_guitar interactive issue 36, 2015

Guitar Interactive Magazine Issue 3602

Seymour Duncan

03www.guitarinteractivemagazine.com

Seymour Duncan

04 Guitar Interactive Magazine Issue 36

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GUITAR INTERACTIVE_WELCOME

ARIA 241 CARLSBRO/STUDIOMASTER 105 CORDOBA 235 CRAFTER 233 ELIXIR 263 EVENTIDE 77 GODIN 89 HK AUDIO 153 IBANEZ 225 LANEY 63 LOWDEN 221MARSHALL 15 MELBAY 111 MORLEY 120/121 MUSIC MAN 21 ORANGE 69 PRESONUS 189 PRS 29 ROLAND 45 ROTOSOUND 57 & 83 SEYMOUR DUNCAN 2&3 STETSBAR 125 TANNOY 193 TASCAM 201 TAYLOR 8&9 TC ELECTRONIC 25 TC HELICON 161 TECH21 97 VIGIER 101 VINTAGE 31 XVIVE 31 ZVEX 85

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Welcome to Guitar Interactive Issue 36

www.guitarinteractivemagazine.com 05

Editor -Gary [email protected] -Stuart Bull, Levi Clay, Gary Cooper, Richard Morgan, Tom QuayleReview crew -Doug Cartwright, Michael Casswell, Andi Picker, Bob Thomas, Lewis Turner, Tom Quayle, Dan VeallColumns -Cameron Allen, Sam Bell, Michael Casswell, Martin Goulding, Tom Quayle, Lewis Turner, Jaime Vendera, Andy WoodAdvertising Manager -Helen [email protected] Media and Sales -Lisa [email protected] and layout -Simon [email protected] -Dwight Sicobo

Video Editors -James Masterton & Dave KiddSound Engineering -Martin Hayles & Gwyn MathiasCameras -Rich Jones & Mike ThorpeSocial Media Managers -David Jones & Dan SmithPublishers -Road Rock Music International LtdPublishing Directors -Kim Waller and Stuart BullContact -Sales and Information line:+ 44 (0)1708 757 337 Fax Line: +44 (0)1708 757 528 Web -www.iguitarmag.com Twitter -@iGuitarMagFacebook - www.facebook.com/GuitarInteractiveMagazineAddress:Unit A, Chesham Close,Romford, Essex, RM7 7PJ, UK

GET IN TOUCHelcome to GI 36 - and a

special welcome back to one of the world’s most

infl uential guitarists -Joe Satriani!

Joe is, as they say, a hard act to follow but we’re going to give it a try as in addition to an interview with the great man, we also have a Tom Quayle Tech Session, showing you some of the tricks and techniques that help make Joe the phenomenon he is.

If the simpler but heartfelt world of Blues is more your thing then please welcome Laurence Jones, a young, award winning Blues guitarist who is now starting to make his name in the US, having already won huge acclaim in the UK and Europe. We have live performances from Laurence as well as an interview.

Our reviews this issue have a special extra. We wanted to review the EMG David Gilmour pickup set, so we bought a Squier Strat, fi tted the EMGs, reviewed the guitar before and after, and are giving it away in our amazing free entry competition! Don’t miss it!

Packed with our authoritative gear reviews on guitars, amps, FX, bass, plus reviews and features on live performance and recording, GI is the word’s fastest-growing guitar mag. Read on and fi nd out why - then spread the word!

Gary Cooper - Editor

Gary

(c) Copyright 2015 Road Rock Music International Ltd. No part of this publication may be reproduced in any form or by any means without prior permission of the copyright owners. The views expressed in Guitar Interactive are those of the contributors and not necessarily those of the Editor or Publisher.

ARIA 241 CARLSBRO/STUDIOMASTER 105 CORDOBA 235 CRAFTER 233 ELIXIR 263 EVENTIDE 77 GODIN 89 HK AUDIO 153 IBANEZ 225 LANEY 63 LOWDEN 221MARSHALL 15 MELBAY 111 MORLEY 120/121 MUSIC MAN 21 ORANGE 69 PRESONUS 189 PRS 29 ROLAND 45 ROTOSOUND 57 & 83 SEYMOUR DUNCAN 2&3 STETSBAR 125 TANNOY 193 TASCAM 201 TAYLOR 8&9 TC ELECTRONIC 25 TC HELICON 161 TECH21 97 VIGIER 101 VINTAGE 31 XVIVE 31 ZVEX 85

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INTERVIEWS

012_Joe Satriani - Joe’s latest album Shockwave is out now and GI’s Stuart Bull catches-up with the great man for an in-depth interview. Richard Morgan profi les.

022_Laurence Jones - Poised for stardom in the States and with a sizeable following in the UK and Europe, Laurence Jones came into GI’s studio for a live session and interview with Levi Clay.

TECH SESSION

034_Satriani’s Shockwave - Tom Quayle guides you through some of the style points of the great Joe Satriani.

COMPETITION

044_WIN a set of EMG’s DG 20 David Gilmour pickups ready fi tted to our ‘Gilmourised’ Squier Strat in our amazing free entry competition!

COMPETITION WINNERS

046_In Issue 34 we gave away four fantastic Morley FX pedals. Find out if you won!

DOWNLOADS

048_All the featured downloads from this issue + exclusive Guitar Pro Lite tab software FREE download!

REVIEWS - GUITARS, AMPS & FX

056_Ibanez Prestige Series RG2550z

062_Review special! EMG DG20 David Gilmour pickups fi tted to a Squier Affi nity Stratocaster

072_Rickenbacker 1993 plus 300 Series 12-string

078_Danelectro DC59 TSB-12 12-string

082_Yamaha Pacifi ca 611 VFM

088_Marshall 2555x Head & 2551AC cab

094_Laney Lionheart L5 Studio head & cab

102_EBS Red Label FX

108_DigiTech Trio Band Creator & FS3x Footswitch

114_Seymour Duncan Shape Shifter tremolo

118_Boss Special Edition OD1-X & DS1-X

LIVE SOUND!

Everything you need to take your music live!

126_Jaime Vendera’s Vocal Bootcamp Season 2

Reviews

132_Mackie Thump and SRM active speakers

MAKING TRACKS

Recording for the practical musician

144_Andi Picker on spending money Pt. 1

Reviews

150_Audient ASP800 mic pre-amp & converter

156_Heil PR30 dynamic microphone

162_PreSonus Studio One V3 DAW update

GUITAR INTERACTIVE_CONTENTS

CONTENTS


072_Rickenbacker 1993 plus 300 Series 12-string

078_Danelectro DC59 TSB-12 12-string

082_Yamaha Pacifi ca 611 VFM

088_Marshall 2555x Head & 2551AC cab

094_Laney Lionheart L5 Studio head & cab

102_EBS Red Label FX

108_DigiTech Trio Band Creator & FS3x Footswitch

114_Seymour Duncan Shape Shifter tremolo

118_Boss Special Edition OD1-X & DS1-X

LIVE SOUND!

Everything you need to take your music live!

126_Jaime Vendera’s Vocal Bootcamp Season 2

Reviews

132_Mackie Thump and SRM active speakers

MAKING TRACKS

Recording for the practical musician

144_Andi Picker on spending money Pt. 1

Reviews

150_Audient ASP800 mic pre-amp & converter

156_Heil PR30 dynamic microphone

162_PreSonus Studio One V3 DAW update

THE QUIET ROOM

Reviews

170_Lowden F50C fan fret acoustic

176_Ashbury AG-160 acoustic

180_Tanglewood TN5 D CE electro-acoustic

THE BASSMENT

Reviews:

188_Vigier Excess Original II bass

194_Cort Artisan A6 6-string bass

198_EBS Black Label Studio Edition FX

204_Orange OBC210 mini bass cab

COLUMNS

210_Tom Quayle

214_Michael Casswell - Pro Concepts

218_Sam Bell - Rock Improvisation

222_Lewis Turner - Back To Basics

226_Martin Goulding - Modern Rock Techniques

234_NEW SERIES Andy Wood - Country guitar

238_Cameron Allen - From Blues to Jazz


Taylor Guitar


H O T L I C K S A N D L I F E S T O R I E S

INTERVIEWS


INTERVIEWS_JOE SATRIANIINTERVIEWS_JOE SATRIANI


Even the very best guitarists in the world had to start somewhere. Just like us mere mortals, once upon a time they too struggled through their fi rst painful barre chords and stuttering scales before moving on to (much) greater things.

There must come a time in a player’s development when it becomes obvious he or

she is destined to become an extraordinary talent. For many of them, an innate natural ability is clear to see from early days, although of course many thousands of hours of practice are needed to hone such world-beating chops. Also useful is a great teacher: a guru who not only imparts information in the most useful way possible for the student,


Even the very best guitarists in the world had to start somewhere. Just like us mere mortals, once upon a time they too struggled through their fi rst painful barre chords and stuttering scales before moving on to (much) greater things.

There must come a time in a player’s development when it becomes obvious he or

she is destined to become an extraordinary she is destined to become an extraordinary talent. For many of them, an innate natural talent. For many of them, an innate natural ability is clear to see from early days, ability is clear to see from early days, although of course many thousands of hours although of course many thousands of hours of practice are needed to hone such world-of practice are needed to hone such world-beating chops. Also useful is a great teacher: beating chops. Also useful is a great teacher: a guru who not only imparts information in a guru who not only imparts information in the most useful way possible for the student, the most useful way possible for the student,

With Joe Satriani’s 15th album, Shockwave Supernova, selling even faster than one of his trademark licks, and a supporting tour raging across Europe and the UK, Stuart Bull meets the

master for another in depth GI interview, whileRichard Morgan considers Satch’s remarkable career.

SATRIANI’SSHOCKWAVE!


INTERVIEWS_JOE SATRIANI

but who can also keep up with them and challenge them to explore new heights.

We can’t imagine many instructors who could have kept up with the likes of a young Steve Vai. Thank goodness, then, that he ended up - alongside the cream of a certain generation of America’s top Rock guitarists, it seems - learning his trade from none other than Joe Satriani.

Because Satch, as he’s known to his many millions of fans across the world these days, started out as an educator to make ends meet. He must have been good: the Satriani alumni list includes marquee names like

Kirk Hammett, Alex Skolnick and Larry LaLonde (who would go on to handle guitar duties for Primus) - and Mr. Vai, of course, who, lest we forget, went on to become so astonishingly good he was allowed to grace the cover of this very publication.

And what goes around comes around, as it was actually the latter who helped kick start Satriani’s own career as an originals-playing instrumental rock guitarist. When Vai hit the big time after scoring a gig with David Lee Roth in 1986, he began raving about his teacher to any reputable guitar magazine that would listen (and yes, we’re sure he’d have

Joe Satriani Interview Part 1


IBANEZ



been beating down Guitar Interactive’s door to tell us all about it, had we existed at that point!). A year later, Surfi ng With The Alien - Satriani’s second solo album, after ‘86’s Not Of This Earth debut - would establish Satch as a chart-bothering six stringer in his own right.

Since then, 13 more Satriani studio albums have followed (for a total of more than ten million records sold, apparently making him the biggest-selling instrumental Rock guitarist of all time) alongside a bunch of live albums, compilations and EPs, collaborations with a string of legendary bands, and Chickenfoot, a feted hard Rock super group also including former Van Halen singer Sammy Hagar and bassist Michael Anthony, alongside Red Hot Chili Peppers drummer Chad Smith. He’s also had 15 Grammy nominations along the way, although a win eludes him still: only rap superstar Snoop Dogg and R&B stalwart Brian McKnight

can boast more (16 each) without a victory.

There are certainly no signs of slowing down from a man who will be celebrating his 60th birthday in 2016 (a fact which certainly surprised us - we’d assumed the Satch was in his late 40s before we researched this piece). As well as releasing his 15th solo effort, Shockwave Supernova, in 2015, Satch also continued in his educator role with the G4 Experience. A modern-day extension of Satriani’s G3 concept - which sees him rounding up guitar heroes like Vai, Eric Johnson, Yngwie Malmsteen, John Petrucci, Paul Gilbert, Steve Morse, Steve Lukather, and many, many more on a yearly basis to play a series of shows to drooling guitarists around the world - the G4 Experience gave players a chance to experience and learn from Satch, Guthrie Govan, Tosin Abasi (of Animals As Leaders fame) and other incredible players up close.


MARSHALL



The famed guitarists all brought their bands with them for backup, and attendees spent up to four days in the sunny climes of California taking in clinics (focusing on everything from guitar technique and music theory to live performance tips and studio advice), watching performances, and generally absorbing as much information as they could from these masters of the fretboard. The thing is, we’re pretty sure Satch doesn’t need to be doing stuff like this: no, 10 million album sales under your belt means you’re probably pretty well off - and that’s before we get to the mountains of signature Satriani gear (and we will, don’t worry). Fact is, the man just loves the whole world of music. It is his world.

And, thankfully for us, he also likes passing on as much of the knowledge he gains from his musical world as he can.

But while achieving Satch’s mind-blowing array of six string techniques is beyond all but the most talented minority of guitar players, we can at least console ourselves with the chance to purchase some of the very same gear the man uses. A longtime player of Ibanez guitars, Satch has had his own JS signature line of electrics for decades now, and has been as involved in their evolution as he has been with his commitment to making great music. The JS guitars’ rounded, deep double cutaway bodies (a requirement from



Satch to give better access to the 24 frets, of course) have become unmistakable on stage, whether you’re at a Satriani gig watching the man himself, or down the Dog & Duck on a Thursday night watching an unruly pub rock band.

Pickups of choice on the JS models have long been DiMarzios: for years, they featured standard DiMarzio PAF Pro humbuckers in the neck and bridge positions. The quest for perfect tone goes on, though, and newer Satch guitars now feature his own signature DiMarzio pickups - a Satch Track Neck single coil-sized neck humbucker alongside a Mo’ Joe ‘bucker at the bridge. There’s a coil tap

too, and a high pass fi lter on the volume pot maintains the all-important highs in your tone even when you roll the volume down.

When it comes to related gear, there’s also plenty of Satch-approved kit on which you can splurge your hard-earned cash. Most notable is the Marshall JVM410HJS, a 100-watt powerhouse of a signature amp. Satch has played Marshalls throughout most of his career, taking a few years off at one time to release a signature series with Peavey named JSX, but he’s also sporadically delved into the worlds of the likes of the 5150, Cornfords, and Mesa/Boogies. We understand he’s back home with Marshall again nowadays.



INTERVIEWS_ROBBEN FORDINTERVIEWS_LAURENCE JONES

And it doesn’t end there. Perhaps the most well known of Satriani’s pedal endorsements in his signature Vox Satchurator distortion, which the man himself describes as being “a distortion pedal that responds to my touch, and produces a big, natural, harmonically rich tone compatible with any guitar/pedal/amp confi guration.” What a shame it doesn’t also give other players some of Satch’s talent on tap. The cornerstone of a large ‘board, the Satchurator has been joined by a huge array of pedals over the years, including - but not limited to - Vox and Dunlop Cry Baby wahs, a DigiTech Whammy, the Electro-Harmonix POG and a whole bunch of miscellaneous

Boss stompboxes. There’s plenty of extra info available on Satch’s own website, should you wish to delve in further – including, for the most hardcore fans out there, the lowdown on his signature Planet Waves picks and straps.

Why, you can even read our reviews of much of great man’s gear. How do you fi nd them? Just go to our news website ( www.iguitarmag.com) hit the reviews tab and knock yourself out!

So sit back and enjoy what Joe had to say to GI’s very own Stuart Bull and, as they say, enjoy! •

Joe Satriani’s new album “Shockwave Supernova” is released by Sony Music/Legacy Recordings. His 9-date UK tour with special guest Dan Patlansky (see GI 34) kicks off at the o2 Manchester Apollo on November 1st.

Joe Satriani talks about the DiMarzio pickup choices used on the signature Ibanez guitars…

WATCH NOWON

EXTRA VIDEO:

Joe Satriani demos the Satch Track Neck & Mo’ Joe Pickups


Fractal Audio


INTERVIEWS_LAURENCE JONES

© All Imagery John Bull


It may not have reached the notice of the mainstream media yet but the Blues is making a strong comeback with a new generation of players claiming it as their own. At the front of the pack in the UK is Laurence Jones, shortly to make his debut at New York’s Carnegie Hall and already one of the hottest names on the British club scene. Levi Clay met Laurence in GI’s studio for an interview and more.

KEEPINGIT LIVE

LAURENCE JONES


aviour of the Blues’ is a phrase that’s often thrown around with reckless abandon in the music press. I take

issue with it because it implies that Blues is somehow dying off and it needs someone to come in and breathe fresh life into it to keep it alive. The Blues is alive and well though, from recent surges in popularity thanks to guys like Joe Bonamassa and John Mayer, to the plethora of young faces out there gigging night to night. Philip Sayce, Simon McBride, Danny Bryant and Matt Schofi eld are out doing the genre justice, so it makes sense to sit up and take note when you’re introduced to a young player who lives the Blues, and nowhere is that truer than with Laurence Jones. And that’s not just our opinion. Laurence won the Young Artist Of The Year 2014 tag at the British Blues Awards.

A fresh face to the scene, Laurence was born in Stratford-upon-Avon in 1992 and took to the electric guitar in 2006 after playing classical guitar to a high level. His early infl uences were the ones you would expect for someone who went on to become a young Blues star: Eric Clapton, Albert Collins and Rory Gallagher to name a few.

Just six years later, in 2012, he released his debut album, Thunder in the Sky to great critical acclaim. It’s hard to ignore the Stevie Ray infl uence in his playing here, from his tight shuffl e playing and Stratocaster tone. People took notice though as we were hearing a young guitarist writing, playing and singing his own material, though there’s obviously some great playing on tracks like Going Down!

‘SINTERVIEWS_LAURENCE JONES

Laurence Jones ‘Good Morning Blues’ Performance


JHS


INTERVIEWS_ROBBEN FORD

SO, FORGET THE INEVITABLE, LAZY

‘SAVIOUR OF THE BLUES’ TAG

WHICH LAURENCE IS LIKELY TO GET

SADDLED WITH AT SOME POINT.


Laurence Jones ‘Set It Free’ Performance


From here he was signed by Ruf Records, which afforded him the opportunity to go out to Louisiana to record his second album, Temptation. This record has a more polished sound to it, as you’d expect for a bigger budget affair with more professionals involved - just check out the title track to get an idea of what he’s capable of.This album really helped the young Jones build a following, and it resulted in him spending a huge amount of time on the road, including a support tour with his mentor, Walter Trout. He’s doing well over 100 shows a year now, and there’s absolutely no better way to build a following than to go out and fi nd them. A wise man once said that it’s not your audience’s fault they’ve not found you, they don’t know you exist, it’s your job to show them.Laurence’s new record, What’s It Gonna Be? shows him writing about his experiences on

the road and seeing the world, this results in an honest and fresh approach to his music as it feels personal, there’s none of the old cliché “woke up this morning” to be found here. Laurence is really coming into his own as a player, it was such a pleasant surprise to sit down with a young player who really “gets” the Blues, who doesn’t just see it as a chord progression or a scale, someone that appreciates subtle infl ection and phrasing, letting his playing breathe, letting his phrases sing, etc.

If you check out what Laurence is doing and you dig it, his rig is fairly easy to replicate as we’re not looking at million dollar vintage gear. He’s a fan of Strats and is endorsed by PRS guitars. Amp wise he’s using Dr Z, a little harder to fi nd, but it’s nothing that can’t be achieved with a decent guitar and amp. It’s really not about the gear here - it’s all in


INTERVIEWS_ROBBEN FORD

the hands. Play your guitar and don’t expect it to sound great just because, experiment, listen to how you’re picking the strings, play with the volume knob etc. - there’s an astonishing amount of tones to be found right in the guitar.

So, forget the inevitable, lazy ‘saviour of the Blues’ tag which Laurence is likely to get saddled with at some point. He’s ‘just’ a great Blues guitarist, a fi ne songwriter and one of the best exponents of his art to have come out of the UK for a good few years. If Blues is back on a popularity upswing again singer - and we at GI think it is - it’s at least in part thanks to having people like Laurence on the scene. The Blues doesn’t need a saviour, it’s in good hands. Go and check him out today because we’ve got to keep talents like this carrying the torch for years to come.


the hands. Play your guitar and don’t expect it

Laurence Jones Interview


ROTOSOUND STRINGS



LAURENCE JONES NEW ALBUM,WHAT’S IT GONNA BEVIDEOS

IS AVAILABLE NOW ON RUF RECORDS.

WATCH NOWON

Laurence Jones - What’s It Gonna Be


TC ELECTRONIC


P U T T I N G I T A L L T O G E T H E RP U T T I N G I T A L L T O G E T H E R

TECHSESSIONS


BACKING TRACK

TECH SESSIONS_JOE SATRIANI

BACKING TRACK 1


Who doesn’t want to play like the astonishing Joe Satriani? To celebrate the release of Joe’s new album, Shockwave Supernova, GI’s very own Tom Quayle leads you through a typical Satch-style solo, showing you how to nail that

impeccable quality that has made Joe one of the world’s most loved and admired guitarists.

SATRIANI’SSHOCKWAVE!



ey guys and welcome to this Tech Session on the amazing Joe Satriani. Joe is one of the most

immediately recognisable guitar players out there today and is loved equally for not only his impressive technical skills but his amazing compositions and melodic sense. In this session I’ll be teaching you an ‘in the Satch style’ solo that works through some of Joe’s most lauded and signature techniques such as his liquidy legato, harmonics, pick tapping and whammy bar skills. This is a tricky solo with a lot to digest so, as ever, work slowly and take your time with each of the licks and I wish you luck as we get into Joe’s amazing style. Let’s start with an overview of the track before we dive into each lick.

The solo is based on Joe’s awesome tune ‘Flying in a Blue Dream’ which was released on the album of the same name in 1989. The backing track is built around two Lydian chords, Cadd9#11 and Bbadd9#11 giving us the classic modal sound that Satriani is famous for. His writing often revolves around the use of so called modal grooves so that he can exploit the sound of a particular mode for his melodic writing. The track simply moves between these two chords allowing us to use the C Lydian and Bb Lydian scales as our source of melodic material. Now let’s check out each of the licks in turn.

‘H

Joe Satriani Tech Session Performance


Strings and Things


Lick 1 – The solo starts out in C Lydian with some classic Joe Satriani melodic motifs based around some slides that are picked fairly aggressively with a raked downstroke. Joe will often play this kind of quick slide into a melody note with a slight pinched harmonic to get a more vocal kind of sound and you can do this by bringing the thumb over the end of the pick as you attack the

string with the right hand. There is an element of randomness to this that adds to the vocal quality that is present in Joe’s playing. Try to match the phrasing and rhythm for this fi rst lick as closely as possible and really listen to your sound as you play, trying to get the right vibrato and length of notes to mirror my performance.


Joe Satriani Tech Session Lesson 1


Lick 2 – For the second lick we are still in C Lydian territory, but move up to the 15th fret of the B string for another very melodic phrase. This time we incorporate a pre-bend up a whole step for the fi rst note so be careful with your intonation as Joe is pretty much fl awless in this department both in the studio and live. Here again it’s benefi cial to go for a pinched harmonic as you pick the bend release at the 15th fret of the high E string. Other than that just watch the switch from the 15th fret of the B string up to that 15th fret high E string bend where the quick shift can cause issues.

Lick 3 – Here we are in classic Satriani whammy bar territory where he uses a dipping technique with the bar to add rhythmic interest to a melody. The track moves into Bb Lydian here and we’re still in our melodic mode before the next more technically involved lick ramps things up a notch. Each melody note is accentuated with four dips of the whammy bar and here a fl oating bridge becomes essential to get the right effect. I recommend that you bounce slightly off the bar rather than actually pushing it down in a deliberate motion in order to get the desired effect. Watch my performance video to get a better idea of the technique required. After we’ve moved this motif up the neck the fi nal motif is slightly different with a half step bend, release, pull off combo that then moves into a couple of arpeggiated pull off licks, culminating in a whole step bend at the 20th fret of the high

E. You absolutely want to go for a pinched harmonic on the release of this bend for the most vocal effect possible.

Lick 4 – More classic Joe Satriani territory here thanks to this fast, liquidy legato phrase. Joe likens the sound of this technique to a ball of mercury rolling around in his hands and the idea is to get a smooth sound that doesn’t necessarily outline any specifi c sub-divisions but rather fl oats over the bar line and beats in a textural manner. My best tip here is to use the melodic stopping points where the phrase pauses momentarily as rhythmic marker points in order to develop the phrasing of each line. Listen to the lick as much as possible and stay as relaxed as you can while executing the technique.

The lick starts off at the 14th fret of the High E and moves around C Lydian. Notice the small amounts of whammy bar vibrato and the little dip into the note B at the 4th fret of the G string towards the end of the descending section. After fi nishing at the 2nd fret of the A string we execute a dive bomb with the bar and a slide up and down the neck to lead into the second ascending phrase that is faster and has an accelerating quality leading all the way up to the Gmaj7 arpeggio at the end. Go for the rhythmic vibe in this section rather than trying to nail the rhythm and note groupings exactly as I played them. Satriani will execute these kind of licks differently every time he plays them and you can too.


Lick 5 – Joe is also known for his extensive use of ‘box shape’ style pentatonic Blues phrases that offer a great juxtaposition to his three note per string scalar lines such as those in Lick 4. By playing these types of phrase against one another their impact is enhanced for the listener. Check out Joe’s self-titled album for a ton of this kind of playing. For

this lick I’m using an A minor pentatonic scale that works great with our Bb Lydian tonality giving us the 7th, 9th, 3rd, #11th and 13th of the chord, in other words – all the juicy notes. This lick works its way up to the 20th fret with a slide from the 17th into a whole step bend before coming back down the neck with a classic Satch pick tapping


Joe Satriani Tech Session Lesson 2


phrase. It’s important to stay as relaxed as possible while tapping with the edge of the pick at the 22nd fret or this phrase will sound forced and awkward. I also mute the lower strings with my fi rst and second fi ngers of my left hand on my way down the neck as my right hand is tapping.

