This month I’d like to talk about the technique I use to perform the fast arpeggiated phrases on the song “A Wonderful Slippery Thing,” from my Erotic Cakes album.

For these licks, I employ fretboard tapping in conjunction with string skipping to achieve a very smooth and even sound throughout.

I know many guitarists prefer to use sweep picking when playing arpeggios, but to me, the sound of dragging the pick up and down across the strings is a little too abrasive and percussive.

In this month’s column, I’d like to demonstrate my basic approach to performing these types of arpeggios, which involves a combination of fretboard tapping and string skipping. My love for the sound of the saxophone inspired me to pursue this approach.

When sax players play fast arpeggios, they sound very fluid, liquid and bubbly. I devised a system that works for me, and the idea is to apply the concept in a variety of different ways.

The first question I ask myself is, “How many notes do I want to play in this arpeggio?” I then play each note once on one string before moving this specific note series to a different string.

For example, starting with a basic minor triad, which consists of three notes, I’ll play three notes on a given string and then move those same three notes to another string, as demonstrated in FIGURE 1. Here I’m playing the notes of a B minor triad—B, D and F#—on the sixth string, sounding the highest note with a fretboard tap. I then move these three notes over to the D string, execute them in the exact same way, and then repeat the process on the high E string.

You’ll notice that the “shape” on each string is identical, and I think this is not unlike the way pianists play arpeggios, in that they repeat the same fingering “shape” as they move to higher octaves. Just listen to the insane multioctave arpeggios that Art Tatum plays—I think there must be some logic like that going on.

If you are not used to playing in this way, the big challenge is hammering with the index finger to start each phrase on each string. Begin with just the first three notes on the sixth string, making sure they sound clear, with no extraneous noises. Then hop over two strings and up two frets, to the D string, and the shape is exactly the same. Strive to make these transitions seamless.

Now let’s play each three-note arpeggio in a repeated sequence, moving from low to high strings, back and forth, as shown in FIGURE 2. If I want a more complex arpeggio, I can add one note, the flat seventh, as I do in FIGURE 3.

If we transpose the idea to a major triad, we get FIGURE 4. To build up your technique, I suggest practicing each phrase on each string repeatedly, as shown in FIGURES 5a and 5b.

We're not gonna lie, we seriously enjoy watching Guthrie Govan have his way with an unsuspecting fretboard.

In fact, you'll find a feature on Govan and the Aristocrats, his band with Bryan Beller and Marco Minnemann, in a recent issue of GW.

There are a lot of stellar Govan performances to be found on YouTube, but be sure to check out the clip featured below. It shows Govan, with uber-talented bassist CJ Hann, performing the aptly titled "Wonderful Slippery Thing," a track from Govan's 2006 solo album, Erotic Cakes.

Enjoy the flawless, often mystifying playing, especially the particularly impressive section that kicks off around the 2:50 mark and, well, just keeps on going. And don't worry about the annoying superimposed lettering that appears during the first minute of the video; it eventually disappears.

Singer-songwriter Matt Nathanson will be featured on the Lifetime TV series Celebrity Bucket List this Saturday.

You can tune in March 8th at 8:30am ET/PT (check local listings for additional times across the U.S.).

In this episode—taped in his hometown of San Francisco—Nathanson fulfills one of his lifelong dreams, meeting iconic singer Chris Isaak.

This episode of Celebrity Bucket List is the latest in the series that offers celebrities the opportunity to experience doing something they’ve always wanted to do. Nathanson recently had the opportunity to cross another item off his “bucket List” when he made a guest appearance on VH1’s That Metal Show. A diehard fan of the metal genre, Nathanson joined hosts Eddie Trunk, Don Jamieson and Jim Florentine to share his knowledge and love of all things metal.

Watch a sneak peek of Nathanson and Isaak collaborating:

Following his appearance on Celebrity Bucket List, Matt Nathanson will be going overseas to play sold out dates for his first headlining UK tour. His latest album Last Of the Great Pretenders features the song "Heart Starts," the catchy theme to Celebrity Bucket List, as well as the hit single “Kinks Shirt”— which is seeing continued success at radio, currently #28 and climbing on the HAC chart after already hitting Top 15 at Triple A radio. “Kinks Shirt” is also being heard on America’s Top 40 with Ryan Seacrest, The Billy Bush Show and Rick Dee’s Countdown.

