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New Company Launches at Summer NAMM: Sublime Guitar Company

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At the 2013 Summer NAMM trade show in Nashville, the Sublime Guitar Company officially launched its line of electric and acoustic guitars.

Citing an emphasis on high quality at affordable price points, the company is focused on designing and manufacturing modern guitars from classic inspiration.

"We are elated to begin sharing our products and ideas with the guitar community after over a year of pre-launch development. We are very grateful for the warm reception we have already experienced this early on, " said Tommy Platt (VP of Product Development).

Terry Platt, Chad Huang, Michael Swenson, and Rick Hughes (Co-Founders of Crush Drums & Percussion) have partnered with Tommy Platt and Chris Tontini to form the Sublime Guitar Company in Tampa, FL. At its launch, the company has endorsements with several artists, including: Shawn Milke and Jake Campbell (Alesana), "Patches" Judge (Demon Hunter), Joe Arick (Jake Owen), and others.

The company's mission statement is as follows:

"At SGC, we believe in the power of music and the impact it has on the lives of people around the world. Our mission is to provide products that excite and inspire guitarists of all skill levels, while maintaining the highest standards of quality at every price point. We will constantly strive to foster a sense of community among our customers, endorsed artists, and dealers as we create a lasting legacy together."

For more information about the Sublime Guitar Company, visit its official website. Also check out the company's Facebook page and Twitter account.


Four Steps to Keep Your Guitar Looking Amazing

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OK, I admit I'm a bit compulsive when it comes to keeping my guitars clean.

And I don't mean that in the "Look, but don’t touch" way, since many of my guitars have dings and small cracks. I mean it in terms of keeping my guitars CLEAN.

So I've been known to drive my techs a bit nuts. But let my pain be your gain! I'm going to share some secrets on how to keep your guitar’s finish spot-free.

Did you know your guitar’s paint job is similar to a car’s? It’s true. Your guitar’s finish consists of paint (or color), then you have a thin layer of clear coat that covers the paint. Since I have detailed a car or two in my day (another one of my interests), I've been using my car-detailing knowledge to my advantage. As a matter of fact, Meguiars (a company that makes consumer- and professional-grade car-detailing products) also makes polishes for guitar companies, including Fender and Jackson.

If you've ever used guitar polishes from music stores and still think your guitar doesn't have that store-bought, sparkling gloss, this is because you are missing several steps needed to bring back and maintain that look.

So, here are steps you can take to make your ax shiner than the next guy's!

Step 1: Paint-Cleaning Clay

Paint-cleaning clay, which you can buy in any auto parts store, looks like a child’s modeling clay. I know this sounds weird, but it works. Use some "quick detailing spray" (also from an auto parts store) to serve as a lubricant as you gently slide the paint-cleaning clay back and forth. This removes contaminants, dirt and gunk from your guitar. You can actually hear the clay pick up the contaminants.

Your guitar’s finish also will be very smooth when you're done, and you'll get back some of its lost gloss. To clean your ax after you're done with claying, use a microfiber cloth. Microfiber is made from thousands of tiny loops that trap dirt (and everything else) in its fibers. It cleans well and will not scratch your paint. Stay away from socks, T-shirts and the like, because they will only scratch your guitar more!

Step 2: Polish

Many people get confused by this. When we think of "polishing" something, we think of shining something to a glossy finish. However, in professional talk, polish is something you use to remove light scratches embedded in the clear coat. Several guitar-detailing companies such as Planet Waves make guitar polish that do exactly that. Some guitar companies call this a paint restorer. You also can get one from a car store. Ask for car paint polish, and make sure you get something designed to remove light scratches. There are different ones available, depending on how aggressive you want to get. Most guitars have very light scratches caused by clothes, guitar picks, gig bags, etc.

The best results will be obtained if you use a small polish pad (which is usually orange or red) that also can be bought at an auto parts store or car-detailing website. Buff off your guitar with a clean microfiber cloth after you get a light haze from the polish on the paint. A good job should leave your guitar fairly scratch-free, and your paint will have no oxidation. Your guitar’s rich, deep color should be back at this step. Remember to use the polish sparingly.

Step 3: Wax

OK, now you can wax your guitar. Wax will protect your clean, polished paint from oxidation, light scratches, etc. The best wax is made from 100 percent Carnauba, but other variations will also work. Wax hardens on your guitar, making a great protective barrier. You can use microfiber cloth to put the wax on your guitar and after a light haze to buff it out. Remember not to use too much, as it will make the job messy and make the wax hard to remove. If you have a hard time removing the wax, use a little car-detailing spray. If you want to make your guitar look awesome, put on a light coat of wax, let it dry, put on another coat, let it dry and buff off everything with a microfiber cloth. You’ll be amazed!

Step 4: Detailer

Here's what you have most likely been buying at your music store in an attempt to keep your guitar clean. Some of these products are labeled "guitar polish." Since we know what a polish is now, let’s just call them "detailers." As you can see, you have been adding some minor gloss onto a guitar that needed some TLC. After you have clayed, polished and waxed the finish, you can use your detailer on a daily basis to keep off your fingerprints and just to generally keep the finish looking glossy. Again, use a microfiber cloth to do this. Every so often, you will need to revisit steps 1 or 2 to keep your guitar looking its best. To save money, buy a bottle of car paint detailer for about $6. It will last forever and will do just as good of a job.

To recap, here's a list of materials.

You will need paint cleaning clay, microfiber cloths, car or guitar polish, a polish pad, car or guitar wax, car or guitar detailer. Most of these products can be purchased from car detailing Internet outlets, big box stores such as Walmart, car-care stores such as Autozone, or guitar-cleaning-product manufacturers such as Planet Waves. Feel free to find car paint detail tips from the internet and simply apply them to a guitar!

Good luck, and keep those axes gleaming!

