Guitar Interactive - Issue 81 2021

02 Guitar Interactive Issue 81
www.guitarinteractivemagazine.com 03
81
Welcome to
Hello and welcome to issue 80 of Guitar Interactive Magazine!

Paul Gilbert has carved out a seri- ally every record issued by Stax from the fall of 1961
Editor
// Jonathan Graham
ously impressive solo career with a through year-end 1970, Cropper is bound to have
slew of acclaimed albums like ‘Al- a hit guitar line playing on a radio near you—no
ligator Farm’ (2000), ‘Silence Fol- matter where you are. We also talk with Arielle as
lowed by a Deafening Roar’ (2008) she discusses her new album ‘Analog Girl In A Digi-
and ‘Vibrato’ (2012). With his lat- tal World,’ her unique approach to writing and her
est (and 16th) solo release, ‘Werewolves of Portland,’ impressive new signature model from Brian May
Paul once again continues to raise the bar on what he Guitars.
can achieve creatively with the guitar...and a handful
of other instruments too. Jonathan Graham caught As usual, with every issue, we have a whole host of
up with the one and only Pablo Gilberto himself for the latest and best gear reviews from around the
this exclusive Gi cover feature. world of guitar, with our team of world-class gear
reviewers offering their unique insight, expertise, and
Continuing our exclusive features on this issue’s cover personality, which as always, I hope you will enjoy.
artist Paul Gilbert, Sam Bell breaks down the un- However, if that’s still not enough, don’t forget all of
mistakable phrasing and killer technique of the man our exclusive lessons from Tom Quayle, Sam Bell,
himself in this issue’s Guitar Interactive Tech session. Nick Jennison & Giorgio Serci.
If that’s not enough, we chat with Steve Cropper; the See you next time.
man who’s done just about it all. Involved in virtu-
Review crew USA Advertising Sales Sound E

Nick Jennison, Tom Quayle, Sam Bell, Phil Lisa Spiteri Dave Kid
Short, Dan Veall, Billy Campbell & Rodney McG LisaSpiteri@guitarinteractivemagazine.com Cameras
Columns Design and layout James M
Editor Tom Quayle, Sam Bell, Nick Jennison & Simon Gibbs Publishe
Jonathan Graham Giorgio Serci simon@guitarinteractivemagazine.com Guitar In
jonathan@guitarinteractivemagazine.com Advertising Manager Video Editors Publishi
Contributors Helen Bavester James Masterton & Dave Kidd Kim Wall
Jonathan Graham, Nick Jennison helen@guitarinteractivemagazine.com
(c) Copyright 2021 Guitar Interactive Ltd. No part of this publication may be reproduced in any form or by any means without prior permission of the copyright owners. The views expressed in G

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INTERVIEWS 78 Guitar Interactive Issue 77
078 Blackstar ID:CORE 40 V3
078 Blug AMP1 Iridium Editio

PAUL GILBERT: 078 AMT Stonehead Sh-100-4
Back with his latest solo release, ‘Werewolves
of Portland,’ Jonathan Graham caught up with 078 Line 6 HX Stomp XL
the one and only Pablo Gilberto himself for this
010 exclusive Guitar Interactive cover feature. 078 Carl Martin The Strip Oct
Switch
078 Neural DSP Quad Cortex
STEVE
CROPPER: STUDIO TO STAGE
As a guitarist, A&R man, producer, engineer,
songwriting partner of Otis Redding, Eddie 114 Xvive XU4 IEM
Floyd and a dozen others and founding
member of both Booker T. and the MG’s and
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The Mar-Keys, Steve has just about done it all.
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PAUL GILBERT:
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SET-UP YOUR GUITAR
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Interviews
THE
C L
E X
Paul Gilbert has carved out a seriously impressive solo career with a slew of acclaimed albums
like ‘Alligator Farm’ (2000), ‘Silence Followed by a Deafening Roar’ (2008) and ‘Vibrato’ (2012).
With his latest (and 16th) solo release, ‘Werewolves of Portland,’ Paul once again continues to
raise the bar on what he can achieve creatively with the guitar...and a handful of other instru-
ments too. Jonathan Graham caught up with the one and only Pablo Gilberto himself for this
exclusive Gi cover feature.
S
Steve Cropper has just about done it all. Involved in virtually every record issued by Stax from
the fall of 1961 through year-end 1970, Cropper is bound to have a hit guitar line playing on a ra-
dio near you—no matter where you are. Back to add another classic to his catalogue, Steve Crop-
W
per returns with his first album of new Soul/R&B material in 10 years in the form of ‘Fire it Up,’
We talk with Steve about the new record and more, while the album’s co-producer Jon Tiven
offers some unique insight into working on this superb new release.
There is something undeniably magical that surrounds Arielle’s presence, whether in the flesh
or as captured on the compositions she’s created throughout her already impressive career.
Back with a new collection of songs in the form of her ninth studio release ‘Analog Girl In A Digi-
E
tal World,’ Arielle talks about the new album, her unique approach to writing and her impres-
sive new signature model from Brian May Guitars.
V I
R

I V E
GI80
U S I N
IN-DEPTH CHATS WITH
L T
GUITAR’S BIGGEST NAMES
ER
C LU S I V E
EX I
NT
S
RV I EW
ERVI EWS
T E
N
EX I
C LU S I V E
X
INTERVIEWS_PAUL GILBERT
Dreamc
Original Photo ©Jason Quigley

SPONSORED BY PAUL GILBERT AN AMERICAN WEREWOLF IN LOCKDOWN
An American
PAUL GILBERT
Werewolf in
Lockdown
mcatcher
Arguably best known as the virtuosic axeman and co-founder of Mr. Big,
as well as a member of Los Angeles-based metal outfit Racer X—Paul Gil-
bert has carved out a seriously impressive solo career with a slew of ac-
claimed albums like ‘Alligator Farm’ (2000), ‘Silence Followed by a Deaf-
ening Roar’ (2008) and ‘Vibrato’ (2012). With his latest (and 16th) solo
release, ‘Werewolves of Portland,’ Paul once again continues to raise the
bar on what he can achieve creatively with the guitar...and a handful of
other instruments too. Jonathan Graham caught up with the one and
only Pablo Gilberto himself for this exclusive Gi cover feature. »
“It took me about six months to think of it, but it finally

occurred to me that I could play all the instruments
myself. I’ve always loved playing drums, and I can play
bass and keyboards well enough to get the job done.”
Paul Gilbert is an artist. A consummate craftsman. While there are so many virtuoso guitarists
around who rely on technique over creativity, this man is not one of these. Of course, he has
superb technical insight, but this used to develop engaging, insightful music that stands impres-
sively as an expression of the soul and spirit.
It’s always been this way with Gilbert. People first heard him in full flow with the much-re-
spected Racer X. Their 1986 debut album ‘Street Lethal’ was well received, as was the follow up’
Second Heat’ a year later.
Paul Gilbert - Interview

In 1988, he left the band helped

to form Mr. Big, one of the
most acclaimed games of the era.
Gilbert’s talents were perfect for
what was regarded as a stellar
line-up. Across four studio al-
bums, the foursome gained com-
mercial success. They also had a
chart-topping US single in 1992
with ‘To Be With You’.
Gilbert reformed Racer X in

1999 after leaving Mr. Big, re-
leasing three albums between ‘99
and ‘02. He also launched what’s
become a distinguished solo
career, putting out 15 acclaimed
records to date. And such is his
stature that he has been asked
to guest on albums from such
diverse names as Todd Rund-
gren, Bowling For Soup, Glenn
Hughes and MC Lars. He also
toured with Joe Satriani and John
Petrucci in 2007 (G3) and two
years later with Richie Kotzen
and George Lynch (Guitar Gen-
eration). »
Oh, and let’s not ignore the fact that Gil- 2020. I had the studio booked and the mu-
bert has had a lengthy tenure as a much-in- sicians ready to rehearse. But suddenly, the
demand teacher and instructor. This began world locked down, and I had to put eve-
when he was still a teenager, being hired as rything on hold. It was hard to let go of my
such in 1985 by the prestigious Guitar Insti- passion for recording ‘live’ in the studio,
tute Of Technology (GIT) in Los Angeles. but as the lockdown dragged on, I began to
think about other ways that I could make the
Now he has his 16th solo studio album ready record and still be inspired by the recording
to prove to everyone that, astonishingly, this process.”
master continues to raise the bar on what he
can achieve. And work on this was supposed Gilbert’s solution was simple yet effective and
to start in 2020, as Gilbert himself explains. also allowed him to express his wide instru-
mental dexterity. »
“I was planning to record in the spring of

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“Overall, I didn’t become a musician in order to shout

my ideas, complaints, or philosophies at anyone. I love
music because of the music...”
“It took me about six months to think of it, but it finally occurred to me that I could play all
the instruments myself. I’ve always loved playing drums, and I can play bass and keyboards
well enough to get the job done. I hadn’t played the drums in years, so I didn’t know if I’d be
physically in shape. So I contacted Kevin Hahn (my co-producer and engineer) and said, ‘I’m
going to try to play everything. If we find a part that I can’t play, then we’ll look for other mu-
sicians who can step in and help’.
Paul Gilbert - Argument About Pie (Official Music Video)

“It turned out that there was only one thing fied a ‘60s Epiphone Olympic. I used to play
that I couldn’t play. The snare buzz roll at the those in the early days of Racer X, so it was
end of the track ‘Hello! North Dakota!’. That fun to have a guitar that reminded me of my
required some tricky drum technique that early shredder style.”
I have never practised before. So we hired
a guy to come in and do an excellent snare As mentioned earlier, Kevin Hahn was a
buzz roll. Everything else is me!” crucial collaborator for Gilbert in the studio.
And the latter believes he brought important
Gilbert understandably enthuses about the skills to the project.
guitars he used on this album. “I mostly used
my Ibanez Fireman guitars. I’ve been col- “Kevin works fast and has a great ear! He
lecting vintage Ibanez guitars lately, too. I did an amazing job with tempo maps in
brought in some models from the ‘70s, ‘80s, Pro-Tools, as most of the songs had tempo
and ‘90s like the Ibanez Artist, Roadstar II changes all over the place. You have to get
and Ghostrider. I also brought and modi- those just right, at the very beginning, »
“I need to be able to visualize the look and sound of my

fretboard well enough to play accurately in my mind. It’s
almost like real air guitar!
before you record anything. It’s amazing “Mostly, I write by singing, even though
to me how smoothly the tempo changes the end result is guitar. I use the lyrics to
worked when all the instruments were laid give myself a structure where I can hang the
over them. “We recorded at Opal Studio in notes. Once the melody is long enough to
Portland. It’s a small studio in Kevin’s base- have some life in it, my musical instincts can
ment. But his recording room is big enough take over. I can often finish the song without
to record live drums, and he had a great five- needing more words. But if I get stuck, lyrics
piece Ludwig kit that he let me use. I just will always get me going again.
brought my sticks!” The recording process
took two months. However, it wasn’t contin- “Teaching at my online rock guitar school
uous due to other circumstances. “Kevin and is also a huge help and influence. I teach
I could only work a few days a week, as we by inventing musical phrases that contain
both had other things going on (him with whatever technique or musical element I’m
other sessions, and me with my online school trying to help the student with. I’ve recorded
and family.) .So, it didn’t take that much thousands of these phrases, and I keep my fa-
time. It was just spread out. That meant I vourite ones on file. So any time that I need
had plenty of opportunities to chew on the an extra riff or solo idea, I just shop through
melodies and chords mentally. It was nice to this collection until I find what I need.”
have that luxury. Still, as usual, much of my However, despite the importance of vocals
inspiration came from the last minute panic when it comes to composing, Gilbert has
of knowing that I’ve got to be at the studio chosen to make this a fully instrumental
in an hour, and I’d better get my arrange- album.
ment finished!”
“My guitar can hit the high notes! It’s amaz-
When it comes to writing, Gilbert reveals ing to have the physical limitations of my
that surprisingly it isn’t the guitar that pro- voice… gone! The challenge is to be as »
vides the impetus. expressive, with all the slides, vibrato, dy-

STRAPS FOR EVERYONE
namics, and tone

That has been my
for the last few ye
learning vocal me
I get used to play
expression that sin
probably surprise
lot; they’ll come t
shred assignment
‘Let’s play Tom Jo
“What’s New Pus
you learn a lot fro
work!”
The inspiration fo
comes partially fr
lives, and also fro
“Initially, I was ju
the Warren Zevon
Of London’. I liv
thought it would
stitute the name o
known city. My o
‘Werewolves’ was
band and me. Wh
it is our version o
moon. Unfortuna
become more ‘kn
year, for events w

es that a voice has. to watch. And ‘Werewolves’ could everyone could agree on. Since my
y project on guitar take on other meanings that I cer- mind has the habit of searching for
ears. I’m constantly tainly hadn’t anticipated. But the contrasts, I started to wonder what
elodies on guitar, so title, to me, still has a musical mean- people might be against eating pie.
ying with the kind of ing. The song ‘Werewolves Of Port-
ngers have. I have land’ features my guitar doing lots of “I also wrote not one, but TWO
ed my students a ‘howling’. I wish that everyone in the songs about the Russian composer
to me, expecting a world could enjoy the same emotion- Dimitri Shostakovich. One is ‘A
t, and instead I’ll say, al release of ‘howling’ on a musical Thunderous Ovation Shook the
ones’ vocal part in instrument.” Columns’, which is a line that I saw
ssycat?”’. But man, when I was reading about the audi-
om that kind of The song titles are rather quirky and ence’s reaction to the debut perfor-
certainly catch the imagination. mance of Shostakovich’s 5th Sym-
phony. They liked his symphony! So,
or the album title “Most of my titles come from the fortunately, did Joseph Stalin, who
rom where Gilbert lyrics that I write in order to get a had made no secret that he did NOT
om a classic song. melody going. I’ve even printed the approve of some of Shostakovich’s
lyrics in the liner notes of the album, earlier music and that he’d better
ust thinking about so you can ‘read along as you listen write something more pro-state or
n song ‘Werewolves to the music. be sent off to a ‘work’ camp in Sibe-
ve in Portland and ria. In these days of culture battles, I
be funny to sub- “’Argument About Pie’ is one of my
favourites. This lyric came from my thought, today’s cancel-culture peo-
of my much lesser- ple still have nothing on Stalin. ‘Off
original idea for the pre-lockdown experiences of stop-
ping by my local pie shop for a slice to Siberia with you!’ still packs more
s just the guys in my punch than ‘Your recent Facebook
hen we play music, of strawberry rhubarb. Amidst all
the brewing angst in Portland, the post has been deleted. Overall, I like
of ‘howling at the that Shostakovich rose above it all, »
ately, Portland has pie shop was a place where every-
one was happy and at peace. Eating and wrote some truly astounding,
nown’ in the last emotional, and beautiful music. ‘Pro-
which are pretty sad pie seemed to be something that
fessorship At The Leningrad Con-
servatory’ is my lyric about that story, a musician in love with... well, Gilbert
and I built the melody from there.” explains it perfectly.
‘Werewolves Of Portland’ is a remark- “Overall, I didn’t become a musician in

able album. It sounds fresh, vital and order to shout my ideas, complaints, or
certainly takes the listener on a glorious philosophies at anyone. I love music be-
journey. For Gilbert, it’s the develop- cause of the music. So I love my method
ment of a process that began on his of using my inner rants as scaffolding
previous album. to build melodies. This scaffolding can
then be pulled away to unveil some pure
“The process of writing lyrics, then emotional music. This works perfectly
melody, then guitar, then backing it all for me, and hopefully for my listeners.
up with the other instruments is a won-
derful discovery that really started com- “I need to be able to visualize the look
ing together for me on ‘Behold Electric and sound of my fretboard well enough
Guitar’. to play accurately in my mind. It’s al-
most like real air guitar! Then when I
“’Werewolves Of Portland’ was writ- actually go to play the music, I’ve got a
ten in a similar way. It’s a much more good chance of having my melodic in-
traditional way of writing, a path that I tentions come true. And that’s about the
tried to avoid for most of my career since best feeling in the world.”
rock ‘n’ roll has a spirit of being non-
traditional. But songwriting seems to Paul Gilbert’s brand-new album ‘Were-
work a lot better when I try to think like wolves of Portland’ is out now via The
Burt Bacharach, as opposed to a teenage Players Club (Steve Lukather, Robby
shredder. I still enjoy kicking up the en- Krieger, Michael Landau, Tommy Em-
ergy of music with some athletic guitar manuel).
playing. I’m sure that I still do enough
face-melting playing to get me kicked
END <<
out of any Black Crowes audition. But

that’s OK. I’ll bet we can still eat some
pie together.”
What you hear on these compositions is

Paul Gilbert – Werewolves Of Portland Tracklist

1.Hello North Dakota! 7. I Wanna Cry (Even Though I Ain’t Sad)
2. My Goodness 8. A Thunderous Ovation Shook
The Columns
3. Werewolves Of Portland
9. Problem-Solving People
4. Professorship At The Leningrad Con-
servatory 10. (You Would Not Be Able To Handle)
What I Handle Everyday
5. Argument About Pie
6. Meaningful
For more information on Paul Gilbert, please visit:

paulgilbert.com
INTERVIEWS_STEVE CROPPER
LOCKDOW
S T E V E C
As a guitarist, A&R man, producer, engineer, songwriting partner of Otis Reddin

the MG’s and The Mar-Keys, Steve Cropper has just about done it all. Involved in v
Cropper is bound to have a hit guitar line playing on a radio near you—no matter w
with his first album of new Soul/R&B material in 10 years in the form of ‘Fire it Up
album’s co-producer Jon Tiven offers some unique

