| } ROCKINPEACEN UCN aby f bers DUANE ALLMAN Ab .Uh PIM ti): CHUCK SCHULDINER TANT NAVA UIEae a a Le aS a xeKe the beta eee MY TA ee eS Beanie PEON a tare ea 2 Means) Rua Ce UBe = baikg ees Le AL ri PUNT IELee ea! a Fey aee ea Phe en atts SNe) Aang os = 13 Vii ut]: =eaao A) hae i i S Yov have to nead ty you (7 erirw S ahd try one. Bey ond, YOKsealer S vA BU age IP ott nad ey , Wied i) ca 4: Reade | oa I Ha sea out | zero Re cord j ‘et \ J) ta De ALL on ‘ = fps (Fe - TN WINNQ NN We can easily tell ph ia) TONELAB LE spits ovt tbe Z tones that are fatter and more Acca aC aR a naan Vy LAAN iN Aan Ses Seon COS ared ST A ME ae = mye) Ty CSCO Laie ee SCAN peer tind Teer hace eter WANN cE chadae yt) FIVE DECADES... ONE CONSTANT. ERNIE BALL STRINGS rian: mY RUM aan era a‘The Taylor GS. A big. rich, powerful tone, made possible by the tiniest little change in body shape. Visit your Taylor dealer for a test strum,Ce te ee ee eee eae«theblues-co S. BE ORIGINAL sett? i arww.geking© ROOTret are ‘ ax cemter | atany participating J7e ee in March titiorh starts i | ust be 16 years OF older “CompeTHIS THIS IS THE NEW ALL-VALVE, FOUR-CHANNEL, 12-MODE,100-WATT, MIDI-COMPATIBLE JVM410H HEAD. NOTHING IS GOING TO BE THE SAME. ‘The latest all-valve amp from Marshall has been years in the making. From the moment Marshall set the bar for guitar tone, players ~ and imitators ~ have wanted in on the Marshall legend. The original gold and black stack with the unmistakable tone. Enter the JVM. With this one amp, not only is every guitar tone possible, every tone is jaw-dropping. But today, guitarists demand far more than just tone quality alone. An amp that allows execution of complex, wide-ranging sonic combinations ie no longer a plus — it ie a must. ‘As always, players got it all from Marshall Marshall is back with a new flagship that delivers on every promise CHANGES The JVM has four fully independent channels, each with three footswitchable modes, for tonal versatility, fluidity and range like never before. The twelve modes run from pure, simple, ‘mind-blowing cleans all the way to gain that'll take your head clean off. Move effortlessly and seamlessly between modes ~ with the supplied programmable 6-way footewitch or control all front-panel switching via MIDI. The tonal possibiltios are endless. The JVM changes having to settle for ess-than-perfect tone. It changes playing through overly-complicated set-ups. It changes wishing your amp could do it all when it can't THE ONLY THING THIS AMP DOESN'T CHANGE IS THAT MARSHALL RULES. ALWAYS. It's a multi-channel, multi-mode monster that really works and, try as we may. we can't find a single weak point in the JVM's tonal palette,IT’S NEARLY IMPOSSIBLE TO BUILD A MUSICAL INSTRUMENT THAT HAS A VOICE Ns (elem Reuse NID Oran BERT Ne re eee eau ee Rem Cele Cee aCe tN NRCC PRINT neuer eC RCct aL a a eee me Nene renee kencicey | ea =CONTENTS VOL. 28/NO.4 Sree Ca ee ey try peer oer er area Becerra : TIM O°BRIEN a * APRIL 2007 ein ii eres) Pea cern cer ar ee ern eee set ern cereCONTENTS ‘VOL.28/NO.4 + APRIL2007 = : “SI a x eee ray coer: P avy iy Pe ee ieacal anil Bat eat i f ibeiectdetnen hese ma Th 5 eh ‘ a 0; Ta4 BETTER WAY TO BUY GUITARS Bera el (w] GUITAR GALLERY AMAZING SELECTION ee) ley Ce ee ee le CN ST eee ag Pe ah ailze!This man could use a vacation. Take advantage of his obsession with the New VLZ3s. ‘We didn't think we could improve on the original VLZ mixers... at frst. Then an over- achieving engineer decided to try it First he made a more musical 3-band EQ. Then he came up with the new XDR2 mic preamp, one with more consistent frequency response across the entire gain range. We figured that was it. Didn't hear from him for awhile. Then he burst in showing how his new summing bus lets you add more signals together without running into clipping. OK, OK we thought. Give it a rest! But he couldn't be stopped. He started doing things like rounding off corners, building a clever handle right into the mixer...he even made the silkscreening on it EASIER TO READ. It. got so out-of hand, our HR depart ment advised us to make him take some time off. So we did. But not before we put all of his improvements into the new VLZ3 mixers. Learn more about this OCD-driven triumph at: www.mackie.com/viz3 Ann NEW XDR2 MIC PREAMPS ‘Ournew mic pes are quieter than ever, and with even higher FULL BANDWIDTH MORE CHANNELS BEFORE CLIPPING Taking advantage of negative MORE MUSICALEQ ee eee 604-viz3 iaoz-viz3 www.nackie.com/viz3Ce cn reread : Sedan Ly 24 minutes of recording time with the included CompactFlash card. 5 hours of recording