Polish-born Metal Mike Chlasciak has recorded or performed with heavy metal greats Rob Halford, Sebastian Bach, Bruce Dickinson and Axl Rose. Mike is the long-time guitarist for Judas Priest frontman Rob Halford's solo endeavor, Halford. Mike's new album, The Metalworker, is due in spring. For more info, check out his official website and visit him on Twitter.

Motionless in White at Mayhem: The Five Most Common Types of People at Summer Rock Fesitvals

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Summer festivals bring out the best and worst in the human population.

It’s not unlike a rumspringa for the general population, now that I think about it. Whether you’re there for the music, the atmosphere or the half-naked high school girls shooting people with squirt guns (perv), there’s always something interesting to see for all you avid people watchers.

I’ve made a list of the five most common people you’re bound to run into at a summer music festival.

Moms

Moms make the world go round. Not really. But for some reason, they’re always at music festivals, no matter where or when. They’re the first ones who will treat you like you’re their own child and simultaneously tell you how much they disapprove of your music. Realistically, the only thing I’ve ever seen a mom do at a show is embarrass their kid in front of their idols and musical influences. I’m starting to believe moms are just there for the thrill of ruining their child’s life.

Things get ridiculous when: a mom comes into our signing line and continuously asserts that she’s only there for her daughter/son, only their kid is nowhere to be found. This is the same mom who wants a picture with all of us, five things signed (including her tits) and a high five. It’s OK, you don’t have to be embarrassed that you want to gangbang all six of us because you’re going through a midlife crisis (not that that would ever happen). Just don’t be a weirdo while having your mental breakdown.

Goths

If you’re unfamiliar with the term “goth," you’ve been living under a rock for the last 40 years or weren’t too impressed with Robert Smith prancing around with pantyhose wrapped around his head when Lovecats was all the rage. Nowadays, these are the people walking around in all black, chains, platform combat boots, sunglasses and probably some sort of hairstyle your conservative mother would disapprove of. I don’t see anything wrong with this, as this how I’ve dressed and the culture I’ve grown up in most of my life.

Things get ridiculous when: Listen, girl in the black hoodie and scarf in 105-degree weather ... I know you want to stick to your fashion faux pas, but for Christ’s sake! Wearing five layers of clothes to prevent any sunlight from penetrating your skin seems like a pretty easy (and stupid) way to die from heat exhaustion and dehydration. That’s what sunscreen is for. And yes, they have SPF 100 just for you.

The Meat Head

We’ve all encountered the “meat head." He’s the one who spends more time in the gym than an MMA fighter and takes in more supplements than actual food. This dude always has no shirt at shows. Probably to show off his sweet pecs, or the six-pack he’s worked his whole life to show off for that one summer. This is the guy who’s drunk by the time you do your signing (3 p.m.) and slaps your hand so hard you’re sure he broke some sort of bone in there. This is also the guy who screams obscenities at attractive girls because he thinks that’s what they like, and he ends up passed out on the grass by himself for the last half of the festival.

Things get ridiculous when: the dude you would imagine hated your band stands outside your bus swearing he could be your new vocalist and starts screaming song after song a capella ... with no shirt.

The Band Dude

The band dude is the kid who looks like he could be in a band. In fact, he usually doesn’t stop talking about his band and saying you should check them out. Their band name is usually something like "In Solace Of Fire" or "Death Becomes The Sleeping Giant," something that makes no literary sense.

They try to talk to you about touring or equipment, and it immediately becomes painfully obvious they have no clue what they’re talking about. It’s the equivalent of my talking to a mechanic about how to fix an engine, even though I have no idea how an engine even works.

Things get ridiculous when: this kid pleads with you to let him sing a song during your set. He stands side stage staring at you with a look that’s not quite excitement and not quite arousal. It’s something uncomfortably in between. When he finally gets his 30 seconds of fame, he doesn’t know the words — or it’s clear he’s never sung a note in his life.

The Promiscuous 10

This is probably my favorite category just because these are the ones I see most often, and it’s something I will never understand. The Promiscuous 10’s are always backstage, always in high heels and always look like they’re going out for a night of club music and lines off a toilet paper dispenser.

They are the hottest girls you'll ever see, with the biggest lack of morals since Ted Bundy or Charles Manson. They know more people in the music industry than your entire management company combined and won't hesitate to drop names faster than the bombs we dropped on Hiroshima. If they aren’t hanging all over some band dude first thing in the morning, they’re probably looking for one to entertain before the day’s end.

Things get ridiculous when: (I’ve seen this happen to others more times than I can count) You go to introduce your “10” to an acquaintance in another band; there’s that awkward moment when you realize your woman friend and man friend have been, at one time, “sex friends." I would say these girls should wear bells or something to alert the person they’re with, but we already know what they look like. I guess the solution is to just admire from afar.

Side note: This is not meant to be a jab at anyone in particular. I respect everyone’s style and life choice. This is my way of humor …. shitty humor, at best.

Ricky "Horror" Olson is a guitarist and backing vocalist in Scranton, Pennsylvania's Motionless In White, who are part of this year's Rockstar Energy Drink Mayhem Festival. For more about the tour, visit rockstarmayhemfest.com.

New Book/CD: Learn Slide Guitar from Warren Haynes

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Learn the slide guitar stylings of Warren Haynes from the man himself!

In Warren Haynes — Guide to Slide Guitar, the legendary guitarist of Gov't Mule, Phil Lesh and Friends, the Grateful Dead and the Allman Brothers Band offers instructions on choosing a slide, perfecting left- and right-hand techniques, playing rhythm and blues soloing-on electric and acoustic.

Warren Haynes — Guide to Slide Guitar will give you the most in-depth and personal lessons ever on how to play slide guitar in the style of Warren Haynes.

Also includes a split-channel CD of the exercises, played by Haynes with a full band.

Listen to the master or solo along to the backing tracks!

'Warren Haynes — Guide to Slide Guitar' is available now at the Guitar World Online Store for $19.99.

