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    Looking for the perfect gift for yourself or a guitarist in your life? Look no further than Martin X-Series!

    All the guitars in the X-Series are designed to have the look and feel of natural wood, while being durable and resistant to warping.

    The X-Series tops are HPL or a choice tonewood, like Sitka spruce, depending on the model. The results are great sounding, great playing, and environmentally friendly guitars.

    Whether you are looking for a first guitar, a backup Martin for travel, or looking for an environmentally friendly guitar, one of the X-Series models should be on your holiday wish list!

    Find an authorized Martin dealer here to make your mark.

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    This November we’re giving you the chance to win the ultimate performer’s companion — the BOSS VE-2 Vocal Harmonist Pedal.

    Open to residents of North America only. All entries must be submitted by November 30, 2014.


    Combining sophisticated sound with simple operation, the VE-2 delivers a complete effects solution for all singers, particularly those that perform with guitar.

    This portable, battery-powered stompbox has everything you need to create polished, studio-quality sounds everywhere you sing, from concert stages and street performances to practicing and having fun at home.

    The VE-2 magically creates beautiful harmonized vocals that follow your singing, with pitch that automatically tracks the chords played on a connected guitar, a preset key, or a combination of the two. Using one of these three operation modes, it’s easy to create perfect real-time harmonies in any key, even if you have no experience with gear or music theory.

    In addition to harmony, the VE-2 provides essential effects to enhance your voice, such as high-quality reverb/delay and an enhancer with real-time pitch correction. Also included is a USB audio function that allows you to connect to your computer and easily capture impressive VE-2 vocal sounds for music recordings, social media videos, and more.


    Watch it in action right here:

    Find out more from BOSS at www.bossus.com.

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    Wayne Static, the frontman of industrial metal act Static-X, has died at age 48, only three days shy of his 49th birthday.

    Although no official cause of death has been announced as of this writing, the following message was posted 11 p.m. Saturday, November 1, on Static-X's official Facebook page:

    "Platinum-selling musician Wayne Richard Wells, better known as Wayne Static, passed away at the age of 48.

    Static was the enigmatic former frontman and namesake of Static-X, who later forged a successful solo career. Wayne was scheduled to co-headline tours with Powerman 5000 and Drowning Pool over the next several months.

    No additional information is available at this time."

    Tributes to Static, best known as the lead vocalist, guitarist, keyboardist and music sequencer for Static-X, have been pouring in via social media all night and through the morning. Here are some quotes via Twitter:

    OZZY OSBOURNE: "Very sad to hear of @IAmWayneStatic's passing. Spent a lot of time together on @TheOzzfest tours. A tragic loss. Love to his family/friends"

    BILLY CORGAN/SMASHING PUMPKINS: "I am shocked to hear that Wayne Wells (Wayne Static) has passed away. I played with him in his first band, Deep Blue Dream, in 1987/88"

    JOHN 5: "Shocked and saddened to hear that Wayne Static has passed away. My thoughts are with his wife and family"

    LAMB OF GOD: "Rest in Peace Wayne Static"

    OFFICIAL DIO:"Our thoughts and love go out to family, friends and fans of Wayne Static. You will be missed."

    JOSE MANGIN:"Saddened about the news that Wayne Static passed, thoughts/prayers w fam/friends, he was always cool to me.."

    OFFICIAL MOTORHEAD:"We are very sad to hear of the passing of Wayne Static."

    DAVID DRAIMAN:"GOODBYE OLD FRIEND; Static X Frontman Wayne Static Dead At 48"

    SCOTT IAN:"Goodbye, old friend; Static X Frontman Wayne Static Dead At 48"

    EDDIE TRUNK:"Didn't know Wayne Static personally but played some of the early Static X stuff on my shows. Sad to see anyone pass away that young. RIP."

    Perhaps the most poignant (and potentially helpful) tribute came from JACOBY SHADDIX of Papa Roach, via Instagram:


    Static formed his namesake band in 1994, releasing Wisconsin Death Trip in 1999; the album went platinum. They'd go on to release five more albums, culminating with 2009's Cult of Static.

    "I’m good at screaming, coming up with great loops and groovy drum loops, and I think I’ve got one of the best right hands for picking the guitar," he told Guitar World upon the release of Pighammer, his only solo album, in 2011. "I’m very influenced by people like James Hetfield and Tommy Victor from Prong, and that kind of precise-picking type of thing. Not a lot of guys can do that.

    "It took me a couple of years when I first started getting into it. Early Pantera and Metallica was the first time I heard that kind of playing. It’s a whole different approach, more rhythmic than melodic."

    Read the rest of this interview here.

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    Although often regarded as a “shredder’s” technique, the notion of sweeping (or raking) the pick across the strings to produce a quick succession of notes has been around since the invention of the pick itself.

    Jazz players from the Fifties, such as Les Paul, Barney Kessel and Tal Farlow, would use the approach in their improvisations, and country guitar genius Chet Atkins was known to eschew his signature fingerstyle hybrid-picking technique from time to time and rip out sweep-picked arpeggios, proving that the technique is not genre specific. Within rock, Ritchie Blackmore used sweep picking to play arpeggios in Deep Purple’s “April” and Rainbow’s “Kill the King.”

    Fusion maestro Frank Gambale is widely considered to be the most versatile and innovative sweep picker and the first artist to fully integrate the technique into his style, applying sweeping to arpeggios, pentatonics, heptatonic (seven-note) scales and modes, and beyond.

