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IUI lN SEPTEMBER, 2oo4, we launchedan exciting new era for guitar
m a g a z i n e isn t h e U . S . ,b e c o m i n gt h e f i r c tt o i n c l u d ea C D R O N 4f i,l l e d
with audio and video examplesof our lessons,gear dernos,and feature
ani$ lessonswith each issue.Now, in a move that some of our read-
ers have coined as "going back to the future," we are moving all of our
exciting content to the Weh,frce ol charge,at wvwv.guitarcnemag.com,
N o w , I k n o w s o m e o f y o u a r e a s k i n g ,l f t h e C D - R O [ 4w a s s u c ha s u c
c e s s ,w h y a r e y o u d i s c o n t i n u i n gi t ? " I t ' sa f a i r q u e s t i o n ,b u t i t h g o t a
fairly easy answer.The CD-RON4 is a ljmited mediurr, with very little
file space (we had approximately 550 N,4 B to work with each month).
W e f o u n d t h a t i n s i t u a t i o n sw h e r e a n a ( i s t g a v e u s a p h e n o m e n a l
l e s s o nw, e o f t e n h a d t o e d i t o u t s o m e t r u l v k i l l e ri n s t r u c t i o n am l ate-
r i a l j u s tt o f i t e v e r y t h i n go n t h e d i s c .O r f o r e x a m p l e ,i f w e d i d a n a m p r o u n d u p ,w e d i d n ' t h a v e
t h e s p a c et o s h o w y o u e a c ha m p ' sf e a i u r e sa n d s o u n d si n a n y s o r t o f d e p t h .W e l l , n o t a n y m o r e .
Using the Web as our new interface,we'll have the freedom to provide more footage of our art-
i s t s ,n o t o n l y o f t h e i r p l a y i n gb u t a l s ot h e i r i n s i g h t sa n d a d v i c eo n b e c o m i n ga b e t t e rg u i t a r i s t .
To cleaf up some potentialconfusion,Guitar One and GuitatWo dmagazinesare sisterpubll
cations.As such,we share space-and content----on theWeb. So when you surf on overto guitar
onemag.com,you will also see the Guitar Worid logo and content on the various Web pages,but
rest assured,the Guiiar One content is there,too. So, take yourtime and checkout the entire site;
betlveenus, there's more than enough to keep even the most die-hardguitarfan busy.
O n a s a d n o t e ,t h i s m o n t h w e s a y g o o d b y et o l o n g t i m ea r t d i r e c t o rA d a m F u l r a t h .H e o v e r -
s a w m a n y e x c i t i n gr e d e s i g n si n h i s s i x y e a r s a t G u i t a rO n e , a n d w e w i l l m i s s h i m - e s p e -
c i a l l y h i s p e n c h a n tf o r p r a c t i c a j o k e s a n d h i s s e c o n d
t o n o n e S t a r W a r st f i v i a k n o w l e d g e .A d a m , i f y o u ' r e
' e a d i r g t h s , w e d o h a v e o n e l a s rq L e s t ; o n ' o r y o u : t
Where's the chicken?
L u c k yf o r u s , A d a m ' s d e p a r t u r eo p e n s t h e d o o r f o r
n e w a r t d i r e c t o rT u r t l e B u r k y b i l e ,w h o c o m e s t o G 1
f r o m F u t u r eM u s i c m a g a z i n e T . u r t l ei s a t o p n o t c h a r t
i s t w h o w e e x p e c tw i l l b r i n g e x c i t i n ga n d c u t t i n g e d g e
i d e a sa n d d e s i g n st o o u r p a g e s .A n d i t j u s t s o h a p p e n s
that Tunle also knowsa thing or two about parsecs,
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BY MICI{AELMTJEI-I-ER
PHOTOGRAPHYBY AT{NADICKSON
n t h e d a y t h a t F r a n kG a m b a l €w a s s c h e d '
u l € dt o a p p e a ra t o u r N 4 a n h a t t asnt u d i o ,
N Y Cw a s u n d e rs i e g eo f a t o r r e n t i a d l own-
p o u r U n a b l et o f i n d a n a v a i l a b l ec a b ,t h e
g u i t a r i s th i k e dn e a r l yt w o m i l e s ,s o a k i n g
h i m s e l t h i s s h e e tm u s i c ,a n d h i s g u i t a ra l o n gt h e w a y .
F o n u n a t e l yt,h e d e l u g ed i dn 1 d a m p e n G a m b a l e ' se n t h u
s i a s mf o f d o i n g t h i s e x c l u s i v ep r i v a t el e s s o n .
A f t e r h a n g i n gu p h i s s h e e tm u s i ct o d r y , G a m b a l eb e
g a n p l u g g i n gh i s Y a m a h aA E S 1 5 0 0i n t o a v a r i e t yo f o u r
h o u s ea m p s t o d i a l i n t h e r i g h t t o n e , a n d t a l k s o o n t u r n e d
to last year's Wombat Records release,Natural H/gh his
f i r s t a l l - a c o u s t i rce c o r d ." l t ' s s o m e t h i n gl ' d b e e nt h i n k i n g
o f d o i n g a l o n g t i m e , a b o u t ' 1 0y e a r s , "s a y s G a m b a I e .
" l l o v e p l a y i n gw i t h o u t d r u m s . l ' m n o t t r y i n g t o b e l i t t l e
d r u m m e r so r p e r c u s s i o n i s tisn a n y w a y , b u t n o w a d a y s
i t o f t e n t a k e su p t o o m u c h o f t h e m i x . ! j u s t w a n t e dt h e
a c o u s t i ci n s t r u m e n t sl o s h ; n et h r o u g h . "
I n h i s q u e s tt o h i g h l i g h tt h o s ea c o u s t i ci n s t r u m e n t s ,
G a m b a l er e c o r d e dN a t u r a lH l g h u s i n ga Y a m a h aF P X 1 0 0
s t e e ls i r i n g ,w i t h i t s d i m i n u t i v eb o d y a n d w i d e , c l a s s i c a l
'l've
s t y l en e c k . a l w a y sp r e f e r r e ds m a l l b o d i e da c o u s t i c s ,
l i k e o l d G i b s o n sa n d l ! 4 a r t i nO O 1 8 s , "s a y s G a m b a l e .
" T h e y a l w a y ss o u n d r i c h e ri n t h e l o w e n d ,t o m e . "
T h e s ed a y s ,h o w e v e r ,G a m b a l ei s f l a u n t i n gh i s t e r -
r i f y i n gl i n e sw i t h C h i c kC o r e a ' sE l e c t r i cB a n d ,a g i g t h a t
r e q u i r e sa w h o l e d i f f e r e n ts e t o f t o o i s .I n o u r i n t e r v i e w ,
G a m b a l et a l k sa b o u t h i s s w i t c hf r o m l b a n e zt o Y a m a h a
g u i t a r sa n d h i s d i s d a i nf o r t u b e a r r ] pi f i c a t i o nw ; hen his
c l o t h e sa n d g u i t a rf i n a l l yd r y o u t , h e p f o c e e d st o d e m o n -
s t r a t eh i s u n m a t c h e ds w e e p p i c k i n gt e c h n i q u e s .
A l t h o u g ht h e y m a k e g r e a t i n s t r u m e n t s n , ot many',rock
s l a r s " a r e e n d o r s i n gY a m a h ag u i t a r s 8 u t y o u d o .
I s w i t c h e dt o Y a m a h ag u i t a r sa b o u t s i x y e a r sa g o , a f t e r
1 3 y e a r sw i t h l b a n e z W . i t h g u i l a r s ,i l s a v e r y t r a d i t i o n a l
w o r l d . l t ' s h a r d t o g e t a g ! i t a r i s tt o e v e n t h i n k a b o u t
s o m e t h i n gi f i t i s n l P a u lR e e dS m i t h ,G i b s o n ,o r F e n d e r ,
a n d t h a t ' st r a g i c a l l yf l a w e dt h i n k i n g .8 u t Y a m a h ai s r n a k -
i n g s o m e a b s o l u t e l yu, n d e n i a b l yw o n d e r i u l i n s t r u m e n t s .
T h e f e ' sa l o t o f c r e a l i v ee n e r g yb e i n g p u t i n t o g r e a t n e w
m o d e l sa n d i n t e r e s t i n gi n n o v a t l o n sA. n d Y a m a h ai s l i k e
a g i a n t b a t t l e s h i p - w h e nt h e y p o i n t t h e i r g u n s a t s o m e '
t h i n g ,y o u ' r e d e a d .l t ' sj u s t t h a t t h e y n e v e rb o t h e r e dt o
s t e e rt h a t s h i p t o w a r d se l e c t r i cg u i t a r s .A n d t h a t ' sw h a t
t h e y ' r es t a r t i n gt o d o n o w
T e l lu s a b o u t y o u r n e w s i g n a t u r em o d e l .
I t w i l l b e b a s e do n t h e Y a m a h aS G ,w h i c h i s a b i t o f a
c l a s s i cE. v e nC a r l o sS a n t a n au s e dt o p l a y o n e . l ' m p l a y
i n g o n e w i t h t h e C h i c kC o r e ab a n d r i g h t n o w T h e y ' r e
o n l y a v a i l a b l eo v e r s e a sa t t h e m o m e n t ,b u t m y m o d e l
i s s u p p o s e dt o b e r e a d yt h i s s u m m e r ,a n d i t s h o u l d b e
a v a i l a b l ei n r h e U . S .l t l 1 a ! e n e w i n l a y s .c o i t a p p i n g
f e a t u r e s a, n d o t h e r o p t i o n s .I t h i n k g u t a r s s h o u l d h a v ea l l
t h e p o s s i b l es o u n d o p t i o n s .
A r e y o u s t i l l u s i n g t h e C a r v i nT o n e N a v i g a t o rp r e a m p ?
Y e s ,a n d i t ' s b e e n s e l l i n gq u i t e w e l l . I k n o w a l o t o f p e o p l e
p r e f e ra m p s , b e i t c o m b o so r h e a d a n d c a b s e t u p s ,b u t
p e o p l ew h o ' v e b e e n u s i n gt h e p r e a m pa r e r e a l l yl o v i n g
i t . W e m o d e l e di t a r o u n dt h e M a r s h a l J I V P 1 , w h i c h l ' d
b e e n u s i n gf o r a l o n g t i m e , a n d I w a n t e dt o i m p r o v eo n
t h a t . I w a n t e d m o r e t o n e f l e x i b ii t y . l t ' s g o t t w o m i d r a n g e
p a r a m e t r i c ss, o y o u c a n d i a l i n a n y s o u n d .T h e r ea r e n o
t u b e s b u t i t s t i l l s o u n d sr e a l y f a t .
Are you using a solid-state power amp, too?
I h a l e t u b ep o w e f a m p s .l ' d l o v e t o b e c o n v i n c e dt h a t
t h e y ' r eg o o d , b u t e v e r ys i n g e o n e l ' v el r i e d s o u n d e da w
f u l o n t h e b o t t o me n d .T h e r e ' sj u s t n o p o i n t i n h a v i n ga
t u b e p o w e r a m p . I n e v e rt h o u g h ti h a t p o w e r s h o u l db e
an!.thing but power, I use a 1,000watt Carvin power amp;
t h e r e t s o m u c h m o r e h e a d r o o ma , n d i t ' sj L r s b
t eautiful.
What about your cabinets
and speakers?
I vacillate between 4x12
Marshalls with 7s-watt Ce-
lestions,which I like a lot,
and two Carvin 2x12 open-
back cabs, also with Celes-
tions. I do have aboutfive
o f t h e o l d C a r v i n2 x 1 2c a b s
loaded with Carvin G212
speakers,which have a par-
ticular characterthat I really
like. Unfortunately,they've
stoPped making those.

eftects?

u s r n ga n e
same stuff

I lock into
something
I l i k e ,I
use it, I
love the TC Electronic G-
Force. lt's all I nesd; it's got
beautiful reverbs. delays,
a n d c h o r u s e sa s w e l l a s
h a r m o n i z i n gE , O ,a n d p a n -
n i n g a l l i n o n e b o x ,w i t h a
very high-quality sound. I
control it with a Rolls MlDl
p e d a l ,a n d I h a v e a v o l u m e

In many guilar circl6,

you arethe king of sweep
picking. Can you 6how us
some of your techniques?
Sure. Two-string patterns
are some ofthe hardest
little internal sweeps. IFigs.
1A-Dl. Most people use
four pickstrokesto play that
type of pattern, butthis is
j u s t o n e u p .o n e d o w n .
Next, you can stretch it
outtothree strings [Fig.
2Al. You can do that on dif-
lerent string sets lFig. 2Bl
and even use triads [Fig. t"r ---l v ---- ---l y---------l F
2Cl. lfyou can get those
clean,that's a really good
sweeping exercise.The
hard part, for most people,
is the muting, because
you,re playing three adia
cent stringswith one finger.

How about maior-7th

shapes?
T h e t r a d i t i o n a sl h a p eo f
C m a j Ti s t h i s o n e [ F i g . 3 A ] ,
and I used to get really
frustrated with that shape,
becauseyou can practice ---l
it for 100 years and never
lf------.1 \r - v-------, 1 -
get it uP to proper speed.
So instead, I move the
1oth-lret G note on the sth
string to the 5th fret on the
4 t h s t r i n g ;l t h € n p l a y t h r e e
notes on the D string, and CONTINUED
c o n t i n u et h e s w e e p .A t t h e
h i g h E s t r i n g ,t h o u g h , I g o
r i g h tt o t h e C n o t ea n d t h e n
b e g i nt h e d e s c e n to n t h e
B n o t e t F i g . 3 B l .T h e r e s u l t
i s t h a t r a t h e rt h a n m a k i n g
1 7 s t r o k e st o p l a y i t v i a
a l t e r n a t ep i c k i n g ,l u s e o n l y
seven Pick strokes.

What about other chord

qualities?
For variations,you just
move the notes around. For
example, to play majT{s,
you raise the 5th by one
f r e t , l i k et h i s t F i g . 4 A l .O t
f o r m i n o r T t h ,d o l i k et h i s
l F i g . 4 B l .Y o uj u s t a d j u s tt h e
shape to fit the arpeggio.

You demonstrated a three-

string pentatonic lick
earlier.Can you expand

I love peniatonic sweeps.

The typical pentatonic
scale shape has t\,vonotes
o n e a c hs t r i n g ,b u t l t e n d t o
do it differently-l sweep
wherever possiblel lt's a bit
more of a stretch, but here
it is IFig.51.

You've mentioned that

there's a mathematicaI for-
mula for it.
Yes,there is.lf you want
to use sweep picking as
efficiently as possible,
You need to have an odd
number of notes on each
string-whether it's an ar
peggio shapewith just one
note per string IFig.6Ai, o.
a more scale-likepattern
with three notes per string
l F i g . 6 8 l .T h e n ,t o c h a n g e
dkection, you need an even
number of notes,so you'd
play onlytwo notes on the
string wherethe turnaround
o c c u r s a, n dt h e n g o b a c k t o
three notes per string forthe

What about improvisation?

For instance,what would
you play over an Em7 chordT
W e l l l w o u l d n ' t p l a ya n
E m 7a r p e g g i o ;i t ' sj u s t t o o
s q u a r e lS o i n s t e a d ,l m i g h t
stan on the 3rd of Em7 (G)
a n d t a k ei t u p t o t h e g t h
( F { ) ,l e a v i n gt h e r o o t o u t
altogether,and that gives
m e a G m a j Ta r p e g g i ol F i g .
7 1 .l t s o u n d sj a z z i e rb u t i t ' s
alsomore harmonically
diseBsion of blues
and phrasing. online
afGuitaronemag,coml
When it mmes to the "digft.lvs. analog- d€bab, Frant
Gambalohas sohe raih€r choico woiats or ths lubiost.
Hers'swhat hs had to sayi
"l'm quito contary to the popularway th.t guitrr phyors
g€ttone. Wiih todoy's technology,ldont understandwhy
we can,t build a gr€a! amp without iub€s. Th€ guitar in-
dustry is probably one olths only ones left on the planet
that still tfiink3tubas ar€ bette. tha. .nything else. I iusi
dont bal:ev. in h.ving . steam-poworodlaptop-know
what lmesn? lt doesnt mak. s€n6eto m€. Peoplostill
think rhat vinyl3oun& b€tt€r th.n digltal; l'm sorry, hav€
you listercdto an LP lately?Thoy sound horrible, and flat,
and thin-to my 66r"And how many audiophilesare left
anyway whon .veryons's listgning to mp3s oll iPods?"
 Siteviellax
VauglraqJ
GettirrgIn step with
a Blues-llocl<l-egencJ
By Tom Kolb
l N 1 9 8 3 ,A Y O U N G G U i T A R | S Tn a m e dS t e v i eR a yV a u g h a nr o c k e r e do u t o f t h e
L o n e S t a r s t a t el i k e a T e x a sc y c t o n e R . i d i n go n t h e a c c t a i mf u e l e d b y h i s s c o r c h _
i n g l e a d w o r ko n D a v i dB o w i e ' sc h a r t - t o p p e ,r, L e t , sD a n c e , , , V a u g h aann d h i s
band
D o u b l eT r o u b l eq u i c k J yr e c o r d e da n d r e l e a s e dT e x a sF l o o d ,w h i c h w o u l d h e r a l d
the
b l u e sr e v i v a lo f t h e ' 8 0 s _W o r t d t o u r s a n d a s t r i n go l a c c l a i m e da l b u m s _ C o u l d n , t
Stand
the Weather, Soulto Soul, Live Alive, and ln Step {o owed. Appealing to blues
and
r o c k a u d i e n c e sa l i k e ,V a u g h a nr e m a i n e di n t h e t i m e t i g h tu n t i l 1 9 9 0 ,w h e n h i s
l i f ew a s
c u t l r a g i c a l l ys h o r t i n a p o s t - c o n c e nh e l i c o p t e rc r a s h .
V a u g h a n ' su n c o m m o n l yi n t e n s es t y t ew a s c h a r a c t e r i z ebdy a c o m b i n a t i o no f
bril,
l i a n t e l e c t r ; c - b l u ecsh o p s ,g a r g a n t u a nt o n e , a n d a s t r a i g h t _ f r o m _ ! h e _ sg ou t o i n g
ap_
p r o a c h .( V a u g h a n ' si n f l u e n c e si n c t u d eA t b e r tK i n g , B u d d y c u y , B . B .
K i n g ,J i m i H e n d r i x ,
a n d h i s o w n b r o t h e r ,J i m m y . ) A s t r o n gs i n g e r ,V a u g h a na c c o m p a n i e dh i s v o c a J s
with an
a g g r e s s i v er i f t i n gs t y l e ,i n t e r t a c e dw i t h e x q u i s i t ef i l l s a n d c o u n t e r b a l a n c ewdi t h e x t e n d e d
s o l o i n ge x c u r s j o n sA. t t h o u g hh i s t i m e i n t h e s p o t t i g h tw a s f a r t o o b r i e f ,V a u g h a ni s
immortat-
i z e db y t h e e v e r - g r o w i n gt e g i o no f y o u n g g u j t a rp l a y e r si n s p i r e db v h i s s o u t f u t
stvle.