time with an 7 CELT keg le Dera cer cs) again. Upload and download loops and backing tracks RT at Pend Sede eed and store on a JamMan® De nd Der ns powerful looper. JamMan‘. aa Digitech centeredHeath baad se aan ty 7 4 : a crdation of puRe brutality. a3 TB fe OL SEE Seog eu abba BU Cee) ey \ : ero (ols te we Ve vba ty | Bory (ea ge Origin4] Floyd rose tRemolo I oNe voluMe 1 a | one kill... nevermore.tv Pleo e aba be neyevs Nu aa Re LL) er rerything Ce aePLAY THE ORIGINAL, QR PLAY A WANNABE. (HEY, THE CHOICE IS YOURS) Rots INPUT | . | Ee |\Metal Core | fiersau Sa 2 aaa Sealic!Seed Sosa Ser RCo RCO MLO a ST UR A i ap Oe eed * Cobs Available in All Black § eT rr ee LC) be PR a SR Be UL Crees er Smet www.krankamps.com rd i”THE REAL DEAL Pee a De a Ed ee ed Peet es To) SE sn oe MeN Ss Ec) ST Pete LT Donel uy ee Oe See oe ae 22 GUITAR WoRLDCeo ce See a Bepth a Size Matters ee Es aa Meee Su hae Rc Ae Cer me a Re a We oe your back will thank you as well. Do yourself and your back a favor, check out a Pilsen para reMan CO aks ms Cree en Mee ea cuedal Pe ray |) a Va ec OP eae THE HANDMADE STRING: IN GOOD HANDS. ‘Alexi Laiho from Children of Bodom. “! recommend everybody to use OR strings cause you can beat the living f#@k out of your guitar and they'll last. We tune down in D, so | use 11-50 and they work out, a ae ean akon te eau he Le “hisy ero tT Cee aT er UHI] T | SOU UCU SCR A URL CU me Ute cL tone is through the last link in the chain, the speaker. Eminence Speakers always seem to bring out the most flattering qualities of my amplifiers, always a perfect match!” SAU sr ee ve ng : BU a E M i Ny i N c i Disspareiade nce ceercnnn) ww blessracen.com www.eminence.comTHE WOODSHED APRIL 2007 Paige ve | Sen r cen eu ww w.madisonamps.comZAKK WYLDE SIGNATURE STRINGS DUNLOP ICON SERIES vod ete ee etal P4 ST at Re ea) TeSOUNDING BOARD ‘SEND LETTERS T6-THE-SOUNDING BOARD, GUITAR WORLD, 49TH AVENUE STHTLOOR NEW YORK, NY 10012, OREMAIL USAT SOUNDINGBOARD@GUTTARWORLDCOM. Eos THE EYES HAVE IT Thave been playing guitar since 1971 and gigging pro- fessionally since'77, and hhave been reading Guitar World foritsentire run While I ean read music, my learning of other people's ‘material is based on my ear Tean learn a new track much faster by listeningto it than ean from atranscription. Andy Aledor’s“Wind Cries Mary” lesson on the Febru ary CD-ROM was the first time inal my years that I have learned a track from someone teaching it via video. Thave always loved the song, and now it'sa part of both my electric and acoustic reper: toires. Thank you so much for this! =Pat Bloodwell vig email MAN OF STEEL Long-overdue thanks to your mag for one hel of ride, You guysprinteda picture in your August 20 the first Dimebag sculpture that I built After that issue came out, cals started coming in from people who wanted the sculpture attheir shows. So T began hauling i around, from the Pull Throt: tle Saloon in Sturgis, South Dakota, to the Starplex in Dallas and many points inbetween. Eventually, instead of sell ing the statue, I gave itto Zakk Wylde at Ozafest in Dallas 2008, Zakk then ‘wanted Rita [Dimebag’s longtime lady ‘Sriend) to have it as gift from him to her for Dime's birthday. We eventually setitup on Dime’s poreh, and I came hone to build Dimebag No. 2. Alter the building ofthe second stat. tue, [began the Dimebag Metal Stanue Tour and have been honored to be a small part of remembering the great cestguitarhero of alltime. We partied © iynnbay at Vinnie Paulsafierthe Rebel Meets * = Dimebag Rebel album release party atthe Club- = D4 house and rocked out with more guitar ss ists than Tcan name, Ihave displayed the statue atevery major metal show, and even some country shows, to pass through Lubbock since 2008. in Dallas also, and your mag stated it Look for Dimebag Statue No.3 coming soon, wil give this one to Vinnie, and Tmitchin’to fire up the torch on what will be the coolest statue yet. doshows -myspace.com/Iynnday 28 GurraRwoRLD UNDER SIEGE Wow! Steven Seagal sure has some nice guitars [Feb uary 2007]. Still chink { Would rather siti the lo- cal bar and eatch some eat banging ona Les Paul copy ‘ora Fender reissue thar Tisten toa Holywood Bist, 1 who thinks he can buy blues pedigree “Doug Osborne-¢ FIGHTIN’ WORDS Regarding the Beer Fight chugging contest berwe Guitar World's Alexis ¢ and Killswiteh Eng Adam Dutkiewiez on February CD-ROM, itseems like Adam didn’ wane tocut Alexisany slack. 