Guitar Player Vault

AUGUST 2013

STANLEY CLARKE A pioneer of jazz-rock bass shredding talks about his career, technique, gear, and more in this classic GP cover story from 1980 M O C . R E Y A L P R A T I U G . W W W

Reviewed!

Ten High-End Acoustics Steve Stevens John Scofield Plus

3 Free Song Transcriptions

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4 | August 2013 | GUITAR PLAYER VAULT

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August 2013 · Volume 3, Number 8

nn

New Artist FeAture 08

Steve Stevens (from the current issue of Guitar Player )

From the vAult 16

Stanley Clarke

Clarke’s work with Art Blakey, Stan Getz, and Return to Forever made him one of the most acclaimed jazz-rock bassists of all time. In this classic GP cover story from 1980 he talks about his career, technique, gear, and much more. (from the May 1980 issue of Guitar Player ) 38

John Scofield (from the September 1979 issue of Guitar Player )

GeAr 46

Roundup

Ten High-End Acoustics (from the current issue of Guitar Player ) oN the NewsstANd 68

GP August 2013 Table of Contents

lessoNs 70

Superimposition Strategies!

Jamie Kime on Building Colorful Solos Over One-Chord Jams (from the November 2009 issue of Guitar Player ) 72

Fingerstyle Blues Master Class!

Explore the evolution of Delta, Piedmont, Nashville, Rockabilly, and Ragtime Guitar (from the June 2007 issue of Guitar Player ) sessioNs 80

The ever-popular TrueFire Lessons

trANscriptioNs 82 94

Steve Stevens - Page 8

100

“South City Midnight Lady” Dobbie Bros. “White Houses” The Animals “Jesus Loves Me” Traditional GUITAR PLAYER VAULT | August 2013 | 7

artist feature

Forever Young WHY IS GUITAR ICON STEVE STEVENS LIKE A CLASSIC HOT ROD? BY MICHAEL MOLENDA

BY SOME MIRACLE OF SUPERLATIVE TALENT, BRAND SAVVY,

hard work, and constant creative evolution, ’80s rock-guitar hero Steve Stevens has escaped the fate of becoming a trivia answer for the nostalgic 50-plus-years-old set. In fact, Stevens appears to be as feisty and relevant now as he was when he and Billy Idol were all over MTV in the days when the channel actually played music videos. Yes, he’s still touring with Idol, and, this year, the team is celebrating the (gasp) 30th anniversary of Reb el Yell. But Stevens is also a solo artist with varied soundtrack and album credits, he plays in allstar cover bands such as Kings of Chaos and Camp Freddy, and he just released a Knaggs signature model guitar and a Friedman signature amp head. Whether you talk about his tones, techniques, or tailoring, Stevens is a stellar example of a classic design carrying on into the next generations—like a Tiffany ring or a reimagined Ford Mustang. Rock on.


steve stevens

GUITAR PLAYER VAULT | August 2013 | 9

artist feature How did the Knaggs Steve Stevens Signature come about? I wasn’t looking to do a signature model, but Peter Wolf contacted me— we had worked together when he was at Hamer all those years ago—and he said, “Hey, you know that PRS guitar you played onstage for a number of years? The guy who made that guitar is Joe Knaggs, and he has star ted his

steve stevens

own company.” Then, I remembered seeing a K naggs guitar somewhere, and the f irst thing that caught my eye was the one-piece, kind of Tuneo-matic-on-a-plate bridge. I thought that was a goo d idea, and I wondered why no one else had done that before. So I said, “Cool. Send me one to check out.” They shipped me a really nice guitar, but I’m old school. I like

guitars that are thicker, heavier, and have chunkier necks than what they had sent. So I started to explain what I was looking for, and Peter said, “Oh, we can do that.” Within weeks they had a gu itar in my hands. Peter said, “Basically, you have a guitar company at your beck and ca ll. Whatever you want—or anything you can dream up or think of—we’ll make for you.” How could I ignore that? But this was also a friendship thing, as well. I trusted Peter because I worked with him for so many years. In addition, a percentage of the proceeds go to the Musicians’ Assistance Program [MA P], which helps guys in recovery. They ’ve helped a lot of my friends, and they helped me one time. I thought, “Okay, cool. This is a reason to have a signature guitar out there.” [See our review of the Knaggs Steve Stevens Signature on p.112] And what about your signature amplifier?

Dave Friedman of Rack Systems is making it. It’s based on my old plexi Marshall t hat’s now retired from touring because it ’s just not road worthy. Dave basically cloned that amp, and then he added a clean channel that’s like a Fender Twin. It’s a really good sounding amp that has a bit more bottom than top, and its frequency spectrum is a bit wider than an old Marshall’s. It’s hard to believe it has been 30 years sinc e Rebel Yell was released. What are some of your memories from those sessions?

When we did Rebe l Yell, we didn’t have a drummer. A lot of those songs were written in the studio to a L inn Drum, and then we ended up tracking guitars to the drum machine grooves. Fortunately, Thommy Price— the drummer on Re be l Yel l—is like a human time machine, so he could lock to a click and record real drums to the Linn t racks. We searched high and low for a guy who could do that, because back then drummers didn’t record with click tracks as much. You know, I could see som e of the songs on Reb el Ye ll released today. There’s some go od classic guita r stuff


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artist feature on that record. By contrast, the previous one— Bi lly Id ol—I think is really ’80s sounding. One of the t hings that makes the g uitars sound the way they do on that record is they were all subtly processed through this ext remely expensive piece of outboard gear called a Publison Infernal Machine. It was a harmonizer-type of effect that gave the guita rs added

steve stevens

sparkle and a kind of kinetic energy that I liked. Well, there are some pretty raging guitar tones on that album.

For the rock stuff, man, I need the volume. You know, people ta lk about how records sound now versus back in the day, and they’ll often blame digital recording. But here’s what’s happening wit h a lot of guitar sounds

these days—they’re totally isolated. Th ey ’re not cut li ve or in th e stud io with the amp, so there’s no signal bleed happening. Totally isolating instruments can sterilize them. When I tracke d “Rebel Yell,” I was standi ng next to my amp wearing headphones, and the sound is all about the natural feedback that occurred with my guitar a nd I being in the same room as the cabinet. One of the elements of your style that I find most intriguing is how yo u’ ve al wa ys be en ab le to ca st these wonderfully memorable parts— great melodies, cool tones, and a tad off-kilter. How did you develop that appro ach?

Th at comes do wn to ar ra nge ment, and if there was ever anything that helped me tru ly understand good arrangi ng, it was the years playing in a cover band doing a lot of Led Zeppelin. Jimmy Page didn’t just double the bass, the guitar arrangement was always a totally u nique part of the songs, and t he sum of the music was so much greater because of that. It’s like an old watch. S ome gears are little and t hey move at twice the speed of the big gear. So I learned to do guitar parts that are polyrhyt hmic, as well as to find something to play that’s harmonically different than the other instr uments. Jimmy Page is the best teacher for that. I kind of hit on that approach with “Wh ite Wedding,” and I th ink I nai led it on “Rebel Yell.” You know, I’m not precious ab out my guitar stuff. For the Billy Idol sound, the stuff I do is pretty simple by guitar standards—which is probably why I’m never mentioned in the same breath with Vai and Satriani— but I still believe my main streng th is playing what benefits the song. And that makes me happy. Another thing is that you can still hear the fire and youthful exuberance in your playing today, while some other guitarists of your era sound more mature, and, to be frank, kind of boring.

Here’s the t hing. The records I loved when I was 13 years old—when I fel l


Many styles One voice

Robben Ford is the master of many musical styles. But when it comes to his speakers, there’s only ever been one choice.

