deeper musical exploration. That approach is particularly evident on the album’s title cut, which remains as spooky and stunning today as it was when it first bombarded the airwaves in the mid Seventies. Trower’s use of a Uni-Vibe pedal throughout the song is the facet that most guitarists focus upon, and certainly the song probably wouldn’t have had as much impact as it did…

Mehedee Hasan AGE: 44 HOMETOWN: Gurnee, IL GUITARS: Gus G Jackson X, Gibson Les Paul Jr., Fender Stratocaster, Ibanez Iron Label, ESP LTD M-400, 1989 Charvel SONGS I’VE BEEN PLAYING: Warfaze “Protikkha,” Metallica “Jump in the Fire,” Love Runs Blind “Aaj Theke Eer” GEAR I WANT MOST: Gibson Les Paul Goldtop, Fulltone OCD Red, Marshall Origin 50-watt combo Anthony Navratil AGE: 33 HOMETOWN: Tamaqua, PA GUITARS: Gibson Les Paul Studio, Taylor 214ce, Gibson J-45 SONGS I’VE BEEN PLAYING: Bryan Adams “Summer of ’69,” Tom Petty “Learning to Fly,” Metallica “Nothing Else Matters,” Led Zeppelin “Stairway to Heaven” GEAR I WANT MOST: Taylor 914, Bose L1 with sub Sean Francis AGE: 46 HOMETOWN: Saskatoon, SK, Canada GUITARS: Gibson Randy Rhoads LPC Relic, Wylde Audio Odin Gangrene, Partscaster Tele, Bunkman super strat,…

• GUITARS (O’Malley) Travis Bean "Deo Dei" TB1000A, Electrical Guitar Company DS Ghost; (Anderson) 2005 Les Paul Deluxe goldtop with black DiMarzio Super Distortion P-90s • AMPS (O’Malley) SUNN Model T, Ampeg SVT, Fender Twin Reverb, Fender Champ, Hiwatt Custom 100, 1952 Supro; (Anderson) SUNN Model T 1972-75, SUNN 2000S, SUNN 1200S, Ampeg SVT blueline • EFFECTS (O’Malley) Rat Keeley Mod, J. Rocket Archer, Pete Cornish G-2 & P-2, Big Muff Ram's Head clone, OTO BIM, BAM, Roland RE-201, Fulltone Tube Tape Echo, EQD Black Ash, Bright Onion phase switch/channel splitter, FY-2, FY-3, Zvex Super Hard On; (Anderson) Turbo Rat (w/ LM308 chip), Electro-Harmonix/Sovtek “Civil War” Big Muff PI, 4-way splitter box, EarthQuaker Devices White Light, Aguillar Optimizer, Ernie Ball Jr. Volume Pedal, EarthQuaker Devices Life Pedal…

BILLY STRINGS HAS already packed a lifetime’s worth of flatpicking into his 27 years — and that’s no exaggeration. Born William Apostol, the Michigan native, who just released his second solo album, Home, was immersed in the sounds of bluegrass legends like Bill Monroe, Ralph Stanley and Doc Watson practically from birth by his father. By the age of three, he was playing guitar himself. “My dad taught me G, C and D and gave me a capo, and I could play just about any bluegrass song,” Strings says. Within a few years he was performing in earnest. “My dad and I would go down to the VFW hall and it was, like, a bunch of 70-year-olds with music stands playing old country tunes — the same crowd as the…

STEVE VAI’S FIRST collaboration with Ibanez, the JEM, debuted in 1987. In the more than three decades since, the revolutionary instrument (and let’s be frank — with its monkey grip handle, “lion’s claw” tremolo cavity, five-way HSH pickup options, deep cutaway and eye-popping fluorescent finishes, among other features, it was indeed groundbreaking) has become firmly established as one of the most popular, celebrated and instantly recognizable designs in modern guitardom. The JEM has undergone updates and modifications since that first iteration, from changes in pickups and fretboard inlays, to wild new finishes (floral patterns, a limited-edition swirl with Vai’s blood mixed in) and even a 20th anniversary acrylic-body-with-LED-lights model. All the while, Vai acknowledges, “Ibanez has been extraordinarily supportive of all of my ‘imaginative meanderings’ over the years.” As if…

