Guitar Interactive 25 2014 Gus G

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GITECH 16 ELIXIR 8 EMG 15 ERNIE BALL 26 ESP 2 FAITH GUITARS 61 FRACTAL AUDIO 30 HUGHES AND
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GUITAR INTERACTIVE_CONTENTS
CONTENTS
INTERVIEWS p19_THE GUITAR INTERACTIVE
STORE - NOW OPEN!
p07_Gus G - Fire Proof! He’s
Ozzy Osbourne’s latest guitar REVIEWS - GUITARS, AMPS & FX
star, leads his own band, Firewind,
and is just set to embark on the p23_ESP LTD James Hetfield &
Guitar Universe tour. Levi Clay Kirk Hammett signature guitars
interviews the guitar god from
p25_John McGuire custom
Greece. Richard Morgan provides
the words. p27_Ibanez Roadcores: RC330T-
BBS & RC365H-BK
p09_Marty Friedman - Stuart Bull
meets one of Rock’s less familiar p29_Vox Mk 3 and Mk 5 guitars
superstars. Levi Clay offers a
profile of the man who is the other p31_Peavey Valve King combo
half of the Guitar Universe tour.
p32_Marshall 1962 HW combo
COMPETITION
p34_Orange Dual Dark head
p14_WIN an ESP LTD Gus G
Signature guitar in our free-entry p36_Chord cvh40 combo
competition!
p38_Randall RG13 pedal/amp
COMPETITION WINNERS
p39_Korg Pandora multi FX
p17_In Issue 23 we gave away a
p41_Mad Professor Royal Blue
fabulous Carlsbro EVO half-stack. distortion
Find out if you won!
p42_Maxon pedals: AD10 Analog
DOWNLOADS Delay, Ambient Stereo Chorus,
p18_All the featured downloads DB10 Dual Booster
from this issue + exclusive Guitar p43_Audio Technica ATW-1101
Pro Lite tab software FREE wireless guitar system
download!

LIVE SOUND! p62_Don Alder - Advanced Acoustic
Guitar
Everything you need to take your
music live! p63_Giorgio Serci - First Steps in
Fingerstyle
p45_Exclusive - Jaime Vendera’s
Vocal Bootcamp pt 5 THE BASSMENT
LIVE SOUND! Reviews: Interview Exclusive -

p47_Peavey FX2 mixer
p65_Rhonda Smith - Stuart Bull
p49_TC-Helicon VoiceLive meets the bass ace with Jeff Beck
Touch 2
Reviews:
MAKING TRACKS p66_PRS Gary Grainger bass
p51_Andi Picker on recording for p68_Ibanez SR375-BBS bass

the practical musician
p69_EBS B 500 head & cab
Making Tracks Reviews:
p70_Enfield Lionheart bass
p52_Tannoy Reveal monitors
COLUMNS
p53_Focusrite Scarlett audio
interface p72_Rick Graham - Creative
pentatonics
THE QUIET ROOM
p73_Tom Quayle - Chord
Reviews:
tones for the Blues
p55_Taylor 816 CE p74_Michael Casswell’s Pro
Concepts Pt 20
p57_Tanglewood Sundance
p75_Sam Bell - Extended Guitar
p58_Washburn Lakeside acoustics Pt 7
p59_Laney A1+ acoustic combo p76_NEW! Lewis Turner -
Back To Basics
p60_Admira classical
p77_NEW! Martin Goulding -
Modern Rock Techniques
TAYLOR G

GUITARS
INTERV HOT LICKS AND LIFE STO

VIEWS
RIES
INTERVIEWS_GUS G INTERVIEW
G U S G
FIRE PROOF
With a new album out - I Am The Fire - and a European tour
with Marty Friedman, Gus G is riding high. The Firewind
and Ozzy Osbourne guitarist speaks to Levi Clay about his
extraordinary rise to international guitar hero fame and delves
into his style and gear choices. Richard Morgan offers our
‘story so far’ overview.
‘L
OOKING BACK NOW, Dig a little deeper, though, and it’s not
it’s hard to forgive the 80s. all bad. World-beating powerhouses like
This musical dog of a decade AC/DC and Guns N’ Roses were in
was responsible for the their awe-inspiring pomp in the years
popularisation of many of music’s greatest up to 1990, and superstar guitar heroes
abominations: synth pop, hair metal, and - like the aforementioned groups’ Angus
techno. It also brought us spandex, the Young and Slash - abounded. In the
mullet, and vomit-inducing groups like Heavy Metal arena, great things were also
Wham!, Europe and Culture Club, all of happening, with an outrageous Brummie
whom time and the general public have at the forefront of the genre. Having
fought long and hard to forget! been unceremoniously jettisoned from
Black Sabbath in 1979, Ozzy Osbourne

F
unleashed his debut solo record, Blizzard In interviews, he’s a quietly spoken,
Of Ozz, on September 20th 1980. thoughtful and humble guy. You certainly
Featuring iconic tracks like Crazy Train can’t imagine him snorting a line of ants,
and Mr. Crowley, and boosted by the biting the head off a bat or tattooing
guitar mastery of the late, great, Randy smiley faces on his own kneecaps, that’s for
Rhoads, the album has gone on to become sure.
something of a hard Rock classic, selling
more than six million copies to date. But perhaps that’s precisely why we all
love a bit of Gus G these days. This is a
This seminal release most likely meant down-to-earth, everyday sort of bloke
nothing to Kostas Karamitroudis of who’s just like most of us ‘normal’ guitar
Thessaloniki, Greece. He was, after all, players out there, and yet he’s living the
a mere eight days old at the time. Fast- dream, at the top of his game playing lead
forward 33 years, though, and little Kostas for one of the rock world’s most legendary
- whose name was anglicised to Gus G figures. It’s not easy to follow on from the
somewhere along the way - is now Ozzy’s likes of Randy Rhoads and Zakk Wylde,
main axe slinger, leader of the much- but Gus has done it in style - and that’s a
admired Firewind power metal quartet and huge inspiration for the rest of us budding
an idol of hirsute guitarists everywhere. guitarists.
In some ways, it’s difficult to imagine A heady combination of natural talent,

a less likely guitar hero. A far cry from hard work and luck - yes, even the best
your typical lead six-string extrovert, need a bit of that last one - has led Gus
Gus has never really been prone to to where he is today. Growing up in
ridiculous onstage posturing or the off- Thessaloniki, he was introduced to the
stage debauchery associated with those world of Rock through his music-loving
coke guzzling rockstars of the ‘80s. (and Greek Folk music singing) father’s

...he got his first classical instrument
aged 10. Four years later, a Fender
Stratocaster began Gus’s love affair with
the electric guitar world..
Gus G Interview

record collection. The likes of Peter Frampton’s Frampton
Comes Alive captivated the young Gus - he first thought
Frampton’s talkbox was a robot, having no idea that a
guitar could manage such tones - and he got his first
classical instrument aged 10. Four years later, a Fender
Stratocaster began Gus’s love affair with the electric guitar
world.
Music took over from there, and Gus began honing his
skills, learning a lot by ear, but also with the help of a
number of local music teachers who showed him chords,
scales and how to read music. Heavy metal and early
‘70s hard Rock were his big loves, with the likes of Gary
Moore, Michael Schenker and Led Zeppelin informing and
influencing his fluent playing style.
At the age of 18, Gus was offered a scholarship at

the prestigious Berklee College of Music in Boston,
Massachusetts. He jumped at the opportunity to head to
the USA, where he imagined he could make a name for
himself on the burgeoning guitar scene. Berklee turned
out to be a huge disappointment, and a bored Gus - who
didn’t take well to the academic side of the course - quit
within weeks. Before he left, though, he met and started
taking lessons from Joe Stump, who would go on to greatly
impact his approach to the instrument. Among other
things, Gus credits Stump with showing him how to play
well cleanly, and how to control his distortion.
By 1998, the first Firewind demo blood that could look and play
- titled Nocturnal Symphony and the part. After playing through a
designed to be a showcase for Gus’s few songs with Gus, he knew he’d
fretboard mastery - had surfaced. found his man, and hired him on
It attracted the attention of record the spot.
labels, but touring and recording
commitments with bands like The past five years have seen Gus
Dream Evil, Nightrage and Mystic touring and playing the world’s
Prophecy meant the first Firewind biggest stages with Ozzy and band,
record proper, Between Heaven filling the rather large shoes of
And Hell, wouldn’t see the light of some of the greatest guitar players
day until 2002. Since then, Gus to have ever stalked the earth. It
has remained the band’s focal point hasn’t all been plain sailing - look
and only constant member across a around a bit online and you’ll
total of seven studio cuts and two find all sorts of criticisms of Gus’s
live albums. He’s also worked with tone (too gainy and distorted,
the likes of Swedish death metallers apparently), his personality (too
Arch Enemy, and continues to introverted), and even his chops
play on records for the likes of (he doesn’t play the solos exactly
Nightrage. as Randy and co. did) - but then
that’s life in the spotlight these
Oh, and there’s the small matter days.
of the Ozzy gig too. So the story
goes, Gus received an email from Of course, those anonymous
Ozzy’s management one day in Internet critics have possibly
2009, asking him to come down overlooked the fact that Gus’s
to LA and jam a few songs. As it laid-back persona, which doesn’t
turned out, the Prince of Darkness require him to be at the forefront
had just parted company with of every stage, is perfect for
Zakk Wylde, fearing his material such a limelight-craving figure
was starting to sound too similar as Ozzy. And, from Gus’s point
to Wylde’s own Black Label Society of view, he’s just loving being a
project. He wanted fresh new part of something huge, saying:
“I still don’t believe all this stuff

is happening! Every moment I’ve A catchy mix of hard Rock and
been in that camp has been so power Metal that features a range
precious, and I just make sure I of guest vocalists alongside Gus’s
enjoy every minute of that ride.” chunky riffs and lightspeed solos,
it’s a release that sees the career
It might even be said that Gus’s of this pleasant and unassuming
modern tones and playing have also chap from Thessaloniki come
helped inject a more contemporary full circle. And how did he do it?
edge into some of the more “The key to success is patience,”
timeworn Ozzy tunes. Some old- he says. “Believing in your music
school fans might not like the extra and yourself, and having patience.
dollop of gain Gus brings courtesy There are no shortcuts in this
of his signature ESP guitars and business. It’s all about sticking to
Blackstar amps - you can watch your guns!”
Gus explaining his rig in detail
in our accompanying videos, by Not that there’s nothing left for
the way - but it’s testament to his him to achieve, of course. In fact,
importance and skills that Ozzy if you know of any babies born
has not asked him to back off recently who look like they’ve got
the distortion a bit. And, fussy the aptitude for guitar, come back
detractors aside, most genuine fans to Guitar Interactive in about 2047
seem to love the PoD’s choice of and we may well be writing about
lead axeman. the hot new player who’s bagged a
gig with the world’s biggest Greek
Guitarists who want to hear a guitar god. Just don’t expect an
good representation of where ageing Gus to be out of his mind
Gus G is at right now could on crystal meth and pulling the
do worse than checking out his heads off sheep… •
debut solo album, I Am The Fire,
which came out in March 2014.
INTERVIEWS_MARTY FRIEDMAN
RIN G
A N
U
D M
FRIE
TO
A R T Y
M
INF ERNO
With his new album, Inferno, just
about to be released and a shared
headline tour with Gus G set to
rampage around the world, Marty
Friedman hasn’t been hotter for
years. Stuart Bull met Marty for
our second GI interview, while
Levi Clay brings us up to date.

O
‘M
ARTY FRIEDMAN IS A the original shredder’s paradise, Shrapnel
fascinating character, and Records. It was a fantastic launch vehicle
one who is far too often left for Friedman’s career and he went on to
off the long list of incredible guitar players join Megadeth in 1990 for the band’s
who have contributed to the evolution of fourth album, guaranteeing him a place
electric guitar since its rise in the ‘50s. In in Rock history which he reinforced
our previous feature (back in GI 17), we with a stay of ten years with the band.
told how he went from small town star Following Megadeth, however, Friedman
to international guitar hero, before laying moved to Japan and when the guitar
roots in Japan, where he’s now almost a solo began to die-off as a mass-market
household name. But it was that move that cultural phenomenon in the West, Japan
probably explains why Friedman isn’t quite didn’t seem to get the memo. There, ‘80s
so well known elsewhere. guitar heroes are still very much A Big
Deal, so while most of Marty Friedman’s
Friedman’s rocket like rise to fame took contemporaries (especially the more niche
place in the company of that generation Shrapnel artists) had to evolve or die in the
of guitarists who made their names with
West, guys like Paul Gilbert, Richie Kotzen think Friedman still has a lot to say. Here’s
and Marty Friedman never ceased to be why.
anything but superstars in Japan.
As we saw earlier, and as with so many of
This is where the problem arises with the ‘80s guitar icons, the world probably
Marty, in moving to Japan he almost wouldn’t be aware of Marty’s playing
sentenced himself to be a name in the if it wasn’t for the equally legendary
history books for much of the rest of the Mike Varney, releasing Hawaii’s One
world, even though he was busier than Nation Underground in 1983 (right
ever there. But with the recent signing to after launching the career of Yngwie
Prosthetic Records, Marty is finally seeing Malmsteen). While this certainly isn’t
full international releases, for the first time on any serious student of Rock guitar’s
in a decade. listening list, it was when Varney put
Friedman alongside a young Jason Becker
But is Marty Friedman still deserving of that fireworks really began.
your attention? Well, the fact that we’ve
interviewed him twice in a relatively short Released in 1987, Cacophony’s Speed
period gives you the answer to that. We Metal Symphony instantly gives you a
Marty Friedman Interview

If this were all
Friedman ever gave
us, it would be
enough to cement
his legendary status.

reason to sit up and take notice. Right Off! are a masterclass in composition,
from the opening track, Savage, we’re application of arpeggio, effective use
treated to a glorious explosion of lead of harmony and creating ear twisting
guitar prowess with incredible phrasing, melodies. While it would have be
outrageous harmony guitar and wonderful acceptable for Marty to have hung-up his
polyphonic classical sections often guitar at this point, he was, in fact, just
presenting two equally beautiful melodies getting started.
that weave together in a manner that
could be called anything but cacophonous While his compositional skills were not
(though that’s not to say the record doesn’t employed on Megadeth’s first recording
feature a fair share of modern serialist with his (1990’s Rust In Peace), Marty
influence). would contribute some next level lead
guitar work songs like Hanger 18 and
If this were all Friedman ever gave us, it Tornado of Souls, the latter being a strong
would be enough to cement his legendary candidate for one of the greatest guitar
status. Both their debut and 1987’s Go solos ever recorded.
Marty Friedman - “STEROIDHEAD”

From here Megadeth moved into a are double headlining the Guitar Universe
more commercial direction, releasing 2014 tour, which we suspect will have to
Countdown to Extinction in 1992, still the be seen to be believed.
group’s bestselling album to date. Marty
contributed a little bit compositionally So not only is Marty Friedman the
here, but it’s still his soloing skills that guitarist behind some of the best thrash
stand out head and shoulders above just metal recordings of the last 20 years, but
about every other guitarist at the time. he’s back and firing just fine. If you get the
Tracks like Symphony of Destruction chance, check out the tour but whatever
feature his trademark Eastern tinged bends you do, don’t miss the album! •
and scale choice. To this day if you type
things like “Kumoi/Hirajoshi pentatonic”
into a search engine, all the top results
appear to be guitar and metal sites, there’s
little question in my mind that this can
all be traced back to Marty, a credit often
forgotten over the years.
While he would go on to release three

more records with Megadeth, when Dave
Mustaine decided to take the band back
to their thrash metal roots, Marty decided
it was time to move on, settling in Japan
(a country he had grown to love from his
world tours with Megadeth), with the
result on his status among guitarists back
home, as we’ve seen.
But Friedman is back with a new album,

Inferno, which delivers from all angles and
is the return to what he does best - crafting
incredible melodies and pushing the
boundaries of what is considered the norm
in Heavy Metal music.
And if a new album wasn’t enough, as

this issue of GI goes live, Friedman is
just kicking off on the European leg of
a world tour with fellow Issue 25 guitar
slinger, Gus G. Together, the two players
COMPET YOUR CHANCES TO

TITIONS
WIN
COMPETITION_YOUR CHANCE TO WIN
a fantastic ESP LTD Gus G signature guit
‘T
o celebrate our interview with the amazing Gus G, we’ve teamed-up with our
friends at ESP to offer you the chance to win an LTD Gus G GUS-600 NT!
Gus G is one of a handful of playing with Ozzy Osbourne or his own

the world’s top players to be honoured band, Firewind.
with an ESP or LTD signature model - and
what a guitar it is! One lucky winner with the correct answers
CLO
will be chosen at random. Please Note:
The GUS-600 features a flame maple Be sure to check your emails regularly!
topped alder body with a set neck and Winners will be notified by email and we
comes in a radiant see-thru Black Cherry have recently had a couple of unclaimed
finish. prizes, which have been reallocated to
other entrants!
Equipped with a pair of Seymour Duncan
Gus G FIRE Blackout pickups, it’s
the perfect guitar for mastering those
screaming Gus G solos, whether he’s
The Rules:
1/ All entries must be received by 15th June 2014. 2/ No cash alternative is offered instead of the stated prize. 3/ Employees of Guitar Interactive, ESP,
tered readers of Guitar Interactive who provide the correct answers. 5/ The judges’ decision is final. No correspondence will be entered into regarding t
tive winners chosen. 7/ Winners may be responsible for import duty where levied. Where possible prizes will be despatched from the winner’s own count
published in a future issue.

tar in our free entry competition!
QUESTIONS - All you have to do is answer the following

questions online.
All you have to do to enter is Three lucky winners with the

simply answer the following correct answers will be chosen
question online. at random and each will receive
one amplifier of our choice.
OSED
Q1. Firewind’s 1998 debut Please Note: be sure to check
album was called? your emails regularly! Winners
A/ Nocturnal Symphony will be notified by email and
we have recently had a couple
B/ Nocturnal Serenade of unclaimed prizes, which
have been reallocated to other
Q2. ESP has been making entrants! •
fabulous guitars since?
A/ 1955
B/ 1975
C/ 2005
ENTER
Selectron Ltd or Licklibrary, and their immediate families, are ineligible for this competition. 4/ One winner will be chosen, at random, from regis-
this competition. 6/ Winning entrants must respond to email notification of having won within 10 days, otherwise prizes may be forfeited and alterna-
try, but this will not always be possible. 8/ Prizewinners must consent to having their name and city/country (e.g. ‘Andres Segovia, Madrid, Spain’)
GUITAR INTERACTIVE ISSUE 23 CARLSBRO EVO
We had a fabulous all-v

stack up for grabs in ou
fabulous prize which dr
readers anxious to get t
great amps.
Reviewing the EVO 50
Graham said: “I have to
was fooled by the price
expecting the EVO50 D
It produced some really
channels, particularly th
cooked up a storm whe
gain. Coupled with the
makes for a fantastic co
So there you are - and o
be finding out for hims
generation from veteran
who was the lucky man

HALF STACK COMPETITION -THE RESULT!
valve Carlbsro EVO half-

ur issue 23 competition - a
AND THE
rew a huge response from WINNER IS...
their hands on one of these Mr Eric Millington of Crewe,
Cheshire, UK!
0 DC back in issue 19, Rick Congratulations, Eric!
o be frank and admit that I
e of this amp. I simply wasn’t
DC to be as good as it is.
y great clean tones on both
he second channel, and
en it came time to push the
e EVO 412, this deadly duo
ombination.”
one lucky reader is shortly to
self just how good this latest
n maker Carlsbro really is! So
n?
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THE
REVIEW GUITARS, A

E
WS
MPS AND EFFECTS
REVIEWS_GUITAR REVIEW
ESP KH-WZ Kirk Hammett Signatur

Cross SW James Hetfield Signature
If you think Kirk Hammett and James Hetfield are a dynamite combination on stage, wha
if they got let loose again in ESP’s design studio? Tom Quayle volunteered to find out!
‘M
etallica have been some of zombies from ‘White Zombie,’ filmed in
the most loyal artists on the 1932 at Universal Studios. White Zombie
ESP roster, having used the was considered the first full length zombie
guitars for well over 20 years. movie and is thus considered pretty iconic
As such, both Kirk Hammett and James and the artwork looks fantastic on this guitar,
Hetfield have had a slew of signature models having huge appeal to horror and zombie
over the years ranging from full scale, mass movie fans, whether they’re fans of Kirk
produced models to limited run, exclusive Hammett as well, or not.
collector editions. ESP sent the Guitar
Interactive team the latest signature models The guitar construction is pretty standard
to check out - the KH-WZ Kirk Hammett for the Metal and Rock genre with a solid
and the LTD Iron Cross SW James Hetfield alder body, 25.5” scale maple neck, rosewood
model. These two guitars are both in the fingerboard and bolt-on neck joint. The
mid to high price range, with high quality neck features a ‘Thin U’ shape contour, 24
hardware and custom finishes that certainly extra jumbo frets, Floyd Rose bridge, locking
stand out from the normal black designs you nut and LTD tuners. The pickups are active
might have expected! EMGs, with an EMG60 in the neck and
an EMG81 at the bridge, matched with
KH-WZ - KIRK HAM- a 3-way switch and standard volume and
4.0
tone controls. The neck features very cool
METT SIGNATURE and intricate spider inlays with a large bat
covering the 10th to 13th frets.
If you’re a horror movie
Overall, the design is very much in the
STAR RATING buff, which Kirk Hammett
superstrat vein but features softer horns
must be, you’ll immediately
and less aggressive look than some other
recognise the superb design on the front of
companies have gone for of late and
Kirk’s latest signature ESP. This is a stunning
whilst it would certainly look out of
looking guitar, featuring Bela Lugosi as
place at a Jazz gig, it’s a design that is
a Voodoo Master in control of a crew of
more widely appealing than other ‘Metal’

re & LTD Iron
Guitars
at do you think would happen
guitars. Completing the package is a

superb, custom design case made by The
Tombstone Case Company, although bear
in mind that this appears to be specific to
certain territories and may not be available
everywhere.
The workmanship on the KH-WZ is

right up there with other mid to high-
priced LTD models - and that means it is
excellent. Particularly striking is the superb
quality of the top graphics and intricate
inlay work that really make this guitar
stand out from the crowd and ensures
it will stick in the memory of all those
who see it. The black finish on the rest of
the body is flawless and this extends up
through the neck and matching headstock
which is the only part of the guitar with
any Kirk Hammett reference, courtesy of
the subtle signature crowning the design.
The fretwork on our sample was also
superb, with high quality fret finishing
and a totally professional feel across the
neck. The XJ frets feel well polished and
smooth with no grinding whilst bending
or performing vibrato. The factory set-up
is also very good with a suitably low action
KH-WZ - Kirk Hammett Signature
but no buzzes to speak of and enough height tuning issues at all. The LTD tuners are good
to get underneath a bend when required. performers too, with a sensible ratio and
If there was anything to complain about accuracy, though you shouldn’t need them
perhaps it could be argued that the Floyd too much given that the tuning stability is
Rose springs were setup a little too tight so good on these Floyd Rose locking nut
but this can be adjusted to the individual combinations.
player’s preference and the bridge performs
flawlessly for all manner of craziness with no Playability on the LTD range, even at the

bottom of the budget line, is universally soft indeed. The neck pickup offers some
good and the KH-WZ is no exception. The lovely, warm clean tones that are easy to
neck is supremely comfortable throughout its control and can even move into Jazz territory
range and the XJ frets make for an easy and with the tone rolled off a touch. The middle
tension free playing experience that allows position is useful but don’t imagine you’ll
maximum efficiency of your technique whilst be coaxing Strat-like single coil tones out
retaining a good tone. The KH-WZ body of these pickups. Kicking in the overdrive
shape is a classic Kirk Hammett design and reveals a superbly tight and responsive set
is very comfortable for extended playing of tones that can really scream or chug well
sessions whether stood up or sat down. The with palm muted downstrokes sounding
deep cutaways make upper fret access a aggressive and immediate and saturated lead
breeze so extended excursions up at the 24th tones singing and sustaining for days.
fret feel accessible and controlled for the left
hand. The KH-WZ is a great Rock/Metal guitar
with high quality hardware made even better
Tonally, the KH-WZ sounds pretty much by a super-cool top and inlays. Its ‘White
how you’d expect thanks to the pair of EMG Zombie’ design should appeal en masse
active humbuckers. As we’ve mentioned to horror movie fans and I could see Bela
before at GI, these pickups can be more Lugosi and zombie movie fans buying it even
subtle and versatile than you might initially if they don’t play guitar (Bela Lugosi won’t be
imagine and the EMG60 and EMG81 are buying one Tom. Hate to break it to you but
prime examples of this, offering chimey and he’s dead. Um, really dead this time - Ed)!
dynamic clean tones, especially with the ESP has been clever in minimising the Kirk
volume control about 2/3rds up. Output Hammett association on the design, thus
levels are high though and with the volume making the appeal as wide as possible - I’m
on full an average amp is going to struggle to even somewhat tempted myself!
remain clean unless the player’s attack is very
LTD IRON CROSS SW - JAMES HETFIELD SIGNATURE

The Iron Cross SW is available both as one (and thus more affordable) LTD series. Our
of the super high-end ESP range and also review version was the LTD model and right
in the company’s Far Eastern produced from the start let me say it represents superb
PROS: CONS:
Cool Zombie movie design! Case not available everywhere
Great construction and hardware Slightly limited tonally
Good playability and tones
Comes with quality case (in certain

territories)
TECH SPEC
ESP KH-WZ Kirk Hammett Neck Contour Thin U
Signature Guitar
Frets/Type 24 XJ
MSRP £929 US $ 999
Hardware Color Black
Construction Bolt-On-Neck
Strap Button Standard
Scale 25.5”
Tuners LTD
Body Alder
Bridge Floyd Rose
Neck Maple
Neck PU EMG 60
Fingerboard Rosewood
Bridge PU EMG 81
Fingerboard Radius 350mm
Electronics Active
Finish Black w/ WHITE ZOMBIE
Graphic Electronics Layout Vol/Tone/3-Way
Switch
Nut Width 42mm
Case CMHFF Included
Nut Type Molded

value for money. Bear in with ebony fretboard, set-neck design and
mind that the ESP original moulded nut. The guitar features a pair of
4.5
retails for around the price active EMG JH signature humbuckers, with
of a second hand car, while a three way switch, volume and independent
this LTD version is just over tone controls. A further three way switch
four figures, yet features sits onto of the upper bout of the body in
STAR RATING almost identical hardware a traditional LP-style but is redundant and
and construction. That’s purely for visual flair. Hardware is completed
great value! with a Tonepros Locking TOM bridge
and tailpiece, 22 XJ frets and LTD locking
The LTD Iron Cross is the latest James tuners. For reference, the ESP version
Hetfield signature model and features a features a bone nut and Schaller locking
single cut LP-Style solid mahogany body tuners - in all other respects the hardware is
with a maple top, 22-fret mahogany neck identical.
LTD Iron Cross SW - James Hetfield Signature
The Iron Cross SW features a very contemporary, especially when matched with
memorable white finish with three back the wave topped headstock design.
stripes across its top, black scratch plate
and the large, metal Iron Cross attached to Construction quality is right up there with
the back behind the tailpiece. The single the best of the LTD range and the Iron
cut body is bound with a double black line Cross SW certainly feels like a much more
around its circumference that adds an extra expensive guitar. As with the KH-WZ, all
level of class to the design. It’s certainly aspects of the guitar are flawlessly finished
a memorable look, although I can see a with fantastic paint and fret work, matched
number of buyers being put off by the use of with a great setup and hardware fitting.
the Iron Cross. The fretboard features some Everything is tight and well put together
very well executed flag inlays that culminate with a feel that lines up well or even better
in a further Iron Cross design across the than the price of the guitar suggests. As such,
11th, 12th and 13th frets. playability is very good indeed with a fast
thin, U-shaped neck and XJ frets allowing
As with the KH-WZ model, this James for easy and effortless technique application,
Hetfield signature features a very subtle JH perfect for power chords or lead work across
logo on the headstock that doesn’t scream the whole range of the neck. Obviously,
‘signature model’ and thus limit the potential upper fret access isn’t up there with the
market for the guitar too much. This more double cut KH-WZ but reaching the 22nd
subtle approach to artist branding looks far fret isn’t an issue and the addition of the belly
more classy and widens appeal far more than cut on the back of the body allows for more
a name sprawled across the neck or 12 fret comfortable playing experiences than with a
ever would! traditional LP-style guitar.
The body design is more compact and Tonally, the Iron Cross SW is a beast thanks
modern looking than a traditional single to those great sounding (and great looking)
cut shape and seems very sleek and EMG JH humbuckers. The JH pickups

have a lot of output thanks to the active
design but they aren’t just about their bark
and bite and can quite happily handle
lower gain and clean tones with style.
Heavily overdriven tones retain lots of
clarity and tightness, perfect for low tuned
power chord chugging or palm muted
single notes and lead tones are just as
silky smooth as the EMG81 in the KH-
WZ model. Of course it can scream too
if required and can really push a lower
gain amp into impressive break up tones
by pushing the front end hard with the
volume all the way up!
Very few Metallica fans will ever be able

to afford the ESP version of the Iron
Cross guitar and the LTD version does
an extremely impressive job of producing
an affordable alternative that matches
almost all of the hardware and ethos of the
original while retaining much of the high
quality build of the original. Of course this
can’t match all aspects of the ESP version
but I’m sure it’ll come close enough for
most people to justify its respectable
and very fair asking price. The design,
hardware and playability all add up to a construction involved in this style of

very appealing guitar that’s well worth guitar and the way it compares with a far
checking out for both fans and non-fans more expensive original but, to be fair,
of James Hetfield alike. Oh, and you get a both guitars were so good that it was a
case with this one, too! really close call. Either would be great
value! •
We’ve given the Iron Cross an extra half
star on account of the more complicated
PROS: CONS:
Great value version of ESP original Design may put some people off
Matches almost all original hardware/ Limited tonal palette

construction
Good quality tones
Impressive playability and construction
Unique design

