SE
E6 SEEPAG
STOCKHOLM SYNDROME
PHOTOGRAPH
CREATE CLASSIC DELAY SOUNDS SOUNDS
PLA PL AY BETTER NOW! #2., MAY 2016
F IX
ZAKK WYLDE GOES ACOUSTIC! LEARN THE FULL SOLO FROM ‘IN THIS RIVER’
T E C H N IQ U E T C E T F C R E ER F E C P E I C E P TI RA C T E P R • M AK E P Y R O Y E R HE O D T H T N D T S A R T E S D R ND E • U N D • R E LE AD H R L T E O H O T MO O S M Y S • P LAY M H T M Y H HY T R H R U R OU R Y O P Y N E U P T N U H E G T IG H • T I
LEARN TO PLA PLAY Y SE Stockholm Syndrome E6 SEEPAG Photograph LACK SGE CEPPY In Our Dreams* *video riffs online
E M E E HE M V T H T V *
S FS F F I F R I
ro nes T h ro Ga me O f T The X-Files Bet ter ter Call S ll Sa aul
SAVAGES
NECK DEEP PARKWAY PARKWA Y DRIVE
E DITOR’S ’SLETTER
F 4J PG ?
O G I ,
GF
?D
, , ? G?
D1 3 -MN 3 01 E MR I.5L
E. LL9 9 Ia R 1 I.5L E.IL
1
ED IO I F
L. 6 R L
E55E.a ,
I) J. E L 1 R L 1R1C H R L .-9
L5L .(9 C.. ., IE( 9 55 1 R L R H R L E,E( RH R L
B R
I, LH R L R L J9.9B R L
1 M M1 L1 1 R 1 U L 1E CR L U MBR BR M M 1 M C MB B
E .9 5I I .L .a S .9
L 1 HR L R MHMLE
4I559 RLLRM L 9-E559 R L M1 M 1 C
O IBU O
9 -9 5, I I B 9 .E5 .E59 .. .. 5. E .( .a )9 5.E 9 -IL 9 .FI, . 5E9 E , E LS S .- E( .(, I.. I,59.a E9 L ( 9 I( E 9 55 . 9 4. 9 (.a 9 9 , a E .a .E556 9 .-E 9 .9, Ea R: M1
I IL S L .I(. .E .E I5a 9 , (.a ., ,I 9 E5 I( EB 55L E, L L: MU I9 . ,I .- E I)9 ,I)9 ,,EI,9 ,,9 6 E5(6 E559 5.( 9 I 9 F.E) .E H R L M 1 R
R 1L 1L LH R L
D
E OI I
L 1 1 3 -MN 31 3 L MH 1 1 R R 1 R 1, U 1M1 1 L M R L L M L L .5E,I .,I@
EO I
LL9 9 Ia
LU M1 R: MM:1 .L . M1 R: MM:1 E,E. 9 D
CO I
E9 5( . I
D I O IBU OI
9 a . . I,.9 4E9 (E 9 ) :6 E55E. a E) ) I, I,J I ,J(I)9 . 5IFL L 9 E,E)L 9 () 9 a IL E,E) LEIJ( .,4IL5 -9 L9 JI(I 4 9 5: B -9 ,9 ., (E,E)L EI) 9 a IL 9 . EI.5 LH
F.9, R L L L 1
LH R L MM: 1
CI CU F,O I
D MH1 M1R: MM:1
E 9 559I 10 1
U B S C I O I N S
9 .(9 I(9 5E9 9 7LEE9 ,: 3 B -9 ,9 .,9 .(9 I(9 5E 9 9 9 7LEE9 ,:+ 0 3 B 5E9 9 7LEE9 ,: a .-IL .-IL E9 a . .E9 ,I ,IL a .E5:I.5L E. a .-IL E9 a . .E9 ,IL FICE
I
I1 R L R1 R: B H RMR L MM:1 . 55E,a .955E,@ LL 9 9 Ia D1 + 3
EM EN O MM:R : R 1L M:MR1 I9 R L R M R 1 LR E ,
R 1
-I -I L L:
4.L5 9 a .
LU HR L R 1A
. E9 5 E , . .a .59 .59 55 L U R 1 L 1N R 1L M 16 MB MB 2 6
4E9(E 9 ) 6 E55E.a E) ) I,I)9 .5I IFLL 9 E,E)L 9 (E 9 ) 9 a IL E,E) LEIJ(. ,4IL 5 -9 L 9 JI(I 4 95:
R ,
M C 1 E 1M L M 1 1 11U U R
6 LAA.
9 55SL EII Ia I9 I 9 ! . L . 55 EC( C() 9 Ea SI,,E I,,E) 59 I I L ,I. ((9 ,,9 -9 L (59 . 9 Ia Ia 9 L S. . E, ,EIL IL L E. 5E-9 ,) L E,a I I 9 C-9 C-9 E9 ( ISESIE SIE,Ia 9 I 9 a I, I,Ia a I I E. ) E(I 9 IL I,SE 59 . CIL S5.E B -9 E,a I C,I-9 I-9 9 .L9 ILC5 IL C55E( ( . ,IEa SI-9 S I-9 IL IL a , E55,Ea E SE E 59 . I. (. IL ,E E 9 SE E S5L ,a I9 I9 . E ,I I IIL IL S5. E . ( (9 (E. E ,Ia 9 Ea 9 I,ESIL S5. E ) . IE,,Ea S59 , Ia I a . (EI IIL 9 ESS59 , E55S. I) E Ea 9 9 . (59 ,,I IL L 9 . ) E5E59 -9 5L IS10 I 9 ,. 9 ( 6 9 C9 . 5 . ,I. a E,,EIIa . 9 9 a I, . (, (, I I. (L ,9 L 5 L E. a . IL 9 9 . ( E,a I I E,I I (E9 9 6 9 9 5E-9 S5. E ES,Ia 4. 4. . E-9 (9 5-9 EI 9 L E7L 9 ,IE9 L 9 ,SI-E S I-E(9 () .-. . -. 9 ,C ,C 9 a a . Ia S,I S,I, I IL IL I IL IL . L E5E,9 IL IL L E. C, C, I II5,I9 . 55, . S9 IL I9 I9 . (E(L5 (L 5 9 IL 9 55. ((E 9 (9 (9 E9 ,) 9 . E IL I IS5. 9 9 a 9 L 9 ,Ia 9 9 IIL IL . -IL E9 9 9 , I , Sa E fA T rGn er er S S . (A T -Fi 6 E9 E,I-9 I-9 ,I) 9 . IL IIL L E. E) 9 . . EI I. ( 9 S5. E !
Fu t u r e i is a a n a w a r d - w in n in g in t e r n a t ioio n a l mm e d ia g r o u p a n d le a d i n g d i g it it a l l b u s in e s s . W W e rree a c h m o r e tthh a n 4 9 m illio n in t e rn r n a tio n a l l c o n s u m e r s a a m o n t h a n d c rree a te w o r lldd - c l a s s c o n t e n tt a n d a d v e r titis inin g s o lluu ti t io n s f o r p a s s io io n a te te c o n s u m e r s o n li lin e ,o n t a b le t && s m a r t p h o n e a n d in p r in in t .. Fu t u r e p lc iiss a p u b lic c o m p a n y qq u o te t e d o n thth e L o n d o n S ttoo c k Ex Ex c h a n g e ( s y m b o l :: FU FU T TRR ) . w w w .futureplc.com
Chief executive Z i la h B y n g - M a d d i c k Non-executive Non- executivechairman P e t e r A l lele n Ch iefnan cial cialofc erR ic h a r d H H a lele y Te l l+ 4 4 ( 0 )2 )2 0 7 0 4 2 4 0 0 0 ( L o n d o n ) Te l ++ 4 4 ( 0 ) 1 2 2 5 4 4 2 2 4 4 (B (B a t h )
Allcontennttscopyyrright©©200116FutureePubbllishinggLim iteddorpuubblisheddundde erlicencee. .Allright htsreseer rved. d.No partofthism aga agazine zinem aybereprod eproduced uced,,stored,transmi transm ittedorusedi usedinanywayw nanywaywi ithout thoutthepri thepriorwrit orwritten peerrmmiissionnofthepuubblisher. FuturePublishingLim ited(compan ted(com panynum ynum ber200 ber20088 8888 )i sregisteredi sr egisteredinEnglandandW nEnglandandWales. ales.Register Registered ed office:Registeredoffice:Qu office:QuayHo ayHouse, use,Th TheAm eAm bury,Bath, Bath,BA11UA .Allinform ationcontained oncontained inthis this puubblicationnisforinformmaationonnllyannddis,asfarasweeareawwaare,correctatthetimmeeofgoingg topressss. Futuurrecannnootacceepptanyyresppoonnssibilityforerrorsorinaacccuurraciesinsucchhinform ation.Youareaddvvisedd toconnttactmmaannuufacctturersanddretailersdirectlywithregar ardtotheepriceannddothheerdetailsofproddu uct ctsor servicessreferreddtointhispubbllicationn..Apppssanddwweebbssitesm ennttioneddinthispub ublicationarenotunde derour control.Weare Wearenot notresponsibl responsiblefortheir heircontents contentsoranychangesor oranychangesorupdatesto updatestothem . Ifyousubbm m itunsoollicitedmmaaterialtous,yoouuauuttom aticallygrannttFuturealicencee topub ublishyoursubbm m ission n inw hoolleorinpartinalleditionnssofthem aggaazinee,,includingglicenseeddeddiitionswwoorldw ideandd inanyy phys ysical ordiggital italformat formatthrough throughou out ttheworl theworld. d.Anymateri nym aterialyou yousub submm itissentat sentatyour yourri riskand, skand,alt although hough every careistakenn,,neeiitheerrFuutturenoritsemmpployeeees,agennttsorsubbccoonntractoorrsshallbeliableforlosss ordam am age ge. 6 9 . 9 Ia a E9 (II5L,Ea . .E9 S. S9 E E,(9 E-9 (Ia 9 55a .. 9 (9 E 9 ( 9 I9 ,.( 5IE9 9 9 a .L . L9 FLL9 4L) 5E , E.(E,S. S9 ,LS S5E , 9 , .-9 )9 9 E(9 S9 (9 59 E9 (E. I (.9 E 9 L 59 ,I 9 F FI9 , 9 . (, ES IL 9 ILE E5
a H llaA s (EI
M AKIN INGTHISM O NTH’SM AG: CHRIS IS BIRD F I I ., .( E,a E(I I . 59 . 9 L E , E,a I . ,I C, EB 9 I 5. ,,E . . ( (B S9 a E I ) II . ,. 55,SI ,S I E I,. I,.(. (.( (L E , (EIL I L (IC9 9 55E 9 9 L E I IL IL IL IL . ) I . 6 5(9 C,,I5I Ia n A T r rIS
JO SH GARDN ER ., E. 55,S ,S L . ( . a 9 . , ,9 ,E-. 5,9 ,9 . ,I ,I E, L ,. IL ( 9 I9 I 9 I, ,SI ,S I 9 I 9 9 I 9 . ,I 9 ) E55. 9 9 , 0 0 9 L,9 ( E 5. E. (5. 5. 49 . ,. ( .a 9 . . E .9 .9 ( . SS9 SS 9 E. EII 9 I, I5(,C ) . (9 SISL SISL 5.EI 9 . (. 55I IS S
RO B LAING ) 9
9 9 9 E . ) IL 9 C 9 L EI5E9 L S5E 9 ,Ia 9 E(I5L ,9 9 (. a . ( 9 I) C,) 9 9 5II E . 9 E a I9 I9 IL IIL L E. ,C , CI9 . ( -I5L -I5L a 9 II5, I5,IS 9 . L ,9 ,Ia 9 Ea 9 , 9 . . L. 55(IC .-9 I5II -9 . 9 EIa Ia 9 ,I I I I5 I55E . ( . E IL I9 0
1
CONTENTS MONITOR 34-57E-IC,5a, 006 aTcC,4. 55BO P ff f a M Va (n6 5 e.V 008
EV a US 7C,5J,;75D/D D,B J-aTD,B 010 EV a P DT 75;3;,Da 012 IV a HY T DaC4; 01 F M VY A-VwDB JRRB 016 ; D--,4(CB;D;) 018 M AVT M y GY D
H D- Ef a M Va a5CTa(GD4a5Ca) 020 TbD2J5,,5; 021 A-bY m 7D; 4,&;N;,IJD,a55a;; 022 P Y .D,B.J5 025
FEATURES D Dy F7 ,aT5,D,a4;;a5,D5 ,D;4 ,cDD, 4aBD4ID 032 E P AUP Y aV qY ! D;JBJ5IJD,a5aBD4IRJ4-a 4,a;,ID BJ55a,T4DF Ja JT4--;5D4ITa4!
036
DV- ; BJ ,J4Tc, ,4;aD4I 5RBJ5IJD,a5&;T4,5; 0 8 S7U J4c5;4,aca-D4 IDI;T4F J5D4I,U Ca4-a-DRRDTJ,0 050 ZD y-T7GC a4a;N4 5cD4I4D; ;T4-;aNJ R55Ba5;O 5,D,? 058
YOURTECHNIQUE! 03 FIX SORTYOURFUNDAMENTALS TOGETBETTER
PARKWAY
032 DRIVE
2 01
050 NECKDEEP
HDFD a7 ;4,ac;aNJ,5 -B4a DTIJD,a5aBD4I44 aNJ A aieHcfe 062 -D -Dy HY VT ,,I5D; D,-aBNB a54D4I ,T5a,,;RDDT4DT;J4-; 070
0 2 SAVAGES
n o s n a e s o J y m a A b y n e a o o s s e n a e o e a o e o s i b o o y m o a n A n a J s n o o s o s a G © m a n d o A s s a d G n a m e a d A i s n s o i n s o s i s e s e y b y o J b o J D s t n r e t e n v o o
ISSUE 279 MAY 2016
FENDER THE EDGE STRAT
GEAR 5 9 1 9 -aS S9 5 aI9 6L ! a - S5 9 SaI9 9 S9 P Y VTY S
LINE 6 HELIX
BLACK LABEL SOCIETY ‘IN THIS RIVER’ 1
F9 a9 )(a . !C
0 C .C 9 S
a5 9 9 S9 5 F9 a P Y VTY S
Y E9 .SC
aS C 5(C .6I B (aSC 5 (C 7)!SI
A
076 080 081 082 088 089 090 092 093
TECHNIQUES P ff9 aS5 C 7a)B .V e6 f)Cine,$e11e9.bb S.5ba5)Ce2-Fcbe9 9 C -S 9 C 9 C 5 FV D- P ayam Hy- -9 ,S1i4kCibV SnaiV e -D D
ED SHEERAN 1 4 ‘PHOTOGRAPH’
MUSE ‘STOCKHOLM SYNDROME’
E9 9 Sa5,PCi1ig.pC ESVM HVb
GY GDTB L !a.a9 C .9 ),(n)CcRcve H-
068 072 096 104 107 108
SU BSCRBE NOW & SA V E! I: H :LN
dL4L () : CP N d)d IPCIO:L L N I N 11
01
FIRST LOOK…
1 PICKUPS M REVAN S G IH C YM P F50 AD . T A.AD D T / DG M AGG ., S Y ( H D.AG H AD H D IH )HS ; A H-YY ! A H A FP-1 HAG AD S H AG AAD
D 2eGaaGcifbbhUKimKi SfGCdGGifKAw , K,iUmG-G,dGmIimi
2 VIBRATO
fte r h e s ig n e d o n to Fe n d e r ’s b o a r d o f d ir e c t o r s in 2 0 1 4 ,it w a s o n ly a m a tte r o ft im e b e f o r e Th e Ed g e la n d e d h is o w n s ig n a t u r e m o d e l.D e s p ite p la y in g a w id e r a n g e o fg u ita r s th r o u g h o u t h is c a r e e r,S tr a t s h a v e p r o v id e d th e c r y s t a llin e c le a n s b e h in d h u g e U 2 h it ss u c h a s W hereTheStreets HaveNo Namea n d Pride(InTheNameOfLove),a id e d b y a d e l a y o r t w o ,o fc o u r s e . A n d fo r Th e Ed g e , h is n e w s ig n a t u r e m o d e ls a r e e v e n b e t te r t h a n t h e r e a lt h i n g s ;t h e y ’v e r e p la c e d h is v in t a g e Fe n d e r s o n t o u r.Ed g e ’s s ig w ills e t y o u b a c k £ 1 ,2 5 9 – le t ’s in v e s tig a te w h y th e S tr a t h a s h is n a m e …
3 SIGNATURE
P faaMVfE MS aa Wa
FEND ER’S -AD 3DT H DAG 4AS H G S S .3 S YADH , DG A( YAG A -AD H M DAT YT , G .Y YY. ADDS . S .T / GG .
TH ISISIAH.3 YDYM AD A DYH PH,DG YAH A( GT / TH . A D.3 A DA2 H A( T . G H G.,A( .AG T IH M D3, H 3Y .A/ S DG H D
FIRSTLOOK MONITOR
34-57EIC,7a aCTc-. 4IB T-OJcc-c7T c7-TBc7aC;c7DO -/BTI7aOacTC I-4c4-
M ONITOR
SECTION
O O D F O R T H E T R E
RIFF OF THE MONTH
b b j b v n W il o fi j l i j u r b m T H E B A B I IdentitySeries (£1,995)isthefirsteversignature m odelforprogtitanStevenW ilson. W ilson’sbeenplayingBabiczfor adecade,andinadditiontothe distinctiveLateralCom pression Soundboard(thestringsare fannedoutoverthetop),his m odelhasasolidEngelm ann Sprucesoundboard,solid rosew oodbackandsidesw ith Babicz’sinnovativeContinually A djustableN eck.
V I D E O L E S S O N
d e o g 2 7 9 v i t y / l . t b i w w w .
TRACKS0708
BlSmaeeccs INO URDREAM S 0:08
n g a H e K b J : g n i k c a b d n a s r a t i u G
69 5 9 S6LEI5 9 a !9 E 9 ..EIC 6a ()9 aLE,I5 E- 9 I ) aIS9 a 9 a L69 a 9 Ia LEES B ! 6 9 EL69 4L6LaESLE9 I 9 9 Ea9 L.5 9 aL6ELEIaI EIL69 L69 aLaESa9 79 a9 L .5 9 aL, 9 a-.5 LEESEI 5 9 ,Ia9 9 EI ES9 L 69 SS9 LaES69 a9 0 a9 4 .9 69 a) .La L6 LE 5 9 a 6aI5 L6L aLEL9 EL69 L6LaES 9 5 9 E4L6LaES EL9 EI E.. B EIC 5 9 a 6aI.9 I5 L6 E9 -7ES9 a) aa9 EL69 7L6 EI4L6LaES (9 9 ) 9 aL6 Ia,LEES .9 L69 a9 EIaB 69 E9 L69 E9 -7ES9 a5 9 a 6aI 9 EL 9 6) 9 LL69 ) aEL 9 5 L6 L69 ) . a69 L. E5 L6 L69 Sa9 EI5 L 6L69 I9 L 9 9 65 !9 EEIC 6a.I9 EL 9 aLE 6aI 01
b e C e K / F e K n A
R D P R r b b a l b j c b J o c n M a y b r o d b rn E a g b u p b r E a g
C H A N N E L D ISO RIO N
O H N A Y E ’scollaborationw ithPRShasfinally beenrevealedintheshapeofthisPrivateStockSuper EagleJohnM ayer.W ithnew JM pickups,coil-splits,a 25.735-inchscaleandbuilt-inJCFA udiopream p,it’s auniquebird– butdon’tgetthecreditcardoutjust yet.Eachofthe1 guitarscostsastunning£1 ,995!
I A : H hasachunky,
Rate:7 % D epth:5 % M ix:6 % L N G ,
brightm etaltone.U sea bridgepositionhum bucker forclarityandbite,anddial inplentyofgainandtreble onyouram p.Ifyourguitar hasasingle-coilpickup, raisethegainandbass, andw indbackthetreble atouch.U seathickpick andplaydow nstrokesfor theentirerhythm guitar part.heleadguitarsound hasslightlym oregainonit thantherhythm toneand includesafastflanger effecttogivethem etallic, shim m eringquality.
videolessonsinthisissueofTotal Guitar are LL , availabletoview onlineatw w w .bit.ly/tg279video
G I E S b k b r b ik p f r N r j c
l b l l i b i ri
G spoketoN orthlane’sJoshSm ith,he S T T I w astestingaprototypeBareKnucklepickup.N ow theresultshavesurfaced.heIm pulseisdesignedfor low ertunings,w itha‘neutralandbroad-sounding m idrange’thatw illsuitdow n-tunerslookingfor clarityandconsistencyacrossthespectrum .
MONITOR SECTION
O N T H E
BRCO
U P
eT C T i a 10i T eC0 0i ei 0 in c e th a t p e r io d o fu n p le a s a n tn e s s r e le a s e d d e b u ta lb u m ,Eve rybodyW ants,is s u r ro u n d in g th e te a a n d ta x a t io n f u llo f ir r e s i s tib le B r it -p o p p in g ,g la m - b a c k in th e 1 7 0 0 s ,th e En g lis h h a v e r o c k in g h its -in -th e - m a k in g .A d a m d o e s a b e c o m e p r e tty p o p u la r in A m e r ic a .D e r b y k ille r lin e in g r o w lin g m e lo d ic r if fs ,o f fe r in g g l a m r o c k e r s Th e S tr u t s p lu g g e d a w a y in a c h o ic e o f“ lo u d a n d lo u d e r ” c o u r te s y o f t h e U K f o r y e a r s b e f o r e t h e ir o d e t o liv in g a h is L e s P a u lJ r,p la y e d th r o u g h th e b o u tiq u e lo v e lin e s s o fa D iv i d e d B y 1 3 B TR 2 3 a m p HaveBeenM e lif e o f r ig h t e o u s n e s s ,Could b e c a m e a s u r p r is e h it in t h e U S . a n d Xo tic R CB o o s te r,w h ile fr o n tm a n L u k e “ Itw a s b lo w in g - u p a n d w e d id n ’te v e n S p ille r jiv e s a c r o s s t h e t ria n g u la t e d h a v e a r e c o r d d e a l,” r e c a lls g u ita r is tA d a m te r r ito r y b e t w e e n M ic k J a g g e r ,S te v e n Ty l e r S la c k – w h o ,w e k id y o u n o t ,is fr e s h fr o m a n d N o d d y H o ld e r. a R o llin g S to n e p h o to s h o o tin N e w Y o r k “ H e ’s a lw a y s b e e n lik e t h a t ,” la u g h s A d am .“T h ersttim eI m eth im Iw aslike, w h e n TG c a lls .“ Th e s o n g w a s a h it h e r e a n d w e d id n ’t h a v e t h e r a d io p la y in t h e U K , ‘Ca n y o u s in g Far ,FarAwayb y S la d e ? ’ s o w e th o u g h t,‘W e l l,w e ’v e g o tto g o w h e r e A n d h e d id it .Iju s t t h o u g h t ,‘Y o u ’r e t h e o n e!’H e’salw aysb een a m b o yan t,to o . w e ’r e w a n t e d … ’” S o ,p a c k in g u p th e i rle a th e r a n d M y m u m u s e d to g iv e h im s o m e o fth e le o p a r d -p r in tlu g g a g e ,th e b a n d m o v e d c l o t h e s s h e ’d w e a r in t h e 7 0 s .H e s t ill o v e r to L A ,w h e r e th e y p r o m p tly s e c u r e d w e a r sth e m n o w !” Th e S tr u ts a r e n o th in g ifn o tc o m m itte d . a m a jo r la b e lr e c o r d d e a la n d fo u n d a n o b s e s siv e n e w a u d ie n c e . “ Th a t w a s w h a t Cou ldH aveBeenM ew a s “W ed o n ’tev en h av eaxe d ad d ress, a b o u t.W e d id n ’tw a n tto lo o k b a c k a n d w e ’re a llstilllivin g o u to fsu itca se s,so it’s t h in k ,‘Th a t c o u ld h a v e b e e n m e ,if I’d ju s t g iv e n it a lit tle b it m o r e e f fo r t ,’” a d d s A d a m . c o n s ta n tto u r in g ,” c o n tin u e s A d a m .“ W e c a n s e l lo u t s h o w s in t h e U K ,b u t b e i n g s o “ W e r e c o r d e d th e w h o le s o n g in a d a y .A t fa r a w a y fr o m h o m e ,in th e m id d le o f t h e t im e Id id n ’t e v e n t h in k Ilik e d t h e s o n g , A tla n ta , a n d h a v in g 6 0 0 p e o p le s in g in g b u t Ilik e it n o w ! ” a llo u r w o r d s ,it ’s ju s t a m a z i n g .” A t t h i s p o in t y o u ’r e p r o b a b ly t h i n k in g , E 0 11 AE /1 I A : ‘Y e a h ,b u td o th e s e c h a n c e r s a c tu a l ly s o u n d H I:Coul dHaveBeenM e a n y g o o d ? ’W e l l,y e s ,th e y d o .R e c e n tly
r e k r a P w e h t t a M :
o W
ONTHEUP MONITOR
T fvfe W fDe .h cfaaoae a
th e in s tr u m e n t,c itin g w e ir d a n d w o n d r o u s “ c r a fts m e n ” M a r c R ib o t a n d M a lia n b lu e s b a n d Tin a r iw e n a m o n g h e r fa v o u r ite p la y e r s .N o w Bohemica s e c o n d a lb u m ,Porta c o m p o u n d s ita l l– d r iv e n b y h e r af n ityfo rm u sic,th erew ere “ B e a s t” ’5 8 L e s P a u la n d tw e e d c o n n o ta t io n s w ith th e s ix - s tr in g . Fe n d e r a m p s .Ch a n n e lin g h e r “ Ih a d s o m u c h r e s is ta n c e w o o d y fu z z to n e s a n d a n t o w a r d s it fo r t h e lo n g e s t t im e , ” in t ric a t e ,s e l f-t a u g h t n u a n c e in t o s h e t e l ls TG .“ I t h in k it w a s p a r t o f c r e a tin g c o lo s s a le a r w o r m s ,n o t m e t ry in g t o r e b e la s a t e e n a g e r. le a s t o n t h e h a ir - r a i s in g r if fo f Soft T h ersttim eIp ic ked itu p ,itw as SpokenW ords. “Ilo v e w ritin g riffs,”Trixie a lm o s t s c a r y ,b e c a u s e it f e lt s o n a t u r a l .Ev e n t h o u g h Ic o u ld n ’t c o n c u r s.“ W h e n Ic o m e u p w ith p la y ,Iim m e d ia te ly s ta r te d w r itin g a r if f,In a t u r a lly c o m e u p w it h a s o n g .Ir e m e m b e r b e i n g lik e , a p r e t ty b ig v o c a lh o o k a s w e l l, w h ic h is f u n .It ’s n ic e t o k n o w t h a t ‘O h n o !W h y is th is in s tr u m e n t d o in g th is to m e ? ’” Ic a n a c c e s s th a t w ith o u tlo o k in g Tr ix ie ’s m u s ic h a s t a k e n h e r fo r it ,t o o m u c h ! ” d o w n a d iffe r e n tp a t h ,th o u g h . S h e ’s c o lla b o r a t e d w ith th e 2 : CE D E m a s t e rfu lD a n ie lL a n o is a n d h a s S oken o / 1 H:Soft d e v e lo p e d a tr u ly u n iq u e v o ic e o n o r a lo n g t im e ,Tr ix ie W h it le y a v o id e d t h e g u it a r.H e r f a t h e r,t h e la t e Te x a n b lu e s - r o c k h e r o Ch r is W h it le y , h a d m a d e th e in s tr u m e n th is o w n a n d ,d e s p ite s h o w in g a n
afD - acfe o ifo ice igae m
Co -g u ita r is tK y l e G ib s o n u llerto n ,CA ’sn estA u d ac ity rstc au g h tT G ’satten tio n in a n a ly s e s th e ir a p p r o a c h th u s ly :
2 0 0 9 ,w ith e a r ly t h r a s h e r TeenageTown.It w a s r e c o r d e d w h ile t h e b a n d w e r e s tillin s c h o o l b u t ,w it h a lit tle h e lp f ro m t h e th e n b u r g e o n in g B u r g e r R e c o r d s , h e lp e d r e v ita lis e S o u th e r n Ca lifo r n ia ’s p u n k s c e n e . “ W e w e r e n ’tth in k in g to o m u c h a b o u tth e o u tc o m e ,” r e c a lls g u ita r is tM a t tS c h m a l fe l d o f d e b u t , Po werDrowning.“ W e w e r e ju s t p s y c h e d t o g o t o a s tu d io w h e n s c h o o lg o to u ta n d y o u c a n k in d o f h e a r it .Th e r e ’s a lo t o f e x c ite m e n tin th e r e !” W h ile th e b a n d h a v e s in c e
ren ed th eird u al-g u itarb len d o fB r itis h p u n k a n d m e lo d io u s s la c k e r p o p ,t h e y ’v e k e p t t h a t h e a r t.Th e i r Ty S e g a ll-p r o d u c e d Vessels,s o u n d s n e w a lb u m ,Hyper lik e a n e x u b e r a n tm u s ic a l fa c e -p la n t o n r o c k ’s g r e a t c a n v a s .
“ M a t th a s b lo n d e h a i ra n d Ih a v e b r o w n h a ir a n d M a t t’s th e le f t -h a n d e d g u it a r is ta n d I’m t h e r ig h t -h a n d e d g u it a r is t,s o w e t ry t o d o s o m e ‘g u it a r m o n ie s ’,a la Th in L iz z y ! ” Th e s e a r e s e r v e d -u p p ip in g h o t v i a M a t t’s G ib s o n S G S p e c i a l/ P e a v e y V a lv e K in g c o m b o a n d K y le ’s G ib s o n M e lo d y M a k e r a n d M u s ic M a n R D 1 0 0 – q u ite lit e r a lly h o t in M a t t’s c a s e … “ Ih a d a r e a lly n ic e Fe n d e r
D eV illeb u titc au g h to n re an d , t h e n k in d o f t o o k a s h it f o r t h e la s t t im e ,” h e la m e n t s .“ B u t Ilik e P e a v e y a m p s a n d th e y ’r e p r e tty in d e s tr u c t ib le ,w h ic h c o m e s in h a n d y fo r m e !” 2 : 0 1 H :Counnhe a s
t t a r P e i n a h p e t S a h s k a R a t a n e R : s t o o h P
on
s
ontheroad… c C PKrK’dWofPRWN HKffKrfP W NKffRWN fo fr fo U SK b Kob lK P bb or P hK NooI fRU K L P f b rRhRlKNK !”
