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Tom Freund to Release ‘2 Moons’ June 17

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Over the course of his career, Tom Freund has created a wide variety of albums.

His first was a collaboration with Ben Harper and his last was a double disc live album.

In between, he’s made full lengths, EPs, a children’s CD and a Christmas album — but he’s never made an album like 2 Moons.

This self-produced disc, due out June 17 on Surf Road Records, finds the Los Angeles-based Freund in a contemplative yet confident mood, where swirls of nostalgia blend with sharp-eyed views of life today.

The album features guests such as Brett Dennen, Serena Ryder, Arthur Fonzarelli and Barbarella.

Freund delivers this CD’s main message in the track “Let Me Be Who I Wanna Be,” in which he declares: “I’m basically hooked on this life/it’s got a lot of problems/but it treats me real right/and you don’t have to agree with me/but let me fly my freak flag.”

2 Moons cover artwork:
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“Let Me Be” represents a different type of song for Freund. “I’d rather just be honest and say ‘take me as a I am’,” he reveals, adding, “I felt that I didn’t have to dress up songs with clever couplets all the time.”

This more emotionally raw and vulnerable songwriting surfaces throughout the album. The opening track “Angel Eyes,” which serves as Freund’s take on Randy Newman’s “I Love L.A.” motif, expresses his appreciation to his Southern California friends for always having his back.

Freund proudly notes that “Sugar Pie,” the sweet-sounding album closer, “doesn’t have one sarcastic line in the whole song.” Played simply and sung sincerely, it’s his most heartfelt love song, even though it concerns a relationship that has come to an end.

Freund funded 2 Moons through a successful Pledge Music campaign. Although admitting to having some trepidations about going the crowd-sourcing route, Freund wound up a believer. “I’m very endeared by the Pledge experience,” he confesses. “It showed me that people wanted to engage in it. That was moving for me and got me excited.”

Besides doing his traditional touring, including summer European festival appearances and shows in the States, he will be doing some special house concerts as part of this Pledge Music campaign.

Fans’ reactions resonate strongly with Freund: he feels that a job of a songwriter to help others access what they are feeling. “A real joy is when people come and tell me that a song or an album got them through something,” he says.

Find out more at tomfreund.com.


Songwriting Steps: The Power of Prosody

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OH HAPPY DAY!

Today, you wrote part or maybe most of a song!

The stars were aligned. You were on fire. Your creative juices were flowing like fine Italian wine.

Your Muse (who sometimes ignores you) cuddled up to you all day, inspiring you with ideas and melodies and chord patterns.

So, now what?

This five part series is dedicated to what happens beyond the first draft. Sometimes, songs are born to you like the Goddess, Athena. They spring out of your noggin’ fully formed and perfect. Don’t you love songs like that? They’re gifts from whatever higher power or inner power you believe in. Accept them and be grateful.

But alas, this series is not for those, the chosen ones.

This series is for those songs that might need a little tweaking here and there. It’s for those songs that come out rough and unfinished.

I’m going to show you how with a little care and attention to detail, your songs can shine just as brightly as their perfect siblings. We’ll talk about how to get song “bits and pieces” finished, as well as different ways to tighten up a song that’s almost complete.

THE THREE R’s of SONGWRITING

It’s all about the craft, baby. Reworking, revising, rewriting. Notice all three verbs imply pretty much the same thing: being willing to change stuff.

We songwriters tend to get attached to our songs. We fall in love with lyric lines or melodic lines that might not actually be the best elements for our songs. Distance yourself from the song and accept that any section musical or lyrical might need to be tossed out if it’s not working.

THE TRUTH

There is a big difference between what is true and what is right for a song. Just because something happened in real life doesn’t mean that it belongs in your song. Many songwriters get stuck on this.

You have a responsibility to the world you create in your song that is separate from the real world. This is different from being honest. Our songs should resonate deeply with us. We should feel connected to them emotionally and spiritually. I’m talking about practicalities.

Just because you and your two friends were in the bar with you when your boyfriend broke your heart doesn’t mean those friends end up in the song. Edit reality out if it doesn’t serve the song. Remember, you’re a storyteller first and foremost!

FIRST STEP: DOES YOUR SONG HAVE GOOD PROSODY?

At Berklee, we believe this concept is a critical element for a song to be successful. Prosody means your music matches the lyric content of your song. And it should be one of the first things you examine once you’ve finished your first draft.

There are many ways that you can think about this. For example, if your song is about a happy topic, it probably will sit best in a major key. If your song is on the dark side, you might want to think in minor or modally.

Tempo is an important consideration here as well. Sometimes, a songwriter will play me a song that is upbeat in tempo and sounds positive, but the lyrics are talking about some sort of sadness. In this case, the prosody between lyric and music is out of sync, and we, as listeners, are confused as to how we’re supposed to feel.

NOTE: This is different from an intentional disconnect between music and lyric. I used this approach in my song, “Lorelei” where I set a pretty dark murder ballad to an upbeat and cheery tempo and arrangement, to make the betrayal in the song even more creepy and powerful.

Check out “Lorelei” here

It’s kind of like skipping gaily…through a land mine.

Chord placement the last piece of the puzzle you should examine. Think about what you’re saying. If your song is about waiting for love, and you’ve placed that line over a chord pattern that changes every measure and has a lot of tensions and movement in it, that might not be the best framework for your lyric.

So, one of your first steps should be to examine your song to see if the key, tempo and chords of the song match what you want to say lyrically.

THE MIDDLE GROUND

Now, let’s take this concept of prosody one level deeper into your song. Do your melodies support what you’re saying lyrically? This can be one of the most effective ways to create good prosody in your song. To show you what I mean, let’s look at some real life examples:

1. Check out this link to Garth Brooks’ “I’ve Got Friends in Low Places” (written by Dewayne Blackwell and Bud Lee). Notice that the melody drops to the lowest point in the song on the word “low.”

2. When Diana Ross and the Supremes sing “Stop In The Name of Love” written by the great team Holland, Dozier and Holland, notice that the melody actually stops on the word, “Stop.”

3. And here is one more. Sheryl Crow’s “You Don’t Bring Me Anything But Down” uses this wonderful downward swooping melody on the word “down.” So, the music actually feels like it’s bringing us down, doesn’t it? Pretty cool, huh?

The melody matches the meaning. That’s what makes great prosody.

This might seem obvious once you start noticing it, but you’d be surprised how many songwriters miss these opportunities to make sonic connections using prosody. Take a look at your song and see if there are places where you can create great prosody between your melody and your lyric.

