Djent isn’t enough: other guitar onomatopoeia we need to adopt

We all know about djent by now – the metal genre named after a specific guitar tone that sounds like ‘djent djent djent’ – but you need only to look at the wah wah pedal to know that guitarists have long been hip to the joys of onomatopoeia. We also talk about ‘jangle,’ ‘crunch,’ ‘chug’ and ‘chunk,’ all words that sound like the things they’re describing. But I think we should go further. I think there should be an onomatopoeia for every sound a guitar makes. So here are a few suggestions.

“Quoar”
It’s the sound of a wah wah being used to hover loosely around a specific frequency rather than rocked back and forth to its extremes. It’s almost impossible to make this kind of sound without also making the appropriate mouth shapes. Joe Satriani is the master of this. Check out the video for “Summer Song” for proof, especially throughout the solo that starts at 1:55. (Here’s Satch’s signature Vox wah).

“Kiww”
The pickslide deserves its own name. Sure, ‘pickslide’ is how you achieve the sound, but it’s not what the sound is. If that was how we were going to name guitar stuff, you might as well call the wah wah the ‘foot move’ pedal, or call fingertapping …finger …tapping. Oh. Okay, well I guess we need to come up with a new name for fingertapping too. In the meantime, there are some great kiwws in “Rocket” by Def Leppard.

“Widdliddle”
There. Tapping.

“Goong”
A downtuned open string, hit at a strategic time, and maybe picked a little too hard or with too light a string gauge for the tuning, so the note kind of drifts into tune after starting a little bit sharp. LIke at :05 in Mastodon’s “Oblivion.” “Dude, that riff’s kinda killer but it’d be really killer if you threw in a goong.

“Wakka,” “Wikka,” “Chikka,” “Kooka”
You can achieve a pretty wide range of sounds from a muted clean guitar and a wah wah pedal, but most of them hinge on a “Ka” sound at the end. You can hear a whole smorgasbord of them, a grand buffet of muted clean wah work, in Trey Spruance’s playing during the intro of Faith No More’s “Evidence.”

Got any more?

NAMM 2011: INTERVIEW: Phil Collen’s new Jackson Supreme

On NAMM Media Preview day I caught up with Def Leppard’s Phil Collen, who gave a demonstration of Agile Partners’ AmpKit (check out the video below to hear the huge tone in action), and he also used the opportunity to unveil his new signature Jackson PC Supreme model. The new axe is a very cool counterpoint to his existing Jackson signature model.

I know you’ve used the little Rockman in recording in the past. Do you think AmpKit might find its way onto an album?

Yeah! I actually don’t use amps to record guitar any more, and this [AmpKit] is the way to go! It’s very cool!

Now, this is a very sweet guitar. What’s going on here then?

It started with my Jackson PC1. It’s the same woods. [Brandishes guitar] That’s a mahogany body, that’s a maple top – well it would be if you could see it – that [bridge pickup] is a DiMarzio.

Which DiMarzio is that?

That’s a Super 3.

And the guitar’s neck?

The PC1 had a bolt-on neck, and this is obviously a neck-through. There are still some similar attributes, but this has the Sustainer [demonstrates with an extra-long whammy bar dive and some blues licks, then some mega-shred].

Nice! And I notice titanium saddles?

Yeah. I’ve been using them for a while. It really broadens the sound, I think. And I like my necks really chunky. This one is not as big as the other prototype that’s floating around. That one has like a one-inch radius.

LINKS: Jacksonguitars.comAgile Partners

 

NEWS: Stuff you may have missed on I Heart Guitar

I’ve picked up a bunch of new I Heart Guitar readers over the last few weeks, especially thanks to some links on kickass sites like Guitar Noize, Melodicrock.com, Truth In Shredding, Random Chatter Music Blog, Premier Guitar and Guitarsite.com, so I thought it might be a good time to point to some previous articles, reviews, interviews and lessons. So here ya go!

Interview with Joe Satriani

Interview with Paul Gilbert

Interview with Bryan Beller

Interview with Steve Turner

Review of Paul Gilbert and Freddie Nelson’s ‘United States’ CD

Review of Extreme’s ‘Saudades De Rock’ CD

Review of Def Leppard and Cheap Trick’s November 3 concert in Melbourne, Australia

Review of Lloyd Spiegel’s Live In Japan DVD

Sweep picking guitar lesson

Digital editing for guitarists

A guide to using pedals

REVIEW: Def Leppard & Cheap Trick

Rod Laver Arena, Melbourne, Australia, November 3, 2008

Before I jump into this review, a little background. I turned 10 in 1988. I know some of you were probably at the end of your rockin’ teens then, and others of you weren’t even born yet. But for me, at the age of 9 years and 51 weeks, all I could think about was Def Leppard. I didn’t even have an album yet, but I videotaped a few songs off the TV (on Beta video tape: ask your history teacher), and I was an expert at drawing the Def Leppard logo on my pencil case, in between Voltron and Santa. I begged and pleaded to my parents: my birthday’s coming up, please please please please please can I have Def Leppard’s ‘Hysteria’ tape?

My birthday finally rolls around. My first present is an awesome, 80s-style boom box with TWO TAPE DECKS and, oh sweet lord, a 5-band graphic EQ. I thought this was instantly the coolest thing in the world. My next present was obviously a cassette, all wrapped up and bursting with rock potential. This was my Def Leppard tape! Finally I could embark upon my life as a little denim-clad rocker. Before that, I listened to The Beatles, Paul McCartney & Wings, and Songs Of A Psychedelic Age, a double cassette set my dad had, which included not only Jimi Hendrix and Cream, but also an ad for a Vox wah wah. Awesome. But I digress: My shaky little hands nervously unwrap the cassette, and I hold my breath as I await the first sight of my very own cassette copy of Def Leppard’s ‘Hysteria.’

