australian guitar - 108 - 2015

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Ernie Ball Music Mans NAMM had a bit of a cloud cast over it when some jerk stole a John Petrucci JP15 from the display. Sterling Ball says, If you see anyone for the next four months that isnt john Petrucci with one of these, they either stole it or bought a stolen guitar. So keep an eye out because at the present time it hasnt been located yet. The JP15 is beautiful too: its the first John Petrucci production model to feature a roasted maple fretboard and roasted maple top. It has an African mahogany body with a Sahara Burst satin finish and a pair of DiMarzio Illuminator humbuckers. Piezo, 20 dB gain boost and custom pearl JP15 inlays come on every JP15 and its available in six- or seven-string with your choice of flame or quilt top. Ernie Ball Music Man also showed off a neck-through StingRay bass which was beautiful, and the Steve Lukather Luke III BFR in blue berry burst. The more affordable Sterling By Music Man line revealed plenty of new models including a beautiful koa-top JP100D with John Petruccis DiMarzio Crunch Lab and LiquiFire pickups, a beautiful Ruby Red version of the JP170D seven-string, the S.U.B RAY4-MG/4 in mint green with maple neck, and a new S.U.B. AX4-TBL in translucent blue. It was also great to see Teramaze guitarist Dean Wells performing at the EBMM booth to enthusiastic crowds.

Although it wasnt official, Ibanez seemed to have a look to the past vibe about some of their new NAMM offerings. For instance, this year saw the return of KISSs Paul Stanley to Ibanez with a range of new PS guitars including, for the very first time, a publicly-available version of his Cracked Mirror guitar. Steve Vais blue floral six-string Jem and white seven-string Universe return in the more affordable Premium range, each with DiMarzio pickups. And Joe Satriani has hand-drawn the art for all 50 of the limited edition JS25ART in neon colours against a black body. These guitars are going to go very quickly. They look great in photos but even better in person. Ibanez also relaunched the venerable Talman line in the form of two new bass models, with rumours of a guitar line relaunch sometime in the future. There was also a new mini-sized Tube Screamer overdrive pedal and a pair of prototype Iron Label series (ie: more affordable) fanned-fret guitars in seven- and eight-string versions with EMG humbuckers.

IBANEZ

ERNIE BALL MUSIC MAN

| australianguitarmag.com.au

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Jim Dunlop always introduces several new products at NAMM but they really went for it this year with the new Cry Baby Mini Wah, Marcus Miller Signature Super Bright Bass Strings, MXR Iso-Brick Power Supply, MXR Bass Distortion, Super Bright Guitar Strings, Way Huge Saffron Squeeze MkII Compressor, Herco Vintage 66 Nylon Picks, Jacquard Straps, New Primetone Sculpted Plectra shapes and gauges, the Platinum 65 Guitar Care System, the 50th Anniversary Gold Nylon Pick and Ultex Thumbpicks.

Orange have dipped into some new areas this year with the launch of the new tangle-free Twister Cable and the Orange Rock Guitar Syllabus (an educational course available online or in paper format), which includes videos featuring Orange Ambassadors such as Fall Out Boys guitarist Joe Trohman. Orange also unveiled the OB1 Series of bass amplifiers, Class A/B rack-mountable heads with two independent simultaneous signal chains inspired by the trend of adding a guitar amp to augment the harmonics of a bass amp.

jim dunlop

orange

In a move reminiscent of the old Pro Tools Free from around 2000, AVID has launched Pro Tools | First, a new free version of Pro Tools that anyone can download, with 16 mono or stereo audio tracks, 16 instrument tracks and 16 MIDI tracks. This is in addition to Pro Tools 12, which features new flexible licensing options from low-cost subscriptions to buying it outright. And new feature updates for Pro Tools will now be delivered in smaller but faster release dates instead of the traditional 18-month wait between big updates.

avid

| 69



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MARSHALLAside from a signature Mtley Cre version of the much-loved Marshall Fridge to celebrate the legandary rockers final tour, Marshall launched the 2555X Silver Jubilee Reissue stack this year with high/low output switching, vintage style appointments, two channels and 100 watts of power. This one was a big talking point at NAMM.

Shures new products include the MV5 small-diaphragm cardioid condenser microphone, which can be unscrewed from its stand to reveal a threaded base that can be put on any camera tripod. It has three DSP modes for instrument, voice and flat mode, real-time monitoring and is iOS compatible; the MV51 large-diaphragm cardioid condenser microphone with a capacitive touch interface that lets you choose between five DSP modes (speech, singing, acoustic instrument, amplified instrument and flat); the MV1 interface for plugging your mic or instrument into a mixing device while using the same capacitive touch-controlled DSP modes of the MV51; and the tiny MV88, a condenser microphone for iOS with a rotating barrel on a hinge. Again, it gives you access to the five DSP modes, but this time via an app.

SHURE

YAMAHAYamaha has now opened up its full Pacifica line-up internationally again, including the PAC510V with Seymour Duncan P-Rails. For a while there it seemed like Australia and the US in particular missed out on the more pro-specd Pacificas so its great to see them getting wider availability. Yamaha also debuted the newly-expanded A6 line and have expanded their A Series guitar line with the A6 dreadnought and concert guitar models. Handmade in Yamahas historic Music Craft workshop in Hamamatsu, Japan, these guitars have solid Sitka spruce tops and solid rosewood back and sides. The SRT electronics use a DSP-driven acoustic modelling system that analyses the sound

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roland/bossOne of the big Dude, did you see that? products of this NAMM was the BOSS ES-8 Effects Switching System, an advanced audio command centre for pedalboards featuring eight audio loops, flexible routing options, MIDI, amp channel switching and much more. It looks like its going to end up being the most affordable pedal switching system yet. BOSS also launched the BB-1X Bass Driver pedal, which can put the hurt on a bass amp or go to a mixing console, while Roland launched the Eric Johnson Blues Cube Tone Capsule, a user-installable voicing circuit for the Blues Cube guitar amplifier series which changes the sound and response characteristics of the Blues Cube amps to provide custom voicings tuned and approved by Eric Johnson himself, who says, Ive spent years finding amplifiers to suit my tonal quest and discerning criteria to get my sound. Im excited to work with Roland to create many aspects and persona of that sound in a more compact, tangible, and affordable version for all kinds of players.

PRS Guitars has announced the Mark Holcomb Limited Edition for the Periphery guitarist. Its a 25.5 scale Custom 24 with a 20 fretboard radius, a newly-designed PRS bridge and the Seymour Duncan Alpha and Omega humbucking pickups. It has a carved, figured maple 10 Top, mahogany back, 24 fret Pattern Thin neck, PRS Phase III locking tuners, and a 5way blade switch control layout with black Hipshot O-ring controls. Available colours are black cherry, black gold burst, charcoal burst, faded whale blue, Holcomb burst, and jade. Mark says: As someone whos been obsessed with PRS since my youth, it has been an absolute dream to be able to develop my own PRS signature guitar. For nearly the past year, weve designed this instrument with the intention of making it not only unique, but something that would satisfy my every taste as a guitarist, from both a technical and aesthetic standpoint. The result is something that truly stands on its own in the PRS line-up, and a guitar that I can undoubtedly say is the best instrument Ive ever laid my hands on.

paul reed smith

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Michael Kelly Guitars had many cool guitars but the standout offering was a pair of new 1950s Series models in seven-string and eight-string versions. As opposed to many Tele-shaped extended-range instruments out there, these ones are much more Tele with extra strings than extra-string shred machine that happens to be shaped like a Tele, so theyll appeal to players who might prefer more traditional guitars but long for the extended range of a few extra strings. These guitars have flame maple tops on Alder bodies with maple necks, rosewood fretboards, Rockfield Fat Ass pickups, and 25.5 scale length for the seven-string and 27 for the eight-string.

MICHAEL KELLY GUITARS

bLACKSTARBlackstar now offer their award-winning HT-5R and HT Club 40 tube amps in limited edition red covering with vintage-style basket weave fret cloth. Theyve also launched ID:Core BEAM, their first Bluetooth guitar amp which lets you wirelessly stream music to your amp and jam along. It also includes two bass, two acoustic and two acoustic simulator

voices in addition to six carefully-voiced electric guitar tones. They also showed off their new FLY 3 amp, a teeny tiny little thing that sounds huge and is very affordable. An extension cabinet thats equally tiny and cute is also available, which turns the FLY 3 into a stereo rig or stereo speakers for your computer or whatever you plug into it.