STEVE CROPPER LOCKDOWN BLUES
WN BLUES
C R O P P E R
ng, Eddie Floyd and a dozen others and founding member of both Booker T. and
virtually every record issued by Stax from the fall of 1961 through year-end 1970,
where you are. Back to add another classic to his catalogue, Steve Cropper returns
p,’ Jonathan Graham talks with Steve about the new record and more, while the
e insight into working on this superb new release. ».
UNLESS yyoouu’re a one-man-band or you want to

presents a uniq r hands, makin take your life in
ue set of challen g a record in a p
records, always ges. Steve Crop andemic lockdo
with a cracking per and I have wn
the proceedings, live band and a made a handfu
but this was no record compan l of
was to surmoun t to be had in th y budget to fun
t the obstacles an ese circumstance d
ment, and remar d make a definin s. Our mission
kably enough, al g piece of musi
down as we pro l the roadblock c for the mo-
ceeded. But let s to our success
me backtrack a came tumbling
I consider myse bit.
lf incredibly fort
minutes driving unate to have M
distance from m r Cropper livin
to list, but if it y home. The so g within ten
was only “Midn ngs he’s written
that would be en ight Hour,” “D are far too man
ough to impress ock of the Bay,” y
inadequacy only and intimidate and “Mr. Pitifu
because he’s such me. I got over m l”
we were friendly a great and unas y feelings of
before I moved suming fellow,
lationship. Stev to Nashville, pro and although
e and I enjoy w x imity has deepen
we’ve gotten to riting together, ed that re-
gether to collab and for the pas
frequently). » o rate whenever S t ei g h t years or so,
teve was off the
road (not too
Steve Cropper - Fire It Up (Official Lyric Video)

“A founding member of the Blues

Brothers, Steve reintroduced classic
soul to unsuspecting audiences—
stage, screen, and recordings.”
i c s. O v e r time we
lyr
p , a n d r arely any e, and we assumed
oo et
s o m e t i m es just a l rd party to compl a fi n e p layer from
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es we gs ith bass
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f ro m S t e v e t h e m sound a l nd
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e / s h e w o uld appea to catch the groov to the tracks to m o n e o u t to our f
that h le ica ed
t o w n w ho was ab ones and harmon w e r t r i o . We farm
here in xoph ep o
rg a n , piano, sa d v i b r a ncy to th ’s So Fine.” at
m o n d o
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r n e d i t i n t o “ S h e
I w a s q u arantined hip
she
more fini s to finish, and he
tu
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Paul Rod
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t e v e ’s l i v e gigs we ust re-ignited a so s
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And then g o n n ew mater ger C. Reale, with
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lyrici ne or two d asked h ngs Roge n”). I
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et off ure out nk is on
on.” wha
t an

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His response
was immediate
rest of the son . “Would Rog
gs, and we’ll m er be intereste
asked Roger--- ake it my next d in finishing
of course, he sa album?” I cou the
lives up North id YES!---and ldn’t believe it
, so he couldn we were off to and
what we shou ’t come to Mu the races. Rog
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This became it came time to re,
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I hope we get
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e tough to bea om, but this o
t. » ne----

IT’S hard to have surprises when you’re seven decades into a career of soul, blues
and rock and roll stardom, but consider this: in a way, ‘Fire It Up’ is the
first album since 1969 to have Steve Cropper’s solo name on it. That’s how Steve thinks
of it.
Steve Cropper is that guitar on “Green Onions,” the first of many hits with Booker T &
the MGs. The MGs became the house band at Stax Records and Cropper one of Stax’s
main producers, songwriters and guitarists. “Midnight Hour” by Wilson Pickett, “(Sit-
tin’ On) The Dock of the Bay” by Otis Redding, “Knock on Wood” by Eddie Floyd,
“Soul Man” and “Hold On I’m Coming”—you can’t discuss soul music without Steve
Cropper.
Bob Dylan hired Booker T. & the MG’s as house band at his 30th-anniversary concert.
Eric Clapton did the same thing; Neil Young kept them on the road and in the studio.
Steve’s first time in London, the Beatles sent a Bentley for him. He plays on John Len-
non’s Rock N Roll album, Frank Black’s Honeycomb and Fast Man Raider Man al-
bums, and on several albums by Ringo Starr. He’s also produced for John Prine,
Jeff Beck, and John Cougar Mellencamp. »
Steve Cropper - Fire It Up (Official Lyric Video)

A founding member of the Blues Brothers, Steve reintroduced classic soul to unsuspecting
audiences—stage, screen, and recordings. Rolling Stone magazine ranked him in the top 40 of
its 100 all-time greatest guitarists.
But Steve sees this record as different: “This is the first Steve Cropper album since 1969,” he
says. Technically, there were two solo albums in the 1980s, one of which he forgot and the
other of which I forgot. He considers his 2011 Dedicated, which is a collection of 5 Royales
songs, as a collaboration with that R&B group that shaped his style, and the two albums in
the years just prior were collaborations with Felix Cavaliere from the Rascals. Even if it takes
caveats, the point remains that Steve Cropper hears himself on ‘Fire It Up’ in a way he hasn’t
since the 1960s.
“This album is different from everything out there now,” he says. “It’s made from old grooves
because during a lockdown, you work on stuff that’s been in your head for years.” He doesn’t
keep a file of song lyrics and doesn’t file guitar riff ideas to find a home later, “but all that
stuff is floating in my head all the time,” he says. “I can reach in there and get it out.”
‘Fire It Up’ has its roots in the sessions with Felix Cavaliere. They made some
basic tracks that wound up not fitting on their two releases but captured good
grooves. Those tracks did get filed away—by album producer Jon Tiven.
“Jon would pull out those tracks, and he’d call me and say, ‘You know,
this stuff is pretty good.’” Tiven and Cropper live near each other in
Nashville, and for nearly 20 years, they’ve been meeting weekly
to write songs. One day during the pandemic, Cropper an-
swered his phone, and the idea for ‘Fire It Up’ was on the
other end.
“Jon and I reworked the tracks, came up with

some song ideas,” Steve says. “I’ve always been
a title guy. I try to come up with a title that
“Fire It Up” tells a story even if you don’t read the
delivers on its lyrics. Songs are not easy to write
because you have to say what you
title, a song that think is on peoples’ minds or
figure out what an audi-
revs with energy.,,” ence will get off on. »
It’s not about the

ENSLAVED - Urjotun (OFFICIAL MUSIC VIDEO)
writer so much as who he’s writing for. Lots of people write poetry about their own stories.
For me, songwriting isn’t about the writer as much as the audience and the artist who will
deliver it.”
“Bush Hog” is the album’s sole instrumental, the milieu in which the MG’s made their name.
“A bush hog is a big mower to cut a big swath behind a tractor. My dad used one on our farm
in Missouri.” The full song closes the album, but an excerpt opens it, and from the first funky
string of notes—visualize a big whacker trailing an unstoppable John Deere over bumpy
ground—the tone and style hearken back to Cropper’s first 1969 solo album, With a Little
Help From My Friends. The artist may have aged, but the art has not. Steve laughs and, re-
ferring to his childhood and lifelong bandmate, the late Donald “Duck” Dunn, says, “Duck
and I have always played the same way we played in high school. We always sounded like we
were in the Mar-Keys!” The reference is to their high school band, which helped establish Stax
Records by cutting the evergreen soul classic “Last Night.”
“Fire It Up” delivers on its title, a song that revs with energy. The classic R&B rhythm is
played like fierce rock and roll, and vocalist Roger C. Reale sings with a gritty excitement
from deep in his gut. “Fire it up,” he insists each chorus, and whether he means the
energy for a big night out, that blunt behind your ear, or the backyard grill, he’s
got you moving to do it. “I wished I’d known Roger back in the day,” says Steve.
“Eddie Floyd and Otis Redding and Rufus Thomas, they were singers who
had real energy. Roger is in that group. He sings like it’s the last song he’ll
ever get to sing.”
This song features classic Cropper guitar, a tingle of high notes,

a coy hesitation, and a shimmering slide. The solo evokes his
classic riff that opens Sam and Dave’s “Soul Man”, but
Steve shrugs off the comparisons. “Hammer licks is my
style,” he says. “Jon calls them hammer tones. When
people hear those licks up high, they think about
‘Soul Man’ and those songs. It’s just style; that’s
all it is.” Maybe—or that’s easy for a guitar
God to say.
Steve Cropper’s ‘Fire It Up is out

now via Mascot Label Group/
Provogue.
END <<

STEVE CROPPER — ‘FIRE IT UP’ TRACKLIST:
1.Bush Hog Part 1 6.Far Away 10.Heartbreak Street
2.Fire It Up 7.Say You Don’t Know Me 11.The Go-Getter Is Gone
3.One Good Turn 8. She’s So Fine 12.Bush Hog Part 2
4. I’m Not Havin’ It 9.Two Wrongs 13.Bush Hog
5.Out of Love
For more information on Steve Cropper, please visit:

playitsteve.com
INTERVIEWS_ARIELLE
Ariell
There is something undeniably
magical that surrounds Arielle’s
presence, whether in the flesh or as
captured on the compositions she’s
created throughout her already
impressive career. In many ways,
she is from a past era, drawing
inspiration from her love of the 1960s
and ‘70s, connected to the discovery,
exploration and dreams that were
omnipresent in the lives of those from
previous generations. Back with a
Analog Girl In
new collection of songs in the form of
her ninth studio release ‘Analog Girl
In A Digital World,’ Arielle talks with
Jonathan Graham about the new
album, her unique approach to writing
and her impressive new signature
model from Brian May Guitars. »

ARIELLE ANALOG GIRL IN A DIGITAL WORLD
lle
n A Digital World
INTERVIEWS_ARIELLE
“The new album takes you on a journ

through the trials, tribulations, and c
of an old-school artist in a fast-paced
Born in the United States—but a self- and the UK, opening and playing with Best New Guita
proclaimed wanderer—Arielle began Heart, Joan Jett, Graham Nash, Joe turned her hand
studying music at the age of 5. A child Bonamassa, Guns N’ Roses, members pearance in Nas
prodigy, she attained a degree from the of Deep Purple and many more. featured on the
Musician’s Institute in Los Angeles, documentary “G
and continued her education at Lon- At the age of 18, good fortune ensued
don’s Institute of Contemporary Mu- when Arielle was handpicked by gui- With her latest r
sic Performance. Discovered in 2010 tarist Brian May for a key role in the In A Digital Wo
by Extreme’s Nuno Bettencourt, she London-based musical “We Will Rock capture the ener
quickly signed with an American indie You”—the long-running production their musicians
record label ‘Open E’. In the years that based on the songs by Queen. From Nashville and A
followed, she made a name for herself, the cover of Guitar Player Magazine er, guitarist and
touring throughout North America to being recognised by country super- produced this al
star Vince Gill as one of the ‘Top 5 on recording eac

achieve the human element so often lost in many

modern recordings. Arguably that is no better
realised than in her Fleetwood Mac-flavoured cut
ney
‘Inside & Outside.’
confusion “When I was recording the new album ‘Analog

Girl In A Digital World’, I thought this was the
d world.” closest song in sound and production that I got
to what my goal was in my head,” reflects Arielle.
“Fleetwood Mac’s ‘Rumours’ meets something
arists.’ Arielle has even new. The song is about finding the balance be-
d to hit TV with an ap- tween the external, dense physical world we live
shville, and was recently in, as well as countering it with the spiritual and
new Joe Bonamassa emotional connection of love.”
Guitar Man.”
At times facing depression in being a child of
release ‘Analog Girl the new millennium versus the boom of musical
orld,’ Arielle set out to creativity that emerged decades before, Arielle is
rgy of each city and a young woman born in the wrong generation—
with stops in studios in constantly inspired by a time where things were
Austin, Texas. As a writ- done by hand, with a level of craft that could not
singer, when Arielle be hidden behind technology. »
lbum, she also insisted
ch song in one take to “I take and protect those principles inside my
music,” says Arielle. The new album takes you on
INTERVIEWS_ARIELLE
a journey through the trials, tribulations, guitar was irresistible to me, you have to
and confusion of an old-school artist in a hold her in your hands. The guitar is light,
fast-paced world. smooth and agile. She sings like a bird.”
Continues Brian, “Arielle is an awesome
‘Analog Girl In A Digital World’ features musician. She is a truly phenomenal player,
her self-built guitar “Two-Tone,” as well with an ability to produce the most beauti-
as her new signature guitar, “The Arielle,” ful tones as well as technical mastery. Of
released by Brian May Guitars in March course, it is in the fingers, but I was keen
2021. In true Arielle fashion, she will plant to discover how she had fashioned her own
a tone-wood tree in honour of the first 24 instrument to achieve her sound.
guitars sold.
“This is the very first guitar that Brian May We collaborated in making the Arielle a
guitars has ever offered that is not based on new mission to guitarists everywhere - to
my original Red Special. Designed by and open up a new door to excellence!” »
named after Arielle, it’s a new dimension,”
says Brian May. “To understand why this The BMG Arielle guitar takes its cue from
Arielle - Interview

ENSLAVED - Urjotun (OFFICIAL MUSIC VIDEO)
INTERVIEWS_ARIELLE
“This is the very first guitar

that Brian May guitars has ever
offered that is not based on my
original Red Special. Designed by
and named after Arielle, it’s a new
dimension.” – Brian May
Arielle’s affection for classic dose of RS DNA, delivers agonal finish completing the
20th-century guitar design, everything one should right- cool, vintage look.
rocking a sleek, retro-futuris- fully expect from a Brian May
tic look, striking orange and Guitar... impeccable design, The solid body is constructed
blue livery, distinctive raised superior quality, pro-spec from Limba (aka ‘Korina’ by
centre-strip, vintage two-piece construction, exceptional which it is more commonly
pickguard, chrome hardware playability, and devastating known within the US luthier
and contrasting switch plate, tonal dexterity. community). In keeping with
alongside choice elements Arielle and Dr May’s keen
from Dr May’s storied home- Striking Body Design interest in utilising sustain-
spun creation - the distinctive able sources, the use of this
The dazzling, asymmetric attractive African tonewood
3-a-side headstock, famil- angles of the BMG Arielle
iar 24” scale, a trio of series recognises the importance
Guitar’s lightweight body, at and success of worldwide
wound, Tri-Sonic style pick- once timeless and forward-
ups, and his famous phase conservation programs; al-
thinking, clearly pay homage though considered severely
switching system. to radical American automo- threatened by over-exploita-
The result is an instant mod- tive and electric guitar designs tion in the first half of the last
ern classic - “the Red Special of the 1950s and ‘60s, with a century, concerted efforts to
in a parallel universe”, as the distinctive raised centre strip preserve »
maestro proudly proclaims, increasing the body mass
takes Arielle’s novel design for enhanced sustain and the species have seen Limba
to a whole new level and, of resonance and a split, 3-ply flourish well beyond its natu-
course, infused with a liberal parchment pickguard and ral rainforest habitat, making
eye-catching, two-tone di- its way into savannah areas

INTERVIEWS_ARIELLE
and even penetrating regional evergreen BMG Tri-Sonic Style Pickups

forests.
Like the best-selling BMG Special, the
24” Scale Mahogany Neck Arielle features three BM branded Tri-
Employing the short 24” scale favoured Sonic style single-coil pickups. These
by Brian on the original Red Special, the modern replicas of the vintage ‘60s
one-piece mahogany neck, in perfect bal- Burns units so fundamental to the Red
ance with the lightweight body, has been Special’s powerful and distinctive sonic
engineered with a decidedly contempo- character feature the same series wiring,
rary feel, featuring a generous 45mm nut retro-styling and magnet alignment as the
width, comfortably spacious profile, and originals. »
wonderfully smooth 24 fret ebony fin-
gerboard with Arielle’s choice of abalone BM Switching System
diamond snowflake inlays in the tradi-
tional BM pattern. Following Arielle’s exacting specifications,
the unique Brian May design switch
Arielle - Peace Of Mind (Official Music Video)