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Greatest Guitar Solos of All Time Readers Poll: Round 2 — "Voodoo Child (Slight Return)" Vs. "Sultans of Swing" (Mark Knopfler)

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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 (Closest contest so far!)

Winner:"Heartbreaker" (51.79 percent)
Loser:"Cliffs of Dover" (48.21 percent)


Today's Round 2 Matchup (9 of 16)
"Voodoo Child (Slight Return)" Vs. "Sultans of Swing"

Today, it's two iconic Fender Strat solos: Jimi Hendrix's solo on "Voodoo Child (Slight Return)" (11) against Mark Knopfler's solo on Dire Straits'"Sultans of Swing" (22). Get busy! You'll find the poll at the very bottom of the story.

11. “Voodoo Child (Slight Return)”
Soloist: Jimi Hendrix
Album: The Jimi Hendrix Experience—Electric Ladyland (Experience Hendrix/MCA, 1968)

Jimi Hendrix’s publicist, Michael Goldstein, had successfully arranged for ABC-TV to produce a short news feature based primarily on the Experience’s triumphant success in America. Filming began on May 3, 1968, with 16mm cameras capturing the recording of “Voodoo Child (Slight Return),” which, like many Hendrix songs, borrowed both musical and lyrical themes from Muddy Waters and other Delta bluesmen.

“ ‘Voodoo Child’ was something Jimi brought in, and we learned that song right on the spot in front of the cameras,” recalls bassist Noel Redding. “We ran through it about three times, and that was it.”

It is not known whether ABC ever used any of the footage. And, unfortunately, all the camera originals were stolen from ABC’s archives sometime after Jimi’s death. The reel also included footage of the group performing at the Fillmore East and the Miami Pop Festival.

Engineer Eddie Kramer recalls: “ ‘Voodoo Child (Slight Return)’ was recorded the day after Jimi tracked ‘Voodoo Chile,’ the extended jam on Electric Ladyland featuring Traffic’s Stevie Winwood on organ and Jefferson Airplane bassist Jack Casady. Basically, Jimi used the same setup—his Strat through a nice, warm Fender Bassman amp. Jimi’s sound on both tracks is remarkably consistent, leading some to think they were recorded at the same session.”




22. “Sultans of Swing”
Soloist: Mark Knopfler
Album: Dire Straits—Dire Straits (Warner Bros., 1978)

“ ‘Sultans of Swing’ was originally written on a National Steel guitar in an open tuning, though I never performed it that way,” recalls Mark Knopfler. “I thought it was dull, but as soon as I bought my first Strat in 1977, the whole thing changed, though the lyrics remained the same. It just came alive as soon as I played it on that ’61 Strat—which remained my main guitar for many years and was basically the only thing I played on the first album—and the new chord changes just presented themselves and fell into place.

"It’s really a good example of how the music you make is shaped by what you play it on, and is a lesson for young players. If you feel that you’re not getting enough out of a song, change the instrument—go from an acoustic to an electric or vice versa, or try an open tuning. Do something to shake it up. As for the actual solo, it was just more or less what I played every night. It’s just a Fender Twin and the Strat, with its three-way selector switch jammed into a middle position. That gives the song its sound, and I think there were quite a few five-way switches installed as a result of that song.”

[[ 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

Review: Ibanez TAM100 Tosin Abasi Signature Eight-String and DiMarzio Signature Ionizer8 Pickups

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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.

Seeing and hearing Tosin Abasi deftly build complex two-handed chords, weave sweeps into single-note blurs and slap melodic bass lines across his eight-string fretboard feels like being part of the stunned audience at Marty McFly’s heavy metal performance of Johnny B. Goode—you’re witnessing the future of guitar.

Following suit, Abasi’s new, Japanese-built signature TAM100 Ibanez is much more than a refinement of hackneyed designs—it represents an entirely new formula for creating tone, melding exotic woods and specially wired, signature DiMarzio Ionizer8 pickups into an expressive, supremely crafted eight-string that’s worthy of Abasi’s seemingly boundless musical gifts.

Metal for Life: How to Use the Dark Sound of the the Phrygian Mode’s “Flatted” Intervals

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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.

In this month’s column, I’d like to continue our investigation of the fundamental modes with a look at the Phrygian mode. The Phrygian mode is often referred to as the “third mode” because—starting from the major scale, which is the “mother,” or “parent,” scale to the seven fundamental modes and is itself considered the first mode—Phrygian is the third mode in the series, as it is based upon the third scale degree of the major scale.

If we start with a major scale in the key of C, the notes are C D E F G A B. Intervallically, this is spelled: one (root), maj2 (major second), maj3 (major third), 4 (perfect fourth), 5 (perfect fifth), maj6 (major sixth), maj7 (major seventh). If we start from the third note of C major, E, and proceed through the same note series to an E note one octave higher, we get E F G A B C D.

This is the E Phrygian mode, spelled: one (root), f2 (minor, or “flatted,” second), f3 (flatted third), 4, 5, f6 (flatted sixth), f7 (flatted seventh). As you can see, four of the seven scale degrees—f2, f3, f6 and f7—are flatted intervals. These yield a dark, foreboding sound that is perfect for heavy-metal riffs and solos.

Preview Exclusive New Tracks by Tosin Abasi, Misha Mansoor, Ben Weinman, Kim Thayil and Dweezil Zappa

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Guitar World magazine has launched its Ultimate Subscription Offer!

Receive 12 (13, actually — let's not forget the holiday issue!) issues of Guitar World AND instantly download four exclusive tracks: "Optimist" by Tosin Abasi and Misha Mansoor, "Pessimist" by Tosin Abasi and Misha Mansoor, "Nanna Banana" by Ben Weinman and Kim Thayil and "Vices" by Ben Weinman and Dweezil Zappa.

