Indholdsfortegnelse for November 2020 i Guitar World

WELCOME TO OUR 40th-anniversary issue! Right off the bat, if the cover looks a little classier than usual, it’s thanks to artist Steve Mitchell (the creator of that gigantic “40”) and our longtime art director, Mixie von Bormann. Issue after issue, Mixie takes thousands of words, sentences, paragraphs, pull-quotes, photos, captions and headlines — along with a few sketchy notes and jokes from me — and turns them into this habitually good-looking magazine. Since I’m feeling sentimental, let me also thank Jimmy Brown, our insanely-longtime senior music editor, who toils away endlessly in the shadows (for more about his shadowy toiling, head to page 59); Paul Riario, our ultra-longtime tech editor, who’s usually out there starring in a video or shipping a guitar while I’m playing my B-bender in my…

“FORREST KNOWS MY parts better than I do!” laughs Robby Krieger, talking about his longtime guitar tech, Forrest Penner, who’s also been the axman for L.A.’s premier Doors tribute act, Wild Child, since the mid Eighties. “One of the first times we played together on stage,” recalls Penner, “Robby invited me up to play the double solo on ‘When the Music’s Over’ with him, and after it was done, he turned to me and said, ‘Now, that’s how it’s supposed to sound!” Penner, who’s also teched for Jefferson Starship, Doyle Bramhall and others, was so well-versed in Krieger’s vocabulary, that he even subbed for Robby on some huge Manzarek/Krieger Band shows in Mexico and South America when the Doors guitarist fell ill in 2011. “I was a little stressed, because…

STEVE VAI, MY FIRST COVER: MARCH 1987 When Guitar World first came out I would anxiously await every monthly copy. It was a magazine that contained excitement, inspiration and lots of great info. I remember when I saw my young self on the cover for the first time in March of ’87 with Billy Sheehan, and again solo in the May ’88 issue, and how surreal it felt. A part of me couldn’t quite understand how it all happened. But another part of me did understand. Since then, the magazine has been incredibly supportive of my career and I am grateful. It’s still a vital source of inspiration 40 years after its launch. Big-time congratulations to all those that contributed, including all the great artists.…

We were setting up for the cover shoot and the photographer was talking about doing a Game of Thrones thing, and the funny thing is, I had never watched the show so I didn’t really know what it was all about. Now I’m a huge fan; if I had known then what I know now I would have been geeking out! I’ve done so much with Guitar World over the years. I even had a column — “Wild Stringdom” — for a long time. I love the all-encompassing approach the magazine takes with its artists; there’s the music and the gear and the songwriting and the playing and the video lessons… just taking everything apart and analyzing how it’s done.…

I don’t know if I’m proud of that cover or jealous of it. Looking back at my face and how young Marty [Friedman] and I looked and how dark my beard was… it almost looks like a Just for Men commercial. Now my beard has gracefully merged into semi-red and mostly white. [Laughs] But I certainly love all the opportunities I’ve had with Guitar World. The magazine has been super, super supportive of Megadeth, and we’ve had a lot of really cool interviews. I did a column for a while [“Symphony of Instruction”] and I’m self-taught, so there was a novelty to me teaching guys that were probably a hundred times better than I am!…

At this point I consider Steve Vai a friend — we’ve toured together, we know each other. But when we did this shoot we had only met once. So the guitarist in me who grew up learning Steve’s stuff and seeing him on Guitar World covers was still very active. I was like a nervous fan in some ways — I remember I was so excited that I couldn’t sleep the night before the shoot. And growing up, so many Guitar World covers are etched in my brain. The guitar magazines represented something pretty important, especially if you had a specialized interest. And Guitar World was the biggest magazine of all.…

