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    GOLD AWARD WINNER

    There is a surprisingly large and growing variety of baritone solidbody electric guitars to choose from these days.

    Baritones have become especially popular with metal guitarists who want the extended low-end range that today’s heaviest music requires and don’t want to hassle with intonation problems and floppy strings when tuning down a standard guitar.

    ESP offers an impressive selection of baritone electrics, including seven-string versions that are quickly becoming the new norm. For metal players, particularly those with somewhat limited budgets, the LTD V-407B is an ideal weapon of choice as it offers the features, playability, and, perhaps most importantly, wicked appearance that can inspire heavy riffs and aggressive solos.

    FEATURES: With its 27-inch scale length, the LTD V-407B is bona fide genuine baritone. It should be noted that this is a big guitar that is even larger than many basses and comes in the biggest case that I have ever seen. It’s also heavier than the average six-string, but not so heavy as to be uncomfortable to play for extended periods of time.

    The guitar is built using ESP’s set-thru-neck construction, which is sort of a hybrid of set-in and neck-thru-body construction. The maple neck has a longer than normal tenon that stretches below the bridge pickup, but it is glued into a channel carved into the mahogany body. This provides the smooth, heel-free design of a neck-thru guitar along with the tonal characteristics of set-neck body. A maple cap covers the body as well, but the guitar looks like one continuous piece thanks to its deep gloss black finish.

    Electronics and hardware consist of an EMG 707 neck pickup, EMG 81-7 bridge pickup, separate volume controls for each pickup, a master tone knob, three-position pickup selector switch, Tune-o-matic bridge with thru-body string anchoring, and Grover mini tuners.

    The fingerboard is rosewood and features 24 extra jumbo frets, white binding, extremely cool arrowhead-shaped inlays, and a block inlay with the model’s name at the 12th fret. The output jack is placed inside the V cutaway on the bass bout and points upwards to keep the guitar cable completely out of the way, and the bass bout also has a belly contour.

    PERFORMANCE: As you might expect from a seven-string baritone with a 27-inch scale, the LTD V-407B sounds as huge as it looks. The string tension gives the lowest strings especially satisfying piano-like metallic twang, while the middle range has a beastly, animal-like growl.

    If you want to shred, go ahead—the upper treble range feels sexy and slinky like a regular guitar, although with an extra inch and a half to two plus inches in scale length it’s much easier to finger intricate patterns and chords up above the 20th fret. The smooth, heel-free transition between the neck and body and the body’s V shape also facilitate unobstructed playing in the upper registers.

    The active EMG pickups are the perfect match for this type of instrument, delivering shimmering, percussive clean tones and maintaining crisp attack and refined note definition when plugged into a high-gain distorted amp.

    With its 48mm nut width, the fretboard is generously wide enough for playing clean, precise chords on any or all of the seven strings while being narrow enough not to require extreme finger stretches. The neck profile is a relatively flat and thin U shape with a consistent feel from the lowest to the highest frets.

    Controls are laid out in a logical, ergonomic configuration, with the bridge volume easily accessible for performing swells or making quick volume adjustments. It’s obvious that as much thought went into the V-407B’s playability as went into making it look as cool as possible.

    LIST PRICE: $1,141.43
    MANUFACTURER: ESP Guitar Company, espguitars.com

    CHEAT SHEET: Set-thru-neck construction combines the smooth, heel-free playability of a neck-thru guitar with the tonal characteristics of a set-neck design.

    Active EMG 707 (neck) and 81-7 (bridge) pickups deliver rich, percussive clean tones and crisp, detailed distortion tones.

    THE BOTTOM LINE:The LTD V-407B seven-string baritone is a big instrument with an even bigger sound that is perfect for guitarists who want the heaviest low-end riffs without sacrificing the ability to play shredding solos.


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    PLATINUM AWARD WINNER

    There are times when nothing less than a half stack will do when playing certain styles of music live.

    However, a half stack is overkill for the venues where most guitarists play ninety percent or more of their gigs, and hauling around a heavy 4x12 cabinet can prematurely cause one’s posture to twist into a permanent Angus Young duck walk stance.

    Combo amps are the obvious solution, but the problem is that most combos are either too low powered, not versatile enough, or outrageously expensive.

    While Eddie Van Halen has performed on arena and stadium stages for the last 38 years, he never forgot the challenges he experienced when playing at clubs. With the new EVH 5150III 1x12 50-watt combo, Eddie and the engineers at EVH have designed a compact, portable combo that doesn’t sacrifice the sound and versatility of the 5150III heads that Eddie Van Halen uses on stage and in the studio.

    The EVH 5150III 1x12 50-watt is much more than just a shrunken-down combo version of a 5150III half stack, offering several exclusive features that make it the ideal all-in-one alternative for club gigs, studio recording, and practice at home.

    FEATURES: Consistent with the other EVH 5150III amps, this 50-watt 1x12 combo offers three channels (clean, crunch, lead), a single 1/4-inch input jack, and mono 1/4-inch effect send and return jacks and is driven by 6L6 power tubes (a pair) and 12AX7 preamp tubes (seven of them).

    Like the EVH 5150III 50-watt head and 2x12 combo, the front panel provides a set of low, mid, and high EQ, gain, and volume controls that are shared by channels 1 and 2, a second set of low, mid, high, gain, and volumes controls for channel 3 only, and a master presence control. Other front panel controls include a reverb knob to adjust the level of the built-in digital reverb and a power level knob that adjusts the power output continuously from 50 watts to just one watt.

    The rear panel is packed with a variety of professional features, including a MIDI input jack (for selecting channels and engaging reverb with an optional MIDI controller), 1/4-inch preamp output, and a pair of 1/4-inch parallel speaker output jacks with a 4/8/16-ohm output selector switch.

    There’s also a master resonance knob that adjusts the tightness of the overall bass response, a 1/4-inch headphone output jack, and a 1/4-inch jack for the included four-button footswitch controller that engages individual channels and the reverb effect.

    A single 12-inch Celestion G12M speaker is housed in a birch cabinet with a closed-back design and custom internal baffling. The 1x12 version of the EVH 5150III 50-watt combo is 19 pounds lighter than its 2x12 counterpart, but its overall dimensions are only three inches narrower and shorter yet 1/2-inch deeper. The combo is available either with traditional black covering or in ivory at no additional cost.

    PERFORMANCE: The sound of the clean, crunch, and lead channels is almost identical to that of the original 5150III 100-watt head, although the latter two channels seem to have a touch more gain that delivers a slightly more aggressive overall edge.

    The clean channel has ample clean headroom that makes this channel ideal for use with a pedal-based rig, and it produces satisfying crisp-but-fat overdrive crunch when the gain control is between three to five o’clock. The crunch channel provides Eddie’s modern “brown” sound with sweet treble and slightly saturated sustain, while the lead channel is full-on high-gain distortion that’s perfect for solos or modern metal rhythms.