Lick 6 – Now we’re into classic Satch harmonics territory, using the natural harmonics on the G string to outline a G major arpeggio against our C Lydian tonality. I recommend that you pick near to bridge and bounce your left hand fi nger off the string after executing the harmonic for the maximum sustain. The last three harmonics occur in-between frets and are much harder to perform, varying slightly in placement from guitar to guitar, so take a bit of time to fi nd out where exactly they are best located for your instrument. The last harmonic is followed by a slow dive bomb before releasing the bar back up and with a well-executed open string pinched harmonic on the G String. This is a big part of Joe’s sound and is a really cool, vocal sound but requires quite a lot of distortion to achieve the desired amount of sustain so don’t be afraid to crank up that gain control on your amp or pedal.

Lick 7 – Here we are back into our melodic territory to fi nish the solo with more raked

melody notes and very vocal phrasing. Watch out for the position shift into the bend at the 10th fret of the high E string. You have to think ahead a bit in order to not miss the bend at this important point in the solo.

Lick 8 – The solo fi nishes over a static C Lydian vamp with an ascending two string pull off motif that recalls a phrase from earlier in the solo. The phrase is built from an E minor pentatonic scale, outlining the 3rd, 5th, 6th, 7th and 9th of the Lydian scale. You want to slide into the fi rst note of each phrase, so a bit of target practice is required to execute this well. Once you reach the 22nd fret you’re going to do a whole step bend and release, again trying to go for a pinch harmonic on the release if possible. We fi nish the whole solo with more whammy bar dips at the 22nd and 20th frets of the B string with a cool rhythm that I recommend you use your ears to get down.

So there we have it folks! I really hope you enjoy this solo and that it gives you an insight into some of Joe Satriani’s techniques and approaches. His style is both unique and innovative and many of today’s greats owe a big debt to his sound. Good luck with the solo guys and I’ll see you all soon. •


Y O U R C H A N C E S T O W I N

COMPETITIONS


COMPETITION_YOUR CHANCE TO WIN!

a set of EMG DG20 David Gilmour pickups and our ‘Gilmourised’ Squier Stratin this amazing free entry competition

a set of EMG DG20 David Gilmour pickups and our souped-up Squier Stratin this amazing free entry competition!

his issue’s competition is a little different - OK, it’s a lot different! To test EMG’s highly praised DG20 pre-wired pickup

set, as used by David Gilmour, we bought a stock Fender Squier Affi nity Strat, had a professional guitar repairer and builder fi t the pickups and set the guitar up so that we could answer, once and for all - is it worth putting expensive pickups in a less than expensive guitar?

And the answer is, undoubtedly, yes! The EMG DG20 set really sings in our Squier Strat. As our reviewer Michael Casswell says: “If you add in a decent set-up, you will end up with a really good instrument that could blow away far more expensive guitars. So the answer is, yes, even on what is not far off the lowest priced Strat you can get, fi tting the EMG DG20 set does indeed make sense!”

We are giving away our EMG DG20 pickup set ready-fi tted to out 12th Fret

set-up Squier Strat and one lucky reader is going to be fi nding out why we rate these fabulous pickups so highly!

How do you win? It’s easy! All you have to do is click to enter, simply answer the simple questions (tick A or B ) and fi ll out the form! One lucky winner with the correct answers will be chosen at random and will end-up with these amazing pickups and our hot rodded guitar!

One lucky winner with the correct answers will win our EMG DG20 fi tted Squier Stratocaster. The winner will be notifi ed by email. Be sure to check your emails regularly and don’t use a ‘throw-away’ email address. We have had unclaimed prizes, which have been reallocated to other entrants!

WIN

ENTER

1/ All entries must be received by 30th October 2015. 2/ Only one entry per person is allowed 3/ All entrants must be registered readers of Guitar Interactive 3/ No cash alternative is offered instead of the stated prize. 4/ Employees of Guitar Interactive or EMG are ineligible for this competition. 5/ One winner will be chosen, at random, from registered readers of Guitar Interactive who provide the correct answers. 6/ The judges’ decision is fi nal. No correspondence will be entered into regarding this competition. 7/ Winning entrants must respond to email notifi cation of having won within 10 days, otherwise prizes may be forfeited and alternative winners chosen. 8/ Winners may be responsible for import duty where levied. Where possible prizes will be despatched from the winner’s own country, but this will not always be possible. 9/ Prizewinners must consent to having their name and city/country (e.g. ‘Andres Segovia, Madrid, Spain’)

The Rules:

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a set of EMG DG20 David Gilmour pickups and our ‘Gilmourised’ Squier Stratin this amazing free entry competition

a set of EMG DG20 David Gilmour pickups and our souped-up Squier Stratin this amazing free entry competition!

All you have to do is answer the following questions online.

Q1. EMG’s DG20 set comes with a pre-wired faceplate/pickguard

A/ True

B/ False

Q2. EMG’s DG 20 pickups are... ?

A/ Alnico

B/ Ceramic

Q3. EMG’s DG20 pickups are...?

A. Active

B. Passive

1/ All entries must be received by 30th October 2015. 2/ Only one entry per person is allowed 3/ All entrants must be registered readers of Guitar Interactive 3/ No cash alternative is offered instead of the stated prize. 4/ Employees of Guitar Interactive or EMG are ineligible for this competition. 5/ One winner will be chosen, at random, from registered readers of Guitar Interactive who provide the correct answers. 6/ The judges’ decision is fi nal. No correspondence will be entered into regarding this competition. 7/ Winning entrants must respond to email notifi cation of having won within 10 days, otherwise prizes may be forfeited and alternative winners chosen. 8/ Winners may be responsible for import duty where levied. Where possible prizes will be despatched from the winner’s own country, but this will not always be possible. 9/ Prizewinners must consent to having their name and city/country (e.g. ‘Andres Segovia, Madrid, Spain’)

Questions

1/ All entries must be received by 30th October 2015. 2/ Only one entry per person is allowed 3/ All entrants must be registered readers of Guitar Interactive 3/ No cash alternative is offered instead of the stated prize. 4/ Employees of Guitar Interactive or EMG are ineligible for

Squier Strat Squier Strat


GI 34’s competition saw us with a whole bunch of fabulous Morley pedals to give away! Morley is one of the longest serving companies in the effects business and one that you almost inevitably fi nd on top player’s pedalboards! All of them benefi t from expertise honed since the company was founded back in the 1960s and many of them, like the Steve Vai Bad Horsie Wah, have been developed with the input of top international players.

We had four Morley pedals to give away:

Morley Steve Vai Bad Horsie Wah Morley Volume Plus Morley Distortion Boost Morley Accu-Tuner

We had just one winner who scooped the pool and is going to receive the lot. So who is it?

And the Lucky winner is:

Mr John Rackley of Kirkland, WA in the USA. Congratulations, John!

COMPETITION_THE WINNERS!

We had four Morley pedals to give away:

GUITAR INTERACTIVE ISSUE 34 MORLEY EFFECTS PEDALS COMPETITION - THE WINNER!


Rotosound Pedals


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An Introduction to Licklibrary


G U I T A R S , A M P S A N D E F F E C T SG U I T A R S , A M P S A N D E F F E C T S

THEREVIEWS


he Ibanez RG series has been a staple of the Metal and shred

scene for three decades now, almost defi ning the genre in terms of aesthetics and sound. Ibanez has been updating and modifying the design since its inception and the RG2550z is one of the latest models to be released for 2015 in the company’s Japanese made, Prestige range.

The RG series has aged incredibly well and the RG2550z still looks modern and cutting edge with its ‘superstrat’ design sporting deep cutaways, pointy horns and sleek headstock, matched with high end hardware. This particular model has an industrial feel thanks to the use of metallic paint fi nishes, mirrored scratch plate and hardware fi nished in a dark chrome that Ibanez call ‘Cosmo Black’. The RG2550z follows the traditional RG construction format with a basswood body, fi ve-piece maple and walnut neck, rosewood

fretboard and a trio of DiMarzio pickups for a wide range of tones.

Ibanez has opted for a unifi ed pickup selection across the Prestige RG range going for a DiMarzio Air Norton, True Velvet and Tone Zone in the neck, middle and bridge positions respectively. The hardware is completed with an Edge Zero fl oating bridge with the ZPS3 adjustment system, Jumbo frets, locking nut and a fi ve-way switch with the standard volume and tone control.

Build quality on all Prestige guitars is superb thanks to the workmanship of the Japanese factory, where small details are never overlooked. More budget minded Ibanez guitars have got better and better over the years but the Prestige range has some lovely touches that remind you that you are playing a higher end guitar, such as the rolled and polished fret ends that make the playing experience all the more smooth and luxurious. The fi nish and set-up are also exceptional,

How could we feature Joe Satriani on our cover are not lead our review line-up with one of his stunning signature Ibanez guitars? Well, that’s just what we’re doing - mostly because we’ve reviewed several Satriani Ibanez signatures in previous issues! So to ring the changes we asked Ibanez what else they had that would suit a player with fi reworks for fi ngers. They said ‘try this’. So we did. Tom Quayle lit the blue touch paper.

REVIEWS_GUITAR REVIEW

PROS:Japanese quality

manufacture

Great looks and classic design

High end hardware

Very versatile range of tones

Supremely easy to play

Affordable for a high end guitar

CONS:None at this price

4.5STAR RATING

Ibanez Prestige series RG2550z

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making the RG2550z a very good looking guitar, especially with the classic shark tooth outline inlays. Ibanez offers two metallic fi nishes in this model, our review model sporting the beautiful White Pearl Metallic option with a dark blue Mystic Night Metallic fi nish available for those after a more moody look.

The original Prestige neck shape has been updated to the new Wizard HP neck profi le, offering better grip, feel and tone according to Ibanez. In practice the neck feels supremely comfortable and fast thanks to the classic thin, wide design with a fl at radius that is perfect for technical playing and sustained practice sessions or gigs. The oiled fi nish is very welcome and the combination of three pieces of maple matched with two strips of walnut offers a huge amount of stability considering how thin this neck is.

The Edge Zero bridge offers a massive amount of control and the ZPS3 system means that the tension can easily be altered as required and the addition of a deployable stop bar means that tuning will be stable even

How could we feature Joe Satriani on our cover are not lead our review line-up with one of his stunning signature Ibanez guitars? Well, that’s just what we’re doing - mostly because we’ve reviewed several Satriani Ibanez signatures in previous issues! So to ring the changes we asked Ibanez what else they had that would suit a player with fi reworks for fi ngers. They said ‘try this’. So we did. Tom Quayle lit the blue touch paper.


How could we feature Joe Satriani on our cover are not lead our review line-up with one of his stunning signature Ibanez guitars? Well, that’s just what we’re doing - mostly because we’ve reviewed several Satriani Ibanez signatures in previous issues! So to ring the changes we asked Ibanez

lit the blue touch paper.


if you snap a string. The bridge is set-up very stiff from the factory making fl utters and more subtle movements a little tricky, but this can easily be altered and set up to suit each user.

Played acoustically the RG2550z has an impressive amount of snap and pop to its tone with a fast attack and surprisingly loud volume. Sustain is good and the body feels resonant thanks to that classic basswood, maple body and neck combination. Plugged in, the fi ve-way switch offers a wide range of tones with the standard neck and bridge humbuckers supplemented with split single

coil tones for Ibanez’s take on the classic position two and four Strat-style tones.

The chosen DiMarzio pickups are a classic combination that are tried and tested to work superbly together. The Tone Zone in the bridge offers punchy, tight rhythm and lead tones with tons of sustain whilst the Air Norton in the neck gives smooth and velvety sounds, perfect for both gainy tones and clean passages. The single coil tones are also very cool thanks to the True Velvet mid pickup, working very well in split combinations with the neck and bridge positions. The RG2550z is a very versatile




Laney


guitar that can easily cover far more than its technical rock and metal roots and would be more than happy on a Jazz, Blues or Pop gig.

The Prestige RG range has always been an impressive series of guitars and the RG2550z is no exception. It’s a great looking, playing and sounding guitar that won’t break the bank and is easily good enough and versatile enough to suit anyone from professional to hobbyist players. The inclusion of a good quality hardshell case sweetens the deal further making this a guitar that should be very high on list to check out. The general consensus at GI Towers was that this is a cracking guitar at an equally cracking price! •



MSRP £949 US $ Unknown

Made in: Japan

Neck type Wizard HP 5pc Maple/Walnut neck Body Basswood body Fretboard Rosewood fretboard w/Wedge sharktooth inlay Frets Jumbo frets w/Prestige fret edge treatment

Bridge Edge-Zero tremolo bridge w/ZPS3 Neck pickup DiMarzio Air Norton (H) neck pickup (Passive/Alnico) Middle pickup DiMarzio True

Velvet (S) mid pickup (Passive/Alnico) Bridge pickup DiMarzio The Tone Zone (H) bridge pickup (Passive/Alnico) Hardware color Cosmo black Hardshell case included Neck Dimensions Scale 648mm/25.5” a : Width at Nut 43mm b : Width at Last Fret 58mm c : Thickness at 1st 18mm d : Thickness at 12th 20mm Radius 430mmR

TECH SPEC

FIND THIS PRODUCT ON


EMG


THE PROJECT By Gary Cooper

he idea came from EMG. Would we like to review a set of the company’s DG20 David Gilmour pickups

which come with a pre-wired faceplate, ready to fi t? Usually, our answer to pickup review requests is ‘not really’ or ‘not unless’ because pickup reviews are tricky. No one wants to offer his personal Strat for a transplant operation and, anyway, what you, gentle

reader, want to know is not how a set of XYZ pickups sound on a vintage guitar but whether they will make your possibly under performing recent vintage axe start to sing.

Usually when we review pickups we try to get two identical instruments, one fi tted with the replacement set and another with something generic that you will be able to

It seemed like the perfect challenge. Just as David Gilmour releases his long awaited new album, Rattle That Lock, EMG asked if we’d like to review a set of their DG20 David Gilmour pickups. We wanted to fi nd out just how much difference they would make to even the most basic Strat - and was it worth doing? So we bought a Squier Affi nity Strat and replaced the pickups. Was it cramming a Chevy V8 into a VW Beetle? Gary Cooper explains the background. Michael Casswell handled the review.

REVIEWS_PICKUP REVIEW

4.5STAR RATING

EMG DG20 David Gilmour pickups - Squier Affi nity Stratocaster retro-fi t

A SET OF EMG DG 20 DAVID GILMOUR PICKUPSFITTED TO OUR HOT RODDED SQUIER AFFINITY STRAT!

GUITAR INTERACTIVE REVIEW SPECIAL!

Squier by Fender Affi nity Stratocaster: see text!

EMG SG20pickup set

‘T

It seemed like the perfect challenge. Just as David Gilmour releases his long awaited new album,

A SET OF EMG DG 20 DAVID GILMOUR PICKUPSFITTED TO OUR HOT RODDED SQUIER AFFINITY STRAT!

GUITAR INTERACTIVE

WIN!


draw some conclusions from. In the past we’ve used a test bed Hagstrom for humbuckers but this time we had to have a genuine Strat - which raised a question we’ve been wanting to ask for a long time. Just how good (or how bad) are the cheapest Chinese Squier Strats these days? And can you make enough improvements to one to turn it into a cost-effective super-guitar?

So we bought a Strat, more or less at random, from a mail order company just as thousands of customers do every year. Would it have sharp frets? Would the trem be like a rusty cart spring? We had no idea - but we were about to fi nd out!

EMG DG20 David Gilmour pickups - Squier Affi nity Stratocaster retro-fi t

Squier by Fender Affi nity Stratocaster: see text!


The Strat we chose was (almost) the cheapest we could get. Fender currently offers a ‘Bullet’ version but the Squier name is lodged in everyone’s mind as being the basic starting point, so we opted for one of those. Credit card details were supplied to a guitar store and in due course the obligatory cardboard box was being ripped open to reveal our black Strat. There was no possibility of Fender having ‘breathed on’ this review sample - it was straight out of the box, almost certainly untouched since it left the Chinese factory!

The one thing we’d decided we wouldn’t do was fi t the EMGs ourselves into a raw

out-of-the-box Squier. We know that even a modest guitar benefi ts hugely from a proper set-up, so to give the Squier a chance we sent it and the EMGs to GI’s tame repairman, James Collins at 12th Fret Guitar Repairs in Horam, Sussex, UK, asking him not just to fi t them but also give the guitar basic, not too expensive, set-up. We also asked him to set the trem to Michael Casswell’s preferred fl oating style and generally do what he could do, within reason, to bring the guitar up to a good standard. He succeeded magnifi cently!

The Squier as we received it would have got a three and a half star rating has it been shipped to us for review in that condition.


EMG DG20 David Gilmour pickups - Squier Affinity Stratocaster retro-fit


Orange


It wasn’t bad, but it was pretty rough and ready. When we got it back it would have got four and a half. And that is why we always advise readers to get their guitars professionally set-up. For a relatively small expense, it makes a world of a difference.

We asked James if he’d encountered any problems fi tting the EMG set, not least because we knew that not all Strats are exactly the same and that any reader following our example might need a helping hand.

“The Squier internal cavity wasn’t deep enough for the 9V battery as per EMG’s instructions but that wasn’t too much of a problem, so the 9V battery is now fi tted between the Bridge & Middle pickup with double sided tape,” James told us.

“The wires needed a little more depth too ideally (something that wouldn’t be an issue with a USA-made Strat) but again these were easily manoeuvred around to get the plate sitting well.

“The Jack Socket scart style connectors didn’t fi t through the hole between jack plate cavity

and the pots cavity so we used a long 8mm drill bit to widen the existing hole.

The plate lined up pretty well with the existing scratch plate holes, some went in at a bit of an angle but no fi lling or drilling was required.

“The tone of the pickups without the EQ etc. is very good, the boosts etc. really add a lot and sound great! I’m sure with a good player into that style will get so much out of it.

“As for how the Squier was when it arrived, the set-up was OK but we have polished the frets, corrected the radius of the saddles, cut the nut in a little as well as use some graphite lube. The bridge was fl at with no lift, so we’ve adjusted the claw and there’s a good lift now and it’s stable tuning wise.”

All of which, one lucky GI reader is about to fi nd out for him or herself as we’re giving the entire package away as this issue’s competition prize!

Now, over to Michael Casswell for his assessment of our EMG experiment.

THE REVIEW by Michael Casswell

If I could only own one guitar to do everything and cater for any situation as a pro player, it would be some kind of Strat loaded with the EMG DG20. This is the EMG assembly that Dave Gilmour fi rst started using in his red Strat way back in

1985 and has used on and off both live and in the studio ever since. The DG20 gives you 3 SA pickups, which are Alnico 5 sounding in character, plus an SPC mid boost, an EXG frequency expander and a master volume, all laid out in the familiar Stratocaster way.

The EMG SA is an absolutely fantastic sounding single coil type pick up and I own many guitars loaded with this very pick up.



Eventide


You may have seen me using my vintage Valley Arts guitars in GI reviews, and this is the pickup that came as standard in those guitars coupled with an EMG 85 humbucker in the bridge. In my experience, EMGs do bring out the character of the wood in your guitar so do not believe what you read by some of the disbelievers out there, as they can defi nitely sound fat, vintage, smooth or in your face. If you are good with tone, then EMGs make everything easier!

Like all EMGs they are dead silent, which is exactly what you want for studio use, or when using high gain, or on big stages with lighting rigs. Because EMGs are active and run off a 9v battery, they will power through any cable length without loss of tone, and if you have a big pedal board, they send undiluted signal to your amp, whether your pedals are true bypass or not. Yes, you do have to have a battery situated somewhere in your guitar to supply the tiny current EMGs need, and occasionally it will need changing, but if you unplug your guitar cable when the guitar is not in use, we are talking a long time between battery changes. I have had years of battery life out of my guitars.



So to add to the mix of the already great sounding SA pups, the DG20 has an on board SPC presence control on the bottom tone pot. This is actually a mid boost and a great secret weapon. As you wind it up you get a very fat sounding SA pick up that is bordering on humbucker in character. It’s absolutely perfect for singing solos or any hi gain work. There is a tiny amount of increased hiss as you push it to full power,

much like kicking in a boost pedal, but as you would probably use it on the fl y, you would never hear it in use.

On the second tone pot you have an EXG expander, which drops the mids and boosts the bottom and top. Great for clean rhythm or articulate acoustic type parts. When you add up the tonal options of a 5-way switch, three SA pups, an EXG and an SPC, you can see why I say if could only own 1 guitar, I


would go for this assembly on a good Strat, because you will be able to deal with any style in any situation.

So, how does it work on our test Squier? Well, the DG20 is unquestionably an instant upgrade for any average Stratocaster. Obviously you would not interfere with anything too valuable or vintage (or you could, but please don’t!), but nine times out of ten, a set of EMGs will turbo charge your guitar for better. I understand to fi t the DG20 no soldering is required and as long as you have room for a battery somewhere on board (see the comments from James Collins about this and our test bed Squier - Ed). All EMG pups come with a quick connect plug nowadays, so if you got bored of the sound your SAs, you could simply unplug it and drop in one of the other EMG single coils in the range (the EMG SLV is pretty special).

A word on our guinea pig guitar. This is a budget Squire Strat guitar made in China. With a little work, it can be a good work horse and get the job done. The guitar played OK as supplied, with no obvious choke problems on the neck. The action was of an average height that might slow a beginner down, but not bother an experienced player too much. The trem was

fl at to the body with only downward motion on the bar allowed, with quite a lot of force needed. The nut was binding the strings on any tremolo use or string bends, which caused tuning problems.

The pickups were very low output and quite thin sounding, with pronounced hum associated with single coils. Once you get to stage volumes these pick ups can often turn out to be microphonic causing uncontrollable squeal feedback. All these criticisms are easily solvable. Most times all these guitars need is a pair of experienced hands to give them a thorough tweak, which is why we gave the guitar to master luthier James Collins to work some magic. He worked on the nut, so there were no sticking strings, he fl oated the trem so that the trem stuff I do was now possible, he lowered the action to a perfect low to mid Stratocaster action and then he installed the V8 engine! The DG20 EMG assembly. The guitar will now easily hold its own against much pricier instruments. A good set up by someone who knows what they are doing is often all an average guitar needs, and in the hands of a good player, can sound just as good as a guitar costing thousands. EMGs are the perfect upgrade for a guitar like this.



The Verdict

The big question is - was it worth it? After all, we took a guitar that Amazon sells for comfortably under $200 and fi tted it with a set of $329 pickups! But we have proved the point that it does actually work - and you can hear the results on our video. If you add in a decent set-up, you will end up with a really good instrument that could blow away

far more expensive guitars. So the answer is, yes, even on what is not far off the lowest priced Strat you can get, fi tting the EMG DG20 set does indeed make sense! Needless to say, on an American made Strat, the result is likely to be even better.

Our thanks to James Collins and Andy at 12th Fret Guitar Repairs for fi tting and the set-up. www.12thfret.co.uk

EMG DG20 pickup set with pickguard

MSRP £324.95 US $329.99

Made in: USA

Technical and fi tting information: www.emgpickups.com/dg20-davidgilmour.html

TECH SPEC



f I had a pound for every time I’ve heard the phrase, “Man, I would love a

Rickenbacker!” then I would probably be able to afford the guitar on review here. Founded for the sole purpose of creating and manufacturing fully electric musical instruments and amplifi ers, the Los-Angeles based Electro String Instrument Corporation was founded in 1931. Since then we have seen some of the most famous guitarists ever play Rickenbackers, and that is part of their appeal, alongside the highest of build quality and “that sound”, which has graced so many hits. Apparently, Pete Townshend asked Rickenbacker to reprise and update his own beloved Model 1993 guitar. Rickenbacker did just that, and the result is the 1993 plus 12 string, which is what we are looking at here.

The 1993 Plus is a great looking instrument sticking closely to the traditional Rickenbacker style. There’s no mistaking one of these! Unlike a lot of 12-strings,

where the machine heads are all jammed together in a row either side of a crowded headstock, or all crammed into a single strip, Rickenbacker uses a clever design feature in order to accommodate all the deluxe vintage retro machine heads. You can see how it works on the accompanying photograph. Needless to say, they all worked perfectly, as you’d expect on a guitar of this price.

The neck is a set-in maple type with a rosewood fi ngerboard, featuring a 24 3/4” scale with 21 frets. I found the fretboard and shape of the neck very comfortable to play as was the action and spacing between frets. There were no buzzing or tuning issues anywhere on the guitar, and upper fret access was ample thanks to the two large scooped out horns.

The 1993’s semi-acoustic body is also maple and that double use of maple helps deliver a defi nite sound, making it ideal for the jangly, strummy tone that one might look for in a 12-string and

Rickenbacker’s 12-string guitars have been responsible for some of the most distinctive guitar sounds in the history of Pop and Rock. But the US company doesn’t rest on its laurels. New to the range is a development of the iconic 12-string, inspired apparently by a request from Pete Townshend for an update to his own vintage 1993. Lewis Turner, who admitted he’s never previously experienced a Ricky 12-string, plays it cool with a legend...


PROS:Fantastic build quality

Great tones

Easy playability

CONS:The price

A little heavy and slightly unbalanced

4.0STAR RATING

Rickenbacker 1993 Plus 300 Series 12-string

‘I


which has become the legendary sound from this guitar. Having the f-hole also increases its acoustic volume and natural resonance, while the use of x-bracing inside the body helps to bring out the full, rich and warm sounds Rickenbackers are known for. It’s not a light guitar, and as you might expect having a bulky headstock makes things a little unbalanced. Mind you, if you’re used to playing Les-Pauls then this will feel like a piece of polystyrene! Three vintage single coil ‘Toaster Top’ pickups deliver the tonal goods, with a wide range of pickup selection and confi guration, once again all demonstrated on the video. These pickups were great, with the bridge delivering a cutting jangly top end and the neck a nice, deep resonate bottom, with the middle somewhere in between, again as you’d expect. With all the possible variants even the pickiest member of the Tone Police should be able to fi nd a sound they like! A Trapeze tailpiece and six-way split saddle fi nish everything off.

The fi nish and attention to detail were absolutely top notch on our example, giving you the feeling that

Rickenbacker’s 12-string guitars have been responsible for some of the most distinctive guitar sounds in the history of Pop and Rock. But the US company doesn’t rest on its laurels. New to the range is a development of the iconic 12-string, inspired apparently by a request from Pete Townshend for an update to his own vintage 1993. Lewis Turner, who admitted he’s never previously experienced a Ricky 12-string, plays it cool with a legend...


Rickenbacker’s 12-string guitars have been responsible for some of the most distinctive guitar sounds in the history of Pop and Rock. But the US company doesn’t rest on its laurels. New to the range is a development of the iconic 12-string, inspired apparently by a request from Pete Townshend

, who admitted he’s never previously experienced a Ricky 12-string, plays it cool with a legend...