The thing I remember most is that somewhere in the mid-2000s the pants I’m wearing in that shot got stolen out of our dressing room. [Laughs] But that was a great time for the band. Slave to the Grind had just come out and debuted at Number One, but then to have a magazine cover like that where it’s about the instrument that you play, that was a whole different level of pride. I don’t know if I necessarily thought that we deserved it, but it was an amazing compliment to me and Scotti [Hill] that the people of Guitar World thought enough of us and our playing and our music to put us on the cover. —Dave “Snake” Sabo I’ve collected a lot of magazines that we’ve been in…

DAMIAN FANELLI Editor-in-Chief FAVORITE GW COVER: November 1985. What’s better than being a kid and seeing your name, along with a scale-shape box diagram of your very own “snake charmer scale,” in the pages of your favorite guitar magazine, which just happens to have a photo of Stevie Ray Vaughan, your favorite guitar player, on the cover? You'll find me on page 73! NOTEWORTHY GW MOMENTS: 1.Showing up for my GW job interview in a three-piece suit — and feeling like a complete idiot. 2. Accidentally deleting the audio of my first GW artist interview (Ray Davies) before I could even hear it. 3. Recording the moment when Eric Clapton called GW and said, “Hello, is Damian Fanelli there?” — and then accidentally deleting that too. 4. Chatting…

As an American guitar-playing kid, one of the biggest goals is to get that Guitar World cover. So it was definitely a crowning achievement at that point in career. I look back on it and I look like a child. But I’m also crossing my arms and looking down, and of course I wasn’t smiling — you have to look tough! We’ve done a few covers since then, but the one earlier this year [for the January 2020 Guitarists of the Decade special issue] was the biggest honor ever. Definitely my favorite.…

FAVORITE GW COVER: March 1982: Frank Zappa is on the cover with one of his customized Les Pauls. In the interview, he goes into detail about these modifications as well as other gear-related issues. As usual, Frank is fascinating in a wide-ranging and long conversation. He talks quite a bit about Steve Vai: “I like the way he plays. I think he’s really a great guitar player. He does everything on the guitar that I don’t do. He does all of the stock Stratocaster noises and he plays everything that Van Halen ever dreamed of and then some. He reads music. He plays the 16th notes that I don’t play, and he does all of this stuff that I don’t do. And I think that our styles are kind of…

BILLY GIBBONS When Guitar World first came out, ZZ Top had been at it for the band’s first decade. It was fortuitous that we’ve kept on keeping on, enabling ZZT and GW to combine forces for some rockin’ good times. Some of the “cover tunes” standing out in our collective mind include the Santa-themed “Wreck the Halls” [January 2012], and the apogee has got to be the shared cover with Jeff Beck [November 2014]. The BFG & JB connection goes back to the Moving Sidewalks days and his Jeff Beck Group when we shared concert bills. Dusty [Hill] and I have shared two covers, one of which featured our Bo Diddley inspired furry axes used on “Legs,” so let’s call that “fuzziness as usual.” And who could ever forget the…

• STREET PRICES: HH, $2,549; HSS, $2,599 MANUFACTURER: Ernie Ball Music Man, music-man.com • A new active preamp circuit provides up to 20dB of boost activated with the push/push volume knob, placing boost/overdrive functions at the player’s fingertips. • Also new for this model are the Music Man high-output humbucker and Music Man Cutlass single-coil pickups. • Finish options include the dazzling Ocean Sparkle and Fuschia Sparkle and the understated Olive Pearl finishes. • The maximum boost output and balance of the output level between pickups can be adjusted via internal trim pots. • THE BOTTOM LINE Steve Lukather’s decades of guitar wisdom are evident in Music Man’s latest Luke III model, which boasts a distinctive midrange voice perfect for soloists and a wide range of tonal possibilities for any…

THANKS TO ITS appearance on the front and rear cover of Van Halen’s 1980 album Women and Children First, the guitar that Eddie Van Halen called the “Shark” ranks as one of his top five iconic early instruments along with his homemade Frankenstein, black and yellow “bumblebee” Charvel and “5150” Kramer. The Shark started life as an Ibanez Destroyer with an ash body finished to look like korina, but Ed made several modifications such as painting it white before using it to record several songs on Van Halen’s debut album. After that album, he cut a huge chunk out of the lower bout, painted the body silver before applying masking tape and a top coat of burgundy Schwinn bicycle paint to create his signature stripes and experimented with a wide…