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INTERVIEWS_ARIELLE
system is provided by industry-leading tonal roll-off sweep and - with either super-fast chang
electronics specialists Shin Chin. The individual pickups or selected pairings solid tuning stab
six black DPDT switches, featuring - a pleasingly warm response without tremolo use.
high quality, silver-plated brass con- getting too muddy or bright.
tacts and mounted on a 3-ply black Wilkinson
control plate, engage each pickup indi- Bridge
vidually as well as providing dedicated Grover Tuners
Continuing BM
phase reversal, a familiar configuration The distinctive BM headstock sports with veteran Bri
that gives the Arielle Signature model chrome Grover 406 Series Mini Lock- Wilkinson, the B
the same astonishing tonal dexterity as ing Rotomatic tuners. With an 18:1 fitted with his ac
the original Red Special itself. gear ratio for exceptional accuracy tremolo, a vinta
Volume and tone are controlled by plus an innovative internal “Locking of the unit used
250k pots with a Sprague 0.033µF’ Cam”, these superb machine heads With a modern,
Orange Drop’ film capacitor deliver- automatically secure the strings as offering one of t
ing exceptional sonic purity, a nuanced they are brought to pitch, allowing for of any fulcrum v

able coupled with a sleek, low-profile surround to

eliminate lateral saddle movement, the VWP offers
superior comfort, stability, and performance.
Playability & Sounds
Versatile and bold, the heart of the sound is round,

wide, warm, and rich, with clean, clear highs and
crisp note articulation. Eminently capable of au-
thentically delivering the hardest of rock or the
most intimate dream-pop shimmer, the Arielle has
clearly been engineered to be a brilliant, one-stop
stage and studio workhorse.
There is a pleasing presence for blues and roots

styles and a tight, focused bass response, whilst jazz
players and country pickers will love the chiming
clarity and twang, especially on out-of-phase set-
tings, and the smooth, hollow tone of the neck
pickup. Cranking up the gain, combining two or
more pickups in phase, the broad TriSonic response
and resonant Limba body give crunch chords ample
room to breathe and allow lead licks and solos to
ges, and ensuring rock- project clearly and powerfully.
bility, even with heavy
With a fast, modern radius neck, inviting 24” scale,
a comfortable and balanced body shape, whether
VWP Tremolo sitting or standing and a responsive, diverse tonal
palette, this is an instrument designed to an end-
lessly rewarding joy to perform with.
MG’s long association
itish engineer Trevor “Arielle’s playing reaches places I never knew ex-
BMG Arielle Guitar is isted,” says Brian. “I believe this guitar will do the
cclaimed VWP 2-point same.”
age-flavoured variant
d on the BMG Special. Arielle’s ‘Analog Girl In A Digital World’ is out now
, friction-free design on all formats worldwide. »
the smoothest actions
vibrato currently avail-
INTERVIEWS_ARIELLE

Arielle — ‘Analog
Girl In A Digital
World’ Tracklist:
1. Dialup
2. Digital World
3. Peace of Mind
4. This Is Our Intervention
5. You’re Still A Man
6. Inside & Outside
7. I’d Rather Be In England
8. Living In A Fortress
9. Reimagine Redefine
For more information on Arielle, please visit:

imarielle.com
Tech Session
THE
C H
E T
In each issue, the Guitar Interactive Tech Session shines the spotlight on
one of guitar’s biggest icons. These in-depth lessons look to break down
style, techniques and individual nuances that make these great players
stand out from the crowd in the form of a tailor-made composition.
N
All Gi TECH SESSION are accompanied with full tablature and a backing track —
to help you learn, practice and utilise these new techniques in no time.
S I O
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S E S S
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n the
s
TEC
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S IO N T E C
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TECH SESSION_PAUL GILBERT

PAUL GIBERT TECH SESSION
Tech Session
In this issue’s Guitar Interactive Tech Session, Sam Bell deep
dives into the sometimes intense, sometimes blues-filled, but
always technically difficult guitar stylings of Mr Paul Gilbert. »
THOSE Those of you who

have been following
we can hear in Paul’s music in the last 10
years. He has gone in a totally new direc-
my work here at LickLibrary and Guitar tion of Blues/Fusion from his original hair
Interactive Magazine will know that I am metal/stadium rock days with Racer X
a massive fan of Paul Gilbert’s playing. and Mr Big. However, his technique and
Paul is the eternal student of guitar play- the way he visualises the fretboard hasn’t
ing and music in general. So even now, changed, he has a method, and it works
after three decades in the music business, no matter what style he is playing.
he continues to develop his unique style of
playing each year. When Jonathan (editor For this Tech Session, I wanted to base
of Gi) approached me to put together a the example on his material from his solo
Tech Session in the style of Paul Gilbert, albums ‘Silence Followed by a Deafen-
I jumped at the chance, and I wanted to ing Roar’ and ‘Fuzz Universe’. I strongly
find some of the fundamental ideas that feel these albums capture the widest angle
Paul Gilbert - Tech Session Performance

picture of Paul’s influences and style. There chord progression. This translates very well
are Classic Hard Rock inspired riffs, Funky for Guitar Players, we can often take a
Rhythms, Bluesy Phrasing and of course the sequence within one modular section of the
Mind Melting Fast Passages that Paul started fretboard and move it into other areas for
his long career with! As this is a Tech Ses- new harmonic ideas. In this Tech Session I
sion and Paul has some amazing technique, hope to demonstrate some basic examples of
I am going to concentrate on 16th note and this concept in action. Let’s dive in!
16th note Triplet based examples. There is
a melody/harmony section; however, please Tone:
don’t confuse this tech session as an example Paul has been using Ibanez for over 30 years
of how to write instrumental guitar mu- now, and I have also been using Ibanez!
sic! Melody is important. Having said this, Just not as long. For this tech session I used
Paul’s world-class playing is always melodic the Bridge Humbucker on my AZ2204, I
and interesting, no matter how fast or slow. dialled in a fairly saggy high gain tone with
His use of Rhythm within his faster phrases the Laney IRT 30, the IRT features a pre-
really sets him apart from all the other boost which works a bit like having a clean
“Shedders” of his time. boost in front of your amp, this really helps
with picking articulation, it speeds up the
attack slightly. I used a 60mm Jim Dun-
Classical Music and Paul Gilberts lop Tortex Pick. I strongly feel in order to
Guitar Phrasing: Play Pauls lines, thin picks work the best,
it might take getting used to if you’re a Jazz
Before I get into this tech sessions examples, III person, but the tone, snap and articu-
it’s important to bear in mind Paul’s wide lation of a thin Tortex pick for me is the
range of influences and how it affects his only way to go! Paul is also really into his
phrasing. One of the most notable Influ- modulation effects, perhaps most favourably
ences on Pablo’s playing is Bach or classical the Phaser sound (probably inspired by his
music in general. Bach would often com- hero Van Halen!) it really helps the sound
pose suits that were long strung out melo- ‘move around’ it’s not set to an aggressive
dies using 16th note subdivisions, often level, it’s just enough for the notes to bloom.
basing the lines around chord movements Paul uses the MXR Phase 90. I don’t own a
and highlighting interesting notes in various Phaser but luckily I found a Moore »
subdivisions of the bar. These initial melodic Mod Factory on a shelf somewhere in the
contours would ‘move’ through the pieces
depths of Guitar Interactive HQ, it had a ever, the layout of the patterns on the fret-
very useable Phaser function on it, so I used board and picking do not change very much.
it! This is an example of the Bach influence
within Pauls Playing. If you’re an avid fan
Section A: String Skipping Arpeg- of Paul Gilbert, you probably recognise the
gios: initial Arpeggio pattern in Bar 1. However,
The intro to the tech session features a String what I wanted to showcase here is that you
Skipping Arpeggio motif, the motif moves can alter this basic pattern once »
through a couple of different arpeggios how- you know where the intervals are (see video

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explanation) this way you can really get more out of a simple idea. Something Paul
is an expert at!
Section B: Picking Triads/Sus Chords and a Classic 6’s Run:
Something I’ve always loved about Paul’s instrumental Guitar Playing is that he’s
not afraid just to riff out on single note lines for whole sections. This kind of part
reminds me of something you’d hear the band Rush play. This section is built up
of triad picking arpeggios with ornamentations that follow the Bm, A and G chord
sequence of this section. In bar 10 we see our first fast picking run, I say picking but
if we look closely we can see that out of each 6 note fragment the first 3 are hammer
on’s followed by 3 picked notes. I go into the details of this in the video. This style
of run can be traced back to early Van Halen, it’s safe to say that Paul has done his
Paul Gilbert - Tech Session Part 1

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own thing with it and these runs are super Section D: More String Skipping,
simple and effective, they sound super Octave Arpeggios and Fast Pick-
awesome! ing!!
Section C: Bendy Melody: Bars 15 through to 17 feature some more
string skipping arpeggios, however this
This section is the only real ‘melody’ sec- time we have a simpler ‘down and up’ pat-
tion in this tech session, and it is harmo- tern that follows the underlying Bm – A
nised on the backing track. Ensure that – G chord progression. In bar 18 we have
your bends are intonated and even. Paul another really common device that Paul
has a very precise and percussive way of uses to extend his arpeggios and phrases
phrasing his melodies. Paul is a child of across the fretboard in a similar manner
the 70s, and it can often be heard influ- to how Piano Players move their arpeg-
encing his melodies, this one reminds me gios through the octaves. This is simply a
of the band Boston. D Major Triad, the first 3 notes of the run
Paul Gilbert - Tech Session Part 2

are repeated two strings and two frets up each time

before hitting the high D note on the 22nd fret (this
was pretty tough to record!) The piece ends of course
with another classic descending 6’s line using 3 note
per string fingering. This time we’re picking every
note, aim to keep it light and even. Make sure those
6’s pop. This run is inspired by some of the molten
hot lines you hear in his Racer X tune ‘Technical Dif-
ficulties’
Summary:
So there we have it! Paul’s playing is simplicity done

sublimely, everything is solid, in time, and practi-
cal for live and recording use. Take these exam-
ples slowly, and most importantly apply them to
your own playing in the ways that you see fit, be
creative, you don’t have to play this stuff fast.
Focus on articulation and dynamics. I had the
pleasure of Jamming with Paul Gilbert back in
2017, and one of the biggest takeaways I got
from it was his articulation, and relaxed con-
fidence on stage. His playing is a well-oiled
machine that can be modified no matter
what the musical situation. Paul is and
always will be one of the great Masters of
Rock Guitar!
END <<
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THE
U R
YO
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chance of winning a fantastic prize in our free to enter competition.
In this issue, enter for a chance to win an Aria Pro II DM-206

O W I N
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Aria Pro II DM-206 | Review | Nick Jennison

in our free entry competition!
About the Aria Pro II DM-206
Aria’s highly regarded DM series initially launched back

in the 1960s and has remained an offset legend thanks to
a few choice appearances within popular culture. Con-
tinuing that great legacy sees the birth of the DM-206,
which fully inherits the heritage and tradition of the
original Aria DM; however, with some updated specs that
features a combo of two mini-humbucker pickups and a
wrap-around bridge, to name a couple.
Body: Basswood
Neck: Maple
Fingerboard: Rosewood
Number of Frets: 21
Scale Length: 628 mm (24-3/4”)
Pickups: AMH-1 (Mini Humbucker) x 2
Controls: Volume x 1, Tone x 1, PU Selector x 1
Tailpiece: Wilkinson
Hardware: Chrome
more information on Aria products,

please visit: ariaguitarsglobal.com
Reviews
THE
At Guitar Interactive, we pride ourselves on bringing you in-depth

If it’s in Gi, then it’s gear we’d buy! All of our written reviews and breakdowns are
accompanied by a detailed video — so you can see and hear for yourself if it’s
right for you.

GI81
GUITARS, AMPS
AND EFFECTS
C OM ME N
R E D
ED
RO D U C T
P RO D U C T
D P
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COM M E ND
REVIEWS_GUITAR REVIEW
PRS SE Zach Myers

Zach Myers, the guitarist for Shinedown, is a PRS player through and through.
When he was given a chance to redesign his signature model, he jumped at the
opportunity. The newly updated SE Zach Myers Semi-hollow-body electric guitar
now features a maple neck, a matching flame maple headstock overlay, and his
signature “Myers Blue” finish. Nick Jennison Tells us more.
THERE’S really something

for everyone in “Suffice to say; this
the PRS catalogue right now. There are fire-
breathing Floyd-loaded monsters for the shred guitar is not just a
brigade, all flavours of vintage from Kalama-
zoo to California and just about everything
pretty face...”
in between - at price points that range from
mouth-watering to eye-watering. But is there
a guitar for *everyone*? One instrument that maple veneer on the top) and a pair of SE
will fit just about every player - and one that 245 pickups. There are a few key differences,
most players can afford? though, and the most obvious is the colour.
Enter the SE Zack Myers. Since its initial “Myers Blue” looks absolutely stunning, with
release in 2011, this shorter scale, semi-hollow shades of the “Blue Matteo” and “Faded Blue
single cut has been immensely popular thanks Jean” finishes that set hearts ablaze back in the
to its classy looks, killer tones, but perhaps day. Set against the natural mahogany back
most importantly for being probably the best and neck, it’s a look that reminds me of the
bang-for-buck guitar in the whole PRS range, guitars I’d lust over in guitar magazines in my
earning it the nickname “the Private Stock teens.
SE”. Suffice to say; this guitar is not just a pretty
The updated 2021 model sticks largely with face. As the signature guitar for Shinedown
the same recipe as its predecessor, with a 24.5” axeman Zach Myers, it’s a given that this
scale length, semi-hollow mahogany-and- guitar can deliver when it comes to the heavy
maple construction (with a gorgeous flamed stuff. But it’s actually a much more versatile
instrument than you might expect. »

THE REVIEWS PRS SE ZACH MYERS
COM M E ND
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P RO D U C T
P RO D U C T
ED
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COM M E ND
PRS SE Zach Myers

MSRP: (UK) £799 / (US) $829
The Breakdown
Vintage Modern
Specialised Versatile
Warm Bright
Affordable High-end
For fans of
Classic humbucker tones
Private Stock vibes
SE price-tags
For more information, please visit:

prsguitars.com
The SE 245 pickups are fairly moderate in to the recipe, although it could just be down
output and offer a lively and bouncy mid- to the ever-increasing quality of east-Asian
range that’s ideal for soulful lead lines and guitar manufacturing.
rich mid-gain crunch tones while still retain-
ing enough air and clarity for soul comping Another update is the bridge, which is PRS’s
and howling modern blues. It even does a updated adjustable stop tail. Sporting the
great job with jazz lines (which is more than I same massive brass saddles found on the 594
can say for myself!). Perhaps it’s my memory bridge, this simple and solid design will allow
playing tricks on me, but I remember being you to use pretty much any string gauge you
lukewarm on the older SE 245 pickups (espe- like and still intonate perfectly - something
cially since the USA-made 245 is one of my that can’t be said for PRS’s one-piece com-
favourite PRS pickups), but the ones in this pensated stoptail, which performs perfectly
guitar sound killer. Given Paul Reed Smith’s with standard string gauges but can strug-
current obsession with pickups, I wouldn’t gle with unusual or very heavy string sets. If
be surprised if there have been some tweaks you’re a modern rock or metal player who »
PRS SE Zach Myers

THE REVIEWS ARIA PRO II DM-206
GOOD TO GO
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“In terms of play

guitar is as flawl
of the SE models
tunes down by mor

ble since you’ll need
the slinky 24.5” sca
never mind in drop
In terms of playabil
of the SE models I’
guitars up a little on
ing that their imma
ate a very low actio
said, with a swift ad
I was able to coax a

THE REVIEWS PRS SE ZACH MYERS
yability, this
less as any
s I’ve tried...”
re than a half step, this is invalua- of this guitar with no loss in tone or expressiveness.
d some pretty hefty strings to offset The wide fat neck shape is a favourite of mine, with
ale length even in standard tuning, enough meat for aggressive bends and thumb-bass
p C. chord work while still feeling fast and comfortable
enough for even the most transgressive shred licks.
lity, this guitar is as flawless as any
’ve tried. PRS do tend to set their The PRS Zack Myers really pushes at the absolute
n the stiff side, especially consider- limit of how much PRS you can get for your money.
aculate fretwork will usually toler- It’s a beautifully made, versatile instrument that will
on with zero buzz or chokes. That look and sound at home in any musical setting.
djustment of the two bridge studs,
a criminally forgiving setup out END <<
Ibanez ATZ 10
Andy Timmons Signature
Legendary guitarists like Andy Timmons need access to lots of tones, and
that’s precisely what his signature Ibanez ATZ100 provides. Benefiting from ex-
treme stability and playability, courtesy of an S-Tech Wood roasted maple neck
and fingerboard, the ATZ’s back shape ensures maximum playing comfort.
Nick Jennison takes a closer look at the ATZ100’s top-shelf feature set.
THERE’S
a running joke
here at Gi HQ “The electronics
that you could put Andy Timmons’s name on
pretty much anything, and we’d buy it. Such
are relatively
is the reverence we have for Mr Timmons that straightforward
we’ve already agreed to own a signature bath
mat, a signature extractor fan and a signature compared to the
set of hair tongs. So it’s probably good for our
wallets, feng shui and collective sanity that
custom-shop
Andy only puts his name on the absolute fin- instruments
est of guitar gear.
Bellamy uses on
The ATZ100 is the latest iteration of Andy’s
long-standing signature guitar line from Japa- stage and in the
nese juggernauts Ibanez and celebrates the
20th anniversary of their relationship. While
studio...”
there are some clear visual references to the
classic AT models of old, this guitar is actu- humbucker found in Andy’s other signature
ally a re-skin of the hugely popular AZ series models. You’d be forgiven for looking at these
- with a few tweaks to fit Timmons’s prefer- twin-bladed pickups and thinking “Hot
ences. Rails”, but they’re actually very far removed
from that kind of sound. They’re smooth,
Perhaps most notably, it features three Di- fat and even with a dash of ‘stratty’ character
Marzio Cruiser pickups, with the angled without being excessively “single-coily”. »
bridge pickup taking the place of the AT-1

THE REVIEWS IBANEZ ATZ 100 ANDY TIMMONS SIGNATURE
COM M E ND
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ED
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Ibanez ATZ 100 Andy

Timmons Signature
MSRP: (UK) £2299 / (US) $2799
The Breakdown
Vintage Modern
Warm Bright
Affordable High-end
For fans of
“Strat-but-fat” tones.
Modern playability.
Not having to deal with hum.

https://www.ibanez.com/eu/
Unsurprisingly, single notes sound huge spades if you know where to find it. The
and authoritative, while clean chord work is secret to this tone is in the volume pot and
positively piano-like with a rich and ex- the fairly aggressive treble bleed capacitor
tended low-end fullness that you won’t find wired to it. The tone actually gets quite
in vintage single coils. markedly brighter as you roll the volume
control down, and if you run this setup
You may be thinking, “hold on, what about into a full-range overdrive like the Blues
that really ‘stratty’ Timmons clean tone?”. Driver that Timmons is know for using,
Well, dear reader, that tone is present in
“If you’d prefer a

slinkier play feel,
then that would
be very easy to
achieve...”

