In the past year I started doing pro cover gigs. Some were solo, some were duo, and some were just filling in for a singer in a band.

I was fortunate to start learning guitar with a teacher who made me sing and play at the same time for every lesson. Every week I had about 5-10 new songs. And when I started performing original music, I always had one cover in the set that I put my own twist on.

I was approached by three different people to do cover sets last year. I really wanted to do it, and had no idea how I was going to get through three hours of singing AND guitar playing by myself. One of those gigs was to play covers for ballroom dancers to practice to. (Talk about pressure to stay on rhythm.)

I accepted the gig that was easiest to start with. A slow, Sunday afternoon at a dive bar. I had to work out three hours of material, so I had to do a lot of practicing and figuring out songs and best keys for me to sing in. I did not memorize most of the songs. The owner was okay with that. You will find a lot of people online writing that to be a pro you need to memorize everything. Well everyone needs to start somewhere, so do what you need to do. People nowadays have iPads, but I prefer my binder. But another reason to have the iPad or a computer is for requests. You can have a whole database of songs loaded in that you can use on the fly.

If you don’t know what songs to start with then download a set list from any cover artist website. People request similar things all over. Know the type of clientele that frequent the venue. If you’ve got bikers coming in, then you better have some good rock songs you can pull off. If there are college kids who like to dance, have some good rhythm songs, and popular songs with great choruses. Just check what other bands do, and you’ll have a starting point.

Gear wise, you might need to start investing.

For my first gig, the venue had a cheap PA, amp, and even a mic for me. I just brought my guitar, music stand, and book.

Once word got out about me, I got pulled into duo sets. The person hiring me brought in the PA system. It was quite large. The venue was much bigger, noisier, and it was a Saturday night. My load got heavier. I needed a mic stand, mic , music stand, guitar, percussion (on songs I wasn’t playing guitar) and all appropriate cables. And the latest most valuable thing for my sanity was a book light. I couldn’t see my notes or lists in the dark venue!

On my last gig, I forgot all of my percussion and ended up banging on my guitar for rhythm, while my partner of the evening played his songs and I did harmonies. It worked out, but you do need to invest in at least a shaker and a tambourine, or maybe even a cajon if you really trade songs.

If you are expected to bring the PA, then you can check out this link. It gives you some tips on choosing the right PA for you. http://www.musiciansfriend.com/resources/article/PA-Systems-Full-Version-Buying-Guide/m710128

As for how much you should get paid, I couldn’t tell ya that one. Every gig was different depending on the venue, the date, how big the band was, etc. And often times when people request songs, they like to tip you…even if you don’t know the songs. I always made it a point to learn the songs for the following week. It made the customers happy, and they kept them coming back.

Oh!!! One more thing. Banter. You've gotta be comfortable talking to the crowd. That can be the hardest part until you start playing a bunch. Just be natural!!!

Good luck!!!!

Dorit is a rock singer/songwriter, multi-instrumentalist, and Middle Eastern Dancer. She has performed internationally on concert stages, TV, film, and theatre, and has inspired many students to find to their own expression through music and dance. Dorit’s current goal is to self produce her album and complete an acoustic guitar she hand built as a teenager at the Bronx High School of Science. Her influences include Led Zeppelin, Middle Eastern music, Latin music and old school hip hop -- anything with great rhythm. Find out more about Dorit here>>

From the GW archive: This feature originally appeared in the November 2009 issue of Guitar World.

He's played with the Scorpions, UFO and MSG, struggled with alcohol and pills and was left nearly penniless in 2002 after an ugly divorce. But what Guitar World readers really want to know about the legendary shredder is…

How old were you when you started playing guitar, and what inspired you to start playing? — Keith Loeb

I was around nine years old, but I had been very keen on music since I was three or four. I always loved going around the house singing and expressing my love for rhythm by banging on pots and pans and stuff like that. My dad played violin and my mom played piano, so I would fool around on those, and on my brother Rudolf’s 16th birthday, he got a guitar. When he would go to work, I would play his guitar—even though it was against his wishes.

Who were some of your early guitar heroes? — Mike Bentivoglio

When I started playing, I hadn’t heard about guys like Jimmy Page and Jeff Beck, so for me it was more about bands like the Shadows [the British guitar group]—instrumental music, clean guitar sounds and so on. I knew from listening to that type of music that the guitar was something I wanted to pursue. I didn’t hear my first distorted guitar until I was around 13 or 14, which was when bands like Led Zeppelin started getting popular. During those years all I did was copy anything I heard that had that distorted guitar sound.

What was the first guitar you ever owned? — Rita Dullaghan

I played whatever my brother didn’t need anymore—it’s the same way that I got my suits and clothes. [laughs] Whatever he had first, I had second. And that lasted for a while, but eventually I realized that I had my own idea of what I wanted. In the beginning we had a Framus and a Hofner, and then my brother went to a big-bodied Gibson and I went more for the Fenders, like the Jazzmaster. Then I got a Les Paul Custom, a Les Paul Deluxe, and I ended up with the V.

