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Stanley ClarkeA pioneer of jazz-rock bass shredding talks about his career, technique, gear, and more in this classic GP cover story from 1980

Reviewed! Ten High-End Acoustics

Steve Stevens

John ScofieldPlus

3 Free Song Transcriptions

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GUITAR PLAYER VAULT | August 2013 | 7

contentsAugust 2013 Volume 3, Number 8New Artist FeAture08 Steve Stevens (fromthecurrentissueofGuitarPlayer)

From the vAult16 Stanley Clarke ClarkesworkwithArtBlakey,StanGetz, andReturntoForevermadehimoneof themostacclaimedjazz-rockbassistsof alltime.InthisclassicGPcoverstory from1980hetalksabouthiscareer, technique,gear,andmuchmore. (fromtheMay1980issueofGuitarPlayer)

38 John Scofield (fromtheSeptember1979issueofGuitarPlayer)

GeAr46 Roundup TenHigh-EndAcoustics (fromthecurrentissueofGuitarPlayer)

oN the NewsstANd68 GPAugust2013TableofContents

lessoNs70 Superimposition Strategies! JamieKimeonBuildingColorfulSolos OverOne-ChordJams (fromtheNovember2009issueofGuitarPlayer)

72 Fingerstyle Blues Master Class! ExploretheevolutionofDelta,Piedmont, Nashville,Rockabilly,andRagtimeGuitar (fromtheJune2007issueofGuitarPlayer)

sessioNs80 Theever-popularTrueFire Lessons

trANscriptioNs82 SouthCityMidnightLadyDobbie Bros.94 WhiteHousesThe Animals100 JesusLovesMe TraditionalSteve Stevens - Page 8


artist feature

Forever YoungWhy Is GuItar Icon Steve StevenS LIke a cLassIc hot rod?By Michael Molenda

By soMe Miracle of superlative talent, Brand savvy, hard work, and constant creative evolution, 80s rock-guitar hero Steve Stevens has escaped the fate of becoming a trivia answer for the nostalgic 50-plus-years-old set. In fact, Stevens appears to be as feisty and relevant now as he was when he and Billy Idol were all over MTV in the days when the channel actually played music videos. Yes, hes still touring with Idol, and, this year, the team is celebrat-ing the (gasp) 30th anniversary of Rebel Yell. But Stevens is also a solo artist with varied soundtrack and album credits, he plays in all-star cover bands such as Kings of Chaos and Camp Freddy, and he just released a Knaggs signature model guitar and a Friedman sig-nature amp head. Whether you talk about his tones, techniques, or tailoring, Stevens is a stellar example of a classic design carrying on into the next generationslike a Tiffany ring or a reimagined Ford Mustang. Rock on.


steve stevens


steve stevensartist featureHow did the Knaggs Steve Stevens Signature come about?

I wasnt looking to do a signature model, but Peter Wolf contacted mewe had worked together when he was at Hamer all those years agoand he said, Hey, you know that PRS guitar you played onstage for a number of years? The guy who made that guitar is Joe Knaggs, and he has started his

own company. Then, I remembered seeing a Knaggs guitar somewhere, and the f irst thing that caught my eye was the one-piece, kind of Tune-o-matic-on-a-plate bridge. I thought that was a good idea, and I wondered why no one else had done that before. So I sa id, Cool. Send me one to check out. They shipped me a really nice guitar, but Im old school. I like

guitars that are thicker, heavier, and have chunkier necks than what they had sent. So I started to explain what I was looking for, and Peter said, Oh, we can do that. Within weeks they had a guitar in my hands. Peter said, Basically, you have a guitar company at your beck and call. Whatever you wantor anything you can dream up or think ofwell make for you. How could I ignore that?

But this was also a friendship thing, as well. I trusted Peter because I worked with him for so many years. In addi-tion, a percentage of the proceeds go to the Musicians Assistance Program [MAP], which helps guys in recovery. Theyve helped a lot of my friends, and they helped me one time. I thought, Okay, cool. This is a reason to have a signature guitar out there. [See our review of the Knaggs Steve Stevens Sig-nature on p.112]

And what about your signature amplifier?

Dave Friedman of Rack Systems is making it. Its based on my old plexi Marshall thats now retired from tour-ing because its just not road worthy. Dave basically cloned that amp, and then he added a clean channel thats like a Fender Twin. Its a really good sounding amp that has a bit more bottom than top, and its frequency spectrum is a bit wider than an old Marshalls.

Its hard to believe it has been 30 years since Rebel Yell was released. What are some of your memories from those sessions?

When we did Rebel Yell, we didnt have a drummer. A lot of those songs were written in the studio to a Linn Drum, and then we ended up track-ing guita rs to the drum machine grooves. Fortunately, Thommy Pricethe drummer on Rebel Yellis like a human time machine, so he could lock to a click and record real drums to the Linn tracks. We searched high and low for a guy who could do that, because back then drummers didnt record with click tracks as much.

You know, I could see some of the songs on Rebel Yell released today. Theres some good classic guitar stuff

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steve stevensartist featureon that record. By contrast, the previ-ous oneBilly IdolI think is really 80s sounding. One of the things that makes the guitars sound the way they do on that record is they were a ll subtly processed through this extremely expensive piece of out-board gear called a Publison Infernal Machine. It was a harmonizer-type of effect that gave the guitars added

sparkle and a kind of kinetic energy that I liked.

Well, there are some pretty raging guitar tones on that album.

For the rock stuff, man, I need the volume. You know, people talk about how records sound now versus back in the day, and theyll often blame digital recording. But heres whats happening with a lot of guitar sounds

these daystheyre totally isolated. Theyre not cut live or in the studio with the amp, so theres no signal bleed happening. Totally isolating instruments can sterilize them. When I tracked Rebel Yell, I was standing next to my amp wearing headphones, and the sound is all about the natu-ral feedback that occurred with my guitar and I being in the same room as the cabinet.

One of the elements of your style that I find most intriguing is how youve always been able to cast these wonderfully memorable partsgreat melodies, cool tones, and a tad off-kilter. How did you develop that approach?

That comes down to arrangement, and if there was ever anything that helped me truly understand good arranging, it was the years playing in a cover band doing a lot of Led Zep-pelin. Jimmy Page didnt just double the bass, the guita r a rrangement was always a totally unique part of the songs, and the sum of the music was so much greater because of that. Its like an old watch. Some gears are little and they move at twice the speed of the big gear. So I learned to do guitar parts that are polyrhythmic, as well as to f ind something to play thats harmonically different than the other instruments. Jimmy Page is the best teacher for that. I kind of hit on that approach with White Wedding, and I think I nailed it on Rebel Yell.

You know, Im not precious about my guitar stuff. For the Billy Idol sound, the stuff I do is pretty simple by guitar standardswhich is prob-ably why Im never mentioned in the same breath with Vai and Satrianibut I still believe my main strength is playing what benefits the song. And that makes me happy.

Another thing is that you can still hear the fire and youthful exuber-ance in your playing today, while some other guitarists of your era sound more mature, and, to b e frank, kind of boring.

Heres the thing. The records I loved when I was 13 years oldwhen I fell

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steve stevensartist featurein love with pop music and got my f irst electric guitarI try to tap into that feeling of listening to music at that age in whatever way I can. You almost have to block out everything about who you are as a musician to get to that point. Otherwise, you start thinking about how its a busi-ness and youve been doing this for 30 years, and suddenly youre over-thinking everything, and the 13-year-old kid is gone.

It also helps if you truly love making music. These days, the mentality of the music business has changed, and some people actually get into this industry just to be famous or rich. Its dog-eat-dog, because people arent selling the number of records they once did. So now when I meet a younger band, everybodys a mini mogul. Theyre

selling all kinds of thingsclothes, perfume, shoesand none of that has anything to do with the quality of their music. To be honest, if Im writing or playing with somebody, I dont want to know about that sh*t. Billy and I never wanted to be busi-nessmenthats why we hire other people to do that stuff. We just want to be rock and roll knuckleheads and make music.

Do you absorb a lot of todays artists for inspiration?

