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IntervIews
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Replace your
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& brenT hinds Get the most out
J Mascis of band practices
lee malia use delay pedals
 editor’s letter
Future Publishing

Welcome…
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ediTorial
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Happy New Year! We’re kicking off 2017 with
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improve on. Some of you reading this may have only just started, and the
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good news is that this month’s cover feature is applicable to you too. With
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our guide, you’ll be able to make real improvements to fundamental parts
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Next issue on sale 10 February 2017

Stuart Williams Editor

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CHris bird JosH gardner rob laing
If you submit unsolicited material to us, you automatically grant Future a licence to publish your submission Chris has been getting his As 2016 ticks into 2017, Josh looks Playing acoustic gigs last year,
in whole or in part in all editions of the magazine, including licensed editions worldwide and in any physical
or digital format throughout the world. Any material you submit is sent at your risk and, although every groove on and playing some funky awkwardly at the non-functioning Rob had been neglecting his Tele
care is taken, neither Future nor its employees, agents or subcontractors shall be liable for loss or damage. music this month, producing 1970s Marshall combo that has somewhat. But he’s dusted it
We are committed to only using magazine paper TG’s rhythm-tastic Netlicks video sat under his desk in the TG down and is focusing on a few
which is derived from well managed, certified lessons on three of our favourite office for best part of eight years. different ways to broaden his
forestry and chlorine-free manufacture. Future
Publishing and its paper suppliers have been funk and disco guitar riffs. You can “This year…” he says to no-one in horizons as a player in 2017; using
independently certified in accordance with the find all the vital info on p62, and particular. “This year I’ll actually more fingerstyle and getting a
rules of the FSC (Forest Stewardship Council).
the videos, as ever, are online at get the damn thing fixed.” Expect better handle on the blues being
[Link]/tg289video similar empty promises in 2018. two avenues he wants to explore.

february 2017 ToTal GuiTar

 contents

Monitor
006 First Look
008 Scene
010 Five Minutes Alone: Gary Rossington
012 On The Up
014 Me & My Guitar: Bruce Soord
016 Album Reviews
018 Back Track: Ryan Adams
020 WIN! A Faith Nomad Mini-Saturn

How to
022 20 Minutes To…
Better Chord Changes
024 Riff Of The Month:
Derek & The Dominos – Layla
026 Getting Started With… Hammer-ons
028 The TG Guide To Effects: Delay
030 What The F? Sus Chords

Features
032 Rig Tour: Dinosaur Jr
036 Slaves
042 Brent Hinds & Ben Weinman
046 Better Band Practice 05
048 Cover Feature: Shape Up Your Playing

Learn to PLay
032
060 Jam Track: Rhythm & Blues
062 Netlicks: Funk
064 Classic Track: Nirvana – In Bloom
dinosaur Jr 070 Open-mic Songbook: Bob Dylan –
Knockin’ On Heaven’s Door
072 The Turnaround: Robert Johnson

064 tG unPLuGGed
nirvana 078 The Soundboard
in bloom 080 Ryley Walker
082 Rockschool: Coldplay – Yellow

tHe Gas station

086 Start Me Up
088 Epiphone Inspired By 1966 Century
092 Alvarez Delta 00E/TSB
094 Danelectro ’59M Spruce
096 The TG Test:
Affordable Modelling Amps
046 102 Group Test: Fuzz
better 104 KHDK Dark Blood
106 Fix Your Guitar
band practice
114 The Playlist: Lee Malia

February 2017 ToTal GuiTar

 Monitor
people ✪ news ✪ noise

Fresh
prince
AXL brings its retro-tastic
Bel Air electrics to the UK
ou may be familiar

Y
with the name AXL
– and we’re not talking
about Guns N’ Roses’
effervescent frontman.
In the past, you’d
probably find it on the headstock of a
06 familiar-looking budget beginner guitar.
However, the company also has a line in
finely spec’d vintage-cool electrics, such
as the Bel Air you see before you, which
has just landed on these shores. The
single-pickup single-cut configuration
nods towards the Les Paul Junior, but the
TV Jones Power’Tron and USA B5 Bigsby
vibrato plant a foot in Gretsch’s tonal
ballpark, too. The finishes help to reinforce
the retro swagger, with Light Blue, Metallic
Black and the Orange Sparkle we have
here. If you’d like an AXL to grind, it’ll set
you back £999. But don’t let the single-
pickup put you off; there’s more to this
guitar than meets the eye…
Photography: Joby Sessions

ToTal GuiTar february 2017

 FirSt LooK
people ✪ news ✪ noise

The Bel Air straddles

the Gibson and
Gretsch camps

07

up close
1 pickup
TV Jones’ power’Tron has
a higher output than
traditional Filter’tron-
style pickups, but a
coil-split on the tone
control opens up
further tonal avenues

2 Bigsby
Adding extra resonance,
and waggle, the Bigsby
B5 vibrato is paired with
a Tonepros locking roller
ToM bridge and Graph
Tech Tusq Xl nut for
better tuning stability

3 hardware
There are big names
everywhere, including
Tonepros Kluson tuners,
CTs pots, orange Drop
capacitors and a
switchcraft jack – it’s
one smooth operator

february 2017 ToTal GuiTar

 Monitor
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scene
Your month in guitars
gear
Heads up
After over 20 years as an
Ibanez endorsee it looks
like Korn’s Brian ‘Head’
Welch has switched
allegiance to ESP. The
company’s NAMM roster
includes an LTD SH-7ET
listed for the nu metal
pioneer, but no pics at
time of press. But there’s
models from other new
ESP signature artists, too
– namely Bill Kelliher’s
Military Green Sunburst
Sparrowhawk and Rancid
man Lars Frederiksen’s
Viper-style Danish camo
08 LTD Volsung (both above).
When TBC

gear

pro selecta
The Fender American

©Joeseph branston Simon Lees Neil Godwin andrew benge/redferns Joby Sessions adam Gasson Jeff forney
Standard line will be
phased out and replaced by
the American Professional
Series this year. The 92
awards

TG poll winners
new guitars and basses in
the series will introduce
three new finishes – Sonic
Gray, Mystic Seafoam and
Antique Olive – alongside
new hardware features; our votes have been counted and the Best New Signature Guitar Manson DR-1
new ‘Deep C’ shape,
Narrow-Tall frets replacing
the Medium Jumbo type,
V-Mod and Shaw pickups
Y results are in. Thousands of you took part
in our polls to choose your favourite gear,
artists and personalties of 2016, and this is
what you chose - congrats to the winners!
Best New Effects Pedal KHDK Ghoul Screamer
Best New Amp Fender Bassbreaker 15
Best New Guitarist Dan Dorney (The Hunna)
Best Rock Guitarist Mark Tremonti, Myles Kennedy
and genuine bone nuts Biggest Guitar Personality In The World Rob Chapman (Alter Bridge)
instead of synthetic. Best New Acoustic Guitar Martin GPCPA5S Westside Best Prog Guitarist Devin Townsend
When Now Custom Sapele Edition #V Best Metal Guitarist Synyster Gates, Zacky Vengeance
Best New Electric Guitar Fender Elite Stratocaster (Avenged Sevenfold)

ToTal GuiTar february 2017

 live

Black saBBaTH
T
his is the end… apparently. Not only is this your last chance
to see the mighty Sabbath tour on home soil, there’s also
the added incentive of their hand-picked support band.
And California’s Rival Sons will be playing headline dates in Belfast,
Sheffield and Cambridge in between shows with the Brum legends.
In other Tony Iommi news, after his cancer went into remission last
year, the guitarist will have precautionary surgery after a lump was
found in his throat. We wish him the best in his recovery.
When From 22 January

live
© frazer Harrison/Getty Images for aba Sergione Infuso /Corbis via Getty Images

sum 41
L
ast year saw some tragic losses and a few impressive
comebacks in music. Deryck Whibley’s return was one we
were especially happy to see. This visit to the UK with a
three-guitar line up – completed by Dave Baksh and Tom Thacker –
should be a special one, and as well as the older pop punk favourites,
latest album 13 Voices has its fair share of potential live highlights
(Goddamn I’m Dead Again we’re looking at you to bring the metal
lead goodness).
When From 20 Jan
 Monitor
people ✪ news ✪ noise

to do it. The only thing is my ’59 Les Paul is in

the Rock & Roll Hall of Fame here in America,
and it has been there for about eight years.
I kind of miss that guitar being around. Bernice
was the name of that guitar, I miss Bernice.”

Let me show you the way

“I’d love to sit down with Eric Clapton and Jeff
Beck, they’re the two best guitarists to me.
Hendrix as well but of course he’s not here
anymore. Clapton and Beck blow my mind
every time I hear them. Beck makes it look so
easy, he does so many things with his volume
knob. You can always tell when you’re listening
to Beck, Clapton or Hendrix, because they have
their own style. They are remarkable.”

We rely on each other, ah-ha

“I’ve just made an album with my wife Dale
[Krantz-Rossington] singing on it. We’re best
friends so we’re able to work together. She’s a
great girl. On the road we just take care of each
other. We started out working together before
we got together as a couple, so we’ve always
worked well together.”

Back in the saddle

“After the plane crash it
was tough for me. It was
10 horrible. It was hard to
play again, I didn’t want to
do it any more. I met Alan
Price from the Animals in
Barbados a few weeks
later and he made me
start again, God bless him.
It was a tough time to get
five minutes alone through, it just wasn’t fun

Gary rossinGton
to play for a while, but it
turned around after a
while and I loved it again.
Today, we love to tour and we do it to keep the

The southern master talks onstage bloodbaths, his music out there. It’s great to share the songs
and stories of Ronnie Van Zant, Allen Collins,

love of Beck and keeping the Skynyrd flame alive… Steve Gaines and all of the people we’ve lost
from the band. I just keep carrying the name
Skynyrd. I know that if I had died early on
Got my first real six-string with Les Pauls. I loved Firebirds as well. Mostly I would have wanted those guys to have kept
“My first guitar was a Sears and Roebuck though I wanted a Les Paul. I wrote all of the old the dream that we had going.”
Silvertone. I was 14 years old. My mother songs with Ronnie (Van Zant, Skynyrd vocalist)
Words: Rich Chamberlain Photography: Travis Shinn, Tim Mosenfelder/Getty Images

bought it and I paid some towards it from my on a Les Paul and I recorded all of the Skynyrd First cut is the deepest
paper round. I’ve still got it, believe it or not – records with one. The Les Paul has a great tone. “With the original band we were playing in
the case has a speaker inside. It’s a guitar, a You’ve got to play them a special way to get the Dallas, Texas. Back in those days you had big
case and an amp all in one, it’s really cool.” most out of it, it’s different to other guitars.” speakers piled on each other. One of the
speakers fell during the show and hit Ronnie
Dream on Baby, come back right in the head. He was bleeding everywhere,
“I saw Keith Richards and Brian Jones playing “I’ve given away guitars over the years but I’ve it was only a little cut but it bled all down his
Les Pauls and I always wanted one. I fell in love done it with an open heart and I’ve been happy face. He wasn’t in pain a bit, but he loved it
because he was bleeding out on stage. That

“we love to tour and share the songs and was a pretty wild show.”

stories of all the people we’ve lost” Gary Rossington’s latest album, Take It On
Faith, is out now on Loud & Proud Records

ToTal GuiTar february 2017

 Monitor
people ✪ NewS
peOple news ✪ NOiSe
noise

12

Austin Hargrave
AAron KeylocK
British blues hero in-the-making drops his debut
G first spotted Waters and Robert Johnson. “He would let me play through Johnny Winters and Muddy

T young British
bluesman
Aaron Keylock
ricocheting
“I loved it immediately,” he
tells TG. “I just ‘got it’ straight
away. I loved that
I wasn’t just listening to it, but
his guitars and his amps. He
remembered what it was like
being that 12 year-old because
he had been in exactly the
Waters, with a touch of Gary
Moore’s rock chunk. The
album is finally here, but he’s
been writing for over a decade.
around a brick basement I was playing to it.” That initial same position – he was Why now?
during Manchester’s 2015 Dot crush quickly turned into an touring at that age.” “It was mainly just to make
To Dot festival and we’ve been obsession that saw Aaron These days Aaron’s found sure I was happy with what
keeping a close eye on him sitting in on stage at blues his own sound using a Gibson I was saying,” says Aaron.
ever since. Now his first jams from the age of 11. Les Paul, a Firebird and a TRS “I’ll change again as a person
record, Cut Against The Grain Even becoming a semi-regular Junior with a Marshall Plexi to for the next album and I’ll be
is due to land and we’re acquaintance of blues-rock confident effect – planting his saying something else, but it
pleased to report it’s a colossus Joe Bonamassa, feet firmly in the territory just felt the right time. When
fret-wearing, toe-tapping “I met him four or five times between Rory Gallagher, it feels right, you do it.”
electric blues beast, with a between the ages of around
tasteful amount of slide 12 and 15,” says Aaron. FOR FANS OF Rory Gallagher, Gary Moore HeAR Just One Question
thrown in for good measure.
Aaron hails from Oxford
and has been playing blues “I loved Blues ImmedIately, I just ‘got It’
since his guitar teacher turned
him onto to likes of Muddy straIght away. I wasn’t just lIstenIng to It”
ToTal GuiTar february 2017
 oOnN tHE
THE UP
people ✪ NewS
peOple news ✪ NOiSe
noise

Dan Harris
The AmAzons delicATe sTeve
Reading rockers poised for primetime Six-strings and one beautiful mind
e strongly suspect that debut album, due later this year. f the true art of guitar “Sam Cooke’s phrasing, that is my

W The Amazons will be

the fastest rising indie
band of 2017. Theirs
Chris’ searing lead tone on the
likes of In My Mind, comes courtesy
of a tasty Duesenberg Caribou and
I playing is transmitting
your soul through
six-strings and an amp
shit and that’s how I like to form
guitar solos, over a vamp. Nina
Simone’s who I am thinking about
is a dark, riff-y brand of big rock a Chinese-made Vox AC15. then New Jersey-raised multi- when I want to add vibrato.”
music that spans menacing “I got it when I turned 18 and instrumentalist Delicate Steve is Steve generates his “cartoon
recesses, but is catchy enough broke within a month,” he tells a master. The US indie wunderkind music rainbow tone” with a
to land them a spot on BBC’s TG. “It was annoying at the time, has put time in with the likes of custom guitar built by his friend 13
Sound Of 2016 list. but most of the cheap components Yeasayer, Dirty Projectors and Jeremy Carter and a Morgan AC20
Guitarist Chris Alderton cites got ripped out of it in the process Mac DeMarco, but his solo work Deluxe. “It needs to sound full and
the likes of Warpaint, Kevin Parker of the repair, giving it a tonal boost is untapped, hugely expressive not guitar-y – larger than life,”
and Troy Van Leeuwen as - silver linings and all that!” and bizarrely beautiful. says Steve. Mission accomplished.
influences, while Wolf Alice “I love singers – I’m a singer
producer Catherine Marks has FOR FANS OF Catfish & The Bottlemen, I think, but my voice is my fingers FOR FANS OF Yeasayer, dirty
Nothing But Thieves HeAR in My Mind projectors HeAR This is Steve
been working with them on their on my guitar,” Steve tells TG.
Joe Martinez Jr

oozing Wound
wHO Chicagoan thrash metal guitarist
nilüfer yAnyA
wHO London singer-songwriter with a rapidly
hunTer & The BeAr
wHO Scots-via-London guitarists Will Irvine
Zack Weil growing reputation and Jimmy Hunter
SOuNdS like Colourful unrestricted rebel SOuNdS like A pastoral songwriter SOuNdS like Top-down driving rock, sort
thrashers bursting the scene’s seams channeling the city landscape that raised her of like Don Henley for millennials
GeAR Gibson Flying V with Zakk Wylde EMG to beguiling effect – like the musical GeAR Will - Fender Baja Telecaster, Blues
pickups, Peavey 6505+ head, two Marshall equivalent of an urban fox Deluxe. Jimmy - Les Paul ’59 Reissue, Mesa/
1969 cabs GeAR Burns Cobra, Orange combo amp Boogie F-50

FOR FANS OF Hull, Oathbreaker FOR FANS OF Connan Mockasin, Amber Run FOR FANS OF Fatherson, Bear’s den
HeAR Rambo 5 (pre-emptive Strike) HeAR Small Crimes HeAR Renegade

february 2017 ToTal GuiTar

 Monitor
people ✪ news ✪ noise

me and my guitar
bruce soord
The pineapple Thief 4 “I fell in love with the
neck of a Highway
One Telecaster, it was
the best neck I’d ever

The unsung hero of modern played – really easy to

play with jumbo frets. So

British prog shows us his I went up to the guys at

Kingdom and asked if we
could spec the neck just
custom spec’d Kingdom 4 like that one. The neck
is solid maple with a
rosewood skunk stripe.
It’s a really nice, fat and
easy to play.”

1 “I was lucky enough to be

able to have this built by a
company called Kingdom in
Bristol. I learned to play on a
Marlin Sidewinder and I was
really a Strat guy, but someone
gave me a Telecaster and I just
fell in love with the sound. But
I couldn’t use it live because
the pickup output was too low.
14 So I went through a nerdy
phase of trying out pickups and
getting different scratchplates
and all that malarkey.”

2 “It’s matt black, which I like because

I think looks really mean. What else can
I tell you about it? It’s got my surname at
the 12th fret. I think Kingdom are making
these, but you don’t get my name on it. You
5 5 “Because I’d been
through my nerdy
pickup phase I knew
wouldn’t want my name on it!”
exactly what to ask for,
and these are Seymour
Duncan JBs. For me it’s
the perfect balance
between high output
and tone because the
kind of styles we do
range from clean, crunch
and driven to very
2 driven, but I didn’t want
3 “I’ve always gone for the
hardtail bridge because
the way I play live and throw
3 6
to lose that Tele tone.”

the guitar around all over the

place, it really has to behave
itself, so a trem is reserved for
the studio. It’s a string-through
body and it’s really light, which
I like because when I’m running
around on stage I can hold it up
and being an old man I can still
6 “I’ve also got a
killswitch here. Just
a little indulgent, posey
do it after 90 minutes.” thing on stage!”

ToTal GuiTar February 2017

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albums
JeFF HeAley
holdINg oN:
A heAl my soul CompANIoN

l
ast year’s posthumous release, Heal My Soul,
was justifiably hailed as a ‘lost album’,
arguably up there with Healy’s best music.
With only five ‘new’ studio recordings here,
this companion album doesn’t quite hit the
same heights, but for fans it’s a treat. Four mid-
tempo rockers kick off proceedings, with Jeff’s
solos veering between the blistering and the
slightly rough and ready. Track five, CNIBlues,
is a short but sweet two-guitar blues jam. Ten
live tracks from a concert in 1999 round off the
album featuring some Healey favourites with
classic covers, and serving as a sad reminder
of a legendary player lost way too young.
16 Chris Bird

AFI download Love Takes Time

AFI (The Blood AlBum)

Y
our definition of ‘classic’ AFI will What holds it together is the laser-focus
depend on when you jumped on of Jade Puget’s Marr- and Robert Smith-
the band’s spooky bus. Greybeards worshipping guitar – framing each track
may well pine for the gothic punk with arpeggiated leads and soaring octaves.
of Black Sails In The Sunset or the Still A Stranger blends driving acoustic with a
accessible hardcore of Shut Your Mouth And pedal-tone riff that could be off The Art Of
Open Your Eyes, while recovering emos may Drowning, So Beneath You could be an offcut DeAF HAvAnA
cite AFI’s commercial peak, Sing The Sorrow
and its follow-up, Decemberunderground.
from the All Hallows EP, while on Get Hurt,
he breaks out a tapping and legato-heavy
All These CouNTless NIghTs
But if 2013’s Burials hinted that AFI were solo that reminds us that he’s one of the

J
attempting to recapture some of that old most technically gifted players in punk. ames Veck-Gilodi is from the classic school
magic, The Blood Album shouts it loud – AFI aren’t reinventing the wheel here, of pop contrast; the frontman has a knack
with a nod to their past in almost every but for fans of their early-2000s pomp, The for turning confessional songs into
song. It’s a risky move, and on the likes of Blood Album is a Nightmare Before Christmas- anthemic celebrations, but it still feels like his
Snow Cats and White Offerings, it does rather themed blanket of welcome nostalgia. band haven’t reached the heights they deserve.
veer into straight pastiche (of Silver And Cold Josh Gardner This fourth album reaffirms their values after
and Leaving Song Pt II, respectively). download still a stranger the comparatively Springsteen touches of Old
Souls - big blustery choruses, shimmery cleans
and some 90s influence in the Pumpkins riff of
The lAsT AlBum I BoughT… Sing. For some, the likes Happiness and St Paul’s
dom Craik, Nothing But Thieves will come on a little too slick, and some more
raw edge amongst the lush US-style production
everything everything get to heaven
would be welcome to diversify, but there’s the
“we saw them backstage we’re in the van.’ they we love and just enjoy
at reading and we had to thought it could be their ourselves.’ and they’ve consistency in the quality of the writing and
integrity of lyricism here that is undeniable.
© Jiro Schneider

say, ‘we love this album last album so they said come out with something
and we play it every time ‘let’s make an album that absolutely amazing.” Rob Laing
download Sing

ToTal GuiTar february 2017

exceptional | excellent | good | for fans of | poor ALBUMS
people ✪ news ✪ noise

reIssue

living like
a runaway
lITA Ford
AAron KeylocK THunDer
CuT AgAINsT The grAIN rIp IT up D espite singer Cherie Currie’s own
account of her time with the band and
the film based on it, it still feels like the

T o
hough it feels like it’s been a long time n album opener No One Gets Out Alive, whole story of the Runaways hasn’t been
coming, Brit blues hotshot Aaron Keylock Thunder frontman Danny Bowes sings, told. Ford’s frank approach doesn’t shy
has finally delivered his much-anticipated ‘I’m not gonna live forever, but that’s away from some of the controversies
debut album – and it was worth the wait. Tracks alright with me.’ Given that the London surrounding the all-female 70s rock band
such as Medicine Man and Just One Question have hard-rock veterans have had more comebacks – and placing herself as a linchpin,
been in Aaron’s blues club sets for several years than Lazarus at this point, you’d be forgiven including her belief that she and drummer
now, but have clearly been tweaked and honed for assuming that they’ll still be here Sandy West were the band’s main ‘musical
to perfection. Thankfully, the newer cuts are soundtracking the end of the world. And if they strengths’. From showing Joan Jett how to
also well up to the task. The title track in keep putting out records like Rip It Up then play barre chords, to getting lessons from
particular is a slide-heavy treat that flirts with they’re welcome to stick around for as long as Blackmore, there’s plenty of rock ’n’ roll
full-on pop hooks at times. Overall, with they like. Luke Morley still has the ear for a here with a side of sex and drugs that give
Against The Grain, Aaron has proven that good groove-tastic hook, as seen in the T-Rex-ish another take on the drama. And that’s even
things come to those who wait. And now he can title track and the chugging She Likes The before she gets into her solo career, her
justifiably take his place alongside Laurence Cocaine. Nice one lads, now how about we ill-fated engagement to Toni Iommi and
Jones as Britain’s brightest, and most knock this retirement idea on the head for divorce from Jim Gillette…
exciting, young blues hope. good, alright? David Hands
Rich Chamberlain Rich Chamberlain 17
download Medicine Man download She Likes The Cocaine dvd

California Jam 1974

deep purple

T he Mark II line-up get all the glory, but

there’s a case to be made that, at least
for the Burn album, the next initeration
with the dual-vocal attack of David
coDe orAnge SepulTurA Coverdale and bassist Glenn Hughes was
Forever mAChINe messIAh peak Purple. This re-release and re-edit
(and first time on blu-ray, too) states their
case in one of the line-up’s first gigs, as

B W
ack in 2014, I Am The King rightfully got hile the talk of a reunion with the they dive into the deep end as the sun sets
tongues wagging about Code Orange, Cavalera brothers will likely never go on Ontario Motor Speedway in front of an
but Forever has both the brawn to rip away, Sepultura can stand proud of their eye-watering 300,000-plus fans. A young
those aforementioned tongues out and the 21st-century output, having barely put a foot Cov has tentative banter during one of his
brains to elaborately mangle them beyond wrong in over a decade now. Though far more first Purple performances, but his lower
recognition. Beginning with ugly slabs of elaborate than their gritty previous outing, range blues power is firing on all cylinders
white-hot hardcore thuggery, Eric Balderose with the cinematic title track, Middle Eastern as they boldly open with four new Burn
and Reba Meyers trade monolithic yet flavours of Phantom Self and opulent songs. In the second half, an inspired
inventive metallic hardcore breakdowns for symphonies and brass of Sworn Oath, the Ritchie Blackmore seizes the reigns for solo
a captivatingly diverse palette, from sinister band’s 14th album is still dominated by turns some thrilling extended jams. So
atmospherics on Kill The Creator to alt-rock Andreas Kisser’s guttural riffs and squealing what’s the problem here? Well, the 4:3
hooks on Bleeding In The Blur, the industrial leads that bounce over a muscular percussive picture quality hasn’t been improved and
stabs of The Mud and dream2’s hypnotic, punch. The head-down thrash of Vandals there’s still no 5.1 sound either. The re-edit
ethereal closer. A bruising yet dextrous trip Nest shows there’s plenty of life left in the and added Super 8 crew footage doesn’t
into brave new territory. Brazilian legends. really offset that, so why the re-release?
Adam Rees Adam Rees Rob Laing
download Kill The Creator download Sworn Oath

february 2017 ToTal GuiTar

 Monitor
people ✪ news ✪ noise
Ryan Adams has
shown himself to be
a musical chameleon
over his last two
decades in music

back track
18

A guitArist’s guide to the Artists you need to know

Hear it!
ryan adams
Not only is this Floridian troubadour
Listen to the tg
ryan Adams playlist
on spotify
one of the most prolific songwriters of [Link]/tg289adams
the last 20 years, he’s proved to be one
of the best. From alt-country band,
start with
Words: Rob Laing Photography: Suzi Pratt/WireImage/Getty Images

Whiskeytown, and into a solo career

the 42-year-old has created a huge
body of work with songs that show off
Heartbreaker (2000)

1
Pick three Ryan Adams fans at random and ask them what his best
his talent as both an acoustic solo album is and you may very well get three different choices. But for
artist and electric-toting rocker. timeless songs that really get to the heart of Adams’ gifts as an artist,
his solo debut is hard to beat as an entry point. It’s not quite the
Adams remains an underrated and melancholic breakup album that its reputation suggests it is; To Be Young (Is To
multi-faceted guitarist full of Be Sad, Is To Be High) is celebratory in its nostalgia, while his signature song
surprises, so ahead of new album, Come Pick Me Up is more singalong alt-country than sorrowful, and the
Emmylou Harris-guesting Oh My Sweet Carolina as good as contemporary
Prisoner, next month we’re keeping Americana gets. There’s shades of Dylan in the acoustic/harmonica intimacy,
that in mind as we guide you through but even at this early stage, as soon as you try to pigeonhole Adams, he reveals
another side; the Stones strut of Shakedown On 9th Street being a case in point.
an introduction to the life of Ryan. Download: Come Pick Me Up

ToTal GuiTar february 2017

 back track
people ✪ news ✪ noise

then try don’t miss out also recommended

Cold roses (2005) love Is Hell (2004) ryan adams (2014)

2 3 4
Double-albums can often go south, but in Something that becomes clear in Adams’ If you’re new to Ryan Adams, this album
2005 Adams was on a mission, recording work is how he filters his musical fandom offers a great soundtrack to both your
and releasing no less three strong records through his own vision. The dark next road-trip down the, um… M5… and
of new material – underrated solo effort and follow-up to breakthrough Gold that his label a suitable musical aperitif before Prisoner. The
connoisseurs choice, 29, the country-focussed tried to bury, this frequently sounds like a love tour saw him with a new four-piece, The
Jacksonville City Nights, and this two-disc opus letter to British indie and goes as far as to offer Shining and his love affair with Fender’s
– both of which were recorded with his a haunting version of Wonderwall that tops the Princeton Chorus amp is laid bare in its
occasional band, The Cardinals. It contains original and won Noel’s approval. Elsewhere 80s-tinged glory for all to hear (used live now
some of his greatest songs, the country there’s another 15 fascinating songs; and he to bring consistency between stage and studio
rambling Let It Ride and If I Am A Stranger still set channels early Radiohead’s strummier side in tones), as is the influence of Tom Petty (Trouble)
list staples and the finest examples of his the greatest song about Beetlejuice ever and Mr Springsteen (I Just Might). His friend
acoustic/electric dynamic. But there’s much committed to tape (This House Is Not For Sale). Johnny Depp even pops up on the standout,
more to be discovered here; including The Check out the closing section of Shadowlands for Kim, and nostalgic Feels Like Fire with some
Grateful Dead looming over Magnolia a masterclass in how to take a desolate mood angular glassy lead. Adams has always shone in
Mountain’s freewheeling guitar and Rosebud’s into majesty with the perfect solo – with the the intimate realm and the solo My Wrecking Ball
lyrics, plus the goosebump-inducing way he subtle reverse delay revealing an artist whose proves just how much a man, his dreadnought
boldly switches gears on Cherry Lane. tone choices in the studio are impeccable. and some minimal synth can say. 19
Download: If I Am A Stranger Download: This House Is Not For Sale Download: Kim

worth a spin wild card avoid!

strangers 1989 (2015) roCk n roll (2003)

almanaC
6 H
(WhISkeytoWn, 1997) It says a lot about his body of work that e doesn’t really do stinkers, but
there’s a fair few contenders we haven’t there are times when Adams shoots

5
For some, Adams’ solo career will always got space for here – Gold, Easy Tiger, the wide of the heart. And this early-
be compared with his previous band. Hüsker Dü-inspired 1984 EP… hey, even the 2000s career stumble remains his most
Whiskeytown were key figures of the Voivod prog-metal oddity of 2010’s Orion has divisive record, a diversion too far for some.
alternative country sound in the 90s that would its moments, but this turn out of the blue that The impact of The Strokes and the indie-
spike the best parts of American tradition with gained the attention of new ears in 2015 needs rock scene they re-energised may have fed
punk rock heart to offer new relevance. Their addressing. He’s always been a great song too much into the brash guitars of the
second album (and major label debut) remains interpreter, but the unexpected announcement self-conscious and unremarkable This Is It,
the best starting point. It found Adams in a dark he was covering every song on Taylor Swift’s 1974 and knowingly-titled Quoasis guitar of
place, battling depression and substance issues, fifth record certainly raised eyebrows. Clearly Shallow, but it still turns in some goodness.
but even in his early 20s, the genre-jumping he and guitarist Todd Wisenbaker knew what His uncanny Marr impression on standout
confidence was there; Excuse Me While I Break they were doing as they put Out Of The Woods Anybody Wanna Take Me Home is closer than
My Own Heart Tonight is worthy of any of his and Clean through a chiming Fender-shaped we’ve heard most others get, and his take on
country rock heroes, while Yesterday’s News is a wormhole and into an alternate universe where a sharper early U2 in So Alive’s two string
potent Replacements chaser. they’re written by Morrissey and Marr. And he riffing hits home.
Download: Excuse Me While I Break My takes Shake it Off to a different, dark place. Download: Anybody Wanna Take Me Home
Own Heart Tonight Download: All You Had To Do Was Stay

february 2017 ToTal GuiTar

 competition

WIN!
a Faith Worth
nomad £459

20
mini-saturn
this compact acoustic
could be yours!

