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    Below, check out a 2013 video of an 11-year-old Ronnie James Dio fan named Sara covering Black Sabbath's "Heaven and Hell" with her band, Motion Device.

    Sara dedicates the performance to Black Sabbath "and the one and only Ronnie James Dio."

    Motion Device is rounded out by Sara's 14-year-old brother, David, on drums; their 16-year-old sister, Andrea, on six-string bass and piano; their cousin, 19-year-old Josh on lead guitar; and 19-year-old Alex, a family friend, on rhythm guitar.

    Dio often cited "Heaven and Hell" as one of the songs he was most proud of. He said the song, which was written by Dio, Tony Iommi, Geezer Butler and Bill Ward, is about our ability to choose between doing good and doing evil, essentially how we all have "heaven and hell" inside us.

    For more about Motion Device, visit them on Facebook.

    Additional Content

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    Pedal boards can be the bane of performing guitarists.

    They’re complicated and bulky, and if just one connection fails, your rig is rendered silent until you can track down the offending plug or wire.

    On the other hand, all-in-one pedal-board solutions are most often maligned for relying too heavily on low-cost, low-fidelity digital-chip sets that don’t deliver the sonic goods of a traditional pedal.

    T-Rex’s new Magnus effect board bridges the gap between these two ideologies, offering four of the company’s boutique-quality effects in an easy-to-use, inexpensive and programmable package.

    Features
    Unlike many multieffect pedal boards, the Magnus’ plug-and-play user interface is easy for any pedal-savvy guitarist to navigate and start to use. There are four pedal sections—overdrive, distortion, delay and reverb—each of which has four control knobs and on/off LED indicators. The overdrive and distortion effects are of the classic British variety, with rich and tube-like tones. The digital delay sounds smooth, and the reverb is offered in spring, room, hall and LFO (low-frequency oscillation) variations; the LFO setting mixes a chorusing effect into the reverb to simulate the Leslie rotary speaker effect. Additionally, there’s a footswitchable boost circuit (adjustable via a back-panel knob) and a dual-function tap-tempo switch—tap it three times to set the delay speed, or hold it to mute the board and activate the onboard tuner.

    Players can footswitch between Live and Save modes. In Live mode, the Magnus operates like any a traditional pedal board, where each switch turns the assigned effect and boost on or off. Save mode allows the player to activate any of the 10 programmable combinations of effects with the five numbered switches; the second set of five saved combinations is accessed with the bank switch. The unit has a single input and stereo outputs, and power comes from a supplied 12-volt adaptor.

    Performance
    Although the delay and reverb are digital effects, the Magnus’ other effects and overall circuitry are completely analog, maintaining a clean signal path that sounds very similar to a multi-pedal setup. In some cases, the Magnus’ performance is improved over separate pedals because the effects are ideally designed to work as a unit.

    The overdrive sounds are definitely in the Tube Screamer realm but with a broader midrange band and the ability to mix both dry and overdriven signals via the blend knob. Kicking on the distortion section is like adding a high-gain tube channel to your amp. The effect is crunchy and layered, and it’s possible to create modern metal chunk tones with the presence dialed high. For more pronounced overdrive, simply activate the boost and you’re instantly in ultra-high-gain heaven. The delay and reverbs are noteworthy for their liquid character and absence of noise, sounding much more like ambient, natural-occurring echoes than similar effects at twice the price.

    List Price $599
    Manufacturer T-Rex Engineering ApS, t-rex-effects.com

    Cheat Sheet
    Using the Live mode allows players to actively engage any of the four effects and the adjustable boost feature, just as they would with separate pedals.

    Players can save 10 preset combinations of effects and boost for convenient and instant recall.

    The Bottom Line
    Whether you are looking to simplify a bloated and difficult-to-control pedal board or just entering the world of outboard effects, the no-nonsense Magnus effect board from T-Rex Engineering delivers world-class tones and portability at an affordable price.


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    During a benefit called Acoustic-4-a-Cure, Metallica's James Hetfield performed a solo acoustic version of the Beatles'"In My Life."

    At the same event, Hetfield was joined on stage by Joe Satriani and Green Day's Billie Joe Armstrong for a medley of Bob Seger's "Turn the Page" and Green Day's "Boulevard of Broken Dreams."

    Strange as all that sounds, you can check out clips of both performances below.

    During Hetfield's solo set, he also performed solo acoustic versions of Metallica's "Nothing Else Matters" and "Until It Sleeps."

