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    What is cooler than a hot rod? How about a distortion box built into a hot rod?

    Well, that's exactly what EJC Custom Pedals and Guitarworks has been doing. I created a video review on YouTube you should watch, but I'd like to get a bit more specific on a few points not covered in the video.

    The car looks fantastic. I chose a '41 Willys in the same color as the car I drive, metallic orange (I like Halloween). The car doesn't simply sit there and do nothing. To add to the cool factor, the engine lights up on either side when the pedal is engaged, along with the headlights. When the three-position voicing switch is in the front position, the blower lights up in direct intensity to your playing! When the switch is in the back position, the rear tail lights come on and off in direct intensity to your playing!

    All this would be simply "cute" if the pedal did not sound amazing. It does. It has a boutique, mature quality to it. The pedal does not alter the tone that you begin with on your amp. It only morphs it into a distortion that feels like an old friend. I wouldn't call it an over-the-top distortion, like some that cascade two distortions into each other. It simply turns a clean sound into any variable of a great tube amp. Articulate, solid, warm and beefsteak tomatoey! But trust me, there's plenty of juice in this box.

    Before you ask the next questions, Eric Clarke, the designer at EJC, has answered them for you. Who wants to step on a car? Can it take a crushing foot on stage? Well EJC has included a True Bypass Loop Pedal! This loop pedal can stay on the floor or on your pedal board, while the car/distortion box can stay on your amp for all to see! And easily adjust settings on the distortion box/car itself. The visual alone is worth the price of admission.

    The pedal has volume, tone and drive knobs. They all work clean and even. The voicing switch gives different clipping settings to voice your distortion type to your liking. The voicing switch in the up/front gives asymmetrical clipping, or what you might consider a modern distortion. In the rear position it gives symmetrical clipping. This is more of a vintage voicing. The middle position produces a tighter bottom and bumped mid-range.

    I am in love with the quality of the distortion tone produced with this pedal. The way it handles dynamics when I adjust my volume knob makes it a joy to use in the studio. It will be a secret weapon. One of my most difficult sounds to be happiest with in the studio is the semi-distorted sound. Not sure why, but none of my amps have given me what I was looking for in that regard. This pedal does. It cleans up so nicely when I lower my knob, even on the most radical settings. The most important thing I can say about this pedal is: It is musical.

    After you watch the video, checkout EJC's website to view some other models and effects. You won't be sorry!

    Ron Zabrocki is a session guitarist from New York, now living in Connecticut. Says Ron: "I started playing at age 6, sight reading right off the bat. That’s how I was taught, so I just thought everyone started that way. I could sight read anything within a few years, and that helped me become a session guy later in life. I took lessons from anyone I could find and had some wonderful instructors, including John Scofield, Joe Pass and Alan DeMausse. I’ve played several jingle sessions (and have written a few along the way). I’ve “ghosted” for a few people who shall remain nameless, but they get the credit and I get the money! I’ve played sessions in every style, from pop to jazz.


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    Today, we're going behind the scenes with John 5 at Doghouse Studio in Los Angeles as he records his upcoming studio album — courtesy of Uncut Studio Sessions!

    In the just-posted video below, you can watch John 5 — plus Dylan Wilson on bass and Rodger Carter on drums — run through his new single, "This Is My Rifle," which was released today, June 17.

    This clip was produced and directed by Jonny Coffin. Be on the lookout for more from John 5 and Coffin; they're working on a horror mini series called Tales from the Crossroads, filming tales of guitars and gore!

    John 5's new album, Careful with That Axe, will be out August 12.

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    This lick is in the key of C# minor and starts off with a C#m(add9) arpeggio [C# D# E G#].

    The arpeggio in the first beat is actually just a straight C#m triad [C# E G#] played across all six strings in two octaves, although landing on the high D# note [first string, 11th fret] provides the ninth degree.