    Thanks to the closed-back cabinet design and ample dimensions, which give the 12-inch speaker more room to resonate and bloom, the amp delivers similar low-end thump and focused midrange to a full-sized 4x12 cabinet. This combo is impressively loud, but the power level control allows players to tame the dBs to more sane levels for smaller clubs and studio recording. Weighing 65 pounds, it’s also a more sane option for players who don’t have road crews.

    Everything about the EVH 5150III 1x12 50-watt combo is professional, from its first-class sounds to its rock-solid construction. This is a combo without compromise, and best of all it’s the most affordable pathway to Eddie Van Halen’s current tone zone.

    LIST PRICE: $1,818.17
    MANUFACTURER: EVH, evhgear.com

    CHEAT SHEET: The closed-back design and custom internal baffling allows the single 12-inch Celestion G12M speaker to deliver huge bass and focused midrange similar to a 4x12 cabinet.

    Tubes include a pair of JJ 6L6 power tubes and seven JJ ECC83 (12AX7) preamp tubes that provide 50 watts of output and impressive gain.

    Output is continuously variable between 50 watts to one watt via the power level control located on the combo’s front panel.

    Clean, crunch, and lead channels provide the full range of tones ideal for any style of music from classic country to modern metal.

    THE BOTTOM LINE: Incredibly versatile, packed with professional features, and affordably priced, the EVH 5150III 1x12 50-watt combo offers gigging and recording guitarists unbeatable value without compromise.


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    Maryland hard-rockers Clutch have announced their new album, Psychic Warfare.

    The album, the band's 11th, is set for an October 2 release via the band's own Weathermaker Music label.

    "The title Psychic Warfare is taken from the track, 'X-Ray Visions'," said singer Neil Fallon.

    “It’s a tale about an unnamed protagonist who is forced to seek refuge in a flop house motel. He is hiding from several nefarious psychic forces, the worst of which is his own sleep deprived paranoia.”

    Psychic Warfare track listing:

    01. The Affidavit
    02. X-Ray Visions
    03. Firebirds
    04. A Quick Death in Texas
    05. Sucker for the Witch
    06. Your Love is Incarceration
    07. Doom Saloon
    08. Our Lady of Electric Light
    09. Noble Savage Clutch
    10. Behold the Colossus
    11. Decapitation Blues
    12. Son of Virginia

    For more about Clutch, visit pro-rock.com.

    Additional Content

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    Robert Cray has announced a new double live album and concert film titled 4 Nights of 40 Years Live.

    The set, which will be available in a variety of formats, is set for an August 28 release via Mascot Label Group.

    The first disc is comprised of 13 tracks recorded during the Robert Cray Band's recent tour stop in Los Angeles, while the second disc features live cuts from Cray's archives, such as a 1982 performance at the San Francisco Blues Festival.

    The 4 Nights of 40 Years Live concert film features a similar confluence of performances from Cray's career, plus interviews with luminaries like Keith Richards and Eric Clapton, who discuss Cray and his musical legacy.

    The set will be available in formats of: 2 LPs with digital download card, 2 CDs + DVD, Blu-Ray + 2 CDs and digitally. You can watch a trailer previewing the set below.

    For more about Cray, visit robertcray.com.


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    From her early days working with her brothers in the power trio Trampled Under Foot, bassist/vocalist Danielle Nicole has always found an outlet for her creative, blues-infused songs.

    Collectively, Trampled Under Foot recorded five albums, with its most recent, Badlands, reaching Number 1 on Billboard's Blues Albums chart in 2013.

    But as the band wound down after 13 years, Nicole decided it was a good time to branch out on her own. Her debut solo album, Wolf Den, which will be released August 21, represents the fruits of her labor and is a treasure trove of blues, funk and groove.

    Produced by Grammy-winning producer and guitarist Anders Osborne—whose songs have been covered by the likes of Brad Paisley and Jonny Lang, Wolf Den is a collaborative, New Orleans-themed album buried deep in tasty, blues-based rock.

    I recently spoke with Nicole about Wolf Den, working with Osborne, her gear and more.

    GUITAR WORLD: To someone who might not be familiar with your sound, how would you describe Wolf Den?

    It’s an extension of the songwriting from my days playing with my brothers in Trampled Under Foot as well as some songs I’ve never had a chance to record. A few of the other tunes were ideas Anders helped collaborate on and develop with me. The album as a whole is a collaboration rather than all of the songs stringing together.

    How does the songwriting process start for you?

    Most of the time it starts with a bass line groove or melody, and then I’ll start writing lyrics to it. If it’s a specific instance or taken from experience, it usually starts with lyrics.

    What can you tell me about the track “You Only Need Me When You’re Down?"

    That was a tune Anders and I had written together. At the time, I was in a bad place in a relationship and had the line, “You only want me when you need me. You only come to me when you’re in trouble.” Anders came up with the groove and we started expanding it from that situation. That’s how it came about.

    How about “Waiting for Your Love”?

    Anders had a lot to do with that one as well. We were in a writing session and I had brought a few notebooks of song ideas I had. Anders was playing around on the guitar and came up with the intro. Then he read one of my verses from a song I hadn’t finished and started singing it along to his music. We started building it from there.

    Do you have a personal favorite track from Wolf Den?

    I don’t like to single out songs because the album as a whole is great, but “Take It All” is one that’s really dear to my heart. It’s a desperate love song that pretty much says, “If you’re going to leave me then just take my heart with you.”

    What was it like working with Anders?

    It was absolutely amazing! Going in, I was naturally nervous because of his credentials and reputation as a songwriter and producer. He’s one of the greats. But he’s such a warm person. You talk to him for a few minutes and it’s just like family. He just makes you feel at home. He really knows how to make the song the way it was meant to be.

    Can you tell me a little about your musical upbringing?

    I’ve always loved to perform. I took dance for many years as a child and learned about singing and harmony from my parents teaching. I didn’t start actively pursuing it though until I was about 15. Then when I saw Etta James perform at a festival in Kansas City and B.B. King take people on an emotional journey, I knew it was something I wanted to be a part of.

    When did you start playing bass?

    I started playing bass when I was 18 to keep Trampled Under Foot a family band. We were a power trio with my two brothers. I picked it up, started taking lessons and just fell in love with it. I love being the foundation and the simplicity of playing one note at a time and each one having so much feeling. I also enjoy the challenge of playing bass and singing at the same time.

    Who are some of your influences?

    I’ve always loved Paul McCartney, just his melodies and the feel he has when he plays. I also like John Paul Jones from Led Zeppelin. Then there are guys like James Jameson and Willie Dixon whose style I really loved.

    What’s your setup like?

    I played a Fender Jazz for many years until Delaney approached me and made me one of their custom basses. It mirrors the Jazz in that it has a maple neck and rosewood fretboard with two individual pickup styles. It has this heavy bridge that just sings. I love it. When I’m playing, I prefer to use a Markbass amp. I like to pair it using a 4-by-10 and a 15. I like the fullness the 15 gives and then with the 4-by-10’s you can still have that poppy, high end when you want to play the funky stuff.

