Guitar Player Vault

AUGUST 2013
Stanley
Clarke
W W W. G U I TA R P L AY E R . C O M
A pioneer of
jazz-rock bass
shredding talks
about his career,
technique, gear,
and more in this
classic GP cover
story from 1980
Reviewed!
Ten High-End
Acoustics
Steve Stevens
John Scofield
Plus
3 Free Song
Transcriptions
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4 | August 2013 | GUITAR PLAYER VAULT
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August 2013 Volume 3, Number 8
contents
New Artist FeAture

08
Steve Stevens
(from the current issue of Guitar Player)
From the vAult

16

Stanley Clarke
Clarkes work with Art Blakey, Stan Getz,
and Return to Forever made him one of
the most acclaimed jazz-rock bassists of
all time. In this classic GP cover story
from 1980 he talks about his career,
technique, gear, and much more.
(from the May 1980 issue of Guitar Player)
38

John Scofield
(from the September 1979 issue of Guitar Player)
GeAr
46

Roundup
Ten High-End Acoustics
(from the current issue of Guitar Player)
oN the NewsstANd
68
GP August 2013 Table of Contents
lessoNs
70

Superimposition Strategies!
Jamie Kime on Building Colorful Solos
Over One-Chord Jams
(from the November 2009 issue of Guitar Player)
72

Fingerstyle Blues Master Class!

Explore the evolution of Delta, Piedmont,
Nashville, Rockabilly, and Ragtime Guitar
(from the June 2007 issue of Guitar Player)
sessioNs
80
The ever-popular TrueFire Lessons
trANscriptioNs
Steve Stevens - Page 8
82
94
100
South City Midnight Lady Dobbie Bros.

White Houses The Animals
Jesus Loves Me Traditional
GUITAR PLAYER VAULT | August 2013 | 7
artist feature
Forever Young
Why Is GuItar Icon Steve StevenS

LIke a cLassIc hot rod?
By Mich a el Molenda
By soMe Miracle of superlative talent, Brand savvy,
hard work, and constant creative evolution, 80s rock-guitar hero

Steve Stevens has escaped the fate of becoming a trivia answer for
the nostalgic 50-plus-years-old set. In fact, Stevens appears to be as
feisty and relevant now as he was when he and Billy Idol were all
over MTV in the days when the channel actually played music videos.
Yes, hes still touring with Idol, and, this year, the team is celebrating the (gasp) 30th anniversary of Rebel Yell. But Stevens is also a
solo artist with varied soundtrack and album credits, he plays in allstar cover bands such as Kings of Chaos and Camp Freddy, and he
just released a Knaggs signature model guitar and a Friedman signature amp head. Whether you talk about his tones, techniques, or
tailoring, Stevens is a stellar example of a classic design carrying on
into the next generationslike a Tiffany ring or a reimagined Ford
Mustang. Rock on.
steve stevens
artist feature steve stevens

How did the Knaggs Steve Stevens
Signature come about?
I wasnt looking to do a signature
model, but Peter Wolf contacted me
we had worked together when he was
at Hamer all those years agoand he
said, Hey, you know that PRS guitar
you played onstage for a number of
years? The guy who made that guitar
is Joe Knaggs, and he has started his
own company. Then, I remembered

seeing a Knaggs guitar somewhere,
a nd the f irst thing that caught my
eye was the one-piece, kind of Tuneo-matic-on-a-plate bridge. I thought
that was a good idea, and I wondered
why no one else had done that before.
S o I s a id , C o ol. S e nd me one to
check out. They shipped me a really
nice guitar, but Im old school. I like
guitars that are thicker, heavier, and

have chunkier necks than what they
had sent. So I started to explain what
I was looking for, and Peter said, Oh,
we can do that. Within weeks they
had a guitar in my hands. Peter said,
Basically, you have a guitar company
at your beck and call. Whatever you
wantor anything you can dream up
or think ofwell make for you. How
could I ignore that?
But this was also a friendship thing,
as well. I trusted Peter because I worked
with him for so many years. In addition, a percentage of the proceeds go
to the Musicians Assistance Program
[MAP], which helps guys in recovery.
Theyve helped a lot of my friends, and
they helped me one time. I thought,
Okay, cool. This is a reason to have
a signature guitar out there. [See our
review of the Knaggs Steve Stevens Signature on p.112]
And what about your signature
amplifier?
Dave Friedman of Rack Systems is

making it. Its based on my old plexi
Marshall thats now retired from touring because its just not road worthy.
Dave basically cloned that amp, and
then he added a clean channel thats
like a Fender Twin. Its a really good
sounding a mp t hat has a bit more
bottom than top, and its frequency
spectrum is a bit wider than an old
Marshalls.
Its hard to believe it has been 30
years since Rebel Yell was released.
What are some of your memories
from those sessions?
When we did Rebel Yell, we didnt

have a drummer. A lot of those songs
were written in the studio to a Linn
Drum, and then we ended up tracki ng g u it a rs to t he d r u m m a c h i ne
grooves. Fortunately, Thommy Price
the drummer on Rebel Yellis like a
huma n time machine, so he could
lock to a click and record real drums
to the Linn tracks. We searched high
and low for a guy who could do that,
because back then drummers didnt
record with click tracks as much.
You know, I could see some of the
songs on Rebel Yell released today.
Theres some good classic guitar stuff
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on that record. By contrast, the previous oneBilly IdolI think is really
8 0 s sou nd i ng. One of t he t h i ngs
t hat ma kes t he g uita rs sound t he
way they do on that record is they
were a ll subt ly processed t hrough
this extremely expensive piece of outboard gear called a Publison Infernal
Machine. It was a harmonizer-type
of effect that gave the guitars added
sparkle and a kind of kinetic energy

that I liked.
Well, there are some pretty raging
guitar tones on that album.
For the rock stuff, man, I need the

volume. You know, people talk about
how records sound now versus back
in the day, and theyll often blame
digital recording. But heres whats
happening with a lot of guitar sounds
these daystheyre totally isolated.

Theyre not cut live or in the studio
with the a mp, so theres no signa l
bleed happening. Tota lly isolating
instruments can sterilize them. When
I tracked Rebel Yell, I was standing
next to my amp wearing headphones,
and the sound is all about the natural feedback that occurred with my
guitar and I being in the same room
as the cabinet.
One of the elements of your style
that I find most intriguing is how
youve always been able to cast
these wonderfully memorable parts
great melodies, cool tones, and a
tad off-kilter. How did you develop
that approach?
That comes down to arrangement,

and if there was ever anything that
helped me t r u ly u nderst a nd go o d
arranging, it was the years playing in
a cover band doing a lot of Led Zeppelin. Jimmy Page didnt just double
t he b a ss, t he g u it a r a r ra ngement
was always a totally unique part of
the songs, and the sum of the music
was so much greater because of that.
Its like a n old watch. Some gea rs
are little and they move at twice the
speed of the big gear. So I learned to
do guitar parts that are polyrhythmic,
as well as to f ind something to play
thats ha rmonica lly different tha n
the other instruments. Jimmy Page
is the best teacher for that. I kind
of hit on that approach with White
Wedding, and I think I nailed it on
Rebel Yell.
You know, Im not precious about
my g uita r stuf f. For t he Billy Idol
sound, the stuff I do is pretty simple
by guitar standardswhich is probably why Im never mentioned in the
same breath with Vai and Satriani
but I still believe my main strength is
playing what benefits the song. And
that makes me happy.
Another thing is that you can still
hear the fire and youthful exuberance in your playing today, while
some other guitarists of your era
s o u n d m o r e m atu r e , a n d , to b e
frank, kind of boring.
Heres the thing. The records I loved

when I was 13 years oldwhen I fell
Many styles
One voice
Robben Ford is the

master of many musical
styles. But when it
comes to his speakers,
theres only ever been
one choice.
Celestion.
Dont trust your tone
to anything less.
www.celestion.com

in love with pop music and got my
f irst electric guitarI try to tap into
that feeling of listening to music at
that age in whatever way I can. You
almost have to block out everything
about who you are as a musician to
get to t hat point. O t her w ise, you
start thinking about how its a business and youve been doing this for
30 years, and suddenly youre overthinking everything, and the 13-yearold kid is gone.
It also helps if you truly love making
music. These days, the mentality of the
music business has changed, and some
people actually get into this industry
just to be famous or rich. Its dogeat-dog, because people arent selling
the number of records they once did.
So now when I meet a younger band,
ever ybodys a mini mogul. Theyre
selling all kinds of thingsclothes,

perf ume, shoes a nd none of t hat
has anything to do with the quality
of their music. To be honest, if Im
writing or playing with somebody, I
dont want to know about that sh*t.
Billy and I never wanted to be businessmenthats why we hire other
people to do that stuff. We just want
to be rock and roll knuckleheads and
make music.
Do you absorb a lot of todays
artists for inspiration?
I listen to everything, but if someb o dy ha s C o ok ie Monster vo c a ls,