AN was lucky enough to spend some time with Nathanson a few months back, and you can watch him perform "Kinks Shirt" live from our studio here.

Find out more at mattnathanson.com.

Over a journey spanning nearly a quarter-century, moe. has let their knack for dynamic, democratic improvisation influence nearly every facet of the band's existence.

In concert, they stretch the boundaries of their source material into intricate, set-long suites where distinct songs seamlessly segue into one another in exhilarating fashion.

In the studio, their eclectic, wide-ranging sensibilities manifest in playful, varied albums that spotlight both their fluid musicianship and their incisive, hook-laden songwriting.

Available May 27, 2014 on Sugar Hill Records, moe.'s new album No Guts, No Glory finds moe. at their most inventive and resilient.

The album's eleven songs (fourteen on the deluxe CD, digital, and double vinyl editions, and features artwork by Emek) took a winding path into existence. "These songs were written with an acoustic album in mind," says guitarist and vocalist Chuck Garvey. When that original intention fell victim to logistical hurdles, Garvey says, "we ended up making a whole different thing."

That "different thing" turned out to be a vibrant collaboration with longtime moe. ally Dave Aron. Aron has distinguished himself over the past twenty years as a go-to hip-hop engineer and producer, facilitating albums by Snoop Dogg, Tupac Shakur, Dr. Dre, and many others. "But he's also worked with Prince and U2," moe. drummer Vinnie Amico explains. "Hip-hop is where he carved his niche, but he's got an ear for rock."

The acoustic foundation of No Guts, No Glory adds a buoyancy and richness to the album's songs and performances, which are put across with an energetic, spontaneous feel true to moe.'s well-earned reputation as as a thrilling live band. "Dave basically wanted to emulate a show," says percussionist Jim Loughlin. "He was focused on the vibe." Acoustic instrumentation, from mandolin to vibes, is woven into the album's multi-textured fabric, enhancing songs as diverse as the expansive psychedelia of "Silver Sun," the churning, rootsy "Annihilation Blues," and the languid, loungey "Same Old Story."

"Looking back," reflects guitarist and vocalist Al Schnier, "the thing I was most surprised about was just how easy this record was to make. After all the initial setbacks, once we got down to it, everything just seemed to take shape, and it came out great. I doubt that it would come out that way without Dave on board."

"Basically," concludes bassist and vocalist Rob Derhak, "everything we started out to do turned into completely something else. An album that was supposed to be an acoustic based album recorded in a barn turned into a hard rock album recorded in Connecticut with a hip-hop producer. Go figure. Typical moe."

Keep informed at www.moe.org/

Below, Tool axman Adam Jones lists the 10 guitarists you need to know.

Robert Fripp (King Crimson)

Fripp’s playing caused me to “wake up” to music when I was younger. Later, when we were to tour with King Crimson, I remember being horrifically nervous to meet him. But he was so gracious and ended up teaching me the two most important things about playing: attitude and discipline. You can ask Fripp, “What kind of equipment do you use?” and he’ll respond, “That doesn’t matter. It’s all attitude.” His attitude and discipline allow him to explore all the many musical paths you can go down.

Adrian Belew (King Crimson)

People don’t bring up Adrian Belew enough, and I think he’s just as heavy as Fripp. Adrian plays straight from his heart, so some of his lead structures defy the classical approach to scales and teaching. He’s also really into new technology, but he uses it in a very thought-out and tasteful way.

Trey Gunn (King Crimson)

I know Trey Gunn plays the Chapman stick and the Warr guitar [a seven-to-15-stringed guitar designed for two-handed tapping], but it’s still “guitaring” to me. His left- and right-hand approach is like that of a classical pianist. He gave me some lessons to improve hand coordination, and I felt like I was learning how to play guitar all over again! [laughs] I still haven’t gotten to the level where I can go back to him and say, “Okay, I’ve got this down. Show me the next thing.”

