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Stone Temple Pilot vets Dean and Robert Deleo team up with Filter's Robert
Patrick"and deliver the healy.artillery,.w.i,th+heir'new group. .;=,3.--. .

56TRIVIUM'S
IUIATT
HEAFY
AIIB
BEAUTIEU
COREY
Blessed by metal's elite, adored by millions of fans, Corey Beaulieu and Matt
He4fy prepare to anoint the faithful and induce the disbelievers as Trivium launch
their latest metallic assault, The Ciisade. Convert-or else.
PIUSThe guitarists show you how to playr"rgplr"nceof the Conflagration" (page 116)
.
THE
OT TESSOT{
UTTIMATE,$HREII
Learn to shred the modern metal way. An exclusive shredding tutorial i"utu.ing ',
the mernbers of Megadeth, Lamb of'God and Afch Enerqy! ' . ''
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i" tt :11,.:,*..*..;;fu.;..., "...4*";"

HER|IES
74OUITAR
What if your six-string heroes were superheroes with superpowers? Kirk Hammett,
Herman Li, Sam Totman, Matt Heafy, Corey Beautieu and q-hust ofmodern-day**
ia 1.,' metal guitar giants tell how they would save music tromfthe forces of evil. .

80IIBEAM
TIIEATEB'SPETBIIGCI
J[|H]I
In an exclusive lesson, prog guitar virtuoso John Petructi demonstratbs
the pickingtechnique behind the licks to'lPull N{e Under," "sacrificed Sons"
and other masterpieces from Dream Theater and his solo career.

5,\
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 voL28/ NO,l # JANUAnY 2Og'

ffiffiffi&ffiKffiffif
B0[RD
28S0U1{il1{0
Letters to the Editor &
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34TUI{E
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In the studio with the Used. Rock
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BetchaCan't PlayThiswith
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RecordReviews:Neil Young, Sublime
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44IIEAfi HERO...
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154 Playing the Market
The inside scoop on vintage gear
164 Burz Bin Hottie Custom
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168l|cw EQWhat's new and cool in
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172 Tech Education
Locating Ibanez replacement parts

186AVUTGAR
l|FPOTi'ER
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A complete overview of Iron Maiden
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l1lt lfiorse Code by Steve Morse
115 Shred Alert
by MichaelAngeloBatio
115 Arendaney by Trivium z
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WHEru
VffiU'RE
JfiBE$f,TRIftNI,
EfiI{ PhAV
Yfi3ilg
ffiroY
fimp
vfi3rs
wf,ruT
BeingJoehas its luxuries.Like
go-designing the JSXosignature
line of amplifierswith Peavey.
And whenthoseare perfected,
dreamingup the newJSXMini
Colossa['",a true ctass-Aamp
with tremotoand a speaker-
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 workshoplive.com

Everybodylearnsdifferently. Now,at Workshoplive.comyou can choose

fre teacherand rneflrodthat worts best for you. Each progressivelesson
* with video demonstrationsand animatedgraphics - is under your
control.You can slow down the musicor repeatany section.You can
even change instructors.lt doesn't matter if you're a beginneror have
been playingfor years,we put the nation'sfinestteachersat your finger-
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[csk=
WW f-
Thenextgeneration of musiceducationfrom
thefoundersof the NationalGuitarWorkshop.
 RII|E TIliHTI{I]{li
THE
GOOD RIDDANCE,
Nineties grunge rock!
To hell with your
snobby antishred-
ding attitude! And
nuts to you, nu-met-
al! We never wanted
your bottom-heavy, rap-infl uenced,
detuned rhythm guitars anyway!
Yes, my friends, goodbye to 15
bleak years of wandering in the desert
looking for...just one @:asp!)...fucking
(wheeze)...gvitar solo (w ater, please)...
Forgive my melodrama, but the
extended guitar solo has been an
endangered species for far too long.
Ever since the rise of alt-rock and the
early Nineties Seattle scene, guitarists
have been bemoaning the dearth
26 curreR woRLD
of opportunities to stretch out in a
blaze of virtuosity. But today, thanks
to bands like Trivium, Dragonforce
and Lamb of God, soloing is back with
a sweetvengeance. And nobody is
celebrating this turn of events louder
thanGuitar World.
In this special issue,we present
close to a dozen of todays mightiest
masters of the almightywiddly-woo and
get them to spill the beans on how to
play this lightning-quick thrash metal.
It's all here-how to play ripping arpeg-
gios, tightly controlled gallop rhythms
and abadass assortment of licks.
But don't get us wrong; we're not
into technique for the sake of technique.
We believe that this new way of looking
at the fretboard will add a whole new
level of color and drama to what was
becoming boring and predictable.
And speakingof color and drama,
we hope you dig Guitar Worlds new
and exciting look. to help usher in a
thrilling new era of playing, we thought
we'd take the opportunity to add a
little extra pizzazz to our pages. In our
upcoming issues,you'll be seeing an
entirely different presentation of the
latest and greatest guitar information.
More importan! we'll be including new
departments and columns guaranteed
to make you a better and more interest-
ing player-no matter what style you
play or music's prevailing trends.
-BRAD TOLINSKI
Editor-in-Chief
 likea God.

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T Y T T Y*Y* 1 : r i i l i r l i
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LEssoN+ JEISETSH
DsAGoxFonGE answer.I had no idea through the pages that depicted
"I$fl*ff' itwas Tom Morello. Randy's life and teachings.
AVEItqED I would say to your -Dylen Long, Scottsdale, AZ
fl#r*[o"FF readers, ifyou can
ffiP,*9$# find the CD, pick it up. GITMOUR
GUY
rilEOOOlg
LTDZIPPEL|II It is well worth it. I can't thank you enough for the
l*'[ffi" -Colin December'06 feature on David
MacCorquodale Gilmour's collection of gear. As a
Denver. CO reader that is interested in gear and
guitar technology old and new, I found
the article to be quite informative and
l$"t;ftfPffft:J$I*1'o. ACT
OFBAGE enjoyable. Gilmour's use of gear has
ffi
I salute Tom Morello always intrigued me, and my wonder-

ffi{ffi
SPTLLs! sATAX! TEPPEURI

Hfifl8Til.,o"
for constantly push-
ingthe limits of what
a guitar should sound
ing how he achieved the tones is no
longer an ill-fated journey.
-Michael Virok, Hamilton, NJ
rucrFEnR Sft{6 like.I love his inno-
souilgfnAGK
vative spirit and I'm ]IEYER
FORGFT

ffilD00nsI
bRu63l MURDltl
A3I{EAI(PEEK
ATTllan
lHc6n
SEHSATIOHAL
NEWTILL.AII
EABTY
CHRISTMAS
When I first saw the December issue
on the stands I couldn't believe what
I was seeing: a huge story on Tom
Morello and almost five pages of lost
Randy Rhoads lessons! How could this
get any better? And then I saw it...tab-
lature of Children of Bodom's "Are You
Dead Yet?" Myband plays Bodom, and
we w'ere curiouis to see how close we
were to playing it correctly. Man, we
were nowhere close! As a bass player,
it's sometimes hard to hear Henkkas'
bass over Alexi and Roope's crushing
guitars. Thanks again for a great issue.
-Brendenn, Harvey Hayward, CA
TOM
CAPSUTE
Thanks for your article on
Tom Morello.It answered a
long-standing question I have
had for years. Back in 1990,
I went to a local metal bar
and saw a band called Lock
Up that Geffen Records was
promoting. I was absolutely
blown away by the band and,
especially, the guitar player. I
immediately purchased their
cassette, entitled Something
Bitching This Way Come. I
always wondered what hap-
pened to them, especially the
guitar player. Thanks for the
sure he's an inspira-
tion to the creative
force in all ofus.
That being said, I
totally disagree with
his independent
thinking in regard to
the Beatles. To call
the Beatles "over-
rated" indicates that
Tom isn't aware of all
the Beatles'contributions to the world
of music and beyon<i.Beside crafting
great tunes, the Beatles also pioneered
a ton ofbrand-new recording tech-
niques that are still in use today. It's
time for a reality check, Morello-give
the Fab Four their due!
-Qman,viaemail
||]IEF||RTHE
RH|lAl|$
Thank you so much for the lost
Randy Rhoads Guitar Method [Dec.
20061. There'ffas many a day when
I would traverse the halls of my
school listening to the great solos of
Randy and wonder, What is the his-
tory of this awe-inspiring guitarist?'
My answer was solved the minute
I opened Guitar World and looked
I was disappointed not to see any men-
tion of a few of the criminally overlooked
guitar albums that should have been
deemed worthy of your 100 Greatest
Albums ofAll Time-as chosenbyyour
readers-article in the December 2O06
issue. I still don'tthink enough of Guitar
World s readership rcalizethe seminal
power of Michael Schenker's early
work with UFO and Ulrich Roth's mid-
Seventies stint with the Scorpions (Force
It, No Heavy Petting,In Tronce,Virgin
Killer or Taken By Force easily could
have been included). But I was at least
heartened to see the letter from Kirk
Hammett in the following issue grving
props to later live and solo work, respec-
tively, of these European guitar masters
in his own all-time favorites.
-Lance Abbring, Bradenton, FL
BISIIIG
FOBCE
I'm sure you guys are going to get a ton of
hate mail from religious folks about the
Lucifer Rising article in the Holiday issue.
For me, an l8-year-old Christian current-
ly studyingto be ayouth pastor, I found it
very insightful. I never new much about
Aleister Crowley or occult practices in
general until I read it, and as a Christian
I think it's important
to have at least a basic
understanding ofother
religions or doctrines.
I respect the fact that
your magazine con-
sistently publishes
unbiased articles involv-
ing guitarists who
follow different types
of spirituality. Lots of
Christians could learn
from such a nonjudg-
mental mindset.
-Blake Dailey
Powder Springs, GA

28 curreR woRLD
rME
 nuvmws4# pRoFrLEs&MoRE!!!
ll{SlllE rNeurRERSgsErI.rsr$d DEARcuTTaRHER-.S6

The Qal:ifornia
liETHAPPY
c'Ml|l{,
screamers l:ighten up on their third, releuse.
ByALANDIPERNA are still really poppy. It seems
P ho t o by KEYIN SCAI\ILON like the most natural album
we've ever done."
O hear the Used's The first single from the
QuinnAllmantell new album will be "Handsome
it, the angst-ridden Awkward," whichAllman
screarno genre his group says "sounds like
helped originate is as endan- Aerosmith got into a
gered as cheap unleaded. "So fightwith somebody.I
much has changed forbands in have no ideawho, but
this past year, with the internet it sounds like Stephen
and MySpace," saysthe guitar- Tlrler's gonna have a
ist. "Everybody just wants to seizure. It's definitely
get out, shake it up and have bluesy and basedoffa
fun. No one wants to wallow in reallygood guitar ri
someone else'smisery and try Definitely aheavier,
to make ittheir own." riffrer Zeppelin
Not surprisingly, the kind of style."
Used'ssoon-to-be-released In the stu-
third album reflects this at- dio, Allman put
titude. Produced by John his Gibson SG
Feldman at the producer's through a mixture
home studio in upscale Bel ofOrange, Soldano
Air, the as-yet-untitled re- and Fender amps.
cord is a surprisingly upbeat He also played a
turn from the melodrama of Danelectro baritone
their 2004 sophomore hit,In guitar. "It's really cool,"
Love and Deafh. "Everything says Allman. "It makes
has a lot more fun in it," says all these unexpected creaks
Allman. "It's definitely a and farts. You can taste it." #K
messier,heavier sound, but
the vocals and arrangements
, -l :', i'jr.i:.::i:
, -:.::i
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Two new Satriuni,

MIGHT
STAGE
releases eapture the Suitarist in hi,s onstas,e Slory,
.t:iii.t.
,:i.d6i,By ALAN DI PERNA ster player, and it's fantastic
: mentary of the
to have another soloist in the
i guitarist's 2005
F you thought Joe Satriani couldn't band who knows how to rock."
I tour of India, shot
get any more unpredictable, think I
fhe Anaheim show is also by filmmakers
again. On his recently released I
the focus ofdisc one ofthe Hamesh Haridas
Satriani Livel double DVD and its Satriani Livel DVD and Koushik
companion two-CD set, the set. Filmed from Sarkar. "It was
chrome-domed shredder casts numerous angles such a different
his best-known tunes-and him- using nine cam- take on the band,"
self-in a brand-new light. eras, it ranks as the he says.
The CD package spotlights most lavish Satri- It's also one
o
a recent Anaheim shou, from ani live film yet. reason why the F

Satriani's Super Colossal tow. By compari- Satriani Livel DVD

F

Performing with rhythm gui- son, disc two of is, in the guitarist's
tarist Galen Henson, drummer Jeff i the DVD package is a decided- words, "unlike z

Campitelli and new bassist Dave Larue, ly home-brewed distillation of Satch's anything" he's released before. "There I
o

Satriani presents a set packed with life on the road, comprising backstage are a lot ofperspectives here. Together, o

favorites from his career. "We wanted
to do lots of jamming and extend some
songs,"saysSatch,who credits Camp-
itelli's skinsmanship and stamina for
the lengthier versions. "Jeff is a mon-
and rehearsal footage shot for podcasts they make up the total picture of our 6
o
by his son,ZZ, during the tour's Euo- life out there on the road." )lK
pean leg. "We got a little crazier," says
Satriani, "a little more experimental."
The real gem here is an unofficial docu-

UIREBI
Buxx MeGrath&Ken Susi,of tUSl lwas playingin a bandcalledOblitera-
tion. We playedat a nightclub,and we sucked.

UNEARTH We covered"Seasonsin the Abyss."ltook care

of all the lead work. lt was reallyfuckin'funny.
I think I was like,rr or rz.
3y RANDY HAR\MARD Do you remember your firlt gig?
M0rTt|}ilmY Illustration by STEVEN CIANCANELLI MTGRATH My old band playeda show at a high What has been you mort embarasing
mR[Alfl.ltE] school in the next town over.We practicedfor onstage moment?
"l got it from a The first Ozzfestshow this year.
Why made you frrt pick up a guitar? a week straight and playedin the parking lot. MTGRATH
guy named Jack BUZZilcGR.ATHI was rummagingthrough The organizersaskedif there was anything we We came onstage,and lwasn't on the same
Oblivian,who's my uncle'sclosetbackin the day tause lwas wanted.Wesaid,"Wewanta boxof , pageas everyoneelseand started playing a
in a band in , bored.He had some no-namesunburstguitar, FruityPebblesand some milk and \ different song.
Memphis called some bowls." \ SUSIIn 2ooo or so,we played
and I grabbedit. I stood on his waterbedin bA
the Oblivians.He front of his mirror and thought, Thisis awe- a show in New Jersey.We
had it backstage 5()me. were so amped.lwas
at a gig in De- KEI{ 5u5l My brother was in a hair metal band
\ jumping aroundand the
troit, and when , when lwas younger.Whenlwas about nine,I floor was so slippery
he openedthe just figured out lwanted to be like him. -dkL,
from the band before
case,it just blew us.I slipped,hit a
me away. lt was What war your first guitar? cameramanwith the
red and plastic, iilcGRATHA cheapLesPaulcopy. guitar and fell off the
and lloved it.l i My wife's always on me to throw stage-with him. lt was
g"rr" him, like, it out. I don't play it. lt's so crusty, a catastrophe,but it was
Szoo for it. I It has no pickupsand no strings, really,reallyfun,
"lt's work to
but I can't throw it out-it's my
play it, but I like i first guitar. What ir your favorite piece of gear?
that. I donlt like SuSl An lbanezRG-55o.lt was triccRATHProbablymy first
to play it safe. i fluorescentyellow. lwish I still lbanez5 Seriescustom.lt's a
When thlngs had that guitar. seven-stringwith one EMGpickup,
don'tgo right white neckbindingand no fret
onstage, it forces What was the first song markers.lt's beenthrough so many
me to figure , you learned? shows,had so much beerdumped
something out McGRATH"South of Heaven" on it and beenleft outsidein freezing
now,because : by Slayer.My guitar only temperatures.And it still plays amazingly.
nooneelsecan, had two strings,.soI learned 5U5l I love my 5 Seriesseven-string.lt's retired
save me." it on the A and the D.And an- now, but I playedit from 1999to zoo5, and
other guy showed me the riffto it alwayscamethrough for me, through the
"Groove ls in the Hearl" good times and the bad times.
lby Dee-
tifel. I was pumped.
susl I tried learning "CrazyTrain." Got any advice for
The first riff was definitely ridicu- young playen?
lous at the time, but as long MTGRATH Just play what you
as you take anything sloq wanna hear.
you'll get it. SUtl Be original.

32 currARwoRLD
 StASe COACb Thefirstin a newmonthlyseries
examiningthesetiists
of thestars.

"We had beenopening

with 'Disciple'since
6od HatesUsA// came out lin zootl, but we like
to keepthings freshso it was time to change
it. 'Southof Heaven'is a classicSlayercut, so
it was an obviouschoiceto leadthings off this
time around.Plus,it makesa theatricalway
to open the show, becauseI havemy backto
the audienceuntil the openingriff is done,and
then lturn to facethem."

"l usethe Zone

Q
when I don't need
a more obvious
wah effect. lt gives
you the sound of
a wah without the
big bass-to-treble
sweep."

"A Dunlop Zakk Wylde Wah. lt's got a really

"The A/B switch takes
dirty, low-end sweepthat a regularwah me from my
doesn't have,and it's got Zakk'svibe without crunchsoundto my cleantone. Basically,
havinghis sound.Plusit's fun to playwith." it switchesfrom my Marshallzzo3sto a
direct-injectedsignal.Needlessto say,
I hardly ever step on that one."

34 cutreR woRLD
 SH
rScI
 v

m OFKISS
He pla,ys in one of rock's most sueeessful a,;ctsand has iust
released, hisJirst solo album in ulmost 3O yea,rs.
But what Guitar World read,ers reully utant to know ds...
What pronnptedyou te recorda new ssFo - playerswho were very in tune Eo yar,rever #e*l competitive with either
*fbum, tfve t* Winrnouuwhen you hadn't withwhatlwas doingand guitar playersor feelyou havescmething
rcccrdedsne for xSyears? who could give me what ; to prove?
*Tom fiA*Alllcter I wanted. All the players i *Bon {rutrhfield
are top-notch guys, but !
You answered the question yourself. I didn-t want perfection i no r feel competitive? Oh gosh, no.
in the studio; I wanted i I've spent the better part of 40 years
Uaughsl For a long time I felt like I was
the gatekeeper to Kiss. There were creativity and great feel. , pl"yrngguitar, really honingwhat I
times, during lineup shifts or when i do. ere there people who play faster?
people went offto try other projects, How different was it i Sure. Are there people who know more
when I thought Kiss was in jeopardy.I making a recordwhere you i chords? Sure, but that's never been
felt somebody had to be there to either didnft have to have Gene i what I've been about. My goal is to be
mind the store or bail water, and I felt Simmons'inputfor 5o per- i a guitar player who can pretty much
that somebodv had to be me. But cent of the time? ls it better i handle anything-someone who can
everybody reaches a point where to be the boss,ot do you find i hold down the fort. To me, that's a gui-
they feel they have to satisfii their yourselfsecondguessingyour i tar player's most important role. There
own creative challenges and aspi- decisions? i are some really flashy lead guys around
rations, and this was really just -A*hur Grabil i who couldn't play a solid rhythm with
the right time for me. i "got to their head.laughs] Butno, I
Actually, itwas much more i never feel competitive. I'd feel totally
Are allthe songson the album liberating not to write with a i comfortable gettingup and playing
new compositions,or did you cull fixed group of people in mind. i with anybody.
fiom things you had lying around Makingliu e to Winwas like i
over tlme? being a film's director and : lf you couldplay only one guitar fot the test
-Brandon Murphy casting agent: for each song, i of your life,what would it be?
I knew exactlywhat I was i -8.C. Bones
Everythingis totally new. I'm looking for, so I was able to
not somebody who believes cast whomever I wanted to Wow. That's a tough one. My roots are
in saving or recycling songs. play it. With Kiss,it's more in vintage guitars, and at this point I
I've always believed that if a like knowingwho's in the want a guitar that has a vintage feel but
songwas good enough when film and then writing the also feels like it's always been mine.
I wrote it, it would've been parts for them. Actually, Washburn and I are cur-
recorded. I also like the idea p rently finishing the prototype for a
that when you buy some- p really great guitar that embodiesall
thing that I've had a hand : the classicfeaturesof the guitarsI
in, it's today's news; it's : gr"* up playrng. I've always thought
not something that's been i thatguitarplayers, atleastrockplay-
lying around. It's a reflec- i ers, are pretb much divided between
tion of where things are i the Fender and the Gibson schools. In
at for me right now. i that sense,I've always been a Gibson
i man, but my guitar doesn't have to be
Fortke alhxm, did you i a Gibson, as long as it embodies the
rnrerklnrithserslon S$y$Gr
player* ysir wcre frlends
with?
*Steve Tanner

It wasn-t a matter of
going out and get-
tingthe hired guns.
Most of the players
were recommended
to mebyother
players. I was
really fortunate
that I quickly
woundupwith
abunchof

3 6 cw
same features. Whew! That was a long
answer to a short question.
Ys* ?tarsestatediruthe pxot that the Kfs*
geritars***ndls ha*ica$Ip'trw*
guiters f&raf
fuigsrce"{an y*u expnmd*n
s**nd *frke,orue
tl'ratF
*iisx
I remember goingto see Humble Pie
and lovinghow the guitar work of
Steve Marriott and Peter Frampton,
and later, Clem Clempson, melded into
one big guitar sound. It doesn't mean
playing in unison or playing the same
chord formation; it's more like having
two different voicings playing against
one another and creating a chord that
couldn't be produced by one guitarist
alone.
I've heard that the long-term
plan for Kiss is to get to a point
where even you and Gene dgn't
have to be onstage anymore. ls
there any truth to that, and can
Kiss exist without any of the
four original members?
-John Estep
Well, the only part I take exception
to in your question is the idea that we
wouldn't "have" to be onstage. I think
it's more that we might notbelong
onstage.We may reach a point where
Kiss may be better off, and the fans may
be better served, without us. The goal,
as time goes on, is to be able to separate
ourselves from what we created and
still have it live on. Practically speak-
ing, eventually our choice will be to do
that or call it quits. I think that Kiss,
loved or hated, has been a source of
inspiration or irritation for as long as I
can remember. And I'm proud of it.
Sreyou plnnmimg'ttr
Ee*crdmrgewa[fuildstl
w$*kthe eurrentsmemhers
r*f K$ss?
*Paral{
I don't know. It's something that cer-
tainly comes up from time to time, but I
have concerns. One concern is that the
songson which we've based our career
have grown larger than life. They've
become more than music: they're snap-
shots of people's lives, of what was
going on when these people first heard
a song or came to a concert. There's
no way we can compete with that. I
can write a song like "Psycho Circus,"
which I would put up against a lot of
my earlier songs, and know that peo-
ple will listen to it and say, "Oh, that's
good.Now play'Love Gun.' "
And I understand that sentiment,
becausewhat is attached to those early
songsis huge. So the idea of going into
the studio to do a Kiss album, know-
ing that writing anything short of
Beethoven or "Hey Jude" is not gonna
cut it...it's the kind of reality check that
may stop a person from giving it his all.
But having said that, under
the right conditions, I would
probably do it. With Liv e to
Win,I've made an album that
sounds exactly the way I think
an album should sound.I
can't imagine going backward
from there, so if everyone was
agreeable with the idea of me
producing the album flaughsl,
then there would be some-
thing to talk about. But the
idea of going in and having
too many "cooks" is just not
appealingto me.
; What are your thoughtson Peter
i Criss'ex-wife,Lydia,writing a
i tell-allbook [Sealedwith a Kiss;
Iydiacriss.comlabout the
early daysof Kiss?Haveyou spoken
to Peterabout it?
-Seth Myers
No, I haven't, and I really
couldn't care less. When people
write tell-all books, they write
them from their perspective. It's
like people looking at a car acci-
dent: things look very different depend-
ing on where you're standing. Also,
we tend to make ourselves much more
important in the story than we actually
were. You know, the paper is probably
too hard to use for toilet paper, but...
Uaughs] No, I'm not a fan of any of those
types of books, whether they're mem-
oirs or autobiographies or whatever.
I think it was George Orwell who said
it best, lthatl the autobiography is the
most outrageous form of fiction.
Ysu'vesilsvift*n $*lf-c*frnp/
ef,assia
smmgs"
{xm
po* g*it{r**e that pmuifeit newen}ived*p t*
tfuersrt s'f the ree$r'dnmdexp{uimwtty?
**ffiavq $trewd
I never felt that at the time I wrote a
song. But in hindsight, there are some
songs that I listen to and think, This is
56LoweGun') i,ntro!
Tune down onehalf step(low to high: BlLt Ot GbBhEb).
E5
Gtrs. 1I and 2 (elec.ddist.)
trC
j-X
j_X_12_14_1
- x . 1 0 - 1 2 - 1
LOVEGUNWordsand Musicby PaulStanley.Copyright@1977HORIPRODUCTIONS
by UNIVERsAL-POLYCRAM
INTERNATIONAL PUBLISHINC, lNC.All RighisReserved
not great. There have definitely
been periods where Kiss'music
has lost some of its direction or
focus. Some of our songs from
the Bighties don't hold up. An
album like Carnival of Souls,to
me, is a mistake of at least the
magnitude of fMusic From] ?he
Elder. That's because Carnival
of Soulswas-not of my design,
mind you-an attempt to be cur-
rent or competitive with a style
of music that we weren't a part
of. It fell flat for that reason.
That's not to say that it wasn't
a good album, just that it had
nothingto do with Kiss. Some
of our songs from the Eighties
were shallow. They just don't
have the depth or the founda-
tion of our other songs.
Haveyou watched GeneSimmonsFomily
lewels?You'remuchmore privatethan
Gene.Couldyou everseecamerasin your
, .:. 1 ,.,;ri1:.. housefollowing you around?
:' r lir'rl:i -Chad Smithfield
:','. .:,:,i
6itl5
.,,,:-{:,:'tii,::li:i
No, I haven't watched it. It has no appeal
SI|MEt|F to me, whatsoever. Any attemptto film a
||UR
SI|IIGS reality program-whether ifs a pseudo-
FRI|MTHE goingto
reality show or an actual reality show-is
make the situation itself unreal,
EIGHTIEli just by nature of having cameras present.
IVERE And no, I couldn't imagine it for myself.
sllAuow."I'dmy rather have bamboo slivers put under
nails. To me, your sanity comes from
your privacy. Ifs something sacred and
all your own.
Fmt8t*earl3rd*y* *f K*ss,hefeireyou hit it
y*u get through the
hig, wh;nttaatissfuetrped
*,*rugh
xpotsf
*Stewe Lptt
Believing that I was right. You have to
believe in yourself, because if you don't,
who else will? And you always gotta
meet the opposition with twice the
force that thev meet vou. )K
J
A5 G5 D5 E5 D5
AMERICA,lNC.CopyrightRenewed.All RightsControlledand Administered
Usedby Permission.
Reprintedby Permissionof Hal LeonardCorporation
GUITAR WORLD 37
 $i:i:
rittr! ,

BETCHA
CAI{'T THIS!
PIAY
This rnonths Guitar lYorld Seni,orMusi,e Dd:itor Ji'mmry Brown
d,ares you to play 6(Hopak')

ttHopakt'
last time, skip
ahead to@ ending
D G D G N
U \ l
D G
15-7-10-7-8-7-5-7 7-10-7-8-7-5-7 7-10-7-8-7-5

U U L ]
& M

12-10121310-12- 15-15-15-1513121012
repeat @ nvice,
then skip ahead to@

trEm B E m
11.
B
I

*This note may alternatively be played at the lqthfret on the B string.