07 uly
09 uly
BarryM cKenna
y / s n r / n o g n i l l i i l l
12
B a E 2 16
tormonitor ontheroad moni
20 0 0 Trees20 16 heU div er
’ cooles tindependent es tiv alret rns 2 16 line- p and m aybe
H O M E O W T O N E N
1 9 5 8
ith typicall
ew badger too
h en 2000 Tree s w as started in hap py or ha ve a good tim e… w ha ta 2007 b ysixm ates w ho w ere fed p rivilege!If w e fa ilw ith a f ew ,w h o gives a up o f p aying b igf estiva lprice s to fuc k...Th ey m ustb e h ungo ver,o r started w atch th eirf av o urite b and s,w e do ub tth ey d rinking to o early,o r to o sc are d to letgo !” im a gined h o w w ellth ings w ould p an ou t. It’s no tjustab o utth e hea d liners,ho w ev er, N o w into its ninth year,2000 Trees is an d th ere’s a to n of grea tb an d s o n th e b ill. regularly fea tured o n th e ‘b estsm allfestiva l’ U K proggyp ost-h ardc ore b and Blac k Peak s lists,w ith a rep utation f o r b o o king a d iverse are one suc h gem ,and h av e returned to selec tion o f b an d s fo r th e ev eny atU p co te U pc ote Farm fo rth e sec ond year in a row . Farm ,near C h eltenh am . “It’s o ne o f th e U K’s m o stexc iting 2016 isno d iffe rent– Tw in Atlantic and festiva ls,”e nth use s guitaristJoe G o sne y. Sw edish hardcore legendsRefused w ill “You ca n tellth atb and s lo ve p layingitand h ea d line th e f estival,w h ile lo o king d o w n th attranslates to th eir p erfo rm ances. th e b illyou c an se e a cts as d iverse as Th e Ev eryone isth ere fo r a goo d tim e .Lastyear w asourrst t im eandt hem om ent w eg ot Bronx,W e W ere Prom ised Jetp ac ks and LonelyT h e Brave a pp earinga crossthe o n site w e feltrigh tath o m e.Th e variou s stage s. atm o sph ere w as ab solutely b uzzing!” Tw in Atlantic p layed 2000 Trees in 2010 Butfo r som e,2000 Trees’p asto ralsetting and 2011,so th is is a ch anc e to sho w h ow isa d raw b y itself,and R ef used guitarist fart he ’vecom e. It w asoneof t he rst Kristo fer Steen isn’tjustco m ing to th e festiva ls outside o f Sco tlan d th atgav e us a C o tsw old s to h ea d line a festiva l,o h no … ch anc e,”exp lains guitaristBa rry M c Ken na. “From w hatIhe ar 2000Trees is very Toget t ogobackasaheadl inerw il ll lus idyllic and w e h av e also h ea rd goo d th ings w ith p ride and loa d s of f ond m em ories.” ab o utth e large b ad ger p o p ulation in th e Ind ee d ,o n th e b ac k o f p layingth e SSE area ,”h e d ea d p ans.“In m y m ind,th is Arena in G lasgo w ,Ba rry and th e lad s are fe stivalw illp lay o utlike so m e d em ented fully em b rac ing th e h ead liner p ressure. Be atrix Potter m o vie.In th e b estpo ssib le “Ilo ve it.I’m ad d icted to it,”h e e nth use s. w ay,o f c o urse.Ilo o k f o rw ard to d isco ve ring “Th e on ly m o m ents w h ere Ife eltruly alive som e ne w b an d s.And o f c o urse b ef riend ing are th e o nes w h ere you h av e to up your som e lo calb ad gers.” gam e.Bec o m e th e th ing.Slay th e d ragon. It’s v ery fun a nd rew a rding.Th ere’s no th ing 20 0 0 Trees takes p ac on7-9 u 20 . orm or b etter th an getting to tryto m ak e p eo p le nfo,vis tw w w . tw othou sandtrees estval. co.u
N
R E
E R IK S S
R I
U N
L
Th isisw h at Refused d o w h ent h ey’renot busy bad ger-both ering…
y m l / s s r f i / o l t s o s r
W O R LD FA M O U S M U SIC STR IN G S W W W .RO TO SO U N D .C O M IN STA G RA M .C O M /RO TO SO U N D _U K FA C EB O O K .C O M /RO TO SO U N D TW ITTE R.C O M /RO TO S O U N D _U K PRO U D LY M A D E IN E N G LA N D
MONITOR SECTION
o i d u t S e h t I n r n g de r crd g c
Sc g grg F h d
Sca
A r t i s t :
g r ch c r d c
R I VA L SON S B ck H k aan e an ca ehe beask a 69 I VEN T HAT
5SLE9 I a9 5 LE !E9 55 . C 9 ( ) . 0 I ( n65 e5n. ) L-5( L 9 55 -C S V6Aani, . 5L ( L- - . LS 0 1 L ) 9 E( L( I SL55L) -C , H ccf Bc.e BE9 ( I -E 9 --9 5, ) . . 9 E( 9 E( 5LE C L(- 9 a 6 L aE . 5a 9 9 0 (9 L ) , L( 9 E( 9 5 - !a, - 4E E ) E -C C L L- ) . C -C 5 9 E(59 9 9 . -9 L L5(9 C 59 E, .9 I- . L) a9 5 LE L55 L LE 55 - . L) 5LE L L EL . -(L SL L . L) 9 E LE L L(,F . 9 a L( -E(9 E( . L) ) (L -E BI 9 5E . 9 ) 9 E E 9 E( L- LS . B C 59 - 9 C L S L- C E( LL 5LE E . - (L B(5 . 9 E( 9 . (a5I ) L . LC F L5(9 9 (9 9 E . 9 ) . 5 L 9 C S L 9 LELa 9 . 9 E( a 9 , C -55E SS, a 9 E( . L- 9 C 9 , a9 5 LE 9 9 55 9 L- E . 5E 5a a LEL 9 C 9 - 5 9 C L 5 9 E( . E E . . 55 L- LS .
um
L- 9 E 9 5) 9 (L 9 EL . aLE - L- E ( L 9 (- L- . EE ,F . 9 9 E 9 L( 9 L- 9 C -E 9 ) 5( 9 E 9 5 9 . .9 E -5(E 9 C S LE- LE I E L . L) 9 E La . 9 9 E 9 5 BS ) 9 a L-5a LE. , .9 I 9 5L LS ) 5( 9 E 9 5, 9 E E( .9 E( L L5(9 I -9 ) L L.E La .L- . 9 E( La C L (
L LLa 9 E( S5 L . L( . 9 ) 9 C aL-5 -EC 5L( - L- 9 . ) . 9 E 9 5 . 9 LS 9 E 9 LE 9 , - L5(9 LC ( SL L . E 9 55 9 55 E . -(L B 9 5) 9 C E ) . LE,F . 9 5L LS C LC 5 . E S 9 EI L (LEI ! - SL . I LL 9 E LL( . E L- . L . E 5 . 9 BI EL E LE -E 9 C E . -(L B - L L 9 E( L 9 L-C 5 LS 9 C a .E ) E (L) E ) . 9 9 E9 LE ) 5 . ) . La(- (LE .L- . 9 -C L 6 LLE9 (LF J- E 9 L5(9 E(( . . SS 9 EI 59 a( La SL ) L 9 E EC 9 LE L a . 9 55 LE H ccf Bc.e, LE. , . LC C ( -C 9 E( C - 9 . -5 SL-E( ) 9 . E LE BL 55 L . E9 ( . L- L .9 E E . 9 S E . LE ) . 5 LC EE SL EL - . SL 9 E E9 5 (9 L -E EL 9 9 9 . LE . S9 ) 55 L- ) 9 E L , 9 E( . I LE! (E .9 L E C 59 E 9 , aE .9 E . I C 5E LS . L LE B C ( BI 5 LE BL , EL .E H ccf Bc.e BI a LSS . -SS BI55 L . L 9 E( . E E , I L EC E EL ) E L- 9 E 9 L- SS SL . E (9 9 E( . 9 I ) . (L . 9 ) 55 SL . 9 5LE 9 E( B . LC L 9 5L LS . S! (9 L SL BI -59 . 9 ( SL C LC 5 L . 9 . L( BI 9 (SSE L( SL - . L E- LS RheaSomcna p. ol hodpcf l ow ones ) 9 (SSE L . 59 L( . I ic caoch aK2 16
“Makinga record is about capturinga wild animal”
0 1
MONITOR SECTION
c razy.T h en ec kisb ig .Yo u h aveto kn o w w h atyo u ’red o in g .It’sab it lik e,y’kn o w ,w h yd o n ’tth ey d rive tru c k srou n d rac etrac k s? G en erally,it’sag u itarb u iltfo r c o m f o rt,n o tfo rsp eed .Ig o tin to th eG retsch esw h en p u n kw as d o n e.B ec au sep u n kw asallab o u t L esP au ls,an d Irealise d ,‘W ell, you ’ren o tg o n n ao u td o S tev e Jo n es’.M yrstW h iteFalc o n w as ad o u b le-c u taw aystereo ,an d it so u n d ed likearseb u titp layed n ic ely.Ig o trid o f th at,an d m an ag ed to g etasin g le-c u t1975 B ald w in -era Falc o n :th atw asth e on eon She Sells Sanctuary .” Ae d ee DaEa d
“Joh n n yM arrh asan early60s b lac kS tratth atIso ld h im –an d I reg retg ettin g rid o f th at.Iu se d it o n th e’94/’95to u r,o n th eso n g Edie.It’sth eo n lytim eI’veever u se d aS tra to n to u r,an d it sou n d ed u n b elieva b lyg o o d .I’ve n everb een aS tratg u y,b u tth at g u itar,stillto th isd ay.T h ere ’sa ’59L esP au lth atIso ld to B o b R o c k f o r10g ran d b ec au seIc o u ld n everg etitin tu n e.It’sn o w w o rth ab o u ttw o h u n d red tim esth at. O b vio u sly,o n an an c ialb asis, I reg retse llin g th at.”
5 M INUTES A LO NE
BRRCC
e T T cT
e T C i a 10 A H h -
e eid a
ET fUT Uea:- T Ud E
“M yrstg u itarw asab lac k L es P au lCu sto m c o p ym ad eb ya Jap an eserm c alled Co lu m b u s. I th ad ab o lt-o n n ec k –th at’sh o w b ad itw as–an d itc o st£35in 1974.Iw aso b sessed w ith m u sic, an d ac o u p leo f k id satsc h o o lh ad
e hou
.. e
ic e c e e g e
ab an d ,so Italk ed m yd ad in to b u yin g m eth atg u itar.Ih ad it allin p lac e:alittlep rac tic eam p , c u rlyg u itarc ab le,p lec tru m , tu n in g fo rk–b ec au seth ere w eren ’telec tro n ic tu n ersyet. I h ad ev eryth in g p lu g g ed in ,an d itw aslik e,‘N o w w h at?’Iac tu ally h ad to p layso m eth in g .T h atw as th eh ard p art.Iw assh it.Iw as terrib le.B u tIw asaq u ic klearn er.”
g o o d tric ks.Fo rm yab ilitylev el, I th in k I’m in ag o o d zon eatth e m o m en t.It’sab lessin g atm yag e, to h aveallm yh airan d stilltin th esam ep an tsIw o rein th e early90s,ju stab o u t.A n d p laying -w ise,I’m m o rein c o m m an d o f it.T h ere’sb ee n tim es w h en itw asin c o n tro lo f m e,an d I ju stk in d ah eld o n ,lik eam ad sleig h ride .N o w I’m fu llyaw areo f w h atIc an d o .”
T T a T TEeT T d E eT T eUK
“I ’ven everth o u g h tIw asg rea t atth eg u itar.Yo u ’lln everread an interview w h ereI’m talkin g ab o u t h o w g rea tIam .Ith o u g h tIw asa tw o -tric k p o n y–b u tth eyw ere
D UeTed eTaT ad T
“I p layed m yG retsc h W h ite Falc o n o n Hidden City .W h yd o n ’t m o rep eo p lep layth em ?T h ey’re h ard g u itars.T h eyfee d b ac klike
1695 S5L EIE 6 a ! L L. 6 EIE 6 a ! a ILC ( )IS, - E, a L II LC (!
0
“O asisw erep layin g in L ee d san d I w assittin g b ac k stag e:itw asm e, Jo h n S q u ire,Jo h n n yM arr,N o el G allag h eran d th eg u yfrom T h e H ap p yM on days.Irem em b er lo o kin g rou n d an d th ink ing itw as q u itealo to f M an c u n ian g u itar p layers.T h ere’sso m eth in g in th e w aterin M an c h ester.M ayb eit’s ju stg ettin g rain ed o n everyd ay. A n d th ere’sab ig Irishin u en c e. D u f f y,M arr,G allag h er:w e’reall de scen de d from Irishim m ig ran ts. M an c u n ian isam elting p o to f vario u sth in g s.T h ere’sab ig Irish p artan d ab ig Jew ish p artto m y f am ily.It’sallin th ereso m ew h ere. I m ea n ,Ilo veD aveG ilm o u r,b u t you ’veg o tth atw h o led iff eren t sc h o o lo f g u itarp layersw h o are S o u th ern an d u n ive rsityed u c ated .You reec tyou r en viron m en tasyou ’reg row ing u p .D o Istillliv eu p N o rth ?O h , f u c k ,n o .Im o ved to A m eric a. Justfo rth ew eath er.”
TheCult’snewalbum , HiddenCity isout nowonCooking
s o t o
s r o
MONITOR SECTION
MEANDMYGUITAR
P f
aTH S S and new,its the isttou ’ u sing iton.Itco es withallblack h
wa ea d
h
u t th u ht
wa e S o itted anew b i ea
new tu ners
ysel,whichIhadn’tdone
before,Iwas bitw orriedtheydidn’t ineu p… the ook bitwonkyto e bu tIthinkthat’ s ine!They’eG over 2G K tu ners.Iaskeda ocalu thier iendwhichones ou dfitand he eco
D2eGeaciefGebe2ih U Km ecabahSCdid idAihAfGAw ic2 2idhew ,-II,ipde
ckE M Gs
itw ou d ook eal coolwithgo
ended the .Icou dntfind
anyoftheG otohones itca e ithi go d anyw here.
aTI E this eels identicalt E S PEcl ipse .TheE -I Iseries h s pretty u chtkeno e thatseries o
hatI’ aware
ofS o vegottwooftheseou t ith eonthis tou .I ’ not eal into oder gu itarstyl es Ij u stp efer orecl assicor
a Y FA E-Dau gave e
vintage-looking gu itars ith
this Ji
bit oreclass.I’ notint S u perS tats oranythingpointy.
Clip,whichs tops
altheexcess noise he you chu gand then eave itte gap –it eans you don’tget any ing o thestings
VI D EO d eo t .l /t gr27 9 i www.bi
a MVE USEDtheEM G 57/66picku p s etfora cou pleofyears now.They’e eal cons istent ive,the have oreofapas sivepicku p charactertothe .Thethi ng Il ikeabou tactives is theconsistenc acos s allofthes tings –now andthen,notes onthehighstings can eapou t andsou ndabits hrildu ingleads TheE M Gs are bit oreco pressed,bu tIdon’ ts eethe issu e iththatwhe you eplaying etal Itendto usebothactiveand passivepicku ps i thestu dio,bu ttheactiveE M Gs u stgiveyou oreofacons istentattack ive, hichsou nds tihter .E special p ayingi standardE ,you antever notetohavethes a e eightto it
n n a e A E
0 1
MONITOR
SECTION
OF THE MONTH
Sc (LINEAR SHAPE)
P c T
his month we’re mapping out the E major scale (E F# G# A B C# D#) in a straight line on the two highest strings. Taking a linear view of a scale is a great way to inspire new ideas that take you outside of the more commonly used scale ‘box’ patterns and
B A I
r
A
the layout of notes is especially suited to two-handed tapping. With this in mind, our frst example is a Joe Satriani-style alternate tapped lick. Example 2is an picked hard-rock run inspired by The Darkness and, fnally, Example 3 is a Hank Marvin-style doublestop lick.
T
r
T A P R I A N I U E Sod fg of
eoc k had to ta atdle o to th 12th ft th flk eoc fg off a doMMad dto to cll-off to th ot laed Mth a fttg fg. atS SloMle ctl eoc mmoS th od of th fttd otS.
TRACKS 09�10
q.=120 Emaj 7
T A B
F add 11
12 11 12 9
12 7
12 9
12
7 12
5
12 7
Amaj 7
12 5
12 4
12 5 12 4 12 2
0
H A R M Y O F D A R K N E S S q= 110
EI LICK S laed cSg
a aSdg S,-ot Sto of th Sal Pct ot hoM ah S,-ot haS StatS o a hgh ot tha th vocS o. DhS thc S alld –Scg’ ad t’S a gat Mae of laeg log madg lkS Mth o Sal Sha.
: g n i k c a b d n a s r a t i u G
2
MAY 201
E
B
A
E
B
A
BU 2
T A B
2
q.=130
EI 1950-YL lk
s h t fi f i r G e i l r a h C
TRACKS 11�12
4
4
5
5
4 4
5
5
7
5
7
5
7
7
9
9
7 7
9
9
11 11 (12 )
10
S T A R V I N M A R V I N cSS th mao ad mo d docPlStoS focd thocghoct th Sal Sha. lae ah a of otS Mth eoc Sod fg o th Sod Stg ad eoc fSt fg o th fSt Stg. 4old ah fg doM So th otS g togth.
TRACKS 13�14 E
B
E
let ring
T A B
9 11 10 12
11 12
9 10
7 10
9
5 9
7
7
4 5
2 4
4 5
C
STAR PR IZE !
B
7 T -lea eaP la- d MT
F9 6 ! 5.SE5!C F IF!a65SaI65S6ISa SaL 6 !5!a9 !5I9 I 9 1 69 9 E9 C 6 6-65 9 aC !56, , , 665!aS!C
LETTERS
!9 L S9 5 E 56a6!C
LETTER
EMAILS
P ICS
ETC…
OPEN DAW POLICY 1 69 5SLESII9 E65569 SaL ! 556. !9 6659 I C !a( . 5S), 656! 9 . . 69 5!9 -69 , !6 a !ESLESII, 9 SSaLSa6, SaLI!LS-69 -S69 a ! 5 56. 56L9 5SaL56!5SaLI!aLIC 6IS!aSI9 ! 6S. 9 9 I!E, 9 56BI6569 a SaL! 656 ! ! 56!C C 6a9 SIS569 . !5E566, S9 I 9 IS56!5SaL6S9 a.9 9 Ba.9 5S 9 5B, ! !-6! 69 6!I!, !, a!, a!9 6!5SC . !56 1 59 I6S65!a.9 9 !5 ES5I6SSaL I!9 B9 a E!!, 6C 9 C !, a.9 69 aESL 56! , 9 SIL!SaL !a!5E!!, 6C E5!C 9 !a6!E ! 5I59 aL69 . . SaLI E!59 , S Sa!, IB!9 -69 6L566Sa !C . SaL9 a9 a41 , 9 E5!C 70 NDL INADTT,Sa EfA
Mnk uD Dnteafce cBe LDth faee A, bunle Dn fa faee
ET f Uea :T -d -KGaa/,GaKaET d lf Ke KMU:EE-d -l/aE l (d E-MT M:d efe lc-M-ea eY-f Ml:KM lMc- ea (ff f -lMc- ea eS
Ma d -K
MYYeld MX T e:- M IlMY- (MXe: - 20 f f f Me:-MeS -MT ef el- Kae -aE- KM - Ma /M:d ea-lYM-KXeI/e::-eGT :E/e: lE:-Mla-e/e: leS G: -leS f - leld aEeY-f MlX: ad T d el l7Kce: -B- aXlE
f KKe
f -K7:XM
el-K ea: :d e eI B f KKaT :d B- :d e a l--d -ea e- KeY-K MlMUMTXT elMX e: -- KMS e-MMa MUlME- GlM9
RETURN OF THE MAG 1 69 5T Era Gn ra B566a . S6 . C L S9 59 L9 Sa9 E659 E6, 69 5I!EE(, !59 aSI9 aL6 Sa6, 9 E!56-65 )9 aB I , 9 a6!! aL59 9 6! !a . SaL!L 6659 a6C 9 L9 Sa6 E!5. 6! . 6S6C 6B I6! F 9 Sa69 9 aB ! L ! 5C 9 L9 Sa6, SSC S 6a5S !a6E5!a 5SaL 6 5SIC 9 I 569 B-6. S6 . 6-65 SII 6 ISa69 aBC !-SaL 6-9 5S9 S!a !EI 6IBI6669 C !a! E9 5SI69 5B-669 5a6I!C 6 5!9 S SII!aL IS6 BeCrefA a 9 aBE66S6B9 a. 9 I!C 6C !56SC 9 LSa9 S-6 6Ia!, !! 4-6aC , SE6, 9 ISC . 56II6 , 6aB. 9 665 a T he EfA
56IL S9 5IBI9 , SSa6 - F a l6-6aSEI6SSaISI!a 56E655SaL! S9 IF9 !a6!EE6 I!. 9 aSa9 -6SC 6! !a6, SI9 -65J! 66. S , 6aB, 6a 9 9 I, 66 !SaLS9 aB66. SaLS S, 9 I56. 9 6, S!a69 9 ! 6IC IS, S, S6SI JOHN DALF,SrEieI T e r Sa656ISaLB C I 56!6Ia Ma cJe a!-MT f M/ElM- -e Ml leS e: llMd laf ell-: laaE 9 -669 . . 69 !E9 5- ! ad d ea - f ell/f Gle f T T X 9 !5a6, SISa 9 5, 9 56BC le:ad YelMT eaEM/e:E: /f T T 9 SaL 9 ! 6L S9 5!E! 5I6 KMU:!
6
HO T SHO TS Hap guDta? YuTae ba!
BIN CIAON, a mbf Age e : -MTaEMXe: -
GOT ISSUES? BC , 5SSaL ! ! ! I66SEB9 aL6! !E 9 !. !E9 C 9 LE5!C 9 ! . 6!EC !aI 9 L! 6SII 6Sa 6IS!aE69 569 9 !a6!-65 9 a, 9 I9 9 !
TW ITTER. FACEBO O K. CO M /TO TALGUITAR CO M /TO TALGUITAR
:
F Ma cf KK
M- :l-K l-K -lMS T alE:-Mlea - eUl e:MaE- - : fT T M- T-I ea- KeYTBORN :Yle PLORA
e:l
f X- /G -K
IF ANA
N ’ N E E N
YeT T ef aET a I -TM f l--a Ma d /e :T T MX T -eE- /e :leG / X- T-EXMc:
YOUTUBE.COM/TOTALGUITAR
ad :/e: GMa d f a Ma
MaEMS Gf el-K 9 9 !
4C 9 S ! 5I!I! I, S ! 5E a9 C 69 a9 56IIF6 6I, SaI9a 59 aL6 5I3F9 C . f f f elMaEMS GeS
0
MONITOR SECTION
ALBUMS
1 M LA D D EL IB G lf1 o oo
41
dDoo
4d o1 4
cd 41fcd D
-- o
eC adoa6
fcalo al f 6 CP o ccao1 al aoo P a1 o c o4a6
aoo1o4oc
B ass es oaded
aoo o4o
4 d cadd
4Cd 4
lf1 o aooal
JD
o
ad( add6a6 Tdf C6 16 4f c 6al D doo d1o4
fo c o
a6 ca dfa6a a6 df d d d4a41 o 4o4 d 4 c
oCdd
a 1 o4I
a6 o16
a46alo
o
o
oaCeP 6
a6
4
L R U LE 1C LB L:P hyllis D
illard
a z n a L k c u
arlos has reunited his celebrated early 70s quintet, including guitarist Neal Schon, for this follow-up to Santana III , after an incredible 45-year gap. Too long for the lineup’s chemistry to survive, you’d think, but the band has followed the original recipe to the letter. IV has been in the works since 2013, clearly enabling the four musicians to rediscover their former telepathy. These 16 tracks span the Santana spectrum, covering both the frantic up-tempo Latin-rhythm infused jams that propelled the band into a global spotlight, to the kind of balladry the bandleader has spent much of his subsequent career honing. Guitar-wise, Santana and Schon are furiously inventive throughout, sparring excitedly over the bedrock of B3 organs, Afro-Latin drums and percussion and multilingual, chanted vocals: take a listen to All Aboard for a dose of seat-of-the-pants axe duelling, or Shake It to hear the pair take turns to whip up a psychedelic, wah-soaked storm. Overall, while this may be an exercise in nostalgia, and won’t suddenly win Santana a new fanbase, it’s undeniable that it’s full of wholehearted belief. Its songs
EARLSLICK
C ©
THELAST ALBUM IBO UGHT . P . P
BO R N O PL A Y G U A R
M AY201 621rYa0Yg1 Ami 1 11YhY2g 1 ahc1Ye Yh2 2e 1He20B #aa.Aaea B B ,eYg m 6#1 6#bIHe200eT 2He1 62 1rYa A#2f eYe01a aheYg 20r1 1 aHe200eT eYJY#r 20ehHY6#b.31mb11 YY eY er2ehY2h T 1 2hh.B1#1 A2r21 aaeg g eYg eY2h rhh2 S#e21 H0e61 g h Ya 201Y #aa !e!1a 2021? 6hr2ehY eY2h 0eg 0 g 1 r.Ah#6a 6e21 Y2h Y20eYg #aa ah1.
areinvariab l deliveredw it hsw ag g er,f airandm
sical
freedom, making it a real treat for fans.
R C IB S O A V O SIG A A U SH FO IC B l od c d
a4l o o1o4o4a4
4 do 44l 4 o o
?
? ?
D 4 4
4 l CP
oo eI d141 oI dfoal ad
o 4dP
af
a41 4
a a6
Intro Vertig o
fdo4o
c
oolc 3 6c F a6o
l
da4a
odo 6
( a 6 . a6 1 o o ; I d 6eoDE N /
LB L:
nyw hereYo a ntToGo
4do
A 0
ac
3 d 6 9
F
,
44 o a
c ca c o
1M LB L: o o s enThe
4d1 o 4 de c
?,
9 c 4 o 44o4I 1M
?
o
4d fd4 c adac4 4
rip
ALBUMS MONITOR BOOKS:
3RF F 2 IT IA NF I CTT C
F E D OT
BF F F TH H T BOM
IL F , 4a aT-I E31 TW N T,ER a;a3;
JEE;13C1a3E F, NM TH
-a13CE3-: 0 0 a3;O 3T4- 13O ,.-a;EI D TD BL , NB I N, A I T, , L N’I
aJE341,4a5J.I ,EI 4- cE1413;1-Ec-E.ca3 4-a4-4a55I aE,E;.c- a3;T4-N a1E3a5C.1a1 aE3 D -3-T4--a--I 13;-E, 4-O 41Ea1Eca4E.C4E. 4-J-a13C.-7-J;c4E; E,GiI kiE4-c41I 13C1c-; -;a5E3-E,H MaH SmDr J.4--13C-;1-313aI E- aCC-17-E31cJE4cE .c41E3cE14J.I -5; R -55R 144-.31C.1a R 415-41JE4- a3;.I R 14a,-Ec14aJ.15;-7-3 E,-3.I J-E4.3;-13C -.4E1cc-c-3;E
Ja3;E13CE-cE;R E ,.555-3C4a5J.I 13E3--1E3 R E.5;-.51341-cE3;4a5, J-13C4-R -a-a-EE3a55a-; J4-E3-R E.3c4E, i Mia3;BaC J51-13C -3-E,.C-3cT4-I E- I -a.-;ac13CE,N rH rmC a3;15-acac.a55E,,-a R -55G.;C-;-1-,EI 4- .-I EI -a54E.C4 ki 4.C- a-3aEcc4E.a3; E5E-ca554-E3CR 113C T-I E31-.a1E3R a ,E.3;-;E31341E4-R E Ja3;a3;4ER 4-C.1a1 -7-CER 13CcE3;-3c-aa 5-a;13C-
E3--Jac--I -;EJ- 4-I a3aE,4- --B-,a3 --1-3c-,EI EE,4- T4-3 E riaMCH M A rMCaiBaE4a;4a;-E, 4E-a3;4--aCa13R -3;17- / .EI E3E;;13CE4-J1551a3 kA Dk J5-3;E, E7-;17- a3;-ac4EI -5E;1cE3A G Mrza3;Ek r4-3 4-5E7aJ5-PMrima34-I 1c ;1cE;a3c-E,KMCI fBaH mr a3; mYmkH G i MCa T4- ca7-aE,a3EPM --B- a5J.I --I EJ-17- aR R a;414Ea1E3a3;E 114--BaGmFmrG Mr J. R -55a-4-a;-E,,411I -
R 2D F A 2D:H MaH SmDr
A 2D, 2D A 2D: ki
23 A 2D:A GMrz
2F
2
F 22
, 2 F
D T IT NINM H,
BNNK NFH D NW
, D TH A HTI IA , T, D
FF I TL
E.51-aJE. L HT
BC DF E5Ea5J.I F , T
a17-J.E.ca33Ec 4-aJ.3;a3c-E,4-a;1.I 1B-;1,,E3414-1-cE3; a5J.I -3;a3F ER a;.41 J-5a45-a;a55E7-I Fmr BaRmSMMCSaMga3;4-15- acR 415-,E3I a3a; a 41-51-acEJ-R --3(E4 TE;;a3;-Ja1a3ac4,EI 4--cE3;.3154-5a .R 144-51-E,.cc4- -a7-3a-I -3a3;-7-3 D a33 E3E - - a5E -;a513C1I 15aE.3;R 14 51I 1-;GE1-I a13EJ---3 R 4-4-E3E a17-R 155,.555 4-11BaJ5-E-31a5
-I a13E3-E,4-E3C- -31-1341E51c;1cECa4 4ER 13C41I E-E.5,.5 3;-!.-5-a313Ca3;G. 4ER -,,-c17-4-ca3J-R 4-3 -…-c17-a3;-a13-;aa 13C-a3;E5E1 I E3C4- I E 31U 1J-E3-a3; -3;11a3c4E;13C4-ca3155 Ca3;a3;4-E1ca55R 144- J-E,4-I ri mkr J. miPrr1E.5,.5a3;Ba -,,-c17-5a-13R a4a -I 13;.4a411a3a1 R 4EEI .c4I E-4a34- 13c44aI E31cI -a54-a;EI - -C41I a
R R2E F 2 A 2D:SMMCSaMg
23 A 2D:miPrr
OX 9T
aJ5-JEE3; TH CNFF 4-E3-E34-c.E,,aI - 13E3;E34-3134-I 1; E,,a34-1a134- 2E.3C aJ5E1;3a-T-O N -155 4a;.317a55-;acc-E4- ;.13C4-1J-aE.-aE, 0Q;1;34a7-ER EEE 4a;4-R --1I I -;1a-5 cEE5P4--…-ca3;4-1c E,& --,a3;cE-1,E4aa 4-J-cEI -cEI ,EaJ5-R 14 4a713CO N -155aE.3;31C4 ,EI 4-Ja3;a;;E4- --1-3c-a3; --; a3ER 1B1c.4-517- Ea4-Ja3;414- A 2D, 2D
-c431ca5--c1-A ffi n it
1a-cac.5a71cE,EE3;E3 I -a55- a-3-113Ca4- D U D JE-4--I a--; I E--a7aCa3-3;E,4- -;11E3E, -a551caR E EC-17-ca5-R 14E3C a5J.I a-a7a15aJ5-,E-cE; .c4aBaA rcaMici4aa- E-D a,4-1;-J.,EC-; a.a-;R 1413C-31E.1;-a N O 13….-3c-13E a,,-c13CI EE;a/ 4a51- EI -413CC-a- T I a;-E3- 1,4a3;1c4 -34a55 E,4-C-a-c-a17-5-a13 C.1ac-a-acE3a35 I -a541ET4--I a-1-5, -3CaC13C;3aI 1cR 14D 1-CE E,,-aI E-aCC-17--;C-E T-G-1;a aI JEa3-.a 4-44I E3-a3;4-;-I E R -55aI .1c1a341 a-3a5E ,EI a 51c47a.54ER 4- -c-5aE3Cca,R 144-51- -7E5.1E3E,4--aR a5-3T4- E,ga3;RG Mi--c113C ,E.-a4ER -cE;13C41C451C4 -a13a3;;-5E13Ca55I a33- 4-R a4--7E57-;,a517-a E,13-caaJ5-I -5E;1c4EEa3; R -55ac-a17-5EE aJEJ13C-.- J B ;-5.-/ D )
23 A 2D:FBmc
D2E F F A 2D:BaA rcaMici 2 0
An u nplug g ed interview w ith Gra ha m Na sh P
C ro sb y , S til l s & N a sh sty l e l e s s o n
ON SALE NOW B U Y YO U R C O P Y T O D AY www.myfavour itemagazi nes.co.uk /music/gui tarist-pr esents-acoustic-spri ng
O U R R I G T
F 2 R R , 6 6 9 5 S6
C A R C A LLE 5 6IS
D 2ee2G acci2iD 2ifcbh cUcehK mfhcc2aUchSi CSfdA iCKeKmawic eKmca,aKb-ScaKmiI
0
1
TeeD hf vW lreA aleA WveA W nec vr AeeAy
2
D mW vdA weaAyenn rdW fe 335hVreAW nweAc
3
4
D LL SGREEN 2
16) SH S
) RS
163.E : ER SER CI,aT c.aBOJ;; D/I BD. 1 D/cBR cD ( )(.(/G /.T (
1
ity And C olour’s fifth albu m , If I Should Go Before You , released last October, took Dallas Green’s melodic indie-rock com bo further aw ay from the aco ustic vibes of their previous records. Layers of gorgeou s reverbs and echoing delays soared across the gr oo ves a s the A lex iso n fire a xe m an an d his touring band plu gged in and let the sparks fly. We caugh t up w ith Da llas, gu ita rist D an te S ch w ebe l – w h o’s al so side-manned for Dan Auerbach – and pedal-steel player Matt Kelly at East Lon don’s art deco Mecca the Troxy to find out the rig secrets behind C ity And C olour’s impressive live sonics.
20
2 0
R & (. /J/T .. ca. /(DNB N DI. Ba/( /. D.T D.D J;; D/D.. B(J (B(B DT ID/DB (Dc B .. / D( DDT D T (B.T 3( cI,aB./N. D(a./() c/B(R /.NNc ca. /(D (D/ J;; D/R ( R N./cBN/(D N DD(.. B.T a/IT D(DD.F ( BN/(DB .D(. D(N D DI/ /;cB(D./D(.R BD/. (D B(DD /(D. .D/I/./BBD R /DBDacR /D. T (DD( I DR ( R .D) (ac3.(D I,.c (D.R /.NNcD/.I,D D..DT /(D.(T (/BD (. DD,T cT a. c (D/IR c(D( B/.R & DB/BBDT .aD( D (T /(D,(DB/BN DDID D R D.BI DD. mPamMar!
CI,aBD(./ .Dc/.T IDT ./((cD/.N DIB(DT (DB .a/D. ..T I.D(DBDI.D/(B. DU /(D.3U /(D.(D(. DB(B,D /cB. ./ IDBBB .DR . B BD.D (D/.IBDD( B/DD. DI,aT c.aBD U (N/.OD(R (D..3(.Dc( DB/BBI (D(Da(//.. ( iiLC cNBmmG g B . .B/.DDT R cR /DDc. B(a!
166.E : ER SER CI,aT c.aBDN.(cBD 3 5 N /D? D cN. DD(.c /. BID,/DD. (D,(DDN(D ./DB/BJ;; D/. B(ID,R /DDc B/(R .T (D./D ./c .I (D./AdamC aYkT ((R . D/BDIB.B. NB/.R BH aMMIS I D aMG maT ((R .,B.DT .DB/.R R B!