Buzz Osborne (The Melvins)

Buzz’s playing has those same qualities of attitude and discipline that I learned from Fripp. The Melvins’ style is also so brutal. They rip their guts out every time they play. Where I do more of a shoe-gazer thing onstage, Buzz will microwave a crowd. Many people don’t recognize the Melvins’ importance, and unfortunately they probably won’t until the band’s dead and gone.

Paul Leary (Butthole Surfers)

Paul Leary’s playing is completely innovative and breaks every rule in music theory and scales. His leads will go in any direction, but they fit so perfectly. His playing on albums like Locust Abortion Technician is very eclectic. Every song is different, weird and fucking amazing.

Andy Gill (Gang of Four)

That Gang of Four shit kicked my ass! Andy Gill is a completely underrated guitarist. Back in the Seventies I was just a kid playing in bands and trying to shake off the massive classic rock influence that I was under. Gill’s raw, passionate guitar playing had a very big impact on me. You could feel just how angry he was.

Dr. Know (Bad Brains)

I’d always liked Bad Brains, but I’d never seen them live until I moved to California. They started playing and all of a sudden [singer] H.R. came flying over the drum kit—there must have been a trampoline back there—hit the stage, wiped out and then started singing. It was absolutely amazing. Dr. Know was way ahead of his time. Who knows what was fueling his fire, but there was definitely fire being fueled!

Fredrik Thordendal and Mårten Hagström (Meshuggah)

These guys have taken the Swedish metal genre completely off the path and into an extremely innovative area. I hate to single out Fred, but he’s just great. He has an incredible lead style. But both of those guys are fucking amazing.

Ronald Jones (The Flaming Lips)

Ronald Jones was this completely innovative guitarist that used to play in the Flaming Lips. He used to play with a quarter for a pick, so he could slide it down the strings. I’ve also never seen a guitarist with so many effect pedals. But like the King Crimson guys, Ronald was so good at incorporating new technology tastefully. He’s another guy that played from his heart and not his head.

Metallica have posted a free download of a September 21, 1986, London show in support of Master of Puppets.

The concert, which place at the Hammersmith Odeon, marks one of the band's last shows with bassist Cliff Burton, who died September 27 in Sweden after a bus accident.

Tracks include "Welcome Home (Sanitarium),""Seek & Destroy,""Whiplash,""Creeping Death" and "Master of Puppets." There are 14 tracks in all.

It's also notable that Kirk Hammett's guitar tech filled in on rhythm guitar for the show, because James Hetfield had recently broken his arm in a skateboarding accident.

The show is available for download — for FREE, we remind you — at MetallicaLive.com.

Are you seeing double? So am I!

It's Tommy Emmanuel and ... Tommy Emmanuel in a duet with himself!

If you think this might be gimmicky, think again. Emmanuel knows how to deliver an beautifully executed acoustic performance, and this one has double the goodness.

The song, "Hellos and Goodbyes," was written for the album, The Journey, which went double platinum in Australia and won the Aria award for Best Adult Contemporary Album of the Year in 1994.

According to Emmanuel, the title came to him in a dream. The next day, one of his friends called to say his father had died. His sister was in the same hospital and gave birth the same day. "Hellos and Goodbyes" indeed.

Throughout his career, Emmanuel has played with many notable artists including Chet Atkins, Eric Clapton, George Martin and John Denver. He picked up the guitar at age 4 and as you can tell, he hasn't put it down since.

He's touring now and will be back in the U.S. this summer. Find out where at tommyemmanuel.com.

Watch "Hellos and Goodbyes" here:

Today, GuitarWorld.com presents an exclusive guitar play-through video by Reflections.

The song, "Candle," is from the band's latest album, Exi(s)t, which was released last October via Entertainment One. The album is available now at iTunes.

Reflections features Jake Foster (vocals), Patrick Somoulay (guitar), Charles Caswell (guitar), Francis Xayana (bass) and Cam Murray (drums).

For more about the band, follow them on Facebook and Twitter.

Need more Reflections? Check out the band's guitar play-through video for "Bridges" here!

Sweep picking was invented a long time ago, and it's been used in many amazing solos.

Where would the Eighties be without sweep picking? Where would heavy metal be without it?

While we're all thankful for it and love doing it, sweep picking isn't a very surprising sound anymore.