As another bonus, you'll receive Asking Alexandria’s EP of covers, Under The Influence: A Tribute To The Legends of Hard Rock! This latest collection features the band covering songs by their idols.

Songs include “Here I Go Again” by Whitesnake, “Separate Ways” by Journey, “Hysteria” by Def Leppard and “Kickstart My Heart” by Mötley Crüe.

All this for only $14.95!

For more information, HEAD HERE!


Greatest Guitar Solos of All Time Readers Poll: Round 2 — "Comfortably Numb" (David Gilmour) Vs. "For the Love of God" (Steve Vai)

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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:"Voodoo Child (Slight Return)" (61.52 percent)
Loser:"Sultans of Swing" (38.48 percent)


Today's Round 2 Matchup (10 of 16)
"Comfortably Numb" Vs. "For the Love of God"

Today, we have a song that might seriously go all the way — Pink Floyd's "Comfortably Numb" (04), featuring David Gilmour's iconic guitar solo — up against a powerful dark horse in the competition, Steve Vai's "For the Love of God" (29), which knocked off Yngwie Malmsteen's "Black Star" in the first round. Get busy! You'll find the poll at the very bottom of the story.

04. “Comfortably Numb”
Soloist: David Gilmour
Album: Pink Floyd—The Wall (Columbia, 1979)

How do you reason with two guys who once went to court over the artistic ownership of a big rubber pig? That was Bob Ezrin’s mission when he agreed to co-produce Pink Floyd’s The Wall with guitarist David Gilmour and bassist/vocalist Roger Waters. The legendary tensions between the two feuding Floyds came to a head during sessions for The Wall in 1979—which was why Ezrin was called in.

“My job was to mediate between two dominant personalities,” recalls Ezrin. However, the producer turned out to be no mere referee, but contributed plenty ideas of his own. “I fought for the introduction of the orchestra on that record,” says Ezrin. “This became a big issue on ‘Comfortably Numb,’ which Dave saw as a more bare-bones track. Roger sided with me. So the song became a true collaboration—it’s David’s music, Roger’s lyric and my orchestral chart.”

Gilmour’s classic guitar solo was cut using a combination of the guitarist’s Hiwatt amps and Yamaha rotating speaker cabinets, Ezrin recalls. But with Gilmour, he adds, equipment is secondary to touch: “You can give him a ukulele and he’ll make it sound like a Stradivarius.”

Which doesn’t mean Gilmour didn’t fiddle around in the studio when he laid down the song’s unforgettable lead guitar part. “I banged out five or six solos,” says Gilmour. “From there I just followed my usual procedure, which is to listen back to each solo and make a chart, noting which bits are good. Then, by following the chart, I create one great composite solo by whipping one fader up, then another fader, jumping from phrase to phrase until everything flows together. That’s the way we did it on ‘Comfortably Numb.’ ”




29. “For the Love of God”
Soloist: Steve Vai
Album: Passion and Warfare (Epic, 1990)

“The song is about how far people will go for the love of their god,” says Steve Vai. “When you discipline yourself to quit smoking, to run faster or to play better, you have to reach deep down into a part of you. That is a profoundly spiritual event. That’s when you come into contact with that little piece of God within you. That’s what I was trying to achieve with ‘For the Love of God’—I was trying to find that spot.”

[[ 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

Hear The Winery Dogs'"Time Machine" and Watch an Exclusive Track-by-Track Video with Mike Portnoy

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The Winery Dogs, a new power trio featuring Richie Kotzen (Mr. Big, Poison), bassist Billy Sheehan (Mr. Big, Niacin) and drummer Mike Portnoy (Dream Theater, Adrenaline Mob), released their debut self-titled album Tuesday, July 23, via Loud & Proud Records.

Below, you can check out two new exclusive pieces of Winery Dogs content, including our stream of "Time Machine," a track off the new album, and a new "track by track" video featuring Portnoy, who discusses "Damaged,""Six Feet Deeper,""Time Machine" and other tracks from the album.

“It’s very exciting for me to be in a solid rock trio,” Portnoy says. “Stylistically, the bulk of my career has been spent playing progressive music, so this was an opportunity for me to do something that wasn’t prog or metal. It’s more classic rock and, at the end of the day that’s what I grew up with and that’s the biggest influence in my life.”

While you're at it, be sure to check out:

GuitarWorld.com's new interview with Kotzen, Sheehan and Portnoy, including all three Winery Dogs music videos

A new video of Kotzen demonstrating Roland's CUBE Lite guitar amplifier

GuitarWorld.com's exclusive premiere of the band's "I'm No Angel" music video.

The Winery Dogs Track Listing:

01. Elevate / 02. Desire / 03. We Are One / 04. I’m No Angel / 05. The Other Side / 06. You Saved Me / 07. Not Hopeless / 08. One More Time / 09. Damaged / 10. Six Feet Deeper / 11. Criminal / 12. The Dying / 13. Regret

For more information on the Winery Dogs, follow them on Facebook, Twitter and YouTube.

Photo: Travis Shinn

Additional Content

Guitar Maker Dean Zelinsky Debuts New E-Commerce Signature Brand

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Dean Zelinsky has launched his new line, Dean Zelinsky Private Label Guitars, taking a personal approach by selling his guitars through the company's e-commerce website, deanzelinsky.com.

Players are now able to buy their instruments direct from the guitar maker.

By utilizing the e-commerce platform, Zelinsky aims to offer guitar players access to higher quality instruments at the best possible price, while maintaining a strong connection with his fan base. Simply put, Zelinsky wants to build your guitar.

“Dealing directly with my clientele is the best way to do business,” said Zelinsky, who emphasizes designing and building guitars is still his passion after nearly four decades. “World-class guitars will be delivered directly from my set up bench to the player’s door.”

Zelinsky is the first world-renowned guitar maker to adopt this “farm to table” approach, allowing his new Private Label brand to deliver a lot more guitar for the money. Musicians can expect Zelinsky's quality, design and latest technology at easily accessible pricing.

