20181200-guitar_interactive.pdf

02

Guitar Interactive Issue 61

www.guitarinteractivemagazine.com

03

Welcome to

Issue61 Yet Another Jam-Packed Edition of Gi... Hello and welcome to issue 61 of Guitar Interactive Magazine! Jason Becker’s story is truly one of brilliance, talent, determination, adversity, and ultimately, triumph. With the release of his long-awaited new album ‘Triumphant Hearts’ set for December 7th, Jason takes some time out to chat with Guitar Interactive Magazine about the inception and culmination of this tremendous project, as well as giving us some insight into his unique process for visualising and notating music, and even how he manages to keep his hair looking so great. Already a household name for his noted bass guitar work with rock giants Mr

Big and the original lineup of the David Lee Roth band—Billy Sheehan is back at it again with progressive metal supergroup Sons of Apollo featuring drummer Mike Portnoy, keyboardist Derek Sherinian, vocalist Jeff Scott Soto, and guitarist Ron “Bumblefoot” Thal. Nick Jennison caught up with Billy during the band’s London stop on their recent UK tour. Guitar Interactive Magazine also catches up with Wisconsin born bluesrock guitarist and vocalist, Jared James Nichols during the London leg of his UK tour supporting hard rock legends, L.A. Guns. Gi editor Jonathan Graham sits down with Jared to discuss his unique approach to guitar playing, his recording and touring plans for 2019 and also the possibility some brand new signature gear on the horizon. In this issue’s Guitar Interactive Tech

Review crew Nick Jennison, Phil Short, Sam Bell & Dan Veall Editor Jonathan Graham [email protected] Contributors Jonathan Graham, Nick Jennison & Jamie Humphries

Columns Nick Jennison, Chris Buck & Danny Gill Advertising Manager Helen Bavester [email protected]

Session, Jamie Humphries delves deep into the unique twin guitar style of one of the biggest-selling rock bands of the 1980s, Def Leppard. Jamie explores the group’s distinctive approach to composing guitar riffs and lead lines in this exclusive lesson that you definitely won’t want to miss. But if that’s not enough, don’t forget all of our exclusive lessons this issue from Danny Gill, Nick Jennison and Chris Buck. As usual, with every issue, we have a whole host of the latest and best gear reviews from around the world of guitar, with our team of world-class gear reviewers offering their unique insight, expertise, and personality which as always, we hope you will enjoy. All that and much more in this issue of Guitar Interactive - The world’s fastest growing digital magazine.

USA Advertising Sales Lisa Spiteri [email protected] Design and layout Simon Gibbs [email protected] Video Editors James Masterton & Dave Kidd

Sound E Martin H

Camera Mike Th

Social M David Jo

Publish Guitar In

(c) Copyright 2018 Guitar Interactive Ltd. No part of this publication may be reproduced in any form or by any means without prior permission of the copyright owners. The views expressed in G

04

Guitar Interactive Issue 61

GUITAR INTERACTIVE_WELCOME

Welcome to Guitar Interactive Issue 61

GET IN TOUCH Ask a question, share your ideas and let’s see what works! iGuitarMag Tweet your ideas and thoughts here

facebook.com/ GuitarInteractive Magazine Keep up-to-date with the latest from Gi

Engineering Hayles & Gwyn Mathias

Publishing Directors Kim Waller and Stuart Bull

as horpe, Dave Kidd & James Masterton

Contact

Media Managers ones & Daniel Le Gresley

hers nteractive Ltd

www.guitarinteractive magazine.com Full user access to our extensive website and content

Ad Index Our advertisers.

Sales and Information line: + 44 (0)1708 757 337 Fax Line: +44 (0)1708 757 528 Address: Unit A, Chesham Close, Romford, Essex, RM7 7PJ, UK

BASS DIRECT 156&157 DANELECTRO 23 ELIXIR 140-143 ERNIE BALL 35 EVENTIDE 17 & 178-183 FISHMAN 69 GUITAR STAR 55 HUGHES AND KETTNER 89

LANEY 8&9 LICKLIBRARY 76, 77 &175 LINE 6/YAMAHA 93 MAYSON 129 MOOER 101 ON STAGE 89 PRS 133 RODE 115

ROTOSOUND 49 SEYMOUR DUNCAN 2&3 STETSBAR 105 STUDIOMASTER/ CARLSBRO 83 TAYLOR 23 TECH 21 163 &168-174 VIGIER 97 VINTAGE 33

Guitar Interactive are those of the contributors and not necessarily those of the Editor or Publisher.

www.guitarinteractivemagazine.com

05



DOWNLOADS TAB & PDF CONTENT

ISSUE 61

Contents

Turn to page 75 for your free downloadable content

REVIEWS - GUITARS, AMPS & FX 080 Italia Rimini 12

084 PRS J-MOD100 Head John Signature Amp Head

INTERVIEWS

088 Laney Lionheart L20T 112

012 JASON BECKER

092 DV Micro 50 Head and DV Neoclassic 212

098 Ibanez Tube Screamer TS8

With the release of his long-awaited new album ‘Triumphant Hearts’ set for December 7th, Jason takes some time out to chat with Guitar Interactive Magazine about the inception and culmination of this tremendous project.

102 Mooer Micro Pre Amp No.1 No. 20

106 Source Audio Ventris Dual Reverb

BILLY SHEEHAN

030

Back at it again with progressive metal supergroup Sons of Apollo - featuring Mike Portnoy, Derek Sherinian, Jeff Scott Soto, and Ron “Bumblefoot” Thal. Nick Jennison caught up with the bass guitar legend during the band’s London stop on their recent UK tour.

STUDIO TO STAGE

112 Vibes High-Fidelity Earplu

116 Xvive XU3 Wireless System

120 Floyd Rose FR-36BK & FR-3 Pro Series 126 PedalSnake

THE QUIET ROOM 132 Takamine GN90CE

JARED JAMES NICHOLS We catch up with the Wisconsin born bluesrock guitarist and vocalist, to discuss his unique approach to guitar playing, his recording and touring plans for 2019 and also the possibility some brand new signature gear on the horizon.

138 Taylor 314ce V-Class Electr Acoustic Guitar

040

COMPETITIONS 072

06

Win an incredible Pedalboard loaded with Mooer pedals in our amazing free entry competition!

Guitar Interactive Issue 61

142 Nick Jennison Acoustic Co – Sponsored by Elixir Strin

THE BASSMENT 148 Fret-King Esprit bass 152 Tech 21 - VT Bass 200

FEATURES

SEYMOUR’S STUDIO

054

n Mayer

Please Welcome Brad Paisley

808DX

19 and

l

ugs

m

TECH SESSIONS

060

DEF LEPPARD TECH SESSION

360

ro

COLUMNS

olumn ngs

158

NICK JENNISON Eventide H9 Masterclass Series

164

CHRIS BUCK Rock & Blues

168

DANNY GILL Exclusive Column

www.guitarinteractivemagazine.com

07

08

Guitar Interactive Issue 61

www.guitarinteractivemagazine.com

09

GUITAR INTERACTIV

INTE

10

Guitar Interactive Issue 61

VE 61

ERVIEWS HOT LICKS AND LIFE STORIES

www.guitarinteractivemagazine.com

11

INTERVIEWS_JASON BECKER

12

Guitar Interactive Issue 61

JASON BECKER MUCH MORE TO SAY

Jason Becker’s story is truly one of brilliance, talent, determination, adversity, and ultimately... triumph. With the release of his long-awaited new album ‘Triumphant Hearts’ set for December 7th, Jason takes some time out to chat with Guitar Interactive Magazine about the inception and culmination of this tremendous project, as well as giving us some insight into his unique process for visualising and notating music, and even how he manages to keep his hair looking so great. »

www.guitarinteractivemagazine.com

13

INTERVIEWS_JASON BECKER

A

child prodigy on guitar, Jason rose to prominence as a teenager when he was one half of the legendary rock guitar duo Cacophony (with his great friend Marty Friedman). After wowing audiences all over the world with his amazing guitar chops and deep compositions, Jason auditioned for— and got—the gig with David Lee Roth, following in the enormous footsteps of Eddie Van Halen and Steve Vai. He wrote and recorded the DLR album A Little Ain’t Enough and was poised to take over the rock guitar world when a nagging pain in his leg was diagnosed

“Not only is Jason not dead yet, but he’s also busier and more prolific than ever...”

14

Guitar Interactive Issue 61

as ALS, or Lou Gehrig’s Disease, a debilitating and fatal condition with a life expectancy of maybe five years. Maybe. That was 29 years ago. Jason did indeed lose the ability to play the guitar, walk, talk, and even breathe on his own. However, he never lost his will to live or his desire to create music. Communicating through a series of eye movements with a system developed by his father, Jason spells out words as well as musical notes and chords. He imparts his musical vision to his team who then can input the notes into a computer, edit the parts to his exacting

JASON BECKER MUCH MORE TO SAY

standards, and then generate charts for session musicians. It is through this amazing process that Jason composes his profoundly beautiful music, rich in melody and counterpoint, brimming with emotion. His inspiring music and life story have been the subject of countless news articles, magazine cover stories, and an award-winning documentary, Jason Becker: Not Dead Yet. Not only is Jason not dead yet, but he’s also busier and more prolific than ever, as evidenced by his latest release, ‘Triumphant Hearts.’ The album’s 14 tracks showcase Jason’s gift for

melody and his in-depth knowledge of classical composition and orchestral arrangement. Many of the guitar parts are performed by a who’s-who of 6-string gods including Joe Satriani, Steve Vai, Neal Schon, Steve Morse, Paul Gilbert, Joe Bonamassa, and many others. Also, in what will absolutely surprise and delight fans, Jason’s amazing guitar playing—recorded in the ’80s and ’90s—graces several tunes. Gi: Congratulations on the new record Jason. Where did the idea for ‘Triumphant Hearts’ originate? »

Jason Becker - Triumphant Hearts (Album Trailer)

www.guitarinteractivemagazine.com

15

INTERVIEWS_JASON BECKER JB: Well, I just had music I wanted to make. That is really all it was. After a while, it became more apparent that I couldn’t do it all without so much help and love from other people. That is when I started thinking about the whole “Triumphant Hearts” theme, and how much most of us really need each other. Actually, I was going to call the album ‘Triumphant Heart,’ but in our Friday meeting, Serrana thought that it didn’t quite convey the full value of everyone involved. I thought that she was right and decided on ‘Triumphant Hearts.’ Genius; HA HA! Serrana is the real genius. The cover of the album was painted by my dad, Gary Becker. I told him what I

16

Guitar Interactive Issue 61

wanted, and that I wanted it in his style, only a little more realistic. In the past, he has done many different sketches and studies before the final version of what I was looking for, but this heart world was his first take. To me, he painted what my music feels like. All of us in the world should remember our connection through love. He also nailed what I asked for with my name in one try. Gi: This project has no shortage of phenomenal guitarists on board. When you compose guitar parts for other players to perform do you visualise the fretboard as you write, or does it manifest itself in a different way? »

NEW COMING FEBRUARY 2019 JASON BECKER MUCH MORE TO SAY

ELECTRI C GUITA R STR I N GS

Yamaha WORLD FAMOUS MUSIC STRINGS ROTOSOUND.COM

www.guitarinteractivemagazine.com

17

INTERVIEWS_JASON BECKER JB: Good question. I almost always look at a fretboard of the nearest guitar hanging on my wall. Not just for guitar parts, but for every instrument I am writing for. You know, I didn’t write every guitar part though. I wrote the parts in “Hold On To Love,” “Magic Woman” and “Triumphant Heart,” but I asked the players in “Valley of Fire” and “River of Longing” to play what they felt. Gi: Every track on ‘Triumphant Hearts’ has been created with the utmost attention to detail so I’m almost certain it would be hard to choose, however, is there one or two tracks that you are the most excited for audiences to finally hear? JB: Thank you, yes that is true. I put all I had into this album and I couldn’t pick one thing, but I am excited about writing lyrics and telling my story and feelings from my perspective. I am excited about audiences hearing that, and especially audiences who may not know about me. I would like to think that “Hold On To Love” is a universal song/sentiment and can touch everyone in some way. “We Are One” as well. I’m also excited for folks to hear the orchestral pieces. It is such a thrill to hear my music come alive with brilliant string and horn musicians putting their own touch and feeling into it. I’m hoping it will touch others like it touched me. Gi: You’ve created some of the most incredible instrumental compositions over the years. What is your process for developing an idea from start to finish,

18

Guitar Interactive Issue 61

and how do you know when you’re on to something good? JB: Man, thank you so much; that means a lot to me. An idea usually starts in my head while I am lying in bed around 3 AM. I wake up and something is rolling around in my noodle. I go through it and try to think of good ways for the song to go. The next day when I get on the computer, I put those thoughts down. It is actually pretty simple, in a way. None of the eye computer systems work well for me, so I tell my caregiver exactly what to do. It starts with me picking a sound, like maybe a harp sample, and putting down one note. It isn’t done with a keyboard, so no one has to know about music. I slowly instruct where to put each note, and how long to make them. Or I might start with the chords, pencilling in each note of each chord. Then I layer on other instruments and tracks, always messing with the rhythms and velocities. It is really quite cool how soon it sounds awesome. I usually think I am on to something good, and I am often right, but I have given up on some ideas. I have quite a few demos that I have never finished. Gi: When you compose a song, how important do you think it is to write for an intended audience? Does that influence your decisions at all? JB: For me, it isn’t important at all. I don’t think about that once. I write what I want to, and I think that is what people want »

JASON BECKER MUCH MORE TO SAY

IN OUR MINDS, THERE’S NO DIFFERENCE BETWEEN holdin g a g uitar and hu g g in g a tree.

THE WORLD’S FIRST GUITAR WAS MADE WITH WOOD. AND WE THINK WHOEVER BUILT IT WAS ONTO SOMETHING. THAT’S WHY WE’VE MADE GUITARS FROM REAL WOOD FOR OVER 40 YEARS. THE ONE PROBLEM: REAL WOOD COMES FROM REAL TREES — MANY OF WHICH ARE UNDER THREAT AROUND THE GLOBE. CONSIDER EBONY, PERFECTLY SUITED FOR FRETBOARDS BUT ROUTINELY CUT DOWN AND LEFT BEHIND ON FOREST FLOORS ONLY BECAUSE THE WOOD ISN’T PERFECTLY BLACK. IT STRIKES US AS NOT ONLY UNSUSTAINABLE BUT DISRESPECTFUL. SO WE ASKED OURSELVES: WHAT WOULD HAPPEN IF WE DIDN’T LEAVE “IMPERFECT” EBONY BEHIND? TURNS OUT THE ANSWER TO THAT QUESTION IS NOT ONLY A THING OF BEAUTY, BUT LASTING BEAUTY. OUR GOAL? TO MAKE SURE OUR GRANDKIDS’ GRANDKIDS WILL PLAY GUITARS MADE WITH REAL WOOD. FROM REAL TREES. WATCH THE STORY OF EBONY at taylorguitars.com/ebonyproject.

©2018 TAYLOR GUITARS

TAYLOR

TM

www.guitarinteractivemagazine.com

19

INTERVIEWS_JASON BECKER to hear. I wouldn’t push any boundaries if I thought like that. Maybe if I made a lot of money from music, I might consider it, but no one really wants something forced from me. Gi: How do you know when your song is complete and time to stop revising it? JB: It’s time to stop revising it when I feel everything I want to feel from it. I have usually tried many different instruments, gone through timing, performances, quality and all that, so once I am satisfied with that, it’s mostly about feeling. Funny, I am usually done way sooner than my coproducer, Dan Alvarez. He has a tendency to pick everything to death. I have to keep him in check. HA HA! Gi: What was is it that first inspired you to learn to play the guitar or write music? JB: I grew up seeing my dad and my uncle, who both played guitar. I listened to Bob Dylan music and saw classical, rock and blues guitarists playing. I have always thought it was cool. When I saw the movie The Last Waltz, and saw Eric Clapton and Robbie Robertson play, I knew that was what I wanted to do. It was so much fun to play and to learn about music; it is just the language I speak. You know, when I was 14, I made a little demo tape of myself playing other peoples’ songs. I gave it to my grandfather, Wayne Heffley, who was a Hollywood character actor. He was in things like The Twilight Zone, Superman, My Three Sons, Little

20

Guitar Interactive Issue 61

House on the Prairie, and Days of Our Lives. He told me it was great, but he was looking forward to when I started writing my own songs. That got me thinking. Gi: In those early days when you were developing your skills, what did your average guitar playing day look like? Did you have a specific practice schedule? JB: I didn’t really have a specific practice schedule, I just picked up the guitar when I got home from school and pretty much played it until I went to bed, sometimes serious practice and sometimes playing around with TV and cartoon theme songs, sometimes jamming. I definitely had marathon practice sessions, playing scales and arpeggios too. I learned a lot of Paganini and Bach pieces. I practiced everything my guitar teacher, Dave Creamer, taught me that month. I learned a lot of songs by Jeff Beck, Van Halen, Steve Morse and Yngwie. It was all just fun. The guitar was my main entertainment and something I did every day. Weekends were usually spent at my uncles’ house jamming with him, my dad, my mom, my brother, my friends, all of us hanging around, playing, partying, eating, and having fun. Gi: Do you remember any specific techniques or songs that were the most challenging for you to master? JB: Hmm…you got me thinking…the first lead guitar thing that I worked on was “Further Up The Road,” the version from The Last Waltz with Clapton and Robbie Robertson. My Uncle Ron taught me the »

JASON BECKER MUCH MORE TO SAY

www.guitarinteractivemagazine.com

21

INTERVIEWS_JASON BECKER blues scale, and with that, I learned songs by ear, trial and error. I also remember playing along with Hendrix’s Smash Hits and Roy Buchanan’s Second Album. As my ear got better, I remember playing along with a bunch of Jeff Beck’s albums. I especially liked Cause We’ve Ended As Lovers, Led Boots, and Star Cycle. Then came all of Van Halen, and Eruption of course. I had a hard time learning speed picking ala Al Dimeola and Yngwie. Gi: Reflecting on those early Shrapnel Records days, how was it to be part of that scene? Did you envision at the time that so many of those artists would have such impact and influence on electric guitar players even to this day? JB: It was so much fun! Mike Varney had created this place where it was all about creativity and encouraging new ideas. Marty and I took full advantage of that. Man, Firkins, Howe, Kotzen, Gilbert, Marty…the musicianship was insane. I knew it, but it seemed like much of the world couldn’t see past the speed. Those players had it all. ai

if you only love metal and rock, you can take things from all kinds of music. That is what could make you stand out. Gi: Do you think that today’s generation of upcoming guitarists are any different in their approach to the instrument from the guitarists around you when you were growing up? JB: Good question. I wish I had an answer. Since I haven’t been able to play in so many years, I haven’t followed the guitar playing trends or tendencies. I guess there are a lot more 8-string players now. That is a very cool sound, although I can only take so much. Maybe I am just an old man. HA HA! Gi: What is the best piece of advice you ever received regarding your playing development or songwriting?

