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JEFF BECK HEALTH UPDATE
Nov 2014 Issue 28
MINDI ABAIR FEATURE STORY
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Content
Content Artists
Jeff Beck Gianfranco Contineze Pink Floyd Michael Nicolella Pete Townshend Buddy Guy x Guitar Slim Daryl Hall x Billy Gibson
Guitar Player
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Feature Article
The power of Reinvention
Gear TronicalTune
Motorized Tuning System JackTight System 10 Stompbox
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Tour Cancellation
Turning 70 years old on June 24 hasn’t initially been a wonderful thing for guitarwizard Jeff Beck.Last night, an announcement on his Facebook Fan Page directed readers to his website where a statement revealed Beck cancelled the second leg of his European tour. This morning we noticed the “official statement” was withdrawn, and then the entire website when down with the message, GP will update this news when we have more information.
lowing the treatment, Jeff will fulfill his U.S. tour commitments beginning in Missoula, Montana, on August 8.
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“He sends his profound apologies to those fans who had bought tickets for the European concerts and very much looks forward to playing for his American audiences after he has completed his treatment.” Update! June 26 > 12:30 pm PST For now, here is the statement that was GP’s social-networking editor Jennifer posted at jeffbeckofficial.com: Bergeron found a May 5 report at contact“It is with the greatest regret that Jeff Beck music.com that may shed some light on has been forced to cancel the forthcoming Beck’s condition. European dates of his worldwide tour, set to begin in Austria on June 27. Apparently, Beck experienced discomfort during his joint concert tour with Brian “Following many months of international Wilson last year, and had an endoscopy (an touring and after seeking emergency med- internal examination done with a camera ical attention, Jeff will now undertake a at the end of a flexible tube) on an undisshort hospital procedure, and his doctors closed body part or organ during a stop in have instructed a complete break from Chicago. performance for a total of six weeks. Fol-
Artists
Jeff Beck
Health Update Over
Gianfranco Continenza Dusting the Time The music on this superb release by Italian guitarist Continenza references the best of early fusion—for example, Weather Report and John McLaughlin’s various incarnations—while simultaneously bringing lots of fresh ideas to the table. Accompanied by an array of extraordinary musi-
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cians—including hyper-bassist Michael Manring and tenor/ soprano sax maestro Bob Mintzer—Continenza’s electric and nylon-string acoustic playing is unerringly elegant, tasteful, and appropriate, with nary a trace of the showboating frequently associated with fusion. Successfully balancing compositional sophistication
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with musical accessibility, headiness with heartfeltness, is no mean feat—and Continenza largely pulls it off. His cover of the Mahavishnu Orchestra’s “One Word” is also quite inventive, and provides a launching pad for a mind-blowing solo that doesn’t sound anything like McLaughlin, but would likely make him smile. Videoradio.
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Artisists
Pink Floyd Announce new album for fall The news came over the holiday weekend via a tweet by Gilmour’s wife, Polly Samson.“BTW Pink Floyd album out in October is called The Endless River,” Samson tweeted. “Based on 1994 sessions is Rick Wright’s swansong and very beautiful.” (Wright died in 2008.)The news was subsequently confirmed by a representative for Gilmour.
lyrics for the tracks, and backing vocals were recorded in December 2013 by singers including Durga McBroom-Hudson, who had previously toured with the group.
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McBroom-Hudson writes on her Facebook page: “The recording did start during The Division Bell sessions (and yes, it was the side project originally The material, which does not feature titled ‘The Big Spliff’ that Nick Mason Pink Floyd founding bassist Roger Waspoke about). Which is why there are ters, is sourced from unreleased reRichard Wright tracks on it. But David cordings made during The Division Bell and Nick have gone in and done a lot and is described by Mason as ambient more since then. It was originally to be a in nature. The music was conceived for completely instrumental recording, but an album under the working title The Big I came in last December and sang on a Spliff. Though it was considered for refew tracks. David then expanded on my lease, the record was eventually shelved. backing vocals and has done a lead on at least one of them. Following Wright’s death, Gilmour and Mason returned to the material intending to create an instrumental album. Gilmour subsequently began writing
It has been 20 years since Pink Floyd released their last album, 1994’s The Division Bell. Now comes word that the group will issue a new record this fall, consisting of tracks recorded by keyboardist Rick Wright, guitarist David Gilmour, and drummer Nick Mason (shown below in a 1994 promo photo).
