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100% found this document useful (8 votes)
978 views92 pagesGFTPM 1987 - 03
Uploaded by
Joe KozakCopyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF or read online on Scribd
/ 92
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IN THE HISTORY OF WIRELESS
eee
Samson incorporates dbx’ noise reduction to achieve
anew standard of wireless performance.
Samson Concert 1D Seriesis thefirst ue plagued wireless sound in the past
diversity VHF wireless system with dbx noise Breaking new ground with our Concert TD
reduction. We've been setting new standards Series, Samson engineering excellence now
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‘cay to make it even better. That's why we formance. We are the first to incorporate dt
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fo guaran-
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Series incredibly quiet. Italso expands fre- can think of to enjoy the unlimited
quer todeliverthe best possible promised by wireless.
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SAMSON’
WE TOOK THE WORRY OUT OF WIRELESS *
gand breathing that taking the noise ou! Institute Technology. The scholarship also
s includes housing, a meal allowance and
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's in the world. Duties also include Your local Fender dealer has the details
s {siting artists as. on how to make your audition tape and
ie Van Halen, Steve Morse, _ where. id it. Or you can find out more
y Tedesco and Al di Meola. by Yngwie at (714) 671-5685.
‘Yngwie and the Fender Artist Advisory Because he may be looking for you.
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GUITAR
QUESTIONS
POBox 1490, Port Chester N.Y. 10573
by Barry Lipman
QUESTION: What's this I hear about
boiling strings?—Wes Banks/Greemvood,
Mississippi
ANSWER Bolling the stings can restore
thom to their original brightness and
accuracy of intonation, especially with
bass strings. All it takes is submerging
your strings in a pot of boiling water for
‘afew minutes. This gots out all the built
Up finger olls and dirt that cause strings
t0 sound dead and lose their intonation.
While Ive never tied thi, Ive heard
quite a few players mention it, mostly
With good results. Its certainly worth a
tay if you find your strings going dead
too quiekly for your wallet
QUESTION: How can 1 MIDI-up my
‘guitar to my keyboards?—Renato Tolen:
tino’San Jase, California
ANSWER: Though there are several fine
brands on the market, the only one I'm
personally familiar with is the Digitech
Pitch-Rider." It can be installed easily
fon just about any electric guitar land
even on some acoustics
‘Most playors install the MIDI pickup
themselves, using the double-sided tape:
provided. 1 have done a few custom
Installations, putting the jack and wires
inside the body for a neater appearance.
Playing with MIDI requires. some
adjustment of your playing technique. If
you use slurs (hammers and pull-ofis)
You must articulate them crisply, other
wise your MIDI controller won t respond
to them. If you pick every note, you'll
never have this problem.
‘A very common problem accurswhen
you play faster than the sound you're
Using permits, Many sounds don't have
fan instant attack, but rather they come
fon gradually, Playing too quickly with
sounds like these can allow insulielent
time for the notes to develop their tone.
In all, MIDL-ing up a guitar is easy
bout it will probably take vou a litte time
to get used to playing with it, The infinite
variety of sampled and sythesized sounds
available makes it defintely worth the
investment of both time and money.
QUESTION: Why dows the low "E" string
‘on my Stock '65 Strat sound like a subber
bband past the 6th fret?—Michael Juarez,
Houston, TX.
ANSWER: Most Strats have standarel stock
pickups whose pole-pieces are magnets
Finger-Tite Locking Nut’
&
BEHIND -THE-NUT LOCK
Le.
pulling direetly on the strings. When
they are adjusted too close, they wreak
hhavoe on intonation and tone quality
Tt should be a very easy matter to
‘adjust the pickups a bit farther from the
strings. Turn the two screws found just
beyondi the ends of the pickups counter-
clockwise until the pickup is at least
‘UA away from the low "string and at
Teast 116 away from the high "E” string
when fretted at the highest fret. This
should clear up the problem,
your pickup falls off its height
adjustment screw, you'll have to remove
the entire pickguard to replace the screw
and spring with longer ones. You can
find longer serews and springs of the
correct thread size either at the local
-uisic store or at a hardware store.
AMter you lower your pickups, you
should balance their outputs. Start by
adjusting the bridge pickup until both
E” strings have equal volume. Next,
match the middle pickup’s volume to
the bridge pickup’s. Last, set the neck
pickup.