Gi: Do you have any advice for young guitar players and musicians looking to make that same kind of impact?

JB: Excellent question. After I sent my demo tape to Mike Varney, he called me and told me that I had some great ideas and techniques, but that my playing and recordings were sloppy. He said I should record the songs again, and take more time and care with the whole thing. I took the time to do that, and it really made a big difference. I had to think more about the music and what I was playing. Mike Varney is extremely knowledgeable as a producer and musician. I didn’t have as much on my demo as many of his other artists, but he heard something in there.

JB: I guess just really love music and what you do. Be open to all kinds of music. Even

Gi: And what about the worst piece of advice? »

Fun little fact: When I first got to Prairie Sun Studios, for recording Speed Metal Symphony, Marty and I had the tiny cabin room, and I found one of Yngwie’s very used picks.

22

Guitar Interactive Issue 61

JASON BECKER MUCH MORE TO SAY

Roland

www.guitarinteractivemagazine.com

23

INTERVIEWS_JASON BECKER JB: This is just funny; I still tease my parents about these things. It’s not really bad advice, just funny memories. After seeing The Last Waltz, I told my dad I wanted to be a lead guitarist like Clapton. He said, “okay, but that is way too hard.” My mom said I should try to get a job right when Cacophony was starting. I spent an afternoon going to music stores and filling out applications. I even did an interview at a video rental store. The guy asked me why I wanted to work there. I said, “well, I like movies.” HA HA! My dad said to give Cacophony a year to see if it works out. I just did extra chores and gave guitar lessons. Gi: Do you have any musical guilty pleasures? Would you share some with us, please? JB: You ask some great questions! A while ago I listened to a lot of Britney Spears and Christina Aguilera. I even watched many seasons of American Idol. Don’t kick me. HA HA! At least I never voted. I really dug Tupac and Eminem, but I don’t feel guilty about them because they often had something to say. I think Lady Gaga is great. I absolutely love Dean Martin’s voice and songs. I really like that Celine Dion Titanic song. I love, love, love Shania Twain! I love

the Bruno Mars song, “Uptown Funk.” My new song, “We Are One” is a mix between “Uptown Funk” and “Voodoo Child.” Gi: You have a big birthday coming up next year. What will you be doing to celebrate? Oh, and how have you managed to keep your hair looking incredible? What’s the secret? JB: I would like to do something special. I haven’t thought about it yet. I’ll probably just have a big party. Any good ideas? My hair – only wash it once a week. Gi: When people finally get to hear ‘Triumphant Hearts’ in December, there will quickly be calls for the follow-up record. Who would you like to work with that didn’t make it onto this one? JB: I can’t even fathom making another album right now. Maybe just one song at a time. Definitely Jeff Beck, Eddie Van Halen, Eric Johnson, Eric Clapton, Bob Dylan of course, Stevie Wonder, David Gilmour, Hiromi, Tony Bennett, Yo Yo Ma, Joshua Bell, Itzhak Perlman, Randy Newman, Bonnie Raitt, John Mayer, Seal, Paul McCartney, Paul Simon, Willie Nelson, and Shania Twain!

Jason Becker - Hold On To Love (feat. Codany Holiday) (Official Music Video)

24

Guitar Interactive Issue 61

JASON BECKER MUCH MORE TO SAY

“ I can’t even fathom making another album right now. Maybe just one song at a time. “

‘Triumphant Hearts’ opens powerfully with the title track, featuring Jason’s old bandmate Marty Friedman and an astounding violin performance. “I wrote ‘Triumphant Heart’ and it made me feel triumphant,” says Becker. “When Marty found out I was making this album, he told me he would play anything I needed. I sent him this, and his wife, Hiyori, who is a cellist, also offered to play on it. The great violinist, Glauco Bertagnin, recorded my violin parts in Italy. That fast solo section I wrote is way too hard; I don’t know how Glauco pulled it off. He put so much soul in the whole song.” “Hold on to Love” is the first vocal tune on the record, although it didn’t start out that way. “It was going to be an instrumental,” explains Jason, “but after I wrote the chorus with lyrics, I knew I had to tell my story, to explain how I can continue living without feeling hate. I hadn’t written many lyrics before.” In addition to its beautiful, gospel-tinged choir, the heartfelt song features Bay Area singer Codany Holiday on lead vocals. “Codany came to my house, and Dan [Alvarez, producer] and I recorded him in my living room. He did it in five straight hours with no break. We were blown away by his emotional and soulful take on the message of the song. He really brought it to life.” “Fantasy Weaver” is the odd Jason Becker tune that doesn’t showcase incredible 6-string work, displaying instead the 4-string magic of worldrenown ukulele master Jake Shimabukuro. “I actually wrote the harp arpeggios back in the Cacophony days. Not long ago, I decided I wanted to use that piece… it reminds me of Debussy, who I love. I had recently talked to the ukulele great, Jake Shimabukuro, and he agreed to play on this piece. His touch and feel are so soothing. I think it has something to do with his awesome »

www.guitarinteractivemagazine.com

25

INTERVIEWS_JASON BECKER sense of intonation, but more than that, I really think it comes from his beautiful and humble heart.”

a 4-track back in the day. Even though the parts were tracked decades apart, they mesh seamlessly, both rhythmically and tonally.

The gorgeous “Once Upon a Melody” not only features two outstanding Jason Becker guitar solos from his Cacophony era, but also audio of him as a three-year-old kid. The full-circle nature of having little boy Jason, guitar virtuoso Jason, and modernday composer Jason all on the same song is a breathtaking accomplishment.

“The tones were good to begin with, but Chuck Zwicky, who worked with Prince in the late ’80s, really made them huge with his mixing. I remember I used a ’69 Plexi Marshall amp and my blue Carvin guitar.

“This piece sort of goes backwards in time,” states Becker. “It starts with new music, goes back to my teen years with the guitar solo, then goes to elementary school with the sounds of children playing, and then back to me when I was three. “I found the first solo on an old 4-track recording I did from the Cacophony Go Off! days. I wrote it for the intro to “Black Cat,” but we didn’t end up using it. I put the solo into Logic Pro, and wrote a different chord under each note. I loved the sound, so I had the woodwinds play the same guitar melody, only with a slightly different rhythm. “My second guitar solo was taken from the song ‘Go Off!’ It’s my favourite solo that I ever did. I wrote more stuff around that solo, and like with the first melody, I had woodwinds play it first.” Another standout vocal tune on ‘Triumphant Hearts’ is “We Are One,” a grooving, funky song that features soulful Flipsyde vocalist Steve Knight. It also has more great Jason Becker guitar, recorded on

26

Guitar Interactive Issue 61

“Dan made a click track that matched my guitar part exactly so that everything I added worked perfectly. My original timing was pretty good, but Dan made it swing more to match the parts I had written around the guitar.” Uli Jon Roth is a guitar legend who influenced many melodic metal and shred guitarists. He appears on the tune “Magic Woman,” along with ex-Megadeth guitarist Chris Broderick who counts both Uli and Jason as big influences. “Chris is a great classical guitarist,” says Jason. “I told him to pretty much play what I put down, but to add anything that he would naturally do on classical guitar. I wanted all of my notes, but I also wanted his take and feel on it. As for Uli, I think his playing is divine, like it comes from heaven. He is one of the greats, and it’s almost like a dream that we are good friends.” Fans of Jason’s work with David Lee Roth will be thrilled by the inclusion of two previously unreleased outtakes from the A Little Ain’t Enough sessions, the hard rocking “Taking Me Back” and the bluesinfused “Tell Me No Lies.”

JASON BECKER MUCH MORE TO SAY

“ Some Some people feel sorry for me and I understand that. I really feel lucky though “

“Dave asked me, Brett Tuggle, and Gregg and Matt Bissonette to write a bluesy song for A Little Ain’t Enough. We all went to Brett’s home, and this is what we did that day. It wasn’t quite what Dave was looking for, but it brings back good memories.”

Jason Becker - Valley Of Fire (Official Music Video)

The song that will probably get the most immediate attention, thanks to the gaudy collection of talent on it, is “Valley of Fire.” It’s a tune of sweeping grandeur, populated by fantastic guitar performances. Although it’s not easy to encapsulate succinctly, Jason describes the amazing players on his song like this: Michael Lee Firkins: I remember when Mike Varney first played me his demo. I said I have to meet this guy! We have been close friends ever since. Steve Vai: One of my big influences. Such a creative mind and heart. He is so encouraging. We sometimes talk about deeper things. Joe Bonamassa: A master of tone. We both started young and we are similar kinds of people. He offered to record out of the blue. I didn’t even ask him. Such a sweetheart and the next killer bluesman. Paul Gilbert: I have been a fan of his aggressive style for so long. He is such a sweet dude. Neal Schon: It made me so happy to find out that Neal was a fan, because I have always gotten emotional at his guitar playing. He was happy to play on this song. »

www.guitarinteractivemagazine.com

27

INTERVIEWS_JASON BECKER Mattias IA Eklundh: Ever since I heard his version of Django’s “Minor Swing,” I have been a big fan. I always want him on my stuff.

Jeff Loomis: Another brilliant musician. I influenced him, which is a big deal to me because he took things a lot further.

Marty Friedman: Loser. I was just doing him a favour. Ha ha!

Richie Kotzen: My brother! He is multi-talented, like Prince, with so much soul in everything he does.

Greg Howe: Such a naturally brilliant player, and one of my dearest friends.

Gus G: Such a sweet whippersnapper! Steve Hunter: The man!

1. Trium Friedm

2. H C

3. Fan

4. O

28

Guitar Interactive Issue 61

JASON BECKER MUCH MORE TO SAY

Ben Woods: I wish he was on this more.

upbeat, and inspiring man alive, as he concedes:

In addition to all this, there are also performances by Joe Satriani, Guthrie Govan, Trevor Rabin, and many others. These amazing musicians help Jason realize his vision on the best material of his career. While Jason Becker is unquestionably the sexiest man alive, he’s also the most positive,

“Some people feel sorry for me and I understand that. I really feel lucky though. I don’t miss playing guitar anymore. I’m sure that’s out of necessity, but I am grateful for so much more. I am surrounded by loving people, and I can still make music.” END <<

Jason Becker – ‘Triumphant Hearts’ Track List

mphant Heart (feat. Marty man, Glauco Bertagnin, Hiyori Okuda)

Hold On To Love (feat. Codany Holiday)

ntasy Weaver (feat. Jake Shimabukuro)

Once Upon A Melody

5. We Are One (feat. Steve Knight)

10. River of Longing (feat. Trevor Rabin)

6. Magic Woman (feat. Uli Jon Roth & Chris Broderick)

11. Taking Me Back

7. Blowin’ in the Wind 8. River of Longing (feat. Joe Satriani, Aleks Sever, Guthrie Govan, Steve Morse)

12. Tell Me No Lies 13. Hold On To Love (feat. Codany Holiday) [Chuck Zwicky Remix] 14. You Do It

9. Valley of Fire (feat. The Magificent 13)

For more information on Jason Becker’s ‘Triumphant Hearts,’ please visit: http://smarturl.it/JasonBecker

www.guitarinteractivemagazine.com

29

INTERVIEWS_BILLY SHEEHAN

Already a household name for his noted bass guitar work w back at it again with progressive metal supergroup Sons o Soto, and guitarist Ron “Bumblefoot” Thal. Nick Jennison

30

Guitar Interactive Issue 61

BILLY SHEEHAN ALL ABOUT THE BASS

with rock giants Mr Big and the original lineup of the David Lee Roth band—Billy Sheehan is of Apollo featuring drummer Mike Portnoy, keyboardist Derek Sherinian, vocalist Jeff Scott caught up with Billy during the band’s London stop on their recent UK tour. »

www.guitarinteractivemagazine.com

31

INTERVIEWS_BILLY SHEEHAN

T

o say Billy Sheehan likes to stay busy is something of an understatement. With a Winery Dogs tour looming on the horizon for 2019 (and the potential of a farewell tour with Mr Big too!), we caught up will Billy at the tail end of the European leg of his tour with Sons Of Apollo. These final shows mark the end of two years of solid touring for Billy that saw him circumnavigate the globe twice over! This kind of punishing schedule would be too much for many mere mortals to cope with, but even at 65 years old Sheehan is full of energy. Sons Of Apollo are the very definition of a “supergroup”. Made up of prog heavyweights Mike Portnoy and Derek Sherinian (both Dream Theater alumni), former Guns ’N’ Roses guitarist Ron “Bumblefoot” Thal and singer Jeff Scott Soto (whose resume includes Yngwie Malmsteen and Journey). It’s hardly unusual to see Sheehan in a supergroup though. Already a highly respected touring bassist with cult favourites Talas, Sheehan was recruited into David Lee Roth’s “super-band” alongside Steve Vai (fresh from Frank Zappa’s band and a stint with Alcatraz) and Greg Bissonette. The band’s 1986 debut album “Eat ‘Em and Smile” was a phenomenal commercial and critical success, and put Sheehan’s ferocious shred bass style firmly in the public eye. Tracks like “Shy Boy” showcase the kind of blazing guitar and bass unisons that would characterise many of Billy’s future projects. Somewhat serendipitously, “Shy Boy” was originally written by Sheehan while playing in Talas, and was inspired by watching Dave Lee Roth perform! »

Sons Of Apollo - Alive (official video) by Jared james Nichols

32

Guitar Interactive Issue 61

BILLY SHEEHAN ALL ABOUT THE BASS

“Billy revealed to us that there is a possibility of a final tour in 2019 to honour Pat’s memory...” www.guitarinteractivemagazine.com

33

INTERVIEWS_BILLY SHEEHAN

In 1988, Sheehan left the DLR band to form Mr Big; to date, his most successful musical endeavour. Like the DLR band and Talas before, Mr Big is a power trio featuring Paul Gilbert (and later Richie Kotzen) on guitar. Their 1992 single “To Be With You” charted at #1 in 15 countries, and enjoyed over a decade of continued success until internal tensions brought the band to a halt in 2002. Mr Big would eventually reform in 2009, and next year will mark not only the ten year anniversary of the band’s reunion but also the 30th anniversary of the release of their eponymous debut album. Tragically, drummer Pat Torpey passed away earlier this year. Billy revealed to us that there is a possibility of a final tour in 2019 to honour Pat’s memory. »

Billy Sheehan Interview

34

Guitar Interactive Issue 61

PLAYED BY LEGENDS SINCE 1958 BILLY SHEEHAN ALL ABOUT THE BASS

BILLY SHEEHAN ROTOSOUND PLAYER

WORLD FAMOUS MUSIC STRINGS ROTOSOUND.COM

www.guitarinteractivemagazine.com

35

INTERVIEWS_BILLY SHEEHAN

“Either way, Billy’s enthusiasm for the band is clearly as strong as ever...”