W
e first set eyes on system, making plugging in for
the Faith Nomad at live use quick and easy.
NAMM 2016, and it We’ve teamed up with Faith
instantly caught ([Link]) to give
our attention. We’d one lucky TG reader the chance
been waiting for Faith to join to win this guitar. All you have
the mini-acoustic market, and to do to enter is answer the
when we got our hands on one question below correctly.
back in the summer of last year,
we were impressed. Despite Which of the following is NOT the
the stripped-back styling, the name of a current Faith acoustic
Mini-Saturn features an guitar model?
all-solid construction (solid a) Venus
spruce top, solid mahogany b) Earth
back and sides) and has a c) Neptune
balanced, punchy tone. Not
only is the Mini-Saturn a great Enter at [Link]/tg289faith
travel guitar, but it’s also Competition closes on
equipped with the Faith CnR-3 9 February 2017

T&Cs: The competition is open to UK entrants only. Under 18s must obtain parental consent to enter this
competition and be able to demonstrate this to Total Guitar’s reasonable satisfaction. Answers must be
received between 9/1/17 to 9/2/17. The winners will be selected at random from all correct entries
received between the relevant dates and will be sent the prize free of charge. Each winner will be
notified within 28 days of the closing date and will be required to give details of a delivery address in the
UK to which the prize should be sent. By entering this competition, you consent to us using your personal
details to send you information about products and services of Future and Faith Guitars that may be of
interest to you. For full terms and conditions, please go to: [Link]/futureonline/
[Link]

ToTal GuiTar february 2017

 how to

what you will learn

17 different chord shapes
Improved muscle memory
Methods to make chord
changes easier

20 minutes to…

faster chord changes

22

Take your chord changes into a higher gear with TG’s handy exercises designed to help
speed up this essential technique
ricky chord changes are approaches can help you speed up those improve your soloing skills instead. However,

T frustrating for any guitarist. You

just want to play a song, and
maybe sing along, too, but the
flow of the tune you’re playing is
changes, and help you become more confident
in that all-important, yet often overlooked area
of rhythm guitar.
Good, accurate chord changing is a vitally
every player should develop their rhythm
chops, especially if you plan on learning some
new songs.
Check out the following exercises for some
continually interrupted while you arrange your important skill to develop, and can be handy tips, from basic open chord examples to
fingers into the right chord shapes. If this overlooked in favour of perhaps ‘more exciting’ more advanced finger twisting shapes that'll
sounds all too familiar, some straightforward things to play, especially if you’re itching to challenge any player!

Block change: moving one shape TRACK 8

q = 60-120
A Dmaj 7 E7 Am7

œ œœœ # œœ œœ œ œœ œ œœ
& 44 .. # œœœ œ œœ
œœ # œœœ œœ n œœœ œœ ..
3

œ œ œ œ œ œ
3 2 1

œ œ
2 1 1
1 2
2

T . 0 0 2 2 0 0 0 0
.
. .
2 2 2 2 0 0 1 1
A 2
2
2
2
2
0
2
0
1
0
1
0
0
2
0
2
B 0 0 2
0
2
0
0 0

These open-chord ‘block changes’ are where the same shape is used on a different set of strings to make a new chord. This means you can hold the shape as you switch,
without letting your fingers splay out away from the fretboard. Get started by repeating only bar 1, then introduce bar 2 as you gain confidence.

ToTal GuiTar february 2017

 20 minutes to faster chord changes

Using a finger as an ‘anchor’ TRACK 9

As with the first exercise, move your whole hand from the wrist in order to move the string, and lock the side of your first finger knuckle under the neck for a stable grip. You ll be
playing bass strings here so pull the string down towards the floor to adjust your vibrato. D 7sus 4

œ œ œ œ
C Am G

4 œ œœ œœ œœ
& 4 .. œœœœ œœœ œœ œœ œœœ œœœ œœ œœœ ..
4 4

œ œ œœœ œœ
1
1 1 2
3
2 2
3 2
3

T . 0 0 0 0 3 3 3 3
.
. .
1 1 1 1 1 1 0 0
A 0
2
0
2
2
2
2
2
2
0
2
0
0
0
0
0
B 3 3 0 0 2
3
2
3

Often, a handful of chords can share strings or frets in common – which means you don’t have to take all of your fingers off the strings. Obviously, recognising a finger that
you can use to ‘anchor’ you in place helps speed up the change. Try to move ‘non-anchoring’ fingers together in one slick shift.

Barre chord tricks TRACK 10

Fmaj 7
œ œ œœ œœ
C Am G

œ œœ œœœ œœœ œœ œœ
& 44 .. œœ œ œœ œœ œœ œœ ..
1

œ œ
3 1

œ œ œœ œœ
3 3 1

œ œ
3 1 1
3 2
3 4 4
1 3
1 3
1 1

T . 5 5 5 5 3 3
.
. .
5 5 5 5 5 5 3 3
A 5
5
5
5
5
3
5
3
5
7
5
7
4
5
4
5
B 3 3 7
5
7
5
5
3
5
3

The ‘barre chords’ in bar 1 don’t actually need a barre. Although you’ll need a steady first finger stretch, you can get by with only fretting the bass notes – a useful trick to
employ during long passages of stamina-sapping barre chords. The chords in bar 2 do need barres, so try to form the shapes in mid-air before you touch the strings. 23

harder shapes TRACK 11

# #
D 7 9/F #
œ œ œœ œœ # œœœ œœ n # œœœ œœ ww
Cmaj 7/E Am7/E G 13 9/F Cmaj 7

4 .
.
&4 œ œœ œœœ œœ œœ œœ œœ .. ww
1

#œ nœ
3 4 3 4 2
4 3 3
1 1
4 3 2 2 4
2 2 1 1

T . 3 3 3 3 5 5 6 6
. 7

. .
1 1 1 1 6 6 5 5 8
A 4
2
4
2
2
2
2
2
5
4
5
4
4
3
4
3
9
10
B

These more advanced chord shapes are real finger twisters! Take your time learning how to fret each chord accurately before moving on to tackle the changes. Make
sure your fourth finger is bent and not stretching to reach the string. You should be fretting on your fingertips, and not on the front of your fingers.

Practice Plan
1. Four minutes familiarising yourself with any tricky chord shapes
2. One minute playing each exercise at 60bpm
3. One minute playing each exercise at 70bpm
4. One minute playing each exercise at 80bpm
5. One minute playing each exercise at 90bpm

We’ve assigned four minutes in our practice plan for you to familiarise yourself with any tricky chord shapes, but you may need to
spend a little longer. It’s all about muscle memory after all and if you find yourself playing a chord wrongly then repeating it will only
ingrain the bad habit. By the same token, resist the urge to practise too fast too soon. It’s better to play at a manageable speed to
gradually develop your accuracy and raise your speed in the longer term.

neXt MOntH 20 minutes to better string bending

february 2017 ToTal GuiTar
 how to whAT you will leArn
how to use hammer-ons and pull-offs
Fluid string bending
moving between two fretboard positions

riff of the month

derek and

Words: Chris Bird Photography: © Michael Putland /Retna UK/Photoshot

Get the tone ChannEL OvERDRivE

24
the dominos
Layla Gain BaSS miD tREBLE

Eric played his 1956 ‘Brownie’ Fender

REvERB

ayla is well known for its uneven when you play it, you’re Strat through a cranked Fender Champ

L
amp for a mildly distorted, sustaining
multi-layered overdubs probably emphasising either the
tone. Duane likely used a Gibson Les
(with up to six guitars hammer-on or the pull-off. Your aim Paul Goldtop for a thicker sound, also
playing at once, in places), should be to make the first six notes the through a Fender Champ. Select a
and the iconic Duane same volume and length, and the best bridge position pickup so that you
Allman-penned riff tabbed here is way to achieve this is by practising have enough bite to cut through the
dense mix of guitars in the backing
double-tracked by both Eric Clapton and slowly, preferably with a metronome music. Raise the treble on your amp
Allman himself. Still, it works perfectly so you can work on your timing. Strat (bridge single coil)
if your guitar sounds too ‘warm’.
well with one guitar, so have fun!
The first seven notes are perhaps the Cheat sheet…
LayLa Eric cLapton: UnpLUggEd - gUitar
toughest part of the riff due to the speed Appears at: 0:08-0:24 Music and lyrics by rEcordEd VErsions
James Beck and Eric Clapton (Guitar Tab with chord symbols, 112pp, £16.95 ref. AM91067)
of the notes – both guitarists use Tempo: 115bpm © 1970 Throat Music Limited. This fantastic collection includes authentic transcriptions with notes and
hammer-ons and pull-offs to make Key/scale: D minor Worldwide reproduced by kind
permission of Music Sales
tablature by noted guitarist and transcriber Jesse Gress. The book features
all the songs from the critically acclaimed live album of the same name.
things easier, rather than picking every Main techniques: Hammer-ons / Limited. All Rights Reserved.
International Copyright
Includes the hit songs ‘Alberta’, ‘Layla’ and ‘Tears In Heaven’. Each song is
accurately transcribed in standard notation, guitar tablature, chord symbols
note. If the lick sounds choppy or pull-offs / string bends Secured. and chord boxes alongside full lyrics. Available from: [Link]

Intro tRaCKS 12-13

Dm C B b Bb C # m7
q =115 1. 2.

~~~ j
C Dm C C Dm
j œ œ
b 4 ‰ œ œ œ œ œ .. œ . œ œJ Jœ œ Jœ œJ œ œ œ œ œ œ œ œ œ œ ‰ œ J J œ œJ œJ œ œ œ œ œ œ œ œ œ .. œJ œ œ # ˙
& 4 œ J J J
0:08
~~~ BU
. .
BU BU
10 13 10 10 13 (15 ) 13 12 10 10 13 10 10 15 (17 ) 15 12 10 10 13 10
T
. .
10 13 13 13 10 13 13 13 10 13 13 13 13 (14 )
A
B

Break the riff down into two phrases: the first seven notes must be played with accurate, even timing so don’t rush your hammer-ons and pull-offs; the next five notes
form the rest of the riff, where the main challenge is nailing the pitch of the string bend. the rest of the riff is just a variation on these 12 notes.

ToTal GuiTar feBRUaRy 2017

 how to

GettinG
Started With…

hammer-ons
Try out this technique to
brighten up your chords and
get slicker sounding solos
“‘Hammer-on’ is a weird term, isn’t it? I’ll wHaT you wIll learn
stick my neck out and take a wild guess How to solo with hammer-ons
that no actual hammers are used, so what Play chords with hammer-ons
One short melodic lead line
the hell does it mean?”
You’re right, of course there are no heavy tools
here! A hammer-on is an expressive playing two notes are two frets apart – perfect for a first
technique used by absolutely everyone who and third finger hammer-on. hammer-onS
ever picked up a guitar. From Jack White to
Julian Bream, Nick Drake to Nile Rodgers, “alright, I’m getting there. It strikes me that
in chordS
there’s probably not one single player who this is harder than playing both notes with This basic technique sounds great in
doesn’t use this technique. Every beginner my pick though. what’s the benefit?” rhythm guitar parts, too
guitarist should give hammer-ons a go. Most new techniques feel difficult at first. Trust
us – you’ll get the hang of it as your fingers get x o o o
26
“I can’t argue with that. Tell me more about stronger and more used to the movements.
what’s actually involved then.” Most guitarists eventually find hammer-ons 1
Okay, start by holding down one note on the really easy. They can even make fast passages
guitar fretboard using your first finger. The idea of picked notes easier to play, but most 2 3
is to pick the string then play a second note by important of all is their sound; hammer-ons
quickly pressing down at a higher fret on the have a slick, fluid sound. If you’re playing a
same string using another finger – but no guitar solo you’ll get a smoother vibe than you
picking the string this time. would if you picked every note.

“Don’t pick the string? My second note just “Can rhythm guitarists use them too? I was
went dead!” just wondering if hammer-ons can be used
That often happens on the first go. Make sure with chords.” Am (with hammer-on)
that your first note is still ringing out and that Sure they can! Take a look at the Am chord on
Usually in an Am chord you’d have a finger on the
you ‘hammer’ down firmly and quickly on the the right. Instead of playing every note, leave 1st fret. Instead, try starting without pressing
second note. Start with your first and third the second string open, strum the strings, then down on the 1st fret, strum the chord, then
fingers – these tend to be strongest. Take a look hammer on to the second string. It’s a great hammer on with your first finger.
at our tabbed lick and you’ll see that the first way to pep up a basic chord progression.

easy lead guitar line TRACKs 14-16

q =110

œ œ œ ˙ j
Am Em F G Am

œ ˙
& 44 J J œ
J
œ
J
œ œ
J
œ œ
J
œ œ. œ ˙

3 5 3 5
T 3 5 3 5 1 3 1 3 3 1
A 2

B
⇥ ≤ ⇥ ≤ ⇥ ≤ ⇥ ⇥ ≤
In bar 1, start by playing a 3rd fret note on the first string followed by a 5th fret note. The curved line joining the notes indicates that you should use a hammer-on. If there
was no curved line you’d have to pick both notes. We’ve played our lick first without hammer-ons, then with, so you can hear the difference.

ToTal GuiTar february 2017

 how to

The TG Guide To effecTs

Get the most out of your pedals
1 Delay
This control is sometimes 2 Feedback
This sets how many times

delay
called ‘time’ or ‘rate’, but the notes will repeat. A longer
whatever name you give it, it feedback equals more
does the same thing. Setting repeats, while a low feedback
this will govern the tempo that will give just one or two – great
your delay repeats at for thickening up faster parts

Learn how this simple effect can help you

create complex sounds
elay is one of the most pedal degrade after each repeat,

D
1 2 fun and interesting- making the effect sit perfectly under
sounding effects you can what you’re playing. Digital pedals
add your guitar, and as use the same technology as samplers
with all great sounds, at to digitally record your note and play
its core it’s really simple! Delay works it back. It’s pristine, so you get back
by taking the signal you feed into your what you put in.
pedal and repeating it: that’s it! The Many companies still produce true
3 controls give you a few extra options,
though, and it’s here that you can take
analogue delay pedals today, but there
are also plenty of digital pedals that
28
it from a simple echo to cascading include multiple modes to cover you
soundscapes and anywhere in for all kinds of delay sounds, from retro
between. You have three basic options tape and analogue-style echos through
that adjust how your sound is repeated: to pristine digital delays and creative
how long after you hit the string the time-bending effects like reverse
repeat occurs, how many times it delay, even looping of entire phrases all
repeats, and how loud the repeated from one pedal. With all the time
notes are relative to your original. options in the world, there’s no excuse
Early delay pedals featured analogue not to repeat yourself.
circuitry, designed to give guitarists the
sound of Les Paul’s pioneering tape what you’LL Learn
The difference between delay sounds
delay effects (created by manipulating How to use delay controls
the playheads on a tape machine). The Using subdivisions in your playing
delayed sounds from an analogue delay

Delay works by taking the signal

you feeD into your peDal anD
repeating it: that’s it!

3 Level
This determines the level of
the repeated sound. Depending
on your pedal, the level control will
either be a blend between your
dry/effected sound, or a dedicated
control for your delay effect

ToTal GuiTar february 2017

 effects guiDe

must try…

29
Boss dd-7 £125 Tc elecTronic elecTro-harmonix
This pedalboard staple is the king of Boss
compact delays. As well as offering the
flashBack £141 memory Boy £95
standard digital delay sound, it also features When TC launched the Flashback, it created If you want the joys of true analogue delay,
additional modes for analogue-modelled, a revolution in compact multi-mode delay look no further than EHX’s Memory family of
reverse and modulated delays. On top of this, pedals. Its small size yet feature-packed pedals. Derived from the famous Memory Man,
Hold mode gives you a 40-second looper, and spreadsheet makes it a no-brainer if you’re the Memory Boy sits in the middle of the range,
you can add an expression pedal for more after a do-it-all delay at an affordable price. and adds vibrato/chorus into the mix. This
creative control, or a footswitch to give you It’s got nine different delay types, plus a looper gives each repeat a modulated shimmer, and
tap tempo control. and a slot for loading TC’s TonePrint presets. can produce lush characterful delay sounds.

Recommended settings
5 5 5 5
4 4
3 3
DoTTeD
8THS
2

DelAy feeDbAck level DelAy feeDbAck level DelAy feeDbAck level

roBoTic repeaTs Thick lead edGe-sTyle delay

This one is great if you’re trying to create a Delay doesn’t have to be the basis of your part; it Dave from U2, as his mates call him, bloody
more mechanical rhythm part, but requires can also serve as a sonic bolster when you need a loves a bit of modulated delay. To get some
tight playing and a delay sound locked up bit more girth. For this, you’ll only want one or of that Where The Streets Have No Name vibe,
tighter than Shawshank. Use a digital-style two repeats, so keep your feedback low to avoid set your delay time to a dotted-eighth note
delay with tap tempo to give your pedal a sounding like the end of the Byker Grove theme. rhythm, dial in about three repeats and set
solid pulse (you can use crotchets, eighth Next, set your delay time short – you need it to the level just below halfway while you play
notes, triplets, or whatever fits the music mirror your playing, not get in the way. Finally, straight eighth notes. You’ll have your guitar
you’re playing). Then, keep your repeats set set the level to halfway so that your dry and weaving around itself quicker than you can
to however many of those you require. effected sounds are of equal volume. say ‘Achtung, baby!’

february 2017 ToTal GuiTar

 how to what you will learn
How sus chords relate to the major scale
Work out which notes are in a sus chord
What the F? Eight different sus chords

SuSpended ou’re probably already familiar with the bright, upbeat sound of

chordS Y major chords and the dark, mournful vibe of the minor variety. Sus
chords have a different sound altogether. On the spectrum of moods
these are neutral-sounding fence-sitters, neither happy nor sad,

Get some vital chord theory sussed and with a curious tendency to pull you back to a major or minor
chord. For this reason sus chords are nearly always mixed in around their major
and minor brethren. Listen to the acoustic guitars in Pinball Wizard by The Who
with TG’s quick, easy lesson or Crazy Little Thing Called Love by Queen to get a feel for the sound.

1. a change to the major scale TRACKs 17-18

q = 90
Major chords use the first, third and fifth notes of the major C
U Csus 4
U
& 44 œ œ œ œ
scale. Sus4 chords drop the 3rd interval and replace it with the

œ œ œ œ ˙
œ œ
4th – a process known as ‘suspending’, which is why it’s called
a sus chord.

T 0 1

1 2 3 4 5 6 7 8 A
B
0 2 3
0 2
3
0

⇥ ≤ ⇥ ≤ ⇥ ≤ ⇥ ≤ ⇥ ⇥ ⇥
3 3
2 frets 2 frets 1 fret 2 frets 2 frets 2 frets 1 fret

30 C D E F G A B C First of all, you’ll see the notes of the C major scale. Bar 2 shows you the notes of a Csus4
chord – which, remember, uses the first, fourth and fifth notes of the scale (C, F and G).

2. emphasising chord changes TRACKs 19-20

C Am Gsus 4 G

& 44
œœ
œœ
œœ
œœœ
œ
œœœ
œœœ œœœ œœœ œœœ œœ
œœ œœœ œ
œœ
œ
œœ
œ
œœ
œ œ œ œœ œ œ œ œœ œœœ œœ
œ œ œ œ œ œ œ
0 0 0 0 0 0 3 3 3 3 3 3
T 1 1 1 1 1 1 1 1 1 0 0 0
A 0
2
0
2
0
2
2
2
2
2
2
2
0
0
0
0
0
0
0
0
0
0
0
0
B 3 3 3 0 0 0 2 2 2

⇥ ⇥ ≤ ⇥ ⇥ ≤ ⇥ ⇥ ≤ ⇥ ⇥ ≤
3 3 3 3 3 3

C-Am-G is a simple chord progression that crops up in many songs. Stick a sus4 on the last chord as we’ve done here to bring the progression to life and make a feature of the
change to G. It sounds great in acoustic folk and mid-tempo rock, but overuse the effect and your music may sound hymn-like.

3. more chord shapes TRACKs 21-22

x x o x x o o x o o x o o o x o x o o x o o x o

1 1 1

1 1 2 3 2 3 1

3 4 3 4 3 4 2 3 4 3 4 2 3 4

Dsus4 Dsus2 Asus4 Asus2 Csus4 Csus2 Gsus4 Gsus2

A sus2 chord is the same as a sus4, but using the second note of the scale instead of the fourth. So, for example, a Csus2 chord has the notes C, D and G.
Try out these simple sus chord variations on some of the open shapes you probably already know.

ToTal GuiTar february 2017

32

ToTal GuiTar february 2017

 rig tour
RickenbackeR 620-12
2 3 4 12-stRing
3 “I got this guitar very
recently because there’s
some 12-string guitar parts
on the new album. The one
I had at home didn’t seem to
work, I tried a Vox Phantom
but it wouldn’t stay in tune.
Then I tried a Rickenbacker
hollowbody but the pickups
were just too loud and it fed
back a lot. So a friend lent me
one of his guitars, and it just
seemed to work really well.
I found the exact same
model online and bought it
right there and then.
It worked out.”

DanelectRo
electRic sitaR
4 “I first used an original
one in the studio and
really liked the sound of it.
Then a few years later Jerry
Jones started making copies of
them, so I started using those.
We use it on the first song on
the new album, Goin Down, 33
and it’s also played on The
Wagon. This one is really
cheap, I bought in the States

j mascis
specifically to tour with.”

FenDeR thinline
telecasteR
5 I got this from Fender…
it was a Squier thinline

Alt-rock legend and Dinosaur Jr fuzz king J Mascis invites TG but they had some pre-made
necks with jumbo frets,

for a walk through his guitars, amps and that pedalboard… because I didn’t like the
original neck. Then I put
some Custom Shop Seymour

ow many fuzz pedals is guitaRs Jazzmaster. The neck felt right

and it’s what I learned to play
Duncans in there and
somehow it all came together.

H enough? For a guitarist such

as J Mascis, there will never
be enough free space on the
’board. Each of his
FenDeR jazzmasteR
1 “I once had all my guitars
stolen on tour and needed
to buy new ones. This
on… so I’ve just stuck with
them ever since.”