THE REVIEWS IBANEZ ATZ 100 ANDY TIMMONS SIGNATURE
you’ll be in single-coil heaven but expressive control. That said, there’s

with none of the drawbacks. quite a bit of fight in the factory
setup, and it’s definitely not a “shred
On to playability then, and as you’d machine” right out of the box. The
expect from an Ibanez AZ, this guitar same is true of the trem, which comes
plays beautifully. The roasted maple set up flush to the body and with five
neck is satin perfection, with beauti- springs providing a ton of tension.
fully rolled edges and 22 immaculate Of course, this is Andy’s preferred
stainless steel frets. I personally prefer setup, and he’s known for being a
a taller fret profile, and these are right very “physical” player. If you’d prefer
up my street, with plenty of room to a slinkier play feel, then that would
get under the string for maximum be very easy to achieve. »
Ibanez ATZ 100 Andy Timmons Signature
The ATZ100 represents a modern update to the AT line, while also being the
most “vintage” AZ to date. If you’re looking for an instrument with cutting
edge modern playability and build quality, but with more of a vintage vibe and
aesthetic than is typical of “modern” guitars, the ATZ100 is the perfect choice.
Oh, and it nails that Andy Timmons tone, and that alone makes it worth the
asking price!
END <<

THE REVIEWS MANSON META SERIES MBM-1 MATTHEW BELLAMY SIGNATURE GUITAR
REVIEWS_AMP REVIEW
Blackstar ID:Core 40 V3 40w Combo

Billy Campbell reviews Blackstar’s ID:Core 40 combo—the ultimate practice amp
and an essential single-handed session tool. Featuring a sleeker editor, a powerful
new cab simulator, and even more immersive stereo FX make the third generation
of this Blackstar classic a must-have. Choose from six inspiring amp voices that run
the gamut from classic cleans to scorching leads. Here’s Billy to tell us more.
THE latest revision in Blackstar’s ID:Core line, Today we’re looking at the 40 watt (2x20
watt) ID: CORE V3, with all the tone and tech upgrades you could want in a
compact, portable amp. Getting a wide range of modern and vintage tones in what Blackstar
is calling Super Wide Stereo, achieved by the two 6.5” proprietary speakers, with re-voiced and
enhanced FX, and a wide range of connectivity options for recording, editing and even live-
streaming.

THE REVIEWS BLACKSTAR ID:CORE 40 V3 40W COMBO
o You can now use your ID:CORE V3 direct into a

RE
COM M E ND
ED
P RO D U C T
streaming compatible device, to harness the amps
P RO D U C T
powerful and expansive tones and effects via the top
ED
panel jack and a TRRS 3.5mm cable. Blackstar’s free COM M E ND
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Architect software can also be accessed via USB 2.0

for deeper editing, patch management, and the Cab
Blackstar ID:Core 40
Rig Lite cabinet simulator (which allows you to con- V3 40w Combo
trol elements like cabinet, microphone, and room en- MSRP: (UK) £153 / (US) $199
vironment) as well as online patch sharing. The USB
port also allows you to use the amp as a low-latency
4-channel direct recording interface. Also included on
the left side of the panel is a very convenient Cab-Rig/ The Breakdown
Headphones jack, for silent practice with high quality
Vintage Modern
tone.
Top panel controls give you easy access to the Specialised Versatile
ID:CORE V3’s six enhanced voices, ranging from
pristine cleans with no breakup, pushed British- Affordable High End
flavored crunch, to over the top modern metal tones.
Adjusting the tonal signature of each voice by using Studio Stadium
the ISF tone knob (Infinite Shape Feature) is wide-
ranging and intuitive. This takes you from an Ameri-
can type character with a tight bottom end, and more
aggressive mid-range in the counterclockwise posi- For fans of
tion, to a more British flavoured character with more
bloom between notes and slightly more pronounced Great portable tones
mid-range in the fully clockwise position.
Excellent build quality
You can also control and program the amp’s built-in
Bargain price
effects. This includes an array of modulation effects,
such as Phaser, Chorus / Flanger, Envelope Filter and
Tremolo. Delay options include: Linear, Analog, Tape
and Multi. Reverb variations spanning from: Room, blackstaramps.com/uk
Hall, Spring and Plate reverb effects. All adjustable
via the top panel Type and Level knobs, as well as an
independent Tap Tempo button. You can access the
on-board tuner by simply holding down the ‘REV’
button. »
REVIEWS_AMP REVIEW
Blackstar ID:Core 40 V3 40w Combo
The ID:CORE V3 offers options for

expanding control and portability by
way of the rear recessed carrying handle,
a top panel jack for connecting an exter-
nal foot switch, or even add the PB-1
Power Bank, so you can use the ampli-
fier anywhere.
With all the tones, effects, volume, and

connectivity options you can think of,
the 40 watt ID:CORE V3 makes the
perfect small-sized combo for any level
of musician. Retailing at $199 USD,
Blackstar makes this amplifier extremely
accessible. Stop by your local Blackstar
dealer and check one out!
END <<

BEST OF BOTH WORLDS
THE REVIEWS BLACKSTAR ID:CORE 40 V3 40W COMBO
The PRS SE Hollowbody II Piezo provide musicians with the

versatility of wielding both acoustic and electrics tones in one
instrument. It’s designed with two discrete volume controls
(magnetics and piezo) that can be run to the same amp with
one cable – players can use the volume controls to blend the
pickups. Or, you can run two cables and have the magnetic
pickups go to your favorite amp while running the piezo signal
straight to the board for a huge sound. To find out more and to
hear how versatile this guitar is, go to www.prsguitars.com.
© 2020 PRS Guitars / Photos by Marc Quigley
REVIEWS_AMP REVIEW
BluGuitar AMP1 Iridium Edition
What the BluGuitar AMP1 did for classic amp tones, the BluGuitar AMP1 Irid-
ium Edition does for modern metal amp tones. This isn’t a tweaked version
of the acclaimed AMP1 — it’s a new build, designed from scratch for merciless
metal guitar tone. Nick Jennison tells us more.
of amp designer, engineer and guitarist Thomas Blug,

BRAINCHILD the BluGuitar AMP1 was a genuine paradigm shift in
the world of guitar amplifiers. It offered players a highly
tweakable 4 channel, 100w amp with a full valve preamp section in a pedal format. It was an
overnight success with touring professionals and weekend warriors alike, thanks to it’s unrivalled
portability, ease of use and killer tones.

THE REVIEWS BLUGUITAR AMP1 IRIDIUM EDITION
COM M E ND
RE
That said, the original “silver” AMP1 had a distinctly
ED
P RO D U C T
P RO D U C T
“classic” voicing. It certainly wasn’t lacking gain, with
tons of saturation on tap, but the tone was perhaps
ED
RE
a little “old school” for more aggressive styles. Enter COM M E ND
the new Mercury and Iridium editions of the AMP1

- tweaked versions of the original to suit players with BluGuitar AMP1
different tastes. While the Mercury is tighter and more Iridium Edition
aggressive than the original “Silver” version, the Irid- MSRP: (UK) £749 / (US) $849
ium is pure balls-to-the-wall metal in a a sexy, none-
more-black package.
Offering a high-headroom clean channel and three The Breakdown

distortion channels with independent tone and vol-
Vintage Modern
ume controls, an on-board boost to further tighten
and saturate your tone, two flavours of gate and a lush
digital reverb, the AMP1 Iridium is a veritable Swiss Specialised Versatile
army knife of heavy tones. To be honest, it’s hard to

imagine needing anything else for a metal gig, ex- Affordable High-end
cept maybe a wah, a tuner and delay - which you can

plumb in via the FX loop. Studio Stadium
Metal tones are deceptively hard to get right. There

needs to be ample low end, but it has to be tight
and articulate. The highs need to bite hard, but they For fans of
can’t be abrasive. The mids need to be focussed, but
not pinched and honky. I’m happy to report that the Vintage tones with a modern twist
AMP1 Iridium strikes this delicate balance superbly
well across all three of its overdrive channels. Each 100w in a tiny format.
offers a different dynamic feel and compression: “vin-
Excellent boost, reverb and gate
tage” is perfect for classic 80s metal, while “classic”
is open and articulate and “modern” is tight and fo-
cussed. The trim pots on the side of the pedal make For more information, please visit:
it very easy to tailor the sound of each mode to your bluguitar.com
tastes. I found that boosting the highs on one mode
for rhythms and rolling off the highs and boosting the
volume of another for leads worked very well indeed.
You can switch between any of these modes using
either MIDI or the optional Remote1 footswitch. »
REVIEWS_AMP REVIEW
The clean channel, by contrast, is extremely over the top, or for further tightening up
clean and headroomy, with a distinct mid- the already tight tones this amp offers. The
range scoop that will help even the most reverb is rich and immersive with warm
congested of humbuckers to sparkle. It’s highs and clear lows, and it works equally
ideal for arpeggiated clean parts and eerie well to add space to clean and lead tones.
ambient parts, but you might want to look It’s activated by the onboard reverb foots-
elsewhere if you need broken-up tweed witch, and this switch also sets the gate to
tones. “soft” - this is a super clever feature, allow-
ing you to use the “metal” gate for tight
The three onboard effects are excellent, and staccato passages and switching straight
tuned perfectly to work with the sounds to the sustain-preserving “soft” mode for
on the AMP1 Iridium. The boost is similar reverb-laden leads.
to the ubiquitous Tube Screamer, but with
a slightly more aggressive upper midrange Of course, all of this is no good if you can’t
presence - it’s ideal for taking solo tones be heard, and the AMP1 Iridium delivers

“It’s also a supremely comfortable

guitar to play thanks to the 25” scale
length, PRS ‘Wide Fat’ neck profile
and beautiful fretwork....”
here in spades. The poweramp reconfigures to offer a full 100w through either 8
or 16ohm cabs, and it can get brutally loud if you need to. There’s also a record-
ing out for running direct, which offers analogue speaker simulation that can be
defeated if you’d prefer to use your own IRs. »
BluGuitar AMP1 Iridium Edition
REVIEWS_AMP REVIEW
The BluGuitar AMP1 Iridium offers the kind of tone, attack and versatil-
ity you’d expect from a big heavy 4-channel amp head, but in a pedalboard
format. If you’re a touring musician, the portability is a godsend, but even
if you’re not, this little amp offers some of the most convincing metal tones
I’ve heard in a long time for a fraction of the cost of most high-gain amps.
Very highly recommended!
END <<

REVIEWS_AMP REVIEW
AMT Stonehead SH-100-4R

Pushing things to new heights, AMT introduces the StoneHead SH-100-4R Guitar Amp
their words—”the gold standard.” But how good is it? Rodney McG gives us the full brea
THE AMT Stonehead SH-100-4R is an impressive feat of audio technology, being

a 100-watt amplifier with four channels contained completely in a single rack
space. Boasting more features than even many full-size 100-watt tube heads,q the Stonehead fea-
tures a clean, crunch, lead one and lead two-channel, each one having distinct options and not
sharing an eq, a common drawback on many tube heads.
There are unique features throughout, like the voicing dial available on the Clean and Lead one
channel, allowing you to dial in the tonal characteristics of darker amps like a Fender Bassman
or Mesa Boogie head, as well as brighter and sharper units like the Marshall heritage of amps.
There’s also a selection switch for the power section that allows you to move between 6L6 and
EL 34 tube emulation. The power section is surprisingly accurate and gives an excellent repro-
duction of a true tube amp power section.
Another interesting feature of the channels available in the dry and fat switch on the Lead 2
channel. This allows you to get a very sharp and aggressive, tight style tone similar to what you
might get from a VHT, or similar amps. Putting it in the Fat setting gives a larger, somewhat

THE REVIEWS AMT STONEHEAD SH-100-4R
COM M E ND
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P RO D U C T
plifier, the company’s third approach to —in
akdown.
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COM M E ND

MSRP: (UK) £TBC / (US) $TBC
looser and more saturated feel like you would
expect from a Bogner or Mesa style amp. The
amount of Versatility available on top of all the
other features with just that switch makes it a unit
that really doesn’t have any clear competitors. The Breakdown
No stone has been left unturned when it comes Vintage Modern
to connections either. It’s fully midi capable and
has an effects loop with blend, a preamp out for Specialised Versatile
using with recording or going to slave to power
amps, a power amp in allowing you to use exter- Affordable High-end
nal preamps, and a balanced line out for using an
ear monitors or going to a front-of-house PA that Studio Stadium
already has a cab sim on it.
Having an available option to allow you to go

completely cabless or not have to mic your cabinet
from the stage is an impressive option in such »
For fans of
Rack-mounted gear
High-Quality tones
Lightweight
Solid build
instruments.
quality
Not
For spending
more your life
information, savings
please visit:
amtelectronics.com
REVIEWS_AMP REVIEW
a small unit. The number of features practice setups at home and smaller gigs
packed into the single rack space is where larger volume but not overwhelm-
surprising, considering that many full- ing power is needed. Finally, you can
sized heads don’t have anywhere near the also take the same unit and step up to
number of channels, independent EQs, multiple cabinets or a full stack for large
or routing capability that this one rack- shows. The stone head is a completely
mount unit has. unique option that has all bases covered.
If you’re looking for new amps, this
Last but not least is a variable output should definitely be on your list, espe-
switch that allows you to go from 100 cially at its low price point.
watt, to 20 watts, to 2 watts. This makes
the unit the perfect choice for small END <<

THE REVIEWS AMT STONEHEAD SH-100-4R
REVIEWS_PEDAL REVIEW
Line 6 Helix Stomp XL

An expanded version of the compact HX Stomp floor processor, the Line 6 HX Stomp
pedigree* but ups the ante by providing eight switches, enhanced MIDI capabilities, an
Stomp, the HX Stomp XL serves up to eight blocks — amps, cabs, and stomps — per pre
greater sonic flexibility. Here’s Nick Jennison to tell us more.
MODELLING OGs Line 6 launched their highly critically acclaimed

Helix platform in 2015. “It’s too expensive!!” came the
cry (despite being significantly more affordable than its competitors). Thus came the LT. “I
just want the effects”, came the cry. Boom - HX Effects. “Make it smaller!!” came the cry. The
HX Stomp was born… and what did folk say? “OK, not THAT small”…

THE REVIEWS LINE 6 HELIX STOMP XL
COM M E ND
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P RO D U C T
XL boasts the same award-winning Helix family
P RO D U C T
nd an intuitive pedal editing mode. Like the HX
ED
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eset, and adds a fourth snapshot per preset for even

COM M E ND

While there’s no pleasing some people, Line 6 are MSRP: (UK) £570 / (US) $749
giving it the old college try. The HX Stomp XL
is essentially the HX Stomp (a pared-down Helix
with all of the same sounds but in a tiny enclosure)
with more footswitches. Yes, that’s literally it. And The Breakdown
for lots of guitar players, it’s perfect. Hear me out
Vintage Modern
on this.
The HX Stomp is absolutely ideal for players who Specialised Versatile

don’t really do a great deal of footswitching. Per-
haps they use one sound for their whole gig, or Straightforward Feature-rich
they use the HX Stomp as part of a larger MIDI
pedalboard. Sure, you CAN operate it with your Affordable High-end
feet, but it’s fiddly. By contrast, the full-size Helix is
ideal for switching on the fly, but it’s a substantial
investment in both money and space, especially if
you intend to use it alongside other pedals. The HX For fans of
Stomp XL is sort of the “goldilocks” Helix - enough
footswitches to be practical, but still small and af- Helix tones and flexibility
fordable.
Footswitches
While there are a few functionality compromises
Portability
compared to its big brother, one area where the
HX Stomp XL absolutely does not fall short is in
sound. The amp and effect models within are exact- uk.line6.com
ly the same as those featured in the full-fat Helix,
and they sound and feel every bit as great as ever.
What you do lose out on is in some of the process-
ing power, meaning you won’t be able to run long
chains of DSP-heavy effects, and some of the I/O,
such as XLR outs and external amp switching. »
The latter is a bummer, but if you have a they sound like a Helix. If you know even
MIDI amp that can respond to the PC com- the first thing about amp modelling, you’ll
mands the HX Stomp XL sends, you can know what a ringing endorsement that is.
work around it. Aside from the excellent amp and cab models,
Helix has some of the absolute best effects
The workflow in the HX Stomp XL is per- in the game, with the usual standouts being
haps the most straightforward out of all the the overdrives, modulations and the gorgeous
Helix models, with the combination of the updated reverbs. There are also some very
capacitive footswitches and the Stomp’s el- convincing “utility” effects such as Poly Capo,
egant UI making for a surprisingly slick and DoubleTake and Poly Pitch, and while you
pleasant experience - even for someone like can’t run as many of these types of blocks on
myself who hasn’t touched a Helix in at least the HX Stomp XL as you can on the larger
two years. models, these effects are still available to you
There’s not a whole lot that can be said about and function in exactly the same way. »
the tones in this unit, other than to say that

THE REVIEWS VOX VALVENERGY CUTTING EDGE & COPPERHEAD DRIVE
In many ways, the HX Stomp XL occupies the “sweet spot” in the Helix range. It’s not as in-
timidating from a functionality, financial or physical size perspective as the larger models, but
it’s not as “fiddly” as the Stomp, which really requires some external gear to get the best out of
it. If you’re looking for an entry point into the Helix range, or you’re frustrated with the one
you have because it’s either too big and fancy or too small and fiddly, this is the Helix for you.
END <<
“If you know even the first thing about

amp modelling, you’ll know what a
ringing endorsement that is...”