1 think he was looking for a reason to disqualify her. So she spilled a little—big deal. think itwas avery lose tie. And ifshe could take Zakle Wylde, she could take that geek any day —Guiearmansiso via guitarworld c WISH I WAS THERE In your Pink Floyd issue of Guitar Legends, there isa photo on page 40 that is captioned "Bob Ezrin work: ing the board at Abbey Road in 197 While L would have been proud to have been associated with the band in thosedays, didn’t actualy start working with them until nearly four years after that Pm not sure who that is atthe board, but i certainly isn't me Thanks for taking note —Bob via email Wel it sre as hell ain't George Martin! KISS OFFI Note to Jann Uhelszki: There iso need to bring up how mach you think kiss sucked as musicians three times in the Birst to paragraphs of your review ‘ofthe recent Kissology DVD [February a7], We gett. Kiss were more talent fed musicians than many ofthe bands in the Sixties, but does anyone ever bring ‘up how amateurish a lt of those bands were? You don’t get tobe the biggest band on the planet without writing some cool songs and thats what the critics could never see or accept ~trarpospeaks via guitarworld.cony forum CORRECTION Jims Hendris’s“The Wind Cries Mary, transcribed in the February 2007 and ass tuned to concer pitch, not down one half step. # «DEFENDERS OF THE PETER MASSARO- HOMETOWN Springted, PA oats Custom shop ‘aekson Sais boner Paul Stade eat hos wan Schacter MARK KOENIG omrtOwN Baington, WI as Gtbton et Paul Feleaeer “ad tle Dole” by ‘eg hgh woler Unde the Bide by theRed Hot Chi Peppers ‘xan wos wan Marsal 1m tone halt ‘ee youa Defender ofthe Fah? Send phot, long with your answers tothe questions ove ta defenderctheathe gutarwond.com. And prayt EsEddie Jackson & Mike Stone of Queensryche use Samson Wireless a because its reliability frees them to focus on their music. Nothing gets SAMSON i Pau cue UT Le nC aan Pee ee eee Ta WIR OE IL evs §SIMPLE OU 2 Be eu oad Dee UCR Uo pec Ue ec CoS Ce ce CCITT’ Re ca Rieu kien) eae ue ce ee —— Ridin Ce Ru ee ere) eee race cut a ea ‘and into your mouth, The rest is upto your imagination as eee ye Coa So ee er ) et a ee) i fi Cee ese ities peer as . ry N Dee ey > 2 Cee ee ees a Ds. 3 as a stand-alone distortion nit and can be combined with - : Pee ee ees g a Ly different wah voicings: Normal, Classic and Bass (for drop- fi ; tunings and for bass guitar). Guitar World magazine wrote the te ey" Moan circuit produced feedback in pitch wth near infinite g eee ete es % 3] 9 4 0} mt the price on such a quality wah pedal! ultimate in harmonic intensity. must-have pedal” Se Tee Rory . Pee oe and bass guitar) voicings. You won't believe TECHNOLOGYHEAVENANDHELL 32 SETLIST34 DEARGUITARHEROSG REVIEWS3§ PROFILES&MORE!! TUNE-UPS BLUES TRAVELERTUNE- PS* LITTLE MISUNDERSTANDING fuetetortomnitney Eel eneeoeecc’, STILGOT gjcceren= neat Aletha a A aoe : iaabamal sen ape WUIGE LEFT. NUS” 1980) Black they decid juice left in us,” Iommi right now, i's t00 early to say ALEX SKOLNICK a) {TWISIS A SWEEP arpeggi ck nspired by ~ — Distring hammeron which helps smooth jazz saxophonist oe Henderson's tune ‘out the line and buys your peking hand “inner Urge: Ws Bazedona msjor-seven valuable time to change direction. arpeggio shape onthe top four tings “What's cool about this patterns that ‘that's played backward [descending] then ithelpsyou move up and down the neck forward [orcending) The pattern thon shifts easily and enables yout cleanly create downin sucessive whole stepr—twoftets ‘sheets of sound! and paint a sophisticated ata time—via legato sides with the index major seven or minornine color while fingeronthe high sting There's also sing distortion” dba Bai? agar nar eta Bm om ims no Pees” eae v pve? ‘of PanteraTUNE-UPS* ates wate tesa ae because you're demonstrating a visual metaphor. P— Your inverted = position articulates hox your utilitarian, ultra-stylish design is going to turn the automobile world on its head. violent crimes, including murder. “lg somesshat a party pooper,” thsain s ential Ia y that stuff a at underpin this blistering - My Creation and Time” and 12 other That would explain ‘the splitting headache. inspiration. Hopefully the eycle will continue People who i Sodel howeTUNE PS The setlists of the stars CELTIC FROST RANDY HARWARD I Totengott - Intro - [Procreation (of the Wicked) (4:04) Circle of the Tyrants (4:35) ‘The Usurper (3:25) a Jewel Throne it Elohim (7: ) Necromantical Screams (5:04) Dawn of Meggido (5:43) ¥ Mesmerized (3:24) IGround (3:55) Return to the Eve ‘Dethroned Emperor (4:36) IC Into the Crypts of Rays (3:39) 4 synagoga Satanae (14:25) HAWTHORNE HEIGHTS fy RANDY HARWARD lasso ty STEVEN CIANCANELLL eae ees ser iat Nwarafender ‘Vga Andfmsrethat__ though the whele rest Suir Telecaster ram werwerealyhoe. ofthe song desi your Instrument 38 34 currar wortDSUG eM ie Cae) Cea R CE (aime 8 STi a engoic) cnet eects aon ert ee eR OMe LULA Recor ke eh OU Non eau fete cone Rest Aco RN COM een aie ecu con Pee ice mo em toe ae Benmore Rete Brot ee) Create XPRESENSE Strum to trigger a clean rhythm, and bite down during a solo to kick in Overdrive. Seren anaes WESC fae gue cn Diet kine ear a Sanus OI ete Mies mer cy ean * Change amp channels and effects ocean ae Chi tematic Perse $130 oe (== WAG is a trademark of Xpresense™ LLC, Virginia, USA,TUNE-UPS* BUDDY GUY anymore. But every Earl Hooker. 