D
\l

repeat@, then@
@ ending
u

' . - . ., :. '. ."' . ' ., " . , . , " . . . . ,

P h o t o g r a p hb y J U S T I NP H I L L I P S
38 cuIreR woRLD
 dPs

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of
ffi**AV;rXr
jl'/t,,&
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Christfrras?
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anteed Delivery By
December 24th! *
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Daily
' Gear Giveaway
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Enter To Win At
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www. musiciansfriend.com/g iveavuay
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 a

reanerur.s
: l : 1

PIAY
HtlRSE
Neil YounS and, Craxy Horse hit thei,r strid,e in this first-ewer
release of their historic 7970 Fillmore Dast concert.

l{Ett &
Y0ut{G After the terse little electric-folkie
palette cleanser "Wonderin'," they're
'.-'.i..';fi
: "....1..'"i ::.:i;i:;::::j
gnarled passagesof power strumming
gnashing bent strings and, of course,
CRATY
HOR$E back at it again, chiseling through t,,:.;;ffi Young's distinctive sticky-fi ngered
a slab ofcountry garage rock called improvisational approach, full of notes
theFillmoreEast "Come on Baby Let's Go Downtown." THE PAUSES that seem to hesitate, then stagger out
kir::,,* Whitten sings lead on this tribute to BETTUEElI through his amp. The pauses between
.ii;$$r, TEDDRozDowsKr small-burg life while he and Young lull
the unsuspecting crowd, tagging the
PHRASES phrases are big enough to ride a rabid
Clydesdale through.
starts
sonicstampede end of Whitten's vocal phrases with ARE EIG These blistering beautiful per-
tTIIIE E]II|UGHTl| formances helped put the "classic" in
l[::::'-'
I- li;;".'""i1xrn'$
spectable versions of "Everybody
brief six-string ad-libs, biding their
time until Young churns into a restless
version of "Cowgirl in the Sand."
HNE ARABII classic rock. For decades,these previ-

Knows This Is Nowhere," the title Then Young and the llorse run
CLYTES[AtE ously unreleased tracks, outtakes from
the March 6 andT New York City con-
tune from Neil Young's then-new loose again. Young's first solo is prob- THBllUliH." certs (whose billing was
first album with his best-ever backing ing full of worried and lightly bent shared with the Steve
group Crazy Horse, and the knotty notes that seem to be raising unan- Miller Band and Miles
ballad "Winterlong," Young and Horse swerable psychic questions about love Davis), were among the
guitarist Danny Whitten begin spar- and life. Whitten, who has a smoother few nonbootleg record-
ring. TWelve minutes later, they stop tone than Young's coarse-grit sandpa- ings ofYoung and the
their unhurried psychedelic barrage per snarl, pitches in, laying down some original Crazy FIorse.
of stabbing two-note phrases, slippery jazzy chords to pave the way back into As such they were the
little melodies, dollops or feedback the verse. And when Young's done Holy Grail of Young fans.
and just about anything else that a singing, he and Whitten spill their Now they're the first of
Fender arnp cranked up to 10 will spit instruments'guts for another nine a series oflive releases
out if it's tortured enough. minutes. Their jamming is flush with that will visit Young's
back pages,just in time
to blow away the stale air of his stodgy
Prairie Wind and the hubris of Living
withWar.
Whitten died of a heroin overdose
in1972, and a year later Young as-
sembled a new version of Crazy Horse
with both Nils Lofgren and steel play-
er Ben Keith on guitars. Eventually
HAMMEBFATT +u they left, and bassist Billy Talbot
Fftreshold WhenYour and drummer Ralph Molina were
NUCLEAR BLAsT Heart Stops joined by guitarist Frank Sampedro.
long regarded Beating This trio has held the reigns of Crazy
as keepersofthe INTERSCOPF Horse ever since-always at the ready
Europeanpower Following.the
for Young's call, and ever capable of
metal flame, Ham- departureof
propelling the sometimes reluctant
merfall have fully guitarist Tom
passedthe torch DeLonge,Blink- master guitar blaster once again to the
with their sixth r8z bassistMark heights of ragged glory immortalized
album. Thresholdis Hoppusand drum- on Live at the Fillmore East 1970. *
crunchy,loud and nier TravisBarker
melodic,but it's decidedtwo is
too basicand mid- better than one.
pacedto qualify When You.r.Heart
as power metal,
bearing more in
StopsBeaiingis
filled with urgent
t0u.14
Neif Young-l ive at the Fillmore East
common with post-punktex-
TenaciousD-The Pickof Destiny
mid-EightiesJudas tures, tinny new
Army of Anyone-Army of Anyone
Priest.Yet, while wave strums and
Staind-Greatest Hits
the songslackthe layeredrhythms
wrapped around
speedand intricacy
of the band'searly the kind of driving ll0v.21
material,the disc beats,infectious Kiffswitch Engage-As Daylight Dies
is heavy and well melodiesand vocal RockStar 5 upernova-Su pernova
crafted and catchy harmoniesthat lncubus-Li g ht Grenades
enough to keep made Blinkso '
Thor tapping his enjoyable.
-Jon Wiederhorn
ill|v.ts
hammerwhile he David Gilmour-Ore art Istand(CDIDYD)
waits for the next
Manowaralbum.
-Jon Wiederhorn
oiilm
Switchfoot-Oh ! Gravity
.;i;;111'"f.i.'i1.fl 'riri.i,

4O currnR woRLD
 ffi
Gui,tarist JerryC tells the story behind the song that beeame
a YouTube sensation,

ARLIER THIS YEAR, thc
online guitar community was
sent into atizzvbv a home
video of a young Asian guitarist
named Funtwo performing a virtuoso
rock version of "Canon in D." a well-
known piece of music by 17th century
Baroque composer
popular I became. i .lfnnyG I started playing guitar at
GW As a guitarist, what do you : 17 years old, just because it looked like
think made people so interested in : a cool thing to get into.
watching someone play your rock i ew How did you develop your
arrangement of "Canon"? ,:...t.r.li
.;r,lf.;t : skills?
JERRYGI think because it's
interesting to see and to listen to. 'tr*$ffi i .lennvG Practice, practice and
i practice!

Johann Pachelbel. The

GW What inspired
you to create this
Ol|l|GAVE i cw Which guitarists are you

clip was posted online at arrangement of

METAIEilT, ' i listening to these days?
i rrnnYG Yngwie Malmsteen, Steve
the video-sharingweb Pachabel's "Canon"? A]IIII |IIVE i Vai, Joe Satriani, Jason Becker, Slash,
site YouTube.com, and
within weeks it drew
JERRYCI just like the PE||PLE i. linstrumentdl guitdrisr] Neil Zazaand

millions of registered
piece very much. MUSIC." i lP ortuguese gaitaristl Goncalo Pereira.
GW Howmuchwork i Ow Consideringyour obvious gifts
views.
went into it. and how i as a guitarist, what would you most like
But Funtwo was not
much of a challenge i to accomplish with them?
the originator of the rock
was it? JERRVGGod gave me talent, and I
version of "Canon"-he ;
was merely performing JERRYCIt took me : glve people music. That's all I want. iYK
an arrangement created two weeks to finish
by a 2S-year-old it. the trick was
Taiwanese guitarist to get the balance T||IIEARTHE
BACIffiIG
named Jerry Chang. between playing TRACK F|lR
JERRY
|!.'S
it gracefully but "cAll0ilR0cK,"0HE|!I
JerryC, as he is
known, is a devout shred- with aggressive |luTTlilsM0]tTil's
head, who performs in tone. c0-R0ilil
and around Taiwan with GW Whendid
his band, C Band, and you first start playrng
teaches guitar. Guitar guitar, andwhat
W orl d r ecently conducted inspired you?
an email interview with
the formerly unknown
guitarist responsible for
the musical arrangement
behind this internet
sensation.

GUTTARWORLDHow
does it feel to have caused
such a stir in the online
guitar community? How
has it changed you?
JERRYCI'm happy
that most people like
my music. The biggest
change is that now I have
more students.
cW Did it ever bother
you that Funtwo's
Youtube video caused
all the commotion, even
though it was your track
he was playing alongto?

or
"t$tlHlE'lt]fr
JERRYCNot at all.
He credited me in his
video for the original
rock arrangement, T',lnimi{hocK;'
and the more popular
he became. the more Ii-f pmEr24l
42 cvt'tt'R woRLD
 ili':;":i:.lifi#
,r:1*:fi
}**.*,i
.,1jil;;"''-,*

*
-t
NY""'
$ewrlle'
ceRood'

t*t',til J
 Alex Skolnick, Al Pi,trelli und,former mernbers of Testument
and, Sawatage are amons the unli,kely costars i,n the
unnual Chri,stmas corrcert tour of the Trans-Siberian Orchestra,
ertery hol:id,ay lower's fut:orite musi,cul fruitcake.

ffi ry.lonBosso
IVELVE drummers drumming?
-7n -Check.
I Eleven pipers piping?
L Check. Ten lords a-leaping?
Check and double check. Two heavy
metal shred guitarists? Check. Hey,
wait a second...two heavy metal shred
guitarists? What kind of Christmas
show is this? And with pyro, no less?
Tryto imagine Cecil B. DeMille
staging, . Christmas Car oI in the
Seventies while on acid and you'll
have a pretfy good idea of what Paul
O'Neill had in mind with me dreamed
up Trans-Siberian Orchestra (TSO).
O'Neill, a music business vet who has
worked with the likes of Aerosmith. the
Scorpions, AC/DC and Def Leppard,
among others, laughs when he recalls
a review of the first performance: "It
read: 'Phantom of the Opera meets the
Who meets Pink Floyd's light show,"'
he recalls. "Everybody thought I was
going to be depressed when I saw that
review, but I said, 'Thank you!' I'll take
any one ofthose references."
In the decade since TSO debuted,
the group has sold more than five mil-
lion albums and performed before
more than two million fans. Their lat-
est winter trek, which began in early
November. takes them to 117arenas in
just under eight weeks. To hit all the
dates, two full-scale productions-each
including 14 vocalists, two narrators,
14 musicians, an orchestral
string section, and enough
special effects to make
Gene Simmons' whiteface
turn green with envy-tra-
verse the country simulta-
neously. "You can't make
all the cities duringthe
Christmas holiday with just
one production," O'Neill
my days with big rock bands, when
sometimes we'd have one crew setting
up a show in Cleveland while the band
SEETHISM||IITH'Swould be performing in Boston. With
CI!.R||MF|lB big productions, it's the only way to
C||MPTETEGUITAR make itwork."
TRAilSCRTPTT0ItSSurprisingly, TSO's grandiose holi-
0tTS0'S "UrllZARIlSday albums, which include Christmas
t]tW[{TEB"Alill Eve and Other Stories,The Christmas
"At ASTt[[Ust0il," Attic and The Lost Christmas Eve,
PtusviltE0tEss0ils didn't flow from the pens of Broadway
IutTflAtExstotlilcKcomposers. Rather, they're the prod-
AII||AtPITRETTII uct of the remnants of the prog-rock
band Savatage,with whom O'Neill had
worked with duringthe early Nineties.
"Savatage were way into rock operas,"
says O'Neill. "Their albums were filled
with these incredible stories. One day I
thought to myself, What's a better story
IT'STHE than Christmas, particularly Christmas
Eve? Think about it: no mat-
BIGGEST ter what's going on in the
SH||W world, everything stops
I'VEEVEB on Christmas Eve.
BEEI{A Even in times of war.
there are cease fires
PART l|F." on that one magi-
=
-Atil cal night. So, with F

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44 cvrceR woRLD
that idea in mind, we built the frame-
work for TSO."
The "we" O'Neill is referring
to is Jon Olivia and Robert Kinkel,
Savatage'smain singer and keyboadist,
respectively. "We were on the same
page from day one," says O'Neill, "and
that was to form a new type of rock
group that would push the
envelope and go further than
any other rock band had
before. I wanted a full heavy
metal band, a full orchestra,
a massive amount of key-
board players and 15 lead
singers.What we wound up
with was an amazing melt-
ing pot. You go to see TSO
and you'll see somebody
who played in Kool and the
Gang playing right along-
side somebody who played
in Testament, who's playing
next to somebody who was
in Asia or Blue Oyster Cult,
standing right next to some-
body who just sang for the
Metropolitan Opera. We've
got people in their twenties
playing with people in their
fifties. We've got rock, pop, r&b, blues,
classical;it's this incredible crosspolli-
nization of styles, and what happens is,
each person inspires the other person,
and we arrive at something unique."
"It's the biggest show I've ever been
apart of," says guitarist Alex Skolnick,
who, in addition to his tenure in the Bay
Area thrash band Testament, was briefly
a member of Savatage and has played
on albums by Lamb of God, Michael
Manning and Dave Egger. When not
performingwith the East Coastver-
sion of TSO, he leads his own band, the
Alex Skolnick Trio. Atthe time he was
approached to join TSO, Skolnick was
keeping a low profile , studying jazz at
the New School in NewYork. "But I was
ready to get back into rock, and TSO
was the perfectvehicle. The only thing
I had to do differently was apply more
rock energy to my playing which is very
different from the feel you need to play
fluid jazz|'
Shredding alongside
Skolnick is journeyman
guitarist Al Pitrelli, another
Savatagealumnus, who has
played with acts ranging from
Megadeth to Taylor Dayne.
"To be part of something
so successful is a gift at my
age," says Pitrelli. "One of
the great things about TSO is
that it's not genre restricted;
the albums were written with
no musical boundaries in
mind. Also, the show is two
hours and +0 minutes long
and there are plenty of guitar
solos. I try not to change up
too much from night to night
becauseofthe intricacies of
the arrangements, but occa-
sionally I get away with one or
two changes."
Both guitarists admit that working
with a show this loaded with special
effects has had its moments of unin-
tended comedy. "There's a song called
'First Snow.'which features snow fall-
ing from the roofofthe arena onto the
audience," says Skolnick. "One night, it
didn't work and there was no snow! We
were all looking around waiting for it
and it never came. For some reason, it
was hilarious to us onstage."
Petrelli recalls another night when,
while performing the song "Christmas/
Sarajevo," sirens started going off in the
arena. "I thought to myself, Well, that's
a new trick. It wasn't too longbefore
we realized that the fog had set off the
smoke alarms in the arena. They had
to evacuate 17,000 people. We waited
around for an hour onstage until ev-
erybody could come back in, at which
point we picked up right where we left
off." Well, what would Christmas-or
for that matter a Christmas show-be
without its surprises? dk
TRA]IS.SIBERIAI{
I|BCHESTRA
01{T||UB
N o v .1 6 . . . . . . . . . H a m p t o n , V A DEc.g ...... SaltLakeCity,uT
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t t o v ,1 8 . . . . . . . , G r e e nB a y , W l D E c . 1 .2. . . . . . . . . . .D e n v e r , C O
uov. 18 ..... WilkesBare, PA orc. r3 .,ColoradoSprings,CO
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GUITAR WORLD 45
 WWryW profi,les

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minta!metal, , . .i ' : : j i . .

With acoustic/: ',,1ffi:,iAY.IOEBOSSO viewed as hubris, but Clarke insists "he's into the studio, it felt right. He was one
tlean/death, the real deal." The group nearly chose of us. I'll tell you, there's nothing I don't
metal"stylegui- , female Rock Sfar contestant Dilana like about this group."
tarr,bruta!vocals,
andprogressive
ananeemCnts
,
66r ill:ff :rn:-#
t""'ff
H::ll Robichaux, "which would've been
interesting," Clark says. "But Lukas had
the whole package. We couldn't argue
Except for the name. Just before the
finale of Rock Star: Supernova, the Cali-
fornia punk-pop band Supernova,which
Lfhe 29-year-oldToronto native is
lll$T0[Yr"a: still pinching himself after beating 15fi- with his intensity. And the formed in 1989,filed
!f brgttrerl.lo-e nalists to become the lead singer of Rock audience voted him their a federal lawsuit
Star Supernova, the all-star band featur- favorite, which didn't hurt. alleging trademark
tndMario(drums),
Duplantier, . ing Motley Criie drummer Tommy Lee, The guy's so talented, it's infringement. With
ofBayonne, former Guns N'Roses guitarist Gilby scary." little time to fight the
France,Gojira Clarke and ex-Metallica bassist Jason Rossi'sfearsome vocal case,Clarke and his
Newsted. skills can be heard on the bandmates decided to
As Rossi proved on the CBS reality rush-released single "It's take a new name. "Be-
series,Rock Star: Supernova,he has All Love/Be Yourself & causeof the TV name-
the kind of outsized pipes and persona 5 Other Cliches," which recognition factor, we
needed to front aband ofbeen-there, showcasesthe band's were forced to go with
done-that vets, and he's not shy about no-bull approach to Rock Star Supernova,"
saying so: "This band needs a larger- songwriting. According to Clarke, the he says, dryly. "None of
than-life guy who's gonna belt it out to group's forthcoming album, slated for a us likes it, but we're hoping the fans just
transformtheir late-November drop, has been a pleasure call us Supernova.After all, you can't sue
"*uitont"nt"tty the back rows, and that's me, brother."
Rossi'spronouncements can be to make. "The minute Lukas stepped the fans." *k
consctousnewag€
mentality" into
pummelingmetal
riffs,gut-bujtin&,
lockstCpbais/ .
drumworkand
cutttrroaivocak. ,
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 Stone Temple Pilot wets Dean and, Robert DeLeo team up
a:ith Fi,lter's Rohert Putrick and, deltizser the
heawy artillery with their new Sroup.
...+:,...::i.
1iffi:i ByALAI\ DI PERNA
'i:.P..|iPhotograp,hs
by TRAVIS SHINN
TIOR Stone Temple Pilot fans.
H ScottWeiland's resurgence as
.L Velvet Revolver's lead singer
was a little bittersweet. On the one
hand, you were glad to see his trouble-
plagued career get a boost. On the other
hand, you couldn't help feeling rather
sorry for his former STP bandmates.
They were the ones who stuck it out
over the years, whenever Weiland's
drugproblems landed him in rehab or
jail and prevented STP from building
upon their early successes.Suddenly,
Weiland was fronting a hugely success-
ful all-star rock and roll band, and they
were...well, where exactly were they?
As it turns out, brothers Dean and
Robert DeLeo-STP's former guitar-
ist and bassist, respectively-haven't
exactly hung up their axes. For the bet-
ter part of this past year, they've been
at work on the self-titled debut album
by their new group, Army of Anyone,
which features Filter lead singer
Richard Patrick and ex-David Lee
Roth drummer Ray Ltzier.According
to Dean, he couldn'tbe more thrilled.
"This is like a dream come true for
me," he says. "I'm such a fan of Rich's.
I've always fantasized about Filter's
48 curreR woRLD
album Title of Recordbeingmine. everythingwasin-house."
i
I've played air guitar to that so many
times-fucking rocked out to that-and :,,""l"T
ilX"i:3fi
:::1i:"r'fi1iffi
lH,
said,'Wow, I wish I wrote that song... of Anyone were able to put together
and that song, and that song...' " , highly realized demos of about 3O songs
Not surprisingly, Army of Anyone's before they joined forces with cel-
debut contains echoes of Filter's i ebrated rock producer Bob Ezrin. Once
melodic sensibility, and it has plenty of ....:.j .:r+;,;!j i Ezrin signed on, artists and producer
that powerfully precise Deleo brothers i,,,,ilil#L
,..,.., i gotdowntowork atL.A.'s historic rock
: .,':::i l,614ffi i
riffingthat anchored STP. But for the i.:,;;:,;:,;;El
ffi , studio, the Village. Dean opted to craft
1:t,in#ffiwt
i:,i:i:;am <ihf;a*r*f
'
most part, Patrick and the Deleos have an expansive, heavily layered guitar
taken what is for them a fresh slant on I'VE P[AYEll i ,or'd for thealbum,with six-string
rock and roll. with a sound that's based AIR GUITAR i contributionsfrombrotherRobert.
squarely in that riff-happy place wherb i on thenewalbum,Deanexploresall
T0 FILTERtS
Nineties grunge and classic Seventies
hard rock converge. Lrzier's stadium- mLr0F'' i lH#?ilfi:H::i,:'ffiX1il'
sized bashing completes the picture. REC0RI|ATBUM i ingdoubletrackinsalt-ernate
tunings,
"Ray really puts the icing on the cake,"
S0 MAI{Y i backwardguitar,Ebowandslide.
Dean says, laughing. "That guy's mov- : "I alwaysapproachthings
dif-
ingsome airbehind me."
TIMES-
Army of Anyone got their start
when management brought the Deleos
_ i [Ttr'*n*1"J:iltlT?;l;;
iiiqKiltc
OUT i MusicwithstoneTemplePilots,isaid
R0CKED
together with Patrick to work on T0THAT.tn i tofuroducerlBrendanlo'arienlright
material for the fourth Filter album. - llEAll;;E1ES i fromthestart:'f don'twantto haveany
The three rock vets had crossed paths , humbuckingpickups onthisalbum,
before but had never sat down in a , and we're gonna do very few overdubs.'
room to write songs together. Once
they did, a mutual musical understand-
ing developed quickly. "We said,'Wow,
i"oTJ"',T,ffiI:;:'r:::ffi;::"""'::
lush and beautiful record, with lots of
this is too good not to pursue,' " Dean layers.TheArmy ofAnyonerecord is
recalls. "Ironically, we're all under : more alongthoselines."
the same management and lawyers, so i Dean'sguitars for the new album
 afiles

included "the basic four

food groups," he says.
"I had a few late-Sixties
Telecasters, including
one that I like to string
up in Nashville tuning
lusing the octave strings
from a l2-string setfor
the three lowest-tuned
stringsl; I had some
Strats, some Les Pauls
and some hollowbod-
ies, including some
Gibson [rS-]zeSs. r also
used a Danelectro with
lipstick pickups and a
reallybeautiful Paul
Reed Smith hollowbodv
McCarty model."
The acoustic guitar
that figures promi-
nently on several tracks
is a 1950 Gibson J-50.
"f came upon that gui-
tar a while back," says
Dean. "No matter what
microphone you get up
in front of it. it sounds
great all the time."
And on the album's
first single, "Goodbye,"
Dean employed Richard
Patrick's Fender Bass VI baritone
electric.
"Rich had a few of those from his
days in Filter," says Dean. "lle used
a baritone to write the song'Father
Figure'on our new album. The guitar
was laying around, so I used it for
'Goodbye,' which was written really
quickly." As Dean explains, the song
came about at Patrick's urging. "Rich
was really after me and Robert to get a
song on the album with that particular
tempo. So we sat down and I wrote the
verse, Robert wrote the pre-chorus,
I wrote the chorus and the songwas
done in a matter of minutes."
Dean used the baritone for the
song's solo and tracked it in tandem
with the PRS McCarty in the choruses.
Together they create a distinctive tone
that recalls the sound of an electric
sitar, as it weaves a tuneful counter
melody beneath the vocal. "I double
tracked the baritone," Dean explains,
"and the PRS has a double output that
I ran in stereo." The PRS has a piezo
pickup system with its own output,
allowing Dean to print the piezo and
main pickup signals to separate tracks.
"So you get both those sounds, but it's
one performance. Also the PRS is in
Nashville tuning, and together with the
baritone, it makes a really nice blend."
Doublingwas a key strategy for sev-
eral of the album's guitar solos. "That's
an example of how Ezrin really chal-
lenged us," saysDean. "I laid down the
solo to the song'Disappear,' and Bob
was like, 'That was great. You played it
beautifully. Now double it.'And I'm like,
'What!? Double that!?' But we nailed it
in a couple oftakes, and it creates this
great stereo effect. It sounds like cho-
rusingbut it's actually doubled. My
Strat's on the left and my'57 Les Paul
Special,which has a P-90 pickup,
is on the right." Ezrin had the same
idea for the solo in "Doesn't Seem to
Matter," only he wanted it doubled
in octaves.t'Sor"saysDean, ttI had
to relearn the whole solo one octave
down."
Dean employed alternate tun-
ings on the rhythm guitar tracks for
"Disappear"
Qow to high, D A D GA D)
and "It Doesn't Really Matter" Qow to
high, D A E A A C#), but he played the
solos in standard tuning. In doing so, \
he created a dilemma for himself: how
to perform the songs live. His solution
was to have the Fender Custom Shop
create some doubled-necked Strats for
him. The lower neck, which Dean uses
for alternate tunings, has full- and split-
humbuckingoptions; the top neck,
used for soloing in standard tuning, has
humbuckers with no split option.
Dean's decision to layer guitar
tracks meant he would have to rely
mainly on smaller amps in the studio.
"A big 4x12, 100-watt amp would chew
up too many of the frequencies and
there'd be no room for anything else to
breathe," he explains. "So I had a real
assortment of smaller amps for this
album: half a dozen Supros with six
and eight inch speakers,halfa dozen
Magnatones, Silvertones, Univoxes,
Ampegs, and a lot of smaller Fender
amps like the Fender Pro. It was all
vintage Fifties and Sixties stuff." One
exception was a Class A closed-back
combo made by his friend Jeff Snider.
"You can switch it to 18 or 3Owatts,
and it is particularly gorgeous with
a Strat. You back off the gain on the
guitar and you get this tone that's way ,
beyond an AC30. You know that real
bell-like chime you get from a Strat?
This amp is best for that."
ESSEIITIAt For beefier tones. as on the afore-
mentioned "Father Figure," one of
usTE]il1{G Dean's secretweapons was a Boss OC-2
Octaver. "It kind of hugs the track," he
STOI{E TEi,IPIE
Ptl0TS says."On the second halfofthe second
"Sex Type Thingff and third choruses of 'Generation,'you
-Core,tggz
can hear another guitar come in. It's
"Dead & BloSted"
the Octaver coming up underneath and
-Core,1gg2
really grabbing the bottom."
1'lnterstateLove
5ong" Dean looks forward to hitting the
-Purple,9g4 road with Army of Anyone. Along with
their own new material, the guys will
FIlTER
"Hey Man, Nice also be dipping into the Filter and STP
5hot" back catalogs in a true spirit of "all for
-Short Bus,rgg5 one and one for all."
"Rich came from a dictatorship in
ARi,TY OF
A]IYOI{E Filter," Dean says."It was his band: he
"Goodbye" made the decisions;he paid guys to play
4rmyofAnyone, in his band. But when we got together,
he said, 'I want this to be all of us mak-
zoo6
ing democratic decisions on everything,'
which is how Dean and I always did
things in STP. That right there shows
you what kind of guy Rich is." #K