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ESP is going crazy in 2015 with all sorts of new models as well as a collection of 40th anniversary limited edition guitars including the LTD EC-2015 (limited to 300 worldwide), MH-2015 (limited to 300 worldwide), and the seven-string H7-2015 (limited to 200 worldwide) with quilted maple tops, ebony fingerboards, real Mother of Pearl inlays, multiple bindings, EMG MetalWorks pickups and See Thru Black Satin finishes. In the Signature Series there are three new models for Gary Holt of Slayer and Exodus; two eight-string 27 baritones for Javier Reyes of Animals As Leaders; and two basses for jazz/fusion great Bunny Brunel: four-string and five-string fretlesses with neck-through construction, quilted maple tops, a special Aguilar pickup set with OBP-3 active preamp, and ebony fingerboard. A number of current ESP artists have also had additions and updates to their signature instruments including Gus G. (Ozzy Osbourne, Firewind), Will Adler of Lamb Of God, shredder Andy James, Frank Bello of Anthrax, War/PHILM bassist Pancho Tomaselli and Gabe Crisp of Whitechapel. ESP also adds to LTDs affordable 200 Series with models for Kirk Hammett (Metallica), Michael Paget (Bullet For My Valentine), Tom Araya (Slayer) and Stephen Carpenter (Deftones).

esp

sCHeCTeRSchecter launched the new Platinum series in a range of different shapes, all with EMG active humbuckers, ultra access set necks and satin finishes. The Banshee Elite line strips back this well-respected shred line with all new hardware and a neck through design with your choice of fixed bridge or Floyd Rose, with new Schecter USA SuperCharger handwound pickups. Schecter also expands its popular Hellraiser line with a Passives series with Schecter Brimstone pickups. As for signature models, there are new axes for Chris Garza (Suicide Silence), Chris Howorth (In This Moment), Chris Poland (ex-Megadeth), Jake Pitts (Black Veil Brides), Jerry Horton (Papa Roach), Keith Merrow (Conquering Dystopia), Tommy Victor (Prong) and Sin Quirin (Ministry).

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jblJBL launched their new powered SRX800 Power Boxes, their premium power box with 2000 watts of power, 20 parametric EQs, two seconds of delay, input mixing, level controls, mutes, and its HiQnet Network capable with iOS and Android apps that let you control all sorts of things like setting up groups of speakers, subs, etc. The line includes 15 two-way, 12 two-way, 15 three-way, single 18 sub and a dual 18 sub.

Taylor Guitars announced the addition of the Expression System Baby pickup to its Baby Taylor Series. The Expression System Baby, or the ES-B, is based on Taylors patented behind-the-saddle pickup, the Expression System 2, which features three uniquely positioned and individually calibrated piezo sensors. The sensors are placed in locations that allow more of the dynamic range of the acoustic sound to be captured than ever before, and its powered by an onboard preamp with volume and tone controls plus a built-in digital chromatic tuner. The new models include the three-quarter-size Dreadnought Baby Taylor, the Baby Taylor Mahogany, and the Taylor Swift Baby Taylor, along with the 15/16-scale Big Baby Taylor. Taylor also debuted their new 600 Series, incorporating changes based on Master Builder Andy Powers research into how far bracing, thickness, finish, and new seasoning processes like torrefaction, a wood roasting method, could enhance maples tone profile. I wanted playing a maple guitar to be a more gratifying, all-around experience, he says. I wanted a tone that was richer, more complex, with longer sustain, without giving up the linearity that I like about maple as a builder. The newly redesigned 600 Series is available in the 614ce (Grand Auditorium), 616ce (Grand Symphony), 618ce (Grand Orchestra) and 656ce (12-String Grand Symphony).

taylor

Seymour Duncans pedal range continues to grow with the Vise Grip Compressor and the Studio Bass Compressor each of which lets you blend in either the full dry sound or just the high or midrange frequencies of the dry sound and a new version of the old Shape Shifter Tremolo Pedal with stereo inputs and outputs and a phase control. SD also displayed Fear Factory guitarist Dino Cazares Retribution humbuckers for seven- and eight-string, new gold and black chrome versions of Megadeth mainman Dave Mustaines LW-MUST Livewire active pickups based on the voicing of the JB and Jazz; a Dave Murrary Loaded Pickguard for Stratocaster with the same pickups used by the Iron Maiden legend, and a new set which combines P-Rails pickups (which have single coil, P-90 and humbucker modes) with Triple Shot mounting rings that let you select the pickups various modes from switches right there on the ring (previously you had to buy these separately).

SEyMoUr DUNCaN


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Zakk Wylde has long been one of Gibson and Marshalls most popular artists, with successful signature gear from practice amps and kids mini Les Pauls all the way through to limited edition amp stacks and Gibson Custom guitar lines. The very idea of Zakk leaving either for another company at this stage of his career, where his endorsement has carried so much weight, seems utterly unbelievable. But thats whats happened: its just that Zakk hasnt taken his considerable endorsement value to other guitar and amp brands. Hes created his own instead. Wylde Audio will make guitars, amps, effects and all sorts of accessories. Wylde Audio wasnt actually showing at NAMM: Zakk was showing the gear at a secret location off-site, and we were invited along to check out the first guitars and amps.

At what point did you decide it was time to become a guitar company?At the time when my Marshall, Gibson, Dunlop, EV family said to me, Zakky its time for you and your wife of 28 years and your four children to move out of the house. Get the fuck out and get a job [laughs]. Nah, I mean, to me its just a natural evolution. I couldnt have asked to be more truly blessed. Marshall, Gibson, EV, Dunlop... everyone Ive endorsed are like family to me and Ive been with them forever, ever since I was with Ozzy. Ive been treated amazingly, like royalty, by everybody. But to make an analogy its like youre a player for a team and then you become the head coach of the team when you retire, then you become the GM and then the next logical step is to be team owners.

So tell me about some of these designs. They pass the silhouette test where you can look at the outline and know exactly what youre looking at. Aww yeah. I design em all so the whole thing is

making tweaks on my Paul or whatever. Just tweaking things, redesigning them, down to the headstocks and the shapes and everything. As for the amps, as far as the colours go, were gonna do all different types of colours, pinstripes and all that other stuff. But as far as the sound quality on the heads, obviously being with Gibson and Marshall the quality of the guitars and amps cant be terrible. You notice that even on the Epiphone lower end models the quality was phenomenal for an $800 guitar. So basically its just taking that and bringing it to my company.

Tell me about the amp range. Were going to have combos too. Obviously youre going to have practice amps, youre going to have the Wylde Audio Master 100 and then youre going to have the Master 50, Master 25, Master 15, yknow, whatever. Lower wattage amps and stuff like that. It says Wylde Audio so that means its not gonna just be guitars and amps; its going to be pedals, its going to be everything down to cables, headphones, outboard gear, Pro Tools stuff, apps, EQs, microphones anything that me and you go, Wow, yknow what? We can make something better than that. Then well do it! Thats what Im saying: the sky isnt the limit, there is no limit. Me and you can just be sitting around one day listening to something or seeing something and just go, Dude, we can make something better than that. Or, Man, itd be great if somebody could design this, yknow? Instead of, like, talking about it and trying to get somebody to do it, we can do it because we have our own company.

With the companies youve been with youve designed a lot of unique gear over the years but theres gotta be a point where they go we cant do that one.Yeah, which is understandable. And if I wanna do a different line of guitars, I wanna make it like this, like that, like this, like that, and theyre like, We cant and its only understandable, yknow what I mean? Gibson and I did, obviously with my Les Pauls and Flying V, then the ZV, and then we were doing the Moderne cos I said I wanted to put a Moderne on top of a Moderne, yknow what I mean? And that thing came out great. It had a Floyd Rose on it and the whole nine yards. The maple top on it and stuff

But you cant really go to Gibson and say, Hey, make me a Tele whereas now you can make your own version of whatever the hell you want.Tweak a Tele or whatever! Make our own version of whatever it is. Im truly blessed. Like I said, being with Marshall, Im honoured being with Marshall and Gibson and Dunlop and EV, but being able to have my own company and call the shots is great.