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artist feature in love with pop music and got my first electric guitar—I tr y to tap into that feeling of listening to music at that age i n whatever way I ca n. You almost have to block out everything about who you are as a musician to get to that point. Otherwise, you start t hinking a bout how it’s a business and you’ve been doing this for 30 years, and suddenly you’re overthinking everything, and the 13-yearold kid is gone. It also helps if you truly love making music. These days, the mentality of t he music business has changed, and some people actually get into t his industry ju st to be fa mo us or ri ch . It ’s do geat-dog, because people a ren’t selling the number of records they once d id. So now when I meet a younger ba nd, everybody’s a mini mogul. They’re

steve stevens

selling all kinds of things—clothes, perfume, shoes—a nd none of that has anything to do with the quality of their music. To be honest, if I’m writing or playing with somebody, I don’t want to know about that sh*t. Billy and I never wanted to be businessmen—that’s why we hire other people to do that st uff. We just want to be rock and roll knuckleheads and make music. Do you absorb a lot of today’s artists for inspiration?

I listen to everything, but if somebody has Cookie Monster vocals, I’m outta there [ laughs]. The stuff I enjoy listening to still comes down to great songs. I like Bruno Mars because he’s a great ta lent with great material. I also like Muse. And there are some brilliant guitarists around

WATCH STEVENS DO HIS “TRIBUTE TO LED ZEPPELIN” SOLO


now—particularly Guthrie Govan, who is an absolutely exciting and amazing player. When I hear him play, it gives me hope. Is there anything you do to keep your self evolv ing as a player?

I continue to challenge mysel f on a technica l level, because I never want to have an idea in my head and not be able to play it. I still try to practice, as well. You know, a few months back , Zakk Wylde sat in with this a ll-star Hollywood cover band I was guesting with cal led Camp Freddy, and his technique was so unbelievable t hat I was humbled. The next day, I found out Zakk ha d released some instructional DVD s, and I ordered the whole series. I thoug ht, “Wow. I want some of that technique. Oh, look—he has a DVD. I’m getting that sh*t!” g

classic interview


may 1980


classic interview may 1980


may 1980

classic interview




may 1980

classic interview






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may 1980

classic interview




may 1980

classic interview




may 1980

classic interview






may 1980

classic interview


classic interview may

1980

CLASSIC INTERVIEW from the May 1980 issue of Guitar Player magazine

WATCH CLARKE PERFORMING LIVE AT MONTREUX IN 1980


classic interview


september 1979


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CLASSIC INTERVIEW from the September 1979 issue of Guitar Player magazine


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gear

roundup

Ten High-End Acoustics T E S T E D B Y T H E GUITAR PLAYER STAFF

ANYONE WHO HAS EVER SHOPP ED FOR AN ACOUSTIC

achieving the honors awarded them because top players have

guitar knows that you can spend a bundle on an instrument made

proven that they rule.

by a premium brand. A high-end guitar has certain attractions that

Guitars priced at or above the $2,000 mark are desirable for rea-

begin to emerge the minute you catch a whiff of the nitro lacquer.

sons that range from the purely aesthetic (as in the beauty of the

Aged solid woods, gleaming frets, superb playability, and a sound

woods, binding, and inlays) to the practical (great tone and playabil-

that stirs your soul the second you give it a strum are some of the

ity) to the existential, as in finding a 6-string soulmate that makes

obvious things. But there’s also the “X” factor that comes with having

you feel good about yourself. Those fortunate enough to be able to

an instrument that a celebrated builder had t heir hands on. After all,

spend whatever it takes to reach acoustic nirvana definitely have a

what great classic acoustic guitar was ever designed by a commit-

lot of choices these days. And while we didn’t purposely seek out

tee? Whether you’re talking about C.F. Martin or Orville Gibson—or

the costliest models that are out there, this roundup definitely goes

one of the modern-day masters like Dana Bour-

uptown with a spectrum of guitars that range from the $2,849 Taylor Taylor

geois, Bill Collings, Richard Hoover, or Bob

714ce to the $8,900 McPherson Camrielle 4.0.

Taylor—the instruments with these

Each of these guitars has its charms that might sway you one

guys’ fingerprints on them have

way or the other, but all of them are pro-grade affairs, as confirmed

stood the test of time,

by our evaluations of thei r construction, playability, sound, and, of course, the amorphous “vibe” factor that always plays a role in any guitar purchasing decision. As we’ve pointed out in past roundups of “budget” acoustics, you don’t have to spend like a drunken sailor to get a happening guitar, but how sweet it is to dip in the high-end pool! —ART THOMPSON

gear roundup

BOURGEOIS BK/SLOPE BOURGEOIS BK/SLOPE D MAINE-BASED LUTHIER DANA BOURGEOIS HAS LONG BEEN KNOWN AS AN

acoustic builder at the top of his game, and the BK/Slope D is very much the kind of guitar that helped to build his reputation. It’s ju st the sort of bi g, bold, slope-shouldered dreadnought that would be known as a “rhythm cannon” in many circles, except that the BK/Slope D does so much more than that. Rhythm, flatpicking, fingerstyle—this powerful flat-top belts it all out, yet with great dynamics and finesse when you need it to, and not merely the kind of power that gets you heard on a crowded stage. And therein lies the origin of the “BK” tag: Dubbed the “Banjo Killer” by bluegrass ace Bryan Sutton, for whom the first example was built back in 1995, this new BK/Slope D comes with a substantial pedigree.(After Sutton’s original 1995 Bourgeois Banjo Killer was damaged in the Nashville flood of May 2010, Bourgeois and team took the guitar i n for a laborious restoration, reconfirming reconfirming the specs of these reissue examples in the process.) Even before you hoist BK/Slope D, the woods in its top and body jump out at you as something special. The solid Sitka spruce top dances with interesting “bearclaw” figures within what is already an extraordinary, almost luminescent grain, and the back and sides are made from beautifully figured solid mahogany. Ivoroid binding graces the top and back (although the fingerboard and headstock are

48 | August 2013 August 2013 | GUITAR PLAYER VAULT

roundup

unbound, as per Sutton’s specs), there’s a tasty multi-ply soundhole rosette, and a

gear

MODEL

backstrip of elegant wood purfling. Add in the custom Tor-tis pickguard; a fingerboard,

BOURGEOIS BK/SLOPE D

belly bridge, and headstock facing made from lushly figured ziricote; and ebony bridge

CONTACT

bourgeoisguitars.com

pins with pearl dots, and it’s an impressive package. Final touches such as a bone nut

PRICE

$4,595 retail/$4,135 street

and saddle and Waverly tuners lend a traditional look, while enhancing the guitar’s resS P E C I F I C AT I O N S

onance and sustain.

NUT WIDTH

1 23/32" (1 3/4" optional)

C profile, but anything much fuller might make it a tricky reach across the 1 23/32” nut

NECK

Mahogany, 25 1/2” scale length

width, inhibiting the picking speed that many players will want to show off on such an

FRETBOARD

Ziricote

instrument. It feels great right up to the 14th-fret neck joint, thanks in part to a confident

FRETS

20 medium nickel (14 clear of the body)

setup at the Bourgeois shop, with an action that is easy on the swift runs, yet doesn’t

TUNERS

Waverly

clank or buzz when you hit the big chords hard.

BODY

Solid “bearclaw” Sitka spruce top, solid

The BK/Slope D’s quarter-sawn mahogany neck is carved to a fairly slim, rounded-

figured mahogany back and sides

Dana Bourgeois says this model has “a deep, broad tone, and through wood selection and voicing, we push it in the direction of a bigger bottom end, a lush top end,

BRIDGE

Ziricote bridge with ebony pins and bone saddle

and greater volume—similar to the characteristics of Bryan’s original Banjo Killer.” No FACTORY STRINGS

D’Addario EXP19, .013–.056

on the BK/Slope D, while the high notes in any simple Travis-picking figures ring vel-

WEIGHT

4.25 lbs

vety and clear. The midrange is rather scooped, yet both pleasant and present, and the

BUILT

USA

volume is almost overwhelming—in an acoustic context—when you put some muscle

KUDOS

Outstanding build quality. Ele-

argument there, as even a trusty, flat-picked

G-run

booms out as a formidable beast

gant looks. A volume machine,

into open chords.

but rich and lush sounding.