1 /6 4 R9 H SRHHE CI,aBD(../R /.NNc(Dc/ 4 .T I,B.D Da(DD. R . c
CITY AND COLOUR
RIG TOUR
D e beaf n W fAArlywerd rAc R nc
5
D hcAW mM rAen HD 08V nlnll W AAd dAW c k
6 T N I D.aDT c(D..N D T T T ///(./D(D. /IN/. D (D. DN T T / .a(. D DD( BIT R (. cD R I. BDD(DT ./R /Dc./DT ..( DD asted Lo BK ng T m ? (DD . B.D.B.(R ( R (D D R /D./D 3(.DR .,B .DT ../D/BD(D,. B( DB/BD (!
RB , A R A
7
R
C3.. /T ,a.D /? c
5 3(( D R /.. (D/I DT R (D /.(D.(BIT (? DD (D(',5.I (B DDO5D(& , (D/DBT ( c cNc. D cDG /D(IN c.. D',N I. B,D(B..(5. DDG /D c (BDcT / (? ,(a( . ,ID,N B(DD a/(? / (DD/. D R B BR B(.T DDc. c. .D (D. B(? /(D;/Ic. R D. B(D./D(.N(B(D(D. B/c /c… Bc. B.,Da/(Nc. . D( (D/ !
D bnlena M W e mLence d yen xeW nfi
R F ,
,A C A -
, B(D,N B./a/c.T .
C3((D (. D( (D/DDIR c
6 I, /D( NB./BT (DDD
c. DD.B(c. /.T (D/BDc, N (Bc. (DI D (B/BG /F T . B D.NB.D D. .R F . R .(B BD( / T (D(DI(BIT DB.DDB BD../D/B5 N /D I.a(DI,aBD( (D/a/(T D/DB D. /(T (DD(NB.a/D/c/..T
T /T R .(D.DN (D,T /(OD BI.aDDD.. !
C,
RRF,R
RF R
CG .//(( c/. ? B 7 - D/(.( BB, D. R N (B/ N (D T DDBDDI B ( )(.(/./c/Bc/B
20
2
1 1 1 2
1 4
1 0 1 3
:PPeSbdPTadiPmaG PiPfnbGndGidfpiGe nDC:bhbdedbm !
9
DD,DND. B( R I,aa/R cB ? ID/DBB.( (Dc B .. / ./B ./IT DB( D.N (B R N DT DDBT . BND... B34. G /(B/( cDT .1T DD N//DcR a(NN DIB(B,DBD DT ..T DT B(B(T D... DB B(.DB. .D.N .T (D, D ( T DD( R .D( N DT (DN(D ./D.(D3((D R DD,NT (D R /.NNc./DD ()c/B(D,DN . c(aD/( (D/ . B3DD(/ DR /DDc .D (D (BBBD/(BT ((c. /( ( DB DBBR B(.T DDD . B(!
2
2 0
230)
C3( DT (I. B( ( 8 .R (3./.D.(/DB.( R ID D/a. a. BD.B c. T (D(D/. 1D. T DDI.a(D 3/,)2(D/ID,/(R /B(DD R B/cT I,a.DD( ./ 1 . DT (D D..BT T (DNB./D NDT DDBD(B. D( T a D/I/ D DBD4. G /(B/N.DDD D( N.D. BB DI D/ N .(D(D.D !
N P 2 P
C3/D a../D. D(
9 T (T ,aN (./ cN()
.D3c,//D3. D( (D/( /BD. R (c(a.c. ,a.DD.D/cB(B T DT ././c. Bc. /.BT ,a .DR /DDc..B/R .T D,T ./(./ B(D,D a.? BD./ D . D(D/. D74& IN DD a. D N(D ./a/D(./D /.. . B DD(BD. DR D BR B(.T /c. ,/R c(!
P2 AC 4M
N N
CI D.DD(BI/c.a(DI BD. 1 0a/a/NR BBD/ R B
R /DcN DD(B.N.DT ((/D3 /a/N( .DT c.N IB.,Da R /a/N!
C N C P4
CI,aBD( 4 /N. .R c./. 1 1 D( .T B(D,R /.NNc ca. /(D R BI D/c(D( R ((Dc..T D Bc. B!
2 4 2( 2 C3((T DIT ./BB/,. B(a/cD(( BD/.c( (D,.D ;;BBcBI (D./ DB..T T ,//(. D D a( !
1 2 DR .(DB(D.
4 M C N 2
C3(.( I,aN (DDR 1 3 D /D(..D& ..D ((D .a/B/(a!
2
2 2 2 1 ..
C3 .. ;;(R /DDcT . B c./( n 65T (( R /DDc..I D& .DR D /D(. ./D(/DN(.R R ,R /DBD./D BI D .. ;;!
1 4 (B.(
CITYANDCOLOUR RIGTOUR
:nGb1ndGhbEqibe inPbSi SabhimGa SPfindibbnGc f
2
1
L E B E W H E SC T AN D F R,
R , FR
C? ID/DBR c(T (D(Dc B 1 .. /D(T cND.c (D/ IN/. D. DT (D.N R ID,./D. ()BNIB.,D.T T D(B/.(D BT D(,DBI. B,DDc. .T .B(D (N DIT . B . T /(D 5. .DB.Da. DN DIT (D 4(/B,3. R .B.D ((. IT (5(DI, .D.(D.T .//cN. D(D D ,I D(./D. D/c. B(D I.aD.R ( R D(Ic. .ca. .R D(.c. R cB(/DcI(D.aD R /. BBR cT (D/(DD.
:nGbbGhi9in aam c hbbGhbbPb andTiGhiPP
BDDa. .DT ../D/. ,N /R /(BD.T ..BDD. BN DR .R (B.D(D. .D. (D/R c/ T /DD.Ba. /.BD Dc( /D(. DT (DD(/DI D . B,DB.DD!
F? , ,CI,aBD(./a/c/ID((D,
2 (B2./. D((DD3(
R cD/.(D cD(DD,/c . BBac3BNB.,DD. D//(Nc.(D(D/I DT . B.(DB I D(Nc.DD..IT cR c( DB/BT (D (Dc B.. /!
F? , , C3(5G (T ./D(D. /BIB,D R cB5G (2c/ID(D(( (B2 D..5G /(B.D(/.T D( 3c,/T D/. B(DIT . B aD. D. D .DB/c . B/. D(5G T (/R /DDc(cD c. a/DD(R (c. B5. D( 3(. /.. T ( DN./(!
C,
2 R R
C,
C3/ R /N(c.R (. D.BDT BB/B D/ IR cB./DT BB D/.
20
2
M GGKbPPfddhi SbdPGbbPGPbnGGa GhbC+CPibhac
:nGbeCPfb m Sim iGGbnaPd FbndbBndm Gb
4
6
2 2N
22
OY a YUJJ a IJ Ba m a JYU B a vJY Y Y H
5 :nGbeSbdPTadi m PPTGbbGib GanbhSinGaaP
N./BI D(.aT (D(D3c,a.D )R /BDca ( . B . DT (/BR /BT (DD )ID( Dc,/20T DD.Dc,/.DD//(Nc. B T (((N DDc,/N.D.DT .D( .D(/ ((//a/N (D( DNID,..DND. B(/a/N I,aa//B3c,/(B.(D.BB/ 4a/ND.c. DDBT ,.N a/cD(,/B R Dc,/N.D.B ((D,.(D.NR /DDc.I,NR c(D (D/.../DT .3R B.D/. . /T (D.D/( DD/(D!
2 0
P2 AC 4M
N N
CID(.D./( n 65ID,.DD( 5 /cT (/c .D(7(. BT (D D(/ .(D/ ..BD(a/B( /a/ND(T ((/c.../DD.!
C N C P4
C- . R ..D/,R N 6 BD(. B/..BI (D(D .9nbVCn VA6S2,./( 6fef51./cD(DD, (B.. D/c( DD.D(DDN(D. a((B.D(.(!
CIR cG I)R .5T (DG ./7 00R ( R D BD. .9ID,.D (T / NBD.T (( R /D./D(B.R c(IB.T (D (Dc B.. /I,a.D ( R B(D,BB.T DND. B( R I,aa/R cBD/. 3 R /BT (/BNc3( / ( 5/(.I cD(I,a .DG ..B/(72a. R B /DQ /& a( .. ;;. /5D/c . R (DB 5D/c .(DI,a..DD(( (DD )R /(. (DDD. /D cN (D ./ NB.(B c/(B/(B I R T (DIT DBT cD..D/. D (). c5D/c .BcB/a/N D c(/D(R cT (R R B R .(;BR BN.)T (DDT .R .DDD Ia/..D.D/.D.DN/(BB . cD.I(cD T (D cR ((BT (R c(D. DDD(!
e a n m o c e b e v a h e v i r P a r k w a y D r a t i u g e h T . e g a t s o n u n s t o p p a b l e f o r c e o r e ’ s m o d e r n s u c c e s s l c t e a m b e h i n d m e t a i r t ip s f o r k i l l in g i t l iv e s t o r y t e l l u s t h e
PA RKW YDRIVE INTERVIEW
Mnk uD nt ea effca f e BnLfhcA,eb ulHAnh ,pne, g?YfenH?ekca fT !
B
n recen t years, there’s been plenty of open discussion over w hich ban ds are ready to step up, seize the torch an d headline the m etal festivals of tom orrow. For m any, Parkway Drive have becom e one of the brightest hop es, having bu ilt their fierce reputation the old w ay – through dependably crushing live shows over 1 3 years of hard graft and bludgeoning beatdowns. It’s not been particularly easy for the Australian metalcore bruisers, nor ha s it been overly calcu lated. Truth be told, the fact their plectrum s com e adorned with the wo rld-fam ous Poo Em oji says a lot about how seriously this band take them selves. We find gu itarists Jeff Lin g and Luk e Kilpatrick sat backstage before their first head line show at Lond on’s Brixton Acad emy, looking as relaxed as can be, wh ile sharing their tips to becoming all-conquering m asters of the stage...
hn,H : MS a a J Ie J anB Mhfha n?u:W J
1 M LL L RU EC EB:, EH E:H :
. .G B? .H :EA :I
E: .:EA B?
:W “Our
first few g igs were a m ess, completely awful. We had terrible gear, terrible style, bad musicianship – the worst of the worst. Like a hambu rger with 1 5 ingredients on it! We were really lucky to ge t off th e g ro u n d w h en w e d id .” L: “We w ere clueless, we did n’t even have dynam ic control, so there was horrible feedback in betw een every chu g. It’s like any band that starts, w e w ere just a garage group practising and all of a sudden w e were practising on stage in front of people. We had a couple of good tours at the start, wh ich forced u s to play better show s early on an d try hard er.”
Joh nn y’s got 8,000 pedals!’ Bu t actually, Joh nn y’s also got 8,000 problem s that come along w ith it. When the PA is punching ou t 1 05dB, you don ’t really hear any of that shit anyw ay. All of it gets lost in the m ix.” L: “There’s a repeating pattern of musicians getting carried away, over the top or cocky w ith their gear, just like they do w ith their music. You can h ave a pedalboard that’s two m etres long, and it might look great and be fun for you, but to the crowd it m akes no difference. I find the best mu sicians are the gu ys o n th e str eet w ith a h at i n fro n t of them w ith only five bucks in it!”
M- LR UM
.
C M LL .: E EBE ?A B
IA
M E:
.:E:.:
EA .A :W “We’re no t gear na zis at all . Ou r theory is the more gear you have, the mo re tim e your stage tech will be runn ing aroun d, pulling stuff out to try and figure wh at’s gone w rong . We’ve toured w ith heaps of bands that have all this equipment. And it’s like, ‘Oh w ow,
-
M HE EH
IB WA. .:BE:.
B, ?A .: :
:W “It wou ld be absolutely im possible to do wh at we’re doing w ithout noise suppressors. If you’re in a rock ban d that use more vintage Marshall types of soun ds then you migh t get aw ay with it, but not in heavy metal. The Kemper Profilers we u se live have an in -built suppressor that’s good en ough for our needs. Som e people actually com plain about it, but I always think the main reason wh y we don ’t need an external suppressor on top is because
C
M
.G B? .:W:.EAEB? .:D 8:
there are no w edges on stage. Th ose things firing 1 20dB straight into your high-gain pickups? D eath!” L: “And back w hen w e were using Peavey 6505 heads on stage, we alwa ys used the Boss NS-2, wh ich w as perfect for cleaning our signal up. But w ith our new live rig now, it became something w e could kick out of the chain w ithout missing too m uch.”
.:E:
L: “Anyone
that walks in to our dressing room before stage time will probably see som e half-arsed stretching, a lot of shittalking and fighting w ith each other. I m ight do a few chrom atics during the intro tape, that’s about it. There are no hou r-long routines before w e wa lk out.” :W “I do two little shits before I go on stage. There’s nothing in tense or serious going on . We’re pretty slack, there’s not even a guitar backstage. Seriou sly, we get our gu itars about two m inutes before w e walk o ut. I’ll do a few light bends so I can throw it back to m y tech if he hasn’t stretched m y strings out eno ugh . Ou r mu sic’s not technical enough to bother warm ing up.” 0
11
INTERVIEW PARKW AYDRIVE
2 2 E E E F I : B K : 3CI: K / A 33 A 3IA 3K g : “W h e n w e f i r st st a r t e d w r i t i n g , i t w a s a ll
a b o u t r ip p i n g a s m a n y n o t e s a s w e co u l d , li k e a c o m p e t it io n o v e r w h o e v e r h a d t h e r if f w i th the m ost no tes– 9,000 in a bar or wh atever! T h a t w a s ju s t o u r m e n t a li ty a t t h e t im e a n d w e ’v e l e a r n e d o v e r t i m e t h a t si m p l i ci t y w o r k s b e t t e r. I st a r t e d w r i t i n g t h i n g s t h a t g o t st u c k i n m y h e a d f i r st , th e n I t h o u g h t , ‘W e l l le t ’s se e i f w o r k s o n o t h e r p e o p l e to o ! ’ I f it so u n d s g o o d t o m e , i t’s g o t a c h a n c e ! ” D:“A l o t o f m u s ic ia n s a r e t o o g o o d a t b e i n g m u s ic ia n s co m p a r e d t o b e i n g s o n g w r i te r s. T h e y m i g h t so u n d i m p r e ssi ve t o a n o t h e r g u i t a r i st , b u t f o r t h e m o s t p a r t , i t ’s ju s t t h i n g s t h a t a r e u n f a t h o m a b l e t o a ll th e r e g u l a r p e o p l e o u t t h e re . A n d j u st th i n k – h o w m a n y g u i t a r i st s a r e t h e r e t o r e g u l a r p e o p l e ? ”
E2 2 , E R , 2 E A / I? K A g: A B S: : B K D: 3 g : D:“N o w w e u s e in - e a r m o n i to r s in s t ea d o f w e d g e s, w e c a n h e a r everything. I t ’ s so c l e a r ,
w h i ch m a k e s t h i n g s a l o t h a r d e r th a n y o u t h i n k . U l ti m a t e l y, t h a t ’s m a d e u s b e t t e r p l a y e r s, b e c a u se y o u h a v e t o d e v e l o p t e c h n i q u e s t o h i t a l l t h e n o t e s ju s t r i g h t . I f k i d s w a n t t o s o u n d p r o f e ssi o n a l , t h e y n e e d t o k n o w h o w t o co n t r o l th e i r so u n d . ” : “M a k e a l i t t l e p i n g o r t h e t i n i e st fu c k u p a n d w e ’l l a l l lo o k a t e a c h o t h e r i n a ‘ h a - h a , y o u d i d t h a t ’ – b u t n o t i n a ‘ y o u s cr e w e d u p ’ k i n d a w a y. Y o u ’ r e a l m o s t w a i t in g f o r t h e o t h e r g u y s t o f u ck u p t o l au g h a t th e m ! Y o u m i g h t b e fe e d i n g o f f t h e c ro w d a n d e n j o y i n g t h a t , b u t w h e n y o u h e a r a m i st a k e , i t’s h i l a r i o u s ! W i t h i n - e a r s , a l l th e s h i t t y h a b i t s w e u s e d t o h a v e , li k e o u r p a l m s n o t r e st in g p r o p e r l y o r p i ck i n g t o o m u c h u s in g t h e c o r n e r o f t h e p i ck a n d s c r a tc h i n g , w e c a n ’t g e t a w a y w i t h th a t a n y m o r e . I d o n ’ t e v e n k n o w h o w w e w e r e e v en a b a n d . W e w e r e sh i t, m a y b e w e st il l a r e , b u t w e w e r e a lo t m o r e b a c k t h e n b e f o r e t h e i n - e a r s! [ l a u g h s ] ”
E 2 R 2 E : B K D: K 3 3I : gg: A K g/K g :K K /: K S: 33DA : “O u r b i g g e st g u i t a r h o o k s p r o b a b l y
c o m e f ro m m y M e t a ll ic a o b se ssi o n . I f y o u st a y m u s ic a l, p e o p l e c a n s in g t h e m e l o d i e s – t h a t w a s m y b i g g e s t r e v e la t i o n : s i m p l i ci ty a n d e f fe c ti v e n e ss. I n t r u t h , y o u n e v e r r e a l ly k n o w h o w p e o p l e a r e g o in g t o r e a c t. I t w a s in 13
20
B r i s to l a b o u t si x y e a r s a g o w h e n t h e cr o w d f i r st s a n g t h e r i f fs i n st e a d o f t h e v o c a l s! W e c a m e o f f st a g e w o n d e r i n g w h a t t h e h e ll h a p p e n e d , a n d si n c e t h e n i t ’s k in d a j u s t b e e n b u i l d i n g . N o w w h e n e v e r t h e r e ’s a c a t ch y r i f f, t h e y ’l l st a r t si n g i n g i t . S o u t h A m e r i ca m a y g o e x t r a c r a z y , b u t l e t ’s n o t st r a y f r o m t h e f a c t B r i s t o l s ta r t e d i t ! ” D:“O u r se c r e t i s t h e c r o w d – t h e e n e r g y f r o m t h e m g e t s y o u st o k e d . I f t h e y d o n ’t p e r fo r m f o r u s, w e w o n ’ t p e r fo r m f o r th e m ! T h a t ’s th e d e a l . E v e r y o n e h a s t o p u t 1 0 0 p e r c e n t i n , t h a t ’ s j u s t w h a t h a p p e n s . I t ’s h a r d e r t o fa k e t h e en e r g y … a n d w e ’r e to o o l d t o f a k e it a n y w a y ! ”
C E E 2 :SA : A :A 3 BI /I: : “E x p e c t a t io n i s s u i c id e . I f y o u e x p e c t
sh i t , yo u ’ re f in i sh e d … y o u ’ ve g o t n o h o p e ! W e w e r e se e i n g a l l t h e se p l a c e s a s a g r o u p o f m a t e s t h a t ju s t w e n t a l o n g f o r t h e r i d e , a n d I t h i n k t h a t h e l p e d a l o t . O b v i o u s l y w h a t ’s h a p p e n i n g n o w i s v e r y d i ff e r e n t to w h a t i t w a s li k e b a c k t h e n . T h a t w h o l e ‘ fa k e i t ti l y o u m a k e i t ’ t h i n g i n t h e m u s ic i n d u s t r y, p e o p l e se e s tr a i g h t t h r o u g h i t. I f y o u ’ r e a f a k e b a n d , t h e y ’l l b o t t le y o u a n d sc r e a m f o r S l a y e r. ” D:“I f y o u s ta r t a b a n d a n d a l l y o u w a n t t o b e i s th e n e x t anything, y o u ’r e j u s t s e tt i n g y o u r se l f u p f o r d i sa p p o i n t m e n t . J u s t h a v e f u n w i th i t a n d w o r k h a r d , d o y o u r sh i t , b u t r e m e m b e r i t ’s fo r f u n , f ir st a n d f o r e m o s t. J u st t h in k h o w m a n y m u s ic ia n s h a v e b e en l e t
d o w n … T h a t ’s t h e w a y t h is i n d u s tr y i s g o i n g ! A f ew y e a r s a g o w e sw o r e w e ’d n e v e r le t a n y o n e t o u c h o u r c a b i n e ts o r ch a n g e o u r st r in g s … w e ’d a l w a y s se t u p o u r o w n g e a r. T h a t ’s b e e n o n e o f t h e b i g g e s t c h a n g e s , th e a m o u n t o f c r ew w e h a v e w o r k i n g fo r u s n o w . S u r e e n o u g h , w e ’v e so l d o u t ! [ l a u g h s] ”
HEEC
E F E
F 3I D : :I:K S:A A : B A : K jA A 3I K : “I r e a l i s e d I w a s n ’t so m e S t e v e V a i t h a t
could absolutely barbecue the neck all day l o n g . P l u s , th e r e ’s t o o m a n y o t h e r a s p e c t s i n m y l i fe t h a t I e n j o y, l ik e s u r f i n g o r sp o r t s. I o n l y h a v e a li m i te d a m o u n t o f ti m e I c a n g i v e th e g u i t a r … I ’m t o o s e lf ish ! P e o p l e d o n ’ t r e a l i se h o w c l u e l e ss w e a r e . T h e i d e a s j u s t p o p i n a n d i t c o m e s a cr o s s a u t h e n t i ca l l y b e c a u s e i t ’s j u st c l u e l e s s! W e ’r e n o t t h e o r e t i c a l g u i t a r p l a y e r s , I ’v e o n l y j u s t st a r t e d t o le a r n w h a t k e y I ’m p l a y i n g i n b e ca u s e I m i g h t h a v e t o u s e A u t o T u n e o n W i n st o n ’s [ M c C a l l, fr o n t m a n ] v o i c e a t h o m e a n d n e e d t o k n o w t h e k e y t o m a k e it w o r k . ” D:“W e n e v e r w a n t e d t o b e M e t al li ca … w e d o n ’t r e a ll y k n o w a n y e x e r c i se s t o b e h o n e st . W e ju s t d o w h a t e v er w e w a n t a n d i t h a p p e n s . F o r e x a m p l e , I d i d n ’t e v e r le a r n h o w t o p l a y t r ip l e t r i ff s p r o p e r l y. T h a t p r o b a b l y j u st ca m e f r o m J e f f w r i ti n g o n e w i th o u t e v en k n o w i n g a n d m e h a v i n g to l e a r n it .”
K 3
D I :CA B /. A A K E : 3I A
/ :
F I X
R Y O
I N H TE C
E
a t h w r te t a m o n d n a t, s ri ta i r fec tgu e p a s a g in th h c su o n ’s rge t re ve e The n e w t a th s le g ig n ve a h our technicalabil i ty, weall ithernomore,andle tushelp you elld la ying! around toaddressing. W p r u o y n ea cl g n ri p s d n a e tigh tenup your techniqu h t ri fi G f ie Charl B ird, Chri l iam , Wil o rds:Stuart i Se y: h Pho to grap
2 01
2 01
3
COVERFEATURE FIXYOURTECHNI UE
FI
Y O U R
e Te CTi aCTe1i 0eCTeeb T
e e
CT i i D TB 1.H e e B 1e,-li T
T E C H N IQ U E
eBie TM eA BeBb 1Tc T eA ebC1eA
ARCHECK P G IT H 55EE
E 01 A / E CD0E
1CCD1B A / ) A D1B 0B 1DAC D0 E 0 1 1 A0 - 1. E 0 D1BDAC 10 0. 1 E0B
A0DA DAC 0B0
0BD1 D CD- E E 01 1 0B E
D
A 1BDAD E
EA 1B 0/ E CD0E 0 E 11DA D 0B E 4
) D E EA
E H FD BK
A 0 E A E A E DAC 6 E/ DAC 1 D0B 1 A AD1 01 E 1 10
0D
1 A E/ 0B 1 1 E
4
DCE1 0EADACEA0E 1 A0) A
0 E - 0B A0E -D0 - E A 1E 1 A00 A E DA00B 1 D0 E 0 0D0) 4
D E
B / 0B A01 DACE1 D0B 1)
01 A 7/ E 1 E E E1 D 0BA / !
A01-
FIXYOURTECHNI UE COVERFEATURE
G H E GA0D1A
0B 10 D
E0A 0
E01 EC D0EE 0 D0 EDCB0 A D0. E
E D0BCE 0 0DA A 11 E
0ADAC
- E) D E1 D1
4 E/ A 1 4 0 E 0 0B EAC B DCB0) D0. 1 10EDAC 4 4 E /C A EA 4 0D
1 6 00DACA0 101 E
710DAC0B B DCB0 D1 1/D 74 0B0 A A0 E
DE E D 4 4
0 E
A E 0B0 D0. 1 0 1A A / D0 0 1
E 0 A0 DA 0 1B 4 0E 0DAC DC A1 0 ,
D B D C H
G A
U I I A E0DA
0B0 0B A DEK O E
ECDA 0B E 1 A
AD0D- EDCB0 E EACB E 4 0 0B
BDA B 1E
B DCB0 E D/ 1 A - 4 EDAC
1 E
1 E 10 A 0B
A 0ADAC) 0A A 10EDAC110DA
E 0ADAC) A 10
A 710 0B B DCB0 E D/ 1 4
A ADACE00 1 D1 0D 1
0DCB0 ADAC 0 ED1 E1 ADAC 0
0B0A E/ 0B DE
E0B 1E
1 D0B E 1D BAD0
0 D0 1 00B 10EDAC1 A A
1 1 B / 0B 10E
C 0 E 0 0) 4 0 C 0 1 A D/ ED A E AD1 A 4
D 1 0 A0B E DAC1
4 00A 1) 0
DE
A0 1 1
10BD1) 0B CA 0.1 DAE 1 A 0B 10EDAC1 D 10 0B E D4 E0DAC 1E
E D0 0
A 0B 0B E
A A 1 00/ A 0A ED
A0 D0B 0B B DCB0 A A
0B 0D 1D0D A E4 A A 1 A DA A0D
A A L D! FO BO I E1
E DAC 0B 10EDAC.1 1 A DAC AC0B 1
/ 1
0 EC D0E.1B 0B B DEB DCB 0 D
D0.1 0)1 A 0B 1E 1
E0D C- EA 0B 0DA 0B C D0E)
0 - 0B
4 / 4 D0
CB 1
1 A 1 E / -
A 0B 11 E- 0 1 0 E CD0E.1
D0B E 10EDAC1) 1DAC0B 0
DA0A0DA0B 0ADAC E11 0B 1
4 E / E 0E 0 A 1A
AC0B E 0ADAC ED01 1
10EDAC1 00B 4 ED C ) B / E
- 0B A / D0. 1 E0B 710DAC
1
0B 1 A B / E C D0E.1
4 E E - D0B4 D0 C A0
DA0A0DA 4 EDACB A
DAC) 4 0 4 E A0 0 AC 0B
10EDAC00B A0 A 0- DCB E0 0B 0 A
E
0B E 0 0B E 00 A0 D1 0) 1 0 0DCB0 A 0B 1
1E
1 EAE CB 101 B 1 A
0B 10DA ) A 0E 4 ED0DA 1 1 DC A 1 0
0 E ED0D A B A 0A DAC
A01-
8
COVER FEAT RE
FIXYO R TECHNI
I
E
Y O UR
la yintheuita risa lifelo njo urney a n yo uneAerrea llysto G lea rnin. ut ifyo uha en to tthea sicsco ere yo urG ro ress illesto G G e inits tra ck sefo reyo ueAenet sta rteD. C heck yo u’eo tthefunDa enta ls co ere ith stechni uecheck
HNI U
T
TECHNI UECHECK 1
L ID G Y U R P IC K
S L ID G
1BI6S0I E 05 0I ES06IESSE5 10( I6E0I 9E5 5 99SE5 EE6) SS06SI( ( E5 a 6SE EE6) SS6IES1 S0S E6E05 06090E5
EGLGE HGN E H 2Sd234Iki7h MS 2387f h1 87 h24d638d b17714M 1di7h241iIk 6h2w 8R 24Mxi 3m 1Ii6i288dII34MI 6h 7i 16 4114I366i 1 d
241814MS 1Md M i8R d 7i16 k 48R 46 MI1d 881 8R144-f41726i7i i7h 4176 h1m 61S 16
0I( E5 E( E6SSE5 S 2
E5 ) 5 16 6S( 06S 5 ,S
P D C RS
ES5 0S6a ES0IS( ISE5 S0 5 6SE5 6 5 0 5 01 0LE16 15 S) 5 ( S6SSS 015 1 ES6SE5 605 S SE( S( I6S99E5 0IS5 6SE5 6110I 0) ) 95 1 S01 BI6SS 06ESE05 00I 5 1 60SS0ISa ESSLSE 60 0I 5 6 o
016995 SS 3
BA RR C R S
L5 0LE IESE6S65 1ES5 Sa E9S01L90 S6S5 S ! IE1 S0 6610a 5 05 L06E. 6SE5 6S05 C 06ESE05 00I SI( ) 5 1) E5 5 E6IE9
S H R ID G B D S
I61. 66EL91IESS5 E!I) IS S-69a 6E6096E5 1E6605 5 E0I105 -S) 5 1S0S. S ES5 ( 06S 660I-99) ) 5 1E5 S6SE5 S ! IEL95 S005 Sa 0006E05 99S S6E C 6S0IIa ESSE6 .E6 5 1( ( ) S0S0IS05 Sa 05 1SS) 51 6
o
1 2 N EA C #DN EA C MI 44678R 4I4266S 74i 6 7h 234 67M8 41d
3
4166 d2w 8h24d6 7h2348R147ip6
7
MI1234 7hi4d8R14 M7 7h f4 7 7h 4d 74i
B18dp 2 7h17h417 2238d 81w 271
C
4
4 b 16 14S M i8R d 674i b18d6MI1 4 1467 d MR MS 4176 b 7 74 27k b 61b S bM74 i7 4 h3m b 14 h11Ik
AHU BGEAGC W h1 12326i7i 28234 h3 b 1SM7i 1 2 234 b M44i 8R8R14 d1714 8162w 7428 2344i iS b i b S 6i71 2344674 1I28d 8R1
M 7h f417 Ik h2w II34M71 2347IhM
FIX YOUR TECHNIQUE
COVER FEATURE
F I X
Y O U R
TRACKS 15�16
MOSTLYDOWNSTROKES
T E C H N I Q U E
q =120
PICK BO TH WA YS
T A B
Tighten up your picking technique and improve your upstrokes with funky Nile Rodger-inspired rhythms
9
9
9
9
9
9
9
9
9
9
PICK THE eighth notes with evenly spaced downstrokes, then play the
16th note ‘downup, down-up’. Try reversing the pick strokes so the downs become ups and vice versa.
TRACKS 17�18
DOWNSTROKES ANDUPSTROKES
F quite normal for
downstrokes to feel easier than upstrokes – a downward picking movement simply feels more natural. Part of practising the guitar is to make the unnatural things feel natural and these picking exercises will help you to do that. When playing eighth notes, think of these as ‘two notes for every metronome click’ and play them with downstrokes. For 16th notes think ‘four notes per click’ and move your pick hand in a down-up, down-up motion to play them. A great way to strengthen your upstrokes is to play the same rhythms but reverse the pick directions so that all of the downstrokes become upstrokes and vice versa. It’s surprisingly tough but o llseet hebeneft sin
x 7
2
T A B
9
9
9
9
9
9
9
9
9
9
9
9
PLAY THIS rhythm using a consistent pick-hand motion starting with a downstroke,
then with an upstroke. Move your pick hand from the wrist and keep your arm loose.
After you’ve tried the exercises with single notes try using a chord instead. Take it to the next level when you’re ready by including some of your own chord changes
your playing.
/ Metronome H h eh o u waneeo inc as o u pla ingsp d,impov o u eiming,oou n deo pindowneh h ehmo fa eackou a l aningeo pla , paceisingwieham eo nom is an ss neialskillfo v gu ieaise. Fo llowTG’seipseog eeh b sefom o u eick .
TAKE SMALL BITES Rather than tackling a whole lick or section in one go, break it down into the shorter three- or four-note chunks that are the most tricky, and repeat them over and over with your metronome.
SLOWLY BUT SURELY Increase your speed by practising your lick of choice at a relaxed tempo for two minutes then increase the speed by up to 5bpm. Repeat the process until you can’t keep up any more.
PUSH THE TEMPO Keep downstrokes and upstrokes the same length. A short downstroke followed by a long upstroke movement will throw out your timing
Go above your top speed by 10bpm and do your best to keep up (don’t worry about small mistakes), then go back to
your limit and see if it feels easier.
DOUBLE UP THE DINGS When you’re practising at a really slow tempo improve your timing accuracy by setting your metronome to ding at twice the speed so you don’t get lost during the big gaps.
FEEL THE BACKBEAT When practising at a high speed, try halving the speed of the metronome and imagine the clicks are snare hits on beats 2 and 4.
4 20
1
COVER FEATURE
FIX YOUR TECHNIQUE
F I X
Y O U R
T E C H N I Q U E
ER
A H
F F
A P
Even out your hammer-ons and pull-offs and get all four fingers working in time with TG’s legato lesson
q.= 90
legato) sound best when all notes are played at the same volume. This means making sure all four ngers move with the same speed and force. Most guitarists nd that their rst, second and third ngers work well together, but that their third and fourth ngers don’t coordinate so well – so this is
where to focus your practice. Our exercises use essentially the same lick, but, by starting on the second note, Example 2 places the emphasis on different ngers. You should nd Example 1 feels more natural because it starts with the rst nger on the beat. For Example 2, you’ll need to slow right down until you get the feel.
