Guitar Interactive 39 2016 John 5

02 Guitar Interactive Magazine Issue 39
Seymour Duncan
www.guitarinteractivemagazine.com 03
GUITAR INTERACTIVE_WELCOME
Welcome to
Guitar Interactive
Welcome to Guitar Interactive Issue 39
Ad IndexSEYMOUR DUNCAN 2&3

Our advertisers.
ORANGE 45 LR BAGGS 85 STUDIO MASTER/
TAYLOR GUITARS 8&9 MESABOOGIE 51 VIGIER 91 CARLSBRO 147
MARSHALL 15 FRACTAL 53 YAMAHA 93 LOWDEN 173
VINTAGE 17 MOOG 57 EVENTIDE 97 CORDOBA 179
XVIVE 17 FUSION BAGS 59 MORLEY 103 PRS 187
ROTOSOUND 21& 63 IBANEZ 69 ZVEX 105 TANGLEWOOD 193
REDWITCH PEDALS FISHMAN 73 NEMPHASIS 109 ESP GUITARS 215
30&31 WASHBURN 77 PETERSONS 109 LANEY 227

Issue39
Welcome to GI 39, ushering in a new year and Editor -
with a lot of exciting stuff on board! Gary Cooper
gary@guitarinteractivemagazine.com
Our cover star this time around is the Contributors -
American guitarist John 5. Stuart Bull Stuart Bull, Levi Clay, Gary Cooper
tracked down this chameleon of a player Review crew -
in Los Angeles and brings us an intriguing Sam Bell, Michael Casswell, Andi Picker, Giorgio
insight into a man who might as well adopt Serci, Bob Thomas, Tom Quayle, Dan Veall
‘versatility’ for his middle name. If you’ve ever Columns -
worried about getting pigeon-holed in your Sam Bell, Michael Casswell, Tom Quayle, Giorgio
career - watch our interview this fabulous Serci, Lewis Turner, Jaime Vendera, Andy Wood
guitarist! Advertising Manager -
Helen Bavester
Another candidate for the Great helen@guitarinteractivemagazine.com
Contemporary American Guitarist is Andy USA Media and Sales -
McKee, widely considered to be the master Lisa Spiteri
of percussive acoustic styles and someone LisaSpiteri@guitarinteractivemagazine.com
we have wanted to include in the Quiet Room Design and layout -
section since way back when the magazine Simon Gibbs
began. Whatever you do, don’t miss Andy’s simon@guitarinteractivemagazine.com
exclusive performances in this issue! Animation -
Dwight Sicobo
As always, we’ve a packed issue of reviews
Video Editors -
and our free tuition columns plus the chance
James Masterton & Dave Kidd
to win an astonishing prize - a genuine Taylor
acoustic guitar! Sound Engineering -
Martin Hayles & Gwyn Mathias
I reckon that’s a pretty good way to start a Cameras -
New Year - don’t you? Rich Jones & Mike Thorpe
Social Media Managers -
David Jones & Dan Smith
Publishers -
Gary Road Rock Music International Ltd
Publishing Directors -
Gary Cooper - Editor Kim Waller and Stuart Bull
Contact -
Sales and Information line:
+ 44 (0)1708 757 337
Fax Line: +44 (0)1708 757 528
web. www.iguitarmag.com
Got an iPad? Check the
twitter. @iGuitarMag
latest Guitar Interactive
www.facebook.com/
Edition - out now! GuitarInteractiveMagazine
Address: Unit A, Chesham Close,
Romford, Essex, RM7 7PJ, UK
VISIT STORE (c) Copyright 2016 Guitar Interactive Ltd. No part of this publication
may be reproduced in any form or by any means without prior
permission of the copyright owners. The views expressed in Guitar
Interactive are those of the contributors and not necessarily those of
the Editor or Publisher.
GUITAR INTERACTIVE_CONTENTS
Interviews
12
John 5 -
From David Lee Roth to Rob
Zombie via a wide wide
selection of artists working in
all kinds of styles, John 5 is a
master of a dozen styles - or
more. Stuart Bull interviews.
Levi Clay offers his thoughts
on a Telecaster master.
Downloads Competitions
34 All the featured downloads
from this issue + exclusive
Guitar Pro Lite tab software 28
WIN a Taylor 210ce
electro-acoustic + copies
of The Taylor Guitar Book
FREE download! in our great free entry
competition!
Book Review The winners!

26 The Taylor
Guitar Book 32 In GI 37 we gave away a
SENNHEISER D1 digital
wireless system and
a RED WITCH ZEUS
sub-octave + Fuzz
pedal. Find out if
you won!

Gear Reviews
042 ESP LTD EC1000 Koa 082 DigiTech Ventura Vibe
048 Vigier GV Rock rotary FX
054 Washburn Parallaxe 088 Radial Tonebone Trimode

PXS100 Tube Distortion
060 Maybach Lester ‘58 094 ZeroGlide zero fret nut

Cherry Lane replacement
066 Laney GH50R head 100 Hamstead Soundworks

Signature Tremolo
074 Yamaha THR100D head
& THRC 212 cab 106 Electro-Harmonix C9
Organ Machine
Live Sound Making Tracks

114 Jaime Vendera’s Vocal Bootcamp 140 Andi Picker on Archiving your
Season 2 Projects
120 Bose F1 812 Flexible Array 144 Proel Eikon 6 & 10S monitors
126 Studiomaster LiveSys micro PA & 150 SPL Crimson USB audio interface
monitor 154 Slate Digital virtual mix rack plugin
132 FBT X-Lite 12A powered speaker
The Quiet The Bassment

Room - Extra! 202 Dingwall Combustion 5 Bass
206 Orange OB1-300 combo
162 Andy McKee - Levi Clay meets
one of the masters of acoustic 210 Nemphasis O2 and Pro Oxygen series
guitar pre-amps
170 Taylor 610e (2015) 216 Ampeg PF-50T head
176 Taylor 210ce
182 Fender Acoustic Pro combo
188 Cordoba Mini O classical
Columns
224 Tom Quayle
194 Giorgio Serci’s Creative 228 Michael Casswell - Pro Concepts
Fingerstyle 232 Sam Bell - Rock Improvisation
238 Lewis Turner - Back To Basics
242 Andy Wood - Country guitar
Taylor Guitars
INTERV HOT LICKS AND LIFE STO

VIEWS
RIES
INTERVIEWS_JOHN 5
JOHN 5 -
Variety Star
Starting his career with no lesser mortal than David Lee Roth, John 5’s career
has included a spell with Marilyn Manson (where he got his name) then
veered off across a stunning range of solo work with artists as varied as kd
laing, Meat Loaf, Scorpions, Ozzy Osbourne, Slash and Avril Lavinge, then on to
his current gig with Rob Zombie. Stuart Bull meets one of the most versatile
guitar players in the business. Levi Clay outlines a stunning career.
‘W
e’ve covered a pretty black and mirror humbucker equiped
diverse selection of Telecaster, the pyrotechnics - it’s got
guitar players in Guitar to be Metal, hasn’t it? But there’s oh,
Interactive, from Rock icons like so much more to John’s playing as he
Steve Vai and Billy Gibbons to fights the internal dichotomy of styles
Jazzers like Mike Stern, Country and melds them into one.
players like Brent Mason, and even
post-punk artists like Andy Gill, but Born John Lowery in 1971, the
absolutely none of them offer such Michigan native picked up the guitar
a juxtaposition of different styles as aged just seven after being blown
John 5. away by Roy Clark and Buck Owens’
Country music variety show, Hee
One look at John 5 and you can Haw. These influences would forever
probably make a guess as to what shape his direction as a guitarist,
style of music he plays - but you’d along with other favourites such as
probably be wrong. The black clothes, Chet Atkins and Jerry Reed.
white face and ghastly makeup, the

INTERVIEWS_JOHN 5
As with any young guitar player growing - it’s all he wanted. So at the age of just 17
up in the ‘70s and ‘80s, there would be no he moved to LA to try and live the dream,
escaping the influence of bands like the as so many have over the years. His arrival
Monkees and players like Jimi Hendrix, the wasn’t what he’d hoped for though as on his
theatrics of KISS and then the pyrotechnics first night there his friend Chuck Behler (of
of Eddie Van Halen. It really would have Megadeth) stole all his money, he has alleged,
been the most exciting time in history to be so the only solution was a job at Penguin’s
a guitarist as year after year the world was Frozen Yogurt and work as a valet!
getting new players who were taking playing
to extremes: Yngwie Malmsteen, Paul Success was quick to come for John after
Gilbert, Richie Kotzen, Greg Howe, Tony that false start. He soon landed numerous
Macalpine... for a testosterone driven teen, session gigs (though in his own words, he
there would have been nothing better. was willing to undercut the competition at
half the price just to get his name out there),
The thing this variety of influence brings to and networking with the right people landed
a young guitar player is a mixture of both him some impressive gigs such as Lita Ford
technique, and the importance of variety and and k.d. lang.
stylistic competency. The idea of becoming
a session player was too tempting for John
John 5 - Interview Part 1

Marshall
INTERVIEWS_JOHN 5
From here things got serious, playing in the hold while Dave is out with Van Halen, so
Rob Halford project 2wo before cold calling who knows if we’ll ever hear it!
David Lee Roth’s manager in the hopes of
doing something with his childhood hero... Next for John was a call from Marilyn
and he did. From the viewpoint of 2016 Mason’s manager (who John had previously
it’s easy to forget how important David Lee auditioned for) and after a lunch meeting
Roth was from ‘78 to the mid ‘90s. Not only he was offered both the Mechanical Animals
was he the front man for Van Halen, but tour, and (possibly even more important)
when he went solo he hired a young Steve the stage name of John 5. Manson couldn’t
Vai and then went on to hire Jason Becker. have been bigger in the early 2000s, and the
Diamond Dave always knew how to pick albums Holy Wood and The Golden Age of
them, so when he chose a guitar player, the Grotesque (on which John has major writing
enture guitar playing community would take credits) would be enough to cement his
notice, which means that when he teamed importance in the history of Heavy Metal.
up with John 5 for 1998’s “DLR Band” Leaving the history for a while and moving
the boy from Michigan had really arrived. on to gear, John is all about the Telecaster.
Incidentally, there’s actually a second album As a child, he thought that was the only
with Dave all recorded, but it’s currently on guitar there was - after all, what else were all
John 5 - Tip of the Day - Behind the Nut Love

JHS
INTERVIEWS_JOHN 5
To get John’s sound, you’re going to want a

humbucker equipped Telecaster.
his Country heroes playing on Hee Haw? Fender makes five (of course) different
He’s since gone on to complete a collection signature models, including a killer model
of Telecasters, now owning one Telecaster in black with chrome guard and old school
from every single year of production. They paddle headstock. Obviously you don’t
range from his stunning ‘53, which has have to have his signature Tele, but the
virtually never been out of the case, to his humbucker is important. Amp wise he uses a
Broadcaster, which he paid $135m000 for. selection of amps, but the Marshall JCM900
Totting it up, his collection must easily run Dual reverb is at the top of the list, used
into the million dollar mark. with a BOSS Super overdrive, a BOSS Super
Chorus, and a BOSS Noise Suppressor.John 5 Talks Fe
To get John’s sound, you’re going to want a
ers
humbucker equipped Telecaster. Thankfully In 2004 John released his first solo album,
John 5 Interview Part 2

ender Telecast-
John 5 Talks Fender Telecasters
he was offered both the Mechanical Animals Leaving the history for a while and moving
tour, and (possibly even more important) on to gear, John is all about the Telecaster.
the stage name of John 5. Manson couldn’t As a child, he thought that was the only
have been bigger in the early 2000s, and the guitar there was - after all, what else were all
albums Holy Wood and The Golden Age of his Country heroes playing on Hee Haw?
Grotesque (on which John has major writing He’s since gone on to complete a collection
credits) would be enough to cement his of Telecasters, now owning one Telecaster
importance in the history of Heavy Metal. from every single year of production. They
range from his stunning ‘53, which has
Amp wise he uses a selection of amps,

but the Marshall JCM900 Dual reverb
is at the top of the list
INTERVIEWS_JOHN 5
of the smart choices for serious students albums to date (with a fourth due out soon)
of guitar, though it’s worth noting that his along with live albums, and even appearances
instructional DVD definitely isn’t for kids, on film sountracks form Rob’s extremely
not only is the guitar playing terrifying, but popular films.
it features a lot of nudity and gore – all traits
of John’s fascination with vintage horror! It’s safe to say we’re going to keep hearing
a lot from John 5 in the future, be it via
In 2005 John landed the gig of guitarist solo tours, releases with Zombie, or even
for Heavy Metal icon Rob Zombie and that David Lee Roth record we know is
he’s stayed for the last 11 years. This seems done - keep your eyes peeled and go catch
to be the perfect fit for John in terms of this unique spectacle of a player at the first
theatricality and material, not to mention opportunity you get. END >
the good relationship he has personally with
Rob. This partnership has resulted in three
John 5 - Sugar Foot Rag

Rotosound Strings
INTERVIEWS_JOHN 5

It’s safe to say we’re going
to keep hearing a lot from
John 5 in the future...
John 5 LIVE “This is my Rifle” Uncut Studio Sessions
COMPET YOUR CHANCES TO

TITIONS
WIN
COMPETITION_BOOK REVIEW
The Taylor Guitar Book Format: Paperback

Author: Teja Gerken ISBN: 978148039451
Publisher: Backbeat Books (Hal Leonard) Format: Paperback
ISBN: 9781480394513 Price £24.00/$29.99
By the early 1970s, the acoustic guitar market was not who was willing to go out and convinc
just in the doldrums, but its leaders - primarily the big retailers that these new instruments we
three US acoustic guitar makers, Martin, Gibson and It may not be as romantic as talking ab
Guild (we’ll leave Ovation out of this) - had become and varnish formulae, but in terms of w
pretty staid in their offerings. Martin was so firmly become, it is vitally important. Even to
wedded to its traditions that its guitars were often hard easy company to get along with. These
to play, while Gibson had all sorts of problems and
Guild, while it excelled at 12-strings - never quite had San Francisco based journalist Teja Ge
the same impact with its six string models and suffered acoustic guitars. He is a leading US gu
a series of ownership changes. Around the middle of the clearly has close links with the Taylor c
decade, enter a young man from California, who was makes his new book authoritative, info
about to change the entire acoustic market - Bob Taylor. written. It’s also produced to the usual
we’ve come to expect from Backbeat B
Bob Taylor did things differently. Not only did his of historical pictures to enliven Gerken
acoustics have bolt-on necks (at the time regarded as story. On that point, the book goes up
suitable for Fender solid electrics and not much else) about as current as you are going to ge
and they played like electric guitars. Players wedded to includes Taylor’s electric models and th
the fashionable ultra-light gauge strings and low actions, Expression pickup system which is still
could put down a Strat or an SG and pick up a Taylor today.
acoustic without having to rewire their brains and strain
their fingers. They sounded great, too! The only downside from our point of v
is only a paperback edition. Taylor own
None of this would have amounted to much more than guitars and a hardback option would p
the story of another guitar maker whose career briefly popular too. This is the unmissable sto
flowered in the latter half of the 20th century had Taylor guitar making’s greatest successes - buy
not teamed-up with business partner Kurt Listug. The
duo not only had great guitars but in Listug, someone GC.

13
ce sceptical
ere worth stocking.
bout tonewoods
what Taylor has
oday, Taylor is an
e things matter.
erken knows his

uitar writer and
company, which
ormed and well
high standard
Books, with plenty
n’s fully detailed
p to 2015, so it’s
et and, happily,
he fabulous
l so impressive
view was that there

ners cherish their
probably have been
ory of one of US
y it!
COMPETITION_TAYLOR GUITAR AND BOOK!
WIN A TAYLOR 210CE ELEC

COPIES OF THE TAYLOR GU
FREE ENTRY COMPETITION
Every guitarist needs an acoustic guitar and

we’ve got a stunning prize up for grabs in
this issue - a guitar from one of the world’s
greatest manufacturers - Taylor. We’re giving
away the Taylor 210ce reviewed by Tom
Quayle in this very issue!
And as if that wasn’t enough, the winner

will also receive a copy of The Taylor Guitar
Book also reviewed in this issue and two
runners-up will also receive copies of this
fabulous book detailing the history of the
company that redefined the acoustic guitar.
With a solid spruce top and rosewood back

and sides, the 210ce features a cutaway
for easy access to the top end plus the very
impressive Taylor ES-T transducer system
for amplification. It’s a hugely convincing
package for a hard working, gigging player
showing that Taylor’s expertise and design
brilliance works as well in more affordable
acoustics as it does in the luxurious models
every player lusts after!
One lucky Guitar Interactive reader is going

to be enjoying a Taylor 210ce plus a copy
of The Taylor Book and runners-up will be
able to work out which Taylor they are going
to buy, when they receive their copy of the
book as a prize!
THE RULES
1/ All entries must be received by 29th February 2016. 2/ Only one entry per person is allowed 3/ All entrants must be registered re
Backbeat Books are ineligible for this competition. 5/ One winner will be chosen, at random, from registered readers of Guitar Inte
Winning entrants must respond to email notification of having won within 10 days, otherwise prizes may be forfeited and alternati
country, but this will not always be possible. 9/ Prizewinners must consent to having their name and city/country (e.g. ‘Andres Sego

CTRO-ACOUSTIC GUITAR PLUS
UITAR BOOK IN OUR AMAZING
N!
How do you win? It’s easy! All you have to do is click to enter, simply answer the simple
questions (tick A, B or C) and fill out the form! One lucky winner with the correct
answers will be chosen at random and will end-up with this amazing Taylor guitar!
Questions
Q1. The Taylor 210ce features a back Q3. Taylor guitars first began to
and sides made from laminated...? appear during which decade?
A/ Rosewood A/ 1950s
B/ Mahogany B/ 1960s
C/ Sapele C/ 1970s
Q2. The Taylor 210ce comes with a

pickup and pre-amp?
A/ True
B/ False
ENTER
lucky winner with the correct answers will win our Taylor 210ce and a copy of
The Taylor Guitar Book. Two runners-up will each receive a copy of the book.
The winner will be notified by email. Be sure to check your emails regularly
and don’t use a ‘throw-away’ email address. We have had unclaimed prizes,
which have been reallocated to other entrants!
eaders of Guitar Interactive 3/ No cash alternative is offered instead of the stated prize. 4/ Employees of Guitar Interactive, Taylor Guitars or
eractive who provide the correct answers. 6/ The judges’ decision is final. No correspondence will be entered into regarding this competition. 7/
ive winners chosen. 8/ Winners may be responsible for import duty where levied. Where possible prizes will be despatched from the winner’s own
ovia, Madrid, Spain’) published in a future issue.
Red W

Witch
COMPETITION_THE WINNER!
WINNER E Issue 37
GUITAR INTERACTIVV E + F UZ Z PEDA L
RED WITCH ZEUS S UB -O C TA
In GI 37 we gave away a fabulous Red Witch Zeus sub-octave + fuzz pedal.

Although primarily aimed at bass players (which is why Dan Veall reviewed
our sample down in the GI Bassment) the Zeus is proving equally popular with
guitarists. It’s one of a family of fabulous FX units from the New Zealand designer
Ben Fulton - every one of which that we’ve seen has received a thumbs-up review
from our team
As Dan says: “Ben Fulton, company owner and designer, took the Fuzz God II’s key
ingredients and melded them in to a new pedal featuring not one but two separate
effects that can also be blended together for an aural onslaught that will have your
guitarists running for cover, or being unable to stop themselves from boogie-ing on
down with some tasty retro groove sounds. That is - always assuming they don’t try
to swipe it for themselves!”
So who won our Red Witch Zeus pedal?
And the Lucky winner is:
and in
Mr Malcolm Cox from Sunderl
lcolm!
the UK. Congratulations, Ma

WINNER
Guitar Interac tiv e Is
Sy
su
ste
e
m
3 7
-
S
T
e
h
n
e
n
W
he is
inn
e
e
r D
r!
1
Digital Wir ele ss
In GI 37 we gave away the fantastic Sennheiser D1 wireless system which we’d reviewed back
in Issue 35. It’s an absolute must-have product for guitarists and bassists who want to make the
switch from using guitar leads to the freedom of wireless connection on stage. It’s also a fabulous
choice for vocalists, as you’d expect from one of the world’s most accomplished microphone
manufacturers. Using the 2.4GHz band, which is licence-free world-wide, the fully digital
Sennheiser Evolution D1 is a dream to set-up with one-touch pairing between the transmitter and
the receiver. In our view it’s just about the ideal device for anyone looking to go fully wireless for
performances.
So who won our Sennheiser D1 system?
And the Lucky winner is:
recambe,
Mr Cameron Plaziuk from Mo
ns, Cameron!
Lancashire, UK. Congratulatio
iGUITAR_FEATURED DOWNLOADS!
EXCLUSIVE OFFER!
Guitar Pro Lite FREE for Guita

Our downloads are now available
both in standard download
form, or as files for the fabulous
Guitar Pro 6 software package.
Registered readers of Guitar
Interactive can download a FREE
copy of Guitar Pro 6 Lite just by
clicking on the link on this page!
Guitar Pro 6 is perfect for editing

TAB for guitar, bass, and other
4- to 8-string instruments.
Compatible with both Windows
and Mac operating systems,
Guitar Pro 6 Lite is a powerful
editing tool and each license will
give users a preferential upgrade
(with a 50% discount) to the full
version!
CLICK HERE!

ar Interactive subscribers!
TABLATURE DOWNLOADS FOR LESSONS
Our TAB downloads are FREE for all subscribers in both PDF and Guitar Pro 6 Format.
To get your hands on this month's notation tablature, subscribe or download now!
Andy Wood - Country Alternate Picking DOWNLOAD DOWNLOAD
Tom Quayle - Creating Interesting

DOWNLOAD DOWNLOAD
Chord Progressions
Lewis Turner - Inside Picking DOWNLOAD DOWNLOAD
Giorgio Serci - Study n.26 DOWNLOAD DOWNLOAD
Sam Bell - Learning The Notes DOWNLOAD DOWNLOAD
ULTIMATE MEMBERSHI
Get Instant Streaming access to over 100 licklibrary DVDs.
Watch them wherever you want, whenever you want, as
many times as you want with our new Ultimate membersh
Want to play faster? Master the Blues? Get to grips with And there’s more. As a Licklibrary Ultimate member
Fusion? Understand theory or just blast out some killer be able to stream many of our new DVDs online we
riffs? Whatever you need, Licklibrary have it covered with before the physical products are available, giving yo
the world’s finest collection of complete courses exclusive early access to many of our new titles If th
wasn’t enough, as an Ultimate member you also ge
Licklibrary Ultimate membership is the most
off any physical DVDs in the Licklibrary catalogue a
comprehensive collection of courses we’ve ever released
time you want.
to help you become the guitarist you’ve always wanted
to be! Licklibrary Ultimate offers much more than our With access to all the regular Elite membership ben
other subscriptions - you don’t just get the library of plus access to over 100 licklibrary DVD courses, this
online lessons and hundreds of jam tracks, but you’ll also THE Ultimate membership for serious guitarists. The
be able to stream over 100 Licklibrary DVDs instantly, on Licklibrary Ultimate membership will give you every
demand, all for less than the price of a single DVD each you need to become a better player than you ever
month! believed possible. Get full details online at licklibrar
OTHER LICKLIBRARY MEMBERSHIP OPTIONS GET AN

ELITE MEMBERSHIP DVD PREMIU
FROM £9.75 PER MONTH* Perfect for everyone, from
beginner to advanced FROM £15.7
Every online lesso
FREE unlimited access to watch note Jam with over 800 FREE
for note lessons to hundreds of songs guitar jamtrax All the benefits
PLUS a FREE DV
GET A FREE 14 DAY TRIAL ONLINE NOW +1 FRE

IP!
hip!
r you’ll
eeks
ou
hat
et 40%
any
nefits,
is
e
ything Licklibrary - The Ultimate Membership!
ry.com
ELITE MEMBERSHIP 14 DAY FREE TRIAL ONLINE NOW!

UM DVD GOLD
75 PER MONTH FROM £18.25 PER MONTH
on and jam track plus a free DVD Unlimited online lesson access plus 2 free DVDs
s of Elite Membership
All DVD Premium benefits PLUS 2 FREE DVDs
VD of your choice every month
EE DVD per month +2 FREE DVDS per month
LICK LIBRARY_GET INVOLVED!
LEARN GUITAR ONLINE!

Hundreds of guitar lessons online
now, FREE for members to watch,
plus JamTrax, performances, and
more new content added each month!
Watch our expert presenters – all top players and teachers in their own
right – break down songs and techniques into digestible chunks. Individual
segments are played slowly first, then brought up to speed – all you have to
do is watch and copy. You’ll find you’re learning and improving faster then
you ever believed possible.
Learn Eddie Van Halen’s exact solo for Eruption, get Comfortably Numb
off pat, nail that right to Sweet Child O’Mine – there are hundreds of lessons
online and we’re adding to them all the time. Each track is broken down into
small sections so you can learn even the most complex solo.
Whether it’s acoustic finger-picking or full-on shredding, whether you’re
a complete beginner or an accomplished player, you’ll find what you want
online at www.licklibrary.com
All styles,
GUITAR LESSONS 24/7 All levels

An Introduction to Licklibrary
Want lessons and FREE DVDs?

