Photo by Miyuki Tsutsui
Former Megadeth/King Diamond guitarist Glen Drover is selling one of his custom ESP Eclipse guitars made for him during his Megadeth days. He used the axe on the second Gigantour festival.
* Custom black finish by ESP for Glen Drover before Gigantour 2
* Kahler locking system
* Two Seymour Duncan pickups
* Distortion in neck and 59 in bridge
* One-piece body
* This is a “custom shop” model — not the “standard series.”
I was alerted to this by the Random Chatter Music blog: Paul Gilbert posted the following on the Racer X message boards today.
I am proud to announce my first signature pedal, the DETOX EQ by H.B.E. (HomeBrew Electronics)
I’ve been using this pedal for the last few months and I am officially addicted to it.
Why an EQ? Here’s a detailed answer:
I have always liked to get distortion by playing through a cranked-up tube amp.
I have always liked to get a clean sound by turning my guitar’s volume knob down.
This works really well with some guitars and not so well with others, depending on the pickups and electronics in the guitar. On my Spaceship One tour, my main guitar was an Ibanez Rocket Roll II (Flying V shaped) guitar with two humbuckers. This guitar sounds amazing when it’s cranked up, but it doesn’t get that sparkly clean sound like I can get from the pickups on a PGM (which has a single coil and a 5-way switch).
To solve this problem, I bought a Boss EQ pedal and used it to turn down the “muddy” frequencies as well as turning down the overall gain. The pedal became a virtual “clean channel” and was really useful for cleaning up my sound while performing live.
But the Boss EQ was hissy (even though I wasn’t boosting anything), and the frequencies weren’t set as musically I would have liked.
Recently I have been using several pedals from H.B.E. and liked everything about them. So I contacted the people there to see if they would be interested in building the ultimate EQ pedal for me. And the DETOX EQ was born!
The DETOX EQ is noise-free and has very musically tuned EQ knobs. I used it to make subtle adjustments to my tone on the United States CD, and I’ve road tested it on my European tour. I love it!
If you look at photos of my pedalboard (left), I’m still using my prototype which is a gray box with red tape on it. I got a new one from H.B.E. and let Craig Martini use it for his bass rig. That one is yellow. I’m going to switch to a new one when I get home!
Anyway, whether you use the pedal to clean up, boost, or just tailor your tone, there is no EQ pedal that touches the DETOX in quality in tone. H.B.E. did an awesome job.
CLICK HERE to buy Paul’s new album with Freddie Nelson, ‘United States,’ from CDJapan.co.jp
CLICK HERE to buy the ‘Get Out of My Yard’ instructional DVD
CLICK HERE to buy the ‘Silence Followed by a Deafening Roar Guitar Instructional DVD & Shred Annex’
Kudos to Mrs I Heart Guitar for spotting this on the Make blog. Ever wanted to build your own talkbox for a little Peter Frampton or Jerry Cantrell vibe? Or are you in a cover band and you need to play Bon Jovi’s ‘Livin’ On A Prayer’ and/or ‘It’s My Life?’ Then you’re in luck! Everything you need to know to build your own talkbox is right here.
Just got back from JB Hi Fi on Melbourne’s Bourke Street, where I picked up a copy of Guns N’ Roses Chinese Democracy for a mere $18.99. The official release date is listed as November 24. I won’t get a chance to give the album a spin until later tonight, but I’ll give it a good flogging and post a review tomorrow, specially geared towards guitarists, since there are probably a lot of reviews out there already.
Track 2, ‘Traffic,’ would work equally well as an electric rock song, but as an acoustic track it comes across as bluesy, soulful and groovy. There’s an earthy honestness about the playing, whether Miller is blasting out a speedy hammer-on lick or locking in with the band for an unstoppable funk grove. It’s that kind of alternating rhythm/lead playing that Stevie Ray Vaughan was so great at.
The mood cools down a little on the third track, ‘Straight Forward,’ with a cool ascending bassline and bluesy rhythm fills before taking off on a harmonized melody which reminds me of Jeff Beck’s Blow By Blow, recontextualized as an acoustic album.