T A B
4
2
1
HAMMER-ONS and pull-offs (aka
TRACKS 19�20
PLAIN LEGATO
9
10
12
9
10
12
4
3
1
10
12
13
10
ith you rfirst,secon d an d fo urth fing ers, then repeat the sam e three no tes.Play th e next six n otes in the sam e fash ion, bu t u se yourfirst,third an d fo urth fing ers.
4
2
T A B
Start with all four fingers roughly in line with the frets and try not to move too far
F I X
Y O U R
T E C H N I Q U E
✗
The farther away from the neck your fingers go, the harder it becomes to nail the timing
I GER T E F
13
H A D D I O the f irst three no tes w
TRACKS 21�22
SLIPPERY FINGERED LEGATO
✓
12
10
12
4
2
1
9
10
12
4
3
1
10
12
13
4
3
1
10
1
12
13
9
H E E the
sam e pattern as Exam ple 1,but this tim e yoursecond fing erland s on the do w nbeat,w hich is quite a challeng e.Focu s on keeping every note the sam e volum e and the sam e leng th.
TRACKS 23�24
FINGERSTYLE EXERCISE 1 q =100
Get your picking fingers rolling with TG’s country and folk-style fingerstyle exercises
1 2
3
let ring
THE MOST important part to
and hit the right notes. To tackle mastering ngerstyle guitar is this you need to assess your hand ensuring that the thumb and position. If your thumb is directly ngers of your picking hand don’t behind your ngers you’ll most likely encounter problems. The collide – a problem that’s caused by the thumb moving downwards solution is to position your thumb as your ngers come upwards. to one side of your ngers and The result? You run out of space give every digit free space. With to pick, which leads to uffed your hand position sorted try our notes and poor timing as you try exercises to hone your technique.
T A B
1 0
0
2 3
p
3
i
3
p
m
3
p
a
p
m
FI A open C ch ord
an d use yourthu m b to p ick the fifth string ,an d yourfirst, secon d an d third fing ers fo rthe f ou rth,third an d secon d string s respectively. Practise slow ly until you g ain con fidenc e.
TRACKS 25�26
FINGERSTYLE EXERCISE 2 1 2
3
let ring
T A B
✓
Keep your thumb to one side so both thumb and fingers have room to move
42
MAY 2016
✗
If your thumb is directly behind your fingers they will crash into each other
1
1 0
0
2
2
3
a p
an A A I
3
i
m
p
a
m
i
open C ch ord an d use the sam e picking tech nique.All the no tes should ring ou t foras long as possible.You rpick han d m ust be in th e prim e position thou g h,oryou’ll dead en the string s.
FIX YOUR TECHNIQUE
COVER FEATURE
F I X
Y O U R
T E C H N I Q U E
S TRING �SKIPPING AND ARPEGGIOS Arpeggios crop up in every style of guitar music. Make sure you always hit the right note with three simple exercises USING your pick to play ringing
down into small steps. In our third tab exercise we have an arpeggio played on the fth, third and rst strings. This means we’re skipping over the second and fourth strings every time we change to a new note. You can build up to this full arpeggio by attempting the easier two- and three-note fragments. Gradually the whole process should get easier.
arpeggios such as the Eagles’ Hotel California or Radiohead’s Street Spirit is a great way to add air to a basic chord progression. However, a common problem when jumping from string to string is missing the string you are aiming for and picking a wrong note. A good way of addressing this is to break the picking process
Keep your picking motion short and tight. A big movement away from a string makes it harder to stay in time as you aim for thenext note
TRACKS 27�28
TWO�NOTE FRAGMENT
TRACKS 29�30
THREE�NOTE FRAGMENT
q = 120 Play 8 times
T A B
Play 8 times
0
T A B
9 0
9 0
HERE WE’RE braking down our full arpggio into its simplst mov: a pick strok
WE’RE BUILDING up to th full arpggio hr by adding an xtra downstrok on
on fifth string, thn th third string. Rpat this without looking at your pick to gt a fl for whr th strings ar.
th first string. Again, rptition is ky to dvloping muscl mmory so practis this for two or thr minuts at a tim.
TRACKS 31�32
FULL ARPEGGIO LICK
Play 4 times
le t r in g
T A B
0 9
0 9
0
7 0
0 7
5 0
0 5
7
7
0
OUR EXERCISES culminat hr in a Radiohad-inspird riff, but you can still brak th arpggio down furthr if you still nd to practis. For xampl, you can try rpating
four-not phrass, or hom in on th position shifts. MAY 2016
43
COVERFEATURE
FI YOURTECHNIQUE
I
Y O UR
HNI U
T
L E H JO RS E T M
1
MajUIcalK UE aIEGlK IAEG
Startbyplayingthemajorscalealongone stringasshownhere,andtrytomemorisethe
A
N E
E
The major scale is made up of one- and two-fret gaps (aka intervals). You probably know that a two-fret gap is
3
N E
N E
N E
5
N E
E
N E
wIO apK ,BDAIAllAO K Ia K Uld EKajUIcalK
O UdBDldK– ajUcO UdI
Major chords (such as A, D, G and so on) are built using the 1, 3 and 5 notes from their major scale. In A major these notes are A, C# and E. In an open A chord the notes are: A E A C# E. Guitarists always have to rejig and repeat notes because our instrument has six strings – but we’ve got the three notes we need, so it still counts as an A chord.
4
F D BK EGAO K EUAK I
If you play the ‘T T S T T T S’ scale pattern along the fourth string the notes change. It’s still the major scale but it’s D major because you started on a D note. When comparing major scales it helps to give each note a number: 1 2 3 4 5 6 7 8. Eight notes – eight numbers. Pretty simple!
A
E
6
A C
2 0/
A
called a ‘tone’ and a one-fret gap is called a ‘semitone’. The pattern of the major scale is: tone, tone, semitone, tone, tone, tone, semitone. Remember it as: T T S T T T S for short.
x
R em e m b e r , b la c k d ot s a re r oo t n ot es . R ed d ot s d en o t e a ny o th e r n ot e i n t he s ca l e
sound.We’vechosentostartwiththefifth string.Therearesevennotes,plusarepeated Anoteatthetop:ABC#DEF#G#A.The scaleiscalled‘Amajor’becauseit’sthemajor scalestartingonanAnote.
It doesn’t matter how you arrange the gaps on the fretboard – if you stick to the ‘T T S T T T S’ pattern, you’ll be playing the major scale. This A major shape has the same notes you played on the fifth string, but in a more playable shape.
5
E
HUwAO K ajUIcalK IBDlA
C
N E
2
If you only ever learn one bit of music theory, make it the major scale. It’s the starting point for all musical harmony and once you understand it, every interval, chord and scale starts to make more sense. Follow TG’s lesson on the essential scale…
E
7
# G# A
FIX YOUR TECHNIQUE
6
x
O UdBDldK – EUcO UdI
A
COVER FEATURE
E
W he n E see the wErd‘m inEr’inachErd(s allshErt e n e dt E‘m ’ Er‘m in'it m e an st hat t he 3m st be lEwe re dbEn e sem it En e ,an dthis take sE t EanEt e t hat’snEtGE n dinthe m ajErscale: inthe ke EGAt he C # nEt e (t he m ajEr3rd be cE m e saC (kn Ewn asa‘m inEr3rd’Er‘3'.YE can see hEwt he chErdshae chan ge st Efit t he ne wC nEt e in.
6
7
8
A C
E
# G# A
A C
E
A
x
7
A
O UdBDldK – ajU7cO UdI
E
xt e n dthe ‘135’m ajErchErdat t e rn t Et he ‘7’(1357an dE ge t the nEt e sEGa‘m ajEr7’chErd(s allwrit t e n int ab as‘m aj7'.SE Am aj7 isse lt : AC # # .Again ,we hav e t Ere-Erde rt he nEt e sEn t he g it art E m ake it easiert Ela,b t an arran ge m e n t EGthe senEt e sgiv e san Am aj7.
aj7 x
8
A
G
E
O UdBDldK – EU7cO UdI
In am inEr7chE rd (writt e n as‘m 7’Er‘m in7'b Etht he 3an dt he 7are lEwe redbasem it En e ,giv ings: 1357an dAC .LEEkbackatthe rev iE schE rdshae s(inart ic lart he m inErchE rdan dE can see hE w t he shae chan ge st Efit t he sene wnEt e sin.
7 x
9
O UdBDldK –dU EaEA7cO UdI
The ‘dEm inan t 7’chE rdke e sthe m ajEr3rdb t lEwe rst he 7,sE t hat’s: 1357an dAC # .D En ’twErrab E tthe n s alnam e GErnEw– itsim lreGe rst EchErdswritt e n asale t t e ran da‘7’s chasA7,D 7,7an d sEEn .Again,lEEkathEwthe Ee n shae accEm m Edatesthe nEt e s.
A
G
E
7
1 0
Thesearethenotesofsomeoft-used majorscalesplustheall-importantminor3rdsand minor7ths.UseittoworkoutwhichnotesmakeupC, G,D,AandEchordsandtheirminorand7variants.
1
2
3
3
4
5
6
F o o w thisv isua g uideto them o st im po rtan tinterva shap eso n theg uitar
7
7
C
D
E
E
F
G
A
B
B
C
G M AR
G
A
B
B
C
D
E
F
F#
G
D M AR
D
E
F
F#
G
A
B
C
C#
D
A R
5
5
Minor 3rd
8
5
C
Major 3rd
Int er va l f inder
ScalK EK wO K GO AI
5th 5
5
Major 7th 5
Minor 7th 5
A M AR
A
B
C
C#
D
E
F#
G
G#
A
E M AR
E
F#
G
G#
A
B
C#
D
D#
E
2 01
4 5
COVERFEATURE
FI YOURTECHNIQUE
F I X
Y O U R
T E C H N I Q U E
E VS O T
Control your open strings and avoid unwanted noise as TG helps you get a handle on an essential lead guitar technique
x
x
x
x
x
x
x
x
1
1
3 There are two main shapes IF YOU’VE ever struggled to cut through as you kick off a solo, used for octaves: the rst has its you should try using octaves. The root note on the fth or sixth idea is simple: each single note is string; the second moves the root doubled up with another note an note onto the third or fourth octave higher or lower. It’s a great strings. In both cases the unused way of fattening up a melody and strings must be muted with the the technique is commonly used underside of your fretting ngers by rockers such as Dave Grohl and so you can give it merry hell as Billie Joe Armstrong; octaves are you strum. Your aim is to hear a staple part of jazz too. only the fretted notes.
4
Octave shape 1
Octave shape 2
RheaeSe he o moa common oce ah pea.emembeS, he o n o ea od n oce ah Se he a me nme b on ea hiMheS hn he o heS
eepofSneSaiS1 ao h of ofch he1e a Sinan m e hem of
Don ’ o oo hof h, oSof’ 11cc i en 112Se n o ea h ahof1 be ai1en
TRACKS 33�34
SIMPLE OCTAVE RIFF
TRACKS 35�36
POSITION�SHIFT OCTAVE RIFF
q = 120 4 4
4
4 1
1
1
T A B
9
9
9
9
7
7
7
7
7
5
THIS EXERCISE will test your fretting technique. Try picking just the third, fourth
and fifth strings to begin with – the fourth string should be silent. For a tougher test, pick harder and mute all the strings.
2 0/
T A B
1
9
9
7
7
10
10
10
7
7
7
7
7
9
5
5
7
HERE YOU have the challenge of shifting between the two octave shapes. Try to
keep your fretting fingers close to the strings as you move. Move away from the strings and idle strings may ring out.
TAKE CONTROL
TAKE CONTROL Don’t be afraid of your guitar’s tone and volume knobs; they might be the most fantastic, expressive secret weapon you can find for totally revolutionising your tone! o n esta rtsin yo u rn g ers,b u tb ef o reyo u lo o k to a n a m p a n d ef f ec tsto c h a n g e you rso u n d ,you sh o u ld b erea lisin g th e p o ten tialo f yo u rg u ita r’so n b o a rd c o n tro ls. P la yin g o n 10isa ro c k c lic h ew ew a n tyo u to f o rg eth ere .M a n yo f u sseto u rv o lu m ea n d to n ec o n tro lsin o n ep o sitio n a n d lea v eth em th ere ,tw ea k in g o u rp ed a lsa n d a m p d ialsto sh a p eEQ a n d to n e.D o n ’t.A sm a n yg rea t p la yersh a v ep ro v ed ,th ere a reh u g e p o ssib ilitiesrig h tth ereo n th eg u ita rfo ryo u r n g ersto c o n tro lq u icklya n d ef c ien tly…
C R 1
M LMR U M E
W ea llkn o w w h a tth ev o lu m ekn o b d o es, rig h t?Itc h a n g esth elev elo f o u rg u ita r’s v o lu m eo u tp u t.Bu tit’sa lso a h a n d yd yn a m ic
BllSm aele clelSscaebs lshapylsle
FRESHPOTS igagm-o-c-fe d bgaSc-c i -d e -o me m-oa-c E EC R C
6 E , B)0B C
E 01 0 A / CDB)0B
CC 0 C ) ))C ) 0 ! !
0 B 1( BA0()0 C0BC B 0C
) )B. E
)B) B )3 B)0 10A 0 0 B 0B B
ChaegieghaSlf ylplscaehaa aSim paclele
) C 10B. 0A
))
E B 70
0 B
A 0 ! ! B 0AAB0
)0C. A B 10A0 AA 0A 0,
E C A D 0 C C
BE )3 0 ( EA BEB 1)0 CB 0C !
A0 C
).
REB E EE
0 A B-A B C
) ) D C ) CEEB)
00AB6 2.
A00 ,
0)3 0 0 0CEE)E 0A)B
0 0 B B0B3
7 )
)) )B
)B 00 0
B 0) B 0 C 00
BC 0AA 0B0AAA ). A0B
)0 10A 0BC B E0B0C
0 16
( C AA A ) 0 A BC C .
0) 0B 0 ! ) B ) 0
/
CB -
0 ) CB0)A A B A
C. 1 A1 0 C))
) N)
0CCC B
0AA 0 0)BEE-A. AC )B A
0 A 0
((0$2.990
1 A 0) 0 0 A 0A)B) ) C 0 C 0B-A
C C R
B E BA0 B0)
1 A )B A AA0 ( )AAC
)) BB)3 10A ! .
B M M C ) 0 0C )0AA ,B
6 0C0BC0B 1 A
D
) 0
B 6 )
1B CEEB ) ! ! ,B ! ! L, ! ! , 0C! ! ,
ACB (
0 D 1B C0B, C 0 C 1B)0AA 0- AB ( ) )E0(E
B)0 4 BB-A. 6)B0) E B 7 0
Kpfqecis ewihabS bSm lificaile
0CC)0 0 C 0- A
B)) E )
)B A 6
! ! ! 0 B! ! ,/! ! ! . 3AAC 0 A -. B C0 B0 DB3 A E E B C)0A.
ThNH ggaas sisaeclh aSlfylkelb
TAKE CONTROL
KNOBTW IDDLERS -e -c ,a,-be c-e ic e -oae
C C A D 2 ?I - S S/ 6A 0C
0 B0
0B)AA A)C 0E)B C0 )
E0
)
, (
B 0C
C 0 0 A)) 0) ) B;
CCA
E 0
,B 0B BBC(,
C B 1BCB1 0 C B 0
Tee-GcehfGhiaGh beabenhaebdag e pdk ipcde:endg h10
to o lw ec a n c a llu p o n m id -so n g . W h yu seavo lu m ep ed alw h en b ring ing u p you rv o lu m ef o ra so lo c a n h a sth esa m eef f ec t?You n ee d to sta rta tth een d ,th o u g h ;tu rn u p yo u rg u ita rv o lu m eto 10,a n d yo u r a m p to th ep o in tw h ere itsta rtsto o v erd rive yo u rto n e.N o w sta rt d iallin g th eg u ita r’sv o lu m eb a c k a n d yo u rto n esh o u ld sta rtto c lea n u p a sw ella sb ec o m in g q u ieter. T u rn in g itu p a g a in g ive syou so m eb o o stto c a llo n a sa n d w h en th eso n g req u iresit. I t’sa lso w o rth n o tin g th a tyo u rg u ita r’s v o lu m eisyou rp rim a ryco n tro lo v erth e sig n a lg o in g in to yo u rp ed a ls,to o .S o th e sa m ep rin c ip lea p p liesfo ra lterin g th eg a in f o ro v erd rive a n d fu zz–d iallin g th em b a c k f o rm ild erto n a litya sreq u ired .Byu sin g yo u r v o lu m e,yo u c a n g etm o rev ersa tilityo u to f th ep ed a lsyou h a v e,a n d p erh a p sn ee d less o f th em a sa res u lt.Bu trem em b er,m o stg u ita rs su f f era d ro p in treb lew h en ro llin g o f f th e v o lu m e.S o m em a ylike itw o o llyb u tyou m a y w a n tto trya retro f itm o d if ic a tio n c a lled a tre b leb leed (seeFre sh P o ts,p 48).
2
A lo to f p la yersg eto f f o n th ew ro n g fo o t w ith th eirto n ec o n tro l.W e’llse to u ra m p ’s c o n tro lsb a se d o n o u rg u ita rs’to n ec o n tro ls b ein g se tto 10,b u tth a td o esn ’to f f era n yo f th elee w ayw ed isco v ered w ith th ev o lu m e c o n tro l.In stea d ,d ia lth eto n ec o n tro lb a c k to sixa n d tw ea k yo u ra m p se ttin g sa f terth a t. T h isw illp rob ab lym ean ad d ing m o rem id , treb lea n d g a in th a n u su a l.T h isisa n o th er w ayo fg iving you rselfan o n b o ard b o o st p ed alb ec au seyou n o w h av em o rec o n trol, esp ec ia llyfo rlea d p a rts.T u rn u p th eto n efo r m o reo f a c u ttin g a n d g a in f u lto n eto h elp
B-ABC 0
6 )B0)31 0 A 0CBC(
B CCA
0C AA0,
CCA, )B A
A SunshineO fYourLove D israeliG ears
– 0
: A R : , 2 SC S
A
B3( 0
01)CC
TnGedg nhiP p Ghiacdnhihe hhhh10 …
0
R ) 0 6
0 )0AA C
0 A B 0)
yo u rso lo sh in eliv e.R o llb a c k d o w n fo ryo u r rh yth m s,an d b alan c ew ith th ev o lu m ef o r b itea syo u se efit.
A : : I A ,
A b itin g to n efro m tu rn in g yo u rtreb leu p isa llv eryw ellb u tth ere ’sa lin ew h ere th a t c a n c ro sso v erin to sh rill.J o eBo n a m a ssa is a fa n o f u sin g th eto n ec o n tro l’sc a p a b ilities w ith a L esP a u l’sn ec k a n d b rid g ep ic k u p sto en terw a rm erc lim es,a n d h ein itiallylea rn ed th a tfrom w a tc h ing M rClap to n (see K n o b T w id d lers,rig h t).H e’sev en sh o w n th a tyo u c a n ta k eth ev o lu m ed o w n a n d tu rn th eto n e b a c k u p to m o v ein to c o u n tryto n es –n o tb a d fo rah u m b u cke r!
, A K A C 2 : DC K D 2 : K A , C K O ka y,you n ee d so m ead d ition alo v erd riv efo r th iso n e,b u tyo u rg u ita r’sto n ec o n tro lisv ita l h ere.First,a d d la sh in g so f o v erd riv eto yo u r so u n d v ia a d ec en t,m id -ric h p ed a l.D o n ’tb e tem p ted to tu rn th etreb led o w n o n yo u ra m p o rp ed a ls–se tita ta ro u n d sixto eig h t,n o lo w er.N o w k ee p th eg u ita r’sv o lu m eu p fu ll, b u tk n o c k th eb rid g ep ick u p to n ec o n tro l d o w n to a b o u th a lf o rlo w er.N o w itsh o u ld sou n d m u ch m orelikeah u m b u ck er.
)
0
,
0 C )B A 0A)B0) . 1
) 0BA! A
B3 EB ) E
6)B0 1 A
)B A0 A1A
) z0 0C )0B)E 0A)) ) 0
0A
0B0)1A C)
A Echoes ,A C D
LiveAtPom peii
CK E
EE B)) 0 C
) ) 0 C 0A0)( 0
A
A 0C,
))0B3 0 0 ))0A E B 7 B
) 1 A AA CB1
0A
D 1 0
)(B0A0B)E 0 C A 1B0)A
0A) B EB)) 0 ) )
1 0) A AA ( EB EE B A))A
B E BEE AA A AA.
7 B A0) ) 0 CC
)
B 1 B0) 0 CC 0 C0(E ) 1 A B0
A CauseW e’veEndedA sLoversJEE
LiveAtRonnieScott’s D
0 16
P h o t o g r a p h y T r i n i t y M
i r r o r / M i r r o r p i x / A l a m y P i c t o r i a l P r e s s L t d / A l a m y P i c t o r i a l P r e s s L t d / A l a m y
9
INTERVIEW NECKDEEP
F L
IP NE
P C
r e k r P a t t M a : d s W o r o n s s a G m a d A : y h p a r g o P h o t
D N , D
W
. TG
5
Y 16
K U -
NECKDEEP INTERVIEW
N I
! K
’
2
t’s Februa ry in Ma nch ester, wh ich according to weather m aths is not a good confluence of tim e and location. As students pick their w ay through pavem ent puddles outside, TG is sat in the city’s biggest Academ y venue talking to two m en of a considerably sunn ier disposition. Ma tt West (aka West) and Sam Bow den are guitarists w ith Neck D eep, currently the UK’s finest pop-punk exports – and one o f the first to m ake a genuin e impa ct on both sides of the Atlantic. Tonight’s show m arks the
Wrexham band’s largest sold-out head line gig yet. It’s also the closest thing to a hom e gig they’ll have on this current w orld tour and , as such, the cider-tanged iron bo x that is the Academ y 1 holds a lot of mem ories for both players. O ne of the stage guys here, I u sed t o se r v e i n G a m e w h e n I w a s w o r k i n g there,”laughs the bearded and bespectacled West. “N ow it’s like, You ’re kind of w orkin g for me n ow, eh ’ H e used to bring a ferret in all the time, just in his coat
01
0
INTERVIEW NECKDEEP
B GNeIm(RlfDONGRNI)G nNOGJGCI(l,(cOINOf GA f-Olli ES-JGCI(l
Tonight’s show is unarguably the m ost sentimen tal on the run. A long w ith the ferret smugglers, friends and loved on es will be in attendan ce in droves and it’s a significant m ilestone for a band that have been through m a j o r u p s a n d d o w n s i n t h e la s t 1 2 m o n t h s. Every one’s fam ilies are goin g to be h ere,” anticipates West betw een sips of a celebratory ale. Sam – cleaner cut, but gruffer-voiced – backs-up the sentimen t w ith stats. “We’ve got 1 36 people on ou r guest list It is a lud icrous figure. 1 36 is a successful show in its own right for many ban ds. Since form ing as a spin-off from West’s old hardcore band, Spires, in 201 2, Neck Deep have been on one h ell of a roll. They’ve released two albu m s – m ost recently last year’s Life’s Not Out To Get You – to spark sold-out show s across the U S, as w ell as main stage sets at Read ing/Leeds, and suppor t slots with Bring Me T he H orizon at Alexandra Palace and A ll Time L ow at Wembley. They are a UK band threatening to carve out the type of pop-pun k success story that’s usually the preserve of im ported US acts. Th e latest in a prou d tradition of UK bands repackaging US m usic and selling it back to them .
F 2 2R For m e, it w as G reen D ay [that started i t],” recalls West. “I rem em ber seeing the Minority video on Kerra ng TV. It w as the first time that
2 01
I’d heard a b and and just thou ght, ‘I w ant to know everything abou t this.’ I had a Behringer Strat copy and I tried to mak e it look exactly the same as Billie Joe’s Blue, but it looked aw ful For Sam it w as an early encoun ter with a Blink-1 82 clip that had a similar im pact. In bo th player’s cases it’s notable tha t it was a video, not a record, that wok e them from their pre-punk slumber. I think, m ore than a nything, it wa s just how fun it look ed,”reckon s West. “You’d see all these super-serious ban ds, but it just looked like a laugh, what the pop-punk bands w ere doing all the tim e.” O ff-stage, too,”ad ds Sa m . “It w as like Wh at they’re doing, I w ant to do ’”Which West sums up as, “Dicking arou nd Now people can get on ou r high horses at this point and groan about the vapid nature of pop-punk ban ds, but from the Fab Four to Led Z ep and the entirety of the Rolling Stones varied career, British ban ds have lon g m ade dickin g aroun d’ an art form. L ike early rock m usic, pop-punk does not take itself too seriously – instead it’s about con necting w ith people by picking up a guitar and behavin g like a loon. Wh en I saw Billie Joe play, I w as like Th at’s obtai na ble. I cou ld pla y like tha t ’” says West. “Th at for m e w as a big thin g, because I’m n ot the most technical guitarist,
I’m not going to be sweep-picking behind m y head w hile I do a knee-slide. I just though t, If he c an do it, I can .’” It goes wid er than pop-punk ,”adds Sam . Foo Fighters was a big on e for m e and I wou ld go through a nything heavy up to like Slipk not. T hat w as it for m e: heavier things’. I liked the d arker side of it, too.” Th ere w as no ga teway,”continues West. I wa s into Green Day an d then I saw a Killsw itch [En gage] video on TV an d I got really into them . [Even thou gh] it was a stark contrast between the two.” In this w ay, Sam and West are reflective of a generation that grew u p w hen the tribal lines between pun k, alt-rock and m etal were suddenly erased. Th e resulting soun d is still hook-heavy, bu t places increasing em phasis on the latter part of the equ ation. “It is quite a polished soun d,”says Sam . “Bu t it’s got layers and it’s got darker pro gressions in some places. It’s not you r generic pop-punk .” We use more of a m etal-y ton e live than on the album ,”explain s West. “We take the Mick out of [tour m ates]State Ch am ps all the time and tell them they use Da d crun ch’ I’m using a Kem per [Profiling Am p] live now and u ntil two or three w eeks ago I wa s just using a Killswitch pa tch that som eone had created from on e of their album s.” An d the o ther preset on th e other K em per, wh ich I’ve been using for a w hile, was a 6505 ”add s Sam . “I’ve just changed o ver to using Oran ge though , so I’m using an actual analogue am p and pedals again.”
,F 2R CA 2R C Pun k types are often stereotyped as having a utilitarian ap proach to gear, and w hile West is quite adam antly aligned w ith this philosophy, Sam is a self-confessed gear obsessive – happily indu lging in discussion of his shiny n e w S t ry m o n T i m e l i n e a n d B i g S k y p e d a l s.
NECKDEEP INTERVIEW
GaAD VMVbFD PVa UP PVIVwGP A IaD PD I P D VaS a
VP aIGaA PEa U D IfS V-FUPabVm D I aIH VVFPD VS M
“T h o se a r e t h e o n e s ! ” h e e n t h u s e s. “T h e y so u n d i n sa n e a n d y o u c a n d o so m u c h w i th t h em . I u n b o x e d t h em i n D e ce m b e r an d I w a s l ik e , ‘W h a t h a v e I d o n e ! ? ’ I sp e n t t h e e n t i re d a y o n j u st o n e p e d a l a n d t h e n t h e n e x t d a y o n t h e o t h e r o n e . I w a n t to b e a b l e t o g o t o a p e d a l a n d t h i n k , ‘C a n I c r e a t e t h i s so u n d ? ’ a n d b e a b l e t o d o t h a t . O t h e r w i se , y o u ’ r e j u st t w i st in g k n o b s a n d h o p i n g f o r t h e b e s t. ” W e st i s n o t h a v i n g a n y o f t h i s, h o w e v e r. “N a h , j u st g e t i t o n s ta g e , g e t i t p l u g g e d - i n a n d s to p w o r r y in g ! T h e Kem per weighs nothing. I ca n f l y it a r o u n d t h e w o r l d a n d t h e so u n d i s a l w a y s c o n s i st e n t f r o m i t . I j u s t h a v e a r h y t h m c h a n n e l , a cl ea n c h a n n e l a n d t h e n t h i s w e ir d sw e l l n o i se , k i n d o f l i k e a b u t c h e re d E l e ct r o -H a r m o n i x F r e e z e p e d a l , t h a t w e j u s t u se t o f i l l g a p s b e t w e e n s o n g s .” T h i n g s co n t in u e i n t h i s v e i n o n t h e g u i t a r si d e . W e st ’s a n o n - n o n se n s e G i b so n t y p e , c u r r e n t l y fa v o u r i n g a L e s P a u l J r – “L i k e B i l l i e J o e f r o m G r e e n D a y, ” h e sm i le s, o n c e a g a i n t ic k in g t h e A r m st r o n g b o x – a n d a E S - L e s P a u l h o l l o w b o d y.
W I
“W i t h t h e L e s P a u l J u n i o r s , it ’s ju s t t h e e a s e o f i t, ” h e sa y s. “O n e k n o b , o n e p i c k u p , y o u c a n ’t g o w r o n g . T h e n t h e E S , I lo v e L e s P a u l s, b u t th e o n l y th i n g t h a t e v e r p u t m e o f f i t w a s t h e w e ig h t . T h i s d o e s n ’t w e ig h a n y t h in g a n d i t fe e l s a m a z i n g t o p l a y . ” “I t so u n d s in s a n e , ” a c k n o w l e d g e s S a m , h i m se l f a n E S P m a n . “I ’m l e ft -h a n d e d , so t h a t ’s a n i g h t m a r e f o r b u y i n g g u i ta r s. I r e m e m b e r w h e n I f ir st g o t th e b l a ck L T D E c li p se b e i n g l ik e , ‘ T h i s i s e v e r y t h i n g I w a n t :
I ,T
J
i t p l a y s g r e a t , i t ’s th e r i g h t s h a p e a n d i t ’s a g r e a t t o u r i n g g u i ta r, t o o . ’ I d o n ’ t w a n t t o c h a n g e. T h o u g h I d i d t ak e t h e E M G s o u t a n d p u t S ey m o u r D u n c a n s i n … ” “B u t t h a t ’s th e t h i n g w i th t h e G i b so n s fo r m e , ” ch i p s in W e st . “T h a t p i c k u p so u n d s a m a z i n g a n d y o u d o n ’ t n e e d t o ch a n g e a n y t h i n g o n i t. I t ’s a c o m p l e t e ly d i ff e r e n t approach to you!”
T o h e a r t h e m c h a t , y o u ’d a s su m e t h e p a i r h a d b e e n p l a y i n g t o g e t h e r f o r y e a r s, b u t S a m – p r e v i o u s ly t h e b a n d ’ s g u i t a r ’s te c h – a c t u a l l y p a r a c h u t e d i n l a st N o v e m b e r a f te r f o u n d i n g g u i t a r i st L l o y d R o b e r t s’ d e p a r t u r e . R o b e r ts, w h o fe a tu r e d in T G ’s O n T h e U p i n t er v ie w w i th N e c k D e e p t w o y e a r s a g o , st ep p e d d o w n i n O c to b e r 2 0 1 5 f o ll o w i n g a l l eg a t i o n s th a t h e e n g a g e d i n i n a p p r o p r i a te c o m m u n i ca t i o n s w i th a fa n . T h e g u i t a r ist t o o k t h e a c c u s a t i o n s to t h e p o l i ce h i m se l f, w h o f o u n d n o c a se t o a n sw e r, b u t R o b e r t s d i d n o t r e jo i n t h e g r o u p . I t ’s d i f f i cu l t t o t a l k a b o u t S a m jo i n in g N e ck D e e p w i th o u t b r i n g i n g u p t h e d i f fi cu l t c ir c u m st a n c e s su r r o u n d i n g L l o y d ’s d e c i si o n t o p e r m a n e n t l y l e a v e t h e b a n d , a n d f o r t h e f i rst t im e i n o u r c o n v e r sa t io n w e ’r e m e t w i t h a n a w k w a r d si le n c e . I t ’s u n d e r st a n d a b l y st i ll a n u n c o m f o r t a b l e su b j e ct . “I t w a s ju s t a t o u g h t i m e f o r e v e r y b o d y, ” W e s t e m p h a s is e s a f t e r a l o n g p a u se . “I t ’s so m e t h in g t h a t sh o u l d n e v e r h a p p e n t o a n y b o d y. O n e p e r so n h e a r d o n e t h i n g a n d t h e n , o u t o f t h e r e it g r e w g r o s sl y o u t o f p r o p o r t i o n a n d p e o p l e j u st l at ch e d o n t o a n
,
2 01
3
INTERVIEW
NECKDEEP
EVERYDY ISLEG DY eT eeC i a e a i 10ei G IH C IIY MIPFMI50 AMI D H .AMT MD AA5/ 5DMA YH / , DS5 .F (A/ T AMAFD);-DS5(AFD YAMDM D D!IIM A 5DI1 553 I5D) ;3 ISMI ADD I DYI A.(/ D DT 5DD IMI 5DM DD I . AAM)1 ;4 / T ISI ADM0 Y5A 5DI1 I Y 5 0 ) ;3 I / D I0 D I DDI5/ D I / ID I 5 AYI(FDD I5I AI5D I H I 55I 1 ;AF H AF / .MI MAH IDDA D I 0 AA A..SI0 1 3 I5DH AH FM5);-.AF /ASD2F0 Y / AT AFSMI ID IM A AFM M5I AMAF AA I DA/ / IM T /AT D1 I M0 Y5MISDD I A YIM );! I/ T 5.F (IH F5IDM DA MF H MA55 D D!0 5DIAFS/ ID .T / 5DMD 5YY1 F 5 0 );AF H AF/ A /A D H AFYI A.D0 I5/ D I AFS/ 5DMDDA ID 5DDH AF IDD I5I DI D5.DIMT M/5 I MT IMI AF 5YY A 5DIS1 JGeNySIA lmGOfJ EclfpGD(fNIR,IyfnD NOGyFRGEmGRyNOfnDiInN”
idea that is clearly not true. It’s just a diffi cult subject for everyone really.” For Neck Deep, this was not in the fai rytale story, and the weeks surrounding these events must have felt lik e a livin g nightmare. “I used to guitar tech for Neck Deep,” explains Sam. “I filled in on tour back in March with All Time Low and I’m pretty good at gauging the vibe [in the band]. I w ould say there was a lot of concern for how the fans would take i t. Not so much for the events that occurred but the line-up changes and how people would take that.”