SEVENTH HEAVEN Mastering arpeggios built from 7th chords A FEW COLUMNS back, I demonstrated a variety of ways to learn, practice and apply arpeggios based on triads. An arpeggio is defined as a “broken chord,” meaning the notes of a chord played individually and in succession. A triad is, as the name implies, a group of three different notes. Most often, the term “triad”’ is used to describe the three notes that make up the most basic chord forms, which are major, minor, augmented and diminished, plus sus2 and ( sus A, 4 C . # FIGURE , E) played 1 illustrates across three an A octaves major . triad In previous columns, we examined chord progressions performed as a series of major and minor triadic forms. This month, let’s…

“NINETEEN EIGHTY” Joe Satriani THIS NEW INSTRUMENTAL track from Joe Striani finds the veteran rock guitar god in top form, as he delivers plenty of his trademark “melodic bluesy shred” licks and riffs in a tastefully appealing composition and arrangement. The intro features a fiesta of rapid-fire open pull-offs that alternate between the 1st and 2nd strings and outline an interesting chord progression, with the open notes adding “color tones” to the basic harmony implied by the fretted notes. When performing this section, make sure your pull-offs are both strong, by snapping the string slightly downward, in toward the palm of your fret hand, as you release it, and clean, by palm muting the unused lower four strings, to keep them quiet. The same advice applies to section I (bars…

WHEN GUITAR WORLD published its first issue in 1980, it was one hell of a vintage year for great guitar music. Notable albums released that year included AC/DC’s Back in Black, Jeff Beck’s There & Back, Black Sabbath’s Heaven and Hell, the Cars’ Panorama, Judas Priest’s British Steel, Motorhead’s Ace of Spades, Ozzy Osbourne’s Blizzard of Ozz (which introduced Randy Rhoads to an international audience), the Police’s Zenyatta Mondatta, Rush’s Permanent Waves, Talking Heads’ Remain in Light, XTC’s Black Sea as well as debut albums from Def Leppard, Iron Maiden, the Joe Perry Project, Killing Joke, the Michael Schenker Group, the Pretenders and U2. But for devoted guitar aficionados, the undisputed album of the year was Van Halen’s third effort, Women and Children First. From his furious playing and massive…

Johnny Winter of Our Discontent A slide guitar issue [September 2020] and no Johnny Winter? Really? Here comes the runner, the throw, there may be a play at the plate, the slide… out by a mile! — Joe DeGregorio The Calvi Arrives Just in Time High marks for featuring Anna Calvi [August 2020]. I was very lucky to have seen her play in a cargo ship/concert hall on the Danube in Budapest and was totally gobsmacked by her musicianship and ability. Visceral, evocative, intelligent and meaningful — she has totally been my guitar hero ever since. I want to be just like Anna Calvi. — Jon C. Lundell Total Tonal Recall? I have to thank GW for helping me keep my sanity during stay-at-home orders amid this pandemic. I also…

“I never needed lessons. I was really good at copying things by ear, and then I discovered tabs and just went for it” L.A. WITCH COME out of the gate swinging on their sophomore album, Play with Fire, a disc loaded with gnashing garage rockers, power-packed grooves and blitzing, no-nonsense leads. From start to finish, a listener is struck by one prevailing thought: “Wow, this band means it.” Funnily enough, it took the SoCal-based trio (guitarist-vocalist Sade Sanchez, bassist Irita Pai and drummer Ellie English) several years to get serious. “When we started, we just wanted to play music for fun,” Sanchez says. “We gigged around here and there, but we had full-time jobs, so the band was more of a hobby.” After the release of their 2017 debut album,…