FenDeR jazzmasteR
They’re somewhere in
between a P-90 and a
Filter’Tron. I use this guitar
on Goin Down, Start Choppin
stompboxes brings its own chemistry and
colour, unlocking new worlds of tone. And
then, of course, there are the ones that
happened to be at the local
guitar shop, which I’d never
really been interested in going
2 “This is my main backup.
I don’t use it much… it
does sound different to my
and I Walk For Miles.
If definitely sounds heavier
than the Jazzmaster because
didn’t fit but simply had to come along for inside before. It came from a main guitar. The pickups are of the pickups. It does
the ride anyway – to shuttle the Dinosaur local guy who bought it new in from 1964 or ’65, so they feedback but I can control it.
Words: Amit Sharma Photography: George Fairbairn

Jr founder even further into an ecstasy of 1963 or whatever. I spotted it, sound a little stronger than To be honest, everything is
screaming distortion and kaleidoscopic tried it and thought it worked the other ’63s I use… A friend going to feedback once that
60s psychedelia. TG tracks down one of the out pretty good. I like playing of mine worked at a guitar Big Muff is on! It’s like it
original pioneers of alt-rock and true Jazzmasters, my whole style shop quite close to where sounds different night after
legends of fuzz to look at the equipment is almost built around it. I live and told me it was going night. Sometimes I can’t
responsible for his unfathomably Originally I wanted a Strat but pretty cheap. I bought it sustain any notes over all the
overdriven wall of sound… didn’t have enough to get one, without even seeing it and feedback, it actually makes me
so had to settle for the was happy with what I got.” play faster and keep going.”

february 2017 ToTal GuiTar

 rig tour
5

12
8 9

11

10

34

6 16

custom auDio japan

eFFects
zVeX lo-Fi loop junky
sound of it. They brought out the
smaller version that fits on my twin tRemolo
which was a rack-mounted vibe
unit. The Mega Vibe is closest

6 “I got this before an acoustic

show in New York. I thought it
pedalboard. It has an expression
pedal which I’ve been using to turn
the speed up and down to get the
9 “I really like the square wave
sound of this pedal… you
can get it going really choppy and
I’ve heard to that thing in a
pedal version. I’ll use it on Knocked
Around, Gargoyle, Freak Scene
would be good to get a loop to jam wacky sounds I like. I use it on super fast. I used to have the with the flanger added for colour
with myself a little bit. I thought Gargoyle – which we usually play rack-mounted version, but and volume.”
this was cool because it was last – Watch The Corners, sometimes Custom Audio told me about this
all-analogue and very easy to use. on Get Me… whenever I feel Japanese pedal version and I had electRo-haRmoniX
It seems to cut off a lot of the high inspired to switch it on. I really to get one!” electRic mistRess
frequencies; it just can’t reproduce like the short echo on the Ibanez. FlangeR/boss tu3-s
tube woRks Real
them because of the chip in there.
They make you sound a lot darker,
I’ve been using it for the solo on
Heaven, it’s a bit of a different tube oVeRDRiVe 12 “This was the first flanger
I ever bought and I guess
so it’s like having two separate
tones. You can even make your
guitar warble as it plays back. Then
sound to the Moog, but they’re
both analogue. Plus it’s pink…” 10 “This is responsible for my
main clean sound… it only
has a little bit of drive dialled into
I love it because it sounds more
extreme than most of the others
I’ve heard. We use it on Freak
I started using it for the electric boss RV-5 ReVeRb it. I can turn down the volume and Scene, Forget The Swan, Does It
shows for those noisy jamming
parts or even in between songs so
no one has to hear silence!”
8 “I’ve had this for a while.
I always try to check out
different reverb pedals, but this
it still sounds really good. I like
doing that so when I turn on the
Big Muff it gets louder... though
Float… There was no room for the
tuner so we put it on the Electric
Mistress. The tuner is a new
is the one I keep coming back with four amps, it’s always loud!” smaller version that I saw in a
moog mF Delay & ibanez to. Usually, I prefer not to use a shop and thought it was perfect for
analog Delay mini Boss pedal if I can, but this one kR musical mega Vibe my needs. You don’t have to turn

7 “I started using the Moog for

recording, I just liked the
works better than anything else
I’ve tried.” 11 “At first I used to use a
Roger Mayer Supervibe,
it on and off, it’s just always on
and I like that.”

ToTal GuiTar february 2017

 j mascis

You To Know to give my sound a bit

18 of a treble boost and an extra kick.
It’s probably the one I use most
randomly, whenever I feel like it.”

17
amps
FenDeR twin
ReVeRb Reissue

19 18 “At home I use a 1966 Twin

Reverb, I wish I had one
over in England. But for this tour
I’m using the reissue… it gives a
little more top-end to my sound,
so I’ll try to use more of it for my
solos. It’s another ingredient in
13
the soup. A pinch of Fender, some
Marshall, a bit of Hiwatt…”

hiwatt DR-103 custom

100-watt heaD
19 “I think I got this about six
years ago or something like
that. I’d never used Hiwatts before
that, but I found the combination
20 with Marshall made for a cleaner,
14 more treble-y sound. It’s equally
as loud, probably louder actually.
It’s always on, all my amps are
always on and dialled in fairly 35
clean. They sound pretty lame
without any pedals, they’re just
super clean.”
15
maRshall 1968 supeR
bass & maRshall
pleXi Reissue
electRo-haRmoniX
big muFF
I love the sound of this one and,
again, it fits on my ’board. I kick
one pedal. They made it for me
and now they’ve started producing
20 “The purple Superbass
Plexi came from a friend
of mine, who bought me it when

13 “This one was made in

1976. I don’t know how
much it’s worth, they’ve probably
it in for solos and extra fuzz when
things get super crazy.”
them commercially. I’m usually
pretty set on which distortion
I’ll use from song to song, but
I was last over in England and it’s
from the early 90s. I’m a big fan
of purple! It has that classic heavy
come down since the internet… RangemasteR/tone sometimes during solos I’ll Marshall sound. The black one I’ve
maybe up to $1,000. It’s probably benDeR mk1 copy switch on different ones when borrowed from Marshall, it’s a new
the most important pedal on my
board because it’s where my
distorted sound starts. I might add
15 “One side is a Rangemaster
copy and the other is a
Tone Bender Mk1 copy. This was
I feel like it.”

homebRew
Plexi reissue. It sounds good to me.
At home I have a Plexi Super PA
from 1968, but I can’t bring
stuff on top of it but the Big Muff made by Jim Roth from [American electRonics geRmania everything with me when I come
is always in there. I got this on our indie-rockers] Built To Spill, he 44 tReble boosteR over and Marshall are kind enough
first American tour in 1987, from a
pawn shop in Arizona. Before that,
I was using a Deluxe Big Muff, and
gave me a Tone Bender copy a
while ago. I really liked it but had
it remade with a Rangemaster to
17 “That’s another
Rangemaster copy I got
when my main one was broken.
to lend me what I need. The cabs
are borrowed, too, new ones that
they’re just bringing out. At home
for a while I used both – but as it save space.” Luckily I found this one on tour I use older cabs, I figure if it
turns out I liked this one better so somewhere in Belgium and worked well back then, why
stuck with it alone. I’ve had it fixed zVeX Double Rock I didn’t miss a show without that shouldn’t it work well right now?
a few times but it’s still going…”

mc-FX supeR-Fuzz copy

16 “I actually asked them to
build two overdrives into
Rangemaster sound I use for a lot
of my solos. I’ll use this for I Want
Believe it or not, I actually use full
stacks at home, too.”

14 “These were made in

Australia, I’m not sure if “My AMPs sounD PreTTy lAMe WiThouT PeDAls… Believe
they’re in production anymore.
I have original Super-Fuzzes, but iT or noT, i AcTuAlly use full sTAcks AT hoMe, Too”
february 2017 ToTal GuiTar
laurie vincent / slaves

37

february 2017 ToTal GuiTar

 feature
play have a sound. That’s when it gets “One of the biggest things you get
Laurie uses a
multi-amp set-up to better. We just thought, ‘We’re going to when you work with someone like Mike
cover for the lack of a put whatever we want on this album.’” D is confidence,” says Laurie. “To know
bass player live Slaves songs are bold, bright and that someone with such a prestigious
sometimes straight-forward to a fault, background rates what you’re doing,
but they’re designed to do a job: you feel like you’re doing something
whether that’s as an outlet for good. Mike cared so much, but he didn’t
aggression, documenting stories, or have that gauge where he was trying to
verbally head-butting a UK public make it as good as the last one. Whereas
that they see sleepwalking into a new producer might be more like, ‘Ah,
self-destruction. Not everyone I really feel like we need another song
likes them: some publications have like Cheer Up London…’”
criticised Isaac’s use of clumsy female

I
stereotypes, others just seem to find t’s important to Slaves that they
Slaves’ cartoon punk-rock vision don’t just rest on their laurels.
enraging – unbefitting of an anarchic The duo format has obvious
legacy. The reverse of the argument is economic and creative benefits for
that Slaves are embracing the ludicrous a new band – decisions can be made
and purposefully demystifying the quickly, there are less mouths to feed
creative process. on tour and songwriting is at most a
“I sort of pick it up. I don’t really ever two-way process – however, it’s
have anything in my head,” says Laurie, restricting in other ways.
honestly, if offering a bit of a gift quote “Definitely,” agrees Laurie. “But
to his detractors. “I’ll just play anything the more you practise any musical
and sometimes I stumble across things. instrument, the better you get at it and
I don’t ever sit there and think ‘How are I think that, two albums in, I feel a lot
you going to do this?’ It doesn’t bother more competent. [The problem is]
me if it sounds shit. I don’t have any I start hearing more stuff, which is
embarrassment. I just keep going until harder to achieve. So it’s about trying
38 I find it. Also, a lot of my songs are to make the album sound interesting
attempts to rip off other songs. When and not trying to kill yourself by doing
I wrote Cheer Up London, I was trying to loads of different stuff on stage.”
copy the bassline from Guns Of Brixton, The guitar riff on Lies is a prime
but I couldn’t work it out.” example. “With that one, I sort of made
This kind of admission is anathema to a new way for me to play,” says the
those who regard writing and playing as guitarist. “I was trying to make my
a holy process of self-flagellation. Most guitar sound like Gang Of Four, where
rockstars like to spout self-aggrandising they have the bass and the guitar
intertwining, but they never play at the
“Isaac’s rapping on this album and
there’s songs with keyboards and we “one day you realIse same time. So I was playing some bass
notes with my thumb and then jangly
just went for it. I was quite aware that,
to be a band like us and do two albums
everythIng you play bits with my fingers and that song just
sort of came out. Everyone that I played
on a major label without getting sounds lIke you” it to originally was like, ‘Who’s doing
dropped was quite rare, so [I thought] the bass?’ And I was like, ‘No, it’s me!’ ”
‘Let’s use this time to fuck around.’” crap about writing that ultimately To convey a convincing bass tone on
As such, Take Control’s third track, mystifies the process and puts people the sizeable stages that Slaves are now
Consume Or Be Consumed, with it’s off having a go for themselves. Slaves playing takes a considerable rig. The
opening line, “I’ve got the whole do not. They represent punk in its guitarist tours with a four-amp set-up
fucking scene on my dinner plate”, is a original form – as an approach that of two Fender Bassbreakers, a Bassman
pretty apt description of the stylistic combines conviction, experimentation and a Champ. And while you could be
approach of the record. and knowing humour. Isaac’s terrace- justified in crying ‘hypocrite’ at a man
“There are songs where we went chant lyrics might seem simple then, who supposedly prizes simplicity but
more hip-hop, but there are songs like but there’s a knowing wink in the way uses a tower of trouser-flappers, there
Play Dead that just sound like a Black he simultaneously rubs his critics’ is a certain straightforward logic to it
Sabbath riff, so we just embraced noses in his success. “I know a man all. Essentially, Laurie’s stack is a
everything.” explains Laurie. “It’s like called Michael. He hails from NYC. four-band EQ in amp form: the
when you first start playing guitar: you Now he lives in Malibu, in a mansion Bassman occupies the lowest reaches,
consciously make an effort to have all by the sea,” deadpans Isaac on People the two Bassbreakers are split between
your songs sound like you’re in a certain That You Meet. “Production is his game lower- and upper-mids and the Champ
band, but one day you realise that now. He called my friend Laurie. He supplies the high-end sparkle.
everything you play just sounds like you, used to be a Beastie Boy – but now he “I used to write songs in the same
because your fingers and the way you works for me.” format so all of the verses would be

ToTal GuiTar february 2017

 laurie vincent / slaves

StackEd Laurie uses his Champ for a

clean tone to run octave
effects on top of
We take a look at Laurie’s
unique amp set-up, his
custom Fenders, and the
thing driving him nuts…
AMPS
“The two Bassbreakers go through 2x12
and 4x12 Matamp cabs. One has more of a
trebly sound and the other has more
low-end. Then the Bassman will come on
as a boost. If I use octave or modulation,
the Champ is a clean signal on top.”
PEDALS
1 Carl Martin OCta-SwitCh
“This has all the presets in it, so I’ll have
fuzz and distortion, then the octave
section, which is the same but it with
octave on each, then a clean section.”
3
2 ElECtrO-harMOnix MiCrO POG
“It’s all about simplicity, really. I don’t like
the POG, because it’s got too many 2
controls, I like the Micro POG, because it’s 4
simple. I just really like things to have
‘louder’ and ‘tone’ [controls] and that’s it.” 4
3 ElECtrO-harMOnix MiCrO Synth
“It’s called ‘Full beam’ that pedal. We write
that on it, because it’s like the loudest it 39
goes in the set, with the Micro Synth and
the bass amp on single notes.” 1

4 BiG Ear nyC lOaf & wOOdCuttEr

“We were in Austin and my [Fulltone] OCD
broke, and the guy who does these gave
me a Loaf [silicon fuzz] and a discount on
the Woodcutter [distortion]. So it was
through necessity at first, but then I was
like, ‘That sounds cool’ and it stuck.”

GUITARS
CuStOM fEndEr OffSEtS
“I’ve got four custom Offsets. They’re the 6
same as the Offset series, but I don’t
have a neck pickup or a tone knob.”

5 huMBuCkErS
“I’ll use humbuckers when it’s just a punk 7
song, so if it’s got chords and there’s not
much single-note playing. Basically, when I
just want power, I’ll use that.”

6 P-90S
“I’ve never been able to play P-90s until
now, because if you’re playing a club, it’s
just gonna scream, but if you’re in a lucky
position like me, they sound brilliant.”

7 SPlit nutS
“I use really big strings, [Ernie Ball] Not 5
Even Slinkys [0.056-0.012 and ‘optimised
for detuning’ - Ed], so I just split nuts. This
tour’s ridiculous. I’ve split like four or five!”

february 2017 ToTal GuiTar

 feature
without the bass amp and in the “I guess it’s the idea that, when I was
choruses it would come on,” he growing up, you needed to find your
explains. “But now I do things like, in bassist, your drummer and your
Sockets, where all of the amps are always frontman,” says Laurie. “But I feel quite
on. That’s why I say to people you can happy that we didn’t just do that. It’s
take photos of my gear, because no-one quite hard to do something original but
will ever use it the way I use it. It doesn’t we’re as close to it as I think you can get.
bother me.” We drew a lot of influences from other
In TG’s experience, guitarists in duos things, but I think more people should
are often particularly guarded about go [that route]. You should just do
their tonal secrets. We tell Laurie that whatever you want.”
Royal Blood’s Mike Kerr, for instance, Slaves’ own manifesto then was
was very protective of his pedalboard always to encourage the apathetic to
when we spoke to him. “It’s pointless, just get up and do something. Songs
isn’t it?” responds Laurie. “Ben, my such as Despair And Traffic and Cheer Up
tech, will play my guitar and I’ve London from Are You Satisfied? asked
realised that if you don’t have my awkward questions of a population of
hands, you won’t sound like me. That’s wage slaves and smartphone junkies.
pretty much it. Against the current
The amount of global backdrop,
pressure and “If you don’t that head-burying
attack you use
is crucial to have my has worsened
considerably since
your tone.”
At the heart of
hands, you their first album.
What does that do
the rig is a Carl won’t sound to their resolve?
Martin Octa-
Switch, which
lIke me” “You definitely
feel a bit jaded,”
Laurie uses to admits Laurie. “It’s
40 switch between various preset so harsh, but I feel like [the concept of]
combinations of distortions, modulation proles from 1984 is more relevant than
effects and amps. “I don’t like muddy ever. These people that just watch
sounds, which seems weird,” he reality TV and all they can talk about are
acknowledges, given the proliferation each other and what Christmas presents
of amps piled atop one another. “But I they’re buying – and it just drives me Laurie’s Fender Offsets
are modded to remove
feel like all of my distortion section, nuts. They’re people that voted ‘out’ in
the neck pickup and
even when it’s at its peak, you can still Brexit and didn’t really think about the the tone control
hear the notes.” consequences. They’re happy not
What’s compelling about Slaves’ knowing. Ignorance is bliss, innit? I just
tone, particularly given the new feel like there’s this un-swaying has a cautious optimism that is quite
electronic elements, is how it can seem population that aren’t actually engaged infectious. If he’s going to have the
technicoloured and consistent all at and are just on Facebook. Like we’re brass balls to actually talk about this
once. A bit like a modern art, it seems so being kept stupid on purpose.” stuff in public – as opposed to being
easy that you immediately think ‘Well, cowed by the enormity of the task, or

W
I could do that…’ The point being, of ith Emma back in the the prospect of poor PR – he better have
course, that you didn’t… room following a trip a plan. What will have to happen in the
“If you’re a painter, there’s only a to the merch stand of world for Slaves to feel they’ve achieved
certain amount of colours you can this evening’s support their mission? That picking up a guitar
have and then you need to mix them band, TG is prompted to ask how Laurie helped him make a difference?
together,” says Laurie of his setup. feels about the future, now he’s due to “I don’t know, ” admits Laurie.
“And that’s where I’ve got to with my become a father. “I think we’re just another band posing
guitar pedals and with my amps as well. “Frustrated,” is the answer. “I feel a question. But it would be cool to see
They’re at a point where I feel like I’ve very conscious to be making them more bands coming out and making
got a really big palette and I can pretty aware from a young age that they need statements. Bad times lead to good
much get any sound I want by mixing it to be switched on. For every generation, creativity, so I would hope more people
all together.” the problems are getting closer and are creative and do stuff they want to
Of course, at this point, Slaves could closer. We can all bury our heads in the do. That people are pissed off and they
quite easily pull a Black Keys, hire a sand, but shit’s happening. The divide is don’t just fall in line.” Consider this a
bassist, save themselves a considerable getting bigger. But I feel inspired that call to arms, then.
headache and save us from printing our kid gets to grow up around us. That
anymore of this chin-stroking liberal I get to play a role in shaping that.” Slaves’ second studio album, Take
arts nonsense, but convenience was For all Slaves’ dystopian lyrics, angry Control, is available now on Virgin
only ever half the point. ‘personal politics’ and bleak riffs, Laurie EMI Records

ToTal GuiTar february 2017

 interview

42

ToTal GuiTar February 2017

 interview / brent hinds & ben weinman

math
hysteria
TG siTs down wiTh MasTodon’s BrenT hinds
and The dillinGer escape plan’s Ben
weinMan To Talk aBouT Their Mind-BendinG
superGroup, Giraffe TonGue orchesTra…
Interview Amit Sharma Photography Olly Curtis
43

M
etal went You both seem drawn to disjointed
through a strange rhythms and time signatures.
transformation Where does all that come from?
around the Brent: “I think it would be listening
turn of the to jazz, for me.”
millennium. While bands such as Ben: “That and fusion. Plus a
Killswitch Engage and Lamb Of combination of IDM like Aphex Twin
God led the charge for the and Squarepusher. I was listening to
American New Wave, something a lot of electronic stuff around the
else was bubbling beneath the time Dillinger Escape Plan started.
surface. Originally labelmates at I listened to punk and metal before
underground independent Relapse that, so I got kinda desensitized to a
Records, Mastodon and The lot of it. Then other styles started to
Dillinger Escape Plan became fast take my interest. It was what made
renowned for their otherworldly me want to do this kind of version
musicianship as they brought of heavy thrash. Players like John
different slants to pushing the McLaughlin, Robert Fripp…”
progressive metal envelope to its Brent: “King Crimson, totally!
limits. With guitarists Brent I really love that band. I mean, I’m
Hinds and Ben Weinman finally not trying to copy Ben by saying
releasing debut full-length, that! [laughs] Plus there was Frank
Broken Lines, as Giraffe Tongue Zappa and Captain Beefheart. Rory
Orchestra – a supergroup that also Gallagher is another guy that’s been
includes current and ex-members a huge influence on my life and
of Alice In Chains, The Mars Volta guitar approach. I’ve always liked
and Zappa Plays Zappa – we odd music, I’ve always been the
thought we’d track down the pair odd guy. Even back in high school,
to find out the secret to thinking people would be like, ‘That guy is
not just outside the box, but weird, hanging out over there
infinities beyond… sucking his thumb!’ My country

February 2017 ToTal GuiTar

 interview
swing heroes are Django Reinhardt,
Jerry and Jimmy Reed, Gene Vincent, “We’re good together, Brent: “Which brings a cult following!”
Ben: “Sometimes shredding as many
Carl Perkins… there are just so many.
On top of that, there’s Danny Gatton, we match up on all this notes as I can, with four half-step
harmonies, can sound like there’s a
Paco De Lucia, the players that prove
you don’t need effects, you just need to weird-sounding shit” bunch of bees attacking you. That was
the idea – how do I create anxiety and
know how to play the goddamn guitar.” make it uncomfortable for the listener?”
Ben: “I tend to like a bar of three, a Brent: “I just loved how punk rock it felt
What else helped you stray from 4/4? bar of six, then nine… after which, when I first saw them. Almost like, ‘Me
Brent: “Well, in GTO, it’s our drummer I add it all up to whatever the fuck that and that guy have to be friends!’ Both of
Thomas Pridgen – he decides when he is! [laughs] I don’t really have any our bands are definitely cult bands with
wants to calm down and play in 4/4… go-to’s when it comes to time, really.” cult followings. We don’t have any
he’s the drummer! Which is what I like songs on the radio anywhere, we don’t
about being in a band with him – he When you play together, what do you need ’em. We don’t want ’em. We want
makes the weird shit sound 4/4 and feel are the stylistic similarities? to get this stuff out of our chest and our
then the easy shit sound weird or Brent: “There aren’t many, honestly. bones, that’s why we do this. It’s not
technical. A lot of Mastodon stuff is in Ben can move both ways, he’s a very because we like sleeping in bunks and
7[/4], which is less typical and feels mathematical and accurate guitar being tired all the time! [laughs]”
more natural, not that I usually know player, but still with swagger. I wouldn’t
what I’m playing in! We attract the say I’m very accurate though.” How different are your warm-up and
non-average listeners. The other side is Ben: “We each have our distinct styles, practice regimes?
all the Disturbed and Five Finger Death but at the same time there’s that blues Brent: “For me, stretching your hand
Punch fans, who knows who the fuck background – which Brent takes into and fingers and tendons without your
those people are? But I can say they love Hinds and Weinman a more bluegrass-y direction.” guitar is very important. After that, I just
come from different
their metal just as much as our fans do. Brent: “I love country stuff. It’s what play guitar. Constantly. Backstage or
musical places, but
Who knows, they’re probably the same they’ve found some defines guitar playing for me.” even if I’m just sat around the house,
people that voted for Trump!” common ground Ben: “And I have a lot of fusion in there. there’s always a guitar in my hands.
The similarities could almost be the fact I never go on YouTube for anything,
44 we came from a feeling and ear-led I just sit there and noodle on my own.
school of training, not theory. We’re That’s my main advice to any player,
both self-taught and listen to a lot of just sit down and play more guitar.”
music, which influences how our Ben: “I find writing is actually a great
bands sound. With us, feeling is more way to practise – trying to find odd
important, not technicalities… feeling combinations that are uncomfortable…
comes first. In GTO, our different styles like the guitar equivalent of tongue-
come together to create something new. twisters for vocalists! Then you do them
We weren’t sure if it would work at first, until they’re comfortable. A lot of the
but when we started writing we both felt Dillinger stuff simply comes from ideas
it was a good combination. We do solos that I thought felt weird or odd to play.
going back and forth on the first track, Making sure I’d write them down and
Adapt Or Die, and it’s actually kinda hard continue playing them is what elevated

First to tell who is who at points! ‘Is that

Brent or maybe this little bit is Ben?’”
me as a player. I would push myself to
write things that were difficult, so that’s

impressions Brent: “It’s really easy to work with

each other, we’re good together and
what I’d encourage people to do. Stop
playing what you listen to, push yourself
Why Brent and Ben won’t be forgetting match up on all this weird, fucked-up- to create. That’s the difference between
their first meeting in a hurry… sounding shit. We can get something great players and great musicians…
done like that… Though actually it did the best guys didn’t sit around learn
Brent: “We met at this metal festival in New Jersey, close take us seven years to do this. It wasn’t other people’s songs or scales, they
to where Ben is from, but we didn’t really get to know each
our fault, honest!” were constantly creating to get better at
other on that day, really. But as our bands toured more, we
hung out a lot and probably thought, ‘That guy is in a cool their instrument.”
band!’ We made each other laugh a lot. We’re both amateur Ben, you’ve always been an avid
comedians, race car enthusiasts, tattoo collectors…” explorer of chromatic ideas… what Brent, you played a big part in
Ben: “The first time we met, I think we were talking made you want to experiment with popularising drop A tuning for metal
backstage and the power went out for a second. And when such extreme dissonance? guitarists. How did you discover it?
the lights turned back on, I was naked, shivering. He was Ben: “I really love the chromatic stuff. Brent: “I did that when I was trying to
like, ‘How the fuck did that happen?’ Then we became I started using them because I wanted to fuck around with our sound. I was
friends and he started doing shit I had no clue about. We’ve create tough sounds. It wasn’t about the listening to a lot of Sleep and Sunn O)))
seen each other in all sorts of states, but sitting in a corner notes so much, but more about creating at the time. I was getting more into
shivering naked is probably one of the bad ones. We’ve been
anxiety. With Dillinger, we try to make it the idea of noise… fragmented,
through so much together and now GTO has given us the
opportunity to actually share some creativity.” not appeal to a mass market – making augmented, whatever you wanna call
people uncomfortable.” it – fucked up stuff.”