    Begin the lick with the ascending finger slide and hammer-on, as shown, then perform the rest of the arpeggio with down-picks in a smooth, raking motion [commonly referred to as sweep picking]. To keep the notes separate and distinct, as opposed to sounding together like a strummed chord, try to lift your fretting fingers off each string as soon as you move to the next higher one.

    The next part of the lick [bar 1, beats three and four] is an arpeggio-style run that outlines the flat-seven chord in the key of C# minor, a B major triad [B D# F#]. I add E notes to the run, however, which technically makes it a Badd4 arpeggio [B D# E F#]. When moving across the fourth and fifth strings at the ninth fret going into beat four, I use consecutive upstrokes to provide a smooth, sweep-like transition.

    Bar 2 is based on an Amaj7 arpeggio [A C# E G#] that ascends up and across the neck, covering a full three octaves. I create an odd time feel here by using seven-note groupings, rather than sticking with more traditional four- or eight-note groupings.

    I begin bar 2 with a down-stroke for the note slide on the sixth string, fretted with the middle finger, and then follow up by plucking the fifth string hammer-on with my pick-hand middle finger. I down-pick the sixth string again for the low A note and then repeat the fifth string hammer-on pluck with the middle finger. I continue up the neck with this hybrid picking approach for the remaining two octaves of the arpeggio on the D and G strings and the B and high E strings.

    For the final part of the lick, I revisit the high D# note from bar 1 and conclude the phrase with a quick slide up to the root note C# on the B string’s 14th fret.

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    The mind of a songwriter is often wired differently than that of a guitarist.

    Though the two cross paths often, it’s rare to see a pro-level guitar player (particularly a lead guitarist) and a successful songwriter embodying the same human being.

    Some exceptions might include Kenny Wayne Shepherd, Eric Clapton and Brad Paisley.

    But usually it takes two.

    Duos like Tom Morello and Chris Cornell, Mark Tremonti and Myles Kennedy or Hank Garland and Elvis Presley are far more common when it comes to creating music that’s appealing to both the soul and the technical guitarist.

    But if you’re that guitar player, the guy or gal who’s expertise is wrapped up in solos, arpeggios and all the technical abilities thereof, how do you approach the songwriting process? What’s your role?

    If you’re good, you’ll find yourself getting invitations for session work and opportunities to contribute to other people’s music. When that time comes, here’s what your job description will entail.

    1. To Increase the Originality of the Music

    A chord progression by itself doesn’t make a song.

    In fact, there are only a few commonly used chord progressions for most of the primary music genres and a ton of music that’s derived from them.

    The melody and layering, whether it comes from a vocalist or a guitar player, are the primary ways one piece of music can be differentiated from another. It makes music better by increasing the quality and originality of the end product.

    When it comes to songwriting, it’s your job to make sure you increase a song’s quality by using melody and layering.

    2. To Add Melody and Melodic Accents

    Melody is one of the most crucial parts of a lead guitarist’s job description, especially when you’re talking about songwriting. If you’re working with a songwriter, they’ve likely already come up with lyrics and a chord progression, so melody will build on that material.

    Loosely, this is the process you’ll follow:

    1. Learn the chord progression.
    2. Memorize the melody of the lyric line.
    3. Accent either or both with a secondary melody from your guitar.

    To do this, most guitar players will follow the chord progression, as opposed to the lyrical melody. An exception would be Kurt Cobain’s solo on “Smells Like Teen Spirit,” where he closely mimics to the lyrical melody of the song’s verse.

    Though the more functional solution is to reference the chord progression. One of the simplest ways to do that is to create an arpeggiated version of the bass line.

    So if the song’s chorus is G, C and D, your “melodic accent” would be something like this:

    tab1.png

    When recording you could minimize it even further by removing the root notes and playing only the higher notes on the second and third strings.

    tab2_0.png

    So “melodic accent” is really just a fancy term to describe simple fills.

    Additionally, this can be a solo, a short lead pattern or any note-by-note, non-chord lick that you come up with to contribute to the sounds that are already there. If you’re careful, you’ll be able to walk the line between a melody that’s too intrusive and one that’s hard to notice.