'l'lre
l-id($
L i k em o s t b L r e sg u i t a r i s t s ,
V a u g h a nf a v o r e dt h e b l u e s
sca e (l ^3-4 15-5-.7).Fig.
'lA is
a n e x a m p l eo f h i s
o p e n - p o st r o n a p p r o a c ht o
t h e E b l u e ss c a l e{ E G - A -
B. B-D). Fashionedafter
h i s b i a z i n go u t b u r s r si n
" S c u t 1e E u t t i n " '( C o u J d n t
Stand the Weather), t fea-
t u r e sa w h o l e s i e p b e n d
a n d s e v e r a l e g a t om o v e s
( a s l i d ea n d t w o s e t so f p u l i
o f f s ) .F e e l f r e et o e x p e r i
m e n t w i t h v a r l o u sp i c k i n g
drrections,just be sure to
u s e a s t i o n g a t t a c kF . i g .l B
i s a n o i h e rh a l l m a r kS R V
i c k .T h i s o n e m i x e sn o t e s
i r o m b o t h t h e A r n i n o re n d
A r n a l o rp e n t a t o n i cs c ae s
lrespectivey, A-C-D E-c
a n d A B - C : - E F r ) .P i c k i n g
s u g g e s t r o nasr e i n c l u d e d
betw€en the staves.
V a u g h a no f t e ne m p l o y e d
doub e stops (two notes
p l a y e ds i m u i t a n e o L r s a l yn)d
t r i p l es t o p s( t h r e en o t e s ) t o
F
f a t t e nu p h i s s o o s . F i g .2 4
i e a t u r e sa h a n d f u lo f h i sf a -
E
v o f i t er n o v e s a, l l s e t a g a i n s t
 an E7 chord, Strive to keep
all three strings parallelas
you bend the lasttriple stop
J.=60
a quart€r step. IncidentallY,
Vaughanwould often use
all upstrokesfor these types
of figures; listento "Pride
and.Joy" and "Lovs Struck
Babv" lTexas Flood)lor
prime examples.Fig,28 is
an example of his double-
and triplestop moves ana
slow-bluesvein. Playthe
double-stopbend {1st and
2nd strings)with the fleshy
undersideol your 3rd finger.
Fig.3 is an exampleof
Vaughan'siniense,slow-
bluessoloing.Inspiredby
,l=50
Emajt3 Al3 (Eva)
memorabls moments in
"The Sky ls Crying" afhe
Sky /s Crying, the lines are
@f
craltedfrom the C minor
pentatonic scal€ (C+F
G-Bt), playedin the "Albert
King" box {a live-note group
on the top three strings) in
1lth position.Stay in posi
tion throughoul using your
1st finger for the l lth-fret
notes, your 3rd finger for the
13th-frst ones, and your 2nd
Jingerforthe 12th-fretG.
For allhisferocity,
Vaughan had a tender side,
too. Fig.4 msldssome lus-
cious, Hendrix-intluenced
moves inspirsd by "Lenny"

I
lTexas Flood)with some
jazziermaneuversin the
style of "Riviera Paradise"
f/n Sfep). Use your wham-
my barto provide gentle vi-
brato on the Emaj13and A6
i chords. At the close oI the
passage,swipe the top two
h strings aggressivelybehind
J.=60
the nut with your pick.
;
The Solo
The solo [E9.5]is over a
HI slow blues piogression
4?n in the key of E. Alter an
-Tl introductory pickup mea-
sure, the torm follows a
standard l-.lV-V (E7-A7-87)
in measures l-10 {thefirst
I measure),shiftsto a l-lv
tag in measures 1l-12, and
go€s out on a bll-lchange

The solo opons with 3

cycled B/G dyad (bend the
2nd string a quarter step
while you keepthe lst sta-
tionary) and an open-posi-
tion tlurryof double- and
. triple-stop clusters (s€e
Fig.2A). Grab the 3rd- and
2nd-fret clusterswith a

CONTINUED
 3rd-finger barr€. {Noticethat
the soto is notated in t2l8.lf
this is a newtime signature
foryou, think ofit as 4/4
with an eighth-notetriptet
subdivision on each beat.
Try counting "one-and{h,
two-and-uh,three-and-uh.
fouFand-uh,")
The band comes in at
measure 1 and the solo
starts in earnestwith a
oth-string pop, a trill{rapid
hammer-on/releasemotion),
and a rapid-tire blues lick.
Measure 2 brings the quick-
ch€nge lV chord (ATland
the solo slips into a series
oftriple stops based on the
principles set forth in Figs.
2A-8. Msasurc 3 returns to
the lchord (E7)and the tripte
stops continue (add fret_ *Puu stdng w/ thhb &

hand vibrato to the fretted

notes),ending in a tremolo-
picking flurry. (Using an up_
and-down motion, strum the ,."N />
topthree strings as rapidty

Msasures 4-5 exploit the

"Albert King" E minor pen- 11/2 rv4
tatonic box in 1sth position
{see Fig.3). Playthe l7th-frct
double-stop bends with the
tip ot your 3rd finger, bend-
ing the 1st string toward
the 2nd string before tret-
ting the latter.The segue in A-'/\*
me€sures $$ f€atures two
trademark SRV moves: a
sliding Ag voicing foltowed
by a 6th-string snap-grab
that string between your
pick hand's thumb and index
f i n g e ra n d p u l l u p f a r e n o u g h
that the string snaps back
to the fretboard when you
releaseit.
The signature lick overthe
l V c h o r d( b a r6 ) i s b u i t t l r o m
a combination ot the A ma- lI1,^.
jor and A minor pentatonic t) F--a
scales,followed in bar 7 by
open-positionmoves that
mirrorthose of bar t. (lfyour
lstfinger is too weak, play 1t21 ln
the 3rd-stringtrill with your
2nd finger.)
MeasureI hosts another
tremolo-strumming outburst,
followed by a steadily esca-
lating bending maneuver in
measure9, in which the lst
string is bent€ little further
with each attack.From here
on out, rapetition and pure
energy are the key factors
in copping Vaughan'sfierce
sound. Dig in extra hard with
your pick. and use a wide,
vigorous f ref hand vibrato
wherever indicated.

*Pull strirg
Vlhumb &
 I

-l alldng
luleter
l{ornrt<l CoLlntancl
Playin 6/tl'l'ime
Bv Dale Turner
YOU MAY NOT KNOWthe mechanicsof 6/8,butvou've no doubt heardthis lilf
("Hickory,
ing time signaturein sction. lt's used in eveMhing from children songs
Dickory,Dock," "Jack and Jill") to Broadway rnusicals("America," from lllest Side
Srory)to modern-rockmasterworks(PearlJam's "Release" Jeff Buckley's"Grace,"
Radiohead's"subterran€an HomesickAlien," A PerfectCircle's"Sleeping Beauty )
to pop-rocksmashes{KellyClarkson's"Breakaway").In this lessonwe'llunravel6/8's
many mysteries,studying its structureand examinjng its rh)'thm-guitarpossibilities'
g e t e rl s l i k et h i n k i n gi n i r a c t i o n sF o r 6 / 8 , t h i n k " 6 x 1 / 8 , " o r s i x e i g h t h
D e c i p h e r i nm
notes per measure.Understandingwhere 6/8'spulse residesand how it's divided is
the vickv paft, for it's a compound meter-aIime signaturein whjch the top number
is divisible by three (6, 9, 12,6tc.),and the bottom number is eight {6/8,9/8, 12l8,etc )'
In allcompound meters,a pulse is felt everythree eighth notes.This means 6/8 \'tould
be counted "one-two-three-four-five-six." Therefore,6,€has lwo pulses,each divided
into three parts.(Th;sactually makes ita compoundduple meter-)lJnderslandingthis
is keyto fe€ling 5/8 proporly and differentiatingitfrom eighth notes in 3/4 and ?4 with
a triolet feel {2/4'squarternoto pulse playedwilh triplets),and so on'

Arpegglos
Let's conrpare 3/4 and 6/8
b y m o d j f y i n ga f a m l l i a ri n _
s t r u m e n t a r o c k r i f f .F i g l A
c o n t a i n ss i x e i g h t h n o i e s ;
t h e f i f s t o f e a c hi s p a i r
a c c e n t e dT. h i s P r o d u c e s
t h r e e b e a t s ,e a c ho f w h i c h
i s d l v i d e di n t w o e i g h t h
n o t e s ,c o u n t e d( a c c e n t s count: one (\. rlued
counl oie ' dd. n\o
i.r,ir! rirtrrr!/rrrr
i t a i c i z e d ) "r o n + a n d ' t w o _ 1(t t uN nt.rth.tl
--.1 -- '--- l
and-thrce-and," llke 314.
F i g .1 B s h o w s t h e s a m e r i f f
w i t h a c c e n t se v e r yt h f e e
e i g h t h n o t e s ,P r o d ! c n g
t w o p u s e s ,c o u n t e d ," o n a
two three'fotrrjive'six" for
a 6 / 8 f e € | .( H e n c e6 / 8 s m e t -
r o n o m em a f k i n go f d o t
t e d q u a r t e rl t h r e e€ i g h t h
n o t e s l= 9 6 . )F i g . 2 p u t s F l g .
1 8 ' s 6 / 8 f e e l i n t o a c l a s sc
p r o g r e s s i o nr e m i n i s c e n t
o f h i t s i n 6 / 8 l i k ot h e B e a c h
Boys"'ln My Room" and
t h e B e a t l e s "' l W a n t Y o !
( S h e ' sS o H e a v y ) . "
R u s h ' sA l e x L i f e s o ni s
a master of metrica ex-
p e r i m e n t a t i o nh; e o f l e n
c o r n b i n e s4 / 4 ,5 / 4 ,6 / 8 ,a n d
7 / 8 s i g n a t u r e sw l t h i n a
 single section. However,
in more accessiblemate-
rial-like "The Trees"
\Hemispheresl, which .r.=88
i n f o r m sF i g . 3 - h e ' l l s i t j n Bm
one meter for an extended
t i m e b e f o r el a u n c h i n gi n t o
othors. Interestingly, this
nylon-string passage is
rem;niscent of the Renais-
sance composer Jonn
D o w l a n d ' s( 1 5 6 3 - 1 6 2 6g)u i
r
t a r w o * s , m a n Yo f w h i c h
fall in 6/8,
F i g , 4 t a k e so u r f a m i l i a r
6/8 arpeggio and plugs it
into fully frotted shapes,
a d d i n gc h o r d o r n a m e n t s
similar to those played by
Neal Schon in Journey's
"Lights" (lnfnlty). Grab a J.=88
Fender Stratocaster,di6l
in iust a touch oI gain. and
pick using mostly clown-
strokes, digging in just
hard snough to coax grit

Now let's add some 16th

notes, An entire measure
of l6ths in 6/8 is counted,
"One-and, tlvo-and, thr€e-
and, four-and, five-and,
six-and." Inspired by the
A n i m a l s ' t a k eo n " H o u s e
o f r h e R i s i n gS u n " ( I r e
Arimals). Fig. 5 reveals
).=76
how this new note value
adds interestto eighth-
note-based arpeggios.
We'll continue developing

I
'l6ths
in 6/8 in {orthcoming

Iet rinr throwhoul

Count "one - aid. lwo:dd, lhree- fld, fou md, nvefld, six and"
Strum It F----- -----l v---------- l
Over the past decade,
several mainstream rock
hits have been in 6/8 time.
Inspired by the Goo Goo
= Dolls' "ltis" lcity of Angels
soundtrack). Fig. 6 features
chord roots Pitted against
.t v i g o r o u s l ys t r u m m e d1 6 t h

4
notes. (Note: this Jigure
f€atures guitarist Johnny
Rzeznik'sB-D-D-D-D-D
t u n i n g a r r a n g e df o r s t a n -
d a r d , )R e c e n t l yJ, o h n

I ''one'and, two md. tbrce-md, four sd, file-md, six ed'

t! l'f v - v N FVFV

--n
-0ll I
E
---+t 3
Mayer struck gold using
a s i m i l a r a P P r o a c hw i t h
hi6 6/8 gem "Daughters"
lHeavier Thingsl.
In{ormed bYthe
Beatles'"Norwegian
wood" lRubber Souk,
Fig.TfeaturesaDma-
jor (D-E-Fi-G-A-B-Cl)
melody played on strings
3-5 between strums ot
an open D chord. (Note:
"Norwegian Wood" was
originally played with a
capo placed at the 2nd
fret.) Look out for the
g r a c e - n o t eh a m m e r - o n ,
from Ato B,in bar 1.
We'llwrap up our ex_
amination of 6/8 strums
with Fig.8, similar to
what John Frusciante
plays on a 12-string
a c o u s t i ci n t h e R e d H o t
Chili Peppers"'Breaking
the Gitl" lBlood sugar
Ssx Magik). Ke€P Your
pick hand moving in
s w i n g i n g 1 6 t h s{ l i s t e n
to the metronome click
\/'
"oN-21t, two - akd, lhfte-4nd, fou ann, fue - ond, six-and"
at our Web site (www. leiingthrotqhort . .
guitarcnemag.com), |r(v n)v(F)v F (V) F V N V
then hit the strings in the
prescribed funkY rhythm,
which is the same in both

HeavyRock
6/8 can be extremely
effective in heavy rock
settings-check out the
G5 Fmt BtmajT AlmajT({ll)
d i r g e - l i k eF i g . 9 , i n w h i c h
loco8va-j locoS')a-1 loc.' 8w--l
low-register not€s are
set againstmiddle-string
h a r m o n i c s .W h i l e t h i s
a P P r o a c hw o r k e d f o r
S o u n d g a r d e ni n s o n g s
like "Limo Wreck" (SuPe-
r.u.------------- --- ---J
runknownl , headv melal N FI
Hm.-l Han.-l N 'VFVFVNVF
p i o n e e r sl i k e l r o n M a i d e n
s p e e d - P i c k e dt h e i r w a Y
through 6/8 riffs, achiev_
ing a "galloping" effect
with power chords and
muted, open-string
drones tFig, 101.
Progressive rock acts
l i k e K i n g C r i m s o n ,Y e s ,
a n d G e n e s i sh a v e r o u -
tinely mixed meters In (.lt= ))
their music, and heaw D5 E5 G/B CsAsus2 G[7sus4
rock acts like King's X,
D r e a m T h o a t e r ,T o o l ,
M e s h u g g a h ,S y s t e m o f
a Down have in recent
y e a r s a P P r o P r i a t e dt h i s
c o n c e p t .A l t s r n a t i n g b e -
tween 4/4 and 6/8 time
s i g n a t u r e s ,F i g . 1 1 i s i n -
spired by these forward-
thinking bands.
Goth'siGmncleLlr
'flre
Gr.litartilcillsl3elrincltlre Eyeliner
By Mac Randall
TO OUOTE THE GnEAT John Lydon
{ a . k . aJ. o h n n y R o t t e n ) a , n g e ri s a n
energy, and that energy revitalizedthe
mid-1970s British music scene in the
form of punk rock, as now_legendary
b a n d ss u c h a s t h e C l a s h ,t h e D a m n e d ,
and Lydon's own Sex Pistols stuck up
t h e i r m i d d l e f i n g e r sa t g o v e r n m e n t ,
s o c i e t y ,a n d a n y o n ew h o t h o u g h t t h a t
you needed to be a virtuoso to PlaY
rock'n' roll, Unfortunately. one prob-
:i .
lem with ange. is that it has a limited
vocabulary. Punk soon Proved lo be a .-- ..,:.
m u s i c a l d e a de n d , a s b o t h p l a y e r sa n d
listeners quickly gtew tired of hearing
the same old barre chords and recYcled
Chuck Berry licks. Someth:ng new was
needed, something nol necessarllY
more complicated but definilelY more
varied, with a wider sonic scope. And
so gothwas born.
C r i t i c sa n d t a n s w i l l w r a n g l et i l l k i n g -
dom come over who the true forerun-
ners ofgoth were, but most agree that ,.,..ii
the first indisputable goth anthem was ::, I
B a u h a u s ' s1 9 7 9d e b u ts i n g l e ," B e l a L u -
gosi's D€ad." with singer Peter Murphy .:i .
intoning cryptic lyrics aboutthe man we
all know better as Count Dracula and
guitarist DanielAsh spewing out shards
,"1
of noise that seemed to emanate from
beyond the grave, Bauhauscreated a
dark, creepy,comPelling mood that
was soon widely copied Before long'
groups like Siouxsie and the Banshees
and the Cure, both ofwhich had started
out as punk, were adding horroFmovie
atmosphericsto their songs, and the
subgenre they helped foster by doing so
c o n t i n u e s t ot h ; s d a y .
Goth is oflen regarded more as a
{ a s h i o nc h o i c et h a n a m u s i c a ls t y l e
but beyond the black lipstick and white
p a n c a k em a k e u pl i e s a l o t o f t e r r i f i c
music-and as we ll see in the follow'
i n g e x a m p l e s t, h e g u i t a t h a s a l w a y s
been goth's plvotal instrument.
1,',-€

D a n i eA l s h ' sg u i i a r w o r k
i n B a u h a u sw a s r a r e l Y
c o n v e n t i o n a(lt h o u g hh l s
p a y l n gb e c a m es o m e w h a t
m o r e n o r r n a il n h i s s u b
s e q u e n tb a n d ,L o v ea n d
Rockets).Distortion,delaY,
a n d m o d u l a t l o nw e r e a l l
n
essentialparts of hlstone,
a d d l n gd e p t ha n dw e r g h t t o
1 4 1 4 1 4 - 1 41 4 1 4 1 l 1 1- I
what might otherwise have 12 12-12-12 12-12 12 12 1
s o u n d e dr u d i m e n t a r yB. a l l s
o u t s t r u m m i n ga n d b e n d s 6
evocativeof seasickness
 a l s of e a t u r ep r o m i n e n t l yi n
Ash's style, and both are
o n d i s p l a yi n F i g .r , l o o s e l y
based on part of Bauhauss tr2
" l n t h e F l a t F i e l d . "H i t t h o s e
strings as hard as you can
f o r t h e s k a i g h te i g h t hn o t e
b i t s ,l i g h t e n i n gu p e v e rs o
s l i g h t l yf o r t h e b e n tn o t e s .
J o h n M c c e o c h ,g u i t a r
m a n f o r S i o u x s i ea n d t h e
B a n s h e ed s u r i n gt h e e a r l y
'80s,was a moretechnicaily
skilledand musically knowl-
e d g e a b l ep l a y e r t h a nA s h ,
a n d y o u c a n h e a r t h a ti n
the super-smart cho rd voic-
i n g so f F i g . 2 ,i n s p i r e db y
t h e B a n s h e e s1' 9 8 0s i n g l e
" H a p p yH o u s e . "T h o s e
o p e n - s o u n d i nm g i n 1 1a n d
T s u s 4 c h o r d sa r e m o r e
than a little reminiscentof
another great guitaristfrom
this era,the Police'sAndy
SummersF . o rF i g . 3 ,w e
m o v eo n t o t h e c u r e a n d
t h e i ri c o n i cl e a d e rR o b e r t
Smith, \,!hosestriking hair
style could understandably
i m p a i ry o u r r e a l i z a t i oonf h i s Ma set io a Bhortrcpeat,and a
estimablesix-stringabilities.
" P u s h , "f r o m 1 9 8 5 ' sl h e
I()NE$ ON TAIL fudox of somesort if yo!'re look-
ing to nailtho D.ni.l Ashtone in
Headon the Door,isrhe Want that doomy, gloomy goth guitsr Fig. 1.Otherwis€,d:slortion won't
i n s p i r a t i o nh e r e , s h o w c a s sor$d? In short, herct how Vou g6t il modu- b€ n€c6sary. Mo6t crasic goth gui
ing one of Smiih's favorite lation 6ff€6t3, and lots ol thern. Flangin$ .fio- t'] tone6 ar€ actually dean, though
moves:supporting a simple rur vibrato, phr5ing-rthoy're all great .nd ce.tainly not dry. Ths type ol guitar,
whon you've got drem an going at the same pickuFs. or amp you usa matte6 barely
but striking melody on the
tim€ and at ditreredt spce&, they're even a wfiil her€; iust make srr6 you crank
hlgher strings with a con-
bstt6r. You.ll also need a dolay. pr€f*ably an flem loud €nough so that the pedab can
stant eighth-notebassline.
analog on. like dt€ ElecbqHarmonix Momoiy produc€ havoc with little prompting.
A senseofforeboding
is an absoluterequisitein
goth, and few have known
how to conveythat more
effectivelythan the Sisters
of Mercy, led byAndrew )=126
E l d r i t c hF. i g .4 , s i m i l a r t o
the centralguitar riff on
the Sisters'1987track "Do-
minion/lvlotherBussia,"
capturesthis quality.There's
something unsettlingabout
the lengthy spacesEldritch
leavesbetweenphrases,
and ihe waythat F,the sus-
pended4th, hangs over the
C i n r n e a s u f e3 . O u r f i n a l e x -
ample draws on the catalog
o f t h e C u l t ,a b a n dt h a t o r i g i
n a l l y w e r eg o t h b u l a r g u a b l y
were no longer so bythe
t i m e t h e yg o t f a m o u s .S t i l l ,
there's moody atmosphere
a p l e n t yi n F i g . 5 ,i n s p i r e d
by Billy Duffy'sclassicr;ff
o n " S h e S e l l sS a n c l u a r y , "
which milks an archetypal
5 goth formula, layeringa
9 m o d a l s i n g l en o t el i n eo v e r
a d r o n ei n a m a n n e r t h a t
v a g u e l ys u g g e s t sI n d i a na n d
Middle Easternmusic.
Guitarisitsitl
lulegaclet
A ClassiclUletal
()nslauglrt's
Inner\llfog6,tt*