    Gambale explains his approach wonderfully in his instructional video, Monster Licks and Speed Picking. Originally released in 1988, it remains a must-watch video for anyone interested in developing a smooth sweep-picking technique.

    It was Stockholm, Sweden, however that would produce the name most synonymous with sweeping in a rock context, one that gave rise to a guitar movement known as neoclassical heavy metal.

    Swedish guitar virtuoso Yngwie Malmsteen was influenced by Jimi Hendrix, Ritchie Blackmore and Uli Jon Roth but was also equally enthralled by 19th-century virtuoso violinist Niccolò Paganini. Attempting to emulate on his Fender Stratocaster the fluid, breathtaking passages Paganini would compose and play on violin, Malmsteen concluded that sweep picking was the perfect way to travel quickly from string to string with a smooth, fluid sound much like what a violinist can create with his bow.

    Malmsteen’s style has since influenced two generations of guitarists, including Tony MacAlpine, Jason Becker, Steve Vai, Mattias “IA” Eklundh, Ritchie Kotzen, Marty Friedman, John Petrucci, Vinnie Moore, Jeff Loomis, Synyster Gates, Alexi Laiho and Tosin Abasi, to name but a few.

    The first five exercises in this lesson are designed to give you a systematic approach to practicing the component movements of sweep picking: from two-string sweeps to six-string sweeps, and everything in between. Practicing each exercise with a metronome for just two minutes every day will improve your coordination and your confidence to use the technique in your own playing.

    Work from two strings up to six, keeping your metronome at the same tempo. This means starting with eighth notes, and while this will feel very slow, the technique will become trickier with each successive note grouping: eighth-note triplets, 16th notes, quintuplets and, most difficult of all, 16th-note triplets and their equivalent sextuplets. Focus on synchronizing your hands so that your pick and fretting fingers make contact with the string at exactly the same moment. Only one string should be fretted at any time (this is key!), and any idle strings should be diligently muted with your remaining fingers.

    If you fail to do this and allow notes on adjacent strings to ring together, it will negate the desired effect and sound like you are simply strumming a chord. When it comes to sweep picking, muting is the key to cleanliness. It is also the aspect that will take the most practice to master.

    The second set of five exercises handles some common sweep-picking approaches. These are shown in one position and based on one chord type each, thus focusing your attention on the exercise until you have become accustomed to the technique.

    The final piece helps you tackle the various aspects of sweeping while bolstering your stamina, as the bulk of it consists of nonstop 16th notes, with only a few pauses for “breathing.” Break it down into four-bar sections and practice each with a metronome, gradually building up to the 100-beats-per-minute (100bpm) target tempo.

    Get the Tone

    In rock, this technique is best suited to Strat-style guitars, using the neck pickup setting for a warm, round tone. Use a modern tube amp with the gain set to a moderate amount—just enough to give all the notes a uniform volume and sustain, but not so much that string muting becomes an impossible battle.

    The thickness and sharpness of your pick will hugely impact the tone of your sweep picking. Something with a thickness between one and two millimeters and a rounded tip will provide the right amount of attack and still glide over the strings with ease.

    [FIGURE 1] This Cmaj7 arpeggio on the two middle strings works just as well on the top two or bottom two. Lightly drag your pick across (push down, pull up) the two strings so that there’s very little resistance. This teaches your picking hand to make smooth motions rather than two separate downward or upward strokes.

    FIGURE 2 is a C7 arpeggio played across three strings. Strive to maintain the same smooth down/up motion with your pick used in the previous example. Focus on the pick strokes that land on downbeats, and allow the in-between, or “offbeat,” notes to naturally fall into place. Every three notes your pick will change direction.

    Now let’s move on to four strings with this exotic C7 altered-dominant lick, reminiscent of one of Gambale’s fusion forays. Remember, sweep picking is most effective when each note is cleanly separated from the last, so aim to have only one finger in contact with the fretboard at a time in order to keep the notes from ringing together.

    Now we move on to some five-string shapes, the likes of which you can hear in the playing of Steve Vai and Mattias Eklundh. The phrasing here is 16th-note quintuplets (five notes per beat). Once again, if you focus on nailing the highest and lowest notes along with the beat, the in-between notes should automatically fall into place. Move your pick at a constant speed to ensure the notes are evenly spaced. Say “Hip-po-pot-a-mus” to get the sound of properly performed quintuplets in your mind’s ear.

    This six-string arpeggio is an A major triad (A C# E), with the third in the bass and a fifth interval added to the high E string’s 12th fret, so we have the right number of notes for 16th-note triplets (six notes per click). When ascending, use a single motion to pick all six strings, making sure only one note is fretted at a time. The descending section includes a pull-off on the high E string, which, although momentarily disruptive to your picking, is preferable to adding another downstroke.

    This major triad shape is an essential part of the Yngwie Malmsteen school of sweeping. Pay special attention to the picking directions in both the ascending and descending fragments. The alternating eighth-note triplet and quarter-note phrasing allows you to focus on the picking pattern in small bursts and then rest for a beat.

    This example includes ascending and descending fragments again, this time played together. Concentrate on the general down-up motion of your picking hand rather than each pick stroke. Once you are comfortable with this shape you can apply the same approach to minor, suspended and diminished-seven arpeggios.

    This example is reminiscent of players such as Jason Becker and Jeff Loomis. We start with the three-string shapes from the previous example, followed by the six-string shape from FIGURE 5. This is quite challenging for the picking hand, so start very slowly and remember to keep the hand moving smoothly.