Do you still suffer from stage fright? — John Luftig

It doesn’t exist for me anymore. I don’t know exactly what made it go away, but it did. It’s not something that happened overnight, but in the past few years it has slowly gone away.

What’s it like to be a hero to players like Kirk Hammett, Yngwie Malmsteen and Zakk Wylde? — Daniel Levine

The truth is I wouldn’t know where to place myself on a scale, or know if I’m even good or bad as a player. But those guys tell me how much I mean to them, and it helps me understand where I fit in, which is great. Without their statements, I would have no idea.

How did you come to join the Scorpions? — John Zane

My brother always got me my gigs in the early days. I had been in bands since I was 11, and one day my brother told me that he wanted me to hook up with this great singer he knew, and that was Klaus Meine. Rudolf introduced us, and we started a band together called the Copernicus. Our rehearsal space was right next to the Scorpions, and one day we were rehearsing and they were listening to us—their singer was late for rehearsal— and they approached Klaus and me about joining the band, and we did.

What is it about the Flying V shape that you like so much? — Tom Giordano

For me, it’s not really about the shape; I came to play a V by accident. I was playing with the Scorpions, and I broke a string and had a solo coming up, so my brother and I swapped guitars really quickly. He had been playing a V, so that’s what I ended up playing, and I just loved the combination of that guitar and a 50-watt Marshall. And once I got used to the shape, there was no going back. Plus I loved Leslie West, and he used to play a V.

Are you more comfortable as a solo artist or playing in an established group? — Bonnie Parenti

Definitely as a solo artist. It was very important for me to create MSG, which I did for creative freedom. It let me express myself in so many ways and not be held down by any one particular type of monster machine. I hate being a box, and I’m glad I didn’t get stuck in one for my entire career. I love the fact that I don’t know what’s going to happen next for me. And that’s the difference between me and my brother: he looks at the big picture, I look at the details. We’re opposites, even though we have the same genes and share a lot of the same emotions when it comes to music.

Your parents must have been proud to have two famous sons. — Phillip Wills

I never asked them about that, but they always supported us; they would always come to the shows. My dad was an architect and would design our posters, and my mom would work the door, and they’d give us money for equipment and things like that.

What gear do you have with you on the current tour? — Brian Dorsey

Just a 50-watt Marshall JCM800 2205, which can be very hard to find. When I have to find a new one, I can’t! [laughs] I’ve tried quite a few amplifiers over the years, but that’s the one I like best. And the Dean guitars are so perfectly made. The guitars just sing. I usually have three of my signature Dean models on the road with me: my main guitar, one for the hotel and one as a spare.

Below, check out a recently posted demo video of a new $30 product called the Hammer Jammer.

Six-string players can install the device on their electric or acoustic guitars (We've even included the company's official "installation and tweaking" video below) to produce a different-sounding, percussive attack — something, perhaps, in the ballpark of a hammer dulcimer on speed.

The only line of promotional material we have from the company is this: "The Hammer Jammer provides incredibly fast hammering techniques, unique sounds and unusual patterns for six-string guitars."

Be sure to check out the video and let us know what you think. For more information, visit bigwalnutproductions.com.

You know a song is a classic when someone parodies it.

Well, here's a parody — in video form — of the story behind "Beth," Kiss' highest-charting single. The monster ballad, which is credited to Peter Criss, Stan Penridge and producer Bob Ezrin, was released in 1976 on Destroyer.

The professionally shot short film chronicles the completely fictitious story of the song's inspiration. It shows Criss talking on the phone with his wife, Beth, during a Kiss recording session. All of Criss' dialogue stays true to the song's lyrics.

The film was directed by Brian Billow and written by Bob Winter and posted to YouTube by MAYOR ADAM WEST. We just can't make this stuff up.

While we're on the topic of Kiss, be sure to check out "the Ace Frehley Laugh Collection"HERE.

Enjoy this behind-the-scenes photo gallery from our 2014 Holiday Review Guide photo shoot, which took place in California's Joshua Tree National Park.

The photos, which were shot by Review Guide Photo Director Jimmy Hubbard, feature Raquel Pomplun, Playboy’s Playmate of the Year 2013; Kristen Nicole, Playboy’s Miss May 2013; and Audrey Allen, Playboy’s Miss June 2013.

You'll also see Guitar World's Paul Riario, plus photographer Travis Shinn, whose photos are featured in the new Review Guide, which is available now at the Guitar World Online Store.

"Whenever the temperatures start to drop and the trees begin to change color, we know that yet another Review Guide is on the horizon," says Riario, the issue's editor-in-chief. "It’s around this time of year that we grab some new gear and head west for sunnier climes—and smiling Playmates—to shoot our annual Review Guide.