Whether you’re looking for a flat-picking bluegrass performer to get you heard when you take your turn stepping u p to the mic, or a big-voiced accompanist to bolde r singer-

CONCERNS

None.

songwriter work, the Bourgeois BK/Slope D has an awful lot to offer, and as such it earns an Editors’ Pick Award. — D A V E

HUNTER


gear roundup

BREEDLOVE MASTER CLASS PACIFIC B A S E D I N T H E P AC I F I C N O R T H W E S T C I T Y O F B E N D , O R E G O N , B R E E D L O V E

has been building fine acoustic guitars since 1990, adhering to a concept that combines traditional construction methods with cutting-edge engineering to create instruments that aim to better suit the contemporary player. Featuring an eye-popping orgy of beautiful woods, the Pacific is instrument that embraces a decidedly non-traditional look with its shapely outline and a distinctive bridge that looks a bit a like a Ninja throwing star. The Pacific specializes in delivering maximum sonic performance from a smaller “concert” body that measures 15” across the lower bout, 9” at the waist, and 11.24” across the upper bout. The dimensions make for a comfortable guitar to hold, and one that feels more like a boutique jazz box than a bulky jumbo flat-top. And, wow, what a looker the Pacific is too with all that curly maple accented by flamed koa binding and 3-ply (black, white, black) edging on the top and back, a koa wedge in the end-pin area, an abalone/koa rosette, and abalone purfling bordered by 3-ply trim


roundup

around the top. The maple neck is also treated to koa trim atop 3-ply binding, and the

gear

MODEL

tion inlays. The headstock wears a classy gloss black facing that complements the gold-

BREEDLOVE MASTER CLASS PACIFIC

plated tuners with ebony buttons.

CONTACT

breedlovemusic.com

PRICE

$4,499 street

ebony fretboard is adorned with yet more 3-ply binding and abalone “sea leaves” posi-

The Pacific is a nimble instrument that’s easy to play thanks to its satin-smooth neck and well-finished, neatly trimmed frets. The neck’s medium D profile and low-action setup facilitates speedy picking, yet you can still dig into the strings without them buzz-

S P EC I F I C AT I O N S

ing against the frets. The headstock shape and arrangement of the tuners provide for

NUT WIDTH

1 3/4"

a very straight string run across the smoothly worked nut, which yields an easy pull to

NECK

Big leaf maple, bolt-on

pitch via the smooth-turning Gotoh machines.

FRETBOARD

Ebony, 25 1/2" scale

FRETS

20

ity and focus in the Pacific’s tones, which are bright, smooth, and imbued with plenty

TUNERS

Gotoh die-cast

of oomph in the lows. The midrange is very even and with no tendency to sound honky

BODY

Solid curly maple back and sides, Sitka spruce

Intonation is tuneful in all positions, and this definitely enhances the sense of solid-

top

or boxy, and coupled with the strong top and bottom presence, the Pacific takes things in a more hi-fi sounding direction than most flat-tops.

BRIDGE

Ebony with compensated saddle and through-bridge stringing

The Pacific is not a particularly loud guitar—especially compared to some of the big-bodied bruisers in this roundup—but it rings out in all the right ways with plenty of

FACTORY STRINGS

D’Addario EXP

detail, warmth, complexity, and touch responsiveness. This is a guitar that will please

WEIGHT

4.12 lbs

fingerstylists and flatpickers alike with its open and expressive tone, and overall I found

BUILT

USA

it to be an inspiring instrument for songwriting, practicing, and gigs. Breedlove definitely

KUDOS

Distinctive look. Excellent sound and playability.

has a solid lead on what it takes to build a modern flat-top, so if you want an acoustic guitar that has the craftsmanship and vibe of a small-lot-custom, but pushes well beyond the classic designs of the ’ 30s and ’40s, the Master Class Pacific is something

CONCERNS

Would likely need to be amplified in a performance situation.

to you will want to experience. —ART THOMPSON


gear roundup

BROCK MODEL OM BROCK JOHNSTON HAS BEEN BUILDING GUITARS SINCE 1981 WITH THE GOAL

of creating instruments that combine “immaculate aesthetics with unequaled tonal balance and projection.” Based on the classic Martin OM (which made its debut in the late 1920s), Brock’s Model OM blends top-notch materials and impeccable construction details in what is a surprisingly affordable contender in the premium market. As such, the Model OM’s aesthetic is one of classy, understated elegance, with not a hair out of place anywhere. From the immaculate frets to a sterling interior (where we find parabolic Sitka spruce bracing) to the high-gloss nitrocellulose lacquer finish and curly koa-wood binding, the Model OM delivers exactly what is to be expected from a high-end acoustic guitar. The open-gear Waverly tuners with ivory-colored buttons are a classy touch, and this guitar manages to visually pop without resorting to overblown cosmetics. Heck, the only shell inlay on the entire instrument is the headstock logo. The Model OM is an absolute joy to play. Its nimble feeling C profile neck makes marathon chording sessions a breeze, and when an acoustic inspires you to simply strum first-position chords, you know you’ve got a keeper! The edges of the fretboard are super smooth, and the frets are consistent in shape and polished to a nice matte sheen. I found the string spacing to be comfy as heck whether I was fingerpicking or flatpicking, as it allowed ample room for my picking hand to operate. The instrument balanced on my lap perfectly, but the lack of an endpin strap button was inconvenient from a gigging perspective. Not a big deal, though, since Brock will install one for no extra charge if requested. You probably can’t see it from the photo, but there’s a clear pickguard to protect the finish in the strum zone.


roundup

gear

MODEL

BROCK MODEL OM CONTACT

brockacoustics.com

PRICE

$3,200 street, including hardshell case

S P EC I F I C AT I O N S NUT WIDTH

1 3/4"

ultra-musical fashion. The dynamic response is such that you can go from soft, bell-like tex-

NECK

Honduran mahogany

tures to an authoritative bark that will stand out in a band with its broad projection and taut

FRETBOARD

Ebony, 25.4" scale

low-end. There’s a tactile sense of muscle and focus behind the notes, and much of this i s

FRETS

20 medium silver nickel

due to the Model OM’s stellar intonation, which allows simple or complex voicings to ring

TUNERS

Waverly

clearly in all regions of the neck. The sonic detail is impressive as airy harmonics blossom

BODY

Solid Sapele back and sides,

Sonically, the Model OM emits a hefty amount of volume and punch, albeit in a refined,

Solid Sitka Spruce top

in response to your touch, an d the low-end presentation is wonderfully clear and round, never sounding too boomy or in any way detached from the core tone.

BRIDGE

Ebony

FACTORY STRINGS

D’Addario EJ16, .012-.053

sonic DNA, the Brock Model OM is a wondrous piece of work that celebrates one of the

WEIGHT

4.4 lbs

most iconic acoustic guitar designs. Its refreshingly simple look belies the excellent crafts-

BUILT

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manship and the obvious eagle-eye attention paid to the smallest details. This guitar is a

KUDOS

Exceptionally built. A soulful instru-

While shooting a knowing glance toward tradition, yet managing to impart its own

ment with a clear and concise voice.

blast to play and is highly suited to a variety of musical applications. Ultimately, however, it’s the Model OM’s bold tones and exceptional playability that seal the deal and earn it an Editors’ Pick Award. — D A R R I N

CONCERNS

None.