REVIEWS_SWITCH REVIEW
Carl Martin The Strip Octa-Switch

Nicknamed The Strip, the fourth version of the popular Carl Martin Octa-Switch is
one of most the compact yet advanced pedalboard switchers going. Just as with its
predecessors, the signal path has an all-analogue design to make sure the original
sound of your pedals is retained in full. The Octa-Switch sets players up with eight
true-bypass FX loops that can be programmed across an equal number of banks
and are backed by impedance-free, gold-plated relays. Nick Jennison reviews.
THE loop switcher has become a

widely accepted part of the
hi-res displays etc; the other (much, much
larger) group craves simplicity and ease of use
“guitar gear canon”, with the kind of technol- above all else. While I find myself in the for-
ogy that was once the sole preserve of unob- mer camp, it’s very easy to see where the latter
tainable Bradshaw rigs being readily available are coming from.
in every guitar store in the land.
The Carl Martin Octa-Switch “The Strip” is
There are two distinct schools of thought very much a loop switcher for guitar players
when it comes to these handy devices: one who crave simplicity, but with some crucial
group of uses wants every feature under the features that many “bare-bones” loop switchers
sun in their loop switcher, with complex lack, such as MIDI, external switching, se-
MIDI implementation, parallel signal paths, lectable outputs and an instant access mode.

THE REVIEWS CARL MARTIN THE STRIP OCTA-SWITCH
COM M E ND
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ED
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P RO D U C T
Like the previous generations of Octa-Switch, it
ED
sports eight presets (which Carl Matin somewhat
RE
COM M E ND
confusingly referred to as “banks”), with each pre-

set offering instant recall of any combination of Carl Martin The Strip
the eight true bypass loops. With the touch of a Octa-Switch
switch, you can go instantly from (for example) an MSRP: (UK) £455 / (US) $499
overdrive, phaser and reverb in loops 1, 5 and 8 to
a distortion and a delay in loops 3 and 7 - or any
other combination that takes your fancy.
The Breakdown
While previous Octa-Switches have been pro-
grammed using matrixes of 8 dip-switches, meaning Vintage Modern
pedal combinations couldn’t be easily tweaked on

the fly, “The Strip” has an instant access mode that Specialised Versatile
allows you to add any of the eight loops to whatever

preset you’re using at the touch of a switch. If you Straighforward Feature-rich
like the resulting combination, you can hit the store
button, and whatever combination of loops you Affordable High-end
have set up will be saved as a preset. It’s super easy
to create presets this way, but a slight criticism I
have of this method is that you can’t “save” a preset
using your feet (for example, by pressing and hold- For fans of
ing the instant access switch) - you have to bend
down and press the “store” button. » Pedals
Simplicity
Saving the dance moves for

during the guitar solo

carlmartin.com
REVIEWS_SWITCH REVIEW
Not exactly a deal-breaker, but an inconven- these messages, and the channel is fixed to
ience nonetheless. channel 1, but for most guitar players, this
will be more than sufficient. There are also
“The Strip” also supports the four-cable two assignable outputs and four external
method, where some effects are run in front switches, all of which are assigned using Carl
of the amp and others are in the amp’s effects Martin’s familiar “dip-switch” matrixes. All
loop - a must for players like myself who rely of this means that with a single stomp, you
primarily on amp gain for their tone. Loops can change which pedals are active, switch
6-8 have their own input and output jacks, presets on a MIDI pedal, switch channels on
which makes configuring your rig this way your amp, and even switch which amp you’re
very simple, and the quality of the relays sending the signal to!
mean you won’t lose any tone in the process.
Other features include a switchable 500k
As far as switching goes, there’s a very ru- Ohm input buffer to prevent signal loss (I’m
dimentary MIDI output, sending program surprised it’s not a 1Meg buffer, but these
changes 1-8 corresponding to the eight guys know what they’re doing, so I’ll trust
presets on the Octa-Switch. You can’t change their judgement here!), a switch for either »
Carl Martin The Strip Octa-Switch

THE REVIEWS CARL MARTIN THE STRIP OCTA-SWITCH
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mute or bypass, and most importantly - horizontally placed jack sockets! That might not seem
like much, but vertically aligned jacks on a loop switcher make fitting standard patch cables
a nightmare, meaning you either have to spring for expensive “solderless” cables or sacrifice a
ton of pedalboard space to make room for straight 1/4” jack plugs. Not so on the Octa-Switch,
thankfully!

While it’s still very much a “simple” loop switcher, the Octa-Switch “The Strip” offers
enough modern functionality to satisfy the needs of almost every guitar player. It’s
housed in a rugged metal enclosure that will easily withstand the rigours of the road,
and operating it is a piece of cake. If you need a loop switcher (and you do trust me),
this is one very worthy of your consideration.
END <<
“If you need a loop switcher (and

you do trust me), this is one very
worthy of your consideration...”
REVIEWS_AMP REVIEW
Neural DSP Quad Cortex

The Quad Cortex floor processor from Neural DSP fuses high-precision stu-
dio guitar and bass tones with real-world gigging flexibility. This slim, self-
contained floor processor is powered by Quad-Core SHARC DSP and Neural’s
proven sound-modelling technology to bring today’s players the ultimate in
grab-and-go session accessibility. Inside, more than 50 amps, 1,000 cabs, and
70 stomps serve as building blocks for crafting your favourite rigs.
Nick Jennison tells us more.
IF you’ve been in this industry long enough, you’ll’ve seen the waves of “amp-replace-
ment” guitar tech come and go: each claiming to be the solution to the woes of the
valve amp user. First came solid-state amps; then digital rack units, the infamous “kidney
bean,” all culminating in the latest crop of modellers/profilers. As a bit of a “modelling scep-
tic”, even I have to admit that this current generation is pretty close to the real thing.

THE REVIEWS NEURAL DSP QUAD CORTEX
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Imagine my surprise when plugin mavens Neural
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DSP announced they were venturing into the world
of hardware amp modelling with the Quad Cortex.
ED
RE
The queues to test the beta version at NAMM 2019 COM M E ND
extended around the block, but when I finally had a

chance to sit down and try it on the Sunday afternoon Neural DSP Quad Cortex
(literally while the stand was being disassembled!), I MSRP: (UK) £1599 / (US) $1849
was in full cynic mode …and you know what? I was
floored. The feel, tone and response was staggering.
I knew right then that I was dealing with something
The Breakdown
special. Fast forward 18 months (and a global pan-
demic) and finally, it was time to review a production
model. Was it as good as I remembered? In a word, Specialised Versatile
yes.
Ok, let’s zoom out a bit here and talk about what Affordable High-end
we’re looking at. The Neural DSP Quad Cortex is a

floor-format amp modeller with the ability to create Straightforward Feature-rich
“captures” of your amp, pedals, speaker cabinet, etc.

“Sounds like pretty much every other modeller on the Traditional Innovative
market then”, right? Well, there are a few key differ-
ences that set the Quad Cortex apart from the crowd.
First of all, the processing power under the hood is
way, way in excess of anything else out there short of For fans of
a high-end studio computer. Running out of DSP is
a common problem with modern modellers, but with Supremely lifelike amp capture
four of the most powerful processors available provid-
Processing power
ing the juice, you’ll never bump up against this with
the Quad Cortex. Slick UIs
Second, and more interesting in my opinion, is the

way the “capture” function works. On the surface, For more information, please visit:
it’s pretty similar - you connect the Quad Cortex to neuraldsp.com/
your amp/pedal/microwave etc, it plays the sounds of
whale song and dial-up modems through your gear
and records the result. What sets it apart is the way
the resulting sound is captured and interpreted by the
Quad Cortex. It uses a neural network that operates in
REVIEWS_AMP REVIEW
a very similar manner to human hearing to amp captures, that’s no problem. Why not
decode the Dr Who noises into something make it four? Each with their own stereo
that sounds like your rig, and the result reverbs? The Quad Cortex won’t break a
is unbelievably natural. The machines are sweat.
coming for us.
If that sounds a bit like hard work, don’t
As if that wasn’t enough, because there’s worry. The Quad Cortex comes with a host
so much power on tap, you can have mul- of factory captures that sound and feel in-
tiple captures active in a single preset. You credible. I’ve owned a number of the amps
don’t have to capture your entire overdrive they’ve captured and playing these captures
> compressor > amp > cabinet signal chain felt so lifelike that I’m confident I could
in one go: you can capture the individual tell you where the knobs were set. But if
elements of your rig and put them together amp models are more your speed, there are
in any way you’d like. If you want to have a ton of those available too: all based on
the same fuzz capture feeding two different Neural DSP’s award-winning plugins. It’s

THE REVIEWS NEURAL DSP QUAD CORTEX
“The Quad Cortex comes with

a host of factory captures that
sound and feel incredible...”
also a dream to edit, thanks to the gorgeous touch-screen display and the clever
footswitches that double as encoders. If delving through menus has put you off
modellers in the past, fear not: if you can operate a smartphone, you can oper-
ate the Quad Cortex.
Neural DSP Quad Cortex

On to the effects, and this is where the Quad Cortex falls slightly short, in my opin-
ion. Don’t get me wrong, the included modulation effects, delays, and reverbs sound
very good, but they aren’t as “next-gen” sounding as the amp sims and captures are.
There’s also a significantly smaller selection than you’d get with some competitors.
That said, it’s very important to remember that this is a very new unit from a very
new company - there are no doubt going to be regular updates, with more toys for
you to play with.
I was a little concerned that I was too hyperbolic in the video portion of this review
when I announced “the future is here”, but on reflection, I stand by that statement.
I’ve never played a modeller that has sounded and felt as convincing as the Quad Cor-
tex, and I’ve never been so tempted to retire my amps to the studio. If it can convince
a crusty rocker like me, I’m certain you’ll dig it too. I highly recommended.
END <<
Studio to Sta
THE

right for you.

age
GI81
PLAY IT - RECORD
IT - PERFORM IT
C OM ME N
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STUDIO TO STAGE_MONITOR REVIEW
Xvive U4 Wireless In-Ear

Monitoring System
Xvive’s U4 Wireless In-Ear Monitoring System in-ear monitor wireless syst
providing additional high-quality monitoring. It works brilliantly, no matte
band-wide mix. Pair this receiver and transmitter and take your live perfor
astounding clarity and reliable wireless architecture, this portable, afforda
each and every time. Tom Quayle and Nick Jennison tell us more.
GOOD
monitoring is es- Most wireless in-ear systems are based on
sential both on the small, pocket-sized receivers paired to a
stage and in the studio – ask any musi- large transmitter base, often half or full
cian and they’ll tell you that the difference sized rack units with delicate, flimsy anten-
between an okay gig or session and a great nas that are both heavy and awkward to
one can often be down to the monitoring transport. The Xvive U4 offers the most
setup on hand. With stages getting quieter compact wireless IEM system we’ve ever
and technological improvements year on seen, more akin to some of the wireless
year, in-ear monitoring is becoming more microphone or guitar setups on the mar-
and more popular these days, meaning ket. It features a tiny receiver and incred-
good wireless in-ear monitoring solutions ibly compact transmitter that functions as
are becoming an essential part of every live an XLR connector that plugs directly into
and studio musician’s toolkit. your chosen output with the wireless trans-
mitter unit attached to the back. Xvive
In the world of wireless in-ear monitoring include an XLR to Jack convertor in the
people are generally looking for accurate package for those that aren’t using XLR as
sound, great wireless range, low interfer- their output of choice. It’s a very tidy and
ence, and long battery life. Traditionally compact solution but does stick out quite a
these requirements have come at a steep way from whatever it’s plugged into, giving
price point, but the Xvive U4 In-Ear Mon- cause for concern if someone were to walk
itoring Wireless System aims to change into it, potentially damaging either the
that with its superb feature set at an afford- transmitter itself or whatever its plugged
able price point. into. A short extension cable would solve »

THE REVIEWS XVIVE U4 WIRELESS IN-EAR MONITORING SYSTEM
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tem is the perfect solution when it comes to Xvive U4 Wireless In-Ear

Monitoring System
er whether you’re using it for an individual or MSRP: (UK) £199 / (US) $229
rmances to the next level! Boasting sound of
able option ensures excellent performance
The Breakdown
Straightforward Feature-Rich
Affordable High-End
Studio Stage
For fans of
A good monitoring experience on
stage
The same in the studio
Reliable gear

xviveaudio.com
this problem and the compact nature of from the design or feeling fragile. Opera-
the setup is certainly very welcome as long tion is very easy with only the necessary
as you won’t be bumping into it. controls for channel switching, volume
and power plus the ability to switch be-
Both units are incredibly well built to tween Line and Aux levels depending on
stand the rigours of gigging or travelling what you’re plugged into.
and could be thrown in a gig bag with
confidence thanks to all metal construc- The U4 is a 2.4Ghz device with 6 wire-
tion and drop proof sturdiness with no less channels available. For some users
controls or vital components sticking out this may be a concern given how crowded

“Both units are incredibly well built

to stand the rigours of gigging or
travelling ...”
the 2.4Ghz space is with consumer de- you regularly play in very large venues you
vices, but we experienced no drop out or may be better off with a higher bandwidth
interference issues in a studio environ- 5Ghz device. For most users the U4’s
ment with multiple smart 2.4Ghz plugs, 2.4Ghz operation will more than suffice
phones, iPad, computers and various and offer great stability with the 6 chan-
smart enabled devices in the same room. nels on offer. »
Your mileage may vary of course and if
Xvive U4 Wireless Review - Tom Quayle
Latency and sound quality are superb for tect any feeling of lag even with fast legato
such an affordable setup. Xvive quote 5ms runs through an Axe FX unit that has its
of latency for the U4 and our own tests, own inherent analogue to digital conver-
measuring the figure in a DAW, confirm sion latency.
this figure. The vast majority of users
will never be able to feel 5ms of latency The U4 is a mono monitoring solution
given that it’s similar to standing a normal with 24bit/48kHz operation for excel-
distance away from a guitar cab on a large lent sound quality. Since Xvive doesn’t
stage and in use this reviewer couldn’t de- ship a pair of cheap headphones with
Xvive U4 Wireless Review – Nick Jennison

the unit you need to use your own and, here at GI) and just over 5 hours of bat-
paired with a set of custom moulded ACS tery life from a full charge. Both units
triple driver in-ear monitors, it’s a total feature internal batteries charged via the
pleasure to listen to music, guitar or any included double USB micro cable. It’s a
other source through the U4. With a shame that the more modern and flex-
dynamic range of 107dB and full range ible USB-C connector wasn’t utilised here
20Hz-20kHz operation your listening and those internal batteries could be a
experience isn’t compromised in any way future source of concern if they start to
and represented accurately, allowing you lose charge capacity over time or if you
to play at your best with inspirational forget to charge the units before a show.
sound at all times. If you’re wondering But, from a single charge you should have
why the U4 is mono, remember that most enough juice for a couple of normal gigs
monitoring systems are mono too. Stage or a long studio session – just don’t forget
wedges, mixer Aux outputs and fills are all to charge them when you get home!
mono so it’s the most appropriate setup
for consistency and means half the band- All said and done, the Xvive U4 is a fan-
width of a stereo monitoring setup. You tastic wireless IEM solution that doesn’t
need to be sure that your chosen output break the bank and offers superb sound,
is setup as a mono sum, but almost all build quality and features without much
mixers, audio interfaces and guitar model- compromise. Those playing really big ven-
ling units allow you to do this with ease. ues might need to look at higher-end and
There is also a great deal of volume on tap more expensive 5Ghz solutions, but the
should you need it on a loud stage thanks average user would do well to check out
to the headphone driver built into the the superb value proposition that the U4
receiver unit. offers. Highly recommended.
Wireless range and battery life are also END <<
very good at this price point with over

90ft of range on tap before drops outs
(again tested as an accurate claim by us
On-Stage Influencer Starter

We frequently receive questions from Gi readers about how to get started
we’d set Nick Jennison the task of showcasing some of the more affordabl
will give you just about all you need to get your videos looking their best w
WHILE
we’re lucky at Gui- Let’s start with the one you should worry
tar Interactive to about least, but the one everyone fixates
have a fancy studio, expensive lights and on the most: the camera. Even as recently
cameras and a dedicated team of profes- as 4-5 years ago, you needed an expensive
sionals that handle the filming and edit- camera to even come close to capturing
ing (and who helpfully remind me that pro-quality video. Now, just about any
6 minutes of finger-ending shred might modern smartphone can do it. Even with
not be the best way to demonstrate a new the superb cameras at our disposal, we
piece of gear), you absolutely do not need still occasionally use an iPhone for certain
all of that stuff to make great looking and shots at GI. If you have a phone, you have
sounding videos. as much camera as you need right now.
So what about the rest, then? Well, On-