TECH SPEC
LTD Iron Nut Type Molded
Cross SW James Hetfield Neck Contour Thin U
Signature Guitar
Frets/Type 22 XJ
MSRP £1,159 US$ 1,099 Hardware Color Black
Construction Set-Neck Strap Button Standard
Scale 24.75” Tuners LTD Locking
Body Mahogany Bridge Tonepros Locking TOM Bridge

& Tailpiece
Top Maple
Neck PU EMG JH SET
Neck Mahogany
Bridge PU EMG JH SETElectronics
Fingerboard Ebony Active
Fingerboard Radius 350mm Electronics Layout Vol/Vol/Tone/
Finish Snow White w/ Stripes Graphic Toggle Switch
Nut Width 42mm Case CECFF Case Included
John McGuire Custom

“Can I review a John McGuire Custom?” asked Michael Casswell. “Don’t you mean a Mike
rived from McGuire’s Somerville MA workshop, via his distributor in the Netherlands. But
‘B
efore we talk about our LA name players, which then
review guitar, we’re led to a dedicated Valley Arts
4.5
going to need a quick factory opening in the mid-’80s
history lesson about the heritage building superb Strat-style guitars
behind John McGuire guitars. It that most could only dream of
starts with a company born way owning. In 1989 I walked into
STAR RATING back in the ‘80s called Valley Arts that factory, met Mike, who
guitars. For those who follow my helped me choose the wood for
Lick Library DVDs and Guitar my very own custom built guitar,
Interactive contributions, you which has pretty much been my
may often have seen me use these number one instrument ever
PROS: very rare superstrats, equipped since.
with EMG pickups and Floyd
Superb attention to Disaster struck in 1992 when
trems, and wondered what they
detail the factory burnt to the ground,
are. Well now you know! Valley
Arts guitars were the choice of which marked the end of an era
Great pickups and
the guitar elite back in the day, for the name ‘Valley Arts’ with
hardware
with endorsers such as Steve only around 2,600 guitars having
Nitro finish Lukather, Larry Carlton, Jay been built. Under-insured, the
Graydon and Steve Farris. Valley Arts name was sold off to a
Flawless construction Korean company, which churned
Valley Arts guitars were bespoke out nasty, cheap instruments
instruments that came with that although they were called
CONS: the highest quality tonewoods, Valley Arts Guitars, were really
hardware and finishes and were just an insult to the name.
None
considered the best of the best. Mike McGuire, meanwhile, was
The company grew from a small snapped up by Gibson and asked
shop in Hollywood run by a to oversee the Gibson Custom
guy called Mike McGuire, who Shop, in Nashville, which he did
would repair, set up and build right up to his retirement a few
custom guitars for many of the years ago. Gibson did actually

e McGuire?” “No...let me explain...”. A few weeks later a superb looking superstrat ar-
t was it as good as Mr. Casswell had been hoping for?
buy back the Valley Arts name from Korea in an attempt to bring it back to an all-American
concern. So you can actually buy a more modern Gibson built VA guitar, but again, compared
to the pre ‘92 factory fire, hand-built beauties, they... well, let’s just say they weren’t the same!
McGuire had nothing to do with the production of the Gibson era VA’s, by the way, because
he was too busy building the best Custom Shop Gibson guitars money could buy. Phew...
history lesson over.
John McGuire Custom
Fast forward to today with these John OK, time for the review guitar, which
McGuire custom guitars. John is Mike we were kindly loaned by John’s Dutch
McGuire’s son and is following the distributor, Peter Herwegh of QGuitars.
family tradition by building his own, no
compromise, instruments, using today’s best Let’s start with the finish. John only uses
hardware and tonewoods but with some nitro finishes, which is much more labour
fantastic innovations. The guitars have a intensive to do and not as tough as your
cool modern look that is also traditional and average poly finish, but allows the guitar
grown-up in design. John will accommodate to breath and resonate to its fullest. It also
you with any finish or spec you want, but gets better with age as it naturally wears.
before you go asking him for something that Everyone loves the look of relic’d finishes and
you “think’ you might like, check his website usually a brand new relic is trying to copy
johnmcguireguitars.com where you can you the look of a nitro finish that has been played
see that the guy has pretty much thought of for 30 years. Poly finishes never take on that
everything or improved on things we have cool look in the same way, unless it’s done for
all put up with for decades. Strat style, Tele you at the factory, and for which you will be
style, hardtail or trem, humbuckers or P90 in charged extra! Personally I only want marks
any finish you like, John has it covered. on my guitars that I have put there and that

tell a story, and the trend for worn guitars actually scorch and burn the wood to bring
that are brand new does make me laugh. out some amazing grain patterns. Our review
guitar was a conservative looking tri-burst.
John does some simply stunning colour It’s very vibey but not my personal choice
stains and also has a trick where he will compared to what John can do.
Constructionally, this guitar also has my since we have pretty much sucked the forests
favourite tonewood which is swamp ash dry and many restrictions to what is available
(the same as my first number one ‘89 Valley now apply.
Arts guitar). Swamp Ash is super light, very
resonant and has a tight low end with a great The pickups are Vaults, made by ‘Tone
bark in the mid range. John’s guitars come in Vault Technologies’. These are tweaked to
all of the usual proven tone woods, and he John’s specs and certainly sound fantastic. If
selects only the best grade of wood, which I had to describe them, I would use words
is getting harder and harder to do nowadays like ‘sweet’, ‘clear’ and ‘organic’. Pickups for
me either have that certain ‘mojo’, or don’t.
These have it! Nice amount of output too, pulling up over a minor 3rd and dive
without the sweetness suffering, helped a bombing to slack, with it never going out of
lot by the huge natural resonance from the tune! It handled everything I threw at it but
guitar. If your guitar resonates, then your always came back to perfect tuning. This is
pups don’t have to work too hard. aided by some important factors. Firstly, the
nut, which is nylon, is as hard as hell and
The neck feels great with a substantial D very slippery. Secondly, the locking hip shot
shape to it. More wood on the neck always tuners. Thirdly, John has designed the guitar
means more tone and added stability. This with direct string pull. This means the holes
guitar also has 6105 frets, just like the old for the tuners are different to most guitars in
Valley Arts guitars. These frets make string that they follow the taper of the fret board
bending and vibrato a breeze. The neck has from the bridge to tuner rather than hitting
a Gotoh side adjuster close to where the the nut then going straight to string pull.
neck meets the body, too, but I doubt you Simply put, the guitar is designed properly
would ever have to touch it. We also have a and stays in tune better than most guitars out
10-16 compound radius, so again you can there. The arm also has a little grub screw to
get a slick, fast feeling set-up without your keep it where you want it. Simply superb all
bends choking out. The neck joint John calls round.
the ‘Tone Socket’ which gives the guitar the
resonance of a glued-in neck and takes just John has been around guitar building and
a half turn of an allen key to release. Again, what the best guitar players require from
Valley Arts experimented with this idea and their guitars all his life. His dad was one of
only 16 guitars had this more expensive the best luthiers in the business and clearly
option. attention to detail is in his blood.
Our review sample came with a ‘Hip Shot These guitars are up there with the best in
Flat’ trem which works absolutely superbly. my opinion and as you can hear from our
I gave it a quick tweak and got the G string video, they sound absolutely superb!

It may seem strange giving a guitar this Contact www.johnmcguireguitars.com
expensive that extra half a star we award for
value but a handbuilt guitar that will last Our thanks to QGuitars for the loan of this
a lifetime and deliver the highest possible model www.qguitars.nl
quality for under $3,000 is great value for
money! If you get the chance, check one out
and we’re pretty sure you’ll agree. •
TECH SPEC
John McGuire Custom 24 6105 Frets
10-16 Compound Radius

MSRP Euros 2,995 US $2,995
Locking Tuners
Made in: USA
Nylon Nut
Swamp Ash body
Direct String Pull
Tri Burst Nitro Finish
Gotoh side neck adjustment
Custom wound Vault Pick Ups
Tone socket neck join.
Hip Shot Trem
Rosewood Board
Ibanez Roadcore RC330T-BBS and R

We looked at our first Ibanez Roadcore back in GI issue 14, impressed by this new directio
stock. But Roadcore is more than a new model - it’s a whole range, so this time we gave t
So, Tom - what are they like?
‘T
When thinking about Ibanez,
guitarists tend to associate IBANEZ RC365H
the brand either with high
quality Rock and Metal guitars or the
company’s impressive range of Jazz boxes.
4.5 The RC365 is a semi-
hollow guitar with a bit
The Roadcore range seeks to bring a more of an identity complex,
STAR RATING although this isn’t
classic design aesthetic to Ibanez’s vast
range but armed with modern playability necessarily a bad thing.
and tone. This ideal has become something Sporting a traditional mahogany body and
of a cliché in the guitar industry of late and maple top combination with a Roadcore-
has been attempted by many companies, but shaped, bolt-on maple neck and rosewood
Ibanez has managed to keep a distinct visual fingerboard, the wood choices don’t betray
identity in the Roadcore range, harking back any particular design influence but rather an
to classic designs but retaining an Ibanez amalgamation of a few classic guitar types.
sensibility and flair throughout. This is furthered by the use of a Tele-style
single coil in the neck position combined
Ibanez sent us the RC330T and RC365H with a humbucker in the bridge and a Les
to review with each guitar representing the Paul style three-way switch on the upper
same classic, curved design but with different horn. The addition of a modern fixed bridge
hardware and visual appointments. If one and Strat-style volume and tone controls
were to pigeon hole the two models it could produces a guitar that is certainly traditional
be said that the RC330T is the traditional and classic in looks but with a more unique
Strat-style guitar whilst the RC365H is and modern hardware appointment,
closest to a Tele-style guitar in terms of its resulting in a very interesting and versatile
hardware, although it combines elements guitar.
from Les Paul style guitars also.

RC365H-BK
on from the kings of the pointy head-
two newcomers to Tom Quayle.
The only criticism that could

potentially be levelled at the design
is in the positioning of the three-
way switch that would be better
placed for convenience’s sake on the
lower bout of the body, as it is on
a Strat. The RC365H is available
in solid black (as per our review
specimen) and a translucent Light
Violin Sunburst finish, both of
which look great in combination
with the over-sized pearloid pick
guard that extends up into the
upper horn, giving the RC365H a
more vintage look.
The build quality is superb, right

up there with higher cost Ibanez
models and in line with what we’ve
come to expect at GI from Ibanez’s
Indonesian factory. The wood work
is all of a high quality from the neck
finishing to the F-hole execution
with clean and accurate execution
all round. Fretwork is flawless with
no raised edges and perfect comfort
for the hand across the whole range
of the neck thanks to the medium
sized frets and round, vintage-style
neck profile.
Ibanez RC365H
Playability for the RC365 is very good and impressively cutting neck lead tones. It
indeed with a very easy and player friendly has a good attack and response and cleans
feel and comfortable body shape that up very well with the volume lowered. The
certainly fits with the brief of a vintage styled middle position gives a combination of both
guitar with modern playability. Chords are pickups for an interesting thinner sound that
supremely comfortable across the range and is pretty unique but very usable for a range
lead work feels fast and accurate with great of styles. The bridge humbucker is a vintage
upper fret access thanks to the shallow neck style Alnico magnet that can go from subtle
joint and thoughtfully sculpted lower horn. Blues and Rock crunch, up to high gain leads
with ease and has an impressive amount of
Tonally, the RC365 is more versatile than its detail and punch given the guitar’s modest
three-way selector might lead you to believe price point.
and can produce a range of tones from its
two pickups in combination with the volume The hollow design adds some ‘air’ to the
and tone controls. The Core Tone CS single sound and makes clean tones a little prettier
coil in the neck is a smooth and detailed but this still retains all the characteristics of a
Alnico design that works well for all manner solid body electric in the right places.
of sounds from dark Jazz to Country cleans

The RC365 is a very good guitar, especially given its price and successfully combines the
vintage and modern ideals that it’s attempting to merge. The more unique design that Ibanez
have penned here adds to the appeal and for those looking for a well priced vintage looker, the
RC365 is a great choice indeed.
PROS: CONS:
Great, unique design 3-way switch location
Top notch build quality/finishing
Versatile pickups and tone
Good value for money
TECH SPEC
Fret-King C.S. Semitone De Luxe Fret: - Medium frets
MSRP £329 US $689.88 Bridge: - Fixed bridge
Made in: Indonesia Neck pu: - Core Tone CS (S) neck pu
Neck type: - RC Maple neck (Passive/Alnico)
Body: - Maple/Mahogany semi-hollow Bridge pu: - Core Tone CH (H) bridge

body pu (Passive/Alnico)
Fretboard: - Rosewood fretboard w/ Hardware color: - Chrome

White dot inlay
‘T RC330T to slip quickly anyway, so

those users who are serious
The RC330T is unashamedly
based on the traditional Strat that we all 4.5 about their trem use would
want to upgrade this
element as soon as possible.
know and love. It features the same bolt-
on, RC maple neck and rosewood fretboard STAR RATING That said, the Roadcore
as the RC365 but this time is paired RC 330T’s build quality
with a solid basswood body, available in is right up there with the RC365H’s, with
translucent Blackberry Sunburst and solid pretty much flawless construction and
Blue Sparkle and White finishes. finishing all round. Fretwork is superb,
The RC330T sports three Alnico single with the neck sporting the same medium
coil pickups and traditional five-way switch vintage frets, shape and gloss finish for user
and accompanying volume and two tone friendly playability and comfort. Unlike
controls. Also present is a vintage style six the RC365H, the RC330T features a more
screw, non-floating trem that looks great but comfortable contoured top edge and belly
is possibly the weakest element in the design. cut, that makes extended sessions with this
The arm is of the screw-in variety, utilising a guitar a more pleasant experience. Other
screw thread that is only suitably tight once than that, the body design is identical with
the arm is pointing out the back of the body the same white binding and physical shape,
away from the neck. It’s a common design matched with the oversized pick guard in
problem with this kind of trem and means pearloid or red tortoiseshell finishes.
you have to compromise between a bar Playability wise our sample RC330T wasn’t
that’s not tight enough and one that you can set up quite as well from the factory as the
actually use in the normal position. Once RC365H and thus was a little less optimised
you get it tight enough it has a tendency

for an easy playing experience.
Despite this it is obvious that this
guitar could play just as well as its
brother with a good professional
set-up and felt just as comfortable
and versatile with no tuning or
intonation issues to speak of and a
wide range of tones from the three
single coils. Once again, as we
always say, always negotiate a set-up
from your retailer when you buy a
new guitar and if you buy through
the post, get a local specialist to set
it up to your personal taste.
Moving on, the tones on offer were

all of great quality and, as with the
RC365H, the pickups sounded
and responded better than the price
point would lead you to think.
Certainly these elements won’t
need upgrading any time soon after
purchase for most users, which is
a great bonus for those looking
for a bargain. Tonally the guitar
is definitely in the vintage single
coil department, with clarity and
dynamics favoured over pure output
and grunt. If you’ve played a Strat,
you know exactly what you’re going
to get here and all of your favourite
Ibanez RC365H
sounds a well represented with full and thick

neck tones matched well with out of phase CONCLUSION:
style position two and four offerings and
gritty, cutting bridge tones that can be tamed Ibanez seems to be onto a winner with the
well with the tone control. As expected, Roadcore series, successfully combining
these pickups clean-up beautifully, retaining vintage styling with modern playability
high end and clarity throughout the volume whilst retaining an identity of their own.
controls range. Hardware is mostly better than the price
point would suggest and both guitars play
Ibanez has created a good Strat-style guitar and sound great. For those looking for a
here that has a unique design aesthetic and vintage styled, more unique guitar with
good playability. I was a little disappointed a well renowned name and good modern
with the tremolo system but this could be playability the Roadcore series is a superb
easily upgraded and would propel this from range to go with. Definitely worth checking
being a good guitar to a great one, especially out. •
after a good set-up.

CONCLUSION:
Ibanez seems to be onto a winner with the Roadcore series, successfully combining vintage
styling with modern playability whilst retaining an identity of their own. Hardware is mostly
better than the price point would suggest and both guitars play and sound great. For those
looking for a vintage styled, more unique guitar with a well renowned name and good modern
playability the Roadcore series is a superb range to go with. Definitely worth checking out. •
TECH SPEC
Ibanez Roadcore RC330T Bridge: - Std. tremolo bridge
MSRP £309 US $689.88 Neck pu: - Core Tone S (S) neck pu
Made in: Indonesia (Passive/Alnico)
Neck type: - RC Maple neck Middle pu: - Core Tone S (S) mid pu
(Passive/Alnico)
Body: - Basswood body
Bridge pu: - Core Tone S (S) bridge pu
Fretboard: - Rosewood fretboard w/ (Passive/Alnico)
White dot inlay
Hardware color: - Chrome
Fret: - Medium frets
Vox Mark III and Mark V Guitar

Back in the 1960s, Vox didn’t just make the amps that powered every British band from th
and basses, immortalised by Brian Jones and Bill Wyman from the Rolling Stones. Now th
magic still alive? Lewis Turner dons a Brian Jones wig, a badly fitting jacket and steps in
‘W
ith their the Phantom-style MARK V.
innovative body Additions include a tremolo arm
4.0
shapes, Vox’s that supports a variety of genres
Teardrop and Phantom guitars and performing styles and three
that appeared in the 1960s were single-coil pickups for an ample
dominant presences in the world variety of sounds. Each model
STAR RATING of unusually shaped guitars lets you choose from four colours
(even at time when weird was ranging from what you might call
normal! - Ed). Even today, many ‘pop hues’ to traditional sunburst.
PROS: musicians are still mesmerised by
these guitars and their perpetual But is there more to these guitars
Well made than just their unique looks?
popularity causes them to sell
for high prices on the used Both offer exactly the same spec,
Great tones available
market. The strong demand for the only difference being the
Unique stylingy reissued models saw limited run shape, so it’s really a case of which
production versions and then the shape do you prefer? And while
Vox Apache series of travel guitars I’m on the subject of shape, it’s
CONS: with built-in amplifiers, which worth establishing right from
added yet another quirky chapter the start that these guitars are
Body shape and both hard to play sitting down
colours a bit to the tale of these instruments
and then finally, in 2013, these without a strap! Of course, it’s the
“Marmite”... (love ‘em same deal with many uniquely
or hate ‘em) iconic models were reissued as
part of the revamped Vox line of shaped guitars on the market.
electric guitars. You may want something out
there and different, but you still
Vox currently offers these have to be able to play the thing
instantly recognisable, body comfortably! Fortunately, with
shapes in two versions: the a strap, these guitars offer no
Teardrop-style MARK III and problem, just a little heads up

rs
he Animals to the Zombies - it also had a line of quirky ‘teardrop’ and ‘phantom’ guitars
he Mk III and Mk V Vox guitars are back in production and very affordable. But is the
nto our time machine to find out.
on that point, as you will notice on the video I was caught short, as it were. Moving on from
that, how do they play, feel and sound?
Both guitars came very well set up, with easy action and no intonation or fret buzz issues.
The 22” scale length and neck shape made for easy playing, whether for lead or chord work.
The neck on both is hard maple with a rosewood fingerboard, all finished nicely with fairly
large frets making legato lines easy - and no sharp fret edges.
Vox Mark III Review
The bodies are made from basswood, cutting mids from the neck, plus just about
which tends to reduce the very high and everything in between.
very low frequencies leaving the mids more
pronounced, making a guitar ideal for lead How do they sound? Well, check out the
playing. video, first, of course, so that you can hear
for yourself. Personally, I’d say they do
The pickups comprise three single coil actually have a vintage sound about them
types wired in the usual way, using a five (whatever that is, but it’s the best way I
way selector switch, plus volume and two can describe it!), and I’m sure that was
tone controls. Many tones are possible from intentional as they are reissues of the ‘60s
these guitars, from the Country twang of guitars, after all.
the bridge pick up, through to Bluesy and

I found them ideal for the traditional Blues they will work just fine. Finish overall was
and Soul sounds in fact, with the Mark V top notch. The colour scheme won’t appeal
having more pronounced bass to my ears, to everyone, but there are plenty of choices.
probably due to the fact that the body is a
little larger than the Mark III’s. Sadly, it appears that these guitars are
currently only available outside of the USA,
A new feature on these reissued models is for some strange reason but fortunately
the addition of a tremolo bridge. A two buying one from a retailer in another
screw bridge rather than six (which will country isn’t the fraught process it once was,
leave some people muttering various things so if the desire is there, go for it!
about tone...) is used on both, and both have
been fitted with the bridge lying flat rather To sum-up: two fine playing and great
than floating, and wit three heavy springs sounding guitars from Vox. If you are in
installed. This you can obviously change to the market for something a little different,
suit your own playing style, or leave if you that will get people’s heads turning both
don’t tend to use the trem that much. That aesthetically and sonically, then you should
did make testing it an issue, as neither were go check them out. Just don’t forget a
really set-up for much abuse, but I’m sure strap...! •
with some tinkering and good adjustment

TECH SPEC
Blackstar ID:Core Programmable Made in: China
Combos Specifications - see text. Final details to
MSRP £347.99 US $ Unknown be confirmed.
REVIEWS_AMP REVIEW
Peavey ValveKing 50 combo

Peavey says it has turned its ValveKing range up a notch with the introduction of a new g
money. But how do they actually sound? And can they still lead the budget valve amp pa
‘P
eavey’s original, channel amplifier with both
award-winning, clean and lead channels, running
4.5
ValveKing line, two 6L6GC and three 12AX7
introduced back in 2006, was tubes. Each channel has its own
essentially designed to include independent EQ stages, featuring
all of the tonal characteristics Bass, Middle and Treble controls
STAR RATING and attention to detail of a high and, in addition, also features a
end, boutique amplifier but bright switch on the first channel,
priced well within the reach of offering a little more chime for
PROS: the average budget conscious your clean sounds.
musician. The Chinese-made
Plenty of innovative ValveKings certainly created The lead channel has a volume
features waves in the amp business forcing boost switch and an additional
All valve other manufacturers to follow gain boost switch, which are
Great sound suit, and now Peavey has upped controllable both from the
Fantastic value the ante with a new generation front of the amp itself and via a
of ValveKings. But do they footswitch. Sadly, the footswitch
CONS: still compete in today’s ultra- is not included with the amplifier.
The master section of the front
competitive market?
None panel consists of a reverb control
The all new ValveKing line and a damping control, which
consists of a 100 Watt head, 50 takes you from tight to loose, in
and 20 Watt 1x12 combos and effect enabling you to dial in or
a 20 Watt micro head. Under cut the presence and resonance
the spotlight for this review is simultaneously. ValveKing’s
the ValveKing 50 Watt combo, proprietary Vari-Class control
which we chose on the grounds also enables you to adjust the
that it’s likely to be representative ValveKing’s “class” characteristics,
of the new range as a whole. which allows for complete power
amp type versatility.
Essentially, the ValveKing 50
combo is a dual input, two

generation. With added features and expanded tones they look like great value for
ack? Rick Graham assesses the latest 50 Watt ValveKing Combo.
REVIEWS_AMP REVIEW
Another feature which I’m sure many could be a really ground-breaking new
guitarists out there will appreciate is the new introduction.
TSI tube-monitoring indicators that keep
you up to date on the health of your tubes. OK, time to fire it up! Starting out with
This is via a set of LEDs on the front panel the clean channel, the ValveKing produced
of the amplifier. some nice warm clean tones and a quick
flick of the bright switch enabled me to add
At the rear you’ll find some very useful a touch more sparkle to the cleans when
features indeed. There’s an attenuator that needed. A dab of reverb added more depth
reduces the output of the amp from 50 Watt to the clean hues but I found that too much
to a choice of 12 Watts or even 2 Watts, reverb drowned out the sound a little too
allowing you to get great tones out of the
amp at lower volumes. Yet more features
include the MSDI (Mic Simulated Direct
Interface) which allows for direct recording
via the XLR out. It also features a speaker
enable/disable control as well as a ground lift
switch.
As if that weren’t enough, you’ll also find a

USB out, for direct computer connectivity,
FX loop and footswitch connections allowing
for control of the Effects and reverb and also
the channel and boost controls.
You have to bear in mind that all these

highly impressive features are included in
an amplifier which sells at a budget price.
By the time we’d worked our way through
this impressive list, trying one facility after
another, we were starting to think that,
assuming Peavey had voiced it well, this

much for my taste, so I kept the reverb on very nice crunch tones for those dirty Rock
lower settings for a more subtle effect. A little rhythms, with good dynamic response and
tweaking with the Vari-Class control allowed great sustain. Pushing the gain a little further
for yet more variation in sounds. This was gave rise to some lovely saturated lead tones,
starting to sound very good - and always we perfect for long melodic solos or screaming
had that price tag in mind. Rock leads.
Although the clean channel was decent Be in no doubt that there’s an awful lot of
enough, the lead channel was where it was gain to be had on this channel, perhaps a
at for me. The ValveKing pushed out some little more than you or I would ever use, but
REVIEWS_AMP REVIEW
that’s no bad thing. Once we’d tested out range left off. In fact it takes the game to
the tone from the speaker, it was time to try a new level. The sheer amount of features
the MSDI. We went straight into our desk available, coupled with some of the great
and to be frank, the results were superb. tones it can easily deliver, make it pretty
It had a great tone which captured all of much unbeatable at this price. Peavey has
the characteristics of the nuances from the achieved what it set out to do with this new
ValveKing’s 12” speaker. range and you’d be stark raving mad not to
try this amp out for yourself.
The new ValveKing 50 does a superb job of It’s really excellent value for money! •
picking up where the previous ValveKing
Peavey ValveKing 50 combo

TECH SPEC
Peavey ValveKing 50 combo 50w, 12w and 2w power switch
MSRP: £669 US $799.99 TSI tube monitoring with LED pass/
Made in: China fail indicator lights
Two 6L6GC and three 12AX7 tubes 2 footswitch inputs. One controls
Channel & Boost. One controls
Separate EQ for each channel Reverb & Effects loop
Footswitchable gain/volume boost on Two independent footswitchable

lead channel channels
Reverb with level control USB direct recording output
Buffered effects loop Vari-Class variable Class A simulation

control
Damping control controls Presence
and Resonance at the same time Weight Unpacked: 40.59 lb(18.41 kg)
Patented Microphone Simulated Weight Packed: 50.62 lb(22.96 kg)

Direct Interface (MSDI) output with
ground lift and speaker mute switch Width Packed: 25.6”(65.024 cm)
2 speaker outputs with impedance Height Packed: 26.8”(68.072 cm)

switch for using an external cabinet Depth Packed: 15.1”(38.354 cm)
REVIEWS_AMP REVIEW
Marshall 1962HW
Like a handmade Saville Row suit or a Bentley, some products just exude ‘class’.
And as classy as they come is Marshall’s new handwired series, recreating some
of the world’s most iconic guitar amps - all handmade at the Marshall factory in
Milton Keynes, UK. We borrowed a 1962HW ‘Bluesbreaker’ combo. And then we
borrowed Michael Casswell to review it for us.
‘C
ertain guitar amps Now, Marshall has gone right
have taken on iconic back to its roots and attempted
4.5
status due to the to recreate the original 1962
music of the time and the players as closely as possible, as one of
that used them. Undoubtedly a series of handmade amps it’s
one of the most iconic of all calling the HW (handwired)
STAR RATING is the ‘Bluesbreaker’ 1962 series.
Marshall combo, which was the
nickname history gave the amp When you listen back to that
PROS: after it was used by a young ‘Beano’ album today, it certainly
is a great guitar sound. But we
Eric Clapton on John Mayall’s
Superb build quality eponymous Bluesbreakers album, have to remember that a lot of
Legendary tone released in 1966. This was the factors went into it. How it was
first combo Marshall made and miked, the type of mikes used
CONS: the combination of a Les Paul, on the session, the room, the
quality of components like the
Eric’s playing and the sound the
Just the price amp made when cranked up, valves Marshall used at the time,
was enough to single-handedly the speakers in the amp, that
launch the huge British Blues particular Les Paul and, of course,
boom of the ‘60s. But you know Eric Clapton’s touch - all these
all that right, because when factors played a part in creating
Eric plugged into that original those tones on that album.
Marshall combo nearly 50 years Interestingly, nobody knows for
ago, the combination rewrote sure which speakers were in the
the rule books (some say it more actual amp Eric used on that
or less invented the sound of the session, but on this modern re-
modern electric guitar - Ed). make Marshall has gone for a pair

of Celestion G12c Greenback drivers, which transformers (although Marshall has tried
sound great but are nowadays made in China to get as close as possible to the original
rather than Ipswich in Suffolk, so again will specs). All the workers who handmade those
be different to Celestions of the past. originals are gone, as are even the companies
that supplied Marshall with the other
In fact there will be many differences electronic components to make their amps.
between our modern re-make and those Back then, the same model of amp could
original ‘60s combos. Different quality sound very different to each other depending
of tubes, different tolerances, different
REVIEWS_AMP REVIEW
Marshall 1962HW
on who built it and which components were especially if you are a Clapton fan, as I have
used. And to that you need to remember always been. It certainly makes an impression
that Marshall was constantly refining and and makes its presence known visually. It’s
tweaking. loud too, especially for a combo rated at just
30 Watts. The sound is thrown backwards
I’m saying this not to try and out you off but as well as forwards due to the open back
to point out that if you are in the market for cab design and I generally prefer open back
the 1962HW, you have to realise that what cabs, which are less directional and fill a stage
you are buying can never be exactly same as much more than closed back types. This amp
the amp Eric used all those years ago - but it could easily handle any band situation you
can be close. As long as you get that, you can threw at it.
then approach this superb amp with a more
informed attitude. It has the traditional bright and normal
inputs and the sound gets closer and closer
Obviously, the look of this amp is totally to what we associate as the Bluesbreaker
iconic,

tone, the more you wind it up - especially both pre-amp and output valves together,
when using a Les Paul. This won’t be an which produces a fat bluesy roar, all very
amp you could easily use at home because it controllable from the volume pot on your
loves to be driven, and the neighbours will guitar (which is how things were done before
not be thanking you if you take the volume we had channel switching and pre-amp gain
pot much past 2! You could get the amp to stages). There is a very generous length of
break up at lower volumes with some kind cable for the footswitch which activates the
of boost or overdrive pedal that pushes the valve driven tremolo circuit which is also
front end, and like all tube Marshalls, this a very musical sound with adjustment for
amp reacts with pedals brilliantly but, again, speed and intensity, not easily reproduced by
if authenticity is your goal, that isn’t how the your average stomp box. Rather than me try
amp was originally used. to convey the fabulous sound it produces,
just click on the video - it’s worth a thousand
Output valves are KT66 which give a chime words!
and depth to the tone when you roll back
your guitar volume, whilst four ECC83 pre- The Marshall ‘Hand Wired’ series amps are
amp valves give you the grit and breakup. as close to those iconic originals as Marshall
As you turn the amp up to stage volumes can get in 2014, and these modern day
you will then be getting breakup from versions would probably be more efficient,
REVIEWS_AMP REVIEW
more consistent and quieter than the These are labour intensive amps to build,
originals would have been back in 1966. and that is reflected in the cost. But what you
get won’t break down and will be covered by
There will always be absolute purists out Marshall’s second to none after sales service. I
there that would prefer to handbuild their am lucky enough to have played through one
own versions of the originals, sourcing of the originals that’s kept in the Marshall
original military grade transformers and factory museum, and to be totally honest,
‘new old stock’ parts, but Marshall built this remake sounded noticeably better. I
the originals and have faithfully recreated would also be embarrassed to tell you how
beautifully what these amps were about and many Marshall amps I own, and now I want
they deserve our thanks and congratulations another one! •
for doing so.