Tech 21


Rickenbacker has gone above and beyond to deliver a top of the range instrument. It’s good to see such a fantastic set-up, making the guitar a joy to play straight out of the case.

I have to say that I was a little taken back by the price tag (and we were less than impressed by an exchange rate of $1 for £1, which makes this guitar even more costly in the UK - Ed), and that had the immediate effect of raising my expectations to the highest level, but I wasn’t disappointed. This is a fantastic

instrument, the build quality alone is a thing of beauty, and it sounds the business. No doubt you are paying a premium for the name, but if you are one of the guys mentioned in my intro who has always wanted one, and you are prepared to stump up the cash, then I say go for it, I’m pretty sure it will be everything you had hoped for. For the rest of us? Well, there are less expensive Rickenbacker 12-string models are in the range but this is, unquestionably ‘the real thing’! •





MSRP £3,799 US $3,799

Made in: USA

Body Type: Semi-Acoustic

No. Frets: 21

Scale Length: 62.9 cm (24 3/4'')

Neck Width at Nut: 44.45 mm (1 3/4'')

Neck Width at 12th Fret: 53.52mm (2 .107)

Crown Radius: 25.4 cm (10'')

Body Wood: Maple

Neck Wood: Maple

Fingerboard Wood: Rosewood

Weight: 3.6 kg (8.0 lbs.)

Overall Length: 101 cm (39 3/4'')

Overall Width: 38.1 cm (15'')

Overall Depth: 38.1 mm (1 1/2'')

Neck Binding: Yes

Fret Marker Style: Triangle Pearlescent

Tailpiece: Trapeze

Bridge: 6-way split saddle

Neck Type: Set-in

No. of Pickups: 3

Type of Pickups: Vintage Single Coil Toaster Top

Output Type: Mono and Stereo

Machine Heads: Deluxe Vintage repro

TECH SPEC


he very fi rst Danelectro guitars were built at the beginning of 1954,

designed to be starter instruments selling at very affordable prices. Brand new, the cheapest models back then cost as little as $69.00 and the most popular models came in a case with a built-in amplifi er. Today that model, unmodifi ed and in excellent condition, could cost you $500.00 or more. Because they were so cheap many Danelectros were damaged, altered or thrown away, but despite the image they also won many fans because of their unique looks and sound. Eventually, they even won collector status. And they were certainly different! Constructed of wood, vinyl, masonite (aka hardboard) and Formica, Danelectro never missed a trick to keep the prices down, even sourcing what was to become their trademark “Lipstick Tube” metal pick-up covers quite literally from a lipstick-tube manufacturer! The guitars were made simply, with no pearl adornments or expensive woods but for all that, many players loved them.

Recent years have seen a revival of the Danelectro brand with yet another generation coming along and taking a shine to a distinctive appearance and sound that is defi nitely not just another Fender or Gibson or a clone. Perhaps it’s that ‘alternative’ aura that makes them so popular with Indie bands?

Anyway, among then new models for 2015 is the DC59 TSB-12 which is an electric 12-string, kindly sent down to us for review.. As always, be sure to check out the video to hear and see this guitar for yourself.

The TSB-12 is a cool looking instrument keeping to the traditional Danelectro style, but this model also features an f-hole, (which is always cool in my book...) making it a hollow body. As with all Danelectro guitars the body is made of laminated wood, making it extremely light. The headstock, which is a fairly large affair in order to accommodate all the tuning pegs, has six a side confi guration with enclosed Kluson style tuners. Long term these may

We hadn’t intended to review two 12-string electrics in this issue - it just turned out that way. But as the prestigious Rickenbacker 1993+ arrived with a fanfare of trumpets, so the altogether less luxurious new Danelectro DC59 also showed up to the party. They could hardly be wider apart in price, nor more different in concept, but at a fraction of the price does that mean the Dano is really just a toy? Lewis Turner doesn’t think so.


PROS:Good looks

Good tones

Easy playability

CONS:Lack of pickup output

continuity

Some cheap components

4.0STAR RATING

Danelectro DC59 TSB-12

‘T


well be worth an upgrade. I didn’t have any problems with them during the time I played this guitar, but I can’t see them lasting through a lot of hard use. The nut follows Danelectro tradition by being made of aluminium, which can be viewed in two ways. It’s hard wearing so will last a long time, but some may argue that a traditional style nut gives better tone. I have to say that there was a bit of creaking and pinging from some of the stings in the nut as I played around with some string bends and vibrato, so again this could be worth a change if you were going to use one of these guitars a lot - and why not?

The neck is a bolt-on style made from maple with a rosewood fi ngerboard, offering a 25”/ 635mm scale with 21 frets. I found the fretboard and shape of the neck very comfortable to play as was the action and spacing between frets, there was no buzzing or tuning issues anywhere on the guitar, which is always very welcome on a 12-string! As I say, the TSB-12 has a masonite body with a laminated wood frame and the construction is hollow with solid centre core tape binding. It’s so light that you could quite happily stand and play one of these all day long and not even notice it.

We hadn’t intended to review two 12-string electrics in this issue - it just turned out that way. But as the prestigious Rickenbacker 1993+ arrived with a fanfare of trumpets, so the altogether less luxurious new Danelectro DC59 also showed up to the party. They could hardly be wider apart in price, nor more different in concept, but at a fraction of the price does that mean the Dano is really just a toy? Lewis Turner doesn’t think so.


We hadn’t intended to review two 12-string electrics in this issue - it just turned out that way. But as the prestigious Rickenbacker 1993+ arrived with a fanfare of trumpets, so the altogether less luxurious new Danelectro DC59 also showed up to the party. They could hardly be wider apart in price,


How does this construction affect tone? Well personally I prefer lighter guitars as they tend to resonate better. Yes, this is a cheap piece of wood, but don’t let that put you off. The tones achieved were both surprising and pleasing. The Lipstick Alnico pickups are part of the Danelectro look and sound, I’ve always thought they were quite good, the ones on this guitar were no exception. The middle selection that uses a little of both pickups, had a bell like quality to it, making it ideal for the jangly strummy sound that one might look for in a 12-string. The neck pickup was warm enough, but defi nitely lacked some bottom end, which could be down to the quality of the wood rather than the pickup. I did fi nd the bridge pickup had a very low output which meant there was a big difference in volume when switching from the neck to bridge. Some players may like this but I personally prefer a little more continuity across the range. Still, tone-wise the bridge pickup was bright and sparkly as a good one should be, but just lacked that power to really cut through. The controls for the volume and tone are straightforward,

although the knobs do feel rather fl imsy. The hardware is chrome and the bridge is fully adjustable.

I have played a few Danelectro guitars over the years and have always quite liked them. As with many people when I fi rst played one I was a little dubious after reading the specs and approached it with a bit of a snobbish attitude, only to be pleasantly surprised with its rich a varied tone. The DC59 TSB-12 is no exception. It does everything a great 12-string should, which is to deliver “that sound” - and it does it in a no frills way at a very pleasing price tag.

It looks great, sounds great and plays well. Yes some of the components are a little cheap, but they can always be upgraded at a later date. Most players don’t use a 12-string all the time, which makes the DC59 particularly attractive at such a low price. For use on a couple of numbers in a set, or for occasional recording uses, it’s a steal - particularly for a guitar that stands out from the crowd so well. •



MSRP £499 US $599

Made in: China

Shorthorn shape with f-holeScale length: 25Number of frets: 21Fully adjustable 12 string bridge2 lipstick pickups

1 master volume1 master tone3 way pickup selector

TECH SPEC



Roland


ince launching the Pacifi ca line of guitars in the early 1990s, Yamaha

has enjoyed major global success and re-established itself as a major name in guitar production. The Pacifi ca was inspired by the Californian session scene of the day, where versatility was key, and this is something Yamaha has retained as a key focus for the line throughout the many successful variants that have been released since its inception.

Of all Yamaha’s guitars, the most widely recognised is probably the Pacifi ca 112. An entry level model, it’s been widely praised and loved since its introduction and for good reason. As a teacher, I encounter these guitars all the time and they are consistently the best guitars I come across in their price range; they play fantastically, have an impressive variety of pleasing tones to suit most occasions and seem to be borderline indestructible - there’s certainly no better way to torture test a product than observe it in the

hands of multiple enthusiastic but accident-prone children!

In 2012 Yamaha introduced the Pacifi ca 611 as a new mid-range model aimed at players looking for a professional quality instrument at an affordable price point. Whilst the 611 was designed primarily for Blues and Rock players, the signature Yamaha versatility was still there and the model was received warmly by critics and guitar fans alike. Now Yamaha has given the 611 a hardware upgrade and introduced a new incarnation - the 611 VFM.

Straight out of the box, the 611 VFM is an impressive guitar. Its classy, vintage-inspired looks are a pleasure to behold and really suit the style of guitar Yamaha was aiming to build here. Our review model had the Root Beer fi nish option, a transparent gloss fi nish that really enhances the grain of the alder body and fl ame maple veneer. The headstock had a matching fi nish and the maple

Yamaha upgrades its much-loved Pacifi ca range with a new model designed to appeal to more experienced Blues and Rock players. But is Doug Cartwright convinced?


PROS:Fantastic Blues and classic Rock tones

Supreme playability

Quality hardware

Cool vintage take on Pacifi ca aesthetic

CONS:Tremolo set-up not ideal on our review

model

4.0STAR RATING

Yamaha Pacifi ca 611 VFM

‘S


neck, with a vintage yellow-y stain, was complimented by a quality rosewood fretboard.

The neck profi le of the 611 VFM felt slightly thicker than I’m familiar with from the 112, but still very comfortable in the hand and easy to manoeuvre on. The strings came set-up with a low and consistent action straight out of the box, partly due to the great fretwork on our review model. The guitar really felt like a professional instrument in my hands, with great quality construction throughout and all the controls in the perfect positions to be right at hand when needed.

Yamaha has gone for quality hardware on this guitar, and you really are getting a lot for the price. The new addition of the Wilkinson VS50 tremolo and Grover locking tuners perfectly fi nishes off a spec sheet that already includes a TUSQ XL nut and string tree and Seymour Duncan pickups; a Soapbar SP90 in the neck position and a Custom 5 in the bridge position. I thought




this was a fantastic, complimentary choice of pickups as the Custom 5 is a really great humbucker for Blues and classic Rock with a medium output that produces less distortion than many ‘Rock’ pickups but still has a clear, strong and noticeably warm tone. Meanwhile, the SP90 produces a classic warm Soapbar tone, smooth and sweet and once again ideal for the vintage gain-type tones beloved of Rock and Blues guitarists.

Yamaha has further enhanced the versatility of the guitar by adding a push-pull tone knob to coil tap the Custom 5 pickup in the bridge position, a standard feature of the Pacifi ca range. The Custom 5 produced pleasing single coil sounds when the coil

tap was engaged, with convincing country-style cleans and classic thin-distortion tones for riffs and bluesy chords. It’s a great feature that many players will continue to appreciate, especially useful for covers gigs and other environments where covering as much of the spectrum of guitar tone as possible with a single instrument is a necessity.

Of course, the real news for the 611 VFM is the new tremolo system and locking tuners. The Grover locking machine heads really did their job as expected from such an established brand, but the Wilkinson VS50 surprised me a little. The bar felt stiff and not as responsive as I expected. While it

Yamaha Pacifica 611 VFM


Morley



was great for scoops and divebombs, it was virtually impossible to create subtler vibrato effects as it came set-up from the factory. I experimented with the bar and removed the tremolo cover on the back to check how many springs they’d installed, but it was the standard three spring set-up and not four, as I thought may have been the case. At the end of the day, tremolo set-up is a personal preference and the Wilkinson trems are known for being very adjustable - you can set exactly how the bar falls away after use for example. In my opinion this guitar would benefi t from the use of slightly longer tremolo springs, which would be under less strain when the guitar was tuned to pitch and therefore require less pressure to generate motion. If this were done the bar would be much more sensitive to subtle use.

On the plus side, the bar did return to zero every time and pairing it with the Grover locking machine heads has resulted in the 611 VFM consistently holding tune. Rock players may very well prefer the stiffer tremolo set-up as well, as all the typical Rock whammy bar tricks are still very much

accessible whilst more aggressive playing and palm muting will have less effect on the tuning stability of the instrument. For anyone looking for a more sensitive tremolo, replacing the trem springs is also a simple and inexpensive procedure.

Despite minor gripes with the tremolo system set-up, overall this guitar completely impressed me. It sounds fantastic, plays exceptionally well and has a great vintage-inspired twist to the classic Pacifi ca aesthetics that really suit the raunchy Blues-Rock tones it excels at. Considering the amount of quality, name-branded hardware included I also think it’s safe to say Yamaha has upheld its reputation for value-for-money instruments.

Players who’ve started out with the 112 Pacifi ca and are looking to upgrade to a more professional instrument will fi nd the 611 VFM instantly comfortable, while players new to the Yamaha world and looking for something versatile to primarily play Blues and classic Rock on would do well to check one of these out. •



MSRP £538 US $ N/A

Made in: Unknown

Construction Bolt-on

Scale Length 25 1/2” (648mm)

Fingerboard Rosewood

Radius 13 3/4” (350mm)

Frets 22

Body Alder

Neck Maple

Tuners Grover Locking Tuner

Bridge Wilkinson VS50-6

Pickups Seymour Duncan Vintage Soapbar SP90-1n, Custom 5 TB-14

Pickup Switch 3 position lever

Controls Master Volume, Master Tone (Push-Pull Coil Split)

TECH SPEC


f there was one amp that Marshall needed to reissue it was the 100

Watt EL34 driven Silver Jubilee 2555 head from 1987. It was only made for just over a year making it now very collectable. The original was a great sounding, great looking amp that signifi ed 25 years of amp production, and 50 years of the late Jim Marshall being involved in the music business. Hence the Silver Jubilee series of amps were given the designation 25/50.

The original was also one of the fi rst amps to have pentode/triode switching, which meant you could half the power from 100 down to 50 Watts. It was also one of the fi rst Marshall amps to have some kind of channel switching, although what this actually was in practice was a pre-amp circuit that had three gain modes, clean, rhythm clip and the Lead Channel, which worked its magic on what is a single channel amp, pretending to be a two channel wonder. The 2555 was essentially

a hot rodded JCM800, which was the amp that got Marshall back to being the market leader in the late ‘70s. Any version of the JCM800 was and is a great amp to own, but the 2555 Silver Jubilee version was a cracker.

The re-issue 2555x largely stays faithful to the original, but there are some internal tweaks to make this version quieter and more reliable in operation. Also, the channel switching has been improved to make that side of things bomb proof. The original did develop a problem in that area from time to time and I bet the repair guys at the factory got bored repairing that particular foible as the original amps got some mileage behind them. There are now separate impedance outs for different speaker combinations rather than the slightly awkward selector found on the original. The input jack is now chromed and stronger and the handle is slightly different.

One of the great Marshall classics - the Silver Jubilee 2555 head - is reborn. But is it Frankenstein’s monster or a sleeping beauty? Michael Casswell prodded it with an expensive electric guitar, to fi nd out.

REVIEWS_AMP REVIEW

PROS:An all-time classic

reborn

Handmade

Probably even better than an original

CONS:None at all

4.5STAR RATING

Marshall 2555x head and 2551AV Cab

‘I


Any of these tweaks and deviations from what we got in 1987 seem to be there to improve things rather than cut costs and improve profi t margins. Marshall has taken the original design and improved it. I would personally take this reissue over the original, simply because of the peace of mind that goes with it.

In terms of getting the best from the 2555x, the choice between the Clean or Rhythm Clip channels is made by engaging a push-pull pot, so you would choose between the two settings and use the footswitch to activate the Lead channel. It’s all a bit of a balancing act to get the best settings for your

style or tone, but where ever you set the gain stage, plenty of dynamics can be got from working your guitar volume pot or even by adding extra stomp boxes such as overdrives, compressors and boosters. All Marshalls respond well to pedals and this is no exception. There should be enough Marshall gain for most tastes but it is almost standard practice to push the front end with a drive pedal to take things over the top if needed. The 2555x also has a series effects loop for your modulation effects.

There is just a single global EQ section which works well enough, but again you may have to fi nd the balance that gives you

One of the great Marshall classics - the Silver Jubilee 2555 head - is reborn. But is it Frankenstein’s monster or a sleeping beauty? Michael Casswell prodded it with an expensive electric guitar, to fi nd out.



that perfect setting that will work for both the clean and dirty side of things and cater for the tones you will need to use live. Generally, I tend to crank the bass on most Marshalls and then set the treble and mids around 2-3 o’clock depending on cabs and speakers. The presence control is best adjusted to the room you are playing in. The gain sound you get from the 2555x is a great refi ned ‘80s-’90s era tone. It’s from a time when there were solos in songs and the tone and execution of the guitar parts were crafted and really counted. Some would say it’s one of the best solo sounds

Marshall came up with. I would say it’s up there as one of the iconic tones from any era Marshall. Check out the video and hear it for yourself. Note the equally fabulous 2551AV 4x12 that Marshall kindly loaned us to use with the head. Why would you choose anything else?

I like this amp very much and have been looking for an original for a long time now. It was a smart and wise move from the guys at Milton Keynes to reissue it. I may just have to come to an arrangement with the people in charge at Marshall to end up the owner of this actual one. Yes, it’s that good!

REVIEWS_AMP REVIEW



PRS


As always with expensive gear, we agonised for a while about a rating but, really, how can you say a handmade British-built Marshall for this sort of money is anything less than excellent value? If you have any doubts, compare it with the prices being asked for some of the ‘boutique’ amps you see around these days! •

REVIEWS_AMP REVIEW


Marshall Model 2555x head and 2551AV 4x12 cab

Head: MSRP £1099 US $1899

Cab: MSRP £799 US $1299

Made in: England

Model 2555x

Range Vintage Re-Issue

Technology Valve

Channels 2

Wattage 100w

Inputs 1

Controls Input Gain (PULL Rhythm Clip), Lead Master, Output Master, Treble, Middle, Bass, Presence,

Pentode/Triode Switch

Valves

Preamp 3 X Ecc83

Power Amp 4 X El34

Accessories

Footswitch Pedl-90003 Included (1 Way Channel No Led)

Cables Speaker & Power

Weight (KG) 22.1

Dimensions In Mm (W X H X D) 740 X 315 X 210

Other

Fx Loop

D.I. Output

TECH SPEC



aney’s Lionheart series of amplifi ers has been something

of a revelation since it was released, offering boutique tone at extremely affordable prices. Available in 50, 20 and 5 Watt models, the Lionheart series has been a resounding success for the company, fi lling the ‘clean and pedal platform amp’ gap that existed in their product range of mostly high gain amplifi ers. The Lionheart L5 Studio, which we were sent for review, is a small format 5 Watt head and represents the smallest output stage in the range. It’s taken directly from the Laney L5T-112 12” combo being a single ended, Class-A design featuring a trio of 12AX7 tubes in the pre-amp and a single, hand picked, premium grade Ruby EL84 in the power stage. Just as a standalone amp the L5 Studio head would be a great package, but Laney has included some unique additions to the design to produce what could be seen as the ultimate recording package for guitar

players, in the form of its T-USB technology, borrowed from the IRT-Studio amp, turning the L5 Studio in a fully-fl edged audio interface for laying down tracks and reamping from your DAW of choice.

The Lionheart has always been a good looking amp with a classic, vintage and very British feel. Not everyone will fall in love with the blue Tolex covering but I love it (and in fact I currently use an L20T-212 combo as my main amp of choice since it’s such a great pedal platform that also looks really good on stage). The range shares the same overall look, with mirrored front panels and white, chicken head knobs, matched with the vintage-style Laney logo.

The L5 Studio is a two channel design with a shared EQ section and digital spring-style reverb. The Clean channel features a Volume control and Bright switch, whilst the Drive channel has both Gain and Volume controls with a High and Low

Has Laney produced the best yet small, all-tube, recording amps? Tom Quayle was impressed. Then we told him the price...

REVIEWS_AMP REVIEW

PROS:Boutique tone

Dual channel

Awesome I/O with T-USB interface and

reamping options

Emulated DI Out

Superb Build Quality

Incredible value for moneyy

CONS:None, even at twice

the price

5.0STAR RATING

Laney Lionheart L5 Studio Head

‘L


Has Laney produced the best yet small, all-tube, recording amps? Tom Quayle was impressed. Then we told him the price...



input for driving the preamp tubes harder or lighter, offering a surprising amount of gain from the drive side and high input option. A powerful master Tone control allows you to brighten up and add sparkle to the overall tone without altering your three band EQ section and offers a broad sweep of settings for quickly sculpting your tone on both channels. Finally a Reverb control dials in the desired amount of the very musical and pleasing digital reverb that really enhances an amp that is a pleasure to play without anything other than your guitar and cable plugged in the front end.

On the back panel you’ll fi nd all manner of ins and outs including the balanced XLR

DI out with switchable speaker emulation, USB port for recording signals to your DAW with a ‘Dry Record Gain’ dial and ‘Re-Amp Send’ jack, a Headphone jack with a level and source control (you can actually monitor signals from the USB port just like a normal audio interface!), AUX in and a switchable effects loop and input with the included footswitch. Finally you’ll fi nd speaker outs for both 5W and 0.5W operation, allowing bedroom level boutique tones for practice or recording. The sheer amount of features that Laney has packed into this little head is mind blowing and makes this already very affordable head even more amazing value for money.

REVIEWS_AMP REVIEW



Yamaha


The included T-USB interface allows you to record both a dry DI guitar signal and the tone from the pre and power stages, giving you the option to ‘reamp’ your tone later down the line for the ultimate in studio fl exibility. This means you’re never committed to the tone you used on the day of recording and makes the L5 Studio a very affordable and portable reamping tool. The emulated DI out sounds and feels very good to play and gives you a viable alternative to miking a cab at a gig and plugging direct into the PA instead.

Build quality of the entire Lionheart range is superb and despite this very affordable price it doesn’t seem like any corner cutting has taken place in the manufacturing. There are no rattles or weird noises from the chassis as

can be found in other more budget minded amps and all of the controls feel solid and responsive with positive thunks from all of the switches, this going a long way to enhancing the boutique feel of everything.

The L5 is a superb sounding amplifi er that really lives up to the boutique ideals that Laney has placed upon it. The clean channel is especially good, with a chimey and punchy dynamic response that easily rivals amps costing three or four times the price and makes for a fantastic pedal platform with everything plugged in the front end, but with the fl exibility of the FX loop when you need to use the drive channel. The drive can range from being a useful second clean channel with a different response and feel, to a raging lead tone with a boost in the front

REVIEWS_AMP REVIEW


end and is always very responsive and fun to play. I could see a lot of players buying the L5 purely for the amazing clean tones, but the addition of the Drive channel makes this amp even more versatile and appealing.

The L5 Studio head would be so easy to recommend just on the strength of its tone and size alone, but the addition of the T-USB interface and impressive I/O capabilities make it impossible to pass up on in my opinion. To get this level of boutique tone, versatility, build quality and recording/reamping power at this price point is quite simply staggering. Laney has produced a

modern classic with the Lionheart L5 Studio Head and you’d have to be crazy to not try one out for yourself.

We liked this one (and its price!) so much that we threw the rule book out of the window - it’s fi ve stars all the way and regular readers will know how rarely we do that! •

Laney L5 Studio Head

MSRP £439 US $699.95 (street)

Made in: China Power 5W & 0.5W RMS Inputs 2x Jack, Hi & Lo Channels Clean & Drive Channel Controls Clean Volume, Drive & Drive Volume Equalisation Passive Bass, Middle, Treble & Tone Preamp Valves 3 x 12AX7 Output Valves 1x EL84 Class Single-Ended Class “A” Reverb Digital hi quality studio reverb Footswitch FS2 (Included)

Speaker connections 0.5W & 5W output jacks FX Loop(s) (series/switchable level) Cabinet Design Marine Grade Plywood cabinet with retro banding strip, leather strap handle Master Section Global EQ, Reverb and Tone controls Cover Supplied with custom embroidered slip cover Weight 7.8kg Unit Dims - for int. case (HxWxD mm) 90x420x185 RE-AMP Enabled Yes - Re-amp functionality USB Connectivity T-USB USB connectivity DI Socket Balanced DI output with Speaker Emulation

TECH SPEC

REVIEWS_AMP REVIEW



Digitech


he MultiComp Guitar Edition compressor

is one of the three fi rst launched pedals in EBS’s new Red Label Pedals, along with the DynaVerb Guitar Edition and Red

Twister Guitar Edition. They all come with the heritage of the well regarded EBS Black Label Pedals which, though they were designed for bass, have also been used by world-famous guitarists for years. With the Red Label range, what EBS has done is optimise the performance for guitar, including input from some of the most busy Swedish session guitarists and the staff from the famous TGT11.se pedal specialists store in Stockholm, Sweden.

EBS Red Label Multi Comp Compressor

PROS:Top quality tone

Very easy to use

CONS:Internal switch

EBS? Shouldn’t they be down in the Bassment section? Not this time, as Sweden’s masters of all things low-end have now turned their attention to guitar FX. How to do they stack up? Lewis Turner fi nds out.

REVIEWS_PEDAL REVIEW

EBS Red Label Multi comp, Red Twister and DynaVerb

4.0STAR RATING

‘T


Let’s start by covering the basics. All three pedals share the following: 9 volt battery, or standard power supply, average stomp box size with high build quality and true bypass signal relay switching. Right, now onto performance!

With just two knobs. comp/limit and gain, dialling in a sound is a painless affair on the MultiComp. The addition of a three

way switch in the middle allows you to select from a variety of compression sounds: Normal/Mix/TubeSim. This really does make it a plug in and play pedal. For those that need more, there is an Active/Passive switch on the side as well as a trim pot for the Threshold, located internally. We’re not very keen on internal switches, but I suppose that this is one you won’t need to adjust very often - which is just as well!

EBS? Shouldn’t they be down in the Bassment section? Not this time, as Sweden’s masters of all things low-end have now turned their attention to guitar FX. How to do they stack up? Lewis Turner fi nds out.




This is an impressive, easy to use, transparent compressor pedal. I like the fact it’s very easy to dial in great sounds. I also liked the three way switch that gives you instant access to typical compressed sounds. Even turned all the way up it didn’t squish the tone to a horrible un-musical amount and it sounds really good!

EBS Red Label Red Twister

PROS:Good transparent usable tones.