Any 3 FREE LickLibrary DVDs in every 6
month period
FREE unlimited access to not for note lessons to
over 300 classic tracks
FREE access to watch technique lessons for all
guitar styles
Jam with over 400 FREE guitar Jamtrax
More new lessons and jamtrax added each month
For more info and options CLICK HERE
www.licklibrary.com
THE
REVIEW GUITARS, A

E
WS
MPS AND EFFECTS
REVIEWS_GUITAR REVIEW
LTD EC1000 Koa Natural How do you g

individuality?
‘T here’s no denying that this

is a wonderful looking
guitar! It’s part of LTD’s
Eclipse series, clearly designed to offer
the LTD’s Thin ‘U’ neck which is
a neck-through construction to the
body offering great fret access up to
the 24th fret! It has a very playable
an alternative to a Les Paul by offering neck thanks to the large frets and the
familiar single cutaway styling but 24.75 inch scale length. The horn
featuring some unique woods that on this guitar is also very ergonomic
certainly make it stand out from its thanks to the classic LTD Eclipse
competitors. design, it’s no wonder players like
Andy James enjoy this particular
Specifically, the EC1000 Koa features model of guitar so much.
a Hawaiian koa top, which is what we
can instantly see when we unbox the When we plugged the LTD in, we
guitar, it shines with its natural gloss were treated to soaring thick Gary
finish and has a nice looking really Moore-esque tones thanks to the great
‘woody’ grain. The actual body of the Seymour Duncan SH-2 and SH-14
guitar is made from mahogany whilst pickups - the SH-14 living in the
the neck uses a five piece mixture of bridge and the SH-2 in the neck. The
mahogany and bubinga strips with neck pickup gives a warm sustain, and
an ebony fingerboard. The guitar the bridge delivers some truly heavy
is fairly light and acoustically very tones. These pickups are controlled by
resonant and sustaining, the notes a three way toggle switch and separate
have a percussive attack but they also volume controls and a tone. This is
‘burn’ or sustain in a way very similar helpful for live work if you wish to
to a Les Paul. However this is very literally ‘switch’ between two sounds,
different guitar to handle, thanks to for example heavy rhythm on the
STAR RATING PROS Sustain! • Playability • Stunning looks
CONS Two separate volume controls could lead to co

get a combination of classic single cutaway styling in a guitar that also screams
? ESP’s LTD offers a model that manages just that. Sam Bell investigates.
LTD EC1000 Koa Natural
bridge and a rolled back clean on the neck. Talking of clean tones and neck pickups,
when I dialed a clean tone on the amp and selected the neck pickup with the
tone rolled slightly back I felt like I was able to create tones similar to that of the
amazing Paul Jackson Jr of Michael Jackson/Daft Punk fame. This guitar has a lot
of identities behind its sleek gloss koa wood finish and you could also go back into
onfusion on stage.
In summary this is
a fantastic looking,
unique guitar, that has
a lot of versatile tones
under the hood.
political Rock territory by using
the toggle switch and separate
volume controls in conjunction
to create a ‘kill switch’ a la Rage
Against the Machine. This is by
no means just a Rock screamer,
for all that it does that job
supremely well!
Hardware wise we are treated

to ESP locking tuners for extra
tuning stability and ease of
string changing. The guitar also
features a solid easily adjustable
Tonepros Locking TOM bridge
and tailpiece that doesn’t get in
the way of the picking hand.
The guitar looks great but also
feels comfortable to sit with
and nothing in the body work
seems to get in the way of your
playing.
In summary this is a fantastic

looking, unique guitar, that
has a lot of versatile tones
under the hood. It’s light, shred
worthy, versatile, it’s well worth
checking out if you are thinking

Orange
of a Les Paul kind of shape and sound but with a more modern feel and a unique finish. Oh,
and it’s probably worth mentioning that if you think the koa is a bit too standy-outy, there are
much more conventional versions of the same guitar - but we really liked this one! END >

LTD EC1000 Koa Neck Contour Thin U
Natural Frets/Type 24 XJ
MSRP £839 US $1,429 Hardware Color Black
Made in: Korea Strap Button Standard
Construction - Set-Thru-Neck Tuners LTD Locking
Scale 24.75” Bridge Tonepros Locking TOM

Bridge & Tailpiece
Body Mahogany
Neck PU Seymour Duncan SH-2
Top Hawaiian Koa
Bridge PU Seymour Duncan SH-14
Neck 5Pc Mahogany/Bubinga
Electronics Passive
Fingerboard Ebony
Electronics Layout Vol/Vol/Tone/
Fingerboard Radius 350mm Toggle Switch
TECH SPEC
Finish Natural Gloss

FIND THIS PRODUCT ON
Nut Width 42mm
Nut Type Molded
Vigier consistently imp
Vigier GV Rock Guitar makers don’t come ne

Tom Quayle meets the
‘F rench manufacturer Vigier has

been producing very high end
custom superstrat style guitars for
quite a while now, designed by ace luthier
cutaway, S-type vein with lots of options
for customisation, but up until now those
looking for a single cut option have had to
look elsewhere. Recently Patrice revealed
ele
sin
int
mu
Patrice Vigier. The company has a wide his take on a single cut design with the GV
range of models available within the double range, a modern and unique solid body Th
bo
on
fre
des
dif
des
all
age
for
is a
Le
ser
cle
low
con
is a
sta
wh
sid
Vigier GV Rock Guitar bo
STAR RATING PROS Superb design and finish • High end hardware
Extremely stable neck
CONS Quite expensive

presses with advanced, supremely playable guitars that set standards some other
ear. But what if you want a single cutaway, more traditional looking instrument?
e Vigier GV Rock.
ectric that melds the classic The hardware is as high

nge cut look with a range of end as we’ve come to expect
teresting features that are very from this maker, with a
uch from the Vigier mould. pair of hand-wired Amber
humbuckers linked to a 5-way
he GV Rock sports an alder switch for versatile tones.
ody matched with a bolt- Schaller locking tuners, a
n maple neck and rosewood Teflon nut and high quality
etboard. The bolt-on neck Vigier designed hard tail
sign immediately gives a bridge offer very stable tuning
fferent feel to this single cut and intonation, aided by the
sign that, in common with medium stainless steel frets
Vigiers, uses only naturally and zero fret. Even the strap
ed woods that are left to dry buttons are of exceptional
r three years. The body shape quality, with brass casings
a fantastic take on the normal that are inserted deep into the
es Paul style guitar with a body for extra stability and
ries of lovely curves and a strength. As with all Vigiers,
everly recessed upper bout and the bolt on neck has no truss
wer horn giving a very cool, rod, but rather a carbon fibre
ntemporary look. The body strip running down the length
also much thinner than the of the neck for the ultimate
andard single cut design and, in stability without the need
hen matched to the three per for adjustments. The system is
de headstock, gives a style that is a proven success with plenty
oth recognisable and unique. of users travelling all over the
e • Versatile tones • Great Playability
Vigier is onto a winner with the GV

series, especially with the matte
finishes that look so cool on this design.
world without ever needing to adjust their guitar is meant to rock and does so with a
neck to take account of varying climates. huge authority.
Vigier offers the GV Rock in a range of Plugged into our studio amp the clean
opaque and translucent finishes but our tones are very versatile thanks to the 5-way
review model was finished in the incredible switch with split single coil tones available
Revolution Red Matte colour, a new type of in positions 2 and 4 and full humbucking
finish for the company without the sheen of modes in 1, 3 and 5. The neck pickup is
gloss finishes. The colour is eye popping and incredibly dynamic and warm and matches
suits the design very well, producing an even well with the hotter bridge pickup. Funk,
more modern look for this single cut guitar. Jazz and edge-of-breakup tones are handled
The finish is executed flawlessly with scraped beautifully by these hand wound pickups
binding around the body and extends across that have become pretty much the standard
the back of the Maple neck and up into on Vigier guitars. Moving on to higher gain
the matching headstock. Matched with tones the GV Rock continues to impress
the chrome hardware and lack of fretboard with a tight low end and masses of pick
inlays, the guitar is one of the coolest looking attack translated through the signal. All five
instruments this reviewer has seen in a long positions work well even with high gain
time and should very much appeal to players tones and the volume and tone controls do
looking to separate themselves from the a great job of shaping the sound as required.
crowd of traditionalists in the guitar world. This is a very versatile instrument that does
an awesome job of Rock tones but handles
The GV Rock is extremely comfortable to itself very well in other genres too.
play thanks to the thin body design and very
friendly sculpted bolt-on neck joint that Vigier is onto a winner with the GV series,
almost resembles a glued in neck in terms of especially with the matte finishes that look
its upper fret access. The neck is extremely so cool on this design. It’s expensive but,
fast and the stainless steel frets offer a slick with high end components and construction,
and easy playing experience that makes you great playability and a range of versatile
wonder how you ever got on without them. tones, the GV Rock should be high on your
Unplugged, the guitar has a superb amount list of single cut guitars to check out. END >
of sustain and a lovely high end attack that
makes you play very dynamically, but this

Mesa Boogie
Vigier GV Rock
MSRP £2,169 US $3,499 Fingerboard: Rosewood
Made in: France Radius: 300mm / 11.81”
NeckType: Bolt on featuring Type of frets: Medium stainless
the 10/90 System (10% Number of frets: 22 + zero fret
carbon, 90% wood) Maple Scale length: 630mm / 24.8”
naturally dried for 3 years Inlay: Dots (on the side only)
Shape: D Body: Naturally aged alder
Width of neck at nut: 42mm / 1.65” Finish: Varnish dried
Width of neck at last for 5 weeks minimum
fret: 57mm / 2.24” Machine heads: Schaller
Depth of neck at first M6-2000, custom, locking
fret: 19,5mm / .76” Bridge: Vigier hard tail
Depth of neck at End pin: Brass casing that inserts
12th fret: 23mm / .90” deep into the body and locks the
String spacing at nut: 35mm / 1.38” strap button in place. Pickups:
String spacing at Amber HH, hand wounded
bridge: 52 mm / 2.04” Switch: 5 positions
Action as supplied at 12th Controls: Volume, Tone,
TECH SPEC
fret, treble: 1,5mm / .0059” Pickup selector 5 positions

Action as supplied at 12th Weight: 3,8Kg / 8.37lbs
fret, bass: 2mm / .0078”
Type of nut: Teflon nut
+ zero fret technology

Fractal
Washburn Parallaxe PXS100
‘W ashburn is perhaps most

well known for its shred
axes, especially the company’s
signature guitar work with Nuno Bettencourt
quality shred guitars with solid build quality
and rugged design and there’s no mistaking
that Washburn has that market in mind with
this model - even the box the guitar comes in
from Extreme. The Washburn Parallaxe has shred written on it!
series is dedicated to making affordable high
Washburn Parallaxe PXS100
STAR RATING PROS Solid rugged design • Versatile tone options wi
CONS Tiny headstock? Clip on tuners?

Looking for an affordable shredmonster with pedigree? Sam Bell rips it up on
a very affordable Parallaxe from Washburn
The first thing I noticed when this instrument offers a

picking up this axe is the ingenious hard tail/string through
‘Stephens Extended Cutaway’ design. construction, with the
It has to be seen to be believed! use of a rugged and
This design idea was conceived easy to adjust bridge.
by Seattle-based luthier Stephen Intonation can easily
Davies and first appeared on the be adjusted via the
Nuno Bettencourt N4 (see our Nuno Phillips screws located
Bettencourt interview and reviews in at the back of the
GI 29 - Ed). This unique bolt-on bridge and the action
method allows for effortless access to can be adjusted in the
the upper frets by giving the neck a traditional way via
consistent feel all the way up to the very small Allen key
24th fret, there is no gradual rise in bolts on top of each
thickness. It’s all neck right up to the string saddle. The
unique bolt-on joint. guitar comes strung
with D’Addario strings
Talking about the neck, we have 9-42 and the action
big fat frets to help with bending, was already pretty good
intonation and playability. The for my own personal
neck is made out of maple with preference when I got
an ebony fingerboard, the mix of it out of the box.
maple and ebony gives the tone a
snappy quick attack which is very It’s worth noting that
useful for Rock and Metal styles. like most Washburns,
Unusually for a metal/shred guitar, this Parallaxe benefits
from the Buzz Feiten
ith the tone push pull control • Metal Machine!
The headstock features the classic

Washburn logo and six Grover tuners
which have an 18:1 ratio, meaning
they’re nice and accurate. They
shouldn’t slip too much in other words!
system which is designed to insure it is in The headstock features the classic Washburn
tune all the way up the work. Does it work? logo and six Grover tuners which have
Well this one was, so we’d have to say yes! an 18:1 ratio, meaning they’re nice and
accurate. They shouldn’t slip too much in
The guitar comes equipped with two other words! The headstock itself is classically
Seymour Duncan designed passive pickups, pointed, as we have come to expect from
both fairly high output, but low enough extreme shred guitars. My only little issue
to keep things sounding clear. The bridge with this was there was hardly any room
pickup is significantly hotter than the neck for me to use a clip-on tuner, I know its
which has a nice sustain. These two pickups subjective and if you are playing this type of
are controlled by a three way selector guitar you are probably using a pedal board
switch, a volume and a push pull tone pot. with a on floor tuner or even a rack mount
The push pull tone control selects between tuner, so it’s really no issue, and the design
humbucking and single coil type sounds. looks mean!
The single coil sounds are convincing when
the volume control is rolled back slightly In summary this is a solid, shred-metal
to enhance the high end. These pickups axe which is very playable, seems very
are pretty versatile. While messing around rugged, offers great sounds and sells at a
with the tone knob I was able to get a nice very reasonable price. If Washburn is out to
clean jazzy clean sound, so I can imagine appeal to the hard working shredder who
this guitar would be useful for progressive doesn’t have a gigantic bank balance, I’d say
Rock/Metal styles which need these extreme the company has got it just about right. It’s
changes in tone from extreme Metal to nice black, it’s mean, it sounds hot, it does exactly
mellow cleans that don’t sound too thin and what it says on the box - literally! END >
chirpy.

MOOG
Washburn PXS100B
MSRP £489 US $TBC Humbuckers
Made in: Unknown Pickup Configuration: H / H
Shape: Pxs Double Cutaway Controls: 1 Volume/1 Tone - 3

Way Toggle
Body: Basswood
Pickup Selector: 3 Way Toggle
Neck Material: Maple
Hardware
Fretboard: Ebony With 24 Frets
Hardware: Black Hardware
Number Of Frets: 24 Jumbo
Bridge: Fixed Bridge
Inlays: Small Dots With
Parallaxe Inlay At 12th Fret Tuners: Black Grover Exclusive
18:1
Nut: Graphite Nut
Color: Black Gloss
TECH SPEC
Nut Width: 43 Mm
Strings: D’addario Exl 120 Light
Scale: 25.5 Gauge
Pickups: Duncan Designed

Fusion
Maybach Lester A ‘Lester’? Now why ever would newc

58 Cherry Lane that lasts three tenths of a second with
‘T he idea for each piece of tone wood a few of these over the years
Maybach guitars is individually selected for and I know what they feel
came about when optimum weight, quality like and what they weigh,
German designer and guitar and resonance, the company and I have to say the Lester
expert Toni Goetz and top says. Apparently, original feels pretty damn close. The
luthier Michael Spalt got vintage guitars have been first thing to mention is that
together to create a brand of laser scanned so body and this is a light guitar with
guitars that offered accurate neck dimensions on these huge acoustic resonance, just
interpretations of the iconic Maybachs are as close as like the originals. Back in
guitars that we all know and you can get. So Maybach 1959 there was no shortage
love from the ‘50s and ‘60s, clearly means business. It’s of quality mahogany,
with highest production hard not imagine some teeth which was light in weight.
values, at an affordable price, gnashing going on in the I don’t own a ‘59 but I do
without having them made boardrooms of some of the own three Gibson Les Paul
in the Far East. Instead, big name guitar companies, Standards which took some
their guitars are made in but you have to assume that finding, because the lighter
the Czech Republic by a the legalities have been gone ones are the best ones, and
small workshop staffed by through and that Maybach they had to be light without
very experienced luthiers knows exactly what it is all the chambering nonsense,
that have built Manson, doing. That has to be matched to a
Steinberger and Spector nice flame top and colour, of
guitars among others. The Our review guitar is the course.
highest quality hardware Maybach Lester, and
and components such as obviously it’s a tribute to This Maybach Lester is a
Tonepro, Gotoh, Kluson the holy grail of all electric beautiful weight and has a
and CTS are used and guitars, the ‘59 Les Paul fantastic resonance. When
Standard. Now I have played a guitar rings like this, you
STAR RATING PROS Fabulous looks & tone • Top components & har
CONS Resale value could be an issue

comer Maybach have called its guitar that? Michael Casswell plays a guessing game
h a stunningly good newcomer from Germany.
know it’s going to sound great The guitar is finished in a

once you amplify it. Next vibrant Cherry burst and
thing to mention is the fat sealed with nitro cellulose.
neck this guitar has, which is Almost all of the best use
also accurate to a good ‘59/’60 nitro nowadays, but this
Les Paul. Big necks mean big usually rockets the end-price
tone, and in my opinion, they because it is labour intensive.
are way more comfortable To keep costs reasonable,
to play and certainly put less most guitars are sealed in a
stress on your hands. This poly finish, which is very hard
Lester plays perfectly. No wearing but really, to a purist,
dead spots. Great intonation it’s like dipping your guitar in
all over the neck. A nice low plastic. Nitro ages gracefully
action with effortless string and because it is plant based,
bending. Everything you want it allows a guitar to breath and
from this style of guitar. resonate to its full potential.
This Lester has also been
The pickups are wound by relic’d with some very accurate
a German company called checking and cracking of the
Amber (as also used by Vigier - finish to make it look 40 or
Ed). The choice here has been 50 years old. I am not sure
for a PAF vibe and are sweet the Cherry burst should be so
sounding and full of character, vibrant if it is going for the
complementing the resonance aged look because the original
of the guitar perfectly. Volume ‘59 sunbursts all started off
and tone pots are CTS and a as a vibrant cherry, but the
great choice for this guitar.
rdware • Wonderful neck • A ‘vintage’ guitar for silly money
The quality and workmanship from

Maybach is up there with the best.
pigment faded with time and exposure to Overall this is a superb guitar which can
UV light to give all the different bursts we most certainly take on a contemporary
see on old Les Pauls today. What would be Gibson. It’s also about a third of the price.
very cool is if Maybach have used the same The only drawback I can see would be
unstable pigment which will fade and age that if you are the sort of player that chops
gracefully. Only time will tell. and changes your guitars, then the resale
value will never be what it would be if you
Maybach Lester
58 Cherry Lane
Maybach Lester 58 Cherry Lane

Rotosound Pedals

guitar has Gibson or Fender written on If all this sounds very tempting, Maybach
the headstock. But then again, you are not also produces other vintage style guitars
paying Gibson or Fender prices, even though called the ‘Teleman’ and the ‘Stradovari’ and
the quality and workmanship from Maybach there are no prizes for guessing what the
is up there with the best. specs of those are! Each Maybach comes with
a beautiful plush case too. END >
Mayback Lester 58 Cherry Lane

MSRP £1,499 (inc case) US $TBC
Made in: Czech Republic/Germany Hardware: ‘relic’
Available specs: Pickups: Amber ‘spirit of 59’

humbuckers
TECH SPEC
Body: Mahogany
CTS pots/switches
Top: Flame Maple
Nitrocellulose relic finish
Tuners: Kluson
REVIEWS_HEAD REVIEW
So new that it wasn’t even on

Laney GH50R head its ground-breaking tube hea
achieving the perfect classic
‘W hen looking bloom that is not only great a luxurious looking red and
at many of the to hear in your sound but black vinyl to represent the
greatest tones also enormously rewarding pre-amp gain and dark art of
in electric guitar history to play and with Laney’s the Power stage respectively,
you can identify three key brand new GH50R, this is an amp that sticks in
elements that define and GH100R and 2x12 GH the mind visually and will
shape the amp sounds combo, launched at this look fantastic on stage.
we love - the pre-amp, year’s NAMM show, Laney
the power amp and the aims to give you back the Laney has decided to offer
speaker. When these three ultimate control over the a two channel design here
elements work in perfect balance of the pre-amp and with a shared three band
harmony you achieve that power amp sections in order EQ, master Tone control
lofty goal of great tone but, to master the dark art of that effectively functions as
in recent years, the power ‘great tone’. a Presence dial, independent
amp element has become Gain controls and a Volume
somewhat neglected as more The GH50R is based on control for channel two. The
and more guitar players have four 12AX7 (ECC83) pre- most interesting element is
migrated over to primarily amp tubes and a pair of the Output control, used
pre-amp based distortion, EL34s in the power stage for dialling in the amount
using the power amp not for a classic ‘British’ style of power tube output,
so much to shape and add combination and plenty of but this is far more than a
to the tone, but rather onboard gain available. The standard attenuation control
just to make it louder. But head is a wonderful looking for dropping the wattage -
judicious use of power tube combination of classic good here we have a control that
saturation adds the beautiful looks with just enough fundamentally changes the
compression, warmth and modern twists to stand out tone and feel/response of the
from the crowd. Finished in power section and thus your
STAR RATING PROS Fantastic looking and well built amps/cabs • Ve

tone • Very interactive controls • Superb value for money a
CONS None at this price

n the Laney website as we closed for this issue, Laney smuggled us an early sample of
ad, the GH50R. Tom Quayle reviews the venerable UK amp builder’s new approach to
valve/tube overdrive.
overall tone. If you dial the output control higher of course things get louder, but you add in a
whole load of harmonics, width and compression to your sound, saturating the power section
at the highest settings for those classic ‘cooking power tube’ tones.
By balancing the gain/pre-amp control with this Output dial, you have incredible amounts of
control over not only the amount of saturation, but the dynamic feel and harmonic content
of the signal, allowing you to craft a huge range of sounds from only these two controls. This
takes a little bit of getting used to but is very intuitive once you’ve got your head, ears and
fingers used to working this way and you’ll begin to wonder how you ever got on without this
ery versatile with a huge range of tones • Output control really transforms the way you dial in
at this level of tone and build • Great sounding Reverb and DI out
REVIEWS_HEAD REVIEW
Laney has also included the same

excellent DI output from the Ironheart
IRT-Studio and Lionheart Studio heads
level of control over the response and feel balances of Gain and Output, discovering
of your tone! You can go from stiff, super tones you absolutely love.
clean funk tones to fat, spongy Jazz cleans,
to biting crunch tones all the way to fully Obviously, things get very loud indeed when
saturated, compressed leads by only touching cranking the Output and Gain controls
these two dials, going nowhere near those so Laney has included a Volume control
tone controls. on channel two so that you can dial down
the level, while retaining the amount of
It’s an amazing experience once you get pre and power tube saturation you require.
why the power tube output control is so This control also feeds the level going to the
important to your tone and you’ll find power section though, adding another tonal
yourself experimenting with different and dynamic element to consider and shape
Laney GH50R head

Ibanez
REVIEWS_HEAD REVIEW

your sound with. Channel one is left as a Power section so that the Output control and
pure Gain and Output combination for the the magic it provides to your tone is captured
simplest way to dial in great sounds. The EQ in all its glory. All of the usual speaker outs
section works very well indeed to shape your and effects loop connections are also present
sounds with a very musical range throughout plus a great sounding, lush digital reverb
and the master Tone control is a very useful similar to that found on Laney’s other amp
addition for taming single coil high end or ranges.
bringing brightness back to dark humbuckers
if required. In combination with the closed back
GH2x12 cab, loaded with Vintage 30
Laney has also included the same excellent speakers, our review GH50R head sounded
DI output from the Ironheart IRT-Studio stunning with a dynamic response rarely
and Lionheart Studio heads, allowing speaker found on amps at this price point. Cleans
emulated recording or sending the output and drive tones sing beautifully and this
signal to the front of house on gigs. Most amp can grind with the best of them when
importantly this DI is taken from after the required, especially with a boost pedal in the
REVIEWS_HEAD REVIEW
front, also working great with pedals in the front or in the loop. Mastering the art of utilising
and controlling the power section in all of your tones is a transformative experience that offers
you an amazing level of control over your sound and brings the Power section back to tones
that have really been missing this vital element in recent years.
Laney has clearly thought a lot about every element of this amp’s design, from the choice of
output transformer and circuitry to the cool visual design. The amp is incredibly well made,
built to stand up to use on the road and comes with the usual Laney slip cover for protection.
For those that really care about having great tone and need a versatile amp that rewards
exploration and balancing of the controls, the GHR series of amps represent not only great
value for money but a superb tonal experience that really deserves to be checked out. END >
Laney GH50R head

TECH SPEC
MSRP £649 US $999.95

GS212VR cab Specifications to follow:
www.laney.co.uk
MSRP £359 US $599.95

Fishman
REVIEWS_AMP & CAB REVIEW
Yamaha THR100HD Amplifier

and THRC 212 Cab
‘Y amaha released a visual aesthetic that looks some of the existing series
the THR series of good in both the studio and features at the same time.
‘mini’ amplifiers living room. The only real
a few years back and has downside of the series lies The THR100HD is
enjoyed huge success with in its low output, leaving essentially two complete
the range, designed to many people asking Yamaha amplifiers in one head-
be your ‘third’ amplifier for a higher power version shell, with an identical
for practising and light that can be used for gigs and feature set and control panel
recording, offering superb louder rehearsal spaces. consisting of an amp model
tone and dynamic response selector with five models,
from a very small package. In response, Yamaha has switchable booster with a
The series has been so produced the THR100HD, level dial, gain, master, three
successful thanks to Yamaha a 100 Watt head that band EQ, presence, reverb
finding just the right attempts to retain the great and volume controls. The
combination of features in VCM modelling technology amps can be considered
a unique design, boasting and mindset of the THR as a standard two channel
multiple amp models, series but in a format that is format, or can be used in
in-built effects, Yamaha’s loud enough for live settings. a number of innovative
acclaimed VCM modelling The 100HD is not, however, ways thanks to individual
technology, a fully-fledged a straight conversion of the inputs and outputs for each
audio interface and a stereo original THR series but with amp. This is literally two
pair of full range speakers more volume. In producing complete amplifiers in one
for playing music and the new heads, Yamaha has head, offering the possibility
backing tracks through. Not slightly altered its vision for to use two guitars and two
only that, but the THR5 this series by adding some cabs, one assigned to each
and 10 look great too, with truly unique and useful amp, or a single guitar with
features whilst removing two cabs, or a single guitar
STAR RATING PROS Dual amp design • Masses of tonal options • Ve

emulated lineouts with custom IR options
CONS No presets • Some important features can only

Tom Quayle checks out the latest in Yamaha’s pioneering series of THR amps, as the
series takes the huge step from the rehearsal room, bedroom and project studio out
on stage.
with one cab in stereo or mono. Even more a guitar consist of two amps running in
impressive is the fact that both amps can be parallel and Yamaha is giving users this
used at the same time in parallel using the possibility at a massively reduced cost and
I+II mode, for an insane number of possible footprint.
tonal outcomes, combining two cleans, clean
and dirty sounds or two dirty sounds, with The THRC212 closed back cab features a
individual effects loops (via TRS cables) for pair of deliberately mismatched Eminence
each amp providing even more possibilities. ‘The Legend’ and ‘The Tonker’ 12” drivers
Some of the greatest tones ever played on with selectable mono or stereo operation,
The series has been so successful

thanks to Yamaha finding just the right
combination of features...
ery affordable 100W head • Great tone and feel in a solid state format • Lightweight • Speaker
y be accessed via USB
allowing each amp to be used with an output tube selections - namely EL84, EL34,
individual speaker or through both. This 6L6, 6v6 and KT88’s plus switchable Class A
allows for even more tonal customisation and Class AB operation, via the back panel.
and stereo operation through a single cab. These selections can be made individually
The cab is very well made and sounds great, for each amplifier for a truly mind blowing
making it the ideal combination for the number of tonal and dynamic responses,
THR100HD. the only downside being that none of these
selections can be stored as a preset - a strange
The back panel provides all of your usual omission given the number of possibilities on
speaker outputs and a switchable output offer. One can only assume that this was in
section for lowering the volume to 50W and order to keep the amp as simple to operate
25W mode as required. Yamaha has gone and as affordable as possible, but it will be
a stage further with the VCM modelling missed by many.
on the THR100HD, offering a selection of
Yamaha THR100HD Amplifier and THRC 212 Cab