TECH SPEC
Marshall 1962HW Speakers: 2 x 12” Celestion G12-C
MSRP £2,430 US $5,800 Effects: Tremolo (valve driven)
Made in: handmade in England EQ Treble, Middle, Bass, Presence
Technology: valve/tube Preamp valves 4 x ECC83/12AX7
Channels: 2 Power amp valves 2 x KT66, 1 x
Power: 30 Watts GZ34 rectifier
REVIEWS_AMP REVIEW
Orange Dual Dark 50

Brand new at NAMM 2014, Orange’s Dual Dark promises new levels of sonic over-
kill. But are we talking a Hammer films classic or a bad night with the Teletub-
bies? Rick Graham snaps in his plastic fangs and adopts a menacing pose...
‘H
ot on the heels Watt version, though most of
of the hugely the features are shared, so my
4.5
successful Dark comments will apply equally to
Terror series comes this brand both.
new amplifier from Orange
Amplification. We are, of course, The Dual Dark has a layout
talking about the new Dual Dark. very similar to that of the
STAR RATING Thunderverb, so users of that
Unveiled at this year’s NAMM
show, this new breed of Orange amp will feel comfortable right
PROS: amplifiers is not a repackaged from the start. This amp features
two channels marked channel
version of the Dark Terror series,
Stunningly good it offers new features, which take A and Channel B. Channel A is
it into deeper, darker territories. a completely new voicing never
Stunningly good before used on any of Orange’s
price, too! This new amplifier offers two
channels, one of which is a amps. It features a three band EQ
completely new voicing, and also stage of Bass, Middle and Treble
CONS: offers attenuation, which varies as well as a Gain control and an
Attenuator control.
depending on the model of the
None at all head. Channel B comes straight from
These new amps also offer the previous Dark Terror and
the highest amount of gain features a shape control for
available in any of Orange’s line tone shaping. Both of these
of products, which is saying channels feature four stages of
something! Let’s take a closer gain. The amp also features an
look. onboard attenuator which can
be controlled via a footswitch.
The Dual Dark comes in two Combining that with the
versions: a 50 Watt head and a attenuator control makes for a
100 Watt head. For our review, useful and versatile live set-up.
Orange supplied us with the 50 The amp’s output can be halved

via a toggle switch on the front of the amp, the outset that this was my kind of amp.
which essentially shifts the output tubes Immediately, I could feel how responsive it
from Class B to class A mode, which gives a was to my playing - the amp almost felt alive!
different response as well as power level. The
100 Watt head version, incidentally, gives The EQ on this channel delivered some
you the ability to between 100, 70, 50 or surprises, offering what sounded to me like
30 Watt output. The Dual Dark 50 comes a much wider frequency response than any
fitted as standard with EL34s in the output other Orange amps I’ve tried, providing a
stage and each tube has its own 12 turn bias lot more in the way of tone shaping options.
pot making it usable with various different Dialling in a touch of gain produced some
25 Watt tubes. The head also features a valve stunning crunch tones, again retaining that
driven FX Loop. impressive responsiveness. Pushing the gain
even more gave rise to superb lead tones.
Finally we get to the fun part - how it Even though this channel is a completely
sounds! Starting off with some clean settings new voicing for Orange, to me it still felt like
on the A channel, I could tell right from an Orange through and through, so gaining
REVIEWS_AMP REVIEW
Orange Dual Dark 50
that flexibility hasn’t come at the expense of I could have easily played on this amp for
the traditional Orange ‘feel’. hours, just enjoying that combination of
superb tone and responsiveness.
Moving on to channel B, again the clean
tones sounded excellent, albeit a little The Dual Dark is quite simply a stunning
different than channel A’s, which of course amplifier. It’s a versatile beast too, with
is a good thing. This channel is capable of a wide variety of tones on tap, useful
some truly stunning tones particularly on attenuation features and two different
higher gain settings. The heavily saturated sounding channels that complement
lead tones that this amp is capable of pushing each other perfectly. The clean tones are
out are nothing short of inspiring. impeccable, as are the crunch sounds and
the lead tones are simply stunning and that’s
Again, the level of responsiveness is not to mention the incredible dynamic
phenomenal, whether using a clean tone or responsiveness.
full on gain.

I don’t believe that the ‘perfect’ amp exists but the Dual Dark comes frighteningly close.
Amazing stuff!
As for our rating, giving the Dark Terror the magic extra half star that we reserve for special
value may seem strange on a $3,000 amp but what you have to do is compare this new
Orange with ‘boutique’ amps which often cost a great deal more. Is it in that class? Yes, it is -
and that’s what makes it great value for money. •
TECH SPEC
Providence Red Rock Overdrive Valves Preamp: 5 x Ecc83/12ax7
MSRP : £1,479 US $3,199
Effects Loop: 1 X Ecc81/12at7
Made in: UK
Poweramp: 2 X EL34/6CA7
Features: Twin Channel.
Footswitchable Channel and Unboxed Dimensions
Attenuator. Effects loop. H (cm) 27.0 H (in) 10.6
Controls: Attenuator, Channel A: W (cm) 55.0 W (in) 21.7
Volume, Treble, Middle, Bass, Gain,
Channel B: Volume, Shape, Gain. D (cm) 28.0 D (in) 11.0
Output Power: 50 Watts, switchable to Unboxed Weight 21.0 Kg 46.3 lb
25 Watts
REVIEWS_COMBO REVIEW
Chord CVH-40 Combo

Looking for the ideal amp for a beginner? Want something a bit better than a basic solid
beginner’s products that offer a lot more for your money. Lewis Turner checks out an u
‘S
tarter amps are one of the others don’t and how does it
the harder things to perform?
4.5
get right. They need to
appeal to a specific demographic, The unique selling point of
be affordable, robust, and offer the CVH-40 is the hybrid bit,
a variety of sounds. Consumers which means it is part valve/
today are far more clued up tube and part solid state. When
STAR RATING you look at the price, that makes
about what equals “good tone”
and value for money than they this an immediately attractive
PROS: once were and there is a lot more proposition. Valve amps don’t
usually come this cheap, simply
choice on the market, especially
Hybrid technology since the major brands took their because they cost so much more
offers great tone design and voicing expertise to to make.
Loaded with many Asia to take advantage of cheaper The CVH-40 combo offers
features you wouldn’t manufacturing costs. separate footswitchable Normal
expect at this price Chord is a company that prides and Drive channels, three-band
itself on offering well made, EQ per channel, effects loop and
Fantastic value for spring reverb. A 12AX7HG valve
money affordable equipment right across
the range, including amps, pedals drives the pre-amp, through a
and guitars. We’ve reviewed a solid state power section, offering
CONS: fair few of Chord’s products and a high gain lead channel with
contour control. The overall
they’ve received good star ratings
Speaker could be every time. But this time Chord layout of the amp is clear and
better has taken on the big names in straightforward to use.
the amp business, nearly all of In use, the clean channel offered
Footswitch not
which now offer small combos warm, deep tones, albeit slightly
included
packed with extras that in the boxy sounding. This is probably
past would only have been seen due to the use of a basic 10”
on their higher priced models. So speaker, which could easily be up-
what does this combo offer that

state ‘box with knobs on’? This is territory that Chord is fighting to make its own -
unusual hybrid amp with a few surprises up its sleeve.
REVIEWS_COMBO REVIEW
Chord CVH-40 Combo
graded at a later date if you wanted, though but it’s really annoying when you fork out a
it’s perfectly good enough to start off with. fair bit of cash for a new amp and it would
Just two tone EQs on the clean side, Bass be nice to have the footswitch included. Rant
and Treble, plus a channel volume control, over! The OD Channel also only contains
it would have been nice to have a Middle bass and treble tone EQs but has a contour
control but it’s not essential. dial that helps to shape the sound of the
distortion, from crunchy through to fully
The drive channel is switchable by a small scooped and saturated.
button in between the two channels, or by
a footswitch. While I’m on the subject of The Gain control also offers plenty of
footswitches for amps, it seems to be an ever headroom, in fact it’s very gainy, even below
increasing trend not to supply the footswitch 12 o’clock, making the OD channel on
with the amp, making you have to buy it this amp more suited to hard Rock and
separately. It’s clear why manufacturers do it, Metal. The distorted tone from this amp

was very impressive, in fact - not muddy in Chord has plunged into a very competitive
any setting, remaining crisp throughout the market and yet has come up with a great
gain and contour range. A separate volume little amp that goes above and beyond what
control also on the OD side of the amp is expected at this price range. The hybrid
means you can set the two channels to the technology makes the amp perform and feel
specific volume you require, so you won’t see like a more expensive product than it is and
a massive increase or dip when you switch there are plenty of tones available, no matter
from one to the other. The Chord also what style you play. The speaker isn’t the best
comes loaded with a spring reverb offering quality and it’s annoying that the footswitch
everything from subtle hall sounds through isn’t included, but all that can be forgiven as
to full-on empty cathedral! the rest of the package is top notch.
Other features that you may not expect to If you are looking for a starter amp or maybe
see on an amp in this price range include; an a small decent practice amp, you should
effects loop, auxiliary input so you can jam definitely put the Chord CVH-40 firmly in
along to your favourite backing tracks, and your sights. Don’t be put off just because this
the all-important headphone output. The amp doesn’t come from a big brand. Check it
overall finish and built quality seemed very out and compare it against the competition.
good, the styling is a little un-inspirational You might be surprised just how good it is. •
but that’s not what this amp is about.
TECH SPEC
Providence Red Rock Overdrive Controls: Drive channel Gain,
MSRP £189.99 US $N/A bass, treble, contour, volume
Controls: Master Reverb
Made in: China Speaker 10” vintage voiced
Type: valve hybrid guitar Output power 40Wrms
amplifier, 10” 40W Dimensions 405 x 375 x 210mm
Output connections Headphones Weight 10.1kg
Controls: Clean channel
Bass, treble, volume
REVIEWS_AMP REVIEW
Randall RG13 Pedal Amp

Is it a bird? Is it a plane? No, it’s something potentially a lot more useful (to guitarists) -
‘Y
our Metal band is Now let’s imagine you have the
about to embark on a same scenario but rather than
4.0
self-funded two week trusting a dodgy promoter’s word,
tour. First stop a city hundreds of you pack a small compact board
miles away. You pile everything specifically designed for good
and everyone into your mate’s Rock and Metal tones that is
STAR RATING Ford Fiesta, leaving no room for also an amp, and can be plugged
your 100 watt head and 4x12 straight into a PA. “Is there such
cab. That’s OK, though as you’ve a thing?” I hear you cry. I’m
PROS: been told by the promoter that pleased to report there is and it’s
the venue has a top notch back called the Randall RG13.
Powerful and can line that you can use. Ten hours
be used in various later and many a service station Is it Pedal? Is it an Amp? Well
situations sandwich in your belly, you arrive it’s both! The RG13 is a three
at venue number one, first things Channel, 1 Watt high gain FET
Great distorted tones solid state guitar floor-pedal/
available first: time to check out that back
line. The promoter points you in amplifier with switchable FX
Great additional the direction of a dingy little back loop. Channel one is clean with
features such as loop- room, and there in the corner is a Bright and Bass boost option.
boost and Mid shift an old Fender Twin. Perfect for a Channel two is crunch, and
functions Jazz gig, but certainly no use for Channel three is full-on gain.
you and your face-melting riffs Each channel has its own separate
and pinch harmonics of doom. Gain and volume controls, which
CONS: It’s also around this time that said is essential for this kind of set-up.
You can then also adjust the Bass,
promoter tells you that the OD
Will probably only Middle, Treble, Presence and
channel doesn’t work, and the
appeal to quite a Master Volume for the overall
band on before you is a local Folk
specific market output. There is also a Mid Scoop
duo performing traditional songs
to a local audience. button that is ideal to give you
that nice smooth scooped lead
With no pedals on you, you just sound that works well with a
have to grin and bear it, wanting saturated tone.
the ground to swallow you up!

it’s an FX pedal and an amp combined. Lewis Turner checks out the Randall RG13.
One of the most interesting features on button it will isolate what you have in the
this board is the Loop Boost button. This effects loop - handy if you are running extra
has three different functions depending on effects such as chorus and delay alongside
where you have the switch on the back of the this pedal. It can also work as a boost switch
board set. The RG13 has an effects send and to give you more volume and gain on any
return, so on the loop setting if you press the of the three channels, you can adjust the
REVIEWS_AMP REVIEW
Randall RG13 Pedal Amp
gain level of the boost with the Loop-Boost It achieves that in spades, both overdrive
gain control knob. Finally it can be used channels offer plenty of gain headroom
as a mute button, handy if you have to from bluesy crunch through to full on dirt,
make guitar changes or are running a tuner and everything in between. The distortion
through the FX loop for silent tuning. never gets muddy or loses definition even
at high gain levels, the addition of the Mid
So undoubtedly this is a handy unit to have, Scoop button is a welcome addition for extra
but how does it sound? You can make your smooth lead tones. The clean channel was
own judgement by checking out the video, also very pleasing to the ears, with plenty of
where we just ran the pedal straight into the depth and clarity, which can be missing from
studio PA with a completely dry signal. The solid state set-ups. The Boost pedal option
pedal is marketed and styled as a Rock/Metal also worked well with the clean channel
pedal to give you a decent distorted tone in to give you a little more rhythm crunch
the absence of a good amp or pedal selection. and volume. At only 1 Watt, it still seemed

plenty powerful enough, and will be fine can see is that it’s fairly limited, just clean
with most of the PAs that you tend to find and overdrive sounds, you can get other
in smaller venues, or run through an amp pedalboards with much more on them.
cabinet. Other features include external 9v However, they don’t offer the power, can’t
pedal power jack, 1/8 Stereo Media input, really be thought of as an “amp”, and most
Headphone output, Speaker emulated XLR don’t offer the quality of overdrive that the
direct output with ground lift and external RG13 does. It’s only going to appeal to a
RGA-13 Power Supply. very specific market, but those that require a
set-up like this would be hard pushed to find
A great unit then, ideal for the scenario I a better alternative! •
outlined at the start. The only problem I
TECH SPEC
Randall RG13 Pedal Amp Channels 3
MSRP £175 US $374.99
Speaker n/a
Made in: Unknown
Impedance Minimum 8Ω
3 Channel, 1 watt High Gain FET
Solid State Guitar Floor-Pedal/ FX/GATE/REVERB External FX
Amplifier with Switchable FX Loop, power & loop
Volume Boost function, external 9v FOOTSWITCH 3 channels and
pedal power jack, 1/8 Stereo Media Loop/Boost (Onboard)
input, Headphone output,Speaker
emulated XLR direct output with Dimensions (LxWxH in mm)
ground lift and external RGA-13 270x175x59
Power Supply included
Weight (kg) 1,7
Specifications :
Weight (lbs) 3,8
Wattage / Power 1 Watt @ 8Ω
REVIEWS_PEDAL REVIEW
Korg Pandora Stomp Box

Korg’s Pandora multi-effects stomp box is all about options. But can an all-in-one
stompbox really replace a string of pedals? Lewis Turner finds out.
‘T
he first-generation the AUX input, which provides a
Pandora, which +/-1 octave pitch shift function.
4.0
appeared in 1995, The freely downloadable PC
was a revolutionary product editor/librarian makes it easy to
that packed an amazing amount create and manage sounds.
of functionality into a unit the
size of a cassette tape (“what’s Clearly things have changed since
STAR RATING 1995 and there is now a vast array
a cassette tape?” our younger
readers may be thinking right of multi-effects units that can do
PROS: now). Subsequently, Korg had many many things, and sound far
better than the early types did,
added its “REMS” modelling
Large array of sounds technology as well as enhanced back in the day. Korg has moved
and presets rhythm functionality. Now, this, and evolved with the times
the latest incarnation of the and it’s impressive to see the
Small footprint amount of technology that can
Pandora series, is offered as a
Portable stomp-box type unit. be squeezed into one small stomp
box today. The company has
Loaded with additional Although it looks like a compact seen an opening in the market
features effects unit in a die-cast box, the for smaller, more portable multi-
Pandora is actually a multi-effects effect units, much like DigiTech,
Well made unit that contains 158 types of which has gone down a similar
modelling effects; seven of which route, but Korg has gone a step
CONS: you can use simultaneously. Two
hundred preset programs include
further on the footprint scale:
in fact you could quite easily fit
Not a replacement many well-known signature the Pandora onto an existing
for larger multi-effect sounds as well as 100 rhythm pedalboard that had space for just
units patterns that cover a diverse range one more pedal, with no issues.
of styles. There’s also an auto And if you did, you’d instantly
Clean tones are a tuner with an eye-catching LED have hundreds of new sounds
little thin meter that’s easy to read. You under your foot! Alternatively,
can also enjoy jam sessions by if you are looking for something
connecting your MP3 player to portable that you can just throw

Korg Pandora Stomp Box
into your gig bag then this also ticks that the main button for a couple of seconds. It
box, too. Need something small at home to comes loaded with 200 presets that include
practice with? This could be the very thing. numerous stage-ready song pre-set programs,
So many possibilities from one small piece of such as “Purple Haze” and “Message in a
die cast metal! So how is it in use? Bottle”. These were great and varied and
presets such as Purple Haze did a good job
The Pandora is actually very user friendly. of replicating the famous tones. Even better,
I didn’t have to go on a three day course you can edit any of them. For example if you
or download an operating manual in PDF like the Message in a Bottle sound but didn’t
onto a separate hard drive to get it working. want the chorus, then simply go into edit
The layout is very intuitive and does mode and take it off. You can then save it
exactly what you would expect. The tuner to a patch on a bank and you can have four
is bright and clear, and you can either use it presets per bank. If you don’t much care for
in bypass mode or silent by holding down any of the pre-loaded sounds, then you can

start completely from scratch and create your this pedal include the 100 rhythm patterns
own. With 158 different types of amps and including a metronome, ideal for jam
effects there should be enough there for even sessions and training, and an AUX input for
the most hardened tone junky! connecting your MP3 player, enabling you
to jam along with your favourite tunes - nice
Overall, the Pandora’s sounds are good. As touches for an already packed pedal!
I often find with these kind of units, the
distortion and crazy sounds tend to be better The multi-function foot switch can also be
than the standard clean tones. I feel the same used to switch program memories, just like
applies to this stomp box. The cleans lack with a single effects unit, and four program
the warmth and depth that you may be used memory buttons allow one-touch recall. A
to from valve amps, but are still perfectly DC9V power supply allows easy integration
usable. A couple of other great features on with your pedal board; the unit will also

operate on USB bus power for hassle-free the larger multi-effects units, as its missing
integration with your computer, while things like an expression pedal, but I don’t
sound editor software lets you create sounds think it’s aimed at that market. The Pandora
and manage programs (download from the would be a nice add-on to a board and
Korg website). Finally it’s available in three would be ideal for the various solo situations
colours: cool black, as well as chic ivory and I outlined earlier. It’s small, portable, and
pop orange. robust with more sounds and features than
you can shake a stick at and it’s well priced,
The Pandora certainly offers a lot of things too. Korg have proved to me that good
crammed into a single small box! I’m not things really do come in small packages. •
sure it would be a replacement for one of
TECH SPEC
Korg Pandora Stomp Box Number of Rhythm patterns: 100
MSRP £143.99 US $179.99
Tempo: BPM = 40 - 240
Made in: China
Power supply:
Casing: Die cast metal
9 V Battery (6LR61) x 1, USB bus
Number of Effects: 158 types power supply, or optional AC adapter
(Maximum number of effects available
simultaneously: 7) Battery life: Approx. 5 hours (6LR61:
Alkaline battery)
Number of Programs: User: 200,
Preset: 200 Dimensions (W x D x H): 70 x 123
x 48 mm / 2.76 x 4.84 x 1.89 inches
Audio Input: Guitar/Bass INPUT (including protrusions)
(1/4” jack), AUX (mini stereo jack)
Weight: 511 g / 1.13 lbs. (including
Audio Output: Line OUTPUT (1/4” battery)
jack), PHONES (mini stereo jack)
Color Variations: Black (PX-ST), Ivory
Tuner Section: Detection range: 27.5 (PX-ST-IV)*, Orange (PX-ST-OR)*
Hz - 2,093 Hz (A0 - C7)
*Ivory and orange are a limited
Calibration: A = 438 Hz - 445 Hz edition.
Mad Professor Royal Blue Overdrive

Finland’s Mad Professor has been around since 2002, winning quite a reputation among p
professor Sam Bell (PhD in shred and guitars with too many strings) for a considered an
‘M
ad Professor may They don’t say ‘we don’t
be a new name to understand why because the PCB
4.0
some of our readers versions are just as good...’ but
as the Finnish company, though you do kind of get that feeling.
it has been around since 2002,
is still quite small and tends to So, take a high build quality as
be classified in the ‘boutique’ read. These are sturdy, metal clad
STAR RATING pedals working from 9v batteries
market. Fortunately, considering
GI has such an international or via a step-down transformer.
PROS: readership, Mad Professor has Everything worked exactly on our
sample, just as it should on such a
distributors just about everywhere
Versatile (its products are widely available professional class pedal.
Transparent Tone in the USA) and it also sells Let’s jump right in at the deep
direct on the web. end and say that Mad Professor’s
Great overdrive sounds Royal Blue Overdrive is a
The company offers two ranges
Solid construction of pedals - handwired and very transparent and dynamic
‘factory’ made. That latter term performer. It features four highly
doesn’t really do them justice, we interactive controls: Volume,
CONS: feel. The less expensive versions Drive, Treble and Bass and
though it works much like a
are ‘factory made’ in the sense
Quality costs money! regular overdrive pedal, the way
that they use PCBs inside, but
they are still bolted together the drive control responds is more
in Finland, in the same facility akin to a distortion pedal in that
and by the same people as the it can vastly change the tone of
far more expensive handwired the pick attack. With the drive in
examples. With refreshing extreme settings, the pick attack
honestly, the Mad Professor starts to sound squished and
guys say that they had intended aggressive when picking hard,
to stop making the handwired while at lower settings the pick
versions, but the demand was attack becomes more articulate
there, so they kept going. and clear. The bass and treble
controls can be used as a neat way

pro players. We borrowed a Royal Blue overdrive and gave it to GI’s very own mad
nd learned opinion. Instead, he wrote us this review (only joking, Sam).
Mad Professor Royal Blue Overdrive
of cutting high and low end, or they can be driven amp creating a slightly different feel
used together as a mid cut or boost. and tone than if you were to overdrive an
amp without a pedal, using its own controls.
With the treble and bass on full, you can get Pushing the front end of an amp seems to
a mid boost which delivers a thicker, soaring tighten and slightly compress the tone, whilst
sound very akin to a classic Tubescreamer, giving more overdrive and sustain. This is
or you can cut the mid by turning the treble a common trick used by players from the
and bass controls to zero, which delivers a bluesy Stevie Ray Vaughan to the super metal
very nasal, Brian May-esque tone. guitarists in Meshuggah.
One of the classic ways an overdrive is What this means is that having an overdrive
utilised is as a boost to push the front end of pedal in your signal chain is a great way
a lightly driven amp. The level control on the to achieve a whole world of versatile tones
Royal Blue tailors the overall output of the and the Mad Professor Royal Blue does
pedal, so turning this control to full with the just that, without colouring your original
drive backed off, you can overdrive a lightly

tone too much. In fact the pedal is not is that the pedal at first appeared very subtle
putting anything ‘onto’ your sound - it’s in its tonal changes whilst sweeping through
emphasising what is already there in the the controls, but it changed the overall sound
amp and the guitar you are using. If you of what was going into the amp, which made
have a spanky sounding Strat style guitar the amp controls more responsive than usual.
with single coils, you will get a fantastic This means that in many ways the pedal was
glassy, saturated overdrive tone at extreme giving me a way of shaping my tone before
settings. If you have a Les Paul style guitar the signal reached the amp. Then, using the
with humbuckers, you’ll get a thick creamy amp controls,
burning tone. If you have an 8-string guitar, I could re-emphasise what the guitar and
you’ll be able to tighten the low end of that pedal have put in.
instrument making it fit in the mix better
and sound heavy and aggressive with a clean The Royal Blue might not be as aggressive
cut articulate tone. as some overdrive pedals on the market,
but you certainly get a lot of versatility
In the video demo for the Royal Blue and quality in one neat box. I can highly
overdrive I test out a few different sounds. recommend this pedal to a guitarist looking
For the most part, I’m using a modern all- for a well made, broad range, versatile
valve amp with very little gain and all of the overdrive pedal. •
EQs set to mid way. One thing I did notice
TECH SPEC
Mad Professor Royal Blue Overdrive transformer
MSRP £149 US $229
Controls:
Made in: Finland
VOLUME, DISTORTION,
Casing: metal TREBLE, BASS.
Power: 9v battery or mains via
Maxon Analog Delay, ASC Chorus an

Maxon may not be the best known name in stomp boxes - but the company has one of th
those in the know, a fine reputation. Ever wondered who designed the original Tube Scre
to grips with three of their latest Compact Series pedals
‘M
axon has been Pan, and the popular SoundTank
PROS: in the pedal series.
business since
Well made not long after pedals first started Over the years the companies did
to appear - and that’s a long less and less business together,
Great Tones until the only Ibanez unit being
time! Nisshin Onpa Company
True bypass (the company that trades under built by Maxon was the TS-9
the Maxon name) is an audio Reissue. In early 2002 Maxon
Smaller foot print electronics manufacturer that ceased manufacture of the TS-9
has been in business since the Reissue for Ibanez and began
mid-1960s. In the early 1970s marketing several of the original
CONS: they developed a line of compact Nine Series models under its own
guitar effect units and marketed Maxon brand name. Quite a
Limited controls for
them in Japan (these models history, and no surprise that you
dialling in specific
are currently available as the find many guitarists owning an
sounds
Maxon Reissue Series) and they array of Maxon pedals!
Styling may not were soon noticed by the giant In this review I’m looking at
be to everyone’s taste Hoshino Trading Company (aka three pedals on offer from
Ibanez) who licensed the designs Maxon: the AD10 Analog Delay,
Upper price range from Maxon for distribution ASC Chorus and Duel Booster.
around the globe under the All three come as part of Maxon’s
Ibanez brand name. From that new Compact series, all are
time up until early 2002, Maxon made from sturdy materials, the
was responsible for the design controls felt solid and smooth.
and manufacture of many Ibanez the standard protocol of 9v
products, including the legendary battery or power supply applies
TS808 and TS-9 Tubescreamers, across the three, and all are true
the rare and collectible Flying bypass.

nd Dual Booster Pedals
he most interesting histories and, to
eamer? It was Maxon. Lewis Turner gets
Maxon Analog Delay, ASC Chorus and Dual Booster Pedals
MAXON AD10 ANALOG DELAY

4.5 The AD10 delivers up to
600 milliseconds of 100%
equally well in the front end or the FX loop
of an amp. I would normally run a delay
pure analog (or ‘analogue’ pedal through an FX loop, but in our video
STAR RATING as we call it in the UK!), review it was running through the front of
organic delay that doesn’t the amp, and with other pedals in the chain,
get in the way of your handling it all well and sounding top notch.
original guitar tone. Delay repeats are tuned
with a subtle, yet distinct, distortion and This pedal excels at the runaway feedback
none of the high-frequency whistle associated self-oscillation that everyone now expects
with over-clocking of the delay circuit. The from an analogue delay and features a low-
AD10’s minimalist control interface makes it impedance buffered bypass, allowing it to
easy to dial in a variety of usable delay effects drive long cable lengths or other effect units
including double-tracking, faux reverb, without loss of signal. Its looks and styling
tight rhythm slapbacks, and longer delays may not be to everyone’s taste, but just close
for solos. Just three knobs do it all; Delay, your eyes and let your ears guide you! A great
Repeat and Blend. It’s claimed to work musical pedal.