ToTal GuiTar february 2017

 interview / brent hinds & ben weinman

Ben’s LTD signature model

has a built-in Evertune
bridge for ultimate stability

Does GTO require its own rig or do you own pickups in there. I don’t really have Brent’s bluesy top and became unlike anything 45
just use your usual set-up? any attachment to Gibson anymore, influences include I’d ever heard.”
Irish guitar legend,
Brent: “I use the same stuff as I do with but when I was a kid, all my idols played Rory Gallagher
Brent: “That became a cool song,
Mastodon. It’s Marshall heads going Gibsons – whether it be Led Zeppelin especially because it’s about the
through Orange cabs. When it comes to or Thin Lizzy. In my mind, those guys supposed apocalypse of April 2015!”
pedals, I don’t use as much of that shit knew the best way to play a guitar Ben: “There were so many songs
live anymore… I leave ’em at home solo, honestly!” written for the GTO album over the
because I don’t want to fuck them up.” Ben: “I always have a lot of duct tape on years, but we didn’t really have the right
Ben: “I stick with the Mesa/Boogie Mk my guitars. That’s definitely one of the combination of people. Me and Brent
Vs because I find them really versatile. main running themes!” were the only constant elements. Peter
I like tube amplifiers, we both do, and Griffin [bass] and Thomas coming in
this has enough diversity to it without The Giraffe Tongue Orchestra album affected the songs and influenced how
me needing some other preamp or an has some pretty eclectic disco-pop they ended up. Then finally we sent the
Axe-Fx or whatever. There are enough shuffles to it, too – worlds away from tracks to William (DuVall, GTO singer,
variations in tone, plus reverb inside, Dillinger and Mastodon… also of Alice In Chains), who picked
individual controls for each channel - Brent: “The Bee Gees ruled the 70s them up and made them work. I’m glad
which have separate power options to and they rule forever. Trust me, you’ll he did, because it made the album even
change from 90, 45 to 10 watts, so I can see a Bee Gees resurgence happening more diverse. It helps that William is a
push the tubes differently for more soon! [laughs]” great guitar player, too – he understands
sounds. There’s also an on-board Ben: “Those funky riffs are showing us and how to compliment our music
five-band EQ that you can turn on and where I come from – I didn’t get with things that weren’t happening
off with the footswitch… you can use it technical until Dillinger started. I wasn’t already. I always felt he had a very wide
for different styles of music, but there a shredding guy at all, I learned that vocal range, it was like he’d already
aren’t too many options, like those amp stuff because I needed to, in order to pulled off joining an established band
simulator things. Plus it sounds loud make Dillinger sound that way. The with a distinctive vocal, but I knew he
and you can still jam on it backstage. other guys were actually more shreddy could do so much more that people
Though, in the studio, I’ll use all sorts of than me in the beginning! So GTO helps didn’t know about. We didn’t have any
different amps, from Mesa/Boogie to me go back to my roots and play funk definitions or expectations for this, we
Vox to Bogner to 5150s… anything!” and James Brown stuff, which I now still don’t. We’re a baby band… right
find more difficult in a way. For now, we’re having fun with it.”
What exactly do you look for in the example, with Blood Moon, I wanted to
guitars you play live? write a song that was practically one Giraffe Tongue Orchestra’s debut
Brent: “This one I’m holding is a 2011 riff – which I have never done in my album, Broken Lines, is available now
SG in TV Yellow. I’ve stuck some of my life! Then Brent put something else on on Party Smasher records

february 2017 ToTal GuiTar

46

better band practice

getting your band in the same room to play
can be like herding cats, but get it right
and practice can be the key to success…

W
hether you’re taking your everybody contributing their share. Deciding
first steps with a new band, what you want to get done in each practice
or getting frustrated with session, how to break things down into realistic
an existing one, an chunks and what realistic deadlines you’re
important part of success working to. The latter could be a gig or recording
can be measured by your practice sessions. session and the new songs or cover versions you
How much are you getting done? Are things need to nail for them.
continuously going wrong? Even how fun your How well you work with others is often about
band practices are; it all plays a part and forms different personalities as much as musical
the root of your dynamic of how you play and styles and approaches. Success and failure can
communicate as a group of musicians. often depend on how you can adjust and
Photography: Joby Sessions

Making changes doesn’t need to be about organise as a band without causing unnecessary
Recording your
ruling with an iron fist and becoming a de facto conflict. So with all that in mind we’ll talk
practices can be
band leader, it’s often just a case of changing through some fundamental steps that can help really beneficial
habits in preparation and routine with you get the most out of your practices and jams.

ToTal GuiTar february 2017

 play with others

break it down
For your first practice, it’s easy to get carried
commit
It’s easy to overlook the importance of agreeing
“little things can
away. But the more you try and cram into a
session, the higher the risk of disappointment
on the logistics when it comes to practices, but
getting a group of people to commit to being in
sow the seeds of
when you don’t get through it all. You need to
make sure the first stages of any band are
a room for a few hours in their valuable spare
time can make or break bands before they’ve
discontent in
productive and fun. So it’s vital that you’re
realistic; choose around three songs to focus on
even had the chance to form some chemistry
together. After each practice session, try and
the longer term”
if you’re still finding your feet, and if you’re commit to organising the next one and book it .
already up and running bring in one new one Block book as much as you can (especially
each time. This will keep things fresh and move useful if you’re hiring a popular practice space)
things forward, adding to your potential set list. so you have a commitment and everyone
But there’s a fine line here; if something gets knows where they stand. We’d recommend
tricky it’s tempting to move on to another song setting up a group online for instant messaging
that you’re comfortable with rather than too so you can discuss arrangements and
dealing with whatever is making it difficult. suggestions between practices (see Finding
That’s where communication comes in… Appyness). It helps everyone feel part of the
band, rather than a couple of people passing
Have a plan information sporadically that could result in
One of the biggest misconceptions when bands people getting the wrong end of the stick when
first start practising with each other is that the it comes to arrangements.
work just happens in the room. Wrong; solo
preparation makes a massive difference. And mutual respect
that’s why everyone must be on the same page; There’s a few things TG has experienced time FINDING APPYNESS
when and where is the practice, what are you and time again in band practices with the way
Four apps that can get
going to focus on… even what key a song is in. musicians interact; some are great, and some
A practice should be a place where you learn to are not. Firstly, timeliness. We don’t want to
your practices closer
play songs together, not how to play them full sound like your boss at work here but if to perfection
stop. If you’re stood in a hired room learning a someone in the band keeps turning up half an Whatsapp
song from scratch, it’s not the best use of time. hour late, it holds up every member of the band this is presuming everyone in the band has 47
So if you can get comfortable with a new song for that time. And they certainly can’t complain a smartphone with a data connection (it’s
or idea by the writer sending out a rough demo if the band just starts without them, leaving 2017!), but forming a group on Whatsapp
is a great way of keeping in contact about
to the band beforehand, or everyone learning them trailing behind. Taking regular breaks is availability for practices and gigs, plus
the song you’re covering before practice, it also important – nobody wants to break the passing ideas back and forth ahead of
makes a massive difference. Suggesting a song creative flow if you’re on to something good but meetings – including audio memo clips.
to learn on the hoof might work for some, but it a rest for water and food is always important. [Link]
isn’t the best way for most. Having a plan of The other common gripe in the practice
GooGle hanGouts
action will reduce the risk of frustration later. space can be playing over people when they’re available for phone, tablet or desktop,
trying to tune or talk to each other. We’re not this is a more flexible way of instant
track it just looking at drummers, guitarists can be messaging. and Google’s suite also
As a guitarist it’s easy to think of recording as equally as guilty for this. We all love to play but includes Drive for sending bigger sound
files back and forth – a whole practice
something you do when you have a finished be aware of what’s going on around you. Lastly, session recording, for example.
product. But even if it’s just on a smartphone, we need to talk money. Split the cost of hiring [Link]
recording your practices can be useful for a few practice or recording space and don’t be the one
reasons. Firstly, it’s sometimes hard to get a who ‘forgets their wallet’. Little things can sow DooDle
the idea of Doodle is to simplify scheduling
handle on what the band sounds like from your seeds of discontent in the longer term and the
and one member of tG’s team finds it very
perspective in the confines of a playing space. band that plays together should pay together. useful for finding out when the members
Listening back to a recording allows you to hear of their covers band are available for gigs
the bigger picture of the composition. It will and practices. Finding times everyone can
Don’t be that guy who
also help you to hone in on what is going right do can be one of the biggest challenges
plays over people talking
and Doodle is a very easy and visually
and wrong. And this is where you need to be simple way of approaching it.
tactful as well as supportive; if someone is [Link]
playing the wrong note or going into a section
too early, try and communicate that in a helpful tRello
this is one for the musicians who really
way, ie without saying ‘you’re messing up’. We
want to ramp up the organisation and
all mishear and make mistakes. Likewise, if creativity between sessions. the idea
someone is really contributing to the success of of trello is an app that helps teams to
a song with their approach to a part – tell them. collaborate and this can fit many different
Praise is something we all want as musicians, uses from the workplace to the practice
space. You can share attachments, create
but it sometimes gets lost in band interactions.
checklists and assign tasks to keep a log
Positive feedback can be hugely rewarding and of your practices, and life as a band.
important for members to feel like they’re [Link]
contributing and valued by their bandmates.

february 2017 ToTal GuiTar

 shape up your Words Charlie Griffiths
Photography Adam Gasson

playing
& Simon Lees

We’re only a few weeks

into 2017 and while
the new year still feels
fresh, how are those
resolutions doing? If you
promised yourself that this
would be the year you
48
kicked those bad guitar
habits and became the
player you wanted to be,
don’t worry – TG is here to
help! Whatever your level,
this feature is guaranteed
to expand your guitar
horizons – from mastering
the basics, including
chords, progressions and
rhythm guitar tricks, to
tackling more advanced
skills such as solos,
technical improvements
and even the thorny
subject of modes. There’s
something for everyone,
so let’s get started!

ToTal GuiTar february 2017

 shape up your playing

go beyond basic chords

Take the next step up from basic major and minor shapes and discover new sounds with three
kinds of ‘7th’ chord. Don’t worry about the chord names for now – just listen to how they sound…
Hear it!
The BeaTles i saW her sTanding There
Tense, bright, edgy sound: dominant 7 chords Much of this Lennon/McCartney rocker uses E7, A7 and B7 chords

TRACK 23
x o x x o o o o o o o o x o o o

1 1 1 1

2 2 3 2 2 2 3

3 4 3

C7 D7 E7 G7 A7
These chords are based on C, D, E, G and A major shapes, which you probably already know. Those major chords have a ‘happy’ vibe, which is great for bright, upbeat music, but they
can at times sound a bit too basic. The edgier sound of these chords is ideal for blues, blues-rock and funk.

Hear it!
Marvin gaye WhaT’s gOing On
Mellow, relaxed sound: major 7 chords The opening bars of Gaye’s classic soul hit chop away on Emaj7
49
TRACK 24
x o o o x x o o o o x o o

1 2 1

2 1 1 1 3 2 3

Cmaj7 Dmaj7 Emaj7 Amaj7

Without getting too deep into music theory, major 7th chords are created by adding an extra note to a basic major shape – and you only need to make a simple fingering change for
each one. The laid back sound makes these chords perfect for smooth jazz or a ballad in any style of music.

Hear it!
Oasis WOnderWall
Tense, dark, moody sound: minor 7 chords Noel Gallagher’s opening acoustic chord is an open position Em7

x x o o o o x o o o TRACK 25

1 1 1

2 2 3 2

4
Photography: Des Willie/redferns

Dm7 Em7 Am7

Just three chords this time because open Gm7 and Cm7 shapes are rarely used, leaving just Dm7, Em7 and Am7.
Practise by strumming each chord, then picking each string to check they are all ringing clearly. Minor 7th
chords are used in most styles of music as alternatives to minor chords – generally with a lighter feel.
 Cover feature
easy fingerpicking patterns
Embellish and enhance your favourite chords with TG’s simple but effective fingerstyle patterns

Whether you’re into acoustic folk or Mark Knopfler and Jeff Beck style fingerstyle lead, it Obviously your thumb picks down and your fingers move up. Simple enough, but your
is best to use your thumb for the bass strings and your first, second and third fingers for thumb and fingers may collide. Classical guitarists are taught to keep their thumb to one
each of the treble strings. side to avoid this problem and we recommend it, too.

50 getting started
TRACK 26
q.= 60
Who ate all the PIMaC?
# œ.
Dmaj 7

& # 68 .. œ œ ..
If you’Re usIng TAbs you’ll need To
œ KnoW WhICh fIngeRs To PICK WITh
let ring throughout Some guitar tabs include fingerstyle instructions in

. .
2
‘PIMAC’ form. These are traditional music terms telling
T
. .
2 you which finger to pick with…
A 0
2
1. P (pulgar) – Thumb
B
p i m a
2. I (indicio) – First finger
3. M (medular) – Second finger
This easy pattern will help you get used to using your thumb and fingers to pick the 4. A (anular) – Third finger
strings. Hold down the chord and pick the top four strings with thumb, first, second
and finally third fingers. 5. C (chiquito) – Fourth finger

Moving to other strings

TRACK 27

##6 Amaj 7
ClassICal GuITarIsTs are
& # 8 .. œ œ œ
œ œ ..
œ TauGhT To keeP TheIr Thumb To
let ring throughout

T . . one sIde To avoId your Thumb

. .
2
A 1 1

B 0
2 2
and fInGers CollIdInG. and We
reCommend IT, Too
p i m a i m

Here, to keep things interesting, we’ve moved everything down one string and we’re
using Amaj7. Each finger is responsible for picking its own string. Try these patterns with
other chords you know.

ToTal GuiTar february 2017

 shape up your playing

essential chord progressions

Develop your newly-learned 7th chords into a handful of must-know popular
chord progressions and you’ll soon be writing your own songs

a
great way to get started writing a song is recorded music, so there’s no reason you uncharted territory. We’ve tabbed out three
to use a well-known chord progression. shouldn’t use one. It might feel like cheating at chord progressions for you to try out. Of course,
Certain progressions have been used first, but, once you get started, inspiration will experimentation is the name of the game, so
thousands of times throughout the history of strike and you can head off into more creative use these as springboards for your own ideas.

Blues and rock standard

When In RoMe!
q = 90
TRACK 28 Those ConfusIng ChoRd PRogRessIon

# 4 nœ œ b œœœ œœ œœ b œœœ
G7 C7 D7 C7

œœœ œœœ ..
numbeRs exPlAIned…
& 4 .. œœœ œœ œ œœ œœ œœ œ œœ
œœ œœœ œ. . . œ.
Sometimes chord progressions are referred to by

. . . . numbers and this can make talking about music sound

complicated. It actually just means that chords are

T . 00
1 1 0 0 2 2 0 0
. built on a certain note of the major scale. For example,

. 02 .
0 1 1 1 1 1 1
G-C-D is a ‘I-IV-V’ (one-four-five) progression in the
A 0
0
3
2
3
2
2
0
2
0
3
2
3
2
B 3
2
3
3 3 3 3 key of G because G, C and D are the first, fourth and fifth
notes of the G major scale (G A B C D E F#). These chords
are usually written in Roman numerals, and if the chord
This progression is the classic I-IV-V chord run at the heart of countless rock and blues is minor it’s usually written IIm, VIm and so on.
songs – and many other styles too. Try the same idea with A7-D7-E7 or E7-A7-B7.

51
50s sound
q =70 TRACK 29
Cmaj 7 Am7 Dm7 G7

œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ .
& 44 .. œœœ œœ œœ œœ œœ œœ œœ œœ œ œ œœ.
œ œ œ œ œœ œœœ œœœ œœœ œœœ
T . 0 0 0 0 0 0 1 1 1 1 1 1
.
. .
0 0 1 1 1 1 1 1 0 0 0 0
A 0
2
0
2
0
2
0
2
0
2
0
2
2
0
2
0
0
0
0
0
0
0
0
0 A few simple chord
B
⇥ ⇥ ⇥ ⇥ ⇥≤
3 3 0 0 0 0 2 2 2 2 progressions can
3 3 3 3
be the bedrock of
many great songs
This progression gained popularity in the 50s and 60s, appearing in many pop songs and
jazz standards of the time. You can use it in other styles though, so jam around the
progression and make sure to add your own ideas.

Minor blues
TRACK 30
q =70
Am7 Dm7 Am7 E7

œœ œœ œœ œœ œœœ
& 44 .. œœœ œœœ œœœ
œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ .
œœ œœ œœ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ # œ œœ œœ œœ .
œœœ œœ œ œœœ œœœ œ œ œ œ œ œ œœœ œ
œ
œ
œ
œ
œ
T . 0 0 0 0 0 1 1 1 1 1 0 0 0 0 0 0 0 0
.
. .
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 0 0 0
A 0
2
0
2
0
2
0
2
0
2
2
0
2
0
2
0
2
0
2
0
0
2
0
2
0
2
0
2
0
2
1
0
1
0
1
0
B
⇥⇥≤ ≤⇥
0 0 0 0 0 0 0 0 0 0 2 2 2
0 0 0
cont. sim.

This sequence is essentially a I-IV-V, but with two minor chords and one dominant 7th.
Try using Em7 instead of E7 – you’ll should hear how Em7 still works but the E7 ‘pulls’ the
sequence back to the start more strongly.
 Cover feature
Jam-session blues
Soloing over a 12-bar chord progreSSion
Whether you’re a seasoned improviser or a jam-session novice, you can always refresh those
12-bar blues licks. TG gets jamming over the staple progression…

start with a scale shape 12-baR blues ChoRd TRACK 35

PRogRessIon

1
The minor pentatonic scale is a
fantastic scale to jam over a 12-bar | A7 / / / | / / / / | / / / / | / / / / |
blues with, but by adding a few more
4
1 1 1 1 1 1
notes you can infuse your blues with the
slick sounds of virtuoso blues-meisters
| d7 / / / | / / / / | A7 / / / | / / / / |
2 2
such as Joe Bonamassa, Robben Ford
and more. Practise the basic minor
pentatonic scale first (black dots are
| e7 / / / | d7 / / / | A7 / / / | / / e7 / ||
3 3 3 3 root notes; red dots are other scale
This is the progression you’ll be playing over. It’s the most common
notes). When you get a feel for this,
4 4 4 4 form of the 12-bar blues, but it is common in music to see the
try adding in the extra non-scale notes
that we’ve highlighted in green. arrangement of chords moved about a bit. Notice that there are only
A minor pentatonic scale three chords throughout: A7, D7 and E7 (a I-IV-V in the key of A).
with extra blues notes We’ve provided a backing track for you to jam over.

52
The opener (i chord) The change (iv chord) 34-35
TRACK 31 TRACK 32
q.=100

œ. œ œ œ ~~~~
# # 12 ~~~~ # # # 12 . œ j œ n œ œ œ ‰ œj œ .
A7 D7
j

& # 8 .. nœ #œ œ œ. .. ..
nœ
& 8 . œ J
~~~~ ~~~~
. . . .
BU
5
T T
. . . .
8 (10) 8 5 10
A 5 6
7 A 4 7
5 7 5
7
B B
This lick is played over an A7 chord. Solos tend to sound much better if you can land on a Although the chord has changed to D7 here, the A minor pentatonic notes all still work.
note from the backing chords, so, in this case, we’re adding a 6th fret C# note from the Make a feature of the chord change by adding the major 6 interval, which is on the 4th
A7 – all the rest of the notes come from the minor pentatonic scale. fret of the fourth string. This is a fantastic note to add when playing over a IV chord.

The peak (v chord) The turnaround-35

TRACK 33 TRACK 34

œ nœ
# # # 12 . œj œ œ œ n œ œ # œ n œ n œ œ~~~~œ . # # # 12 . . œ œ # œ œ n œ œ œ n œ # œ ~~ j ‰ ~~~~
A7 E7
E7

& 8 . .. & 8 .Œ œ œ œj ˙ . ..
~~~~
let ring
~~ ~~~~
. 5
. T . 9 8 7
.
. .
T BU

. .
5 8 5
A 7 (9) 8 7 5 7
A 9 9 8 8 7 7 5 6
7
B B 7 7

The V chord is the point at which the 12-bar blues is at it’s most tense, so why not make The final two bars of a 12-bar blues are known as a ‘turnaround’. This is the point that we
the most of the tension and make the solo even more dramatic? The b 5th interval prepare to go back to the start of the loop and start the next phase of the solo. Most
sounds great over a 12-bar blues, especially if you save it for the V chord. blues players have a collection of ‘turnaround’ licks that round off their solos.

ToTal GuiTar february 2017

 Tg’S
10-poiNT LEAd
GuiTAr ChALLENGE
Take the less is more approach to guitar practice and repeat a selection of easy lead lines
designed to focus your muscle memory and improve your soloing skills

h
ere, we’ve written out 10 bars of music track where you’ll hear each phrase played Simple! And remember, it doesn’t matter
for you. Each bar contains a simple twice before the lead guitar drops out, leaving what kind of music you’re into – these
lead guitar phrase that will test you on space for you to repeat the lick then move on techniques apply to nearly all styles of
one specific technique. Listen to the backing to the next one: listen, repeat, move on. lead guitar.

53

1 Basic Bend
Use three fingers for
strength. Keep your fingers
2 UnisOn Bend
Two notes should sound
at the same time here: the
3 Pre-Bend and release
Start by bending the
string up from he 8th fret to
4 haMMer-Ons
Play the 5th fret with
your first finger and pick the
5 PUll-Offs
Start with your fourth
finger on the 8th fret and pick
rigid and turn your wrist to string bend and the second the 10th fret. Then pick the string. Hammer on with your the string. Pull off to sound
bend the string. note on the second string. string and release your bend. remaining fingers. notes at lower frets.

TRACK 36
q = 80

œ œ. œ œ œ. œœœœ
œ œœœœ œ œ.
1) Basic bend 2) Unison bend 3) Pre-bend and release 4) Hammer-ons 5) Pull-offs

4 ˙˙
&4 J Ó Ó Ó Ó Ó
j
œ

PB 8
BU BD
5 7 8 8 7 5
T 8 (10) 5 (10) (8) 5 6 8 8 6 5
A 7 (9)

B BU

œ œ œ œ œ œ œ~~~~~ œ~~~~~ œ~~~~~ ~~~~~ ~~~~~ œ

œœœ œœœ
œ — —
6) Legato 7) Fast vibrato 8) Wide vibrato 9) Alternate picking 10) Pinched harmonics

& Ó Ó œ œ Ó Ó Ó
~~~~~ ~~~~~ 5~~~~~ ~~~~~ ~~~~~
6
PH

8 5 7 8 7 5 8 8 8 10 8 10
T 8 10 8 10
A 5
7
5
7
B

6 legaTO
Keep your fingers
squarely in line with the
7 fasT viBraTO
Make those short, rapid
string bends as fast as you
8 Wide viBraTO
Grip the strings firmly and
turn your wrist in a wide motion
9 alTernaTe Picking
Pick each string down-up,
before moving to the next
10 Pinched
harMOnics
Play a downstroke and brush
frets for this a mixture of can for a bluesy BB King-style for a slow but dramatic rock string. You’ll need even, steady your thumb on the string 24
hammer-ons and pull-offs. vibrato sound. style vibrato. timing in both hands. frets above the fretted note.

february 2017 ToTal GuiTar

 Cover feature
arachno-killer fretboard exercise
Played at speed, the fearsome ‘spider’ lick is a challenging two-hand workout. Slow it down and
you have a great finger exercise for any guitarist…

Spread your fingers out so each plays one fret. It’s a Play 1st fret, 2nd fret, 3rd fret, 4th fret on the sixth Once you’ve played the pattern on the sixth string, move
one-finger-per-fret shape – and you can move it around string. Either use hammer-ons, or, for a challenge, pick up through the other strings, then back down to the sixth
the fretboard as you need to. every note ‘down-up’ style. string to start again.

FIngeR PeRMutatIons… the saMe exeRCIse, TRACK 37

but In a dIFFeRent oRdeR!

54 You’ve got four fingers, which means there are a whole bunch of different ways you can order the notes you play
(often referred to as ‘permutations’). Try these, and see if you can work out some more:

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

We’ve played ‘1 2 3 4’ and ‘4 3 2 1’ finger patterns on our audio track, then dropped the guitar out for you to join in with any permutation you
choose. We recommend playing at half-speed (or even slower) at first.

time signatures explained

Master the basics of rhythm and timing with TG’s guide to the most
commonly-used time signatures in music

g
Photography: Chris Walter/WireImage Trinity Mirror / Mirrorpix / alamy Stock Photo

uitar tabs always have a

‘time signature’ at the 3/4 time – classic waltz TRACK 38
start. If you find yourself
glazing over and ignoring it then q =120

#3 œœ œœ
cOUnT 1 – 2 – 3
G5

& 4 .. ..
you’re missing out on crucial eMPhasise Beat 1

œœ œœ
information about the timing and rhyThM Three quarter notes

œ
feel of the music you’re about to per bar
play. We’ve tabbed out riffs in four characTer Also known as a
‘waltz’, you can expect a lively

. .
time signatures for you to try out. ‘bounce’ to music in 3/4 time,
3 3
T
. .
All you have to do is count in time 3 3 depending on the tempo you
with the music and emphasise the A 0
0
0
0 play at, of course.
relevant rhythmic pulses. B 3
hear iT The beatles
norwegian Wood

ToTal GuiTar february 2017

 shape up your playing

4/4 time – stock rock ‘n’ pop TRACK 39

q =100 cOUnT 1 – 2 – 3 – 4

#4
1/4

œ œ
& 4 .. ..
Em Play 4 times
eMPhasise Beat 1

œ. œ
rhyThM Four quarter notes

œ
per bar

œ. œ.
characTer With its steady
feel, 4/4 is the most common

. .
time signature in music.
T
. .
A typical drumbeat places the
A 9 9 1/4 kick on beats 1 and 3, with a
B 7 7 snare strike on beats 2 and 4.

⇥ ⇥ ⇥ ⇥ ≤
0 0 3 hear iT AC/dC back In black

6/8 time – sweet loving time TRACK 40

q.= 80 cOUnT 1 & a 2 & a ReadIng

#6 G5
œ œ
tIMe… What
& 8 .. ..
eMPhasise Beat 1 and beat 2

œ œ Is a tIMe
rhyThM Six eighth notes

œ
per bar

œ characTer Often played sIgnatuRe?

slowly in ballads and love songs,

T .
let ring throughout
3
.
you may pick up on a gentle
1 The top number tells you

. .
3 swaying feel in 6/8 time. It’s how many beats there
A 0
0 0 often easier to just count the are in each bar of music.
B ‘1’ and ‘2’ pulses.

⇥ ≤ ⇥ ≤ ⇥ ≤ 2
3 hear iT Rem everybody hurts The bottom number
tells you the kind of
note: ‘4’ is a quarter note,
‘8’ is an eighth note. 55
12/8 time – shuffling blues-rock TRACK 41
3 So, for example, 6/8
time has six eighth
notes in every bar of music.
q.= 80 cOUnT 1 & a 2 & a 3 & a 4 & a

j j j
4/4 has four quarter notes.
G5 D5 Cadd 9
#
eMPhasise Beat 1, beat 2,

& 12 œ
8 .. œœ
œœ œœ œœ œœ œœ œœ .
œœ œ œ .
beat 3 and beat 4

œ œ œ œœ œœ
rhyThM 12 eighth notes

œ œ
per bar
characTer With four
rhythmic pulses, there’s a kind

. .
of 4/4 feel to 12/8 time, just
T
. .
3 3 3 3 3 3 3 with every beat having a ‘1 & a’
A 0
0
0
0
2
0
2
0
0
2
0
2
0
2 triplet feel.
B 3 3 3 2 0

⇥ ≤ ⇥ ≤ ⇥ ≤ ⇥ ≤
hear iT Wolfmother Woman
3 3

Whether its ‘back In

black’ and its 4/4 or

If you IGnore The

‘Woman’ in 12/8,
timing is everything

TIme sIGnaTure,
you’re mIssInG
ouT on CruCIal
InformaTIon
abouT The musIC

february 2017 ToTal GuiTar

 Cover feature

10
1 Thinking outside a box
songwriting chord tricks
A few cool embellishments and creative ideas can elevate those
everyday chord progressions. TG shows you the tricks of the pros…

2 hammer down the funk

TRACK 42 TRACK 43
B b/F G 7
q =100
q = 80
G7 C/G

### 4 . œ
Asus 4 Asus 2 A

# 4 œœ .. œœ ¿ ¿ œœ œ œ
A

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ .. œœ ¿¿ ¿¿ ¿¿ ¿¿ ..
& 4 . œœ & 4 .. n œœœ ... œœ ¿¿ ¿¿ œ b œœ n œœ
œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ. œœ
œ ¿ ¿ ¿ ¿

T . . . ¿¿¿ ¿¿¿ 55 ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ .

. .
3 3
2 2 2 3 3 3 0 2 2 2 2
T
. .
3 3 3 3 3
A 2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2 A 4 4 3 4 4
B 3 3 5 3 3 3

⇥ ⇥ ≤ ⇥ ⇥ ≤ ⇥ ⇥ ≤ ⇥ ≤
0 0 0 0 0 0 0 0 0 0 0
B
⇥ ≤ ⇥ ≤ ⇥ ⇥ ≤ ≤ ⇥ ≤ ⇥ ≤
5 5
3 3

Change the major 3rd of an open A chord to either a 4th or a 2nd to add movement, but This funky idea is a sure-fire way of adding some interest to dominant 7-style barre
without changing the sound of the chord too much. Great for folk and pop. chords. The move to the 4th fret as you return to G7 on beat 3 has a great vibe.

3 Winging it 4 easy open-chord arpeggios

56 TRACK 45
TRACK 44
q = 90 q.= 80

œ. œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœ .
Fadd 9 F F 6 F Fsus 4 F C Cadd 9 Cmaj 7

& b 44 .. œœœ ...

F

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ . & 12
8 .. œ œ œ œ œ œ œ œ œ œ œ ..
œ
. 112 .
let ring throughout

. .
1 1 1 1 1 3 1 1 1 1 1 1 1
T
.3 .
1 1 1 1 1 1 1 1 1 3 1 1 1
T
.3 .
1 3 0
A 2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
3
3
2
3 A 0 0 0 0
B 2 2 2 2

⇥ ≤ ⇥ ≤ ⇥ ≤
B

This is a Jimi Hendrix-style embellishment to a basic F chord. You’ll be playing the chord Transform everyday chords such as C major by picking one note at a time. It’s ideal for a
with your first three fingers, which leaves your fourth finger to play several new notes. laid back indie vibe and you can discover new melodies by adding spare fingers.

Jimi was a master at

embellishing chords 5 Metalli-chords
to make them sound
more interesting TRACK 46

q =100

b
& b b 44 .. œ
C5 C 5aug C 5dim C5

œ œ #œ œ bœ œ nœ ..
œ œ œ œ œ œ œ œ
Photography: ITV, everett Collection/ reX/Shutterstock

PM PM PM

T . .
A
B
. 5
3
5
3
5
3
6
3
6
3
4
3
4
3
5
3
.

The powerchord is the most common sound in heavy metal, but you can easily mix things
up by either sharpening or flattening the 5th (to give C5aug and C5dim chords here).

ToTal GuiTar february 2017

 shape up your playing

oPen Chords Take on neW

CharaCTer If you move
Them To oTher freTs
6 not long ’til summers
TRACK 47

q.=100
# 12
& 8 .. œ œ œ œ œ œ
..
œ œ œ œ œ œ
. .
PMthroughout
T
A
B
. 2 2 0 2 2 2
4
0
4
2
.
The way you play 0 0
notes can be as
important as what
ones you play It’s not just about the notes you choose, it’s about the textures you play. Here, we’re
playing an Em chord and palm-muting to give a plucky, percussive sound to each note.

7 down the slide, up the slide 8 hard-rock heaven

TRACK 48 TRACK 49 57
q.= 80

j j j
q =100
Aadd 9/E

# # # 12 œ
E B/E

œœ œœ œœ œœ œœœœ œœœœ #4
œœœœœ œœœœœ ..
E5

⇤ œ œ œ œ œ œ œ
N.C.

& # 8 .. œœœ œ œ œ œ & 4 .. œ . œœ

.
œ œ œ œ .
œ œœ œœ œœ œœ œ œ œ.
œ. œ
œ œ œ œ œ œ œ œ œ
T . 001 0 0 0 0 0 0 0
. T . .
. 22 . . 22 .
0 0 0 0 0 0 0 3
A 1
2
1
2
1
2
6
7
6
7
8
9
8
9 A 2
0 2 4 4 2 0
2 0
B 2 2 2 7 7 9 9 B 2 2 0

⇥ ⇥ ⇥ ≤ ⇥ ⇥ ≤ ≤ ⇥ ⇥ ⇥ ⇥ ⇥
0 0 0 0 0 0 0 0 0 0

Open chords take on new character if you move them to other frets – the relationships Try mixing chords and scales to make rock riffs. This one starts with an E5 powerchord,
between fretted notes and open strings change as you move, giving unusual sounds. followed by an E minor pentatonic phrase played in open position.

9 step by step root notes 10 southern groove

TRACK 50 TRACK 51
q =70
q.= 60 G5

œ œ œ œ œ œ œ œ .. # 4 œ. œœ œœ œœ œœ œ
& 12
Am(maj 7) Am7 Am6

8 .. œ & 4 .. œœ .. .
Am

#œ nœ #œ œ œ œ œ œ œœ œ œ œ œ œ .
œ. œ œ œ œ
. . . .
let ring throughout

T
. .
T
.7 .
5 5 5 5 3 3 3 3 3
A 5
6
5
5
5
4
5
A 0
0
0
0
0
0
0
0
0
0
0 2 0
2
0
2 0
B B
⇥ ≤ ⇥ ⇥ ≤ ⇥ ⇥ ≤ ⇥ ⇥
2 0
3 3 3 3 3

Try moving the root note of a chord to create new sounds. It’s a common idea in Latin Here’s another way of mixing chords and scales. The open G5 chord is embellished with
music and Jimmy Page used a similar trick in the opening bars of Stairway To Heaven. the G major pentatonic scale for a bit of a Sweet Home Alabama style groove.

february 2017 ToTal GuiTar

Cover feature
in the mood for modes
mood. Learn the scale shapes and T
Every mode has its own musical he subject of modes crops up time
and again among guitarists wishing
but if you know the vibe you’re after then
you can be sure that you’ll get pretty close.
to inject new flavours into their solos. We’ve tabbed out a lick per mode, starting
The main challenge is learning a bunch of with the brightest sounding mode, the
you too can inject your solos with new scale shapes. However, this can be Lydian, and gradually working towards the
made easier by associating each mode with a darkest mode of all, the Locrian. Generally,
feeling and power, just like the musical mood – sure, you may find yourself the more flattened intervals a mode has, the

legends of lead guitar having to look up the scale shapes at first, darker and more tense it will sound.

lydian mode lick

TRACK 52
q = 80
7 # 11
# # # 4 œj œ œ # œ œ œ
Amaj
~~~~
& 4 œ œ œ œ œ œ œ œ #œ œ #œ œ œ ˙.
~~~~ 4
1 1 1 1 1

T 5 7 5 4 2 2 2
A 6 4
7 6 4 4 6 4
B 7 7 6 4 6 7 6 3 3 3

4 4 4 4 4
mood Bright but dissonant, left-field
InTeRvAls 1 2 3 #4 5 6 7
The #4 (aka #11) interval gives this mode its bright but slightly clashing sound. Joe
Satriani uses this mode extensively so we’re aping his playing style here in our lick. A Lydian mode

ionian mode lick

TRACK 53

##4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ ~~~~
A D A D

& # 4 œœ
œ œ œ ˙.
~~~~ 4
1 1 1 1