I listen to everything, but if some-body has Cookie Monster voca ls, Im outta there [laughs]. The stuff I enjoy listening to still comes down to great songs. I l ike Bruno Mars because hes a great talent with great material. I also like Muse. And there are some brilliant guitarists around

nowparticularly Guthrie Govan, who is an absolutely exciting and amaz-ing player. When I hear him play, it gives me hope.

Is there anything you do to keep yourself evolving as a player?

I continue to challenge myself on a technical level, because I never want to have an idea in my head and not be able to play it. I still try to practice, as well. You know, a few months back, Zakk Wylde sat in with this all-star Hollywood cover band I was guest-ing with called Camp Freddy, and his technique was so unbelievable that I was humbled. The next day, I found out Zakk had released some instruc-tional DVDs, and I ordered the whole series. I thought, Wow. I want some of that technique. Oh, lookhe has a DVD. Im getting that sh*t! g

Watch stevens do his tribute to Led ZeppeLin soLo


classic interview


may 1980


classic interview may 1980


classic interviewmay 1980

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CLASSIC INTERVIEWfrom the May 1980 issue

of Guitar Player magazine

Watch clarke performing live at montreux in 1980

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classic interview


september 1979

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CLASSIC INTERVIEWfrom the September 1979 issue

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gear roundup

Ten High-End AcousticsTesTed by The Guitar Player sTaff

anyone who has ever shopped for an acousTic

guitar knows that you can spend a bundle on an instrument made

by a premium brand. A high-end guitar has certain attractions that

begin to emerge the minute you catch a whiff of the nitro lacquer.

Aged solid woods, gleaming frets, superb playability, and a sound

that stirs your soul the second you give it a strum are some of the

obvious things. But theres also the X factor that comes with having

an instrument that a celebrated builder had their hands on. After all,

what great classic acoustic guitar was ever designed by a commit-

tee? Whether youre talking about C.F. Martin or Orville Gibsonor

one of the modern-day masters like Dana Bour-

geois, Bill Collings, Richard Hoover, or Bob

Taylorthe instruments with these

guys fingerprints on them have

stood the test of time,

achieving the honors awarded them because top players have

proven that they rule.

Guitars priced at or above the $2,000 mark are desirable for rea-

sons that range from the purely aesthetic (as in the beauty of the

woods, binding, and inlays) to the practical (great tone and playabil-

ity) to the existential, as in finding a 6-string soulmate that makes

you feel good about yourself. Those fortunate enough to be able to

spend whatever it takes to reach acoustic nirvana definitely have a

lot of choices these days. And while we didnt purposely seek out

the costliest models that are out there, this roundup definitely goes

uptown with a spectrum of guitars that range from the $2,849 Taylor

714ce to the $8,900 McPherson Camrielle 4.0.

Each of these guitars has its charms that might sway you one

way or the other, but all of them are pro-grade affairs, as confirmed

by our evaluations of their construction, playability, sound, and,

of course, the amorphous vibe factor that always plays

a role in any guitar purchasing decision.

As weve pointed out in past roundups of

budget acoustics, you dont have to spend like

a drunken sailor to get a happening guitar, but

how sweet it is to dip in the high-end pool!

A r t t h o m p s o n

anyone who has ever shopped for an acous


roundupgear

Bourgeois BK/slope DM a i n e - b a s e d l u t h i e r d a n a b o u r g e o i s h a s l o n g b e e n k n o w n a s a n

acoustic builder at the top of his game, and the BK/Slope D is very much the kind of guitar that helped

to build his reputation. Its just the sort of big, bold, slope-shouldered dreadnought that would be known

as a rhythm cannon in many circles, except that the BK/Slope D does so much more than that. Rhythm,

flatpicking, fingerstylethis powerful flat-top belts it all out, yet with great dynamics and finesse when

you need it to, and not merely the kind of power that gets you heard on a crowded stage. And therein

lies the origin of the BK tag: Dubbed the Banjo Killer by bluegrass ace Bryan Sutton, for whom the

first example was built back in 1995, this new BK/Slope D comes with a substantial pedigree.(After

Suttons original 1995 Bourgeois Banjo Killer was damaged in the Nashville flood of May 2010, Bour-

geois and team took the guitar in for a laborious restoration, reconfirming the specs of these reissue

examples in the process.)

Even before you hoist BK/Slope D, the woods in its top and body jump out at you as something

special. The solid Sitka spruce top dances with interesting bearclaw figures within what is already

an extraordinary, almost luminescent grain, and the back and sides are made from beautifully figured

solid mahogany. Ivoroid binding graces the top and back (although the fingerboard and headstock are


gearroundup

Bourgeois BK/slope DContaCt bourgeoisguitars.com

PriCe $4,595 retail/$4,135 street

nut Width 1 23/32" (1 3/4" optional)

neCk Mahogany, 25 1/2 scale length

Fretboard Ziricote

Frets 20 medium nickel (14 clear of the body)

tuners Waverly

body Solid bearclaw Sitka spruce top, solid

figured mahogany back and sides

bridge Ziricote bridge with ebony

pins and bone saddle

FaCtory strings DAddario EXP19, .013.056

Weight 4.25 lbs

built USA

kudos Outstanding build quality. Ele-

gant looks. A volume machine,

but rich and lush sounding.

ConCerns None.

M O D E L

S p E c i f i c at i O n S

unbound, as per Suttons specs), theres a tasty multi-ply soundhole rosette, and a

backstrip of elegant wood purfling. Add in the custom Tor-tis pickguard; a fingerboard,

belly bridge, and headstock facing made from lushly figured ziricote; and ebony bridge

pins with pearl dots, and its an impressive package. Final touches such as a bone nut

and saddle and Waverly tuners lend a traditional look, while enhancing the guitars res-

onance and sustain.

The BK/Slope Ds quarter-sawn mahogany neck is carved to a fairly slim, rounded-

C profile, but anything much fuller might make it a tricky reach across the 1 23/32 nut

width, inhibiting the picking speed that many players will want to show off on such an

instrument. It feels great right up to the 14th-fret neck joint, thanks in part to a confident

setup at the Bourgeois shop, with an action that is easy on the swift runs, yet doesnt

clank or buzz when you hit the big chords hard.

Dana Bourgeois says this model has a deep, broad tone, and through wood selec-

tion and voicing, we push it in the direction of a bigger bottom end, a lush top end,

and greater volumesimilar to the characteristics of Bryans original Banjo Killer. No

argument there, as even a trusty, flat-picked G-run booms out as a formidable beast

on the BK/Slope D, while the high notes in any simple Travis-picking figures ring vel-

vety and clear. The midrange is rather scooped, yet both pleasant and present, and the

volume is almost overwhelmingin an acoustic contextwhen you put some muscle

into open chords.

Whether youre looking for a flat-picking bluegrass performer to get you heard when

you take your turn stepping up to the mic, or a big-voiced accompanist to bolder singer-

songwriter work, the Bourgeois BK/Slope D has an awful lot to offer, and as such it earns

an Editors Pick Award. D a v e H u n t e r


roundupgear

Breedlove Master Class PaCifiCB a s e d i n t h e Pa c i f i c n o r t h w e s t c i t y o f B e n d , o r e g o n , B r e e d l o v e

has been building fine acoustic guitars since 1990, adhering to a concept that combines traditional con-

struction methods with cutting-edge engineering to create instruments that aim to better suit the

contemporary player. Featuring an eye-popping orgy of beautiful woods, the Pacific is instrument that

embraces a decidedly non-traditional look with its shapely outline and a distinctive bridge that looks a

bit a like a Ninja throwing star. The Pacific specializes in delivering maximum sonic performance from

a smaller concert body that measures 15 across the lower bout, 9 at the waist, and 11.24 across the

upper bout. The dimensions make for a comfortable guitar to hold, and one that feels more like a bou-

tique jazz box than a bulky jumbo flat-top. And, wow, what a looker the Pacific is too with all that curly

maple accented by flamed koa binding and 3-ply (black, white, black) edging on the top and back, a

koa wedge in the end-pin area, an abalone/koa rosette, and abalone purfling bordered by 3-ply trim


gearroundup

BreedloveMaster Class PaCifiCContaCt breedlovemusic.com

PriCe $4,499 street

NUT WIDTH 1 3/4"

NECK Big leaf maple, bolt-on

FRETBOARD ebony, 25 1/2" scale

FRETS 20

TUNERS Gotoh die-cast

BODY Solid curly maple back and sides, Sitka spruce

top

BRIDGE ebony with compensated saddle and

through-bridge stringing

FACTORY STRINGS Daddario eXP

WEIGHT 4.12 lbs

BUILT USa

KUDOS Distinctive look. excellent sound and

playability.