Easy to use

CONS:That internal switch!

EBS claims that this pedal is built with the best analogue processing circuitry available, giving a smooth, warm and fat sounding chorus/fl ange effect, useful both for live and studio performances. Well, you can judge that from the video, of course, but I’d say that’s a pretty fair assessment.

The Red Twister is built on the legacy of the EBS UniChorus studio edition bass effect, but with adjustments of delay times and frequency range to match the guitar. The pedal output can run in mono or stereo. As with all three pedals simplicity is key, and less is more! Once again just the two controls and three way switch, ranging from Soft – Heavy – Flange. It’s great that this pedal offers a Flange setting too, making it much more than just your average Chorus stomp box and living up to its claim of being “An Analog studio



Fishman


quality chorus, fl ange and pitch modulation effects for guitar”.

The quality of sound and tone is excellent, making it a musical rather than just a ‘crazy sounds’ pedal.

Under the hood of the Red Twister, there’s a mix level control that lets you decide how

much or how little of the effect you’d like to be blended with the original tone. It’s a great feature that would be even better if you didn’t have to take a screwdriver to the thing in order to adjust it, that’s just plain annoying!

EBS Red Label DynaVerb

PROS:High quality musical reverb

CONS:Maybe not enough controls for a “tweaker”

Nothing to really stand out from the crowd


This reverb pedal uses 24-bit digital processing circuitry designed for outstanding and noiseless performance on stage and in the recording studio. It has stereo input as well as stereo out and features three different

Modes or types of reverb - Room, Plate and Hall. Room and Plate can run in three variations, A, B and C, while the Hall reverb offers two variations A, B (C same as B). Making a total of eight different reverbs. The controls simply set the volume for the effect, and how much of the reverb you’d like to blend in.

There are many reverb pedals on the market, as well as amps that come loaded with great sounding reverb already installed.

3.5STAR RATING


Therefore, trying to get one that stands out from the crowd is a tricky thing. There is no doubt that the DynaVerb is a very good reverb pedal, clear, transparent and musical with a wide variety of settings. Having said all that it didn’t jump out at me as “wow this is the best reverb I have ever heard!” It was more a case of, “Yeah this is another good reverb pedal”, and so there is not much more to say other than that it’s easy to use and sounds great!

That said, have a listen to the video and see what you think. If what you want is a high

quality reverb without fuss, this could suit you just fi ne.

The verdict

These are three great new pedals from EBS. All sound fantastic and are easy to use and set up. I have a couple of personal issues with “internal switches” but maybe that’s just me. I look forward to seeing and trying more guitar specifi c pedals from EBS, as I consider these a real success. •

EBS Red Label FX

MSRPs:

EBS MultiComp: £149 US TBC

EBS DynaVerb: - £159 US TBC

EBS Red Twister: - £149 US TBC

Made in: Sweden

Detailed specs: http://www.ebssweden.com

TECH SPEC


f you’re struggling to fi nd a bass player and drummer to play

with, or you’ve fallen out with your existing band mates then DigiTech has come up with the perfect solution for you in the form of the Trio Band Creator pedal. This is one of those pedals that you plug into and then struggle to understand how what it achieves is even possible, since its purpose is to listen to what you play and then, like magic, build a complementary bass and drum part to match your chords and time feel. With multiple on-board genres and styles the Trio can take on everything from straight ahead Rock, to Reggae, Jazz, Funk and Blues with many variations and multiple time signatures that should cover almost any musical scenario you fi nd yourself in.

The pedal itself is pretty easy to operate given the number of controls and potential complexity of all of the LED’s and options available to the user. You’ll need to read the manual to really

understand the full potential of the Trio pedal but there is nothing here that should confuse even the most tech-phobic guitarist. The main idea is that you put the Trio into listen mode and then play a sequence of chords. The unit then analyses your chord sequence, fi guring out the key and any non-diatonic chords and comes up with the most appropriate bass line and drum part to match what you played. Remarkably the process is instantaneous, the unit playing back your bass and drum part as soon as you hit the footswitch after playing your chord part.

The Trio’s chord recognition is superb, although DigiTech recommend that you only play basic triads or 7th chords with only one chord per measure to get the best results and we can confi rm that this will often yield the most accurate results and since only the bass and drums are performed by the pedal, you can perform more complex voicings once your bass line is playing.

A whole band? In a box? DigiTech’s latest is one of the most intriguing pedals yet. Tom Quayle gets to grips with a bit of a sensation.


PROS:Very cool idea that

works well in practice

Good drum and bass sounds and a wide

range of styles/genres

Easy operation

FS3X footswitch option makes sense for

live use

Great writing tool

Superb value for money

CONS:Can be a little

unpredictable in use from time to time

4.5STAR RATING

DigiTech Trio Band Creator Pedal & FS3X footswitch

‘I


If by any chance the pedal misinterprets your style or rhythmic feel (this happened quite a few times during our review video) you have a wide range of options for tailoring the bass and drums after the fact, thanks to the genre and style controls. The genres on offer are Blues, Pop, Alt Rock, Rock, Country, R&B and Jazz with each genre having twelve sub-styles or variations, nine of which are in 4/4 time and three in ¾ time. All of the sounds on offer are convincing, with appropriate grooves and a realistic sound for both the drums and bass. From time to time the pedal will interpret the groove in an odd way, producing a result that doesn’t always resemble the time feel you were going for,

but it seemed almost impossible to confuse the unit chordally and it always produced an appropriate bass line for the chord part played and it’s very easy to alter the groove afterwards with the genre and style controls to achieve what you need. An Alt Time switch allows you to select between standard, double time or half time feels depending on the style or genre selected and a tempo dial will speed up or slow down the groove without affecting sound quality at all.

Up to three separate parts can be recorded and easily selected using the small part LED buttons at the top of the pedal. With the optional FS3X footswitch you can select




JHS


parts and grooves/styles with your feet as opposed to having to operate the dials and buttons on the pedal for a more seamless, musical approach. DigiTech has also included very useful mix controls for the volume of the bass and drum parts, allowing you to remove either part or produce a bass or drum heavy mix as desired. Cleverly, the company has also included the ability to split the outputs of the Trio giving you a few options as to where you send the guitar and band signals. Using the Amp output you can send the guitar and drum/bass mix to your amp and the band is EQ’d to match your amplifi ers speaker. Using only Mixer output the pedal will apply an amp and cab simulation to your guitar so that you can send the entire signal to a PA or mixer for live use or recording. The Guitar FX button can be engaged to apply some appropriate FX to your guitar signal for each style. Alternatively, you can send your guitar to your amp via the Amp output and send the band signal to a PA/mixer with a Stereo TRS or mono cable for the best sound quality. A USB port is included for future fi rmware

updates and a headphone out is located at the top of the unit with a dedicated volume control for practice sessions. It’s also built like a tank and feels very high quality in operat ion with both the Trio and FS3X footswitches being very smooth thanks to the use of non-latching switches.

The Trio is a massively impressive pedal that performs a very unique function that I’m sure will appeal to many guitarists - especially those who do solo gigs or need to try out ideas quickly in practice or writing sessions without the hassle of getting a band together. It can be a little unpredictable at times getting the pedal to interpret your groove and time and this would make me a little nervous about using the Trio for live purposes, but as a practice and writing tool this could be invaluable. The FS3X is a very useful addition if you want to get the most from the Trio and an essential buy if you want to use it live. The Trio is a great achievement from DigiTech and is well worth checking out, especially at the very generous asking price. •



DigiTech Trio Band Creator

MSRP £149 US $279.95

Made in: Unknown

Seven Music Genres and Twelve Song Styles Per Genre to Choose From Can learn up to three different song parts that can recalled on-the-fl y Adjustable Tempo & Alternate Half Time/Double Time Variants Bass & Drum Level Controls Hands-Free Control Using a DigiTech FS3X Footswitch (optional) Amp & Mixer Outputs Headphone Output w/Level Control Instrument Input ¼” Unbalanced (Tip-Sleeve); Control Input ¼” TRS (Tip-Ring-Sleeve) Input Impedance 1 MΩ Output Amplifi er ¼” Unbalanced (Tip-Sleeve); Mixer ¼” Unbalanced (Tip-Sleeve); Headphone 1/8” Stereo Output Impedance 1 kΩ Switches Soft Click,

Vacuum Style Footswitch Controls Genre, Style, Tempo, Bass, Drums; Guitar FX, Song Part, Alt Time buttons; Headphone Volume, Pedal On/Off Power Requirements 9 VDC external power supply (required) Power Supply Model PS0913DC-01 (US, JA, EU); PS0913DC-02 (AU, UK) Power Supply Output 9 VDC 1.3 A Dimensions 2.5 H x 5.4 L x 3.25 W (63.5mm x 137.2mm x 82.6mm)

TECH SPEC



e all love a good tremolo effect. It’s

one of those timeless effects that doesn’t seem to date nor fall out of fashion. There are many trem pedals on the market to choose from but surely this Seymour Duncan Shape Shifter has to be the most comprehensive and versatile available? If it isn’t, I would be very surprised.

One of the features that sets this pedal apart from the competition is that it gives you complete control over the wave form that forms the basis of a tremolo effects. You can choose from a smooth sine wave, similar to the effect found on popular vintage amps, or a choppier triangle wave or even the on/off pulse of a square wave. The wave control pot gives you complete control of these wave forms plus all the subtle in between wave forms as you move between each one. Usually that would be enough on a standard trem pedal, but the shape function allows for variation of the tremolo rise and form time as well, which

is basically how fast or slow the volume increases or decreases. Every tremolo pedal comes with a depth pot and this is no exception. The depth pot, in case you don’t know, is simply how much of the effect do you want to hear. The combination of wave, shape and depth give a never ending choice of great trem effects that can range from a polite shimmer to a full on helicopter rotor sound. You could argue that for some, the range and combination of sounds you can get may be a bit complex to take on board, but surely it’s better to have the options rather than not, and the more you live with the pedal the easier it would be to dial in the sounds you hear in your head.

The pedal also gives you a versatile tap tempo foot switch function. The onboard mini toggle switch gives you two tap tempo options. In rate mode, you simply get the tempo you tap in with your foot, but in ration mode, the tempo you tap in gets multiplied with the options 1-1,2-1,3-1,4-1. This is a great tool because tapping in super

Seymour Duncan may have been late coming to the stomp box party, but the company never does things by halves and we’ve seen a steady fl ow of top notch FX coming from the Californian tone master over the past year or so. But tremolo pedals are famously tricky to get right. Michael Casswell fi nds out if this newcomer is a step too far.


PROS:Possibly the best trem

pedal yet

Versatile

Very controllable

Stereo!

CONS:Not cheap (but worth

it!)

4.5STAR RATING

FOR EACH

Seymour Duncan Shape Shifter

‘W


Seymour Duncan may have been late coming to the stomp box party, but the company never does things by halves and we’ve seen a steady fl ow of top notch FX coming from the Californian tone master over the past year or so. But tremolo pedals are famously tricky to get right. Michael Casswell fi nds out if this newcomer is a step too far.


fast shimmer effects is pretty impossible with your foot, as is a 3-1 triplet, but the ratio mode takes care of this and is very cool addition.

There is more. As good as this pedal sounds in mono, in stereo it will open a whole new world of sonic greatness. You can go mono

in stereo out, or stereo in stereo out, so with two amps, all sorts of pan trem effects can really add to the recipe. This can be fi ne-tuned with the small channel phase pot at the top centre of the pedal. This will control the sweep and depth of stereo you get when using the stereo function.

With a true bypass analogue signal path and pulsating blue light telling you the time that it is set to, the Seymour Duncan Shape Shifter really has all bases covered. It is also just as good for use with keyboards and acoustic instruments as it is with us electric guitarists. The signal to noise ratio is superb and it’s really quiet in operation.

Some effects you need to use sparingly, otherwise they lose their impact. Imagine you are

playing an hour set, but you have a fl anger pedal permanently on. How tiresome and annoying would that become for your other band members and the audience? Very would be the answer! It would also be the same with a tremolo effect. Used sparingly it’s a


very cool colour to a guitar sound, but over used, it can lose its mojo. So bear that in mind with this Shape Shifter, which is a truly great sounding and versatile tool when used tastefully and sparingly. I have a few industry standard trem pedals, but this Shape Shifter is in another league!

Not cheap, but defi nitely the best yet! •

Seymour Duncan Shape Shifter Tremolo

MSRP £249 US $325

Made in: USA

Casing: steel

Inputs two x 1/4”

Outputs two x 1/4”

Power: 9v battery or mains via transformer

Height 1.6” Width 4.7” Depth 3.5”

Weight 0.9 lbs.

TECH SPEC




Stetsbar/ Petersons


oss Overdrive and Distortion pedals have been around since the

late ‘70s. Back then, the only real competition Boss had was the MXR brand. Nowadays, however, the market is absolutely saturated with companies churning out stomp boxes that will do anything you can think of to your sound, and some come with ludicrous price tags due to them falling in to the ‘boutique’, ‘hand built’, or ‘vintage’ categories. Throughout these trends, Boss pedals have remained an industry standard used by beginners and seasoned pros alike. They are well designed, simple to use, and above all they do whatever they are designed to do really well for a fair price. How good they sound depends largely on the player using them and his or her understanding of tone and how to get it, but that applies to any pedal you buy. Some players out there seem to think that an expensive boutique pedal costing hundreds also comes with the talent and ability included!

With that in mind these DS1-X and OD1-X pedals represent Boss putting 37 years of know how into their MDP technology. MDP stands for Multi Dimensional Processing, which is a marketing way of telling us that the electronics in these pedals do the job really well and you won’t be disappointed. I am very familiar with the original DS-1 and OD-1 pedals because I have owned the original Japanese issue versions for a very long time. In my early years they came in handy, but in more recent times my collection of pedals has grown and therefore so has my choice for usage to create a tone. So how do these re-workings stand up? Read on.

Boss DS1-X

The thing I remember about the original DS-1 was that its sound was very dependent on what amp and pick ups you were using. Any distortion pedal is designed to work best with a cleaner type of amp that acts as a blank canvass for you to shape all the sound with the pedal. If you put the older DS-1

Roland’s Boss is undergoing a reawakening with a string of hot new pedals that are winning over a new generation of players. Some of the newcomers (like the Waza models reviewed in GIs 32 and 35) are re-imaginings of past Boss glories. Michael Casswell, a bit of a Boss afi cionado, assesses two of the latest tweaks from the master effects builder.


PROS:Usual Boss build

quality

Even better than the originals

Improved noise levels

Surprisingly versatile

Good prices

CONS:None at all

4.5STAR RATING

FOR EACH

Boss Special Edition OD1-X and DS1-X

‘B


Roland’s Boss is undergoing a reawakening with a string of hot new pedals that are winning over a new generation of players. Some of the newcomers (like the Waza models reviewed in GIs 32 and 35) are re-imaginings of past Boss glories. Michael Casswell, a bit of a Boss afi cionado, assesses two of the latest tweaks from the master effects builder.


into an amp that was already dirty, or generally maxed out the settings on the pedal, it would turn in to a compressed mush with no attack at the front of the note especially if you had hot output pickups. This modern DS1-X version seems a lot more sorted in its application. The attack stays no matter if your amp is clean or dirty, and the artifi cial fi zz that could easily be got with the original seems absent. There is also very low hiss and general noise on the DS1-X even on higher settings, which is a huge improvement on the older version.

The sound is very usable. Bags of full-on Distortion that you can tailor with the high and low EQ pots, or you can even use it as a good usable boost for your amp if you back down the drive pot and push up the level pot. Backing down the settings on the older DS1 wasn’t one of its strong points, and

into an amp that was already dirty,



it just gave average results. The DS1-X also keeps the character of the guitar you are using, which

the original DS-1 struggled to do.

Boss OD1-X

The original OD1 was born in 1977 and everybody

very quickly discovered that if you combined

it with a decent crunchy valve amp

and turned it all up to rude volumes, the sound was unbelievable. It still is! An original OD1 will cost you a lot of money if you can fi nd one

secondhand, because they have transcended into

vintage cult status for doing what they do really well.

Just so you are clear, an overdrive pedal is designed to give you more of everything from an already cooking amp. The OD1-X will give you everything

the original does but much more. You have the added high and low EQ pots, plus the drive will go way past what the original can deliver. All this plus it is so much quieter in use. If it was a choice of taking the original OD1 or this OD1-X to an important gig or session, I


it just gave average results. The DS1-X also keeps the character of the guitar you are using, which

the original DS-1 struggled to do.

Boss OD1-X

The original OD1 was born in 1977 and everybody

very quickly discovered that if you combined

it with a decent

secondhand, because they have transcended into

vintage cult status for doing what they do

it just gave average results. The it just gave average results. The



would choose the OD1-X without question. It’s way better, very organic sounding and again, keeps the character of your guitar and amp. That’s a big statement, because the original OD1 is great pedal too.

The Verdict

Boss is clearly on to something with its multi dimensional processing (MDP). Both these pedals sound good and you can blur the lines between the two. The OD1-X on higher settings will give you similar tones to the DS1-X on lower settings. I would personally go for the OD1-X of the two, purely because I prefer to use overdrives and boost pedals

in combination with high power amp heads, and it’s how I do my ‘thing’, but if you twisted my arm I would be happy to use either. No, they are not true bypass, but so what? The buffers in these pedals are so good your tone and signal will be helped, rather than hindered, especially if you use passive pick ups and a lot of pedals in a board (I am a big EMG active pick up user, so the buffer vs. true bypass argument isn’t so much a concern). I am very impressed with both these pedals and with any half decent amp, they should prove very versatile and musical in use. Make a point of checking them out and make a special note of the price. We reckon they are great value. •




Boss Special Edition DS1-X and OD1-X

MSRP DS1-x £109 US $243.50

OD1-x £119 US $243.50

Made in: Unknown

DS-1X

Nominal Input Level -20 dBu

Input Impedance 1 M ohm

Nominal Output Level -20 dBu

Output Impedance 1 k ohm

Recommended Load Impedance 10 k ohms or greater

Controls:

Pedal switch

LEVEL knob

LOW knob

HIGH knob

DIST knob

Indicator

CHECK indicator (Serves also as battery check indicator)

Connectors

INPUT jack

OUTPUT jack

AC adaptor jack (DC 9 V)

Power Supply - 9v Battery

Expected battery life under continuous use

Alkaline: Approx. 9 hours

Carbon: Approx. 2.5 hours

Width 73 mm 2-7/8 inches

Depth 129 mm 5-1/8 inches

Height 59 mm 2-3/8 inches

Weight 450 g 1 lbs.

OD-1X

As above but:

Controls

Pedal switch

LEVEL knob

LOW knob

HIGH knob

DRIVE knob

TECH SPEC


A L L Y O U N E E D T O T A K E Y O U R S O U N D O N S T A G EA L L Y O U N E E D T O T A K E Y O U R S O U N D O N S T A G E

LIVESOUND!


Everyone’s favourite Rock vocal coach, Jaime Vendera continues his brand new season!

Hey future Rock stars, welcome to another Vocal Bootcamp. In this lesson, we will revisit a few of my Isolation exercises which I covered in the fi rst session of the Bootcamp, and I’ll add in a new exercise to complete the trilogy of ultimate voice-strengthening exercises. As well, I’ll give you a few mp3s to help guide you through each exercise. If you’re familiar with my book, Raise Your Voice, and are a member of Vendera Vocal Academy, then this lesson will be nothing new. But for those of you working on more range and power, I can honestly say that these exercises will change your voice!!! I have never found any other exercises to strengthen your voice quicker or more effective than the Isolation exercises. I’ve taught the Isolation exercises to thousands of students for nearly 20 years; and now it’s your turn.

Before working out your voice with Isolation exercises, remember to ALWAYS warm up. The best way to warm up is by performing my Vocal Stress Release program (explained in my book, Raise Your Voice and my video, Beyond the Ultimate Vocal Warm Up) as you simultaneously perform your vocal warm up exercises. Don’t forget, you can get my Ultimate Vocal Warm Up mp3 for free at http://venderapublishing.com/mp3s/2010/11/18/the-ultimate-vocal-warmup.html.

FYI - I personally create my own warm up scales with my app, TUNED XD. Just sayin’.

WHAT ARE THE ISOLATION EXERCISES?

Over the years, I’ve performed so many variations of vocal scales that I burned myself out and eventually hated any

LIVE SOUND_JAIME VENDERA’S VOCAL BOOTCAMP

VOCAL BOOT CAMP - J A I M E V E N D E R A ’ S

VOCAL BOOT CAMP - Season II


VOCAL BOOT CAMP - VOCAL BOOT CAMP - Season II


form of vocal exercise. So, I took a long vocal break. Ironically, I regained my passion for vocalization one day in 1996 when my friend Troy asked me to help him extend his vocal range so he could sing, “Pull Me Under” by Dream Theater. (The irony is that I’ve since worked with James LaBrie. So in essence, my student from years later is the reason I started teaching in the fi rst place, ha-ha.)

I am probably repeating myself from an earlier Vocal Bootcamp, but just to refresh your mind, I obliged Troy, but I chose a different path than the typical vocal scale patterns. Tired of vocal scales, I grabbed my pitch wheel, which was sitting on the edge of keyboard, blew into the C keyhole and then proceeded to do an octave slide from low C to Middle C and back to low C. Troy took a stab at it and we continued until he was hitting the A above Middle C in full voice-FIVE notes higher than he’d ever reached before!!! Thus, my inner mind gears started turning and the Isolation Method was born.

It took several years of fi ne-tuning, but I eventually created my own method, the Isolation Method, which consists of three basic exercises - Falsetto Slides, Transcending Tones and Sirens. Each exercise makes your

voice naked, revealing your strengths and weaknesses. By practicing these exercises for fi ve to six days per week, you will eliminate those weaknesses and enhance the strengths you already possess. The Isolation exercises are the simplest and most effective way to take your voice to the gym to essentially perform bench presses, squats, and deadlifts with your vocal cords!

The Isolation exercises work so effectively because they allow the vocal cords to adduct to every pitch and tonal position within your current range. As you build more strength within the groups of muscles that help sustain each pitch, you WILL expand your range, making your “high” and “low” notes stronger and easier to sing. This happens by performing all three exercises together in a precise order to gradually add vocal weight to the voice by starting in falsetto, moving from falsetto through a mixed tone into full voice, and fi nally full voice alone. Let’s look at each exercise.

EXERCISE BASICS

Before we begin, I suggest you commit the following basics to memory:



1-Decide on a beginning pitch and stick with that pitch as your starting point for at least one month. I call this your Point of Reference in Raise your Voice. For males, it is typically Middle C, while females typically start on the F above Middle C.

2-Always remember your technique basics, which are your breathing, support, and placement. I will not explain them here because you should know these by now this far into the Vocal Bootcamp.

3- When performing an exercise, always start the vowel with a Y (Yah, Yay, Yee, Yoh, You) to prevent from using too much breath and creating an H sound (Hah, Hay, Hee, Hoh, Hoo) or a glottal shock, which is a slapping attack or a bursting sound at the beginning of the vowel. Breathy sounds and glottal shocks are both hard on the vocal cords and may cause swelling.

4- Watch yourself in a mirror to make sure those veins aren’t popping out in the neck. Remember, if the tendons in your neck are showing, that is not an issue. Look for the bulging veins. If you see these veins, or if your voice cracks, or you feel strain, begin turning the head side to side like motioning

“NO”. This will break loose the neck tension which is pressing in upon the vocal cords and pharynx. This is explained in earlier Vocal Bootcamps.

Now, let’s look at each exercise:

FALSETTO SLIDES

Why We Do It - The Falsetto Slides are up fi rst because they require the least amount of muscle involvement and they help to warm up and stretch the voice fi rst, allowing you to reach higher notes than you might typically reach in full voice.

How We Do It - On Yah, Yay, Yee, Yoh, or You, start with the tiniest sound possible, keeping the volume super soft and tone as clean as possible (no typical falsetto breathiness). Sustain the initial pitch for a few seconds, then slide down to the bottom of your range, then back up to the initial pitch. Work as high as comfortable.

TRANSCENDING TONES

Why We Do It -This is the most amazing exercise on the planet. It building the muscles besides the vocal cords that bring the cords together. When in falsetto the glottis (opening between the vocal



cords) is wider, but in full voice the glottis is narrow. Transcending Tones take the glottis from wide to narrow position, building the strength to move from one tone to another and maintain that tone without strain.

How We Do It- On Yah, Yay, Yee, Yoh, or You, start with the tiniest falsetto sound possible, keeping the volume super soft and tone as clean as possible (no typical falsetto breathiness). Sustain the initial pitch for a few seconds, then swell volume from soft to loud while changing your tone from falsetto to full voice. This is NOT a slide. ALWAYS maintain the same pitch on this exercise.

SIRENS

Why We Do It - This is THE exercise I showed Troy. I came up with this exercise on the spot by thinking of my coach, Jim Gillette, performing his sliding screams from low to high. It made sense to me that it would work as a great vocal exercise. Now every coach I see on the Internet is using them...But yours truly is the coach who started it all.) Sirens help to train the voice to stay in full voice, strengthening the muscles to allow your voice to maintaining consistency from bottom to top, functioning

as one seamless vocal range. Though the “vocal break” exists, this exercise will eliminate the need to think of terms like “bridge” or “connect” between your low and high range.

How We Do It - On Yah, Yay, Yee, Yoh, or You, start an octave below your main pitch, in a loud, resonant, clean full voice. Slide up one octave and back down the octave. Work as high as comfortable.

There you have it; the easiest, most effective way to increase vocal range, enhance vocal resonance, and improve vocal stamina, all rolled into three little exercises. Feel free to use the following mp3s as your guide, BUT it is smarter to perform these exercises with a pitch wheel so that you can work on your entire current vocal range (which will grow as you continue to practice these exercises). Please note that a pitch wheel only covers one octave but TUNED XD covers seven octaves. Just fi gured I’d plant that thought in your head so you run out and get a copy at TunedXD.com

PS - Do these exercises really work to expand your range? Well, I’m a bass, but take a listen to this song and tell me what you think! •


MP3 MP3MP3 MP3

Jamie Vendera New Season Part 2

AUDIOLESSON 1

AUDIOLESSON 2

AUDIOLESSON 3

AUDIOLESSON 4

132 Guitar Interactive Magazine Issue 36132 Guitar Interactive Magazine Issue 36

lthough LOUD Technologies’ Mackie brand was originally associated primarily with mixing consoles, it has also built up a well-deserved reputation in the portable PA arena for delivering high-quality sound across a wide range of price points and power

outputs. Never content to rest on its laurels, Mackie has a history of consistently improving the performance of their products and the latest, V3 revisions of both the SRM 350, its larger sibling, the SRM450, and the more price-conscious Thump Series form the latest chapters in that book.

