When Broderick first came to Jackson to discuss designing his own signature model nearly 10 years ago, the USA Signature Chris Broderick Soloist, he had a clear vision on how to create his own take on the renowned Soloist™. Now with the Pro Series, when Broderick approached the collaboration with an upgraded twist on specific sets of specs and modifications, Jackson rose to the challenge of designing Brodericks’ dream Signature Models.
The Jackson® Pro Series Signature Chris Broderick Soloist™ is offered in six-and seven-string guitar options and feature a 25.5” scale length, resonant mahogany body with arched poplar burl top on Trans finishes and through-body maple neck with scarf joint and graphite reinforcement for rock-solid stability and enhanced sustain. Its 12”-radius bound laurel fingerboard with 24 jumbo frets is ideal for all playing styles, comfortable for both low riffing and soaring leads.
Check out Chris Broderick taking us through the new line HERE.
Bullet For My Valentine have released Shatter, the third single from their forthcoming self-titled album Bullet For My Valentine, and it is another absolute rager.
“We’re very excited for you all to hear our new track “Shatter;” it’s one of our personal favourites and we’re pretty sure it’ll be one of yours! It’s an absolute sledgehammer of a track with riffs for days! Let the head banging commence!!!” – Bullet For My Valentine.
The visualiser for Shatter is a visceral and instinctive moment in the new Bullet visual era. For this project Matt Tuck collaborated with creative director, Fiona Garden, and her husband/artist, Ben Ashton (benashtonart.com).
Using tactile optical elements, smashing endless panes of glass, and getting covered in oily black paint, Matt worked hands-on with Garden & Ashton to create a physical mood both “cavernous and claustrophobic.”
Fiona Garden adds, “These hypnotic abstract visuals were then fed into the fearsome and instinctive creative machine behind “Knives” and “Parasite”: editor Sara Faulkner and VFX artist Gabriel Thomas Ayache. The clip features, as always, the design edge of Carl Addy (ulcerboy.)”
Bullet For My Valentine (the album) will be released on October 22 via Spinefarm /Search & Destroy.
“I think it’s the most ferocious side of Bullet For My Valentine that I’ve ever known,” says lead guitarist Michael “Padge” Paget. “It’s time for us to put out a really angry, heavy, aggressive record. I just can’t wait to grimace on stage!”
Matt Tuck began writing the album in September 2019 before the Coronavirus pandemic brought things screeching to a halt in early 2020. But in June 2020, Tuck and long-time producer, Carl Bown, who co-produced the band’s 2015 album, Venom, and produced and mixed Gravity, picked up the pace again. Together, they hunkered down at Treehouse Studio in Chesterfield, where the remainder of the album was written.
Pre-orders for Bullet For My Valentine’s seventh studio album are now live, with an instant download of singles, Knives, & Parasite and special bundle options, including a unique clipping from the backdrop used on the bands Venom world tour from 2015 – 2017, t-shirts, hoodies, gold & silver cassettes, and limited vinyl.
Fabrizio Grossi has previously drifted through the I Heart Guitar transom via his work in Supersonic Blues Machine, an all-star powerhouse trio with Kenny Aronoff and Kris Barras. Now, with a little bit of pandemic downtime on his hands, Fabrizio has stepped into the spotlight with Soul Garage Experience, a funky, groovy, addictively uplifting outfit who has just birthed the album Counterfeited Blues (for the Soulstice), out September 10.