1 tried ime someone else heard me, they guitar after Tl heard Elmore James could hear things in my playing that play slide, but people kept tellin’ me Teouldn't. Man, all you've togo hear Earl Hooker play. Isai, gotta dois keep playing “Who isthat?” ‘cause be didn’t have that guitar no records out. But one night I walked ee nto club and { heard this melody, ike someone was singing, I said, “Who is The rhythm, When Ist came Junior Wells used to say, "You ‘an play, but you an’ got no fim” And Iwas like,“ What thy Doc thee is that?” So drummer] before I got introduced ta him, just Fred Below a 5 play, just drums and guitar, and he told me, "Everytime you hear me mike this turnaround, thats the end ff achorus” And thats when I started hat singing?” and someone said. "No ‘one. That's Hooker playing the slide Thad a slide in my pocket, and even walked up and gave itto him, Tearning rhythm eK My feeling was that Muddy Waters had made Chess Records a success, so where could I fit in When I went Vanguard, I was able to have some I think it has to do with technology ‘impact finally, because I hada litle What you hear on those old ‘actly what the ‘more freedom there. When the ecordings British guys started hearing my Vanguard recordings, they started cranking up too, Even so, I stil artists were doing in the studio, Nothing was added to make my sound perfect; it was justa guitar, an ampli and a microphone and they wouldn't let me tarn it up like 1 was doing when 1 played live ree The audiences in the percent black, a Kk audiences, you had to put dom ashow, just lke Lite Ri James Brown did. [twas a guys like that played, and that's what I think you just need to and every time you nw when play, but you can't hear it. know that 1 couldn't hear it in my people went to see. The performers danced, and they wanted you to be into it Te wasn’t a Nat King Cole or Frank Sinatra type thing where you could stand there and stop people in their own playing. I used a comer and attempt to walk away from i Pd be thinking, You'll tracks and make ‘em just listen to you ice, We had to make em look and never get it 1 felt like I ss doing? was ata stand stil, chat 1 36 curraR wort(a oN eee ea ey Deere no ieTUNE-UPS# views MATH TEST What's long, hard and ready to blow? Three new releases by math metallists Meshuggah, Car Bomb and the End. MESHUGGAH Nothing Special Edition Two-Dise Set 2002's rushing Nothing, needed tobe remixed and remastered with newly recorded guitar pars. twas ‘wise decision. On thespecial edition Nuctear Last ‘of Nothing utarists Fredrik Thorn- ‘eral ard Marten Haast right | CAR BOMB cones pecheestinnholin Centralia ‘ound with a previously une: 7 ese hefton tacksike “Rational Gaze” and Glints Collide," the aggressive subsonic THE END tones of their eight string guitars comple Elementary menting vocalist Jens Kidman's vicious Rewarse inhuman bark better than ever ‘When Thordenaal steps int solo ‘on “Strahan “Onganie Shadows." his pseu fusion, discordant lines ail ‘even higher above the droning factory of polprhythms emanating from Hayserim's hearty chunk, Die Livgren's deep low cerul and Tomes Haake’s ingenious drum ‘pooves, While Meshugrah didn’ recat the songs’ structures, hey did aut heir tempos and levels the mostabveus exam ple isthe slower, tenser treatment of “Ned- tous. The special eivon aso contains second DVD dise with ive fotage from 2005and several oficial muse videos ‘New York's Car Bomb assembled in by BRAD ANGLE he term*nath met kes you rears fvewoenbrak tote betpand Tpecceslgeemiaieme Sairotireemnstestene atin Heap ef penne en tnd Ed Msg eve enormous Gonder tee acai neni: fhepdeclled ter ot omc ar rm ‘aaae _ PCs where ) Eau3 JESSE MALIN he Giterin the oe =) County chetto (MMM 9) Gutter” ee crs core oe freee Se Sic “southern rock inte Beier ‘stem Soc =e Series ont aac sot moe ‘dean chitin cireult paleo licks with fat mod Eerie ape Forigtercme ce eee ied lest fea core rae eset th ete Se om his dy, prickly Songs ra sah fine ae