    Artists who do this well would include the Edge (David Evans) of U2, Brian Welch of Korn and Joe Satriani, to name just a few. They’re good names to learn from and emulate.

    So keep in mind that anytime you’re adding a short fill or a solo, you’re creating some kind of melody.

    In that instance, you’re sharing just as much responsibility as a vocalist. Thus it becomes more important for you to be musical, melodic and complimentary with your guitar than it does to be technical and fun to watch.

    3. To Develop and Add Layering

    Though it can involve melody, the practice of layering is an altogether different discipline and an equally important part of a guitar player’s role in the songwriting process.

    While contributing melody requires a certain level of creative input, layering is a matter of adding something to a vocal line or guitar track that’s already in place. It can even be a guitar part you came up with.

    Whatever the case may be, it’s assumed you’re layering over something that’s already recorded. Layering can involve one or more of the following practices.

    1. Simply duplicating a chord progression or lead pattern.
    2. Adding an effect layer to a chord progression or lead pattern.
    3. Recording separate guitar tracks for the left and right channels.

    The details are largely up to the songwriter, though most people who hire a session guitarist will accept ideas and input in this area. If you’ve got session work in your future, reading up on layering guitars in the studio would be a practical way to prepare.

    How to sum it all up?

    If you had to condense the answer to this question, you might say your role is to invoke an emotional response from those who might listen to the music you’re creating.

    Adding melody, layering, effects and harmony are all about increasing a song’s ability to appeal to someone’s emotions.

    That’s your job, not just as a guitar player, but as a musician.

    So sure, your mind might bend a completely different way than those who compose and write music, but you both share a common mission. Different roles, with the same destination.

    Robert Kittleberger is the founder and editor of Guitar Chalk and Guitar Bargain. You can get in touch with him here, or via Twitter, Facebook and Google Plus.


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    Slash and his bandmates, Myles Kennedy and the Conspirators, have premiered the lyric video for “World On Fire,” the first single and title track from their new album, which will be released September 16.

    “Check out the ’World on Fire’ video,” Slash said in a statement. “It sums up the song and it rocks pretty damn hard, especially the girl."

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

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    The Grammy Museum has unveiled an exhibit honoring one of the world's most revered blues guitarists, the late Stevie Ray Vaughan. The exhibit is titled Pride & Joy: The Texas Blues Of Stevie Ray Vaughan.

    The exhibit, which is guest-curated by Stevie's brother, Jimmie Vaughan, will run through July 2015 and is presented on the Grammy Museum's fourth floor.

    “I'm excited to partner with the Grammy Museum to honor my brother and his music,” Jimmie said. “I know Stevie’s many fans will enjoy this exhibit, as many of his personal, never-before-seen items will be on display. I hope by doing this, it will remind people of the incredible musician he was and all the music and love he gave to the world. I miss him every day."

    The exhibit features several of Stevie's guitars (including his famous "Number One" Fender Stratocaster), stage outfits, handwritten lyrics, concert posters, touring items, family photographs and much more.

    For more information about the exhibit, visit grammymuseum.org.

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    Music-app developer Musopia has partnered with Guitar World to give away a pair of Fender CD-60 series guitars and iPhone 5c’s to launch its new guitar-teaching app, ChordShaker.

    ChordShaker enables beginners to learn guitar chords on the move so you can practice anytime, anywhere. From learning initial chord finger positions to playing from the in-app song selections, players develop muscle memory for their fingers and then transfer their new skills to a real guitar — and in this case, your iPhone 5c and Fender CD-60.

    Free on iOS, ChordShaker Pocket Guitar uses five simultaneous touch points on the screen allowing the player to hold it just like a real guitar neck to play the chords. For players who know their basic chords already, ChordShaker can also become a virtual guitar with full guitar sounds and "jamming" function, allowing the player to play his or her favorite songs.

    To enter, fill out the official Guitar World contest form RIGHT HERE by July 31, 2014.

    For more information, visit the official ChordShaker site, chordshaker.com.