    Speaking of Metallica, you can head here to watch fan-filmed videos of the band performing acoustic versions of "In My Life," Deep Purple's "When a Blind Man Cries" and Ozzy Osbourne's "Diary of a Madman" at Monday's MusiCares MAP Fund Benefit.


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    Jimmy Page & Co. — better known as Led Zeppelin — are streaming a previously unreleased instrumental track called "La La."

    The track will be included with the Led Zeppelin II remaster/reissue, which will be released Tuesday, June 3, along with Led Zeppelin and Led Zeppelin III.

    The groove-heavy "La La," which was recorded in 1969, features powerful organ blasts from John Paul Jones, typically solid drumming from John Bonham and oodles of top-notch guitar work — both electric and acoustic — from Page. The song is clearly unfinished and clearly "early sounding," but we love it anyway.

    Check it out below and let us know what you think in the comments or on Facebook!

    Page discusses the new reissues—and the many treasures in Led Zeppelin's vaults—in the all-new July 2014 issue of Guitar World. The new issue is available now on newsstands and at the Guitar World Online Store.

    Additional Content

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    In honor of his 50th birthday, here’s a clip of Tom Morello performing “Save The Hammer For The Man” along with Ben Harper on dobro and supporting vocals.

    Released under Morello’s The Nightwatchmen alias, the track appears on his World Wide Rebel Songs album.

    Harper also appears as a guest vocalist on the studio version.

    With some tasty dobro work from Harper, those familiar with Morello's Rage Against The Machine and Audioslave days see a completely different side of his musicality in this Dylan-esque folk tune.

    Morello allegedly spawned The Nightwatchman as a way to express political viewpoints, and has since performed at a number of protests and political events.

    The guitar Morello is seen performing with in this video and most other Nightwatchmen performances is a Ibanez Galvador nylon-string acoustic that he dubbed "Whatever It Takes."


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    The first annual Louder Than Life festival, featuring music, whiskey and “gourmet man food,” will take place October 4 and 5 at Louisville Champions Park in Louisville, Kentucky.

    In addition to presenting top rock bands on three stages, the weekend destination festival will highlight some of the region’s best bourbons and craft beers, as well as a variety of local cuisine, with a focus on “gourmet man food” (regional comfort food).

    “When I first came to Louisville, I fell in love with the city, its diverse food, its bourbon and its culture. It screamed ‘Louder Than Life’ and I felt this was the perfect destination for this kind of rock festival,” says producer Danny Wimmer of Danny Wimmer Presents.

    “I met with Mike Maloney from the Mayor’s office, who shared with me his extensive knowledge of the city. I learned amazing facts about Louisville and its history, tasted incredible small batch bourbons from local distilleries, sampled the delicious regional cuisine–which Mike dubbed ‘gourmet man food’–and experienced Louisville’s welcoming atmosphere. I’ve created the Louder Than Life festival to highlight these discoveries and celebrate the ‘Culinary Capital of Bourbon Country.’ And of course, the culture of rock and roll and bourbon go hand in hand!”

    “We’re so excited to have the Louder Than Life festival come to Louisville and I can’t wait for the world to try our great local food, which got its start with the birth of the cheeseburger in our city over 80 years ago,” says Louisville Mayor Greg Fischer.

    “Louisville has a great music scene, great food and is the birthplace of bourbon,” adds Mike Maloney, Special Events for the Office of the Mayor of Louisville. “We are excited to rock with Louder Than Life. Danny Wimmer Presents is creating something very special for the ‘Ville.” He continues, “Some interesting facts about the Louisville region that people may not be aware of: 95% of the world’s bourbon is produced in Kentucky and Louisville has a vibrant craft beer scene as well.”

    Look for the band lineup, ticket pre-sale information, and details on hotel and camping packages to be announced June 5. Visit LouderThanLifeFestival.com to join the Louder Than Life email list and for the most current festival info.

    Louder Than Life is produced by Danny Wimmer Presents, a producer of some of the biggest rock festivals in America, including Rock On The Range, Monster Energy’s Welcome To Rockville, Monster Energy’s Fort Rock Festival, Monster Energy’s Carolina Rebellion, Monster Energy’s Aftershock Festival, Epicenter—Southern California’s Rock Festival, Rockwave, The Big Ticket, Chill On The Hill and Monster Energy’s Rock Allegiance Tour.

    louder_insta.jpg


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    You no longer need a seven- or eight-string guitar to enjoy the ruthlessness of the Nazgûl or the enhanced dynamics and string separation of the Pegasus.