Track 4 shows the first signs of slowing down, with the tender ‘Finding Home.’ Again Miller gets great mileage out of combining melody and chordal accompaniment. The mood stays quiet for the ethereal ‘Rushing In,’ before things get funky yet spacious on ‘Dinosaurs.’ ‘Out Of My Hands’ hits hyperspeed with fast hammer-on/pull-of licks and a level of energy not often heard in acoustic music. ‘Holding Hearts’ returns to the cool bass and brushed drums of ‘Finding Home,’ and ‘Frankie’ is a quiet guitar/piano duet which reminds me of ‘Follow One Hope’ from Eric Johnson’s ‘Venus Isle’ album.
The CD wraps up with ‘All I Need,’ which suddenly breaks into a tasty, Tommy Emmanuel-like electric guitar solo, with a warm buttery tone and upbeat melodies. It’s a very unpredictable ending to the album, but it works very well.
Miller plays his Cole Clark Angel acoustic guitar on all tracks, and the guitar is always presented clearly and cleanly in the mix. You can hear every little string noise, every finger scrape, like the band is playing right in your living room.
Here are a few teasers.
Monte’s ‘Could’ve Loved You Better’ from the recording sessions for the new album:
A cover of Hendrix’s ‘Little Wing.’
My first ever Van Halen album was For Unlawful Carnal Knowledge (I think I bought it on cassette with my birthday money when I turned 13) and I thought Sammy Hagar was the coolest dude alive – well, after Steve Vai and Eddie Van Halen, anyway.
Sammy’s new album, ‘Cosmic Universal Fashion,’ is unique in his discography because it wasn’t written and recorded from start to end as an album: instead it comprises a bunch of disparate tracks written and recorded in a variety of different settings over a number of years for various projects. Yet there’s a unity to the tracks which helps them sit together in the same collection even though the moods vary wildly.
‘Cosmic Universal Fashion’ is not immune from moments of guitar brilliance. In fact the CD opens with a wild, high-speed guitar lick, and with axemen including Journey’s Neal Schon, ZZ Top’s Billy Gibbons, and the Wabos’ Vic Johnson, there’s no shortage of guitar fire on this one. Tracks two and three, in particular will be especially appealing to guitar geeks like me. These two songs, “Psycho Vertigo” and “Peephole,” are the only recordings of Sammy’s short-lived supergroup, Planet Us, which included Schon, Van Halen bass player Michael Anthony and drummer Deen Castronovo (Joe Satriani was later added to the line-up, but aside from a Rockline performance nothing was ever recorded with him). These songs are dark, powerful, moody and atmospheric, and are not a million miles removed from Sammy and Mike’s work on Van Halen’s ‘Balance’ album.
The album’s first single and title track is a collaboration with a young Iraqi musician, Steven Lost, and the song’s theme and music video (see below) both echo Van Halen’s 1991 single, ‘Right Now,’ while updating the theme to the present day. The music couldn’t be any more different than the Van Halen track though, with heavy, semi-industrial drums, creppy synths and huge guitar chords.
‘Loud’ is a straightforward, top-down, foot-to-the-floor rocker with funny lyrics and a guitar solo straight out of big 70s rock, and ‘When The Sun Don’t Shine’ has country elements and a sunny, summer feel which remind me of Sammy’s ‘Livin’ It Up’ album. ‘24365’ has a tight funk-metal guitar riff which reminds me of Extreme in their ‘III Sides To Every Story’ era, and ‘I’m On A Roll’ could fit quite neatly if added between ‘Good Enough’ and ‘Why Can’t This Be Love?’ on Van Halen’s ‘5150’ album.
There are a few misfires on the CD – Sammy’s cover of the Beastie Boys’ ‘(You Gotta) Fight For Your Right (To Party)’ might be a fun track in a live setting, but it doesn’t really work here and Sammy seems to strain a little bit with the vocals. And ‘Switch On The Light’ has some cool grooves, some tasty Billy Gibbons guitar and a bold, progressive chorus, but it kinda loses its way a bit. But for the most part, there’s a good balance of ‘Party Sammy’ and ‘Serious Sammy’ here, and the opportunity to hear the two Planet Us songs is a very welcome surprise which, combined with the strength of ‘Loud,’ ‘24365’ and ‘I’m On A Roll,’ makes the album well worth checking out.