"This time around, we chose Joshua Tree National Park for our shoot. After all, it’s picturesque, sunny and, at this time of year, pleasantly warm.

"It soon became scorching, however, not because the park is situated in the desert but because we scooped up some of the hottest girls for this year’s guide. As you’ll see, the ladies only added to the area’s stunning natural beauty. (Well…stunning, anyway.)

"To turn the heat up even further, the guide features the winner of our biannual Model Search Contest: singer-songwriter Kelly Grrrl.

"Like previous incarnations, the 2014 Holiday Review Guide includes reviews of the best guitars, amps, effects, recording gear and accessories, selected from the pages of Guitar World, Bass Player and Guitar Aficionado.

"The concise evaluations in the Review Guide will tell you everything you need to make your next gear purchase wisely. When you’re finished here, be sure to check out our behind-the-scenes video!

Photo: Jimmy Hubbard

The 2014 Holiday Review Guide is available now at the Guitar World Online Store for $7.99.

Electro-Harmonix has introduced the Lumberjack Logarithmic Overdrive pedal.

From EHX:

"With the new Lumberjack, Electro-Harmonix set out to rethink overdrive pedal design and this logarithmic OD breaks all of the rules to deliver distortion with a character that’s uniquely EHX."

A standard overdrive pedal reacts predictably in that the distortion it delivers goes up linearly in direct response to the guitarist’s volume and playing dynamics. A little explanation is required: On a linear scale, a change between two values is perceived as the difference between those two values. So the difference between 1 and 2 is the same as the difference between 9 and 10.

The Lumberjack’s response is logarithmic and the change between two values is perceived as a ratio of those values. Therefore, a change from 1 to 2 (ratio 1:2) is perceived as the same as a change from 4 to 8 (ratio of 1:2). The resulting overdrive is very reactive to the player’s volume and dynamics and its response ranges from a powerful clean boost to torn-speaker rasp and up to gritty distortion.

The control layout includes Volume, Log Factor and Boost knobs. Volume sets the overall output level of the pedal while Boost adjusts the input signal of the instrument. The Log Factor controls the amount of logarithmic distortion.

The Lumberjack is housed in a compact die-cast package, and comes equipped with a 9.6-Volt/DC200mA AC adapter. It features true bypass for maximum signal chain integrity and carries a U.S. list price of $77.38.

For more about the Lumberjack, check out the demo video below (featuring EHX's very own Jon Skibic), and visit ehx.com.

Charleston, SC’s Loners Society have signed with Autumn + Colour (Look Alive, Killing Kuddles) and will release a 5-song live recording titled King City Session’ on Feb 11, with pre-orders launching on Jan 21.

Make no mistake, at its most basic form, Loners Society is a rock band. They are not interested in reinventing the wheel, and there is a good chance their songs will feel familiar to you, even upon first listen. That fresh familiarity is the magic that is Loners Society: having the ability to craft songs that feel sincere and authentic while paying humble respect to the bands and artists who came before, and influenced them.

In speaking of the song “LaGrange,” front man and songwriter Matt Megrue says, “A few years ago, for the first time in a long time, I found myself without a band. My previous bands [County Line Strangers / The Unusual Suspects] had split up and there was a lot of uncertainty in the air for me personally. LaGrange began as a way for me to assess a decade’s worth of damage and timestamp exactly where I was in that period of uncertainty. The song really helped to close the book on where I had been and was the first chapter in what would eventually become, Loners Society.”

Watch footage for the song “LaGrange” from ‘King City Sessions’ here: h

LaGrange from Loners Society on Vimeo.

Find out more at www.lonerssociety.com

ESP Guitars has announced that its new ESP Original and E-II brands will become available in the U.S. in 2014.

The availability of ESP Original and E-II brands in the U.S. allows the company to have a consistent set of products available around the world, something that ESP customers have requested for years.

“We now have five tiers of product lines for our customers,” says Eric Oppenheimer, ESP product manager. “On top are our famous ESP Custom Shop guitars. Our new ESP Original line is for customers who want the level of quality found in our custom guitars, but at a price point possible with production model instruments. Our new ESP USA line is built in our new North Hollywood factory.

"ESP EII is a new brand built in our Japan manufacturing facility, featuring some of the new designs used in the Original line along with some classic ESP shapes. Finally, our wide range of LTD guitars and basses offer amazing value in high quality instruments.”

Nine new ESP Original models are being announced at the 2014 Winter NAMM Show: the Eclipse CTM (See Thru Black Sunburst and Reindeer Blue), FRX (Liquid Metal Silver and Black), FRX CTM (See Thru Black Cherry Sunburst and See Thru Black Sunburst), Horizon NT CTM (Tea Sunburst), Horizon FR CTM (Faded Blue), Mystique FR (Black), Mystique NT CTM (Tea Sunburst, Marine Blue, and See Thru Black Cherry), Stream (Black and 2 Tone Burst), and Stream CTM (See Thru Black Cherry and Marine Blue).

