9000 9 1

THE METERS JIMI HENDRIX SLIPKNOT LEWIS CAPALDI

FREE CD CISSY STRUT
* Rockschool version
HEY JOE UNSAINTED
* Video riff
SOMEONE YOU LOVED

11 PAGE
SPECIAL!

ADAM JONES
INTERVIEWED

The
TG LESSON

CHORDS
ISSUE
108 CHORDS
…AND HOW TO USE THEM
ROCK, SOUL, FUNK & MORE
ESSENTIAL CHORDS
RHYTHM TONES

BIL LY D U F F Y ’ S
GRETSCH
WHITE
FALCON
PLUS
ZAKK WYLDE REVIEWED INSIDE!
BEETRONICS SWARM
DYLAN CARLSON SQUIER CLASSIC VIBES
PLAY LIKE JEFF BECK Classic designs… classic value?
 editor’s letter

Welcome…
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ConTribuTors
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reminded me how inspiring new gear can
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be – having effects on call on my trusty
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dreadnought while sitting in front of the
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All contents copyright © 2019 Future Publishing Limited or published under licence. All rights reserved. No
part of this magazine may be reproduced, stored, transmitted or used in any way without the prior written
permission of the publisher.
Future Publishing Limited (company number 2008885) is registered in England and Wales. Registered
office: Registered office: Quay House, The Ambury, Bath, BA1 1UA. All information contained in this
publication is for information only and is, as far as we are aware, correct at the time of going to press.
Future cannot accept any responsibility for errors or inaccuracies in such information. You are advised
to contact manufacturers and retailers directly with regard to the price and other details of products or
services referred to in this publication. Apps and websites mentioned in this publication are not under our
control. We are not responsible for their contents or any changes or updates to them. CHris bird sTuarT williams jonaTHanHorsley
If you submit unsolicited material to us, you automatically grant Future a licence to publish your submission
in whole or in part in all editions of the magazine, including licensed editions worldwide and in any physical Currently seeing chord boxes in his We are in esteemed company this With autumn just around the
or digital format throughout the world. Any material you submit is sent at your risk and, although every sleep after laying out this month’s issue as the former TG and corner, TG contributor Jonathan
care is taken, neither Future nor its employees, agents or subcontractors shall be liable for loss or damage.
mammoth cover feature lesson, Rhythm editor, multi- has turned his attention to finding
We are committed to only using magazine paper which is Chris has professed a wish never to instrumentalist maverick and a comfortable pair of warm cords.
derived from responsibly managed, certified forestry and
chlorine-free manufacture. The paper in this magazine was look at another chord again - well, all-round fantastic guy joins us to Power cords, if you will. Failing in
sourced and produced from sustainable managed forests, until next month at least. You can oversee all things gear-related. this mission, the present editorial
conforming to strict environmental and socioeconomic
standards. The manufacturing paper mill and printer hold full check out Birdman’s chord It’s great to be back with TG,” focus on chords has been some
FSC and PEFC certification and accreditation. proofreading skills on p48. Just don’t says Stu, “and I’ll be hunting down compensation. After all, what is
write in if you spot any mistakes. We the very best gear to test like a warmer or more comforting than a
don’t think he’ll be able to take it. hog on a truffle.” gently strummed Gsus4?

ToTal GuiTar OCTOBER 2019

 #324
Monitor
006 First Look
008 Scene
010 Five Minutes Alone:
James Walbourne
012 On The Up
014 Me & My Guitar:
Johan Söderberg, Amon Amarth
016 Back Track: Modern Americana

How to 090
018 Riff Of The Month:
Slipknot – Unsainted cort
020 Getting Started… Octaves
022 The FX Files… Boss MT-2
062 What The F? Chord Structures tHe Gas station 05
088 Start Me Up
090 Cort G290 FAT
Features 094 Beetronics Swarm

048 024 Rig Tour: Dylan Carlson

030 Tool
096 Laney IRT15H-2
098 TG Test: Squier Classic Vibes

108 chords 042 Billy Duffy and Jack Edwards

048 108 Chords
104 ToneWoodAmp
108 Fix Your Guitar
112 Subscribe
Learn to PLay 114 The Playlist: Zakk Wylde

066 Classic Track: The Jimi Hendrix

Experience – Hey Joe
074 Rock School: The Meters – 042
Cissy Strut
076 Jam Track – Jazz Funk
white
078 The Turnaround – Jeff Beck falcons
tG unPLuGGed
082 News
084 Interview: Chelsea Wolfe
086 Open-Mic Songbook:
Lewis Capaldi –
Someone You Loved
Cover Photo: Olly Curtis

030
tool
 Monitor
people ✪ news ✪ noise

Boss’s new premium

pedals combine classic
features with modern
execution

The New Boss

Photography Olly Curtis

The effects icon evolves with its new 200 Series pedals
ToTal GuiTar OCtOber 2019
 FIRST LOOK
PEOPLE - NEWS - NOISE

THE DETAILS

Sounds 07
The DD-200 packs 12 delay types including
the retro Space Echo (Tape), Binson Echorec
2 (Drum) and the textural Pad Echo

Channels
The EQ-200 has two 10-band EQ
channels, with its graphic display
showing the current EQ curve

T
kh#hļhfwv#shgdo#pdunhw#kdv#qhyhu#ehhq#Ľhufhu#dqg#Ervv/#ghvslwh#lwv#
uhsxwdwlrq#dv#d#fuhdwru#ri#fodvvlf#xqlwv/#lvqġw#vwdqglqj#vwloo1#D#fdvh#lq#srlqw#
lv#wkh#irxu#qhz#prghov#lq#lwv#suhplxp#533#udqjh=#wkh#PG0533#
Prgxodwlrq/#RG0533#K|eulg#Gulyh/#GG0533#Gljlwdo#Ghod|#dqg#HT0533#
Judsklf#Htxdol}hu#+doo#†57<#hdfk,1#Khuh#zh#kdyh#wkh#ghod|#dqg#HT#dqg#Ervv#
lv#gudzlqj#rq#lwv#h{shulhqfh#wr#rļhu#ihdwxuh0sdfnhg#shgdov1#Wkh#GG0533# Total Recall
frqghqvhv#ihdwxuhv#iurp#wkhlu#ľdjvkls#GG0833#lqwr#d#frpsdfw#|hw# The DD-200 also offers a 60-second
srzhuixo#ghod|#sdfndjh1#Judsklf#HT#lv#dq#riw0ryhuorrnhg#zhdsrq#lq#wkh#shgdoerdug#duprxu|/# phrase looper and four onboard
exw#wkh#HT0533#lv#qrqhwkhohvv#d#srwhqw#dgglwlrq#wr#dq|#duvhqdo1#Ohwġv#wdnh#d#forvhu#orrnĩ memories to call up when you need

OCTOBER 2019 TOTAL GUITAR

 MONITOR
PEOPLE - NEWS - NOISE
SCENE
YOUR NEWS IN GUITARS
08
BOOK
PAGE TURNER
J
immy Page’s six decades as a
guitar icon are documented
in a forthcoming signed
olplwhg#hglwlrq#frļhh#wdeoh#
errn1#D#frpsdqlrq#slhfh#wr#
2010’s Jimmy Page By Jimmy Page, Jimmy
Page: The Anthology lv#d#frpsuhkhqvlyh#
wrph#rq#Sdjhġv#zrun#dqgv#lq#Ghfhpehu#
zlwk#suhrughuv#qrz#ehlqj#wdnhq#iru#wkh#
Photos © Jimmy Page Archive 2019
TOTAL GUITAR OCTOBER 2019
Sumptuous
photography of
Jimmy Page
memorabilia and
gear is in evidence
throughout the Led
Zep icon’s new book
5/833 frslhv dydlodeoh1 Lwv 6;7 sdjhv duh
Ľoohg#zlwk#ylqwdjh#skrwrjudskv#dqg#
pdwhuldo#iurp#wkh#]hssholq#ohjhqgġv#
dufklyhv/#dorqjvlgh#klv#rzq#zrugv#rq#klv#
fduhhu1#Txduwhu#erxqg#lq#eodfn#ohdwkhu#zlwk#
jrog#ohdi#eorfnlqj#dqg#jlow#sdjh#hgjlqj/#lw#
frphv#vljqhg#e|#]rvr#klpvhoi1#Wkh#sulfh#
wkrxjk#lv#d#zkroh#orwwd#fdvkplu#dw#†6<81#
More info: genesis-publications.com

gear
rosewood redempTion
ack in issue 314, we had
B cause for optimism
when we reported the
signs that musical
instruments could become exempt
from the import and export
restrictions that have seen rosewood
disappear from much of the new
The change will put
most rosewood
types back on the
menu as a
tonewood for many
guitar brands again
guitar market – especially the more
affordable end. So we’re now
delighted to confirm that the
popular fingerboard tonewood is
coming back – mostly!
Brazilian rosewood will still
require permits to be exported in
any quantity, but at the CITES
conference (Convention on
International Trade in Endangered
Species of Wild Fauna and Flora) in
Geneva on 28 August, although in
terms of value and volume,
rosewoods are the world’s most
illegally trafficked woods, CITES has
acknowledged that musical
instruments are not a substantial
contributor to the trade.
In announcing the change, CITES
Secretary-General Ivonne Higuero
said: “During three years of
thoughtful discussions, CITES
Parties needed to analyse the
different kinds of commercial trade
that had significant impact on the
sustainability of the rosewood
species. In classic CITES style,
Parties demonstrated once again
their shared spirit to find solutions
for the most effective
implementation of the
Convention’s regulations, and as a
result they have agreed to exempt
rosewood musical instruments.”
The changes are due to take
effect in 90 days from the
conference so look out for more
rosewood-featured models
starting to surface again at the
beginning of 2020.
scene
people ✪ news ✪ noise
five of The BesT
Our favourite songs
this month…
1. atta Blues
Emily Wolfe
The Austin Epiphone
335-playing blues artist
hasn’t made waves in the
UK quite yet – but she will
with songs like this.
2. richard iii
Supergrass
The Oxford indie icons’
surprise reunion
performance at
September’s Pilton Party
and vow to “bring joy into a
slightly disturbed world”
for next year’s tour is a
welcome return after nine
years away. 09
3. locomotive
Big Wreck
Ian Thornley takes the
Jimmy Page torch on and
reminds us he’s Canada’s
most underrated guitarist.
4. no leaf Clover
Metallica
The band’s recent return to
San Francisco to play and
record a follow-up to
1999’s orchestra-backed
S&M recording has us
revisiting this cracker.
Photos Steve Jennings /Lestercohen/Getty Images
5. unbroken
The Butterfly Effect
The Australians’ first new
material with original
vocalist Clint Boge in 11
years finds guitarist Kurt
Goedhart picking up where
he left off.
OCTOBER 2019 ToTal GuiTar
 Monitor
people ✪ news ✪ noise
James on stage with The
Pretenders – he’s also one half
of folk rock duo The Rails with
wife Kami Thompson
10
five minutes alone
James Walbourne
The Pretenders and The Rails guitarist on rock ‘n’ roll,
nostalgia, not collecting guitars, and seeing Sinatra
when he was eight
Rock ‘N’ Roll Train
“When I listen to music on shuffle, and then
Mystery Train comes on – it’s so primitive, and
sounds so great, it takes me back. I always
think, ‘Jesus Christ!’ It’s the sensibility of it.”
Quarantine The Past
“I see it with Chrissie [Hynde]. We’ve just
made a record and it is ‘The New One’. She
always thinks about the next thing. She does
“these are the people who you are closest to
in life. those bonds are serious”
ToTal GuiTar OctOber 2019
not look back. She has done a jazz record, with
an orchestra, we’ve just did Hollywood Bowl
with an orchestra. We’ve reached a strange
point, the way [nostalgia] has manifested itself
as heritage acts. It’s just about bands coming
back – it’s a very strange thing.”
People Take Pictures Of Each Other
“That’s something we talk about constantly.
It’s unbelievable. It’s unbearable. Yeah, yeah it
is a funny one. When watching a gig, it’s
horrible. It’s baffling. I see it especially when
we play bigger gigs, like at an arena or
something, and there people just talking on
their phones in the front row. Some people
encourage it, though. Adele would encourage it.
There is a whole generation that has been
encouraged to take pictures, so when they go to
another gig and someone doesn’t like it – like
Jack White – and then they get annoyed by it.”
We Are Family
“It is a unique band that way, where it is an
extended family. I think part of that is from me
growing up in and around music. The Allman
Brothers was a big, crazy, dysfunctional family,
but it was a family, and when I first started
travelling at nine, 10 years old and playing, my
dad was always on the road with me. When you
put as much time as we do into this – especially
the early days when we were on the road 300
days a year – these are the people who you are
closest to in life. Those bonds are serious.”
Are You Experienced?
“I remember that Sinatra played with Johnny
Dankworth and Cleo Laine, and it was at the
Albert Hall. I think I was about eight years old. I
loved New York, New York and all the big songs.
My dad took me to everything, like everyone. We
sat in the cheap seats at the back, and that’s
how we did it. I remember seeing him up there
and singing. The same year my dad took me to
see Stevie Ray [Vaughan] at Hammersmith,
and the glitter-ball was going round to Life
Without You. He was very loud; I remember that,
and seeing some sick on the floor! Stevie Ray
then became a huge influence on me after he
died. It’s funny how it works. I would not be
doing it if it weren’t for those experiences.”
American Honey
“My dad took me to the States when I was eight
years old. We went on a Greyhound Bus all the
way around. We went to New Orleans, to
Memphis, all these amazing places. I was very
lucky. We went to see music. America was
always the place to be, musically. I mean, I am a
true Londoner. I would never move. But,
musically, America is still that place.
Knock On Wood
“I have acquired guitars. I am not a collector. I
play all of them. Chrissie gave me a ’57 Strat
and I play it every night. Constantly. I’ve been
told not to. Well, y’know people, they just said
it was worth too much money, too expensive to
play. They should be played! I can’t really collect
anything. My flat is so fucking small.”
Photo: JJeff Spicer/Getty
The Rails’ new album CancelTheSun is
out now on Thirty Tigers. See
TheRailsOfficial.com for more details
 MONITOR
PEOPLE - NEWS - NOISE

12

AMYL AND THE SNIFFERS

Aussie pub-punks making rounds and roughhousing into a six-string art

B
orn out of
Melbourne’s
vibrant scene,
Australia’s Amyl
Dqg#Wkh#Vqlļhuv#
may be signed to UK indie
titans Rough Trade, but they
carry the lineage of Aussie
pub-rock bands like Cosmic
Psychos and Drunk Mums –
groups that specialise in
rib-rattling rhythm sections
and petrol-powered solos.
“Cosmic Psychos made the
template for Australian
punk,” Amyl’s guitarist Dec
Dec’s style draws from
these players, but you’ll also
hear a fair whack of Fast
Eddie-era Motörhead, Stevie
Ray Vaughan and Richie
Blackmore in his playing.
“They’re all Stratocaster
players,” notes Dec. “I love
Billy Thorpe, Lobby Loyde,
Peter Wells and Malcolm
Young too – all great
Australian guitarists. They
pioneered the Australian rock
’n’ roll sound and pretty much
made the rule book for what
an Australian guitarist should
Amyl’s vocalist Amy Taylor
vwdqgv#dw#derxw#Ľyh#irrw#
nothing but sounds like she
gargles gasoline and is a
perpetual propulsion
machine. Dec is more static,
but seems to channel a huge
amount of energy into his
Strat, which builds and erupts
into brilliant, madcap lead
runs. Take Some Mutts (Can’t
Be Muzzled) – it closes in a
thrilling two-minute James
Williamson-esque solo run,
FOR FANS OF Miss June, IDLES GEAR Late-90s Fender Stratocaster (with
showcasing Dec’s brutalised
blues-y licks in all their glory.
“I often do that thing where
you bend the G string up a
step and bar the B and E,”
comments Dec. “I call it ‘the
rock n roll thing’! You hear
that at the beginning of the
Some Mutts… solo. It’s a great
pivot point in a solo and you
fdq#gr#glļhuhqw#yduldwlrqv#
rhythmically – it’s a bit of a
security blanket but a bit of a
weapon too!”
Photo Jamie Wdziekonski

Martens tells us. “It’s lyrics sound like.” Seymour Duncan Hot Rails bridge pickup), Marshall JCM 800, Boss DD-7
about the Australian working
class and tongue in cheek
humour, combined with
unapologetic bass tones and
“TONGUE IN CHEEK HUMOUR, UNAPOLOGETIC BASS
talented guitar playing.” TONES AND TALENTED GUITAR PLAYING”
TOTAL GUITAR OCTOBER 2019
 on tHE UP
pEopLE ✪ nEws ✪ noIsE

oSo oSo danny beardSley

Dashed confessionals Prog whiz’s surprising pared down solo record
so Oso is the brainchild flickering moments of happiness anny Beardsley has part has been learning how to do

O of Long Island’s Jade

Lilitri. His heart-on-
your-sleeve emo rock
is reminiscent of the era of Jimmy
Eat World and Get Up Kids, when
kids would mosh wearing
backpacks, like sweaty terrapins.
“The guitar is there to get the
song across rather than to be the
song,” Lilitri says. “I’m pretty
conscious of whether the parts I’m
writing support that objective.”
New record Basking In The Glow,
his third, is about capturing those
among the wider gloom, laying
lyrical content on catchy chord
sequences. There’s courage in his
confessions, though blink and
you’ll miss them.
“I just plug my nose, close my
eyes, and jump feet first,” says
Lilitri, when we ask how he
conquers that element of fear. “If
you’re breathing you’re
achieving!”
For Fans oF allGetout,TheGetupkids
GEar strat, Fender Deville
D featured in these pages
before with his
mind-boggling prog
trio The Parallax Method. Now the
Midlands man returns with his
debut solo album Blood From A
Stone, which offers a heavy slice of
southern rock.
“I was hoping to create a country
album,” says Danny. “Eventually
my rock roots took over and ended
up where I am now. The big part I
wanted to explore was interactive
guitar and vocals, so the real hard
both at the same time.”
As such, the record focuses on
Danny’s melodicism, but still finds
ways to veer into showier territory.
“I’ve been driven for a long time
chasing perfection,” he reflects. “I
think that can be become a little 13
unhealthy and I’ve learned to
continue to push myself without
applying too much pressure.”
For Fans oF BlackstoneCherry
GEar prssinglecuts,Bareknuckle
pickups,orangerockerverbMkIII

TheParanoydS lauranhibberd hammerhandS

wHo: LA guitarist Lexi Funston
sounDs LIkE: Where surf pop and cynicism
combine. Canning both the sunshine and sickness
of present day ‘merica.
GEar: 2007 Fender Deluxe Roadhouse MIM Strat,
Vintage MusicMan 112 RD 50
wHo: Isle of Wight-based songwriter
sounDs LIkE: A Weezer-y take on slacker pop
that trades the D&D references for smart,
conversational reflections
GEar: 1973 Fender Mustang, TP Customs
’Skeezer’, Fender Blues Junior
wHo: Canadians Collin Young and NJ Borreta
sounDs LIkE: The sludge monster from FernGully
forms an inexplicably brilliant doom band.
Envelops planet.
GEar: Collin - Hagstrom Viking Baritone. NJ -
Fender Jaguar Baritone Special HH

For Fans oF pinky pinky, audacity For Fans oF Indoor pets, Zuzu For Fans oF Daughters, swans
HEar Carnage Bargain HEar Frankie’s Girlfriend HEar Dad sludge

october 2019 ToTal GuiTar

 MONITOR
PEOPLE - NEWS - NOISE

“This is my main guitar that I use most

1 of the time when we play live. It’s an
ESP Standard but they call it E-II. I used
to play Gibson for a long time but then we
toured with Children Of Bodom once and
they had ESP guitars. I tried them and I
thought the neck felt a lot nicer. That’s the
main thing about guitars for me, it’s how
it feels to hold. It’s well-balanced. You can
get a decent sound from pretty much any
guitar but the important thing for me is how
it feels to hold and play.”

1
Interview Rob Laing Photography: Olly Curtis

ME AND MY GUITAR
JOHAN SÖDERBERG
AMON AMARTH
The Swedish metallers’ “James Hetfield was

rhythm berserker gave 2 one of my favourite

guitar players when I
started, and he used this
14 his ESP E-II EX the kind of shape. It’s also
about the balance. When

personal touch you let the guitar go [on

the strap] it doesn’t go
anywhere. It hangs in
the same position all of
the time.”
“I made the
3 scratchplate myself.
It was pretty complicated!
2
The reason I came up with
the idea is because of the
neck pickup. I took that out
and wondered what am I
going to do with the cavity
there. I came up with the
idea to put a light in there
3 “I popped out the neck pickup
instead. I have a separate
9-volt battery back here
and instead of the pickup
4 because I never use that when
we play live. In the studio I have other
switch it’s a light switch. I guitars that I use sometimes when
have another guitar that’s I need a neck pickup for some clean
the same model that I use sounds, but when we play live I only
in the set and I pretty much 4 use this [bridge] pickup so I don’t
did the same thing to that.” really need anything else. It’s an EMG
57. I’ve put that in some of my other
guitars too. This guitar came with an
EMG 81 but I swapped it out – the 57
has a slightly more rounded sound I
guess. I think it works for everything.”

Amon Amarth play Birmingham,

Manchester and London in November.
More info: amonamarth.com

TOTAL GUITAR OCTOBER 2019

 Monitor
people ✪ news ✪ noise

Former Drive-By Truckers

six-stringer and Grammy-
winning solo performer
Jason isbell shows the
power of modern Americana

Back track
16

A GuitArist’s Guide to the Artists You Need to KNow

Modern aMericana
Originating with the folk and
country rock of the late 1960s,
Americana saw a resurgence with
the arrival of alternative country
groups like Uncle Tupelo in the 90s, start with
and bands have been blurring the
line between North American roots
drive-By Truckers
music and conventional rock ever Southern rock opera (2001)

1
since. For guitarists, it means Long considered to be the band’s definitive statement, Southern Rock Opera is
Words Stephen Kelly Photo Joby Sessions

adopting techniques pioneered by
musicians working in traditions
stretching from the Appalachian
backwoods to Bakersfield honky-
tonks, from bluegrass and gospel to
country and folk.
an ambitious concept album that reflects on the complex nature of Southern
identity (especially around race and poverty) through a fictionalised retelling
of the rise and demise of Lynyrd Skynyrd. The band convincingly integrated
Skynyrd’s three-pronged guitar attack into their hard-edged alternative rock
sound to create their own countrified, stadium-conquering riffs on songs like
Ronnie And Neil, Zip City and Dead, Drunk And Naked. Despite the hooks and
Patterson Hood’s whiskey-warmed vocals, there’s a bittersweet, thoughtful tone
throughout, culminating in Birmingham’s reflections on the Civil Rights struggle
in Alabama, and the moving, eulogising ballad, Angels And Fuselage.

ToTal GuiTar october 2019


then try
Gillian welch
the harrow &
the harveSt (2011)
2 3
A long-awaited return to form after
2003’s so-so Soul Journey, The Harrow &
The Harvest finds Welch and her musical
partner David Rawlings revisiting the lean
instrumentation of their earliest outings.
Rawlings’s hybrid picking sparkles throughout,
particularly when framing Tennessee’s
honey-smooth vocals, while Welch’s rhythm
guitar recalls the warmth of The Carter Family’s
Maybelle Carter on songs like Scarlet Town and
The Way It Goes, the latter combining a bluegrass
sound with modern country hooks and lyrics
befitting the finest trailer psychodrama.
Recommended track The Way It Goes
worth a spin
JusTin
Townes earle
harleM rIver BlueS (2010)
5 7
Justin Townes Earle has followed in his
honky-tonkin’, hell-raisin’ father Steve
Earle’s footsteps, but while Harlem River
Blues is undoubtedly an album born of that
lineage, it also evokes the 1970s sound of Gram
Parsons and the Topanga Canyon crowd.
Notables like Jason Isbell and Calexico’s Paul
Niehaus flesh out Earle’s acoustic work with
electric guitar and pedal steel respectively, as on
the feather-light Learning To Cry and Workin’ For
The MTA; but it’s the Springsteen-esque
Christchurch Woman and Rogers Park that really r
with all the ambition of heartland classics.
Recommended track Christchurch Woman
don’t miss out
sTurGill siMpson
MetaModern SoundS In
country MuSIc (2014)
Drawing comparisons to heavyweights
like Merle Haggard, Sturgill Simpson’s
sound is rooted in 1970s country rock, and
yet his Kentucky brogue conceals psychadelic
philosophical lyricisms; the magnificent Turtles
All The Way Down namechecks Buddha, LSD and
“reptile aliens made of light” in the album’s
opening minutes. Simpson’s bluegrass
strumming is great on the Nashville Skyline-
esque Voices, but it’s lead guitarist Laur Joamets’
mind-bending slide work on Just Let Go and
space rock freak-out It Ain’t All Flowers that seal
the deal. Three chords and the truth, indeed.
Recommended track It Ain’t All Flowers
wild card
our naTive
dauGhTers
SongS of our natIve
daughterS (2019)
6
Rhiannon Giddens of the Carolina
Chocolate Drops created this project to
reaffirm the role of women and people of
colour in North American roots music. It’s a
melting pot; Moon Meets The Sun uses Afro-
Caribbean guitar lines over fretless banjo, while
Blood And Bones combines contemporary blues
with a minstrel tune. The vocals are superb,
particularly Amythyst Kiah’s deep soul holler
on Black Myself, and the multi-part harmonies
on a cover of Bob Marley’s Slave Driver.
Recommended track Blood And Bones
back track
people ✪ news ✪ noise
also recommended
sonGs: ohia
the MagnolIa
electrIc co. (2003)
4
Jason Molina spent half of his career
performing as Songs: Ohia. His folkish
indie rock drew comparisons to Harvest-
era Neil Young, but it’s the thunderous power
chords of Crazy Horse that come to mind on
Farewell Transmission and the Zeppelinised John
Henry Split My Heart. Mellower numbers hold
their own, with touches of classic Nashville in
the keening lap steel accompaniment to Just Be
Simple and the honky-tonk underscoring The
Old Black Hen. “Swing the heaviest hammer you
got,” Molina sings on John Henry, “Hit this one
out of the park.” This album does just that. 17
Recommended track John Henry Split My Heart
live!
Jason isBell &
The 400 uniT
lIve froM alaBaMa (2012)
Never underestimate the
transformative energy a crowd can
impart to familiar songs; Live From
Alabama sees Isbell playing country
barnburners from his solo career and his
time with Drive-By Truckers to a sold-out
venue on his home turf. The usually acoustic
Alabama Pines goes electric, adding just
enough grit to deliver a stadium-sized high,
while a fiery rendition of the Truckers’
Decoration Day and a cover of Like A Hurricane
showcase Isbell’s chops as a lead player.
Recommended track Decoration Day
october 2019 ToTal GuiTar
 HOW TO WHAT YOU WILL LEARN
Drop-B tuned riffing
Palm-muting
One-finger powerchords

Get the tone CHANNEL DISTORTION

5
6
8
9
0
GAIN BASS MID TREBLE REVERB

Active humbuckers are key to

Slipknot’s tone, but in their
absence, raise the gain on your
amp, keep the treble high to ape
their clarity and keep reverb to
zero to maximise definition. You
may need to use a distortion pedal
– Mick and Jim don’t use them, but
they turn their amps up louder than
us! If you have a valve amp with a
heavy metal character, try an
Ibanez Tubescreamer overdrive to
push it farther into its sweet spot.
If your amp is less ‘gainy’, try
Boss’s Metal Zone or, alternatively,

U RO
an MXR Fullbore Metal.

YO E
Bridge humbucker

ON I D
riff of the month
CD
V

SLIPKNOT
Unsainted

D
18 espite drawing comparisons with
the late-90s nu metal scene,
Slipknot would always contest
that label, seeing themselves as a
purer metal act. The lead single
from the band’s 2019 We Are Not Your Kind
album, Unsainted strikes a balance, with an
uplifting, groove-led chorus hinting at ‘nu’, and
wkh ulļ zhġuh orrnlqj dw#khuh#Ğ#wkh#erqh0
crushing metal pre-verse line.
Lq#vrph#uhvshfwv/#wkh#ulļ/#gholyhuhg#e|#erwk#Mlp#
Root and Mick Thompson, is remarkably
simple. It uses a two-note powerchord shape
played on the two bass strings, albeit in
super-low drop B tuning. You only need one
Ľqjhu#wr#sod|#wkh#vkdshv#Ğ#qr#wulfn|#fkrug#
Ľqjhulqjv#khuh$#
Wkh#pdlq#fkdoohqjh#lv#uhsolfdwlqj#wkh#Ľhufh#
tempo of the recording. Getting the timing of
the chord changes and palm-muted notes is
wulfn| dw dq| sdfh Ğ dqg wkdwġv zkhuh zh frph#
lq$ Rxu vorzhg grzq uxq wkurxjk ri wklv vkruw#
ulļ zloo khos |rx slfn lw xs1 Doo wkh lqir |rx qhhg#
is below.
CHEAT SHEET…
Appears at: 1:00-1:19
Tempo: 204 bpm
Key: E Phrygian / E Phrygian dominant
Main techniques: Powerchords / Palm-muting

O O X X X X X X X X X X X X X X X X
These simple shapes should pose no
1 1 problems. You can play them with one
finger, so choose whichever feels most
comfortable for you. We opted to
switch between first and third fingers.
3 3 Finally, remember that you’ll need to
tune to drop B (B F# B E G# C#) to get to
3 3
Photo: Mariano Regidor/Getty

the right pitch.