5O curreR woRLD
MEfAtuc
 AYBE YOU'VE READ the press and heard
the internet btzzthat says Trivium are the
new top cats of metal. that their new album,
The C rusade (Roadrunner) - a sprawling,
ambitious melodrama of high passion, tri-
umph and tragedy-is the best Metallica
album Metallica never made. And that these
four titanic talents are bum rushing the music world in a way
not seen since the early days of, well, Metallica.
Unless you're amongthe Trivium faithful, it might all
sound like a lot of bluster. But The Crusadeis that special kind
ofalbum that alters a band's career and enlarges its fan base.
A smart shot of lucid record making it cuts to the chase faster
than its predecessor,Ascendancy.The guitars snort from the
very start and build into a permanent uproar of cauterizing
riffs, whiz-bang solos, sheets of dissonance and grand themes.
But Trivium bring more to the proceedings than just garden-
variety ferocity; they perform with true avidity and heart, and
the fusillades of sound they create feel like poetic acts of will,
F."j
which makes them all the more transfixing. f t l
"We try to make i,
' i
each cut more
lN\
intense and surprising than the last '
one," says Matt Heafu, Trivium's 20-
year-old singer and co-guitarist. "Our
ffi artistic goals are exceedingly high. We
strive for originality on all fronts. For
us to make a record with one or two
good tracks would be a terrible let-
down, to us and our fans."
ffi
admitted worshippers at the throne
of Metallica, Trivium, like most art-
ists, honed their craft by stealing from
their heroes, taking any and everything
that wasn't nailed down. But Trivium
reimagine their source material in ways
that feel startlingly fresh. They ratchet
up each nuance, finding new shadows
and light in the original photograph. In
doing so, they've managed to pull off
an exhilarating synthesis ofthe classic
and the modern that will leave listeners
praying for more.
The guitar interplay between Heafu
and 23-year-old fellow guitarist Corey
Beaulieu reached hurricane force
onAscendancy's "Pull Harder on the
Strings of Your Martyr." OnCrusade
cuts like "Detonation" and the nine-
minute title cut that closes the album,
the duo have their sights set on nothing
less than an apocalypse. They're well
supported by Trivium's rhythm sec- C
tion: drummer Travis Smith and bassist
Paolo Gregoletto weave intense, synco- Usi
pated, knotty patterns that accentuate
WOl
the guitar crunch. And Heafy's singing
xnd
which for years resembled the screech-
ing of a cat with its tail caught in a car Ihe I
door, has matured; his vocals come It'scr
at you in seething, melodic bursts.
lran
[g!.UgVftrE$F-
J!!fl.l,r.&ooBE
orfuJl
rul,flllUy
IOPIAY
c0l{
0t{ fritfiff,i
 PROFESSIONAL
GRADETUBE
TTCHNOLOGY
ATA HOMTSTUDIOPRICE
Haveyou everwonderedwhy y*ur recordedguitar tone doesn'tsound
like your favoriteband'salbum?Ask many producerswhat the hardest
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Zl*N *J,llffiffiJ;,.*
(Ironically, he now sounds more like James Hetfield than 2005, its personnel shifted again, result-
James Hetfield ever did.) You can't call Trivium's music met- ing in the present lineup.Ascendancy
alcore or thrash, nor is it progressive metal; it's a remarkable made bigwaves in the States,but in GUITARS(Heafy)
hybrid, one that increasingly defies description. England it caused a sensation, and ulti- DeanRazorback. Dean
Formed in Orlando, Florida in 2000, when the then mately went Gold. Trivium put the suc- ML, ErnieBall/Music
l3-year-old Heafiz hooked up with then l7-year-old Travis cess to strong advantage by touring con- Man JohnPetrucci
Smith, Trivium quickly secured a deal with the German stantly. "You name them, we've opened 7-string(albumonly);
(Beaulieu)Dean
imprint Lifeforce, and in 2003 issued their debut album, up for them," saysHeafii. "Three times." Razorback V
Ember to Inferno. For a while, Heafy and Smith went through Alongthe way, Trivium made no
EFFEGTS(Heafy)
band members like Paris Hilton goes through fianc6s. After bones about their intention to dominate Maxon OD-9Overdrive
the band signed to Roadrunner and releasedAscendancy in metal. They immodestly released their pedal,DecimatorNoise
own scorchingver- Reducer;(Beaulieu)
MXRZakkWylde
sion of Metallica's
"Master of Overdrive

Puppets" as a single AfiIPS(Heafy)Marshall

JCMzooo DSLloo-
ln fne u.tt., wnlcn
wassubsequently
il::ff;1i,[3::""""'}
added to pressings MarshallELJ4roolroo-
of AscendancY. watt PoweramP,
More to the point, $f::Ll|:r'Marsharl
in interview after
STRlilGS(both)DR
interview, Heafii
went on record PICKS(both)Dunlop
stating Trivium's
eminence, going so far as to claim they
were going to be "the next Metallica."
While such pronouncements can be
chalked up to youthful insouciance,
many fans were not amused. "I don't
take back things I've said," Heafy
says."But more and more, I just want
Metallica to be Metallica, and we'll be
Trivium. On the other hand, 10 years
from now, I wouldn't mind reading
interviews with bands where they say
they want to be 'the next Trivium.' "
Not surprisingly, when Heafy and
Beaulieu strut into the Guitar World
offices, they are the coolest of custom-
ers. Tall and tattooed, dressed in black,
they are a commanding presence.
Heafy's insight and eloquence are pre-
ternatural, the wheels of his intellect
spinning smoothly behind his confident
mien. Beaulieu comes off more as a
"regular Joe," the kind
of guy who, if
he smoked, would stash his cigarettes
in an upturned T-shirt sleeve. As they
take seatsin the conference room,
Beaulieu tears into a pre-interview
sandwich. Heafii waves off lunch; he's
here to talk, and he does so with laser-
beam focus.
|4 t4'fl
cutTARwoRtD You guys are like
rap stars in that you boast about your
awesome skills and plans for world
domination.
MAIT HEAFY We're confident. and
we're fine with saying so. From a very
early age,I knew I wanted to be in a
really, reallybigband and play in front
of thousands of people every day. Why
else would you start a band?
cOREY BEAULTEU We're all fairly
accomplished musicians, and we have
big dreams. I (continuedon page 96)
:+iar
. ,i .",
: .,.:

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Fr
.^.i':
AFIRST-HAI{II Tl|SIIREIIIII]{8
liUII|E TIIEMIIl|ENil
METAL WAY,
WITH
TIPSA]{lITEGHI{IIIUE$
FNOM MEMBERS t|FLAMB
t|FOl|I|,
ANCH
MEGAI|ETH, E]{EMY Al{I|TRIVIUM.
BY1{I8K
BI|WGI|TT
 HE ETGHTIES WERE a
time of gloriously unashamed
soloing and shredding excess.
The metal world was domi-
nated by players who were
very much aliveandkicking assin 2007 Beaulieuto teachyou the essentialsiii
In fact, it is the very reason Dave of modern shred. Using their own exam- ',,
Mustaine spawned Gigantour. ples, we'll showyou everythingfrom
"This tour is first and foremost
rhythm and lead playingto speed pick-
about musicianship," says Mustaine. ing and sweep arpeggios. So grab your

only too happy to stretch out
in virtuoso efforts that not
only took guitar playing to new realms
but also inspired others to reach for a
higher level of musicianship.
ffi
"On most of the rock packages out guitar and get ready for the ultimate les-
there, the guys in the bands are afraid son in shredding-2lst century style.
to play guitar solos. Part of that has to lNote: Due to an unforeseen issue,
do with the fact that they can't." there are gaps in the figure numbers in
Gigantouq he says,is for a different the following lesson.Resf assured, how-

Then came the Nineties, a decade
that was, for the most part, a lead-
deprived wasteland. While the likes
of Kirk Hammett, Zakk Wylde, Joe
Satriani, Steve Vai, Marty Friedman,
Dave Mustaine and Zakk Wylde were
M
breed of guitarisl "It's about having a spirig ever,no content rs missing.]
a talent And it's aboutbands that are cen-
tered around the guitar andthe leadguitar." | "SP0RT
; CHAPTER META[':
M0[ER1{
If that sounds like your kind of gig : RHYTHM
METHI|IIS
you're in luck. In this Guitar World i All the guitarists involved in this
exclusive, we've gathered together

fighting to keep the sacred art ofshred
alive, most everyone else was doing
their best to bury it. lvot playing lead
guitar became a badge of honor.
In truth. the Nineties were such a
bad time for guitar solos that just one
true metal guitar hero emerged in that
decade: Dimebag Darrell. At an Ozzfest
several years ago, ZakkWylde surveyed
the names of bands on the tour and.
turning to his pal Dime, said, "It looks
like you and me are the only ones on
this bill that can safely go from the low
E string to the high E and back again,
bro." His comment speaks volumes
ffiry
, lesson have one thing in common: they
Mustaine and his Megadeth coguitar- i are passionateand dedicated players
ist GlenDrover, Lamb of God's Mark i who write great riffs, many of which are
Morton and WillieAdler, Arch Enemy's i quite challengingto play. In fact, Arch
Michael Amott and Fredrik Akesson, i Enemy's Michael Amott described this
and Trivium's Matt Heafv and Corev i typ" of playing as "sport metal."
FIGURE1:1 Mark Morton "The Hangover riff' ptayed old-schoolstyle
drop-Dtuning(lowto high:D A D G B E)
lr.,3.
F5 D5 F 5 E b 5G b sF 5 E b 5 G b s F 5A b s G 5B b 5 A 5G 5 c b 5 A 5A b s

4 3 3

FIGURE1:2 Mark Morton "The Hangover riff'played {{contemporarystyle"

drop-Dtuning(lowto high: D A D G B E)

1-1 -4-4-3-3-3-3-1 -1 -4
u-LJ l--l--LJ
J 4 3 3 1

FIGURE1:4 Dave Mustaine

Freely
Bs/Ff Cs/G Bs/F#Cs/G Bs/FfCs/c Filsc5 F$5c5 Ff5c5 F#5G5
n

l-./ | 3 1../ | l----/ | 3/3

FIGURE
1:5DaveMustaine
about the state of shred in the post- E5 c5 D#5 Q5 cfs A5 UC Bb5 F$5
Eighties music world.
nhyhm chops suffered in the
Nineties, as well, as manybands opted
for the one-fingered simplicity of drop-
"spiderchord"3
D tunings. While simple riffs make up 4 3 3 3 3 4
f i n g e r i n g 1 2 l 1 1 1 2
the majority of metal's most memorable,
" r e g u l a r " 3 3 3 3
crushing motifs-from "Smoke on the J J J

f i n g e r i n g l l l l 1 1 1
Water" and "Paranoid" to'nvalk" and
"Man in the Box"-it's nice to come across FIGURE2:1 Willie Adler
a challenging riff from time to time. But drop-Dtuning(lowto high: D A D G B E)
neverhave we had to wait so long. | ) a"

Well, myfriends,we are gladto say E5 Ebs Ab5"-"

wide vib. wide vib.
that the wait is over. Thanks to a new
,.\-n-l\ P.M.--. P.M.--, P.M.--------- -, M
breed of bands-including Arch Enemy,
Lamb of God, Trivium, Nevermore,
Children of Bodom, Dragonforce, Shadows
Fall, Mastodon, Opeth andAvenged 1-4-0-1 -4-0-1 -4-0-1 -4-'
J-J
Sevenfold-as well as seminal metal icons 3 ( 1 ) * t 4 3 t 4 1 1 4 1 4 1 4 1
like Slayer and Megadeth, shreddingis *Useindexfinger secondandfourth times.

64 cutreR woRLD
 :ll!ir'
''r
"ii-''
Ii.
-'r.':
*Michafl's right: it islsportmetal," 'Holy Warsf-itls incrtdibly busy,and i' delfirlitely easierithan havingto move
saysWillie Adler. 's a real finesse there's so much stuff in there that you've i your entire hand back and forth lsee the
i')' to a lot of the riffs, and they're physi- really got to be on top of your game." "regular"
: fingering under the tablaturel.
, cally challdnging every time you play In addition to his ultraprecise : Ifyou have to move your hand, your
them. With the new songs we're playing picking and knack for writing riffs, : timing is gonna be off and there will be

fromsacrament,I've got to warm up for
at least an hour before we go onstage."
We asked Adler's co-axman, the
always eloquent Mark Morton, to
explain some of the rhythm playing dif-
ferences between metal's "old-school"
W
Mustaine is the master of rhythmic i string noise. Plus, you'll be relying too
nuance. "One thing I'll often do with i much on guesswork."
my rhythm playing is slide into a i l-ike all metal masters, Mustaine
chord," says Mustaine as he plays i tlsespalm muting (v.r',r.)to great effect.
FtcURE ft4. "That makes the chords i Palm muting is the technique of roll-

and "nu-school." Despite a brutal hang-
over, Morton not only stepped up to the
plate but also came up with "the hang-
over riff" to illustrate his point.
"Here's an example of what I would
consider more of a late-Eighties, Bay
Area-thrash take on the riff. And here's
a more contemporary style of doingthe
same riff," Morton says as he performs
'As
FIGURE 1:1 then RGUnr1:2. you can
see,they're the same pattern, the same
note choices, but with a different and
faster right-hand cadence, giving it a
more modern,'deathy' feel."
W
really growl, like in Ashes in My
Mouth." Another must-know Mustaine
technique is his "spider finger" chord-
grabbing technique, which he demon-
strates in Rcuru &5 and pHorosA and B.
'Alternating pairs of fingers like
this is
i FIGURE2:2a Willie Adler
i drop-Dtuning(lowto high: D A D G B E)
i p.tut.
FIGURE
2:3 Willie Adler
drop-D tuning (low to high: D A D G B E)
P.M.
i ing the fleshy part of your palm frnoro
i c] forward from the bridge to dampen
i the strings. But as Mustaine points out,
; there is another way to stop notes from
ringing and you can do it with your
pick. "So many people think picking
FIGURE2:2b Willie Adler
drop-Dtuning(lowto high:D A D G B E)
P.M

: FIGURE 2:5 Michael Amott'oI Am Legend"

i Gtr. tunedtwo wholestepsdown(lowto high: C F Bb Eb G C)
P.M
i
; n n V n n n n n n V n n n n n n V n n n n n n

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

FIGURE2:6 Michael Amott "Nemesis" riff

Gtr. tuneddowntwo wholesteps(lowto high: C F Bb Eb G C)
rv.n.l--------
(12thfr.)"n (2ndfr.)** 19ttrtr.;** e.u
n v n n n n n n n n v n n n n n n n n V N V N V N V n

As you can see and heaE the "right

hand cadences" Morton is referring to .x-x-x-x-x-x-x-x-x x-x-x-x-x-x-x-x-x
involve "gallop" and "reverse gallop"
t + J l Jr r r l rJr lJ | | |
: 2 1 4 2 7 4 2 1 4 4 4 \
picking patterns plus double picking a : photo: @ @
(3) (3)
a
lot of the notes. : *Natural harmonics created by lightly restingfret-handfinger on sting
We asked all our guest teachers to i and moving ir up and clown inri""ir. lsDeCb-nOU ToAigel
*+Approx. position of Michael's
name a few albums that they consider i fret-hand finger during the creation of random natural harmonics

vital references to great metal rhythm : FfGURE2:7 Matt Heafy

work. In addition to Metallica's seminal
Em(add9) C(adde) Em(add9)
Master of Puppets and Pantera'sVulgar n n v n n n v n n v n n V n n n V n n V n n V n
Display of Power, Megadeth's classic P.M
Rust in Peace topped the tally. Says
Amott, "That album definitely set the
bar pretty high for music like this. It's
full of 'Hall of Fame'riffs."
Glen Drover, Megadeth's lead guitar-
ist, has a pretty challenging role-not
photo:
@ o
only does he have to perform leads by D$m(add9) Fm(add9)
his virtuoso predecessorsChris Poland n v n n v n - v n n v n n n v n
and Marty Friedman; he also has to dou- P.M. P.M.

ble Mustaine's vast repertoire of "Hall

of Fame" riffs. "Some of the rhythm pat-
terns are equally demandingto play as
the solos," says Drover. "Take a song like

66 curreR woRLD
$igned
bydistortion
fanatics
intherock'n'rollunderground
ofSaltlakefity r www.digitech.com
r 801.566.8800
 'i:;ti:'.ii):,::i:i
'&:i'i:,l
i. i,.,rt"Uo'lrtmovingthJ pick up and string jumping and wide-stretch riffs minor example of "getting a picking
down," he says. "But you've also got frnoro I and FtcttRE2af ." pattern going and then throwing in a
to think about how to kill the string's Michael Amott has a similar and same-key, scale-type run to make it
equally lengthy pre-gigwarm up. Two more interesting," a ploy endorsed

vibration to give the line articulation.
On a riff like the one from'Hanger 18,'
I'm not really palm-mutingthe D
stringwith my right hand; I do it all
with pick articulation."
ffiM
Arch Enemy riffs he often uses in this by Dragonforce.
ritual are from "I Am Legend" (FrcuRE This section closes with a riff
2:5) and "Nemesis" (ncunr 2:6). FlcuRE offered by Fredrik Akesson of Arch
2:7 is a cool, off-kilter offering from Enemy. "This is a rhythm riff I came

MK
Mustaine explains that this involves Trivium's Matt Heafy that uses all six up with frtcunr 2:9]. It's got gallops
playing in a strict staccato fashion. "The strings, "gets all your fingers working in the first part and t6th notes and
note dies when the pick touches the and also gets a gallop pick going." octaves in the second part. I also use
string again," he says. Furthermore, it FIGURE 2:8 is from Heafy's band- my second finger to fret the bass notes
requires using less of the guitar pick's mate, Corey Beaulieu, and is a great F# on the bottom string fnnoro x]."
point. "When I'm really pedaling
the amount of pick sticking out from
ti
my fingers is minute fnxoro D]," says tr.
D$m(adde) Fm(add9)
C(adde)
Mustaine. "But when I'm doing percus- n V n V n n V n n v n n V
sive stuff, like'Train of Consequences' P.M.
I slide my fingers away from the tip of
the pick [rnoro e]."
In conclusion, Mustaine offers this
advice: 'I think the secret to accurate
picking is slowly speeding up. It's really
FIGURE2:8 Corey Beaulieu It.
G5 Ffs G5 Fils

4\4 1 4\4 I
4-\4 4\4
|2.
A5 uc Ff5G5 G5 F#5

: 1 1 1 1 1 4 \ 4 \ 4 , , / 4 4 \ 4 1 1 1 1 1 1 1 + 2
i 1\1\1.,/1 1\1

: nCUne2:9 Fredrik Akesson

; Ctr. tuned down two whole steps(low to high: C F Bb Eb G C)
: P . M .- - - - . P.M.-----. P.M.-----, P.M.-----.

easy to play rhythm super fast, but with

most guitarists, if you slow down their
3----\3 3 1 l--./ | l---/ |
recordings you'll see that they aren't
P.M.________. P.M.---------. P.M.--------" P.M.
very accurate at all. Most of the time
they're terrible. If you want to be fast
and accrsrate,learn your rhythm parts
by playingthem slow and then gradual- 7-7-7-7
ly bring them up to speed, concentrat- 4-=\4 2 2 2 2 4----\4 4--'/ 4 4--'\4
ing the whole time on being accurate. 1---\1 l--"\1 1--'/ | 1--'\ I
There is no other way." @

ll "l{0PAlll,ll0 GAll{":
GHAPTEB FIGURE3:4a Glen Drover FIGURE3:4b Glen Drover FIGURE3:4c Glen Drover
UP
TUABMII{G Picking

As Lamb of God's Willie Adler 1 : r ' i V n V n V n V n V n

2 : V n V n V N V N V N V n
has already stated, warming up for an
"Sport Metal" -
hour or more is vital for 12 12.1415:
-+-12 14.15f-15 14 12 14.15ffi
participants. "We've got some riffs
similar to this that are hard as shit,"
"So I
he says while playing FlcuRE2r1. 3 3
3 3
have to warm up for an hour or more r 2 3 r 3 2 1 2 3 1 3 2 t z ) t 3 2 1 Z J L L )

before every show, mainly by playing

FIGURE3:5 Fredrik Akesson
the riffs in our set that I find the most
demanding. I work on my picking
Gtr. tunedtwo wholestepsdown(lowto high: C F Bb Eb G C)
alternate picking throughout
speed and stamina by doing simple,
quick chugs with triplets lgallopsf
thrown in frtcunrs 2z2adnd b], repeat-
ing them over and over and speeding
them up as fast as I can. I'11also do

68 cuIraR woRLD
 iw
i+ffi.\!, ,i,
 r;
i:t

t: ingtechnique, saysYngwie, "You have notes from'bleeding' into one another

SPEEII
PIGKIll|i
There's only one way to master this:
"Practice...a lot of fucking practice,"
says Megadeth's Glen Drover. "It takes
dedication and a sense that you're
never totally comfortable with your
skill level. That's absolutely a healthy
attitude for growth as a guitarist."
Drover then proceeds to show us three
simple "start out slowly and build up
speed sensibly" alternate (down-up)
picking exercises in E minor, FTGURE t:4
a-c, that enable you to focus on your
picking technique and "really get the
blood pumping."
Once you've paid your dues practic-
ing these essential chop builders, you're
ready for the big leagues and rrcuRE3:5,
a blistering, exotic-sounding E minor
based workout from Akesson that
involves the "Hungarian scale fncune
3:6] combined with some chromatic
stuff and alternate picking all the way."
FIGURE 3:7 is a simpler but equally effec-
tive E minor, Hungarian-spiced lick.
to let the pick 'fall' from string to string and soundinglike a strummed chord."
as if you were strumming a chord. HeedingYngwie's words, work on
It's important that you don't separate FIGURE4:4, a three-stringA minor arpeg-
the pick strokes. When executing an gio from Trivium's Matt Heafu Once
upward sweep, dragthe pick upward you've mastered that check out the
over the strings in one fluid motion. more challenging five-string version he
Again, it's imperative that you don't use offers in FIGURE4:5.As Heafli says, "It's all
individual upstrokes." a matter of startingthem offreally slow
The fret-hand component is equally and workingyour way up." When you
important. 'You need to mute each have those under your belt, try FtcuRE
string with the fret-hand immediately f:10, Fredrik Akesson'sslippery Bm7b5
after picking it by lightly lifting or 'roll- diminished arpeggio (B D F l) that con-
ing'your fretting finger to keep the tinuallygoes back on itself and repeats.
19-18-20-19-18
20-19-17\16-17-
1 3 2 1 3 2 | 3 2 1\l 2
FIGURE3:6 Fredrik Akesson
Gtr. tuned two whole steps down
(low to high: C F Bb Eb c C)
alternate picking throughout

CHAPTER
4I.EAII
UII||RK(|UT
II:
SWEEP
PIGKI]IG
ARPEGGI|IS
Sweep pickingis probablythe most 4 I 2 3 2 3 1
famous shred technique out there.
Yngwie Malmsteen is its undisputed mas-
ter and the guywho put it on the metal
map. But as he explains, most players
don't knou'or employ the necessaryrules.