    Here we utilize two-string sweeps with pentatonic shapes. Use your first finger on the fifth fret and third finger on the seventh fret. Keep your fingers flat against the two-string groups, and transfer pressure between strings using a rolling action to mute inactive strings and prevent notes from ringing together.

    Economy picking requires that your pick take the shortest journey possible when crossing from string to string. This essentially means that when you play a scale, there will be a two-string mini-sweep whenever you move to an adjacent string. This exercise combines the eight-note B whole-half diminished scale (B C# D E F G G# As) and a Bdim7 arpeggio (B D F G#).

    This piece is in the key of A minor. The first part is based around a “V-i” (five-one) progression, with the arpeggios clearly outlining the implied chord changes. We begin with some ascending two-string sweeps using alternating E (E G# B) and Bb (Bb D F) triads. Next come some A minor triads (A C E), played with a progressively increasing number of strings; this is a great way to build your confidence in sweep picking larger shapes. The Bm7b5 (B D F A) arpeggio in bar 4 has a series of three-string sweeps combined with some challenging string skips. Bar 7 is an A minor pentatonic scale (A C D E G) played in fourths using two-string sweeps/economy picking.

    The second part of the piece has a more neoclassical approach and begins with some Yngwie-style three-string triads incorporating pull-offs. Be sure to follow the indicated picking directions. Bar 12 is the trickiest part of the piece to play and utilizes some Jason Becker–inspired six-string shapes. If you have problems with string muting or note separation, apply some light palm muting to the notes as they are picked. This is an effective way to improve note clarity. The final bar is based on the A harmonic minor scale (A B C E D F G#) and incorporates economy picking when traveling from the fifth string to the fourth.

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    "Don't call it a comeback / I've been here for years."

    So said LL Cool J in the title track from 1990's Mama Said Knock You Out, which came out when many fans and critics thought his career was just barely limping along.

    The album turned out to be a massive critical and commercial success. So, with our apologies to Mr. Cool J, we are calling it comeback. Because a comeback — as defined here at Guitar World— is any critically and/or commercially successful or significant album that follows a career-altering absence (breakup, retirement) or low point (death of band members, "dead" careers, being dropped by your label, critical uber-flops, telling a London audience that you're ashamed that George W. Bush is from Texas ...).

    So, with that in mind, here's our list of the 10 best (and worst) comeback albums of all time.

    10. U2 — All That You Can’t Leave Behind (2000)

    The Set-Up: Sitting-on-top-of-the-world stadium rockers U2 took some chances in the '90s, releasing three adventurous, occasionally bizarre albums. The last of the bunch, 1997's Pop, the techno-, dance- and electronica-influenced culmination of their self-inflicted reinvention, was harshly panned and widely misunderstood. It was as if fans and critics collectively said, "Enough already, guys."

    The Comeback:All That You Can't Leave Behind was, in every respect, a homecoming. With producers Daniel Lanois and Brian Eno back at the helm, the band returned to its classic sound (although brilliantly updated) with an emphasis on grand melodies and a renewed reliance on guitar, bass and drums. Rolling Stone called it U2's third masterpiece, next to The Joshua Tree and Achtung Baby.

    09. Allman Brothers Band — Brothers and Sisters (1973)

    The Set-Up: Allman Brothers Band co-founder and slide guitar master Duane Allman was killed in a motorcycle accident in late 1971 while the band was recording Eat A Peach. As if that wasn't terrible enough, bassist Berry Oakley was killed the same way — in the same Georgia town — one year later. Although the band — fortified by talented replacements — forged ahead, it was as if a dark cloud had found them and decided to stick around for a spell.

    The Comeback: The album that would follow the band's tragedies, Brothers And Sisters, was, by far, their greatest success, settling in for five longs weeks at No. 1 on the U.S. albums chart. It also was a high point for guitarist Dickey Betts, whose composition, "Ramblin' Man," would become the band's only hit single, reaching No. 2 on the charts. The album featured two more eternal FM radio staples, "Southbound" and "Jessica," both written by Betts. Simply put, it was the band's — and Betts'— commercial high point.

    08. Foo Fighters — Foo Fighters (1995)

    The Set-Up: There's no doubt that Nirvana changed everything, and that by 1994 they were one of, if not the biggest band in the world. For a few years, all of the United States felt like Seattle, and the sale of thrift-store sweaters was at an all-time high. That is, until the suicide of lead singer/guitarist Kurt Cobain in April of that year.

    The Comeback: It would take one hell of an effort for anything Dave Grohl released from that point on to not be considered a mere footnote in the history of Nirvana. The fact that we now know Grohl as one of the biggest personalities in rock — who also has shared the stage with the likes of Jimmy Page and plays in a band with John Paul Jones — is a testament to his tenacity and talent for crafting memorable hooks.

    It could be argued that the second Foo Fighters album (and their first as a real band), The Colour and the Shape, is better suited for this position because it spawned the first mega-hits for the band, but the first Foos album was Dave Grohl playing everything himself, a lone man trying to forge ahead and create something meaningful after the demise of the biggest band on the planet. If that's not the meaning of a comeback, we don't know what is.

    07. Metallica — Death Magnetic (2008)

    The Set-Up: Napster, Tom Cruise film soundtracks, St. Anger. Let's face it, the turn of this century was not kind to Metallica when it came to public opinion.

    Their latest, guitar-solo-free album had left fans more confused than betrayed, and the follow-up film, Some Kind of Monster, showed the band in a new, vulnerable light that left fans of Ride the Lightning scratching their heads. It would take one hell of an album to get the image of the band in group therapy talking about feelings out of the heads of fans.