Peter: This this feels like music I’m gonna enjoy over the summer. I’ve interviewed Kenny Aronoff about Supersonic Blues Machine and I was aware of what you’re up to, but this new project is really you kind of striking out on your own, right? Fabrizio: Yeah. Actually Kenny plays on a couple of tracks on the record. These are some songs that we already had down for a few years, like older songs. Some are songs that I took from the batch that was preparing for the new Supersonic Blues Machine record that I din’t think would fit it no more, for what we’re trying to do, and they sounded more like what I would do. And then some other stuff was written during the pandemic. So, um, I, you know, I think it was about time for me to do this cause I wanted to get more busy. It looks like a busy year next year for Supersonic in terms of touring when we have a new record coming out and all of it. Fabrizio: But because of the nature of that band and my life, the last five years, six years of my life were dedicated fully to that and I had to set a lot of my production work aside. So I wanted to have another output where whenever I was not able to go out with Supersonic because of the dynamic of that band; everything needs to be planned very well in advance with Supersonic. Well, I wanted to get something that was a little bit easier to handle for the daily tasks. In other words, I would say Supersonic is like Sunday shoes. You know, it’s like your church dress, whereas this is more like your sneakers which are very, very comfortable and which is what you will probably will wear the most of the time. Peter: You know what, I love the name too, because it’s very evocative. I mean, I want to hang out at the Soul Garage, right? Fabrizio: Yeah. I will say that has a very hip-hop approach to it because I see it not only as the name of this band of musicians that is playing with me on this thing, but also it’s the name of the studio and the production company; a lot of the stuff that we’re doing is falling under the name Soul Garage Experience, because what we bring with the band, it’s an experience. It’s not just a band at the end of the day, it’s like, this is like my baby but I can not go on stage alone, and I have a bunch of friends that I’m playing along with who also bring their own thing. So it’s a very community-oriented type of type of situation.
Everything that I’ve been sent, it’s always very uplifting. I’m really incredibly humble and appreciative of that response. So I guess it gives me hope that my agent can secure some spots across the planet and especially in your land. I always wanted to come and play Australia! So agents and promoters, if you are there, if you’re listening, Soul Garage Experience will love to come and play in Australia! Peter: So you mentioned some of this was written during the pandemic. Fabrizio: So basically the old COVID-19 screwed up everything completely and basically turned the whole thing in an utter clusterfuck. However, I’m a Buddhist, so I believe that behind every wall, there is an opportunity to go even higher. And I see this as an opportunity to do things. I mean, it gave me the opportunity to finish something that otherwise probably was going to get shelved again, because something else would have to take over in terms of priority. And it probably also gave me lot more time to reflect. I mean, at least on a personal level.
So like now that it’s like where they say ‘You don’t know what you got until it’s gone,’ well now, you can’t travel. I have friends, family, and people that I’m very close to all over the world. I’m not kidding. You know, I’m not trying to exaggerate, I’m saying all over the world. So knowing that maybe this summer I’m going to end up in Israel after all and see all my people over there, or this winter going to Brazil. And you just take it for granted and especially for us as musicians, that’s your thing, the thing that you fought all your life for and you cannot do it any more because of this situation.
It makes you really appreciate what we were doing before. I’ve been talking to a lot of friends of mine that have had the opportunity and the blessing to be able to go out and tour right now this summer and they do not approach this as they did before. In other words, they’re way more appreciative and humbled every single time they able to set foot on the stage. So I think those are the good things, but people lost businesses, houses, and being musicians means we do not have the income of records no more because nobody buys records …and the streaming it’s like, you know, pennies on the dollar. No, it’s panties on the dollar, and when you remove your panties, generally you tend to get screwed!
So basically live and merch are the only two things that really allow musicians to make a living. I don’t want to get into a music business masterclass, but it’s quite complicated and not everyone was able to receive the necessary support to face this catastrophe. And I really feel bad for them because it’s just not right. At the end of the day, everybody enjoys music, everybody enjoys concerts, getting together over a particular song or particular movie. But then again with this pandemic, all of a sudden we’re considered not essential no more. Okay, cool. We’re not essential. How about I’m going to shut off the radio and the TV, you know, you can have your news if you want, shut off any movies and entertainment stuff, and the radio, and any source of music for the 2, 3, 4 months that you’re going to be in lockdown, then you’re going to tell me how crazy you’re going to go. And then you tell me if we’re not important. Peter: Yeah, it’s like ‘Well enjoy spending time with your brain, morons!’. So let’s talk about equipment because I’m a big nerd. I’ve seen you with some cool Ibanez Soundgears.