Im outta there [laughs]. The stuff I
enjoy listening to still comes down
to g reat songs. I like Br u no Ma rs
because hes a great talent with great
material. I also like Muse. And there
are some brilliant guitarists around
Watch stevens do his tribute to Led ZeppeLin soLo
nowparticularly Guthrie Govan, who

is an absolutely exciting and amazing player. When I hear him play, it
gives me hope.
Is there anything you do to keep
yourself evolving as a player?
I continue to challenge myself on a

technical level, because I never want
to have an idea in my head and not be
able to play it. I still try to practice, as
well. You know, a few months back,
Zakk Wylde sat in with this all-star
Hollywood cover band I was guesting with called Camp Freddy, and his
technique was so unbelievable that I
was humbled. The next day, I found
out Zakk had released some instructional DVDs, and I ordered the whole
series. I thought, Wow. I want some
of that technique. Oh, lookhe has
a DVD. Im getting that sh*t! g
classic interview
may 1980
classic interview may 1980
may 1980
classic interview
may 1980
classic interview
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may 1980
classic interview
may 1980
classic interview
may 1980
classic interview
may 1980
classic interview
CLASSIC INTERVIEW
from the May 1980 issue
of Guitar Player magazine
Watch clarke performing live at montreux in 1980
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classic interview
september 1979
GUITAR WORLD LESSONS

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september 1979
classic interview
classic interview september 1979
september 1979
classic interview
Scofield playS Someone to Watch over me live in 2010
CLASSIC INTERVIEW
from the September 1979 issue
of Guitar Player magazine
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gear
roundup
Ten High-End Acoustics

T esTe d by Th e Gu i ta r P l ay e r sTa f f
anyone who has ever shopped for an acous
acousTic
achieving the honors awarded them because top players have
guitar knows that you can spend a bundle on an instrument made
proven that they rule.
by a premium brand. A high-end guitar has certain attractions that
Guitars priced at or above the $2,000 mark are desirable for rea-
begin to emerge the minute you catch a whiff of the nitro lacquer.
sons that range from the purely aesthetic (as in the beauty of the
Aged solid woods, gleaming frets, superb playability, and a sound
woods, binding, and inlays) to the practical (great tone and playabil-
that stirs your soul the second you give it a strum are some of the
ity) to the existential, as in finding a 6-string soulmate that makes
obvious things. But theres also the X factor that comes with having
you feel good about yourself. Those fortunate enough to be able to
an instrument that a celebrated builder had their hands on. After all,
spend whatever it takes to reach acoustic nirvana definitely have a
what great classic acoustic guitar was ever designed by a commit-
lot of choices these days. And while we didnt purposely seek out
tee? Whether youre talking about C.F. Martin or Orville Gibsonor
the costliest models that are out there, this roundup definitely goes
one of the modern-day masters like Dana Bour-
uptown with a spectrum of guitars that range from the $2,849 Taylor
geois, Bill Collings, Richard Hoover, or Bob
714ce to the $8,900 McPherson Camrielle 4.0.
Taylorthe instruments with these
Each of these guitars has its charms that might sway you one
guys fingerprints on them have
way or the other, but all of them are pro-grade affairs, as confirmed
stood the test of time,
by our evaluations of their construction, playability, sound, and,

of course, the amorphous vibe factor that always plays
a role in any guitar purchasing decision.
As weve pointed out in past roundups of
budget acoustics, you dont have to spend like
a drunken sailor to get a happening guitar, but
how sweet it is to dip in the high-end pool!
Art thompson
gear roundup
Bourgeois BK/slope D
M a i n e - bas e d lu t h i e r da n a b ou rg eo i s h as lo n g b e e n k n ow n as a n
acoustic builder at the top of his game, and the BK/Slope D is very much the kind of guitar that helped
to build his reputation. Its just the sort of big, bold, slope-shouldered dreadnought that would be known
as a rhythm cannon in many circles, except that the BK/Slope D does so much more than that. Rhythm,
flatpicking, fingerstylethis powerful flat-top belts it all out, yet with great dynamics and finesse when
you need it to, and not merely the kind of power that gets you heard on a crowded stage. And therein
lies the origin of the BK tag: Dubbed the Banjo Killer by bluegrass ace Bryan Sutton, for whom the
first example was built back in 1995, this new BK/Slope D comes with a substantial pedigree.(After
Suttons original 1995 Bourgeois Banjo Killer was damaged in the Nashville flood of May 2010, Bourgeois and team took the guitar in for a laborious restoration, reconfirming the specs of these reissue
examples in the process.)
Even before you hoist BK/Slope D, the woods in its top and body jump out at you as something
special. The solid Sitka spruce top dances with interesting bearclaw figures within what is already
an extraordinary, almost luminescent grain, and the back and sides are made from beautifully figured
solid mahogany. Ivoroid binding graces the top and back (although the fingerboard and headstock are
roundup
unbound, as per Suttons specs), theres a tasty multi-ply soundhole rosette, and a
gear
MODEL
backstrip of elegant wood purfling. Add in the custom Tor-tis pickguard; a fingerboard,
Bourgeois BK/slope D
belly bridge, and headstock facing made from lushly figured ziricote; and ebony bridge
ContaCt
bourgeoisguitars.com
pins with pearl dots, and its an impressive package. Final touches such as a bone nut
PriCe
$4,595 retail/$4,135 street
and saddle and Waverly tuners lend a traditional look, while enhancing the guitars res-
S p E c i f i c at i O n S
onance and sustain.
nut Width
1 23/32" (1 3/4" optional)
C profile, but anything much fuller might make it a tricky reach across the 1 23/32 nut
neCk
Mahogany, 25 1/2 scale length
width, inhibiting the picking speed that many players will want to show off on such an
Fretboard
Ziricote
instrument. It feels great right up to the 14th-fret neck joint, thanks in part to a confident
Frets
20 medium nickel (14 clear of the body)
setup at the Bourgeois shop, with an action that is easy on the swift runs, yet doesnt
tuners
Waverly
clank or buzz when you hit the big chords hard.
body
Solid bearclaw Sitka spruce top, solid
The BK/Slope Ds quarter-sawn mahogany neck is carved to a fairly slim, rounded-
figured mahogany back and sides
Dana Bourgeois says this model has a deep, broad tone, and through wood selection and voicing, we push it in the direction of a bigger bottom end, a lush top end,
bridge
Ziricote bridge with ebony

pins and bone saddle
and greater volumesimilar to the characteristics of Bryans original Banjo Killer. No

argument there, as even a trusty, flat-picked G-run booms out as a formidable beast
FaCtory strings DAddario EXP19, .013.056
on the BK/Slope D, while the high notes in any simple Travis-picking figures ring vel-
Weight
4.25 lbs
vety and clear. The midrange is rather scooped, yet both pleasant and present, and the
built
USA
volume is almost overwhelmingin an acoustic contextwhen you put some muscle
kudos
Outstanding build quality. Elegant looks. A volume machine,
into open chords.
but rich and lush sounding.
Whether youre looking for a flat-picking bluegrass performer to get you heard when
you take your turn stepping up to the mic, or a big-voiced accompanist to bolder singer-
ConCerns
None.
songwriter work, the Bourgeois BK/Slope D has an awful lot to offer, and as such it earns
an Editors Pick Award.
D av e H u n t e r
gear roundup
Breedlove Master Class PaCifiC

B a s e d i n t h e Pa c i f i c n o r t h w e s t c i t y o f B e n d , o r e g o n , B r e e d l o v e
has been building fine acoustic guitars since 1990, adhering to a concept that combines traditional construction methods with cutting-edge engineering to create instruments that aim to better suit the
contemporary player. Featuring an eye-popping orgy of beautiful woods, the Pacific is instrument that
embraces a decidedly non-traditional look with its shapely outline and a distinctive bridge that looks a
bit a like a Ninja throwing star. The Pacific specializes in delivering maximum sonic performance from
a smaller concert body that measures 15 across the lower bout, 9 at the waist, and 11.24 across the
upper bout. The dimensions make for a comfortable guitar to hold, and one that feels more like a boutique jazz box than a bulky jumbo flat-top. And, wow, what a looker the Pacific is too with all that curly
maple accented by flamed koa binding and 3-ply (black, white, black) edging on the top and back, a
koa wedge in the end-pin area, an abalone/koa rosette, and abalone purfling bordered by 3-ply trim
roundup
around the top. The maple neck is also treated to koa trim atop 3-ply binding, and the
gear
MODEL
tion inlays. The headstock wears a classy gloss black facing that complements the gold-
Breedlove
Master Class PaCifiC
plated tuners with ebony buttons.
ContaCt
breedlovemusic.com
PriCe
$4,499 street
ebony fretboard is adorned with yet more 3-ply binding and abalone sea leaves posi-
The Pacific is a nimble instrument thats easy to play thanks to its satin-smooth neck
and well-finished, neatly trimmed frets. The necks medium D profile and low-action
setup facilitates speedy picking, yet you can still dig into the strings without them buzz-
ing against the frets. The headstock shape and arrangement of the tuners provide for
NUT WIDTH
1 3/4"
a very straight string run across the smoothly worked nut, which yields an easy pull to
NECK
Big leaf maple, bolt-on
pitch via the smooth-turning Gotoh machines.
FRETBOARD
ebony, 25 1/2" scale
FRETS
20
ity and focus in the Pacifics tones, which are bright, smooth, and imbued with plenty
TUNERS
Gotoh die-cast
of oomph in the lows. The midrange is very even and with no tendency to sound honky
BODY
Solid curly maple back and sides, Sitka spruce
Intonation is tuneful in all positions, and this definitely enhances the sense of solid-
top
or boxy, and coupled with the strong top and bottom presence, the Pacific takes things
in a more hi-fi sounding direction than most flat-tops.
BRIDGE
ebony with compensated saddle and