EE6 44R
2 01
N1 L2 NN. Fortunately, h e’s not managed to yet. I ndeed, the shared experiences and their r allyin g live perfor mances seem to have made Neck Deep a stronger unit. The group have had a regular taste of mega show support slots and, with tonight’s sell-out a reminder of their own li ve pull, do they think a Wembley headline might be theirs for the takin g some day? “Who knows?” responds West. “Honestly, if you’d have told me two years ago that we’d sell-out Academy 1 in Manchester, I’d have called you a liar and walked away from you. I wouldn ’t have believed it.” The fact that we’re discussing the idea shows how far Neck Deep, and UK pop-punk as a whole, has come in a few short years – an arena show would be a crowning moment, indeed. “We’d love to,” says West. “We know what we’re doing and we pu t on a good show. Our job, if you want to call it that – it’s not, it’s ridicul ous – is to just stand on stage, have a laugh for an hour and see the world. It’s insane when you think of it!” Ridiculous? Yes. Insane? Maybe. But the idea of a genuine, chart-threatening UK pop-punk band capable of matching their megastar US counterparts is clearly no longer just a pipe dream.
“ Our j o b is t os t a n d o n s t a g e a n d ha v ea l au g h f or a n hour ”
The concern was understandable, but let’s spare a thought for S am in all this: a fri end drafted in to learn a catalogue on a Sun day, support All Time Low in Edin burgh on Tuesday and then play the main stage at Reading on Fri day. “It was lik e, ‘Er, Sam, would you be able to learn 1 1 songs ready to play on Tuesday?’” he deadpans. “‘… Sound.’” For the fi rst time in a wh ile, West cracks a smile at the memory. “E dinburgh was fine,” continues Sam. “I t was like 2,000 people.” “Which is still a lot of people, ” adds West. “[But Reading] was defini tely the biggest moment for me,” Sam continu es. “We were walki ng out to play the set and you could not see the end [of the crowd], i t was just people. I remember turnin g around and looki ng at our manager and thi nki ng, ‘What the fuck is going on?’ It was obscene.”
And how did h e feel about those first shows, given that the songs were still so fresh? “Well, I’d played those songs a lot,” responds Sam. “B ut li ke West said earlier, a Neck Deep show is about having the energy. So it’s not just ‘Can you l earn these songs?’ It’s ‘Can you learn these songs and go sick and put on a show?’” Whil e Sam’s tenure w ith the band at this point started as a stop-gap, it seems it soon became clear that the best man for the j ob was already doing it.
“He’d been a mate for years and it just didn’t seem right to get anyone else in, ” explai ns West. “Not even a week i nto the All Time Low tour, it ju st clicked for me and I thought, ‘We don’t need to even bother lookin g for anyone el se.’ [Turns to Sam] I j ust kept you on tenterhooks, though! ” The confirmation came ahead of the band’s support slot with B ring Me The Horizon at Alexandra Palace. “It was a big show, 1 0,000 people, so I was a li ttle bit nervous but I thought it would be fine,” explains Sam. “Everyone was in the room and Ben [B arlow, vocals] gave me a card. I opened i t and it said ‘Congratulations on the new job!’ I was like, ‘Flippin ’ heck, I better not mess this up now!’”
4c 6 44R 1-E2PP4-2P1-E- 4 ) 0 RPN
r m a a h S t A m i o rds: A m h i c R e t in s u J y: y h : J Pho to grap
Two decades on Tw from unleashing his first ‘Book Of yllde Shadows’, Zakk W y has put the finishing touches to its second chapter. And, just like its predecessor, the music captures the more ve side of a metal berserker… sensiti ve
Z KKW YLDE INTERVIEW IEW
H
e ’s’s o n e o f m e t a l ’s’s d e a d l i e st st m e r c e n a r i e s , l ik i k e a n a n c i e n t w a r l o r d d e s ce ce n d e d f r o m t h e h a l l s o f V a l h a l la la , h e l l b e n t o n b u r n i n g t h r o u g h g u i t a r n e c k s lil i k e t h e y ’r’r e m a d e o f t h i n a i r.r. Bu ta sw e h ea rd o n h isrst rstso lo a lb u m , Book Book Of i v e d S o u t h e r n r o c k a n t i cs cs i n Shadows, h i s s h o r t - l iv P r i d e A n d G l o r y o r,r , m o r e r e ce c e n t l y,y, B l a ck ck L a b e l S o c i e t y ’ s Hangov Hangover er Music Music, t h e r e i s a l o t m o r e t o Z a k k W y l d e t h a n e y e -d - d i ss sso l v i n g p e n t a t o n i c r u n s a n d h a i r - ra r a i sisi n g p i n c h e d h a r m o n i cs c s . D e e p i n si si d e t h a t V i k i n g e x t e r i o r is i s a m a n w h o a p p r e c ia ia t e s t h e s i m p l i ci c i ty t y o f a s i m p l e a c o u s tit i c a n d a g r e a t p o p h o o k – w h i c h i s ex e x a c t lyl y w h y t h e f r u i t s o f h i s l a b o u r s o n Book in Book Of Shadow Shadowss II h h a v e m o r e in c o m m o n w i th t h E l to to n J o h n t h a n th th e y d o J u d a s P r i es e s t . T h e f o r m e r O z z y O s b o u r n e g u i t a rir i st st e m p h a s is i s e s t h e i m p o r t a n ce c e i n r e m e m b e r in in g t h e r e ’s’s a t im i m e a n d p l a c e fo fo r e v e r y t h i n g …
R SHH :H S0 H 0H) )S 0 H0 0HS:1 :) S R R i 0:HHH 4 7 “I ’d ’d s a y t h i s r e c o r d s h o w s m y l o v e f o r t h e s o f t e r s i d e o f m u s ic i c , w h e t h e r th t h a t b e E l to to n J o h n , T h e E a g le l e s,s, V a n M o r r is i s o n , T h e A l lm lm a n B r o t h e r s B a n d , L y n y r d S k y n y r d , B o b S e g er e r … a s w e lll l a s t h e m e l lo lo w H e n d r i x st s t u f f.f. I ’v’v e a l w a y s lo lo v e d t h a t s i d e o f t h i n g s a s m u c h a s t h e h e a v y m u s i c.c. L i k e w i th t h L e d Z e p p e l in i n , I e n jo j o y Going To California Califor nia a s m u c h Black ’k n o w ? I l o v e s iti t t in in g b y t h e Black Dog, y ’k p i a n o o r st s t r u m m i n g o n a n a c o u s tit i c g u i t a r ju ju s t l i k e I l o v e c r a n k i n g m y s ta t a c k s. s . I t ’s’s a r o a d t r i p r e co co r d , m e lll l o w f ro r o m b e g in in n i n g t o e n d . ” i R S SHH0 :(H H1 i 4H 1SH HB cck H acn “I t w a s a l l p l a n n e d o u t , w e w a n t e d t o b e a t G u n s N ’ R o s e s w i th t h t h e i r Chinese Democracy … T h a t to t o o k 1 5 y e a r s t o m a k e , s o w h e n i t h iti t tw tw o d ec a d es, es ,I k n ew itw a stim e! e![la u g h s] s]I g u red w ho h asthe m oney to w aitanother 20 years f o r a r e co c o r d , m a y b e R i c h a r d B r a n so s o n ? W e ’r’r e
g o n n a s e t t h e n e x t Book Book Of Shadow Shadowss f o r 2 5 y e a rs r s f ro ro m n o w t o b e a t o u r o w n r e c o r d . A n y o n e w h o w a n t s a n o t h e r o n e , d o n ’t h o ld ld y o u r b r e a t h . O r l et e t ’s’s h o p e y o u ’ v e a l u n g c a p a ci c i ty t y l i k e th t h e L o c h N e ss s s M o n s t e r ! H e ’s’s o n l y c o m e u p o n c e inin 2 8 , 0 0 0 y e a rs r s … w h i ch ch i s p r e ttt t y a m a z i n g w h e n y o u t h in i n k a b o u t i t!t ! ”
2:HU U R:U i S:(R R 044)S0HS: 1S:1 :)HS HS ) ) 2) ):H R E E0 H 0HR R i 010:1 0H SH 0HR R S 0 H S) “W e l l , i f y o u ’ r e t a l k i n g a b o u t p u r e v o c a l t a l e n t , y e a h , I ’m a f a n , w i t h o u t a d o u b t ! Y o u h a v e to to b e a f a n o f a n y o n e w h o i s t h a t t al al e n t e d i n w h a te v ere ld th eyw o rk rk in .I f yo u e xc e la t w h a t y o u d o , w h e t h e r i t b e sp s p o r t s o r m u s ic ic , y o u d e s e rv r v e t h a t r e c o g n i t io io n . A n d sh e ’ s d en itely elyam am azing … th o u g h I w o u ld n ’tsay s h e i n s p i r e d t h i s r e co co r d , b e c a u s e I ’d’d a l r e a d y m a d e i t b y t h e tit i m e h e r o n e c a m e o u t . T h e m a i n r e a so so n w h y A d e l e’ e ’s b ec ec o m e o n e o f t h e b i g g e st s t a r t is is t s i n t h e w o r l d a n d s o l d s o m a n y r e c o r d s i s s im im p l e – t h e q u a l i t y o f h e r m u s i c is goo d.” :H 44S i 4 44 4 4S H H 0: :R R 010:1 “Y o u k n o w , I lo l o v e C r o w d e d H o u s e . I lili st st e n t o t h e m q u i t e a b i t a n d t h i n k t h e y ’r’ r e a m a z i n g . T h o s e b r o t h e r s a r e g r e a t so so n g w r i t e r s,s, t h a t ’s’s ju stu n d en iab le, e,you yo u c a n h ea rto n so f in u en c e f r o m T h e B e a t le le s i n t h e r e . P e o p l e m i g h t n o t e xp e c tm e to sa yth e y’re re a b a n d I n d c o n s i st st e n t l y a w e so so m e . ” (SH0 :H :i 0 1 S:) S Ri ) 4 4 SR R4) 4) S11:H : Hi :i SHS:(1 1H S) “A s f a r a s th th e g u i t a r s o l o s g o , t h e y ’ v e a l w a y s g o tto t tth e so n g .T h e so los lo ssh o u ld b e p a rt o f i t – lil i k e w h e n y o u h e a r J i m m y P a g e
BookOf OfSha Shadows dowsII c Nahh ba a an an ea a auiagFae
L5W e3 fh5 M e h s Rv
l-
…’ es sh di s oe td s ju e ,h kk Za h O k, in th e pl fp I eo ’ ell w as y r nd lau o Id , ng yi sa e m is this Then p l a y i n g a s o l o , i t’s a lw a y s p a r t o f t h e s o n g . S a m e w it h R a n d y R h o a d s, w h e n y o u h e ar h i s so l o s y o u c a n t e l l w h a t so n g t h e y ’r e f ro m , a n d t h e s a m e g o e s fo r T h e E a g l e s. I w r i t e so l o s l ik e h o w I w r i te l y ri cs, I si t d o w n a n d c o m p o s e so m e t h i n g . S o m e o f m y so l o s, sa y D a r k e st D a y s [fr o m 2 0 1 1 B L S a l b u m T h e R e m a i n s N o t T h e S a m e ], I co u l d p l a y t o y o u b a c k w a r d s b e c a u s e e v e n w h e n I p l a y i t l i v e , i t ’s e x a c tl y t h e sa m e . T h e y h a v e p a r t s – l ik e a b e g i n n i n g , a m i d d le a n d a n e n d , y ’k n o w ? ” /,K RF BK F DF RF 2:DF F :K C F F 2 , 2 : F 2?
“A s f a r a s h o l d i n g b a c k , I w o u l d n ’t sa y t h e r e w a s a n y o f t h a t . I w a s ju s t p l a y i n g f o r t h e s o n g , l ik e I d i d o n M a m a , I ’m C o m i n g H o m e . T h e r e w a s n o n e e d f o r a n y s h r e d d i n ’ o n a t r a ck l i k e t h a t . A n d I r e m e m b e r a f te r I p l a y e d t h a t so l o , I feltre a llyh a p p yw ith h o w ittin to th eso n g . F o r m e , it ’s a l w a y s b e e n a b o u t t h e m u s i c a n d l y r i cs , t h e r e ’ s g o t t o b e d e p t h t o i t . M y m u s i c is a b y - p r o d u c t o f w h a t I l ist e n t o , a n d a l l m y in u en c esc a m eo u tb ig -tim eo n th is.” /F RF B: A , F F :KC 2 A C F , 2K R?
“A s fa r a s I ’m c o n c e r n e d , i t ’s l ik e p l a y i n g J a m e s B o n d i n a m o v i e … e v e ry o n e w i ll a lw a y s t h in k o f y o u a s J a m e s B o n d , b u t y o u c a n s t il l d o o t h e r m o v i e s. T h e w a y I l o o k a t i t, a t le a st t h e y k n o w m e fo r b e i n g a b l e to d o t h e d i sh e s a n d 60
0 16
t h e la u n d r y ! M a y b e n o t so m u c h t h e l a u n d r y, b u t t h e y s u r e l ik e t h e w a y I d o m y d i sh e s . I f p e o p l e t h i n k , ‘O h Z a k k , h e j u st d o e s d i sh e s … ’ t h e n t h i s i s m e sa y i n g , ‘ I d o l a u n d r y a s w e l l ! ’” K C 2DF TearsO D ecem ber 2F :F K F K C , F F F C C 22C , RF A :C R,
“ I’m b u d d i es w i th J o e a n d h e ’s a p h e n o m e n a l p l a y e r. I th i n k w h a t ’s so a w e so m e a b o u t h i m i s h o w m u c h o f a g r e a t a m b a ssa d o r h e i s f o r t h e b l u e s a n d t h e e n t i r e h i s to r y o f it , g e tt i n g i t o u t t h e r e fo r p e o p l e t o d i sc o v e r. H e c a n p l a y b l a zi n g l y f a st a s w e l l , h i s t e c h n i q u e i s a w e so m e . S o I g u e s s y o u c o u l d sa y t h a t w a s i n t h e s a m e v e i n o r s t y l e , to t a l l y. ”
/F RF 2,C 2 F F D E / 2R2 ,K F C A A F C ?
“ W e l l , I g u e s s so … t o m e , it ’s m o r e a b o u t h o w t h e c h o r d v o i c in g w o r k s in c o n t e x t. L i k e w i th [g u i t a r b o o k a u t h o r ]T e d G r e e n e , h e ’ s t h e c h o r d ch e m i st w h o s h o w e d e v er y o n e h o w y o u c a n t a k e a si m p l e C c h o r d a n d u s e d i ff e re n t i n v e r s i o n s f o r a l l so r t s o f t o n e s a n d c o l o u r s . T h a t ’s t h e b e a u t y o f in v e r s i o n s ! ”
D arestH urC 2C ,C 2F :F C 2 2 2 F ,:K C K ,:K F K F 2F F C F F A F 2, 2F , :, C
“ T o m e , th e k i n g o f t h a t st u f f i s N e a l S ch o n f ro m J o u r n e y … b u i ld i n g i s w h a t h e ’s a ll a b o u t . H i s t e c h n i q u e i s a m a zi n g b u t h e ’s s o m e l o d i c : h e a l w a y s p l a y s t h i s t a st y, e a r - p l e a s i n g s t u f f. C 2F F F 2 K , RF K 2 T h e n h e ’ ll sn e a k i n s o m e b l i st e ri n g i n s a n e F LayM eD w nC K LstP rayer K ,K s p e e d l i ck a s w e l l , w h i c h I ’ m a b i g f a n o f . RF :C F F A :C R:, C R a n d y R h o a d s d i d it th e sa m e w a y , b u i l d i n g “ I re m e m b e r m y o l d g u i t ar t ea ch e r sh o w e d a n d b u i l d i n g i t u p . L i k e G o o d b y e T o R o m a n c e, m e J i m i ’s ch o r d v o i ci n g s – t h e r e a r e c e r t a in R e v el a t i o n ( M o t h e r E a r t h ) … a l l t h o s e so l o s . i n v e r si o n s y o u c a n d o w h e r e y o u h a v e l i tt le L i s t e n t o H o t el C a l i fo r n i a a n d S t a ir w a y T o H e a v en , th e y b o t h v e r y c o m p o s e d . T h a t ’s w h a t h a m m e r - o n s a n d t r i l ls o f f t h e c h o r d i t se l f. Y o u b a rw ith you rin d exn g eran d u seth eo th er I ’m d o i n g w h e n I ’ m w r i ti n g – e v e n w i th t h e o n e s t o d o a l l t h e d i ff e r e n t b i t s. I t ’s si m i l a r t o h e a v y s t u f f – I s it d o w n , l i st e n t o t h e b a c k i n g t h e ch o r d s J i m i u se d o n T h e W i n d C r i es M a r y t r a ck s a n d c o m p o s e so m e t h i n g . T h e n I le a r n o r h i s v e r s io n o f L i k e A R o l li n g S t o n e . A n d i f yo u i t u n t i l I c a n p l a y i t b a c k i n o n e t a k e . ” r e m e m b e r th e P r id e A n d G l o ry so n g M a ch i n e Yesterday’sTears,2R ,,2F D G u n M a n , t h a t w a s i n t h e v e i n o f J i m i a s w e l l. Tuesday’sG ne RRRK RRK C 2C W h e n e v e r I h e a r ch o r d s li k e th a t , I k n o w C F 2,F 2K ,2,F ? i n st a n t ly i t ’s co m e f r o m h i m ! ”
ZAKK WYLDE INTERVIEW
LIKEAROLLING STONE iga am-o gca- foe dadg,e b ah g o foe ibac ami-C ag- b a- do-ib
a y ce e s e : a k k g v g t h e c (n d a f e w p h p h e ) h a t t h e y a n t i n f u l l Vk i n g
“Totally, especially the part when it goes to , C1 E C 1:, ERL the A, the E and the D chords. That’s Skynyrd, E E U1 LB LR U1 1 U 1 ELCIB:W U? without a doubt! And that’s how you learn. I love all the history, when you discover your “I used the Wylde Audio prototypes – my favourite band’s favourite bands… Led Odins mainly, and Vikings Vs on tracks like Sleeping Dogs ,where I needed a whammy bar. Zeppelin got me into Muddy Waters and BB King. When I heard those were the players that All the electric tones are those guitars. I’ve Jimmy Page was getting it from, I had to go been rolling with them for the past year since back and check them out. Like with Joe launching at NAMM, so that’s what I used for Bonamassa, he’s great at telling you where the record. I still have my Gibsons, I’ll always everything’s coming from, and all these have them. But for now, they’re retired, and younger kids can learn about Buddy Guy or on the road we’ve been just using the Wylde someone they might not know about through Audio guitars for the most part. Same with the show. You have to research into stuff like amps, I used my amp prototypes all over the that – discovering new things is so important, record too.” it allows you to implement more into your C U1 L 1 C 1L LR CB1LB playing. Then it’s in your vocabulary and eventually becomes part of your DNA.” C R C 1 LR B1 “My buddy Garren Dakessian has this 1 U1 RC CU L 1:CU LRCL CL L1 company called Loucin Guitars, he’s the E L L1 LR 1 RBH BHM1LU guitar builder over there. He’s made me a LU 1 CUE? few acoustics over the years, so I used those “Get as much information as you can on Albert on the record. I also used some prototypes for Lee. That’s the ultimate starting place right Wylde Audio acoustic guitars, which we’re there. Watch the videos and listen to his working on, too.” playing, because he’s phenomenal at that RCLM BH ELC CG L stuff. Then you have the Hellecasters, Jerry L E LR M C 1 C: Donahue and all those guys... they’re amazing U1M players, too. Just go on YouTube and learn B1 E 1L how to apply chicken pickin’ and banjo rolls, “Well! The phaser you hear on the record is a a n d so o n yo u ’lln d th ere’sa n o th erc rayo n pedal I’ve been working on, it’s not my to add to the arsenal!” normal one. So there’s that prototype, plus are a few other designs I’ve made. I also used my signature distortion and wah, plus my 1G 1 LR 1E RCW 1G C: 1L E: Rotovibe and Uni-Vibe for the Leslie tones. B1:-1 E ELC L1 RCL U1 E LR I’m playing Hammond on the record as well, “I’m actually working on some new pickups so you could say there’s a lot going on. But right now, that’s what you’re hearing on Lost yeah, we’re gonna be making pedals pretty Prayer. I have a double-coil that has a lot of soon too! Keep your eyes peeled...” l single coil stuff going on, it gets that liquidy Robin Trower kinda sound. He’s one of my CHH U, 1L 1 B cck H ac n : LR 1ERL LCG L favourite players, too!”
M AY2016ra g m 1ai har cha e6 g 0ch 2f e he ear The g ai c2ra h20bh g caee irhaAe a1YarHee m 1aibYhaA12f e he A 2he #.. ib,a122 2he 0rYe e raibh2Y Ye11iY2016 m a0A6i6hiI 1iIe a,A0rha6 m arri2 2he g 0ric,ir Y aA12f e6 m 1aib 22Ii acI,A62 iIA6 c a e a i Ae ec26e 6, ir21iIe Aee1Ac201662 a ibHee 2Y 10r Aa1Yar ha6 a H1arY i1e g aIibi A62I2Y Yh2 g aIer ec26 a6 62erhaf e a b226 ig e? Ar 21iIe Yee 62i c2r0ci2 a6 heaf 1i ib a116a,raib 2g 20i he g 2ib a6 ea2 rhiH ag S2Ag ri11m 206 2 a11g #.. Y2 ,g 2rerm ecia11 L M rOAr, 20b PrraM An e6e6 0m r206ibm e c221 22! 6 D vil’ D Aughtrcag e 20 eaac0a11, he er aYh21e 12a6 2 r0 A6ib2 L RtFrOhW ickd ,he r#.. a1 0g Am 1ae6 2 D
I g o r V i d y a s h e v / Z U M A P R E S S . c o m / A l a m y P a u l N a t k i n / W i r e I m a g e / G e t t y
c zz w s 1988 s N R s t F r T e W ce d
A0
61
SE 6
aParerPAGSLCAK6W illIrelanc
Art, exile and Dadaist verse – all through the medium of six strings! TG talks to Savages’ Gemma Thompson about her characterful, dynamic approach to guitar playing
2 0
2 0 0
1
INTERVIEW SAVAGES
I
Gem m I(lefN)ne ne I JID JI DnIRNRe, Re,RIlN fcA Re Re-ifeE
t’s 5.30pm, and the late winter li ght is slowly slowly seeping seeping away f rom the majestic stained gla ss win dows of Manchester’s Albert Hall. The former Methodist Methodist church creates creates an appropr iately tasteful background as Savages’ Gemma Thompson Thompson patiently i ndulges TG’s photographer. photographer. The Lon don post-punk post-punk band are due to pl ay a sizeable sizeable show tonight, f resh off the back of their acclaimed second second f e . The record album, A d o r e L i fe explores both the darkn ess ess and light of l ove and is a surprising, surprising, yet logical, step forward for a band that’s built itself around contrasts contrasts.. Along with frontwoman Jehnny Beth’s impassioned vocal delivery, Gemma’s extreme dynamics and feedback feedback theatrics are at the heart of the band’s innovative approach to guitar music. As Gemma win ds up the shoot, she sits down with TG so we can can pick our way through the mental maelstrom maelstrom of a woman who’s quickl quickl y emerged as one of this generation’s most innovative and thought-provoking guitari sts. sts.
F 2 2 R, ,C A ,: “I moved to London to study art and I moved into a hou sehold sehold of musicians. When When I w ent to meet them they had all these these records lined up on the wall, thi s record record collection, and I thought, ‘Yeah, I’ll live wi th these guys.’ guys.’ I used to go and photograph their gigs and make flyers and all of that ki nd of stuff. Then I was working on li ttle 1 6mm film pieces and I wan ted to make the soundtracks, so my friends leant me all of their equipment and basically basically,, I learned how to do a dive bomb on a Strat with a Big Muff pedal and thought, ‘That’s ‘That’s an interesting interesting sound!’ S o I ju st kind of carried on making noi se before I learned how to play the instrument in a melodic way. way. I was asked to join a ban d as a noise guitarist, alongside a lead and rhythm guitarist. I’d never plann ed to be in a band or be a musician, but fr om there I started lookin g at artists lik e Blixa Bargeld and Rowland S Howard.”
first thing I ever wanted to try and play on th d a y by guitar was the line from H a p p y B i r th The Bir thday Party. I t was very weird and very simple, a very strange strange lin e, and I w as lik e, ‘I can’t play that unl ess ess I’m that person’. person’. Suddenl y it dawned on me that you had to go through al l this to approach the instrument in a certain way. way. Th at was what intereste interested d me, not how long can you sit and learn something, something, even though that’s very useful, but that so much of it is about experience and how you apply your self self to an in strument.” strument.”
F F 2F 2F , , , 22 2 , C : “There’s another one called Duke Garwood. He’s done a lot of work w ith Mark Lanegan, but he’s an amazing f olk singer-songwriter singer-songwriter i n his own right. He has this beautiful beautiful hol lowbodied 1 960s 960s Gibson Gibson and h e joined S avages on the fir st US US tour. He’s kind of my r eal-life guitar hero. I count him as a very good friend, as well. He’s the first person that showed me that no one truly kn ows what they’re they’re doing and that you find you r own way. Before, I was going along thin kin g, ‘This is how I want to do things, but I don’t know if they’re right or wrong’. He taught me that you find a way and that’s how you do i t. He works a lot with feedback feedback with that Gibson hollowbody, hollowbody, manipulatin g it and moving it in certain ways to get this resonating, resonating, low-end feedback. feedback. He K 2C A DF 2. A3 ,DA has to have his amps in a very specific place F , and I thought I was always a bit crazy for 2 A S 2. 2. , 2, 2,2 , doing that, but learning from him I learned “Rowland S Howard was the guitarist from the art in doing that. So he’s a very very much The Bir thday Party and he was actually actually the loved and r espect espected ed figure [for me].” very fir st Nick Cave And And The Bad Seeds F ,F 2 A RA A 2 guitarist. He went on and played guitar in 2, C C ,2 F 2D D , C A Crime & The City Solution and These Immortal Souls, and performed in his own “One thing I woul d mention is that we did right as Rowland S Howard. I remember the the a project with [London-based [London-based Japanese
3
2 0 0
SIv IvID IDe( e(lR)Ay ye e H II II JeO JeOy yeNO G em m IIFIy ilN
noise-rockers] noise-rockers] Bo Nin gen called W o r d s T o T h e B l i n d – and that stemmed stemmed from an idea wh en we recorded the first record, S i l e n c e Y o u r s e lflf . We had loads l oads of books in the th e studio, because we were hanging around. Some on the history of Dada [the early 20th century avant-garde avant-garde art movement] and one i n particular was about this form of simultaneous poetry. You had all of these exiles in 1 91 6 in Zurich, Zurich, Switzerland and they were running away from countries involved inv olved i n the First F irst Worl World d War. Lots of artists arti sts and phi losophers came came together together and they were so angry that they could do nothin g to stop stop this war hitting Eur ope, and they came up with this art form called simultaneous
SAVAGES INTERVIEW
“W efe felt ltthere were ren’t ’tenough musi sicciansthat played edllikeit itwas thelastshowof theirlilives es” ”
poetry. poetry. All of the voices in all of the lan guages would absurdly absurdly shout at the same same time and create this uncontrollable chaos, then they would try to fi nd some understanding understanding from this chaos. chaos. S o we created a piece that was like sonic simultaneous poetry on a U-shaped stage stage – wi th Taigen [Kawabe], [Kawabe], the l ead singer of Bo Ningen and J ehnny on the very end reciting French, Japanese and English poetry against the noise of the world, w hich was the musician s. We’ve performed perform ed it twice now no w. Asyou can imagin e it’s quite quite a hard thing to organise. The first stage stage we built with our own hands on the back back of a lorry! ”
!B )R(I (S:0S: :4 4H : : )S RS : : )I(:S4HS:4:(: (:( (2 ( : : )SRSH SA do r L if “One of the main ideas behind this record was really the exploration of love. I t’s one of the things that that Jehn in particular never thought she would wr ite about on the first record, but it’s an exploration of love and the darker themes of loss and ri sk and fear – you know, not just the sugar-coated twee ‘love’ – and also just a universal l ove of beings in the same room that come to listen to music. It’s an inspiration, or it’s healing, or i t’s something something to take away with you. ”
i(S: S Si(44 4iH H 4i1 1) ) S ,4 ) i:,4 :)0(( ((i i)2 :) ) ) i i i(i:RiS((S (S : :S1:
x x x x x x x X g
“I thi nk that stemmed stemmed from the fir st record record as well. The idea of contrast: contrast: the softness softness and the hardness. Only by goin g to extremes in one thing, can you u nderstand the softness softness.. There’s a quote by by Antonin Artaud where he said something something lik e, ‘It’s only when you explore true cruelty that you can u nderstand what tru e love means.’ You You can use u se the stage stage as a platform to explore what you are an d how far you want to go. You’re just a human being but you can u se sound sound and volume as your chosen exertion. It’s interesting.” interesting.”
4iH H S:44H4:0( i)H S04Hi)1 H) i(, :S:H 1RS ( Si i)1S )i( ( :Si)1SiRR( 2 :S:H i i) i )iR:((i(: (:4 4R ( (U : :(( ((R R 44H): :S: S S “Before we went in to record we wanted to push every idea as much as we could, so I’d say in songs like T h e A n sw e r and A d o r e . A d o r e is this very melodic, almost ballad track, but we wanted to push that idea of makin g it this sw e r classically classically w ritten song. Then T h e A n sw came from this moving guitar r iff that just went over and over again wi th the drums and it was just about having that as the whole song. Ju st pushing pushing these these ideas and being able to do that for this record was really exciting. ” A
INTERVIEW
SA V GES )Gc ) G 4 )E c How Gemma picked out the detai ls on ‘Ador e Life’ Surrender G I I H I CYMYCM PF5CY0 AFF DCPPCY0 I YC Y. P5 T/ CY CH ,S 5 .C. D PP( );- / . M / ! PY. G I I ,)-. F 1I YC 3- - - 0, 4 Y /0Y Y /, H 3- C - F.5CY0 / FCY C. / M5 I CYCI FCY . C Y P 1 I CM -Y.,H FCD 1I CM / 0-C FCY / FCF ./ . . 1C,
E 4E, L G4- G N 4 c N E L 4 N G ,4 GL 4 4 G& L GE,c L N C4c G 6
t r y in g t o t a k e t h o s e r e c o r d i n g t e c h n i q u e s a n d se e h o w w e c an p e r fo r m i t. ”
“ I ’v e s t u c k t o t h e c o r e , t h e s a m e t h i n g s . I r e c en t l y b o u g h t a J a g u a r, b e c a u se I h a d o n e f o r th e r e c o r d i n g a n d u s e d i t a lo t , b u t e v e r y th i n g w a s o r i g in a l l y w i t h m y D u o S o n i c. T h e c o r e o f th e s o u n d I g u e ss i s t h e Vo x A C 3 0 . W e r ec o rd e d a t R A K S t u d i o s, w h i ch i s a v e r y co m f o r t a b l e p l a c e t o r e co r d , a n d i t h a s a l o t o f b e a u t if u l o l d a m p s a s w e l l – a n o l d F e n d e r V i b ro l u x , a n o l d H o f n e r w i th t re m o l o … a n d w e h a d a l l th e se t h in g s s e tu p , l i k e a l i t tl e st a b l e , s o w e c o u l d p i ck a n d c h o o s e. T h a t w a s a lo t o f f u n , b u t w e ’r e a v e r y m i n i m a l se t -u p s ti ll . W e ’r e j u s t g u i t a r, d r u m s , b a s s a n d v o c a l s a n d t h e r e ’ s n o t h i n g e l s e t o i t , r e a l l y, s o w e ’r e j u s t
4 44 c 4L CE 4E4J N D E0 E,Gc L G4 L 6
“ T h e D u o - S o n i c k i n d o f f e ll o n t o m e , in a w a y. I t ’s a 1 9 6 6 D u o - S o n i c I I . I w a s p l a y i n g a S t r a t ,
4 E 4 c 4L 6 ECE - C L L ,4G PN L 6
“ I h a v e a S t r ym o n [F l i n t ]r e v e rb a n d t r em o l o p e d a l t h a t I st a r te d u s in g w h i l e r e co r d i n g a n d t h a t ’s a b e a u t i fu l s o u n d . I ’d l o v e t o t r y m o r e S t ry m o n s . T h e n I u s e t h e M X R D ist o rt io n + q u i t e a b i t, b u t n o t so m u c h w i th t h e J a g u a r , i t’s m u c h e a s ie r t o u se w i th t h e D u o - S o n i c. M o s t o f th e d i st o r ti o n i s c o m i n g f r o m t h e p e d a l s. I u s e a n [F u l lt o n e ] O C D o v e r d r i v e a n d a [C r o w t h e r A u d i o ]H o t ca k e p e d a l fr o m N e w Z e a la n d , a n d a M a x o n [O D - 9 ]T u b e S c r ea m e r a s w e l l, m a i n l y fo r c h a n g i n g t h e t o n e o f d i st o r t io n so u n d s .”