By Troy Stetina
l N 1 9 a 3 , a f t e r g e t r i n gu n c e . e m o n i o u s l yb o o t e do u t o f t h e
e m b r y o n i cN l e t a l l i c ag, u i t a r i s iD a v e I \ 4 u s t a i nfeo r m e d M e g a
d e t h . I n t h e n e a r l y2 5 y e a r ss i n c et h e n , h i s b a n d h a s p r o v e d
t o b e a d e f i n i n gf o r c e i n m e t a l ,a s w e l l a s a s h r e d b o n a n z a -
t h e l e a d g u i t a rs l o t h a s b e e n o c c u p i e db y n o l e s st h a n s e v e n
excepflonar prayers-
E a r l yN l e g a d e t hl i n e u p si n c l u d e dg u i t a r i s tK e r r yK i n g ( S l a y
e d , a m o n g o t h e r s ,b u i b y t h e t i m e o f t h e b a n d ' sf i r s t a l b u m ,
Killing ls My Business...AndEusinessls 6oodl (1985),Chris
P o l a n dw a s o n b o a r d ,a n d h e r e m a i n e ds o f o r t h e 1 9 8 6f o l
l o w u p , P e a c es e l l s . . . 8 u tW h o ' s a u y i n g ?( 1 9 8 6 )A . multifac_
e t e d p l a y e rw i t h d e e pj a z zf u s i o n r o o t s ,P o l a n dw a s , a n d i s ,
c a p a b Lo e f p l a y i n ge x p e r t l ya n l a h i n gh e c o u l dd r e a m u p , n o
m a t t e rh o w d e m a n d i n g H . i s i m m e d i a t es u c c e s s o r w a sJ e f f
Young, followed in 1990by I!4artyFriedman,who'd previously
p a r t n e r e dw i t h f e l l o ws h r e d d e r J a s o nB e c k e ri n t h e i n s t r u '
m e n t a lg r o u p C a c o p h o n yF. r i e d m a n ' sd e c a d ew i t h t h e b a n d i s
s e e nb y m a n y a s M e g a d e t h ' s" g o l d e ne r a . "T h e m u s i ce v o l v e d
f r o m i t s e a r l yt h r a s h i n e s tso w a r d h e a v i e rm , ore approachable,
a n d o f t e n m o r e m o d e r a t e l yp a c e dg r o o v e s w , hile Ffiedrnan's
soloing finesse earned him well deserved status as a maste.
m e t a lt e c h n ; c i a nL. i k eP o l a n d F , r i e d m a na l w a y ss e e m st o
s e r u et h e m e l o d yf i r s t ;h i s s o l o sa r e t i g h t l ys t r u c t u r e dw, i t h a n
excellent sense of pacing-
A f t e r t h e m i l l e n n i u m ,l e a d d u t i e si n N , 4 e g a d eftehl l t o A l
P i t r e l l i( T r a n sS i b e r i a nO r c h e s t r aS, a v a t a g ef)o r s e v e r a la i
b u m s . I n 2 0 0 4 ,C h r i sP o l a n dr e t u r n e db r i e f l Yt o a d d s o l o w o r k
to The System Has Failed. And the band s upcorning Untted
A b o m i n a t i o n s c, u r r e n t l ys c h e d u l e df o r a M a y 2 0 0 7r e l e a s e ,
f e a t u r e si h e l a t e s tp l a y e rt o j o i n t h e f r a y , G l e n D r o v e r( E i d o
lon, KingDiamond).

F i g .' l i s a l i c ks i m i l a r t o
l\4artyFriedrnan'sme odic
s o l oe n t r a n c ei n " L u c r e t l a '
/ F u s t , r P e a c e l . l t 'as g o o d
e x a m p l eo f h o w y o u c a n
h u gi h e c h o r dt o n e so i a
progression,decoraledwith /-\ /
wel p aced passingtones
and subtleshifts oftona ity.
N o t e t h et e m p o r a r yF , m a l o r
a r p e g g l o( F r - A , C r ) ,w h i c h
b r e a k su p t h e p r e v a i l i n F g rrn
f e e l .A s o ,o v e rt h e E ,t h e 9 59i 14 9- 12 7- 3 1c i--_- - =
coloration l s d i s t i n cyt m i n o r 7 _
'r1 _- a
9_I-94 5-t 98-
insteadofthe expectedlvlix-
olydian {which wou d be nat-
 u r a l t o t h ek e yo f F Fm i n o r ) .
The use oidisplaced octaves
in measure2 adds furthef in
terest,while in measure3we
see Bm superimposedover
D5, anoiherfusion move that
implies a DmOchord.
ChrisPoland'slead ap-
proachgets a showing in
Fig.2, basedon his solo in
"The Scorpion" /lhe Sysfem
HasFailedJ.Smoothly con-
trolled vibrato and bending,
A
lfl
along with preciseleft-hand
execution,gives Poland's
i..{
playinga smoother,"West
L,7
Ahhough Glen Drover's
overalls\,le occupiesterrito-
\ .i = 100
r y s i m i l a r t oF r i e d m a n 'asn d B5
I Poland's,he tendstoward
more intensespeedlines,as &&/- .<"-;
can be heardin h;s recent
work with Eidolon.Fig.3
gives a sampleofthis flashi
e r a p p r o a c hm , o v i n ga s i n g l e
basicfret-handshape(with a 1.t-8-8-11-8-8-14 11-1 1.14,1
few variations)th rough sev lo lo-10-10 12-12-12 1
eraI positionsfo r a full-scale
shred assault. The tricky pan
here is the rhythm. Follow

$hred$upplements
Moqadeth has sone drrough many inc.rnalions, bul it6 music ha5 st Yodronsr*tblv consident
St€;dout afbums trom tha M.rty Friedman psriod indud€ ausa it Psaca(19901,
to Extinctior' 119921,and votnharrash l199al. In parlicrrlar, lbt€n to the'Sxroating
Courttdown
3on$ -Hangar l&- KXW
TTM
"Lucr€tia." "Svmohonv ol Dssbusbon," "Countdown to Exiincrton,- Bull6ts,"
"Youthan$la,; aird "T;in of Consequ€nc6.' Chrilt Polands b66t Mssaddth work can b.lound
on PeaceSells.,,but ttvhob Buyhs7 lls36.l and fhe Sysrent Hashilod l2oorl.
It's worth noting ihat in 2004,the bandi € irs catalog uP to that point wa3 rdrsued in
r€mixed .nd r€ma3t*od ve6ions. In addition, ch€ck out Fri€dmat'3 origln€t Cacophorry.elo$e.
with Jason B€ckar,Poland'3 solo.lbum F artt to,ltttlropol&, and Glen Drovst's wo.k with
Eidolon fhe Par|aeI (Xh.two@, Kins Diamond 4901136 otcodr, al|d Uon's Slitre.

each repetitionof the pattern

a n dy o u ' l l s e e t h a itt r e p e a t s
in a regularsequence,taking
exactlyone and 3/10beats.
To get somethinglikethis
down, first practiceeach
shape paying no attentionto
the rhythm. Afteryou can do
every portion of the pattern,
feeling a singledownbeat
on each rcpetition,then
\ considerthe hemiola-type
rhlthm abovethe staff.Feel
that rhythm and dropthe

I patternrepetitionsright into
it. This js a very advanced
concept,so don't feeltoo
b a d i f i t g i v e s y o ua n y
problems-this is the Shred
column, after all!
It will certainlybe interest
ing to hear how Drove/s
leadstyle fits in with the new
N4egadeth. Inthe meantime,
checkout his recentblack
metal side projectLion's
> Share(lionsshare. org)for
some more over tne-Iop, 1 81 7 - 1 5 1 7 1 8 1&17.15-1718 -17-16 1
21st-centuryshred.
l3ig l3ill
l3 r()orl:ay
'l'he tityllngs of
Acoustic
a Greatl3luesOomPoser
By Kehh Wy6tt
i r c a t L L A n b O N z V t U . 1 8 9 8 ,S c o t t , N 4 S d ; . 1 9 5 8 ,c h i c a g o , l L ) w a s a m o n g t h e m o s t v e r s a t r l e
a n d p r o l i i i cm u s i c i a n s o f h i s g e n e r a t i o nR a i s e d i n r u r a ls u r r o u n d i n g sh' e f o u n d h i s w a y
(includingsuch oriqinal
i o C t r ; c a g o ,w f t u r e h i s * i n n i n g c o m b i n a t i o n o f d ; v e r s e t e p e r t o i t e
musician-
composiiions as "Key to the Highway" and "l FeelSo Good") and outstanding
h i m o n e o i t h e d e f i n i n g f i g u r e s o f p r e w a r c h i c a g o b l u € s During the growinq
ship made
wrapping
i o l k s c e n e o f t h e l a t e t 9 4 O s ,h e b e g a n p l a y i n g i n c o l l e g e s a n d c o f l e e h o u s e s '
self-dep
pointea messag"" anout tace and class ("Black,Brown and White Blues") in dry'
he directlv
i e c a t i n g w i t . A s -o n e o l t h e f i r s t A m e r i c a n " r o o t s " m u s i c i a n st o t o u r E u r o p e '
i n t l u e n c e dm a n y J u t u r e s t a r s o f B r i t i s h b l u e s -

F i g . 1 i s s i m i l a rt o " H e y ,
H e y B a b y , "a B r o o n z y
favorite that insPired a , =r r ot , l = ; l )
y o u n g E r i cC l a P t o nw , ho
decadeslater covered lt
on Unp/ugged. BroonzY
p l a y e df i g u r e sl i k et h i s w i t h
a n e a s y a s s u r a n c et h a t
c o u l d t u r n f t o m s w e e ta n d
g e n t l e t o h a r d e d g e do n a

The self'accomPaniment
is best performed with
b a r et h u m b a n d f i n g e r s
o r a t h u m b p i c k .( B r o o n z y
favored the former aP
p r o a c h ,a l t h o u g hh e P o s
s e s s e dw i c k e df l a t P i c k i n g
s k i l l sa s w e l l . )C o o r d i n a i i o n
of the hammerlikebass
pattern and upper-string
syncopations is tticky but
w i l l y i e l dt o s l o w , m e t h o d i

Atthe end of bar2, slide

up to the sth string's 7th
fret A with Your 1st finget
and in bar 3, catch the 8th-
fret G with your 3rd finger'
( N o t i c et h e l i b e r a lu s e o f
o p e n s t r i n g sh e r e . )T h e 8 7
c h o r d o f b a r I i s b a s e do n
a 1 s t - f i n g ebr a r r ea n d i s f o l -
lowedin bar 10by a tricky
pull off on the 47 chord-
nailihe 3rdjret G with
y o u f 3 r d f i n g e ra n d I n a
s i n g l e m o t i o n s l i d ei t d o w n
a fret, to Fl, then qr'lickly
pull offto the open E

Big elllBroonzy play€d and recordcdwith-or wa3

at lsast photographcdwith-€everal notabl€ guitart
fiom an exotic carvsd'top single"cutawaYGibBonStvle
O to a GibsonL-7 archtoPto his main guitar in the
1950s,a M.rtin 000-24
l{annenic
lmne'ing
TheAdvancedProgresslons
of JohnColtrane
lN 1s5e,Johncoltrane's "Giantsteps".contains
B6ilii'sH=*" f,-"t REcoReED prosressions anim311Y':':11]-":'
i,i"ir"-J*"iiit most challonsins chord
:;::";i**;"J """.rthe *t'o oi"o in rgez""ttre aie oi lt' anivedatthisharmonic'matrix
;;;';'"'
Someschola6speculate that
is a mvstery,as his exploratoryprocesswas undocJmented
Rodgersand Hartstandard"HaveYou
oi""iJ*tj"; ** rn*ired by the B sectionof the
rur"liiiiJ"-io""".; *itn its seriesoJ distantly retatedii-v-ls otherssurmisethat coltrane
#:";;;;;ils;;";;n from Nicolasslonimskv'srhesaurusof scale"1'q Y:r:do
ili"# '" .astery ot the 'Giantsteps" prosressiona k a "coltrane ,
get vou started'
ii""t"";
"'it "i"",
i*"lr"i."i " any se;ious iazzer'andthis lessonshouldhelp
"r

The top chords of Fig l

belong to a basicii-V-l
pfogressionin the keYofC r = r r o ( , 1 =J, i
(Dm7-G7-Cmaj7) Shown
CmajT
in parentheses,thelower Dm7
(Emaj?)
chords rePresentColtrane's (DDr?) (Er?)
substitutions,which move
through ihree keys:A', E'
and C. Fig. 1'ssingle notes
outlinethe substitutechords,
creatingan "outside," effeci
againstthe ii-V-l
Fig.2 is basedonthe first
'
four bars of "Giant Steps
The linesare built PrimaF
ilyfrom chotd tones, using
as little note repetitionas
p o s s i b l eS. h o w ni n F i g . 3
are measures5-€ ofthe
progression;checkoutthe
tetrachord(fournote grouP)
o v € r t h eF i 7 c h o r d :1 ( F l ) , 2 ,=l4o(t=..i)
(Gf), 3 Gd), and 5 (cf) ofthe
F, maior scale.This move BmajT D7
works nicelYforboth major
a n dd o m i n a n t T t hc h o r d si n
any conten OnceYou've
learnedtheseexerclses,
transferthem to the remaln
der of "Giant Steps," a lead
in
s h e e to f w h i c h i s a v a i l a b l e

laam "C,oibans
Chang€s"are
GiantSraPe l=lao(;=i i)
Bb1
soud.In Gmaj? Bbl
lanscribing
the ritle track
ol GirrtsrePg :.
inlo Coltrans3
E

of -Equinox,"

"Giant St6Ps"-tYPe
.fimmyPage
l{ammerof tlre Gocls,
tfnpluggecl
Bv Douqlas Baldwin
ilinetuririiir ron LEDZEPPELIN' ro creare
JimmvPasehelped I'eavv:net?].s
burthebreadlhofIhebandsappealalsohadalolTooow'ul
c r u s h i ' 1 glloyJ dr e p u t a t i o n
ni.loiilit'." ac*"n gritar. His love of traditional Celtic music' the exotic tonalities ofthe
ofthe early'70s all{ueied the mighty
fvfidafeEast,ana the inirospective singer'songwriters
2 e p ' s r i s e t o t h e t o p W n i l e w o r k n g a s a s e s s i o n p l a y e r i n t h e m i d r 6 0 s w i t h a of
r t imix
stslike.
i.'n"r""
-i"-g V"" V"itt-, and Mari;nne Faithfull,Page undoubtedlv sawthe appeal
folk boomlcrought
,";;ti" i""irr."" *ith drums and electricguitars London's thriving
attention as wet
piJkers like Davey Graham, Bert Jansch, and John Renbollrn to Page's

The wide-ranglngacoustic
tastesof Zeppelins resident
six strlngerwere aPParent
on the quartet'sveryfirst
a l b u m .W i t h I n d i a nP e r c u s _
sionistViram Jasanron
tabla,PageaPProPriatedBert
Jansch! arrangementof the
folk song "Blackwaterside,"
r e n a m i n gi t " B l a c kM o u n t a i n
S i d e "t F i g l l
" G o i n gt o C a l i f o r n i a "
on Zep'sfourth album, was
a full band effort in the
a c o u s t i c v e i nw, i t h J o h n
PaulJones'smandolin Part
c o m p l e m e n i i nP g a g e ' sg ! i
t a r w o r k .A m a z eY o u r f r l e n d s
b y p l a y i n gt h e m a n d o l i nl i n e
along wiih the droning bass' t.i ,, rhrr\Dt'BE
a s s h o w ni n F i g . 2 . j = l,l8
Lnspite of the "NO
STAIRWAYI"signsthat hang
ln guitar stores,"StairwaY
t o H e a v e n "c o n t i n u e s t ob e
a benchmarksong. I have
studentsbegin by learnrng
the chords as blockedout rn
F i g . 3 .P l a y t h i se v e n l Yw, i t h
a t h u m b a n d j i n g e r ss t r o k e ,
and you ll soon Ee readyto
wind on down the road

Although he owned

i:t#i$fiJi-
$
tr6ckedne$ to
Les Pauls,so
l!
:i
.
k
Pageywould :i
use a HarmonY ,-:
sovereisn acoustic ff
or Giannini12- j5l
strins as =h
a
3H""it:11"
Gm
B:rJ*"(@ 3
I
 Gl=All
This Month in How-Ttl'sand Reviews

MESA/BOOGIE
EXPRESS
E SERIES
We reviewthe Mesa/Boogie
'ER Express5:25,an EL84powered
iE0 2s-wattcombo; and the 5:50,a
l0NS 616-powered50'watter classic
Boogietone? Check.Boogiever-
satilitv?Check.Are they forYou?
WITH See and hear them forYourself
at Guitaronemag.com.

