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Seymour Duncan Acoustic Woody Pickup Now Available in Walnut or Black

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When looking for a high-quality, easy to use and affordable acoustic guitar pickup, the Woody has been the choice for many guitarists looking to capture the full warmth and richness of their instrument.

It snaps easily in and out of just about any soundhole and features a 14-foot studio quality cable that can reach across most cafes.

Up until now the only available color was maple, but many acoustic guitar players have asked for the ability to get the Woody without having to sacrifice the look of their favorite acoustic. With the new addition of the Black and Walnut Woodys, your favorite acoustic will sound as good as it looks.

Aside from the three color options, the Woody is available in three different versions to meet the various needs of acoustic guitarists. The Woody SC is a single-coil acoustic pickup that produces a crisp natural tone with no 60-cycle hum. The Woody HC is a full hum-cancelling acoustic pickup that picks up more of the natural warmth and richness.

And the Woody XL features adjustable pole pieces for finding your perfect balance from string to string, and it brings more richness and articulation out of your tone thanks to its stacked design.

For more information, visit seymourduncan.com.


The Loar Introduces LH-280 Archtop Electric Guitar

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The Loar has introduced the LH-280, an archtop cutaway with dual humbuckers and a 16” lower bout. Based on a classic Florentine cutaway design, the LH-280 offers players classic archtop style in a versatile electric guitar.

With a maple top, maple back and sides and two great-sounding Loar humbuckers, the LH-280 is a perfect jazz-blues-rock machine. The 24-3/4” scale will be familiar to players of vintage electrics, and the 1-3/4” bone nut and tune-o-matic floating bridge give it powerful punch and singing sustain.

Bridging the gap between jazz, rock, and blues, this versatile archtop from The Loar is the latest entry in our must-have archtop line; smooth clean tones alternate with heavy crunch all packed in a classy tuxedo of a guitar.

The LH-280 has a street price of $499.99 and comes with The Loar's industry-leading lifetime warranty.

Learn more about the LH-280-C here. Check out the entire line of The Loar archtops, flattops and mandolins at theloar.com.

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Exclusive Premiere! No Sir — "C.A.L.I.F.O.R.N.I.A." Music Video

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We're pleased to present the exclusive premiere of No Sir's "C.A.L.I.F.O.R.N.I.A." music video. The track appears on the Santa Rosa hardcore punk band's debut record, The Future Is Bright, which is set to be released August 13 via Twelve Gauge Records.

The Future Is Bright was tracked live at The Atomic Garden studios and engineered, mixed and mastered by Comadre guitarist Jack Shirley.

Check out the video below:

More about No Sir:

From Santa Rosa, California, No Sir (featuring members of Sabertooth Zombie and Creative Adult) hail from within a flourishing circle of current West Coast hardcore punk bands — bands like Ghostlimb, Loma Prieta, Punch, Trash Talk, and Ceremony. Varying in style, these Golden State bands of today are bonded by a general aesthetic: highly artistic and intellectual yet determined to keep things raw, lo-fi, and DIY.

Gut-level music for the thinking man. No Sir are representatives of this modern scene but can also be understood in a historical context, as heirs to the legacy of an older generation of Californians — the extreme hardcore punk bands that have filled the pages of Maximumrocknroll for years, from Dead And Gone to Talk Is Poison to Look Back And Laugh.

If you ask No Sir themselves, they’ll add Wire and Nirvana to their list of influences too. All these reference points are evident on the debut full-length, The Future Is Bright, as the band balance gloomy introspection and forward-charging aggression with a perfect sense of rock songwriting that makes every song as much a hummable hit as a punk rock exorcism.

As for non-musical influences, No Sir list Camus, Sagan, and Lynch, among others, giving a glimpse into the wide range of inspiration that’s hidden behind the music.

Twelve Gauge Records will release the album August 13 as a limited edition, 12” vinyl LP (in three colors) and digital download. A Bay Area stalwart since 2004, Twelve Gauge began by releasing the debut by Heavy Heavy Low Low and went on to put out music by Power, Sabertooth Zombie, Purple Mercy, Throats, and more. Twelve Gauge Records releases are exclusively distributed by Deathwish Inc.

No Sir are confirmed to play The Fest 12 in Gainesville, Florida, this fall. More live dates will be announced soon.

Photo: Sarah Davis

Joe Satriani to Publish 'Strange Beautiful Music: A Musical Memoir' in Spring 2014

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Joe Satriani has announced his first authorized literary project, Strange Beautiful Music: A Musical Memoir.

The book will be published in April 2014 by BenBella Books.

The book, which features firsthand, exclusive interviews, is co-written by Satriani and music biographer Jake Brown (Heart, Motohead, Kenny Aronoff, Rick Rubin). It takes fans on their first authorized tour of the story behind his climb to stardom.

Strange Beautiful Music reveals the creative odyssey that was the writing and recording of a storied catalog of legendary classic albums and hits including Surfing with the Alien, The Extremist, Flying in a Blue Dream, “Summer Song,” “Satch Boogie,” “Always With Me, Always With You,” “Crowd Chant” and more.

Featuring a foreword by Queen guitarist Brian May, this memoir is filled with never-before-seen photos and exclusive interviews with former student Steve Vai, Chickenfoot bandmates Sammy Hagar, Michael Anthony, Chad Smith, producers Glyn Johns, the late Andy Johns, AC/DC producer Mike Fraser and Satriani/Dead Kennedys producer John Cunniberti, among others.

“I’m excited for my fans, through this musical memoir, to get a deeper look inside my creative process in the studio and the stories behind the songs," Satriani said. "We have a great publisher in BenBella and I look forward to the book hitting shelves next year!”

Co-author Jake Brown adds: “Joe Satriani is arguably the Mozart of his generation and the biggest-selling rock instrumental guitarist in Soundscan history. Millions of guitar players around the world have been influenced by the super-human techniques he pioneered behind the six string, and this is the story behind those songs, from “Surfing with the Alien” to “Summer Song” and beyond, through 2013's Unstoppable Momentum. We are grateful for Glenn Yeffeth and everyone on the talented staff at BenBella Books for believing in and giving this book a worldwide publication and look forward to getting this literary journey into fans’ hands!”

The hardcover book will hit stores in April 2014, along with an enhanced ebook. It is set for an international release in the summer of 2014. BenBella Books is publisher of nine New York Times bestselling titles.

Additional Content

Slash to Release 'Nothing Left to Fear' Soundtrack Album October 4

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Slash will release the soundtrack album for the first motion picture he has co-produced, Nothing Left to Fear, October 4, the same day the film opens in select theaters.

The soundtrack was written and produced by Slash and Nick O’Toole. It includes the film score plus two original songs, “Nothing Left to Fear” which features vocalist Myles Kennedy, and an instrumental track called “Welcome to Stull.”

The album will be released exclusively at PledgeMusic.com/slash, which also gives fans access to interviews, song streams, first looks at film art, clips and more. When fans pledge and pre-order the album, they will gain access to one-of-a-kind experiences with Slash, as well as merchandise for the film.

"As a long-time fan of the Horror genre, I want to produce films that are in an older tradition of the genre,” Slash said in a press release. “That is to say, films that leave more to one's imagination, that are psychologically scary and character-driven, and what scares you is more cerebral than superficial. Slasher Films is my vehicle to realize that aim, and Nothing Left to Fear is the first film with more to come."

Due in select theaters October 4 and available on Blu-ray Combo-pack, DVD and On Demand starting October 8, Nothing Left to Fear is a harrowing tale in the spirit of horror films from the 1970s. The movie is inspired by the legend of Stull, Kansas, which is surrounded by Internet folklore proclaiming the town to be one of the Seven Gateways to Hell.

Wendy (Anne Heche), her husband Dan (James Tupper of “Revenge”) and their kids have just moved to Stull, Kansas, where Dan is the new pastor. But in this sleepy community of friendly neighbors, a horrific series of occurrences awaits them: Their teenage daughter (Rebekah Brandes of “Bellflower”) is being tormented by grisly visions. Her younger sister (Jennifer Stone of “Wizards Of Waverly Place”) has been marked for a depraved ritual. And deep within the heartland darkness, one of The Seven Gates Of Hell demands the blood of the innocent to unleash the creatures of the damned. Ethan Peck (“10 Things I Hate About You”) and Clancy Brown (The Shawshank Redemption) co-star in this demonic shocker featuring original music by producer SLASH and inspired by the real-life paranormal legacy of Stull.