CONCERNS Would likely need to be amplified in a

performance situation.

M O D E L


around the top. The maple neck is also treated to koa trim atop 3-ply binding, and the

ebony fretboard is adorned with yet more 3-ply binding and abalone sea leaves posi-

tion inlays. The headstock wears a classy gloss black facing that complements the gold-

plated tuners with ebony buttons.

The Pacific is a nimble instrument thats easy to play thanks to its satin-smooth neck

and well-finished, neatly trimmed frets. The necks medium D profile and low-action

setup facilitates speedy picking, yet you can still dig into the strings without them buzz-

ing against the frets. The headstock shape and arrangement of the tuners provide for

a very straight string run across the smoothly worked nut, which yields an easy pull to

pitch via the smooth-turning Gotoh machines.

Intonation is tuneful in all positions, and this definitely enhances the sense of solid-

ity and focus in the Pacifics tones, which are bright, smooth, and imbued with plenty

of oomph in the lows. The midrange is very even and with no tendency to sound honky

or boxy, and coupled with the strong top and bottom presence, the Pacific takes things

in a more hi-fi sounding direction than most flat-tops.

The Pacific is not a particularly loud guitarespecially compared to some of the

big-bodied bruisers in this roundupbut it rings out in all the right ways with plenty of

detail, warmth, complexity, and touch responsiveness. This is a guitar that will please

fingerstylists and flatpickers alike with its open and expressive tone, and overall I found

it to be an inspiring instrument for songwriting, practicing, and gigs. Breedlove definitely

has a solid lead on what it takes to build a modern flat-top, so if you want an acous-

tic guitar that has the craftsmanship and vibe of a small-lot-custom, but pushes well

beyond the classic designs of the 30s and 40s, the Master Class Pacific is something

to you will want to experience. art thoMPson

BreedloveMaster Class PaCifiCContaCt breedlovemusic.com

M O D E Laround the top. The maple neck is also treated to koa trim atop 3-ply binding, and the

ebony fretboard is adorned with yet more 3-ply binding and abalone sea leaves posi-

tion inlays. The headstock wears a classy gloss black facing that complements the gold-

plated tuners with ebony buttons.


roundupgear

Brock Model oMBrock Johnston has Been Building guitars since 1981 with the goal

of creating instruments that combine immaculate aesthetics with unequaled tonal balance and projec-

tion. Based on the classic Martin OM (which made its debut in the late 1920s), Brocks Model OM blends

top-notch materials and impeccable construction details in what is a surprisingly affordable contender in

the premium market. As such, the Model OMs aesthetic is one of classy, understated elegance, with not a

hair out of place anywhere. From the immaculate frets to a sterling interior (where we find parabolic Sitka

spruce bracing) to the high-gloss nitrocellulose lacquer finish and curly koa-wood binding, the Model OM

delivers exactly what is to be expected from a high-end acoustic guitar. The open-gear Waverly tuners

with ivory-colored buttons are a classy touch, and this guitar manages to visually pop without resorting to

overblown cosmetics. Heck, the only shell inlay on the entire instrument is the headstock logo.

The Model OM is an absolute joy to play. Its nimble feeling C profile neck makes marathon chording ses-

sions a breeze, and when an acoustic inspires you to simply strum first-position chords, you know youve

got a keeper! The edges of the fretboard are super smooth, and the frets are consistent in shape and pol-

ished to a nice matte sheen. I found the string spacing to be comfy as heck whether I was fingerpicking or

flatpicking, as it allowed ample room for my picking hand to operate. The instrument balanced on my lap

perfectly, but the lack of an endpin strap button was inconvenient from a gigging perspective. Not a big

deal, though, since Brock will install one for no extra charge if requested. You probably cant see it from the

photo, but theres a clear pickguard to protect the finish in the strum zone.


gearroundup

Sonically, the Model OM emits a hefty amount of volume and punch, albeit in a refined,

ultra-musical fashion. The dynamic response is such that you can go from soft, bell-like tex-

tures to an authoritative bark that will stand out in a band with its broad projection and taut

low-end. Theres a tactile sense of muscle and focus behind the notes, and much of this is

due to the Model OMs stellar intonation, which allows simple or complex voicings to ring

clearly in all regions of the neck. The sonic detail is impressive as airy harmonics blossom

in response to your touch, and the low-end presentation is wonderfully clear and round,

never sounding too boomy or in any way detached from the core tone.

While shooting a knowing glance toward tradition, yet managing to impart its own

sonic DNA, the Brock Model OM is a wondrous piece of work that celebrates one of the

most iconic acoustic guitar designs. Its refreshingly simple look belies the excellent crafts-

manship and the obvious eagle-eye attention paid to the smallest details. This guitar is a

blast to play and is highly suited to a variety of musical applications. Ultimately, however,

its the Model OMs bold tones and exceptional playability that seal the deal and earn it an

Editors Pick Award. D a r r i n F o x

BroCK MoDel oMContaCt brockacoustics.com

PriCe $3,200 street, including hardshell case

nut Width 1 3/4"

neCk Honduran mahogany

Fretboard Ebony, 25.4" scale

Frets 20 medium silver nickel

tuners Waverly

body Solid Sapele back and sides,

Solid Sitka Spruce top

bridge Ebony

FaCtory strings DAddario EJ16, .012-.053

Weight 4.4 lbs

built USA

kudos Exceptionally built. A soulful instru-

ment with a clear and concise voice.

ConCerns None.

M O D E L



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Collings CJ35Bill Collings got his start in the guitar Business after reloCating

from Ohio to Houston, Texas in 1970, where he began building guitars on his kitchen table using just a

few hand tools. His interest and talent for improving his craft soon let to the creation of instruments

that caught the ears of Lyle Lovett and Rick Gordon. You might say the rest is history, but Collings has

been constantly seeking to make better guitars, and, as witnessed by the CJ35 on review here, the

results are impressive. Inspired by golden age American-made flat-tops, circa 1930 to 1942, the new

CJ35 is a guitar that adheres to the concept that more is indeed more when it comes to large-bodied

acoustics. Based on Collings proven CJ design, the 35 features a slope shouldered body with solid

mahogany back and sides and a solid Sitka Spruce top. Internally, the formula gets tweaked a bit in the

form of non-scalloped Adirondack spruce bracing with a system of three tone bars. A slightly shorter

24 7/8 scale neck joins the body at the 14th fret via a mortise-and-tenon joint.


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Visually, the CJ35 is a class act. The cosmetics are tasteful and the optional dark

sunburst nitro-lacquer finish is a glorious alternative to au-natural spruce. The burnished

hues in the CJ35s top reveal the distinctive parallel graining of the Sitka, which plays

well with the tiger-stripe celluloid pickguard and the ivoroid binding and rosette. Flip-

ping the guitar around, we find a 1 style walnut back stripe dividing the solid mahog-

any back, and another piece of creamy ivoroid capping the heel of the neck. Other nice

touches include a facing of ebony on the headstock and nickel-plated Waverly tuners

with exposed gears and butterbean tips. The guitar came up to pitch easily and held

its tuning with uncanny stability despite the climate change from Texas to our offices

in Northern California.

The neck offers an excellent feel with its medium profile and compound radius. Into-

nation is tuneful in all positions, and the playability certainly benefits from an easier

feel created by the shorter scale. The action is a tad on the high side, but theres no fret

buzz either to diminish the feeling of limitless headroom. Collings states that the CJ35

is designed to deliver deep bass and powerful highs in a package that is well suited

for both fingerstylists and flatpickers, and that squares with what we experienced.

