8dfvdfv

THE BEATLES DAY TRIPPER

METALLICA

NOTHING ELSE MATTERS

RADIOHEAD

NO SURPRISES

ED O’BRIEN

In-depth interview new Fender + Ed’s Strat reviewed!

PRO TIPS ULTIMATE

PLAYING ADVICE FROM THE GUITAR’S BIGGEST NAMES + TAB AND AUDIO EXAMPLES

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MANAGEMENT

Welcome…

It’s our birthday! Our 300th, in fact. That’s 23 years of Total Guitar in which time we’ve seen countless genres become the current face of the guitar. We’ve seen heroes made, fade, and in some cases return. We’ve seen Slash go back to Guns N’ Roses, The Stone Roses split up, reform and apparently split up again, and The Rolling Stones… keep going. Some people say the guitar is dying, but maybe, like many things, it’s just a bit polarized. There’s barely any guitar in pop music, yet the biggest pop star on the planet stands alone on stage with nothing but an acoustic and a couple of pedals.

We’re obsessed with technology from the last century, yet we’re constantly striving – and managing - to replicate them digitally with greater accuracy. Music venues are making way for flats on a monthly basis, yet we can reach millions of people without leaving our homes. We have a world of free information at our fingertips, but we still choose to buy magazines. And for that, I’d like to thank each and every person reading this. It’s thanks to you that TG has reached its third decade on the shelves, and in the last year we’ve made it stronger than any other magazine out there.

For now, enjoy this month’s cover feature, where we’ve mined the hundreds of interviews we’ve run over the years to bring you advice straight from the mouths of bona fide legends.

We’re off to prepare for another 300 deadlines!

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Future cannot accept any responsibility for errors or inaccuracies in such information. You are advised to contact manufacturers and retailers directly with regard to the price and other details of products or services referred to in this publication. Apps and websites mentioned in this publication are not under our control. We are not responsible for their contents or any changes or updates to them.

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Stuart Williams Editor

MAKING THIS MONTH’S MAG

CHRIS BIRD

MICHAEL ASTLEY-BROWN

ROB LAING

This month’s cover feature, Ultimate Pro Tips, has got TG’s Tuition Editor thinking about his favourite interviews for the magazine: “My high points were picking Joe Satriani’s brain for two full hours and meeting Steve Vai,” says Chris, “but Mark Knopfler is the guitarist I’d most like to meet.”

Maybe one day, Chris...

This issue, Mike fell for the charms of Fender and Ed O’Brien’s ultra-versatile EOB Sustainer Stratocaster. Back in the summer, Radio-Ed himself handed our starstruck writer the guitar and invited him to try it, through Ed’s mammoth guitar rig, no less. No pressure, then. Fortunately, the review process was more relaxed.

Rob’s been giddy on a nostalgic journey this issue; he still has misty-eyed memories of cradling Radiohead’s The Bends and Stereophonics’ Word Gets Around on cassette after buying them in the local Woolworths. So he was overjoyed to talk guitar with two of the players behind them for this issue.

DECEMBER 2017 TOTAL GUITAR

03

#300

CONTENTS

MONITOR

006 First Look 008 Scene 010 Five Minutes Alone: Jonny Lang 012 On The Up 014 Me & My Guitar: Matt West 016 Album Reviews 018 Back Track: Brian Setzer

HOW TO

022 20 Minutes To… Better CAGED chords s 024 Riff Of The Month: AC/DC: Highway To Hell 026 Getting Started With… Vibrato 028 What The F? Extended Chords

FEATURES

046

PLAY LIKE THE PROS

030 Rig Tour: Weezer 034 Radiohead 040 Stereophonics 046 Play Like The Pros

LEARN TO PLAY

060 Jam Track: Pyschedelic Rock 062 Classic Track: The Beatles – Day Tripper 070 Open-mic Songbook: Radiohead – No surprises 072 The Turnaround: Johnny Winter

TG UNPLUGGED

080 News 082 Interview: Charlie Cunningham 082 Rockschool: Metallica – Nothing Else Matters

040 STEREOPHONICS TOTAL GUITAR DECEMBER 2017

SUBSCRIBE!

Subscribe to Total Guitar and save a whopping 30% on the regular cover price – turn to p112 for full details.

090 FENDER EOB SUSTAINER STRATOCASTER

THE GAS STATION

089 Start Me Up 090 Fender EOB Sustainer Stratocaster 094 Italia Vario 096 Jackson X Series Signature Adrian Smith SDXQ 098 Head To Head: P-90 Equipped Electric Guitars 104 Pedal Round-Up: Two-Channel Overdrives 108 Fix Your Guitar

MONITOR PEOPLE - NEWS - NOISE

BRAND SPANKING VENUE Photography: Joby Sessions

FIRST LOOK PEOPLE - NEWS - NOISE

Blackstar upgrades its HT Venue line to MkII specs with a raft of new features

B

lackstar’s original HT Venue range won bucketloads of praise for its workingmusician practicality and tonal bang-forbuck (not least from us), but the company has reworked the line for 2017 with the new MkII range. There’s a Ľye-strong line-up of new amps, and here we haye the HT Flub 70 MkII combo (£699) and HT Stage 100 MkII head (£779). Hach amp is fuelled by HFF;6 and HO67 yalyes, and oļers Felestion speakers, either in combo formats or in their accompanying cabs, while the whole range is more compact and lightweight, and features a newly-designed ‘studio-quality’ reyerb. That’s not all, though Ğ here’s what else they’re packing…

UP CLOSE 1 Revoiced The drive channels have been revoiced to be more responsive and offer a voice switch; clean channels offer separate bass and treble controls, too

2 Reduction A new power-reduction circuit allows you to run the amp at 10 per cent of its full wattage, for full-fat valve tone at lower volumes

3 Recording Blackstar has catered for just about every recording eventuality, offering USB, XLR and jack-emulated outputs, with switchable 4x12 or 1x12 voicings

DECEMBER 2017 TOTAL GUITAR

07

MONITOR PEOPLE - NEWS - NOISE

GEAR

SCENE

YOUR MONTH IN GUITARS

Flying Priest

08

Richie Faulkner has been on a incredible run since being drafted into Judas Priest as KK Downing’s replacement in 2011.

Firepower, his second studio album with the band, will be released early next year and to celebrate Epiphone are launching his Ľrst signature model= a Flying V Custom. It’s packing an EMG 66 in the neck position and 57 in the bridge with a Floyd Rose Tremolo 1000-Series locking vibrato and R2 locking nut (if you’re hell bent on divebombs).

WHEN Now

ALBUM GEAR

Rock By Name Before St Anger made us all wince, Lars Ulrich’s snare sound was an object of desire on Metallica’s self-titled 1991 record, AKA ‘The Black Album’. That and many other seminal rock albums were produced

by Bob Rock and now recording guitarists who use Toontrack’s celebrated Superior Drummer 3 software can get the producer’s signature expansion, The Rock Foundry SDX, which was recorded at The Warehouse studio in Vancouver.

WHEN Now

TOTAL GUITAR DECEMBER 2017

LORD OF THE STRINGS R

obb Flynn has likened the next Machine Head album Catharsis to a Tolkiensized cinematic experience, as he readies it for release early in 2018. “It’s 15 songs and 75 minutes so it’s a journey, it’s a commitment!” he tells us from his home in the Bay Area. “In the same way that The Lord Of The Rings is a commitment when you sit down and you’re stuck there for three and a half hours.” Grand compositions and themes are nothing new to the Oakland metallers, but it wasn’t premeditated.

“We just wrote and in some strange way we ended up having this theme that connected all the songs together,” he explains. “I don’t want to say it’s a

concept record because that sounds so fucking pompous but in some ways it’s a pompous concept record! We started to remove songs and take them out but everyone has its place. I look at our records like they’re movies – there are ups and downs, mellow parts and quiet parts, a lot of storytelling and it just felt weird to take any songs out.

“The thing that was the most surprising for us was that it was this grooving, melodic record,” Flynn reveals.

“It’s probably the least thrashy record we’ve ever done. There’s no reason it came out like that, it’s just that this melodic shit was what was getting our dicks hard. To me it’s the record that could have come after The Burning Red.” WHEN January and a UK tour in May

SCENE

GEAR

PIECES OF EIGHT T

he new pedals just keep on coming from the good folks at TC Electronic.

You want analogue? Well, how about eight very diÄźerent propositions. From the El Mocambo Overdrive and Honey Pot Fuzz to the Nether Octaver and Iron Curtain Noise Gate,

there should be something for everyone here.

Even more intriguing is the Crescendo Auto Swell, which TC describes as oÄźering “smooth, beautiful soundscapes of bitterly weeping orcasâ€?. Just don’t tell Greenpeace!

WHEN Now

REISSUE

NEW OLD NEWS

Rob Verhorst/Redferns

R

eissues of classic albums are now as common as blues noodling in a guitar shop, but the 40th anniversary of Queen’s News Of The World is bringing something a little more unusual to the table.

Alongside the original album – containing anthems We Are The Champions and We Will Rock You – the deluxe boxset will include the Raw Sessions disc; a never-before-heard parallel version of the 1977 album with alternate versions of the songs. And that includes all of Freddie Mercury’s vocals and most of Brian May’s lead guitar parts.

WHEN Now

MONITOR PEOPLE - NEWS - NOISE

Even guitar heroes can slip up: Jonny Lang ’fesses to on-stage humiliation opening for Aerosmith...

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Just a castaway, an island lost at sea ģWkhuhġv#wklv#olwwoh#Ľyh0zdww#Qdwlrqdo#dps#zlwk# dq#;%#vshdnhu#wkdw#L#soxjjhg#lq#dqg#p|#olih#kdv# qhyhu#ehhq#wkh#vdph#vlqfh1#Lw#lv#dq#xqeholhydeoh# dps1#L#zrxog#xvh#wkdw#zlwk#p|#Whohfdvwhu/# dowkrxjk#L#kdyh#wr#vd|#p|#Ohv#Sdxo#lv#d#forvh# vhfrqg1Ĥ

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10

Baby, come back ģZh#kdg#d#wudlohu#vwrohq#zkhq#L#zdv#olnh#49#|hduv# rog1#Wkdw#kdg#d#orw#ri#jhdu#lq#lw#dqg#lw#kdg#d# frxsoh#ri#rog#jxlwduv/#d#frxsoh#ri#:3v#Whohv#dqg# rqh#ri#wkrvh#zdv#uhdoo|#vshfldo#wr#ph1#L#zlvk#L# frxog#jhw#lw#edfn1Ĥ

FIVE MINUTES ALONE

JONNY LANG The teen prodigy turned blues statesmen on first guitars, lost Teles and winning a Grammy Got my first real six string ģP|#gdg#erxjkw#ph#p|#Ľuvw#jxlwdu#iru#p|#46wk# eluwkgd|1#Kh#pxvw#kdyh#hpswlhg#rxw#wkh#edqn# dffrxqw#iru#lw1#Lw#zdv#d#4<95#uh0lvvxh#Vwudw=#zklwh# zlwk#d#juhhq#slfnjxdug1#Wkdwġv#d#suhww|#srsxodu# jxlwdu1#Vkruwo|#diwhu#wkdw#L#ehfdph#dq#Doehuw# Froolqv#idq#dqg#kh#zdv#d#Whohfdvwhu#jx|#vr#L#kdg# wr#eh#d#Whohfdvwhu#jx|#wrr#^odxjkv`1Ĥ

wr#ph1#Wkh#wklqjv#wkdw#glgqġw#frph#qdwxudoo|#L# zrunhg#uhdoo|#kdug#dw1#L#doprvw#jdyh#xs#sod|lqj# d#ploolrq#wlphv#ehfdxvh#L#frxogqġw#gr#zkdw#L# zdqwhg#txlfno|#hqrxjk1#Hyhu|rqh#zkr#sod|v# jxlwdu#jrhv#wkurxjk#wkdw/#Lġp#vxuh1#L#zdv#mxvw# revhvvhg#zlwk#wkh#jxlwdu#dqg#L#zrxogqġw#ohw#lw#jr1# L#sod|hg#gd|#dqg#qljkw1Ĥ

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TOTAL GUITAR DECEMBER 2017

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Blood on your face, you big disgrace ģZh#zhuh#rq#wkh#urdg#zlwk#Dhurvplwk#dqg# sod|lqj#lq#Plqqhdsrolv/#Plqqhvrwd/#zklfk#dw# wkdw#wlph#zdv#p|#krphwrzq1#L#zdv#h{flwhg#wr# eh#rshqlqj#iru#Dhurvplwk#dqg#derxw#kdoizd|# wkurxjk#wkh#vkrz#L#volsshg#rq#vrph#zdwhu#ru# vrphwklqj#rq#wkh#vwdjh1#Lw#zdv#olnh#rqh#ri#wkrvh# vodsvwlfn#prylhv#zkhuh#d#jx|#volsv#rq#d#edqdqd# shho#dqg#jrhv#lpsrvvleo|#kljk#lqwr#wkh#dlu1#L# odqghg#ľdw#rq#wkh#jurxqg#lq#iurqw#ri#53/333# shrsoh1#Lw#zdv#euxwdo1#\rx#fdqġw#wdnh#lw#edfn$Ĥ

Jonny Lang’s latest album Signs is out now on Provogue

Words: Richard Chamberlain

“I WAS JUST OBSESSED WITH THE GUITAR AND I WOULDN’T LET IT GO. I PLAYED DAY AND NIGHT”

One more time with feeling

MONITOR PEOPLE - NEWS - NOISE

12

O N T H E U P

THE GLORIOUS SONS Ramble-rock onslaught from Ontario T

Samantha Falco

TOTAL GUITAR DECEMBER 2017

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FOR FANS OF Monster Truck, Kings Of Leon GEAR Gibson ES-335

THE EAMMONS’ BRAND OF FRICTION-GENERATED ‘ELECTRICITY’ POWERS THE HEART OF THIS BAND

ON THE UP

PEOPLE - NEWS - NOISE

CHARLOTTE CARPENTER

REWS

Evolving songwriter refusing the pigeonhole

Lightning strikes twice in London

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g|qdplfv/#glļhuhqw#w|shv#ri# ryhugulyh/#dps#vrxqgv/#dq|wklqj# wkdw#zloo#khljkwhq#wkh#dwprvskhuh# ri#wkh#vrqj1Ĥ#Dq#lqghshqghqw# duwlvw#wr#wkh#fruh/#Fkduorwwhġv#vwdu#lv# ulvlqj/#prvw#uhfhqwo|#zlwk#wkh# srzhuixo#Iluh#odqglqj#WY#v|qf# vsrwv1#ģPruh#shrsoh#duh#ehfrplqj# pruh#dzduh#ri#wkhvh# ^rssruwxqlwlhv`/Ĥ#vd|v#Fkduorwwh1# ģExw#vrph#^lqgxvwu|`#shrsoh#wu|# dqg#pdnh#|rx#ihho#rwkhuzlvh1Ĥ FOR FANS OF Marika Hackman GEAR Fender Telecaster, Vox AC15, Line 6 M9

G

g|qdplvp#dqg#wkxqghurxv#ulļv# wkdw#duh#fxvwrp#pdgh#wr#ulydo#wkh# wxeh#wudlq0uxpeoh#ri#vxewhuudqhdq# urfn#kdxqwv1#Iurp#rshqhu#Ohw#Lw# Uroo#wkurxjk#wr#Zh#H{sorgh/#uhfhqw# ghexw#S|ur#lv#fkrfn#ixoo#ri#wkh# odwwhu1#ģD#ulļ#vkrxog#eh#d#jxlwduġv# zd|#ri#vd|lqj/#ĠVlqj#zlwk#ph#ede|$ġĤ# vd|v#Vkdxqd1#ģLwġv#vrphwklqj#wkdw# zloo#odwfk#rqwr#vrphrqhġv#yrfdo# fkrugv#dqg#pdnh#wkhp#ihho#olnh# wkh|ġuh#sduw#ri#wkh#edqg1Ĥ FOR FANS OF Royal Blood GEAR Fender American Tele, Marshall DSL40C

SECT

ISLAND

WHO:#Qruzhjldq/#Dqqd#Ohqd#Euxodqg SOUNDS LIKE:#Khdy|0khduwhg/#grzq0wxqhg#

WHO:#Mdphv#Fkdqj#+Fdwkduvlv,#dqg#Vfrww#Furxvh# +Hduwk#Fulvlv,

WHO:#Jxlwdulvwv#Uroor#Grkhuw|#dqg#Mdfn#Udhghu SOUNDS LIKE:#Vriw0vkhoohg/#rfhdq0zduphg#

mdqjoh#srs1#Vxeyhuvlyh#exw#zlwkrxw#ehlqj# ryhuo|#guhvv| GEAR:#Jxlog#VwduĽuh#8/#Yr{#DF48/#HK[#Phpru|# Er|/#PHVD2Errjlh#Julg#Vodpphu

SOUNDS LIKE:#D#hvvhqwldo#uhplqghu#ri#wkh# uljkwhrxv#srzhu#dqg#vhdulqj#ylwulro#ri#kdugfruh GEAR:#Mdphv#0#OWG#HF4333/#Txlowhu#Wrqh#Eorn# 5331#Vfrww#0#OWG#HF4333/#Pdwul{#YE;33

lqglh#wrqhv#0#wkh#zruwk|#uhvxow#ri#dssur{1# 43/333#krxuv#vshqw#wzlggolqj#ghod|#vhwwlqjv GEAR:#Uroor#Ğ#Juhwvfk#J9455W/#Yr{#DF631#Mdfn# Ğ#Ihqghu#Md}}pdvwhu/#Krw#Urg#Ghox{h#LLL

FOR FANS OF Earth Crisis, Cursed HEAR Open Grave

FOR FANS OF Palace, The Maccabees HEAR Dreaming Of

Jonathon Morgan , Alice Raini, Chuck Johnson, Mel Tjoeng

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FOR FANS OF Deerhoof, Sharon Von Etten HEAR I Wanna Dance

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DECEMBER 2017 TOTAL GUITAR

MONITOR

3

PEOPLE - NEWS - NOISE

“When I sent over the specs for my guitar I said the only thing I wasn’t using on the Jetstream 360 model I had was the neck and middle pickup. I asked them to take them out because I kept dragging my pick on them. Years ago I saw Green en Day using P-90s and I ended up picking up a guitar with one. e. I liked the tonality, how it reflects what you’re picking. I found d with a lot of humbuckers that they were good but there wasn’t n’t really much dynamic range with them. With the P-90, iff I’m picking lightly or playing a clean part you can really hear ar it; if I’m going full throttle and smacking the living daylights hts out of the strings you can feel the grit and bite.”

1

It’s super light. It’s made of korina and is solid with no chambers. The guitar I can compare it to weight-wise is an SG. It’s between that and a Strat.

For me, because we’re such an active band on stage, I really need a guitar that sounds meaty but at the same time allows me to move around a lot without it crippling my back.

Because I’m not getting any younger and the more I’m moving around, the more it’s hurting after the sets! I need to start looking after my back a little more.

4 5

Photograph: Elliot Ingham

ME AND MY GUITAR

MATT WEST NECK DEEP

14

The Welsh pop punks’ guitarist breaks down his new Reverend signature model “With the bridge pickup I find that it might be a bit bassy on some parts and needs to be a bit twangier. With the bass contour control you can roll it off to any point that you like and it gives you a lot more control. It feels like you have the added ability of two pickups. I use it within songs. If I need more of a crunchy sound it can take a lot of the big bite out of it by rolling off the bass. I use it on clean parts as well, so it’s not too booming and loud out front and it sounds more sparkly.”

2

“I asked for the headstock to be upside down, so the strings had further travel. I find with a reverse headstock that it stays in tune better. Originally, we thought a reverse headstock would just be cool but when they sent the prototype over I was finding it was perfect tuning wise between songs. I’d never really had that before. It stayed dead centre every time.”

1

2 4

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TOTAL GUITAR DECEMBER 2017

“I’ve always liked maple ’boards. The first nice guitar I ever bought myself was a Fender Thinline ’72 reissue and that had a maple neck. The neck on these guitars is a satin amber finish, kind of unfinished at the back so it’s really smooth and fast to play. That’s the one thing that hit me when I picked the guitars up for the first time.

There’s no stickiness. It’s really fast but you feel like you have a lot of control.”

5

MONITOR

EXCEPTIONAL

| EXCELLENT

| GOOD

| FOR FANS OF

| POOR

PEOPLE - NEWS - NOISE

albums INTERVALS

THE WAY FORWARD aron Marshall has had an unexpected path forward with his progressive metal project.

He started Intervals as an instrumental group, before the decision was made to add then-bassist Mike Semesky to vocal duties for 2014’s impressive debut album A Voice Within.

After going back to square one instrumentally when that lineup fragmented, The Way Forward Ľnds him developing his accomplished technique with nods to Plini, Vai and Guthrie (parts of opener Touch And Go recalls the latter’s melodic arpeggios on Waves). But compared to AVW’s more engaging atmosphere, the sometimes clinical moods here struggle to maintain engagement.

David Hands Download Rubicon Artist

A

NOEL GALLAGHER’S HIGH FLYING BIRDS

16

WHO BUILT THE MOON?

s Noel’s back catalogue threatens to enter the realm of national treasure he’s keen to take a leaf out of Paul Weller’s book and become a ‘changing man’. Under the production of David Holmes, they’ve set the dials to ‘cosmic pop’. A move that’s already polarised with the infectious glam punk of single Holy Mountain. But the path to the summit here twists further...

It’s A Beautiful World is a prime example of where the approach of processed beats, shimmery guitar textures and Gallagher’s euphoric melodies work in harmony to create an otherworldly but accessible sound. He’s dipped toes into these waters before, of course (Setting Son and Falling

Photography: Laura Lewis Lawrence Watson

A

TOTAL GUITAR DECEMBER 2017

Down) but never so brazenly. And much ground is covered: Be Careful What You Wish For is a cheeky nod to Come Together; She Taught Me How To Fly is New Order playing 70s disco and If Love Is The Law has Spector’s Wall Of Sound approach.

His traditional strum and solo is out; the guitars are orchestrated here, along with a kitchen sink judging by the twisted majesty of The Man Who Built The Moon, which sounds like The Masterplan after six months in Asia ‘Ľnding’ itself before deciding to become a Bond theme. It’s a little strange by Noel’s standards, but just the right amount to enhance his songs.

Rob Laing DOWNLOAD It’s A Beautiful World

THE LAST ALBUM I BOUGHT…

Lucy Rose TINY RUINS BRIGHTLY PAINTED ONE “I have fallen in love with her music. It’s a calming record for me, the tone of her voice is beautiful and

the simplicity of her songwriting really allowed me to connect to the lyrics, which paint strong

visual images. What can I say? This is the type of record that reminds me why I love music.”

THE FACELESS

IN BECOMING A GHOST revolving cast of extras and touring issues has detracted from three excellent albums from The Faceless. Far from being just another tech metal band desperate to Ľnd new combinations of polyrhythmic spats and diĿcult riļs, Michael Keene’s ensemble explore new realms, with more in common with the gorgeous expanses of Opeth and Enslaved. The troubling moroseness of Cup Of Mephistopheles explodes into bursts of precision black metal while (Instru)mental Illness throws everything into a three-minute metallic maelstrom. Claustrophobic yet clear, ugly and pristine, this is another wild sonic banquet from The Faceless.

Adam Rees Download The Spiralling Void

A

U2

SONGS OF EXPERIENCE

TYLER BRYANT & THE SHAKEDOWN

TYLER BRYANT & THE SHAKEDOWN

ooking back, 2000’s Beautiful Day was a bit of a double-edged sword. On the one hand, a glorious comeback single. But it signalled the end of U2’s attempts to explore interesting darker territory and introduced their seemingly self-conscious eagerness to please with euphoric hit anthems and diminishing returns.

Get Out Of Your Own Way is an aptly-titled example and alongside Love Is Bigger Than Anything In Its Way, their dynamics and progressions sound somewhat ľaccid and regurgitated next to stirring standout The Little Things That Give You Away. However, the rollback to live-in-a-room grooves, especially on strummy The Showman, funky The Blackout and spiky Red Flag Day proves a savvy move.

Rob Laing Download The Little Things That Give You Away

s apprenticeships go, Bryant’s time as a young blues Ľrebrand before moving to Nashville and then touring with AC/DC and Guns ’N’ Roses is impressive. After a longer gestation than planned, the 26 year-old’s ready to follow up on the riĿer elements of his 2013 debut, bringing a heavier fuzz weight to the likes of BackĽre, Easy Target and the slower, surprisingly Arctic Monkeys-esque grease of Jealous Me. Though the dusty slide of Ramblin’ Bones is a throwback to earlier days, these are solid 70s rock values with notes having been taken from his time with Slash and Co on Weak And Weepin’.

David Hands Download Weak And Weepin’

KYLE SHUTT

SAMANTHA FISH

he vogue for reimagining iconic albums continues apace with Kyle Shutt, guitarist with Texas rockers The Sword and now Doom Side Of The Moon, a project to transform Pink Floyd’s 1973 opus into something heavy.

Fans of low-end noise may feel short-changed by an all too reverential sound that rarely strays far from the originals; and despite the gutsy Iommi-Ľcation of classics like Time and Any Colour You Like, there’s little here to justify the ‘doom’ label. It would be hard to fault the band’s chops, though, particularly Kyle Shutt’s gritty solo work on the likes of Money. If only, as the lyric goes, they had something more to say…

Stephen Kelly Download Money

his Missourian is often billed as a blues artist, but on the strength of her two albums this year that’s doesn’t do justice to the breadth of her evolution. Following Chills & Fever’s electriĽed r’n’b covers, she’s grabbed her acoustic and is heading homewards to the midwest prairies for Americana. It again shows what a versatile playing and songwriting talent she’s become. Produced by guitarist Luther Dickinson, she nods back to her blues roots with a take on RL Burnside’s Poor Black Mattie, mixing it into a loose and live countriĽed feel elsewhere. It’s a good Ľt for the midwestern twang of her voice and laid-back breaks in Cowtown and the tremolo-soaked No Angels.

Rob Laing Download Need You More

L

DOOM SIDE OF THE MOON

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A

BELLE OF THE WEST

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MONITOR PEOPLE - NEWS - NOISE

Get to grips with the Setzer strut with TG’s guide to the rockabilly king of the Gretsch

back track

18

A GUITARIST’S GUIDE TO THE ARTISTS YOU NEED TO KNOW

Words: Simon Bradley` Photography: Robert Knight/Redferns

BRIAN SETZER With a unique style that mixes jazz, punk, blues, country, swing and rock, all slathered in a brand of greasy, street rockabilly pioneered by the late, great Eddie Cochran, Brian Setzer is a true original.

Setzer’s incredible technique is worthy of attention by any guitar player and there are few more enjoyable methods of opening up the fretboard than learning some of his solos and chord progressions.

TG sifts through his diverse back catalogue to show just where you should begin...

TOTAL GUITAR DECEMBER 2017

START WITH

THE DIRTY BOOGIE

(1998)

The Brian Setzer Orchestra’s third release Ľnally found the perfect mix of rockabilly swagger with music pioneered during the 1960s by the likes of Glenn Miller and Count Basie, and bopping opener This Cat’s On A Hot Tin Roof eļortlessly proves that a Gretsch-strangling hepcat is ideally suited to fronting a 17-piece big band. Let’s Live It Up is underpinned by a wonderful rhythm guitar track and topped by a death-defying solo and even This Old House, written 27 years before the Shakin’ Stevens version (This Ole House) invaded the nation’s radios, is wholly reinvigorated. Hlsewhere, a genre-deĽning version of Sleepwalk and a romping rendition of Louis Prima’s 1986 classic Jump, Jive An’ Wail are nicely oļset by a splendidly smutty duet with Gwen Stefani during You’re The Boss, and this is a joy from beginning to end.

Recommended track: Let’s Live It Up

1

BACK TRACK PEOPLE - NEWS - NOISE

THEN TRY

STRAY CATS

(1981)

Although the trio (completed by double bassist Lee Rocker and drummer Slim Jim Phantom) had made an impact in the clubs of Long Island and New York, it wasn’t until they relocated to Blighty that success caught up with them, and not before time. The edqg#frrnv#xs#d#xqltxh#vwudlq#ri#Ľhufho|# authentic yet infuriatingly catchy rockabilly, and their debut demonstrates just how adept they were at doing so: Runaway Boys, Rock This Town#dqg#wkh#pdjqlĽfhqw#Stray Cat Strut all have a well-deserved place in the pantheon of down ’n’ dirty American rock ’n’ roll. Setzer’s jaw-dropping technique, also notably evident during Double Talkin’ Baby and Fishnet Stockings, formed the core of the band’s entire career and it really didn’t get better than this.

Standout track: Fishnet Stockings

2

DON’T MISS OUT

ALSO RECOMMENDED

ROCKABILLY RIOT VOL. 1: A TRIBUTE TO SUN RECORDS

IGNITION!

(2005)

A collection of faithful recreations of songs released by Sun Records during the mid 50s, including Get Rhythm by Johnny Cash, Roy Orbison’s striding Rockhouse and Carl Perkins’ original arrangement of Blue Suede Shoes. With lesser-known gems such as Lonely Weekends by Charlie Rich and Tommy Blake’s Flat Foot Sam, the arrangements are engrossing.