Nothing Left to Fear is the first film from Slash’s production company, Slasher Films. It was written by Jonathon W.C. Mills and directed by Anthony Leonardi III.

For more information, visit facebook.com/nothinglefttofearmovie.

Nothing Left to Fear Track Listing

01. The Road to Stull
02. Cold Welcome
03. Lamb's Blood
04. One Choice, Two Fates
05. A Prayer
06. Dark Dreams
07. Sermon
08. The Tooth
09. Retrieval
10. Silent Secrets
11. Pain and Premonition Part 1
12. Pain and Premonition Part 2
13. Observations
14. The Secret Tower
15. Do Your Part
16. Don't Forget
17. A Flash and a Feeling
18. Abduction
19. Bleeding In
20. Urgency
21. Have Faith
22. The Decline
23. Trauma
24. The Blood Lust
25. Our Broken Home
26. Revelations
27. No Safety in Numbers
28. Childhood's End
29. The Fear
30. The Perfect Circle
31. Nothing Left to Fear (featuring Myles Kennedy)
32. Welcome to Stull

Additional Content

Listen: Newsted Premiere New Song, "Ampossible"

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Jason Newsted and his band, Newsted, are streaming a new song — "Ampossible"— and you can check it out below.

The song is from the band's debut full-length album, Heavy Metal Music, which will be released August 6.

Besides Newsted on bass and vocals, the band features Staind guitarist Mike Mushok, guitarist Jessie Farnsworth and drummer Jesus Mendez Jr.

A press release announcing the album describes several tracks, including "the throwback Sabbathian strut of 'Ampossible,' the breakneck gallop of 'Long Time Dead' [and] the full-speed-ahead-charge of breakout single 'Above All'.”

For more about Newsted, visit the band's official website and Facebook page.

NEWSTED ON GIGANTOUR:

July 18 Bloomington, IL @ US Cellular Coliseum
July 19 Milwaukee, WI @ Eagles Ballroom
July 22 Winnipeg, Canada @ MTS Center
July 23 Regina, Canada @ Brandt Center
July 25 Calgary, Canada @ Stampede Corral
July 26 Edmonton, Canada @ Rexall Place
July 27 Dawson Creek, Canada @ EnCana Events Centre
July 29 Abbotsford, Canada @ Abbotsford Entertainment & Sports Centre
July 30 Everett, WA @ Comcast Arena
Aug 1 West Valley City, UT @ Maverik Center
Aug 2 Broomfield, CO @ 1st Bank St
Aug 4 Fargo, ND @ Scheels Arena
Aug 9 Camden, NJ @ Susquehanna Bank Center
Aug 10 Heavy MTL Montreal, Canada @ Parc Jean Drapeau*
Aug 11 Toronto, Canada @ Molson Canadian Ampitheatre
* show is not part of Gigantour

Takamine Introduces Redesigned G Series Line of Acoustic Guitars

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Featuring acoustic and acoustic-electric models, the new G Series is available in a wide variety of body styles that include traditional designs and Takamine-exclusive designs such as the popular NEX and FXC body styles.

The new G Series guitars are available in a variety of choice tonewood combinations that appeal to a wide range of players and for a wide range of musical styles. Most models feature select solid spruce or solid cedar tops with quartersawn “X” bracing. Back and side materials comprise fine tonewoods such as mahogany, figured maple and rosewood, with some models featuring a popular and stunning three-piece rosewood/quilt maple back.

Exclusive Takamine design elements are visible throughout the new line, with features such as pin-less and split-saddle bridges for superior intonation and convenient string changes.

Acoustic-electric models feature acclaimed Takamine electronics such as the TK-40D and TP-4TD preamp systems, which feature built-in electronic tuners and a host of tone-shaping controls that offer players convenience, versatility and exceptional amplified sound.

“Takamine G Series guitars have always represented high quality and exceptional value,” says Dave Gonzalez, Takamine product manager. “And now they’re even better, with great new looks and features at price points that are more accessible than ever before.”

Pricing for new Takamine G Series guitars ranges from $259.99 to $859.99 (MSRP). Visit Takamine.com for more information.

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Beyond the Fretboard: Knowing "a Ton of Scales" Made Simple, Part 1

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We all know the true measure of an accomplished guitarist is not dependent upon how many scales he or she can blaze through.

Instead, it's much more enjoyable to hear a player who has great command and control over just one or two scales. Many of the greats did not possess encyclopedic knowledge of music theory, and it didn't seem to hinder their progress or creativity.

Jimi Hendrix might not have been aware of the Lydian dominant scale — but does that diminish his ability? I think we all know the answer to that question. The man internalized the blues and pentatonic scales to the point where every note he played sounded so tasteful, deliberate and powerful.

With all of that being said, I do want to talk about how knowing many scales can be a much less daunting proposition than you might think. The key is in understanding how various concepts in music theory are connected to each other. The more you go down this path, the more you'll realize no piece of music theory truly functions in isolation. And it is these connections that will make the learning of various scales relatively painless.

Let's start with the concept of modes. Without getting stuck in the music theory weeds, modes are essentially scales. You can play them over an appropriate chord progression and they will help guide you through your improvisations. What makes modes unique is their relationship with what is sometimes referred to as a parent scale.

The best example of this is the major scale. You might've heard the saying that the major scale is the "mother of all scales." This doesn't mean it's the coolest scale, but it is an accurate description of its role in modal structure and music theory as a whole. The role is that of a parental figure.

Some of you may know that all music intervals are derived from the clean and pristine numbering system of the major scale. It's a seven-note scale that is simply numbered 1, 2, 3, 4, 5, 6, 7. The eighth note is called the octave, which is always the same note as the root, just higher in pitch. Every other scale that exists will ultimately be compared back to the major scale.

For example, the melodic minor scale is almost identical to the major scale, except for the third note in its sequence. Because this third note deviates from our reference point (the major scale), we can't simply label it as "3." Instead, we refer to it as a flat 3rd (or minor 3rd) to indicate that it is a half step lower in pitch than the major scale's third note. This is how the entire intervallic system is constructed, all relating back to the major scale. This example is illustrated in the diagrams below.

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Getting back to modes, the major scale also acts as a parental figure in modal construction. Let's say we're playing the major scale in the key of C. The seven notes we'll play will be C, D, E, F, G, A, B. Remember, this is based on "C" being the root note, or the tonal center. It is the focal point of resolution. What if we decided to use a different note as the tonal center while maintaining the same family of seven notes? This is the crucial component to understanding the nature of modes.

Let's now use "A" as the root and see what happens. Those same seven notes that now orbit around the tonal center of "A" become the minor scale (also known as the Aeolian mode or natural minor). So you see, the minor scale is not considered a parent scale in this context, which might surprise some of you.

In today's climate, we're all used to the major, minor and pentatonic scales being front and center in our musical landscape. But the natural minor and pentatonic scales play a somewhat subordinate role and can be easily derived simply from the major scale. Think about it this way: The natural minor scale can always be found within a major scale by shifting the tonal center to the sixth note in the major scale's sequence.

And the minor pentatonic scale is simply a shortened version of the natural minor scale (five notes instead of the full seven). Likewise, the major pentatonic is basically the major scale — minus two notes. This eases the burden of having to memorize four individual scales and instead helps us to use a more cohesive and unified approach.

Take a look at how this concept might look in the diagrams below.

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In my next column, we'll use this approach to take on what would have been an overwhelming task, but now might seem more manageable: the introduction to more than 20 different scales. To be continued ...

Chris Breen is a New Jersey-based guitarist with 14 years of experience under his belt. He, along with his brother Jon (on drums) started the two-piece metal project known as SCARSIC in 2011. Due to a lack of members, Chris tracked guitars, bass and vocals for their self titled four-song demo (available on iTunes, Spotify and Rhapsody). They have recently been joined by bassist Bill Loucas and are writing new material. Chris also is part of an all-acoustic side project known as Eyes Turn Stone. Chris teaches guitar lessons as well (in person or via Skype). If you're interested in taking lessons with Chris, visit BreenMusicLessons.com for more info.