through-bridge stringing
The Pacific is not a particularly loud guitarespecially compared to some of the

big-bodied bruisers in this roundupbut it rings out in all the right ways with plenty of
FACTORY STRINGS Daddario eXP
detail, warmth, complexity, and touch responsiveness. This is a guitar that will please
WEIGHT
4.12 lbs
fingerstylists and flatpickers alike with its open and expressive tone, and overall I found
BUILT
USa
it to be an inspiring instrument for songwriting, practicing, and gigs. Breedlove definitely
KUDOS
tic guitar that has the craftsmanship and vibe of a small-lot-custom, but pushes well
beyond the classic designs of the 30s and 40s, the Master Class Pacific is something
Distinctive look. excellent sound and

playability.
has a solid lead on what it takes to build a modern flat-top, so if you want an acousCONCERNS
Would likely need to be amplified in a

performance situation.
to you will want to experience. art thoMPson
gear roundup
Brock Model oM
B roc k Johnston has B een B uilding guita rs since 1981 wit h t he goa l
of creating instruments that combine immaculate aesthetics with unequaled tonal balance and projection. Based on the classic Martin OM (which made its debut in the late 1920s), Brocks Model OM blends
top-notch materials and impeccable construction details in what is a surprisingly affordable contender in
the premium market. As such, the Model OMs aesthetic is one of classy, understated elegance, with not a
hair out of place anywhere. From the immaculate frets to a sterling interior (where we find parabolic Sitka
spruce bracing) to the high-gloss nitrocellulose lacquer finish and curly koa-wood binding, the Model OM
delivers exactly what is to be expected from a high-end acoustic guitar. The open-gear Waverly tuners
with ivory-colored buttons are a classy touch, and this guitar manages to visually pop without resorting to
overblown cosmetics. Heck, the only shell inlay on the entire instrument is the headstock logo.
The Model OM is an absolute joy to play. Its nimble feeling C profile neck makes marathon chording sessions a breeze, and when an acoustic inspires you to simply strum first-position chords, you know youve
got a keeper! The edges of the fretboard are super smooth, and the frets are consistent in shape and polished to a nice matte sheen. I found the string spacing to be comfy as heck whether I was fingerpicking or
flatpicking, as it allowed ample room for my picking hand to operate. The instrument balanced on my lap
perfectly, but the lack of an endpin strap button was inconvenient from a gigging perspective. Not a big
deal, though, since Brock will install one for no extra charge if requested. You probably cant see it from the
photo, but theres a clear pickguard to protect the finish in the strum zone.
roundup
gear
MODEL
BroCK MoDel oM
ContaCt
brockacoustics.com
PriCe
$3,200 street, including hardshell case
nut Width
1 3/4"
ultra-musical fashion. The dynamic response is such that you can go from soft, bell-like tex-
neCk
Honduran mahogany
tures to an authoritative bark that will stand out in a band with its broad projection and taut
Fretboard
Ebony, 25.4" scale
low-end. Theres a tactile sense of muscle and focus behind the notes, and much of this is
Frets
20 medium silver nickel
due to the Model OMs stellar intonation, which allows simple or complex voicings to ring
tuners
Waverly
clearly in all regions of the neck. The sonic detail is impressive as airy harmonics blossom
body
Solid Sapele back and sides,
Sonically, the Model OM emits a hefty amount of volume and punch, albeit in a refined,
Solid Sitka Spruce top
in response to your touch, and the low-end presentation is wonderfully clear and round,
never sounding too boomy or in any way detached from the core tone.
While shooting a knowing glance toward tradition, yet managing to impart its own
bridge
Ebony
FaCtory strings DAddario EJ16, .012-.053
sonic DNA, the Brock Model OM is a wondrous piece of work that celebrates one of the
Weight
4.4 lbs
most iconic acoustic guitar designs. Its refreshingly simple look belies the excellent crafts-
built
USA
manship and the obvious eagle-eye attention paid to the smallest details. This guitar is a
kudos
Exceptionally built. A soulful instrument with a clear and concise voice.
blast to play and is highly suited to a variety of musical applications. Ultimately, however,
its the Model OMs bold tones and exceptional playability that seal the deal and earn it an
Editors Pick Award. D a r r i n
ConCerns
None.
Fox
gear roundup
Collings CJ35
Bill Collings got his start in the guitar Business after reloCatin g
from Ohio to Houston, Texas in 1970, where he began building guitars on his kitchen table using just a
few hand tools. His interest and talent for improving his craft soon let to the creation of instruments
that caught the ears of Lyle Lovett and Rick Gordon. You might say the rest is history, but Collings has
been constantly seeking to make better guitars, and, as witnessed by the CJ35 on review here, the
results are impressive. Inspired by golden age American-made flat-tops, circa 1930 to 1942, the new
CJ35 is a guitar that adheres to the concept that more is indeed more when it comes to large-bodied
acoustics. Based on Collings proven CJ design, the 35 features a slope shouldered body with solid
mahogany back and sides and a solid Sitka Spruce top. Internally, the formula gets tweaked a bit in the
form of non-scalloped Adirondack spruce bracing with a system of three tone bars. A slightly shorter
24 7/8 scale neck joins the body at the 14th fret via a mortise-and-tenon joint.
roundup
Visually, the CJ35 is a class act. The cosmetics are tasteful and the optional dark
gear
MODEL
sunburst nitro-lacquer finish is a glorious alternative to au-natural spruce. The burnished
collings cj35
hues in the CJ35s top reveal the distinctive parallel graining of the Sitka, which plays
ContaCt
collingsguitars.com
well with the tiger-stripe celluloid pickguard and the ivoroid binding and rosette. Flip-
PriCe
$4, 860 street
ping the guitar around, we find a 1 style walnut back stripe dividing the solid mahogany back, and another piece of creamy ivoroid capping the heel of the neck. Other nice
touches include a facing of ebony on the headstock and nickel-plated Waverly tuners
nut Width
1 3/4"
with exposed gears and butterbean tips. The guitar came up to pitch easily and held
neCk
Mahogany with mortise and

tenon hybrid joint
its tuning with uncanny stability despite the climate change from Texas to our offices
in Northern California.
Fretboard
African rosewood, 24 7/8" scale

(14"-26" compound radius)
The neck offers an excellent feel with its medium profile and compound radius. Intonation is tuneful in all positions, and the playability certainly benefits from an easier
Frets
20
feel created by the shorter scale. The action is a tad on the high side, but theres no fret
tuners
Waverly, nickel plated
buzz either to diminish the feeling of limitless headroom. Collings states that the CJ35
body
Mahogany back and sides, Sitka spruce top
is designed to deliver deep bass and powerful highs in a package that is well suited
bridge
African rosewood straight style,

compensated saddle
for both fingerstylists and flatpickers, and that squares with what we experienced.
The CJ35 has a huge presence, and it can pump out an amazing amount of volume
FaCtory strings DAddario EJ-17 .013-.056
with incredibly little effort. The upper-midrange emphasis in its voicing makes the CJ35
Weight
4.16 lbs
an excellent choice for flatpicking solos or strumming rhythm parts. But this highly flex-
built
USA
ible instrument with its rich, blossoming sound is equally cool for fingerstyle playing or
kudos
Righteous vintage look. Big, bold

sound. Excellent quality.
backing a singer-songwriter. Like a car with a high-output motor, the CJ35 has a lot of
reserve power when you need it, and if you play unplugged gigs where a mic is your only
amplification system, this big beauty has you covered and then some!
ConCerns
None.
Art thompson
gear roundup
Gibson sJ-200 Western ClassiC

Thi s d ecked-ouT, 6-sTring ca dillac is based on a cusTo m gu iTa r
that Gibson made at the request of country music/film star Ray Whitley in 1937. Whitley knew what
he needed sonically and playability-wise from his signature guitar (the original now resides in the
Country Music Hall of Fame in Nashville, Tennessee), and he obviously wanted a lot of bling on it
tooa request that the Gibson craftsmen took seriously, as echoed by the cosmetics applied to this
jumbo-sized reissue. Check the options list: The Western Classic sports four-ply binding on its Triburst premium AAA Sitka top and three-piece Indian rosewood back, multi-ply binding with a classy
birds beak on the rosewood fretboard, graduated Mother-of-pearl block-style block position inlays,
a moustache bridge with yet more pearl inlays, multi-layer pickguard, a lovely three-rope marquetry
back stripe, gold-plated Waverly tuners with exposed gears, and a script Gibson logo and classic
torch inlay (both rendered in pearl) on the headstock facing. Given all the time and effort it takes to
do this kind of detail work, its not surprising that Gibson builds less than 30 Western Classics per year.
The SJ-200s Tri-burst-finished, curly maple neck with walnut center strip is carved to a comfy D
shape that sits very nicely in the hand. It feels more like the neck on a high-end archtop guitar, and the
fretswhile not mirror polishedare expertly attended to, with smooth, even crowns and beveled ends
that feel almost non-existent as you slide your hand along the neck. Combined with a good setup and
roundup
gear
MODEL
gibson
sJ200 Western ClAssiC
fairly low action, the playability is light and easy, and the absence of any fret buzzing
ContaCt
gibson.com
PriCe
$3,999 street
is just icing on the cake. The string spacing proved equally comfortable for fingerpick-
NUT WIDTH
1.725", bone
ing or flatpicking, and in a nod towards contemporary expectations, the SJ-200 guitar
NECK
eastern curly maple with compound dovetail joint secured with hide glue.
intonates well and sounds musically tuneful as you move around the neck.
FRETBOARD
rosewood, 25 1/2" scale
that is due mainly to the Indian rosewood body construction. Ideal for pop, folk, coun-
FRETS
20
try, and pretty much anything else you care to throw its way, the sweetly voiced SJ-200 is
TUNERS
Waverly, gold-plated
loud enough for stage use (though it probably wouldnt be able to out-gun a good dread-
BODY
indian rosewood back and sides, Sitka
This guitar has a big, open sound with robust lows, rich mids, and a twangy presence
spruce top
nought in a volume shootout), and it responds well to your picking dynamics, blossoming nicely when played lightly and able to pump out a full bodied and non-compressed
BRIDGE
rosewood, mustache-style with bone

saddle
sound when you lay into it.