So what are the guitar model names? This is the Odin, obviously with the Odin horn over here. So youve got the Odin, the Viking V, the Warhammer these are just the ones that the guys and Blasko were able to make before NAMM. Theres a batch of other different body designs I have ready to go.

At what point do we see you with these on stage?Once we go into production and start making em, Ill just start retiring the Marshalls and retiring all my Gibsons. Im not getting rid of them because theyre part of who I am and Im proud of that.

Is there a timetable for when we can expect to see them in stores? What would you say, Blasko?Blasko: Well well be doing direct-to-consumer, so well be selling online, and we hope to be able to start to roll out pre-orders sometime around August.

And prices? As affordable as we can get it. For example, one of these heads? Under $1,000. You can get an arse-kicking Master 100 top, yknow what Im saying? The goal is to make it as affordable as possible.

| 75

I often stretch the blues idiom with this column because I feel as though blues licks can be found all over the place. Everywhere! And to some degree its true, but having said that, my blues licks arent everywhere now, are they? So for todays column I thought I would share some dirty blues licks. On the contrary, they are recorded quite cleanly and without any dirt, but thats for clarity and learning. You should crank it up and get messy! All exercises are played at 80bpm in the E minor blues scale.

EXERCISE 1You feelin lucky, punk? This lick

starts out as cool E minor open pentatonics and the last part finishes

reminiscent of a lick from The Good, The Bad And The Ugly. Which means the you feelin lucky quote is totally irrelevant, seeing as thats a later Clint Eastwood film. Articulate these licks however you like with bends, fingers etc. They arent super technical so let your technique or lack thereof bring out the character in these ideas.

EXERCISE 2A fairly straight-up use of the blues

scale, the walk up builds some tension before leaving an unresolved feeling on the last note. That note is the fourth note of the E minor scale, hinting at a change of chord. Theres only three chords in a typical blues... Use your ear, kid!

EXERCISE 3If youre not feeling patronised by

the last sentence of the last exercise, youll take great pleasure in this one. The first part of this lick uses a mini chord of sorts a double stop to launch the idea. Youll notice a slight bend on the tenth fret in the recording; its incidental but I left it cos its dirty and I like it that way.

EXERCISE 4Quick Slide McBride. Youll notice

this lick has some fast slides to the unison note (same pitch, different string more or less) switching from the twelfth fret on the first string to the seventeenth on the second and back and so on.

EXERCISE 5Ive mentioned before I like Billy

Gibbons, and although this is not a Billy Gibbons lick, Im suspicious of it having some reference about it. Its bound to happen if you wanna play dirty blues. I couldnt decide whether to play this legato (with pull offs) or flat pick the fast bits: you can do either! I recorded the lick with legato as its easier, so you can literally pull off the first four notes if you like. Note that all of these licks are played with fairly strict timing and its not that often that blues licks will start on the first beat I try to keep the ideas simple so you can build on them. So go get dirty and have a go at these licks make them your own, you filthy devils!

Dirty BluesDon't play these at the dinner table

by Adrian Whyte

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76 | TECHNIQUE

For this issue, Im doing something a bit different to what I usually do. I recently finished recording my debut solo instrumental guitar album. Titled Amelioration, it should be out by the time this column is published. Owing to this, I thought it would be a good opportunity to take a look at one of my own songs. Ive chosen an excerpt from the title track of the album, specifically, the melody for the second verse of the song. I chose this section because it features a variety of techniques and melodic ideas that Ive discussed over the years. It uses bending, vibrato, alternate picking, sweep picking, as well as odd time signatures, bluesy phrasing, and fast shred style licks. Hopefully, by looking at a completed part of a song (rather than just a series of exercises), it may help you to get a better understanding of how to create your own melodic phrases and incorporate them into your compositions. Note that the song is performed in Eb standard tuning (tune every string down a half step).

EXERCISE 1This excerpt from Amelioration starts off with

some repeated bending licks to the E root note in the time signature of 6/4. The melody then moves to another series of bends to the fifth degree on the third string. Bar three features the common blues technique of using both the major and minor third, while bar four switches to 4/4 time and incorporates chromaticism. Still in 4/4 time, for bar five I play an ascending run using alternate picking in sixteenth note triplets. This fast scale lick uses E natural minor, and it functions as a quick fill to link to the next section and build the melody to climactic peak.

The second part of this verse follows a similar melodic and rhythmic contour to the first half, but it is played an octave higher. I begin in bar six by bending the 22nd fret up to the high E and using wide vibrato. The notes and rhythms used here are slightly

different from the first bar, although ultimately they have the same effect. Bars seven to nine are essentially the same as bars two to four, but they are an octave higher and use different fingerings. The passage finishes with a series of sweep picked three-string arpeggios using major triads (with an augmented fifth on top) that descend chromatically. Have a listen to the final recording on the cover CD. You might like to practise it at a slower tempo and break it into smaller sections before putting it all together.

The album Amelioration was mixed and mastered by Darren Jenk Jenkins and also features drumming from Luke Cook (Mortal Sin) and Dom Simpson (Darker Half). If you dig this short excerpt, it would be great if you could check out the full release!

www.jimmylardnerbrown.com

SHREDDED METAL WITH JIMMY LARDNER-BROWN

AMELIORATION


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In this issue we will look at some improvising approaches that will help you use arpeggios in your solos. The three approaches outlined in this column should make it easy to incorporate arpeggios into your solos straight away, and give you ideas on how to create solos that work in any style or genre you are trying to emulate. As discussed last issue, to become better at improvising it helps to have an understanding of music theory, a good ear, and muscle memory through repetition of technical exercises. A system of self-evaluation is also important if you want to improve quickly or get yourself out of a rut, so being able to record yourself and then listen back to what you have done is invaluable. The more you get your head around all of these areas the better you will become at improvising and creating solos that are musical, not just a bunch of technical exercises and scale passages.

Hopefully by now you have broken your practice time into four parts that equally cover all of these areas. You should be dedicating a quarter of your practice time to technique practice. I like to break solos down into different soloing types modal, arpeggios, pentatonic, triads and double stops. If you combine these different approaches into a solo you end up with more than enough variation to keep the longest of solos interesting. If you transcribe and break down any solo, from any genre, you will find that usually what is considered a great or classic solo is a combination of these different soloing approaches.

Theoretically speaking, an arpeggio is the notes of a chord played individually. An arpeggio outlines the single notes of a chord as a melody and is a very useful way of outlining a chord progression or an extended chord such as a 13th, or suspended chord, especially in a situation where you are the only guitarist in a band. The challenge is how to incorporate arpeggios into your playing, especially given that often when we solo we think about what key we are in and which scale shapes fit the entire chord progression we are playing over. Hopefully one or all of the following approaches will help you to use arpeggios in your solos.

EXERCISE 1 The easiest way to get started using

arpeggios is to use an arpeggio as the intro to your solo. Start your solo with an arpeggio of the first chord in the progression you are playing over. For example if you are soloing over an Am Em C G progression outline the A minor chord by playing a phrase that only uses the notes from an A minor chord. Then finish off your solo with a scale passage, and you have a solo that incorporates two soloing approaches and maintains interest. This is a very easy way to begin incorporating solos into your playing. Exercise 1 is an example of this approach: try and do the same thing over your own songs

or over a different chord progression, record what you do, and listen back to it. The more you do this the easier it will get to incorporate arpeggios into your soloing and hopefully it will open up a whole new world of possibilities.

EXERCISE 2One useful and very musical way

of using arpeggios is to outline a chord progression with inversions of different arpeggios. An inversion is where the notes of a chord are played out of sequence. For example, instead of the arpeggio starting on the root note of the chord and playing the notes in order as root, third, fifth and seventh, you may start on a note

other than the root note. If you start on the third note of the chord, this is referred to as first inversion; if you start on the fifth, this is a second inversion. Exercise 2 uses different inversions that outline the chords in the progression perfectly.

EXERCISE 3Exercise 3 builds on the concept

outlined in Exercise 2 and when played at a faster tempo it sounds like the sweep picking arpeggios most people associate with arpeggio soloing. When used sparingly it can add excitement to your solo, but this example is probably not a great instance of this technique being used sparingly.