Washburn
Yamaha has omitted the audio interface from Line Outs, one for each amplifier, that have
this head, but it’s a decision that makes sense a range of user selectable Impulse Responses
given the ‘live’ nature of the amp. Instead for different speaker and mic combinations
it has included a pair of speaker emulated whilst recording, or for sending to the
The range of tones on offer is staggering

and the power tube selections react
exactly as you’d expect with a ton of
volume if you need it in 100W mode.

front of house on a gig. A killer feature is increasing amounts of gain and react very
the ability to upload your own Impulse convincingly indeed to pick dynamics and
Responses via USB to the unit, allowing volume changes. The solid state power amp
access to the ever growing library of fantastic is designed to react like a tube power section
sounding third party IRs on the market. and does its job very well without feeling stiff
and brittle.
Yamaha offers a software download that
connects the amp to your computer via the The range of tones on offer is staggering
USB port, allowing users to select between and the power tube selections react exactly
three different modelled boosters, the white, as you’d expect with a ton of volume if you
green and amber referring to MXR Micro need it in 100W mode. It’s a shame that you
amp, Tube Screamer and Fulltone OCD can’t select the different boosts and reverbs
type boost models, respectively. There are from the front panel but Yamaha’s aim
also a number of different reverb models to was that you would be able to use the amp
choose from, taken directly from Yamaha’s without ever reading a manual and in this
acclaimed SPX processors. These include a regard they have been successful in the amp’s
Plate, Hall and Room variants, although you basic functionality.
don’t have access to any of the parameters of
those reverbs other than the mix. The effects The THR100HD is a very impressive
loops can also be changed from series to package, boasting some truly unique features
parallel per amp and Yamaha has included a that will appeal to a lot of players. It’s also
high quality footswitch for channel selection, very light and could be a great option for
channel combining, boost, effects loop those sick of carrying around heavy 100W
operation and reverb on/off selection. heads. This is definitely a different beast to
the original THR series and some may feel
This would all be futile if the THR100HD that it moves away from what they wanted
didn’t sound great, or react like a real tube - just a louder version of the THR10. Some
amp but fear not, as the new heads retain THR fans will be surprised by Yamaha’s
all of the modelling quality offered by the design choices for this amp but is certainly
original THR series and don’t exhibit any of very interesting and sounds great with a
the cheapness in feel that can occur when massive array of tonal options on board and
modellers are played at higher volumes. is well worth checking out, especially for
Each of the amp models, Solid, Clean, those looking for a dual amp set-up. END >
Crunch, Lead and Modern offer ever
Yamaha THR100HD Amplifier and

Cab
MSRPs:
THR100 HD £629 US $1,310

THRC 212 Cab £397 US $820
Made in: Unknown MIDDLE, TREBLE, PRESENCE,
REVERB, LEVEL
Amp Type SOLID, CLEAN,
CRUNCH, LEAD, MODERN Control SW Rear CLASS A/
AB x2, GND LIFT, IMPEDANCE
Tube Type EL34, 6L6GC, KT88, 4/8/16Ω, POWER OUTPUT
EL84, 6V6 25/50/100W
Effects BOOSTER (*White/ Control Knob Rear TUBE
Amber/Green), REVERB (*Hall/ TYPE SELECT x2
Room/Plate/Spring), NOISE
GATE (*OFF/1/2/3), FX LOOP Input/Output Front INPUT I
(*PARALLEL/SERIAL), SPEAKER (1/4” Phone), INPUT II (1/4” Phone)
SIMULATION (*Impulse
Response) *Only selectable in Input/Output Rear PHONES
the THR HD_H Utility (1/8” Mini Stereo), FOOTSWITCH
(5pin DIN), EFFECT LOOP SEND/
Control SW Front POWER, AMP RETURN (Stereo 1/4” Phone),
SELECT, BOOSTER x2 SPEAKER OUT 1 (1/4” Phone),
SPEAKER OUT 2 (1/4” Phone),
Control Knob Front AMP LINE OUT I (XLR), LINE OUT II
I AMP TYPE, BOOSTER, (XLR), AC IN Jack
GAIN, MASTER, BASS, MIDDLE,
TECH SPEC
TREBLE, PRESENCE, REVERB, USB (TO HOST) Yes

LEVEL
Power Amplifier Type ClassD
AMP II AMP TYPE,
BOOSTER, GAIN, MASTER, BASS, Rated Power Output Single
Amp: 100W (8/16Ω) 50W (4Ω),

Dual Amp: 100W (50W+50W) User Manual
A/D Resolution 24 bit + 3 bit THRC 212 Cab

floating
Type Closed Back
Sampling Rate 44.1 kHz
Speakers Size 2 x 12”
D/A Resolution 24 bit
Name Left: Eminence
Sampling Rate 44.1 kHz Legend1218, Right: Eminence
The Tonker
Input Level INPUT -10 dBu /
1MΩ Frequency 70Hz - 5.5kHz
RETURN 0 dBu / 10kΩ Power Rating 150W+150W or

300W (150W+150W)
Output Level PHONES 10
mW / 30Ω Impedance 8Ω or 16Ω (8Ω+8Ω)
SEND 0 dBu / 10kΩ Input Rear INPUT (1/4” Phone)

x3
LINE OUT +4 dBu / 600Ω
Control SW Rear INPUT SINGLE
Power Consumption 60W / DUAL
Power Voltage 100 - Body Dimensions W701 x
240V H471 x D301 mm
Frequency 50 / 60 Hz Weight 24kg
PC Interface Type USB 2.0 Material Plywood 18mm
Body Dimensions W445 x
D248 x H125 mm
TECH SPEC
Weight 4.2 kg
Accessories AC Cable,
Footswitch, Footswitch Cable,
REVIEWS_PEDAL REVIEW
DigiTech Ventura Vibe The swirling Sixties

have got close. DigiT
rotary effects pedal for a spin...
‘W hen a pedal from the dual tone and drive the stereo option too, and
comes along pot, where you can add grit with two amps the sound
that gives you and harmonic distortion to becomes huge and swirls
high quality UniVibe, rotary your sound as if you were around you, making the
speaker and pitch vibrato pushing a growling spinning simplest of playing sound
effects all in a regular sized Leslie cab. DigiTech has epic.
pedal, I can’t help but be thought of everything.
interested and that’s exactly The Rotary setting,
what DigiTech has done Whether we know it or meanwhile, gives you
with the new Ventura Vibe. not, we all love the sound instant Leslie cabinet. If
It has these three iconic and of a good UniVibe. It’s you don’t know what a
extremely musical effects reminiscent of Hendrix and Leslie cab does then you
all in one box. It can run Trower in their prime, it’s haven’t realised that you
in stereo or mono, is true just a fantastic sounding have heard it countless times
bypass with a single foot effect that is hard to get tired by the many Hammond
switch which not only of. I do suggest that you organ sounds that lie in
engages the pedal, but use with taste and sparingly, your music collection. The
speeds the effect up and because any toy used too late John Lord of Deep
down, much like the two much just becomes tiresome Purple springs to mind for
speed sounds on a Leslie and loses its appeal pretty the growl, and any ‘70s
cabinet when it’s set to the quickly, but DigiTech have Clapton album will do for
Rotary setting. This fast and got it right on this pedal and the sweetness. Basically
slow function also sounds you can fine tune it with the this effect simulates a huge
musical with the UniVibe onboard speed, depth and speaker cabinet that has high
and vibrato setting. There is mix functions. No matter and low separate speakers
even a little drive to be had how you set it, it instantly that spin at different speeds,
sounds cool. You also have creating the characteristic
STAR RATING PROS Usual DigiTech build quality • Superb reproduc
CONS Not so good if you are scared of clowns (!)

sounds of rotary cabs have been a Holy Grail for FX makers for many years - but few
Tech is the latest to try with its brand new Ventura Vibe. Michael Casswell takes one
Rotary effect, which happens to

sound fantastic for guitar as well
as Hammond organ. The drive
function on the pedal adds the
John Lord valve growl if you
want it and is just a fantastic
feature to have on this type of
pedal.a
The Vibrato effect is probably

the part of the pedal that will get
used the least, although I love
it. There was a very rare Boss
vibrato that was produced for
a limited time in the very early
‘80s and it is now extremely
collectible, and I have been
trying to find one for years. The
Ventura Vibe basically recreates
that effect, and probably does
it way better than the original.
The actual effect is similar to you
giving a slight or big shimmer
on a guitar with a whammy bar.
It changes the pitch above and
below the natural in tune note. I
naturally create this sound with
ction of UniVibe/Leslie etc. • Versatile • Easy to use
I own few DigiTech pedals already

from their ‘Hardwire’ range and they
are superb.
a whammy bar anyway, but in some sessions sound. If you are interested, check out my
I’ve had in the past, and all over my album, I track ‘Unearthed’ for all the atmospheric
have used the vibrato effect mixed with delay, guitar in the background. That sound comes
reverb, chorus and sometimes even pitch largely from Vibrato chorus and delay. So if
shift to give this ethereal choral keyboard you do invest in one of these pedals, don’t
DigiTech Ventura Vibe rotary effects pedal

LR Baggs
ignore the Vibrato function, because that’s a sound that will get other
guitarists asking you how you got it!
DigiTech has also created a nice, unique selling point by being what I
think is the only company to offer a little rubber ‘stomplock’ which is a
protector for your favourite settings. This slips over the front of the pedal
and stops you accidentally moving your setting with your foot. Not very
likely to happen but it’s a nice touch. As I say, the company seems to have
thought of everything!
I own few DigiTech pedals already from their ‘Hardwire’ range and they
are superb. My only niggle with this pedal is that it has some kind of clown
or joker graphic on the front. I hope I’m not the only one that finds clowns
a little scary or creepy, but as long as I don’t look at the pedal too much, I
love it in every way! END >

DigiTech Toggle Switch
Ventura Vibe Power Requirements 9 VDC

external power supply (required)
MSRP £142.80 US $187.44
Power Consumption 675 mW (<
Made in: Unknown 75 mA @ 9 VDC)
Input Separate Left and Right ¼” Current Draw 75 mA (typical at
Unbalanced (Tip-Sleeve) 9 VDC)
Input Impedance Effect on: Power Supply
>1 MΩ (stereo), >500 kΩ (mono);
Model PS0913DC-01 (US, JA,
Effect off: True hardwire bypass EU); PS0913DC-02 (AU, UK)
Output Separate Left and Right Power Supply Output 9 VDC 1.3 A
¼” Unbalanced (Tip-Sleeve)
Dimensions 4.40” (L) x 2.65”
Output Impedance Effect
(W) x 2.0” (H); 11.18cm (L) x 6.73cm
on: 1 kΩ; Effect off: True hardwire (W) x 5.08cm (H)
bypass
Weight 1 lb; 0.453 kg
Controls Speed, Rotary/Vibrato
TECH SPEC
Type, Depth, Mix, Tone, Drive,

Effect On/Off
Switches Soft Click, Vacuum
Style Footswitch; Effect Type
Radial Tonebone Not another

Trimode Tube Distortion the hard to im
‘T he Radial Tonebone These are named Drive 1 are plenty of onboard

series of pedals and Drive 2 and could be features that can really
has gained a thought of as the rhythm refine your sound. At first
great reputation among and lead channels and these the options are probably
pedal addicts based on are in fact voiced differently a little overwhelming for
great tones and versatility. to suit these purposes. So the someone who just wants to
This Tonebone Trimode Trimode name comes from plug in and play, but once
Distortion, as the name the fact that you can set up you have your favourite
suggests, has three modes of three sounds. sounds dialled in, you can
operation. The first mode is just leave the settings and do
the true bypass mode, which This pedal does sound and just that. The options are all
is the sound of your guitar feel very good, helped largely very usable and help to get
straight into your amp by the fact that the front the best from your guitar
without alteration. I can’t end of it is an actual 12ax7 and amp. You would start
help thinking that any true valve which gives a very by adjusting your high and
bypass pedal has this mode natural harmonically rich low EQ with the pots along
because basically it’s another tone. If you are the sort of the top. There is also a filter
way of saying the pedal player that can deliver plenty pot which can tame very
is ‘off’. This true bypass of light and shade in your bright or brittle sounding
mode has its own dedicated playing, then this Tonebone guitars and amps. Think of
footswitch which engages Trimode can certainly it as a presence control on
the pedal giving you your complement it! The 12ax7 steroids. Then you can get
other two tones which are goes through an overdrive into boosting your mids by
switched between themselves circuit so we could consider 7db or 12db with the mid
via a toggle foot switch at this a hybrid pedal. boost switch. This is a very
the other end of the pedal. As you would expect, there welcome inclusion because
STAR RATING PROS Genuine tube overdrive • Very versatile • Switch
CONS Maybe a little complicated for some tastes

‘tube overdrive in a pedal’? Ah, but what if we told you that this one really works? Even
mpress Michael Casswell looks convinced by this stompbox from Radial.
this thickens out your tone in a good way. You also have a low medium and high switch
for how much gain you want to play with and you get a bright, flat and dark switch which
focuses on your high end.
It all sounds more complicated than it actually is, but it is in fact very intuitive to navigate
and as stated earlier, you will soon land on your favourite tones and probably just leave it set
there to suit your particular guitar and amp. Radial has got the balance just right by giving
you options and versatility without making it over complicated.
hable modes • Well made • 3 year warranty
Vigier
onboard effects loop, which engages with range of tones within this one pedal and all
your Drive 2 lead channel. So you could of them are musical. It will go from subtle to
link up a delay or reverb pedal (or any sort extreme with everything in between. It’s not
of pedal), and this effect would be included cheap, but it is really good. It’s like having
when you kick in your Drive 2 tone. You do a very capable pedal size tube amp at your
need a stereo insert cable to do this, which in feet. Also, Radial built its name making
case you don’t know, looks like one jack split stage boxes and really tough, no-nonsense
into two jacks. An insert cable is as easy to professional quality gear, so if you buy one
purchase as a regular jack to jack signal cable of these you know you are getting a product
and is readily available. that is going to stay the course, however
hard you work it. It also comes with its own
This Radial Tonebone Trimode is a high power supply and is backed by an impressive
quality product that delivers very grown up three year warranty. END >
overdrive and distortion. There is a large
Radial Effects loop on lead channel-2
Tonebone Heavy-duty 14-gauge steel

Trimode Tube construction
Distortion 7.8” x 4.5” x 2” (200mm x 114mm x

52mm)
MSRP £271 US $400
Includes 15VDC power supply
Made in: Canada
3 Year transferable warranty
Clean true bypass, rhythm and
TECH SPEC
lead modes
Compact 12AX7 tube-hybrid FIND THIS PRODUCT ON

design
AB toggle mode

Yamaha
REVIEWS_PRODUCT REVIEW
Zero Glide zero fret What if we told you that a si

make open strings sound be
Nut replacement Tom Quayle found out, the
‘T he concept of a ‘zero fret’ you will find them used on Vigiers,

has been around for a long Gretsch, Framus and the superlative
time in the guitar industry. Fylde acoustic guitars, which will
There is, however, a good chance that need no introduction to connoisseurs.
you have never come across the idea Given the intonation problems that
before, since it never really caught on can be notorious on certain famous
with the big US manufacturers and, models, it’s surprising that more
paradoxically, tended only to be found makers haven’t adopted the system
either on more expensive luthier-made and even more that users plagued by
guitars or on some cheap instruments such troubles don’t take matters into
from the 1960s. The idea is simple - their own hands and get one fitted by
a fret is placed just after the nut on a competent repairman. In fairness,
the fretboard, the primary purpose retro-fitting a zero fret has been a
of which is to make guitars easier pretty big deal, requiring a new fret
to set up and to forestall potential slot to be cut, a new fret installed and
intonation problems. The presence of polished to shape and the nut to be
zero fret makes the need for detailed adjusted as required.
nut cutting and set-up obsolete, as the
strings rest primarily on the zero fret Until now, that is, because this is
instead of the nut itself, reducing the where the company Zero Glide
string’s contact with the nut by up to comes into the equation, a US outfit
93%, reducing friction and giving the producing an all in one solution
nut the job of string spacing only. comprising a pre-made, CNC cut,
genuine bone nut with a nickel silver
Having said that zero frets haven’t zero fret attached that can be dropped
found a great deal of favour, they in place of your existing nut with no
have and do have their adherents and cutting or other modification of your
STAR RATING PROS Very easy installation • Marked improvements

consistency for open strings
CONS Some may not like the change in tone for open

imple, cheap, easily reversible, mod to your guitar could dramatically clear-up intonation,
etter and alleviate other tuning problems? Yes, we were pretty sceptical at first, too. But as
e Zero Glide replacement nut system is actually quite brilliant.
guitar required. The company offers a series of pre-cut nuts to fit all the best known
guitar types, or blank nuts if you’d rather cut your own. It also offers very reasonably
priced custom nut production if you have something unique that requires re-creation
for your guitar.
Fitting the Zero Glide nut is a simple process of tapping out your existing nut (a
surprisingly easy procedure, as you can see on Zero Glide’s website video) and putting
s for tuning stability and intonation • Very affordable • Custom nut options • More tonal
strings
“The install was pretty easy, with good,

clear helpful instructions
the new nut in its place, followed by Fret Guitar Repairs in Sussex, UK, to fit one
dropping the zero fret into the small space in for us. The guitar we chose turned out to
front of the nut and gluing everything down. be one of James’ own - a Gibson Les Paul
The zero fret automatically drops into place standard, an instrument that we felt might
on your fretboard and immediately imparts benefit from the fitment - if it worked!
its marked benefits for your guitar.
According to James, the fitting wasn’t
We were so intrigued we ordered a sample difficult, he told us: “The install was pretty
and asked GI’s ‘tame’ repairman/luthier, easy, with good, clear helpful instructions. In
James Collins, at James Collins Guitars/12th addition to the straight forward installation,
Zero Glide zero fret Nut replacement

Eventide
the zero glide sounded resonant and has the guitar and the results are immediately
a clarity slightly improving on the bone obvious upon playing a zero fretted guitar.
nut that was fitted previously. The height Another related benefit comes from having
between zero fret and first fret was adjustable less friction on the strings since they are no
with four different zero frets allowing for longer touching the nut in them same way,
some height preference which made for a but are resting on the zero fret instead of
nice action height over the nut to first fret. inside a nut slot. This reduces friction and
We tried all four different frets to get the allows for better tuning stability and tuning
height where we wanted it. Overall a nice peg response. Zero Glide quotes that the zero
addition, possibly more noticeable if going fret solution gives you 93% less surface area
from a plastic nut rather than from bone, for friction to build up than a standard nut
aesthetically pleasing and retro-fittable.” slot and, whether or not the figure is correct,
tuning stability is most definitely improved
One of the most significant benefits of a with this set-up!
zero fret is a marked improvement in the
intonation of a guitar. On a regular guitar A more contentious benefit relates to the
the strings are held above the fretboard tone imparted to the open strings with a
entirely by the nut so that they can vibrate zero fret. Due to the fact that the string is
freely, but the distance that the string has now resting on fret material, the open strings
to travel to the fret is often higher around sound identical to fretted notes, giving more
the first five frets than anywhere else on the tonal consistency across the range of the
fretboard so you end up with a guitar that instrument. Some people may be appalled
is less in tune in this region. The zero fret at this idea since they love the open strings
allows for a much more even string height to sound different, but what can’t be denied
across the length of the neck since the nut is is the extra sustain and brightness that the
now only guiding the string into the tuning open strings gain, since frets have a far less
pegs, with the string actually resting on dampening effect on the string vibration
the zero fret instead as its point of contact than the traditional nut would.
for vibration. This allows for much more
consistent intonation and tuning across The Zero Glide is a fantastic idea and
the first five frets, compared to the rest of remarkably easy to set up and fit. The lack

of string contact in the nut slots themselves banjos, ukuleles and mandolins. They
means that your nut should last a lot longer offer a lot of advice and guidance as to size
and, since the zero fret is a separate part, and model on the website and seem very
should this need replacing it would be a open to discussing individual or unusual
very simple procedure to do so with no instruments that aren’t catered for from the
permanent modification to your guitar. The extensive ready-to-go range currently offered.
benefits are marked and very useful with no So, particularly if you have a troublesome
snake oil or voodoo to speak of. All guitar instrument in your collection, here’s your
players should be able to hear the benefits chance to put it right with the minimum of
of the Zero Glide nut with ease and at a hassle and expense! END >
cost that is very attractive, even for custom
options. Am I tempted to fit this solution to Our thanks to James Collins of 12th Fret
my own guitars? I am - it’s very cool indeed. Guitar Repairs for the loan of his Gibson
and for fitting the Zero Glide nut for us -
By the way, the company also offers Zero www.12thfret.co.uk
Glide nuts for basses, acoustic guitars,
Zero Glide replacement nuts

Price - approx US$30 each
TECH SPEC
Made in: USA
More information from www.Zero Glide.com
British newc
Hamstead Soundworks combo, revie
Signature Tremolo pedal doesn’t soun
‘I t was a real pleasure to review attractive is its beautiful onboard tremolo.

the Hamstead RT back in Guitar Also the amp boasts a 10db boost feature
Interactive issue 33. If you check which was another nice touch. Well the
out that review via our back issues (www. guys at Hamstead have taken both these
iguitarmag.com) or on YouTube, you’ll hear features and stuck them in a pedal called
that one of the things that made the amp so the Hamstead Signature Analogue Tremolo.
Hamstead Soundworks
Signature Tremolo pedal
Hamstead Soundworks Signature Tremolo pedal
STAR RATING PROS Superb sounding versatile tremolo • Buffer faci
CONS None at all

comer, Hamstead Soundworks, made huge waves with its first product - the 20+RT
ewed back in GI33. Now the same team has launched a tremolo pedal. And if that
nd so exciting, let Michael Casswell convince you otherwise.
Both the 10db boost and the lush

trem from the amp are there, along
with some very nice extras.
So if you like your tremolo effect,

you certainly are in for a treat
here. You can switch between the
Hamstead Signature trem which
is damn nice, to a more classic
setting found on many vintage
amps made decades ago. This is
done via the switch at the top of
the pedal. Both settings are very
nice and I personally would favour
the ‘Signature’ setting, which is
smoother in sound, but it’s great
to have the option of the sharper
sounding trem effect in the ‘Classic’
mode. It’s instant ‘60s! When the
trem effect is engaged, your signal
stays good and strong because
there is no drop in level, something
which can occur on vintage tremolo
pedals.
ility is great • Well made • Switchable bypass/buffer
I was very impressed by this Trem/

Boost pedal from Hamstead, as I was by
the amp.
This pedal also boasts an independent 10db work wonders. This pedal does all these
boost function. I am a big fan of boost pedals things really well and the boost and trem
and seem to have accumulated a range of combination makes the Hamstead Signature
them. If you have a good sounding valve pedal a real nice package to own.
amp, then a boost pedal can do very nice
things to the front of it. If you have weak Another very cool feature in this pedal,
or thin sounding pick ups, then a boost which isn’t immediately obvious, is the fact
pedal can certainly help bring some life to you have the choice to run the pedal as either
your tone. If you simply want a volume lift a true bypass pedal, or a buffered pedal.
rather than a front end gain increase, then Inside you will find a little dip switch to
a boost pedal in your amp effects loop will switch between the two, and how you run

Morely
The true bypass or buffered option is a very

and certainly helps maintain good tone...
it depends on your set up. Generally it is a good precaution to have a with hiss and tone loss if
buffer somewhere at the front of your pedal set up, because it takes your pedals for their mojo, wh
guitar signal and makes sure it survives the journey through all the ins a great option to think ab
and outs of your other pedals without suffering tone loss. If you have a there, this added choice th
few buffered pedals already in your chain, then you would probably want luxury rather than someth
to run this pedal in true bypass mode, which means when the pedal off, set, it will sound great.
your signal is completely bypassed from the internal circuit of the pedal.
I was very impressed by th
The internal circuitry is of an all analogue design, which among pedal was by the amp. The peda
addicts is reckoned to be a good thing. The true bypass or buffered such a concern when you
option is a very nice detail to add, and certainly helps maintain good certainly does looks cool a
tone, but in reality, most pedal internals nowadays by most of the main to give a lifetime of servic
brands, true bypass or not, are of very high quality. Problems can arise rigs. END >
Hamstead Soundworks Signature Tremolo

MSRP £199 US GB£166 (tax free inc shipping Speed Control: 0.4 to
direct from Hamstead)
Gain Control: 0dB to
Made in: UK
Dimensions: 110 x 10
All analogue design
Weight: 600g
No drop in level when using Tremolo effect
Power Requirement
Independent Clean Gain Boost
TECH SPEC
Feet: Optional Rubb

Modulation: ‘Signature’ or ‘Classic’ (Switchable)
Warranty: 1 Year Lim
Depth Control: 0 to 100%

y nice detail to add,
you simply must use some very old vintage

hich is where buffered or true bypass can really be
bout. But for the vast majority of guitarists out
hat the Hamstead pedal gives you will be a nice
hing to worry about. Whichever way you have it
his Trem/Boost pedal from Hamstead, as I

al even looks very tasteful I think, which isn’t
u are stamping on it to turn it on and off, but it
and more importantly, looks robust and ready
ce. It would be a very welcome tool in my own
o
o 15Hz
o +10dB
00 x 61 mm (Ex. Feet)
nt: 9V to 18V DC 250mA (Centre Negative)
ber Feet Included
mited Warranty
Electro Harmonix C9 Since the Vox ‘Guita

Organ Machine Pedal unmatchable sound
‘W lectro amp/destination of your can really delve deep into