FIGURE3:7 Fredrik Akesson

Gtr. tunedtwo wholestepsdown(lowto high: C F Bb Eb G C)

t 3 2 r r 2 3 1 2 32(+r)(2) I 3 2 | 3 2

FIGURE4:4 MattHeafy FIGURE4:5 Matt Heafy FIGURE4:9

3-string A minor arpeggio S-string A minor arpeggio A minor arpeggiorun
Am

3
2 1 2 1

FIGURE4:10 Fredrik Akesson

Gtr. tuned down two whole steps
(low to high: C F Bb Eb c C)
"Most guitarists have a general idea
n - - - n- - .n - l ' - - - - - - - 1 i ' ' l - - - - - rV - - - - - . V - - - - - - - - - - - -
of how to approximate the technique,
but only a few do it correctly," he says.
"The rest of them let the notes
ring too
long or try to play too fast and sacrifice
precision and clarity. Either way, it
sounds like shit." As he explains, the t 3 2 1 3 2 r 4 t 2 4 1 2 3 1
only way to correct these errors is to wide vib.
separate the right- and left-hand com- v-__________, n
V- - - - - -.
ponents of sweep picking masterthem -l\-/\-,.\-.^/\-.!
13-13-1719\17 7
separately and then coordinate them
with one another. Of course, it's not
easy.You'll have to put in a lot of prac-
tice time to get it right.
To get a feel for the right-hand pick- 2 3 2 3 I 4/ 4\4 z I I 1

7O culren woRLD
 exampleof l'leSdis mdre."As he points n; Jl|URlIEY
"Legato'l is a fancy Italian musical
out, his wide-stretch, six-bar chromatic i ]IEVER
EIIDS
climb is made even more climactic by I For every serious guitarist, playing
term for "smooth." For shred guitarists, the fact that there's an "almost sub- i the guitar is a lifetime achievement. As
playing legato requires using numerous liminal overtone from the high E string i Mark Morton wisely notes, "There's
hammer-on and pull-off combinations because that string is also fretted while i no time spent playing guitar that's
to make lines sound as smooth as pos- I'm fretting the G and B strings." i wasted time." r
sible. Once again, there is no magic
shortcut. Mastering this way of playing
will take practice, and lots of it.
: FIGURE
5:5 GlenDrover
When pulling off, pull the string n
---\ * !-..-...-
7-9-10-9- -\:7_g_12-g_i
slightly in toward the palm. This will 10-9-7-9- -9-10-9-
-9-7-9-11-9-
help keep the stringvibrating and
prevent the note from dying. When
you're ready, check out the molten-lava
example from Glen Drover in the key 1 3 2 t 2 3 1 2 4 2 1 3
*hammer-on"from nowhere"withfret hand.
of F+ minor shown in Rcunr 5:5 and the
demented, diminished-flavored HGURE ptroto:@
5:1,a lick inspired by what Glen calls
the "Randy Rhoads diminished run"
(ncunr 5:6)And don't be afraid to break
these phrases into "bite-size chunks"
and chewthem slowly.
/ 2 3 2 t\t 4 3 2 | 3 4 3 1\t/1

FIGURE5:6GIen Drnver "Randy Rhoads diminished run"

GIIAPTER
6 IEAD IV:
WOBKOUT
-15
P||WER
PEIITAT|II{IG
With sweep arpeggios, diminished
licks and Hungarian scalesbeing tossed
about,let's not forget the almighty
minor pentatonic and blues scales. 3 1 2 1 3 1 3 1 2

FIGURE5:7 Glen Drover

n n
l-.-- --''.-\
7_6_4_4_6_b11O_9_7

2 3/3

1 2 3 r 2 3 3 2 1 3 2 t 2 3 r 2 1 \ 12 3 1 2 3 2 | 3 2 1\12 3 | 2 3 2 3 2 1\1
FIGURE 6:5a Michael Amott FIGURE6:5b Michael Amott
Gtr. tuned down two whole steps
- Gtr. tuned down two wholesteps
(lowto high: C F Bb Eb G C) (lowto high: C F Bb Eb G C)
17121712- 1217121712
- 121n 21712 -1217 121712 -1 2. 15121512-121 5121512- 121712171.2
-1 217121712 - 12
*v ffi 16 ffi 16 ffi 16 1-1-1--1--1--
16 F ir*v ffi'!+ffi'!4ffi'!6ffi16F

Sure, they're simple and ubiquitous, 3 t 3 t 2 t 3 l 3 t 2 t 3 l 3 t 2 t 3 t 3 t 2 1 3 3

but these five- and six-note scales
are responsible for more great metal
photo:@ @ @
riffs and leads than all other scales FIGURE6:6 Dave Mustaine
combined. Sometimes, the best way to '
15-12-12-15-12-17-12-12-17-12-1s-12-12
't :ll 15-12-12-17-12-12-15-12-12-12-12-12-
break up all the sweep-picking legato -,tffi 5-ffi 15-ffi-'! s-Hl-t--J-15-i---ffi'15-i---*'ls-l#'l 5 -l-
and speed-picked madness is with a
burst of pentatonic purity or ballsy
blues. Check out Michael Amott's sim-
ple but effective E minor blues scale (E
G A Bb B D) wide-stretch burst in FtcuRE
6r5a.As he correctly points out, it's
7 1512-12 15171512-12 15171512-
| | { E | | | | | { E I I | | | { E
171512- - - 1 81 61 3 _ -
merely an extension of the more com-
mon E minor pentatonic (E G A B D)
clich6 shown in the first half of FlcuRE
6:5b,but it definitely makes a mark.
The undeniable impact of penta-
tonic and blues scales is illustrated per-
fectly in rtcunt 6:e,a brilliant blast from
Dave Mustaine. Similar to a lead he
plays in "Holy Wars," this is a textbook 3(+2)

72 curran woRLD
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HETHER SCORCHING
stages all over the world
as a member of prog-metal
masters Dream Theater or
burning up the fretboard
as the frontman in his own

que and demonstrates the signa-

Me Under." "Sacrificed Sons" and

ropolis, Pt. 1;" as well as his solo mas-

l-;,
fi:#,i?#,",'d,"HXn:::f
tilffi?il&i::ilTfiffi:il;,"
 Petrucci epitomizes the ideal of having
FIGURE
1a suspended2nd/9th chords 2 "Metropolis,Pt l"
FfGURE
one's picking skills together-just check out
c5 Csus?G
XJ
such timeless Dream Theater tracks as "Fatal
FFFFIT
FFFH.I ttrFFtl )=104
ffi ?+f+H
Tragedy" and "Erotomania," as well as the rT--T-l rT-tr-] N.C.
aforementioned songs. The 39-year-old guitar- 134 1l 3 4 l I (ddist.)
ist has seen his stature rise steadily since 1989
and the release of Dream Theater's first album.
When Dream and Day Unite. By the time of
1994'sImages andWords, Petrucci's technical
skills placed him at the forefront of the metalf P.M. I

prog-rock/shred world. Recent stints as the

third guitarist in Joe Satriani and Steve Vai's FIGURE
3
G3 guitar summit tours have only garnered
G5 Gsus2 Fsus2 Dsus2
Petrucci more acclaim worldwide. "Our
fan base is bigger now than ever," says the
guitarist. "It's incredible how the fans have
Csus2
A
ffiffiffiffi
134 134

P . M . .J

FIGURE 4 open-stringpedaltones
.J= 104
85 Bs/E F(fi11)
let ring throughout

FIGURE
5
E5 Bsus4 F#7sus+

FIGURE6 "SacrificedSons"
) =84
N.C.(E5)
P.M. throughout (play 4 ttunes)

stuck with the band and have continued to

grow in numbers."
DreamTheater'slatestrelease,Score,is a N.C.(F#5)
two-DVD/three-CDsetthat includesthe bands
20th AnniversaryTour grandfinale,recorded
at NewYork's prestigiousRadioCity Music
Hall-three hoursin length,90 minutesofwhich
featuresa full orchestra.Otherrecentreleases
includethe G3:Live in TokyoDVD andPetrucci's FIGURE7 developing alternate picking technique -\
first soloeffort,Suspe
ndedAnimation. lstrime:fl ! n V n V n V etc_ ti = downstrokeU= uoiiin
Petruccirecentlytook time out to stopby 2ndtime:V n V n V n V n etu.
Gl,Theadquarters to offer up this exclusiveles-
son/interview.

GUITARWORTDDream Theater',s music

ranges from the thrash metal heaviness of
FIGURE
8
Metallica to the technically challenging inten-
sity of complex prog-rock. What bands or gui-
lst time: 11 V n V n V ere
2nd time:V n V n \ l netc.
tar players have influenced you the most?
IOHI{ PETRUcCI Rush and guitarist Alex
Lifeson are among my biggest influences.
In fact, if I had to name my favorite band, it
would be Rush. One of the essential things I
6
picked up from Alex is how to make the guitar *repeatpreviousbeat

82 curreR woRLD
sound really big especially within the context
of a trio. This has been useful when playing on
my own with my side project.
GW How do you go about making a guitar
part sound bigger?
PETRUC(IWhen playing rhythm guitar,
one way is to add ninths-or seconds-to the
chords, or add the fifth on the bottom ofa
voicing, and try to use all six strings when
playing chords.
Here's an example fncunr ra]: instead of
playing a straight C5 chord, I like to add the
suspended second lD, secondstring/thirdfret]
by barring across all the strings at the third
example frtcunr 4], I'm using the open B string
as a pedal tone that sustains through the entire
chord progression, which helps to create a
melodic connection between all of the chords
as well as create an ominous kind of feeling.
I think these techniques also help to make a
rhythm part more interesting, and _ifyou add
chorus and delay effects you can end up with
a guitar sound that's as big as a house! Here's
i
!
FIGURE
9 arpeggios
:
I n V n V n V n V nV n V
another example wherein all of the chord voic-
ings include the top two open strings [rtcunr r].
Gw A staple of the Dream Theater sound, as
well as of your solo work, is the use of airtight
guitar/bass octave-unison lines, such as those
in the heavy interlude riffin "sacrificed Sons."
pEtRucctThat's another example of the
Rush influence. Alex and Geddy pee], espe-
cially on their early records, played some incred-
n V n

FIGURE10 SteveMorseArpeggioexercise
r# DE#

B/Dfi
fret. This also enables me to add the low fifth,
G, on the bottom of the chord, which fattens
up the sound considerably.
cw Can you site an example of this type of
chord in a Dream Theater song?
PETRUCc! For one of the main rhythm guitar
parts in "Metropolis, Pt. 1" lHcunr 2], I use a
big E5 voicing played across five strings lbar
2], followed by a Csus2 voicing in the next bar.
I also arpeggiafe this chord by draggingthe
pick across all of the strings, moving from low
to high, instead of strumming all the strings
at once.
This is a big part of my playing style.
Anytime I can use open strings in a chord, or
add a ninth, I will. For example, I'll oftentimes
play these open sus2 voicings instead ofregular
power chords frtcunr r]. Usingopen strings or
addingthe fifth on the bottom of avoicingbelow
the roothelps to provide abigger, richer sound.
GW Are there any other rhythm techniques
you picked up from Alex Lifeson? Y
pETRUccl Abigone is the use of open-string
pedal tones within a chord progression. In this

84 curreR woRLD
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intelligent
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 ibly complex and kind of bluesy riffs together in
octaves, and we as a band like to take that same
approach to get a really thick sound.
llere's the "Sacrificed Sons" riff frtcunr e]:
it's played in the key of E and is based around
the E minor blues scale lE G A Bb B Dl with a
lot of chromaticism lnotes that are half steps,
or onefret, dpdrtf added. This riff is palm-
muted throughout and is played with alter-
nate ldown-upl picking exclusively, which in
this case is essential in order to achieve the
machine-like execution that I'm looking for.
GW The riff also encornpassesmany
meter shifts.
PETRUC(|
That's right. The first phrase is
only one bar long, but it's abar of 6/4. It's fol-
lowed by a bar of +/+ with a little 3/8-bar tag
that finishes off the phrase. These first three
bars can be thought ofin groups ofnotes, the
first being six, followed by two groups of five
and then two groups of three. Next comes the
;#;il;" in. A good example is the riff
in the last two bars of the previous example.
We knew we needed a riff in F#, and it just
came out the way it did without us thinking
specifically about odd meters. But there are
moments when we will want to make things
more interesting, and we'll start to think about
how to take things even further in terms of
changing the meter. We'll say, "Is this phrase
better if it's all in9/8, or should it alternate
between 9/8 and a different meter?" We'll
sometimes try every variation and permuta-
tion until we get something that sounds right
to all five of us.
A lot of times it's a matter of compromise.
"Damage
Control"
) =69
FIGURE11b melody
Fft5
s $ood staying
: in4/4, and someoneelsethinks it sounds better
i alternatingwith another meter, so we'll figure
i out a way to do both. That way, we end up get-
i ting all of the differentvariations in there.
! cw You're well known and respected for
i you. incredible precision when it iomes to
i alternate picking. Can you demonstrate some
I ways for players to develop and improve their
i alternate-pickingtechnique?
: PETRUCCT There are a couple ofdifferent
i ways to play licks like the previous one: one
i wayis down-up-down-up, and the other is
i starting on an upstroke and playing up-down-
'
i up-down. When playingin an odd meter, it

FIGURE
11a rhythm
Gtr.2 P.M. P.M. P.M P.M. P.M. end Fi lIa

Gtr. 2 repeats Fig. I I a three times

rfs v?
uc
P,M. P.M

riff in F# lbar 4f,which is first played inrS/16

and then, with an added 16th note, is played
ina/4.
GW Is it difficult to get the band together
on shifting meters like these?
PETRUCct Sometimes it is, depending on G5 rfs
the riff, but speaking for myself, I just/eel the
riff goingby, as well as the inherent melody
within it. As far as how to count it, that can
change at any given time, depending on how
Mike lPortnoy, Dream Theater drummer] is
tl
phrasing his part. I don't concern myself with
the mathematical breakdown, or even how I'm =
Ffi5 G5 rfs N.C.(E5)
feeling it; I just focus on where the melody lies t
full
within the riff. L:*
As a band, we sometimes take it to :
:
extremes by shifting back and forth between F

different meters, and we can have some pretty F

big disagreements about what meter a phrase :

86 curreR woRLD
 can get confusingbecause the phrase might will help to work out any kinks in your pick-
feel better starting on a downstroke, and when ing execution. It pretty much sounds the same
the riffcomes back around you find that you're when playing it either way but it enables you
on an upstroke because ofthe odd number of to get used to accenting either a downstroke or
notes in the phrase. You have to get used to an upstroke with equal facility.
being able to accent notes with either a down- This skill proves invaluable when you're
stroke or an upstroke as necessary. playing something that changes meters and
What I did early on as part of my practicing alternate picking constantly; you won't be
routine was to play some- thrown off or tempted to
thing-be it a riff, scale, play consecutive down-
arpeggio or whatever-with strokes in the tricky spots.
alternate picking first Double downstrokes can
beginning on a downstroke sound cool for certain riffs,
and then beginning on an but if you're looking for a
upstroke. This was primar- consistent, "clocked" type
ilybecause of the influence ofexecution, you have to
of Steve Morse, who is both be able to alternate pick
an amazing technician as both ways.
well as a brilliant guitar Here's another great
player overall. IfI had to exercise for getting your
pick my all-time favorite alternate-picking technique
guitarist, it would be Steve. together [ncunr a]. I drove
He's said that you should a lot of people crazy when I
be prepared to alternate was growing up; my family
pick anything starting with would yell at me, "Why are
either a downstroke or an you playingthe same thing
upstroke. They both feel over and over?" and I'd say,
different, so whatever you practice, you should "f'm not-it just sounds that
way!"
do it both ways. GW Can you give an example of using
GW What's a good way to get started with this approach when playing across adja-
this approach? cent strings?
PETRUCCI You can start with the simplest PETRUCCI Sure. A good example is playing
thing like a scale fragment [rtcunr z]: this is arpeggios[ncunt e,bar l]:here's a G major
an octave and a half of a G major scale, and arpeggio, startingwith a downstroke. You
I like to practice this phrase ascending and have a little problem spot between the G and B !
descending repeatedly, starting first with a stringbecause the downstroke on the B string :
downstroke and then playing it again starting is followed by an upstroke on the G string i
with an upstroke. This is a great warmup that meaning that you have to cross the B string on tr

FIGURE
12 chorus
D

E_19=i9} 19)_ -18-17-18-17-18-1

11-{11}

I t. llr
Em Dfffr A
@

r-9-, -o
I
1

C
I Y I

88 curreR woRLD
 the way to the G, and then you have to cross clfl In the first bar of the melody, you allow to make the guitar sound bigger; the same is
the G to get back for the next downstroke on all ofthe notes to ring together through beats true in bar 4, so, when playingthese riffs, be
the B. It's a lot easier to play this figure start- three and four. sure to allow all of the notes to sustain into
ingwith a downstroke on the lowest string PEfnUCctThat's another example of trying each other and fill up the space.
frtcunr e,bar 2]. The next logical step is to add
pull-offs fncunr e,bar 3], which will feel the
most natural. But you have to practice the hard FIGURE13 solo
ones so you'll never get stuck on a tricky pick- double-timefeel
ing pattern. Eb
Gw Did you learn any specific picking exer-
cises from Steve Morse?
PETRU(CI Yes; this next thing is something
I learned from one of Steve's clinics. and I still
use it to warm up lrtcunr 1o]: the exercise con-
sists of alternate picking a long series ofbarre
chord shapes, and those "problem" elements
ofconsistent alternate picking are addressed
across much of the fretboard. Each shape is six
notes long, playing down-up-down, up-down-
up, with palm mutingthroughout.
cw A great example of alternate pick-
ingthrough shiftingmeters is the melody of
"Damage Control," from your solo release,
SuspendedAnimation.
PETRUccIRight. During the first eight bars
of the melody the meter shifts back and forth,
one bar at a time, between 7/8 and 4/4.Here's
the rhythm part [rtcunr tla], and here's the
melody fncunr rrb]. My picking approach is
not that strict on this part, however; some-
times I'll use consecutive downstrokes. and in
other instances I alternate pick consistently.

9O curreR woRLD
 cw How do y6u play the chorus melody?
pETRUcct Like this frtcune 12]: you can see
that the melodic shapes here are based on the
main melody, but in this section the meter is
7/8for threebars, followedbybars of 9/8,4/4
and6/8.
GltvI notice that you change the tone
of the guitar in the course of playing these
melodic figures.
PETRU((IThere is something to be said
for changingyour tone as you play; I think it
adds to the expression. This is something that
develops with time; you may hear some young-
er players with great technical ability, but
attention to shaping the tone takes a degree of
maturity and experience. Joe Satriani has been
a huge influence for me in this regard; not only
melodically and technically-his intonation
is just unbelievable-but he changes his tone
brilliantly as he plays. He'lluse the wah-wah,
or just pick along the length of the string at dif-
ferent points.
I generally like to play higher n2elodieson
the neck pickup, and if I want a s/ecific note
to jump out, I'll switch to the br{cig'epickup for
that one note. This melody comb\inesa chordal
outline alongwith an inherent melody, and
the articulation choices I rnake in terms of
one do that before! And then, two bars later,
I'11think Wow, I've never heard anyone do
thatbeforel I have little pictures of Steve in my
head when I'm writing melodies like these.
cw The solo section of "Damage Control"
switches to a double-time feel, and you crank
up the shred machine.
nETRUC{I There are a couple of fast licks in
there; here's a four-bar lick I play over the Eb
section fncunr tt], executed entirely with fast
alternate picking.
GW Let's go back into the past for a mo-
ment. One of Dream Theater's biggest tunes is
"Pull Me Under."
FIGURE14 '?ull Me Under" main riff
) =102
A5 G5 E5
N.C.(Es) rfis G5 E5
P.M. -. P,M.
Bs/F#Cs/G
PETRU(CI The Metallica influence is
apparent on the main riff fncune r*]. I
often describe Dream Theater as a marriage
between the sound of Yes and Metallica,
meaning it's the instrumentation of Yes but
with a heavier sound in terms of the guitar and
the double-bass drumming.
This riff is comprised of different sliding
two-note power chords played against a low
open E pedal tone [rtcun: t4]. Each of these
power chords is either a root-fifth or a fifth-
root voicing.
When playing riffs like these the sound of
the amp becomes a very important factor: you
cf,sG5 E5
Bs/F#c5/G F5
>

"speaking" the melody reveal the influence of

Steve Vai. Steve's the king of interesting guitar;
everything he does grabs you. I'll be listening
to him and think, Wow, I've never heard any-

1{
t.

92 curreR woRLD
don't want too much distortion because the
low notes need to be tight. A friend of mine
describes it as the sound of a steel pipe being
smashed into a brick building...
Gw Is this a particularly violent friend
ofyours?
prrRuc(| lLaughterle little bitt So the key
is rolling off the gain on the amp, as well as the
bass; on some of my older Mesa/Boogies, I'll
have the bass on zero, or I or 2. Also important
15 "Metropolis,Ft. L"
FIGURE
)=t2o
N.C.
n V n V n n V n V n V n
i is that the riff must be palm-muted, and when
i playing the chords you should drag the pick
i across the strings in a staggered, deliberate
i manner, as opposed to strummingthem in
i quict< succession.
: cw Another great example of complex
i single-note lines played over shifting meters is
I the slow interlude section of "Metropolis, Pt.
i 1," from Dream Theater's Images aniwords.
i prrnutcr This part frrcune rs] can be
s i m .
interpreted a number of different ways;
one is as two bars of tz/8, subdivided as 5/8
plrs 7/8, followed by a bar of to/8 and then
r2/8 subdivided as 7/Bplus 5/8. Through
the last three bars of this figure, I switch
from straight alternate picking to using
double downstrokes when moving from one
subdivided group to another.
The easiestway to play fast-moving metric
modulations like these is to break them up into
smaller bits; for example, the first riff can be
i thought of asI-2-3,1-2,then l-2-3,1-2,1-2. But
i if I try to count it and play it at the same time,
i I get lost! *
i
i