B F# B E G# C# B F# B E G# C# B F# B E G# C# B F# B E G# C#
B5 C5 D5 D#5

TOTAL GUITAR OCTOBER 2019

 HOW TO

GETTING
STARTED WITH…
OCTAVES
Get to grips with this tricky
technique – as heard in jazz, WHAT YOU WILL LEARN
punk-rock and various other Four different octave shapes
A jazz-style octave melody

styles of music One punk rock-style line

“What exactly are octaves?” “These are tricky. What am I doing wrong?”
BOX CLEVER…
X X X X
Wherever two notes have the same name but \rxġuh#suredeo|#qrw#ghdghqlqj#wkh#lgoh#vwulqjv1#
glļhuhqw slwfkhv/ wkh|ġuh vdlg wr eh vhsdudwhg Wu|#wr#srvlwlrq#|rxu#iuhwwlqj#Ľqjhuv#vr#wkh|#
Our essential 1
e| rfwdyhv1 Iru h{dpsoh/ wkh wrs dqg erwwrp wrxfk#wkh#xqxvhg#vwulqjv#dqg#pxwh#wkhp#rxw1#
vwulqj H qrwhv rq wkh jxlwdu duh wzr rfwdyhv Wkh#Ġvwdqgdugġ#vkdshv#duh#hdvlhu#wr#sod|#wkdq#
octave fretboxes
dsduw> wkh H qrwh rq wkh 5qg iuhw ri wkh irxuwk wkh#Ġdowhuqdwlyhġ#rqhv/#ehfdxvh#wkhuhġv#rqo|#rqh# 1 STANDARD SHAPE:
4
vwulqj lv rqh rfwdyh deryh wkh rshq vl{wk vwulqj vwulqj#ehwzhhq#wkh#iuhwwhg#qrwhv1# THIRD/FOURTH
STRING ROOT
dqg rqh rfwdyh ehorz wkh Ľuvw1 Lwġv dfwxdoo| Use this shape if your root note X X X X
uhdoo| vlpsoh Ğ mxvw sod| wkrvh H qrwhv dqg “I’m starting to get it. Any more tips?” is on the third or fourth string.
|rxġoo khdu wkdw wkh| vruw ri vrxqg wkh vdph1 Shuvhyhuh=#wklv#vnloo#fdq#wdnh#wlph#wr#ghyhors1#
2 STANDARD SHAPE: 1
Ehjlqqhuv#zkr#pd|#kdyh#vshqw#wkhlu#Ľuvw#
FIFTH/SIXTH STRING
20 “That’s simple enough. Anything else I need zhhnv#dqg#prqwkv#ohduqlqj#wr#iuhw#Ġfohdqo|ġ#
ROOT 3
to know?” pd|#Ľqg#vwulqj#pxwlqj#ihhov#d#elw#zurqj0 This shape is the one to use
Wklv lghd dssolhv wr dq| sdlu ri qrwhv zlwk wkh khdghg#Ğ#exw#lwġv#zruwk#jhwwlqj#wr#julsv#zlwk1# if your lowest note is on the
vdph qdph1 Iru h{dpsoh/ wkh wzr G qrwhv lq dq fifth or sixth string.
X X X X
rshq G pdmru fkrug duh vhsdudwhg e| dq rfwdyh> “Okay, I’ll stick with it. Shall we play
3 ALTERNATIVE SHAPE:
dq rshq F fkrug ihdwxuhv wzr F qrwhv dqg wzr H some music?” SIXTH STRING ROOT 1
qrwhv/ hdfk sdlu dq rfwdyh dsduw1 Lwġv d frqfhsw Vxuh$#Wdnh#d#orrn#dw#rxu#Ľuvw#wde#h{dpsoh1#Lwġv# This is a less common shape
|rxġoo h{soruh lq doo vw|ohv ri pxvlf1 d#md}}#olfn#lqvsluhg#e|#wkh#juhdw#Jhrujh#Ehqvrq1# and a bit of a stretch, but still
Qrwlfh#wkdw#erwk#ri#wkh#vwdqgdug#vkdshv#dsshdu# worth knowing.
4
“How can I be creative with octaves?” khuh/ vr |rxġoo ehqhĽw iurp sudfwlvlqj vorzo|
4 ALTERNATIVE SHAPE:
Wkhuh duh orwv ri zd|v wr xvh rfwdyhv lq |rxu ehiruh |rx mdp dorqj zlwk rxu edfnlqj wudfn1 FOURTH/FIFTH STRING X X X X
pxvlf Ğ wkh|ġuh sduwlfxoduo| kdqg| iru idwwhu ROOT
vrxqglqj phorglhv dqg olfnv zkhuh d vlqjoh0 “How shall I tackle the second example?” Another less well-used shape,
qrwh olqh zrxog vrxqg wrr zhhg|1 E| dqg odujh wkh vdph uxohv dsso|/ exw/ dv lwġv but again, worth learning.
1
Doo |rx qhhg wr gr lv ohduq vrph rfwdyh sxqn0urfn/ gldo lq d olwwoh gulyh rq |rxu dps ru TG TIP Try to stub your fingers
vkdshv rq wkh iuhwerdug1 Wdnh d orrn dw wkh glvwruwlrq shgdo1 Qrwlfh wkh Ġ[ġv lq wkh wde up against the idle strings to 3
sdqho rq wkh uljkw/ zkhuh |rxġoo Ľqg wkh prvw zkhuh |rx vwuxp wkh pxwhg vwulqjv1 \rx pd| keep them silent.
lpsruwdqw rqhv1 Ľqg lw hdvlhu qrw wr sod| wkhvh dv |rx sudfwlvh1

1 JAZZ-STYLE MELODY TRACKS 07-08 2 PUNK-ROCK LINE TRACKS 09-10

3
j
q =115 q q =q q q =150
Em Bm Em add9/F # Em D5 A/C # E/G # A5
Play 4 times

.. . Play 4 times.. .. ..
.

T . . T . ¿ ¿ ¿ ¿ .
¿ ¿ .
10 12
. 9 12 11 9
. . 9 11
¿
9
¿ ¿
9
¿ ¿ ¿
7 9 7
B 7 10 9 7 B 7 9 7 7
5

If you’re muting the idle strings just right, you should be able to strum across Hold your fingers steady in the octave shape as you slide between positions.
the octave shape and only hear two notes. Pick with care! The less movement you make, the cleaner your octaves will sound.

TOTAL GUITAR OCTOBER 2019

 HOW TO
THE FX FILES TG’S CLASSIC STOMPBOX GUIDE
LEVEL EQ: MIDDLE/MID FREQ
The output of the pedal is The Middle control can cut or boost
governed by the Level by 15dB, and the Mid Freq changes
control. Like most the frequencies that are affected
distortion pedals, there’s a by the pedal. The Q is constant at all
large dB gain on offer, so points of the sweep of the Mid Freq
the pedal is able to function control, but the effects in the
like a boost with the gain treble range are greater when the
rolled back. control is set to cut, not boost.
Although this control is incredibly
flexible, it’s relatively difficult to sit
EQ: HIGH/LOW and tweak towards the perfect
This dual control is for the tone without understanding how it
high and low of the pedal. interacts with High and Low. That
Both can be boosted or cut said, it is possible to tinker until
by about 20dB, resulting in good sounds come out – just set
quite a large range of the High and Low to 12 o’ clock
possible tones. The Low before experimenting.
control is around 100Hz,
created using a gyrator to
boost or cut a relatively DIST
arrow band around that Q Unlike the BOSS HM-2, which had
point, whereas the High basically only two gain settings,
control is a shelf EQ that ‘off’ and ‘full’, the distortion control
starts around 1kHz. on the MT-2 Metal Zone actually
does reduce the amount of gain on
tap, in a similar way to the ProCo
22 RAT. For most amps, with the level
control set around or above
12 o’ clock, the gain control won’t
need to come above 12 o’ clock.

Loved and hated the world over, for many teenage metal guitarists, the Boss
Metal Zone is the holy grail… or a stunning let-down. So what’s the deal?

T
he Boss Metal
Zone hit the
market in 1991 as a
semi-successor to
the Boss HM-2
Heavy Metal, which was produced
between 1983 and 1991. Like the
HM-2, it’s designed to emulate a
cranked amp stack, with loads of
gain on tap. Unlike the HM-2, it
has a highly tweakable EQ that was
leagues ahead of anything else
when it came out.
So why did it fail to land with
some players? Internally there are
wzr Ľ{hg sduwv ri wkh vljqdo fkdlq
TOTAL GUITAR OCTOBER 2019
that change the EQ character of the second factor at work is that the success since its initial release, and
pedal, but for the most part, its pedal has, like its predecessor, has been in continuous production
failure to impress can perhaps be almost too much gain on tap. Most ever since. For every detractor
put down to two prosaic factors. usable settings for the MT-2 start there is a player like Simon Neil
Wkh Ľuvw ri wkhvh lv vlpso| wkdw d at lower gain settings and then up iurp Elļ| Fo|ur/ zkrġv irxqg d
lot of players don’t know how to the level depending on the amp. great tone with the MT-2 and has
use EQ to get the sound in their Rarely will you see the gain notch just cracked on with it. Even so, it
head – and the powerful, yet above 12 o’ clock. is perhaps a little surprising that
frpsoh{ HT rq wkh Phwdo ]rqh lv Despite being one of the most Boss chose it as one of their pedals
perhaps too complicated for many controversial pedals in the Boss to reissue in an enhanced Waza
players to get to grips with. The line-up, it has been a commercial Fudiw hglwlrq1
THE POWERFUL, YET COMPLEX EQ ON THE METAL ZONE IS
PERHAPS TOO COMPLICATED FOR MANY PLAYERS
 THE FX FILES

# UNDER THE INFLUENCE

BOSS MT-2W BOSS HM-3 AMPTWEAKER

WAZA METAL ZONE
£119
With a second mode that offers a djenty vibe, the
Waza Metal Zone has a drier tone than the original,
and is less prone to oscillation with the gain up. The
question is not whether this is a worthy heir to the
Metal Zone; the question is, as Spinal Tap might
have asked, “How much more metal could this
be?”. And the answer is none. None more metal.
HYPER METAL
£75 APPROX (USED)
When BOSS came to build the new version of the
HM-2, they ended up coming out with quite a
different beast. Although the controls on the front
panel are the same as those on the HM-2, and the
EQ profile sounds similar, that’s where the
similarity ends. To Metal Zone owners, on the other
hand, the voicing of the pedal will sound familiar.
TIGHT METAL JUNIOR
£179
Arguably the best metal pedals currently on the
market, the Tight Metal ST, Pro and its Jr sibling 23
aren’t only indebted to the Metal Zone for
enlarging the metal pedal market and being the
gateway pedal for most players. There’s also the
matter of their nifty colourway. Now, orange on
black, where have we seen that before…?

# CLASSIC TONES
GET THE TONE #1
AT THE GATES
Wkh#HT#dqg#jdlq#qhhghg#rq#wklv#h{dpsoh#zloo#eh#
very amp-dependent, but At the Gates are
known to have got their tone on Slaughter of the
Soul from an HM-2 with the level up and
distortion on minimum into a Metal Zone.
Without the boost in front, it might not work as
well, but you can still get in the ballpark.
GET THE TONE #2
FILTER INDUSTRIAL
For a thick, punchy industrial tone, the Metal
Zone is perfect, so long as you make sure you EQ
it carefully. In the studio, the Metal Zone is
incredibly useful for double-tracking gain parts,
and with two guitars this tone can ascend into
the realms of earth-shattering heaviness. Only
use this power irresponsibly.
GET THE TONE #3
DROP-D HEAVEN
If you’re playing in Drop-D and palm muting,
the complicated EQ settings can help you get a
grip on low-string bloom, and rein in the mud.
Into a high-headroom tube amp, this setting
will push the amp into saturation for
Swervedriver-like tones. Turn up the gain for
thick, grungy sounds in the vein of Silverchair.

Get the tone Get the tone Get the tone

LEVEL HIGH LOW MID DIST LEVEL HIGH LOW MID DIST LEVEL HIGH LOW MID DIST

MID FREQ: 3 o’ clock MID FREQ: 3 o’ clock MID FREQ: 3 o’ clock

OCTOBER 2019 TOTAL GUITAR

24

TOTAL GUITAR OCTOBER 2019


Words Michael Astley-Brown Photography Joby Sessions
1 2
DYLAN
CARLSON
The Earth leader relies upon a wild assortment of
affordable, convention-busting gear
S
eeing sonic
conjurer Dylan
Carlson live is a
meditative
experience. His
show is one man,
a guitar and cyclical waves of gritty
textural playing – there’s no
looping, no vocals, nowhere to
hide. It’s a scenario where every
tonal articulation counts, yet for
the Earth drone-metal pioneer,
gear is always secondary to his
individuality on the instrument –
and, at this stage, practicality. “I
Ľjxuhg#rxw#d#frxsoh#ri#|hduv#djr/#
3 I’ve almost never used.
whatever I play, I’m gonna be me,”
Dylan muses. “And so I started
downsizing and getting smaller
gear, just because I’m getting old
and tired of carrying it!”
It’s an especially honest and
sobering ethos, and one that
eschews the learned rig rituals:
there aren’t many guitarists
vhoi0dvvxuhg#hqrxjk#wr#Ľw#Whoh#
bridge pickups into SGs, or rely on a
ridiculously tiny bass amp for their
guitar tones. With plenty more
revelations in store, let’s dive into
how Dylan produces his
mesmerising soundscapes...
GUITARS
EPIPHONE SG
“It’s in the ‘61 style. I like
1 DiMarzio pickups, so all
my guitars have ’em. I took
out the stock ones, and then
– because I’m really into Teles,
I like a Tele bridge pickup – I
gave it a [DiMarzio] Tone Zone
Tele bridge pickup and a Super
Distortion humbucker in the
neck. I got that one a little
while back, around when we
did the Bees Made Honey [In
The Lion’s Skull] album [2008],
and I was on a big Jerry Garcia
kick, so it has the OBEL (On
rig tour
Erdug Hļhfwv Orrs,/ zklfk
“So, basically, especially if
you’re using wahs or fuzzes
– old pedals that want to see
the full signal – it bypasses the
volume and tone controls and
jrhv#vwudljkw#wr#wkh#hļhfwv#
before coming back into the
jxlwdu#srvw0hļhfw1#Diwhu#wkdw#lw#
goes out through the tone and
volume knobs. I used it a bit
zkhq#L#Ľuvw#glg#lw/#exw#diwhu#d#
while it got to be a pain,
because I had to make the TRS
cables and then stock cables
that I zip-tied together. It has
the Gibson bridge with the
Ľqh0wxqhuv#rq#lw/#zklfk#L#mxvw#
liked better than the standard
tune-o-matic.
“I use the Super Distortion
mainly because Jerry used
wkhp$#^odxjkv`#Dqg#lwġv#ixqq|/#
because even though they’re
called Super Distortions,
compared to modern
high-output pickups, they’re
not that hot; they’re about
medium-output now. I tend 25
to prefer lower-output
pickups to high-output
pickups. Over the years, I’ve
gravitated more towards the
orz0rxwsxw#slfnxsv1#Doo#p|#
guitars have Tele bridge
pickups of some kind, either
the Fast Track, the Chopper or
the Tone Zone. I pretty much
mxvw#xvh#wkh#eulgjh#olyh1#Rqfh#
in a while, there’s a couple
songs where I’ll switch
pickups, like Old Black and Bees
Made Honey/#exw#xvxdoo|#L#mxvw#
keep it in the bridge position.”
EPIPHONE GOTHIC ’58
EXPLORER
“I have the Explorer
2 dropped a step on the top
string for Conquistador. That
rqh/#L#mxvw#wrrn#rxw#wkh#eulgjh#
pickup and put in a Super
Distortion Tele pickup. I’ve
done two myself; that’s the
second one I did, so the
wiring’s a bit wonky. [laughs]
I’m not the master solderer.
But it works!
“I had to get the nut
replaced. We played Temples
Fest in Bristol; it was during
the set, we were playing Bees
OCTOBER 2019 TOTAL GUITAR
 rig tour
26
Made Honey, and I hit the E string
really hard and it snapped the nut,
so I had to get a new nut put on it,
and the crew at the festival were
nice enough to put one on.
“It’s the Goth model! [laughs] I
mean, I thought it was kind of
ixqq|/ ehfdxvh L mxvw#vdz#lw#dqg#lw#
zdv d eodfn H{soruhu1#Dw#Ľuvw#L#zdv#
like, ‘Oh cool, my Matthias Jabs
fantasy’s come true!” But then I
found out later it was the Goth
model, so I was like, ‘Okay, I guess I
can only play Siouxsie and the
Banshees on it!’”
JACK & DANNY DOUBLE-CUT
“I don’t know anything about
3 it! I got it when we were in this
little town in Belgium, and I
honestly can’t remember exactly
what happened. I remember that
something happened to my guitar.
There was a music store a block
away from the venue, and the
promoter knew the guy at the
pxvlf vwruh1 Dqg L#zdv#olnh/#ĠL#qhhg#
a guitar’, and he was like, ‘This is a
TOTAL GUITAR OCTOBER
NOVEMBER2019
2015
Belgian one,’ and I’m like, ‘Okay,
frro1ġ#L#olnh#qdwxudo#zrrghq#vwxļ/#
so it was in the ballpark. It was
300/400 euros, maybe. But it had
the Wilkinson pickups and
hardware, so my thinking was: at
least it’s nice hardware; at the very
worst I can get some good
hardware out of it!
“But then it kind of sat in
Dpvwhugdp#zlwk#p|#rwkhu#
Hxurshdq#jhdu#iru#d#zkloh1#Dqg#
then when the driver went to pick
up the gear, they threw it in there, I
guess, thinking I’d need a backup,
even though I already had the
Explorer. Maybe I’ll use it
somewhere along the line so it
doesn’t feel lonely!”
AMPS
TRACE ELLIOT ELF & FENDER
BASSBREAKER BB112 CAB
“It’s a 200-watt bass head, and
4 L#mxvw#oryh#lw1#P|#pdlq#dpsv#
that I have back in the States
include an old Burman – the old
British amp company from
Newcastle – I have a 100-watt
power amp and their preamp from
the 70s as well. That’s my lone
wxeh#dps#qrz1#Dqg#wkhq#L#kdyh#d#
DV Mark Micro 50 that I use and a
Dietz 1x12 cab. I also bought that
Ihqghu#odvw#|hdu#mxvw#vr#wkdw#L#frxog#
have a cab over here. I was going to
bring the DV Mark, but then I
bought that Trace Elliot, and it’s
like, even smaller! [laughs] I mean,
it’s actually kind of ridiculous – the
carrying case looks like a little
lunch sack!
ģLġp#derxw#Ľqglqj#vpdoo/#
powerful solid-state amps – it
seems like the bass companies are
on the case, but none of the guitar
companies are for some reason;
they’re still all about tubes. I mean,
don’t misunderstand me, I love
tube amps – I have nothing against
them. It’s funny, because usually
wkhuhġv#qr#glļhuhqfh#dw#doo#ehwzhhq#
a bass amp and a guitar amp,
except on some resistor at the
input or something.”

“GUITAR LIVES IN THE MIDS. THAT’S
WHERE ALL THE ‘TONE’ COMES FROM”
BOSS KATANA-50
ģWkdw#rqhġv#mxvw#d#edfn0xs1#
5 I have used it live, though; I did
a four-month [residency] at
[London’s] Cafe Oto with it, and I
think they sound great. I love ’em,
and they’re cheap. I mean, I
prvwo|#mxvw#xvh#wkh#fohdq#fkdqqho#
dqg#p|#hļhfwv/#udwkhu#wkdq#wkh#
presets or anything.”
EFFECTS
MXR SHIN-JUKU DRIVE
ģL#Ľqg#wkh#zkroh#Gxpeoh#dps
6 thing absolutely fascinating.
I learned about them because I was
reading about builders, and he
^Doh{dqghu#Gxpeoh`#lv#txlwh#d#
fkdudfwhu1#Dqg#wkhq#wkhuhġv#wklv#
zkroh#p|vwltxh#durxqg#wkhp1#Vr#
any time a pedal comes out that’s
like a Dumble drive, I get it right
away. I’ll never play a Dumble or
own a Dumble probably, so I have
no idea, but I’ve found that I
generally like the drives that claim
to be that.
DYLAN CARLSON
5
27
“With this one, MXR got
together with Shin [Suzuki], this
Japanese amp tech. I like a lot of
mids, and that’s basically what
Dumble drives do: boost the mids.
For years, on Hex [; Or Printing in the
Infernal Method] and Bees, I was
doing the big clean sound, which is
lots of highs, lots of lows and kind
of scooped mids, and then I started
wanting more oomph. I used to
use 15-inch speakers a lot, but
then I started to want that snarl
that 12s have, then I realised that
the guitar actually lives in the
mids. That’s where all the ‘tone’
comes from, and that’s when I
started gravitating towards those
kind of drives.
“I mean, I’m interested in
Dumbles because I’m interested in
amp building and circuits, but the
idea of paying that much for an
dps#lv#mxvw#plqg0qxpelqjĩ#Lġp#
a cheap gear enthusiast; $600 is
pretty much my limit on a guitar,
and I try not to spend more than
$150 on a pedal.
OCTOBER 2019 TOTAL GUITAR
 rig tour
6
28
ģZkhq#L#Ľuvw#fdph#edfn#wr#sod|lqj#
guitar in the early-2000s, I was
uhdglqj#derxw#vwxļ#dqg#L#jrw#lqwr#
gear mode, and then I realised one
day it doesn’t matter what I play;
it’s me. Certain things will help
me get what I want, but ultimately,
it’s the player. Billy Gibbons,
Hendrix, those kind of guys, they
all have themselves, and it doesn’t
pdwwhu#zkdw#wkh|#sod|1#Vr#L#mxvw#
vwduwhg#wu|lqj#rwkhu#vwxļ#dqg#qrw#
worrying about, ‘Oh, is it this kind
of amp?’ I mean, I’ve had a Plexi
dqg#vwxļ#olnh#wkdw1#\hdk/#wkh|#zhuh#
great, but it’s not like they made
me; I make them sound that way,
qrw#wkh#rwkhu#zd|#durxqg1#Vr/#L#mxvw#
stopped worrying about that kind
ri#vwxļ/#L#jxhvv1Ĥ
MXR CUSTOM COMP
“I always compress into the
7 drive. That was my big
discovery when I came back to
playing guitar: it was compression,
because I’d always want lots of
sustain. In my youth, I was like,
‘Oh, more overdrive, more
overdrive, more overdrive!’ and
then I was like, ‘Oh no, you can get
TOTAL GUITAR OCTOBER
NOVEMBER2019
2015
a compressor and you don’t need
wrĩġ#Dqg#vr#Lġyh#dfwxdoo|#gursshg#
the amount of overdrive I use over
the years, now that I realise
compression can get me the
sustain. I mean, I like overdrive,
but over and above that I want
clarity, because I like to use some
extremely weird chords, so
compression’s always on.”
9 “That’s my favourite tuner.
MXR UNI-VIBE
“The Uni-Vibe is on the
8 chorus setting. I used to
10 always use the vibrato setting, and
then during this last album we did
[Earth’s Full Upon Her Burning Lips],
L#Ľjxuhg#rxw/#ĠRk#zdlw#d#vhfrqg/#L#
fdq#xvh#wkh#fkruxv#qrz1ġ#L#mxvw#
kdyh#wr#sxw#lw#lq#d#glļhuhqw#vsrw#lq#
wkh#fkdlq1#Dqg#wkhq#L#uhdolvhg#wkdw#
it doesn’t like lots of gain or
kljk0rxwsxw#vwxļ/#rwkhuzlvh#lw#
gets muddy. I use it for Bridge Of
Sighs, and sometimes for Reaching
The Gulf as well.”
“I GOT INTO GEAR MODE, AND THEN I REALISED ONE DAY IT
DOESN’T MATTER WHAT I PLAY; IT’S ME”
8
MXR ECHOPLEX DELAY
“I use the Echoplex combined
9 with the [Boss FS-5U] tap
tempo for long delays. That’s what
I use on Conquistador and Scorpions
In Their Mouths, and then at the
end of Old Black and for parts of
Bees Made Honey.”
KORG PITCHBLACK
10 It’s funny, because I have
the newest iteration in my guitar
case; I have every iteration of it
because I’m always like, ‘Oh, I
forgot my tuner!’ [so I keep buying
wkhp`1#Wkdwġv/#L#wklqn/#wkh#Ľuvw#
iteration, which is still my
favourite. The new one looks
vqd}}|/#exw#L#Ľqg#wklv#rqh#d#olwwoh#
txlfnhu1#Lw#orrnv#ehwwhu/#exw#lwġv#mxvw#
qrw#dv#txlfn1#Lwġv#vrphwlphv#d#elw#
too bright. The only thing I wish is
they did a [power-]through on it
like on the Bosses, but that’s my
only little complaint!”
 hi i b h Al hill

IN THIS
LONG-AWAITED
GUITAR
30
INTERVIEW,
ADAMM JONES
TALKS GEAR,
PERFECTIONISM,
THE STRANGE
MAGIC OF THE
NUMBER SEVEN
AND — ALMOST
FORGOT! —
FEAR INOCUL LUM
M,
TOOL’S FIRST NEW
ALBUM IN
13 YEARS...