Accompanied by period-authentic acoustic guitar and piano alongside bass and drums, Setzer’s in his element, using a Gretsch Duo-Jet and a Supro combo recorded in an empty water tank for reverb.

Standout track:: Rockhouse

3

WORTH A SPIN

WILD CARD

WOLFGANG’S BIG NIGHT OUT

THE ULTIMATE COLLECTION

An album of jumpin’ reimaginings of classical standards, with tracks possessing modernised titles, such as For Lisa, which is based around Beethoven’s Für Elise. Approached with the BSO’s usual pizzazz, Swinging Willie combines walls of saxophones zlwk#phoorz#q|orq0vwulqj#ľxuulhv/#zkloh#wkh# Ľqjhu0nqrwwlqj#fkrugv#vhfxulqj#1812 Overdrive should be incorporated into every player’s lexicon. After brilliantly concluding Yes We Can Can with the Smoke On The Water#ulļ/#wkh# frenzied Sabre Dance ups the ante before Setzer sxoov#rļ#zkdw#zrxog#eh#rqh#khoo#ri#d#sduw|#slhfh/# playing Rimsky-Korsakov’s Flight Of The Bumblebee on a Gretsch 6120. Staggering.

Standout track: Honey Man

There’s an extensive selection of live albums to try, both from the Stray Cats and Setzer’s various other concerns, but wklv#EVR#rļhulqj/#uhfrughg#lq#Mdsdq/#wdnhv#wkh# biscuit. Both the man himself and the band are rq#Ľuh/#iurp#rshqhu#Hawaii 5-0 to a stomping version of Rock This Town that sees Setzer downtuning his sixth string with nary a pause to rock out. Amongst the many highlights is the rampant Drive Like Lighting, all feedback and Bigsby divebombs, Glenn Miller’s revered Pennsylvania 6-5000, and a beautiful rendition of I Won’t Stand In Your Way, with Setzer singing with real emotion whilst wrangling impossible chords from a Gretsch Spectra-Sonic baritone.

Standout track: I Won’t Stand In Your Way

(2007)

5

(2001)

Brian Setzer revisits the trio format with ’68 Comeback Special and their only release so far brims with simply gloriously raw rockabilly. Although comprising just guitar, zkdoh#Ľggoh#dqg#guxpv/#wkh#glyhuvlw|#ri#wkh# material, all penned by the guitarist, is impressive – be it the incendiary title track, the wistful Dreamsville, or the poppier ’59. A odlg0edfn#dfrxvwlf#iudphv#wkh#Odwlq0ľdyrxuhg# Santa Rosa Rita, while the jolly Rooster Rock acknowledges the comedic farmyard themes instigated by Louis Jordan’s 1947 classic Ain’t Nobody Here But Us Chickens. Joe Strummer co-wrote Who Would Love This Car But Me? but it’s Hot Rod Girl that rules this particular roost; the Fkhw#Dwnlqv0vw|oh#ľdwslfnhg#ulļ#dqg#vror#duh# frankly unbelievable.

Standout track: Hot Rod Girl

4

AVOID!

ROCKIN’ RUDOLPH (2015)

(2004)

6

BSO regularly record Christmas albums and several preceding releases, particularly 2002’s Boogie Woogie Christmas are genuinely enjoyable albeit when played in mid-December. Proceedings khuh#ľluw#wrr#forvho|#zlwk#kdfnqh|hg#Yhjdv# martini-hem for comfort though, with the likes of the sluggish Have Yourself A Merry Little Christmas only saved by a great guitar solo. The harmony guitars of Carol Of The Bells are interesting, but any goodwill dļrughg#e|#wkh#irrw0zduplqj#Hark! The Herald Angels Sing is quickly dispelled by the ill-judged Yabba-Dabba Yuletide: it’s as toe-curling as it sounds.

Standout track: Hark! The Herald Angels Sing

7

DECEMBER 2017 TOTAL GUITAR

19

COMPETITION

20

TOTAL GUITAR DECEMBER 2016

WIN!

WORTH OVER £2000

TG’S 300TH ANNIVERSARY GEAR BUNDLE THIS SELECTION OF GEAR AND MERCH WORTH OVER £2000 COULD BE YOURS! n case you hadn’t notice, we’re celebrating our 300th issue this month, and what better way is there to mark the occasion than by giving away a hoard of gear, accessories and merchandise to one lucky TG reader?

Thanks to the generosity of the companies to the left, that’s what we’re doing. We’ve included everything from strings to pedals, electric and acoustic jxlwduv/#dpsv/#dqg#hyhq#vrph#vwxļ#wr# wear – with a combined value of over

I

£2000 – and entering is easy. Simply visit the link below and answer the question correctly to be in with a shot.

Who was TG's first cover star on the front of Issue 1? a. Jimmy Page b. Jimi Hendrix c. Jimmy Nail Enter here: http://www.musicradar.com/news/ total-guitar-300th-issue-gear-giveaway

WHAT'S IN THE BUNDLE: EVH 5150 Micro Stack evhgear.com Charvel t-shirts www.charvel.com Gretsch bag, pens, lanyard, patches www.gretschguitars.com Blackstar HT Venue Club 40 MKII www.blackstaramplification.co.uk Music Nomad Premium Guitar Care System, www.musicnomadcare.com Boss PW3, DS1-4A, CH1, DD7 www.roland.co.uk

Yamaha FG830 acoustic guitar uk.yamaha.com Jackson X Series Adrian Smith SDXQ www.jacksonguitars.com Taylor Bar Stool www.taylorguitars.com Fender Mini ’57 www.fender.com TC Electronic Polytune Clip www.tcelectronic.com Elixir Strings (20 sets, acoustic and electric) www.elixirstrings.com

T&Cs: The competition is open to UK entrants only. Under 18s must obtain parental consent to enter this competition and be able to demonstrate this to Total Guitar’s reasonable satisfaction. Answers must be received between 17/11/2017 and 15/12/2017. The winners will be selected at random from all correct entries received between the relevant dates and will be sent the prize free of charge. Each winner will be notified within 28 days of the closing date and will be required to give details of a delivery address in the UK to which the prize should be sent. By entering this competition, you consent to us using your personal details to send you information about products and services of Future and Fender that may be of interest to you. For full terms and conditions, please go to: www.futurenet.com/futureonline/competitionrules.asp

DECEMBER 2015 TOTAL GUITAR

21

HOW TO WHAT YOU WILL LEARN How to play major, minor and 7th CAGED chords How to relate every chord to other shapes on the neck Develop your ability to improvise with chords

20 MINUTES TO… 22

LEARN CHORDS ACROSS THE FRETBOARD

Unlock the fretboard and play chords across the neck with this ingenious system. You’ll never look at the guitar the same way again!

T

he system we’re talking about is known as the CAGED system, so called because it refers to those beginner chord shapes that we all know in open position (ie, open C, A, G, E and D chords). The idea of this whfkqltxh#lv#wr#uhduudqjh#wkhvh#Ľyh#vkdshv#dv# eduuh#fkrugv#dqg#pryh#wkhp#durxqg#wkh#

fretboard. Sounds tough? Well, no. It’s actually easy to learn because all the shapes link together in a logical way – and it works with minor chords too.

Rather than repeat lots of boring exercises, in wklv#ohvvrq#zhġyh#wulhg#wr#pdnh#wkhvh#h{dpsohv# as musical and ‘real world’ as possible. From Jimi Hendrix to John Mayer, all the great

guitarists use these shapes, perhaps without hyhq#wklqnlqj#derxw#wkhp/#vlpso|#Ľqglqj#wkh# best one for the right moment. Generally, it’s jrrg#sudfwlfh#wr#dyrlg#elj#ohdsv#xs#ru#grzq#wkh# fretboard as this can be awkward for the Ľqjhuv/#exw#wkh#uhdo#ehdxw|#ri#wklv#v|vwhp#lv# wkdw#|rx#fdq#h{shulphqw#wr#Ľqg#zkdw#vrxqgv# good to you.

MAJOR CHORDS

TRACK 7

q = 80-120

D

# . & # 44 .. œœœœ ...

C shape

T A B

. .

3 2 4 5

‰

œœ .. œœ . .

‰

œœ .. œœ .. ( œ .)

œœ .. ‰ œœ .. ( œ .)

A shape

G shape

E shape

7 7 7 5

7 7 7 9 (10 )

10 11 12 12 (10 )

‰

ww ww

..

D shape 14 15 14 12

. .

This is the all-important starting point. Learn each of these shapes, noting the slightly awkward note in the G shape that we’ve put in brackets – most guitarists don’t tend to play this note. The bracketed note in the E shape can be played, but it illustrates that you don’t have to play every note of the chord. Hendrix rarely would!

TOTAL GUITAR DECEMBER 2017

20 MINUTES TO BETTER CAGED CHORDS MINOR CHORDS

TRACK 8

q =100-130 (E)

( D)

Gm

b & b 44 .. œ T A B

. .

5

œ œ œœ œœ ‰

œ. œœœ J

3 3 3

6 8 7 5

3 3 3

(A)

œœœ œ

œ

10 11 12 12

12

(E)

(C)

œœ. œœ J

œœœ œ ‰ 10 11 12 12

œ

6 8 7 8

œœ. œœ J

(C )

œœ œœ œ œ ‰ 8 8 8

10

8 8 8

(G )

(A)

œ

11 13 12 13

j œœœ œ.

œœ œœ œœ œœ ‰ 3 4 5 5

3

3 4 5 5

.. . .

4 5 5 6

This reggae groove passes through all five CAGED chords, this time using minor shapes and in a much more musical way. If in doubt, refer back to the five open-position chords (and their minor variants) to see how our rhythm part relates to those crucial basic shapes. Note that the shapes used are written in brackets over the music.

MAJOR/MINOR CONNECTION

TRACK 9

q = 65-90 ( C)

# # # 4 œœ & # 4 .. œœœ T A B

. .

(E)

(A)

E

4 5 4 6 7

œ

œœ œœœ

œœ œœœ

œœ œœœ

7

4 5 4 6 7

4 5 4 6 7

4 5 4 6 7

C # m7

œœ œœ œ

œœ œœ œ

œœ œœ œ

œœ œœ œ

œœ œœ œ

œœ œœ œ

4 5 4 6 4

4 5 4 6 4

4 5 4 6 4

4 5 4 6 4

4 5 4 6 4

4 5 4 6 4

( D)

G # maj 7 Amaj 7

Amaj 7

œ œœ œ

œ

5 6 6

8 8 8 6

5 6 6

5

œœ œœ

œœ œœ

œœ œœ œ

œœ œœ

9 9 9 7

9 9 9 7

9 9 9 7

9 9 9 7

. #œ œœœ ‹ œœœ œ

5

7

¿¿Play ¿¿4 times ¿¿ ¿¿ .. ¿¿ ¿¿

¿¿ ¿¿ . .

5

1

23

Notice how simply changing the bottom note of the E chord turns it into C#m7 – all the other notes stay the same. This ‘sharing’ of common notes is key to unlocking the fretboard and learning how shapes ‘join up’. If the final Amaj7 chord had, for example, an 11th fret C# note on the fourth string, it would transform into a C#m chord.

DOMINANT 7TH WORKOUT

TRACK 10

q = 60-100 (C)

(E)

( A)

( D)

D7

G7

C7

F7

# # # # 4 . n n œœ œœ 4 . n œœ œœ & . .

T A B

. .

3 5 4 5

3 5 4 5

n œœœ n œ.

œœ œœ .

4 3 5 3

4 3 5 3

œ n bn œœœ .

œ œœœ .

5 3 5 3

5 3 5 3

(G)

b œœœ œ.

œ œœœ .

5 4 5 3

5 4 5 3

(C )

Bb7

Eb7

bœ n b b œœœ .

œœœ n b bb œœœœ œ. .

3 6 5 6

3 6 5 6

4 6 5 6

(E )

Db7

œœœ n œ œ œ. b œœ œœ b œ. œ.

4 6 5 6

5 4 6 4

( D)

( A)

Ab7

5 4 6 4

Gb7

b n œœœ b œ.

œœ œœ .

6 4 6 4

6 4 6 4

bœ b b b œœœ .

6 5 6 4

(G )

(C)

(E)

B7

E7

A7

œœ œœ n n œœ . # œœ .

6 5 6 4

4 7 6 7

œœœ # n œœœœ œ. .

4 7 6 7

5 7 6 7

œœœ # œ œ. n œœ n œ.

5 7 6 7

6 5 7 5

œ . œœœ . .

6 5 7 5

. .

This tricky sequence places every chord a 4th interval higher than its predecessor. Don’t worry if you don’t understand the theory – it doesn’t matter for now. The key here is the efficient movement of chords. With so many potential CAGED shapes at your disposal you can play this progression with no big moves up or down the fretboard.

PRACTICE PLAN 1. Two minutes: Play through one exercise slowly 2. One minute: Experiment with the number of notes in each chord 3. One minute: Move and adapt the chords to new fretboard positions 4. One minute: Play through the exercise up to speed 5. Try the other examples Once you’ve tried the tab exercises and had a go at creatively adapting them in different areas of the fretboard, you’ll start to see these connections like a jigsaw puzzle all over the neck – this can have a huge impact on your versatility as a player. Experiment by trying one or two of these different shapes in your next jam. It could be as simple as playing a familiar chord progression in a different area of the fretboard. Integrate these ideas and your knowledge of the fretboard and your ability to improvise will increase.

NEXT MONTH 20 minutes to… Better funk rhythm playing DECEMBER 2017 TOTAL GUITAR

HOW TO

WHAT YOU WILL LEARN Aggressive down-picked riffing Palm-muting and fret hand muting Three easy, open-position chord shapes

riff of the month

AC/DC

Get the tone 6

6

CHANNEL OVERDRIVE 6

6

Highway To Hell

24

riginally released in 1979, this classic AC/DC track sees Angus Young taking centre stage, launching lqwr#wkh#lqwur#ulļ# unaccompanied until the drums and vocals come in. You’ll need solid timing here, especially if you plan on playing the track with a band – the speed you play at sets the tempo for your bandmates to join in with. Try tapping your foot while you practise to help internalise the track tempo.

Wkh#vdph#ulļ#dovr#dsshduv#lq#wkh# verses, each time with the bass guitar dropping out. And with several pauses between the chords it’s fair to say you’ll be leaving a fair amount of space for the

O

3

vocals. We recommend resting the side of your picking hand on the strings at those moments when you aren’t playing. This will bring the chords to an articulate stop at the right points and keep your guitar quiet too.

CHEAT SHEET…

Appears at: 0:00-0:49 Tempo: 115bpm Key/scale: A Mixolydian Main techniques: Down-picking / open chords / powerchords

GAIN

BASS

MID

TREBLE

REVERB

Angus gets a powerful overdrive tone from a selection of 60s and 70s Gibson SGs plugged into Marshall amplifiers. No other effects are needed. If your guitar has single-coil pickups, try adding extra bass and gain on your amp to thicken things up. Dial in a decent amount of midrange on your amp to avoid the ‘scooped’ metal sound.

Bridge humbucker

PLAY GUITAR WITH... AC/DC (Guitar Tab with chord symbols, 48pp, £14.95 ref. AM955900) A beautifully-presented songbook, Play Guitar With… AC/DC lets you learn six of the band’s greatest hits along with specially-recorded CD backing tracks. Superbly transcribed guitar tablature and standard notation are available for every song. Chord symbols and complete lyrics are also included for rhythm guitarists and vocalists. Includes hit songs: Back In Black, Highway To Hell and Whole Lotta Rosie. Available from: www.musicroom.com

HIGHWAY TO HELL Written by Malcolm Young, Angus Young and Ronald Scott Copyright © 1977 BMG Rights Management (UK) Limited Reproduced by kind permission of Music Sales Ltd All Rights Reserved. International Copyright Secured

INTRO RIFF

TOTAL GUITAR DECEMBER 2017

Words: Jamie Hunt Photography: Getty

Angus hammers out this riff with heavy downstrokes – no upstrokes at all. The trick is to keep the idle strings quiet by resting your fretting fingers against the strings in question. Try also to keep that aggressive picking motion under control and aim to target only the strings shown in the tab.

HOW TO GETTING STARTED WITH…

VIBRATO Try your hand at one of the most expressive lead guitar techniques and put your own mark on every solo you play “Vibrato? What’s that then?”

Vibrato is an expressive technique that adds character to notes. It’s a set of very small string bends that are usually applied to sustained notes. Because there are so many possible variations, it’s one of the most distinctive parts of a guitarist’s style. Many players are instantly recognisable from just a single note that’s played with vibrato.

26

“Can it really make that much difference to your style? I need proof, TG!” Well, there’s no better proof than BB King. His stinging vibrato is a big part of why he’s one of the world’s greatest and most recognisable blues players. AC/DC’s Angus Young uses an aggressive fast, wide vibrato, which gives his playing an energetic sound.

“Point made. How do I do it?”

As we just said, you’re playing lots of tiny bends. There are two main types of vibrato (see photos), but the main thing to remember is that the movement usually comes from the zulvw/#udwkhu#wkdq#prylqj#wkh#iuhwwlqj#Ľqjhu#lq# isolation – this will give you more control. Our Ľuvw#wde#h{dpsoh#lv#d#vlpsoh#vorz#phorg|#wkdw# jhwv#|rx#xvlqj#doo#irxu#Ľqjhuv#vwudljkwdzd|1#\rx# can do any combination of fast or slow, narrow or wide. Just make sure every bend is the same

WHAT YOU WILL LEARN A simple lead lick with vibrato Up-down style vibrato technique Side-to-side style vibrato method

and that your speed is consistent. If you don’t, your playing may sound out of tune.

Two steps to getting it right

“Oh, that’s not as easy as it sounds. How can I improve?”

One thing you can do is vibrato ‘press ups’. Set a metronome to a slow tempo and bend the note by the same small amount in time with the metronome. This will help build muscle memory so that when you play at full speed the consistent movement will come naturally.

“How do I know what kind of vibrato suits me?”

It will take a bit of time for you to decide this, so grqġw#zruu|#iru#qrz1#H{shulphqw#zlwk#glļhuhqw# w|shv#dqg#suhww|#vrrq#|rxġoo#Ľqg#|rxuvhoi# gravitating towards your favourite method. You should also bear in mind that, whatever your preference, no one type of vibrato works for all situations, a slow ballad won’t necessarily ehqhĽw#iurp#d#idvw/#djjuhvvlyh#yleudwr$

You can use it on any note (lots of players use it on bends and long notes) and you can even apply it to chords. Spend a bit of time getting used to the basic technique using all four Ľqjhuv#dqg#lw#zrqġw#eh#orqj#ehiruh#|rx#fdq#jhw# stuck into these more advanced applications.

TRACKS 11-12

Bm

Em

1

3

~~~~~~ ~~~~~~ # œ. ‰ œ. ‰ & # 44 ..

T A B

. .

~~~~~~ 7

~~~~~~ 9

œ~~~~~~ .

G 2

~~~~~~ 8

. œ~~~~~~

Rotate your whole hand and move the string up and down like a mini string bend. Use your thumb if you need extra leverage.

‰

4

~~~~~~ 10

SIDE-TO-SIDE VIBRATO Again, move your whole hand, but this time move side to side to create a vibrato similar to violinists and cellists.

VIBRATO PRESS UPS

TRACK 13

q = 60

A

‰ .. . .

Keep your vibrato consistent in pitch (how far you bend the string) and rhythm (how long each bend lasts). Too hard? Play the notes with your strongest finger.

TOTAL GUITAR DECEMBER 2017

UP AND DOWN VIBRATO

“Can I use it on any note or chord?”

USING ALL FOUR FINGERS q =75

VIBRATO STYLES

Bm # # 4 w~~~~~~~~~~~~~~~~~~~~ w~~~~~~~~~~~~~~~~~~~~ & 4

