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Review: Rivera Metal Shaman Pedal

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In ancient Mayan civilization, a shaman was an individual who could pass through a portal into another world. The Rivera Metal Shaman distortion pedal does a similar thing by allowing guitarists to go from a mild-mannered clean state to otherworldly heavy, pummeling distortion with the click of a footswitch, making the pedal’s name and Mayan sun-god graphics appropriate.

If you worship at the altar of metal, the Rivera Metal Shaman is your one-way ticket to high-gain heaven, with tones that will rip off your head and tear out your heart without sacrificing the body and soul of your guitar’s distinctive personality.

Features

The Shaman is housed in a rock-solid stainless-steel case that’s sturdy enough to endure lead-footed jackboot stomps. Its two footswitches—one for true bypass and the other for the boost feature, aptly labeled “disintegrate”—are similarly rough and tumble, while the controls and switches are kept out of harm’s way in a recessed, split-level section at the front of the pedal. The pedal has controls for EQ (bass, mid and high), gain and level, a brutality switch, and a separate noise gate with a bypass switch and sensitivity and release knobs. Blue, red and green LEDs illuminate when the effect, disintegrate feature and noise gate, respectively, are engaged or activated.

The pedal can be powered by a nine-volt battery or an optional nine-volt DC center-negative adaptor, but since eight screws have to be removed to access the battery compartment, most users will want to use an adaptor. Construction and components are all first-class, from the smooth, liquid-like feel of the control knobs to the low-noise components found throughout the circuit.

Performance
Like most pedals that offer extreme levels of high gain, the Metal Shaman sounds best when used with an amp dialed to a clean setting. This helps to retain maximum tightness and definition when the effect is engaged. The distortion range extends from a tone similar to Hetfield’s Ride the Lightning rhythm to wilder and woollier territory, especially when engaging the brutality switch, which boosts the bass while making the sound more dynamic and 3-D. The EQ covers an impressively wide range, although turning the bass and treble controls beyond 3 o’clock can push some amps a little too far, so use discretion. While the pedal is capable of mammoth scooped tones, it always retains crucial midrange frequencies to keep the guitar from getting lost in the mix (think of it as a “scooped W” sound).

Cheat Sheet
Street Price $299
Manufacturer Rivera Amplification, rivera.com

The disintegrate function boosts the signal for solos, and the brutality switch makes the bass bigger while enhancing the pedal’s dynamic response.

A built-in noise gate keeps even the most distorted settings noise free while allowing jackhammer rhythms to maintain definition.

The Bottom Line
Like its Mayan high-priest namesake, the Rivera Metal Shaman is ruthless and mystical, providing a wide range of tones that are as heavy as a pyramid’s cornerstone.


Metal Mike: The Creativity Myth Dispelled — a Sure-Fire Way to Get Inspired

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Today I’m going to talk about something that should hit close to home for us creative people: inspiration — and how we, as humans, relate and perceive it.

As musicians, we often wait for the golden gate to open, rays of inspiration to shine in and — presto — we bang out a great new song, lyric, etc.

Those moments do happen, and they are awesome. How often they happen might depend on the state or clarity of your mind — or maybe even your luck.

When we don't feel the inspiration to do something, we wonder when it will come back, or if there's something we can do to get inspired.

Here's where the breakthrough happens. I realized inspiration is usually hiding around the corner, and when it doesn't appear right in front of you, you must work a little. The work needed simply comes as action. In other words, you need to take action before the shy inspiration can start flowing.

For example, to write this particular column, I had a lose idea of what I wanted to talk about. It was just a skeleton. I took action to sit down, open the Word doc and start typing. As I start writing, a flow of excitement builds and the inspiration to write these words appears. It happens exactly as you are reading this, since I had no idea of the words, nevermind the sentences, I was going to use to complete this piece. I continue to write, trusting that the words will come to me as long as I keep taking action.

This happens everywhere and every time we wait for something to nudge us to do something.

Going to the gym is a perfect example. If we went to the gym only when we felt inspired to do so, trust me — no one would go. But we get into our cars and drive by simply taking action, and by the time we get through the first five minutes in the gym, we're in. It’s easy to continue from that point on.

One thing that cripples us before taking action is that we often wait to have all the details figured out before we start doing something. When we do that, it is fear running our efforts. I know it’s difficult, but let’s start and figure things out as we go along. Let the world around you pull the pieces together as you work toward a goal.

I recently read a great book by Arnold Schwarzenegger called Total Recall. It’s filled with lessons from his life. He talks about the fact that sometimes the more you know about something, the more confined and crippled your mind becomes. Wild, I know.

Now, think about that.