    What are you most looking forward to with the release of Wolf Den?

    I’m really looking forward to expanding my audience. There’s something for everyone on this record. There’s awesome funk, some blues and some really great rocking stuff that can catch on to a wide audience. I took a lot of chances genre wise with this record and I’m looking forward to seeing where that takes me!

    James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, GoJimmyGo.net. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on Twitter @JimEWood.


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    Two thousand fifteen marks 40 years since the release of Grammy-winning guitarist Lee Ritenour’s debut solo album, First Course.

    To help commemorate the occasion, Ritenour has gone back into his vast archive of musical material—one that spans 40 albums—to release A Twist of Rit.

    For A Twist of Rit, Ritenour combines new material and several of his classic compositions. It’s another inspired collection of the funky fusion and sophisticated jazz that’s made Ritenour one of the world’s most renowned guitarists.

    Another album highlight is the debut of Hungarian guitarist Tony Pusztai, who was the grand prize winner of Ritenour’s 2014 Six String Theory Competition.

    I recently spoke with Ritenour about his new album, gear, session work and more.

    GUITAR WORLD: When you look back at your 40-year career as a solo artist, what comes to mind?

    It’s pretty phenomenal that I’ve been making albums for 40 years. It’s something you certainly don’t expect when you start out that young. This new album is especially close to me, because not only did I write new material but we also decided to twist and flip tunes from past decades, including a few from my very first album. I’m really happy with the freshness the album has.

    Was the idea for this new album always to celebrate this milestone?

    Not really. I have a 20-year-old son who is a pro drummer who plays with me and some other people, so I’m always listening to all of the young bands that are out there. What I started to notice was that a lot of these groups were borrowing elements that we were doing back in the Seventies and Eighties. That’s when I thought, what if we went in and took my tunes from those early records and twisted them up and gave them a fresh look? We had a 12-piece band playing everything live in the studio and gave it a youthful, contemporary sound and feel.

    What was it like revisiting your older material?

    One thing I never do as a habit is listen to my old material. When I’m making an album I’m immersed in the process and listen to it a lot, but then there comes a period after it’s released where I’m done listening to it. This project allowed me to go through my entire catalog and put together a different playlist. It was fun going back to the Seventies, Eighties and Nineties and remembering something about every track. I didn’t want to go for necessarily my most famous tracks. I wanted to pick tunes that I felt were still relevant today.

    Let’s talk about a few of those tracks, starting with “Wild Rice."

    That was a tune that was written around 1975 for my first album. It was really a precursor to the next album, which was Captain Finger. At the time, I was entering a fusion period and it had a funk feel but also had some fusion lines in it. I thought it would be a nice track to revisit melodically. I had my old seasoned folks play on it as well as a great horn section. At the end, it turns into a big jam where we get a Tower of Power-type groove going!

    “Ooh Yeah”

    That song is really close to my heart. It was from the mid-Nineties. John Beasley [keyboardist] and I decided to try and recreate the laidback feel where the drums are way behind the beat and put a different hump on it. I came up with a really silky sound on my jazz guitar. It has a nice vibe and is one of my favorite tracks.

    How did guitarist Tony Pusztai become involved in the project?

    Tony won the grand prize for last year’s Six-String Theory competition. He’s a phenomenal classical guitarist who also has some nice jazz chops and one of the prizes was for him to play on this record. Originally, we thought we’d add one of his compositions but I realized that in this case it might be cool if we did one of my tunes and played it together. It turned out really nice.

    Do you have a particular guitar/amp combo you like to use?

    On the road, we backline two Fender Twin 65 re-issue amps and a Mesa Boogie Road King with a 2x12 speaker in the middle. The Twins are getting the stereo effects, but I leave the middle one dry. For the record, I was turned on to this new company called Ladner. They’re a company out of Mississippi that makes phenomenal amps with a Seventies feel. They’re built like a Rolls Royce and have so much personality and dynamics. Guitar-wise it was also a strictly a Gibson project, with my Gibson Les Paul and my model L5.

    What are some of the most memorable moments of your career?

    There are so many. In the early days when I first got started as a studio musician, I remember being so happy to have finally made it as a professional musician. Just getting in the door was one of the biggest challenges. The moment you realize that all the hard work you’ve put in is starting to pay off is really special.

    I also remember being 16 and getting to record with the Mamas and the Papas, kind of by accident. Then there was getting to play with Tony Bennett and Lena Horn and working with guys like Quincy Jones and B.B. King. I’ve also had big career excitement in the Six String Theory record. That was a big project and getting to work with all of these great guitar players was pretty special.

    Do you have a funny story about your days as a session player?

    I remember when we were working on George Benson’s Give Me the Night. George and I have been friends for a long time and I did a lot of rhythm playing with him on that record to create a sound. After the album was finished, George flew back to Hawaii. It was right before they had to turn the album in and I got a call in the middle of the night from Quincy Jones. He said, “Rittenour! You’ve got to get down here right away!!” I said, “What happened?” He said, “Well, we had an accident and erased a few bars on one of George’s solos!”

    George was in Hawaii but all of the equipment was down in the studio. They wanted me to come down and punch it in. So I went down to the studio, listened to a few minutes of this little cassette they had of an older version, copped it as much as I could and we nailed it! Then Quincy says, “OK, now just make sure you don’t tell George what happened!” But a few years later we did tell George about it and we all had a good laugh!” [laughs].

    James Wood is a writer, musician and self-proclaimed metalhead who maintains his own website, GoJimmyGo.net. His articles and interviews are written on a variety of topics with passion and humor. You can follow him on Twitter @JimEWood.


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    Today, GuitarWorld.com presents the exclusive premiere of "Green Eyes," a new playthrough video by iwrestledabearonce.

    The song is from the band's new album, Hail Mary, which was released June 16 via Artery Recordings. This is IWABO's first with new guitarist Mike Stringer, who appears in the video.

    For more about iwrestledabearonce and the new album, visit iwrestledabearonce.com.


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    Check out Guitar World's guide to 11 essential thrash metal albums—discs or downloads every self-respecting metalhead should have in his/her record collection.

    Why 11?

    "Well, it's one louder, isn't it?"

    From Kill 'Em All to Cowboys From Hell, these manic slabs of musical mayhem provide an excellent aural history of the rise of one of metal's most enduring sub-genres.

    How many of these albums do you own?


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    PLATINUM AWARD WINNER

    Ola Strandberg started work on his truly revolutionary Ergonomic Guitar System in 2007.

    Since then, many visionary guitarists like Allan Holdsworth, Tosin Abasi, Chris Letchford, and Misha Mansoor have commissioned Strandberg to build them his bespoke Made to Measure guitars, which take into consideration the guitarist’s anatomy, playing style, and tone preferences.

    While Strandberg’s first production series model—the Boden OS—is more of a “one-size-fits-all” instrument, it still offers players outrageously comfortable ergonomics along with the innovative features that draw progressive guitarists to his creations.