Celebrated guitarists such as ZZ Top’s Billy Gibbons, Pantera’s Dimebag Darrell, Michael Schenker, Sammy Hagar, The Cars Elliot Easton, Megadeth’s Dave Mustaine, Heart’s Nancy Wilson, Leslie West, Kerry Livgren of Kansas, Iron Maiden, Def Leppard and scores of others have all played guitars designed and built by Zelinsky.

Dean Zelinsky Private Label provides new guitar technology including Zelinsky’s patent-pending Z-Glide Reduced Friction Neck, which applies an advanced aerodynamic concept to the surface of the guitar’s neck. By engraving precise patterns into the back of the neck, surface area is reduced, thereby providing musician’s greater mobility and playability from their instruments. Zelinsky says, “We remove 70 percent of the neck’s surface. The rest is air.”

The new offerings from Dean Zelinsky Private Label will include the Tagliare, StrettaVita and Zenyatta, all of which are Zelinsky’s designs.

Pricing on Dean Zelinsky Private Label Guitars range from $279 to $4,500 USD.

For more information, visit deanzelinsky.com.

G&L Launches Two New Tribute Series Jerry Cantrell Superhawks

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G&L continues its 2013 surge with another stunning, hard-rocking guitar in the Tribute Series line.

Just how hard-rocking? Well, it’s likely Alice in Chains’ Jerry Cantrell will play one of the new Tribute Series Superhawk Jerry Cantrell models, along with his G&L Fullerton-made Superhawks and Rampages, at upcoming concerts.

The affordable Tribute Series Superhawk starts out with the same Soft Maple body and fast-playing Hard-Rock Maple neck with Ebony fingerboard as the popular Tribute Series Rampage Jerry Cantrell. It even shares the same Paul Gagon-designed bridge pickup. But it adds a second Gagon-designed pickup in the neck position as well as a 3-position selector and a tone control with push/pull to coil split both pickups.

On the Tribute Series Superhawk, the Rampage’s Kahler bridge is swapped for a beefy, gig-proven G&L Saddle Lock hardtail bridge for more comfort, stronger sustain and rock-solid tuning. The neck sports a 12-inch radius, 22 medium-jumbo frets and a 1 3/4-inch nut width. The Tribute Series Superhawk nails the Jerry Cantrell feel while offering added tonal versatility.

And it looks fantastic. The Tribute Series Superhawk Jerry Cantrell comes with a striking Ivory body and matching headstock, with a jet-black Ebony fingerboard. The Tribute Series Superhawk Deluxe Jerry Cantrell sports a Flame Maple veneer over the Soft Maple body with a gorgeous Blueburst finish and Gloss Black headstock.

MSRP for the Tribute Series Superhawk Jerry Cantrell model is $715; for the Superhawk Deluxe, $787.

For more about G&L Guitars, visit glguitars.com.

Alter Bridge to Release New Studio Album, 'Fortress,' October 8

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Alter Bridge have announced that a new studio album — Fortress— will be released October 8 via EMI Label Services. The album will be the band's first studio release since 2010's ABIII.

Alter Bridge — Myles Kennedy on vocals, Mark Tremonti on guitar, Brian Marshall on bass and Scott Phillips on drums — also have announced their only US show, which will take place October 4 at the House Of Blues in Orlando, Florida. You can check out all the band's scheduled dates below.

Fortress was produced by long-time Alter Bridge producer Michael “Elvis” Baskette, who is known for his work with Falling In Reverse, Story Of The Year and Incubus.

“When we started pre-production on this album, we pushed ourselves harder and further than we ever have previously in order to make the most out of every individual arrangement," Tremonti said. "We wanted this album to be our most unpredictable and exciting one yet. From the early feedback we have received, it looks like we have achieved what we set out to do."

Song titles on Fortress include “Cry Of Achilles,” “Bleed It Dry” and “Farther Than The Sun,” “All Ends Well” and the epic title track, “Fortress.”

Tickets for the October 4 show will go on sale Friday, July 26, at ticketmaster.com.

For more about Alter Bridge, visit their official website.

ALTER BRIDGE TOUR DATES

Oct 4th Orlando, FL House of Blues (Only US show in 2013)
Oct 16th Nottingham, UK Arena
Oct 17th Birmingham, UK NIA
Oct 18th London, UK Wembley Arena
Oct 20th Cardiff, UK Arena
Oct 21st Glasgow, UK Hydro
Oct 22nd Manchester, UK Arena
Oct 24th Paris, FRA Zenith
Oct 25th Brussels, BEL AB
Oct 27th Berlin, GER Huxleys
Oct 28th Copenhagen, DEN Vega
Oct 29th Stockholm, SWE Arenan
Nov 3rd Amsterdam, HOL Heineken Music Hall
Nov 4th Dusseldorf, GER Mitsbishi Electric Halle
Nov 5th Wiesbaden, GER Schlachthof
Nov 7th Vienna, AUS Gasometer
Nov 8th Munich, GER Kesselhaus
Nov 9th Zurich, SWI Hallenstadion
Nov 11th Rome, ITA Atlantico
Nov 12th Milan, ITA Mediolanum
Nov 14th Barcelona, SPA Razzmatazz 2
Nov 15th Madrid, SPA Arena
Nov 16th Lisbon, POR Coliseum

Additional Content

Video: Dream Theater Release Latest In-Studio Update, Call New Album "Our Strongest Work to Date"

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Dream Theater have posted another behind-the-scenes, in-the-studio video, giving fans some new details about the band's upcoming album.

"We feel like this album is our strongest work to date," says John Petrucci as the video kicks off. "There is an instrumental on the album. We haven't had a stand-alone instrumental in a long time. We try to keep the album interesting as far as the way songs flow into one another [goes]."

Petrucci also said the album will feature a central, 20-minute piece. "We haven't had a piece like that in a while and that is definitely the centerpiece of the album," he added.