T 5 5 2 2 2 2
A 7
6 7 6 7 7 6 4 6 6 4
7
4 6 4
7
B 7 3 3

4 4 4 4 4 4
mood Bright, happy, steady
InTeRvAls 1 2 3 4 5 6 7
The Ionian mode is another name for the major scale, so you may already know it. Its
happy sound is perfect for our indie-pop style lick or general bright major-key soloing. A Ionian mode

Mixolydian mode lick

TRACK 54

##4 œ
A7
œ nœ œ D A7
~~~~~ D

& # 4
œ
j
œ œ œ œ nœ œ œ œ œ œ œ ˙.
BU
5
~~~~~ 4
1 1 1

T 5 (10) 8 5 2 2 2 1 1
A 7
7
6
7 5
B 7 5 4 5 7
5
3

4 4 4 4 3 3
mood Laid back but bluesy
InTeRvAls 1 2 3 4 5 6 b7 4
The Mixolydian mode is a great alternative to the minor pentatonic scale when you’re soloing over a 12-bar blues or dominant 7th chords so keep
it in mind for blues and blues-rock jams. BB King’s solo on U2’s When Love Comes To Town is a great example to listen to. A Mixolydian mode

ToTal GuiTar february 2017

 shape up your playing

dorian mode lick

œ œ œ œ jœ
TRACK 55
Am7 Am6
j
œ # œ œ œ œ œ œj œ œ œ œ œ œ ~~~~
4
œ

&4 œ œ #œ
œ ˙.
~~~~
1 1
4
BU BD BU BD
7 (8) (7) 5 1 1 2 2 1 1
T 8 5 7 (8) (7) 5 BU BD

A 7 5 7 (9) (7) 5
7
7 5
7 5 4
B 5 3 3 4 4 3 3
mood Bittersweet, jazzy, cool 4 4 4
InTeRvAls 1 2 b 3 4 5 6 b7
The Dorian is a minor mode (thanks to its minor 3rd), but the presence of the major 6th interval gives it a contrasting sweeter quality that’s ideal for A Dorian mode
jazz, funk and fusion sounds. We’ve taken our inspiration from Toto guitarist Steve Lukather, in particular his more progressive solo work.

aeolian mode lick

œ œ œ œ œ œ œ œ œ œ œ œj ˙˙~~~~~~~~~~~~~
TRACK 56
A5
~~~~~~~ ..
A 5aug

4 œ œ œ œ œ œ œ œ œ œ
&4 œ œ œ
j

~~~~~~~ ~~~~~~~~~~~~~
6 1
6 6 4
8 5 7 8 7 5 5 5 1 1 2 2 1 1
T 8 5 6 8 6 5 5 8 (10)
A 7 4 5 7 5 4
7 5 7
5 BU 2
B 3 3 4 4 3
mood Dark, sad, brooding
4 4 4 4
InTeRvAls 1 2 b 3 4 5 b 6 b7
The brooding Aeolian mode is suitable for any style of music when you need a mournful sound. It’s especially good for a classic metal sound, with bands
A Aeolian mode 59
such as Judas Priest and Deep Purple using the scale extensively. This mode contains the five notes of the minor pentatonic – so you can use that, too.

Phrygian mode lick

œ œ œ. œ. œ œ œ œ œ. œ. œ. . . .
Bb Bb
TRACK 57
Am Am

& 44
œ œ bœ œ bœ œ œ œ œ œ Œ
3
3 1 1 1 1 1 1
5
5 5 5 5 5
T 8 6 5 8 6 5 2 2 2
A 7 5
8 7 8 7 5 7
B 3 3 3
4 4 4 4 4
mood Dark, aggressive, tense
InTeRvAls 1 b 2 b 3 4 5 b 6 b7
The Phrygian mode has a striking b 2 interval, which can be used to create a Latin flavour or for the thrash sound of bands such as Metallica and Slayer.
Whatever style you choose, make sure to switch between the root note and the b 2 to really bring out the Phrygian character. A Phrygian mode

locrian mode lick

b
~~~~~~
TRACK 58
œ bœ
œ œ œ œ œ œ œ œ œ œ œ
Am7 5

& 44 bœ œ œ bœ œ ˙.

5
~~~~~~ 5
1 1 1 1 1

T 2 2 2 2
A 8 5 7 8 7 5 7 5
7
5
7 5 5 7 8 7
B 6 3 3
4 4 4 4 4 4
mood Dissonant, challenging, unusual
InTeRvAls 1 b 2 b 3 4 b 5 b 6 b7
The Locrian mode is the darkest, strangest one of the bunch, sounding highly dissonant in most musical scenarios. Our fusion line is inspired by Scott
Henderson and focuses on the 1 b 3 4 b 5 and b7 intervals – all notes that can be found in the blues scale, too. We’d just opt for the blues scale! A Locrian mode

february 2017 ToTal GuiTar

 ja m
T R ac k
jam track play guitar with a band! Check out Bo Diddley’s

rhythm
upbeat and rhythmic
blues playing

& blues
Get bluesy and get groovy with TG’s backing
track inspired by R&B great Bo Diddley

I
f asked to describe the essential bands. Of course, Bo Diddley is best
sound of electric blues, many known for his signature rhythm
guitarists would talk about Eric figure, a syncopated groove that has
Clapton and Peter Green’s since been adapted in songs like Buddy
phrasing, John Lee Hooker’s groove, Holly’s Not Fade Away, Please Go Home
BB King’s vibrato, Buddy Guy’s biting by the Rolling Stones, Mr Brownstone
attack, and so on. Well, there’s a by Guns N’ Roses, Screwdriver by The
rhythmic side to blues, too. By the White Stripes and many more.
early 50s the great Bo Diddley was His rhythm features in this month’s
playing live in clubs, turning up the backing track. It’s easy to follow the
tempo on the blues with a highly chords and jam along with your own
rhythmic playing style that would rhythm ideas, alternatively, why not
influence a slew of ‘British invasion’ try out some bluesy lead lines.
60

chords scales
M I
ost of these barre chords use the f you want to take the simple approach to jamming over
same shape, so it’s just a matter the backing track then use the G blues scale throughout.
of moving around the fretboard. Switch to G major pentatonic to try out the staple blues
1 1 1
It’s quite a funky piece of music, so, if the trick of mixing minor and major scales. The C minor
constant barre chords become a strain, try 2 pentatonic scale has a bluesy vibe over the C major chords.
out some three- or four-string ‘partial’
3 4
chords instead of playing the full shapes.
G
1 1 1 1 1 1 1 1 1
x x x 3 2
2 2 2 2
1 2 1 1 1 1 1 1
7 8
3 3 3 3
3 2 2
4 4 4 4 4 4 4 4 4
3 4 3 4 Guitars and backing: James Uings Photography: Lynn Goldsmith/Corbis/VCG via Getty Images

G blues scale G major pentatonic scale

G F C

1 1 1 1 1 1
8
1 1 1 1 1 1 1 1 1
6 4 10
2 2 2 3 3 3
3 4 3 4 3 4 4 4 4

C minor pentatonic scale

Bb Ab D

ToTal GuiTar february 2017

backing track (track 59)
This song comes with a backing track on your CD. Simply
insert the disc in your player, press play and jam along,
guitaraoke style!
jam track / rhythm & blues

jam track
Twangin’ On My
Didd ley Bo w
Cheat sheet
tempo: 100bpm
time signature: 4/4
Key/scale: g major /
g blues scale

Intro / brIdge

||: G / F / | G / / / :|| x 4
61

Verse

||: G / / / | / / / / | / / / / | / / / / :|| x 4
chorus

| C / / / | / / / Bb Ab | G / / / | / / / / |
| C / / / | / / / Bb Ab | G / / / | / / / / |
| D / / / | C / / / | G / / / | / / / / ||

Have a look at the chord chart and think about how you’ll approach jamming over the track. The F chord only
appears in the intro, so perhaps play some lead lines using notes from the F. The verse chops away on a G
chord, with no changes – so you may need to save your best rhythmic ideas for this section.

february 2017 ToTal GuiTar

 n et
l ic k s

62

Photography: Waring abbott/Getty Images

ToTal GuiTar february 2017

 video
[Link]/
tg289video
Three funk songs

tg’s online Video lessons

Three funk songs

Get your groove on and learn to play three classic funk guitar riffs with
tG’s easy video lessons

J
ust like rock and blues, funk is a broad disco camp, Nile’s influence spans 40 years, of bands such as Extreme and the Red Hot Chili
style that caters to a mix of tastes. with a list of production credits including David Peppers, and the soul stylings of Sly And The
Perhaps the best-known funk player is Bowie, Duran Duran, Kylie Minogue, Daft Punk, Family Stone and James Brown all offer
Chic’s Nile Rodgers, whose finely tuned Pharrell Williams and many more. something different on the funk spectrum.
songwriting chops and guitar hooks were so If that’s just way too much pop for you, the This month we’re learning to play three of our
sharp in the 70s and 80s he even named his psychedelic sounds of George Clinton’s funky favourites. Guilty pleasures? Maybe, but
Strat ‘The Hitmaker’. Firmly in the pop and Funkadelic, the rock and metal-tinged groove they’re all great fun to play!

63

Wild Cherry – sTevie Wonder ChiC – Good TiMes

Play ThaT – suPersTiTion There are four bars of music to learn here. In

Funky MusiC Stevie’s cool funk track is in E b, but we’re

bar 1 you’ll be playing an Em7 chord with a
‘down-down-up’ pattern. Sound the chord
A one-bar E minor pentatonic phrase at the staying in standard. The clavinet part on the first downstroke, then lift slightly so
5th and 7th frets on the lowest two strings transfers easily to the guitar and we’re using the next two pick strokes are on dead
forms much of the guitar riff in this funk the E minor pentatonic scale again, so it’s strings. This is a relatively simple groove,
classic. You’ll need to mute the open strings also based around the 5th and 7th frets. It’s but if you struggle, stop and try repeating it
out slightly to give an abrupt staccato feel. easy to get the two riffs confused, although until it starts to feel natural. Beat 4 of bar 1
It’s played a 24 times before you change Superstition is noticeably more syncopated. sees Chic guitarist Nile Rodgers throwing a
so it’s easy to get lost: play four times This just means that certain notes fall in curve ball into the mix by sounding the
unaccompanied, four times after the band between the main rhythmic pulses – use a chord on an upstroke. Played on its own it’s
come in and 16 times in the verse. Following down-up picking motion and you should not too hard, but at speed this change to the
a simple pre-chorus, you’ll play the riff a find yourself playing these crucial offbeat ‘down-down-up’ groove can be tough, so
further five times, this time transposed to notes with upstrokes. We’re also looking at a practise slowly until you get the feel. The
G minor – it’s the same riff, three semitones handful of chords that come in at about 1:09. second bar of music sees a shift to an
higher. Next up is yet another time through The ‘7#11’ chords may sound complicated, E7sus4 chord played with seven staccato
the riff, this time moved up a further three but the shapes are relatively easy, so take a downstrokes – much easier than bar 1. Bars
semitones to B b minor and cut slightly short look at the video for the shapes and don’t 3 and 4 follow the same rhythms as bars 1
to lead smoothly in to the closing line. Listen worry about the theory for now. and 2, so the same rules apply.
to it played slowly in TG’s video.
CheaT sheeT… CheaT sheeT…
CheaT sheeT… Appears at: 0:09-1:18 Appears at: 0:00-0:19
Appears at: 0:00-1:19 Tempo: 100bpm Tempo: 110bpm
Tempo: 110bpm key/scale: E minor pentatonic key/scale: E Dorian
key/scale: E minor / G minor / Bb minor Main techniques: Staccato single notes / Main techniques: Fast strumming / string
Main techniques: Staccato single notes partial chords muting / partial chords

TG TiP Practise the intro, verse, pre-chorus and TG TiP Keep pick strokes small and controlled on TG TiP Maintain a constant down-up picking
chorus separately before putting it all together the chords so you only strike three strings motion so your hand is in time with the music

february 2017 ToTal GuiTar

 nirvana
in bloom
Get down to the basics of
grunge with Kurt Cobain’s
trademark combination of
‘quiet/loud’ guitar parts

64

ToTal GuiTar february 2017

 Cl assIC
t r aC K

N soUnd advice
evermind was the album
that launched grunge
into the mainstream,
and In Bloom acts as the
meat in an incredible Everything you need to know before playing ‘In Bloom’
Smells Like Teen Spirit/Come As You

K
Are sandwich that kicks things off. urt would have used his
The band’s sound palette keeps
it to the bare minimum of guitar,
Get the tone chAnnel DiSToRTion trademark 1965 Fender Jaguar
(a left-handed model, of course)
bass and drums, but Nirvana were fitted with PAF Pro pickups through a
masters at creating light and Mesa/Boogie Studio .22 preamp.
shade, and Kurt Cobain would That means a guitar equipped with a
often contrast clean sound guitars gAin BASS MiD TReBle ReveRB humbucker is the most ideal option.
(like in the verse) with raucous You’ll need clean and dirty tones, so
distorted chords (as in the chorus). either use your amp’s distortion
Perhaps more surprising is just Use a bridge position channel or set up a clean channel and
humbucker for a
how sophisticated the chords are. use a distortion pedal such as the Boss
ballpark tone.
Admittedly, they’re all basic major Remember to set up DS-1 for the high gain stuff. Dial in a light
barre chords or simple powerchord a clean sound and a chorus effect during the clean-sound
shapes, but a full 17 shapes make distorted tone for verse parts.
up the track – and Kurt frequently Kurt’s signature
‘quiet/loud’ playing.
nips in and out of key, keeping the
listener on their toes. It seems eFFecTS
there’s more to that loose, grungy chorus
swagger than meets the eye.

chords 1
x x x x

1 1 scales 65

I K
6
f you thought this was a three-chord wonder, you’d be urt’s solo is a dissonant
quite wrong! There are a full 17 chords to learn to play assault on the ears, but
this song. Thankfully the whole song can be played with 3 4 2 3 4 there are still some
just a couple of barre chord shapes and their simpler clear note choices and scale
powerchord versions, so it’s not hard to play. It’s just a shapes at the heart of it all.
matter of remembering the progressions. Bb 5 Bb
The first four bars kick off in
the B b blues scale, before
x x x x x x x x x x x x
moving into a more melodic
1 1 natural minor scale line in
4 5
1 1 1 bars 5 and 6. Get the hang of
1 3 4 3 4
the notes and then it’s down
to you to interpret the less
3 4 2 3 4
technical side of things.
2 3 4

B5 B C Db 5 D5
1 1 1 1 1 1
x x x x x x x x x x x 6
1 1 1 2
6 6
3 3 3 Guitars and backing: Charlie Griffiths Photography: raffaella Cavalieri/redferns/Getty Images
1 1 1 1
2 3 2 3 4 3 4 2 4 4 4 4
3 4 3 4

Bb blues scale
Eb5 Eb F5 Gb 5 Gb
x x x x x x x x x x x x x o o
1 1
1 1 8
4 5
2 2
2 3 2 3 4
3
1 3 4 3 4
4 4

3 4

G5 Ab 5 A5 A5 A F natural minor scale

february 2017 ToTal GuiTar

 Cl assIC
t r aC K

nirvana
in bloom

in bloom
Music and lyrics by Kurt cobain
© 1991 Primary Wave Tunes and The end of Music. full
BMg Rights Management llc Worldwide.
Reproduced by Kind Permission of hal leonard llc.
All Rights Reserved. international copyright Secured.
tab

nirvana in bloom main riff

q = 78
Bb5 b G5 Ab5 A5 Ab5
1. Intro/Chorus 1,2 & 3 2. Intro

bb 4
G5 F5 A 5 F5

& b b b 4 .. œœ .. œœ œœ n œ œ œ œ œœ œœ œœ œœ œœ ... œœ œœ œœ œœ œœ œœ œœ œœ n n œœ œœ nn œœ .. œ . œ œ œœœ

Ó
œ. œ œ n n œœ œœ œœ œœ œ œ œ œ œ œ œ œ >œ œ œ œ œ n œ œ nœ œ .. œ œ
œ œœ
0:00 1:26
> > > > >
. .
2:39 3:59 w/distortion

T
A
B
. 88 8
8
8
8
5
5
5
5
5
5
5
5
5
5
5
5
5
5
3
3
3
3
3
3
6
6
6
6
6
6
6
6
6
6
5
5
6
6
7 .
7
3
3
3 3
3 3
6
6
66
⇥ ≤ ⇥ ⇥ ≤ ⇥ ⇥ ≤ ⇥ ≤ ⇥ ≤ ⇥ ⇥ ≤ ⇥ ⇥ ≤ ⇥
6 6 6 3 3 3 3 3 3 3 1 1 1 4 4 4 4 4 3 4 5 1 1 1 4
1

Ab5 Ab5 G5 Ab5 A5 Bb5

2. Chorus 1 & 2 2. Chorus 3

b
F5 F5

& b b b b œ .. œœ œœ œœ œœ .. œœ œœ œœ .. œ . œœ œœ œœ œœ œœ œœ œœ œœ n œœ œœ nn œœ œœ Œ Ó
œœ . œ œ >œ œ . œ œ œ œœ .. œ œ œ >œ œ œ œ œ n n œ œ nœ œ
> >
T .
A
B
3
3
3
3
3
3
6
6
6 6
6 6
6
6
. 33 3
3
3
3
6
6
6
6
6
6
6
6
6
6
5
5
6
6
7
7
8
8
1 1 1 4 4 4 4 1 1 1 4 4 4 4 4 3 4 5 6
4

Keep your fret hand fixed in position when playing these powerchords and try to be as accurate as possible when shifting up and down the fretboard. Your strumming
hand should move in a constant down-up motion to keep the groove going. notice that there are different endings depending on which part of the song you’re in.

nirvana in bloom bridge riff

Bb5 Gb5 Eb5 B5 A5

bb 4 œ œ œ œ œ ¿ œœ n œ œ œ œ
& b b b 4 œœ œœ œœ œœ œœ ¿ œ œ œ œ œ œ ¿¿ œ œœ œœ œœ œœ œœ ¿¿ œ # n œœ œœ œœ œœ n nn œœœ œœœ œœœ œœœ
œ œ œ œ œ ¿¿ œœ œœ œœ œœ œœ œœ ¿ œœ > fl
0:12 >w/distortion fl > > > >
T ¿¿ 3 ¿¿ ¿¿ 8 4 4 4 4 2 2 2 2
A ¿ 31 44 44 44 44 44 ¿ ¿ 86 42 42 42 42 20 20 20 20
3 3 3 3 3 8 8 8 8 8
3 3 3 3 3 4 8 8 8 8 8
B
⇥ ≤ ⇥ ≤ ⇥ ⇥ ≤ cont. sim.
1 1 1 1 1 4 6 6 6 6 6
2 2 2 2 2 2
1

ToTal GuiTar february 2017

 Full track + backing (tracks 60-61)
This song comes with a full demo track and a backing
track (minus guitar) on your cD. Simply insert the disc in
your player, press play and jam along, guitaraoke style!
nirvana / in bloom

nirvana in bloom bridge riff (continued)

Bb5 Gb5 Eb5 B5 A5

b œ œ œœ œœ œœ ¿ œœ n œ œ œ œ
& b b b b œœ œœ œœ œœ œœ ¿¿ œœ œ œ œ œ œ ¿¿ œœ œœ œœ œ œ œ ¿¿ œ # n œœ œœ œœ œœ n nn œœœ œœœ œœœ œœœ
œ œ œ œ œ ¿ œ œœ œœ œœ œœ œœ ¿ œ > fl
> fl > > > >
T ¿¿ 3 ¿¿ ¿¿ 8 4 4 4 4 2 2 2 2
A ¿ 31 44 44 44 44 44 ¿ ¿ 86 42 42 42 42 20 20 20 20
3 3 3 3 3 8 8 8 8 8
3 3 3 3 3 4 8 8 8 8 8
B 1 1 1 1 1
2 2 2 2 2
4
2
6 6 6 6 6
3

This line occurs only once in the entire song, marking the change from the opening riff to the verse that follows. You’ll need steady timing on the chord changes. Kurt plays
right up to the last strum – so there’s no open-string ‘pause’ to make the changes easier. having said that, Kurt played much more loosely in live performances.

nirvana in bloom Verse

Bb Gb

4
b
& b b b b 44 .. n œœœ œœœ œœ œœœ œœ ¿¿¿ b œœœœ œ
œœœ
œœ œ
œœœ
œ
œœœ
¿¿ ¿¿
œ œ œœ œ œœ n n œ
œ
¿ n œ bœ b b
œ
œœ
œ œ œ
¿¿ ¿¿
œ œ œ œ œ œ œ œ œ œ
>w/clean tone fl > fl2
¿¿ ¿¿ ¿¿
0:24

. 133 133 ¿¿ 00 23 ¿¿ ¿¿
1:38
1 1 1 2 2 2 2
T
. 31 31
3 3 3 2 2 2 2
A 3
3
3
3
3
3 0 4
3
4
3
4
3
4
3
4
B
⇥ ≤ ⇥ ≤ ⇥ ⇥ ≤ cont. sim.
1 1 1 4 4 4 4 4
2 2 2 2 2 67
1

Eb Eb
1. 2.

>œ >œ
B A B5 D5

bb n œœ œœ œœ œœ œ ¿¿ ¿¿ # œ # œœ œœ # œ n œœœ . n œœœ œœ œ œœ œœ ¿¿
&bbb œœ œœ œœ œœ œœ ¿¿ ¿¿ # n œœ œœ œœ n n œœ œœ
œ œ . œ œœ œœœ œœ œœœ œœ ¿¿ # n œœ œœ œœ œœ n n œœ œœ œœ œœ œœ œœ œœ œœ
n œ œ œ n œ œ œ nœ œ œ œ nœ œ œ œ œ œ œ œ
> >
¿¿ ¿¿ 4 24 24 2 ¿¿
w/distortion

T
¿¿ ¿¿ 44 44 44 22
0
. ¿¿
.
8 8 8 8 8 2 2 8 8 8 8 8 8
A 8
8
8
8
8
8
8
8
8
8
2
2
2
2
8
8
8
8
8
8
8
8
8
8
8
8
4
4
4
4
4
4
4
4
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
B
⇥ ⇥ ⇥ ⇥ ⇥≤⇥≤⇥≤⇥≤
6 6 6 6 6 2 2 2 0 0 0 6 6 6 6 6 6 2 2 2 2 5 5 5 5 5 5 5 5
3

Switch to a clean sound here, then, after a four-bar pause with no guitars, come in with the first B b chord. A touch of chorus, some light reverb and (if you have one) a
compressor will get you closer to the sound of the original recording. Kick on your distortion pedal halfway through the final bar.

nirvana in bloom chorus

Bb5 G5 Bb5 G5 Bb5 G5

bb 4
& b b b 4 .. œœ .. œœ œœ œœ n œ œ œœ œœ œœ œœ œœ n œ œ œœ œœ œœ œœ n œ œ œœ
0:49 œ. œ œ œ n n œœ œœ œ œ œ œ œ n n œœ œœ œ œ œ œ n n œœ œœ œ
2:03 w/distortion

.
3:17

T
A
B
. 8
8
8
8
8
8
8
8
5
5
5
5
5
5
8
8
8
8
8
8
8
8
5
5
5
5
5
5
8
8
8
8
8
8
5
5
5
5
5
5

⇥ ≤ ⇥ ⇥ ⇥ ⇥ ⇥ ⇥ ⇥ ⇥ ⇥ ⇥ ⇥ ⇥
6 6 6 6 3 3 3 6 6 6 6 3 3 3 6 6 6 3 3 3
1

february 2017 ToTal GuiTar

 Cl assIC
t r aC K
nirvana in bloom chorus (continued)

Bb5 G5 C Eb C Eb

b nœ œœ œ œœ b n œœœ œœœ œœ œœ œœ nœ œœ œœ œ b n œœ œœ œœ œœ
œœ ..
& b b b b œœ œœ œœ œœ n n œœ .. œœ œœ œœ n œœ œœ œœœ œœ œ œ œ
œ n œœ œœ œœ œœœ œœ œœ œ
œ
œ œ œ œ nœ. œ œ œ œ œ
T .
.
5 5 5 5 8 8 8 5 5 5 5 8 8 8
A 8 8 8 8 5 5 5 5
5
5
5
5
5
5
5
5
8
8
8
8
8 8
8
5
5
5
5
5
5
5
5
8
8
8
8
8 8
8
B 8
6
8
6
8
6
8
6
5
3
5
3
5
3
5
3
3 3 3 3 6 6 3 3 3 3 6 6
4

Eb Eb
Chorus 3 only
C C

b nœ œœ œ œ b n œœœ œœ œœ œœ œœ nœ œ œ œ b n œœœ œ
œœœ
œœ œœ œœ
& b b b b n œœ œœ œœœ œœœ œ
œœ œœ n œœœ œœœ œœœ œœœ œ
œœ
œ
3:52

T 5 5 5 5 8 8 8 5 5 5 5 8 8 8
A 5
5
5
5
5
5
5
5
8
8
8
8
8 8
8
5
5
5
5
5
5
5
5
8
8
8
8
8 8
8
B 3 3 3 3 6 6 3 3 3 3 6 6
7

The chorus section repeats in an unusual six-bar cycle (four-, eight- and 12-bar patterns are far more commonplace). Rhythmically, this part is more laid back than the
verse because the chords are more spaced out. Still, hit the strings slightly louder to raise the energy level and deliver the power needed for this part of the song.

nirvana in bloom solo

68

Bb Gb Eb Bb Gb
b b 4 nœ ˙. œ nœ œ bœ œ œ œ œ œ œ œ œ œ œ
B A

&bbb4 #œ œ
j
œ

2:52 w/distortion PB 9

T BU BD BU BU

A 9 (10) (10) (9) 6 (8) 6 6 8 6 6 (8) 8

6 8
6 8 8

B
1

Eb Bb Gb Eb
˙
n œ b œ~~~ œ >œ ‰ œ œ n œ b œ œ œ œ œ #œ œ œ œ œ nœ œ œ #œ nœ #œ œ #œ œ œ nœ.
B A B A
j
bb bœ

&bbb
j
œ

nœ nœ
~~~ BU BU
T BU BU BU BD 8 8 9 8 9 11 9 11 11 (12) 11 (13)
A 8 (9) 8 6 8 6 8 (9) 8 6 8 8
0
10 (13) [13 ] (10) 10 10
0
B
4