Harmonix is desire, leaving your signal how much of each signal
really pushing unaffected by the organ you hear from the outputs.
up the bar on analogue style pedals sound, the organ out You could however run this
pitch shifting, modulation sends the organ signal out pedal in front of your amp
and instrument simulation to your amp or PA system. just using the organ out to
pedals just now. The C9 For this demo we decided get the effected signal when
Organ Machine does to keep it really simple by you desire, using the organ
what it says on the tin, sending the Organ and volume as a ‘level’ control.
it’s a modestly sized pedal Dry outputs straight into On the top right, we have
featuring nine classic a DI box into the desk so two knobs named ‘Mod’
organ sounds that can we could really hear the and ‘Click’ these generally
be manipulated in many difference between the dry change purpose depending
ways using the easy to use signal and the organ signal. on which of the nine organ
controls found on the upper However, in a practical sounds you are using.
half of the pedal. Let’s take a situation you could perhaps Modulation will affect how
look at the features: send your dry signal to a much modulation effect
driven/clean amp and the you will hear on the selected
This pedal needs nine volts organ signal to a clean or organ sound, some of the
and comes with a power very slightly driven amp. organ sounds have Chorus,
supply. There is one input others have Vibrato and
for your guitar and two other modulation effects.
outs, one named ‘dry’ and The top left two control The Click knob controls
the other by the name of knobs control the volume of how much attack the organ
‘organ’. The dry output can the Dry and Organ outputs sound will have at the start
send your signal to another separately, this way you of the note, or in some of
STAR RATING PROS Inspiring and Fun • Fantastic Sounds • Easy and
CONS None that I can think of

ar Organ’ back in the 1960s, guitarists have been trying to get their hands on the
d of an electric organ. Sam Bell thinks Electro-Harmonix has finally cracked it.
the pre-set cases, it

controls the swell of
the note.
All this leads us to

perhaps the most
important of the
knobs, the tone wheel!
This has nine classic
organ sounds which
are based of famous
classic prog/rock/pop
organ sounds used
by many bands from
the ‘60s through the
late ‘70s. The first
preset its named ‘tone
wheel’ and this gives
us a general organ
sound, but moving on
we get organ sounds
inspired by bands such
as Deep Purple and
the Doors, to more
psychedelic Melotron
sounds inspired by
The Beatles and The
d intuitive to use • Fantastic Tracking! •
Moody Blues. In the video review of this you play and you can play densely voiced
pedal I take you through each one and talk chord inversions that cover all six strings and
more in depth about their characteristics and it will still follow exactly what is being put
qualities. Go and check the video out to hear through the pedal. However, to get the most
it and believe it! genuine organ sound, you need to know
some organ style chops on the guitar in order
The Sound for it to shine. This isn’t too hard to emulate
however, if you start with smaller chord
I had so much fun with this pedal whilst voicings and play around with a bit of voice
getting used to how it worked, it really leading, you will end up getting very familiar
changes the way you play, I came up with classic organ sounds. It also sounds great
a lot of new ‘70s inspired prog riffs whilst when you want to do a lower riff in the style
playing with it! It reacts very quickly to how of Deep Purple to get those heavier sounds.
Electro Harmonix C9 Organ Machine Pedal

Pertersons/Madison
It’s a fun and inspiring pedal, go and

check one out now and get lost in its
classic sounds!
It’s not really designed for super shred the full sonic separation with an overdriven
playing as the quality of each note doesn’t guitar and the organ pedal for that Rainbow/
last long enough for the pedal to react and Whitesnake vibe!
give it the full tone, however that’s fine! This
pedal is designed for riffs and chordal parts I think this pedal has some superb sounds,
and more melodic playing. Think like an it’s easy to use and looks great. It was really
Organ player and you will be fine. The pedal inspiring and fun to ‘play’ around with, it
does a fantastic job of sustaining chords really sparked up some great riffs and chords,
as well, if you hold a chord it will keep it you can get really lost in the sounds. I can
sustained for as long as you hold it. I feel it imagine this would be a brilliant tool if you
is best used with a clean sound if you wish are in a functions band without a keys player
to go direct into your amp, however the dry and wanted to fill out the sonic landscape in
output can be utilized if you want to get a fresh way that suits the prog classics you are

covering, or if you are in an originals band and have no keys player and wish to do a similar
thing. You could even take this into the studio to emulate some organ sounds if you can’t get
that Hammond organ budget in time. It’s a fun and inspiring pedal, go and check one out
now and get lost in its classic sounds! We also think it is very well priced considering the huge
potential it offers. END >
Electro attack level, modulation speed,

organ and dry volume
Harmonix C9
Organ Machine Use together with the B9 for dual
keyboard possibilities
Pedal EHX 9.6DC-200 PSU included
UK £173 US $293.73
Dimensions in inches: 4.0 (w) x 4.75
Made in: Unknown (l) x 2.25 (h)
Case: Metal Dimensions in mm: 102 (w) x 121 (l)
x 89 (h)
TECH SPEC
9 presets tuned to emulate some of

the most popular and classic organ
and keyboard tones FIND THIS PRODUCT ON
Provides control over percussive
LIVE
SOUND
ALL YOU NEED TO TAKE YOUR S

E
D!
SOUND ON STAGE
LIVE SOUND_JAIME VENDERA’S VOCAL BOOTCAMP
JAIME VENDERA’S Season I

VOCAL BOOT CA
Everyone’s favourite Rock vocal coach, Jaime
Vendera continues his brand new season!
Mastering Cover Tunes Not too long ago, a student posted a

All right singers, I think we’ve logged question on one of my forums expressing
enough Bootcamp hours over the past his frustration over his reluctance to
many moons talking about subjects master a particular song, especially
like vocal exercises and vocal health. recalling the lyrics. The song fit his
Time to switch gears. Now this might voice, but he just wasn’t capturing
be a little crazy, but why don’t we talk the essence of the emotion needed to
about singing? After all, haven’t we been express the song and couldn’t remember
practicing our vocal exercises for the sake the lyrics to save his life. Now, I know
of singing? That’s right, we’ve been doing some songs will typically not fit a singer
all of this work just to SING! I sing and unfortunately more than I’d like
every day, including my own songs and to admit, I’ve had to let singers down,
of course, countless covers. All singers pop their balloons so to speak, because
start out by learning other singers’ songs they believed that can sing just like
before delving into the art of the original, Myles Kennedy of Alter Bridge, when
so I think it is best we discuss a few tips the truth is just the opposite. Why I get
for mastering those cover tunes. As usual, all the Myles Kennedy fans, I’ll never
I’ll first recap the video and then add a know, ha-ha! In truth, many of these
few more tips to expand on this session’s singers were off by an entire octave, and
subject. Here we go... several who were in the ballpark were
singing in falsetto. This isn’t the case
with my Bootcamp followers, because

II
AMP -
all of you know that full voice range is easily understand the emotions and tones needed
gained with my Isolation exercises. If the to portray the song, you need to study it, live
song presenting difficulty is not a situation it, breathe it. Therefore, we’ll connect this
where the singer’s tone or range just will not process through a series of vocal sounds that
successfully transfer to the song based on the we’ve previously used in previous Bootcamps.
singer’s current vocal ability, then I believe I In order for the 50 song formula to work
can help any singer memorize and master a effectively, first choose ONE song and then
cover tune quite rapidly. sing that one song through 50 times in
groups of 10, using the following formula:
In order for a singer to master a song to
the best of their abilities, ALL parts of the Play-through 1-10: Play the song
song must come together in an orchestra of continuously 10 times in a row as you
understanding before the singer can truly vocalize along by performing Lip Bubbles.
sing the song with passion and let go of
insecurities like remembering the lyrics, Play through 11-20: Play the song
wondering if they have enough support for continuously 10 times in a row as you
the high note, etc. As simple as this will vocalize along by humming through a straw
sound, it is only through repetition that in water.
one can master a cover song. I’ve taken this Play-through 21-30: Play the song
simple concept and devised a common-sense continuously 10 times in a row as you hum
formula for memorizing and understanding along on an “mmmmm.”
the nuances of any given song. The formula is
simply to sing the song 50 times!!! Play-through 31-40: Play the song
continuously 10 times in a row as you sing
Wow, that does sound simple, huh? Well, as along in your tiny voice.
you’ll recall from this Bootcamp’s video, there
is a little more to it. In order to provoke that Play-through 41-50: Play the song
song to divulge its secrets, in order for you to continuously 10 times in a row as you sing

along in your full voice with the same vocal vocal technique (breathing, support, and
energy you’d sing the song when performing placement). Therefore, you KNOW 50 times
live. is not even an issue!
Again, as discussed in the video, you can So, go ahead and attack your first song, and
spread this over five days, as long as you I’ll see you next Bootcamp...
follow the exact order as presented. If you
cannot wait five days, you can do all 50 Okay, okay, okay, I just heard one of our GI
repetitions in one day, or 30 one day and 20 readers, Henry from Germany, complain
the next, etc. How you cover all 50 takes is that he STILL cannot remember the lyrics!
entirely up to you. Bottom line, each group Funny enough, I just created an entire lesson
of 10 MUST be sung continuously until on this very subject for Week 02 of Vendera
you’ve made it through all 10 times. If you Vocal Academy. While I don’t have enough
plan to do all 50 repetitions in one day in room left in this article to share that lesson, I
order to learn the song for a gig tomorrow, can leave you with this. As you listen to the
you can take a break between each set of 10. song, hand-write out the lyrics on a piece of
paper. Be sure to use a pencil. Next, search
“50 times in a day! Phew that is crazy! I’m the Internet for the official lyrics just to
sure that will hurt my voice, Jaime!” check if you were 100% correct. I bet you
missed a few words...Now you know why
Tisk , tisk, I say. Have you not been paying I said to use a pencil, ha-ha! Next, revise
attention in this Bootcamp? Have you not the hand-written lyrics to reflect the correct
been reading, Raise Your Voice? Have you lyrics. Play the song through two to three
been falling asleep in class while attending times as you read the lyrics and listen along
Vendera Vocal Academy? If you’re one of to the singer. Next pick out only one or two
my students, then you KNOW your voice key words from each lyrics line that can act
will grow stronger the longer you sing IF as anchors to help you remember the line.
you warm up properly and apply correct It might not necessarily be the first word,
but words with meaning to help you recall you start “listening” instead of just singing,
each line. For example, in my song, Casual you’ll begin to hear nuances that stand out,
Suicide, the first few lines are: whether it is the singer’s vibrato on a certain
part, the way they layer grit over particular
I hate to look inside myself, too many years words, or the way they transcend from low to
of guilt and pain high voice. Believe it or not, by performing
I’m so afraid of what I’ll find, knowing my Lip Bubbles or humming instead of singing,
sins are mine alone to claim. your mind will pay more attention to these
unique characteristics. FYI- all of these
If I needed to recall those lines, I might use characteristics are fine to mimic, just as
the following words as anchors: long as you do not try to emulate the singer
by 100%. Just remember that every singer
Hate/Pain is as different as a thumbprint. Even if we
Afraid/Sins can sound like a particular singer, there are
STILL noticeable differences.
Furthermore, I might shorten it to:
“How do I know if I’m being a parrot,
Hate Jaime?”
Afraid You’ll know if you’re over-emulating because

it will hurt your voice. While I can get away
As you can see, I did not choose the first with tonally leaning towards an artist like
word in each line of the song, nor were the Richard Marx, if I force myself to sound like
words I chose pulled from the same spots in Steve Perry, I will only hurt my voice. Know
each line. This is a process that will speak to your strengths and weaknesses and above all,
each individual singer. Bottom line, choose be true to your own voice as you sing, even
the word or words from each line that seem when paying homage to the original song/
to grab your attention. singer by singing in key and adding the little
So, there you have it; a quick way to make nuances that make the song pop.
a better connection with the song. Once See ya next Bootcamp!

Jamie Vendera New Season Part 4
Check out Jaime’s video lesson in this issue and make a point of visiting his websites too!
www.jaimevendera.com
www.theultimatevocalworkout.com
www.buildabettervoice.com
REVIEWS_SPEAKER & SUB REVIEW
Bose F1 812 Flexible Array S

Bose, arguably the most consistently innovative of all audio companies, co
whose power and sound quality seem impossible for their size. Bob Thom
‘A lthough the Bose Corporation,

founded in Massachusetts in 1964 by
the late Dr Amar G Bose, is perhaps
best known for its consumer audio products,
whole new class of similarly-dimensioned
loudspeakers from competing manufacturers.
Now, with the release of the F1 Model

812 Flexible Array loudspeaker and the
its innovative approach to professional audio
has gained the company acclaim and fierce matching F1 subwoofer, Bose have taken
loyalty in that field. the concept pioneered in the L1 and applied
it in a unique fashion. The 812 is the first
Debuting in 1972, the Bose 801 was portable powered loudspeaker in which you
the loudspeaker that built the company’s can change its vertical coverage pattern so,
reputation in live sound. It was superseded whether you’re on the same level as your
in the early 1980s by the 802, one of the audience, above them on a stage, sitting
first professional loudspeakers to feature above you on raked seating, or all of the
a moulded cabinet, and one which is still above, you can adjust the 812 to ensure that
in production today as the 802 Series IV. everyone can hear your performance.
So successful was the 802, that it wasn’t
until 2003 that Bose introduced another Model 812
major live sound innovation in the form of The 812 features 1,000 Watts of system
the L1 System - a 7-foot, 5-inch wide, 24 power that drives not only the eight
driver, line-array tower with a separate bass mid-high drivers mounted in individual
unit - that redefined portable PA systems waveguides on a flexible front baffle, but
and which has been the inspiration for a also a 12” woofer that sits behind the array
STAR RATING PROS Superb level of performance • Compact and p
CONS Only the price

Speaker & Subwoofer
ontinues to pull acoustic rabbits out of audio hats, offering systems
mas assesses the latest - the F1 Flexible Array.
powerful • Integral stand is a great idea
and backs them up in the bass. Both own L1 MKII system in order to cover
the top and bottom sections of the audiences both below and above stage
baffle (each containing three drivers) level - though fortunately (so far) not at
can be positioned to create one of four the same time.
vertical coverage patterns – “Straight”,
“J”, “Reverse J” and “C”. Once set, Physically, the Model 812 is quite
the on-board DSP changes the EQ to compact, being approximately 26” high,
maintain the tonal balance for each 13” wide and 15” deep and weighs I
coverage pattern. The 812 specifications at a mere 20kg. Integral handles in the
give coverage of 100° horizontal and 40° top and on either side ease the task of
vertical in the “C” position - so it looks as moving it around and the moulded in
though the “J” position covers 20° below mounting points allow for secure and
horizontal and “Reverse J” covers 20° simple permanent installation. A standard
above. Having this amount of flexibility pole-mount socket is provided in the base
is certainly useful as I can think of several of the 812 for those using it standalone,
venues where I have had to angle my without the F1 subwoofer.
Bose F1 812 Flexible Array Speaker & Subwoofer

The Model 812 also features a
simple onboard 2-into-1 mixer.
The two inputs each have
individual level controls and
signal/clip indicators. Input 1’s
combination XLR/Jack input can
be switched between microphone
and line level, while Input 2
features a single jack input plus
RCA phono inputs designed to
accept the output of, for example,
a CD, mp3 player or computer-
based set-up. The mixer has a
mono line level extension output
on XLR that parallels the on-
board mix between channels 1
and 2. A section marked “System”
carries the combined blue/red
Power/Fault indicator, the orange
Limit indicator and a switch that
sets the operation of the front
LED indicator to display Power,
Limit or Fault modes. The final
control allows the user to high-
passes the signal being fed to
the internal amplifiers if the 812
is being fed a full-range signal
when being used with the F1
subwoofer.
F1 Subwoofer
Two 10” high-excursion bass

drivers deliver fast, solid bass
courtesy of the F1’s 1000 watts of
system power and a simple rear
panel carries the two XLR inputs
from which the subwoofer input signal Unfortunately, there wasn’t time to take
is derived. The two parallel XLRs can be the system out on a gig, but playing back
switched between full-range or a 100Hz a wide variety of music through it - from
high-passed output. An overall volume EDM to acoustic folk - at volumes showed
control allows you to balance the F1 to the high level of performance that the
the 812, a Polarity Reverse switch lets you Bose F1 system is capable of. The Model
reverse the phase if there’s a problem in 812 on its own performs superbly with
that area and, finally, the F1 carries the any genre of music that doesn’t require a
same indicator switching as the 812. lot of deep bass at high volume, and the
F1 sub soon sorts that out when that is
In Use what’s wanted.
Because I use a pair of Bose L1 MKII as Conclusion
my FOH system, I was really interested
to listen to this new F1 System. With The Bose F1 system is a professional-level
four times the power, the F1 delivers product and it is capable of producing
considerably more volume than my L1 excellent results from the Model
and it also has a bit more extension in 812 running both standalone and in
the high-end. Although the F1 doesn’t go combination with the F1 subwoofer. With
any lower than my L1, its twin 10” bass its massive system power and compact
speakers, driven by 1,000 Watts can shift size - 4,000 Watts from a full stereo set-up
a lot more air than the four 5.25” units in that will easily fit in the back of an estate
my twin B1 bass modules can with only car - it should find favour with bands of
250 Watts behind them. all genres and DJs should also be very
interested in its volume, clarity and bass
Bose’s designers have had their thinking performance.
hats on and, rather than relying on a pole
to hoist the 812 above the F1, have stored As with all Bose products, there is a
a moulded system stand in its cabinet price to pay but if you want a compact,
TECH SPEC
- which should avoid the embarrassing unobtrusive system that - given Bose’s
arrival at a gig only to discover that the reputation for quality and reliability - you
pole is missing in action. Fitting the stand can rely on to deliver high-quality sound
in position and mounting the 812 is the on every gig then the cost of admission is
work of a moment. A moulding on the more than outweighed by the convenience
812 fits into a matching recess in the stand and performance. Highly recommended.
and the whole locks very solidly together. END >

Bose F1 812 Weight: 45.70 kg
Flexible Array Frequency Response (-3 dB) 52 Hz -

Speaker & 15.5 kHz
Subwoofer Frequency Range (-10 dB) 43 Hz -

20 kHz
F1 Model 812 speaker
Nominal Dispersion C: 100° H x 40°
MSRP £899 US $1,199 V
F1 Subwoofer Maximum SPL @ 1 m 132 dB SPL
(peak)
MSRP £899 US $1,199
Rated Power 1,000 W
Made in: Unknown
F1 Subwoofer
Dimensions
Height: 68.80 cm
F1 Model 812 loudspeaker
Width: 41.02 cm
Height: 66.47 cm
Depth: 44.85 cm
Width: 33.43 cm
Weight: 24.90 kg
Depth: 37.25 cm
Frequency Response (-3 dB) 40 Hz
Weight: 20.18 kg - 100 Hz
F1 system stack Frequency Range (-10 dB) 34 Hz -
Height: 186.80 cm 112 kHz
Width: 41.02 cm Maximum SPL @ 1 m 130 dB SPL

(peak 6 dB CF)
Depth: 44.85 cm
Rated Power 1,000 W (500+500)
REVIEWS_PA REVIEW
STUDIOMASTER LIVESYS5
Micro PA and Monitor Syste
A PA system that fits on a mic stand? Or is it a spot monitor? Bob Thomas
‘S tudiomaster is a UK-
based company that
has a long history in
powered and unpowered
and is capable of 300 Watts
of peak power, making the
Livesys5 ideal for “spot
monitor” applications on
with its own Level control,
carries both RCA phono
and mini-jack connectors
allowing the connection
PA mixing consoles and stage. Although it obviously of an mp3 player, CD or
loudspeakers. It’s fair to say isn’t going to sound like computer. Channel 1’s
that the company has had its a full-size PA system, the input impedance can be
ups and downs in the past available power also allows switched to cope with
but, over the last few years, its possible use in smaller direct connection to an
Studiomaster has been on a situations where a larger PA instrument, turning that
significant upward trajectory would be inappropriate. channel into a DI box.
fuelled by the new products A vocal echo effect can
that it has been launching The low-noise onboard be applied either to both
into its markets. mixer is well thought- Channels 1 and 2 or just to
out with two Mic/Line Channel 2. A 3-band EQ
The Livesys5 is a 150 Watt inputs on XLR / ¼” Jack acting at 100Hz, 2.5kHz
active PA/Monitor speaker combination connectors, and 12kHz and an overall
with a flexible integrated each with its own Level Main Level control complete
mixer section. Its Class D control and common the front panel. At the
amplifier drives a ported, switchable 48V phantom rear, another combination
full-range 5” loudspeaker power. A third input, again XLR/Jack socket allows the
STAR RATING PROS Small size • High Power • Competitively priced
CONS Mid-biased basic voicing

5 Active Portable
em
checks out a something very different from Studiomaster.
REVIEWS_PA REVIEW
connection of a stage monitor

signal or a feed from another
Livesys5, and the Thru XLR
output is mic/line level selectable
so that you can send the Livesys5
mixer output to, for example, a
FOH mixer or another Livesys5.
The moulded cabinet has an

integral socket on its bottom side
which mates with a moulded
insert to allow you to position
the Livesys5 on a microphone
stand. A threaded insert on the
top takes an adaptor to which
you can attach a boom-arm so
that a standing vocalist has a
personal monitor that is already
in the perfect position.
In Use
Given the restrictions of its

mid-heavy 5” loudspeaker, the
Livesys5 is a capable performer
that is certainly capable of
cutting through on stage. You
can position the Livesys5 on a
mic stand and get it much closer
to your ears than you could with
a conventional monitor, and you
can use its 3-band EQ to tailor
the sound quite effectively to
bring up the bass and boost or
trim the treble.
I didn’t feel that the Livesys5 was

capable of adequately handling a
keyboard or a bass guitar at high
volumes, but in a quieter band

Given the restrictions of its mid-
heavy 5” loudspeaker, the Livesys5
is a capable performer that is
certainly capable of cutting through
on stage.
environment - in a restaurant or small vocals and acoustic instruments, where its

club, for example - it could prove useful mid-focussed voicing helps those sources
in monitoring either of these. Where the cut through.
Livesys5 works well is as a monitor for
STUDIOMASTER LIVESYS5 Active Portable Micro PA and Monitor System
REVIEWS_PA REVIEW
Conclusion
The Studiomaster Livesys5 could prove to be an ideal solution in those situations where its
small size, power and midrange bias would enable it to cut through onstage instrumentation
or to provide a level of reinforcement in an environment where a larger loudspeaker would be
either unsuitable or overkill. It is a very useful little loudspeaker that, with a bit if tweaking of
the onboard EQ, can fit neatly into either of those two roles.
Given the Livesys5’s competitive pricing, it is one of those loudspeakers that is going to prove
very popular not only on its own account, but also as a relatively inexpensive problem solver
for a great many musicians and live sound engineers. I really liked it and it seems to me to be
pretty much perfect for what it is.
Studiomaster Speaker: 5”
Livesys5 3-channel mixer
MSRP £152.90 / Street £139.00 2 mic/line inputs XLR/TRS

US $ TBC Line input phono or 35mm jack
Made in: China
3 band EQ
TECH SPEC
Size: 290x210x175mm
48v phantom power
Weight: 3.3kg
Output: 150 Watt Class D

WANT TO FEATURE IN NEXT
MONTH’S GUITAR INTERACTIVE?
HOUSEAD
IT’S SIMPLE. TO ADVERTISE...
Get in touch with our sales team and let them help you book your advert.
HELEN - UK AND EUROPE

helen@guitarinteractivemagazine.com T: +44 (0)7803 726 012
LISA - USA
lisaspiteri@guitarinteractivemagazine.com T: 973-610-0441
REVIEWS_SPEAKER REVIEW
FBT X-Lite 12A powered spe

Just about everyone in PA offers moulded box speakers - but Italy’s FBT ha
Bob Thomas puts a pair of very versatile - not to say loud! - band-friendly
‘T he FBT X-Lite 12A is a two way,

bi-amplified, 1,000 Watt active
loudspeaker with an integral mixer
and onboard DSP that is designed in Italy
and DJ portable PA market, and in fixed
installations in the club, theatre and other
auditoria environments.
The X-Lite 12A’s bass reflex cabinet is
and manufactured in China to deliver a high
level of performance at an attractive price moulded in polypropylene, has top and side
point. handles, an integral top-hat pole mounting,
rigging points, a steel grille and features 30°
The X-Lite 12A’s custom 12’ bass driver is or 45° floor monitor angles on either side,
driven by a 800 Watt RMS amplifier and its allowing you to select the most suitable
1” high-frequency driver (which sits in a 90° monitor orientation on stage. The rear of the
Horizontal/60° Vertical constant directivity cabinet carries a more comprehensive mixer
horn) has 200 Watts RMS at its disposal. To than is often found at the X-Lite 12A’s price
handle this power, the woofer has a 2” voice point.
coil, while the treble unit carries a 1.25”
voice coil. With all this power, the X-Lite The mixer features one mono Line/Mic and
12A’s weight is a surprisingly low 14.5kg - two stereo Line inputs. The mono Line/
about 32lbs. Mic input is on a single balanced XLR, with
a volume control and an associated switch
Featuring a 50Hz – 20kHz frequency range that selects between the two input levels.
and capable of 127dB SPL, the FBT X-Lite Strangely (as it is almost universal these
12A delivers real volume with hi-fidelity and days in on-board mixers), the X-Lite 12A
looks to be capable of handling a wide range does not have 48V phantom power, which
of applications in the FOH, floor monitor means that only dynamic mics can be used
STAR RATING PROS Can go very loud! • Quality sound • Lightweight
CONS No 48V phantom power on Mic input.

eakers
as the reputation of making some of the best.
powered cabs to the test.
t and easy to carry • DSP presets work well
with it. The Link XLR output parallels two LR plus the Line/Mic inputs and a
the input before the Line/Mic selector Stereo mode that sends out a mix of the R
switch allowing you to feed, for example, input and the Line/Mic input. This could
another X-Lite 12A or a subwoofer. One be used to, for example, add a mono vocal
stereo input accepts line-level on ¼” over a stereo backing track.
balanced TRS jacks in the conventional
Left (Mono) and Right format, whilst the The mixer’s DSP section carries a Limit
other is equipped with RCA phono LR LED to indicate when the limiter is active
inputs. The associated Lev(el) control acts (i.e. you’re driving the X-Lite 12A too
on both stereo inputs. This combination hard), a H(igh) P(ass) filter that cuts out
allows you to mix together a stereo input, the frequencies below 100Hz that would
a stereo mp3 player or similar and a be handled by a subwoofer (should you
mono mic or line feed should you need be using one), and the four, push-button
to. FBT’s designers have given the X-Lite selectable, DSP function-related Presets.
12A an ingenious output capability as Original/Live is the basic flat preset that
the out XLR can be switched between a would be used in a normal PA setting.
Mono mode that sends out a mix of the Floor/Vocal cuts the bass to increase vocal
FBT X-Lite 12A powered speakers

intelligibility which also suits a floor monitor application, Club has boosted bass and a
slight treble cut that suits lower-level listening (a bit like the loudness preset on a car radio)
and DJ has the EQ essential for discos and nightclub environments.
In Use
The flat grille gives the FBT X-Lite 12A the air of a professional loudspeaker and its
sonic performance certainly lives up to the outside appearance with a clean, detailed and
powerful character that accurately reproduced all the tracks that I played through it. Once
you move away from the Original/Live DSP setting, the EQ profiles begin to bite. The
Floor/Vocal setting thins out the sound considerably giving more prominence to the mid-
range - which is what you want in a vocal Conclusion

monitor or in a conference setting where
speech intelligibility is paramount. I can The FBT X-Lite 12A shows just what
see where FBT are coming from with can be achieved when good design,
the Club EQ but I’m not sure that I’d be high-quality components and attention
using a speaker like the X-Lite 12A in a to detail are married with China-based
situation where this EQ setting would be manufacturing. There’s plenty to like
useful - but maybe that’s just me. The DJ about the X-Lite 12A and nothing - other
setting was great fun and I could see the than the absence of 48V phantom power
X-Lite 12A proving very popular with the on the microphone input - to dislike. I can
function (especially wedding) DJ market see it proving very popular with bands,
where its combination of portability, duos, soloists and DJs who are looking for
small size and big sound - and the fact a better quality PA and who are looking
that you can mix laptop playback and a for a higher-quality system that would
mic into a stereo system without any extra cope easily with all the pub, community
equipment if you have to - could make it a hall and hotel venues that I’ve played in
real workhorse. over recent years. Highly recommended.