MAXON ASC10 AMBI-

4.0 ENT STEREO CHORUS
Once again, simple controls
are at the heart of this pedal
STAR RATING with just Rate and Depth
knobs to deal with. A handy
LED flashes to show you
the speed you have the chorus set at. As with
the delay pedal, the ASC10 features a low-
impedance buffered bypass and is at home in
front, or in the effects loop of an amp. The
extended operation range of the Rate and
Depth controls conjures up everything from
gorgeous 12-string simulations to punch-
drunk rotary speaker spins. Dual, phase-
inverted outputs allow for panning of the
ASC10’s effect between two amps or tracks,
or run mono from output B for a more
dramatic chorus effect, allowing you to run
this pedal in a stereo or mono set-up.
The ASC10’s chorusing effect is set especially

wide in the stereo spectrum, offering a lush
tonality that actually sounds like two guitars
playing at once. I personally prefer a few
more options on my chorus pedals, such as
tone and FX level. However, great sounds
were achievable with the simple set up on
the ASC10, and makes it a much more user
friendly “plug in a play” pedal.
MAXON DB10 DUEL BOOSTER

Too many boost pedals on your board? Looking to save a little space? Then this could be
the pedal for you! A unique concept in booster design, the DB10 features two completely
independent boost circuits in a single compact housing. The Clean (left) channel offers up to
+20 dB of clean boost with a completely flat frequency response. It works well as a little boost
to your rhythm playing or for a little extra punch to lead lines.

The Vintage (right) channel is Maxon’s take The Maxon DB10 is very transparent, clear,
on the classic Treble Booster circuit. It offers crisp pedal that responds well to the player’s
up to +20 dB of boost, but with a subtle dynamics. You need to run a fairly complex
high-frequency roll-off that increases as the cable system to make it work, but no more
Level is turned towards maximum. This is than you would for two pedals. Will it do
a great sounding boost ideal for bluesy lines everything and more than your current two
with a tone that cuts through without taking pedal set up? Well you will have to go try one
your head off. You can also have both on out and make that difficult decision!
together and in my opinion this achieved
the best tone. Cutting through nicely and These Maxons were three great pedals on
allowing you to achieve subtle boost to a offer from a legendary company. There’s
more saturated lead sound. Each circuit has nothing really ground breaking here,
its own input and output jacks, allowing although the Duel Booster is a new concept,
them to be cascaded into one another in but if you’re in the market for great sounding
any order. Place an overdrive or distortion high quality, professional pedals, or an up-
in-between the channels for additional grade, then defiantly give these a try! •
tonal options – super-saturated overdrive Our thanks to Godlyke Inc. for the loan of
that can then be level-boosted for solos, etc. these samples: www.godlyke.com
Independent status LED’s indicate which
channel is engaged and both channels feature
True Bypass Switching using a 3PDT switch.

TECH SPEC
AD 10
MSRP £ N/A (Thomann c. £175) US $ 249 (street)
100% Analog Delay with 600mS delay time

Gorgeous, Warm, organic delay tone
Special filtering on repeats to reduce distortion
Capable of Self-oscillation effects
Works in FX loop or front-end of amp
Buffered Bypass Switching
ASC 10
£ N/A (Thomann c. £172) US $229 (street)
Classic analog chorus circuit
Wide stereo split sounds like 2 guitars playing at once
Rate and Depth controls with extended operation range
Stereo outputs
Buffered Bypass switching with low impedance output
DB 10
£ N/A (Thomann c. £159) US $199 (street)
Two independent Boost circuits in one compact chassis
Clean channel offers +20 dB of boost with flat frequency response
Vintage channel offers +20 dB of boost with high-end roll off
Separate input/output jacks for each channel
Cascade channels or place a pedal in between them
True Bypass Switching x 2
REVIEWS_WIRELESS SYSTEM REVIEW
Audio-Technica System 10 ATW 1101

Still leaping around stages with your guitar connected by a lead? Audio-Technica
has a wireless system it thinks it can tempt you with. Lewis Turner checks out.
‘S
o you feel your stage www.iguitarmag.com - Ed). This it t
3.3/4 performance is a little

lacklustre, you want to
have more of a Flea type presence
time, it’s the turn of Japanese
audio giant, Audio-Technica,
whose ATW 1101 goes under out
wh
fro
the
on stage, but last time you tried spotlight. This system comes with wa
STAR RATING jumping around like a madman the receiver and channel belt pack. so
you pulled out your lead/pulled However, rather curiously, ours I’m
your amp over/took out the singer did not come with the cable that wo
PROS: with your lengthy cable/tripped runs from from the belt pack to dis
Easy to set up over your own lead, delete as an instrument, which is annoying lik
appropriate. Maybe it’s time you as it’s not a standard cable you ma
Excellent quality invested in a wireless system then? are likely to have lying around cou
sound the house. This, we feel, is a flaw sys
Wireless systems are nothing new, in Audio-Technica’s offering as cam
Long distance coverage
having been all the rage when they cables easily get lost, damaged and bu
No interference issuesn first came out. But the early ones stolen. Anyway, the correct cable an
were expensive, unreliable and was sourced - time to take it for a qu
some players swore they ruined test. app
CONS: your tone, leaving many bands As a system the ATW 1101 was so po
going back to good old cables. simple to set up. Just it in put the sig
Didn’t come with the Those days have now gone, and batteries in, turn it on and away op
(non-standard) cable the latest wireless systems are you go! There’s no fiddling around ran
to connect to your far more affordable, reliable and trying to match channels or get fre
guitar..! harder to tell from a cable in a the two parts talking to each an
straight A/B test. other, just plug in and go, now qu
There are many on the market that’s my kind of technology! be
today and over the past few years, fre
GI has looked at several of the I took my guitar for a walk round So
available alternatives (and you the studio and office building to wir
can check out the reviews via our see how far I could get before the str
website - signal started to break up. I made fly

1 Digital Wireless System
to the end of the store room

hich is around 150 metres
om the studio. This involved
e signal going through thick
alls and sound proof doors,
that’s pretty impressive and
m sure on an open stage you
ould get a great deal more
stance from it. I would also
ke to add that we are running
any things in the studio that
uld interfere with a wireless
stem. Various Wi-Fis, lights,
meras, computers, PAs etc.,
ut at no point was there
ny interference. The sound
uality seemed good and didn’t
pear to change until the
oint of actually losing the
gnal. It’s an all digital 24-bit
peration, and in the 24 GHZ
nge making it completely
ee from TV interference
nd delivering the best sound
uality. Up to eight systems can
used simultaneously without
equency co-ordination issues.
o there you have it: a great
reless system that works
raight out of the box. The only
y in an otherwise extremely
REVIEWS_WIRELESS SYSTEM REVIEW
That aspect aside, the System 10 package

worked flawlessly in our test scenario
and, like many such systems, is available
in several configurations, so you could
easily standardise on a System 10 for your
entire band, using up to eight of them,
some with mic/transmitters, some with
bodypacks and instruments. It’s a good
impressive ointment was the issue with cable. system to the sort of technical and build
Using a non-standard cable is asking for standard you’d expect from a top brand like
trouble and we’d suggest that if you buy one Audio-Technica. It’s not cheap, however, and
of these (and there are good reasons why you that cable issue costs it a quarter stars in our
might very well - it’s a fine system) you get ratings. That said, if you’re finally ready to
several cables and make sure they are always go cable-free, add this one to the ‘ones to try’
to hand. list. •
Audio-Technica System 10 ATW 1101 Digital Wireless System

TECH SPEC
Audio-Technica System 10 ATW 1101 Dimensions 190.0 mm (7.48”) W
Digital Wireless System x 46.2 mm (1.82”) H x 128.5 mm
MSRP £239 US $524.95 (5.06”) D
Made in: Unknown Net Weight 290 grams (10.2 oz)
Operating Frequencies 2.4 GHz Accessory Included Power supply
ISM band
BODY-PACK TRANSMITTER
Dynamic Range >109 dB SPECIFICATIONS
(A-weighted), typical
RF Power Output 10 mW
Total Harmonic Distortion
Spurious Emissions Following federal
<0.05% typical
and national regulations
Operating Range 30 m (100’) typical
Input Connections Four-pin Locking
Open range environment with no Connector
interfering signals
Pin 1: GND, Pin 2: INST INPUT,
Operating Temperature Range 0° C
Pin 3: MIC INPUT, Pin 4: DC BIAS
to +40° C (32° F to 104° F)
+9V
Battery performance may be reduced at
Batteries Two 1.5V AA
very low temperatures
not included
Frequency Response 20 Hz to 20
kHz Battery Life >7 hours (alkaline)
Depending on microphone type Depending on battery type and use
pattern
RECEIVER SPECIFICATIONS
Dimensions 70.2 mm (2.76”) W
Receiving System Diversity
x 107.0 mm (4.21”) H x 24.9 mm
(frequency/time/space)
(0.98”) D
Maximum Output Level XLR,
Net Weight 100 grams (3.5 oz)
balanced: 0 dBV
without batteries
1/4” (6.3 mm), unbalanced: +6 dBV
ION, TREBLE, BASS.
Power Supply 100-240V AC
(50/60 Hz) to 12V DC .5A (center
positive) switched mode external
power supply
LIVE
SOUND
ALL YOU NEED TO TAKE YOUR S

E
D!
SOUND ON STAGE
LIVE SOUND_JAIME VENDERA’S VOCAL BOOTCAMP
JAIME VENDERA’S
VOCAL BOO
Jaime Vendera - the world’s top Rock vocal
Jaime
coach - brings- the
Vendera you world’s top Rock
everything vocaltocoach -
you need
brings
knowyou everything
to deliver you need
the perfect to know
vocal to deliver
performance!
theInperfect vocal
this issue performance! In this issue -
- Grit!
The Siren exercise
Hello singers, welcome to another edition of my Vocal Bootcamp.

I hope I’m not having a case of vocal dementia as I tell this next
story, (because I’ve told it sooooo many times before) but it is very
important for this edition of my Vocal Bootcamp as we learn how to
apply the full voice Siren exercise. Many have asked, “Jaime, how and
why did you become a vocal coach?” In all honesty, I never wanted to
be a vocal coach. In fact, I used to say, “Those who can, do, and those
who can’t teach.” Ha-ha, did I live to eat my own words! As I said,
this story is very important to this lesson, so if you’ve heard or read it
before, just bear with me…
In 1996, a friend of mine named Troy asked me for vocal help. He

wanted to know how I was able to hit such crazy high notes with ease.
He wanted the same ability, and was 110% determined to learn how
to extend his own vocal range so that he could sing Dream Theater
songs. He swung by my studio one day and begged me for a voice
lesson. I had no clue what I was doing. I had only given two voice

Part 5
OTCAMP
If you don’t have the slightest clue as to

what I’m talking about, simply search for,
“Jim Gillette Sliding Scream” on YouTube
to hear and see for yourself. Using my
pitch wheel as a pitch reference guide I
demonstrated a low slide from the C below
Middle C (C3), up to Middle C (C4)
where I sustained the C4 for a few seconds.
A light bulb went off in my head and I
knew I was on to something.
For about 30 minutes, Troy and I slowly

worked up from C4 performing each slide
on each pitch multiple times until I had
extended his voice to an A4 below Tenor C.
We even changed up the exercise, sliding
lessons before, back in 1992 or 1993: one back down to the octave below, which
to a girl who wanted to sing Country tunes reminded me of a warning siren. As well, I
and the other to a guy who was a Karaoke made sure to guide Troy to the technique
enthusiast. All I did was play them Vocal I’d been taught from Jim - keep the sound
Power scales, the program created by my resonant, ringing, clean and always keep
coach, Jim Gillette. After they listened, I the stomach tight.
simply said, “Now do these exercises every
day.” In other words, I basically left them By the time we had finished this unofficial
clueless with little direction as to how to “voice lesson” Troy was vocalizing FIVE
properly do the exercises. They only knew notes higher in full voice than he had
to do them and that was all. Thinking back ever reached in his life! His voice had
now, reliving the times I had met with Jim always cracked every single time he tried
Gillette after Nitro concerts, he had always to get beyond an E4. However, that day,
given me direction on how to approach his by performing this simple slide, which I
scales. Sadly, I had failed to do the same. quickly dubbed the “Siren” exercise, had
WOW, what a poor excuse for a teacher, extended his range beyond belief.
ha-ha! Back to Troy…
When he had returned home and tried
As I scratched my head, realizing that I to sing along with Dream Theater he had
didn’t want to just play Vocal power scales, discovered that he lost all five notes he
in fear of Strike Three, my Kratt Chromatic thought he had gained. I quickly recalled
Tuner in the Key of C, AKA a pitch wheel how another influential coach of mine,
caught my eye. Simultaneously, I thought Thomas Appell, had told me that an
of that infamous sliding scream that Jim exercise does not instantly transfer over
Gillette does in his Vocal Power video. to singing. Exercises build the muscle in

a controlled way, usually on sustained and you WILL gain range AND vocal quality.
maintained vowels, which allows quick So, pay close attention to the video as I
range extension. Singing, on the other hand, explain it, remember the vocal technique I’ve
incorporates countless vowels and consonant explain in the first four installments of the
combinations, which changes the game Vocal Bootcamp, and re-read as well Raise
altogether. I’m sharing this now for a reason. Your Voice, so that you do not deviate from
As you begin working with the Siren full my approach.
voice exercise, do not be discouraged if you
quickly gain several notes, but soon find that Another tip is to watch your face, neck,
those same notes do not transfer over into shoulders, and chest in a mirror to check
singing. Trust me; they will in time because for incorrect breathing and/or signs of vocal
you are building vocal muscle that will strain. If the veins are popping out in your
eventually allow you to sing higher with ease! neck, you’re straining. Moving your head
side to side like saying “NO” will help to
Over the years, I’ve perfected the Siren into eliminate it. As you watch this video, you’ll
a very precise exercise that must not be see what looks like veins extending on the
deviated from the explanations given. You sides of my neck. For the record, they are not
must always breathe, support, and place the veins but the cords of my Platysma Muscles,
voice as I explain, adding more support (not which I have developed from exercises like
volume) as you ascend into the higher range. Bullfrogs and Platysma Pull Ups, which I
You must always keep the tones even, never will explain in future Bootcamps.
deviating from the full tone or the volume at
which you start. I’ve had students who have Now, it’s time for you to grab your pitch
worked with other vocal coaches who have wheel, guitar, piano, or even my iPhone app
decided to incorporate my Isolation Method for singers, TUNED XD, so that you have
into their own routines. Every time I’ve a pitch reference and are ready to rock your
worked with a student who has experienced Sirens. Start as low as comfortable and work
these exercises before working with me, I can as high as comfortable, practicing six days
attest that every single student realized they per week. As well, don’t forget to ALWAYS
had been taught incorrectly, either varying warm up first by performing the Vocal Stress
the volume or transmuting the upper notes Release massages and stretches as you sing
into some weird nasal belting approach to along to the Ultimate Vocal Warm Up MP3
squeak out another note for the sake of being that you received for free from issue 22,
able to say, “I gained another note.” followed by your Falsetto Slides and finally,
your Sirens. If you stay dedicated to this
Varying my approach will not work for routine, I know that you’re well on your way
developing a full strong tone in the upper to seriously enhancing your tone, increasing
register. This is not a race to the top. Always your range, and improving your vocal
focus on quality over quantity. Be patient, stamina. See you next lesson! •

Jaime Vendera’s Vocal Bootcamp
Learn more about the Falsetto Slide with a free video

from Jaime at VenderaVocalAcademy.com
USEFUL LINKS_
www.jaimevendera.com www.theultimatevocalworkout.com www.buildabettervoice.com
LIVE SOUND_MIXER REVIEW
Peavey FX2 USB

Few can match the Meridian masters when it comes to value for money, hard-working ge
fiercely competitive in the last few years, so how does Peavey’s versatile new FX2 USB st
‘A
s an innovator, Peavey has an Peavey recently treated its FX series of
impressive track record. Its mixing consoles to an overhaul, resulting
Tri-Flex speakers introduced in the FX2 range. The FX2 series shares
the concept of the truly portable sound several features with the FX line, notably
system over 30 years ago, while its XR a flexible four-bus routing setup with four
series of PA amplifiers were among the pre-fader auxes per channel that provides
first of their type to feature good quality four separate monitor mixes, but the FX2
anti-feedback protection, courtesy of the series also boasts several new features that
now ubiquitous ‘Feedback Ferret’ that Peavey claims extend the desks’ capacity
Peavey first introduced during the late to function as both a versatile live mixer
1990s. and a very capable project studio desk.
Having happily used a 16-channel The desk is housed in a rugged bent steel
Peavey XR1212 12-channel mixer as a chassis with rack-mountable lugs. The
live desk for the past five years or so, I rackmount function is handy for project
was intrigued by the opportunity to try studios because, despite having a fairly
the new FX2. Our review focuses on the compact footprint for a 16-channel desk,
16-channel version but the range also the FX2 still occupies a fairly hefty chunk
currently features 24 and 32 channel of desktop real estate.
models; suggesting that besides weekend
warrior musos, the FX2 will also suit a Starting with the main channel strip,
permanent installation in professional the mic channel has rotary input gain
music and arts venues, or maybe on and a rotary 5-band EQ that combines
the road with multi-instrument bands dedicated low, mid-range and high
requiring more than the usual number of frequency controls with rotary Mid
channels. Freq and Lo Cut controls. The Mid
Freq control is useful for helping to

4.0
ear for the gigging musician. But the mixer market has become STAR RATING
tand up? Tim Slater finds out.
PROS:
Very good feature set
Easy to use
Fine build quality
Useful FX
Great warranty
CONS:
None at the price
compensate for the different timbres between controls that select the three basic modes:
instruments, while the Lo Cut knob can Effects, Output Processor and Digital I/O.
eliminate the annoying low-end rumble that
live microphones occasionally suffer courtesy Both multi-FX processors offer a selection
of resonant concert stages. of up to 10 fully programmable effects,
with a maximum of three effects used
The PV2 range bristles with processing simultaneously. The effects from each dual
power in the form of two - yes two - DSP processor can be assigned via each processor’s
engines whose functions are monitored by dedicated FX sends, or alternatively the
the desk’s backlit LCD screen. The user- second processor can be assigned to an
friendly interface employs just four simple individual channel or sub-group.
Peavey FX2 USB

Output Processing mode contains effects professional applications that the FX2 is
that might otherwise be employed in capable of.
external rack gear; the Feedback Ferret
can be run in line with a 5-band graphic Editing and assigning the effects process
parametric EQ and a stereo delay that can feels fairly intuitive - definitely no barriers
be assigned to compensate for the natural to learning the simple basics here - and
delay in large venues, for example the gap the FX2 is fairly easy to drive more or less
between the performer singing or playing a straight from the box. There is a shallow
note and the audience actually hearing it in learning curve to scramble up if, like Yours
synch with the rest of the band. Whilst it’s Truly, you are used to something a little
doubtful that this feature would see much simpler but Peavey hasn’t lost sight of the
use with a semi-pro pub or club band, it fact that its end users are mostly gigging
is nevertheless a good indication of the musicians and not professional sound
engineers.
The FX2’s USB 2.0 port allows audio to The FX2 definitely leans more towards the
be streamed directly onto a memory stick high end and it’s probably fair to say that
or USB hard drive in real time. Besides some of its features may not get a lot of use
the useful facility to record and archive from the average semi-professional band.
performances directly via USB, the FX2’s But if you’ve already gone down the path
USB will also play back audio files. of using separate power amps as opposed
to a powered mixer and are looking for a
Live sound users will surely appreciate the highly capable product to upgrade your
built-in Feedback Ferret, a remarkable rig - particularly if you would like a mixer
EQ system that automatically locates and that can double for recording uses as well as
then eliminates offending frequencies that live sound - then this new Peavey has to be
generate feedback. Feedback Ferret still feels on your test drive list. Especially when you
almost supernatural in use, despite heading factor in Peavey’s excellent warranty, it’s hard
towards its second decade as a standard to see how you could go wrong with the FX
feature on many Peavey pro audio products 2. •
but believe us, it works!

TECH SPEC
Peavey FX2 USB 48 volt phantom power
MSRP £779 US $1,099.99 6 Aux sends
Made in: China 4 subgroups
High-power dual DSP engine with 100mm faders
improved digital effects and output
processing including Feedback Ferret, Double the processing power of the
28-band GEQ/5-band PEQ, delay and original FX Series
limiter
All new switching power supply design
USB 2.0 “A” connection to record is more efficient than the original
directly to or playback from memory
stick Silencer mic preamp XLR inputs
USB 2.0 “B” connection for streaming Weight Packed: 25.00 lb(11.34 kg)
digital out Width Packed: 20.5”(52.07 cm)
3-band EQ with sweepable mid- Height Packed: 24.5”(62.23 cm)
frequency and variable low cut filters
Depth Packed: 11”(27.94 cm)
2 stereo channels with dual mic/line
inputs
LIVE SOUND_EFFECTS REVIEW
TC-Helicon VoiceLive Touch 2

Need a little extra sparkle on your vocals? TC-Helicon thinks its VoiceLive Touch 2 could
Mick Wilson plays sorcerer’s apprentice.
‘I
must admit to a feeling securely held onto a mic stand.
of slight trepidation As the name suggests, this unit
on opening the box is meant to be used off the
containing the TC-Helicon ground and has been designed
VoiceLive Touch 2, as the to be touched or “played”
sleek, curvy rubberized unit during performance, using the
was sporting just one physical buttons and the multi-purpose
knob - I wondered how long it “Slider FX” control strip to turn
would take me to get to grips effects on or off, control delays,
with all the functions and filters or volumes of effects on
effects on offer. However, once the fly.
powered up, the combination
of the large back-lit screen and The XLR mic input has
associated touch buttons made phantom power if required
perfect sense and almost invited (activated from the setup
me to just start prodding and menu) and the pre-amp gain
explore this under-stated, is adjusted using the knob
but extremely powerful vocal on the side of the unit and
processor. For the not so corresponding three LED lights
brave, there is a (very) helpful on the top right. Outputs
“Getting Started” manual. are on a single mono XLR or
stereo balanced jacks. There is
All ins and outs, save for the a jack input for guitar (which
headphone socket, are at the the unit uses to analyse the
top of the unit, nestled inside key signature for the harmony
the curved rubber-coated side of things) and a thru. If
metal plate that extends from the thru is not connected, the
the bottom, allowing it to be guitar signal is mixed in with

4.5
be just the magic wand you need. STAR RATING
PROS:
Great quality effects
Impressive looping
ability
Typical TC-Helicon
build quality
Great warranty
CONS:
Takes a bit of working
out
the vocal and has its own level and dedicated selection turned on and off with the ‘HIT’
EQ/Reverb section - this is global, but a button. These include reverb, modulation,
great addition for a solo singer/guitarist. echo, distortion and more. A second press
The remaining connectors are a jack input of the button gives a second level of editing
for an optional 3-way footswitch, a MIDI to get in and fine-tune the effects. A press
input for keyboards, a mini USB port for of the Voices button displays all the nine
audio connection to a computer for software (count ‘em!) harmony intervals available
updates and pre-set management and finally and these can be turned on or off using the
a stereo mini jack aux input. ‘soft’ buttons. The Effects page is the overall
display of the effects used in the preset. I
Along with the dedicated editing buttons, found this very useful when pressing the hit
there is a matrix of nine ‘soft’ buttons button, as you can see immediately what is
below the screen which correspond to the being activated when pressed.
parameters of whatever mode you are in at
the time, which are: Edit, Store, Setup, Mix, Set-up is where you can select input and
Home, Effects, Voices and finally, Loop. Edit output choices, turning on phantom power
gives you access to the nine effects stages, all and how it analyses key signature (MIDI,
of which can be used at the same time or a guitar or onboard microphones). The Mix
TC-Helicon VoiceLive Touch 2

section handles all the levels for the effects, issue 21. This is a useful facility, which
harmonies and inputs and outputs. Store makes the VoiceLive Touch2 even more
allows for renaming and storing presets and valuable for the solo performer, duo or
Home returns the unit to play mode. small ensemble who want to deliver a high
quality, professional performance but don’t
On that microphone point, incidentally, have a mixing engineer on hand.
the VoiceLive Touch 2 is another of TC-
Helicon’s FX units that can be remotely The Loop section is very comprehensive
controlled by Sennheiser’s fine e835 FX and more than a regular sound-on-sound
microphone, which I reviewed back in GI affair. There are six tracks available, all
of which can be turned on or off and have and the sounds are all top drawer. Although
effects added to them in real time. The I had a lot of fun with this unit, I still feel
onboard metronome and “Loop Assist” that there was even more to be had from it.
feature takes a lot of the guess work out of Check out our video for a demonstration of
the start and end points to keep everything just some of the things you can do with this
in time. The looping facility is particularly unit and then have a look in the Tech Spec
impressive and lends itself to a lot of creative box, where we’ve listed its impressive range of
possibilities which would take a bit of time to abilities.
get your head around, but that’s a testament
to the depth of facilities here, not a problem. With great sounds in an intuitive package,
the VoiceLive Touch 2 would be as equally
TC-Helicon describes this unit as a “Vocal at home as the centre of a singer/songwriter’s
Designer” and the quality and variation setup as it would for a creative DJ set. The
of the effects on offer means you can do maker says it provides “pro vocals on the
just that. From a sizzling plate reverb with go” and that’s exactly what it does. Very
stereo delay, to a chopped, gnarly distorted impressive! •
overdrive with chorus - it’s all here in spades

TECH SPEC
TC-Helicon VoiceLive Touch 2 to +22 dBu
MSRP £509 US $835 EIN @ Max Mic Gain Rg = 150 Ohm: -126 dBu
Made in: Unknown Mic/Line Input SNR: >107 dB
Features: Phantom Power: +48V (on/off via setup menu)
9-button Touch Matrix speeds editing and Guitar Input impedance: 1 MOhm
control Guitar Input Level @ 0 dBFS: 14 dBu to -4 dBu
Ultra-responsive Slider FX for hands-on Guitar Input SNR: >104dB
experimentation
Aux Input Level @ 0dBu: +2dBu
Hit button switches multiple effects from basic to
shake it! A to D Conversion: 24 bit, 128 x oversampling
bitstream, 110dB SNR A-weighted
Dedicated tap tempo button matches Delay and
Rhythmic effects timing to live beats Analog Outputs
Tone feature includes Adaptive EQ, D to A Conversion: 24 bit, 128 x oversampling
Compression, Gating and De-essing bitstream, 115dB SNR A-weighted
Perfect harmonies and pitch correction via Auto Connectors, balanced: XLR and 1/4 phone jack
Key Detection. Output Impedance Balanced/ Unbalanced:
Simple effects customizing with styles and icons. 100/50 Ohm
Huge, free library of song and artist presets Output Range (Line/Mic Level): 16 dBu / 0dBu
Optional 3-button footswitch allows hands-free Dynamic Range: > 109 dB, 20 Hz to 20 kHz
control Frequency Response: +0/-0.3 dB, 20 Hz to 20
Reverb, modulation effects and tuner for guitar kHz
input Headphone Out: 1/8 Mini stereo jack, 32 Ohm,
Innovative mic stand-to-desktop non-skid chassis +16dBu max (180mW max)
High quality mic pre-amp Digital Audio
USB for audio recording and playback, preset Connectors: RCA Phono (S/PDIF) & USB audio
backup and more Formats: S/PDIF (24 bit), EIAJ CP-340, IEC
Mic Control compatible 958, USB Audio
Size Sample Rates: 44.1 kHz, 48 kHz, 88.2kHz,
96kHz
Height: 3 inches (76 mm)
Control
Width: 13.8 inches (350 mm)
USB: USB-B
Depth: 8.5 inches (261 mm)
MIDI: In/Out/Thru: 5 Pin DIN
Weight: 5 lb. (2.3 kg)
Pedal: 1/4 TRS phone jack
VoiceLive 2 Connections
Power
Analog Inputs
External Power Supply Mains Voltage: 100 to 240
Connectors, balanced: Mic.: XLR, Line: 1/4 VAC, 50 to 60 Hz (auto-select)
phone jack, Guitar: 1/4 phone jack, Aux: 1/8
stereo mini jack Power Consumption: < 14 W
Impedance: Balanced/Unbalanced: Mic.:
2.14/1.07 kOhm, Line: 13/6,5 kOhm
Mic Input Level @ 0 dBFS: -49dBu to +10dBu
Line Input Level @ -37 dBu to +22 dBu: -37 dBu
MAKIN
TRACK RECORDING FOR THE R

NG
KS
REAL WORLD
MAKING TRACKS_AN INTRODUCTION
MAKING TRACKS - RECORDING F

Andi Picker continues his journey into the places many
guitarists fear to go! This time: Monitoring Audio