    FEATURES: Strandberg offers two different Boden OS models: the six-string Boden OS 6 and the seven-string Boden OS 7. We looked at the latter, which features a hybrid 26.25-inch (low E) to 25.5-inch (high E) scale length ideal for the seven-string model’s extended low-end range. Weighing less than five pounds, the Boden OS 7 is constructed from a chambered swamp ash body with a flame maple top.

    The bolt-on neck features a headless design, patented EndurNeck profile (sort of a diagonal squared-V shape), 20-inch radius, 24 stainless steel frets arranged in a fanned configuration, and five-piece laminated construction consisting of three bird’s-eye maple layers and two carbon-fiber reinforced walnut strips. The fretboard is available in bird’s-eye maple or rosewood, both featuring glow-in-the-dark fretboard inlays and side dot markers.

    Hardware consists of EMG 707X pickups, Strandberg’s EGS Series 4 fixed bridge with string locks and knurled tuners, six individual headstock string clamps, ebony master volume and master tone knobs, and a three-position blade pickup selector switch.

    PERFORMANCE: With its exceptionally lightweight, generous contours, deep cutaway, and logical ergonomic details, the Strandberg Boden OS 7 is by far the most comfortable guitar I’ve ever played.

    The treble bout is minimalist but features a curved shape that perfectly cradles the leg in a seated playing position, and the strap positions the neck at an ideal playing angle when standing. The EndurNeck profile may seem unusual at first, but it is exceptionally comfortable and guides the hand into ideal playing positions up and down the neck. I also liked the raised edges at the low end of the fretboard, which simulates the feel of a headstock and keeps the fretting hand from slipping off the end (unlike most other headless designs).

    The Boden OS 7 sounds as good as it plays. The EMG pickups deliver precise definition across the entire frequency range, allowing each note in chords to be heard. The attack can be surprisingly percussive, but the sustain is also rich and full.

    LIST PRICE: $1,895
    MANUFACTURER: Strandberg Guitars, strandbergguitars.com

    CHEAT SHEET:The 26.25- to 25.5-inch hybrid scale and 24 fanned stainless steel frets provide accurate intonation for each string.

    The EndurNeck profile has a “squared-V” shape that runs diagonally down the neck to place the fretting hand in an ideal playing position.

    THE BOTTOM LINE: Built for comfort, the Strandberg Boden OS 7 is a high-performance guitar that offers unparalleled playability and incredibly rich, precise tones for guitarists who want to play their best.


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    Below, check out a new video of two street musicians performing with homemade guitars. One guy made a guitar out of a broom. The other guy built a bass out of a shovel.

    Here's the info (with a bit of grammar/translation assistance) that was posted with the clip:

    "On the corner of Vienna street (Karlsplatz); the young artist was busy playing with handmade guitars; very strange but interesting and creative. I stood with the people to listen and enjoyed it. We were happy to help them out financially."

    Enjoy!


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    Check out a fairly new video (April 18) that collects the "Top Seven Street Guitarists in the World," at least according to the person who posted and/or created it, a YouTube user named Mr Zi.

    We've actually been thinking about researching and posting a story like this for quite a while, so we thank Mr Zi for doing some of the work for us.

    The video, which is nine minutes long, kicks off with guitarist Tom Ward, stops off at Jacek Piotrowicz (and four other players) and finishes off with Eugenio Jedi Martinez. The clip omits at least two names we'd have included if the video were ours ... but we can sort that out next time.

    Let's not forget that you can get a strong reaction from playing just one note—giving it plenty of time to breathe—a la B.B. King. But gawkers seem to prefer the flashy types, it seems. Anyway, enjoy!


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    When considering the choices for this list, we realized it wasn't as easy a task as we first thought.

    What makes for a great 12-string guitar song as opposed to a great song that just happens to have a 12-string guitar somewhere on it? Let's face it, if Led Zeppelin's "Stairway to Heaven" had a ukulele on it, it would immediately be in the running for Greatest Ukulele Song of All Time.

    That being said, we looked at not only the legacy of the song but how prevalent 12-string guitar is in the song and how influential the song would be in inspiring others to pick up their 12-strings.

    Without the 1964 Beatles film A Hard Day's Night, the Byrds might not have existed as you now know them (assuming you know them—and you should know them), and without "Stairway to Heaven," the doubleneck guitar might be sitting in a museum as a one-time oddity produced by Gibson.

    So what song will we crown as the Greatest 12-String Guitar Song of All Time?

    Read on ... (And yes, we threw in an extra song; our math isn't too good. Enjoy our top 31!).


    31. Pantera, "Suicide Note, Part 1"
    The Great Southern Trendkill (1996)

    This song marked one of the most experimental moments in Pantera's catalog, with Dimebag Darrell's dark 12-string guitar part perfectly echoing the song's somber subject matter.




    30. John Butler Trio, "Ocean"
    John Butler (1998)

    The newest song to make the cut, John Butler's instrumental masterpiece "Ocean" stands as a fine example of the timeless sound of the 12-string. Keep an ear out for Butler's use of two-hand tapping ala Satriani in "Midnight."




    29. America, "A Horse with No Name"
    America (1971)

    Although the 12-string acoustic guitar plays only a supporting role in this ubiquitous folk-rock tune about a nameless equine, it actually plays a major part in its overall sound. When "A Horse With No Name" was released, a lot of people thought it was a Neil Young song, which is ironic because it replaced Young's “Heart of Gold” at the Number 1 spot on the U.S. pop chart.




    28. Bob Dylan, "Hurricane"
    Desire (1976)

    Most assume it was Dylan himself who played the 12-string here, but it was actually session guitarist Vinnie Bell manning the Danelectro Bellzouki 12-string guitar on this classic cut.




    27. Gordon Lightfoot, "Early Morning Rain"
    Gord's Gold (1975)

    Gordon Lightfoot re-recorded this old Gordon Lightfoot tune for his 1975 compilation album, Gord's Gold, and it's this lush, radio-friendly version that became the hit. While 12-string electric guitars were all the rage in the Sixties, 12-string acoustics had taken their place in the Seventies; this song is a prime example of that shift.




    26. Alice In Chains, "I Stay Away"
    Jar of Flies (1994)

    If ever there was a rock band who had an equally strong handle on menacing drop-D riffs and menacing, introspective acoustic music, it was most certainly Alice In Chains. "I Stay Away" from Jar of Flies is not only the band's best 12-string moment, but it marks the first track Jerry Cantrell wrote with then-new Alice in Chains bassist Mike Inez.




    25. The Hollies, "Look Through Any Window"
    Hollies (1965)

    As you'll see, 1965 was a huge year for the electric 12-string guitar. It was big like synthesizers and skinny black ties were big in 1982. You had your Byrds, of course, your Beatles—and your Hollies, who rode the 12-string bandwagon to great heights with this song written by Graham Gouldman and Charles Silverman. That's Tony Hicks on the 12-string, by the way.