RIGHT
Tool’s Adam Jones
with his Silverburst
Gibson Les Paul,
photographed by
David Edward in London

TOTAL GUITAR OCTOBER 2019

 tool

31

OctOber 2019 ToTal GuiTar

 tool

it’s
been nearly 5,000 days
since the release of Tool’s
last studio effort, 10,000
Days. That’s 13 years
since the genre-busting metal dissidents
have put out any new music — the lion’s share
of which have been characterised by vague
progress reports, a ceaselessly active
rumour mill, overly optimistic release dates
and an ever-passionate but deeply
frustrated fanbase that’s been kept busy
32
with conspiracy theories and conjecture
about whether or not they’d actually ever
hear new Tool music again. However, on
August 30, one of the most influential and
mythicised bands of its generation finally
added a new chapter to its discography...
As Tool cap off a triumphant run of So, what exactly has 13 years of toil nothing in the way of potential singles
European festival dates, guitarist and and tension yielded? An exceptionally or traditional song structure. Neither
conceptual luminary Adam Jones cohesive 80-minute prog-metal has any place within this record’s
ruminates on the creation of his band’s odyssey that unfurls over seven tracks concept, emblematic of a band that’s
latest album – Fear Inoculum – from the (plus three interludes), most of which leaned in even harder on its disregard
confines of a hotel room in Belgium. consist of multiple movements. It’s a for industry norms.
Fuelled by exhaustion, relief and pride, dynamic, intensely wrought and often While Jones is the first to point out
Jones muses on the experience. meditative album, and – as is often the that Tool’s creative process demands a
“The writing process can be magical case with Tool’s releases – Fear Inoculum complicated but balanced dance
and rewarding, or it can make you want serves as a vehicle for a mysterious between all four of its members, his
to kill the other person. It really comes larger concept that aptly orbits the guitar work plays no small role in
down to having the communication, number seven. All of the elements that defining Fear Inoculum’s sound. His
discipline and respect to believe in the delivered this band from 90s alt-metal playing here is absolutely bone crushing
other person when you might not standouts to the genre-bending at times, but also brilliantly economical,
necessarily believe in what they’re revolutionaries they are today are subtly technical and doused with clever
bringing in. It’s hard for us to get to the represented in spades. It’s high concept, and colourful effects – all of the
end result sometimes, but it’s that thing the musicianship is otherworldly and its guitarist’s calling cards. There’s even a
where you do something difficult and production (helmed by longtime four-minute solo section counted in 21
sometimes you hate it, but when it’s collaborator ‘Evil’ Joe Barresi) is a work (or three rounds of seven)! Perhaps
done, you’re like, ‘Let’s do it again!’ ” of art in itself. The album also offers more so than on any past Tool album,

ToTal GuiTar OctOber 2019


Fear Inoculum#Ľqgv#Mrqhv#zrunlqj#dv#wkh#
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elqgv#wrjhwkhu#guxp#zl}dug#Gdqq|#
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Fkdqfhooruġv#hoderudwh#vwdwhphqwv1
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kdv#hyroyhg#ryhu#wkh#odvw#46#|hduv1#
Fear Inoculum sounds gigantic. It’s
got a meditative, cinematic vibe and
sounds like a single, cohesive piece
of music. Where were you guys
coming from when you were writing
this one after so much time away?
ģLwġv#vr#zhlug#ehfdxvh#dowkrxjk#lwġv#ehhq#
vr#pdq|#|hduv#Lġp#guhdglqj#wkh#
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grzq/#exw#dw#lwv#khduw#wkh#surfhvv#lv#
edvlfdoo|#wkh#vdph#wklqj#lwġv#dozd|v#
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wkurzlqj#ulļv#durxqg#dqg#whdulqj#wkhp#
dsduw/#zh#uhylvlw#wklqjv#zh#zurwh#d#orqj#
wlph#djr#wkdw#pd|#zrun#zlwk#wkh#qhz#
vwxļ1#Wkh#zkroh#wklqj#lv#uhdoo|#derxw#
Ľqglqj#|rxu#urrwv#djdlq#dqg#
uhphpehulqj#zk|#|rx#vwduwhg#lq#wkh#
Ľuvw#sodfh/#Ľqglqj#wkh#Ľuh#wkdw#exuqhg#
lq#|rx#zkhq#|rx#vwduwhg/#dqg#qrw#ohwwlqj#
vxffhvv#glvwudfw#|rx1#Zh#vwloo#uhdoo|#wu|#wr#
eh#wuxh#wr#rxu#duw#irup1Ĥ#
“The whole thing is
really about finding your
roots again and
remembering why you
started in the first
place, finding the fire
that burned in you”
33
ABOVE Tool records often have a larger
Tool’s Fear Inoculum concept at play lacing things
has proved worth together, like sacred geometry or
the wait, and the
album debuted at
references to numerology hidden in
number one on the the music through time signatures or
US charts patterns. Is there something like
that going on with the new album?
ģLw#zdv#uhdoo|#zhlug1#L#wrrn#d#slfwxuh#
srlqwlqj#wr#wkh#qxpehu#vhyhq#zkloh#zh#
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ulļ#dqg#|rx#frxqw#lw#rxw#dqg#lw#wxuqv#rxw#
wr#eh#lq#vhyhq1#Zlwkrxw#ehlqj#wrr#
ghvfulswlyh#derxw#wkh#frqfhsw/#wkh#pdlq#
wklqj#lv#wkdw#wkh#vhyhq#ehdw#mxvw#nhsw#
frplqj#xs/#dqg#ulļv#lq#vhyhq#nhsw#
frplqj#xs1#Lw#zdv#uhdoo|#zhlug$#Zkhq#zh#
OCTOBER 2019 TOTAL GUITAR
 FEATURE
Ľqlvkhg uhfruglqj/ L zhqw wr wkh jx|v
dqg vdlg/ ģL wklqn zh vkrxog fdoo wkh
uhfrug Volume 7Ĥ ehfdxvh d orw
ri wkh vrqjv duh lq vhyhq dqg wkhuh duh
vhyhq wudfnv rq wkh uhfrug1 Wkhq
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derxw wkh qxpehu vhyhq1 Zh zhuh doo
olnh/#ģRk#p|#Jrg$#Wklv#lv#vr#zhlug$Ĥ#
Wkhq/#Doh{#Juh|#^Wrro#doexp#duwlvw`#
edvlfdoo|#vdlg#wkh#vdph#wklqj/#dqg#kh#
kdv#d#frqfhsw#wkdw#zloo#uhyhdo#lwvhoi#
wkurxjk#ylghr1#Vr#wkhuh#duh#d#orw#ri#
uk|wkpv#dqg#sro|uk|wkpv#zkhuh#zh#
h{soruh#:27#ru#:26/#dqg#wkhuhġv#d#ulļ#zh#
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ohdg#ryhu#vrphwklqj#frxqwhg#lq#54/#
zklfk#lv#fud}|$Ĥ#
With so many years since Tool’s last
release, how would you say you’ve
evolved as a guitarist since 2006?
ģWkdwġv#d#jrrg#txhvwlrq$#Lġyh#ghĽqlwho|#
ehhq#sudfwlvlqj#pruh#wkdq#hyhu1#Vlqfh#
wkh#odvw#uhfrug#fdph#rxw/#zkhq#L#phhw#d#
jxlwdulvw#L#olnh/#Lġoo#dvn#wkhp#zkdw#wkh|#
gr#wr#zdup#xs#ru#wr#vwd|#jrrg1#Prvw#ri#
wkhp#vkrz#ph#d#whfkqltxh/#d#
34 vwuhwfk#ru#d#sudfwlfh#lghd1#Lwġv#
dozd|v#uhdoo|#lqwhuhvwlqj#iru#
ph#wr#vhh#zkdw#wkh|#gr/#dqg#L#
uhdoo|#wu|#wr#sudfwlvh#wkh#
wklqjv#wkhvh#shrsoh#jlyh#ph1#
L#dvnhg#Nlun#Kdpphww/#
dqg#kh#vhqw#ph#d#ylghr#ri#
wklv#iruzdugv2edfnzdugv#
uxq#jrlqj#xs#dqg#grzq#
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dqg#lw#uhdoo|#khoshg#p|#
sod|lqj#d#orw1#Lqvwhdg#ri#
grlqj#vrphwklqj#olnh#
mxvw#wu|lqj#wr#ohduq#wkh#
ohdg#lq#Master of
Puppets/#L#dvnhg#zkdw#
kh#grhv#wr#nhhs#
klpvhoi#jrrg1#L#wklqn#
lwġv#ehwwhu#wr#ohduq#
krz#vrphrqh#
sudfwlvhv#dqg#dsso|#lw#
wr#|rxu#rzq#lghdv1Ĥ#
You’ve always been a
player that takes
influence from places
outside of the guitar world
– art, film, science. Was
there anything like that
that had an impact on your
writing on this record?
ģLwġv#krqhvwo|#doo#vxfk#d#
eoxu1#Krqhvwo|/#lwġv#doo#
frplqj#lq#dqg#L#wu|#wr#eh#
TOTAL GUITAR OCTOBER 2019
olnh d vsrqjh dqg yxoqhudeoh/ dqg L wu| wr
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zkhq L zdv 45 L olnhg hyhu|wklqj1 Vr
pdq| shrsoh duh vr mdghg derxw
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wu|#wr#gr#wkdw#zlwk#wkh#duwv#dqg#pxvlf#lq#
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zkhq#vrphrqh#zdv#fuhdwlqj#lw#dqg#L#
dfnqrzohgjh#wkdw#d#sod|hu#pljkw#qrw#eh#
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dqg#L#wu|#wr#slfn#xs#rq#wkdw#dqg#wu|#wr#
wklqn#iurp#p|#fkhvw#lqvwhdg#ri#iurp#
p|#khdg1Ĥ#
It’s funny to hear that a forgiving
gaze is the key for you, considering
how legendary Tool’s
perfectionism is.
ģL#grqġw#nqrz#li#L#zdv#wkh#
Ľuvw#shuvrq#wr#vd|#lw/#exw#L# “There
dozd|v#wkrxjkw#lw#dv#d#nlg# my part on its own
dqg#L#vwloo#wklqn=#lwġv#qrw#
jrrg#zkhq#lwġv#grqh/#lwġv#
might
grqh#zkhq#lwġv#jrrg1# childish, but it’s what
Wkdwġv#krz#zh#jr# the song needs to drive
derxw#zkdw#zh#gr1Ĥ##
everything else. I think
There’s a lot of all of us have that
really interesting
texture and
atmospheric
playing on the new album
that’s very anti-rock
guitar at times. Could
you expand on your
approach to that side
of things?
“Danny [Carey, drums]
and I both took band in
school, and while Justin
knows music theory, Danny
and I really understand the
way everyone’s parts work
and what’s needed as a
whole. You’re dedicated, but
not necessarily attached to
ideas. It’s a system and it’s a
group effort, so you get used
to asking, “What does it
need?” and not trying to play
leads the whole time or
worrying why your guitar
isn’t loud enough. It’s
about focusing on the
four parts making a
whole. It takes a lot of
discipline to think
about what the song
BELOW LEFT needs at a given time and really dial it in,
Adam says that a lot and there are times when my part on its
of his creative own might sound stupid or childish, but
process stems from
trying to remain
it’s what the song needs to drive
open and vulnerable everything else. I think all of us have
in order to find the that understanding.”
good in music
Your playing relationship with Justin
is very symbiotic, and you guys often
complete each other’s musical ideas
on the new album. How has that
playing relationship evolved since
the last album?
“Dan and Justin work very much
‘complex-to-simple’, and when we start
jamming, they play the craziest stuff
they’ve got and then whittle it down to
the thing that gets fine tuned that’ll
work for a song. I do the opposite. I like
finding the simplest thing that works
and I look for a catchy riff. I’m not
worried about what kind
of tone I have or the
pedals I’m using – all that
are times when stuff comes later. But you
have to have faith in the
other people involved and
sound stupid or let them work the way
they’re used to working.
So, it hasn’t really
changed, but we’ve
explored different ideas
together. One of the songs
understanding” on the record has these
volume swells, and we had
the idea for a call-and-
answer between Justin and me – where
I’ll swell up and then Justin will swell up
with the same note, but I’m on the beat
and he’s on the offbeat. That kind of
experimentation is really cool and we
really work like we’re the same
instrument – like I’m the right hand and
he’s the left hand on a piano.”
That swelling, synthy guitar on
Invincible is really interesting. Do you
recall what gear you used for the
sound during that passage?
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wrqh1#Dv#wkdw#vrqj#exlogv/#L#wklqn#wkh#
jxlwduv#fkdqjh#pd|eh#wkuhh#wlphv1#Lwġv#
uhdoo|#wrxjk#wr#uhfdoo#vshflĽfv#ehfdxvh#ri#
krz#pxfk#vwxļ#zdv#xvhg#lq#wkh#surfhvv1#
Mrh#Eduuhvl#^surgxfhu`#kdv#dq#dpd}lqj#
jxlwdu#froohfwlrq/#L#eurxjkw#d#orw#ri#

KEEping Up
with thE JOnEs
Tool engineer ‘Evil’ Joe Barresi on Adam Jones’ gear
What was the starting point for Adam’s
guitar tones on the new album?
“His sound is definitely his Les Paul Custom into
his main Diezel VH4 and that Marshall
Superbass, but like the last record, I also used
a Bogner Uberschall and a Rivera Knucklehead
Reverb or a Knucklehead K Tre as part of the
equation. I recorded both of Adam’s personal
amps to their own track and combined the
Bogner and Rivera to a single track, plus we ran
a mic’d Leslie cab in stereo, which gave us five
tracks of just guitar. That was the main dirty
sound, but the clean sound varied a lot. Besides
cleaning up and dropping the gain on the amps
we used for distortion sounds, I used an old
Orange, an old Peavey, a new Fryette-made
Sound City halfstack, an old Kustom and a
Naylor. Adam was really into experimenting with
stuff — guitars included — this time around.”
What cabs did you use?
“The body of it was Mesa/Boogie 4x12s loaded
with 8-ohm Celestion V-30s. The Riveras went
into a Rivera 4x12 loaded with 75-Watt
Celestions, which is my favorite speaker
because they have a tight bottom end. The
Uberschall was in a Mesa cab and the Marshall
was in Adam’s own Marshall cab that had
either Celestion V-30s or Greenbacks. The
Sound City stuff went through 50-Watt Fanes
that were in a new Sound City 4x12.”
The four amps besides the Marshall that
were used for the dirty sounds have a lot of
sonic overlap. Could you explain what each
one brought to that core sound?
For this record, we ran the Diezel on channel 3
with a good rock sound, pretty saturated. It’s
actually a modified Diezel that’s had a preamp
tool
mod done to it — so it’s the best-sounding
Diezel in his arsenal of VH4s. The mod gives it a
different responsiveness somehow; it just
feels a bit punchier all round. It’s also highly
volatile because of that, but amps seem to
sound better when they’re about to explode! It
has a powerful quality and it definitely
complements how Adam plays. The Marshall
fills in the clarity and articulation that’s missing
from the Diezel when we put it into high-gain
mode. I brought in the Uberschall for some
overall beef and the Riveras for some extra
muscle as their EQs are so flexible, and they
work nicely for both dirty and clean sounds.
Since the signal was split to at least four heads,
I decided to put a pedal in front of everything
and it helped shape the front end of all the
amps a bit. I used an MXR Micro Amp +, which
gave us a little more EQ flexibility, so I could
crack in some top or take out some bottom
where I needed to. We also ended up using a
SoloDallas wireless preamp unit to drive the
front of some amps and give a little extra push
on some songs.
“It was nice to have the time to experiment,
and those guys are all about whatever it takes
and really encouraging of it. We ended up using
a 60s Gretsch Jet Firebird for some clean stuff,
which has that semi-hollow tone and rings
differently. Adam brought in a Gibson Marauder 35
— which I thought was the ugliest guitar I’d ever
seen — but it has the pickups Bill Lawrence
designed for Gibson and it blew my mind how
much clarity those pickups had; with that
five-way varitone switch, you can dial in almost
any sound.”
The record has a lot of heavily effected
guitar sounds that make for some major
impact points. Can you give us some insight
into how the two of you go about crafting
those tones?
“Adam’s main delay is a Boss DD-3 and as we
didn’t track to a click, we spent a lot of time
getting the delay in time with Danny’s drums
while we overdubbed. Sometimes we would run
two or three Boss DD-3 Digital Delays in a row
and turn them on or off for different sections.
Once the delay was perfectly in time, the whole
sound we’d created really made sense to me
because it opened up this space between the
beats that allowed Danny and Justin be clearly
heard. There was a lot of experimentation
involved with reverbs and room sounds, too. We
did all kinds of weird shit with interactive
effects like Caroline’s Kilobyte and Meteore,
which you can step on and latch to do
regeneration feedback. But for the most part
Adam really liked to get feedback by playing in
photo timothy Hiatt //Getty
front of his amps and we spent quite a bit of
time doing that, it’s such a big part of his sound.
A lot of the really weird and wonderful effects
stuff was done in mixing.”
OctOber 2019 ToTal GuiTar
 “it’s nOt gOOd whEn it’s dOnE.
it’s dOnE whEn it’s gOOd”

36

ToTal GuiTar OctOber 2019

guitars, and my friends like Buzz
Osborne from the Melvins and others
brought even more stuff. We tried tons
of stuff! We worked hard to find the
things that really worked because we
wanted to make a quality record that
lasts, that we’re happy with 20 years
from now and can step back and say it
still holds up. The process was great and
really satisfying and I’m really happy we
took the time to do it the way we did.”

The sounds on the record are very

much your signature tonal palette
– but expanded and exaggerated in a
lot of places. Did you start with your
stage amps for the core
sounds? guitar down to Drop C for Your left-hand strum/pull-off
“I used my regular setup The Pot, which is a little technique on tracks such as Jambi
with my Marshall “For a guitar player — easier for Maynard to sing has mystified a lot of Tool fans. How
Superbass and my Diezel
VH4s. The transformer in
regardless of what your and he can really let go
every time.”
did you develop that idea?
“The pull-off thing I do? That started
that Marshall is hand- level is — it’s about because I play in Drop D, where you can
wound in an old-school doing what you can do Do you modify any of hold down the top three strings with
those guitars at all
way that they don’t really
do any more, and the wire
and trying to do it well these days?
your first finger and use your third and
fourth fingers to hold the fourth and
used is an old-school type instead of worrying “I use the thickest frets fifth string to create a cheater’s barre
of wire and it has a unique about how someone possible because I pull off D-shape chord. I used to play the first
thing to it. Joe also a lot and I also like to use strings, then dramatically pull off to get
brought out so many cool
else does it” kind of a sitar technique to the next chord – then I noticed a 37
things! I was really blown where if you push down rhythm in that dramatic pull-off. I often
away by the Rivera stuff; really hard, the note will try to emulate Danny because he’s the
those amps sound amazing and the guys ABOVE go sharp, and the big frets make that world’s best drummer. With all the
at Rivera are so helpful. I’m kind of Adam has a work. I still use just the original Seymour weird shit he does, I have to figure out
scratching my head about moving over particular affinity Duncan Super Distortion pickups. I buy things I can do between my left and right
to Rivera because I was so impressed with Les Paul those up whenever I see an old one from hand that are percussive and accent his
Custom Silverbursts,
with their stuff.” the Gibson variant the 90s. Every guitar sounds different thing. I noticed I could pull all of the
first issued in 1979 and every pickup sounds different; strings with one finger on my left hand
How many old Silverburst Les Paul Joe has this guitar that someone and pick at the same time. I did that
Customs do you own at this point? I basically gave him, just a cheap early on with Tool and you hear it in a lot
see you post newly acquired ones on Japanese Les Paul knockoff that’s had of our tunes. I see kids do that song on
Instagram and I can’t imagine there wallpaper applied to it, and it’s amazing YouTube and they usually play it wrong.
are many left in the wild. for clean sounds! It’s honestly an “I use that technique in the middle of
“That’s funny! I remember buying my amazing, really cool-sounding guitar. So Invincible on the new record on a part in
first one and the guitar salesman really you never know!” seven, and I’m pulling off that whole
tried to talk me out of it. It was the early sequence. I honestly use the shit out of
90s on the Sunset Strip and it was like There are many unique combinations that thing. Again, I’m not Eddie Van
Guitars R Us or one of those shops where of effects here. Did you find any new Halen, but I try to figure out other things
all the guys running it were very pretty, effects particularly inspiring for I can do that are mine. I love Eddie and I
had hair-sprayed hair and jeans tucked these songs? Did any have riffs wish I could play like him, but it’s been
into their cowboy boots. I have a true hiding in them? done. For a guitar player – regardless of
love for that colour and that guitar in “Patrick Emmons from Abominable what your level is – it’s about doing what
general, and I believe that particular Electronics sent me a care package and you can do instead of worrying about
metallic paint does something to the Joe and I put all of his stuff through its how someone else does it. It’s not a
tone or the resonance or the polarity paces. We also got these pedals by a video game where you have to master a
somehow. Right now I have six actual company called Ogre from Korea that are sequence exactly or you don’t beat the
vintage Silverburst Gibson Les Paul shaped like robot faces, which I saw level. That’s not what guitar playing is.
Customs and I have some others that Richie Faulkner from Judas Priest using. Emulating someone else can help you,
people have given me that have been We bought their whole line and that but if you get lost in that pursuit you
painted Silverburst. I bought a couple delay [Kronomaster] is really, really cool! won’t do anything worthwhile. I play
extra because I used to only bring two Also Richie Faulkner is awesome; I could with emotion and from my heart, and
guitars on the road, but now we use Drop watch him play all day. He really get myself excited while doing the best
B for Prison Sex and then we tune the deserves that gig – and he’s an animal.” job I can do.”

OCTOBER 2019 ToTal GuiTar

 TOOLED UP!
Learn the tools of Adam Jones’ trade with
TG’s lesson on the prog-metaller’s style

I
n celebration of the release of Fear
Inoculum we’re looking at some of
Adam Jones’ trademark techniques
as heard on this year’s new album as
well as throughout Tool’s back
catalogue.
Drop D tuning (DADGBE from low to high)
is essential to the Tool sound – simply
down-tune your guitar’s sixth string by two
semitones. Adam occasionally uses drop B
(B F# B E G# C#), but we’ve stayed with the
more common drop D so you don’t have to
down-tune your whole guitar.
This results in a nice easy way to play
powerchords on the lower strings, which
you can see in our Stinkfist inspired first
example. Next we use those powerchord
shapes with volume swells and venture into
some open string drones for a Fear
Inoculum atmosphere. From there we
cover tight, palm-muted triplet hammer-
ons as heard in Schism and Vicarious, as
well as a heavy Forty Six & 2 style pedal riff.
Finally we’re looking at some Rosetta
Stoned influenced syncopation – complex
rhythms which will require careful practice.

DROP D TUNED POWERCHORDS TRACKS 11-12

q = 95

G5 Gsus 2 Fsus 2 F5 Fsus 2 N.C.

.. .
.. ..
. RP

let ring
38 T
E
.
¿¿ 7 ¿¿ 3 ¿¿ 5 ¿¿
B
G
. BU BD
¿ 55 ¿ 33 ¿ 33 ¿ 0
D 5 5 7 3 5
B A
D
5
5
5
5
5
5
3
3
3
3
5 (6) (6) (6) (6) (5)
1
≥ ≤ ≤ ≥ ≤ ≤ ≥ ≤ ≤ ≥ ≤ ≤ ≥ ≥ ≥ ≤ ≥
G5 Gsus 2 F5 Fsus 2 D5 C5 D5

..Play 4 times..
.. .. .
. .
T .
¿¿ 7 ¿¿ 3 ¿¿ 5 ¿¿ 0 .
¿ 55 ¿ 33 ¿ 33 ¿ 00
5 5 7 3 5 0 10 12
B 5
5
5
5
5
5
3
3
3
3
0
0
10
10
12
12
≥ ≤ ≤ ≥ ≤ ≤ ≥ ≤ ≤ ≥ ≤ ≤ ≥ ≥ ≥ ≤
3

Play the G5 and F5 powerchords with a first finger barre, then add the sus2 interval with your third finger on the fourth string. Keep your strumming hand moving down
and up throughout and use your fretting hand to mute the strings where you see ‘X’s in the tab.

2 MAKE A FIST OF DROP D CHORD

X X X X X X
In drop D tuning, powerchords
can be played with just one 1 1 1 1 1
Ľqjhu#eduulqj#dfurvv#wkh#wkuhh# 5 5
bass strings. Easy! And for an
epic sus2 chord, try adding your
wklug#Ľqjhu#wr#wkh#irxuwk#vwulqj1# 3
Also pretty easy! These are staple
Guitars and backing: Steve Allsworth

shapes in contemporary rock,

metal and prog, and Adam Jones
has used them numerous times
with Tool. Consider these shapes
D A D G B E D A D G B E
essential.
G5 Gsus2
TOTAL GUITAR OCTOBER 2019
 TOOL

AMBIENT VOLUME SWELLS TRACKS 13-14

q = 90
A5 D5 F5 G5 A5
.. . ..
Play 4 times

. .
. ..
Vol. Vol. Vol. Vol. Vol.

T
E
B . .
B
G
D
A
. 7
7
0
0
3
3
5
5
7
7
.
D 7 0 3 5 7
1

Dm7

.. ..
let ring

T . .
B
. 5
0
7 7 7 7 7 3
0
3 3 3 3 3
0
5 5 5 5 5 2
0
2 2 2 2 2
0
3 3 3 0
0 .
3

Start with your volume knob turned down then strum each chord before raising the volume to fade in. Add reverb or delay for extra sustain; we’ve added a panning delay
effect set to a dotted eighth note rhythm. In bars 3 and 4 allow the two strings to ring together and keep your delay pedal engaged.

THREE-NOTE-PER-STRING D MINOR PENTATONIC SCALE

This is a cool way to play the D E
minor pentatonic scale in drop D
B 39
wxqlqj#Ğ#dq#dssurdfk#|rxġoo#Ľqg#
used in Schism and Vicarious. The O 1 4 G
idea is to pick an open string then
hammer on to two more notes on
O 1 3 D

the same string. Opt for a triplet O 1 3 A

feel (a three-note grouping) for a
w|slfdo#Dgdp#Mrqhv#vw|oh#ulļ1 O 1 3 D

PALM MUTED TRIPLETS TRACKS 15-16

q =110
N.C.
3 3 3 3
œ
3 3

..
3 3

PM throughout

T
E
B .
B
G
D
A
. 3 0 3 5 3 0 3 5
0 3 5
0 3 5
D 0 3 5 2 0 0 0 3 5 0 3 5 2 0 0 0 3 5
1

3 3 3 3 Play 4 times

..
3 3

(◊)
3 3

T .
B 3 0 3 5 3 0 10 12
0 10 12
0 10 12
.
0 3 5 2 0 0 0 3 5 0 3 5 2 0 0 0 10 12
3

This riff is palm-muted throughout so keep your palm resting lightly on the bridge; your picked notes and hammer-ons should sound as similar as possible in tone and
volume. The coordination between the left and right hand is key, so practise slowly to make sure the notes are even before speeding up

OCTOBER 2019 TOTAL GUITAR

 TOOL

ALTERNATING TIME SIGNATURES TRACKS 17-18

e = 200
N.C. Play 4 times

.. ..
◊ throughout
PM

T
E
B . .
B
G
D
A
. .
D 13 0 10 0 12 0 0 13 0 10 0 12 0 0 3 0 13 0 10 0 12 0 0 13 0 10 0 12 0 0
1

Eb5 D5 C5 D5 Eb5 C5 D5 F5 D5 Eb5 D5 C5 D5 Eb5 D5 C5 D5

.. ..
Play 4 times

(◊)
T . .
B
. 13 0 10 0 12 0 0 13 0 10 0 12 0 0 3 0 13 0 10 0 12 0 0 13 0 10 0 12 0 0
.
13 0 10 0 12 0 0 13 0 10 0 12 0 0 3 0 13 0 10 0 12 0 0 13 0 10 0 12 0 0
3

In bar 1, pick all the fretted notes, then follow up each one with a pull-off to the open D root note. Once you have learnt bar 1 (in 4/4 time), bar 2 (in 7/8) is essentially the
same thing with the final two notes missing. After four repeats, the riff changes to weighty powerchords for a heavier sound.

COUNTING ODD TIME

40

Time & & 3 & 4 & & & & 4

Playing in odd time signatures is strange at first but becomes easier if you compare the signature to the good old familiar feel of 4/4 – the most common time signature in
all rock and pop. Here you can see that a bar of 7/8 time is just one eighth note shorter than 4/4. Simply follow our counts to keep in time.

CROSS RHYTHMS TRACKS 19-20

q =100
E5 N.C.

# ..
5 5 5 1

‰ ‰

T .
.
B
1
2
2
2
2 ¿ ¿ 2
2
2
2 ¿ ¿ 2
2
2
2 ¿ ¿ 5

D5
Play 4 times

# 5 5 5 51
..
œ œ ¿ ¿ œ œ ¿ œ œ ¿ ¿

T .
.
B 2
2
2
2 ¿ ¿ 2
2
2
2 ¿ ¿ 2
2
2
2 ¿ ¿ 0
0
3

In 4/4, two bars contain 16 eighth notes and these can be divided up however any riff writer chooses – an idea that Tool explore a lot. Our riff has five eighth-notes (played
three times), followed by one eighth-note (played once). Count ‘1 2 3 4 5, 1 2 3 4 5, 1 2 3 4 5, 1’ to keep time. For more of a challenge the bass and drums move out of sync by
one eighth note in bars 3 and 4 – the ultimate foot tapping challenge!

TOTAL GUITAR OCTOBER 2019

TOTAL GUITAR OCTOBER 2019
 Words Amit Sharma / Photography Will Ireland

BIRDS
OF A
FEATHER
BILLY DUFFY, FOUNDING GUITARIST OF 80S
43

HARD ROCK HEROES THE CULT, TALKS ALL

THINGS WHITE FALCON WITH THE FAST-RISING
PISTON’S JACK EDWARDS…
eptember 24, 2006 is a certainly day that left its mark on

S
an 11 year-old Jack Edwards. For his first gig, he was taken
by his mother to see The Cult on their A Return To Wild
tour at Birmingham’s Carling Academy and found himself
awestruck by the sheer size and sound of Billy Duffy’s
Gretsch White Falcon. After the show, the band’s roadies
came over to hand out some plectrums and his fate was
sealed – the young musician had found his true calling.