se Snes Spero Steed ee ire Lover = ein mye pene eee et rete toner Siamese Ted Drozdowski oe a — 38 GUITAR WORLD. Meshes IF THE TERM 2000, when members of harcore ‘outfit Neck andl avant-garde group SSpooge began rehearsing in the basement of autcher'ssho in hopes of hecoming“heavier an more progressive." Several years and EPs later, Car Bomb have Jnieved ther goal with the explo sive debut Centralia, Like is namesake Centralia, Penn sylvania, wherea 40-year-old mine fre still hms beneath the abandoned town, Contralia sa relentless self-contained blaze—ofbestil tech meal thats. Gi tarist Greg Kubseki’s prodigious talents evident inthe hellishly heavy outro riff ‘to"Gum Under the Table” othe glass shattering bursts on “Best Intentions” On tracks ike "Cielo Drive” and "Pieces ‘of You,” Michael Dafferner's acrobatic vocals complement Kubacki and bassist Jon Modell's muscular interplay and the ‘myriad rhythmic figures deployed by powerhouse drummer Eliot Hoffinan. Centralia surprisingly mature debut of hyper-technical trashing, perfet for brutes that love Niels Bohr. Ontario mathcore upstarts the End gained notoriety with their eccentric 32004 concept album, Within Diviia, ‘Where thar dense release thrabbex! with the ADD energy of Dillinger Escape Plan, the End’ atest album, Elementary, fea tures Neurosis ike atmospherics al on st eshed-out songs inits violent mi From the sirenlike guitar line that ‘opens “Dangerous” to the comet's tail ‘of distortion across "My Abyss," ita ists Steve Watson nel Andrew Hercules ‘command attention throughout Elemen- tary, Singer Aaron Wolfe flexes his newly trained pipes on “Animal.” where his snaking vocals recall the disturbing quali- ties of Cave In'sStephen Brodsky. IPs the unconventional strictores, of-ime rhythms and rabid guitar work that make Blementaryaheay'album thatis equally accessible to metalheads hardcore kids and rock fans. # INCOMING! ‘A SNEAK PEAK AT UPCOMING RELEASES atu sso W EGADETH mace 2 THE STOOGES The Weiness GOOD CHARLOTTE Good Morning Revival“1 FELT LIKE IT WAS GOING TO TAKE MY HEAD OFF!” The New T2 fy pa) ere | ena / atin Gel f AMPLIFIERS www.randallamplifiers.com/valvedynamicTUNE-UPS* CHIMAIRA ae WE WENT BACK TO THE ROOTS OF WHEN WE STARTED THIS BAND.” =MATT DEVRIES ireereCtrO-NarMOnixs effecting rock and roll since 1968} nS oe STEREO PULSAR Generate undulating tremolo and panning that will cares tage or recording, Switch ible vintage triangle or square wave. Shape control transitions from negative to positive saw tooth, and adjusts pulse width. Greate graceful fa tce nea an STEREO POLYPHASE Experience cascading sweeps and gorgeous, panoramic imaging through stereo outputs. User defined start and sop ranges sculpt phase shifting o fit your groove. Optical circuitry provides wide dynamic range thus usable on hot ‘output instruments, like keyboards. Switch selectable LFO, envelope fol- lower and expression pedal contro. Generate liquid stereo phase shiting atts finest STEREO GLONE THEORY Lush, warm and defined analog chorusing and vibrato, An eclec- tic upgrade to the vintage Clone ‘Theory. Use stereo outputs and become enveloped in a complete spatial shimmer. WWW.EHX.COM igo WWW.MYSPACE.COM/EHPEDALS.TUNE-UPS* RED JUMPSUIT APPARATUS Photograph by SELENA SALFEN osTERS THIS BAND 1S BASICALLY JUST A BUNCH ‘OF KIDS HAVING FUN.” ELIAS REIDYSe ASG DEALERS / . Hear what all deca sAUESIOHi ES First Act iy Tote - & Limited eb Co ey “Guitars canal aera teria Peas a ere) ora royal Ere crear Cee eerie ed Ceara Cow eer aN Fort Lauderdale, FL ea es ers core coer Coe amon es Caio cet N corns Cray aces Beectis Pree Precise) ires call 800-551-1115 or visit firstactcom pees Ps Seer) nee et Phaciant Pree) ad Lea) Perry_ -NOW-ARRIVING ~~ ON ALL TRACKS... A COO AN} >a io nN Se 0, as e. Ze Don’t Wait to Try This Amp!! en Rental 1 Tena ose Ueal oii col ae é Pam ratole( Sala ley mals la ealoaa ! i Wie ZeRR ROC aU mal ie)Great Tone...for Every Destination! Een ea eet eee ska ad ‘the ultimate big sounding, little amp. Ce tg Fullerton, heading uptown to the gig. Se ee da Poecitcca Ce Mca at eae ened Se Ete Ce eee eed De eee cS Rett SNC cena eae Bel tomas crea ST RE okt ae eee te ea) Deena oa See eS ee etc Nene cag Cee ccm ens Gee ee a a coos De mM cen Ce eee ads ere eee eed ee ame make up Duo-Class™ our patented new Cee eed g Ee ute cc eed Cn oe ca ea Rca eu Re LL) eae eer eee Eee nen een eed See eo De eke Ce enc Recto” turf, tight, huge and menacing. Be meat See need Cee Cee eee eed Bes sea tog ee on ese) Pe Oe nec poe ee a ncn ree eer Bae coinres “ae ne eee aoa ie ec Se Lo Maarcoeer ers cee on ne pire | Seok ea ae Leecelad eld Rated ace Perio Freer pean See lg wider Sete reece a eatin te a eC & Pca eeriy i acne! es Aout we an space of sng mow as Pete A Ps eeeFAV AV AV AV AV AVAY AV AV AV AV AVAVYAVAVAYAVAVAVAVAVAVAVAVAYAVAVAVAVAVAVAVAY MADNESS LEARN TO PLAY THE DIMEBAG WAY! ASSOCIATE EDITOR NICK BOWCOTT aoa BEST FROM GIUTTAR:WORDDS ASSOCIATION WITH he would demonstrate his gonzo riffing techniques, show how to play a Pantera song or answer readers’ mail, of Which he was never in short supply. * In the years since UIT ORLD Dime's passing, scores of readers have written to us and OLUMNS TO takedifwe could eprint the Rlfer Madness columns We've come up with a reply that we think Dimebag would approve of: Hell yeah! ¢ For this month’s issue we've pulled some ofthe best advice and examples from Dime’s columns to present you with the ultimate Dimebag Darrell guide to guitar: from wickedly wide stretches and crippling chromatic runs to rock igand rut-busting technign it’s all here, in Dime’s colorful, = axand, #8 Dime would eny, "stomp some ass” Timbale! SNITAR yeni 47)‘ VV AV VV VV AV VV AV AV AV AV AV AV AV AV AV AV AV AV AV AV AV AV AV AV AV AV AV AVY, OME, GUITAR RIFFS are what its all about. Every time you jam or a great riff, you've got a fighting chance ata ‘great song! You don't have to go t0 GL-T. oF of weird nd scales to come up with killer shit, But you've got tobe totally into what you're doing? ‘Check out Judas Priest's British Stee? album ifyou dorre believe me. I¢s packed full of god-like riffs and most ‘of them aren't hard t play Like Ive said many times, my musi cal knowledge is pretty Timid, in terms of sales, I know d assed chor e major scale the minor scale, the pentatonic blues scale and the chromate scale, and that’s about it, If Tean learn a new scale some: where, I'm definitely open to it:'m not down on scales, i's just that 'm more ine effing and jamming.as opposed toschool-book theory reading. Pm always experimenting with new noe ideas because in my syle there are no rules! Always remember this and never be afraid to cut loose. Hell, if you find yourself hanging ona bad note, you can always tighten it up by bendingit slid ing tor yankingon your whammy bar Over the next few pages, we'll he talking about practicing and jamaying with other people, hard-driv grooves, percussive picking, gettin ‘out of ruts, harmonies and makin’ them squeal, soloing ideas, bending chords and some other stufftoo, So let's plug PUMP UP YOUR RIFFS Drop Em Wenig peningis to use what alot of guys call FIGURE 1 ‘open DS power chord in ‘drop-D tuning FIGURE 2 moveable onefinger over chord shape in drop-D tuning wt ‘Tune down one whole step (low to igh: D G CF A D) for FIGURES 3-6. FIGURE 3 “Walk” intro ¥ eg ho FIGURE 4 FIGURE Sb G 5 Sua gcmiat on weep apt Fiscs 5 aurea mune ee Sees! ie ee ES ne) (owe aa: = ———— drop-D tuning. It ean definitely inspire you! to jam out some bad-assed riff Just drop your low-E string down to D and leave the rest of your strings where they are. Your ax will be tuned, from low to high, to D A DG BE. Hitting the three low strings open gives you a fat 15 chord (euREa), and you ean play any power chor you want using just One fret hand finger (HEURE2)! Panera uses this tuning on songs like “Primal Concrete Sledge” (Cowboys from Hell and *No Good (Attack the Radical) Vulgar Display of Power). drop-D tuning ain't heavy enough ya, you ean alway’ tune al your strings dawn whole step from low to high, DGC FA D. Doing this ean make a rifsound heavier than shit, whieh ig why we used it for "Walk (Vulgar Display of Power) Using sting bends instead of just playing regular, unbent notes ean sive cereain riffs a cooler, heavier edge ‘nd some serious attitude, Take the ‘opening riff of “Wall” (FIGURE). I ‘were to play that riff without the string bend and release, it would become JURE 4 don’t know about you, but e real way” (RGURE3) sounds far IF YOU FIND TIGHTEN IT UP BY BENDING IT, SLIDING IT. OR YANKING ON YOUR WHAMMY BAR. hetter tome. Its much heavier and nastier, and tha’s what we're looking for. Weak riffs are out Cutting Chords You can do the same thing with power chords, too. Take afaiely smeiocre rf, ike the one in FIGURE Sa ‘To make it more interesting and evil sounding, try this: instead of using a regular GS power chard, benkl an F5 shape up to a GS, as demonstrated in URE sb. Rending two differe up exaetly half a ste same time iskind of difficult, but stick with it nds great when you get it down. You can heat me di ind of thing atthe end of “Hollow ir Display of Powe Sin tom one power chord toanother ean alo help a iff sound more sinister. got the idea from listening to Tony lommi, and Ido ita lotcheck out “Mouth for War" (Vulgar Display of Power, for instance. So, | wanted to make a ‘if like leuae 6a nasties, I'd throw in a chard-slice and probably a chord bend as well (HeURE 6). Whichevolution or intelligent design? 