The album, dubbed Dream Theater, will be released September 24 via Roadrunner Records. The band will kick off a European tour in early 2014, followed by a US tour in March.

Check out all three "in the studio" videos by the band:

Additional Content

Review: Roland CUBE-40GX 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.

Roland has sold more than a million Cube amps since the series first made its debut in the late Seventies. These compact and reliable amps have remained the cornerstone of many practice and recording sessions and have even appeared on concert stages from small clubs to large arenas (Joe Walsh has often used Roland Cube amps in his stage rig with the Eagles).

The Cube 40GX is the newest model, and in addition to offering big sound in a small package like its predecessors, it provides the versatility of Roland’s COSM modeling technology, digital effects and the company’s new iCube Link feature.


Rockin' the Country: Adapting Pedal-Steel Licks to the Electric Guitar

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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.

One of the things I love about country guitar is the way its vocabulary has, over the past 60-plus years, been influenced by the rich lexicon of licks invented by pedal-steel players. This month, I’d like to show you a few cool pedal-steel-like licks and playing approaches I’ve picked up over the years.

For those unfamiliar with the pedal steel, it’s an electric stringed instrument (typically sporting 10 to 14 strings) that’s played in a manner not unlike a fingerpicked slide guitar—with high action and configured to some kind of open tuning chosen by the player. Unlike a standard guitar, a pedal steel lays flat in front of you, like a bench or table with legs.

The steel is a smooth, solid metal bar that you hold in your fretting hand and glide along the strings to raise and lower their pitches (and wiggle to produce vibrato) as your other hand picks the strings with a thumbpick and fingerpicks. A mechanical system of footpedals and knee-operated levers allows the player to stretch or slacken individual strings to raise or lower their pitches to specific pre-set intervals, such as a half step or whole step, which offers the player the ability to craft harmonically complex riffs that feature smoothly and precisely “bent” notes within chords.

The pedal steel is one of the most recognizable and characteristic instruments in country music, and emulating its sweetly “weeping” sound is an ambitious but fun challenge for electric guitarists.

Joe Don Rooney of Rascal Flatts: "I Love Metal, Rock and Country — and I Like to Wrap It All Up Into One"

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The Lovin’ Spoonful’s 1966 hit “Nashville Cats” pegged the city’s population of pickers at 1,352. Today, there’s a whole lot more, lured by Nashville’s booming country and rock industries and musician-friendly environment.

The cost of living is considerably lower than in New York and Los Angeles, and there are venues in every neighborhood. Nestled within each square mile are studios ranging from in-home operations like producer/guitarist Buddy Miller’s Dogtown to history-making enterprises like RCA Studio B, Ocean Way, Blackbird, Jack White’s Third Man and Dan Auerbach’s Easy Eye.

Nashville so zealously lives up to its “Music City U.S.A.” moniker that young musicians with GIT- and Berklee-level chops arrive daily.

Fifteen years ago, Joe Don Rooney was one of those arrivals, a fresh-faced kid from small-town Oklahoma via small-town Arkansas, seeking his fortune in the post–Garth Brooks country boom that has now blown into a firestorm.

Since 1999, Rooney has helped fan those flames as a member of Rascal Flatts, whose eight albums have sold 20 million copies, put 35 songs on the pop charts and delivered more than 50 country singles, including 28 Top 10s. The group’s decade of number-ones spans 2002’s “These Days” to “Banjo” from last year’s Changed. All that has made Rooney and his Flatts-mates, bassist Jay DeMarcus and aptly named singer Gary LeVox, into superstars.

But there’s more to Guitar World’s newest columnist [See his three Rockin' the Country lesson videos here] than the sum of his hits. In a city full of monster guitarists, Rooney is a dragon slayer. Raised on everything from Merle Haggard to Mötley Crüe to Metallica, he is a living compendium of hot licks and fat tones. And he’s learned the tricks of applying them to a genre governed by the rules of lyrics-based song craft, even while bending those rules to sometimes-deranged angles.

Rooney revealed just how far he’s willing to go on Rascal Flatts’ last tour, where he played a Theremin that he controlled by moving his six-string’s body and blew the minds of fans accustomed to a very different kind of air guitar. For more evidence, listen to the crescendo of his band’s bravura “She’d Be California,” where he conjures up Pete Townshend, hair metal and hot-doggin’ blues-rock in 60 seconds of howling nirvana. For the record, the latter, with a capitol N, is also in his wheelhouse of influences.

“Country music has evolved more over the past 20 years than in its entire history,” Rooney says over a latte at Fido, a bustling Nashville coffeehouse where sightings of stars like Sheryl Crow, Emmylou Harris and Kings of Leon’s Followill brothers are as common as the sound of hissing espresso machines. “It’s got a lot of rock and pop qualities. When I was growing up in Oklahoma, my dad, Wendell, told me to play country music and my brother and sisters told me to play rock and roll. That was a dichotomy then, but today I can keep them all happy.”

Rooney is too humble to admit the role he and Rascal Flatts have played in the genre’s transformation. Likewise, he credits überproducer/guitar wrangler/songwriter Dann Huff for helping him achieve the big tones, brilliant textural pads and overall blend of the wily and the wild that characterize his playing.

“The bottom line for me is that it’s all about freedom,” Rooney explains. “I love me some heavy metal. I love rock. I love country. And I like to wrap it all up into one. I don’t see why there has to be a boundary. As a player, I need to think outside the box—especially within the structure of a great tune—and be expressive in my own way.”

GUITAR WORLD: Country music is extremely lyrics driven. How does that affect what you choose to play?

The lyrics are exactly what determine your tone for a solo. Although you don’t want to steal the song’s thunder, you still want to be heard and be creatively expressive so the listener doesn’t start a conversation or turn the dial. That balance is not easy.