Left Twelve years and three and a half
Fellow Falconers Billy
Duffy of The Cult and grand later, Edwards finally
Jack Edwards of managed to get his hands on
Piston come together
to share their love of
Duffy’s signature for use in his
Gretsch’s iconic White own band Piston, and not long
Falcon guiitar
after that ended up signing his
own endorsement deal with
Gretsch. On a late summer
afternoon, the pair meet at
London rehearsal spot John
Henry’s – a facility used
extensively by The Cult over the
years, and where some of their
equipment is kept in deep storage
– to discuss the art of songcraft
and why they put their trust in
White Falcons to do things other
guitars simply can’t…
OCTOBER 2019 TOTAL GUITAR
 feature
What do you remember most about
that night in Birmingham?
Jack: “I’d never seen a guitar player
before, let alone anyone playing a guitar
like that. To my 11 year-old mind, it all
felt really huge. I was brought up on
records by The Cult and Guns N’ Roses,
so it was very special to see Billy right in
front of us.”
Billy: “That’s how it goes for every
musician! We all have that gig where we
breathed the same air as our heroes.
Sure these days you can go on YouTube
or whatever, but when you are in that
room and get a glance at a musician, it
can be transformational1#P|#Ľuvw#jlj#zdv#
Slade… I’m not afraid to say it! I also
saw Thin Lizzy with Eric Bell, who were
on the bill along with Suzi Quatro. That
zdv#p|#Ľuvw#jlj#lq#4<:5/#zklfk#p|#gdg#
took me to, so I must have been… 11! As
iru#wkh#5339#wrxu/#lw#zdv#suhww|#fdvxdo1#
We’d gotten back together, for the
second time might I add, and before I
knew it, we were making an album and I
wasn’t even fully aware we were doing Did you ever get the feeling these Above the sparkle but lose the unappealing
Billy’s all-out style in
it. I never expected it to go from then to guitars were a little less fashionable The Cult has put the
low-end feedback. Once that starts, you
now consistently.” and harder to play, at least for heavy White Falcon on the wdnh#rļĩ#dqg#wkdwġv#qrw#wkh#vh{|#
rock music? map in the world of feedback you want. But actually I prefer
44 Who were the players that made you Billy= ģWkhuh duh ghĽqlwho| d orw ri surv heavy rock the feel of them, built for comfort rather
want to pick up a Gretsch in the first and cons. Funnily enough, I never got than speed. To get anything out of
place, Billy? dorqj zlwk 83v ru 93v Juhwvfk jxlwduv/ them, you really have to dig in and
Billy= ģWkh Ľuvw zrxog kdyh wr eh Qhlo which are the ones most people want. I wrench them to get the right sound. I
Young in my pre-punk high school dozd|v olnhg wkh :3v rqhv/ zklfk had a cream Les Paul custom and a
group, the late, great Four Way Street weren’t considered very desirable. They Fender Twin, and I still didn’t sound as
Band. As you can imagine by the name, were made by a company called Baldwin good as Steve Jones, so I gravitated.
there were a few Crosby, Stills, Nash and because Gretsch were a drum Punk was great while it lasted, but it
Young fans in there! I was fascinated by manufacturer who licensed guitar didn’t last as long as some people
Gretsch guitars, they looked magical. I designs. The Baldwin era wasn’t thought it did. It all morphed into this
saw some pictures of Sylvain Sylvain considered fantastic. Mostly because of elj#hduo|#;3v#vfhqh/#srvw0sxqn#pdgh#e|#
from the New York Dolls… his guitar wkh slfnxsv/ zklfk lv dq hdv| Ľ{1 Wkh| fans who’d learn to play a bit and
zdv hqwlflqj1 Wkh Ľqdo vwudz zdv vhhlqj stay in tune well, you have to do a few wanted to experiment and make music
Erz Zrz Zrzġv Ľuvw0hyhu jlj dw d wklqjv olnh slq wkh eulgjh ru Ľoo lw zlwk wkdw#zdv#glļhuhqw111#jx|v#olnh#Wkh#Hgjh#
roller-rink in Hammersmith and foam. It was actually my techs who or Will Sergeant.”
Matthew Ashman, who’d been in Adam started doing that to stop them from Jack: “After seeing Billy a few times, I’ve
And The Ants, had one. I knew I had to going into therapy… especially back learned you just need to hit the thing
get one. I liked AC/DC too, obviously when I was drinking, I wanted to be so hard! He really beats his guitars. Early
Malcolm had one and I always thought loud. I was the guy with loads of on, I used to be quite shy with this
the tonality of their guitars were great. Marshall stacks and they were all on. I guitar, but then I started giving it some
Do you really want to go to your grave didn’t really get the thing about not welly. That’s the only way to get the full
having never owned a Gretsch? It should needing all of them switched on. It was sound out of them. You have to truly
be on the bucket list! Step up to the creating nuclear, seismic problems. play them.”
White Falcon challenge...” Padding them helped, you keep a lot of
You both have played Gibsons as

“DO YOU REALLY WANT TO well. What kind of situations tend to

work better with Gretsch?
Billy: “Les Pauls bring a certain
GO TO YOUR GRAVE percussion that only a solid-body guitar
can give you. They are very dense
Photo: Scott Legato/Getty

HAVING NEVER OWNED sonically while these don’t quite have

that, although I’ve managed to get as

A GRETSCH?” much of it as I could. Gretsches are more

fragile. I feel they have more like the

TOTAL GUITAR OCTOBER 2019

 WHITE FALCON

FLYING MACHINES
Billy and Jack give us a closer look at the
Falcons they’ve brought with them…
Billy: “My signature is based on my
original White Falcon that I bought in
London around 1981. I wanted the
double cutaway but couldn’t find one
so went with a single. It has a slightly
different paint job; I wanted it to look
vintage without being a reproduction in
any way. So there are little
improvements here and there, like the
Black Top Filtertron pickups, which are
reverse-engineered from something
Seymour Duncan made me in 1986.
When we were making the follow-up to
Love, I was trying to get a heavier
sound and just couldn’t ring it out of
the original pickup. It just didn’t have
enough output or horsepower. In
typical American fashion, Seymour told
me to send him a recording of the
sound I was looking for and I sent him
one of a Telecaster with a humbucker.
You can see the pickups on this one
have oxidised after being kept in
storage… they’ve relic’d! I find these
guitars age differently to others. If you 45
look at a lot of older White Falcons, the
head will be a different colour to the
body because of the paint. If you’re a
nerd, you can trainspot your heart out
with these guitars.”

Jack: “I always wanted to be the guy

that brought the White Falcon back
into rock. Everyone else in our scene
seems to play Les Pauls or Fenders. A
lot of things have been done before
with those guitars, so I feel like there’s
more I could achieve with a Gretsch.
Billy had pioneered these guitars in
heavier rock, but I couldn’t find one
anywhere! I finally spotted one at PMT
in Bristol. I called them up and had
them send it to Birmingham. I was
broke, but had been scraping every
last penny I had together for years to
finally own one. I don’t think anybody
realised what I went through to buy
the thing — I’d been living off beans on
toast for months! I just knew that I
had to have it to fulfil my dream. I
spent my life savings on it and I
remember bringing it out on the road
for the first time. We literally had
people turning up just to see and hear
it in person — the Falcon gave me an
identity that I had never had before.”

OCTOBER 2019 TOTAL GUITAR

 Right atmosphere of walking into a church...
Inspired by Billy’s wow, that’s the best analogy I’ve ever
playing, Piston
guitarist Jack has come up with in a million years of
developed his own playing them. They have that space and
aggressive, hard rock reverb, it’s very church hally. And that’s
style on the Falcon what makes them so soundscapey and
cinematic, like reaching for more of a
Ennio Morricone tip, it was more
cinematic. Especially going through two
cabinets – the other guys in the band
say one sounds better, but I prefer the
width… and the volume! You just have
to know how to control it. There are
limits with how rock you can take it
– look at AC/DC, Angus didn’t play
those leads on a Gretsch. So that’s why I
got into hotter pickups and trying to
rein in the feedback. Ian [Astbury] calls
lw#d#jurzq0xsġv#jxlwduĩ#lwġv#ghĽqlwho|#
not for children! To play one of these,
you really have to mean it, be aggressive
and control it. These guitars get wild and
crazy at full-pelt in bigger rooms.
Wkhuhġv#qrwklqj#uhdoo|#olnh#lw1#83(#ri#wkh#
AC/DC sound is right there.”
Jack=#ģH{dfwo|$#Lw#pdgh#vxfk#d#glļhuhqfh#
when we changed from two Les Pauls to
one against a Gretsch. Our sound has
really opened up.”
46
Both of you have fairly streamlined
setups, sticking to just a few basic
ingredients…
Billy=#ģLġyh#ghĽqlwho|#ehfrph#pruh#
pragmatic over time. I guess I went
through the same route that most
shrsoh#glg#lq#wkh#;3v/#jhwwlqj#d#pdvvlyh#
rack of all bells and whistles. It was like
an enigma code-cracking device. I’ve
enjoyed going back to using regular
gear, I’m not a fetishist. I use these
Friedman Brown Eyes, which are like
the best Marshalls you’ve ever heard, in
conjunction with Chinese-made Vox
DF63v1#Ruljlqdoo|#Yr{#jdyh#ph#wkh#qlfh#
ones which were all hand-made. They
were too clean and honest, the cheaper
ones had more punch. I also used
Urodqg#MF0453v#iru#d#zkloh#Ğ#L#wklqn#p|#
original is actually sitting in deep
storage here so I will have to go say
hello. It’s probably the one I recorded
She Sells Sanctuary with!
ģHyhu|#jxlwdulvw#qhhgv#wr#Ľqg#dq#
overdrive they love – that’s the key.
Right now I use a Klon but not the two
million dollar one. Mine’s a remake and
I own a couple of the ones I like the best.
I also like the Lovepedal Kalamazoo.
Those two are similar yet dissimilar. I
got rid of a lot of my modulation... I
actually get the chorus put on out front!
I only control delay and overdrive.”

TOTAL GUITAR OCTOBER 2019

Jack: “My rig depends on the gig – I’ll
have either my Kemper or my Marshall,
which I prefer. I use a Voodoo Labs
Proctavia to get a beefy tone for solos. I
have a Custom Audio wah which I use
for a lot of the Jack White sounds, with
the boost cranked over some cool delay.
There’s a Pog I use for a couple of songs,
but anything more than that and things
get too complicated. I get scared when
I’m using more pedals, because know
that it means there’s more that can go
wrong. I don’t get nervous about playing
but I get anxious about plugging in and
getting nothing. That’s my worst fear,
nothing coming out and everyone
looking at me!”
Billy: “It’s happened to me all too
frequently. If you can get the sounds you
need without overdoing it, then less will
always be better.”

There’s a fair few Cult hits that utilise

an open D ringing against higher
notes on the G-string with a
generous helping of delay. Does
that ever feel like your secret
weapon, Billy?
Billy: “Yeah, it has this chime and makes
everything sound bigger! I saw AC/DC
really early on and even when they were
doing simple things, it always sounded
incredible. It wasn’t about the schoolboy
rxwĽw#ru#dq|#ri#wkdw#qrqvhqvh/#lw#zdv#wkh
guy on the Gretsch digging into his
guitar with heavy strings and the other
jx|#sod|lqj#wkh#vdph#ulļ#hovhzkhuh#rq#
the neck. Put those two elements
together and it sounded huge. I wanted
to sound like two guitarists, so I’d use
delay to make it all bigger. It was almost
olnh#kdp0Ľvwhg#frxqwu|#zrun/#sod|lqj#
bottom and higher strings against each
other. There was a lot of single-note and
vlpsoh#wkuhh0fkrug#vwxļ#hduo|#rq/#olnh#
Spiritwalker, and then I started coming
xs#zlwk#wkh#pruh#idprxv#ulļv#olnh#She
Sells Sanctuary with the droning D
string… which I guess you could say was
the money-maker! I’ve always been
pretty loyal to Boss delays once I got out
ri#wkh#udfn0prxqwhg#rqhv/#L#Ľqg#wkhp#
bomb-proof. I have mine going into the
front, I’m sure technically they sound
better in the loop, but I like a more raw
vrxqg1#Lw#grhv#pdwwhu/#doo#wklv#vwxļ#Ğ#zh#
zhqw#rq#wkh#urdg#lq#wkh#;3v#djdlqvw#jx|v
like Slash and Steve Stevens….”
And what did you learn from them?
Billy: “Steve would come out shredding.
He’d use delay to trick the ear, you’d
hear these little trails and I learned it
was the Eddie Van Halen thing with the
gluhfw rq rqh vlgh dqg hļhfw rq wkh
other. That’s how he got all that width.
You can dial it in pretty easily and it can
take your guitar from one dimension to
another level entirely. On the next tour,
Slash was there drinking and shredding
ha ha! The one thing I learned from
Slash was that no matter how much you
party – and he partied a lot – you should
dozd|v Ľqg wlph wr sudfwlvh1Ĥ
What kind of players influenced your
approach to leads?
Billy: “When I was growing up, I always
liked guitarists who wrote solos you
could whistle. That was the genius part
for me. I didn’t like the ones who just
played for themselves, the swots who
would stay at home and practice scales
without living life. They’d be brilliant
technically, of course, but they had no
soul. Listen to guitar players who have
lived a life… As a kid, I’d listen to Jimi
Hendrix. I think the drugs played him
with a little fear. I do admire technical
excellence but it doesn’t excite me. I like
“TO PLAY ONE OF THESE,
YOU REALLY HAVE TO
MEAN IT, BE AGGRESSIVE
AND CONTROL IT”
overbending. Billy Gibbons can make Above
one note sound more important than a Billy is hitting the
road with The Cult
thousand from anyone else. I’ve been
celebrating the 30th
playing with him a fair bit over the last anniversary of their
few years, when he starts talking about Sonic Temple album in 47
wrxulqj zlwk Khqgul{ lq wkh 93v/ wkdwġv October while Jack’s
some trippy shit. It’s like going right band Piston have
just released their
back to the source. If you know your
self-titled
history – there were guitar guys like debut album
Scotty Moore and then came Hendrix,
this monumental seismic shift in the
whole game.”
Jack: “Through The Cult, I’ve learned to
not worry about being technical because
playing for the song is the most
important thing. When I was younger, I
didn’t think that way. I just wanted to
put all my best licks into every solo.
Sometimes, a song will require fast
playing, but there’s no need for it a lot of
the time. There needs to be insecurity
and danger. My favourite solos and
guitar players are the ones who almost
sound like they’re second-guessing
themselves. I like to be able to hear that
danger; it shows we’re all human and
there’s fragility in there…”
OCTOBER 2019 TOTAL GUITAR
48
 COVER FEATURE

ON
YOUR DISC
Find audio tracks
for every example
on your Guitar
Skills CD
GU
IT
AR
S&

108

BA
CK
IN
GR
ICH
ARD
BARR
CHORDS
ETT WORDS CHRIS BIRD,
RICHAR
…AND HOW TO

D BAR
49

R
USE THEM
ET
T

and the styles of music they’ll

work best with to make yourself a
more rounded player
hatever kind of music you’re into, you doubtless

W
left
Barred E-shape
chords are a rock
play a few chords every time you pick up the
workhorse for a good guitar. Indeed, we’d argue that learning chords is
reason. Use them an open-ended, life-long process – there are
and love them. But
don’t let yourself be always new shapes to discover. It’s also worth
constrained to your taking time to rethink the chords you already
comfort zone.
There’s a world of nqrz1#\rx#vhh/#vrph#fkrug#vkdshv#dqg#glļhuhqw#kduprqlhv#zloo#vrxqg#
chordal magic to be more authentic in certain styles of music than in others. Get to grips
discovered!
with these nuances and you’ll become a more rounded player before
you can say C#m7b5b9.
So, with that in mind, this month we’re looking at a range of
glļhuhqw#fkrugv/#iurp#ehjlqqhu#ohyho#wr#dgydqfhg1#\rx#pd|#zhoo#nqrz#
plenty of these shapes already. If so, make it your mission to see how
wkh|ġuh#xvhg#lq#wkh#vw|ohv#ri#pxvlf#zhġyh#lghqwlĽhg1#Dqg#zlwk#rxu#wde#
lessons alongside, there’s more than enough to keep you busy until
next month. Have fun!

OCTOBER 2019 TOTAL GUITAR

 COVER FEATURE

O 0 0 O 0 O 0

1 1 1

01 2 3 2 3 4 2 3

DON’T LEAVE
HOME
E E6 E7
4 OPEN E BASED CHORDS
The E chord and these variations could fit well together in a blues song. The E6 makes

WITHOUT ’EM…
a great ending chord for Beatles style songs and the E7 is a nice way to lead into A.

X X 0 X X 0 X X 0

24 essential chords for beginners 1 2 1 1 1 1

3 3 4
asy shapes are the order of The variations give an idea of how

E the day here. So, if you take

nothing else from the entire
feature, make sure you’ve
got all of these chords down. We’re
orrnlqj#dw#hljkw#glļhuhqw#vkdshv=#
versatile these chords are.
Remember, even if they seem
simple, most of the shapes can be
transposed across the fretboard as
barre chords or as arpeggios too -
D
5 OPEN D BASED CHORDS
Dsus4 Dmaj7

Many a famous song has included these chords, so you’ll be in excellent company.
C, A, G, E, D, plus Am, Em and Dm. so there’s masses to learn. There are a few more variations hidden away here too – see if you can discover some!

X 0 0 X 0 X 0 X O 0 X O 0 0 X O

1 1 1 1 1 1 1

2 2 2 3 2 2 3 4

50 3 3 4 3 4

C C7 Csus4 Am Am7 Am6

1 OPEN C BASED CHORDS 6 OPEN A MINOR BASED CHORDS
The sixth string is muted on all three of these shapes. C7 is easy - just put your fourth The ‘sus’ chords shown with A major also work well with Am and Am7 offers up jazzy or
finger on the third string. Press down on two strings with your first finger in Csus4. jangly sounds, depending on your approach. Am6 has a darker flavour.

X O 0 X O 0 X O 0 0 O 0 0 0 O 0 0 0 O 0 0 0

2 3 4 2 3 2 3 2 3 2 3 1

A Asus4 Asus2 Em E7sus4 Emadd9

2. OPEN A BASED CHORDS 7 OPEN E MINOR BASED CHORDS
You will often find these variations side by side in songs. There are still many ideas yet Some of the most distinctive chords on the guitar, these variations are all about lush
to be discovered too – for example, try placing a finger on the first string. open strings. Used Neil Young, Metallica… and almost everyone else, too!

0 0 0 0 0 0 0 0 0 X X 0 X X 0 X X 0 0

1 1 1 1

1 1 2 2 2 2 2

2 3 3 3 3 3

G Gmaj7 G7 Dm Dm7 Dsus2

3 OPEN G BASED CHORDS 8 OPEN D MINOR BASED CHORDS
The G chord has an nice, open sound suited to acoustic guitar. Gmaj7 has a mellow, These variations fit together beautifully, or each could be used as the starting point
relaxed feel and G7 gives a bluesier feel. for a new idea. The Dsus4 chord we’ve already seen can work with these too.

TOTAL GUITAR OCTOBER 2019

 noel gallagher
The bantering Britpop
legend loves a retro
rhythm method

02
RETRO
POP
Put some of those open chords into
action alongside a few barres with our
60s pop inspired rhythm
he clean strummed chords Arctic Monkeys. They’re simple

T in our tab example have a

60s pop Yardbirds or
Stones-y vibe, but could be
equally at home in something
more contemporary like Noel
shapes, though the barre chords
(A, B and D) could pose a challenge
for some. Stick with them though
– you can move them around the
iuhwerdug#wr#sod|#lq#glļhuhqw#nh|v1#
VOLUME BASS MID TREBLE

CHANNEL OVERDRIVE It’s a simple sound. Just dial

in a basic clean sound with plenty of midrange,
REVERB

Gallagher’s High Flying Birds or Branch out further with ‘5’ chords. then just push the gain up so that it sizzles.

0 O 0 X X X X X X

1 1 1 1 1 1 1 1 1 1 1
5 7 10 5 7
1 2 2 2
51
2 3 4 3 4 3 4 3 4 3 4 3 4

G A B D A5 B5

OUTTA MY YARD TRACK 21

3
j
q =135 q q =q q
E G A

# ..

T . 0
0
0
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0
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3
3
3
3
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B
. 1
2
2
1
2
2
1
2
2
1
2
2
1
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2
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1
≥ ≥ ≤ ≤ ≥ ≤ ≥ ≥ ≥ ≥ ≤
E A B

# Play 4 times
..

T
0
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5
5
5
5
7
7
7
7 .
.
Photography: Javier Bragado/WireImage

1 1 1 1 1 0 6 6 0 8 8
2 2 2 2 2 0 7 7 0 9 9
B 2
0
2
0
2
0
2
0
2
0
7
5
7
5
9
7
9
7
3
≥ ≥ ≤ ≤ ≥ ≤ ≥ ≥ ≤ ≥ ≥
Manybandsofthisstylewoulduseanacousticguitartoplayamoreopen-stringbasedchordpart,withanelectricguitarprovidingthetightersoundingbarrechords.It’s
entirelyuptoyouhowyouapproachourrhythmthough.Noticetheopenstringsattheendofbars1to3.Theseenableswift,easychordchanges.

OCTOBER 2019 TOTAL GUITAR

 COVER FEATURE Stuart Braithwaite
Mogwai’s man crafts
layered sonic edifices

03
POST-ROCK
A mix of ambience and clashing dissonant
tones characterise this style of music
ost-rock tends not to rely side of rich harmonies and

P rq#edvlf#srzhufkrug#ulļv#
for weight and depth,
instead opting for layered
textures of chords, arpeggios and
distorted melodic lines. Chord
experiment with uncomfortable,
dissonant sounds too. All of the
chords shown below lend
themselves well to post-rock;
Amadd9 generates a touch of
GAIN BASS MID TREBLE REVERB

CHANNEL CLEAN We’ve used a neutral sounding clean tone with a tape
delay effect adding colour. Set at just over 400ms, the delay is a
types vary greatly, but err on the darkness too. post-rock trademark dotted eighth note at 110 bpm.

X X X X X X X X X X 0 0 X X 0

1 1 1 1 1 1 1 1
5 5 5 5

52
3 3 1 3 3
4 4 4 4 2 4
3 4

C5/G Cmaj7/G Am7 Gadd9 Fmaj7sus2 Amadd9

IT’S IN THE POST TRACK 22

q =110
C Cmaj 7

..
let ring throughout

T . 8
8
8 8
7
8

B
. 5
5
5
5

Am7

..
Play 4 times
Photography: Mairo Cinquetti/NurPhoto via Getty Images

T 8
5
8 8
5
8 .
B
7
5
7
5 5
.
3

Here we’re avoiding weighty bass notes, concentrating more on higher ethereal pitches which we’ve enhanced with delay and a little chorus. The arpeggios outline a melody
on the first string, going from the C note in bar 1 to B and A in bars 2 and 3.

TOTAL GUITAR OCTOBER 2019

 04
DISCO
Learn the trademark shapes at the heart nile rodgers
A chic-styled legend of
of the 70s pop and dance music style funky disco grooves

hese shapes typify the used, giving a clearer guitar sound

T guitar’s role in disco. It’s all

about choppy, staccato
rhythms and simple parts
combining to make a whole. These
are all barre chords, but you’ll
and allowing the bass to cut
through. Chic’s Nile Rodgers is the
undisputed king of disco,
pioneering the style in the 70s and
80s. Bruno Mars and Mark Ronson
GAIN BASS MID TREBLE REVERB

CHANNEL CLEAN Use a neck position single coil pickup for authentic Nile
Rodgers tones. He’d often record without an amp, plugging direct into
notice that the sixth string isn’t kdyh#ľrzq#wkh#ľdj#lq#uhfhqw#|hduv1# the mixing desk, so aim for a balanced sound with a slight treble boost.

X X X X X X X X X

1 1 1 1 1 1 1 1 1 1 1 1
5 5 8 6 7
2 2 2
53
3 1 1 1 1 2 3 4 3 4 3
4

Dm7 Am7/G Gm7/F F Bb/F A7sus4

FEELING CHIC TRACK 23

q =110
Dm7 Am7 Gm7
. ...
..
.

T . 5 5 5 5 5 5
¿¿ 33 3 3 3 3 3

¿ 33
6 6 6 6 5 5 3 3 3 3 3

B
. 5
7
5
7
5
7
5
7
5
5
5
5
3
3
3
3
3
3
3
3
3
3

1
≥ ≤ ≥ ≤ ≥ ≤ ≤ ≥ ≥ ≥ ≤ ≥ ≤
Am7 Dm7
..
..
Play 4 times
..

T
3 3 3 3 5 5
¿¿ 56 5 5 5 5
.
¿ 57
3 3 3 3 5 5 6 6 6 6
Photography: Carla Speight/Getty Images

B
3
3
3
3
3
3
3
3
5
5
5
5
5
7
5
7
5
7
5
7 .
3 ≥ ≤ ≥ ≤ ≥ ≤ ≤ ≥ ≥ ≤ ≥ ≤
Here’sanexampleofhowaguitaristplayingdiscomightarrangeachord-basedaccompaniment. Withonlythreeshapes,itprovesdiscoisasmuchaboutrhythmasitisabout
the chords you use. For a true Nile Rodgers vibe, use the tab to tell you which chords to play, but never hit more than two or three strings at a time.

OCTOBER 2019 TOTAL GUITAR

 COVER FEATURE

ROCK IN A HARD PLACE TRACK 24

05 q =80

MODERN
Dm Fsus 2 G5 Bb5
Play 4 times

.. ..

HARD ROCK
Learn the riffing tricks of Mark Tremonti,
T
B
E
B
G
D
A
.
. 2 3 2 0
0 0 0 0
5
3
5
5
5
7
5
5
7
5
5
7
5
5
5
5
5
11
10
8
8
11
10
8
8
.
.
D 0 0 0 0 3 5 5 5 5 5 8 8
Zach Myers and more with these hard
rock chord shapes
odern hard rock bands ‘post grunge’ sound than the Here we take the classic drop D one-finger powerchord and extend it into bigger

M such as Alter Bridge,

Shinedown and Black
Stone Cherry often use
drop D tuning (drop C# and drop C
too). The sus2 chord is a basic
common or garden powerchord.

0 0 X X X 0 0 X X X
fatter sounding shapes. Try to make more out of the interwoven melody of bar 1.

X X X X X

5
1 1 1
X X

8
1 1 1
X

1
powerchord with a major 2nd
lqwhuydo dgghg1 Zh dovr Ľqg wkh 1 1 1 3 3
root and 5th doubled in some 4
chords, expanding the shapes
3 1 1 1 1
potentially over two octaves or
D A D G B E D A D G B E D A D G B E D A D G B E D A D G B E D A D G B E
more and giving a fatter, more Dsus2 Dm Fsus2 Gsus4 G5 Bb5

X 0 0 0 X X 0 X O 0
54

06
1 1

2 2

INDIE JANGLE
3 3 4 3

G C Am7
Dial in a rich, chorus-drenched clean tone and try out X O X X O X X X O X
a mix of arpeggios and strumming for an indie vibe 1

2 3 4
hese shapes are fairly standard, but zlwk#wkh#Dp:1#Dqg#wklv#J#lv#d#vlpsolĽhg#

T do check out the C – we’re targeting a

kljk#J#qrwh#rq#wkh#Ľuvw#vwulqj#wr#
make it more jangly and sit in with
the other chords. The same thing happens
open G. It’s well worth experimenting with
glļhuhqw#yrlflqjv#ri#wkhvh#vkdshv#Ğ#dqg#
have a listen to Talk Of The Town by the
Pretenders to hear some of these in action.
B7
3

G5
1

Dadd11/F#
1

JINGLE JANGLE TRACK 25

q =129
G C D Am7 Play 4 times

# .. ..
let ring
let ring

T . 0
3
1
3
1
3
1
3
1
3
1
3
1 3
2
3
3
1
3
1
3
1
3
1
3
1 .
B
. 0
0 0 0
2
3
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2
3
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2
3
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2
3
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3
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3
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≥ ≤ ≥ ≤ ≤ ≤ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≥ ≤ ≤ ≤ ≤ ≤ ≥ ≤
This indie styleexampleismodelledafterTheSmiths(JohnnyMarr)andREM(PeterBuck),butalsoharksbacktoearlyPretenders(JamesHoneymanScott).Janglingopen
strings are the name of the game, sometimes picked, sometimes strummed. A chorus pedal does a nice job of recreating double-tracked recorded sounds.

TOTAL GUITAR OCTOBER 2019

 Jimmy page
When one fretboard just
ain’t enough, Led Zep’s
riff lord rolls out the
double-neck

07
CLASSIC
ROCK
Dial a medium drive tone and
d try out
these 70s rock inspired chord shapes
ote the slash chords’ three- or four-note shapes and

N alternative bass notes

(notes shown after the /
mark), giving a subtly
glļhuhqw#ihho#wr#edvlf#pdmru#
chords. For example, D5 and A/C#
slfn#Ľupo|#iru#d#wljkw/#irfxvhg#urfn
style delivery. Alternatively, make
use of the open sixth string in the E
and D/E chords for a weightier
impact, the way Jimmy Page does
GAIN BASS MID TREBLE REVERB

CHANNEL OVERDRIVE Aim for the mid-rich tones of 70s rock here - that’s
is the kind of move you’ll hear in in Led Zeppelin’s roof-raising before the high-gain madness of the 80s and 90s really kicked in, so keep
Queen’s One Vision. Use two-, classic Whole Lotta Love. the drive at a medium level for authenticity.

X X X X X X X X X X X O O X

1 1 1 1 1 1 1 1
5 4 7 7
1 1 1 1 1 1
55
3 2 3 4
2 3 4 4

B A/B D5 A/C# E D/E

TOP OF THE CLASS TRACK 26

q =118
B A/B B D5 A/C # D5

..

T . 4 4 4 2 4

B
. 4
4
2
4
4
2
4
4
2
2
2
2
4
4
2
7
5
7
5
7
4
7
5
7
5
1

E D/E E D/E E

# Play 4 times
..

.
Photography: Michael Putland/Getty Images

T 9 9 9 7 9 9 9 7 9 9

B
9
9
7
9
9
7
9
9
7
7
7
7
9
9
7
9
9
7
9
9
7
7
7
7
9
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7
9
9
7
.
0 0 0 0 0 0 0 0 0 0
3

This 70s rock style example is a cross between the Rolling Stones and Aerosmith, but also in the territory of Paul Kossoff of Free. A slash chord puts an alternative bass note
at the bottom of a chord, giving it a slightly different feel. This is great for creating riffs, as you will hear!