    24. Queen, "39"
    A Night at the Opera (1975)

    Brian May's massive-sounding 12-string acoustic is an integral part of this sci-fi masterpiece, the B-side of "You're My Best Friend." It's about a group of astronauts who set out on what they think is a one-year journey, but when they get back, they realize they've been gone for 100 years. They simply don't write Einstein allusions like this anymore.




    23. Mahavishnu Orchestra, "You Know You Know"
    The Inner Mounting Flame (1971)

    It's undeniable that Mahavishnu Orchestra had many fine 12-string moments in their career, but "You Know You Know" off their first album, The Inner Mounting Flame, stands out as guitarist John McLaughlin's shining moment with the instrument. Fun fact: This song was later sampled by both Mos Def and Massive Attack.




    22. Red Hot Chili Peppers, "Breaking the Girl"
    Blood Sugar Sex Magik (1991)

    One of only two Chili Peppers songs in 3/4 time, John Frusciante's main 12-string riff in this song was inspired by none other than Jimmy Page.




    CLICK HERE TO SEE SONGS 21 THROUGH 12.


    21. Jimi Hendrix, "Hear My Train a-Comin'"
    Blues (1969)

    Jimi Hendrix sitting alone playing blues on a 12-string acoustic guitar is a reminder that, despite all of his distortion and psychedelia, he always felt a strong connection to his roots, including Delta blues. Although he performed and recorded electric, full-band versions of this song (as heard on the Valleys of Neptune album), this version is more stark and disarming.




    20. Supertramp, "Give a Little Bit"
    Even in the Quietest Moments.... (1977)

    This international hit for Supertramp is a pop masterpiece in the key of D, which, as the Byrds proved a decade-plus earlier, is the 12-stringiest of all the keys. It was written by Roger Hodgson, and a solo Hodgson performance is featured in the video below.




    19. David Bowie, "Space Oddity"
    David Bowie/Space Oddity (1969)

    Long before working with the likes of Adrian Belew, Carlos Alomar, Robert Fripp and Stevie Ray Vaughan, Bowie himself manned the 12-string for his 1969 ballad of Maj. Tom. The song was so well-received, the album it appeared on, David Bowie, was renamed after the song before its 1972 reissue.




    18. The Who, "Substitute" (1966)

    When Pete Townshend wanted a riff to one-up the Rolling Stones'"(I Can't Get No) Satisfaction," he reached for his 12-string. "Substitute" was a top ten hit twice in the U.K., once in 1966 when it was originally released an again 10 years later when it was re-issued. The track found unlikely supporters in the punk rock movement, being covered by both the Sex Pistols and the Ramones.




    17. The Beatles, "A Hard Day's Night"
    A Hard Day's Night (1964)

    Although the Byrds were the band that was most associated with the 12-string Rickenbacker in the Sixties, their inspiration came from the Beatles. "We went as a group to see A Hard Day’s Night multiple times and were totally taken with the Beatles," said Roger (formerly Jim) McGuinn. "I liked George Harrison’s Rickenbacker 12, but I couldn’t find one that looked like his with the pointy cutaways, so I bought the blonde 360 model." For a clear, crisp example of the beauty of the guitar's sound, check out the 12-string riff as the song fades.




    16. Rod Stewart, "Maggie May"
    Every Picture Tells a Story" (1971)

    "Maggie May," Rod's Stewart's first hit as a solo performer, starred a striking combination of 12-string acoustic guitar and mandolin. In 2004, Rolling Stone ranked the song at No. 130 on its list of The 500 Greatest Songs of All Time. We like it too.




    15. Bon Jovi, "Wanted Dead or Alive"
    Slippery When Wet (1986)

    Half-inspired by Old West Outlaws and half by Bob Seger's "Turn the Page," Jon Bon Jovi and Richie Sambora managed to craft arguably the most recognizable acoustic guitar riff of a ballad-heavy era in rock music.




    14. The Rolling Stones, "As Tears Go By"
    December's Children (And Everybody's) (1965)

    This was one of the first Jagger/Richards compositions—although producer Andrew Loog Oldham is also credited as a writer. Legend has it that ol' Loog Locked Mick and Keith in a room and told them to come out with an original song, period. This is what they came up with, and they gave it to Marianne Faithfull in 1964 before taking a stab at it a year later.




    13. The Byrds, "Mr. Tambourine Man"
    Mr. Tambourine Man (1965)

    Even though George Harrison had been recording with his 12-string Rickenbacker for a while, with this song, Jim (later Roger) McGuinn showed the world exactly how cool a 12-string guitar could be. Its jangly sound was the perfect partner to Bob Dylan's ethereal lyrics. The 12-string Rick would be an integral part of the Byrds' sound until they disbanded in 1973.




    12. Led Zeppelin, "Stairway to Heaven"
    Led Zeppelin IV (1971)

    With this song, Jimmy Page did for the doubleneck guitar what Roger McGuinn of the Byrds did for the 12-string electric. Or perhaps more fitting, Page did for the doubleneck what Henry Ford did for the horseless carriage.




    CLICK HERE TO SEE SONGS 11 THROUGH 1.


    11. Rush, "Closer to the Heart"
    A Farewell to Kings (1977)

    Taken from Rush's 1977 album A Farewell to Kings, "Closer to the Heart" begins with a majestic-sounding arpeggio picking pattern played by guitarist Alex Lifeson on a 12-string guitar. This song was also Rush's first hit in the U.K. and has been a staple of their live show ever since.




    10. Ozzy Osbourne, "Mama I’m Coming Home"
    No More Tears (1991)

    Zakk Wylde's obvious Southern-rock homage in the opening bar gives way to beautiful, descending riff, which anchored Ozzy Osbourne's only solo Top 40 hit. Rest assured there are plenty of Zakk's patented pinch harmonics to go around, but the sound of the 12-string intro is what makes this song instantly recognizable.




    09. Boston, "More Than a Feeling"
    Boston (1976)

    A classic rock radio mainstay and one of the most recognizable 12-string guitar intros in all of rock, "More Than a Feeling" reportedly took Tom Sholz five years to write.




    08. Tom Petty, "Free Falling"
    Full Moon Fever (1989)

    Back when the Traveling Wilburys ruled the airwaves, Tom Petty, a Wilbury himself, adopted the band's thick, acoustic sound for Full Moon Fever, his first solo outing. He also took fellow Wilbury Jeff Lynne along for the ride as co-producer. This one features 12-string acoustic on the rhythm and a touch of 12-string Rickenbacker on the mini-solo.




    07. The Byrds, "Turn! Turn! Turn!"
    Turn! Turn! Turn! (1965)

    Yes, it's the Byrds again. This song is higher up on the list than "Mr. Tambourine Man" because of its beautiful 12-string Rickenbacker solo and the fact that the Byrds are actually playing on it (which is not entirely true for "Mr. Tambourine Man").