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    Eventide has announced the immediate availability of its new channel strip plug-in.

    The UltraChannel 64-bit native plug-in for AU, VST and AAX64 for Mac and PC features micro pitch functionality from the H8000, stereo delays with variable feedback paths, plus two stages of compression, gating and five bands of parametric EQ.

    UltraChannel is available as a free download. Copy and paste Access Code 06D25B8E and head here http://bit.ly/UltraChannel through midnight July 8, 2014. After this promo ends, UItraChannel native will cost $249.

    UltraChannel features a pair of dynamics processors: the O-Pressor, capable of extreme compression (this is the compressor section of the Omnipressor) and a conventional compressor with de-essing and side-chain capability.

    UltraChannel also offers Soft-Saturation, and Transformer emulation which recreates transformer core saturation. This feature adds harmonics to low frequency material while remaining relatively transparent to the rest of signal.

    FlexiPath routing allows drag and drop for reordering the signal path of the top level components (O-Pressor, compressor/de-esser, EQ, Gate.)

    “Eventide invites all native plug-in users to own this flexible sound shaping tool with our compliments,” said Ray Maxwell, vice president sales and marketing. “We can think of no better way of inviting new users to join the Eventide family than to share this great plug-in with everyone. We are confident that once you’ve had a taste of Eventide, you’ll be back for more.”


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    Canadian musician Gustavo De Beauville, known in the metal world for his work in the Alberta-based award-winning duo the Unravelling, has unleashed his instrumental solo debut, Volume 1. The album is a fascinating 15-track slab of psychedelic, ambient compositions with elements of industrial metal sprinkled throughout. He recently spoke to GuitarWorld.com about the album, his preferred gear and more.

    GUITAR WORLD: How long did it take you to complete Volume 1, and what was the creative process like?

    Volume 1 is a collection of my favorite songs from the past four years. Some of the tracks were written with the Unravelling in mind. Others were specifically written to enhance visuals such as video games or movies. The majority of the songs have been sitting on my hard drive for way too long, taunting me to reveal them to the public in all their rawness and imperfections. Releasing them has been cathartic, to say the least, and the beginning of my personal acceptance as a creator.

    How did you develop the idea of mixing instrumental guitar parts with electronic and industrial sounds?

    As a young punk, I thoroughly believed keyboards had zero place in metal! Over the years, this mindset was thankfully shattered with my discovery of so many other great genres and bands that use synth and keyboards in their music. From the industrial savagery of Bile and Nine Inch Nails to the elegance of Peter Bjargo's Arcana and Dead Can Dance (The list could go on), artists showed me it was OK to utilize synths and electronic textures to create dark evocative, powerful music.

    What was your gear setup for this album?

    That’s my kinda question. Anyone who records probably spends way too much time lusting after that next piece of gear that will take their creations “to the next level.” I certainly have my setup. I’m not a hardware fanatic, I keep things simple and inside the box as much as I can with an Apple Macintosh-based Pro Tools home studio and the Avid Eleven Rack as my interface. I used Event Nearfield monitors and Fostex headphones for playback.

    For drums, it’s all Toontrack Superior Drummer. Those guys are cool and they love metal. Guitars and bass get a mixture of Axe-FX, Line 6 and Toontrack EZ mix tones. In terms of the instruments, I have a fetish for the Gibson Gothic series of guitars, plus Omnisphere for the synths and quite a bit of the Heavyocity synths. Plugins from Slate digital and IK Multimedia and I’m ready to go.

    Is this a studio-only project or do you intend to perform it live?

    I prefer the writing and creation process the most. Building something from nothing makes me feel alive. My home studio is my sanctuary. Performing has always been a bit of a drag because you're at the mercy of the venue and the sound guy, getting paid in drinks and heaving equipment up stairs at 2 in the morning. Don't get me wrong, I'd love to perform live given the right setup. Me and Steve have some ideas for a live show, but we would have to have more control of the event, providing the correct lighting and visuals. I truly believe a show should be an enchanting experience for the band and the audience — a place where reality is suspended and the mythology begins.