Volbeat Premiere Music Video for "Lola Montez"

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Volbeat have premiered their new live performance music video for "Lola Montez."

You can check it out below.

The song comes off their latest album, Outlaw Gentlemen & Shady Ladies, which was released earlier this year.

Schecter Guitars Named Official Guitar Sponsor for Aftershock Festival

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Schecter Guitars has signed on as this year's official Aftershock guitar sponsors.

Schecter will be on site with the famed Schecter RV showing off their special line of guitars and basses. Schecter will be hosting signings with members of Papa Roach, In This Moment, Asking Alexandria and more artists to be announced later. Schecter will be doing guitar demos, shred contests, VIP ticket upgrades that will get six lucky people to receive a Schecter signed guitar, VIP pass for two days, merch and a meet-and-greet with signing artists.

“At Schecter Guitar Research, we not only strive to help and support our artists, but we also love our fans," says Allen Steelgrave, director of marketing and artist relations at Schecter. "We are always excited when we get to interact with Schecter fans at great festivals like Aftershock.”

For more about Aftershock, visit aftershockconcert.com.

For more about Schecter Guitars, visit schecterguitars.com.

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From the Archive: Dimebag Darrell and Zakk Wylde Discuss the State of Metal and Dissolution of Pantera

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Here's an interview with Zakk Wylde and Dimebag Darrell from the March 2003 issue of Guitar World.To see the cover — and all the GW covers from 2003 — check out our 2003 GW covers gallery.

“Okay, Zakk, it’s time!”

As the morning sun begins to break over the Texas hills, Dimebag Darrell thrusts the keys to a waiting sports utility vehicle in Zakk Wylde’s enormous hand.

All through the night, over countless shots of Blacktooth Grin — the particularly potent and tasty mixture of Crown Royal and Coca Cola that flows like water at Dime’s Arlington-area compound — the Pantera guitarist has been psyching up Ozzy Osbourne’s right-hand man for this very moment. Zakk once nearly destroyed a large metallic Christmas tree placed on Dime’s decked-out lawn, and now that the holidays are here again, Dime just won’t be satisfied until Zakk finishes the job.

While Zakk loudly and repeatedly plows the hulking vehicle into the tree, a bespectacled gent in tie and khakis looks on with resigned amusement. A driver for the local limo service, he’s been summoned to take Zakk to the airport in time for the first flight of the day back to Los Angeles. Unfortunately, Zakk is in no hurry to leave. He’s too busy shredding the bottom of the driver’s SUV on the tree’s twisted metallic corpse.

"My truck sure looked nice today," the driver says, "before I brought it over here." He shrugs. "Of course, this sort of thing happens all the time at Darrell's. It's okay — he always pays for it."

Crazy shit seems to happen whenever Zakk Wylde and Dimebag Darrell get together. Zakk's rough bark bears ample evidence of a New Jersey upbringing, and Dime's drawl is pure Dallas. But these guys are bonded by a mutual respect that's totally impervious to geographical differences — and each is impressively capable of egging the other on to perform incredible feats of derring-do, be they musical or alcoholic.

The two met in the late Eighties, around the time that Zakk signed on for his initial tour of duty with Ozzy, and Pantera were first wowing headbangers across the land with their vicious brand of Texas metal. But their hard-working, hard-rocking, hard-drinking, straight-shooting aesthetic still resonates deeply with metal lovers everywhere: not only was Zakk voted Most Valuable Player in this year's Guitar World Reader's Poll but Zakk and Dime finished in the two top slots of the poll's Best Metal Guitarist category.

Don't expect either of these longhaired wildmen to rest on their laurels, however. Having spent much of 2002 on Ozzy's most high-profile tour to date, Zakk has begun mixing a new album from his own band, Black Label Society; titled The Blessed Hellride, the record should hit the racks sometime in spring 2003. The follow-up to 2002's highly acclaimed 1919 Eternal, The Blessed Hellride, Zakk promises, will be "some serious sick shit."

With the future of Pantera currently in limbo (singer Phil Anselmo and bassist Rex Brown have spent 2002 touring with Down, and Anselmo is preparing to return to the studio with Superjoint Ritual), Dime and drummer brother Vinnie Paul have busied themselves with New Found Power, a crushingly heavy project featuring the powerful vocals of former Halford guitarist Pat Lachman.

The brothers have also recorded Rebel Meets Rebel, a country-metal offering, with legendary country-western outlaw David Allan Coe. The album is due out in 2003, as is Riffer Madness, a veritable encyclopedia of Dime bag licks and lessons compiled by Guitar World contributing editor Nick Bowcott. "I just don't want anyone to think that ol' Dimebag Darrell's been sittin' here on his ass," Dime says, chuckling.

In an hour or so, Zakk will stroll down to Dime's garage studio to lay down an incendiary, off-the-cuff solo on one of New Found Power's latest tracks. "I didn't think it would be a problem or nothin'," Dime will say, admiring his pal's spontaneous string-bending display. "He's always so ready to go, man!"

But right now, as Dime's saintly girlfriend Rita pours a round of Zakktooth Grins (a Blacktooth Grin with ginger ale substituted for Coke, as per Zakk's preference), the two friends are convening in Dimebag Manor's memorabilia-packed living room for an animated Guitar World summit on guitar playing, the current state of rock and the future of Pantera. Pull up a chair, grab a cold beverage and try to stay out of the line of fire.

GUITAR WORLD: Guitar World's readers have voted Zakk Wylde Most Valuable Player and Zakk and Dimebag Darrell Best Metal Guitarists for 2002. What do you think that says about our readers?

ZAKK WYLDE: That they love heavy shit and drinkin' booze — that's why they like us!


DIMEBAG DARRELL: I say thanks a fuckin' million, right out of the chute. And I just want to say that Zakk Wylde is easily the best, most well-rounded player in every category, and he wholeheartedly deserves the Most Valuable Player award, hands down. He's the hardest workin' motherfucker in rock and roll, period. He does double duty — he does Black Label, he does Ozzy. He's been nonstop since he showed his face in the first place, and he keeps taking it to a new level. He's done scared everybody else the fuck off, so nobody else is even gonna try, you know? [laughs]

ZAKK: The first time I heard Pantera, I thought, Jesus Christ! I still think that, to this day, Pantera is the heaviest fuckin' band on the planet, but it's not just heavy for the sake of bein' heavy; it's got groove to it, and it's pure musicianship at the same time. And what I'd say about Dime is, you can't get that good unless you work at it. You can tell he put the hours in and the practice in, and drew from so many of the great players. You surround yourself with greatness — the Randy Rhoadses, the Van Halens, the Tony Iommis — and you'll be in the right ballpark. Or the right zip code, anyways!

DIME: Maybe that's kinda what ties us in — we come from pretty much the exact same school.

ZAKK: When I was growin' up, to be the big gun on the block you had to know how to play Randy's stuff, Eddie's shit, or anybody that was cool. I mean, I'm not a big Dokken fan, but I'll tell you right now: George Lynch can throw down. It wasn't like superheavy metal shit, but you listened to George Lynch's solos, his vibrato and everything, and it was like, "What the fuck's he doing?" Me and Dime came up at the end of the Eighties, when all that stuff was kind of fizzling out.

DIME: [laughs] The three-handed technique was goin' out of style!

ZAKK: Guitar, with Yngwie and everything like that, kind of hit a ceiling where it couldn't go any further and had to start over again. And that's when GN'R came out, and Slash brought it back to more feel and more rock and roll, you know? Which was awesome. And then, of course, the grunge thing came in, but Jerry Cantrell was still doin' solos. The guitar thing is comin' back around, too. I mean, you'll always have me and Dime playin' solos on our records. But what's gonna happen is, some 19- or 20-year-old kid is gmma come out with some cool kick- ass band, and he's gonna make some 15-year-old kid wanna pick up a guitar and learn how to do a solo.

When Van Halen first came out with "Eruption," every town had some kid who knew how to play the song in its entirety. Nowadays, no one seems to be coming up with solos that inspire kids in the same way.