THE CLOSE-UP– a glimpse of what you’ve got coming

Good prosody in a song can actually extend to the very DNA of your song. This is a later step in your re-writing process, so I won’t go into detail here. Suffice it to say, the actual lyric structure can support the lyric content of your song. As a songwriter, you have lyric tools to manipulate. Tools like rhyme, number of lines, length of lines and rhythm. They should all be put to good use to support your song’s meaning. More on that to come!

RECAP
Be willing to throw anything out if it doesn’t support the song.
Edit out unnecessary details.
Check for good prosody!
- In your overall musical framework. Key, chords and tempo should match your lyric content. .
- In your melody/lyric relationship - make sure that your melody has also been adjusted to support the meaning of your lyric.

“My state of being has been elevated, because I've been exercising, writing songs. ... No masterpiece ever came overnight. A person's masterpiece is something that you nurture along" Brian Wilson

I couldn’t have said it better. After the inspiration has passed, now comes the fun part. Reworking, revising, rewriting to create your own musical masterpiece. So, roll up your sleeves and dive in!

Susan Cattaneo is a Boston-based singer songwriter who released her fourth album Haunted Heart January 21st. Her music has been played on country and Americana radio in over 30 countries, and she recently was a regional finalist for the New Mountain Stage contest. In addition to her performing career, Susan has been teaching Songwriting at the Berklee College of Music for 15 years. Find out more and purchase her album here: http://susancattaneo.bandcamp.com/

New Book/CD: A Step-by-Step Breakdown of Tommy Emmanuel's Guitar Style and Techniques

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Tommy Emmanuel: A Step-by-Step Breakdown of His Guitar Styles & Techniques by Chad Johnson is available now at the Guitar World Online Store.

Take an in-depth look at the virtuosic playing of this Aussie acoustic master! This Signature Licks book includes detailed analysis of 12 songs, plus a CD featuring demos of all the music examples in the book!

Songs include Angelina • Can't Get Enough • Countrywide • Determination • From the Hip • Guitar Boogie Shuffle • The Hunt • Initiation • Lewis & Clark • Since We Met • Up from Down Under • Who Dares Wins.

The book is available now at the Guitar World Online Store for $22.99.

Dean Zelinsky Announces Issuance of Patent for Z-Glide Neck

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Dean Zelinsky, CEO of Dean Zelinsky Private Label Guitars, has announced the issuance of his patent for a new guitar neck design.

Intellectual property rights include the strategic texturing of the backside of a guitar neck to reduce friction and increase the playability of a guitar.

The new design is marketed as the Z-Glide Reduced Friction Neck. The Z-Glide greatly improves the overall playability and feel of the guitar and addresses that undesirable, tacky neck feel when a sweaty palm meets a conventional, glossy guitar neck.

The Z-Glide is available exclusively on Zelinsky's line of Private Label Guitars, sold only factory direct in the U.S. through his online store, deanzelinsky.com. Internationally, the guitars are sold through Zelinsky’s streamline distribution channel, an exclusive top retailer in each country.

“I couldn’t be more pleased with the issuance of this patent as 70 percent of the guitars we sell have the Z-Glide neck," Zelinsky said. "This number is about to increase as we recently developed the technology to put the Z-Glide on our set-neck single cutaway guitars.

"The response to the feel and improved playability of our Z-Glide neck is so good, I can see a day where we no longer build guitars with conventional necks." The company will debut its new line of basses in June, exclusively with the Z-Glide Neck through Thomann Musik in Europe.

Patent number 8,637,753 includes altering the surface area on the back of a guitar neck, creating a pattern of depressions and ridges, leaving less surface area for the palm and/or thumb to contact resulting in reducing or eliminating tackiness on the neck.

You can check out the Z-Glide neck in the video below. NOTE: The camera shows a close-up around 5:50.

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Man of Steel with Steel Panther's Satchel: Utilizing Drop-D Tuning, and How to Play “Glory Hole”

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This month I’d like to talk about a song from our forthcoming album, which will most likely be out by the time you read this, called… well, I have no idea what it’ll be called.

But since it’s out now (I mean, by the time you are reading this) you will know the title, because you have it. I wish you could reach back from the future into the past and tell me the title, but I guess you can’t. Regardless of the title, it will no doubt be the all-time heaviest heavy metal album ever made…by us.

The song I’d like to focus on here is a little ditty I call “Glory Hole.” It’s played in drop-D tuning down one half step (low to high, Db Ab Db Gb Bb Eb). If you are in standard tuning, simply tune your entire guitar down one half step, and then tune the sixth string down an additional whole step.

The song’s primarily lick, shown in FIGURE 1, is played almost entirely on the bottom three strings, the exception being the chromatically ascending (one fret at a time) root-fifth power chords that appear in bar 8.

The riff is based on the D minor pentatonic scale (D F G A C), and I begin with a double pull-off on the fourth string, from G at the fifth fret to F at the third fret, and then to the open D string. I then pull off from D to C on the fifth and third frets of the fifth string, followed by the last two notes, F and D, on the sixth string.

In bar 4 I play a tricky riff built from repeated pull-offs to the open fifth and fourth strings. Moving up chromatically, I begin by fretting a note on the fifth string, pull off to the open string and then repeat the process one fret higher as I gradually move up the fretboard. At the end of the bar, I move over to the fourth string to set up the return to G, the first note of the lick (bar 1).

During the verse section, I switch to a low D pedal tone under the vocal part and then move back into the main lick. This is shown in bars 1–8 of FIGURE 2. I then switch to the power-chord-driven pre-chorus, followed by the equally power-chord-fueled chorus. Good song!

This record sounds much better if you turn it up loud, have a couple of shots of Jack Daniels, and hang out in the hot tub with a few of your lady friends. I know that’s how most of you nine-year-olds out there are going to be listening to the new record, which I think is pretty badass!

PART ONE



PART TWO



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Beyond the Fretboard: The Double-Edged Sword of Guitar Idols, Part 1

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Every guitarist (myself included) can likely point to one main source of inspiration that captured our ears' undivided attention during our formative years.

This source might have even been the reason many of us picked up the guitar in the first place.

Obviously, I'm talking about the guitar idol (or guitar god). Every generation has had a few. What is less discussed is the positive and negative consequences of having a singular icon for an entire generation of aspiring musicians.

The first incarnation of the guitar idol in popular culture was probably Jimi Hendrix. He could be thought of as the archetype who set the standard to which all other guitar idols would be compared.