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94 cutreR woRLD
TRlVlUill (continuedfrom page 60)
don't know why people act like that's a crime.
We're proud of ourselves.
HEAFYHere's where I'm supposed to say
we're goingto be "the next Metallica."
leverybody laughsl
cw Obviously Metallica are a great band,
but what was it about their music that spoke tp
you in such a profound way when you
were younger?
HEAFYHard to say. A friend of mine loaneNi
me a copy of the Black Album, and I was like,
"Holy shit! This is what music can sound like?"
Everything about it meant something impor-
tant to me.
BEAUIIEUI was already playing the guitar
su
96 curreR woRLD
and I was way into Guns N'Roses, but when Metallica, Pantera, Maiden, Megadeth are just
I heard Master of Puppets, it was like hearing beffer. End of story. But it all started
the kind of music that I wanted to play one with Metallica.
day.Frcm Master of Puppefs I went back to cw Matt, your singing style has recently
their earlier stuff. changed. You've gone from all-out screaming
HEAFYFor me, I went forward to Load and to spitfire vocals.
Reload, and then I wentbackward. I know HEAFvI know where you're goingwith this...
i that's probably weird, but it worked for me. cw Which, to me, has only made you sound
; cw Takingyour ages into account, one morelike a young James Hetfield. Do you take
I i would assume you would have been influ- offense at the comparison?
| : enced by grunge. HEAFYNo, I don't take offense. He's my
BEAULIEU It wasn't interesting to me. Guns favorite singer; there are worse guys you could
: N'Roses did it for me. And then Metallica compare me to. Let's face it: Hetfield has the
really did it for me.
i most recognizable voice in metal. Ifyou sing
i HEAFVI've been through every musical the kind of music that I do, you're goingto
i phase: emo, hardcore, black metal, sym- be compared to him; it's inevitable. But the
i phonic death metal, country, folk... And to me, reason why I sound different onThe Crusade
is because I've grown up. When this band
started, I was 13years old. Problem was, I was
goingthrough puberty and shit, and every
time I tried to singnormally, myvoice would
crack-not cool for metal. Then I tried sing-
ing really low; my voice wouldn't crack, but it
sounded very awkward. However, I discovered
that when I screamed I could cut through the
band and myvoice wouldn't crack. I was faced
with a decision: do I sing low and sound sort
ofstupid, or do I scream and sound okay? So I
developed the'screamingthing. It feels good to
be singingmore now.If it comes out sounding
like James Hetfield, what can I tell you?
cw You guys have met Metallica. Do you
know what they think of your music?
HEAFYWe've met all four of them, and they
approve of what we do. We got to open some
shows for them, got to play songs with them.
All I wanted from that band was to hear them
say, "You're doing okay," but they gave us so
muchmore.
cw Trivium is doing quite nicely in the
States, but you guys are freakin' stars in
England. What's up with that?
HEAFYI don't know. We just got word
that in one day, the first day The Crusadewas
released, we sold 10,000 copies and we're
already Number Five on the charts. That just
blows my mind. If we knew what we were
doing right over there, we would try the same
thing around the rest of the world.
cw I would assume your parents are pretfy
proud ofyou?
BEAUIIEU My parents are totally stoked. My
dad goes on the internet and reads all about us,
buys tour posters from around the world. Just
recently, I got an email and it was a picture of
him with a Trivium tattoo. llaughsf
HEAFvMy dad's been managing the band
since I joined, when I was 13years old lhe now
co-mdndges the gr oup with Justin Arcangel].
He's always helped me, encouraged me-my
mom, too. They even encouraged me to drop
out of college because so much stuff was hap-
pening. I was starting classesat a community
college right when we got our first record deal.
I thought to myself, Maybe I shouldn't do the
record deal; I should finish school. But my
father was like, "No, no, you might never get
this chance again. Go for it."
cw Now, the two of you hooked up in
Orlando, Florida, but neither one of you is
originally from there, am I right?
HEAFYThat's right. I was born in Iwakuni,
Japan. My father was in the Marines, so we
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moved around a lot when I was a kid. From
Japan we moved to San Diego, California, then
to Coral Springs, Florida, for a little while.
Then we went to Arlington Heights, Illinois,
and finally, to Altamont Springs, Florida, just
outside of Orlando, where f've been living
since maybe fifth grade.
BEAULIEU I was born in Brunswick, Maine,
and I lived there for a few years when I was
reallyyoung. Then we moved to southern
Maine, to a town called Dover-Foxcroft,
which is where I lived all through high school
and until the time I picked up and went
down to Florida.
cw How soon/6er you moved to Florida
did it take yottofointhe band?
BEAUIIEUI #rent down to study recording
98
arts at Full Sail. One night I went to this club i boinking shit-all theseeffectsboxes and
called the Haven and I saw this band called
Trivium. I thought they were outstanding!
Then they played a show at Full Sail, and that's i
when Matt and I started hangingout. Ayear
later, I popped on their web site and I saw they i
were looking for a guitar player...
cw Wait a minute. You guys were friends,
but Corey, you discovered that the band was
looking for a guitarist on their web site?
BEAUI|EU Well, we would hang out...we
didn't really get into deep conversations about
me being a guitarist or anything. I didn't
mind. I went over and auditioned, just like
anybody else.
HEAFYflaughs] He showed up at myhouse
with this Peavey road case, with all this
i everything.Butwe jammed,and it sounded
i cool, and that was that.
cw What kind of guitarlessonsdid you
i take askids?
urlrv Just generalguitar-playing stuff. I
can't read music for shit. Everything I know
is by ear and feel. But I did practice my ass off
when I was in school.I'd come home, do my
homework, then I'd pick up the guitar and
shred for hours. I can read tabs, but I can't
read music. One day I'd like to learn.
BEAUI|EUI took lessonsfor a few years. I
had a great teacher, Bill pierce. He taught me
scales and patterns, how to transpose. Avery
inspiring guy, very musical. enything I wanted
to learn, he showed me how to play it.
HEAFYMy guitar teacher gave me a chart
with all the different modes, and I have to say,
it's been very helpful. If I can figure out what
key a song is in, I can usually figure out how to
play the solo.
GW Let's get into some of the songs on the
new record. On "Ignition" and "Detonation,,
you speak out against homophobia and
George Bush.
HEAFVWe're not aiming directly at Bush
but more at government as a whole.
cw Lyrically, from what kinds of places do
you draw your inspiration?
HEAFYA lot of places. 'And Sadness
Will Sear" is about Matthew Shepard fthe
University of Wyoming student who was
murdered in 1998 becausehe was gayl. That
incident really affected me. "Entrance of the
Conflagration" is about Andrea Yates fthe
Texas mother who murdered her five children in
20011.I know a lot of people will disagree, but
I see her as avictim.
cw And the Amadou Diallo killing inspired
"Contempt Breeds
Contamination," is that
right? lDiallo, a 23-year-old Muslim Guinean
Iiving in New York City was killed under
controversial circumstances by four police
fficersin1999l
HEAFYAgain, I thought it was a case that
people should refamiliarize themselves with.
It seems like that kind of situation happens
time and time again, all over the world.
cw In an interviewyou did with another
publication, you described the song "Anthem
(We Are the Fire)" as having a bit of a "Mdtley
Criie feel." Aren't the words "Mdtley Cri.ie" an
abomination to your audience?
HEAFYI hearwhatyou're saylng. You know,
I'm the worst at trying to describe our music. I
think we're only good at making it. If it sounds
like that, then I guess what I said was correct.
I never got that much into Mdtley Criie.
BEAUUEU And I love that shit. Dokken,
Winger, White Lion, Skid Row, Mcitley Crtie...
lMatt winces at the sound of the band namesf
cw Matt, you look like you're ready to
crawl under the table.
HEAFYlchucklesf I just remember being on
the tour bus, trying to sleep and hearing these
guys cranking fuckingLynch Mob at, like,
three o'clock in the morning. Talk about abso-
lute hell. Lsrghsl
cw Lefs talk about some of the guitar play-
ing on these songs. "Detonation" features a
real tempest of shrieks and shred runs. How
do you two plot out what you're doing to do?
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 HEAFvWe had all the rhythm parts down,
so it was more of a matter of "Hey, Corey,
what part do you want to solo on?" It wasn't
really worked-out or anything. I did the first
solo, and basically my thought process was, Do
I shred like hell or do some Dime squeals?So I
opted for the Dime squeals.
BEAUIIEUThe really fast part of it is my
solo. And then there's a melodic solo later on.
I kind of lay my head back and let it flow.
cW Do you guys trade solos in "Entrance
of the Conflagration"?
HEAFYYes. Corey plays the first solo
and then I come with that bluesy, heavy
metal-type solo.
BEAUttEU Usually, where's there's a long
part where there's gonna be a solo, we split
it up so that each guy can do something cool
with it. A lot of times, we have no ideawhat
the other guy is going to do, so it's always a
neat surprise.
cw There are parts ofyour soloing on
"Anthem (We Are the Fire)" that recall
some of the shredding from the Shrapnel
releases of the Eighties. Were you guys big
fans of people like Marty Friedman and
Jason Becker?
HEAFYI'm a huge Jason Becker fan. The
shit he plays is so impossible to learn.
BEAUUEU I love all those Eighties shredder
guys. They played their assesoff. It's just cool
guitar music, the kind of stuff I can really get
off on, you know?
Gw There's some pretty cool vibrato on
lOO currAR woRLD
the song "And SadnessWill Sear"-who's
playing that?
HEAFY Thatwould be me. I always liked
vibrato. People like DimebagDarrell-the way
he could make one note sound like f0 was just so
cool. I was tryingto channel a little Dime there.
Gw The solos on "Unrepentant" really
jump out. Are they double tracked?
BEAUIIEUI harmonized one little run, did
some octave shit. I don't really double things
like Randy Rhoads or anything. God, it's
so hard to remember this stuff sometimes!
llaughsl
GW "Becomingthe Dragon" has a very jar-
ringbreak that recalls the machine gun section
of Metallica's "One"-intentional?
BEAULIEU It's got a different pattern to it, I
think. I never even thought of Metallica when
we did that part.
HEAFYI guess the time-signature is sort of
the same,but the only band I was thinking of
when we recorded that was Dream Theater.
They're totally insane.
cw Speaking of insane, the nine-minute
title cut is hellacious.
HEAFYIt took a year to write. I did all
the riffs, and the band gave me a hand with
arranging it. I ftied to write lyrics for it, but it
just wanted to be an instrumental.
BEAUIIEUThe funny thing is, Matt was
working on that song for a year, but we record-
ed it in a day!
HEAFYBetter than the other way around.
[aughs] #€
5U PERHER OES (continuedfrom page 78)
but I enjoyjust about everything else.
TUCKHouse. It's bullshit. It's just not my
thing.
cAI{TREttPlenty of stuff. There are a lot
of derivative bands whose music doesn't
retain the fire of their inspirations. There's no
need to name names-there's a whole genre
of music like that. I think the whole music
industry needs to be turned on its head. It
seems to me that everything is driven by the
single, and there's less interest in longevity,
in giving a band enough support and love to
develop into a killer act.
PADGEI'd say indie is my kryptonite. It's
gay as fuck, and it's so big at the moment. I just
lO2 cutreR woRLD
don't get it. It's no fun when a band stands still
onstage doingfuck all.
U We don't have a music genre kryptonite.r
If we come across a style of music we don't
like, it just goes in one ear and out the other.
It's that simple.
ToIi AN For me, it's probably booze. The
right amount will help me play better, but
too much and it could turn out fuckinghor-
rible. Actually, j azz sucks...and anything that
Herman plays.
HAMI,IETT For me, it would have to be really
wimpy adult contemporary jazz.Yots know
the Kenny G kind of crap? Not fusion; just
really boring jazz music with really dumb
chord progressions that have no attitude, no
aggression, no energy. I hate all types of music
i like that. You can play, like, polka music for
i me, and if it's cutting edge and has a real atti-
, tude, I might like it.
i
I MOSTSUPERHEROESHAVE
SECBET
: tl|EltTtTtES,
WHATW0Ut0
Y||URS
BE?
: TUcKI'd like to be able to pull my lip over
i my head. I'd be like a big lip, so no one would
i know it was me. And my name would be
i Dusty Fields, 'cause we spend most of the
i summer in them.
: pnocr Kieran Consumption, because I drink
, like fuck after the show!
i lowt{sEilD Mine would be Devin. The Dev
: is the one that gets onstage and goes mao;
i Devin is the one with the hat and the glasses
that watches Futurama and drinks a little red
wine. That's my Clark Kent.
cARPEilTER I'd be a charity worker. That way
it would be no surprise for me to be a superhe-
ro'cause I could do both jobs simultaneously.
BEAULTEU I'd definitely need a mask, 'cause
masks are badass.I'd be quite a dark super-
hero, someone whom you think is a villain but
whom you later rcalize is good, it's just that
he's got a badass edge to him.
roTi,lAN I'd be a fucking raincoat-wear-
ing flasher, but instead of flashing my knob,
I'd flash my guitar. Bet I'd still get arrested,
though.
tl Well, I guess I'd just be a computer
nerd. What can I say? I guess I'm not as
creepy as Sam.
 HEAFYFuck, I'd be Herman's fluffer.
AtloTr I would be my own guitar tech.
HAi iiErt I'd be a politician. Maybe Arnold
Schwarzenegger.
IFYOU GOUTDASIIIEVE
ll]IETHI]IC
TTITH
YllUR
MUSIG,
WHAT WOUTD ITBE?
HAr,ltlEIT I think we already achieved that
with "One." Actually, we wanna play every-
where in the world. We just played Africa. We
wanna play China, India, Ahtarctica... I want
us to go into outer space and be the first band
to play in zero gravity.
GARPEIITER Our music has already achieved
more than I ever imagined itwould. I've been
lO4 cuIraR woRLD
playingmusic my entire adult life, when all I
hoped for in the beginningwas to get a taste of i
success. That is such a thrill. f never imagined i
it happening.
Af,ioTT I'd like to move people, and hope-
fully I do that.
BEAUIIEUI'd like to succeed like Metallica
have. They're celebrating the 2Oth anniversary
of Master of Puppets, and everyone's praising
them. That's what I want for our music: to
stand the test of time, to still be relevant 20 i
years from now and to still have that power
and strength.
TUCKYeah, longevity is what I want; longev- i
ity like Iron Maiden and Metallica have. I'd
like to write anthems that kids born today will i
still dig in 20 years'time.
i tl We'd like for as many people as possible to
like our music. We have tried to push our style
of music-metal or whatever-toward what we
i think is missing in music at the moment.
: lT's1969
AtDJnilHE]{DRIX
: A1{II
JIMMYPAGE
HAVE
: I CUrnRDUE[.
WH||WttS?
: Xemrrrrn That's atough one. I would think
Hendrix, because he was so cuttingedge and
: took so many chances.
i nrmv I don't know enough about either gui-
tar player. Those two are way before my time.
i u Hendrix has got that magic that enables
him to be more outrageous and original with
i his playing. So he would win. Plus, he could
have a sideshow onstage by burning his guitar.
TOwIUSEITD Musically, Jimmy Page would
kill him. The song "Friends" lfromLed
Zeppelinlll] was such an influence on me,
with Page's use of whole tones and suspen-
sions. He would bringthe sound of the coun-
tryside into his stuff. If Zeppelin didn't have
Robert Plant-I'm not a fan of his voice-they
would be the ultimate band for me.
On the other hand, if it came down to their
improvisational powers, Jimi Hendrix would
slay Page. Actually, I think David Gilmour's
better than both of them. I really like his taste-
ful style.
TUCKI'd go for Page. He's just got more
ofa classic rock and roll thing rather than a
blues style.
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 PADGEHendrix was quite loose with his
guitar playing so maybe itwould be a draw.
CARPEIITER f'm gonna go with Jimmy
Page on that one, and for one reason only:
Page did everything on guitar. Hendrix to
me was a blues player. It might have been
blues rock, or whatever, but it was always
bluesy, whereas Page played every style.
Led Zeppelin were making up styles that
still sound new today. You could put their
entire back catalog out tomorrow and young
people would go, "Woah!" People have still
not caught up to their sound and Page's
style. There are loads of people who copy
Led Zeppelin, but that's all it is: a copy. Led
Zeppelin's stuff is still inspiring today, espe-
cially Page's playing.
tl
1O6 curre.RwoRLD
M YOU THI]IK
THERE ARE
AltYGUITARSlfltts
sTil.tT0BED|SCI|VEREI|?
TowtusEluDOh, yeah. It's all about what you
command of the guitar or the amp. Tonally,
the guitar is capable of reaching down to the
basement and shooting up to the stratosphere.
Right there, you've got the framework for an
entire orchestra.
cARpEtttrER Well, from a technical stand-
point, I don't think there's anything new to be
discovered. You could always push the bound-
aries by adding new accessoriesto the guitar
to make it different, but I think as far as what's
playable on the guitar, it's all been done. What
should be rediscovered is the taste for doing
i it well and putting the right flavors together.
i
;
I hear a lot of music by new bands coming out
today and it reminds me of a lot metal bands
I of the early Eighties. ft's cool, but sometimes I
i look at those bands and feel as though they're
i mockingthe past instead of integrating it
i into their own style. I feel like saying to those
i bands, "Just be yourselves, it's okay. If that's
i who you are, then I'm not offended."
i u I definitely think there's room for new
i discoveries. Guitar progresses year after year.
i People years ago couldn't imagine what we're
i doing now. What Eddie Van Halen did on gui-
i tar has now been taken to a new level.
i mlorr I think people should go back and
r listen to really good guitar playing like there
: was in the Eighties. The problem is that a lot
ofthe bands around now are influenced by the
Nineties bands, when music totally sucked and
there was no lead guitar going on.
lIOOTE
F MAKilG
IIRIGIIIAI
GUITAR
MUSIG
AIIYM||RE.
DISCUSS,
cARPEI{TER It's true, but it's still fun to play
and be unoriginal at the same time.
BEAULIEU Everything has pretfy much been
done before, so now if s twice as hard to put your
own twist on things to make it sound originirl.
IoTMAI{ If you think about it, there are
only eight chords on the guitar and only a
certain number of combinations in which
you can play them.
Lt There's not so much room for making
truly original stuff with a guitar on its own. But
you can always mix it up with other instru-
ments to make your sound more original.
TUCKI don't agree that no one is making
original guitar music. I think every song is
individual, regardless of its sonic signature.
Besides, it's hard to sound totally original these
days, because rock music has been around for
50 years now. Besides, I think originality is a
gift that you're born with. You get it not from
reading a book but from listening.
HAi f,IETTA lot of music you hear now has
been nurtured by record companies that want
a certain sound, so it's not necessarily the most
exciting sound. No one really takes risks any-
more. It's all safe and formulaic, and I think
that has a lot to do with the lack of interest-
1O8 cuIreR woRLD
ingguitar music nowadays. Butbythe same
token, I've heard a lot ofgreat new bands. I
love Trivium,I love Mastodon and Shadows
Fall-they're more traditional sounding, like a
lot of metal bands from the Eighties and early
Nineties. I love the way Trivium harmonize
everything and how they write really great
riffs and melodies. Both those guys can shred!
WHATARTISTS
OFT[|I|AY
HAVE
IIIFLUEICED
YOU?
TowI{sEI{DJames Hetfield. }Ie's one of my
all-time heroes. That guy's the ultimate metal
rhythm guitar player. Stuff like "Blackened"
is astounding. He's still the fuckingbest. The
tone in his right hand is amazing.
i AtloTT I used to think Kirk totally rocked.
i His lead guitar style on Metallica's first three
i studio records was really strong.
i ToTr An When I was first starting out, Matt
i Tuckwas abiginfluence on me.
i tl I've been influenced by Metallica-James
i and Kirk-and I learned loads of Metallica
i solos when I first started playing guitar.
i xrary Kirk for me. Metallica are the band
i that got me into metal, and Xirk is who made
i me want to strive to be a good guitar player,
i
'cause he's the first lead player I
ever heard.
i Every time I try to do something different,
I whether I try to go neoclassical or progressive,
i it always comes back to that Hammett style
: of bluesy heavy metal stuff. I totally learned
, from him.
BEAUIIEU I didn't really listen to a lot of
bands other than Metallica. When I was start-
ing out, I learned all sorts of Metallica songs,
and when you're learning, you pick up and
store things that come out in your playing later
on. If you listen to a lot of our solos, you'll hear
the influence.
CARPEIITER Jerry Cantrell is cool-I love
Alice in Chains-but I honestly have been
influenced the most by the heaviest of all
metal. I first heard Meshuggah in 1998, and
up until then I would've told you the heavi'est
band was Pantera. and before Pantera it was
Metallica. That's the progression for me. Kirk
Hammett is great, too, but if I had to pick a
Metallica guitarist that influenced my playing
I'd pick James Hetfield, because I love rhythm.
 .T
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I love Kirk's playing, and t think he does some
sweet-ass shit, but it's really been James who's
inspired me.
TUCKHetfield and Hammett.
HOW
MUCH
Dl|YOU
PRAGTIGE
INAllAY?
TUCKAn hour a day at least. When I was in
my earlyteens and didn't have much to do, I'd
practice five or six hours a day. As soon as I got
home from school, I'd plug in till I went to bed."
PADGEIf we're on the bus all day, I'11get my
laptop and do a few hours, just jamming along
to songs.
TUCKFor warming up I play our stuff-the
first couple of songs from the set-to get into
the groove. I don't do scales.
PADGEI try to go over every solo I know,
just to get my fingers going.
HAtlmEfT When I'm at home, I try to prac-
tice for a couple of hours. On tour, I might play
for three hours in my hotel room. Sometimes
I just don't have time, especially when we're
making an album. The last thing I wanna do
when I've been in the studio all day is come
home and play guitar.
AMoTT It's hard to say. I have a guitar in
every room at home. I playwhen I check my
emails, when I'm eatingbreakfast... I practice
a couple ofhours every day, not because I've
heard you should but because I just love play-
ing guitar. If I don't play guitar for 48 hours, it
will drive me mad.
CARPET{TER Never. I don't practice because
: there's no structure in our music that I feel I
i have to stick to. I try to be constructive with
i song design rather than fit into the same for-
i mat as everyone else. So why bust to practice
i everyday? Quite often, when I'm watching TV
i I'll pick up my guitar and play around with it,
: but I'm not following any ritual; it's more like
I my right hand meets my left. I'm making sure
i they're still communicating and not working
; on separate pages.
: xlnrv I try to practice each day, even when
: I'm on the road. I usually shoot for around one
: to two hours a day, or if it's before a show I'11
i warm up for 15 minutes. Lately, I've been using
i the John Petrucci Ro ck Discipline book and
i video. I just go through it cover to cover with a
i metronome.
TOTi AN Well, I never practice. I mean, I'm
not gonna get any better than I am now, which
isn't that great anyway, so what's the point?
u I don't really practice, but I used to quite a
lot. Like Matt said, when you're touring you just
don't have the time. There's someone around
you distractingyou and it's just impossible.
BEAUIIEUI don't get much time during the
day, so I usually just play the first song on the
set to warm up.

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say I'm not that great, it's just that everybody
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would never have happened in the Seventies
or Eighties.
TowNSEl{DI'd like to master folk music. I
know it sounds ridiculous, but I'd like to be
able to incorporate folk music into my playing
so I could sit round a campfire, pick up any
guitar and play some song that will stick in
people's heads.
CARPENTER I would love to play flamenco-
style guitar, but I would keep it solely for
myself, not for the band. Also, I'd like to learn
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At the same time. I think that if I had that influence on them, and now they're influenc-
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that knowledge, whereas right now I have no TUCKI'd like to be a great lead player. My
knowledge and the sky's the limit. While it rhythm's down and I'm proud of that, but my
may take me little longer to figure things out, lead! I can bust out a solo if I want to, but it's
it's more excitingwhen I do. nothing a true soloist would do. I'm not a solo
HAi,IMETTThe guys in Trivium got me player, but I'd love to be able to play arpeggios
interested again in that neoclassical style-the up and down the neck within seconds. Padge is
whole tremolo-pickingthing. They're using getting closer to accomplishing that. His lead
the best aspects of those techniques, and it's work is getting down, man! It's gettingwicked.
sparked my interest in neoclassical playing PADGEYeah, I'm working on arpeggios.
again. It's ironic, because Metallica are a huge Taps are coming in a lot, too. If I can get my
lead playingup to scratch, together with
Matt's rhythm, we'll be able to break or smash
anything in ourway.
ll I wanna learn everything and f wanna
be 10 times better than I am now. Just learn-
ing one or two skills is pointless; rhythm
players just play rhythm and lead players just
play lead, but you wanna mix it up and play
sitting down, standing up, behind your head,
back to front...
HEAFYI'd like to playthe overhead guitar solo
to Dragonforce's "Through the Fire and Fldmes."
BEAUIIEUMy goal is simply to be better at
everything.
ToTl Al{ I'd just like to learn how to turn my
guitar offand put it away so I can stop annoy-
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F
In my last column, I demonstrated a FIGURE1 A Natural Minor (A Aeolian mode)
few ways to add chromaticpdssing
notes to scale-based licks in order to /a full *
3-15-17
create improvised melodies that roll _12_13_
12-14-*.
smoothly over a chord progression.
This month, I'd like to show you a
way to spice up licks that are played over scale
degree: | 2 b34 s b6b71 2 b34 s bafit 2 b3 4 b32 I I
a one-chord vamp by incorporating octave (octave) (octave) (root)(root)
displacement and arpeggios.
FIGURE2 n =downstroke
Y =upstroke
This month's examples are in the key
of A minor,and fit into the diatonic chords A m G C D m C F
of the A natural minor scale, also known as , N V N V N V N V N V
N V T T V N V
the A Aeolian mode. The notes of this scaie 15-17
are A B C D E F G-the same set of notes 13-15 13
that comprise the C major scale. The only
difference is that we're starting from the sixth
degree of C major, which is A, and continuing
up the note sequence one octave. It is for this --- Am
reason that the Aeolian mode is referred to as r----------
the srxfh mode of the major scale. FIGURE I
| . 1 V N V n V n
-17
illustrates the A natural minor scale/Aeolian
mode played in t2th position.
Getting a grasp of the modes can seem a
bit overwhelming at first, especially when
dealing with scales that have many sharps
or flats. I chose the A natural minor scale line that incorporates octave displacement to natural minor scale ascending across a full
for this month's lesson because it doesn't outline a progression of implied arpeggios. octave. The higher notes are intentionally
contain any sharps or flats-it's just the white Notice how much the line jumps around and mixed up a bit in order to avoid outlining the
keys on a piano, from A to A. I think this the use of intervals wider than an octave. In same arpeggiated chord shape repeatedly.
helps streamline things a bit and makes it some cases,a chord is implied with only two This prevents the line from sounding too
easier to think about the notes and see them notes that form the interval of a major or predicable and gives it a more varied,
on the fretboard. Once you understand the minor L)th-an octave plus a third. interesting melodic contour.
theoretical concept we're going to explore, As you can see,this involves a great deal Although I play this lick over an A minor
it's simply a matter of transposing it to the of string skipping. The lick should be played one-chord vamp, it's very worthwhile to take
other ll keys. with strict alternate picking beginning with the time to analyze it in regard to the way the
Octave displacemenf is a technique a downstroke. It will definitely take a bit melody functions. I've indicated the outlined
whereby you transpose a note in a melodic of practice to get the shape of the melodic or implied triads above the tab. For the sake of
line up or down an octave to create a wider progression under your fingers and be able to style and musicality, I end the phrase with an
gap or intervalbetween two notes that were play the line cleanly. Proceed slowly at first A minor pentatonic lick, and, just to be weird,
previously closer together. This device can be and gradually build up speed once you've throw in a high D as the second-to-last note.
used to make a scale-based line sound like a memorized the note pattern. Next month, I'll talk about the use of r6th-
progression of arpeggiated chords. If you concentrate only on the lower notes note triplets in the building of improvised
FIGURE 2 is an A natural minor scale as the line progresses,you can hear the A licks. Seeyou then. #K

ll4 curreR woRLD

THREE'SAGHARM
Ddwiding scffiUar rwrr^s into three-y&$te firowps
Many years ago, I had a teacher who Tune down one half step (low to high: Eb Ab Db Gb Bb Eb).
told me that no matter what scale I
FIGURE1 A Dorian mode, three notes per string Fl
was playing, it would be useful to me
to find its "Dorian position." He was n V n V n V n Vn V n V
referring to t(re second mode of any
major scale, rdlrich is known as the
Dorian mode. For exar:fiple, the notes of the
G major scale are G AF C D E F#; if we start
11 = downstroke =upttrokt
the sequence from the second note, A, and V

ascend one octave, we get A B C D O ff G thus

FIGURE
2b FIGUHE
2c
formingthe second mode of G major, the A ,,A
Dorian mode.
V n V n V n V n V n V nn v n *
T
In many of the scalar runs I play, I'll often
finger three notes per string, as this falls very [{;--r* ?-1-?-1-?,-r 1-?-?-
comfortably on the fretboard. FIGURE r
shows the A Dorian mode played this way. But
I am also committed to using alternate (down-
up) picking which can present some technical
5-
-?-9--ffi-9-7 -F-7 -9--ffi5-7-g- 11-9-7 7 I
diffi culties when playing three-notes-per- 7-
string patterns. The reason is that the first
three notes are generally played as down-up-
down,but then I have to start the next string
up-down-up. In my experience, many players
- : 9- 9-11-12- 11-12-14-12-11
have trouble starting that next string on an _10_1Z__ffi _ 11-12-14_
12_1O_9_1O_12_i--|__+-l O_ 12-14# 1 4-1 2-1 0-12-14--#1 2-
upstroke. Speaking for myself, I had to work
really hard in order to master this technique.
One of the things I did in order to
overcome this hurdle was to create a melodic
idea based on the three-notes-per-string 12-14- 12-14-16-
14-1.6# 16-1 4- 12-1 4-16# 14-
concept that traversed the entire fretboard.
I begin the pattern with one melodic shape
but then change that shape to one that travels
straight up and down the scale as it falls in A
each ascending position on the neck.
16-17- 17-19- 17-19-21
FIGURE 2a illustrates the first shape, the 17-1.9-#*1.9- 17-1.6-17-19-#1 7- 1,9-21-J___}_J_1--1-2J -1e-17-19-2J _;1-;.
first four notes of which ascending straight up
A Dorian. I then skip one note, C (third string/
fifth fret) and go right to D (seventh fret).
Next, I move straight down and then straight
back up the scale. FIGURE 2b represents the 2b, which is articulated with adownstroke, right-handed. In developing my picking
next shape, which is played straight up and thus enabling me to continue the rest of the technique, I found it helpful to anchor the
down the scale but begins with an upstroke. scalar pattern by playing down-up-down-up middle and ring fingers of my pick hand to
This logically follows the last note in FIGURE in steady 16th notes on each beat. Eliminating the body of the guitar. I use these fingers as
2a, which is picked with a downstroke. that one note in the first bar results in the afulcrum for the rest of my arm, as much
Now let's put the whole thingtogether "flipping over" of the picking pattern
and of my picking motion is generated with a
into one long run, as depicted in FIGURE serves to create what I think of as the "path of combination of my elbow and wrist. This
2c. Notice that bar l begins with the pattern least resistance" in the execution ofthe lick. has proven to be a very comfortable and
from FIGURE 2a. but I add the first note of When I first started to learn alternate natural picking motion for me, and it's never
FIGURE Zb to the end of it in order to keep picking, my pick hand was very weak. given me any problems whatsoever.
the steady stream of fOth notes flowing in This is because I'm naturally a lefty, but as Next month, I'll be back with a look at
4f4time, endingwith anupstroke. Bar 2 in the local music store had no left-handed the composition, "Rainforest," from mylYo
turn begins with the second note of FIGURE guitars, I was forced to learn to play guitar Boundaries CD. Seeyou then. #6

G U I T A Rw o R L D 1 I 5
 HERI|ESl|FTHE
l|AY
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When ametal guitar god like
Kirk Hammett of Metallica tells
'ff Guitar World that Trivium are his
I
fartorite new band. then wears the
;ilTJn"'YJill;ilii"1#i
ban[t T-shirt onstage in front of
8o,op0fansat the biggestrock
festivalin thetLK., it tells you something.
To put it simply, these guys are the real deal.
"Its the greatest thing in the world to have
one of your heroes digwhat you're doing"
says Trivium's frontrnan, Matt Heafii. "But
to have him actually support what you're
doingis evenbetter."
It doesn't hurt that Trivium's new
CD,The Crusade, made the Top 25
in America and the Top 5 in England
upon its release. "Entrance ofthe
Conflagration" is the album's first single
and a veritable thrashfest. Heafy and
his cohort, Corey Beaulieu, sat down
with Guitar World to explain the song's
genesis and demonstrate how to play it.
"Musically, there wasn't exactly a
clear inspiration behind it," says Heafii.
"It was just time to start writing some
damn songs for the record. I remember
coming up with the guitar riffs in the
dressing room of the Gothic Theater in
Denver. The recorded version is almost
the same as the original demo I did,
except for the intro. It used to have this
ridiculous shred exercise in it. but it was
kind of tacky and insane, so we cut it."
Notice the use of inverted root/fifth
power chords-with the fifth on the
bottom-in bar 2 of the transcription,
which begins on page 118.These lend
the song's intro riff a dark, ominous
vibe, as do the dual-guitar octaves
in bar 4. "That line was originally
harmonized in thirds," says Beaulieu.
"My part was the main line, and Matt
was harmonizing it a third higher. He
changed his harmony part to an octave
below, and it fit much better, because
he wasn't jumping from low to high. It's
pretty cool, interesting sound."
Another interesting sound is created
by the chords in the song's chorus
(see section D in the transcription).
"I've always been a fan of using
nontraditional chord forms and
l16 curraR woRLD
throwing in moving notes," says Heafy.
"In this case, it's almost like I'm playing
two parts on one guitar."
At 1:36 (section F), the boys turn up
the heat and launch into a riff that Heafy
describes as "some good ol' thrash with
simple, two-note power chords." When
this eight-bar phrase is repeated for
the song's bridge (section G), Beaulieu
breaks off halfway through (bar 63)
into a complementary harmony part.
"My part's aldiatonic) third higher, and
it adds to the whole dynamics of the
song" he says. "I play strummed octaves,
because they sounded better over Matt's
chords and help make the harmony
really stand out. Matt's playing the root
and fifth of each chord, and I'm playing
the third. doubled in octaves. so the
result is full triadic harmony."
Next up is the interlude (section H),
which Matt refers to as "riff C." "We
wanted to juxtapose a simplified heavy
rhythm part with a rather teched-out
guitar fill [bars 74,78 and 79-81].It isn't
in any specific key; it's just the exact
same fingering pattern shifted around
the neck."
Next up is an A minor solo section
with a riff (beginning at in bar 82) that
reveals a gloriously unashamed Eighties
metal influence. "It's a cool change," says
Beaulieu, "because the song's pretty fast
and thrashy up to that point, and.then
this melodic riff with a kicked-back type
feel comes in. It's a really cool riff to solo
over, too. My solo lsectionJ] is mostly
improvised and ends with an A minor
arpeggio run (bar f04) that sounds like
a bunch of different arpeggios, but I'm
just movingbetween different A minor
shapes on the neck, so it has a musical
flow to it."
"My solo was improved on the spot,"
says Heafy of his blazingA minor lead
(section K). "I just let the song speak to
me and followed where Corey's solo left
off. It needed some good ol'bluesy-style
heavy metal soloing so I started it off
with lots of hammer-ons, bends and pull
offs. After I'd recorded the solo, I had to
relearn the damn thing to play it live!" *K
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iii Elgil'"F.,Fh.
 "ENTRANCE
OFTHECONFLAGRATION"
Trivium
As heardon The Crusade(RoADRUNNER)
Wordsand Music by Matthew K. Heafy o Transcribedby Jeff Perrin

E5 B5 c5 o#s CmajT C6 eD# Em Am 85

o xxxx xxx xxx
iTr I r-
rc-fT-r-l
FiilTi
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trT-F--]
ffi,o ffi* hm5{?,rffi'"ffi?fr
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ffiffiFffi H+]-H FF&?H FF5FH FH_FH ffi
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tt4 132 L4 3t 1342 l34lll 13
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ffiffiffiffiffiffiffiffiffiffiffi
1333 t342 14 14 t4 t4 t4 14 14 t4 13

fAl Intro 1o:oay

Fast J = 184
E5 85 C5 o#S E5
(hi-hat count-off
following vocal intro) Gtrs. I and 2 (elec. w/dist.)
A 1 P.M.-. * P;Y.-] P.M.---
r

* repeat previous chord.