Wouldn’t that explain why someone who doesn't know a ton about song writing writes a hit, a person who buys the winning lottery ticket because he doesn't care about the odds and percentages that are stacked against him, or someone who becomes a successful touring musician while others spend their entire life getting the perfect studio to record a perfect demo.

The difference is taking action first. Learn on the job, or whatever you can you about a subject, but don’t wait to know it all before pressing the “Go” button. This is some incredible advice from someone who has been a bodybuilding champion, a Hollywood A-list movie star, a governor and a successful millionaire entrepreneur.

The last example comes from my own experience. A while back, when I was tracking guitars for my latest solo album, The Metalworker, I was waiting around for the inspiration so I could get started. I waited for inspiration, because I knew I had to make the album special. Unfortunately the longer I waited, the bigger the mountain grew and the less inspired I felt to record. Due to deadlines, I had to take action.

So I just started the process one day. I got a tone, set up my guitar and in no time an incredible thing started to happen. I had a huge flow of inspiration. It’s almost as it had been sitting on my shoulder waiting for it to be unleashed. I then wanted to do nothing but play and record the guitars. It came to the point that I felt completely in love with playing the guitar, the instrument itself, changing strings (which is never my favorite thing to do) and do whatever it took to make the project special.

At that time, I started to put two and two together and realized that inspiration is usually around the corner for us. If it doesn't show up on its own, it needs a little nudge, which always comes in the process of taking action first.

I hope this helps in some way and remember the famous phrase: Just Do It.

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.

Monster Licks: A Different Spin on the Pentatonic Scale — Create Arpeggios and More Modern-Sounding Runs

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In this Monster Lick, I'm using the E major 3rd pentatonic scale.

What I actually do with this scale is add the major 3rd, but I don't substitute it for the minor 3rd. I keep the minor 3rd in the scale. So the notes in the scale are as follows: E, G, G#, A, B, D.

This is nothing new; all the blues greats have done it. I just give it a different spin by using the extra note to create arpeggios and more modern-sounding runs.

Although I refer everything back to the pentatonic scale, if you're more inclined to the modal approach, this scale is essentially the E Mixolydian scale.

I tend to steer clear of the modal approach because I like the tonality and shapes of the pentatonic scale more than the major- or minor-scale approach. Although it may seem strange to some, for me the pentatonic is much more expressive and better for the rock/blues/heavy-guitar approach.

Although I'm using the major 3rd in this scale, it's still something I use when I'm soloing over a very heavy riff or progression. It adds a little bit of character or cheek to the sound. It reminds me of Steve Vai’s tonality from time to time. It adds great character!

The Lick

I start this lick with a five-string arpeggio starting on the 11th fret of the A string. This note is the major 3rd. You will see I am tapping a note on the 19th fret of the high E, then moving back down the arpeggio. This is a great lick you can have some fun with. You can take this idea and move it all around the neck and add different notes and create your own shapes.

From here, I slide into a standard E major arpeggio shape. I play up and then back down this shape and slide back into the starting position of the lick. I finish with a series of different variations of three-string arpeggio shapes.

My suggestion here is to dissect the lick into parts and practice them separately. This way you can focus in and build some speed and get confident with it.

I hope you enjoy this Monster Lick! Please join me on YouTube right here! Or contact me at glennproudfoot.com or my Facebook page.

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Australia's Glenn Proudfoot has played and toured with major signed bands and artists in Europe and Australia, including progressive rockers Prazsky Vyber. Glenn released his first instrumental solo album, Lick Em, in 2010. It is available on iTunes and at glennproudfoot.com.

Guitar World Magazine Covers Gallery: Every Issue from 2008 to 2014

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Below, check out the latest photo gallery of Guitar World magazine covers. This time, we "cover" 2008 through the present — 2014.

Because we're in a "completist" mood, this photo gallery also includes all the different variations of certain covers, including four different versions of an Eddie Van Halen cover from 2009.

We hope you enjoy this trip through GW's recent history. Because this gallery will go through 2014, you'll have to wait till 2015 for the next one!

If you're in the mood for more, be sure to check out our photo gallery of every Guitar World magazine cover from 1980 to 1986, from 1987 to 1993, from 1994 to 2000 and from 2001 to 2007.

NOTE: Remember, you can click on each photo to take a closer look.

Guitar World Girls: Meet Hali Aleese!

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Hali is the latest addition to our Girls of Guitar World Gallery.

Photos by Glenn Fricker, spectremedia.ca

Scroll down to see the complete photo gallery!

If you think you have what it takes to be a Guitar World Girl, simply email photos of yourself with a guitar to modelsearch@guitarworld.com!