What Hendrix brought to rock was multi-dimensional: He popularized a new tonal quality of the electric guitar (overdriven distortion), his signature blues/pentatonic lead playing helped usher in the current musical paradigm that all rock guitarists know and love. He also raised the bar on what it meant to have an exciting and unpredictable stage presence that could captivate any audience.

Since Hendrix's untimely passing, there have been other noteworthy guitar gods who have carved their own path into rock and roll history, including Jimmy Page, Eddie Van Halen, Randy Rhoads, Steve Vai and Slash, among others.

It's hard to imagine how rock or heavy metal would have evolved without this essential cast of characters. However, it's important to be objective and to look at both sides of the fence when evaluating the impact these players' fame and reputation have had on future guitarists as well as their own musical growth.

YOU CAN'T PUT A PRICE TAG ON INSPIRATION

It's hard to excel at anything in life if a person is underwhelmed by others who have come before them. Hendrix's legacy set off a domino effect of rock star culture that would last for the next 30 years. The YouTube sensations of today were inspired by the greats of the late Seventies and Eighties, who were inspired by Hendrix.

Before we dive into the potential drawbacks of "guitar idol" status, we must not forget the endless amount of talented musicians who were drawn to the guitar over other instruments (Somewhere in a parallel universe, Eddie Van Halen might be playing classical piano at Carnegie Hall).

THE PITFALLS OF INSPIRATION

Many people are so awe-struck by their idols that when it's their time to shine, imitation can be an unfortunate result. You might not even realize it at first, but a "cult of personality" (Shout out to Living Colour!) is developed and sometimes engineered by the record label. This not only influences your guitar playing but also could alter lifestyle habits. How many guitarists started smoking cigarettes because they saw Keith Richards with one in his mouth at every show?

Particularly on a musical level, if all you learn are Van Halen tapping licks, how do you think you're going to sound when you write your own music? Even worse, how many other players have also learned all the Van Halen licks just like you?

Arguably, no one's really immune to this phenomenon of imitation, especially at a young age (I wasn't). But if your long-term goal is to write your own music, then an attempt to minimize it (or diversify your influences) would be beneficial.

I can remember my own experience with this when I'd read magazine articles by the late, great Dimebag Darrell. As some of you may know, he would regularly profess his ignorance toward the topic of music theory. He seemed to be so naturally in tune with the world of music that he just played by ear (claiming he only knew one or two scales).

I was blown away by his comments because I was originally convinced he was a music theory buff simply by hearing his fluid and effortless mastery of the fretboard. The effects his comments had on me were good and bad.

The positive effect was that I no longer saw music theory as a road block to my success. This helped me develop my natural ear for music as well as solidify my rhythm chops by constantly jamming to cover songs or with my brother, who plays drums.

The downside was that, for many years (the first 10 years of my playing), I knew virtually nothing about even the basics of music theory. Sure, I intuitively understood the concepts of tonal center and the musical differences between major and minor chords, but I was completely incapable of articulating these topics to others. I figured, "If Dimebag succeeded without knowing theory, I probably don't need it either."

But now that I'm quite comfortable with theory, I think it helped me grow beyond the creative box where I later found myself. I now have so many more options when it comes to creating and composing music. And there's also the obvious benefit of communicating this information to others when I'm teaching (which is something I've come to enjoy).

For the record, this anecdote was not a sneaky attempt at promoting music theory. The opposite might have been the case; I could have been a diehard fan of John Petrucci and, while reading his interviews, decided I wanted to go to school for music. But what if I had the personality of a Dimebag Darrell? The potential drudgery of studying music in college might have tainted my passion.

So there clearly are advantages and disadvantages to this paradigm.

But we're not done just yet. There are a few more consequences of having guitar idols, which I'd like to discuss in the next installment of this column. Notably, the effect this "cult of personality" has on the musicians themselves. We'll also explore the future viability of guitar idols in the new internet landscape. To be continued ...

Chris Breen is a New Jersey-based guitarist with 14 years of experience under his belt. He, along with his brother Jon (on drums) started the two-piece metal project known as SCARSIC in 2011. They've recently been joined by bassist Bill Loucas and have released an album, A Tale of Two Worlds (available on iTunes, Amazon and Spotify). Chris also is part of an all-acoustic side project called Eyes Turn Stone. Chris teaches guitar lessons (in person or via Skype). For more information, visit BreenMusicLessons.com.

Video: Jeff Loomis Demos and Discusses Schecter Hellraiser C-7 FR-S

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Schecter Guitar Research has announced a new addition to its website — a monthly video feature called “Conquering RIFFtopia” featuring Jeff Loomis and Keith Merrow of Conquering Dystopia.

The videos will include lessons, guitar play-throughs and reviews of new Schecter models, plus tips and tricks from both guitarists.

The first release, which you can check out below, features Loomis, who demos and discusses the company's new Hellraiser C-7 FR-S. The guitar features a Sustainiac pickup in the neck position and an EMG 81-7 in the bridge.

Click here or watch below to see the debut of “Conquering RIFFtopia."

For more about Schecter, visit schecterguitars.com.

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Voices Carry: Aimee Mann and Ted Leo Discuss Their New Band and Album, 'The Both'

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Aimee Mann is an Oscar-nominated singer/songwriter and bassist who has scored hits as a solo artist and with 'Til Tuesday.

Guitarist Ted Leo is a Midwestern punk rocker who’s established a reputation for musical genius as a solo act and with his band, the Pharmacists.

Now, both artists have joined forces and are calling themselves the Both.

Their self-titled debut album, which will be released April 15, speaks to the friendship and mutual respect Mann and Leo share. From the hook-laden harmonies and Bronze Fonz references of “Milwaukee” to the social messages of songs like “Volunteers of America,"The Both is an album with the DNA of Mann and Leo strongly imprinted on it — and one refreshingly unique and engaging debut.

I recently spoke with Mann and Leo about their new album and collaboration.

GUITAR WORLD: How did the Both begin?

Mann: Ted was opening for me on my last album and tour, and the music he was playing really piqued my interest. I remember while he was playing I’d often start thinking to myself, "You know, I really want to play bass on that song!" and after a while, I asked him if I could sit in. We started playing and having so much fun that it led to the idea of writing some songs together that eventually became this record.

What was the process like writing for the album?

Leo: Generally, one of us would come up with a theme either musically or lyrically and then we’d kick it back and forth. We’d usually start over email and then get together on video chat or in person and put it together. We’re both deeply a part of the songs we’ve written together.