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ARTISTS
T h e The Dark Side of the Moon Deluxe CD Release Darkside, a radio play written by Academy Award-winning playwright Tom Stoppard for BBC Radio 2, incorporating the music from Pink Floyd’s iconic The Dark Side of the Moon, is released worldwide as a deluxe CD package on November 25, and available to pre-order now on Amazon. Distributed worldwide by ADA for Parlophone/Warner Music Group, the play was an original commission by Radio 2 to mark the 40th anniversary of Pink Floyd’s album, and was broadcast on August 26, 2013.
birthday of the Pink Floyd album, it really wasn’t a very difficult decision.” Produced in collaboration with Sir Tom Stoppard’s publishers Faber and Faber, the luxury package resembles a hard-backed book, including a CD of the 54-minute play, which includes the majority of The Dark Side of the Moon album, plus a 56-page bound insert of the play’s script. The cover features artwork by Hipgnosis designer Aubrey “Po” Powell in collaboration with Storm Studios, based on the specially-created Aardman Animations piece used to publicize the broadcast. The full play script includes all the dialogue and stage directions, plus Roger Waters’ original lyrics from the album. A second disc will feature text translations in German, French, Spanish, Italian, Dutch, Portuguese, Russian, Mandarin and Japanese.
D a r k The eighth studio album by the English progressive rock band Pink Floyd
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Cast list and production credits: Emily.............................................Amaka Okafor The Boy.........................................Iwan Rheon Mr Baggott / Ethics Man...........Rufus Sewell Dr Antrobus / Witch Finder.......Bill Nighy Fat Man......................................Adrian Scarborough Wise One....................................Peter Marinker Banker.........................................Robert Blythe
Darkside incorporates music and lyrics from The Dark Side of the Moon which serves as the underscore to an abstract and compelling interpretation of the album’s series of grand themes, which are both thought-provoking and laced with Stoppard’s characteristic wit and humour. The play follows Emily, a philosophy student, through a series of thought experiments, which are vividly brought to life by a cast of characters portrayed by Bill Nighy, Rufus Sewell and others. David Gilmour: “I found the script of Tom’s play fascinating; I can’t think of a better way to celebrate The Dark Side of the Moon’s 40 year anniversary.”
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S i d e Tom Stoppard says, “When The Dark Side of the Moon was a new album in 1973, a friend of mine walked into my room where I was working with a copy in his hand and said ‘You really have to do a play about this album.’ So, when, roughly 39-and-a-half years later, Jeff Smith from Radio 2 asked me if I’d like to do some kind of play around the 40th
Nick Mason: “I love it. If anyone is going to mess with the crown jewel of albums, Tom is a very good choice.” Bill Nighy: “To get a combination of Tom Stoppard and Pink Floyd...is a massive deal, a marriage made in radio heaven.” The Dark Side of the Moon remained in the charts for 741 weeks from 1973 to 1988. With an estimated 50 million copies sold, it is Pink Floyd’s most commercially successful album and is frequently ranked as one of the greatest albums of all time.
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FEATURE ARTICLE
The Power of Reinvention
BY MINDI ABAIR
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Guitar Player
A little soul searching can take you a long, long way. When I turned 40 I felt as if there was a virus I was exposed to that somehow made me question my place in life.I was confused and foggy… obviously I was sick. What else could it be? I saw many of my friends going through the same thing. I looked at the symptoms. I’ve been a goal oriented person my whole life, but right now I was realizing the fact that I’d accomplished many of my original goals, so what now? Was it all downhill from here, or was this just as good as it gets? I was disoriented just “marking time” as they say, continuing on the path that I had set for myself. All the usual things that had inspired me up until this point were fading away. I decided it was time to do a little soul searching. I realize that I’ve been given this beautiful and meaningful gift to make a living as a solo artist. I get to make records and tour with my band that I’ve hand chosen and play the music I write for audiences all over the world. What could be better than that? What more could I really want? That’s what I originally set out to do with my life, and seven solo records and countless tours later I’m still going strong. Checkmark!But yet I wanted more. I felt as if I had become a caricature of myself musically, and I was bored with myself. I needed new inspiration, and I wasn’t sure where to find it. I needed outside influence, but I wasn’t sure how to go after that either, as I was so cozy and safe in my own private bubble as a solo artist. How does one go about reinventing after living a life as a very defined person and