If its a slower number, like a 6/8 ballad, and it’s got some motion, like a soaring melody or chorus, the guitar solo shouldn’t soar. When a song is balls to the wall, you can just let ’er rip. On Changed, there are some songs I used an old Gretsch Country Gentleman on, and it was heavy. A lot of players wouldn’t opt for that guitar to rock out, since that’s not what it’s known for. That’s why it’s important to try things outside the box. There’s such a “splatty-ness” that you can get to the Country Gentleman’s tones through a Bogner or Matchless. I also used that combination for a lot of pads we put behind the chords.

How do you approach pads? Many Rascal Flatts ballads—“Changed” and “Here Comes Goodbye” from Unstoppable are good examples—feature vibrant textural guitar parts and tones that sustain like David Gilmour’s.

To give credit where it’s due, [session guitarist] Tom Bukovac may have played the slide pad on “Changed.” We both tracked pads and rhythm parts all over that album, although I know I played the chords and supported myself on the solo for that song. The idea, again, is to support the song. Something has to occupy that space and improve it, so a pad’s got to be just right. And with a song where the melody’s that good, you need to give it the space it deserves.

Man, I love David Gilmour. He’s a singer on the guitar. That’s an idea that Dann introduced me to when he produced Rascal Flatts for the first time, for our fourth album, Me and My Gang. I was getting ready to cut a solo and he said, “Okay, set your guitar down. Let’s find out where you want to go by singing it, and then plug in and play.” That is such a good idea. Otherwise, your fingers want to go somewhere familiar. Once you start seriously thinking about melody—the concept of singing with the guitar—that opens you up to places you’ve never been before.

How can a guitarist make a mark as a player without compromising the verses and choruses of a song?

I preach countermelody. In country, where the singer gets “front and center,” us poor guitar players don’t always get respect. It irks me when people start talking during the solo, so it’s a challenge to keep them from doing that without ruining the vibe of the song. That’s why countermelody is so important. It creates another hook and gets your playing noticed while supporting the song.


I understand that Dann Huff was instrumental in getting approval for you and Jay to actually play on Rascal Flatts’ albums?

Our first producers were Mark Bright and Marty Williams. When we got with them to record our debut in 1999, they had a bunch of studio cats lined up to play, which is how it works in Nashville.

Since success was sweeping us up, Jay and me thought we’d play the game a little bit. We were fresh young kids trying to make it, and these guys were experienced. But after a couple years, we were like, “Hey, come check us out live. We really do play! Give us a shot, and if we fall on our faces, you can go back to the studio players.”

Since Dann was a proponent of our playing, Jay and I sought his advice. He said, “I can make the phone call.” He called the label and said that we needed to play on the third album, and that when we did it was probably going to open up a new door in Rascal Flatts. Mark and Marty were cool and listened to Dann, and after that, we did every other album with Dann. So Dann is definitely a mentor. He was also one of my heroes before I moved to Nashville, because of the great work he’d done as a singer, writer, guitarist and producer.

How did you fall in love with guitar?

I was 11 when I got my first one—a Seafoam Green American Standard Tele. I enjoyed music. My mom has eight brothers, and they all sang and played. Every summer, her family would have reunions and play, and my dad always fit in. He played country music and Top 40 in the bars back home.

I used to stay up all night trying to learn new licks off of Arlen Roth videos—which set the bar—or Brett Mason or Albert Lee licks, and then at 7 A.M. I’d catch the bus to school. Luckily, Picher, Oklahoma, is a small town, so it wasn’t a long ride.

By 14 or 15, I was lugging my Tele, my old Fender Twin with JBL speakers and a distortion pedal to rock clubs to play. My dad helped me put wheels on the Twin, which changed the sound a little bit. After I moved to Eureka Springs, Arkansas, at 18 to play in a family theater, I had a Seymour Duncan Hot Stack installed under the pickguard between the neck and bridge pickups so I could do all that Brett Mason stuff when his chicken pickin’ and other licks were so popular in Nashville.

I had one of my tone pots replaced with a pot that could blend the Hot Stack in. I had that guitar until right before Rascal Flatts formed. It got stolen out of my truck after I moved to Nashville, along with a set of golf clubs. I wish I had that guitar back!

In a town where you can get ridden out on a rail for not playing Telecasters, what made you pivot toward the Gibsons and Paul Reed Smiths you favor now?

It started with Dann Huff, who took me aside after a show and said, “You’re a wonderful player, but you don’t have a personality yet.” I said, “What’s your idea?”

We were cutting “Life Is a Highway” for the Cars soundtrack. That was the first song I ever cut with Dann, and he got out one of his old Les Pauls and told me, “Plug this guitar into that amp and just feel it.” He also had a Keeley compressor pedal and a Fulltone overdrive chained into his 4x12 Bogner cabinet and head set on channel three, which is the rhythm channel with a little more dirt. We cranked it up. It was really hot. I was sold.

You alternate between playing with a pick and your fingers. How did you develop that approach?

Brett Mason, again. I was using glue-on nails at one point, because that’s what Brett was doing. He seemed like a stud, so I figured that if he could get away with it, I could too. You get a nice linear sound. Brett would use his index finger to pop the strings, to get a different tone. I switched to a flat pick and three fingers, and popping with that middle finger. That combination gives you a variety of tones within your guitar’s tone.

Jeff Beck’s been an inspiration, too. He’s also one of Dann’s heroes. Jeff’s technique…the way he rolls the volume and plays at the same time. He’s like a pedal steel player who is missing some levers. There were a lot of guitarists in the Sixties and Seventies, including Jeff, who built their fingerstyle picking up. I wonder if Chet Atkins was so dominant back then that some of the best country and rock guitarists tried to emulate him. He is the greatest guitarist there ever was. He would play the bass part, play the interior part of the chords and the melody all at once. Amazing.

What’s most important when you’re building a solo?