SRM350 V3 and SRM450 V3

PROS:Retains the best from previous SRMS

Useful new features

Lighter weight

CONS:None to speak of

The original SRM350 was the active loudspeaker that established Mackie as a force to be reckoned with in the portable PA market and it was quickly followed by the larger SRM450, which featured a 12” bass transducer and 400W output as opposed to the SRM350’s 10” driver and 195W rating. This second revision (from V2 to V3) ups the output power of both loudspeakers to 1000W peak (500W RMS) and adds the functionality that is expected

Loud Technologies’ Mackie has been the mainstay of band PA for years. Well regarded for longevity and for offering maximum bang per buck, the range is big and the reputation impressive. But has time caught up with Mackie? Bob Thomas checks out two current series from the US company - the top-end SRMs and the gigging band friendly Mackie Thumps.

LIVE SOUND_SPEAKER REVIEW

4.0STAR RATING

Mackie Thump & SRM speakers

‘A

www.guitarinteractivemagazine.com 133www.guitarinteractivemagazine.com 133

nowadays from a portable PA active loudspeaker.

The power increase comes courtesy of Class D amplifi cation that delivers 400W to the loudspeakers’ respective 10” and 12” transducers and 100W to their 1.4” titanium-domed, high-frequency compression drivers. As with the previous versions of both the SRM350 and SRM450, a precision two-way crossover time-aligns and phase-corrects the high and low frequencies. In conjunction with patented high-defi nition acoustic correction from sister company EAW, the 350 and 450 are designed to deliver a high level of clarity and defi nition.

Loud Technologies’ Mackie has been the mainstay of band PA for years. Well regarded for longevity and for offering maximum bang per buck, the range is big and the reputation impressive. But has time caught up with Mackie? Bob Thomas checks out two current series from the US company - the top-end SRMs and the gigging band friendly Mackie Thumps.

4.5STAR RATING

Mackie Thump & SRM speakers


The original and V2 versions of both loudspeakers had no operational features or control functions other than a power switch, a volume control and a few LEDs. In V3, functionality is expanded considerably. A one-button Speaker Mode selector optimises the loudspeakers for PA, DJ, Monitor and Solo use, a four-frequency Feedback Destroyer with one-button control helps eliminate feedback and a 2-channel on-board, volume-only mixer handles anything from microphones to guitars to mixers on either input and also includes a stereo RCA phono input for easy connection to a mp3 player or similar.

The Mode function tailors the bass, mid and high frequency output for each of the four selections. In DJ mode, the bass comes more to the fore, PA is balanced across the frequencies, Monitor voices the output so that it cuts through when the speaker is angled horizontally on the fl oor and Solo sets the SRMs up to help balance the projection of instrument and voice for singer/songwriters in particular.

If you get carried away, protection DSP ensures that the loudspeakers are protected from excitement-driven volume excesses and, fi nally, you can turn off the illuminated Mackie logo on the front panel if you want to. Personally speaking, I like being able to tell if a speaker is on or not, so I wouldn’t use that last function myself.



In Use

These new revisions have retained all the good bits from their ancestors - their wide dispersion, precise time-alignment, servo-controlled bass and the asymmetric monocoque construction that make them as useful as monitors as they are as FOH speakers.

The new Class D amplifi cation, DSP-enhanced acoustic correction and servo-controlled bass give these V3 versions a

sense of solid power and the high 1000W peak capability mean that they also sound very dynamic, handling transients in the programme material with ease.

Unless you’re pretty picky, the single button mode selection eliminates any need for overall EQ on your mixer’s output signal in order to tailor the sound for the four operational set-ups. The Feedback Eliminator worked really

SRM350 V3 and SRM450 V3


well and its four bands are narrow enough to cut feedback without adversely affecting the loudspeakers’ overall sound.

The 2-channel mixer with combo XLR/Jack inputs on both channels (and RCA phonos on Ch2 only) allows you to balance the levels of the two inputs, and so you’re going to have to have some EQ at source if you need it. I think that, at a push and with the mode set to Solo, you’d get away with running just mic and guitar into either speaker at a small, low volume gig such as a restaurant or folk club.

The Verdict

These latest revisions to the venerable SPM350 and SRM450 should certainly ensure their continuing popularity in the portable PA live sound market. In V3 form, these active speakers deliver enhanced performance, more power and greater fl exibility than their forbears - and they weigh slightly less! Pairing either of them with a couple of matching SRM Series subs would give you a very powerful, high-quality sound reinforcement system. If you’re in the market for a PA at this level of quality, the new Mackie SRM350V3 and SRM 450V3 are defi nitely worth considering.

Mackie Thump Series

PROS:Well specced

Versatile

Good bass response

Good value


The Thump Series TH-12A and TH-15A started out as 200W RMS active loudspeakers - later upgraded to 500W RMS - designed to deliver midrange clarity and an abundance of powerful bass in a lightweight, easily-portable cabinet - and all at an attractive price point.

4.0STAR RATING



This latest revision is accompanied by the introduction of the Thump 18S subwoofer, a 1200W peak (600W RMS) Class D-amplifi ed behemoth with an 18” loudspeaker lurking in the depths of its black, catalysed-polyurethane fi nished, 15mm plywood cabinet. With no controls other than a power switch, a polarity (phase) switch and a volume control, the Thump 18S is simple enough to set up. Its two XLR-equipped input channels are combined and band-passed (30Hz to 140Hz) to give the mono bass signal that is amplifi ed and reproduced by the Thump 18S itself. Each channel has its own twin XLR pass-through outputs, one of which is full range and is intended to allow multiple speaker systems to be daisy-chained. The other

XLR output is high-pass fi ltered at 140Hz in order to crossover the signal’s frequency spectrum between the 18S and its top cabinet (a Thump 12A or Thump 15A). The polarity switch and volume control have no effect on the two high-pass signals.

The updated Thump 12 and Thump 15 both carry the same 1000W peak (500W RMS) Class D amplifi cation. Both also feature new, high-output transducers. A precision 2-way crossover splits the signal load and the high and low frequency transducers are time-aligned to ensure signal clarity. Their similarly-shaped polypropylene-moulded enclosures are designed to allow them to be used both as stand-mounted main FOH speakers and as stage monitor wedges.

Guitar Interactive Magazine Issue 36138 Guitar Interactive Magazine Issue 36138

The input to both versions is a single XLR that accepts both microphone and line level signals. Both also retain the 3-band, sweep-mid EQ section which, in this revision, is permanently active. A useful graphic gives sensible suggested settings for PA, DJ, foldback and speech usage. In Use

Mackie’s Thump Series active loudspeakers are designed to deliver a solid bass performance and even without the addition of the 18S subwoofer, the Thump 12 and Thump 15 don’t disappoint. There’s plenty of bass response available, the midrange

is clear and the high frequencies aren’t overshadowed. The suggested EQ settings are good starting points for the various operational scenarios although they do need to be tweaked to get the best fi t for their surroundings.

The Thump 18S subwoofer is an impressive performer and adds a palpable sense of extra weight in the low-end. If you can transport one or two (each weighs in at 37.2kg/82lb) it would be well worth the effort to have their solid low-end reproduction to hand.


Mackie Thump Series


HK AUDIO


Overall

Whilst they don’t have quite the same level of overall performance as you’d get from the SRM350 and SRM450, Mackie’s Thump Series active loudspeakers are very cost-effective alternatives – especially if you’re looking for an enhanced depth and level of bass reproduction. They also have the added benefi t of being somewhat lighter than their SRM equivalents and that, for some users, will add to their attraction.

If your budget won’t quite stretch to the SRM series, the Thump Series offers good value for money, delivering a high level of performance at a price point that is relatively affordable in today’s market. They’re well worth having a listen to. •

Mackie SRM Series:

SRM 350 V3 - £305 US $519.99

SRM 450 V3 - £369 US $629.99

Mackie Thump Series:

Thump 12 - £219 US $469.99

Thump 15 - £259 US $469.99

Thump 18S - £499 US $879.99

More information on models:www.mackie.com

TECH SPEC



R E C O R D I N G F O R T H E R E A L W O R L DR E C O R D I N G F O R T H E R E A L W O R L D

MAKINGTRACKS


Andi Picker considers the role of money in your studio.

MAKING TRACKS_SPEND, SPEND, SPEND!

MAKING TRACKS - RECORDING FOR THE PRACTICAL MUSICIAN


ost of us enjoy getting presents when we’re young; it makes us feel loved and

it gives us new things to play with. As we get older we feed the fl ame by buying presents for ourselves, and for anyone interested in studio stuff there’s a world of opportunity just waiting for a busy credit card. In this two part article I’m going to take a look at the idea of spending money, fi rstly why and when we really don’t need to do it, and in the next issue why and when we do.

Let’s start with some basics. If you want to record music you need stuff. For now, I’m going to focus on a typical home or project studio set-up that you might use for everything from recording song sketches to full production. As a starting point, this studio will typically need to have a

computer and DAW software and an audio interface (or a dedicated recorder). You’ll also need something to listen to the recorded sound on (speakers or headphones) and some way to actually record (microphones, DI boxes), along with some leads (varying depending on what you are using), a mic stand and pop shield, and, of course, something to actually record (which may be real or virtual instruments). Let’s be honest, that basic list will cost a bit if we need to start from scratch – but there are plenty of free and cheap DAW options available, even if some are a bit limited, and lots of cheap microphones and audio interfaces to be had new or used. The trouble is that about 10 minutes after it’s all set up, often before we’ve even recorded a note, we to start to want more.

MAKING TRACKS - RECORDING FOR THE PRACTICAL MUSICIAN

Spend, spend, spend! Do you really need to spend more money? Part 1

‘M


There are two expressions that crop up in music tech forums over and over again; “take it to the next level” and “night and day (difference)”. I cringe when someone says “I’ve saved $2,000 and I want to take my recordings to the next level - what should I buy?” There’s often some pretty well reasoned advice suggesting that the best bang-for-the-buck occurs in the stuff that’s used most - so room treatment, monitoring, converters etc., along with some suggestions that a specifi c bit of kit made a “night and day” difference in someone else’s studio. The problem is that everyone wants to have the pleasure of spending, and most of us can

enjoy spending someone else’s money almost as much as our own. Roll-on Black Friday!

However much money you can get your hands on, there’s something out there at just the right price to tempt. Consider, though, that in most cases that shiny something will do pretty-much the same job as something that you already have. You may have a fancy for a new microphone, but until you know what you want it to do that you can’t already achieve with what you’ve got, how can you know what to buy? In the meantime, are you sure you’ve fully learned what you already own? How does your budget mic sound close-up so you get more proximity effect,



or further away to reduce it, or angled or off axis to reduce the high end, or with louder or quieter levels and more or less gain on the pre, or whatever. Before you buy that new compressor plugin, do you actually understand what every control and combination of controls does on the “basic” one that you already have in your DAW, and do you actually know whether that snare needs 3 or 30dB of fast or slow gain reduction? Will having a choice of API or Neve EQ make a big difference if you don’t have the experience to tell that you need a big cut at 100Hz to de-mud the bass?

Sometimes you’re not chasing different options, just better ones. I remember some years ago auditioning a number of big name mic pre-amps. I was very taken with a particular model and tried some recording tests. There was a nice difference between the $1K per channel pre and the ones in my audio interface, but nothing that screamed out MEMEMEMEME in a mix. Converters are even less of a difference to my ears - a very small difference for a lot of cash. For sure, it all can add up to a better sound, but perspective is everything, and for most of us there are far bigger wins to be had for a lot less outlay. Better monitors may

Spend, spend, spend! Do you really need to spend more money? Part 1


sound nicer, but their job is nothing more than to let you make decisions on your mix - I frequently fi nd that budget monitors that I review let me make very similar decisions to my Neumanns, even though they may not be “as good”. That’s because a mix is a result of mostly judgement (art) and technique (science) with just a few percent left to split across all the gear that we use.

Think about this for a moment. When you fi rst start to play the guitar, you don’t know how to do very much with it. So long as your beginner’s guitar is of at least a minimum quality (reasonable action, stays in tune etc.) you really are not going to be much better with an expensive one. Stick with it, and you

may decide to upgrade, but at no point will you ever be better than your skill level, and if you don’t know that your song is crying-out for a minor 7th chord, then a new pedal isn’t going to fi x that. Same thing on piano - I suck exactly the same amount on a Steinway as I do on my studio piano. Yup - you’ve got it, recording gear is just the same.

And that’s where the answer to that question lies. If you need to ask where to spend your hard-saved $2,000, the answer is almost always going to be “don’t”, because when the time is right, you’ll be asking “how do I solve this specifi c problem that I’ve got” and hoping the answer isn’t too expensive. •

You can fi nd more articles about recording, or contact me on my website at www.thedustbowlaudio.com

Or contact me at Guitar Interactive [email protected]


n Issue 34 I reviewed Audient’s iD22 desktop audio interface and

liked it a lot. I was particularly impressed with the quality of its pair of pre-amps and converters, which is all well and good, but sometimes you just need more. The good news is that you can have it, by getting your hands on an asp880 Microphone pre-amp.

The asp880 is a single rack unit device with eight of Audient’s class-A microphone pre-amps and built-in AD converters. Inputs are on locking Neutrik combi sockets on the rear panel, with both analogue and digital output options. Power is supplied via a standard mains lead, though sadly there’s no power switch.

Each channel has individually

switched 48V phantom power, 10dB pad, polarity invert, 12 dB per octave high pass fi lter (sweepable between 25 and 250 Hz), switchable input to the converter (I’ll explain that in a moment), variable input impedance (quoted as 220 Ohms, 1.2 kOhms and 2.8 kOhms) -10 to +60dB pre-amp gain for the mic input (-16 to +44 dB for the line - these fi gures are a bit different to those quoted for the iD22 with apparently similar circuitry - I think the values are effected by the variable impedance selector) and a pair of signal LEDs indicating signal at -30 to -10 dBu (it glows brighter) and peak at +16 dBu (-2 dbFS). Inputs one and two also have the rather nice Audient JFET instrument DI on the front panel.

PROS:Very classy sound

Well designed and built

Easy to use

Flexible

CONS:No power switch

Inputs not switchable

4.0STAR RATING

MAKING TRACKS_PRE-AMP REVIEW

n Issue 34 I reviewed switched 48V phantom power,

Audient ASP880 microphone pre-amp & converter

‘I


Eight sets of that little lot pretty well takes-up the front panel, leaving just a sample rate selector and power LED on the far right.

Analogue outputs are on a DB25 connector. Digital options are pretty comprehensive, with ADAT or S/PDIF at sample rates to 96kHz and 24 bit word-length, with internal or external clocking, and a BNC Wordclock input with switched 75 Ohm termination. Also tucked away on the rear panel is a second DB25 connector which accepts analogue input signals which can be routed to the converters. The front panel AD switch on each channel either connects the channel pre-amp or the DB25 input to its converter, so you can take your pre-amp analogue out, run it through an external processor then return it to feed the AD converter, or use the asp880 converter with an external “character” pre-amp. Neat.

In use? Well, basically it does the same job as the inputs that I so liked on the iD22, just more of it. The pre-amps sound very good indeed, and I still consider them to be top-of-class at this price (or any close to it). The variable input impedance offers a nice alternate voice for dynamic mics by tuning the resonance of the circuit (it makes no difference to buffered condensers) though I fi nd its effect to be a bit unpredictable - still, it’s dead simple to try the three settings and choose the one that you prefer. The box is electrically very quiet, and runs fairly cool. As always, I’d prefer to see a power switch, and I actually do prefer the old style (asp800) connectivity, where the mic and line inputs are on different sockets that can be switched from the front panel; it avoids having to mess about with connectors on the back panel which is a pet hate of mine (though in fairness there probably isn’t room to do this as well as having the AD switchable option of this version, which will

Eight sets of that little lot pretty well takes- In use? Well, basically it does the same job

Audient ASP880 microphone pre-amp & converter Impressed by Audient’s iD22 interface back in GI 34, Andi Picker swivels his ears towards Audient’s asp880 mic pre-amp.



Audient ASP880 microphone pre-amp & converter


probably be more useful to more folks). The signal level LEDs do their job, and once you get used to them the variable brightness on the signal indicator works pretty well. A multi LED ladder would normally be more useful, but given the space available this seems like a good compromise.

Like the iD22, the asp880 feels as though it’s been both well designed and well engineered, as though someone has actually taken the time and done the work to make it right. Live with one for a while and you notice how easy it is to use, the channel layout is clear, the knobs are packed close but are well shaped and easy to turn, and have indicator lines both on the top and on the skirt; indicator lamps look as though they belong together - the blue LEDs don’t scorch your retinas and wash-out the rest of the control panel. Internally, the switch mode power

supply is clean and quiet, and works with any real-world mains voltage you plug into it. Burr Brown converters do their job well, the DI was re-designed from the older 800 versions to sound better, and the pre-amps are quiet and accurate with plenty of headroom (though they do crunch-up very nicely, just a little bit, at high settings), and they still sound great.

If you’ve got your main channels covered, and you just need to add some extra inputs to your system for secondary instruments, then there are cheaper options available, but if you need a bunch of additional fi rst-call inputs at a very reasonable price then the ASP880 must be very close indeed to the top of the list of boxes to try. It offers a pristine sound, it’s easy to use and it’s very nicely made, well priced and fl exible. Try one. •


Audient asp880 8 channel microphone pre-amp &

converter

MSRP £739 US $1,399

Made in: UK

Type - 1-U, 8 channel mic pre-amp with built-in AD conversion

Conversion 96 kHz, 24 bit

IO 8 x mic pre-amp/line channels, 2 x JFET DI (on channels 1 & 2), 8 x analogue out on DB25, 8 x analogue insert on DB25, ADAT 8 channels SMUX 44.1 – 96kHz, S/PDIF 8 channels 44.1 – 96kHz

Clock Internal or external, wordclock input with switchable 75 Ohm termination

Mic pre gain -10dB to +60 dB (with pad)

Mic pre headroom +22 dBu (+32 with pad)

Mic EIN <-127.5 dBu

Line gain -16dB to +44dB (effected by input impedance selection)

Frequency response 10Hz to 100kHz at +/- 0.5 dB

TECH SPEC



lot of the gear that we think-of as studio-standard today was

originally borrowed decades ago from military and broadcast designs and bent to suit the needs of recording engineers. It may not have been perfect for its new purpose, but often the fl aws kind-of-worked-out well enough, and we’ve all become so used to the sound that designers now try to build it in to new products. When someone introduces something that doesn’t follow the established pattern it can sometimes take a moment to fi gure out just what to do with it.

There are a number of “standard” go-to dynamic mics for use on guitars, and they tend to have a more-or-less similar sound; cardioid pick-up pattern, low-end controlled by proximity effect, top-end a bit limited, some sort of upper-mid frequency bump that can sound a bit edgy on its own but that fi ts well into a mix, and typically a slightly slow response because of the mass of the diaphragm/coil assembly, that smooths out the sound just

a little. If you want something much different, then you use a different type of mic, perhaps a condenser or a ribbon. Or perhaps try a Heil PR 30.

So far as I can make out, Bob Heil’s fi rst love is radio and broadcast and a lot of his company’s products come from a slightly different design ethos to a lot of the music gear that we’re used to. Perhaps because of this, the PR 30 is different enough that when you open the box it has a label telling you which way you need to point it!

The PR 30 is a large diaphragm (1.5”) end-address dynamic mic with a cardioid pickup pattern and humbucking voice-coils. The capsule is shock mounted and the basket has two layers to reduce the popping sound on plosives (those “P” and “B” sounds that kick out major blasts of air). Frequency response is quoted as 40Hz to 18 kHz, the chart shows a bit of bump at around 4kHz, and the capsule/enclosure is designed to give minimal off-axis colouration. There are no switches or options, and if you

PROS:Sounds great

Flexible, works on all sorts of sources

Excellent electric guitar mic

CONS:It’s an honest mic, it

won’t do very much to save poor sources

Quite big

4.0STAR RATING

MAKING TRACKS_MICROPHONE REVIEW

lot of the gear that we a little. If you want something

Heil PR 30 dynamic microphone There’s a buzz about Heil mics right now. We reviewed two of the live models (the PR35 and the Fin) in Issue 32’s Live Sound! Now Andi Picker has his say on a recording model - the PR 30.

‘A


stick one of these on a boom-arm in a broadcast studio it would make perfect sense - but where the PR 30 really shines for me is as a guitar cab mic.

Do an online search and you’ll fi nd a small part of the recording community that absolutely raves about the PR 30, and a fair number of folks who don’t get it. It’s certainly different; it doesn’t have that SM57/e906/i5 sort of snarl, and at fi rst it can sound a bit bland, as though it’s really not doing anything very exciting. What it actually does do is to capture a very clear and slightly fl attering image of what it’s put in front of, almost more like a condenser mic crossed with a ribbon mic. The top end is certainly smooth, but there’s enough of it to catch you out if you’re not used to hearing it, and the fi rst few times I used mine I thought it made my cab sound a bit harsh and fi zzy, until I fi gured that the cab actually did sound a bit harsh and fi zzy. Change the speakers, adjust the amp or move the mic and you’ll be rewarded with all of the nuances of what you’re doing, and a beautifully detailed sound. The proximity effect is unusually well controlled (or weak, depending on how you think about it) and the PR 30 will handle up to 146 dB SPL, so you can throw it right against a grill cloth without it getting woofy or crackly.

Of course, you can use any mic on any source, and I’ve used mine for sung and spoken vocals, acoustic guitar and harmonica, as well as on the top-end of drums kits (it’s an excellent snare mic

stick one of these on a boom-arm in a broadcast

Heil PR 30 dynamic microphone There’s a buzz about Heil mics right now. We reviewed two of the live models (the PR35 and the Fin) in Issue 32’s Live Sound! Now Andi Picker has his say on a recording model - the PR 30.

Guitar Interactive Magazine Issue 36158 Guitar Interactive Magazine Issue 36158


Heil PR 30 dynamic microphone


Tannoy


where you can fi t it in - it’s physically quite big), but mine earns its place in the mic locker because of what it does on electric guitars.

In use it’s not quite as lively as a good condenser, it’s not quite as chewy as a lot of dynamics, it’s not as dark as some ribbons (though many modern ribbon designs have similarly extended top-ends). It’s not going to give the ‘help’ that some more ‘character’ mics do, but it offers a subtle blend of characteristics in a simple and robust package that can produce stunning results in the hands of an engineer who knows how to use it (and who has a good sounding source to point it at). There’s a slight spring in the sound that’s incredibly hard to add after recording, perhaps it’s a bit of selective mic-compression on loud sources, but whatever it does, it has its own fl avour of mojo working for it, and some of us like that a lot. To sum-up, I’d say the PR 30 combines many of the good characteristics of a condenser and ribbon mic in a robust and fl exible dynamic. •

Heil PR 30

MSRP £249.95 US $252 (in black - US $255)

Made in: USA

Type: Cardioid pattern dynamic microphone

Frequency Response 40 – 18,000 Hz

Rear rejection -40dB

Maximum SPL 148 dB SPL

TECH SPEC



MAKING TRACKS_AUDIO SOFTWARE REVIEW

PROS:Useful update with

strong headline features

Lots of minor workfl ow and sound

enhancements

Modern dark & fl at look (for me)

CONS:Modern dark & fl at look (apparently, for

many people)

4.0STAR RATING

PreSonus Studio One V3 DAW update Andi Picker reviews the latest update to PreSonus’s popular DAW.

ince we reviewed the PreSonus Studio One V2 back in Guitar

Interactive 33, a new major upgrade has been released. V3 adds some neat arranging and sound design features along with a host of other major and minor upgrades. Here’s an overview of the new stuff (check issue 33 for the original V2 review).

The fi rst change you’re going to notice is the user interface - in line with current software trends it’s become darker and fl atter, which is a look that lots of users complain about every time a developer uses it. Extensive research apparently shows that it’s completely the wrong way to build an interface, but dark and fl at works well for me and I prefer it to the old one, and if you don’t like it you can change colour options to suit your own preferences. Other GUI good news is that there is now multi-touch support for both PC and Mac, and if your touch-screen is just too far away, there’s even a (free!) iPad app so you can control your mix from the comfy sofa at the back of the studio!

The project window browser has had a quiet overhaul too, with newly added icons for the PreSonus instruments and effects (including new Bitcrusher and Rotor effects), which looks good and actually makes it a bit easier to choose the device you want to use; and searchable tags for content in the loop library.

Once we get past the eye candy, the real headlines of V3 are the arrangement features. The new Arranger lane lets you identify segments of a song, intro, verse 1, pre chorus, etc. - whatever you need, and then rearrange the whole song by dragging and dropping. It’s been done elsewhere but it’s still a great addition for songwriters, arrangers and producers. The other arrangement highlight is the Scratch Pad which lets you build and store alternate arrangements without destroying your main project; so when you want to try the 64 bar banjo solo version of your next black-metal epic you can do it without destroying the actual music. Very good!

‘S


PreSonus Studio One V3 DAW update Andi Picker reviews the latest update to PreSonus’s popular DAW.

Once we get into the mixing process, the story gets even better. I have some old favourite plugins that sound great but don’t support parallel processing. I can always get around this by sending the signal to the plugin on an FX channel, but it’s extra work and makes saving effect chains more complex. Here, you can structure whole effect chains complete with splitters for parallel processing, right in the channel. It’s

simple to use and an excellent idea. Whilst we’re combining processors, it’s worth noting that we can do the same thing with virtual instruments, drag an additional instrument onto a track and you get the option to combine it with whatever’s already there.

Virtual instruments get an upgrade too, with the highlight being the Mai Tai analogue modelling synth. I’ve honestly only scratched



the surface of Mai Tai but it looks and sounds like a good one, as does the updated Presence sampler (now the Presence XT) which seems to be both better sounding and snappier to use. Throw in some new MIDI effects (called Note FX here) and the VI/MIDI end of Studio One has had a decent facelift too.