ZAKK: Put it this way: I love Ozzfest because Ozzy and Sharon started the whole thing to promote metal. But two summers ago — I was actually laughing — I was telling Freddy McTaggart, who does my guitars," I think Dime and I are the only motherfuckers on this whole tour that actually can get up from low E to high E and back safely!" [laughs] We were sitting out there watching Pantera just blow the fucking stage up and Dime just shredding all sick and fucking insane. I was watching the other bands, and no one else was playing solos! And it's just like, why wouldn't you want to get better? I don't understand that.

DIME: I'm into the whole song-as-a-piece-of-music thing: if it literally doesn't call for it, if it already has enough stuff going on, then it's okay not to play a solo. I've tried to force a solo before, but sometimes it's like, "That thing don't really fit, man! " You know, you end up on a groove part that's powerful, I understand that. But let's have some fuckin' action out there! There's more to it than two or three strings on the low-end side, you know?

I mean, I could see how some people might hear some of the shit Zakk does and say, ''I'm not ever gonna catch up, so why even try?" And that's the wrong way to look at it, if you ask me, man. You ain't gonna catch him, but why not do your own thing? Like I always say, the thick strings are a fuckin' nut in themselves, what with all that chugging and grinding. But to really express yourself, you have to get out on them high strings and bend them motherfuckers. Get out there and play some shit! There ain't nothing wrong with it. I can never understand how a solo could ever be "uncool." Play something good and it won't be uncool, you know?

ZAKK: When you listen to Randy Rhoads do a solo, or Eddie, or Jimi Hendrix or Jimmy Page, it brings the song to another spot. It's not like he's just going, ''I'm the guitar player — I've gotta put a solo here."

DIME: That's not what we're saying — we're not saying, " Play the solo for the fuck of it, dude, just so you could say you did it!" But goddanm, you can't tell me that on a whole CD, from start to finish , there's no place for somethin' badass to be played over the top. And for music lovers, man, where we come from, I'm wantin' to hear some of that shit, you know'


This past year, a number of popular guitar bands like the Hives, the White Stripes and the Vines seemed to take pride in playing few, if any, solos at all.

ZAKK: The only thing I think is really cool about that stuff is that it's guitar based. They're not doing solos, but thank fuck it's not, like, tons of Pro Tools. The bands are actually performing live, and the shit's actually kind of a little out of tune, but that's how it is — that's how a fuckin' rock and roll band sounds, you know? It shouldn't be perfect.

At least the Hives have two guys plugging their guitars right into the fuckin' amp, and the bass player's got a P-Bass or whatever, and they're just grinding it out. It's just meat-and-potatoes shit, like the Kinks on steroids. But at least they're a band, and they're writin' their own shit, as opposed to songwriters writing their music for 'em. The whole joy of being a real musician is writing your own music, you know what I mean? Backstreet Boys, 'NSync, all those bands — in Black Label, we call 'em "skin puppets," man, because that's what they are. They ain't real musicians.

DIME: But that's for somebody else, man. It ain't something for real music lovers at all. It's just a form of entertainment for some kids, you know what I mean?

ZAKK: I agree. But you look at Jimi Hendrix, Jeff Beck, Jimmy Page… I mean, Jimmy Page wasn't exactly Al Di Meola, but you can't take his songwriting away from him. Like "The Rain Song"— you can't take the fucking "Rain Song" away from Jimmy Page! He wrote that! Or Randy Rhoads playing "Over the Mountain." Or Eddie Van Halen playing "Eruption" or "Hear About It Later" -- not only did he perform it, he wrote it and played it! That's a real fucking musician. Bach, Mozart — all the greats always write their own shit, I don't care what anybody fucking says.

In our poll, among the Biggest Disappointments of 2002 was “No new albums by Metallica, Pantera, Van Halen or Guns N' Roses." Discuss.

ZAKK: The Guns N' Roses thing: I think Ax! should call up the old guys. No disrespect to the new guys, but the original Guns N' Roses lineup was flat-out one of the greatest bands that's ever been. It's just like, call the guys. I mean, how hard could it be to get Slash on the phone? Get the original lineup together, and make a fucking album that pisses all over Appetite for Destruction, and get it on. End of story, you know? That would be my biggest disappointment for the past year, and now that he's canceled all the fucking shows… the world's waiting for it to happen, you know? I think he's a great guy, and I think it could be massive. But then again, it's up to him.

DIME: Well, all I can say is, it's a touchy thing for me. If it's a disappointment that there ain't a Pantera record, I just want to let everybody know that it ain't because Dimebag Darrell ain't sitting here with a fucking cocked-and-loaded shotgun, ready to pull the fucking trigger. I've been waiting, ready to roll; so's my brother. Them cats [Phil and Rex] want to go do their thing. I've got a prepared statement I wanna lay on you, and I'd appreciate it if you'd print it verbatim, just like it is. That'll clear up the situation.

ZAKK: Pantera is the heaviest fuckin' band on the planet, brother!

DIME: Man, it's the only goddamn thing I ever gave a fuck about in my life, and it's an odd situation right now. It's not me holding anything back, that's all I can say. I respect the Pantera fans with all my heart. They've been so great to us for so long. Tell you, this last year has sucked the fucking biggest dong in the world for me and my brother. Since 9/11, it's just not been a good time. There's been a ridiculous amount of horseshit, and we're just ready to let this year pass on by I've had to reach inside, find my strength, get my shit together, figure out what I've gotta do, what I was born on this earth to do. It sucks, man. I miss the fans, I miss the music. But that's all right; we're gettin' some shit rolling, and it's coming.

What are your hopes and dreams for 2003?

DIME: Hopes and dreams for 2003? To have a better year than 2002! I'm looking forward to a better year, period -- gettin' back out and fuckin' rippin', comin' out with a kick-ass new record with New Found Power, and not lettin' anybody down, just goin' out there and throwin' down, doin' what I fuckin' do. This is what I'm meant to do, you know?

ZAKK: You wanna tell them about the album we were talkin' about doin' with you, me and Eddie Van Halen?

DIME: Break it out, dude!

ZAKK: We were sittin' there talkin' one day, and my wife just goes, "Why don't you and Dime make a guitar record together? I mean, you are guitar players, you're old friends. Why don't you just make a record together?" I said, "Yeah, it'd be a fuckin' piece of cake. We could put this thing together and then tour venues like the House of Blues, or whatever. We'd need a third guy, though." And my wife goes, "You're gonna have to call Eddie Van Halen for this one!"

DIME: Zakk done rang his ass and woke his ass up in the middle of the night! [laughs]

ZAKK: When we were on the Ozzfest, I'd call him up loaded. [laughs] I called him, he hung up; called him, he hung up; called him, he hung up; called him, he hung up. Then finally he goes, "What the fuck do you want?" I said, "Dude! We're gonna do this fuckin ' album — me, you and Dime from fuckin' Pantera!" He just goes, ''I've gotta figure out what the fuck's goin' on. I don't even know what's goin' on here at the fuckin' house! What are you fuckin' talkin' about?" It'd be like, everybody writes four songs on the record, and I'll just go, "Dime, what key is this fuckin' thing in?"

DIME: Send things back and forth till the shit's put together.

ZAKK: [to Dime] You've got the studio. We could do it up here, for fuck's sake!

DIME: Hey, strap Eddie down in Dime's compound! Hey man, no disrespect to Ed; if it weren't for Van Halen, I wouldn't be here.

ZAKK: There wouldn't be a fuckin' Pantera, and there wouldn't be a Black Label.

So you're still waiting to hear back from Eddie on that one?

ZAKK: Yeah, but it'd be fuckin' awesome.

DIME [laughs] Let's call him right now!

Additional Content

Review: Hughes & Kettner TubeMeister 36 Combo Amplifier

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The following content is related to the September 2013 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now, or in our online store.

Hughes & Kettner hit a home run with the original, all-tube, lunch box–sized TubeMeister 18 head. Its plug-and-play design, English-inspired tones and low-power options, not to mention its compact chassis and chic illuminated front panel, made it a sensation worldwide. Naturally, it spawned a family of amplifiers, the latest of which is the three-channel, 36-watt TubeMeister 36 combo. It features the same amplification found in the TubeMeister 36 head with the convenience of a self-contained 1x12 combo.