The more closely balanced your
pickups, the fuller the sounds you'li find
fat the “in-between” positions of your 5-
‘way selector switch. Proper balancing of
pickup output also corrects most guitars
that seem to have either too much bass
‘oF foo muuch treble,
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“The first time I heard the GALLIEN-KRU
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R 250ML I remember
This amp is right at home yocK Jay French
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climbing
Self-Recording, Part Three
soning to Bary Cobrun of tmn-
portant Records, the average four
jsong demo, where the bass and
‘drums are recorded together, takes ap-
proximately 10 to 12 hours on a 2" tape,
Which is the master size of tape of 16
for more tracks. Done live, where you're
not feeding directly into the board and
everything is all set up in one room, you
an do it for under $1000. To make a
‘quality demo costs around $2500, That's
for about a week, 68 days. You record
for four and mix for two. These are not
extravagant mixes, not extravagant per
formances, but they'll give you quality
‘enough. You can make an album at the
cheapest price for around $3000 for ten
tacks, For a quality jab you're going ta
hhave to spend! about $10,000, and that's
only ifthe band knows their stl
The cheaper studios will be less
well-equipped. They may not have all
the outrageous outboard gear that will
help process yoursong ancl make it great
So that means you either have to rent
equipment orfind another stulio,A good
fengincer will tell you you ean’t get that
sound for less than amount of dollars
They know the tricks ofthe trade They've
read the interviews with Steve Lillywhite
Hugh Padgem and George Martin, w!
they said that in order to create that
‘echo they had to do this or that
To compete in today’s market band
needs an absolute killer drum sound. If
{you're into the Pat Benatar type of group
you've got to have a synthesizer. Metal
bands use synthesizers that you don't
know are even there, They're Incorpo:
rated into the mix to fil t out. If you
ant to get on the radio you don't want
to sound too crunchy. You want guitars
that are compressed and toned down
enough. You go into the recording st
dios and you say, fm looking for a Van
Halen sound; I'm looking for a Zeppelin
drum tone, which everybody looks for
They have drum machines programmed
to sound like John Bonham. The engi
reer will tell you what gear you need
It very much depends on the kind
of person you are. Ifyou see yourself as
Innovative and you're not afraid of the
technology, then you have to utilize i
When a heavy metal band gives a demo
tape of an album to a record company
they want good material coupled with
good sound. The material is the prec
dent. In alot of other forms of music its
More than
just notes.
EMG Pickups.
the quality ofthe presentation. I you're
a metal band so much has to do with
your vocalist being unique enough and
Your songs being good enough, that you
‘can get away with production that’s not
state of the art. There are some bands,
the death metal and black metal bands,
who ean do Tommy in two minutes.
Their attitude, their snarling, total dis
regard for anything accurate, Is. their
selling point, They ean go in and record
‘an album for $500 and sell 20,000 copies
of it. When you hear about bands
that take a year to make an album, they're
not in the studio for a year. They go in
for a couple af weeks and record a bass
sound and the producer goes, ‘Let's go
to Nassau for a couple of weeks, I know
‘a Marshall amp down there and it sounds
real good’ So they lly down to Compass
Point to lay down a guitar track, Then
there's the kind of producer who goes,
1 like that, but I'm going to break that
down note for note and i's going to take
‘hwo weeks 10 record one solo string b
string with limiters and compressors.
make that solo sound like God delivered
it! But a known producer, unless he falls
in love with you as a local act and uses
you as his baby, usually won't produce
fa new band. He works for money, like
wwe all do. A new band can't pay’ him
that money, and a record company
‘won't give a new band a budget forane.m
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IN THE LISTENING ROOM...»