The E-II Series includes 36 new models of guitars and basses in a wide variety of finishes. Many of the E-II models offer premier-quality features and components, such as quilted and flamed maple tops, Seymour Duncan, DiMarzio, and EMG pickups, and original Floyd Rose bridges. Many of the E-II models are being offered in finishes that were previously only available in ESP’s international markets.

Information on the 20 new LTD guitar models is available on ESP’s website, espguitars.com.

FROM THE ARCHIVE: Megadeth mainman Dave Mustaine chooses (and discusses) the record that changed his life.

AC/DC
Let There Be Rock (1977)

I was 16 or 17 when I got this album. I remember taking it home, putting it on my cheap turntable and dropping the needle down on the vinyl. The first couple of notes of "Overdose" just blew my mind.

The sound of the guitar was so untamed, and it lit a fire inside me to approach the guitar like a weapon. The lore behind Let There Be Rock is that Angus and Malcolm Young would face a Marshall against the wall and crank the sucker all the way up. You can tell the amp was turned up unbelievably loud: you can practically feel Angus' fingerprints rubbing against the strings.

[Singer] Bon Scott instantly became a hero of mine, too, because of the words he was using. I was a teenager and here was this guy singing about blowjobs, overdosing and dating fat chicks! I'm thinking to myself, Well, I haven't had the misfortune of dating fat women yet, but I sure do relate to the rest of it. Bon was singing my song!

The more I got into AC/DC, the more I started to develop as a musician. When I was a really young kind and learning music, I was very influenced by the British Invasion: the Beatles, the Who and the Stones. But when it came to developing my own guitar playing style, it was all about the New Wave of British Heavy Metal.

Some people will argue whether or not AC/DC were a part of this new wave, but I do know there was a void between the British Invasion and the New Wave of British Heavy Metal, and that AC/DC fell into it. When I think of how my style evolved, it was certainly influenced by bands like AC/DC, Diamond Head and Iron Maiden. If you listen to my style — even though it's sloppier — it contains essences of Jimmy Page, Michael Schenker and Angus Young.

But while Angus was always a hero of mine, I identified more with Malcolm. Rhythm is really important in rock and metal, and taking a percussive approach to the guitar is an art that's vital to the sound of that music. That's what Malcolm brings, and that's why AC/DC is his band.

To this day, I listen to Let There Be Rock and it motivates me. That album marked the defining moment in my life when I made my mind up that I was gonna do this, no matter what.

Gus G, best known as Ozzy Osbourne's guitarist and the leader of Firewind, has announced the March 18 release of his debut solo album, I Am the Fire, in North America.

The album will be released internationally on Century Media Records and will come out March 17 in Europe.

Below, you can check out Gus G's new video for the album's opening track, "My Will Be Done." The song, which features Mats Levén, was produced by Patric Ullaeus.

"I hope you all enjoy the first taste of things to come," Gus G said. "'My Will Be Done' is a cool rock track with a modern edge to it. Looking back, I can't believe all the great musicians that got on board for this album. Everybody brought in their unmistakable style and talent, and they really lifted the songs! Check it out and enjoy the music!"

Gus handles all guitar, bass and keyboards on I Am the Fire and is joined by David Ellefson, Billy Sheehan, Steel Panther's Michael Starr and more.

According to a press release, the album showcases a balanced mix of active rock, classic hard rock, traditional metal and guitar-driven instrumentals, "taking listeners on a diverse journey and opening doors to Gus G's soulful playing. Guest musicians and vocalists will be revealed in the coming weeks."

For more about Gus G, visit his official website and Facebook page.

Sonuus Limited has announced it will introduce its new Voluum stomp box at The NAMM Show 2014.

More than simply a volume pedal, the Voluum is a volume-based analogue multi-effect with a digitallycontrolled high-fidelity pure-analogue signal path for guitar and bass.

The Voluum combines sonic performance with flexibility and control. Constant high-voltage analogue power rails ensure high-headroom with low distortion and low noise for maximum signal clarity. Intuitive modulation allows effects to be controlled by the foot pedal, signal envelope or MIDI. While other stomp boxes are either on or off, the Voluum gives you glitch-free continuous control to enhance the subtleties of your music.

The effects in the Voluum — noise gate, compressor, LFO (tremolo), volume and limiter — can be used simultaneously or in any combination. For example, you can combine a transparent noise gate with smooth compression for clean sustain, running into an envelope-controlled tremolo and using the pedal to control the overall volume of the effect.

When used purely as a volume pedal, the Voluum offers unprecedented control. Start by adjusting the cut or boost or optimise the feel of the pedal using one of 28 response curves. Then explore the beautifully smooth fades and triggered ADSR sound-shaping envelopes.