Tell me a little about the song "Milwaukee" [Check out the music video below] and the reference to the Bronze Fonz.

Mann: Ted and I were in Milwaukee taking a walk after sound check when we came upon the Bronze Fonz [a sculpture depicting Henry Winkler, the actor who played Arthur Fonzarelli on TV's Happy Days]. It’s a commemorative sanctuary that misses on so many marks. Originally, I wanted to send Ted a piece of music and wrote some words about the statue just to be funny, but as I was working on it I started becoming attached to it.

Ted, what are some of the differences between your solo career and working with Aimee?

Leo: The act of setting out to write with someone as a collaboration is something I’ve done from time to time, but not in as pointed a way or for a more specific goal as having this band with Aimee. I’m still learning as a musician from this project, and because we’re doing it together I’m able to focus on locking in with someone as opposed to being the driving force.

Aimee, you were quoted as saying that being in the Both makes you feel like you’re part of a rock band for the first time. Why do you feel that way?

Mann: Even though it’s mostly just the two of us, when Ted and I play live it really feels like a band and a shared experience. ‘Til Tuesday was a band, but it often felt like I was driving. This feels more like a co-drive.

Did you always aspire to be a bass player?

Mann: I started out on bass and played it in ‘Til Tuesday and the Young Snakes. Bass also was my main instrument when I was going to Berklee. When I do my solo shows, it’s more convenient for me to play acoustic guitar and have my producer, Paul Bryan, play bass. He’s a fantastic bass player. For this project, it’s been really fun to play bass again in such a stripped-down capacity. There’s something very satisfying about it.

Ted, when did you start playing guitar?

Leo: I was in bands as a singer before I started playing and didn’t really pick up guitar until I was about 18. At this point, though, it’s become another appendage. Working in a three-piece with a bass player as interesting and amazing as Aimee also allows me to step out as a guitar player in a way that I haven’t done before. I feel that I’m playing a more free-er form of guitar than I have in the past.

Can you tell me the origin of the song "Voices Carry"?

Mann: I had heard someone use that phrase and wrote it down because I thought it sounded interesting. The subject matter was a friend of mine who was talking about a girl he was seeing. He would tell me how she was very affectionate whenever they were alone together but as soon as they got in public she acted like she didn’t even know him. That’s what I wrote it about.

What are you most looking forward to with this project?

Leo: We’ve both been doing this so much over the course of our careers, but thankfully, some things never change. The album is finished and about to be released and the tour dates are booked but haven’t yet begun. All that’s left now is the anticipation of getting out there and going to work. It’s trepidatious and exciting!

For more information, visit the Both's official website.

Photo: Christian Lantry

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.


Video: Slash and Myles Kennedy in the Studio — Ernie Ball's 'Real to Reel with Slash,' Volume 7

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Ernie Ball's new online series, Real to Reel with Slash, debuted February 25 on Slash's official YouTube channel.

The latest installment — Episode 7, which you can watch below — shows Slash & Co. — better known as "Slash Featuring Myles Kennedy and The Conspirators"— at a studio in Los Angeles, hard at work on their next album, which will be released later this year.

Each clip in the series provides a behind-the-scenes peek at the band's sessions, courtesy of Ernie Ball. This episode puts the focus on Slash and vocalist Myles Kennedy, who discuss working together and writing the album. At various points in the clip, you can hear some of the songs they're working on.

Be sure to check out Part 1 here, Part 2 here, Part 3 here, Part 4 here, Part 5 here and Part 6 here.

Slash and Aerosmith have announced several new tour dates, all of which you can check out here.

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Video: Yngwie Malmsteen Talks Influences and Signature Gear with VH1's 'That Metal Gear'

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VH1 — the network that brings you That Metal Show— also presents a little something called That Metal Gear.

To quote its website:

"For those who may be familiar with That Metal Show, VH1's That Metal Gear talks with today's greatest musicians to what and how they play."

The latest guest to talk gear with the VH1 crew was none other than Yngwie Malmsteen. You can check out a few quotes from the interview below and watch the video, where he discusses his new line of Fender products (including a new signature pedal that's in the works). Enjoy!

VH1: What’s your favorite song to play live and why?

I don’t really have a favorite. I don’t really like to play the same thing twice, so even though I play the same song, I play it differently.

What gear are you playing live these days?

I use Yngwie Malmsteen Fender Stratocasters. They’ve got scalloped necks. Seymour Duncan Yngwie Malmsteen pickups, of course. Through the YGM 100’s, which is a Yngwie Malmsteen Marshall.

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Derek Trucks Discusses Leaving the Allman Brothers Band: "At Some Point, You Have to Step Away"

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In January, Derek Trucks and Warren Haynes issued a joint statement that they would no longer tour with the Allman Brothers Band after this year.

Though Gregg Allman said in an interview that the guitarists’ departure would likely mark the end of the band, which is currently celebrating its 45th anniversary, the band has not released any official statement and their future plans remain unknown.

I spoke with Derek as the band was beginning their March run at New York City’s Beacon Theatre. They played 10 of 14 shows before postponing the final four because Allman was unable to perform after an illness he said was bronchitis. They have not yet announced when the shows will be played.

This weekend, the Allman Brothers Band will appear at Florida’s Wanee Festival, along with the Tedeschi Trucks Band, Gov’t Mule and many others. I'll be speaking there Saturday, discussing my new book One Way Out: The Inside History of the Allman Brothers Band.

Click here to read an exclusive interview with Warren Haynes on his thoughts on leaving the Allman Brothers Band.

Why did you decide to leave the Allman Brothers at the end of this year?

It’s something I’ve been thinking about for a long time. I want to see the legacy end as it should — at the top. I don’t want to see Joe Montana in Kansas City or Muhammad Ali at the end of his career. It’s a rare thing to be able to go out on top and in great shape, and I think it would be great, but it’s ultimately not up to me, but to the original members, if they will continue.

Right. And people are waiting for a statement that hasn’t come, which would seem to indicate that Gregg, Butch and Jaimoe have not made up their minds about the future.

I‘m hoping that if it continues, it’s because it’s supposed to and not for personal reasons. I think from Duane until now, the band has given everyone so much and at some point you have to honor the legacy with real dignity.

I was watching Leonard Cohen receive an award in Spain and I was struck by acceptance speech, with him talking about how everything has an end but you need to recognize and honor it and treat it with dignity. He said that if you have the ability to treat the end with real dignity and beauty, that’s what separates things. I thought that was apropos to our situation.