MUSICAL CONCEPTS FOR GUITAR WITH REG BARBER

IMPROvISATION PT. 3

1

3

2

| 79

In this column I am going to show you how the melodic minor scale can be used as a scale choice for each chord in the minor II-V7 progression. This progression is common in many Jazz standards as well as a standard turnaround for a minor blues.

All you have to understand is that within the modes of the melodic minor, we can find scales that will support both chords in a II-V7 progression. The sixth mode of melodic minor has the notes of a min7 b5 chord () and the seventh mode has the notes of an altered dominant chord. I have written four examples for you to learn in the key of C minor. To find the appropriate melodic minor scales to use over this II-V7 progression in the key of C minor, we need to know which melodic minor has the D within it and which has the G7(alt) within it. The sixth degree of melodic minor is a minor third below the tonic so D would come from F melodic minor. The seventh degree of the melodic minor is one semitone below the tonic so G7(alt) would come from Ab melodic minor.

A great feature of this approach to soloing over a minor II-V7 progression is that whatever line you play over the D can be transposed up a minor third and repeated on the G7 (see examples three and four). Learn the examples I have written and explore your own ways of using the melodic minor to play through a minor II-V7 progression.

Below is the melodic minor scale (key of C) and how the Min7 b5 and Dom7 alt chords are formed from the two modes.

C melodic minor: C D Eb F G A B

mode 6: A B C D Eb F G - analysis 1 2 b3 4 b5 b6 b7 chord = Min7 b5 ()

mode 7: B C D Eb F G A - analysis 1 b2 b3 b4 = (3) b5 b6 = (#5) b7 chord = Dom7 alt

Each of the examples are in the key of C minor, the progression is D - G7(alt) - C min

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LEAD WORK WITH BEN HAUPTMANN

MELODIC MINOR AND THE MINOR II-V7 PROGRESSION


80 | TECHNIQUE

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TOP PICK


82 | CD REVIEWS

PERIPHERYJuggernaut: Alpha Juggernaut: OmegaROADRUNNER/WARNER

Theres an episode of the excellent Classic Albums documentary series detailing the creation of Rushs 2112 opus, which features a multi-part, dystopian concept suite. Although the label balked at a perceived lack of commercial appeal, it proved their breakthrough record. Band members suggest during the program that despite the musics ambitious nature, large numbers identified with the raw anger channelled within it.

On paper, crafting a dexterous two-album, 80-minute prog-metal concept piece referencing the occult isnt a shortcut to lofty chart positions and potential Grammy awards. But although (or, perhaps because) they flaunt their unadulterated creative aspirations, the heavy music masses identify with these six djentlemen. While its thematic intricacies are ambiguous, the over-arching subject matter of Alpha and proggier companion piece Omega are relatable enough for newcomers. They also further embellish sonic elements fans have already embraced; note the jazzy flourishes of MK Ultra and groovy Rainbow Gravity, contrasted by acoustic-laced Priestess and Omegas monumental 11-minute title track.

In the case of Spencer Sotelos clean vocals, the dual releases also highlight those facets which previously polarised, and will continue to. As a foil for the three-guitar attacks distinctively weighty tone and elaborate motifs, the frontmans bipolar delivery remains divisive, as much as he pours gusto into Alphas title track and Heavy Hearts soaring chorus. Pseudo-adolescent whimpers can irritate, but his capability to introduce proper textures into the appropriate places has improved. Such pristine production and a clinical approach can often drain any semblance of soulfulness. Periphery mostly sidestep such pitfalls. The arguably pretentious premise and slightly bloated execution does detract marginally from the finished product, but the former musicians laptop metal band is transitioning into a commercial (ahem) juggernaut without sacrificing their vision. Thumbing its nose at the digital ages instant gratification culture, this two-pronged affair demands a significant time investment. The materials density may overwhelm initially, but Alpha and Omega are largely worthy of such dedication. BRENDAN CRABB

PUNCH BROTHERSThe Phosphorescent BluesWARNER

The Punch Brothers fourth album sees the New York bluegrass/classical crossover quartet bounding adventurously between traditional American country, modern chamber music and

everything in between, all tied together with interweaved layers of banjo, guitar, fiddle, upright bass and mandolin. The lengthy yet consistently entrancing Familiarity builds to a glorious climax aided by a rapidly arpeggiating fiddle before simmering down to a gentle serenade, while the groups adept interpretation of Debussys Passepied is almost cinematic in tone, scurrying along at a busy pace, adding just enough flare and flourish while remaining loyal to the original work of the great French Impressionist composer. These distinctly left field pieces are complemented by more accessible numbers with I Blew It Off venturing close to indie pop. The Phosphorescent Blues is an utterly engaging listen both in its instrumental and vocally driven moments an experience quite unlike any other record you will hear this year.

DANIEL FURNARI

MARK KNOPFLER TrackerUNIVERSAL

Mark Knopfler loves a good ol yarn, and his latest offering, Tracker, follows in the rootsy, narrative tradition he has so well established. Deriving his subjects from experiences both lived and imagined,

Knopfler delivers an ethereal, mostly acoustic set with the occasional hint of an electric guitar riff. Harmonic movement across all tracks is diminutive, allowing the mellow tone of Knopflers voice to drive the melody. The opening track is a nod to Knopflers Celtic roots, an easygoing ballad in triple meter, full of violin but somewhat lacking in guitar presence. The tracks that follow dont deviate all that much, however, meaning the album does lack something in diversity. The echoing sax work in River Towns also proves problematic on this album a rather dated addition. While those expecting a rollicker like Sultans Of Swing will be left falling asleep in their seats, fans of Knopflers solo work will enjoy the richness of his storytelling and his melodic style.

JILL GRANT

NAPALM DEATHApex Predator Easy Meat CENTURY MEDIA

English extreme music pioneers Napalm Death continue to bludgeon eardrums with their abrasive yet socially aware grindcore. Relentlessly fast songs with occasional half time sections for dynamics

combine with mercilessly scathing lyrics, offering commentary on inequality, slavery and murder

through corporate greed. Confrontation has always been their staple although some atmospherics and creative pace changes are present in tracks such as Dear Slum Landlord, Hierarchies and the unusual, atonal title track. The stabbing distorted guitars from Mitch Harris and pummelling drumming from Danny Herrera are in fine form on Cesspits and Beyond The Pale. Similarly, bassist Shane Embury leads the sonic demolition on How The Years Condemn whilst vocalist Mark Barney Greenway unleashes rage throughout. Napalm Deaths reputation for being consistently aggressive and thought-provoking remains intact here, subsequently reinforcing their ongoing influential status. This album should generate discussion and may well be the most brutal release of 2015.

PAUL SOUTHWELL

PETE CULLENSaltwater CowboyINDEPENDENT

Singer-songwriter Pete Cullen keeps his six-string work simple and complementary on his second album, his strums bouncing along at a leisurely pace. The twangy surf-guitar-meets-country lead tones

on the title track add a bluesy colour, while tracks like Splendour benefit strongly from soloistic violin work and an understated female guest vocalist. However, its in his capacity as a storyteller that Cullen is at his best, as his distinctly Australian lyricisms are brought to life by his equally regional voice. The title track, as well as Blue Saltwater Son, serve as a tribute to Aussie surfer Michael Peterson, lovingly depicting the simple and honest connection between the sea and those who live for the surfing lifestyle. Its oceanic imagery contrasts the distinctly rural style of the music, though closing track Last Dance delivers a much more quintessentially Western tale. Fans of Australian country music will find a lot to enjoy about this record.