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Tene | (Reiez reures When I frst started out, one of my biggest influences was Rade Van Halen, The stuff he did on the first two Van Halen albums was so aggressive and ballsy sounding: i gave te chills..and stil doest I kept seeing pictures of him in Guitar World doing big-assed freehand fi and that inspired me to start dicking around with some wice-streteh ideas fof my own, like the two E minor licks Shown in HGURES 7 and Another ger stretches, thing I learned from studying those pictures was the importance of my tle Finger. I's there, so use it. Ie gives you more reach indalsouse the happening, scale-wise: to me i's just a Houres is exactly the sameoneach the idea behind these runs is simple string, lot of guys call this kind of but who gives a shit. As we've just seen NATURAL thinga symmetrical run. I¢ssimple, but in FIGURES and 20, the results can saliiveenirhenoidewhrthe | sombat amet! decide what notes are right or wrong, {nto futzing around with symmetrical ray, Fecause this idea worked, I got you can ge ‘em by lightly resting one of your fret ronics [N.H.] and they're the sick symmetrical run in E minor isone I do near the star of my "Cowboys from cers we're gonna be dicking with Natural harmonies aren'thard to 2 play, especially a the 2th fret All youd is lightly rest one of your frethand fin ireelly = shove that fret an then pick the string. Don’t press the string down tothe fret. though, ort won't work, dad! When run, Coming up with this ascending passage was really simple: Iwas mess jingaround with a wide-stretch liek ‘on the low E string (indicated as the inital ick” in 1GURE 30) and thought What would i sound like if took this pattern right across the neck and end upon the high F string [ried it, and itsounded cool as shit and so Fused itpaella eirecte Day nen See Dee er cr eer designed by a true guitar hero? Z Ca aSPV PV AV AV AV AV AV AV AV AV AV RV AV AV AV AV AV AV AV AV AVAV AV AV AV AV AV AVAVAVAYAV AY, you do this right, you'll hear a bell-like note that’s exactly one getave higher than the apen-string note. To help make harmonics easier to get, use your lead (bridge) pickup and alot of gain. at a ® > ® When | first started experimenting with harmonies, 'd sometimes hook "up two distortion boxes just to get my strings “frying,” which helped bring outthe harmonies, Also, once you've chimed the harmonic, ies not neces: sary to leave your finger on the string. In fact, if you let go ofthe string imme diately after you pik ie the harmonic will ring longer because your finger isn't dampening the string’s vibration, You can also get harmonics hap- sing above ther frets, like the seventh, fifth and fourth, Some players seem to think that these are the only points where harmonies happen, but there are actually abunch of different harmonies at various points on a string Check this out and you'll hear wha Pm talking about: rest your fret-hand ied (middle) finger lightly on your fat finger resting lightly on the string and located between frets. There are two FIGURE 11 “Heresy” intro ds ring directly over the highest fret. start moving it slowly coward the nut really cool ones between the second Then start chugging out eighth notes You should hear a shit-load of different and third frets-one is about a quarter ‘on that string with your pick. While harmonies lover the string of the way between the second and you're doing tha, keep your fret-hand ‘Some of my favorite harmonics are third frets, and the other is at bout I see you here at the beach a lot. So do I, but I also like to ski in the mountains, camp in the desert and take road trips. On, I love the ocean. elementandfriends.com 52 currar wortAAA AYA AYA AY AYAYAY AY AY AY AY AYA AYAYAYAY AYA AAA YAYAYAYA AAA’ three quarters the way between them. | pitched percussive sound that gives really dig this technique They're prety hard to get,so once you the riffan extra dimension. And, once “To make harmonics seream,I fist find them, makea visual/mental note again, no whammy shits going on ddump my Floyd Rose real quick, hita ofexactly where they are hharmonie with my left hand while the Tse some pretty radical natural Harmonic Screams strings stil flapping, and then use the harmonies at the beginning of “Heresy bar to