OCTOBER 2019 TOTAL GUITAR

 COVER FEATURE

Cory wong
Modern funk-meister
and master
chords-man

08
FUNK
Use these three-note shapes
h for
f
traditional funk style chord melodies
s with the dance-oriented to create melodic interest. Notice

A disco genre, funk guitarists

favour smaller chord
voicings using fewer
strings – mainly the higher pitched
ones. It’s also easier to move these
that the lowest note in each shape
isn’t a root note; looking at the D
chord, for example, you’ll see its
lowest note is F#. Still, it’s easiest
to think of it as a D chord rather
GAIN BASS MID TREBLE

CHANNEL CLEAN Funk rhythm is all about compressed clean tones. Go

REVERB

easy on the bass and dial in more presence in the mid and treble range.
small shapes around more quickly than as a D/F# inversion. Reverb adds ambience, so only add it if you want a less upfront sound.

X X X X X X X X X X X X X X X X X X

1 2 1 1 1 1 1 2
12 10 8 7
56 3 2 2 3

1 1
2
1 1 1

Am7 (no root) D C G Am7 G

FEEL THE FUNK TRACK 27

q =100
Am7 D/F # Am7 G/D

.. ...

¿
T . 121312 121312 121312 121312 121312 10
10
10
10
8
8
8
8
8
8
8
8
8
8
7
8
7
8

B
. 11 11 9 9 9 9 9 7 7

1
≥ ≤ ≥ ≤ ≥ ≤ ≥ ≥ ≤ ≥ ≤ ≥ ≥ ≤ ≥
Am7 G/D Am7 G

..

¿ ¿
T
5
5
5
5
5
5
5
5
5
5
3
3
3
3 5 5 5 5 5 3 3 3 3 .
5 5 5 5 5 4 4 5 5 5 5 5 4 4 4 4
.
Photography: David Redfern/Redferns

5 5 5 5 5 5 5 5 5
B
3 ≥ ≤ ≥ ≤ ≥ ≥ ≤ ≥ ≥ ≤ ≥ ≤ ≥ ≥ ≤ ≥ ≥ ≤
Thisfunkstyleexampleusesonlythreestringsatatime,givingafocusedsoundandleavingspacefortheotherinstruments.PlayedovertheAbassnotes,themovement of
the chords outlines a neat melody – primarily a funk device, but you’ll hear it on various Motown tracks, plus Prince and even Pink Floyd’s Another Brick in the Wall Pt2.

TOTAL GUITAR OCTOBER 2019

 Joe Pass
Leaves a jazz legacy
that no player
should pass by

09
JAZZY
EXTENDED
CHORDS
Use more complex sounding chords
h d to
outline jazz style melodies
hese shapes all lend rxwolqh d pruh ghĽqlwh fkrug

T themselves nicely to jazz

thanks to their complex
sounds. Diminished 7th
chords sound great as passing
chords – slightly dissonant shapes
change. They’re also ‘symmetrical’
– simply move any dim7 shape up
three frets and you’ll have an
inversion of the same chord. You’ll
have the same notes, but in a
GAIN BASS MID TREBLE REVERB

CHANNEL CLEAN Joe Pass’s guitar tones are generally pretty warm and
bassy, so roll of the treble and raise the bass a touch. George Benson
|rxġoo#odqg#rq#eulhľ|#wr#khos# glļhuhqw#rughu1# style tones are more ‘modern’, with more treble, compression and reverb.

X X X X X X X X X X X X X X

1 2 1 2 1 2 1 2 1 1
6 7 9 10 10 9
3 4 3 3 4 3
57
4 4 2 3 4
1 2 3 4
2 3 4

Am6/F# G#dim7 Am6 G#dim7/B Am6/C E7b9/D E7/D

PASS MASTER TRACK 28

j
3

q = 110 q q =q q
Am6/F # G # dim7

..

¿ ¿
T . 5
5
5
5
8
7
8
7
7
6
7
6
10
9
10
9

B
. 5
4
5
4
9
7
9
7
7
6
7
6
10
9
10
9

1 ≥ ≥ ≤ ≥ ≥ ≥ ≥ ≤ ≥ ≥
b
Am6 E 7 9/D E 7/D
.
..
Photography: Sergione Infuso/Corbis via Getty Images

¿ ¿
T
8
7
8
7
12
10
12
10
12
12
12
12
12
12
12
12
12
12 .
B
9
7
9
7
10
10
10
10
10
12
10
12
9
12
9
12
9
12 .
3 ≥ ≥ ≤ ≥ ≥ ≤ ≥ ≥ ≤ ≤ ≥
Thesejazzyextendedchordsarearrangedsothatthevoicingsfunctionnotonlyasanaccompanimentbutthemelodyitself.JoePasshasdemonstratedmasteryofthis
approach, as have more recent players like Gilad Heskelman and Kurt Rosenwinkel. Try to emphasise the downpicked chords for a driving, jazzy feel.

OCTOBER 2019 TOTAL GUITAR

 steve cropper
COVER FEATURE A legendary soul man of
many barre chords.

10
SOUL
A few two-note shapes is all you need to
start playing in the style of greats like
Steve Cropper and Joe Messina
oul and Motown players worry though! These note pairs

S such as Steve Cropper, Joe

Phvvlqd#dqg#Ghqqlv#Frļh|#
would often strip their
chords down to just two notes,
creating memorable melodic
invariably come from well known
standard shapes. Summoning the
soul vibe is just a matter of getting
comfortable with playing the
essential notes rather than
GAIN BASS MID TREBLE REVERB

CHANNEL CLEAN Dial in a light, bright tone with plenty of treble bite.
Go easy on the bass though - guitar rarely has much weight in soul
dffrpsdqlphqwv#dqg#Ľoov1#Grqġw# grabbing for the whole chord. mixes. Spring style reverb will give an authentic vintage vibe.

X X X X X X X X X X X X X X X X X X X X X X X X

1 1 2 3 1 1 2 3
5 8 7 5 7 11
2 2 2 2
58

E G G (no root) A B B (no root)

WE’RE SOULED TRACK 29

q =110
E G A
# .. œj j j
œ œ
.
let ring let ring let ring let ring

T . 5 8
7

B
. 4 6 6 7 9
4 7 7 6

# . B

..
let ring let ring let ring

T
5 9 7 11
.
9 9 8 11
.
Photography: David Redfern/Redferns

B
3

Though these are basically all the same movable shape, the tab allows you to see exactly where the two-note pairs have been cherry picked for the melodic demo piece. In
addition to the first and third string played together, you will find the fifth and third gives further possibilities. Simple, but very effective!

TOTAL GUITAR OCTOBER 2019

 30-DAY WORKOUT

11 GAIN BASS MID TREBLE REVERB

PROG-STYLE TAPPING
CHANNEL CLEAN Aim for a balanced tone without
too much top end. Use a compressor to even out
the volume. We used a delay set to 500ms.

Start with basic

ba shapes and use tapping to take your chord ideas to the next level
sing these simple chords and our audio example chords are simple – identifying cool sounding notes to

X X
U
X
as a starting point, try creating a chord
progression of your own, then tapping extra
notes or intervals as outlined in the tab. The

X O X X 0 0 O X
wds lv wkh fkdoohqjh1 Wkh Ľuvw Ľyh ri wkhvh fkrugv duh lq
G major (G A B C D E F#) so tap notes from this key for
your initial ideas.

X X

1 1 1 1
5
1 1 2

1 3 3 3 T 1 1 2 3

2 3 4

3 3 3 4

C D Em G Bm Fadd9

THE HOT TAP TRACK 30

q =110 59
C D Em G

# .. 3
3 ..
3
1 œ
T . 5
7
7 10
0
0 7
3
3 7 .
B
. 5
5
3
7 7
7
5
10
0
7
4
7 .
0 3
a m a m
m i m i
i i

Thiscanbetrickyatfirst,butfun!Bybringinginthepickinghandtotapnotesonthefretboard,wecanexpandchordsfarbeyondwhatthefrettinghandalonecanachieve.
CheckoutJoeSatriani,StanleyJordanandPlinitohearmore.Alittlecompressioncanhelpthetappednotespopoutmoreeasily,especiallyifyou’reusingacleantone.

GREATEST HITS! Six of the most famous chords in the history of rock
O X X X O 0 O 0
X
1 1
T 1
7 6

2
2 2 3 1 CAPO – 2nd fret

3 4 1 1 1 1 3 4 2
4 3 4 1 2
3 4

Fadd9 G7sus4
3 4

Em/maj9 E7#9 F#7add11 F#m7 (Em7 shape)

1 A HARD DAY’S NIGHT 2 JAMES BOND THEME 3 JIMI HENDRIX CHORD 4 HEMISPHERES 5 WONDERWALL
(THE BEATLES) Fret this and let it transport you Combining G and G# within the (RUSH) (OASIS)
This Fadd9 was played on a to a world of intrigue. Played by same chord was always going One hit of this chord with some Though forever associated with
12-string, which adds a lot to session guitarist Vic Flick, this to be interesting – and though light distortion and chorus and Oasis (when capo’d at the 2nd
the sound; the bass guitar adds chord must be one of the most this had been heard in jazz you’ll instantly be in the sonic fret) this is a staple Em7 chord
a different root note, plus universally recognised in the standards decades before, it territory of Rush’s Alex Lifeson. shape used by acts as diverse
there’s piano and John Lennon’s world. Combining a minor 3rd must have been mind blowing Alternatively, play it around the as Fleetwood Mac, Pink Floyd
acoustic guitar! Try the G7sus4 and a major 7th gives it its to hear it played on a Strat 5th and 7th frets for a Jerry and Smashing Pumpkins. A
as an alternative ‘solo’ voicing. contradictory sounding name. through a Marshall in 1967… Cantrell vibe. great chord in any key.

OCTOBER 2019 TOTAL GUITAR

 COVER FEATURE ben howard
The experimental
singer-songwriter makes
creative use of
finger-picked chords

12
FOLK
Take a look at a handful of shapes that
lend themselves to fingerstyle and flat-
picked arpeggios alike
otice that a few of these it up with a Cmaj7 or Bm7 as

N chords feature a D on the

3rd fret of the second
vwulqj1 Wklv jlyhv d ľrz wr
these chords when they appear in
sequence. If you don’t want this on
shown? And perhaps experiment
with playing the shapes with a
capo on the 5th or 7th fret. You’ll
change the key but the higher
pitch is great for a modern
BASS MID TREBLE REVERB

CHANNEL ACOUSTIC Your tonal concerns are simpler with an acoustic

amp. Start with the tone controls at their mid setting and add or take
every single chord, why not break indie-folk vibe. Just add ukulele! away bass, mid and treble to taste. Generally avoid extreme settings.

O O 0 O O X X O X X 0 0 X O O O X X

1 1
10
2 3 1 1 2
60
4 2 3 2 3 1 3 3 4
2
3

Em7 G Cadd9 Dadd9/11 Cmaj7 Bm7

FOLKY FOLK TRACK 31

q =169

Em7
# ..
G

œ
let ring throughout
T . 3 3

B
. 2
0
0
0
2
0 2 3
1

Cadd 9 Dadd 11
..
Play 4 times

T 3 3 .
.
Photography: Joseph Okpako/WireImage

0 0
2 4
B 3 3 5 5
3

Folk style fingerpicked chords often include fragments of melody or bassline to help the arrangement gel – artists like Ben Howard, Benjamin Francis Leftwich and Ed Sheeran
use these devices all the time. You could play our example fingerstyle or with a pick. The former is the folkier option, but flat-picking has a strident feel you might prefer.

TOTAL GUITAR OCTOBER 2019

 13
NEOCLASSICAL
Try out some chords as used by neoclassical
i l
pioneers Jason Becker and Yngwie Malmsteen
hese chords include the C and Cm together. Why not apply the approach used

T from the demo piece, but go on to

suggest a dramatic neo-classical style
chord progression when used
in the tab to the other shapes? Note that you
zloo qhhg wr xvh wkh Ľiwk vwulqj dv |rxu
starting point on most of these chords.

X X X
GAIN BASS MID

CHANNEL DISTORTION Opt for a mid-rich, distortion tone.

TREBLE

Don’t push the gain too hard or you’ll lose clarity and bite.

X X
REVERB

1 1 1 1 1 1 1 1 1 1 1 1 1 1
8 8 10 10 6 6
2 2 2 3 2

3 4 3 4 3 2 3 4 3 4

4 4

C Cm Bb B bm Eb E bm

IT’S A CLASSIC! TRACK 32

61
q =106
C 3 3 Cm 3 3
3 3 3 3
.. ..
3 3

3 3 3 3
PM throughout 3 3

. .
Photography Scott Legato/Getty Images

T 8 8

B
. 10 10
10
10
10
9
10
9 9
10
9
10
10
10
10 10 10 10
10
10
10
8
10
8 8
10
8
10
10
10
10 10
.
≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ ≥ cont. sim.
8 8 8 8 12 12 8 8 8 8 8 11 11 8

Ratherthanplayingfullchords,thearpeggiosinourriffspellthenotesoutoneanoteatatime.The‘parallel’majortominorchange(CmajortoCminor)isasneatwayto
generateakeychangeortoplayacoolvampoverastaticCbassline.ItwasalsooneoftheBeatles’harmonictricks–soit’sabroaderideathantheclassicalheadersuggests.

5 GREAT CHORDS IN ALTERED TUNINGS

X O O O O O O O O O O O O O X X O O O O

1 1 1
3
2 1 1 2 2

D G D G B D D A D G A D C G C F C E C A D G B E D A D F# A D
Cadd9/G D5 C Fm11 Gadd9/D
1 CADD9/G IN OPEN G 2 D5 IN DADGAD 3 C IN OPEN CADD11 4 FM11 IN DROP C 5 GADD9/D IN OPEN D
TUNING (DGDGBD) TUNING TUNING (CGCFCE) TUNING (CADGBE) TUNING (D A D F# A D)
This would give an Am7 in Move the fretted note from the Nick Drake’s From The Morning Check out John Mayer’s Neon Add a capo at the 2nd fret and
standard tuning, but this is 2nd to 3rd, 4th, then 5th frets to is in this tuning, which is again and you’ll hear this lovely Fm11 you have the makings of Joni
something very different. This get an idea of how Jimmy Page about moving one note around. chord about two bars in. Adding Mitchell’s Big Yellow Taxi under
is as much associated with came up with Kashmir. Some Put a capo on at the 3rd fret and an F bass note below what is your fingers. Yes, there is a bit
Keith Richards as E7#9 is with tunings facilitate moving one try the 2nd fret above it on the basically an A b sus2 chord more to it, but try sliding the
Jimi Hendrix, especially when note around, rather than using 3rd, then 4th, then 5th strings changes things completely – shape around and moving odd
played as a barre chord. lots of different shapes. for Pink Moon. like a slash chord. notes and you’ll find more!

OCTOBER 2019 TOTAL GUITAR

 CHORDS WHAT YOU WILL LEARN
How basic chords are built
Five different chord structures
A handful of arpeggio patterns

WHAT THE F?

H
opefully you’ve played through some of the tab examples in

CHORD our cover feature and picked up some new chords along the
way. One thing many guitarists struggle with, however, is
how chords are constructed and what their names mean, so

STRUCTURES
Here’s a little theory explaining how to
we’ll try and explain it here for you. It can be dry at times but
it’s worth persevering. Remember, once you understand the basics, you
can apply it to any key – that’s a boatload of chords for you!
Our lesson’s based in C in this case, but it’s fairly easy to play in another
key. You just need to know how the major scale is constructed, and that’s
build some of the most common chords exactly where we’ll begin…

C MAJOR SCALE 1 C MAJOR TRACK 33

O O O

1 C

2 2 1 1
1 2 3 4 5 6 7
3 3 2 2

3
C D E F G A B T
1 3 5

4 4 4 1 3 5 3
2
0

C major scale C major scale

Try playing these two shapes of the C major scale. The idea is to learn to
move the shapes around the fretboard. For example, if you move either You’ve played the C major scale, now here are the notes. Major chords are made up
of the first, third and fifth notes of the major scale; in C that’s C, E and G – which you
shape two frets higher you’ll be starting on a D note – so you’d be playing can see played as an arpeggio in the tab.
the D major scale. Another two frets higher and it’d be E major.
62

2 C MAJOR 7 TRACKS 34 3 C7 TRACKS 35

Cmaj 7 C7

1 2 3 4 5 6 7 1 2 3 4 5 6 b7
C D E F G A Bb
b7
C D E F G A B 1 3 5 7 1 3 5

b7
T 0 T
1 3 5 1 3 5
0 0 3

7 3
2
3
2

To play a Cmaj7 chord all we have to do is simply add the seventh note of the major
C7 is just like Cmaj7 except that the seventh note is lowered by a semitone to B b .
scale (B) to a C chord (C E G). Different key signatures have different notes, but the
This is known as a flat 7th (written b7th or b7).
formula is always the same.

4 C MINOR TRACKS 36 5 C MINOR 7 TRACKS 37

Cm7

1 2 b3 4 5 6 7 1 2 b 3 4 5 6 b7
Cm

C D Eb F G A B C D Eb F G A Bb
1 b3 5 1 b3 5 b7

1 b3 5 T
3
1
0

1 b3 5 b7 T
3
1
0 3

C minor is like C major but with a b 3rd. Guitarists often duplicate notes in the Finally, Cm7 takes a Cm chord and adds a b7th. Any arrangement of the notes is fine,
chords we play because we’ve got so many strings to cover – and three notes as long as you play the right ones! For example you could play C-G-B b -E b -G and it’d
might sound a little bit thin at times! still be Cm7.

TOTAL GUITAR OCTOBER 2019

 TG TIPS
64
Words: Rob Laing
WAYS TO… IMPROVE
07 YOUR RHYTHM TONE
Liven up your chords now by trying out these easy steps
hythm playing is the
R most important skill
in guitar, and yet
often the most
overlooked tonally.
Making yourself heard and hearing
your own guitar are vital, but so is
creating inspiring sounds for your
rhythm parts. Here are some
fundamental, simple ways to
enhance your rhythm tone
right now…
MEETING IN
1 THE MIDS
The rhythm section’s bass guitar,
kick drum and toms occupy a
lot of low end, so it makes sense
for you not to be injecting yourself
Photo: Marie Korner
into that all the time when you
can complement elsewhere.
We all like bottom end but you
TOTAL GUITAR OCTOBER 2019
need to be aware what happens to
it in the context of a band mix
– your rhythm may shine brighter
if you remove some of the low
end frequencies.
You’ll need to be aware of the
room you’re in when playing – and
your amp settings will probably
need to be changed from when you
play at home or in the practice
space. Most of all, as you get louder
vwduw uroolqj rļ wkdw orz hqg rq wkh
amp and let the mids and higher
frequencies come to the fore.
An overdrive with a mid
shaping control proves very useful
here too – you have more room to
manoeuvre in the mid frequencies
than you might think, so look to
shape and boost this rather than
volume and gain to separate your
guitar from the other instruments.
above
Rhythm is our
most essential
skill as players
but is often
overlooked when
it comes to tones
However when there’s another
guitarist in the mix you need to
make space for each other, so one
of you may go fatter and lower
(Malcolm Young) to bed in behind
a spikier mid-hump sound for the
other player (Angus).
2AGOES
BIT OF WAH
FAR
A wah isn’t just for funk players
and Kirk Hammett’s solos – it’s far
more versatile than it gets credit
for. Cocking a wah into one
srvlwlrq jlyhv |rx dq lqvwdqw Ľowhu
for upper midrange frequencies.
You might want to bring it in and
out for parts when you need to
stand out more, or just have it on
permanently! Experiment with
Ľqglqj d vzhhw vsrw rq wkh wuhdgoh
that isn’t too nasally.

3DON’T PLAY THE
SAME THING
Your rhythm tone can be about
what you play just as much as how
it sounds. Is there a second
guitarist? Playing duplicate parts
fdq#eh#jrrg#exw#vr#fdq#Ľqglqj#
new voicings of chords with
inversions, picking arpeggios or
even using a capo to stay distinct
from each other.
4GAIN UP,
VOLUME DOWN
You can play softer but, if you
really want to serve the song and
the other musicians in your band
during the times when you need to
take a subtle background role as a
rhythm player, you need to take
control of your pedals.
For example, letting a
powerchord or arpeggiated chord
ring out with more gain than usual
under the other guitarist’s part to
create a moody dramatic
atmosphere and a thicker band
sound. In this sense you’re
creating a ‘pad’ of sound but you
can’t overpower everyone else. So
turn down – don’t leave it to the
YOUR RHYTHM MAY SHINE
BRIGHTER IF YOU REMOVE SOME OF
THE LOW END FREQUENCIES
THE CHORDS ISSUE
soundman. The master volume on
your overdrive can be changed
whenever you want to use it.
COLOUR YOUR
5 CHORDS
Fkruxv/#ľdqjhu/#wuhpror/#urwdu|#
vshdnhu#Ğ#juhdw#hļhfwv#iru#
providing atmospheric textures to
your chord parts. A tremolo set to
dotted eighth notes can create a
idqwdvwlf#vwxwwhulqj#hļhfw#iru#
vshflĽf#fkrug#sduwv#dqg#dovr#wdph#
your level under the vocalist (it’s
fxwwlqj#rļ#kdoi#wkh#vljqdo#diwhu#doo,1#
It can also work in a much subtler
way with a faster speed too. But
lwġv#qrw#mxvw#hļhfwv#shgdov#wkdw#
can be great tools for your
chordwork either…
MAKE TIME AT
6THE BAR
The tremolo/vibrato/whammy bar
is often thought of as something
that enters the spotlight during
leads, but that’s just self-imposed
restriction. It’s great for adding
expression to your chords with a
little squeeze – especially to spice above Mdp#kdv#wkhp#Ľwwhg#wr#klv#Ohv# 65
up the tail end of them as they Cocking a wah Pauls for this very purpose.
into one position
ring out. Stone Gossard of Pearl gives you an But Kevin Shields of My Bloody
instant filter for Valentine has a Jaguar and uses it
upper midrange in a much more pronounced way
frequencies as he strums. In tandem with
hļhfwv#dqg#jdoorqv#ri#ihhgedfn#kh#
make sit sound like “a mermaid
falling into a black hole,” as critic
John Doran memorably put it.
Shoegazers even have a name for
his technique – ‘glide’ guitar.
A LITTLE REVERB
7 GOES A LONG WAY
This is about the art of balance –
too much reverb on rhythm guitar
parts can undermine your
articulation so be wary with tight
heavy metal picking, for example.
\rx pd|#Ľqg#wkdw#d#gulhu#dwwdfn#
works better there.
But for clean work and mild to
medium overdrive, using some
reverb can add space and
atmosphere to your rhythm work.
Keep it short and sweet with a
‘room’ sound and a quick fade to
avoid chords blending and things
jhwwlqj#pxvk|1#Mhļ#Exfnoh|ġv#Grace
and Scotty Moore’s slapback echo
on Elvis’s early work is are great
examples of how clean guitar
uk|wkpv#fdq#ehqhĽw#iurp#uhyhue1
OCTOBER 2019 TOTAL GUITAR
 CL ASSIC
T R AC K

THE JIMI
HENDRIX
EXPERIENCE
66
HEY JOE
Sort out your sus4s from your
add9s with TG ’s tab of Jimi
Hendrix’s defining version of
this classic track

TOTAL GUITAR OCTOBER 2019

 THE JIMI HENDRIX EXPERIENCE / HEY JOE

I
t may surprise you that a song so
famously recorded by a guitar
wizard of Jimi Hendrix’s calibre
GET THE SOUND
can be distilled down to just a
few chords. Jimi’s take on Hey Dial in that clean, raw Hendrix tone and solo with swagger
Joe sees him working his magic,
o really nail the Jimi Hendrix sound,
embellishing shapes with clever melodic
Ľoov#dqg#vxv#fkrug#h{whqvlrqv/#exw#dw#wkh#
vrqjġv#fruh#duh#mxvw#Ľyh#hdv|#rshq#fkrugv=#
Get the sound CHANNEL CLEAN T a Fender Strat is an absolute must.
That said, there are many guitars
equipped with a neck-position single-coil
7 6 6 pickup that will give you a similar vibe, if
C, G, D, A and E. If you’re not that
not the exact sound. The guitar tone is
surĽflhqw#dv#d#jxlwdulvw#vlpso|#mdp# 3
remarkably clean, so use the clean
around these chords – it’s an easy way to 1 channel of your amp with the gain set
jam along with the track. low. You’ll need to employ a touch more
GAIN BASS MID TREBLE REVERB drive for the solo, so either use a
Jimi’s version of the song has more
separate amp channel, an overdrive
than enough meat on the bone for more pedal, or set your amp to a crunchier
h{shulhqfhg sod|huv wrr1 Wkrvh Ľoov dqg tone and back off your guitar’s volume to
extensions appear throughout the track keep the tones clean.
and there’s arguably more to learn from
them than from Jimi’s solo. Whether
|rxġuh sod|lqj wkh wudfn iru wkh Ľuvw wlph Jimi was of course
or taking a fresh look at the tab, see if you famed for using a
Fender Stratocaster;
can identify the basic chords and scale opt for a neck position
vkdshv Ľuvw1 Lwġv d juhdw zd| wr single coil pickup for a Effects
understand the basics of how the song is ballpark tone. DISTORTION PEDAL
pieced together. Gain 50% Level 50%

CHORDS SCALES
his song is based on a simple repeating chord sequence of C, G, D, A, E. Each of here’s a lot of confusion as to Hey Joe’s key

T T
67
these chords is played in at least two positions on the fretboard, often with sus4 or signature (E major, E minor and G major are
dgg<#hpehoolvkphqwv1#Ohduq#wkh#Ľyh#pdlq#fkrugv/#lghdoo|#lq#wzr#srvlwlrqv/#dqg# popular suggestions). The confusion arises
you’ll see how the embellishments are simple changes to the main shapes. because no single key contains all the notes, and
X X X 0 O X X X
just playing the chord progression takes you
1 1 1 1 1 1 1
through two keys. Our tab is in G major (G A B C
7 5 5
2 2
G#H#I&,/#vr#wkh Ľuvw wkuhh fkrugv +F0J0G, irup d
1 1 1 3 T 1 1 2 3 3 4
LY0L0Y#surjuhvvlrq1 Wkh D dqg H fkrugv vxjjhvw d
2 4 2 nh|#fkdqjh#wr H pdmru +D wr H lv d LY0L
3 4 3 4 4 progression) but it’d be pointless to notate a key
G G Gadd9 Gsus2 G5/D A change every bar, so we stay in G. Jimi’s solo uses
the E minor pentatonic scale (E G A B D). This
X X X X X X X X 0 0 X X
scale is in key over the C, G and D chords, but
1 T 1 1 1 1 1
5 5 5
occasionally dips out of key over A and E. Still,
2 2 2
this ‘minor scale over major chord’ is a typical
3 4 3 4 3 3 1 1 2 3 4
blues trick that explains why Jimi never sounds
2 3 4
out of key.
A5 Aadd9 A/C# C C D

X X O X X X O X X X O 0 O X O
1 1 1 1 1 1 1 1 1
1 1 1 1 1 1 1 1 2 12
7 7 4
1 1 2 3 2 2 2 1 1 2
3 3 4 2 3 4 3

3 3 3 3
Guitars and backing: Steve Allsworth / Photo: David Redfern /Getty

D5 Dsus4 D/A E E E
4 4 4 3 3 4 4 4 4

X X X O 0 O O 0 0 O O X X X X X X X X 4
1 1 1 1 1

2 3 4 2 4 1 1
9 4
G major scale E minor pentatonic
1 3
scale
2 3 3

E7 (no root) Esus4 E7sus4 E5 E/B F#/C#

OCTOBER 2019 TOTAL GUITAR

 CL ASSIC
T R AC K
HEY JOE

THE JIMI HENDRIX FULL

Words and Music by Billy Roberts
Copyright © 1962 Third Palm Music and Ensign Music
Copyright Renewed

EXPERIENCE HEY JOE

All Rights Administered by BMG Rights Management (US) LLC
TAB All Rights Reserved. Used by Permission
Used by permission of Hal Leonard Europe Limited

THE JIMI HENDRIX EXPERIENCE HEY JOE Intro

q = 84
N.C. E G 5/D F #/C # E5 N.C.
3
j j
œ œ j j
œ j #œ
œ
œ #œ

0 0 0
T 3 5 5 3
4 2 0 0 1
0
1 6 7 7 6 4 4 7
7
7 7
7
7
0 2 2 5 4 2 2 7 9 7 9 9
B 0 0
4 5
0
5
0
4 2
0
2
0 0

The pick-up bar is played with quite a bit of pick attack, but the first half of bar 1 is much softer. In the second half of bar 1 the open sixth string notes are gentler than the
chords they alternate with. These small details are essential if you want to recreate that Hendrix vibe.