So when you're crafting a solo and trying to make a lick that will give the same wonderful feel of sweeping, try these “2-1's” instead. They'll make you jump.

This 2-1 technique is very guitar oriented and originates from the two octave “across the neck” shapes.

Example 1 is what I'm talking about; it's usually the first way you learn A Ionian. Keeping within this scale shape is important as the technique relies on it.

The whole point of the 2-1 technique is to pick two notes from one string, then one from the next string, two from the next, etc. Example 2 is a good example of getting started with this technique. It avoids the sometimes awkward fingerings that can arise from trying more complicated ones.

Try running this shape front to back. Sometimes when you're faced with 4th intervals (like G# and C# in Ex.2) instead of barring your finger across the strings the way you would when sweeping, it's better to use one finger for each note (usually middle and ring or ring and pinky).

Example 3 requires a bit more of a stretch and is a very clear A major 7 arpeggio. Despite the stretch, it's one of my favorite ways to play an A major 7, especially fast.

Example 4 is a way to build a longer lick out of the same shapes, which brings me to the next issue.

Unlike sweeping, this technique can be hard to play fast up and down repeatedly. That's one of the things I like about it. Once you've practiced sweeping a lot, it can be easy to zone out and just play up and down as fast as you can. No matter how much you practice this it lends itself less to repetition and more as a way to connect melodic ideas.

Example 5 is a nice example of a simple melodic idea connected by this 2-1 technique. First we have the little melody in one octave, drop it to a lower octave, and then build all the way up two octaves higher. It ends up being a bit more of a surprising and harmonically rich connecting idea than just a E major sweep to the melodic idea. Also a quick tip, the slide from the F# to the G# is best with your pinky.

If you have questions, feel free to leave them in the comments section below or reach out to me at my YouTube channel here.

Elliott Klein is a New York City-based guitarist/singer/songwriter who plays in Bright and Loud, Party Lights and many more.

In recent years, eight-string guitars have enjoyed increased popularity thanks to progressive metallists like Meshuggah’s Fredrik Thordendal and Mårten Hagström, Tosin Abasi of Animals as Leaders and Periphery’s Misha Mansoor.

But eight-string guitars are a smart choice for any player who regularly tunes way down, allowing you to get massive low end without the flubby sound and weak responsiveness of detuned strings on a standard six-string.

Ibanez has long been a leader in seven- and eight-string guitars—not surprisingly, all of the above-mentioned artists play Ibanez eight-stringers.

The Iron Label RGIR28FEBK is the company’s latest eight-string creation, one that is aimed squarely at the metal market. With its 27-inch scale, thin but strong neck construction, powerhouse electronics and unerring playability, the Iron Label RGIR28FEBK is a solid addition to the company’s unmatched armory of extended-range axes.

Features

A great deal of engineering is built into the RGIR28FEBK, and most of it is focused on the neck, which has to be thin enough to accommodate typical-sized hands yet stable enough to withstand the extreme pressures of eight, fully tensioned strings. To realize this goal, the RGIR28FEBK utilizes five-piece maple/walnut construction and KTS titanium reinforcement rods.

The neck is bolted to the contoured body heel with Ibanez’s own four-bolt pattern. The familiar and popular RG-style basswood body helps the guitar remain lightweight and still create the classic, clear midrange and warm bass for which Ibanez is famous.

Ibanez wisely chose a set of specially wired active EMG 808 pickups to deliver the RGIR28FEBK’s ripping tones. They’re connected to a single volume pot (sans tone control), a three-way selector switch and a kill switch (an easy-access battery door is located on the guitar’s backside). The lack of a tone control equates to better resolution of high-end details, and the kill switch is useful both for strobe effects and stopping the guitar’s Richter scale–registering resonance from reaching the amp during inopportune moments.

Performance

I’m certainly not a seasoned eight-string player, nor do I have big hands, so I was pleasantly surprised by how quickly I adapted to the RGIR28FEBK’s neck. It was extremely comfortable, with low and even action, jumbo frets and a beautifully sculpted profile.