artist?I decided to follow my heart. I knew that if there was more out there, I was going to go after it and find it. But how? I decided that on my off time from my band I’d go do things that made me happy. It seems simple, right? I figured that would lead me either to: (1) A life of obesity due to my overwhelming affinity for ice cream or (2) A promising 2nd career or hobby in something yet to be determined. I found myself going out to clubs to see bands that I really loved. I needed to become a fan of music again, not just be immersed in playing it. It occurred to me after a number of months that I was mostly seeing rock and blues bands. Hmm.. ok.. note to self…. I did grow up for 12 years hanging with the 8 rock bands that my dad put out on the road every year, and in between those rock tours I watched unearthly amounts of MTV… not the usual path to a career in Contemporary Jazz. Maybe I
How does one go about reinventing after living a life as a very defined person and artist? I decided to follow my heart
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was now just tapping into some happy childhood memories. One show I was frequenting was my friend Waddy Wachtel’s band that has played The Joint in Hollywood for 15 years with everyone sitting in from Neil Young’s bass player Rick to Jack Temptien, who wrote all those great songs in the 70’s to Keith Richards. It became total rock ‘n’ roll zen for me. The loud guitars, the driving force of the drums and the sheer intent of the lead singer…it was a spa day for me, as I put it to Waddy. Somehow in the cacophony of rock ‘n’ roll I found peace and reveled in the sheer abandon of the music being played. Those nights as a fan led to me sitting in with them and becoming a regular fixture in the band. Of course I couldn’t just watch. It was much more fun to play, and I’d played with Waddy off and on since 1995 when we both joined Adam Sandler’s band. I was officially “moonlighting” from my chosen career as a Contemporary Jazz saxophonist. I loved it. The music we were playing inspired me…Rolling Stones, Mott the Hoople, the Beatles. It was great. From there I was called by Don Was to play “Old Time Rock ‘n’ Roll” on American Idol with one of the contestants. I knew that I could use my newly found mojo to pull it off, and I did. Steven Tyler called me out in front of millions on TV saying, “Forget about you, who’s your sax player?” I ended up spend-
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FEATURE ARTICLE Guitar Player
ing two seasons on American Idol eventually playing 7 episodes with Phillip Phillips, who won it all. What an honor.And on my last day on the set I received a call from Steven Tyler asking if I’d be the first saxophonist to join Aerosmith on tour since 1973. Who could say no to Steven Tyler and the chance to play with a band that I had admired for as long as I could remember? Wow…now I was REALLY moonlighting. I had decided to do what made me happy, so in the spirit of reinvention I took off on the 2012 Global Warming Tour and spent my summer vacation with Aerosmith.They were nice enough to let me keep my dates that were booked with my band, so I’d take off every now and then to join my band and play. Interestingly, on my band’s shows, I realized that I was playing differently. People in the crowd noticed too and made sure they told me after the show. I was moving differently. I was feeling the music differently. I was even dressing differently. It wasn’t someone else coming out of my body. It was still me, but a better me. A stronger, more confident and most definitely more inspired me. I had made it through the fire of being uninspired. I had kicked the virus. I had passed the crossroads of feeling like maybe I had achieved all I was capable of and maybe this was as good as it gets. Those thoughts had haunted me, but I now knew that I was on to another chapter in my life. One with new goals that I was ready to reach for with more abandon than my previous ones. My next inspiration came to me quite organically. I posted on Facebook the day I heard of Clarence Clemons passing. I never met him, but he was a hero of mine as a performer and player. As a saxophonist, it’s more likely and frankly more acceptable that you grow up wanting to be John Coltrane, but I wanted to be the Big Man. And I thank everyone around me for waiting until it was too late to tell me that a little white girl from St. Petersburg, FL couldn’t stand in his shoes. I was saddened at his passing and as most of America does, Facebook became my vehicle of expressing my sadness. The promoter of an upcoming show of mine saw my post and called almost immediately to ask if I’d be up for sitting in with Max Weinberg in a few days and paying tribute to Clarence with him. I couldn’t have been more honored. I played with Max a few days later and it was an emotional night. I tried to dig deep and really pay appropriate tribute to this man that I so admired. I ended up joining Max on tour for the next few weeks and even played with him and Bruce Springsteen at the Beacon Theater one lucky night. I was really sinking my teeth into that incredible mojo that Clarence was leaving me. He pushed me to find greater