Bb Gb Eb Bb5 Db5
œ œ
bb œ œ œ nœ. nœ œ œ œœ b œœ œ œ
œ nœ bœ œ œœ œœ œ
&bbb œœ œœ œœ œœ
œœ œ œ œœ
œ œ œ
PB 11 let ring
BD
T (13) (11 ) 8 8 8 8 7 7 6
A 6 6 6 6 6 5 5 4 3
3
3
3
3
3
3
3
6
6
6
6
6
6
6
6
B 1 1 1 1 4 4 4 4
7

The best way to approach this solo is to break it down into two-bar phrases to practise. This will allow you to concentrate on each nuance, such as the slides, vibrato and
bends. Usually we’d suggest you focus on timing and tuning the bends accurately but cobain delivers the whole solo with a loose swagger – so it’s up to you how you feel it.

ToTal GuiTar february 2017

 learn
to pl ay
open-mic songbook
bob dylan
knockin’ on
heaven’s door
Bob Dylan’s timeless masterpiece is a
perfect exercise in simplicity, so why not
add it to your repertoire? oh, and there’s
a cool electric part to learn, too!

B
ob Dylan’s classic song began Its simple chord structure makes
life on the soundtrack album the song a staple at jam sessions and
to the 1973 Sam Peckinpah open-mic nights, and players of all
western Pat Garrett And Billy The levels can join in. If you’re just starting
Kid, subsequently being released as a out then you can ignore the tougher
single in the same year. Although not electric guitar arpeggios and join in on
one of Dylan’s biggest hits at the time, the easy open chords. If you’re fluent
the song has endured, inspiring artists with the chords then focus on the
70 including Guns N’ Roses and Eric detailed strumming rhythm, making
Clapton to record cover versions, and sure your pick strokes are locked in
many others to include it in live sets. with the groove of the backing track.

bob dylan knockin’ on heaven’s door Intro (acoustic)

q = 68 1. 3. 2. 4.
G N.C. D N.C. A m A m7 A m N.C. C N.C.

# œœœœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ
& 44 .. œœœ œœœ œœœ œœœ œœœ œœ
œœ œœ œœ œœ œœ œœ œœ œœ œœ . œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ ..
œœ œ œœ œœ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœ œœ œœ œœ . œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œœ œœ œœ œœ
œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œœ œœ œœ œœ œ
œ > > œ œ œ œ œ œ œ œ œ œ > > >
> > > > >
T . 3 3 3 3 3 3 0 2 2 2 2 2 0 0 0 0 0 0 0 0 0 0 3 3 0 0
. 0 0 0 0 0 0 0 0 0 0 3 3 3 0
.
. . .
0 0 0 0 0 0 0 3 3 3 3 3 0 1 1 1 1 1 1 1 1 1 1 1 1 0 1 1 1 1 1 1 1 1 1 1 1 1 1 0
A 0
0
0
0
0
0
0
0
0
0
0
0
0
0
2
0
2
0
2
0
2
0
2
0
0
0
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
0
0
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
2
0
0
B 2
3
2
3
2
3
2
3
2
3
2
3
0 0 0 0 0 0 0 0 0 0 0 0 0 3 3 3 3 3 3 3 3 3 3 3 3 3

With only sparse drums and bass parts, the strummed acoustic guitar provides much of the song’s momentum and drive. You’ll be strumming quite quickly, but with a
light, relaxed vibe, which can be tough – it feels more natural to strum harder when playing at any pace
Guitars and backing: Phil Capone Photography: Jay Dickman/Corbis/Getty Images

bob dylan knockin’ on heaven’s door Intro (electric)

#4 . œ œ œœ œ œœ œœ œ œœ œ œœ œ œ œ œ œ œœ œ œ œœœ œ œ œœœ .
G D Am G D C

œ
& 4 .œœœ œœ œ œ œ œ œ œ œ œœœ œœ œ œ œ œ œ œ œ œ œœ.

.0003 .
let ring throughout
2 2 3 0 0 3 2 0 0
T
. .
0 3 3 1 1 1 1 0 3 0 0 0 3 3 3 1 3 1 1 1 3 1 0
A 0 2 2 2 2 2 0 0 0 2 2 2 0 0 0 0 0 0

Although following the same chords as the acoustic guitar, the single-note arpeggio method here is more challenging. Try using hammer-ons and pull-offs at the end of bar
2 and where you see consecutive notes on one string in bar 4. It’s easier than picking every single note and might just give your performance a better feel.

ToTal GuiTar february 2017

 backing TRack (TRack 62)
This song comes with a backing track (minus guitar) on
your CD. Simply insert the disc in your player, press play
and jam along, guitaraoke style!
bob dylan / knockin’ on heaven’s door

song sheet
Knockin’ On Heaven’s Door
Verse 2
Intro G D Am
G / D / Am / / / G / D / C / / / x 2 Mama, put my guns in the ground
G D C
Verse 1 I can’t shoot them anymore
G D Am
G D Am That long black cloud is comin’ down
Mama, take this badge off of me
G D C
G D C I feel I’m knockin’ on heaven’s door
I can’t use it anymore
G D Am
It’s gettin’ dark, too dark to see Chorus 2
G D C G D Am
I feel I’m knockin’ on heaven’s door Knock, knock, knockin’ on heaven’s door
G D C
Chorus 1 Knock, knock, knockin’ on heaven’s door
G D Am
G D Am Knock, knock, knockin’ on heaven’s door
Knock, knock, knockin’ on heaven’s door
71
G D C
G D C Knock, knock, knockin’ on heaven’s door
Knock, knock, knockin’ on heaven’s door
G D Am
G D Am Oooooh, ooooh, oo-oooooh
Knock, knock, knockin’ on heaven’s door
G D C (Fade out)
Knock, knock, knockin’ on heaven’s door

also available:
bob Dylan: anthology

Chords o o o x o o (Guitar Tab with chord symbols, 344pp, £22.99 ref. AM975436)
Over 60 songs from the pen of one
of this generation’s most distinct
These are all simple open-position chords and 1 and eloquent voices. Includes iconic
songs such as ‘Mr Tambourine Man’,
shouldn’t be too much of a challenge for any player. ‘All Along The Watchtower’ and
‘Knockin’ On Heaven’s Door’.
Notice the high G note on the second C chord – if 1 2 3 Arranged in easy guitar tablature
you listen closely to the original track you may hear with strum patterns, full lyrics
and large chord diagrams with
this high note cutting through, but you can stick to 2 3 fingerings. Available from:
[Link]
the standard C shape if you find it easier. Similarly,
the high G changes the Am chord to an Am7, but, for knockin’ on Heaven’s DooR
Music and lyrics by Bob Dylan
the purposes of a jam session, either shape will do. © 1973 Sony/ATV Music Publishing
Worldwide Reproduced by Kind Permission of
Music Sales Limited
All Rights Reserved. International Copyright
G Am Secured

x o x o o x o x x o

1 1 1

2 3 2 2 1 2

4 3 3 4 3

Am7 C C D

february 2017 ToTal GuiTar

 Turn
A rou n D

the turnaround licks of the blues legends

robert
johnson
Capture the dark magic of one of the most influential
blues guitarists of all time, with TG’s bespoke tab

T
he Robert Johnson legend goes that he fuelled the fire of myth, but more important is
gained his guitar virtuosity from the that his music has influenced the generations
Devil after a midnight meeting at a of blues guitarists that followed.
Crossroads, as described in the song he One of the things that makes his playing so
recorded back in the 1930s – and rejuvenated remarkable is how ‘self contained’ he was – as
nearly 40 years later by Eric Clapton and Cream. a travelling solo musician with no band, he had
The 29 songs he recorded (plus 12 alternate to be! So, no backing tracks this time, though a
takes) show a musician who was technically tapping foot certainly helps the rhythm along.
and stylistically ahead of many of his peers. Our tab examples were all played fingerstyle.
That he died tragically young aged 27 has only Enjoy – and take care at the crossroads!

1 intro / turnaround idea TRACK 63

72 j 3

q = 92 q q = q q
E7 Edim7 E7 Edim7 Am6/E E B7

## œœ œœ œœ œœ b b n œœœ œœœ œœœ œœœ n œœœ œœœ œœœ œœœ b bn œœœ œœœ n œœœ œœœ œ œœ
& # # 44 n œ œ œ œ # œœ œ œ ¿¿
3 3

bœ nœ œ
j
nœ
œ ¿.
1

œ œ œ œ œ œ œ œ œ œ œ œ œ
2

¿¿
4 4 4 4 3 3 3 3 4 4 4 4 3 3 2 2 0 2
T
¿
3 3 3 3 2 2 2 2 3 3 3 3 2 2 1 1 0 0
A 4 4 4 4 3 3 3 3 4 4 4 4 3 3 2 2 0 1 1
1
2

B 0 0 0 0 0 0 0 0 0 0 0 0 0
0 1 2
a a a a a a
m m m m m m
i i i i i i i
p p p p p p p p p

Descending chromatically using what is basically an open D7 shape, we get that universally recognised fingerstyle blues intro/turnaround. Use gentle but percussive
palm-muting on the sixth string by resting the side of your pick hand on the string by the bridge, but let the higher strings ring out in marked contrast to the bass.

2 alternative intro / turnaround TRACK 64

E7 Edim7 E7 Edim7 Am/E E B7

## n œœ œœ œ œœ œ b b œœ œœ œ œœ œ œ b b œœ œ n œ œ œ œœ œœ
& # # 44
n œœ œ #œ œ
4
œœ
œœ
j
nœ
.
1 1

œ œ œ œ œ œ œ œ œ œ œ œ œ œ
2 3
2
Photography: Heritage Image Partnership Ltd / Alamy Stock Photo

0 0 0 0 0 0 2 2
T 3 3 3 2 2 2 3 2 1 0 0 0
A 4 4 4 4 3 3 3 3 4 3 2 0 1
1
2
1
B 0 0 0 0 0 0 0 0 0 0 0 0 0 0
2
a a a a
m m m m m m
i i i i i i i
p p p p p p p p

An alternate take on the intro/turnaround idea, this line takes a slightly more syncopated approach, with a ringing open first string for a bit of top end sparkle. This and the
previous example are completely interchangeable – and a player such as Robert Johnson would be able to mix and match ideas like this on the fly.

ToTal GuiTar february 2017

 Full tracks + backings (tracks 63-67)
These tab examples come with audio tracks on your CD.
Simply insert the disc in your player, press play and jam along,
guitaraoke style!
the turnaround / robert johnson

3 basic ‘i-iv’ groove TRACK 65

E6 A7

## j œ œ nœ œ œ
& # # 44 ‰ nœ #œ œ œ œ œ œ
3

œ œ œ œ
4 1
1

œ œ œ œ
0 0 3 0 0
T 0 2 0 2 2
A 0 1

B 0 0 0 0
0 0 0 0
1 a a
m m m m m m
i p p p p p p i p i p

nœ œ
3

#### œ œ œ
¿ n œœ œ œ œœ œ
3 1 1/4 1/4

&
1
2

œ œ œ œ œ œ œ œ œ
10 10 ¿ 7
1/4
7
1/4
0 0
T 12 12 12 8 8 0
A
B 0 0 0 0 0 0 0 0 0
3 m m m m m m m
i i i i i i
p p p p p p p p p

Moving on past intros, Johnson’s accompaniment style is less regimented, incorporating counter-melodies and what might now be called lead guitar lines. Ringing open
strings can help to keep things flowing while shifting positions, and you’ll see that in action here. Details like the quarter-tone bends make all the difference, too.

4 ‘v-iv-i’ – the 12-bar blues ending TRACK 66

73
B7 A7 E7 Edim7 Am/E E

## œ œ œ œœ œœ n œœ œ œ œœ œ œ œ bœ œ œ
& # # 44 œ œ œ œ nœ b œ œ j
#œ
œ œ œ œ nœ œ œ ˙
nœ
œ œ œ œ
4

œ .
3
2

2 2 2 2 3 3 3 0 0 0 0 0
T 0 0 0 2 2 2 0
A 2 2 4 3 2 0 1

B 2 2 2 2 0 0 0 0
0
5 4 3 2
0
a a a a a a a a a a a a
m m m m m m m
i i i i i i
p p p p p p p p p p p p p p

Following the classic ‘V-IV-I’ 12-bar blues ending, this example showcases a bluesy A7 shape with the G note on top, before moving to another flavour of descending
turnaround. As happens so often in blues, we finish with a hammer-on from minor to major 3rd, sitting on the fence between a pure major or minor feel.

5 alternative ending line TRACK 67

B 7/D # A 7/C #
œ œ œ w
N.C.

## œœ œ œ n œœ œ œ œ œ nœ
& # # 44 ‰ œ nœ
4

œ œ œ œ w
3 2

œ nœ #œ œ œ œ œ œ œ
3
4 2 1
1 1

œ
3

0 0 12 12 12 12
T 10 10 8 8
A 11
9
11
9
9
7
9
7 12 11 10 9
B 9 10 11 11 11 11 9 9 9 0
a a a a a a
m m m m m m m m
i i i i
p p p p p p p p p p p p p p

An alternative to our previous line, this more technically advanced version uses some more of Johnson’s favourite chord voicings with the major 3rd in the bass of the B7
and A7 chords. The open string notes in bars 2 and 3 give you a brief moment to shift from the A7/C# chord to the closing phrase.

february 2017 ToTal GuiTar

 Tab Guide
Get more from TG by understanding our easy-to-follow musical terms and signs
What is tab?
Tab is short for tablature, a guitar, from the sixth (thick) down on the tab. Unfretted
notational system used to give string at the bottom to the first strings are shown with a ‘0’. The
detailed information as to where (thin) string at the top. On these key and time signatures are
notes should be played on the lines, numbers represent which shown in the notation. TG also
fretboard. Tab appears frets you place your fingers. For includes a timestamp to tell you
underneath conventional music example, an A note on the 2nd where in the original track you’ll
notation as six horizontal lines fret, third string, will be shown find each example and tempo
that represent the strings of the as a number ‘2’ on the third line expressed in beats per minute.

Fret BOXes: chOrds, scales and caPO nOtatiOn

Hand labelling nut and Fretboard cHord example

2 m o o o o o o o o o
3 1 i a
4 c
1
T p
2 3
74

Here are the abbreviations used for each finger. Fretting hand: 1, 2, 3, 4, (T) This fretbox diagram represents the guitar’s fretboard exactly, as seen in the This diagram represents a G chord. The ‘o’s are open strings, and a circled number
Picking hand: p (thumb), i (index), m (middle), a (annular), c (little finger) photo. This design is used for ease of visualising a fretboard scale or chord quickly. is a fretting hand finger. A black ‘o’ or circled number is the root note (here, G).

capo example capo notation scale example

o o o x o o
CAPO 2nd
FRET >
CAPO 2nd
FRET > 4 1 1 1 1
1
2 2 2 2
1 2
3 3
2 3 3
4 4 4 4 4

A major scale
A (G) d (C)
The blue line in the diagram represents a capo – for this A chord, place it at the Here the chord looks like a C in the tab, but the capo on the 2nd fret raises the The fret box diagram illustrates the fret hand fingering for the A major scale using
2nd fret. Capos change the fret number ordering. Here, the original 5th fret pitch to make it a D. The 2nd fret capo’d notes are shown with a ‘0’ in the tab black dots for root notes and red dots for other scale tones. The photo shows part
now becomes the 3rd fret, 7th fret now 5th fret, etc. as if they were open strings. of the scale being played on the fourth string with the first, third and fourth fingers.

Guitar techniques: PickinG

down and up-picking tremolo picking palm muting pick rake appreggiated cHord

The symbols under the tab tell you the Each of the four notes are to be Palm-mute by resting the edge of your Drag the pick across the strings shown Play the notes of the chord by
first note is to be down-picked and the alternate-picked (down and up-picked) picking hand palm on the strings near with a single sweep. This is often used strumming across the relevant strings
second note is to be up-picked. very rapidly and continuously. the bridge saddles. to augment a rake’s last note. in the direction of the arrow head.

ToTal GuiTar february 2017

 tab guide

FrettinG hand
Hammer-on & note trills slides (glissando) Fret-Hand tapping Fret-Hand muting
pull-oFF

Pick the first note then hammer down on After picking the first note, rapidly Pick the first note and then slide to the Sound the notes marked with a square by X markings represent notes and strings
the string for the second note. Pick the alternate between the two notes shown in next. For the last two notes pick the first, hammering-on/tapping with your fret hand that are muted by your fret hand when
third note and pull-off for the fourth note. brackets using hammer-ons and pull-offs. slide to the next and then re-pick it (RP). fingers, instead of picking. struck by your picking hand.

BendinG and ViBratO

bend and release re-picked bend pre-bend quarter-tone bend Vibrato

Fret the first note (here, the 5th fret) and Bend up to the pitch shown in the Silently bend the string up from the 5th Pick the note then bend up a quarter- Your fretting hand vibrates the string by
bend up to the pitch of the bracketed brackets, then re-pick the note while fret (PB5) to the pitch of the 7th fret note, tone (a very small amount). This is small bend-ups and releases. Exaggerate
note, before releasing again. holding the bent note at the pitch shown. pick it and release to the 5th fret note. sometimes referred to as a ‘blues curl’. this effect to create a ‘wide’ vibrato.

harmOnics

natural Harmonics artiFicial pincHed Harmonics tapped Harmonics toucHed Harmonics

Harmonics

75

Pick the note while lightly touching the Fret the note as shown, then lightly place After fretting the note in the triangle, Place your finger on the note as shown, A previously sounded note is touched
string directly over the fret indicated. your index finger directly over ‘x’ fret dig into the string with the side of your but sound it with a quick pick hand tap at above the fret marked TCH (eg, TCH 9)
A chiming harmonic results. (AH‘x’) and pick (with a pick, p or a). thumb as you sound it with the pick. the fret shown (TH17) for a harmonic. for it to sound a harmonic.

ViBratO Bar / whammy Bar

wHammy bar bends scoop and doop sustained note gargle wHammy bar Vibrato
and diVebomb

The note is picked as shown, then the Scoop: depress the bar just before A Note is sustained then the vibrato Sound the note and ‘flick’ the vibrato bar Gently rock the whammy bar to
vibrato bar is raised and lowered to the striking the note and release. Doop: bar is depressed to slack. The square with your picking hand so it ‘quivers’. This repeatedly bend the pitch up and down.
pitches shown in brackets. lower the bar slightly after picking note. bracket indicates a further articulation. results in a ‘gargling’ sound! This sounds similar to fret hand vibrato.
Others

pick scrape Violining Finger numbering pima directions pick Hand tapping

The edge of the pick is dragged either Turn the volume control down, sound The numbers in the traditional notation Any kind of fingerpicking requirements Tap (hammer-on) with a finger of your
down or up along the lower strings to the note(s) and then turn the volume up refer to the fingers required to play are shown at the bottom of the picking hand onto the fret marked with
produce a scraped sound. for a smooth fade in. each note. tab notation. a circle. Usually with ‘i’ or ‘m’.

february 2017 ToTal GuiTar

78
Unplugged
YOUR MONTH IN THE ACOUSTIC WORLD

ToTal GuiTar february 2017

 Acoustic
50 Martin D-200 Deluxes
are being made Five ‘Folk’
chord shapes
Essential chords to fuel
your creativity

x o

3 4

x o

1 2

Time iS money 3 4

Martin celebrates a milestone with £127k D-200 Deluxe

Dadd11/F#

A
re you having trouble working watch embedded into the flash around the back; inlaid
keeping time? Martin can headstock, too) with its head- watch gears cut from reconstituted o o 79
help… so long as you have turning build of decorative stone, mother-of-pearl,
£127,500 going spare. watch-style gears, inlays and bloodwood, Hawaiian koa and
The company is celebrating its two guilloché (a process of cutting ebony, no less. The D-200 Deluxes 1 2
millionth production guitar in style geometric patterns into metal). will also come with a separate RGM
with a limited run of the new The highly-figured bearclaw timepiece with features that 3 4
D-200 Deluxe. Time is clearly of Engelmann spruce top is a dazzler reference the guitar and a
the essence with this Style 45 too and back and sides are Brazilian matching serial number to the
dreadnought-shape (there’s a rosewood. Things get seriously instrument it’s paired with.
Em7

Sold aS love x o o

1
Hendrix guitar auction 2

T
he acoustic that Jimi Hendrix
reportedly owned longer than 4
any other guitar has been sold
at auction for £209,000. The guitar
legend bought his used Sunburst
1951 Epiphone FT-79 in 1967 from Am7
a shop in New York for around $25,
and took it back to London. Jimi
x o
gifted it to Blue Mink guitarist Alan
Parker in 1970 before his tragic 1
death later that year. London
2
auction house Bonhams gave the
guitar a guide price of £80,000 to 3 4
£110,000 in its Entertainment
Memorabilia auction but a bidding
war soon left that in the dust.
A Cloud guitar used by Prince on
C/G
tour in 1993 also sold for £87,500,
more than triple its estimate.

february 2017 ToTal GuiTar

 Acoustic Words Matt Parker Photography Joby Sessions

Ryley Walker
As the ChiCAgoAn CAsts off his wAyfAring strAnger
typeCAst And heAds for more expAnsive territory,
we exAmine the deAth of A troubAdour…

C
ountless are the dull guitarists “underground swathe of guitar” outlined Ryley’s on the list for these events for good
that live and die within the above, so did his technique. “At first it was reason. His own output treads an inspiring line
confines of the sometimes John Fahey worship – kinda open-tuned shit, between string-wrangling British folk and
dusty singer-songwriter medium. and Eastern ragas mixed with American blues off-the-cuff, jazz-lilted improvisation. It was
Ryley Walker is determined to songs. That was the go-to easy-breezy sort first manifested on 2014’s dark, Celtic/
avoid this fate. The talented writer and of thing,” he explains. “Then I got into Derek Appalachian folk hybrid, All Kinds Of You, before
fingerstylist was first painted as Bailey. That was a big one – he kind of uses 2015’s half-improvised Primrose Green took a
a modern troubadour in the rambling these weird harmonic, dissonant things in his left turn into pastoral territory. 2016’s Golden
post-Beat Generation mould, but the truth guitar music. These days I don’t know what the Sings That Have Been Sung sees the itchy-footed
– as always – is more complex and fuck I’m doing – I think I’m trying to find my songwriter change tack again, with a more
enthralling than the fantasy. own way within that.” expansive, slow-burning chordal approach
80 “I don’t really take things in like that – like In February 2016, Ryley got to close-out the that has drawn comparisons Roy Harper’s
some big, Jack Kerouac On The Road sort of circle when he was invited to play at a Bert fat-tracked Stormcock.
shit,” says Ryley, when TG gives a fat-fingered Jansch tribute show, sharing a bill and a beer “I think it was trying to pare things down,”
prod for ‘big picture’ life lessons. “I’m just out or two with Robert Plant (“really lovely, really says Ryley. “As much as I love fingerstyle,
here working, man. You give what you get and supportive”) and another of his heroes, the I wanted to try more angular chords, like Talk
you get what you give into the world. It’s like a enduringly elusive English folk singer Anne Talk or something. Mark Hollis has these
family reunion: you’ve gotta bring a bowl of Briggs. “I was so shocked to meet her,” beautiful chord shapes with these weird cluster
coleslaw, or you’re a dickhead. You’ve always enthuses Ryley. “I was just eating haggis in chords and you kind of just reinvent the wheel
got to bring something to the table.” Glasgow, fucked-up on wine and just crying, every time you play. It’s real fun to turn your
Fortunately, Ryley’s bringing a lot. Beneath ‘I love you! This is such an honour!’ She was playing inside out and change it up.”
this cantankerous, self-effacing front, lies an just like, ‘Oh, shut up!’ She was really Ryley has shown equal fastidiousness when
enthusiastic, wistful personality. His roots wonderful and very far out, kind of alien-like. it comes to his live set-up [see Stereo Phonics]
lie in punk rock and Led Zeppelin before a She’s like Bigfoot, you know? I don’t think a lot and you could consider his treasured Guild
descent into record collecting, reading and of people get the chance to meet her.” acoustics as an equivalent of the inexplicably
– it’s fair to say – a handful of well-kept secrets that make up the
hallucinogens, took him on a mind- songwriter’s record collection.
expanding voyage of discovery through
British folkies such as Anne Briggs, Bert stereo phonics “I play a Guild D-35 on the new record
and a D-125 [12-string],” he explains.
Jansch, Wizz and Nick Jones, to 90s Four channels, two amps and an acoustic “I just like them so much. They’re
sonic experimentalism in Tortoise – Ryley on how he gets his live sound fucking cool, they sound great and
and Jim O’Rourke and on into the they’re beautiful – beautifully made,
“The acoustic guitar is the fucking bane of my existence,
jazz-inflected idiosyncrasies of Derek live,” says Ryley. “My set-up is pretty complicated, kind of too.” Ryley has now retired his vintage
Bailey and Sonny Sharrock. a pain in the ass, but it makes the live shows so much D-35 (a Chicago pawnshop find and
“I guess the first song I learned to better when you sound good.” Buckle up, readers… “So long-time tour companion) and is
fingerpick was [Led Zeppelin’s] Going To there’s a Sunrise soundhole pickup and there’s a K&K Pure ringing the changes in all areas of his
California. For some reason I picked it contact mic pickup and they’re both wired into a stereo creative output. Golden Sings… is merely
up,” reflects Ryley. “I played rock music, pin,” explains the guitarist. “Then I have two preamps, the first nail in the troubadour’s coffin.
just electric and acoustic guitar – chords Radial Tonebones, which are magical pieces of equipment, “I don’t think it was untrue,” he
and stuff like that – but I really liked and those both go XLR to the house and then to two reflects of those first albums. “But
amps: a really old 60s Ampeg Reverb Rocket and a 1950s
that song, so I did it – I fingerpicked it I’m not going to do that kind of record
Gibson Explorer and I use those in stereo. It’s pretty
– and I was like, ‘Holy shit!’” forever. That music always will inform
complicated, but it’s really fun. I don’t think there’s many
From that point on the stone began people out there doing that sort of thing, but I hate shitty me, but I’m pretty excited about the few
rolling and as his record collection acoustic guitar sound!” ideas I have right now, you know? I’m
evolved to encompass the whole trying to work something up.”