The CJ35 has a huge presence, and it can pump out an amazing amount of volume

with incredibly little effort. The upper-midrange emphasis in its voicing makes the CJ35

an excellent choice for flatpicking solos or strumming rhythm parts. But this highly flex-

ible instrument with its rich, blossoming sound is equally cool for fingerstyle playing or

backing a singer-songwriter. Like a car with a high-output motor, the CJ35 has a lot of

reserve power when you need it, and if you play unplugged gigs where a mic is your only

amplification system, this big beauty has you covered and then some! A r t t h o m p s o n

Visually, the CJ35 is a class act. The cosmetics are tasteful and the optional dark

sunburst nitro-lacquer finish is a glorious alternative to au-natural spruce. The burnished

hues in the CJ35s top reveal the distinctive parallel graining of the Sitka, which plays

well with the tiger-stripe celluloid pickguard and the ivoroid binding and rosette. Flip-

collings cj35ContaCt collingsguitars.com

PriCe $4, 860 street

nut Width 1 3/4"

neCk Mahogany with mortise and

tenon hybrid joint

Fretboard African rosewood, 24 7/8" scale

(14"-26" compound radius)

Frets 20

tuners Waverly, nickel plated

body Mahogany back and sides, Sitka spruce top

bridge African rosewood straight style,

compensated saddle

FaCtory strings DAddario EJ-17 .013-.056

Weight 4.16 lbs

built USA

kudos Righteous vintage look. Big, bold

sound. Excellent quality.

ConCerns None.

M O D E L



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Gibson sJ-200 Western ClassiCThis decked-ouT, 6-sTring cadillac is based on a cusTom guiTar

that Gibson made at the request of country music/film star Ray Whitley in 1937. Whitley knew what

he needed sonically and playability-wise from his signature guitar (the original now resides in the

Country Music Hall of Fame in Nashville, Tennessee), and he obviously wanted a lot of bling on it

tooa request that the Gibson craftsmen took seriously, as echoed by the cosmetics applied to this

jumbo-sized reissue. Check the options list: The Western Classic sports four-ply binding on its Tri-

burst premium AAA Sitka top and three-piece Indian rosewood back, multi-ply binding with a classy

birds beak on the rosewood fretboard, graduated Mother-of-pearl block-style block position inlays,

a moustache bridge with yet more pearl inlays, multi-layer pickguard, a lovely three-rope marquetry

back stripe, gold-plated Waverly tuners with exposed gears, and a script Gibson logo and classic

torch inlay (both rendered in pearl) on the headstock facing. Given all the time and effort it takes to

do this kind of detail work, its not surprising that Gibson builds less than 30 Western Classics per year.

The SJ-200s Tri-burst-finished, curly maple neck with walnut center strip is carved to a comfy D

shape that sits very nicely in the hand. It feels more like the neck on a high-end archtop guitar, and the

fretswhile not mirror polishedare expertly attended to, with smooth, even crowns and beveled ends

that feel almost non-existent as you slide your hand along the neck. Combined with a good setup and

Gibson sJ-200 Western ClassiC


gearroundup

fairly low action, the playability is light and easy, and the absence of any fret buzzing

is just icing on the cake. The string spacing proved equally comfortable for fingerpick-

ing or flatpicking, and in a nod towards contemporary expectations, the SJ-200 guitar

intonates well and sounds musically tuneful as you move around the neck.

This guitar has a big, open sound with robust lows, rich mids, and a twangy presence

that is due mainly to the Indian rosewood body construction. Ideal for pop, folk, coun-

try, and pretty much anything else you care to throw its way, the sweetly voiced SJ-200 is

loud enough for stage use (though it probably wouldnt be able to out-gun a good dread-

nought in a volume shootout), and it responds well to your picking dynamics, blossom-

ing nicely when played lightly and able to pump out a full bodied and non-compressed

sound when you lay into it.

An inspiring guitar to play and a beauty to behold, the SJ-200 Western Classic is

not only a one-of-a-kind among modern flat-tops, its also one of the nicest Gibson

acoustic reissues Ive ever seen. The price tag for this very special guitar seems like a

real bargain too, considering what it takes to create something of this magnitude in an

American factory. The SJ-200 Western Classic would satisfy almost any expectation

of what a flashy stage axe should be, and it has the performance to back it up., All con-

sidered, it earns an Editors Pick Award. A r t t h o m p s o n

fairly low action, the playability is light and easy, and the absence of any fret buzzing

gibson sJ200 Western ClAssiCContaCt gibson.com

PriCe $3,999 street

NUT WIDTH 1.725", bone

NECK eastern curly maple with compound dove-

tail joint secured with hide glue.

FRETBOARD rosewood, 25 1/2" scale

FRETS 20

TUNERS Waverly, gold-plated

BODY indian rosewood back and sides, Sitka

spruce top

BRIDGE rosewood, mustache-style with bone

saddle

FACTORY STRINGS Gibson, 012-.053

WEIGHT 4.84 lbs

BUILT USa

KUDOS a showpiece instrument with excellent

tone and playability.

CONCERNS none.

M O D E L



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McPherson CaMrielle 4.0M at t M c P h e r s o n i n t r o d u c e d h i s o f f s e t s o u n d h o l e t e c h n o lo gy

more than 30 years ago, with the primary goal of increasing the total flexible surface area of a guitars

top. In combination with proprietary bracing and a cantilevered neck that doesnt contact the sound-

board, McPherson guitars are state-of-the-art designs that aim to deliver a higher level of resonance

than conventional acoustics. The Camrielle 4.0 certainly carries itself in a forward-thinking stride with

its elliptical soundhole, asymmetrical bridge, and the fact that you can see daylight under the rear

portion of the fretboard. The flamed maple back and sides are neatly trimmed in black/white binding,

which extends around the soundhole, as well as across the endpin jack and the leading edge of the

Venetian cutaway. The swoop at the tail of the fretboard is a final touch on a fest of curves that visu-

ally defines this unique-looking instrument.

The construction is immaculate throughout, and peeking inside the soundhole we find four multi-

lam braces glued to the backeach with a mid-span cutout. The bracing under the top is designed to

maximize flexibility, and, since it is McPhersons own design, does not resemble the X style pattern

found on most steel-string acoustics.

The Camrielles comfortable soft-V shape neck with its wide-ish 14"-radius makes it easy to play

whether youre flatpicking lines or playing chords. The frets are carefully shaped and polished to a satin

sheen, and the factory setup is excellent. Factor in accurate intonation in all positionscourtesy of the

Buzz Feiten Tuning Systemand the Camrielle offers a highly enjoyable playing experience.

The electronics package consists of an L.R. Baggs Element system, which, instead of employing an

undersaddle pickup that senses string pressure (and is therefore more prone to quacky transient spikes),


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mcpherson camrielle 4.0ContaCt mcphersonguitars.com

PriCe $8,900 street, as tested

nut Width 1.75"

neCk Mahogany


Frets 20

tuners Waverly gold-plated

body Solid flamed maple back and

sides, Engelmann spruce top

bridge Ebony with compensated saddle

eleCtroniCs L.R. Baggs Element (3-volt)

Controls Volume

FaCtory strings Elixir Nanoweb Acoustic Medium

Weight 4.9 lbs

built USA

kudos Rich and detailed sounding. Excellent

amplified response. Great playability.

ConCerns Price is a deal breaker for most players.

M O D E L


uses an extremely thin, flexible film sensor to capture the motion of the soundboard.

Its well suited for the McPherson concept. The Camrielles amplified sound is natural

and open, without any of the boxiness or weird spikes in the frequency spectrum that

you sometimes hear when pushing an acoustic guitar though an amp or P.A. system.

The Camrielle 4.0 sounds great from the players perspective, and much of this is

due to the upper location of the soundhole. It doesnt direct the sound at your noggin

like a guitar with an opening on the upper bout, but it does create a sense of in-your-

face sound that is very satisfying.

Even and balanced, with a hi-fi presentation that makes everything you play sound

a little more produced, the Camrielle is no slouch in the volume department either.

Its tonal complexity and touch sensitivity are obvious priorities, but in terms of loud-

ness, this guitar had no problem hanging with any of the others we tested. And while

you might think that its less constrained top would compress more readily under hard

strumming, the Camrielle sounded and felt absolutely firm when played aggressively.