I understand what you’re saying, but also understand why it’s hard to stop something that is still working very, very well.

Yes, but at some point, you have to step away. With all the ups and downs of the band, it’s been an amazing, unique story — as you know as well as anyone! And if you can go out the right way, it keeps the story amazing to the end. It might be a hard thing to do, but to me, it’s the right thing to do.

Why did you and Warren elect to make your announcement together?

I think it’s more powerful that way. The information was leaked out in January on the Jam Cruise, and it was going to come out one way or the other that I had decided not to tour with the Allman Brothers after this year, and I just wanted to get out in front of it

I was really happy that Warren decided to be with me, but that was, of course, up to him. It all happened really quickly; information travels quickly these days. I was leaving for a tour and I started getting these emails asking questions and basically saying, “We’re going to run with the story. Do you want to comment?”

Obviously I’ve been thinking about it for a while and I just decided to jump on it.

The statements by you and Warren were very eloquent. Did you really write them in response or did you have them ready?

Thanks. We wrote them in response. I spoke to [Tedeschi Trucks Band singer] Mike Mattison who has a great way with words and helped me craft my statement. Then I sent it to Warren. I didn’t want to implicate him at all if he wasn’t ready. Half an hour later, he called me and said, “Do you mind if we change the first paragraph from I to 'we' and I add my own statement?”

Can you just explain a little why you have decided to do this now?

Really, it’s more time at home and more time focusing on one project. Since I’ve been an adult, I’ve never had the opportunity to go full steam on one project. I love all the amazing opportunities, but it’s going to be great to wrap my head around one and see what we can do.

I’ve been in the Allman Brothers for 15 years, and the whole time I’ve also had my solo career and it’s been wonderful but very busy, and frankly I’ve missed a lot of my kids growing up. I’ve never been home for one of my son’s birthdays. It’s March 6 and I’ve been at the Beacon every year. I want to jump on the last remaining years I have with my kids before they are fully grown up. We’ve managed it really well and been very fortunate to have family close by to help out, but it’s time to simplify and refocus on my own band and my family.

Anyone with a family can understand that desire. On the other hand, the Allman Brothers have toured less and less and it doesn’t seem like a huge time commitment.

Right, everyone thinks that, but there’s also travel, rehearsals, the difficulty of scheduling. And even if it’s “only” three or four months a year dedicated to the Allman Brothers, that means you start the year with eight or nine instead of 12 and it gets chopped up pretty quickly. I don’t think I’ve had a month at home since I joined the Allman Brothers, and I’m ready for that.

The band has done a remarkable job for 45 years at finding great new players to replace seemingly irreplaceable members.

Yes, and who knows what will happen next. I would never bet against an Allman Brothers' resurrection. There have been a few times I thought it was over, and we came roaring back.

There’s something about the storyline that sets it apart. You have to give back to the institution and even though it may seem counter–intuitive, it may be that the best way to do so is walking away. I respect the band and the music as much as anyone does, and it’s been amazing being a part of it, but I also feel like sometimes you have to step back from it and think what’s best for the legacy of the group.

Warren and I and a few of the other guys in the band have had long heart-to-hearts about this and really believe we have the chance to go out and throw down. Going out with guns blazing, giving it everything you’ve got, is a lot better than limping across the finish line. No one wants to see that happen. If I were writing the story, that’s how it would go. But a lot of people are in a lot of different places personally and musically.

You seem very calm and at peace with your decision.

Honestly, I feel like a weight has been lifted because it’s something I’ve been contemplating for a long time. You can only mean it at 100 percent as long as you mean it at 100 percent. I’m not an actor, and when I play it’s got to be full on. If I feel like it’s the right thing to do, it’s easy to do.

My feeling always is, if you can continue to put your heart in for the right reason and keep roiling then you should do so. Now I feel much as I did when I put my solo band aside in favor of [Tedeschi Trucks Band]. Some people didn’t understand why I would do that, but I just thought it was time.

And from the first day of rehearsal, it feels really fresh and new and honest, maybe in a way it hasn’t since the 40th anniversary. I’m excited about getting on stage every night and playing every show like it’s the last show. You try to have that feeling every time you go on stage, but it’s 100 percent different when it really might be true that It could be the last time you play this particular song with this particular band — so make it count.

Photo: Dino Perrucci

Alan Paul is the author of the best-selling book One Way Out: The Inside History of the Allman Brothers Band.

Additional Content

Are You Being Held Hostage by Your Guitar?

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This is my first column for GuitarWorld.com.

So let me risk it being my last one by offering a suggestion that goes against one of the deepest desires of guitarists and a basic premise of this magazine: Maybe you should rethink your dream guitar, because owning one can be a nightmare.

One of the contributors to a guitar forum I read owned a gorgeous original 1950s Telecaster. Every so often, he would post photos of it, just to get our hearts racing.

It was everything you could want in a classic, vintage Tele. The guitar was in nearly mint condition, with ash grain swirling in eddies beneath the surface of a flawless nitro finish. Light sparkled off shiny metalwork as it sat like a jewel in its original case.

That guitar was breathtaking, and we all coveted it. I needed both hands to count the number of commandments I’d have been willing to break to make it mine.

Yet its owner hardly ever played it. Why? From what he said, it sounded and played as good as it looked. But having bought such a pristine and valuable instrument, he came to realize that if he actually played the guitar, eventually it wouldn’t be quite so pristine or valuable anymore.

And so that wonderful Tele stayed mostly locked away, shown only to other guitarists who could appreciate its unmarred beauty, with perhaps a tune or two played gently on it before being returned to the safety of its case.

The last I heard, he was planning on selling his guitar, because he just couldn’t bring himself to use it.

Lessons are an integral part of Guitar World. The lesson here is that before you chase after the guitar of your dreams, think about what that dream really is. Is your ultimate guitar a piece of art, an investment to be held somewhere safe that won’t affect its resale value? If so, that’s fine; talk to your insurance agent, call your accountant, and if they agree, go for it.

But if you want to play the thing, let me suggest a different definition of a dream guitar: something to make memories on with your friends, at jam nights in bars, with your band — in short, wherever you want to create music with all the emotion that the right guitar can inspire in you. And that means a willingness to go out there and use it, wear it down in spots, get it dinged, and even take a chance that eventually it may get hurt or broken.

Yeah, something like your heart.

I have guitars ranging from a Squier Bullet to a pre-war Gibson. What makes each a dream guitar for me is that each gets played regularly, whenever and wherever I want. I’ve never bought a guitar — even a vintage one — that I wasn’t willing to take a chance with damaging or losing as long as it also meant the chance to play and enjoy it.