FOX


gear roundup

COLLINGS CJ35 BILL COL LING S G OT HIS START IN THE GU ITAR BU SINESS AFTER RE LOCATING

from Ohio to Houston, Texas in 1970, where he began building guitars on his ki tchen table using just a few hand tools. His interest and talent for improving his craft soon let to the creation of instruments that caught the ears of Lyle Lovett and Rick Gordon. You might say the rest is history, but Collings has been constantly seeking to make better guitars, and, as witnessed by the CJ35 on review here, the results are impressive. Inspired by “golden age” American-made flat-tops, circa 1930 to 1942, the new CJ35 is a guitar that adheres to the concept that more is indeed more when it comes to large-bodied acoustics. Based on Collings’ proven CJ design, the 35 features a slope shouldered body with solid mahogany back and sides and a solid Sitka Spruce top. Internally, the formula gets tweaked a bit in the form of non-scalloped Adirondack spruce bracing with a system of three tone bars. A slightly shorter 24 7/8” scale neck joins the body at the 14th fret via a mortise-and-tenon joint.


roundup

Visually, the CJ35 is a class act. The cosmetics are tasteful and the optional dark

gear

MODEL

sunburst nitro-lacquer finish is a glorious alternative to au-natural spruce. The burnished

COLLINGS CJ35

hues in the CJ35’s top reveal the distinctive parallel graining of the Sitka, which plays

CONTACT

collingsguitars.com

well with the tiger-stripe celluloid pickguard and the ivoroid binding and rosette. Flip-

PRICE

$4, 860 street

ping the guitar around, we find a “1 style” walnut back stripe dividing the solid mahogany back, and another piece of creamy ivoroid capping the heel of the neck. Other nice

S P E C I F I C AT I O N S

touches include a facing of ebony on the headstock and nickel-plated Waverly tuners

NUT WIDTH

1 3/4"

with exposed gears and “butterbean” tips. The guitar came up to pitch easily and held

NECK

Mahogany with mortise and tenon hybrid joint

its tuning with uncanny stability despite the climate change from Texas to our offices in Northern California.

FRETBOARD

African rosewood, 24 7/8" scale (14"-26" compound radius)

The neck offers an excellent feel with its mediu m profile and compound radius. Intonation is tuneful in all positions, and the playability certainly benefits from an easier

FRETS

20

feel created by the shorter scale. The action is a tad on the high side, but there’s no fret

TUNERS

Waverly, nickel plated

buzz either to diminish the feeling of limitless headroom. Collings states that the CJ35

BODY

Mahogany back and sides, Sitka spruce top

is “designed to deliver deep bass and powerful highs in a package that is well suited

BRIDGE

African rosewood straight style, compensated saddle

for both fingerstylists and flatpickers,” and that squares with what we experienced. FACTORY STRINGS

D’Addario EJ-17 .013-.056

with incredibly little effort. The upper-midrange emphasis in its voicing makes the CJ35

WEIGHT

4.16 lbs

an excellent choice for flatpicking solos or strumming rhythm parts. But this highly flex-

BUILT

USA

ible instrument with its rich, blossoming sound is equally cool for fingerstyle playing or

KUDOS

Righteous vintage look. Big, bold

The CJ35 has a huge presence, and it can pump out an amazing amount of volume

sound. Excellent quality.

backing a singer-songwriter. Like a car with a high-output motor, the CJ35 has a lot of reserve power when you need it, and if you play unplugged gigs where a mic is your only amplification system, this big beauty has you covered and then some!

CONCERNS

None.

—ART THOMPSON


gear roundup

GIBSON SJ-200 WESTERN CLASSIC THIS DECKED-OUT, 6-STRING CADILLAC IS BASED ON A CUSTOM GUITAR

that Gibson made at the request of country music/film star Ray Whitley in 1937. Whitley knew what he needed sonically and playability-wise from his “signature” guitar (the original now resides in the Country Music Hall of Fame in Nashville, Tennessee), and he obviously wanted a lot of bling on it too—a request that the Gibson craftsmen took seriously, as echoed by the cosmetics applied to this jumbo-sized reissue. Check the options list: The Western Classic sports four-ply binding on its “Triburst” premium AAA Sitka top and three-piece Indian rosewood back, multi-ply binding with a classy “birds beak” on the rosewood fretboard, graduated Mother-of-pearl block-style block position inlays, a “moustache” bridge with yet more pearl inlays, multi-layer pickguard, a lovely three-rope marquetry back stripe, gold-plated Waverly tuners with exposed gears, and a script “Gibson” logo and classic torch inlay (both rendered in pearl) on the headstock facing. Given all the time and effort it takes to do this kind of detail work, it’s not surprising that Gibson builds less than 30 Western Classics per year. The SJ-200’s Tri-burst-finished, curly maple neck with walnut center strip is carved to a comfy D shape that sits very nicely in the hand. It feels more like the neck on a high-end archtop guitar, and the frets—while not mirror polished—are expertly attended to, with smooth, even crowns and beveled ends that feel almost non-existent as you slide your hand along the neck. Combined with a good setup and


roundup

gear

MODEL

GIBSON SJ200 WESTERN CLASSIC

fairly low action, the playability is light and easy, and the absence of any fret buzzing

CONTACT

gibson.com

PRICE

$3,999 street


is just icing on the cake. The string spacing proved equally comfortable for fingerpick-

NUT WIDTH

1.725", bone

ing or flatpicking, and in a nod towards contemporary expectations, the SJ-200 guitar

NECK

Eastern curly maple with compound dovetail joint secured with hide glue.

intonates well and sounds musically tuneful as you move around the neck. FRETBOARD

Rosewood, 25 1/2" scale

that is due mainly to the Indian rosewood body construction. Ideal for pop, folk, coun-

FRETS

20

try, and pretty much anything else you care to throw its way, the sweetly voiced SJ-200 is

TUNERS

Waverly, gold-plated

loud enough for stage use (though it probably wouldn’t be able to out-gun a good dread-

BODY

Indian rosewood back and sides, Sitka

This guitar has a big, open sound with robust lows, rich mids, and a twangy presence

spruce top

nought in a volume shootout), and it responds well to your picking dynamics, blossoming nicely when played lightly and able to pump out a full bodied and non-compressed

BRIDGE

Rosewood, mustache-style with bone saddle

sound when you lay into it. FACTORY STRINGS

Gibson, 012-.053

not only a one-of-a-kind among modern flat-tops, it’s also one of the nicest Gibson

WEIGHT

4.84 lbs

acoustic reissues I’ve ever seen. The price tag for this very special guitar seems like a

BUILT

USA

real bargain too, considering what it takes to create something of this magnitude in an

KUDOS

A showpiece instrument with excellent

An inspiring guitar to play and a beauty to behold, the SJ-200 Western Classic is

tone and playability.

American factory. The SJ-200 Western Classic would satisfy almost any expectation of what a flashy stage axe should be, and it has the performance to back it up., All considered, it earns an Editors’ Pick Award. — A R T

CONCERNS

None.

THOMPSON


gear roundup

McPHERSON CAMRIELLE 4.0 MATT MCPHERSON INTRODUCED HIS OFFSET SOUNDHOLE TECHNOLOGY

more than 30 years ago, with the primary goal of increasing the total flexible surface area of a guitar’s top. In combination with proprietary bracing and a cantilevered neck that doesn’t contact the soundboard, McPherson guitars are state-of-the-art designs that aim to deliver a higher level of resonance than conventional acoustics. The Camrielle 4.0 certainly carries itself in a forward-thinking stride with its elliptical soundhole, asymmetrical bridge, and the fact that you can see daylight under the rear portion of the fretboard. The flamed maple back and sides are neatly trimmed in black/white binding, which extends around the soundhole, as well as across the endpin jack and the leading edge of the Venetian cutaway. The swoop at the tail of the fretboard is a final touch on a fest of curves that visually defines this unique-looking instrument. The construction is immaculate throughout, and peeking inside the soundhole we find four multilam braces glued to the back—each with a mid-span cutout. The bracing under the top is designed to maximize flexibility, and, since it is McPherson’s own design, does not resemble the “X” style pattern found on most steel-string acoustics. The Camrielle’s comfortable soft-V shape neck with its wide-ish 14"-radius makes it easy to play whether you’re flatpicking lines or playing chords. The frets are carefully shaped and polished to a satin sheen, and the factory setup is excellent. Factor in accurate intonation in all positions—courtesy of the Buzz Feiten Tuning System—and the Camrielle offers a highly enjoyable playing experience. The electronics package consists of an L.R. Baggs Element system, which, instead of employing an undersaddle pickup that senses string pressure (and is therefore more prone to “quacky” transient spikes),


roundup

gear

MODEL

MCPHERSON CAMRIELLE 4.0 CONTACT

mcphersonguitars.com

PRICE

$8,900 street, as tested


uses an extremely thin, flexible film sensor to capture the motion of the soundboard.