The Camrielle 4.0 brings some interesting things to the table, but they come at a steep

price. That said, if youre a player of means who already owns everything under the sun,

a Camrielle 4.0 could be an interesting addition to your collection. a r t t h o m p s o n

M O D E L


roundupgear

Martin OM-18 authentic 1933W h e n t h e d i s c u s s i o n t u r n s t o t h e g r e at e s t a c o u s t i c g u i ta r s

of all time, it wont be more than a couple of seconds before someone brings up pre-war Martins.

We were giddy with excitement when we unboxed this OM-18 Authentic 1933, which purported to be

constructed the old way. That includes using hide glue and employing the old-school bracing and

cosmetics.

Before we ever touched the OM-18, we saw the cool hardshell case in which it was ensconced, a faux-

alligator affair with a green velveteen interior. The star of the show, obviously, is the guitar itself, and its

a beauty. Looking sumptuous with a glossy caramel burst on a heavily grained spruce top, the OM-18

effortlessly melds old-world depth and character with brand-spankin-new cosmetics. The mahogany

back and sides are flawless, as is the mahogany neck. The simple binding and pearl position markers

remind me of what I love about this style of Martin: no bling, no bells, no whistlesjust beautiful crafts-

manship. A peek into the soundhole reveals super-clean bracing and all-around impeccable woodwork.


gearroundup

Grabbing ahold of the OM-18, the first thing youre struck by is the size and shape of

the neck. Martin calls it their 1933 Barrel and Heel and what it feels like is a big, chunky

neck with a pronounced V shape. For those who are only used to playing modern

acoustics, itll take a little getting used to. For me, its a dream to play on, providing

ample support for my fretting hand whether Im strumming barre chords or flatpicking

single-note lines. It just feels right.

Then theres the sound, and the OM-18 simply sounds awesome. Its loud and

incredibly clear. Every note in every chord seems to occupy its own little niche in the

sonic spectrum. It pumps out sweet highs and lows, but the mids are the defining fre-

quencies to my ears and they make this guitar project like crazy. Combining harmon-

ics and fretted notes or doing harp-like cascades produced a rich, pianistic sound that

was delicious. One thing that might contribute to the lively tone is the fact that this

guitar is a full pound lighter than any other guitar in the roundup. It is startlingly light.

Also, the OM-18s substantial neck dimensions just have to be doing something cool

to the tone. Whatever the explanation, the recipe works and works fabulously. Initially

we noticed some slight intonation discrepancies, with the G string coming up a touch

flat on a Peterson tuner. But as with a lot of great old guitars with uncompensated sad-

dles, some subtle retuning by ear seemed to rectify any and all of those things, and I

could play anywhere on the neck, no problem.

Obviously the OM-18s price tag is not for the faint of heart, and that kind of money

could also get you a supremely cool vintage Martin. But for anyone who wants a brand

new instrument with vintage vibe and construction, this guitar deserves a serious audi-

tion. For what it is, its one of the nicest Ive played. M at t B l a c k e t t

Grabbing ahold of the OM-18, the first thing youre struck by is the size and shape of

Martin OM-18 authentic 1933ContaCt martinguitar.com

PriCe $4,999 street

nUt WiDtH 1 3/4"

neCK Mahogany, dovetail joint

FretBoarD Ebony, 25.4" scale

FretS 20 (14 to body)

tUnerS Waverly Nickel 8060

BoDY Solid mahogany back and sides, Adirondack

spruce top

BriDGe Ebony Authentic Style Belly with long

fossilized ivory saddle

FaCtorY StrinGS Martin Lifespan SP

WeiGHt 3.4 lbs

BUiLt USA

KUDoS Gorgeous looks. Great projection. Classic

Martin tones.

ConCernS Subtle intonation issues.

M O D E L



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PRS AngeluS CutAwAy ARtiSt PACkAgeAt the risk of stAting the obvious, PAul reed smith doesnt screw

around when he builds guitars. His reputation of being a stickler for perfection is legendary, so it should

come as no surprise that he would apply the same obsessive zeal that made his electric guitars so

popular to all of his acoustic designs as well. The fruits of that mindset were readily apparent on the

Angelus Cutaway as soon as we cracked open the snazzy Ameritage case that it shipped in.

We let out a collective gasp when we caught our first glimpse of the Angelus. Its got super-model

gorgeous good looks, with a perfect combination of subtle and fancy. The subtle comes in the form of

the spruce top, which is nicely grained and elegant, perfectly offset by the pretty Koa sides and back.

The maple binding is expertly rendered and provides a beautiful transition between the spruce and the

Koa. The fancy part of the equation is represented by the sweetest inlay job that Ive seen in a long time.

The mother of pearl rosette, purfling, hollow bird position markers, and headstock logo are positively

cinematic in their depth, coming alive in prismatic psychedelia when any light hits them. Finally, the thin

strip of maple that frames the fretboard and headstock really ties the roomerr, the necktogether.

Of course, Paul Smith himself wouldnt care how good an instrument looks if it doesnt sound great

first and foremost. No worries. This guitar sounds amazing. The tone is clear, full, and lush. To my ears

it has a slightly modern sound to it, and by that I mean a lot of vintage acoustics I love have a very pro-

nounced frequency that they seem to favor. It could be a midrange honk, a super crisp top end, or a


gearroundup

boomy bottom. The Angelus Cutaway doesnt do that. It has an incredibly balanced,

musical tone that works for whatever style or technique you throw at it. Strummed

chords sound massive, but so do flatpicked single-note lines. Switch to fingerpicking

and youll swear that must be what they had in mind when they designed the guitar.

The Angelus seems at home and sounds astoundingly good for any kind of music. It

also has cannon-like volume and projection, which, coupled with its impressive sus-

tain, means youll cut through and shine in any acoustic jam.

This is one of the few guitars in this roundup with electronics, and the PRS Pickup

System sounds great, even when just plugging in direct. I also really dig the fact that it

sports just a simple volume wheel in the soundhole and no big, clunky preamp crammed

onto the sidenor any real need for one, as I got very pleasing results with minimal out-

board gear to massage the sound.

If you tell most guitarists that a guitar in this price range is great, theyll say Well, it

better be, and theyre right. For this kind of cash you deserve absolute perfection and,

like theyve done so many times before, PRS delivers exactly that. This is a handcrafted,

American-made work of musical art and further cements PRS reputation as a major

player in the high-end acoustic market. Bravo! M at t B l a c k e t t

PRS angeluS cutaway aRtiSt PackageContaCt prsguitars.com

PriCe $6,260 MAP

nUt WiDtH 1 3/4"

neCK Peruvian mahogany, dovetail joint

FretBoarD Ebony, 25.25" scale

FretS 21 (14 to body)

tUnerS Proprietary Robson-Designed

BoDY Solid Koa back and sides, Adirondack

spruce top

BriDGe Ebony with bone saddle

eLeCtroniCS PRS Pickup System

ControLS Volume

FaCtorY StrinGS DAddario EXP 80/20 Bluegrass, .012-.052

WeiGHt 4.82 lbs

BUiLt USA

KUDoS Beautiful, balanced tones. Gorgeous

cosmetics. Perfect fit and finish.

ConCernS None.

M O D E L



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Santa Cruz OM GrandIts always a happy day when a box from the santa Cruz GuItar Company

arrives at the office. Ive been a fan of the companys hippie genius, Richard Hoover, for many years,

and I can say without hesitation that Ive never played a bad Santa Cruz. The beautiful OM Grand on

review here keeps that streak alive in a big way.

Visually, the OM Grand has a dignified, understated elegance, with the small dot position markers,

bridge pins, and SCGC logo being the only pearl to be found. The herringbone rosette and purfling add

some cool motion and vibe to the top and complement the ivoroid binding on the neck and peghead

nicely. The light-colored Sitka spruce top sits beautifully alongside the rosewood sides and is a cool

change from the more yellowed finishes commonly found on acoustics. Cosmetically and structurally,

this instrument shows unreal attention to detail. Anyone who has ever toured the Santa Cruz facil-

ity knows this perfectly well: They will sell no guitar before its time. In fact, according to Hoover, SCGC

spends more time tuning the top and matching it to the body than some manufacturers spend on the

entire guitar! That commitment to excellence comes through big-time on the review model here, with

perfect joints, binding, frets, finish, you name it.