DANIEL FURNARI

NOEL GALLAGHERS HIGH FLYING BIRDSChasing YesterdayWARNER

Back in 2011, former Oasis guitarist Noel Gallagher stepped out with his first solo album. It became the litmus test for the singers burgeoning solo career and in 2015, Gallagher finds himself in the

spotlight as an accomplished songwriter, comfortably there without the custom ex-Oasis tag hanging over his head. Opening with the smooth, jazzy psych sounds of Riverman complete with Santana-esque soloing and a cool, film noir-style saxophone part youre instantly aware of the rich layers at work on Chasing Yesterday. In The Heat Of The Moment is bubbly, radio rock fare showing that with age, it seems, Gallaghers vocals have only improved. Here, the British rocker is free to test the musical waters, and youll reap the benefits as you lose yourself in the dreamy, spacy jazz of The Right Stuff, a leftover gem from Gallaghers scrapped Amorphous Androgynous collaboration and an unexpected standout. EMILY SWANSON

TOP PICK

| 83 dvd reviews

Jimi Hendrix Live at Woodstock

Theres not nearly enough footage of Hendrix live and what there is isnt great some Dick Cavett show performances, some stuff crappily filmed on super 8 so the news that the professionally shot footage from the Woodstock festival had been recovered was incredibly exciting or would have been, had it maybe caught the Experience at their best rather than the first shaky steps of Band of Gypsies.

The band are barely rehearsed, overruns meant his set was happening at 8.30am Monday rather than as the closing act on Sunday, so hes playing to a bedraggled and exhausted handful of people rather the jubilant crowd youd expect. But still, there are moments of brilliance The Star Spangled Banner and Purple Haze are mighty and theres plenty of focus on the mans technique and fingerwork. And yknow, its freakin Hendrix!

kissoLogy voLume iiThis documentary DVD mainly

covers Kisss movement from internationally beloved cartoon rock superstars of 1978 into deeply uncool joke act by 1991, but it does contain their Kiss Invades Australia live film from 1980s Unmasked tour, which has the band at the height of their hilarious powers before moving into the Music From The Elder/Creatures

Of The Night period and subsequent commercial doldrums.

But the reason every lover of rock needs this on their shelf is that it contains Kisss immortally terrible 1978 telemovie Attack Of The

Phantoms, in which the band fight cyborg versions of themselves to save a theme park from its unscrupulous owner and a mad robotics genius using their Kiss-related superpowers they obviously possess. Also, they appear visibly drunk in pretty much every scene, and at one point an absent Ace Frehley is replaced by his African-American stunt double, which works exactly as well as youd imagine. Its basically a masterpiece.

ac/dc Live at river PLateLeaving aside that this DVD really

should be more accurately titled Live at Estadio Monumental Antonio Vespucio Liberti, since thats where it was filmed over three nights in December 2009, this is also a little poignant now since its the last tour that featured the bands powerhouse rhythm guitarist and co-founder Malcolm Young.

Its the Black Ice tour and features a lot of the album which was incorrectly described at the time as a mighty return to form, but its packed with classics, props, and close-ups of Angus Young tearing strips off his Gibson SG. And a massive inflatable woman for Whole Lotta Rosie, obviously. And its AC/DC in their stadium rock element: the sets are ludicrous, the band are tight, and the audience are insane.

nirvana: mtv unPLuggedThis was filmed in November 1993,

over five months before Kurt Cobain took his own life, but it sounded like something beyond the grave even then. Kurts raspy, road-worn voice (not helped by his obvious withdrawal symptoms) and the funeral-appropriate set decorations made it seem more like a wake than a celebration, not helped by the lack of hits in the setlist (only Come as You Are and All Apologies make the cut). But its the covers that make the performance come alive: the take

on Bowies The Man Who Sold The World gives the song a gorgeous world-weariness, but the closing version of Leadbellys Where Did You Sleep Last Night? (aka In the Pines) is still shockingly, disturbingly powerful. Incidentally, Cobain was playing his acoustic through his effects board and a carefully-concealed Fender Twin hidden on stage. See if you can spot it!

tHe History of tHe eagLes tHe story of an american Band

Lets face it: the history of the Eagles is mainly the history of their guitarists arguing over stuff, and Don Henley reminding everyone that hes got the only credible solo career. So this multi-disc set is principally interesting in that it has loads of moments watching Bernie Leadon punishing his Les Paul, Don Felder killing a double neck SG and Joe Walsh bashing seven shades out of his battered Tele, while Glenn Fry is just sorta strumming on his 335 and wishing he got to do some cool solos. And talk about their fights: theres a lot of that.

And yes, theres Hotel California. Its better than you remember it.

ULTIMATE SHREDHEAD DVDS YOU MUST OWNYou still havent spent those vouchers from Xmas and You need to fill some holes in Your dvd collection. What should You pick up? andreW p street makes some suggestions for the guitar enthusiast.

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THE NEW FX8 MULTI-EFFECTS PEDALBOARD FROM FRACTAL AUDIO IS ONE OF THEIR MOST HOTLY ANTICIPATED NEW INNOVATIVE PIECES OF TECH ABOUT TO HIT AUSTRALIAN SHORES AND WERE MORE THAN A LITTLE JEALOUS THAT ONE LUCKY READER IS GOING TO BE GETTING ONE OF THE FIRST UNITS OFF THE BOAT. AS OUR COVER STARS IN PERIPHERY WILL SAY, FRACTAL GEAR IS TOP-SHELF BUSINESS.

The FX8 is an advanced multi-effects processor, perfect for guitar, bass, and other instruments with 128 presets that allows you to create 128 completely different pedal boards. You get up to eight simultaneous effects per 128 presets allowing you to create 128 completely different pedalboards. You can use up to eight simultaneous effects per preset, with state-of-the-art Fractal-quality algorithms. Just soak that up for a second. Valued at over $2,000 (exact pricing TBA) this is one serious piece of kit. If it sounds like this will be the perfect item to complement your playing, subscribe and let us know why you think Fractal gear is the best!

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THE NEW FX8 MULTI-EFFECTS PEDALBOARD FROM FRACTAL AUDIO IS ONE OF THEIR MOST HOTLY ANTICIPATED NEW INNOVATIVE PIECES OF TECH ABOUT TO HIT AUSTRALIAN SHORES AND WERE MORE THAN A LITTLE JEALOUS THAT ONE LUCKY READER IS GOING TO BE GETTING ONE OF THE FIRST UNITS OFF THE BOAT. AS OUR COVER STARS IN PERIPHERY WILL SAY, FRACTAL GEAR IS TOP-SHELF BUSINESS.

you to create 128 completely different pedal boards. You get up to

simultaneous effects per preset, with state-of-the-art Fractal-quality

(exact pricing TBA) this is one serious piece of kit. If it sounds like this will be the perfect item to complement your playing, subscribe and let

PERIPHERY WILL SAY, FRACTAL GEAR IS TOP-SHELF BUSINESS.

simultaneous effects per preset, with state-of-the-art Fractal-quality

(exact pricing TBA) this is one serious piece of kit. If it sounds like this will be the perfect item to complement your playing, subscribe and let


84 | SUBSCRIPTIONS

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| 87

LA PATRIE CW QI CONCERT GUITARTHE LA PATRIE CW CONCERT GUITAR IS A VERY PLAYABLE CLASSICAL GUITAR, AND WHATS MORE, IT IS BUILT BY ELVES IN A MAGICAL VILLAGE. BY REG BARBER

WHAT WE RECKONPROS

Good value for money Good value for money Quality tone and build Quality tone and build Very playable Very playable

CONS No case No case

CONTACTDYNAMIC MUSIC (02) 9939 1299www.dynamicmusic.com.au

Solid mahogany back and sides Solid mahogany neck Pressure tested solid cedar top Rosewood fingerboard Rosewood bridge TUSQ nut by Graphtec TUSQ saddle by Graphtec Handcrafted in Quebec, Canada EPM Quantam under saddle pickup Optional Tric caseLa Patrie guitars have been hand crafted in a small village of Quebec, Canada, for over 30

years. The entire village is employed to build guitars, and I imagine they all dress like elves and it is quite a magical place. This small village of magical guitar construction and wonder is called La Patrie.

The La Patrie CW QI Concert Guitar is a classical style nylon string guitar. The CW is the top of the line of their seven different ranges of classical style guitar. It is constructed of exceptional tone wood choices; every part of the guitar uses a tone wood known to produce great tone. The back and sides are built from solid mahogany, as is the neck. The fingerboard and bridge are made from rosewood and the guitar top is constructed from pressure-tested cedar creating a guitar with a well-balanced tone and plenty of resonance. The idea behind pressure testing the top, which is not unique to La Patrie guitars but usually found in high end guitars, is to determine the rigidity of the wood. The stiffer the wood the more the guitar will project. The cedar used in the La Patrie CW QI Concert Guitar is sourced from cedar trees that are up to 800 years old, but before you go and boycott La Patrie for chopping down old growth forest, I should add that La Patrie

can only use trees that have already fallen down.