    The Comeback: Enter Death Magnetic. While the album itself was met with some criticism — mainly for its over-compressed sound — there's no doubt that it re-ignited interest in the band's thrashier roots and made people forget about "I Disappear," perhaps for good. One might even venture to say that, had the band made another St. Anger or Load, the Big Four shows might not have ever happened. Can anyone imagine Kerry King, Dave Mustaine, Charlie Benante and others joining James and crew onstage for a rendition of "Tuesday's Gone"? Didn't think so.

    06. Johnny Cash — American Recordings (1994)

    The Set-Up: Although Johnny Cash never really went away (much like LL Cool J), during the 1980s, record sales and support from his longtime label, Columbia, were at all-time lows. After putting out a string of fine yet occasionally overproduced albums (Check out his cheesy cover of CCR's "Have You Ever Seen The Rain" from 1985's Rainbow album), Cash found himself without a label in the early '90s.

    The Comeback: Enter Rick Rubin. The producer, known for his work with A-list hip-hop artists and heavy metal bands, offered Cash a contract with his label, American Recordings, and got right to work, stripping the Man in Black's sound down to the basics: voice and acoustic guitar. The album, considered his finest release since the late '60s, transformed Cash from museum piece to the ultimate in cool.

    05. Aerosmith — Pump (1989)

    The Set-Up: The early '80s were not kind to Aerosmith. The had band lost both their guitarists by the time of the recording of Rock in a Hard Place (you know, the album with Jimmy Crespo and Rick Dufay) and were in serious danger of being a footnote of '70s American rock.

    Aerosmith in the mid-'80s can be summed up as this: When the movie This Is Spinal Tap came out, Steven Tyler actually thought the movie was about Aerosmith. In a 1997 interview, Brad Whitford was quoted as saying, "The first time Steven saw it, he didn't see any humor in it."

    The Comeback: Sure, Run DMC gave them another taste of the spotlight, and Permanent Vacation gave us "Dude Looks Like a Lady" and "Rag Doll," but if anything is going to be called a comeback album for Aerosmith, it would have to be 1989's Pump.

    Commercially, Pump does have a slight edge over Permanent Vacation, with the latter going a measely five-times platinum as opposed to Pump's seven-times, good enough to make it the second-best-selling Aerosmith album of all time behind Toys in the Attic. But beyond numbers, Pump just felt like an Aerosmith album (yes, even the horn section). That's not to knock the strong numbers on Permanent Vacation, but Steven Tyler singing about needing to get away to St. Tropez when the whole world was still wondering "Where were you?" may have been a bit premature.

    04. John Lennon and Yoko Ono — Double Fantasy (1980)

    The Set-Up: The mid-'70s weren't the best of times for John Lennon. He had endured a separation from Yoko Ono and a complicated lawsuit filed by Morris Levy (regarding breach of contract and the messy Roots / Rock 'n' Roll scandal), not to mention the disappointing — by former-Beatle standards — sales of his 1975 greatest-hits album, Shaved Fish.

    So, after taking part in a recording session for Ringo Starr's 1976 Ringo's Rotogravure album, Lennon made the shift from rock star to house husband, living a private, tame existence at the Dakota in New York City with Ono and their 1-year-old son, Sean.

    The Comeback: In 1980, after taking several years off, Lennon felt it was time to get back to work. Inspired and/or awakened by new music by Madness, The Pretenders and the B-52s, he decided it was "time to get out the old axe and wake the wife up," as he told Rolling Stone. The album he and Ono made, Double Fantasy, was the perfect comeback, representing a fresh start for a well-rested couple who were ready to greet the world again. The irony is that when Lennon was killed on December 8, 1980, Double Fantasy went from comeback to sad farewell.

    03. Deep Purple — Perfect Strangers (1984)

    The Set-Up: After releasing a string of heavy, successful albums between 1969 and 1973, including Deep Purple In Rock, Made In Japan and Machine Head, the classic "Mk II" lineup of Deep Purple — Ian Gillan (vocals), Ritchie Blackmore (guitar), Roger Glover (bass), Jon Lord (keyboards) and Ian Paice (drums) — basically just fizzled out. By the mid-'70s, when only Lord and Paice remained (David Coverdale, Tommy Bolin and Glenn Hughes had come onboard), the band was just a shell of its former self. Their lackluster late-1975 album, Come Taste the Band, was sonic proof of that. Deep Purple disbanded in 1976.

    The Comeback: In 1984, Deep Purple regrouped — with the Mk II lineup, thankfully — and released Perfect Strangers, a major worldwide hit that went platinum in the U.S. The band reached back and dusted off its classic sound, spotlighting Gillan's ageless vocals and Blackmore's lightning-fast snake-charmer scales. The album spawned several radio hits and a tour that just kept on going — because people just couldn't taste enough of the band.

    02. Ozzy Osbourne — Blizzard of Ozz (1980)

    The Set-Up: After two less-than-stellar releases from Black Sabbath — 1975's Technical Ecstasy and 1976's Sabotage— Ozzy Osbourne took a brief break from the band to work on a project he called "Blizzard of Ozz." At the request of the band, Ozzy dropped the project to return to the band for the recording of 1978's Never Say Die!, which brought tensions in the band to a new high.

    A myriad of drug problems and mounting tensions between Osbourne and Sabbath guitarist Tony Iommi led to the group unanimously deciding to fire Ozzy. Within two years, the band had recorded Heaven and Hell with new vocalist Ronnie James Dio, which proved that the band could remain relevant without Osbourne. The question then became, could Ozzy pull himself out of the gutter and remain relevant as well?