There are lots of other workfl ow and quality

enhancements under the covers; you can synchronise your mixer with the project timeline, resize and colour faders, customise right click options, assign macros to channels and multi-instruments, draw automation curves and probably a thousand other things too. A lot of what’s here is already available in other DAWs, but it all has PreSonus’s sense of “rightness” about it and certainly helps to make Studio One feel like a more

PreSonus Studio One V3 DAW update


mature product. In preparing this update I had to switch between V3 and V2 several times to check that a feature was actually new, because it all seems to just fi t together so well.

Is it worth the upgrade from V2? Personally I like it and I’d upgrade for the new look, the arrange /scratchpad functions and the

extended effects chains. Different users will like or not care about different features, but as always there’s only one person who’s going to be able to decide if it’s right for you.

Oh, and if you haven’t tried Studio One, you can download Studio One 3 Prime for free here - https://shop.PreSonus.com/products/studio-one-prods/Studio-One-3-Prime •


PreSonus Studio One V3 DAW update

MSRP Artist £69 US $149.95 Professional £279 US $449.95

More info: http://studioone.PreSonus.com

TECH SPEC



Studiomaster/Calsbro


W H E N O N L Y A C O U S T I C W I L L D O

THE QUIET

ROOM


It may be the one of the most expensive acoustic guitars we’ve ever reviewed - but such is George Lowden’s reputation as one of the world’s premier guitar makers that there is a queue for his masterpiece instruments. But is a fan fret Lowden a step too far? Tom Quayle fi nds out.

eorge Lowden started building guitars in the early 1970s in

Northern Ireland. Since that time he has gone on to produce some of the most revered acoustic guitars in the world, played by the biggest innovators and stylists in the acoustic world such as Thomas Leeb, Jon Gomm, Pierre Bensusan and Alex de Grassi. Lowden guitars are known for their incredible, master grade tone woods and stunning, yet subtly understated, good looks and it’s no understatement to say that George produces some of the best guitars in the world today. The Lowden F50C is no exception to this and we were lucky enough to have a fan fretted version sent to Guitar Interactive for us to review.

The F50 is a large bodied acoustic available with a range of tops, back and sides to suit each customer’s needs both tonally and aesthetically. Our F50C model

was supplied with a Master Grade Red cedar top and Master Grade East Indian rosewood back and sides. The neck is a fi ve-piece mahogany and rosewood construction with a book matched front and back for the headstock and Gotoh 510 tuners for tuning stability and accuracy. Needless to say, you get a wide range of prestige tonewoods to choose from when you buy one of these fabulous looking guitars. These are just the ones used on our sample. Your choice will affect the tone and response of an F50 but our example will be a reasonable guide to what to expect. Again, when you are dealing with a maker like Lowden, you can expect a lot of help and advice if you’re lucky enough to be able to make such a choice!

The feature that will excite particular interest is that our sample came with the option of fan fretting. This distinctive

THE QUIETROOM_GUITAR REVIEW

PROS:Flawless construction,

woods and tone

Superb playability

Stunning yet subtle good looks

Hugely versatile

Fanned fret design

CONS:Sadly too costly for

most

5.0STAR RATING

Off the scale!5.0

STAR RATING

Off the scale!STAR RATING

Off the scale!STAR RATING

Lowden F50C Fan Fret Acoustic

‘G


It may be the one of the most expensive acoustic guitars we’ve ever reviewed - but such is George Lowden’s reputation as one of the world’s premier guitar makers that there is a queue for his masterpiece instruments. But is a fan fret Lowden a step too far? Tom Quayle fi nds out.

looking design endows the bass register with a longer scale length than the treble register and it is more than just an interesting visual touch. George Lowden describes the change as the difference between an upright piano and a grand piano, where the extra string length of the grand piano’s bass register gives a far tighter and richer bass response and the shorter upper register strings allow for a smoother and more bell like treble tone. This is true for guitars as well as pianos and it is immediately obvious when you pick your fi rst few notes on the F50C-FF. The effect is very pronounced and the richness in tone leaves you wondering why all guitars are not constructed this way.

Scale length and fretting aside, the very fi rst thing that strikes you when you lift the F50 out of its supplied Hiscox Artist case is just how beautiful it is. The rosewood back and sides are simply some of the most luxurious pieces of wood you’ll ever see on a guitar with a grain that resembles melting chocolate, with the deepest browns and blacks that look good enough to dive into. The cedar top is equally beautiful in a more subtle way and is lifted by some lovely touches such as the fl ame maple


It may be the one of the most expensive acoustic guitars we’ve ever reviewed - but such is George Lowden’s reputation as one of the world’s premier Tom Quayle fi nds out.

looking design endows the bass register with a longer scale length than the treble register and it is more than just an interesting visual touch. George Lowden describes the change as the difference between an upright piano and a grand piano, where the extra string length of the grand piano’s bass register gives a far tighter and richer bass response and the shorter upper register strings allow for a smoother and more bell like treble tone. This is true for guitars as well as pianos and it is immediately obvious when you pick your fi rst few notes on the F50C-FF. The effect is very pronounced and the richness in tone leaves you wondering why all guitars are not constructed this way.

Scale length and fretting aside, the very fi rst thing that strikes you when you lift the F50 out of its supplied Hiscox Artist case is just how beautiful it is. The rosewood back and sides are simply some of the most luxurious pieces of wood you’ll ever see on a guitar with a grain that resembles melting chocolate, with the deepest browns and blacks that look good enough to dive into. The cedar top is equally beautiful in a more subtle way and is lifted by some lovely touches such as the fl ame maple



bevel, abalone and fl ame maple rosette and the stunning bridge design with offset bridge pins to match the fanned scale lengths. The fretboard is extended on the treble end up to 22 frets and is fi nished with binding all the way round and some of the best fretwork you’ll ever see on any guitar. It all adds up to a design that is simply as good as it gets in the acoustic world and crosses the divide between classic and modern appointments expertly.

The F50C is a very comfortable guitar given its large body shape, with an extremely approachable neck profi le that will feel

good for the majority of hand sizes. On fi rst sight, you may feel that the fan fret design might inhibit your playing somewhat but it feels totally natural and the tonal benefi ts are just too good to miss out on, so don’t et the unconventional appearance put you off trying this design.

Overall, the construction and fi nishing on our review Lowden is of the highest quality you’ll fi nd in this business. Master craftsmen produce every guitar, with an eye for detail that makes this feel like a work of art as much as a musical instrument. Of course you could buy a decent car for the price



Lowden


Lowden F50C Fan Fret Acoustic(With options as reviewed - Model: F-50C FF) MSRP £5,505 US $8,250 inc shipping

Back/Sides: Master Grade East Indian Rosewood

Top: Master Grade Red Cedar

Tuners: Gotoh 510

Neck Profi le: Standard Lowden Profi le

Neck: 5 piece mahogany and rosewood neck

Fan Fret Scale 680mm (bass) / 635mm (treble)

Extended and bound fi ngerboard

Hiscox Artist Case

TECH SPEC

of one of these guitars but at this quality level, who cares how much it costs? You are truly getting what you pay for as this kind of instrument can never come cheap and is simply not aimed at the hobby guitar player. It’s a lifetime’s investment for a guitar player who wants the fi nest money can buy.

Tonally the F50C-FF is one of the best and most consistent sounding acoustics this reviewer has ever played with a deep and rich bass that really fulfi ls that cliché of a piano like crispness in the bottom end. Across the whole range of the instrument you get an even, silky tone and attack that is just pure pleasure to play and experience. It doesn’t take much imagination to ponder how wonderful this guitar would sound miked up in a great studio with a solo player who

could do justice to the incredible sound. The F50C is also very versatile and would suit all manner of players from those requiring a great strumming guitar with the ultimate tone and even response to the modern technical soloist who performs with a percussive approach and multiple tunings.

This is the kind of guitar that you fall totally in love with and then spend a huge amount of time trying to justify how you can get the money together without risking your relationship and mortgage. It simply doesn’t get better than this for acoustic guitars and if you can afford it then you will have a guitar that will last you the rest of your life and will be the envy of everyone who sees/hears y ou with it. •


Ashbury isn’t the best known name in the acoustic guitar business, but it does have a reputation for offering real value for money and a wide range of traditional instruments beyond guitars. Lewis Turner checks out a very pretty 000 from this underrated maker.

he name Ashbury has been associated with acoustic instruments

since 1995 and the brand encompasses a far wider range than you usually fi nd in the value for money section of guitar maker’s catalogues - in fact it makes a wide range of stringed Folk instruments as well as guitars. These come from factories in China, Vietnam and Indonesia and you’d be forgiven for thinking ‘so what’s different?’ if you didn’t know that the owner of the Ashbury brand is one of the UK’s longest serving specialists in the Folk and traditional fi eld, with a real involvement in that world.

The Ashbury AG -160 000 acoustic in this review comes from China, so read on and make sure to check out the video as well.

The AG-160 000 size acoustic features a solid spruce top with a two piece rosewood back that sports a maple centre strip. The

guitar has rosewood sides with a neat maple binding, a rosewood bridge with bone saddle and top nut. This is a good looking instrument, with a top fi nish and attention to detail throughout. The 20 fret mahogany neck with rosewood fi ngerboard was a pleasure to play. Gold plated die-cast machine heads with black soft feel buttons not only look good, but were comfortable in use and held their tuning.

In this mid-price range it can sometimes be the case that playability and set-up are sacrifi ced for the sake of specifying better materials, resulting in fundamentally OK guitars spoilt by high actions, fret buzzing and poor intonation, but I’m happy to report that there were no such problems with the Ashbury. The slim neck size was very similar to that of an electric guitar, making things very easy going, which is ideal if this instrument is for a beginner or


PROS:Good playability

Good looksHigh build quality


4.0STAR RATING

Ashbury AG-160

‘T


Ashbury isn’t the best known name in the acoustic guitar business, but it does have a reputation for offering real value for money and a wide range of traditional instruments beyond guitars. Lewis Turner checks out a very pretty 000 from this underrated maker.

younger player. The wood quality may not be the fi nest on the market but for the price it’s a good choice and won’t let you down. Mahogany mixed with rosewood and maple is a common successful partnership that yields usable tones and all the notes rang clear on this sample, including individual notes in a chord, nothing ever sounded muddy or lost in the mix.

The Ashbury also resonated well, generating good acoustic volume and dynamic range. Set-up on this guitar was perfect, resulting in great tuning stability and intonation throughout. There’s no cutaway on the AG-160, but what you lose in upper fretboard access, you gain in deeper tone from more wood. As it’s not an electro acoustic we placed a mic in front of it and ran it through our in-house PA. This guitar responds well to being miked-up, producing warm lows and crisp mids that cut through our PA mix very well, meaning this would be a perfect guitar for a singer songwriter to gig with.

Overall, the Ashbury AG-160 000 is a fi ne low-mid priced acoustic guitar. It’s easy to play with a solid acoustic tone that sounded just as warm miked up. It’s a fi ne looking instrument and people will be pleasantly surprised at its price tag. If you are looking for a good sounding, very playable acoustic guitar that delivers tones above its ticket price, you won’t go far wrong with this one. •

Ashbury AG-160

Ashbury isn’t the best known name in the acoustic guitar business, but it does have a reputation for offering real value for money and a

younger player. The wood quality may not be the fi nest on the market but for the price it’s a good choice and won’t let you down. Mahogany mixed with rosewood and maple is a common successful partnership that yields usable tones and all the notes rang clear on this sample, including individual notes in a chord, nothing ever sounded muddy or

The Ashbury also resonated well, generating good acoustic volume and dynamic range. Set-up on this guitar was perfect, resulting in great tuning stability and intonation throughout. There’s no cutaway on the AG-160, but what you lose in upper fretboard access, you gain in deeper tone from more wood. As it’s not an electro acoustic we placed a mic in front of it and ran it through our in-house PA. This guitar responds well to being miked-up, producing warm lows and crisp mids that cut through our PA mix very well, meaning this would be a perfect guitar for a

Overall, the Ashbury AG-160 000 is a fi ne low-mid priced acoustic guitar. It’s easy to play with a solid acoustic tone that sounded just as warm miked

will be pleasantly surprised at its price tag. If you are looking for a good sounding, very playable acoustic guitar that delivers tones above its ticket



Ashbury AG-160

MSRP £399.99 US $ N/AMade in: ChinaRosewood sides with maple binding. Rosewood bridge with bone saddle and top nutMahogany neck with rosewood fi ngerboard bound in maple. Rosewood peghead overlay with gold colour purfl ingGold plated die-cast machine heads

with black soft feel buttons.Nut width: 44mmWidth at 12th fret: 53mmScale length: 652mmBody depth: 100mmLower bout: 387mmUpper bout: 297mmWaist: 249mmNo Frets: 20Body length: 485mmOverall Instrument Length: 1010mmWeight: 3.00 kg (approx)

TECH SPEC

Ashbury AG-160


Tanglewood


Dreadnoughts may not be as all-pervasive as they once were on the acoustic scene but they are still highly popular and indispensable for when you need to make a really big sound. But cheap dreads can be nasty and... well, cheap. Lewis Turner tries a brand new offering from Tanglewood to see what they can make of a very tricky act - producing a low cost dreadnought that really delivers.

anglewood is one of the best known producers in the

European acoustic market and more or less invented the high bang for your buck acoustic guitar phenomenon, when it took on the big name brands, offering better guitars for less money. Over the years, Tanglewood has become a pretty big brand in its own right but the policy continues, though the company now also produces guitars at the top end as well as the familiar middle and lower middle price ranges. This Tanglewood, one of the new Nashville V series, is fi rmly in the lower mid-market territory, a diffi cult area as it is now so hotly contested.

The TN5 D CE is a dreadnought sized cutaway electro-acoustic with a solid spruce top sporting a very attractive amber gloss fi nish. Laminated African mahogany is used for the back and sides.

I won’t get into the laminate vs solid argument here because at this price you are very unlikely to fi nd an all solid wood guitar and this one has the solid wood where it’s really needed - on the top.

The new look headstock adds to an already good looking instrument with a top quality fi nish and attention to detail throughout. The 21 fret mahogany neck and rosewood fi ngerboard was a pleasure to play. I am happy to report that there were no problems with fret buzz, diffi cult action or intonation issues which can sometimes rear their ugly heads at low-mid priced acoustics. The neck size was very similar to that of an electric guitar, also making things very easy going.

For the price range the wood choice and quality is a good option and won’t leave you disappointed, the mahogany complementing the large body


PROS:Good playability

Good looks

Great acoustic tone

Good case included

CONS:Tone a little thin when

plugged in

4.5STAR RATING

Tanglewood TN5 D CE electro-acoustic

‘T


Dreadnoughts may not be as all-pervasive as they once were on the acoustic scene but they are still highly popular and indispensable for when you need to make a really big sound. But cheap dreads can be nasty and... well, cheap. Lewis Turner tries a brand new offering from Tanglewood to see what they can make of a very tricky act - producing a low cost dreadnought that really delivers.

size and offering plenty of warm bottom end with the solid spruce bringing out the mids and highs. All the notes rang clear, including individual notes in a chord, nothing ever sounded muddy or lost in the mix. The guitar resonated well, generating good acoustic volume and dynamic range. It’s also worth mentioning that the bridge is the same wood as the fretboard.

So far so good. In fact, so far so very good. But the TN-5 impressively offers a pickup and tuner as well, which is pretty good going for this money. How do they perform? Well, not badly at all. The Tanglewood TEQ-3BT pre-amp, as well as featuring a built in tuner, offers three band EQ, with a cool feature where the knobs remain fl ush to the pre-amp until you push them and they pop up for adjustment. This is a great idea, preventing any accidental nudging in the heat of the moment. The pre-amp and pickup worked well. As you might expect at this price range, it’s not the best on the market and I did notice a little loss of bottom end when plugged in, but overall the quality when in use was fairly decent


Dreadnoughts may not be as all-pervasive as they once were on the acoustic scene but they are still highly popular and indispensable for tries a brand new offering from

size and offering plenty of warm bottom end with the solid spruce bringing out the mids and highs. All the notes rang clear, including individual notes in a chord, nothing ever sounded muddy or lost in the mix. The guitar resonated well, generating good acoustic volume and dynamic range. It’s also worth mentioning that the bridge is the same wood as the

So far so good. In fact, so far so very good. But the TN-5 impressively offers a pickup



if a little thin, with no issues of feedback or over compression. The unplugged acoustic sound is so good that putting a good quality mic in-front of it may be a better option if it’s available. Alternatively, if you were going to keep the guitar for a long while, it might even be worth upgrading the pickup at some point and the guitar is good enough to justify that.

By any standards, the Tanglewood TN5 D CE is a very good low-mid priced electro acoustic. Our sample was well set-up, making it easy to play, and it delivered a solid quality acoustic tone. It’s also a good looking instrument that looks way more expensive than it is. It’s not a world class recording studio acoustic, but that’s not its job. If you are looking for a good sounding, easy to play acoustic guitar with the added bonus of a



Faith



Tanglewood TN5 D CEMSRP £349 US $ TBC

Made in: China

Shape: Cutaway Dreadnought

Top: Solid Spruce

Back: African Mahogany

Sides: African Mahogany

Neck (MATERIAL): Mahogany

Fingerboard: Rosewood

Bridge: Rosewood

Binding (TOP): Abs Black & White

Binding (SIDE): Abs Ivory

Saddle: Abs Ivory, Compensated

Nut (WIDTH): Abs Ivory (43mm)

Scale Length: 650mm

Bridge Pins: Abs Ivory With Black Dots

Machine Heads: Enclosed, Black Nickel

Finish: Amber Gloss

Eq: Tanglewood Teq-3bt

Strings: Bronze Light

Case: Included

TECH SPEC

built in pre-amp, then you won’t go far wrong with this one. Finally, just to tip the scales even further in its favour, it even comes with a decent quality case. Once again Tanglewood delivers the goods! •


Cordoba


T H E P L A C E F O R B A S ST H E P L A C E F O R B A S S

THEBASSMENT


egular Bassment denizens will remember that we’ve

looked at the Vigier Excess bass before, but just as cars change down the years as models are tweaked and shaped to fi t changing times, so are basses, so we make no apologies for returning to the Excess, which is now available in an updated version.

The Excess Original II bass is available in four and fi ve string models with either rosewood or maple fretboards and in a wide range of colour choices, including antique, gloss and matt fi nishes. If you fancy something a bit extra though, we’re told that there are clear black and clear purple fi nishes as well as sparkle colours and ‘retro options’ available - but of course this will add to the price, as will requesting a matching headstock colour too. Still, options are good!

If you are not familiar with

Vigier instruments, they share a key feature that sets them apart from the more usual off-the-shelf basses: all Vigier instruments use carbon reinforcement bars that replace the need for a truss rod. You can see the wide skunk stripe down the back of the neck in this example. The result, Vigier says, is a more stable neck and the ability to precision set the relief for optimal playability. The tone of the instrument is said to be improved also. This is an important consideration for touring professional players and is probably one of the reasons for Vigier’s popularity among ‘name’ players who need their instruments to stay at the peak of their performance on long tours with frequently changing climactic conditions.

Certainly, I really like the feel of this very slim ‘satin’ Vigier bass neck. The maple bass is capped with a rosewood fretboard and 24 stainless steel frets, another sign

Vigier has been a long standing favourite at GI Towers, for its guitars as well as basses. Consistently praised by our reviewers, the French company makes some of the fi nest instruments money can buy. Dan Veall checks out an update to the long serving Excess bass range to see if Patrice Vigier and his team are keeping up the pressure.

PROS:Really high pro quality

Understated looks

Plenty of options

5-string version available

CONS:Not cheap

4.0STAR RATING

THE BASSMENT_BASS REVIEW

VIGIER EXCESS ORIGINAL II BASS

‘R


of high quality materials being used in a resolutely professional class instrument. Up at the headstock end we have a Tefl on nut and an interesting addition is the inclusion of a removable zero fret. That’s fi ne by me as I am a fan of zero frets.

Vigier offers a fretless Excess model too and in line with the company’s commitment to pushing boundaries, that model comes with an ‘iMetal’ fretboard that as the name suggests is made of, yes, metal. (I’m inclined to throw some ‘rock horns’ at this point in the review, but I shall remain composed!). Actually, I’ve played the metal fretless board in the past and have to say, it was great!

The super comfortable neck is bolted on to an alder body which in this case has a clean satin fi nish. It’s understated and being free from layers and layers of lacquer there’s a resonance to the bass that is welcomed.

On the video I ran through the settings of the pickups so you can hear them soloed. The two single coil pickups of the previous Excess basses have been upgraded and I understand that these are now ‘noiseless’ models, coupled to a new on board pre-amp that further improves the signal to noise ratio. Round the back of the review bass, there’s a clear cover, which is a window for the new active circuit. Instead

Vigier has been a long standing favourite at GI Towers, for its guitars as well as basses. Consistently praised by our reviewers, the French company makes some of the fi nest instruments money can buy. Dan Veall checks out an update to the long serving Excess bass range to see if Patrice Vigier and his team are keeping up the pressure.


of high quality materials being used in a resolutely professional class instrument. Up at the headstock end we have a Tefl on nut and an interesting addition is the inclusion of a removable zero fret. That’s fi ne

line with the company’s commitment to pushing

fretboard that as the name suggests is made of, yes, metal. (I’m inclined to throw some ‘rock horns’

composed!). Actually, I’ve played the metal fretless

The super comfortable neck is bolted on to an alder body which in this case has a clean satin fi nish. It’s understated and being free from layers and layers

single coil pickups of the previous Excess basses

Vigier has been a long standing favourite at GI Towers, for its guitars as well as basses. Consistently praised by our reviewers, the French company makes checks out an update to the long serving Excess bass range to see if Patrice Vigier and his team

VIGIER EXCESS ORIGINAL II BASS



Vigier Excess Original II Bass


Elixer Strings


of a modular design approach it utilises a single circuit board. That’s not unusual these days and it’s encouraging to see that Vigier has moved with the times. The company says to it will make any future repairs easier and, of course, it is quite right. The Excess II offers two band EQ and a master volume and there is also a fourth knob, which is the pan control to mix between the two pickups. In the video I sweep between settings so you can hear the tonal variations the Excess has to offer.

Weighing in at just over 3Kg this bass is no back breaker and it balances nicely on the lap. The fi ve string model is only slightly

heavier and equally will reward you with a fatigue free gig. Your shoulders will thank you!

With plenty of options available, you are sure to fi nd a model and colour scheme to suit your tastes and you can be assured that you are buying in to a quality instrument, but with that comes a premium price tag. That said, Vigiers are instruments designed for serious players - especially professionals who value their superb reliability. Though the Excess plays like a dream and sounds great, that reliability is an ‘extra’ that you don’t always get with a high price tag but certainly do get here! •



Vigier Excess Original II Bass

MSRP £2,049 US $3,650

Made in: France

Wood Maple

Construction Bolt-on

Width at Nut 1.65� (42mm)

Width at 12th Fret 2.16� (55mm)

Thickness at 1st Fret .77� (19.5mm)

Thickness at 12th Fret .90� (23mm)

Fingerboard

Wood Rosewood, Maple, or iMetal

Radius 11.81� (300mm)

Scale 33.86� (860mm)

Nut Tefl on

Frets Stainless Steel w/ Removable Zero Fret

Action at 12th Fret

Treble .078 (2.0mm)

Bass .0998� (2.5mm)

String Spacing

At Nut 1.30� (33mm)

At Bridge 2.24� (57mm)

Body

Wood Alder

Weight 7.05lbs (3.2kg)

Electronics

Type Active

Confi guration S-S

Pickups Vigier

Neck Excess N

Bridge Excess B

Controls Volume, 2-Band EQ

Switch Balance Pot

Hardware

Bridge Vigier Quick Release

Machine Heads

Excess Original II 4 string, (available Maple or Rosewood fi ngerboard)

Standard Colours: Anti-Tobacco (new), Anti-Tobacco Matte (new), Antique Violin, Black, Black Matte (new), Clear Red, Clear Red Matte (new), Natural Alder Matte, Urban Blue, Urban Metal

Option Colours: Clear Black, Clear Purple

Sparkle / Retro Option Colours: Retro White

TECH SPEC


ack in GI 26 we reviewed Jeff Berlin’s new ‘Rithimic’

signature bass, which the great man has devised along with manufacturer Cort, and now we’re back with another beautiful Cort bass that also isn’t too heavy on the pocket. Coming from the company’s Artisan range, the A6 is the six string model and stands shoulder to shoulder with four and fi ve string models from the same range.

The A6 is a bass that immediately felt comfortable from the moment I picked it up and it looks every bit premium. That’s not just a visual thing either - Cort is using premium grade hardware here and it shows. The tuning hardware, for example, comes courtesy of Hipshot.

This neck through bass guitar has a maple and wenge laminate neck with a 15” radius fi ngerboard of rosewood taking you right up all 24th large size frets. Dot markers on the neck are really tasteful and inlays are abalone dot with a black circle.

Access isn’t denied ‘up the dusty end’ as the lower horn of the body is sculpted back with rounded edges like the rest of the body profi le. Speaking of the body, it is mahogany but that eye catching top cap is fi gured maple. Wonderful.

The 34” scale stretches to the back of the body with a Hipshot Trans Tone bridge taking care of anchoring the strings and vibration transfer. A sturdy block for sure!

Underneath the D’Addario EXL strings that come as standard, gauged 032-130 (and sound great) are a pair of Bartolini MK-1 pickups that are paired with a Bartolini MK-1 EQ that do a good job of transferring the sound of this machine to your amplifi cation. I totally agree with the marketing blurb for this bass - it does indeed have a wonderful ‘piano-like’ tone from its brand new bright strings but the EQ carries a nice amount of weight too, meaning you’ll get heard in the mix whatever your style of music.

Six strings? On a bass? Is nothing sacred? Dan Veall checks out a surprisingly affordable bass from one of this year’s most consistently intriguingmanufacturers - Cort.

PROS:High spec &

beautifully crafted

Big piano-like tones

Active EQ

Name brand hardware

Well balanced and super comfortable to

play

CONS:None at all

4.5STAR RATING


CORT ARTISAN A6 6-STRING BASS

‘B


Controls on board give you a master volume and pan between the two pickups. Underneath there is a three band EQ that also includes a bypass switch allowing your pickup tone direct to volume control unadulterated. You could set this up for different playing styles, maybe the active EQ favouring slap or tap playing styles as an example, with bypass for fi ngerstyle.