Fabrizio: I’m an Ibanez man! I never had an instrument in my life that’s so easy to play. It plays by itself. It’s like it shouldn’t be legal. It has its own Ibanez electronics and pickup, and it sounds fantastic. It even has possibly too many options for me! I mean, I understand they make these instruments for everybody, so you need to make everybody happy from the salsa player to the metal guy. But I’d just be well enough off with volume, tone and pick up selector. But I will say that I can dial a bunch of different things and I can get close to a lot of different sounds, in terms of to adjust for different songs, like you will do in a pop session. And I use a bunch of pedals all the time. I never really go clean. My main pedal is the MarkBass Compressore, which is probably one of the best compressors ever made, to a point where I finally convinced Marco, the owner of MarkBass, to make it like studio version, because I used it often on mixes.You don’t hear it but you feel it. And then I have a bunch of different pedals like an old SansAmp which I used to use that back in the days when we were still recording on tape. I sometimes re-amp tracks through that. Sometimes I create a parallel circuit that gives it enough additional bite.I always use sounds and effects and all that. I do not like bass straight from the instrument to the mixer. I mean, don’t get me wrong. It’s a fantastic sound for a lot of things, but not for me.
Peter: Yeah. Now I’ve got to ask: you play with one of my all-time favorite drrummers, Stephen Perkins from Jane’s Addiction and Porno For Pyros. What’s it like to lock in with that guy? He has such a cool sound to me. Fabrizio: I think Stephen is probably the most creative drummer I’ve ever played with. He is very spontaneous. It’s funny because often when he sets up his stuff, it devolves into these jazz rhythms and stuff, but not like what most people think in terms of jazz fusion: I mean almost like a Gene Krupa kind of vibe. I told him if he was not a drummer in a rock band, or probably in his past life, he was a saxophone player in a jazz band from the 30s or 40s.
But also Perkins likes soul music and especially the real trippy stuff. And he’s a major Fela Kuti fan – Fela Kuti obviously being the genius that he was, the black Frank Zappa before Frank Zappa. It has those kinds of elements with Perkins when he sits behind the drums. And the fact that he plays barefoot I think is looking for the most organic approach with his instrument. Peter: Awesome. Well, thanks so much for your time. This has been a really fun chat and I love the music. And like I said, it’s going to be the soundtrack to my summer. Fabrizio: Thank you so much. I really, really, really, really appreciate it. Uh, and I’m glad that there is more and more people that like this, and especially in Australia where I really hope I can go and play with the band! Peter: Yeah, we need all the good, fun, danceable, uplifting music we can get right now. Fabrizio: Great. Well, thank you so much again, appreciate it.
Check out the new video by UK progressive-tinged rockers Indigo Down! Interview with guitarist Clive Murray will be up on YouTube this week too. Great band, killer guitar work, and Clive has an awesome guitar collection!
Kirk Hammett has signed on with Gibson (and not for the first time: he had a signature Flying V about 10 years ago), but he will also continue to use ESP.
My guess is that the press release below hints at some of the releases we might possibly expect: reproductions of Kirk’s 1979 Flying V and the ‘Greeny’ 1959 Les Paul previously owned by Peter Greene and Gary Moore. I reckon we’ll also see a black Les Paul Custom with EMGs, cos Kirk’s been playing one of those forever.
It’s cool of Gibson to name-check Fender, ESP and Jackson in the press release too. The Gibson of the ‘new regime’ seems to be going out of its way to be a part of the guitar community, whereas under the previous leadership it all seemed pretty insular.
Okay, now get Hetfield.
Here’s the press release:
NASHVILLE, TN (July 29, 2021) Gibson, the iconic American instrument brand, has announced an official brand partnership with Kirk Hammett of Metallica, one of the most iconic rock guitarists today. The new partnership will span across Gibson Brands including Gibson and Epiphone guitars.
“It’s a really great and exciting time for me to be joining forces with Gibson,” says Kirk Hammett. “I look forward to achieving great things together in the future.”
“It’s an honor to welcome the icon, the ripper, Kirk Hammett back to the Gibson family,” says Cesar Gueikian, Brand President, Gibson Brands. “Kirk has been carrying the flag for hard rock and heavy metal for decades, and his Gibson guitars have been there with him from the very beginning. From his first Gibson, his 1979 Flying V to ‘Greeny’ and everything in between, Gibson guitars have been an integral part of Kirk’s sound. All of us at Gibson are looking forward to this collaboration and are grateful that Kirk has trusted us to begin a new partnership.”