    Are you the kind of musician who constantly writes new material? How far are you from writing your next solo album?

    Writing is a very spontaneous thing for me. Back in the day, I would sit down and force myself to churn out a song every time I picked up the guitar. But from recent experience I’ve noticed good material comes in waves; one has to latch on and ride the vibes when they come. At the moment I feel as though a huge wave is just around the corner for the Unravelling, so I’ll focus on that next. Volume 2 will have to wait.

    Since the tracks on Volume 1 are all instrumental, how do you come up with titles?

    I tried to give listeners a glimpse into my world with the titles — themes and imagery that fascinate me like shamanism, esoteric studies, the occult, self-empowerment, escapism, psychedelia and mind-altering states. Though some of the titles simply came about because it’s what came to mind when I first heard the songs. I will admit, though, the flow of the titles was unconsciously meant to carry on from one to the next like a long thought. It was my attempt at Zen.

    You've contributed musically to the fields of gaming and film. Do you see the tracks on Volume 1 being featured as soundtracks for things of that nature?

    Absolutely. As we speak, a few of the electronic tracks are being incorporated into a first-person shooter called End of the Beginning. I remember how much fun I had back in the day playing Perfect Dark and James Bond Golden Eye with friends and loving the stage music for those games. So to create music for games is amazing. This time around, instead of busting out the super dragon or golden gun, you’ll be wreaking havoc by opening dimensional portals with an actual black hole gun!

    What kind of demographic do you think this album would most appeal to?

    So far I’ve been pleasantly surprised by the locations where the album has ended up. It’s been pretty cool. I would like to think that my music would be enjoyed by people who want something creative with a bit of darkness and substance to it. People who want to relax and possibly smoke J, have some drinks and talk some shit with their friends and have some laughs. Folks who close their eyes and imagine themselves being taken to distant realms where they can be whatever they can think up. Not that there’s anything wrong with that.

    What are your future plans for the Unravelling

    Our sophomore record is my current priority. During our hiatus, I’ve been studying artists that seem to be doing the live thing right. Bands like Tool, Das Ich, Skinny Puppy and Black Sabbath. With the right planning and conditions the Unravelling will hit the stage in a more performance-art-type setting. I know Steve has a lot of powerful things happening in his life right now so I’m confident his input in the direction of the stage show will be intriguing, to say the least.

    You worked on Volume 1 entirely in your own studio. Do you also work on mixing/producing/mastering albums for other bands in your studio?

    That’s interesting you would go there. For the past seven years, I've vehemently stayed away from working with other bands, out of pure disinterest. I’ve been a bit of an asshole really. Recently though, I’ve realized I have the ability to help other people, younger artists especially, who have no idea how to make their visions come to life and take their ideas and material to a more polished state. It’s actually helping me to grow as a musician and producer because I get exposure to genres I never would have dabbled with. As long as the content is interesting and the direction intrigues me, I’ll give it a shot. Piss me off or waste my time, however, and you're fucked.

    Andrew Bansal is a writer who has been running his own website, Metal Assault, since early 2010, and has been prolific in covering the hard rock and heavy metal scene by posting interviews, news, reviews and pictures on his website — with the help of a small group of people. He briefly moved away from the Los Angeles scene and explored metal in India, but he is now back in LA continuing from where he left off.


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    We admit this one is random — completely inspired by Yngwie Malmsteen's action-packed visit to Guitar World HQ last week. Check out Malmsteen's high-energy instrumental cover of Deep Purple's "Highway Star" from the mid-Eighties.

    The track originally appeared on a release called I Surrender: Odyssey Tour Rehearsals.

    "Highway Star" relentlessly charges ahead like the car it was written about, taking no prisoners. Malmsteen takes the heaviness of the 1972 original and injects it with his unmistakable sense of drama and theatrics.

    Of course, the original guitar solo was performed by one of Malmsteen's biggest six-string influences, one Ritchie Blackmore.