Roadrunner/Loud & Proud
Check out this cool audio interview at Music Radar with bass player Michael Anthony about Van Halen and Chickenfoot his new band with Sammy Hagar, Joe Satriani and Chad Smith. Normally kinda reserved in interviews, Mike’s not shy about his opinions on this one.
Michael Anthony opens up about Van Halen, Chickenfoot
“I’m the ultimate rock ‘n’ roll sideman,” says former Van Halen bassist and current Chickenfoot member Michael Anthony.
“But that doesn’t mean a ‘sideman’ isn’t vital,” he stresses. “I’m the kind of guy who has your back. When you want to go off and solo for ten minutes, I keep that groove going. It’s an important job.”
Since he first came to the public’s attention in 1978 on Van Halen’s revolutionary debut album, Michael Anthony has done his job better than anyone. Throughout the ’70s, ’80s and into the ’90s, he helped lay the foundation for the Van Halen sound, providing massive yet nimble bass parts over which Eddie Van Halen could fly. “Incredible times,” Anthony remembers. “Despite all the bullshit that went down in that band, I’m proud of the music we made, and always will be.”
Changing lead singers – David Lee Roth, Sammy Hagar and, for a minute or two, Gary Cherone – made the Van Halen experience “something of a mind game from time to time,” says Anthony. “As soon as we had a strong identity, we had to change.” And Eddie Van Halen’s substance abuse problems didn’t help matters. “I don’t want to talk smack on anyone,” says Anthony, “but there were times that were, uh, difficult.”
After a bittersweet ‘Van Hagar’ reunion in 2004, Anthony assumed the band was finished for good. So he was more than a little surprised when Van Halen announced they were hitting the road early last year with original lead singer David Lee Roth – and Eddie’s son Wolfgang on bass.
“It was a blow,” says Anthony. “I would have loved to have been a part of it. But at my age, you learn to roll with the punches. And you find that better things lay ahead.”
Such as Chickenfoot, the supergroup he’s formed with fellow Van Halen survivor Hagar, guitarist Joe Satriani and Red Hot Chili Peppers drummer Chad Smith. (If you don’t know about this band yet, check out Related Links and catch up.)
“Chickenfoot is phenomenal,” the bassist enthuses. “I can’t believe the music we’re making. And wait till you hear the blazing lead guitar Joe Satriani is playing. The guy’s a monster.”
In the podcast, Anthony talks candidly about his Van Halen years, times both good and crushingly bad. “A lot of these things I’ve never said before,” he reveals. “I’m kind of a ‘let it go’ kind of guy.” Plus, he raves about his new band, who aim to have an album out next spring. “We’re gonna rock people’s worlds,” he says. “Just when everybody says nobody makes music like this anymore, here we come.”
Photo © Todd Martyn-Jones
Not content with reviving MXR and the Crybaby wah wah pedal, Jim Dunlop is now bringing back pedal company Way Huge Electronics. Sa-weet! Now guitarists won’t have to scour the internet to find a used Way Huge Swollen Pickle and risk a very confronting list of search results.
Here’s the press release:
Guitar players—your wish is finally answered: Way Huge is back! Effects guru Jeorge Tripps—creator of the coveted Aqua-Puss Analog Delay, Green Rhino Overdrive II, and Swollen Pickle Jumbo Fuzz-is working with premier accessory manufacturer Dunlop, maker of the legendary Crybaby and MXR pedals, to bring you a new series of Way Huge pedals.
Dunlop’s 30 years of meticulous attention to detail and Jeorge Tripps’ spectacular creations is a winning team. The Pork Loin Soft Clip Injection Overdrive, Swollen Pickle MKII Jumbo Fuzz, and the Fat Sandwich Harmonic Saturator Distortion are the first pedals out of Mr. Huge’s workshop.
For more information visit: http://www.wayhuge.com/
Way Huge Electronics will be available only through a select dealer network worldwide.
For more information, visit their web site at www.jimdunlop.com.
James Hetfield has started using the ESP Iron Cross model I posted about here. A few shots have surfaced on the ESP web forum:As suspected, it’s based on ESP’s Eclipse model, rather than a straight Les Paul copy – it has the sharper Eclipse cutaway and ESP’s flag inlays.
The guitar is based on Hetfield’s customised 1973 ‘Iron Cross’ Gibson Les Paul, and the word is that it will be officially unveiled at Winter NAMM 2009 in ESP and LTD versions.