Cassandra Lynn Hensley, Playboy Playmate and Guitar World Review Guide Model, Dead at 34

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Model Cassandra Lynn Hensley, who was best known as Playboy magazine's Miss February 2006, died Wednesday, January 15, 2014, at age 34.

Hensley also was featured in Guitar World magazine's Holiday 2007 Review Guide and 2007 Review Guide Calendar.

As E! News reports, the L.A. coroner's office confirmed that a friend found the model unresponsive in a bathtub.

Although the friend performed CPR while the paramedics responded, they were unable to revive Hensley.

"It is with a heavy heart that we share the news of Cassandra Hensley's passing from a tragic and accidental overdose," a representative of Hensley's family told E! News. "We are all very grateful for the outpouring of support from friends, family and fans. During this time, we ask for respect and privacy as arrangements are made to celebrate the life of a wonderful and loving mother, wife and friend."

"Yes, there is life after Playboy," Hensley told Metropolitan magazine in a 2013 interview. "I have been a part of many great experiences: travel shows, magazine covers, and of course giving advice to young impressionable girls who think they need to act a certain way for a chance to be a model (classy not slutty)."

You can see photos from Guitar World'sHoliday 2007 Review Guide above and below.

Our condolences and best wishes go out to Hensley's family.

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Eight Tips for On-the-Road Guitar and Gear Maintenance from Northlane’s Josh Smith

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Having worked as a tech on and off tour, as well as touring with my band, I’ve seen how bands use, care for and abuse their gear at all levels.

I often get asked by friends what they should take with them on the road — and what they should know about their gear before they really start touring hard.

It can be difficult to maintain your stuff when you’re just starting to make inroads as a band because you can’t afford a crew, but the schedule is still just as intense.

There are a few tips I always pass on, and a few pitfalls I often see bands getting stuck on. If you need to learn how to fix something, there are plenty of online tutorials, plus online resources such as StewMac.

01. This is probably the most important thing about touring in relation to equipment: INVEST IN GOOD CASES. It breaks my heart to see stuff get knocked around and breaking on the road because the user has spent thousands on their rig with no thought to casing their gear properly. Think of it as insurance against your stuff breaking and your show being ruined. If you can’t afford to case your gear well, you can’t afford your gear. Lightweight is always best. I use Pelican cases for just about everything. This applies even more so when you need to fly.

02. If you take a piece of gear on the road, make sure you can fix it if it breaks, or make sure you have a backup or alternative. If you can do both, even better. The most common problem I see happening is bands are using standalone digital rigs where one unit does everything. This is fine and dandy — until it breaks. Then you’re completely screwed. Make sure you always have a contingency.

03. Things on guitars will break. It happens. The most common ones are also the easiest to fix; it just takes a little bit of research and practice for the average Joe to be able to do the most basic stuff. Don’t be afraid to practice at home. Start by replacing input jacks, volume pots and pickup selectors, re-gluing nuts that have popped off, and, although it's not part of the guitar, knowing how to re-solder a broken lead is useful. Soldering is a great skill to have, and it makes it much easier for you to perform your own electronic mods at home, like a pickup swap.

04. Make sure you’re keeping your guitars clean. Especially important: Clean the hardware after the show. Get some string cleaner and clean them before and after every show. Your strings will last longer, sound better and feel nicer. This will prevent lots of problems due to poor maintenance, especially if you sweat a lot like I do!

05. Take a repair kit if you can. This will make your life a hell of a lot easier. You don’t have to spend a lot of money to have the tools for simple repairs. The most essential ones are:

A. Soldering kit
B. Cable tester
C. Screwdriver/allen wrench set
D. Small tube of super glue
E. A few spare lead connectors
F. At least one spare volume pot, jack and toggle switch
G. String cleaner, polish, polish cloth
H. Gaff.

06. When you arrive at the show, un-case your guitars and keep them as close to the stage as possible. Guitars are made of wood. Wood is an organic substance that reacts to humidity and temperature. Especially if you’re playing clubs, it can get super-hot and humid on stage, and if your guitars aren’t acclimatized, they won’t hold tune.

07. Stretch your strings properly when you change them! This seems like a no-brainer, but it’s insane how many people skip this part. If they’re stretched, they’ll hold tune. If they aren’t, you might as well just not play.

08. It's not essential for touring, but it’s good to know a few of the basics when it comes to setup, especially neck relief, action and intonation. On tour, neck relief is something I check every day, it’s good to be able to gauge it and adjust accordingly (And it will change as you travel). This will ensure that your guitar plays and sounds its best, regardless of the climate.

This sums up all of the usual things I recommend. The most important part of touring, though, is to have as much fun as you can, meet as many new friends as you can and pick up as much knowledge as you can from the people you’re on the road with.