The first time I was on the cover of Guitar World I was honored; the magazine has been a rite of passage for me since I was a kid. One of the issues that really sticks out to me is April 1988, with George Lynch on the cover. There was a Collector’s Choice foldout poster inside of the Howard Reed Stratocaster, one of the first black Strats ever made. When I was 10, I tacked the poster to my wall. About 25 years later I actually bought that guitar. I still have the guitar — and the poster.…

I was a year or two in with the boss [Ozzy Osbourne]. I joined in ’87, the album [Ozzy’s No Rest for the Wicked] came out in ’88, and then in ’89 I’m on the cover of Guitar World. It was great! I remember we were doing shows with White Lion at the time, so it was cool hanging out with Vito [Bratta] because he was on that cover, too. It was a big honor. I always read Guitar World — growing up you would grab the mag if you wanted to learn anything, or you’re just checking out your favorite players and all the new gear. I think for guitar players, it’s like Toys “R” Us going through Guitar World magazine.…

This was during the …And Justice for All tour, and it was my very first solo guitar magazine cover, at least in the U.S. I remember at the time I was really into Tom Anderson guitars — this was before my ESP endorsement — and I was so happy to be able to have my picture taken playing one. I also had a column in the magazine [The Sound & the Fury], and it was great to be able to talk about my technique and my licks and my perspective for anyone who was curious. When it really gets down to it Guitar World has always been really committed to the Metallica cause. And in turn we’ve reciprocated every chance we get.…

WE AIN’T GETTIN’ OLDER WE’RE GETTIN’ SHREDDER. FORMER EDITOR BRAD TOLINSKI ATTEMPTS TO RECALL 40 YEARS OF GUITAR WORLD HISTORY: THE GOOD, THE BAD AND THE RIDICULOUS WE AIN’T GETTIN’ OLDER WE’RE GETTIN’ SHREDDER. FORMER EDITOR BRAD TOLINSKI ATTEMPTS TO RECALL 40 YEARS OF GUITAR WORLD HISTORY: THE GOOD, THE BAD AND THE RIDICULOUS WITHOUT GLAMORIZING alcohol too much, would it surprise anyone reading Guitar World that getting blitzed is a time-honored tradition among rock guitarists? I didn’t think so. And while it is admittedly somewhat unprofessional to drink five, six or seven beers and have a couple of shots while conducting an interview, I would argue that without the assistance of Mr. Jack Daniels, it’s doubtful that Black Sabbath’s Tony Iommi would’ve told me about the time he lit…

Toto, we had a really good year that year. I was getting a little bit of attention and I figured, Well, jeez, let’s take the ride. So I was very, very greatly honored to be on the cover of Guitar World. I was working on an album called I-Ten at [producer] Keith Olsen’s studio, Goodnight L.A. — we called it Good Morning North Hollywood — and they had an underground parking lot and we did the shoot there. And I remember being really tweaked, going, “Wow, I’m going to be on the cover of Guitar World!” Later on I got a subscription. I think it’s an incredibly valid magazine. I mean, it wouldn’t do much for somebody’s wife who’s into shoes or something. But for us guitar players, man, it’s…

AS MY COLLEAGUES and I proudly celebrate Guitar World’s 40th anniversary this year, memories have been swirling through my mind of the “good old days” following my hiring back in 1989, most of which are wonderful, some comical and Spinal Tap-esque and some downright scary, but now laughable. What follows is a loose timeline highlighting some noteworthy milestones and transformational moments that altered and ultimately improved the ways in which we produce and present GW’s lessons and song transcriptions, or “tabs.” 1989: WELCOME ABOARD, KID AS PROFOUND LUCK would have it, this job opportunity landed in my lap right after graduating from college with a music degree. At the time, and for at least the next year or two, I didn’t know anything about magazine publishing, the seriousness of print…