In the interim period between Mr Big’s breakup and eventual reunion, Sheehan toured with DLR bandmate Steve Vai, as part of a large ensemble that represented a significant departure from the power trios that Billy is best known for. Yamaha produced a doubleneck version of Sheehan’s signature Attitude bass for his work with this band, which he makes extensive use of in Sons Of Apollo. The necks are tuned EADG and BEAD respectively, covering the range of a 5-string while still affording Billy the picking and fretting hand comfort and familiarity that’s essential to his outrageous playing style. He was kind enough to let me play this bass before

36

Guitar Interactive Issue 61

our interview, and it’s very heavy, very resonant and surprisingly comfortable. In 2012, Sheehan formed The Winery Dogs with eventual Sons Of Apollo bandmate Mike Portnoy. Initially, former Thin Lizzy/ Whitesnake guitarist Jon Sykes was pencilled in for the role of frontman but would be replaced by former Mr Big guitarist Richie Kotzen. At the time of writing, The Winery Dogs have just teased a 2019 tour. Perhaps we’ll see a third full-length album too? Either way, Billy’s enthusiasm for the band is clearly as strong as ever, letting us know that The Winery Dogs is his favourite out of all his current projects. »

BILLY SHEEHAN ALL ABOUT THE BASS

www.guitarinteractivemagazine.com

37

INTERVIEWS_BILLY SHEEHAN

All of this leads to Billy’s most recent endeavour, Sons Of Apollo. Billy told us the story of how the band came together, and the complex web of connections that brought them all together. Talas supported Jeff Scott Soto (singing for Yngwie Malmsteen at the time). A fellow New York native, a young Bumblefoot was a Talas fan. And of course, Billy’s Winery Dogs bandmate Mike Portnoy played with keyboardist Derek Sherinian (who also played in Malmsteen’s band!) in Dream Theatre! With a career spanning over 40 years, Billy Sheehan shows no signs of slowing down. We’re looking forward to seeing what he gets up to in 2019. END <<

38

Guitar Interactive Issue 61

BILLY SHEEHAN ALL ABOUT THE BASS

www.guitarinteractivemagazine.com

39

INTERVIEWS_JARED JAMES NICHOLS

40

Guitar Interactive Issue 61

JARED JAMES NICHOLS BLUESPOWER!

Guitar Interactive Magazine catches up with Wisconsin born blues-rock guitarist and vocalist, Jared James Nichols during the London leg of his UK tour supporting hard rock legends, L.A. Guns. Gi editor Jonathan Graham sits down with Jared to discuss his unique approach to guitar playing, his recording and touring plans for 2019 and also the possibility some brand new signature gear on the horizon. »

www.guitarinteractivemagazine.com

41

INTERVIEWS_JARED JAMES NICHOLS

42

Guitar Interactive Issue 61

JARED JAMES NICHOLS BLUESPOWER!

J

ared James Nichols has quickly become a force to be reckoned with in the blues-rock arena for his unique blues grit and gusto and bombastic arena-size rock ’n’ roll. Having built up a solid reputation as a stunning heavy edged blues rock act and stage beast, Nichols has shared stages with the likes of ZZ Top, Lynyrd Skynyrd, Zaak Wylde, Glenn Hughes, Walter Trout, Blue Oyster Cult, UFO and Saxon just to name a few. His guitar playing can easily be described as raw, raucous and authentic and has even caught the attention of some of guitars biggest names, with Lynyrd Skynyrd’s Gary Rossington being so impressed with Nichol’s chops during his support set that he invited him on stage to play lead guitar during a performance of “Sweet Home Alabama.” Something that Skynyrd have never done before. Jared has always been a natural performer. As soon as he got his first guitar at 14-years-old, the stage immediately called to Nichols. Maybe it had something to do with the fact that he grew up minutes away from The Alpine Valley Resort - where Stevie Ray Vaughan ultimately performed his last show. Nothing could predict just how adept at the six-string he would eventually become, however. He traces the beginning of his story back to a blues jam that his mother brought him to. “Two weeks after I got an electric guitar, I was on stage with all of these old cats from Chicago playing the blues,” he recalls with a smile. “The music immediately resonated with me. It was all about the feeling and the soul behind it. None of these guys were music nerds. They were true blues guys playing what they felt. That power and reality struck a chord in me.” »

“Two weeks after I got an electric guitar, I was on stage with all of these old cats from Chicago playing the blues

www.guitarinteractivemagazine.com

43

INTERVIEWS_JARED JAMES NICHOLS

Soon, Nichols found himself practising for up to twelve hours every day. Hitting up the local jams, he ended up sharing the stage with legends including Buddy Guy, “Honeyboy” Edwards, and “Big Jim” Johnson as well as early supporting slots opening for Kenny Wayne Shepherd and Derek Trucks. By his 21st birthday, he had logged over 500 gigs. After a short stint at Berklee School of Music in Boston, he headed out to Los Angeles where he garnered numerous accolades at the world-renowned

44

Guitar Interactive Issue 61

Musicians Institute, winning the 2010 Jerry Horton guitar contest, the 2011 Les Paul tribute contest, and the 2011 “Outstanding Guitarist” award. 2012 saw him release his debut EP, ‘Live at the Viper Room,’ gaining the notice of both the guitar and music press alike and inking a deal with Sony/MTV’s Hype Music Publishing. The groundwork was laid for what would become his debut album, ‘Old Glory & The Wild Revival,’ released in 2015. »

JARED JAMES NICHOLS BLUESPOWER!

JHS

www.guitarinteractivemagazine.com

45

INTERVIEWS_JARED JAMES NICHOLS

Jared James Nichols Interview

46

Guitar Interactive Issue 61

JARED JAMES NICHOLS BLUESPOWER!

Jared returned with a brand new album ‘Black Magic’ late last year which is the follow up to ‘Old Glory & The Wild Revival.’ Featuring ten tracks recorded at The Boneyard in Boston as well as Johnny Depp’s home studio in Los Angeles and produced and cowritten by Tony Perry and Jared James Nichols, the album is Nicolds strongest yet and fully captures that incredible energy that emanates

End of Time Official Video by Jared james Nichols

from a Jared James Nichols live show. Jared James Nichols breaks down each song on his latest release, ‘Black Magic’ track by track. Last Chance “This opening track is a total barn burnin’ ass-kicker. I wanted to start the record with a BANG! It’s a massive riff, urgent and almost ‘falling off the rails’ frantic. It was important for me to set the bar high from the first song. We have started opening our live show with this one. Lean and mean all the way!” The Gun “This was the first song I wrote for this record. Originally, I was feeling a delta-blues acoustic style tune. For some reason, I couldn’t stop playing this song with distorted electric guitar and the full band. I love the way the slide riff, groove, and vocals interact. Lyrically it’s deep-rooted in the delta form. It’s my interpretation of »

www.guitarinteractivemagazine.com

47

INTERVIEWS_JARED JAMES NICHOLS

blues, for 2017.” Don’t Be Scared “This is hands down my favourite song to play live! The riff is so damn heavy and mean. Often times, I’ll bring a riff to the guys and we will just jam it out to see where it goes. This particular song came just from that. We sat in the room and riffed out for a few hours, the song basically wrote itself. Side note, it was fun to play a ‘talk-box’ on record for the first time EVER!” Honey Forgive Me “SO FUNKY!! We had a blast with this one. I’ve always loved the funkier STAX/ SOUL of the ’70’s. Growing up I was heavily influenced by Albert King, Booker T, and Steve Cropper. This one hits it home for me. I wanted to make sure to cover a ton of different ground on the record. It’s fun to explore many different musical avenues. My favourite female vocalist Jessica Childress added a ton of dimension for this tune with her backup vocals as well.” Home “It’s no secret that I’m a massive fan of southern rock. When I wrote this tune I was under the Lynyrd Skynyrd/ Allman Brothers spell! This one oozes the Americana vibe I grew up with and love so much. As with the rest of the record, it’s all about the simplicity, classic, and timeless vibe. Lyrically it’s about something we can all relate to, HOME. It’s one of the only special places on the planet we each carry near and dear to our heart.”

48

Guitar Interactive Issue 61

Got To Have You “This track started as a simple blues shuffle; my first true love. I grew up playing blues in Chicago and the Midwest. I always dig songs that use a common blues-shuffle formula, but present the form in a different light. This track really came to be when we got into the studio. Music always feels more real to me when there are no limits or borders. We just had fun with this one and let the tapes roll.” End Of Time “Originally, this one was written for a twopiece vibe of guitar and drums. When we recorded it, we tried to keep the simplicity at the forefront. It’s raw and direct. It’s about change, in people and in times. On a production side, it hits hard. Tony was able to push the limits on the gear, and you can hear it. We could even smell the tubes in the amplifiers burning from being pushed to the limit!!” Run “This one is an absolute slow burn. Lyrically it’s about getting caught up in a situation, and losing perspective of what’s real. It’s easy to lose sight of what’s important during the daily grind. It has a heavy Bad Company attitude and swagger to it.” Keep Your Light on Mama “This song was written to be played live! It’s all about the attitude. It’s raw, intense, »

JARED JAMES NICHOLS BLUESPOWER!

JHS

www.guitarinteractivemagazine.com

49

INTERVIEWS_JARED JAMES NICHOLS

and straight to the point. I wanted a ‘call and response’ type feel with this track. It’s almost like the vocal and main riff grooves bounce of each other. This is the blues/rock I know and love. It is deeply rooted in the ’70’s vein of Nazareth, Montrose, and Mountain.” What Love “This song turned out really special. Believe it or not, this is the ‘only take demo version’!! Tony had and old Gibson hollow body that had a low bass string. This allowed so you could play the rhythm groove and lead at the same time. I had an ‘idea’ for this kinda old school blues boogie/rhumba. I told Tony just to roll the tape and I would sing and play the idea down. It turned out so cool and vibey, that we actually kept it! We ended up adding drums and percussion later on. As with the whole record, it’s honest and real. We left in all the bumps and bruises, concerned more with the feel and fire, than being technically perfect.” END <<

r fo t ha w r te at m no e er th g in be t ou ab s “'’I’’t’ thosepeople that you care ab 50

Guitar Interactive Issue 61

JARED JAMES NICHOLS BLUESPOWER!

“BLAC S L O CH ES NI TING M A J D S JARE CK LI A R T C” MAGI

K

hance 1. Last C un 2. The G Scared Be 3. Don’t orgive Me yF 4. Hone e 5. Hom ave You H o T t o 6. G f Time 7. End O n Mama o 8. Run t h g i L Your 9. Keep t Love a h W . 0 1

For more information on Jared James Nichols, please visit: www.facebook.com/Jaredjamesnichols/

bout. .’’” www.guitarinteractivemagazine.com

51

GUITAR INTERACTIV

FEATU

WHA

52

Guitar Interactive Issue 61

VE 61

URES

AT YOU REALLY NEED TO KNOW

www.guitarinteractivemagazine.com

53

FEATURES_SEYMOUR DUNCAN

54

Guitar Interactive Issue 61

SEYMOUR DUNCAN PLEASE WELCOME BRAD PAISLEY

Seymour’s Studio Guitar Interactive Magazine is proud to welcome the legendary “toneologist,” Seymour Duncan to our pages for next installment in a series of exclusive videos from inside ‘Seymour’s Studio.’ In this edition, two great friends get together to talk guitars, favourite players of all time... and the Paisley Telecaster.

Seymour’s Studio: Please welcome Brad Paisley

F

or over 40 years, Seymour Duncan has been developing products to help musicians find their voice and get the most out of their instrument. However, before he became the pickup guru he is today, in the 1960s, Seymour was a young guitar player who was trying to find that specific and elusive tone for himself, and despite playing many different guitars and different amplifiers, he was unable to achieve it. That is until one fateful day when he loaned his guitar to a friend who got a string caught underneath the pickup and subsequently tore the connecting wire. Duncan decided to attempt to try and repair the damaged pickup, using an old record player and an extreme amount of patience to rewind the pickup back to life. With this repair he had a revelation: the tone that he had been searching for was in the pickups! The materials, winding pattern, magnets, wire and number of turns all worked together to produce something that could substantially change the tone of a guitar. »

www.guitarinteractivemagazine.com

55

FEATURES_SEYMOUR DUNCAN After spending years working in London and winding pickups for the likes of guitar icons, Jeff Beck, Jimi Hendrix and others, Seymour came to Santa Barbara, California and met Cathy Carter Duncan who fuelled the vision to create a place any tone-seeking musician could come to. Seymour Duncan was founded in 1976 in Santa Barbara, California with a shoe-string budget but a deep love for tone. Now over 40 years in business, Seymour Duncan’s commitment to musicians has not changed in the slightest. At the Seymour Duncan Custom Shop, everything is made

by hand with machine shop customfabricated parts. Each pickup is made just the way it was back in the old days. Thus, when you order a Custom Shop pickup, you are getting something truly one of a kind built for your instrument. Over the years Seymour Duncan has built everything from old PAF replicas to the world’s largest 158-pound pickup. If you can dream a tone in your head, then Seymour Duncan can create a pickup that will bring it to life. END <<

Seymour’s Studio Episode 5 - Please welcome Brad Paisley

For more information on Seymour Duncan products, please visit: seymourduncan.com

56

Guitar Interactive Issue 61

SEYMOUR DUNCAN PLEASE WELCOME BRAD PAISLEY

JHS

www.guitarinteractivemagazine.com

57

GUITAR INTERACTIV

TECH S

58

Guitar Interactive Issue 61

VE 61

SESSIONS PUTTING IT ALL TOGETHER

www.guitarinteractivemagazine.com

59

TECH SESSIONS_DEF LEPPARD

TAB & Backing Track PDF

BACKING TRACK

DOWNLOAD

60

Guitar Interactive Issue 61

BACKING TRACK

DEF LEPPARD TECH SESSION

TECH SESSION In this issue’s Guitar Interactive Tech Session, Jamie Humphries delves deep into the unique twin guitar style of one of the biggestselling rock bands of the 1980s, Def Leppard and explores the band’s distinctive approach to composing guitar riffs and lead lines.

www.guitarinteractivemagazine.com

61

TECH SESSIONS_DEF LEPPARD

H

ailing from Sheffield in England, Def Leppard was formed in 1977, with a group of young school friends looking to achieve more than a life working in the steel factories that provided most of the job opportunities for the local residents. Following a chance meeting between singer Joe Elliot and original guitarist Pete Willis, along with bassist Rick Savage and drummer Tony Kenning, and the addition of second guitarist Steve Clark, the band was formed. Def Leppard was about to start recording their first EP when Kenning left and although a stand-in drummer appeared

on the EP it wasn’t too long before 15-yearold Rick Allen joined the band. Def Leppard would become one of the driving forces in the “New Wave of British Heavy Metal movement, alone with the likes of Judas Priest and Iron Maiden. Def Leppard released their debut album ‘On Through The Night’ in 1980, and although this album scored high in the UK charts the British rock fans turned on them, accusing them of “selling out” and appealing to the American market.

Def Leppard Tech Session Performance

62

Guitar Interactive Issue 61

DEF LEPPARD TECH SESSION

“Although the band’s music has shifted in style during their long career their sound has stayed relatively consistent...”

Legendary producer Mutt Lange joined forces with the band for their second album ‘High and Dry’ and began to shape their polished and produced sound. The single “Bringing on the Heartbreak” was a heavily featured video on MTV. 1982 saw them once again team up with producer Mutt Lange for their third album ‘Pyromania.’ During this time, founder member/guitarist Pete Willis was fired from the band due to his excessive alcohol consumption during the sessions. Willis was replaced by ex “Girl” guitarist Phil Collen. ‘Pyromania’ was a breakthrough success for the band, and with such stand out tracks as “Photograph”, “Rock of Ages” and “Foolin” on heavy MTV rotation, Def Leppard quickly became a household name. They went from an opening act to a stadium filling headline act and with their new polished commercial rock sound ‘Pyromania’ was selling 100,000 copies a week, selling over ten million copies in the US.

The pressure was on during the start of work on their fourth album, ‘Hysteria,’ and with Mutt pulling out of the producer roll and Jim Steinman being enlisted, the album got off to a shaky start. It was during this period that drummer Rick Allen was involved in a near fatal car accident resulting in him loosing his left arm. With the support and encouragement of the band Allen went on to develop a unique approach to drumming, utilising a specially developed electronic drum kit, using his feet to replace what he would have performed with his left arm. Allen made a monumental return to the stage at the 1986 “Monsters of Rock” festival. Following a painstaking three years in the making “Hysteria” was released in 1987 and went on to sell a staggering 25 million copies, and spawned seven hit chart singles. The album’s huge sound was down to Mutt Lange’s attention to detail, and comprised of catching melodic radiofriendly pop/rock songs. Stand out tracks include “Animal”, “Pour Some Sugar On Me”, “Love Bites”, “Hysteria” and »

www.guitarinteractivemagazine.com

63

TECH SESSIONS_DEF LEPPARD

“Gods of War”. Mutt Lange’s goal with the album was to produce a hard rock version of Michael Jackson’s “Thriller”. Following the gruelling touring schedule of “Hysteria” the band went straight back into the studio to begin working on their follow up. The pressure was becoming too high for guitarist Steve Clark whose addictions were spiralling out of control. Clark was given a six-month break, but tragically never returned to the band due

to his untimely death due to prescription drugs and excessive alcohol. The band decided to continue as a fourpiece and entered into the studio to record their fifth studio album ‘Adrenalize’ with Collen performing both his own parts and Clark’s demoed parts. This album reached number #1 in the UK album charts, with the single “Let’s Get Rocked” becoming an instant hit, but the album failed to reproduce the suc-

Def Leppard Tech Session

64

Guitar Interactive Issue 61

DEF LEPPARD TECH SESSION

cess of its predecessor. Def Leppard began looking for a replacement guitarist following Clark’s passing, and settled on ex- Dio ex-Whitesnake guitarist Vivian Campbell, who made his debut at the Freddie Mercury tribute concert in 1992. Def Leppard like many suffered from changes in musical trends with their popularity waning during the 90s and saw the band experiment with several different styles from alternative to pop. 2015 saw them return to form with the release of their self-titled ‘Def Leppard’ album, with them embracing their old sound with a modern twist.