An inspiring guitar to play and a beauty to behold, the SJ-200 Western Classic is
FACTORY STRINGS Gibson, 012-.053
not only a one-of-a-kind among modern flat-tops, its also one of the nicest Gibson
WEIGHT
4.84 lbs
acoustic reissues Ive ever seen. The price tag for this very special guitar seems like a
BUILT
USa
real bargain too, considering what it takes to create something of this magnitude in an
KUDOS
of what a flashy stage axe should be, and it has the performance to back it up., All considered, it earns an Editors Pick Award.
a showpiece instrument with excellent

tone and playability.
American factory. The SJ-200 Western Classic would satisfy almost any expectation
CONCERNS
none.
Art thompson
gear roundup
McPherson CaMrielle 4.0

M at t M c P h e r s o n i n t r o d u c e d h i s o f f s e t s o u n d h o l e t e c h n o l o g y
more than 30 years ago, with the primary goal of increasing the total flexible surface area of a guitars
top. In combination with proprietary bracing and a cantilevered neck that doesnt contact the soundboard, McPherson guitars are state-of-the-art designs that aim to deliver a higher level of resonance
than conventional acoustics. The Camrielle 4.0 certainly carries itself in a forward-thinking stride with
its elliptical soundhole, asymmetrical bridge, and the fact that you can see daylight under the rear
portion of the fretboard. The flamed maple back and sides are neatly trimmed in black/white binding,
which extends around the soundhole, as well as across the endpin jack and the leading edge of the
Venetian cutaway. The swoop at the tail of the fretboard is a final touch on a fest of curves that visually defines this unique-looking instrument.
The construction is immaculate throughout, and peeking inside the soundhole we find four multilam braces glued to the backeach with a mid-span cutout. The bracing under the top is designed to
maximize flexibility, and, since it is McPhersons own design, does not resemble the X style pattern
found on most steel-string acoustics.
The Camrielles comfortable soft-V shape neck with its wide-ish 14"-radius makes it easy to play
whether youre flatpicking lines or playing chords. The frets are carefully shaped and polished to a satin
sheen, and the factory setup is excellent. Factor in accurate intonation in all positionscourtesy of the
Buzz Feiten Tuning Systemand the Camrielle offers a highly enjoyable playing experience.
The electronics package consists of an L.R. Baggs Element system, which, instead of employing an
undersaddle pickup that senses string pressure (and is therefore more prone to quacky transient spikes),
roundup
gear
MODEL
mcpherson camrielle 4.0

ContaCt
mcphersonguitars.com
PriCe
$8,900 street, as tested
uses an extremely thin, flexible film sensor to capture the motion of the soundboard.
nut Width
1.75"
Its well suited for the McPherson concept. The Camrielles amplified sound is natural
neCk
Mahogany
and open, without any of the boxiness or weird spikes in the frequency spectrum that
Fretboard
Ebony, 25.5" scale
you sometimes hear when pushing an acoustic guitar though an amp or P.A. system.
Frets
20
tuners
Waverly gold-plated
body
Solid flamed maple back and
The Camrielle 4.0 sounds great from the players perspective, and much of this is
due to the upper location of the soundhole. It doesnt direct the sound at your noggin
sides, Engelmann spruce top
like a guitar with an opening on the upper bout, but it does create a sense of in-yourbridge
Ebony with compensated saddle
eleCtroniCs
L.R. Baggs Element (3-volt)
a little more produced, the Camrielle is no slouch in the volume department either.
Controls
Volume
Its tonal complexity and touch sensitivity are obvious priorities, but in terms of loud-
FaCtory strings Elixir Nanoweb Acoustic Medium
ness, this guitar had no problem hanging with any of the others we tested. And while
Weight
4.9 lbs
you might think that its less constrained top would compress more readily under hard
built
USA
strumming, the Camrielle sounded and felt absolutely firm when played aggressively.
kudos
Rich and detailed sounding. Excellent
face sound that is very satisfying.

Even and balanced, with a hi-fi presentation that makes everything you play sound
amplified response. Great playability.
The Camrielle 4.0 brings some interesting things to the table, but they come at a steep
price. That said, if youre a player of means who already owns everything under the sun,
a Camrielle 4.0 could be an interesting addition to your collection.
ConCerns
Price is a deal breaker for most players.
art thompson
gear roundup
Martin OM-18 authentic 1933

W h e n t h e d i s c u s s i o n t u r n s t o t h e g r e at e s t a c o u s t i c g u i ta r s
of all time, it wont be more than a couple of seconds before someone brings up pre-war Martins.
We were giddy with excitement when we unboxed this OM-18 Authentic 1933, which purported to be
constructed the old way. That includes using hide glue and employing the old-school bracing and
cosmetics.
Before we ever touched the OM-18, we saw the cool hardshell case in which it was ensconced, a fauxalligator affair with a green velveteen interior. The star of the show, obviously, is the guitar itself, and its
a beauty. Looking sumptuous with a glossy caramel burst on a heavily grained spruce top, the OM-18
effortlessly melds old-world depth and character with brand-spankin-new cosmetics. The mahogany
back and sides are flawless, as is the mahogany neck. The simple binding and pearl position markers
remind me of what I love about this style of Martin: no bling, no bells, no whistlesjust beautiful craftsmanship. A peek into the soundhole reveals super-clean bracing and all-around impeccable woodwork.
roundup
Grabbing ahold of the OM-18, the first thing youre struck by is the size and shape of
gear
MODEL
neck with a pronounced V shape. For those who are only used to playing modern
Martin
OM-18 authentic 1933
acoustics, itll take a little getting used to. For me, its a dream to play on, providing
ContaCt
martinguitar.com
ample support for my fretting hand whether Im strumming barre chords or flatpicking
PriCe
$4,999 street
the neck. Martin calls it their 1933 Barrel and Heel and what it feels like is a big, chunky
single-note lines. It just feels right.

Then theres the sound, and the OM-18 simply sounds awesome. Its loud and
incredibly clear. Every note in every chord seems to occupy its own little niche in the
nUt WiDtH
1 3/4"
sonic spectrum. It pumps out sweet highs and lows, but the mids are the defining fre-
neCK
Mahogany, dovetail joint
quencies to my ears and they make this guitar project like crazy. Combining harmon-
FretBoarD
Ebony, 25.4" scale
ics and fretted notes or doing harp-like cascades produced a rich, pianistic sound that
FretS
20 (14 to body)
was delicious. One thing that might contribute to the lively tone is the fact that this
tUnerS
Waverly Nickel 8060
guitar is a full pound lighter than any other guitar in the roundup. It is startlingly light.
BoDY
Solid mahogany back and sides, Adirondack

spruce top
Also, the OM-18s substantial neck dimensions just have to be doing something cool
to the tone. Whatever the explanation, the recipe works and works fabulously. Initially
BriDGe
we noticed some slight intonation discrepancies, with the G string coming up a touch
Ebony Authentic Style Belly with long

fossilized ivory saddle
flat on a Peterson tuner. But as with a lot of great old guitars with uncompensated sad-
FaCtorY StrinGS Martin Lifespan SP
dles, some subtle retuning by ear seemed to rectify any and all of those things, and I
WeiGHt
3.4 lbs
could play anywhere on the neck, no problem.
BUiLt
USA
KUDoS
Gorgeous looks. Great projection. Classic
Obviously the OM-18s price tag is not for the faint of heart, and that kind of money
Martin tones.
could also get you a supremely cool vintage Martin. But for anyone who wants a brand
new instrument with vintage vibe and construction, this guitar deserves a serious audition. For what it is, its one of the nicest Ive played. M at t
ConCernS
Subtle intonation issues.
Blackett
gear roundup
PRS AngeluS CutAwAy ARtiSt PACkAge