As for tone, the sheer mass of the neck, combined with the basswood and EMG 808s, gave the guitar incredible sustain and notable depth in all registers. When connected to my Mesa Mark V’s high-gain channels, the active pickups’ purpose-tuned preamps illuminated layers of overtones while maintaining ideal string-to-string balance. Although I know that most players will use the RGIR28FEBK as a metal tool, which is exactly what Ibanez intended, it’s equally capable of creating, rich, piano-like clean tones through the neck pickup.

List Price $1,239.99

Manufacturer Ibanez, ibanez.com

The RGIR28FEBK’s relatively thin neck is stable without being rigid, thanks to five-piece maple/walnut construction and KTS titanium stabilizing rods.

Active EMG 808 pickups, wired without a treble-robbing tone pot, deliver a cornucopia of harmonic nuance, sustain and aggressive attack.

The Bottom Line

Whether you’re a technically gifted freak, a bottom-crazed industrial metalist or a guitarist just looking to expand your tonal horizons, Ibanez’s Iron Label RGIR28FEBK may be the perfect weapon to conquer your musical foes.

You'd think a band that's been around for 40 years might just be going through the motions at this point.

But for Dave Meniketti and Y&T, that's hardly the case.

The band's current lineup — Dave Meniketti (guitar/vocals), John Nymann (guitar), Brad Lang (bass) and Mike Vanderhule (drums) — continues to bring its own unique blend of hard rock to legions of fans around the world.

Since finalizing their first lineup in 1974, Y&T have performed more than 3,000 shows, released 18 albums and three greatest-hits packages — and they've sold more than 4 million units. Many of the biggest acts to come out of the Eighties became popular by opening for Y&T, including Metallica and Mötley Crüe.

Add years near-continuous touring and songs like "Mean Streak" and "Summertime Girls," and it's no wonder fans say that Y&T sound better than ever.

With another steady year of touring ahead and talk of more new music, Meniketti and company show no signs of slowing down in 2014. I recently spoke with him about his playing, the band's anniversary and a few surprises they have in store to celebrate the occasion.

GUITAR WORLD: What comes to mind when you think about Y&T's 40th anniversary?

It's an odd feeling when you say it or stick it on a piece of paper. Throughout our career, we never looked past a year in advance wondering what we were going to do. So it's a little weird thinking I've had this gig for 40 years. But it still feels great to be in this band and play songs for crowds who are always so cool to us. Why would I ever want to stop doing that?

Is the band working on new projects?

We'll be so busy touring for our 40th anniversary that the next CD of all new material probably won't be until sometime in 2015. In the meantime though, we're focusing on a few other projects we hope to have out later this year. I really wanted to signify our anniversary and thought it would be cool to put out an album of our current band performing some of the great songs from every record the band has ever recorded. But we’re not going back and re-doing the hits.

These are our own personal choices of songs that we did and doing new versions of them. It would be a new 40th-anniversary compilation. We're also working on plans for another DVD. Our last one came out in 2006 and was done in Holland. This time we thought we'd get our home crowd involved.

How did Y&T come together?

It was really all about local guys hearing about other local guys. So it was inevitable that the four of us were going to end up jamming together. For the first year or so we did nothing but cover tunes. Then in January 1974 we said enough of that. Let's get on and do the real thing. That’s when we finalized the lineup and started doing our own thing.

Was there ever a time when someone tried to steal you away from Y&T?

There were a few. Once was when we on one of our first big tours overseas. I remember Ozzy and Sharon Osbourne came out on the last night of the tour and were waiting for me backstage. Ozzy asked me to be in the band, but at the point I wasn't even thinking about it. We had just finished doing the Black Tiger record and a big tour with AC/DC. I kindly refused his offer and life went on.

Was there ever an offer you might have considered?

Looking back, there was one I wish I would have tried. Back when Y&T went on hiatus in the early Nineties, I was asked about doing a group with Peter Frampton. It would have been two guitarists coming from different styles of rock. They even had a deal waiting. But it was right after we had broken up and I wasn't sure of what I wanted to do. After being in the band for 17 years it seemed too fast, too soon. So I kindly turned that one down too. Many years later, I went to see Peter play and we talked about it and he was very cool. I've always admired his playing. He's such a great guitarist.

What's the origin of the song "Summertime Girls"?