So consider whether your personal dream guitar will look as intoxicating in the sober light of ownership. You might fantasize about that $6,000 handmade acoustic. But will you actually play it more often than you brag about it? If not, maybe a $600 off-the-shelf model that you’ll play every day, everywhere, will give you more guitar happiness in the long run.

In the meantime, here’s hoping you get the guitar you truly want. Even if it’s a Martin with three humbuckers and a whammy bar.

William Baeck is a writer, photographer and hack guitarist living in London. You can check out his webpage at williambaeck.com and reach him on Facebook and Twitter.

Listen: Led Zeppelin Preview Unreleased Live Tracks from Deluxe Reissue of 1969 Debut Album

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Earlier today, Led Zeppelin's official YouTube channel posted a one-minute clip that contains snippets of the band's October 10, 1969, show at the L'Olympia in Paris.

You can check out the clip — which contains bits of the "Good Times Bad Times" / "Communication Breakdown" medley — below. Tell us what you think in the comments below or on Facebook!

The live disc makes up the bonus material that will be included with the deluxe reissue of Led Zeppelin, the band's self-titled debut album from early 1969, which will be released June 3 by Atlantic/Swan Song. The album — and every Led Zeppelin album — has been remastered by Jimmy Page.

Here's the complete track listing from the deluxe version of Led Zeppelin:

Led Zeppelin track listing:

01. Good Times Bad Times
02. Babe I'm Gonna Leave You
03. You Shook Me
04. Dazed And Confused
05. Your Time Is Gonna Come
06. Black Mountain Side
07. Communication Breakdown
08. I Can't Quit You Baby
09. How Many More Times

Companion Audio Disc: Live At The Olympia - Paris, France October 10, 1969:

01. Good Times Bad Times/Communication Breakdown
02. I Can't Quit You Baby
03. Heartbreaker
04. Dazed And Confused
05. White Summer/Black Mountain Side
06. You Shook Me
07. Moby Dick
08. How Many More Times

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Wild Stringdom with John Petrucci: Visualizing Melodic Shapes on the Fretboard

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This month, I’d like to delve deeper into concepts for expanding scalar ideas across the fretboard.

As in the previous columns, I’ll demonstrate how to move diagonally across the fretboard to connect scale positions, an approach that I employ to a great extent to play melodic phrases and solos.

Let’s start with a series of phrases that are all based on the E Aeolian mode, or E natural minor scale (E F# G A B C D). FIGURE 1 details a series of three different three-note phrases, each played in a three-notes-per-string pattern and starting with the index finger. I begin in seventh position and play through the first six notes of E Aeolian.

In bar 2, I shift up to ninth position and play a six-note pattern that begins on the fifth degree of E Aeolian, B, sounding the notes B C D E F# G. Finally, I move up to 11th position to play a six-note pattern beginning on the second, or ninth, F#, sounding the notes F# G A B C D.

The high D at the end of the phrase is useful, because it can easily be bent up one whole step to the E root. By connecting all three patterns this way, I am moving up the fretboard in a diagonal path that covers a lot of range.

A great way to practice this pattern is within a steady series of eighth-note triplets, as seen in FIGURE 2. Use alternate (down-up) picking throughout, and strive to make the position shifts seamless. Once you have these “shapes” for each six-note group under your fingers, you should be able to move freely from the A string to the D and G and back, using just your ear to guide the melodic phrases you create.

Within the first six-note phrase, we have the notes of an E minor triad: E G B. Now let’s look at how we can apply notes from this series to create different chord types. In FIGURE 3, I demonstrate voicings of Em, Esus2 and another “wide-stretch” Em voicing from the notes found in this pattern. I can then play melodic fills based on it.

FIGURE 4 offers a more expanded example of this concept. I’ll often use this approach to create chordmelody-type ideas, such as that shown in FIGURE 5. Here, I’m using the open low E note as a pedal tone played against various two-note chords. I also like incorporating the ninth, F#, into Em voicings, resulting in the wide-stretch Em(add9) shapes shown in FIGURE 6.

FIGURE 7 puts a twist on this idea by adding the second, also F#, to an E minor triad, E G B. Lastly, I use note combinations from the pattern to create a series of two-note chords that live in E Aeolian, as demonstrated in FIGURE 8.



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Additional Content

How I Make One Guitar Sound Like an Army

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As the singer/guitarist in Swedish rock duo Johnossi, John Engelbert knows a thing or two about filling up space with a six string. You can hear Engelbert's work on Johnossi's new release, Transitions.

In the meantime, read his tips to maximize your own guitar sound (and check the video for "Into the Wild") below.

I could speak for hours about guitar tones...but I'm not going to! Instead here's a short list of how you can make one guitar sound like an army.

01. PLAY HARD AS FUCK. This is the most important thing. Don't strum like a chicken. Strum like a beast!

02. USE THICK STRINGS. It may seem obvious, but with thick strings, like .013-.056., you have to play hard as fuck (see above) in order to tame the feedback.

03. CRANK UP THE AMP VOLUME. Don't leave all the volume for the sound guy to decide, because he's probably a pussy when it comes to cranking it up. A lot of output from the main source is always good.

04. KNOW YOUR PEDALS. Figure out how to use your pedals...and don't be afraid to really turn up the volume. If your clean tone is high as fuck on the amp, an Ibanez Tube Screamer with the volume set to max will sound amazing.

05. TRICK OUT YOUR SOUND. It's crucial to develop your own little secret trick that makes you sound like you...and don't ever tell anyone about it.

john-amps.jpg

My main amps (pictured above) are a Music Man 410 Sixty-Five (Most people think the Fender Super Reverb sounds better, but I prefer this one) and a Marshall Super Lead head through a vintage 412 Celestion cabinet.

My main guitar is a very rare Lag acoustic from 2001-2002. Only five were ever made, and I own four. Note that I play acoustic guitar with an acoustic guitar pickup through amps, pedals and all. It sounds like an electric guitar but with a unique sound.

For our first three records I only used the Lag acoustics. For our latest record I started to use a 1957 blonde Kay Barney Kessel electric guitar. The Barney Kessel pickups have a really unique fat warm tone I love.

