Out today on DVD is Girls Rock: The Movie, a documentary chronicling an all-girls rock ‘n’ roll camp in Portland, Oregon. The film centers around girls ranging from ages 8 to 18 who have one week to form a band, select an instrument they may have never played, and write a song.
The film features appearances from female rockers Carrie Brownstein of Sleater-Kinney and The Gossip’s Beth Ditto.
You can download the track “Global Warming” by one of the bands, Blubird, for free by CLICKING HERE.
I’ll review the documentary soon, but in the meantime, the trailer is below, and you can see the official site HERE.
This week I’ve written a guest post for the Jemsite community blog. The post is about my early days as an Ibanez geek, and how my first good electric guitar sparked my interest in rare or uncommon Ibanez variations.
Thanks to Dan for alerting me to the new website for the new Sterling By Music Man brand, which will be priced somewhere around the same level as the now discontinued Ernie Ball Music Man SUB series.
Former Megadeth guitarist Glen Drover is auctioning his famed ‘Peace Sells’ ESP. I saw Glen with Megadeth four times and this axe always got a strong reaction from the crowd (although I liked his ‘Countdown To Extinction’ model even more).
The listing reads:
This guitar was made for Glen Drover in 2005 and given to him by ESP guitars at the 2005 NAMM convention in California, for the ESP anniversary party. It was also used by Glen for all touring for 2005 and 2006 with Megadeth.
This is an “ESP” version of the LTD Deluxe M1000 and designed to Glen’s specs.
Easily the most popular guitar from Glen Drover’s collection used while in Megadeth.
43mm Neck Width
24 XJ Frets
Floyd Rose Bridge
Front cover “air brush” of the Megadeth album cover “Peace Sells, But Who’s Buying” on front body and head stock. purple transparent finish on back of guitar.
Seymour Duncan pickups (distortion in bridge, 59 in neck position)
3 way toggle switch
1 volume control, 1 tone control pot.
To honor the sonic legacy of alt/indie rock founding father J Mascis, Fender is supremely psyched to unveil the sparkling-new J Mascis Jazzmaster guitar.
Mascis took the instrument to a new place with his feedback-drenched, distortion-laden band, Dinosaur Jr. This new signature model pays affectionately ear-splitting homage to Mascis, giving the instrument a modern makeover for fans who’ve been clamoring for such a model for years.
With its stunning and unusual Purple Sparkle polyester finish, matching headcap and gold anodized pickguard, the guitar features mods requested by Mascis himself—including an Adjusto-Matic bridge, reinforced tremolo arm housing and a satin-finished neck. The Dinosaur roar comes from dual vintage reissue pickups and the barrage of controls the Jazzmaster has always been known for—a three-position toggle switch with volume and tone knobs and, for this model, a two-position slide switch with volume and tone controls configured as a “lead tone circuit” (up) and a “rhythm tone circuit” (down).
Available beginning in July 2007, the J Mascis Jazzmaster is literally a sparkling new addition to the Fender lineup, in celebration of the adventurous and continuing sonic contributions of the man who has been the model’s constant champion for nearly 25 years now.
This year at NAMM EMG introduced gold and silver covers for their pickups. Previously the only time I’ve seen EMG pickups in anything other than black was on Kirk Hammett’s Les Paul. Other new goodies include a new line of pickups called the X Series, and an Alexi Laiho set which includes his favoured passive humbucker and a gain boost.
Team EMG is back from the 2009 NAMM Show and without a doubt we had a blast. The reaction to our new products was a resounding success. If you haven’t heard we are now offering high quality Chrome and Gold cover caps for our 81, 85 and 60 models which generated considerable excitement.
Besides featuring EMG’s new and existing product lineup, we had some very exciting artist appearances, scheduled and unscheduled, that were just icing on the cake and made our booth THE place to be. Some of the artists hanging out included Kerry King, Alexi Laiho, Steve Lukather, Sergio Vallin, Marcus Henderson and many many others.
Read more here.
There comes a time in the life of every axe slinger when he/she must venture out of the bedroom/garage/New York sewer and interact with other musicians. Maybe even – gasp! – other guitarists. And sooner or later, said guitarist might get bored with the sound of two guitars playing the exact same thing. So what do to? You don’t necessarily have to arrange all your riffs like Def Leppard (“not that that’s a bad thing,” 10-year-old me mumbles), but there are many interesting things you can do to get the most out of a two-guitar band.
First off, CLICK HERE to see the tab/music for this lesson.
Figure 1 is a simple 8th note strum on a Gm chord. Yawn. Figure 2 makes it slightly more interesting by delegating the bottom two notes to one guitar (which chugs them out with some palm muting), and the top 3 notes to the other, played more freely and maybe with some delay and reverb to add a nice reverberous chime.
In Figure 3, guitar 1 picks out a few notes from the Gm chord while guitar 2 chugs out the same 8th note figure as before. Figure 4 is a further evolution of this idea, but more melodic, perhaps used as a main riff between chorus and verse in a vocal song, or as part of the main theme in an instrumental.
Figure 5 steps outside of the Gm framework a little. Guitar 2 (who seems to get all the easier parts in this lesson… poor guitar 2) just strums whole note G5 power chords while guitar 1 gets all Queensryche, playing a higher version of G5 in the first bar then dropping the fifth down for a deliciously evil tritone.