The finish on the La Patrie CW QI Concert Guitars body is a thin, custom polished finish. It looks like a French polished finish which looks great, but more importantly it allows the top to breathe and resonate. The finish on the back of the neck is a matte finish giving the neck a non-sticky feel; youll know what I mean if you have ever played a guitar with a thick polyester finish on the back of the neck. The profile of the neck is unusually comfortable for a nylon string acoustic. This is thanks to a double function truss rod that allows the La Patrie CW QI Concert Guitar to have a very strong and stable neck with less meat in the profile. The single cutaway design gives you plenty of access to the higher frets, much more so than what is possible with a traditional classical guitar shape.

The La Patrie CW QI Concert Guitar is fitted with an under saddle pickup. The three-band EQ and guitar tuner are easily accessible and straightforward to use. The electronics feature an endpin jack input and a convenient battery compartment to change batteries easily when required. Overall the pickup does a great job of reproducing the natural tone of this instrument.

THE BOTTOM LINEClassical guitars can be a

chore to play. The tone of an instrument, especially an acoustic instrument, only gets sweeter with a chunky neck and classical guitars have very wide and chunky necks to give them a sweet sound, along with a resonant top and special bracing. The La Patrie CW QI Concert Guitar is very comfortable to play and the demo model I have has a very fast and playable action. For an electric guitarist pretending to play flamenco and classical guitar I could actually do a reasonably convincing job thanks to the playability of this instrument, something I cannot do on a cheaper nylon string, especially after downing a couple of beers. The La Patrie CW QI Concert Guitar is not in the league of a custom-built concert guitar with a tuned top, but it is not going to cost you the thousands and thousands of dollars required to buy one. The La Patrie CW QI Concert Guitar is, however, a professional instrument with a beautiful sound, a huge amount of playability, and a tone that will only improve with age. This guitar is well worth checking out for any students who want a professional instrument, or professional musicians who require an outstanding, but replaceable acoustic guitar.

PRICE: $1349


88 | REVIEWS

EPIPHONE LIMITED EDITION G-1275EPIPHONES LATEST REVIVAL OF AN UNDISPUTED CLASSIC GETS CLOSER TO THE ESSENCE OF THE ORIGINAL THAN EVER. BUT CAN YOU PLAY ANYTHING ON IT OTHER THAN STAIRWAY TO HEAVEN? BY PETER HODGSON

WHAT WE RECKONPROS

Endlessly inspirational sound Endlessly inspirational sound Great attack and sustain Great attack and sustain Looks really cool Looks really cool

CONS Restricted upper-fret access Restricted upper-fret access

CONTACTGIBSON AMI (03) 8696 4600www.gibsonami.com

Made in Korea Select mahogany body Mahogany necks Rosewood fretboards 12 fretboard radius Epiphone Alnico Classic and Alnico Classic Plus humbuckers 2 3-way pickup selectors, 12/6/both switch 24.75 scale length 20 frets per neck Epiphone Deluxe tuners with Tulip buttons

One of the most iconic images in all of rock music is Jimmy Page slinging his Gibson EDS-1275 double-neck, with a 12-string on top and six-string on the bottom. Page used this guitar to perform live renditions of legendary songs like Stairway To Heaven, and sure, he didnt use it on the studio version of the song but its hard to imagine anyone picking up an EDS-1275 and not playing that song. The Epiphone Ltd. Ed. G-1275 six-string and 12-string Doubleneck pays tribute to this iconic instrument, and features the Page-accurate extra-long distance between the bridge and tailpiece, compared to a previous Epiphone reissue which had a much more Les Paul-like bridge/tailpiece distance arrangement. That particular distinction aside, what else are we looking at here?

WHOLE LOTTA NECKSThe G-1275 has a select mahogany

body, which follows the basic Gibson SG contours except with a few tweaks to accommodate the twin necks, shorter fretboards and control placements. Each of the two necks has 20 medium frets compared to the 22 of a regular SG, and the scale length is 24.75. The fretboards are both made of Rosewood with pearloid parallelogram inlays, and the tuners are Epiphone Deluxe tuners with aged Tulip buttons an an 18:1 ratio. There are two Tune-o-matic bridges, and the 12-string necks nut is 1.85 compared to 1.68 for the six-string neck.

The electronics are as streamlined as you could possibly hope for without compromising classic Gibson flexibility. Each neck has an Epiphone Alnico Classic humbucker in the neck position and a hotter Alnico Classic Plus in the bridge position (the 12-string necks pickups are covered while the six-strings are uncovered). The Les Paul-style controls are shared by each neck, so youve got a volume and tone control shared by the two bridge pickups, and a volume and tone shared by the neck pickups. Each neck has its own three-way pickup selector switch, and theres a three-way switch to select six-string, 12-string or both at once. If you select the both option, the signal is loaded down a bit and youll lose a little bit of high end clarity and headroom, but its relatively subtle and it imparts a certain vintage charm.

HOW MANY MORE NECKSBefore we get to the sonics, lets

get the physics out of the way: this is a pretty heavy guitar and youll need a wide strap to distribute the weight if you play it standing up because a thin one is going to dig into your shoulder. And you know how SGs are notoriously neck-heavy? Double that, and then account for the fact that one of the two necks has an extra-long headstock and you have a recipe for neck-dive. Again, a wide strap will help, but its something youll need to account for. Also, access to the upper frets is restricted, so youll probably find yourself topping out around the 17th or 18th fret in terms of being able to play comfortably and without restriction.

But those matters are small indeed when you consider the trade-off. The extra body mass seems to make the six-string neck sound extra big and articulate, with a full-bodied sustain that seems a little bigger and definitely bassier than a regular SGs. The 12-string neck sounds beautifully jangly and majestic, and will inspire you to pull off all sorts of textural tricks. And the two necks complement each other beautifully. One of the best tricks is to leave both necks turned on so that when you play one, sympathetic string vibrations are heard by the pickups of the other, creating a haunting reverb-like effect. And a deft hand can find ways to combine open string drones on the 12-string neck with melodies on the six-string, or vice versa. And yes, you can play Stairway on it and nobody will dare deny you.

THE BOTTOM LINEThis isnt just a guitar for Led

Zeppelin tribute bands. Its an inspiring creative tool for anyone looking to expand their horizons. Personally Im finding a lot of use for it in spacious, melancholy clean-toned singer-songwriter stuff of the Jeff Buckley variety as well as The Tea Party-esque exotic melodies and crunchy riffs. Sure, its history does mean youll feel compelled to get a few key riffs out of the way, but its amazing how quickly it goes from being a suggestive instrument - You have to play this on me to being one that inspires your own expression.

PRICE: $1299

| 89

EPIPHONE LIMITED EDITION SLASH ROSSO CORSA LES PAUL STANDARD THE EPIPHONE VERSION OF SLASHS GIBSON ROSSO CORSA LES PAUL IS IN VERY HIGH DEMAND. LETS SEE WHY THIS PARTICULAR GUITAR IS GETTING EVERYONE SO WORKED UP. BY PETER HODGSON

PROS Colour looks even better in

person Great pickups Killer sustain

CONS Some players might prefer Some players might prefer

thinner necks

Slash decal is a matter of Slash decal is a matter of personal taste

CONTACTGIBSON AMI (03) 8696 4600www.gibsonami.com

Slash was credited with reviving the popularity of the Gibson Les Paul in the 80s, a time when everyone was obsessed with Day-Glo superstrats, Floyd Roses and high-output humbuckers. Slash bucked the trend by playing well-worn guitars with vintage-output pickups and gasp! no whammy bar! Epiphone has released a number of Slash models over the years, and the latest features the same Rosso Corsa (Racing Red) colour as one of his more recent Gibson models.