The FBT X-Lite 12A shows just what
can be achieved when good design,
high-quality components and
attention to detail are married with
China-based manufacturing.
FBT X-Lite 12A DSP with 4 x EQ presets
active speakers Universal switching mode power

supply 100-240VAC
MSRP £421.61 (street £323) US
$579 Integrated mixer with 2 stereo
channels
Made in: China
2-way bi-amplified system 4 x M10 suspension points
Polypropylene moulded enclosure Integrated handles.
1000W - 127dB SPL Dimensions 370mm x 640mm x

370mm
HF 200W LF 800W
Weight 14.5kg - 32lbs
2-way bass-reflex active speaker
Class D + AB power amps with total

TECH SPEC
1000W, 127dB SPL FIND THIS PRODUCT ON
12” woofer, 1.4” compression driver
90°H x 60°V horn
MAKIN
TRACK RECORDING FOR THE R

NG
KS
REAL WORLD
MAKING TRACKS_IT’S THAT TIME OF THE YEAR AGAIN
MAKING TRACKS - ARCHIVING

Ever wasted hours searching for that perfect solo you laid down a
few years ago? Andi Picker explains why we should all archive
our projects.

YOUR PROJECTS - PART ONE
‘I
t’s amazingly easy to get would be reset for the studio’s next
nostalgic for the ‘Golden Era’ of booking and the tapes would be sent
recording, perhaps around 1978, to storage to start the process of slowly
with visions of massive studio rotting. If you ever needed to revisit a
rooms crammed with huge large- mix, you relied on notes and drawings
format consoles and racks and racks and photographs of how the gear was
of outboard gear. Reality of course set-up. Needless to say, recalls were
is that most of us would have never pretty inaccurate, and you’d have to
had the chance to set foot into those have a very good reason to try. Pretty
studios, and the techs were constantly much, done was done!
battling against unreliable equipment,
noise, heat and lack of automation and Of course, it’s really all so much
recall (don’t you mean - benefiting from better now that we use computers
them? - Ed). Still, it looks good in the with multiple layers of automation
pictures, and most swords do have and software plugins. Call me six
two edges. That lack of automation months after I finish your project and
and recall meant that creating a final I can load the project EXACTLY
mix would often be a performance as it was when we agreed the final
in itself, with band-members, mix. Absolutely and exactly as it was!
engineers, tea-brewers and producers Perhaps?!?
all grabbing a handful of faders and Firstly, let’s presume that you paid me
“making moves” as the multi-track to do your mix. I worked, we agreed,
tapes played. Effects (such as they you paid, and we said “love working
were) were connected with cables with you, see you next time”. Now to
and if you wanted to move one you me, calling me back half a year later
physically re-patched it. There must is “the next time”, and I’d (usually)
have been a few sighs of relief when like to be paid for my time on our
the final pass was completed and the new project – even if it’s using the
two-track tape with the mix-down same files that we created first time
recorded onto it was ready to send round. You want a shortened edit, or
off for mastering. When everything one without vocals, or just vocal and
was signed-off, the console and effects piano, or with the new singer, or with
MAKING TRACKS_ARCHIVING YOUR PROJECTS
all the swearing removed..... that all takes massive console. I now cannot recreate
time, friend. Many artists do get this, some that sound - if I printed a copy of the vocal
don’t, and the argument is that the mix is track with the effect on it, you’re in luck,
already done. Yup - and so’s the job. This is if I didn’t, well, you simply can’t have it.
part of the problem of recall; the expectation Guess what - I used the plugin version of the
that because it’s technically easy to do, it Acme Talent-Booster III on your track, and
should be seen as part of Customer Service since then I’ve updated from version 3.8 to
on the original job rather than a new piece version 4.4, and it has different presets and a
of work. Luckily, there’s a simple answer new improved 128 bit audio-engine, and it
- you agree at the start what the handover sounds much better, but completely different.
will include, and anything else will be a new I’ve also updated my DAW and it won’t
job. Of course, this means a bunch of extra actually load the older version of the plugin,
work “just in case”, but at least every one and I’m not honestly sure if the version that I
knows where they stand (until it’s convenient sent to you was the one I saved as
to forget, of course). So what’s the problem
Andi, why a two-part article about it? Well, “Song 3 Final”, “Song 3 Final Master”,
sometimes it really isn’t actually that easy. “Song 3 Final Final 2” or “Song 3
Final Final B”
In the old days, I might have used an Acme
Talent-Booster III processor on your vocal Oh, and I used a trial version of a plugin that
track. Sometime after the mix down, I sold I decided to not buy on the banjo track as
that box to pay the electricity bill for that well. Bottom line: your easy recall is actually

about as unlikely as my getting out a box improved-massiv-bass and the always
of Polaroid snaps and a time machine and improving standards for connectivity
recreating that 1978 session. and storage that the computer folks are
throwing at us (what, you archived it onto
Throw in the ever changing need for a FireWire external drive?) and it starts to
new delivery formats (yes, your tracks look as though a bit of archive-planning
really will sound better off iTunes if might be a good idea?
they’re mastered at the right level), the
resurrection over the past few years of Next Time – A Bit Of Archive Planning!
vinyl, interest in hi-def audio, a trend for END >
TV adverts to use song edits rather than

jingles, trendy headphones with new-
Archiving your projects...
You can find more articles about recording, Or contact me at Guitar Interactive
or contact me on my website at Magazine
www.thedustbowlaudio.com makingtracks@guitarinteractivemagazine.com
MAKING TRACKS_MONITOR REVIEW
Proel Eikon6 & I
Eikon10S Monitors i
‘I
don’t think I’d actually heard
of Proel before GI’s Editor Hook-up is dead simpl
called and asked if I’d like
to review a set of the company’s to position your monit
brand new studio monitors.
Anyway, the courier duly arrived
minimise phase cance
and threw a box with a pair of
Eikon6 nearfield monitors at me, also has a smaller (.75”) soft-dome tweeter than the 1”
and then as I was closing the door sake of this review, I’ll check-out the Eikon6 on its ow
he came staggering back with an
Eikon10S sub-woofer. Excellent! Eikon6 Nearfield Monitors
(Actually, he gave me three boxes The Eikon cabinets are made of vinyl covered MDF w
– the third contained UK power- integrated waveguides, and forward facing bass ports.
cables because the ones packed in to provide 50W continuous to the woofer and 20W co
with the monitors have European maximum quoted 106 dB SPL. That 106dB is quoted
2-prong plugs - I presume this will figures - but in any case it’s much more than you’ll eve
be sorted by the time they hit UK nearfield speakers unless you’re into pain and hearing
retail and with a suitable plug for
North American markets as well). Rear panel connectivity covers just about everything y
unbalanced on XLR or jack, and unbalanced on RCA
The Eikon range offers three adjustment ( -2, -1, 0, +1 dB – no frequency quoted) b
models of two-way nearfield compensation for near-wall or corner positioning.
monitors plus the 10” sub. The
Eikon5, Eikon6 and Eikon8 Hook-up is dead simple, and the user’s manual explain
models have 5.25”, 6.5” and 8” both for stable stereo-image and to minimise phase ca
woofers respectively. Slightly is rich and involving and they are easy to listen to - wh
unusually, the smaller monitor sound quite different to my usual monitors, rather full
STAR RATING
PROS Full and rewarding sound • Good connectivity
EACH CONS Bit of ring on the nearfield low-end

Italy’s Proel made its name in live sound but can it bring its audio expertise off stage and
into the studio? Andi Picker finds out with two very well priced monitors.
le, and the user’s manual explains how

tors both for stable stereo-image and to
ellation from a desk.
” unit on the larger boxes. For the EiKON6
wn, then as a set with the 10S.
with ABS front panels containing

Twin, class AB amplifiers are rated
ontinuous to the tweeter, with a
d in the specs without any distortion
er reasonably need from a pair of
damage.
you might need; balanced or

A, and you get a level control and HF
but no low-end adjustment to allow
ns how to position your monitors

ancellation from a desk. The sound
hich is hugely important. They do
ler in the lower-mids (no surprise
• Good price
Positioning and filtering are key to

getting a sub to work well...
there as they’re bigger boxes with bigger speakers in them) and the low end has a bounce
which sounds quite exciting, but seems to have a bit of ring to it. The decay of low notes
doesn’t sound to be particularly tight, which is worth bearing in mind if you work with blast-
beating drums or fast, low-tuned bass/guitar parts, but you can hear everything that you need
to and after a couple of hours of getting used to them, they started to sound quite “normal” to me.
Eikon10S Sub Woofer
The Eikon10S has a 10

inch driver in a roughly
cube shaped, ported MDF
cabinet. You get a 150W
class AB amplifier and a
frequency range quoted
as 40Hz to 150Hz, XLR
and jack connectivity, and
controls for level and high
and low cut. Those low
and high cut filters are
used to pair the sub with
your main monitor - your
full signal is fed to the sub,
then the low cut sets the
cut-off frequency for what
is sent on to the nearfield,
and the high cut rolls-off
the (relatively) high end
that you hear from the sub.
These settings, along with
a phase (polarity really)
switch are essential to make sure that your lower mid-range doesn’t get turned into a confused
phasey mess between the sub and main monitors. The user manual has sample setting for
each of the nearfield settings and they’re mostly pretty good – thought a little tweak to suit
your own room will always be in-order. I say mostly, because at the levels that I was listening

Studio Master
Proel Eikon6 & Eikon10S Monitors
at, the recommended overall sub level was frequencies from the nearfield set-up really
far, far, far too loud - start with it turned to opens the mid-range.
minimum when you do your set-up!
I know that people worry about sub set-up
Positioning and filtering are key to getting a (perhaps we should do an article about this)
sub to work well, and I probably took about but really, once you get a decent set-up right
15 minutes to get it to where I figured it it should blend into a seamless, full range
was working best. I listened to some mixes sound. Does it? Oh yes. The Eikon10S
that I’m familiar with, and they sounded doesn’t just add low-end extension, in
pretty good, but when I ran a test signal that fact I actually found myself using little, if
sweeps from 20 to 20K Hz, it was apparent any, more bottom end than with just the
that I still had far too much low end. This Eikon6s on their own, but unloading the
is the paradox of a well set-up sub - unless bass frequencies from them made the whole
you’re working in a very bass heavy style, you system tighter and cleaner sounding, and
really don’t seem to get much for your money with a bit of volume it sounds glorious.
- until you turn it off (and bypass the filters
– obviously)! The obvious benefit is that the I’ve enjoyed the combined Proels so much
low-end is extended - not to a stupid degree that I left them plugged-in well after I
but very noticeably - but removing the lower finished reviewing them - I had to re-

assemble my usual set-up to make the video These are good solid monitors, albeit in a
for this article - and I’m currently feeling very crowded part of the market.
a bit of a loss. There’s not a lot of pricing The Eikon10S really does upgrade the
information available online as I’m writing, system. Well worth an audition to see how
but I’ve seen the official distributor pricing you like them - but don’t assume that the
and they are very affordable. As always, bigger nearfields will necessarily be better
only you can know if you’ll actually like the for what YOU need - I suspect that a set
sound, but a pair of the smaller nearfields, of the smaller speakers along with the sub
with the ability to add a cost-effective would have actually worked better for me in
matching sub at a later date, could be a very my mix-room. Definitely add these to your
attractive route to an extremely usable and audition list. END >
solid 2.1 monitoring system.
Proel Eikon 6 and Eikon 10S active

monitors
MSRP EIKON 6 £129.00 each Dimensions 225 x 320 x 270mm,
US$ TBC 8kg
EIKON 10s £279.00 each Proel Eikon10S Subwoofer
US$ TBC Type Vented subwoofer
Made in: China Speakers 10” pp main driver
Type: 2-way, front-ported,
powered nearfield monitors Amplification 150W class AB
Speakers: 1” dome tweeter, 6.5” glass Maximum output SPL 110dB SPL
fibre reinforced main driver Frequency response 40Hz – 150Hz
Amplification: 20W HF, 50W main, Inputs/Outputs 2x (left/right)
class AB balanced/unbalanced XLR and
Maximum output SPL 106dB SPL jack inputs, XLR R balanced
outputs to feed nearfield monitors,
Frequency response 50Hz – 20kHz link socket to connect optional
Inputs/Outputs Balanced/ additional sub
unbalanced XLR and jack, Controls Level, low-cut, high cut,
TECH SPEC
unbalanced RCA polarity, power switch

Controls Level, HF adjust (-2, -1, 0, +1 Dimensions 330 x 365 x 365mm,
dB – corner frequency not quoted), 33.7kg
power switch
MAKING TRACKS_INTERFACE REVIEW
SPL Crimson USB Audio In

and Monitor Controller
‘T
he SPL Crimson is a German line 3/4). Personally, I’d prefer to be able to
manufactured USB2 interface leave the line-in connected and manually
which can be used with Windows, switch between the options rather than have
Mac, and iPad with an Apple Camera the switching done just on the socket, but
Adapter kit. The low-profile desktop unit is this way probably avoids confusion. Internal
metal-cased and it feels heavy enough that I sensing is clever enough to figure out if you’re
actually weighed it; at just over 2.8kg (just using your line-ins as a pair, and adjusts
over six pounds) you might want to think the mono/stereo monitoring as needed. Mic
twice about throwing it in a bag with your gain and instrument level gain are set with
iPad, but it’s pretty certain to stay put on a top-panel knob for each channel (another
your desktop even with a full set of leads quick mention about build quality here, I
plugged into it. usually give all the controls on a hardware
box a quick wobble to check how solid they
There are a pair of discrete transistor mic pre- are. It’s not foolproof, I’ve tested some units
amps (up to 60dB gain) plus a pair of high with very high quality pots that are designed
impedance instrument inputs (up to 31 dB), so that the shafts do have movement, but all
and four line-inputs which trade-off against of the knobs on the Crimson are absolutely
the mic pres (line 1/2 override mic 1/2) and rock solid - they turn, and nothing else).
the instrument-ins (instrument 1/2 override Overall, the unit is quite large, with lots of
It all sounds pretty good, and did I

mention that you can record video
using your webcam
STAR RATING
PROS Sounds Great • Very Solid Build • Simple to u
CONS Can’t leave line-in connected when using mic

nterface Not another audio interface? Well, yes - it’s a crowded mar-
ket but Andi Picker reckons the SPL Crimson adds some
interesting twists to the formula.
room around all the controls and very clear (described in the product-overview as a 2nd-
labelling throughout, and the rear-panel even order 6dB per octave filter - that’s actually a
has upside down labels so you can read them 1st order filter), it’s gentle, it’s centred at 75Hz
when you lean-over the device to plug stuff and it works fine for reducing unwanted low-
in. In the centre of the main panel is a set of end mud without messing-up your sound.
illuminating buttons that select input and Metering is basic; Signal, -6dB and Over.
output options. More detailed metering is always nice, but in
practice the Crimson is plenty quiet enough
Each mic channel has its own gain control, that you can set your signal level to just
phantom power switch and a hi-pass filter light the -6 indicator on the louder parts,
use • Well thought-out feature set
c inputs • Monitor controller misses a couple of fairly basic functions
MAKING TRACKS_INTERFACE REVIEW
then back it off a bit and know that you’ve Outputs are also selected from the front
got plenty of headroom to play with. Mic panel - there are a set of main outs on
inputs are monitored as a left/right pair, but balanced XLR jacks and an alternative pair
you can switch to mono if you’re using only on balanced TRS jacks with individual trim
input one. Instrument inputs have individual pots - with a large front panel knob to set the
gain controls, and the line-inputs are fixed at level in the analogue domain where it should
unity gain - what you put in is what you get be. A pair of front-edge mounted headphone
out - which is fine so long as you have ample sockets have their own individual level
headroom (you do). controls and enough drive to cleanly push
anything I connected to them past the point
As well as the mic/instrument/line inputs, of safe listening if I wanted to. Monitor Mix
the Crimson also has a set of “Source” inputs does the usual job of mixing the input signals
on L/R balanced jacks, L/R unbalanced with the DAW return signal from the USB
RCA and a stereo 3.5mm jack, for use with connection, and IO is completed with MIDI
external CD players, phones etc. or a talk- and SPDIF. Oh - whilst I’m mentioning the
back mic. You select which one you want to USB connection, you don’t get a USB cable
use with one of the front-panel buttons, and in the box - apparently because it’s more eco-
the gain settings of the RCA and mini-jack friendly for you to use a cable you already
can be configured using a set of DIP switches own and it lets you choose the right length
on the base of the unit. and quality of cable for your needs.
SPL Crimson USB Audio Interface and Monitor Controller

I’ll let you decide what you think about that. It’s a neat way of working with cues without
having to rely on some sort of software
The Crimson acts as a good quality but basic routing matrix, and once you get your
analogue monitor controller - it’s quiet and head round what it’s doing, it’s simple and
clean, and you have a -20dB DIM switch, intuitive to use.
but no mono or mute features that you might
find on a dedicated unit. The SPL Crimson is a bit different to most
interfaces that I’ve reviewed in that it feels
Lurking at the bottom of the I/O selection and works like something from an old-style
buttons is one marked “Artist Mode”. The studio - and I mean that as a compliment.
idea here is that you will typically want a It sounds great, the inputs are quiet and
slightly different set-up when you have an clean with plenty of gain, the outputs have
engineer and an artist working together. You plenty of level and the switching is clever and
set-up your DAW so that the main mix is simple to use. It also functions well as a basic
on outputs 1/2, directed to Headphones 1 (analogue only - no SPDIF) signal router and
and Speakers A. The artist cue mix goes to monitor controller without needing to be
Headphones 2 and Speakers B (which can attached to a computer.
be used as a line-out), along with talkback
if you’re using it. The engineer can listen to All in all, this is a very solidly made and
the artist mix by switching off Artist Mode, great sounding USB Audio interface and
and the artist can hear the main mix by Monitor Controller with a slightly unusual
pressing the A to B switch on the front panel. feature set. END >
PL Crimson USB unbalanced RCA, 3.5mm Jack –

select one at a time, SPDIF, MIDI
Audio Interface Outputs Speaker A balanced
and Monitor XLR, Speaker B balanced TRS,
Controller Headphone 1, Headphone 2, SPDIF,
MIDI
MSRP £418 US $849
Mic gain Up to 60 dB
Made in: Germany
Instrument Gain Up to 31dB
Type USB 2.0 Audio Interface and
Monitor Controller Conversion 24 bit, 192 hHz – 115 dB
TECH SPEC
SNR
Inputs Analogue - 2 x mic, 2 x
Hi-Z Instrument, 4 line-in (you
can use up to 4 at a time), Source FIND THIS PRODUCT ON
inputs are pair balanced TRS, pair
MAKING TRACKS_PLUGIN REVIEW
Slate Digital Virtual Giving up on your
Mix Rack Plugin Andi Picker may
‘I
think I probably rant about plugins plugins is the emulation of old analogue gear.
more than just about everything Part of me thinks that relying on software
else in the audio recording universe that has a photo-realistic picture of a rusty
added together. Old habits and beliefs old rack unit as its interface is rubbish;
die hard, and many folks still believe that give me real-time displays of frequency
the plugins that you get with a DAW are response and gain reduction and drag-and-
somehow second or third rate. I’m calling drop adjustments; but the other part of me
“foul” on that one; the basic functions of accepts that it’s often easier to just say “I
gain, EQ and dynamics processing, as well want a 1176” and grab one. There’s an old
as much more, can be done as well with (OK, very old) joke in the computing world
modern stock plugins as with anything that about code being the 2% of a product that
we can buy at any price - once we learn how sits behind the user interface, and certainly,
to use them properly. Similarly, lots of not- in the world of plugins, there are a lot of
quite-so-basic effects can be created with products that promise much, much, more
multiple plugins; compression plus distortion than they can ever deliver. Then there’s Slate
gets a decent part of the way towards tape Digital.
saturation, filtering plus distortion can
give us harmonic excitement, and so on. OK - I’m a bit of a fan, and I actually
Obviously, as we get into more complex can’t recall the last mix I worked-on that
chains of basic effects, there is more work didn’t have Slate plugins on it. Each time
and more learning needed, and that leads us something new comes out, I tell myself
to the realm of effects that do something a for a few days that I don’t need it, then I
bit more than the basics, effects that have a download the trial version “just in case”, then
voice of their own. two days into the two-week trial I accept that
I don’t want to be without it and buy it.
Now, old habits do indeed die very hard, and
one of the most popular categories of effect Slate Digital’s Virtual Mix Rack (VMR) is a
virtual 500-series rack with interchangeable
STAR RATING
PROS Subtle and characterful sound • CPU efficient
CONS No undo on interface • No parallel routing optio

r dreams of finding that vintage SLL or Never desk for you project studio?
y have an alternative for you....
modules. When the rack originally came out added at no cost, and then the real expansion
it had the FG-116 (1176 FET compressor), started with the CS (Custom Series) Eq (a
FG-401 (hybrid-VCA compressor), FG-N hybrid eq made-up of bands from a number
(Neve Eq) and FG-S (SSL eq), along with of different real-world units), CS Lift hi-low
the Revival exciter module (that you could end character filter, and the FG-Bomber
keep and use for free even if you didn’t buy which is described as being a Dynamic
the rack). A while later a trim module was Impact Enhancer. Apparently there are new
ons on main rack • Need iLOk to trial
MAKING TRACKS_PLUGIN REVIEW
Oh, by the way, Slate has recently introduce

plugins and get all new updates and produc
pre-amp and compressor modules scheduled Anyway, the rack holds up to eight modules,
for release this year, and also, along the way, with both local (module) and overall presets
the Virtual Console Collection channel and to get you started. Rack functions are pretty
mix-bus modules were re-written to slot into basic; you drag/drop to load and remove
the rack. In case you’re wondering why the modules (it’ll auto-expand when you go
modules start with “FG-“ – it’s the initials beyond the initial three slots). Each module
of software designer Fabrice Gabriel, who can be bypassed or soloed individually,
appears to be equal parts software designer and you can copy settings between two
and genie. rack memory slots (A and B), but there are
no undo options, no parallel processing
Slate Digital Virtual Mix Rack Plugin

ced a scheme where you can “rent” all their
cts for the coming year...
beyond what the individual modules offer, and only
the one “copy” slot, but you can save settings as a
presets. What you do get is subtle, organic character
that’s typically incredibly difficult (or impossible) to
create with other effects. Whilst I’ve never explicitly
measured CPU loading, I have had lots of VMR
instances running and it seems to be pretty efficient,
which is a good trick for the amount of processing
that I suspect is being done.
Recreations of vintage effects are always going to

cause arguments, and I have a number of recreations
of Neve and SSL EQs that their manufactures claim
to be perfect reproductions of the individual units
that they modelled. I’ve used both Neve and SSL
in the past, and both the FG-N and FG-S have the
same sort of characteristic sounds that I recall, but
so do others, and it’s amazing how different they all
are. Eventually they just get used on their own merit -
“does it sound good?” overtakes “is it the most real?”
The hybrid and original modules are a bit of a

different matter. I was utterly convinced that I didn’t
need the CS Lift and Eq modules – I already have
stock eq, the N and S type, plus too many other
character and linear-phase plugins, but somehow the
CS-EQ manages to change audio without it sounding
eqd and the CS-Lift somehow makes things bigger
and clearer. Likewise, the FG-Bomber seems to be
able to add edge, bite, fatness – something – in just
the right place, for just a few seconds work.
MAKING TRACKS_AUDIO REVIEW
There’s a lot of love for Slate Digital plugins

on-line - every new utterance from Steven
Slate seems to be met with whole choruses
of “woo-hoos” that border on cult-like at
times. Oddly enough, though, I know a few
people who are even more rabidly dedicated
to not buying new stuff than I am, who also
use VMR - a lot. Ultimately, writing about
sound really IS like dancing to architecture -
pretty pointless. I hear things in VMR that
are “just right” to my ears, things that I can’t
quite get using anything else, and they’re
quick and easy to find. Ultimately, if you are
looking, and more importantly, listening, for
a few character voices for your mixing, I’d
suggest that you download the VMR trial
and give it a go. Unfortunately, you’re going
to need a 2-gen iLok, and be warned, that
as a Grammy winning mixer I was chatting
with on Twitter commented, “to try VMR is
pretty much to buy VMR”.
Oh, by the way, Slate has recently introduced

a scheme where you can “rent” all their
plugins and get all new updates and products
for the coming year (software rental? That’s
almost enough to lose them a whole star - Ed)
END >