ToTal GuiTar february 2017

 interview / ryley walker

“As much as I love

fingerstyle, I wanted to
try more angular chords.
It’s real fun to turn your
playing inside out”

81

february 2017 ToTal GuiTar

 acoustic
Rockschool
coldplay
yellow
Try your hand at Rockschool’s Debut
Grade acoustic guitar arrangement
of Coldplay’s early hit single

A
ppearing on their debut album, The top part follows Chris Martin’s vocal
Parachutes, Yellow was melody. Start by figuring out where the
Coldplay’s second single, a notes fall on the guitar, then work out
career-defining track that saw the rhythm and timing. Try and imagine
the band reach the UK top 10 for the first yourself singing the tune, and have a go
time. It is quite a hypnotic song but with at emphasising certain notes for a more
a biting sound influenced by early U2 expressive performance.
and OK Computer-era Radiohead. The other part is the rhythm guitar.
Rockschool’s arrangement comes Try and feel the pulse of the band behind
from the fine Australian jazz guitarist you. It’s interesting to note that simpler
Carl Orr and is presented with two chords with only a few notes often make
guitars – either can be chosen as your a bigger impression than full six-string
performance part if you take the exam. chord shapes on the guitar.
82

full
tab
The Rockschool Acoustic
Guitar Debut Grade book yellow
contains everything you need Words & Music by Guy Berryman,
to pass your Debut Grade exam Chris Martin, Jon Buckland & Will Champion
in one essential book. For more © Copyright 2000 Universal Music Publishing MGB Limited.
info, visit: [Link] All Rights Reserved. International Copyright secured

coldplay yellow TRACKs 73-74

q = 87
B F#

#### 4
Gtr. 1
œ œ
& #4 ‰ œ œ œ ˙ ‰ œ œ œ œ w ‰ œ œ œ œ

2 2
T 2 4 2 4 2 4 2 4 2 0 2 0 2
A
B

# ## 4 œ œ œ
Gtr. 2
˙˙˙ œœœ œœœ œœœ ˙˙˙ œœ œœ œœ ˙˙ œœ œœ œœ ˙˙
Guitar: Carl Orr Photography: Picturematt/reX/Shutterstock

& # # 4 œœ œœ œœ œ œ œ ˙ œ œ œ ˙

2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2
T 4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
2
3
2
3
2
3
2
3
2
3
2
3
2
3
2
3
A
B
1

ToTal GuiTar february 2017

 Full track + backing (tracks 73-74)
This song comes with a full demo track and a backing
track (minus guitar) on your CD. simply insert the disc in
your player, press play and jam along, guitaraoke style!
coldplay / yellow

F#
#### E B
œ œ ˙ œ
& # w ‰ œ œ œ œ œ œ ‰ œ ‰ œ œ œ œ w

2
T 0
1
0
1
0
1
2 4 2 4 2 4 2 4 2
A 4
B

# ## œ œ œ ˙˙ œœ œœ œœ ˙˙ œœ œœ œœ ˙˙ œœ œœ œœ ˙˙ œœ œœ œœ ˙˙
& # # œœœ œœœ œœœ ˙˙ œœ œœ œœ ˙˙ œ œ œ ˙ œ œ œ ˙ œ œ œ ˙
œœ œœ œœ ˙˙ œœ œœ œœ ˙˙
0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2 2 2 2 2
T 0
1
0
1
0
1
0
1
0
1
0
1
0
1
0
1
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
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2
3
2
3
2
3
2
3
A 2 2 2 2 2 2 2 2
B 2
0
2
0
2
0
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0
2
0
2
0
2
0
5

E B
#### œ œ
& # ‰ œ œ œ œ w ‰ œ œ œ œ œ œ ∑ ‰ œ œ œ œ

2 2
T 0 2 0 2 0
1
0
1
0
1
2 4 2 4
83
A 4
B

# ## œ œ œ ˙˙ œœ œœ œœ ˙˙ œœ œœ œœ ˙˙ œœ œœ œœ ˙˙ œœ œœ œœ ˙˙
& # # œœ œœ œœ ˙ œ œœ œœ ˙˙ œœ œœ œœ ˙˙ œ œ œ ˙ œ œ œ ˙
œœ œ œ ˙ œ œ œ ˙
œ œ œ ˙ œ œ œ ˙
2 2 2 2 0 0 0 0 0 0 0 0 2 2 2 2 2 2 2 2
T 2
3
2
3
2
3
2
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0
1
0
1
0
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0
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0
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A 2 2 2 2 2 2 2 2
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0
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0
10

F#
#### w
E B
œ
& # ‰ œ œ œ œ w ‰ œ œ œ œ œ œ ∑

2
T 2 0 2 0 2 0
1
0
1
0
1
A 4
B

## œ œ œ ˙˙ œœ œœ œœ ˙˙ œœ œœ œœ ˙˙ œœ œœ œœ ˙˙ œœœ œœœ œœœ ˙˙˙

& # # # œœ œœ œœ ˙ œ œ œ ˙ œ œœ œœ ˙˙ œœ œœ œœ ˙˙
œœœ œœ œœ ˙˙ œœ œœ œœ ˙˙
2 2 2 2 2 2 2 2 0 0 0 0 0 0 0 0 2 2 2 2
T 2
3
2
3
2
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2
3
2
3
2
3
2
3
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A 2 2 2 2 2 2 2 2
B 2
0
2
0
2
0
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0
2
0
2
0
2
0
15

february 2017 ToTal GuiTar

 acoustic
coldplay yellow (continued) TRACKs 73-74

E G#m F# E G#m F#
#### œ. œ ‰ œ œ œ œ œ œ. œ ‰ œ œ œ œ œ
& # ∑ Œ œ J œ Œ œ J œ

4 2 2 2 4 2 2 2
T 0 0 0 4 4 0 0 0 4 4
A
B

# # œœ œ œ j œœ œœ œœ j œœ œœ œœ
˙˙˙ œœ œœ œœ œœ œœ .. œœ œœ .. œœ œœ œœ œœ œœ .. œœ œœ ..
& # # # œ œœ œœ œœ œœ œœ œœ œœ .. œ œ œ œ œ. œœ œœ œœ œœ œœ .. œ œ œ œ œ.
œœ œœ œœ œœ œœ . J œœ œœ œœ œœ œœ . J
. .
2 2 2 2 0 0 0 0 0 4 4 4 2 2 0 0 0 0 0 4 4 4 2 2
T 4
4
4
4
4
4
4
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0
1
0
1
0
1
0
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0
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4
4
4
4
4
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2
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2
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0
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0
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4
4
4
4
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2
3
A 2 2 2 2 2 2 2 2 2 2
B 2
0
2
0
2
0
2
0
2
0
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0
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0
2
0
2
0
2
0
20

G#m F#
## œ.
E E B
œ œ œ œ œ ‰ œ œ œ œ œ œ
& # ## Œ œ J ‰ œ œ ∑ ∑

4 2 2 2 2 2
T 0 0 0 4 4 0 0 4 4
84 A
B
j
# # # # œœ œœ œœ œœ œœ .. œœ œœ œœ
œ œ œ
œœ œœ .. w w ggg www
& # œœ œœ œœ œœ œœ .. œ œ. ggg www ggg www
œ œ œ œ œ. J ggg w ggg w
œ œ œ œ œ. gw gw
T
0
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4
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2
2
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2 gggg 001 ggg 00 ggg 24
A 1 1 1 1 1 4 4 4 3 3
ggg 22 ggg 12 g4
B
2
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gg 0 gg 20
25
0 0 0 0 0 g

Really try to latch on to the count-in on the audio backing track. This will help you get a feel for the timing of the piece and focus your efforts as you play along. Many
players like to tap their foot to help stay locked in with the music. Try to count to four in time with the music to try and feel the pulse.

Dare to dream. Get comprehensive cover

for your instruments and
equipment from £3 a month.

This new year, focus on Get a quote:

[Link]
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with Allianz Musical

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 94

the gas
station real world reviews of the
96

Best new Gear

Welcome to the GAS (Gear Acquisition Syndrome*)

Station! Every issue, the TG scours the market for the
hottest new gear and brings you transparent reviews
that you can trust. From the smallest of accessories
that make your life easier, to big investments such as 92
brand new guitars, amps and effects pedals – if it’s
86 worth your attention, you’ll find it here! 87 start Me up
Five new products to get you started
how we test Best Buy AwArd
TG Best Buy Awards are

CurAtion no snAke oil

reserved for stand-out
products that earn a five-star
88 ephiphone inspired
Our product selection is
driven by our love of gear.
You won’t find us getting
hung up on hokey mythology
rating. This is the best, most
exciting new gear that you
By 1966 century
need to check out Reissue of James Bay-approved hollowbody
We select the most exciting or nonsense marketing speak:
products on the market every we aim to bring you bullshit-
month to bring you opinions free opinions on the gear 92 alvarez delta 00e/tsB
you can trust. you’re interested in. Affordable acoustic with a Dustbowl vibe

fACe-vAlue reviews we CAn’t Be Bought

Best Buy
We’re not gear snobs here at TG review scores are a true
award 94 danelectro ’59M spruce
Total Guitar. We judge on it on reflection of our experts’ Bright, zingy take on the classic Dano recipe
whether it looks good, sounds opinion on the product
Best for…
good and plays well – not by
the name on the headstock.
they’ve been testing. You’ll
never find a rating in our Different guitarists have 96 the tG test:
mag that has been bought
and paid for.
different needs. This badge
highlights a particular strength
that a product has in a TG Test
affordaBle ModellinG aMps
Forget valves – this quartet of versatile, varied
or Group Test, so you can
*WHAT IS GAS? reAl world reviews choose what’s best for you modelling amps give premier tones at budget prices
Gear Acquisition Syndrome
is the guitar-player’s We test every product under
never-ending urge to acquire
new gear, irrespective of
the conditions that they were
designed for. For example,
102 Group test: Modern fuzz
Four up-to-date takes on the filthiest box of all
whether they actually need it. if an amp is designed to be
Don’t pretend you don’t played loud, rest assured Best
have it – we all do!
that we’ll have tested it at
rehearsal/gig volumes!
for… 104 KhdK darK Blood
Kirk Hammett-approved filth for your pedalboard

SuperB, A BeST Buy excellenT ABove AverAGe kIT Some ISSueS poor
106 fix your Guitar!
Replace your faulty pots

ToTal GuiTar february 2017

 gas station

01
03
02

87

04
05

start Me up!
Five awesome new products to get your gear engine revving this month…
Gator transit series iK MUltiMedia Mesa/BooGie d’addario pad locK G7th UltraliGht capo

1 Modo Bass stowaway GUitar strap

5
If you’re looking for the peak G7th knows all about

2 3 4
of gigbag durability, get one If your budget bass isn’t If the signal’s suffering Ditch the Grolsch washers quality capos, but its
of Gator’s Transit Series - cutting it for recording, at the end of your pedal – D’Addario has conjured latest offering is touted as
and make it snappy. Available for IK holds the key to classic chain, you need a quality up a neater solution. The its lightest and brightest to date.
electrics and acoustics, the bags bass tones with MODO Bass. The buffer. Small enough to fit Pad Lock’s trick is to attach the Weighing just 8g, the UltraLight
feature weather-resistant fabric first physically modelled electric beneath angled pedalboards, the rubber lock to the strap itself – so uses next-generation composite
with a thick rubber tread, while bass VST, MODO Bass features aptly named Stowaway is a Class there’s no chance of losing it and technology that won’t weigh
the interior boasts a 20mm-thick 12 iconic models – including A input buffer with RFI (Radio no need to buy a six-pack of down your neck or interfere with
foam padding with micro-fleece P-Bass, Jazz Bass, Rickenbacker Frequency Interference) bottles to get hold of one either. your playing. The low price and
lining. Cosy. Elsewhere, your and more – as well as effects filtering, designed to deal with all Just put the strap over your unobtrusive design make it ideal
guitar will be cared for in all the and amps, and uses real-time manner of input issues. It will buttons and pull the tab over for beginners, but the quality
key areas – headstock, neck and modal synthesis technology, cater for changes in a pickup’s the pin. The strap itself is your build ensures it’s a worthy buy
strap button – and there are not samples, to produce the character and response owing to classic two-inch wide, black for any guitarist after a bargain.
enough zippered pockets to sounds. You can make your pedal and cable impedance. It’ll tubular nylon number completed The UltraLight capo works with
handle your pedals, strings, virtual bassist pluck, slap or pick dampen background noise and by solid leather ends, too – so it’s acoustic and electric steel-
emergency snacks, etc. It ain’t and change everything from pedal switching, too, so if you destined to stay attached to strings, and comes in snazzy
cheap, but this gigbag is no croc. string force to string gauge. love the quiet life, try this! your guitar for years to come. black, red and blue finishes, too.
(£109 each, [Link]) (£299.99, [Link]) (£95, [Link]) (£22.50, [Link]) (£TBc, [Link])

february 2017 ToTal GuiTar

 t h e ga s
station

88

ToTal GuiTar february 2017

 review

EpiphonE inspirEd 1 tuNerS

Unlike the rest At A GlAnCE
of the Epiphone-

by 1966 CEntury
made hardware, the Body: Aged Gloss

£499 three-in-a-row tuner

with plastic Ivory
finish on laminated
maple top and fully
buttons are made hollow body
by Wilkinson, and Neck: Mahogany
1
Bay’s guitar gets an affordable revival they impress with
a responsive
performance
Scale: 25.5”
FiNgerBoard:
Rosewood

W
FretS: 20, medium
e love seeing an
unsung guitar getting
to oblige. Plus, for those who are
particularly sensitive about the 2 PickuP
Epiphone’s P-90
Pro appears on a few
PickuPS: P-90 Pro
coNtrolS: Master
volume and tone
a second chance, connotations of being seen on
other models, too Hardware:
because sometimes stage with the Bay-approved – including a version Wilkinson Vintage
they’re just not Cherry finish, this Sunburst of its ES-339 semi 3-in-a-row with plastic
appreciated like they should be alternative could seal the deal. Ivory buttons,
first time around. For instance,
back in 2013 Fender finally gave
The hardware we want to draw
your attention to most here is that
3 Bridge
A rosewood bridge
is something you’d
Floating adjustable
rosewood bridge,
floating pickguard
Starcaster fanatics the comeback floating rosewood bridge – the expect to find on an leFt-HaNded: TBC
they were crying out for by adding angle of string elevation over it acoustic, and aides the FiNiSH: Aged Gloss
it to its Modern Player series, and definitely adds a tight bounce to Century’s resonance, Vintage Sunburst
since then the 70s footnote has the tension, and we’ll get to that here’s it’s floating (shown), Aged
and adjustable Gloss Cherry
found reissued life in the hands of later. First, there’s a couple of
coNtact:
a whole new generation of players small bugbears. It would have [Link]
– including Wes Borland. That been good to have a bone nut
brings us to another return, this instead of the cheap-looking
time of a rather idiosyncratic old white nylon on a guitar with such
design from Epiphone. And like a strong acoustic element. Some 89
Jonny Greenwood’s patronage of rough finishing on the edge of the
the Starcaster earned it a cult rosewood fretboard around the

It could offer a new muse

for those hIttIng the wall
following, an original P-90- first fret is a evident, too. But
loaded 1966 Century has been elsewhere this is a charmer…
gaining attention in the hands of The Century is a lightweight
a British hitmaker; James Bay. guitar (5.5lbs) and feels instantly
Its tones can be heard all over comfortable on the strap. It’s even 2
megahits Hold Back The River and better sat down before we plug in;
Let It Go, but that’s not all that’s because it’s hollow there’s a
piqued our interest – the Century satisfying experience to be had
really intrigues because it seems playing away from the amp, and it
to offer something different. has an appealing rounded woody
A tantalising crossover between character. All this could combine
the acoustic and electric worlds? towards your heart, head and
We better get playing and find out. hands forming a bond with the
Bay plays a Cherry Century and Century, and that’s always vital
3
these reissues will offer an Aged with any guitar, but especially so
Gloss version of that finish and here. Because the Century lives
this Vintage Sunburst. The in a world of its own.
somewhat satin (if that’s what Plugged in, we’re immediately
Epiphone mean by ‘aged’) finish encouraged to strum by the
on the laminated maple top is acoustic experience and the
classy but understated, with almost-neck position of the
amber hues blending into dark P-90 Pro rewards that with a
edges with waves through the warmth topped with an unusual
grain tempting us to take a closer compressed nature that gives the
look. And of course, we’re happy Century its own voice. Having

february 2017 ToTal GuiTar

 t h e ga s
station

nuthin but A
Wound G thang
James Bay on his unsung
20th Century classic

I
t’s tempting to connect the
return of the Century with
the rise of James Bay. And
here he explains to us about the
special connection he made
with his ’66 original…
“I picked it up in a guitar shop
Rosewood bridge and
in New York. I thought, ‘Wow,
P-90: where acoustic
that’s a cool-looking electric and electric meet
guitar’ and immediately it has
90 the wooden bridge, wound

Also try...
G-string. A wound G-string is
something you find on an
acoustic guitar of course…
and you can’t bend it as much Godin 5th
as you can the B and the E. Avenue KinGpin
So immediately there was this The closest rival to the
Century on spec but pricier;
argument to be had with the
made from Canadian Wild
guitar; this fight, and I was Cherry with a single
really drawn to that. Godin P-90 and three
“And obviously these finish options; this
are hollowbody guitars… black, natural and
Cognac Burst
£749
if somebody tells you to shut up
because you’re too loud plugged
Using these controls
in, you can soothe things with
is key to getting the
ibAnez
more of an acoustic sound!” best from the Century Artcore AF71F
Just like the Century, this is
another maple hollowbody
one pickup does limit your options ragged character for rock rhythm. the wall with an acoustic, onstage with a single pickup. The
Artcore is comparatively
but will inspire you to use the other Unsuprisingly, the Century is or writing. A singer/songwriter thicker, however,
tools more; strumming away from happiest strummed and picked up frustrated between the worlds of and offers a Classic
the P-90 for softer dynamics and and down its C-shaped neck over unplugged intimacy and rock Elite Mini ’bucker
increased ‘acoustic’ texture, cleaner ground, pushed with light power could find their tonal in the neck £379
dropping the volume control down gain in places. Trying some blues catalyst here; a different voice.
a notch to clean up and dialling the licks, we experience that tension And for that alone we welcome epiphone
tone down to enter authentically from the bridge design and the the return of the Century. eS-339 pro
jazzy archtop territory. wound G string. Whole tone bends Rob Laing
ES-335 too large for your
The Pro is not the hottest P-90 aren’t given for free (we find it tastes? This semi-hollow
FEAturEs
we’ve encountered, but this is a friendlier in Eb) but it inspires more P-90 Pro-loaded option give
sound quAlity you an additional pickup
hollowbody and feedback is a muscle from your approach.
SuMMarY

consideration. Move into medium This really is an unusual guitar vAluE For monEy over the Century, and
build quAlity also comes in this
gain and things can get wooly in – it is essentially an acoustic with a stunning Pelham
the bottom end, but pitch your P-90 wired in – and could offer a plAyAbility Blue finish £tBc
amp’s treble right and there’s new muse for those who are hitting ovErAll rAtinG

ToTal GuiTar february 2017

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92

ToTal GuiTar february 2017

 review

AlvArez DeltA 1 Finish

Standard Delta
00 models offer this
At A GlAnce

00e/tSB
Tobacco Sunburst type: ‘Blues’-shaped

£459 finish, while the deluxe

options (with solid
electro acoustic
top: Solid A+
mahogany back and Sitka spruce
sides) also come Back & sides:

Back to blues in vintage-modern style in Shadowburst Laminated mahogany

neck: Mahogany/

2 controls rosewood fretboard

T
The LR Baggs scale: 610mm (24.8”)
he Jazz & Blues Series is the kind of bluesy digging in with Frets: 20
Element VTC ’s tone
quite a departure for a pick that this guitar is all about. controls acts as a electrics:
Alvarez. Its name and the These high-mid-voiced acoustic treble roll off that LR Baggs VTC
warms things up hardware: Chrome
vintage aesthetic here are shapes can sometimes border on
the plugged-in tone open-gear tuners,
no coincidence – this is a nasal – that’s the appeal for some bone nut and saddle
of the Delta when
conscious shift to offer something – but the Delta’s tonality is a little dialled down leFt-handed: No
different at the lower end of the more open in its compression Finish: Tobacco
Sunburst
market. Anyone who has gazed
longingly at 30s parlour flat-tops
when strummed. The note
definition for fingerpicked blues 3 Bracing
Unlike other
Alvarez guitars, the
contact:
Dist-X Distribution
– namely the Gibson L-00 – only is impressive, too, and feels in 01604 817817
bracing is back-
to be jolted back to reality by the equilibrium with the neck and [Link]
shifted. The idea is
price tags, should be looking at the string spacing, especially if your to bring further
Delta with interest… hands are on the larger side. strength to the
The Tobacco Sunburst finish Though you won’t find the soundbox, adding
power and projection
instantly recalls those old Gibsons, deeper bottom-end of dreads and
but we can’t help wondering how jumbos here, the bass notes add
much cooler it would look in an punch without feeling muted. As
understated matt finish instead we tune down half a step♭, that 93
of the thick high-gloss here. The presence is enhanced further, and
overall build is tidy and solid, but we’re pleased to report the tension

the neck encourages bluesy

digging in with a pick 1

with some interesting diversions, holds up well. The plugged-in

from the Alvarez norm. Instead of performance with the LR Baggs
the firm’s trademark bi-level Element VTC is strong, enhancing
bridge, we get a retro rectangular the bass presence and placing the 2
rosewood design. In keeping with Delta in a more versatile territory
the less is more vibe, fret markers than we imaged. The subtly placed
are on the top side only, though volume and tone controls placed
Alavarez’s tribal-esque 12th fret inside the soundhole don’t break
marker is a jarring break from the with the vintage aesthetic either.
old-school; contrasting with the The Delta is an acoustic that is
3
more in-theme headstock logo more versatile than its name and
and open-gear tuners. looks suggest. There’s an intimacy
Picking it up, we get to grips to its charms that could make it an
with the feature that is probably inspiring instrument for singer-
going to divide many players. The songwriters and fingerpickers,
deep V-shaped neck with wide with a plugged-in performance
string spacing (5.8 inches), is that is ready for the road.
either an acquired taste or a total Rob Laing
deal-breaker depending on your
FeAtureS
tastes. But this is part of the core
SounD quAlity
character of vintage 30s parlour
SuMMarY

styles, and the open-minded will vAlue For money

soon get the point – especially as BuilD quAlity
the smaller body allows it to sit plAyABility
closer to the player. It encourages overAll rAtinG

february 2017 ToTal GuiTar

 t h e ga s
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94

ToTal GuiTar february 2017

 review

Danelectro 1 Nut
The aluminium at a Glance
nut is hard-wearing

’59M Spruce
and sounds great, body: Masonite
£629 but you might need
to keep it well
(hardboard) w/ solid
spruce top and
lubricated to stop soundboard
unwanted noise Neck: Maple, C-shape