2018 saw Def Leppard receive and induction nomination to the Rock & Roll Hall of Fame. Def Leppard have overcome many hardships, and have continued to battle on through what would seem to many impossible situations. On top of this, they are without a doubt one of the biggest bands to come out of the UK, and have been responsible for some of the biggest rock hits in the past 30 years. Def Leppard’s polished and produced sound is legendary, and still revered to this day. The recording of ‘Hysteria’ was groundbreaking, with Mutt’s signature layered programmed drum sample sound, as well as the pioneering use of »

www.guitarinteractivemagazine.com

65

TECH SESSIONS_DEF LEPPARD samplers triggering drum loops and chopped vocal pads. The songwriting was textbook, with hook after hook, memorable melodies and infectious sing-along choruses. Songs like “Animal”, “Armageddon It” and “Pour Some Sugar on Me” are great examples of these anthemic songs. The guitars played an integral roll in the sound of the band, and pretty much changed how people approached rock riffs. Instead of the predictable power chords, Collen and Clark would orchestrate their guitar parts, often splitting chord voicings between the two guitars, as well as constructing complimentary lines that would form one huge riff. The guitars were immaculately recorded, and in some instances they would record chord at a time to get a ultra clean tight sound. Whilst Clark was known for his bottomless bag of riffs, his lead style was more rough and ready, while Collen executed more schooled and clean picking chops. For our Tech Session track I’ve looked at the classic ‘Hysteria’ period and the magical partner of Collen and Clark. I’ve used such tracks as “Run Riot”, “Animal”, “Gods of War” and “Love Bites” as my source of inspiration for my track. Bars 1-5 introduce our track with an eighth note chord arpeggio figure that outlines the accompanying chords. This figure is based in an idea heard in “Run Riot”, and makes use of a half time feel, which is a greet tool for adding impact

66

Guitar Interactive Issue 61

and variation with the main verse groove. This section should be performed with distorted driven tone. Bars 6-13 include the first half of our verse, which is based around a progression in the style of “Animal”. This section uses a clean compressed tone, and includes chord based melodic figure performed against a 1st string drone. Bars 14-21 features a new riff for the second half of the verse, and illustrates an example of how Collen and Clark would use a complimentary riff to outline the chord progression as opposed to performing straight power chords. For this section you should switch to an overdriven tone. Bars 22-31 introduce our chorus progression, which includes a melodic chord sequence that outlines the accompanying chords of D5, A5 and E5 with two string partial chords. This really adds width and texture to the progression, and a contrast to the accompanying rhythm guitar part. Bars 32-47 include out middle section, and here I have used “Love Bites” for inspiration in both feel, groove and harmony. For this section you should use a clean, compressed tone with plenty of chorus and delay fore that classic 80’s ballad feel. The progression includes the chords of Dm7, A majadd9, B7sus4, F#madd9 and G#m7, performed with sparse chord arpeggios. »

DEF LEPPARD TECH SESSION

www.guitarinteractivemagazine.com

67

TECH SESSIONS_DEF LEPPARD

Bars 48-51 See us switch to a distorted tone for a riff inspired by “Gods of War”. This riff makes use of a chord arpeggio figure that outlines the accented power chords of C#5, A5, B5 and E5. This figure attempts to show Steve Clarks unique angular riff composition and is a great example of the duos guitar orchestration. Bars 52-55 kick off our solo, and we are back to our verse progression. This section kicks off with a Phil Collen inspired melodic figure that makes great use of chord tones for a strong harmonic connection, as well as a pinched harmonic whammy bar dive.

68

Guitar Interactive Issue 61

Bars 56-58 includes a Steve Clark descending pedal tone figure, similar to a lick heard in “Armageddon It” which pedals off of the open 1st string. This figure concludes with some melodic double stops. Bars 59-60 conclude our solo with some Phil Collen pyrotechnics, and feature a fast sixteenth note triplet scalar picking line based around the A major scale using a three note per string figure. We conclude with a high register accented A5 chord.

DEF LEPPARD TECH SESSION

When it comes to tone Phil Collen has had a long association with Jackson guitars, but primarily used a 1978 Fender Strat named “Felix” fitted with DiMarzio pickups for the majority of “Hysteria”, Steve Clark used a mixture of Fender and Gibson guitars, but was most famous for using a three pickup Les Paul fitted with Floyd. Both guitarists uses a wide variety of amps including Marshall and Randall,

although much of ‘Hysteria’ was recorded with the Rockman and a Gallien-Kruger for feedback. For this session I used my custom built Mahogany body Music Man Axis Super Sport fitted with a DiMarzio Satch Track in the bridge and Injector single coil pickups in the middle and neck position. All the guitar tones were courtesy of the Line 6 Helix Native Plugin. END <<

www.guitarinteractivemagazine.com

69

GUITAR INTERACTIV

COMP

70

Guitar Interactive Issue 61

VE 61

PETITIONS YOUR CHANCES TO WIN

www.guitarinteractivemagazine.com

71

COMPETITION_YOUR CHANCE TO WIN!

WIN! A MOOER AUDIO EFFECTS PEDAL BUNDL

Thanks to our friends at stringsandthings, we have a fantastic free to Mooer Audio. Mooer pedals are some of the best in the world when we have a set of six plus a Mooer custom pedalboard/case up for gra The Mooer Audio Effects Pedal Bundle giveaway Courtesy of stringsandthings.co.uk contains: • • • • • • •

Mooer EchoVerb Digital Delay and Reverb Pedal Mooer Audio Mod Factory Multi-Effect Pedal Mooer Ensemble King Analogue Chorus Pedal Mooer Green Mile Overdrive Pedal Mooer Baby Tuner Mooer Firefly M6 Pedal Case Your choice of 1 Mooer Micro Preamp from series 1 through 15

Mooer micro preamps are sonically accurate digital recreations of the preamp sections of popular tube amplifiers. We have developed these by directly analysing real tube amplifiers using a brand new technology to capture their sound, dynamics and response. Each Micro Preamp comes complete with dual channels, integrated speaker cabinet simulation and dual operating modes to suit the needs of all users.

72

Guitar Interactive Issue 61

How do you w

How do you win? It’s All you have to do is to enter and compl the actions for additi entries. The more en you have, the better chance of winning come back daily an remember to share on social media accou

One lucky winner will and receive their prize

YOUR CHANCE TO WIN A MOOER AUDIO EFFECTS PEDAL BUNDLE - COURTESY OF STRINGSANDTHINGS.CO.UK

LE - COURTESY OF STRINGSANDTHINGS.CO.UK

o enter prize giveaway featuring some fantastic effects pedals from n it comes to incredible tones in micro and mini sized packages and abs.

win?

easy! click lete ional ntries your g, so nd n your unts.

be chosen at random once the competition closes e of the Mooer Audio Pedal Bundle.

ENTER

www.guitarinteractivemagazine.com

73

VIGIER

74

Guitar Interactive Issue 61

INHOUSE_DOWNLOADS

GI60 EDITION TABLATURE DOWNLOADS

TAB DOWNLOADS

TABLATURE DOWNLOADS FOR LESSONS Our TAB downloads are FREE for all subscribers in PDF Format. To get your hands on this month's notation tablature, subscribe or download now! Jamie Humphries – Def Leppard Tech Session

DOWNLOAD

Nick Jennison – Crosspicking & Hybrid Picking Workout

DOWNLOAD

Danny Gill – Pentatonic Sequences Part 3

DOWNLOAD

www.guitarinteractivemagazine.com

75

New releases, coming soon and our best sellers! From the classic metal riffs of Black Sabbath to the blues licks of BB King, from complete classic album courses to essential technique lessons, there is something here for everyone. Whether you’re a beginner looking for those vital pointers to get you on the way, or a seasoned pro in search of a heavy duty workout to keep your chops up to scratch, we’ve got the answer...

CA WHITESNAKE 1987

Note for note highlights of each song exploring the groundbreaking guitar work of ‘1987’

CA THE BLACK ALBUM

Learn the powerful riffs, and blistering solos of Metallica’s biggest selling album

CA JOSHUA TREE

Learn how The Edge uses multiple dynamic parts and effects to create the classic hits from U2’s fifth studio album

CA LED ZEPPELIN II

Learn Jimmy Page’s legendary guitar riffs from the track; “Whole Lotta Love” and “Heartbreaker,” to the iconic solo sections throughout this classic album

CA ARE YOU EXPERIENCED

An incredible debut that introduced the unique sound of Jimi Hendrix to the world and changed guitar playing forever

Get your DVDs here www.licklibrary.com/store 76

Guitar Interactive Issue 61

CA VAN HALEN Learn many of VH’s signature tracks including, “Runnin’ with the Devil,” “Ain’t Talkin’ ‘Bout Love” and Eddie Van Halen’s solo guitar masterpiece, “Eruption”

CA BACK IN BLACK Danny Gill takes you through the highlights of Angus Young’s scorching riffs and killer solos from AC/DC’s seventh album

CA PARANOID A must-have for Sabbath fans. For the first time ever, you can learn each song from this absolute all-time metal classic

CA NUMBER OF THE BEAST A heavy metal

LTP DAVID GILMOUR

Learn 5 Dave Gilmour songs including Mihalis, On an Island, 5 am, Raise my rent, Take a breath, Marooned

masterpiece including, “Children of the Damned,” “The Prisoner,” “Run to the Hills” and the album’s legendary title track

QL JOE SATRIANI VOL 2 More from one of the masters of the electric guitar

CA LED ZEPPELIN IV

Learn the tracks that cemented the band’s reputation as rock giants such as, “Black Dog,” “Rock and Roll” and the epic, “Stairway to heaven

CA APPETITE FOR DESTRUCTION Learn the

highlights of each track from Guns N’ Roses explosive debut album with LickLibrary veteran Danny Gill

CA DARK SIDE OF THE MOON Jamie Humphries walks

you through Gilmour’s classic riffs, searing solos, masterful bends and ambient sounds from this psychedelic rock masterpiece

Danny Gill walks you through the many highlights of each song from the rock music giants one phrase at a time

CA HOTEL CALIFORNIA

LTP BB KING Learn to play 5 classic tracks - Everyday I Have The Blues, Rock Me Baby, Sweet Sixteen, Three O’Clock Blues, The Thrill Is Gone

Learn the best from the heavy metal heavyweights

TOM QUAYLE SIGNATURE SESSION

STUART BULL BLUES LICKS VOL 1 Learn to play the

STUART BULL BLUES LICKS VOL 2 Part two in this

A brand new advanced course from Tom Quayle

blues using traditional and modern guitar techniques

JW RAMMSTEIN

exploration of blues guitar

For more info, please visit: www.licklibrary.com

www.guitarinteractivemagazine.com

77

GUITAR INTERACTIV

THE RE

78

Guitar Interactive Issue 61

VE 61

EVIEWS GUITARS, AMPS AND EFFECTS

www.guitarinteractivemagazine.com

79

REVIEWS_GUITAR REVIEW

Italia Rimini 12

Some guitars aim to do it all; workhorse axes that cover all the tonal bases that any gig migh specialists; highly evolved ergonomic shred machines designed for the ultimate in effortles there are guitars like the Italia Rimini 12 String. Here’s Nick Jennison to tell us more.

I

talia guitars are designed to inspire. Pure functionality takes a back seat to the kind of retro good looks that set guitar players’ hearts a-flutter. They demand to be picked up and played, and their quirks lead the player in directions that they’d otherwise never think to explore. At least, that was my experience when playing the Rimini 12.

The semi-hollow design is somewhat reminiscent of Rickenbacker’s 300 series guitars, but with Italia’s art deco-inspired styling cues and a headstock that’s somewhere between a 60s Silver-tone and a classical guitar. There are two Wilkinson mini humbuckers, but no pickup selector; rather, each pickup has its own volume »

Italia Rimini 12

80

Guitar Interactive Issue 61

ht require. Others are ss playability. Then

THE REVIEWS ITALIA RIMINI 12

STAR RATING PROS » Cooler-than-cool retro styling » Rich and robust 12 string tones

CONS » Quirky design choices won’t be to everyone’s taste.

v Check THE SPEC Italia Rimini 12 MSRP (UK) £729 (US) $999 // Chambered Amercian Alder body w/Ash Back // Hardrock Maple Neck // Rosewood Fretboard // 12 String Trapeze Tailpiece // Wilkinson WMH Mini Humbuckers For more information, please visit: jhs.co.uk

www.guitarinteractivemagazine.com

81

REVIEWS_GUITAR REVIEW control with a master tone control, all mounted on a very ‘50s plastic control plate. It’s an unusual choice, but it looks really cool and forces the player out of the usual tonal choices of “bridge pickup on full; neck pickup on full; both pickups on full’.

considering one (or you’re just looking for something to take your playing in a different direction) this guitar is just the ticket. END <<

Speaking of tone, the overall quality of this guitar is rich and airy, but without being excessively bright or jangly. The chambered alder and ash construction no doubt contributes to this, as does the warmth and balance the mini humbuckers provide. This means the guitar holds up well under heavy distortion and fuzz - an area where many electric 12 strings come unstuck. It works wonderfully as a riff machine, and 12-string configuration provides a dimension and texture that beats out any octave pedal. Once you get past the sheer misery that is tuning a 12 string, you’ll be pleased to know the Rimini 12 holds it’s tuning very well, with great intonation on both low and high strings right across the fretboard. The 6 tuners on the treble side might prove to be a pain when it comes time to change strings, but it’s a tradeoff worth making for the unique look of the headstock. The Italia Rimini 12 String is a great looking and very inspiring instrument. 12 strings won’t be to everyone’s tastes, but if you’re

“The Italia Rimini 12 String is a great looking and very inspiring instrument...” 82

Guitar Interactive Issue 61

THE REVIEWS ITALIA MARANELLO CLASSIC MKII

Ernie Ball

www.guitarinteractivemagazine.com

83

REVIEWS_AMP REVIEW

PRS J-MOD 100 John Mayer Signatu

Intimately designed by Paul Reed Smith, Doug Sewell, and John Mayer, the PRS J-MOD 100 a featuring a switchable gain stage and effects loop. Conceived not only to handle Mayer’s live move seamlessly into the recording studio and have an equally expressive musical experie

J

ohn Mayer is a man who knows tone. His live and studio rigs are the stuff of dreams, and the cost of recreating them will have you waking up in a cold sweat. Don’t believe us? Go look up the price of a Bricasti M7 reverb unit, and consider that John uses two of these in his rack. That Strymon Big Sky doesn’t seem so pricey any more, huh? Basically, John only uses the best of the best, so if a piece of gear bears his signature then you know it’s going to be a serious piece of kit. Originally released at the 2017 NAMM show, the J-Mod is exactly the kind of no

84

Guitar Interactive Issue 61

compromise, money-no-object tone machine that you’d expect from John Mayer and PRS. Designed in close collaboration between Mayer, Paul Reed Smith and amp guru Doug Sewell, the J-Mod boasts “the purest and most expressive musical experience” - and oh man does it deliver. It’s a single channel design with a switchable overdrive stage and effects loop; not quite as simple as it gets, but it’s pretty close. The preamp section totes a traditional three-band EQ, “volume” (think “gain”) and bright switch, with separate “volume” (again, think “gain”) and output controls for the overdrive

THE REVIEWS PRS J-MOD 100 JOHN MAYER SIGNATURE AMP HEAD

ure Amp Head

STAR RATING

amplifier is a seriously high-end single channel amp e work with his own band and Dead & Company but to also ence. Here is Nick Jennison with the full rundown.