~~~~~~~~~~~~~~~~~~~~ T A B

7

~~~~~~~~~~~~~~~~~~~~ 7

Bend the string slowly and see how far it moves. It should be the same every time hitting the highest point on one metronome click and the lowest on the next.

HOW TO

WHAT YOU WILL LEARN How to construct 7th chords using the major scale How 9th chords are built How to play a progression with some new chords

WHAT THE F?

ast month we saw how major and minor chords (called ‘triads’) are made of three major scale notes. Triads are made of stacked 3rd intervals – simply play a note, miss the next note, then play the following note to make a 3rd. Extend the scale into another octave and continue adding 3rds to build some richer-sounding chords – the kind favoured by jazz and funk players like Nile Rodgers. You can add any major scale note to a triad and you’ll always be in key. Some notes sound better than others, but, of course, trust your ear.

Read on as we look at some extended chords...

L

WHAT THE F? EXTENDED CHORDS Learn about the sounds of jazz and funk as we look at chords made of four or more notes 1 TRIADS AND 7TH CHORDS

TRACK 14-15

D#pdmru#wuldg#frqwdlqv#wkh#Ľuvw/#wklug#dqg#Ľiwk#qrwhv#iurp#wkh# scale. To make a 7th chord you add the seventh note of the scale.

These four notes give you the major 7th chord. Repeat this process on every note of the scale to create other 7th chords, for example Dm7 (D F A C), Em7 (E G B D) and so on.

C D EF G A BC 1 2 34 5 6 78 2 frets

2 frets 1 fret 2 frets

2 frets

q =100

Cmaj 7

4 &4 T A B

2 frets 1 fret

œœ œ œ

œœ œ œ

œœ œ œ

œœ œ œ

8 9 9

8 9 9

8 9 9

8

8

8

Am7

œœ œ œ

œœ œ œ

œ œœ œ

œœœ œ

8 9 9

5 5 5

5 5 5

5 5 5

5 5 5

8

5

5

5

5

Cmaj7 and Am7 are both 7th chords (C E G B and A C E G) in the key of C, even though the notes fall in a different order (C B E G and A G C E) in these shapes.

28

2 EXTENDING INTO ANOTHER OCTAVE

TRACKS 16-17

If you continue adding 3rds you will quickly reach the end of the scale. At this point the notes are repeated an octave higher. The numbers continue to ascend but the note names restart on the root note. We’ve only got space to go up to D (the 9th), but chords use 11ths (F) and 13ths (A) too.

Cmaj 9

2 frets 2 frets 1 fret 2 frets 2 frets 2 frets 1 fret 2 frets

j j œœ ‰ ‰ œœ ˙˙ œœ œœ ˙˙

j j 4 œ œ & 4 œœ ‰ ‰ œœ ˙˙˙ œ œ ˙ T A B

C D EF G A BC D 1 2 34 5 6 78 9

Dm9

3 4 2 3

3 4 2 3

5 5 3 5

5 5 3 5

The G note is missing from our Cmaj9 chord (C E G B D) to make the shape playable. Built on the second note of the C major scale, our Dm9 (D F A C E) lacks its A note.

3 USING DIATONIC EXTENDED CHORDS Cadd 9

& 44 T A B

œ œœœ œœ

œ œœœ œœ

8 8 9 12 10 8

8 8 9 12 10 8

C6

Am7

œœ œ œ

œœ œ œ

œœ œœ œ

œœ œœ œ

8 9 7

8 9 7

5 5 5 5

5 5 5 5

8

8

5

5

TRACKS 18-19 Dm9

œœ œ œœ

œœ œ œœ

5 5 5 3 5

5 5 5 3 5

Em11

œœœ œ

œœœ œ

5 8 7

5 8 7

7

7

Fmaj 7

œœ œœ œ

œ œœœ œ

5 5 5 7 8

5 5 5 7 8

G 7sus 4

G7

œœ œ

œœ œ

œœ œœ

œœ œœ

10 10 10

10 10 10

8 10 9 10

8 10 9 10

This example shows a range of different chords that can be created just from the notes in the C major scale. There’s quite a lot to work on here and some of the shapes may be new to you, so play slowly through the progression before trying them out over our short backing track.

TOTAL GUITAR DECEMBER 2017

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TOTAL GUITAR DECEMBER 2017

rig tour 1

2

3 Words Amit Sharma Photography James Sharrock

WEEZER

Rivers Cuomo and Brian Bell welcome TG inside their church of noise

T

here’s always been as much economy to Weezer’s guitar sounds as there has been behind the songs they’ve been writing since 1992. The Californian quartet penned some of the most infectious rock music to land in the aftermath of Smells Like Teen Spirit, throwing pop sensibilities and college angst into a neon wall of garage band fuzz, yet always favouring simplicity. Standing in a cavernous Wembley Arena as roadies rush by to complete their duties before doors open, guitarists Rivers Cuomo and Brian Bell laugh and shrug about only having a handful of guitars between them – it’s all they need. As they’ve shown time and time again – in the right hands, simple and straightforward methods can go a very long way indeed…

RIVERS CUOMO WARMOTH STRAT COPY

“This is actually a copy of a copy! Our original guitar player Jason [Cropper] was a very hands-on guitar techy sorta guy and he built the original. He played it and I liked it, so we traded. I had some kind scholarship from the community college where they give you work money to buy things, so I got a Telecaster, which I gave him in return for this Strat copy. I played that guitar for Weezer’s Ľuvw#frxsoh#ri#|hduv#ri# existence. And then my friend broke it, smashing it on stage.

I’ve been building exact

1

replicas of that copy ever since. There’s Seymour Duncan and Dimarzio pickups wired in, I think. It was never meant to sound like a Strat, it was always meant to sound like a Gibson with more of a high output! This thing is even hotter than my SG, it actually sustains.

GIBSON SG

“Here’s an SG that I had painted white. I originally got it in 2005 when I had this dream that I was playing a white SG. I remember it was such a great feeling in the dream… so I had to get one.

All the pickups are stock, I’m not sure about the tuning pegs. I’ll use it for the majority of the set, sometimes I don’t

2

even get the green one out. I always used to use the Warmoth but on one tour it was going totally out of tune, which never used to happen.

There must have been some kind of on-stage disaster or we might have had a new guitar tech, so I had to switch.

Instantly, I felt totally liberated – as a guitar player and a frontman. It weighs only half [of the Warmoth] and I could run around doing rock star poses! A lot of people told me it sounded better. Our drummer pointed out it sounds better playing with Brian, because he also uses a Gibson, the guitars seem to have a better tuning together.

Courtney Love has been on the back for a while…

DECEMBER 2017 TOTAL GUITAR

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rig tour

7 9

8

32

6

4

“[WITH THE SG] I FELT TOTALLY LIBERATED AS A FRONTMAN” RIVERS somewhere along the road, I had to name all my guitars to tell them apart. So I’d say, ‘Hey, give me Courtney!’ which is a bit cooler than ‘the white SG’, which sounds pretty lame.”

KEMPER PROFILER

ģL#mxvw#surĽohg#wkh#vhwxs#L#zdv# using before. It was the Diezel VH4 – I did all my main crunchy rhythm sounds, plus my crazy sustain lead. There’s also an ultra clean for Say It Ain’t So or Island In The Sun, plus a slightly crunchy tone for Troublemaker. I got everything I need and then over time I started adding things into my lead channel, like an octave lower or a crazy chorus or a little ľdqjh1#L#exlow#doo#wkhvh#glļhuhqw# sounds, it was really a lot of fun.

3

TOTAL GUITAR DECEMBER NOVEMBER 2017 2015

And all I use beyond that is my Boss tuner!”

BRIAN BELL GIBSON EXPLORER (CHAMPAGNE GOLD)

“This is actually Rivers’ guitar – it’s never been mine, so I don’t know the story of how he got that one, but I do know the story of how I got it… We were rehearsing at Rivers’ house and I saw it sitting in the corner. I asked if him if he was using it and he said, ‘Nah, go for it!’ After plugging in, I thought to myself, ‘Damn this thing sounds great!’ and it didn’t feel as fragile or precious as my vintage guitars, taking them out on the road brings the risk of damaging them. This thing is a solid guitar. If it falls, I

4

know it will be okay. If an SG falls, the neck is snapped! I don’t want to do that to my guitars. We have one back-up Explorer that’s just there and ready to go. It actually sounds better than the Champagne Gold on certain songs too. I very seldom break strings, but I did the other night and needed an immediate change.

Luckily, it was at a point where I could drop out, during a verse so I could come back in during the chorus. We both use Gibsons for pretty much the entire set – though there’s something to be said for combining Fender and Gibson together, which we’ve done in the past. You can get a great sound that’s kinda like having the best of both worlds. For the last couple of records, I have a beautiful ’64 SG that I’ve been using, and that’s it! The guitar is so versatile, but I can only use it for hometown gigs or rehearsals. In a live situation, anything can

WEEZER 5

10

33

happen in a moment… it feels a bit unprotected. So I keep it in this vintage case, and it has to be on a locking stand, never a normal one.

Rivers: “I got this particular gold Explorer around 2002 when we had lots of pyro and a big, heavy metal stage show! We used this all over Maladroit – it’s all that guitar.

I just really love the sound of it. I uhfnrq#wkdw#lw#suredeo|#txdolĽhv#dv# vintage now!”

MATCHLESS INDEPENDENCE

“I’ve been using these amps for a long while. There was one show, I think it was a festival in Korea where I had to use a Kemper, but I didn’t really have time to surĽoh#ru#surjudp#lw#olnh#wkhvh# jx|v#glg#dqg#L#frxogqġw#Ľqg#wkh# exact sound I was after. It was a little weird for me that I couldn’t Ľqg#vrphwklqj#L#zdv#kdss|#zlwk1# And I can’t use the Kemper for the Wdoner{#hļhfw/#lw#grhvqġw#ihhg#edfn# right. I still like my Boss and Rat

5

and Holy Grail pedals… I like my analogue amps and pedals because I understand them. I can see the parameters and adjust them on wkh#ľ|/#li#wkhuhġv#wrr#pxfk#uhyhue# ru#zkdwhyhu1#L#grqġw#qhhg#wr#ľls# through any banks.”

PRO CO RAT

“I’ve got an original one.

They’ve made a reissue that sounds really close, almost identical to that distortion sound.

It just bites and pops more than any other pedal. Sometimes you put on distortion on top of something already distorted and it’s like a math problem, everything cancels each other out, you know? This gives a big boost and I can always hear the notes really well. I’ll kick it in for any lead sounds.”

6

DLS EFFECTS ROTOSIM

“The last pedal I incorporated, because I try to keep all of this

7

real simple, is the RotoSIM for a Ohvolh#hļhfw/#d#elw#olnh#d#Urwryleh1# A friend of mine got some deal with this pedal company and they gave me this big box of pedals. I didn’t really need delay or anything like that in this band, I just wanted another colour. I didn’t even know what a Rotovibe was… but this was perfect and exactly what I was looking for. If I’m not kicking in distortion or reverb, this is what it’ll be!”

BOSS AC-3 ACOUSTIC SIMULATOR

“This is the best pedal there is! I cannot believe it’s taken wklv#orqj#wr#Ľjxuh#rxw#wklv#er{#lv#doo# you need to make electric guitars sound like acoustics, which usually sound like garbage on stage. This box nails the idea of an acoustic – it has that timbre, that percussive sound. In other situations, you’d want the real deal. If you ever went to see Tom

8

Petty or Neil Young, you’d want the big jumbo and everything all mic’d up. It’s kinda funny because I’m up there playing this mirrored Explorer on My Name Is Jonas and it comes out sounding like the most beautiful acoustic.”

BALLS EFFECTS BLACK BALLS

“This is a little fuzzier than my other pedals, I use it primarily for Back To The Shack, which I felt needed a bit of a creamier sound.”

9

JIM DUNLOP HEIL TALK BOX

“This thing sounds great for the solo I do in Beverly Hills. Whenever you need a special sound that’s unlike anything else, a Talk Box will ghĽqlwho|#gr#wkh#wulfn1#L#dovr#xvh# the Jim Dunlop wah.”

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Weezer’s album ,=?EÐ? =V@PA=K is out now on Crush Music DECEMBER 2017 TOTAL GUITAR

AFTER 32 YEARS WITH RADIOHEAD, THEIR UNSUNG HERO ED O’BRIEN IS RELEASING HIS FIRST COLLABORATIVE MODEL WITH FENDER. WE TALK ABOUT THE MAKING OF A DREAM STRATOCASTER AND THE TONES BEHIND A GROUNDBREAKING BAND

Words : Rob Laing & Michael Astley-Brown

STRAT SPIRIT

34

I

t’s hard not to get caught up in a little hysteria when talking about Radiohead. But their body of work tells a remarkable story; of Ľve Oxford school friends who have never wasted a chance to push forward and change our expectations of what’s possible in a band. A three-guitar lineup of very diļerent players, they constantly challenge each other and themselves to Ľnd new sonic spaces. To the left of Jonny Greenwood and Thom Yorke is their somewhat secret weapon; a player whose love for the guitar shines through in a willingness to pioneer with sounds like his own heroes did in the ;0s. So when it was announced that Hd O’Brien had worked with Fender on the collaborative guitar with the HOB Sustainer Stratocaster we were all ears and eager to Ľnd out more.

At the start of the band did you choose the Strat, or did it choose you? ģI chose the Strat, I think. The Ľrst guitar I bought, when we formed the band back in 1985, was a Westone Spectrum DX. It was all black, and Colin [Greenwood] had the matching bass.

And it looked wicked, with coil splits. I cottoned on pretty quickly that it wasn’t that nice to play… so the next guitar that I bought at the beginning of ’87 was a Squier Strat and that was enough.

That was all I had until we got signed in 1991. And I didn’t need anything else because I had a Strat, it was great. It did the job. ģSo I’ve always liked Strats. Jonny [Greenwood] would take the piss out of me a bit with it being a bit ‘rock’ or something. I had a Rickenbacker as well so I think that oļset it. I loved the yin and the yang [of that] and when you wanted to Ľnesse something or do something really beautiful, you’d pull out the Strat. It was brilliant with eļects.Ĥ

How did the idea for a signature Strat come about?

“It was early 2013. I literally had a dream about it – a really strong, compelling dream, and I woke up and I immediately wrote an email to Neil [Whitcher, head of Fender artist relations], who I knew through Johnny Marr. And I said, ‘Listen, I’ve been playing this guitar…’ I’d never had any desire to do anything like this before at all,’ but the dream was so strong and it was complete; it was like, ‘I kind of have to do this.’ So I wrote to Neil and he passed it on to his boss, [senior vice president] Justin Norvell and it was about the story of the guitar and what I wanted to do. And a big part of it was that when you’re young, as a player, you usually start oļ on a budget, but there’s one guitar where you make the step up, you save up, and that’s what I’m hoping this guitar might be: something that young players can get their hands on.

“And it’s fantastic. It’s got the Seymour Duncan JB Jr, it’s got a Texas Special pickup in there; it’s a great-sounding Strat, and it looks amazing but at the ľick of a switch you enter another world. And so my whole thing with them was like, ‘I’m not interested in doing a ‘signature’; for a start, I don’t feel I’m worthy of that – people like Johnny Marr, all those people who do it are sort of diļerent. I wanted to do a collaboration.Ĥ

feature I HAVE A DREAM...

Ed O’Brien went to Fender after dreaming about his ‘collaborative’ Strat

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DECEMBER 2017 TOTAL GUITAR

You mentioned the Strat as being great with effects; finding new sounds must be an ongoing quest for your role in Radiohead. In the evolution of the band, have there been times when you’ve had to rethink your approach?

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“Every record! You don’t want to repeat yourself. The big thing that relates to this is Kid A. So we made three records; wkh#Ľuvw#rqh#lv#uhdoo|#jxlwdu0|/#d#olwwoh#elw# ri#hļhfwv>#wkh#vhfrqg#rqh/#wkhuh#duh# pruh#hļhfwv>#wkh#wklug#rqh/#OK Frpsxwhu/ I’m playing a lot of delay and zhġyh#jrw#doo#vruwv#ri#vlpsoh#vwxļ#exw# uhdoo|#hļhfw0|#dqg#wkh#vrxqg#lv#jhwwlqj# less distorted with the guitars and it’s more about textures. When we get to Kid A#zh#vwduw#rļ#wkh#Ľuvw#vhvvlrq#dqg# it’s not really good. Thom’s been listening to a lot of Boards Of Canada and our conventional setup wasn’t doing it for us. And that for me is why this guitar came about because we were grzqlqj#wrrov/#grzqlqj#jxlwduv/# downing traditional ways of recording and making music. For me it was just olnh/#ĠZhoo/#L#sod|#wkh#jxlwdu/#L#oryh#wkh# guitar and actually some of my favourite guitarists make the guitar not sound like a guitar.’ So there’s an opportunity khuh#wr#gr#vrphwklqj#glļhuhqw1# “With the sustainer there’s a guy called Michael Brook who invented this wklqj#fdoohg#wkh#LqĽqlwh#Vxvwdlq#jxlwdu1# He gave one to The Edge and Daniel Odqrlv/#L#wklqn1#L#Ľuvw#khdug#wkdw#rq#The Joshua Tree – With Or Without You/#wkdw# kljk0slwfkhg#ihhgedfn#vrxqg1#Vr#khuh# zdv#dq#rssruwxqlw|/#exw#lwġv#olnh# dq|wklqj#lq#olih/#vrphwlphv#|rx#qhhg#d# vkdnh#xs/#olnh/#ĠRk#vklw1#Zkdw#Lġp#grlqj# is not great.’ Then you get out of your comfort zone. And getting out of your comfort zone is the place where you do |rxu#ehvw#vwxļ1# “And that’s where this guitar came into being. Because I wanted a guitar wkdw#frxog#vxvwdlq/#vr#wkhq#lw#ehfrphv# more like a synthesiser. We took my Clapton Strat with Lace Sensor pickups wkdw#L#oryhg/#Ľwwhg#d#Ihuqdqghv#Vxvwdlqhu# unit in it and at the same time it was the birth of all these new looping pedals.

The Akai Headrush had come out and the Line 6 DL4. The combination of the two was… bonkers! There was a lot of that. It’s one thing making crazy vrxqgv/#exw#krz#gr#|rx#kduqhvv#wkhp#lq# a song? Sometimes you have to tack wkhp#rqwr#d#vrqj/#vrphwlphv#|rx#kdyh# to pull them back and work them in. Kid A was the dramatic rethink because we TOTAL GUITAR DECEMBER 2017

STRAT SPIRIT

ED O’BRIEN

went from being quite traditional up until OK Computer – and it had served xv#uhdoo|#zhoo/#exw#lw#zdv#edvlfdoo|#jxlwdu# and keyboards.”

A lot of guitarists like to drive the song, but on Kid A rhythm started to become a driving force in Radiohead’s music more. Was that difficult at first?

“I don’t think I’ve ever driven a song in Radiohead – it was just a glļhuhqw#zd|#ri# thinking or feeling. I remember standing side stage for U2 at the Tibetan Freedom Concert [1997]. It was a classic band like Wkh#Zkr#ru#vrphwklqj1#Frorvvdoo|#orxg/# vr#srzhuixo#dqg#vr#glļhuhqw#wr#krz# Radiohead are as a band. It’s also glļhuhqw#ehfdxvh#Wkrp#dovr#sod|v#juhdw# jxlwdu#dv#zhoo1#Rq#wkh#Ľuvw#doexp/# sduwlfxoduo|/#khġv#gulylqj#lw#zlwk#klv# uk|wkp#sod|lqj/#vr#p|#uroh#zdv#qhyhu#wr# drive it rhythmically. I might arpeggiate dqg#Ľqjhuslfn#vwxļ#exw#kh#zrxog#gulyh# lw#dv#kh#vlqjv#lw1#Vr#lw#zdv#qhyhu#glĿfxow# for me in that sense.

“What’s always been the hardest thing and used to be the most daunting was that Thom and Jonny used to write together a lot. So when we got to uhkhduvdov/#wkh|#kdg#wkhlu#sduwv#zrunhg# rxw#dqg#L#xvhg#wr#eh#olnh/#ĠZkhuh#gr#L#Ľw# lqwr#wklvB#Zkhuh#gr#L#Ľqg#p|#vsdfhB#\rx# have that initial thought and then you wklqn/#ĠWkh#vrqj#lv#juhdw/#rnd|/#krz#gr#L# work my way into this?’ And it was challenging. But that challenge is good because it forced me to think lq#d#glļhuhqw#zd|1# I totally understand about dffrpsdqlphqw/#L# understand about od|hulqj#vwxļ/#dqg# I also like light and shade in a song – Jimmy Page always talks about this. I like quiet and loud. Jonny and I used to joke that there are very few songs where we play all the way through. Whereas prvw#jxlwdulvwv#lq#d#edqg/#wkdwġv#wkhlu# modus operandi. I guess there’s an orchestral sentiment to what we do that’s all about the songs. So I might in a song change sounds three times. And at the start of a tour it’s like tap dancing and it’s not really like playing. Thank

“I USED TO BE LIKE, ‘WHERE DO I FIT? WHERE’S MY SPACE?’”

feature ED’S O’BRIEN’S GUIDE TO THE

FENDER EOB SUSTAINER STRATOCASTER NECK “So the first thing we started off on was the neck; it was great – I was sort of going up and [trying them]: everything from a Stevie Ray Vaughan neck, which is massive and it’s amazing, but I’ve got big hands, so I wanted something that filled my hands that I could still do the job with, but, obviously, I wanted it to be a guitar that people with smaller hands [could play]… It was an excuse, this guitar, to find the perfect neck for me and a neck that would work for everyone.”

1

FERNANDES SUSTAINER “The Fernandes Sustainer works in conjunction with the bridge pickup and creates a kind of magnetic field, and that’s how it works. You can’t use the single coil here – it has to be the humbucker.”

4

FENDER TEXAS SPECIAL SINGLE-COIL “The neck sustainer was warm and round so we wanted something in between. And I liked this one because it’s a bit chime-y and to my ear it sounded sweet, it was bell-like and had depth to it.”

5 1

FINISH “Colour was important: I really wanted it to be white. I just felt that the white suited. I didn’t quite realise, though people had told me about the lineage of the white Strat and how iconic it was, you know... the whole Hendrix thing.”

2

God for the G2 and the GigRig. It’s more ri#d#whfkqlfdo#wklqj#wkdq#d#sod|lqj#wklqj/# but you get over that and the technical side becomes second nature so you can concentrate on playing.”

NIGHT & DAY “I like light and shade in music.

Space. My favourite guitarists know when not to play”

2

‘It’s okay to not play’: that can be a big thing for guitar players.

“I think that it’s a massive thing for players. The worst thing that happens dv#d#edqg/#dqg#zh#dozd|v#gr#wklv#lv/#zh# get into a rehearsal room to start a new record and everybody plays through everything. It’s fucking rubbish! Again it’s about the light and shade in music.

Let the drummer and bass player do the zrun/#ohw#wkh#vlqjhu1#Dqg|#Vxpphuv#zdv# a master of where and when not to play.

Space. My favourite guitarists know when not to play. Then you make more of it when you do play. Make it count.”

Songs like Climbing Up The Walls and Let Down on OK Computer saw the band recorded dynamic and live in a room together. Did you last do that on In Rainbows?

“We did a bit. Bodysnatchers/#wkdw#zdv# live. We tried to do that… House Of Cards was... I think bits of All I Need and 15 Step. They’re usually sections though whereas those songs you mentioned on OK Computer/#wkh|#zhuh#^zkroh`#vrqjv#

SEYMOUR DUNCAN JB JR HUMBUCKER “I play mostly on the bridge pickup, so I want the bridge pickup to have some oomph on it. I don’t like thin bridge pickups… this did its thing and had attack.”

6

4 5 6

3

CONTROLS “It’s very important to have a volume for the Sustainer. So you’ve got one tone control for all of the [pickups], which is fine. This seemed like a good place to [put the controls]. So you’re playing normally, and then you engage it. Because a lot of the time, I play, and it might be at the end of something you’re playing – for instance, it could be the end of a song with a lot of distortion and you want to keep the feedback going, and you just click it in and it keeps it going.”

3

DECEMBER 2017 TOTAL GUITAR

37

ED O’BRIEN

PEDAL MAN Ed’s stalwart trio of live pedals are: a distortion, a Memory Man and a Whammy

dqg#ehfdxvh#ri#rxu/#vkdoo#zh#vd|/# vrphzkdw#olplwhg#sdohwwh#dw#wkdw#vwdjh/# we played them live. But it was enough; our palette was sated. I remember when we did Climbing Up The Walls it was just olnh/#ĠIxfn$#Zh#pdgh#that sound just playing in that room all together.’ It was the same experience with Let Down. It was like they were real moments of magic. And that’s probably the last time zhġyh#grqh#lw#olnh#wkdw#lq#wkh#vwxglr/# which is kind of a shame really. But I don’t think you can repeat yourself.”

38

How would you describe your gear philosophy compared with Thom and Jonny? ģMrqq|/#e|#wkh# very virtue of the fact that there are many instruments he fdq#sod|/#kh# doesn’t necessarily seek new pedals and vwxļ#olnh#wkdw1# And by virtue of wkh#idfw#wkdw#L#mxvw#sod|#jxlwdu/#Lġp#dozd|v# seeking; so I search out a lot more sounds and pedals through the guitar.

Kh#jhwv#klv#wklqj#wkurxjk/#|rx#nqrz/# composing orchestras and extraordinary vwxļ1#Kh#olnhv#glļhuhqw#lqvwuxphqwv>#L# uhdoo|#olnh#wkh#jxlwdu/#dqg#lwġv#vrphwklqj# wkdw#L#ihho#frpiruwdeoh#zlwk/#dqg#Lġp# just drawn to it. You’re kind of pulled wr#zkdw#|rx#duh/#dqg#vr#lw#jrhv#wkdw# I’m drawn to what guitars can do dqg#wkh#vrxqgv#ri#wkhp/#dv#zhoo#dv# great pedals.

“I’ve just got this amazing pedal fdoohg#LqĽqlwh#Mhwv#^Uhv|qwkhvl}hu`/#lwġv#

by Hologram – it’s extraordinary. I know it will be all over the next bit of

recording that I do. And it’s just exciting.

L#wklqn#zhġuh#olylqj#lq#d#jroghq#djh/# duhqġw#zhB#Wkhuhġv#vr#pxfk#vwxļ#rxw# wkhuh>#53#|hduv#djr/#wkhuh#zdvqġw1#Wkh# distortion pedals that are being made are incredible. All these companies – Gldprqg/#dqg#Fdwdolqeuhdg111#rqh#ri#wkh# great things for me is hooking up with these people – Analogman and companies like that. One of the best things about being on the road – particularly when we’re in America – is I xvxdoo|#frqwdfw#wkhp#dqg#vd|/#ĠGr#|rx# guys fancy coming down to a gig?’ ģWkrp#lv#d#ohdg#vlqjhu/#dqg#kh#oryhv# synths as well. I’m more of the gear khdg1#\rx#nqrz/# Thom will come over to my pedalboard and vd|/#ĠZrz/#zkdwġv# wklvBġ#Odvw#|hdu/#kh# got the Strymon [TimeLine] delay shgdo/#dqg#khġv# jrlqj/#ĠZrz/#wklv# thing’s amazing!’

Dqg#kh#vdlg/#ĠGr# |rx#nqrz#lwBġ#dqg#L#vdlg/#ĠZhoo/#|rx# haven’t noticed one’s been on my ’board for six years?’ [laughs] “What I’ve done in the recording studio in the past is I usually get in an krxu#ru#dq#krxu#dqg#d#kdoi#hduo|/#dqg# that’s when I do just freeform sound h{sorudwlrq#Ğ#wu|lqj#glļhuhqw#shgdov#lq# glļhuhqw#rughuv#dqg#sxwwlqj#ydulrxv# shgdov#lq1#Lwġv#ehhq#jrrg/#ehfdxvh#wkh# thing about what Radiohead’s been into lv#Ľqglqj#glļhuhqw#vrxqgv/#vr#zlwk#d# jxlwdu#dqg#dq#dps#dqg#shgdov/#wkdwġv# just a joy.”

“I’M ALWAYS SEEKING NEW SOUNDS...

I’M DRAWN TO IT”

Photo: Roberto Panucci/Corbis

TOTAL GUITAR DECEMBER 2017

Read our review of the EOB Sustainer Stratocaster on page 90 .

ALL I NEED Ed’s pedal essentials explained “The Memory Man, the Klon, the Whammy… I used the Whammy a lot with the Sustainer and the Memory Man. They’re all kind of variants on that. A lot of the stuff around In Rainbows was like that. And so on the song, All I Need, I had a Sustainer Strat with four bottom Es, so you’ve got a thicker [sound]. It’s used in conjunction with the Memory Man for songs, [like] Pyramid Song, which you’d loop. A lot of the time, it’s a bit like you’re creating a canvas. That would be in accompaniment with Thom playing chords on the piano – you’re building up a cloud of effects behind. I use this [approach] all the time with the Memory Man, because it’s such a great pedal. And then the Whammy would be in there as well. It would be very hard for me in Radiohead to do a gig without a distortion pedal, a Memory Man and a Whammy. And I think if I had those three, then I’d probably cover 90 per cent of things. It could be another delay pedal, but that’s the default one.”

feature STEREO-SCAPE Kelly Jones, singer, songwriter and guitarist who has been leading the Welsh quartet for 25 years

40

Words Rob Laing / Photography Joby Sessions

LIVING IN STEREO TWENTY YEARS AFTER WORD GETS AROUND, THE STEREOPHONICS EMBRACE SOLOS AND SMALL PINK GUITARS WITH NEW ALBUM SCREAM ABOVE THE SOUNDS TOTAL GUITAR DECEMBER 2017

STEREOPHONICS

W

hen TG stumbles into Stereophonics’ rehearsal as they take a break, we Ľnd a band in a state of dËj vu. The process of learning to play the songs from a new record is something they’ve done a fair few times before, but even though this band has gone from pubs to stadiums in a 20-plus year career, the Ľrst day of rehearsals doesn’t get any easier.

“It’s one thing doing it in a room in the recording studio, but another doing it together,Ĥ laughs Kelly Jones as the ’Phonics’ main songwriter steps out from the band’s live rig, complete with head-level elevated drum riser. And it’s especially true of the latest stage of the Welsh band’s story. Since 2013’s GraĿti On The Train they’ve had a creative renaissance – exploring a darker, cinematic side to their sound while reeling out the anthems their fans love, to create sonically diverse albums. New record Scream Above The Sounds being a prime example.

None of this was an accident and as we sit down with Jones and the band’s guitarist of 10 years, Adam ]indani, we Ľnd two guitar players who are still learning and surprising themselves.

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DECEMBER 2017 TOTAL GUITAR

Jamie Lenman: guitarist, drummer, banjoist, trumpeter – basically, a man of many talents

WORD UP

20 years on, Kelly shares three facts you might not know about the guitar tracking behind Stereophonics’ classic debut Word Gets Around

42

He didn’t use a Gibson SG “We were always going from one studio to another – between tours and stuff, so it was very sporadic, not one block. I had an Epiphone SG and I was borrowing guitars off people all the time. [The rhythm guitar] didn’t go past the first fret really. And the only reason a lot of the chords on that album were used is because my third string would always be out of tune if I put it on the fifth. So I’d never play the fifth in my G, B or C. That’s why you get that constant ring of that note coming through – the third is always ringing, otherwise it would have been out of tune. Then we got signed and I bought my first SG.”

1

A Peavey Bandit supplied Kelly’s core sound, but it was blended “Steve Bush [producer] was borrowing amps and I had a Peavey Bandit 65. Everyone who made a record [with] Bird & Bush after us wanted that guitar sound so they all bought a Peavey Bandit and an SG. My main memory of it was that we always had the Peavey Bandit, which was my essential sound and was quite fuzzy. Then [Steve] put a Hi-Watt head and a Hi-Watt cab, like the old Who thing, with a clean signal coming through the desk. So you’d always have a blend of the fuzzy and the clean. But with one guitar. We didn’t really want to do much tracking.”

2

He learned his biggest lesson with the album’s overdubs “We made that album as a three piece and it was about learning the little tricks like putting counter melodies on top of verse two and the choruses. That was my biggest lesson in record making – like the little riffs in the intros of Local Boy In The Photograph and A Thousand Trees; the bits that Adam plays live now. But those things, if I’d never learned that, I’d have never have done the bit on Dakota. All those chime-y kind of things were very integral to that album because that’s what made it sing.”

3

TOTAL GUITAR DECEMBER 2017

You could have easily done a Word Gets Around anniversary tour but you’ve pushed on with new material, is it important to make that statement?

Kelly: “Making this album we didn’t really think much about Word Gets Around. But it became apparent when the dates started coming in and I realised. Because I can always remember the date we signed, which was the August 1, and I remember the album coming out on the 25th. I saw on the calendar that there was nothing on that day, so we did that small gig in ULU [University Of London Union], which was just 800 people. When we were rehearsing Word Gets Around for the Ľuvw#wlph#lq#iruhyhu/#zlwk#wkh#E0vlghv/# everyone was getting quite high on it.

All the crew were really into it, we were all into it, and we thought maybe we could do a tour of this. Then we did the one gig and we thought, ‘No.’ It was great but it was pretty emotional – lots ri#E0vlghv#dqg#vwxļ/#exw#zh#olwhudoo|#duh# lq#wkh#plggoh#ri#d#glļhuhqw#doexp#vr#lw# could be quite confusing doing two projects at the same time.”

Adam: “I don’t think we would be able to give it the respect it deserved because we were focussed on this [album] and lwġv#glĿfxow#wr#wkhq#vd|/#ĠRnd|/#ohwġv#gr# that.’ That wouldn’t be fair to either of the albums.”

And you can still give a nod to it on the tour in February?

Kelly: “Yeah, which we always do anyway. We’re still very proud of the record. I can’t believe it’s been 20 years.

It’s one of those things where it felt like a little punk rock gig when we did it in wkh#XOX1#Lwġv#doo#rqh#jxlwdu/#wkuhh0dqg0 d0kdoi#plqxwh#vrqjv/#dqg#dq#krxu#dqg# 20 minute [set] boosh, then it’s over. It was great.”

Adam: “And my guitar blew up for at least half the set. So it literally was just a three piece.”

That’s in contrast to this new album, which is quite diverse in terms of guitar tones. You have a song like What’s All The Fuss About with a Latin feel and panned guitar parts…

Kelly:#ģ\hv/#q|orq#vwulqj#vwxļ#lq#wkhuh1#L# bought a couple of guitars for my two daughters for Christmas. Not forcing it on them but putting it in the house like my old man did to me. They ended up playing the piano and drums so I had a slqn/#q|orq0vwuxqj# 53#jxlwdu#dqg#d#

brown one. And I can’t stop playing them. I wrote most of the record on it.

Because it’s easy. I used to hate learning on a nylon string but these ones are brilliant. So What’s All The Fuss About is arpeggio guitar, like a Spanish thing.

Then when you bring it in here it’s very hard to do because you’ve got a drum kit on top and you have to play it harder, and you can’t play it as well if you have to play it harder, can you? It’s learning how you’ll do it. I love that song, but I’m not loving learning how to play it live at this point in time. It’s very delicate.”

Adam: “I bought my son one of the olwwoh#Vtxlhu#jxlwduv#Ğ# 0vl}h# Stratocaster. Do you want the truth? I fdqġw#vwrs#sod|lqj#wklv# 93#wklqj1Ĥ Kelly: “I can see us in the future. We’ll be like Ed Sheeran on the stage with these little guitars!”

Adam:#ģExw#wkh|ġoo#orrn#wkh#uljkw#vl}h# for us because we’re only small.”

Kelly: “They might even make us look taller.”

So your advice for any budding songwriters is to get a child’s guitar?

Kelly: “Yes I would! There is a beauty to it. I do a lot of writing on acoustic. I very, very rarely write anything on electric guitar. I’ve never got an electric guitar around me.”

Adam: “And that’s another thing about writing, it depends on what guitar you’ve got. Fenders operate very glļhuhqwo|#iurp#d#zulwlqj#srlqw#ri#ylhz># like on Dakota and things like that…”

Kelly: “I did do that album [2005’s Language. Sex. Violence. Other?] on electric guitar. All Jaguars and Mustangs.”

Adam: “It gives another element to your writing because you don’t play it like you do with a Les Paul.”

Chances Are’s intro on the album sounds like a nod to AC/DC’s For Those About To Rock…

Adam: “You, nodding to AC/DC?!”

Kelly: “That’s probably a very close nod on that one! That’s hard to play – my thumbs start to twitch I’m doing so pxfk#Ľqjhuslfnlqj1#Lwġv#kdug#wr#vlqj# and play. I’ve always liked that picking style with Angus. I’ve always found it very helpful on record and it’s on a lot of our records where you can’t hear, it’s a very rhythmical thing. In and amongst everything it always does a very cool counter melody and tempo thing. I guess over the years you then start doing arpeggio synths and things like

STEREOPHONICS ADAM ZINDANI “I was a guitar player before I was a singer/songwriter. But what helped my guitar playing more than anything is singing”

that... like ZZ Top used to play. I love that though, but we’ve only played it twice, so I’m not saying it’s easy yet.

I might send that over his way!”

There’s the upbeat anthemic side of the Stereophonics people know from the singles but the albums also show a darker and deeper element that you’ve been exploring more with your sound since Graffiti On The Train. How did that come about?

Kelly: “We enjoyed it a lot on JudĿwl ehfdxvh#zhġg#frph#rļ#wkh#edfn#ri#d# greatest hits and a studio album, Keep Calm And Carry On, which wasn’t very well received on the radio. Probably a lot to do with us changing record company at the same time, so it was a bit of a confused area – new plugging team, new everything. Doing JudĿwl, it was a longer length of time – almost three years. We’re usually out every 18 months and I was doing a bit of screenplay writing and it was the Ľuvw#wlph#wkdw#wkh#edqg#kdg#wkh#KT# so we’d just go in there and fuck about with sounds really. So songs like Catacomb and In A Moment, all wkdw#gdunhu#vwxļ/#zdv#lqľxhqfhg#e|# Unkle and Nine Inch Nails. Thinking we’d never be able to get on the radio again made me want to do what the ixfn#L#zdqwhg1#Lurqlfdoo|/#zh#kdg#Ľyh# D0olvw#vlqjohv#iurp#lw/#zklfk#zdv#d#elw# confusing. And that’s good for a player like Adam as well, because I think he comes more from that side ri#jxlwdu#pxvlf#dq|zd|1#Klv#delolw|#wr# dgg#vwxļ#kdv#pruh#zlqgrzv#Ğ#olnh# the guitar solo from In A Moment or JudĿwl#Rq#Wkh#Wudlq.

So it’s widened your horizons as players?

Kelly: “There’s more scope because we’ve never really done guitar solos to be honest with you, until album six. And then we found these

“WE MET WHEN WE WERE KIDS...

IT WASN’T LIKE I WAS A NEW GUY” DECEMBER 2017 TOTAL GUITAR

43

feature JUST LOOKING

Kelly and Adam take us on a tour of their live guitars

44

[FROM TOP LEFT] 1990S GIBSON SG Kelly: “I bought it in ’96 so it could be an early 90s. It’s had a refret. the headstock has been stuck back on twice and there’s a hairline around it. AC/DC and The Who attracted me to SGs. When they started selling them in Cranes in Cardiff they said I was selling more guitars than Angus Young. I was quite pleased with that!”

GIBSON ES-336 Kelly: “I use that a lot now. I always used to just use the SG and the Les Pauls, with maybe the odd Telecaster. But when Ad joined, because he was playing a lot of the Les Paul stuff and a lot of the solos I did on the earlier TOTAL GUITAR DECEMBER 2017

records – the overdub stuff, his sound was a lot fatter and bigger. The 336 is a guitar you can use for pretty much anything and it just fits. It covers a lot of ground, whereas an SG can get a bit scrunchy in the mix.”

opening up for us. That’s what I wrote The Bartender And The Thief on when I did the drop tuning. The second album was the first time I used Les Pauls. I liked it because it didn’t have the covers for the pickups.”

GIBSON J-150 FENDER JAGUAR Kelly: “We found that in the lockup a few weeks ago. I forgot it was down there. It’s got the album art for [2005’s] Language.

Sex, Violence. Other?.

GIBSON LES PAUL STANDARD Kelly: “I bought that at Manny’s in 48th Street as I was inspired by the yellow one Adam was playing when he was in the band

Kelly: “ They don’t fall apart or feedback and they hold their own with a loud band. But I don’t like the size of the body, they’re massive and the tension on the neck is really hard as well.

They’re not an easy guitar to play but they’re solid.”

two guitars, you need one to take care of the chime-y bits more and a Telecaster is good for that. I’ve got Texas Specials in mine, it still sounds like a Tele but it gives it that bit more oomph to cut through with Kel’s stuff. So the two of the sounds go together and I’m not fighting with him.”

1990S GIBSON LES PAUL Adam: “I’ve never seen another one. I took it to Gibson, they think it might be a special order.

It’s a 90s one – a ’92 I think. It could be a one-off actually...”

FENDER TELECASTER

GIBSON L6-S

Adam: “That’s the one that gets used most in the set. I think to fit in with a band where there are

Adam: “I bought this as a spare guitar for £200, that’s how much they were then.”

moments in the live show that really leant themselves to these things. So we’ve been a bit more musical about making the albums because we’ve discovered if you have a moment like that on the album, you can have a moment like that in the show. It really lends itself to making the show more dynamic. Tracks like Sunny, JudĿwl#Rq# The Train… Jamie [Morrison] doing a drum solo at the end of Mr & Mrs Smith, I know that they sound like traditional, rog0vfkrro#wklqjv/#exw#zkhq#|rx#gr# wkhp#lq#d#uhiuhvklqj#zd|/#iru#4:0|hdu0 old kids who have never been to a rock show before, it’s a big section for them to get into. It’s been good.”

Adam: “And we can play better!”

Kelly: ģEhiruh#zh#kdg#wkh#Ľuvw#doexp# we could play solos all day long in pub edqgv#exw#wkhq#|rx#gr#|rxu#Ľuvw#doexp# and say, ‘We’re not doing any more.’ It wasn’t fashionable to have guitar solos in the ’90s. It’s not really noodling now: it’s got a purpose in a particular place dqg#wkdw#jlyhv#|rx#frqĽghqfh#lq#d# glļhuhqw#pxvlfdo#zd|1#Dqg#L#wklqn#Wrq|# [Kirkham] on the keyboards has been doing more of that. It just becomes more of a thing to watch. If you watch the Tom Petty band there were six people in that band doing something.

Then you’re interested in all of it.”

Adam: “We've been to see bands from Future Islands to Tom Petty.”

Does it all feed in?

Kelly: “I think it does. It takes you a long time to get used to the position you’re in. You’re playing arenas on your third album and for long time you’re thinking, ‘Who are they here to see?’ It takes you a long time to feel comfortable in your own skin being on a stage that vl}h#dqg#wr#nqrz#zkdw#wr#do with a stage wkdw#vl}h1#Wklv#lv#jrlqj#wr#eh#rxu#43wk# arena tour in February, which is pretty mad really. I think we know what we’re doing a bit more now!”

You mentioned the band’s studio HQ in Shepherd’s Bush earlier, do you have a go-to rig in the studio?

me but I could play it all day.”

Adam: “It feels like one of those guitars that’s had stories told on it. Whenever you pick it up it feels like something comes through you. Some guitars are like that. Someone gave me a BC Rich Warlock once… that never happened!”

Kelly: “The only story that’s been told on that is Fuck Like A Beast!”

Adam, you’ve been in the band for 10 years now, what was the transition like for you coming in?

Adam: “We’ve known each other since they started and I was in a band [North Vwdu#Khdg`1#Zh#phw#zkhq#zh#zhuh#nlgv# in 1997, so it wasn’t as if I was a new guy walking in. It was like I was going down to play guitar with my mates.”

Kelly: “We were all hanging out wrjhwkhu1#Kh#mxvw#kdsshqhg#wr#eulqj#klv# guitar that day.”

Adam: ģKh#vdlg/#frph#grzq#dqg#sod|# for a little bit and then... it’s 10 years.”

Looking back on how you both were as players, what are the biggest lessons you’ve learned in the last 20 years?

Adam: “I was a guitar player before I was a singer and songwriter [Adam

FLEXING MUSCLES In February 2018, the Stereophonics will head out on their 10th arena tour

45

fronts the band Casino]. But what khoshg#p|#jxlwdu#sod|lqj#lv#ghĽqlwho|# singing, more than anything. I always wanted to make a line memorable.”

Kelly: “For me it’s about having frqĽghqfh1#Zkhq#|rx#ehfrph#d#vlqjhu2 guitar player, you have a tendency to play the song and then not play too much around it. I always thought my right hand was better than my left hand because I’m always keeping time and when you’re singing you tend to attack with your right hand a lot more. When I think back to the guitar player I was when I was 18, I was doing a lot of lead work. I’ve quite enjoyed the last couple of years, learning a bit of the blues scale, having fun with that. For me it’s about kdylqj#d#elw#ri#frqĽghqfh#lq#|rxuvhoi#dv# a player. You can just play the song but you can also play around them and change the versions – they are our songs. I’ve been very rigid with delivering the version the people have heard. But now I’m starting to feel around that, which I’m enjoying.”

Scream Above The Sounds is out now. Stereophonics’ UK arena tour starts on 23 February 2018. More info: www.stereophonics.com

Photo: Kevin Nixon

Kelly: ģLġyh#mxvw#jrw#d#830zdww#Pduvkdoo# head, my cab’s downstairs in a cupboard and I pretty much use a fucking massive orange [Gretsch] Country Gent on everything. That guitar covers so much ground – it’s pretty much on everything on the last three albums. But I’ve never brought it to rehearsals or taken it on the road. I don’t think we changed the strings for three albums! It’s massive on

“IT TAKES A LONG TIME TO FEEL COMFORTABLE IN YOUR SKIN ON STAGE”

DECEMBER 2017 TOTAL GUITAR

Words Jon Bishop

ULTIMATE

PRO TIPS

For our 300th cover feature, we bring you playing advice from the guitar’s biggest names 46

OVER THE LAST 23 YEARS TG HAS INTERVIEWED HUNDREDS OF GUITAR LEGENDS, SO WHAT COULD BE MORE FITTING FOR OUR 300TH ISSUE THAN TO DISTIL SOME OF THAT ACCUMUL ATED WISDOM DOWN FOR YOU TO LEARN FROM? WHAT FOLLOWS IS A SELECTION OF LESSONS DESIGNED TO TAKE YOUR PLAYING TO NEW HEIGHTS, ALL INSPIRED BY SOME OF THE GRE ATEST PL AYERS IN HISTORY. TURN THE PAGE AND

LET’S TOTAL GUITAR DECEMBER 2017

ROCK!

on your disc

30 DAYS UNTIL...

You become a Find audio better guitarist with our guide tracks forto every scales, lead tricks, example on your timing, barre Guitar Skills chords, ear training, CD plus a handy practice plan

DAVID GILMOUR Pink Floyd’s axe man playing a ’59 Fender Custom Telecaster

PLAY FINGERSTYLE LEAD LIKE DAVID GILMOUR 0 1

47

“I tend to play more with my fingers than a guitar pick these days, for some reason that I don’t quite understand. It just seems to be the way it is. That might make a little bit of difference to the sound, but it’s not really anything I’ve been analysing or intending to do.”

GILMOUR STYLE LICK

TRACKS 20-21

q =112

Dm7

4 & b 4 .. Π. .

j œ

œ œj œ .

J

Œ

j œ

1st time w/pick ( -$' 0 4(" +,

times œ œ œ œ œPlay 4~~~~ œ ..