    The Nazgûl was developed for extreme metal players who required a massive and aggressive tone that still maintained plenty of articulation. The Pegasus was developed for prog and modern metal players who needed plenty of aggression but required enhanced dynamics, more harmonic richness and defined string separation so individual notes don't get lost in the mix.

    The perfect compliment to both pickups is the Sentient neck pickup, which also is now available in a six-string version. It's voiced to capture a blend of vintage PAF and modern tones with enough output to deliver harmonically rich distorted lead tones but subtle enough to give you deep, detailed cleans. Think of it as combining the best qualities of the '59 Model and the Jazz: clarity, detail, depth, attack and expression.

    Each pickup is handwound in Santa Barbara, California, with a black bobbin, black screws and a black logo.

    Six-String specifications:

    Pegasus: DCR – 12.5k, Res Peak – 5.18kHz
    Nazgul: DCR – 13.6k, Res Peak – 4.75kHz
    Sentient: DCR – 7.74k, Res Peak – 6.53kHz

    For more information, visit seymourduncan.com.


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    Filmmaker Denny Tedesco remembers riding his bike to grade school with a transistor radio tied to the handlebars. Memories like that one are easily triggered when he hears songs from his childhood.

    “To this day, certain songs hit me and I remember,” he says. “I remember where I was. Music is under-appreciated as a sense. It’s hearing, but it brings back taste, smell, everything. It puts you in a space.”

    Tedesco grew up around music. His father, guitarist Tommy Tedesco, was one of the best-known session players and teachers to come out of the West Coast studio world, where an elite group of musicians defined the sound of countless 1960s and 1970s hit records by a who’s who of artists ranging from Frank Sinatra to the Beach Boys.

    When Tommy Tedesco was diagnosed with cancer, Denny undertook a tremendous goal: a documentary about those session musicians that would tell their story through their words, and those of the producers and artists they worked with. In 1996, he began working on the film, which he titled The Wrecking Crew after the name drummer Hal Blaine later used in reference to the musicians.

    With help from Emmy-winning editor and producer Claire Scanlon, he completed the movie in 2008 and entered it into several film festivals. Two years later, the International Documentary Association became a fiscal sponsor. A Kickstarter project was successfully funded in December 2013 to license the remaining songs and stock footage and compensate the musicians via the American Federation of Musicians.

    The Wrecking Crew is on a limited run in U.S. theaters and available as a digital download, VOD and on DVD.

    GUITAR WORLD: What is the key to making a good documentary? For musicians, a subject like this one is fascinating no matter what, but for the general music fan, you have to hold their interest in a world of soundbite attention spans.

    I think that’s why it hits on different levels. Musicians — piece of cake — they understand it and see themselves. The music, 50 percent of the film is music, and everybody knows that music. Then there are people who have lost a parent, or both parents, and they will understand why I wanted to make this movie.

    Many of the songs these musicians recorded were considered pop — popular. When did pop become a dirty word in the industry?

    That’s a hell of a question! How can I put this? There are so many different things I can go off on. The business was different. My father would do seminars and tell the kids, “You have music and you have the music business and sometimes they mix, but don’t expect them to mix all the time.”

    Some of the music he played was trite and simplistic, it was probably pop, but pop means popular, whatever it is. I listen to artists all day with my kids and it drives me crazy, but it’s popular music. It’s a question to be debated. When we listened to stuff in the 1960s and 1970s, we had radio and albums. We didn’t listen to stuff from 1924, our parents’ stuff. Maybe we listened to the standards, but not much. Now anybody can make an album, but there is no business to support it. In those days you had people working in radio stations and playing live gigs.

    I think technology made it easier for anybody to record, but it made it much harder to promote when we have so many more choices in our lives and so much information coming at us. I was bombarded by maybe six television stations. We had a phone. You got a message if someone was around to take it. Now, everybody wants it now, answer me now, Twitter it now, and that’s why it’s difficult for songs to last. Maybe a great song will stand up to “Good Vibrations” and the Beatles, but will it stand the test of time? It will be impossible for anybody to outlast them. I’m not belittling today’s musicians. It’s just a harder time.

    What did you learn from your father?