Pcie
hile most guitarists simply stve for
la personal style, recognition factor
‘owned by greats trom Jeff Beck to 8,B,
king, Brian May possesses both aunique
style and a signature sound that screams
‘out Queen. As Brian continues to “wal:
low’"in guitar sounds on & Kind of Magic,
Wwe thought it would interesting to tap his
thoughts about the wallings of others,
Naturally we put him In the Listening
Room
1 "Seven Wishes" from Seven Wishes, by
Night Ranger MCA
BRIAN: That's beautiful. The guitar parts
‘weren't mixed up loud enough. He's fluid
and full of fire and beauty, which is what
It should be about. ‘The opening. re-
minded me of "The Spirit of Radio.” by
Rush. | love people who can play that
fast in terms of pure runs, and also have
that fire. Gary Moore is one of them, but
I don’t think that's Gary Moore. 1 ean't
figure out who itis, The song Is all right,
IWreminds me of a Def Leppard construc
tion, The guitar solo was the highlight.
2"BastWest" from East/West, by the Paul
Butterfold Blues Band/Elektra
BRIAN: It may be Mike Bloomfield; don't
know. Whoever itis, don't particularly
like the way he's playing. It doesn't fallaw
the chords and it seems like he doesn't
quite know where he's going, I'm going
{0 get shot for this, bur it doesn't extract
anything from the song structure that's
lunderneath. It seemed like he was off
on his own. 1 like the harmonica player
vory much. If it is Mike: Bloomfield, 1
would qualify it by saying that 1 love
some of his playing,
GUITAR: twas Bloomfield from the East’
West album,
BRIAN: I never liked that album. 1 was
bitterly disappointed with it loved the
previous one (The Paul Butterfield Blues
Band). 1 played it inside-out and back
wards, until it wore out. 1 adore that
album and hate EastWest, 1 couldn't
figure out what they had done. t seemed
tosuddenly lose its feeling and harmonic
3°Tum It On” from Mr. Bad Guy, by
Freddie Mercury’Columbia
BRIAN: This is my least favorite from
Freddie's album. It doesn't move me,
Whereas a lot of Freddie's stuff does
‘Made in Heaven” is one of the best
things he's ever done. 1 wish we had it
fon our album, This is too shallow. ‘The
fgultaristis tying to cop my sound, whieh
{salso why Idlon't like it
know the guitarist quite well He'sagood
session player and pretty innovative, 1
also know he's big fan of mine, and
that when Freddie got him in there he
said to play like me. I stil haven't figured
‘out why Freddie wanted him to do that.
When he played it for me and said it
sounded like me, 1 was supposed to be
pleased. t's well-played, but inside
thought, what are you tying to tell me,
'm disposable? I felt kind of hurt by it
4 "Embryonic Journey" trom Splash:
down, by Hot Tuna/Relix Kecords
BRIAN: I'm interested in this kind of
music. I used to go to folk clubs a lot
ind. got very absorbed in people who
did this fingerpicking. 1 suppose I was
interested in anything the guitar could
ddo, L was very broad in those days. ean
play a bit of this kind of style, but tm
hho expert. Chet Atkins also fingerpicks
melodies at the same-time as playing a
bass line. 'm very interested in that. 've
{gol some tapes of myself playing things
like this, but nothing so ambitious. This
is quite nice.
5 "Spark" from Go or Your Life, by Moun-
tainSeott Brother
BRIAN: That riff is like "Tobacco Road.
That's not necessarily putting it down,
W's just that you ean always hear where
things come from. Ive become sensitive
to lyrics and why they are written, You
sort of immediately feel which songs
were written as songs and which were
written because somebody really” Ielt
something, Ive been through a very di
ficult period in my life, where emotions
gotlaid bare and I couldn't really express
them. There were certain records I heard
which would leap out at me because
they expressed what Iwas feeling. knew
they were writien because people had
felt that. The Foreigner record, "I Want
to Know What Love Is,” tears me apart
know that no one could have written
that without feeling it. I's a wonderful
record and wonderfully sung. In “The
Boys of Summer,” I hoard all kinds of
pain I can identify with. Fdon't feel like
the singer here was feeling it. Somebody
js going tobe upset with me,’This sounds
quite polished, like an American. pro-
suction, [wouldn't turn this offi heard
it on the radio and Tm a big button
pusher especially driving around in the
states, The gultar playing was pretty good
bbut there's not much scape toi
GUITAR: That was Mountain with Leslie
West
BRIAN: Leslie was ono of my favorites.
He has his own sound and touch, but it
doesn't come across here. When I heard
Leslie West some years ago I was mage
nitized. He was great. Wish YOU had
Perfect Pitch?