At the risk of stAting the obvious, PAul reed smith does n t sc r e w
around when he builds guitars. His reputation of being a stickler for perfection is legendary, so it should
come as no surprise that he would apply the same obsessive zeal that made his electric guitars so
popular to all of his acoustic designs as well. The fruits of that mindset were readily apparent on the
Angelus Cutaway as soon as we cracked open the snazzy Ameritage case that it shipped in.
We let out a collective gasp when we caught our first glimpse of the Angelus. Its got super-model
gorgeous good looks, with a perfect combination of subtle and fancy. The subtle comes in the form of
the spruce top, which is nicely grained and elegant, perfectly offset by the pretty Koa sides and back.
The maple binding is expertly rendered and provides a beautiful transition between the spruce and the
Koa. The fancy part of the equation is represented by the sweetest inlay job that Ive seen in a long time.
The mother of pearl rosette, purfling, hollow bird position markers, and headstock logo are positively
cinematic in their depth, coming alive in prismatic psychedelia when any light hits them. Finally, the thin
strip of maple that frames the fretboard and headstock really ties the roomerr, the necktogether.
Of course, Paul Smith himself wouldnt care how good an instrument looks if it doesnt sound great
first and foremost. No worries. This guitar sounds amazing. The tone is clear, full, and lush. To my ears
it has a slightly modern sound to it, and by that I mean a lot of vintage acoustics I love have a very pronounced frequency that they seem to favor. It could be a midrange honk, a super crisp top end, or a
roundup
gear
MODEL
PRS angeluS cutaway aRtiSt

Package
ContaCt
prsguitars.com
PriCe
$6,260 MAP
boomy bottom. The Angelus Cutaway doesnt do that. It has an incredibly balanced,
nUt WiDtH
1 3/4"
musical tone that works for whatever style or technique you throw at it. Strummed
neCK
Peruvian mahogany, dovetail joint
chords sound massive, but so do flatpicked single-note lines. Switch to fingerpicking
FretBoarD
Ebony, 25.25" scale
and youll swear that must be what they had in mind when they designed the guitar.
FretS
21 (14 to body)
The Angelus seems at home and sounds astoundingly good for any kind of music. It
tUnerS
Proprietary Robson-Designed
also has cannon-like volume and projection, which, coupled with its impressive sus-
BoDY
Solid Koa back and sides, Adirondack

spruce top
tain, means youll cut through and shine in any acoustic jam.
BriDGe
Ebony with bone saddle
System sounds great, even when just plugging in direct. I also really dig the fact that it
eLeCtroniCS
PRS Pickup System
sports just a simple volume wheel in the soundhole and no big, clunky preamp crammed
ControLS
Volume
onto the sidenor any real need for one, as I got very pleasing results with minimal out-
FaCtorY StrinGS DAddario EXP 80/20 Bluegrass, .012-.052
board gear to massage the sound.
WeiGHt
4.82 lbs
BUiLt
USA
KUDoS
Beautiful, balanced tones. Gorgeous
This is one of the few guitars in this roundup with electronics, and the PRS Pickup
If you tell most guitarists that a guitar in this price range is great, theyll say Well, it
better be, and theyre right. For this kind of cash you deserve absolute perfection and,
cosmetics. Perfect fit and finish.
like theyve done so many times before, PRS delivers exactly that. This is a handcrafted,
American-made work of musical art and further cements PRS reputation as a major
player in the high-end acoustic market. Bravo!
ConCernS
None.
M at t B l a c k e t t
gear roundup
Santa Cruz OM Grand

Its always a happy day when a box from the santa Cruz GuItar Company
arrives at the office. Ive been a fan of the companys hippie genius, Richard Hoover, for many years,
and I can say without hesitation that Ive never played a bad Santa Cruz. The beautiful OM Grand on
review here keeps that streak alive in a big way.
Visually, the OM Grand has a dignified, understated elegance, with the small dot position markers,
bridge pins, and SCGC logo being the only pearl to be found. The herringbone rosette and purfling add
some cool motion and vibe to the top and complement the ivoroid binding on the neck and peghead
nicely. The light-colored Sitka spruce top sits beautifully alongside the rosewood sides and is a cool
change from the more yellowed finishes commonly found on acoustics. Cosmetically and structurally,
this instrument shows unreal attention to detail. Anyone who has ever toured the Santa Cruz facility knows this perfectly well: They will sell no guitar before its time. In fact, according to Hoover, SCGC
spends more time tuning the top and matching it to the body than some manufacturers spend on the
entire guitar! That commitment to excellence comes through big-time on the review model here, with
perfect joints, binding, frets, finish, you name it.
roundup
Sonically, the OM Grand is just plain gorgeous. Santa Cruz bills it as the bigger,
lusher, louder sister to their OM model. We didnt have little sis around to compare but
gear
MODEL
santa cruz OM Grand
one strum showed why this model is abbreviated OMG. It sports impressive power and
ContaCt
santacruzguitar.com
brilliant sustain. What strikes me the most about it, however, is its incredible balance
PriCe
$4,950 retail
and clarity. The string-to-string definition and separationeven on busy Travis-picking passagesis truly remarkable. It accomplishes all this while still retaining a sea-
soned, old-world warmth. Think hi-def TV in a beautiful, handmade cabinet. Strummed
nut Width
1 3/4"
chords, single-note lines, hybrid picking, and fingerpicking all sound great on the OM
neCk
Mahogany, dovetail joint
Grand, and they all bring out a kaleidoscope of different timbres and harmonics. I didnt
Fretboard
Ebony, 25.375" scale
bring this guitar into the studio, but Im positive it would record like a dream. I did have
Frets
21 (14 to body)
occasion to audition the OM Grand in an acoustic duo and with a bassist, and in both
tuners
Waverly Nickel 4060
cases it was the star.
body
Solid Indian rosewood back

and sides, Sitka spruce top
All over the neck, the OM Grand plays cleanly and evenly. The action is surprisingly
Ebony with compensated saddle
low but theres no buzzing to speak of until you really dig in. For an instrument that is
bridge
capable of such delicate sounds, it feels incredibly tough and sturdy. You can bash it
FaCtory strings Elixir Nanoweb Acoustic Lights, .012-.053
pretty much as hard as you want and it just keeps going.
Weight
4.12 lbs
built
USA
great acoustics, no. Different materials will obviously produce different tones, and one
kudos
Flawless construction. Brilliant definition.
prominent acoustic artist felt that there was something lacking in the mid frequencies, but
ConCerns
None.
So is there anything not to love about the OM Grand? For me, for what I dig about
I dont hear that. To my ears and touch, this guitar is simply stunning. M at t
Blackett
gear roundup
Taylor 714ce Grand audiTorium

Tay lo r h as b e e n m a k i n g aco u sT i c gu i Ta rs s i n c e 1 974 , a n d i s n ow o n e
of the leading manufacturers of fine acoustics and acoustic-electrics, as well as semi-hollow and
solidbody electrics. The 714ce features all the moves that make Taylors so popular with working players, and is especially suited for those who desire a big full sound with crisp highs and plenty of bottom.
To get there, the 714ce uses solid Indian rosewood for the sides and back of a Grand Auditorium body
with a Venetian cutaway that measures 16" across the lower bout, 20" in length, and 4 5/8" deep. A solid
Engelmann spruce top wearing a beautiful vintage sunburst finish is used on this model for enhanced
sparkle and projection. Ivoroid binding is applied on the top and back, and there is also a classic threering ivoroid rosette and a faux-tortoise pickguard. A nicely shaped ebony bridge with TUSC saddle and
black pins completes the package.
The American tropical mahogany neck attaches to the body using Taylors innovative New Technology (NT) system, which provides a rock solid joint while allowing for tilt adjustments to be made without removing the neck. Carved to a classic Taylor shape, the neck carries a bound ebony fretboard that
roundup
is decorated with ivoroid heritage diamond inlays. Tuning is accomplished via goldplated Taylor machines, and the strings glide over a TUSQ nut that is precisely slotted
and neatly trimmed on the ends.
The 714ce is a rewarding guitar to play and a lot of this is due to its incredibly comfortable neck shape and superb fretwork and setup. The string spacing is perfect for
gear
MODEL
tAylor
t
tA
Aylor
Ayl
714ce GrAnd Auditorium
ContaCt
taylorguitars.com
PriCe
$2,849 street
playing with fingers or a pick, and though the strings are quite close to the decksomething that acoustic shredders will appreciatetheres absolutely no buzzing. Also, the
intonation is extremely sound, allowing chords to ring out clearly and accurately wher-
nut Width
1 3/4"
ever you grab them. The acoustic sound is impressive. This guitar has a ton of spar-
neCk
Tropical American Mahogany
kle, but its all well balanced with firm lows and a warm, upfront set of mids. The 714ce
Fretboard
Ebony, 25.5" scale
pushes out a lot volume too, making it an excellent choice for rhythm and lead playing
Frets
20
in practically any performance situation.
tuners
Taylor gold-plated
body
Solid Indian rosewood back and
The 714ce offers a lot in the flexibility department courtesy of its onboard Expres-
sides, Engelmann spruce top
sion System. This all-magnetic pickup system uses what Taylor calls a Dynamic Body
Ebony with compensated TUSQ saddle
Sensor mounted under the soundboard and a Dynamic String Sensor under the fret-
bridge
boardboth of which feed a discrete preamp with Volume, Bass, and Treble controls.
eLeCtroniCs
Taylor Expression System
The system has some obvious advantages in that it is easy to use, makes little visual
ControLs
Volume, Bass, Treble
impact on the clean lines of the body (the three soft rubber knobs are barely noticeable
FaCtory strings Elixir, .012-.053
on the upper bout), and it doesnt create any of the plasticy artifacts that piezo pick-
Weight
4.84 lbs
ups can often inject into the sound. Instead, the 714ce delivers a warm and balanced
buiLt
USA
tone thats easy to dial-in with almost any amplifier or P.A., and less prone to feedback
kudos
Excellent construction and playability.