    My father was extremely practical and had an understanding of how to deal with people. The reason I’ve done so well in terms of getting to certain people is because he treated people extremely well. If he had a problem with someone, most likely a lot of other people did too. I’ve gone around the world and people would say, “I met your dad at a seminar,” and they’d tell me how kind he was and how very approachable. I think he just taught us to try our best to never lose patience. We all lose patience, but I try not to because it will make a difference down the road.

    What surprised you the most about the musicians as you got to know them?

    Not too much surprised me, other than a couple of stories here and there. They all got along fairly well. There was no backstabbing. They were very appreciative of what happened to them. There was no bitterness in any of them, and overall they were extremely grateful of where they were at the time and what happened. Looking back, they were very happy. This story is about musicians who created the greatest music but also were making a living, going to work and putting their kids through school.

    You’ve had so many years of working in and around the music industry and watching it change. What do you see, both good and bad?

    It’s harder and harder to make a real career in music, versus what session players did. Movie music went to different places where they don’t pay musicians the same rate, they don’t make a living the way did they did here in L.A. They’re paid to take more and more, and by the time it gets to the musicians, they make less and less and are not able to make the living they could make years ago.

    Also, when I came into filmmaking, the first jobs out of college were rock videos when MTV started. It helped to sell albums, but it couldn’t have been that much because they spent a lot of money on videos. So I think a lot of people took advantage in the business. Everything was gravy for a while. There were projects where people funded singing groups with huge budgets of $350,000. In the 1960s these guys did an album a day sometimes. That’s ridiculous — $350,000 for a group? It’s wasted money, thrown away. Now people are laid off, there’s downloading — the record companies should have jumped on it and offered that right away, but they wanted to make their money. It imploded and will never recover.

    The business is different. Musicians today are making records without being in a room together. Files are sent around, there’s no influencing each other, there’s nothing anyone can do to push each other in another direction because they’re not in the same room. You fix a solo in Pro Tools instead of “Let’s do it again.” Technology is amazing, but it has taken the soul out of it. Kids, especially, need to learn how to play with each other. It always helps musicians to influence and learn from each other.

    My father was so much better a player when there were two more guitar players with him and they pushed him. When he did solo work, it was beautiful, but it was not my favorite because he was not being pushed in another direction. For musicians, the banter is the great thing. There is nothing like it. Musicians are comedians. They one-up and tease each other and it’s the greatest thing to be around.

    To learn more about The Wrecking Crew, watch the trailer, and get information about the DVD release and screenings, visit wreckingcrewfilm.com.

    Alison Richter interviews artists, producers, engineers and other music industry professionals for print and online publications. Read more of her interviews at http://www.examiner.com/music-industry-in-national/alison-richter.


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    Guitarist Zane Carney’s musical journey started at an early age.

    Following a four-year stint as a star on a Nineties sitcom, the former child actor dabbled with guitar before deciding to retire from the acting craft to begin seriously honing his guitar skills.

    With a new-found perspective and an appreciation for jazz greats like Wes Montgomery, Carney’s work ethic, combined with a ravenous appetite for music theory, would eventually lead him to some pretty notable gigs, including working as guitarist for the Broadway show Spider-Man: Turn off The Dark and collaborating with the likes of Bono and Justin Timberlake.

    In addition to Carney’s current job as touring guitarist for John Mayer, he recently released two solo albums. The first, Confluence, is an inspired collection of songs showcasing his strength as a vocalist and songwriter. Amalgam, which was released in February, is a dynamic, guitar-driven instrumental album emphasizing Carney's virtuosity and improvisation.

    I recently spoke with Carney about his music, working with Mayer and his affinity for Musicvox guitars.

    How would you describe your album Confluence?

    It’s a little bit of a “growing pains” kind of sound, it's about me searching for my own voice. It was the discovery of something that would allow me to express myself as a solo artist and a mixture of the many of the different styles of jazz and blues that inspired me.

    What was the writing process like for that record?

    I always try to use a different process for each song I write. For instance, the song “Fade to Black” was inspired by listening to a lot to Neil Young’s After the Goldrush. I was also reading a lot of T.S. Eliot at the time and felt like writing poetry. For the song “Talk to Me Baby," I had already had the title lyric in mind and just expounded on what that thought meant to me.

    What can you tell me about your jazz guitar album, Amalgam?

    I had vocal cord surgery at the end of last year and was trying to think of another way to stay present as a solo artist. Since I was unable to sing, I decided to release an instrumental album of guitar songs I had completed. I wouldn’t necessarily call it a jazz album, but if you went to the store, you’d find it in the jazz section. I’m so proud of this record.