Stage have some great tools to get you
Here’s what you DO need: started. Let’s start with the VLD360 Ring
- A camera Light. Ring lights are great because they
produce an even, diffuse light that looks
- A source of light (you can’t film what flattering on the subject - there’s a reason
you can’t see!) so many “beauty” YouTubers use them!
This one is a fine choice because it of-
- Something to capture the audio fers three different “temperatures” of light
- Something to stand in front of from warm to cool, as well as adjustable
brightness. Crucially, it doesn’t flicker, »

THE REVIEWS ON-STAGE INFLUENCER STARTER KIT
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On-Stage Influencer
Starter Kit
d making videos. With that in mind, we thought MSRP: Varies, head to more info below
le options from leading brand On-Stage that
without breaking the bank
The Breakdown
Affordable High-End
Studio Stage
For fans of
Making video content
Simplicity
Reliability

https://www.jhs.co.uk/collections/
new/brand_on-stage
meaning you won’t need to worry about some dedicated mics, but if that’s a little
matching your shutter speed to the light out of your budget/skill level, you can al-
source - you can just point and shoot. It ways use a USB mic like the AS700. This
also comes with two adjustable stands for large-diaphragm condenser plugs directly
desktop or floor mounting, as well as a into a USB port and is absolutely perfect
phone mount to save you from having to for capturing dialogue, with a robust low
buy a separate phone stand. end for that “voice of the heavens” vibe
you hear in professional productions. It
For audio, there are a few choices here. also works well for singing, acoustic guitar
Ideally, you’d have an audio interface and and even micing up electric guitar amps,

“So what are you waiting for? I wanna

see your videos - get cracking..!
but for electric, you could always opt for That just leaves “something to stand in
a USB cable like the IC-10U. Plug this front of ”. If you have access to a cool-
into your guitar and your computer, load looking space, or even just somewhere you
up one of the countless excellent free amp can hang a backdrop, you’re good to go.
sims out there, and you’re good to go! But if everywhere you have access to looks
sub-par on camera, you might try a green
screen. The VSM3000 Green Screen Kit »
On-Stage Influencer Starter Kit
is a portable pop-up screen that’s easily trickier to key out.

big enough for most applications without That said, the blue ac-
being so big that it becomes cumbersome. tually looks quite cool
It folds into a handy carry bag for easy as a backdrop on its own!
storage and clips onto the included stand
in seconds. If you’re tight on space, this So there you go! All the
is a great option. If you’d prefer, you can tools you could need to start produc-
always use the blue screen on the reverse ing your own content, and all in one
of the green screen, but it’s usually a bit place. Sure, if you shop around, you

might be able to find similar items for slightly less money,

but take it from someone with experience buying this
stuff on the cheap: the quality of “no-name” gear is…
mixed (and that’s putting it politely!). When you buy
from a brand like On-Stage, you know what you’re get-
ting, and nothing here is going to break the bank. So
what are you waiting for? I wanna see your videos - get
cracking!
END <<
Quietroom
THE

right for you.

GI81
W H E N O N LY
ACOUSTIC WILL DO
C OM ME N
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THE QUIETROOM_PEDAL REVIEW
Orange Acoustic Pedal

Orange’s Acoustic Pedal combines the best of their Acoustic Pre TC pre-amp and Crush
low-noise pedal. Designed as an all-in-one solution for live acoustic performance, the A
well as a balanced XLR out for plugging directly into a PA system — no DI box necessar
ORANGE isitswell known for

earth-shaking
the Treble knob is at its highest setting. It’s
also worth mentioning the pedal uses an
electric guitar amps, huge control knobs, 18V operation which gives us even more
vintage design, simplicity and power. But headroom and tonal clarity. And I’d have to
they also do a great job with acoustic instru- agree; the pedal does have a nice crisp clarity
ments as well. Today I’m taking a look at the to it; it really does the job well of translating
Orange Acoustic Pedal. your guitar’s tone direct to the PA.
The Orange Acoustic Pedal is an Acoustic The EQ is detailed yet simple to operate,
Pre-Amp that is designed to work well with featuring Bass and Treble controls to shape
other pedals, offering players high headroom the outsides of your tone. Then the Mid-
and tonal flexibility. The pedal itself is based dle range control brings in the body of the
upon a mix between Oranges’ Crush Acous- sound, which can be further tweaked with
tic 30’ amp and their Pre-TC pre-amp in a the notch and Q-Factor controls. Perfect for
compact unit. emphasising the character of your beloved
acoustic guitar & dialling out any trouble-
Orange says that one of the advantages of some feedback through a PA system when
the pedal is its tonal clarity, preserving the you turn up to the venue. Plus, we also have
natural voice of your instrument. The Class- a phase cancelling switch to get rid of any
A pre-amp & JFET circuitry, which features issues with phasing that we might have de-
a single-ended design, gives us a clean sound pending on the playing situation. All of this
that delivers extremely low noise, even when goes to a high-quality XLR out. »

THE QUIET ROOM ORANGE ACOUSTIC PEDAL
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h Acoustic 30 amplifier into a highly versatile,

Acoustic Pedal sports a 1/4-inch mono output as Orange Acoustic Pedal
MSRP: (UK) £499 / (US) $TBC
ry! Sam Bell reviews.
The Breakdown
Straight forward Feature-rich
Affordable High-end
Studio Stage
For fans of
Psychedelic design
Highly versatile pedals
Exceptional build quality

orangeamps.com
THE QUIETROOM_PEDAL REVIEW
The pedal also comes equipped with its own FX Loop, so you can bring in your
favourite reverbs/delays/modulations/extra effects into the pre-amp before sending
it out to the XLR. This is very cool; it would have been nice to have a simple Reverb
or something similar built in for flexibility; however, most modern PA systems have
you covered on that side of things.
The unit itself features Oranges hallmark classic control knobs, funky psychedelic
paisley design, and it’s very easy to navigate and well built. And it’s incredibly af-
fordable. If you’re looking to give your acoustic signal the integrity it deserves, and
you’re on a budget, this pedal is well worth checking out. It’s straightforward, af-
fordable, and perfect for the gigging acoustic guitarist.
END <<
Orange Acoustic Pedal

THE QUIET ROOM ORANGE ACOUSTIC PEDAL
PURE
AND EASY
RARE
EARTH
SOUNDHOLE
PICKUPS
To learn more visit fishman.com
THE QUIETROOM_GUITAR REVIEW
Martin DC-X2E Rosewood

Another eye-catching and resonant model within Martin’s X series line fo-
cused on maximising performance and tone for every player’s budget.
Billy Campbell takes a closer look at the features of the Martin DC-X2E Rose-
wood in the Gi review.
THE Martin DC-X2E is the

Dreadnought sized model Thanks to the
within the X series. The classic and
comfortable cutaway body design with
cutaway, even
X-bracing as standard has a Sitka spruce with the neck
top, with figured Rosewood patterned,
high-pressure laminate back and sides. joining the body
The whole guitar has been done in a
Hand-Rubbed finish that not only looks
at fret 14, the extra
and feels fantastic but makes this a very access lets you
rugged and stable build. A real standout
in the X series line. The level of durabil- easily get right up
ity, playability and consistency, all at a
very accessible price point. That com-
to fret 20.
bination of features addresses many of many of Martin’s models is the Perform-
the concerns of travelling with a guitar ing Artist neck profile, which is a very
that may be more delicate, or sensitive to comfortable, slender neck shape, that
environmental changes, or have a huge feels good in a variety of hand positions,
custom shop price tag without losing the whether in the lower or higher register.
quality or tone!
The DC-X2E Rosewood has a 25.4”
Thanks to the cutaway, even with the Scale length, 1 3/4” nut width, and 20
neck joining the body at fret 14, the extra vintage sized frets. The DC-X2E has a
access lets you easily get right up to fret two-way adjustable truss rod and has
20. A welcomed feature that appears on been set up using a Plek machine, »

THE QUIET ROOM MARTIN DC-X2E ROSEWOOD
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MSRP: (UK) £739 / (US) $699
The Breakdown
Vintage Modern
Affordable High-end
Studio Stadium
For fans of
Martin quality at an affordable price
Slimmer neck profiles
Impressive looks

martinguitar.com
which uses the most modern technology to guitar coming out of the factory being well
provide measurements and real-world play- intonated, with no dead or buzzing frets.
ing conditions for very precise and consistent
fret dressing. The process scans and dresses The DC-X2E houses Fishman’s MX electron-
the guitar under actual playing conditions, ics with fine-tunable volume and tone knobs
strung and tuned to pitch. The result is every concealed on the inside of the soundhole.

THE QUIET ROOM MARTIN X SERIES GPC-X2E MACASSAR
These are very clear and

balanced pickups. Deliv-
ering a natural acoustic
sound, and very useable
adjustment ranges. Very
convenient for adding
variety to multi-tracked
acoustic parts or tweaking
your sound to the room or
house PA.
The DC-X2E Rosewood

Ships with Martin’s Acous-
tic Lifespan 2.0 strings,
featuring their anti-corro-
sion treatment, keeping the
strings feeling smooth and
maintaining the high-end
chime of fresh strings for
longer.
This guitar will also come

with Martin’s soft gig bag,
with the added headstock,
bridge, and endpin protec-
tion, a water-repellent exte-
rior, and foam padding.
The DC-X2E retails for

$699, so go check one out
at your local Martin dealer.
END <<
THE QUIETROOM_AMP REVIEW
Acus ONEFORSTREET 10
Phil Short review the Acus OneForStreet 10, the lightest portable amplifier
ever. Equipped with Master Volume, balanced Direct Out, an internal multi-ef-
fect (two Reverbs, a Chorus and a Delay) and a quick-connect system external
battery, the OneForStreet 10 could be all you need to bring your live perfor-
mances to life.
THE wandering minstrel. The en-

tertainers of an old an ancient
instrument and a microphone, but with
limited options, and often they lack enough
world, wandering from town to village, sing- headroom to maintain and clear and open
ing songs in exchange for a bite of supper sound at the right volume.
and a bed for the night, or perhaps reciting
poetry or telling stories of adventures from Enter the OneForStreet 10. the answer for
far and distant lands, or travelling street the travelling and outdoor musician. This
performers, putting on shows from town to is a lightweight, portable, yet very powerful
town and city to city to earn their keep. The amplifier, designed especially for the street
street performer/entertainer is an ancient art performer! With three independent chan-
form that is still very much alive today. Head nels, all with their own gain, volume and
into Covent Garden in London, and you’ll eq controls, there is unparalleled flexibility.
be able to witness a dazzling array of world- All three channels sport a TRS input, whilst
class entertainers, or even travelling on the channels 1 + 2 also sport an XLR input for
London underground, you can hear some of microphones. There is an XLR output that
the finest street performers in the world ser- functions as a D.I. out to send your mix to
enade the hustle and bustle of a frantic and a larger PA system or to send it into a DAW
busy city. for a live recording capture.
But the world is a noisy place, and just sit- Channel one has some extra features giv-
ting in the corner with an unplugged instru- ing the user a wider range of applications of
ment isn’t enough to attract an audience. The the first channel. The first is the addition of
busking amplifier is not a new idea, but they built-in compression. This can be engaged
are usually big, heavy, and difficult to power. via the on/off button and has a threshold
Most busking amps that are light enough control and a ratio control. This is a fantastic
to carry will usually only accommodate one feature for instruments like acoustic guitar, »

THE QUIET ROOM ACUS ONEFORSTREET 10
COM M E ND
RE
ED
P RO D U C T
P RO D U C T
ED
RE
COM M E ND
The Breakdown
Vintage Modern
Warm Bright
Affordable High-end
For fans of
Superb sonic clarity
Portability
Classic subtle looks

acus-sound.it
THE QUIETROOM_AMP REVIEW
where you may be switching between fin- guitars, and Jazz - to accommodate semi-
gerstyle parts and strumming. This allows hollow or hollow-body Jazz style electrics.
you to maintain more evenness in perfor- Depending on the style of music you may
mance volumes, which is especially crucial be performing and the lineup of instru-
when playing outdoors in busy and noisy ments you may have, channel 1’s variable
areas. The sound of the compression is very features offer a lot of welcome versatility in
natural and open, and we could achieve the application of the unit, and each setting
everything from light dynamic control to seems to work well for its intended use.
really squashed sounds.
There is also a high-quality effects section
Channel 1 also has three EQ styles in addi- that is applied across all three channels.
tion to the three-band EQ available to the Wonderfully, each channel has its own
channel. These are Flat (the same as chan- independent FX level control, so once your
nels 2 and 3), Bass - to accommodate bass desired effect is dialled in, you can tweak

THE QUIET ROOM ACUS ONEFORSTREET 10
how much of this is blended with each

individual instrument. A very fine and
useful touch indeed.
Often on units of this nature, the built-

in FX can be a bit of an afterthought
and sound a bit cheap or sterile, and
often end being ignored in favour of
higher quality pedals. The onboard ef-
fects on the OneForStreet were refresh-
ingly musical and pleasing to the ear.
The reverbs sounded natural, whilst the
chorus sounded rich and not in the least
bit ‘cheap’ or ‘tacky’. My personal fa-
vourite was the ambient reverb setting,
which allowed colourful chords to ring
out with beautiful sustain. Blended with
a good vocal performance and the addi-
tion of a keyboardist, the potential for
some stunning sounding performances
is easily achievable.
Last but not least, is, of course,

the addition of the Auxiliary in-
put to connect backing tracks from
a laptop or phone via a mini-jack
cable. The OneForStreet can also be con-
nected to an external device via Bluetooth for wireless playback. A nice touch and one less
cable to worry about.
On the back, there is space for two battery units to power the OneForStreet. The unit can
also be connected to a mains supply with the included power chord. Sadly the batteries are
not included as standard and must be purchased separately, which is disappointing given
that the main purpose of the amp is to be used in spaces where there is no access to mains
power. Despite this one weakness, the unit is excellent, and the travelling busking musician
will not be disappointed with the quality of sound and flexible options available.
END <<
Crafter GAE 8/N Acoustic

First established in 1972 from the basement of founder HyunKwon Park, Craft-
er has long been a name synonymous with quality and attention to detail for
the past half-century. Guitar Interactive’s Phil Short takes a closer look at a
recent release from the brand as he reviews the Crafter GAE 8/N.
THE Crafter ethos is two-fold: qual-

ity and affordability. Histori-
guitar looks, feels and sounds like an instru-
ment worthy of a much higher price bracket.
cally, the term ‘affordable guitars’ has often
been a polite way of saying ‘cheap guitars,’ The guitar sports premium-level features
and until recently, unless you paid over a like a solid Engelmann Spruce top, provid-
certain price point, you’d struggle to get a ing a clear, crisp, punchy and resonant tone,
decent sounding guitar that also played well, with Mahogany back and sides adding extra
held its tuning, and didn’t present a multi- warmth and richness. The Indian Rosewood
tude of problems. fretboard was of very good quality, which has
been neatly bound in a cream/white bound-
Crafter, however, is a leader in the market of ing on a very comfortable mahogany neck.
designing affordable guitars that genuinely
play well, sound good, and by no means Playability wise, the set-up was great right
feel ‘cheap’ in the hands of the player. Good out of the box. The action height was very
quality components are used, from the pick- comfortable and would suit someone who
ups and tuners to the choice of tonewoods, might be used to playing electric guitar most
to ensure that the instrument plays well. of the time. It held its tuning really well, and
chords rang clear across the whole fretboard,
One of their most popular series is the revealing good quality fretwork. The intona-
Crafter GAE8-N Grand Auditorium Electro tion was also spot on right the way up the
Acoustic Guitar. First impressions of picking fretboard, something that is often a problem
this guitar up out of the box were that this on guitars in the lower budget price ranges.
was a well-made guitar, robust and reliable.
Having played the guitar before looking up The other fantastic inclusion is the L.R.
the price point online, we were genuinely Baggs element pickup. L.R. Baggs are them-
surprised to see how low the price was, as the selves a household name in acoustic »

THE QUIET ROOM CRAFTER GAE 8/N ACOUSTIC
COM M E ND
RE
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P RO D U C T
P RO D U C T
ED
RE
COM M E ND

The Breakdown
Vintage Modern
Warm Bright
Affordable High-end
For fans of
Comfortable neck profiles
Value for money
Traditional looks

crafterguitars.uk.com

THE QUIET ROOM CRAFTER GAE 8/N ACOUSTIC
amplification and D.I. products and are with the spruce top, which is also available
considered by many to be the best of the in a Tobacco Sunburst finish, and then a
best when it comes to amplifying your natural all Mahogany version is also avail-
favourite acoustic instrument. The pickup able for those who like a darker and more
sounds wonderfully natural, and the inclu- rounded tone.
sion of a notch switch to help control the
midrange frequencies is a welcome addition For those looking for a good quality acous-
to dialling in that sweet spot for your sound tic but don’t want to break the bank or are
system. looking to experiment away from the elec-
tric guitar for the first time, the Crafter 8
As well as the Grand Auditorium style, this series is definitely well worth checking out.
model is also available in a Dreadnought
style, 12 string version and Parlour version. END <<
Three finishes are available, a natural finish
Cort L200F Aged to Vintage