FOR THE PRACTICAL MUSICIAN
The songs are written, arranged, able to clearly hear and understand
recorded, mixed, mastered and the effect of that processing. It
distributed. They’re sitting there ready is NOT the same as listening for
to be downloaded or streamed, or pleasure - I use completely different
perhaps even bought on some sort speakers for working on music and
of plastic disc. Your fancy boxes and for simply enjoying it: my Hi-Fi
software with the flashing lights and speakers help me to enjoy music, my
the meters are worth nothing now - all studio monitors allow me to hear and
that counts is what the tracks sound understand fine changes in sound.
like. Your recording will only ever be
heard through some sort of speaker,
and it needs to sound good. But you Your speakers take a complex electrical
have no idea what sort of speakers signal and convert it to moving
your audience is going to be listening air. That moving air hits your ears
on! So let’s be very clear from the start and you hear sound. If you’re using
- the ONLY requirement of studio headphones then that’s pretty well
monitoring is to allow decisions to the end of the story, but if you have
be made about the recording that speakers pushing air about in a room
will eventually sound good in many then you’ll hear the direct sound, then
different listening-environments. the early reflections from your desk,
So long as they do this job it really walls, ceiling, floor, chair, equipment
doesn’t matter exactly how they sound racks etc., then the reverberation as
- heck, it doesn’t really matter if you the sound re-bounces all over the
actually like them or not (though after place. What this means is that you
a few hours of working on a mix it’ll can’t separate your monitor speakers
seem like a good thing if you do!). from your room - they are both
Monitoring for editing and mixing crucial parts of the same system.
and mastering is about being able to The more sound you pump into the
hear the recordings well enough to room, the more important the room
be able to make decisions about how becomes, and the greater the need for
to process them, and about being acoustic room treatment - we’ll take
MAKING TRACKS_AN INTRODUCTION © All images by Andi Picker
Larger drivers can produce usable levels

of bass at lower frequencies than smaller
drivers (all other things being equal).
Typical nearfields with a 5 or 6” driver
have a low end frequency extension to
about 45/50 Hz at the -3dB level and are
completely adequate for most music tasks.
Even though the fundamental frequencies
of instruments may be lower than the
quoted frequencies, the output doesn’t just
stop dead at, say, 50 Hz, it tails-off from
there, and the higher harmonic content
of an instrument’s sound allows most mix
decisions to be made quite satisfactorily,
including working with bass and kick
drums. If you need more sub-bass, or
enough level to pin the record company
A&R folks against the back wall, then
you may need a bigger driver (or a sub)
to take you down to 20 – 30 Hz and a lot
of power - but remember that all that sub
bass energy is now going to be bouncing
a look at this in a later issue. Large amounts around your room!
of low frequency energy can cause massive
room-mode problems (where reflections Every time your monitor pushes air it also
cancel or add to the sound giving very large gets pushed back (a bit) by the air. Because
level differences in what you hear in different the monitor is much heavier than the
positions in the room) and you simply amount of air it pushes, it doesn’t move
cannot work around this. much - but that movement does change the
sound. The heavier the monitor the less it
The answer for most project studios is to use moves - and the less the sound is changed.
nearfield monitors, designed to be run at low
to moderate volumes and positioned close to Now try placing your monitors on, say, a
the listener - usually with the speakers and table, turn them-up and place your hands
listening position as the points of an equal on the table with music playing; you’ll feel
sided triangle. Many nearfield monitors are the table vibrate. The whole table is adding
powered (also called active) which means to the sound you hear, and the vibrations
that they have amplifiers built-in, so there’s travel at a different speed to the sound in
one less factor to worry about. air - this just changed the sound of your
monitors. The good news is that if you fix

them to heavy stands or pads then the mass will calibrate to some “colour” in the sound.
of the stand adds to the mass of the monitors Some people like a “forward” sound that
and they move less - and if you stand them focuses them on the all-important higher
on a material that decouples them from mid-range frequencies, others prefer a
their support then that vibration won’t warmer sound with more of the lower
get transmitted. There are some very good frequencies - it’s all about relative balance
speaker support options available: I use brick between the frequency ranges.
towers and Blu-Tac!
You absolutely do need to avoid extremely
Also, if your monitors have ports in the unbalanced systems, like those designed
back you need to be careful about placing for gaming or home theatre with massively
them near a wall or corner - any surface hyped subs for explosions etc.; and too
will bounce additional low frequencies back much boost or cut in any frequency range
towards you and a rear-port will only make can lead to confusion as you have to keep
this worse. Many speakers have a switch to compensating - your monitors are there
compensate for 1/2 space (near a wall) or 1/4 to help you, not to challenge you. So long
space (corner) placement which apply a -3 as you’re not constantly second-guessing
dB/-6dB low shelf cut, but this can’t
compensate for phase issues and if
you can arrange to put your monitors
in “free space” (which just means
away from walls) then so much the
better.
A common myth about studio

monitors is that they need to have
a “flat” or “linear” response across
the frequency chart. Considering
how many great recordings have
been mixed on Yamaha’s infamously
“not-flat” NS-10 family of monitors
amongst others, this is clearly untrue.
Even if you managed to create a
speaker that was rule-flat from 20
Hz to 20 kHz, on axis, it could still
be horribly uneven off axis, and
even more so once it’s placed on real
stands in a real room. Don’t worry
about it - flat isn’t important - within
reason. Listen to lots of music on
your monitors in your working/
listening position and your hearing
your own judgement and so long as you try them out - go sit in your car, play it in
keep your senses calibrated by listening to someone else’s house on a boom-box, plug-
reference tracks, you can work around a lot in the buds. Check on headphones (which
of frequency response quirks. Neutral sound give an alternative sound and also remove all
translates, and most modern studio monitors room effect from what you hear).
manage it pretty well.
You have to know that there are some
Far more important than the actual sound compromises that you simply can’t get
of the speaker is resolution - can you hear a around. Most music is heard on portable
dB of cut at 320 Hz on a lead-guitar track? devices over headphones or earbuds, or
If not, then you can’t judge the effect that on small systems with limited and uneven
it’s having on the mix, which means that you frequency response, or on TV speakers,
can’t make informed mix decisions! Take care or over low-grade PA systems in bars or
if you try using Hi-Fi speakers which are shopping centres, and it’s often in mono. If
often designed to be “punchy” or “smooth” you’re mixing for clubs with massive subs
rather than clear and accurate. then you need to work on a system that
allows you to feel those sub-bass hits, but
How can you know if your mix will sound for most other types of music most of the
good on my Hi-Fi, or in my car, or over important information is in the mid-range -
a club PA? The classic way to check is to

Making Tracks

so much so that it’s quite common for mixers I’m writing or tidying away cables.
to use secondary speakers with a relatively
limited frequency range to focus on this part The good news is that there have never
of the sound. The key - the absolutely crucial been so many good and affordable monitors
and critical key - is to frequently re-calibrate on the market. Certainly higher quality
your ears by listening to commercial releases monitors will tend to give better detail, but
that you know sound good. You don’t need even well designed budget speakers can let
to try to copy the sound - you don’t even you produce release quality mixes. Good
need to listen hard to analyse the sound - I times! •
often play tracks in the background whilst
Monitor types.
Most affordable monitors are 2-way, ported, active
nearfields, with 2 speakers in the box and a crossover to
split the signal to the high or low frequency driver. There
are alternative designs with more (commonly 3-way) or less
(1 way); sealed box (no ports); passive (externally amplified)
etc.
You can drive yourself crazy worrying about this - don’t. If

you have a lot of cash to burn then take specific advice -
you can mail me at the magazine if you like. If, like most of
us, you need something that’s cost effective, then be aware
that a lot of research and development money is spent
on the “standard” models, the 2-way actives, and whilst
there are certainly exceptions (I won’t list them - we’d be
out of date before you read this) this is commonly where
the design/quality/price balance works best at the time of
writing.
MAKING TRACKS_MONITOR REVIEW
Tannoy Reveal 502 Active Need a pair of accurate monitor

names in the monitoring busine
Nearfield Monitors (and very affordable) Reveal 50
‘M
onitors are never dome HF tweeter giving a quoted
going to be an easy frequency response of 49Hz to
4.0
review. You fire them 43kHz (yup, an octave above the
up and they sound different to highest notes you’ll ever hear) at
what you’re used to and they sound the +/- 3dB level, with a front
“wrong”. Use them for an hour or panel port to support the lower
two and you get used to them, and range. It’s worth noting that the
STAR RATING
then they sound “right”. Useful spec sheet suggests a significant
review? No, I thought not. update to the previous 501 model,
with more power and significantly
PROS: OK, some things about a monitor extended low and high end.
are subjective - the “sound” or
Very easy to mix on
“timbre” of the monitor may be Channel input is on balanced XLR
Wide and solid stereo toppy or middy or bottomy, or and unbalanced 1/4” jack, and you
image some combination of these, but also get a useful 3.5mm input for
Well managed bass you can get used to (and therefore media players or ‘phones (complete
work with) a fairly wide range of with a monitor link socket (and
Good price “sounds”. You can’t work around supplied cable) to connect the two
lack of definition (if you can’t speakers of a pair together, with
detect a 9dB cut at 2kHz then a switch to identify the right/left
CONS: you’ve got a problem whatever the speaker of a linked pair). Alongside
Would have preferred speaker actually sounds like), and this there’s a mains voltage selector,
bass management you should expect your monitors power switch, a volume knob and
switch for 1/2 space, to be loud enough for their a Hi Frequency cut/neutral/boost
1/4 space positioning intended use without distracting switch.
(though I didn’t you with distortion, rattles, hum,
hiss or buzz. On top of this the Turned up full with no signal,
actually need it)
stereo image should be strong, the 502s have a little bit of
Not the most relaxing transformer buzz (everything
wide and steady, controls should be
speakers for Hi Fi does) that vanished below room
smooth and useful and connectors
duties (which, in noise by about 30”/80cm away
reliable and easy to use.
fairness, they’re from the unit (as quiet as my
not designed for) The Tannoy Reveal 502s have a 5” LCD monitor), and very low hiss
opportunityse LF/midrange driver and a 1” soft that I simply couldn’t hear from

rs you can trust? Wondering where you can find the money? Tannoy, one of the oldest
ess, might just have an answer. Andi Picker checks out the brand new
02s.
Tannoy Reveal 502 Active Nearfield Monitors
20”/50cm away. From my normal mixing and got on with some work. The monitors
position, with no signal and level all the way have plenty of level for nearfield use and they
up, they were effectively dead quiet, which is sound clean and clear with a very solid stereo
a good start. image and a surprisingly broad sweet spot.
My usual nearfield monitors sit on heavy Low frequency signals need to move a lot of
and rigid brick-stands, and I simply swapped air to be heard, and ports are often used in
them out for the 502s using the same smaller monitors to boost the levels of lower
balanced XLR connectors. Out of the box sounds. These ports can produce impressive
they sound a bit stiff, but the first hour or amounts of bass, but tend to blur pitches
so of use loosens them up nicely and makes at their resonant frequency, which we don’t
the frequency response sound properly notice so much in the showroom but is
connected-up. I noticed that the top end horribly obvious when we’re trying to fine-
is a bit more forward than I’m used to, so I tune kick/bass EQ in the studio. Tannoy’s
selected the hi-cut on the rear panel switch designers have managed to produce a smart

balance with these monitors, producing enough bass to be clearly heard, without being
overblown and confusing. Having the ports on the front of the cabinet makes life easier if
you need to position the speakers near a wall or corner, and whilst there’s no bass cut control
to compensate for room position they actually sounded fine when I pushed them back to the
wall - another benefit of that controlled low-end.

The 502s are not the most euphoric speakers After I finished the song that I was working
you’ll ever hear and they certainly won’t on with the Reveals I swapped back to
persuade you that you’ve made a rocking my regular nearfields which cost several
mix when you haven’t; they bring forward times more; I didn’t feel the need to change
the crucial mid-range a little more than I’d anything about the mix. Nothing. That
want for relaxed listening, but that’s sort of rather impressed me.
the point - you’re going to have to put the
work in to impress them, but that balanced If you’re in the market for affordable
bottom-end coupled with the focused higher nearfields you should audition a pair of 502s.
frequencies and the dead-steady imaging Sound is always personal and they may or
makes them both quick and easy to mix on. may not suit your preference, but you can
certainly get a good mix on them! •
TECH SPEC
Tannoy Reveal 502 Active Distortion <0.7%
Nearfield Monitors
Dispersion 90 degrees at -6dB
MSRP £130 US $179.99
High Frequency Driver 25mm soft
Made in: Unknown dome
Type: 2 way, active, nearfield monitor Mid/Low frequency driver 130 mm
Frequency Response 49Hz – 43kHz at (5”) multi fibre paper
+/-3 dB at 1 meter Cabinet dimensions 300 x 184 x 238
Maximum SPL 108 dB (pair at mix mm (11.81 x 7.24 x 9.37”)
position)
MAKING TRACKS_INTERFACE REVIEW
Focusrite Scarlett 2i2 Focusrite’s Scarlett 2i2 must be

Audio Interface road, too. But have too many sa
‘M
Focusrite has hit in highly portable package, and
the audio interface eight pres/18 inputs/20 outputs
4.5
market pretty hard in a rack mount format. So far as
over the past few years, with I can make-out, it is pitched as
USB, iOS, Firewire/Thunderbolt the USB equivalent of Focusrite’s
and Ethernet offerings currently flagship “Saffire” range of Firewire/
available. Even within the USB Thunderbolt interfaces, albeit
STAR RATING
category there are three different with different specific model
ranges, so let’s see if we can start configurations.
out by making some sense of them.
PROS: This time I’m going to take a look
The iTrack Solo (reviewed in GI (and listen) at the Scarlett 2i2
Easily portable issue 20) offers iOS connectivity interface, which is the simplest
and a compact single mic pre-amp. unit in the range, with two
It’s simple, works with iOS, Mac channels of microphone preamp/
Very simple to set-up
OS and Windows and has a single line-in/instrument-in and 24
and use
clean-sounding pre-amp and a bit/96K converters.
single instrument input: an ideal
answer for the singer songwriter The basics then: the 2i2 is small
Good software package
who wants to record song ideas and light and red. And simple! It’s
and straight-forward demos. audio only with no MIDI and no
Subjectively very nice digital connectivity. On the front
sound The Forte (reviewed in GI issue panel you start with two channels’
21) is a 2 in/2 out interface inputs on a pair of Neutrik combo-
offering a stylish and portable unit sockets, each offering an XLR for
CONS: aiming (in Focusrite’s own words)
to provide “the maximum possible
mic input (with globally switched
phantom power) and a balanced
Metering is a bit audio quality for mic, line and TRS jack for switchable line/
basicse instrument sources.” And jolly nice instrument inputs. Each channel
it is too. has a simple gain-knob surrounded
by a “halo” which turns green to
The Scarlett range fills the most indicate signal above -24dBFS
traditional role with the widest and red to indicate overload. That
range of options, between two pres “overload” light comes on when

e one of the smallest, simplest USB audio interfaces around. It’s ideal to take on the
acrifices have been made to keep the size down? Andi Picker finds out.
the signal hits 0dBFS so it’s more of an “it’s what’s being recorded before it hits the DAW
gone wrong” than “it might be about to go for latency free cue monitoring. Other than
wrong” warning. Some interfaces do have that you just have a USB socket on the back
more informative indicators but this really panel and a Kensington security lock socket.
isn’t a problem; bang a loud signal through
the 2i2 and if you see red then turn it down, If I’ve made it sound easy, that’s because it is.
and for more comprehensive metering use I loaded the driver onto my Windows PC,
the meters in your DAW (the clean and quiet plugged in, adjusted a level and recorded.
pre-amps and 24 bit converters mean that The box is small and light enough to jam
you really don’t need to be trying to record into a laptop bag and the metal case should
hot levels anyway). offer decent protection so long as you’re not
going to play football with it; I just wrapped
Beyond the input section, the big knob it in a microfibre cloth which was also handy
adjusts your main output (the 2 x balanced for cleaning off the fingerprints that the
monitor outputs on the back panel), the anodised finish seemed to like to collect.
little knob adjusts your headphones, and
the direct monitor switch allows you to hear
MAKING TRACKS_INTERFACE REVIEW
Focusrite Scarlett 2i2 Audio Interface
Sound? “Very nice” thank you. The Focusrite knows how to build a pre-
pres are quiet and clean (there are amp, and whilst it’s always horribly
lots of specs available on Focusrite’s subjective, to me they have a sort of
website if you’re into that sort of depth to the sound that I personally
thing) which I realise I say quite like a lot. I think I’ll stick my neck-
frequently, but it’s what they should out and say that they’re probably
be and it’s what they are. The spec (OK, I’m sticking my neck out
sheet shows up to 46dB of gain a little bit) one of my preferred
which isn’t earth-shattering (you interface pres.
may want to check if it’s enough if
you need to record distant sources If you don’t have a DAW, or if you
with ribbon mics for example) but fancy a change, you can fire up
was far more than I needed for the copy of Ableton Live Lite that
some low-down-and-dirty Rock and comes in the box, and the included
Roll and for some solo female vocal Scarlett Suite of plug-ins (Eq,
that I recorded. Compressor, Gate and Reverb) is
well worth installing and using.

Personally I don’t have a lot of use for a Simple, compact, high quality, and sounds
2-channel interface, but if I did I’d be very really nice! If it meets your budget and
happy with a 2i2. Bear in mind that there is requirements you really won’t go wrong! •
a whole range of Scarlett boxes, so if the IO
isn’t what you need there are other options
too.
TECH SPEC
Tannoy Reveal 502 Active 2 Gain halo signal indicators
Nearfield Monitors 48V Phantom power switch
MSRP £149.99 US $199.99 Direct monitor switch
Large monitor level dial
Made in: China USB Connection
2 in / 2 out USB audio interface LED indicator
96 KHz, 24-bit conversion Headphone output - ¼” TRS Jack
2 Focusrite microphone preamplifiers Headphone level knob
Red anodised aluminium unibody
chassis Rear panel
2 balanced monitor
Front panel outputs- ¼” TRS Jack
2 line/mic/instrument combination USB 2.0 Port
inputs- high quality XLR/¼” Kensington Lock slot
TRS Jack Combo 2 Included software Ableton Live Lite
Line/Instrument switches Focusrite Scarlett plug-in suite
2 Gain knobs
THE
QUIE
ROOM
WHEN ONLY ACOUSTIC WI

E
ET
M
LL DO
THE QUIETROOM_GUITAR REVIEW
Taylor 816 CE
Taylor’s 800 series is an important development for one of the USA’s most respected gu
Founder Bob Taylor has joined forces with luthier Andy Powers to redesign the company
spruce/rosewood 800 Series. Improving a much-loved Taylor was never going to be easy
lot at stake for the company. Lewis Turner took a deep breath and began to play...
‘E
stablished in 1974 Taylor designed.
by Bob Taylor and Taylor has made a tradition of
4.5
Kurt Listug, Taylor celebrating milestone years and
Guitars has evolved into one of this year, its 40th anniversary,
the world’s leading manufacturers it has decided to reinvent the
of premier guitars. Over the 800 series, for many the rock
STAR RATING years, the company was won on which the company made its
itself a tremendous reputation, name. That was never going to
first based on the tremendous be easy. Major changes like these
PROS: playability of Bob Taylor’s
designs. Here, at last, was an
can be downright dangerous for a
company, so Bob Taylor brought
Fantastic value acoustic guitar that could rival a in the expertise of master builder
Well built Canadian Martin or a Gibson for tone and Andy Powers, a renowned luthier
guitar yet play so easily that an electric and, probably more importantly,
player wouldn’t struggle an excellent guitarist who knows
Superb tone with it. what a great acoustic guitar
should sound like.
Preamp option Time moves on, of course, and
available other manufacturers have learned This is the important part of
about playability from Taylor, so the new series. Playability and
the evolutionary process come consistency have always been a
CONS: into play and it’s now time for done deal with Taylors, but this
Very bare visually Taylor to move on - which brings new series is said to be all about
us to the new 800 series and its the sound. That’s not to say that
development. sound and tone have never been
important in the past but this
The 800 series is Taylor’s flagship was apparently the main focus for
model and was the first that Bob

improving a much-loved series.
So what changes have they

uitar makers. made? Well, some fairly small
y’s flagship ones, and some major ones,
all adding up to make a big
y and there was a difference. As a player himself,
Andy Powers says he was
looking for a more musical
guitar with more volume, more
sustain and more uniform
character over the whole guitar,
and this is how he went about
achieving it.
I’m going to look in some detail

at what Powers has done here,
so first please check the video to
hear for yourself what this new
guitar sounds like, then we can
go through the details of how it
has evolved.
Talk to any acoustic guitar

maker and the odds are
that pretty soon he will
start talking about bracing.
Though guitarists never see it
(hopefully!) an acoustic guitar’s
bracing pattern has to handle
the huge tensions put on the
instrument’s top by the strings
and the bracing thus dictates
how it moves. The search for
the perfect bracing pattern
could be the subject of a decent

sized book but suffice it to say that Taylor quite major but some are so slight that you’d
has made significant internal changes to the never notice them - like the use of protein
800 series, including the use of side bracing glue in its construction.
and a slanted arrangement for the back. The
company says the result is most noticeable in Animal based glues were what the original
the mid-range response. guitar makers used and that tradition
continued into the 20th century, when
Another change has been in the thickness modern adhesives were invented and began
of wood used. In short, the company has to replace them. They were a lot easier to
decided: “the smaller the guitar, the thinner work with and soon supplanted traditional
the wood.” This seems to make logical sense hide-derived glues, but some real ‘golden
as the thinner wood, the more flaexible it ears’ types believe the change was to the
will be and thus the louder it will sound - detriment of tone. Andy Powers has taken
always something you want from a smaller the bold step back in this case - using a fish
instrument. protein glue on the 800 series. This will
delight traditionalists and tone hounds alike,
As I say, some of the changes, like the we suspect.
bracing and the thickness of the woods, are
Taylor 816 CE
One other tone thief, many believe, is the So does that about wrap-up the changes?
material used to finish a guitar. Apparently, Actually, no. Thinking about what makes
Taylor’s standard gloss finish has had a a guitar’s sound, what about strings? Taylor
maximum thickness of 6 mils (1 mil = .001 has had a long association with Elixir and
inch), which is the industry standard for a between them the two companies have
high-quality gloss-finish guitar. You get a developed a new set, named HD Light,
better tone, however, from a thinner finish which blends Elixir light and medium gauge
and Taylor has found a way of reducing the strings with a custom .025 gauge third string
finish of the 800 series models to just 40 per (a standard light-gauge G string is a .024; the
cent of what it used to be. Taylor says there medium is a .026). The specific gauges are:
is no loss of lustre or strength and that tone .013, .017, .025, .032, .042, .053. According
will benefit. We shall see! to Taylor, the custom gauging complements
the construction of the Grand Concert and

Grand Auditorium and yields “bolder highs ones that most people would never have
and fuller lows”. These new strings are going thought of, like the type of glue. But how
to be reviewed separately at a later date here does it all affect the guitar in real life and
in Guitar Interactive’s Quiet Room, as Elixir most importantly, what has it done to the
says they are equally suited to other guitars sound?
too and we want to put that to the test.
Our review sample was an 816CE, slightly
Finally, to the electronics. Taylor’s Expression bigger than Taylor’s Grand Auditorium body
system has long been regarded as pretty style and certainly an impressive looking
much a benchmark but even that has instrument. The Grand Symphony shape
undergone changes. The company says that: joined the line in 2006 and delivers, Taylor
“The industry’s prevailing understanding had says, a rich, powerful acoustic voice. Think of
been that the top and string vibration cause it as a Grand Auditorium with a turbo boost,
the saddle to “bounce” up and down. This thanks to expanded physical dimensions,
has long been the basis for the placement of a including a slightly wider waist and a bigger
piezo-electric transducer under the saddle.” lower bout.
However, Taylor’s pickup designer, David
Hosler, says that isn’t ideal and he has Wood wise, the neck is tropical mahogany
discovered that the synthetic tone often with an ebony fretboard, while a Sitka spruce
produced by piezo transducers is caused by top complements Indian rosewood sack and
the way the string’s pressure on the saddle sides - very traditional and for a good reason:
forces it down and restricts its movements. it’s a classic way of producing the typical
By moving the piezo-electric crystals to a sound most acoustic players want. There’s a
position behind the saddle, he feels they cutaway for easy access to the top frets.
can move more naturally in harmony Of course, you can own the best acoustic
with the energy produced during playing. guitar in the world, but the problem has
Interestingly, this new ES2 design allows for always been amplifying them. Taylor believes
the three pickup sensors to be individually its new Expression Series 2 is a major
adjusted to calibrate their pressure against improvement over the well liked original
the saddle. version. I played our sample 816CE with it
So there we have it, some major changes, plugged direct into our studio speakers with
such as the electronics, and some smaller the monitors very close in front. I had no
issues with feedback, and the tone was much 816CE is a top end guitar and if you want
warmer and fuller than I normally expect the very best then you have to be prepared to
from a plugged in acoustic. Taylor seems to part with some cash. If you do decide to take
have hit the nail on the head with this new the plunge I can confidently say you won’t be
ES2 system. It is very, very good. disappointed. I’m also confident that as time
goes by and the wood matures, it will only
WHAT IS IT LIKE TO PLAY? continue to sound better every year. This is,
simply, an amazing instrument and despite
Well, the finish and attention to detail on the price, we actually think it is excellent
the 816CE is immaculate throughout, it’s value for money. It’s a connoisseur’s guitar
just a shame the back of the guitar is hidden that will provide a lifetime’s fulfilment. •
from view as it’s one of the most beautiful
parts! The playability of our sample was
just exceptional, with perfect action,
intonation and neck comfort. These are
of course things you would expect from a
top of the range guitar made by a world
class manufacturer, but trust me this is not
always the case! With the 816, however,
the whole instrument oozes quality - even
the case it comes in is a thing of beauty.
Taylor has always been known as a great

acoustic guitar manufacturer and it has
been a brave move for them to have
taken the flagship 800 series and change
it, in some senses quite drastically, but
I’m happy to report that all the changes
really have made a significant difference:
an already fantastic guitar has been made
even better. Listen to the video and try
one as soon as you can if you are in the
market for the finest quality.
It would be easy to object that it’s an

expensive instrument, but I think that
would be totally missing the point. The

TECH SPEC
Taylor 816 CE Top Finish Gloss 3.5
MSRP £3,023 US $4,378 Neck Finish Satin
Made in: USA Pickguard Rosewood
Shape Grand Symphony Case Taylor Deluxe Hardshell Brown
Back/Side Wood Indian Rosewood Number of Frets 20
Scale length 25-1/2” Armrest Binding None
Top Wood Sitka Spruce Back Config 2-piece No Wedge
Body Length 20” Backstrap Wood None
Electronics Expression System 2 Backstrap Finish None
Body Width 16 1/4” Brand of Strings Elixir Phosphor
Cutaway Venetian Bronze Medium
Body Depth 4 5/8” Buttons Nickel
Nut & Saddle Tusq Nut/Micarta Edge Trim Indian Rosewood
Saddle Fingerboard Ext None
Neck Width 1-3/4” Fretboard Binding Maple
Neck/Heel Tropical Mahogany Heel Cap Binding Maple
Bracing Advanced Performance with Heel length 3-1/2”
Relief Rout Peghead Finish Gloss
Fretboard Wood Ebony Peghead Inlay None
Fretboard Inlay Element Peghead Binding Maple
Headstock Overlay Ebony Peghead Logo Taylor Mother of Pearl
Binding Maple .080” Peghead Type Standard
Bridge Inlay None Rosette Mat. Abalone
Bridge Pins Ebony with Abalone Dots Rosette Size Single Ring
Tuners Taylor Nickel Stain/Sunburst None
Truss Rod Cover Ebony Type of Neck Joint Scarf
Back/Side Finish Gloss 3.5 Wedge None
Tanglewood TW45 EGE

Tanglewood has launched a slew of new models for 2014, among them the hand-
some looking TW45 EGE. Can the brand that makes probably the UK’s best-selling
acoustic keep ahead? Rick Graham finds out.
4.0
‘B rand new for 2014
is the TW45 EGE
by Tanglewood
guitars. It’s part of the company’s
readers might find themselves
looking at in a guitar shop before
long, so now’s a good time for a
review.
successful ‘Sundance’ range of
instruments, some of which we My hopes were high as we
have reviewed very favourably unboxed this newcomer. I’ve
STAR RATING reviewed several of the company’s
in the Quiet Room, and which
is subdivided into five separate models in the past and have
PROS: product lines: Heritage, Pro,
Historic, Natural and finally, the
always been impressed by their
consistently high build quality,
Well made ‘Elegance’ range, which includes tone and playability. Let’s take
our review model. a closer look at the TW45 EGE
Great tones
and see if the story remains the
Fine looks Tanglewood has built for same.
itself a solid reputation for
Fishman Sontitone The TW45 EGE is a super Folk
onboard manufacturing high quality
products at affordable prices shaped guitar with a solid spruce
and, at present, are reckoned top coupled with sides made from
mahogany and a three piece back
CONS: by some to be the best selling
brand of mid-market acoustic that consists of a combination of
Slight treble bias guitars in the United Kingdom mahogany with quilted ash. The
and several European countries. quilted ash does look beautiful
Now more widely available across indeed. The back and sides have
the other side of the Atlantic been bound with maple and the
(and elsewhere, too) this is a finish is of a very high quality.
Tanglewood quite a lot of GI The binding of choice for the
top consists of a combination of

ABS black/ivory and maple,
which looks very classy and
sets off the wood really well.
The neck for this instrument,
which has a scale length of
650mm, is a two piece type
with volute, with the wood
of choice being mahogany.
The fretboard is made from
rosewood, has microdot
fretboard markers and also
features the same maple
binding as the sides, again,
the finishing was to a very
high standard.
The headstock features

a beautiful rosewood
veneer and again sports a
maple binding, with the
Tanglewood logo set between
the open back nickel Waverly
tuners. The guitar is finished
with a classy natural gloss
finish and comes with a
cutaway for easy access to the
top frets.
Making it the sort of guitar

that can go anywhere with
you, the TW45 comes ready-
fitted as an electro-acoustic,
featuring a discreetly
positioned Fishman Sonitone, which is me, it felt like I was playing a guitar that I’d
positioned just inside the soundhole, making normally expect to find in a much higher
it very quick and easy to access. price bracket.
As with any electro-acoustic, the first thing OK, so finally, we get to plug it in and see
you should do is forget that it has a pickup how the Fishman performs! Again, as you’d
and try it as an acoustic! I did so with the expect from two companies as experienced as
TW45 and it performed just how I’d hoped, Tanglewood and Fishman, the combination
proving itself capable of some lovely warm works extremely well. The Fishman Sonitone
tones, with plenty of sustain. It has some is certainly capable of reproducing this
serious volume too, thanks, in part, to the guitar’s essential tonal characteristics, with a
body shape and I found it to have a nice nice clear signal and low noise, although, I
balance between the lower register and the did find it to be a little trebbly on occasion.
higher register. Playing a scale through from low to high
gave the TW45 an opportunity to show how
It doesn’t just sound good. The TW45’s nicely balanced it is and that cutaway really
playability was equally impressive and, to
Tanglewood TW45 EGE

gives the freedom to venture higher up the

fretboard whenever I felt the need to.
There’s lots to like about the TW45 EGE

and, to be honest, very little to dislike.
Tanglewood always seem to me to be very
consistent especially when it comes to build
quality and the TW45 was no exception.
There are some great tones to be had with
this guitar and the Fishman Sonitone sounds
great too, with the small caveat about a
slight treble bias. That said, you’re likely
to be using this through either a PA with a
mixer or a dedicated acoustic amp, so that’s
easily compensated for.
Once again, Tanglewood has produced a

well built, great sounding guitar at a very
attractive price. If you are in the market for
an affordable electro acoustic, which offers
reliability for gig after gig, great tone, a good
pickup and this is the body shape you’re
interested in, you’ll definitely want to put
this one on your ‘to try’ list. •