    You described Confluence as a "growing pains" kind of album. How would you describe Amalgam?

    It’s less searching and more definitiveness. It’s knowing the sound I’ve developed over the years and getting the chance to showcase my confidence as a guitar player.

    When did you decide that music was going to be your calling?

    I was actually a child actor on a sitcom for four years in the early Nineties [Dave’s World]. Once that ended, I was cast in a film with Billy Crystal. By that point, I figured acting was going to be the route I would go. But once I turned 14, things started to change. I really started getting more into jazz and music theory. Then once I discovered Wes Montgomery, I really understood what it was all about and immediately changed direction. I began to devour every one of his records I could find.

    What’s it like working with John Mayer?

    It’s special when you have a leader who’s also a musical genius. John has so much knowledge and wisdom and can give you a detailed analysis of everything he’d like you to do, but he also allows you to be yourself inside of that. It’s amazing.

    Tell me a little about your relationship with Musicvox guitars.

    The Musicvox SpaceRanger was one of the first guitars I ever owned. I got one for my 12th birthday and remember thinking it was the coolest looking guitar I had ever seen. Having a guitar I could relate to really helped me stay passionate and played a big part in my musical journey.

    What are your thoughts on the Musicvox 12-string Space Cadet model?

    Most of the 12-strings I’ve played over the years have a specific mid-range that honks at you at a certain point. Even though it’s a mono instrument, I’ve always wanted a 12-string that had a wider breadth to it. When I tried the Space Cadet, it had that feel and I immediately fell in love with it. I also love the look of the guitar. It actually inspires me to play and try different things. I’m sure I’ll be using it on a lot on my future projects.

    Speaking of future projects, what else are you working on?

    I have a few things going on that I’m not able to talk about at the moment. Right now, my Number 1 passion is continuing to support John on his tours and albums. It’s an honor and a privilege to be a part of that.

    For more about Carney, visit zanecarney.com.

    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.

    Additional Content

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    “Boutique tones for guitarists on a fast food budget” is the catch phrase for Tone Bakery’s new line of pedals.

    With a Klon Centaur going for nearly $3,000 these days, I can understand what Tone Bakery is going for by releasing the Creme Brulee — its take on the iconic Centaur boost/overdrive pedal — for less than $100.

    Besides, with its similar knob setup of Gain, Treble and Level, I can add my own man/horse centaur graphic!

    The Creme Brulee pedal offers a buffered bypass, meaning it will work great anywhere in your effects chain without robbing any of your signal.

    I’m not one to complain to the chef, but if I had to, I’d have asked for the input and output jacks to be labeled. Power options are either 9-volt battery or external power supply. The supplied rubber feet on the bottom kept it from sliding around on my pedalboard.

    Clip 1: I dialed everything to about 12 o’clock with a Tele on the bridge pickup for a fat Black Crowes type of overdrive.

    Clip 2: Treble and Gain cranked up with a Les Paul for an instant classic rock tone.

    Clip 3: With the Gain rolled all the way back, you can use the Creme Brulee as a clean boost. Here’s a before and after clip with a Strat. The Creme Brulee adds a nice little bump in the mids, too.

    Web: tonebakery.com
    Street Price: $99.99

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


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    The Littlest Prisoner, the latest from singer, violinist, composer and arranger Jenny Scheinman, was released May 6 on Sony Masterworks.

    Her eighth studio album, the album follows Scheinman’s 2012 release Mischief & Mayhem.

    Mixed by Grammy-nominated producer, Tucker Martine (The Decemberists, Neko Case, My Morning Jacket and Sufjan Stevens), the album was recorded in just three days of studio tracking in Martine’s Flora Studio in Portland, Oregon.

    Of the album, Scheinman says that she, “had always imagined that this album would have a sort of Buddy Miller acoustic Americana sound,” however, “As fate would have it I ended up bringing the material into the ethereal, moody, stripped down world of my trio with Bill Frisell and Brian Blade. This added a sense of newness, risk and adventure to the process, which was extremely exciting.”

    Watch Scheinman perform “Run, Run, Run” with Frisell and Blade:

    As for the lyrics, Scheinman says, “I attempted to look directly at love and all its ugly beauty through the eyes of mothers, inmates, wives, artists, and children. What amazes me about the album is that all the tough stuff of life is stuck in the middle of such a beautiful band sound.”