Gtr.2 E5
P.M.- _ _., p.M.._ _., p.M.- _ "., p.M._ _ _., p.M._ _ -., p.M._ _.

12 -1O_1 9_9 rO-9-9-9 _9_7

_a_7__a_a_
,L._J
7_F E-E
Y
z E E E
j I I I
T I
Y Y
*Gtr. I plays bottom notes; Gtr. 2, top.

85 C5 o#S E5
P.M..______-,

@ frtYerse (o:19)
A Gommon woman lives by lhe Bible
Brings life to the earth while losing her mind
E5 E5
Gtrs. I and 2

Bass plays Bass Fig- I (see bar 1)

Wedlocked a prison
Trying suicide
E5 85 c5 o#s
P.M._ _.., p.M.-.] p.M.__] p.M._-,

12-1 O-1 O_1 O_1 0_9_9_9_.

5-5-
,- -9-7-
-5-3-O-O
I-J-J-J 4J
*Gtr. 1 plays bottomnotes; Gtr. 2, top.
Publishedby @ 2006 Robot of the Century Songs (BMl),zHammerthe Currentsproduciions,
S o n i cA s s a u l tM u s i c ,H a m m e rF a l lP u b l i s h i n gN
, 4 e t aKl i d P u b l i s h i n ga n d W i l l i a m s b u r gL a n d P u b t i s h i n g( B M l ) .
1I8 GUITAR WORLD All Rights Reserved.Used by Permission.
 ..ENTRANGE
OFTHECONFLAGRATION
of antiquation
,UHallucinating N.C. CmajT
Gtrs. 1 and 2 Grr. I plays Rhv. Fill I
15 P.M Gtr.2 (see bilow)
%

0-0

lC I fst Chorus (o:41)

Forcingher own blood down beneath the waters to drown
c6 c5 c6 BID|. Am B5
Gtrs. 1 and 2
P.M. P.M._-____.,

Bass Fig. 2
end Bass Fig. 2

lying dead eyes wideopen

B 85 D5 D#5E5 B/D#
P'M'-------'t P M - t P.M P M - t

l D I Zna and 3rd Verses(o:51 , 3:3e)

z. Spiraling downward refusing all help
Dagger licks her neck desiring esGape
s. Conditions w0rsen searching for answers
Water fills the tub all ol her children
85 C5 Df,s E5
Ctrs. 1 and 2
P'M-t
P.M.., P.M.-, P.M.,
lY.]

0-0-0-0 -0-0 -0-0-0- 0

'-tto-tro-trqE
t_r.J_t l+J-t |J-.'']-.,l
t-E-tto-t-
* chord tied first time onl.t
*Gtr. 1 plnys bottom notes;
Bass playi Bass Fig.i (see bar l) Gtr. 2, top.

I l.
self-mutilation Neglects the children
Succumbing Satan robbedby the seventh deadly
in holy scriptures systematic plan
floating helplessly innocence stays down
E5
P.M._] P.M. _.,
85 C5 o#s E5

Rhy. Fill l (0:39)

(let ring next 3 beats)

Gtr. I

GUITAR WORLD I19

..ENTRANGE
OF THEGONFLAGRATION''

l .
[E I Z"a and 3rd Choruses (1:15,
4:01)
sin Forcingher own blood down
and drowns Believing Satan wasinside
N.C. CmaiT C6 C5 C6 BIDfi Em
Gtr. I ptays Rhy.Fiu ,
Gft.2 Gtrs. I and 2
(seeprevnus paSe)
35

beneath the watels to drown lying dead

ordering to abide to destroy
Am B5 85 D5 o#SeS
P.M..____

'5_6_7
2_2 ?

11. ll)
t t -

with eyes wideopen (2nd time) hold and

her cursed children fade out (end of song)
BIDfr (Gtr. I let ring
P.M.] P.M.] P.M.] P.M..] next four bars)

fltr,tur
)=200
6s.2 Rhy. Fig. I r#s
47 P.M

0_0_0

(let ring next two bars)

G5 nfs E5
Gtrs. 1 and 2
49 Gtr.z

D#5 end Rhy. Fig. I

12OGUITAR WORLD
 ..ENTRANGE
OFTHECONFLAGRATION''
[Gl Bridge (t:ao)
Entrance of the conflagration
E5 r#s G5 o#s
Gtrs. I and 2 repeat Rhy Fig. I (see bar 47)

55 BassFig. 3 end Bass Fig. 3

(0h)
E5

Entrance of the conllagration

E5 r+fc G5 Df,s
Gtr. 2 plays Rhy. Fig. I (see bar 47)
$ $ G t r .1 P M - - r

0-0-0-0-0-0-0-0-0- 0-0-000000
L+.,1 L+.,1
Bass plays Bass Fig. 3 (see bar 55)

(0h)
E5 c5 o#s B5
Grr. I

IHl Irrt".t,rde (2:05,

3:16)
Go (lst time)
(Oh) (2nd and 4th times)
E5 E ( b 5 ) E5 N.C.(Cm) (Df,m)
Gtr. 5 plays Fill I third time (see page 119)
Gtrs. 1 and 2
p.M.__., p.M._., p . M . __ _ . , P.M.._] P'M'-t
71

_11____i-1 1-8-0*1 1-1 4 14-

-l t t l
3 3 3 3
Substitute Bass Fill I second and.fourth times
(see bar 35)

_7_7_ 10413
)_8_1 1___t_1 1_8_0_1 1_1 4
- t n n t n _ n _

?-?-f? t
3
r t t
3
r t t
3
t l

E (b s ) E 5 N.C.(Am) (c#m)
P M'-t P'M'- P.M...,

15-12-0-11-14

-J

GUITAR WORLD I2I

..ENTRANCE
OFTHECONFLAGRATION''
(2nd time) go back to @ 3rd Verse

7 s (Em) (D#m) (cm) (Bm) (E m) 1o#my

- 1 4 i-6 1 3 #= f1_ -0- l 5-_ 1 t _ n -o ?-10 + l L ?-0-6-, + r-6-

1,
r- r- |
'' 11 1L__-__J_1L_lt 'r' 'r I n 'i'
e_lt_+_ll_a_n_7_.tn r i^_
r- r- lr_j' I i_i_J' |3 T irj- tt 3
3 3 3 3 3 3 3 3 3 5

-o
0-, I

I I

f - 1
I r | (2:28)
D5/A/' C5/A G
Rhy.Fig.2

* Chord is tied when recalled as Rhy. Fig. 2.

5-5-5-5
l l t t
5-5-5-5
t t t l t l t t l
3)-3-3-3-3-3-3-3
t t t l
'aitl-'-'?-1
** Note is tied when recalled as Bass Fig. 4.

C5/E C5/G
Gtr. 3 (elec.w/dist.)
86

end Rhy. Fig. 2

Gtrs. 1 and 2 P.M.

end Bass Fig. 4

0)-0-0-0-0 0

f, f.t Guitar Solo (2:37)

D5/A c5/A C5/G
Gtrs. I and 2 play Rhy. Fig. 2 twice (see bar 82)
Gtr.3

Bass plays Bass Fig. 4 twice simile (see bar 82)

c5/E

*top notes played by Gtr. 4 (elec. w/dist.)

122 GUITAR WORLD

 ..ENTRANGE
OFTHEGONFLAGRATION''
D5/A C5/A

(15)-15-15 15-15-15-15-15-15-15-13 1 15F13-13-15-13=-_12L13-12-12 ? \??-

c5/E
\. . ,_\ \
15'i 15- 15 =.s13_13_
17] 17_17_17_17-.s15_ 1O_.
)- 14 -,. 17-14-{

13-.-1 2-13
14---12-14

3 3

[Kl z"a Guitar Solo (2:s7)

D5/A c5/A
Gtrs. I and 2 play Rhy. Fig. 2 twice (see bar 82)
Grr 5 full tull
106:---
17- -4--^ tz----j:-- 17-zo-17- 17-
+-20-17- 20-

Bass plays Bass Fig. 4 nvice simile (see bar 82)

1 7 - 2 0 --16 -_ 16--14

14 \ - 1 2 - 1 2 s s 1 0 - 1 0 - 1 0

115 - - - - - - - - l

10-12-1

8 1 0 1 2

3 J 3 3 3
n 8o backto@
c5/E F c5/G tl
Gtrs. I and2 substitute
Rhy. Fill 2 (see below)

Bass substitutes Bass Fill 2

(see below)
Rhy. Fill2 (3:15)
G t r s .l a n d 2 P.M. P.M.-----,

GUITAR WORLD 123

 "CANONROGK"JerryC.
"Canon
Based on in D" by Johann Pachelbel
Transcribedby Jerry C. and Andy Aledort

vtoae.)tety Slow .J = 90
D A Bm F fm
T

t-'-

Bm Ffm

\off) nf, ( *t
*swell w/vo lume control sim.

Bm Ffm
g ,{-
15-14-1514 15-141514-15_14
F
17-1517't5

3
FastJ =200
D Bm Ffm E5 Ff,5
P'M'-. p.M._.= P'M'-. P.M._. P.M. P.M. p.M._.=
13 - = = -
7 t_a

z-q C--l
7 4-o-o I o I
5_5_5 _2_2_n_n_2_, I q_ _e_
t r L i t t t t r l

11. t-

pirch: Gf
Bm
@ ' -
I

1
Ig_(16)_14_12 ry-- lo- 14- !Z

' - t l ' - t '

Bm Ffm
Y2
f-------\ full
I Y @

l4-11
1lL'- n4t.1tr_1+?t7
t c

D
full
I
17' 17_15_14_17 9_17_

124 GUITAR WORLD

 ..CANONROGK''

A Bm Ffm
tull full full
3 9 @
7 -to-6 of(t0x10x10)00)(10)f 8-7 -8-7-;-8- -7
_7 ____________1- _,_v_,r
6 7_o_o t n - |
,;_6__

Bm
44 7-10/14-10
12
7- -7-6-7 7 11
-J-l-o-____i-

pitch: E

Ffm
49 ltt ,- 10-14 115-14-12
1O-lU]z rU 7-z
18-16-14

/,s &

9-12/17-12 21j7_1712- l7-14-15-17-14-

14 r-=-17----t--=-14 14-15-17
14-16

Bm Ffm \f

5 8 &
4 14 14-15-
1A 16 16-14-'t6
16-'17- :- | | | 1 17 _1A_14- 16 _1 4 -1 4 -1 6 -17 --+-------r--
t - . . . 1

+17 ......]+----r------l--

D Ff Bm Ffim
63 4 15 17 |*
14-15-17 _15_17_ 17-15+17-14-15-17-1r-F7)'15-14J15 -^ 14-15
1+ 1A-la

G G
P.M.__
68 1
15-14 14-15- 15-14-15-14 14_15_17_15_14_15-14 8-7
16 -------r------r-l 6 -1 4 14 _' - ^ l4-lo--T----f- Io--_r--r---T----r\ t l t l I
-1-- |I lD- | I --1---1--1-----1-

Bm F$m E5 Ffs G
P.M.-. P.M.-. P.M.-. P.M.-. P.M. P.M. P.M. P.M.

tl A
P.H.
full
.M._.
77
1-r---1 117\

rffi' +t-0 141618141618T-T-l

:ffi =T

LJ
GUITAR WORLD 125
..GANONROGK''

Bm -fT G \.f

P.H.
82 @ M @

12-12-12-12-14 -14 -14-'t4 -15-15 -15 -15

t l t t l

14-15-17-15- 14_17
14-15-17 17_15_14_141517
16-1416

G
t ^
& V--.--. V--.i-.
^ ^ P.M. P.M. P,M.
9_17_15_ 1 51 9 1 5 1 91 5 - 1 5 1915 17-2117
r__r_15_15f___f__r__f_-a_15 _15r__r____r_ 17 17 -
-1

Bm Ffm
P.M. P.M. P.M. P.M. P.H. P.M.
-3-O-2-0-3-0-7 101----- _ z-1oJ12-o-10-it-8-b-tz-b--l-l0-101s'
+6+2 i_o_7_"___r__r T *11t-1---------:f-

A Bm
102 V-. i-----. V-. i-____. V_. V_. - P.M, P.M. P.M. P.M.
1512-121512-12 1714-1714 -3-0-2-0-3-0-7
---------t-----12 - 12 r=__=_ 12 _ 12 r_ _7_6_7__________^_ z^r - -
-tl-rl 2;l 2r-fi-r 12;1 2ft -1-14 {.rq(z) 1-o--1-o--1-0-4-5- -7 /9 -7+6-7-9---t=--r-
6\2-

Ffm

107 P.H.
10.141714_1417 15-1519151915-151915
10:-(10){10) (10)(10)(10) 12-0-10-0-8-0-12 15-15 11 5 - 15 r-r-r----r-r- 15 - 15 r--rr-

D A Bm Ffm G
112 :r &
17 14_15_17_14 15-r17

-r---r---r- rr --T----r---r---r--- t r ------T-----f- I/ - to- t.t

G Ff
117
-17-t-17 -15 -14-15-17 -17-(17) 15-14
1/|-14 +17
l! l4-.. 11-16-17-rT-

Bm F$m G G
122 *
----t-16-T---I
r^:nt14-16-14 ',' 141----f----l-
_14
_1a_1 6_1__5f .!6m.! o_

126 GUITAR WORLD

 ..GANONROGK''
, l
Moderatelv SIow rl = 100

127

^f *f"p<.tytA -- -
-
slm.
*Swell w/vol. control

) =2OO
Ffm D
132 P.M. P.M

-
f
A Bm Ffm
P.M

-10 10 -8-1O-7-1O-----+-
-11/.14-12\11 -9\s6_ _7_6_7_11_ -T---T---T---T--r--r--e
-------r-----r-o----0---1--|- -F-o---t-o---f-0---t-0-
ffiJ-7-5-
t \ v-

3 3 3 3
A
71 V-ri-. r- A V-, --.^ 6 V-. i-.ra n V-. n V-,
-7 *9-10 -7-9-1 01 2 -9-1012 41 0_1 O14101410_1 01 41Or12.9 _9_12.9-14.9_12
10-
r_11

Bm Ffm
V--, i--a V--. i--r
r- /1 /a
_1 4 7 10_7 _7 _ 1O_7 _ 1O_7 _7 _ 10_7 5-5-9_ 7 _3_3_7_3_1 0 _7 _7 _1O_7
7-7 7-7 7-7
7 7

G A
1 1540_^1 O _ 1V4___1.01_ 1 5 _ V __, V__. V--. ---. ^ V--. ---a /1 V--. V--. V--. -
_ 10_17_1 19-15-15_19_15_19_15_15_19_15 17-12
-15 15-15
16--r 16 14 | | 14-18-14
14-+----+-14

Dm A Bb Gm
&
17- 13_15_17_13_15 17 13-1s 13- 13-
14 - 15 - 17 =-------t--1-r- 15 - 17 15-14-15

Gm Dm
158
12-13 13-15-17 13-1
1 1- 1 4 - 1 5 - + 1 1 - 1 5 - 1 4 - 1 5 -14-15 -17 ---r----- r--15_17__t 17- 15+ 17- 14 - 15 - 17-171 (11.1 5 -1 4
14-12-10-12-14# 14-15r r r I l--T-

Bb Gm Dm Gm
163
_15_14_15 15-14-15 11-15-13- 1 11-15_14_15
. lE+

12-14-16-

GUITAR WORLD 127

..GANONROGK''
)
Bm F#m
& .G
14-1:5 14_14_14_ 17-19-17-15-17 -19-21
14-15-17 14-15-17
12-14-16
12-14-16

' 3 t

19-17-15-17-15
16-19-16"14-16-
1 6 - 1 9 - 1 6 - 1 4 - 1 6 1 91 61 41 6 1 4
19.16'14.16

1 7 7 - -14-15-17 @
-17 _14_ 18_18_15_18_14_18_18_18_18 le- (1e)- 19_19_17
1---_a____r__f_r-_____r____17
=_1 5 _1 4 r 19-18-17-1s

ful I
181 ) 17 _15____114_15171
1 4121 1 121 41211 -9-11 1211
I-T-r-t-r-51_rT--t--.i--rr 2 11 .9-1 1 1 2 1 1. 9 - 1 11 2 1 1- 9 - 1 1 7

Bm F#m
full
z--\ f--\
17-(17)- (17)-15 14_15_14
15-14-12_0-14

F#
tuil

1 4-15-14-15.14.15.14.15 15-14-0-12-O-

D
t/^

19514' f\ f @
/
1i-1\a-v 19 .21 21--1217-17' 17 19_17_17 _(17)1g_1

J =90
D

10-10-12-10-8 7-7-7-A-9-8-7

D A F#m
tult
205 @ ,
17-17=(17) 17_15 14-14-11
15 17 -+15-14-12-14-15! 15-14-12-13-14' tVtZllt

128 GUITAR WORLD

 'IOKER& THETHIEF"Wolfmother
As heardon Wolfmother( |NTERSCopE/MoDU
LAR)
Wordsand Music by Andrew Stockdale,Chris Rossand Myles Heskett o Transcribedby Jeff Perrin

AII guitars are in drop-D tuning (Iow to high: D A D G B E).

Basstuning (low to high): E A D G.
D5 C5 F5 G5
^ xxxx-_^ n xxxx._.
AfffT',*
TffT-n
AfffT,on
FT--n mEl5fi ?mr7fr
ffi
ffi-ht-l
F]]t
ftfftr ffi
fT_rrrl
F1t+
|-T-]-il-l
J J 1 1 J J J J
or
iAl rntro(o:oo) r.h
JJ

Moderately Fast J:rse(IJ=i))

( D5)
N. C, (drums enter)
Gtr. I (elec. w/dist.)
(repeat previous
1 RtffA two bars) 2 (play 4 times)

n_E

(0:20)
D5 C5
Gtr. I (ilslow sweepingfilter effect)plays Riff A six times (seebar 1)
*Bass(w/overdriventoneandslowrotaryspeaker effect)
Bass Fig. I

* organ arr.
for bass gtr

F5 G5
Gtr. I plays Riff A twice (see bar 1)

end Bass Fig.

@to,ssl
D5
Gtr. 1 (filrer effect offl
Rhy. Fig. I
13 r(

12-10-12-10-12- 10 12- 10-12- 10-12='-1

12-10- 12-10-12-10 12-1O-12-1O-12='1
t t t - ' l

* repeat previous chord

F5
Rhy.Fig.2

15 15."--17 17-15_1
15 15---17 17. 15-1 _15_17 \= 1 i
I I

BassFig.2 i

,--
I
z

CopyrightO 2006 WolfmotherPty Ltd

I3O GUITAR WORLD All Rights Reserved.Used by Permission
 ..JOKER
& THETHIEF''
E ( 0 : 5 21, : 5 9 )
D5
21

12- 12-1O-12-1O-12-1O
12- 12_10_ 12_10
I t-l-J-J
Bass Fig. 3

lD I tst and3rd Verses(0:58,2:05)

r. I said the ioket is a wanted man He makeshisway all acrossthe land
3.Whatyousee well You mightnot know Yougetthe feelingcomin'altertheglow
D5
Gtr. 1 plays Rhy. Fig. I three times (see bar 13)
Gtr. 2 plays FilI I second time (see below)
But:
25

o o g
?-?-? I g

Seehimsilting throughthesand s0 l'll tell you all the stoty 'bout the ioker and the thief in the night
The vagabond is movin' slow s0 I'll tell you all the story 'boutthe ioker and the thiel in the night
F5 G5
Gtr. 1 plays Rhy. Fig.2first time (see bar 19) and Rhy. Fill I second time (see bar 43)
2

Bass substitutes Bass Fig. 2 second time (see bar l9)

D5
Gtr. I plays Rhy. Fig. I twice (see bar I3)
33
5 c ? .t c J c o
I

lE | 2nd and 4th Verses(1:16,2:24)

z. He's alwayslaughing in the midstof p0wer always living in the f i n a l hour
r. All the people thatyou seein the night holdtheirdreamsup to the light
D5
Gtr. I plays Rhy. Fig. I twice (see bar l3)
Gtr. 2 substitutes Fill 2 second time (see below)
Gtr. 2 (elec. w/light dist., fast tremolo and sub-octaveeffects)
g7 RtffB end Riff B

Bass plays Bass Fig. 3 three times (see bar 21)

i
I
1

Il Fill2 (2:2a)

ni
lr:i
t f
I
l.J
-
T':

I
GUITAR WORLD I31
l
 s0 WE are nol going
Thereis alwaYs sweet in sour going
searchingtor sighl and we are not
The wildebeast is
F5 G5
Gtr. 2 repeatsRiff B fi'rst time(seebar 37)
Gtr. I Rhy.FilI l -----t

17
17
I
Bassplays BassFig. 2 (seebar 19)

home
home
(D5) (c5)
(repeat previous bar)
(w/slow sweeping filter effect)

3 J J

Bassplaysfirst four bars of BassFig. 1 (seebar 5)

tr Chorus t.35,2:42\
the flying over
Gan You see ioket
of clover
as she's standing in the field
(D5)
(c5)

2 ?

BassplaysBassFig. I (seebar 5)
(2nd time) skip ahead tolg)Interlude

every day I if he took her away

wonderwhatwouldhappen
watching out
(F5) (G5)
Gtr. 1 plays Riff A twice (see bar 1)
Gtr. 2 (w/dist. and slow sweeping filter effect)
53

, 3

Gtr. 3 (elec. w/dist. and slow sweeping filter effect)

go backn @

Gtr 1 (filter effect of0

57

_1
t7-18-17- -1

132 GUITAR WORLD

 .I'OKER& THETHIEF''
lGl Iotert,.de (3:oo)
N.C.(D5) (c5) I r. llz.
Gtr. I (filter effect off)
61

Bass (dsub-octave effect)

Bass Fig. 4

, 3

(G5)

end Bass Fig. 4

(D5) (c5) l l llz

70 Gtr.I
1-12-11 1_12_11_1

t 3 , 3
-?
Bassrepeatsuo*oi. o 1ri"i*il'

(F5) (G5)
75

tr (3:3e)
dhatf-time feel 1J) = J!;
D5 c5 D5 c5
Gtr. I
letring'---1
7g 1 13-13-1
15 13

* Sting is only partially

fretted; apply a bit more pressure to the string
Bass (sub-octave effect off) than you would if you were simply muting it, but don't press down all the way.
Bass Fig. 5
2
7
7
5

D5 C5 D5 c5
Gtr. I
* - - - - - - - - - - ' t t<
8 3 >
3 13-1 _1 _1 _15
-15-15-13---f
-1 5-1 5-1 5-1 s-1 5-1 5-1 5-1 5 15 15-

3 3
Bass plays Bass Fig. 5 twice (see bar 79)

GUITAR WORLD I33

.IOKER& THETHIEF''
C5

13-13-13--13
-#15--# 13 13 13 13 13-13
____#15-13-F
15-15-15 15-15

-3'

(end half-time feel)

N . C(. D 5 )
flick pickup toggle switch back and forth
repeatedly (set neck pickup volume to 0) -
{15)-1

14_0_14_0_14_0_1 4 O 14

3
Bass plays Bass Fig. 3 twice (see bar 21)

D5

12_10_12_10_12_1
12_10_12_10_12_1
L J I I
Bass plays Bass Fig.2 (see bar I9) Bass plays Bass Fig. 3 twice (see bar 2l )

i;t
l!l Outro (a:14)
I s a i dt h e j o k e r rsa wanted Makeshiswayall acrossthe land
D5
99 ,

12 -+12 10 12 10 12-10
1?--- I 12-10-12-10 12 10
|---j---
r l l l l l l
Bass plays Bass Fig. 3 three times (see bar 2I )

Seehimsilting throughthe sand So l'll t e l l you all thestoryaboutthe joker a n d t h e t h i e l I s a i d l ' l l

tell you all thestoryaboulthe joker a n d t h e t h i e l I s a l d
F5 G5

Bass plays Bass Fig. 2 twice (see bar l9)

l'll tell you all about the joker and the thiel in the night
F5 G5 D5
Gtr. I
107

17 12
17 12

Bass

d+

134 GUITAR WORLD

 Sevrnour
Drincnrr.

#'
*-*ry'"*S*
 "HERElT GOESAGAIN"
OKGo
A s h e ardon Oh N o (cnprrol )
Wordsand Musicbv DamianKulash,Jr. o Transcribedbv Jeff Perrin

c5x x F Em Am Ab B b E b B
-
ffi
o ooo -.+- X X .^-
trfin fFFm5ft 6fr fFFIrRTf'
ffi Itfltl FFFFtr EffiOO fff,[potr
t
T5.-rTr
t t t t t
m:
rTa-f]
t t t t t t
r-.TT-l
t t t t t l
ffiH FT-TTTI t-f-t-t-t-1 FFFI-H TTFTN TTTTN FTFT-F]
tt44 t 2 134111, t 3 4 2 l ,l 1342ll 1444 t342tl

tr Intro (o:oo)
Moderately Fast el = 148
c5
Gtr. 1 (elec.w/dist.)