TAP

RACKS
8S0NS

AR
iKNOW
OOKOF

t
BY CHITISGILL
h o . h r i a c a r '' n , r . : l F n . l a r . l c s i o n a l e s2 0 0 7
-l lll
a s i h e y e a r o f t h e p i g , b u t D a v eM u s t a i n e
f e e l si h a t h s h o u l d b e c o n s i d e r e dt h e
I
I year of Megadeth. "This is mY year," says
I MLrstaine."l've been really patient over my
career,but now I feel that my tims has finally come.
Thanks to a resurgenceof progressive and thrash
metal featuring technically proficient guitar playing,
l a r g e l yb r o u g h ta b o u t b y a n e w g e n e r a t i o no f b a n d s
i n l l u e n c e db y M e g a d e l h ,M u s t a i n ei s o n c e a g a i n
atthe front ofthe metalmovement thistimeasa
knowing sage instead of a cocky young upstart This
h a s i n s p i r e dM u s t a i n et o p u r s u eh i s a r t i s t i cv i s i o n
with renewed vigor, the results of which are boldlY
on display on the latest Nlegadethalbum, Uniled
N 4 a n yf a n sw o n d e r e di f M u s t a i n es c o n v e r s i n n
to Christianity five ysars ago would dilute the ag-
gressivenessof lvlegadsth'smusic, but Unifed
Abominations tocks even harder than the bandt 2004
comeback.The System HasFailed "N4ytongueand
h e a n m a y h a v ec h a n g e d ,b u t t h e w e a p o n sa r € s t i l l
i n s i d ea n d t h e h a n d i s t h e s a m e , "s a y s l M u s t a i n e
" M a k i n gt h i s a l b u m w a s s u c h a h u g e u n d e r t a k -
ing becauseI was in the process of re-establishing
[ r e g a d e t ha n d t h e c r e d i b i l i t yo f t h e b a n d a n d m y s e l f
as a plaver. I needed to get back in touch with my
r o o t s .F i n a l l yl t h r e w c a u t i o nt o t h e w i n d a n d d e c i d o d
I was not going to write a radio song on this record I
was iust going to write from myTony Montanas lt
worked. The whole process has been a spiritual un-
d e r t a k i n gt h a t h a s b l o w n m y m i n d . "
H a l f w a yt h r o u g h c o m p l e t i n gt h e a l b u m , M u s t a i n e
hired Andy Sneap, known for his previous work with
Killswitch Engage,Nevermore,Arch Enemy,Trivium,
 a n d n u m e r o u so t h e r m e t a lb a n d s ,t o c o - p r o d u c ea n d
mix United Abominations. "We neededto make some
necessarychanges," explains lvlustaine."The recotd
needed to go more in the metal direction, and Jeff
B a l d i n g , w h oc o p r o d u c e dt h e s e s s i o n su p t o t h a t p o r n t ,
a n d I a g r e e dt h a t w e n e e d e dt o b r i n g s o m e o n ee l s ei n t o
h e l p u s d o t h a t .T h e s o u n do i t h i s a l b u m i s a c o n s i d e r
a b l e j m p r o v e m e n ft r o m t h e s o u n d si h a t l ' v e h a d i n t h e
' r e c o r d .U n t i l I g a v et h e m t h a t t h e y w o u l d o w n m e a s a
past. l'm going to work with Andy until I retire.
Forthe firsttime in Mustaine's career, he's left all of
h i s p a s tb a g g a g eb e h i n dh i m . I n a d d i t i o nt o e n j o y i n ga
renewedoutlook on life, Mustaine is surroundjng him'
self with an entirely new supportingteam. He'sworking
with a new managementcompany and record label
(Roadrunner),recording his first effort with a entirely new
lineup consistingof bassistJames Lomenzoand broth
ers Glen Drover on guitar and Shawn Drover on drums,
and even playing a new guitarthanks to an endorsement
deal he signed with Dean Guitars,which introduced
Mustaines signatureVMNT model in January 2007.
N 4 u s t a i nhea s e n d u r e dm a n y t r i u m p h sa n d s t r u g g l e s
s i n c e N 4 e g a d e tfho r m e d i n 1 9 8 3 ,b u t n o w h e l o o k sf o r _
w a r d t o t h e f u t u r e i n s t e a do f d w e l l i n gu p o n t h e p a s t .H e
hopes to continue to pave a path for metal musicians
both by being a positive example and by providing
u p - a n d - c o m i n gb a n d sa b o o s to f e x p o s u r et h r o u g h
e n d e a v o r sl i k et h e 2 0 0 5a n d 2 0 0 6G i g a n t o u rf e s t i v a l s .
" l ' m s o h a p p yt o s h a r ew h a t l ' v e l e a r n e dt,o s h a r em y
.'.-.-44 clout, power, and authority with other musicians,"
s a y s M u s t a i n e ." l t t m y w a y o f c a r v i n ga p a t h f o t t h e m .
E v e r yd o o r I o p e n u p m a k e si t t h a t m u c h e a s i e rf o r
t h o s ew h o f o l l o w m e . "
N4ustaineinvited Guitar Ote across the pond to
o b s e r v eM e g a d e t hi n a c t i o na s t h e b a n d f i n i s h e do v e F
dubs at Andy Sneap's BackstageProductions studio in
E n g l a n d ' sW e s t M i d l a n d s .
When The System Has Failedcame out, you said it
would bs the last Megadeth alblm. What inspired you
t o c h a n g ey o u r m i n d ?
The System Has Failedwas initially supposed to be a
s o l o a l b u m . I h a d l e f t M e g a d e t hb e h i n d i n 2 0 0 2a n d w a s
g o i n g f o r w a r d w i t h m y s o l o c a r e e rW h i l e I w a s i n t h e
s t u d i o I g o t a c a l l f r o m m y p u b l i s h i n gc o m p a n , a n d
t h e y t o l d m e t h a t l o w e d m y l a b e l a n o t h e rM e g a d e t h
s o l o a r l i . t . I d i d n ' t l i k et h e i o e a o f s o m e o n eo w n i n g m y
r i g h t sf o r e v e r s o m y s o l o c a r e e rh a d t o w a i i
T h a t a l b u m w a s g o i n g t o b e t h e l a s t N 4 e g a d e trhe
cord, but when we went on tour the crowd response
w a s r e a l l ys u r p r i s i n g l. t j u s t c o n t i n u e dt o g t o w T h e
t l m i n g s e e m e dr i g h tf o r i t . A l l t h e s ey o u n g g u i t a r i s t s
w e r e c i t i n g M e g a d e t ha n d m y l a s t b a n d a s t h e i r i n f l u
e n c e s ,a n d t h e s eg u y s w e r e r e a l l yt a l e n t e d T . o have
t h e m p a y i n g h o m a g et o m e w a s r e a l l yf l a t t e r i n gA . sa
result ofthat, a lot of people were corning out to see us
G i g a n t o u ri n f u s e da l o t o f i n t e r e s ti n I V e g a d e t h .
Did that praise affect your guitar playing?
l m i s s e d b e i n gt h a t g u i t a rp l a y e r t h a te v e r y b o d yl o o k e d
u p t o - n o t n e c e s s a r i l lyi k e d ,b u t l o o k e du p t o . T h a f s
a d e g r e eo f h o w g o o d y o u a r e .Y o u ' r eg o i n g t o h a v e
p e o p l e w h o l o v e y o u a n d t h o s e w h o d e s p i s ey o u T o
t h e p e o p l ew h o l o v e m e , l ' m h o n o r e d .T o t h e p e o p l e
w h o d e s p ; s em e , l m h a p p y .
The last five years h6ve been the best years of my
c a r e e rb e c a u s el ' m r e a l l yc o g n i z a n ta n d i n t h e m o m e n t
watching what is taking place. lt's been a period of soul
s e a r c h i n ga n d i n t r o s p e c t i o nl .' v e g o n e b a c kt o t h a t b o y
i n s i d eo f m e t h a t l o v e st o p l a yt h i n g st h a t m a k e p e o p l e
g o , " l h a t ey o u D a v e . "G l e ns a i d t h a t l a s t n i g h t w h e n h e
u/as trying to p{ay a riff I wrote. I wonder if l'm jlsl sup
posed to be a writer 6nd not a player because I always
write stuffthafs beyond what I can
p l a y .U s u a l l yw h e n i i ' s b e y o n dw h a t
I c a n p l a y I h a v em y o t h e r g u n s l i n g -
er do it- Fortunately l've had some
o f t h e g r e a t e s t l a l e n itn t h e m u s i c
b u s i n e s so n m y s i d e
ANARCT{\'
rN]'t{Etr(
DaveMustainewith producer
Andy Sneapar Backst6sePro-
ductions,in Englandlopposit€l.
Mustaine'ssimple r.ck con-
sists of a pah of Line 6 custom
amps and a Pairof Rocktron
Prophosypreamps,with a
Whirlwind Multiselector and
a Sony wirel€sssystem.
H o w d i d G l e n b e c o m ea
m e m b e ro f t h e b a n d ?
I met Glen about three
years ago after lsaw a LlttLe
v i d e os n i P P eot f h i m o n
ihe Internet.MY sPirit knew
t h a t G l e nw a s t h e r i g h tg u Y .
l c o u l d t e L b Yt h e w a y h e
m o v e da n d h o w h e h a s t n r s
interestinglook that's almost
N a t i v eA m e r i c a no r A s i a n
H e h a st h e r o c ks t a rv i b e 't o o
As soon as I heard him PlaY_
i n s I s a i d ," T h a t ' sm Y g u Y l " i
s t a r t e dt a l k i n gw i t h h l r n a n d
I n o t i c e dt h a t h e s e e m sv e r y
s h y u n t i lY o uP l t a g u i t a r
l n h i s h a n d - t h e n h e ' sl i k e
Bruce Lee.
I n o l ; c e da n u n u s u a lL a n e
6 amp in the siudio what
:s it?
T h a l s a s l g n a t u r ea m Pt h a t
L l n e6 m a d e f o r m e l t s a n
i n c r e d i b l es, t r o n g - s o u n d r n g
a r n Pt h a t w a s m o d e l e da t t e r
a 1 9 6 7l v l a r s h a lPl l e x i ,a n d
i t h a s s o m e o t h e r P L u gI n s
t h a l w e u s e d .l t w e i g h so n l Y
a iifth of my Marshal EL34
1 0 0D u a l M o n o B o c h e a d s
I t ' sa m u c h m o r e r e s P o n s i v e
a m P w i t h a r n o r em o d e r n
s o u n d ,a n d i t h a s a b u n c h
of effects wired into it wLth
a l t h e c l a s s i cs o u n d sl l k e
R u s h ' sf l a n g e t V a n H a l e n ' s
p h a s e r k, i l l e rc h o r u s ,a n d
g r e a td e l a YT . h e Ym a d e c a b l
n e t sl o r m e t o o . I l i k e t o h a v e
m y c a b i n e t sc a u l k e da n d
s e a l e dT. h e o n l Y t h i n g st h a t
aren't sealed are the speakers
themselves becauseotnets
w i s ey o u w o u l d n o t b e a b l e
t o g e t t h e mo u t T h es p e a k e r s
a r eV l n t a g eC e l e s t i o 3 n0s
T h e a m P h a sa c o o l l o o k
t o i t , t o o . l t l o o k sl i k et h e
T h e a m P h a sf o u r b a s r c
t o n e s :c l e a n ,m y s r g n a t ' r r e
s o un d , m e g a d r l v e ,a n d t h e
p l e x is o u n d Y o u c a n r u n
t h r o u g h t h e a r n p | ] s l n gj u s t
the power amPsection'
whlch is what I'lldo when
I ' m u s i n gt h e R o c k t r o n
P r o p h e s Ya, l t h o u g hs e m l
p r o P l a Y e r sc a n a l s o u s e i h e
h e a d b y i t s ef . l t h a s s o m e
i n t e r e s t i n gc h o r u s ,t l a n g e r
a n d t r e m o l o e f f e c t st h a t
are realeasyto useas wel
a s a d e l a Y ,n o l s eg a t e ,t a P
t e m P o ,a n d n o r m a lt o n a l
a d j u s t r n e n t fso r s o u n d l
w a n t e dt o h a v e m o r e l n a n
b a s s ,m l d , a n d t r e b l e 's o I
a d d e d a P r e s e n c ek n o D .
T h e b a c k P a n e lh a s a l o t
of different outPLrts There
a r e X L R Ss o Y o u c a n P l u g L l
s t r a i g h ti n t o a m i x i n g b o a r d .
TI
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F
DEANGUITARS
INTRODUCES
THEDAVE
MUSTAINE
VMNT MODEL
By GhrisGill
that.l thoughtihatwas greatfor Mike, but lwanted
l\ ave Mustaine was one ot Jackson Guitars
since 1985,and he even to sign with Jackson again, who were qoing to rein-
I luiss""t "naor"ers troduce mv entire line-all my classicold Jacksons
I attempred to purchasethe companv on
with the s6me paint iobs and stickers on them' and
l/ three separateoccasions When Fender
even the doublenecks lwanted Jackson lo eliminate
uttimately outmaneuvs.ed him to purchaseJackson
all the other KV numbers and go back to KV-l' but I
in 2002,they offered Mustaine an endorsement lhat that l
didntfeellike I got a full'on commitment on
was significantly less attract:ve than hisformer ar-
was the guy who made that modelfamous
rangement. "l went from getting 11 guitars a Yearfor
"ltold mv sourcethat Dean were going to have
Iree and being paid a commission, which I never re'
getting to make me a ridiculously large offerlor meto walk
ceived a penny of over the entire 17 years,to
" awav from going back to Jackson-they did lt was
one guitar a year." says Mustaine "l said fotget it
the biggest offerthey ever 96veto anYbody l've
lnstead Mustaine n€gotiated a new endorse-
gone from being with ESP and Jackson to t'erng
ment dsal with ESPGuitars, but he ieft them in late
Dean' lrunchise Player,
2006 du€ to a disagreement concerning terms of
"The new Dean VMNT guitar is a slisht modifica-
EsP's sponsorship otthe second Gigantour festival'
tion lrom mv normalV shape, namely becauseit has
Mustaine was preparing to enter a new agreement
a beveled body. The body shape is identical' the neck
with Jackson when Dean Guitars made him an offer
is better and the inlays are remarkable-lve never
that was too goodto refuse
had deluxe inlays before. The guitars come stan_
D6an made the public announcement or
dard wilh mv sevmour Duncan Livewire signature
Mustaine's endorsement in Anaheim. California at
picklps. .nd the headstock has changed l'm thrilled
the 2007 winter NAMM show, where they debrted
becaosethev wantto do 10 models in a year'
two new models-lhe limited edition IJSA Dave
"l'm happy where l'm at right now lf anvthing
Mustaine VMNT Limited and the Dave Mustaine
goes wrong, which I don't foresee happening, I still
VMNTI. Here Mustaine discussesthe details oI his
have an option to go back to Jackson, who were
dealwith Dean and his new guitars:
very disappointed Grover himselt sent me an email
"l{irst heardthat Deanwas interested in melrom
saying how much le respeds me and that thevte
a source that was prettv reliable but:t was someone
waitinq tor my deat with Dean to exphe l still hold
who lhad some experienc€swith in the pastthat
the Jackson concept dear to my heart l can't look
were.t Derfest.ldidn't know whelherto take it at
back and saythat lhate any ofthe instruments l've
face value or not. Hetold me lhat Deaniust signed
endorsed because I don1,
Michaelschenker and theY we.e giving him this and
 T h e i m p e d a n c ei s a d j u s t a be
s o Y o uc a n r u n i t w i t h a v a r i e t y
o f c a b i n e t sY , oucan run lhe
o u t p u tw i t h o r w i t h o ! t e f f e c l s ,
a n d t h e r e ' sa l e v e l t r i m c o n -
t r o . L th a s a b u i l l i n g r o u n d
l i f t ,w h i c h a l o t o f a m p s d o n ' t
h a v e .l f y o u t u r n o n y o L r ra m p
a n d i t ' s b u z z i n gy, o u d o n ' l
h a v et o s e a r c hf o r a g r o u n d
l i f t - y o u j u s t f l i p a s w i t c h .I
p e r s o n a l l yi k e t h e t o u c h o n
t h e b a c kw h e r e i t s a y st h a t
L i n e 6 r n a d et h e a m p f o r m e .
What gu:1arsdid you use to
r e c o r dt h i s a l b u m ?
l w a s s t i l l u s i n gm y E S P Sb e
c a u s em y d e a l w i t h t h e m d i d n ' t
e x p i r eu n t i l t h e e n d o f 2 0 0 6 .
lwanted to do mytransition
f r o m E S Pt o D e a ni n a v e r y
g e n t l e m a n l yw a y b e c a u s e
they know who andwhat I am
t o d a y .E v e nt h o u g h l w a s r e
a l l y d i s a p p o i n t e dw i t h t h e w a y
t h i n g sw e n t d o w n I s t i l l r e a l l y
l i k et h e p e o p l et h e r e .I E S P
prestdenil Matt I\4asciandaro
h a s a l w a y sb e e n a s t r a i g h t
T h e g u i t a r sh a v e r n y s i g n a
t u r e S e y m o u rD u n c a nL i v e w i r e
a c t i v ep i c k u p si n t h e m , w h i c h
a r e t h e f i r s t a c t i v ep i c k u p s
D u n c a nh a s m a d ef o r a w h i l e .
T h e y ' v eh a d a g o o d r u n w l t h
them.I don'tknow how popu
larthey are no\/, but for me
they sound fantastic. lf I get a
c a s eo f 2 4 o f t h e m f o r t h e r e s t
o f m y l i f et h a t h f i n e .M y n e w
D e a ns i g n a t u r eg u i t a r sw i l l
c o m e s t o c kw i t h t h e m b e c a u s e
l f e e l t h e y ' r ea s g o o d a st h e
l a s t p i c k u p sI u s e d ,w h i c h w e r e
D u n c a nJ e f f B e c kh u m b u c k e r s
w i t h a l i t t l em o r e o o m p h .
56 GUITAR Or{E guitaronemag.com MAY 2OO7
l \ , 4 ys t r i n g sa r e m y G H S
P r o g r e s s i v eP s R D Ms i g n a t u r e
s e t ,w h i c h g o e s f r o m . 0 1 0t o
.o52.
Your signal palh is very
straightforward. The guitat
g o e si n t o t h e L i n e 6 a m P a n d
Rocktron Prophesy,then out
to the cabinets, and that's it.
'm us
T h a t i s e x a c t l y t h er i g
i n g l i v e ,t o o . I n t h e s t u d i o l ' v e
p a y e ds t r a i g h t h r o u g he i t h e r
t h e L i n e6 a m p o r i h e R o c k t r o n O s b o u r n ei s n ' t O z z yO s b o u r n e .
P r o p h e s yI. r e c o r d e da f e w l a y
e r s w i t h r e g u l a rg u i t a ra m p s
when lwanted to get a cruddy
s o u n d .W h e n y o u ' r e u s i n gt h i s
m e t a ls u p e r c o l l l d eirt d o e s n ' t
always work to create those
w e i r d s o u n d so t h e r w i s ek n o w n
Glen prefersmore gain than
l d o . H e h a st h a tl e g a t op l a y i n g
style where he plays more on
t h e n e c kp i c k u pt h a nt h e b r i d g e
p i c k u p w h e nh e ' sp l a y i n gh i s
leads.That'sa very Chris Poland
thing to do, and he was a very
b i g C h r i sP o l a n df a n .I p e r s o n a l l y F i r e " ?Y o u c a n t c h a n g et h e
think he's betterthan Chris.He
l i k e sa c h a l l e n g et o, o . l ' l ls i n gl h e
s o l o s t oh i m a n d l ' l s a y ," D u d e ,
c o m eo n . N o t F r a n kM a r i n o lD o
U i i R o t h l "F o n u n a t ey f o r m e h i s
knowledgeof music is very deep
and he has an expansiveCD
Glen fits in exceptionally well
with the ba.d. How doeshe
compare to other guitarists
you've worked witt!?
I dldnl knowthat I could
e v e r r e p l a c eM a r t y F r i e d m a n .
W h e n A l P i t r e l i i c a m ea l o n g ,
h e w a s a g o o d s u b s t i t u t e b, u t
h e c e r t a i ny w a s n ' t a r e p l a c e -
m e n t .T h a t p e r i o dw a s s o
. i n a n e .T w o p e o p i ei n t h e b a n d
d i d n ' tw a n t t o c o n t i n u eo n a n d
a n o t h e rg u y t h o u g h t i t w a s h l s
b a n d a n d n o t r n i n e .A s f a r a s
r e m e m b e rl t , w h e n t h e b u s
Leftl\,4etallicaat New York and
w e n i t o c a l i f o r n i a ,w e d i d n ' t
s t o p i n M i n n e s o t a .l M e g a d e t h
i s m y b a n d a n d a l w a y sh a s
b e e n .A n y o n ew h o s a y st h a t
N 4 e s a d e t ihs n ' t m e i s a f o o l .
l l s a s a s i n i n ea s s a y i n gO z z y
l ' m a s o l o a r i i s tw h o h a s f a n -
t a s t i cm u s i c i a n sa n d a b a n d
a r o u n dm e t h a t p l a y s u n d e r
i h e m o n i k e ro f l M e g a d e t hl .i
t h e v o i c e c h a n g e di t w o u l d n ' l
bethe same. can'ttellyou
h o w I f e l t t h e f i r s tt i m e I h e a r d
V a n H a l e nw i t h S a m m y H a g a r
g o i n g , I s i n g st h e s c a tp a r t a f
"Why Can't This Be Love"l
" d o d o o t ,d o ' d o o l ,d o , d o d o
d o d o ' d o o t ,d o d o o t , d o - d o o t ,
do, do do do do doot."This
w a s t h e i c e m a n ?S a m m y ,w h a t
h a p p e n e dt o " T h i s P l a n e f sO n
lknow our fansarevery
f o r g i v i n g ,a n d I k n o w t h a t
t h e p u b l i ci s v e r y c u r i o u s
abouiwhat is goingon with
M € g a d e t hr i g h t n o w T h e r e
was a period a few years
agowhen I compromised
m y d i r e c t i o nA . r o u n d 2 0 0 2|
l o o k e da t w h a t l w a s d o i n g
a n d s a i d ," l d o n ' t w a n t t o d o
t h i s a n y m o r e . "T h a t ' sw h y I
b r o k eu p M e g a d e t ht h e n . B u t
n o w I r e f u s et o c o m p r o m l s e ,
l ' m o n l y c o n c e r n e da b o u t m y
o w n m u s i c .l ' m r e a l l ye x c j t e d
a b o u tw h a t ' s g o i n g o n w i t h
'DE'TTI
vvlsilr
GUITARISTGLENDROVERFULFILLSA LIFELONGDREAM
By ChrisGill