    In addition to her eight solo records, Scheinman has collaborated with Rodney Crowell, Norah Jones, Bill Frisell, Bruce Cockburn, Madeleine Peyroux, Todd Sickafoose, Nels Cline and many others. She has also earned great acclaim for her arrangements for artists like Lucinda Williams, Bono, Lou Reed, Metallica and Sean Lennon.

    Find out more at jennyscheinman.com.


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    Netherlands-based Aristides Instruments is producing the first-ever bass guitar made of Arium.

    The instrument utilizes an exoskeleton design made of a semi-monocoque construction for maximum performance. Over the past year, limited pieces have been made available for review and artists such as Barend Courbois; now, however, customers can place orders through authorized dealers or directly from the factory.

    The 050 is a semi-monocoque 34-inch scale electric bass guitar with a 12-inch radius fretboard, C-shaped neck and 1.85-inch GraphTech nut weighing in at 9.26 pounds. The 050 is equipped with an active/passive electronic system based around the Seymour Duncan Quarter Pounder pickups and includes a two-band active tone control and two push/pull volume controls (one slap contour and one true bypass).

    All components are MEC Electronics. Hardware is available in chrome, black or gold finishes and includes the ABM Aluminum Bridge, Hipshot Ultra-Light machine heads and Schaller strap locks. Each guitar is set up with D’Addario Nickel Wound XL .045-.130 strings and an anti-theft security microchip. Available in aluminum, matte black and blue metallic finishes, the bass ships with an Aristides logo leather strap in a Gator GC Bass case.

    The history of Aristides Instruments begins in 1995 when a group of Dutch scientists teamed with the Technical University Delft to develop a material with perfect acoustic properties. By evaluating the woods traditionally used in making musical instruments, analysis led to a technical study of cell structures and differences between them. If he could answer the question “What happens to a sound wave in a material at a cell level?” it would then be possible to design the ideal cell structure. 15 years of research ultimately led to the development of the tone material called Arium.

    By 2007, Aristides Instruments started developing guitars with the new material. Focused on achieving incredible playability, innovative design and utilizing the acoustic properties of Arium, they teamed with the world renowned Bouwmeester van Rens design agency. Since their development, the guitars have received international recognition in both the musical and design worlds for their revolutionary achievements.

    Arium has been specifically developed to not only equal, but also improve the quality and performance of a material used to build a musical instrument. Arium has no fiber structure. This allows it to vibrate three dimensionally, increasing sustain and volume.

    Arium also does not contain water so it is more stable and requires less maintenance. By creating an exoskeleton design using a semi-monocoque construction, sound waves can resonate throughout the entire instrument without disruption, providing the player and listener with an improved aural experience.

    MSRP start at $3,683 USD, ex. VAT.

    For more information, visit aristidesinstruments.com.


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    In this episode of Sunday Strum, I take you through an all-quarter note strum pattern using downstrokes.

    I’m making each hit staccato – which means short.

    In addition, I’m palm muting to create a certain detached, rhythmic feel.

    Although the idea of this pattern is basic, it takes a bit of practice.

    Hopefully you find it rewarding, as it may help you think outside the box on what you can do with your right hand.

    As always, feel free to use different chords and really make it your own.

    Watch the lesson below!

    Justin Horenstein is a guitar instructor and musician in the Washington, DC metro area who graduated (cum laude) from the Berklee College of Music in 2006. He plays in Black Clouds, a 3-piece atmospheric/experimental band. Their debut album was recorded by J Robbins (Jawbox, Burning Airlines). Justin’s 18 years of musical experience also includes touring the U.S., a record deal under Sony, starting his own teaching business, recording several albums, and playing club shows with national acts including Circa Survive, The Dillinger Escape Plan, Biffy Clyro, United Nations, Caspian, and more.

    More about Justin at 29thCenturyGuitar.com and BlackCloudsDC.bandcamp.com


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    In May, Avenged Sevenfold guitarist Synyster Gates headed to Guitar Center Hollywood to present his Master Class with Synyster Gates, a program developed to recognize and reward musicians with the opportunity to learn from a famous guitarist in an engaging setting.

    Out of thousands of submissions from across the country, 10 people were handpicked by Gates to fly out to the intimate Los Angeles master class.

    “Avenged Sevenfold has always been a band that champions musicality,” Gates said. “I’m passionate about the art of guitar, and this Master Class is the perfect opportunity to help further the skills and careers of like-minded musicians.”