“So much ofplayingguitar is aboutexperience and how you applyyourself”
Gb aM9 b0biD mh-Sh0TcCC ea! bb0aebih-h T0cb!bhibSak ab
o r i g i n a l l y, a n d I w a s in F r a n c e , p l a y i n g g u i t a r f o r J o h n & J e h n [J e h n n y B e t h ’ s p r e - S a v a g e s b a n d ]a n d t h e y h a d a n o l d f ri e n d i n P o i t ie r s [i n w e st F r a n c e ], w h o s a id , ‘ Y o u sh o u l d p l a y t h i s g u i t a r. I ’m g o i n g t o l e n d i t t o y o u f o r t w o days.’So I sat with it for two days in this h o u se i n F r a n c e a n d f e ll in l o v e w i th i t . H e sa i d , ‘L o o k , if y o u d o n ’t h a v e i t , m y e i g h t year-old dau ghter is going to have it.’So I ca m e b a ck t o E n g l a n d a n d t h o u g h t a b o u t it a n d t h o u g h t , ‘I h a v e t o h a v e t h a t g u i t a r ’, so i t g o t se n t o v e r o n a l o r r y a n d I h a d t o g o s t a n d i n a n i n d u s tr i a l e st a t e o n a c o r n e r a t t h i s p a r t i cu l a r m o m e n t t h a t t h i s m a s si v e lo r r y w a s co m i n g p a s t, in o r d e r t o fl a g it d o w n a n d g e t m y g u i ta r, w h i ch w a s a n a w k w a r d s it u a t i o n . I t ’ s a w o n d e r f u l g u i t a r . I t ’s v e r y i n t u i t iv e a n d e a s y t o p l a y a n d i t h a s w o n d e r fu l f e ed b a c k o n i t, b u t t h e J a g h a s a m u c h h e a v ie r to n e . A l t h o u g h i t h a s a si m i l a r w a y o f b e in g p l a y e d . T h e y b o t h d o t h e ir t h i n g , an d y o u t h r o w i t a r o u n d a n d t h e y r ea c t v e r y p a r t ic u l a r l y t o c e r ta i n s o u n d s , particularly distortion pedals.”
YE B-L GN E4 4a E4,E N L L 4G 4 c 44 4 G L Gc I4L 4 c 3 L L L E4G G4 GL 4L 4, G4C 4 4G N L L 4G4G E1 N CE E 4 L 4G G G46
“ I th i n k i t s te m s f r o m w h e n w e cr e a t e d t h i s b a n d . W e w e r e tr y in g t o f i ll a g a p t h a t w e s a w a t th e t i m e . T h e r e w a s a w a sh o f in d i e b a n d s a n d t h e r e w e r e a h a n d f u l o f m u s ic ia n s t h a t, b e fo r e J e h n a n d I k n e w e a ch o t h e r, w e b o t h w e n t t o s e e . B a n d s li k e L i a r s a n d S e l f is h C *** w h o w e r e t h e se d r a m a t i c p e r f o r m a n c e a r t is ts . B o N i n g e n a s w e l l, w h o a r e a m a zi n g p e r fo r m e r s. W e f e lt t h e r e w e r e n ’t e n o u g h m u s i ci a n s t h a t p l a y e d l ik e i t w a s t h e l a st sh o w o f t h e i r l iv e s a n d p u t e v e r y th i n g i n t o w h a t t h e y w e r e d o i n g . Yo u m e e t t h e se b o y s , B o N i n g e n , a n d t h e y ’r e t h e s w e e t e st , m o st p o l i te p e o p l e e v e r, b u t w h e n y o u se e t h e m o n st a g e i t’s li k e t h e e n d o f t h e w o r l d . I j u s t w a n t t o s e e m u s i ci a n s l ik e t h a t . ” 0 - L 1 & A OiaOGL E 4 E, 4 N E cEN L
TECHNI UES
Prh ePe Pndf V b i t I D t g 2 E O d e o G am e O fT hrones w w w . . l y / 7 9 v i cd Pmb rd du ceem dm 22 A UPK,T G ramfe rhe ddYw ceKKd rhe e ru me dmrd b u Pra,aKdmb 1Prh r1d drhe T 3 rhe e rhar1eIve eem hu Pmb ecemrKw, Better CallSau l amY T he X- iles
V id eo r if f lessons
THREE TV THEMES
GAMEOF THRONES
BETTERCALLSAUL
THEX�FILES
O ur acousticfingerstyle arrangem ent ofthe original m oody cello line is played w ith a capo on the 3rd fret, w hich m eans that the open strings are a tone and a halfhigher than standard tuning.Because ofthis,you can use all ofyour open chord shapes such as Am , Em and G,but they sound like the m ore fiddly and finger-troubling Cm ,Gm and B b.The tune is based on the s even notes in the key ofC m inor (C D E bF G A bB b)– one note for each ofthe seven kingdom s,perhaps? Practise playing these notes in the open (capo’d) position to get a sense ofw here the m elody sits.Start by playing the m elody using your first,second and third fingers to pluckthe hig her strings,then use your thum b to pick the bass notes on the low est tw o strings.
This bluesy them e w as com posed by British band Little Barrie,and is based around an A chord (A C# E)starting at the 5th fret,which then slides up to the 9th fret and sounds the C#,G# and E notes ofa C#m arpegg io.Ne xt the chord change s to C/E follow ed by an Am chord in 12th position.The lead licks com e from the A blues s cale (A C D E bE G),and even though it’s a m inor scale,it sounds good against both the m ajor and the m inor chords.Perfect for the blues vibe.Use your wham m y bar to dip the chords and add subtle w arbling vibrato.H old the bar loose ly in your fingers and w obble your hand in a m edium to fast m otion.Keep the fee l relaxed by letting each chord ring for its full duration and avoid rushing to the ne xt chord or lick.
The atm osphericopening line to The X-Files’them e essentially boils dow n to an Am arpegg io (A C E)w ith an F note added on top.For our arrangem ent w e’ve spread the arpe ggio out,using the open fifth string as a droning bass note w hile the other notes are played an octave highe r.H old dow n the C,E and F note s (on the fourth,third and second strings)and use alternate picking to play the arpeggio.Ne xt up is the ‘w histled’m elody line and w e’re playing this part using ‘pick and fingers’-style hybrid picking to help us keep the droning A bass note going. Sim ply pluck the ope n fifth string w ith your pick and use your second finger to play the m elody notes.You can use slides and vibrato w herever you like to bring the m elody line to life.
ET EETf
ET EETf
0300 034 Uea: 57EI TU- d : UG/a,lU: C I YDU,A
,aTcE,.cB OBJ
2 01
ET EETf
0300 031 Uea:
030 0034 Uea:
5EI TU- d : ,a Ua:
TG T I P L e a rn t h e t o p e lo d y n e f ir s t t h e n a d t h e bass notes as you g a n c o n f id e n c e
5EI TU- d :
UG/a,lU: 2 I YDU,A
D Ua:
;cJOBJ R ,O,D
TG T I P eep ho d o fyou h a m y b a r o y o u ca n ea siy ad d vibrato at any ti
UG/a,lU: 2 I YDU,A
,a Ua:
2 ;caDcE,.,aT/ O,BE,.,aT
TG T I P a c t is e t h e a r p e g g a n d m e lo d y s e p a r a te l s o y o u c a n h o n e th e f fe r e n t t e c h n q u e s
START PLAYING NOW!
CREATE CLASSIC
DELAY SOUNDS
Delay can be somuch more than juststraight echo. Here are three differentways totake control of your repeats…
DELAY CONTROLS M ECIQUKCEffQrhrQQm incEnrEUC, buhQKrQn’UwKCcUUQIhQCm Q hing.HQrQ’ChEwEm kQCQnCQEfi… 5 E 01 AA E / 0 /CAD A C / / C/( 0)E / 1/ // D00E(EAC0/ AB / /-/A/B 0/ )0 / / /. 0 / / //B 0 E EC C E/.0B 10 / -/BAC AC C 0 D0 0 /E1D A 0 / AC/ .0 ./ 4 A / /.E .06.E0 E A A- / -0 E. 0 A/ / E( / B/C ADE / /AE/
70 /E / /)//B 0 A / E! C /B 0
/..00C
E 1AB 10D B// E/ 0 C 0B / / /. /B 0B
EC C1/
/ D0(EAE(AC /B 0 0 A A .0 AB /0 AC C/
AD 0 / C / EC C(E /
D0 D0BD 0BAC C /
AD 0 / E( EC C
/A D0 C C0C D /A/ B/C AD/B 0 /AB 2 0 .C0. EC C(E / D0 / 4 AC 0C / 0)10
F
DBK
70 / A A./ .ACCE /(/ 30/ .AC CE / /A 1 A / /D0 .ACCEE E -CD B// E/ 0 AD E / D03C C/AA /.0/ B 0 // /- EC 0 0 E(E(C/ /.0/0 A. E- )0(/ 11D 0.EC C AE0
TRACK 37
SLAPBACK DELAY RATE
70-150ms
7
AY1 6
FEEDBACK 1repeat
LEVEL 50
5 B EB 2 00/ 2 ab 00y s0apba2 sudbeam eaadem a 2 f Su e s e Sa 00 s, sed 0 0eape ah esea e eshtsig0 -ep ea s tt es tas,a 0visva0s. st si tap -sty0 0 sett ty aa eve ss d tha ed a0 0ap a2 eed s esap y,s y e0ay es 00 esh –ayw e e etw ee7 –1 5 00seds.ad thisy 00eed 2ee y ep ea s e e sey 00e asp gys d hve 0ap st eep eatt0 ti0y e0 h the 0 ethe0 ve0 y e0ayed s da a0siga0 sthatthey 0 ev v0
START PLAYING NOW!
TRACK38
DOTTED EIGHTHffNOTE
5 DG o
lD6A640P P06 l o
c CPl 6 o P P6 C PCcDc- Pl 6
P PCcDc- P cDce l
c
PCo 6P Cc c- P 06lDa c60a6 4P6D P PCcDc l c60a6l 0 C 6C6 DcPPEo6 Pl a6 4P6D P6DP cP CP 6l6 C cDce o l f0 c6P cP D cP fA C f6Dl l lD6CcD P-6 -
f0P o f 6
6 PCcDc Pl
6D ol C Pe f 4oDDcP PfP6Dl B oo C DcP C6fl of06 C, 6 P06 fP 60l c6P 6 c6D
cP
P-PCcDc e P
4 P B c 6 6f DPe f
6APl lPD C o6DP P6l4oD
RATE
Dottedeighth notes
FEEDBACK 3repeats
LEVEL 50%
a ol Pl lD P6l P oCc
60D 4 P6cP
CPP 6
o 6DP6 C 6 l CcDC ll cP o a ofP60c6l 6 lP
C40P l
o06D
P 6lDPIa
6 Pf06DP Dcl f6D aDcP l o 4 fo
C 6 0CcDc ol 6a P oP 6 fP6
TRACK39
AMBIENT DUALffDELAY
EFA O U c6P
P06 fP60l 6 e o0
PaPDl 6f640P ao C D P06l 6D P o 6 P6DP 4C 6e 4P Dl P0l 4 6l C D P06 D C 6DDcP l6e P D
Pl P lc
P oPe
P P
olP P 0 C 6 60 CoP-lD0P C60P06
DELAY 1
lPDD
3
lP lC C ol 6
P
Eo6 P P cDce cP aPP46A l lPDa Eo P 6 aPB
o F P PfP6Dl D
PDDcP Pl a oc P60 o P6c cPcP PP0l lPDl c6DDcP PfP6Dl6 l0Cc 0 o P c6 cP C 60lC 60D cc cP0fl F
RATE
1035ms
FEEDBACK 4-5repeats
LEVEL 55%
lf6P 6Dl0
PDPe f l
cP lP P06 l lPDe oc lc P; 2
cl P6DPl ( c Pl 6D oDPe f
a(4fe C6
P P olP 6 6 60 CoP
o D CP PfP6D
P CD6 folcP
cP aPP46A E oP cCc D f oP 6
DELAY 2
l 6D c6D PCPl PP4 6AcP 0PP0 l lPD6D fPP DD 6 Dc Cl CPD oD c6 N P AP CPP DcPP cP olP a6 oe P fP60 oCo6 oe P 0D P6DP DcP lB P0 cl P 4 oD C DcP oe P
f0PDP0
cP fA C Pl cP EoA0
RATE
172ms
FEEDBACK 4repeats
LEVEL 50%
oe P of
C DcP
6AP loP o P DcP
P PC a o Pl 4oD6 DcP a 6D 6A.
P
D46A 4Pa P e C c l D
APPf ol C
P D 6 e
oe
2 (
START PLAYING NOW!
Some rhythms have been used over and over throughout the history of popular music. Get started on some new styles of music with TG’s five easy grooves...
ESSENTIAL RHYTHM GUITAR STYLES GETTINGSTARTED
M ECIQUECECK RN
6G
G I H CYM PF500I AP DH P . H T I PF5A G FDF/ ,
G H I S CT G IAH 0 IGI F IFT (DF/ FS
CF I F YPY G H (IH PG I APYG IF PF D F T F/ YF/ Y E6 YPY PF H PG F S 0H P IYF0D IF D 00F! YI FY5I 1H S 0I H 34 4 5 - F5 / FP H FY Y FP 4 4 I H I PF CH C FF !FF IH P / Y Y IC . H IG F1H S 0I F0I DF/ F T F/ G / Y Y 3 / Y I5YPY I !H 00 Y H H I H DH S G Y H IC 32 4 5CFF AFCH 0I H CY YPY Y I H 0 IYF/ I PF YF/ F CFH 00; A F! YI FY5I YPY I
N CE
(
4
(
4
4
GC L
, PN 6 , 6
&
REGGE , 6
3 E 1
2 01
&
&
&
&
.) II DF/ ; 0P F Y IGI F IFD H CYFD ICY H I YI - IYH S
4
4
- I S 0H PD F F0P !FIG I IF H H Y !FY IG H I PF I DF/
START PLAYING NOW!
TRACKS 40�41
1. SHUFFLING ALONG
TRACKS 42�43
2. GALLOPING ONWARD
Essential blues-style riffing
From Zeppelin to Maiden to Metallica
3
q =100
= A
5
D
F 5
q= 115
Play 4 times
5
G5
Play 4 times
PM
T A B
2 0
2 0
4 0
5 0
4 0
2 0
2 0
2 0
4 0
5 0
4 0
T A B
2 0
ALTHOUGH MANY 2egcdbe dg h
g cldcé,e o ble bloeg goflet dg me mg the ageggef d l od dae ll,f 2 dg g mle j geggdaf a22e Itg lga meh e gh Uge haovgvf e a e f 2 ef aeg f 2 hao d2 v f e a e 4 e Wef hao e c e 5 eede oge hao ao vf e a gld2e om. d hao d2 vf e – dtg oma hao Wet1e oge2 2a. f omtghle mdc-df bo oge ll 2a. f ga- eg dhao v f 2 de gde
5 5 5 7
2
2
2
2
5 3
2
TRACKS 46�47
4. REGGAE SKANK q= 73
Dm
5 5 5 7
2
Slower and groovier than ska
Am
T A B
2
a. f g e 1h e lghle dmamol dge2 bh bf 2g goc g Iaf M d2ef f 2 M e lldc Yao cf df - ad g a2dve2 bloeg gofle,gme2 omf 2 g d ef e2 a oa ae eggd1e eel Ibadlg 2a. f a af e h ,ml he2 af e od g: 2a. f ,2a. f om Wef eme e2 eetg hmf adc aa1 e Ga af – cl m llamdf age h f 2 haotll gee . . e e f ! Ood of g ao e llamee d eg ef l f 2g af ma. eca2
Upstrokes all the way q= 145
2
THE ‘GALLOP’ dg beg-f
TRACKS 44�45
3. SKA�PUNK SKANK
2
5 5 5 7
5 5 5 7
G
Play 4 times
5 6 7 7
5 6 7 7
5 6 7 7
5 6 7 7
D
3 3 4 5
T A B
CHARACTERISED BY abe ca2 g bg f 2
. l- df tb ggldf e, g- ad df e2 df J dc f 2 . g ca ecd ldge2 df e 80g f 2 90g bh b f 2g goc g Te S mecd lg,M 2f egg,R f cd2 f 2 Sobld e Ooe mle ga. cgeg e lld ma f g- f -t od aa1 e Wet1e 2eldbe elh oge2 ca2g . dao f h amef gdf g a lla. hao a gdlef ce e gdf g be. eef e c ca2 gd mlh bh ele gdf meggo e Pl h e1eh ca2 . d f omga- e a ee d eel
3 3 4 5
3 3 4 5
F
2 2 3 3 2 2
C
2 3 2
1 1 2 3
1 1 2 3
1 1 2 3
3 3 5 5 5 5
3 5 5
WITH THEIR aag df
g- ,ba e e f 2 ac-ge 2h ghleg -e e g- f - aa1e f 2 gla. d2a. f a d1e ae gm ce df e ogdc If ao d. et1e d e2 ome 2aobledt g- f - (. a go g af e c ca2) aBab M lehtgTrenchtown Rock . d e ae ogol gdf le dt mma c ac-g ld-e Buffalo Soldier f 2 Could You Be Loved Te gm cdf ae ca2g df e f a d elmhao mdc- omaf e af gaol2 h Pl h 2a. f oma e 2aoble d,ef 2a. f a e gdf le d
5. THE ‘THREE THREE TWO’ A
TRACKS 48�49
A rhythm for the Millennials A
7
Em
D
q =125
let ring throughout
T A B
5 5 6 7 7 5
5
5
5 5 6 7 7 5
5
5
5 5 6 7 7 5
5 5 6 5 7 5
5
5
5
5 5 6 5 7 5
5
5
5 5 6 5 7 5
7 8 9 9 7
7
7
7 8 9 9 7
7
7
7 8 9 9 7
7
5 7 7 7 5
5
5
5 7 7 7 5
5
5
5 7 7 7 5
5
5
etc.
THIS RHYTHM dg
agggacd e2 . d a2ef ac- f 2 mamac- M oge oge2 ddf ed 999 gaf Uno f 2 D 1e Gal ml he2 ddf Faa Fd egt Best Of You,boe beg-f a. f e mle dg Cal2ml htgClocks Itg gd mle h ,ca mdgdf joged 2a. f ga- eg Yao jog 1e a e m gdge e vg,ao f 2 ge1ef f aeg Caof & & 3 &t a e eel a d Ihao vf 2 e b e ca2g cllef e,jogoge amef gmeg df ge 2 MAY 0 16
23
Ready to play Discover the new look Official Xbox Magazine
FREE 68-page supplement
AVAILA LE NOWOR ORDER DIRECT FROMM FAVOURIEM AGAZI NES C O UK/GAM I NG
0 0
SE 6 EP A
4-5-7EICC,aC744Tc74cc7.... GPL CKY E
BOJa4T74T7;CC DJ/O,......................... VSKgE 72 TB
74E C ,c,cTI 4,I;,C,4......... ROUND U: W shbS EKgE
CC-cCJDOJa4TIOcTc...................
0 1 2
EvEyP c30
R 474c;4JI,J74EI 4JCODCIcc........ BossVO 1Vo oLE
5744/O7,,47(;C) CC,c................... ROUND U:bSEzCEEs9MS
) CIccDI,4G44Tc,T,/7 ...............
0
TE Ks
C4T7- I7 ,) 5a;T& NR ) I7D,)/B7a;T...............................
2
cE soE
Bcc-3 T;,a/cT4 ) C4T7, B,I5J4BO47,I7 ( c ,D........
0 2
0
0 20
13
REVIEW LINE 6 HELIX
20 1
GE R LINE
OYSTICK 1 (1B-)(/ B/ / B1 AD0 0A( (C 0 0B /C D0AA(/ D(A 1 / / 0)( 0B/ A
AT A GLANCE TYPE: Amp modeller/
T RE DLE OOTSW ITCHES - 011 A / 1/C D0A0BA / /( 1 0))0BA A /C 0 BAB0 A
M- B04 1(, 0 DB 6 7 00A 1A 0 A B BCC10 0 D, 0B01(0A
0( -A0/AB 0
AD10 / 0
/ -B 0-. 0 B /C
!//C A
10 ABD
E 1,221
L ine goes upmar etwith a do-e erythingampand effects modellingpedalboard
affordable amp
was a pioneer of
modelling hardware, from the original POD through its many successors. Lately, though, a new breed of amp modellers have occupied the limelight. The likes of the Fractal Axe-Fx and the Kemper r o lr o e r m a s iv e l
crea ed
processing power for modelling that gets closer to the sound and feel of the real thing. Now, Line 6 has responded with the dual-DSPpowered Helix, which combines amp and effects models in a large, ru
d
oor p
al
There are a massive 1,024 preset locations onboard the Helix, organised into eight setlists that contain 32 banks with four presets s each. Each preset can have up to n o i s s e four stereo signal paths, each y made up of eight blocks populated b o J : y with amps and effects. With the h p a r current count of 41 modelled g t amps, seven bass amps, 30 cabs, h P 16 mics, 80 effects and the option
of loading speaker impulse responses, there’s great potential for sound creation. Line 6 has implemented an easy editing system, complete with a joystick, and – get this – touch-sensitive footswitches offering a shortcut to parameter adjustment; you can even use these with your feet to
recall effects at will. If you want to use any of your existing pedals, the Helix even has four effects loops that can be turned on and off within a preset. The amount of socketry round the back means you can connect the Helix to just about anything, including into an eight-in/eight-out audio interface
The sounds canstand side by side with Kemper or ractal select a parameter before adjusting for computer recording, with it with the pedal treadle! headphone monitoring and mic That treadle can be assigned to and aux inputs. MIDI or external plenty of functions, as can all of amp switching functions can be the footswitches. There are two assigned to footswitches, too. Add main operating modes for these: in the coloured LED rings and LED Preset recalls, well, presets and ‘scribble strips’, and you always Stomp turns individual effects on know what function is assigned to and off, but switching between the which footswitch. two is instant, and when playing Playing through the onboard live, you can swap presets and amps is uncannily like playing
multi-effects pedal CONTROLS: Volume, phones, 1x joystick, 8x ‘soft’ knobs, 7x buttons, 12 x footswitches, ground lift switch, pedal treadle EFFECTS: 70 AMP MODE LS: 41 guitar, 7 bass SOCKETS: Standard guitar input, standard aux input, XLR mic input, standard main outputs (L/mono, R), XLR main outputs ( L/mono, R), standard stereo phones output, 4x standard send, 4x standard return, S/PDIF digital in, S/PDIF digital out, AES/EBU and L6 Link out, Variax, MIDI in, MIDI out/thru, USB, 2x expression pedal, Ext amp, CV POWER: Mains power (IEC lead) CONTACT: Yamaha UK 01908 366700 www.line6.com
through the real thing. As good as the POD HD models were, Helix’s efforts have an increased level of both accuracy of sound and playability, and will react to the nuances of your playing style – these are sounds that can stand side by side with Kemper or Fractal models. The onboard modelled amps include a good selection of vintage classics, some more boutique choices and some Line 6 originals, while the effects run from vintage favourites right up to cult overdrives. There are some great sounds here, especially when you get beyond the factory presets and shape things to your own taste. While many amp sims do high-gain very well, it can be much harder to recreate decent clean and ‘just beyond clean’ breaking up tones, but the Helix nails it. We particularly like the Fender Deluxe and tweed Bassman for these. At the other extreme,
2 0/
REVIEW LINE 6 HELIX Thecolourdi splay showsyourpatch’ fullsig alchai
F F 22R, CC A : RK C: : G G he bee ahieeg hghhZ ZeahZ hZ hG egG e.eh h G hee G e-G ve gZakae Zeggfgdb eZhG Ze G a egZeahZe hhG g G aZhhe. h, eieZ g gegZaghZhZie hZk d fbeade f Zhd G G he g hd hZ ee evag ke f gZh i ieG –gg gageeveZeae G ke ge eZeae ieZ ge ge, feZ h, eieZ feZ eG Zaegegeg eeZgh h G G heeZf e bfeG eZ FZag h ge ev.e eZeae gg ge geah h G Zhie geeh ZhaehZ geZedgg aZee eg geG he G egg ge h ee Ze h k ghgeZe g Zae fh Ze hZ ae ge gZghake G hZe feZ e G G heeZgZg ghP hZ d-ZegZehe a eg.
metalheads and hard rockers will have no complaints about the ec
er U
e r s c h al la d 5
o g t e e f e c ts
e U
e j ob of a
g th a e tra
something in front of an amp. The four years that Line 6 took to develop the Helix were well spent, and it’s a valid alternative to its rivals. Kemper and Fractal both have more amp models but, as Line 6 tells us, “Helix is still in its infancy and we expect big things to
4 5
2 01
F RACTAL AX 1,6
Themain competitor totheHelix lacks the routingbellsandwhistles butputs someoftheAxe-Fx II’s ampmodelling andeffects intoano-nonsense,stagereadypedalboardwith512 presets ATO M I C A LI IRE 6 Thecol ouroftherig arou d t he foots tch id cateseffecttype
come”, so more models and features can be expected via rm
be
sim’s gloopy warble stands out, while the Minotaur Klon clone osa
ALSO TRY. . .
a e up d ae s .
h il e m p e r ’
r o lr h a t h e a ly t o
c the
sound of any amp, the Helix offers a more compact and manageable stage experience than the separate head and controller provide. In the same way, it’s more practical than an Axe-Fx II, but has a serious rival in the AX8 if you just want a set of sounds simply delivered. However, the Helix’s advantage lies in its comprehensive input/output and signal routing ability, which can
facilitate just about any guitarrelated studio or onstage task you can think of – it’s a real powerhouse that can be used on its own or as the centre piece of an extended gear system. , : I S F EATURES
SOUND UALITY A LU E O R O NE Y
A
U IL D U AL IT Y L AY A I LI T Y
O V E RA LL RA TI N
Thewayto goifyou’re onabudget butwanta dual-DSP processorthatcanloadcabinet impulseresponses,butstill fitsneatly intoagigbag K E ER R O I LE R F RO 1, 705
emper’s profiling technique is liketakinga snapshotofamic’d-up guitarrig– addtheProfilerRemote controllerpedalforonstagev ersatility
REVIEW GUILD STARFIRE II
6 E
HE DSTOCK
0 1
- 1 A /ACD A
(ACB/) C/AC /)-. ,(DA /(A 1 4 (A /A6 A B 7 D C )/D!
Heritage,class and uality Guild’s Newar Stelectrics ha e itall.Here’s a new, ultra-affordable ta e ona classic - recalls some of
Newark St Collection
Guild’s classic 50s and 60s guitars, but builds them in Korea. Back in the day, Guild’s USA instruments were a viable alternative to Gibson a d G
e t c h a d th e S t a r e a g e
– introduced in 1960 – was hugely successful, attracting players such as Duane Eddy and George Benson, not to mention Buddy Guy, Muddy Waters, Lightin’ Hopkins and Robert Lockwood Jr. New owner Cordoba has carried on expanding the range, which started out when Guild was still under the Fender umbrella. Aside from adding a top-of-thel e S a r e V I a th is y e a ’s N
show, Guild also introduced this
mahogany laminate construction. The mahogany neck is three-piece with a headstock splice and additional heel piece, while the rosewood ’board has a Gibson-like 305mm (12-inch)camber, nicely ed
e d um
au e fr e t s d o
inlays and a ‘vintage soft U’ shape. It fee l
ore of a ’ tous: m
ay
but far from over-big and chunky. The control setup is pure Gibson with no master volume, just like e B gsby eq u
ed V
l
ribbed, silver-topped control knobs are a nice period detail. The knobs may look the part, but it’s the LH-1 ‘Little Bucker’ pickups that not only recall the original Guild units in appearance but capture the ‘halfway between a
rstsi
l cu a a S a res
single coil and a full-sized humbucker’ tonality that give this
based on the previous thin-bodied
– a d h e oh e r n e w S t a
T-
tested – its major calling card. They sound superb, adding clarity to the hollowbody frame that’s just as applicable for old-style jazzas it is rootsy, alt-rock crunch and gain. Okay, it is mostly hollow, so feedback can be an issue, but get it right, hit a clean boost into the front-end of a Fender-style amp and the thing damn near takes off.
0
lm J i
.
e S a r e II s n ’
a slavish vintage replica and comes out t e th e e
e r b oa d
s t i g I II
o
ck
g o ua d o
case, and just this natural gloss sh .
ow
f
a
s of e n
pinching, don’t worry: all the important bits are present and correct, and it costs £184 less. h e S a r e II s a4 1 9 m
e s w e ’v e
(16.5-inch)wide hollow body with l orious. In a o s to e oo a thinline depth (48mm at the rim) this is a class act that’s light in and single ‘Florentine’ cutaway. weight but balanced on your strap, While it doesn’t have a full centre and with a resonance and vibe block, there is a large-ish block that that’s heaven-sent. 2 ::HU connects top to back and is used to mount the tune-o-matic-style bridge and stud tailpiece – it’s not FEATURES vin tae sp ec
c
ut s h oul a d a
little more solidity and sustain to the sound. There’s simple cream edge binding and a gloss polyurethane natural coating that shows off the distinctly striped
2 0/
SOUNDQ UALITY ALUEFORMONEY UILDQ UALITY LAYA ILITY
OV ERALLRATING
humbuckers
AD/(A CA D C /(A C,L/DAA AB DA 7 CD /
P ICKUPS - DD(L LA CDAB D /(A AC C CAB77 A CA/ )BA (DAA )B CBAD A )D, D L BD C(D/A!CAB C) D, AAAB !) -.