Josh Smith plays guitar in Northlane. For more about the band, including their current tour dates, visit the band on Facebook and northlanemerch.com.

Video Lesson: Play It Now! John Butler Teaches Us to Play “Spring To Come”

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I had the privilege of sitting down with John Butler recently as he went through the fingering and technique for his new song “Spring to Come” off the upcoming album Flesh and Blood.

John’s guitar is in an unusual tuning: C-G-D-G-B-D. This enables some interesting fingerpicking, and easily changing the bass from G to C changes the chordal coloring completely.

The fingerpicking pattern John utilizes incorporates a “double thumbing” technique, with the thumb playing the lower G and D tuned strings and the second and third finger covering the rest. Here’s the pattern.

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John uses a double stop scale pattern up the neck for much of the song. He goes quite deliberately through the fingerings in the video, so watch it through. And here are the positions up the neck.

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Check out the instructional video here.

And when you’re ready, play along with John as he performs “Spring To Come” live in the Acoustic Nation studio:

Find out what's next for John Butler at www.johnbutlertrio.com


SongTown USA: A Day Of Practice Songwriting

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One day, my friend Danny Wells and I wrote a song. We were really excited about it, so Danny wanted to play it for his publisher. We went in the man's office and Danny played it live. I could tell as he was playing that the guy didn't seem like he liked it.

When Danny finished, his publisher looked at him without saying a word. Danny asked, "What do you think?". The guy looked him in the eye and said, "I don't like it."

We asked him what he didn't like – was it the groove, the feel, the title, the lyric? "All of it," was his response. He hated all of it. Every piece of it. His final comment was the nail in the coffin. "Boys, I would just consider that a day of practice songwriting and move on."

We went back to our writing room and quietly packed up our gear. We were despondent. We had gone from thrilled to killed in the 3 minutes and 18 seconds it took to play that song. Danny said, "Do you ever wonder if you're cut out for this?" I said, "Yep. Wondering right now."

We went home and I was honestly as discouraged as I have ever been in regard to my writing. I thought about what I would do if I couldn't make it as a writer. I started to go to bed, but decided to listen to the work tape of that song one more time to see if it really was as bad as he said it was.

As I listened to the tape, I got angry. It was a good song. I decided that I wasn't going to take that guys feedback as gospel. I called Danny and said, "I want to get a second opinion on that song, because I still like it a lot."

The next day, we went in to the big boss man's office at Danny's company. We didn't tell him about the other guy's feedback, we just told him we were really excited about the song. He loved it! He told us to go demo it right away.

Before we could demo the song, the guy that worked in the tape room (yes, I said tape) caught us one day and mentioned that he loved that song. We told him we were demoing it. He said to get him a copy of it as soon as we could because he wanted to see if the company would let him pitch that one song (he had never pitched a song before).

To make a long story a little longer. The tape guy pitched the song and it was cut by Billy Ray Cyrus within two weeks of our demoing it. We got a big cut, the tape guy was offered a big promotion and the first dude who hated the song ate crow for a LONG time.

Moral of the story? Don't let one person get you down. And don't give up. Write on.

Marty Dodson

Marty Dodson is a songwriter, corporate trainer and entrepreneur. His songs have been recorded by artists such as Rascal Flatts, Carrie Underwood, Kenny Chesney, Joe Cocker, Leon Russell and The Plain White T’s. He once bumped Psy out of the #1 spot on the K-Pop charts but that’s another story for another day. Marty plays Taylor and Batson guitars. Follow him here: www.facebook.com/songtownusa, at www.facebook.com/martydodsonsongwriter and at Twitter @SongTownUSA or visit martydodson.com

Exclusive Album Premiere: Wild Adriatic — 'Big Suspicious'

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Today, GuitarWorld.com presents the exclusive premiere of Big Suspicious, the new album by Saratoga Springs, New York-based Wild Adriatic.

The album will be released January 21.

The guitar-driven trio, who got together in 2011, are heavily influenced by Sixties and Seventies classic rock and soul. Their music has earned praise from Rolling Stone, USA Today, Relix ("flawlessly tight with infectious melodies and tons of soul"), PureVolume and Huffington Post ("full of rocking blues, soul, and depth").

They spent September 2013 locked up recording in upstate New York; now they're hitting the ground running with a U.S. tour to promote the new record. They've played with everyone from Deertick to Matt & Kim to Phantogram to Flogging Molly.

For more about Wild Adriatic, visit their official website and Facebook page. And be sure to tell us what you think of the album in the comments or on Facebook!