What do I see instead?

Jason Donovan’s ‘Ten Good Reasons.’

Now, for those of you who don’t know who Jason Donovan is, he was an actor on an Australian soap, and he made an ill-advised foray into pop music. This video will tell you all you need to know.

Of course, being a whiny little 10 year old, I begged, pleaded and cried until I got ‘Hysteria’ too, and to this day I still have that very cassette. It’s in my car’s glove box right now.

Anyway, enough of that. On to the review of Cheap Trick and Def Leppard at Melbourne’s Rod Laver Arena.

Cheap Trick were initially supposed to come to Australia last year as part of a double bill with Thin Lizzy, but that tour fell through. It seems that plans to come to Australia often fall through for the band: guitarist Rick Nielsen famously planned to move here in 1972 but changed his mind when the immigration department wouldn’t let him bring his dog). Despite vocalist Robin Zander nursing a sore throat and feeling a bit under the weather, the band still put on an energetic, powerful show. Never having seen them before, I’m not sure if Nielsen usually does the majority of between-song banter, or if he was covering for Zander, but he was a huge part of keeping the show flowing, even taking a vote from the audience on whether he should keep a guitar given to him by a local luthier (he seemed pretty unhappy with the axe from where I was sitting, and elected to ditch it). Nielsen threw about a trillion guitar picks into the audience over the course of the night (sometimes whole fistfuls at once; sometimes flicked from under his leg, sometimes used to strum a single chord before being skimmed into the crowd), and he brought out a few gems from his famous guitar collection, including various Hamer Standards, a few Gibson Les Pauls, and his legendary 5-necked beast which, in the true spirit of rock excess, he used for only about a minute or so during ‘Goodbye Now.’

Cheap Trick played the songs I expected: ‘Surrender,’ ‘Dream Police,’ ‘I Want You To Want Me.’ But the big surprise for me was their 80s hit ‘The Flame.’ I’d read that the band were particularly unhappy with this power ballad, and I just assumed they wouldn’t play it. But they did, and it was one of the highlights for me, not because it’s a lighter-waving anthem or, like, so beautiful, man, but because they played it with a sense of irony and pisstake-ism, with loud lead guitars and Neilson’s exaggerated backing vocals. Zander missed one particular high note each time it came up, but that was the only real sign of his vocal woes. Nielsen’s playing was sloppy and edgy, sometimes suffering from his constant pick-flinging, but it contributed to the party vibe of the set. The crowd was a little restrained for the most part and you could pretty much hear about 50% of the audience saying “Oh, Cheap Trick is THAT band” whenever one of the big hits was played

Def Leppard burst out to the techno-tribal drum thump of ‘Rocket,’ one of the songs I taped off the TV way back when. The set leaned heavily on the ‘Hysteria’ album as well as a few tracks from ‘Pyromania’ and ‘Adrenalize’: ‘Animal,’ ‘Love Bites,’ ‘Hysteria,’ ‘Armageddon It,’ ‘Pour Some Sugar On Me,’ ‘Rock Of Ages,’ ‘Photograph,’ ‘Make Love Like A Man’ and ‘Let’s Get Rocked.’ From ‘High ‘n’ Dry’ they played ‘Bringin’ On The Heartbreak,’ and the instrumental ‘Switch 625’ also got a showing – an interesting choice since neither Phil Collen nor Vivian Campbell were in the band when this guitar showcase was written.

They also played ‘Two Steps Behind’ and ‘When Love And Hate Collide,’ and there were two tracks off the latest album, ‘Songs From The Sparkle Lounge,’ which were well received by the crowd even though most of the audience looked like they hadn’t bought a new album since about 1991.

It was surprising to hear those highly-overdubbed songs reorganised in the context of two guitars and five vocalists (even five voices can sound minimal when the original songs featured such heavy layering). The band sounded slick and they weren’t afraid to throw in some improvisation here and there. Singer Joe Elliott stuck largely to the recorded vocal melodies, which was actually kinda refreshing, since so many singers seem to get bored live, and start shifting around notes and rhythms.

I was especially impressed by the guitar playing of Phil Collen (one of my very early guitar heroes, I must admit). He punctuated melodies with wild squeals and sustained notes from his signature Jackson guitars, and wasn’t afraid to bring out the shred licks when necessary. Vivian Campbell, too, had his fair share of pyrotechnic moments, playing a sparkly Gibson Les Paul for most of the set and taking a few respectful liberties with original guitarist Steve Clark’s solos.

While I found myself enjoying the looser rock vibe of Cheap Trick more than the slick showmanship of Def Leppard, I still enjoyed the hell out of both bands, and while I don’t listen do Def Leppard much any more these days (a dude tends to move on once he discovers Frank Zappa and Mike Keneally), I’m glad I finally got to see them, 20 years (!!!) after unwrapping that Jason Donovan tape.

CLICK HERE to by Def Leppard’s ‘Hysteria’
CLICK HERE to buy Def Leppard’s ‘Songs From The Sparkle Lounge’
CLICK HERE to buy the Japanese version of Cheap Trick’s At Budokan: The Complete Concert [with bonus DVD]