pull itup tothe piteh T wanna (Cowboys from Hell). FiGuRE23 shows Fm gonna light you up on how hit. If this sounds kind of complex to the rif 'm talking about, and as you todo “harmonic squeals” (aka, vou don’t freak it's actually ‘eansee, ituses harmonics on the low “harmonie screams", like the ones at Simple thing to do once you've got the Esstring, The hese way to make sure _the end of “Cemetery Gates" (Cowboys technique down, you're playing thisightistolisten to from HelD. To start with, you need Soler lenrn how todos real basic the record eal carefillyandthen find | a whammy bar, sof your ax doesn’t harmon sream in-slow motion” by theexactspots where allthe harmonies. | haveone,then you'e gomnahavetosit | [PYM | breaking he Sdes down into four easy Sccveyomabedongcone pray. WANNA GET direc above the ith reton the brutal dives thae will definitely knock | OUT OFA string Ccause it's pretty easy one To Bar or Not to Bar Sich ei a ing wemolo system way out RUT BAD tonail) ed ak i sea mp to harmniswhen ey want. Repent eset HAROUGH, Sisered ne ementer gabe Fore Thatseoolbut asmGuMEat”Imeanbyaharmontesquedzeher’sa | BUTTS UP. | toad Grisgy pet. to make harmonics wail. Two of my Display of Power) starting at 6:21 on the TO YOu you're ready to hit the fifth-fret har fev payers Edward Van‘islen | CDandcontnuingtothe very end of Monte onthe G sing wityour bird tnd Randy Rhoalsborhdidsome _ thetack You canal hear me ding (mia) ge. Then mate ehh realhappeningthig with harmonics | ubanchof ton Cemetery Cae end beings wit yoor feted Sithoutreachingfortherbarcrgpee hereon andthe end where index inger andthe ow E. Aan D InshowstheveseriffefeMouh for imitate Pil nselmo’ serene ove Stings withyour un by wrapping War" (Vulgar Diplay of Power inthe | thatsot of vcs stu but here mo trou thet side the mek fearhbarafwhightplyasimplcli way infelllean doe! donhave hat et ick the G sting wth your tefl uclgharmooieea qoute ofthe | Linda range! Harmonic creas re tied ingerand damp the ba dwn GntheCand Bovingetecresteshighe tarloseadof my thoat-That why a ou con te hear down ast Not me. Just give me the briny blue ocean and the golden sand. The sea is ny one true love. Well, the sea and greasy french fries. [Ef wrdel snow, ©2008 American Honda Notor Ube; Ines currar worn 83VAVAVAVAVAVAVAVAVAVAVAVAVAYAVAYAVAVAVAVAYAYVAYAVAVAVAYAYAYAVAVAVAY, for as far as you want; just don’t take it down too far, or the string wil die of shock and the harmonic won't happen = STEP a: As soon as the bar is dumped, sound the harmonic by lightly tapping the G string directly above the fifth fret with your bird finger. When doing this, make sure you're still kets ing the other strings quiet with thumb and inde finger * ST8P 4: As soon as you've hit the ‘Tune down one whole step (low to high: D G CF A D) for FIGI FIGURE 13, FIGURE 14 harmonic, release pressure on the bar and lerthe G string return back up to pitch, As lo harmonie properly, ell "serears” up «0 G (asshown in sigue 33), The first few times you do this you're gonna hear the open G string “growl” before the scream starts hap pening, This is just because you're pu've sounded the FIGURE 15 Es 6 &s FIGURE 16 & FSFISGS Fasre es FIGURE 17 “New Level” main riff drop-D tuning (ow to high: DA DG BE) D5 as es ‘DS DES ES FS DS ORS es FSIS GAS doing everything’in slow motion. But do is move up and down a string one sauedlshappening Jon skec teak rifikenueas, testa of ust ging extracolorand dimension your ray Worken‘histechnigueuntlyou shown.tymovingbeeweenhemchro- | AF TKNEW — jsSveroorttn but oher pes exit cannalineuuessneprepemtien mately esdemomraedinpcimeas, | ALIGK POR | Forexampl, pay sension ud move onto FIGURE 24. This one stays on You can do this between any chords; it EVERY BEER ix :001/flat-fifth diad in the intro to mich Wwelestonceanbeabitehvo, Scope out and then take it further CANT EVEN Then hd dd attr Thomawnivameiomcice | atin nals HOW MU Nee ecco | EWE ore gorse wat toot ‘AGame with No Rules (slsor DipiayoFPower) weunes ihstatesone with the rot nee the svhich splayed in drop-D ning owe & string HEURES 23 a 24 sho move ake Chromaicrimareagravay ohh DAD GRE) Hereare gc hie root/minor-thind dad shapes. ve tora aggresion tosour ifs In ple more if that alo involve chro heen ino these wo power chords or cease you don'tknow what “chromatic” matic shits lGUREas isthe pre-chorus awhile, Oneday Iwasdickingaround, explainsitmeans every of “Cowboys from Fell” and FIGURES Playing some single-note shit, and I hote!So to play chromaticallyall you isthe first bridge riff from “This Love cided to see what it would sound means, let