Guitar World Editor-In-Chief Performing with Izzy Zay in NYC!

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Former Joan Jett & The Blackhearts guitarist — and 2012 Rock and Roll Hall of Fame nominee — Ricky Byrd and the Skeleton Crew will perform 9 p.m. Wednesday, July 24, at Blackthorn 51, 80-12 51st Ave., Elmhurst, New York.

Also on the bill are Izzy Zay, featuring Guitar World Editor-in-Chief Brad Tolinski on guitar, plus the Planets, Shattersound and Meterona!

Admission is $10, but if you mention "Guitar World" at the door, you'll get in for free!

Doors: 7 p.m.
Show: 7:30 p.m.

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Exclusive Video: Five Finger Death Punch Present 'Wrong Side of Heaven,' Track by Track, Episode 4

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Today, GuitarWorld.com presents the exclusive premiere of the fourth episode of Five Finger Death Punch's new "track by track" video series.

In the clip below, the 5FDP crew preview two new tracks — "Anywhere But Here" and "Dot Your Eyes"— from their upcoming album, The Wrong Side of Heaven and the Righteous Side of Hell, Volume 1, which will be available July 30.

The Wrong Side of Heaven and the Righteous Side of Hell, Volume 1 is available for pre-order on iTunes and Amazon. There's also a deluxe edition of the album (available for pre-order here) that comes with a bonus 15-track live CD, Purgatory [Tales From The Pit]. The physical pressing of the album also comes with a redeemable limited-edition T-shirt.

A collectible limited-edition set featuring a 5FDP lunch box, the deluxe version of the album with the bonus live CD, plus assorted collectible items, can be checked out on the band's web store.

The track listing of The Wrong Side of Heaven and the Righteous Side of Hell, Volume 1 is"Lift Me Up" (featuring Rob Halford of Judas Priest) | "Watch You Bleed" | "You " | "Wrong Side Of Heaven" | "Burn MF" | "I. M. Sin" | "Anywhere But Here" (featuring Maria Brink) | "Dot Your Eyes And Cross Your Teeth" | "M.I.N.E. (End This Way)" | "Mama Said Knock You Out" (featuring Tech N9ne) | "Diary Of A Deadman" | "I.M. Sin" (featuring Max Cavalera) | "Anywhere But Here" (Duet with Maria Brink) and "Dot Your Eyes And Cross Your Teeth" (featuring Jamey Jasta).

Five Finger Death Punch are co-headlining this summer's Rockstar Engergy Drink Mayhem Festival alongside Rob Zombie. For all the Mayhem dates, visit rockstarmayhemfest.com. In the fall, FFDP are kicking off a headline Canadian tour. For their full itinerary, visit fivefingerdeathpunch.com/tour.

For more about Five Finger Death Punch, visit their official website and Facebook page.

Photo Gallery: John Varvatos Fall 2013 Campaign Features Willie Nelson and Sons

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The new campaign for the John Varvatos brand pairs country music legend Willie Nelson (who recently celebrated his 80th birthday) with his two sons, Lukas and Micah Nelson, also emerging artists.

The black and white images were shot in Des Moines, Iowa, by photographer Danny Clinch at the historic Salisbury House, where the three sharply dressed Nelsons epitomize a stately family portrait.

Nelson is one of the most recognized American singer-songwriter icons as well as a celebrated author, poet, actor and progressive activist. In the late 1960s and early '70s, Willie was one of the main figures of outlaw country, a subgenre that developed as a reaction to conservative Nashville sound and recorded the critically acclaimed album “Red Headed Stranger.”

He grew up during the Depression, wrote his first song at age seven and joined his first band at 10. In the '80s, Willie had a series of hit songs including “On the Road Again” and “To all the Girls I’ve Loved Before.” Now based in Austin, Texas, and Maui, Hawaii, Willie is married to Annie D’Angelo, mother of his two youngest sons, Lukas and Micah.

Willie is on a North American tour and gearing up for his annual Farm Aid benefit concert to be held in upstate New York in September. The 24-year-old Lukas Nelson leads the American rock band Promise of the Real and along with brother Micah, they regularly collaborate, tour and perform with their father. Micah Nelson, 23, has his own band Insects vs. Robots and performs acoustically as the Particle Kid.

Willie Nelson says, “John Varvatos and his team are great — his clothes look and feel good on your skin and are made for every man…and his sons.” His son Lukas Nelson adds,"It was a great pleasure to get to know John and hang with him. We all seem to have a similar outlook on life and it was nice to have my whole family together in the same room for this shoot." His brother Micah Nelson comments, "When you dress sharp in John Varvatos, it’s easy to feel like the biggest gangster badass in the room. It was a special day.”

The full campaign was shot at the 1920s historic museum Salisbury House in Des Moines, Iowa. Known for its outstanding Tudor Revival architecture, rare decorative art, and inspiring landscape, Varvatos felt this location was the perfect backdrop for the campaign’s 3-minute 16-second short film, which premiered JohnVarvatos.com on July 9.

Photographer Danny Clinch adds, “Willie Nelson is classic and timeless. He stands for living your life on your own terms and being respected for it. He will never go out of style. This was yet another great opportunity for our team to work with someone we admire. The shoot showed the strength of the Nelson bond and the film showed the camaraderie and special heartfelt connection between father and sons.”

“In all the iconic music ad campaigns we have shot over the last eight years, I have never been so moved as I was working with Willie Nelson and his sons,” says designer John Varvatos. “Willie is a true American Icon and it runs deep in the bloodline. I am proud to be friends with Willie and his beautiful family.”

In the brand’s Fall 2013 campaign, Willie wears a John Varvatos black “Hampton” two-button notch lapel tuxedo, white French cuff shirt with wing collar, eyewear and his own boots. Lukas wears a John Varvatos black “Austin” one-button peak lapel tuxedo, black double-breasted vest, silk micro-polka-dot scarf, blue velvet boots and eyewear. Micah wears a John Varvatos black “Hampton” two-button notch lapel suit, black dress shirt and pinstripe vest, silver skinny tie with black and white “Fleetwood” boots.

For more information, visit johnvarvatos.com.


Take the Boss Pedal Survey and Enter to Win a New TE-2 Tera Echo

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The guys at Boss pedals have launched an online survey. When you fill it out, you automatically enter for a chance to win a TE-2 Tera Echo, the company's 100th pedal.

If you get a chance, take a moment to tell the company about your history with Boss pedals.

All survey entries must be received by July 31, 2013. The winner will be announced on or about August 10, 2013.

The TE-2 delivers new effects that go beyond traditional reverb and delay processing. MDP produces a deep and spacious sound, dramatically enhancing the straight guitar tone without overwhelming it.

With simple, familiar stomp box controls and incredible dynamic sensitivity, an extremely wide range of inspiring sounds can be achieved. In addition, the TE-2’s expressive Freeze function allows players to hold the current effect sound for lead backing and unique sound effects.

The TE-2 also has the distinction of representing the 100th model in the long history of the Boss compact series, starting with the release of the OD-1 Overdrive in 1977.

Check out the survey and contest information RIGHT HERE.

Greatest Guitar Solos of All Time Readers Poll: Round 2 — "Texas Flood" (Stevie Ray Vaughan) Vs. "Bohemian Rhapsody" (Brian May)

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A few years ago, the editors of Guitar World magazine compiled what we feel is the ultimate guide to the 100 Greatest Guitar Solos of All Time.

The list, which has been quoted by countless artists, websites and publications around the world, starts with Richie Sambora's work on Bon Jovi's “Wanted Dead or Alive” (100) and builds to a truly epic finish with Jimmy Page's solo on "Stairway to Heaven" (01).

To quote our "Stairway to Heaven" story that ran with the list, "If Jimmy Page is the Steven Spielberg of guitarists, then 'Stairway' is his Close Encounters."

In June, we kicked off a summer blockbuster of our own — a no-holds-barred six-string shootout. We pitted Guitar World's top 64 guitar solos against each other in an NCAA-style, 64-team single-elimination tournament. Every day, we asked you to cast your vote in a different guitar-solo matchup as dictated by the 64-team-style bracket. Now Round 1 has come and gone, leaving us with 32 guitar solo and 16 (sweet) matchups.