depths of expression. He pushed me to play with total abandon. It was freeing. And for the first time in many years I wanted to practice saxophone.I sat for hours in my room dusting off old Bruce Springsteen records and playing along. I was play ing scales and forming new melodies in my head. I had found a new love affair with my saxophone. That love affair led me to borrow a tenor and baritone saxophone to really capture his power and depth. The alto just wasn’t cutting it. I went through a true rebirth as a player and incorporated so much of Clarence and Max’s power and drive into my playing and spirit. This was work, but I loved every second.I’ve realized now that I was given these gifts to help me redefine myself and find new inspiration where there had been none before. Change comes to us when we look for it. I just needed to free my mind to take the journey, unsure of where it might lead. I eagerly took the inspiration given me and ran with it…all the way back to my record label, Concord Records.Watch the Wild Heart album trailer. I explained the last few years of my life to them. I played them the new music I was writing and explained why this would make a breakthrough record for me as an artist. They were in, and I set out to make a career record for myself. I was joined by people that I never dreamed would play with me on one of my records: Gregg Allman, Joe Perry, Keb’ Mo’, Booker T. Jones, Max Weinberg, Waddy Wachtel, and Trombone Shorty. I had played for them in their world… moonlighting… and now I understood for the first time how they fit into my world as a solo artist. Wild Heart debuted #1 on the Billboard Jazz and Contemporary Jazz charts. I’m not sure how many times one has the power to redefine and/or reinvent oneself. I’ll have to wait and see, but I’m reveling in my new skin. I’m a new woman. Stronger, more capable, and definitely making music that moves me every day. Mindi Abair is one of the most dynamic performers on the music scene today. In addition to her acclaimed solo work, she was the featured saxophonist on the 2011 and 2012 seasons of American Idol, jammed with Paul Shaffer on the Late Show with David Letterman and joined rock legends Aerosmith for their 2012 summer tour. More recently, the powerhouse saxophonist/vocalist received a 2014 GRAMMY nomination in the Best Pop Instrumental Album category for Summer Horns, a #1 recording with her friends Dave Koz, Gerald Albright and Richard Elliot. Several more friends join Abair on Wild Heart, her new album that includes guest performances by – and songwriting collaborations with – Gregg Allman, Joe Perry, Booker T. Jones, Keb’ Mo’, Trombone Shorty, Max Weinberg, Waddy Wachtel and others. Find out more at www.mindiabair.com
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Spotlight Now and Then WHEN CLASSICAL VIRTUOSO Michael Nicolella appeared in Frets magazine in 2006, his album Shard was described as “an exciting textbook on how to honor classical tradition and kick it in the ass at the same time.” As a player, Nicolella possesses stunning chops and a delicate touch. As a composer, he creates works of uncommon depth and breadth, writing for nylon-string, electric guitar, orchestra, and voice, and incorporating haunting, modern dissonance alongside lilting, beautiful melodies. At his core, he’s a guitar dude who can discuss Queen, Van Halen, and Hendrix as easily as Bach and Segovia. His latest release, Ten Years Passed, features Nicolella on classical and electric, performing with the Northwest Symphony Orchestra. He is currently on the faculty of Cornish College of the Arts in Seattle. “I can’t overstate how important Guitar Player was to my youthful musical development,” says Nicolella. “In retrospect, I realize that its all-encompassing coverage was instrumental in shaping my extremely wide stylistic interests. So, I was understandably thrilled when I was featured in the February 1987 Spotlight column.
Michael Nicolella
“My Spotlight feature served as much needed validation and all the “fan” letters were inspiring. I particularly remember one from a girl who identified herself by writing, ‘I’m the one lifting my shirt up in the Mötley Crüe video.’ You don’t often get that at classical guitar recitals.”
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“At the time the feature ran, I was already well on the path to devoting myself to classical guitar, and spent the better part of the next decade solely doing so (placing the electric guitars in the proverbial closet). Curiously, in the late ’90s I started on the road I’m on now, incorporating electric guitar into my classical performances and increasingly focusing on my own compositions, in many ways returning to the general aesthetic of my Spotlight submission.
Pete Townshend “Undestroyed” Gibson SG Auctions for $63,000 A somewhat rare “unbusted” 1967 Gibson SG Special — owned by the Who’s Pete Townshend during the time of the band’s auto-destruction antics — was sold for £37,500 (approximately $62,978) at Bonhams Knightsbridge Entertainment Memorabilia sale on June 24. “It must be one of the few passing through my hands which has survived without getting smashed,” said Townshend about the cherry-red SG.