    The Comeback: It turns out all Ozzy needed was new management. Of course, not just any manager would do. It took then-girlfriend Sharon Arden (daughter of Sabbath manager Don Arden) to pull Ozzy out of his haze and set him to work on his "Blizzard of Ozz" project. With the help of bassist/lyricist Bos Daisley and a young guitar prodigy named Randy Rhoads, Ozzy finally finished the album, Blizzard of Ozz, which would re-ignite his career and eventually lead to his being one of the biggest personalities in rock and metal.

    01. AC/DC — Back in Black (1980)

    The Set-Up: In late 1979, AC/DC unleashed Highway to Hell on the world. While not a departure in sound from their previous albums, the production efforts and arrangement contributions of producer Mutt Lange, alongside the wry lyricism of lead singer Bon Scott and always-fiery guitar efforts of Angus Young, made Highway to Hell the band's most commercial success to date. Less than six months later, Scott was found dead in the back of a car, having choked to death on his own vomit.

    The Comeback: Whether or not to continue the band without their charismatic frontman wasn't an easy choice for the remaining members of AC/DC, but after much soul-searching, the band recruited former Geordie singer Brian Johnson to try and fill the void left by Scott's death.

    Johnson had his own troubles after joining the band, struggling to pen lyrics he felt were up to the lofty standards set by his predecessor. As fate would have it, a storm rolling in one night over the Bahamas, where the band had retreated to in order to write, inspired the opening lyrics to "Hells Bells," the opening track from the ultimate comeback album — not to mention the second-highest-selling album of all time — Back In Black.

    Next: Honorable Mentions

    Honorable Mentions

    Iron Maiden – Brave New World

    Eric Clapton – 461 Ocean Boulevard

    Avenged Sevenfold - Nightmare

    Alice in Chains – Black Gives Way To Blue

    Van Halen – 5150

    Red Hot Chili Peppers – Californication

    Celtic Frost - Monotheist

    Heaven & Hell - The Devil You Know

    Judas Priest - Painkiller

    Next: The Top 10 Worst Comeback Albums of All Time

    Top 10 Worst Comeback Albums

    01. Guns N' Roses - Chinese Democracy

    02. Iron Maiden - The X Factor

    03. Kiss - Psycho Circus

    04. Queen + Paul Rodgers - The Cosmos Rocks

    05. Aerosmith - Done With Mirrors

    06. Tony Iommi - Seventh Star

    07. Motley Crue - Motley Crue

    08. Poison - Hollyweird

    09. Ozzy Osbourne - Down to Earth

    10. Judas Priest - Angel of Retribution

    Warnning: Do NOT Get Caught While Searching!!
    Your IP : - Country : - City:
    Your ISP TRACKS Your Online Activity! Hide your IP ADDRESS with a VPN!
    Before you searching always remember to change your IP adress to not be followed!
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    Recently we posted a live video of fingerstyle master Andy McKee performing his track “Mythmaker.”

    Today we’re excited to share another video; McKee’s “Art of Motion,” a composition from his 2009 release, Dreamcatcher.

    The clip was filmed backstage in Nashville, TN before his show at the Belcourt Theatre. “Art of Motion” kicks off with some intense rhythmic playing, before descending into dynamic and brilliant melodic passages.

    McKee recently celebrated over 50 million views of his now-legendary YouTube performance of “Drifting.” You can watch it here.

    Enjoy “Art of Motion” below, and view upcoming tour dates under the video.

    Tour Dates:
    11/5/2014 - Honolulu, HI - Republix
    11/6/2014 - Maui, HI - Iao Theater
    11/7/2014 - Hawaii TBD
    11/8/2014 - Hawaii TBD
    12/2/2014 - San Diego, CA - Belly Up
    12/3/2014 - Anaheim, CA - House of Blues
    12/4/2014 - West Hollywood, CA - House of Blues
    12/5/2014 - Livermore, CA - Livermore PAC
    12/6/2014 - Sacramento, CA - Harlow's
    12/7/2014 - Santa Cruz, CA - TBD
    12/9/2014 - Grant's Pass, OR - Rogue Theater
    12/10/2014 - Portland, OR - Aladdin Theater
    12/11/2014 - Seattle, WA – Benaroya Symphony Hall
    12/12/2014 - Vancouver, BC - TBD
    12/13/2014 - Canada TBD

    Keep up with all things Andy McKee at www.andymckee.com.

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    In the video below, Steel Panther's Satchel discusses some of his influences, plays a few of his favorite riffs (including a fair amount of AC/DC) and, most importantly, demos the Yamaha THR10X guitar amp.

    Check it out below and tell us what you think of the amp in the comments or on Facebook!

    For more about Yamaha's THR series, visit yamaha.com/thr/.

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    Here's a brand-new edition of Betcha Can't Play This featuring New York City guitarist Elliott Klein.

    Try your hand at his monster Lydian shred lick below!

    As with the other new-for-2014 "Betcha Can't Play This" videos, this is an expanded version of the usually brief "Betcha" videos on GuitarWorld.com.

    Also, note that there are no tabs, since Klein explains key left- and right-hand techniques in the clip.

    For other recent Betcha Can't Play This columns, check out Betcha Can't Play This: Guitarist Ethan Brosh Lays Down the Challenge and Betcha Can't Play This: Diminished Madness with Guitarist Ethan Brosh. You'll find more under RELATED CONTENT, below the photo.

    For more from Klein, check out his lessons on guitarworld.com.

    As always, good luck! We have more on the way!