len Drover played g0itar with King

Diamond and recorded several
albums with his own band Eidolon,
which featured his brother Shawn
on drums, before he caught Dave Mustaine!
attention in 2004thanksto a video oI him
playing severalMegadeth songs like "wake
U p D e a d " a n d " H a n g a r1 8 . " M u s t a i n eh a d
iust compfeted recording The System Has
Fa,redand was putting together a band
to tour with him when he saw the video.
Mustaine needed someone who could Dlav
solos like tormer Megadeth guitarists Chris
Poland, Martv Friedman, and Al Pitrelli, and
Drover had the both the chops and ailitlde
thal Mustaine was looking for.
Although lte System Has Fairedwas sup-
posed to be the last Megadeth album, the
band's subsequent tours inspired Mustaine
to keep the band alive. This gave Drover the
opportunity to leave his own indelible mark
on the bands legacy through his impressivF
oerformance on Unrted Abominations. Ladon
with guitar solos, the album displays Drover's
considerabletalents from besinning to end.
During a break in the overdub sessions,
Glen shared his €xperiencesof making Uaited
Abominations and exDlainedhis choices of
gear for recording the album.

You seem vory comfortable playing with

Megadeth.
For me it's black and white. You can tellwithin
a few minutes olplaying with a musician
whether it's going to click or not. When I start-
ed playing with Dave it aheady felt likewe had
been playing togetherlor a long time. lwas
ableto hone in on what hewas doing rhythmi-
cally andtighten up and adaptto hisfeel. Dave
is a very unique rhythm player.His pafterns are

58 GUIIAR OIE guiia]onemag.com MAY 2OO7

 very unusual.and you cant always hearthe On this album everything was miked l've used a different way since we'll be playing songs
both dhect and miked spproaches before, and that I was a big part oI and tecorded When I
details.l've leatned a lot o{ different tech-
it reallv depends on the sound you?e going play a solo l'll be playing my own solo. I love
niques {rom playing with Dave
for Our setup is not allthat complex, yet we playing solos from the past records as wel
get allihe sounds we noed Simple is better' ll All the players were so different and it's quite
What guitarsdid you useto r€cordtho
you get too much clutter it gets too conlusing a challengeT . h e y a l l s o u n d c o m p l e t e l vd i f f e r -
album?
and you have more opportunhies for error and ent from Dave and {rom each other. Martv and
l ' v e b e e n w i t h E S Ps i n c e l i o i n e d t h e
band.IJust betore this issue went to Chris are both incredible but theY're on diffeF
ent ends of the spectrum. What I like about
orcs' Drover announced a new en'
You'vo b€en s Megadeth fan for many yeals being in Megadeth is that you can reallY tell
dorsement deal with Dean Guitats, and
he's now playing Dean Cadi ac and How did it fe€lto sdd vour own crsative input that it's Dave when he plays a solo. Dave is in
Vendetta models.ll'm using an Axxion to tho band! sound snd shapo its futur6? a very good headspace 6nd het verv happy. A
Shawn and I love the early Megadeth albums lot otthe fans want to hear Dave's snad and
for these overdub sessions. I usually
play an Eclipse and Eclipse Custom, so we oushed for that heaviet side Youte in' attitude that he's known fot as well as a lot oI
fluenced by who you're around. so the album guitar solos. There are more solos on this te-
which is ESP'SLes Paul-stYleguitar.
Some ofthose guiiars have Kahler is a reflection of the current lineup- lt was very cord than there's been on anv other Megadeth
tremolos on th€m. My main guilar exciting to play the old songs on the previ' record lor manV years. There are going to be a
is a reverse headnock, Strat bodv, ous tour but now il's going to be exciting in lot of happy lans.
two-humbucker-style guitar' I used
to play only Strat-style guitars, but
in the last couple yeais l've become
a lot moro open to playing ditferent
shapes. Ths ESP M2 is a reallY good
one, as is the M1000 LTD Deluxe
People wonder why I don't PlaY
an ESP Custom or Standard series
instrument, but the LTD Deluxe
guitarsare similarin qualityto
ESP'Shigher end models. I know
because l've played ihem all. I
recommend it to anvono
likes that shape.

Do you abo uso activg PickupsT

I usually uselhe Duncan Distortion in the bridge
dth King and a Duncan Jazz or'59 in the neck They're
both great pickupslorthe neck position, but
I Eidolon, I usually go with the'59 1play a lol of solos
r Shawn wiih the neck pickup selected l like that tone. lt
rstaine's depends on whai you want lf you want a more
f him screeching and aggressive sound and you're
playing on the higher strings the bridge pickup
rc had might be a better choice

Do Vou roll back the neck pickupbtone control?

Never. As a matter olfact lhad a couple of gui'
rld play tars made for me by ESPand we bypassod the
ts chris tone circuit altogether so the tono is always on
.elli.and lO. For me, backing oft the tone just muddies
attitude up the sound. ljust have one volume knob. a
three-way or five.way switch and two hum-
buckers-thore's less clutter that way.

,lustaine What strings are on Your guitarc?

I use .009-.042GHS Boomers. I canl play super
ible maft heavy strings because my vibrato is very wide
That gauge stays in tune great and feels great.
It works with the way I play. And I use Jim
Dunlop 1.14 purple Tortex Picks.
rg to end.
What i5 your emplificstion rig like?
fting Urited l'm using the Rocktron Prophesy,which is a
verv versatile preamp. Since there are a lot ot
different colors and effests on the Megadeth
albums, we need to be able to reproduce those
sounds live. Having a preamp with multiPle ef_
$ with
lests lets us achiove that better than iust having
a head and external effects We need more bells
and whistles to do what we do.
5
A16you also playing through Dave's signature
Line 6 smps?
6 l'm using that as 6 power amp right now.
'ing rhythmi-
his feel. Dave Primarilv the sounds you hear on the album are
-4 coming from the Prophesy with Line 6 cabinets.

GUEAN O E 59
 \lG
l=encler
Sitratocasiter Ay Chtis Gill
r o d e l l n gp h e n o m e n o n
R O L A N O S T A R T E D T H E g L r i t am
w a y b a c ki n 1 9 9 5w h e n t h e y i n t r o d u c e dt h e v G 8 V _ G u i t a r
S y s t e m .I n 1 9 9 8R o l a n da n d F e n d e rj o l n e df o r c e st o o f '
f e r t h e " R o l a n dR e a d y "S t r a t o c a s t e r - aS t r a tf e a t u r j n g
a b u i l t i n R o l a n dG K h e x a p h o n l cp i c k u pf o r c o n t r o l l i n g
R o l a n d ' sV C u l t a r a n c lg u i t a r s v n t hs Y s t e m sS i n c et h e n
n u m e r o u sc o m p a n i e sh a v e d e v e l o p e dt h e l r o w n g u i t a r
r n o d e l i n gp r o d u c t s ,i n c l u d i n ga m p s a n d e v e n g u i t a r s
w i t h b u i l t - i nm o d e l i n gf u n c t i o n sl l k e L i n e6 ' s V a r i a x ,s o i t
m a k e sp e r f e c ts e n s et h a t F e n d e ra n d R o L a n dh a v e p a i r e d
u p o n c e a g a i nt o o f f e r t h e F e n d e rV G S t r a t o c a s t e r - a n
e l e c t r i cg u i t a ro f f e r i n gv i r t u a l m o d e l so f v a r i o u se l e c t r i c
FEATURES
a n d a c o u s t i cg u i t a r s .
T h e F e n d e tV G S t r a t o c a s t ecr o m b i n e st h e s t r e n g i h s
w i t h R o l a n ds
o f F e n d e r ' sg u i t a F b u i l d l n gc r a f t s m a n s h i p
d i g i t a le l e c t r o n i c se x p e r t i s eT h e r e s u l li s a g u i t a rw i t h
a f a r n i l j a fl o o k a n d f e e l t h a t w i l l a p p e a s ee v e n t h e m o s t
Built-in Roland t e c h n o l o g yf e a r i n gL u d d i t ew h l l e p r o v i d i n ge a s ya c c e s st o
a r a i n b o w ' sw o r t h o f o u t s t a n d i n gd i g i t a l l ym o d e l e dt o n e s
a n d t u n i n g s .E v e n b e t t e r ,t h e V G S i r a t o c a s t ear s o f u n c
t i o n s l i k e a r e a l S t r a t b e c a u s ei t l s a r e a l S t r a tw t h t r a d i
l l l c k u p si n a d d i t i o nt o a R o l a n d
t i o n a l m a g n e t i cs i n g l e _ c o p
G K p i c k u pf o r t r i g g e r i n gv i r t u a lg u i t a rs o u n d s
101difierent
PRICE
$2,428.56
WEBSITE
l-OO l ( S i r h e F e n d e rv G s t r a t o c a s t e rl o o k s a l m o s t
i d e n t i c a lt o a s t o c k S t r a t T h e o n l y e x c e p t i o n sa r e t h e G K
p i c k u p m o u n t e d b e t w e e nt h e s i n g l e ' c o i lb r i d g e p i c k u p
a n d t r e m o l o b r i d g e ,t w o s m a l l k n o b s l o c a t e ' lb e n e a i ht h e
s t a n d a r ds i z ev o l u m e a n d t o n e c o n t r o l s ,c o m p a r t m e n i s
f o r t h e b a t t e r i e sa n d V G e l e c t r o n i c so n t h e b a c k o f t h e
g u i t a r ,a n d a b r i g h t b l u e L E Dt h a t l e t s y o u k n o w t h e b a t -
t e r i e sa r e c h a r g e du p a n d r e a d yt o g o B u t e v e r v t h r n g
e l s ea b o u t t h e l n s t r u r n e n tf r o m i t s c u r v a c e o u sc o n t o u r s
a n d w h i t e t h r e e p l y p a r c h m e n tp i c k g u a r dt o i t s t l m e l e s s
a s y m m e t r i c a dl o u b l e c u t a w a y b o d y s h a p e i s 1 0 0 p e r -
c e n t c l a s s i cS t r a t .F e n d e ro f f e r sf o u r v e r s i o n s :b l a c ko r
t h r e e ' t o n es u n b ! r s t p o l y u r e t h a n ef i n i s h w i t h a m a p l e o r
r o s e w o o df i n g e r b o a r d .W e o p t e d f o r t h e b a s i c b a c k w i t h
a r o s e w o o db o a r d .
l=li l] l- witn *" of the vc electronics the vG
"'""ption
S t r a t o c a s t ei sr e s s e n t i a l l iyd e n t i c atlo F e n d e r ' sA m e r i c a n
Series StratocasterThe 22Jret neck has Fender'sstandard
profile
2 5 . 5i n c h s c 6 l e ,a 9 5 _ i n c hr a d i u sa n d a m o d e r n " C "
t h a t ' sn e i t h e r t o ob e e f yn o r t o o s l i m T h e m e d i u r n j u m b o
frets have that "just rlght" feeLthat probably 90 percent
o f p l a y e r so u t t h e r ep r e f e r 'l f Y o u ' r el o o k i n gf o r s o m e t h i n g
q u i r k yl i k et h e r a d i c a l l yt h i n v s h a p e d
n e c ko f a ' 5 6 S t r a tm a d e b y L L r p i t o an
t h e d a y t h a t s h e r e a l i z e dh e r h u s b a n d
w a s h a v i n ga n a f f a l rw i t h t h e J a Y n e
M a n s f i e l dl o o k - a l i k w e h o l i v e dn e x t
d o o r ,y o u ' r e n o t g o i n gt o f i n d t h a t h e r e ,
b u t a n y o n ew h o l i k e st h e S t r a t sF e n d e r
m a k e st o d a y w i l l l o v e h o w c o m f o r t a b l e
a n d f a r n i l i a rf e e l i n gt h i s a x e p L a v s . i
l=liAl-tf ltliSrhosetwofte g
knobs located between the flve posi 6
tlon pickup selector switch and output 1l
j a c k m a y n o t l o o k l i k e m u c h ,b u t t h o s e e
c o n t r o l sa n d t h e p i c k u ps e l e c t o rp r o
vide accessto 101 different tone and E
i u n i n g v a r i a t i o n sB . o t h c o n t r o l sa r e -
rotary switches-a five_position mode i
c o n t r o la n d a s i x - p o s i t i o n t u n i n gc o n ' ?
t r o l . S e t t i n g sa r e i d e n t i f i e db v a s i m p l e E
e l e g a n tl e t t e r i n gs y s t e m :N ( n o r m a l ) , =
S (modeled Stratocaster),T (modeled I
T e l e c a s t e rH ) , ( m o d e l e dh u m b u c k e r s ) , >
]VG

ig

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2
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and A (modeled acousticlfor the
mode control and N {normal),
(drop D-DADGBE), G {open G-
DGDGBD),d (D modal-DADGAD),
a n d 1 2
B ( b a r i t o n e - B E A D F * B ) ,
string) forthe tuning control
With the mode controlsetto N,
the guitar operatesas a normal
Strat with the magnetic PickuPs
selected by the five-position
switch, and none ofthe model-
t u n i n g ,a r e
ing I u n c t i o n s i
, n c l u d i n g
activated,lt may seem redundantto
include a Strat modelwhen the
duces Stratsounds, butthe tuning lunctions only
availabl€ in the "virtual Strat"
erable versatility.ConveEely,you may wonder
why a standard Strat circuit is included-the
S C H 0 0 L 0 F B E C 0 R D I l ' l GA R T S
2oo7
52 GUIlAn O E guitaion€mag'com MAY
main reason is You can still
play a gig with the guitar
D
ifthe batteriesthat Power
the VG circuit should drop
dead. FendersmartlY de'
{ 1 2
signedthis guitar for PlaY_
e r sw h o w a n t t o h a u lo n l Y
o n e i n s t r u m e n t t oa g i g .
Another well-conceived
Ieature that sets the vG strat
blade
ap€rtfrom the competitaon
The VG's surs are shieldedto
is how it works with a stan-
pr€vent oxcess noise.
dard guitar cable.No bulky
VG already pro- breakout box, externalpower supply,orspeoa
oroorietary multi-pin cable {you know,the kind of
add consid- cabietharvou alwavsmanag€to leavebehind in
mode
vour rehea€alspaceand cant buy at RadioShack)
instrument'
is reouired.lt's truly a plug_in-and-play
IIffiII
SOUND rrt" r"ndervc stratocaster
offers instant acceis to a versatile, no-nonsense
selection oftones that are sure to please most
w o r k i n q q u i i a r i s t sT h e r e m a Y n o Lb e a n y o b
scur" e-pi"meru su"h as models o{ a 62 Mos-
rite or the Supro that Link Wray used to play
" R u m b l e , " b u t t h e S t r a t ,T e l e ,h u m b u c k e ra, n d
a c o u s t i ct o n e s p r o v i d em o r e t h a n e n o u g hv a r i _
ety to get most players through a marathon
qlg
w i t h o u t c h a n g r n ga x e s
There is a slight output level drop when
switching from the conventional normal Strat
setting to the modeled tones, but chances are
olavers will rely mostly on the modeled tones
th€
ani onty re,,"tt to the normal setting when
batteries get weak, so there's no reason to wor_
r v a b o u t t w e a k i n ga m p a n d p e d a lg a i n s e t t r n g s '
Also, when you let a chord or note sustain and
f l i c kt h e p i c k u ps e l e c t o ri n a n y o f t h e m o d e l i n g
m o d e s ,t h e r e i s a n e x t r e m e l Yb r i e f g a p o f s '
lence between each setting Most players wont
n o t i c e t h i sa t a l l w h e n s w i t c h i n gJ r o m t h e b r i d g e
pickup Ior a rhythm part to the neck pickup for
a solo-it's that brief. We actually liked the stut_
t € r i n q e f f e c ti t p r o d u c e dw h e n s t r i k i n ga c h o r d
a n d ; p i d l y t o g g l i n gt h e p i c k u ps e l e c t o rb a n k
and forth, which reminded us of a scratch DJ
flicking the fader on a mixer-just don'ttellTom
M o r e l l oa b o u t t h i s b u g ' u m , f e a t u r e '
R o l a n d ' sv i r t u a lm o d e l sa r e a m o n g t h e b e s t '
in the business, and with Fender'scooperaflon
thev've really outdone themselves The Tele
modelhasallthe tlvangand biteofthe real
d e a l ,a n d w h e n v o u f l i c ko n t h e o p e n - Gt u n i n g
it's instant Keef. The humbucker model has
t h e a p p r o p r i a t em i d r a n g eb a r k a n d g o r g e o u s
sustain vou'd expect' and with tuning modes
to
that let you switch from standard to drop D
plav
baritone in a split second you can now
the Zeppelin/Soundgarden/Cryptopsymedlev
vou've alwavs dreamed of performing'
The VG Slratocaster manual doesnl provide
for
any details about what guitars are modeled
the live acoustic settings, but to our ears the
t o n e s r a n g e df r o m d r e a d n o u g h a t nd iumbo
flattops to a honkin' resonator-stylemodel ln
Acoustic mode the guitar's master tone switch
functions as a reverb control, providing warm'
litelike room resonances One of ollr favonte
posi
tones was in Acoustic mode with the five
selector at the "neck" setting (which
tion oickup
e n g ; g e s l h e r e s o n a t o rm o d e l )a n d t h e t u n i n g
m ; d e s e t l o 1 2 s t r i n g w h i c h w a s p r o b a b l yt h e
m o s t u n u s u a lt o n e t h i s g u i t a rc a n s u m m o n -
O v e t a l l ,w e t o u n d a l l o f t h e m o d e l a n d t u n i n g
combinations pleasing and useJul
lS lT FOR Y0tl?,rvou'.""
workinq musician who is tired of lugging sev_
guitar
e r a l g u i t a r st o g i g s a n d y o u d o n ' t h a v e a
rech to tend to an arsenal ol axes the Fenoer
VG Stratocasteris a lifesaver.Sure, you won't
dazzlethe audience with an ever-changing array
o f v i n t a g ea n d c u s t o mg u i t a r sl i k e R i c kN i e l s e n
or Joe Perry butyou'll definitely impress the
t o n e c o n n o i s s e u r si n t h e a u d i e n c ew i l h
abiiityto sound
m a d es i n c e1 9 5 4 .
like 95 percent ofthe
you_
records
The FendervG Stratocasteris a high-quality
Dlaver'sinsirument made by a companythat re-
;llvknows how to build guitars Anyone who's
ever Dlaved a Strat will instantly{eel comfort-
a b l e a n d c o n f i d e n tp l a y i n gi t . l { y o u l o v e t h e
pos-
Strat and wotild like to explore the exciting
sibilities offered by digital guitar modeling, this
isthe instrument you've been waiting {or
 lulesial3oogie
lixlrresisiil:zi,
and 5:50
ay Chris Gill
M E S A B O O G I EO R I G I N A L L Ym a d e h i s t o r v w i t h t h e
M a r k l , w h i c h p a c k e da p o w e r h o u s ea m p i n t o a p e
t i t e p a c k a g e ;t h e s € d a y s t h e v ' r e b e s t k n o w n f o r t h e i r
m o n s t e rR e c t i i i erri g s B u t t h r o u g h o u t h € c o m p a n vs
growth they've alwaysmade ki ler combos that per
f o r r n l i k e t h e b i g b o y s . T h e n e w E x p r e s ss e r l e sc o n t l n
FI:AII.JIlES u e s t h a t t r a d i to n , o f f e r l n gt h e s o u n do r a b r g a m p n a
Two lully indepen-
dent channels with T h e E x p r e s ss e r i e so f f e r s t w o b a s i c m o d e l s - l h e 5 : 2 5
separate tone cnar_
a n d 5 : 5 0 b u t e a c hi s a v a ia b e i n a v a r i e t vo f h e a da n d
acteristics: Chan-
nel 1 with Clean/ cornbo conflguratlonsF . o. thls reviewwe lookedat the
Crunch modes and m o s t c o m p a c tc o m b o v e r s i o n so f e a c h :a 5 : 2 5c o m b o
Channel2 with w l t h a s i n g l e1 0 ' i n c hE 5 0s p e a k e a r n d a 5 r 5 0c o m b o
Blues/Burn modes
w i t h a s l n g l e 1 2 - l n c hC 9 0 s p e a k e r 'B o t h m o d e l s o f l e r
' Duo-Cla$ Power s l m i l a r f e a t u r e s ,a n d t h e b i g g e s t d i f l e r e n c eb e t w e e nt h e
amp with switch- t w o l s t h e t u b e c o n f i g u r a t i o na n d c o r r e s p o n c i i n go u t p u l
T h e 5 : 2 5 c o m e s w i t h t w o E L 8 4t u b e s t h a t p r o v i d e 2 5
w a r t s o f o ! t p ! t w h i l e t h e 5 i 5 0 f e a t u r e si w o 6 L o t u b e s
t o p u m p o ! t 5 0 w a t t s . M e s a B o o g i e i s m a r k e i i n gt h e
5 : 2 5a s h a v i n ga B r i t i s hv o i c €c o m p a r e dt o t n e m o r e
IndependentCon'
tour controls lor A m e r i c a nt o n e o f t h e 5 : 5 0