You can vote only once per matchup, and the voting ends as soon as the next matchup is posted (Basically, that's one poll per day).

In some cases, genre will clash against genre; a thrash solo might compete against a Southern rock solo, for instance. But let's get real: They're all guitar solos, played on guitars, by guitarists, most of them in some subset of the umbrella genre of rock. When choosing, it might have to come down to, "Which solo is more original and creative? Which is more iconic? or Which one kicks a larger, more impressive assemblage of asses?"

Yesterday's Results

Winner:"No More Tears" (57.81 percent)
Loser:"Floods" (42.19 percent)


Today's Round 2 Matchup (6 of 16)
"Texas Flood" Vs. "Bohemian Rhapsody"

Today, we go from "Floods" to "Texas Flood" (13) as Stevie Ray Vaughan's famous 1983 blues guitar solo goes head to head with Brian May's classic solo on Queen's "Bohemian Rhapsody" (20). Get busy! You'll find the poll at the bottom of the story.

13. “Texas Flood”
Soloist: Stevie Ray Vaughan
Album: Texas Flood (Epic, 1983)

When Stevie Ray Vaughan and Double Trouble walked into Los Angeles’ Down Town Studio in November 1982 to take advantage of 72 free hours of time offered by studio owner Jackson Browne, they had no idea they were about to start recording their debut album. “We were just making tape,” recalls drummer Chris Layton. “We hoped that maybe we were making a demo that would actually be listened to by a real record company.”

The first 24 hours were spent getting settled in L.A., and in the second and third days the band cut 10 songs—which became Texas Flood, in its entirety. “It really was just a big warehouse with concrete floors and some rugs thrown down,” says bassist Tommy Shannon. “We just found a little corner, set up in a circle looking at and listening to each other and played like a live band.” The trio recorded two songs the second day and eight the third—including “Texas Flood,” a slow blues, written and recorded by the late Larry Davis in 1958, which had been a live staple of Vaughan’s for years. It was the final tune recorded, cut in one take just before the free time ran out.

“That song and the whole first album captures the pure essence of what Stevie was all about,” says Layton. “Countless people would tell Stevie how much they loved his guitar tone on Texas Flood. There was literally nothing between the guitar and the amp. It was just his number-one Strat plugged into a Dumble amp called Mother Dumble, which was owned by Jackson Browne and was just sitting in the studio.

The real tone came from Stevie, and that whole recording was just so pure; the whole experience couldn’t have been more innocent or naive. We were just playing. If we’d had known what was going to happen with it all, we might have screwed up. The magic was there and it came through on the tape. You can get most of what the band was ever about right there on that song and that album.”




20. “Bohemian Rhapsody”
Soloist: Brian May
Album: Queen—A Night at the Opera (Hollywood, 1975)

“Freddie [Mercury] had the whole piece pretty well mapped out, as I remember, but he didn’t have a guitar solo planned. So I guess I steamed in and said, ‘This is the point where you need your solo, and these are the chords I’d like to use.’

The chord progression for the solo is based on the verse, but with a slight foray into some different chords at the end, to make a transition into the next part of the song. I’d heard the track so many times while we were working on it that I knew in my head what I wanted to play for a solo. I wanted the guitar melody to be something extra, not just an echo of the vocal melody. I had a little tune in my head to play. It didn’t take very long to record.

“The next section of the song, the heavy bit, was really part of Freddie’s plan. I didn’t change what he had very much. Those guitar riffs that everybody bangs their heads to are really more Freddie’s than mine. And at the end of that section, I sort of took over. I wanted to do some guitar orchestrations—little violin lines—coming out of that. And it blended in very well with what Freddie was doing with the outro.

“We were stretching the limits of technology in those days. Since ‘Bohemian Rhapsody’ was entirely done on 16-track, we had to do a lot of bouncing as we went along; the tape got very thin. This ‘legendary’ story, which people think we made up, is true: we held the tape up to the light one day—we’d been wondering where all the top end was going—and what we discovered was virtually a transparent piece of tape. All the oxide had been rubbed off. It was time to hurriedly make a copy and get on with it.”

[[ When you're done voting, start learning every guitar solo in this poll — and more! Check out a new TAB book from Guitar World and Hal Leonard: 'The 100 Greatest Guitar Solos of All Time: A Treasure Trove of Guitar Leads Transcribed Note-for-Note, Plus Song Notes for More Than 40 of the Best Solos.' It's available now at the Guitar World Online Store for $29.99. ]]

Cast Your Vote!

Head HERE to see today's matchup and all the matchups that have taken place so far!

Additional Content

Video: Richie Kotzen Demos Roland CUBE Lite Guitar Amplifier

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In this new video created and posted by Roland, Richie Kotzen (Poison, Mr. Big, the Winery Dogs) demonstrates the Roland CUBE Lite guitar amplifier. He also discusses how he uses it with the CUBE JAM app to prepare for performing live on tour.

The following info is from Roland:

Combining great COSM guitar tones, iOS interfacing, and a quality 2.1 Channel audio system, the CUBE Lite Guitar Amplifier lets you play and record at home along with your iPhone, iPad, or iPod touch. Connect your iOS device to the i-CUBE LINK jack and launch the free CUBE JAM app, then riff along with backing tracks and record your playing to share your music and archive song ideas.

With stereo speakers and an integrated subwoofer, you’ll enjoy rich, satisfying sound reproduction for both guitar playing and casual music listening. And with an attractive look that blends with any home décor, the CUBE Lite Guitar Amplifier can occupy a permanent spot in your living space, always at the ready when you want to plug in and jam.

• Compact guitar amp with a stylish look for home living spaces
• JC CLEAN, CRUNCH, and EXTREME COSM tones, plus stereo chorus and reverb effects
• Great-sounding 2.1 Channel audio system, with stereo speakers and integrated subwoofer
• i-CUBE LINK jack provides simple audio interfacing with Apple’s iPhone, iPad, and iPod touch
• Free CUBE JAM app for iOS plays songs and minus-one jam tracks, and lets you record the CUBE Lite’s COSM amp tones along with music playback
• Includes cable for two-way communication (playback and recording) with iOS devices
• Available in three colors: black, white, or red

For more information, visit roland.com/products.

Additional Content

Gig Review: Rodrigo y Gabriela at the Hollywood Bowl

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The Mexican acoustic guitar duo of Rodrigo Sanchez and Gabriela Quintero, better known as Rodrigo y Gabriela, stopped off at the Hollywood Bowl July 14 as part of their summer US tour.

Aside from its beautiful Hollywood outdoor hillside setting, one of the unique aspects of this venue is its relaxed attitude toward attendees bringing their own food and liquor. This is something crowds don’t often get to do elsewhere, so it was no surprise that many members of the crowd were indulging in a bit of wining and dining with friends and family before show and during the opening acts. It made for an enjoyable setting and got everyone in the right spirit, ready and eager to enjoy the headliners.

The opening acts, Lord Huron and DeVotchka, were done by 8:45 p.m., and it was time for Rodrigo y Gabriela to take the stage. The duo appeared at 9 p.m., walked all the way up to the edge of the stage and sat down to begin their 90-minute set.

It wouldn't be an exaggeration or an overstatement to say the set was magical; the sheer range of musicianship they displayed on those acoustic guitars was incredible. Not only was their guitar playing impressive, but they also tapped on the guitars' bodies, using them as percussion instruments.

The set included songs from all their studio albums, plus some new, unreleased material. These new songs sounded more intense than anything they’ve put out so far and treated this very well-behaved and appreciative crowd to a teaser for the next album, which is due in 2014.

Both Rodrigo and Gabriela got their solo time on stage too, during which they showcased their individual talents. Gabriela was somewhat avant garde in her approach, particularly with her use of a wah pedal with an acoustic guitar. Rodrigo was more about the crowd interaction as he stepped outside the stage and walked along the wall that separated the front of the audience section from the rest of the crowd, even as he continued playing the guitar. For a couple of songs they were joined by piano player Alex Wilson, who provided a slightly different, symphonic touch to their set, albeit briefly.