We used to go to a rehearsal studio every day and pretty much just hang out for eight or nine hours. For us, rehearsal studio was like a party [laughs]. One day, Joey Alves [original Y&T guitarist] and I came in and strapped on our guitars. We didn't really talk to each other, we just started doodling. I remember I started playing the chords to what would become the "Summertime Girls" chorus.

When he asked me "What's that?" I told him I didn't know and was just screwing around. Then he said, "Keep playing it.' That's when he started playing a riff that became the melody to the chorus. Soon the rest of the guys showed up and within two hours we came up with all the parts, wrote the lyrics and were done.

What inspired you to want to play guitar?

I always used to have my head next to the radio day in and day out. I really loved the new stuff that was coming out at the time. Back then, it was mostly just straight ahead guitar playing and there were no fast guitar playing monsters. Then Hendrix just came out of nowhere and it really inspired me to want to play. I remember that as soon as I got home from school, the guitar was in my hand and would stay there until I went to sleep. It was non-stop.

Over the course of your career, is there a single moment that stands out as most special?

I couldn't say there was just one. We've done so many tours and have played with so many people that there were a lot of incredible moments. I remember one of them was when we went to Europe for the first time. We started out on a headlining tour that ended with us getting on a European tour with AC/DC on the For Those About to Rock tour. That was huge for us. We were young and starting out and got to see the cannons go up in the air for the last song at the end of every night. That was special.

For more on Y&T, check out their official website and Facebook page.

Photo: Jill Meniketti

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.

We thought we'd share this 2013 video of an 8-year-old girl named Li-Sa-X playing a Guthrie Govan tune called "Fives."

The song is from Govan's Erotic Cakes album from 2006 (It is, of course, track 5 on the album).

No, it's not perfect, but it's impressive for an 8-year-old (or a 38-year-old). Come on — she's tapping!

For some reference, we've also included a clip of Govan performing the song live a few years back. Enjoy!

And while you're at it, check out this complete lesson Govan filmed and wrote for Guitar World,
Professor Shred: Big Jumps — Using String Skipping to Create Multi-Octave Tapped Arpeggios, which includes tabs and a video.

Got a question for your favorite guitarist? Let us be your go-between. The concept is easy — you submit your queries and we pass them on to some of the world's greatest guitarists. Only the sharpest and funniest questions will be used.

This month, we're giving you the chance to ask Bruce Kulick anything you want! From his time as Kiss' shredding lead guitarist in the Eighties to his current tenure in Grand Funk Railroad...nothing's off limits!

Just email your questions to dearguitarhero@guitarworld.com and put "Bruce Kulick" in the subject line. Remember to include your name in the email body, so you can get credited in the magazine, and impress and annoy your jealous friends!

Watch Kulick's over-the-top fretboard action in this Eighties-tastic Kiss video for "Tears Are Falling":

A number of years ago, I was teaching at a guitar workshop in Pittsburgh.

I had taught at this annual workshop a number of times and always looked forward to my week there, not only because I was able to teach a class of students who really wanted to learn guitar, but also for more selfish reasons. I liked meeting and learning from some of the other instructors and clinicians.

So during this week, jazz guitarist Henry Johnson and I were jamming on each other's guitars, and I took the opportunity to ask him, "Hey, how can I, as a rock guitarist, get that 'outside' jazzy/Alan Holdsworth-y sound?"

His answer was so simple and astonishing. I will share it with you here.

He said, "Simply flatten the root of the minor pentatonic scale. Use this whenever you would use the normal minor pentatonic scale."

The concept was simple but profound. I spent a few days getting the new shape under my fingers, and before I knew it, I was slipping this into every solo I could!

The example below shows the new altered A-minor pentatonic scale. In this A-minor example, this "flattened root scale" sounds outside over Am or an A7 chord, but inside over the dominant V chord (E7).

Guitarist Adrian Galysh is a solo artist and education coordinator for Guitar Center Studios. He's the author of the book Progressive Guitar Warmups and Exercises. For more information, visit him at AdrianGalysh.com.

Today, GuitarWorld.com presents an exclusive video by Monster Truck — ”Live in Germany, Episode 3.” You can check it out below.

The clip is part of a six-part series that will be premiered here and on RevolverMag.com. In fact, you can check out Episode 1 here and Episode 2 here.