With both USB-MIDI and standard 5-pin MIDI connections, the Voluum was designed to be connected! Use MIDI to change presets, control effects, record automation data, or send MIDI clock to sync the LFO. With USB you can connect to the comprehensive Windows/OSX editor to visually configure the effects. Or simply use the Voluum as a USB-MIDI interface.

The sturdy, lightweight aluminum chassis, paired with modern robust electronic design ensures that the Voluum will stand up to the demands of the toughest gigs. Powered by 9VDC, battery or USB, and with classic Sonuus styling, you can be confident it will fit into your rig. Featuring a unique patent-pending pedal sensor for super-fine precision control that will never wear out, 40dB of boost, 100dB of cut and 100 user presets, it’s as useful as it is beautiful.

Sonuus Limited is a music products company, based in the UK. Established to develop and exploit new technologies to create desirable, innovative, products at sensible prices, Sonuus is focused on providing musicians with solutions that are better, simpler, or offer more value than anything else available on the market today.

For more information, visit sonuus.com.

Today, GuitarWorld.com presents the exclusive premiere of "Parasite," the new music video by Aeges.

The song is from Bad Blood, the split 7-inch Aeges and Dust Moth released in the fall via The Mylene Sheath.

"Parasite" was engineered and mixed by the band's own Kemble Walters at Canshaker/The Closet in LA and mastered by Brad Boatright at Audioseige.

Dust Moth's contribution to the 7-inch is a track called "Toto." Artwork and design were handled by Jason Craig. You can order the physical version of Bad BloodHERE and the digital version HERE.

For more about Aeges, visit their Facebook page. For more about The Mylene Sheath, visit mylenesheath.com.

When you’re running low on ideas, a great place to turn for inspiration is other instruments. Learning a sax lick, a piano chord voicing or a vocal melody can allow you to approach music from an entirely new angle.

Getting a peek at how other instrumentalists think also can help you get in sync with your bandmates.

If you know what your bass player is trying to do, then you can complement his basslines better with your guitar part. If you understand your drummer’s fills, you can strum along in a way that matches or accents his drum parts.

In this post, we’re going to check out a common rhythmic pattern used by drummers called the single paradiddle. Then we'll look at how you can use this sort of pattern to come up with new ideas on the guitar.

Single Paradiddle

The single paradiddle is an example of what’s known as a drum rudiment. Guitarists practice chord changes and scale runs; drummers practice rudiments. They’re basic drum-stroke patterns that are learned on one drum and can then be applied to different drums or used in a beat.

The single paradiddle follows this pattern of right-hand (R) and left-hand (L) drum strokes:

R L R R L R L L

You can even say the word “paradiddle” twice along with the pattern to help you get a feel for the rhythm. Para-diddle para-diddle.

OK, so how does this help us out on the guitar? Let’s take a look at just a few possibilities.

Riff Rhythm

One way to use the paradiddle pattern on the guitar is to develop accented rhythms for guitar riffs. For example, let's assign each drum stroke to a string or set of strings. For every right-hand stroke in the paradiddle pattern, hit the sixth string. For every left-hand stroke, hit the fifth and fourth strings together.

Let’s take this new paradiddle picking and apply it to just a couple of chords to see how it sounds. Here’s an example in drop D tuning using Bsus2 and Gsus2 chords.

If this sounds familiar, it may remind you of “Everlong” by the Foo Fighters, which uses a similar rhythm with these types of chord voicings. Since Dave Grohl is a drummer, it makes sense that he would look at the guitar as if the strings are different drums on a kit.

Lead Licks

Now let’s take the same idea of assigned different drum strokes to different strings, but apply it to a lick on the top two strings. The right-hand stroke becomes the 2nd string, and the left-hand stroke becomes the first string.

Here’s an example in the key of B minor, with a couple of slides thrown in to give the lick a smoother sound.

Getting Creative

There are so many more uses for this basic single paradiddle rhythm. The idea is to think of the pattern as just A-B-A-A, B-A-B-B, where the A’s and B’s can stand for anything that you want.

Like we’ve done in this post, the A could be one string and the B another. Or you could create fingerpicking patterns. The A could stand for one finger in your plucking hand, while B stands for another finger or group of fingers.

Or you could make the A’s and B’s stand for two different notes in a scale or arpeggio. The possibilities really are endless, so see what you can come up with!

Ben Rainey works as a guitar teacher and freelance guitarist in the Pittsburgh area. He's also in charge of music content at Tunessence.com.

William Fitzsimmons has just released his single, "Fortune," from his upcoming release Lions, his follow-up LP to 2011's Gold In The Shadow. In November, Fitzsimmons released an acoustic video for "Centralia" off the album and gave listeners a sneak peek of what to expect. The album is slated to release February 18, 2014 on Nettwerk Records.