PROS » Incredible response, openness and punch

stage and a master presence and master volume. Plugging in, the tone is incredibly upfront and immediate, but with a throaty warmth that’s more Dumble than Fender. If you’re familiar with the Two Rock sound (John’s previous amp brand of choice) then you’ll know what I mean, although the J-Mod is richer in the mids with a little less top end sparkle. There’s a percussive quality that’s quite remarkable, with a fat transient thump that’s almost three dimensional. This kind of attack can very quickly become harsh and fatiguing if the high end isn’t in check, but the J-Mod gets it just right. With the overdrive, stage disengaged there’s still a fair amount of fur available, but switching the overdrive on

takes the amp into a world of singing sustain. While there’s a lot of saturation available, it’s definitely not a modern sound - or for that matter, a tight Marshall style gain. It’s more like a blownup tweed deluxe, with a fat compression and more than a hint of fuzzy grit. With the overdrive engaged, the tone stack and the first and second volumes become highly interactive. The tone controls are before the overdrive stage, so they allow you to drive more or less of each frequency range into the distortion. Keep the bass and first volume low with the treble and second volume high and you’ll get a lot of snap and vibrant sparkle. Reverse these settings and the amp will become almost comically fat, with a character that’s reminiscent of a great germanium fuzz. »

» Highly interactive tone and volume controls » First class build quality

CONS » The footswitch jack, and the price

v Check THE SPEC PRS J-MOD 100 John Mayer Signature Amp Head MSRP (UK) £6495 (US) $5990 // 100 Watts // Channels SingleChannel with Switchable Gain Stage and Effects Loop // Dimensions: 26” x 10” x 10” // Weight 39.8 lbs For more information, please visit: prsguitars.com

www.guitarinteractivemagazine.com

85

REVIEWS_AMP REVIEW

Round the back, you’ll find a series effects loop with send and return levels for interfacing with pedals or pro-level rack gear like the aforementioned Bricasti M7, the usual quota of speaker outs and a very handy set of bias adjustment points. There’s also a din connector for the proprietary PRS footswitch. I’d much rather see a regular TRS connector here to make interfacing with a modern loop switcher easier, but this is a pretty small gripe.

but if you’ve got the funds (and you can find one!) the J-Mod is about as good as it gets. END <<

Reissued in strictly limited quantities for 2018, the J-Mod is a truly remarkable amp with an eye-watering price to match. It’s going to be out of the reach for most players,

PRS J-MOD 100 John Mayer Signature Amp Head

86

Guitar Interactive Issue 61

New for 2018

THE REVIEWS PRS J-MOD 100 JOHN MAYER SIGNATURE AMP HEAD

The Fluence Open Core Classic Humbuckers Featuring a new “Voice 3”, Single Coil, that replicates the glassy punch of a great single coil pickup.

Video Here

Fishman

www.guitarinteractivemagazine.com

87

REVIEWS_AMP REVIEW

Laney Lionheart L20T 112

This issue, Sam Bell takes a look at Laney’s single-ended, Class ‘A’ all-tube combo: the Lionh designed and engineered with pride in Great Britain) the emphasis is on creating clear, crisp surely no exception.

U

K based company Laney has been providing the world and guitar community with quality and affordable tube amps for many years. Having been behind Tony Iommi’s legendary thunderous tone since the early days of Black Sabbath. Laney has gone on to support some of the world’s most notable touring artists providing them with a plethora of awesome

88

Guitar Interactive Issue 61

British tone. Today we’re going to look into a combo from their Lionheart series of amps. The Lionheart series are perhaps their most versatile series of amps, this amp range covers everything from Blues, Hard Rock to Smooth Jazz! Just taking a look at their website and seeing how many diverse artists are using the Lionheart range is a testament

THE REVIEWS LANEY LIONHEART L20T 112

STAR RATING

heart L20T-112. As with all of Laney’s range, (that are p, dynamic guitar tones, and this 20-watt powerhouse is

PROS » Classic Class A British tone » Versatile

itself. Before we get started its worth noting that all the Lionheart Combo amps feature the classic blue Tolex finish which I personally feel looks very classy, a folding tilt back stand under the unit and FX Loop. Today we’re going to take a look at the L20T – 112 combo. First of all this amp and its brothers and sisters are all built with the objective of getting sustain, dynamics and tone from the power amp section. It’s more about getting a nice warm headroom than getting pre-amp distortion, although you can push this amp with all kinds of pedals to get an incredible response. Perhaps one of the reasons the Lionheart range is popular with touring acts is that it takes pedals exceptionally well. The L20T features a 1x12 Celestion G12H 70th Anniversary Speaker, its bigger brother (L20T 212 features the G12H and a V30. However the size of this speaker enclosure, I feel the G12H is a much more balanced choice, providing a bit more weight and warmth behind the 1x12 tone. However, despite its size, this is quite a hefty speaker and does provide a lot of weight to the combo. This being said, the tone speaks for itself!

» Classy looks » Great value for money » Solid construction

CONS » A really heavy combo

v Check THE SPEC Laney Lionheart L20T 112 MSRP (UK) £949 (US) $TBC// 20 watts // 2 Channels // Class A // Weight: 21.5kg // For more information, please visit: laney.co.uk

This 20-watt combo packs a hell of a punch, more than enough to play with a band and cut through. The power stage is provided by 4 x EL84 power amp tubes and 3 x 12AX7 preamp tubes which help out with the drive channel in particular. This amp sings when »

www.guitarinteractivemagazine.com

89

REVIEWS_AMP REVIEW

pushed on the clean channel, giving a natural compression and grit to the clean tone. When pushed on the drive channel we can go from a glassy crunch all the way through to a percussive and snarling drive sound perfect for hard rock and blues. The EQ for these two channels is shared and can be further articulated with the use of the Bright switch which accents the amps treble frequencies if desired. This can be further shaped by the amps tone control which works just like a presence control shaping the high end further. The amp is very articulate and dynamic in how it responds to your playing technique, which makes it a dream to play through! The slightest change of pick angle

comes through clear as day with this amp. In summary, I’d say for the regularly gigging musician this is a great choice, and for the price point incredible value for money if you’re looking for ‘the real thing’ in terms of tube amp tone and quality. My only issue is that it is particularly heavy, but none of the classic combos that history has given us have been light. And I feel that there isn’t one thing that this amp has that isn’t needed, so it’s worth the heaviness for the awesome tone, response, value, feel and quality. Go out and get one now! END <<

Laney Lionheart L20T 112

90

Guitar Interactive Issue 61

TAKE CONTROL

THE REVIEWS PRS SONZERA 20

INTRODUCING H9 CONTROL NOW ON ANDROID

With H9 Control, you can manage parameters, presets and settings with an easy to use interface. Get instant access to over 500 presets that push the boundaries of delay, Eventide reverb, pitch shifting, modulation, distortion and more. Learn more at eventideaudio.com/h9control

Eventide is a registered trademark of Eventide Inc. ©2018 Eventide Inc.

www.guitarinteractivemagazine.com

91

REVIEWS_AMP REVIEW

DV Micro 50 Ciro Manna Signature Neoclassic 212

Sam Bell returns to the pages of Guitar Interactive Magazine with another exclusive review innovative and continually compact products from the DV MARK brand in the form of the D Neoclassic 212 Cabinet.

D

V Mark originally found fame within the bass world, providing lightweight, portable amps and speakers that didn’t compromise on tone or quality. Thank goodness the Italian based company also caters for us Guitar players. With a roster of professional session guitarists, artists and virtuosos alike, DV Mark has an artist roster filled with the likes of Greg Howe, Frank Gambale, Eric Gales, DV Neoclassic 212 Cab

92

Guitar Interactive Issue 61

Stanley Jordan and Lari Basilio. And in this reviews case, we’re reviewing the Italian virtuoso Ciro Manna’s Micro 50 Signature Head. Before we get stuck in, let’s take a look at the cab. DV Neoclassic 212 Cab We’ll be running the head through one of DV Mark’s super lightweight 2x12 cabs which in the video portion of this review

THE REVIEWS DV MICRO 50 CIRO MANNA SIGNATURE HEAD AND DV NEOCLASSIC 212

Head and DV

STAR RATING

w, as he gives us the lowdown on two more of the DV Micro 50 Ciro Manna Signature Head and DV

“In use, the Solid Studio produces a fantastic array of tones...” has been miced up in the isolation room in the studio with an SM57 and a Condenser 414 mic. This combination proves to not only be super lightweight (with the cab coming in at 12,4 kg!) but it sounds super smooth and articulate. This cab can be used with full powered amp heads made by other brands as well of course. It’s also very slim in size, part of the reason of this huge size and weight cut is the DV Mark made ‘Neo Classic’ speakers which feature very lightweight and small drivers, yet they still deliver a warm, punchy and articulate tone. In fact, a few days after shooting this review, I had the pleasure of seeing Greg Howe live in London and he was using the 4x12 version of this cab in a medium-sized venue and his tone was everything you’d expect it to be, great sounding units! A thin scrawny guy like me can lift the 212 cab above my head with relative ease. The cab alone in this review is well worth checking out for the regularly gigging musician who is all too familiar and tired of the painful load in and load out routine that comes with doing shows and having heavy gear! »

PROS » Great Tone and versatile to most playing situations » Super light weight » Small compact size

CONS » None

v

Check THE SPEC DV Micro 50 Ciro Manna Signature Head MSRP (UK) £279 (US) $TBC // Two Channels: (clean / lead) // Dimensions: 6.4 x 20 x 22.1 cm // Weight: 1.9 kg For more information, please visit: www.dvmark.it

www.guitarinteractivemagazine.com

93

REVIEWS_AMP REVIEW

DV Micro 50 Ciro Manna Signature Head It’s worth being aware that it’s based on the DV Mark Micro 50 which is pretty much the same but with some different details. Ciro Manna’s head features the standard two channels of the regular Micro 50, channel one is a clean channel that is very articulate and warm, whilst the lead channel is a smooth, dynamic overdrive sound with plenty of sustain. These two channels are shaped with their own EQ sections and topped off nicely with a lush reverb. The amp also has an AUX in, FX loop, stereo speaker

Boss Katana Head Version 2 Upgrade

DV Mark Raw Dawg Eric Gales Signature Head

94

Guitar Interactive Issue 61

THE REVIEWS DV MICRO 50 CIRO MANNA SIGNATURE HEAD AND DV NEOCLASSIC 212

STAR RATING PROS » Lightest 2x12 I’ve ever seen » Powerful response

CONS » Side handles would be a plus

v

“The Pre-Amp section may be small, but it doesn’t seem to affect the overall dynamics...” out with a minimum 4 ohms load, headphone out and footswitch option. The power stage is 50 watts at 8 ohms and 60 watts at 4 ohms, the amp features a single 6205 » preamp tube and a Mark Proprietary Technology power amp. The Pre-Amp section may be small, but it doesn’t seem to affect the overall dynamics and sustain in terms of how the amp feels, this is further accented by the Mark Proprietary Technology Power amp, which allows these articulations to come through the speaker »

Check THE SPEC DV Neoclassic 212 MSRP (UK) £479 (US) $TBC // DV Mark custom-made speakers // 8 Ohm (mono) or 2x 16 Ohm (stereo) // Dimensions: 70.5 x 46.5 x 27 cm // Weight: 12.4 kg For more information, please visit: www.dvmark.it

www.guitarinteractivemagazine.com

95

REVIEWS_AMP REVIEW

“Everything here is designed for comfort and practicality for the gigging musician...” even more so. The original Micro 50 has the option of having an XLR out so you can record silently or send it to a desk without speaker emulation. This is something the Ciro Manna signature head doesn’t feature. The amp responds flatteringly to different styles of playing, it’s very satisfying to play through and the EQ responds in a pleasing manner.

96

Guitar Interactive Issue 61

One thing in particular that I like about the DV Mark brand is that it’s very much plug in and play, there is no messing about, you’re able to get a decent sound right into the head. Everything here is designed for comfort and practicality for the gigging musician. END <<

THE REVIEWS LANEY IRONHEART IRT30-112

PRS

www.guitarinteractivemagazine.com

97

REVIEWS_PEDAL REVIEW

Ibanez Tube Screamer TS808DX

For over 30 years the Ibanez TS808 Tube Screamer has been one of the most popular overd celebrated guitarists for it’s warm, creamy tone and unequivocal responsiveness. Now Iban TS808DX. Sam Bell takes a closer look at this green machine.

T

he Ibanez Tubescreamer is a staple Drive pedal, used on countless pedal boards through the decades, its signature sound can be heard in many diverse genres of music. Ibanez has released many variations on the Tubescreamer, many companies have copied but haven’t got quite as close as the original TS808. This pedal is famous for its smooth and percussive overdrive with singing sustain. Many players use it to simply boost a crunchy or clean amp or provide their drive sound in its entirety. To give an idea of its diversity the Tubescreamer has become a signature sound of blues players like Stevie Ray Vaughn all the way to Progressive Metal musicians like Fredrik Thordendal from Meshuggah.

98

Guitar Interactive Issue 61

THE REVIEWS IBANEZ TUBE SCREAMER TS808DX

STAR RATING

rdrive pedals in the world, cherished by rock’s most nez has expanded the palette of this classic with the

PROS » Classic TS808 Tone

In this issue I have the pleasure of checking out the TS808DX, this is based on the analogue circuit of the classic TS808, however, we have a boost option that can be set either pre Tubescreamer or post tube screamer with the simple flick of a switch. The main section of the pedal is the TS808 itself, with a drive, tone and level control. Drive controlling the drive and saturation, Tone controlling the pedals Midrange and Level controls the volume of the effect. The volume, when used with low drive settings, can be used as a boost in some cases, however, we have the option of a dedicated Boost control. The boost is controllable via 4th control knob when set to pre, the boost pushes the guitar signal harder into the Tubescreamer section of the pedal giving you, even more,

sustain and drive. When set to Post, the boost works after the tubescreamer and gives more of a clean transparent volume boost to the Tubescreamer sound. The boost can also be engaged when the Tubescreamer section of the pedal isn’t engaged, giving a pure clean boost which satisfying by itself. The pedal can be powered via 9-volt battery, or you can power the unit with either a 9-volt or 18-volt adapter, 18 volt increases the dynamics and headroom of the pedal. For the review, I used the battery that comes with the pedal and it still sounded excellent. The design and build of the pedal is incredibly sturdy with classic tubescreamer writing adorning the front of the pedal, it’s very simple in design and that’s partly what makes it so good. »

» Versatile boost function » Great quality build/looks » Power options

CONS » A little pricey

v Check THE SPEC Ibanez Tube Screamer TS808DX MSRP (UK) £229 (US) $357 // Overdrive and Booster in one box // True Bypass // 9volt / 18volt // For more information, please visit: ibanez.com

www.guitarinteractivemagazine.com

99

REVIEWS_PEDAL REVIEW As I have mentioned the Tubescreamer sound is famous for its dynamic, smooth sounding overdrive, quite present in the mid-range frequencies that can be tailored via the interactive tone control. The pedal famously does have a certain colour to its sound however with most tube amps it only adds a certain richness and sustain that only Tubescreamers can. As you can hear in sections of the video demo, I was able to get ample sustain without any grittiness or supersaturated harshness, it was incredibly inspiring and flattering to play through.

This pedal suits many different genera’s as I have already stated, I’d say that Tubescreamers are a staple and a must for most pedalboards in contemporary music settings. The TS808DX is an incredibly versatile pedal, especially with the added boost function and the different power options. I’d highly recommend this particular pedal to any guitarist, especially for its price point, quality and tone. END <<

Ibanez Tube Screamer TS808DX

100

Guitar Interactive Issue 61

THE REVIEWS IBANEZ TUBE SCREAMER TS808DX

Rotosound

www.guitarinteractivemagazine.com

101

REVIEWS_PREAMP REVIEW

Mooer UK Gold PLX Micro Pre Amp Micro Pre Amp

Mooer has just announced the latest two additions to their ever-expanding range of dual-ch some classic rock royalty and the BLUENO offering up the finest in American boutique. Nic range reaches its incredible 19th and 20th release.

M

ooer’s ever-expanding range of Micro Preamp pedals features just about every kind of amp under the sun. There are high gain metal monsters like the Diezel-inspired “Gas Station”, vintage classics like the AC30-derived “Day Tripper” and high-end boutique gems like the “Two Stone” - no prizes for guessing that last one. Aside from puns of the absolute highest quality, the Micro Preamp pedals offer some very serious functionality for their diminutive size. Each sports two channels, three band EQ, gain and volume controls. The single footswitch can be used to activate or bypass the pedal, or it can be used to toggle between channels. There’s a defeatable cab sim, so you can either plug into your favourite amp or go direct for probably the most compact gigging/recording solution out there. There’s even an internal memory that recalls your settings controls for each channel. Seriously impressive for such tiny and affordable units.

102

Guitar Interactive Issue 61

We took a look at the latest two pedals in the range, the “UK Gold PLX” and the “Blueno”. #19: UK Gold PLX Based on Tracii Guns’s personal 1967 50watt Plexi, the UK Gold PLX is full of that classic sag and saturation that we love so much about cranked vintage Marshalls. The blue channel is ostensibly a clean channel and has loads of snap and sparkle. Plexi clean sounds really don’t get the love they deserve, this pedal offers a great recreation of this very underrated tone. The red channel is thick and saturated, with a ton of 80s-approved grind and a sagging low-end thump that feels just right. There’s a great deal more gain available than I’d expect to find in a straight Plexi recreation. Whether the amp this pedal is based on has been modded at some point, or the extra gain is simply a design choice to make the pedal more flexible, the extra range is certainly welcome. »

THE REVIEWS MOOER UK GOLD PLX MICRO PRE AMP & MOOER BLUENO MICRO PRE AMP

p & Mooer BLUENO

hannel micro preamp pedals with the UK Gold PLX serving ck Jennison puts these pocket-sized preamps to the test, as

STAR RATING PROS » Two superb sounding preamp pedals » Unbelievably feature-packed for such simple units

“The extra range is certainly welcome...”

» Built-in Cab Sim for going directly to the PA or straight into your audio interface.