    06. The Beatles, "Ticket to Ride"
    Help! (1965)

    Yet another one from '65. This tune, with its crisp 12-string Rickenbacker intro, is one of the many highlights from the Beatles' second feature film, Help! Just play an A on the G string, an open E string, a C sharp on the B string, that A again and then an open B string, and you're on your way.




    05. Stevie Ray Vaughan, "Rude Mood"
    Stevie Ray Vaughan and Double Trouble (Box Set) (1990)

    It was a little surprising when SRV turned up on MTV's Unplugged in 1990 with a Guild 12-string, tearing through a slew of Texas Flood tunes, including "Pride and Joy,""Testify" and "Rude Mood." Then again, that's also the year he recorded "Life by the Drop" on a 12-string. Perhaps he'd stumbled upon something new that he could've put to greater use in the future.




    04. Pink Floyd, "Wish You Were Here"
    Wish You Were Here (1975)

    Recorded to sound like it was being played through an old transistor radio, the 12-string intro of Pink Floyd's "Wish You Were Here" never fails to evoke a sense of nostalgia. When David Gilmour plays the overdubbed six-string solo, sounding like a lonely old man playing along with the radio, you get one of the most timeless songs in the back catalog of one of the most timeless bands of all time.




    03. Led Zeppelin, "Over the Hills and Far Away"
    Houses of the Holy (1973)

    "Stairway" may be the most revered song on this list, but there's no denying "Over The Hills and Far Away" as the quintessential 12-string guitar song in Led Zeppelin's catalog.




    02. The Byrds, "Eight Miles High"
    Fifth Dimension (1966)

    Hey, we love big, sloppy guitar solos played on Rickenbacker 360s. This is Jim (later Roger) McGuinn at his, well, 12-stringiest.




    01. The Eagles, "Hotel California"
    Hotel California (1976)

    Yes, it's "Hotel California." What a nice surprise! Admit it: Don Felder's 12-string acoustic guitar intro (and every other note and chord he plays on this song) is, at this point, a part of our collective consciousness. This song, the ubiquitous soundtrack to 37 trillion barbecues, elevator rides and long trips through the desert at 3 a.m., has never gone away—and probably never will.


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    Boss has announced the DD-500 digital delay pedal.

    Filled with newly developed Boss technology, this stompbox offers 12 distinctive delay modes and superior audio quality, along with editing controls, a graphic display, patch memories and MIDI.

    The DD-500 delivers its sound-making capabilities in a compact design that fits easily on any pedalboard. Each delay mode has been crafted for a unique sonic personality and highly musical tones at every setting, realized by DSP running at 32-bit/96 kHz.

    Included among the DD-500’s 12 modes are basic delays, warm analog and tape echo types, pattern-based effects, and complex modern delay lines that employ pitch shifting, filtering, and other unique processing. The pedal’s Vintage Digital mode offers BOSS’s first emulations of sought-after classics from the 1980s, including the legendary SDE-2000 and SDE-3000 rack units from Roland and the Boss DD-2, the first stompbox digital delay.

    Hands-on knobs allow users to quickly shape essential parameters and create sounds right away. Each delay type also includes a semi-parametric four-band EQ, modulation, ducking, and many other parameters, enabling a huge range of tonal refinement. The large, integrated LCD fully supports the DD-500’s capabilities, providing clear visibility of delay time, patch ID, and more on one screen, plus intuitive navigation for detailed parameter tweaks, naming, and system management.

    Freely assignable controls enable extensive creative expression and performance flexibility. By default, the A, B, and TAP/CTL switches provide control for two patches, bypass, bank selection, tap tempo and more.

    However, they can be customized to operate in alternate ways, such as providing top-level access to three different delay patches, or controlling various real-time functions like Warp, Twist and many others. Additional parameters can be controlled via an optional expression pedal or external switches, and MIDI I/O opens up even more options with advanced setups.

    Along with its other capabilities, the DD-500 includes an independent Phrase Loop function with up to 60 seconds of stereo recording time (120 seconds in mono). On board USB provides a simple computer connection for patch backup and MIDI control with DAW software.

    The DD-500 features a 100-percent analog dry signal path, and users have their choice of buffered-bypass or true-bypass operation. Able to run on four AA-size batteries or an optional AC adapter, the DD-500 is equally suited for grab-and-go playing, pedalboard installations, and studio setups.

    To learn more, visit bossus.com.

    For more Summer NAMM Show news, bookmark GuitarWorld.com's dedicated Summer NAMM 2015 page. And don't forget to follow GW on Twitter for more "live on the NAMM Show floor" coverage.


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    Boss has announced the RV-6, an all-new compact reverb pedal.

    The pedal includes eight distinctive reverb types, which feature newly developed algorithms driven by the latest Boss DSP.

    Reverb types include standards such as Room, Hall, Plate and Spring, providing a broad selection of tones. Also on hand are powerful Modulate, Dynamic, Shimmer and Reverb+Delay types, which offer more lush, expansive reverb sounds.

    Each mode includes a range of detailed internal reverb parameters, all tuned for guitar by Boss with direct input from pro players and sound engineers. Even as the selected mode is adjusted with the Time and Tone knobs, many parameters are simultaneously balanced inside to create better voicings for every setting.

    The RV-6's auto-switching jacks support mono, mono-to-stereo, and stereo-to-stereo operation, allowing users to integrate with any pedal chain. And by plugging into the B input only, the RV-6 outputs a 100-percent wet sound, great for working with more complex rigs that employ parallel processing chains and mixers. There’s also a jack for controlling the effect level in real time via an optional expression pedal.

    To learn more about the RV-6 Reverb, visit bossus.com.

    For more Summer NAMM Show news, bookmark GuitarWorld.com's dedicated Summer NAMM 2015 page. And don't forget to follow GW on Twitter for more "live on the NAMM Show floor" coverage.


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    In this lesson, I'll lay out a few tools I use in crafting guitar melodies and solos to make the instrument feel more fluid.

    The first exercise is a way to double a note on the neighboring B and G strings.

    This kind of thing reminds me of a Johnny "Guitar" Watson move. It also helps get fingers accustomed to sliding very quickly. And this kind of sliding technique might help you see connections on the fretboard while giving you an alternative to standard blues solos.

    Start with your index finger on the third fret of the B string and slide your ring finger from the fifth to seventh fret of the G string. See below:

    e|------------------------------------------------------------------------------
    b|--------3--------------------------------------------------------------------
    G|---------------5----s----7--------------------------------------------------
    D|------------------------------------------------------------------------------
    A|------------------------------------------------------------------------------
    E|------------------------------------------------------------------------------

    After you are comfortable with the above, you can slide back down from the seventh to fifth fret on the B string.

    e|-----------------------------------------------------------------------------
    b|------3------------------------5----s----3---------------------------------
    G|--------------5----s----7--------------------------------------------------
    D|-----------------------------------------------------------------------------
    A|-----------------------------------------------------------------------------
    E|-----------------------------------------------------------------------------

    Here’s another one you can try just picking three notes. For this, we’ll use three notes on the B string at the 12th, ninth and seventh frets, and focus on going between them smoothly. Hopefully, this exercise will get your fingers more fluid and get you more comfortable sliding between notes without breaking them up, sort of like using a slide without actually wearing a slide.