The A6, with its short headstock and lightweight tuning keys, balances well and the body curves make it incredibly comfortable to navigate. Don’t be put off by that neck either - it looks wider than it really is and you won’t spend too much time getting used to the physicals. You’ll need to get used to the extra string notes if you are more familiar with four strings though. The profi le of the bass neck is slim and fast, but wider, obviously. I’d also say that the bass is easier to get used to owing to its closer string spacing that might otherwise make the neck even wider (in the case of something like a 19mm bridge spacing)

The action of this review bass was superbly low, though I was caught a little off-guard with my tapping technique at fi rst. (Hopefully that was edited out of the video!!) Later, off-camera I became much more comfortable with the bass and had to put it away after some nudging from my camera team.

So here’s yet another Cort bass that comes highly recommended, as do the other Artisan models, I have tried. This review model we had in was an excellent example of a well set up and playable bass. Elsewhere in the range, the A5

Six strings? On a bass? Is nothing sacred? Dan Veall checks out a surprisingly affordable bass from one of this year’s most consistently intriguingmanufacturers - Cort.

The action of this review bass was superbly low, though I was caught a little off-guard with my tapping technique at fi rst. (Hopefully that was edited out of the video!!) Later, off-camera I became much more comfortable with the bass and had to put it away after some nudging from my

Artisan models, I

checks out a surprisingly affordable bass from one of this year’s most consistently intriguing

CORT ARTISAN A6 6-STRING BASS


‘Custom 20th’ looks stunning with a bird’s eye maple top and back no less! Make a point of trying one of these if you can and check out the very impressive price! •



Cort Artisan A6 6-string bass

MSRP £719 US $ Unknown

Made in: Indonesia

Construction: Neck-Thru

Body: Figured Maple Top on Mahogany Body

Neck: 5pc Maple & Wenge

Binding: N/A

Fretboard: Rosewood, 15 3/4” Radius (400mm)

Frets: 24 / Large (2.7mm)

Scale: 34” (864mm)

Inlay: Abalone Dot with Black Circle

Tuners: Hipshot Lic.

Bridge: Hipshot Trans Tone Bridge (6)

Pickups: Bartolini Mk1-6/F & Mk1-6/R

Electronics: Bartolini Mk-1 Eq / 1v, 1blend, 3band, Eq On-Off Switch

Hardware: Pt (Platinum)

Strings: D’addario Exl 170-6(Xl 032~130) Long Scale 5st

Colors: A6 Opn - Open Pore Natural

TECH SPEC

‘Custom 20th’ looks stunning with a bird’s eye maple top and back no less! Make a point of

Cort Artisan A6 6-string bass


Melbay


s we revealed not long ago on GI’s news website (you are all visiting daily to get the latest gear and artist news, aren’t you? www.iguitarmag.com) those fi ne bass experts from EBS

Sweden have a new range of Black Label Studio Edition pedals. There are going to be six available eventually but we grabbed the fi rst four to arrive because we couldn’t wait! In addition to these four, you can expect a MultiDrive and a UniChorus in a month or two.

Each of the devices promise to house studio grade effects offering low noise and a wide dynamic range to ensure our bass tone is intact right through the signal path.

EBS Black Label MultiComp SE

Starting off with what is certain to be a favourite among bass players on

busy Internet community forums, the MultiComp is a true dual band compressor pedal.

In the video review I explain what the main differences are, but in essence we have three different types of compressor in one box. In TubeSim mode, a ‘full band’ compressor mates with a ‘tube simulator circuit for extra warmth and harmonics’. To my ear, I like what this mode does to the

midrange of my bass. Defi nitely my favourite setting on this pedal. ‘MB’ mode is the multi-band setting that activates two separate compressor circuits, one for your higher frequency content and the other for your lower frequency part of your bass signal. This is a brilliant way to keep your bass signal articulate and clear even through complex musical passages. I found that even on higher compression settings, the effect itself was less obvious, more transparent despite clearly doing its job. Ideal for those who want to control their dynamics but not have too much of a squashing compression effect. Finally, the

Sweden’s EBS has become one of the big name players in the bass world since its fi rst pedals were launched in 1992. Now the company has launched revised versions and new models under its Black Label Studio Edition tag. Dan Veall got to try the fi rst four in the country.

PROS:Very well engineered

Usefully small footprint

Great sounds

CONS:None at all

4.0STAR RATING

THE BASSMENT_PEDAL REVIEW

EBS BLACK LABEL STUDIO EDITION PEDALS

‘A


last setting switches the pedal to a regular full band type compressor pedal. Go for this if you like to use the pedal as an ‘effect’ rather than a dynamics tool for some truly squashy compression effects when the comp/limit is maxed out!

Internally there are a couple of controls for fi ne tuning each

compressor threshold level. You can even set either band to bypass, thus

giving you a low-pass or high-pass compression only - a very nice touch!

EBS Black Label OctaBass SE

With three EQ modes of operation, this update of the original 1992 EBS pedal makes mixing an octave below sound with your original bass note very easy indeed. The three way switch in the centre allows you to sculpt the tone of the octave effect but will leave your dry unaffected bass tone well alone. Just what I like! The high setting adds upper midrange and top end accenting, giving the octave effect grit and presence whereas the lower

Sweden’s EBS has become one of the big name players in the bass world since its fi rst pedals were launched in 1992. Now the company has launched revised versions and new models under its Black Label Studio Edition tag. Dan Veall got to try the fi rst four in the country.

4.0STAR RATING

last setting switches the pedal to a

compressor threshold level. You can even set either band to bypass, thus

giving you a low-pass or high-pass compression only - a very nice touch!

last setting switches the pedal to a

even set either band to bypass, thus giving you a low-pass or high-pass

compression only - a very nice touch!

EBS BLACK LABEL STUDIO EDITION PEDALS



setting creates a more sub-bass style bottom end that leaves space between the two

octaves. The mid setting is just that, melding both signals smoothly.

Either side of the mode switch are level controls. On the left is your dry signal volume with the right for the effect output. You can if you so wish

have just the octave effect on its own or, of course, anything in between.

The pedal tracks well as an analogue effect and it is suggested in the manual

that you play high on the bass neck for best results, which is sensible advice.

EBS Black Label Studio Edition pedals


EBS Black Label MetalDrive SE

Dishing up a range of mild to full throttle distortions, the MetalDrive can ‘do’ gentle but it’s not for the faint hearted on higher settings! For some

truly mushy bass dirt, crank the drive control and stand back.

Once again some nice simple controls are self explanatory - the three way switch dials in a choice of drive characters to further help you sculpt your bass sound. I liked the ‘tube sim’ sound and unusually, at a lower gain setting than I usually go for. There’s a nice sweet spot where the tone just breaks up - brilliant for warming up the midrange of your instrument. Use it as an amp simulator when recording. I think it would work a treat. To hear the range of grit, look no further than my video review!

EBS Black Label DynaVerb SE

I’d like to use just one word to describe this pedal. “Wow!” However, I may get in to trouble with my editor for leaving you

hanging! (you’re right! - Ed)

This 24bit digital reverb has so much to offer in such a small pedal sized box. There are eight different effects initially, but as you’ll have seen in the video review, I could have dialled in so many different

4.0STAR RATING

4.5STAR RATING

amp simulator when recording. I think it would work a treat. To hear the range of grit, look no further than my video review!


truly mushy bass dirt, crank the drive control

up the midrange of your instrument. Use it as an amp simulator when recording. I think it would work a treat.


truly mushy bass dirt, crank the drive control

up the midrange of your instrument. Use it as an amp simulator when recording. I think it would work a treat.

www.guitarinteractivemagazine.com

hanging! (

This 24bit digital reverb has so much to offer in such a small pedal sized box. There are eight different effects initially, but as you’ll have seen in the video review, I could have dialled in so many different


overall sounds, you’ll have been forgiven for thinking I was sat in front of a full-spec rack unit! With the fi lter control on the right hand side all the way clockwise, the wonderful rich top end is airy and crisp, digitally pristine. Backing the knob away from maximum slowly trims away the top end which has the effect of adding realism to the effect - as if using an instrument in

different live spaces, all the way down to zero for a dark, lo fi reverb that adds warmth to a mix.

The DynaVerb is true stereo too. You have left and right inputs as well as dual outputs, but should you just need one mono input and output as we did in the review, you’ll still be greeted by stunning results. This one is a real winner!

The Verdict

Each of these EBS Black Label SEs comes in a superb metal casing that is just big enough to fi t in all the electronics, connectors and a 9v battery. The small footprint means that pedal board space doesn’t suffer as much as it does with some larger space-eating types. The pedals feature top mounted power jacks as well for supplying pedal power from an adaptor.

Each pedal features new true-bypass electronics with an on board relay. What this means is that the foot switch has a much softer action than the previously used ‘on/off ’ switches. A nice touch for sure that delivers absolutely silent switching of effect. I loved them all, especially the DynaVerb, and can’t wait to try the two that are still on the way. •


EBS Black Label Studio Edition pedals

MSRPs

DynaVerb £179 US $ TBC

MultiComp £159 US $ TBC

MetalDrive £149 US $ TBC

OctaBass £129 US $ TBC

Made in: Unknown

Physical (shared):

Dimensions (L x W x H) 2.8 x 4.5 x

1.4”

(70 x 115 x 35 mm)

Weight 400g (0.88 lb.)

Multicomp:

Nominal Input Level - 10 or - 4 dBv

Input Impedance 700 kohms

Bypass Bandwidth +0 / -3 dB 20 - 20k Hz

Gain range 0 - 15 dB

TECH SPEC


Compressor Ratio min / max 1:1 - 5:1

Threshold -25 - +6 dB adjustable inside

Attack Time (80%) <10 ms

Release Time (80%) typ. 100 ms

Power Requirements 9-12 V DC Regulated, 35 mA max*

OctaBass:

Nominal Input Level -8 dBv


Dry Bandwidth +0 / -2 dB 20 - 20k Hz

Dry Level min / max -oo / 0 dB

Dry Noise Level -96 dBv

Octaver Bandwidth +0 / -3 dB 10 - 110 Hz

Octaver Level Gain min / max -oo / 12 dB min

Octaver Filter Slope 18 dB/oct. Low pass

Low Pass Triggering Threshold -70 dBv @200 Hz

Bypass True Bypass

Power Requirements 9-12 V DC Regulated, 30 mA max

MetalDrive

Nominal Input Level - 8 dBv


Dry Bandwidth +0 / -3 dB 20 -

20k Hz

Effect Bandwidth +0 / -3 dB 60 - 7 kHz

Dist gain range 6 - 70 dB min.

Types Standard, Flat, Tubesim

Power Requirements 9 -12 V DC Regulated, 25 mA max.

Dynaverb:

Nominal Input Level - 8 dBv

Input Impedance 1 Mohms stereo 500 kohms mono

Dry Bandwidth +0 / -3 dB 20 - 20k Hz

Reverb Bandwidth +0/-3 dB 20 - 20k Hz

Tone Low Pass Filter min / max 1 / 20 kHz

Reverb Types 3 Rooms, 3 Plates and 2 Halls

Sampling Frequency 48 kHz

Dynamic Range 107 dB A-weighted

Bypass True Bypass

Power Requirements 9-12 V DC Regulated, 100 mA max.

* EBS Recommend the use of the EBS AD-9+ DC adapter.

The adapter can supply up to twenty pedals at the same time.

TECH SPEC CONT


elcome back Orange to Guitar

Interactive’s ‘Bassment’. Last visit from the company we were treated to the all valve behemoth that was the AD200B MkIII that fi lled the room with rich tube headroom - and didn’t we love it! This time, showing that this company can just as easily turn its attentions to great sounding smaller rigs, we have the new OBC210 Mini cabinet down in the Bassment for interrogation.

This ported (mounted on the rear baffl e) cabinet features a birch ply shell wrapped in Orange’s signature vinyl with black fi xtures and fi ttings. You do have the option of selecting black vinyl as your colour choice instead, but this is one of the few occasions I feel that sticking with the brand livery goes a long way to standing out from the crowd! Iconic is an over-used word but in Orange’s case it certainly applies!

Inside this cabinet, which feels solid and sturdy, are installed two

200 Watt rated Eminence speakers from the American company’s Legend range of devices. The cabinet doesn’t include a tweeter and therefore can be expected to have a smoother, slightly less toppy tone to it when plugged in to your ‘rig’ than some. I referred in my video to the sound being more vintage rather than what could be considered a modern ‘hi-fi ’ sound. This is not at all a negative point by the way - not at all and expanding on that comment, I feel that this cabinet would be great paired with an amplifi er that is intended to overdrive or, perhaps, in a set-up using distortion pedals. The tone of these speakers in my opinion would suit aggressive drive and also smooth out top end grit.

As for low end representation, the cabinet does a worthy job of creating punch in the lower midrange with support from the port for the lows. Don’t forget though, this is just a 2x10 cabinet and very few on the market are able to deliver massive lows. Physics rules! That said, pair this

Orange’s brand new OBC 210 is the smallest conventional (non-isobaric) bass cabinet the British company has ever made. But can a speaker box so small re-ally cut it? Dan Veall fi nds out.

PROS:Truly small

Strong build qualityCan be daisy-chained

Distinctive sound

CONS:Distinctive sound

4.0STAR RATING

THE BASSMENT_CAB REVIEW

ORANGE OBC210 MINI BASS CAB

‘W


up with another OBC210 (and they are really easy to daisy chain) or even three for a modular 6x10 set up and I feel that it will be Rock-tone smiles all the way!

Weighing in at 19kg, the OBC210 is not a new-wave, super-lean bus travel companion. However, it does have a decent carry handle and it’s not a diffi cult lift by any means. I’d suggest having a pair of these over a single 4x10 if you want to shift things around easily - you’ll also have the option of running them vertically (carefully) if you need to get the

speakers up by your ears. I wouldn’t advocate balancing that previously mentioned valve amp on top in that confi guration though! You’d be asking for trouble - best to stick with horizontal stacking for heavy amplifi ers.

Overall, this is a cool little cabinet - it does have a distinctive sound which will colour your resultant bass tone heavily, but that’s the point. If that smooth top end character and punchy low mids is what you need, you’ll like this cabinet! •

Orange’s brand new OBC 210 is the smallest conventional (non-isobaric) bass cabinet the British company has ever made. But can a speaker box so small re-ally cut it? Dan Veall fi nds out.

ORANGE OBC210 MINI BASS CAB


THE BASSMENT_CAB REVIEW

Orange OBC210 Mini 2x110 bass speaker enclosure

MSRP £529 US $799

Made in: Unknown

Compact 2×10� bass cabinet with parallel Speakon jacks for ‘daisy chaining’

Speakers: 2 x 10� Eminence Legends

Impedance 8 Ohms

Power Handling: 400 Watts

Finish Options: Orange or Black Tolex

Dimensions: 62 x 35 x 34cm (24.4 x 13.8 x 13.4�)

Weight: 19.25kg (42.43lb)

TECH SPEC

Orange OBC210 Mini bass cab


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i guys and welcome to my column for Guitar Interactive issue 36. For quite a while now we’ve been

looking at very specifi c theory and harmony based ideas that you can incorporate into your writing and improvising. These have very much been grounded in scale and arpeggio understanding or taking harmonic concepts and applying them to chord progressions or one chord vamps. For this issue we’re going to be taking an altogether different approach and looking at a much more conceptual idea related to an issue that I see time and time again with guitar players from all sorts of genres and styles.

You may have noticed that you can very often experience a big difference between how you feel about your technical level depending on whether you are playing a pre-determined and practised phrase/lick compared to when you are improvising something. Most people fi nd that their level of pre-prepared technique is usually much higher than when they improvise something, where there is far more room for errors and tension to creep in as the phrases you are playing are less consistent. When you improvise, your technique has to be developed in a slightly different way to when you play set licks or phrases, as you must have a technique that can adapt in real time to the lines that you are improvising and be able to manipulate your knowledge of scales and arpeggios in creative and interesting ways.

But how do you develop this level of improvisational technique? If you think about the difference between improvisational technical ability and predetermined improvisational ability, the main difference is that in the former you must not only have high levels of technique but also be able to make note choices and direction choices quickly and effi ciently as part of the technical ability. The way you normally practice technique is to start off slowly and build up your technique through the repetition of licks, scales or exercises, gradually increases the speed and removing the tension from your body. It’s no different with improvisational technique except that you must also practice very slowly making conscious note choices that fi t the harmony you are playing over. This might sound like a small difference, but in practice the fact that you have to make these note choices as opposed to playing a pre-prepared phrase makes a big difference to the effi ciency of your technique.

The way to be effi cient with this kind of practice is to take a particular technique, often in my case legato but it could be sweep picking, alternate picking, tapping or any other technique, and practice so slowly, making conscious note choices and direction choices with your lines so that you are one hundred percent in control of your technique and you are working at the speed that your brain wants to work at in order to be able to make those conscious

Improving your improvisational level of technique

‘H


decisions whilst improvising. The real key to making this kind of practice effective is to be sure that your technique at this slow pace is IDENTICAL to the technique you’ll be using when playing faster with higher tempos or subdivisions. When I have students do this in lessons with me they will often subtly change their technique when playing slowly such as squeezing harder, apply a small amount of vibrato or trying to play lines that would simply be impossible to execute at higher subdivisions or tempos. You are simulating the act of utilising your technique improvisationally but at a speed that allows you to be totally in control of your note choice and allows your brain to stay one step ahead. Try to keep the lines you improvise at this slow, slow speed (and I mean slow) sensible so that they represent something that

you might have a chance to play at higher speeds. In other words, no massive interval skips if it’s not appropriate for the technique.

After a lot of this kind of practice not only will your technical ability increase, but your ability to think ahead and shape your line using that technique will also improve and the speed of your thought processes will increase. These elements, that are unique to improvisational technique, will allow you to get more parity between your technical skills whilst playing both predetermined and improvised phrases and solos.

As ever, watch the video for some examples and I wish you the best of luck with your technical adventures and improvisations. Until next time have fun! •

COLUMNS_TOM QUAYLE

Continuous Scale Exercises


ello groovers. Here I am again to rant about the importance of being able to play decent

rhythm guitar. Strangely, in the world of the young guitar player, the priority seems to always fall on being able to ‘shred’ to an impressive level rather than concentrate on the things that really matter in real world playing, which are timing, tone, feel and groove. The complete contemporary electric guitar player should have a balance of many aspects of the instrument, and the one thing that seems to catch many players out is rhythm playing, especially if it draws heavily on Funk and R&B.

Being caught out in the rhythm department is understandable, because to shred any fast technical lick merely takes repetition and muscle memory, whereas good groove playing involves musical instinct, musicality, chordal knowledge, chord fragments, chord voicings, chord inversions, string muting, touch, timing, tone, internal clock and that elusive ‘feel’ factor which simply isn’t teachable. So when you add it up, it’s easy to see why this area is often neglected because it is possibly one of the hardest areas to

sound great in.

With that in mind I thought that this Pro Concepts we could take a look at a simple two chord vamp, followed by a pleasing four bar chord sequence that involves elements of funk to execute properly. Our two chord vamp is a Cmaj7 to a Gmaj7. A classic little movement used again and again in countless songs and grooves. But what gives it life and musicality are the choices you make. What chord inversions, voicings and fragments are you going to use to suggest these two chords? Where on the neck does it sound best? Which pickup sounds best? What strumming pattern feels good? Where and how do you mute the chord within the strumming pattern to get it to sound percussive and in the pocket? How hard or soft do you strike the strings? There are no right or wrong answers to these questions because they are personal to each player but the end result should sound full of feel, groove and be totally in the pocket.

Following on with same thought process I give a little demo of a four bar sequence with a chord every two

PRO CONCEPTS

More Groove Playing

‘H


measures of the bar, Our sequence goes like this, Cmaj7 Gmaj7 / Bmin7 Emin7 / Fmaj9 Cmaj7 (or Cmaj9 or Cadd9, they all sound good and work) / Gmaj7 Bmin7#5 (could also be described as Dsus4 over B or even G add 2). Check what voicings and chord fragments I use and combine, to execute this sequence, but maybe you have some cooler chord voicings in mind. The key to a large part of that R&B Funk vibe is to not have too many notes in your chord. In fact on most occasions when playing rhythm on the electric guitar, smaller three or four note

chords sound better to me. Bigger fi ve or six note chords generally work nicely for acoustic guitar rhythm.

The hardest part of all this is sounding authentic and controlled whilst playing, with a feel that says you have been doing it all your life. With or without a metronome you should have a good sense of time. Some people have better internal clocks than others, and it’s a defi nite advantage. No sense of time is a bit of a disadvantage but doesn’t seem stop some of us, a bit like some ‘singers’

COLUMNS_MICHAEL CASSWELL

Different approaches to a run


are tone deaf but are always fi rst to the mic on karaoke night. When you are in total command of the pulse, you can then develop playing slightly behind the click. Directly on, or slightly behind the groove can add great to the feel. What rarely works is playing just in front. It will make you sound like you are pushing the groove and you will defi nitely be spoiling it for the drummer and bass player, who will be trying to ignore your playing as best they can.

Have a look at my tutorial and see if it is within your comfort zone to recreate something close to what I’m doing in the demo. If you struggle with it, then you probably need to put some work in to this side of things. If you are serious about making a living as a guitarist, there is no escaping the horrible truth that rhythm is what you will be required to do most of the time, so being accomplished at it, and better than the next guy, will certainly open doors. •

‘Check out the brand new video from Michael Casswell’s hit CD Complaints About The Noise!’

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Michael Casswell - Uneathed


Part Two: ello there and welcome to the second installment of my brand new column ‘Rock Improvisation’ I really hope last issue’s column has been insightful and

inspiring, if you haven’t checked it out yet, then check out the fi rst column before diving deep into this one! To summarise however, last issue I took a look at the fi rst box position of the pentatonic scale and we looked at different ways of phrasing such as bends, vibrato, slides and other great techniques. Today in this issue I want to take a look at how we can really move around the fi ngerboard. When I fi rst picked up a guitar at fi ve years old, I was obsessed with watching other guitarists, I didn’t have any

idea of what they were doing, but one thing I did notice is that when the time came to do a guitar solo, the guitarist would shoot up the guitar neck and start shredding away past the 12th fret and move all around that area with ease. It looked cool and sounded cool and kept me playing guitar. When I came to study guitar in my late teens and had learned the fi rst position of the pentatonic scale, I thought to myself “how do those amazing guitarists move around the neck like that and fi nd even more cool notes!?” I thought it was magic, and it still is really, but now I know the spell.

The 5 Pentatonic Patterns:

In my early years of ‘really playing’ guitar all I had

COLUMNS_SAM BELL

Stuck for ideas when it’s your turn to solo? Sam Bell, one of the UK’s fastest-rising guitar stars, begins a brand new series showing you how to improvise Rock solos - with as little jargon and theory as possible!

ROCK IMPROVISATIONwith Sam Bell

‘H


BACKING TRACK 1

ROCK IMPROVISATIONwith Sam Bell


at my disposal was the fi rst box position of the pentatonic scale. It was great, I had a bunch of cool Hendrix licks, I knew that if I moved around enough I could roughly jam over most things, however I couldn’t get out of that box. I felt stuck, uninspired and I felt like I wasn’t a ‘real guitarist’, which wasn’t actually true - you can have a whole career of playing guitar with box one position of the pentatonic and make amazing meaningful music that moves audiences. I soon discovered after jamming with some friends that they were using some ‘extra’ patterns around the pentatonic box than the one that I cherished, I fi gured out bits of it, but it felt like such a long-winded process until my guitar teacher at the time (Bruce Knapp) showed me the 5 positions of the Pentatonic scale. Once I had this lesson, my life changed, and yours might also!

The 5 patterns of the pentatonic are basically jigsaw pieces that fi t together and give you a giant pentatonic scale pattern across the entire neck that moves around perfectly in any desired key. You only need to memorise 5 patterns and you already know the fi rst one! Without getting too technical, the pentatonic scale only contains 5 notes, however on the guitar you can play those same 5 in lots of places on the guitar neck, these patterns give us bite sized chunks of information with those 5 good sounding pentatonic notes within them. In the video and tab for this lesson I have played all 5 patterns back to back, each pattern starts where the previous pattern left of, for example: Box one pattern on the Low E string uses frets 12 to 15, Box two starts on the 15th fret and ascends starting 15-17 and so on. You will notice as you try each one similar ‘patterns’ occur, because of this I highly recommend you practice one new pattern at a time, so you become really familiar

with it and can relate it to its previous pattern. One really cool way of practicing this (over a backing track is always fun!) is to go up one pattern, move up to the top note of the following pattern and descend that pattern, etc., rinse and repeat! As you get familiar with more patterns you can make a MEGA exercise where you go up and down each of the patterns to the highest available fret and then move back down. The more ways you can ‘travel around’ your ‘note map’ the more comfortable you will be when it comes to improvising and changing into other keys when the time comes.

Moving around in string pairs:

Once you have got a rough idea of how each pattern fi ts together and you have memorised them as best as you can. I highly recommend the following exercise. It is much like the previous moving up and down through each pattern, however we are going to ‘limit’ the amount of information we have. We are only going to use two strings this time. For example, we could take frets 12 and 15 on both the B and high E strings in Box one of the pentatonic scale, then we would move up to box two but only on the same pair of strings (this time 15 and 17 on each string) then we can move up further (B-17 20, E-17 19) etc., this is a great way of getting used to the scale and also a practical way of seeing it. Rather than the entire pattern, the smaller blocks of information are far more usable in an improvisation setting. We can start ‘adding’ them on top of our box one position and we can start to move around the neck in an endless amount of ways. I highly recommend trying this on all string pairs, G and B,

COLUMNS_SAM BELL


D and G etc. The more you do this, the more fun you will have and the more things you will discover.

Summary:

This issue’s lesson is really building the foundation of knowledge that we are going to NEED to digest before we can really make sense of the following columns, so I suggest you get practising, these patterns will sink into

your muscle memory the more you practice. Even when you are without a guitar, see if you can imagine how they fi t together in your head and then next time you are with a guitar, try it out and see if you were right. Learning the 5 boxes of the pentatonic scale was a HUGE revelation to me and it really motivated me to keep going on guitar and I hope it inspires you

also. Happy Practicing! •www.sambellguitar.com

Rock Improvisations Part 2


COLUMNS_SAM BELLCOLUMNS_LEWIS TURNER

Guitar Interactive reviewer and top session player, Lewis Turner takes us Back To Basics in his new column.Stuck in a rut? Want to get back into playing after a break? Lost in theory? Lewis helps you fi nd the music again.