YOU COULD BE MINEBased on the enduring Les Paul

Standard platform, this axe has a mahogany body with Traditional Weight Relief, which basically means a strategically-calculated series of nine holes inside the body that fall short of qualifying as chambering for sonic purposes, but lighten the Les Pauls famously beefy weight considerably. The top is a chunky of solid carved Hard Maple capped with a AAA flame Maple veneer, a method which keeps costs down compared to using a full thick slice of flame Maple while still giving you that premium look. The neck is made of mahogany too, and the fretboard is Rosewood with pearloid trapezoid inlays. Straight out of the case the fretboard feels a little dry but thats nothing a quick application of oil wont fix. The fretboard radius is the standard 12 (not too flat, not too curvy), and there are 22 medium jumbo frets. The neck is glued in with a Deep-Set tenon joint, and its caved to a custom profile designed for Slash which is

surprisingly beefy certainly more in line with a 50s-style Les Paul than the popular 60s SlimTaper profile. The bridge is a LockTone Tune-o-matic/stopbar combo in chrome.

The electronics are classic Les Paul with a twist. You still get the two volume and two tone controls and a three-way pickup selector (capped with an aged orange knob that looks a little out of place compared to the cream binding and pickup rings), but the pickups are a pair of Seymour Duncan Alnico II Pro Slash signature models. These pickups were actually designed specifically with weight-relieved Les Pauls in mind, with certain tweaks incorporated into the spec to work with the chambering to make weight-relieved Les Pauls sound like Slashs famous Appetite For Destruction Derrig Les Paul replica. Theyre hotter than typical Alnico II Pros, but still within a vintage output range. The tone capacitors are premium Sprague Orange Drop models, Slashs favourite, and the selector switch is all-metal, which is more expensive and more reliable than the ones which mix metal and that weird fibrous material.

FUN AND GAMESI plugged the Rosso Corsa Les Paul

into the ENGL Fireball amp reviewed elsewhere in this issue and dialled in a Marshall-esque tone by cranking the gain on the clean channel and turning up the master volume until the power amp hit that sweet spot. Boom. Instant Slash tone. Yknow that trebly-but-not-harsh, upper-mid-enhanced, tight-bass sound on tracks like Welcome To

The Jungle, where you can mute the strings and get that chacka-chack sound rather than chicka-chick or thunka-thunk? This bridge pickup does that with no coaxing. Yknow that juicy pick attack where it almost sounds like the note is being sucked into existence from another dimension? The neck pickup does that completely naturally. And the guitar has great natural sustain which encourages you to hang onto notes and squeeze them for all their worth, and it also means that if youre playing oblique bends (where you hold one note steady and bend another up to match its pitch) youll hear some really bold shifting harmonic overtones.

The clean tones are nice too, with just enough of a treble zing out of the bridge pickup to sit above the band mix but not enough to sear your ears. The neck pickup is brighter and more bouncy than the average dark-sounding Les Paul neck humbucker too, and there are lot of great jangly tones lurking in the balance between the two pickup volumes when you use them both together.

THE BOTTOM LINEFor some this is the ultimate

Les Paul: fat but comfortable neck, great sustain, instantly recognisable classic Slash tones, and a really beautiful finish. The Slash decal on the headstock may turn some players off but frankly if you can get your hands on one of these rare birds you shouldnt feel ashamed of bragging, Hey, Im the guy who managed to buy one of these before they were all sold out.

Made in China Mahogany body Hard Maple top with AAA flame Maple veneer Mahogany neck Rosewood fretboards 12 fretboard radius Seymour Duncan Alnico II Pro Slash humbuckers Sprague Orange Drop tone capacitors 24.75 scale length 22 frets per neck Epiphone Deluxe tuners with Tulip buttons Custom Slash Hard Case Certificate of Authenticity

PRICE: $1799


90 | REVIEWS

BLACK SABBATHWHEN YOU USE THE WORD TRADITIONAL TO DESCRIBE A LES PAUL THAT HAS A FEW VERY NON-TRADITIONAL FEATURES BUILT IN, YOUD BETTER GET THE TRADITIONAL BITS RIGHT. HOW DOES GIBSON DO WITH THE 2015 INCARNATION OF THE TRADITIONAL? BY PETER HODGSON

PROS Classic vintage tone Classic vintage tone Outstanding playability Outstanding playability Handy automatic tuners Handy automatic tuners

CONS Modern features may turn off Modern features may turn off

traditionalists

CONTACTGIBSON AMI(03) 8696 4600www.gibsonami.com

PRICE: $4999

Made in USA Two-piece mahogany body Two-piece bookmatched flame maple top No chambering or weight relief Mahogany neck Rosewood fretboard Gibson G FORCE tuners Gibson USA 1957 Tribute humbuckers USA-made hardshell case

Gibson USA has really shaken up their product line over recent years. The 2014 New Model Year was a pretty drastic reinvention and it continues in 2015 with a variety of new features designed to bring Gibson USA into the modern era. If you want a traditionally-appointed Gibson you can still get it: its just that that stuff is now primarily the domain of the Gibson Custom division. Thats where to go if you want an authentic reissue of a 59 Les Paul Standard, a 61 SG and the like. What Gibson USA is offering is still the essence of classic Gibson sound and style, but with more player-friendly features that reflect the state of guitar technology and ergonomics now, which are different for many players than the features youll find on a guitar made to specs laid out 60 years ago.

A LITTLE BIT OLD, A LITTLE BIT NEW

That brings us to the Les Paul Traditional. For a while now this model has been the unofficial Gibson USA equivalent of a classic Les Paul Standard. (The Gibson USA Les Paul Standard is a much more modern guitar, with compound-radius fretboard, tricked-out electronics and chambered body). The Traditional of 2015 is still the place to go to if you want electronics that operate in the traditional way and with old-school tone, but now it features upgraded appointments such as a height-adjustable Zero Fret nut made of cryogenically-treated brass, wider fretboard (but with the same string spacing so youll no longer run off the edge of the fretboard if your

vibrato is a bit heavy-handed on the E strings), improved-contact output jack, smoother and thicker dark rosewood fretboard, upgraded Tune-o-matic bridge with titanium saddles, a removable pickguard that doesnt leave holes in the body, and a new, improved USA-made hardshell case designed to withstand up to a 15-foot drop. And of course theres the Gibson G Force Tuning System, an automated self-tuning device, which allows you to re-tune to a variety of alternate tunings instantly, including a whole bank dedicated to your own custom tunings.

There are still important distinctions that help this guitar to earn its Traditional name though. For instance, its Gibson USAs only guitar with hand wiring; theres no weight relief unlike the various types of weight relief or chambering offered in other guitars in the line; and its the thickest neck in the whole Gibson USA line-up, with a big fat 50s-inspired carve that Gibson calls Rounded XL. The top is still maple (and a beautiful piece of A+ flamed maple it is, judging by the review model pulled at random from the warehouse), with a two-piece low-density mahogany back. As far as all-solid Les Pauls go, this one is definitely on the lighter side. The electronics include a pair of Gibson USA 1959 Tribute humbuckers, loaded with Alnico 2 magnets and designed to deliver classic PAF-inspired tones with historically-accurate asymmetrical (unmatched) coils with more windings on the screw coil than the slug one. Its worth noting that the two pickups are identical, instead of having a hotter bridge pickup, which would be the modern way of doing things. The

controls are the standard neck and bridge volume and tone knobs with a three-way pickup selector switch.

A PAUL FOR ALLThe tone is definitely more on the

vintage side but not quite as raw as an actual PAF-loaded Les Paul. Theres a little more body in the low end which balances nicely against a bit of an upper midrange kick, while theres a sweetness in the high end which is reminiscent of the old-school buckers. Its a more controllable, refined take on the vintage Les Paul tone, rather than a hot-rodded, powerful, power-chord-chunkin sound like on more modern variants. That makes this a great guitar for blues, jazz and fusion as well as more traditional classic rock styles. If youre after a Les Paul for metal there are other guitar and pickup models that are better suited to the job. The playability is noticeably smoother than my 2011 Les Paul Traditional, with slinkier frets, more comfortable fretboard and effortless fretting in the first position thanks to that Zero Fret nut. Weve reviewed the G FORCE tuning system in these pages before and its very effective although more so if you tune one string at a time rather than strumming them all and waiting for the system to catch up. You can generally switch tunings within less than 10 seconds sometimes far less, depending on what tunings youre going from and to with incredible accuracy. Dont think of it as a lazy way of tuning to standard: think of it as an incredible tool for songwriters and live performers to change tunings quickly and accurately.