*repeat previous chord

G G B b
Gtrs. I and 2 (elec. w/dist.) Gtr. I only Gtrs. 1 and 2
P'M'- - -.

Bass Fig

v| |
1-1-1

@ f.tVerse (o:11)
It couldbe ten but thenagain I can'tremember halfan hour sincea quarler to four
Throwon yourclothes of Surfer Rosa and you leavemewith my jaw on the
the secondside floor Hey
c Bb F
Gtr.2
Rhy. Fig. la end Rhy. Fig. Ia

end Rhy. Fig. I

-3-3-3-3-3

t t t l
Bass
Bass Fig.2 end Bass Fig. 2

t,oa;
lC 1o,zs,
C
12 Gtrs. 1 and 2

Bass plays Bass Fig. 1 (see bdr 6)

CopyrighO t 2005 OK Go Publishing.

136 GUITAR WORLD All Rights Reserved.Used by Permission.
 ..HEREIT GOESAGAIN''
lDl Pre-ctrorus(o:28,
1:08)
Justwhenyou think thatyou'rein control just whenyou think you've
got a hold justwhenyouget 0 n a roll
Gtr.2 Em Am Em Am G

o -5 5_5-5-3-3-3-3
t-l-l-J t-t-t-J L-t-t-J t-J-r-J l-i-l-J

7-5- 7-5-7-5
o-0

( Ist Chorus) play twice

I E I Cho.|.rr (o:35,
1:14,2:12) (2nd Chorus) play 3 times and skip alrcad to@
(3rd Chorus) play 7 times and skip ahead to fl
(1.,3.,6.) 0h here it goes here it goes here it goes again 0h here it goes again
(2.,4.,7.) I shouldhave known shouldhave known have knownagain
should But here it goes again
(s.,s.) Ah here it goes Ah here it g0es Ah here it goes again
(9.-12.) w/ad lib vocal

c B b F Am G
Gtrs. I and 2

5-5-3-3-3

ah hereit goesagain
G
Gtr. I only
P.M.___

4-4-4-4-4 -4-4-4-3-
t t t l t t t l
E 2nd Verse (0:51) (2nd time) go back to @

It startsouteasy somethingsimplesomething inching pastthe edgeof reserve

sleazy something
Nowthrough venetian blinds
thelines of the cheap y0ur car is pulling otf of the curb hey
C G B b F
Gtr. I plays Rhy. Fig. I twice (see bar 8)
Gtr. 2 plays Rhy. Fig. la twice (see bar 8)

1_1-1-1

lcl (r,zg) oh here goes agarn

0h
Ab Bb
Gtrs. 1 and 2
29

_4-4-4 6-6
t t l
GUITAR WORLD 137
..HEREIT GOESAGAIN''
lHl Intertude (1:32)
0h oh oh hereit
Hey hey oh hereit
Eb Bb B c
,:"'

substitute notes in thesis 2nd time

6_6_6 .6_6_6_
t t t l l l l t l t t )
11. ll2.
goes yeah oh here it goes again
goes all right
Ab G
35

3_3_3_4_4_4_4 _3_3_4_4_4_
t-J-t_J l r t l

C G Bb Am
Gtr. I Gtrs. 1 and 2

Bass plays Bass Fill I (see bar 2O)

I S.a Verse (1:57)
11.
I guessthere'sgot to be a breakin the monotony but Jesus whenit rainshowit pours
yourclothes
Throwon thesecond side of Surfer Rosa andyou leaveme yeahyou
C G Bb F
Gtr. 2 plays Rhy. Fig. Ia twice (see bar 8)
o: t P'M'--
41

Bass plays Bass Fig. 2 twice (see bar 8)

l') go backto@Chorus llo.rt.o (2:46) Freely

leave me 0h oh oh hereitgoesagain
F Ab Bb Eb
Gtrs. I and 2
Gtr.2

-4-4-4-4- -4-4-4+6-6

I38 GUITAR WORLD

 "tl' t"

***

1{*fi{li
i,,,ffi#fr
ffi$fli
l{trilfl]
l:!#,r,]j,ffi,
fffii
t#9li.1,
$
i:$$ffi

',
-ffi
';
1.:.,,.j

;'€fu:
;*t..t

' *ffi# '

t

t .. t' r '
 "MY GENERAIION"
TheWho
As heardon The Who SingsMy Generationlucny
Wordsand Musicby PeterTownshendo Transcribedby Andy Aledort

NOTE: On the recording, all instruments sound approximately one quarter step above concert pitch.
To play along, tune all strings slightly sharp.

Gsus4 . G5/F G5 G6
F

uc tl A5 A7
xxx x
FFFFN
r-T-l-T-Tl ffi ffi ffi3rr ffiift ffiro qrffi,o xxxx
fFFFE sfr
fFFFtr fFFFF
fftifr I+]]+
nr++l
H-FFH
TT-TT-T1
T--TT-l H-FFH F5FFN
't3 4
try-ffi
4 T-Fn-r
r?u 13 14 ffi
Iuirrto^rrrtt I 4

F5(6)
x x x
I |rrrlr
II Fi{Tti
t-1--Tf-1
I 3 l 1

lAl Intro 1o:oo)

r3t
ModeratelyFast dtriplet feel(n =) )r J = 189
-
G5 Gs/F G5 trC/l-
Gtr. I (clean elec.)
l * x (repeat previous two measures)

I a+repeat previous
trh c
Bass

ffret @ w/thumb *bassplays F

@ fst Verse (o:05)

People try put us down (Talkin' 'bout my generation)
G5 (F) G5 G5/F
Rhy. Fig. 1 end Rhy. Fig. 1
,

just because we get around (Talkin' 'bout my generation)

G5 (F) G5 G5/F
g Gtr. I plays Rhy. Fig. I three times (see bar 5)
_3_3_3_5_5

Things they do look awful

(Talkin' 'bout my generation)
13 G5 (F) G5 G5/F

hopeI die before get old I said my generation

'bout my generation)
17 G5 G5/F

C o p y r i g h@t 1 9 6 5( R e n e w e d F ) a b u l o u sM u s i cL t d . ,L o n d o n ,E n g l a n d .
T R O - D e v o nM u s i c ,i n c . ,N e w Y o r k ,c o n t r o l sa l l p u b l i c a t i o nr i g h t sf o r U . S . A a. n d C a n a d a .
I4O GUITAR ''^/ORLD
All Rights Reserved.Used by Permission.
 ..MYGENERATION''
Thisis my generation baby
G Gsus4 -G5/F Gsus4 G Gsus4 G5/F Gsus4
Grr.1
Rhy. Fig.2 end Rhy. Fig. 2
22 Iet ring throughoul

-------------T

Th
Bass
-5-5-5-5-5 -3-3-3-3- 5-5-5 3_3_3_3_3_4_

*bass plays F

@ Z"a Verse(o:30)
WhVOon't youall I fade away And
I (Talkin' 'bout my generation)
don't try to dig what we all say
'bout I'm
I (Talkin' my generation)
not tryin' to causea big s s sensation
'bout I'm just
t (Talkin' my generation)
talrin' 'bout my g g g generation My gene-
I (Talkin' 'bout my generation)
G5 G5/F

I nus Soto (o:55)

ration Said my
ration
3 0 G (G5)

*bass plays F

G5 G6 G7 G6 G5 G5 G6
33 Gtr. 2 (slightly dirty elec.)

Gtr. I plays Rhy. Fig.3 two and

Rhv. Fis. 3 one half times (see bar 34)

.5_5_7_7
3_3_3_3
t t t l

--l -

fu11

s--s2rst-s-r-5-i

GUITAR WORLD 141

..MYGENERATION''
Gsus4
Gtr. I plays Rhy. Fig. 2
(see bar 22) kt ring__
44 /-\ t tYLt-

5-5-5-5-3-3_3_3_0_ 3-3-3- -5-5 _3_3_3_4 -5-5_5

Gsus4

tr 3rd VerseWny
1t:tS1
Oon't you all fade away
I
t 'bout
(Talkin' my generation)
don't try and d dig what we all s s
'bouts s
s s say
(Talkin' my generation)
Not tryin' to cause a big sensation Just
(Talkin' 'bout my generation)
talkin' 'bout my g generation
'bout Baby my generation
(Talkin' my generation)
A5 A5 A6 -A7IG -A6/G
Grr. 1 (play 4 times)
52 Rhy. Fig.4 end Rhy. Fig. 4

v-
E

r t t t t t t l

Bass (play 4 times)

7 . _7_7_7_7 -7\5 5

*bass plays G

This is my generation baby

7
x

7- 7_7_7 7_7_7_7_7_7_7

My my generation My my

5
5
7-6

7_7_7_7_7 7_7_7_7_7_7_7

142 GUITAR WORLD

 ..MYGENERATION''
(1:49)
oohmy my My my my my generation
Asus4 Bb5 .Bb5/Ab Bb5 Bb5/Ab
63 R h y .F i l l 1 - - - - -

- -
I-"._
v t t v v v

5-5-5-5-7-7 -8-8-8-8-8-8- _6-6 -8 -6-6-6-6

*bass plays Ab

@ +trtverse(1:54)
Peonle try to put us d down
'bout
I (Talkin' my generation)
because w e g g g g e around
t
Il"t (Talkin' 'bout my generation)
Bb5 Bb5 Bb6 .BbTlAb .Bb6/Ab
Substitute Rhy. Fill I twice on repeat (see bar 64)
68

t t t t t t t l

*bassplays Ab

Things they do look awful c c c c o l d (Talkin' 'bout my generation)Yeah I

hopeI die before I get old (Talkin' 'bout my generation)My gener-
(Bb) y, Bb Bbsus4 -Bbsus4iAb

*Bassplays Ab

ation Thisis my generation

my my my my generation
Bb Bbsus4/Ab Bbsus4

Substitute Bass Fill I first time

lGloot"o 1z,z+;
c5 F5 F5 c l-c
Gtrs. I and 2 (composite arrangement) Iet ring Iet ring -
80

5 _3_3_3_3_
5 a a a_e_e_q_ -2-e-cl-e-

Bass

GUITAR WORLD 143

..MYGENERATION''

c F 5
letring- ------a l e t ring - - - - - - - - - - - - - - l
let
86

F5 c F5
Ietring - - - -- - - - ------r let ring

*With neck pickup volume all the way down, flip toggle switch back andforthfrom bridge pickup to neck pickup in rhythm indicated

10

(2:49)
(w/leadvocal ad lib next I5 bars)

(Talkin' 'bout my generation) 'bout

(Talkin' my
F5(6) c F5(6) c
Gtr. I plays Rhy. Fig. 5
Rhy. Fig.5---------- tvvo
t w o and
a n d ione
ne h
half t i i e s (see
a l f times r bar 100)

generation) (Talkin' 'bout my genelation) 'bout

(Talkin' my
F5(6) c F5(6) c
103Bass
a
Iu--.1-

Thisis my generation
generation) (Talkin' 'bout my generation)
F5(6) c F5(6) C
107 Gtr. 1 (play 4 times) /i

(play 4 times)

144 GUITAR WORLD

 "RAINBOW
lN THEDARK'Dio
As heardon Holy Diver(REPRtSE)
Wordsand Musicby RonnieJames Dio,Jimmy Bain,VivianGampbelland VinnieAppice o Transcribedby Andy Aledort

F5
flTFI
TrrrTl

tr Intro (0:00)

Moderately J =1ft
A5 F5 G5
RtffA
Synth. (an. for gtr.)
fl_n_f24t_fl_n_19 ________t_______r_
1_-_________17

*Ifyou have a 24-fret guitar, then go for it

Otherwise,just play the note below.
*Gtr. 1 (elec. ildist.) Rhy. Fig. I y1

*two gtrs. arr.

for one t u
Bass

A5 F5 G5 A5 F5 G5
Synth. plays RiffA three times (see bar 2)
end Rhy. Fig. I
Gtr. I '/4
PH'-------------a

1-1
1_1
_x ,-
-3-3-5-
3-3-3-
1-0-1-
fr

1. When there's
F5
pickscrape--------r

x-
3-
3_

t l t l

l l

Copyright O i983 Niji Music (BMl), Lite DustingMusic (ASCAP)and Vinny Appice Music (ASCAP).
All Rights Reserved.Used by Permission. GUITAR WORLD 145
..RAINBOWIN THEDARK''
lB lV"rr" (o:1e,
1:oB,
2:46)
(1.,3.)lightning you know it always brings me down
magic I feel it dancing in thelight
(2.) demons do . theyever let you go
picture you'rean rmage caught in time
A5 F5 A5 F5 G5

10 Gtr.1 P'M -

x_x-3-o-2-o_2-o_
X-X-3#3
lJ i !_.] | l_J I
Bass plays Bass Fig. I four times simile (see bar 2)

(t.,3.) 'causeit's free and I see that it's me who'slost and never
It was cold lost my hold to theshadows of the night
(2.) When you'vetried do they hide deep inside ls it someone thatyou
We're a lie you and I We're words with-
A5 F5 G5
P.H
letring------ r/q

3
3
x-x-5
x-x-5 x-x-3-0-2-o_2_O
x-x-3 X-X-3#
u l

( Ist time on 3rd Verse) skip ahead to B ll. I

(r.,:.) found cry out for
(2.) know You're just a
out
A5 F5 P.H.
P'M --r

_3_5 3-5

t')
@ frt and 2nd Pre-choruses (0:52,1:41)
No sign of the morning c0mrng beenleftonyourown
You've
E5 F5 E5 F5
pick Rhy.Fig.2
scrape
-O-------=------
_ o l
_1 ,--il
-2-3 |
x-x-s 2-O-3 -2_O_3
_o_0_1 I|
X-X-3 o_0_1
tu t t t l
Bass
B a s sF i l l I - - - - - BassFig.2

-o-o-0-0_0_0_1

(2nd time) skip ahead to@ 2nd Chorus |5] frt Chorus (1:00)
like a rainbow inthedark a rainbow in thedark
G5 A5 F5 G5 A5 F5 G5
end Rhy. Fig. 2 Synth.plays RiffA twice (seebar 2)
. P H
1-1- 1-1
.1-1-
x-x_
3 3-3-3-5
3 3_3_3_5
1 1_0_1_3
LJ t+I t t t l
end Bass Fig.2

11'-1"1'-i-r jiJ'ffi 5_5_0_1_0

I L l r r l l
|

146 GUITAR WORLD

 ..RAINBOWIN THEDARK''
(1sttime)go backto @ v"rr" @ Z"a Chorus (1:48)
2. Doyour Justa rainbow in thedark Yeah
A5 F5 G5 A5 F5 G5
P.H Gtr. 1 pick scrape

pick scrape

3-0-2-0-0-
1-0-1- 3F0-3-0-r-#3 12\0
t t t l t+t] !L! !j l l l
t+J
l l l r )
C LJ
Gtr. 2 (elec.w/dist.)
Bass Fig. 3 end Bass Fig. 3

lFl c,ritu. Soto (1:57)

A5 F5 G5 A5 F5 Lr3
I four times (see bar 2)

tr

tg:--(10)-(10)--5-3 2_ 3_ 2_ 3_ 2_ 5_7 _ 5_7

(21,2_

Bass plays Bass Fig. I eight times (see bar 2)

-7-8-7 5_7 _5_7 _5_5_5_7 _5_7 _5_

5-6-8-6-5-8

A5 F5 A5 F5

full
37)- - 12-15.13-151312-12
151312-13 12-1213 151312-12
7-7=-(7) 7' 5-7-5\4-4-5-4-5-7 14 14-12-14

A5 F5 G5
17_ 1 7_ 1 7 _17 _17 _17_X_X_X
17_17-fl_E r_17 _-_17 _17 _17 -___t__17 _17 _X_X_X
12-.-4_-12_14 t-12-14----t-12-'14 I_12 _14 ___l-12 -1 4 -----t- 12-1 4 _-+-12 -1 4 -----t--1 4 -X_X_X

---
A5 F5 \rc
l '-
l)
17 -19-2f-1-9-17 -n-fl -17 -17 -20-17 -19-17 -17 -n-fl 19 17-fl n-17-19-17 -17 -N-17 -19-17-17 -N-17-19-17-20-17
-2.-17 -n-17 -19
_Xm20 t_20 ___r__r__r__r_____r_20_r__r_____r_ 2O--r=---t---t-----t-N

n _O_fl_n _fl _19_17_17

17_n -fl _2.-fl .n _fl _19.17
17 17-20-17-20= 20-17-20-17- 17-fl n17-fl-n_17
20-r-_r--_r- 20 -r-r-t- 2O

GUITAR WORLD I47

..RAINBOWIN THE DARK''

E5 F5
Gtr. I plays Rhy. Fig. 2 (see bar 19)
P.H.
'i.2-1213
17 _ 17_N_17 17_N_17 fl_n_17_17-2D_1
f-m-j-tt-mf-F-T_2o-m2of- le-12-1et e):--(1 e)i7 19 -1 7 -l 9 -1 7\1 6 -1 7 -16 \1 4 -1 6 _14 \12_1 4 _12
12-------t-

3 3 3
BasssubstitutesBassFill I (seebar I8) Bass plays Bass Fig. 2 (see bar 19)

F5
13/:\ , \
121312-12-13-15 -13-12-1312-12
1-t--t-14--r---t---t---t---r---r--r14t- 12 14 12\1012 1(^9-1 0 -9+7-9-7\5-7-5\4-5-4\2-4-2_O

lGl Interlude (2:38)

A5
51 Gtr.1

Gtr.2

Bass plays Bass Fig. J (see bar 27)

go back to@Verse
3. We never see
G5 letring------ _____a
pick scrapes

_3_3_ -
-5_5
_n_{ _

I I t t l

|H]:ra Verse cont. (3:oo)

Feel the magic feel it floating in the

A5
y2
P'M'- r
V

x-x-5
X_X-5
x-x-3
f J l I r r l _ J u l
Bass plays Bass Fill I lsee bar I8) Bass plays Bass Fig. I three and one half times (see bar 2)

But it's fear and you'llhear

t-5 G5

x-x-
x-x-
x-x-

5i x-x
O-2-o- 5J_--1(-X_X_3_O_i
ffi-
_0_ 3+----+-X-X-3------r------+---+
r t t l _ J l r l ! _ J r l J _ l
l t t l
Bass plays Bass Fill I (see bar I8)

I48 GUITAR WORLD

 .,RAINBOW
IN THEDARK'
f 3ta Pre-chorus 1s:t81
no
There's sight ot the morning coming no
There's sign of the day
E5 F5 E5 F5
Gtx. I
let ring - -

-3-1 -0-0-0-o-1
t l l l
You'vebeenleft on your own like a rainbow
E5 F5 G5

1--------r

-o-o
t-J I

'-i-i-i-tj-i-r'
f,Sra Chorus (3:30)
like a rainbow in thedark
Yeah You'rea rainbow in thedark
A5 F5 tfc A5 F5 G5
P.H._-___
Synth. plays RiffAfour times (see bar 2)

-3-3-5
-3-3-5
-0-3-o -o-1-3

h- llz.
pick scrape -
79 Gtr. 1

Bass

-o
I
lId orrtro chorus (3:47)
(1.) a rainbow the
Just
(2.) You're a rainbow
(3.) ho
A5 F5
t
75 'oo

t l l l
Bass plays Bass Fig. I simile untilfade (see bar 2)
play 3 times andfade

(1.) dark No sign of the morning

(2.) in thedark Whoa
A5 F5

GUITAR WORLD 149

 NOTATION
GUIDE
"tablature
clef"

halfnotes(heldfor two beatseach) quarter

notes(heldforonebeateach)
D A E
let ring-
2
3
A

5
r)
* String I is the thinnest string; 6 is the thickest.
Numbers on the lines indicate frets (0 = open string).

eighthnotes dottedhalfnote(heldfor threebeats) quarter

resl
c A

and an0 and

eighth eighth16th 16th dotted half

rest note notes rest quarternote rest
,ar
'z
2 _r_2 _' _' _t _t _t_t t 4

..1

"1
count: an0 and un an0 uh an0 and and an0 anduh 4"

dotted .tied
quarter
note
\r
rhythms nammer-on legatoslide

-z-2 1_0

"1
count: and 2 and 3 a n d 4
* Don't rearticulate notes in oarentheses.

bendand releasein time grace-note 0race-nole -pre-bend

and release("reversebend")
(whole-step
bend) vibrato Den0 5tioe
full full full

"1
count: and 2 and 3 4 u u 1 2 3 a n d 4 a n d *Bend string beforepicking
2 3 4'

*natural
harmonics .pinchharmonic palmmuting
(picking
hanOl fret-hand
muting
(notefretted) E5 G5
N.H

_2_2_2_2
_0_0_0_0
| | | H t+J-t
-r.+J
I
I #F-l
*Liqhtly touch string directly * Loosen grip on strings so that
over fret, then pick. they no longer touch the fretboard.

irill(quicksuccessionof
staccato sweeppicking("raking")
$hort)notes hamrher-ons and pull-offs) tremolopicking
- - - -
\ t
- - -
I l - - V -
f-

*
11 = downstroke, \/ = upstroke

15O GUITAR WORLD

 $[TIT
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 DIGII?CITREDSPECIAL?EDAI- 160 IB"tr}IEZNINESfiruESPEDf,I.gI62 }ENDTNBA^'ATSLEI64 }TOTTIECUSTOMTOA*STRAI|P'64

rflrLER
lluEEl{
: " " . l " " t ' " " '

: Vintage woodgrain :
: finish unique to each :
: pedal,inspired by May's :
: RedSpecialguitar
i

Di,SiTeeh Bri,un May Red Speci,ulSisnuture pedul

'ffirr ERrcKrRr(LAND

^A\ UEEN'S BRIAN MAY calls

I ! his new Red Special Signature
\a pedal "Pure genius, for which
I taRFtro credit." May's humility is
unlikely to sway anyone from appre-
ciating his contribution to the pedal's
, .. '. i -.,,tll;,,
creation: after all, he originated the
pedal's tones over his almost 3O-plus-
year career.
Still, much credit for the Red
r ffi
Special pedal belongs to DigiTech's
I C(IULD
dedicated team ofengineers and their WRITE FIVE
proprietary Production Modeling PAGES t|N
process. The company even employed THE RED
legendary recording engineer Eddie
Kramer as the project's lead produc-
SPECIAL'S
tion modeling consultant. Brian May
T(lNES
Red Special pedal, so named as a trib- AND STITL
ute to Brian's one-of-a-kind Red Spe- NllT t
cial guitar, is the fifth installment in DESCRIBE
DigiTech's award-wining series of art-
ist pedals. It offers 14 of the guitarist's
AtLITS Seven models are on offer, each an
emulation of May's performance
But wait-there's more! The Red

best-known tones, including sounds
that, until now, have never been avail-
able to anyone but Brian May.
FEATUBES
THE pEDArs quartet of knobs gives it a
deceptively underfeatured appearance.
In fact, three ofthe four are space-sav-
ing concentric pots that govern gain/
level, treble,/bass and control/guitar.
The last of these bears some explana-
tion. The control knob (the concentric
pot's outer ring) changes function
accordingto the model selected. The
guitar control is a rather ingenious
circuit that lets you adjust your guitar's
output to more closely match the signal
produced by May's. It's further proof
of how far DigiTech have gone to make
the Red Special pedal representative of
May's tone. If you already own a Red
Special copy or,like May, use Burns
Tri-Sonic pickups, simply set the guitar
pot in the center "Red Special" position.
The fourth control is the model
knob, and it's here that the fun begins.
S[lUNDS." tones on some of Queen's most loved
hits: "Keep Yourself Alive," "Bohe-
mian Rhapsody," "Tie Your Mother
Down," "We Will Rock You/We Are
the Champions," "Crazy Little Thing
Called Love," the Wembley version
USTpRtCEr
Szgg.gS of his "Brighton Rock Solo" and the
iiIINUFACTURER: Deacy amp tone'from "A Winter's
DigiTech,
digitech.com
Tale." Among the equipment mod-
COIiITROLt:Gain/ eled are May's Red Special guitar and
level,Treble/Bass,
Deacy amp, as well as his customized
Control/Guitar,Model,
ExpressionPedalwith Vox AC30, treble booster, Foxx Foot
HeelandToeswitches Phaser, acoustic and Telecaster gui-
lilPUTS:Guitar,option- tars and more.
al F53Xfootswitch Now, here's the really cool part:
OUTPUTST
Amp,Mixer each setting of the model switch
DlMEilSlOilSlro.r4 includes two modeled tones from
x 3,84x a,47inches each of these recordings, which are
(txwxH) accessedseparately through heel
WEIGHT:3.38
pounds and toe switches on the expression
ADDlTtOtttAt pedal. Once a specific model is select-
FEATURES: Includes ed, the expression pedal then allows
externalpowersupply
the user to control a preset effect
parameter within that model, such
as the phaser level, midrange, delay
amount. et cetera.
Special pedal's Flexible Output Mode
lets you choose from three output sce-
narios: mono, stereo to mixer and ste-
reo to amplifier. In addition, the amp
and mixer outputs are optimized for
their respective uses, thus you can use
the Red Special pedal, for example, as
a direct injection device to record your
guitar at correct mixing board imped-
ance levels. The pedal also features an
input for the optional f'S:X footswitch,
which gives hands-free accessto each
of the pedal's models.
PERF|IRMAI{CE
I COULDWRITE five pages on the
Red Specialpedal's tones and still
not describe all of its sounds.But
I can say that every modeled tone
was uncannily realistic, and I never
felt like I was playing a simulation.
Plugged into the Clean channels of my
Soldano and Victoria amplifiers, the
Red Special allowed me take advantage
of the singing touch-sensitivity from
May's "Bohemian Rhapsody" solo, the
stadium-fillingtone from "We Will

16O currAR woRLD

Rock You" and the gigantic live solo
tone from his1992 WembleY concert,
where May used three Vox AC3Os,
a ping-pong delay and three-part
harmonization. Another standout from
the pedal was the buzzingtransistor-
like Deacy amp tone, modeled from
the battery-powered amp that Queen
bassist John Deacon designed for May.
But what makes the Red SPecial
pedal so unique and satisfiiing is the
dynamic interaction between it and
the guitarist's playing style. The pedal
responds to howyou play, allowingyou
to sculpt the tone in your own way. It's
like plugging into May's rig and creat-
ingyour own tones.