Excellent acoustic tone. Expression System
than most systems that incorporate a mic inside the body.
makes it easy to amplify.
The 714ce is a superior performance guitar that plays like a dream, sounds excellent
unplugged or amplified, and nails that ideal of a fine instrument that isnt too prissy to
take on a cross-country trip!
Art thompson
ConCerns
None.
current issue
August 2013 Volume 47, Number 8
Heres whats in the August 2013 issue of Guitar Player, on Newsstands Now!
RIFFS
Brendon Smalls Heavy Metal Harmonic Convergence, Richie Faulkner on Judas Priest,
Debashish Bhattacharya goes beyond, and more!
COVER STORY
High-End Acoustic Roundup
Ten gorgeous steel strings from Bourgeois, Breedlove, Brock, Collings, Gibson, Martin,
McPherson, PRS, Santa Cruz, and Taylor. Bonus Features! Budget Buyers Guide for
acoustics, mandolins, and ukuleles; performance tips from the Band Perry; and acoustic
recording tips.
Artists
ARTISTS
Steve Stevens David Barrett Steve Lukather Poncho Sampedro Elliott Randall
LESSONS
Under Investigation
A thorough examination of a particular style or player. This month: The Monkees!
40
Rhythm Workshop
What would Jimi do? Play awesome rhythm guitar, thats what.
G U I TA R P L A Y E R . C O M / A U G U S T 2 0 1 3
Special Acoustic Lesson: Ukulele

Jake Shimabukuro shows why every guitarist should play ukulele.
Gear
Youre Playing It Wrong

We all think we know how to play classic riffs like Wipeout. Heres the absolute real deal.
T EST D RIVE
Fretboard Recipes
Intervallic Designs, Part 7, excerpted from Jesse Gress Guitar Cookbook.
GEAR
MJ Duke Deville Solidbody

TESTE D BY DAV E H U NT E R
M A DE I N T HE USA BY A S MALL S HOP
per-side headstock and Dunlop Straploks com-
trends, however, in a narrow-C prole that mea-
using quality components, the Duke Deville hits
plete the parts package, and it all looks great in a
sures just .781" deep at the rst fret and .843"
most of the standard notes for modied T-style
esta red nish (one of several vintage-inspired
at the 12th fret. Its a little thin for my taste (and
guitars with its subtly redrawn body shape, hot-
color choices) with a curvy, 3-ply white pickguard.
might also be for anyone accustomed to gripping
Digging into the timbers, the Duke Deville
necks with more shoulder in their proles), but
rodded neck pickup, and traditional two-knob

control plate with 3-way switch. But mounted
features a slab body carved from solid poplar,
the guitar proved an easy player, and felt superb
in the Wilkinson T-style bridge plate is a Sey-
a wood more often associated with ooring and
all up and down the neck after a slight tweak of

the trussrod to remove some relief.
mour Duncan Five-Two Tele pickup that seeks
furniture than guitars. And while the neck is tra-
to address the occasional imbalance between
ditional maple, it features maple cap construc-
The Duke Deville has a balanced acoustic
wound and plain strings by using alnico V mag-
tion with a separate fretboard that allows the
tone and naturally good sustain, and plugged
nets on the E, A, and D polepieces, and alnico
trussrod to be installed from the top side (i.e.
into a Dr. Z Remedy head through a 1x12 cab with
II on the G, B, and E poles. In the neck slot, a
no skunk stripe on the back). A splice under
a Celestion G12-65 speaker, it delivers bright,
Duncan Custom Mini Humbucker with a ceramic
the third fret and a volute behind the nut add
snappy tones that are infused with some extra
bar magnet and overwound coils adds girth to
the strength required for a back-angled head-
beef from both pickups. On the bridge set-
this somewhat underpowered Tele position.

Kluson-style Gotoh tuners on MJs three-
116
stock, which negates the need for string trees.
ting, the Duke Deville will do any of the clas-
The neck departs a little further from current
sic Tele-toned tricks, with more than enough
New Gear
Knaggs Guitars Steve Stevens Signature
MJ Duke Deville Solidbody
Stompbox Fever! Strymon Mobius
Stompbox Fever! Roland GR-S Spaceand GR-D Distortion

Studio Tools PSP Audioware PSP Echo and PSP SpringBox
Lessons
Speed Rating Four mini reviews: Radial Engineering PZ-DI Piezo Optimized Active Direct
Box, EarthQuaker Devices The Warden Compressor, Way Huge Echo-Puss Analog Delay,
Stonewall Signature P-90 Set
Fable Fighters Whats the Big Deal About Vintage Effects Pedals?
Youre Playing It Wrong

The Surfaris Wipe Out
BY JESSE GRESS
THINK IM JOKING? AS LONG AS WERE
having some frivolous summer fun, Id

like to point out one detail in this surf
guitar classic (and fledgling drummers
rite-of-passage) that almost always gets
overlooked. In fact, its easy to differentiate those who learned to play Wipe Out
by listening to the Surfaris original 1963
recording from those who copped it via
hand-me-down oral tradition by the way

they play Jim Fullers single-note guitar
fi gure from the moment it enters. The
latter bunch will tend to play a constant
stream of eighth-notes right from the
get-go, but go back and have a listen to
the original version and youll find that
the first two bars feature Fuller playing
quarter-notes on both downbeats. Its
as if Fuller was getting his bearings (or

perhaps making a control knob adjustment?) before revving up into full gear.
To set the record straight, Ex. 1 portrays
this slight hesitation and the ensuing
barrage of eighth-notes that Fuller plays
throughout the rest of the song. Nitpicky? Sure it is, but thats what were
here for. Cowabunga! g
Ex. 1
= ca. 158
1
C(I)
> Surfs up!
10
10
10 8
10 10
10 10 10 8
10 10
10 10 10 8
10
10
10 10 10 8
Wipe Out By Robert Berryhill, Patrick Connolly, James Fuller, and Ronald Wilson. Copyright Miraleste Music and Robin Hood Music. All Rights Reserved.
Used by permission.
108
guitarplayer.com/august2013
etc.
etc.
T
A
B
MORE ONLINE
F(IV)
10
ChATTER
Craig Anderton Stompbox Distortion Aint Just for Guitars
Gary Brawer Acoustic Tips and Tricks
Nicky Garratt The Epic Struggle of Stage Volume
lessons
LESSONS Soloing Seminar
Superimposition Strategies
Jamie Kime Shares Ways to Build Colorful
Solos Over Static One-Chord Jams
By JudE GOLd
its open to everyonebut, after you experience the epic fusion odysseys Kime,
Ziegler, and the rest of the house band
play to kick off the night, youll quickly
realize that this isnt your average open
mic. If youre planning to step onto this
stage, youre expected to take your solo
to the moon and back, or at least be willing to crash and burn trying.
As is often the case in jam-friendly environments, the repertoire at these sessions (which delves deep into the music
of everyone from Coltrane and Shorter
to Zappa and Miles) often lands on the
jam-friendly terra firma of extended oneor two-chord funk vamps. After all, its
a lot easier to take a big solo when you
dont have to worry about chord changes
or shifting key centers, right?
Not necessarily.
When the stakes are this high, its a
mistake to think that improvising over a
fixed harmony is any less daunting than
doing so over a busy chord progression.
What do EdWard Van halEn,
Steve Lukather, Scott Henderson, jazz

bassist Christian McBride, Paul McCartney guitar-slinger Rusty Anderson,
and late, great trumpet legend Freddie
Hubbard all have in common? Each one
of these iconic musicians has shown
up at the Baked Potatothe wonderfully unpretentious jazz club just over
the hill from Hollywoodto attend its
popular Monday night jam.
Well into its fifth year, this weekly
funk/ fusion throwdown is led by two
tantalizing guitarists: John Ziegler
the explosive avant-shred force behind
Pygmy Love Circus and Volto! (featuring Tool drummer Danny Carey)and
Jamie Kime, the hypnotic guitar whisperer who collected a Grammy award
earlier this year for his work alongside
Dweezil Zappa and Steve Vai in Zappa
Plays Zappa.
No, you dont have to be a superstar
to sit in at the Tater on these evenings
Ex. 1
Ex. 2
Freely