Tab Book: Learn the Trademark Riffs and Techniques of The Who's Pete Townshend

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Learn the trademark riffs and rhythm guitar mastery of one of rock's greatest pioneers with The Who: A Step-by-Step Breakdown of the Guitar Styles and Techniques of Pete Townshend!

This second edition provides a step-by-step breakdown of Townshend's guitar styles and techniques on 13 hits by the Who. Features an extensive intro by Dave Rubin covering the history of the Who.

Songs taught include:

• Baba O'Riley
• Behind Blue Eyes
• Happy Jack
• I Can See for Miles
• I'm a Boy
• The Magic Bus
• My Generation
• Pictures of Lily
• Pinball Wizard
• A Quick One (While He's Away)
• Run Run Run
• Substitute
• Won't Get Fooled Again.

This 64-page tab book is available now at the Guitar World Online Store for $22.95

Additional Content

Exclusive Video: Reverend Horton Heat's Jim “The Rev” Heath Demos and Discusses His Signature Gretsch Guitar

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Today, GuitarWorld.com presents "The Rev's Guitar," an exclusive behind-the-scenes video featuring Jim “The Rev” Heath of Reverend Horton Heat and his signature-model Gretsch G6120RHH guitar.

In the clip, the Rev plays and discusses the handsome hollowbody.

"I love all sorts of guitars besides my Gretsch, but the one I play, I'm really used to, and I'm really used to the Bigsby vibrato arm — because I do a lot of stuff with that," Heath says. "The pickups and pretty much the whole thing is based on a vintage Gretsch sound, and I crank it up quite a bit more."

For more about Gretsch's G6120RHH Reverend Horton Heat model, visit gretschguitars.com.

Reverend Horton Heat will release their new album, Rev, January 21 through Victory Records. It's their first album since 2009's Laughin'& Cryin' with the Reverend Horton Heat.

The album, which was produced by Heath, features 13 new tracks of pure psychobilly mayhem, including “Let Me Teach You How To Eat,” which is available now at iTunes. The band is rounded out by Jimbo Wallace on upright bass and Scott Churilla on drums. Reverend Horton Heat have hit the road, and you can see their current dates below the video.

Rev is available for pre-order HERE.

For more about Reverend Horton Heat, visit victoryrecords.com,Facebook and their official website.

2014 Reverend Horton Heat Tour Dates:

1/19 – Buffalo, NY @ Tralf Music Hall
1/23 – Boston, MA @ Royale
1/24 – New York, NY @ Irving Plaza
1/25 – Philadelphia, PA @ The Trocadero
1/26 – Washington, DC @ 9:30 Club

Video Exclusive: 15-Year-Old Guitarist Sarah Command Performs Andy McKee and Joe Satriani

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I recently came across the talented Command Sisters, and these young ladies kind of blew my mind.

Yes, they sing in lovely harmonies. Yes, they are talented songwriters and performers. But what really caught my eye were the undeniable guitar chops of young Sarah Command. This 15-year-old takes on original music and tackles pieces by masters like Andy McKee and Joe Satriani.

This is, in no way, meant to diminish the contribution of her sister, 18-year-old Charlotte Command, lead vocalist and rhythm guitarist. Together they are captivating; so much so that they recently won a competition sponsored by the John Lennon Songwriting Contest to perform at its party at this week's Winter NAMM Show.

The John Lennon folks were so enamored by them that they turned them on to me, and I snapped them up to perform at the second annual She Rocks Awards this Friday.

Defined as “country with soul” and “edgy/indie country-pop,” they hail from Edmonton in Alberta, Canada. The Command Sisters have already caught the attention of the Nashville scene, earning them a publishing and production deal with renowned producer/songwriter David Mallory. They have won numerous accolades and have performed on stages large and small throughout North America.

And now, I want to share them with you.

Here's Sarah Command playing "Drifting" by Andy McKee:

Here she performs Joe Satriani's "Midnight":

And here she is with Charlotte jamming on an original tune called "Runway":

Find out more at http://www.thecommandsisters.com

NAMM 2014: New Decibel Eleven Loop Expander Adds Programmable Guitar Effects Switching to MIDI-Controlled Setups

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Decibel Eleven has introduced a new Loop Expander that easily increases guitar rig effects switching capabilities.

The Decibel Eleven Loop Expander is a true bypass audio switcher that adds programmable effects loop switching to any MIDI-controlled setup.

Use it to add loop switching to any existing system with a simple MIDI controller, or utilize it to expand the number of true bypass loops with a DB-11 Pedal Palette or Switch Dr. For larger rigs, connect multiple Loop Expanders in series to create additional loops.