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    The Fly 3 Amp, the latest 3-watt amp from Blackstar, was introduced November 1.

    From the company:

    The Fly 3, for guitar, phone or tablet, features the big sound quality of a traditional amplifier combined with the portability of a mini and incorporates two channels, the patented ISF (Infinite Shape Feature) and digital tape delay for a superior playing and practicing experience.

    “We are really excited about the launch of Fly 3,” said Joel Richardson of Blackstar Amplification. “Our initial concept was that just because it’s a mini amp, it doesn’t mean it has to be toy. We were able to achieve revolutionary sonic performance, so it sounds like a genuine amplifier.

    “Fly 3 is a real guitar amp. Whether you’re jamming in the back of the tour bus or listening to music with friends, Fly 3 can be used anywhere.”

    Richardson added that it is a real practice and recording solution for guitarists who need a small, portable amplifier as it operates on batteries, as well as DC power.

    An MP3/Line In socket allows the FLY 3 to be connected to an MP3 player, mobile phone, laptop or tablet. When connected to a FLY 103 cabinet (sold separately or as part of the Fly Stereo Pack), it becomes a 6-watt stereo amp for guitar or music playback.

    FLY 3 AMP

    • 3W
    • 2 Channels-Clean + OD
    • Revolutionary sonic performance
    • Patented ISF
    • Digital ‘tape’ delay FX
    • Battery or DC powered
    • MP3/Line In for jamming along or listening to music
    • Emulated Line Out for silent practice or recording
    • 3-inch speaker producing true Blackstar tones


    • Turns the Fly 3 into a 6W stereo set up
    • Revolutionary sonic performance
    • 3-inch speaker producing true Blackstar tones


    • Pack contains Fly 3, Fly 103 plus power supply
    • 6W stereo set up perfect for PC speakers and MP3 playback n Revolutionary sonic performance
    • 3-inch speaker producing true Blackstar tones

    For more info, visit blackstaramps.com.

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    Bay Area metal heavyweights Machine Head have released a new song, “Night of Long Knives,” and you can check it out below.

    The track comes from their upcoming Nuclear Blast debut, Bloodstone & Diamonds, which is due out in North America November 10.

    Right now, fans can get an instant download of “Night of Long Knives” when they preorder the album on iTunes; they'll also get the songs “Now We Die” and “Killers and Kings.”

    Check out “Night of Long Knives” and let us know what you think in the comments or on Facebook!

    Additional Content

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    When learning how to play jazz guitar, many of us know we need to learn scales, arpeggios and chords, but we are sometimes stuck when looking for jazz tunes to learn that are appropriate for our level of development.

    In this lesson, you will check out five introductory jazz tunes, each focusing on specific concepts that will help you develop strong jazz-guitar fundamentals while expanding your repertoire at the same time.

    Check out these five tunes as you begin to develop your jazz-tune list and build your jazz-soloing vocabulary on the fretboard.


    One of the most recognizable jazz tunes, "Summertime" is a great intro to jazz guitar as the melody (apart from one note) comes from the minor pentatonic scale, and you can use this same minor pent scale to solo over the whole tune when first exploring jazz soloing.

    "Maiden Voyage"

    Learning how to solo in a jazz style means learning how to change keys on a regular basis during your improvisations, which can be a big hurdle for guitarists when first exploring the jazz genre.

    "Maiden Voyage" provides four minor keys to work with, which you can use the Dorian mode to solo over each key, providing a challenge for beginner jazz guitarists, while keeping things focused on one mode at the same time, Dorian.

    "Cantaloupe Island"

    In order to progress as a jazz soloist, you will also need to work on switching chord qualities as well as keys in your soloing, and "Cantaloupe Island" provides both of these challenges at a reasonable tempo in its construction.

    The tune features both m7 and 7th chords, has a short 16-bar form and maintains a reasonable tempo, allowing you to challenge yourself in the practice room without providing too much frustration at this stage in your development.

    "Autumn Leaves"

    Moving on to another famous jazz standard, featuring the most famous jazz chord progression, "Autumn Leaves" features major and minor ii-V-I chord changes to explore in your soloing.

    When learning to play "Autumn Leaves," it would be advised to pull these two progressions out of the tune and work on them individually, major and minor ii-V-I, before attempting to solo over the tune as a whole.


    The last tune on our list of intro jazz songs, "Sunny" has major and minor ii-V-I’s in its makeup, but this time they are short, two-bar phrases compared to the longer, four-bar phrases in "Autumn Leaves."

    Again, soloing over major and minor ii-V-I’s is an essential skill for any jazz guitar to possess, and so working on both short and long versions of theses progressions can go a long way in the practice room.

    This is by no means a complete list of introductory jazz tunes, but the five songs cover the basics and allow for a well-balanced introduction to the genre.

    What is your favorite jazz guitar tune to jam on? Share it in the COMMENTS section below!

    Matt Warnock is the owner of mattwarnockguitar.com, a free website that provides hundreds of lessons and resources designed to help guitarists of all experience levels meet their practice and performance goals. Matt lives in the U.K., where he teaches Skype guitar students all over the world, and is an examiner for the London College of Music (Registry of Guitar Tutors).

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    Last month, GuitarWorld.com posted the exclusive premiere of "Now That You’re Gone," a new instrumental track by guitarist and frequent Guitar World contributor Glenn Proudfoot.

    Today, we have the sequel, if you will. It's the official transcription of the song, courtesy of Proudfoot.

    The song is from his new album, Ineffable, which is available for preorder through glennproudfoot.com and iTunes.