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Sonically, the OM Grand is just plain gorgeous. Santa Cruz bills it as the bigger,

lusher, louder sister to their OM model. We didnt have little sis around to compare but

one strum showed why this model is abbreviated OMG. It sports impressive power and

brilliant sustain. What strikes me the most about it, however, is its incredible balance

and clarity. The string-to-string definition and separationeven on busy Travis-pick-

ing passagesis truly remarkable. It accomplishes all this while still retaining a sea-

soned, old-world warmth. Think hi-def TV in a beautiful, handmade cabinet. Strummed

chords, single-note lines, hybrid picking, and fingerpicking all sound great on the OM

Grand, and they all bring out a kaleidoscope of different timbres and harmonics. I didnt

bring this guitar into the studio, but Im positive it would record like a dream. I did have

occasion to audition the OM Grand in an acoustic duo and with a bassist, and in both

cases it was the star.

All over the neck, the OM Grand plays cleanly and evenly. The action is surprisingly

low but theres no buzzing to speak of until you really dig in. For an instrument that is

capable of such delicate sounds, it feels incredibly tough and sturdy. You can bash it

pretty much as hard as you want and it just keeps going.

So is there anything not to love about the OM Grand? For me, for what I dig about

great acoustics, no. Different materials will obviously produce different tones, and one

prominent acoustic artist felt that there was something lacking in the mid frequencies, but

I dont hear that. To my ears and touch, this guitar is simply stunning. M at t B l a c k e t t

Sonically, the OM Grand is just plain gorgeous. Santa Cruz bills it as the bigger,

santa cruz OM GrandContaCt santacruzguitar.com

PriCe $4,950 retail

nut Width 1 3/4"

neCk Mahogany, dovetail joint


Frets 21 (14 to body)

tuners Waverly Nickel 4060

body Solid Indian rosewood back

and sides, Sitka spruce top

bridge Ebony with compensated saddle

FaCtory strings Elixir Nanoweb Acoustic Lights, .012-.053

Weight 4.12 lbs

built USA

kudos Flawless construction. Brilliant definition.

ConCerns None.

M O D E L



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Taylor 714ce Grand audiToriumTay lo r h as b e e n m a k i n g acousT i c gu i Ta rs s i n c e 1974, a n d i s n ow o n e

of the leading manufacturers of fine acoustics and acoustic-electrics, as well as semi-hollow and

solidbody electrics. The 714ce features all the moves that make Taylors so popular with working play-

ers, and is especially suited for those who desire a big full sound with crisp highs and plenty of bottom.

To get there, the 714ce uses solid Indian rosewood for the sides and back of a Grand Auditorium body

with a Venetian cutaway that measures 16" across the lower bout, 20" in length, and 4 5/8" deep. A solid

Engelmann spruce top wearing a beautiful vintage sunburst finish is used on this model for enhanced

sparkle and projection. Ivoroid binding is applied on the top and back, and there is also a classic three-

ring ivoroid rosette and a faux-tortoise pickguard. A nicely shaped ebony bridge with TUSC saddle and

black pins completes the package.

The American tropical mahogany neck attaches to the body using Taylors innovative New Technol-

ogy (NT) system, which provides a rock solid joint while allowing for tilt adjustments to be made with-

out removing the neck. Carved to a classic Taylor shape, the neck carries a bound ebony fretboard that


gearroundup

is decorated with ivoroid heritage diamond inlays. Tuning is accomplished via gold-

plated Taylor machines, and the strings glide over a TUSQ nut that is precisely slotted

and neatly trimmed on the ends.

The 714ce is a rewarding guitar to play and a lot of this is due to its incredibly com-

fortable neck shape and superb fretwork and setup. The string spacing is perfect for

playing with fingers or a pick, and though the strings are quite close to the decksome-

thing that acoustic shredders will appreciatetheres absolutely no buzzing. Also, the

intonation is extremely sound, allowing chords to ring out clearly and accurately wher-

ever you grab them. The acoustic sound is impressive. This guitar has a ton of spar-

kle, but its all well balanced with firm lows and a warm, upfront set of mids. The 714ce

pushes out a lot volume too, making it an excellent choice for rhythm and lead playing

in practically any performance situation.

The 714ce offers a lot in the flexibility department courtesy of its onboard Expres-

sion System. This all-magnetic pickup system uses what Taylor calls a Dynamic Body

Sensor mounted under the soundboard and a Dynamic String Sensor under the fret-

boardboth of which feed a discrete preamp with Volume, Bass, and Treble controls.

The system has some obvious advantages in that it is easy to use, makes little visual

impact on the clean lines of the body (the three soft rubber knobs are barely noticeable

on the upper bout), and it doesnt create any of the plasticy artifacts that piezo pick-

ups can often inject into the sound. Instead, the 714ce delivers a warm and balanced

tone thats easy to dial-in with almost any amplifier or P.A., and less prone to feedback

than most systems that incorporate a mic inside the body.

The 714ce is a superior performance guitar that plays like a dream, sounds excellent

unplugged or amplified, and nails that ideal of a fine instrument that isnt too prissy to

take on a cross-country trip! A r t t h o m p s o n g

tAylor 714ce GrAnd AuditoriumContaCt taylorguitars.com

PriCe $2,849 street

nut Width 1 3/4"

neCk Tropical American Mahogany


Frets 20

tuners Taylor gold-plated

body Solid Indian rosewood back and

sides, Engelmann spruce top

bridge Ebony with compensated TUSQ saddle

eLeCtroniCs Taylor Expression System

ControLs Volume, Bass, Treble

FaCtory strings Elixir, .012-.053

Weight 4.84 lbs

buiLt USA

kudos Excellent construction and playability.

Excellent acoustic tone. Expression System

makes it easy to amplify.

ConCerns None.

M O D E L


is decorated with ivoroid heritage diamond inlays. Tuning is accomplished via gold-

plated Taylor machines, and the strings glide over a TUSQ nut that is precisely slotted

and neatly trimmed on the ends.

The 714ce is a rewarding guitar to play and a lot of this is due to its incredibly com-

fortable neck shape and superb fretwork and setup. The string spacing is perfect for

tAtAt ylAylA or 714ce GrAnd AuditoriumContaCt taylorguitars.com

PriCe $2,849 street

M O D E L


current issueHeres whats in the August 2013 issue of Guitar Player, on Newsstands Now!

RIFFSBrendon Smalls Heavy Metal Harmonic Convergence, Richie Faulkner on Judas Priest, Debashish Bhattacharya goes beyond, and more!

COVER STORYHigh-End Acoustic RoundupTen gorgeous steel strings from Bourgeois, Breedlove, Brock, Collings, Gibson, Martin, McPherson, PRS, Santa Cruz, and Taylor. Bonus Features! Budget Buyers Guide for acoustics, mandolins, and ukuleles; performance tips from the Band Perry; and acoustic recording tips.

ARTISTSSteve Stevens David Barrett Steve Lukather Poncho Sampedro Elliott Randall

LESSONSUnder InvestigationA thorough examination of a particular style or player. This month: The Monkees!

Rhythm WorkshopWhat would Jimi do? Play awesome rhythm guitar, thats what.

Special Acoustic Lesson: UkuleleJake Shimabukuro shows why every guitarist should play ukulele.

Youre Playing It WrongWe all think we know how to play classic riffs like Wipeout. Heres the absolute real deal.

Fretboard RecipesIntervallic Designs, Part 7, excerpted from Jesse Gress Guitar Cookbook.

GEARNew Gear

Knaggs Guitars Steve Stevens Signature

MJ Duke Deville Solidbody

Stompbox Fever! Strymon Mobius

Stompbox Fever! Roland GR-S Spaceand GR-D Distortion

Studio Tools PSP Audioware PSP Echo and PSP SpringBox

Speed Rating Four mini reviews: Radial Engineering PZ-DI Piezo Optimized Active Direct Box, EarthQuaker Devices The Warden Compressor, Way Huge Echo-Puss Analog Delay, Stonewall Signature P-90 Set

Fable Fighters Whats the Big Deal About Vintage Effects Pedals?

ChATTERCraig Anderton Stompbox Distortion Aint Just for Guitars

Gary Brawer Acoustic Tips and Tricks

Nicky Garratt The Epic Struggle of Stage Volume108 GU I TARP LAYER .COM/AUGUST 2 0 1 3

Lessons

TAB

4etc.