THE JIMI HENDRIX EXPERIENCE HEY JOE Verse 1

C5 G D5 A5 E

#
3 3 1/4
3

œœ
j ..
. œ ..
j
0:08
œ œ œ œ
68 T 1 3 3 ¿¿ 1/4 0
¿¿ ¿¿
¿ ¿¿
0 4 4 7 7 1 1 1 1 1
0 7 5 7 7 7 7 7 7 2 0 0 2 2 2 0 0 2
B 3 3 3
3
2
35
5 7 7 9 7
5 5
7 7
5
7 7
5 5 0
2 0 0 2
3 0
2
0
0 2
0
1

C Gadd 9 3 D5 A5 E
3 1/4

#
3 3 3
3

j
œ

¿¿
5
T 5
5
3
4
3 3
4
3
4 7 7
0
2 2
0
2 2
0
1
0
1
0 0
1 1
1/4
5 5 5 5 7 7 7 2 2 2 2 2 2
B 3 3 3
3 3 5
5
5
7 9 0
3
2
0
2
0 0 3 0 3
5

C5 Gadd 9 D Aadd 9
3

# j
œ

3 3 3 3
0 0 0 5 5 7 7 7
T 1
0
1
0
1 1
0
2 4
3
4
3
4
3
4
0
0
1
0 0 4
3
4
3 3
4
3
4
3
4
7
7
5
6
5 5
6
5
6
2 2 2 5 5 5 7 7 7 7 7 7 7 7
B 2
0
2
0
3 3
3
7 9
8

E 3 C Gadd 9

# 3 1/4
...
j
j œ
œ œ œ
œ œ
T ¿¿ 0 5 3

¿¿ ¿
9 0 0 0 0 1 3 3 3 3 3
9 9 9 1/4 1 1 0 0 0 1 0 4 4 0 0
9 9 9 0 2 2 2 2 0 0 5
B 0
7
5 7 5
5
3
0 2
0
0
0
3 3 3
11

TOTAL GUITAR OCTOBER 2019

 THE JIMI HENDRIX EXPERIENCE / HEY JOE

THE JIMI HENDRIX EXPERIENCE HEY JOE Verse 1 (cont’d)

D A E
3 3 3 3

# 3
j
3

œ
j œ
œ
#
5 0 0 0 0 0
T
¿¿
7 5 7 5 5 5 5 0 0 0 0 0 0
7 5 7 5 6 6 7 7 1 1 1 4 0 1 1 1 1 1
7 7 5 7 5 7 7 7 7 7 2 2 2 0 2 2 2 2 0 2
B 7 9 9 7 9 7
5
2
0
2
0
2
0
2 0 2
4 4 4 5
2
14

Jimi plays different embellishments on every chord here, but the basic chord progression is really simple: C, G, D, A, E. If the tab is a challenge for you, simply jam around these
chords. If you’re following the tab, try to spot the chord shapes Jimi bases his riffing on.

THE JIMI HENDRIX EXPERIENCE HEY JOE Verse 2

C G D A E
3

#
0:55

¿
0 3 0
T 1
0
3
4
3
4 7 6 6 1
0
7 9
9
9 9 9
9
9
5 7 7 7 7 7 2 7 9 9 9 9 9 9
B 3 3
3 3 3 5
5 5 7 8 9 7
5
7
5
7
5 5 7
2
0
7 7 7 7
1
69

D/A E/B A/C # E/B C G D5 Aadd 9

3

j
œ
œ
PM
0 7 7 7 7 5 5
T 9
9
7
7
7
7
7 7
7 7
9
9
9
9
9
9
9
9
7
7
9
9
10
9
9
9 0
1
0 4 0 0 0 0
3
2
3
2
5
6
5
6
5
6
5
6
5
6
5
6
9 7 7 7 7 9 9 9 9 7 9 11 9 0 5 5 5 5 5 0 0 2 2 4 7 7 7 7 7 7
B 3 3 3 5
3
2 0
4

E C Gadd 9

#
3
j
œ
œ
j
œ
3 3

T
4 4 4 4 4 4 4 4 2 4 4 4 4 4 4 0
¿¿ 0 5 5 3

¿
5 5 5 5 5 5 5 5 0 0 0 0 0 1 1 3 3 3 3
4 4 4 4 4 4 4 4 4 2 4 4 4 4 4 4 1 1 1 1 0 0 4 4 4 4 2
6 6 6 6 6 6 6 6 6 2 2 2 2 2 5 5 0
B 0 0
2
0
2
0 3 5
3 3 3
3
7

D5 A 3 3 E

# œ
j

T
0
¿¿ BU
¿
3 3 3 3 3 2 2 2 2 2 2 2 0 0
2 2 2 2 2 2 2 2 2 2 2 2 1 1 1 1 12 12 (13)
0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 12 14 14
B 0 0 0 0 0 0 0 2
0
2
0
14
10

OCTOBER 2019 TOTAL GUITAR

 CL ASSIC
T R AC K
THE JIMI HENDRIX EXPERIENCE HEY JOE Verse 2 (cont’d)

C Gsus 2 D A

œ
0 5 3 3 5 5 7 5
T 0
1
0
1 1 0 1
1
0 0
0 3
0
3
0
3
0
3
0
3
0 7
7
7 7 7
5
6
5
6
5
6
5
6
5
6
2 2 2 0 2 2 0 0 0 0 7 7 9 7 7 7 7 7 7 7
B 0
2 2
0 0
2
0
3 3
3
7 9 9 9
5
12

E E7

# œ
j
œ

œ œ
0 0 0 0 0 0 0 2 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
T 9
9
9
9 9 9
0
1
0
1
0
1
0
1
0
1
0
1
0
1 2 4
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
9 9 9 9 9 2
B 7 7 7
0
7 7 2
0
15

Jimi stretches out a bit more here, using D, E and A triads (three-note chords) for a bit of variation over the E chord in bar 4 as well as bluesy Red House-style 6th intervals in
bar 8. Once again, your aim is to spot the chord shapes Jimi is riffing around and how these ideas are linked together.

THE JIMI HENDRIX EXPERIENCE HEY JOE Solo

Gadd 9
~~~~~~~ ~~~~~
C D A E
j j
70
#
œ œ œ ~~~~~~~~~~
.
œ œ œœ 1/4
~~~~~ ~~~

3
~~~~~~ œ
BU ~~~~~~~ ~~~~~~~~~~ ~~~~~~ 12 12 ~~~~
1:41
BU 1/4
12
T 15 (17) 15 12 BU BD 15 (17) 15 12 BU 12
14 (16)(14 )12 12 14 (16) 14 12 14 12 12 12 12
14 14 14 12 14
B 0
14 14
1

E7 Gadd 9
~~~~~~~~~~~~~~~~~~~~
C

œ
j
œ
j . 1/4
~~~~~~~~~~~
#

BU BU ~~~~~~~~~~~~~~~~~~~~ 12 12 12 12
1/4
~~~~~~~~~~~~
T 15 (17) 15 (17) 12 15 12 12
14 (16)
12 15
14
12
14 12
BU 0 14
B
4

Dsus 4
j ~~~ A N.C. E7

j
œ
j ~~~~~~~~~~~~~~~ ~~~~
# œ œ

BU BD ~~~ ~~~~~~~~~~~~~~~~
3
~~~~~~ 3
BU 12 15 (17 ) (15 ) 12 BU 12 BU
T 14 (16 )
12
(
14 16 )
15 15
14 (16) 12 12
14 16 14 16 14
B 0
16 14
10
14
6

This solo is a great example of how to take a basic lead concept and develop it with new ideas. Bar 2 partly repeats bar 1 but finishes on a root note (E). The whole second half
of the solo is a development on the themes of the first half.

TOTAL GUITAR OCTOBER 2019

 THE JIMI HENDRIX EXPERIENCE / HEY JOE

THE JIMI HENDRIX EXPERIENCE HEY JOE Middle

N.C.
#
n # # # #
2:03 œ
T
B 3
0 1 2 3
2 3 4 5
2 3 4 5
4 5 6
1

# j œ
j
œ œ

œ
0
T 9
7
7
7
7 7 7 9
0 9
9
7
7
9
9
9
9
7
7
9
9
9
9 9 9 7 9 9 7 9
9 9 7 9 7 7 7 7 7 9 9 9 9 7 9 9 7 9 9 9 9 7 9 9 7 9
B 7
0 12
3

This classic line is based around a walking bassline that connects C, G, D and A (the first four chords of the repeating progression). This way Jimi still outlines the sound of the
chord progression, even though he’s playing single notes.

THE JIMI HENDRIX EXPERIENCE HEY JOE Outro

C G D A Aadd 9 A E7

2:15
8 8 7 7 7 5 0 0 0 0 0 0 0 0 0
71
T 9 9
8 8
7 7
8 8
7
8
7 7
7
7 7
5
6
5
6
5
6
5
6
5 5 5 5 5 3 5 0 0
1 1
10 10 7 9 9 9 9 7 7 7 7 7 7 7 7 7 2
B 8
5 5 5 5 5
5 5
1

C Gadd 9 D A

0 0 0 0 0 0 0 3 3 5 5 3 5 5 5 5
T 1
0 0 0 3 5 3
4
3 3 3 3
5
3
4
3 3 3
4
3
4
3
4
3
7
7
7 7
7
7 7
5
6
5
6
5
6
5
6
5
6
5
6
0 2 5 5 5 7 7 7 7 7 7 7 7 7 7 7
B 2
0
2
0
0 3 3 3
3
7 9 9
5
4

E C Gadd 9

0 0 0 0 0 0 5 3
T 1
0
1
0 0
1
0
1
0
1
0
1
12
12 12 14 12 12 14 12 12 5 5 5
3
4
3
4
2 2 2 2 2 2 12 12 14 12 14 14 5 5 5 5 5
B 0
2
0
12 14 15 14 14 3 3 3 3
2 3 3 3 3
0
7

D A E
1/4

#
j
œ

5 5 0 1/4 0 0 0
T 7
7
7
7
7
7 7
5
6
5
6
0
1 2 4
0 0 0
1
0
1
0 0
1
0 0
1
0
0
0 9 9 9 7 7 7 7 2 2 2 4 2 0 2 2 2
B 9 7 5
5 5 0 0 0
2
0
2 2 2
0
10

OCTOBER 2019 TOTAL GUITAR

 CL ASSIC FULL TRACK + BACKING (TRACKS 38-39)
This song comes with a full demo track and a backing
track (minus guitar) on your CD. Simply insert the disc in

T R AC K your player, press play and jam along guitaraoke style!

THE JIMI HENDRIX EXPERIENCE HEY JOE Outro (cont’d)

N.C. E D/A E

# ..
n # # # #
.
0
T 9
9
9
9
7
7
7
7 9
9
9 9
0
9 9 9 7 7 7 9 9 9 9
B 3
0 1 2 3
2 3 4 5
2 3 4 5
4 5 6 7
0
13

A/E E E7 A/E E C Gadd 9 Dsus 4 A5

j
# œ

œ
0 5 3 5 3 5 3
T 9
10 10
9
9
9
9
9 9
9
9
9
9
9 9
9 9 9 9 9
1
0
1
0
0
0
3
4
3
4
3
4
3
4
3
4
5
4
3
4
3
2 2 2 2
9 11 12 12 12 12 11 11 9 5 5 5 5 5 5 5 0 2 3 2 2 2 2
B 3 3
3
0 0 0 0
3 0
16

E N.C.

# 3

72
n # œ #
0 0 0 0 0 0 0
T 0
1
0
1
0
1 1
0
1
0
1
0
1
0
2
0
1
0
2
0
1
0
1
2 0 0 2 2 2 2 2 2 2 2
B 2
0
2 2
0 12
3
0 1 2 3
2 3 4
19

E E7 E Esus 4 E 7sus 4 E

.. œ
j
..
œ .. œ
j

# # ..
3
0 0 0 2 4 4 0 0 0 0 BU 0 0
T 0
1
0
2 4 4
3
4
3
4
0
1
0
2
0
2
0
2 2 (4 )
0
2
0
1
2 2 0 2 0
B 5
2 3 4 5
4 5 6 2
0 0
2
0
22

#
N.C.

# # #
œ n #
T
B 3
0 1 2 3
2 3 4 5
2 3 4 5
4 5 6 7
25

Once again, Jimi cycles through the main chord progression, constantly inventing new ideas to prevent the chords from sounding stale. If you want to improvise your own
ideas, perhaps follow Jimi’s approach of playing rhythm over C, G, D and A, but using E minor pentatonic lead ideas instead of the E chord.

TOTAL GUITAR OCTOBER 2019

 ROCK
SCHOOL

THE METERS
CISSY STRUT
Take a look at Rockschool’s Grade Two
arrangement of this classic track
epitomising late 60s New Orleans funk
riginally written as a piece of Rockschool’s tab focuses on the two

O music for The Meters to open

sets with, Cissy Strut has since
risen in prominence to become
the band’s most famous track. It’s also
a fantastic piece of music to help you
pdlq#ulļv1#Wkh#rshqlqj#ulļ#lq#edu#4#lv#
essentially a C minor pentatonic
phrase, however, there are some
glļhuhqfhv=#e|#ehqglqj#wkh#9wk#iuhw#H b
note by a quarter-tone Nocentelli hints
develop groove and feel. The bass dw#dq#H#qrwh/#lpso|lqj#d#Ġgrplqdqwġ#F:#
doubles Leo Nocentelli’s guitar line fkrug#lqvwhdg#ri#Fp:>#wkh#J0J0D#
rhythmically, though not always phrase on the sixth string along with
melodically, and, in the absence of a the B b and F/C chords in bar 2 further
vocal line, Ziggy Modeliste’s drums lessens the blues feel, bringing a
have freedom to play around with sweeter twist to the track that verges
space and timing. on light funk or even gospel.
74

Whether you’re taking your first steps on guitar or

moving into further/higher education, a Rockschool
Grade will improve your playing ability whilst you
learn iconic tracks from the world of popular music.
For more info visit: www.rslawards.com
facebook.com/rslawards
instagram.com/rslawards
@RSLAwards @mikegoodmanguitar
CISSY STRUT
Words & Music by Arthur Neville,
Leo Nocentelli & George Porter
© Copyright 1969 Marsaint Music Incorporated.
Ardmore and Beechwood Limited.
All Rights Reserved. International Copyright Secured.

THE METERS CISSY STRUT TRACKS 40-41

q = 89
C7 Bb F/C
/
b
1/4

.
T . 6
6
6
6
5
6
5
6
.
1/4
5 3 7 7 5 5
5
B 6 3
3 3 5
3
5
3
1

C7 Bb F/C
/
b
Words: Mike Goodman Photography: Tim Mosenfelder/Getty

1/4

..
.
T
6
6
6
6
5
6
5
6 .
.
1/4
5 3 7 7 5 5
5
B 6 3
3 3 5
3
5
3
3

TOTAL GUITAR OCTOBER 2019

 FULL TRACK + BACKING (TRACKS 40-41)
This song comes with a full demo track and a backing
track (minus guitar) on your CD. Simply insert the disc in
your player, press play and jam along, guitaraoke style!
THE METERS / CISSY STRUT

THE METERS CISSY STRUT (cont’d) TRACKS 40-41

C7
. ‰

T 5 5 3 5 3 5 5 3
5 5 5 5
3
5

T 5 5 3 5 3 5 5 3
5 5 5 5
3
7

T 5 5 3 5 3 5 5 3
5 5 5 5
B 3
9
75

. ‰

T 5 5 3 5 3 5 5 3
5 5 5 5
3
11

C7 Bb F/C
/ C7

b
1/4 1/4

‰ ‰ ‰ ‰
.
6 6 5 5
T 5 3
1/4 6
7
6
7
6
5
6
5 5 3
1/4
5 5
B 6 3
3 3 5
3
5
3 6 3
3 3 5
3
5
13

Bb F/C
/
C7

b
1/4

. .
6 6 5 5
T 6
7
6
7
6
5
6
5 5 3
1/4
5
3 6 3 3 3
3 3 5 5
16

There are no difficult fingerings or fast licks here but some ‘syncopated’ phrases may prove tricky. This means notes that are ‘in between’ the main musical pulse are
emphasised – and getting the feel is a bit of a challenge. Practise slowly with a metronome before building speed. Listen to how the guitar part sits with the bass and
drums and aim for a relaxed feel.

OCTOBER 2019 TOTAL GUITAR

 JA M
T R AC K

JAM TRACK PLAY GUITAR WITH A BAND

JAZZ
FUNK
With its disco beats and demanding chords,
this musical fusion will help develop groove
he fusion of jazz and funk cleans, while others experimented

T appeared in early ’70s USA,

pioneered by jazz pianist
Herbie Hancock before being
taken up by jazz luminaries (Brecker
Brothers, George Benson, Lee
zlwk qhz hļhfwv ri wkh wlph olnh
fkruxvhv/ ľdqjhuv dqg dxwr0zdkv1
High-gain settings weren’t common,
but the style has evolved – if you opt
for distortion, aim for a glassy,
Ritenour, Tower Of Power) and moved compressed medium drive with some
out of America. Considered to be a bit delay and reverb for smoothness.
of a sell-out by purists, the style had Our track moves between Bb
disco-based rhythms, early synth Mixolydian in the verse and Bb minor
sounds and technical challenges for in the chorus. Take a look at the
the improvising musician. scales, chord shapes and our typical Jazz funk guitar icon
Guitar tones were varied: some lick before taking a look at the chord George Benson
76 players stuck to traditional jazz chart and jamming along.

SCALES CHORDS
ur backing track opens in Bb Mixolydian. ith only eight chords to learn, our track isn’t too challenging to play over –

O Don’t worry about this scale’s technical

name – just follow the dots in the shape
shown here as you play over the verses. There’s a
W many songs in the genre employ far more involved harmonies. Still, take a
look at the chords and practise any shapes that are new to you to get the
most out of the jam track.
key change to Bb minor as you reach the chorus,
so use the natural minor scale for more melodic
X X
licks or the blues scale for the funkier and
bluesier lines. 1 1 1 1 1 1 1 1 1 1 1 1 1 1
6 6 6 8
2 2 2
1 1 1 1
5 5 3 4 3 3 3
2 2 2 1 1 1 1 1 2 1 1

3 2

4 4 4 4 3 3 3 3 3 4 3
Bb7sus4 Bb7 Ebm7 Fm7
4 4 4 4

Bb Mixolydian Bb natural minor X X X

mode scale 1 1 1 1 1 1 1 1 1
10 6 8 7
Guitars and backing: Kit Morgan Photo: Rob Verhorst/Getty

1 1 1 1 1 1 2 2 3 3 3 2 3
6
2 3 4 3 4 4

3 3 3

4 4 4 4
Gmaj7 Bbm7 Gb9 F7#5#9

Bb blues scale

TOTAL GUITAR OCTOBER 2019

 BACKING TRACK (TRACK 42)
This song comes with a backing track on your CD.
Simply insert the disc in your player, press play and
jam along, guitaraoke style!
JAM TRACK / JAZZ FUNK

JAM TRACK JAZZ FUNK LICK TRACK 42

q = 96 1. 2.
B b 7sus 4 Bb7 B b 7sus 4 Bb7 B b 7sus 4 Bb7

.. . . .. .
. # œ.
. b n# . .
T . 3 . 1 3

B
. 1
1 3
3 4 5
3 5
6 3
6
3
3
BU
(4) 5
. 3
1 3

4 5 6

More of a riff than a lick, this typical funky groove works just as well here in our jazz-funk track as it would in a purer straight funk or disco context. Take note of
the notes marked with dots. These are to be played staccato, which means they should be cut short and played with a snappy attack.

CHEAT SHEET
JAM TRACK
Tempo 96bpm
Time signature 4/4
Key/scale Bb Mixolydian /
Bb minor

VE RS E 77

||: Bb7sus4 / / / | Bb7 / / / |

| Bb7sus4 / / / | Bb7 / / / :|| x4
CH OR US
| Ebm7 / Fm7 / | Gbmaj7 / Fm7 / |
| Ebm7 / Fm7 / | Bbm7 / / / |
| Ebm7 / Fm7 / | Gbmaj7 / Fm7 / |
| Ebm7 / Fm7 / | Gb9 / F7#5#9 / ||
DR UM SO LO
||: N.C. / / / | / / / / | / / / / | / / / / :|| x4

After looking at the chords, scales and our riff, take a moment to think about how you’ll approach playing over the track with a broader perspective.
You could ebb and flow with solos as the track builds and backs off, or, alternatively, switch between light funky chords and short melodic phrases.

OCTOBER 2019 TOTAL GUITAR

 TURN
A ROU N D

THE TURNAROUND LICKS OF THE BLUES GIANTS

JEFF BECK
Emulate this electric guitar genius with five tab
examples, plus a specially recorded backing track
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78 xqltxh#dqg#qrz#wudghpdun#vrxqg1#Lqghhg/#lwġv# lq#d#ulfk#ryhugulyh#zlwk#d#vsodvk#ri#uhyhue#dqg#
wklv#dssurdfk#wkdw#zhġoo#eh#orrnlqj#dw#lq#wklv# ohwġv#jhw#sod|lqj$

1 BECK TO BASICS TRACK 43

3

q = 81 q q =q q
F/G G E b maj 7 F
~~ . ~~~~~~~~~~
1/4
1/4 1/4 3 w/bar
j j
œ œ
nœ
j
.
. . .
~~~~ 1/4
~~~~~~~~~~~
w/bar

T 0 0 ¿ 1/4
0 3 0 0 0 0
1/4
0 5 3 0 3
BU
3 5 (7)
3 6
BU BD
5 (7) (5 )
0 0 3 0 0 0 0 3 0 3 0 3 5 5
B 3 3 3 3

Thisistheclosestwe’llgettochordplaying,playingopenstringsoveralowGnoteonthesixthstring.You’llnoticethebouncy‘swing’feelisrestrictedtothe16thnotes
(semiquavers),leavingtheeighthnotes(quavers)andquarternotes(crotchets)unchangedwithastraightfeel.Thisreallyhelpstogivethephrasescharacter.

2 DEVELOPING MELODIES TRACK 44

E b maj 7 b
F/G
~~~~~~
G5
. ~~~~E /F~~~~~ F
Guitars and backing: Richard Barrett Photograph: Scott Legato /Getty

w/bar

œ. œj œ w œ. b b œ ~~~~
j
# . . œ

. 3

3
~~~~~~
w/bar
BU ~~~~~~~~~~~~~ ~~~~~
T 4 5
3 6 6 8
10 12
11 13 (15) 11 13 [13 ] 11
12 10
3 5 10 12 12 12
B

Thisideatakesarhythmandassignsittotwosimilarphrases,imitatingthewayJeffpreferstodevelopmelodiesratherthanjustfireoffscalepatterns.Playingfingerstyle
enablesyoutoreallydiginattimes,foranexpressive‘snappy’feel.Thefinalnotestruckfirmlybeforeaslidedownthestringaddsatouchofquirkiness!

TOTAL GUITAR OCTOBER 2019

 FULL TRACKS (TRACKS 43-48)
These tab examples come with audio tracks
on your CD. Simply insert the disc in your player,
press play and jam along, guitaraoke style!
THE TURNAROUND / JEFF BECK

3 WHAMMY BAR AND FINGER VIBRATO TRACK 45

E b maj 7
F/G
~~~~~~~~~ ~~~~
G F

#
œ
j
œ
j b nœ
j
j j
~~~~~ ~~~~~~~ ~~~~~
w/bar

œ œ
. .
BU ~~~~~~~~~~ BU BD ~~~~~~~~~~~~~~~ 3
~~~~~ ~~~~~~~ ~~~~~~
w/bar

BU BUBD
T 13 (15) 10 (11) (10) 8
10 12 12 0 3 5 (7) 5 (7)(5) 3 0
3 [3 ]
B

We’re less rhythmic and more melodic here, though the phrase still has two recognisable halves. After a more sustained first half, bar 3 features an accented faster phrase,
that flies by, to be superseded by a held F note. If your guitar has a whammy, give it a wobble here, then a dive just as the note fades out.

4 CHORD FRAGMENTS TRACK 46

E b maj 7 E b/F
√
F/G G F

# ~~~~ j b 1/4
. ~~~~~
w/bar

œ
j
. œ
j
nœ . œ
j œ
j

. .
15 15
~~~~~~ grad
6 6 1/4
~~~~~~~
w/bar

BU BD BU
T
¿
15 17 17 6 8 6
14 (15) (14) 12 12 14 (16) 10 12
17 14 8 8 10 12 12 10
B

79
Jeff really knows his way around all the chord fragments and inversions found on the fretboard, and this example demonstrates the way he often embellishes single note
lines. You’ll notice the pattern from bar 1 is moved to fit over the Ebmaj7 chord in bar 3, before a final melodic phrase.