A dapper Dano twist on a retro icon 2 Neck

The ’59M 1
Scale: 635mm (25”)
FiNgerboard:
Rosewood

L
Spruce’s neck is cut FretS: 21
ike all Danos, the ’59M Where it comes into its own, in a C-profile and PickuPS: 2x Lipstick
Spruce might be new, but though, is when both pickups are bolted to the body, ’56 single coil
its looks are pure post-war selected; the extra output of both and it’s super-quick coNtrolS: 2x stacked
and easy to play volume and tone, 1x
Americana – with its ‘Coke pickups in series reveals the ’59M
three-way selector
bottle’ headstock, short Spruce’s rebel heart. This extra Hardware:
horn double-cut body, ’56 Lipstick
pickups, and the groovy ‘seal-
muscle comes in handy for classic
hard rock. The brightness is still
3 Stacked
kNobS
Rolling back the tone
Kluson-style tuners,
fully adjustable
wraparound
shaped’ pickguard. Even the there of course – and those ’56 will take some sting
bridge – chrome
colour options draw from palettes Lipstick pickups combined with out of the sound for
leFt-HaNded: No
of yesteryear – but it’s not without the aluminium nut can get a little more woody,
FiNiSH: Pearl White
piano-esque cleans
its modern appointments… unruly at high volume. But there’s w/blue (as reviewed) or
For one, the ’59M eschews also a nice sinewy bark that will red/black pickguard,
Chianti, Buttercup,
Dano’s traditional rosewood please the greasiest garage
Black Pearl
saddle, preferring a neat recessed rockers, and offer a stairway to the coNtact: John Hornby
wraparound bridge and tailpiece. sort of power that Jimmy Page Skewes and Co
And the semi-solid Masonite build tapped into when he famously 0113 286 5381
[Link]
is augmented here with a spruce employed an original ’59 DC.
top, frame and soundboard, while Danelectro’s USP lies in both a 95
a single f-hole is offset against the sense of vintage authenticity and
bass side. In classic Dano style it’s overt individualism. Its guitars

It comes Into Its own wIth

both pIckups selected 2
still as light as a packet of smokes, were the affordable alternatives
and it’s also bright – really bright. to more traditional fare with a
With either pickup selected, the style that was super-modern at
’59M Spruce has an abundance of the time. 60 years later Danelectro
trebly bite, and it may well take a guitars are more of an exotic
little adjustment of your set-up to anachronism – an acquired taste
get the best out of it. Though the with a relatively steep price tag
pickups are lower in output than (although it’s closer to £500 on
most single coils, there’s plenty of the street). But that was always
character to be drawn from them. part of the appeal, and there’s no
Through a clean valve amp, there’s question the ’59M Spruce is a
plenty of snap ’n’ twang and handsome throwback of a guitar
vintage Americana to be had. with a bold vintage tone. It’s
Rolling back the tone takes some one for the outsiders, retro
of the harshness off, revealing an enthusiasts, the indie kids who
airy, dynamic voice, perfect for need a little spangle, and for
re-scoring Easy Rider with some anyone daring to sound different.
hippy-dippy chord work. Upping Jonathan Horsley 3
the gain to the point of break-up
FeatureS
finds a sweet spot for scratchy
SounD quality
blues and rockabilly. The C-shape
SuMMarY

maple neck feels super-thin and value For Money

navigable, making it a lot of fun builD quality
pulling out those syncopated playability
rockabilly doublestops. overall ratinG

february 2017 ToTal GuiTar

 t h e ga s
station

AffordAble
Words Nick Guppy Photography Joseph Branston

modelling Amp
96

round-up

ToTal GuiTar february 2017

 the tg test

Great, authentic tone is mainstream

digital modelling’s bold new frontier.
We check out four affordable contenders…

O
kay, we all love vintage valve amps, but let’s be honest, the
technology that makes them work is yesterday’s news. Valves
stopped developing in the mid-1950s; and ever since it’s the
transistor that’s benefited from continual improvement – with
the quantum leap of integrated circuits or chips in 1960 that made
today’s computers and mobile phones possible, not to mention digital
modelling guitar amps. Early transistorised amps had a reputation for going
up in smoke; however, modern designs are bywords for reliability and
gig-to-gig consistency, something even the best valve amps struggle to
match. It’s inescapable: valves wear out. Every time you switch on your
valve amp, it will sound imperceptibly flatter and noisier compared with the
last time, while a digital modeller will faithfully repeat your killer solo patch
night after night. Early modelling products sounded okay on recordings, but 97
lacked warmth and dynamic range when used live. However, modern chips
and vastly improved software have given today’s amps a sonic power-up
that narrows the gap to the point where it’s almost irrelevant, at a price that
would have been unthinkable 20 years ago. Here are four affordable combos
that not only offer programmable convenience, but mighty tone, too.

february 2017 ToTal GuiTar

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VOx ValVetrOnix BOss

Vt100x £388
Katana 100 £275

Hybrid howitzer Boss sharpens the cutting edge

What’s a valve doing in a digital amp? Hang on, doesn’t Boss make effects?
The VT100X preamp features a real 12AX7 valve for authentic drive Yes, Boss is an effects legend, but thanks to the digital expertise of
and distortion effects, so it’s a hybrid design. That aside, Vox has parent company Roland, the brand now also has an amp that
also leveraged the digital expertise of parent company Korg to create promises organic, valve-like tones at an impressively low price.
a new and improved digital preamp using VET (Virtual Element It does this by using the same Tube Logic technology employed in
Technology) to emulate every component inside a real valve amp. last year’s 150-watt Waza Craft head, and other Roland amps.

How many amp models do we get? What sort of sounds to we have to play with?
There are 11 built-in models, with up to 20 using Vox’s Tone Library The K100 doesn’t invite direct comparison with specific amp brands
app. There’s a choice of 12 different effects, and you can have three and models. Instead, there are five generic voices: Acoustic, Clean,

98

running simultaneously. The VT100X also lets you experiment with Crunch, Lead and Brown. You can pre-load 15 different effects types
bias shift and class A or AB settings – very cool. This apart, it’s into the amp, with 55 to currently choose from when you link the
familiar for anyone used to modelling amps, with typical controls Katana to the Boss Tone Studio application.
for patch editing and storing.
Are its connections equally as varied?
What other sources can I connect it up to? Indeed. The Katana 100 features an effects loop, aux in and line out,
Well, the amp’s USB socket means that you can hook the VT100X speaker-emulated phones/recording out, USB recording and
up to a desktop or mobile device; this allows you to get into greater connection to the optional GA-FC foot controller, which can run up
editing depth with Vox’s excellent Tone Room software app. to two expression pedals, and toggles the Katana’s effects loop and
There’s also an aux in and a phones socket, too. four user patches.

At A glAnce At A glAnce
Type: Hybrid valve/digital preamp Type: All-digital modelling
modelling amplifier guitar amplifier
Key feaTures: 12AX7 preamp valve, Key feaTures: Five different amp
11 amp models and 12 effects, with models, 15 on-board effects from
more from the Tone Library app. USB a selection of 55, up to three
editing via PC/Mac/iOS/Android simultaneous. Variable output
ConTaCT: Vox Amplification Ltd power control (0.5, 10, 50 and 100
01908 304600 watts), effects loop and USB
[Link] recording out, built-in tilt stand
ConTaCT: Roland (UK) Ltd
01792 702701 [Link]

ToTal GuiTar february 2017

 the tg test

Marshall COde50 BlaCKstar id:COre

1x12 COMBO £259
stereO 40 V2 COMBO £159

Hi-tech for rock gods Tone to the core

Has Marshall cracked the Code? What does the V2 stand for here?
Very funny. The Code range is Marshall’s first serious attempt at The V2 is the latest iteration of Blackstar’s successful ID:Core
modelling amps and as you’d expect, they pack in loads of Marshall modelling range. It features newly enhanced amp voices and
sounds, together with some other classics. They’re all created using upgraded effects – including an envelope filter – plus a re-voiced aux
Marshall’s state of the art MST (Marshall-Softube Technology) in with dynamic EQ for louder, better-sounding playback. It also
modelling engine, a team-up with digital audio pioneers, Softube. comes bundled with PreSonus’ Studio One DAW software.

So how does this differ from other affordable modelling amps? So tell me more about these revamped sounds…
Well, rather than straight-up amp models, the Code mixes things The V2 brings six revitalised amp voices covering the full gamut of
up by giving you 14 preamp models, four power amp models and tone – from crystalline cleans to massive distortion for blistering

99

eight speaker cab models, which adds a lot of versatility. There are leads and huge chord textures. You can also season your tones with
also 24 built-in effects and you can use up to five simultaneously. 12 upgraded effects, from which you can use three at once, and enjoy
With 100 on-board presets and more storage available in the superb it all in Super Wide Stereo.
Gateway app, you’ll never run out of space.
If it comes with DAW software, it must be recording-friendly?
Is that the only hi-tech fun included? Bingo. In addition to a guitar input, the ID:Core has a USB outlet that
Nope - the Code also has built-in Bluetooth, so you can hook it up to connects to Blackstar’s Insider software and also allows two-way
your mobile device, control it in real time and stream music through recording – not only can you record, you can also re-amp, sending a
it. There’s also a headphones out and aux in for analogue types, and dry signal into the ID:Core and returning a fully processed signal to
again, the Gateway app is great: easily the best in its class. your desktop.

At A glAnce At A glAnce
Type: Digital modelling amplifier Type: Digital modelling amplifier
Key feaTures: 14 preamp models, Key feaTures: 6 voices, 12 effects
8 speaker cab models, 24 built-in (3 simultaneously), two-way USB
effects, 100 presets, Bluetooth audio and super-wide stereo
Gateway app connection speakers. Bundled with PreSonus
ConTaCT: Marshall Amplification Studio One
01908 375411 ConTaCT: Blackstar Amplification
[Link] 01604 817817
[Link]

february 2017 ToTal GuiTar

 the tg test

The Vox has a real

head tO head
preamp valve for extra
tonal authenticity

Which of our foursome

is the model citizen?

a
ll four combos have excellent
low-noise performance – it’s worth
noting the Blackstar uses an external
power supply, while the other three
use regular 240V kettle leads – and
each also sports an easily navigated control
panel. Vox’s VT100X makes good use of LEDs,
including an eerie nuclear blue glow around the
12AX7 preamp valve, which may not help the
amp sound better, but looks cool. Equally cool is
Marshall’s Bluetooth connectivity – it hooked
up to our iPhone in a few seconds and allows
real-time editing of all the amp’s parameters,
as well as audio streaming. Comparatively, the
Katana is fairly low-key, doing what it’s
supposed to with typical Boss efficiency, and
it’s a similar story for the Blackstar.
With a real preamp valve, you’d expect the
Vox VT100X to sound good, and it really does.
100 Some of the sounds are so inspiring it’s very
easy to just get carried away playing – the

the KAtAnA mAy

looK plAin, but its
tones Are truly
exceptionAl
Dumble-inspired Boutique OD and the warmth
of the AC30 are real stand-outs. Speaking of
standing out, the Katana may look plain, but its
tones are truly exceptional. The Crunch voice is
responsive and dynamic, while the Brown solo
sound is as good as many USA valve-powered
competitors. Start using the Tone Studio editor
and the Katana’s edge becomes sharper still,
with different effects chain presets and
assignable control parameters.
Marshall’s Code50 is similarly impressive,
despite the understandable limitation that
most of its best sounds all come from the
Marshall back catalogue. Nevertheless, the
Gateway app’s ease of editing makes the Code
great fun to use. Blackstar’s re-voiced ID:Core
works best where it’s intended to be used, in
the home studio/bedroom environment, with
new enhanced voices that sound impressively
The Katana is
big at conversation volumes and PreSonus’s
simple and
Studio One software providing a perfect entry easy to use
to desktop recording.

ToTal GuiTar february 2017

 t h e ga s
station

final VerdiCt
Picking the top mod for you…

W
hile all four amps are affordable, suited to smaller gigs with 100 watts of punch option to customise your sounds and presets
there’s quite a range of prices and authority to get your point across. The through the Tone Editor app. Marshall’s
here – although it’s worth sounds are great, but they’re in danger of Code50 is almost identical in performance,
noting each model comes in a being eclipsed by Boss’s Katana, which has an with ample power to handle smaller gigs,
range of sizes to suit your needs. organic warmth and dynamic response that but sonically a little more limiting. However,
Blackstar’s ID:Core Stereo 40 is less than half some valve amps would find hard to better. if you want the Marshall sound combined
the cost of the Vox, yet for home use it’s Add the optional GA-FC foot controller and with modelling amp convenience it’s a
quicker to get working, as well as taking up an expression pedal or two, and the Katana no-brainer. Whichever one you go for, you
less space. It’s perfect for the home recording transforms from budget modeller to serious won’t be disappointed – it’s astonishing how
enthusiast who wants to get authentic tone performance tool – it’s perfect for the far digital modelling technology has come,
onto a track with minimal hassle. Vox’s working player who wants reliably consistent particularly in the past 10 years, and equally
VT100X is an ideal weekend warrior’s amp: great tone on stage and in the studio, with the astonishing how affordable it has become.

Vox ValVeTronix VT100x Boss kaTana 100

best for best

live gigs All-rounder

101
best buy
AwArd

feAtures feAtures
sound quAlity sound quAlity
summarY

summarY
vAlue for money vAlue for money
build quAlity build quAlity
usAbility usAbility
overAll rAting overAll rAting

marshall coDe50 1x12 comBo BlacksTar iD:core sTereo 40 V2 comBo

best for rocK best for

And metAl home And
studio

feAtures feAtures
sound quAlity sound quAlity
summarY

summarY

vAlue for money vAlue for money

build quAlity build quAlity
usAbility usAbility
overAll rAting overAll rAting

february 2017 ToTal GuiTar

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station

best buy
award

102

Fuzz pedal round-up

S KHdK Scuzz Box electro-Harmonix

ome of the greatest
distorted guitar riffs and £169 £62
licks ever were created
using the unmistakable Hammett-approved dirtbox nano Big Muff pi
F
sound of fuzz. Marty Robbins’
guitarist Grady Martin is the
rom Kirk Hammett’s KHDK stable,
the Scuzz Box offers two very different
tHe big one’s little brotHer

T
man credited with accidentally
modes (Fuzz and Scuzz). Fuzz is much he Big Muff is the world’s best-known
discovering fuzz back in 1961,
like any germanium fuzz (think Hendrix-era fuzz pedal, and similar to its far bigger
when a dodgy preamp gave his
Fuzz Face), giving great dynamic tones that relative, the Nano incarnation has three
guitar the classic distorted tone.
clean up nicely with your guitar’s volume, controls: volume, tone and sustain. The Nano
Fast-forward a few years and
while the tone and deep knobs act more as does a great job of emulating the classic Big
pedals that replicated the effect,
high- and low-cuts respectively. Where it Muff riffs, with that familiar scooped mid
such as the Maestro Fuzz-Tone,
really comes into its own however, is on the sound, particularly when the tone is set past
Electro-Harmonix Big Muff and
Scuzz setting. This gives you a gated velcro 12 o’clock – although this can make it
the Dallas-Arbiter Fuzz Face
fuzz tone with hint of octave/bit-crushed struggle to cut through live. That said, this
were catching on with Keith
effects, but never becomes thin and grating in Nano has a quieter noise floor than its big
Richards, Carlos Santana and
the top-end like some more extreme fuzzes brother, making it useful for stacking with
David Gilmour and many others.
can. There’s also a buffer switch that’s really other dirt pedals – a Tube Screamer or similar
Fuzz has come a long way since
handy for reducing interference when used in will boost those mids back up. Compared with
those early days, so here we’re
conjunction with other pedals or long cables. the original, this holds up very well indeed.
looking at four modern pedals
and the fuzzed-out craziness Features Features
you can wring that from each of sound quality sound quality
SuMMarY

SuMMarY

them. Ranging from smooth, value For money value For money
words: Dan Wild-beesley

brass-like sustained notes to build quality build quality

shrill, teeth-grinding velcro fuzz usability usability
tones, it’s all here. Let’s dive in. overall rating overall rating

ToTal GuiTar february 2017

 pedal round-up

best buy
award

103
Go after the enormous filth tones of Hendrix, Homme and Mascis
with this quartet of variably voiced fuzz monsters

Way Huge Swollen £129 TC electronic £49 at a glance

pickle MkiiS rusty Fuzz Type: Fuzz pedals
power requiremenTs: 9V
battery or PSU
ComiCal name, Colossal fuzz rust in pieCes ConTaCT:
Zoom Distribution UK

Y T
ou may already be aware of the original he Rusty Fuzz again takes its sonic 01462 791100
Swollen Pickle, and this MkIIS offers a footprint from the Fuzz Face. For a fuzz [Link]
similar fuzz in a more ’board-friendly pedal, it’s actually relatively polite and a Electro-Harmonix
[Link]
footprint. Its controls are extremely powerful, bit of a challenge to get gnarly, treble-heavy
Westside Distribution
allowing you to achieve a vast array of fuzz tones without use in conjunction with an 0844 326 2000
tones – from subtle warmth to face-melting overdrive/booster. Similar to the original Fuzz [Link]
filth. This Pickle also features two internal Faces, the output of the Rusty is relatively low, TC Electronic
pots labelled Clip and Voice. Clip gives you the but it’s great for big fat powerchords for a 0800 917 8926
[Link]
option of a smooth warm fuzz all the way up Queens Of The Stone Age vibe, even if it lacks
to an massive sustained fuzz, whereas Voice the top-end cut for lead work. Of course,
sets the intensity of the external scoop that’s why vintage fuzz fans tend to run them
control. Besides the incredible versatility, we into already overdriven amps. For under £50,
also love the practical addition of a convenient though, it’s hard to fault the build quality, and
nine-volt battery door for easy access. there’s true bypass switching to boot.

Features Features
sound quality sound quality
SuMMarY

SuMMarY

value For money value For money

build quality build quality
usability usability
overall rating overall rating

february 2017 ToTal GuiTar

 t h e ga s
station

104

Best Buy
awarD

KHDK DarK BlooD £199

Hardwired... to kick yer’ teeth in

B
ack in issue 287, we told
you all about the creation
striking red embossed motif
against its moody black casing. It’s
control, which has bags of
variation To have all this power in
at a glance
of the new Metallica a brutal-sounding thing, too, with one reasonably affordable pedal is Type: Distortion pedal
album, Hardwired... To a raging stack-esque delivery. a dream come true for metalheads. ConTrols: Volume, gain,
Self-Destruct, and now it’s Background noise is kept to a A few months ago we raved treble, Doom, gate on/
off, Hi/Lo switch
our chance to get to grips with one minimum with an onboard noise about about the new TC’s Mimiq soCkeTs: Input,
of the tools the band used to make gate, but the big selling point is the Doubler, which emulates the output, power
it - a new dirt box from Kirk Doom knob, which dials in a multi-layered sound that the likes Bypass: True bypass
Hammett’s effects firm, KHDK. monstrous landslide of bottom- of Hammett and Hetfield get in power: 9V battery
or mains adaptor
Kirk told us that the Dark Blood is end for that crushing tone that the studio. Add the Dark Blood
(not supplied)
all over Hardwired... To Self-Destruct Kirk’s bandmate James Hetfield is into that mix and you’ll have the ConTaCT:
and that’s a fitting debut for the renowned for. The Hi/Lo switch ultimate brutal metal attack. And Zoom Distribution UK
firm’s “most evil” pedal yet. adds to the tweakability with the when you’ve got your tone sorted, 08432 080999
[Link]
In contrast to the subtle Lo setting upping the grunt factor well, nothing else matters.
graphics used in other KHDK for rhythm and Hi boosting the Ed Mitchell
pedals we’ve looked at, this one top-end and sustain for lead
features
shouts loud and proud with a breaks. We also love the treble
sounD Quality
SuMMarY

value for money

it’s a Brutal-sounDing tHing BuilD Quality
usaBility
witH a raging Delivery overall rating

ToTal GuiTar february 2017

 t h e ga s
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106

Fix Your GuiTAr

replacinG your poTs

Snap, crackle and pop is for Rice Krispies – sort out those
annoying noisy controls with our step-by-step guide
Words: Stu Williams

Y
our guitar’s controls wires inside – which is a much
are a low-cost, yet bigger problem! Next up is a
integral part of your scratching or popping sound
tone, yet they’re
often overlooked.
when you turn the control.
It’s usually intermittent, but
doff your capS
Your tone pots will also have a capacitor
There are three main things it’s up there with microphone attached to them. This little component
that can go wrong with your feedback on the list of ‘Things what you need is the bit that actually rolls off your
Soldering iron with stand high frequencies when you turn it down.
control pots. The first (and your audience will hate’. It’s
and cleaning sponge Capacitors used in guitar circuits aren’t
easiest) is when the pot has also a simple fix, which we’ll Control pot polarised, so it doesn’t matter which
come loose, so if you turn your get to in a moment. Finally, Helping Hands way round you fit the legs – we normally
volume or tone control to 10 you may discover that your Solder sucker go with the printed side facing out
it continues to turn,because pot is simply worn out, not Screwdriver from the pot. They’re measured in
Safety glasses microfarads (uF) and will be marked
you’re actually spinning the connected or even physically Electrical cleaner with a number. You can experiment
entire pot around inside your broken – it might be creating with different values and materials for
guitar. Not only is it annoying,
but leave it long enough and
some extreme noise, or not
operating at all. Let’s take
Skill level different results, but if in doubt, just
swap it for what you already have.
Intermediate
you’ll snap the connecting control and sort this out…

ToTal GuiTar february 2017

 fix your guitar

1 The basic process of working on volume or tone controls is the same, but there are
a couple of differences. Volume pots generally use a logarithmic (B) or ‘audio’ taper,
while tone controls are often linear (A), but can also be logarithmic. Your pots will be
2 When replacing a volume or tone pot, you need to make sure that you get the
right value for your guitar. As with most things, it’s not set in stone, but as a rule
of thumb, single-coil pickup guitars use 250k pots, while humbucker-equipped ones
stamped with the relevant letters, so if in doubt go like-for-like when replacing them. use 500k pots.

107

3 Before you remove your pot, you’ll have to take the control knob off. This can vary
between ‘easy like a Sunday morning’ and ‘why won’t this bloody thing budge?!’ in
difficulty depending on your guitar. Don’t use a screwdriver to prise it out: instead,
4 If you find that your knob just won’t budge no matter how much you pull on it
(you heard), get the edge of your cloth underneath. Next, fold the cloth up and
pull straight up – the fiddly piece of plastic should come straight off. Go slowly –
grab yourself a thin cloth or duster and head to the next step. you don’t want to break it.

5 Next, you need to determine how to get to your guitar’s innards. On a Strat-type
guitar with scratchplate-mounted electronics, you’ll need to take the strings
off and unscrew the scratchplate. If your controls are mounted through the body
6 This is the guitar’s control cavity cover: the portal to tonal upgrades. Take out the
screws and lift it out – you should be able to do this with your fingernails, if not, turn
it upside down and let gravity do it’s thing. Again, please don’t try to prise it out with a
(like on our Les Paul), getting to them is much easier. screwdriver, lest you chew up the surrounding wood.

february 2017 ToTal GuiTar

 t h e ga s
station

7 You’re in! Our Les Paul is pretty neatly wired, but if your guitar has had previous
after-market work, it may not be. Arrange the wires neatly and take a photo on
your phone. This way you’ll be able to see where everything goes if you accidentally
8 Now we can start with the repair. If your controls are turning past the point of their
usual travel, you need to fix them down properly. Arm yourself with the correct
sized spanner or socket. Push the bottom of the pot so it’s firmly in place, then tighten
dislodge a wire. that sucker up. It’s one of the easiest fixes you can make.

108

9 Next, we’ll look at the problem of crackles. The back of your pots are pretty much
sealed, but that doesn’t stop dust and other debris getting in there and causing
noise when you turn the control. You can see inside the pot by looking along the edge
10 Get some cleaning solution (we’re using Servisol Super 10, which both cleans
and lubricates your pots), attach the straw to the nozzle and blast it in the gap.
Don’t go mad, or you’ll end up with a flood inside the control cavity. Whatever you do,
near the contacts, which allows for cleaning the inside track of your pot. don’t use three-in-one oil, it’s not the same thing!

11 Next, quickly turn the pot up and down a dozen or so times to help dislodge the
crud. If that doesn’t fix it, it’s time to replace the pot. Make a note of where the
wires are connected, then desolder the connections. Undo the nut we talked about
12 With your new pot safely back in the body of your guitar, refer back to the
photos, notes or pieces of masking tape that you used to determine what goes
where, and connect the wires back up. There you go – noise free operation for
earlier and put your replacement pot in. thousands more turns!

ToTal GuiTar february 2017

 Discover Great Guitars
Every issue, Guitarist brings you the best gear, features,
tuition and interviews to fuel your passion for guitar

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111

HURRY!
OffER EndS
10/02/2017

The Golden Plexi by Tone City is your classic rock amp sound turned

gOLDEn
up to 11 with a Plexi-like sound – and if you are a fan of British rock
amp tones you’ll know exactly what this pedal’s name is referring to.
Even though there are only three controls, that’s all you’ll need to get

wOnDER
amazing blues, rock, and metal tones out of the Golden Plexi. The
tone and gain controls have a wide range and deliver everything from
a sweet crunch to crushing high gain.
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 the playlist

The Playlist
have a clue what we were doing, and the
producer didn’t care. We just went in, did it
and then got pissed.”

My favourite solo is… Still Got The Blues

– Gary Moore
“This or Parisienne Walkways. The solos are so
Bring Me The Horizon’s Lee Malia takes a look back at to strong, and the songs as a whole are, too.”

his musical roots, recommendations and regrets with us To introduce someone to our band,
I’d play them… House Of Wolves

T
– Bring Me The Horizon
he first song I remember… “It would depend if I wanted
Apache – The Shadows to show them the really
“I remember my dad playing this heavy stuff, or a more
on the guitar, and it was one of the melodic song. If it was a
only things he could play.” heavy song it would be
House Of Wolves, or Oh No
The first song I covered… All The Small for our lighter side.”
Things – Blink 182
“In my first ever band. It was the only song The song I’m currently
that we all knew. After that I was in a Metallica listening to… Spit Out
tribute band – my picking hand got a lot better The Bone – Metallica
thanks to that!” “It’s the new Metallica
album, I’m quite
The song I play when trying out
new gear... Master Of
Puppets – Metallica
“I still play that Master Of
Hear it!
114 Puppets riff when testing a Listen to Lee’s
new amp, because I know playlist on Spotify
exactly how it’s supposed [Link]/tg289bmth impressed.
to sound.” Sorry to keep
going on about
The most challenging Metallica! I’m
song of ours to play also listening to
live… Pray For stuff like Bon Iver,
Plagues – Bring Me American Football,
The Horizon who’ve just reformed and
“One of the old ones. put a new CD out.”
It’s all over the place!
The picking is really The song I would like to be
weird. I don’t know why remembered for… Blessed
we wrote it like that.” With A Curse – Bring Me
The Horizon
“It was the first song we wrote
which made people realise that
we’re not just about noise. There’s
a lot of influences from Dave Gilmour
and even Dire Straits in that song.
I remember our producer saying, ‘Are
you sure you want to record that song?’
in the studio and I said, ‘Definitely!’”
A song I tried to learn
but just couldn’t nail… Reelin’ The song I would like to cover
In The Years – Steely Dan one day… Who Wants To Live
“It’s completely different to how Forever – Queen
I play – really out of the box.” “A Queen song would be cool. We used to
play this all the time in the car when we
I wish I could erase… Count Your were on tour.”
Blessings – Bring Me The Horizon
“I’d re-record the whole first album. Bring Me The Horizon’s Live At The Royal
I was 17 when we recorded it. We didn’t Albert Hall is out now

ToTal GuiTar february 2017

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