3

3 1 2

C(I) F(IV)

10 8 9 10 10 8

10 10 8 9 10 10 10 8

10 10 8 9 10 10 10 8

10 10

8 9 10 10 10 8 10

etc.

= ca. 158 guitarplayer.com/august2013> Surfs up!

M O R E O N L I N E

Wipe Out By Robert Berryhill, Patrick Connolly, James Fuller, and Ronald Wilson. Copyright Miraleste Music and Robin Hood Music. All Rights Reserved. Used by permission.

Ex. 1

THINK IM JOKING? AS LONG AS WERE having some frivolous summer fun, Id like to point out one detail in this surf guitar classic (and fl edgling drummers rite-of-passage) that almost always gets overlooked. In fact, its easy to differenti-ate those who learned to play Wipe Out by listening to the Surfaris original 1963 recording from those who copped it via

hand-me-down oral tradition by the way they play Jim Fullers single-note guitar fi gure from the moment it enters. The latter bunch will tend to play a constant stream of eighth-notes right from the get-go, but go back and have a listen to the original version and youll fi nd that the fi rst two bars feature Fuller playing quarter-notes on both downbeats. Its

as if Fuller was getting his bearings (or perhaps making a control knob adjust-ment?) before revving up into full gear. To set the record straight, Ex. 1 portrays this slight hesitation and the ensuing barrage of eighth-notes that Fuller plays throughout the rest of the song. Nit-picky? Sure it is, but thats what were here for. Cowabunga! g

Youre Playing It Wrong The Surfaris Wipe OutBY JESSE GRESS

40 GU I TARP LAYER .COM/AUGUST 2 0 1 3

Artists

116 GU I TARP LAYER .COM/AUGUST 2 0 1 3

TEST DRIVE

MJ Duke Deville Solidbody TESTED BY DAVE HUNTER

MADE IN THE USA BY A SMALL SHOP

using quality components, the Duke Deville hits

most of the standard notes for modi ed T-style

guitars with its subtly redrawn body shape, hot-

rodded neck pickup, and traditional two-knob

control plate with 3-way switch. But mounted

in the Wilkinson T-style bridge plate is a Sey-

mour Duncan Five-Two Tele pickup that seeks

to address the occasional imbalance between

wound and plain strings by using alnico V mag-

nets on the E, A, and D polepieces, and alnico

II on the G, B, and E poles. In the neck slot, a

Duncan Custom Mini Humbucker with a ceramic

bar magnet and overwound coils adds girth to

this somewhat underpowered Tele position.

Kluson-style Gotoh tuners on MJs three-

per-side headstock and Dunlop Straploks com-

plete the parts package, and it all looks great in a

esta red nish (one of several vintage-inspired

color choices) with a curvy, 3-ply white pickguard.

Digging into the timbers, the Duke Deville

features a slab body carved from solid poplar,

a wood more often associated with ooring and

furniture than guitars. And while the neck is tra-

ditional maple, it features maple cap construc-

tion with a separate fretboard that allows the

trussrod to be installed from the top side (i.e.

no skunk stripe on the back). A splice under

the third fret and a volute behind the nut add

the strength required for a back-angled head-

stock, which negates the need for string trees.

The neck departs a little further from current

trends, however, in a narrow-C pro le that mea-

sures just .781" deep at the rst fret and .843"

at the 12th fret. Its a little thin for my taste (and

might also be for anyone accustomed to gripping

necks with more shoulder in their pro les), but

the guitar proved an easy player, and felt superb

all up and down the neck after a slight tweak of

the trussrod to remove some relief.

The Duke Deville has a balanced acoustic

tone and naturally good sustain, and plugged

into a Dr. Z Remedy head through a 1x12 cab with

a Celestion G12-65 speaker, it delivers bright,

snappy tones that are infused with some extra

beef from both pickups. On the bridge set-

ting, the Duke Deville will do any of the clas-

sic Tele-toned tricks, with more than enough

Gear

August 2013 Volume 47, Number 8


lessonsLESSONS Soloing Seminar

Superimposition StrategiesJamie Kime Shares Ways to Build Colorful Solos Over Static One-Chord Jams By JudE GOLd

Wh a t d o E d W a r d V a n h a l E n ,Steve Lukather, Scott Henderson, jazz bassist Christian McBride, Paul Mc-Cartney guitar-slinger Rusty Anderson, and late, great trumpet legend Freddie Hubbard all have in common? Each one of these iconic musicians has shown up at the Baked Potatothe wonder-fully unpretentious jazz club just over the hill from Hollywoodto attend its popular Monday night jam.

Well into its fifth year, this weekly funk/ fusion throwdown is led by two tantalizing guitarists: John Zieglerthe explosive avant-shred force behind Pygmy Love Circus and Volto! (featur-ing Tool drummer Danny Carey)and Jamie Kime, the hypnotic guitar whis-perer who collected a Grammy award earlier this year for his work alongside Dweezil Zappa and Steve Vai in Zappa Plays Zappa.

No, you dont have to be a superstar to sit in at the Tater on these evenings

its open to everyonebut, after you ex-perience the epic fusion odysseys Kime, Ziegler, and the rest of the house band play to kick off the night, youll quickly realize that this isnt your average open mic. If youre planning to step onto this stage, youre expected to take your solo to the moon and back, or at least be will-ing to crash and burn trying.

As is often the case in jam-friendly en-vironments, the repertoire at these ses-sions (which delves deep into the music of everyone from Coltrane and Shorter to Zappa and Miles) often lands on the jam-friendly terra firma of extended one- or two-chord funk vamps. After all, its a lot easier to take a big solo when you dont have to worry about chord changes or shifting key centers, right?

Not necessarily.When the stakes are this high, its a

mistake to think that improvising over a fixed harmony is any less daunting than doing so over a busy chord progression.

Remember, your musical soul is rarely more exposed than when you are hand-ed an open-ended solo on the I chord with no changes in which to take cover, no harmonic or melodic constructs on which to lean, and you are tasked with building something captivating, non-clichd, and entirely your own.

For me, the challenge in that situation

is to make things harmonically interesting,

says Kime. Im always trying to get that feel-

ing of a rollercoaster goingthat feeling of

a wave going up and downeven when the

background harmony is unchanging.

Whether hes wielding a Les Paul or a Stra-

tocaster, attacking the strings with a pick or

just his fingertips, Kimelike a snake charm-

er coaxing a cobra out of a basketcan pull

a kaleidoscopically colorful solo out of the

most ordinary groove. Im definitely more of

a conceptual player than a lick player, says

the guitarist. Any technique I have has been

born out of needing that technique to execute

a musical idea.

TAB

44DmFreely

3 2 3

1

12 10 11

10 13 13

14 16 15

15 13

(C triads - - - - ) A altered-dominant scaleIV

= root

Ex. 1 Ex. 2 Ex. 3


november 2009LESSONSSoloing Seminar

Lets take a look at some of Kimes musical ideas. For instance, if Kime is handed a wide-open Dm groove, he might start his solo, like legions of oth-er guitarists, in D Dorian.

But there are so many other notes to explore as well, says Kime. Over Dm, I might also think of superimpos-ing C#maj7 [Ex. 1], which adds two very special notes to the mix: the major 7 (C#), and the #11 (G#). I love the way those chord tones sound over a minor background. You can get a similar sound by simply playing C# major triads in the form of a C# major arpeggio over Dm [Ex. 2]. Youre superimposing interesting melodies in bite-sized chunks.

Of course, continues Kime, you can also think altered-dominant to proj-ect an altered V chord soundA7#5b9 over Dmby playing this scale [Ex. 3]. It has the exact same notes as Bb me-lodic minor, but I find that if you think of it that way, you naturally start veer-ing towards the harmony Bb just like if youre driving while looking right, your car may drift to the right. So think of it from the A perspective.