~~~~ .

12 . ≥ ≤ ≥

BU 14 (17)

BU BD 12 (14 ) (12 )10 12 10

≥

≥

≥

i

i

i

BU 12 (14 )

i

i

p

Gilmour told TG’s sister mag Guitarist about his soloing method so, for soulful, bluesy lead, why not try our example, which we’ve played fingerstyle and picked.

Michael Ochs Archives / Chris Hyde / Getty Images

T A B

œ

w/neck pickup

DECEMBER 2017 TOTAL GUITAR

PLAY LIKE THE PROS

DOWNPICK LIKE JAMES HETFIELD 0 2

“On you start digging in harder your “Once strin are taking abuse, your pick takes strings abuse. abu So the Black Fang that I worked with Dun on for quite a while, it took quite a Dunlop few incarnations of it and between the point that on there and the material, they do that’s definitely defi last longer. w “I would say digging in... I think it’s a pos positive thing. It gives it a little bit more dyn dynamic and it’s not so compressed and satu saturated that there’s no dynamic to it. But mos of it was for facial value – wanting to most cut through. It’s about finding that right blen Sometimes I feel, ‘Wow it’s too clean blend. an I’m working too hard.’ Other times, it’s and too to saturated and I can’t actually hear the note no and it kind of messes with my vocal a little lit bit. If I can’t hear the note clearer, especially espe with fast stuff, I want to be clear so you y can feel the percussiveness of it.”

48

JAMES HETFIELD Metallica’s main man is famed for his ferocious down-picking

MASTER OF PICKING q =130

#4 & 4 ..

E5

. .

F5

E5

A5

G5

œ

œœ œ >

œœ œ >

w/bridge pickup & distortion

œ T A B

TRACKS 22-23

œ

PM

0

≥

0

≥

œœ œ > 2 2 0

≥

œ

œ

PM

0

≥

0

≥

n œœ nœ > 3 3 1

≥

œ

œœ œ

1

≥

œ

PM

PM

3 3 1

0

0

2 2 0

œ PM

0

œ PM

7 7 5

0

5 5 3

.. . .

Metal lord James Hetfield is right to be particular about the picks he uses – his down-picking technique is the stuff of legend! Get some of the Metallica man’s magic down with this riff that’s designed to hone your down-picking and palm muting. Make sure to momentarily release your palm mutes where indicated in the tab.

TOTAL GUITAR DECEMBER 2017

Adam Gasson / Jesse Wild

≥ cont. sim.

œœ œ >

Play 4 times

MAN OF MODES Kirk Hammett says he bases his entire guitar style on the pentatonic major and minor

KIRK HAMMETT STYLE PENTATONICS

0 3

“I don’t really play in modes as much as I used to. The pentatonic scale works just fine for me… [modes] just don’t sound as dark and evil as I like… The pentatonic major and the pentatonic minor – they’re cool.

They’re the scales that I basically base my

49

entire guitar style on. When I really think about it, all the great guitar players that I really love use pentatonic scales: Page, Hendrix, Clapton, Beck. I’ll still use modes when necessary but it’s just not the same as that fucking blues stuff.”

MASTER OF PENTATONICS

TRACKS 24-25

q =130

E5

F5

& delay # 4 . w/distortion œ œ œ œ . & 4

T A B

œ

œ

12

14

≤

≥

12

≤

14

≥

œ

œ

œ

12

14

12

≤

≥

cont. sim.

œ

œ

œ

3

3

3

3

. . 14 ≥

œ

E5

14

12

14

œ

œ

œ

3

12

15

12

œ

œ

j œ

G . œ~~~~~~~~~~~~~~ Play 4 times ‰ ..

A5

3

15

12

BU 15

12

5

~~~~~~~~~~~~~~

15 (17)

. .

If you ever needed to be convinced of how versatile the major and minor pentatonic scales are, Kirk Hammett is the man to show you – he’s made a career of mixing these essential scales into his solos with Metallica. Try out our lick, where we run through the E minor pentatonic scale in a ‘groups of three’ pattern – a typical Hammett trick.

PLAY LIKE THE PROS

0 4

LEARN LEGATO LEAD, JOE SATRIANI STYLE AMOUNT OF ENERGY. YOUR PERSONALITY COMES OUT AND IT BECOMES AS PERSONAL AS THE SOUND COMING FROM YOUR PICKING HAND.”

YOUR FINGER DOWN EXACTLY WHERE YOUR ANATOMY SAYS, THIS IS THE MOST BANG FOR THE BUCK.’ I GET THE MOST SOUND AND USE THE LEAST

“A LOT OF PLAYERS ARE NOT TOO DISCRIMINATE ABOUT WHICH PART OF THEIR FINGER PAD THEY’RE USING. YOU NEED TO CONCENTRATE ON PUTTING SATCH GROOVY

TRACKS 26-27

q =130

Amaj 7

##4 & # 4 .. ‰ T A B

50

. .

w/bridge pickup & overdrive

œ œ œ œ œ œ œ

9

≥

10

12

10

9

10

12

#œ œ œ œ œ œ

8

9

11

9

8

9

œ

11

≥

œ

œ

œ

7

9

11

œ

œ

œ

9

7

9

Play 4 times ~~~~~~~~~~~~~~~~~~~ .. ˙ ~~~~~~~~~~~~~~~~~~~ .

4 . ≥

≥

Famed for his legato playing, Joe Satriani gave TG a lesson on this tricky technique in 2012. For the uninitiated, ‘legato’, meaning ‘smoothly’, refers to hammer-ons and pull-offs instead of picking every note – and that’s the approach you’ll need to use here. As Joe says, aim to hit the string with the pad of your finger for the hammer-ons.

For pull-offs aim to re-pluck the string with your fretting finger rather than simply lifting off.

MARK KNOPFLER Dire Straits’ main man is looking a little strained here with his Pensa Suhr MK1

MARK KNOPFLER ON REDUCING TENSION IN YOUR HANDS 0 5

WARM-UP EXERCISE q =110

TRACKS 28-29 A b maj 7

Gmaj 7

B b maj 7

Amaj 7

# œ œ œ Playœ 4 times. #œ œ bœ œ œ 4 œ . # œ œ bœ . bœ œ &4 . œ w/clean tone

T A B

. .

5

4

1

1

2

3

4

2

3

3

2

3

4

4

5

6

≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤

7

6

5

4

5

6

7

8

. .

cont. sim.

Wise words from the Dire Straits guitarist! It’s easy to tense up when you play, especially if it’s a tough tune, and tension hampers your performance – ultimately slowing you down. Play through this simple warm-up exercise to get limbered up and ready to rock. Play it in reverse and it becomes more of a challenge as you move down the neck, one fret at a time.

TOTAL GUITAR DECEMBER 2017

MASTER NILE RODGERS’ FUNK AND DISCO RHYTHM STYLE 0 6

“I come from a jazz background... When I started playing I had a teacher named Ted Dunbar who was Wes Montgomery’s roommate at school. The philosophy of Ted and Wes was no matter how well you solo, you have to be able to play chords because jazz is built on harmony. So what Ted used to do was teach me to play chords in sets of three strings to

define their sound and function. Also, Bernard [Edwards, Chic bassist] showed me how to play great R&B by keeping your hand in one position and playing on sets of two or three strings. You can define the harmony and play melodies without even moving. Although I consider myself a jazz player, when I play R&B it’s with this fusing from Ted and Bernard.”

DAFT FUNK

TRACKS 30-31

q =110

Dm7

œœ.

J

œ. ¿ œ

œ. ¿ œ œ œ

10 10

¿ ≥ ≤

¿ 10 ≤ ≥

w/neck pickup

4 & b 4 .. ‰ T A B

. .

≥

10 10

12

G9

‰

œ n œœ J

œ œœ

œœ œ nœ

œœ. œ ¿ œ

œ. œ ¿ œ

10 10 10 9

12 10 10

10 10

10 10 9

10 10 10 9

≥

≥

≥

¿ ≥ ≤

G 13

¿ ≤ ≥

G9

œ œœœ ¿ ¿ 10 10 10 9

¿ ¿ ≥ ≤ ≥

œœ. œœ

..

10 10 10 9

. .

Play 6 times

≥

Our tab example shows how Nile plays simple two- and three-note chords with his trademark choppy rhythm style. The key is to hold down the full chord shapes and keep your strumming hand going up and down like a metronome regardless of whether you are going to strike the strings or not. Use this approach to get the feel of songs like Chic’s Le Freak and Daft Punk’s Get Lucky.

POSTURE-ISATION Get your posture and hand position sorted and you’ll banish those guitar-related aches and pains for good. Your playing will improve too!

DON’T PLAY LIKE THIS…

…PLAY LIKE THIS!

If your guitar is too high you’ll stress your strumming arm. Too low and it’s harder to reach around the neck and you’ll stress your fretting hand. Experiment to find a comfortable compromise.

Keep your back straight and try not to slouch if you’re sitting down. Angle your guitar’s neck so it points slightly up towards the ceiling. This will help with fretting-hand ergonomics.

Rob Verhorst Getty / Joby Sessions

“I’m still learning to relax my left arm [Mark’s fret hand], when I’m playing.

The more you can learn to relax that left arm, the more fluid you’ll be. If you tense up, you’re just gonna slow down. And for a long time I played that way – and I used to get pain all down my forearm. I used to play Sultans… like that a lot. It’s just habit. Getting the urgency into the playing gets translated into tension, unfortunately.

But you’ve got to stop associating emotion with tension.”

51

DECEMBER 2017 TOTAL GUITAR

PLAY LIKE THE PROS

FIVE SIGNATURE CHORDS… Use these shapes for an authentic Nile Rodgers sound X

2

10

X

3 3 3 3

1

9

1

5

2

X

X

X

X

X

1

1 2

3 3 3

1

3

2 3 4

Dm7

G9

1

G13

Dm7

1

1

C/D

PAUL GILBERT ON THE IMPORTANCE OF VIBRATO

0 7

“I stopped using whammy bars to a large extent in the early 90s, so I suddenly had to learn how to end a solo. My main inspiration was that I had a guitar teacher who was a great teacher but didn’t have very good vibrato; he just didn’t use it very much.

He was more of a scale demonstrator really than a rock player. Then I saw my uncle play, and he had killer vibrato. My ears were the first thing that picked up on it: ‘What is that?

It sounds great!’ And because he was right there with a guitar two feet away from me, I

could actually take a look at it and that really made me want to bend a string. To me, controlled vibrato was the stamp of a professional player more than anything else. I do remember battling with that technique though.”

TECHNICAL CHALLENGES

TRACKS 32-33

q =130

E5

F5

# 4 . ˙~~~~~~~~~~ œ œ & 4 .

w/bridge pickup & overdrive

52

1

~~~~~~~~~~

. 12 .

T A B

E5

±~~~~~~~~~~ œ

œ œ

~~~~~~~~~~

PM

14

A5

PH

12

14

12

14

G5

œ

œ

E5

œ

14

BU 14 (16)

E5

A5

G5

..

Play 4 times

∑

~~~~~~~~~~~~~~~~~~~~~~

PM

12

F5

w~~~~~~~~~~~~~~~~~~~~~~

j œ

12

14

. .

This lick will help you hone your finger vibrato, initially with your first finger, then your third and finally by adding vibrato to a string bend. There is a pinched harmonic to negotiate in bar 2 and this sounds great with vibrato. Simply let the flesh of your picking hand thumb brush the string as you pick it, so a squeal is produced.

SLASH ON STRING BENDS

0 8

“To be honest with you, I didn’t even know what intonation was until somebody told me a long time ago. They said: ‘You’re getting pretty

good, Slash – you’ve just gotta get your intonation together.’ I didn’t really know what that meant, but what it came down to was: if

you’re gonna bend a note, make sure it’s going somewhere. Don’t let it go half in or half out, or whatever.”

STRING BEND LICK q =130

G5

TRACKS 34-35

œ

w/bridge pickup & overdrive

# & 44

j œ

œ

Em

œ

œ

œ

œ

j œ

œ

œ

œ

œ

j œ

œ

œ

œ

œ~~~~~~~~~~~

15

12

~~~~~~~~~~~

let ring RP

T A B

BU 14 (16 )

15

15

(16 )

BU

BU BD (14 )

12

15 (17)

15

12

15 (17)

Slash’s advice from 2000 applies to any string bend, whether or not you’re playing G’n’R songs. The opening bend in our example rings out against other fretted notes – it’s vital to get the bend just right or it’ll sound out of tune. For the final two bends the key is to not over-bend as this sounds more obviously wrong than slightly under-bending.

TOTAL GUITAR DECEMBER 2017

LIFE ON THE EDGE U2’s guitarist doffs his beanie to playing with echo

BUILD SPEED WITH TOM MORELLO’S TIP 1 0

LEARN THE EDGE’S SIGNATURE DELAY TRICK 0 9

DELAY, LAY, LAY LICK

SPEED-BUILDING EXERCISE

TRACKS 38-39

53

q = 80-200

Am

œ œ œ œ & 44 .. œ b œ œ œ œ œ œ b œ œ œ œ œ ..

Play 4 times

w/clean tone

T A B

. .

7

8

10

7

10

7

10

8

7

8

10

7

10

7

10

8

. .

≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ cont. sim.

Our simple speed-building exercise follows Tom’s method to the letter and will improve your alternate picking and fingering synchronisation. We start out nice and slow at 80bpm then build through to 200bpm. Remember, this is just a simple exercise for you to have a go at – but make sure to apply Tom’s process to the music you want to learn.

Martin Philbey/Redferns Slaven Vlasic/Getty Images

“One cool result of playing with echo is that it makes you more precise with your timekeeping and rhythm playing. It’s like playing tennis against a brick wall: the ball’s going to fire back at you the same way every time; it isn’t going to waver. You find ways to groove with it, to anticipate the way the sound is going to come back at you. Echo has made me a tighter player.”

“THERE IS NO TRICK TO [BUILDING SPEED]. FINGER MEMORY COMES FROM ACCURATE REPETITION. SO IF THERE’S A THING YOU’D LIKE TO PLAY, THE KEY THING – AND YOU CAN DO IT WITH A METRONOME – IS TO SLOW IT DOWN SO YOU CAN PLAY IT ABSOLUTELY ACCURATELY, HOWEVER SLOW, UNTIL YOU’VE COMPLETELY MASTERED IT AND CAN PLAY IT 200 TIMES IN A ROW AT THAT SLOW SPEED AND THEN GO ONE CLICK UP. THEN DO IT AGAIN, AND THEN UP ANOTHER CLICK. ONE OF THE THINGS I’VE LEARNED IS NOT TO RUSH IT. IF YOU WANT TO MASTER IT, YOU JUST HAVE TO BE PATIENT. THERE’S NOTHING YOU CAN’T PLAY – AT ANY SPEED – IF YOU’RE WILLING TO PUT THE TIME INTO IT.”

TRACKS 36-37

q = 130

Dsus 4

D

# 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . . & # 4 .. w/bridge/middle pickup & delay 346 m/s

T A B

Play 4 times

HE’S GOT THE POWER...

Start slow, then add in speed, says Rage Against The Machine’s Tom Morello

. 12 10 12 10 12 11 10 11 10 11 .

12 12 12 12 12 . 12 . ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ cont. sim.

The trick to getting The Edge’s signature sound is to set your delay to repeat every dotted eighth note, thus setting up a rhythmic effect that you can lock into and, as The Edge himself told TG, improve your timing. At 130bpm a dotted eighth note is 346 milliseconds. Remember, dotted notes last half as long again as a regular note, so a dotted eighth note is one and a half eighth notes.

OCTOBER 2017 TOTAL GUITAR

TRACKS 40-41

JOE BONAMASSA ON SCALE SHAPES AND POSITIONS 1 1

“I learned a lot of stuff in blocks. So, when I play, my mind goes, ‘I’m in this block… I’m in that block…

I’m in this block’ [pointing at different areas of the fretboard], and then so on and so on. I learned how to play in every key on every fret and that was a big thing. You find a lot of these extra notes… just in the process of moving down the neck.

5

1

1

1

3

3 3

1

1

1

1

7

1

1 2 2

2

1

9

2

2

2

12

1

1

1

4 4

4 4

4

1

1

1

1

14

1

2

2

2

2 2

4 4

4

4

4 4 4 4

3 3

3

4

1

4 4

4 4

4 4

4 4

3 4

A minor pentatonic A minor pentatonic A minor pentatonic A minor pentatonic A minor pentatonic scale (shape 1) scale (shape 2) scale (shape 3) scale (shape 4) scale (shape 5) Learn these five pentatonic scale shapes and, just like Joe Bonamassa, you’ll be able to improvise solos that cover the entire fretboard, thinking in ‘blocks’ as you go. The most important thing to note is that all five shapes are the same scale – that’s why you’re guaranteed to be in one key across the whole fretboard. Simply move every shape up one fret to play in B b ; move up another fret for B, and so on.

Listen to our audio track and you’ll hear that we’ve played up through one shape, then down the next.

MARTY FRIEDMAN TALKS ABOUT HIS ‘ONE LICK, DIFFERENT CHORDS’ APPROACH 1 2

54

“A lot of the stuff that is part of my playing has nothing to do with being advanced or being not advanced – it’s all conceptual. For example, a lot

of guitar players play in these big scale [shapes]. I don’t even think that way. I think in little portions.”

MEGA-LICKS

TRACKS 42-43 † 5 B

q =160

# 4 & # 4 ..

T A B

. .

œ

œ

w/bridge pickup, distortion & delay

œ

œ

nœ

œ

œ

œ

œ

œ

œ

~~~~~~~ œ ˙ ~~~~~~~

10

7

10

7

7

10

9

7

9

7

9

9

Play 4 times

.. . .

b

† 2nd time G 5/ 3rd time E 5/ 4th time A 5 B dim

In a lesson with TG in 2014 Marty Friedman outlined a contrasting concept to Joe Bonamassa’s scale-based approach – the idea being to play a basic lick then simply repeat it, changing the underlying chord each time. This is a top trick for getting mileage out of a favourite solo lick – the mood and harmony changes each time the chord does. We’ve used the B blues scale for our line. The backing chords change between B5, G5, E5, then A5 and B b dim.

STRING BEND BUILDER

Improve your string bends with this simple practice idea 1 PLAY A G NOTE ON THE 12TH FRET OF THE THIRD STRING 2 BEND UP TO THE G FROM THE 11TH FRET (A SEMITONE BEND) 3 BEND UP TO THE G FROM THE 10TH FRET (A WHOLE TONE BEND) 4 BEND UP TO THE G FROM THE 9TH FRET (A MINOR 3RD BEND) 5 IF YOU’RE FEELING BRAVE, BEND UP TO THE G FROM THE 8TH FRET (A MAJOR 3RD BEND) 6 START AGAIN ON A DIFFERENT NOTE TOTAL GUITAR DECEMBER 2017

PLAY LIKE THE PROS

KEITH RICHARDS’ TRADEMARK OPEN G TUNING

1 3

“I came across it on old blues records – in particular on the slide playing that Ry Cooder turned me onto around 1966. At the time I was a bit disenchanted with my own playing in standard tuning and, after playing around with these slide tunings in E and D as well as G,

I realised that you could use them for rhythm guitar as well. It was like learning guitar all over again. It gave me a new challenge. It was like, ‘Where do you put your fingers? And how do you change the chord to make it minor?’”

OPEN G TUNED RIFFING q =130

b

TRACKS 44-45

b

b

B B sus2 /4 B w/bridge pickup, overdrive & delay

# 4 n œœ & 4 .. b n œœ bœ T A B

D B G D G D

. .

3 3 3 3 3

b œœœ œ œ

œœ œœ œ

œœ œœ œ

3 4 5 3 3

3 3 3 3 3

3 3 3 3 3

Fadd 9/C C Fadd 9/C C

C

j œœ n ‰ œœ œ

œœ œœ œ

5 5 5 5 5

G

œœ œœ œ

n œœœ œ œ

œœ œœ œ

œœ œœ œ

œœ œœ œ ¿

5 5 5 5 5

5 6 5 7 5

5 5 5 5 5

5 6 5 7 5

5 5 5 5 5

¿

Cadd 9/G

G

œœ œœ œ

j œœœ ‰ œœœ œ œ œ œ

0 0 0 0 0

0 1 0 2 0

0 0 0 0 0

N.C.