Slate Digital Revival exciter module
Virtual Mix Trimmer gain module

Rack Plugin Type Software plugin, VST2, VST3,
AudioUnit, AAX, RTAS – check
MSRP $199 website for latest.
VMR Virtual Mix Rack System Requirements Windows 7
TECH SPEC
FG-N, FG-S eq modules or later, Mac-OS 10.7 or later – check

website for latest
FG-116, FG-401 compressor
modules
THE
QUIE
ROOM
WHEN ONLY ACOUSTIC WI

E
ET
M
LL DO
THE QUIETROOM_ANDY MCKEE

Q U I E T R O O M S P E C I A L
An afternoon with
And y M c K ee
Getting Andy McKee into our
studio for an interview and
performances was an ambition
that stretches right back to
the very beginning of Guitar
Interactive. McKee is the one
of the world’s finest modern
fingerstyle guitarists and a
prodigious touring and recording
musician. His YouTube videos
have earned over 50 million hits
in some cases and he is sought
after by gear manufacturers like
Ernie Ball and Fender to add his
approval of new products.
Levi Clay met Andy for our
interview and live performances.
THE QUIETROOM_
THE GIORGIO
QUIETROOM_ SERCI MCKEE
ANDY
Andy Mckee Interview Part 1
The beauty of writing for an online only the possibilities of percussion and the allure
magazine is that you have to be acutely aware of being a one man show he’s moved almost
of changes to the industry. We know that exclusively to playing and composing for
people consume media in different ways acoustic for many years now. One of the
that are evolving all the time. It’s exciting to faces of the style, along with other others
welcome new models in the industry, and like Jon Gomm, McKee found himself
we’re happy to celebrate the ever evolving famous almost overnight after scoring big on
title of “musician”, and few people exemplify YouTube.
this more than Andy McKee.
Andy’s first album, Nocturne, was released
Born in April 1979, in Topeka, Kansas, in 2001, and was an independent affair. He
Andy took to the acoustic guitar after being was pursuing the traditional route, playing as
wowed by modern acoustic guitar players many shows as he could and even managing
like Michael Hedges and Preston Reed. to tour, but was fighting the record industry
Drawn to the mystery of alternate tunings, in a way that will be all too familiar to

GI readers - without money pumped into of some of his songs, and upload them to a
promotion, you’d hit a wall. newly created website called YouTube. At the
time the idea might have seemed silly - who
His second album, Dreamcatcher, was knew that YouTube would go on to be one of
released in 2004 and his success was the biggest sites on the internet with over 4
definitely growing as he gained a little more billion videos being watched every day, and
attention when he placed on the podium for the most popular search being “music”? As
the third time at a national fingerstyle guitar they say though, hindsight is always 20-20,
competition. and I’m sure more labels wished they got in
Things really exploded in 2005 when Andy at the ground, but this stroke of marketing
released his third record, Art of Motion, on genius instantly shot Andy into the
the prestigious CandyRat Records. The label stratosphere with that initial batch of videos
suggested Andy should film some videos having well over 100 million views to date,
Andy Mckee - Because it’s there performance
THE QUIETROOM_
THE GIORGIO
ANDY
That said, there is still a hell of a lot to

be learned from paying close attention
to Andy McKee’s style.
Andy Mckee - Interview 2
that’s astonishing when bands can hit the You, and Björk’s Venus as a Girl. Touring
charts with just 30,000 album sales today. continued extensively as he packed concert
halls all over the world and appeared on
2007 saw Andy’s first post YouTube release, numerous teaching seminars. By 2012 he
Gates of Gnomeria which contained both had been chosen by Dream Theater, no less,
new music, and some older material which to open their Asian tour that year and was
might have benefited from a wider release, even recruited by Prince for gigs in Australia!
along with two covers, Toto’s I’ll Be Over

When it comes to sound, it’s both easy and at will - and the results will not be quite
complicated to get something like Andy’s the same as having different guitars with
sound. You might argue that being an different gauges ready for certain tuning
acoustic player, there’s much less between ranges. It seems unlikely that you’re going to
him and his sound than there would be with maintain a tight low string by detuning your
an electric guitarist, and I’d agree with that. standard acoustic strings down to C or lower
At the same time, Andy obviously changes - the scale length will result in flappy strings,
tunings a lot and has guitars that cater to and while you’ll certainly still be able to play
that. They’re also made by master luthier them, but you won’t get the tight punch that
Michael Greenfield, built to an astonishing Andy achieves that shapes his overall tone.
level of skill, and you aren’t likely to have
one of those kicking around. So, where Andy That said, there is still a hell of a lot to be
can opt for things like custom scale lengths learned from paying close attention to Andy
or fanned frets, it’s more likely that you’re McKee’s style and working your way towards
going to want to pick an average guitar with his intricate balance between percussion
an average set of strings that can be retuned and melody that epitomises the popular
Andy Mckee - Mythmaker performance
THE QUIETROOM_
THE GIORGIO
ANDY
Andy Mckee - Drifting performance
percussive acoustic style. You’re helped by the who knows what they are doing, fit it with
fact that today it is perfectly possible to buy a quality strings and start out on that long
good quality solid topped acoustic guitar for road.
$2-300 (£150-250), get it set-up by someone

Andy’s most recent release, 2014’s
Mythmaker, is a four track EP and
features a few things you might not
expect
Back to Andy’s career, Joyland was his release the beautiful piano playing on June, and
for 2010 and features him branching out the expressive electric lead playing on
with additional instrumentation and more Lumine. Though there’s all the wonderful
use of his famous harp guitar. Initially titled acoustic playing and writing you’d expect
“Music For A Vacant Amusement Park.”, on songs like Mythmaker, a show stopping
Joyland is named after the Wichita theme display of heart, low end growl and funky
park of the same name which closed in 2004. syncopations.
This haunting imagery compliments the
music perfectly, showcasing Andy’s ability to Andy is on tour now through April finishing
paint pictures without relying on words. up a US leg before a mainland Europe run,
so check his website (www.AndyMckee.com)
Andy’s most recent release, 2014’s for more info on where you can catch this
Mythmaker, is a four track EP and features musician where he’s best, on the live circuit
a few things you might not expect, like playing his music! END >
THE QUIETROOM_GUITAR REVIEW
Taylor 610e (2015) Acoustic Gu

Back in GI 34 we took a first look at Taylor’s revolutionary new 600 series, designed to
ditional favourites like rosewood. Our verdict? Based on a single Grand Symphony 616
many others have failed to do. But was it a one-off? Does maple only work in certain siz
Taylor’s 610e Dreadought to find out.
‘W
ith the world’s exotic wood From its 600 range Taylor sent us the
stockpiles growing scarcer newly updated 2015 version of their 610e
and more protected by the Dreadnought model as our second sample of
year, the use of maple is looking increasingly the 600 series. It’s worth pointing out here
attractive as an alternative. And why not? that Taylor models seem to follow an almost
After all, maple has long been the wood used generational process - there was a 2014 610e
the finest archtop and bowed instruments, but the 2015 version is an updated guitar
so it’s hardly without precedent. As we saw - worth noting if you are shopping for one
last year, Taylor’s 600 series represents the (though you are unlikely to find many 2014
company’s attempt to use maple in place samples for sale judging from our online
of more traditional steel strung acoustic search). So what’s it like?
guitar tonewoods, using ‘Torrefied’ spruce
tops, but using maple for the backs and The 2105 610e is a stunning looking
sides. Torrefication, by the way, is a process instrument from the moment you remove it
in which the spruce is artificially aged by from its deluxe hardshell case, thanks to the
roasting the wood, producing a fundamental gorgeous flame maple back and sides and
molecular change that gives better energy torrefied sitka spruce top. The back, sides
transfer from the strings for a more and hard rock maple neck are all finished in
responsive top that takes on a lovely dark a lovely, hand rubbed ‘Brown Sugar’ stain
finish compared to normal spruce. You could that looks very similar to the traditional stain
probably regard it as an accelerated ageing applied to vintage violins and really picks out
process designed to make a guitar sound the flame in the wood for a jaw-dropping
played-in from new. appearance. Every detail on this guitar exudes
quality, from the dark ebony fretboard,
grained ivoroid wing inlays, gorgeous
STAR RATING PROS Stunning looking and sounding guitar • Feels li

and looks lovely • Finest hardware • Superb Expression 2 e
CONS Expensive, but worth every penny

uitar
use more easily replaceable woods in place of tra-
6ce, we concluded that Taylor has achieved what so
zes? Tom Quayle tries a brand new incarnation of
abalone, ebony and grained ivoroid rosette and an ebony
headstock overlay and striped ebony pick guard. Grained
ivoroid is also used for the headstock logo and inlay and
the whole body is bound in ebony with grained ivoroid
purfling for a ridiculously handsome guitar that is never
gaudy or over the top.
Taylor has complemented the lovely look of this guitar

with quality hardware utilising superb Taylor nickel
tuners, an Expression System 2 electronics and a
Tusq nut and Micarta saddle. The whole design
is set up to optimise the tonal possibilities
of the maple back and sides, with the use
of custom back bracing specific to maple.
On the 610e the bracing doesn’t extend all
the way to the edges of the back, producing
more volume and low end, while the use
of protein glues and ultra-thin finishes
minimises any dampening effects that
occur with thicker alternatives.
In terms of construction and finish

then, the 610e is really as good as
it gets, being truly flawless in every
sense. Of course, at this price point
you’d expect this level of quality but
regardless, the 610e is a true pleasure
ike it plays itself • Torrefied spruce top sounds

electrics • Included Deluxe hardcase
Taylor 610e (2015) Acoustic Guitar
In many cases this system can rival

many external mic set-ups for tonal
quality and is very easy to operate with
its Volume, Treble and Bass controls.
to look at and to hold, oozing quality very comfortable and inviting, akin more
workmanship and artistry from every pore. to a great electric guitar neck in terms of
This level of work follows through into playability than a ‘makes you work for it’
the playability of the guitar, producing an acoustic neck. This level of playability almost
instrument that almost plays itself thanks feels like cheating and this instrument will
to a beautiful set-up and perfect level of really allow you to play at your best.
tension across the neck. The neck profile is

Lowden
The really important aspect at play here

though is how the maple performs tonally
and in this respect the 610e is a massive
success, thanks to Taylor’s design choices
optimising the maple’s tonal potential. The
first thing that hits you is the massive low
end and projection from this guitar. Maple
is generally known for its brightness and
quick attack in acoustic guitars and you get
that here, but it is matched with a warmth
and thump that you just wouldn’t expect,
producing a much more balanced tone that
is a real pleasure to play. The dynamic range
is also incredible across the entire range
of the guitar making you play with much
more consideration for how hard you hit
the string since the range of tones available
simply from your right hand attack are so
much wider with the 610e than with many
guitars. This beautiful tone is translated
fantastically well through the acclaimed
Expression System 2, giving some of the
most naturally acoustic sounding amplified
tones on the market. In many cases this
system can rival many external mic set-ups
for tonal quality and is very easy to operate
with its Volume, Treble and Bass controls.
The 610e is a beautiful both aesthetically afford it. Yes it’s expensive but boy is it worth
and tonally as an instrument and is the kind every penny for those lucky enough to be
of guitar that will make you really question able to buy one! We have no hesitation in
whether you can survive on nothing but awarding it a very rare five stars! END >
baked beans for the next year in order to

Taylor 610e (2015)
MSRP £TBC US $3,398 Pickguard Striped Ebony
Made in: USA Case Taylor Deluxe Hardshell
Back/Side Wood: Maple Brown
Scale length 25-1/2” Number of Frets 20
Top Wood Torrefied Sitka Armrest Binding None
Body Length 20” Back Config 2-piece No Wedge
Electronics Expression System 2 Backstrap Wood Ebony with Inlay
Body Width 16” Backstrap Finish Gloss
Cutaway None Brand of Strings Elixir Phosphor
Body Depth 4 5/8” Bronze Medium
Nut & Saddle Tusq Nut/Micarta Buttons Nickel

Saddle Edge Trim None
Neck Width 1-3/4” Fingerboard Ext None
Neck/Heel Hard Rock Maple Fretboard Binding Ebony
Bracing Advanced Performance Heel Cap Binding Ebony
with Relief Rout Heel length 3-1/2”
Fretboard Wood Ebony Peghead Finish Gloss
Fretboard Inlay Grained Ivoroid Peghead Inlay Grained Ivoroid
Wings Wings
Headstock Overlay Ebony Peghead Binding Ebony
Binding Ebony Peghead Logo Grained Ivoroid
Bridge Inlay None Peghead Type Standard
Bridge Pins Ebony Rosette Mat. Ebony/Grained
Tuners Taylor Nickel Ivoroid/Abalone
Truss Rod Cover Ebony Rosette Size Single Ring
TECH SPEC
Back/Side Finish Gloss 3.5 Stain/Sunburst Brown Sugar

Top FinishGloss 3.5 Type of Neck Joint Scarf
Neck Finish Satin Wedge None
Taylor 210ce Acoustic Guitar

Think of Taylor guitars and you think of some of the world’s finest acoustic instrumen
Not so much... Tom Quayle finds a Taylor model that could change that perception
‘W
hen you think of Taylor of a solid core of poplar with a veneer of
guitars the last thing that beautifully grained rosewood on the top and
comes into your mind is an bottom, giving an aesthetically pleasing finish
entry level acoustic, but the company does at a lower price point. The tonal result is less
make some very affordable instruments for complex than you will get from having solid
those not looking to re-mortgage in order back and sides but the use of a solid sitka
to afford their instrument of choice. Taylor’s spruce top offsets this somewhat and gives
200 series offer just this level of affordability, the look of exotic woods at a much more
at least compared to the higher end models, affordable price and offers a construction
by using a laminated back and sides that’s very resistant to climate changes.
construction with a solid top in a number
of variants to suit all body shape and visual The word ‘laminate’ has become something
requirements. of a dirty word in the acoustic world but
this isn’t entirely fair. Our editor (who has a
The Taylor 210ce is a very affordable bit of a ‘thing’ about tonewoods, by his own
Dreadnought style acoustic with a Venetian admission) maintains that one of the best
style shallow cutaway, featuring layered sounding acoustics he owns has a laminated
rosewood back and sides and a solid sitka body and he isn’t alone in insisting that
spruce top. The laminate format consists laminates can vary as much in quality as can
You can be certain that the sound you

hear in the shop is the sound you will
get in two years or five years time
STAR RATING PROS Very affordable for a Taylor • Well constructed •

• Included quality gig bag • Good playability • That name o
CONS Laminate construction may put some off - but i

nts. But easily affordable ones?
WIN THIS GUITAR!

solid woods. In this case, the 210ce is a totally different
level of guitar compared to some of the cheap laminate
guitars that have sullied the term over the years and you
can rest assured that you are getting a good sounding guitar
for your money here. OK, it may not age in the way a solid
wood guitar would, but that doesn’t necessarily mean it is
an inferior option. For example, you can be certain that
the sound you hear in the shop is the sound you
will get in two years or five years time - and in
the case of this Taylor, that’s a sound you will
be proud of.
The neck is made from sapele to keep costs

down further and yet it features a pretty
luxurious ebony fretboard and a headstock with
a matching rosewood overlay. Basic, three per
side, die cast tuners are in use here and the
neck is minimal in its design with simple
white dots on the fretboard and sides and
a lovely satin finish for comfort. The body
features a gloss finish on the top and a
satin finish on the back and sides. White
• Great tone • Excellent pickup and electronics

on the headstock!
it shouldn’t
Taylor 210ce Acoustic Guitar
binding, a basic rosette and a faux tortoise fretwork is very good with 20 well finished
shell pickguard complete the design for a frets and the neck set-up offers a very
good looking guitar that appears far more playable action from the factory.
expensive than its actual price tag suggests.
For those wanting a different look Taylor also Yes, the high end Taylors offer a more
offers the 210 in black with maple laminate refined playing experience, but this 210 feels
sides and back or with a sunburst finish. significantly better than many other guitars
at this price point and is very easy to play
The general construction both internally and thanks to the comfortable neck profile and
externally of the 210ce is superb, considering generous cutaway.
the price point here is at least three times
lower than some of Taylor’s high end models. The 200 series models don’t feature the
Apart from the obvious budget minded deservedly famous Taylor Expression pre-
hardware and the use of laminated back amp and pickup system found in the higher
and sides, there is nothing here that belies end Taylors but they do feature the slightly
the cheaper price point and the guitar looks cut down ES-T system. Taylor describes
every bit a true ‘Taylor’ instrument. The the ES-T as a ‘single source, under-saddle
transducer with individual elements for

Cordoba
each string’, powered by a 9-volt battery As an entry point into the world of full size
and featuring the same active controls as Taylor guitars the 210ce represents good
the more expensive Expression system value for money and the included high
and a basic phase control for feedback quality gig bag extends this value further.
management. Visually, the system is identical If you are struggling to afford the high end
to the Expression system, with controls alternatives or need a second acoustic for
for Volume, Treble and Bass. The tone travelling or hard gigging then the 210ce is
is superb, retaining the natural acoustic a great choice. If you’re sceptical of laminate
quality and response that Taylor’s pre-amps construction you should check this guitar
have become known for. There’s no mic in out - you may end up being very surprised
play here but the bass and treble response by what Taylor has achieved here! END >
are impressively natural with none of the
break up or brittleness that transducers can
exhibit, translating the dynamic range of
the instrument very well indeed. The EQ
controls are musical throughout and offer
a wide sweep of tonal options. The phase
switch is a useful addition but you’ll perhaps
need an external pre-amp to get more control
over the frequency of specific feedback issues
on stage.
Acoustically the 210ce exhibits a good tone

that is rich in low end thump and high end
detail. If you play this in direct comparison
to an all solid wood Taylor you will hear
an immediate difference in the quality and
complexity of the tone, with the 210 missing
the pleasing characteristics that only high
end tonewoods can provide, but in isolation
the 210 represents very good tone for the
price. Perhaps more to the point, if you
compare it with some other laminate body/
solid topped guitars you will might well
conclude that the Taylor is in a different class
altogether.

Taylor 210CE
MSRP £1,049.99 US $1,328 Pickguard Tortoise
Made in: Mexico Case Hard Bag
Back/Side Wood Layered Number of Frets 20
Rosewood
Armrest Binding None
Scale length 25-1/2”
Back Config Laminate
Top Wood Sitka Spruce
Backstrap Wood None
Body Length 20”
Backstrap Finish None
Electronics Expression System-T
Brand of Strings Elixir Phosphor
Body Width 16” Bronze Medium
Cutaway Venetian Buttons Chrome
Body Depth 4 5/8” Edge Trim None
Nut & Saddle Nubone Nut/Tusq Fingerboard Ext None
Saddle
Fretboard Binding None
Neck Width 1-11/16”
Heel Cap Binding White
Neck/Heel Sapele
Heel length 3-1/2”
Bracing Forward Shifted Pattern
Peghead Finish Satin
Fretboard Wood Ebony
Peghead Inlay None
Fretboard Inlay 6mm Dots
Peghead Binding None
Headstock Overlay Indian
Rosewood Peghead Logo Taylor Colorcore
Binding White Peghead Type Standard
Bridge Inlay None Rosette Mat. Plastic
Bridge Pins Black Rosette Size Three Ring
Tuners Die-Cast Chrome Stain/Sunburst None

TECH SPEC
Truss Rod Cover Black Plastic Type of Neck Joint Scarf
Back/Side Finish Satin Wedge None
Top Finish Gloss

Neck Finish Satin
THE QUIETROOM_AMP REVIEW
Fender Acoustic Pro

Think Fender amps and your mind conjures up springwater clean Country tones or de
one of the world’s best sounding acoustic guitar amps? Andy McKee certainly thinks s
‘T
he Fender Acoustic Pro is one of Right from the start, I have to say I was
two new acoustic amps recently blown away and inspired by the quality of
launched as Fender’s Acoustic Pro the tone from the Acoustic Pro. I ended up
series - the Acoustic Pro (as reviewed here) noodling for a good while before we filmed
and the SFX. What’s the difference between the review, really enjoying the sound quality,
them? Quite a lot, actually. The wider, which I found quite inspiring.
squatter (and more expensive) Acoustic
Pro is a 200 Watt rated combo featuring a Before you even get that far, of course, these
12” neodymium speaker assisted by a horn, amps look super sleek and smooth with
while the SFX, delivers slightly less power their USA maple plywood speaker backs/
(160 Watts stereo) into an 8” speaker, an enclosures and the practical and stylish
HF tweeter and a side pointing 6” giving placement of the carry grip on top of the
an unusually wide soundfield. The SFX amp. The Pro features two channels (as does
also comes with more effects in addition to the SFX) which are accessible on top of the
reverb (also present on the Acoustic Pro). amp nicely out of the way from the hand
The SFX offers delays, chorus and vibrato. grip. Each channel features a volume, reverb,
bass, mid level, mid range and treble control.
This is where the problem will lie for many A phase switch and a combined XLR/Jack
potential buyers, we suspect. Both have input, the former, obviously, for a mic for
their attractions, but which would you want vocals and you’ll be glad to hear that it offers
to buy? The price difference is significant 48V phantom powering for all those users
(around $100 at US street prices, or £120 in who have posh mics! In the middle of these
the UK based on RRP) but not prohibitive two channels there is a headphone and aux
and the difference between the two amps in that you can plug your phone/mp3 into
is quite considerable. Anyway, on to our for backing tracks etc.
sample - the big brother of the two!
STAR RATING PROS Awesome resonant tone • Sleek and Simple des
CONS Having to choose between this and the SFX ver

eep down and dirty Blues. But what if we told you that Fender has just come up with
so. We asked Sam Bell to check it out.
sign • Inspiring to play through!
rsion
Fender Acoustic Pro
On the back we are treated to the usual for live performances, without needing to
facilities - balanced XLR/Jack outputs, an, employ the D.I output!
FX loop, plus the regular ‘kettle lead’ power
input. Talking of power, this amp offers 200 An extra feature that we couldn’t demo on
Watts into its 12” woofer and 2.5” tweeter this amp in the video was the kick stand
speakers, I had the volume up just before half that is under the amp, this is helpful for
way for this demo and it was already making aiming the amp up from the floor, spreading
walls shake, so there is plenty of headroom the sound around and aiming towards the

This is simply a fabulous sounding
amplifier, which looks great and
delivers a full warm acoustic tone that
is harmonically inspired and resonant.
performer’s ears for better monitoring in possibilities. The Acoustic Pro has a really
smaller performance settings. useful mid range control which lets you
really home in on troublesome mid range
One thing I really love about this amp is spots that might cause feedback in certain
the fact that it doesn’t seem to colour the venues, or emphasise mid range in guitars
acoustic guitar’s tone, it only serves to which may not have much of a mid range in
enhance what is there already. There are the first place. Another useful feature is the
some very good acoustic guitar combos deep, rich, luscious reverb. It’s a very simple
around these days, but this has to be one reverb, all you can do is turn it up and
of the best. Sometimes acoustic amps can down, but it works very well indeed. Lower
sound a bit dry and clinical, but this Fender settings give you a tiny bit of ambience and
just took what was there and made it bigger, higher settings can send your tone into a vast
more dynamic and resonant. It keeps the ambient space, lovely for ambient melodic
acoustic sounding very acoustic. I am not solo playing or rich resonant chords.
sure if this is to do with the American maple
plywood enclosure around the speakers or This would be a fantastic for amp for solo
whether there is something else going on, acoustic musicians/singers looking to expand
but whatever the cause, it works - and works their sound for live performance, or even in
very well. a band situation if you wanted to have a full
acoustic presence.
Combining the simple but super effective
tonal controls with your acoustic guitar’s As I said earlier, there is just the question of
onboard EQ can lead to limitless which of these two you would prefer. The
SFX has extra ‘toys’ to enliven your sound and it also has that side radiating speaker, which
would make it sound great in a small venue.
This is simply a fabulous sounding amplifier, which looks great and delivers a full warm
acoustic tone that is harmonically inspired and resonant. END >
Fender Acoustic Channels: Two
Pro Wattage: 200 Watts

MSRP £709 US $999 Speaker: 12” + HF tweeter.
Made in: Mexico
Size: 17.65 x 21 x 10.5 inches
Color: Natural Blonde
Weight: 27 lbs
Controls: Volume, Low, Mid-
Cabinet Material: Lightweight
Frequency, Mid-Level, High,
Plywood
Reverb, Phase Switch (Same on
Each Channel) Handle: Integrated Top-Mount
Handle
Effects Loop: 1/4” - (Send/
Return) Effects: Reverb
Inputs: Two - XLR / 1/4” Control Knobs: Black Plastic
combined
Included Cover
TECH SPEC
Headphone Jack: 1/8” Stereo

Accessories: Optional FootSwitch
Line Out: One - (Balanced
XLR with Ground Lift and Level
Control)

PRS
Cordoba Mini O classical guita

Has Cordoba created the perfect mini classical guitar for travelling? Giorgo Serci seem
beginners too.
‘R
egular Quiet Room readers will and resonant guitars combining the
have seen several of Cordoba’s traditional methods with the contemporary
guitars pass through our hands ones. Winning characteristics are consistency
over the past few years and always with very in quality, tone, playability and attention to
satisfying results. This innovative American detail as well as the very wide price range.
manufacturer certainly seems able to hit the As I say, the ones we have looked at have
mark and but this time they have sent us been consistently very good indeed so it’s no
something very different from the traditional surprise that Cordoba has become one of the
classical style guitars we have looked at in the USA’s most popular classical brands and that
past. This time Cordoba sent us the Mini O, the company’s reputation has now spread
which is a ‘mini’ nylon string guitar, made around the world.
with an increasingly popular tonewood called
ovangkol. Straight from its soft case (included in the
price), this small size classical guitar (775mm
Cordoba started producing guitars in 1997. overall length) has a stunning natural look,
The company’s range includes a wide variety with contrasting wood colours and unique
of classical and flamenco guitars, with prices features: from the handsome looks of the
and specifications ranging as widely. One of solid ovangkol used for the top, back and
its objectives it says is to generate lightweight sides, to the rosewood bridge, binding and
In conclusion, this is another great

instrument from Cordoba.
STAR RATING PROS Great looks • Fine tone for its size • Good hardw
• ‘A’ tuning gives useful versatility for recording • Excellent p
CONS None at all

ar.
ms impressed - and he thinks it’s ideal for
fingerboard, and finally the mahogany

C-shaped neck.
There are two other variants of the

Cordoba Mini beside the ovangkol
model, the ‘R’ and ‘M’ models, which are
respectively spruce/rosewood and spruce/
mahogany and you might want to check
those out too as they are less expensive
than the ovangkol version we are looking
at - the mahogany version in particular is
quite a bit cheaper- so if you are interested
in the concept but can’t quite stretch to
the Mini O, don’t forget there are these
alternatives.
To contrast the ovangkol tone wood in

satin (matte) finish, there is a delicate
inlaid abalone-style rosette, matching the
‘Cordoba’ logo on the headstock. The
latter features excellent machine heads
with black buttons, while its mahogany
C-shaped neck is beautifully finished.
Both the 50mm nut and the saddle

are made of cow bone for an improved
ware • Standard classical string spacing

price
Cordoba Mini O classical guitar.
sustain. The neck is very comfortable to for optimum, bell-like tone. Alternatively, a
play, also thanks to high-quality bespoke gut set in standard tuning is also available from
strings designed and produced by the Italian Cordoba’s website. These strings are secured
company ‘Aquila’. These strings are made to at the bridge as on a steel strung acoustic
measure for this instrument and they come guitar.
in two different tunings; a perfect fourth up
from standard tuning (A, D, G, C, E, A) This guitar doesn’t have a truss rod, as it
which is the set recommended by Cordoba doesn’t need one, by the way, on account of
its reduced scale length of 510mm (20”).