CONS » No complaints from me

v

#19: UK Gold PLX

Check THE SPEC Mooer UK Gold PLX Micro Pre Amp & Mooer BLUENO Micro Pre Amp MSRP (UK) £TBC (US) $99 Each // 9V DC // Dimensions: 93.5mm x 42mm x 52mm // Weight:160g // For more information, please visit: mooeraudio.co.uk

www.guitarinteractivemagazine.com

103

REVIEWS_PREAMP REVIEW

#20: Blueno Sporting possibly the most tenuous play-onwords title in the entire range, the “Blueno” is modelled on a Bruno Underground 30 - an unbelievably rare and expensive custommade amp made. While I’ve never had the pleasure of playing an Underground 30, the “Blueno” offers up all the sweet cleans and fat overdrive the original boasts.

The clean voiced blue channel has a great throaty midrange that’s reminiscent of Dumble style cleans. It’s a lot more compressed than the spanky clean found on the UK Gold PLX, and this fatter delivery is ideal for bluesy lead work. Flipping over to the red channel, the distorted voice is seriously fat sounding, boasting complex harmonics and a thick transient response perfect for soaring vocal leads.

#20: Blueno

104

Guitar Interactive Issue 61

THE REVIEWS MOOER UK GOLD PLX MICRO PRE AMP & MOOER BLUENO MICRO PRE AMP

Mooer UK Gold PLX Micro Pre Amp & Mooer BLUENO Micro Pre Amp

These two new pedals from Mooer are great-sounding additions to an already very impressive range of preamps. Rockers are going to love the UK Gold PLX, while blues players (particularly those with more sophisticated leanings) will be right at home with the Blueno. They also represent probably the most compact gigging and recording solution on the market.

So, whether you need to travel light for a fly gig, need a backup in case your amp goes down, or you just want a few extra tones on your palette, you owe it to yourself to check out Mooer’s Pre-amp pedals. END <<

www.guitarinteractivemagazine.com

105

REVIEWS_PEDAL REVIEW

Source Audio Ventris Dual Reverb

When Source Audio burst onto the scene with their Nemesis delay, the guitar community q on the horizon. Phil Short reviews the brands latest release, in the shape of the Ventris Dua

B

oasting not just one, but two independent 56bit processors, the Ventris is a two-in-one reverb powerhouse. The pedal itself is small and lightweight, taking up much less real- estate than it’s established competition. Source audio has been very clever with the design of this pedal. Physically, it works just like any other stompbox, with simple controls that will allow you to adjust and create a whole range of instantly musical reverb patches just by turning a few controls. But under the hood are a whole host of powerful features that allow ultimate control. Rather than these features being inside multiple menus in the pedal, requiring a screen and additional knobs to control parameters (and therefore a bigger unit), Source Audio has kept the size down by putting all of that functionality into their mobile and desktop apps. The pedal includes a cable that plugs directly into the headphone jack of your phone, allowing you to customise everything from the spillover time, the tone, the dry/wet mix, to assigning the optional foot switch multiple functions across different patches and allowing you to create up to 128 presets that can be recalled via a midi controller,

106

Guitar Interactive Issue 61

all in an instant. They even have a 2-hour instructional video on their website going indepth to every reverb type and functionality of the pedal so you can learn to get the most out the unit. It has a true analogue dry through signal, meaning the pedal feels ‘invisible’ to the guitar signal when playing, no unwanted compression or colouring of the original dry tone, even when a preset is engaged, giving you your true tone with the ventures merely adding some extra goodness to your core sound. One of our favourite features is the ability to control the spillover time. Most pedals will allow you to spillover from one preset to another, say a large ambient hall reverb changing to a spring reverb. Spillover allows a smooth transition so that no tails are abruptly cut off. An amazing feature in the Ventris is the ability to control the spillover tail exactly. One could have a huge, ambient reverb with a very long decay, but then reduce that decay specifically for the spillover when changing preset so as not to muddy up the sound into the next section of a song. Think of it as pre-programmed live mixing! An extremely useful feature. »

THE REVIEWS SOURCE AUDIO VENTRIS DUAL REVERB

STAR RATING

quickly took notice that a new great pedal manufacturer was al Reverb.

PROS

“The pedal includes a cable that plugs directly into the headphone jack of your phone...”

» High functionality with quality tones » Easy to use » Small footprint

CONS » No spillover on combined reverb patches

v Check THE SPEC Source Audio Ventris Dual Reverb MSRP (UK) £399 (US) $399// Includes 9v DC power supply (400mA / Negative Tip) // Dimensions: 11.4cm x 11.4cm x 5.1cm // Weight: 0.45 kg // For more information, please visit: www.sourceaudio.net

www.guitarinteractivemagazine.com

107

REVIEWS_PEDAL REVIEW

Source Audio Ventris Dual Reverb

All the reverbs feel and sound organic and realistic, whilst the more futuristic reverbs are simply stunning, allowing you to create otherworldly textures and tones. Due to the fact we have two reverb engines, we can also combine two reverb types together for even more customisation, resulting in some mesmerising ambient sounds. The only downside with this feature is that spillover is not possible from a combined patch to a new patch. If you just want to use that one

108

Guitar Interactive Issue 61

sound, trails are still available when you turn the pedal off, giving you a natural decay, so this is only a minor consideration. We feel the quality of the tone more than makes up for it. In short, a phenomenal reverb pedal that is easy to use, with incredible functionality and seriously jaw-dropping tones. END <<

THE REVIEWS SOURCE AUDIO VENTRIS DUAL REVERB

Don’t wait any longer....

SUBSCRIBE FOR FREE! go to www.guitarinteractivemagazine.com/subscribe and sign up today! www.guitarinteractivemagazine.com

109

GUITAR INTERACTIV

STUDIO T PLAY

110

Guitar Interactive Issue 61

VE 61

TO STAGE IT - RECORD IT - PERFORM IT

www.guitarinteractivemagazine.com

111

STUDIO TO STAGE_ EARPLUGS REVIEW

Vibes High-Fidelity Earplu

With custom earplugs potentially in the region of hundreds of pounds, the can be a little too steep for many. However, with a growing rate of hearing i music fans alike, Vibes High-Fidelity Earplugs may very well be the afforda for. Nick Jennison tells us more.

L

et’s get one thing straight right away. If you’re a musician and you don’t protect your ears, what on earth are you thinking? Our ears are our single most valuable asset, and we only get one set. Once they’re damaged there’s nothing that can be done to repair them. Seriously: wear protection. The most common excuse I come across for not wearing ear protection is that “it just doesn’t sound the same”. If you’ve ever used a pair of your typical yellow foam earplugs, you’ll know exactly what I mean. All the top end detail vanishes, and it sounds like being underwater. Custom moulded earplugs with specialist filters are a lot better, but they’re expensive to buy and require you to have moulds taken of your ears. Alternatively, there are a number of significantly cheaper “off the shelf ” designs that make use of the kind of filters found in custom

112

Guitar Interactive Issue 61

mould designs, and while the sound quality these plugs offer can be very good indeed. The trade-off is comfort, as the majority of these universal fit earplugs use a “Christmas tree” design that can be irritating and uncomfortable during extended use. Vibes High-Fidelity Earplugs offer all the benefits of filterfilter-based designs, but their round rubberised tips are significantly more comfortable than typical universal fit designs. I was perfectly happy wearing them to sleep during long drives on a recent run with the band (don’t worry, I wasn’t driving), and the variety of sizes meant I could find the perfect fit right out of the box, despite having two different sized ear canals - one large and one medium did the trick.

STUDIO TO STAGE VIBES HIGH-FIDELITY EARPLUGS

ugs

STAR RATING

e price of ear protection for gigging musicians issues occurring in young musicians and live able answer that so many have been hoping

PROS » Great sound quality » Comfortable fit » Very affordable

CONS » The case can be a little fiddly

v Check THE SPEC Vibes High-Fidelity Earplugs MSRP $249 // Product Dimensions: 2.2 x 1.2 x 1.2 cm // Weight: 4.54g //

 

For more information, please visit: discovervibes.com

www.guitarinteractivemagazine.com

113

STUDIO TO STAGE_ EARPLUGS REVIEW

In terms of sound, Vibes ear protection are as good as anything I’ve tried, including some custom designs. Vocals remain clear and intelligible, while it’s easy to hear the detail on cymbals, snares and guitars alike. I’m very impressed with Vibes High-Fidelity Earplugs. If you’re not currently using quality ear-plugs, or you’re dissatisfied with the fit or sound quality of your current pair, they could be exactly what you’re looking for. END <<

Vibes High-Fidelity Earplugs

114

Guitar Interactive Issue 61

STUDIO TO STAGE VIBES HIGH-FIDELITY EARPLUGS

The Choice of Today’s Creative Generation.™ Image features RØDE NT1 - Studio Condenser Microphone

Exclusively distributed in the UK and Ireland by Source • T: 020 8962 5080 • W: sourcedistribution.co.uk/rode

www.guitarinteractivemagazine.com

115

STUDIO TO STAGE_WIRELESS MICROPHONE REVIEW

Xvive XU3 Wireless System

Billed as providing a simple and straight-forward solution to the problems crophone systems, the Xvive U3 Microphone Wireless System offers a com ety of problematic scenarios encountered by live entertainers and sound insight into this latest product from Xvive.v

I

hate cables. Genuinely, there’s nothing worse than cables onstage. They take forever to unwind and plug in, they unravel in your bag and cause mayhem, and once you’ve got them all set up you trip over them. The problem with wireless microphones is that they’re expensive, bulky, require just as much setup (or more, with all the wall-warts and antennae) and you can’t change the “microphone” part without considerable expense and inconvenience.

116

Guitar Interactive Issue 61

The U3 from XVive basically solves all of these issues by being essentially an XLR cable without the “cable” part. It’s two tiny little units that look like the ends of an XLR. One end goes in your mic, the other goes in your mixer/stagebox and that’s it. No power adaptors (thanks to the internal batteries), no antennae, nothing. It’s about as simple as it gets. The units operate in the licensefree 2.4gHz range, and there are 12 available channels. Press the lone button on each unit until they’re on the same channel and you’re good to go. The “microphone end” transmitter has a switch for line or mic level operation, and that’s about »

STUDIO TO STAGE XVIVE XU3 WIRELESS SYSTEM

m

STAR RATING

s of using a traditional wired and wireless mimpact, flexible and reliable solution to a varid crew. Here is Nick Jennison to offer some

PROS » Wireless convenience with any mic or device » Totally transparent sound » Rock solid performance

CONS » Price range could be out of reach for many » If you forget to charge it, you’re stuck

v Check THE SPEC Xvive XU3 Wireless System MSRP £249 // 2.4GHz band // Less than 5ms Latency // 5 hours of battery life // 24-bit / 48kbps Audio

 

For more information, please visit: www.jhs.co.uk/xvivemicrophone-wireless-systemblack

www.guitarinteractivemagazine.com

117

STUDIO TO STAGE_WIRELESS MICROPHONE REVIEW

it. Simple, effective and idiot-proof. It’s compatible with any XLR device too, so you can connect (for example) a Helix, AX8 or similar without the pain of running long cables - after all, the convenience is a big part of why you bought such a unit, right? In terms of performance, the U3 is absolutely faultless. Compared to an XLR cable, and the U3 was identical in every regard. The sound was indistinguishable from a cable, there was no additional noise, and

Xvive XU3 Wireless System

118

Guitar Interactive Issue 61

STUDIO TO STAGE XVIVE XU3 WIRELESS SYSTEM

the dynamic range is very much intact. Also, we found it very hard to “upset” the unit - even resorting to waving an iPhone with the personal hotspot engaged around the transmitter in an effort to throw the U3 off its game. It was totally fine, with no interference, dropouts or noise.

The U3 is a very intuitive, compact and great sounding solution for anyone who, like me, finds cables a total pain in the neck. It’s tiny, comparatively inexpensive and totally idiot-proof. Be sure to check one out! END <<

www.guitarinteractivemagazine.com

119

STUDIO TO STAGE_ EARPLUGS REVIEW

Floyd Rose FR-36BK Blueto

Continuing on from our look at Floyd Rose’s FR-18 Wood headphones in th Daniel Le Gresley continues his review of the Floyd Rose headphone ran Headphones and the FR-360 Pro Series Wireless Sport Earbuds.

T

ake a ride on any London Underground train in 2018 and you’ll see lots of people walking around with their Beats, Skull Candy or Bose hardware, invisibly connected to their phones via the alchemy of Bluetooth. The Floyd Rose FR-36BK fit into this new marketplace with ease. From within the premium, quality packaging appears a familiar clamshell black case. Its reinforced fabric and plastic composition are secured with a heavy duty zip. Manufacturers have come a long way in the presentation department and if the packaging is anything to go by these Floyd Rose FR-36KB’s seem to be placed in the mid-priced but premium sector. Pulling on the zip reveals the FR-36’s nestled inside the clam, a small netted compartment at the top holds the charging cable and a mono lead for wired use. The instruction is clear and simple and the addition of the NFC interfacing option offers welcome connection simplicity. In the hand, the headphones feel surprisingly light. There are lots of nice

120

Guitar Interactive Issue 61

details, the ear cups are hinged to allow for compact storage and there is a pleasantly reassuring snap when pulled into position. As you would expect there is a nice combination of premium plastics, fabric and metal. However, at this price point, the operation buttons feel cheap, the haptics is too soft for my taste. Apart from that small detail, the build quality is solid. Holding down the main button for 2 seconds powers up the headphones and with a simple tap of my phone, the Bluetooth connection options appear. To wear, the headphones feel very comfortable and the lightness that I had questioned earlier now makes more sense. You could use these for the commute and for long journeys with ease. Now for the real test, how do they sound? Like their build quality, they sound solid, there is enough bass for my taste and even though they are not noise cancelling, they feel loud and bright with little distortion even at full volume. »

STUDIO TO STAGE FLOYD ROSE FR-36BK BLUETOOTH HEADPHONES

ooth Headphones

he last issue of Guitar Interactive Magazine, nge with the Floyd Rose FR-36BK Bluetooth

STAR RATING PROS » Build quality » Fantastic audio clarity

CONS » Buttons feel a little cheap Floyd Rose FR-36BK Bluetooth Headphones MSRP £129 // Driver unit: 40mm // Bluetooth Version: 4.0 // Music Play Time: 14 Hours Weight: 425g //

Floyd Rose FR-36BK

STAR RATING PROS » Audio and Comfort

CONS » No carry case, considering the price point. Floyd Rose FR-360 Pro Series Wireless Sport Earbuds MSRP (UK) £? (US) $? // Bluetooth Frequency band: 2.402GHz-2.480GHz // Charging Time: 1.5 hours // Playback Time: 4-6 hours // For more information, please visit: www.jhs.co.uk

www.guitarinteractivemagazine.com

121

STUDIO TO STAGE_ EARPLUGS REVIEW

Floyd Rose opted for a 40 mm driver which offers a comfortable low-end response but may feel a little light for some genres. The FR-36’s are billed as Pro series but the studio is not their natural home. I gave the cans to a producer friend of mine and he could detect some fizzing between 6-8K and too much low frequency between 300 - 600k. I suspect, however, that these headphones are not intended for this environment.

Ultimately the Floyd Rose FR-36K’s are a very solid pair of headphones. I lived with them for over a week and had no issues with Bluetooth, the battery life is good, I was using them all day with no issues. The sound will be perfect for most and the build quality and styling is appealing to the eye and touch. Floyd rose are in a very crowded sector but if you are in the market for mid-priced premium headphone they’re worth a look. »

Floyd Rose FR-36BK Bluetooth Headphones

122

Guitar Interactive Issue 61

STUDIO TO STAGE FLOYD ROSE FR-36BK BLUETOOTH HEADPHONES

www.guitarinteractivemagazine.com

123

STUDIO TO STAGE_ EARPLUGS REVIEW

Floyd Rose FR-360 Pro Series Wireless Sport Earbuds The next edition to the Floyd Rose family of headphones is the FR-360 Pro Series. Where the FK36BK are pitched to the commuter market these in-ear buds are meant to temp the active amongst us. As manufacturers increasingly remove the headphone socket from devices, having a compact and robust set of sports headphones is important. If you’ve ever made the mistake of taking your Beats Studios Mk1 to the gym you’ll know that it makes for an uncomfortable experience!

124

Guitar Interactive Issue 61

Floyd Rose FR-360 Pro SeriesWireless Sport Earbuds

STUDIO TO STAGE FLOYD ROSE FR-36BK BLUETOOTH HEADPHONES

The FR-360’s are both sweat and water resistant, have a tangle-free cord and offer around 5 hours of battery life. The premium packing continues, with a more vibrant and youthful feel. Open up the book fold case and the first thing you’ll notice is the addition of a 1800mAh power bank, which is a very smart move given the limited battery life of these style of headphones. The credit card sized power bank will easily fit in your pocket and gives welcome peace of mind. Bluetooth connection is simple and the FR-360’s are very comfortable in operation. The design of the saddles has clearly been thought through. They sit around the ears ergonomically and even when in the midst of a full gym session there is little movement and rub-

bing. The buds themselves sit in the ear well and the additional ear tips offer all consumers some customisation. The sound is crisp and clear, there is minimal distortion at high volume and there is a surprising amount of bass. When I A/B tested against my traditional apple headphones I could hear a clear difference in quality. The FR360’s are an excellent addition to the lineup, offering great audio in a compact, lightweight and comfortable form. They are not for the audiophile, some of the highs feel a little harsh at times but for day to day sports activity comfort is just as important and you easily forget you are wearing them. END <<

www.guitarinteractivemagazine.com

125

STUDIO TO STAGE_CABLE MANAGEMENT REVIEW

PedalSnake

Looking for the perfect solution to that mess of cables you call an effect se your street. Here’s Nick Jennison with the full review.