CONTROLS: 3-way toggle pickup selector, individual pickup volume and tones, master volume LEFT�HAN DED: No FINISH: Natural brown gloss only CONTACT: Selectron UK 01795 419460 www.guildguitars.com
ODY 6 C /CBD/D C LA B C/D 7 ABC D C/AB C()C)C7A A !) D/ LD/C)BD A E(A D !L ) )3 CDBA !) CD AC A ) /(C/ ) A/ /)7 /)C
Hita cleanboostand the thingdamnnear ta es off start-up model, which recalls the
AT A GLANCE BODY: Laminated mahogany NECK: Mahogany, set SCALE: 629mm (24.75”) FINGERBOARD: Rosewood FRETS: 20, narrow jumbo PICKUPS: 2x Guild LB-1
C7 7 ACAB D /(AC/A
GEA R VINTGEREISSUEDSERIES V 2HT
6 E E EE 0 1A / 2 T he spiritof’ 2is stronginthis gutsy,affordable semi-hollow electric
Reissued Series from Brit brand Vintage is about revisiting classic electric guitar styles to inspire new instruments. As with all Vintage guitars, Trevor Wilkinson’s design nous has been brought to bear here, as have his hardware and pickups – let’s dive in… Those who started playing in 1972 might experience a warm fuzzy feeling at the VHB72’s silhouette. Sure, the headstock’s different – it’s more of an S-style silou tte –
ut th e
u ta’s p ro l
and semi-hollow chambered body reveal the Thinline ’72 Tele as the chief inspiration. There are some tonal similarities, too – both sport
matter what pickup you’re switched to – bridge, neck, or both. Its bright and characterful mids are harmonically rich. Country and blues tones sit square in the V72’s wheelhouse, but it has plenty of attitude for hard rock, too, with a little feedback always in reach when you crank the gain up high. Spend some time with the V72 and a pattern emerges. It looks oldschool, with the glitzy chintz of a pearloid pickguard, while the a e-
a lv en e e ra d s a
uptown aesthetic that belies the price tag. And yet there are concessions to modernity, such as the military-grade minimalism of the tailpiece and the relatively
The V 2wals a line between the pastand the present humbuckers to tame feedback and kill noise in high-volume settings, and both could be put to work on the same songbook. Nonetheless, the V72 has plenty to set it apart. The V72 has a one-piece maple neck, with the subtle swell of a volute under the nut, bolted on to the body. The Wilkinson WVFS bridge is a neat, string-through arrangement with a six-saddle block tailpiece, more 2016 than ’72, and super-stable. A set of Wilkinson Deluxe tuners – their design in the classic Kluson style – helps maintain the vintage vibe and keep things in order. This is a guitar with backbone, and it’s hard to throw out of tune. Vintage claims that the ’buckers have great low-end response – good and tight – and that’s true. e
d t h a f or as e
- h ol l o
chambered electric with highoutput pickups, the V72 is never shrill. It has the Tele-esque twang a d
rea no e d e
on
o
AT A GLANCE BODY: Alder, chambered w/ flame maple veneer NECK: Maple, bolt-on SCALE: 25.5” FINGERBOARD: Rosewood FRETS: 22 PICKUPS: 2x Wilkinson WHHB Alnico humbuckers CONTROLS: 1x volume, 1x tone, 3-way pickup selector HARDWARE: Chrome LEFT�HANDED: No FINISH: Flamed Tobacco Burst only CONTACT: John Hornby Skewes www.jhs.co.uk 01132 865 381
NECK - 0 1 CD C DCB (D)
(-. ,,3 C 4,,D 6 ,- C6 7 3 ! C6 D D4 4 ,D ,3 C 4- ,2 ,-D
P ICKUPS C,-C) 3 C2, C ,B--,!, D, B D ,B
3 ,-D C-,
C-) 3C -B 2 ! , 4 C-6(-3 L ,-
S OUNDHOLE -C) ,-,6 C6 ,- 6 C ,D, 0 12 C6CD , C3 !C-) C6 6 C) 3,C-
unobtrusive heel. The V72 walks a line between the past and the present. It feels like it’s rooted in both worlds where, say, an Epiphone Blueshawk is more of a throwback, while Squier’s Vintage o
ed
2 Te l
l e is m or e
period-appropriate. It would be nice to try a V72 t t d w t h ac l u r ou
ed
eck
r m or e
ro l w
c h c oul
only add to its sturdiness, but the easy ride on offer is going to be a big winner for beginners looking to navigate the fretboard more nimbly. The price, the vintage look, sh a d
ualty to e
l le a
big winner for everybody. 2: HURi FEATURES SOUNDQ UALITY ALUEFORMONEY UILDQ UALITY LAYA ILITY
OV ERALLRATING
2 0
/
ROUND�UP WASHBURN HERITAGE SERIES
hi:M SaWWPehhiae:JIe naBr
e SI
W SHBURN ERT E SERIES U Dfi We cherry-pickfrom a new range of acoustics thatoffer a playingexperience thatwillhookelectricguitarists and singer-songwriters alike Its slim pickings butina good way
A
GEAR ROUND�UP
2 01
3
ROUND �U W SH URNHERITGESERIES
H E
GI HGC Y G MH GI HP FG5 P 0H A 5DGH5 ADHGGIGM5GH5 FM 5DMY IYM.T IGMHP 50/5P GC M 5GH GIH 0 G HG , HGA S H ADHG.( , HGA)H FGP ; IC D MH.T I 5P F C A FY D5H A 5DGH5 ADHGH - IH5A! MMHH!C 50H 1 1 3.T I Y ! P G ; IC D HGDP G FYD5Y H 4 H! MH0 P GI C Y!C DG D 5 MGIGMA5 H GI G M HGADHG. T I P Y MH GI , HGA A! GDHA M5GH C Y G M! C DG M MGIYY FGH . GIHD YDF! ) FH50Y G FD5GFFY YY DAIGC YHY ADHG GI , S Y , 3S - Y GI , S - !AY DYHGHDP P Y M HGI 5Y GF. ; IHM GI ADHG YH GMM F5HH5GH! GI I GI P MHP - FHM P I A 50 Y M 5GH GHA IHAIG ! MY 5I MGHz! G FH5 C 50Y MM5DGY IFY DB GF DGY C HYA YYM. Y C GI 5GG FI T 5I! N DB GI GDAI ! DGH Y YDC HMHG C ! HGIDGGI Y G FMDY P F 5GD) 0MG .RHAIG!MG)AGC GG5qDH GY...
You canfeelthe legacyinthe style ofits guitars
A
1 M L ,
S
2
Spruce almighty
G
of us kicked off our playing careers on a sub-£1 00acoustic-shaped thing. It looked like a guitar and maybe even sounded reasonably guitar-like when you hit the strings. What we didn’t realise, thanks to our youthful inexperience, was an important, ear-pleasing piece of the puzzle was missing: something we call ‘tone’. The new Washburn Heritage Series HD1 0S addresses any tonal concerns with a couple of tri ed and tested timbers. The back and sides are made from mahogany. The top is solid S itka spruce, a slice of tree that sends a shiver of excitement through any acoustic tonehead – it’s lik e shoutin g bingo numbers at a group of old ladies. The HD1 0S also features a dreadnought-sized body, a mahogany neck with a satin finish, white plastic body and neck binding, a rosewood ’board with 20 thin vintage-style
frets, and a top nut and bri dge saddle fashioned from the aforementioned NuBone. The only other newsworthy items are a set of chrome die-cast machineheads and the fact that the HD1 0S is the only model in the Heritage Series that’s offered in a l eft-handed format, albeit for an extra 20 quid. This affordable guitar offers the classic wel l-spec’d dreadnought performance: bags of volume, a booming bottom end, and a touch of natural compression when you hit the strings hard. The Si tka spruce top is cut thin, which allows it to vibrate freely. More movement equals more volume, and an eventual i mprovement in tone. Figure in the slim neck profile, and low, buzz-free string action, and you’ve got a great all-rounder for £249, not that much more outlay than some entry level stopgap. Our advi ce? Let the piggybank pile on a few more pounds before you smash its porcelain h ead in.. .
GEAR ROUND UP
F
.
£429
A grand design...
IA
k a s p r u c e is t e b e e s k n e e
e lp i g o f b a s s,
h e n t c o m e s o to n e w o o d
y is t e s n a ed
pi y-
ed , y e s it
a tu r e – actua
you u
y p ay
oe
ash es i s goo e
e to
ck i s po en
al
o th ou
c h f ro m
a r s, h e H ori
h a cu aw ay for up e a d read a u d i o r iu m
26 SCE
e.Tha
g e r p ic k e r s d o egrass
om
a r, a g r a n d
ck
end ed
cal
a r s in
e r e n c e s ? Th e b o d y a n
e w oo d bi
g,an d
he sou nd
ere’ ays
o le – a k a t h e r o s e t
e c e d a r to p s o u e r e d g e .
he bo
26
om
CE e v e a ls a
Ean d A st
s no t o sa y tha aye rs
t ori
e ‘E’ f
g s .T
se
at t ree-
g
at t
rf rf e ’d , a h e m …
ar’ abl
a l c h a r a c te r
er but you do
en si
grand au di ori m a
e g
b e r) d o e s a n a d
f tr a n s fe r r
hroug h an am pl
o u g h s ,o f
ou
p s y s te m
odelnu b
t use d read
o r k w e ll b e c a u e y o u g e t a n e q u a
F
o gu
o n b o a r d F h m a n P e sy s + 3 0 1 T
s to t s w e l l
a n y th i g e ls e – b u t g r a n d a u
she
s w e e t o p e n d a n d a s a t s fy i g g o w
e r fr e t a c c e s s .
s g e n e ra l y re c o m
c o u r se – b
p.D
er t
P ic k i g t e H
s iz e d b o
e r ’s g u
e r s t y l s ts , t h a
a la n c e d
– an d
o u g h t s ty p c a l
y p e c a s t a s a s tr u m to fi
d
arou nd
ou gh tgu
des.
e sati
s o m e p r e t y m o t h e r -o f -p e a r l
r s t s tr u
ead
ee l f
se of t e o
e c k fe a t
n l k e th e H D 1 0 S a n d H D 3 0 S C E s p o r ts a g r a n d a u
osew oo d back an d
a h o g a n y n e c k is p r e t y m u c h d e n
ar – ced ar
es pret y m
e b le f o m
n h as pai ed the sold ced ar
h
The spe c an d
hi
e f r is t
g the gu
op
ds an d
y s ty le .
ashb
s s
u m p s p r u c e in o n e r e g a rd . spru ce take s a w
at bo
CE
h c e d a r ? A c t a l ly ,
e s te r n R e d c e d a r, a n
hen
al qu al y o f
b o d y . If
e h a d t o p ic k
erp ck ers to ,er,
ck
p ic k th i
!. £399
Ashand you shallreceive..
T,
D30
C E a k e s t h e c la s s i
ead
o u g h t c h a s s is o f
h e o w e r p r ic e d
t
D1 0 S a n d
h a cu aw ay at t e 1 e t te r f a c i
ri
s.
ate y
so i cl
r d ed
od
h
ret
s ty e n
es
L ik e D30
h a b
s m
re aff rda
CE
ers a sol d
spruce, a sat a rosew oo d
n
er
e b r o t e r, p
shed
f
0 vi
a g e fr e t
a n d b o d y a n d n e c k b in d i n g m a d e o f e p a s t c . Y o u a ls o g e t a b i t ash or yo The go d
r ca s h
or yo
r 40 0
sh o
e d e-cast
e b o x , th e
r ig h t t
he b ot om
end
D3 0 S C E
e. I s a b t
han
gh er
h e H D1 0 S .
s u a l c h o ic e o f a c o
oo d,
s t c to n
s b e s t k n o w n a s th e
f a g r e a t Te le c a s te r,
t
c le u
e l ke
c o m b i a t o n o f a s h a n d s p r u c e h e re . Y e s , t ’s b r i brash.
ka
ah og an y n eck,
r e tb o a r d ,
n
s an
e p r ic e is a
om
s ou t a
d v is i a t i
F h m a n P r e y s + 5 0 1 T p ic k u p a n d e a m p s y s te m
S t ra ig h t
gs w exp ect gu
t an d
.
t i s n
ou gh yo u can t h a bso
e c e r ta i
e to n e to
ed .
.Ofco ol
ore
am
otes.
Fshm an pream p a
oo st
ese
e w ou
he n
r se , y o u he gu
av
ar i
g the b ass on ds a b tof gi h
ers
e
o b v io u s ly lo o k s m o r e p l s h t a n
he
Y o u c o u d p e t y m u c h d o a n y th i n g
p l a in J a n e c h r o m e jo b s , b u t
he
gu
ar ov er an d yo
qu
t ash
oo k, al a b
d
gh y f gu red
ack an d si es.I s a b ost psyche
e o n t– b s gu
l
n
a r s ta n d
efi
t n a ri
c ro w d e d b u d g e t a c o u
e ly h e l cu
c m a rk e t
h
e.
s so u
si gi g al
:get a h ou se part g
h O a s is ’Wonderwall
e l o w o u t h e s to n e r s w
e l c if y o u o o k a t
t t
v e r a ll
,
e l o w a b t a s th e
a r is p la y e d
a lo t m o r e c o n
r e d ic t
sl
h a rend
on
Comfortably Numb, o r e v e n s t h a t ’s y o u r p o
on .
o u d b e a b l e t o t e ll
nd no t
any peo pl
at yo u spen
un der £4 00 on you r gear eiher…
01
5
ROUND UP WASHURNHERITAGESERIES
VERDICT Yh01 M2rg ac 1 02e c2 YAh1 A1 Y1 1 r0em a1 r26A 2eY ceArYAAgAag1 1 Y1 A Y .YA e0cg1 2e 1r1 2e m c0h , AYaer0 eYm A1 2er AYhm 2r1 Agg10c0c af A0c 01Mm 21 gY2 YAgr1 A e 0hf A 2e Y AAg2ce1 eAggf af 2661 r0c eAg
20Yre 20cr1 A201M22YYe AYB hAYi re 1 , 1 Y1 r0 1 b1 Arm A2cA0 A0 r2Y1M22; A0 Ag11g 26i gA Aag AMgg Ai i 1 Ag 2 1 g1 r ceArYYA0 Ab2eY A620A2Y Agh1 , AYaer0 AYc1 0 2e AAm 0 c22 i gA 1 2 a1 c0 2erY1 Ar 62rf 2er6rY2r01 A 2eY ceAr
A EE - A
1 M L
D
1 M L
B
24
42
1 M L
D3B E
ATAGLANCE
ATAGLANCE
ATAGLANCE
SolidSitkaspruce BACK&SIDES: Mahogany NECK: Mahogany SCALE: 25.31” FINGERBOARD: Rosewood FRETS: 20 ELECTRICS: N/A HARDW ARE: Chrome die-casttuners LEFT�HANDED: HD10SLH £269 FINISH: Naturalgloss
TOP:
SolidWestern RedCedar BACK&SIDES: Rosewood NECK: Mahogany SCALE: 25.31” FINGERBOARD: Rosewood FRETS: 20 ELECTRICS: FishmanIsys+ 301Tw/tuner HARDW ARE: Chromedie-cast tunerswithebonitebuttons LEFT�HANDED: No FINISH: Naturalgloss
TOP:
TOP:
CON TACT:
SoundTechnology 01462480800 www.soundtech.co.uk
FEATURES
SOUND UALITY
FEATURES
SOUND UALITY
VALUE FOR MONE Y
BUILD Q UALITY
BUILD Q UALITY
SolidSitkaspruce
BACK&SIDES:
Figuredquiltash NECK: Mahogany SCALE: 25.31” FINGERBOARD: Rosewood FRETS: 20 ELECTRICS: FishmanPresys+ 501Tw/tuner HARDW ARE: Golddie-casttuners LEFT�HANDED: N/A FINISH: Naturalgloss
FEATURES
SOUND QUALITY
VALUE FOR MONEY
VALU E FOR MONE Y
BUILD Q UALITY
PLAYABILITY
PLAYABILITY
PLAYABILITY
OVERALL RATING
OVERALL RATING
OVERALL RATING
A
3
E
ER THINLIZZ ‘TheBoy e B I To Lear t he t wi-ui t ar assaul t i f ul l !
RE R R
R
R O I RD CO RE TO E ID TE E OM EC T C IC D CO TIC T OME E E TR
ER E S
NN N H H BL T N H H L T HIN N B N
T he worl d’si est covers a di ve you t hei r t i ps!
L LI
Ri T our
F g K a H n e e F J b C / e K F e K n A
R R
FR
R ER
! R E
E
yfav m ag TGov erse as
REVIEW PEAVEY CLASSIC 30 112
BOOST STANDBY
- BB(B33 B ,4A (3A B ,33B/ ()- 6 A6
- A/ CD BB(B
3B)C !()AA
) A -./ ()
37 C3A3C A
3C 4 A6 ) 7 / A
(C4A() A
B B / )34 ) A 3C
/ 3!- 4 3A 33 B/ ()
3 / () ,,
B A( 4
AT A GLA NCE TYPE: Valve preamp, valve power amp OUTPUT: 30W SPEAKER: 1x 12” Stephens Tru-Sonic M12C VALV ES: 3x 12AX7, 4x EL84 CONTROLS: Normal volume, pre, post, reverb, bass, mid, treble SOCKETS: Guitar in, effects send/ return, ext speaker, footswitch WEIGH T: 16.8kg DIMENSIONS: [HxWxD] 410 x 510 x 260mm CONTACT: Barnes & Mullins 01691 652449 www.peavey.com
THESE GO TO 12 - C)C3 B ) BBBBAB7 C -.C6 A / A B)
7B
/ )
C A6 A33 A 3A (3 AC B 6 4 73 1
6 E
£915 0 11
A new look at an old favourite that’s as popular as ever
- was introduced back Peavey Classic range
in the early 1990s, coinciding with the end of the rack era, and a rekindled interest in simpler, vintage-styled amps. The Classics represented Hartley Peavey’s tribute to the tweed amps of the 1950s, but with improved features and more versatile sounds. Ever since, they’ve enjoyed popularity a d r e m an a r m
a our i e w
many working musicians. A few years ago the range was revised, with restyled cabinets and various minor electronics changes, although the essential sounds and controls remain more or less identical. One change that’s gone largely unnoticed is a move to overseas manufacturing – the Classic, like many other midp r ic e d a p l e r s is
ow
a e i
China. It remains, however, a footswitchable, two-channel design with shared EQ and spring reverb, while the lead channel has a boost, which is now also
2 0/
footswitchable. Along with a standby switch, this is one of the few external changes. The tweed-covered ply cabinet keeps the same dimensions, but with an oval lozenge in the front top panel to hold the Peavey logo, while the chrome steel chassis is still there, with white lettering and chickenhead knobs that go up to 12.
a good compromise between the ‘tweed’ and ‘blackface’ clean benchmarks, pretty much the same as we remember it. The lead a
l a al ot of
ib ilty
helped by the boost function. At lower gain settings, there’s a great touch-sensitive edge to the sound, which is great for blues and country. Give it some beans and
The Classic 30 112 is great for most small-to-medium gigs Classic fans will note that the original Blue Marvel loudspeaker has been replaced with a Stephens Tru-Sonic M12C. Inside, the circuit board is slightly different, but with the same clean, economical layout that’s typical of Peavey amps. The Classic starts up smoothly, with very little hiss or hum. The clean channel is warm, with a fat midrange and a sweet treble that’s
you’re in the classic rock zone, with a throaty, warm distortion and edgy Vox-like harmonics combined with a slightly compressed dynamic response. This helps sustain, and gives the amp a lively response that’s very easy to play. Apart from the increase in gain there isn’t a lot of tonal difference between the two channels because of the shared EQ; however what
you do have is a great all-round t o e t h a t s m os t s
ls v e r y
nicely. The Classic’s relatively low preamp gain also suits pedals, either between guitar and input, or in the simple series effects loop. With possibly the best combination of power and portability in the Classic range, the Classic 30 112 is an ideal club amp. It’s great for most small-tomedium gigs and equally useful for home practice and recording studios, thanks to its low noise levels. While it isn’t the cheapest in its class, the superior tones and build quality mean today’s Classic is still good value for money: Classic by name, classic by nature. 1M L
FEATURES SOUND QUALITY VALUE FOR MONEY BUILD QUALITY USABILITY
OVERALL RATING
GEA R
OSS VO�1VOCODER
V OCA LPOINT
OPTIONS
M HAAD A
DDBDD
3C(. 3DDB
DD/ CDDAB
3C D (,D CD
(D ! B D
B D/ C
/A BB (,
CDD4/DB (DB
CC /. A (D/ CD
6 71 3 A CD
/A B CD(B
/BD CDD (
! DB/ /AC/
L MrO MAPanDP
ATAGLANCE TYPE: Vocoder/talk
boxpedal
H A RD SNA ILS
CONTROLS: Concentric
level/blend,tone,colour, mode,effecton/off SOCKETS: Instrument input,output,XLR microphoneinput, send/return,power BYPASS: Buffered POW ER: 9V battery oroptionalPSA-230 poweradaptor(£22.95) CONTACT: RolandUK 01792702701 www.roland.co.uk
HA A/ CD E BDDA CD(// //D(/ D( C(/// C( D ,
B A/
E E E 0120 Somethingto singaboutas a classic ocaleffectcomes ali e again 6
up ad
a d
ition o
our g u ta or b as ,
a a oc o r i ou’l llan it’s a‘ ae ory o
v o c e c o e c t h a a als e s a s y n e s is e s t e h u a v o c e s i for au io aaco re ss io
al
ul l , oce c r y t io etc… ’ ? L ook , it m a e s y ou oice sou d l e aro ot, o a V oc o e r s w e r e us e d n e S eco
or r e c or d re a y to
t a e i s y our c l asic 7 s/8
c e s of i f or m a io c e t oc al o
a om o er) m cro o e to ae t e V 1 w o k ; a d y ou o t h a e t o e a ood s i r to l a. S tti g up is e a y. P l ug ou ci
o
e d ed caed
L R s oc k e
f t h e r e s t of t e c o t rol
l o s; its th e sig alfrom
a e a our d isp osal ol our is th os t eresti . n e V a a d A d v a c e d m od e s , t a d s e p h t ot h e s ou d or a e e e r t o ; t ur n t up a d t h e e f e c t co s i c r e a i n l s h r il ll s q ue e z i g a r y W e ’s n u s u
ey
oa d
a e d v oc o e r s ou
v a c e d s a o e r n ta e on cl as ic v oco r sou d ith atouch or e c l a i ty . T e al s t i a io on t h e ob s T al o . ryo o s w a t s s ou s l e : i o e r s R c h e S a or as r i s o on o i’ Livin’ On A Prayer a
It’s My Life, a f or P t e r F r a
d
r ov i d e d e oo t o s ol c h s t n ut ,
t h r oa y - s ou g a th e ico e il T - 1 u t t a e s t a ls h e d f f c t in t h e r s t l a , ut t 1 s e a e r t os e t up a d us e , l
e sq u a s l e a oirb oy, if y ou l l f or g e t h e m e n t al a . I n T al
Show Me The Way
ox o , ol our a s i c r e a i n a ou ts of d istortion toth e ff ct. e V a e a d T al ox m o e s a e t h e p c k of e lt te r h e r e . or m e r w or k s g r e a for a tra r e s s i on t o ot to - s tr i riffs a d la ru s. It s ab t l e a s u e r - u e r w a e d al e r e y ou c a a c e t c e r ta n t al g or s i g a n ot , f y our s i n
ot e s j us t b t ot h e c. g
oce
ou
u ta t a ke ep s t e c h c or r e c t . e T al ox o e sn t qu e a
It’s a hugelyexpressi e and addicti e effect
Tonight Radio Gaga b y Q ue e n a d r e a d T up a California Love
or t a t p ou d a
ou r e
o l e f fe c t on t h e 1 t h a y ou o t d a c t oo e r a e
so e rd s s t o oc altr a k s , a a d on il ol l s’ In The Air
e n ew os s 1 V oc o e r c r a s it s r e a ur e s i t ot h e r m cl asic co a t sto o. o
g se tu , a d t it o
ou a e a oice of four e ffec ts. o , a u t a s y t h s ou , s t h
or l a to s g u s e m e s s a e s . e s e d a s , e y r e us e d oa
a o g o ers. at u k ca t et ou h of t h e s ou , t h
oad o
a e v e r ) i o e i s tr u e n ut , a d r un ac a l t o our a
a d y ou o t e e d e teeth ratl g l a t ic out h t u e t h a c h e h a oc o e n d h – al lo e o e
iath e ic. l l sm ss a oco
raa
o ly ro ot v oice sim ul aor, b u it s a tual l a u l ex re ss ive a d a c t v e , e f e c t. e V a e s t h e v oc o e r s ou , a d
a
of th e al B o , ea l a ce ssib l to e v e r y g u t a is t. c e a a , os s h a s h o n us 1 M L
e w a…
F EATURES SOUND Q UALITY A LU E O R O NE Y U IL D U A LI T Y U S A I LI T Y
O V E RA LL R AT IN G
MAY 2016
43
ROUND R OUND�U UP P I ANEZ MINI EDALS
INIRO UND�UP£59�£75 I ANE M Te se r an t s s h k y t e e c c o m p a y i n g h e Tb e S e a e r Mn i n h e o m p a y ’ s
s xe , nu ve edal ne-p
C E
9 . L9 I9 LL9 aa9 L L60 9 LL6ELE9 . 69 I9 9 I ! . 01! 9 S . 9 I9 0 E0I6LE-9 9 9 LSL0 I0 9 0I LL9 E9 II0 60 E9 9 IS4) LI9 L061E a9 I 09 E0 6 I9 LLS9 I 9 L E9 aIL 9 00E9 9 9 aa9 LL9 L E9 6 9 I9 9 I 9 16ILL0 -06ISF 6L0 0 EI9 9 9 LEI69 L0 9 IL0E9 E9 01 ! 9 S E0I6L 6 9 I 9 0a59 I9 LL6 I1S 9 1ES . L9 I9 LLS9 E06L1LI69 S LLL E1 9 -0 0 9 IL6 S0 9 I076L 0 I9 EE9 I1006 9 I IL5 ) ) 6L I9 1LE9 S5I9 I1L000 9 5LL9 9 E0 E9 09 LL6
HBA E E 0
HBA EA A E / 1F1
Co r u s h a t o e s n ’ t o r e s E E G A D L9 6 101 0 E9 IL9 B 0LL (I069 E9 E0I6L 9 LE9 9 L9 I E0a 9 5L . 5LL 9 9 LSI6 S E0I6LE5L-9 IS4) LE I9 9 6E9 9 -9 0I09 0a0IEL -9 IL0aa0I L 9 I-9 ILS E9 I-I0 0 9 LE1E9 I9 -9 L L 9 9 L E9 S06 9 9 a19 I I0 0 0 E9 0E9 I9 0a E9 I9 0 L6 009 0aE9 9 L E0I6L9 L0E9 I9
. )
J() ,
A C 0 1F1
Seet epea H E G E 0169 5 9 SL EI9 6S 1ELLE9 I9 9 5L L9 Ia6I9 I9 00a E9 ! . C E 9 LI11aI0 () 0, ) ) L 9 -9 ILL IS 00 S I9 9 L EE 059 Ia9 I9 ES06I S1I9 9 Ia9 a0II9 1 0L E9 I9 IE9 IE 0 1 S06IL06 019 I 9 S 9 L19 6 9 I a69 I 0LLL0 9 0aE9 9 L E9 10L0 E9 6L9 LL LaIL I-09 9 SL10 09 L519 6E9 9 I
GEAR ROUND�U
6Z D 0 A 0 1F1
I s
rd ? I t
? N,t ’ s S r Mt a
6 u r t Y e e r 6Y r e r e 6 d Y r y t Yt us , ut Y e z Y s 1 e e e r e , 1 5 e t e h Yt ty Y c k e d 1 t r 1 s : 6 Y d us t s r e Y t t Y c k t w Y k s r e s e c e Y d u c h Y d s 1 r u t rY c t s Y s s . e Y t h e u e r e t Y Y s 1 r s , ’s ur p r 6 1 Y d Y p t s 1 5 1 r Y y 6 t e d - r Y 6 Y y e r s 1 h 1 t r 1 1 e r 6 Y d 1 r e u c s , Y d t h r e s 1 t 5 u 1 1 h r e s 6Y Y p t y 1 r e e r y 6 r1 5 Y r 1 c k Y 1 e r e s 1 SaaEf A aaYs t’ Yt u rtY r e 61 s 1 1 e r Y Y y ur p 1 s e s Y d 1 ’t 1 1 k 1 r 1 6Y ut h u r t Y5 1 r e th Y u t s c u 1 5 e -u
6Z B A 0 0 1F1
Kc k n g n d c r e a m n g 1 s x Y c t y Y t Y y s 1 h t. s 1 re Yrs uts 1 -e d Yt Y d h r e s 1 t Y 1 1 f 1 u5 1 Y p ut 1 th 6 1 ur6uY r uth r1 u6 Yte 5 Y d h h e Y Y 1 1 s t 6 t h e s 1 r t e ,Y d 1 r Y y 1 e 1 ’s 1 6 f 1r 5 1 r e f 1 h h u61 r Yt t r Y 1 1 5 1 r 1 1 s , 6 6 t u 1 s Y 6 h Y t h r e Y r e 5 1 r e r s Y t - s t y 5 1 r d r s Y Y Y b s e r e ut 1 e 1 f t h 5 Y r e Y s Y ut h t Y s h T 6 T-
Is g l e S rM s o n
AT A GLANCE TYPE: Delay,chorus,
distortionandoverdrive CONTROLS: C
o ru s Mi:
speed,depth,level; A l o g D l a y M i : delay time,repeat,blend;S p e r Mt a l M :drive,edge, punch,attack,level;T S r e a r M overdrive, tone,level SOCKETS: Input, output,power BYPASS: Truebypass POWER: 9Vpowersuppl y only(notincluded) CONTACT: Headstock Distribution01215086666 www.ibanez.co.jp
IB ANEZ CH ORUS MINI FEATURES U
SOUND QUALITY
IB ANEZ A NALOG DELAY MINI FEATURES U
SOUND QUALITY
VALUE FOR MONE Y
VALUE FOR MONE Y
BUILD Q UALITY
BUILD Q UALITY
USABILITY
USABILITY
OVERALL RATING
OVERALL RATING
IB ANE Z SU PER METAL MINI FEATURES U
SOUND UALITY
IB ANEZ TUB E SCR EAMER MINI FEATURES U
SOUND UALITY
VALUE FOR MONE Y
VALU E FOR MONE Y
BUILD Q UALITY
BUILD Q UALITY
USABILITY
USABILITY
OVERALL RATING
OVERALL RATING
A 0
REVIEW EHX/MXR
E 0 1
ehold the fun iestchic enofthem all... has been heard on
‘cocked wah’ sound
many a classic track – from the opening riff of Dire Straits’ Money For Nothing to Mick Ronson’s tone on Ziggy Stardust. And that’s the sort of sound the EHX Cock Fight has in store for you. You can use the Cock Fight as a regular wah by plugging in an expression pedal (not supplied), but that’s not really the point. Instead, twisting the frequency knob a good old twist – it mimics the sweep on a classic wah pedal –
d a o e y ou lk e a d
en
ak
it. Boom… cocked wah sound. There’s a big range of cocked sounds here, and plenty of additional tonal tweaking available, making this pedal way more versatile than your bog-
standard wah. And it has one more big trick to pull you in. Below the g
o s y ou l l d a a k o
controls and switches for the onboard fuzzcircuitry. Vintage tone freaks will be blown away here as EHX has managed to get pretty damn close to the sound of a 60s Tone Bender fuzzbox, the pedal stomped on by Jimmy Page on
e rstLe d
ep
e ln alu
and Mick Ronson during his time with Bowie. We’re sold. You’re getting some great wah sounds, and a fantastic fuzz, for less than a hundred sheets here. It’s a shame you can’t run the fuzzcircuit independent of the wah side of the Cock Fight but you can’t win them all. This thing is money, for next to nothing. 2 :H
TYPE: Cocked wah/fuzz pedal CONTROLS: Volume, fr equency, tone, drive, bottom, cry/talk, pre fuzz/ off post, bias, SOCKETS: Input, output, expression pedal input BYPASS: Buffered POWER: 9V battery or power adaptor (supplied) CONTACT: Electro-Harmonix www.ehx.com
FEATURES SOUNDQ UALITY ALUEFORMONEY UILDQ UALITY USA ILITY
OV ERALLRATING
A E / E A 0 11
A nold friend with a new accent... E
the original MXR Carbon Copy has many admirers, taste is subjective, and some users pined for a brighter-sounding analogue delay. The Carbon Copy Bright is MXR’s answer to those prayers and again, it’s all-analogue – so unlike most digital delays it’s not a greedy guts when you run it on an all-nine-volt battery diet. You can plump for a mains adaptor, but that’ll cost you extra. You get three main controls here. Delay alters the speed of the effect from a room reverb and rockabilly slapback to a longer Edge-style response with a maximum of 600 milliseconds. Regen is a contraction of regeneration, and basically governs how many repeats you get when you hit your guitar strings.
2 0/
Mix alters the ratio of dry signal to effect. It’s all very straightforward. There is one more control, however. The modulation button adds some chorus to the delay for a t of
ow a d
u er
ci
the sound of an old tape echo box. You can tweak the modulation effect with the width and speed controls inside the pedal. Okay, the name obviously didn’t give the designers any sleepless nights, but you can’t fault their hard graft when you plug this little green pedal in. The sizzle here is the brightness, and while the original Carbon Copy is a cracking bit of kit, this new edition cuts through with more authority, and doesn’t get buried in a mix like some analogue delays. It’s a bright idea, brilliantly realised. 2 :H
TYPE: Delay pedal with modulation CONTROLS: Delay, regeneration, mix, modulation SOCKETS: Input, output, power adaptor BYPASS: True bypass POWER: 9V battery or power adaptor (not supplied) CONTACT: Westside Distribution 0844 326 2000 www.jimdunlop.com
FEATURES SOUNDQ UALITY ALUEFORMONEY UILDQ UALITY USA ILITY
OV ERALL RATING
GEAR ACCESSORIES
H H G IH I C Y M S tched-oneffectspedalmanagement H E G H A01-8Aw i tch b ck to th AA nti lA th conAi d blm o com p ct 01-5off A fi v u di oloopA l-t i m contol plu AM com p ti bi li th on offAt t nd
conn cti onod ofth 01-5A u di oloopAc n b At o di n hoppin p tchm m oi A hi l i npu t ndou tpu tbu ff A c nb Aw i tch d ono offp p tchtoo 0 tn lcontolou tpu tA foAwi tchi n m pch nn lA ndA ndi n t p tm poi nfom ti onc n lAob dd d Ac n p AAi onp d lA nd ddi ti on lfootAwi tch A
(n65e e e .VAaiH.c.fB)
C BBC E C 50 A ID 5 . Legittonaltoni G H G loAAfom toom n ff ctA ndl n th c bl u nA 0l ctoni cm u At hv th nAw i n th on i d u ff lu thi Acom p ctu niti nto ou p d lbo d ndbt nAfom i n ou u i t Ahih i m p d nc ou tpu ti ntolow i m p d nc th poc AAo i ll A lv ou com pom i A dton ll i th u lt -low noi A op ti on n u ni u t i At i tp ck A pow f i lu m od tooAhou ld ou p d lbo dpo tcu t th u tom ti c llAwi tch Afom bu ff dtotu bp AA to v oid ou Ain ldoppi n ou t l v
(n49e e e .kcAckViFc.c, )
PI F H E PcktheSnarside
BE D m tonom po1n k h A m d m ov i nto pi ck A hi chcom i nt obi lli ntl n m dtp A1im u nd u dA llu loidA nd dd A o ot oiA 0ith 1n k pick Abo At ton - nh nci n m t i l ndl A -cu tAi ndAh p hi l chpi ck i Apoli Ah dfo hou A to li mi n tth Ati n d thtc noccu h nou h d Adv lop h tA m o chp ck com A i th fi l tocu Atom i A th poi nt nd d toou ow npl cAp c c
H A G D A B tot p d-u pk nobA ndh Ati l d nA tti n i ndi c toAok nob i llk pou p d l nd m pA tti n A i npl c hi Alu m i niu m u A bl k nobcom Ai nth Ai A ndAlotA onto i Ati n potAtok pth m h th toch n th A tti n ou Ai m pl pu llu p nd tu n th nl to ndi tAlock db ck i n i n tA Aim pl Aolu ti onto pobl m th th Alon pl u d i i n u i t i AtAth cu ntl onl v i l bl fom th com p n A bAi t bu t hop toA th m i n AhopAAoon
(n.99CVaSacBC12e e e .-iaVBSFcB-.c, )
(CV, $1.99e e e .ABib.c, )
Lokn’rollallnight
M
6
l a
Muse S oc ho S y d ro e w g ia r i t c a n c l im o as ive a t t e ll m y . ab h ep i ac k us 20 a l u m so ti
ie as om n o s s a G a d ©
6
y
l i tr
sOuND DVI
W ith itS s to p
s ta rt d n a c s a n d e p i v ib e h a t s t e tc h e s a c r o s s a l o s t f iv e n u e s , tockholm y nd om h o w c a se s se’ g-r ck sen si es ,cal echoesof enes sand heav er o ent ofear ng son.The ack op ens c k s in g e - s t n g f t a t a ake ge tu sp ee al ab ou tna ng he n g o f th e p o s i o n shi hi a in t a in in g s te a d p ic k in g o t io n a ll p la e d o n o n s t n g s o o u c a n e a s i p r a c t s e e a c h h a n d s e p a r a te l a n d p u t th e o g e th e r a s o u g e t th e h a n o f th in g s . h e v e rs e a n s o l s e e m a tt g e t n g c re a v e h i s ig n a t u r c t a v e e c h n iq u e h e d e a si pl one n s te a d o f p la in g e lo d u s in g o n not ata e , o u d o u b u p a n d p la
Eeythg you ee to kow befoe yg ‘Stockhom Syom e’ G s u
ch
i lin i rl yden sedi storti on ton ef orth em ain rif,th ebri dg e an d th esol o,an d swi tch to l ih t overdriesetti n duri n th everse. attusedh isM an son g uitarw i th th ebri dg ep osi ti on h um bu cker sel ected,th rou h iezelvale am p s. seaw ah pedalor an auth en ti cvi ein th esolo.