Here’s David L. Burge with your first Lesson:
HOW PERFECT PITCH WORKS
Hearing tones is similar to the way we see colors:
in the field of SIGHT: Together they can create war
We enjoy various COLORS AS a pattern: “
In the field of SOUND: J
Musical pitches 3 ¥ Together they can
have COLOR SOUNDS © J create a CHORD:
PERFECT PITCH is the experience of these COLOR SOUNDS.
When you can recognize the color sounds in music, you can then
identify tones by ear CH,
1 ye A
one at atime a 1 4 or together in a chord es
p Fe ema
“So Perfect Pitch lets your ear know the tones you hear—just like your
eye knows the colors you see. It’s simple.”
“And why does Perfect Pitch dramatically boost your musicality—your
abilities to perform, compose, play by ear, improvise, sing and enjoy?
Because your ear recognizes and remembers the tones it hears!”
Ready for your next Lesson?
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B (517) 595-2000 The ULTRA
The Ultra Vis Carvin's premier rock 'a roll axe.
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ANE
‘Hand Crafted In USA BY ROCKFILE
SCOTT
HENDERSON
by Marie A. Cruz
PREVIOUS BANDS: Puce, Pure Hell
Paradise, Je Bern,
Jean-Luc Ponty
(Chek Corea
PRESENT BAND: Scott Henderson
8 Trbal Tech
INFLUENCES: Fitch Blackmore,
dot Beck, Jimmy Page
CURRENT ALBUM: Spears
LABEL: Passport Jazz
FAVORITE PERSONAL
RECORDING: "The whole album’
GUITAR: Charvel
HOME BASE: Florida
BEGINNINGS: My dad played some
‘acoustic guitar andthere was one around
the house all the time, so | would pick it
Up and try ta play things on it. Mast of
the early stuf learned was trom playing
Monkees songs and learning songs from
friends and from neighborhood groups.
I started transcribing at a very early age
and leaming solos of records. | would
be in bands where | would play songs
by Jeff Beck, Led Zeppelin, Deep Purple
and | would alvays learn those solos
Nnote-for-note, | did that out of respect for
the playing of guys who | loved 50 mus
| think that helped me learn a vocabulary
‘on guitar and helped me learn a ttle
faster than trying to come up with my
‘own stuf.
BAND EXPERIENCE: | was about 17
years old when | started playing in a
band called Pulse. it was a rock trio that
did a fot of funk tunes and played in a
cchurch coffee house. We didn't make
‘any money and we just played there for
fun, After high school, | went to junior
collage. | quit school aiter sic months to
join this band called Pure Hel, which
was an all black, ter-piece hom funk
‘group. They changed my whole outlook
on music. | had always played white
rock, s0 playing in this band forced me
info a whole other world, and alsa made
me more open to music and more ver-
satile. We played mostly James Brown,
Kool & the Gang, the Stylistics. They
were constantly threatening to fire me
because even though | played good
solos | was a terrible rhythm guitarist
‘After about a year, | started to develop
that by just Istening to dames Brown and
cther black musicians and trying to em:
late them in their style of rhythm playing,
‘After twa years, | left them because we
weren't making any money. At that time
I stared listening {0 Tower of Power and
| was blown away by them because it
was one of the first groups | heard that
had a jazz flavor. That's when | started
Getting more into fusion, funk and jazz
‘music and listening to Billy Cobham’'s
Spectrum, John McLaughlin, Herbie
Hancock and Chick Corea. ! couldn't get
fa grasp on whal was happening s0 |
\entfo Florida Atlantic University to study
jazz improvisation, arranging, compos
tion and counterpoint. It made a big
Be
cram. 2
20 GUITAR, MANE 1987 4rd time to Cod 2nd mero Cosh
an ier
Be Rlthe} tnaereae meets (2nd tine) ®d
nooner
‘nd Vere
Ds NO. (Dm7)
meas
Twas lis "nin? to the Dd : “Put the storm be-hind”
Well the winds can blow. bad or better I don't. mind vome.stommy—_weath et
2
‘Wihie niet F, "sung to Be TO, a
‘proucne Artest petiedhytho DS al Coda
4 Keen feel it
—,/
MancHt ae, GUITAR 21 2
(Coda I Interude)
e
bs
NC. m) (1Voea eho repeats)
pot kind of 4 sense. of dé 38
‘You dow'tthinkyou ev = er seen. me some-
where be = fore, el Te must have been
CGUTTAR, MARCH 1987 Guitar solo op
wp on
An
m ow 2 i, fe
A a
us
Manca ase, GUITAR 23 w/Rhy. Fig. 1
Ebmal? cmt
T know days are safe
pees
eee
ember (pate voy
a errr desert
did't wan-nahave a fie Ws too. far to dive back, ba= by.