    “I wrote that out note for note about a week before we recorded it,” Blackmore said. “And that is one of the only times I have ever done that. I wanted it to sound like someone driving in a fast car, for it to be one of those songs you would listen to while speeding. And I wanted a very definite Bach sound, which is why I wrote it out—and why I played those very rigid arpeggios across that very familiar Bach progression—Dm, Gm, Cmaj, Amaj. I believe that I was the first person to do that so obviously on the guitar, and I believe that that’s why it stood out and why people have enjoyed it so much.

    “[Keyboardist] Jon Lord worked his part out to mine. Initially, I was going to play my solo over the chords he had planned out. But I couldn’t get off on them, so I made up my own chords and we left the spot for him to write a melody. The keyboard solo is quite a bit more difficult than mine because of all those 16th notes."

    Check out Malmsteen's version of the song below — and don't forget his rendition of "Smoke on the Water"!

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    These videos and audio files are bonus content related to the August 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.

    As I promised last month, I’m going to demonstrate some cool licks to play over the chord changes to Horace Silver’s mid-Sixties jazz classic “Song for My Father.”

    As you recall, the composition features a cool, laid-back bossa nova groove and loosely spaced chord changes that make it a great jam tune for rock and blues guitarists looking to get into jazz.

    For my first chorus of soloing—the term is jazz and blues slang for one complete song cycle, which in this case is a 24-bar AAB form comprised of three eight-bar sections—I thought it would sound good to begin by playing sparse, bluesy phrases (something no one will ever fault you for doing).

    The sound of the chord progression brought to my mind Stevie Ray Vaughan’s tasteful, understated lead playing at the end of David Bowie’s 1983 hit song “Let’s Dance,” and I thought, What would SRV play here?


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    These videos and audio files are bonus content related to the August 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.

    One of the essential qualities of a great metal riff is the presence of a signature element—unusual chord voicings, a twisted melodic line—that immediately grabs your attention.

    In this column, I’d like to demonstrate a few ways to achieve this and dress up your riff ideas with murky, monstrous-sounding, aggressively attacked chord figures and patterns.

    FIGURE 1 is played in a rhythm of steady, hard-driving eighth notes, for which the open low E string is used as a palm-muted pedal tone throughout. In bar 1, two-note E5 power chords are accented on the downbeats of beats two and three, but at the end of the bar, I switch to upbeat accents of Bb(b5) on the upbeats of beat four and beat one of bar 2.


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    These videos and audio files are bonus content related to the August 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.

    Often when jamming, guitarists are required to play rhythm accompaniment for long stretches of time over repeating chord progressions or vamps. This can be tedious and monotonous for the player (as well as the listener), but it doesn’t have to be.

    By broadening your rhythm guitar chops in creative and inventive ways, you can play rhythm guitar with as much freedom as you play a solo. The challenge is to come up with guitar parts that are not only rhythmically solid but also melodically interesting.

    Which brings us to the subject of this month’s lesson. In my last column, I demonstrated how to utilize modal structures to connect chord voicings up and down the fretboard. I started with an interesting-sounding, unresolved chord, Am13add4, built from stacked fourths—each successive chord tone being a fourth higher than the previous note—as they occur in the A Dorian mode (A B C D E F# G).

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    Progressive rock legends Yes have released a preview of a new song, "The Game," which you can check out below.

    The song is from the band's upcoming album (their 21st), Heaven & Earth, which will be released July 22 via Frontiers Records.

    For Heaven & Earth, Yes teamed up with Roy Thomas Baker (Queen, the Cars, Guns N’ Roses, Foreigner, Smashing Pumpkins, Alice Cooper), who handled the production, and Billy Sherwood (Toto, Paul Rodgers, Air Supply), who mixed the album. Also on board is Roger Dean, who once again brings his masterful artistic creativity to the album’s cover art and packaging.