TECH SPEC
Tanglewood TW45 EGE BINDING (SIDE) Maple
MSRP £599.95 US $ TBC SADDLE Bone, Compensated
NUT (WIDTH) Bone (43mm)
Made in: Unknown SCALE LENGTH 650mm
SHAPE Super Folk BRIDGE PINS ABS Ivory with
TOP Solid Spruce Black Dots
BACK Mahogany/Quilted Ash MACHINE HEADS
SIDES Mahogany Open Back Nickel Waverly style
NECK (MATERIAL) Mahogany FINISH Natural Gloss
NECK (BUILD) Two Piece, Volute EQ Fishman Sonitone
FINGERBOARD Rosewood STRINGS D’Addario EXP11, 12-53
BRIDGE Rosewood
BINDING (TOP) ABS Black/Ivory
& Maple
Washburn Lakeside LSB768SEK

and LSJ743SK
Washburn has been mining its long history as one of America’s pioneering guitar
makers for the fine-looking new Lakeside series. Tom Quayle checks out the
LSJ743SK jumbo and LSB768SEK Baritone to see how well the time machine is
working.
‘W
ashburn is a company with sense of the word, with a very wide and
a very long history in the deep dreadnought-shaped body that aims to
guitar business. Its Lakeside project an equally wide and deep sonic range.
Jumbo acoustic was originally introduced The guitar is constructed with rosewood
in 1912 and is considered by some to be back and sides, matched with a solid Sitka
the first Dreadnought, bridging the gap spruce top and quarter sawn scalloped
between the small parlour guitars from the bracing for added strength and support.
turn of the 20th century and more modern The rosewood grain is attractive with a gloss
jumbo acoustic guitars. Washburn has finish adding a real quality feel and look to
recently reissued the Lakeside series in a the instrument that matches well with the
range of models covering traditional acoustic retro styling.
designs and even baritone models for more
modern sounds, all featuring solid wood Washburn has chosen a mahogany neck and
tops and a vintage style. The company sent rosewood fretboard with vintage dot and
us their traditional LSJ743SK jumbo and diamond inlays and a traditional shaped
LSB768SEK Baritone models to check out. headstock featuring, Wilkinson tuners with
butterbean buttons. The design is completed
by a rosewood bridge, bone nut and saddles
LSJ743SK plus an ABS Rosette adding up to high
4.0 The first thing that strikes

you upon pulling the
LSJ743SK out of its well
quality components, very welcome to find at
this price point.
Overall the LSJ743SK is a very attractive

made case is the sheer guitar. Although some will prefer more
STAR RATING size of its body. This is modern visual appointments, like a more
a jumbo guitar in every streamlined headstock and a smaller depth

to the body, retro-styling is hugely
fashionable at the moment and this is
a sensitive update from it design roots
which we feel is going to appeal to a lot of
players. The only niggle would be the lack
of a pickup and pre-amp in the package, a
strange omission given that other guitars
in the range feature the Fishman Sonitone
and the LSJ743SK would have benefitted
considerably from this addition. As it is,
potential buyers will need to factor this
into their decision and possibly add the
price of a pickup to their budget.
On the other hand, the addition of a very

good hard case adds considerable extra
value to this guitar in a world where low
to mid priced guitars are all too often
sold to you in a cardboard box and no
more, so you get a case, but need to add a
pickup. Mind you, there is another angle
to this. At least you get to choose which
pickup you would fit!
This is a very well made and finished

guitar with a quality feel that matches
the well chosen components. All of
the workmanship is top notch with no
obvious issues and a sense that care has
been taken throughout the built process.
Internally, the bracing of the LSJ743SK
is very clean, representing a level of build
that could be considered higher than
the price point might suggest and giving much, especially those with a smaller frame
more confidence that this is a high quality or shorter arms, but the overall experience is
instrument. Washburn realises that even the an accommodating and pleasant one with a
more budget minded acoustic purchaser is good factory set-up, 25.5” scale length and
discerning enough to require a solid wood friendly neck shape for both chordal and
top these days and the choice of solid Sitka single note work.
spruce means that the guitar not only sounds
good but will improve over time and offer Tonally, the Sitka spruce top offers a rich
lasting value and tone for the buyer. The tone with plenty of dynamics but isn’t quite
fretwork on our sample was also of a very a loud as you might expect given the large
high quality with no flaws, good intonation body size and depth. It’s certainly not quiet
and tuning stability throughout the range of but just doesn’t project as much as initial
the neck. impressions might suggest. Pick dynamics are
well represented and there is a good balance
Playability feels very good on this Lakeside between low and high frequencies, making
jumbo too, and, in general, the LSJ743SK the LSJ743SK sound great with miked-up
is a very comfortable guitar in the hands. tones.
Some may find the body depth a little too
Washburn LSJ743SK

This is a very solid and well made guitar value package that looks, plays and sounds
from a company with a great deal of history top notch but I still would have liked to have
and experience. It certainly doesn’t break any seen an onboard pre-amp.
new ground, but it doesn’t set out to, being
designed to appeal to players hankering after
a very traditional look - and there are plenty
of those these days. The inclusion of a
hard case goes a long way to making a good
PROS: CONS:
Well made Very large and deep body
Solid top Lack of on board preamp
Tonally very solid
Quality hard case included
TECH SPEC
Washburn LSJ743SK NUT WIDTH: 43mm
MSRP £429 US $1,069 SCALE: 29
Made in: Unknown PREAMP SYSTEM: Fishman
TOP: Solid Sitka Spruce Sonitone
BACK: Rosewood BRIDGE: Rosewood
SIDES: Rosewood TUNERS: Wilkinson tuners with
BRACING: Quarter sawn scalloped butter-bean buttons
bracing STRINGS: D’addario EXP-23
ROSETTE: ABS phosphor bronze baritone
NECK MATERIAL: Mahogany CASE: GCLSJ - Included (may vary
FRETBOARD: Rosewood by territory, please check with your
INLAYS: dots and Diamonds local distributor)
NUT: Bone
LSB768SEK BARI-
4.5 TONE GUITAR
The LSB768SEK is very
similar to the LSJ743SEK
STAR RATING in terms of wood choice
with its rosewood back and
sides, solid Sitka spruce top and mahogany
neck with rosewood fretboard. Where it
differs hugely is in its scale length because
this is a 29” baritone guitar, tuned B to
B (or A to A if desired) and as such is a
longer model all together. The body styling
is slightly rounder with what appears to be
a smaller, more comfortable depth, fitting
more into the true Jumbo shape rather than
the Dreadnought design of the LSJ743SEK.
In all other respects, the baritone version is

pretty much the same instrument, except that
this one includes a Fishman Sonitone pre-
amp system with a volume and tone control
and output jack located on the rear strap
button. It also features a slightly different and
more subtle rosette and the same gloss finish
is used for the back and sides, offering an
attractive and high quality look to the fairly
plain design.

Both external and internal construction fret ends sticking out or unpolished frets
and finish quality is just as good on grinding on strings.
this model, so there appear to be
no inconsistencies within the range. Playing wise the LSB768SK is much
Intonation and tuning stability were also more comfortable and approachable
equally good, which is not something to than the long 29” scale length might
be taken for granted with a lower tuned suggest. In fact it takes very little time to
and longer scale length instrument and is a adapt to the longer neck length and fret
testament to Washburn’s care and attention spacing and certainly gets the creative
during build and set-up. The fretwork on juices flowing as chords and leads lines
our sample was also equally good, with no are offered an entirely new sonic twist. A
little bit of adaptation is required in some
LSB768SEK Baritone guitar
chord voicings as things can get a instrument that sounds equally

little muddy down the bottom end impressive through the Fishman
with certain interval combinations, Sonitone preamp or miked-up. Its
however, this is not an issue with dynamics are also good too, making
this guitar but rather an unavoidable the LSB768SK a very musically
consequence of the lower baritone rewarding guitar that challenges you
tuning. The neck shape is very to think in a different way to a normal
comfortable and the slightly more acoustic, a quality that many guitars
manageable body shape will make lack.
longer playing sessions more bearable
and easy for smaller players. This is As with the other guitars in the
still a big guitar though and those with Lakeside range this Baritone comes
smaller hands and arms may struggle a with a high quality hard case, ensuring
little with its bulk. that the slightly higher price tag still
offers great value for money, enhanced
Tonally the LSB768SK is a definite further by the inclusion of that quality
standout when compared with on board pre-amp.
its sibling. The low-end precision
required by the extended range is very The LSJ is a good guitar that
well defined with a good piano-like represents great value for money,
tone and response with no muddiness but the Baritone version, the LSB,
to speak of. As you progress up the feels like a more desirable package
neck the mids and highs are equally that needs to be part of your guitar
well represented thanks to the Sitka collection. It is not even a great
spruce top, ensuring that this is not a deal more costly than the LSJ, so
gimmick guitar but a serious baritone let’s put this one down as’ highly
recommended’! •

PROS: CONS:
Well made Large body and extended scale may
be too much for some
Solid top
Fantastic Baritone sound
Quality hard case included
Included Fishman pre-amp
TECH SPEC
LSB768SEK Baritone guitar NUT WIDTH: 43mm
MSRP £429 US $1,069 SCALE: 29
Made in: Unknown PREAMP SYSTEM: Fishman
TOP: Solid Sitka Spruce Sonitone
BACK: Rosewood BRIDGE: Rosewood
SIDES: Rosewood TUNERS: Wilkinson tuners with
BRACING: Quarter sawn scalloped butter-bean buttons
bracing STRINGS: D’addario EXP-23
ROSETTE: ABS phosphor bronze baritone
NECK MATERIAL: Mahogany CASE: GCLSJ - Included (may vary
FRETBOARD: Rosewood by territory, please check with your
INLAYS: dots and Diamonds local distributor)
NUT: Bone
Admira Virtuoso 2147 EC

Spain’s Admira has been one of the country’s leading producers of classical
guitars since the 1940s. Giorgio Serci tries the electro cutaway Virtuoso 2147 CE
to see if the today’s Admiras can live up to the company’s reputation.
‘A
dmira has been making recording many CDs, including
guitars in Spain since two of mine: ‘Lo Scenario’ and
4.0
1944 and has been ‘New York Sessions’.
successful ever since, thanks to
its wide range of well-crafted Straight from its box (this
and reasonably price models. guitar doesn’t come with a hard
I first heard of this make in case), the Virtuoso model has
STAR RATING a beautiful natural look, as you
the ‘90s, while visiting the UK
distributor Barnes & Mullins, would expect from a classical
PROS: when they were still based in
London. In those years, many
guitar. It features a well-finished
classical style headstock with a
Reliable maker of my London based colleagues sticker stating that the instrument
were using Admira guitars, as has been handcrafted. This is
Well built always a plus in a classical or
these were great for day-to-day
Impressive Shadow gigs, thanks to their overall acoustic guitar, as this ensures
pickup quality, tone, playability and the guitar has been refined to a
really good pickup, but also great higher standard and it has been
Very versatile for recordings (particularly the assembled with care and attention
best models). I vividly remember to detail. Framing the headstock
are the lyre design gold machine
CONS: being shown one of their top-of-
the-range models at Barnes & heads, which as well as working
None to speak of Mullins. It was a predecessor of really well, add an elegant touch
the Virtuoso 2147 EC that we are to the guitar.
trying today and, suffice to say, The Virtuoso model features
I was so impressed that I bought a well-finished rosewood
that guitar on the spot and I fingerboard, with a bone nut for
have played it for over ten years, maximum sustain. Rosewood

is a popular tone wood for
electro-acoustic models as it
is resonant and cost effective.
The wide neck is ideal for a
classically trained guitarist and
for comfortably performing the
classical repertoire, as well as for
any solo guitar music. Electric
guitarists, however, may need a
while to get used to it!
As most nylon string guitars,

the neck meets the upper bout
at the 12th fret and it does
so in a fluid and beautifully
finished manner. The guitar
features a cutaway, which makes
soloing on the higher register
very comfortable. The main
ingredients for its body are
solid cedar for its top, rosewood
for back and sides and African
mahogany for its neck.
A rosewood bridge and nut

saddle ensure an improved
resonance, intonation and tone
and the rosette and purling add
another elegant touch to the
aesthetic of this instrument.
Playing this guitar, a balanced

response, as well as the sweet
and equally present timbre is
noticeable from the treble to
the bass register. The action is
Admira Virtuoso 2147 EC
quite comfortable, and this could be easily and treble plus an extra brilliance control
adjusted for an even-more personalised to emphasise the higher frequencies. This
outcome. Beautiful craftsmanship is evident pickup doesn’t feature a tuner, but this in my
from the headstock to the lower bout, which opinion is not an issue, as clip-on tuners are
flow in a harmonious and refined manner. so reliable and affordable these days. As you
can hear from my demo, the sound solely
This model features a Shadow pickup, which through the pick up is clear and balanced.
guarantees a clear and balanced amplified You may prefer using a condenser mic, as
tone and makes this a really versatile model I have demonstrated, for a more faithful
for both live and studio performances. This reproduction, or you could combine the two
features a 3-band equaliser, with bass, mid sounds, for a faithfully, but slightly more

punchy and feedback-free tone. In conclusion, its finish, playability, tone as
well as its Shadow pickup and its cutaway
Over the years Admira has produced a wide design make this a versatile gigging guitar,
variety of mid-price-range Classical and ideal for the guitarist looking for an
Flamenco guitars, earning a good reputation instrument which sounds good through a
for making well-crafted, reliable and PA, as well as acoustically.
affordable instruments, as well as for offering
a wide range of sizes (cadete guitar ¾, I strongly recommend finding an Admira
senorita guitar 7/8 and requinto guitar ½), dealer near you and trying the 2147 EC
and are, as a result, said to be the best selling Virtuoso model for a ‘test drive’. I am sure
manufacturer in the world, which judging by you will be pleasantly suprised! •
this sample is really no surprise.
TECH SPEC
Admira Virtuoso 2147 EC reinforcement
MSRP £625 US $ N/A Fingerboard : Ebony
Made in: Spain Bridge : Rosewood
Top : Solid Cedar Machine Head : Gold Plated Lyre
Sides and back : Rosewood Pre-Amp : Shadow 4 Plus
Neck : African Mahogany with Ebony
THE QUIETROOM_AMP REVIEW
Laney A1+ Acoustic Combo

UK amp maker Laney may be best known for its Metal mayhem tube amps, but it
impressed at NAMM 2014 with a new, very affordable guitar/vocal combo aimed
at acoustic guitarists. We challenged Rick Graham to find its Achilles heel.
‘A
dmira has been making recording many CDs, including
guitars in Spain since two of mine: ‘Lo Scenario’ and
4.5
1944 and has been ‘New York Sessions’.
successful ever since, thanks to
its wide range of well-crafted Straight from its box (this
and reasonably price models. guitar doesn’t come with a hard
I first heard of this make in case), the Virtuoso model has
STAR RATING a beautiful natural look, as you
the ‘90s, while visiting the UK
distributor Barnes & Mullins, would expect from a classical
PROS: when they were still based in
London. In those years, many
guitar. It features a well-finished
classical style headstock with a
Extremely well priced of my London based colleagues sticker stating that the instrument
were using Admira guitars, as has been handcrafted. This is
Great ‘musical’ sound always a plus in a classical or
these were great for day-to-day
Feature packed gigs, thanks to their overall acoustic guitar, as this ensures
quality, tone, playability and the guitar has been refined to a
Well built really good pickup, but also great higher standard and it has been
for recordings (particularly the assembled with care and attention
to detail. Framing the headstock
CONS: best models). I vividly remember
being shown one of their top-of- are the lyre design gold machine
None we can think of the-range models at Barnes & heads, which as well as working
Mullins. It was a predecessor of really well, add an elegant touch
the Virtuoso 2147 EC that we are to the guitar.
trying today and, suffice to say, The Virtuoso model features
I was so impressed that I bought a well-finished rosewood
that guitar on the spot and I fingerboard, with a bone nut for
have played it for over ten years, maximum sustain. Rosewood is a

popular tone wood for electro-acoustic models as it is resonant and cost effective. The
wide neck is ideal for a classically trained guitarist and for comfortably performing the
classical repertoire, as well as for any solo guitar music. Electric guitarists, however,
may need a while to get used to it!
Laney A1+ Acoustic Combo
As most nylon string guitars, the neck another elegant touch to the aesthetic of this
meets the upper bout at the 12th fret and instrument.
it does so in a fluid and beautifully finished
manner. The guitar features a cutaway, which Playing this guitar, a balanced response, as
makes soloing on the higher register very well as the sweet and equally present timbre
comfortable. The main ingredients for its is noticeable from the treble to the bass
body are solid cedar for its top, rosewood for register. The action is quite comfortable,
back and sides and African mahogany for its and this could be easily adjusted for
neck. an even-more personalised outcome.
Beautiful craftsmanship is evident from the
A rosewood bridge and nut saddle ensure headstock to the lower bout, which flow in a
an improved resonance, intonation and harmonious and refined manner.
tone and the rosette and purling add

This model features a Shadow pickup, which You may prefer using a condenser mic, as
guarantees a clear and balanced amplified I have demonstrated, for a more faithful
tone and makes this a really versatile model reproduction, or you could combine the two
for both live and studio performances. This sounds, for a faithfully, but slightly more
features a 3-band equaliser, with bass, mid punchy and feedback-free tone.
and treble plus an extra brilliance control
to emphasise the higher frequencies. This Over the years Admira has produced a wide
pickup doesn’t feature a tuner, but this in my variety of mid-price-range Classical and
opinion is not an issue, as clip-on tuners are Flamenco guitars, earning a good reputation
so reliable and affordable these days. As you for making well-crafted, reliable and
can hear from my demo, the sound solely affordable instruments, as well as for offering
through the pick up is clear and balanced. a wide range of sizes (cadete guitar ¾,

senorita guitar 7/8 and requinto guitar ½), ideal for the guitarist looking for an
and are, as a result, said to be the best selling instrument which sounds good through a
manufacturer in the world, which judging by PA, as well as acoustically.
this sample is really no surprise.
I strongly recommend finding an Admira
In conclusion, its finish, playability, tone as dealer near you and trying the 2147 EC
well as its Shadow pickup and its cutaway Virtuoso model for a ‘test drive’. I am sure
design make this a versatile gigging guitar, you will be pleasantly suprised! •
TECH SPEC
Laney A1+ Acoustic Combo 16 DSP effects
MSRP £299 US $449 Mute function
Made in: China Master volume
80 Watt combo Aux in
8” woofer & dome tweeter Phones out
2 independent channels XLR DI out
Dual Jack/XLR inputs Line out
Shape controls FX loop
Bass, Mid sweep &Mid level, Treble Footswitch
controls Phantom power
Anti-feedback controls
THE QUIETROOM_DON ALDER
DOWNLOADS
TTJSOLOGUITAR.MP3 TTJSECTION1-2.PDF
TTJTRACKS.MP3 TTJTABS.PDF
TTJTRACKSWGUITAR.MP3 TTJ.GPX

ADVANCED
Acoustic Guitar
The Quiet Room is proud to welcome back Don Alder, Canada’s acoustic
guitar master for a brand new series: Advanced Acoustic Guitar!
TAIWAN TRAFFIC JAM TUTORIAL PT. 2

TECHNICAL DIFFICULTY -
Left Hand Techniques - intermediate,
Right hand Techniques - Advanced with a touch of hyper.
Tuning BADGAD (tuning has a Bm or D major tonality)
Included Files - solo guitar, solo guitar with tracks,
jam tracks - no guitar, PDF analysis, Tab
‘W
elcome back to part II of bass notes and also has slight variation.
the tutorial for TTJ, lets get When you encounter repetitive parts you can
started. Hopefully you have keep on the path or stray a bit. My approach
sections 1 and 2 completed. is pretty simple. If the song allows I will
always introduce slight to drastic variation. I
Section 3 is what I refer to as the vocal also use a bit of vibrato on the first chord, if
section of the song. It has two parts. In Part you’re fast enough you can do the same for
one, you’ll be picking notes from the chords the following chords, that said the speed of
Bsus 2, F#m and G, this part repeats three this song might not allow for it.
times and I approach these as a vocalist
would by finding subtle variation in note Part two has two variations and repeats
choices and picking patterns. The thumb twice. The chords are Bm, Gsus2, E7, F#7
uses a common alternating pattern for the then repeats with the following changes. Bm
THE QUIETROOM_DON ALDER
Gsus2 (but move F# note to a G) followed pertaining to this song.

by A7 concluding with a hybrid E/G#
slash type chord. You then head back to the - use of altered tunings to open up the sonic
door crasher lick (main lick of the song). palette providing many new shapes and tonal
Experiment with various fingerpicking colours.
patterns and see what you come up with. - uses a door crasher lick
Section 4 has a handful of parts which - the techniques and progressions have
leads us to what I call the home section. structure and reason but suggest mayhem,
The reason I say this is that most of the similar to how real traffic functions
song has that darker minor tonality but the
home section jumps to D major, the nearest - use of the the most coolest tool for guitar
relative major chord to Bm. When you arrive players, the cut and paste technique
to the D major you feel like this is what the
song has been leading up to. Part 1 chords - The song mostly lives in the tonality of
are Em9, F#m Gm, this is the doorway Bminor but shifts to the tonality of D major
phrase or call it the big build to part 2, the which is the nearest relative major to Bm
home section. The chords are D, D wB/ - using deceptive cadence (std progressions
bass, Em, C, C# repeat the C and C# two are 4 -5-1) the most powerful cadence
more times. At this point you think we used on the planet is from 5-1 but this
introduce a Deceptive Cadence. song avoids that, we use this technique to
As we jump from the C to C# we expect transition to the door crasher lick to end the
to hear the usual progression to D however song.
we go to B. There is another case of using So, hope you enjoyed this tutorial, in
deceptive cadence in this song but Ill leave summary songwriting is always an interesting
that up to you to find. process. I like the sound of suspended chords
To describe this song in non musical terms and this led my in the direction of this song.
it’s the feeling of being in crazy traffic, with There you have it, any questions, drop me
lots of twists and turns, you finally get on the a line at don@donalder.com If you feel like
home stretch and just when you think your hearing some new music then hunt me down
there your getting close mayhem appears. on cdbaby.com or my website
Some interesting ditties to note about www.donalder.com •
crafting your song to fit the song title as

THE MAIN RIFF
B pentatonic riff morphing into a
finger picked E minor 9 type chord
Pre-verse chords: (Cut and Paste Chords)
Bsus4, Bmin7 Bsus2. After the Bsus4 chord I throw in a little riff to bridge to the
beginning. Second time through (I cut and paste) the Bsus4 chord with riff and
repeat it 3 frets higher, ending with a B7 flat13/5th or 10th
Don Alder Feature
THE QUIETROOM_GIORGIO SERCI

Giorgio Serci
First Steps In Fingerstyle
Study n.14
‘H
ello there and welcome to diminished scale. This is the seventh
Guitar Interactive’s Quiet mode of the melodic minor scale and
Room. it is often associated to Jazz for it’s
colourful connotations. This mode is
In this column we’ll be looking at mainly used over dominant seventh
another composition of mine simply chords, in order to create a tension and
called Study n. 14. This piece features release effect, especially on resolving
a few arranging and compositional dominant chords (V – I). The most
ideas, the most recurring being shifting interesting characteristic of this mode
the melody line from the higher to is the presence of both a minor and
the lower register. This is a simple but a major third. The former is often
effective arranging strategy, which described as the #9 of the chord (For
forces the guitarist to outline the more info on this subject, you may
melody, applying the appropriate want to research altered chords and
pressure with the relevant picking hand melodic minor modes).
finger.
This mode is evident in bar 4, where
Another melodic feature in this piece, is the B7 chord features a D (minor
the use of the altered scale, also known 3rd) and a D# (major third). The
as the ‘super-locrian’ or whole-tone- final note in bar 4 (C), is the b9th in
relation to the B7 chord. As you can see,

the altered scale is simply implied, as not all The melody and the supporting harmonies
its notes have been used but only the most will be played with the ‘i’, ‘m’ and ‘a’ fingers.
characteristic.
Next we are going to look at the left hand
Compositionally, I have structured the first part:
four bars in a pianistic fashion. In essence
using the LH to play an arpeggio or broken (Please note E=low E string, e= high E
chord as an accompaniment while RH string)
would play the melody. The last four bars, BAR 1: Index f on fret 2 of D and open e,
feature a hand/voice swap, as the LH plays followed by open G, open B and e. Middle f
the melody and the RH the accompaniment. hammer-ons onto fret 2 of e and pull-offs to
This arranging formula is as effective on an open e. Little f on fret 4 of B followed by
guitar as it is on piano, although the more an open e.
limited melodic/harmonic palette of tonal
colours of the former pushes us to simplify BAR 2: Middle f on fret 3 of A and ring f
the arrangement. on fret 3 of e. Open G and B. Index f on fret
2 of e followed by a pull-off.
Finally, bars 5, 6 and 7, capitalize on the
common chord tones found in the following BAR 3: Open A plus little f on fret 4 of B.
chords: Em, Cmaj 7 and C#m7b5. These Middle f on fret 2 of D and open G. Index
three chords in fact, share the triad EGB. f on fret 1 of B followed by a pull-off to an
open B.
As usual, our ‘p’ finger will play the bass
line. Play this part in a relaxed and clear BAR 4: Middle f on fret 2 of A and ring f
manner, making sure your thumb is a little on fret 2 of G. Index f on fret 1 of D, open
forward compared to the i, m, a fingers, in D and little f on fret 3 of A.
order to prevent it from colliding with the ‘i’
finger. As always, focus on attack and tonal BAR 5: Middle f on fret 2 of A, open G, B
consistency. and E. Ring f on fret 3 of E, Middle f on fret
2 of E and open E.

BAR 6: Ring f on fret 3 of A, open G, B BAR 9: (beat 1) Little f on fret 5 of A, open
and E. Middle f on fret 3 of E, index f on G, B and e. (beat 2) Index f on fret 2 of A,
fret 2 of E and open E. middle f on fret 3 of D and open G and B
(to imply a G7/B)
BAR 7: Little f on fret 4 of A, open G, B
and E. Ring f on fret 3 of E, Middle f on fret BAR 10: Ring f on fret 3 of A, open G, B
2 of E and open E. and e. Arpeggiate this Cmaj7 chord, playing
fret 2 of D, open G and B.
BAR 8: (beat 1) Little f on fret 5 of A, open
G, B and e. (beat 2) Little f on fret 6 of A, BAR 11: Ring f on fret 3 of A, index f on fret
index on fret 4 of D and open G and B (to 1 of D, middle f on fret 2 of G and little f on
imply a B7b13) fret 3 of B. Arpeggiate this Cm6/9, similarly
to the previous chord and finish the arpeggio
Repeat the first seven bars and jump to bar 9. on a C, fret 2 of B.
Giorgio Serci Feature
BAR 12: Open E, barre on fret 2 of A, little piece in a more accurate and consistent
f on fret 5 of D, ring f on fret 4 of G, fret 2 manner, while saving energy.
of B and e (to play an Em6/9)
This will complete this fingerstyle and guitar
Congratulations, you have completed Study composition lesson.
n.14!
I hope you will enjoy playing this study piece
As always, you will be able to download a and that this will give you some ideas on how
transcription by selecting the menu option in to write your own solo guitar compositions.
this page.
You can now find me on twitter @
I strongly recommend experimenting with a giorgioserci as well as on facebook.com/
few picking variations, changing the chords giorgiosercimusic or www.giorgioserci.com
as you wish in terms of voicing (higher or
lower), as well as trying the same picking Till the next time, Good-bye! •
pattern on a different chord progression,
or using a ‘capo’ on fret 2 for a brighter
outcome.
When repeating any section twice or more,

you may want to play ‘sul ponticello’, (closer
to the bridge) or ‘sul tasto’ (over the frets) for
TABLATURE DOWNLOADS
more contrasting results.
GUITAR PRO 6 PDF
Make sure you highlight the melody in both
registers (high and low), particularly from bar 5
DOWNLOAD DOWNLOAD
till 8.
Please focus on minimum-movement

approach, as this will help delivering the

THE
BASSME THE

E
ENT
E PLACE FOR BASS
THE BASSMENT_RHONDA SMITH
BASS ACE
RHONDA SMITH

CE!
H
Just in case you’ve been living down deep coal

mine for the past few years, Canadian born Rhonda
Smith has been grabbing attention as one of the
world’s most up and coming bass players. Having
worked with Prince, as a solo singer songwriter
and on a variety of projects, she is now poised for
massive international exposure as part of Jeff
Beck’s band for the legendary guitarist’s 2014
world tour. Stuart Bull met Rhonda for our video
interview. Here’s a Bassment profile.
‘H
olding down the bass gig with Prince must count
as one of the most desirable and yet also one of the
scariest jobs in contemporary music. But to follow
that with a long-standing role as bassist for the mercurial Jeff
Beck must be at least as daunting. Just leaving Beck himself out
of the picture, Beck’s fans are used to the great man working
with the cream of the world’s virtuoso players. You work with
him, you have to be one of the finest in the world, every night.
Rhonda Smith Interview
Somehow, Rhonda Smith to her eclectic approach today.

manages to carry this all off While young she learned baritone
without looking as if she has horn, keyboard and guitar. And
the weight of the world on her then there was bass. “My older
shoulders. A PRS (or a Fender) brother is the reason why I play
bass, maybe - but not a lot else. bass. He brought a bass home
She’s enjoying herself - and why one day and told me not to touch
not? it.” Anyone with a sister will
know what that led to!
Born in Halifax, Nova Scotia,
Canada, Rhonda’s family moved Perhaps inevitably, Jazz called
to the heavily French-influenced strongly and she studied Jazz
Montreal when she was still a performance while at Canada’s
child. She grew up surrounded prestigious McGill University,
by a thousand musical influences, before touring the country with
which have no doubt contributed a variety of different Rock bands.