    "In terms of technique, this track has a bit of everything—arpeggios, sweeps, legato, string skipping, tapping and harmonics," Proudfoot said. "This is a great representation of how you can incorporate all these techniques into your soloing or writing.

    "A lot of guitarists question the validity of a lot of techniques, and for a very good reason. There are certain things that are completely useless when writing music, but the majority of techniques—if explored properly—can take your playing and songwriting to amazing heights. My whole purpose is to be able to convey the musical message I want without any limitations. This is my reason for exploring and practicing as many new ideas as I can, so when it comes time to write, I can just let everything flow.

    "With this transcript, it is very important to start with the rhythm parts, as this will enable you get the feel for the track. All of the melody parts grow out of the rhythm and, in the first section of the song, are incorporated into the tag lines of the melody.

    "When I'm writing a song, the rhythm parts are what spur the initial creativity. I spend just as much time on them as I do the melody. In order to write a good song, the rhythm parts are key, as they will create the right emotion for the melody to accentuate.

    "Instrumental music can be challenging, as you are taking on all the communication responsibilities with the guitar. There are no vocals/lyrics for the listener to connect with or relate to, so you really must tell the story on the guitar and not just play over the top of a track.

    "Obviously, there are no rules in music. Every artist has his or her own way of expressing themselves. For me, it's about taking the listener on a small journey. If someone can listen to one of my songs and forget the rigors of their day for a couple of minutes and simply be consumed in the moment, that's the most rewarding thing for me.

    "I transcribed this song myself, so you have my guarantee that all of the notes and fingerings are 100 percent accurate!"

    Follow Proudfoot on YouTube or Facebook.

    Now That You'Re Gone - PDF

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    The good old fashioned way that rock bands built a large and loyal audience was via slugging it out non-stop on the road. And that is exactly how the fast-rising 3 Years Hollow is going about it, as evidenced by their recently completed dates as part of the traveling Rockstar Energy Drink UPROAR Festival, and soon, as part of a package tour headlined by Nonpoint (the complete bill being Nonpoint, Gemini Syndrome, Islander, and 3 Years Hollow), which will criss-cross the US from late October until late November.

    "We were extremely blown away when we were invited to tour with Nonpoint and Gemini Syndrome," says the band's singer, Jose Urquiza. "Both are bands that we respect tremendously. We're excited to see some friends we haven't seen in a while and to meet all the rest of the guys. I think this tour is perfect for us right now and it seems like the fans are extremely excited for this group of bands to tour together. After playing the Rockstar Energy Drink UPROAR Festival, we feel like we've really grown as a band and as a group of individuals and friends."

    Also released to radio is a new single/video from the band, "For Life.""'For Life' is a song that we've been playing live, off and on, for almost 6 years. It never made it passed the demo stage because we felt there was always just something missing. When Clint [Lowery, Sevendust guitarist] came into the picture we decided to start fresh with the song and re-write some of the parts. Clint really breathed new life into it and we knew we had a strong single. Towards the end of tracking the song, we sat down to mess around with a guitar solo and Clint nailed it! We decided we wanted him to be on the track, and the rest is history."

    Comprised of Urquiza, Tony Reeves (guitar), Neil Kuhlman (guitar), Dex Digga (bass), and Chris Cushman (drums), 3 Years Hollow has also been receiving stellar reviews:

    "If you are looking for some quality-sounding, top-notch hard rock then look no further than 'The Cracks,' the latest release from rock/metal band 3 Years Hollow. Everything a hard rock fan could wish for is herein included on this disc and unlike numerous other acts in this genre; 3 Years Hollow's music is not formulaic. In fact, I'll go so far as saying that it's fresh, vibrant and keeps you guessing as to what will come next." - Pure Grain Audio

    "The songs are heavy without being noisy, and with the right amount of melody. Singer Jose Urquiza also has enough gruff and gravel in his voice that women everywhere will soon be going nuts for them, mark my words." - KNAC

    "From the deep and thoughtful lyrics you feel what they feel and can't help but sing along. The bottom line, a very strong debut outing. If you're a fan of good hard rock, 'The Cracks' by 3 Years Hollow might be in your CD player for awhile." - "Highly Recommended" by The Dedicated Rocker Society

    And soon, fans will be able to experience what all the buzz is about, when 3YH hits a concert venue near you this autumn!


    10/28 — Patchogue, N.Y. — Emporium
    10/29 — Saratoga Springs, N.Y. — Putnam Den
    10/30 — South Burlington, Vt. — The Venue
    10/31 — Hampton, N.H. — Wally’s Pub
    11/01 — Hartford, Conn. — Webster Theater
    11/02 — Sayreville, N.J. — Starland Ballroom
    11/03 — Baltimore, Md. — Ottobar
    11/04 — Virginia Beach, Va. — Shakas
    11/05 — Jacksonville, N.C. — Hooligans
    11/07 — Fort Lauderdale, Fla. — Revolution Live
    11/08 — Orlando, Fla. — Central Florida Fairgrounds
    11/11 — Cape Coral, Fla. — Dixie Roadhouse
    11/12 — St. Petersburg, Fla. — State Theater
    11/13 — Jacksonville, Fla. — Underbelly
    11/14 — Destin, Fla. — Club LA
    11/15 — Biloxi, Miss. — Kress Live
    11/16 — New Orleans, La. — The Parish / House of Blues
    11/18 — Little Rock, Ark. — Juanita’s
    11/19 — Houston, Texas — Scout Bar
    11/20 — San Antonio, Texas — Kapones
    11/21 — Dallas, Texas — Trees
    11/22 — Wichita, Kan. — Cotillion
    11/23 — Merriam, Kan. — Aftershock






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    Yes, here it is straight from the man himself.