When I’m recording a solo, I like to play to the tone, so I dial up a new sound and then see if it fits in the box. I try to avoid going back to the same tones I’ve used before. I really want to be inspired. If something doesn’t work, I’ll get another guitar, another amp, change the setting. And I don’t wig out when I make a mistake. Mistakes are sometimes where the real emotional stuff occurs. With Pro Tools and the other electronic gear we have, it’s easy to go in and make things tick-tock perfect, but sometimes a bend that isn’t quite right fits the emotions in a song best.

You’re obviously a key figure in modern country guitar. Was there a point when you felt you’d arrived at your very own style?

I don’t know if I’ve had that feeling yet, to be honest. Recording “What Hurts the Most” [for Rascal Flatts’ Me and My Gang album] in 2005 was a very personal experience. There’s a simple blues solo that comes in and goes out really quick, but when I slid into it I felt a kind of attitude and happiness with what I was doing that seemed really natural and right. Just before the “record” button got pushed, Dann told me to do anything I wanted, even if I might make a mistake. I’ve always been a fan of sliding into solos, and when I did, it seemed to come pouring out.

I moved to Nashville because I wanted to play country like what Vince Gill was doing—in a way that’s a tip of the hat to the purists but also brings your own qualities as a musician to the game. Playing guitar was a safe haven to let loose of my emotions as a teenager. Maybe the only difference now is I’m an adult.

Photo: Russ Harrington

Review: Martin Performing Artist Series DCPA5 Black and OMCPA5 Black Acoustic-Electric Guitars

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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.

Martin may be best known for its timeless, classic steel-string acoustic models, but the company remains a relentless and adventurous innovator that continues to influence acoustic guitar design. A perfect example is the Performing Artist Series, which Martin introduced a few years ago with considerable acclaim and success.

Martin recently added several inexpensive PA5 Black models to its Performing Artist Series, featuring sustainable composite-material construction, versatile Fishman pickup/preamp systems and alluring black finishes that make Martin’s Black models equally appealing to players looking for maximum value, eco-friendly design and cool looks to enhance their stage image.

I checked out the DCPA5 Black Dreadnought and OMCPA5 Black Orchestra Model, which share identical features but offer different sonic characteristics due to their contrasting body shapes.

T-Rex Effects and Guitar Center Release Magnus Boutique Tone Controller

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Danish effect manufacturer T-Rex Effects, in partnership with Guitar Center, announce the new Magnus boutique tone controller available exclusively at Guitar Center stores, guitarcenter.com and musiciansfriend.com.

This new pedal will be available July 26.

Magnus represents a completely new format for the discerning pedal enthusiast who doesn't want to sacrifice portability for flexibility, and most importantly will not settle for sterile, uninspired tone. Magnus is a collection of five custom-designed boutique effect boxes combined in a sleek, intuitive tone board.

Classic T-Rex Overdrive, Distortion, Delay, Reverb and Boost effects are combined with a built-in tuner and other features including two modes of operation: Live and Preset. In Live mode, Magnus lets you switch individual effects on and off and adjust them while you play, as if they were separate pedals. In Preset mode, you can program up to 10 preset combinations of Magnus' five effects, and then quickly call up entire sonic realms on the fly by clicking a single footswitch, without switching individual pedals on/off. Street Price: $399

This new boutique tone controller is featured in the Guitar Center and Musicians Friend July 2013 catalogs.

For more info, head to t-rex-effects.com.

Review: ZT Amps Extortion Pedal — Expressive Distortion

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ZT Amps recently came out with the Extortion pedal. Now, before you go thinking Bernie Madoff has his own signature distortion pedal, let me explain. The pedal gets its name from the words "expressive" and "distortion."

So what’s in a name?

Your classic distortion pedal probably has three knobs: Tone, Level and Drive. This pedal does too, but the shortcoming with most other pedals is the Tone knob is just about useless outside the 10-to-2 o’clock range.

The Extortion pedal acts as two pedals in one. On the right side of the pedal is your classic analog circuit distortion pedal with the three knobs mentioned above. The tone knob, however, is built around seven famous EQ settings, which also can be be blended between the preset above or below the preset you're on.

On the left side of the pedal is the Spectral DSP knob, which acts as an accent knob to supercharge certain frequencies in your presets.

This snazzy white box sizes up at 3.75 by 4.75 inches. It can be powered by a 9v, 250mA, negative-tip power supply or any 9v battery. I applaud ZT for giving this pedal a battery compartment as opposed to having to take off the entire back plate. The side jacks are Input, Output and Control. Control allows you to plug in an external expression pedal to adjust the Spectral DSP knob hands-free.

When I first plugged in the Extortion, it sounded like two EQs fighting each other, so I recommend leaving the Spectral DSP off until you get acquainted with the right half of the pedal.

Once you dial in your initial sound, click on the Spectral DSP. You’ll hear it sweep through everything from a murky bass boost, a warm overdrive to a compressed mid-scoop. For the sound clips the first two clips are my Fender Thinline Telecaster with humbuckers straight into the Extortion, then into a Vox AC4.

In clip 1, everything is flat and the Spectral DSP is off. For clip 2, I boosted the drive and level and have the Spectral DSP turned hard left. This gave it a really dirty, funky blues tone. Clip 3 is a Strat with a little delay added. The Spectral DSP is right around 12 o’clock to give it some warmth. I cranked the level and dialed back the drive so the pedal would naturally overdrive my amp, reminiscent of a Tube Screamer vibe.

Below along with the photos of the pedal, I snapped a picture from the user manual to show the presets on the Tone knob.

Web: ztamplifiers.com
Street Price: $199.99

You can't believe everything you read on the Internet, but Billy Voight is a gear reviewer, bassist and guitarist from Pennsylvania. He has Hartke bass amps and Walden acoustic guitars to thank for supplying some of the finest gear on his musical journey. Need Billy's help in creating noise for your next project? Drop him a line at thisguyonbass@gmail.com.

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