In addition to earning the admiration of this enormous audience, they induced some laughter when they addressed the crowd in their slightly broken English. For the duo to maintain the attention of a usually hard-to-please Hollywood crowd throughout this performance was no mean feat. The crowd was in complete silence during the softer, quieter parts of the music and followed the duo’s cue when they were asked to clap along or stand up.

The performance was enhanced by the use of multi-angled visuals that were projected on to the walls of the giant Hollywood Bowl stage as well as on the screens either side of it. All in all, this was a mesmerizing musical exhibition by Rodrigo y Gabriela, and this reviewer enjoyed this version of their live show much more than the orchestrated version from two years ago, simply because it was just them this time.

There really is no accurate genre or term to justifiably define the extent of this duo’s range of musicianship, with touches of Latin rock, jazz, metal, folk and so much more. Even for fans of "heavier" music, Rodrigo y Gabriela’s live music comes across in a manner that makes it as heavy, intense and extreme as anything else out there. If this isn’t true talent, what is?

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Andrew Bansal is a writer who has been running his own website, Metal Assault, since early 2010, and has been prolific in covering the hard rock and heavy metal scene by posting interviews, news, reviews and pictures on his website — with the help of a small group of people. He briefly moved away from the Los Angeles scene and explored metal in India, but he is now back in LA continuing from where he left off.

Stomping Ground: 30 of the Coolest New Stomp Boxes and Tried-and-True Favorites

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Guitar World presents a selection of the coolest new stomp boxes — and a few tried-and-true standbys no guitarist should be without.

Tech 21 Boost Overdrive

Celebrating the classic rock sounds of vintage overdrive pedals from the Seventies, the Boost Overdrive pumps up the midrange and adds sustain.

The sparkle control brings out upper harmonics for an open, snappy sound.

The Boost Overdrive is one in a series of four all-analog effects that includes the Boost Fuzz, Boost Distortion and Bass Boost Fuzz. Each features a Boost function, delivering up to 21dB of clean boost. All the pedals are made in the US.

LIST PRICE: $195 | tech21nyc.com

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Eventide H9 Harmonizer

The H9 Harmonizer includes Eventide’s renowned studio-quality sound and the most popular effects from Eventide’s line of stomp boxes, including the new Ultra-Tap Delay effect. The H9 packs all the Eventide delay, modulation, pitch and reverb effects you need in a small footprint, along with a fast and accurate tuner. It even includes a remote-control app that lets you wirelessly audition and purchase new effects, edit, manage presets and set-up the H9 from an iPhone or iPad.

STREET PRICE: $499 | Eventide.com

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Strymon Mobius Multidimensional Modulation

The mad scientists at Strymon spent countless late nights in their labs forging a collection of the most organic, luscious and versatile modulation effects. The result is the Mobius Multidimensional Modulation, a pedal that captures the warmth and detail of iconic mod effects from the past five decades and pushes their boundaries for new sonic possibilities never heard before. Its sounds range from lush vintage chorus and classic pulsating tremolos to syrupy psychedelic phasers and bit-crushed warbles.

STREET PRICE: $449 | strymon.net/mobius/

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Pigtronix Infinity Looper

The Pigtronix Infinity looping pedal is simple to operate, yet it’s tremendously powerful and flexible. Its latency-free looping provides instantaneous record, playback, dub, undo and redo on two stereo loop pairs.

And thanks to discrete analog limiter stages, transparent analog pass-through and a 24-bit/48kHz HD recording engine, the Infinity Looper sounds downright incredible.

LIST PRICE: $599, STREET PRICE: $449 | pigtronix.com

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Line 6 M9

Tough as nails and easy to use, the M9 Stompbox Modeler is a powerful, portable guitar effect powerhouse jammed with a huge collection of vintage and modern stomp-box effects painstakingly modeled by the Line 6 team. It includes 17 classic distortion and fuzz pedals, 23 modulation effects, a dozen vintage and modern compressors, filters, reverbs, and a complete collection of analog and digital echoes, including Line 6’s famous DL4 Delay Modeler.

LIST PRICE: $559.99; STREET PRICE: $399.99 | line6.com/m9/

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Visual Sound Time Bandit

The Time Bandit converts any click-track signal into a tap-tempo signal that you can plug directly into your time-based effects. Connect a click track to the Time Bandit, then connect the output to your processor’s tap-tempo input. The Time Bandit can also act as a bpm generator and send tempo information to the pedal, with no tapping required.

STREET PRICE: $99.95 | visualsound.net

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Bogner Amplification Ecstasy Red

The Ecstasy Red pedal captures the Red Channel tone of Bogner’s legendary Ecstasy amplifier, famous for its incendiary higher-gain crunch and lead tones.

The Red pedal features interactive controls for gain and EQ, allowing it to deliver a wide range of expressive tones, from vintage overdrive to ripping modern high gain.

The Red pedal is ideal for aggressive playing styles and boasts the outrageous heavy tones for which Bogner amps are known.

LIST PRICE: $299.99 | BognerAmplification.com

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Boss TE-2 Tera Echo

The TE-2 Tera Echo is Boss’s 100th compact pedal, and it’s the first to include Multi-Dimensional Processing, which analyzes audio signals and applies the ideal amount of processing. This allows for deep and spacious sounds that enhance guitar tones without overwhelming them. The TE-2 features a familiar control set and dynamic sensitivity for a wide range of inspiring sounds, and its freeze function allows it to hold the current sound while you solo over it or use it for unique effects.

LIST PRICE: $291.50 | BossUS.com

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Ibanez ES2 Echo Shifter

Ibanez’s AD9 pedal is one of the best-loved analog delay pedals of all time. Now the company brings that same great sound to the ES2 Echo Shifter. Along with its golden-age-of-analog design, the ES2 analog “bucket-brigade” circuitry delivers warm sonic character in its delays and tap-tempo-on-the-fly tempo adjustment.

LIST PRICE: TBD | Ibanez.com

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Caroline Guitar Co Icarus

The Icarus features more than 21db of tapered boost, and you can put this boost pedal in front of your overdrives for creamier gain or after them for ideal lead guitar tones. The Icarus is made by hand in the U.S.

STREET PRICE: $135.99 | carolineguitar.com

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Vox StompLab 2G

Vox’s StompLab 2G multieffect guitar pedal provides amp and effect modeling in a compact and roadworthy metal unit. Its expression pedal can control wah, volume and effect parameters, and it has 100 preset programs identified by a musical style (e.g. rock, metal) to make it easy to find the perfect sound. The StompLab 2G has 104 effects, including amp, drive, cabinet, modulation, delay and reverb (plus noise reduction), and up to eight effects can be used simultaneously. Extras include a chromatic tuner, headphone out and battery operation.

LIST PRICE: $89.99 | voxamps.com

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Blackstar HT-Drive

Blackstar’s HT-Drive tube-driven guitar pedal runs at high voltage (300V HT) to deliver the ultimate overdrive experience, with gain from warm boost to screaming valve saturation. The unique A-Class tone control cuts the high-end fizz without making your tone sound dull and lifeless when you back off. It also offers a no-compromise speaker-emulated output and silent output. And because it responds like a tube amp, the HT-Drive gives you genuine overdrive, with no compromises.

LIST PRICE: $179.99 | blackstaramps.com

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TC Electronic Ditto Looper

The TC Electronic Ditto Looper is the first looper to combine compact design with a simple and intuitive feature set, great sound quality and functionalities designed for guitarists. The Ditto Looper features true bypass, analog dry-through, five minutes of looping time, 24-bit uncompressed super-high audio quality, an undo/redo function to help build songs, unlimited overdubs and an ultra-small footprint.

LIST PRICE: $129 | tcelectronic.com

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MXR Talk Box

The MXR team has fine tuned the classic Talk Box effect for modern gigging convenience and tone sculpting, all while maintaining the unmistakable sonic character that made the effect legendary. The new Talk Box is compact and has its own amp and speaker driver, so you don’t have to lug around a separate rig. It features volume, tone and gain controls to let you add texture to your Talk Box voice, and it comes with an 18-volt power supply, an eight-foot tube and a mic-stand clip.