    Tracklisting for Heaven & Earth:

    01. Believe Again
    02. The Game
    03. Step Beyond
    04. To Ascend
    05. In A World Of Our Own
    06. Light Of The Ages
    07. It Was All We Knew
    08. Subway Walls

    To coincide with the release the Heaven & Earth, Yes — Chris Squire, Steve Howe, Alan White, Geoff Downes and new singer Jon Davison — announced they’ll launch a 35-date summer tour. As the tour's highlight, they'll perform their 1971 album, Fragile, for the first-time ever, followed by 1972's Close to the Edge and other well-known tunes.

    You can see their current tour dates below the YouTube player.

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    Los Angeles-based band Buddy is excited to announce the release of Last Call For The Quiet Life out August 19.

    Buddy is currently on tour supporting Ben Ottewell of Gomez.

    The tour will make stops in major markets such as Philadelphia, Boston, Washington DC, Atlanta and more. Check out the tour dates below.

    Having been locked away writing and recording their upcoming album, the band is eagerly anticipating playing both old and new songs at the upcoming shows.

    Take a listen to new track “Weak Currents”:

    Buddy is a Portland-born musician who relocated to Los Angeles in 2002, the band evolved from an acoustic project to a full-fledged rock outfit. It was an aesthetic that the group, which came together in 2006 when Buddy was asked to open for Tommy Stinson but couldn't play guitar with a broken arm and needed a backing band, honed during their live shows on stages around LA and on tour across the country for several years.

    When Buddy began writing material for a second full-length the musical goals felt fuzzy, the lines between acoustic singer-songwriter and rock band blurred. Buddy and his band recorded an entire new album in 2009 and, after touring with Gomez in 2010, determined to scrap it.

    Buddy spent the next year feeling lost, uncertain how to proceed with the band, unsure of where to take the music. He was searching for a new beginning, one that felt organic to him as a musician. It turned out that collaboration was the key to hitting the restart button.

    Five tracks from the unreleased album did eventually emerge in 2012 as the Campfire EP, but Buddy needed a new inspiration for his second album. In 2012, Buddy and Will Golden started writing and recording together in Los Angeles. It was a harmonious partnership, with Will leading the charge on much of the album's production. The songs were bigger and fuller, propelled by more electronic elements than Buddy had previously employed.

    The album itself, Last Call For The Quiet Life, reflects Buddy's struggle and reconciliation with himself over the past few years. For him, the songs are a sort of confessional therapy, a place to channel the issues and ideas that plague his mind. One song, "Anchor," even began as a poem Buddy had written, which was a new method of songwriting for him. The album's title is derived from a line in the album's first track, embodying the idea that you never know how long the window of opportunity will be open. The music itself embraces a more up-tempo rock vibe that reflects Buddy's live performance, each instrument layering together to create a buoyant but introspective indie pop vibe.

    Last Call For The Quiet Life features several guest musicians including Michelle Branch, Cary Brothers and Holly Conlan, who lend their voices to the soaring melodies.

    UPCOMING BUDDY TOUR DATES

    June 17 - Boston, MA @ Cafe 939 at Berklee
    June 18 - Philadelphia, PA @ Milkboy
    June 19 - Washington, DC @ U Street Music Hall
    June 21 - Atlanta, GA @ Vinyl
    June 22 - Nashville, TN @ 3rd & Linsley

    For more info, please visit iamyourbuddy.com.


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    Electro-Harmonix has introduced the B9 Organ Machine.

    From the company:

    With nine finely-tuned presets emulating the legendary organs of the Sixties and beyond, the B9 Organ Machine delivers definitive tonewheel and combo organ sounds.

    The B9’s layout is straight forward and intuitive. A nine-position switch allows the player to select among different popular organ types. The Organ volume knob controls the overall volume of the Organ preset while Dry volume controls the volume of the untreated instrument level at the Organ Output jack. This enables a player to mix the sound of their original instrument with the organ to create lush layers, or mute it entirely.