Vintage instruments are often considered the holy grail of acoustic guitar tone.
The wood on the top cures and opens up more over time, and this unleashes
a tonal quality that’s often missing in new instruments—until now. Using a spe-
cial process called ATV (Aged To Vintage), Cort uses unique torrefaction tech-
niques designed to give you “that” fantastic tone right out of the box. So, just
how good is it? Tom Quayle tells us more as he reviews Cort’s L200F Aged to
Vintage Acoustic.
CORT’S
L200F is the compa- wood that looks wonderful and sounds even
ny’s take on the classic better. This is a tried and tested approach to
OM body shape at an affordable price point. ageing tops used by quite a few manufac-
This is classic 1920’s small-bodied acoustic tures now, and the L200F certainly has all
territory with a surprising array of features the hallmark characteristics of an older guitar
for the money and a look that would suggest visually and tonally.
a far higher asking price. Cort is well known
for its value proposition, but the L200F Cort has produced a beautiful guitar here
might have taken that even further for those enhanced by the choice of a semi-gloss finish
wanting vintage good looks and tone at an that is smooth and wonderful to play whilst
affordable price. offering excellent protection of the lovely
wood choices. It plays a well as it looks, too,
The L200F’s OM body shape is constructed thanks in part to the slightly wider 45mm
using a solid Sitka spruce top and beautiful nut, offering string spacing that will suit fin-
rosewood back and sides with white binding gerstyle players well without alienating any-
and a classic tortoiseshell effect pickguard. one else. The OM body shape is supremely
The neck is mahogany with a period-correct comfortable without compromising tone,
ebony fretboard, small dot inlays and stun- and the neck is slim enough to suit even
ning gold finish, open-gear Grover tuners smaller hand sizes with ease.
and machine heads. Cort have used their
ATV (Aged to Vintage) torrefication/wood Tonally, the L200F is a match for those good
baking system to artificially age the Sitka looks thanks to the aged solid top, excellent
spruce top, providing a vintage tone straight construction and use of the ebony bridge
from the factory and an aged colour to the and bridge pins. Sustain and resonance are as

THE QUIET ROOM CORT L200F AGED TO VINTAGE
COM M E ND
RE
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P RO D U C T
ED
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COM M E ND

MSRP: (UK) £449 / (US) $8TBC
The Breakdown
Vintage Modern
Warm Bright
Affordable High-end
For fans of
Classic 1920’s OM guitars
Fantastic value for money
Fingerstyle blues

cortguitars.com

THE QUIET ROOM CORT L200F AGED TO VINTAGE
good as anything costing two or three times feedback controls, you’ll need to factor in
the price, and the dynamic range provides a an external preamp.
highly rewarding playing experience, espe-
cially for styles requiring dynamic subtlety. Cort has really knocked it out of the park
with the L200F acoustic. It’s a fantastic
Cort has also paired the L200F with the value instrument that competes well with
excellent Fishman Sonitone pickup system, much more expensive guitars and never
installed in the soundhole to prevent any reveals its budget-conscious roots. If you
wood from being removed from the guitar. want a high-quality OM style guitar but
The Sonitone has become the go-to pickup can’t afford one from the high-end build-
system at this price point for good rea- ers in the guitar business, you can get a
son and serves the L200F very well with a LOT of guitar for your money here with
realistic acoustic tone and response plugged the L200F that won’t make you regret not
in that compliments the stellar acoustic spending the extra cash. Well worth a look
tone very well. The simple tone and volume and another winner in the Cort acoustic
controls will appeal to purists or those not range.
wanting to read an instruction manual,
but for more sophisticated EQ and anti- END <<
Bassment
THE

right for you.
Sponsored by Rotosound

GI81
THE PLACE
FOR BASS
C OM ME N
R E D
ED
RO D U C T
P RO D U C T
D P
E
RE
COM M E ND
THE BASSMENT_PEDAL REVIEW
Source Audio Ultrawave Multiband B

If you’re a bass player with an ear for nontraditional fuzz/distortion sounds and synthy cas
character tones to be discovered in the Source Audio Ultrawave Bass pedal. The Ultrawave
up to 10 bands and lets users crank and saturate each to taste, yielding some of the filthiest
Ultrawave Bass does doom, desert, and industrial with aplomb; however, it’s this pedal’s so
Rodney McG to tell us more.
THE Source Audio Ul-

trawave for Bass has a
the EQ spectrum, and applying the
Distortion to some, or all in varying
similar characteristic to other Source degrees.
Audio units, in that it is deceptively
simple from the outside. With an It also includes a number of other
interface containing only four knobs tone-shaping effects onboard. If
and a small toggle switch, it could controls, an 8 band graphic equal-
easily be looked at as just another izer, noise gate, and ring modulator
simple Bass Distortion unit with a are available in every preset. All these
few tone-shaping options. But when options can be used in conjunction
we look underneath the hood, there’s with stereo ins and outs that can be
much more going on. configured in a number of different
ways outside of traditional routing.
Essential to using the Ultrawave is
the Source Audio Neuro app. The The huge assortment of sonic pos-
app can function from a phone, sibilities will keep even the most
tablet, laptop, or desktop system. serious of tone chasers occupied
Hooking the Ultrawave up to the indefinitely. I could easily see the
app unleashes its true potential. The Ultrawave being used as a sound-
Ultrawave boasts 44 different Distor- shaping tool, or with other instru-
tion types. These can be combined, ments as well as bass. I’m specifically
blended, and morphed in a mind- thinking of synths and keyboards.
boggling amount of ways. They can The Ultrawave’s huge routing ver-
also be applied to specific frequency satility and available tone sculpting
bands by setting split points across options definitely make it more than
just another bass distortion. »

Sponsored by Rotosound THE REVIEWS SOURCE AUDIO ULTRAWAVE MULTIBAND BASS PROCESSOR PEDAL
COM M E ND
Bass Processor Pedal RE
ED
P RO D U C T
P RO D U C T
ED
scades of colour, there’s a slew of gooey, glitchy
RE
COM M E ND
e splits monophonic and polyphonic signals in

t riff distinguishers on the planet. So naturally, Source Audio Ultrawave
Multiband Bass Processor Pedal
ofter side that will really surprise you. Here’s
MSRP:(UK) £259 / (US) $249
The Breakdown
Affordable High-end
Traditional Innovative
For fans of
Vintage tones with a modern twist
Onboard versatile effects
Exceptional build quality

sourceaudio.net
THE BASSMENT_PEDAL REVIEW
Source Audio Ultrawave Multiband Bass Processor Pedal
If you’re not in the market for a distortion, but are looking at filters, and bass synth-style
pedals, the Ultrawave is still well worth a look. It fits easily in the sound design category
and not just a single item processor. My personal favorites so far are the ability to use mul-
tiple compressors at different frequency bands for really interesting textures, and using the
stereo outs for the tremolo and ping pong style spatial movements that seem to be a spe-
cialty of the Source Audio Units. Truly, the Ultrawave is a unique and impressive piece of
tone sculpting gear in an amazingly small package.
END <<

Sponsored by Rotosound THE REVIEWS SOURCE AUDIO ULTRAWAVE MULTIBAND BASS PROCESSOR PEDAL
THE BASSMENT_PEDALREVIEW
Tech 21 Geddy Lee DI-2112 Signatu

In an attempt to streamline his gear for new projects, Geddy initially partnered with the go
SansAmp, the GED-2112. Following the unit’s success, the challenge then became to engine
on two nine-volt batteries, providing a feature-rich solution that is “grab-and-go” easy. So, do
preamp and more importantly, preserve all the tonal goodness of its fraternal twin? Rodne
Geddy Lee DI-2112 Signature SansAmp.
WITH the DI-

2112, Tech
in the upper mids and imitates
the sound of a player digging in
21 brings us the third genera- or playing aggressively, but at
tion of its units based around the all dynamic levels. The routing
Geddy Lee signature tone engine. is complete with balanced and
The DI-2112 is essentially the quarter-inch outputs for both sec-
same as the original rack-mount tions. The balance is carried via
GED-2112, sacrificing only the xlr.
effects loop to be made into a
smaller desktop package that is If you want to simplify the rout-
more portable. It could easily ing of the DI-2112, this can be
be mounted on a pedalboard if done by using a single output
needed. when configured properly. The
unit’s manual describes how to
Not only does the DI-2112 fea- marry both outputs into a single
ture the same dual engine design connection for ease of use. The
consisting of level, blend, mid, DI-2112 packs an impressive set
mid-shift, treble, Bass, and drive of options, tonal variation, and
for the main unit. It also contains major connectivity in a desktop
the secondary subchannel with its package that could be compared
level and saturation bringing a bi- to many slightly larger sized ef-
amp approach to tone shaping. fects pedals on the market.
Also on board are the punch but- Make no mistake; although it’s a
tons that allow for the unit to be Geddy Lee signature device, it’s
used in tight mode. This gives the capable of far more. Unlike many
sound more bite and aggression gimmick signature pieces »

Sponsored by Rotosound THE REVIEWS TECH 21 GEDDY LEE DI-2112 SIGNATURE SANSAMP
COM M E ND
ure SansAmp RE
ED
P RO D U C T
P RO D U C T
ED
ood people at Tech 21 to design a Signature
RE
COM M E ND
eer a smaller, portable version that could run

oes it provide all the features of the rack-mount Tech 21 Geddy Lee DI-2112
Signature SansAmp
ey McG tells us more as he reviews the Tech 21 MSRP: £375 (UK) / $329 (US)
The Breakdown
Affordable High-end
For fans of
Having complete sonic control
over your sound
Open and rich tones
Geddy Lee

tech21nyc.com
Tech 21 Geddy Lee DI-2112 Signature SansAmp

of gear, you can get Geddy’s distinct sound particular colour and feel of the drive.
and tone combination, but there are a huge
number of other sounds and settings that With the DI-2112 bringing this signature
are not only usable but truly different and unit into a small and portable package that
interesting without being reminiscent of sacrifices almost no features, it’s a must-
the unit’s namesake. have for any fan of the classic SansAmp
series, and some final touches are given to
It’s clearly made in the heritage of the RBI us by the tone of a true bass legend.
and other classic SansAmp units, but with
distinct changes to the eq stack and the END <<
Barefaced Audio Machinist

In an attempt to streamline his gear for new projects, Geddy initially partnered with the go
SansAmp, the GED-2112. Following the unit’s success, the challenge then became to engine
on two nine-volt batteries, providing a feature-rich solution that is “grab-and-go” easy. So, do
preamp and more importantly, preserve all the tonal goodness of its fraternal twin? Rodne
Geddy Lee DI-2112 Signature SansAmp.
WITH the DI-2112,

Tech 21 brings us
plete with balanced and quarter-inch
outputs for both sections. The balance
the third generation of its units based
around the Geddy Lee signature tone
is carried via xlr. “It’s a
engine. The DI-2112 is essentially If you want to simplify the routing of
the DI-2112, this can be done by using
the c
the same as the original rack-mount
GED-2112, sacrificing only the effects a single output when configured prop-
loop to be made into a smaller desktop erly. The unit’s manual describes how to
package that is more portable. It could marry both outputs into a single con-
easily be mounted on a pedalboard if nection for ease of use. The DI-2112
needed. packs an impressive set of options,
tonal variation, and major connectiv-
Not only does the DI-2112 feature ity in a desktop package that could be
the same dual engine design consisting compared to many slightly larger sized
of level, blend, mid, mid-shift, treble, effects pedals on the market.
Bass, and drive for the main unit. It
also contains the secondary subchannel Make no mistake; although it’s a Ged-
with its level and saturation bringing a dy Lee signature device, it’s capable of
bi-amp approach to tone shaping. far more. Unlike many gimmick signa-
ture pieces of gear, you can get Geddy’s
Also on board are the punch buttons distinct sound and tone combination,
that allow for the unit to be used in but there are a huge number of other
tight mode. This gives the sound more sounds and settings that are not only
bite and aggression in the upper mids usable but truly different and interest-
and imitates the sound of a player dig- ing without being reminiscent of the
ging in or playing aggressively, but at unit’s namesake. »
all dynamic levels. The routing is com-

Sponsored by Rotosound THE REVIEWS BAREFACED AUDIO MACHINIST
COM M E ND
RE
ED
P RO D U C T
P RO D U C T
ED
ood people at Tech 21 to design a Signature
RE
COM M E ND
eer a smaller, portable version that could run

oes it provide all the features of the rack-mount Barefaced Audio
Machinist
ey McG tells us more as he reviews the Tech 21 MSRP: (UK) £249 / (US) $TBC
The Breakdown
a must-have for any fan of
classic SansAmp series...” Affordable High-end
For fans of
Dirty bass tones
Versatile drive pedals
Bespoke design

barefacedaudio.com
Barefaced Audio Machinist

It’s clearly made in the heritage of the RBI sacrifices almost no features, it’s a must-
and other classic SansAmp units, but with have for any fan of the classic SansAmp
distinct changes to the eq stack and the series, and some final touches are given to
particular colour and feel of the drive. us by the tone of a true bass legend.
With the DI-2112 bringing this signature END <<
unit into a small and portable package that
Columns
THE
C L
E X
Inside each and every issue, we have a host of exclusive lessons —
with our team of world-class contributors offering their unique
insight, knowledge and expertise to help you get the most out of
your own playing.
S
Also in this edition, Gi’s Jonathan Graham exclusively sits down with Adam
“Nergal” Darski of black metal pioneers: Behemoth.
U M N
L

S I V E
GI81
LU C
CLASS IS BACK
IN SESSION
OL
COLUMNS_TOM QUAYLE

COLUMNS TOM QUAYLE: DEVELOPING PROFESSIONAL TECHNIQUE:PART 2
DEVELOPING
PROFESSIONAL
TECHNIQUE:PART 2
Class is in session. Tom Quayle brings you a brand new and

exclusive lesson for Guitar Interactive Magazine.
TOM Quayle took up the guitar at

the age of 15 after being in-
At this point Tom changed to his renowned
4th’s tuning and studied Jazz, graduating with
spired by his Dad’s incredible fingerstyle guitar a Jazz Performance degree in 2002 from Leeds
playing and quickly developed a love for the College of Music. Since graduating Tom has
instrument. Being addicted to players such developed to become one of the foremost fu-
as Steve Vai, John Petrucci and Brett Garsed, sion legato players in the world with a strong
Tom initially focused on rock technique before reputation for both the teaching and playing,
developing a huge interest in Jazz and Fusion. having produced a large number of highly ac-
claimed tuition products for his own website »
COLUMNS_TOM QUAYLE
and Lick Library that have helped thousands fans. Tom currently plays with and on the
of guitar players from every corner of the albums of some of the best fusion musicians
planet literally. in the world, releasing the highly acclaimed
‘Elba Triangle’ album in early 2017 with Vir-
He has conducted masterclasses and played gil Donati, Alex Argento, Marco Sfogli and
all over the world giving him acclaim that Allesandro Benvenutti.
means he can count Dweezil Zappa, John
Petrucci, Brett Garsed, Greg Howe, Andy Tom has many projects in the works includ-
Timmons and Tim Miller amongst his many ing lots of studio and live work with his
Developing Professional Technique: Part 1

COLUMNS TOM QUAYLE: DEVELOPING PROFESSIONAL TECHNIQUE:PART 2
partner in crime, Martin Miller. His highly For more information, and exclusive courses
anticipated debut album is in the works, and from Tom Quayle, head over to http://bit.ly/
he has produced a considerable catalogue of Tom_Quayle
some of the most successful tuition material
for the modern fusion genre. END <<
Tom is incredibly proud to play his signature

TQM1 guitar exclusively.
T O M Q U A Y L E
SESSION
GUITAR
LESSONS
Tom Quayle’s Signature Session is here!

In this brand new course designed easily play through each section
for players of all levels, Danny Gill regardless of your current playing
debuts his track “Per”, a 5 part level. There is even a section of
rock extravaganza in which he ‘cool licks’ to add to your collection
talks in depth about his approach as well as a scales section showing
to melodic soloing, improvisation, you each of the scale patterns
chordal arrangement and modal Danny refers to in the lessons.
playing. Each section of “Per”
is performed with the supplied ‘Per’ features a bit of everything,
backing track and then broken starting off slow and dynamic
down for you. and finishing with a heavy double
time feel giving you plenty of
In addition to teaching the rhythm opportunities to be creative
and the melodies, Danny talks and expressive over this rock
about some of the scale choices instrumental.
available to you so that you can
COLUMNS_SAM BELL

COLUMNS SAM BELL RHYTHM GUITAR CONCEPTS
Guitar Interactive Magazine veteran, Sam Bell continues his

new and exclusive column focused on getting the most out
rhythm guitar playing.
Rhythm Guitar Concepts 5: Utilising Chord Fragments,

Using Thirds and Articulation
In this instalment of Rhythm Guitar Concepts, I am going to take a
look at how we can use larger chord formations to visualise smaller
chunks of information. In today’s example we are going to take a sim-
ple Am, G, and F chord sequence using E Shaped Bar chords, search
for the 3rd intervals for each chord on the D and G strings and create
a cool rhythm guitar part. These kinds of parts can be heard on 80s
Michel Jackson records all the way through to modern artists such as
‘The 1975’. The main purpose of this issues lesson column, however, is
to look at the different ways we can articulate the same riff to get dif-
ferent sonic results. The second example in this column utilises larger
chord fragments to create a moving thirds sound through a chord
shape using some of the articulations we cover in this lesson. »
COLUMNS_SAM BELL
Tone: part if combined with the first option, or as

a way of building the same part through a
For this issue’s column, I used a compressed verse section for example.
clean tone with a medium thickness pick.
This adds a little ‘snap’ to the tone and ena- Heavy Muting, Slow Pick Attack:
bles me to get different textures from vari-
ous angles of the pick. For this example I This is a much more percussive sound,
am attacking the strings with a more parallel slightly akin to the early 1950s muted raked
pick angle, I am letting the pick rest on each arpeggios you can hear in Buddy Hollys
string before pushing through to the next playing. This technique uses muting with a
string and I am utilising various amounts of slower pick attack, to the point that the two
palm muting to create different articulations. notes in the chord fragment almost sound
For this column, I am going to demonstrate like they are being played in sequence rather
several ways of playing this rhythm guitar than at the same time. This is a great way of
part with various amounts of muting and really building energy in a part, especially
pick attack to create different levels of tex- when played tightly with a rhythm section.
ture. It keeps the subtle edge of the first example
but the percussive energy needed to build the
Heavy Muting, Fast Pick Strokes: part up textually.
I first played the riff with heavy palm muting Moving Thirds:
and letting the pick softly but quickly pass
through the strings. This is a great way of Later in the video I demonstrate an impro-
sitting back in a live or recorded mix whilst vised rhythm guitar part that outlines the
suggesting harmonic information, leaving same chord sequence as the first example
space for the bass player, vocals, drums and however this time I use more of the E Shaped
any synths or pads. chord formations on the top 4 strings (D, G,
B and E) and grab the strings in pairs (D,G
Hard Attack, Quick Muting: – G,B – B,E) in order to create a moving
triad sound through each chord change. This
The second way of playing this riff is to at- creates more movement for each chord, com-
tack the notes with no palm muting with a bining this technique with other CAGED
heavy attack but quickly and lightly mute shapes will give you almost infinite possibili-
towards the end of the sustain. This is a great ties when coming up with cool rhythm parts
way of creating a little dynamic flare to the like these.