Smith’s choice of gear has veered between
the traditional and the ‘rather unusual’.
Moving to the USA saw a flurry of activity with

some of the biggest names in the business
She won a coveted Juno Award Moving to the USA saw a flurry
(the Canadian equivalent of a of activity with some of the
Grammy) for Best Contemporary biggest names in the business,
Jazz Album for her work with Jim including: Chaka Khan, Beyonce,
Hillman and The Merlin Factor. T. I., Erykah Badu, Patti Austin,
Patrice Rushen, Brenda Russell,
The Prince gig came about as Lee Ritenour, Larry Graham,
the result of what is reported as Patti Labelle, Little Richard,
being ‘a chance meeting’ with Justin Timberlake, Najee, Candy
Sheila E. at a music convention Dulfer, Kirk Whalum and George
in Germany. “Sheila knew that Clinton.
Prince was putting a new band
together so I gave her my press kit The gig with Jeff Beck followed
and she sent it to him. I didn’t hear a successful period during which
from him for two months and I Rhoda Smith became a noted
thought he wasn’t going to call… solo performer as well as an
but thankfully he did. I flew up to accomplished band member. Two
Paisley Park and my audition was successful CDs, Intellipop and
basically a jam session with him RS2, saw her firmly established
and a drummer. Suffice it to say he not just as a bass player but also as
liked what he heard. The same day a fine singer. The announcement
he had me in the studio recording was made in 2010, when she
bass parts on the Emancipation and drummer Narada Michael
album.” Walden replaced Tal Wilkenfeld
and Vinnie Colaiuta. Incidentally,

it was Walden who recommended then run to the Big Block 750
her for the gig, in case you are driving the second Powerhouse
wondering. Given that female 2x12 for added punch and
bass players are still something reinforcement on the big rock
of a rarity, Beck’s ability to find stage. The M9 was tried late in
two of them - both world class rehearsals and worked well but in
- is remarkable, but that’s pretty the end, the already established rig
typical of everything Beck does: with M-Pulse 600 and Big Block
brilliant, difficult and unexpected! 750 won the spot until more time
is available to incorporate the M9
Smith’s choice of gear has veered Carbine full time,” Mesa Boogie
between the traditional and the says.
‘rather unusual’. Her core bass has
been a Fender Jazz for many years Add effects pedals from EBS and
(though she has also been spotted DigiTech and GHS strings and
with Laklands and a variety of there you have it. Just add a huge
upright basses) and Fender is still helping of talent. •
listed as one of her sponsors. Most
recently, however, she has been
associated with PRS’s remarkable
Gary Grainger basses, as reviewed
in this issue.
For amplification, she has been a
faithful Mesa Boogie user since
at least her time with Prince.
According to Boogie, 2x15s were
her choice while working with
Prince but she is now using Mesa
Powerhouse 2x12 and 4x10s both
driven by M-Pulse600 amps. “The
Slave out on the M-Pulse600 is
THE BASSMENT_GUITAR REVIEW
PAUL REED SMITH GARY GRAINGER 4 STR

A bass? From PRS? Dan Veall checks out the bass used by this month’s Basement interv
be just a token bass from what is primarily a guitar firm…get ready to be blown away.
Paul Reed Smith really needs no introduction to The neck on our sample
4.0 the guitar playing fraternity as his instruments and

reputation have preceded him and his company
for the best part of 30 years. Though hugely
fretboard featuring the tr
that can only be describe
was also very, very good.
better known for his guitars, Smith and long time this bass neck too. I reall
STAR RATING collaborator and primary designer Gary Grainger navigate. You know som
already have beautiful examples of ‘Private Stock’ are actually helping rathe
Grainger basses on offer, but last year the Maryland this has one.
PROS: based manufacturer brought two new models to
their core product line, namely the Gary Grainger 4 Moving down the instru
Superb neck and 5 string basses. We had a sample of the former sumptuous mahogany bo
in the studio for review. to luthiers that can turn
Superb tone
comfortable that looks se
Superb electronics Even if it doesn’t wear the prestige PRS ‘private contour around the cont
stock’ tag, this is unquestionably an expensive follow that line. It’s one
CONS: instrument - just not in the ‘superstars only’ league.
The Grainger 4 and 5 string models have all the
lifts an instrument from
an absolute joy to pick u
What price perfection? character of the private stock models but with “a
more universal appeal” according to PRS, though a Around the body edge is
healthy degree of customisation is offered, including bringing the maple neck
‘10-top’ flame or quilted maple body caps and the body as a highlight. I’ve
choice of the rosewood fretboard, or maple. Our of the PRS guitars and I
sample came with the rosewood option. taken that look straight t
the familiar outline. Thu
Starting up at the headstock, the bass has a standard body too - it’s a great ton
two-a-side design featuring Paul Reed Smith balanced tone acoustical
stamped tuning keys. The five string model has loud instrument too. Th
three on top and two below. The keys have the as I’d mentioned earlier a
smaller sized posts for string windings. I prefer the
larger type, personally, but these keep the weight Moving down to the brid
down a bit! one! - a cross between a v
and a modern high-mass

RING BASS
view star, Rhonda Smith. If you had any thoughts it might
e was maple with a rosewood base plate and quick release ‘key holes’ for
raditional PRS bird inlays the bass string ball to lock in to, but the
ed as superb. The fretwork whole unit has more of a vintage vibe with
. There’s something about the more familiar looking cylinder saddles.
ly found it a total joy to Simple and functional.
me bass necks feel like they
er than fighting you? Well, In the electronics department things really
start taking shape. To add some more
detail to my video, the pickups are actually
ument and on to the four single coil passive types arranged in
ody curves, I tip my hat two humbucking units. PRS says that in
a flat top into something this configuration the pickups deliver a
exy as well. I like that long depth and clarity and adds to the
trols and that the knobs mid range voice of these basses.
of those nice touches that I agree wholeheartedly, but for
just being ‘a great player’ to me the really beauty in tone
up. was really obvious when the
active circuit was active. The
s a natural maple binding, circuit is a three band system
k colour through to the running on 18v which gives
e always liked the outline added headroom and there are
am very pleased they have two compartments on the back
to the bass, maintaining of the bass for each 9v battery.
umbs-up for the mahogany It’s worth mentioning that
newood. This bass has a full the bass will still work, even
lly and it’s actually a very without batteries installed.
he gorgeous cap is an option
and it is stunning! The pre-amplifier features
a 3 band EQ for cut and
dge and it’s an interesting boost of selected frequencies
vintage style configuration with a pair of volume
s design. It has a bigger controls for each of the
pickups. These two controls also feature a and the electronics deliver a wide palette of
rather cool setting for extra tone options: sounds that would be useful in all manner
by pulling up one of the volume controls of musical genres. It’s a well balanced
you instantly get the passive sound of that instrument that I feel will be comfortable for
pickup. If you pull them both up you get most people and certainly isn’t heavy. The
both pickups in passive mode, though body is a little taller top to bottom, so if you
you can’t have one active and one passive are used to very slim bodies, you’ll notice it
unfortunately. It’s a clever idea, offering under your arm, but that said it is in no way
further tonal choices but for me, the power a hindrance. For me, I prefer just a single
really lies in the active settings. I like a little master volume control and a pan or pickup
bit of boost on each of the three controls and selector, especially for live use.
I found that with frugal boosting, the PRS
delivered a superb, big, clear and raspy sound That’s about as brutal as I can manage to be
that filled the room with tone! I’d love to get with this instrument. Far from being just a
a 5 string version in for review to hear how useful addition to a guitar manufacturer’s
the Grainger bass deals with a low B! main range, the Gary Grainger bass is a
world class instrument in its own right that
So there it is. The PRS Gary Grainger can compete with just about anything. To
4 string sounds great and is incredibly sum it up? It’s just beautiful! •
comfortable to play. It is quite the looker
Paul Reed Smith Gary Grainger 4 string bass

TECH SPEC
Paul Reed Smith Gary Grainger Active Electronics
4 string bass OPTIONS
MSRP £3,230 US $4,550 Top Option 10-Top Flame or Quilted
Made in: Maryland USA Maple
BODY Fretboard Option Maple
Top Wood Carved Figured Maple Other Option Ramp
Back Wood Mahogany Multiple colour options
NECK SWITCHING
Number of Frets 24 Knobs 1-2 are volume controls and
Scale Length 34” passive/active switch:
Neck Wood Maple Knob 1: Neck pickup volume.
Fretboard Wood Rosewood (Maple Down = Active, Up = Passive If this
option) knob is up and Knob 2 is down only
Neck Shape GG 4 the neck pickup (passive) is heard
Width At Nut 1 5/8” wide – Knob 2: Bridge pickup volume.
53/64” depth Down = Active, Up = Passive
Width At 12th Position 2 1/4” wide If this knob is up and Knob 1 is down
– 15/16” depth only the bridge pickup (passive) is
Bridge Outside String To Outside heard.
String 2.26” If both knob 1 and knob 2 are in the
Bridge String To String 0.75” up position, both pickups (passive) are
Nut Outside String to Outside String heard.
1.28” Knobs 3-5 are a 3-band EQ control:
Fretboard Inlays Birds Knob 3: Bass EQ. Functions with
HARDWARE/ELECTRONICS pickups in active mode.
Bridge PRS 4 String Bass Bridge Knob 4: Mid EQ. Functions with
Tuners Bass Tuners pickups in active mode.
Truss Rod Cover “Grainger” Knob 5: Treble EQ. Functions with
Hardware Type Nickel pickups in active mode.
Treble Pickup GG Treble The bass will function passively
Bass Pickup GG Bass Pickups without batteries as well.
Pickup Switching PRS/Grainger NAT - Natural with Vintage Toner
IBANEZ SR375-BBS 5 STRING BASS

It’s new for 2014. It’s got drop-dead good looks. It’s selling at a very affordable price. It’s
there’s anything about the Ibanez SR375-BBS that’s not going to make it fly off guitar sh
‘I
banez’s SR bases have been about this) not very inspiringly na
4.5
around for a quarter of a SR375- BBS. But let’s not worry a
century now (yes, really!) name. This a very comfortable ins
and during that time they’ve to play that even the smallest of h
earned a tremendous reputation for their be agile with - AND it’s a 5 string
STAR RATING combination of modern design, great
sound and impressive playability. You Let’s talk details. The bolt-on neck
might imagine that a manufacturer would fast and skinny with a shallow pro
have pretty much exhausted all the new but I didn’t find it too small, desp
PROS: ideas for a range during that time, but no, massive hands, and could navigate
Ibanez keeps developing its SR models, unhindered. In fact, it’s actually ve
Very affordable to play, straight out of the box. Th
and here’s the latest the (let’s be frank
Great looks scale feels familiar and the 16.5mm
Well made
Angled socket entry
means less stress on
the cable when looped
over a bass strap
Well balanced both
sitting and standing.
CONS:
Pan and Volume
controls could be
better placed
Ibanez SR375-BBS 5 string bass

s even got five strings. Dan Veall tries to find out if
hop walls.
amed spacing is something I have personally used

about the for years and years so, naturally, I liked
strument it on the Ibanez! I’ve always said that it
hands will makes sense to pull the spacing in a little
g! when adding extra strings, though that’s
personal preference and not everyone will
k is super want a close string spacing at the bridge, I
ofile appreciate.
pite my
e it Moving on, the neck is maple with
ery nice rosewood stripes and features a rosewood
he 34” fretboard capping the skinny profile. 24
m string medium size frets are tidily finished-off,
with no sharp edges on this example.
The body is downsized and certainly not as

‘tall’ when sitting down as, say, a Precision
bass. This makes it instantly comfortable
for smaller players but that didn’t mean
it was an issue for me at 6’3” either, so I
think that just about anyone is going to
find this bass very comfortable to handle.
Under the rather tasty blackberry glossy
finish, that I think looks superb, is a maple
body that in conjunction with the maple
neck gives the bass a brighter chiming tone
acoustically.
Plugging the bass in to the EBS rig we had

in for review for this issue with all controls
set ‘flat’, (no cut or boost on the EQ, both
pickups on and volume all the way up) we
were rewarded with a punchy and balanced IIID equaliser, I was intrigued to find that
sound across the bass neck with no obvious the boost and cut centres on the mid EQ
dead spots. The voice of the bass in these control are different, so that boosting the
settings has a modern vibe to it but I couldn’t control (according to online diagrams) adds
resist just a bit of boost from the bass control lower mids whilst cutting the control (anti-
to help bring out a solid low end. clockwise) cuts more upper mids.
The controls on the SR375 are made up of a Ibanez’s pickups on this model are passive
master volume and pan control between the ‘Cap EXF-N2’ units that are arched so that
pickups - I demonstrate the sounds between the each string is set at an equal distance
each of the settings in the video review. from the pickup poles.
The other pre-amp controls comprise cut Great idea and I do wonder why so many
and boost for the bass, middle and treble pickup manufacturers don’t offer this as an
frequencies. On the subject of the EQB- option. Discuss!

I’ve not mentioned the Accu-cast bridge Tonally, sweeping through the settings, the
yet and there’s something that Ibanez point bass is very capable, especially with the front
out that I’d like to pick up on. The B125 and both pickup mix settings, though I
features extra-wide string slots that allow for found myself reaching for the bass and mid
the installation of heavier gauge strings. I like controls to make that bridge pickup produce
this because many bass players are grabbing a fatter sound on its own.
instruments that allow for deep drop tuning
these days and doing that will require a To sum-up this is a very fine addition to the
bass that can accept those thicker strings. It Ibanez range and represents very good value
looks like this bridge will do the trick in that for money. It’s a very well priced instrument,
department! very well made and delivers a solid, modern
and very usable tone.
Well done, guys! •
TECH SPEC
Ibanez SR375-BBS 5 string bass (Passive)
MSRP £315 US $599.99 Bridge pu CAP EXF-N2 bridge pu
(Passive)
Made in: Unknown Equaliser EQB-IIID 3-band eq
Neck type SR5 5pc Maple/ Hardware color Cosmo black
Rosewood neck Scale 864mm/34”
Body Maple body a : Width at Nut 38mm
Fretboard Rosewood fretboard w/ b : Width at Last Fret 62mm
White dot inlay c : Thickness at 1st 19.5mm
Frets Medium frets d : Thickness at 12th 21.5mm
Number of frets 24 Radius 305mmR
Bridge Accu-cast B125 bridge
Neck pu CAP EXF-N2 neck pu
THE BASSMENT_CAB REVIEW
EBS CLASSIC 500 & CLASSIC 210 CL CAB

Sweden’s EBS has updated its Classic 450 solid state head, endowing it with higher powe
Dan Veall samples a very modern take on a classic configuration.
‘S
For those who prefer the vintage vibe of a cool looking
4.0
sleeved bass head sitting on top of a speaker cabinet, I think
EBS has it all sewn up with this new, updated EBS Classic
500 head. It’s a progression from the Classic 450, featuring
an uprated output and downsized outer casing. As I’ve said in the
STAR RATING past, I have always enjoy having new kit to look at from EBS as the
Swedish company cleverly strikes a balance between useful technology,
uncluttered front panels and easy to use functionality.
PROS: We were also sent an EBS Classic 210 CL cabinet to pair with the head
to make up a super portable but powerful rig. The cabinet features
Clean powerful two 10” speakers and a tweeter with an attenuator control on the back
sound that faithfully panel. The cabinet is ported and when pushed in our studio, the low
reproduces your bass’s end becomes more apparent. Don’t expect seismic low end from just this
tone. particular cabinet but I am supremely sure that coupled with multiple
EBS cabinets, or indeed the huge Classic 810 model, the Classic 500
Easy to carry head will deliver real kick drum lows that will punch above its weight.
Great EQ stage This is something I need to hear!
Cabs in the CL The Classic 500’s front panel lay out is dead simple to navigate. As with
range can be other EBS kit we have reviewed, the layout is familiar, making the head
stacked vertically or a breeze to use without even opening the manual. Don’t be fooled into
horizontally thinking this is a one-trick pony, though!
Comes with padded To the right of the input socket is an input level gain control and as
covers as standard usual this will allow you to match your bass level to get the best signal
with the least amount of noise in to the amp. To the right of that lies the
EQ section. EBS starts with a clean pure tone then uses a well thought
CONS: out EQ section to enhance your instrument’s character, rather than
colour the amplifier’s sound. The bass frequency centre is just where it
Could benefit from an needs to be - that ‘kick drum punch’ centred at 100Hz shelving.
effects loop

er and a ‘brand new yet retro’ styling.
Instead of a fussy graphic EQ we have just EBS has also included its useful ‘Character
two controls for the lower midrange and Filter’ pre-shape control. In the past I’ve
upper midrange frequencies. However, these called this a kind of ‘big cab’ simulator
are of the parametric variety giving us the and it’s very useful when you are using
option of dialling in the exact frequency area small cabinets. By engaging this function
we want to boost or cut - extremely useful if there’s a bass boost (below the centre of
you are in a room with troublesome acoustics the bass control) a slight cut to the middle
or of course, alternatively, you can bring out frequencies and a smidgen of boost on those
the best from your instrument by finding treble frequencies that are useful for slap or
that sweet spot by sweeping the frequency pick use. I find that some pre-shape controls
centre back and forth. have too much boost and cut, but once again
EBS has done a great job of keeping head starts to react a bit like a vintage
this musical and useful, while still tube amp, delivering a chewy and
allowing the tone controls maximum certainly less ‘Hi-Fi’ driven bass sound
effect. The Classic 500 sounds full and that compresses the bass too. EBS has
coherent throughout a wide range of tuned the drive circuit so that the lower
settings. frequencies are allowed to pass through
unadulterated, meaning that the EQ
Yes, the Classic 500 delivers clean bass can be pushed in the low end further
by the spade load, but (and I should before things get too messy.
say this in a movie intro voice) it has
a darker, uglier side that rears its head This is what the classic 500 is designed
in form of the drive control. Again, to do: to be as close to a vintage tube
a little bit of thought goes along way. amp without including a single valve.
There’s 30db of gain available from The power output comes from a
the drive section and as you advance MOSFET design power amplifier that
the control the bass signal begins to is much loved for the perceived girth
mildly overdrive. Advancing further, the and rounded lows, often said to be close
EBS Classic 500 & Classic 210 CL CAB

to the way that a valve amplifier works. by Velcro, should you want access
I enjoy the sound of a well designed the speakers behind. It is a multi-
MOSFET amplifier and muscular laminated plywood design, covered
power supply. with vinyl and fitted with deep dish
handles.
One important extra benefit of having
an all solid state design like this is that Wasting no time at all, we plugged
it has enabled EBS to keep the weight everything in and turned up this head
of the head down to 14Kg. and gave it a good run for its money
using the Enfield bass we also had in
The 210CL cabinet that was for review in this issue.
introduced in December 2013 is, as What a great combination! I really
usual, superbly made with an easily can’t find fault. The 210CL is loud
removable front grill held in place and punchy, without trying to produce
frequencies that it can’t,

rather focussing on those that
it can handle well. I bet a pair
of these as a modular 4x10
would be superb. The sound
itself is detailed, with good
mids and the tweeter at these
levels sounded clear and not
shrill.
The 210CL is an 8 Ohm

cabinet rated at 250W RMS.
Summing up, I was really

pleased with the sound of
this rig and would love to
try the head with different
configurations of cabinets
from EBS to hear its full
ability. My favourite settings,
as per the video, were to
just start boosting the drive
control a touch so it doesn’t
distort the signal but delivers
warming in the mids. That
really suited the modern
sounding instruments we had
in the studio when we were
reviewing this rig.
The Classic 500 isn’t cheap

but it is very good - another
great rig from EBS! •

TECH SPEC
EBS Classic 500 & Classic 210 Drive Section Gain 0-30 dB,
CL CAB Low end compensation <250 Hz
Classic 500 head Other Features Balanced Output,
MSRP £899 US $999.95 Line Out
210 L cab: Minimum speaker impedance 2
MSRP £449 US $499.95 ohms
Output Power 500 W RMS @ 2
Made in: Unknown ohms load
Input Impedance 1 MOhms 440 W RMS @ 4 ohms load
Gain range -oo / +28 dB Dimensions (W x D x H) 19.3” x
Character filter Shelving High/ 11.8” x 8.5” (49cm x 30cm x 21,5cm)
Low Pass Weight 14 kg / 31 lbs
+6 db @ 75 Hz
-2.5 dB @ 800 Hz EBS 210CL cabinet
+3 dB @ 9 kHz Configuration 2x 10” + 2”
Tone Controls Bass Shelving +/- Frequency Response 55 - 18k Hz
15 dB @ 100 Hz Sensitivity 96 dB
Low Mid Power Rating 250 W RMS
Sweepable 150-900 Hz +/-15dB, Impedance 8 ohms
Q=0.9 Height 49 cm / 19”
High Mid Sweepable 1.2-7 Width 64 cm / 25”
kHz +/-15dB, Q=1.1 Depth 34 cm / 13”
Treble Shelving +/- 15 dB @ 10
kHz
ENFIELD LIONHEART BASS 4 WITH SIMS S

And now for something completely different! The Enfield Lionheart is a hand-crafted bas
‘I
f you’ve not heard of he had what he needed to launch
4.5
the UK-based Enfield something truly different in the
Guitars before then bass field - which is what I’m
I’d say you’re in for a reviewing here: the Lionheart
real treat! Specialising in basses bass.
STAR RATING and highly advanced pickups,
the company is headed by its The Lionheart is, as Martin
founder, Martin Sims, who describes it, a ‘simplified version’
has a background in high-tech of the company’s popular Cannon
PROS: engineering, having previously model, sharing the same body
outline but with more traditional
worked with Class 1 offshore
Top quality materials racing powerboats, as well as F1 body contours. Our sample came
and components racing cars. In 1994, he started with what is described as a vintage
Sims Custom L.E.D., which Daphne blue body and matching
Fine build quality headstock with a satin finish.
won him instant international
Amazing pickups recognition for introducing LED Other colours are available, as is
fret markers that can not only be a gloss finish. In fact, Enfield lists
installed as part of a custom build many other options, including
CONS: but even as an after market add- gold hardware, carbon fibre neck
wraps and of course those famous
on to your favoured instrument,
None whatsoever with stunning results! LED installations. There is a 5
string version of the bass too.
The instrument side of Martin’s
business began as a personal The Lionheart excels in all its
project and grew out of the Sims areas, so it’s hard to single out
Spray Shop, based in Kent, UK. any one for praise, but let’s start
Martin had already added custom with component quality. I love
spraying to his LED skills and the two-a-side headstock design
now added a manufacturing featuring premium light weight
facility for instrument necks, tuning keys from US makers
bodies and components. Finally, Hipshot. The bridge, too, is a
tried and trusted Hipshot design -

SUPER QUAD PICKUPS
ss with a revolutionary quad pickup. Dan Veall gets to grips with a tonemonster!
and that means quality! The tonewoods So far what we have is a very well made
are great, also, starting with the choice bass with a five bolt neck joint, kitted
of East Asian mahogany for both body out with top quality hardware. And
and neck. Standard options for the here is where things start to get really
Lionheart range includes either Indian interesting!
rosewood or maple capped fingerboards
but there’s an Indian ebony upgrade One of Martin Sims’ claims to fame
available too, if that’s more your style. is that he has pioneered a ‘single
And speaking of fretboards, the 4 string solution’ massive pickup - the Enfield
version of this bass features a 43mm Super Quad (originally featured in
nut and there’s a 5 string version with the Cannon model) that is capable of
a comfortable 51mm width. The neck multiple sound configurations. Enfield
carve is described as a vintage B profile says “it’s like having 15 pickups in one
and I found it smooth, actually slimmer bass” and that’s a fair claim I found.
than I was expecting, and ultimately The Super Quad has been around for a
very gratifying all the way up the 24 while now and having proved his point
very tidy frets. with the design, Sims has also made
Enfield Lionheart Bass 4 with Sims Super Quad pickups

this revolutionary pickup available as an
aftermarket add-on, as well as on models
like our review Lionheart.
A quad pickup? In short, these fully

enclosed soap bars feature sets of coils
that allow a true representation of well
known bass pickup configurations all at
the flick of a three way switch. A three
colour LED provides visual indication of
what configuration you are currently in,
so it is child’s play to work out what you
are doing, even on stage in the middle of
a hectic gig. The Sims system uses what
he calls Tri-Logic circuitry which means
that when the pickup is switched to a
split coil, the LED shows red, single coil
transforms it to green mode and when
switched as a humbucker you get blue.
Incidentally, if this appeals as an after
market transplant for your own bass but
you are worried about the complexity,
don’t be. The pickup and harness
supplied are quite ‘idiot proof ’ in that
the complete unit can be hooked up and
installed in a bass within minutes with
just three terminals to solder in place!
So how does it work? The pickup

internals are divided into separate coils
that have been tweaked to accurately
deliver the tones of either a split coil
pickup (think P- bass) a single coil (a
Jazz type pickup) and finally with the
coils in parallel, delivering those zingy
humbucking Musicman tones. The
pickup is intentionally wide, to ensure
that the spacing between the coils
matches the pickup configuration they
are modelled on and I think this really
works well. Martin also advises that the 4 and 5 string pickup models will
drop straight in to nearly all basses, as they are able to sense a wide range of
string spacings.
What’s frankly more incredible is that the Lionheart features a pair of these
fantastic pickups independently switchable via their own toggle switches.
A pan control on board the bass mixes the outputs of each unit together.
The tones almost appear endless with just two switches and a pan control!
WOW!
For further tonal tweaking, if this wasn’t enough already, there’s also a 2
band boost/cut pre-amp made by Glockenklang that really supports the
sounds available from this bass.
Martin has also been aware of the overall weight of these basses and the 4
string model here comes in (on average) at a very respectable 3.5Kg whilst
the 5 string is barely noticeably different at just 3.85Kg! I think I’d be more
than happy playing a two hour set with either of these!
So how does it work as a package? Even without the superb pickups on

board I love the Lionheart. It feels familiar and has a strong tonal character
of its own. The balance is great and as I said earlier, lightweight but with
a big sound. With the addition of this very clever pickup arrangement,
however, amplified, the bass takes on multiple tone personalities via the
Super Quad pickups all of which really are usable and again, I’m going to
use the word ‘superb’. We also think it’s great value for money because what

you are getting here is a handmade bass of the finest quality for less than you can
pay for some factory produced basses these days.
The Enfield Lionheart started off great even before we plugged it in. And when
we did it took us to new levels of tone with these fabulous pickups. As I said:
just superb! •
TECH SPEC
Enfield Lionheart Bass 4 with Glockenklang 2 band pre-amp as
Sims Super Quad pickups standard.
MSRP £1,650 (5 string £1,850) Choice of body colours are available
US $ 2,200 (5 String $2,466) and all come complete with matching
Made in: England coloured headstock as standard and
East Asian Mahogany body and neck with a Satin finish.
with either Indian Rosewood or Maple Nut Widths : Lionheart 4 String =
capped fingerboards as standard. 43mm , Lionheart 5 String 51mm
Indian Ebony is also available as a Lionheart ‘Average’ Weight : Lionheart
fingerboard upgrade option. 4 String = 3.5kg ( 7.7lbs ) , Lionheart
USA made Hipshot bridge, Custom 5 String 3.85kg ( 8.5lbs )
prepared Hipshot tuners and
COLUM YOUR FREE GUITAR UNIVER

MNS
RSITY
COLUMNS_TOM QUAYLE
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BY RICK GRAHAM
GUITAR ROADMAPS
Creative Pentatonics
Hi there everyone and welcome back One of the main reasons why I
to my column! This issue we are going like it is that the Minor 3rd can be
to be moving on from our extended manipulated very easily by using string
study of sweep picking technique. I’m bends. Not only that, the pentatonic
sure the material I presented to you patterns can be stacked together to
should keep you occupied for quite create some really unique sounding,
some time! If you haven’t checked out intervallic lines.
the previous columns yet, please do The traditional method of playing
so as we will be applying some of the pentatonics is to play two notes on
elements of sweep picking technique, every string. This is the way that the
particularly the approaches that I majority of guitarists play this scale
covered in past issues, to the subject of and it sounds great played this way.
this column. However, I like to combine scale
positions which allow me to play the
The pentatonic scale is without pentatonic scale using 3 notes per
doubt the most widely used scale string. The advantages to doing this
amongst guitar players. It is a fantastic are multifold.
sounding scale and falls under the From a technical perspective, playing
fingers really well. It is also one of the scale in this fashion can allow
the most versatile scales and can be for a greater degree of fluidity when
used over a multitude of different utilising both picking and legato
chord types. The minor form of the techniques. Not only that, with a
pentatonic scale, if used well, can be little bit of creativity, you can create
one of the coolest sounding scales of some wonderfully fresh sounding lines
all, in my humble opinion, of course. and intervallic ideas that will take
your playing into a new soundworld
COLUMNS_TOM QUAYLE
altogether. In addition, it can allow for a In a more musical context though, I tend to
player to break out of the ‘box position’ rut try and avoid the doubling of notes that we
that many players find themselves in with get when crossing from string to string. Like
continued use of the minor pentatonic scale. in the example in the video, I’ll play the scale
I’m sure most of you players out there know as follows:
exactly what I mean by this!
E string: 2 notes
The first thing we are going to do is take A string: 3 notes
the first two positions of the pentatonic D string: 1 note
scale and in this case, we’ll take the first two G string: 3 notes
positions of the E minor pentatonic scale B string: 1 note
starting at fret 12 of the low E string. We E string: 3 notes
then simply ‘paste’ the positions together to
form one scale which will give us 3 notes on This allows me to play consecutive notes in
every string. If you haven’t done this before, the scale without doubling any of the notes.
you may find the stretches to be a little bit This pattern also works really well using both
uncomfortable but, with time, it’ll get much picking and legato techniques.
easier. I tend to use this pattern to warm up
with. Another way that I tend to practice this is
to drop notes from the scale. For instance,
Rick Graham Creative Pentatonics

instead of playing the scale with the previous sound that this pattern gives. Although these
pattern i.e. 2, 3, 1, 3, 1, 3 I simply drop a can be picked, I tend to play them using
note from each string that contains 3 notes. legato for a more fluid sound but feel free
That will give us the following pattern: to use whichever technique you prefer. Also,
it’s a great idea to take segments of the scale
E string: 2 notes rather than the full pattern, such as the top 3
A string: 2 notes strings.
D string: 1 note
G string: 2 notes OK, that wraps it up for this issue. If you are
B string: 1 note new to this concept, be sure to take things
E string: 2 notes nice and steady and take regular breaks
between practice sessions.
I personally use these patterns all the time Hope you’ve enjoyed it and I’ll see you all
when improvising as I love the intervallic next issue! •
COLUMNS_TOM QUAYLE
C O L U M N
Tom Quayle
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T H E