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Buddy Guy
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Guitar Slim
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StyLe Study
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INTROS, VERSES, & FILLS THE ORIGINAL SOLO PAYING HOMAGE & CUTTING LOOSE ENDINGS
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Artisits
There was the suppressed Chicago session guitarist who cut dozens of sides for Chess records with blues legends Muddy Waters, Willie Dixon, Howlin’ Wolf, Little Walter, Koko Taylor, and many others, filling in the holes and playing only as much as the artists and Leonard Chess wanted him to play.
Guitar Player
FOR A LONG TIME, BUDDY GUY LED A DOUBLE life And then there was the wild and crazy showman who played the amazing, amped-up distorted blues that would foment the pending British blues boom, and tore it up by running a 150-foot guitar cord between his Fender Stratocaster and amp so he could begin his show from the street, the bar, the men’s room, or wherever. This Guy could blow away all comers, and seemingly fit more notes into a single beat than anyone, but was rarely allowed to do so on any recordings. (Hoodoo Man Blues with long-time partner and blues harpist Junior Wells is one exception.) The real Buddy Guy was finally committed to wax during the ’90s, when he recorded Damn Right, I’ve Got the Blues, and Last Time Around: Live at Legends (with Junior Wells.) Since then, Guy has released three more albums: Sweet Tea, Skin Deep, and the aptly titled Living Proof. (Guy turned 77 this year.) Early on in his informative and highly entertaining biography, When I Left Home, Guy reveals that his earliest musical influences were the bird songs and other sounds of nature he heard while growing up on a Louisiana plantation. This makes complete sense when trying to analyze how the wild and crazy Guy crams nearly 50 notes into a single measure and keeps it musical. Next to John Lee Hooker, Guy’s earliest guitar hero was Guitar Slim, a.k.a. Eddie Jones. Guy was transfixed not only by Slims’ playing and singing, but also by his showmanship and talent for entertaining crowds. Guy, who admits he wanted to be Guitar Slim, emulated his early idol by standing up while he played and getting his own 150-foot cord, which Slim also pioneered. While “Boogie Chillen” by John Lee Hooker was the first song Buddy Guy learned to play (on a handmade 2-string guitar, no less), it was Guitar Slim’s “The Things I Used to Do,” which Guy still plays today, that became the most important record of his life. It’s the song on which both Buddy Guys converge and that’s why it’s been placed under investigation.
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Live from Daryl’s House Live from Daryl’s House is back from a year-long hiatus and better than ever! The first new episode begins the new year with a meeting of two genuine legends and Rock and Roll Hall of Famers, as newly inducted member Daryl Hall joins iconic ZZ Top guitarist Billy Gibbons for the 63rd and latest edition of the critically acclaimed, award-winning, web-to-cable series. The opening episode of what promises to be a jam-packed 2014 premieres on Daryl’s dedicated LFDH.com website on Wednesday, January 15, followed by its cable debut on Viacom’s high-definition music channel Palladia on Thursday, February 6 at 11 PM ET. Billy Gibbons is a founding member and guitarist for the famed Texas blues-rock band
“Playing Live from Daryl’s House is a regular, down-toearth, big bash,” said Gibbons about the experience. “Good groovin’ to the core.”
“Being in a room with Billy Gibbons is like dipping your toe into the deep wellspring of Texas rock, blues, and soul,” says Daryl.
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ZZ Top with bassist Dusty Hill and drummer Frank Beard, who were inducted into the Rock and Roll Hall of Fame in 2004. The band, formed in Houston in 1969, boasts seven platinum and 11 gold records, selling more than 25 million in U.S. album sales alone.
Daryl and Billy launch into a remarkably diverse seven-song set of Daryl Hall and John Oates and ZZ Top chestnuts along with a vintage cover of Hammond B-3 jazz-blues organist Jimmy McGriff’s 1963 instrumental, “Kiko.” The pair also perform such deep Daryl Hall tunes as “Bank on Your Love,” a song from Daryl Hall and John Oates’ hit album, Big Bam Boom and “Love You Like a Brother,” recorded in 1973, but unreleased until 1977’s Atlantic Records hits compilation, No Goodbyes. The twosome lean into four ZZ Top nuggets, the band’s cover of Sam & Dave’s “I Thank You,” from the 1979 album Deguello; the classic “La Grange,” included on 1973’s Tres Hombres; “Sharp Dressed Man” from 1983’s 10-million-selling Eliminator, and the group’s version of the Nightcaps’ ‘50s rave-up, “Thunderbird.”