THE I.I]{E
B(lTTllM
DIGTTECH'SBRrANueY Red SPecial
signature pedal reproduces 14 ofthe
guitarist's most famous tones with
remarkable accuracy. One can only
imagine what pedal will be next in
DigiTech's Artist Series.I

Concentriccontrols i
put two functions in :
one sPace :

Dual outputs :
optimized for :
use with mixers :
and amps :

c u r r A Rw o R L D 1 6 1
 1{t1{E
HVES
Ibanex l{ine Serdes Redssue peduls
,rioiri
:tj:iii:r ByERIC KIRKLAND
N THE EARLY Eighties, Ibanez
released a set ofeffect pedals that
becamea classicin the annalsof rock
gear.The Nine Seriespedals,so named
becausethey could run offa nine-volt
power supply (some previous Ibanez ped-
als required 18volts), were loved for their
rich analogtone and sheer musicality. fhe
TS9 Tubescreamerhas certainlybeen the
most famous of the bunch, and consistent
demand for it prompted Ibanez to reissue
the pedal not long after discontinuing it.
But what of the other famed Nine Series
pedals?Happily, Ibanez has reissuedthree
of thern over the past two years: the AD9
AnalogDelay, the FL9 Flanger and the
CS9 Stereo Chorus. I had the good fortune
to sitdownwith each and compare their
sounds and specsagainst the originals.
AllgA]{AII|G
DETAY
ANALOGTAPEDELAYsare beloved fcr
their warm and ethereal sound. Like-
wise, the high-end roll-off that occurs
with each subsequent echo lends the
tone a natural sound that all but the most
expensive dig'ital units can't imitate.
Unfortunately, tape deiay units are noisy
and mechanically cantankerous. Enter
the AD9 AnalogDelay, a solid-state
analog delay that recreatesthe supernal
tones of tape delays.The delay circuitry
on the AD9 reissue is tuned for natural-
sounding echoes and features controls
for delay time, repeat and delay level.
Dual outputs let you send dry and wet
signalsto individual channels or amps.
I tested the AD9 reissue using
Victoria, Soldano and Mesa amps and
found its tone and overall performance
spectacular.When adjusted properly,
the AD9 creates natural reverb-like
echo that strikes just the right blend
of warmth and precision. Even when I
ran my high-end amps loud and clean,
proper settings of the AD9 yielded
sweet repeat and decay characteristics
that sound like an extension of the cab-
inet and amplifier rather than the result
of an outboard device. Though it's the
priciest of the pedals reviewed here, it
works its cl-rarmfor significantly less
than the cost of a rackmount analog
delay, yet it sounds every bit as good.
CSg
STEREO
CHIIRUS
cHoRUSIS oNE of a guitarisfs most com-
monlyused effectsfor its abilityto double
and thicken tone, aswell ascreate a stereo
picture from a mono source.Chorus devices
accomplish this by slightly delaying and
detLrningthe original signal, then recombin-
162 cutraR woRLD
ing it with the source.The CS9 StereoCho-
ms has controls for speed and width aswell
as mono and stereo output jacks. Note to
iM
ZakkWylde fans:usingthe stereooutputs is AllgANAII|G
I|EI.TY
(OilTROIS: Delay Time,
the only way to nail his chorus tone.
Delay Level, Repeat
I splitthe CS9'soutputbetweentwo
INPUT: One
Fender combos and marveled at its abil-
OUTPUIS: Dry, Wet
ity to create elaborate and lush tones that
were never mushy or weak. The original CSg
SIERE|I
GHORUS
notes maintained their impact and the (ONTROLS:Speed,
chorus effect was dirnensional without width
being intrusive. The CS9 was equally good INPUT: One
at creating subtle enhalcements that OUTPUTS: Normal,
would help define a guitar within a mix. lnverted
FtgFIAI{(IER TI.g
FTAIIGEB
COIITROIS:
FLANGINGIS A FoRM of phasing that 5peed, Width,
createsa linear hzLrmonicresponseacross Delay Time, Regen
the audio spectrllm. The result is a woosh- IilPUT:One
ingthat, at its most extreme, recalls the OUTPUT: One
sound produced by a passingjet. Flanging
ALtPEDALS
feature
v,'asoriginally created in the studio by
recording the same source material on
heavy-duty onloff
footswitch, LED
two reels of tape; the engineerwould slow status indicator,
down one machine by placing a finger on nonskid bottom and
easy-access battery
the flange (i.e. rim) of one reel, causing
compartment
it to slip slightly out of synchronization.
Modern flangers produce the same clas-
sic "whoosh" sound by filteringthe signal
at high resonance and addingvarying
delay times. The FL9's four knobs let you
control the effect's speed, width, delay
time and regeneration (a fancy term for
feedback that's rnixed into the signal).
The FL9's controls offer so many
tonal options that it took me a few min- i
utes to find my target sounds.But once I
got there, I was promptly addicted to its ' ..t
airy flanging which rode the frequency ". j',j
of my sustained signal like a surfer rid-
ing the crest of a wave. As with the other
Nine Seriespedals,the FL9's effect never
interfered with the responseof my origi-
nal signal and remained clean and pure.
Bl|NllMLIIIE \
THE
LIKE A CLASSICtube amp, the Ibanez
Nine Seriespedalswere practically
perfect at their inception. These reis-
sues are faithful in appearance and
operation to the original candy-colored
masterpieces.To my ears, their overall
sonic performance is slightly more clear
and defined than their Eighties coun-
terparts. While purists perhaps won't
settle for anything but the original, the
Nine Series reissues will please anyone
Iooking for sweet vintage tones. r
W
W
 Plug-in.
Rockout.

Cable
theFirstAudioInterface
Introducing
www.stealthplug.com

First.
Musicians
IKMuttimedia.
f||
 WTHATWIST
fi,'
l-:4 two-position push/push phase switch,
*.;
o mounted inconspicuously in the volume
'r'f
-F,.,. .,
's' knob. Together, these two features give
fllt
('f
+t'
' accessto six pickup settings: bridge
ra- .ni only, neck only, bridge and neck in par-
, ' 1* s
v i !
Fender Clo,ssic Player Baja Telecaster allel, bridge and neck in series, and out-
.J'n tr
*
/'-l\. ^,r}$
'(\rs of-phase variations of the latter two.
*
' ? s By CHRIS GILL

i:,,;r,trlr'
THE
BOTTOM
IIIIE
ENDERHAS PRODUCED IFYOU LOVBTHE way a Tele sounds,
dozens of variations on the Tele- you will worship this guitar's tones.
d**Es&r caster since that model made its The Custom Shop Broadcaster bridge
debut (as the Broadcaster) back in 1950. pickup delivers all the snarl, snap and
The Classic Player Baja Telecaster, twangthat made the Tele famous,
a
one of Fender's latest versions of this while the Custom Shop "Twisted" Tele
q$4s**i IISTPRIIE:
timeless ax, combines vintage Fifties neck pickup serves up sweet, punchy
$t,r4r.84
r****:, features with modern innovations to and round tones. The real killer is the
IIANUFAfiURIR:
provide the traditional look and feel of neck/bridge in-series setting with the
"**:**, a Tele while delivering the tonal versa-
FenderMusical
InstrumentsCorp., push switch up, which lets loose with
tility that today's players desire. fender.tom fat, aggressivehigh-output tones that
a
OR|GlNlMexiro easily push an amp into overdrive. In
FEATURES BODY:Ash the final analysis, the Baja's price-to-
MASTERBUILDERChris Fleming of l{E(K:One-piece performance ratio is hard to beat. I
a
!#sdss1 the Fender Custom Shop in Corona, maple,soft"V" shape,
California, designed the Classic Player (glosspolyurethane
I
:
Baja Telecaster as a dream Tele that finish)
,*****.
: a t t r
: {**s*err combines players' favorite specs and FINGERBOARD:
q*****, features from the past and present Maple,g r/r-inch
:
radius
. l
while it delivers a new twist on the
FRETS!2i medium
yt : r*d*#.*,
classic.The ash body, single-ply
jumbo
: f , pickguard, string-through-body bridge
i-. i;'*##ss1l
S(ALE:z5r/r inches
:+*qss*! with three brass saddles and one-
u i**.i*,. piece, 2l-fret maple neck with a soft HARDWARET
Chrome
1?et#r.i#;rl,
'',"'".'." V-shaped profile are features that date (ONTROIS:Master
TT.:::l Volume,Master
: back to the Fifties, while the 9l/2-inch
Tone,four-position
4fffi3I:; fretboard radius and medium jumbo bladeswitrh,two-
frets are contemporary refinements. positionpushup/
Just like the original Tele, it's even pushdownS-rswitch
made in California-Baja California BRIDGt:Vintage-
(Mexico) that is. stylethree-saddle
In keepingwith tradition, the Baja string-throughbody
is fitted with two single-coil pickups (a PICKUPS:
Custom
Shop"Twisted"
Custom Shop Broadcaster bridge pick-
Telesingle-coil
up and a Custom Shop "Twisted" Tele (neck),CustomShop
neck pickup) and master volume and Broadcastersingle-
tone knobs. However, Fender has given coil{bridge)
the tone circuit a complete overhaul: in ADDlrlOI{AL
addition to a four-position pickup selec- FEATUREST
l :
Knurledchrome
tor switch (also found on the Merle knobs,"CustomShop
Haggard Tribute Tele and Custom Designed"neckplate
Classic Tele models), the Baja sports a

T0AST0F THET01{EHoffii,e
customroasterAmp
CIRCUIT BENDERS S u n b e a mo r G E Mytest example wheels (?!),as
love to transform toaster (or our came with awesome well as two-tone
ordinaryhousehold favorite, a Roto Broil red and yellow pearl flame models.
devicesinto electron- toaster oven), lurking flames on a black can- The Hottie is
ic noisemakers.When insideare a six-inch dy base,but Escudie as simple as it
J.C.Escudiespieda Jensenspeakerand also offers the solid- gets. lts feature
stack of broken vin- a nine-volt battery- color GT model with setsconsistof
tage chrome toasters powered solid-state a singleinput
at his local Goodwill,
he knew that they'd
amp circuit.
Escudierecently
@ and an output
that lets you
make perfect amp LISTPRI(ESr
started offering the connectthe on your guitar. As you
cabinets.And so the Hottie Custom model, Si49.oo;Custom,
amp to an external might expect,the
5249.oo,Toaster
Hottie Amp was born. which features candy, cabinet-there are Hottie's tone is warm,
Ovenwlth two
While on the outside pearl and metalflake speakers,gr99.oo no volume or tone and when overdriven
the Hottie may look finisheslike those MA]IIUFA(TURER: controlsto contend producesa satisfying
like a normal on custom hot rods. Hottie Amplifiers, with other than those crunch.-Chris Gill
hottieamps.com
164 currAR woRLD
 ,;t.

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hardshellcase),lt hasa Power Designed by the late
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Lirt Price: $tf.gg
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currARwonro 167

BBn Sound, Crusher, Green Screarner und Freq Baost pedals
|:|Fit"v EMrLEMENAscHf
A MONGMAKERSOFsound-
^fx;,","il::3i1l;xffi
,ff:ff#"
it: The compan/s trademark product is
the Sonic Maximizer, a specialized form
of signal processingthat optimizes the
phase relationship between frequencies.
Not quite the stuffof low-tech stomp
boxes.
And yet BBE has also been making
guitar and bass rack units over the
years, and that experience led them to
develop a collection of stomp boxes that
alltrde to classic fuzz tones,boosters
and green Screamers of yore. BBE's
new sextet ofeffects includes three
distortiorr units, two clean boosters
and a compressor. The idea: get
vintage tones and features into reliable,
affcrdable packaging. For this review,
I'll focus on three: the Crusher, a
distortion with EQ; the Green Screamer,
a vintage-style overdrive; and the Freq
Boost, a treble booster. Other new
models include the Free Fuzz,the
Orange Squash compressor and the
Boosta Grande ciean booster.
Al1 six units are solidly built and
resemble BBE's already releasedSonic
Stomp and Opto Stomp. Each can be
powered by a nine-volt battery or with
its included power supply, and the
pedals also work well with a third-
party multi-unit power supply. What's
more, all feature true bypass, so they
don't suck away your tone.
The pedals'construction is solid;
in fact, it's on par with the toughest
pedals I've tested. The old-style button
footswitches give a solid click when
engaged, and the metal knobs are easy
to grip and firm to turn. Other features
common to all pedals include on/off
status LEDs and nonskid bottoms.
And while the BBEs aren't fancy, they
certainly look good on a pedal board.
THE
CRUSHER
THE CRUSHondistortion pedal is
the most elaborately outfitted of the
new effects, with controls for gain
and volume and a three-band passive
EQ. Despite its name, the Crusher is
capable of smooth and rich tones. It
sounded good even when pushing an
already overdriven tube amp, adding
punch and roundness to the tone
without sounding mushy. Its gain curve
is progressive, which makes it easy to
find the sweet spot between your guitar
168 currAR woRLD
$TEPPIJI'l|UT
,{#r$-&'##Hffisff:$ffi}ffi,T
a
ffiffiffiffiN ffiffiffiffi&waffiffi
:: "K n"u"r l e"dm" e"t a"l ': :
i virtuaily i
i k n o b sa r e : : indestructible
:
easytogrip
i i i case
i
and amp. At minimal gain, the Crusher b o o s t e r st o d r i v e t h e i r t u b e s h a r d e r .
works well as an EQ/booster that can The single op-amp Freq Boost is
alter your amp's distortion without patterned after treble boosters of
fuzzingit out. At maximum gain, the yore and is effective at pushing the
pedal produces teeth-melting tone. front end of a tube amp. Unlike the
The EQ proved to be an extremely CleanBoost,the Freq Boost adds
useful and powerful asset.Scoopingthe presence to the tone by pushing the
midrange produced excellent thrash and highs. This was evident when I used
grunge sounds,while boostingthe mids and the pedal in front of a tube amp on
cuttinghighs served up Clapton's warm the brink of distortion. With the
Cream-era tone. Overall,the CrusheCsbest F r e q B o o s t ' sv o l u m e c o n t r o l s e t a t 1 2
feature is its ability to dynamically enhance USTPRKES:
o ' c l o c k ,t h e p e d a l p r o d u c e d m i n i m a l
9129.99;Green
and expand on the amp and guitar's Screamer, gain but delivered more detail and
$r49.oo;
existing tone without destroying it Using it FreqBoost,$r49.oo punch from the guitar, giving the
is like having an extra channel. MIINUFACTURER: tone a nice, bluesy edge.Pushing
BBESound, the pedal harder produced a dark,
GREEI{
SCREAMER BBEsound.com driven crunch sound that was great
THE GREENScREAMERis a dual op-amp for lead playing. No matter where I
SOUNI
CBUSHEB
overdrive pedal that pays homage to the COilTROLS: Bass, Mid, set its volume control, the Freq Boost
great TS9 Tube Screamer. But while it Treble, Gain, Volume brought my tone out front without
may have a similar profile, the BBE is ll{PUT: One making it too harsh. If you have a
not an imitation of that classic Ibairez OUTPUT:One good tube amp and want to kick it
stomp box. The Green Screamer is a little harder, this pedal is a must.
GBEEI{
SCREAMEB
brighter and delivers a more tubelike COIITROLS:
"spif'than my old TS9 (yes,I A/B'dthem), Level,
Tone,Gain THE
Bl|TT|lM
LII{E
though it also has a litde lessoverall gain. ITPUT:One EACHBBEPEDALI tested was designed
Controls include the classictrio of level, for a specific type of distortion, and
OUTPUT:One
tone and gain. Like the Crusher, it can in every instance, I think the results
be used as a clean-ish boost, and riding FRE|I
BO(IST are both well executed and extremely
CONTRO[:
the treble with the gain backed offadded musical. Distortion connoisseurs will
Volume
some kick to my tube amp. But the pedal's appreciate the nuances oftone and
IIUPUT:
One
mission is to deliver midlevel gain and articulation possible with the BBEs and
OUTPUT:One
overdrive, and it does so capably. The the easewith which they can create
sound is tight, compressed and smooth, ATtPEBATS powerful and usable sounds. I
makingthe Green Screamer an excellent feature heavy-duty
choice for blues, country and classicrock. footswitch, LEDstatus
i n d i c a t o r ,n o n s l i p
FREO
BOOST rubber bottom, easy-
accessnine-volt bat-
IN THE DAYSbefore purpose-built tery compartment and
high-gain amps, players used external powersupply
 ffiffi${$f;'$ffis
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*{armdredsmore $o{tgs added weekily
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sicdire
www,sheetnnu

UIfHITE
HEAT
Yarnqhu LLX6 IIN ueoustie-eleetrie
..',.i$.$.'
r, EMrLE MENAscHf
f'!\ AVE NAVARRO IS anything
I lbut unassuming. The guy's
t-, a rock star by vocation as
well as by trade, so ii's fitting that his
signature acoustic-electric guitar is an
instrument that makes a visual, as well
as sonic, statement.
First the visual: The Dave Navarro
Yamaha LLX6 DN is white in almost
the same way that the cover of Spinal
Tap's Smell the Glove was black, except
that here, tasteful black accents-such
as the headstock, fretboard, binding
and even the finish inside the guitar-
are there to put theblizzard of white
into stark relief. But if anything the
contrast brings out the whiteness of
the guitar's finish even more boldly. A
dab of reflective color is provided by
the pearloid tuning keys and a custom
abalone headstock inlay of Dave's
personal "Unicorn S" logo. Taken as a
package, this dreadnought is extreme,
bold and in your face. Onstage, it
doesn't inspire as much as it demands
attention. Clearly, this ax is for players
who want to be seen.
And heard: Beneath the gloss
are premium materials that give
the guitar its commanding sound.
These include maple sides and back,
a solid Engelmann spruce top and
a rosewood neck capped with a 25
| / 2 -inch- scale ebony fingerboard.
Perhaps because of the finish, the
Yamaha feels a little heavier than
a typical dreadnought but is by no
means uncomfortable to hold.
FEITURES
SONICALLY,THE Navarro model has
a full acoustic tone that leans to the
bright side, with plenty of detail to
cut through a typical rock mix. This
dreadnought is loud, as well, easily
filling a small room without the need
for amplification. Single notes sing,
sustain is long, and chords sound
chimey and rich. All in all, it's a very
musical combination.
But the Navarro is clearly designed
to be plugged in and rocked hard. It
boasts Yamaha's formidable System 45
electronics, a hybrid mic/piezo setup
that includes a three-band EQ and
a clever control arrangement. Most
hybrids feature a blend control-usually
a slide control-that sets the balance
between the bridge-mounted piezo and
the mic. Instead, the LLX6 has a volume
control for the mic only, allowingyou
17O curreR woRLD
$eur in rewiew
guitar
to mix in the condenser as desired. This
is especially nice when playing onstage:
it's much easier to grab and turn a knob
tlST PRICE:$t,499.99
than to fuss with a blend slider.
While this feature alone makes IIAilUFACIURER:
Yamaha Corporation of
taming feedback simple-just
America, yamaha.com
grab the mic control and turn it
SCAIE IEI{GTH:
down-the Navarro boasts several z5 r/z inches
features designed to keep feedback
FITGERBOARD: Ebony
to a minimum. The mic resides on
RADIUS: t4 inches
an adjustable gooseneck, so you can
FRETS:zo
move it around to adjust its tone and
combat feedback that might be induced EODY:Solid
E n g e l m a n n S p r u c et o p ,
by the mic's position relative to the
maple back and sides
top. A phase switch helps to combat
NECK:Mahogany
resonant feedback, and a notch filter,
continuously variable from SOHz to BRIDGE:Ebony
lOkHz, lets you pinpoint squealing PICKUPS: Piezo, con-
denser mic on adjust-
frequencies and zap them to oblivion.
able gooseneck
The EQ is effective at dialing in a
COIITROLS: System 45
range of tones, and you can mellow
two-way preamp with
the LLX6's naturally bright character Three-Band EQ, Phase
with some judicious tweaking. The Switch, Mic Balancer
guitar was effective in solo singer- FltlSH:White
songwriting settings (where its
appearance earned comments from the
audiences) as well as with a full band.
PERF(lBMAl{GE
IF YoU LIKE the kind of slick neck that's
typically found on electric guitars,
you'll be glad to know the Navarro
model is of similar design. The neck
is fast, with a low action; its overall
feeling is of speed.The 14-inch radius
is flat, but since the neck isn't too wide,
every note is within easy reach. The
guitar came out of its sturdy soft case
very well set up, with good intonation,
nobtzzing, and low action. I found it
a pleasure to play, and it can handle a
wide range of styles. It would be even :
better with a cutaway. :
\ :
THE
B|lTTl|M
tIl{E : /
SOMESIGNAfUnn guitars come across
: . 1
:,. l
as just marketing gloss-stockroom ,/
: l
stuff with a couple of decals tacked : ! '
i l
on. But Yamaha's Dave Navarro : f
Yamaha LLX6 DN has a great mix i f
t'
of personality and functionality. Its
powerful acoustic tone is enhanced by
well-designed electronics, making it
a winner onstage and in the studio.
And no matter where you use it, you
won't go unnoticed. r

Our man, Matt Bruek helps a reader Set hold of some neeessa,lryhardwa,re.
'ffi.".lf'",l3"I*,.
Tl YFAR, THE Mosr frequently
Fa asked questions I receive at
.l-, Tech Ed are from frustrated
users of Floyd Rose locking trems.
Changing strings is one of the most
difficult things to perform with a
Floyd, especially for players who use a
"floating" bridge setup, which allows
guitarists to pull up, as well as push
down, on the bar.
As I explained in last month's
column, starting this month and
continuing through the March 2007
issue, I'll be devoting my Tech
Education CD-ROM segments
to Floyd Rose locking trems.
Hopefully, at the conclusion of
these three segments,Floyd users
will be better informed about how
to care for and maintain their
locking trems and get the ultimate
performance from them.
)()K)()(*
I have an lbanez JSI that's about
15years old, and the threads on the
locking nut are stripped. I want to
replace the nut, but when I
went to buy one, I was faced
with lots of choices:there's
anR3, anR4, d 43mm,a
44mm, et ceterd-.How da I
figur" out what to get?
-KyIe Johnson,
Friendswood, TX
)<-**)K)(
My friends atlbanez
informed me that you
want either a Black
42mm Top Lok (part
number 2TLLJS42B) or a
Chrome 42mm Top Lok
(part numb er 2TLIJ S42C),
depending on the plating on
your guitar. You can order it from
Ibanez. As of this writing, Ibanez
doesn't have its consumer 8OOnumber
set up yet, though it will be soon. In
the meantime, all consumers can get in
touch with Ibanez customer service via
e-mail at contact@ibanez.com
**)i(**
What are the pros and cons of
miking a guitar amp versus running
a pred.mp line out to a PA. for sound
reinforcement?
-Dwayne Toivanen, Grants, NM
**)K*t(
I think a preamp-out arrangement
is a little easier to manase than a
1 7 2 c u t . r p , Rw o R L D
ins & outs of uxes& amps
l{UTSfl
Gl|T
: miked setup. But the pro and con of
either situation essentiallycomes down
to a matter of sound. I don't think one
setup is better than the other. Like
most things involving tone, the choice
of one over the other comes down to
personal preference.
In this case,I think the tonal
advantage probably goes to a miked
speaker.To my ears, a well-miked
speaker gives a truer representation
of your amp than a line-out sigrral.
You'll have to experiment with both
scenariosto see which one will suit
you best. Once you hear the tone
character produced by each method,
you can make a decision about
which you prefer. You may even
decide to employ both techniques
and blend them together. Either
way, enjoy the experimentl
xxx**
How do I properly set my string
height while maintaining a low action?
i ir""",',i, i I have fought this damn
: . . . . . . . . . . . . . :p r o b l e m f o ry e a r s .I l i k e
'em low, but I'm tired
of the buzzing
on clean tones and the lack of sustain.
-Travis Ahrens
)KX)(*X
Hey, Travis, this seems a pretty
simple fix to me. You like a low-
action setup with no string buzz.
Some guys actually like a
hair of string buzz, andl
even like a microscopic
amount of string buzz on
some of my setups. A low
setup like that is usually
really slinky, and bending
is smooth and easy.
I think you should
take your guitar to a
professional guitar tech
and tell him exactly
what you want: action set
as low as possible. without
string buzz. This is not a difficult
thing to achieve.
xxxxx
I bought a usedHondo Les Paul copy
afew years ago, and the only bigproblem
is its intonation. It has a Tune-O-Matic
bridge with tailpiece,and a bolt-on neck.
I stdrted offby adjusting the bridge,
replacing the neck shims and replacing
the neck scr ews with larger- diameter
screws, as the old ones were stripped.
After that, I replaced the closed
tuners
tuners with
with sealed
sealed Schaller's.
$gfinllor'< Sb
#.
All thishashelped" tii)', f"|
it's stillan issue.fn, t:r"tt roa
was stripped when I got it. I was
thinking of trying a new bridge and/
or moving the nut. Wiil that help,or
is the guitar beyondhelp?
-Mdtt
I've occasionally seen truss
rods brought back from the brink
of death. My buddy Erik Goehrisch,
who is a really talented guitar builder
Qushguitars.com),once saved a truss
rod for me that I thought was absolutely
done for. I'm not saying that you can
definitely save your truss rod; I'm
saying it sounds like you really like the
guitar and are willing to do whatever
you can to make it right. If that's
correct, then I would advise you to take
it to an expert for analysis.If the truss
rod is truly spent, it's possible to replace
it. l|he procedure isn't commonly
performed becauseit requires removing
the fretboard, which is major surgery
for a guitar. But hey, it's your baby
right? The choice would be up
to you. The cost may be in the
neighborhood of$zSo. As far
as replacing the bridge and
tuners and moving the nut, I
can't see that helping out the
way you need it to.
*.**X)i(
I have heard that you
can make your own talk
box out of a small guitar
dmp, some vacuum hose
and a Clorox bottle.
Have you ever heard of
this, and does it work?-
Dwayne Toivanen, Grants,NM
*****
Bro, right off the bat this
sounds kinda dangerous!Clorox,
voltage and a vacuum hose? It might
serve well as a segment idea for
\ Get an answer and
Jackass:The Movie.If anyone out
win free gear! Simply
there has seen this work, please write email your question
to me and let me know. If you want to to Matt at teched@
the real deal on talk boxes-how they guitarworld.com
work and what's required to make or mail it to Tech
them work-check out my September
Education, Guitar
World, r49 5th Ave.,
2006 GuitarWorld CD-ROM segment, 9th Floor, New York,
which as of a month ago, was up on NY tooro. lf your
YouTube.com. I letter is published,
you'll receive a
Top Lok nuts and other Planet Waves Guitar
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-// ALL-AccESSFoor ::
----------r coNTRoLLER coNTRoLLER^-:-;
:i:i:::;::i:::i:::;::::::::::LynL.9L?hl].::::::::::::::::::::::i:::'.i'ili,'di'ii'dlti111"11111111

186 currARwoRLD lllustration by Adam Cooper/guitargeek.com