DB-11 Loop Expander works with MIDI Program Changes or MIDI Control Changes. Features include four relay true bypass audio loops, optional fourth loop as amp switch, switchable Class A discrete input buffer and a 3-year warranty. The compact size mounts conveniently underneath pedals or on a rack shelf.

Decibel Eleven is a division of MYE Entertainment Inc., a Southern California electronics design and manufacturing company with state-of-the-art production facilities in the USA and abroad.

The Decibel Eleven Loop Switcher street price is $189.

For more information, visit decibel11.com.

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NAMM 2014: Electra Guitars Introduces Invicta, Phoenix and Talon Series

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Electra Guitars has added several new models to its 2014 guitar and bass lineup.

The all-new Invicta, Phoenix and Talon series will be available in February; they join the popular Omega and Omega Prime guitars, which were introduced last year.

Invicta Series

The design aesthetics of the Electra Omega — belly cut and sculpted heel — are carried over to the body of the Invicta, which pays homage to a classic, original Electra design. The body is made from swamp ash topped with quilt maple and bound in multi-layer tortoise binding, which gives it a unique look.

The Invicta also will sport a five-way rotary pickup selector. In concert with its two volume knobs, it provides seven pickup combinations. It will initially be available in Quilted Maple and Trans Ruby finishes at an estimated street price of $899.

Talon Series

The Electra Talon’s aggressive double-cutaway design is a no-compromise metal machine. Available with an all-mahogany body or mahogany body with a quilt maple top, this is where style, design, substance and playability come together. The Talon has a fast D-shape neck, real ebony fretboard, real mother of pearl talon inlays and a Floyd Rose tremolo. The Talon will be available in a Gloss Black finish and Electra’s original Phantom Quilt. Street price is an estimated $899.

Phoenix Series

Two guitars — the Phoenix H and S — and one bass make up the most recent Phoenix group of products. Based on the original Electra Phoenix X110 guitar, the Phoenix H has been updated to meet the needs of today’s rock guitarists. Featuring a Floyd Rose tremolo and a newly designed Super MagnaFlux high-output passive humbucking pickup, the Phoenix H is designed for aggressive players. The Phoenix H initially will be available in Trans Black and Trans Orange finishes, both with maple fretboards. The Phoenix H will carry an estimated street price of $829

The Phoenix S has an identical design as the H but utilizes three specially designed single-coil pickups fed into a switching system that allows any and all combinations of the three pickups. Electra's new Analog TBK allows players to mix in either the neck or bridge pickup without affecting the five-way selection. Combined with MagnaFlux SC pickups, this will give players additional tones (neck+bridge, or all three pickups) with a three-single-coil-pickup configuration. The Phoenix S will be available in a Gloss Natural and Tri-Burst for an estimated street price of $599.

Rounding out the Electra’s Phoenix line is the new Phoenix bass. It retains much of the forward-thinking design ideas of the original bass while updating the design and electronics to meet the needs for modern bass players. Moving the bass side horn out to the 12th fret and adding generous belly, forearm and treble side horn contours makes this bass comfortable to play while retaining its aggressive look.

The Phoenix Bass is also Electra’s first collaboration with EMG and includes two specially designed EMG HZ-P pickups feeding a B/T circuit and five-way rotary switch providing players a slew of varying tones. The Phoenix Bass will be available in a swamp ash body with Natural finish and Maple fretboard, as well as an alder body with Gloss Black finish and Ebony fretboard. The Phoenix bass will start at an estimated $999.

For more about Electra Guitars, visit electraguitar.com.

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Video Feature: Discovering the Edgier Side of Ukulele

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This year, I returned from my annual holiday trip to my hometown with a fun new toy - a ukulele. It’s a casual instrument that most people can learn the basics of in a day or two, and if you play guitar you could probably learn to play a song in minutes. I immediately got “Somewhere Over The Rainbow” and “I’m Yours” by Jason Mraz under my belt and was left wondering what else I could do with my beautiful, tiny instrument.

I googled “ukulele music” and was not surprised to find a lot of Hawaiian, tropical sounding music. In other words, a lot of “cute” music. Cute can get real boring, real fast. I set out on a virtual quest to find people who are doing unique, musically deep, non-cute things with the ukulele. 

Hopefully some of my finds will inspire you to experiment with the ukulele, or any instrument, in a new way.

tUnE-yArDs
My first choice is “Powa” by tUnE-yArDs, the moniker for the eccentric Merrill Garbus. This lady isn’t looking for “cute.” In the New York Times she said, “I definitely made it my goal to make the ukulele sound not like the ukulele.” Perfect. The use of amplification and overdrive adds an edge that makes the instrument so much more interesting.