Finally, in Figure 6 we have something Metallica would be proud of, where guitar 2 plays the same G5 power chord while guitar 1 alternates between an open G string (oo-er) and fretted notes. Try playing a different chord for each of 4 bars in this style, and keep the rhythm of guitar 1’s part but change the notes to match (or build upon) the new chords.
Whitesnake guitarist and Marshall endorser Doug Aldrich is doing a European clinic tour next month. Here are the dates:
Saturday, February 14 + Sunday, February 15
Nemesis Guitar School
Tel +30 69 447 68068
Monday, February 16
Future Music School
Hanauer Strasse 15
Tel +49 6021 25575
Tuesday, February 17
MAI Music Academy International
12 Avenue du XXe Corps
Tel +33 3 8339 7070
Thursday, February 19
Lucky Music Store
Viale Cassala 7/2
Tel +39 02 839 5060
Saturday, February 21
Jolly Music Store
Via Roma 14
46010 Montanara Di Curtatone (MN)
Tel +39 0376 49836
Wednesday, February 25
ACM The Academy of Contemporary Music
Tel +44 1483 500 800
Friday, February 27
The Works Music Store
Rue Jacques-Dalphin 51
Tel +41 22 300 1393
I have a love/hate relationship with Les Pauls. They sound cool, they look cool, but sometimes the neck pitch throws me off a bit and my left wrist gets a little sore. Having said that, I’ve got to meet a lot of great Les Pauls over the years and the wrist thing is certainly something I’ll work through if I ever get totally rich and buy a stable of Les Pauls. And most of them will probably be sparkly.
I just nipped out for a break and decided to hit up a nearby guitar store for some goodies, since I’m about to record a bunch of stuff and I haven’t changed strings in what seems like an eternity. Here’s what I got:
Yep, 9-42 strings. However, It was a 3 pack, not the 6 pack with bonus ‘I Heart My Strings’ pint glass pictured here. I used to use 10-52 gauge strings, but I just don’t get to play for hours and hours a day any more, and I found that my fingers were suffering a bit with thicker strings. So I’ve shifted down to 9-42s. They sound wimpier and less manly than 10-52s, but what can you do?
GHS Fast Fret
I’ve never used this stuff before, but I’ve heard good things about it. It smells like clean, and it’s supposed to prolong string life, condition your fretboard and make ya play faster. I think it also takes out the rubbish on bin night, finds your missing cat, and tells you whether to hold ‘em or fold ‘em in poker. We’ll see.
Dunlop Jazz III picks
These things are the bane of my life: I love ‘em to death but they seem to be gradually taking over my house. Despite having a trillion of them, I can never find one when I need it, so I’m going to stash these in the little pick box that came free with a recent issue of Total Guitar, and keep it next to the computer.
Dunlop Big Stubby 3mm
I have one of these picks still kicking around which I got for Christmas in 1993. I remember using that pick when I first sat down to learn Joe Satriani’s ‘Summer Song,’ so I forever associate this pick with that song. There’s a bit of a Satch ‘The Extremist’ feel on some of the stuff I’m working on at the moment, so I thought I’d pick up some more of these picks, probably just for the sake of vibe. They’re freaking huge and unwieldy.
If you wanna buy any of this stuff, here are some links:
D’Addario EXL120 6-Pack of Electric Guitar Strings with D Addario Pint Glass
GHS Fast-Fret String Cleaner
Dunlop Jazz III XL Guitar Picks 6-Pack
Dunlop 475 Big Stubby Guitar Picks 3.0MM 6-Pack
I first read about this on the Twitter feed of GuitarToyBox.com, so make sure you go check out that very cool site.
Here’s the new Electro-Harmonix Voice Box, a combined harmonizer and vocoder. Want!!!
Take it away, press release:
The Voice Box packs a multi-functional vocal synth processor into a tough and compact chassis. Sing, and you’ll have a troupe of backup singers following you in perfect harmony. Or use the built-in vocoder to unleash classic synth-robot sounds. Diana Ross had the Supremes, Brian Wilson had the Beach Boys, Kraftwerk had The Robots. You have the Voice Box.
The harmony processor creates 2- to 4-part harmonies directly from your vocals, in the same key as your accompanying instrument. Studio-quality reverb lets you independently add depth to your dry and harmony vocals.
The focused 256-band articulate vocoder, designed by the same EMS genius who made vocoding famous, features adjustable harmonic enhancement and controllable formant shift.
Plug in your mic and your instrument, and let your new voice — or voices — be heard!
Harmonically matches any electric instrument you plug into it
Professional quality pitch shifting algorithm produces realistic harmonies
The Low & High Harmony independently produces two harmony notes: 3rd and 5th
9 accessible programmable presets
Natural GlissandoGender Bender knob allows for male/female formant modification
Built-In Mic Pre with Phantom Power & Gain Switch
Balanced XLR Line Output: Interface directly with any mixing board or A/D converter
US96DC-200BI power supply included
Read more at the Electro-Harmonix website.
While you’re there, check out this very interesting article about their Golden Throat talkbox.