Last but not least, here are my pedalboards:

pedals1.jpg

pedals2.jpg

Watch the video for Johnossi's "Into the Wild" below:


Dear Guitar Hero: Stray Cats' Brian Setzer Talks Gretsch Guitars, Joe Strummer, Vintage Cars, Jazz Lessons and More

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He revitalized rockabilly with the Stray Cats and revived swing and jump blues with the Brian Setzer Orchestra. But what Guitar World readers really want to know is …

Your playing style is so incredible and immaculate. Did you start with any jazz guitar training or did you just learn how to play “Stairway to Heaven” like the rest of us? — Jon Rubin

[laughs] I’m not saying I didn’t play it. Hell, we all played it; it’s a classic. But I did take guitar lessons for about 10 to 12 years, with two different teachers.

I took my first lesson when I was eight years old. I went through the Mel Bay books. Back then in Long Island, New York, there were mostly jazz players.

So my first teacher was actually a saxophone player. After that I studied with this other jazz teacher, Ray Gogarty. He took me further into the jazz world: advanced chords, a little bit of the modes, scales and standards.

I seem to remember reading that one of the cars on Stray Cats’ Built for Speed album cover was yours. Is that true? — Eric Smoot

Yeah, the ’56 Chevy on the cover of Built for Speed was mine. That Chevy actually got stolen from a parking spot years ago. I wish I still had it. I came back from doing what I was doing, and the car was gone. It broke my heart.

What first inspired you to play guitar? — Molly McAllister

I was a little kid, like six or seven years old, when the Beatles came out. I remember hearing their music and I couldn’t imagine where that sound was coming from.

Then I saw a picture of the Beatles, and George [Harrison] had an electric guitar, and I was like “That’s it!” It was that sound—the sound of George’s guitar—that first captured me when I was really young. It all goes back to that sound.

What led you down the rockabilly path? — Steve

The real defining moment for me was when I heard [Gene Vincent’s] “Be-Bop-A-Lula” on the jukebox. Back in 1976 or ’77, we had this club in Manhattan called Max’s Kansas City. There was always punk music blasting, but for some reason one day “Be-Bop-A-Lula” came on the jukebox. It was as if a hand came across the bar and grabbed me, like, “Listen to me! Listen to how cool I am!”

There was just something about the raw, back-to-basics sound that fit perfectly with the urgency of the punk movement I was in back then. To me, rockabilly music paralleled punk’s energy and feeling, but the players were much better. I’m telling you, I still remember Cliff Gallop’s solo coming out of the speaker. I went, “What the heck is that? Who’s playing this?”

I really dig your hair. What is your secret ingredient? Are you a Murray’s Pomade man? — Joe Barrios

[In radio-announcer voice] You’ve heard of Dapper Dan? Well, I’m a Murray’s man! [laughs] As my dad used to say, “You’ve got to train your hair.” And then once you’ve got it trained, you comb it in the position, throw in a little bit of Murray’s … and you’ll be a Murray’s man, too. [laughs]

What attracted you to using Gretsch hollowbodies as your main guitars? — Jeff Osgood

The first reason I wanted to play a Gretsch guitar is because Eddie Cochran played one. Believe me, when I was growing up, nobody knew who he was. I just stumbled across this record and I thought he looked cool. I had no idea he was that good.

But once I popped on the record, it was exactly the guitar sound that I wanted: somewhere between a Fender and Gibson. To me, if you play a Fender straight through the amp without any effects, it’s a little thin sounding. And a Les Paul didn’t twang enough; it was just always on 11, you know?

The Gretsch was right between those two. It had that twang, but you could really make it sing if you wanted. I guess it just fulfilled the sound I was hearing in my head.

I know you co-wrote some tracks with [late Clash singer and guitarist] Joe Strummer for your Guitar Slinger album, and I heard that you were friends with him, as well. Can you share any good stories? — Cole Slaugh

Oh, I’ve got a lot of great memories with Joe. Joe and I would spend the summers together because we were good friends and we both had children. So we’d throw the kids in the pool and have a good time. Joe had a very good, dry sense of humor, you know, and some of the things he would say were just…

Well, let’s say he was very good at making fun and making light of a situation. If you were wound up or you were aggravated about something, Joe would say a couple words, and then you would laugh and realize how silly the whole thing was. He was a great guy, and a genius of our time.

Which classic rockabilly artists would you recommend I check out to better understand the style? — Jimmy Vomvas

The definitive rockabilly album for me was Elvis Presley’s The Sun Sessions. Boy, oh boy. That probably has everything you need all wrapped up right there. Also pick up the first two Gene Vincent records: Blue Jean Bop and Gene Vincent and the Blue Caps. As a guitar player, you have to hear Cliff Gallup play with Gene Vincent and Scotty Moore play with Elvis Presley.

I love your live sound. But I’d like to know how you control feedback at stage volume. I have had this issue with hollowbody guitars in the past. — Eric A. Nay

I’ve actually never had any problems with the [Gretsch] 6120 with FilterTron pickups. The feedback that I get is kind of friendly feedback. It’s like a note, not a squeal. I love what happens on a hollowbody guitar when you’re too close to an amp. That sound comes back through the guitar and vibrates the body, like an old jalopy or something. That’s the most magical feeling to me. Once you figure it out, you can kind of control all of those feedback notes.

You’ve got an amazing sound. What is your main amp-and-effect setup? — Billy Wilson

I just use a ’63 Fender Bassman and a Roland Space Echo. I mean, my amps have been worked on, but they’re not modified—rather de-modified. Over the years people have put in the wrong tubes, cables and speakers. I try to get the Bassmans back to stock, and I like to use Celestion Vintage 30s for the speakers. I think they’re better matched to the power of the amplifier head.

I’ve always been impressed by your right-hand picking technique. Could you give me any advice on how to refine mine? — Greg Terzian

Well, first of all, anyone that tells you “This is the only right way to do it” is wrong. Any way you feel comfortable fingerpicking…if it works for you, then do it. There’s not a wrong or a right way.

When I fingerpick, I tuck my pick under my index finger; I’ll slip it down when I use the guitar pick, and then I tuck it up, and use my thumb, second, third and fourth fingers to fingerpick. I’ve never heard of anyone doing that, and I don’t know if you could call it correct, but that’s what works for me.

Do you ever get bored playing rockabilly-type stuff? If not, how do you keep your playing fresh within that style? — Justice Edwards

I always mix in new things, new influences. There are so many different styles you can play in that genre. I mean, I’m a rockabilly guitar player, but I’m influenced by all American musical styles, like jazz, blues, country and rock and roll. So the way to keep from getting bored from playing one particular genre of music is to mix in other styles.