G 1/4

1/4 1/4

nœ œ

œœ œ b œ œ n œ œœ 1/4

1/4

1/4

0

3

3

0

3

˙˙ ˙˙ ˙

Play 4 times

.. . .

0 0 0 0 0

Keef’s inspiring take on open G tuning can be heard on classic Rolling Stones tunes like Brown Sugar and Start Me Up, and our riff shows you some typical chord shapes.

Note that Richards prefers to remove the sixth string from his guitar all together, but we’ve included a few low notes to help you include the bottom end in your own riffs.

PLAY THE GUITAR LIKE A DRUM KIT, SAYS DAVE GROHL 1 4

DAVE GROHL The Foo Fighters frontman’s drumming seeps through to his guitar playing

55

“I look at the guitar like it’s a drum set: the sixth string is the kick, the fifth and fourth the snare; I ring the G like it’s a hi-hat and I use the high strings like cymbals to accentuate a change. When I play drums, I may use crash cymbals to bust through a chorus. I do the same with first and second strings, ringing out through a chorus to give it a sense of air.”

FOO FOR THOUGHT

TRACKS 46-47

q =130

#4 & 4 .. . .

Em

œœ

w/bridge pickup & overdrive

œ

œ

œœœ

PM

≥ 3

œ

œ

œ

œœœ

œ

PM

≥ 3

0 5 5

≥

≥ 3

œ

œ

œœ œ

PM

≥ 3

≥ 3

0 5 5

≥

≥ cont. sim.

3

0

œ

œ

Play 4 times

..

œ

PM

0

0 2 2

. .

0 0

0

0

0

This tip, given to TG when we interviewed Dave Grohl back in 2005, is something to think about when you’re jamming out your own riffs. Just remember that the downpicking and palm-muting combo is all-important for that hard rock edge. In our riff we’ve also transferred the guitar rhythm to the drums for that ‘locked in’ Foo feel.

David A. Smith/Getty Joby Sessions

T A B

G5

DECEMBER 2017 TOTAL GUITAR

PLAY LIKE THE PROS

1 5

TRY JOHN MAYER’S MELODIC SOLOING STYLE

“I would say that you shouldn’t be restricted by shapes. A lot of the time, guitarists are just moving shapes around, but the best solos I’ve ever done were when I put the shapes aside and said, ‘What notes do I want to play here?’ It gets a lot more interesting.

You’d be surprised how lyrical the solos become, and how people really clock what you’re doing. Listeners have more attraction to guitar solos with sing-ability. I’m very proud of the Gravity solo.”

PLAYING ON ONE STRING

TRACKS 48-49

q =105

Dm7

~~~~~~~~ œ. œ

œ~~~~~~~~~~ œ œ œ œ w/neck pickup & light overdrive

4 & 4 ..

T A B

. .

13

10

13

œ J

‰

œ

œ

œ

œ

œ œ œ œ

~~~~~~~~

3

~~~~~~~~~~

Am7

10

8

10

~~~~~~~~~~

3 8

8

5

3

5

3

5

~~~~~~~~~~ .. œ

3

1

2

. .

It’s hard to play a solo without referencing some favourite shapes, but playing up and down one string can help break you out of that way of thinking, and provide very musical and lyrical results. Our Mayer-esque example descends the second string using the A minor pentatonic scale. The fast hammer-ons and pull-offs combined with finger slides bring the idea to life.

56

LEARN HOW EDDIE VAN HALEN FILLS OUT HIS RHYTHM PARTS 1 6

ROCKIN’ RHYTHM Eddie Van Halen proves he’s an all-round guitar god with his tips to playing rhythm

“I’M A VERY RHYTHMIC PLAYER, JUST OUT OF NECESSITY. BECAUSE BELIEVE IT OR NOT, WE USED TO PLAY WITHOUT A BASS PLAYER. IT WAS JUST ALEX AND I. I ALSO HAD A TENDENCY TO FILL EVERY FUCKING HOLE POSSIBLE, BUT BECAUSE I HAD TO BECAUSE THERE WAS NO OTHER INSTRUMENT.” LOUD HALER

TRACKS 50-51

q =136

B/E

E

D/F #

C

w/bridge pickup & overdrive

# ## 4 & # 4 .. œ œ T A B

. .

œ œ

œœœ œ >

PM

7 0

≥

œ œ

œ œ

œœ œœ >

PM

7 0

≥

7 8 9 7

≥

7 0

≥

œ

œ

œ n nn œœœ >

œœ œ œ >

œ

œ

j œ

œ

n œœ

~~~~~~~~~~

PM

PM

7 0

≥

9 9 9 7

≥

≥ 0

≥ cont. sim.

0

5 5 5 3

5 5 5 3

3

Play 4 times ~~~~~~~~~~ .. œ

3

7 9

7 7

9

Our EVH example fills out the sound in a few different ways – make sure to try them in your own rhythm playing. The palm-muted open sixth string is doubled an octave higher to sound bigger than just one note on its own. The chord stabs combined with a spacious reverb create a larger sound. The single-note phrase at the end provides contrast and the wide vibrato is the icing on Eddie’s rock cake.

TOTAL GUITAR DECEMBER 2017

. .

TRY GEORGE HARRISON’S SOMEWHAT UNUSUAL ‘SIGNATURE’ E7 b 9 CHORD FROM I WANT TO TELL YOU 1 8

1 7

STEVE VAI: MODE MAN

Shred guru Steve Vai told TG what he thinks of musical modes in terms of images. Here’s what each mode conjures up for him…

1 IONIAN

“It reminds me of Julie Andrews in The Sound Of Music. Her wholesome, healthy image is very Ionian. She could be from the planet Ionia – or rather the island.”

2 DORIAN

“I think of snow, I think of a dark night in the Arctic. I think of No Quarter by Led Zeppelin. The image that song creates is what this mode is all about.”

3 PHRYGIAN

“I see the Egyptian pyramids, the Sphinx and the amber sun shining above the desert. Egypt is the wrong image technically, but it works for me.”

4 LYDIAN

“Maria from West Side Story. It’s my favourite mode, although I also really like the Lydian #5 and Lydian b7 modes from the melodic minor scale.”

“THAT’S AN E7 WITH AN F ON TOP PLAYED ON THE PIANO. I’M REALLY PROUD OF THAT, BECAUSE I LITERALLY INVENTED THAT CHORD. THE SONG WAS ABOUT THE FRUSTRATION WE ALL FEEL ABOUT TRYING TO COMMUNICATE CERTAIN THINGS WITH JUST WORDS. I REALISED THE CHORDS I KNEW AT THE TIME JUST DIDN’T CAPTURE THAT FEELING. SO AFTER I GOT THE GUITAR RIFF, I EXPERIMENTED ’TIL I CAME UP WITH THIS DISSONANT CHORD THAT ECHOED THAT SENSE OF FRUSTRATION. JOHN LATER BORROWED IT ON ABBEY ROAD. IF YOU LISTEN TO I WANT YOU (SHE’S SO HEAVY) IT’S RIGHT AFTER JOHN SINGS, ‘YOU’RE DRIVING ME MAD!’ DAT, DAT, DAT – THAT BIT. TO MY KNOWLEDGE, THERE’S ONLY BEEN ONE OTHER SONG WHERE SOMEBODY COPPED THAT CHORD – BACK IN THE CHAIN GANG BY THE PRETENDERS. X

X

5 MIXOLYDIAN

“I think of a smoky jazz club, with funk horns blasting out, that’s a big Mixolydian sound.”

1

1

2 3

“I remember the sound of the piano in my classroom at Berklee.

My music teacher kept playing stuff in the Aeolian mode.”

7 LOCRIAN

E7b9 A guitar version of George Harrison’s E7 b 9 chord

Xavi Torrent/WireImage Ebet Roberts/Redferns

6 AEOLIAN

“Like a diseased island. I think of Molokai in Hawaii, where there’s a leper colony. Scary and strange.”

57

DECEMBER 2017 TOTAL GUITAR

PLAY LIKE THE PROS 1 9

ED O’BRIEN’S ADVICE ON ARRANGING SONGS WITH THREE GUITAR PARTS

“It’s not like we actually all sit down and try and work it out.

Thom essentially plays rhythm so he’ll come with some chords, he’ll be strumming along. Probably for the first week when we’re rehearsing Jonny and I have got our ears up to our amps until someone comes up with something they like, then they turn themselves up. And then you get off on what

the other person’s playing. There aren’t any rules, but if someone’s down at the bottom of the fretboard, you get up to the top. You try and find a space for what you do – you learn that. It can get very covered. It’s tricky having three guitars to get them all to come out. That’s why you have to sonically find a space for each one.”

SPACE JUNKIE Ed O’Brien has become a master at finding his place in a three-guitar band

58

TOTAL GUITAR DECEMBER 2017

“I LIKE MY SOUND TO BE REALLY FAT AND WARM,” SHEERAN EXPLAINS. “I KNOW SOME PEOPLE LIKE A VERY JAGGED, TREBLY SOUND. BUT I’M INTO THE WARMTH. USUALLY, IF YOU HAVE A BIT OF BOTTOM END AND A LOT OF MID ON A GUITAR, WITH JUST A TINY BIT OF TOP END, THAT WILL GIVE YOU A WARMISH SOUND. THE WAY I TEST IT IS, I BEAT THE BRIDGE LIKE A DRUM UNTIL IT MAKES A KICK DRUM SOUND. BECAUSE I DO A LOT OF PERCUSSION ON THE GUITAR, THAT’S USUALLY WHEN I KNOW THAT THE SOUND IS GOOD.”

Jesse Wild

FOLLOW ED SHEERAN’S ADVICE ON SETTING UP YOUR ACOUSTIC GUITAR SOUND 2 0

JA M T R AC K JAM TRACK PLAY GUITAR WITH A BAND!

PSYCHEDELIC ROCK It’s time for a ‘far out’ jam session with TG’s psychedelic rock style backing track

I

n the late 60s, icons like The Grateful Dead, Pink Floyd and Jimi Hendrix pioneered the drugfuelled style of music known as psychedelic rock. There was a resurgence in the 90s when bands like Blind Melon and Kula Shaker drew heavily from 60s roots, and acts like The Black Angels and My Morning Mdfnhw#frqwlqxh#wr#ľ|#wkh#ľdj1#Wkhvh# musicians use a combination of long uhyhuev/#ghod|v#dqg#prgxodwlrq#hļhfwv/# like phasers and choruses to create a spacey, ‘far out’ sound.

Hdvwhuq#lqľxhqfhv#duh#riwhq#khdug#lq# psychedelia – particularly the early era – and the pre-chorus section of our track gives you the chance to play over a typical progression. We’ve shown the Phrygian mode below. It has a distinctive sound that complements this style but take care not to overuse it. Try instead to mix in some Phrygian lines with more commonplace natural minor and blues scale ideas. For the chords, aim to combine strumming, picking, stabs and even short lead phrases for an authentic vibe.

Jerry Garcia: half way through an eight hour long wig out

60

SCALES

A

ll three sections of this month’s jam track are in E minor so the E natural minor scale (E F# G A B C D) and E blues scale (E G A Bb B D) will work throughout. The E Phrygian mode (E F G A B C D) sounds great during the pre-chorus, particularly when you reach the unusual Em/F chord.

1

11 1

1

12

2

1

1

1

3 3

3 4

1

1

1

12

1

1

1

2 2

2 3 3 4

4 4 4

4

E natural minor scale

3

3 3

4

4

4 4

E Phrygian mode

E blues scale

X

X

1

1

1

4 4

1

1

5

3 3 3 3

2

5

1

1

1

O

X

1 3

2 3

1

1

3

1

4

2 3

Em7 X

O

X

4

Am7 O O

X

O

X

5

Am

G O O

X

X

O

X

O O 5

5

X

O

3

3

3

3

Em/F

TOTAL GUITAR DECEMBER 2017

1

Em/B

Em/A

Em/G

Em O O

O O Guitars and backing: James Uings Photography Larry Hulst/Michael Ochs Archives/Getty Images

T

kh#Ľuvw#irxu#fkrugv#duh# simple barre chords. You’ll qhhg#d#vwurqj#Ľuvw#Ľqjhu#wr# form the barre – make sure your thumb is roughly opposite your Ľuvw#ru#vhfrqg#Ľqjhu#iru# maximum strength. The ‘slash’ chords (Em/F, Em/B etc) are essentially the same – just change the note on the fourth string.

1

3 3

4 4

7

1 2

2

X

CHORDS

1

BACKING TRACK (TRACKS 52-53)

JAM TRACK / PSYCHEDELIC ROCK

This song comes with a backing track on your CD. Simply insert the disc in your player, press play and jam along, guitaraoke style!

JAM TRACK PSYCHEDELIC ROCK Lead lick q = 85

Em

œ

#4 & 4

j œ

T A B

BU 14 (16)

TRACKS 52-53

œ œ nœ œ œ œ œ œ œ bœ nœ bœ œ œ

Em/F

œ nœ œ œ œ œ bœ nœ œ œ œ

Em

~~~~~~~~~ œ w ~~~~~~~~~

12

12

15

12

13

12

15

12

14

15

12

15

14

12

14 15

12

15 14 12

13 14

12 14

12

14

This lick combines the Phrygian mode with the blues scale to produce a lick that has an exotic tinge, but is still fundamentally a rock lick. This is a real fourth finger workout, so be sure to practise slowly before jamming over the backing track.

JAM TRACK

Gr at ef ul To Be Alive CHEAT SHEET

Tempo 85bpm Time signature 4/4 Key/scale E natural minor / E blues / E Phrygian

61

INTR O/VE RSE

||: Em7 / / / | / / / / | Am7 / / / | / / / / | | G / / / | Am / / / | Em7 / / / | / / / / :|| PRE -CHORUS

||: Em / / / | Em/F / / / | Em / / / | | Em/B / Em/A Em/G :|| x4 CHORUS

||: Em7 / / / | / / / / | / / / / | / / / / :|| x4 Once you’ve had a go at the chords and scales, have a think about how to play over the track in full. The light clean chords of the verse will sound good with a simple melody played over the top. The chorus is heavier so let rip with your best licks here.

DECEMBER 2017 TOTAL GUITAR

CL ASSIC T R AC K

62

THE BEATLES DAY TRIPPER

Try your hand at one of the most iconic riffs of all time, plus a neat little blues trick courtesy of the great John Lennon TOTAL GUITAR DECEMBER 2017

CL ASSIC T R AC K lthough recorded during the Rubber Soul sessions, Day Tripper wouldn’t appear on the album (it was on the band’s 1965 double A-side Christmas single). Over the years the track has become a favourite Beatles number among guitarists thanks to the iconic Lennon-penned riļ played by George Harrison.

This classic line will introduce you to the art of using minor and major 3rds in blues riļs – an idea also heard in country, rock, jazz, soul and more. The two notes in question appear on the 3rd and 4th frets of the sixth string near the start of the main riļ. Begin by playing the intro then look at the verse where the whole phrase is transferred across to the Ľfth string, using that minor to major 3rd move. To really digest this bluesy trick take a look at Lennon’s rhythm parts and notice how the riļ outlines the chords.

A

SOUND ADVICE Everything you need to know before playing ‘Day Tripper’

Get the tone

strings or a small piece of foam placed at

GAIN

BASS

MID

TREBLE

REVERB

2

flatwounds. John Lennon’s rhythm parts were probably played on a single-coil equipped Rickenbacker 325, so aim for a thinner more treble-rich sound if you’re playing those chords.

Use a bridge position humbucker for the riffs or single coils for the strummed rhythm parts.

X

X

X X

1 2

3

1

3

1

E7

4

X

X 4

1

1

F#7

O

O

3

O

X

O

O

1

O

X 5

3

2

2

4

X

63

SCALES

T

his song was written in E major although the main root chord in the verses is E7.

Scale-wise, this means that the E Mixolydian mode (E F& G& A B C& D) is the perfect Ľt – that’s because the scale includes the notes of the E7 chord (E G& B D). During the key change to B in the solo the rising harmony vocal line takes a B Mixolydian (B C& D& E F& G& A) approach, but Harrison favours the bluesier sounding B minor pentatonic scale (B D E F& A) for his licks. Try out these shapes to get a feel for how the song is put together.

F#7sus4 O

1

1

1

1

3

F#5

X X

1

1

2 3

E

1

1

4

X

the bridge should do the trick if you’re trying to get the sound without a set of

O

O

O

ES-345 fitted with humbuckers

strings tend to be more ‘zingy’ so old

M

O

riff was likely played on a Gibson

Vox AC15 amp. Normal roundwound

uch of the movement here comes from E, A and B chords, with a number of extensions (E7, A7, A7sus2) introduced simply by adding or removing a single Ľnger. C&7 and G&7 include notes from outside the key signature, which helps to provide a sense of movement to the chord progressions.

1

eorge Harrison’s iconic opening

and flatwound strings played through a

CHORDS O

G

CHANNEL OVERDRIVE

O X X

1

1

1

1

1

2

6

1

2

1

1

1

2

2

Guitars and backing: Steve Allsworth Photography: Michael Ochs Archives/Getty Images

3

3

3 3

4

4

A7

G#7

G#5

A7sus2 X X

X

X 5

1

1

7

1

1

X X

X

X X

3

3 4

A7

4

1

9

1

1

4

1

4

4 4 3 3 4

4 4

1

1

1

1

B Mixolydian mode 1

9

1

1

2 2

3 3

4

1

2

1

2

1

3 3

3 4

E Mixolydian mode

A5 7

1

1

2

2 3

1

3

3 4

2 2

3 3

3 4 4

4

4

4

4 4

3 3 3

B

B7

C#5

C#7

B minor pentatonic scale (shape 1)

B minor pentatonic scale (shape 2)

DECEMBER 2017 TOTAL GUITAR

CL ASSIC T R AC K

THE BEATLES DAY TRIPPER FULL TAB DAY TRIPPER Words and Music by John Lennon and Paul McCartney Copyright © 1965 Sony/ATV Music Publishing LLC Copyright Renewed All Rights Administered by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219 International Copyright Secured All Rights Reserved Reprinted by Permission of Hal Leonard LLC

THE BEATLES DAY TRIPPER Intro (riff) q =138

# # # # 4 . N.C. 4 . & œ. .

T A .

B 0 ≥ 64

Play 5 times

j nœ

#œ

2

3

3

≤

4

≥

1

œ

œ

nœ

1

2

≤

œ 1

2

0

≥

≤

œ

œ

œ

4

1

4

2

≥

œ

2

≤

≤

nœ

œ

..

1

0

2

≥

≤

. .

The key to George Harrison’s riff is preventing the strings ringing out over each other, especially as you roll your first finger over the 2nd fret. It’s quite easy to accidentally strike the fifth string as you play the open fourth string, so try to avoid excessive ‘pull-off’ movements that might cause you to knock idle strings.

THE BEATLES DAY TRIPPER Intro (rhythm guitar) E7

E

# ## 4 & # 4 ‰ 0:06

T A B

j œœ œœ œœ 0 0 1 2 2 0

≤

E

E7

E7

E

E

E7

E

E7 Play 3 times

.. . .

œœ œœ œœ

œœ œœ œœ

n œœœ œœœ

œœ œœ œœ

œœœ œœœ

œœ œœ œœ

0 0 1 2 2 0

0 0 1 2 2 0

0 3 1 2 2 0

0 0 1 2 2 0

0 3 1 2 2 0

0 0 1 2 2 0

≥

≥

≥

≤

≥

≤

œœ œœ œœ

n œœœ œœœ

œ œœœ œœ

œ œœœ œœ

œœ œ œœœ

œœœ œœœ

0 3 1 2 2 0

0 0 1 2 2 0

0 3 1 2 2 0

0 0 1 2 2 0

0 3 1 2 2 0

≤

≥

≥

≥

≤

Here in John Lennon’s rhythm part getting your fourth finger to behave can be quite a challenge, so make sure to fret the strings on the very tips of your fingers. Arching your hand a little will help, assisting you in avoiding the dreaded flat-finger approach – come in too flat and you’ll accidentally mute out strings.

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TOTAL GUITAR DECEMBER 2017

.. . .

FULL TRACK + BACKING (TRACKS 54-55)

THE BEATLES / DAY TRIPPER

This song comes with a full demo track and a backing track (minus guitar) on your CD. Simply insert the disc in your player, press play and jam along, guitaraoke style!

THE BEATLES DAY TRIPPER Verse (riff)

## & # # 44

E7

j Å&#x201C; nÅ&#x201C; nÅ&#x201C; #Å&#x201C; Å&#x201C;

Å&#x201C;.

0:17

T A B

0

3

2

2

4

Å&#x201C;

Å&#x201C; Å&#x201C;

Å&#x201C;

0

Å&#x201C; nÅ&#x201C; Å&#x201C;

4

2

0

2

j Å&#x201C; nÅ&#x201C; nÅ&#x201C; #Å&#x201C; Å&#x201C;

Å&#x201C;.

2 0

3

2

2

4

Å&#x201C;

Å&#x201C; Å&#x201C;

Å&#x201C;

0

Å&#x201C; nÅ&#x201C; Å&#x201C;

4

2

0

2

2

1

&

####

T A B

A7

j Å&#x201C; nÅ&#x201C; nÅ&#x201C; #Å&#x201C; Å&#x201C;

Å&#x201C;.

0

3

2

2

4

Å&#x201C;

Å&#x201C;

0

2

E7

Å&#x201C; Å&#x201C;

Å&#x201C; nÅ&#x201C; Å&#x201C;

4

2

0

Å&#x201C;.

j Å&#x201C; nÅ&#x201C; nÅ&#x201C; #Å&#x201C; Å&#x201C;

2 0

3

2

2

4

Å&#x201C; Å&#x201C; Å&#x201C; Å&#x201C; nÅ&#x201C; Å&#x201C;

Å&#x201C;

0

4

2

0

2

2

5

Here in the verse Harrison repeats the intro riff then moves it across to the fifth string to outline the A7 chord. For a lesson beyond these two shapes, we recommend you try to work this out in a different moveable position (with no open strings) in a variety of key signatures.

THE BEATLES DAY TRIPPER Verse (rhythm guitar) E

E7

E

E7

# ## 4 Å&#x201C; & # 4 Å&#x201C;Å&#x201C;Å&#x201C; Å&#x201C; Å&#x201C; 0:17

Å&#x201C;Å&#x201C; Å&#x201C;Å&#x201C; Å&#x201C; Å&#x201C;

n Å&#x201C;Å&#x201C;Å&#x201C; Å&#x201C;Å&#x201C; Å&#x201C;

Å&#x201C;Å&#x201C; Å&#x201C;Å&#x201C; Å&#x201C; Å&#x201C;

Å&#x201C; Å&#x201C;Å&#x201C;Å&#x201C; Å&#x201C; Å&#x201C;

Å&#x201C;Å&#x201C; Å&#x201C;Å&#x201C; Å&#x201C; Å&#x201C;

0 0 1 2 2 0

0 0 1 2 2 0

0 3 1 2 2 0

0 0 1 2 2 0

0 3 1 2 2 0

0 0 1 2 2 0

T A B

E7

E

n Å&#x201C;Å&#x201C; Å&#x201C; Å&#x201C;Å&#x201C; Å&#x201C;

Å&#x201C; Å&#x201C;Å&#x201C;Å&#x201C; Å&#x201C; Å&#x201C;

Å&#x201C;Å&#x201C;Å&#x201C; Å&#x201C;Å&#x201C; Å&#x201C;

Å&#x201C;Å&#x201C; Å&#x201C; Å&#x201C;Å&#x201C; Å&#x201C;

Å&#x201C;Å&#x201C;Å&#x201C; Å&#x201C;Å&#x201C; Å&#x201C;

0 3 1 2 2 0

0 0 1 2 2 0

0 3 1 2 2 0

0 0 1 2 2 0

0 3 1 2 2 0

E

Å&#x201C;Å&#x201C; Å&#x201C; Å&#x201C;Å&#x201C; Å&#x201C;

E7

E7

E

65

1

# ## & # T A B

E

E7

E

E7

E

Å&#x201C;Å&#x201C; Å&#x201C;Å&#x201C; Å&#x201C; Å&#x201C;

Å&#x201C;Å&#x201C; Å&#x201C;Å&#x201C; Å&#x201C; Å&#x201C;

n Å&#x201C;Å&#x201C;Å&#x201C; Å&#x201C;Å&#x201C; Å&#x201C;

Å&#x201C; Å&#x201C;Å&#x201C;Å&#x201C; Å&#x201C; Å&#x201C;

Å&#x201C;Å&#x201C; Å&#x201C;Å&#x201C;Å&#x201C; Å&#x201C;

Å&#x201C;Å&#x201C; Å&#x201C;Å&#x201C; Å&#x201C; Å&#x201C;

0 0 1 2 2 0

0 0 1 2 2 0

0 3 1 2 2 0

0 0 1 2 2 0

0 3 1 2 2 0

0 0 1 2 2 0

E7

Å&#x201C;Å&#x201C; n Å&#x201C;Å&#x201C; Å&#x201C;Å&#x201C; Å&#x201C;Å&#x201C; Å&#x201C; Å&#x201C; Å&#x201C; Å&#x201C; 0 3 1 2 2 0

E

E7

E

E7

Å&#x201C; Å&#x201C;Å&#x201C;Å&#x201C; Å&#x201C; Å&#x201C;

Å&#x201C;Å&#x201C;Å&#x201C; Å&#x201C;Å&#x201C; Å&#x201C;

Å&#x201C;Å&#x201C; Å&#x201C;Å&#x201C; Å&#x201C; Å&#x201C;

Å&#x201C;Å&#x201C;Å&#x201C; Å&#x201C;Å&#x201C; Å&#x201C;

0 0 1 2 2 0

0 3 1 2 2 0

0 0 1 2 2 0

0 3 1 2 2 0

A7

A 7sus 2

A 7 A 7sus 2

A7

Å&#x201C; n Å&#x201C;Å&#x201C;Å&#x201C; Å&#x201C;

Å&#x201C;Å&#x201C; Å&#x201C;Å&#x201C; Å&#x201C;

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Å&#x201C; Å&#x201C;Å&#x201C;Å&#x201C; Å&#x201C;

Å&#x201C;Å&#x201C; Å&#x201C;Å&#x201C; Å&#x201C;

0 2 0 2 0

0 2 0 2 0

0 0 0 2 0

0 2 0 2 0

0 0 0 2 0

0 2 0 2 0

3

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DECEMBER 2017 TOTAL GUITAR *25( (OL[LU 1$12:(% 32/<:(% 237,:(% JUHDW WRQH ORQJ OLIH ³H´ LFRQ DQG RWKHU GHVLJQV DUH WUDGHPDUNV RI : / *RUH $VVRFLDWHV Â&#x2039; : / *RUH $VVRFLDWHV ,QF

CL ASSIC T R AC K THE BEATLES DAY TRIPPER Verse (rhythm guitar continued)

# ## & #

A 7sus 2 A 7

A 7sus 2

A7

E

E7

E

E7

œœ œœ œœ n œœ œ œ

œœ œœ œ

œœ œœ œ

œœ œœ œ

œœ œœ œ

œœ œœ œ

œœ œœ œ

œœ œœ œ œ

œœ œ œœ œ

n œœœ œœ œ

œœ œœ œ œ

œœ œœœ œ

œœ œœ œ œ

0 0 0 2 0

0 2 0 2 0

0 2 0 2 0

0 2 0 2 0

0 2 0 2 0

0 0 0 2 0

0 2 0 2 0

0 0 1 2 2 0

0 0 1 2 2 0

0 3 1 2 2 0

0 0 1 2 2 0

0 3 1 2 2 0

0 0 1 2 2 0

T A B

E7

E

œ œœ œœœ n œœ œ œ œ œ 0 3 1 2 2 0

E7

E

E7

E

œœ œœ œ œ

œœ œ œœ œ

œœ œ œœ œ

œœ œœœ œ

0 0 1 2 2 0

0 3 1 2 2 0

0 0 1 2 2 0

0 3 1 2 2 0

6

The very last chord before changing to a new shape can be a bit fiddly, so you may find yourself playing a slightly muted or open string chord here (your ears probably won’t even register this). This is a perfectly normal way to approach rhythm playing, particularly with loosely strummed parts like this.

THE BEATLES DAY TRIPPER Chorus (powerchords) F#5

## & # # 44

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

0:31

œ œ œ œ œ œœ œ œ œ œ œ œ œ œœ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œœ œ œ œ œ œ œ œ œœ œ œ

4 2

4 2

4 2

PM throughout

T A B

4 2

&

4 2

4 2

4 2

4 2

4 2

4 2

4 2

≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥

1

####

4 2

4 2

4 2

4 0

4 2

2

≥ ≥ ≥ ≥ ≥

4 2

4 2

œ œ

œ œ œ œ œ œœ œ œ œ œ œ

4 2

≥ ≥ ≥ cont. sim.

G#5

A5

4 2

4 2

4 2

4 2

4 2

4 2

C#5

œ œ

œ œ œ œ œ œœ œ œ œ œ œ

4 2

B

œ œ

œ œ œ œ œ œœ œœ œ œœ œ œ

6 4

6 4

4 2

4 2

4 0

4 2

2

4 2

4 2

œ œ

œœ œœœ œœ œœœ œœœ œ œ œ œ œ œ œ

4 2

4 4 2

66 T A B

7 5

7 5

7 5

7 5

7 5

7 5

7 5

6 4

6 4

6 4

6 4

6 4

6 4

6 4

6 6 4

6 6 4

6 4

6 4

6 4

4 4 4 2

4 4 4 2

4 4 2

4 4 4 2

4 2

5

These are all lightly palm-muted chords based mainly around simple powerchord shapes. Take note of the hammer-ons in bars 2 and 4 – these are played at double speed and require accurate timing. The chords in bars 7 and 8 breathe a bit of life and movement into proceedings by expanding the powerchords over more strings.

THE BEATLES DAY TRIPPER Chorus (rhythm guitar) F#7

F # 7sus 4

# ## 4 œ œ & # 4 # œœœ œœœ œœ œœ 0:31 2 2 3 2 4 2

T A B

A7

# # # # n œœœ & n œœ œ

5

2 2 3 2 4 2

2 2 4 2 4 2

≥ ≤ ≥

1

T A B

2 2 3 2 4 2

j œœ ‰ œœœ œœœ œœœ œœ œœ œœ œœ œœ œ œ œ

5 8 6 5 7 5

≥

œœœ œ œœ

œœœ œ œœ

5 8 6 5 7 5

5 8 6 5 7 5

≥ ≤

2 2 4 2 4 2

2 2 4 2 4 2

F#7

œœœ œœ œœ œœ # œœœ œœœ œ œ œ 2 2 4 2 4 2

2 2 3 2 4 2

2 2 3 2 4 2

≥ ≤ ≥ ≤ cont. sim. œ œœœ œœ

F # 7sus 4

j œœ ‰ œœœ œœœ œœœ œœœ œœ œœ œœ œ œ œ œ

2 2 3 2 4 2

2 2 4 2 4 2

2 2 4 2 4 2

2 2 4 2 4 2

G#7

œœœ œ œœ

œœœ # œœ œœ # œœœ œ œ

œœœ œœ œ

œœ œœœ œ

5 8 6 5 7 5

5 8 6 5 7 5

5 8 6 5 7 5

4 7 5 4 6 4

4 7 5 4 6 4

≤ ≥ ≤

F # 7sus 4

œœœ œœ œœ œœ # œœœ œœœ œ œ œ

j œœ ‰ œœœ œœœ œœœ œœœ œœ œœ œœ œ œ œ œ

2 2 4 2 4 2

2 2 3 2 4 2

2 2 3 2 4 2

2 2 3 2 4 2

2 2 4 2 4 2

2 2 4 2 4 2

2 2 4 2 4 2

C#7

œœœ œ œœ

4 7 5 6 6 4

F#7

œœ œœœ œ

œœœ œœ œ

œœœ œœ œ

œœœ # œ œœ œœœ œ

4 7 5 4 6 4

4 7 5 4 6 4

4 7 5 4 6 4

10 9 11 9

≥

F#7

F # 7sus 4

œœœ œœ œœ œœ # œœœ œœœ œ œ œ

j œœ ‰ œœœ œœœ œœœ œœ œœ œœ œœ œœ œ œ œ

œœœ œœ œ

2 2 4 2 4 2

2 2 3 2 4 2

2 2 4 2 4 2

2 2 3 2 4 2

2 2 3 2 4 2

2 2 4 2 4 2

2 2 4 2 4 2

2 2 4 2 4 2

B7

œ œœœ

œœ œœ

œ œœœ

œœ œœ

œœ œœ

œœ œœ

œœ œœ

10 9 11 9

10 9 11 9

10 9 11 9

8 7 9 7

8 7 9 7

8 7 9 7

8 7 9 7

≥

≥

≥

As with many improvised rhythms, John makes a few changes to this strummed line in choruses 2 and 3. This really only amounts to changing the strummed rhythms slightly or varying the number of strings he strikes. Try learning the part as transcribed to get a feel for it, then have a go at jamming your own rhythm ideas.

TOTAL GUITAR DECEMBER 2017

THE BEATLES / DAY TRIPPER THE BEATLES DAY TRIPPER Solo B7

# ## 4 & # 4 Å&#x201C;. Å&#x201C;.

j Å&#x201C; Å&#x201C; nÅ&#x201C; #Å&#x201C; Å&#x201C; 1

4 1

1:20

T A B

3

4 2

5

6

4

Å&#x201C; Å&#x201C; Å&#x201C; Å&#x201C; Å&#x201C; Å&#x201C;

Å&#x201C;

1

1

1

4

B 7sus 4

2

2

4

2

4

j Å&#x201C; Å&#x201C; nÅ&#x201C; #Å&#x201C; Å&#x201C;

Å&#x201C;. Å&#x201C;.

3

1

3

3

4

4 2

5

4

4

6

&

B7

Å&#x201C;Å&#x201C; . .

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Å&#x201C;

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Å&#x201C; Å&#x201C;Å&#x201C;Å&#x201C;

Å&#x201C;. Å&#x201C; Å&#x201C;

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Å&#x201C; Å&#x201C; Å&#x201C; Å&#x201C; Å&#x201C; Å&#x201C; 2

2

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4

4

Å&#x201C; Å&#x201C;.

J

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2

4

Å&#x201C; J

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T A B 5

& T A B

4 2

5

6

4

4