    Start with your ring finger on the 12th fret of the B string, then slide down to the ninth fret, and then pull off onto the seventh fret.

    e|------------------------------------------------------------------------------
    b|------12----s----9----p----7-----------------------------------------------
    G|------------------------------------------------------------------------------
    D|------------------------------------------------------------------------------
    A|------------------------------------------------------------------------------
    E|-------------------------------------------------------------------------------

    You want to get comfortable doing this in a way where you don’t have a pronounced attack between the notes on the ninth and seventh fret. You want to do the pull off very softly, so it feels like the note is sliding off. I do that by letting go of the string rather than emphasizing the pull-off.

    From there you can just slide back up to the ninth fret by doing the following:

    e|------------------------------------------------------------------------------
    b|------12----s----9----p----7----s----9------------------------------------
    G|------------------------------------------------------------------------------
    D|------------------------------------------------------------------------------
    A|------------------------------------------------------------------------------
    E|-------------------------------------------------------------------------------

    Again, stuff like this can help you conceptualize the guitar in a different way, where everything isn’t linked in with your right/plucking hand. You could combine this exercise with the one we did above, to get something like the following:

    e|--------------------------------------------------------------------------------------
    b|------12----s----9----p----7----s----9--------------------------11----s----9---
    G|-----------------------------------------------11----s----13----------------------
    D|-------------------------------------------------------------------------------------
    A|--------------------------------------------------------------------------------------
    E|--------------------------------------------------------------------------------------

    A lot of what we talk about in this video (below) so far involves sliding with one or two fingers on one or two strings to give rubbery, blending effects to your guitar. These are good ways to get your fingers comfortable with slide-type techniques before you pick up a slide, if you’re hesitant to pick up a slide for any reason. And these are good ways to get your wrist comfortable with stopping at points along the way so you can get a lot of notes in a single movement with your fretting hand.

    Of course, you also can do these kinds of things with a slide on your fretting hand. Stepping back to the first exercise we talked about, you can do this same kind of thing with a slide, which has an interesting effect. And it can be a technique to get your fretting hand comfortable with a basic slide move. If you practice this, you can develop more fluidity going between two frets and two strings using a slide.

    e|------------------------------------------------------------------------------
    b|--------3--------------------------------------------------------------------
    G|---------------3----s----5-----s----7--------------------------------------
    D|------------------------------------------------------------------------------
    A|------------------------------------------------------------------------------
    E|------------------------------------------------------------------------------

    e|------------------------------------------------------------------------------
    b|--------3--------------------------------------------------------------------
    G|---------------5----s----7--------------------------------------------------
    D|------------------------------------------------------------------------------
    A|------------------------------------------------------------------------------
    E|------------------------------------------------------------------------------

    e|------------------------------------------------------------------------------
    b|--------3--------------------------------------------------------------------
    G|---------------3----s----7--------------------------------------------------
    D|------------------------------------------------------------------------------
    A|------------------------------------------------------------------------------
    E|------------------------------------------------------------------------------

    As for slide technique, I generally use the slide on my ring finger of my left hand, and I use the fingers of my right hand to pluck the notes. As for the fretting hand, I like to play the slide without muting fingers behind it and with the slide not quite pressed down all the way. This can help you develop a frail sound with less sustain that sounds like a singer with a raspy voice or a sore throat, which I think is more interesting than a straight-ahead slide sound.

    Hopefully, these exercises will give you some stuff to think about—specifically focusing on what’s coming before and what’s coming after the notes you play, not just on the note you are playing. If you focus on these aspects of your compositional approach and playing, hopefully they can help you inject more depth into your notes and what’s behind them.

    Steve is now offering online lessons to those who are interested in learning more about his guitar style. His schedule is somewhat irregular due to touring, but you can contact him and set up a time right here.

    Steve Marion, also known as "Delicate Steve," is a guitarist from New Jersey. He has released two albums on David Byrne's Luaka Bop label, collaborated with Paul Simon, Ra Ra Riot, Dirty Projectors and Built to Spill (among others) and is a member of Saint Rich (Merge Records). Delicate Steve’s first album, Wondervisions, was named a New York Times Critic's Choice. He has been named one of the "30 Best Guitarists Under 30" by Red Bull Music. Critics have said, “Marion is one of those rare guitarists whose instrument sings in place of vocals...crystalline and futuristic...like George Harrison’s guitar reanimated...” (Pitchfork), and that he is “a true guitar hero" (Kevin Parker of Tame Impala).


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    I had somewhat of an unexpected cathartic experience during the 2015 Summer NAMM Show in Nashville.

    As I was walking past the Acoustic Nation performance stage, I was stopped dead in my tracks by the most powerful music I heard all week (mind you — I was surrounded by music for six straight days).

    My eyes instantly turned into faucets as I experienced a non-stop stream of cleansing tears. What was happening to me?

    The person whose music made me feel that way was Joe Kye, a Sacramento-based violinist-looper, singer and composer whom I’d never heard of before. I just so happened to walk by as he was playing an original piece called “11/8” (in reference to the song’s time signature) off his latest EP Joseph In The Well, released in May of this year. The lyrics were simple, but powerful: “I make mistakes, so do you.” That is literally all the song says with some minor variations in wording.

    Kye’s music discharged a world of emotions within me. He delivered a comforting divine message. Every last note cradled me while my inner voice softly said, “It’s ok to make mistakes. You're supposed to make mistakes so that you can learn and grow from them. Be good to yourself.”

    The universe made sure I was there at that precise moment and time, because I needed to hear that. I knew I was there for a reason and that I was on the right path — that, ladies and gentlemen, is the power of music.

    Later on during the show, I ran into Kye and expressed my gratitude and the experience I had. He was very touched and gave me his CD, which has been playing on repeat ever since.

    In the six-track EP, Kye’s style is playful, freeing and healing. His unconventional approach to violin inspires an unyielding desire for happiness, gratitude and curiosity. With tracks like “Happy Song,” “Clear Eyes,” and “Ashes,” Joseph In The Well tugs at the heartstrings of lovers of life, the wounded, seekers of joy, good and justice.

    His music had a profound impact on me, and it’s likely to resonate with you, too. Listen to his album here, and visit his website at www.joekye.com.

    Amazing what music can do, right?


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    While exploring the NAMM show, we dropped by the Bedell Guitars booth and were lucky enough to get some one-on-one time with the man himself, Tom Bedell.

    Here Mr. Bedell shares a Wildfire parlor model, although the guitar is available in an orchestra or dreadnought body as well.

    Towards the end of the clip, Bedell calls upon guitarist Zach Runquist who gives us a thorough demo of the beautiful looking (and sounding!) instrument.