T

hose of you familiar with my personal gear will know that my pedalboard is pretty enormous. It’s also unreasonably heavy, and a big part of that weight is all of the “non-pedal” stuff - specifically the three bulky Voodoo Lab power supplies slung under the board and the seven 30ft cables that run back and forth from my amp. Yes, seven seems like a lot, but I’m running some effects in front of the amp, others in the loop, yet another to feed my IEMs, one MIDI cable and two TRS cables to switch channels on my amp. If I were running in stereo or

wet/ for r havi

PedalSnake

126

Guitar Interactive Issue 61

It’s a betw leng can vario

STUDIO TO STAGE PEDALSNAKE

STAR RATING

et up? PedalSnake may very well be right up

PROS » Carries signal, switching or power lines between your pedals and amp » Clean, tidy and lightweight » Incredibly versatile

CONS » Nothing

v Check THE SPEC PedalSnake MSRP From £59 // For full specifications, please visit:

/dry, it’d be even more. So when the Pedalsnake came in review, my first response was anger - anger at myself for not ing found out about it sooner.

a single cable with multiple interchangeable ends that runs ween your pedalboard and your amp. Available in two gths (18 and 24 feet) with either four or seven ends, and it be configured in a whole variety of different ways using the ous connectors Pedalsnake offer. »

https://www.madisonandfifth. co.uk/brands/pedalsnake-fx-tobackline-cabling/ For more information, please visit: www.pedalsnake.com

www.guitarinteractivemagazine.com

127

STUDIO TO STAGE_CABLE MANAGEMENT REVIEW

“asically, you can connect just about any configuration of pedals and amps using a single Pedalsnake...”

128

Guitar Interactive Issue 61

STUDIO TO STAGE PEDALSNAKE

Any end can be either: - A single guitar jack - A pair of guitar jacks (for effects send and return) - A TRS jack (for amp switching) - A MIDI cable - A single or dual power line. Basically, you can connect just about any configuration of pedals and amps using a single Pedalsnake, but what’s even more interesting is that it can carry power to your pedals. You can have your wall wart at the back of the stage by the amp. Even more impressively, it can carry the 24v required to power a whole chain of Strymon Ojai PSUs - making for huge

current supply to your 9v, 12v and 18v pedals without needing a power outlet next to your pedals. All this without a trace of power noise. I wish I could tell you how the Pedalsnake sounds, but there’s really nothing to report here. It sounds completely transparent and noise-free, with no change to the guitar’s core tone. Pedalsnake is one of those products that’s a total no-brainer for me. It costs about the same as amassing the equivalent number of high-quality cables, but it’s so much lighter, tidier and more versatile. Expect to see one on my personal board very soon! END <<

www.guitarinteractivemagazine.com

129

GUITAR INTERACTIV

THE QU

W

130

Guitar Interactive Issue 61

VE 61

UIET ROOM

WHEN ONLY ACOUSTIC WILL DO

www.guitarinteractivemagazine.com

131

THE QUIETROOM_GUITAR REVIEW

Takamine GN90CE Targeted for players seeking a well-balanced guitar with great performance features and refined looks, Takamine’s GN90CE could very well be the ultimate in versatility and sound quality without having to break the bank. Here’s Phil Short with the details.

T

akamine has a rich heritage in the world of acoustic instruments, with over 40 years of guitar building experience, there is no doubt that they are one of the leading manufactures in acoustic guitar design and innovation.

132

Guitar Interactive Issue 61

Offering a wide range of products, Takamine has something to offer for every budget, whether you’re just starting out or looking for a robust, professional instrument. In this issue, we’re checking out the GN90CEZC, an affordable, quality acoustic guitar. »

THE QUIET ROOM TAKAMINE GN90CE

STAR RATING PROS » Great playability » Excellent build quality » Reasonably priced

CONS » Tonally a little limited when compared with Takamine’s much more expensive models

v Check THE SPEC Takamine GN90CE MSRP (UK) £549 (US) $985 // Spruce top // Mahogany neck // TK-40D Preamp // Built-in tuner // For more information, please visit: takamine.com

www.guitarinteractivemagazine.com

133

THE QUIETROOM_GUITAR REVIEW Featuring a solid Spruce top, ziricote back and sides, a mahogany neck, a laurel fingerboard, gold vintage style open gear tuners, abalone inlays and rosette and Takamine’s very own TP4TD electronics, this model boasts an ample amount of features and quality tonewoods as well as a free, quality gig bag. First impressions are extremely positive. The body has a high gloss finish, whilst the neck sports a satin finish, giving a smooth, stickyfree feel. The body and neck are bound with gorgeous flamed maple, giving the guitar a beautiful look. The attention to detail is ex-

tremely pleasing, with the inclusion of strap nuts both on the underside of the neck joint as well as at the base of the body. A small, but important detail often missed by many other manufacturers. The playability is really where the guitar starts to shine through. The neck profile is slim for an acoustic and very comfortable, not feeling cumbersome at all. Many acoustics typically sport a bigger neck profile and higher action than many electric guitar players are used to, making the transition for first time acoustic feel rather laboured. »

Takamine GN90CE

134

Guitar Interactive Issue 61

THE QUIET ROOM FENDER CALIFORNIA SERIES REDONDO CLASSIC IN HOT ROD RED METALLIC

GS

www.guitarinteractivemagazine.com

135

THE QUIETROOM_GUITAR REVIEW

136

Guitar Interactive Issue 61

THE QUIET ROOM TAKAMINE GN90CE

“Overall, this is an excellent offering from Takamine...” Plugging the guitar in, the simple 3-band EQ had a surprisingly natural quality to it, with very tweak-able controls that gave us a wide range of tonal control to achieve our desired sound. Acoustically, the guitar has a vibrant sound, that will cut through well in any mix mic’d up. It could benefit from more bottom end for solo work. This is likely caused by the lower than usual action, so there is a trade-off between sound and ease of playability, but nothing that can’t be fixed by adding a little extra bass from the instruments EQ when plugging in. The laurel fingerboard was nicely finished, and pleasing to the eye. An alternative to the now protected rosewood, it has very similar tonal qualities. A wood that we are likely to be seeing more and more in the future. Takamine has managed to create a neck that is slimmer, whilst maintaining a sturdy feel, with a much lower action than most acoustics would have, making it a dream to play. Barre chords are effortless, and we had no problems running around the neck for single note work.

Overall, this is an excellent offering from Takamine, boasting excellent value for money, tone and playability. END <<

www.guitarinteractivemagazine.com

137

THE QUIETROOM_GUITAR REVIEW

Taylor 314ce V-Class Electro Acous

Nick Jennison reviews the latest instrument designed and developed by master guit Powers, in the form of the Taylor 314ce V-Class. Featuring Taylor’s V-Class bracing that’s ate more resonance for greater volume and even better intonation all across the neck, to be true? Let’s find out.

W

e guitarists are a conservative bunch. When companies make sweeping changes to long-standing, cherished product ranges, we (as a community) generally don’t take it well. Think back to Gibson’s 2015 range, with the brass nuts, holograms and robotic tuners. So when legendary guitar builders Taylor announced all of their

US-made guitars would be offered with their award-winning V-Class bracing, it was a bold move, to say the least. Currently, it’s primarily Taylor’s Grand Auditorium models that feature the V-Class bracing, but they’ll be rolling it out across all their USmade guitars in coming months, and »

Taylor 314ce V-Class Electro Acoustic Guitar

138

Guitar Interactive Issue 61

stic Guitar

ar visionary Andy s claimed to gener, but is it too good

THE QUIET ROOM TAYLOR 314CE V-CLASS ELECTRO ACOUSTIC GUITAR

STAR RATING PROS » Taylor’s exceptional new V-Class bracing at a competitive price point » Superb projection and sustain

CONS » Nothing

v Check THE SPEC Taylor 314ce V-Class Electro Acoustic Guitar MSRP (UK) £2219 (US) $1999 // V-Class Bracing // Sapele Back and Sides // Spruce Top // Ebony Fretboard // Mahogany Neck For more information, please visit: taylorguitars.com

www.guitarinteractivemagazine.com

139

THE QUIETROOM_GUITAR REVIEW

140

Guitar Interactive Issue 61

THE QUIET ROOM TAYLOR 314CE V-CLASS ELECTRO ACOUSTIC GUITAR

the 314CE is currently the most affordable model that features this feature. It’s also the most affordable Grand Auditorium guitar in Taylor’s range to feature all solid wood construction. If you’re unfamiliar with how bracing works, it’s essentially responsible for the way a guitar’s top vibrates. Looser bracing makes for better projection but comes at the expense of sustain. Tighter bracing has the opposite effect, with long sustain but less volume. It’s a trade-off that the V-Class bracing addresses in a very clever way. It keeps the middle portion of the top (around the bridge and soundhole) very rigid to allow the strings to sustain, while the outer edges of the top are very loose and mobile - allowing for lots of volume on both treble and bass sides. The result is pretty profound. There’s more treble, more bass, more midrange, more sustain… more everything. Single notes ring with electric-like sustain, and the additional

volume and projection encourage a much more dynamic playing approach. It’s very rewarding. Another unintended consequence of the VClass bracing is greatly improved intonation. The guitar is notorious for its poor intonation when compared to other instruments, so anything that can help this is very welcome, and the new 314CE really excels in this area. Complex chords ring out with clarity and consonance, and notes are in tune all the way across the neck. Taylor’s 314CE offers the kind of innovation that was previously only available on their super high-end guitars, but on a much more affordable model. Throw in Taylor’s superb expression pickup system and a deluxe hard case as standard and you have a very enticing prospect. END <<

www.guitarinteractivemagazine.com

141

THE QUIETROOM_NICK JENNISON

TABLATURE DOWNLOADS PDF DOWNLOAD

142

Guitar Interactive Issue 61

THETHE QUIET QUIET ROOM ROOM CROSSPICKING THE FOUR CHORDS & HYBRID OF PICKING THE APOCALYPSE WORKOUT

Crosspicking & Hybrid Picking Workout Nick Jennison is back one again with his latest exclusive column for Guitar Interactive Magazine’s Quietroom.

I

f you’ve ever tried Flatpicking on an acoustic guitar (as opposed to thumb pick or fingerstyle playing), you’ll no doubt have encountered the biggest challenge of plectrum playing: rapid string crosses. On a single string it’s easy to blaze away with mandolin-like tremolo, but when it comes to the kind of intricate arpeggios and runs that typify styles like bluegrass, you really need to have a solid strategy in place for those tricky string crosses. In this article, I’m going to propose two solutions. “Crosspicking” - from a purely technical perspective - can be thought of simply as “alternate picking where every pick stroke escapes the plane of the strings”. Some players can get this sort of picking going purely by feel, but for the rest of us, it takes a little more planning. In the video that accompanies this article, you’ll find some pretty exhaustive technical analysis, but the crux of it is: »

SPONSORED BY

www.guitarinteractivemagazine.com

143

THE QUIETROOM_NICK JENNISON

-

Play using strictly alternating down and up strokes

-

Aim for a pick path that follows a shallow curve, rather than a steep “V”

-

Use alternating muscle groups to execute each stroke.

Crosspicking & Hybrid Picking Workout

144

Guitar Interactive Issue 61

THE QUIET ROOM CROSSPICKING & HYBRID PICKING WORKOUT

On that final point, you may try a combination of forearm rotation and wrist extension, or a forearm and finger blend, or even a purely wrist-based movement. Don’t be afraid to experiment and find what feels best - there’s really no single “correct” way to execute this kin fo picking movement. “Hybrid Picking”, by contrast, is a fancy way of describing “a combination of plectrum and fingers”. With this kind of playing, the plectrum does the job of the thumb in fingerstyle, with the middle, ring and pinky fingers picking up the slack. How many fingers you incorporate into your technique is entirely up to you - some players only use their middle and ring, while Gordon Giltrap notably only really uses his plectrum and pinky (to great effect!). My take is that the more fingers you’re able to use, the better, but your mileage may vary. A handy technical tip for developing your hybrid picking is to employ something similar to a “rest stroke”. This boils down to resting your pick (or finger) on the

string you’re about to play before plucking it. This eliminates the possibility that you might miss the string, and over time you’ll become so quick at this that the rest will be all but undetectable. The workout I’ve put together for this lesson is an effective way to work on both of these techniques in a musical context. Make sure you try both variations, or you may find yourself with a “lopsided” technique that works great in some directions and not others. Also, it’s important to stress that crosspicking and hybrid picking are not mutually exclusive, and to be a fully rounded player you really need to have both in your arsenal! With that said, it’s time to get stuck in with the workout. Use a metronome, take your time and focus on tone quality and timing over speed. Most importantly, have fun! END <<

SPONSORED BY

www.guitarinteractivemagazine.com

145

GUITAR INTERACTIV

THE BA

146

Guitar Interactive Issue 61

VE 61

ASSMENT THE PLACE FOR BASS

www.guitarinteractivemagazine.com

147

THE BASSMENT_GUITAR REVIEW

Fret-King Esprit Bass

Dan Veall casts an eye over another exceptional release from British axe-makers Fret-Kin late nineties, the Esprit was the first guitar and bass design in decades to revive the stepped made to the Esprit, this design feature was phased out, but now the stepped front is back a

T

his issue, we are looking at another fine Trevor Wilkinson bass creation from the FretKing brand. The Fret-King Esprit comes from their Black Label range which I understand has been created to “prove that it’s possible to create guitars that are totally acceptable as a ... working tool … yet affordable to all..” The full quote can be seen at the Fret-King website. A large familiar shaped headstock with four elephant ear style Wilkinson tuning keys set this instrument off with the Fret-King logo front and centre. It’s a straight headstock so we have the usual tree fixed between the D & G strings providing that necessary nut break angle. The nut is 42.5mm width, neatly cut to a playable height. We have a 22 fret Rosewood fingerboard fixed to a Maple bolt on neck which has a smooth satin finish along it’s length. The carve is akin to a P bass I feel; it’s a C neck shape that feels comfortable in hand.

148

Guitar Interactive Issue 61

Flying in the face of “convention” is this rather cool off-set body. It has a certain nod to classic basses that we are all more than familiar with, but at the same time a bit different. Inventive yet somehow familiar? It doesn’t stop there as the Alder body features a stepped ‘two tier’ body. Maybe a nod to those classic American cars of yesteryear after all eh? The steel bridge is a Wilkinson model (with brass saddles) as is the Wilkinson Platinum Series WJM pickup. It’s at this juncture we talk about the sound of this bass! Unplugged the Esprit is clear if a little toppy, almost begging to be ‘dug in’ to for a bit of fret rasp and some Squire or Entwistle action! Plugging in though is a warming experience. The large dual-coil passive pickup with all controls maxed sounds full, bright and zingy with a good amount of bottom end. Oh, and it’s a high output model! The bass has a wide range of tones available from some simple controls too. We have a master volume

and a usual passi you might expec that, some clever inclusion of Fret This introduces for the bass. Som passive wiring al pickup coils givi using the third k the knob from z on’ bridge side c joined by the ne the point at whic be sudden and v dial meaning tha didn’t seem to do a change of pote improve matters dropping an acti some sort.

The bass has an – I can definitely cranked up plug of a big valve am one minor niggl body shape: It’s t on your knee – o headstock heavy

THE BASSMENT FRET-KING ESPRIT BASS

STAR RATING

ng, in the shape of the Esprit. First introduced in the d body front, popularised in the ‘60s. As changes were and looking better than ever.

ive tone control as ct; In addition to r configuration in the t-King’s ‘vari-coil’. another tonal option me intriguing onboard llows the control of the ing a constant sweep knob. By progressing zero to ten, the ‘always coil is, or appears to be eck side coil. I did find ch they mix 50/50 to very close to zero on the at the rest if the dial o a great deal. I suspect entiometer value would s or the possibility of ive mix pot in there of

air of coolness about it y see it being slung low, gged into the front end mp. Nice! I do have le with the ‘bird-esque the balance when sat or rather lack of. It is a y bass that does tend »

PROS » A feast for the eyes and ears. » All ‘full-on’ settings sound enormous

CONS » Neck heavy » Limited effect of Vari-Coil on this example.

v Check THE SPEC Fret-King Esprit Bass MSRP (UK) £629 (US) $TBC // Two-Piece American Alder Body // Medium Jumbo Frets //Maple Neck // Fret-King Platinum Series WJM Pickup For more information, please visit: jhs.co.uk

www.guitarinteractivemagazine.com

149

THE BASSMENT_GUITAR REVIEW

Fret-King Esprit Bass

150

Guitar Interactive Issue 61

THE BASSMENT FRET-KING ESPRIT BASS

to plummet a bit if you take your hands off it. I seemed to get around the problem in the video by resting my arm on the top of that rear upward pointing body horn. This forced me in to a strange playing position that really affected my picking hand. I played it safe with some very simple and at times random noodling to demonstrate the tones of the instrument instead. I think that the balance will be better stood up with a strap so not a big issue if you spend more time in that position. Worth mentioning if this fine instrument is on your shopping list though. Could be a deal breaker for some. Don’t be dismayed though.