All the episodes were shot during the band’s recent German tour, and they serve as the perfect tour diary for Monster Truck fans. You see the band on stage, back stage, hanging out, talking gear and much more.

Be sure to tell us what you think of the clip!

For more about Monster Truck, visit ilovemonstertruck.com.

And now, from the people who brought you "Video: Paul Gilbert Shreds on Stand-Up Bass," here's "Video: Paul Gilbert Shreds on Electric Mandolin"!

The video — the latest clip to be posted on Gilbert's YouTube page— is a promo for Guitarfest in Chile, where Gilbert is a headliner.

The event is scheduled for April 12 in Valparaiso, Chile.

In the video, the Racer X/Mr. Big guitarist starts off on the mandolin and eventually switches to his signature Ibanez guitar to continue shredding.

It's funny how both instruments sound exactly the same, isn't it? We're pretty sure he's not really playing the mandolin, but he does a convincing job of faking it.

For more information about this year's Guitarfest, visit guitarfest.cl.

Gilbert also is hosting the G4 Experience in August, which he describes as, "more than a show, more than a seminar, more than a backstage pass." Attendees will give you inspiration and ideas that'll keep you playing guitar for years. Those who have attended Gilbert's Great Guitar Escape camp know he puts everything into making these camps into unforgettable events.

Gilbert will be performing, teaching and offering everyone who attends a chance to jam with him. For the G4 Experience, Gilbert will team up with Joe Satriani, Andy Timmons and Mike Kenneally.

For more about the G4 Experience, visit g4experience.com.

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Boss has introduced the GP-10 Guitar Processor.

From the company:

The GP-10 Guitar Processor is an instrument modeling and multi-effects unit that puts an immense range of sound possibilities into the hands of all guitarists.

Driven by Boss’ COSM technology, the GP-10 gives players access to various guitar, bass and synth models, instant tuning changes and a wide selection of world-class amps and effects, all in one compact and affordable device.

In addition to stage performance, the GP-10 is a powerful partner for DAW music production, with unique multi-channel audio capabilities and guitar-to-MIDI conversion via USB.

Equipped with both a 13-pin GK input and a 1/4-inch guitar input, the GP-10 functions as an instrument modeling processor and a powerful multi-effects unit. The multi-effects section features COSM amps and effects derived from the flagship GT-100 Amp Effects Processor, and these can be used with any guitar via a standard 1/4-inch cable. The GK input provides access to both the instrument modeling and multi-effects sections, opening up a universe of sonic exploration for both live playing and studio recording.

When using a GK-compatible pickup with the GP-10, a guitarist can instantly change their instrument’s entire sound and/or tuning with the press of a pedal. Powered by real-time DSP, the GP-10’s modeled sounds are ultra-responsive and highly expressive. They can also be blended with the normal guitar sound, putting an infinite range of tones under the player’s fingers.

Included are classic modeled electric guitars with single coils and humbuckers, as well as steel- and nylon-string acoustics, basses, banjo, resonator, fretless guitar, and even a sitar. The GP-10 also includes an analog-modeled synth engine that powers a super-fat OSC Synth and an emulation of the legendary Roland GR-300 guitar synth.

With any of the GP-10’s modeled instrument sounds, the player is able to change their guitar’s tuning at will, even in the middle of a song. Quick-access presets include many different open tunings, 12-string sounds, and “down” tunings popular with modern metal guitarists. Users can create their own custom tunings as well.

The GP-10 features an onboard USB audio/MIDI interface, letting players capture great amp and effect tones in their DAW with any guitar. But when using a GK pickup, the GP-10 expands production capabilities far beyond any standard guitar processor. For example, it’s possible to record a guitar’s six strings individually on separate tracks, either processed with the GP-10 or captured dry for later processing.

The GP-10 is available by itself (GP-10S), or with an included Roland GK-3 Divided Pickup and 13-pin cable (GP-10GK). The GK-3 allows players to easily add GK compatibility to their favorite guitar with no modification necessary.

For more information, visit BossUS.com.

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Boss has introduced its new GT-001 Guitar Effects Processor, a desktop unit with premium sound and an integrated USB audio interface.