Beirut


I’ve been a fan of Beirut for a long time now, so I had to include “Postcards From Italy,” written by frontman and ukulele player Zach Condon. The ukulele part itself is fairly simple, but there is a heaviness to it that drew me in. Combined with a full band arrangement in the style of Sufjan Stevens (including a trumpet) it sounds like pure nostalgia to me.


Umin
This next artist kind of blew me away at first listen. Based in Covington, Kentucky, experimental musician Umin uses the ukulele in a truly masterful and new way. His newest release, Altiv, is an instrumental album which layers the baritone ukulele with a vast array of digital sounds. Using sequencing, sampling, and looping he’s created a hypnotic experience.


Ings
Inge Chiles is the creative mind behind the group Ings. Yes, she’s a girl who plays ukulele and sings, but she’s definitely more than that. She’s got artistic vision. The addition of a full band (including dreamy electric guitars and reverb-drenched tambourine) to her doubled vocals and occasional tinkling of bells is a convincing argument for the use of the ukulele in indie alternative music.


James Hill
This next find is the only video I’m including of someone using just a ukulele. Okay, he also uses a stick and a comb. James Hill is a classically trained Canadian musician who plays the ukulele like no one else. I don’t really know how he does what he does in this video, which makes it all the more fascinating. Let’s just say there’s a hip hop section and leave it at that.


Buke and Gase
Buke and Gase (formerly Buke and Gass) is a Brooklyn-based duo named after their homemade instruments. They both use one foot to play percussion and another to control effect pedals. Heavy polyrhythms and plenty of harmonic dissonance makes this baritone-uke based music the antithesis of cute, tropical, and happy-go-lucky.


Daniel Rojas
Film composer Daniel Rojas scored the soundtrack to the short film “Restoring the Light,” about a Chinese eye doctor who sells his home to establish an independent mobile clinic for the underserved in rural China. In the track “Hair Wash” the ukulele is the centerpiece. Layered tracks create an ambient, but organic soundscape. Daniel used the ukulele percussively, banging and pitch-shifting to create a cajon-like sound.


Jonathan Coulton
My last choice is for the gamers and nerds out there. Jonathan Coulton composed the song “Still Alive” for the video game Portal. “Still Alive” is sung by a fictional artificial intelligence computer system who is narcissistic, passive-aggressive, sinister, and witty. Sarcasm + Artificial Intelligence + Ukulele. What could be better?

Kaela Sinclair is a 23 year old indie musician from Denton, TX. Sinclair’s debut LP, Sun & Mirror, was called “...one of the best albums to emerge from the DFW area thus far in 2013” by DFW.com and is available for purchase now on iTunes under “New and Noteworthy.” It features producer and drummer McKenzie Smith (Midlake, Regina Spektor, St. Vincent) and names like Buffi Jacobs (Polyphonic Spree) and Daniel Hart (Broken Social Scene, St. Vincent, Dark Rooms). For music, tour dates, videos, and more visit www.facebook.com/kaelasinclairmusic, www.kaelasinclair.com, www.twitter.com/kaelasinclair

Vintage Video: Dimebag Darrell Hosts Clinic and Q&A Session in 1993

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Below, check out a video of a complete Dimebag Darrell clinic that took place June 3, 1993, in Arlington, Texas.

The Randall Amplifiers-sponsored clinic, which is basically a Q&A session (where Dime is practically begging the subdued crowd for questions), also features some fine shredding by Darrell.

The entire video is about an hour long. Note that the sound isn't great; it's a bit muffled, and you'll probably want to raise your volume considerably.

Enjoy!

Additional Content

NAMM 2014: Tronical Introduces TronicalTune, a Retrofit Robo-Tuning Device for Guitars — with Demo Video

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Just in time for the 2014 NAMM Show, Tronical has introduced its new TronicalTune device.

The following info is from the company:

The TronicalTune is a retrofit robo-tuning device that tunes your guitar in seconds. It requires no modifications or alterations to your instrument and installs in less than 10 minutes.

It speed-winds your strings and tunes your guitar with a push of a button and strum of the strings. There are various tuning modes, including multi-string and single-string, with up to 18 tuning presets.

Over the course of use, TronicalTune grows accustomed to your guitar by tracking overtones and adjusts tuning accordingly. It is compatible with hundreds of electric and acoustic guitar models.

The Tronical guys will be at Booth 5490 at the NAMM Show, hosting in-person demonstrations and interviews.

Price: $329
Website: tronical.com

Til Death Do Us Part: Tony West Discusses Life, Death and Blacklist Union

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Blacklist Union’s Tony West has seen more than his share of tragedy over the course of his lifetime. After an abusive childhood and a move to Hollywood at age 13, West had to overcome personal adversity, drug abuse and much more in order to rise to the top.