    Check out the clip from the Master Class below, and let us know what you think in the comments or on Facebook. Avenged Sevenfold will be on the Rockstar Energy Drink Mayhem Fest this summer.

    The Master Class was presented in conjunction with Guitar Center and Schecter Guitar Research.


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    Paul Waggoner of North Carolina-based Between the Buried and Me has collaborated with Mojotone to develop a signature humbucker pickup model, the PW Hornet.

    From the company:

    The PW Hornet humbucker is designed to provide a wide variety of progressive tones, from pristine cleans full of warmth to heavy leads and chunky chord voicings. The entire sonic spectrum is accounted for without getting mushy on the low end or harsh on the high end. With the built-in coil tapping feature, the girth and clarity of its tones combined with its dynamic pick attack response make the PW Hornet a well-balanced and versatile high-output humbucking pickup.

    The neck pickup utilizes an alnico 4 magnet and its DC resistance is measured at 7.5k while the bridge pickup utilizes a ceramic magnet and its DC resistance is measured at 11k.

    The PW Hornet is offered in a number of cosmetic variations and is available exclusively at mojotone.com.

    MSRP: $120


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    Seymour Duncan and Aristides have announce their 010 Red Rising Sun Guitar giveaway.

    The 010 isn't just your standard copy of a traditional design, one of the primary ways this guitar sets itself apart is the material that makes up the body.

    Called Arium, this Aristides-designed material increases the resonance and sustain of the instrument. Unlike traditional instruments made from a block of wood, the 010 has an inner-coat, outer-coat, multiple layers of glass and carbon fiber and the main Arium core. The 010 has a 25.5-inch scale length with 22 medium jumbo frets, Sperzel locking tuners and a custom case.

    The Duncan Custom bridge pickup gives the 010 modern crunch rhythm tone and cutting leads, with enhanced dynamics and punchy bass. This pickup provides PAF tone that has been subjected to at least 10 cups of coffee. In the middle and neck positions you'll find the smooth, versatile tones of the Alnico II Pro single coil. And the five-position pickup selector gives you plenty of tones to shape your sound.

    To celebrate the launch of this guitar, Seymour Duncan has teamed up with Aristides to give you a chance to win a 010 in Rising Sun Red. The winner will be randomly selected July 1, 2014.

    NOTE: The giveaway is open to guitarists everywhere.

    You can enter HERE! Good luck!


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

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

    Songs taught include:

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

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

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    If you're a Led Zeppelin fan, today — June 3 — is Celebration Day.

    The band have released newly remastered reissues of their first three albums, Led Zeppelin, Led Zeppelin II and Led Zeppelin III.

    Below, you can check out a new video dedicated to the new reissue of Led Zeppelin II. If features audio of "Whole Lotta Love" (Rough Mix with Vocal), which is among the tracks seeing the light of day for the first time ever.

    "There are a number of Led Zeppelin projects that will come out next year," Page told Mojo last year. "There are different versions of tracks that we have that can be added to the album, so there will be box sets of material that will come out starting next year. There will be one box set per album with extra music that will surface."

    "The catalog was last remastered 20 years ago," he told Rolling Stone. "That's a long time. Everything is being transferred from analog to a higher-resolution digital format. That's one of the problems with the Zeppelin stuff. It sounds ridiculous on MP3. You can't hear what's there properly."

    Page discusses the new reissues—and the many treasures in Led Zeppelin's vaults—in the all-new July 2014 issue of Guitar World. The new issue is available now on newsstands and at the Guitar World Online Store.

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    Today, GuitarWorld.com presents the exclusive premiere of a guitar-play-through video for "Siren Sound" by Canadian/U.S. progressive metallers Intervals.

    The song is from the band's new album, A Voice Within, which was released in the U.S. March 4.

    The clip, which you can check out below, features guitarist Aaron Marshall. Intervals also features vocalist Mike Semesky (formerly of the Haarp Machine), drummer Anup Sastry (Jeff Loomis, Skyharbor) and guitarist Lukas Guyader.

    Check out Intervals'Facebook page for more information.


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    Opeth have premiered a new song, "Cusp of Eternity," and you can check it out below.

    "Cusp of Eternity" is the first single to be released from the band's new album, Pale Communion, which will be released August 26 via Roadrunner Records.

    Have a listen and let us know what you think of it in the comments below or on Facebook!

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