l-0Ol(S R e m i n i s c e n to f R a n c l a rs m i t h ' s r i r s t B o o '

g i e s ,t h e 5 : 2 5c o m b o s a b o u tt h e s a m es 7 e ' s a c l a s .)
switch to control
channel select, con_ s i c F e n d e rP r l n c e t o na m p b L r ta f e w i n c h e s d e e p e r 'T h e q
5 : 5 0k e e p sa p p r o x i m a t ye t h e s a m ep f o p o r to n s ,b u t i t s
a b o r t t h r e ei n c h e sh i g h e ra n d w i d e r a n d s l g h t y c l e e p ' 5
spring reve6 and e r .T h e f r o n t p a n e lh a s a c l e a n ,! n c u t t e r e . ar p p e a r a n c e ,
f e a t L r r l n gs e p a r a t er o w s o { c o n t r o l sf o r e . ' h o i t h e t w o o
c h a n n e l s ,f i v e m i c r o t o g g e s w i t c h e s a n c ia v a r e t v o r e
t)Rt(): h e l p f u L E D s .U n l e s sy o u ' r ef a c l n gt h e c o . t r o p a n e
Express5:25 s t r a i g h to n , i t c a n b e d i f f l c ut t o s e e t h e c ' n r r o l n a m e s
$1,049 s i k - s c r e e n e di n b e t w e e nt h e t w o r o w s o f k n o b s ,b u t t h e
Express5i50 c o n f i g u r a t i o ni s s i m p e e n o u g h t o m € m o r 7 e ' f t e r a l e w
-Li'therette
$1,199 g l g s .T h a n k st o t h e b l a c kg r i l l c o t h , b a . k The Exoress 5:50's 6LG power tubes sive the amp a more
r o F =
,ove ' r S a'dbd..uor'rol o l a r p . "<dnps.' A m e r i ; a n t o n a l s l a n t , w h e r e a s t h e 5 : 2 5 ,w i t h i t s E L 8 4 s ' h a s a
\ rEl3sfl'l: t u al l y d i s a p p e aor n s t a g e more British tinge-
Mesaboogie com
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l-A\tOtj'l' c"*r",s onboththe5:25and
5 : 5 0a r e l a i d o u t i n f o l l o w i n go r d e r f r o m l e f t
t o r i g h t :C a i n ,T r e b l e ,M i d , B a s s ,R e v e t b ,a n d
M a s t e r ,p l u s a s e p a r a t eC o n l o u rk n o b f o r e a c h
c h a n n e lo n t h e f a r t i g h t . M o d e s w i t c h e st h a t l e t
y o u s e l e c tC l e a no r C r u n c hc h a r a c t e fro r c h a n
n e l 1 a n d B l u e so r B u r n c h a r a c t e fro r c h a n n e l
2 a r e l o c a t e d t o t h e l e f t o f t h e f r o n t p a n e ln e a r
t h e s i n g l ei n p u t j a c k ,w h i l e t o g g l e s w i t c h e sf o r
m a n u a l l ys e l e c t i n gc h a n n e l so r e n g a g i n gt h e
C o n t o u rf e a t u r ea r e l o c a t e dn e a rt h e m i d d l e A l l
three ofthese switches also feature fooiswitch
s e t t i n g st h a t a l l o w y o u t o e n g a g eo r d l s e n g a g e
C h a r r e l s e l e c ta n d C o r t o L r f u r c t i o n sw i t h r h e
i n c , u d e dt o o l s w t c h h n e l o o r s w i t c l 'a l s oc o n -
trols reverb on/off).
66 GUITAR O E suitaronemas.corn MAY 2oo7
T h e r e a r p a n e li s s i m i l a r l ys i m p l e b u t
f u n c t i o n a l , o f f e r i n g a n a l l ' t u b e e f f e c t ss e n d
a n d r e t u r n s e c t i o n p l u s s e p a r a t ei a c k s i o r
r e m o t e l y s w i t c h i n g t h e C o n t o u r ,C h a n n e l
S e l e c t ,a n d R e v e r b c o n t r o l s .T h i s m a y s e e m
r e d u n d a n ct o n s i d e r i n g thatthe Express
a l r e a d y i n c l u d e s a m u l t i p i n c o n n e c t o rf o r
the includedfootswitch, but these jacks give
y o u t h e o p t i o n o f u s i n g a s e p a r a t ec u s t o m
- h e o r l y f e a t u r et h a l | ' e e l i h i s
coniroller.
sectionis missing is a bypassswitch for the
e f l e c t s l o o p , b L r c o n s i d e t i n g t ' 1 a rn ' o s t e l
f e c t s a l r e a d y f e a t u r et h e l r o w n b y p a s sf u n c
tions this feature is not essential
N e a rt h e s i n g l e8 - o h m a n d p a i f o f 4 o h m
s p e a k e ro u t p u t s i s M e s a B o o g i e ' s p a t e n t e d
D u o C l a s s P o w e r S w i t c h i n g f e a t u r e ,w h i c h
g r e a t y e n h a n c e s . t h eE x p r e s sa m p s ' v e r s a t i l -
ity. With the fiick of a switch you can toggle
b e t w e e n f u l l p o w e r C l a s sA / B o p e r a t i o n ( 2 5
watts with the 5:25and 50 watts with the
5 : 5 0 ) o r r e d u c e d - p o w e rC l a s sA o p e r a t i o n a t
f i v e w a t t s . I n a d d i t i o n t o s e l e c t i n go p e r a t i n g
c l a s s ,t h e f u n c t i o n a l s o s w i t c h e s t o a d i f
f e r e n t w i r i n g c o n f i g u r a t i o n ,w h i c h m a k e s i t
m u c h m o r e e f f e c t i v et h a n t h e t y p i c a l " h a l f
SO[JND l ' " e " o r e s5s: 2 5a n d5 : 5 0
m a y b e s o m e w h a t d i m i n u t i v e i n s i z e ,b u t
r h e y . e m a i n r ' . r er o r h e B o o g i e; o e a lo f d e
i v e r i n g t h e s o u n d a n d p e r f o r m a n c eo f m u c h
l d r g e ra m p s i n t h e s n a l l e s t p a c l a g ep o s s i
b l e . T h a n k s t o i t s E L 8 4t u b e s t h e 5 : 2 5 ' st o n e
i s i n d e e d m o r e B r i t i s hw i t h a s w e e t , c o m '
p r e s s e d o v € r d r i v e a n d v o c a l - l i k em i d r a n g e
a t m a x i m u m s a t u r a t i o n .T h e 5 : 5 0 w i t h i t s
616 power tubes is more wild and wool
ly, delivering mofe clean headroom before
b r e a k i n gu p a n d r e t a i n i n g m o r e d y n a m i c r e -
s p o n s ew i t h t h e g a i n t u r n e d u P .
T h e C l e a nm o d e o n b o t h a m p s d e l i v e r s
w h a r c o u j d v e r y w e l l b e r h e b e s r L l e d nt o n e s
e v e r h e a r dl r o m a B o o g e . W i t h c a r e l r l a d
j u s t m e n t o f t h e C o n t o u rc o n i r o l a n d a h i n t o f
r e v e r b ,t h e 5 : 5 0 r i v a l s t h e c o v e t e dt o n e o f a
b l a c k f a c eT w i n R e v e r bw i t h p e r h a p sa t o u c h
less bassand a similarlygorgeousreverb
with a smooth, lush tail and no "boingy"
o v e r t o n e s .W i t h C r u n c h m o d e e n g a g e d ,t h e
s o u n o b e c o r n e sd a r l e r a s l l ' e p o w e r t u b e s
g e t p u s h e d i n t o o v e r d r i v e .T h e v a s t p a l e t t e o f
powedul rhythm tones that lurk in this mode
r a n g e f r o m K e i t h R i c h a r d sc h i m e t o I \ , 4 a l c o l m
Youngcrush.
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e f f e c tv a r i a t l o n sa r e s t a n d a r df l x e d r a t ee f f e c t s s, o y o u
!VEBSfTE c o u i d t h e o r e t l c ayl r e p a c e s o m e o f y o u r e x i s t l n gd € l a y ,
c h o r ! s , a n d f a n g e p e d as w i t h t h e F X T r a c k e r
T h e b a s c p r e m i s eo f t h e F X T r a c k e ri s t h E tt h e u n r t
a d j u s t sa L r t o m a t l clay t o v a r i a to n s i n p l a y i n g .W h a t l h i s
b o i s d o w n t o s f a i r l y s l m p l e .l f , f o f n s t a n c e y, o u r e L r s
i n g a d e l a yo r t r e m o o e f f e c i ,t h e | ] n i t w i I a l t e rt h e t i m i n g
b a s e do n h o w f a s t y o u ' r e p l a y i n g ,w h i c h m e a n ss h o d e r
d e l a yl i m e s w h e n y o u p l a y f a s l a n d l o n g e rd e i a yt i m e s
w h e n y o u p a y s o w . T h e u n i t e x a m i n e sy o u r p l a y r n go n
t h e f l y a n d a d j u s t sl h e t i m i n g a c c o r d i n gy .
T h e | ] n l r ' ss l m p l e s e to f c o n t r os b e i e st h e p e d a l sc a p a b i l
r y .T w o r o L rp o s i lo I s d e r sa l o w \ o I r o 5 a r g eo e s ' r s
d d j J r tn ' o p a r a n F l e . so " r e ' j p L l .a . . s c l r l a r 1 p L . l e v " .a ' -
fect type, effectwevdry mix, threshold/tirne,and headphone
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phone/stereooLrtpLrt, one 1/4 nch footswltchjack (allowing
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footswllch),one MlDl In and one lvl Dl OuVThruport, power
i n p l t j a c k ,a n d a n o n / o f f s w i t c hP. o w e r l sp r o v i d e db y a n i n
c l u d e dw a l l w a r l p o w e rs u p p l yo n l y n o o p t i o nf o r b a f t e r i e s .
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a p p l i c a t i o nl w h l c h y o u c a n d o w n o a d f r o m t h e c o m p a n ys
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t o o u t p u t l \ , 4 l Dcll o c kt o a d r u m m a c h i n eo r s e q u e n c ear n d
h a v et h e u n i t t r a c kt o t h e v a r i a t i o n si n Y o u r p l a y i n g T . he
u n i t w o n ' t s y n ci o i n c o m i n gM l D l c l o c k ,w h l c h m a y s e e m
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delaysand chorus effectsrangefrom perfectsingle repeatsto
l u s h ,€ v o l v l n gd u b a n d p s y c h e d e l isct y l eo f f e r l n g sA. n d w l t h
selectab e w a v e s h a p easn dt e m p o t r a c k i n gt h, e t r e m o l o sc a n
go far beyond a basicgating efiect.The array of pltch shlfting
effectsrun the gamutfiorn slrbt e bendsto massivedrop offs
that most userswi I use sparingly.Basically,the FX Tracker
servesup the effectsof a we apportionedmu tieffectsunit in
a c o m p a c st t o m p b o xp e d a ld e s l g n .
l S 1 1 -F ( ) l l \'0[J'l n.,*r."kinstoac,da
h e a l t h ys e e c t i o no f d e a y s a n d s y n t h - l n s p i r eedf i e c t st o y o u r
r i g ,t h e F X n a c k e . i s a g r e a ta l l l n o n e u n i t .l t r e q u l r e sy o ! t o
i n v e s ta l i t t l et i m e t o m a k ei t w o r k w i t h y o u r i n d v i d u a jp a y
i f g s 1 ye , a n dt h i s a c ko f i n s l a n tg r a t l f i c a t l om
n a yt u r n o f f
s o m eu s e r s . I no r d e rt o t a k ea d v a n l a g eo f i h e t e m p o t r a c k -
l n g ,y o u r e a y h a v et o s p e n ds o m et i m e g e t t i n gt h e t h r e s h -
o l d s e t c o n e c t l yT. h e u n l t i s n t t o t a y p e r f e c t - i t m i s s e s
e v e r yo n c ea n d a w h i l e , w h l c hc a n b e a b u m m e r i f y o u ' r e
. e c o r dn g - b u t t h e f r e e d o mo { b e n g a b l et o u s et e m p o
syncedeffectswithout having to tap ln iempos is worth the
p r l c eo f a d m s s i o no n i t s o w n .
TCPOY{ERCORE By Ghti3 Gill AUDIO
UNIVERSAL
colrPACT TiE FEATUREs AND capabilities of recording software has
rn"uoo-tPcrcard
are expanding at an exponential rate, and sometimes
it UAD-XPANDER
FEATURES become a favorite with recording pros for its impresslve
seems likethe onlyway to keep up is to constanfly up-
qrade your computer. Even with your RAM maxed out a selection o{top-notch classic ef{ects like the Neve 1073
tion lap-
a n d 1 O S 1E O , 1 1 7 6L N , F a i r c h i l d6 7 0 ,a n d L A 2 A N o w
ireoa-track session with tons of plug-ins can significantly same ultra_lush plug-in process_
Two 150MHzMo' top users can enjoythe
sloi down your CPUt performance, especially ifyour to the
in; capabilities as their desktop brethren thanks
266MHzPowerPC comDuter is last Year'smodel.
UiD-Xpsnder. This unit takes full advantage of Expr€ss-
lnstead of emptying yourwallet every six months to and
C a r ds l ; n d a r d t e c h n o l o g yi n s t e a do f U S B o r F i r e w r e '
keep up with the fastest processor speeds and biggest much faster performance to Mac OS X
Bundlodwith 1/t as a result it offers
plug-ins RAM capacities,one wayto streamline your system's
and Window XPr(64/Vista usets
performance is by adding an external plug-in processing
Universal Audio offers several different bundl6s-the
device or DSP expanderto your computet Like instalF bun-
XDress,Xpert, and Xtreme. The Xpress and Xpert
ino a comDuter inside your computer, these devices take
th; load off ot your CPU bv divening the heavv lifting
required {or effects processing to a PClcard or outboard
PRICE processor designed specificallyforth€setasks'
s995 Becauselaptop computers don't offer PClcard slots'
and
outboard processorslikethe TC Powercore Compact
WEBSITE th€ new UAD-Xpanderar€ the anly wayto
go for mobile
recording enthusiasts.Both devices come with an impres-
sive sel;ion ofcustom plug-ins that only run with their
U}IIVEESAL probably
resDectiveprccessors-your choice of unit will
AUDIO any
UAD.XPAIIDER be detsrmined more bythe supporting solwarethan
otherfeature. But for less than the price ofthe latest top-of
FEATURES theline laptop Vou can have both and more than enough
Uftra-fast pro-quality plug-insto tackle any recording proiect
{2.scbps) Expr$s-
Card 3/t interfac€ dles both include the 1176SE,Pultec EOP-1A,Realverb
TG POWERCORE COMPACT em-
P r o ,C S - 1c h a n n e l s t r i p a n d N i g e l g u i t a ra m p / e f f e c t s
Nobelest fanless, Firewire and PCI card vercrons
While TC offers rackmount
.lumi-cool chassis Com- u l 6 i o ra n d c o m e w i t h a $ 5 0 0( X p t e s s )o r S 1 , 0 0 0v o u c h e r
oJtheir Powercore DSP processors,the Powercore gttitar_
design l X o e n ) f o r D U r c h a s i nogp t i o n a lU A D p l u g - i n s F o r
Dact,which is aboutthe size and weight of a book' is the thP Neve EOs, the Plate 140 re
ists we highly recommend
Bundl€dwith perfect companion for a laptop recording studio The unit
five plug-ins plu! v e r b . t h e B o s sC E - 1c h o r u s ,R o l a n dD i m e n s i o nD ' a n c lt h e
Roland RE-201Space Echo-the most uncannily accurate
d i g i t a le m u l a t i o no { a t a p e e c h o u n i t w e ' v e e v e r h e a r d
Xpert)
ll yolr want it all, the Xtreme version comes with every
plug-in currently offered by UniversalAudio'