Identifying
Chord Tones
for the Blues
Hey guys and welcome to my 25th column The majority of players will use an
for Guitar Interactive magazine, it’s crazy Am pentatonic for the bulk of their
how time flies when you’re having fun! improvisations over this progression due
We’re going to change things up a bit for to the fact that it is pretty much fool-proof
this issue and move away from our Playing and all of the notes choices and phrases we
Over Changes ideas, segueing smoothly into have come to learn as guitar players sound
some Blues playing. I say segueing because great over the whole progression. The Am
we’ll actually still be considering the idea of pentatonic is interesting in many ways as
playing over the changes within the context it actually contains almost all of the chord
of our Blues progression but this will be a tones for each of the Dominant 7th chords
very practical session that you can apply to in our progression. Let’s have a look at the
your playing to enhance your Blues solos in chord tones for each chord:-
any style that utilises the standard 12-bar
progression.
To start with let’s identify our simple 12-bar A7 - A, C#, E, G

Blues progression in the key of A. D7 - D, F#, A, C
A7 / / / | / / / / | / / / / | / / / / | E7 - E, G#, B, D
D7 / / / | / / / / | A7 / / / | / / / / |
E7 / / / | D7 / / / | A7 / / / | / / / / || The Am pentatonic is made up from the

This should be very familiar to most of you notes A, C, D, E, and G. As you can see it
as a standard 12-bar Blues and, of course, contains all of the chord tones for each chord
there are hundreds of variations on this except for the 3rds (C#, F# and G#) of each
theme but for now we’ll stick with the simple chord and the 5th (B) of our E7 chord. Let’s
version. not worry about that 5th for now but rather
about those 3rds that are so important to the
sound of Dominant 7th chords.
COLUMNS_TOM QUAYLE
If we learn where each of the root notes progression occur in the scale. Learn this first
for the three Dominant 7th chords in the so that you can quickly and without thought
progression are within our pentatonic scale identify these root notes within this position.
then it stands to reason that we can also learn At this point let me point out that there are
to visualise where each of the major 3rds, not lots of ways to visualise any scale but position
contained in the minor pentatonic scale, are or box based visualisation is as good as any
for each of these root notes also. method at this point so don’t worry if you
are uncomfortable with the idea of playing in
Why would we want to do this? Well, it’s boxes/positions. You can apply the following
simple - the minor pentatonic scale just information to any visualisation method.
doesn’t cut it when it comes to outlining the
sound of each chord as it goes by. In order Next you’ll find a diagram outlining
to outline the sound of each chord, and thus where all of the major 3rds occur (within
play the harmony of the progression in our reasonable playing distance) from each of
solos, we need that pesky major 3rd interval. the A root notes. Take some time to really
If you check out the accompanying diagram learn what shape these 3rd intervals make
for this issue you’ll find what most people against each root note. Because the guitar
call Am pentatonic position/box one. In is such a visual instrument, a root to 3rd
this diagram I have labelled where each of relationship between any two given strings
the root notes for each chord in the Blues for one dominant chord will be the same
Tom Quayle Identifying Chord Tones for the Blues

shape for any other dominant 7th chord - it
will just have moved up or down the neck.
Learn these intervals from each of the root
notes as both ascending and descending
shapes (where possible) so that when you are
on the A7 chord you can, without thought,
find both any root note and its related major
3rd interval. When combined with your
vocabulary and licks from the Am pentatonic
scale you’ll be able to choose to play Am
pentatonic lines and throw in the major 3rd
to outline the actual sound of the A7 chord.
Now repeat this process but for the D7

chord in the third diagram, learning where
the root notes and major 3rd intervals are
for this chord. Again, the shapes that those
3rds make against the root note should be
familiar as they are the same as for the A7,
just relocated on the neck. Finally do the
same process for the E7 chord - this should
be exponentially faster than for the A7 now
as you will already be experienced with the
root to 3rd visual relationships.
Now experiment incorporating these 3rd

intervals into your Blues playing in order
to outline the sound of each chord in the
progression. Notice how in my example
playing on the video, once I add these 3rds
into my lines you can really start to hear the
progression in my solos. TABLATURE DOWNLOADS
Good luck with this guys and I’ll see you in GUITAR PRO 6 PDF
the next issue. •
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COLUMNS_MICHAEL CASSWELL
MICHAEL CASSWELL
©All imagery Louise Ince

PRO CONCEPTS19
BUIL D IN G A RUN
Hi everyone. This Pro Concepts we are going more complicated ways of playing a run,
to look at building a run. In previous Pro and playing in general, but once your hands
Concepts we have done this using different know the formula, then they can apply the
themes and approaches. We have looked approach to different keys, feel and tempos.
at runs constructed with tapping, Country Which is totally the idea with this and
pedal steel type bends, alternate picking, previous Pro Concepts tutorials where I have
whammy bar tricks, chord tone highlights, constructed runs on the spot using a certain
Country four note picking, all of which show approach. Once you have the concept and a
there are many approaches you can take if certain amount of muscle memory with it,
you are creative enough and have a technique you can then take snippets of it and chuck
that is able cover many styles. Even if your it in there when you are playing your own
technique needs a lot work, you can still grab solos. Or you could simply copy what I
interesting things to practice from what we come up with and play it in its entirety, and
are doing here. if you can put it in context, then have it on
me!
So for this Pro Concepts I have decided to
use ‘Legato’ and ‘Hybrid Picking’ as my So our run is based largely on E Dorian,
approach, simply because they seem to be which is where I am taking my note
popular buzz words around the GI office, information from. But I am also using that
and because that combination works well sly trick of including passing tones to make
together to create a more ‘fusion’ sound the run slightly more chromatic without
(which is another buzz word). sounding totally chromatic! As long as you
can see the notes that belong to E Dorian,
Runs are obviously different to licks. then passing notes become more controllable
Without being able to travel across the and musical, rather than just random notes
fretboard in a cool way, your improvisations that you are guessing at. If you don’t know
could possibly sound static or laboured, the E Dorian mode yet, then think of it as a
rather than interesting and fluid. Just D major scale played over a song in E minor.
playing licks does not make the best solo, If you don’t know your D major scale yet,
in my opinion, but you may disagree. then get it in your fingers before attempting
Muscle memory plays a big part in the
COLUMNS_MICHAEL CASSWELL
Michael Casswell - Building a Run

a hybrid picked legato run using chromatics and the
Dorian mode. It’s always best to walk before you can run,
especially when it comes to the guitar.
I have also taken the approach of thinking about an

A, B, C section to the run, pieced together to make
the complete phrase. This gives your brain and hands
a chance to absorb separate components without the
pressure of thinking you have to play the whole thing
faultlessly. Because you don’t, and each section has its
own character and colour that you could treat as smaller
licks, phrases or runs (whichever label you want to put on
them) to use in your own solo.
As usual, this run is pretty much composed in front of the

camera, with just the approach that I am going to take as
preparation. I quite like the result and feel it falls just the
right side of ‘widdle’ retaining some cool and musicality.
I hope you agree and as usual we can talk about it on my

Licklibrary forum or my Facebook band musician page. •
EXT
COLUMNS_SAM BELL
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TENDED
PART7
GUITAR
GRAVITY
by Sam Bell
Welcome to the 7th part in my extended style of music that is totally different than
range guitar series, I hope you have been the ones you are listening to. Whilst it’s
enjoying the in depth look at the different good to listen to the style of music you are
possibilities of the seven and eight string composing, it’s good to listen to others as
guitar so far. If you haven’t checked out my they may highlight areas of arrangement,
previous columns I highly recommend you melody, harmony, production that you
do so! This seventh column marks the start might not frequently get in the style you are
of the second half of my look at ERG playing focusing on composing.
(extended range guitar) and in this issue I
have my trusty 7 string with me to show Today’s riff was inspired by Michael Jackson’s
you a Michael Jackson inspired riff from my funky guitar and horn section arrangements
song ‘Gravity’ which you can see a full live that can be found in a lot of his music,
performance of on the Lick Library YouTube particularly from his album Bad which
channel. features a song called Speed Demon. The
song features lots of funky chords and fluid
I am a big fan of Michael Jackson’s music, I bass/horn runs based around 7th chords
love the songwriting, melodies, arrangements and pentatonic scales. I wanted to re-create
and awesome production. So it’s no surprise something like this but in a heavy context
to me that I get a lot of inspiration from his and on one instrument, so that’s where the
music. I think it’s very important to listen inspiration for this issues riff came from!
to lots of different styles of music, there are
many different ways that fresh music can The riff is in seven string standard tuning
inspire you, especially when writing for a B,E,A,D,G,B,E and based around a B7
tonality. We start off with an open B string
COLUMNS_SAM BELL
rhythm that uses a combination of open and try it on the guitar in my riffs. This whole
palm muted notes to create the rhythmic tapping arpeggio run is based around B7 and
accents that give this riff a cool syncopated is based around string skipping, I use a 2
feel. I talked in depth about this in last issue’s and 1 approach. This means I play two notes
column on picking hand dynamics and how in the left hand and one note with a tap
to create different tones from the string, if with the right hand. There is a lot of rolling
you missed that, check that column out! technique within this run, which means we
After the syncopated open B motif we play a are playing three notes on each string but
three note cluster based around a B7 chord we are rolling up and down using hammer-
but with the b7 at the low end of the voicing ons and pull-offs before skipping strings to
with the major 3rd in the middle, this is a reach the next note in the arpeggio. I use
classic staircase style shape that highlights slides in order to reach the next octave of
a tri tone interval within the B7 chord. We the arpeggio, it’s important to make sure the
slide this up a tone to highlight the root note slide is articulate in order to really make the
and a b5 before sliding rapidly back to the notes ‘bubble’ as you rip through this run.
first b7 inversion of the chord.
String skipping tapping is not the easiest of
This movement and the voicing create a nice techniques to get used right away if you are
dissonant texture that stands out in the riff, new to it, especially on a seven string guitar!
almost like a horn section chord ‘stab’ that But I have a couple of very valuable tips
funk bands use. We then return to the open that have helped me in my tapping quest.
low B string syncopated riff before playing The first would be to isolate each string
an ascending riff on the B, E and A strings roll, practice making each note smooth
that uses open notes to create a wide interval into each other, whilst keeping both hands
sound that combined with palm mutes and relaxed, once you feel comfortable you can
open chugs sounds nice and syncopated. introduce the string skip. This involves a
The notes highlighted are still based around slightly different technique where we have to
B7 but this time with the 11th degree of hammer-on from nowhere with the left hand
the chord played on the E string 12th fret. index finger. This can take a bit of getting
We then return to our syncopated open low used to, but slow practice and perseverance
B string riff before launching into a string will get you there in no time at all!
skipping tapped arpeggio flurry.
The most important thing about tapping
I have always wanted to incorporate lead is keeping the rhythm even and smooth
technique and speedy runs into my rhythm throughout, so slow practice with a
riff playing. It’s something that I hear lots of metronome or drum machine will help aid
Jazz and Funk musicians do with saxophone this evenness that is required for a fluid
and keyboard riffs, so I thought I should tapping/legato technique. My other tip

would be to listen and watch out for extra exact sequence I execute here. In the video
string noise, skipping strings whilst tapping I teach the basic pattern I am visualising to
can prove hazardous for muting as the right create the arpeggio, I highly recommend
hand is nowhere near the strings to keep learning this pattern and applying your own
them in check. So the left hand index finger sequences and arpeggios to its formula. After
has even more work cut out for it, you must the tapped arpeggio run the riff repeats once
keep the lower half of the index finger flat again before moving into the next section.
over the higher strings in order to keep them
in check. Then you must watch out for the So that brings us to the end of this issue’s
lower strings with the underside of your look at extended range guitar, I hope you
tapping hand palm. I prefer to tap with my have enjoyed it. As always be sure to apply
middle and ring finger this leaves me free to these ideas to your own writing and see how
hold the pick between my index and thumb, far you can take the seven and eight string.
whilst also resting the fleshy thumb side Until next time, happy shredding! •
edge of my palm on the lower strings. Be
sure to check the tab and the video for the
Sam Bell Gravity
COLUMNS_SAM BELL
COLUMNS_LEWIS TURNER
B
Guitar Interactive reviewer and top session player,
Want to get back into playing after

WITH LEWIS TUR N E R
BACK TO
BASICS
, Lewis Turner takes us Back To Basics Column. Stuck in a rut?
r a break? Lost in theory? Lewis helps you find the music again.
LEWIS TURNER
Having started playing guitar at an early age, Davies (Hawkwind), he also plays with
Lewis Turner graduated from being a self- the 12-piece function band London Soul
taught musician to become a seasoned West and London Swing. Lewis is regular dep
End theatre and touring player, working in for various other function and Tribute acts
shows such as Jersey Boys, Wags, The Lion including Queen on Fire, as well as playing in
King, Momentous Musicals, Legally Blonde, a 19-piece big band and his own fusion trio.
Fame, Hairspray, Seussical and many more.
As well as working both live and recorded In addition to running a thriving private
sessions with artists including; Gareth Gates, teaching practise, Lewis is currently working
John Owen Jones, Asher D (So Solid Crew), on a follow-up to his critically acclaimed
Jon Lee (S Club), Jay Norton (The Voice), debut album, The Beckoning Silence,
Hashall (Sony artist), Leona James, Alan released in 2010.
COLUMNS_SAM BELL
BACK TO
inevitably sneaking in an essential amount
of theory and technique along the way..)
BASICS something a little deeper than the, “play

this scale over this chord” approach. I will
be covering many different subjects in this
Lesson 1: Developing What You Already column including; Timing, Rhythm, Chord
Know creativity, improvising, playing in different
Welcome to my new column, Back styles and much more. I aim to help take
To Basics. This column is designed to what you may already know about theory
help players who have been playing for and technique and use it to develop your
sometime, of varying age and who wish to own style and musicality, getting back to
work up to the next level, whatever that the roots of playing if you like and filling
means for you. Maybe you played fairly in the gaps. Everything I cover will have an
seriously when you were younger, but things end goal of being used musically and in a
such as family and career took over, and now real life situation. Not every lesson will have
you want to get back into it. Maybe you are Tabs and backing tracks, but each one will
younger, have been playing for a while but have a concept or idea that you should be
feel you have gaps in your knowledge or able to apply to your own playing whatever
some areas of your playing are weaker than your style and ultimately see improvements.
others. You may have learnt many different So onto lesson number one: Developing
things but are struggling for inspiration or What You Already Know.
don’t know how to apply what you have As I’m sure many of you are aware there
learnt musically and feel stuck in a rut. You are a huge amount of scales, arpeggios and
may have a very expensive Les Paul and techniques to be learnt on guitar. This is
Marshall amp sitting in the corner of your no bad thing, if you think of music as a
house collecting dust, and feel guilty for not language then scales/arpeggios are your
playing it for the past few years! If any of the vocabulary and technique is how you deliver
above sounds familiar, then please read on, your “speech”. I am a massive advocate
as this could be the series of lessons you have for learning more = being able to express
been looking for! more. However, many players rush through
The main aim of this column is not to the learning process by taking on as many
bombard you with deep theory, an array of scales etc as possible to try and find that
technical exercises, or 1000 licks in the key elusive sound they are looking for, without
of A minor, as there are plenty of these types truly exhausting what they already have. It
of lessons already available. My intention is good practice to take something you are
is to take what you probably already know/ very familiar with and try to look at it from
understand and refresh/develop it, hopefully a new angle. Get other people’s perspective
giving new ideas and concepts (whilst on the same thing and you probably find

you will have that “Wow, I never thought of it’s easy to become quite snobbish about the
that!” moment. pentatonic scale, I often hear it referred to
as a beginner or easy scale. The fact is that
Probably the most well known scale shape its a great sounding scale that works in so
for guitarists everywhere is the good old many different contexts and there are many
minor pentatonic scale. Its usually the first interesting things you can do with it. This
one you learn and with good reason, it’s snobbery seems to only exist in the guitar
easy to remember and fairly easy to use world, as many other musicians such as
and get good musical results from. There
are many famous players that have carved
TABLATURE DOWNLOADS
sax players consider the pentatonic scale to
be an interesting hip choice. Many times I
a successful career from just this scale, and have been asked
there are many who use it in such a unique GUITAR PRO 6 the following;PDF
“Man I really
liked that exotic scale you played on that
way that you would struggle to reorganise it. solo, what was it?” It was of course “just” the
As you learn more scale shapes and modes, DOWNLOADscale.
pentatonic DOWNLOAD
Lewis Turner - Back to Basics
The problem with this scale for guitarists is much more, remember there are no rules
how its taught generally. Here are a bunch just experiment and see what you can come
of classic licks that use this shape, bend here. up with. To help you I have written out
sounds cool etc. This is all well and good, five different exercises that break away from
but you tend to get used to that and then the standard up and down method, you
move on without truly unlocking its further will find them on the attached Tab, I also
potential. In this lesson I’m not going to give demonstrate them on the video. Here is the
you a bunch of new licks, or tell you how thought process behind them.
to superimpose it in a different key, all I’m
going to do is take the most familiar minor Exercise 1:
pentatonic shape and hopefully give you Most of these ideas are based on interval
some fresh ideas on how to approach it over leaps. There are five notes in a pentatonic
familiar rock/blues territory, so don’t worry scale, so from note number one I can go
I’m not about to go all “Jazz” on you! to any other note it doesn’t have to be the
When learning scales we tend to learn them second note of the scale. All I’m doing on
in a very parrot fashion way. Play up the this first exercise is going from the first note
shape from lowest note to highest, and play of the scale, skipping a note, back to the
back down, until its locked into our muscle one I missed then skip the next and so on,
memory. The problem with this is it can ascending and descending.
result in you applying this same method Exercise 2:
when trying to use it musically. When
improvising you are trying to create music This is a variation on the first exercise. Your
not simply run up and down scale shapes. ears however may tell you its more of a 4th
A good way of breaking out of this is to set movement. It starts A – D (as exercise 1)
yourself challenges which I demonstrate which is a perfect 4th (the start of Amazing
on the video. Another way is to practice a Grace). When using fourths exclusively it
scale in a variety of ways, not just up and gives a very modern sound as you don’t tend
down but inside out too. This also helps to to hear that movement as much as thirds
get the creative juices flowing, you could and sixths.
play the scale backwards, skip strings and

Exercise 3: Hopefully from these examples and the
demonstration on the video, you can see
Primarily making use of Fifths here with the how it is possible to start thinking differently
octave on top, before dropping back down and deeper about things you are already very
a Fifth to start the process again. You will of familiar with. All we have used in this lesson
course recognise the shapes from good old is shape one of minor pentatonic. Now if
power chords, but when played this way they you apply a similar approach to all the other
give a super melodic feel. scales etc that you know, then the possibility
Exercise 4: are endless. The trouble is we tend to resort
to muscle memory, favourite licks and so on
Some bigger leaps here with slides thrown without even thinking about it. Its good to
in for added feel. You may find the fingering force yourself not to do that when practising
hard and also the picking. If you are familiar and only try new things. Eventually these
with hybrid picking then this would be the will become ingrained into your muscle
best technique to use here. memory and you can just continue to
develop it, the only thing holding you back
Exercise 5: is your own creativity. So experiment with
Straight up and down the scale this time but the ideas here, come up with your own but
with string skips. String skips are a great tool most importantly always use a new idea in
to spice up your playing as they add bigger a musical way not just a robotic exercise.
harmonic leaps, also note we are playing 8th Good luck! •
note triplets (three notes per beat) on the More info:
way up, and 16th notes (four notes per beat) www.lewisturner.co.uk
on the way down.
Changing what you do rhythmically is one

of the best ways to develop your playing, I
go into more detail on this subject in future
lessons.
COLUMNS_MARTIN GOULDING
Modern Rock Techniques with

Martin Goulding

Guitar Interactive is proud to welcome
exposure to some of the best up and coming
Martin Goulding to our line-up of star
players from around the world.
columnists.
As well as hosting one of the biggest guitar
Graduating from the Guitar Institute
websites specialising in modern Rock
of Technology in 1993, Martin has
techniques at
become one of the foremost modern
www.martingoulding.com, Martin has
Rock educators. Since joining The Guitar
also recently released his first app ‘modern
Institute faculty in 1998, Martin has
Rock guitar’ in conjunction with Leafcutter
specialised in modern Rock techniques,
studios, designed exclusively for iPad and
having written and developed the higher
available now from the iTunes App Store.
diploma Rock programme and degree
modules. A busy studio musician with clients
including Chappell recorded music library,
A widely published author, Martin has
Bruton Music, Zomba, Unity and the BBC,
been course leader and senior tutor for
Martin also writes, engineers and produces
the International Guitar Foundation’s
for progressive band Linear Sphere, who
residential summer schools alongside some
have just released their second album
of the leading tutors. Martin has also
Manvantara. Visit www.linearsphere.com
participated in the judging of the annual
for news and reviews.
Guitar Idol competition which has given
Modern Rock Techniques with Martin This month, we’re going to start off with
Goulding. a modern Rock style solo study called
Part 1: Hard Rocker Solo Study Hard Rocker, which is based around the A
Dorian mode (ii in the key of G), and with
Welcome to my new Modern Rock a tempo of 120bpm. Included in the lesson
Techniques column. This series will focus is a downloadable extended backing track
on developing the main techniques used for you to try applying some of the ideas
in the modern Rock style including legato, presented, and which we’ll be referring back
tapping, sweeping, picking, string-bending to over the course of the series.
and vibrato.
Get The Tone
This style emerged in the late 1970s,
inspired by advances in amplifier technology To get a good modern Rock tone, set the
which saw increased levels of available gain on your amp to maximum, with
gain. The new saturated tone inspired the the bass and treble set slightly boosted (1
birth of a technical revolution, with players o’clock), and the mid-range either slightly
modifying their necks and customising scooped (10 o’clock) for rhythm or boosted
their instruments for maximum speed and (1-2 o’clock) for lead. For the solo and
playability, often using light-gauge strings lesson, I used my Ibanez J CRG-2 TB with
and low actions. Along with the advent of Bare Knuckles VH II pick-ups, through an
the Floyd Rose locking tremolo system, the Axe-FX II - set up with the Brit Super amp
conditions were set and it was Eddie Van (based on the Marshall AFD head), along
Halen’s 1978 debut album, featuring the with a Tubescreamer style overdrive pedal
ground-breaking showcase Eruption, which and some stereo delay.
introduced a new modern era of Rock guitar
playing. Rhythm Guitar Part
This advancing style rapidly developed The track opens with a sixteenth note single-
throughout the 1980s, with a near constant line riff in A Dorian (R, 2, b3, 4, 5, 6, b7),
stream of pioneering players. From the featuring hammer-ons and pull-offs set
flash, hot-rodded styles of the late 1970s/ against a palm-muted open A-string pedal.
early 1980s greats such as EVH, Randy For good clean separation between the open
Rhoads and George Lynch, to the neo- A and the hammer-ons and pull-offs, try
classical virtuosos of the mid 1980s such as muting off the low A-string with the tip of
Yngwie Malmsteen, Vinnie Moore and Tony the fretting hand first finger when playing
Macalpine, to the legato driven pyrotechnics the higher notes on the D-string, also laying
of players like Steve Vai, Joe Satriani and the finger fairly flat so as to mute the higher
Greg Howe, the modern Rock style rapidly (treble side) strings underneath the notes
evolved as one of the most technically being played.
challenging and exciting styles to play.

Modern Rock Techniques with Martin Goulding

In bar 2, there is a pull-off from the b3rd Lead Guitar Solo
on the A-string, 3rd fret for a bluesy touch
before ascending, hammering an open-string Following on from the A-section riff, the
Em triad on the low E-string (gives us the solo starts in bar 9 with some double-stop
b7 and 9th when viewed from our A Dorian ideas, including a semi-tone bend from the
perspective), followed by an Am triad (R, b3, 6th up to the b7 on the B-string, which
5) on the A-string before ascending to the clashes nicely with the Root on the high
open D-string and targeting the 6th degree E-string. From the fourth beat and into bar
(F#) on the 4th fret by hammering-on from 10, the next part of the lick features an Am
nowhere. pentatonic blues-based lick, with a curled
note or microtonal bend (pull slightly sharp!)
This 6th degree is the first indication that on the b3 (5th fret G-string). The lick then
we are in A Dorian specifically, as the other moves into some pull-offs played using
two possible minor modes - Phrygian (R, pinch harmonics. Try to dig in, sliding the
b2, b3, 4, 5, b6, b7) and Aeolian (R, 2, b3, first fingernail over the string, with the pick
4, 5, b6, b7) both contain a b6 (F). The riff following through at an angle. Whereabouts
continues with a second time variation fill the picking hand is positioned will affect the
in the fourth bar, before repeating bars 1-4 pitches of the harmonics, so experiment until
with an anticipation, starting from the last you find the sweet spot.
eighth note of the bar and finishing in bar 8
with G5 and D5 power-chords. In bar 11, there is an ascending Gmaj7
arpeggio (R, 3, 5, 7 = G, B, D, F#), although
The B-section starts in bar 9, and provides slightly randomised with some open strings,
the backing for the lead solo. The harmony and which gives us the b7, 9th (same as 2nd
alternates between an Am7 (or we could degree up an octave), 11th (same as 4th)
view it as a C5/A) and an Am6, and is played and 13th (same as 6th) when viewed from
alongside the palm-muted open A-string our A Dorian perspective, providing an
pedal using downstrokes. Again, try to get Am13 sound. These extended intervals offer
good note separation by muting off the open us a more sophisticated note choice with
A-string when striking the chord fragments the characteristic Dorian interval - the 6th
with the tip of the fretting hand first finger. degree, adding colour. See fig 1 for a neck
overview of this superimposition.
In bar 12, there is a single line fill featuring
a bluesy curl or microtonal bend, which can In the last beat of the bar, there is a fourth
be played by pulling the string downwards finger slide up to the 15th fret on the high
slightly before resolving to the open A-string. E-string, before descending through bar
Then, starting as an anticipation on the last 12 with a Cmaj7 arpeggio (R, 3, 5, 7 = C,
eighth note of bar 14, the progression moves E, G, B). Again, superimposed over our
to an open Cadd9 chord in bar 15 and underlying A Dorian tonality, we can view
then on to an open G5 and D5 in bar 16, this collection of notes as a b3, 5th, b7 and
resolving to the A5 in the final bar. 9th, relative to our A Root note, providing
an Am9 sound. See fig 2 for an intervallic
overview.
From the fourth beat and into bar 13 there D7 context, this line would move via a
is a seamless transition into an ascending chromatic passing note to target the 3rd
Am add9 arpeggio (R, 2nd or 9th, b3, degree on the second beat of bar 14 as
and 5th - see fig 3), which leads into a well as the finishing vibrato note of the
pedal tone idea targeting a semi-tone phrase on beat 2 of bar 15, however when
bend from the 9th to the b3 on the 12th viewed from our A Dorian perspective, this
fret, B-string. For the sweep strokes, hold equates to the 6th degree, again a colour
the pick fairly parallel to the string. The tone and defining Dorian note (see fig 4
technique should feel similar to dragging for overview).
a stick through park railings as the pick
drops, resting momentarily on the higher These types of devices can help you
string before pushing through in a single develop and expand your vocabulary, and
motion. if you have phrases which are based around
dominant chords (V), and which target the
From the fourth beat and through bar 3rd in particular, then they will often work
14, we have a bluesy sounding line based in a parallel way against min7 (ii) chords
around a superimposed D7 arpeggio (V a 4th lower, with the 6th becoming the
in the key of G), which then leads back target.
down the fretboard, sliding with the
fretting hand first finger, finishing on the From the third beat of bar 15, we have a
6th degree at the 4th fret D-string, and fast 3-notes-per-string legato run, which
pulling downwards for the vibrato. In a moves through the positions using first

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finger slides. The lick then builds in bar 16 Try isolating each lick and break down
with a sweeping and tapping line outlining any problem areas with a series of short
an Am triad, before descending through repetition exercises. With the legato,
a Gmaj triad using hammer-ons-from- sweeping and hammer-on-from-nowhere
nowhere, finishing with vibrato on the 5th techniques, there may be a rapid
degree at the 7th fret, A-string. Try to hit accumulation of tension and fatigue in the
down on the hammer-ons-from-nowhere hands and arms, and it’s very important
hard and from a height at first to build to shake out frequently as any tightening
accuracy and strength, before refining as sensations arise. After a period of slow
you gradually build your speed. and precise memorisation, and when the
timing has stabilised to an almost machine-
Throughout the solo, try to keep the like precision, you will be able to start
fretting hand square and dropped, with the developing some speed with the ideas.
first finger set to mute off the thicker lower
string above the one being played with That’s all for this month, enjoy the solo
its tip, as well as all higher treble strings and backing track and I’ll be back next
underneath. The only exception to this month for the first in a series of columns
fretting hand positioning is when moving looking at developing the legato technique.
into a bend, whereby the hand will angle In the meantime, please feel free to visit
forwards slightly as the thumb moves up my site at www.martingoulding.com •
and over the top of the neck.
www.guitarinteractivemagazine.com
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