DS. al Codalt
cmt ant ans %H
T wanes drive her home
24 GUTTAR, MARCIE 987 ods
" ‘w/Rby. Fe 2 fade)
¢ inure N.C. (Dei7) Begin fade
We, i aint much. alright, 1
Be
aac 7
y
‘a
“Biking stele on tet 9 G
the on = ly
MARCHE sr, GUITAR 25 BASS LINE FOR
LADIES’ NITE IN BUFFALO?
@>
Moderate Rock J» 120
Into
oy Ne.(Dm7)
1 2nd Vers
Nem) .
Ta mrs.
TTak a= bout the high cost of lov-iyete
2 t nin? to. the Dh sayin re,
Ebi?
am? Boma?
m7 ants
26 GUITAR, MancH 1987, ate Ress dy Rasen os chores
Nc.@m7)
IFavaam ¥
SS
(13) az ope pay mt
Rt the — top down et.
—
a a ee
Ist time 10 2nd Verse:
2nd time to next section
Interade
bs Nc.(Dm7)
Guitar solo
Play 4 times
Dm Amb cw yo op.
Seanca tae, GUITAR 27 Ebmaj? cmt Am?
bmi? cmt Amt ans
horus
Nem?)
Nc.(Dm7y Betin fate
Fade out
28 curran, marci 087 You can take on another
musician...or you
can take along
your MIDI
COMMANDER”
The new MIDI COMMANDER foot
‘controller from MEICO allows musical groups or single
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K
re
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‘Sorry'n0CODs, Avorn CO oote
anc 1oe7,GUTAR 28 PERFORMANCES
by Andy Aledort
VILL SEE THE LIGHT TONIGHT
This Is another neo-classical rock
tune for which Yngwie is the prime move
showcasing chord changes and scales
which were previously used very rarely in
rock. The opening chords (ater the sp:
‘cey keyboard intro) are diads in which Ais
Paired with either Eor F aboveit. The diad
‘AAF can be thought of as A¢5 (no 3rd) as
well as F/A, as the fit of A(E) and is
basically moving up a 1/2 step and back.
The phrase ends witha riff which outines
Gé# diminished, a chord more common to
Classical music and jazz than rock.
The tiff following the second chorus
is reminiscent of Bach Fugues for organ
‘and harpsichord and here is doubled by a
harpsichord-sounding keyboard. These
types of lines are unusual tothe gultarand
may take some practice to get up to
tempo. As a matter of fact, most of what
‘Yngwie plays in the single note depart-
‘ment will take lots of work to get up 10
tempo, because with his incredible tech-
nique he can play very, very fast.
‘The solo section begins in Bm and
‘Yagwie relies mostly on 8 Aeolian (8,CA,
D.EFF,G.A) using also B minor tradi
‘arpeggios (B,0,F#,B). For the C5 section
he sticks with Aeolian, now in CH (Ci, DF,
E,FA,GW.A,B). The solo then moves to E5,
‘and here Yngwie employs the fth mode
‘of harmonic minor in A, which works out
to phrygian with a major thirdin place of
the minor third (E,F.GH, A8,C.0).
For the most part, Yngwie is “cram-
ming," as. opposed 10 playing in exact
rhythmic phrases, thus the odd groupings.
Go for the most legato performance pos-
sible (but with an even combination of
Picked notes with pull-otfs and hammer-
‘ons), andit may be helpfulto viewnhis ines
as long phrases which just begin and end
‘on specific beats. if you want to conquer
‘this one, eat an extra bow of Wheaties and
be prepared to work.