NUT WIDTH

1.75"

It’s well suited for the McPherson concept. The Camrielle’s amplified sound is natural

NECK

Mahogany

and open, without any of the boxiness or weird spikes in the frequency spectrum that

FRETBOARD

Ebony, 25.5" scale

you sometimes hear when pushing an acoustic guitar though an amp or P.A. system.

FRETS

20

TUNERS

Waverly gold-plated

BODY

Solid flamed maple back and

The Camrielle 4.0 sounds great from the player’s perspective, and much of this is due to the upper location of the soundhole. It doesn’t direct the sound at your noggin

sides, Engelmann spruce top

like a guitar with an opening on the upper bout, but it does create a sense of in-yourface sound that is very satisfying.

BRIDGE

Ebony with compensated saddle

ELECTRONICS

L.R. Baggs Element (3-volt)

a little more “produced,” the Camrielle is no slouch in the volume department either.

CONTROLS

Volume

Its tonal complexity and touch sensitivity are obvious priorities, but in terms of loud-

FACTORY STRINGS

Elixir Nanoweb Acoustic Medium

ness, this guitar had no problem hanging with any of the others we tested. And while

WEIGHT

4.9 lbs

you might think that its less constrained top would compress more readily under hard

BUILT

USA

strumming, the Camrielle sounded and felt absolutely firm when played aggressively.

KUDOS

Rich and detailed sounding. Excellent

Even and balanced, with a hi-fi presentation that makes everything you play sound

amplified response. Great playability.

The Camrielle 4.0 brings some interesting things to t he table, but they come at a steep price. That said, if you’re a player of means who already owns everything under the sun, a Camrielle 4.0 could be an interesting addition to your collection.

CONCERNS

Price is a deal breaker for most players.

— ART THOMPSON


gear roundup

MARTIN OM-18 AUTHENTIC 1933 W H E N T H E D I S C U S S I O N T U R N S T O T H E G R E A T E ST A C O U S T I C G U I T A R S

of all time, it won’t be more than a couple of seconds before someone brings up pre-war Martins. We were giddy with excitement when we unboxed this OM-18 Authentic 1933, which purported to be constructed the “old way.” That includes using hide glue and employing the old-school bracing and cosmetics. Before we ever touched the OM-18, we saw the cool hardsh ell case in which it was ensconced, a fauxalligator affair with a green velveteen interior. The star of the show, obviously, is the guitar itself, and it’s a beauty. Looking sumptuous with a glossy caramel burst on a heavily grained spruce top, the OM-18 effortlessly melds old-world depth and character with brand-spankin’-new cosmetics. The mahogany back and sides are flawless, as is the mahogany neck. The simple binding and pearl position markers remind me of what I love about this style of Martin: no bling, no bells, no whistles—just beautiful craftsmanship. A peek into the soundhole reveals super-clean bracing and all-around impeccable woodwork.


roundup

Grabbing ahold of the OM-18, the first thing you’re struck by is the size and shape of

gear

MODEL

neck with a pronounced “V” shape. For those who are only used to playing modern

MARTIN OM-18 AUTHENTIC 1933

acoustics, it’ll take a little getting used to. For me, it’s a dream to play on, providing

CONTACT

martinguitar.com

ample support for my fretting hand whether I’m strumming barre chords or flatpicking

PRICE

$4,999 street

the neck. Martin calls it their 1933 Barrel and Heel and what it feels like is a big, chunky

single-note lines. It just feels right. Then there’s the sound, and the OM-18 simply sounds awesome. It’s loud and


incredibly clear. Every note in every chord seems to occupy its own little niche in the

NUT WIDTH

1 3/4"

sonic spectrum. It pumps out sweet highs and lows, but the mids are the defining fre-

NECK

Mahogany, dovetail joint

quencies to my ears and they make this guitar project like crazy. Combining harmon-

FRETBOARD

Ebony, 25.4" scale

ics and fretted notes or doing harp-like cascades produced a rich, pianistic sound that

FRETS

20 (14 to body)

was delicious. One thing that might contribute to the lively tone is the fact that this

TUNERS

Waverly Nickel 8060

guitar is a full pound lighter than any other guitar in the roundup. It is startlingly light.

BODY

Solid mahogany back and sides, Adirondack spruce top

Also, the OM-18’s substantial neck dimensions just have to be doing something cool to the tone. Whatever the explanation, the recipe works and works fabulously. Initially we noticed some slight intonation discrepancies, with the

G string

BRIDGE

Ebony Authentic Style Belly with long fossilized ivory saddle

coming up a touch

flat on a Peterson tuner. But as with a lot of great old guitars with uncompensated sad-

FACTORY STRINGS

Martin Lifespan SP

dles, some subtle retuning by ear seemed to rectify any and all of those things, and I

WEIGHT

3.4 lbs

could play anywhere on the neck, no problem.

BUILT

USA

KUDOS

Gorgeous looks. Great projection. Classic

Obviously the OM-18’s price tag is not for the faint of heart, and that kind of money

Martin tones.

could also get you a supremely cool vintage Martin. But for anyone who wants a brand new instrument with vintage vibe and construction, this guitar deserves a serious audition. For what it is, it’s one of the ni cest I’ve played. — M A T T

CONCERNS

Subtle intonation issues.

BLACKETT


gear roundup

PRS ANGELUS CUTAWAY ARTIST PACKAGE AT THE RISK OF STATING THE OBVIOUS, PAUL REED SMITH DOESN’T SCREW

around when he builds guitars. His reputation of being a stickler for perfection is legendary, so it should come as no surprise that he would apply the same obsessive zeal that made his electric guitars so popular to all of his acoustic designs as well. The fruits of that mindset were readily apparent on the Angelus Cutaway as soon as we cracked open the snazzy Ameritage case that it shipped in. We let out a collective gasp when we caught our first glimpse of the Angelus. It’s got super-model gorgeous good looks, with a perfect combination of subtle and fancy. The subtle comes in the form of the spruce top, which is n icely grained and elegant, perfectly offset by the pretty Koa sides and back. The maple binding is expertly rendered and provides a beautiful transition between the spruce and the Koa. The fancy part of the equation is represented by the sweetest inlay job that I’ve seen in a long time. The mother of pearl rosette, purfling, hollow bird position markers, and headstock logo are positively cinematic in their depth, coming ali ve in prismatic psychedelia when any light hits them. Finally, the thin strip of maple that frames the fretboard and headstock really ties the room—err, the neck—together. Of course, Paul Smith himself wouldn’t care how good an instrument looks if it doesn’t sound great first and foremost. No worries. This guitar sounds amazing. The tone is clear, full, and lush. To my ears it has a sli ghtly modern sound to it, and by that I mean a lot of vintage acoustics I love have a very pronounced frequency that they seem to favor. It could be a midrange honk, a super crisp top end, or a


roundup

gear

MODEL

PRS ANGELUS CUTAWAY ARTIST PACKAGE CONTACT

prsguitars.com

PRICE

$6,260 MAP


boomy bottom. The Angelus Cutaway doesn’t do that. It has an incredibly balanced,

NUT WIDTH

1 3/4"

musical tone that works for whatever style or technique you throw at it. Strummed

NECK

Peruvian mahogany, dovetail joint

chords sound massive, but so do flatpicked single-note lines. Switch to fingerpicking

FRETBOARD

Ebony, 25.25" scale

and you’ll swear that must be what they had in mind when they designed the guitar.

FRETS

21 (14 to body)

The Angelus seems at home and sounds astoundingly good for any kind of music. It

TUNERS

Proprietary Robson-Designed

also has cannon-like volume and projection, which, coupled with its impressive sus-

BODY

Solid Koa back and si des, Adirondack spruce top

tain, means you’ll cut through and shine in any acoustic jam. BRIDGE

Ebony with bone saddle

System sounds great, even when just plugging in direct. I also really dig the fact that it

ELECTRONICS

PRS Pickup System

sports just a simple volume wheel in the soundhole and no big, clunky preamp crammed

CONTROLS

Volume

onto the side—nor any real need for one, as I got very pleasing results with minimal out-

FACTORY STRINGS

D’Addario EXP 80/20 Bluegrass, .012-.052

board gear to massage the sound.