~~~~~ ~~~~~ n Å&#x201C; Å&#x201C; Å&#x201C; Å&#x201C; #### Å&#x201C; Å&#x201C; ~~~~~ ~~~~~ 10

12

12

2

2

4

j Å&#x201C;

Å&#x201C; Å&#x201C; n Å&#x201C; Å&#x201C;~~~Å&#x201C; ~~~

BU

12

10

12

12 (14 ) 12

2

4

10

4 4 4 2

4

Å&#x201C; Å&#x201C;Å&#x201C; Å&#x201C; Å&#x201C; Å&#x201C;

Å&#x201C;Å&#x201C; ..

4 2

7

9

j Å&#x201C;Å&#x201C; .. Å&#x201C; PM

PM

12

BU 8

4 4

0 4

4 2

7

9

j Å&#x201C;

BD

10

Å&#x201C;Å&#x201C; ..

PM

0 4 2

(11 )

( 11 )( 9 )

9

j Å&#x201C;Å&#x201C; .. Å&#x201C;

j Å&#x201C;

PM

0 4 2

PM

0 4 2

2

9

Bars 1 to 6 are a nice, moveable pattern, this time largely outlining a B7 chord. The â&#x20AC;&#x2DC;soloâ&#x20AC;&#x2122; part gets started in bar 7. Note that the string bend leading into bar 8 must be held as you play the second string before re-picking the bent string again. Use three fingers for the bend to leave your fourth finger free to play the second string here.

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LEARN TO PL AY OPEN-MIC SONGBOOK

RADIOHEAD NO SURPRISES

Try out some inventive capo work and cool chord progressions with Radiohead’s 90s alt-rock classic

A

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RADIOHEAD NO SURPRISES Intro

TRACK 56

q =78

70 Capo 15th fret

& b 44

F

B b m6

F

B b m6

( D)

( G m6 )

( D)

( G m6 )

√œ

b

œ œ œ œ œ œ œ

œ

œ œ œ œ œ bœ œ

œ

0

2

b

œ œ œ œ œ œ œ

œ

2

2

œ œ œ œ œ bœ œ

0:00

T A B

2 2

3

2 2

2

2

3

2

3

2

2

0

3

3

2

3

2

3

2

2

3

2

2

0

3

3

0

≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ cont. sim.

The key to getting this line sounding the way it does on the recording is to use a capo on the 15th fret of your guitar. Notice that the F chord resembles an open D shape, and that’s why you’ll see a ‘D’ in brackets underneath – a common way of notating capo’d chords. Select a clean tone and a middle pickup setting with a touch of reverb.

X

CHORDS

X

Thom Yorke plays the acoustic guitar part with a capo at the 3rd fret. The capo makes all the chords ring nicely and can make the changes easier. All the chords are from the key of F major (F G A B b C D E) with the exception of B b m6 – this chord includes a D b note, which gives it its unusual and mournful sound.

X

X

0

O

1

2

2

3 4

4

0

O

X

0

O

CAPO – 3rd fret

1 2

2 3

X

0

O

CAPO – 3rd fret

1

O

O

CAPO – 3rd fret

1

2

2 3

4

3 4

Bbm6 (Gm6)

X

C (A)

Csus4 (Asus4)

Dmb6 (Bmb6)

Guitars and backing: Jon Bishop Photography: Credit/ Lucy Nicholson

X

Gm (Em)

Gm7 (Em7)

F/E (D/C#)

F (D)

CAPO – 3rd fret

TOTAL GUITAR DECEMBER 2017

1

3

3

O

CAPO – 3rd fret

CAPO – 3rd fret

2

1

2

1

O

O

0

O

CAPO – 3rd fret

CAPO – 3rd fret

BACKING TRACK (TRACK 56)

RADIOHEAD / NO SURPRISES

This song comes with a backing track (minus guitar) on your CD. Simply insert the disc in your player, press play and jam along, guitaraoke style!

SONG SHEET

No Surprises Intro

Dm b 6

F / / / / / B b m6 / x4

My final bellyache with

Verse 1

Chorus 2

F Dm b 6 A heart that’s full up like a landfill

Gm

Gm7 A job that slowly kills you C Csus4 F B b m6 Bruises that won’t heal F You look so tired, unhappy Dm b 6 Bring down the government Gm7 C Csus4 F They don’t, they don’t speak for us F I’ll take a quiet life Dm b 6 A handshake of carbon monoxide

Chorus 1

C

No alarms and no surprises Gm

C

Gm

C

Csus4

B b m6

Verse F Such a pretty house Dm b 6 And such a pretty garden

Gm

C

Csus4

No alarms and no surprises

Gm

Gm

No alarms and no surprises F

B b m6

Silent...

F

Silent...

Verse 2 F

B b m6

71

C / / / B b m6 / / / C / / / B b m6 / / / Gm / / / B b m6 / / /

No alarms and no surprises Csus4

B b m6

Bridge

Chorus 3

C

F

No alarms and no surprises please

Gm

Csus4

Csus4

No alarms and no surprises

Gm C Csus4 And no alarms and no surprises C

Csus4

C

Csus4

No alarms and no surprises Gm

C

Csus4

No alarms and no surprises, please

Outro F/E

F / / / / / B b m6 / F / / / / / B b m6 / F / / /

This is my final fit

NO SURPRISES Words and Music by Thomas Yorke, Jonathan Greenwood, Colin Greenwood, Edward O’Brien and Philip Selway © 1997 Warner/Chappell Music Ltd, London, W8 5DA UK/EU reproduced by kind permission of Faber Music Ltd US/CAN reproduced by kind permission of Hal Leonard LLC International Copyright Secured. All Rights Reserved.

DECEMBER 2017 TOTAL GUITAR

TURN A ROU N D THE TURNAROUND LICKS OF THE BLUES LEGENDS

JOHNNY WINTER Try out Johnny Winter’s potent mix of blues and hard rock with this issue’s five transcribed examples and two backing tracks

B 72

orn in Texas in 1944, Johnny Winter was encouraged from an early age to play music – inspired by seeing Muddy Waters and BB King live, Johnny had his own band and was recording by age 15. He released his debut album The Progressive Blues Experiment in 1968, though mainstream success would come the following year when, after jamming with the late blues great Mike EorrpĽhog/#Mrkqq|#zdv#vljqhg#wr#Froxpeld# records. A string of successful albums, production credits, Grammy nominations and awards followed and Johnny was a busy live artist right up to his death in 2014.

His bright, attacking tone was enhanced by his Gibson Firebird guitars, which he described as somewhere between a Fender and Gibson tonally. He would crank the treble on his Music Pdq#dqg#Ihqghu#dpsv#dqg#uroo#rļ#wkh#edvv#dqg# midrange completely for a bright sound!

Udwkhu#wkdq#d#vwdqgdug#ľdwslfn#Mrkqq|#zrxog# xvh#Ľqjhuv#dqg#wkxpeslfn1#Kh#zdv#dghsw#dw# slide playing but the majority of his soloing was in the conventional style so that’s what we’re looking at here. You don’t need specialist equipment, just a bright, trebly humbucker or full-sounding single coil, some drive and a lot of attitude!

1 MINOR PENTATONIC ROCK LICK q =161

TRACK 57

˙~~~~~~~~~ œ œ œ œ

B5

# & # 44

j œ

T A B

10 (12 )

BU

~~~~~~~~~ 7

œ œ œ œj œ œ œ œ œ

j œ

˙~~~~~~~~~ œ œ œ œ ~~~~~~~~~

10

BU

7

(11)

9

7 BU BD 9 (11 ) ( 9 )

7

7

9

7

BU 9 (11)

~~~~~ œ œ ˙

1/4

œ

~~~~~

1/4

7

10

7

9

7

9

9

Using the most popular minor pentatonic scale shape, this example is all about attack and vibrato combined with frequent string bends and more drive than your average Texas blues. It’s really all about confidence, so make yourself familiar with the basic structure of the lick first, then dig in with attitude.

2 USING PULL-OFFS

TRACK 58

. œ œ œ œ œ œ œ œ œ œ ## 4 œ œ # œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ & 4 T A B

10 7

9

7

9 7

10 7

9

7

9 7

10 7

9

7

9 7

10 7 9 7

9 7

10 7 9 7

9 7

7

B5

j œ

œ~~~ œ œ œ œ œ œ œ œ œ œ~~~œ œ.

BU

1/4

1/4

~~~ 7

10 (12)

~~~

1/4

10 7 10 7

9

7

7

9

9

1/4

7

Our second lick is pretty demanding at this tempo, so be prepared to run it slowly a few times before diving in. For the third and fourth bars, we return to a similar feel to the previous line, but switching gears like this can be a challenge too – take your time and keep your fretting hand relaxed throughout.

TOTAL GUITAR DECEMBER 2017

Guitars and backing: Richard Barrett Photography: Michael Ochs Archives/Getty Images

E5

FULL TRACKS + BACKINGS (TRACKS 57-63)

THE TURNAROUND / JOHNNY WINTER

These tab examples come with audio tracks on your CD. Simply insert the disc in your player, press play and jam along, guitaraoke style!

3 JIMMY JOHNNY

TRACK 59

F#5

# & # 44

√j

E5

œ

œ

œ

j œ

œ

œ

œ

let ring throughout BU BU 17 17 (19) 17 (19)

T A B

j œ

œ œj œ J

œ

œ j Jœœ œ œ œ RP

BU

17

17

17 (19)

~~~~~~ œ œ œ œ œ œ #œ

w~~~~~~~~~~~~~~

~~~~~~

~~~~~~~~~~~~~~

B5

BU

17

17 (19)

BD ( 19 )(17)

15

16

14

BU 18 (19 )

16

16

18

16

18

With its mixture of major and minor pentatonic scales, this could almost be a Jimmy Page lick. Whichever way you look at it this is a characterful line with some repeated bends that are allowed to ring while the higher note is hit on the first string – a technique known as an oblique bend.

4 FAST 16TH-NOTE LINE

TRACK 60

q =146

D5

√ ## 4 n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 4 13

T A B

10

12

10

12

10

13

10

12

10

12

13

10

10

12

10

œ œ n œj œ

œ

œ

BU

10

10 13 (15 )

12

œ œ œ œ

œ œ œj œ 13

10 BU 12 (14 )

10

10

13

10

73

# # œj œ œ n œ œ œ œ œ n œ œ & T A B

BU BD 12 (14) (12 )

œ œ œ œ.

œ nœ œ nœ œ

œ~~~~~~~~~~

œ œ œ œ.

1/4

~~~~~~~~~~

1/4

10

12

12

10

12

10

10

12

10

10

12

12

10

10

12

12

10

10

12

12

3

It’s all action with this near unbroken line of 16th notes! On closer inspection, you’ll see there is a logic to the phrasing and fingering that gathers momentum surprisingly quickly if you run through it slowly. There are some interesting rhythmic groupings in the final two bars that give a funkier feel.

5 HOT WINTER

TRACK 61 G5

√ # 4 & #4 T A B

j nœ

D5

œ œj n œ œ œ œ œ œ œ œj œ œ œ œ œ œj œ œ œ œ œ n œj œ œ œ œ œ œj œ œ # œ ‰ J

BU BU 15 15 15 15 BU 15 15 15 15 BU 15 15 15 15 BU 15 15 15 15 17 (19 ) 15 17 (19 ) 17 (19 ) 17 (19 ) 17 (19 )

BU 16 17

17 (20)

œ œ #œ nœ BD [20] (17)

16

15

j nœ

œ œ # œ œ œj œ œ œ~~~

BU 18 (20)

15

16 17

BU BD

~~~

17(18 ) (17) 15

With the focus more on string bends, this rapid fire phrase stays within a relatively small area of the fretboard, though you may need to concentrate hard on the accuracy of those bends in the context of all that fast picking. Johnny would execute this technique with alternate picking from his thumbpick.

DECEMBER 2017 TOTAL GUITAR

TAB GUIDE Get more from TG by understanding our easy-to-follow musical terms and signs What is tab?

Tab is short for tablature, a notational system used to give detailed information as to where notes should be played on the fretboard. Tab appears underneath conventional music notation as six horizontal lines that represent the strings of the

guitar, from the sixth (thick) vwulqj#dw#wkh#erwwrp#wr#wkh#Ľuvw# (thin) string at the top. On these lines, numbers represent which iuhwv#|rx#sodfh#|rxu#Ľqjhuv1#Iru# example, an A note on the 2nd fret, third string, will be shown as a number ‘2’ on the third line

down on the tab. Unfretted strings are shown with a ‘0’. The key and time signatures are shown in the notation. TG also includes a timestamp to tell you where in the original track you’ll Ľqg#hdfk#h{dpsoh#dqg#whpsr# expressed in beats per minute.

FRET BOXES: CHORDS, SCALES AND CAPO NOTATION HAND LABELLING 3

2

NUT AND FRETBOARD i

1

m

CHORD EXAMPLE

o o o o o o

a

o o o

c

4

1 T

p 2

3

76 G Here are the abbreviations used for each finger. Fretting hand: 1, 2, 3, 4, (T) Picking hand: p (thumb), i (index), m (middle), a (annular), c (little finger)

This fretbox diagram represents the guitar’s fretboard exactly, as seen in the photo. This design is used for ease of visualising a fretboard scale or chord quickly.

This diagram represents a G chord. The ‘o’s are open strings, and a circled number is a fretting hand finger. A black ‘o’ or circled number is the root note (here, G).

CAPO EXAMPLE

CAPO NOTATION

SCALE EXAMPLE

o o o

CAPO 2ND FRET >

CAPO 2ND FRET >

o

x

o

4

1 1

1 1 1 2 2

1 2 2

2 3 3

2

3

3 4 4 4 4 4

A major scale

A (G)

D (C)

The blue line in the diagram represents a capo – for this A chord, place it at the 2nd fret. Capos change the fret number ordering. Here, the original 5th fret now becomes the 3rd fret, 7th fret now 5th fret, etc.

Here the chord looks like a C in the tab, but the capo on the 2nd fret raises the pitch to make it a D. The 2nd fret capo’d notes are shown with a ‘0’ in the tab as if they were open strings.

The fret box diagram illustrates the fret hand fingering for the A major scale using black dots for root notes and red dots for other scale tones. The photo shows part of the scale being played on the fourth string with the first, third and fourth fingers.

GUITAR TECHNIQUES: PICKING DOWN AND UP-PICKING

TREMOLO PICKING

PALM MUTING

PICK RAKE

APPREGGIATED CHORD

The symbols under the tab tell you the first note is to be down-picked and the second note is to be up-picked.

Each of the four notes are to be alternate-picked (down and up-picked) very rapidly and continuously.

Palm-mute by resting the edge of your picking hand palm on the strings near the bridge saddles.

Drag the pick across the strings shown with a single sweep. This is often used to augment a rake’s last note.

Play the notes of the chord by strumming across the relevant strings in the direction of the arrow head.

TOTAL GUITAR DECEMBER 2017

TAB GUIDE FRETTING HAND HAMMER-ON & PULL-OFF

NOTE TRILLS

SLIDES (GLISSANDO)

FRET-HAND TAPPING

FRET-HAND MUTING

Pick the first note then hammer down on the string for the second note. Pick the third note and pull-off for the fourth note.

After picking the first note, rapidly alternate between the two notes shown in brackets using hammer-ons and pull-offs.

Pick the first note and then slide to the next. For the last two notes pick the first, slide to the next and then re-pick it (RP).

Sound the notes marked with a square by hammering-on/tapping with your fret hand fingers, instead of picking.

X markings represent notes and strings that are muted by your fret hand when struck by your picking hand.

BEND AND RELEASE

RE-PICKED BEND

PRE-BEND

QUARTER-TONE BEND

VIBRATO

Fret the first note (here, the 5th fret) and bend up to the pitch of the bracketed note, before releasing again.

Bend up to the pitch shown in the brackets, then re-pick the note while holding the bent note at the pitch shown.

Silently bend the string up from the 5th fret (PB5) to the pitch of the 7th fret note, pick it and release to the 5th fret note.

Pick the note then bend up a quartertone (a very small amount). This is sometimes referred to as a ‘blues curl’.

Your fretting hand vibrates the string by small bend-ups and releases. Exaggerate this effect to create a ‘wide’ vibrato.

PINCHED HARMONICS

TAPPED HARMONICS

TOUCHED HARMONICS

BENDING AND VIBRATO

HARMONICS NATURAL HARMONICS

ARTIFICIAL HARMONICS

77

Pick the note while lightly touching the string directly over the fret indicated.

A chiming harmonic results.

Fret the note as shown, then lightly place your index finger directly over ‘x’ fret (AH‘x’) and pick (with a pick, p or a).

After fretting the note in the triangle, dig into the string with the side of your thumb as you sound it with the pick.

Place your finger on the note as shown, but sound it with a quick pick hand tap at the fret shown (TH17) for a harmonic.

A previously sounded note is touched above the fret marked TCH (eg, TCH 9) for it to sound a harmonic.

SUSTAINED NOTE AND DIVEBOMB

GARGLE

WHAMMY BAR VIBRATO

VIBRATO BAR / WHAMMY BAR WHAMMY BAR BENDS

The note is picked as shown, then the vibrato bar is raised and lowered to the pitches shown in brackets.

SCOOP AND DOOP

Scoop: depress the bar just before striking the note and release. Doop: lower the bar slightly after picking note.

A Note is sustained then the vibrato bar is depressed to slack. The square bracket indicates a further articulation.

Sound the note and ‘flick’ the vibrato bar with your picking hand so it ‘quivers’. This results in a ‘gargling’ sound!

Gently rock the whammy bar to repeatedly bend the pitch up and down.

This sounds similar to fret hand vibrato.

VIOLINING

FINGER NUMBERING

PIMA DIRECTIONS

PICK HAND TAPPING

Turn the volume control down, sound the note(s) and then turn the volume up for a smooth fade in.

The numbers in the traditional notation refer to the fingers required to play each note.

Any kind of fingerpicking requirements are shown at the bottom of the tab notation.

Tap (hammer-on) with a finger of your picking hand onto the fret marked with a circle. Usually with ‘i’ or ‘m’.

OTHERS PICK SCRAPE

The edge of the pick is dragged either down or up along the lower strings to produce a scraped sound.

DECEMBER 2017 TOTAL GUITAR

Unplugged

80

YOUR MONTH IN THE ACOUSTIC WORLD

TOTAL GUITAR DECEMBER 2017

ACOUSTIC TRACKS 64-68

FIVE OPEN G TUNING CHORDS Essential chords to fuel your creativity X

O

O

D

G

D

O

O O

G

B

D

G X

O

O

O

1

HEADLONG INTO 2018

2

John Smith caps off his best year yet with a tour e’ve long been fans of John Smith’s music, so we were doubly pleased when he sod|hg#iru#WJġv#Ľuvw#Idfherrn#Olyh# session recently.

Viewers could see John play highlights from Headlong, one of wklv#|hduġv#Ľqhvw#dfrxvwlf#doexpv# (with some electric layers too) – dqg#d#euhdnwkurxjk#iru#wkh#Ghyrq0 born songwriter.

W

“It’s been overwhelmingly positive,” he tells us of the uhdfwlrq#wr#wkh#uhfrug1#ģL#wklqn#d# lot of people have found me through Spotify, where the record has had some success, so that’s been very encouraging and means the music industry still seems to eh#zrunlqj$Ĥ As you read this, John will be out on the road, driving the length and

breadth of the UK on tour up until March 2018 on his most extensive run yet. “I’m playing everywhere I can,” he laughs. But that doesn’t mean there’s no room for new gear baggage… “I just came across a beautiful relic ’53 Telecaster and Lġyh#sxw#d#Ohkoh#Dfrxvzlwfk#rq#p|# ’board. It’s made things a lot easier in my acoustic and electric rig.” www.johnsmithjohnsmith.com

D

A

G

B

D

1

1

B

D

1

1

1

G

B

D

X

1

5

1

3

G

D

G

Cadd9 X

The Submarine Pro pickup is coming

s we write, the Submarine Pro Crowdfunder is underway; zkloh#wkh#Ľuvw#prgho#frxog# capture the signal of two strings for separate signal processing, the Pro’s vl{#pdjqhwlf#frlo#fdq#slfn#xs#vljqdov# from them all, with one coil for each string enabling you to isolate the vljqdo#iurp#hdfk1#Wklv#rļhuv# srwhqwldo#iru#od|huhg#xvh#zlwk#hļhfwv# via a mono and stereo mode. Pete Urhġv#fuhdwlrq#dovr#Ľ{hv#wr#|rxu# soundhole with a clamp and its own cable, so no mods required. www.submarinepickup.com

D

Cadd9/G

D

NEW DEPTHS

G

1

3 D

G

D

Bb6

O

O

O

1 1

1

D

G

D

G

B

D

D7

DECEMBER 2017 TOTAL GUITAR

81

ACOUSTIC

Words Matt Parker Photography Tatjana Ruegsegger

Charlie Cunningham MEET THE INNOVATIVE SINGER-SONGWRITER MAKING BOLD STEPS FORWARD AND CHANNELING ONE OF THE WORLD’S MOST ANCIENT AND DYNAMIC GUITAR STYLES IN THE PROCESS ondon-based musician Charlie shukdsv#pruh#e|#oxfn#wkdq#mxgjhphqw/#irufhg# dqg#jrlqj#wr#ľdphqfr#vkrzv#dw#qljkw1#Dqg#L# Cunningham is supporting Lucy klv#kdqg#dqg#ohg#wr#klv#Ľuvw#froohjh#pxvlf# was practising like you wouldn’t believe: eight Rose, he has thumping course, but teenage distractions of many wr#43#krxuv#d#gd|#vrphwlphv1Ĥ endorsements from the likes of varieties had taken its toll on his practice Wzr#prqwkv#ehfdph#wzr#|hduv#ehiruh#wkh# Zane Lowe and he has released a uhjlph1#ģL#kdgqġw#sxw#wkh#krxuv#lq/Ĥ# songwriter felt he was nearing his goal. “My stunning debut album that melds ambient acknowledges Charlie. “I didn’t deserve it and I good mates who were working in sessions, I synths, dynamic Spanish guitar and poignant wasn’t at the level I should have been at. I knew they had done four hours a day for time, penmanship. But it was a decision to board a would play like an hour a day, but I wasn’t vr#L#zdv#wu|lqj#wr#gr#wkh#pdwk/Ĥ#vd|v#Fkduolh1# ľight to Spain in self-imposed exile that got sxvklqj/#L#zdvqġw#lqyhvwlqj#wkdw#wlph1Ĥ “I thought, ‘Surely I’ve paid my dues enough him here.