Lions, which is out February 14, on Nettwerk Records is now available for pre-order now on iTunes. With the purchase of the pre-order, listeners will immediately receive the new single, "Fortune." Produced by Chris Walla (guitarist for Death Cab For Cutie with previous production credits with Tegan and Sara, The Decemberists and The Postal Service among others), Lions is a career-defining album that explores Fitzsimmons' personal transformation over the last few years.

Hear "Fortune"

American singer-songwriter based in Illinois, Fitzsimmons is perhaps best known for his songs "Passion Play" and "Please Don't Go," which aired during pivotal scenes in ABC's medical drama Grey's Anatomy. His first two full-length albums, Until When We Are Ghosts (2005) and Goodnight (2006) were completely self-produced and recorded by Fitzsimmons at his former home in Pittsburgh, Pennsylvania. His The Sparrow And The Crow (2008) was his first studio record.

View the video for "Centralia"

Fitzsimmons will begin touring Europe on February 14 and tour the U.S. this spring. Dates to be announced later this month.

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

Pigtronix has begun shipping its new flagship Echolution 2 delay system.

This pair of new pedals is the result of an intensive, four-year design process aimed at forging a unique marriage of analog tone shaping and digital signal processing to deliver the ultimate delay pedal experience.

The original Echolution (released in 2006) has been used on tour and in studios by Aerosmith, Living Colour, Nine Inch Nails, Guns 'N Roses, Dream Theater, Soulive, Weezer and many other top artists.

Echolution 2 retains the renowned ambient richness and line-level headroom of its predecessor while offering a vastly expanded palette of delay effects in a completely programmable, MIDI-controllable package that is both smaller and more affordable.

Echolution 2 has a 24-bit, variable-clock, full-stereo delay line that creates echoes from 10ms up to 10 seconds long. Any two subdivisions of the master delay time can be selected to create an array of polyrhythmic multi-tap patterns including the Golden Ratio.

The resulting echoes are then further animated by eight different filter modes, multiple LFOs, freeze, reverse, bit-crushing and totally original cascading octave effects created by the HALO and JUMP functions. Musicians can exert real-time control via assignable expression pedal and envelope mapping for every knob, as well as complete MIDI control of every function.

Navigating the universe of sounds available within the Echolution 2 is easy. Both versions of the pedal ship with 60 Pigtronix presets to serve as a starting point. Any sound designed using the Echolution 2 or Echolution 2 Deluxe pedal can be saved and instantly recalled using the footswitches or optional remote switch.

A dedicated PC/MAC application enables the import and export of presets for sharing with other musicians who use Echolution 2. The application also delivers future firmware upgrades and provides all users with real-time access to the advanced functionality of the Echolution 2 Deluxe model.

"The release of this pedal marks the 10-year anniversary of Pigtronix." says company president David Koltai. "Echolution 2 incorporates everything we have learned from a decade of effects design and customer feedback to create a uniquely powerful sound design tool."

The Echolution 2 has a MAP price of $299 and Echolution 2 Deluxe has a MAP price of $399. Both pedals are available for purchase from Pigtronix retailers all around the world.

For more information, visit pigtronix.com.

It’s not enough to challenge convention; you have to win over traditionalists too. Super-Vee did both when it perfected Leo Fender’s tremolo system with its Bladerunner bridge, which replaces the original trem’s notched-screw and knife-edge fulcrums with a tiny piece of finely engineered spring steel.

In short order, Super-Vee’s innovation was embraced by devotees of Fender’s original design, including Eric Johnson, Peter Stroud, Eric Gales and Carl Verheyen.

Super-Vee’s new Maverick bridge takes the same proven technology into uncharted territory, offering Telecaster players a traditional-looking bridge with the same flawless and responsive tremolo action that’s favored by today’s iconic Strat pros.

Features
Unlike Super-Vee’s BladeRunner, the Maverick is not a drop-in replacement for your current Telecaster bridge. Super-Vee has taken this into consideration and offers a routing template, an online video tutorial and detailed instructions for the DIY crowd and will also be offering pre-routed, unfinished and finished Telecaster bodies. Telecaster fans will also appreciate the Maverick’s adherence to traditional Tele-bridge standards of appearance, utilizing an unobtrusive flat bridge plate and three vintage-style, Super-Vee V-Tone compensated brass saddles. These are a Super-Vee precision design for each string pair and intonate perfectly.

Performance
There’s absolutely no wiggle in the Maverick’s tremolo bar and no slop in the pivot action—the Maverick responds immediately to any movement of the stick. And it’s just as accurate on pull-ups as it is with pitch dives, making pedal-steel licks sing like never before and opening new doors to Telecaster-applied technique. The extremely stable bridge stays in tune almost as well as a double-locking system, and there’s no audible low-end warble, even when changing the pitch of full chords with open bass notes.
In addition to its superior tremolo performance, the Maverick has phenomenal tone. The energy-transferring spring steel provides a direct link between the two bridge plates and into the body, enhancing the guitar’s overall resonance and sustain.