LIST PRICE: $298.68; STREET PRICE: $169.99 | jimdunlop.com

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Dunlop Fuzz Face Minis

Fuzz Face Minis provide legendary Fuzz Face tones in smaller housings and with modern appointments, including true-bypass switching, bright status LEDs, AC power jacks and battery compartment doors. The Fuzz Face Mini Silicon doles out aggressive silicon fuzz, the Fuzz Face Mini Germanium delivers warm germanium fuzz, and the Fuzz Face Mini Hendrix features the same circuit as the JHF1 Hendrix Fuzz Face, serving up the thick, smooth tone that Hendrix made famous.

LIST PRICE: $169.99; STREET PRICE: $99.99 | jimdunlop.com

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Rocktron Reaction Distortion II

The Rocktron Reaction Distortion II pedal combines heavy distortion and gain with a unique voice that’s controllable and adjustable. The pedal is true bypass, and it features a supremely adjustable and dynamic EQ with a high range of sweep on its concentric controls. The focus control adjusts the symmetry of the distortion, and the drive and level controls adjust gain and volume.

LIST PRICE: $139 | rocktron.com

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EarthQuaker Devices The Talons

The Talons is an ultra-flexible dirt machine that can go from clean to crunch and everything in between with a swift turn of the gain control. It adds a powerful active three-band equalization section and top-end contour via the presence control. Unlike other overdrives, the Talons is not designed to emulate any specific sound or era. It can sound glassy and open, gritty and wild, and much more. The Talons is true bypass and handmade with Akron, Ohio.

LIST PRICE: $195 | earthquakerdevices.com

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Electro-Harmonix 45000 Multi-Track Looper

Building on EHX’s looper legacy, the 45000 combines the familiar controls of a digital recorder with state-of-the-art features, making it possible to create complex stereo multitrack loops quickly and easily. Each loop supports four mono tracks and one stereo mixdown track. The 45000 records uncompressed, 16-bit/44.1kHz CD-quality audio direct to a removable SDHC card (four to 32 GB). Each card holds up to 100 individual loops, accessed with the optional 45000 foot controller.

LIST PRICES: $634.94; 45000 foot controller, $159 | ehx.com

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Maxon AD10 Analog Delay

Housed in Maxon’s new Compact Series enclosure, the AD10 has 600 milliseconds of pure analog delay with a warm yet crisp delay tone. The AD10 features Maxon’s proprietary low-noise circuit with zero distortion on delay repeats. Short delay settings create rich, natural reverb effects while longer settings offer a clear and brilliant delay sound. It can be used in combination with other effects or in an effect loop. Higher feedback settings yield self-oscillation and runaway, “spaceship” delay effects. The AD10 features buffered bypass switching.

STREET PRICE: $249: | maxonfx.com

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Majik Box Doug Aldrich Rocket Fuel

When Whitesnake guitarist Doug Aldrich needed an overdrive and boost to use in front of his already distorted tube amps, Majik Box responded with the Rocket Fuel. The Rocket Fuel is a specially tuned overdrive and boost in one box, with individual on/off switches and a three-way bass shift to dial in the perfect amount of bass for your rig. It features true-bypass operation and ultra-bright white and yellow LEDs.

LIST PRICE: $289.99 | majikboxusa.com

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Wampler Pedals Tweed ’57

The Wampler Tweed ‘57 takes you back to the birth of the electric guitar and is designed to replicate those fantastic Fender tones from that legendary Fifties amp. The unique input selector switch allows you to emulate the different ways of plugging in: normal, bright and even linked, to achieve an amp-in-a-box tone. The Tweed ‘57 delivers a range of sounds, from beautiful warm clean tones to gritty, fuzzy lead tones.

LIST PRICE: $199.97 | wamplerpedals.com

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Zoom MS-100BT MultiStomp Guitar Pedal with Bluetooth

The Zoom MS-100BT MultiStomp Guitar Pedal with Bluetooth features 100 preloaded stomp-box effects and amp models and allows you to use Zoom’s free iOS StompShare app (available for download in Apple’s App Store) to browse, sample, purchase and instantly download additional effects for the pedal from your iPhone, iPad or iPod touch. Once you buy an effect via StompShare, it can be transferred directly to your MS-100BT in seconds via Bluetooth.

LIST PRICE: $149.99 | samsontech.com

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Analog.Man ARDX20 Dual Analog Delay

Used onstage by Gary Clark Jr., the ARDX20 is a dual analog delay with up to 650ms of pure analog delay and two sets of controls (delay time, feedback and level), one for each of its two delay sounds. It features an effect loop, delay-time expression control and LEDs that blink at the selected delay time. The optional AMAZE0 controller adds features for tap tempo, modulation and remote control, as well as eight presets. The ARDX20 runs on a nine-volt battery or standard power supplies.

LIST PRICES: ARDX20 $265; AMAZE0 controller, $150 | buyanalogman.com

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BBE Blacksmith BD-69

The BBE Blacksmith is inspired by pedals hand-made by Paul Gagon in the Eighties, back when he worked for Grover Jackson to support A-list artists like Jeff Beck and Steve Vai. Though their amps may have gone “to 11,” many of these artists told Paul they wanted them to go “to 15 or 20.” Gagon designed an LED-based distortion circuit feeding a three-band passive PLEX-EQ for a creamy high-gain experience that’s true to the tone. Blacksmith recreates the experience those early pedals with greater consistency and durability, giving you more power when 11 isn’t enough.

LIST PRICE: $145 | bbesound.com

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DigiTech JamMan Solo XT

DigiTech’s JamMan Solo XT delivers the definitive stereo looping experience by allowing virtually limitless loops and seamless transitions between looped phrases. It offers auto-record, auto-quantize and adjustable bpms to let you perfect your performance, as well as three stop modes. You can also use JamSync to link JamMan Solo XTs, and the new JamManager CT loop library lets you synchronize loops, create JamLists and transfer loops using your computer’s USB port.

STREET PRICE: $199.95 | Harman.com

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Decibel Eleven Pedal Palette

The Pedal Palette is the first and only analog loop bypass switcher, router and mixer capable of reordering your effect pedals while simultaneously providing an optional parallel mix bus. It has four pedal effect loops with true-relay bypass and lets you swap pedal order instantly and assign any effect loop to a parallel mix bus.

LIST PRICE: $560; STREET PRICE: $399 | Decibel11.com

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Fulltone Secret Freq

The Fulltone Secret Freq. is a gig-friendly clean boost and transparent overdrive/distortion pedal. Dynamic asymmetrical clipping gives the Secret Freq. a sweet and musical clean boost, juicy overdrive and touch-responsive high-gain sounds. The pedal also features a proprietary Freq. knob that adds as much as 20db of active narrow-band midrange. It’s like installing a wah-wah right where the distortion is being generated. Adding the Freq.’s midrange imparts more sustain without losing any bass and treble.

LIST PRICE: $225; STREET PRICE: $192 | fulltone.com

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Big Joe Stompbox Company Saturated Tube B-401

The Saturated Tube is a classic, high-gain, hot-rodded distortion stomp box with full-range tube-amp saturation with great sustain. Controls include a two-position high-boost toggle with two distinct gain voices, presence, gain, output and a true-bypass footswitch.

LIST PRICE: $229.95 | bigjoestompboxcompany.com

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Z.Vex Effects Loop Gate

The Loop Gate is a noise gate with a built-in facility for introducing a loop of pedals, allowing you to switch the loop in and out of your signal path at will. The audio gate features high headroom, with no distortion or hiss, and it responds to the signal coming from your guitar rather than the output of your pedal loop, where extraneous noises from fuzz and delay pedals can inadvertently trigger the gate. The pedal also gives you options for controlling the loop, including a crossfade “mix” option and a Chop mode for creating tremolo-like sounds.

LIST PRICE: $199 | zvex.com

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Mesa Flux-Drive Overdrive+

The Flux-Drive Overdrive+ is an overdrive for those who want more of all the best things from an overdrive. It has more liquid gain and enhanced sustain that easily feeds into rich harmonic overtones, making it addictive and inspiring to play, especially when enhancing a higher-gain amp channel. It also offers a more complete tone-shaping network with individual treble and bass controls. This architecture makes the Flux-Drive a more complete preamp with added versatility beyond that of most overdrive pedals.

STREET PRICE: $179 | mesaboogie.com

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