WEIGHT

4.82 lbs

BUILT

USA

KUDOS

Beautiful, balanced tones. Gorgeous

This is one of the few guitars in this roundup with electronics, and the PRS Pickup

If you tell most guitarists that a guitar in this price range is great, they’ll say “Well, it better be,” and they’re right. For this kind of cash you deserve absolute perfection and,

cosmetics. Perfect fit and finish.

like they’ve done so many times before, PRS delivers exactly that. This is a handcrafted, American-made work of musical art and further cements PRS’ reputation as a major player in the high-end acoustic market. Bravo! — M A T T

CONCERNS

None.

BLACKETT


gear roundup

SANTA CRUZ OM GRAND IT’S ALWAYS A HAPPY DAY WHEN A BOX FROM THE SANTA CRUZ GUITAR COMPANY

arrives at the office. I’ve been a fan of the company’s “hippie genius,” Richard Hoover, for many years, and I can say without hesitation that I’ve never played a bad Santa Cruz. The beautiful OM Grand on review here keeps that streak alive in a big way. Visually, the OM Grand has a dignified, understated elegance, with the small dot position markers, bridge pins, and SCGC logo being the only pearl to be found. The herringbone rosette and purfling add some cool motion and vibe to the top and complement the ivoroid binding on the neck and peghead nicely. The light-colored Sitka spruce top sits beautifully alongside the rosewood sides and is a cool change from the more yellowed finishes commonly found on acoustics. Cosmetically and structurally, this instrument shows unreal attention to detail. Anyone who has ever toured the Santa Cruz facility knows this perfectly well: They will sell no guitar before its time. In fact, according to Hoover, SCGC spends more time tuning the top and matching it to the body than some manufacturers spend on the entire guitar! That commitment to excellence comes through big-time on the review model here, with perfect joints, binding, frets, finish, you name it.


roundup

Sonically, the OM Grand is just plain gorgeous. Santa Cruz bills it as the “bigger,

gear

MODEL

lusher, louder sister” to their OM model. We didn’t have little sis around to compare but

SANTA CRUZ OM GRAND

one strum showed why this model is abbreviated OMG. It sports impressive power and

CONTACT

santacruzguitar.com

brilliant sustain. What strikes me the most about it, however, is its incredible balance

PRICE

$4,950 retail

and clarity. The string-to-string definition and separation—even on busy Travis-picking passages—is truly remarkable. It accomplishes all this while still retaining a sea-


soned, old-world warmth. Think hi-def TV in a beautiful, handmade cabinet. Strummed

NUT WIDTH

1 3/4"

chords, single-note lines, hybrid picking, and fingerpicking all sound great on the OM

NECK

Mahogany, dovetail joint

Grand, and they all bring out a kaleidoscope of different timbres and harmonics. I didn’t

FRETBOARD

Ebony, 25.375" scale

bring this guitar into the studio, but I’m positive it would record like a dream. I did have

FRETS

21 (14 to body)

occasion to audition the OM Grand in an acoustic duo and with a bassist, and in both

TUNERS

Waverly Nickel 4060

cases it was the star.

BODY

Solid Indian rosewood back and sides, Sitka spruce top

All over the neck, the OM Grand plays cleanly and evenly. The action is surprisingly low but there’s no buzzing to speak of until you really dig in. For an instrument that is

BRIDGE

Ebony with compensated saddle

capable of such delicate sounds, it feels incredibly tough and sturdy. You can bash it

FACTORY STRINGS

Elixir Nanoweb Acoustic Lights, .012-.053

pretty much as hard as you want and it just keeps going.

WEIGHT

4.12 lbs

BUILT

USA

great acoustics, no. Different materials will obviously produce different tones, and one

KUDOS

Flawless construction. Brilliant definition.

prominent acoustic artist felt that there was something lacking in the mid frequencies, but

CONCERNS

None.

So is there anything not to love about the OM Grand? For me, for what I dig about

I don’t hear that. To my ears and touch, this guitar is simply stunning. — M A T T

BLACKETT


gear roundup

TAYLOR 714CE GRAND AUDITORIUM TAYLOR HAS BEEN MAKING ACOUSTIC GUITARS SINCE 1974, AND IS NOW ONE

of the leading manufacturers of fine acoustics and acoustic-electrics, as well as semi-hollow and solidbody electrics. The 714ce features all the moves that make Taylors so popular with working players, and is especially suited for those who desire a big full sound with crisp highs and plenty of bottom. To get there, the 714ce uses sol id Indian rosewood for the si des and back of a Grand Auditorium bod y with a Venetian cutaway that measures 16" across the lower bout, 20" in length, and 4 5/8" deep. A sol id Engelmann spruce top wearing a beautiful vintage sunburst finish is used on this model for enhanced sparkle and projection. Ivoroid binding is applied on the top and back, and there is also a classic threering ivoroid rosette and a faux-tortoise pickguard. A nicely shaped ebony bridge with TUSC saddle and black pins completes the package. The American tropical mahogany neck attaches to the body using Taylor’s innovative New Technology (NT) system, which provides a rock solid joint while allowing for tilt adjustments to be made without removing the neck. Carved to a classic Taylor shape, the neck carries a bound ebony fretboard that


roundup

is decorated with ivoroid “heritage diamond” inlays. Tuning is accomplished via goldplated Taylor machines, and the strings glide over a TUSQ nut that is precisely slotted and neatly trimmed on the ends. The 714ce is a rewarding guitar to play and a lot of this is due to its incredibly comfortable neck shape and superb fretwork and setup. The string spacing is perfect for

gear

MODEL

TAYLOR 714CE GRAND AUDITORIUM CONTACT

taylorguitars.com

PRICE

$2,849 street

playing with fingers or a pick, and though the strings are quite close to the deck—something that acoustic shredders will appreciate—there’s absolutely no buzzing. Also, the


intonation is extremely sound, allowing chords to ring out clearly and accurately wher-

NUT WIDTH

1 3/4"

ever you grab them. The acoustic sound is impressive. This guitar has a ton of spar-

NECK

Tropical American Mahogany

kle, but it’s all well balanced with firm lows and a warm, upfront set of mids. The 714ce

FRETBOARD

Ebony, 25.5" scale

pushes out a lot volume too, making it an excellent choice for rhythm and lead playing

FRETS

20

in practically any performance situation.

TUNERS

Taylor gold-plated

BODY

Solid Indian rosewood back and

The 714ce offers a lot in the flexibility department courtesy of its onboard Expres-

sides, Engelmann spruce top

sion System. This all-magnetic pickup system uses what Taylor calls a Dynamic Body Sensor mounted under the soundboard and a Dynamic String Sensor under the fret-

BRIDGE

Ebony with compensated TUSQ saddle

board—both of which feed a discrete preamp with Volume, Bass, and Treble controls.

ELECTRONICS

Taylor Expression System

The system has some obvious advantages in that it is easy to use, makes little visual

CONTROLS

Volume, Bass, Treble

impact on the clean lines of the bod y (the three soft rubb er knobs are barely noticeable

FACTORY STRINGS

Elixir, .012-.053

on the upper bout), and it doesn’t create any of the plasticy artifacts that piezo pick-

WEIGHT

4.84 lbs

ups can often inject into the sound. Instead, the 714ce delivers a warm and balanced

BUILT

USA

tone that’s easy to dial-in with almost any amplifier or P.A., and less prone to feedback

KUDOS

Excellent construction and playability. Excellent acoustic tone. Expression System

than most systems that incorporate a mic inside the body.

makes it easy to amplify.