G a in
Ba SS
M id
nn e l
TrEBlE
rEv ErB W
h W
h
ou gh s t e tc h o s e cu can be ou gh keep dl st ng qu etso k e e p o u r f e t t n g n g e r s s tu b b e u p a g a n s t s t n g o u a r n o t p a in g
o o o x x x
x x x
x x x
x x x
cr s
5
toom an ych ordsto l earn h ere.Severalof th ep ow erch ords ( F5, 5,an d soon)usea si m pl e one-i n eredsh apem adep ossileby th edrop D tun i n . /E i sp erh ap sth e tri cki estsh ap e. you strug l e i th it, con si dern otp lyi n th esi xth stri n an d usttar eti n th eth i rd,ourth an d ith stri n sin stead. t h e r e
r e n ’
G
G
5
D D
5
G
D
e
x o
x x x
6
G
x x
7
D
D
G
e
D
5
G
D
5
x
G
5
x x
x x x
x x x 11
10 4
D D
G
D
G
G
D
G
5
5
5
S a s versei n Stockholm Syndrom e isbased on an octavesh ap e t h e m
p lyedalon th eleng th of th e‘board. t’stoug h top i n dow n th ekeysin ature th an kstoth euseof th eD n aturalm i nor scal e( EF G ),th eD Ph ryi n om i nan tm ode(D F# G C)in th em ain rif,an d backin ch ordsth at i nclden otes( an d )th atap p eari n nei th erscale.Learn th eD naturalm i nor scalesh ow n h erean d taken oteof h ereth evariti on soccurin th everse.
e
5
5
x x x
x x
D
a u a
a ( o a s )
m
classictrack
F u a c b a c i g (racks5 -51) so ng co m esw i haflldem o rackanda backing rack(m in sg i ar)o n o rC . Sim p l inser hediscin o rp la er,p ressp la andjam alo ng,g i arao kes le! t
o
khol
ynDrom
Muse
! usc 1nd Lyc sby! 1t h6 B6 1m r 3 H 6w1t6 Lim it6d .W 1 n6/C h1 pp6! usc Pubsh in2Lim it6d UK /EU R6pduc6 d by0 nd p6 issnff1b 6! usc Lim it6d U S/Ca N 6pduc 6d b y0 nd p6 issnfH 1L6n1d C p1tn a Ri 2h sR6 s6v6d.Int6n1tn1 C py2h tS6c u6d
o c k h o l
S y d ro m
intro/Mainriff q =128
& b 44 . œ b œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ # œ œ œ . œ œ œ œ œ œ œ œ œ œ œ œ .. .. ⇥≤⇥≤⇥≤⇥ ≤⇥≤⇥≤⇥≤⇥ ≤ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ ‚ . & b œ b œ œ œ œ œ œ # œ œ œ . œ œ œ œ œ œ œ œ œ œ œ .. .. 1.4.5.
N.C.
T A B
E B G D A D
1
12
0
13
0
12
0
10
12
0
12
13
0
12
0
10
12
0
12
13
0
12
0
10
12
0
12
13
0
16
17
16
0
cont. sim.
2.
3.
NH
T A B
12
0
2. 7
NH
2 .7
2 .7
2.7
2.7
0
2.7
NH
2.7
2.7
2.7
0
2.7
2.7
0
12
0
13
0
12
0
10
12
12
0
13
0
16
17
16
0
3
re heop ening no e i h o rseco ndf inger,he1 hf re E i hy o r hirdf ingerand he1 hf re C w i hy o rf irs inger. gain, seseco ndand U S e r e l x e D ‘dow n p ’-s leal erna ep icking andf hirdf ingersw hen o changep o si iona heendofar .takei slow l a irs asy o orkou hep a ern.
Verse
& b 44
. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ¿¿ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ¿ ¿ .. ¿¿ ¿¿ ⇥≤⇥≤⇥≤ ⇥≤⇥≤⇥≤⇥ ≤⇥≤
0 :22 2:0
1
cont. sim.
b
& b nn œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ¿¿ bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ¿¿ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ¿¿ ¿¿ ¿¿ ¿¿ 3
#
g f Y
#
& b ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ¿¿ nn œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ¿¿ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ¿¿ ¿¿ 6
9
D
! a o
l i tr
1.V erse 1 only
5
E 5 A
5 4
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
03
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
01
1 1 /
1 1 /
1 1 /
1 1 /
1 1 /
1 1 /
15
2.Ve rse 1 & Verse 2
E 5 A
03
03
03
03
01
01
01
01
D 4
D 4
B 4
4 4 4
3 3 3
2 2 2
P lay 4 tim e s
2 2 2
2 2 2
2 2 2
2 2 2
2 2 2
2 2 2
2 2 2
17
F
e e r n
h i o c t t e p
c k in g
v e m
e lo d d o w
n s t ro k e s
thi th t m tt rs
g
ht
e i h e r y o u r
r s t
n d
o r t h e c lo s in g p o w
h i r d o r f ir s t
n d
o u r t
n g e r s ,u s in g
e r n
t
p i c k i n g . Mu t e o u t i d l
s t r in g
h e r e y o
c
n
o u c h in g
h e
y o u r f re t t n g
n g e r s .S
c h
r o m
e r c h o r d s .
P rot ectw a m a ers oyou w i te UK ’ sN o.1specialis inst rum entinsurer etc om prehensve c over fory ourinstum ent sa eq uipm entfom £33a yea .
e a quot e: allianz m usic.co.uk 0330 100 9626
m
cl ssi tr ck muse ridge F 5
4 & b 4
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
1:3 2:44
T A B
A /E
3:56 E B G D A D
3 3 3
3 3 3
3 3 3
3 3 3
3 3 3
3 3 3
3 3 3
3 3 3
œ #œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
3 3 3 ont si
⇥ ⇥ ⇥ ⇥ ⇥ ⇥ ⇥ ⇥
3 3 3
3 3 3
3 3 3
3 3 3
3 3 3
3 3 3
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
2 2 4 2
2 2 4 2
2 2 4 2
2 2 4 2
2 2 4 2
2 2 4 2
2 2 4 2
2 2 4 2
3 3 3
œ #œ œ œ
2 2 4 2
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
œ œ œ œ
2 2 4 2
2 2 4 2
2 2 4 2
2 2 4 2
2 2 4 2
2 2 4 2
2 2 4 2
D 5
& b
T A B
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
0 0 0
0 0 0
0 0 0
0 0 0
0 0 0
0 0 0
0 0 0
0 0 0
0 0 0
0 0 0
0 0 0
0 0 0
0 0 0
0 0 0
0 0 0
0 0 0
0 0 0
0 0 0
0 0 0
0 0 0
0 0 0
0 0 0
0 0 0
0 0 0
B b5
& b
T A B
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
0 0 0
0 0 0
0 0 0
0 0 0
0 0 0
0 0 0
0 0 0
0 0 0
W ith itS tt tiood
sy h or sh a p e s owp ik ih th -ot rh yth m , th e liv ri v ryp ikstrok g otim e .
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œ
3 3 1
3 3 1
3 3 1
3 3 1
3 3 1
3 3 1
3 3 1
3 3 1
3 3 1
3 3 1
3 3 1
3 3 1
3 3 1
3 3 1
3 3 1
3 3 1
h orussh oul’tp r s ttoom u h o
h a llge .t’s goo tsto p ik-h a stm i
tim i h owe v rsof o usyour
chorus F
A
b
#
A
4 œ œ œ œ œ œ œ & b 4 œ œ œ œ œ œ œ œbbœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ 1:59 œ œ œ œ œ œ œ œ
œ œ #œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ nœ œ œ œ œ œ œ œ
3:14 4:25
T A
G 3 3 3
A
3 3 3
3 3 3
3 3 3
3 3 3
⇥ ≤ ⇥ ≤ ont si
3 3 3
3 3 3
3 3 3
6 6 6
6 6 6
6 6 6
6 6 6
6 6 6
6 6 6
6 6 6
6 6 6
BaSh theSe sim p l p owe r h or soutwith a lt r t p ikig, r tti th e m llwith your irst i r. th is rig ri isp ly twie oth e lsttim e (a t :2 5 )ista
0
y
o justth e o .
7 7 7
p
st
7 7 7
7 7 7
7 7 7
7 7 7
yp iki m otio– it’s
7 7 7
7 7 7
7 7 7
1 1 1
1 1 1
sytog oouto tim e oth e s
1 1 1
1 1 1
11 11 11
11 11 11
11 11 11
11 11 11
st ost t16th ot s. ot th a t
l i tr M
mu
riffV riti N C
2:03
2
3
2
1
2
3
2
2
1
⇥ ≤ ⇥ ≤ ⇥ ≤ ⇥ ≤ ⇥ ≤ ⇥ ≤ ⇥ ≤ ⇥ ≤
2
2
2
top ositioyour ige r w
th iS Sectio n r
llsth e itrorif t kig its irst r itro u ig sy op a t rh yth m i twist orth e h a rm ois. otie th a tyou’ll th e h a rm oi s a si i a t d y th e ‘2 .7’ r tum b ri th e t b .
th e 2
3 r f r tsto il
solo 128
.C .
1.
3:17
B A
AB
1
12 0
13
0
12 0
10 12 0
12 13
0
12 0
10 12
⇥ ≤ ⇥ ≤ ⇥ ≤ ⇥ ≤ ⇥ ≤ ⇥ ≤ ⇥ ≤ ⇥ ≤
0
12 13
0
12 0
10 12 0
12 13
0
12
10 12
12 13
16 17 16 0
co t. sim .
2.
‚ ‚ ‚ ‚ ‚ w /slow w a h
AB
3
12
0
2 .7 2 .7 2 .7 2 .7 2 .7
0
2 .7 2 .7 2 .7 0
2 .7 2 .7 2 .7 0
12
0
13
0
0
0
0
12
0
10 12
P lay 7 tim es
AB
5
0
12 13
0
12
0
10
12
0
12 13
0
12
0
10
12
13 13 10 10 12 12 13 13 10 10 12 12 13 13 10 10
/
AB
7
12 12 15 15 12 12 12 12 15 15 12 12 12 12 15 15
10
10 14
14
0
0
10
10 14
14
0
10
10 14
m
14
cl ssi tr ck muse solo ( tI e ) b
A
& b œ œ bœ œ
AB
10 10 13 13
9
œ œ œ œ
œ
œ
10 10 13 13
0
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 10 10 13 13
0
12
0
13
0
12
0
10
12
0
12
13
0
12
0
G 5
NC
& b
œ
œœ
œ
œ
œ
œœ
œ
œœ
œ
œ
œ
œœ
œ
œœ
œ
œ
œ
œœ
œœ
œ
œ
œ
#‚ ‚ ‚
œœ
œ
NH
12
13
0
12
0
10
12
0
12
13
0
12
0
10
12
0
12
13
0
12
0
10
12
0
12
13
0
12
0
10
12 9
9
9
12
b
G 5
œ œ œ œ bb œ œ b œ œ
A 0
10
5 5 5
8 0
4 4 4
⇥ ⇥ ⇥ ⇥ ⇥ B
irs o barso heinro .thearp eggio sinbars6 rS1and arearep ea o hef ov e rom 1 h o 1 hp osiion hen ou reachbar .
⇥
o 9aree rem el rick ,so ake hem slo l a irs o es ablish hef ingering.Yo ’ll need o u seall o rf ingershere.
outro D 5
& b4 4 .. T A B
. .0 0 ⇥
E B G D A D
& bœ T A B
œ œ
12
the o Utro is sim
œ 0
ly
bœ
œ œ
13
⇥
13
œ
œ
œ
..
œ
. .
0 0
bœ
œ
tim s
0
⇥
œ 0
12
⇥
œ
12
⇥
œ 0
œ
10
0
⇥
œ
12
10
⇥
..
12
⇥ o n t
œ œ
œ œ
0 0
0 0
bœ
œ
œ
13
0
12
. .0 0
œœ 0 0
bœ
œ
œ
œ
œ
œ
201 6
tim s
.. . .
13
0
12
0
10
12
ilar o heinro rif, p la eda halfhesp eed sing irm dow ns ro kesins eado al erna ep icking.I’sf re ed hesam e a ,so ha o ingerandreachdow n o he1 h re i hy o rf irs inger.
1 02
0
œ
10
œ 0
s i
ly
œœ
œ
U
w w 0 0
re heEa he1 h f re w i h y o u r hird
c i m n O p e
EDSHEERAN
B B IA Fr s h n up your p aying h tun ng urt s y f s s nap s hot f h r n’s 0 hit sng B NDL 4 46l 4 eD 4
lB l64-elCP e el P
e. T l4 le, lB e6PTc
eB eo e. e e 6Td l4
e 6
l 4 lB 64ele e 6P T 4
P 4e eo e6e 4e6e I D c e m6P
mPa 6 e le CPP. 4lC To 4 l64 To
4oD To 4 4el,e 6P e2lBel e
e e( lB6le e6 6e la 4le) lo 4e l T.l-e d e6 lo B aaTo 4el4 e lB lC 6Ce 6PPPe 6T 4oa 4el l, TelBel4 lB6 l lB f4 l. e 4
4
e e la o
6P e66D 6eJB 46P 6e 4 l4P l T,lCP lo a H J b e C / F F e n K n A
E E( e e6 6e Cl oe oPe B 4)6P 44T6 6D eTo 4e.
A 0
OPEN� CSONGBOOK
P H O T O G R A P H
ALSOAVAILABLE EDSHEERANGUITARCHORDSONGBOOK
M si an d lyr sy dw ad heean an dohn M a 200 on y A lshi n gi t ed. o alt M si lshi n gi t e orldw deeprod edy n dper ssi on of M sialesi t ed an d o alt M si lshi n gi t ed. All ght s esered.n t ern aton al opy ght e
4N E N G L PN 4&G, 6 R R 312 . N Mc A- 1 6.) Ao plet eoll e ton of all t he son gs fo ot h
ed.
of d heeran ’shar ttopp n g al
ol s an d
g t arhord o es, allow n g yo t o ast er e ery son gn t s orgi n aleys.n l des e ery tn e fo ot h an d , fo he Aea ’ t o n g’, pl s a sele ton of n on al
r
s.his gr ea t
son g oo f ea t es f ll lyr s,hor dsy
EDSHEERAN
ED SH EER
0 0 0 G4 N
&
on s ta s.
INTRO q = 108
a p
o n d e t
l t r in g t h r o u g h o u
a d d d
a d
e r e y o u c a n ,y o u ln e e d t o s t p t h e e n s i x h s t r i g w e n y o u p a y C # 7 Do t h i s b y a n g g y o r r s t n g e r s o t h a AL HU HU o u d a m o l e t n o t e s r n g t h e t ip s t t c h e s t h e s x h s t r n g a s y o u r e t t e f i f t h s t r g i n t h e C# 7c h r d . Us e a s a r t e c h n i q e t o m e t h e f th s t r n g h e n y o u c h a n g e o A a d 9n a r 7
C h o r d s
A n t r o a p e g g o s , h e a c k b o s d o n o j u s t f o u r c h o r d s h a p e s . T o c r e a t e t h e s p a r s e r h y t h m p a r t h e a r d i n t h e v e s e s a i y o u r p c k a t t o o r t h r e e o f t h e b a s s s t r in g s a n d r e s t h e s i d e o f y o u r p i c k h a n d a g a i n s t t h e s t r in g s b e s i d e h e r id g e t o c r e a t e t h a t d u e d u t e d s o u n d ( k n o w n a s p a lm u t in g ) . B y c o n a s t , e t t h e c h o d s r in g o u t c le a r ly d u n g h e s e c o n d a n d h i d c h o r u s e s .
e e e
e e
e
2 cN M
e e
e
2 cN M
e e
e e
e
a r t
D
D G
D
D G
D
D G
11
D
D G
#
h
M AY 206
0
TECHNQUES
RGT ACOUSTICGRADEON
Chords
GETYOURGR DES
w w w . i t .l y / t g 2 9 v i d e o
Fo g n m e r y de x ,T p s R T ’s r a de O n e a c u s t i c u t a r x m t h t h s w s r i s …
U EI EL C 3
s e t a k e a s k e a d n d On e t h e
f e w n T d o e e On e d o n 3a d e s h r d s
i a r 3a d h o d s o e a r n s s e s s e n t s t ra t e e h e e e x h T a s w o n d o u u s t r o s e .A l
e
e r e s n d f o u ’l b .A o r d s ,n d e - a d s o n o w f
c h o rd s o u e e d o n o w e h o w b l w s ‘ r d b x’ 3 a s . M s t f ’ a d e O e h a r e ‘o n a t 4h ’ s o w t h ‘4’ f t e r e e t t e r a .D ’ o r ry b u t h e e c h n ic a l a e o r n o w –h e h e o r y s a r o r e co ted n tua y 3
the s h a r s c h
s , o js t e i3 t o s d a pe o h a e . e x rc is e s t 3 h o w js t n e a c t is e 3 s .A l pea t h e re e s n l u 3 t
rk n retti 3 a n 3 3 r o
IG E l E T f U e a:-
e b t to f a y o u a u v o s f E,A d D e e l r e .
d KT:T /,T Gl MG
T GT a aGlA
(T A cl a :aGA a G:: E- ::GD , A :aKG G T Gl , a l T - a llG G
.l/.al/
CHORDSFROM E RLERGR DES
x
x x
x
x x
Y
O neyoum ustalsokno thechordsfrom RG ’sInitialStageandPrelim inaryG rade,and e’vesho nthem hereforyou.W euseblackdotstorepresent E C rootnotes(thenoteeachchordtakesitsnam efrom ,eg,therootnoteofA m isA )andreddotsareforanyotherchordnotes.N um berstellyou hichfingerstouse.
GR DEONECHORDS
x
x
x
7
x x
B7
7
7
thene chordsyou’llneedtolearnatG radeO ne.Youm ayevenfindsom eoftheseshapeseasierthancertainInitialandPrelim inaryshapesbutthesam e rulesapply:pressdo nfirm lyforfrettednotes,ensurethatfrettedandopenstrings(m arked‘o')ringoutclearlyandthatidlestrings(m arked‘x')staysilent.
E4 S
CHORDCH NGEEXERCI SES
E4 SX C ISS illhelpyoulearntherelationshipsbet
eenm ajor,m inor(m )and‘dom inant’7th(7)chords.M ajorchordssoundbrightandhappy,m inorchords sounddarkandsad,7thchordssoundtenseandedgy.You’llneedtogetusedtom ovingyourfingers,sohere,asanexercise, e’rerepeatingthreeofeachchordtype.
MAY 2016
104
BLACK ABELSOCIETY
H E Ghe he h b eh hv b
A0 1
CHOOSEYOURPACKAG DIGITAL
F 2 F 2R2, C R A AO iad A :K 2 RA :BR R,A 2A :: RA :F A A R RA RA A 2 A :K C RA :K
ONLY£54
2 0
RA R2C RA A :: A 2, B A 2 222 F :
ONLY£28
SUBSCRIBE
PRINT+DIGITAL GETTHECOM PLETEPACKAGE! RA TotalG uitar A :K 2 F 2 A 2 2 R RRA
SAV E 41
:: A :F A A R RA RA A 2 R A :K C RA :K R F R, A 2B A 2, B A 2 222 F : C A F C ,R R F A B A 2A A :KC A A R RA R2C RA A :: - : R2A
ONLY£65! IT’SEASYTOSUBSCRIBE...
A F R
A C A : K
BR CON DIBIONPrh endefhnGea Tdr m c rdT b u hnG2AAcrh dUKcrhnTnddhGhTAheee,Y w hAAr hf13heeehnu r,I2u rdhee Thev dhnnuw uu nw rhTT e T n Au reb e rhcT h nT nuThmndw w hAAr2ndu 2 rAAnm hAdhee e ,Prhe rr TTc hnT 2crhnTndeb j TT nG, r2AATrmend ndhTh necA efhehT:TTc://m u 2fm ,G/m GTrm e, 22rnde /0 / 1 ,
2 0
T HN QU
TB
E
TabGuide
Gh eeh Geb e b h biTa eh bbi b
WHAT IS TAB? isshortfortablature,a notationalsystem usedtogive detailedinform ationasto w herenotesshouldbeplayed onthefretboard.Tabappears underneathconventional m usicnotationassix horizontallinesthatrepresent thestringsoftheguitar,from
thesixth(thick)stringatthe bottom tothefirst(thin)string atthetop.O ntheselines, num bersrepresentthefrets w hereyoushouldplaceyour fingers.Forexam ple,anA note onthe2ndfret,thirdstring,w ill beshow nasanum ber‘2’on thethirdlinedow nonthetab.
U nfrettedstringsareshow n w itha‘ ’.Thekeyandtim e signaturesareshow ninthe traditionalnotation.TG also includesatim estam ptotell youw hereintheoriginaltrack you’llfindeachexam ple. Finally,atem pom arkingis expressedinbeatsperm inute.
FRET BOXES CHORDS,SCALES AND CAPO NOTATION HANDLABE N 2
NUTANDFRETBOAR m
1
a
CHORDEXA PLE
I I I I I I
I I I
1 2
HE Eare 3, 4, ( theab r e ati ons usedfor eachfingerr ett ighand 1,2, ), ( ex ), ( idd le), (n lar), (ittle ge r) c g hand(
etbodagramr epr esents thegutar’s fr etboar deactl,ass eenit hephoto. fr
dagr amr epr es ents aGchord.The‘o’ s are openst r igsandaci r cledn m er
T hi s desi gni ssedfor ease of sali si gafr etboar ds caleor chor d c
s afret ti ghandfingerAblac‘ o’or ci r cledn m er i s t her ootnote ( here, G)
CAPOEXAMP E
CAPONOTATI ON
SCAEEXAMP E
I I I
C A P O 1 0 !RET
I
P O 1 0 !RET
I
1 1 1
1
1 2 2 1
2 2
2
2
: H ILN GH,
HE blueliei thedagramr epr esents acapoforthi s Achor d,p lacei tatthe
HE Et hechordloo s li eai thet ab,but thecapoonthendfr et r ai se s the
ndfr et .apos c hanget hefr et num er or der ig. er e, t heorgialth fr et no ecomes t her dfr et ,th fr et no th fr et , et c.
pi tc ht omaei t a . T hendfr et capo’ dnotes ar es ho n th a‘’ i the tabas fthe ere opens tr igs.
HEfr etodagr ami lustr ates thefr et ha dfinger igfor theAmaors caleusig lacdots for r oot notes andr eddots for other s calet ones . T hephotos ho s p art of thes calebeigp laedont hefour ths tr ig tht hefir s t, t hi r dandfour thfingers
GUITAR TECHNIQUES:PICKING
112
DOWNANDUP� PCKI NG
TREMOLOPCKI NG
PALM UTNG
HE sm ols under t het abt el lout he fir s t notes t obe do pcedandt he s econdnotes t obeuppi ced
E
H ofthefour notes are tobe alt er natepced(do nandppced) err api d andc ont iuo s
P
M AY 2 16
L U T E b r es ti gthe edgeof our pcighandp almont hes tr igs ear thebrdgesaddles
PCKRAKE
t hepi cacr oss thes tr igs s ho thas igle seepThi s i s ofteus ed toaugmentar ae’ s l ast note R
APPREGGI ATEDCHORD
L t henote s oft hechor db s trmmigacr oss t her eleant s tr igs it hedr ecti onofthearr o head
T HN QU
T B UIE
FRETTING HAND HAM ER� ON PULL � OFF
NOTETRI
I IhefiriIloIeIhelherao l FTERWcklPIhefiriIloIe,rWa olIheiIrlPforIheiecolaloIe. ckIhe IerlIebeI eelIheI oloIeiiho ll IhraloIelaWu offforIhefourIhloIe. brckeIiuilPh erolilaWu offi.
SLI DES( GLI SSANDO
FRET HANDTAPPNG
FRETHANDMUTNG
I IhefiriIloIelaIheliaeIoIhe le I. orIhe iII oloIeiWckIhefiriI, iaeIoIhele IlaIhelre WckI( ).
SOUNDIheloIeirkea Ihi ure
XM RKING reWreielIloIeila
b herlP ol IWWlP Ih ourfreI hlafilPeri,liIeaofWcklP.
iIrlPiIhIre uIeab ourfreIhla heliIruckb ourWcklPhla.
QUARTER� TONEBEND
VI BRATO
BENDING AND VIBRATO BENDANDRELEASE
RE� PCKEDBEND
PRE� BEN
FRETIhefiriIloIe( here,Ihe Ih
BENDuWIoIheWIchiho llIhe
SILENTLYbelaIheiIrlPuWfroIhe Ih
freI)labelauWIoIheWIchofIhe brckeIealoIe,beforereeilPPl.
brckeIi,Ihelre WckIheloIe he hoalPIhebelIloIeIIheWIchiho l.
I IheloIeIhelbelauW urIer freI( )IoIheWIchofIhe IhfreIloIe, Iole( eri oulI).T hii WckIlare eieIoIhe IhfreIloIe. ioeI eireferreaIoi‘bueicur’.
YOURfreIIlPhla brIeiIheiIrlPb
PNCHEDHARMONCS
TAPPEDHAR ONI CS
TOUCHEDHARMONCS
L E ourfilPerolIheloIeiiho l, buIioulaI Ih uckWckhlaIWI IhefreIiho l(T )forhrolc.
PREV SLYioulaealoIei IoucheaboeIhefreI rkeaT (eP,T )forIIoioulahr olc.
i bela uWilare eiei. PPerIe IhieffecIIocreIe‘ ae’ brIo.
HARMONICS NATURALHARMONCS
I IheloIe he PhI IouchlP IheiIrlParecI oerIhefreI lacIea. AchlPhrolcreiuIi.
ART FI CI ALHARMONCS
FRETIheloIeiiho l,Ihel PhI
W ce ourlae filPerarecI o er‘’ freI(A ‘’)laWck( IhWck,Wor).
FTERfreIIlPIheloIelIheIrlP e, aPlIoIheiIrlP IhIheiaeof our Ihubi ouioulaI IhIheWck.
VIBRATO BAR / WHAMMY BAR WHAM YBARBENDS
SCOOPANDDOOP
SUSTAI NEDNOTEANDDI VEBOM
GARGL E
WHAM YBARVI BRATO
THEloIeiWckeaiiho l,IhelIhe
S OOP aeWreiiIhebruiIbefore
iIrklPIheloIelare eie. ooW o erIhebri PhI fIerWcklPloIe.
TEiiuiIleaIhelIhe brIo briaeWreiieaIoi ck. T hei ure brckeIlacIeifurIherrIcuIol.
SOUNDIheloIela‘ck’Ihe brIo
GENTLYrockIhe h brIo
br Ih ourWcklPhlaioI‘ueri’ . T hireiuIil‘PrPlP’ioula
reWeIea belaIheWIchuWlaao l. T hiioulaii rIofreIhla brIo.
PCKSCRAPE
VI OLI NN
FI NGERNUMBERI NG
P ADI RECTON
PCKHANDTAPPNG
THEeaPeofIheWckiarPPeaeIher
TURNIhe ouecolIroao l,
THEluberilIheIraIol
ioulaIheloIe(i)laIhelIurlIhe ou euWforiooIhfael.
loIIolreferIoIhefilPerire ureaIo W echloIe.
NYk laoffilPerWcklP re ure elIireiho lIIheboIIo ofIheIbloIIol.
T (herol) IhfilPerof
ao loruW olPIhe o eriIrlPiIo WroauceicrWeaioula.
brIobririeala o ereaIoIhe WIcheiiho llbrckeIi.
OTHERS
ourWcklPhlaolIoIhefreI rkea Ihcrce. iu Ih‘’or‘ ’.
S 1
1
T h e F in a lC o u n td o w n L A D E A IBG L SESSO S 9 .33W RE.WiS i .i!(1 92) Eel. lfe T.e e4 T- e a4ea . ,T4T.a ee e.-BeT T4 ae3 cl e al.Td 4eT- e.ao eT dedac . a4e 4TBe eCce Tde o e Tl. lf 4eT4 ff f
4l
e eT
f
T e4T e 3 Tl.TlB c lfe -T e-
B . iS I B (1 70 ) CB e6 eA c o T T ac elL T a/ o Tz lf4ao a lf2 ea4fe T44 alao T-Beo T leT4-d4e Te.d T al eT eTBc lf o ac .lee4 eT e eeleT ac TfTl…
o S o i U (1971) Pee( ao l el.o Tle.a TBeTale T-c T-e.LiGg3 Tl.T- a T.Tle4ac eTB.ao lo el Tl. Te a .ao l c e--BeealeT fa To Td JPee fe.
S :H
10 ES Wi : (1 ) ( e
ee C d e e4 e e a e-- 4ea4.lf e T a e Tc-T4d el.4c e4B A el-a T T T e4 T f C e c Bo eo e4 4 e.Jl e. T- e ( e T el.lfT e el
m Pa M o T T.a e.T T c Tle 3 ria aF ; l.F N a
(1 1)
e4ea4.lflo T al)a4.T-e.T.T Tcle. Te.a llD ealJ e,-TB a4e eT eT- e4T-T/e Tl:a lfT ae4e. aa .aa4
afe4
TT e
ES .R .(199 4) (e,4e A l. e4 alTl.,e4lT4.,c-e4 T4 le4 o T .aled 99 .o Td 4acf e e
l ef
T4 l. l 4 el
.c e.lefc e4o ee lfe ca e. d efTl4eelfaleT--
e acl.a
Ble elf T4ele.leTBf4acl.
4o :R RiS : R .:R (1972) ea4.lfl ac e l4TleaTa .eF ;
2:HU :Ri S:HU:Ri (20 0 4) lfo Pee ae4 d.4aeT.4clB T4,T4Ta T ao leT.alT lB cl
ede T-a e.
ac Tl.edT.a e e T e.d e 4d e c. a e4dlf e- eIe ee T e
J4e T-e.
TlTfe4A Tl 2 ee (e)e4le o e4e a
el9 e4ela T/4TeeEale T. lee4 eel a. .e.
; ee elfc c d
le o -a T- TB.eT-e4 Tl. BTffe4 f4c lfTac e e.4clB Tl. j clBe J
U. :.S U R (200 ) eT- T eo
fc
Te lfo T
Aid GM .ac ele.alm
a4T
eT c4eaeal c eT a e eeB ac e a elo el)T4 F
fae la e a
la eo T e H e e-.Tl. ac : cB! BLhBnthAB , b hta lltBhn BcB thllhAt Bnhetf la HBp
A 0 1
1 Ri iiS :Ri, W (200) ( e e4a T T. aa.T- c A / a e f Tl efTll 99 Tl. To e.T a e e/ 5deT4 o el.-e Tl. e e4 c4acfe eT f4 e4Tl e e fa4flfal4c ac4 aa e ale/ el e Tl.,c eeT. TB f T4 TBelaa,ce T e a T ? o T T T
H e n e
e e
e e n e n e n
e e n
n e e e