Dm (C triads - - - - )
1

4

4

3
T
A
B
12 10 11
10 13
14

13 16 15
13

15
Remember, your musical soul is rarely

more exposed than when you are handed an open-ended solo on the I chord
with no changes in which to take cover,
no harmonic or melodic constructs on
which to lean, and you are tasked with
building something captivating, nonclichd, and entirely your own.
For me, the challenge in that situation
is to make things harmonically interesting,
says Kime. Im always trying to get that feeling of a rollercoaster goingthat feeling of
a wave going up and downeven when the
background harmony is unchanging.
Whether hes wielding a Les Paul or a Stratocaster, attacking the strings with a pick or
just his fingertips, Kimelike a snake charmer coaxing a cobra out of a basketcan pull
a kaleidoscopically colorful solo out of the
most ordinary groove. Im definitely more of
a conceptual player than a lick player, says
the guitarist. Any technique I have has been
born out of needing that technique to execute
a musical idea.
Ex. 3
A altereddominant scale
IV
= root
november 2009
Soloing Seminar LESSONS
Lets take a look at some of Kimes
musical ideas. For instance, if Kime
is handed a wide-open Dm groove, he
might start his solo, like legions of other guitarists, in D Dorian.
But there are so many other notes
to explore as well, says Kime. Over
Dm, I might also think of superimposing C#maj7 [Ex. 1], which adds two very
special notes to the mix: the major 7
(C#), and the #11 (G#). I love the way
those chord tones sound over a minor
background. You can get a similar sound
by simply playing C# major triads in the
form of a C# major arpeggio over Dm [Ex.
2]. Youre superimposing interesting
melodies in bite-sized chunks.
Of course, continues Kime, you
can also think altered-dominant to project an altered V chord soundA7#5b9
over Dmby playing this scale [Ex. 3].
It has the exact same notes as Bb melodic minor, but I find that if you think
of it that way, you naturally start veering towards the harmony Bb just like
if youre driving while looking right, your
car may drift to the right. So think of it
from the A perspective.
Another thing Kime loves to superimpose upon a static minor chord is the
Coltrane changesthree separate key
centers a major third apart, la Giant
Steps. Over Dm7which Kime thinks of
as the IIm chord in C this means Kime
will tag the keys of Ab, C, and E. I love
that sound, because it creates so much
Ex. 4
JaimE KimES advaNcE ROmaNcE SOLO fROm 2010
tension, says Kime, demon- strating the

approach with the intriguing line in Ex. 4.
Plus, its funyoure getting the Giant
Steps sound, but not while almost dying
trying to swing at 300bpm. Some of the
notes will clash with Dm if you bring
them out too much, so be diligent in
working out which ones youre going to
emphasizeor just play everything really

fast! [Laughs.]
As we wrap up our interview, Kime
shares that if he has one goal as a guitarist, it is to become completely non-patternbased in everything he plays. Unfortunately, he adds, by nature of the instrument,
that is pretty f**king impossible to do. g
(C)(C)
5 5

Dm7
Dm7
EE
A A) )
A7A7

()()
4 4

4 4
3 3
=100-130
= 100-130
(C)(C)
Dm7
Dm7
3 3 2 2
(B(Bm7m7
4 4
1 1
1 13 3
2 2
1 1 2 2
1 1
2 2
2 2 1 13 3 2 2
3 3
T T
A A
B B
7 76 6
5 56 67 78 89 9 6 6
6 6
6 6
7 7
8 8
7 74 4
5 5
6 6
5 5
4 4
4 48 8
5 5
6 6
6 6
7 7
7 7
lessons
GP0706_Master_f2.qxd
4/5/07
12:40 PM
Page 110
Reverend Gary Davis
110
J U N E 2 0 0 7 G U I T A R P L AY E R
P H OTO : SY LV I A P I TC H E R P H OTO L I B R A RY
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Page 111
june 2007
Master Class LESSONS
SEE video footage of
this lesson online at
guitarplayertv.com!
Fingerstyle Blues
Trace the Evolution of Delta,
Piedmont, Nashville,
Rockabilly, and Ragtime Guitar
on Your Favorite Steel-String
BY JON CHAPPELL
IF YOU WANT TO MAKE MONEY PLAYING
the blues, well, its gonna be toughyour

best bet may be to get yourself an electric
guitar, land a steady gig with a club band,
and learn how to survive for weeks at a time
on the Chitlin Circuit. But if you want insight
into the rootsthe soulof the blues, and
yearn to experience for yourself the musics
humble inception in the rural southern
United States at the turn of the 20th century,
then cast aside your pick, grab an acoustic
guitar, and play the music fingerstyle.
Few genres of guitar music can match
the universal appeal of acoustic blues.
Plucked with the fingers, this timeless style
is the earliest form of blues guitar. Before
acoustic blues evolved in various directions
(including instrumental acoustic blues), the
guitar was just a convenient instrument with
which to accompany yourself while you sang.
Initially, the guitar style was defined by the
singers accompaniment approach.
But gradually, the guitar went from being
just a rhythmic accompaniment instrument
to having an equal voiceone that could
more than handle the melodic duties
between vocal phrases. Specifically, the
guitar provided the response in the calland-response vocal/guitar interplay (a
musical practice that has clear links to the
African music of many early blues players
ancestors) that has forever been a defining
H A N D S H OT: J O N C H A P P E L L
characteristic of blues. The guitar later

evolved into other roles, including that of
solo instrument delivering the blues entirely
instrumentally.
P L E C T R U M N OT S P O K E N H E R E
Fingerstyle is the preferred approach for
acoustic blues, because separating the functions of the plucking hands thumb from its
fingers allows you to play independent bass
lines against treble voices. More than just
plunking out a thumb brush strumming style,
an independent thumb means the thumb and
fingers can play entirely separate musical
rolesalmost like a mini rhythm section
much the way ragtime pianists of the late
19th and early 20th century divided their right
and left hands into different functions.
The piano model could not have been lost
on the solo guitar players in the rural South
around the same time. Savvy guitarists realized that the thumb could act like a pianists
left hand (performing the bass lines), while
the fingers sounded chords, fills, and melodic
lines, just like a right-hand piano part. And
this approach worked for all the different,
emerging styles of the day, including Delta,
Piedmont, and country-ragtime blues.
BLUES BRANDS
A word about styles and labels: Delta
describes not only a region where the blues
Tired of glancing blows? Hit the low

strings straight on with a thumbpick.
ALL THUMBS
Many fingerstyle players use a plastic or
metal thumbpick to give their bass parts
increased authority and efficiency. And
when you look at the way your pluckinghand thumb meets the strings without a
thumbpick, its obvious why a little help
is in order. When youre playing fingerstyle, the thumb naturally strikes the
strings in a sideways fashionunlike the
fingers, which pluck the strings at a
more efficient, perpendicular angle. A
thumbpick solves this glancing blow
problem by enabling the tip of the pick to
strike the strings at a right angle. And a
thumbpick also provides an extension
for the thumb, giving the appendage
increased power, much the way a wrench
or hammer gives your arm extra leverage
and/or velocity. Thumbpicks arent for
everyone, but if youre planning to play
fingerstyle blues, theyre worth getting
used to. Need proof? Just listen to fingerstyle geniuses such as Chet Atkins, Merle
Travis, Tommy Emmanuel, and Doyle
Dykes; and electric blues players such as
Albert King, Albert Collins, Freddie King,
and Sonny Landreththeyve all donned
thumbpicks.
G U I T A R P L AY E R J U N E 2 0 0 7
111
lessons june 2007

4/6/07
11:36 AM
Page 112
LESSONS Master Class

originated (the vast alluvial plain that centers around northwest Mississippi and
eastern Arkansas), but a style of guitar playing in which the guitar is used largely as a
solo instrument, usually to accompany ones
own singing. Delta blues has an earthier,
more plodding sound than some other styles,
due in large part to a heavy-thumb approach.
Piedmont blues is named after a region,
too, and shares qualities with country,
ragtime, and songster blues styles. Piedmont (French for foot of the mountain),
in this case, is the southeastern United States,
stretching from Virginia to Georgia, from
the Atlantic coast to the foothills of the
Appalachians. Piedmont blues is brighter
and bouncier than its Delta counterpart, with
a lighter, alternating bass line and syncopated rhythms in the treble voices.
When the blues went electric, the
Chicago players went at it by and large with
flatpicks (though there were some exceptions). But fingerstyle blues was kept alive
in country music, due in no small part to
the efforts of Merle Travis. So for this lesson,
well use country to describe the type
of blues that came from Memphis and
Nashville, and its fusing with R&B and country musica.k.a. rockabilly. Rockabilly was
an important transition for both fingerstyle
and blues, putting it squarely into the repertoire of electric guitarists, and paving the
way for the next generation of fingerstyle
players, including Merle Travis, Chet Atkins,

James Burton, and modern-day virtuosos
such as Tommy Emmanuel and Doyle
Dykes. Lets start at the beginning.
L E T YO U R F I N G E R S F LY
Achieving independence between the
thumb and fingers is key to all fingerstyle
blues. Example 1 shows a basic Delta blues
passage in which the thumb metes out an
insistent, plodding bass line in deliberate
sounding shuffle eighths. The thumbed
bass part leaves the plucking fingers free
to play contrasting and complementary figures in the upper voice, such as short fills
between vocal phrases, solo lead lines, or,
as in this example, sustained chords.
Example 2 retains the eighth-note shuffle, but now the chords take on a more
active role, providing syncopation and
melodic movement. The 5-6 motion (B-C#
in E, E-F# in A) in the upper-voice chords is
the familiar figure heard in the rhythm playing of Jimmie Johnson and, most famously,
Chuck Berry. But Robert Johnson was doing
it first, and he often put it in the bass line,
strumming double-stops with his thumb.
To keep things accessible, were putting the
moving figure in the chords while keeping
the single-note bass line intact. Notice that
syncopation has been introduced in the upper
voice, with chord strikes on the and of beat
two (bars 2-4), and the and of beat four (bar
3). Accent these chordal figures to give your

sound a heavier backbeat.
In Ex. 3, we pull the bass line back to
quarter-notes, because the rhythmic activity has picked up in the upper voices, played
by the fingers. Note the scheme and contour of the upper partthis is played first
over the I chord (E), then with its pitches
modified slightly, reprised over the IV chord
(A). This repeating of melodies over different chords is fundamental to the blues,
drawing its influence from the call-andresponse structure of the field hollers, work
songs, and, going way back, African music
from which the blues sprang.
FA N CY PA N T S
In Ex. 4, we take our bedrock of quarter-note
bass notes and play an entire four-bar melodic
solo. The opening phrase is similar to the
one in Ex. 3, but its fleshed out and fancier,
owing much of its flair to the eighth-note
triplets in the upper voice. The last two bars
feature back-to-back classic blues quotes,
played by everyone from Muddy Waters (who
brought Delta blues to Chicago and electrified it) to Stevie Ray Vaughan.
Practice the Piedmont passage in Ex. 5 by
first playing the bass line. Apply a slight palm
mute with the heel of the plucking hand so
that the notes stay short and crisp. Piedmont
blues is jauntier than Delta, and placing a
spring in the step of your bass notes will
LISTEN HERE
Acoustic fingerstyle blues is a timeless style that has a deep lineage, populated with such immortal figures as Robert Johnson, Skip James, Mississippi John Hurt, and Taj Mahal. This table lists fingerstyle players who made major impacts on blues music and culture, the specific style with which
theyre generally associated, and a sample of their influential recordings.
ARTIST
STYLE
RECORDING
LABEL
Charley Patton (1891-1934)