THE BOTTOM LINESome players will inevitably feel a

bit bummed out that a guitar called the Les Paul Traditional has so many non-traditional features, but if you strip away the semantics youll find a guitar that marries the best of the old in terms of tone, materials and looks, with the best of the new in terms of playability and utility. If you want classic vintage-style Les Paul tone but with enhanced playability and utility, this guitar makes a heck of a lot of sense.

| 91

TAURUS STOMP-HEAD 4. HIGH GAIN HAVING YOUR HEAD AT YOUR FEET IS NOT SOME KIND OF CRAZY YOGA POSE, BUT A NEW WAY OF LOOKING AT THE TRADITIONAL GUITAR AMPLIFIER. BY CRAIG CARROLL

WHAT WE RECKON

PROS Great tube sound Great tube sound

Very light but solid build Very light but solid build

Dual modes for playing quiet at Dual modes for playing quiet at home or loud on stage

CONS No reverb dial for the Clean or No reverb dial for the Clean or

Lead channel

CONTACTMANIAC MUSIC FACTORY 0434 254 116www.maniacmusicfactory.com

Stomp-Head 4.HG (4 footswitches) Power output: 70 watt / 4 ohm and 8ohm, 50 watt / 16 ohm Power brake to 40/7/4Watt Tubes: 2 x12AX7 2 channels: Clean and Lead 4 footswitches: Channel [Clean/ Lead], Crunch, Boost, Mute Clean channel controls: Crunch, Bass, Middle, Treble, Volume Lead channel controls: Drive, Bass, Middle, Treble, Volume Master section controls: Boost, Master Boost: fast access to two different volume levels Serial effect loop Line out with guitar speaker simulation Inputs for external controller or a foot- switch to mode controls: Channel, Crunch, Boost and Effect Loop Power output selector Speaker impedance selector: 4-8- 16ohm 2 level loudness mode: Studio / Stage (in Studio position the power is ten times lower Voltage selector switch 230V/50Hz or 115V/60Hz (optionally)

There are two types of guitar amplifiers. Either you use a separate amp head plugged into a speaker cabinet, or you use a combo amp built into the speaker as commonly used with smaller amps. But what if you wanted the power of a tube amp head for playing live but the compactness and lower volume of a combo for playing at home while retaining that warm tube tone. The Taurus Stomp-Head 4 gives you the best of both worlds in a lightweight but sturdy metal stomp box using analog tube technology at your toe tips.

CONSTRUCTACONThe metal-housed construction

weighs just over three kilograms and the chrome bar handle on top is a real benefit when unloading the van. The EQ dials are all high quality metal with red/blue LED lights for seeing in the dark and there are plenty of inputs to suit your needs for effects loops or a switch pedal if you prefer to leave the stomp-head sitting on your cabinet like a traditional amp head.

HOT TUBE TIME MACHINEInside are two JJ Electronics ECC83-

S/12AX7 tubes, a preamp and master, which are well balanced having high gain and low unwanted noise. These are commonly used with most brand name amps such as Marshall and Fender. If you are unfamiliar with

tubes and their different qualities, find reviews at www.thetubestore.com. These are visible through windows on the top of the pedalboard which glow red for the clean channel and blue when fired up for distortion modes. An inbuilt fan cools the unit. When played through a Marshall Valvestate VS100R 100W combo amp, the sound was much more punchy and saturated than the amps factory settings.

CHANGE THE CHANNELThere are two basic channels:

Clean and Lead, both with EQ dials controlling the bass, middle and treble. The Clean channel has an added Crunch pedal and adjustment dial for that dirty blues or AC/DC kind of sound.

The Lead channel has a Boost pedal and adjustment dial for lead soloing with great saturation and warm tones coming out of the tube. Great for metal or hard rock guitarists. There is finally a master volume knob and a handy mute pedal. Having the head on the floor that weird yoga again rather than on the amp enables the guitar player to make quick changes on the fly rather than walking back to the amp.

Sadly missing were reverb dials for both the Clean and Lead channel making this product more suited to metal players, rather than blues or jazz enthusiasts. A separate volume knob for the Crunch pedal was also

missing, so going from Clean to Crunch keeps you at the same volume unless you bend down and turn up the dial or do it on your guitar if required. Also missing was a contour or sweep knob to further tweak the drives characteristics or an effects mix dial to adjust the volume of your attached effects pedals.

SWITCH IT DOWNFor those wanting to practise at

home, play in a quieter venue or use a smaller amp for recording purposes, there is a power break switch near the lead input giving you stage or studio options that lowers the power output. Also there is the ability to change the wattage from 70 to 40 and adjust the impedance from 8ohm to 4ohm to avoid blowing up your smaller speakers. There is also a line out for plugging into a mixing desk.

THE BOTTOM LINEThe Taurus Stomp-Head4 is great

value for money at a fraction of the cost of brand name heads. Its lightweight strong construction would hold up to any playing gig with flexible power options allowing for both stage and home playing. The lack of a reverb dial would put off any blues or jazz players making this more suited to the hard rock/metal genre. If you can afford a big brand name head go for it, if not this is a great alternative at a cheaper price.

PRICE: $1299


92 | REVIEWS

MUSIC MAN BH500 BASS HEAD AND MUSIC MAN 810 BS 8X10 BASS CABINET MUSIC MAN RE-INVENT THE ROCK BASS RIG. BY STEVE HENDERSON

PROS Tone Tone Volume Volume Looks Looks

CONS Not a thing Not a thing

CONTACTCMC MUSIC (02) 9905 2511www.cmcmusic.com.au

PRICE: Bass Head $1295Bass cabinet $2450BASS HEAD Solid state pre amp Solid state power amp 500 watts at 4 ohm, 300 watts at 8 ohm Controls: Gain-Volume EQ: Treble, Bass XR line out with pre/post EQ and GND Lift switches FX sends/return, tuner out Dimensions (W/H/D)11.97/30.4cm 18/45.7cm | 11.97/30.4cm Weight 13.66 lbs/6.2Kg BASS CABINET Speaker configuration: 8 x 10 + 1 compression driver Power handling: 1200W RMS Impedence: 4 ohm mono / 8 ohm Stereo) Crossover Frequency: 3.5kHz Sensitivity: 103 dB SPL Weight: 40.8Kg Dimensions: 58.5cm x 11.6cm x 47.7cm

The irony of some of our favourite brands was (is) the inconsistency across their respective catalogues. Gibson made legendary high-end guitars but their basses were pretty ordinary and unpopular, while their amps (like the GA series) were mostly ignored. Ampegs mighty bass amps, from the B-15 to the SVT, quickly became industry standards but their bass guitars never quite grabbed the markets attention (unless they were see-through) while their guitars and (very good) guitar amps had even less impact. Likewise, Rickenbacker and Gretsch both offered amps that never approached the popularity of their wonderful instruments. And CF Martins foray, during the 60s, into the electric guitar market (basses and solid body and semi-acoustic guitars) is probably best overlooked (certainly, the market felt that way) and has anyone ever seen a Martin amp (yes, they did exist)? Even Fender, who offered the most consistent product range, were quickly outgunned for bottom end by Ampegs SVT and others.

In keeping with this pattern, Music Man were, back in the day, best known for great basses and great guitar amps their guitars (various StingRay and Sabre models) never really caught on and their bass amps generally followed the guitar amp format but with a beefed up power

stage. However, the bass heads had some serious tone and, if theyd looked less like guitar amps, they may have been more popular. Having said that, they won over a loyal following and were found on many concert stages especially at larger gigs, where their folded cab design could do its thing.

This new amp, the BH500, is a contemporary approach to Music Mans classic tone and power, courtesy of the design team at Markbass. Theres not a thermionic valve in sight but the BH500 effortlessly produces 500 real watts of punch, along with oodles (technical term) of tone-shaping power. The preamp is pure vintage Fender: Volume (labelled Gain), Treble and Bass. Between this and the output jacks is a master volume and, most significantly, a footswitchable 5-band active EQ section that looks vintage but offers plus or minus 16db of tone shaping across five critical frequency centres: 67, 184, 520, 1.4K, 3.8K. This active EQ is not a new idea but the execution here is superb. The wide(-ish) Q makes the five bands fairly interactive, so the transitions are smooth and wonderfully musical. The back pa

australian guitar - 108 - 2015

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