FAVORITE GW COVER: I loved the John Petrucci “Game of Guitar Thrones” cover [November 2013], which I had a hand in conceptualizing — but my favorite has always been the Randy Rhoads covers. I always felt he’s a timeless and iconic cover guitarist. NOTEWORTHY GW MOMENTS: Meeting and drinking with Dimebag Darrell for the first time — and him living up to being an incredibly genuine person, something that everyone loved him for. The best part of it all was later finding out the reason he switched to Krank amps was because he had read my review of them! Dime was one of the last colorful guitar heroes, and his larger-than-life presence is something I still miss today.…

The day that issue came out, the flannel shirt I’m wearing on the cover was stolen at a Soundgarden-Pearl Jam-Alice in Chains gig in L.A. Chris [Cornell] asked to borrow it for our encore, and then he took it off and left it on the drum riser and someone grabbed it. I was pretty pissed about that. Our manager, Susan Silver, thought she’d cheer me up. We were on the bus afterward and she said, “Look what came out today!” She showed me the copy of Guitar World, and there I was wearing the missing shirt. It was like it was mocking me. [Laughs] Every time I look at that cover now I think, “Hey, that’s a cool picture. Damn, I miss that shirt!”…

“There are times when it all feels like a dream,” says guitarist Joey Molland, recalling the glory days a half century ago when Badfinger ruled the airwaves with a series of exquisitely crafted pop-rock hits like “Come and Get It,” “No Matter What,” “Day After Day” and “Baby Blue.” “Badfinger gave me the opportunity to do everything a musician could want. I got to make records. I heard my music on the radio, and I toured all over. I couldn’t believe the luck we were having. For a time, everything was great.” The Liverpool-born guitarist joined the Welsh/English group, then called the Iveys (which also featured singer-guitarist Pete Ham, singer-bassist Tom Evans and drummer Mike Gibbins), at a most fortuitous time. It was late 1969, and the band was not…

• STREET PRICE: $1,499 MANUFACTURER: C.F. Martin & Co., martinguitar.com • The Martin “Sure Align Linear Dovetail Neck Joint” neck system removes the heel and provides unrestricted access to all 20 frets. • The Low Profile Velocity neck features an asymmetrical taper that relaxes the palm of your hand and naturally adjusts to your wrist’s movement for an ergonomic playing experience. • THE BOTTOM LINE The SC-13E is a bold new acoustic from Martin, with an advanced design meant to push forward an acoustic guitar’s capability in range and performance, while casting a wider appeal for a younger generation of players. It hits the mark on all fronts.…

STREET PRICE: $1,499.99 MANUFACTURER: EVH, evhgear.com • The EVH Wolfgang Shark alnico 2 humbuckers deliver rich, full-bodied tone and high output that hits an amp’s front end hard. • Updated custom touches include EVH Bourns low- (volume) and high-friction (tone) pots, compound radius and graphite-reinforced neck. • THE BOTTOM LINE An absolute must-have for vintage Van Halen fans, the EVH Striped Series Shark is also a great choice for players seeking a comfortable, aggressive-sounding ax with full-bodied tone as distinctive as its looks.…

6TH SENSE Combining intervals of 6ths with open strings HELLO EVERYONE, AND welcome to my new instructional column for Guitar World! Over the course of these lessons, it is my goal to share with you many of the guitar playing techniques and conceptual approaches that have informed my style over the years, and hopefully these lessons will broaden your own musical horizons on the instrument. I’d like to kick things off with a look at some ways in which to utilize pairs of notes that are an interval of a 6th apart. As the name implies, an interval of a 6th is formed when playing a given note along with another note that is six scale degrees higher. are For A example , B, C #,D , the , E,…

“PARADISE CITY” WORDS AND MUSIC BY W. AXL ROSE, SLASH, IZZY STRADLIN’, DUFF MCKAGAN AND STEVEN ADLER COPYRIGHT (C) 1987 GUNS N’ ROSES MUSIC (ASCAP) AND BLACK FROG MUSIC (ASCAP) ALL RIGHTS FOR BLACK FROG MUSIC IN THE U.S. AND CANADA CONTROLLED AND ADMINISTERED BY UNIVERSAL - POLYGRAM INTERNATIONAL PUBLISHING, INC. INTERNATIONAL COPYRIGHT SECURED ALL RIGHTS RESERVED REPRINTED BY PERMISSION OF HAL LEONARD LLC…