Rounding up, a good bass with a strong loud voice with tons of visual character. A simple control set on board that can dish up a wide range of tones. A large headstock and offset centre of balance mean it will neck dive sitting down, so take this into consideration when looking to purchase. The overall set up on this bass wasn’t too bad, but the action could have come down just a tad as I felt I was fighting this example. END <<

www.guitarinteractivemagazine.com

151

THE BASSMENT_AMP REVIEW

Tech 21 - VT Bass 200

Formulated with the same proprietary technology as our Tech 21’s VT Bass SansAmp Cha a 200-Watt, 1x12 bass combo amp, with an all-analog SansAmp pre-amp and Class D power this latest addition to Tech 21’s “VT” family.

A

s I have a said before in reviews, Tech 21 is arguably best known for their SansAmp ‘Amp In A Box’ simulator pedals, but of course the product range over the years has expanded to effects and utility pedals as well as a whole range of bass amplification too, as proven in our last couple of issues of the magazine.

152

Guitar Interactive Issue 61

THE BASSMENT TECH 21 - VT BASS 200

STAR RATING

aracter Series line, the VT Bass 200 is r amp. Dan Veall takes a closer look at

PROS » Tech 21 do amplifier emulation in the analogue domain rather well.

Tech 21 is more than capable of “bringing the volume” with some high powered amplifiers and cabinets. We head to the other end of the SPL meter today however as have a look at what I feel is a superb compact amplifier that easily finds it’s place in writing, recording and jamming sessions as well as the stage, in the shape of Tech 21’s VT Bass 200 Combo. Weighing in at just 12Kg (28lbs), It’s easy to wonder if such a lightweight package can create the depth of tone needed for the gigging musician. Well, let me tell you it certainly can. The VT Bass 200 is built on the same technology that brought us the VT Bass Sansamp Character pedals. My previous nod to those amp in a box device is very much a positive one. Tech 21 blazed that original trail back in 1989 with what we now know as the Sansamp Classic. So Andrew Barta and his company know a little bit about creating big tones in small boxes! Inside the well built ported wooden cabinet, we have a 12” cast frame woofer rated at 200W / 8 Ohms paired up with a Tweeter for high-end clarity. It is hooked up directly to the VTB’s 200W RMS Class D amplifier. Incidentally, you can plug in an external cabinet rated at a minimum of 8 Ohms for further expansion.

» Lots of ‘familiar’ tonal options. » Light

CONS » 200W may suggest “not loud enough” You’ll want to test this one out.

v Check THE SPEC Tech 21 - VT Bass 200 MSRP (UK) £499 (US) $695 // Measures: 17.5”w x 17.5”h x 14”d // Weight: 28 lbs. // 12” custom-design speaker For more information, please visit: tech21nyc.com

Let’s head to the other end of the signal path though and take a look at some of the rather useful controls we have on board.

“

www.guitarinteractivemagazine.com

153

THE BASSMENT_AMP REVIEW

On the face of it, VTB 200 looks pretty straightforward, but don’t be fooled. It’s not a run-of-the-mill guitar shop beater. A top facing control panel is fine for having this unit down on the floor or stood on another cabinet. I even placed a Tech 21 pedal on top of it for another review and I found it helpful having everything in the same place, all neat and ready to go. Straight in via the 1/4” input the signal immediately has the option of being padded back to keep your tone ultra clean or leaving the pad disengaged for when it comes to winding up the drive control. I immediately

liked the bite button. For passive basses, I enjoyed the additional top end, but I think there’s something else going on in the gain structure too as my P bass gained, more ‘bite’ rather than just adding top end in the usual “bright” manner. In conjunction with the aforementioned drive control, just these two parameters easily lead me from low-fi to raw grit. (Some judicial tweaking on the tone control on my bass proved very useful). I will at this point hold my hands up and say that I had a few too many rattles on my Fender bass. Hopefully, that won’t upset your enjoyment of the review. The Precision is 42 years old bless it...

Tech 21 - VT Bass 200

154

Guitar Interactive Issue 61

THE BASSMENT TECH 21 - VT BASS 200

Let’s move on! With… Character! Actually difficult to describe in detail without using a number of words that would make this review far too long, so I will paraphrase the manual slightly! Always a good place to start. The Character knob and it’s related ‘Shift’ button dramatically changes the voice of the amplifier affecting attack and drive as well as modifying the frequency response. Again, the manual offers a wide range of Ampeg amplifier and artist inspired sounds. Everything from “FlipTop” to “Tool” to “Modern Metal”. There’s something for everyone. Now I am fussy when it comes to sounds. Too many a manual I have pulled a face at when a demo’ sound has been described. Well, Tech 21, this all analogue amplifier does a great job of dealing up some juicy bass end with grit without sounding like an angry wasp trapped in a crisp packet. I’ll let you just imagine that for a moment… A three band active equaliser that is capable of a substantial amount of cut and boost is included for your further flavouring. I found that cutting away the lows too much will lose a huge amount of weight in your bass sound, but at the same time, I didn’t feel I really needed to advance too far past 12 o’clock to hit a sweet spot tonally in our studio.

Whatever you are using the VT Bass 200 for, you should have plenty of connectivity options. An Auxiliary input for your external music players and drum machines, whatever - and an earphones socket for when you are finally told to “keep it down.” Around the back of the combo, we aren’t let down here either. Tech 21 Sansamps are universally known for emulating the sound of a mic’d up speaker cabinet as well as the characteristics of an amplifier. The VT Bass 200 does away with the need to mic up the combo. The Direct Injection (DI) Output has speaker cabinet emulation enabled by default. (We did, of course, mic up in our review because I wanted you to hear both the combo speaker and the DI output) No modern amplifier, unless very small, seems to be without an Effects Loop these days. The VT Bass 200 will similarly have you hooking up all manner of outboard to help you get creative. Finally, in the same area of the rear panel, a tweeter switch. Super useful if you are running lots of high gain distortion and you want to only use the woofer for your sound. Tweeters, no matter how good they are, can sometimes sound a bit brittle when pushed hard with distortion bare in mind, so adjust to taste. END <<

www.guitarinteractivemagazine.com

155

GUITAR INTERACTIV

THE CO

YO

156

Guitar Interactive Issue 61

VE 61

OLUMNS

OUR FREE GUITAR UNIVERSITY

www.guitarinteractivemagazine.com

157

COLUMNS_NICK JENNISON

Sponsored by Eventide

158

Guitar Interactive Issue 61

COLUMNS NICK JENNISON EVENTIDE H9 MASTER CLASS

NICK JENNISON

H9

MASTER CLASS SERIES

Nick Jennison continues his series of exclusive lessons featuring one of the most flexible high-performance guitar effects units of all time, the Eventide H9 Multi-Effects Processor.

One Pedal to Rule Them All! The Eventide H9

A

complete pedalboard in one stompbox, the H9 Harmonizer® effects pedal is full of Eventide’s iconic reverb, chorus, delay, modulation, pitch-shifting and distortion effects. With the H9, you can evoke the sonic landscape of legendary albums and open the doors to the creation of new sounds never heard before. Faithfully recreate the iconic sounds used by top artists, engineers and producers such as Steve Vai, Jimmy Page, Frank Zappa, Eddie Van Halen, Richard Devine, Suzanne Ciani and many more.

The award-winning design of the H9 features a simple, one-knob user interface which allows easy effect editing and preset selection. Two onboard footswitches let you change presets, tap tempo, and bypass with your feet during live performance. The H9 offers studio-quality sound, stereo I/O and full MIDI compatibility. With the free H9 Control app, you can purchase additional algorithms, create set lists, edit and manage presets wirelessly via Bluetooth or USB. The app is available for iOS, Android, Mac and PC.

www.guitarinteractivemagazine.com

159

COLUMNS_NICK JENNISON

Features The H9 can run all of the effect algorithms from our TimeFactor (delay), ModFactor (modulation), PitchFactor (pitch shifting), and Space (reverb) pedals, as well as some, created just for the H9.

True analogue bypass

Fast accurate tuner included

Real-time MIDI control

Expression pedal and AUX footswitch input

Power supply included

Sync to the beat with tap tempo or MIDI

MIDI via DIN and USB

Eventide H9 Delay Subdivisions

160

Guitar Interactive Issue 61

COLUMNS NICK JENNISON EVENTIDE H9 MASTER CLASS

H9 Control The H9 Control app provides remote control access for all Eventide effects pedals. With H9 Control, you can manage parameters, presets and settings with an easy to use interface. Get instant access to over 500 presets that push the boundaries of delay, reverb, pitch-shifting, modulation, distortion and more. H9 Control is available on Android, iOS, Mac and PC. For more information, please visit: https://www.eventideaudio.com/products/stompboxes/multi-effect-processor/h9

www.guitarinteractivemagazine.com

161

COLUMNS_NICK JENNISON

Eventide H9 Subtle Effects

162

Guitar Interactive Issue 61

COLUMNS NICK JENNISON EVENTIDE H9 LESSONS

For more information, please visit: https://www.eventideaudio.com/ products/stompboxes/multi-effect-processor/h9

www.guitarinteractivemagazine.com

163

COLUMNS_CHRIS BUCK

164

Guitar Interactive Issue 61

COLUMNS CHRIS BUCK’S ROCK & SOUL

PLAYING WITH – Part 2

REPETITION Having shared the stage with rock music icons such as Slash and Ritchie Blackmore, Chris Buck is one of the most exciting young guitar players on the music scene today. With his band Buck & Evans’ debut album set for release in 2018, Guitar Interactive Magazine is proud to welcome Chris’ brand new column exploring the world of modern rock and blues guitar playing.

I

ronically enough, this month’s column is about the same subject as my previous GI column - repetition! So, if you find me repeating myself here, at least you’ll know it’s a finely-tuned sense of irony and not having run out of things to say…! For the most part, repetition is something that guitar players seem to avoid consciously. “If you’re starting to repeat yourself, you’ve said everything you have to say”. While this may undoubtedly be true in certain contexts or scenarios, it still eludes me why guitar players don’t use repetition as a mechanism to make their playing more memorable and ultimately, easier on themselves. It may be a cliché at this point but you honestly can say more by saying less. Listen to any great musician known for their melodic or improvisational prowess (Blackmore to Beethoven…) and it’ll soon become evident how heavily they rely on repeated phrases, whether verbatim or just loosely. Melodic or rhythmic repetition creates a sense of familiarity that consciously or not, makes listening to it a more pleasurable experience. As I’ve mentioned Ritchie Blackmore, let’s take a look possibly his greatest known work - Smoke on the Water. The 3 notes that kickstart the solo at the 3-minute mark reappear almost instantaneously at the start of the second phrase before the rundown. It’d be incredibly easy to go all GCSE music at this point and overanalyse his note »

www.guitarinteractivemagazine.com

165

COLUMNS_CHRIS BUCK

choice until it ceases to become listenable or fun, but put simply - using those same three notes to introduce two different sections creates a sense of familiarity and dynamism. It leads the listener into the next section with an anticipation to hear what will follow. There’s another near-perfect example from 3:31 to 3:35 - five notes that differ only in the note that Ritchie ‘lands’ on. It’s immensely simple, yet this is the part of the solo that I always look forward to most - the release to the tension that’s been built. It’s a classical music ‘trick’ that is used every day in popular music, whether it’s on BBC Radio 1 or Planet Rock. You’ll find it everywhere. Speaking of which, take Beethoven’s Fifth; possibly the most famous 4 notes in popular music. In fact, the top comment on the highest viewed YouTube video of the symphony is “I literally just typed in dun dun dun dunnn to find this and here I am!”. This is a perfect example of repetition making something instantly recognisable. The notes may differ but this time, it’s the rhythm that becomes the hook, which as I reference in the video lesson, is a great little trick to lean

166

Guitar Interactive Issue 61

on to introduce a sense of familiarity. Even if the notes themselves aren’t the same (as with the Smoke on the Water solo), then repetition of a cool groove or rhythmic note selection can be equally as effective, if not more so as it gives you more scope to expand. I’m fortunate enough to play in a band where the drummer, Bob Richards, is probably the most inherently musical person in the band, contrary to the inevitable drummer jokes. Whether it’s some innate musical connection between us or Bob having a background in playing guitar and thus an understanding of my approach, we ‘connect’ on an extraordinary amount of things in a live situation, syncopation in particular. A lot of this is undoubtedly ‘off the cuff ’ and totally of the moment but once we’ve latched onto something, we invariably make a point of repeating it in some way and making it a feature as opposed to a serendipitous accident that passes as quickly as it happened! It’s a fun little way of making every show unique whilst simultaneously giving the audience (and ourselves!) something to latch onto.

COLUMNS CHRIS BUCK’S ROCK & SOUL

Playing With Repetition Part 2

In short, don’t be afraid of repetition. It’s at the heart of every great riff, melody or chord progression you’ve ever heard and forms the basis of popular music. There’s a reason the words and melody are the same in every chorus of a song. END <<

www.guitarinteractivemagazine.com

167

COLUMNS_DANNY GILL

TABLATURE DOWNLOADS PDF DOWNLOAD

168

Guitar Interactive Issue 61

COLUMNS PENTATONIC SEQUENCES PART 2

PENTATONIC SEQUENCES… THAT CAN BE USED ANYTIME, ANYWHERE, AND ON ANY SONG! - PART 3 As one of the most well-respected tutors for LickLibrary—and former instructor at Musicians Institute’s G.I.T—producing a wide variety of comprehensive courses for beginners right up to the advanced player. Guitar Interactive magazine is proud to welcome Danny Gill with his brand new column.

I

n my previous columns, I’ve have talked about the vital role that sequences play in expanding our musical vocabulary. In Guitar Interactive issues 59 and 60 we looked at some pentatonic sequences in E major, moved around the fretboard, repeated some sequences to create licks and mixed up the rhythms to sound less predictable with our patterns. In this lesson we’re going to switch to E minor and add the blues note to our minor pentatonic licks. Keep in mind that a sequence is when you play the notes of a scale in a specific repeti-

tive pattern as opposed to randomly playing scale tones. The more of them you know the more you will be able to say on your instrument. So let’s get IT STARTED IN HERE…. EX 1 - This first example is an 8 note pattern that is then repeated starting on a new string. If this is new to you I would recommend practicing the first 4 notes over and over, then add the next 4 notes and put those 8 notes together. The first 4 notes can even be a useful lick by itself! Check out the tab and the video and go slow at first. »

www.guitarinteractivemagazine.com

169

COLUMNS_DANNY GILL

EX 2 - Are you ready to stretch? This lick is a descending group of 4 notes but with a big stretch that will allow us to play 3 notes per string. It sounds great with the pentatonic scale alone but becomes even more of an ear twister when adding the blues note.

EX 3 - is similar to ex 2 but takes us higher on the fretboard while continuing this idea of a descending group of 4 using the E minor blues scale. EX 4 - If we repeat part of a sequence create some cool licks. This example uses a 3 note per string pattern.

Pentatonic Sequences! - Part3

170

Guitar Interactive Issue 61

COLUMNS PENTATONIC SEQUENCES PART 2

EX 5 - This last lick is reverse group of 4 using the E minor blues scale. Kind of like climbing the stairs backwards. This one can be a little tricky so take it slow at first.

Repeat a few of the notes to create a lick Mix up the rhythm to sound less predictable Next up….diatonic sequences. Stay tuned!

And now for the fun part...your homework:

END <<

Learn at least one sequence

D A N N Y

G I L L

SESSION GUITAR

LESSONS

Danny Gill’s Signature Session is here! In this brand new course designed for players of all levels, Danny Gill debuts his track “Per”, a 5 part rock extravaganza in which he talks in depth about his approach to melodic soloing, improvisation, chordal arrangement and modal playing. Each section of “Per” is performed with the supplied backing track and then broken down for you. In addition to teaching the rhythm and the melodies, Danny talks about some of the scale choices available to you so that you can

easily play through each section regardless of your current playing level. There is even a section of ‘cool licks’ to add to your collection as well as a scales section showing you each of the scale patterns Danny refers to in the lessons. ‘Per’ features a bit of everything, starting off slow and dynamic and finishing with a heavy double time feel giving you plenty of opportunities to be creative and expressive over this rock instrumental.

www.guitarinteractivemagazine.com

171

STILL THE WORLD’S

NO. 1 FREE DIGITAL MAGAZINE

Get social and follow us now.

visit www.guitarinteractivemagazine.com

www.guitarinteractivemagazine.com www.guitarinteractivemagazine.com