From the company:

Equipped with a huge selection of top-quality COSM amps and effects, 1/4-inch and XLR inputs and much more, the compact GT-001 brings flagship BOSS guitar tones and advanced recording features to any home studio or mobile setup.

Inside the GT-001’s streamlined body is a full-featured multi-effects engine, with COSM amps and effects equivalent to the GT-100 Version 2.0, BOSS’ top-of-the-line processor for stage performers. Dual effects chains allow users to create sophisticated tones with two amps and series/parallel effects routings. Advanced parameters include a channel divider for A/B switching of effects chains, either via a connected footswitch or according to frequency or dynamics.

The GT-001 also functions as a high-quality USB audio interface for a Mac or Windows computer, with four-channel operation for enhanced flexibility while recording, re-amping, and mixing.

Users can listen to the GT-001’s amps and effects while capturing an unprocessed signal in their DAW, record processed and dry tones on separate tracks, and listen to a mix while re-amping and adjusting guitar tones through the GT-001. Flexible power via the included AC adapter or a computer’s USB bus offers great convenience, particularly when using the GT-001 for mobile recording with a laptop PC.

In addition to a 1/4-inch guitar input, the GT-001 also has an XLR mic input (with phantom power) for capturing vocals and acoustic instruments. Specially designed patches for vocals and acoustic guitars are included as well, providing great sound for monitoring and tracking. There’s also a stereo aux input for connecting a smart phone or drum machine for jamming when the GT-001 is not connected to a computer.

The GT-001 includes a newly developed monophonic guitar-to-MIDI function that allows users to play MIDI instruments in a computer using a normal guitar. This cool function is great fun when working with Roland’s free Guitar Friend Jam software, and also lets users experiment with soft synths and MIDI sequencing in music production software.

For more information, visit BossUS.com.

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Roland has announced the CUBE Street EX, a battery-powered stereo amplifier.

From the company:

Building on the success of the original CUBE Street, the new CUBE Street EX infuses the popular mobile amp with a huge performance upgrade that delivers more projection, more channels, and more versatility.

Compact and easy to carry, the CUBE Street EX projects musical performances with ease. Featuring 50 watts of stereo power, two eight-inch woofers and two tweeters, onboard vocal and guitar effects, and up to 20 hours of operation on eight AA batteries, the CUBE Street EX delivers clean, punchy sound for street performances, small venues, stage monitoring, and other gigging situations.

Thanks to unique new power circuitry developed by Roland, mobile musicians can now enjoy clean headroom and audio reproduction with a level of quality that’s not possible with any other battery-powered amp. The CUBE Street EX’s output power is adjustable in three levels—Max (50 W), Normal (25 W), and Eco (10 W)—allowing users to conserve battery life when maximum power is not necessary. The amplifier can also be powered with the included AC adapter.

The CUBE Street EX has an onboard mixer with four independent channels, providing ample connectivity for any kind of performing setup. Mic/Instrument and Mic/Guitar channels feature XLR/TRS combo jacks to support microphones or devices with 1/4-inch outputs, and each channel has its own three-band EQ and reverb effect for discrete sound shaping.

The mono/stereo Line In channel is equipped with 1/4-inch jacks, while the Audio In channel provides a stereo 1/8-inch mini jack that also supports Roland’s i-CUBE LINK. A rear-panel Aux In jack can be used to connect an additional mono device if needed.

With the CUBE Street EX, guitarists can plug in and get pro sounds right away. COSM tones for electric guitar include Lead, Crunch, and Clean, plus an Acoustic Simulator for extra versatility. There’s also an AC preamp optimized for acoustic/electric guitar and a convenient built-in tuner. Chorus/delay and reverb effects are available as well, and these can be turned on/off with optional footswitches while performing.

Roland’s innovative i-CUBE LINK interface lets users incorporate an iPhone, iPad, or iPod touch into their performances with the CUBE Street EX. Via the included cable, i-CUBE LINK provides two-way communication with popular music apps.

Roland’s free CUBE JAM app is an ideal partner, allowing performers to play along with music tracks and record the CUBE Street EX’s output right back into the app. CUBE JAM also includes a number of additional useful functions, including independent pitch/speed adjustment and Center Cancel for minus-one playing and karaoke.

For more information, visit RolandUS.com.