Lw#qhhghg#wr#eh#glļhuhqw#dqg/#zlwk#wkh# now to have the gall to ask to be paid to play Raised in Bedfordshire, Charlie studied surfhhgv#iurp#wkh#vdoh#ri#klv#Whoh/#d#wuls#wr# p|#pxvlf1ġĤ music to degree level, doing time with a Vhylooh#dqg#d#vwlqw#dw#d#ľdphqfr#vfkrro#zdv# Ability wasn’t the only thing Charlie brought Botch-style hardcore band and developing an errnhg1#ģL#zdv#jrlqj#wr#vwd|#iru#wzr#prqwkv/Ĥ# back, though. An Antonio Bernal classical obsession with ambient music and says Charlie. “And then I realised, ‘Shit! I’m not guitar, purchased right at the end of his stay, atmospheric spine-tinglers like Sigur Rós and going to get anywhere fucking near this in two also made the trip. “It’s the best thing I’ve ever Mogwai in the process. “I spent ages playing months.’ I ended up having one lesson a week rzqhg/Ĥ#vd|v#Fkduolh/#zlwk#vrph#uhyhuhqfh1# uhyhue0|#vwxļ#rq#d#Whoh/Ĥ#kh#whoov#WJ1# “It’s beautiful. I’ve played everything on “But I was torn – there was no init and done all my touring with it. If you between for this atmospheric-y, soft make an investment in a guitar like that, sod|lqj#dqg#vwxļ#wkdw#kdg#pruh#gulyh#wr# |rx#orrn#dw#lw#dqg#|rx#jr/#ĠLġyh#mxvw#jrw#wr# lw1#Wkhq#L#vwduwhg#olvwhqlqj#wr#Vsdqlvk# play this and make it sound like it needs music and it seemed like there was some wr#vrxqg1ġĤ of kind of link. One minute it would be On his return, Charlie and his guitar beautiful and then quite loose and dirty. I irxqg#lpphgldwh#sd|#rļ/#zlwk#wkuhh# dozd|v#oryhg#wkdw1Ĥ qljkwv#d#zhhn#lq#R{irug#eduv#vrrq# Wkh#shuhqqldo#edu2zdlwhu#mrev#kdg# returning the kind of cash that previously previously been enough to support the took 40 hours pulling pints to acquire. guitarist, but with his twenties passing at Wkhq#fdph#uhfruglqjv/#Udglr#4#sod|v#dqg/# a rapid pace, Charlie knew he had to act. Ľqdoo|/#klv#hqwkudoolqj#ghexw#doexp#Lines ģL#kdg#pdwhv#grlqj#ixqfwlrq#vwxļ#dqg# earlier this year. Now in his thirties, earning better money than I was as a Charlie’s break has come later than some zdlwhu/Ĥ#kh#h{sodlqv1#ģL#nqhz#wkdw#|rx# musicians, but the reward is a bruised Charlie’s take on flamenco rhythm needed two sets of 45 minutes, then grace to his playing and writing – “‘Golpe’ is a tapping technique that flamenco guitarists use someone planted the seed about going to suggestive of life’s capacity for both to accentuate [strums],” Charlie tells TG. “It basically just Vsdlq#dqg#wu|lqj#wr#ohduq#ľdphqfr#dqg#L# beauty and random brutality, and often in means ‘tap’, so they’re tapping on the board and using that thought, ‘Actually this could be a loads of quick succession. to accentuate certain beats in these rhythmic patterns. birds, one stone situation…’ I could come “I think those are the things you really It’s a right-handed technique, where one finger is doing the back with something that I could do to gudz#iurp/Ĥ#dfnqrzohgjhv#Fkduolh1#ģWkh# strumming and one finger is tapping at certain points – a make money, learn this way of playing ixqgdphqwdo/#ĠWklv#lv#ixfnlqj#fudsġ#rqhv1# simultaneous movement. I love the strumming patterns. and completely commit to something You have this idea that you’re invincible, You’re doing this rubber-band release type of thing with – put the hours in – which I really felt I especially if you’re passionate about your index finger. The power and the economy of qhhghg#wr#gr#dw#wkdw#srlqw1Ĥ vrphwklqj1#Exw#^olih`#fdq#mxvw#jr/#mxvw#olnh# movement in that was really amazing for me. The whole It’s fair to say focus had been an issue that. And if you haven’t done it, you point of learning any technique is so you don’t knacker yourself out and your hand doesn’t give up on you.” iru#wkh#vrqjzulwhu1#D#vfkrro#h{sxovlrq#iru# kdyhqġw#grqh#lw1#\rxġyh#mxvw#jrw#wr#gr#lw# ģdoo#wkh#vloo|#vklw#wkdw#nlgv#grĤ#kdg/# Ğ#dqg#gr#lw#krqhvwo|1Ĥ

L

82

CUNNING TRICKS

TOTAL GUITAR DECEMBER 2017

INTERVIEW / CHARLIE CUNNINGHAM

““I THOUGHT, ‘SURELY I’VE PAID MY DUES ENOUGH NOW TO HAVE THE GALL TO ASK TO BE PAID TO PLAY MY MUSIC’”

83

DECEMBER 2017 TOTAL GUITAR

ACOUSTIC ROCKSCHOOL

METALLICA

NOTHING ELSE MATTERS

Get your grades with Rockschool’s Grade 4 acoustic arrangement of Metallica’s heavy metal ballad

T

he Ľrst thing to look at in this classic Metallica track is the 6/8 time signature. This is ‘compound’ time, meaning its rhythmic pulse is based on groups of three eighth notes – and its lilting feel makes the song sound a little like a classical guitar piece. Try counting ‘1 & a 2 & a’ with each bar of music, emphasising ‘1’ and ‘2’ to keep time.

You’ll need to use either a pure Ľngerstyle or hybrid picked (pick and Ľngers) approach. With Ľngerstyle, your thumb picks the three bass strings,

while your Ľrst, second and third Ľngers play the third, second and Ľrst strings respectively. An exception to this general rule occurs when you encounter melodic passages, such as in bar 6.

Classical players and Ľngerstylists hone their skills by playing four-note picking patterns. Remember, ‘p’, ‘i’, ‘m’ and ‘a’ indicate the thumb, Ľrst, second and third Ľngers of your picking hand; simply try picking open strings with a p-i-m-a approach then try variations such as a-m-i-p, p-m-i-a and so on.

84 NOTHING ELSE MATTERS The Rockschool Acoustic Guitar Grade 4 book contains everything you need to pass your Grade 4 exam in one essential book. For more info, visit: www.rslawards.com

Words & Music by James Hetfield & Lars Ulrich © Copyright 1991 Creeping Death Music Universal Music Publishing Limited All Rights Reserved International Copyright Secured

FULL TAB

METALLICA NOTHING ELSE MATTERS

TRACKS 69-70

e =143

Em

# 6 & 8 ‰ ˙.

œ

T A B

0 0 p

1

œ

œ

œ

0

0

‰ ˙.

œ

0

0

œ

œ

œ

0

0

0

œ

‰ ˙.

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0

0

m

a

m

œ

0

0

0

0 i

œ

œ

œ

œ

0

0

0

a

3

&

# ‰

œ

œ

œ

œ

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œ

˙.

0

TOTAL GUITAR DECEMBER 2017

œ

œ œ

œ

˙.

0

4

œ

4

0

0

0

7 0 0

0

7

0

0

‰ ˙.

0

3

œ

0 0

œ œ 7 0

4

œ

œ œ œ œ 1

8

7

8

7

5

38 Tim Mosenfelder /Getty Images

T A B

œ

FULL TRACK + BACKING (TRACKS 69-70)

METALLICA / NOTHING ELSE MATTERS

This song comes with a full demo track and a backing track (minus guitar) on your CD. Simply insert the disc in your player, press play and jam along, guitaraoke style!

METALLICA NOTHING ELSE MATTERS (continued)

# 3 œ & 8 œ 4

4

œ

2

œ

1

TRACKS 69-70

Am

œ

œ

2

0

68 œ ˙.

3 7 0

T A B

5

3

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œ

5

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2

5

5

0

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‰ ˙

0

5

5

5

0

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. œ œ

. œœ œ

5

5

5 5

5

7

0

7

C

# œ. & œ T A B

œ œ œ œ œ œ œ œ œ ‰ Œ œ J

5 3

3

5 3

0

5

5

5

5

5

3

D 3 2

œ œ œ œ œ œœ œ œ œ

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7

0

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7

7

4

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‚

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NH

12

12

12

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10

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0

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85

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13

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‰. ˙.

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7

0

9

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7 8 0

C

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2

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& T A B

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0 1

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7

9

9

D

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7 8 0

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2

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C

œ 2 3

œ

0

œœ 0 1

3

19

DECEMBER 2017 TOTAL GUITAR

ACOUSTIC METALLICA NOTHING ELSE MATTERS (continued)

&

#

B7

G

œ

œ

œ

T A B

TRACKS 69-70

Em

œ

0

0 3

œ

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2

4

2

‰ ˙.

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0

0

0

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0

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0

0

0

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0

0

22

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# & .. ‰ ˙.

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0

0

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3

0

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2

0

0

0

3

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0

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3 2

3

œ œ 0

Em

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0

3

2

0

C

2

T A B

œ œ.

œ œ œ œ

3

3

2

3

œ ‰ œ œ

‰ ˙.

2

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3

0

0 3

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0

0

0

0

0

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C sus 2

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TOTAL GUITAR DECEMBER 2017

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FULL TRACK + BACKING (TRACKS 69-70)

METALLICA / NOTHING ELSE MATTERS

This song comes with a full demo track and a backing track (minus guitar) on your CD. Simply insert the disc in your player, press play and jam along, guitaraoke style!

METALLICA NOTHING ELSE MATTERS (continued) D

C

# œœ .. & œœ ..

T A B

TRACKS 69-70

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47

DECEMBER 2017 TOTAL GUITAR

ACOUSTIC METALLICA NOTHING ELSE MATTERS (continued)

TRACKS 69-70

3

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53

The easiest way to decipher where the notes fall rhythmically is to write a count above the music. â&#x20AC;&#x2DC;1 & a 2 & aâ&#x20AC;&#x2122;, â&#x20AC;&#x2DC;1 2 3 4 5 6â&#x20AC;&#x2122; and â&#x20AC;&#x2DC;1 2 3 2 2 3â&#x20AC;&#x2122; are different ways of verbalising the same rhythm. The fifth note in bar 5 falls in between beats 4 and 5, so you could count â&#x20AC;&#x2DC;1 2 3 4 & 5 6â&#x20AC;&#x2122; here; say â&#x20AC;&#x2DC;4 & 5â&#x20AC;&#x2122; at double speed to fit the extra note in.

! ! # " ! $

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THE GAS STATION

098

REAL WORLD REVIEWS OF THE BEST NEW GEAR

096 Welcome to the GAS (Gear Acquisition Syndrome*) Station! Every issue, TG scours the market for the hottest new gear and brings you transparent reviews that you can trust. From the smallest of accessories that make your life easier, to big investments, such as brand new guitars, amps and effects pedals – if it’s worth your attention, you’ll find it here!

BEST BUY AWARD

HOW WE TEST CURATION

NO SNAKE OIL

Our product selection is driven by our love of gear.

We select the most exciting products on the market every month to bring you opinions you can trust.

\rx#zrqġw#Ľqg#xv#jhwwlqj# hung up on hokey mythology or nonsense marketing speak: we aim to bring you bullshit-free opinions on the gear you’re interested in.

FACE-VALUE REVIEWS

WE CAN’T BE BOUGHT

We’re not gear snobs here at Total Guitar. We judge it on whether it looks good, sounds good and plays well – not by the name on the headstock.

TG review scores are a true uhľhfwlrq#ri#rxu#h{shuwvġ# opinion on the product they’ve been testing. You’ll qhyhu#Ľqg#d#udwlqj#lq#rxu## mag that has been bought and paid for.

*WHAT IS GAS? Gear Acquisition Syndrome is the guitar-player’s never-ending urge to acquire new gear, irrespective of whether they actually need it.

Don’t pretend you don’t have it – we all do!

SUPERB, A BEST BUY

EXCELLENT

89

TG Best Buy Awards are reserved for stand-out products that earn a five-star rating. This is the best, most exciting new gear that you need to check out

BEST BUY AWARD

What’s on review this month...

090 FENDER EOB SUSTAINER STRATOCASTER An Ed O’Brien/Fender collaboration

094 ITALIA VARIO BEST FOR…

REAL WORLD REVIEWS

Different guitarists have different needs. This badge highlights a particular strength that a product has in a TG Test or Group Test, so you can choose what’s best for you

We test every product under the conditions that they were designed for. For example, if an amp is designed to be played loud, rest assured that we’ll have tested it at rehearsal/gig volumes!

ABOVE AVERAGE KIT

089 START ME UP

SOME ISSUES

BEST FOR…

POOR

A curious-looking offset

096 JACKSON X SERIES SIG ADRIAN SMITH SDXQ A mid-range offering from the Maiden man

098 HEAD TO HEAD: P-90 EQUIPPED ELECTRICS Time to rediscover the P-90?

104 PEDAL ROUND-UP: TWO-CHANNEL OVERDRIVES Dual-wield your drive with these little monsters DECEMBER 2017 TOTAL GUITAR

T H E GA S STATION

90

TOTAL GUITAR DECEMBER 2017

REVIEW

FENDER EOB SUSTAINER STRATOCASTER £949 This Radiohead-designed Strat has everything in the right place

F

ender has produced a lot of artist-designed Strats over the years but the format has stayed largely the same: a branded single coil here, a neck tweak there, but it’s still very much the model that set the world alight back in ’54. It’s taken an unconventional player like Radiohead’s sonic architect Ed O’Brien to deliver a fresh take on the Strat outline, and one that can inspire a new generation of players – just don’t call it a signature.

Ed has crammed his ‘designedwith’ Sustainer Strat with tech while staying as faithful to the traditional Strat look as possible.

The headline-grabbing addition is

Ed’s pickup choices bolster the model’s versatility further still.

Complementing the single coil Sustainer Driver is a Texas Special Strat single coil, which packs an ryhuzrxqg/#ehhĽhu#fkdudfwhu#wkdq# your vintage Strat types, plus a Seymour Duncan JB Jr single coil-sized humbucker in the bridge. Pair that with the Sustainer system and that’s a lot of tones from one guitar.

Despite the added gadgetry, the Ľuvw#wklqj#|rx#qrwlfh#zkhq#|rx# pick up the EOB Strat is the neck – as you’ll know from our interview with the man himself (p34), Ed tried a lot of Strats, settling on this ’56 shape. It’s a

NECK

1

AT A GLANCE

Ed has big hands, but he wanted the EOB Strat’s neck to work for everyone; the ’56-inspired V-shape is the perfect compromise

BODY: Alder NECK: Maple, 10/56 ‘V’

profile SCALE: 648mm (25.5") FINGERBOARD: Maple,

9.5" radius

PICKUPS

2

FRETS: 21 PICKUPS: 1 x Sustainer

Even if you don’t fancy the Sustainer, there’s a triple tonal threat from a Duncan JB Jr in the bridge, middle-position Texas Special single coil and the surprisingly impressive Sustainer Driver in the neck

1

SUSTAINER!

3

A three-way switch, on/off toggle and intensity knob control the Sustainer, and it’s a mind-altering experience – although its potential is best realised in recording and playing with other musicians

91

BEST BUY AWARD

Photography: Joby Sessions

ED HAS CRAMMED HIS SUSTAINER STRAT WITH TECH the Fernandes Sustainer, which provides the key to the alternate realm of guitar tones that awaits.

Essentially, the system generates a pdjqhwlf#Ľhog/#zklfk#fdxvhv#wkh# strings to vibrate – trust us, you can feel it working – and this interaction between the neckposition Sustainer Driver and the bridge humbucker results in lqĽqlwh#vxvwdlq#dqg#ihhgedfn# sounds. The inclusion of said system results in a number of subtle but crucial tweaks. There’s the addition of two mini-toggle switches to control the Sustainer system, shifting the trademark body-mounted output jack to the side. A tone control is replaced by a Sustainer intensity knob (marked ‘volume’), while the rear of the guitar features a 9V battery compartment and additional cavity for the electrical wizardry that operates the device.

pruh#sdop0Ľoolqj#Y#wkdq#wkh# generic C we’ve come to expect from Mexican-made Fenders and provides an extremely comfortable, chunky feel, bolstered by an engaging light vdwlq#Ľqlvk1 Zlwk#wkh#Vxvwdlqhu#vzlwfkhg#rļ/# you might expect the neck pickup to be adequate rather than impressive, but it’s one of the standout sounds here: a fat, crystal-clear humbucker-meetssingle-coil sound that’s ripe for dgglqj#hļhfwv1#Lq0ehwzhhq# positions will get you into glassier, more traditional (albeit hotter) Strat territory, while the middleposition Texas Special lends a shimmery, brighter texture – clean players will enjoy the Edge-like sheen this option lends arpeggios. Our review model’s bridge humbucker, meanwhile, rļhuhg#d#voljkwo|#orzhu#

Driver single coil (neck), 1 x Texas Special singlecoil Strat (middle), 1 x Duncan JB Jr (bridge) CONTROLS: 1 x volume, 1 x tone, intensity control, Sustainer on/ off switch, Natural/ Harmonic/Blend switch HARDWARE: 6-saddle vintage-style Synchronized Tremolo LEFT-HANDED: No FINISH: Olympic White only CONTACT: Fender GBI 01342 331700 www. fender.com

2

3

DECEMBER 2017 TOTAL GUITAR

T H E GA S STATION

Edless Ed on why his Strat features his tattoo but not his name

“T

output than the neck, but adds a healthy helping of chime. Like the Sustainer Driver, it’s an ideal balance of single-coil transparency and humbucker weight – spot-on for jangly rhythm work.

Then, of course, there’s the Sustainer. The switch closest to the rxwsxw#mdfn#wxuqv#lw#rq#dqg#rļ/# while the other selects between three modes: Natural sustains your current note; Harmonic provides a pitch a 5th higher; and Mix is a blend of the two. Natural mode is great for extended drones, but the real fun comes with the Harmonic mode which, when paired with a TOTAL GUITAR DECEMBER 2017

A Sustainer intensity knob (marked ‘volume’) replaces tone control

ALSO TRY...

DIGITECH FREQOUT £149 If you’re looking to conjure infinite sustain from your existing guitar, this feedback generator is pretty darn convincing and offers a range of harmonic intervals.

heavy dose of gain, produces tones akin to a theremin or synth that you can then manipulate using the EOB’s smooth-moving vintagestyle Synchronized vibrato or h{whuqdo#slwfk#hļhfwv/#vxfk#dv#d# Whammy pedal. Throw in a looper to see how the foundations of Ed’s sonic canvases are laid.

In many respects, the EOB Stratocaster isn’t a revolutionary guitar – after all, the Sustainer itself has been around for decades – but in pairing its namesake system with a hugely versatile set of pickups and a classic outline at a sub-£1,000 price point, Fender has

produced a guitar that will appeal to players from all sonic walks of life. Amid musings of ‘the death of the guitar’, we need instruments olnh#wklv/#zklfk#rļhu#vrphwklqj# glļhuhqw#zlwkrxw#ehlqj#d#jlpplfn=# something that, in the right hands, fdq#uhghĽqh#wkh#h{shfwdwlrqv#ri# what a guitar can do.

Michael Astley-Brown

SUMMARY

92

he neckplate is my wdwwrr/#wkh#ľrzhu#ri# life. I didn’t want to make a big song and dance about it, but I wanted something on there. I didn’t want to have my name on it, because I feel like this guitar is more than Radiohead; it’s more than me. I just want this guitar to be out there, because, although it’s great if Radiohead fans like it, I think it’s got the potential of people doing extraordinary things with it, dqg#grlqj#glļhuhqw#wklqjv#dqg# making their own mark on it.

So, the less it has my name on it, the better. That’s why it’s ‘designed with’ – that feels right to me.”

FEATURES SOUND QUALITY VALUE FOR MONEY BUILD QUALITY PLAYABILITY OVERALL RATING

SCHECTER SUN £849 VALLEY SUPER SHREDDER FR S Shred machine packing the Sustainiac infinitefeedback system, a locking Floyd Rose vibrato and EMG Retro Active bridge humbucker.

FENDER STANDARD STRATOCASTER HSH £569 For a versatile Strat minus the Sustainer, this HSH offers a push-pull tone knob for myriad tonal options from its Blacktop humbuckers and Strat single coil.

T H E GA S STATION

94

TOTAL GUITAR DECEMBER 2017

REVIEW 1

ITALIA VARIO

£729

Curious-looking offset promises to open the tonal floodgates

A

common accusation levelled at guitar manufacturers is that there’s no innovation.

We are largely using the same designs, shapes and technologies that players have xvhg#vlqfh#wkh#4<83v1#D#vlgh#ehqhĽw# to this status quo is that, every now and again, a guitar comes along promising something genuinely interesting. And, when something breaks from the norm, lwv#glļhuhqfhv#duh#riwhq#dpsolĽhg1# The Italia Vario is one such guitar. \rx#fdq#whoo#iurp#Ľuvw#jodqfh# that there’s something unique about the Vario. There are a lot of esoteric design elements to get your head around. Shape-wise, it resembles a Jazzmaster yet to shed

choose between the bass side, the treble side, or both in parallel.

Combine that with the diruhphqwlrqhg#Ľyh0zd|#vhohfwru# and you can begin to see the tonal srvvlelolwlhv#rq#rļhu1 It’s this variety that is the Ydulrġv#XVS1#Lw#rļhuv#xs#wkh# potential of creating tones that you simply wouldn’t be able to using a ‘standard’ pickup arrangement. Combining the bass side of the bridge pickup with the treble side of the neck pickup, for example, gives open chords an lqwhuhvwlqj#ghĽqlwlrq#wkdw# wouldn’t otherwise have been possible. What perhaps does let the Vario down is the fact that while, yes, you can choose from a wide variety of tones, the palette

1

TUNERS

Six rigid locking tuners deliver reliability and offer evidence of the Vario’s above-average build quality. A graphite nut provides extra tuning stability

CONTROLS

2

AT A GLANCE BODY: Alder NECK: Maple SCALE: 25.5mm FINGERBOARD:

Rosewood FRETS: 22 PICKUPS: Italian

Duplex 3-3 Singles

This guitar doesn’t lack in tonal options.

Three-way switches allow you to choose the pickup combinations that suit your particular requirements

FINISH

3

Resplendent in satin purple, the Italia Vario doesn’t hide its light beneath a bushel.

Certainly one of the more unique finishes you’ll see

CONTROLS: 5-way

rotary selector, 3x 3-way selector switches, Volume, Tone HARDWARE: Wilkinson Vintage Vibrato LEFT-HANDED: No FINISH: Satin Purple (reviewed), Satin Yellow CONTACT: JHS 0113 286 5381 www.jhs.co.uk

95

its puppy fat. Its rounded edges bring to mind a Tele, although its shallower depth makes it more ergonomic to play sitting down.

Wkh#Ľqlvk#rq#wkh#uhylhz#prgho#lv#d# rather dandy satin purple, although at 3.45kg it boasts a certain heft, which belies its dainty pastel exterior. A Strat-esque vintage chrome trem is present, while master volume and tone controls sit either side of a rotary Ľyh0zd|#slfnxs#vhohfwru1#D#vhw#ri# locking tuners further bolster its quality credentials.

It’s with the pickups where things start travelling down a less-trodden path. The eagle-eyed among you will have noticed that there are six pickups here, more akin to a P-Bass in their arrangement. This ties into the three-way slide switches, which reside next to the neck pickups.

Each switch allows the player to

you’re choosing from isn’t necessarily chock-full of greatness to start with.

Maybe this guitar actually belies its quirky appearance and is, in fact, way ahead of its time. It’s not hard to see how a certain type of player could really get to grips with the Vario’s tonal smorgasbord and grow to really love the instrument.

What is hard to see is how its quirks alone justify its position at the notoriously congested £700 price bracket. There’s quality evident here, for sure, but not enough to allow this curious little guitar to live up to its promise. <akbl <hkƭ^e]

SUMMARY

Photography: Olly Curtis

IT RESEMBLES A JAZZMASTER YET TO SHED ITS PUPPY FAT 2

3

FEATURES SOUND QUALITY VALUE FOR MONEY BUILD QUALITY PLAYABILITY OVERALL RATING DECEMBER 2017 TOTAL GUITAR

T H E GA S STATION

96

TOTAL GUITAR DECEMBER 2017

REVIEW

JACKSON X SERIES £495 SIGNATURE ADRIAN SMITH SDXQ Mid-range Maiden signature axe punches well above its weight

S

ignature guitars tend to fall into two camps. On one side you have painstakingly detailed remakes of an artist’s iconic instrument – these tend to be favoured by the die hards who know every string slide and trem wobble of every lead line. On the other side, you have guitars that are more ‘artist designed’ than Ġduwlvw#uhsolfdġ/#rļhulqj#lqvljkw# into the player’s visual and technical preferences. After all, the artists are the ones out at the

work, while it widens out as it approaches the body. This wider section, while subtle, creates a ľdwwhu#Ľqjhuerdug#Ğ#lghdo#iru#vrorv# and string bending. It works wonderfully well. Our hands adjusted immediately and it was a hugely comfortable experience.

Smith’s sig has a few other tricks up its sleeve, too. Aside from the Floyd Rose Special trem, the two Jackson-designed single coil slfnxsv#rļhu#d#zhofrph#yduldwlrq# to the tight, punchy bridge humbucker. Any Maiden fan will

1

NECK

AT A GLANCE

The 12-16" compound maple neck is a player’s dream. It’s compact at the top and wider towards the body, giving great versatility across the fingerboard.

2

BODY: Basswood w/

quilt maple top NECK: Maple SCALE: 648mm (25.5") FINGERBOARD: Maple FRETS: 22 PICKUPS: 1x Jackson

PICKUPS

humbucker, 2x Jackson single coil CONTROLS: Master volume, master tone, 5-way pickup selector HARDWARE: Floyd Rose Special locking vibrato LEFT-HANDED: No FINISH: Transparent Green Burst only CONTACT: Fender GBI 01342 331700 www.fender.com

The three Jackson-designed pickups cover a lot of tonal bases. From a tight, riff-friendly low end at the bridge to creamy, solo-ready tones at the neck

3

FINISH

The quilted maple finish is a nice touch, and provides an eye-catching contrast to the maple neck and fingerboard combo

1 97

BEST BUY AWARD

coal face every night, so they know what makes for a decent instrument. And when you’ve been playing in Iron Maiden for over 30 years, it’s fair to say you have a decent grasp on what makes a good guitar.

The Jackson X Series Adrian Smith backs this theory up.

Jackson and the Maiden man have created a textbook sub-£500 shred machine in his own image, without an ounce of fat on it. Built in Indonesia, the X Series is a classic Strat shape, even down to the Fender-licensed headstock. Its edvvzrrg#erg|#lv#Ľqlvkhg#zlwk#d# glorious Green Burst quilted maple top. It features a two-piece maple qhfn#dqg#Ľqjhuerdug/#zlwk#d# compound 12-16" radius. This is interesting in itself. The compound radius means the neck is slightly thinner and rounder at the headstock end, ideal for chord

know that typecasting them as an all-out metallic onslaught is doing them a disservice, as tonal versatility is essential. The X Series gets this spot on. If you want to shred, you’re in the right place.

But if you want to use cleaner wrqhv#ru#hļhfwv/#qr#sureohp1 It’s hard to see where Jackson has made concessions. Build quality is superb, the tones you can extract are excellent and the compound neck is a revelation.

The £500 bracket is always going to feature plenty of highlyplayable guitars, but Jackson has created something special indeed. <akbl <hkƭ^e]

SUMMARY

Photography: Olly Curtis

A SUB-£500 SHRED MACHINE WITHOUT AN OUNCE OF FAT ON IT

FEATURES SOUND QUALITY VALUE FOR MONEY BUILD QUALITY PLAYABILITY OVERALL RATING

2

3

DECEMBER 2017 TOTAL GUITAR

T H E GA S STATION

98

Words Jonathan Horsley / Photography Neil Godwin

P-90 EQUIPPED ELECTRIC ROUND-UP What’s a little hum when you’ve got tone like this? It’s time to rediscover the joy of the P-90

TOTAL GUITAR DECEMBER 2017

THE TG TEST

99

C

onsider the P-90: a single-coil pickup that dates back to 1946 and was once favoured across Gibson electrics in the early 1950s, a formative era for both the electric guitar and rock ’n’ roll. It was raw, hot and bright and full of attitude.

Jazz, blues, rock; the P-90 did the lot.

Then along came Seth Lover and the humbucker, and progress, with merciless inertia, swept the P-90 aside. The elastic snap of the Fender Stratocaster single coil and the warmth of the humbucker assumed the future. But you can’t keep a good tone down...

If the P-90 pickup maintained a cult status across the following decades – the likes of Leslie West using its pugnacious attack to great eļect on Mountain’s sumptuous Mississippi Tueen – it gathered momentum as the demand for retro boutique tone surged in the 1990s. Now it’s as popular as ever. This month’s round-up sees new solidbodies from G&L, Yamaha and Guild, while Gordon Smith Guitars feature them proudly as their USP. The Gordon Smith GS1 60 and Guild’s T-Bird pursue old-school tone, the Yamaha Revstar uses P-90s in a bold modern context and the G&L is an inter-generational crowd-pleaser, all going to prove that P-90s still rock.

DECEMBER 2017 TOTAL GUITAR

T H E GA S STATION

GORDON SMITH GS1 60

YAMAHA REVSTAR RS502

£889

Don’t call me Junior

£592

Start your engines

This one looks familiar?

Wait, is this really a new guitar from Yamaha?

There are no prizes for guessing that Gordon Smith took the Gibson Les Paul Junior as inspiration. With a solid mahogany body and a set mahogany neck, a single P-90 in the bridge, complete with traditional ‘dog-ear’ housing and a shorter 625mm (24.625 inches) scale a la some vintage Gibsons, the GS1 turns the clock back to 1954.

Zhoo/#qhzlvk1#\dpdkdġv#Ľuvw#qhz#hohfwulf#vrolgerg|#lq#53#|hduv/#wkh# Revstar is worth the wait, a double-cut reminiscent of Yamaha’s SG line, though a little more bulbous around the body. The Revstar line is broadly inspired by London and Tokyo’s café racer motorcycles and, accordingly, the RS502 has a sort of industrial, hot-rod feel.

Isn’t Gordon Smith a high-end custom shop?

It looks built for metal...