BLACK DOG
Here Is another example of Jimmy
if for writing some of
‘songs in the rock 'n’ roll
‘genre. The first partof the tune is made up
Of four bar trades between Robert Plant's
vocals and the guitar rif, which is doubled
by the bass. The fourth bar of the riff is
‘generally notated as a bar of 2/4, as Plant
Usually begins the next vocal phrase on
‘what wouldbe the thd beat in a bar of 4/4
‘Totaciltate understanding these bars, just
think ofthe hiton the AS chordas the new
downbeat, or “one.” Ifthe overall feel is
30 curran, manci 867
throwing you for a loop, i's no wonder;
John Bonham’s drum riff is basically in
backwards halt-time tothe feel ofthe gui-
tart. Thatis, he's playing in halftime, but
the bass drum hitis on two and the snare
hitis on four instead of vice versa. Don'tlet
this throw you, just forge ahead and count
straight time. This holds true also for the
next section, which features the main rift
(which is in A) played in €, but with
extremely quirky phrasing which some-
how ends up in straight time (bars of 4/4
throughout). This is definitely a “fee!”
thing, 30 you may have to play this phrase
‘many times to gett to come out right
Page uses the final chorus for an
‘extended solo which begins with a signa-
ture riff based on A pentatonic. major
(AB.C#E,F#), See this month’s "Guitar in
the 80's for further investigaivestudy. His
solo is based primarily on A pentatonic
minor (A.C,D,E.G) and is mostly made up
of short phrases which are not extremely
fast but get in sort ofa tug-of-war with the
Jagged backing rhythm part. Try to cap-
{ure Page's sense of unusual spontaneity
when playing this solo
HIDEAWAY
This classic Freddie King cover tune
put the name Eric Clapton, as well asthe
Les Paul guitar and the Marshall amp, on
the rock ‘n ‘oll map forever. Clapton's
playing was filed with tremendous energy
‘and a full understanding of electric blues,
‘which was incredible fora young English
‘musician then barely into his twenties.
‘Aside from Clapton's masterful touch,
his sound was produced by a late 50s to
‘early 60's Les Paul standard, with the cias-
sic Sunburst finish (most probably aflame
top.” which means the wood has highly
figured grain). Consequenty, these gu
tars are among the most coveted of elect-
fic instruments and often sell for over
$10,000. His amp, which was often mistak-
ely thought to be a Vox AC 90, was actu-
ally a Marshall JTM 45, with two twelve
inch speakers.
‘The melody, stated inthe first twelve
bars, is based on E pentatonic major (E,
Ft, G¥, BA, CA), and most of Eric’s soloing
is based on this scale and E pentatonic
minor (E, G, A, B, D). Weaving lines be-
tween these two scales is basicaly what
‘makes up Eri’s soloing style, and yout
hear examples of this nll ofhis recorded
‘material. Notice how his phrasingsincre-
dibly melodic and has a beautitul flow,
working effortessly with the concept of
tension and release, which is 60 vital to
blues guitar playing. Beginning with the
fourth chorus, Eric virtually plants himself
in twelfth position, employing the stand-
ard pentatonic minor box used in count
less rock and blues tunes:
E pent. minor
fe
Aside from the following two break
sections, Eric uses this position exclu-
sively, andthe amount of musiche got out
Of this one chunk of neck is amazing
Notice also how Eric briefly restates the
melody at thé beginning of the final cho-
tus, pounding out the arrangement.
‘This tune is one of the best examples
of Eric Clapton's playing, let alone the
entirety of electric blues, and | recom-
mend that everyone learn itand memorize
it as itis an invaluable source of inspira-
tion and musical ideas.
LADIES NIGHT IN BUFFALO
‘This tune can be performed in one of
two ways, either by playing it as written in
the transcription or tuning down all the
strings a whole step and playing it as if it
‘were in Em (playing each note two frets
higher and transposing all chords up
whole step). | believe Steve Vai has his
‘uitar tuned down, but to facilitate trans-
Ceribing the tune it appears in Dr.
The basic rhythm part during the
Intro and verse sections is performed with
‘aStratocaster/Marshall type of sound, and
Is very reminiscent of Jimi Hendrix (check
‘out “Wait Until Tomorrow" and "We Gotta
Live Together”). Palm muting in the low
strings adds percussivenessto this section.
‘The rhythm guitar part during the section
beginning, "heatwave biast.."Is also Hen-