and UAD-'IePCI connects to a computer via a Firewir€ iack, and ils two
1 5 0 M H zc h i p s a n d s i n g l e2 6 6 M H rP o w e r P C
p r o c e s s o tc a n lS lT FOR YOU? ttYou""nontY"tto'o
is
o n e D S Pe x p a n s i o np r o c e s s o ry, o u r p e r s o n a lc h o i c e
h a n d l em u l t i p l ei n s t a n c e so f p l u g - i n s .
PRICE The 14 plug-ins bundled with Powercore Compact
l i k e l v t o b e i n f l u e n c e db y w h i c h p l u g i n s a p p e a l t o
you
$999 {Xpr3ss,in- .o"i. gotn ofi"t outslanding selection of classic pro ef
to a
cludesS500UAD c o v e r t h eg a m u t f r o m E O 6 n d c o m p r e s s i o n / l i m i t i n g "n well
fects, but iI vou'd like to dabble with soft synths as
monooho;ic svnth and mastering tools Guitarists will prefer
31,399(XPert,in' the Powercore Compact is the way to go llyou
especiallv appreciateTubifex, a virtual guitar amp wjth (with
cludes51,000 the mojo of funky classic Neve and Roland efJects
UAD voucher) riee tube gain stages and a speaker simulator' 0ptional obvi-
more t; come in the futurei, the UAD-Xpander isthe
$2,199txtrem€) oluo.ins in;lude pro effects based on TC s Svsiem 6000 al go fot it as both
soft ous choics. lfyou can afford both, we say
oo;thms and Sony's Oxford seties, plus fullJeatured com-
WEBSITE ;vnths and TC Thirty-an outstanding vinual model
of a Drovide every recording effect you'll€ver need Your
puter's CPIJwill be a lot happier,too'
classic Vox AC3O.
lirnie l3all
\f\falrPeclal
By Michael Ross
andnearindestructi-
pizeo ron rs smooTHTAPER
b l e c o n s t r u c t i o nt,h e E r n i e B a l lV o l u m ep e d a lr e m a i n sa t o p
choice for guitarisls who prefer to adjust dvnamics with
t h e i r f e e t .T h e n e w E r n i eB a l l W a h p e d a lc o m b i n e st h e s e '12
and
a t t r i b u t e sw i t h a c l a s s i cw a h s o u n d .W i t h i t s s m o o t h K e v l a rd r i v e
comfortable to play, and a small access p i u s e s :t h e w a h t o n e s r e m a i nm u s i c a lt h r o u g h o u tt h e p e d a l ' se n t i r e
degree foot sweep itt extremely signal
i h r o w ; t h e r o c k e rp e d a ls t a Y sf i r m l y w h e r e y o u l e a v ei U a n d t h e
hoie in the side lets vou adiust the sweep to youf taste Though mounted jumps here
not the m a i n t a i n su n i t y g a i n w h e n e n g a g e d - n o u n e x p e c t e dv o l u m e
o n t h e s i d e s ,t h e b r i g h t p a i r o f o n _ o f fL E D si s c l e a r l yv i s i b l e W h i l e in this
w a h l h i s p e o a l ' sb a s s - t ot ' e o l e r a n g e i s genetous A w a h p e d a lb e a ; i n gt h e E t n i eB a l l m o n i k e ri s l o n g o v e r d u e ,b u t
mosl v o c a l - s o u n d i n g
case ith well worth the wait.l2ttg enieball com
w i t h o u t s t r a y i n gi n t o s p e a k e tb l o w i n g l o w s o r e a r p o p p i n g h i g h s O t h e r

Danelectro lulxll
DanoPro Dist
By Michael Ross
t n i r g g r u t r u e r t f S , t t e E v e t s C o r p o r a t i o ns t a r t e d m a k i n g f a i t h f u l
yearsago
D a n e l e c t r og u i t a r r e p r o d u c t i o n sa t S i x t i e s p r i c e s A f e w
t h e y i n t r o d u c e d a s e c o n d s e r i e s o J D a n e l e c t r o sf e a t u r i n g u p g r a d e d
p a r t s a t a h i g h e r p r i c e p o i n t T h i s v e a r E v e t s i n t r o d u c e st w o n e w
a
banelectromodeis-the'59 Dano and the Dano Pro-both featuting
lower-rhan_low p r i c e t a g , y e t s o m e h o w r e t a i n i n g t h e p r o u p g r a d e s '
The Dano Pro hatks backto the Jetsons_
s t y l e P r o - 1b o d Y s h a p e o r i g i n a l l y p r o d u c e d
frorn 196369 and offers a fabulous combo of
n e w a n d o l d f e a t u r e s .S i g n a t u r e D a n o t a p e
surroundsthe body, and the original metal
n u t r e m a i n s . I M o d e r nt o u c h e s i n c l u d e a b r r d g e
w i t h i n d i v i d u a l a d i u s t a b l es a d d l e s , u p g r a d e d
tuners, and two l,psticktube pickJps Instcad
o f t h e o r i g i n a l ' s i n g l eP i c k u P -
W e t e s t e d a s t r i k i n g T a n g e r i n em o d e l t h a t
played great and sounded beiter-perhaps
e v e n b e t t e rt h a n m a n y v i n t a g e D a n e l e c t r o s
s t i l l i n c i r c u l a t i o n .T h e b o x y b o w t l e s h a p e
m a y n o t b e f o r e v e r y o n e ,b u t t h e g u i t a r s
t o n a l r a n g e i s d i v e r s e e n o u g h t o p l e a s ea n V -
o n e f r o m r o o t s r o c k e r st o i r o n i c m e t a l h e a d s
The Dano Pro comes in a choice of ten strik
i n g c o l o r s ,i n c l u d i n ga q u a ,p e a c ha n d K e e n
g r e e n - b u y t h e m a l l l f o r l e s st h a n a h i g h e n d
American made guitar) and you'll always have
a guitar that malches Your outfit
$299 danelecto.com
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Sta$h |ticl($ p o p u l a rc h o r u s p e d
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t\rlolded i n a i e a r d r o pf o r m , t h e C l a s s i ci s
s p e e d ,d e p t h ,v a r i a b l e J L r n c t i ocno n t r o l 1 / 2 , a n d
h 9 n v d L r d b l ea r d l a s t sl 0 r i n p s l o n q P rl r d r
c h o r u sm o d e l s e l e c tc o n t r os , p l u s s t e r e oo u t p u t
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s c r a t c h e sT. h e s ei n t e r c h a n g e -
a b l e " d e s i g n e r "f i n i s h p r o t e c -
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Vox . --'..;.
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l n c o m m e m o r a t i o no f V o x A m p l i f i c a t i o n ' s5 0 r "
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C o l l e c t l o no f h a n d - w i r e da m p s .T h e A C l 5 H 1 T V
i s a 1 5 w a t t a m p f e a t u r i n ga n E F 8 6P e n t o d e
v a l v e c i r c u i t ,1 9 6 3T o p B o o s tc h a n n e l ,a n d " T V
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$1,699 voxamps.co.uk

EWS '.
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m o d e s ,a n l r n p r o v e dt o n e s e t t i n gt h a t
p r o v i d e ss m o o t h e rs o u n d w h i e r e t a i n _
i n g t h e o r i g i n a l t o n e ,a b l u e L E D ,a n d a
3 P D Ts w i t c hf o r t r u e b y p a s s .
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b u c k e fa n d s i n g l ev o l u m e k n o b ,t h e
G o d i n R e d l i n e1 i s a s l e e k ,s t r e a m l i n e d
s h r e dm a c h i n ew i t h a s i l v e rl e a i m a p l e
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ped'
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t a P t e m P of s a t u r s . P e r h a p st h e H o Y G r a i li n t a P t e m P o
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bottom The
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"rso w h e n p e r f o r n r n si n
." i^" i'lr"o * t"'" 'elledors
'-flis that do not
venues have a wooden stage'
ut""ts isvety straightforward An avid fan
"train F u l l d r i v e2
* ' t " f u f f " f " e r f f , o * p e d a l s h, e ' r s e sI h e
"t Compulsive Drive) the Clyde Deluxe
tn" OCOtOUse""iu"
a Boss TU-2 to
;;h. ;nd the Deja 2 vibraro He enlists
{ 012'015'01?026036
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 SPECIAL ADVERTISEMENT

EIVIINENCE
SPEAKER
TATKWTH
FRONT
GEORGE
LYTIICH-
uitarist GeorgeL],nch emerged from rhe '80s
guitar blitz wilh one oirhe most recognizable
guitar tones ofthe era.Tharb an accomplisbment
that few can boast, and Lynchjust mav have
achievedit becausehe urdersrands horvjust
about everyvariable affectsthe signatchain.,,Oneofthe
biggestobstacleswe encounrer asguirarisls is furorng a rone
that helps us translate rhe ideas we hear in our imagination
to reality, ' says L]nch. "Every element in our signal chain
affectsour tone, from rhe pickwe hold in our hano ro Ine
equipmentand soli-warerhatl used to record and master
our CDs and everything in between. Speakersare one
ofthose elements that are commonlv and mistakenlv
overiooked asnot being of critical importance. '
L\'ncht classic rock tone owes much to his famous ESp
custom guitars and Randal amps. But the vinrage spealGrs
h e p l d c e db c h i n d f i c . p e a l e r g r i l j e .a l . o h a d . rg r e d r
effect on his sound. "I personallv tend to favor
real old-rimey vintage speakers,such as pre,
rota Celestion,Goodman,Elac,square-back
Eminence, certain iBLs, Urais, Br tdogs, and

I certain Fanes,"says Lynch. 'Over the last

coupie ofyears, though, t've been working

tr
with Eminence ro develop a speaker rhat
incorporates the qualiries ofa lot ofthese
older speakers-ones that breal<up atjusr the
rightpoint, arld thar have the optimum magnet
composrrron,cone coDsrruction,and power_hanalling
capabilitiesthar moden and classicplayersrequire.'
Those efforts have culminated in the creation of
the Eminence SuperV Driver, which fearures a casr vs.
stamped lrame, cusrom voice coil and cone, ano a ceramrc
m a g n p l .5 d \ \ L w c 1 . " , h c \ u p e r V h d . a p u n c h y .i n - y o u r _
face clarity yet stil rerains a sense of warmth with jusr the
right "brealup point" for creamysaruratedsoloing.
Actualy Llnch's affiniq, for Eminencespeakers
toes oac(
a long wal,1"The amp I prefiy much glew up with back in rhe
day rvas an Acoustic 150," L].nch rccalls. .Wllafivas
great
about itwas that itwas loaded wirh six t 0,,Eminencespeakers
Though the amp was transistor,the Eminence speakers
helped make up for its lack ofwarmth and satumtion.,,
These days,L]'nch has retumed to his ESp through
a-Randall rig. Specifically,he is running rhree Randall
Lynch Box heads conraining rhree of
lbur modules (Mr. Scary Bmima, Super
V and Grail) into Baltic bi.ch porred
L y n c h B o x c a b sl o a d e d w i t h f D u r 1 2 , '
EminenceSuperV spealers.His guitars
include an ESPmohaganv bodied Super
@ V an ESPGL-56re issue,an ESp.Sku s
a n d S n a k e s "c u s t o m , a n d h i s c l a s s i c
ESpTiger.All his guitars are loaded wirh
S e y m o u r D u n c a n S c r e a m i n ,D e m o n
tr or SuperV pickLrps,and they re strung
tr with Dean Markley SuperV.0I0 gauge
strings. Llnch uses a Morley Tripler to switch between
amps. His effectsinclude a custom overdrivepedal built
]_ by IimmyWiggle at croove Tubes,a vinrage IIXR phas€
90, a vinatge '70s em Echoplex,an old Boss10-bandEe, a
I
Fulttone DejaVibe, and a Mutron Ocravider.

To seeand heat uhat GeargeLynch is workinE on, go Lo

J truwSeorgelynch.com.
SONG$
'l'lris
lVl<lntlr's'l'ranscriptions
WAKE UP
DEAD
MEGADETH
,t -r
ft-l
lrt r
-
WHERE
WEREYOU
JEFFBECK

-
10rT
PAIN
THREEDAYS
GRACE

-
110
MESSI\GE
IN A BOTTLE

'l 'lt-r
THEPOLICE

b."# CUITARONE89
 DigiTech' GuitarWorkstation'
GNX4 Presets
Powered

JEFFBECK"WherewereYou" MEGADETH
"WakeUpDead"
llFil
oneEQ 0r
Chan 0.0 150 $0 lm0 0 0n€iQ
Chan 0r 0.0 150 800 5000
GeNetX0lrn? tMd V|r{lrll 99 [r$li r lritl l GeNetX i|Ltral 8|i4rll Iibhk
ftanTwo
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tQ 0n0.0 150 1800 5000
Tone0v0l 99/99 1/6 l/lt 4 / 4 85/81 Tone:hl/ftl 99
/W 0/0 ltl10 ) / l
By BillyClements jnJffl hnml hrtlnl Phranl hnml Pirdn5 0n/off Prnmlfhnnl PaEnl hBn4
l sood lessonthal will help us zuilarisls off Off

A
beller ouj playing vocabularyis to l-ry off otr
L \he ronesFom anirtswe maynot usually 6l off
Iisten too. Whether it be experimenting with 0n klire.r 99 66 6t off
the rampant metal guitar of Megadeth, or the NoireGate 0n Sileffer l0 0 NoiseGale0n iilen(er t] 0
classictonesftomAndy Surnmersand JeffBeck ChonryModoff Chorus/Modotf
your next prdcrice sessioncan benefil from 0n Aia|08 t9l 10 ofi l0 0ff Pong 60 off
opening up to trying these different tones and Reverb0n H I B 50 Reved off
musical styles along with those of the rest of ixpkriSn trpl 99 kp AsiSn tupl
this month's artists.
Now that I have used the GNX4 Guitar
Workstation@for the last lew montis, I have in a Bottle"
THEPotlCE"l,lessage THREE
DAYS
GBACE,.Pain''
only begunlo tap inro the many application\
rlEi5B5E
Name: PF]I]
it has to offer. Not or y do you have all the
ftan 0r 0.0 t50 u00 1500 0 onetQ 0r
Chan 0.0 150 1000 5400
great modeling and effects available for
GeNetXf t l ebd{i( qner}ll Sitbl ftrdnl 6eNetxtlffl Solll\Lr Ynlg4rl2 I &i!ftt &it4rll
getting this month's tones (you can get them at ChanTtYo
[Q Ofl 0.0 150 2200 t00 0 0r 0.0 lt0 1600 4000
www.disitech.com/suilarone),bul il features lone 1l/01 89/0 t/l l/B l/n 6t/81 Tonethl/ft] u/90 0/0 .5/9 5 / \ w/61
a weal$ of options for recording,practicin8, &r/off PanmlPacml hraJnl linm5 0n/off hGm I Piffrl Finml hnm5
and song crcation. otr otf
One of the coolest features is the MP3 0ff 0ff
player Just grab all fie Breat lesson ffacks otf
tfiy/
'Tilk off
off the included CD-ROM and rip them into
0n lRamr l6 7l 99
MP3s. Load these or your favorite artist |{oiseGate0n lileKer lr 0 Grte 0n iilencer 20
Noi5e 0
songs onto the Compact Flash card and you Choru!/Mod 0n flanSer I6 0 {l Chorus/Modotr
have your own pofiable tutor to practice 0ff 180 16 6T 54 otr
with. Feeling inspfted? The onboard B-track ReYed 0ff Sprng 0 84 l0 2l otr
recorder/looper and General MIDI Dnrm t4 ArsiSnkpl 0 99 hpl
ExpA55ign
machine with over 100pattems and Bkits will
keep those creative juices flowing long into
the nighL
Check out wurwguitarworkstation.com
for the latest updated application tips and
tutorials that show you how to get the most
outofyourGNX4.
Seeyouon stage.
ToneGuruBi y ClemenLt is a 2o-yearuetemnof the
stageandstudioand i-\a prclifc .rcatorof ton"sheaftl
ani perfomlances
in ..untlessrccarditrys around.the

:! IJtgiF_e"g
ADVERTISEMENT
 A
sets e
-
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As llecrlrclecllry lVlegacletlr
Frl
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(Fromthe CapitoUEMlRecordingPEACESELLS...BUT
WHO'SBUYING?) g
ftr
Transcribed
by JordanBaker Words and Musicby Davel\4ustaine a-t
-!
e:--)
R.c.rtinr sound\1/.1
detni

!ast Rock. = 168

Clr! l&l(lirl.l
fi5
Rht,Fie,l

sncik n m) orvn housc..

PNr. - -l

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Ths "P.H." in bai 10 stands lor "pinch h.ho.tc_---{n €s.enlial h6avy{.tal technique. aodt playsd whh gob3 ot distortion, rhis typ€ ot
harmon:c i5 produced by att.ckins ihd 3t'ins with your pick whils lishtly touchitrg ihs;rdng wirh d€ outlid;dse oI you. pick"hand ihirmb.
producing tn awssome, squealins sound. You can v.ry lhe pirch ot a pinch harmonic by pioiingihe rrring in diff;'ent iocarions<xperiment
with valiour spors and hand positions ro trnd our whar works besr tor you. Fol rhs vib'dro-br. diva bon6. marked "w/ bar,- itt.r to;er your
tiemolo bar.6 far as possibte dlr:ng the indicarsd durarion.