Through luck and hard work, West managed to make a career out of music. Although his is a true story of rock and roll in the streets, it’s an upbringing he certainly wouldn’t recommend to anyone else.

Blacklist Union’s most recent album, 2012's Til Death Do Us Part, continues West’s trend of honest, high-energy rock. With its guest appearances by Wayne Swinny (Saliva) and Jon E. Love (Love/Hate), the album’s killer riffs, combined with West’s thought-provoking lyrics, create a powerful wall of emotion.

West dedicated the album to former Alice In Chains bassist Mike Starr, who died in 2011. As a result, Til Death Do Us Part becomes more than just a tribute to one of his longtime friends; it’s therapeutic art and a constant reminder that life is fragile.

I spoke with West about Til Death Do Us Part, his own life and what’s next for Blacklist Union.

GUITAR WORLD: What’s the process like when it comes to writing a Blacklist Union album?

There’s really no set in stone process. We’ve written songs together as a band in rehearsal, and sometimes I’ll get music handed to me and I’ll write something to it. Then there are times where I’ll just sit down with a guitar player and write out the record. There’s no one set way of doing things.

Let’s discuss a few tracks from Til Death Do Us Part, starting with "Diggin’ 4 Gold."

I wrote that song with Todd Youth who’s now playing with Ace Frehley. He played with Danzig for years and also played with a band called D Generation back in the Nineties. He called me up one day and told me he had this great riff that he wanted to play for me. Once I heard it I said, “Oh man, that’s killer! Let’s do it!” It’s basically a song about the whole LA deal where everyone wants to make sure there’s something in it for them before they even say "yes" or "no" to a situation.

"Blown Away"

It’s a song about being forced to watch your friends die from drugs and there’s nothing you can do about it. I’ve had the unfortunate experience of dealing with that several times and was lucky enough to have gotten out when I did years ago. All of those people are now either sick, at the point of no return, dead or in jail.

"Alabama Slammer"

That was written about my ex-girlfriend who was a catalyst for my demise for a while. I actually got on psychotropic meds after we had broken up when I should have just dealt with it. The fact is, 10 days after we had released the album After The Mourning [which was a tribute to Bianca Halstead, the lead singer of Betty Blowtorch], my first wife Tracy died, and I was thrown right back into this mourning faze. Instead of dealing with it, I pushed it out and began immersing myself in doing records, tours and keeping busy. I never dealt with all of that unresolved emotion. After my ex left me, all of it just came pouring out.

What was it like working with Wayne Swinny and Jon E. Love?

I’ve known Jon and Wayne for a long time. They’re both pros and there are no egos attached when you work them. Everyone just works for the cause.

You dedicated the album to Mike Starr. Describe your relationship with him.

I first met Mike back when I was 17. He had a great heart and we were very close. When he died, that’s when I decided I was never touching these [psychotropic meds] ever again. Unfortunately, his death was what it took for me to really wake up.

When did you realize music was going to be your calling?

In the very early Eighties, music began to make an impact on me. I remember I was 5 in 1981 when my uncle took me to see AC/DC at Madison Square Garden. He was also into Bowie, Ramones and a lot of punk rock at the time, but as soon as I saw AC/DC I knew what it was I was going to do.

You also did a short stint with Tracii Guns. How did that come about?

Tracii was a fan of the Blacklist Union and the two of us became friends and started writing songs together. He got into a situation where the new singer he had suddenly quit mid-tour. I remember he called me up and asked if I could play, and I wound up doing 13 shows with them. He gets a bad rap sometimes, but he’s really a great guy. In fact, there was a point where I once considered quitting music over all of the frustrating stuff that had happened, and he was the one who reignited the spark in me.

You're also working on a new Blacklist Union album. What can you tell us about it?

With us, it’s guaranteed to be high-energy, kick-ass rock and roll with authentic lyrics of real life. Nothing contrived. We’ve already demoed two songs and are still writing. We hope to have it out by the summer. I’ve had a lot of people tell me that my songs have helped them through some really dark times. Whenever I hear that, it makes me feel that I’ve done my job.

For more about Blacklist Union, visit their Facebook page.

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.

Exclusive Song Premiere: Intervals — "The Escape"

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Today, GuitarWorld.com presents the exclusive premiere of "The Escape," the second single off Intervals' debut album, A Voice Within.

Pre-orders are now available at districtlines.com. Fans who pre-order the album are automatically entered to win a signed guitar from Jackson.

Intervals are on tour with Protest The Hero, Tesseract and the Safety Fire in Europe and have a major North American tour announcement coming soon. Stay tuned!

For more about Intervals, check out their official website and Facebook page.

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