The rosewood fingerboard makes the Mini There is also another benefit to this
O a very resonant guitar. Even with its instrument. The sparkling tone produced
small body, this guitar has a generous and by this Cordoba with the aforementioned
well-balanced response all across its 18 frets, ‘A tuning’, makes this another desirable
particularly in the mid-range and trebles, as addition to the session guitarists’ arsenal,
a result of the traditional fan bracing method who will be able to produce parts
used to assemble its top, as well as the tonal reminiscent to a cavaquino or other similar
qualities of the ovangkol, sounding perhaps South American related instruments, but
like a compromise between rosewood and with the added benefit of being able to use
maple. the same relative tuning as a classical guitar.
Another of the winning characteristics of It took me no time to tune it and to feel at

this guitar is its neck and fingerboard width ease with its action, with a very good set-
(50mm at the nut), which is the same found up straight from the box. Tuning was made
in most full-size classical guitars. Most of easier also thanks to its accurate classical
the small size guitars in the market have a style Cordoba premium gold machine heads,
proportionally smaller neck, which could be which look and feel great.
a hurdle in terms of playability for the avid
fingerstyle guitarist, due to the unfamiliar In conclusion, this is another great
spacing between strings. The Cordoba instrument from Cordoba - not only a
Mini is, as a result, a perfect companion great travel companion for the avid classical
for travelling, especially considering the guitarists who would like to practice with
stringent regulations enforced by most a traditional classical size neck with great
airlines about taking musical instruments portability, but it could be an additional
onboard. new sweet guitar voice for live and studio
work, particularly due to a combination of
Furthermore, as well as being an excellent ovangkol and bespoke strings tuned up a
travel guitar, this would be an ideal perfect forth. In essence, fretting an E minor
instrument for teaching young students, (E shape), the guitar will produce an A
as they will be able to practice and develop minor.
their technique as is they were using a full
size classical guitar.
I strongly recommend finding a Cordoba dealer near you and trying the Mini O as well its
slightly less expensive variations featuring rosewood or mahogany backs and sides, I am sure
you will be very impressed with these instruments, as I was! END >
Cordoba Mini O Classical guitar

MSRP £235 US $355 3, 5, 7, 9, 12, 15
Mini-M - £169 US $255 Nut/Saddle Bone
Mini-R - £209 US $315 Number of Frets 18
Made in: Unknown
Bracing/Build Fan
Top Solid Ovangkol
Body Width & Length 195mm /
Back & Sides Ovangkol 255mm
Binding/Bridge Rosewood Overall Length 775mm
Purfling/Inlay Rosewood Body Depth 65mm / 75mm
Rosette Abalone-style Tuning Machines Silver with black

buttons
Finish Satin (matte)
Strings Cordoba Mini Strings
Neck/Fingerboard Mahogany in A Tuning
neck / Rosewood fingerboard
Electronics N/A
Truss Rod N/A
Tap Plate/Pick Guard N/A
Scale Length 510mm (20”)
Case Gig Bag or Upgrade to a
Nut Width 50mm (1.96”)
TECH SPEC
Polyfoam Case
String Spacing at Saddle
63mm FIND THIS PRODUCT ON
Fret Marker Inlays

Tanglewood
THE QUIETROOM_GIORGIO SERCI
Giorgio Serci
CREATIVE
FINGERSTYLE
Study n.26
This is another bespoke piece dedicated to the Guitar
Interactive community, particularly for all the guitarists
willing to expand their palette of harmonic, melodic and
rhythmic colours as well as improving their fingerstyle
technique.
In this piece, it is easy to identify three distinct parts:

The melody, with its ornaments, the syncopated ‘Samba’
pattern providing the essential harmonic ingredients and
finally the accompanying bass line.
The ornaments in the melody will provide a great

opportunity to refine articulations, including hammer-
ons and pull-offs. The harmonic content features many
arranging devices such as the so-called voice leading
technique, which consists of voicing chords with
minimum movement. One of the most noticeable
musical qualities of this technique is the fact that some
chords have to be inverted to create voice leading bass
lines, which result in more story-telling and singing-like
bass parts as well as being the foundation of the harmonic
and rhythmic accompaniment.

TABLATURE DOWNLOADS
GUITAR PRO 6 PDF
DOWNLOAD DOWNLOAD
THE QUIETROOM_
THE GIORGIO
QUIETROOM_ SERCI SERCI
GIORGIO
Giorgio Serci
I often compare composition to a game with its own rules and the added benefit of allowing
us to use our creative side of the brain as well as the pragmatic one. The added fun with
the game of ‘composition’ is the fact that we can make up many, if not all, of the rules. For
example, the duration of the piece, the number of instruments involved, the level of technical
ability required, the type of rhythm, harmony, melodic contour, phrasing, inflections etc.
While composing exclusively with our pragmatic side would probably result in uninspired,
square or cold results, exclusively relying on the divine inspiration might mean having to wait
days or weeks before we can actually complete a piece. Combining both strategies could be the
way forward.
The harmonic content of this piece can be described with the following chord symbols:
C G/B C/Bb Fadd2/A

Abmaj13 Em/G Am Dm G7 C/G G/B
C G/B C/Bb Fadd2/A
Abmaj13 Em/G Am Dm G7 D7/F#
Fm6 C/E Cadd2/E

As always, I would like to recommend Bar 3: Index f on fret 1 of A, open e. Middle
researching the above-mentioned techniques f on fret 1 of B and open G. Ring f on fret 1
in order to be able to use these to compose of e, open e, little f on fret 3 of B and open e.
your own pieces. We have to allow ourselves
to make mistakes and reflect on the reasons Bar 4: 2/6 Barre’ on fret 1 (this means bar
why we like, or not, a particular sound, a on the first 2 strings only). Open A and G.
chord progression or modulation. Eventually, Ring f on fret 3 of B to pull-off to fret 1
these sounds will become part of your (index), open B and index back on fret 1 of
musical lexicon and we should be able to use B.
these effectively and creatively. Bar 5: As bar 4 but little f on fret 4 of E.
The picking-hand pattern is Next, index on fret 1, little f on fret 3 of e
predominantly as follows: and back to index on fret 1.
(Please note E=low E string, e= high E string) Bar 6: Ring f on fret 3 of E, open e, G and
B. Add index on fret 1 of B. Open A, middle
‘p’ focuses of the bass lines, while ‘i, m, f on fret 2 of G, index on fret 1 of B and
a’ play the melody and countermelody or open e.
harmony part.
Bar 7: Open D, index on fret 3 of B, ring f
Play this part in a relaxed and clear manner, on fret 5 of G. Open B, index on fret 2 of G,
making sure your thumb is a little forward pull-off to an open G. Ring f on fret 3, index
compared to the ‘i, m, a’ fingers, in order on fret 2 of D, open D.
to prevent it from colliding with the ‘i’
finger. As always, focus on attack and tonal Bar 8: Ring f on fret 3 of E, little f on fret
consistency. The melody and the supporting 3 of A. Open D, hammer-on to fret 2 of D
harmonies will be played with the ‘a’ finger, and open G. Next, middle f on fret 2 of A,
so more attack is needed to outline the open D, G and B.
melody. Repeat the first seven bars from the
Next we are going to look at the left top and take the second bar to the
hand part (chord shapes): end.
Bar 1: Index f on fret 1 of B, ring f on fret Bar 9 (second time bar): Middle f on fret
3 of A, open G and middle f on fret 2 of D. 2 of E, little f on fret 3 of A, ring f on fret 2
Middle f plays 2nd fret of G pulling-off to an of G. and open D.
open G. Little f on fret 4 of D and open G. Bar 10: Index on fret 1 of E, little f on fret 3
Bar 2: Middle f on fret 2 of A, little f on fret of A, open D and middle f on fret 1 of G.
3 of B, open G and D. Open G and ring f Bar 11: Open E and ring f on fret 3 of A.
on fret 2 of G and open G. Open D a hammer-on to fret 2 of D. Open
THE QUIETROOM_GIORGIO SERCI
G and B. Hammer-on to fret 1 with index. Make sure you highlight the melody (singing
Open e and hammer-on to fret 3 with little f. is a great strategy to play the melody in more
assertive and singing-like manner)
Bar 12: Open E, index on fret 7 of A and G.
Little f on fret 10 of D, middle f on fret 8 of Focus on minimum-movement approach, as
B and ring f on fret 8 of e. this will help delivering the piece in a more
accurate and consistent manner, while saving
Congratulations, you have energy.
completed Study n.26!
This will complete this creative fingerstyle
As always, you will be able to download a lesson.
transcription by selecting the menu option in
this page. I hope you will enjoy playing this study piece
and that this will give you some ideas on how
I strongly recommend experimenting with a to write your own solo guitar compositions.
few picking variations, changing the chords If you would like to listen any more of my
as you wish in terms of voicing (higher or compositions, please check the previous
lower), as well as trying the same picking issues of Guitar Interactive as well as any of
pattern on a different chord progression, my CDs, available from my website:
or using a ‘capo’ on fret 2 for a brighter
outcome. www.giorgioserci.com
When repeating any section twice or more, You can also find me on twitter @
you may want to play ‘sul ponticello’, (closer giorgioserci as well as on facebook.com/
to the bridge) or ‘sul tasto’ (over the frets) for giorgiosercimusic
more contrasting results.
Till the next time, Good-bye! END >

THE
BASSME THE

E
ENT
E PLACE FOR BASS
THE BASSMENT_GUITAR REVIEW
Dingwall Combustion 5 bass 2

Canada’s Dingwall basses have commanded a lot of attention in recent years - not least fro
Now they are affordable too... But what about those fan frets?
‘W
ell, what a treat we have this might not, meet with your personal approval
time around! This is the latest but no one is going to think you’re playing a
iteration of the Combustion Precision copy when you turn up with one of
bass from the Canadian manufacturers of these! Our sample came with a white finish
high end instruments, Dingwall Designer on the alder body, but there are other options
Guitars. The first version of the Combustion available and for those who like a translucent
was a fantastic bass but the new instruments finish, then you’ll have the option of having a
promise to bring us extra refinements in Swamp Ash bodied instrument.
playing comfort as well as improvements in
tone, adding up to a pretty much unbeatable It’s tempting to go straight on to the thing
package. That’s the theory, at any rate! that will have caught most payers’ eyes when
they saw the pictures of this bass - the fan
Dingwall basses like the AB models, Lee fretting, but let’s just give a passing mention
Sklar signature instruments and Prima Artist to the hardware first, as it is important.
basses, are made in Canada by Sheldon
Dingwall and his team of highly skilled First, the open gear tuning keys, which are
craftsmen. The Combustion however, smooth, light and accurate, so top marks
also built by highly skilled workforce, is there. The body itself, meanwhile, is sculpted
actually manufactured in China. The EMG with deep cutaways making the instrument
preamp, Dingwall pickups and the rest of feel comfortable either in seated or standing
the hardware is shipped out to the Far East position. Electronics come courtesy of EMG
where the basses are assembled and then sent for the 18v ore-amplifier that offers up cut
back to Dingwall HQ for a full set up and and boost for bass, midrange and treble
thorough check-up before being sent out. frequencies. There’s also a master bypass
switch too, which is handy for switching
To start with, the bass, like all Dingwalls, between tone styles. Dingwall doesn’t
has a very striking appearance. It might, or scrimp on pickups and this machine has
STAR RATING PROS Premium class instrument • Anything but a prem

definition • Looks daunting but deceptively easy to play
CONS They sell out fast so can be hard to find

2015 model
om Dan Veall - but up until now they have remained luxury choices.
the company’s own FD3n Neodymium pickups on

board. Dingwall uses CTS pots and there’s a great
inclusion with the pickup selector. There’s no pan
control, but instead a four position switch giving
access to each pickup individually or both in parallel
as well as both in series. The difference in tone is
marked; I love the series setting on this long scale
bass. It just sounds massive, it really does!
So, on to the Combustion’s neck - at last! - which

presents a wonderful expanse of pale coloured
five-piece maple neck with a maple fretboard. It’s
bolted on using inset bolts to the body and on this
version provides access to the truss rod adjuster
from the body end. All combustion basses except
for the signature ‘NG-2’ models have a Rosewood
fingerboard option too. The Maple fingerboard
according to the spec here has ‘rolled edges’ and they
are super comfortable. This is a nice touch which
makes the neck appear smooth and have an almost
‘played in’ feel in the hand.
Finally to the fretwork! Back in GI 8 I reviewed

the Dingwall ABZ 6 and covered the Novax Fan
Fret system in detail, but to give you the edited
highlights, the ‘wonky frets’ approach isn’t a
gimmick and, if you’ve ever seen inside a grand
mium price • Fan Fret system for superb note
THE BASSMENT_GUITAR REVIEW
Summing up, I am actually going to

score this bass higher than the ABZ6
Dingwall Combustion 5 bass 2015 model
piano before, you’ll know it makes sense basses we see on the market all the time.
before finishing the end of this sentence! The The G remains at 34”. Advantages? Tension
fanned out frets allow the lower strings to between strings is evened out and I love how
be progressively longer from bridge to nut the strings feel under the fingers. Each is firm
the lower the note pitches they carry. The B and balanced when switching between them.
string for example is a 37” beast, way longer Oh, and those low notes! The open strings
than the average 34” scale ‘parallel fretted’ have superb definition. Don’t mistake this as

being ‘more bassy’ though. Using my grand Summing up, I am actually going to score
piano analogy, notes have girth and body this bass higher than the ABZ6 reviewed for
to them rich in overtones rather than being one reason - it’s just such fantastic value for
wooly and less coherent (often a problem money. Both Digwall basses are great - but at
on some five string basses with problematic the price this one is a steal. END >
B string.) How is it to play fanned frets? In
short, it looks daunting but really, it isn’t! so Our thanks to Bass Direct UK for the loan of
try one and find out for yourself. this Dingwall Combustion bass.
Dingwall edges - 37 - 34” scale
Combustion 5 Bone nut

Bass Banjo frets
UK £1,040 US c.$1,800 NOVAX FANNED-FRET SYSTEM
Made in: China (Canadian Five piece maple neck - truss rod
checked) adjustment now at body end
Dingwall made in Canada FD3n Controls - active/passive switch
Neodymium pickups and new CTS pots, volume, pickup
selector
EMG USA BT07 3-band pre-amp
TECH SPEC
(Bridge, both parallel, both series,

Dingwall USA strings Neck), treble, mid, bass.
Alder body Weight: 4kg/9lb
Maple Fingerboard with rolled
THE BASSMENT_AMP REVIEW
Orange OB1-300 combo

For our second scoop of the 2016 (and it’s only January!), Dan Veall was one of the first in t
‘O
range is on a roll with bass amps. makes this beast an absolute win for me is
New for NAMM 2015 was in simplifying a system I have been running
the company’s excellent OB1 myself for years: having everything in one
300 head, which I reviewed back in issue box is well, heaven sent. Let me explain...
32. Now, brand new for NAMM 2016,
the OB1-300 combo brings us the same The first four controls are the ‘global
amplifier coupled to a capable and suitably settings’ of the OB1. Master volume and
‘Rock’ orientated Eminence 15” bass driver an active three band EQ controlling low
in a ported cabinet. end, midrange and top end bite in the
treble frequencies. This alone is enough to
The first thing to say is that the OB1-300 deliver a very pleasing bass sound. Clean
is still a super-easy amplifier to use. The and articulate. The next two controls, along
sparse front panel isn’t overloaded with with the foot switch jack is for me where the
‘stuff ’ and is quite inviting as a consequence. magic happens. I didn’t even wait for the big
I also like Orange’s use of icons instead of reveal in the video either - the drive section is
worded labels. There’s nothing wrong with alive and roaring right from the get-go. Just
having text on an amp, but as this one has two knobs separate you from a rounded clean
so few controls on the fascia, it’s very simple sound and an all out aural assault which
to figure out how to use it sans manual. is just sublime! The first is a blend knob,
Intuitive, you might say. the second is the saturation control for the
distortion. With the blend knob starting at a
The amplifier, despite being able to switch completely counter clockwise position, you
between clean and dirty sounds isn’t a will enjoy the clean sound of the amplifier.
two channel machine as such but it has a By advancing the blend control round, you
foot switchable drive signal path and what will progressively add in more of a distorted
STAR RATING PROS Simple to use • Great sounds • Very flexible in us

Typical Orange build quality • Bass distortion done proper
CONS If you want low end subs, you may need an ext

the world to get his hands on Orange’s latest bass combo.
se •
rly!
tra cab
Round the back of the combo, it’s

again a very simple affair and that’s a
good thing for most.
Orange OB1-300 combo
sound in parallel with the clean signal. This a signal on bass rather than dropping a guitar
means that you will never lose your clean distortion pedal in the path between you and
sound with its low end punch. amp. What’s more, the bass signal is filtered
before it goes through the distortion. This
The drive is layered on top, which is so means, the actual drive characteristic isn’t all
much of a better way of adding distortion to bloated, mushy and incoherent - a problem

with some bass drives that are very unlikely secret weapon. There is no tweeter fitted, but
to make it to my pedal board. the onboard Eminence speaker actually has
a smooth top end to it although I am not
As I mentioned above, the second dial, sure what model is being used in this combo.
allows you to select exactly what sort of drive The second Speakon connector is for adding
you want. It’s really good, from the very extension cabinets and that is absolutely
lowest of settings where you have the lightest brilliant if you have different gigs to play.
grit added to your bass signal to ‘warm’ it up Take the combo to a small show or upsize
a bit, all the way round to a very ‘this one when you are doing a big stage by putting
goes up to 11’ setting. Mr Tuffnell would be the combo on top of another Orange cabinet
proud! It’s guaranteed to raise a big smile and (or whatever you prefer). It makes for a great
great for replicating some of those high gain modular set up I feel!
settings that bass players from our favourite
bands have used. You also have the option So Orange has put its best foot forward for
of using the three band EQ to further sculpt the new year with a really great, aggressive
the sound of the driven bass sound as it is Rock sounding bass amp that is very well
placed after the distortion section in the made, easy to transport and use, is capable of
preamplifier. Jekyll and Hyde bass sounds, switchable at
the flick of a switch from mellow to fat (with
Round the back of the combo, it’s again a a capital PH!). What? You need more than
very simple affair and that’s a good thing for 300 Watts? Well, that’s no problem as the
most. Mainly, you are confronted with not OB1-300 also has a big brother, the OB1-
one, but two Speakon output sockets. One 500. Great stuff, Orange! END >
is taken up by connecting to the internal
15” combo speaker - the other could be your
Orange OB1-300 bass combo

MSRP Specifications to follow - see
www.orangeamps.com
TECH SPEC
OB1-300 £479 US $799

OB1-500 £589 US 899
Nemphasis O2 Pro series Oxygen Ba

So new they hadn’t even been announced when we received our review samples, Italian M
Is Dan Veall tempted?
‘A
t the time of reviewing, these two middle and treble. On the smaller of the two
pedals are so new they haven’t even boxes, here in a rather fetching blue, there
made it to the Nemphasis website is an included toggle switch, which either
yet. In fact - and I am feeling rather lucky boosts or scoops preset mid frequencies. I’m
right now, thank you Nemphasis - I am the afraid I don’t have the exact frequency centres
only reviewer in the world to have had my to share, but in the video, I demonstrate the
paws on these two delightful boxes of joy - function working on the Pro Series pedal,
way ahead of their expected release date. To which has a dedicated foot switch instead
which all I can say is that it’s a great shame of a mini toggle. I think this is a big win
for everyone bar me! for me, as the voicing of the two settings is
absolutely superb! For live use it’s so handy
So it’s into the Guitar Interactive studios to be able to switch to a solo sound or a
and down to our dungeon of low end, ‘present’ tone that will cut through the mix
with these two superb pedals - both from for a melody part, then flick back at the press
Nemphasis, Italian boutique creators of of a button.
guitar and bass guitar effects pedals. The Pro
Series O2 Oxygen Bass pre-amplifier and Speaking of the smaller Oxygen pre-
in a downsized shell, the O2 Oxygen Pr- amplifier, it’s the only one of the pair that
amplifier. can take a 9v battery as well as running from
an external power adaptor. The larger Pro
Both are practically the same in terms of Series pre-amplifier pedal however features
control set, which is, arranged neatly across an XLR D.I output on the top edge of the
the front fascia: input gain, output volume casing next to the external power jack. A
and a three band active EQ providing cut ground/lift switch sits above the level control
and boost to centre frequencies for bass, for the D.I also. I envisage that this pedal
STAR RATING PROS Very easy to use • Fabulous clean ‘channel strip’
CONS Others offer more functions

EACH PRODUCT

ass Preamp and O2 Oxygen Preamp
MI audio specialist Nemphasis has two new bass pre-amps.
’ sound
Nemphasis O2 Pro series Oxygen Bass Preamp and O2 Oxygen Preamp
would be very useful in the kit bag as a I like the layout and clean graphics, though
standalone D.I as well as a super sounding be careful with the Pro Series version if you
active EQ. The smaller O2 Oxygen Bass have big ole feet like mine and a penchant
Preamp has a boost switch under the lid for for boots. You’ll need to make sure you don’t
extra bass should you need it. knock the controls with an overzealous leap
on one of the buttons.
OK so sounds - what do we make of these?
I plugged my bass directly in and we ran the Did I need these pedals though? Well, one
output straight to DI on my TC Electronic thing is for sure - my bass has a three band
BH800 amplifier set completely flat. I EQ, my amplifier has a four band EQ - the
had foldback through some quality stage recording kit we have at GI Towers has
monitors too. I have to say, as you will access to infinite shaping parameters but
note in the video - that the sound from the still, even in writing this review, I am curious
preamp even with the dials at noon was to find out what those ‘sweet frequency
sublime in the room. Certainly there was a centres’ were. There was just something
smile inside when I pushed the mode switch really inviting about the tone and clarity of
too. Not honky, not muffled, just a nice rise this pedals. For those using kit with limited
in instrument character, without too much equalisation, for example, a passive Precision
low boost. bass running direct to PA (not many of

those around - Ho Ho! - Ed) I expect the Oxygen Bass pre-amp will be a very welcome
inclusion! I also see this being particularly useful with those who want to run a simple set
up or have a great tone going direct to in-ears without going near the back line (particularly
I have to say, as you will note in

the video - that the sound from the
preamp even with the dials at noon
was sublime in the room
useful on gear share gigs!). I believe this pedal So are they fit for your ‘must have’ list?
would be invaluable in those circumstances. Well both Nemphasis Oxygen pre-amplifier
Similarly, being able to drop one of these pedals, specifically the Pro Series for me, are
in a gig bag and fly just with that when you fantastic at what they set out to do. No, they
can rent a power amp/cab, or simply DI the may not have all the features of other ‘D.I /
bass from the Nemphasis, would make one a pre-amp’ devices also on the market, but at
must have for travelling musicians. the same time, it’s nice to have the option of
buying a pre-amplifier with what you need
Rounding up, as you can see from the on. Simple, clean and great sounding. You
specification attached to the review, might need to decide which one of these
Nemphasis has sourced the very best quality two you would rather have, and that choice
parts for these pedals and I have to say will be made depending on the work you
everything is very neat indeed under the do rather than the sound quality, which is
covers. We also didn’t detect a single buzz identical, but that’s no hardship and, also
or hiss from out monitoring system either excellent news, both come at very attractive
and all controls operated smoothly over their prices! Great stuff, Nemphasis! END >
range.
Nemphasis Low impedance balanced output

D.I. with ground switch.
O2 Pro series Full analogue.
Oxygen Bass Scrupulously researched and
Preamp and O2 selected electronic components
Oxygen Preamp (TAD, Wima, Switchcraft,
Lumberg…).
MSRP
Die cast aluminium housing for the
Pro Series O2 Oxygen £189 US best EMI-RFI shielding.
$TBC
Five controls allow adjustment of
O2 Oxygen £149 US $TBC gain, tone (bass, mid and treble)
Made in: Italy and volume.
TECH SPEC
Provisional Specifications: No click /pop at effect activation.

True bypass. Power supply 9 volts DC external
Two different sound modes power supply unit – not provided.
selectable by footswitch. (2.1 mm-plug with negative tip).