    He tunes to dropped D and demonstrates his hammer off method for performing this classic.

    In his official lesson series, Taylor also includes a camera inside the sound hole so you get an inside-out view of this right hand technique.


    “Country Road” appears on Taylor’s 1970 second album, Sweet Baby James. "Country Road" reached number 37 on the Billboard pop singles chart in early 1971. It is also featured on Taylor's 1976 Greatest Hits record.

    Check it out here and then try it yourself!

    Find more at http://www.jamestaylor.com/

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    These videos and audio files are bonus content related to the Holiday 2014 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the Guitar World Online Store.

    From songs like the Police’s “Message in a Bottle” to Nirvana’s “Come As You Are,” Andy Summers and Kurt Cobain used the unmistakable sound of the chorus pedal to great effect, no pun intended. For those players, a chorus pedal was an integral part of their rig, and as evidenced above, it’s the signature guitar sound on a lot of great songs.

    Unfortunately, lush modulation was so blatantly overused in popular music during the Eighties and Nineties that most modern guitarists have eschewed it for more organic tones. Chorus isn’t going away anytime soon, and there are many fine chorus pedals that can add three-dimensional shimmer to your tone. But DigiTech’s Luxe pedal is something different.

    While it can produce classic chorus and vibrato tones, it’s also capable of creating spacious pitch detunings that can make your guitar sound thicker and even double-tracked.

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    These videos and audio files are bonus content related to the Holiday 2014 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the Guitar World Online Store.

    If I had to pick the greatest thing about being in a metal band like Steel Panther, it would probably be a tossup between the non-stop partying and the fact that we party hard all the time!

    That’s pretty much the same thing, I guess. Anyway, all of that partying has a purpose, because it helps to inspire great songs, like this month’s selection, All You Can Eat’s “Gang Bang at the Old Folk’s Home.”

    I love the rhythm guitar part in this tune, because when I play it, I feel like James Hetfield from Metallica due to the non-stop use of all downstrokes with the pick-hand, something Hetfield has turned into an art form. And if it’s good enough for James Hetfield, it’s good enough for this dude!

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    These videos and audio files are bonus content related to the Holiday 2014 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the Guitar World Online Store.

    In this month’s column, I’d like to discuss the diminished scale, which is a very useful scale for writing heavy, twisted-sounding riffs.

    In fact, I used it for the primary riffs in the title track from the latest Revocation release, Deathless. There are two forms, or modes, of the diminished scale. One ascends in a repeating pattern of whole steps and half steps (whole, half, whole, half, and so on) and is referred to as the whole-half diminished scale.

    The other form starts with a half step and ascends half, whole, half, whole, and so on, and is referred to as the half-whole diminished scale.

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    These videos and audio files are bonus content related to the Holiday 2014 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the Guitar World Online Store.

    In 1959, tenor saxophonist John Coltrane invited an ensemble of elite jazz musicians to join him in the studio to record a track for his forthcoming album, 1960’s Giant Steps.

    The brilliant improviser and composer threw his rhythm section a curveball by springing on them the title track, a tune characterized by a fast tempo and a complex and highly unusual chord progression…and giving them no time for rehearsal. (This scenario was not uncommon during that era and usually did not present a problem for anyone involved, as the jazz scene’s A-list musicians were all very accomplished players and well versed in the style.)

    Coltrane himself had already spent hours alone soloing over the tune’s progression and had a bunch of ideas worked out and ready to string together in seemlingly endless, fluent combinations.

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    These videos and audio files are bonus content related to the Holiday 2014 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the Guitar World Online Store.

    For decades, a common practice in rock and metal has been to use drop-D tuning, wherein the guitar’s low E string is tuned down one whole step to D, one octave below the fourth string.

    Aside from the additional heaviness this tuning provides by extending the instrument’s range downward, having the bottom two strings tuned a fifth apart—D to A—enables one to play a root-fifth power chord simply by strumming the two strings open or barring a finger across them at any given fret. And with the fourth string included, a three-note, root-fifth-octave power chord can be sounded just as easily.

    My favorite way to use drop-D tuning is to combine one-finger power chords with single-note riffs that utilize the open low D note as a pedal tone. To do this, I will play on the sixth string as if it were tuned normally, to E, but move all notes on the other strings two frets lower than where I would ordinarily play them.

    This results in some unusual shapes when moving between the sixth and fifth strings.

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    These videos and audio files are bonus content related to the Holiday 2014 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the Guitar World Online Store.

    Last month I devoted this space to the guitar-playing wizardry of the late Johnny Winter, who passed away this past July 16, 2014, at the age of 70.

    Previously, we examined Winter’s brilliant fingerstyle country-blues work, along the lines of his playing on the track, “Forever Lonely,” from Muddy Waters’ King Bee album. This month, I’d like to show you how Johnny directed these ideas into a more aggressive and inventive style of blues-rock rhythm guitar.

    Winter’s 1977 release, Nothin’ But the Blues, served as a turning point in his career, as he dedicated himself from this point forward to blues music. His follow-up album, White, Hot and Blue, released in 1978, was equally powerful, featuring such standout blues covers as “Walking by Myself,” “Messin’ With the Kid,” “Diving Duck” and “EZ Rider,” as well as the original composition, “One Step at a Time,” a rocking shuffle in the key of A.

    The examples in this month’s column reflect the style and approaches Johnny used on this particular track.

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