Watch and share the new interview with Kirk Hammett and Cesar Gueikian (Brand President, Gibson Brands) on Gibson TV, Today, Thursday, July 29, at 10am PT, Here.
Born in San Francisco in November 1962, Kirk Hammett quickly found himself obsessed with watching monster movies and reading books and comics. Transitioning through his teenage years meant taking up guitar and teaching himself how to play by ear for hours on end.
In 1979, Kirk Hammett named and founded the metal band Exodus. After recording a three-song demo in 1982, Hammett was called out to New York to audition for Metallica, and by the time Kill ‘Em All was released in July of 1983, he was officially part of the Metallica plan for world domination. Adding his style and passion into the mix helped define and shape the sound of Metallica as they grew into the band they are now, and Hammett’s solos and signature licks have inspired a legion of musicians young and old.
From Hammett’s early sonic experiences with a guitar out of a Montgomery Ward store catalog special, progressing to hitting Hendrix vibes with a ’78 Fender Stratocaster, then moving on professionally to Gibson Flying Vs and Les Pauls, and customized ESP’s. It goes without saying that Kirk Hammett is a guitar geek and has an affinity for anything with six strings including his 1985 Jackson Randy Rhoads Flying V or a frequently played Gibson 59 Les Paul Standard that once belonged to the immortal genius of both Peter Green and Gary Moore – affectionately known and celebrated worldwide as “Greeny.” Now as Metallica celebrates their 40th Anniversary in 2021, Kirk Hammett is ready to let those strings shine once again.
Press Release: The Man, or better yet, the living Legend, needs no introduction. Known the world over for his unmistakable style, his love for all things Custom, cutting-edge guitar designs, jaw-dropping Custom Cars and Hotrods, and generally for being the best incarnation of COOL, it was only a matter of time and alignment of the stars before BILLY F GIBBONS and WILD CUSTOM GUITARS crossed paths.
With graphics inspired by the Rev’s latest Hotroded ‘34 Ford Coupe “WHISKEY RUNNER”, and loaded with our GYROCK Pickup System sporting BFG’s signature pickup set (the classic Seymour Duncan Pearly Gates & Red Devil, along with our custom wound Humbucker dubbed “The Grizzly” by the man himself), ultra-lightweight construction and a Custom COA (with a limited hand signed run), she’s as Bold and Spicy as a Texas Hot Sauce!
In Billy’s own words: “Now to get down to thrashing’ on this thing…!WoooooooWeeeeee…!”
FEATURING THE GYROCK PICKUP SYSTEM
“This is a game changer!”Richard Fortus, Guns N’ ROSES
Whether you are looking for rich, authentic humbucking tones or nuanced single coil sounds, the Gyrock can seamlessly master most of sonic territories.
Billy F. Gibbons signature pickup set
> Wild Customs’ humbucker “The Grizzly”
> Wild Customs’ P90 “The Jalapeño”
> S. Duncan Pearly Gates BFG signature
> S. Duncan Red Devil BFG signature
> S. Duncan Lipstick Tube
> S. Duncan Antiquity™ Strat Texas Hot
Expansion packs are available on demand with lot of pickup references for unlimited tonal options.
BILLY F. GIBBONS SPECIAL SPEC.
CONSTRUCTION METHOD / Bolt-on neck
BODY / Premium East European Alder chambered with honey comb structure
NECK / 3-ply Canadian maple
FRETBOARD / Pau Ferro
SCALE LENGTH / 25’5’’ 648mm
NECK PROFILE / C shape standard thin
RADIUS / 10-16” compound radius
FRETS / 22 medium jumbo
NUT / Hand shaped Bone nut
BRIDGE / Babicz
MACHINE HEAD / Schertler open gear
GYROCK PICKUP SYSTEM Featuring BFG signature pickup set
CONTROLS / 1 Vol 1 Tone
HARDCASE / Unbreakable custom case by Nanuk case
MISC. / Delivered with a leather strap & hand signed COA
AVAILABE WORLWIDE AT 9999 USD AT www.gyrockguitars.com
Established in 2008 in the middle of France, Wild Customs builds electric guitars that are based on revolutionary concepts and unique artistry. They’ve designed electric guitars for international artists such as Brent Hinds (Mastodon), Adam Clayton (U2), Richard Fortus (GUNS N’ROSES), Mike Dirnt (Green Day), Kurt Ballou (Converge)… Beyond their original designs, Wild Customs launched in 2016 at the Winter Namm, a top luxury guitar brand called “Sauvage Guitars” introducing unique instruments carved out in one single piece. Following the successful launch of “Sauvage Guitars” the team developed “Automotive by Wild Customs”: a sideline of instruments paying homage to iconic car designs such as Mustang Shelby GT 500, Billy Gibbons’ “Mexican Blackbird” Thunderbird 58…
Cisco 300-430 is a must for those individuals who want to start a journey in the networking sphere. This test is aimed to validate your ability to implement a wireless network, including Multicast, QoS, FlexConnect, security for client connectivity, advanced location services, device hardening, and monitoring. Let’s look through the exam scope to understand whether it is right for you or not.