Another thing Kime loves to super-impose upon a static minor chord is the Coltrane changesthree separate key centers a major third apart, la Giant Steps. Over Dm7which Kime thinks of as the IIm chord in C this means Kime will tag the keys of Ab, C, and E. I love that sound, because it creates so much

tension, says Kime, demon- strating the approach with the intriguing line in Ex. 4. Plus, its funyoure getting the Giant Steps sound, but not while almost dying trying to swing at 300bpm. Some of the notes will clash with Dm if you bring them out too much, so be diligent in working out which ones youre going to

emphasizeor just play everything really fast! [Laughs.]

As we wrap up our interview, Kime shares that if he has one goal as a guitar-ist, it is to become completely non-pattern-based in everything he plays. Unfortunate-ly, he adds, by nature of the instrument, that is pretty f**king impossible to do. g

TAB

44= 100-130

( ) 3

3

Dm7(C) (C)

( A7 5B m7 E A )

7 6 6

6 5 7 8 9 6 6

7 8

3 2

4 1 1 3

2 2 2 1

1 1 2 3 2

7 4 5

6 5

4 4 8 5

6 6

7 7

Dm7

TAB

44= 100-130

( ) 3

3

Dm7(C) (C)

( A7 5B m7 E A )

7 6 6

6 5 7 8 9 6 6

7 8

3 2

4 1 1 3

2 2 2 1

1 1 2 3 2

7 4 5

6 5

4 4 8 5

6 6

7 7

Dm7

Ex. 4

JaimE KimES advaNcE ROmaNcE SOLO fROm 2010


lessons

1 1 0 J U N E 2 0 0 7 G U I TA R P L AY E R P H OTO : SY LV I A P I TC H E R P H OTO L I B R A RY

Reverend Gary Davis

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june 2007

ALL THUMBSMany fingerstyle players use a plastic ormetal thumbpick to give their bass partsincreased authority and efficiency. Andwhen you look at the way your plucking-hand thumb meets the strings without athumbpick, its obvious why a little helpis in order. When youre playing finger-style, the thumb naturally strikes thestrings in a sideways fashionunlike thefingers, which pluck the strings at a more efficient, perpendicular angle. Athumbpick solves this glancing blowproblem by enabling the tip of the pick tostrike the strings at a right angle. And athumbpick also provides an extension for the thumb, giving the appendageincreased power, much the way a wrenchor hammer gives your arm extra leverageand/or velocity. Thumbpicks arent foreveryone, but if youre planning to playfingerstyle blues, theyre worth gettingused to. Need proof? Just listen to finger-style geniuses such as Chet Atkins, MerleTravis, Tommy Emmanuel, and DoyleDykes; and electric blues players such asAlbert King, Albert Collins, Freddie King,and Sonny Landreththeyve all donnedthumbpicks.

G U I TA R P L AY E R J U N E 2 0 0 7 1 1 1H A N D S H OT: J O N C H A P P E L L

LESSONSMaster Class

Tired of glancing blows? Hit the lowstrings straight on with a thumbpick.IF YOU WANT TO MAKE MONEY PLAYING

the blues, well, its gonna be toughyourbest bet may be to get yourself an electricguitar, land a steady gig with a club band,and learn how to survive for weeks at a timeon the Chitlin Circuit. But if you want insightinto the rootsthe soulof the blues, andyearn to experience for yourself the musicshumble inception in the rural southernUnited States at the turn of the 20th century,then cast aside your pick, grab an acousticguitar, and play the music fingerstyle.

Few genres of guitar music can matchthe universal appeal of acoustic blues.Plucked with the fingers, this timeless styleis the earliest form of blues guitar. Beforeacoustic blues evolved in various directions(including instrumental acoustic blues), theguitar was just a convenient instrument withwhich to accompany yourself while you sang.Initially, the guitar style was defined by thesingers accompaniment approach.

But gradually, the guitar went from beingjust a rhythmic accompaniment instrumentto having an equal voiceone that couldmore than handle the melodic dutiesbetween vocal phrases. Specifically, the guitar provided the response in the call-and-response vocal/guitar interplay (amusical practice that has clear links to theAfrican music of many early blues playersancestors) that has forever been a defining

characteristic of blues. The guitar laterevolved into other roles, including that ofsolo instrument delivering the blues entirelyinstrumentally.

PLECTRUM NOT SPOKEN HEREFingerstyle is the preferred approach foracoustic blues, because separating the func-tions of the plucking hands thumb from itsfingers allows you to play independent basslines against treble voices. More than justplunking out a thumb brush strumming style,an independent thumb means the thumb and fingers can play entirely separate musicalrolesalmost like a mini rhythm sectionmuch the way ragtime pianists of the late19th and early 20th century divided their rightand left hands into different functions.

The piano model could not have been loston the solo guitar players in the rural Southaround the same time. Savvy guitarists real-ized that the thumb could act like a pianistsleft hand (performing the bass lines), whilethe fingers sounded chords, fills, and melodiclines, just like a right-hand piano part. Andthis approach worked for all the different,emerging styles of the day, including Delta,Piedmont, and country-ragtime blues.

BLUES BRANDSA word about styles and labels: Deltadescribes not only a region where the blues

Fingerstyle BluesTrace the Evolution of Delta,Piedmont, Nashville,Rockabilly, and Ragtime Guitaron Your Favorite Steel-StringBY JON CHAPPE L L

SEE video footage ofthis lesson online atguitarplayertv.com!

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Acoustic fingerstyle blues is a timeless style that has a deep lineage, populated with such immortal figures as Robert Johnson, Skip James, Missis-sippi John Hurt, and Taj Mahal. This table lists fingerstyle players who made major impacts on blues music and culture, the specific style with whichtheyre generally associated, and a sample of their influential recordings.

A R T I S T S T Y L E R E C O R D I N G L A B E L

Charley Patton (1891-1934) Delta Complete Recordings 1929-34 JSP RecordsMississippi John Hurt (1892-1966) Piedmont The Complete Studio Recordings VanguardBlind Blake (1893-1933) Piedmont All the Published Sides JSP RecordsReverend Gary Davis (1896-1972) Piedmont Complete Early Recordings YazooSkip James (1902-1969) Delta Complete Recorded Works DocumentSon House (1902-1988) Delta The Original Delta Blues SonyRobert Johnson (1911-1938) Delta The Complete Recordings Columbia/LegacyMerle Travis (1917-1983) Country, Rockabilly Hot Pickin Proper RecordsJerry Reed (b. 1937) Country The Essential Jerry Reed RCAJames Burton (b. 1939) Rockabilly Guitar Sounds of James Burton ImportTaj Mahal (b. 1942) Country, Folk The Best of Taj Mahal SonyRory Block (b. 1949) Country, Folk Gone Woman Blues Rounder

1 1 2 J U N E 2 0 0 7 G U I TA R P L AY E R

originated (the vast alluvial plain that cen-ters around northwest Mississippi andeastern Arkansas), but a style of guitar play-ing in which the guitar is used largely as asolo instrument, usually to accompany onesown singing. Delta blues has an earthier,more plodding sound than some other styles,due in large part to a heavy-thumb approach.

Piedmont blues is named after a region,too, and shares qualities with country, ragtime, and songster blues styles. Pied-mont (French for foot of the mountain),in this case, is the southeastern United States,stretching from Virginia to Georgia, fromthe Atlantic coast to the foothills of theAppalachians. Piedmont blues is brighterand bouncier than its Delta counterpart, witha lighter, alternating bass line and synco-pated rhythms in the treble voices.

When the blues went electric, theChicago players went at it by and large withflatpicks (though there were some excep-tions). But fingerstyle blues was kept alivein country music, due in no small part tothe efforts of Merle Travis. So for this lesson,well use country to describe the type of blues that came from Memphis andNashville, and its fusing with R&B and coun-try musica.k.a. rockabilly. Rockabilly wasan important transition for both fingerstyleand blues, putting it squarely into the reper-toire of electric guitarists, and paving theway for the next generation of fingerstyle

players, including Merle Travis, Chet Atkins,James Burton, and modern-day virtuosossuch as Tommy Emmanuel and DoyleDykes. Lets start at the beginning.

LET YOUR F INGERS FLYAchieving independence between thethumb and fingers is key to all fingerstyleblues. Example 1 shows a basic Delta bluespassage in which the thumb metes out aninsistent, plodding bass line in deliberatesounding shuffle eighths. The thumbedbass part leaves the plucking fingers freeto play contrasting and

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