GUITAR: Custom “Frankenstein” Boogie Bodies ash Strat-style body and 21-fret bird’s eye maple neck, Gibson “PAF” humbucking bridge pickup, Volume: 10 AMP: 1968 Marshall model 1959 Super Lead 100-watt head with Sylvania 6CA7 power tubes (Presence: 10, Bass: 10, Middle: 10, Treble: 10, Volume I: 10, Input I top left) into Marshall model 1960A 4x12 cabinet with Celestion G12M “greenback” speakers; amp voltage dropped to 90 volts with Variac EFFECTS: MXR Flanger (Manual: 4, Width: 4, Speed: 4, Regen: 10), MXR Phase 90 (Speed: 3) STRINGS/TUNING: Fender F-150XL . nickel 032, .040 wrap )/ ( E .009 b , A b , , D .011 b , G , b. , 015 B b , , E .024 b , PICK: Standard celluloid heavy…

Eric Johnson’s “Virginia” — a 1954 Fender Stratocaster with a Sassafras wood body and maple neck — is one of those storied guitars that, in the hands of its master, made history; in Eric’s case, on his classic early albums Tones and Ah Via Musicom. (Though it was actually a Gibson ES-335 that EJ played on the iconic “Cliffs of Dover.”). As the kickoff to their new “Stories Collection,” which recreates the look, feel and sound of similarly classic axes, the new Fender “Virginia” Stratocaster features a quarter-sawn Sassafras body: a wood similar to walnut and mahogany, which Fender lauds for its “creamy mids and lows, and shimmering high end.” Though meant to model EJ’s 1954 Virginia (which Johnson regrets having sold many years ago) the new Virginia is arguably…

[Photographer] Neil Zlozower took the cover shot, and I remember we were laughing because I said, “I don’t really have rock and roll hair. I don’t know what to do with it.” At one point I combed the hair up, and that’s the shot we got. That issue also had a transcription of “One Big Rush,” which wasn’t even supposed to be on the album [1989’s Flying in a Blue Dream]. It was requested for the movie Say Anything… and it turned out so good that we put it on there. But Guitar World has always supported me, always listened to whatever new music I had to lay on them. I’m very, very grateful for that.…

I remember we wanted to show the connection and the communication between me and Justin [Chancellor, bassist], so I had these old submarine communication devices that were probably from, like, World War II, and we wore those for the shoot. The support from the magazine over the years has been overwhelming. But the thing I always liked about Guitar World is the attention given to the reader. They don’t just write an article. They ask, “What would the reader really want to know?” “What kind of strings?” “What inspired you?” “How big of a geek were you before you became a rock star?” [Laughs] It’s great.…

I came from Sweden and I was 18, and I had been working so hard and nothing ever happened. But as soon as I came to the States all of a sudden I got all this stature. It was amazing. For this cover I was holding a sunburst Strat — I never used sunburst but for some reason I used it here. I never really used rosewood either. I don’t know. It was a weird thing. I used to use different colors of guitars, now I use just one. And back then I was hanging out with the guys at Guitar World all the time. We probably hung out more than I was in the magazine. [Laughs] It was great.…

I remember Willie [Adler] and I had button-up collared shirts on — like, “Wow, I’m on the cover of Guitar World and I’m dressed like I’m going to a funeral!” It was such a big deal. It’s still a big deal. My philosophy through my publicist has always been, “Anything for Guitar World.” That’s the relationship. I just appreciate being included in the conversation. I’m not the most technical player or the most schooled or theoretical player — I’m just a feel player. So for the magazine to find value in my opinion — at one point I even had a little column [“Dominion”] — is something I’ve always felt really honored about.…