Who is the target audience for Cisco 300-430 ENWLSI?
Before taking any exam, you have to be sure that you are the right person who is eligible for it. Thus, as for CertboltCisco 300-430 ENWLSI, this test is designed for those specialists who work as Wireless Network Engineers, Sales Engineers, and Network Designers. It is expected that they have a minimum of 3 years of working experience in implementing enterprise networking solutions. Fulfilling all these requirements allows you to sign up for the exam.
What is Cisco 300-430 ENWLSI?
CertboltCisco 300-430 is a qualifying exam for earning the CCNP Enterprise and Cisco Certified Specialist – Enterprise Wireless Implementation certifications. This test consists of about 65 questions presented in the following formats: multiple choice, testlet, fill-in-the-blank, and drag and drop. The students will have 90 minutes to answer all these questions and gain the passing score of a minimum of 750 points. This amount is enough for getting one of the associated certificates. Please note that you have to take Cisco 350-401 ENCOR alongside this concentration exam to obtain CCNP Enterprise. The test is available in the English and Japanese languages, and the candidates can opt for the appropriate option during scheduling. To register for this exam, you have to pay the fee of $300 and finish this process with Pearson VUE. This platform provides the opportunity to have this test at home or take it at one of the centers.
As for the content, the exam contains 8 topics that are presented as the following:
QoS on a Wireless Network;
Advanced Location Services;
Security for Wireless Client Connectivity;
How to organize the preparation process for Cisco 300-430 ENWLSI?
Cisco requires that the professionals know how to pass its exams with flying colors. For this purpose, this vendor has designed the training courses for all its tests, and Cisco 300-430 is not an exception. Implementing Cisco Exam is created to give you all the necessary information that is needed for completing the exam. You will get the skills and knowledge of designing secure wireless network infrastructure and troubleshooting any related problems. The applicants will also find out how to utilize Cisco Connect Mobile Experience, Cisco Prime Infrastructure (PI), and Cisco Identity Service Engine (ISE) for monitoring and troubleshooting problems of the network. Moreover, the individuals can surf the Internet looking for other prep resources. For example, they can take practice tests that are presented by many reputable sites. This training option allows you to dive into the atmosphere of the real exam and evaluate your level of preparedness.
Having one of the Cisco certifications on your resume gives you the opportunity to develop your career in the field of IT. With 300-430 ENWLSI Exam under the belt, you can open the gates to new career paths and higher salaries. It is a great chance to change your professional life, so do not miss it.
Please enjoy ‘Spacegirl.’ It’s a silly little song I wrote when I was 20. At the time I posted it on mp3.com and it went to the top of the charts (not that a lot of people were on there at the time) and got a little bit of airplay. It even appeared on the Today Show on Channel Nine during a segment on MP3 players.
It’s a bit naive and amateur but it has its own little charm, I think. Sorry the solo is mixed so low. Anyway you can buy it for a dollar on Bandcamp or name your own price, if you want to.
Oh and the guitar is my homemade parts Tele (the Telepartser) into a KORG AX1G, direct into my computer’s mic input. I used to record audio tracks in some really basic Cubase clone I’ve forgotten the name of, and then chop each part up into individual bars which I would drop into FruityLoops to edit into verses and choruses and to put effects on.