@
G u i t a r S o l oI
G!\. I & l: $/Rh!.li!. r il lnnet

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a.pf,,ir' . r r : l i n E [ / ] U S T AN E l \ 4 U SC a f d I F E l t F y t / t U SC
A B i g h G l o r D A V L l , , l U S .T : . r . l i l ! . t r o e d a n d A d m n s t c r c d l E . 1 3 L A C K W O OM D U SC N C

!ch. A F.rlr::, _ : ' . : t o n a C o p y r i g hS

t c . u r € d t t : . . i o ! P e r i ns s o n
..::. -. .: :. artssDn af Hat L-..nani h.rti,;i iton

GU]'tn o lgt
 F{5 C5
,-/\,^-..\ 3r'a
2a ., '\-,.' + : +;.^ ,-?-.

r?5 D5
8rd

h{5 E5

'?1. ;: i: ^,4
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1 9 - 1 71 17-14-1v17 14-17-1917 14-18-17-14 . :14-----:

MAV 2OO7
 @
Int€rlude Gtf\ I & l: r'/ Rhr" Figs I & 24 (l tnncsl i--l
CJ [t: cl5 D5 c5 Fri (]5 D5 {i5 r:i5 cr5 D-i G5 r'15 tr
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cl5 D5 G5 I:!5 C:5 D5 C5 fi5 C:i ili U5 lli c ? 5D r c5 I.1) Ci5 I}J

a
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Sosn_inbar 34-is_an.xample of dtvi.i noiaiion; w€'vs norated two guiral parts on tho.am€ saaff, so thar you can oasity sse how th€y intsr_
l acr._Foran a_ddedch€ eng€-You-might try playingboth p.ns at once-iGt novs cir.2's loth-f.er c torhl4th srring'j$h frst. Bar.37-39
= contarn anoth€r m€lal slaple: Pitling the open 6th ltring againat moving power chords, which ad& boih rhythmi;.nd rextur.t into1e3r.
For a poworrl sound, uso all downsr.okos here, and bs sura nor ro g.r t;ippod up by th€ sudd€n bar oI2,/4. '

l=
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:

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GUITAI OJIE gI
 ls.
E5 C5 E5 D5 Dt5 A5 C5 85

C5 E5 D5 Dt5 A5 C5 85 Bt5 F5 E5 t5 C5 C5 Bt5 G5

E5
t)kt)J rni.s

@
Guitar Solo
Gr.3
Gl5
l5

End Rhy. Fig. l

R h r ,F i g . 3

G n s .I & : s/RhY.Fig 3(2trme9

c45 85

MAY 2OO7
 a.d sounds Darticulatlv sinister in a heavv-metal Gonrext while
Bars 49 and 50 conrain rhe chromatic scale, which contains all 12 notes gooo iaea io' vou to inaP it our in a varietv or oth€r posirions'
ptavea lii;;"i;;r.-il;';r'ilita le a
in this case the chromatic scale is rrv
"pili-.*r'-i l-iiiJilr"i wi r.tfie scale, a run exercise i3 ro stan and end on a scare tone
tor erampre, usins a ro"."",.*p.",t.,.g phrase tarsetins the root (a) of the 85 chord'
1""r"1.Jiiiil lf,-a p,og,."sii. or trelJi;o t'.s, at 'iena iour
"t

F
I ci5

-2 13
t1 9 - 1 0 l 1 1 0- 1 1 1 2 - 1 1 I 1

Gi: Di cj) B-\

13-14-15 14-14-15-17 15 16-18 15-17 1

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Dt Bt-r ^bi Bt5
Brr ,\b5 llt'<
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t tt

a taa
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 tl5
End Rh!, Fig. 'l
Rhl. fig 'l

in tho wo*t of clas6ical

common mdtal l'chniqus' whioh hat its antsc€dsnt37s' plav rh€ arh't'ei c and
Plavlns a lick again.t a high opd--'r?ing it Vot 'nothtr ro. '. in bars 77 and
vinuo.o. tike viorinisuco-p"... *,.."," ;;d";iiitldz-reao.t l;und 'll ths olho' ntttos wiih s oonrinu'
p'":riiiiv 'liiirii'
t'' t"t "-""{'.l.ri'i!"'ii'il' it'
7rh-frut B with, rc3p€cti'.rv. vo,,, zno a"i i$i'iiji"' ""t"r
rrougl'"utt ut-lii{t'ittt-hsnd mov6monl at Po"ibl'' and b' 3ut€ to
pu -or. .no n.-rrr"r-o-r.s.-6rii"1 ro. ."enn.ti
ous succs.lion of "tt
.void inadv€rt€ntlv pulling ih. tiing shtrp'

I.:ll
Guitar Solo 4
C t r \ .I & 2 : N / R h YF i ! . 4( 8t ' m e s )
E5

1.._o-7 ---s-o.._8.'._74-7-s-0-8-7 !-!-! y-!-

9! Gulrln o G MAY 2OO7

 13 13-12 10-

L5 f5

i^*

n
=

1-12 14-14 12-11-12 14-15-15

10-12-13 13-12-

L5 D5
6,!
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= 14 13_14 16_17
=
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GUFAN O E'O
 E5

:-T-.

D5

@
Outro
Fie.4{312rines)
Grs.I & 2: Rhy.

Lyrics

Verse1
| .neal'in m) o" n hou.e.rl r lour'n lhemoming
I hadloo muchrodnr*, ,ardl wa. our$ irhlheboy\.
I .reepin m) bedroom. | 'lip Intobed.
I knos il I $ale hcr.I ll *xle updead.

Verse2
I wonder,wili shefind out'boul lhe other,
otherlovernamedDiana.

0utro
Wakeup dead.you die.
Wakeup deadandburied.
Wakeup dead,you die.
Wakeup dead.

tgAY 2007
 \ftft{Asl=llt= \ftfl=Rl= Y()1,,
llecorclecllry Jeff l3ecl<
(Fromthe EpicRecordingGUITARSHOP)
by JordanBaker
Transcribed Words and Musicby Jeff Beck,TerryBozzio
and Tony Hymas

xl lib q/ blr rrtr.ushour

. .Ll$r.k dclnr.ambie.l deL) & r.r.rlr

18-19-1 19-

M€asures zt-5 conr6in a whammy-ma.ipulated harmonic phrrse ihat occurs .everal tim€s ir the song. Althougn a floaling tr€molo 3ysiem
is ideat tor lecreatins Beck's baj movei. one workaround wirh a dive-only 3etup i. to ben.l lhe strins behind the nut instead of pullins uP
on irre uar. Consiaeiptay:ng rhe harmo;ic abov€ rhe 7rh lret {salne pitch €s the one al the ls}th) if trying it this wav, a€ vou'll be Gloser
ro rhe nur tor ah€ to ;wi'ng_b€nd. tr eirher case, carelul listening and trmilia?ity with rhe response ot a pa.ticulat guitar's ttenolo ar€ the
kevs io keepins this melody in rune,

/.)

F
rl tL
s

7. -9- -
I

rc! t9 1618 rj.

l!

: _ I 9 8 9 W B M L I SC C I P P
: . : r r o rA L F F EP _
DL I BS L t s[ ] l i i -
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GUttaB oitE tos

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Tak noto of.the hslf€_toP b.r divo porfom6d bofore 3triking th€ hamonic on best 4 ot msasure 24. G6lning ths bar into the cor|6c't position
€nd keo_Pingit rhers while plucking ths saring may take a bit of praotio€, Ths locarion ot thi3 harmonic i. slighrty in ths d:locaion of rhe'4th trsr
nih€t than diisctlY above the 3rd fts!, to tfy picking ths 3tnng rcpcaredly whils moving yorr fr€t-hand 6n;er ;bng ths string, raking nore ot
wh.l€ tho not. iumPs out mott clearly. Rsmomb€? rhi. location and ihe amount of rorcJippli€d ro rhe brr ;nd you,It be ready-io
so.

Efr/B Bm B!

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 I'AIN
lry 1'lrreeDaysGrace
As llecorclecl
(Fromthe ZombaRecordingONE'XI
Adam Gontier,
Words and Musicby NeilSanderson.
byAdamPerlmutter
Transcribed
BradWalst.GavinBrownand BarryStock

DrooD tunine:
0d\i ro highlb-A D G-B E
l3t and znd
chrom€ric th'lt_stepl line (E-Da-D!-C'-C) agsinst tho op€n
ln bars 3-5, fiv€ ditfoionl cholds ar€ mado bY playing t dgscanding rrrls is a.cornmon'Jop prisre$ion---+omp;'€ it io that ot the seatl6'
sirinqs. Noie rhar th€ fi..t rou. are ii*;rcii$p* or s min6r'
"rroro: -r-lt -.-ri r"-'"tl"i' iJ hi;ho'r' s-1' 2-i' 2-3' and 1r' rhe ratiel of
"Mich€fre.- for e,.ampre. e", .r," t"". .n"ii'jii'1Jiii5;ii;;i";;;s-ing"' l6el3 most
which vou'[ atso us€ on re cmaiz cnori. ir'" n"t." ii"g ioseriel, and u; whicheic' combiharion of Pick3rroker
"i

lntro
Modcrat€lYslow.=80
Em Em(naj?)

,nf

Lm(nel7)

ptay poweJ cho.d6 wirh iust on6 fingor. Try batring each E5 chord with
a handy aspecr ot dlopD runing: you can
This h€avielfiff revsab vour 15t' 2nd or 31d'and
r..irr',i i*"2 cr'o'a'-r"'"u'i n"te to his-h."t,with ns
vour 1sr finqer,and cs ,.,ifi, vou. a,a o, ririii!.1.-iiiii'i."i'irl,
i ri'. g ir . composit€..1;;s;;;;i or ft;. 2 a;d 3 notatod h€ie thouehr
4rh nnss,.. RspFrgnied on bear 2 or bal!'6;1ii'i,."i
csn bc praveo ar one pan. 'l ihitt too much "ttroubte'lust s'ab the low€st note ol oachpai''
th*e odtavos

D5

RhY.Fig. I
6

c'p!rqhrio2oo6EM'***":'"J3ii!3,-!ily',!ii!':"'-i'iliii't.Ii?!t+i
^ c ', o . o , r v r BA v o o D a \ a D A d , - o h . F^. /D qv. , I r\
ArRshrsforEM "':t o,l,ijl"uotooJ, li-' E o..t"'" Y)"".;:"";^"
AeFTLMUSc{cANADArhL'i#i['!i#:,.1l#i"",}zu ii"i';,;;.b,";;r.";;

tto Gunan oI{E MAY 2OO7

 Glr\. & r:r/Rift:;\&Al llrDesl
F.n(naj7) Em7
Ritf,\l End RiffAt Ilnd Fill I

\nu'rc !.1 of feelin numb...

llJrnr i

hd

End RilfA EndRhl.liill I

n.r7t
=
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Chorus Interlude
_)
Gtr\l.\ r r,.:r C t r \ 1 & l : s / R i l T s r&
\ Al
( n F I a : : . R l t F i g| ( l n m e \ l

Prn withoul

ri-:t
Verse2
Gtjs tNr r Itrrr:.\&,\l(2lnnes)

CJ
Jah

r|r,

B
Chorus

Gr^ :ri I .r Rh\.Iri!\ l& lA(ltrdes)

Gl']r|n o Elll
 To mal(6 the bt:d93 rsally iump our, you'll n€3d to gst the syncop.ted 16th-note rhythms in bal r1:|down tight. To h6lp with this, fils-r put
yoor guitar down and count "On}ea-and-urr two€€-anduh, rhlse-oa-r,|d{rh, fouFee-rn.r-uh." N€xr, try counting and ttaying rh. 85 at ihs
samo tims, inssning a chor.l on oach italicized syllable. Stant slowlyand gradually wolk rp io the sorg's tempo ofSO b.p.m. ifyou rake the
tiire to ca!6tully tocu6 on thi3 pasrag€, th. nsxt time you encounter , .imilar ihyrhm, you'll be abte io phylt much aasier.

@
Bridce
B5
Rhr.l'iE,2A E n d R h r .F i g . 2 A

zq v!4
Interlude Chorus
C t ^ . 2 & l : q y ' R h y . F i g s . 2& : A ( l rinres) Cr$.2 & l:WRhy. Fig. I (2rimes)

Crs.z&l Csus2

L-vrics

Intro/Chorus Verse 2
Pain. without love. Anger ano agony
Pain,l can t getenough. Are betier than misery-
P a i n ,I I i k e i t r o u g h . Trust lne, l ve gor a plan.
C r u . e I d - . h e r f e e l p a r nr h c nn o r \ r n ea r . 1 . When the lights go up, you'll undentand.

Verse 1 Bridge
You're sick offeeling numb. I know thal you're wounded-
Y o u ' r en o t t h e o n l y o n e . You know lhat I'm here to save you.
I ll lake you by the hand. You know l m always here fbr you.
And i ll show you a world thar you can understand. I k n o w t h a ty o u ' 1 1 d r a n m
k e later
This life is filled with hurt.
When happinessdoesn t wofk,
Trusl me and lake my hand.
When the lights go out you will undersrand.
 lull=sisAcl= lN A 13() l-rLE
As llecorclecllrYtlre P<llice
(Fromthe A&M RecordingREGATTADE BLANCI
Musicand Lyricsby Sting
by Adam Perlmutte,
Transcribecj

L T h e s o n g . 3 t i g n a t u r e i i f | i ' p | a y e d b Y . G t ' . r . n d h a ' m o n i z € d p ' i m i r i | Y i n .loi.

.o"e, o..-".. pii'il ilji-pji'ir,#t.r
d i a r orr,"
4ih nnse's'holdine
n i c 3-"1-
. d ! b y i"T
G t . . 2rti--oli 1 6 ! b a n dt't*"'
. { | | y o u 'ri'-;J itarisi,iust on rhs
, 6 o n | y g uths.two-euitar!
oravRiff A th,oushou,.n"pro.v."u.,,
L Bsu32cho,rt.Eorhsuiiu." .n".aili,"i eachJoicins,low.'t n"t"." r'igh.li,i"jii i"'i'-iii,
sach Erip lor a3 long a3 Po.srDr€'
i'lo or s'a'
""a

^S @@E
iT I l ( , d e r a t € l YF a s t , = 1 5 0 X v".""sr-:
G l r \ 1 & l : r ' / R i r ' l : A & A l ( 8h m € 9
Asusl Bsusl lisur2
I trnd RifiA
Ritrl
Grr I . r'rr...r

I nl

Flnd Rifinl

b
E

@EE
Pre-Chorus
i&r 5

C o D l .r l h tO 1 9 7 9G M S U M N E F
A c mi s t ee ; l b - v E MM U Sc P U B L s H N GL i [ l T E D
l o p l n s l r t S e c ! r eLdl s e d ssorl
bvPerm
e r rn , r , ' t q " r " . . . , i i " i . ' n l r r o n aC
Rep.tI rt-".1b f Pen tssian af HaI L''at)aI d Ctt DaI attan
GUtran oil| llt
 I{, Coda O Chorus Crs l&2:$/RhY.
l n d l i D e .G h l : w / F i l l I Fi8. I l: limet

c{m
Fi5
RhJ Fig.l E n d R h y ,F i g . l

L o w i n l h € m i x , a n o v € i d u b b € d g u i i ' ' t G t r . 3 l a d d . l ! . t y f i | | s d u r i n g t h 6 c h o ] u ' . T h e . . | i n € ! a . e d r a w t r f r o m i h a c 'rhe

m i n pirch
o l p . d sor.
l oihs
n i c a11ih-ftst
c€|g Fl in You'
iC#-E-FA€1-BI in gth posiiion. KsY to naitins rhi.gdrr'rret pan itI'lavrrg th' bends in-tun6';;-ii-;;;"t;t; ser
i' dtro, le suts to listor Garslultv to summirs's tiaomark sweet vibrato' 3o that
he.d b.lor6 bondinq up a whole rtep, trom-ttre
JJi-"ii'Jip 't-idl'nv-.'v;u srro,rra ali" try improvi'ins lomo of vour own in thi' ssdtion'

fr.
l-lnl
Gt(.1&l a--------------o
zt\ - i1,:

Filt t
Glr :l

IIQ GUITAN OI|E MAY 2OO7

 t*
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Ba|s 32-3:| coltarlr ro.fl€ lovely harp hrinonie, a i..h.ktu€ fio.6.ioq6ly s3lociltsd with c{unw..d iaz guitafsts liko Chai Atkins and lenly
Br€au. To ptay $k p.n, ba.r6 you lst fingpr.cr!6. .ll !3(.irlng. at dto 2rd tu Pick rll oI $e |€gul'l nots! wilh your right hand'. thumb, in lho
v:cinitv ot the 14rn ftet Fo?€ach 2tt4lEiamond norotcsd you .3o, lighdy touch your right hrnd's index finger dir€crly sbove rhe given tt€t whilo
picking rhe sfinq with your rigtrr+a.d 6urnb, prcdrcing. chimelike ton€. tst all of th. noiea ring rogErher, fola nice oasoading efiecr-
hr
D.S. al Coda

O coda

GUtlAR OI|Eltt
 Message in a botde,

clm

c^. r az
lO--:--O

'botde,
Message in a

^^-t^7!r^/r^-^^^

@
Outro
GE. l: \r/ RiffA (2 tires) '
Ghs.I & 2: W RitrsA & Al (9 tises)

end)
Gns.1& 2:w/RiffsA&AlGn
Clsus2 Asus2 Bsus2 Flsus2 Clsus2 Asus2 Bsus2
8ya--------------
5 2c " i A,---:-\
 A$rs2 Bsus2

=
-

I
-
-

tssus2 llsus2

=
--

Asus2 Bsus2 Bsus2 F{sus2

b,
5

Clsus2 Asus2

=
-
Cl$rs2 .Asut Bsus2 Flsus2 ci{sus2 FIsus2

C$sus2 Asu!2 Bsus2 F sus2 Cls s2

/) ;l

Lydcs

Verse I
Justa castaway,arrislandlost at sea,oh.
Anothe! lonely day,with no oneherc but me, oh.
Morc lonelinessthan any man could bear,
Rescueme beforeI fall into despair,oh.

VeIs€ 2
A year haspassedsinceI wrcte my note.
But I shouldhaveknown lhis dght ftom the start
Only hopecankeepme together
l,ove call mendyour life but
lrve can brcat your heatt,

Verse3
Wokeup this morning,
I don'tbelievewhatI saw.
Hundrcdbillion bottleswashedup on the shorc.
SeemsI nevernoticedbeingalone.
Hundredbillion castaways,looking for a home.
 Siltstems
lll,*,-()H!' the LJSalbum, the live,n Asbury Parlt N.J., 1974 from a high
Klng Crimson
set boasts the more solid consistencyofthet!vo.
1'he Coltectabte Kjng The band is on top of its game, giving a devastat
Crimson Volume One ing demonstration of how a fouFpiece rock band ;ng and hasty
(DGMI c a n s o u n d h u g e a n d s p o n t a n e o u sF, r i p p ' sa n g u -
larfeedback solo and spurts of legato in "Easy
T H E K I N G C R I M S O N a r c h i v e sa r e r e - o p e n i n g lvloney" are downrighi hypnotizing. b l u e sa n d
t o a n a u d i e n c eo u t s i d et h e i r f a n c l u b .T h e f i r s t fhe Live in Mainz.1974set occasionallysuf' diminished
o f t h e s e r j e si s t h i s d o u b l e - d i s cs e t ,c o n t a i n i n g fersfrom improvjsationaloverindulgence.Butthe
c o n c e r t sr e c o r d e di n F r a n c ea n d N e w J e r s e , m e n a c i n gb u i l d ' u p si n " S t a r l e s s a
" nd"Lament," i n t e r l u d et,h i n g s
w j t h R o b e r tF r i p p ,J o h n W e t t o n ,B i l l B r u f o r d , driven by Frippt abstractnoodling and Wetton's morph into an improv
a n d D a v i dC r o s s( n o t t h e c o m e d i a n , t h o u g h thundering bass lines,are astight and hea\ryas tunk jam with a nasty and distorted
i m a g i n eh o w c o o l t h a t w o u l d h a v e b e e n ) . anything King Crimson has ever recorded. bass solo by Wetton and psychic interplay
C o n t a i n i n gu n r e l e a s e dm a t e r i a l a, l o n gw i t h MOMENT OF TRUTH: "Asbury Park" (1:08 b e t w e e nF r i p pa n d C r o s s .T h i s i s t h e b a n d p l a y
Cross'srestored violin parts that didnl make itto 1 0 : 2 5 )M a t c h i n gw i t s w i t h C r o s s ,F r i p pe x p l o d e s ing at its peak.

DaveMartone LuclndaWllllams The John Aghora Tlshamlngo

Whenthe Aliens West Butler Trlo Formless The Point
Come {Lost Highwayl GrandNatlonal {Dobles Productionsl lMagnatudel
lLion Music) As a surprisechoice, {Atlanticl T h e N 4 i a m ip r o g m e t a l Southern rock is defined
M a r t o n e i s a s h r e d d e rt o t h e a l t - c o u n t r yc h a n - B u s h e l so f d r e a d l o c k s band led by guitar- by the balancedten-
watch. The Vancouver teuse hired Bill Frisell w i l l h i t t h e d a n c ef l o o r ist Santiago Dobles sion betweenNvangand
axeman is so forward- to color her collection at the first sound of the a d v a n c e st h e s o u n d o f buzz-sawguitar,and this
thinking that the metal- o f d a r ka n d d r e a m y A u s t r a l i a ng u i t a r i s t ' s t h e i r r e gi o n a l a n c e s - Georgiaquartetknows the
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