COLUMNS_LEWIS TURNER

Guitar Interactive reviewer and top session player, Stuck in a rut? Want to get back into playing after a break? Lost in theory? Lewis helps you fi nd the music again.

BASICS


BACK TO BASICS WITH LEWIS TURNER #12 PLAYING IN DIFFERENT KEYS

n our last issue I looked at the relationship between Major and Minor scales and how the method of

“Minorising” can be used to help you when improvising. We tend to learn sets of scales in a certain key. I normally teach scales in the key of A, as it’s a comfortable mid-way point on the guitar and easy to visualise. Clearly not every song or jam session is going to be in the key of A, so we need to get just as comfortable improvising in all the other 11 keys. It’s not as daunting as it may seem at fi rst, as you have already seen, the fi ve shapes of A minor pentatonic are exactly the same in G minor, just in a different place on the fretboard. We have also seen how the major pentatonic scale is exactly the same

as the minor, just viewed from a different starting point, so you should also now be able to understand how to combine the two. This makes the guitar a very pattern-based instrument, learn X scale in X key, move it to another place on the fretboard to play in a different key, simple!

Unfortunately, nothing is as simple as it fi rst seems. All those hours spent practising in A, have had an effect on your muscle memory and how you view the fretboard. I bet if you tried to play all fi ve shapes in Bb you would fi nd it a bit of a struggle. They’re still the same shapes, but you tend to memorise certain reference points such as fretboard dots etc., shift it up a semi-tone and it all becomes

W I T H L E W I S T U R N E R

Guitar Interactive reviewer and top session player, Lewis Turner takes us Back To Basics in his new column.Stuck in a rut? Want to get back into playing after a break? Lost in theory? Lewis helps you fi nd the music again.

BACK TO BASICS

‘I


COLUMNS_SAM BELLCOLUMNS_LEWIS TURNER

an alien place! So how can you get over this issue? Be sure to check out the video where I go through a few practical ideas.

Playing a scale shape in all 12 keys is good practice, starting at the lowest point on the fretboard and moving up chromatically. Forcing yourself to play all fi ve shapes of a certain scale set in a different key, up and down each shape, then up one and down the next is another good way. Theses are great technical exercises but not particularly musical. To make your improvising easier and more musical in different keys, it comes down to your chord knowledge. Remember a few lessons back when I kept on about the importance of learning a scale shape around a chord shape? This is when that comes in handy.

Most students don’t take this advice and about now start to come unstuck! Take an A minor 7 barre chord at the 5th fret. The root is on the 6th string and the shape is minor 7, you can also now visualise the scale shape built around this chord, it’s good old minor pentatonic position 1. The same principle can be applied to any other chord. Shape 4 minor 7 chord at the 5th fret gives you D minor 7, and the scale shape around it will give you a D minor pentatonic scale, therefore you are now playing D minor pentatonic at the 5th fret, so you are playing a different key. Let’s take a typical minor Blues chord progression:

Amin7 x 4

Dmin7 x2

Amin7 x2

Emin7 x1

Dmin7 x1

Amin7x1

Emin7x1

This is a standard 12 bar form in A minor, you can just play A minor over the whole thing and it will sound just fi ne. However, if we were to separate each chord and look at the notes we get the following:

Amin7 = A, C, E, G

Dmin7 = D, F, A, C

Emin7 = E,G,B,D

An A minor pentatonic scale contains the notes – A,C,D,E,G. So you can see that we have two notes from the Dmin7 and Emin7 chord that aren’t in this pentatonic scale– F and B. We are missing out on the opportunity to outline some cool chord tones (notes within a chord). If we took the D and Emin chord and looked at their pentatonic scales we get the following notes:

Dm pentatonic – D,F,G,A,C

Em pentatonic – E,G,A,B,D

When the chord changes in the progression we can change with it, using its parental pentatonic scale, we can then be certain that we are outlining the chord and sound way “hipper” as the Jazz cats say. To do this you must know your chord shapes. Start by playing this chord progression in one area of the fretboard, say 5-7th fret, using all different chord shapes, in this area it would be:


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Amin7 – Chord Shape 1

Dmin7 – Chord shape 4

Emin7 – Chord shape 3

Then play the scale shape that goes around the chord, you will now be playing in a different key but in the same area of the fretboard - cool! Rinse and repeat in four other positions of the fretboard. The eagle eyed amongst you would have noticed that technically you aren’t changing key as all the notes are contained in the full A minor scale – A,B,C,D,E,F,G as the chords are derived from this key. That’s not really important: it’s the thought process behind it and getting

used to visualising shapes built around a chord that matters. You could extend this exercise to anything you like Amin – Cmin for example, then there is a defi nite key change.

Spend some time doing this and not only will your fretboard knowledge improve, but your solos will start to sound more sophisticated as you are outlining individual chords. Practice playing in as many keys as you can, don’t get stuck in the dreaded A minor rut! For all things guitar please check out my website www.lewisturnerguitar.com Good luck and see you next time. •

Relative Major and Minor Scales


COLUMNS_MARTIN GOULDING

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BACKING TRACK 1

Modern Rock Techniques with Martin Goulding


Legato Playing Part Ten: Sweeping and tapping techniques applied to extended arpeggios part 2

i there and welcome to this issue’s Modern Rock Techniques column, with

the eleventh part in our series looking at legato-based ideas including sweeping and left and right hand tapping techniques. This lesson also forms the second part in our two-part mini-series focusing on applying these techniques to a framework of extended arpeggios. As we saw last time, by superimposing the diatonic 7th arpeggios from the b3rd, 5th and b7th degrees of our ‘home’ ii A minor 7/A Dorian tonal centre, we can create a cascade of colourful extended sounds, and with the combination of techniques resulting in a smooth, almost synthesiser-like effect.

I’ll again be demonstrating the ideas as sixteenth-notes at 160bpm over our backing track Full Roller (taken from the

issue 30 solo study). This track features a hard-rock feel in A Dorian, and is downloadable along with the tablature by following the link on the page.

Get the toneTo get a good modern Rock tone, set the gain on your amp to maximum, with the bass and treble set slightly boosted (1 o’clock), and the mid-range either slightly scooped (10 o’clock) for rhythm or boosted (1-2 o’clock) for lead. For the lesson, i used my Ibanez J Custom with Bare Knuckles VH II pick-ups, through an Axe-FX II - set up with the Brit Super amp (based on the Marshall AFD head), along with a tubescreamer style overdrive pedal and some stereo delay.

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Superimposing diatonic arpeggios to create extended sounds in A Dorian

This lesson applies a more advanced pattern to the extended arpeggio framework which we established in the last lesson. This framework is based around an ascending cascade of superimposed diatonic 7th arpeggios built from the b3rd (C major 7); 5th (E minor 7); b7th (G major 7) and 9th degrees of our ii A minor 7 ‘home’ chord. This creates a range of colourful sounds that extends the harmony of our basic 4-note A minor 7 chord up to the 9th, 11th and 13th degrees.

To recap our understanding of the intervals that comprise a scale or mode, let’s review fi gure 1, which sets out a two-octave A Dorian mode. The chord tones in the fi rst octave are

highlighted in red, and continue as extensions in the second octave.

Figure 1

R 2 b3 4 5 6 b7 R 2 b3 4 5 6 b7

8 9 b10 11 12 13 b14

To understand how we can use extended sounds in our playing, it’s crucial to develop a broad knowledge of the key system and its harmonised scale. With that in mind, let’s now



Sweeping and tapping techniques applied to extended arpeggios part 2


review fi gure 2, which presents the G major scale harmonised as diatonic 7th chords. Underneath the chords, we can see the intervals presented from A as the root note. This gives us the formula for our A Dorian mode.

Figure 2

I ii iii IV V vi vii

Gmajor7 Aminor7 Bminor7 Cmajor7 D7 Eminor7 F#minor7b5

(Home chord)

b7th R 2nd b3rd 4th 5th 6th

Example 1Our fi rst example is in 6/4 and presents a G major 7 arpeggio in position 4 (A-shape), relative to the CAGED/5-position system. The technique integrates a 3-note-per-string legato roll on the high E string, which includes the additional 6th or 13th degree. After extending the range with a right hand tap on the high root note - G, the example then descends to the B string using a left

handed tap or hammer-on from nowhere. From here, the example ascends from the G string using another sweep stroke, this time skipping the 6th degree and hammering-on to the 7th. After a right hand tap on the high G, the arpeggio then descends using hammer-ons-from-nowhere.

As we are superimposing the G major 7 arpeggio over our ii A minor 7 tonal centre, we need to be able to visualise and hear the intervals as they relate to the root note - A. Let’s review this superimposition so we can see how the notes of the G major 7 arpeggio extend the intervals of our ii A minor 7 chord:

The diatonic arpeggio built from the b7th of our A Dorian mode is G major 7, with the following notes:

G(R) B(3rd) D(5th) F#(7th)

When viewed from the perspective of A Dorian, these notes give us the following intervals:

b7th(G) 9th(B) 11th(D) 13th(F#)

As a formula, we can remember that over our ii minor 7 chord in any key, we can superimpose the diatonic major 7 arpeggio starting from the b7th degree. This extends our basic minor 7 tonality to include the 9th, 11th and 13th degrees.

Try to ensure that the sweep stroke is played lightly and in one single motion. To keep



the notes well separated, and to avoid any dissonant clashes - focus on the fretting hand, with the fi nger pressure released as you play the next note. Practice the exercise slowly until memorised, before fi nding your base speed on the metronome and repeating continuously for fi ve minute per day as part of an overall routine. During this timeframe, and in general when repeating exercises continuously - always shake out the hands and arms as soon as you feel the onset of any tightening sensations, fatigue or tension.

After a week or so, and when the exercise can be repeated continuously with good accuracy, timing and tone - try increasing the metronome slightly and again practice daily for another week or so before any further increase.

On the fretting hand - keep the thumb in the middle of the back of the neck, and with plenty of space from the underside of the neck to the cup of the fretting hand. For the left hand taps - hit down hard and from a height at fi rst to encourage good timing and accuracy, and concentrate on an equal velocity between all the notes.

On the picking hand - hold the pick as normal for the sweep strokes and use the second fi nger to tap, so as to provide a seamless transition from sweeping to tapping. Position the hand fl at with the heel/thumb-pad resting on the bass strings over the fretboard in order to mute, and close to

where the tap is played. Try to minimise any movement in the right hand as you rest on the strings, so as to prevent any unwanted noise.

Example 2This next idea expands upon the previous example by applying our pattern through the extended arpeggio framework established in last month’s lesson. This framework features an ascending cascade of arpeggios built from the b3rd (C major 7); the 5th (E minor 7), the b7th (G major 7) and the 9th (B minor 7). Each arpeggio creates a particular extended sound when superimposed over our A Dorian based backing track. Let’s review how the notes of our diatonic arpeggios can extend the harmony of our basic ii A minor 7 chord when superimposed:

1) The diatonic arpeggio built from the b3rd degree of our ii A minor 7/A Dorian mode is C major 7, with the following notes:

C(R) E(3rd) G(5th) B(7th)

When viewed and heard from the perspective of our underlying A Dorian tonality, these notes give us the following intervals:

b3rd(C) 5th(E) b7th(G) 9th(B)

As a formula, we can remember that over our ii minor 7 chord, we can superimpose the diatonic major 7 arpeggio starting from the b3rd degree. By doing this, we extend the


intervals of our basic minor 7 chord a third higher to include the 9th degree, giving us an extended minor 9 sound.

From beat 3 of the second bar (remembering that we are applying a 6/4 pattern over our backing track which is in 4/4), we have the diatonic arpeggio built from the 5th degree of our ‘home’ ii A minor 7 chord - E minor 7. This gives us the following notes:

E(R) G(b3rd) B(5th) D(b7th)


5th(E) b7th(G) 9th(B) 11th(D)

We can memorise this superimposition as a formula, so it’s easier to apply in different keys or positions. Simply remember that over a ii minor 7 chord in any key, we can superimpose the diatonic minor 7 arpeggio starting from the 5th degree. By doing this, we extend the intervals of our basic minor 7 chord by two extra consecutive thirds - giving us the 9th and 11th degrees for an extended minor 11 sound.

In the fourth bar, we have the G major 7

arpeggio superimposed over our A minor 7 tonality, which as we’ve seen already - gives us the fully extended A minor 13 sound. From beat 3 of the fi fth bar, we have the diatonic arpeggio built from the 9th degree - B minor 7. This gives us the following notes:

B(R) D(b3rd) F#(5th) A(b7th)


9th(B) 11th(D) 13th(F#) R(A)

As a formula, we can remember that over our ii minor 7 chord, we can superimpose the diatonic minor 7 arpeggio starting from the 9th degree. By doing this, we extend the intervals of our basic minor 7 chord by three extra consecutive thirds. This gives us the 9th, 11th and 13th degrees (for a variation in the voicing of our extended minor 13 sound in comparison to the previous G major 7/A). The cascade fi nishes with a return to the C major 7 arpeggio (A minor 9 sound) played an octave higher.

This example gives the effect of a gradual unfolding of all three extensions up to the 13th degree as the idea ascends, and provides



a framework which can then be broken down and integrated with other ideas and concepts when improvising.

Example 3This next example starts by applying our 6-beat sweeping and tapping pattern to the ‘home’ A minor 7 arpeggio, starting from the b7th in position 3 (Cm-shape relative to the CAGED system). Be aware of the use of the fi rst to fourth fi nger hammer-on at the start, and which sets up the most effi cient fi ngering for the rest of the arpeggio. Although unusual in conventional playing, this combination will occur from time to time when moving through arpeggio-based cascades.

The example continues from beat 3 of the second bar with a colourful sounding G major 7 arpeggio. This is superimposed over our A Dorian tonality to give an extended A minor 13 sound as we’ve seen. From bar 4, the example resolves back into the ‘home’ tonality with an A minor 7 arpeggio in position 4 (Am-shape relative to the CAGED system), and with the pattern fi nishing on the root note.

Example 4Our fourth and fi nal example for this issue features a shorter lick extracted from the main extended arpeggio framework presented in example 2. Starting in the fi rst bar with the C major 7 arpeggio in position 4, the example then moves from beat 3 of the second bar to the next arpeggio in the chain - E minor 7. These two arpeggios are superimposed over our A Dorian tonal centre to give us an A minor 9 to A minor 11 extended sound. In beat 2 of the third bar, we move out of the arpeggio form with a slide into a legato full-roll on the high E string. The idea then descends on the B string to target a bend from the 6th degree up to the b7th, and fi nishing with vibrato.

That’s all for this issue, thanks for joining me and I’ll see you next issue for the twelfth part in our series, which will look at developing the left and right handed tapping approach to arpeggio playing. In the meantime, please feel free to visit my site at www.martingoulding.com •


COLUMNS_ANDY WOOD

NEW COLUMN!


ey everybody, and welcome to my new column for Guitar Interactive magazine where we’ll be looking at Country guitar.

To warm things up, and prepare you for everything coming, I thought it might be best to open with a look at the harmony we’re going to be encountering when playing Country guitar. We’re going to do that by looking at the dominant 7th chord in some detail.

When listening to great Country players like Hank Garland, Roy Nichols, Jimmy

Bryant, Jerry Reed or James Burton, you’ll hear a stylistic approach to playing over the material you’re presented with. This is an important part of playing any style of music, the phrases a Country player would play over an A7 chord will differ greatly to how a great blues or rock player might do it. What we need to understand is how a Country player will approach the same 12 notes differently.

A dominant 7 chord can be described as major triad with a b7 – so R 3 5 b7. It occurs in major scale harmony as the 5th chord in the key. So in the key of C, (CDEFGABC) our 5th chord will be a G dominant 7 chord

Guitar Interactive is proud to welcome Andy Wood to our list of star contributors! Andy fi rst appeared in the magazine back in Issue 27, while

he was touring the world with Creed front man, Scott Stapp. Since then he’s gone on to land the spot of gunslinger and mandolin player for Grand Ole Opry member, Star on the Walk of Fame, Grammy award winning Country

megastars Rascal Flatts. This comes as no surprise to those who know him as the only thing about Andy that’s better than his personality is his command of those six strings (or eight in the case of the Mandolin!). A respected recording artist in his own right, his latest double album, Caught Between the Truth and

a Lie showcases his considerable talents as a modern electric guitar player and his true roots as a traditional Bluegrass musician - we’d say that makes

him the perfect person to show you a thing or two about Country music, right?

Country Guitarwith Andy Wood

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and will take the notes G,A,B,C,D,E,F as a scale – the G mixolydian scale.

To take your playing beyond just running up and down the correct scales, we need to stop thinking of scales as mere pools of notes, and instead focus on how the notes sound, and what they do in relation to the chord you’re playing over. So over a G7 chord, the F is the b7 of the chord and it will sound a certain way. To me it’s one of the defi ning characteristics of the scale.

In Country guitar, we’re not just thinking of the mixolydian scale, we’re thinking sounds. The idea of “I can’t play that note because it’s not in the scale” doesn’t apply, in fact, sometimes it sounds fantastic if we approach a chord tone from a note not in the scale.

If we approach the 3rd of the scale (B) from the b3rd (Bb) it’s going to sound really cool, and it’s something we hear all the time in Country music. The real important part to remember is that we don’t have a new scale, you don’t sit and practice G, A, Bb, B, C, D, E, F as a scale, you continue to play

the mixolydian scale, you’re just aware of that little tension note that can be used to approach the 3rd.

We can also add the b5 to the scale too (Db), again it’s not a new scale, just a little passing note between the D and C that I’ll play when descending. I’ll probably never sit on and play the Db against the G7 chord because that sounds a little Jazz.

Now what we have is a big pool of 9 notes we can use over our G7 chord, G, A, Bb, B, C, Db, D, E, F – which we really need to start thinking of as R,2,b3,3,4,b5,5,6,b7 – all we have to do is start building our vocabulary using these notes by learning established phrases you’ll hear all the time in the style.

The best homework you can really do is go out and do the listening required to really get these sounds in your ears. Now you know what’s going on, hopefully you’ll pick up on it when you hear it! •

COLUMNS_ANDY WOOD


Country Guitar with Andy Wood

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COLUMNS_CAMERON ALLEN

From Blues To Jazz Cam� � Allen

Guitar Interactive is proud to welcome Cameron Allen, one of the USA’s most promising young guitarists, to our team of columnists with his exclusive new series - From Blues to Jazz.


ast time we looked at some ways to expand our awareness over the fretboard while soloing over a Jazz Blues, using arpeggios as a means of targeting chord tones through

the changes. I noted that, while such chord tone exercises offer great benefi t in terms of expanding one’s fretboard awareness, they can tend to sound academic and bland. One reason for this is that the chord-tone-only arpeggios are built of just those notes that make up the underlying chord and nothing more. We can begin to make our lines sound more interesting by including additional scale tones. One place where additional scale tones can be especially impactful is on a V7 chord. For this lesson, I chose to focus on a scale that is often used to great effect on V7 chords: the altered scale.

The altered scale, also known as the superlocrian scale or the diminished whole-tone scale, is an essential part of every Jazz player’s musical vocabulary. It is derived from the melodic minor

scale, being the seventh mode thereof. Its formula is: 1-b2-#2-3-b5-#5-b7. It should be noted that other enharmonic spellings are sometimes given (for example, you might fi nd “b5” written as “#4”, or “#5” as “b6”, etc.), but in this lesson we will stick with this version of the formula for the sake of simplicity. To better appreciate the utility of this particular set of scale tones over a V7 chord, it would do us well to refl ect on the general function of a V7 chord. [To be clear, when I talk about a “V7 chord”, I’m referring to any dominant 7 chord that resolves up a fourth. More on that later...]

When a V7 chord resolves up a fourth, it creates an effect of “tension and release”, with the tension happening on the V7 chord and the release happening on the chord to which it resolves. I demonstrated this effect in the video by playing a G7 resolving to a C chord. The tension that one senses on the V7 chord is caused by the tritone interval that is present between the 3rd and b7th of

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a dominant 7 chord. Because of the dissonant nature of the tritone interval, dominant 7 chords have an inherently unstable and tense quality to them. When a dominant 7 chord resolves up a fourth and that tension gets “released”, the effect is a powerful one, and the importance of this event is hard to overstate. This dominant-tonic resolution, as it’s sometimes called, is one of the most central and indispensable properties of tonal music.

We can make this already-powerful event even more dramatic by increasing the level of tension on the V7 chord. This can be accomplished by adding altered tensions to the chord. The altered scale is well suited for this task because it contains all the shell tones of a dominant chord, plus four altered tensions. Look again at the formula: 1-b2-#2-3-b5-#5-b7. Tones 1, 3, and b7 are the shell tones of a dominant 7 chord. The remaining tones are b2, #2, b5, and #5, all of which are altered tensions. Adding any (or all) of

these altered tensions to a dominant 7 chord will exaggerate the tension and make the whole effect more powerful. Thus, the altered scale is a wonderful choice to use when we want to create some exciting tension-release drama while playing over a V7 chord.

As with any scale, it is a good idea to practice the scale patterns up and down in every position on the neck. In the video I demonstrated the G altered scale in 5 positions across all 6 strings. In addition to practicing the scales up and down, it is helpful to start in the middle, mix up the order, skip strings, and otherwise throw in variations that will challenge and reinforce your command of the scale. Once you have developed suffi cient awareness of the scale patterns across the neck, it can be useful to notice that there are some patterns imbedded within the scale that are based on simpler, more familiar musical content.



For example, let’s look at some triads that are imbedded within the altered scale, and let’s examine the tones that result if we superimpose these triads over a V7 chord. For our examples, let’s use G7 as our V7 chord. [NOTE: There are unavoidable enharmonic discrepancies when spelling some of these formulae. To fully explain them would take time and page space that I feel is better spent focusing on practical utility rather than pedantic minutiae.] There is a minor triad starting from the b2 degree. This yields the tones: b2, 3, and #5. Over a G7, this would be an Ab minor triad (Ab-Cb-Eb). There is a minor triad from the #2 degree, which yields the tones: #2, b5, and b7. Over G7, this would be an A# minor triad (A#-C#-E#). There is a major triad from the b5 degree, yielding the tones: b5, b7, and b2. Over G7, this would be a Db major triad (Db-F-Ab). There is a major triad from the #5 degree, yielding

the tones: #5, 1, and #2. Over G7, this would be a D# major triad, spelled as Eb for simplicity (Eb-G-Bb). There is an augmented triad starting from the 1, 3, or #5 degrees, yielding the tones: 1, 3, and #5. Over G7, these would be G, B, or D# augmented triads (all contain the notes G-B-D#). There is a diminished triad from the root, yielding the tones: 1, #2, and b5. Over G7, this would be a G diminished triad (G-Bb-Db). There is also a diminished triad from the b7 degree, yielding the tones: b7, b2, and 3. Over G7, this would be an F diminished triad (F-Ab-Cb).

There are also shapes embedded within the altered scale that contain more than just 3 notes. For example, there is a minor pentatonic scale starting from the #2 degree, yielding the tones: #2, b5, #5, b7, and b2. Over G7, this would be an A# minor pentatonic scale (A#-C-D#-E#-G#) [labeled as a

Cameron Allen Performance


Bb minor pentatonic scale in the video]. We also have a minor 7 arpeggio starting from the #2 degree, which yields the tones: #2, b5, b7, and b2. Over G7, this would be an A# minor 7 arpeggio (A#-C#-E#-G#).

This kind of knowledge is quite useful because it allows us to isolate certain tone combinations and apply them using patterns and techniques that are presumably a lot more familiar to us. That is part of the beauty of superimposition. Any mastery that we already have over a major triad or a minor pentatonic scale, for example, now becomes available to us as a means of creating a more exotic tension-release event over a V7 chord. All we have to do is know where and when to apply these things, and all our previous learning bears the rest of the load.

Now, all the scale knowledge in the world does us no good if we don’t know how to fi t it into a real musical context, so let’s look at how we can apply this scale in the context of a C Jazz Blues. Let’s review the form of a C Jazz Blues:

| C7 | - | F7 | - | C7 | - | C7 |

| F7 | - | F7 | - | C7 | - | A7 |

|Dm7| - |G7| - |C7-A7| - |Dm7-G7|

We know that the altered scale is appropriate for dominant 7 chords that are functioning as V7 chords. I mentioned before that a dominant 7 chord is functioning as a V7 chord if it resolves up a fourth. There are three such instances in a C Jazz Blues: the C7 chord (resolving to F7), the A7 chord (resolving to Dm7), and the G7 chord (resolving to C7). In each of these cases, the altered scale can be used on the V7 chord to create tension that then gets released when the V7 chord resolves.

To illustrate this tension and release effect, I played a few example licks based on bars 9 and 10 from a C Jazz Blues. Recall that bar 9 is a full measure of Dm7

and bar 10 is a full measure of G7. In this case, the G7 is acting as a V7 chord because it is followed by a C7 in the next bar. In the example licks, I played basic eighth-note-based “inside” ideas on the Dm7 chord, then used the altered scale over the G7 chord to create tension, then resolved to a chord tone on the fi rst beat of bar 11 (C7) to conclude each lick. The result is an “in-out-in” effect, or a “stable-tense-stable” effect, to demonstrate the power of the altered scale in producing harmonic drama.

It is important to remember that, while scale studies can be very helpful, they are meant to be used as a means to an end. Our ultimate goal should, of course, be to make great music. In the language of music, scales are simply the words or letters that we use, but the real communication happens when we form these into phrases to express coherent ideas. As always, our ear should remain our ultimate guide and we should always strive to reach greater heights of expressiveness. For inspiration, one can listen to any of the great Jazz players and notice how they phrase over V7 chords (if you’d like specifi c recommendations, people like George Benson, Joe Pass, Pat Martino, Bereli Lagrene, and Kurt Rosenwinkel jump to mind). At bottom, in my view anyway, the ideas these musicians are conveying are more important than the exact notes they use to express the ideas. I think it is important to keep this in mind when practicing scales, as many players tend to get overly consumed with scale studies and forget why they’re practicing them in the fi rst place. Having a clear view of the role of scale studies will inform our practice habits and help us focus our efforts in ways that yield more satisfying results.

With that said, have fun with this information and don’t feel disheartened if it takes a while to assimilate all this stuff smoothly into your playing. Just fi nd joy in the process and take pleasure in continually polishing your abilities and becoming a more capable

and equipped musician! Cheers until next time! •



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Cameron Allen Lesson

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_guitar interactive issue 36, 2015

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