The past seven years have marked a steady stream of superlatives and recognition for Live from Daryl’s House, with Hall receiving a Webby Award for Best Variety series from more than 10,000 entries at the 14th annual ceremony at N.Y.’s Cipriani Wall Street before garnering an O Music Award from MTV. Live from Daryl’s House is executive produced by Hall and his manager, Jonathan Wolfson.
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GEAR NEWS
TronicalTune Motorized Tuning System Review
TronicalTune Motorized Tuning System
BY MATT BLACKETT
I first learned about Tronical automatic tuning systems at a NAMM show many years ago. The inventor, Chris Adams, not only struck me as a brilliant guy with an amazing product, but he introduced me to Uli Jon Roth in his booth, thereby achieving permanent cool dude status in my eyes. What I saw was a motorized tuning system that would, at the touch of a button, spin the machine heads and tune the guitar to any one of several tuning presets. It was really impressive, but at the time, required a fairly serious modification to the instrument.
The TronicalTune comes with special locking tuners, and there is a method to proper stringing. Essentially you need to pull the string on the lower half of the post, guide it through the notch or “recess” on the middle of the post, and then wrap it on the top half of the post where you can lock it by turning the lock nut with a penny. You’ll want to consult the manual initially, but after the first time it’s very simple. Once we got the strings on, we engaged the String Up Mode, which got the Roboheads spinning to bring the strings into the ballpark of standard tuning. If you haven’t seen this system in action, it’s a real mind-blower, and our initial experiments elicited shouts of “Whoa!” from even the most jaded, grizzled onlookers. Getting in tune and switching between different tunings is super-easy. Hit the power button and the system comes on with the last tuning selected. Strum the strings and let Tronical work its magic. The four lowest string tune up the fastest, generally, so then you mute those and hit the E and B strings. When it flashes green you’re good to go. The whole process takes just a few seconds most of the time. Selecting other tunings is simple once you learn a couple of moves. Power it on, hit the power button again, and one of the E, A, D, G, B,
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Guitar Player
For many, their first glimpse of the Tronical system was in 2007, on the Gibson Robot Les Paul, a guitar that generated a tremendous amount of buzz in the industry. Since then, Adams has been refining and improving his system, which brings us to the TronicalTune ($299 direct) reviewed here. This system has everything players loved about the original with none of the things that made them hesitant. In short, it is totally unobtrusive, installs in less than 20 minutes, and requires no modifications whatsoever to most guitars. I was intrigued, so I decided to put one on my favorite Strat.I had Gary Brawer perform the install, which required removing the tuners from my ’50s reissue Strat neck and drilling the holes out to accommodate the Tronical tuning machines. (It’s important to note that this step E LEDs will light up to show which tuning is currently selected. Use the left/right buttons to scroll to other tunings. You’ll need to memorize what they are—A is DADGAD, B is Eb, etc.—but I found it easy to remember my favorites and get to them quickly. It comes loaded with 12 tunings and you can store six additional custom tunings as well. None of this would matter if the TronicalTune didn’t get your guitar perfectly and consistently in tune, and it absolutely does. A proper setup, with a well-slotted nut and great intonation is key—and I found that some pencil lead in the nut slots made everything work better—but this system totally performs as advertised. If a string is occasionally a little off, like a floppy low-E string tuned down to D, it’s easy to adjust manually. All in all, this is a brilliant, elegant solution for any player who wants to explore altered tunings quickly and easily, lugs multiple guitars to gigs to accommodate multiple tunings, or just plain hates to tune up. It looks great, works great, is a breeze to install, and is a great conversation piece to boot. Color me impressed. KUDOS Brilliantly simple installation. Top quality. Amazing creative tool. CONCERNS None. CONTACT tronical.com
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Gear News
System 10 Stompbox Digital Wireless System Audio-Technica Now Available Featuring a rugged pedal-board mountable receiver with foot switch, two switched TRS balanced 1/4” outputs and an output mode selector, the System 10 Stompbox provides unique functionality to guitarists. MSRP: $614.95 www.audio-technica.com
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JackTight™ simply and effectively solves one of the most common maintenance issues for guitarists and bassists- the loose output jack. JackTight™ stabilizes the jack so the nut can be tightened without the jack spinning. Jacktight Acoustic now available! Simply Brilliant! Price: $16.99 www.jacktight.com
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