ESP
Ampeg PF-50T Head

Probably the longest established name in bass amplification takes a thoughtful look over i
ingly new. Dan Veall reports.
‘R
ecently, I was browsing one market’, but my search continues…But has
of the bass community’s most Ampeg come to the rescue?
active forums and it occurred to
me that there’s a lot of discussion about the New to the PortaFlex range are two all-
current market for downsizing solid state valve amplifiers and a new cabinet featuring
amplifiers to super high power lunchbox a single 12” speaker. We’ve just had the
sized packages. I’m all for it and I have a few more powerful of the two amplifiers in for
real favourites in the department. But that review. The little brother of the PF-50T is
said, I also do enjoy a great sounding valve a 20 Watt model while our version, as the
amplifier too - indeed I have one myself name suggests, is a 50 Watter. But before
and have owned some truly colossal beasts you shudder at figures like 20 and 50, don’t
in my time, but they do have one inherent assume such low figures in comparison to
handicap for us musicians on the go. In the the truly mind boggling 800W D Class units
case of my current ’68 beauty, even without on the market today are going to be ‘home
its classic birch ply cabinet securing the practice only’ amplifiers. The 50T we had
contents, it’s still a big ‘un despite being at on review appears to be pretty capable in the
least manageable in weight. Many are not studio, as well.
too friendly in that department either! The front panel will be familiar for anyone
What if we could squeeze all that valve who has used Ampeg amplification in the
goodness in to a smaller box and still have past and simplicity is the way forward for a
enough volume to keep up with a drummer? true plug-and-play approach.
So far my investigations suggest that 100 Two inputs comprise guitar connectivity, one
Watts all tube still has to be of a physical of which is attenuated to keep instruments
size that puts it outside of the ‘lightweight with a high output under control - though
STAR RATING PROS Classic Ampeg style • All-valve character • Cleve

• Valve grind without ear defenders
CONS Love it or hate it looks

its shoulder at past successes - and comes up with something interest-
using the non-attenuated input will allow you to quickly overdrive the pre-amplifier, if that’s what
you want. You’ll notice in the video that my input gain was set very low as I wanted to ‘ride’ that
point of clipping for a nice fat sound.
The PF-50T features an input gain control on the left hand side and it is followed by the classic
‘ultra hi’ and ‘ultra lo’ buttons which, even before utilising the other tone controls, give way to
er recording facilities
When it comes to taking your

amplifier signal out to external
devices, such as PA or recording kit,
Ampeg has provided another very
useful inclusion.
Ampeg PF-50T Valve amplifier
wide tone shaping and should definitely frequencies for you to use to sculpt your
be experimented with. If however that isn’t sound. Finishing up, you have a treble
enough then it’s off to the three band EQ control and a master volume.
which features Ampeg’s famous five way
midrange selector, which is like a fixed We were able to do some really cool
semi-parametric EQ that provides preset impressions of Motown bass lines using the
Precision pickup on my Fender bass but

winding the gain up, we could also make the main power and standby power switches.
sound edgy and more aggressive. That makes I briefly explain why there are two in the
this Ampeg a lot more that a one trick pony, video. Next to that, a standard power input
but it does have its own distinctive sound, socket.
especially when used in conjunction with a
PortaFlex cabinet. It’s not exactly ‘hi-fi’ in Ampeg has also very kindly saved us the cost
that modern bass amp style, which means of taking our valve amplifiers to a tech every
you might either love it or hate it, depending time we install new power amplifier valves,
on your taste. From our perspective, we at thanks to the inclusion of a biasing device.
GI Towers we are all for products having Refer to the manual to see how this handy
strong characters, so we think it’s a definite utility works!
plus! When it comes to taking your amplifier
Round the back of the PortaFlex valve head signal out to external devices, such as PA or
it is, for the slightly geeky types, (yes, that recording kit, Ampeg has provided another
would be me) actually rather cool! As with very useful inclusion. Not only do you get
any valve amplifier, you are greeted with the usual DI output that would be normal
on pretty much any modern bass amplifier on show, it still only weighs in at around
- they go one step further. Not only do you 8Kg (about 9lbs), which I think is acceptable
have access to your bass signal coming out considering what is required to make a valve
of the pre-amplifier section of this head, amplifier deliver a great sound: transformers
according to Ampeg’s Dino Monoxelos, for output and power, the valves themselves
another XLR socket taps the signal at the etc.
output transformer instead to send off
to your project studio. This means you Whether or not the outline is pleasing to
get to record the tone through the power the eye, I guess that’s a personal thing as I
amplifier valve section too! Furthermore, and suspect some may like to have everything
somewhat unusual for a full valve amplifier, enclosed in a conventional casing. However,
you can use this head without a cabinet if you are planning on leaving the Ampeg
connected! Run the rich valve tones direct PF on a shelf in your home studio, whip
into your digital recording system and you the metal cage off to show off those glorious
can record in silence! Happy neighbours! valves gently glowing! It’d be the right thing
Off the top of my head as I write this, I to do, especially if you have Hi-Fi audiophile
was thinking it’d be great to run the output tendencies!!
transformer DI straight in to a DAW, then This is a well thought-out product from the
use a classic Ampeg cabinet I.R* to recreate Ampeg team who are to be congratulated for
the rest of the signal chain. Yeah, I really like making something that has a real character
the idea of that. to its sound, offers genuinely useful, and in
*Further reading - Cabinet Impulse some cases unique, features and doing a job
Responses (groan - Ed). that not many other bass amps can do. END >
Rounding up, well this is a super little head

and despite the ‘heavy metal’ components

Ampeg PF-50T Head
MSRP £699 US $1,259.99
Made in: China Pre/Post EQ
RMS power output:50W @ 4 or 8 Ground lift

ohms
Transformer balanced line out
Preamp: All-tube [2] x 12AX7
Ground lift
Power amp: All-tube [1] x 12AU7, [2]
x 6L6 User adjustable bias control
0db and -15db inputs Dimensions (H x W x D inches):
Tone controls: Bass, Mid, Treble 7.3 x 13.9 x 10.4 in
Mid-tone control: 5-position 185 x 353 x 264 mm

TECH SPEC
Ultra Hi/Lo boosts Weight: 19.4 lb / 8.8 kg
Input gain control
Preamp balanced line out
COLUM YOUR FREE GUITAR UNIVER

MNS
RSITY
COLUMNS_TOM QUAYLE
C O L U M N
Tom Quayle
TABLATURE DOWNLOADS
BACKING TRACK 1
GUITAR PRO 6 PDF
DOWNLOAD DOWNLOAD
T H E

Creating Interesting Chord
Progressions Part 1
‘H
i guys and welcome to my I - Cmaj7, II - Dm7, III - Em7, IV - Fmaj7,
column for Issue 39. For this V - G7, VI - Am7 and VII - Bm7b5
issue we’re going to be starting a
new series based both in the improvisation A really common change that we can make
and compositional disciplines, where we’ll to this series of diatonic chords is to take the
be looking at techniques for developing IV chord – F or Fmaj7 – and ‘minorise’ it,
interesting chord progressions and how to creating an Fm or Fm7 sound. If you take
play over them. These chord progressions the progression C to F or I to IV in the key
will apply to all manner of genres and will and instead play C to Fm or I to IV minor
gradually get more and more involved as we you’ll recognise the sound immediately as
move through the next few issues. something you’ve heard many times before
in Rock, Pop, Blues or any other genre of
For the first lesson in this new series we are music. This is so common that it’s become
going to be dealing with a simple two chord something of a cliché.
progression that, at first glance, appears to
be constructed from two unrelated chords, In order to make this progression sound
A iminor and F minor - on closer inspection fresher, let’s substitute the I chord – C – for
we can explain a cool association between the VI chord in the key – Am. What you’ll
these chords that can be utilised to create all notice immediately is that this progression,
sorts of great sounding progressions. Am to Fm, sounds far more like the kind
of thing you’d hear in a Radiohead or Pink
We’ve looked at some of the ideas I’ll be Floyd track, giving you a definite progressive
presenting in this lesson before, but here Rock feel with a far darker mood than C to
we’ll be focussing our attention on some Fm. I’ve included a backing track for this
very basic concepts that you’ll have heard lesson that builds on this type of sound with
a thousand times before but may not have a very Pink Floyd-esque arrangement for you
been aware of on a deeper level. The basic to jam over. You can now use this Fm chord
idea at play in this Am to Fm progression within any of your chord progressions in the
can be explained better by looking at things key of C to add some interest to otherwise
from a major scale perspective for a moment. boring diatonic progressions.
In the key of C major the diatonic triads are:
- The only issue you have now is how to
approach playing over this progression, since
I - C, II - Dm, III - Em, IV - F, V - G, VI - the two chords are not diatonic to the same
Am and VII - Bdim scale. The simplest approach you can take is
to use a minor pentatonic built from the root
Represented as 7th chords we get: - note of each chord and switch as the chord
COLUMNS_TOM QUAYLE
changes – giving you Am pentatonic and Fm If you’re wondering why A Dorian works
pentatonic. This will yield nice bluesy and here, rather than A Aeolian which is diatonic
melodic results but we can be much more to our original C major key, it’s simply
creative and use some more interesting scales because the natural 6th of the Dorian scale
for alternative melodic choices. Try using an sounds so much better than the b6 of the
A Dorian scale over the Am chord and an Aeolian scale when we see Am as the ‘Home’
F Melodic Minor scale over the Fm. You’ll chord in the progression. Try playing the b6
find the F melodic minor scale written out (the note F) for yourself over the Am chord
in a couple of positions in the accompanying and you’ll hear straight away how bad it
tablature. Providing you can visualise both of sounds compared to the natural 6 (F#) as a
these scales quickly enough to find them over melodic note.
each chord, you’ll find that these choices give
you much more interesting melodic choices Enjoy the track and have fun improvising
and you can switch between this more over it and try composing your own tunes
‘detailed’ sound and the more bluesy sound using this progression in some different keys.
of the minor pentatonic as you desire. See you next time! END >
Creating Interesting Chord Progressions Part 1

Laney
COLUMNS_MICHAEL CASSWELL
MICHAEL CASSWELL
©All imagery Louise I

PRO CONCEPTS 39
Thumb Action
‘H
i everyone. Unfortunately big stretch, then you do need to bring
this Pro Concepts will be of the thumb down in a more orthodox
no use to those of you with fashion. But for the examples I take
tiny hands, or more specifically tiny you through, grabbing the bottom
thumbs, because we are exploring the string with the thumb is the only way
fact that you can utilise your thumb to create them.
to extend your chord voicings by
placing it over the neck and on to that First we look at the simple barre chord
bottom E string. I certainly don’t have and how it can be revoiced with the
freakishly giant hands and hopefully thumb by omitting the 5th. With the
there will be a lot of you out there with extra finger or fingers you have at the
average size hands that can actually get top of the chord, it becomes easier to
something out of this. create movement with raised 5’s, add
9’s, 13’s, 6’s,7’s and sus2’s. We look at a
The first player I saw to use this little F to Am vamp that has movement
technique was Hendrix, who did have within each chord. We also look at a
big hands, so it was probably a very key of G Jazz type sequence, where you
natural and obvious thing for him to can see how the thumb again leaves
do. You could certainly hear his more fingers free to create movement at the
interesting approach to chord voicings, top of the chord. AND YES I KNOW
and much of that sound was due to I described one the chord movements
how he would grab the low string with incorrectly! The D part of the sequence
his thumb, which would free up an should be named as C over a D bass
extra finger or two to play the triads (C/d) moving to a D7b9 NOT a b5.
and diads at the top of the chord. I had been filming reviews all day and
Subsequently most of my favourite my brain needed a cup of hot tea to
players seem to employ the thumb to become sharp again! I do apologize
create nicer and more musical chord but hopefully you can see and hear the
voicings when needed. It goes without movement.
saying that for anything that involves a
COLUMNS_MICHAEL CASSWELL

Lastly we take a look a little blues type shuffle EMGs and a Floyd Rose, and it sounds great,
where the thumb is essential. Take a look at then who needs a 63 ‘Strat? (been there done
some footage of how SRV was voicing some that)!
those Texas shuffles he played so well. He got
a lot of that feel from the thumb being used OK, I admit it, there will be a lot of you out
to the full. there that simply don’t have the equipment
to pull this off. No amount of practice can
Purists may be appalled that I’m encouraging compensate for tiny hands or tiny thumbs.
you to get the thumb over the neck. The But I am certain you guys make up for it in
same purists simply wouldn’t be able to play other ways, such as naming a D7b9 chord
what we go through here, so they can go and correctly at the end of the day or having
be pure somewhere else! So should we think superb tone and vibrato, big personalities,
of it as bad technique? I don’t think so. Like fine clothes and cool cars. If none of those
anything on the guitar, if it sounds cool, things apply either, then at least you can
then chances are, it is cool. There is no right channel it all into a good blues composition...
and wrong in today’s world of contemporary but obviously, you won’t be able to use your
playing. If you want to play Blues with thu..........oh! END >
Thumb Action
COLUMNS_SAM BELL
IM PR OV I S
R OC K with S
Stuck for ideas when it’s your turn to solo? Sam Bell, one of
the UK’s fastest-rising guitar stars, begins a brand new series
showing you how to improvise Rock solos - with as little
jargon and theory as possible!
out licks. I don’t wish to over complicate

Part Five: it, it’s really quite easy when you know
how, so hopefully by the end of this issues
‘H
ello fellow Rock guitarists! video lesson column you will be able to
Welcome to the 5th part in my jam along to all your favorite ‘80s hits and
Rock Improvisation series. So much more!
far we have been looking into the wonders
of the Minor Pentatonic Scale, basic Changing Keys with Minor
phrasing devices, ways of moving around Pentatonic:
the guitar neck in a key and we also took
a look at some basic tapping using the Shock horror, not all songs are in the key
minor pentatonic scale last issue. In this of E minor, although life would be a lot
issue I want break down the vast subject easier if they were, but then we wouldn’t
of jamming in different keys and figuring have the huge variety of amazing music

SATION
Sam Bell
TABLATURE DOWNLOADS
GUITAR PRO 6 PDF
DOWNLOAD DOWNLOAD
COLUMNS_SAM BELL
around today if it was all in one key. When in any selected key. It’s best to start simple
jamming along to recordings or playing and really get used to the basic information
in a band, it’s important to know how to before moving on, but here is a clue to help
‘transpose’ or ‘move’ your Pentatonic scale you on your next step of the journey.
into different keys. There are a few ‘keys’
to doing this. First of all, let’s take our 1st Imagine there is a root note available in
pattern of the E minor pentatonic scale. The each of the minor pentatonic shapes and
lowest note in this pattern if we are playing you learnt the notes on the other strings,
it up at the 12th fret is the 12th fret low E you would be able to visualize your minor
string, this note should be the note E (if we pentatonic scale starting in different areas.
are correctly in tune!) now changing key is as As you can imagine this is a bit more of
simple as moving the pattern up and down. a task than what we have set out to do
in this column, but it should be enough
When jamming to recordings we can use our information to get you curious to find out,
ear to move the pentatonic scale shape up but if you can’t be bothered then the above
and down until we find the right sounding methods of finding a key/changing key
place, this is a valid way of getting into a should be enough for any pub band gig/jam
jam, however it’s also useful to know exactly or just messing around at home jamming
what key you have changed to. So with this along to records.
in mind, it can be healthy to learn the notes
on the low E string at least. If we play an Vocabulary and Licks:
open low E string, we have the note E, this
is why the low E string is called the low E The 2nd most important thing you can do
string. If we place our finger at the first fret to help your jamming and improvisation
of the low E string we get an F, 2nd fret gives is learn a vocabulary of licks. When
us an F# etc., take a look at the diagram improvising, it’s good to have licks and
below to see how the notes on the low E phrases that are familiar for you to improvise
string lay out. around and create solos. They shape how
you sound, the more you learn the more
Theoretically now we can take our pentatonic versatile you can sound, however licks aren’t
box and move it down so the root note is on the be all and end all you still need to be able
the 5th fret low E string, this would mean to manipulate the licks and information by
we are now playing Am Pentatonic. We using your ears and experience of how the
can then re-map the neck with our other guitar works. There are several ways of doing
pentatonic box patterns in the key of Am this, the most common way people seem to
by adding them on top of this box initially. do it these days is learn licks from tab books,
There is slightly more to this basic method, lesson videos and DVDs, which is fantastic!
but this should get you started with changing However, I would highly encourage you to
keys and being able to play around the neck figure out some licks using your ears and

knowledge of the fretboard. The steps to 4- Listen to the chosen lick a lot! Get used to
learning a lick should go something like this the timing, what note it starts and ends on,
if you are trying it for the first time: you need to be able to almost sing it in your
head before you can expect to find it on the
1- Find a lick that you like the sound of and guitar.
think you could technically play if you knew 5- Once it’s really in your head, you should
how to physically play it. be able to sit with your guitar and figure it
out note by note, keep going until you get it!
2- Print some tab paper, you can find this on
the Internet in loads of places. This is helpful 6- Don’t get frustrated if you don’t get it
for keeping a record of what you have figured 100%, the process of learning a lick is good
out. for you, you will still learn something, unless
3- Before even figuring out the lick, try you are learning a solo for a cover version
and find the key of the song and relevant of a song, getting a gist for the lick is good
pentatonic pattern that fits to your ear. Trial enough for you to turn it into your own idea
and error is the key here. that is definitely yours!
Rock Improvisations Part 5
COLUMNS_SAM BELL

7- If you do get it or don’t quite get it, take what you have learnt and
apply it to your own improvisations, change key with the idea, try it in a
different place within the pentatonic scale.
Taking this method you should be able to figure out basic versions of licks
that you like the sound of, try and do it with ideas in your head as well.
Try humming a melody and seeing if you can just find it on the guitar
using some of these steps. I love lick books/dvds/lessons, however using
your ear is KEY in really learning the guitar. You need to be able to hear
things and figure out where they are on the guitar. The guitar is like a
typewriter, you put the information into it you want to hear, the art of
learning guitar is finding out how to do that and get better at it!
Summary:
So hopefully in this column we have some food for thought, some new
keys to new areas to our playing and improvisation! Hopefully there is
enough info in this column for you to start exploring out of the key of E
minor, and hopefully some inspiration for you to find licks that you like
and create your own licks that sound like you! Happy shredding and I shall
see you next time! END >
COLUMNS_SAM BELL
COLUMNS_LEWIS TURNER
B
Guitar Interactive reviewer and top session pl
Stuck in a rut? Want to get back into playing after
TABLATURE DOWNLOADS
GUITAR PRO 6 PDF
DOWNLOAD DOWNLOAD

WITH LEWIS TUR N E R
BACK TO
BASICS
layer, Lewis Turner takes us Back To Basics in his new column.
r a break? Lost in theory? Lewis helps you find the music again.
BACK TO BASICS WITH LEWIS TURNER

#15, DEVELOPING TECHNICAL ABILITY
- ALTERNATE PICKING PART 2
‘I
n the last issue’s lesson we looked at 2.) Practise in short bursts, don’t spend 3
dipping our toe into the world of hours just on alternate picking, you
technique and how to develop one’s could be working on a variety of things
technical ability on the instrument. It was all in that time.
done with a firm grounding of making things
musical and not just trying to be “the fastest”. 3.) The listener doesn’t care what
Let’s re-cap on some key points; technique you are using, they just
want to hear good music.
1.) The Exercises are purely mechanical
motions that need to be practised 4.) Apply a newly learnt technique in a
to increase muscle memory, they musical way.
shouldn’t form part of your musical 5.) Do practice to a metronome but don’t
repertoire. become a “slave” to it.
COLUMNS_SAM BELL
COLUMNS_LEWIS TURNER
We started looking at alternate picking including starting a phrase with an Up pick,

(consistent down, up picks) which I believe with any note grouping, then eventually
is the very backbone to good technique. Last you can forget all about your picking hand
issue we had single string lines and were and it will find the easiest route all by itself.
just focusing on getting the picking hand Practising technique and then forgetting
comfortable with that motion, through a about it really is the key, so you can just
variety of rhythmic subdivisions. This lesson concentrate on the music (much like scale
we are continuing with alternate picking but knowledge), but we have to put the laborious
across strings, which presents some problems time in for this to eventually be the outcome.
with this technique. As always be sure to
check out the video to see and hear the I personally never found this kind of practice
exercises and a more in-depth description of boring, once I had the exercise down I found
the technique used for each exercise. it quite hypnotic to play them and push
myself against the metronome. I think this
Alternate picking on one string is relatively is because I’m naturally quite a competitive
straightforward. We started looking at 3 note person and so using the metronome gave
phrases, but if we take a 3 note phrase across me something to gauge myself against and
two strings then things start to get tricky. try to beat. Looking back now it all seems
For example going from 3 notes on the B a little crazy to me, as music really isn’t a
string – Down, Up, Down, means if we are competition but I certainly get how people
sticking to strict alternate picking we must can get sucked into this and continue to try
cross to the E string with an up pick which to get faster and faster. But to what end?
means jumping over the E string, this is not At what point does it stop being music and
a particularly easy motion, (Techniques like start sounding like a ‘90’s computer game,
Economy picking eliminate this problem, and who really wants to hear that? I think
but that comes at a later date). However, just keeping a level head is the key thing, yes we
because it’s hard doesn’t mean we shouldn’t all want to get better technically and so you
do it! If we can train the right hand to should, but using it musically should always
be comfortable picking in any direction be the very foundation to anything you

practice. Work on the mechanics of alternate picking and then try improvising using only
this technique, same thing with legato etc. As mentioned before you should be able to play
and make music without being concerned about what particular technique you are using as
the listener centrally isn’t.
TABLATURE DOWNLOADS
A break from technique talk next time, when we start to delve into the GAGED system.
Please check out my website www.lewisturnerguitar.com for all things guitar. Good luck and
keep things musical! END >
GUITAR PRO 6 PDF
DOWNLOAD DOWNLOAD
Developing Technical Ability - Alternate Picking Part 2
COLUMNS_ANDY WOOD
TABLATURE DOWNLOADS
GUITAR PRO 6 PDF
DOWNLOAD DOWNLOAD

Country Guitar
with Andy Wood
Guitar Interactive is proud to welcome back Andy Wood with the fourth
instalment of his new column!
Balanced Alternate Picking

continued...
‘I
n continuation of our last column, What we’re focusing on here is technique
we’re going to look at an idea here that allows us to play whatever we want, not
which I alternate pick, and I want you technique that limits us to play what our
to understand why I alternate pick it. technique allows us to play.
The thing with alternate picking is it’s just So when you look at your typical rock
a technique. You use it to play ideas, but shredder, they tend to favour one picking
these same ideas could be hybrid picked, or mechanic over another – some are good
economy picked - as long as the notes are inside picker, others are good outside pickers.
there. As I’ve explained, my background in Some favour 3 note per string picking (Paul
mandolin playing had given me a great deal Gilbert, John Petrucci etc) while others find
of experience going down and up, so I favour it easier to pick 2 notes per string (Zakk
that, but a player like Brent Mason (who is Wylde, Eric Johnson) – and while there’s
one of my all time heroes) actually uses a absolutely nothing wrong with that, in
thumb pick and his middle and ring finger Country music, it wouldn’t be enough as our
to achieve a similar effect - pick middle pick phrases aren’t dictated by notes per string, it’s
ring repeat instead of down up down up. about the actual notes - speed comes later.
COLUMNS_ANDY WOOD

Balanced Alternate Picking
So in this lick we’re outlining an A or an A6 target that same b3 to 3 movement on the D

sound. A6 has the same notes as an F#m7 string before ending on the root. So, notes
though, so you may find it easier to see this per string wise, we have 3, 1, 6, 1, 3, 2, 1.
as being shape 4 of the F# minor pentatonic A nightmare to play fast if you’ve only ever
pattern, but I like to see the little A triad on practised Paul Gilbert licks!
the top 3 strings.
Stick with it though and just keep your
We begin by picking the 5 , #5 (chromatic)
th
technique focused on what you use to
and 6th on the G string before jumping to the execute the ideas you hear, not the other
B string and playing the root, then walking way – we don’t want to be hearing ideas our
chromatically from the 3rd up to the 5th on technique makes easy to play.
the high E. So in terms of notes per string
we’ve had 3, 1 and the 4 so far - so being a You can apply this logic to any line, just
good “pattern picker” will not help you here. keep playing down up down up until you get
where you need to be - I’ll see you next time!
We then play out trust b3 to 3 movement on END >
the high E and come down the arpeggio and
www.guitarinteractivemagazine.com
www.iguitamag.com 246

Guitar Interactive 39 2016 John 5

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Guitar Interactive 39 2016 John 5

Uploaded by

Copyright:

Available Formats

02 Guitar Interactive Magazine Issue 39

Welcome to Guitar Interactive Issue 39

Ad IndexSEYMOUR DUNCAN 2&3

04 Guitar Interactive Magazine Issue 39

Book Review The winners!

06 Guitar Interactive Magazine Issue 39

054 Washburn Parallaxe 088 Radial Tonebone Trimode

060 Maybach Lester ‘58 094 ZeroGlide zero fret nut

066 Laney GH50R head 100 Hamstead Soundworks

Live Sound Making Tracks

The Quiet The Bassment

10 Guitar Interactive Magazine Issue 39

12 Guitar Interactive Magazine Issue 39

John 5 - Interview Part 1

14 Guitar Interactive Magazine Issue 39

John 5 - Tip of the Day - Behind the Nut Love

16 Guitar Interactive Magazine Issue 39

To get John’s sound, you’re going to want a

John 5 Interview Part 2

18 Guitar Interactive Magazine Issue 39

Amp wise he uses a selection of amps,

John 5 - Sugar Foot Rag

20 Guitar Interactive Magazine Issue 39

22 Guitar Interactive Magazine Issue 39

John 5 LIVE “This is my Rifle” Uncut Studio Sessions

24 Guitar Interactive Magazine Issue 39

The Taylor Guitar Book Format: Paperback

26 Guitar Interactive Magazine Issue 39

erken knows his

view was that there

WIN A TAYLOR 210CE ELEC

Every guitarist needs an acoustic guitar and

And as if that wasn’t enough, the winner

With a solid spruce top and rosewood back

One lucky Guitar Interactive reader is going

28 Guitar Interactive Magazine Issue 39

Q2. The Taylor 210ce comes with a

30 Guitar Interactive Magazine Issue 39

In GI 37 we gave away a fabulous Red Witch Zeus sub-octave + fuzz pedal.

So who won our Red Witch Zeus pedal?

And the Lucky winner is:

32 Guitar Interactive Magazine Issue 39

So who won our Sennheiser D1 system?

And the Lucky winner is:

Guitar Pro Lite FREE for Guita

Guitar Pro 6 is perfect for editing

34 Guitar Interactive Magazine Issue 39

Andy Wood - Country Alternate Picking DOWNLOAD DOWNLOAD

Tom Quayle - Creating Interesting

Lewis Turner - Inside Picking DOWNLOAD DOWNLOAD

Giorgio Serci - Study n.26 DOWNLOAD DOWNLOAD

Sam Bell - Learning The Notes DOWNLOAD DOWNLOAD

OTHER LICKLIBRARY MEMBERSHIP OPTIONS GET AN

GET A FREE 14 DAY TRIAL ONLINE NOW +1 FRE

36 Guitar Interactive Magazine Issue 39

ELITE MEMBERSHIP 14 DAY FREE TRIAL ONLINE NOW!

EE DVD per month +2 FREE DVDS per month

LEARN GUITAR ONLINE!

38 Guitar Interactive Magazine Issue 39

Want lessons and FREE DVDs?

For more info and options CLICK HERE

40 Guitar Interactive Magazine Issue 39

LTD EC1000 Koa Natural How do you g

‘T here’s no denying that this