    As Bedell mentions, the Wildfire models are part of Bedell Guitars’ Homegrown Collection, meaning that every piece of wood used for the instruments comes from the U.S., and was obtained using sustainable, eco-friendly methods.

    This is also a good time to mention that you can enter to win a Bedell Earthsong Orchestra acoustic right now, only from Acoustic Nation! Enter right here.

    For more on Bedell Guitars, visit www.bedellguitars.com.


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    London calling?

    According to our friends at Wired, Marshall Amplification’s first foray into the smartphone world won’t have Apple and Samsung sweating their stake in the market.

    But the U.K. guitar-amp company’s new mobile device—the London (catchy, eh?)—does indeed come with a few unique features.

    The London is an Android Lollipop phone custom-fitted for music lovers, with a processor for high-resolution audio (including uncompressed FLAC files), headphone jacks built into it, Marshall Mode earbuds, a button that fires up the phone’s music UI, a five-band global equalizer and a scroll wheel for adjusting volume with precision while it’s in your pocket.

    Here's a full list of the London's features, taken directly from Marshall's website:

    Twin Stereo Jacks: Two stereo jacks, allowing you and a friend to listen to music together. Each with an independent volume control.

    Dual Speakers: The loudest mobile phone on Earth? Possibly. Two front facing speakers make London the perfect tool for listening to music without headphones, too.

    Scroll Wheel: The scroll wheel gives you quick access to volume control, with tactile precision to find just the right spot.

    M-Button: At the heart of the London is the M-Button—a dedicated one-click access to your music, whatever the source of it may be. Thanks to this ingenious bit of engineering, you can control your music on top of whatever else you happen to have on your screen.

    The Sound: For over half a century Marshall has focused heavily on the sound of its products. You can rest easy knowing that some serious equipment went into making the London one of the best sounding music machines out there.

    Marshall London packs a lot under the hood; take for example the Wolfson WM8281 Audio Hub. This soundcard gives the London a separate processor for music, allowing it to play at a higher resolution. Higher resolution means that even the best quality MP3 will sound phenomenally better when played with London. Additionally it lets you play uncompressed music such as FLAC format.

    Global Equalizer: Use one of the pre-loaded profiles or adjust the sound to your liking and save it as a custom profile. The Global Equalizer will apply your selected profile to whichever music player you use. Accessing the equalizer is quick via the M-Button.

    Bluetooth aptX: Bluetooth aptX delivers real-time high quality stereo audio over a Bluetooth connection.

    Design: London has the same DNA as the rest of the Marshall lineup, which has stood the test of time for over 50 years. A matte black surface, similar to the tolex covering of a Marshall amp, offers better grip in your hands. Brass details are found on the scroll wheel, M-Button and both stereo jacks.

    LoopStack: Pre-installed on London is the well-known Android app, LoopStack. LoopStack is a 4-channel recorder that allows you to record four tracks independently. LoopStack offers high quality 44KHz 16bit recording and processing. For more information, visit play.google.com.

    DJApp: Marshall couldn’t ignore the fact that DJing is a popular way to enjoy music and connect with others. This is why London comes with a DJ app pre-installed. Connect your headphones and sound system into the two stereo jacks, launch the app and that’s it. *DJApp launched autumn 2015.

    Microphone: London comes equipped with dual microphones that’s perfect for laying down a few spur of the moment riffs—all recorded in glorious stereo. Noise reduction means you’ll be able to easily hear your tracks, even if you’re recording outside.

    Plays well with others: Because London is so full of high quality hardware, it has the ability to work with other third party recording and editing apps with ease.

    For more information on the Marshall London, visit marshallamps.com.


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    Today, GuitarWorld.com presents the exclusive premiere of "The Quest," a new song by Gus G, who shares the cover of the all-new September 2015 issue of Guitar World with Chris Broderick.

    The song is from the Ozzy Osbourne/Firewind guitarist's new solo album, Brand New Revolution, which will be released July 24. It's the followup to his 2014 solo debut, I Am the Fire.

    "'The Quest' is the only instrumental of the album and it's a heavy, high-energy, technical track," Gus says. "You hear lots of sides of my playing, not only the technical leads and heavy riffing, but melodies and even acoustic. Lots of stuff jam-packed into this song, but somehow it all comes together nicely."

    "The rest of the album features collaborations with some awesome singers/songwriters such as Jeff Scott Soto ('Gone to Stay,''Generation G'), Mats Levén ('Come Hell or High Water,''If It Ends Today,''The Demon Inside'), Jacob Bunton ('Brand New Revolution,''Burn,''We Are One,''Behind Those Eyes,''One More Try') and Elize Ryd of Amaranthe ('What Lies Below').

    "Let's face it, getting to be on the cover of Guitar World is every guitar player's dream," Gus adds. "I'm fortunate enough to grace GW cover for the second time; the first time with Ozzy in 2010) together with one of the best metal guitarists of our time, Chris Broderick. It's such a big honor. We had a great time doing the photo shoot with Chris and also hanging and jamming. He's a monstrous player and I'm glad to see him forging his own path with his new band, Act of Defiance."

    Stay tuned for several exclusive videos featuring Gus and Chris in the weeks ahead! Be sure to check out the new issue right here.

    Brand New Revolution was recorded with Jay Ruston (Stone Sour, Anthrax, Steel Panther) and mixed by Mike Fraser (Metallica, AC/DC, Van Halen, Aerosmith). The core of Gus' recording group consists of Jo Nunez (Firewind) on drums and Marty O' Brien (Lita Ford) on bass.

    Brand New Revolution Track List:

    01. The Quest
    02. Brand New Revolution
    03. Burn
    04. We Are One
    05. What Lies Below
    06. Behind Those Eyes
    07. Gone to Stay
    08. One More Try
    09. Come Hell or High Water
    10. If It Ends Today
    11. Generation G
    12. The Demon Inside

    Brand New Revolution will be released via Century Media Records in Europe, Australia and South America, Dismanic/eOne in North America and King Records in Japan.

    For more about Gus G and his new album, visit gusgofficial.com or follow him on Facebook.

    Gus G Live 2015:

    09.06.2015 Karlsruhe (Germany) - Substage + Hellyeah
    10.06.2015 Hamburg (Germany) - Logo + Hellyeah
    11.06.2015 Utrecht (The Netherlands) - Tivoli De Helling + Hellyeah
    10.07.2015 Vizovice (Czech Republic) - Masters Of Rock Festival / www.mastersofrock.cz
    12.07.2015 Drama (Greece) - Naturart Festival
    14.07.2015 Arta (Greece) - Rockin' Arta 2015
    18.07.2015 Chania (Greece) - Chania Rock Festival / www.chaniarockfestival.gr
    22.07.2015 Ardas (Greece) - Ardas Festival
    24.07.2015 Rhodes (Greece) - Colorado Club
    29.07.2015 Szekevehersvar (Hungary) - Fezen Fest / www.fezen.hu
    NOTE: More dates will be announced soon.

    Additional Content

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