    A Mod control adjusts the modulation speed. The type of modulation provided is contingent on the preset and matched to it. A Click control was designed to simulate the harmonic percussion effect that is a sonic signature of many classic organs. For maximum authenticity, the click is added to the very first note or chord played and only retriggers when current notes have been released and their amplitude falls below a threshold.

    With the B9 Organ Machine, EHX’s goal was to create an affordable, rugged and easy to use pedal that would put undeniable organ sound at a musician’s fingertips. Check out the demo to hear it for yourself. The new B9 Organ Machine comes standard with an EHX 9.6-Volt/DC200mA AC adapter and carries a U.S. list price of $293.73.

    For more info, check out ehx.com.


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    These videos and audio files are bonus content related to the August 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.

    To fingerpickers in the know, it would be a sin to cite superpickers like Tommy Emmanuel, Lenny Breau, Chet Atkins and Merle Travis without including the name Doyle Dykes.

    Over the past decades, Dykes has become renowned for his flawless technique, musicality (superior tone, dynamics, feel and taste), heart-wrenching solo guitar compositions (such as the 9/11 tribute “A Call to Freedom”) and creative arrangements (“Wabash Cannonball,” “While My Guitar Gently Weeps,” “Amazing Grace” and others).

    Dykes puts a unique spin on his influences, which include the aforementioned guitarists as well as Jerry Reed, Les Paul, Duane Eddy, the Beatles and more. Armed with a Fred Kelly thumbpick and his Guild signature-model guitar (equipped with an L.R. Baggs LB6 pickup and modified Element preamp), Dykes performs numerous concerts and master classes per year. Check his web site, doyledykes.com, for up-to-date touring info.


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    These videos and audio files are bonus content related to the August 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.

    Last month, we examined the acoustic mastery of New Orleans guitarist Snooks Eaglin, which was captured on the acclaimed 1959 album New Orleans Street Singer.

    Ironically, solo acoustic performance was only a sideline for Eaglin, who mainly played electric guitar and sang with full bands. Between 1960 and 1963, a series of Dave Bartholomew–produced contemporary New Orleans–style R&B recordings for Imperial Records explored that aspect of his talent.

    The Imperial sides focus mainly on Eaglin’s impassioned Ray Charles–influenced vocals and the quality of the material itself varies, but the solos reveal a rich, quirky melodic imagination, flights of virtuosity, impeccable timing and a unique bare-handed attack. Together, they combine to make Snooks one of the great electric blues stylists of his generation.


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    Nashville modern folk band NEULORE – led by the songwriting duo of Adam Agin and William T. Cook – continue their US tour through July and into August opening for Ingrid Michaelson.

    Earlier this year, the duo signed with Los Angeles indie Chop Shop Records (distributed by Island Records) and will release their full length debut Animal Evolve in the fall.

    In May, NEULORE embarked on the Communion Music Tour and headlining dates to support the first single, “Shadow of a Man.”

    The songs has been featured in several TV shows such as ABC’s Grey’s Anatomy.

    Watch a live acoustic video of “Shadow of a Man” filmed for the blog Pancakes & Whiskey:

    Adam Agin and William T. Cook met in 2008 and soon after began their musical collaboration with the release of the EP Apples & Eve (2010). Rather than writing individual songs, NEULORE explores central themes throughout their projects.

    Tour Dates:
    7/27 Portsmouth, NH @ Prescott Park Arts Festival*
    7/29 Niagara Falls, NY @ The Rapids Theater*
    7/30 NYC @ Summerstage NYC*
    8/1 Portland, ME @ State Theatre*
    8/3 Cleveland, OH @ House of Blues*
    8/5 Louisville, KY @ Headliners*
    8/6 Indianapolis, IN @ Old National Centre (Egyptiam ROom)*
    8/8 Kansas City, MO @ Crossroads KC @ Grinder's*
    8/10 Des Moines, IA @ Nitefall on the River*
    8/12 Omaha, NE @ Sokol Audtiroium*
    8/13 St. Louis, MO @ The Pageant*

    * = opening for Ingrid Michaelson

    Find out more at neulore.com.


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