List Price $199.95
Manufacturer Super-Vee, LLC., super-vee.com

The Bottom Line
For Fender fans who want it all, the Super-Vee’s faultless Maverick tremolo finally makes it possible to combine the boot-stompin’ sound of a Telecaster with the pitch-shifting sass of a Stratocaster.

The ESP Guitar Company has announced the opening of its first-ever USA-based factory. The new ESP USA factory is in North Hollywood, California, a short distance from the company’s USA headquarters.

“This is a significant milestone for ESP,” says Matt Masciandaro, ESP President. “For years there has been a demand for a domestic factory, allowing us to create guitars that are 100 percent made in the U.S. We’re very excited about the new opportunities for ESP dealers and new choices for our customers.”

Opening in early 2014, the factory will be producing a new line of ESP USA guitars. This new brand will be added to ESP’s existing worldwide brands, including ESP, LTD, and the new E-II series, coming in 2014. The world-renowned ESP custom shop will remain in its current location in Tokyo.

The USA facility will be crafting a series of production models on a limited basis during its first year of operation, ramping up as demand for the new line increases. ESP USA instruments will initially be available through a select group of ESP dealers.

Since its founding in 1975, ESP Guitars has done all of its manufacturing outside the U.S.. Their premier-quality ESP brand is made in the ESP-owned and operated Japan facility, with the more affordable LTD line being made in various locations throughout Asia.

Masciandaro continues, “The first ESP USA models will offer designs based on classic ESP shapes, along with some exciting new details to make them unique and fresh.”

The official launch of the ESP USA brand will be at the 2014 Winter NAMM Show. ESP Guitars will be debuting information on the new models via espguitars.com.

Minibus Pimps — a new project featuring Led Zeppelin bassist John Paul Jones — will release their debut album, Cloud to Ground, March 3.

Minibus Pimps also features Norwegian ambient musician Helge Sten of Deathprod.

The seven-track record will include live tracks recorded at various shows, musically fusing Seventies-style prog rock with elements of the Norwegian new music movement.

As the U.K.'s The Guardian reports, Cloud to Ground incorporates sounds created by Kyma, a computer-based sound-design system that mutates organic instrument recordings. It's the same system Ben Burtt used to create lonely robot Wall-E's voice in the 2008 CGI Pixar film.

Sten, a prolific producer who also has released music with Supersilent, said the album "contains composed and improvisational elements on an equal scale."

The duo, who took their moniker from an experimental track by Beijing Sound Unit, is Paul Jones' latest project. It follows Them Crooked Vultures, a supergroup he formed in 2009 with Josh Homme and Dave Grohl.

At this past August's Øya Festival, Norwegian singer, musician and producer Susanna recorded a few tracks with Sten and Paul Jones. You can check out "We Offer" below.

Creatures of Habit by the Damn Choir comes out on February 7th and they will celebrate in the traditional fashion: by touring. The kick off show in Chicago takes place at the Hideout that evening before they hit the road. The first video for the title track is out and features some pretty terrific footage of the band rocking in a really beautiful ruined church. See below!

The Damn Choir’s Gordon Robertson has a saying that encapsulates his worldview. Laughing, he shares it: “I have no problem with God but I don’t like his fan club.” Robertson grew up with a sincere fear of hell and damnation – he was home schooled in a fundamentalist household, the result of a brother who was cured of an inoperable brain tumor via faith healing.

Despite his growing skepticism as a young boy, his fear of eternal flames kept him compliant until high school, when he found music. “I disliked the music in our church because it seemed insincere. I wanted to write a proper hymn, about what really goes on.” Robertson’s quest resulted in 25 new songs, pared down to 13 for Creatures of Habit, out February 7th, 2013. Produced by Bryce Goggin (Antony and the Johnsons, Apples In Stereo, Swans, Dean & Britta), it was recorded live to tape at Trout Studio in Brooklyn during the fall of 2013. Mastered by Fred Kevorkian (Willie Nelson, The Walkmen, The White Stripes, Iggy Pop), the album features sparkling tunes with off-kilter rhythms and warm guitar/cello accompaniment to Robertson’s rough-hewn vocals, delivered with a slight quaver that belies his heartache.

Standout tracks include the title track, “Radiator” and “Violet,” named for the producer’s daughter. “'Radiator' is about a cold, lonely Chicago winter. The song is based on me telling the story of a broken relationship to my broken radiator. The song also touches on the Carl Sandburg's poem "Chicago" with a line I borrowed "The City of Big Shoulders," explained Robertson. “’Violet” was originally written as a punk rock song, as punk rock as The Damn Choir can get. We were demoing all tracks and sending them to Bryce. He heard the song and wanted us to change the lyrics and the melody. We changed to whole the feel of the song, thanks to our new drummer Marty Kane.”