COLUMNS SAM BELL RHYTHM GUITAR CONCEPTS
Concepts 5: Utilising Chord Fragments, Using Thirds and Articulation
Summary:
Articulation can change the direction of a guitar part, using smaller chord fragments can really
add a melodic edge to your rhythm playing and fretboard knowledge can really expand where
you take your rhythm playing in a big way. Be sure to dig deep and have fun utilising some of
these approaches in your every day playing!
END <<
THE QUIETROOM_GIORGIO SERCI
SPONSORED BY

SPONSORED BY THE QUIET ROOM GIORGIO SERCI CREATIVE FINGERSTYLE
Giorgio Serci, award winning guitarist, composer, arranger

and long-time guitar tutor at The Academy of Contemporary
Music, continues his acoustic column in this issue of Guitar
Interactive Magazine.
HELLO there and welcome

to Guitar Interac-
Cooking a delicious meal is more chal-
lenging when we have a restricted se-
tive’s Quite Room. lection of ingredients, however, in my
opinion, this leads to thinking ‘outside
In this column I would like to share a the box’, which can result in a very inter-
composition of mine called ‘Clouds’, esting outcome.
another bespoke composition for the
Guitar Interactive community. In this piece, for example, I have decided
to start from a lovely chord, in a key
I often like to think of composing like often avoided. This is a Bmaj7/D# voiced
cooking, as in both art forms the choice in open position, in order to capital-
and blending of ingredients is para- ize on the open ‘B’. To unify my chosen
mount. My students can normally tell non-diatonic chord progression, I have
from my food and recipes analogies that restricted my melodic palette to ‘two-
we are getting close to lunchtime. How- notes-per phrase’, which I adhered to for
ever, for this I don’t always charge … the most part. »
As it normally happens, after the second chord, I have found myself playing many variations,
most of which I was happy with and although composing is about trying different options,
eventually a decision must be made. This is the reason why often we may start writing one or
several pieces destined to remain incomplete for a quite some time if not for good. The way
I deal with this is setting a deadline and thinking about the use of the piece. In other words,
while the pieces for guitar interactive tend to be quite short to be able to go through these in
a relatively short amount of time, pieces for a live show may be not only be longer, but feature
purposeful ingredients and sections to enhance the piece further and making it fit within a set.
So, when writing your pieces, make an effort to complete them imagining the context within
which these will be performed as well as who these will be performed by, in terms of technical
abilities and stylistic persuasion. These sort of prerequisite will help making up our mind and
completing our pieces.
Harmonic ingredients:
Here are the chords utilized and described in a concise manner, omitting the passing notes.
Bmaj7/D# C#13 Bmaj7#11 A (#11) E F#/E

Eadd2 Cmaj7#11 IV
Cmaj7#11
Another important harmonic ingredient is the frequent use of open strings to complement the
main melody. This is a very effective way of enhancing the melody in a relatively easy way, as
the open strings’ sustain will add ‘legato’ qualities to the piece.
Rhythmic ingredients:

The piece features a continuous 16th driven, a particular sound, a chord progression or
fingerstyle picking hand part, with the main modulation. Eventually, these sounds will
melody being pushed throughout. become part of your musical lexicon and
you’ll be able to use these with fluidity and
Melodic ingredients: effectiveness.
The melodic content navigates a few tonali- The picking-hand pattern is predominantly
ties, and features a recurrent use of tension as follows:
and release with the 4ths (perfect or often (Please note E=low E string, e= high E
augmented) resolving to the 3rd of the chord string)
and has a singing-like quality throughout.
‘p’ focuses predominantly on the bass lines,
As always, I would like to recommend ex- while ‘i, m, a’ play the melody and counter-
ploring the above-mentioned techniques melody or harmony part. The melody is »
in order to compose your own pieces. We predominantly played with the ‘a’ finger, so it
have to allow ourselves to make mistakes is important to use the appropriate velocity
and reflect on the reasons why we like or not
Giorgio Serci - Creative Finderstyle
for the note to cut through. the little f on fret 4 of e.
Play this part in a relaxed and clear manner, Bar 5: (beat 3 and 4) Index on fret 2 of e,
making sure your thumb is a little forward open e, then arpeggiate with ring f on fret 4
compared to the ‘i, m, a’ fingers, in order to of D, middle f on fret 3 of G and open B.
prevent it from colliding with the ‘i’ finger.
As always, focus on attack and tonal consist- Bar 6: (beat 1 and 2) As bar 5
ency. The melody and the supporting harmo-
nies will be played with the ‘a’ finger, so more
attack is needed to outline the melody. Bar 6: (beat 3 and 4) Index on fret 2 of e,
middle f on fret 3 of A, and arpeggiate with
Next we are going to look at the left hand little f on fret 4 of D, open G and B, finish-
part (chord shapes): ing this bar with an open ‘e’.
Bar 1: Little f on fret 4 of e, index on fret 1 of Bar 7: (beat 1 and 2) Open E and e, then
D, ring f on fret 3 of G and open B. Repeat arpeggiate with middle f on fret 2 of A, ring
replacing the little f with middle f on fret 1 f on fret 2 of D, little f on fret 4 of D, index
of e. on fret 1 of G, open B, e and index on fret 2
Bar 2: Middle f on fret 2 of e, little f on fret 4 of e.
of A, ring f on fret 3 of G and open B. Bar 7: (beat 3 and 4) Middle f on fret 3 of G
Repeat replacing the middle f with the index with little f on fret 4 of e, followed by index
f on fret 1 of e. on fret 6 of D with little f on fret 7 of e and
finally, natural harmonic on xii of E, fol-
Bar 3: Barre’ on fret 1, middle f on fret 2 of A, lowed by open B and little f on fret 12 of ‘e’.
ring f on fret 3 of G and little f on fret 4 of
B. Congratulations, you have completed
‘Clouds’!
Bar 4: Barre’ on fret 2, little f on fret 4 of B,
open A, fret 2 of D, G and B. As always, you will be able to download a
transcription by selecting the menu option in
Bar 5: (beat 1 and 2) Play open B followed by this page.
open E middle f on fret 2 of A, ring f on fret
2 of D, little f on fret 4 of D, index on fret I strongly recommend experimenting with a
1 of G, open B and e, finishing this bar with few picking variations, changing the chords

as you wish in terms of voicing (higher or accurate and consistent manner, while saving
lower), as well as trying the same picking energy.
pattern on a different chord progression, or
using a ‘capo’ on fret 2 for a brighter out- This will complete this creative fingerstyle
come. lesson.
When repeating any section twice or more, I hope you will enjoy playing this study piece
you may want to play ‘sul ponticello’, (closer and that this will give you some ideas on
to the bridge) or ‘sul tasto’ (over the frets) for how to write your own solo guitar composi-
more contrasting results. tions. If you would like to listen any more of
my compositions, please check the previous
Make sure you highlight the melody (singing issues of Guitar Interactive Magazine as well
is a great strategy to play the melody in more as any of my CDs, available from my web-
assertive and singing-like manner) site:
Focus on minimum-movement approach, as

this will help delivering the piece in a more
Check me out here at

www.giorgioserci.com
You can also find me on instagram on giorgio_serci

or twitter @giorgioserci as well as on facebook.com/
giorgiosercimusic
Until the next time -

Good-bye.
COLUMNS_NICK JENNISON
PART 1

SPONSORED BY COLUMNS NICK JENNISON: SET-UP YOUR GUITAR LIKE A PRO: PART 1
— Electric Guitar Edition with Nick Jennison
SET-UP YOUR
GUITAR LIKE A PRO:
AM I USING THE RIGHT STRING GAUGE?
Sponsored by ELIXIR Strings
ALONG with “what overdrive

pedal are you using”,
“why are you playing so many notes?” and
“why are your jeans so ripped?” (I see you,
YouTube user jm0pq76q), perhaps the most
common guitar playing question I’m asked is
“what gauge of strings are you using?”. I’m a
serial string-gauge experimenter: I played 9s
growing up, but I’ve had spells playing every-
thing from 8s to 12s.
Let’s first start out by addressing the elephant

in the room: string gauge matters, »
but not for the reasons you might think. There’s a

common bias that bigger strings sound “better”, and
light strings are for effete weaklings that lack the
manly man strength to play manly man strings and
thus will forever be barred entry to the exclusive “big
strings big tone club”. As well as being exclusionary,
this belief is pure nonsense. I’ve seen 12-year-olds
playing 12s, and competitive powerlifters playing 9s.
String gauge is a very individual thing, and it’s impor-

tant to get the right size of string to match your play-
ing style. While SRV had a phenomenal tone playing
big strings, you can’t extrapolate that to mean that
YOUR tone will be better with big strings. To put it
another way, Usain Bolt wears a UK size 13 shoe, but
Am I using the right string? Part 1

if I bought some size 13s, it’s highly unlikely The opposite is true if you have to exert
that they’d make my 100m time faster. excessive force just to fret notes. Fretting
should feel like it’s no effort at all, and if you
So let’s put bias aside for a moment and have to really squeeze hard just to get the
talk about what DOES matter and how you notes out, consider moving down a gauge.
should select your strings.
INJURY STATUS:
PLAYING STYLE: Playing injuries happen. They’re usually the
The most obvious consideration when choos- result of doing too much too soon, and they
ing a string gauge is your playing style. If usually get better all by themselves. If you’re
you spend most of your time smashing out injured, don’t panic. You probably don’t need
big riffs and chords, the added stability of a to stop playing altogether, but you should
thicker gauge might be ideal for helping you start by reducing your workload to some-
stay in tune, especially if your attack is heavy. thing your body can easily tolerate. One
By contrast, if you’re a bit of a shred-head valuable tool in your arsenal is string gauge
with a lighter touch, a lighter gauge will help since lighter strings require less energy to
you keep your bending and vibrato feeling fret. Going down a gauge or two while you
effortless and stop tension creeping into your heal up is a great way to assist in rehabbing a
playing. playing injury. You’ll get back to your regular
strings in the fullness of time - or you might
decide you like a lighter feel and stay there!
FRETTING PRESSURE:
This is where individual differences in hand YOUR INSTRUMENT:
strength really come into play. Some play-
ers, even with a very relaxed touch, just can’t Lastly, there’s your instrument itself! Do you
keep light strings in tune. If you have tall usually go for 9s on your Tele, but you’ve re-
frets, this can be even more of an issue. If cently bought a Les Paul and want the same
you have this problem, the first course of feel? Maybe try 10s. As a rule, a given string
action is to assess your technique and make gauge on a shorter scale length guitar (like
sure you’re not power gripping, but if you’re a 24.75” Les Paul) will feel looser than they
keeping a relaxed touch on the guitar and would one a longer scale length guitar (like a
still having tuning problems, maybe try a 25.5” Fender scale guitar). »
gauge up.

Another consideration is tuning. As a rule So there you have it: some things to take into
of thumb, for every tone (two frets) that you consideration when it comes to finding the
tune down, you should go up one full gauge right string gauge for your personal style.
to maintain a similar playing feel. If you’re
used to 10s in standard, but would like to Remember, there is no “better” or “worse”
experiment with drop C (low to high: C-G- when it comes to string gauge (no matter
C-F-A-D), maybe try 11s, with the lowest what the “blues bro” down the local guitar
string from a set of 12s if you really want to shop told you), so don’t be afraid to experi-
maintain the same tension across the set. ment. Strings are pretty inexpensive, too, so
try a bunch of sets and find what works for
One final consideration is any quirks the you. You won’t be sorry.
instrument may have. If you have a vintage
instrument that you just can’t get the action Are you an uncoated string player? Now is
low enough on for a slinky feel, a lighter the time to take the challenge and try the
string gauge might offset that somewhat. OPTIWEB Coating. An extremely light-
Likewise, if you have a tremolo-equipped weight, yet durable coating for when you
guitar, a lighter gauge will enable you to set want it all: The performance of an uncoated
the trem up so it’s more sensitive, while a string – that crisp tone and natural feel you
heavier gauge will require more spring ten- love, AND the long tone-life Elixir Strings
sion resulting in a stiffer feel (which might be is known for. Look no further: OPTIWEB
exactly what you’re looking for!). Coated Electric Guitar Strings offer you the
best of both worlds.
END <<
Listen and compare for yourself here:

http://www.elixirstrings.com/experience
Go beyond just licks, and learn the secrets of
how to construct the perfect melodic guitar solo
packed with head-turning phrasing.
Improvisation guru Nick Jennison presents the key ingredients that make up modern blues,
progressive rock and minor blues guitar phrasing; including note choice, resolution and
nuance—combined into study solos to engage your ears as well as your fingers! Want to truly
master your craft? Then check out part one of this exclusive Guitar Interactive course.
Ever wondered what goes into writing a truly great melody? What about solos that take you
on a journey with them, like a story within a song? In this course, Nick Jennison guides you
through the process of creating the kind of evocative, memorable lines that are the hallmark of
not just great guitar players, but all great musicians.
The Ultimate Guide to Melody & Phrasing includes 50 examples of melodic development
exploring everything from note choice, intervals and melodic contour to timing, expression
and dynamics, along with and three full-length solo studies in three different styles: “Modern
Soul,” “Melodic Prog” and “Minor Blues.”
Each of these solo studies is accompanied by
note-for-note tuition, as well as a complete
masterclass explaining the rationale behind
the composition.
If you want to become a more musical player,

this is the course you’ve been waiting for.
Watch this entire course and more

incredible lesson content with a Gi Plus
‘Ultimate Guide - Part 1 subscription.
To find out more, visit: guitarinteractivemagazine.com/ gi-plus/

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02 Guitar Interactive Issue 81

Hello and welcome to issue 80 of Guitar Interactive Magazine!

Review crew USA Advertising Sales Sound E

04 Guitar Interactive Issue 81

Welcome to Guitar Interactive Issue 81

iGuitarMag facebook.com/ www.iguitarmag.com

dd & James Masterton Sales and Information line:

s + 44 (0)1708 757 337

Masterton Fax Line: +44 (0)1708 757 528 Our advertisers.

REVIEWS - GUITARS, AMPS

078 PRS Zach Myers SE

078 Ibanez ATZ 100 Andy

078 Blackstar ID:CORE 40 V3

078 Blug AMP1 Iridium Editio

078 Neural DSP Quad Cortex

THE QUIET ROOM

034 ARIELLE: 114 Orange Acoustic Pedal

114 Cort L200F Aged to Vinta

WIN! an Aria Pro II DM-206 in THE BASSMENT

046 130 Source Audio Ultrawave

130 Barefaced Audio Machin

06 Guitar Interactive Issue 81

TOM QUAYLE 148

age GIORGIO SERCI 156

08 Guitar Interactive Issue 81

10 Guitar Interactive Issue 81

“It took me about six months to think of it, but it finally

Paul Gilbert - Interview

12 Guitar Interactive Issue 81

In 1988, he left the band helped

Gilbert reformed Racer X in

14 Guitar Interactive Issue 81

“Overall, I didn’t become a musician in order to shout

Paul Gilbert - Argument About Pie (Official Music Video)

16 Guitar Interactive Issue 81

“I need to be able to visualize the look and sound of my

18 Guitar Interactive Issue 81

STRAPS FOR EVERYONE

namics, and tone

20 Guitar Interactive Issue 81

‘Werewolves Of Portland’ is a remark- “Overall, I didn’t become a musician in

out of any Black Crowes audition. But

What you hear on these compositions is

22 Guitar Interactive Issue 81

Paul Gilbert – Werewolves Of Portland Tracklist

For more information on Paul Gilbert, please visit:

As a guitarist, A&R man, producer, engineer, songwriting partner of Otis Reddin

24 Guitar Interactive Issue 81

UNLESS yyoouu’re a one-man-band or you want to

Steve Cropper - Fire It Up (Official Lyric Video)

26 Guitar Interactive Issue 81

“A founding member of the Blues

28 Guitar Interactive Issue 81

Photo © Larry DiMarzio

30 Guitar Interactive Issue 81