• Show people that you’re reliable and that you can do the gig. • Personality is huge, man. You can’t be a jerk. If you have an attitude or a superiority complex, you’re not going to last. • Things move pretty fast, so you don’t ever want to be wasting anybody’s time. • The artist hires the musical director to pick the musicians. That’s the person you need to impress and build a relationship with. • Go out there and play, and say yes to everything. Build friendships and be cool. If you play everywhere and get to know people, the right doors will open. It’s just a matter of time.…

SHOPPING FOR A new Fender solidbody electric guitar can be an intimidating task due to the overwhelming variety of instruments the company offers today. For example, Fender produces about a dozen different series of Stratocaster models alone, often with several variations within each series. Deciding between an American Original, American Performer, American Professional, Deluxe, Player or Vintera model can require a daunting amount of research and legwork, but the good thing is if you have an ideal Fender model in mind, Fender probably makes it. For guitarists seeking only the absolute best for themselves, the task is much easier as there are only two words to remember: American Ultra. This is the series to choose if you prefer traditional tonewoods over exotic varieties, aren’t interested in artist models and want…

STREET PRICE: $649.99 MANUFACTURER: Yamaha, usa.yamaha.com The CG-TA TransAcoustic has built-in reverb and chorus and uses an internal actuator that responds to string vibrations and processes them to generate natural-sounding reverb and rich chorus from inside the body. The TA technology is not limited to only the guitar itself; you can use the onboard chorus and reverb through a PA system and amplifier. THE BOTTOM LINE The Yamaha CG-TA TransAcoustic is a next-level classical guitar with TA technology that makes its built-in reverb and chorus sound astonishingly textured and authentic.…

I GOT RHYTHM, PART 1 Basic note durations WITH THIS LESSON, I’d like to move on from discussing harmony and chord progressions for the time being and focus on a brand-new topic, the equally important musical element of rhythm. Having taught countless private students over the years, I’ve found that, among many unschooled and do-it-yourself “home-schooled” guitarists, rhythm is an area commonly lacking in understanding and training, and this represents a potential developmental weakness that can seriously hinder one’s ability not only to “solo in time,” but on a more basic level, communicate and function effectively in a band situation, or read a transcription without having to rely on listening to the recording to figure out the phrasing. In any case, it is very beneficial to be able to conceptualize…

LET IT SLIDE Using finger slides to create expressive, sitar-like sounds LAST MONTH, WE checked out some unusual ways to phrase melodic patterns, by re-envisioning notes on different string groups, thus changing their sound and articulation. We looked at examples of playing a melody on a single string with finger slides, as well as lines that incorporate half-step bends intended to emulate the sound of sliding up to or down from a note. The intended effect is to make your guitar sound “drunk.” Over the years, I’ve become obsessed with getting the widest variety of possible sounds using finger slides, by either emulating the sound of a slide guitar or venturing toward the more Eastern sound of a sitar, with its fast, jerky slides between notes. On a sitar, the…

“FOOL FOR YOUR LOVING” Whitesnake ORIGINALLY RECORDED BY Whitesnake back in 1979 with guitarist Micky Moody, this 1989 re-recording of “Fool for Your Loving” features the guitar performance and arranging of Steve Vai, who injected his signature style of brilliantly quirky, pyrotechnic licks and tastefully layered rhythm and lead parts to help update the song with a more polished and flashy hard-rock guitar sound. Due to the highly technical nature of Vai’s playing, when recreating his licks throughout the song, it’s crucial that you pay attention to all the articulation markings appearing in the tablature. For example, in the second bar of the guitar solo (see bar 61), the horizontal dotted line following the bend arrow for the whole-step bend (“1”) during beat two indicates that Vai holds the bend…

GUITAR: 1973 Fender Stratocaster with maple neck (middle pickup), Volume: 10, Bridge/Middle Tone: 10 AMP: c. 1973-74 Marshall Model 1959 Super Lead 100-watt head (Presence: 0, Bass: 2, Middle: 8, Treble: 2, Volume I: 7, Input I top) into Marshall Model 1982 4x12 cabinet with Celestion G12H speakers EFFECTS: Custom boost/ preamp pedal, 1970s Shin-Ei Uni-Vibe (Chorus setting, Volume: 10, Intensity: 7, Speed: 3), MaestroEchoplex EP-3 STRINGS/TUNING: Ernie Ball Regular Slinky .010, .012, .014, .020, .032, .042/Standard PICK/SLIDE: Ernie Ball medium…