The Damn Choir is Robertson on vocals and acoustic guitar, Katy Myers on cello, Otis “The Bearded Angel” Duffy on electric guitar, bassist Brandon Stein, keyboardist Gwen Klemenz, percussionist Jack McClain and drummer Marty Kane. Robertson formed the band in 2009, the year after moving to Chicago from Cleveland; after some early line-up changes, The Damn Choir has solidified into a cohesive unit whose players harbor genuine affection for each other.

View the video for "Creatures" here:

Upcoming Tour Dates
Fri Feb 7 Chicago, IL The Hideout
Sat Feb 8 Grand Rapids, MI Mulligans
Sun Feb 9 Ypsilanti, MI Woodruff's
Mon Feb 10 Detroit, MI PJ's Lager House
Tue Feb 11 Toledo, OH Frankie's Inner City
Wed Feb 12 Cleveland, OH Grog Shop
Thu Feb 13 Buffalo, NY Gypsy Parlor
Fri Feb 14 Binghamton, NY The Lost Dogs
Sat Feb 15 Boston, MA The Midway Cafe
Sun Feb 16 Providence, RI Parlour
Mon Feb 17 New Haven, CT Anna Liffey's
Tue Feb 18 New York, NY Arlenes Grocery
Wed Feb 19 Brooklyn, NY The Rock Shop
Thu Feb 20 Philadelphia, PA JR's
Fri Feb 21 Baltimore, MD Club K
Sat Feb 22 Washington, DC The Pinch
Sun Feb 23 Charlottesville, VA The Whisky Jar
Mon Feb 24 Charlotte, NC Crown Station
Tue Feb 25 Athens, GA Caledonia Lounge
Thu Feb 27 Nashville, TN The End
Fri Feb 28 Hot Springs, AR Maxine's Live
Sat Mar 1 Little Rock, AR Stickyz
Sun Mar 2 St. Louis, MO Lemmons
Tue Mar 4 Lawrence, KS The Relay
Tue Mar 18 Kansas City, MO Davey's
Wed Mar 19 Lexington, KY TBA
Thu Mar 20 Louisville, KY New Vintage
Fri Mar 21 Indianapolis, IN Melody Inn

Find out more at www.thedamnchoir.com

Boss has announced the ME-80 Guitar Multiple Effects, a powerful floor-based tone processor with a knob-driven interface for intuitive, stompbox-style control.

Featuring an enormous selection of flagship-quality effects and COSM amps, eight multifunction footswitches, battery-powered operation, and much more, the compact ME-80 is perfect for performing guitarists of all levels.

Via the Boss Tone Studio editor application, ME-80 users can easily customize sounds and enjoy direct access to free patches and other great content at the newly launched Boss Tone Studio website.

Boss Tone Studio is the ultimate destination for all players that use Boss guitar and bass gear. The initial focus of this powerful new web portal is on the ME-80, but compact pedals and other Boss multi-effects will be included as the site evolves. Premium ME-80 content available now includes demo videos and free patches created by famous guitarists, touring pros, and session players.

Users are encouraged to check back often, as the site will be continuously updated with additional patches, how-to videos, artist interviews, and much more.

The ME-80 contains a history of BOSS effects in one pedal, from overdrives and distortions to wahs, mod effects, pitch shifters, delays, and the latest MDP effects. Also included are nine updated COSM preamps derived from the flagship GT-100, with new additions such as Crunch, Metal, and an AC preamp designed for acoustic/electric guitar. The onboard expression pedal can be used for foot volume and pedal effects like wah, octave shift, and Freeze, and it’s also possible to control effects parameters such as mod rate, delay oscillation, and more.

Unlike typical multi-effects processors that are complicated and unintuitive, using the ME-80 is as easy as using a stompbox. Eight different effects categories can be active simultaneously, and the panel features a total of 30 knobs for instant access to effects selection, sound adjustment, and more.

The Pedal FX category has its own dedicated knob for quickly assigning an effects type or function to be controlled by the expression pedal. Favorite settings can be saved in 36 user patch locations, letting players recall custom effects configurations at the touch of a pedal.

The flexible ME-80 offers easily selectable modes for individual stompbox-style on/off or traditional patch-based operation. In Manual mode, the effects categories function like individual stomp effects, with direct on/off control via seven footswitches. When entering Memory mode, the footswitches are reconfigured to select user or preset patches and patch banks. One footswitch on the ME-80 is dedicated for mode switching, so users can toggle between Manual and Memory modes at any time.

In addition, the eight multifunction footswitches provide convenient access to alternate functions such as tap tempo, tuner, looper control, and more. The newly developed footswitch style provides two switches in the space occupied by one in previous designs, allowing BOSS to outfit the ME-80 with a generous array of foot-operated controls while keeping the unit extremely compact and mobile. The expression pedal has its own integrated toe switch that toggles between foot volume and the current Pedal FX setting.

For more information, visit RolandConnect.com.