The 714ce is a superior performance guitar that plays like a dream, sounds excellent unplugged or amplified, and nails that ideal of a fine instrument that isn’t too prissy to take on a cross-country trip! — A R T

THOMPSON

CONCERNS

None.

g


current issue

August 2013 · Volume 47, Number 8

Here’s what’s in the August 2013 issue of Guitar Player on Newsstands Now! ,

RIFFS Brendon Small’s Heavy Metal Harmonic Convergence, Richie Faulkner on Judas Priest, Debashish Bhattacharya goes beyond, and more!

COVER STORY High-End Acoustic Roundup

Ten gorgeous steel strings from Bourgeois, Breedlove, Brock, Collings, Gibson, Martin, McPherson, PRS, Santa Cruz, and Taylor. Bonus Features! Budget Buyer’s Guide for acoustics, mandolins, and ukuleles; performance tips from the Band Perry; and acoustic recording tips. Artists

ARTISTS Steve Stevens · David Barrett · Steve Lukather · Poncho Sampedro · Elliott Randall

LESSONS Under Investigation

A thorough examination of a particular style or player. This month: The Monkees! Rhythm Workshop 40

What would Jimi do? Play awesome rhythm guitar, that’s what.

G U I T A R P L A Y E R . C O M /A U G U S T 2 0 1 3

Special Acoustic Lesson: Ukulele

Jake Shimabukuro shows why every guitarist should play ukulele. Gear

You’re Playing It Wrong

TEST DRIVE

We all think we know how to play classic riffs like “Wipeout.” Here’s the absolute real deal. Fretboard Recipes

Intervallic Designs, Part 7, excerpted from Jesse Gress’

GEAR

MJ Duke Deville Solidbody TESTED BY DAVE HUNTER

MADE IN THE USA BY A SMALL SHOP

per-sideheadstockandDunlopStraplokscom-

usingqualitycomponents, theDukeDevillehits

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trends,however,inanarrow-Cprofilethatmeasures just .781" deep at the first fret and .843"

mostofthestandard notesformodifiedT-style guitarswithitssubtly redrawnbodyshape,hot-

fiestaredfinish(oneof severalvintage-inspired colorchoices)withacurvy,3-plywhitepickguard.

atthe12th fret.It’sa littlethin for my taste(and mightalsobeforanyoneaccustomedtogripping

rodded neck pickup,and traditional two-knob control plate with 3-way switch.But mounted

Digging into the timbers, the Duke Deville features a slab body carved from solid poplar,

neckswith moreshoulder in their profiles),but theguitarprovedaneasy player,andfeltsuperb

in the Wilkinson T-style bridge plate is a Sey-

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mour Duncan Five-Two e Tlepickupthat seeks to addresstheoccasional imbalancebetween

furniturethan guitars.Andwhilethe neckistraditionalmaple,itfeatures“maplecap”construc-

thetrussrodto removesomerelief. The Duke Deville has a balanced acoustic

woundandplain stringsby usingalnico Vmagnets on the E , A, and D polepieces,and alnico

tion with a separate fretboard that allows the trussrod to be installed from the top side (i.e.

tone and naturally good sustain, and plugged intoaDr.ZRemedyhead througha1x12cabwith

II on the G, B, and E poles. In the neck slot, a DuncanCustomMiniHumbuckerwithaceramic

no “skunk stripe”on the back).A splice under the third fret and a volute behind the nut add

snappy tones that are infused with some extra

bar magnetandoverwound coilsaddsgi rth to

the strength required for a back-angled head-

beef from both pickups. On the bridge set-

thissomewhatunderpoweredTelep osition. Kluson-style Gotoh tuners on MJ’s three-

stock,which negates the need for string trees. The neck departs a little further from current

ting, the Duke Deville will do any of the classic Tele-toned tricks, with more than enough

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G U I T A R P L A Y E R . C O M /A U G U S T

Guitar Cookbook .

a Celestion G12-65 speaker, it delivers bright,

New Gear Knaggs Guitars Steve Stevens Signature MJ Duke Deville Solidbody Stompbox Fever! Strymon Mobius

2013

Stompbox Fever! Roland GR-S Spaceand GR-D Distortion Studio Tools PSP Audioware PSP Echo and PSP SpringBox

Lessons

Speed Rating Four mini reviews: Radial Engineering PZ-DI Piezo Optimized Active Direct

Box, EarthQuaker Devices The Warden Compressor, Way Huge Echo-Puss Analog Delay, Stonewall Signature P-90 Set Fable Fighters What’s the Big Deal About Vintage Effects Pedals?

You’re Playing It Wrong The Surfaris’ “Wipe Out” BY JESSE GRESS

hand-me-down oral tradition by the way they play Jim Fuller’s single-note guitar figure from the moment it enters. The latter bunch will tend to play a constant stream of eighth-notes right from the get-go, but go back and have a listen to the original version and you’ll find that the first two bars feature Fuller playing quarter-notes on both downbeats. It’s

THINK I’M JOKING? AS LONG AS WE’RE

having some frivolous summer fun, I’d like to point out one detail in this surf guitar classic (and fledgling drummer’s rite-of-passage)thatalmostalwaysgets overlooked.Infact,it’seasytodifferentiatethosewholearnedtoplay“WipeOut” bylisteningtotheSurfaris’original1963 recording from those who copped it via

as if Fuller was getting his bearings (or perhaps making a control knob adjustment?) before revving up into full gear. To set the record straight, Ex.1 portrays this slight hesitation and the ensuing barrage of eighth-notes that Fuller plays throughout the rest of the song. Nitpicky? Sure it is, but that’s what we’re here for. Cowabunga! g

Ex.1 MORE ONLINE = ca. 158 1

2

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guitarplayer.com/august2013

3

ChATTER Craig Anderton Stompbox Distortion Ain’t Just for Guitars

4 > 3

etc.

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“WipeOut”ByRobert Berryhill,Patrick Connolly,James Fuller,andRonaldWilson.Copyright MiralesteMusicandRobinHoodMusic.AllRightsReserved. Usedbypermission.

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G U I T A R P L A Y E R . C O M /A U G U S T 2 0 1 3

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Surf’s up!

Gary Brawer Acoustic Tips and Tricks Nicky Garratt The Epic Struggle of Stage Volume


lessons LESSONS

Soloing Seminar

Superimposition Strategies Jamie Kime Shares Ways to Build Colorful Solos Over Static One-Chord Jams BY JUDE GOLD

WHAT DO EDWARD VAN HALEN,

Steve Lukather, Scott Henderson, jazz bassist Christian McBride, Paul McCartney guitar-slinger Rusty Anderson, and late, great trumpet legend Freddie Hubbard all have in common? Each one of these iconic musicians has shown up at the Baked Potato—the wonderfully unpretentious jazz club just over the hill from Hollywood—to attend its popular Monday night jam. Well into its fifth year, this weekly funk/ fusion throwdown is led by two tantalizing guitarists: John Ziegler— the explosive avant-shred force behind Pygmy Love Circus and Volto! (featuring Tool drummer Danny Carey)—and Jamie Kime, the hypnot ic guitar whisperer who collected a Grammy award earlier this year for his work alongside Dweezil Zappa and Steve Vai in Zappa Plays Zappa. No, you don’t have to be a superstar to sit in at the ’Tater on these evenings—

Ex. 1

it’s open to everyone—but, after you experience the epic fusion odysseys Kime, Ziegler, and the rest of the house band play to kick off the night, you’ll quickly realize that this isn’t your average open mic. If you’re planning to step onto this stage, you’re expected to take your solo to the moon and back, or at least be willing to crash and burn trying. As is often the case in jam-friend ly environments, the repertoire at these sessions (which delves deep into the music of everyone from Coltrane and Shorter to Zappa and Miles) often lands on the jam-fr iendly t erra fir ma of exte nded oneor two-chord funk vamps. After all, it’s a lot easier to take a big solo when you don’t have to worry about chord changes or shifting key centers, right? Not necessarily. When the stakes are this high, it’s a mistake to think that improvising over a fixed harmony is any less daunting than doing so over a busy chord progression.