Photo: David Bowman

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String Theory with Jimmy Brown: Hillbilly Shred — How to Sound Like a Bluegrass Mandolin Player

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This video is bonus content related to the May 2014 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the Guitar World Online Store.

A while back, I came across a book of traditional bluegrass and old-timey fiddle tunes, which intrigued and inspired me.

I had always enjoyed the sound of those upbeat, “honest” folk melodies, with their sprightly contours and swinging eighth-note rhythms, despite their harmonic simplicity—the vast majority of the tunes are based on “one-four-five”-type major-key chord progressions.

As the book was written for violinists (the violin and fiddle are the same instrument), the tunes were notated in standard sheet music, without tablature. Being a sightreader, however, I was able to cop the notes, and I began studying some of the tunes and attempting to adapt them to the guitar, pick-style, just as a bluegrass acoustic guitarist or mandolin player would.

This month, I’d like to show you how I’ve arranged one of these fiddle tune for guitar and demonstrate a neat trick I came up with to make the guitar sound like a mandolin.

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Guitarist Johnny A. to Release New Album, 'Driven,' June 3

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Guitarist and songwriter Johnny A. — who has his own signature-model Gibson guitar— will release his third solo album, Driven, June 3 via his own label, Aglaophone Records.

Driven features 10 original songs and Johnny's new version of the Bee Gees’ “To Love Somebody.”

Driven marks the guitarist's first time engineering, mixing and producing an entire album, which was recorded at his home studio, Nirvana Sound. (He also played all the instruments!)

Johnny considers the new album a departure from previous releases; it's a potent, groove-driven recording that reflects his diversity as a player/songwriter, blending rock, blues, jazz and funk.

As a sideman, he has played with a host of renowned musicians, including Doug Clifford (CCR) and Bobby Whitlock (Derek and the Dominos), before kicking off a seven-year stint as guitarist and musical director with J. Geils Band frontman Peter Wolf. He played on Wolf's albums and even co-produced one of them, Long Line.

Johnny will tour for the rest of 2014 in support of the new album. Confirmed dates include:

Fri, Apr. 25--Mechanic’s Hall--Worcester, MA
Fri, May 2--Sellersville Theater--Sellersville, PA
Fri, May 16--Building 24 Live--Wyomissing, PA
Sat, May 17--Moore Square Park--Raleigh, NC
Wed, June 11--Sculler’s Jazz Club--Boston, MA (CD Release Show)
Fri, July 11--Iron Horse Music Hall--Northampton, MA

For more information, visit johnnya.com.

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Fender Announces American Design Experience; Allows Musicians to Design Their Own Guitars and Basses

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Fender has announced its American Design Experience, a new offering on Fender.com that allows musicians to design guitars and basses based on Fender’s instruments — the Telecaster, Stratocaster, Precision Bass and Jazz Bass models.

Consumers’ personalized designs are then built by hand in Fender’s flagship Corona, California-based facility and delivered to their door within 90 days.

The Fender American Design Experience began in 2011 at the Fender Visitor Center in Corona, which is adjacent to Fender’s factory. There, consumers have been able to hand-select instrument bodies and necks, and personally design their own unique instrument, before having it built and delivered to them within a matter of months.

Now, Fender is able to provide this program only to people throughout the United States via an innovative digital platform configurator tool on its website at fender.com/american-design.

Several professional artists have designed their own instruments with the American Design Experience, including Neon Trees’ Branden Campbell, the Cult’s Billy Duffy, thenewno2’s Dhani Harrison, Joe Robinson and Taylor Swift’s Amos Heller. Consumers can view these artists’ designs — and others — at Fender’s website for inspiration.

"I've always loved the vintage hot rod vibe that Fender brings with their guitars,” Campbell said. “I've often had to buy two different basses to piece together the features I wanted. Now I have the option to get what I want the first time.”

Within the new online offering, there are multiple options — including body and neck woods and designs, color finishes, pickup and electronics configurations and more — that lead the user to more than a million potential design outcomes.

Check out the photo gallery below.

PHOX Release New Track, “Slow Motion”

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Wisconsin's PHOX have released a new song titled “Slow Motion,” plus a slew of US headlining tour dates.

“Slow Motion” will be featured on the band’s upcoming self-titled release, available June 24.

The album was produced by Brian Joseph at Justin Vernon's (Bon Iver) April Base Studio in Wisconsin and mixed by Michael Brauer at Electric Lady in New York City.

With a wide range of instrumentation, PHOX blend acoustic and electric guitars, banjo, strings, keys and lots more, along with fantastic vocal harmonies.

Led by golden-voiced frontwoman Monica Martin, the tracks are catchy enough to stay in your head, and experimental enough to keep your attention.

Take a listen to “Slow Motion” below:

Tour Dates:

04/30 - London, UK @ Elektrowerks
05/03 - Liverpool, UK @ Liverpool Sound City Festival
05/04 - Glasgow, UK @ Stag & Dagger Festival
05/08 - Brighton, UK @ The Great Escape Festival
06/24 - Omaha NE @ Waiting Room
06/25 - Kansas City MO @ Riot Room
06/27 - Austin TX @ Stubbs Jr.
06/28 - Dallas TX @ Three Links
06/30 - Phoenix AZ @ The Western
07/01 - Los Angeles CA @ Echo
07/03 - San Francisco CA @ The Chapel
07/05 - Portland OR @ Mississippi Studios
07/08 - Salt Lake City UT @ State Room
07/09 - Denver CO @ Hi-Dive
07/11 - St Louis MO @ Duck Room
07/13 - Nashville TN @ High Watt
07/15 - Birmingham AL @ Bottletree
07/16 - Atlanta GA @ Vinyl
07/17 - Asheville NC @ Grey Eagle
07/18 - Chapel Hill NC @ Local 506
07/19 - Washington DC @ DC9
07/21 - Philadelphia PA @ Boot & Saddle
07/22- Brooklyn NY @ Knitting Factory
07/23 - New York NY @ Mercury Lounge
07/28 - Montreal QC @ Motore
07/29 - Toronto ON @ The Garrison
07/31 - Cleveland OH @ Grog Shop
08/01 - Detroit MI @ Magic Stick
08/02 - Grand Rapids MI @ Pyramid Scheme
08/03 - Green Bay WI @ Meyer Theatre
08/04 - Minneapolis MN @ 7th Street Entry
08/06 - Milwaukee WI @ Turner Hall
08/07 - Madison WI @ High Noon
08/08 - Madison WI @ High Noon
08/09 - Chicago IL @ Lincoln Hall

Find out more at phoxband.com.

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