5 BEND IT LIKE BECK TRACK 47

√
F/G G

. ~~~~~~~~ ~~~~~
# nœ
j
j j
œ
.
œ
.
BU ~~~~~~~~~~~~~~~~~~~~~ BD ~~~~~~~~~~ ~~~~~~~
BU BD BU
T 18 (20) [20] (18 ) 15
14 (15 ) (14) 12 12 14 12 14 (15 ) 12
13 15
14
B
1

E b maj 7 F
(
#
w/bar
~~~~~~~~~ ~~~~~~~~~~~ ~~~~~~~
œ
j . œ
j .
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
6 3
w/bar

13 13 13 13 13 13
T 15 15 15 15 15 15 13 11 11 13 [13 ]

B
3

=The opening melodic line, complete with wailing string bend, breaks into the kind of rapid phrasing (in bar 3) that would actually be harder to play with a pick. You can keep
the notes separate, or, alternatively, play a little messy and let the notes ring out together. It’s up to you!

OCTOBER 2019 TOTAL GUITAR

 ACOUSTIC
TRACKS 49-53

FIVE BLUES
RUN CHORDS
Essential chords to
fuel your creativity
X X

1
9
2

3 4

B7
X X

1 2
9
3 4

82
MAKE THE GRADE
New Rockschool acoustic syllabus launched
Bdim7

R
X X

1
egular readers will and vintage classics from artists Debut syllabus. The pieces in 8
recognise Rockschool lqfoxglqj#Ere#Pduoh|/#Sdxo#Zhoohu/# each grade book can be used 2 3 4
as our partners from Hg#Vkhhudq/#Ndvh|#Pxvjudyhv/# for both the Grade Exam and
wkh#Ohduq#Wr#Sod|# Django Reinhardt, Robert Johnson, Shuirupdqfh#FhuwlĽfdwh/#zkloh#
vhfwlrq>#qrz#wkh# James Taylor and Nick Drake. wkh#whfkqlfdo#frqwhqw#dqg#
music grades provider Grades one to eight are covered ohqjwk#ri#slhfhv#duh#ghvljqhg#
kdv#odxqfkhg#lwv#eudqg0qhz# lq#vhsdudwh#errnv#+iurp#†481<<,/# so candidates can demonstrate
Dfrxvwlf#errnv/#Ľoohg#zlwk#prghuq# dqg#wkhuhġv#dovr#d#ehjlqqhu0ohyho# the required assessment criteria. Em6/B

OUT OF THE LOOP

Ed Sheeran to retire his trusty sample pedal?
7
1

3
1

2
1 1

N
o guitar player has done
more to popularise the
looper pedal than Ed
Sheeran. Indeed,
whatever you think of his music,
it’s hard to think of a
contemporary guitarist who is
more well known on the planet
right now.
As a live performer, Ed’s looper,
Towards the end of his set on
wkh Ľqdo gdwh ri klv 5930vkrz
Divide World Tour in Ipswich, B7
Ed told the crowd: “This might
X X
be the last loop pedal gig.”
Wkh Fkhzlh LL zdv ghvljqhg e| 1
7
his tech Trevor Dawkins and is
2
vdlg wr ihdwxuh d Ervv UF053 dqg
d Flufxodu Odev Prelxv soxjlq> lw 3 4
helps Ed to build intricate layers
Photo Europa Press News/Getty

dļhfwlrqdwho| qlfnqdphg Fkhzlh for songs in his set. So without it,

LL/ lv d kxjh sduw ri wkh Vxļron
songsmith’s sound. But now
he’s gone public with plans to
retire the custom unit.
are we looking at Ed forming a
band around him like he did at
F#7
wkh 534: EulwvB Ru vrphwklqj
ohvv suhglfwdeoh/ shukdsvB
 ACOUSTIC
ChelseaWolfe
THE CALIFORNIAN SINGER-SONGWRITER TALKS ABOUT THE EQUILIBRIUM OF
LIGHT AND DARKNESS ON HER NEW ALBUM, BIRTH OF VIOLENCE
helsea Wolfe was lying on a
C frqfuhwh#ľrru/#khu#khdg#vslqqlqj1#
Lw#zdv#edfnvwdjh/#Vhdwwoh/#wkh#Ľqdo#
show on a seemingly interminable
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chorus for The Mother Road#fdph#wrjhwkhu/#dqg#
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ri#wkh#exv1#L#hqghg#xs#zulwlqj#wkh#vrqjv#
wkdw#zrxog#ehfrph#Birth Of Violence1Ĥ
Zkhq#wkh#euhdn#fdph/#Zroih#krohg#xs#
in her home in the North Californian
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wkrvh#lghdv1#Wkh#zulwlqj#zdv#Ľqlvkhg#e|#
Iheuxdu|/#exw#Zroih#kdg#douhdg|#irxqg#
the emotional tenor of Birth Of Violence on
wkh#urdg#zkloh#ģgd|guhdplqjĤ#derxw#
krph1#Pd|eh#wklv#lv#zkhuh#wkh#whqvlrq#rq#
Birth Of Violence comes from always being
vrphzkhuh#exw#qhyhu#dw#krph1#
ģLw#ehfdph#wklv#uhfrug#ri#dq#
dzdnhqlqj>#wkh#ehjlqqlqj#ri#d#shuvrqdo#
khdolqj/Ĥ#h{sodlqv#Zroih1#ģL#qhhghg#vrph#
wlph#dzd|#wr#fuhdwh#shuvrqdo#ulwxdov#dqg#
khdowklhu#kdelwv/#vr#wkdw#L#fdq#attempt to
take these things with me when I start
Photography:John Crawford Nona Limmen
wrxulqj#djdlq#wklv#idoo1#Wlph#zloo#whoo/#exw#
Lġyh#ehhq#uholvklqj#wklv#wlph#rļ/#uhdglqj#
dqg#ohduqlqj#d#orw/#dqg#zulwlqj#d#wrq1Ĥ#Iru#
Zroih/#zulwlqj#lv#lwv#rzq#uhzdug1#Vkh#
dssurdfkhv#vrqjzulwlqj#ylvxdoo|1#ģL#zulwh#
d#orw#ri#p|#pxvlf#zlwk#p|#h|hv#forvhg#dqg#
wkhvh#ylvlrqv#dqg#ylvxdov#lq#p|#khdg/#exw#
TOTAL GUITAR OCTOBER 2019
Words Jonathan Horsley
riwhq#lq#d#ixfnhg#xs/#olnh/#Qdwxudo#Eruq#Nloohuv#
phhwv#Gdylg#O|qfk#nlqg#ri#zd|/Ĥ#vkh#odxjkv1#
ģVrphwlphv#lwġv#pruh#Zhuqhu#Khu}rj#phhwv#
Kd|dr#Pl|d}dnl/#wkrxjk/#vr#lw#edodqfhv#rxw1#
Gdunqhvv#dqg#pdjlf1Ĥ
Zroih#eulqjv#rwkhu#uhdo0zruog#frqfhuqv#lqwr#
vrqj/#wrr1#Little Grave was written from the
shuvshfwlyh#ri#d#fklog#zkr#glhg#lq#d#vfkrro#
vkrrwlqj1#Erde is another of Wolfe’s love songs
wr#qdwxuh1#ģL#wklqn#wkh|ġuh#jhwwlqj#d#olwwoh#pruh#
ghvshudwh#dv#wkh#ghvwuxfwlrq#ri#Prwkhu#Qdwxuh#
lv#ehfrplqj#pruh#lqwhqvh1Ĥ#Zroih#zurwh#wkh#
lion’s share of the acoustic guitars on Birth Of
Violence#rq#d#Wd|oru#7491#Little Grave saw her use
d#Vx}xnl#fodvvlfdo#jxlwdu#vkh#jrw#dw#khu#orfdo#
jxlwdu#vkrs1#Zroih#wdonv#derxw#zulwlqj#iurp#
IN DREAMS
Wolfe on writing from the subconscious
“I’ve struggled with sleep problems and nightmares
since childhood. So much so that my parents admitted
me to a sleep research centre to figure it out – turns
out I had an overactive imagination. In adulthood that
has manifested as insomnia and sleep paralysis. The
space between being awake and falling asleep is often
saturated with lyric and song ideas, so I force myself
out of bed to at least write them down, if not record
some kind of melody idea. With sleep paralysis, the
place between sleep and waking is unclear and the
figures from my nightmares are still in the room…”
ģvrphsodfh#hovhĤ#dqg#khu#vrxqg#kdv#wkh#
glvhperglhg#ihho#ri#d#guhdp1#
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Zroihġv#yrfdo#vw|oh#hyroyhg#iurp#sod|lqj#
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wkurxjk#wkhp1#D#Ervv#53[O#orrs#vwdwlrq#kdv#
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Birth Of Violence#zdv#uhfrughg#dw#Zroihġv#
krph#zlwk#orqj0wlph#frooderudwru#Ehq#
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semi-hollow each going through a
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wkhq#glvwruwlrq2ix}}#zklfk#lv#frqvlghuhg#
wkh#Ġzurqjġ#rughu#+oryh#wkdw,#dqg#
jhqhudwhv#wklv#uhdoo|#vsdfh|#gurqh1Ĥ#
Birth Of Violence might have grown
eh|rqg#Zroihġv#h{shfwdwlrqv#exw#lw#
uhwxuqv#wr#wkh#ixqgdphqwdov#ri#khu#
vrxqg/#khu#yrlfh/#khu#dfrxvwlf1#
 INTERVIEW

85

“MY ONE SOLACE WAS TO PLAY

MY ACOUSTIC GUITAR ON THE BACK OF
THE BUS. I ENDED UP WRITING THE
SONGS THAT WOULD BECOME
BIRTH OF VIOLENCE”
OCTOBER 2019 TOTAL GUITAR
 LEARN
TO PL AY

OPEN-MIC SONGBOOK
LEWIS CAPALDI
SOMEONE YOU LOVED
Get your fingerpicking technique kick-
started with our guitar arrangement of this
song’s piano arpeggios
omeone You Loved was Lewis sxw#|rx#rļ>#wkh#zkroh#vrqj#fdq#eh#

S Fdsdoglġv Ľuvw klw/ sxwwlqj klp

dwrs wkh vlqjohv fkduwv iru dq
lpsuhvvlyh vhyhq zhhnv lq wkh
dxwxpq ri 534; dqg vhhlqj klp euhdn
wkurxjk lq wkh XN lq wkh surfhvv1
sod|hg#xvlqj#rqo|#|rxu#wkxpe#dqg#Ľuvw#
Ľqjhu#Ğ#yhu|#dffhvvleoh1#
Wkh#ruljlqdo#uhfruglqj#lv#lq#Gb#exw#
zhġyh#wudqvsrvhg#lw#wr#wkh#nh|#ri#F#wr#
pdnh#lw#d#olwwoh#elw#pruh#jxlwdu#iulhqgo|1#
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rq jxlwdu1 Rxu wde lv sod|hg Ľqjhuvw|oh Ğ#lwġv#hdv|#wr#irujhw#zkhq#wkh#iuhwwlqj#
exw |rx ghĽqlwho| vkrxogqġw ohw wkdw srvlwlrq#lv#vr#idu#iurp#wkh#fdsr1#

CHORDS
qh#dgydqwdjh#ri# X X X X X X X X X X X X X X X X X X X X

O Ľqjhuslfnlqj#lv#wkdw#|rx
grqġw#dozd|v#qhhg#wr#iuhw ixoo
fkrug#vkdshv/#vr#wkh#rshq#
12
2 3
12
2 3
8
2
1
10
2 3
8
1

srvlwlrq#F#dqg#J#fkrugv#fdq#eh 2
iuhwwhg#xvlqj#mxvw#|rxu#wklug#Ľqjhu
rq#wkh#urrw#qrwhv1#Zhġyh#vkrzq
wkh#ixoo#vkdshv#khuh#Ğ#uhdg#wkh wde
wr#lghqwli|#zklfk#vwulqjv#wr#slfn1
C (no root) G (no root) Am (no root) F (no root) Fsus2 (no root)

X O O 0 O 0 X O 0 O X X X X O

1 1 1 1 1 1 1

2 1 2 3 2 2
Guitars and backing: Phil Capone Photo: Javier Bragado/Getty

3 2 3 3 4 3 4 3

C G Am F Fsus2 Dm

SOMEONE YOU LOVED

Words and Music by Lewis Capaldi, Benjamin Kohn, Peter Kelleher, Thomas Barnes and Samuel Roman. Copyright © 2018 BMG Gold Songs, BMG Rights
Management (UK) Ltd. and Sony/ATV Music Publishing Allegro (UK). All Rights for BMG Gold Songs and BMG Rights Management (UK) Ltd. Administered by
BMG Rights Management (US) LLC. All Rights for Sony/ATV Music Publishing Allegro (UK) Administered by Sony/ATV Music Publishing LLC, 424 Church
Street, Suite 1200, Nashville, TN 37219. International Copyright Secured. All Rights Reserved. Used by permission of Hal Leonard Europe Limited.

TOTAL GUITAR OCTOBER 2019

 BACKING TRACK (TRACK 54)
This song comes with a backing track (minus guitar) on
your CD. Simply insert the disc in your player, press play
and jam along, guitaraoke style!
LEWIS CAPALDI / SOMEONE YOU LOVED

Intro Am
C G Am F Fsus2 I was getting kinda used to being Repeat Chorus
F
Verse 1 someone you loved Bridge
C G Dm Am
I’m going under and this time
Am F
Verse 2 And I tend to close my eyes
C G G
I fear there’s no one to save me When it hurts sometimes
C I’m going under and this time
G Am Dm
This all or nothing really got a way of Am F
I fear there’s no one to turn to I fall into your arms
Am F
C Am G
Driving me crazy G
I’ll be safe in your sound ‘til I come back around
C G This all or nothing way of loving
I need somebody to heal, somebody to know Am F
Am F Got me sleeping without you Repeat Chorus x2
Somebody to have, somebody to hold C
C Now, I need somebody to know
G
It’s easy to say, but it’s never the same G
Outro
C
Am Somebody to heal
I let my guard down
I guess I kinda liked the way Am
G
F Somebody to have
And then you pulled the rug
You numbed all the pain F
Am
Just to know how it feels 877
I was getting kinda used to being
Chorus C G
It’s easy to say but it’s never the same
F C
C G someone you loved
Now the day bleeds into nightfall Am
Am I guess I kinda liked the way
F
And you’re not here to get me through it all F
C G You helped me escape
I let my guard down and then you pulled the rug

LEWIS CAPALDI SOMEONE YOU LOVED Intro/Verse TRACK 54

C G Am F Fsus 2
q =55

let ring throughout

12 12 12 12 8 8 8 8
T 12 12 12 12
12 12 12 12
9 9 9 9
10 10 10 8
12 12 12 12 10 10 10
B
1 i p i p i p i p i p i

1. 2.
C G Am F Am F Fsus 2

.. ..
œ œ œ œ
T . 0 0 0 0
0 0 0 0 1 1 1 1 . 1 1 1 1

B
. 3
0 0 0 0
0 0 0 0
0
2 2 2 2
2
3
2
3
2
3
2
3
. 0
2 2 2 2
2
3
2
3
2
3
0
3
3
3 1 1
i p i p
p

The intro is outlined in bars 1 and 2. It’s a simple alternating pattern between the first finger (i) and thumb (p) – just take it slowly at first as you gradually develop your timing.
In bar 3 (that’s verse 1) you’ll need to play a ‘pinch’ – where two notes are played simultaneously with your first finger and thumb.

OCTOBER 2019 TOTAL GUITAR

 THE GAS 90

STATION REAL WORLD REVIEWS OF THE

BEST NEW GEAR

Welcome to the GAS (Gear Acquisition Syndrome*)

Station! Every issue, TG scours the market for the
hottest new gear and brings you transparent reviews
that you can trust. From the smallest of accessories
that make your life easier, to big investments such as
brand new guitars, amps and effects pedals – if it’s
88 worth your attention, you’ll find it here! 98
HOW WE TEST BEST BUY AWARD
TG Best Buy Awards are
reserved for stand-out
CURATION NO SNAKE OIL products that earn a five-star
Our product selection is \ou won’t Ľnd us getting rating. This is the best, most
driven by our love of gear.
We select the most exciting
hung up on hokey mythology
or nonsense marketing
exciting new gear that you
need to check out 090 START ME UP
Five new products to get you started
products on the market every speak: we aim to bring you
month to bring you opinions bullshit-free opinions on the
you can trust. gear you’re interested in. 090 CORT G290 FAT
Boutique tones and features for £549?
FACE-VALUE REVIEWS WE CAN’T BE BOUGHT
We’re not gear snobs here at
Total Guitar. We judge it on
TG review scores are a true
reľection of our experts’ 094 BEETRONICS SWARM FUZZ
whether it looks good, sounds opinion on the product A fuzz harmonizer with a buzz surrounding it
good and plays well – not by they’ve been testing. You’ll BEST FOR…
the name on the headstock. never Ľnd a rating in our
mag that has been bought
Different guitarists have
different needs. This badge
highlights a particular strength
096 LANEY IRT15H-2
and paid for. High gain at an affordable price
that a product has in a TG Test
or Group Test, so you can
*WHAT IS GAS?
Gear Acquisition Syndrome
REAL WORLD REVIEWS
We test every product under
choose what’s best for you
098 TG TEST: FENDER SQUIER
CLASSIC VIBES
is the guitar-player’s
never-ending urge to acquire the conditions that they were
new gear, irrespective of designed for. For example,
The popular range returns as a trio of vintage
whether they actually need it. if an amp is designed to be
Don’t pretend you don’t played loud, rest assured BEST flavours with a Strat, Tele and Jazzmaster
have it – we all do!
that we’ll have tested it at FOR…
rehearsal/gig volumes! 104 TONEWOODAMP
Add eight effects to your acoustic without pedals?
We’re all ears!
SUPERB, A BEST BUY EXCELLENT ABOVE AVERAGE KIT SOME ISSUES POOR

TOTAL GUITAR OCTOBER 2019


01
02
START ME UP!
Five new products to fuel your GAS this month…
IK MULTIMEDIA
AMPLITUBE BRIAN MAY
1 2
It’s Brian May’s turn to have
the full-on AmpliTube
modelling treatment.
Collaborating with the Queen
legend at every stage of the
process, IK Multimedia has
lovingly modelled every one of
May’s live and studio rigs and
made these iconic tones
available on Mac, PC, iPhone and
iPad. The plugin debuts 11 new
models, with two amps, three
cabinets, and up to six effects.
It even has an option to
emulate the sound of the Red
Special on a stompbox.
(£110, ikmultimedia.com)
ELECTRO-HARMONIX
MOD 11
Doing for modulation what
EHX’s ingenious Canyon
did for delay and Oceans 11
did for reverb, the Mod 11
houses 11 different modulation
effects in one small enclosure,
using similar controls to access
its features. You can dial in
vintage chorus sounds and
keep it subtle, sure. Or go nuts
with the “FILT” setting’s classic
analogue synth madness. We
love the Univibe-inspired
setting, bringing chorus,
overdrive and vibrato together
for ‘60s rock chaos.
(£141, ehx.com)
03
ROCKBOARD
ISO POWER BLOCK V10
3 4
Power up to 10 effects
pedals with this new
beauty from RockBoard.
Woah! Wait a minute, are we
really describing a power brick
as “a beauty”? Well perhaps
after it has liberated you from
the bane of high frequency
interference, even you will be
whispering sweet nothings into
its highly filtered power slots.
LEDs will let you know if there is
a short. It ships with doubling
cables for 18V effects. It may
seem a little pricey, but trust us,
it’s absolutely worth it.
(£119 approx, rockboard.de)
TC ELECTRONIC HALL OF
FAME 2 X4
TC Electronics has added
four pressure-sensitve
MASH footswitches for
toggling between tones, eight
presets and Shimmer reverb.
The MASH footswitches make
for really intuitive control but
this is all about the reverb.
There are 10 types, space for
six TonePrints, plus that
Shimmer reverb – pioneered by
Brian Eno and Daniel Lanois –
which layers reverb up an
octave, delaying it behind the
dry signal for ethereal, spaced
out tones.
(£205, tcelectronic.com)
GAS STATION
04
05
89
MOOER CT-01
HEADSTOCK TUNER
5
This neat, little tuner clips
on to the headstock of
your guitar or bass and
gives you a fast, accurate
reading on it’s bright,
easy-to-read digital display. The
CT-01 is affixed via a 180º hinge,
so you can manoeuvre it to a
convenient angle instead of
awkwardly contorting your
neck just so you can see it while
you tune up. Feed this sucker a
3V lithium battery and you can
have your guitar in – what the
heck – an open G tuning in the
blink of an eye.
(£19, mooeraudio.com)
OCTOBER 2019 TOTAL GUITAR
 t h e ga s
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90

ToTal GuiTar OctOber 2019


CORT
G290 FAT £549
Is affordable boutique possible?
Cort makes its case
e’re always looking
W
for an excuse to buy
another guitar to add
to the collection,
right? But we also
have a contradictory impulse.
Many of us are looking for the one
– the do-it-all wunderaxe, the
Swiss army knife of six-strings,
the workhorse weapon of tone…
you get the picture. Wouldn’t it be
nice if we could develop as players
with one well-chosen instrument
that can pretty much cover
everything we need. We think we
might have a candidate here.
Cort has been building a rep for
high quality electrics in the
mid-range price bracket. This
looks like a distillation of that from
wkh Vrxwk Nruhdq Ľup/ rq vshf dw
THIS G290 IS VERSATILE AND
PLAYABLE. FAT TONE INDEED
least. Visually it’s a treat; a swamp
ash body with an Antique Violin
Exuvw ľdph pdsoh wrs +rqh ri wzr
dydlodeoh Ľqlvkhv,1 Wkh erow0rq
birdseye maple neck is a stunner
that looks like it was handpicked
for a more expensive guitar –
especially when you factor in the
upmarket features that adorn it.
Locking machine heads, and a
spoke-nut truss rod adjuster
+zklfk wdnhv d qrg iurp prghov
like Misha Mansoor’s Jackson
Mxjjhuqdxw vljqdwxuh, duh
contemporary rock guitar features
designed with quick, easy
functionality in mind. The truss
rod adjuster’s proximity
Photography: Olly Curtis
encourages you to precisely tailor
the neck bow to suit your needs
rather than be afraid to touch it.
Cort’s recessed CFA-III Tremolo’s
REVIEW
G290
1
The G290 is actually
a longstanding Cort
model but the new FAT
AT A GLANCE
BODY:Swampash/
is adding boutique-
esque features to the
successful doublecut
formula
flamed maple top
NECK: Birdseye maple
SCALE: 25.5” (648mm)
CORT CFA III
FINGERBOARD:
Birdseye maple
2 TREMOLO
The advantage of a
FRETS: 22
PICKUPS: 2x Cort
recessed tremolo is an Voiced Tone VTH-77
increased range when humbuckers with
stainless steel saddles, block and
pulling up coil-splitting
baseplate are here to aide sustain
COIL-SPLITS CONTROLS: Five-way
and those saddles look especially
well matched to the brushed-look
3 The five-way
switch produces
pickup switch,
volume, tone
chrome pickup covers. coil-split tones in the HARDWARE: Cort CFA
Some players think swamp ash second and fourth III two-point tremolo
is a lightweight tonewood. Cort is positions for with steel block and
signficant versatility steel plate, Cort
keen to stress this too, but the
chrome locking
uhdolw| lv glļhuhqw1 Vzdps dvk fdq machine heads
be light, but we’ve played heavy LEFT-HANDED: No
swamp ash doublecuts too. At
CASE: No
7.4lbs our test guitar weighs
FINISH: Antique Violin
around the same as an average Burst (reviewed),
Strat. This guitar’s action is slinky, Bright Blue Burst
vr lw grhvqġw vxļhu grzq0wxqlqj CONTACT:
too well without changing the 440Distribution 91
strings from the gauge 9 set 440distribution.com
included here – but bluesy bends
duh hļruwohvv dqg Fruwġv qhz Hujr
Y0qhfn surĽoh kdv d frpiruwlqj
Fendery feel. It’s a joy to play
1
before we even plug in. Cort’s
claim that its shape provides
enhanced comfort across 22-fret
neck and the playability here is
undeniable. It’s a fast neck for
legato lovers but the 12’’ to 15.75’’
frpsrxqg udglxv Ľqjhuerdug lv
just a great all-rounder for us.
When Cort call this a ‘session-
style’ guitar it alludes to the
workhorse idea we spoke of
3
hduolhu1 Lw vxjjhvwv vljqlĽfdqw
versatility because nobody needs
that more than a session guitarist.
And that’s where the pickups
come in. Cort’s VTH-77s are high
output humbuckers with a twist: 2
wkhuhġv d Ľyh0zd| vzlwfk1
The three main ’bucker
positions are impressive enough.
The bridge is bright, chimey and
articulate and the neck position
OCTOBER 2019 TOTAL GUITAR
 T H E GA S
STATION
The recessed tremolo and
five-way selector help to
create an instrument with
versatility to match its looks

Cort In The Act

A brief history of
Cort guitars
he G290 FAT is the latest

T iteration of a model that’s

more established than
many realise. And Cort itself
92 has been around since 1973,
beginning by manufacturing
guitars for other companies. It
started producing its own line in
1982, and now has factories in
South Korea, China and
Indonesia – the G290 FAT is
made in the latter. In 2014 Cort
began working with the UK’s
Manson to produce models like
the hugely successful MBC-1
Matt Bellamy signature.
Hqgruvhg duwlvwv qrz lqfoxgh
Frank Gambale, plus TG faves
Bombino and Yvette Young.
avoids the dreaded darker tonality
wkdw srvlwlrq fdq vxļhu#iurp#lq#
favour of glassy FAT punch. Lastly,
the middle position – always an
underrated place to visit – is
reassuringly lively. It convincingly
sells itself as a smoother and
compelling alternative to the
eulgjh iru vzlwfklqj#rq#wkh#ľ|#
between and lead and rhythm
tones. But there’s much more…
The second and fourth positions
here are coil splits to get you in the
useful and distinct options to
switch to. Tonally it is like having
two guitars in one. Fancy some
Morello-esque spank for your
vlqjoh#qrwh#ulļvB#Zhoo#nlqgo|#
switch to position 4 and enjoy!
Texas blues bite? Position 2 will see
you right. Indeed there’s much fun
to be had for blues here between
the buckers and splits, but the
same could be said of jazz, metal
and everything between too.
You probably get the picture by
ALSO TRY...
IBANEZ AZ224F
Launched last year,
Ibanez’s AZ series offers
great playability, with
nine different
combinations of
Seymour Duncan
Hyperion pickups and
a Dyna-MIX9
switching system.
CHARVEL PRO MOD SAN
DIMAS STYLE 1 HH FR M
The winner of issue 318’sTG
Test, this 80s legend still
feel also appeal. If you’re the delivers, with a recessed
guitarist in a covers band then this Floyd Rose 1000 vibrato
could easily get you through a and push-pull
activated coil-splits
varied set. And the strong range of
on its Seymour
features that accompany this sonic Duncan
fdsdelolw|/#rļhuhg#dw#†87</#lv#zk|#
we think Cort has issued another
EPIPHONE LEE
strong claim to be a go-to
MALIA SIGNATURE
frqwhpsrudu|#dļrugdeoh#eudqg1
ARTISAN
Rob Laing
The Bring Me The Horizon
man’s Epiphone signature
FEATURES
has a USA Gibson P-94 in
SOUND QUALITY
the neck and bridge
SUMMARY

single-coil game. If you demand now; this G290 is versatile and VALUE FOR MONEY Gibson 84T-LM
BUILD QUALITY humbucker with
Fender twang and jangle it’s a tall playable. FAT tone indeed, sounds
PLAYABILITY coil-splitting for
order for any humbucker wiring wkdw#zloo#vxlw#pdq|#glļhuhqw# tonal breadth.
mod like this but what it delivers is rock-based players if the look and OVERALL RATING

TOTAL GUITAR OCTOBER 2019

 t h e ga s
station

94

ToTal GuiTar OCTOber 2019


BEETRONICS SWARM
I, for one, welcome our new robotic bee overlords
eetronics are known for
B
their impressive-looking
enclosures and cool
designs, so it should come
as no surprise that their
latest and greatest, the Swarm,
should be a looker. Besides being
visually fantastic, it’s also
well-built; it feels heavy enough to
throw clean through a partition
wall, and the PCBs inside are small
works of art, with a custom-cut
honeycomb shape and an
THE CORE OF THE PEDAL IS A
DECENT SINGLE-KNOB FUZZ
elaborate print on the upper face.
At its core, the Swarm is an
analogue fuzz with a harmoniser.
That said, it isn’t a simple pedal
- there’s six controls on the
upper face and a knob on the
side as well. The side control is
the master volume, while the
fuzz knob is marked ‘worker’.
Wkh#Ġľljkwġ#dqg#Ġvwlqjġ#frqwurov#
are highly sensitive pots that
Photography: Olly Curtis
control the modulation applied
to the harmony notes, with the
‘sting’ focused on the tracking.
Phdqzkloh/#wkhuhġv#wzr#glļhuhqw#
1
3 harmony level n
£270
harmonies available - the
‘drone’ pot is for the sub-
harmony, and the ‘queen’ pot is
for the regular harmony. Finally,
to select the harmony interval,
there’s a large central rotary
control labelled ‘species’. While
we’ve got to admire Beetronics’
commitment to their theme,
these aren’t the most obvious
names, and we found ourselves
referring back to the manual
card a lot. In terms of sounds,
the core of the pedal is a decent
single-knob fuzz, with the
additional harmony controls
pushing it more towards
noisemaker territory. It’s
exciting when the Swarm glides
up to a note behind the one
you’re playing, for sure, but it’s
not really usable for rhythm
playing. We found a number of
the harmony options exciting for
unusual, squealing lead lines,
wkrxjk#wkh#slwfk#jolgh#hļhfw#lv#
something of a one-trick pony.
The sound we returned to the
REVIEW
QUEEN
2 1 The Queen knob
controls the pedal’s
DRONE
2 The drone control
handles the sub
harmony level
SPECIES
3 The species knob
selects the Swarm’s
harmony interval
most was a sub-harmony heavy
95
sound that reminded us of the AT A GLANCE
MXR Blue Box, as used by Jimmy
POWER:9VDC
Page on the solo for Fool in the centre-negative
Rain. Messing around with the BYPASS:Truebypass
less high-pitched sounds proved
CONTACT:
wr#eh#pruh#surĽwdeoh/#hyhq#li# FaceMI
there are still only really lead +32 38446797
wrqhv#rq#rļhu1 face.be
The thing that’s closest to the
Swarm, to our mind, would be a
Z-Vex Fuzz Factory, although
compared to the Swarm the Fuzz
Factory is almost conventional.
There are other analogue pedals
with interesting octave behaviour
like the DIY TMK Fuzz, but this
again is somewhat more
pedestrian and you’ll have to build
it yourself. As for the Swarm, it
looks beautiful and it does its one
thing with genuine panache - the
only question is whether you can
justify dedicating precious pedal
real-estate on your board to an
hļhfw#wkdwġv#wklv#qlfkh1
Alex Lynham
FEATURES
SOUND QUALITY
SUMMARY
VALUE FOR MONEY
BUILD QUALITY
USABILITY
OVERALL RATING
OCTOBER 2019 TOTAL GUITAR
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96

ToTal GuiTar OCTOBER 2019

 1 REVIEW

AMP SLEEVE
1 The IRT15H-2’s
plywood sleeve gives it
a ‘proper amp’ look and
feel. The corner grab
handles are a cool
detail that’s also very
practical.
3 2 PRE BOOST
2 CONTROL,
SWITCH AND LED
The IRT15H-2’s
footswitchable Pre
Boost control sits at
the very front of the
amp chain and
behaves just like a
boost pedal, pushing
the valves harder.

EQ CONTROLS
3 The IRT15H-2’s EQ
network includes bass,
mid and treble
controls. Although the
panel markings might
suggest they can cut