It was me and Nuno and Richie Kotzen and they put us in a room together and they interviewed us. We were laughing the whole time. And they asked me, “Reb, what would you say to Jimi Hendrix if you brought him back in a séance?” And since we were all joking around, I said, “Tune your guitar!” Which I would never say to anyone, let alone Jimi Hendrix. And I got hate mail — bags of it would show up at my management’s office. But we had a great time. Not too long ago the three of us were in the same place and we tried to recreate that cover, but it didn’t work out.…

I think it was on one of those cruise gigs, and I said something like, “Before we get off this boat, we have to recapture that cover — same pose, same everything.” And we couldn’t make it happen. But I remember being in the room with Reb and Richie and doing that shoot. I still have the magazine. It was always a dream to be on the cover — not necessarily in the surface way for the sake of ego and fame, but to go, “Man, if you make it onto a cover of Guitar World, you’ve done something as a player.” It solidified all your unsung hard work. UNDER THE COVERS…

We were on tour and did the photos backstage before one of the shows. I couldn’t believe it because that’s the magazine I always read when I was a kid. Any time Steve Vai was on the cover, I was picking up a copy — I remember seeing and reading about his seven-string and being like, “God, this is the coolest thing ever…” Guitar World has given Korn a lot of exposure over the years and we appreciate that. Because I think when the band first started out not a lot of people could really understand what we were doing. But to be able to talk about the technique and how you apply it, then it all starts to make sense.…

AS ONE OF the most recorded guitarists of all time with a few thousand sessions on his résumé, Steve Lukather certainly knows great guitar tone. Since 1994 he’s put that knowhow to good use in collaboration with Ernie Ball Music Man on his signature Luke solidbody electric model. The latest version — the Luke III — was introduced back in 2012, but, like most Music Man models, changes, tweaks and upgrades are often made along the way after the initial release. For 2020, Music Man has made several significant changes to the Luke III, most notably new pickups and a more powerful built-in preamp/boost. If you’ve held the line on buying a Luke, this version is one you don’t want to miss — she’s a beauty. FEATURES The 2020 version…

STREET PRICE: $499.99 MANUFACTURER: Fender, fender.com • Providing 40 amp, 33 speaker cabinet and 73 effect models, the Mustang GTX100 offers a comprehensive selection of tones from classic to modern. • The included GTX-7 footswitch controller makes it easy to select presets and effects or control looper functions during live performance. • An outstanding value, the Fender Mustang GTX100 is a powerful tool for live performance and recording applications where users need a wide variety of first class tones and effects.…

I GOT RHYTHM, PART 9 Introducing 16th rests AS WE LEARNED previously, every rhythequal mic note duration value . has For a example corresponding , in4 4 meter rest , of a quarter note occupies one full beat, as does a quarter rest. Likewise, an eighth note and an eighth rest each take up half a beat. Well, the same holds true for 16th notes and 16th rests, which we will explore in this lesson, both of which occupy one quarter of a beat. bar Last of 4 4 meter time, we into learned four “quads how to ,” subdivide which are a groups of four 16th notes, and count them as follows: “1 ee and uh, 2 ee and uh, 3 ee and uh, 4 ee and uh.” I’ll…

CROSS PLAY, PART 2 More on the art of crosspicking and playing “Wildwood Flower” IN LAST MONTH’S column, I introduced a picking technique known as crosspicking, wherein you pick the notes of a given chord individually and in a repeating pattern while constantly switching strings. For example, while holding a 1st-position C chord, instead of simply strumming across the strings, crosspicking involves picking each string individually, generally moving from low to high, or high to low, with one note sounded per string while allowing all of the notes to ring together. You can perform these crosspicking patterns with either alternate (down-up) picking, or rest-stroke picking patterns of down-down-up or up-up-down, which are also known as economy picking patterns. As I mentioned last time, the most useful aspect of the crosspicking…