Gordon Smith hand-build to order, but with many pre-spec’d models shipped out to dealers. Go online and you can custom-spec

Certainly, that workshop aesthetic makes it look like a latter-day shred machine, but with its Alnico P-90 pickup pairing, the Revstar

your GS1. Prefer the doublecut? A thinner, lighter 36mm (1.4 inch) erg|B#Zhoo/#jr#dkhdg#dqg#Ľoo#|rxu#errwv1#Zlwk#d#vwduwlqj#sulfh#ri# 933/#wkh#JV#vhulhv#lv#dq#dļrugdeoh#wdvwh#ri#ehvsrnh#ox{xu|#iurp# Britain’s longest-running guitar manufacturer.

might be a little under-gunned for shred; this is all about stoking the inherent warmth and harmonic resonance from those pickups, zlwk#d#Gu|#Vzlwfk#rq#wkh#pdvwhu#wrqh#wr#rļhu#vrph#yhuvdwlolw|=# “Vintage tone with bite,” says Yamaha.

Only one pickup – is it a one-trick pony?

A Dry Switch, what’s that all about?

No, not at all. The GS1 has a surprisingly wide range of tones that cater for every player, pleasing the choppy reggae rhythm player and jazz noodler alike. Roll back the treble to tame its high-end and it’s a master for blues. Add a little overdrive and you have a driving rock tone.

Well, it’s pretty simple actually. If you pull up on the master tone knob, just as you would for a coil-split, you activate a bass cut that Ľowhuv#rxw#orz#iuhtxhqflhv1#Wkh#uhvxow#lv#d#sxuh/#vlqjoh0frlo#vqds1# Bright and articulate, it’s all very present, and perfect for country and indie jangle.

100

AT A GLANCE KEY FEATURES: Mahogany body, mahogany neck (set), 625mm (24.62") scale, 22 frets, brass nut, rosewood fingerboard, 1 x P-90 pickup (bridge), 1 x volume control , 1 x tone, chrome wrap over bar bridge, spec options available online

AT A GLANCE

FINISH: Vintage White (as reviewed);

KEY FEATURES: Mahogany body, mahogany neck (set), 628mm (24.75") scale, 22 frets, rosewood fingerboard, 2 x Yamaha VP5 P-90 style pickups (neck and bridge), 1 x volume control, 1 x tone with Dry Switch, adjustable wrap around bridge, vintage floating aluminium tail-piece on RS502T model

many more online

FINISH: Billet Green (as reviewed),

CONTACT: Dist-X 01604 817817

Black

www.gordonsmithguitars.com

CONTACT: Yamaha Europe 01908

366700 uk.yamaha.com

TOTAL GUITAR DECEMBER 2017

THE TG TEST

G&L TRIBUTE SERIES ASAT JUNIOR II

£429

Yes, please, we’ll take II

GUILD T-BIRD ST P90

£759

The colour... And the shape!

Is there something wrong with the price?

What sort of shape is this?

No, the price is right. With G&L’s Indonesian-built Tribute Series, a top spec’d guitar can be yours for a pittance. There’s something lqhļdeo|#frro#derxw#J)O#Ğ#shukdsv#lwġv#wkh#Mhuu|#Fdqwuhoo#frqqhfwlrq# Ğ#qrw#wr#phqwlrq#d#fxvwrp0vkrs#nxgrv#wkdw#frphv#iurp#wkh#Mxqlru# II being inspired by a small-batch special that was once produced by G&L’s hallowed Fullerton shop in California.

Iloh#wkh#W0Elug#xqghu#Ġrļvhw#grxeoh#fxwġ/#exw#wkdw#grhvqġw#vhhp# poetic enough for a guitar that looks like something you’d see in The Jetsons. Resplendent in Pelham Blue with a lovely tortoiseshell pickguard, it’s as cool a retro-futuristic reproduction as we’ve seen.

It has vintage kudos in spades.

It looks pretty weird. What sort of player would want this?

What makes it so special?

Well, that classic T-style body shape is a winner for starters, with a

Anyone with a jonesing for old-school cool and period detail, such as sharp and crisp P-90 tone, will love the T-Bird. Think the kinetic

101

kljk0jorvv#Lulvk#Doh#Ľqlvk#wkdw#orrnv#qrw#xqolnh#d#wrļhh#dssoh1#Wkh# pdsoh#qhfn#lv#Ľqlvkhg#lq#d#ylqwdjh#qlfrwlqh1#Wkhuh#duh#qr#idqf|# switches or gizmos; what you have is a guitar that plays the percentages. Plus, the pickups are designed by Paul Gagon.

skronk of surf-rock, slick rockabilly and boogie-woogie blues. It has a solid mahogany body and neck, which is glued to the body. While the shape looks wonky, it’s well-balanced, a good weight and a joy to play.

Who’s he?

And what about those pickups?

Gagon is a veteran electronics whizz who has worked with Fender and helped develop G&L’s now iconic Legacy model, and the pickups he designed here are perfectly balanced in output, meaning |rx#fdq#vzlwfk#ehwzhhq#qhfn#dqg#eulgjh#zlwkrxw#Ľggolqj#durxqg# with the volume.

A pair of Guild Franz P-90s in neck and bridge get the job done with plenty of bright midrange and classic tone. They’re named for the now-defunct Franz Company, New York, which wound similar slfnxsv#iru#Jxlog#edfn#zkhq#wkh|#zhuh#eudqghg#dv#Iuhtxhqf|# Tested pickups.

AT A GLANCE KEY FEATURES: Mahogany body, maple

neck (bolt-on), 647mm (25.5") scale, 22 frets, rosewood fingerboard, 1 x G&L AP4285B (neck), 1 x G&L AP42105B (bridge), 1 x volume control, 1 x tone, 1 x three-way blade pickup selector, Tone-Pros locking C-TPFP bridge and CT1 tailpiece

AT A GLANCE KEY FEATURES: Mahogany body, mahogany neck (set), 628mm (24.75") scale, 22 frets, rosewood fingerboard with block inlay, Grover Sta-Tite nickel open-geared tuners, 2 x Franz P-90 pickups (neck and bridge), 1 x volume control, 1 x tone, Guild Tune-O-Matic bridge

FINISH: Irish Ale (as reviewed)

FINISH: Pelham Blue

CONTACT: Dist-X 01604 817817

CONTACT: Guild Guitars 01795 419460

www.glguitars.com

www.guildguitars.com

DECEMBER 2017 TOTAL GUITAR

THE TG TEST

HEAD TO HEAD

GS1: turning the clock back with ‘dog-ear’ housing

And the finest P-90 electric of them all is...

W 102

hat we have here is a celebration of the P-90 and also, perhaps, a recognition of some of its idiosyncrasies. In high-volume, overdriven scenarios, they can be sodjxhg#e|#kxp#Ğ#d#vlwxdwlrq#frpsrxqghg#e|# vrph#yhqxhġv#zlulqj#Ğ#dqg#wkh|#fdq#eh#Ľhufh#rq# the treble, so it’s instructive that all four guitars have a mahogany body, a tonewood that frpsohphqwv#wkh#S0<3#e|#rļhulqj#zdupwk#dqg# tames some of the treble. The Gordon Smith GS1, with its myriad online options, notably rļhuv#d#srsodu#erg|#dqg#qhfn#dv#vwdqgdug/#d# tonewood that performs a similar function. But those who worry overly about signal noise should note that on the dual-pickup electrics, selecting both pickups kills a lot of the buzz.

All of these instruments are hugely playable.

Even the T-Bird, with its unconventional body shape, is great fun, with a neck that bridges the generational gap between the thicker vintage surĽohv#dqg#wkh#pruh#vyhowh/#prghuq#

TONE-WISE, THE REVSTAR AND THE JUNIOR II OFFER THE BROADEST VOICES standards. Head on, the Revstar looks like a lot of wood to contend with, but it has been sculpted accordingly and is a forgiving instrument. The Junior II, with its longer 647mm (25.5-inch) scale, has more of a Fender feel, its neck a fast but comfortable prghuq#F#surĽoh1 All hold their tune well, with fuss-free hardtail bridges. Tone-wise, the Revstar and wkh#Mxqlru#LL#rļhu#wkh#eurdghvw#yrlfhv1#Zh#oryh# the Revstar’s Dry Switch, with its on-tap country treble tones, far brighter than what you pljkw#h{shfw#iurp#d#wklfn#pdkrjdq|#erg|1# Good for jazz, funk, blues and country, the Junior II won’t let you down. With a good valve overdrive, the GS1’s classic rock tones present its strongest suit, with a punky midrange bark and searing leads, with plenty of LP-issue sustain. Meanwhile, the T-Bird’s vintage clarity lv#hļruwohvvo|#frro/#d#wkurzedfn#wrqh#ehjjlqj# for some tremolo or slap-back delay and a Sun Records songbook to get started on.

TOTAL GUITAR DECEMBER 2017

Effortlessly-cool vintage style from the Guild T-Bird

T H E GA S STATION

FINAL VERDICT

Which P-90 is the right one for you?

I

f you’re a player whose sound lies in reproducing the surf rock tones of Dick Dale or just some ole time rock ’n’ roll, it’s hard to look beyond the T-Bird. Its vintage voice is unbeatable and its vwxqqlqj#Shokdp#Ľqlvk#dqg#uhwur0ixwxulvwlf# aesthetic stands out a mile.

But what of the Revstar? At the opposite end of the spectrum in terms of looks, its modern versatility (with that Dry Switch changing the character of the instrument at a

GORDON SMITH GS1 60

vwurnh,#doolhg#wr#lwv#vrolg#Ľqlvk#dqg#sur#ihho# and incredible neck, is best for those who want to keep their tonal options open.

None of these guitars are ideal for highgain metal, but don’t underestimate the P-90’s output. Often described as a happy medium between a humbucker and a traditional Fender-style single coil, it can handle a bit of gain, or even a fuzz pedal; in the Junior II’s bridge pickup, and on the GS-1, that can get a bit unruly, but, if you can

YAMAHA REVSTAR RS502

handle the hum, unruly has its uses, as any garage rocker will tell you. The GS1 feels like the most premium model with a price uhľhfwlqj#wklv/#dqg#lwġv#d#juhdw#vlqjoh0fxw#iru# anyone who has coveted a Les Paul Junior, dqg#lq#rļhulqj#vr#pdq|#rswlrqv/#Jrugrq# Smith are really cementing a reputation as an dļrugdeoh#fxvwrp#vkrs1#Dw# 75</#dydlodeoh# discounted online, the Junior II, with its charming tone and easy playability, is hard to beat on value.

G&L TRIBUTE SERIES ASAT JUNIOR II

GUILD T-BIRD ST P90

BEST BUY AWARD 103

FEATURES SOUND QUALITY VALUE FOR MONEY BUILD QUALITY PLAYABILITY OVERALL RATING

SUMMARY

FEATURES SOUND QUALITY VALUE FOR MONEY BUILD QUALITY PLAYABILITY OVERALL RATING

BEST FOR RETRO COOL

BEST VALUE FOR MONEY

SUMMARY

FEATURES SOUND QUALITY VALUE FOR MONEY BUILD QUALITY PLAYABILITY OVERALL RATING

BEST ALL ROUNDER

SUMMARY

SUMMARY

BEST FOR ROCK

FEATURES SOUND QUALITY VALUE FOR MONEY BUILD QUALITY PLAYABILITY OVERALL RATING DECEMBER 2017 TOTAL GUITAR

T H E GA S STATION

BEST BUY AWARD

104

TWO-CHANNEL OVERDRIVES ROUND-UP STRYMON SUNSET

£299

KEELEY D&M DRIVE

BLAZE OVER THE SKYLINE

TWO CLASSICS IN ONE

hey say you get what you pay for, and with Strymon pedals that seems to ring true. Anticipating seemingly every user need, the Sunset not only has three distortion rswlrqv#zlwk#glļhuhqw#wrsrorjlhv/#exw#dovr# wkuhh#errvw#rswlrqv#dqg#ľh{leoh#urxwlqj#wkdw# doorzv#iru#hlwkhu#errvw#ru#gulyh#Ľuvw1#Wkh# wzr0vwdjh#gulyh#fdvfdghg#lqwr#wkh#ĠWh{dvġ/#wkh# frpsdq|ġv#wdnh#rq#d#Wxeh#Vfuhdphu/#zklfk#lv# particularly powerful... and fun. When frpsduhg#vlgh#e|#vlgh#zlwk#d#uhdo#wxeh# kljk0jdlq#dpsolĽhu/#lwġv#kdug#wr#whoo#zklfk#lv# uhdo#dqg#zklfk#lv#wkh#shgdo#Ğ#wkhuhġv#fhuwdlqo|# qrw#hyhq#d#zklvnhu#ri#guhdghg#gljlwdo#ĠĽ}}ġ1

lyhq#wkh#wzr#shuvrqdolwlhv#uhsuhvhqwhg#e|# the D&M Drive, it should come as no vxusulvh#wkdw#hdfk#vlgh#lv#vr#glļhuhqw#wr# wkh#rwkhu1#Gdqlho#Vwhlqkdugw#dqg#Plfn#Wd|oru# duh#wkh#krvwv#ri#\rxWxeh#vhulhv#Wkdw#Shgdo# Show, and this is their signature drive pedal.

Wkh#ĠGdqġ#vlgh#lv#uhplqlvfhqw#ri#d#krw0urgghg# Wxeh#Vfuhdphu#zlwk#hqrxjk#jdlq#wr#zrun#dv#d# vwdqgdorqh#glvwruwlrq/#zkloh#wkh#ĠPlfnġ#vlgh#lv# pruh#olnh#d#jhupdqlxp0vw|oh#plg#errvw/# zrunlqj#ehvw#zkhq#gulylqj#dq#dps#lqwr# vdwxudwlrq1#Olnh#pdq|#gxdo#gulyhv/#wkh#uhdo# pdjlf#frphv#zkhq#erwk#vlghv#duh#rq#zlwk# moderate gain dialled in.

SUMMARY

T

TOTAL GUITAR DECEMBER 2017

FEATURES SOUND QUALITY VALUE FOR MONEY BUILD QUALITY USABILITY OVERALL RATING

G

SUMMARY

I

f you’re used to the ľexibility of a multichannel amp and wondering if the same power can be wrung out of a compact ľoor pedal, then we’ve got good news: it can. Not only that, but the old trick of stacking an overdrive and a boost for diļerent overdrive voicing can now be done within one box.

Some have a Ľxed order, but the more ľexible ones even allow for the order of the boost and overdrive to be switched out for greater versatility. We’ve put together a few of the Ľnest contenders to see how they stack up, from blues grit to metal chug, and explore whether any can truly do it all...

FEATURES SOUND QUALITY VALUE FOR MONEY BUILD QUALITY USABILITY OVERALL RATING

£229

PEDAL ROUND-UP

105

Double trouble! Save on real estate and dualwield your drive with these little monsters...

ELECTRO-HARMONIX HOT WAX

£115

£199 BOSS JB-2 ANGRY DRIVER

HOT OR NOT

OPTIONS GALORE

he most wallet-friendly option here, the Krw#Zd{#lv#d#sdlulqj#ri#wkh#Fud|rq# ixoo0udqjh#gulyh#dqg#uhlvvxhg#Krw#Wxehv# lq#rqh1#Wkh#edvv#dqg#wuheoh#HT#rswlrqv#ri#wkh# Fud|rq#duh#xvhg#wr#frqwuro#wkh#wrqh0vkdslqj# iru#erwk#flufxlwv/#zkloh#wkh#dgglwlrq#ri#d#eohqg# frqwuro#phdqv#wkdw#pruh#vxewoh#gulyh#vrxqgv# duh#dffhvvleoh1#Wkh#Krw#Wxehv/#krzhyhu/#lv#d# somewhat temperamental drive compared with the open and intuitive saturation of the Fud|rq/#dqg#zkloh#wkhuhġv#vrph#srzhuixo# uk|wkp#jxlwdu#wrqhv#wr#eh#irxqg#e|#vwdfnlqj# the two drives, most of the fun of this pedal olyhv#rq#wkh#Fud|rq#vlgh1

frpelqdwlrq#ri#wkh#Ervv#EV05#Eoxhv# Gulyhu#dqg#d#MKV#Dqju|#Fkduolh/#d#flufxlw# wkdw#ehjdq#olih#dv#d#prgghg#Pduvkdoo# Jxyġqru#glvwruwlrq1#Zlwk#fohyhu#gxdo0ixqfwlrq# srwv#iru#gulyh/#ohyho#dqg#wrqh#rq#erwk#flufxlwv/# wkhuhġv#d#sohwkrud#ri#kljk#dqg#orz0jdlq#gulyh# sounds. Among the myriad routing options, wkhuhġv#d#sdudooho#frqĽjxudwlrq#wkdw#doorzv#|rx# wr#eohqg#erwk#vrxqgv#dw#rqfh#+olnh#uxqqlqj#wzr# amps simultaneously), and one for adding a remote footswitch for individual control of hdfk#flufxlw1#Fhoheudwlqj#73#|hduv#ri#Ervv# shgdov/#wkh#frpsdq|ġv#irud|#lqwr#erxwltxh# frooderudwlrqv#lv#lqwhuhvwlqj#dqg#zhoo0wlphg1

FEATURES SOUND QUALITY VALUE FOR MONEY BUILD QUALITY USABILITY OVERALL RATING

A

SUMMARY

SUMMARY

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AT A GLANCE BYPASS: Strymon, ElectroHarmonix, Boss: buffered; Keeley: true bypass POWER REQUIREMENTS:

9V power supply CONTACT: STRYMON: MusicPsych +44

(0)207 607 6005 www.musicpsych.com KEELEY: Keeley Electronics 1-405-341-2025 www.robertkeeley.com EHX: Electro-Harmonix +44 179

247 3258 www.ehx.com BOSS: Roland UK 01792

702701 www.roland.com

FEATURES SOUND QUALITY VALUE FOR MONEY BUILD QUALITY USABILITY OVERALL RATING DECEMBER 2017 TOTAL GUITAR

Presents

HOW TO PLAY GUITAR Written by the experts at Total Guitar magazine, How to Play Guitar is a practical guide teaching you everything you need to know for perfect playing and performing.

How to Play Guitar includes hundreds of photographs and step-by-step exercises, tips for getting the most from your gear and even sections about songwriting. Suitable for all age groups, this book will take you from beginner to intermediate level, helping you to play like a rock hero.

GEAR | TIPS FOR BETTERHACKS TONE GEAR | 50AGUITAR

TIPS FOR BETTER TONE

MAKE YOUR GEAR SOUND BETTER TODAY!

CHANGE YOUR SPEAKERS There are hundreds of different speakers on the market, from companies such as Jensen, Eminence, Celestion, Electro-Voice and more, and which one will work best for you largely comes down to taste. When considering swapping your speakers, it’s worth bearing a few things in mind:

POWER RATING

IMPEDANCE

EFFICIENCY

MAGNET

This is measured in watts, and needs to at least match the output of your amplifie. If you’re using multiple speakers, they should combine to match the output of your amp, so a 100-watt 2x12 combo would take two 50-watt speakers.

You need to make sure that you don’t go lower than your amp’s rated impedance for the number of speakers you’re using (marked on the back). If you do, you’ll send the amp’s output transformer into meltdown and fry your amp.

Most speakers will have an efficiency rating in dB. It’s typical to find speakers rated at around 90 to 100dB: the higher the rating, the more efficient it is, meaning it will sound comparatively louder to those with a lower figure.

Classic amps from the 1950s and early 60s, made use of alnicoequipped speakers. As these got expensive to produce, ceramic magnets became the standard.

The Celestion G12M ‘Greenback’, G12H and Vintage 30 have become classic ceramic designs.

WHAT THEY SOUND LIKE Once you have the foundation, you can start to experiment with different gear to enhance your tone. Over the next few pages, we’ll guide you through with tips and explanations of how to make your gear work for you!

It’s impossible to say how a speaker will sound in any given cab, but as a guide, we’ve compiled a chart of some of the most iconic speakers by their power rating, magnet type, and the players that used them.

Alnico Magnet

15 20 25 30 35 40 45 50 55 60

35oz Ceramic Magnet

Tone Tubby Red Alnico

70 75

EL34 The EL34 is the driving force behind the sound of a classic Marshall stack being pushed into overdrive. Referred to as the ‘British’ sound, it’s smooth, mid-rich, crunchy overdrive.

See Marshall 1959 Super Lead (after 1969), JCM800, Blackstar Series One

SLASH VAI STEVE IEWICZ DUTK ADAM HETFIELD JAMES

Celestion Vintage 30

WATTAGE

100 200

SON

ERIC JOHN

IAN SCOTT IHER BILL KELL ERS JEFF WAT

Celestion G12T-75

S

ERIC GALE

Eminence Red Coat The Wizard

Celestion Classic Lead

PSON MICK THOM KING KERRY METT KIRK HAM

6V6

AMASSA JOE BON WYLDE ZAKK

Celestion G12K-100

SRV

Electro-Voice EVM 12L

6L6 The 6L6 is the classic ‘US’ sound.

Typically, a 6L6-powered amp will have increased low and high end, plus a greater headroom before breaking up. When a 6L6 does break up, you’ll get aggressive thick distortion.

Used in: Fender Bassman, Mesa/ Boogie %ual Rectiàer

6V6 Often used in lower-watt heads.

It has a smoothed-out frequency range, lower output than a 6L6, and adds compression to your sound at achievable volumes.

Used in: Fender Champ (various models), Princeton Reverb, Deluxe Reverb & Tweed Tremolux EL84 The sound of the EL84 is often typiàed by the timeless bell-like tone of the Vox AC30. The valve produces a smooth, chiming breakup and is ideal for use in smaller, low-wattage amps.

Used in: Vox AC30, AC15; Fender Blues Junior; Orange Tiny Terror

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Save

30%

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TOTAL GUITAR: HOW TO PLAY GUITAR

GIGGING Preparation prevents poor performance, but if things go wrong these key items will save the day!

GUITAR TOOLS Pack string cutters, pliers for tightening, and Allen keys to tweak your action and vibrato system

PEN AND PAPER You need to have these on hand to jot down your setlist

AMP BACKUP If you can’t take a spare amp, try a modeller with cab simulator that can be DI’d straight into the PA. It’s not ideal but it’s an option if another band on the bill can’t help you out

BATTERIES You’ll need some spares if your power supply goes down

BLU-TACK If your pick tends to fly out of your hand mid-song, stick spares to your mic stand or guitar so replacements are always at hand

FIRST AID You don’t want to bleed on your fans or let a headache ruin your big night – pack some plasters and painkillers.

And the singer’s secret weapon: throat pastilles

GAFFER TAPE Fix your mic stand, setlist, cable, van exhaust, leaky shoes.

SPARE GUITAR AND STRAP Tune it up before you go on.

Your fans will escape to the bar if you hold things up changing a broken string mid-song

www.bit.ly/Total_Guitar

SPARE STRINGS Strings aren’t immune to breaking in soundcheck – spares are essential TORCH It gets dark onstage: get an app for your smartphone and you won’t have to worry about forgetting your torch

98 |

www.facebook.com/carltonbooks

MAKING MUSIC GETTING STARTED ESSENTIALS | GIGGING | TUNING

ESSENTIALS TUNER PEDAL Never forget this.

Get the best you can afford: there is no excuse for starting out of tune

YOUR GUITAR Make sure your guitar is set up how you like, in tune and well protected for the journey to the gig

Get How to Play Guitar for £13.99 (RRP £19.99) with our exclusive discount code TOTAL until 31.12.2017 at carltonbooks.co.uk

www.carltonbooks.co.uk TOTAL GUITAR DECEMBER 2017

EL84

The sound of your valve amp isn’t entirely governed by the glowing glass bulbs, but they do play a big part in shaping your tone.

Celestion G12-65

YNGWIE

6L6

KNOW YOUR VALVES

Eminence EJ1250

JIM ROOTMSTEEN MAL

80

EL34

Celestion G12H

SANTANA CARLOS TON ERIC CLAP FORD ROBBEN LANDAU MICHAEL MAYER JOHN

50oz+ Ceramic Magnet

RIX JIMI HEND I TONY IOMM

Celestion G12M Greenback

MARVIN HANK MAY (CREAM) BRIAN CLAPTONHENDRIX JIMI YOUNG ANGUS HALEN VAN EDDIE

65

90

50oz Ceramic Magnet

Celestion Blue

EARPLUGS It might get loud so earplugs can increase the clarity of onstage levels

MAINS ADAPTOR Never assume that the venue has enough power points or extensions. It’s well worth investing in your own multi-socket extension adaptor that’s RCD-equipped, with surge and overload protection

ELECTRONIC CLEANING SPRAY A quick fix for crackling connections. Make sure it’s in your gigbag

SPARE PEDAL Get a budget spare for your essential pedal.

For the superprepared, a multi-effects unit could save you from serious pedalboard problems

PICKS Minimise the chances of losing one from sweaty mitts by packing picks with grippy surfaces

CABLES Pack instrument, patch, speaker, XLR and daisy chain cables. Don’t buy the cheapest: quality lasts and you always need more cables than you think

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@carltonbooks

FIX YOUR GUITAR 108

Hit the road, jack, with our guide to replacing the socket

HOW TO INSTALL A NEW JACK SOCKET

Top Tip!

To prevent a jack socket coming loose , try a dab of threadloc k on the threads to help fasten the nut in place

Replacing an output jack is simple and with this easy tutorial you can save yourself a trip to the guitar shop

I

t’s really important to have your jack socket bang on. If there’s a zklļ#ri#lw#fxwwlqj#rxw#ru# crackling you can clean it but this is often just a whpsrudu|#Ľ{1#Sxwwlqj#lq#d# new output jack is also a chance to upgrade. We recommend Switchcraft, Neutrik or Rean jack sockets.

Switchcraft is the most common and can be found on Gibson and some Fenders.

Whilst it’s admittedly an uninteresting part of the guitar, it’s a pretty essential element nevertheless!

TOTAL GUITAR DECEMBER 2017

Words: Jack Ellis

Why does it wear out? Often the sprung part responsible for mechanically making contact with the jack lead becomes corroded, worn or dirty. The spring terminal can also lose its mojo and have no spring left in it; and don’t we all know about the damn nut coming loose? This little guy has quite a responsibility.

We have a Strat, but this method works for many types of guitar - just watch out for active instruments, which use a stereo socket.

Ready to go? Let’s jack in this old output…

MEET YOUR EXPERT

WHAT YOU NEED Decent quality jack socket (Switchcraft recommended) 40 watt soldering iron 60/40 solder Handy helper

protective soldering mat PH1 screwdriver Wire strippers Wire cutters Socket driver (Optional) Loctite

222 Threadlock

SKILL LEVEL Beginner

Jack Ellis runs Jack’s Instrument Services from his workshop in Manchester. In his career he has worked on thousands of instruments, from simple fixes and upgrades, to complete rebuilds. For more info, see: www.jacksinstrument services.com

T H E GA S STATION

1

Let’s start by taking out the jack plate. This is a job for the PH1 screwdriver but audition a couple of cross-head drivers in case one fits better! The Fender screws are best suited to a PH1. We had a little trouble with this tiny task as the screws were rusted into the timber.

2

3

You can see why this one was problematic, the owner has apparently been deep-sea diving, it’s little wonder the socket was crackling like mad. Hang onto the star washer and the old nut, they’re useful as spares.

4

Having compared the old and new jack sockets and figured out which solder tab connects to which wire it’s time to ‘tin’. Tinning the connections really helps doing solder work as you’re priming the joint and it means you don’t need three hands later on. We recommend making a handy helper from a clothes peg or a clamp.

6

5

With the canoe-shaped jack plate in your hand it’s safe to undo the nut on the front.

A socket is the best solution here to get into that awkward recess. Support the jack socket component in your hand as you twist off the nut. In the worst of cases a rusted-on nut will require some extra ‘persuasion’ from some pliers.

You should have the jack socket component and two wires hanging on, take note of which colour wire goes where. Black is usually ground, which connects to the ‘sleeve’ of a jack socket, while white is hot and connects to the ‘tip’ of a jack socket.

Strip the wires making sure you grab the one coming out of the guitar and take the strain when using the strippers, if you yank the wires it’s all too easy to break a connection inside. You need to strip back about 4mm of jacket from the wire to leave a healthy amount on show.

DECEMBER 2017 TOTAL GUITAR

T H E GA S STATION

This is where the tinning starts to get you places. With the jack socket being held by the handy-helper-o-matic, lightly hold the correct wire onto the solder terminal and heat up the joint. The two tinned parts will melt together beautifully without the need for three hands. Repeat for the second wire.

7

Twist the wire strands that you’ve just exposed together to stop them splaying out in order to tin them. A re-purposed mouse mat or bar runner in this case serves as a brilliant soldering guard, a drip of solder can really wreck a guitar’s paint job. Prime the wire strands with a neat small blob of solder.

8

9

Because you’ve checked that you got the two wires the right way round, there’s no need to plug into your amp and test it. If, for example, the amp were to buzz really loudly but still let some signal through, the black and white wires would need swapping… hypothetically, of course. We would never make that mistake, right?

10

Before we finish up, let’s test it. Plug a jack lead into the shiny new socket and check that it’s all good. We can’t have the tip of the jack lead banging into the timber of the guitar as this would mean the lead can’t go in right or it would bend the new jack socket. That’s why we oriented the socket this way round.

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TOTAL GUITAR DECEMBER 2017

Install the star washer and the nut then finger tighten it. The jack socket on a Strat needs to go this way around with the springy-touchy bit pointing as shown. Tighten the new jack socket component on with your socket driver. It should be tight and not come loose at an inconvenient time.

Tighten up the two small screws to finish up! A new decent quality socket should last you a good few years, unless you’re doing some mad Tom Morello-style techniques!

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