Mississippi John Hurt (1892-1966)
Blind Blake (1893-1933)
Reverend Gary Davis (1896-1972)
Skip James (1902-1969)
Son House (1902-1988)
Robert Johnson (1911-1938)
Merle Travis (1917-1983)
Jerry Reed (b. 1937)
James Burton (b. 1939)
Taj Mahal (b. 1942)
Rory Block (b. 1949)
Delta
Piedmont
Piedmont
Piedmont
Delta
Delta
Delta
Country, Rockabilly
Country
Rockabilly
Country, Folk
Country, Folk
Complete Recordings 1929-34

The Complete Studio Recordings
All the Published Sides
Complete Early Recordings
Complete Recorded Works
The Original Delta Blues
The Complete Recordings
Hot Pickin
The Essential Jerry Reed
Guitar Sounds of James Burton
The Best of Taj Mahal
Gone Woman Blues
JSP Records
Vanguard
JSP Records
Yazoo
Document
Sony
Columbia/Legacy
Proper Records
RCA
Import
Sony
Rounder
112
4/5/07
12:40 PM
lessons
Page 113
june 2007
Master Class LESSONS

guitarplayertv.com!
Ex. 1
= 80
**E7
A7
E7
0
2
0
0
3
1
B7

Shuffle feel
*P.M.
0
3
1
T
A
B
0
0
1
*Slight palm mute on R.H. thumb only. **In all examples, symbols may reflect only general or implied harmony.
2
0
2
3
2
1
2 2
0
2
1
2 2
2 2 2
Ex. 2
= 80
E7
A7
E7
B7

Shuffle feel
0
1
2
0
T
A
B
2
1
2
0
3
1
2
0
2
1
2
0
0
2
0
0
2
2
0
0
0
0
0
0
0
2
0
0
0
1
2
0
2
2
2
0
0
0
0
0
1
2
0
2
2
2
0
0
0
0
0
2
1
2
3 0
2 2
1 1
2 2 2
Ex. 3
= 84
E7
A7
E7
B7

Shuffle feel
T
A
B
0
0
0
2
0
3
1
2
2
0
2
2
0
1
2
0
Ex. 4
= 84
E7
A7
E7
3
3
3
4

Shuffle feel
T
A
B
0
0
0 2 3
2 0
Ex. 5
2 0
3 3 3 3 3 3
4 4 4 4 4 4 2 0
0
2
0
2 0
2
0
= 84
C7
D7/F
G7
0
1
0
3
0
1
3
1
1
2
2
1
2
3
1
0
3
4
4
Shuffle feel
T
A
B
1
0
2
3
1
0
2
3
G U I T A R P L AY E R J U N E 2 0 0 7
113
lessons june 2007

4/5/07
12:40 PM
Page 114

guitarplayertv.com!
trappings, including stride bass and highly

syncopated melodies up top.
help you get the feel. As in Delta blues,

Piedmont achieves its effect by placing a
contrasting musical part above the bass.
Since the bass is short and crisp (and not at
all pondering, like Delta bass lines), let the
chords ring out in sustained half-notes. Note
the progression, too: C, C7, F, D7/F#, C, G7,
Cvery different sounding from the typical
I-IV-V progressions in E weve focused on
so far. These changes are close to ragtime,
and indeed Piedmont adopted many ragtime
part of a pinch (both the bass and melody

notes are plucked simultaneously with a
thumb/finger pinch). When its off (in
between), its part of a mini thumb-fingerthumb arpeggio. Sometimes its tricky to
squeeze in an off note between two driving
bass notes, but its like double-dutch jump
ropeafter you learn the technique, you
can get in between the ropes without getting mangled. The first two bars are all
pinches. Bar 3 opens with a pinch followed
ONS AND OFFS

In Ex. 6 we retain the alternating, low-high
bass from Ex. 5, but now use the fingers to
play a melody. Because Piedmont often has
tricky syncopations, it helps to think of
melody notes as having two stateson or
off the thumb notes. When a melody note
is on (coinciding with the bass note), its
Ex. 6
= 84

Shuffle feel
T
A
B
1
2
1
2
= 84
D7/F
Ex. 7
2
3

Shuffle feel
T
A
B
0
0
1
2
3
2
3
1
3
2
3 1
2
1 0
3
2
2
3
Ex. 8
= 100
Shuffle feel

1
T
A
B
2
0
2
0
2
0
B7
6
5
6
0

T
A
B
114
2
0
2
2
0
2
2
2
2
1
0
2
2
1
0
2
0
Shred Like a Master.

Seriously.
German Schauss Jared Meeker Dave Martone
Glenn Riley Tobias Hurwitz
Each title features:
Lessons from renowned shredders and educators

Licks and examples in both standard notation and TAB
A DVD hosted by each respective
A
espective author that includes
live demonstrations of the examples and MP3
play-along tracks
Scan for
a FREE
Sample
Lesson
alfred.com/seriousshred
lessons june 2007

4/5/07
12:40 PM
Page 116

guitarplayertv.com!
Mississippi John Hurt
by four in-between (syncopated) notes.

The Piedmont melody in Ex. 7 is in the
style of the great Blind Blake, who often
played in the key of C, because it seems to
suit the Piedmont and ragtime styles better than E. (G was also a popular Piedmont
key.) Though the passage has a ragtime
feel, the altered melody notes D# (Eb) and
Bb are taken from the blues scale (1, b3, 4,
b5, 5, b7).
COAL MINE BOOGIE

Example 8 shows a rockabilly progression in
the style of Merle Travis, and draws from
both Delta and Piedmont in that it provides a solid quarter-note bass, but uses
just a two-note, low-high pattern. Since
the tempo is much faster than the medium
shuffle of Piedmont (hence the time
signature is 2/2, or cut time), the upper
voice is sparser and less melodic. But like
the Delta blues, the melodic gestures are
similar for the I and IV chords. To really
get that authentic rockabilly sound, don a
thumbpick for a percussive effect, and add
some slapback echo.
Chet Atkins, Jerry Reed, and others evolved
the Piedmont and rockabilly styles into more
sophisticated fingerstyle approaches, often
incorporating jazz chords, walking bass,
Ex. 9
= 84
E7/G
and other more intricate musical concepts.

In Ex. 9, the quarter-note bass neither repeats
nor alternates (as it did in Delta and Piedmont). Instead, it walks up to C# in bar
3, and then cycles from C#7 to F#7 to B7 to
E7, in a VI-II-V-I cadence. The melody
descends, creating pleasing counterpoint
via contrary motion to the bass.
Example 10 retains Ex. 9s bass line, but
now the melody is a free-flowing line that
combines open strings with fretted notes
to create a legato, harp-style effect. The
trick here is to keep the bass notes ringing for their full rhythmic value while you
skip around the neck grabbing fretted notes
up and down the neck. The harmonic content of this melody incorporates notes from
both the major scale (E, F#, G#, A, B, C#, D#)
and the blues scale (E, G, A, Bb, B, D), so
its a cross between country and blues. The
chords, meanwhile, have a strong blues
and ragtime quality. Atkins and Reed based
many songs on this ascending blues
bass line, including Jiffy Jam and Blue
Finger, and this approach represents the
combining of many elements to produce
an arranged approach to fingerstyle blues.
Jon Chappell has written many instructional books on guitar, including Blues Guitar
for Dummies [Wiley Publishing]. g
F 7/A
C 7
F 7
2
4
3
4
3
2
B7
E7
2
1
2
1
0
Shuffle feel
T
A
B
Ex. 10
= 84
E/G
A7
F 7/A
E/B
C m
F 7
B7
Shuffle feel
T
A
B
116
0
0
7 5 6
8 7 5 7
0
9
7
2
4
2 0
3
2
0
1
3
0
2
2
2
0
2
P H OTO : J O H N B Y R N E C O O K E W W W. C O O K E P H OTO . C O M
june 2007
lessons
Acoustic fingerstylist ettA BAker performs piedmont Blues
sessions
truefire
transcriptions
Used by Permission of ALFRED MUSIC PUBLISHING CO., INC.
doobie brothers
transcriptions doobie brothers
doobie brothers
transcriptions
doobie brothers
transcriptions
doobie brothers
transcriptions
doobie brothers
transcriptions
transcriptions
the animals
transcriptions the animals
the animals
transcriptions
transcriptions the animals
the animals
transcriptions
transcriptions
traditional

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