LANEY IRT15H-2
and boost, the EQ is
£419 passive.

A little head with a lotta rock from a British amp legend

yndon Laney was playing 15-watts or 1-watt output, dqg#yroxph#0#lghdo#iru#uk|wkp2

L
in a group called Band of
Joy with John Bonham
and Robert Plant in 1967,
rļhulqj#d#wdqwdolvlqj#
glimpse into an alternative
time-line. In our world, his
destiny was to build guitar amps
and a few years later in 1970,
Laney amps featured on the
original Black Sabbath album,
introducing the world to the
sound we know today as heavy
selected by plugging into the
appropriate input jack. As well as
volume, drive and EQ controls,
the IRT15H-2 has master
controls for dynamics and tone,
together with a footswitchable
preamp boost that behaves like a
built-in stompbox pedal, driving
the front end of the amp to add
distortion and volume. Rear
panel features include a series
hļhfwv orrs zlwk d ohyho2e|sdvv
97
solo switching. Push drive and AT A GLANCE
boost knobs up to three quarters
TYPE:All-valvehead
and you’re in metal territory, withdigitalreverb
with smouldering harmonics and OUTPUT:15-watts/
nearly endless sustain. Despite 1-watt
all the high gain, the IRT15H-2 VALVES:3x12AX7,
doesn’t smother the guitar’s 2 xEL84
tone, sounding great with both CONTROLS:Reverb,
single coils and humbuckers. tone,dynamics,
Speaker-emulated line out, aux volume,treble,mid,
bass,drive,preboost
in and headphones sockets make
level,prebooston/off,
the IRT15H-2 ideal for recording effectslooplevel/
and practice, while the built-in bypassselect

SMOULDERING HARMONICS digital reverb, designed in-house

by Laney, is smooth and warm,
going from subtle ambience to
SOCKETS:Full/low
powerinputjacks,
speakeroutx2,

AND NEARLY ENDLESS SUSTAIN cavernous depth.

metal. Ever since, the West
Midlands amp manufacturer has
been at the forefront of rock and
metal, with users including
George Lynch, Vinnie Moore, and
of course Sabbath legend Tony
Iommi. The original had an
all-metal case, but the Ironheart
IRT15H-2 is more conventionally
built, with robust printed circuit
boards inside a welded-corner
Laney’s IRT15H-2 is a strong
footswitch,effects
loopsend/return,aux
in,lineout,phonesout
switch, speaker-emulated choice for players looking for WEIGHT:7.5kg
headphones, line out jacks, and portability and versatility. You DIMENSIONS:180mm
an aux in for mp3 players. jhw#d#orw#ri#ľdvk#iru#zhoo#xqghu# (h)x456mm(w)x
Despite the menacing red £500 cash - it’s good-looking 242mm(d)
LEDs in the internals, the IRT15H and sounds great in many CONTACT:
isn’t just a metal monster; drive genres, particularly classic rock Headstock
settings between one and two and metal. Check it out soon. Distribution
01215086666
produce spanky clean tones that Nick Guppy laney.co.uk
are ideal for funk and country, as
FEATURES
well as being a perfect platform
SOUND QUALITY
iru#hļhfwv#shgdov1#Kljkhu#gulyh#
SUMMARY

VALUE FOR MONEY

Photography: Olly Curtis

steel chassis with tough corner settings add touch-sensitive

handles. It’s a no-frills, single distortion that’s great for blues BUILD QUALITY
channel all-valve head, with and classic rock, with the USABILITY
digital reverb and a choice of preamp boost adding extra drive OVERALL RATING

OCTOBER 2019 TOTAL GUITAR

 T H E GA S
STATION

98

Words Jonathan Horsley / Photography Olly Curtis

SQUIER CLASSIC VIBES

Vintage Fender guitars cost so much it makes us want to weep… but this
vintage-inspired series from their sub-brand should stop some of the tears
TOTAL GUITAR OCTOBER 2019

ince its launch in 2012, Squier’s Classic Vibe series has
S
brought classic designs from Fender’s storied history
and scaled back the spec so that beginner and
intermediate players – and players whose budget
excludes them from the vintage market – can all get
a taste. And it has proved extremely popular.
The Classic Vibe series was revamped at NAMM
2019, with 13 new additions in January and another nine
electric guitars and basses introduced in June. This month’s roundup
sees Squier raid Fender’s 1970s catalogues to reproduce a Telecaster
THE TG TEST
99
Custom and Stratocaster, with a 1960s-style Jazzmaster rounding out
wkh#wulr1#Doo#wkuhh#pljkw#zhoo#kdyh#ehhq#eruq#|hvwhugd|/#uroolqj#rļ#wkh#
production line in Indonesia – but, crucially, they look like they were
there back in the day. Look at the neck, the lacquer a second-hand
vwruh#vkdgh#ri#qlfrwlqh#|hoorz1#Dqg#wkrvh#Ľqlvkhv=#uhdo#rog0vfkrro1
But do they sound authentic? That is the question. At this price
point, we can’t really expect exact reproductions of vintage
instruments with decades of playing behind them. But, as the
name suggests, it’s all about the vibe. These instruments were
made to create the tone and feel of a bygone era.
OCTOBER 2019 TOTAL GUITAR
 T H E GA S
STATION

The narrow-tall frets

are a compromise
between vintage £379
guitar design and
contemporary needs
STRATOCASTER
That CBS vibe

AT A GLANCE
BODY:Poplar
NECK:Maple,bolt-on
SCALE:650mm
(25.5")
100 FINGERBOARD:
Indianlaurel
FRETS:21,narrow-tall
PICKUPS:3xFender
DesignedAlnico
singlecoil(neck,
middle,bridge)
CONTROLS:1x
volume,1xtone,
5-wayselector
for with stability. This guitar was in switch
tune straight out of the box. HARDWARE:Nickel,
The three Fender Designed Alnico 6-saddlevintage-
stylesynchronised
single-coil pickups are each controlled tremolo,bonenut,
e|#wkh#wlph0krqrxuhg#frqĽjxudwlrq#ri# vintage-styletuners
Ľyh0zd|#slfnxs#vhohfwru#vzlwfk/# LEFT-HANDED:No
master volume knob and two tone FINISH:Olympic
he 1970s was an era of wide thinner vintage fretwire and the jumbo knobs, and they’ve got plenty of White[reviewed],

T neck ties and wide Fender
headstocks. Under CBS’s
ownership, Fender introduced
the larger, reshaped paddle-
style headstock in December 1965, and
it would become known as the ’70s
headstock. Purists were livid, but the
CBS-era instruments would go on to
accrue their own cultural cachet.
This Classic Vibe ’70s Strat has
plenty of it. Look at that four-ply
tortoiseshell pickguard, that silhouette
– this Strat could have teleported here
from the set of The Midnight Special.
In terms of feel, Squier has gone
with narrow-tall frets that feel like
a happy compromise between the
TOTAL GUITAR OCTOBER 2019
gauges that are all but ubiquitous in
contemporary guitar design. This
Vwudwġv#qhfn#lv#d#sod|deoh#F0surĽoh/#
with a 9.5-inch fretboard radius that’s
d#ľdwwhu/#pruh#prghuq#sursrvlwlrq#
than the 7.25-inch radius you might
Ľqg#rq#roghu#Ihqghuv1#Lw#ihdwxuhv#d#
six-saddle synchronised tremolo,
zklfk#lv#suhww|#gduq#vwlļ#Ğ#exw#zkdw#
this tremolo lacks in range it makes up
IF YOU ARE LOOKING FOR HENDRIX
TONES ON A SHOESTRING BUDGET,
YOU COULD DO A LOT WORSE
authentic Strat tone going on. What’s Natural,Black
CONTACT:
always amazing about a good Strat tone
fender.com
is that it can do all the glassy cleans,
but it’s every bit as happy when
dialling in more gain. We found the
neck pickup a little shrill at high
volumes, but the neck pickup on this
really sings, and if you are looking for
Hendrix tones on a shoestring budget,
you could do a lot worse.
 THE TG TEST

The controls could

have come off a
vintage amp, but the £379
fretboard has a more
modern feel
CUSTOM
Enter humbucker

AT A GLANCE
BODY:Poplar
NECK:Maple
SCALE:650mm
(25.5")
FINGERBOARD: 101
Maple
FRETS:21,narrow-tall
PICKUPS:1xFender
DesignedAlnico
singlecoil(bridge),
1xFenderDesigned
WideRange
humbucker(neck)
CONTROLS:1x
volume,1xtone,
3-wayselector
switch
HARDWARE:Nickel,
3-Saddlevintage-
stylestrings-
through-bodyTele
bridgew/chrome
barrelsaddles
he Fender Telecaster Custom bridge, the four-screw neckplate with you’ll wonder why it took Fender so

T
was made in 1972 in response
to the growing appetite for
thicker humbucking tones.
Gibson’s success in catering
to the classic rock crowd had not gone
xqplvvhg=#Ihqghu#zdqwhg#lq/#jhwwlqj#
the pioneering pickup guru Seth Lover
to wind it a humbucker that would
complement the zing and brilliance
of the Tele’s single coil.
Why the history lesson? Well,
because this Classic Vibe Squier is
pretty much a history lesson in guitar
form. Look at those volume and tone
nqrev=#wkh|#frxog#kdyh#frph#rļ#dq#
old Fender amp. The three-colour
burst, the ashtray-style nickel-plated
Squier branding – this is all period-
appropriate, and we love that you
can get all that for less than £400.
But, again, there’s that 9.5-inch
udglxv#iuhwerdug#wr#rļhu#d#pruh#
contemporary feel. Does that spoil the
vintage illusion? No. Think of it like
jrlqj#edfn#lq#wlph#dqg#Ľqglqj#Zl0Il1#
The takeaway from playing this
Classic Vibe ’70s Tele Custom is that
HAVING THAT ROUNDER TONE
IN THE NECK MAKES THIS A
GUITAR FOR ALL SEASONS
LEFT-HANDED:No
long to think of using a humbucker as
FINISH:3-Colour
Sunburst[reviewed], an option. There’s all the attitude and
Black sting you’d expect from a Tele in the
single coil – a pickup that is incredible
at all gain stages – and having that
rounder tone in the neck makes the
Tele Custom a guitar for all seasons.
Sod|delolw|0zlvh/#wkh#qhfn#surĽoh#Ğ#
as used throughout this series – is
comfortable enough, though some
players might have wished for a
foxeelhu#surĽoh#khuh1#Wkh#vzlwfk#lv#d#
little noisy, but we can live with that.
With its maple fretboard, its tight
upper-midrange and sheer versatility
– handling blues, country, rock – this
Tele is a real charmer.

OCTOBER 2019 TOTAL GUITAR

 The Jazzmaster’s
floating bridge design
£399 just needs a bit of

JAZZMASTER setup TLC to make it

sound really solid

Thumb-wheels and weirdness

AT A GLANCE
BODY:Poplar
NECK:Maple
SCALE:650mm
(25.5")
102 FINGERBOARD:
Indianlaurel
FRETS:21,
narrow-tall
PICKUPS:2xFender
DesignedAlnico
singlecoil(neck
andbridge)
CONTROLS:1x
volume,1xtone,
3-wayselector
here were no gear forums in

T
the 1960s, so we can’t go back
and see if the Jazzmaster was
considered weird back then.
But with its arcane switching
system, asymmetric body and
soapbar-style single coils, the
Jazzmaster sure is weird today – and
that’s why we love it. Nothing
compares, really – and when you get
down to it, that switching system is
actually pretty intuitive.
First, let’s look at the build. Like the
Classic Vibe ’70s Strat, this Jazzmaster
kdv#wkh#vdph#F0surĽoh#qhfn#zlwk#
9.5-inch radius Indian laurel fretboard
and 21 narrow-tall frets. Yet altogether
wkh#ihho#lv#txlwh#glļhuhqw=#wkhuh#lv#vr#
pxfk#erg|#zlwk#wklv#lfrqlf#rļvhw1#
There’s a lot more wobble and play
on the tremolo, too.
Floating bridge designs can give you
some tuning headaches, but here the
strings are threaded over barrel saddles
to help minimise lateral movement,
TOTAL GUITAR OCTOBER 2019
switch,rhythm/lead
circuitswitch,
thumb-wheel
volumeandtone
controlsfor
neckpickup
HARDWARE:Nickel,
vintage-style and we didn’t have any issues. Indeed, yroxph#dqg#wrqh1#Vrph#Ľqg#wkh#
tremolowith the Jazzmaster bridge is often unfairly rhythm circuit muddy, but there are so
floatingbridge maligned when really it’s only a good pdq|#frro#wrqhv#|rx#fdq#jhw=#md}}#li#|rx#
LEFT-HANDED:Yes setup away from being solid. want, grungy, woolly distortion too.
FINISH:SonicBlue Electronics-wise, the Jazzmaster has The hot soup tone of a Jazzmaster
[reviewed],Olympia
a quick conventional three-way pickup neck pickup is a wonderful thing,
White,3-Colour
Sunburst selector, master volume and tone especially addictive to pedalboard
nqrev/#exw#rq#lwv#vkrxoghu#|rxġoo#Ľqg#d# enthusiasts, and the Classic Vibe
switch for engaging the rhythm circuit. ’60s Jazzmaster can ladle it on thick.
Flick it on and you take out a whole lot Elsewhere, this does what a Jazzmaster
of high-end, and the thumb-wheels always does, excelling in trebly surf
allow you to adjust the neck pickup’s rock twang.
WITH ITS ARCANE SWITCHING SYSTEM,
THE JAZZMASTER SURE IS WEIRD – AND
THAT’S WHY WE LOVE IT
 T H E GA S
STATION

FINAL VERDICT
Which Squier Classic Vibe will you add to your collection?
hat Squier’s Classic Vibe series is at the nut, but that is to be expected at this instruments. Which is best? Well, sometimes,

T expanding year in year out is no

surprise, because these guitars
really have the vibe. There are some
Ľqlvk lvvxhv/ olnh xqwlg| odftxhulqj
sulfh1 Wkh Lqgldq odxuho Ľqjhuerdugv ri wkh
Strat and Jazzmaster are uninspiring. But
more importantly these guitars bring an
approximation of vintage Fender
you just need a Strat. Nothing else will do.
The Jazzmaster is the answer if you want
something unique. The Tele Custom? Well,
that is Old Faithful. It won’t let you down.

’70S ’70S TELECASTER ’60S

0
STRATOCASTER CUSTOM JAAZZZMASTER

103

FEATURES FEATURES FEATURES

SOUND QUALITY SOUND QUALITY SOUND QUALITY
SUMMARY

SUMMARY

SUMMARY

VALUE FOR MONEY VALUE FOR MONEY VALUE FOR MONEY

BUILD QUALITY BUILD QUALITY BUILD QUALITY
PLAYABILITY PLAYABILITY PLAYABILITY
OVERALL RATING OVERALL RATING OVERALL RATING

OCTOBER 2019 TOTAL GUITAR

 t h e ga s
station

Turntopage106for
fullreviewofthe
ToneWoodAmp

104
Photography O y Curt s

ToTal GuiTar OCtOber 2019

 T H E GA S
STA ION
3
2 enter D.I Mode to
Add effects to your unplugged acoustic’s sound…
t’s impossible for us to talk
I
106
about this product without
making reference to the
Yamaha TransAcoustics
we’ve reviewed in the past.
Because anyone familiar with
those will know they also provide
sounds via the guitar’s vibrations
without an external amp. Like
the TransAcoustics, the
ToneWoodAmp also has reverb
and, through a software update,
fkruxv wrr1 Exw glļhuhqfhv duh
IT’S A FANTASTIC CREATIVE
TOOL TO USE AT HOME
vljqlĽfdqw> wklv fdq eh Ľwwhg wr
the back of any acoustic, and
uses an output from a piezo or
magnetic soundhole pickup,
producing sound waves and
altering the signal of the pickups
wr surmhfw hļhfwv edfn#wkurxjk#
the guitar’s body. There are eight
rqerdug hļhfwv khuh#wrr/#hdfk#
with editable parameters and
saveable presets. Impressive
specs, but how well does it
actually work?
We’re using our Sigma
guhdgqrxjkw wr Ľw#wkh#
TOTAL GUITAR OCTOBER 2019
£225
ToneWoodAmp for testing and
wkh#frpsdq|ġv#fodlp#lw#wdnhv#Ľyh#
plqxwhv#wr#Ľw#lv#dfwxdoo|#suhww|#
accurate – providing you watch
their tuition videos beforehand.
In brief, slacken your strings,
place an X-brace unit on the
inside back on the guitar. It stays
in place via sticky pads on four
points that also have magnets
that will hold the amp unit itself
in place on the other side of the
wood. It’s vital to get the
positioning right as there’s
ghĽqlwho|#d#vzhhw#vsrw#zkhq#lw#
comes to capturing the optimum
yleudwlrqv1#Wkhq#diwhu#Ľwwlqj#
three AA batteries in the unit it’s
time for the fun to start…
And it really is fun – three
types of lush-sounding reverb
dqg#wkh#ghod|#duh#rxu#Ľuvw#sruwv#
of call and the fact that the latter
has editable speed and feedback,
as well as its own reverb, means
you can really tailor it. We even
vwduwhg#ohduqlqj#wkh#ghod|hg#ulļ#
from Tool’s new song Pneuma.
OUTPUT
1 Stage use is
encouraged too – via
the output from the
ToneWoodAmp and
enable the effects to
1 be heard through an
amp or PA as well as or
instead of your guitar
BODY SIZE
2 Fit the
ToneWoodAmp
different distances
from the bottom of
your guitar depending
on the body size – for
our dreadnought
45mm from the
bottom was advised
BATTERY
3 COMPARTMENT
The ToneWoodAmp
requires three AA
batteries for around 10
hours of playing time
AT A GLANCE
Wkrvh#hļhfwv#zrxog#eh#hqrxjk# TYPE: Mountable
but there’s also Tremolo Delay, acoustic body-
resonating
Leslie, Autowah and even effects unit
Overdrive. A software update via
CONTROLS: Effects
USB can replace the latter with (also Save and Load),
Chorus, which is just as well as Parameters, Amplitude
lw#whqgv#wr#vxļhu#wkh#prvw# (FX volume, gain, D.I
from feedback. functionality), Power
on/off
It’s a fantastic creative tool to
FEATURES: Eight
use at home… or anywhere else
effects (Reverb: Plate,
– getting sounds for your ideas Room, Hall; Delay,
fast that wouldn’t be possible Tremolo: Tremolo/Delay,
zlwkrxw#Ľqglqj#|rxu#jxlwdu#ohdg# Leslie-style Tremolo;
and booting up a computer or an Autowah; Overdrive –
option to replace this
dps#zlwk#hļhfwv1#Dqg#wkh#
sounds here feel organic, even
pleasingly gritty and analogue-
with a chorus effect in a
firmware update). Three
programmable
esque at times when you play
harder. Though you need to be
parameters per effects
and 10 memory
locations per effect,
careful with the ‘Amplitude’ LED screen, magnetic
volume and gain levels to avoid X-brace
clipping when digging in. It’s SOCKETS: Guitar
easy to see why players like Mike input, optional output
Dawes love this device, and you to amp or PA, iDevice
jack output
can even use the output to gig
POWER: 3 x AA batteries
with it too.
offering approx 10
Rob Laing hours playing time
FEATURES OPTIONS: Right and
left-handed models
SOUND QUALITY
available
SUMMARY
VALUE FOR MONEY
CONTACT:
BUILD QUALITY ToneWoodAmp
USABILITY tonewoodamp.com
OVERALL RATING
 t h e ga s
station

Fix Your GuiTAr

Setting Up Strat
108
reme
Moder mber
br n style
idges w Strat
it
away w h two posts
d

tremolo ScrewS
these s ith the need f o
ix misu or
screws nders
and red tood
friction uce
at the
same t
ime

Your guide to understanding and setting the

coupling screws that hold your bridge on
Words:JackEllis

I
n this article we’re
covering a strange, small
but crucial part of setting
up a ‘vintage’ Strat-style
tremolo – you can have
as many goes at it as you like
until you’re happy, but once
it’s set properly there’s no
reason to ever change it.
What do these screws do?
Well for a starter they’re the
fastening wood screws for the
tremolo. That’s not all though;
they also allow the trem plate
to tilt just like a hinge thanks
to a bevel on the rear of the
tremolo plate.
Why are there six of them?
Each screw increases the
surface area that’s connected
to the wood. This is called
coupling – you can set up your
six-screw trem with only the
outer two screws, but you’ll
suffer a worse coupling.
Coupling is responsible for the
transfer of string vibration to
Meet Your expert
the guitar body and therefore Jack ellis runs Jack’s
sustain and tonality! Instrument Services
what you need from his workshop in
There’s one true setting for
these screws that allows your
Newtremolo
toinstall
Tremolosprings
6xTremolo
Skill level Manchester. In his career
he has worked on
Easy thousands of instruments,
tremolo to be set floating, flat Tremparts: fasteningscrews
from simple fixes and
or even blocked – they all need Tremoloclaw Tremoloarm upgrades, to complete
Tremolo claw WaxCandle rebuilds. For more info, see:
the same. We’ll show you how screws PH2 Screwdriver www.jacksinstrument
this mysterious task is done. services.co.uk

ToTal GuiTar october 2019

 t h e ga s
station

1 This new bridge came with a tremolo spring claw to install. This fellow goes into the
back cavity and is held in with two screws. As these screws are quite girthy and are
likely being screwed into hardwood, so let’s give them a fighting chance. Rubbing the
2 Our six-screw vintage-style bridge absolutely needs the corresponding holes in
the guitar body to line up perfectly. We have a match here, but mismatches are
common, and never good. If your bridge is mismatched or wonky then it needs taking
screw threads on wax really helps them in. We’ll need the claw later on. to a pro. Alternatively, you could buy another bridge with a matching hole spacing.

109

3 It worked well last time, so let’s wax the wood screw threads again. This is one of
the six screws that fasten the tremolo to the body; getting a good quality bridge
will also ensure that you get decent screws. We’ve seen some very sketchy, soft
4 Pop all six screws in, but leave the middle four proud. Here’s the technical part:
we’re going to first focus on the outside two screws. If these are tightened all the
way then the tremolo will dump forward and won’t sit flat. On the other hand, leave
screws in our time, which are bad because they can shear off inside the body. them too loose and the front can tip up – it’s a fine balance.

5 Here’s what it looks like when the screws are too loose. This allows the tremolo toe
to be pulled upwards by the springs, causing bad tuning issues, excessive
crunching from the tremolo and irregular sustain as you move the tremolo. Think
6 Here the screws are too tight, which stops the trem resting down properly, even
when you pull the tremolo arm upward. If you force it you will bend parts of the
tremolo. It will sound terrible after this, and again it will be awful for tuning stability. At
about it – when you dip the tremolo arm the contact point on the body will shift. the extreme, the timber may be damaged and lose its flat surface. Very, very not good.

october 2019 ToTal GuiTar

 fix your guitar

7 Balance is restored. This is what you want: a nice even contact at both the toe and
the heel of the tremolo plate. Bear in mind that this also needs to be identical on
both sides of the tremolo, bass and treble. Can you see that we’ve only been tinkering
8 If only we had a little handle so we could easily check our settings… ah! The
tremolo arm. Screw it in all the way down so there’s no clunking between the
thread of the arm and the block, then test that the tremolo has free movement and is
with the outermost two screws? not sticking (or rubbing on anything in the rear cavity!)

110

9 Top tip: without springs or strings in the way we can use the sound of the tremolo
hitting the paint to determine its settings. You should have a nice crisp “thunk”
when the trem reaches the paint, indicating a solid contact. If the screws are too tight
10 With your “thunk” achieved, you can now edge the middle screws down. Keep
testing the sound and feel to make sure you don’t disturb it. Our method is to
bring the screw down to the point where it affects the sound and then slacken it off. If
then it will soften that sound. Experiment and set the outside two screws. in doubt it’s better to unscrew a quarter of a turn. Keep testing until it’s bang on.

11 Pop those springs in, you’ll be thankful that you didn’t crank up the tremolo claw
loads in step one now. Choosing a tension setting for your tremolo is a whole
other article, but it runs in tandem with your string gauge and tuning choice. Setting
12 Here’s the bridge after setup. The saddle’s radius, action and intonation have all
been set up and the tremolo, by the owners choice, has been set flush to the
paintwork. Now that the fastening screws are set you’re free to set the tremolo flat or
these three or so springs allows you to also tilt the tremolo – go nuts! floating as you like. This is set for life now – or until you change the bridge again.

ToTal GuiTar october 2019

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OCTOBER 2019 TOTAL GUITAR

 THE PLAYLIST

royalties to buy more razors so I can shave

The Playlist
p|#ohjv1#Wkdw#zd|#L#zrqġw#qhhg#wr#vshqg#dv#
pxfk#rq#Ľvkqhwv#dqg#jduwhuv#zkloh#Lġp#rxw#
sduw|lqj1#L#uhdoo|#eodvw#wkurxjk#wkrvh#wklqjv#
dqg#hqg#xs#zlwk#txlwh#wkh#eloo1Ĥ

The song I tried to learn that I just

The Ozzy Osbourne/Black Label Society six-stringer
Zakk Wylde reveals the soundtrack to his journey…
he first song I remember…
couldn’t nail...
Letters Of Marque - Allan Holdsworth
ģKhġv#qxpehu#rqh#iru#Ġlpsrvvleohġ#vwxļ1#
Doodqġv#vrorv#zhuh#lq#d#odqjxdjh#doo#ri#wkhlu#
rzq1#Hyhq#zkhq#|rx#duh#zdwfklqj#d#ylghr#ri#

T
klp#grlqj#lw/#zkdw#|rx#khdu#uhpdlqv#
Lucy In The Sky With Diamonds - xqeholhydeoh#dqg#plqg0erjjolqj1#Lw#grhvqġw#
Elton John hyhq#pdwwhu#zklfk#vrqj#|rx#slfn/#wkh|ġuh#doo#
“I saw him on The Sonny And Cher frpsohwho|#dolhq#wr#wkh#uhvw#ri#xv#jxlwdu#
Show, probably around 1975. This sod|huv/#exw#L#jxhvv#wkh#Ľuvw#doexp#L#kdg#zdv#
zdv#wkh#Ľuvw#wklqj#wr#pdnh#ph#uhdolvh#wkh# I.O.U.#vr#lw#zrxogġyh#ehhq#vrqjv#olnh#Letters Of
power of music. Early Elton was a lethal Marque#wkdw#whuulĽhg#ph$Ĥ
frpelqdwlrq#ri#hyhu|wklqj#Ğ#wkh#
vrqjzulwlqj/#wkh#pxvlfldqv#lqyroyhg#dqg# The song that
then the production of it all. Even today, it reminds me of
vwloo#vrxqgv#dpd}lqj1#Lw#doo#vwduwhg#iurp# home...
there for me, afterwards came all the Never Say Die
Vdeedwk#dqg#khdylhu#vwxļ/#zklfk#lv# - Black Sabbath
zkhq#L#vwduwhg#wdnlqj#ohvvrqvĩĤ “For some reason,
wklv#lv#wkh#vrqj#wkdw#
The first song I learned to dozd|v#wdnhv#ph#edfn#wr#
play… New Jersey. The later Ozzy-era
114 Hey Joe - Jimi Hendrix doexpv#olnh#Never Say Die! and
“It was probably Technical Ecstasy#duh#wkhlu#gdun0kruvh#
vrphwklqj#uhdoo|#edvlf#rq# uhfrugv1#Wkh|#pljkw#eh#xqghuudwhg#lq#
rqh#vwulqj#wr#ehjlq#zlwk1# zd|v/#exw#L#vwloo#oryh#wkhp1Ĥ
Zkhq#L#vwduwhg#wdnlqj#
jxlwdu#ohvvrqv#wkh#Ľuvw# The greatest example of how
vrqjv#L#ohduqhg#zhuh#Hey powerful a guitar solo can be…
Joe and after that Stairway To Heaven - Led Zeppelin
Tangerine by Led “With Ozzy, I play solos that Tony
Zeppelin. Every Lrppl/#Mdnh#H1#Ohh#ru#Udqg|#Ukrdgv#
pxvlfldq#jrhv#rq#d# wrote. I play them as written, because
journey, we all have wkh|#pdnh#d#
this point after our statement within
formative years where all wkh#vrqj1#Wkh#vror#
wkh#pdjlf#vwduwv#kdsshqlqj1# in Stairway is as
Guitar techniques are a bit much a part of the
olnh#vrffhu#ru#dq|#vsruw1#\rx# vrqj#dv#wkh#pdlq#
ohduq#krz#wr#nlfn#d#edoo/#wkhq# melody and lyrics.
krz#wr#pdnh#fxuyh#dqg#doo#wkh# Lwġv#olnh#wkdw#iru#doo#
rwkhu#wulfnv1#Zh#doo#vwduw#iurp#wkh# juhdw#vrorvĩ#
vdph#srlqw1#Wkh#rqo|#wklqj#wkdw# Hotel California is
pdwwhuv#lv#sxwwlqj#lq#wkh#zrun$Ĥ wkh#vdph1Ĥ

The riff I wish I had written… The last song I listened to…
Smoke On The Water - Mint Condition - Caroline Spence
Deep Purple ģWkhuhġv#d#phoorz#vlqjhu2vrqjzulwhu#fdoohg#
ģWkhuh#duh#vr#pdq|#vrqjv# Fdurolqh#Vshqfh#zkr#L#olnh#d#orw1#L#mxvw#
zlwk#phprudeoh#ulļv# olvwhqhg#wr#wkh#wlwoh#wudfn#ri#khu#odvw#uhfrug1#
Photo: Eleanor Jane Parsons / Future

that you wish you could Lwġv#qrw#vr#pxfk#derxw#wkh#jxlwdu1#Wkh#

have written for the surgxfwlrqġv#vsduvh#durxqg#khu#nloohu#yrlfh1Ĥ
sxeolvklqj#dorqh#kd#kd$#L#
jxhvv#Smoke On The Water is Ozzy Osbourne tours the UK in February
wkh#rqh#xqlyhuvdo#ulļ#wkdw#zh# 2020 and Black Label Society’s Grimmest
all#nqrz1#L#zrxog#xvh#wkh# Hits is out now via Entertainment One

TOTAL GUITAR October 2019