                  4     4    Ex. 2

Freely

Dm (C triads - - - - ) 1

3

3

2

 

13 16 15 T A B

14 10 13 12 10 11


13

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Remember, your musical soul is rarely more exposed than when you are handed an open-ended solo on the I chord with no changes in which to take cover, no harmonic or melodic constructs on which to lean, and you are tasked with building something captivating, nonclichéd, and entirely your own. “For me, the challenge in that situation is to make things harmonically interesting,” says Kime. “I’m always trying to get that feeling of a rollercoaster going—that feeling of a wave going up and down—even when the background harmony is unchanging.” Whether he’s wielding a Les Paul or a Stratocaster, attacking the strings with a pick or just h is finger tips, Kime—like a snake c harmer coaxing a cobra out of a basket—can pull a kaleidoscopically colorful solo out of the most ordinary groove. “I’m definitely more of a conceptual player than a lick player,” says the guitarist. “Any technique I have has been born out of needing that technique to execute a musical idea.”

Ex. 3

A altereddominant scale IV

= root

november 2009

LESSONS

Soloing Seminar Let’s take a look at some of Kime’s musical ideas. For instance, if Kime is handed a wide-open Dm groove, he might start his solo, like legions of other guitarists, in D Dorian. “But there are so many other notes to explore as well,” says Kime. “Over Dm, I might also think of superimposing C#maj7 [Ex. 1], which adds two very special notes to the mix: the major 7 (C#), and the #11 (G#). I love the way those chord tones sound over a minor background. You can get a similar sound by simply playing C# major triads in the form of a C# major arpeggio over Dm [Ex. 2]. You’re superimposing interesting melodies in bite-sized chunks. “Of course,” continues Kime, “you can also think altered-dominant to project an altered V chord sound— A7#5b9 over Dm—by playing this scale [Ex. 3]. It has the exact same notes as Bb melodic minor, but I find that if you think of it that way, you naturally start veering towards the harmony Bb— just like if you’re driving while looking right, your car may drift to the right. So think of it from the A perspective.” Another thing Kime loves to superimpose upon a static minor chord is the “Coltrane changes”—three separate key centers a major third apart, à la “Giant Steps.” Over Dm7—which Kime thinks of as the IIm chord in C— this means Kime will tag the keys of Ab, C, and E. “I love that sound, because it creates so much

JAIME KIME’S “ADVANCE ROMANCE” SOLO FROM 2010

emphasize—or just play everything really fast! [ Laughs.]” As we wrap up our interview, Kime shares that if he has one goal as a guitarist, it is to become completely non-patternbased in everything he plays. “Unfortunately,” he adds, “by nature of the instrument, that is pretty f**king impossible to do.” g

tension,” says Kime, demon- strating the approach with the intriguing line in Ex. 4. “Plus, it’s fun—you’re getting the ‘Giant Steps’ sound, but not while almost dying trying to swing at 300bpm. Some of the notes will clash with Dm if you bring them out too much, so be diligent in working out which ones you’re going to

Ex. 4

                         4          4     

(C) Dm7

= 100-130

(B m7 4

3

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lessons Reverend Gary Davis

I


I

I

june 2007

Master Class LESSONS SEE video footage of this lesson online at guitarplayertv.com!

Fingerstyle Blues Trace the Evolution of Delta, Piedmont, Nashville, Rockabilly, and Ragtime Guitar on Your Favorite Steel-String B Y J O N C H AP P EL L

IF YOU WANT TO MAKE MONEY PLAYING

the blues, well, it’s gonna be tough—your best bet may be to get yourself an electric guitar, land a steady gig with a club band, and learn how to survive for weeks at a time on the Chitlin’ Circuit. But if you want insight into the roots—the soul—of the blues, and yearn to experience for yourself the music’s humble inception in the rural southern United States at the turn of the 20th century, then cast aside your pick, grab an acoustic guitar, and play the music fingerstyle. Few genres of guitar music can match the universal appeal of acoustic blues. Plucked with the fingers, this timeless style is the earliest form of blues guitar. Before acoustic blues evolved in various directions (including instrumental acoustic blues), the guitar was just a convenient instrument with which to accompany yourself while you sang. Initially, the guitar style was defined by the singer’s accompaniment approach. But gradually, the guitar went from being just a rhythmic accompaniment instrument to having an equal voice—one that could more than handle the melodic duties between vocal phrases. Specifically, the guitar provided the “response” in the calland-response vocal/guitar interplay (a musical practice that has clear links to the African music of many early blues players’ ancestors) that has forever been a defining

characteristic of blues. The guitar later evolved into other roles, including that of solo instrument delivering the blues entirely instrumentally.

P L E C T R UM N O T S P O K E N H E RE Fingerstyle is the preferred approach for acoustic blues, because separating the functions of the plucking hand’s thumb from its fingers allows you to play independent bass lines against treble voices. More than just plunking out a “thumb brush” strumming style, an independent thumb means the thumb and fingers can play entirely separate musical roles—almost like a mini rhythm section— much the way ragtime pianists of the late 19th and early 20th century divided their right and left hands into different functions. The piano model could not have been lost on the solo guitar players in the rural South around the same time. Savvy guitarists realized that the thumb could act like a pianist’s left hand (performing the bass lines), while the fingers sounded chords, fills, and melodic lines, just like a right-hand piano part. And this approach worked for all the different, emerging styles of the day, including Delta, Piedmont, and country-ragtime blues.

BLUES BRANDS A word about styles and labels: “Delta” describes not only a region where the blues

Tired of glancing blows? Hit the low strings straight on with a thumbpick.

ALL THUMBS Many fingerstyle players use a plastic or metal thumbpick to give their bass parts increased authority and efficiency. And when you look at the way your pluckinghand thumb meets the strings without a thumbpick, it’s obvious why a little help is in order. When you’re playing fingerstyle, the thumb naturally strikes the strings in a sideways fashion—unlike the fingers, which pluck the strings at a more efficient, perpendicular angle. A thumbpick solves this “glancing blow” problem by enabling the tip of the pick to strike the strings at a right angle. And a thumbpick also provides an extension for the thumb, giving the appendage increased power, much the way a wrench or hammer gives your arm extra leverage and/or velocity. Thumbpicks aren’t for everyone, but if you’re planning to play fingerstyle blues, they’re worth getting used to. Need proof? Just listen to fingerstyle geniuses such as Chet Atkins, Merle Travis, Tommy Emmanuel, and Doyle Dykes; and electric blues players such as Albert King, Albert Collins, Freddie King, and Sonny Landreth—they’ve all donned thumbpicks.


lessons LESSONS originated (the vast alluvial plain that centers around northwest Mississippi and eastern Arkansas), but a style of guitar playing in which the guitar is used largely as a solo instrument, usually to accompany one’s own singing. Delta blues has an earthier, more plodding sound than some other styles, due in large part to a heavy-thumb approach. Piedmont blues is named after a region, too, and shares qualities with country, ragtime, and “songster” blues styles. “Piedmont” (French for “foot of the mountain”), in this case, is the southeastern United States, stretching from Virginia to Georgia, from the Atlantic coast to the foothills of the Appalachians. Piedmont blues is brighter and bouncier than its Delta counterpart, with a lighter, alternating bass line and syncopated rhythms in the treble voices. When the blues went electric, the Chicago players went at it by and large with flatpicks (though there were some exceptions). But fingerstyle blues was kept alive in country music, due in no small part to the efforts of Merle Travis. So for this lesson, we’ll use “country” to describe the type of blues that came from Memphis and Nashville, and its fusing with R&B and country music—a.k.a. rockabilly. Rockabilly was an important transition for both fingerstyle and blues, putting it squarely into the repertoire of electric guitarists, and paving the way for the next generation of fingerstyle

june 2007 Master Class

players, including Merle Travis, Chet Atkins, James Burton, and modern-day virtuosos such as Tommy Emmanuel and Doyle Dykes. Let’s start at the beginning.

L E T Y O U R F I N G ER S F LY Achieving independe nce between the thumb and fingers is key to all fingerstyle blues. Example 1 shows a basic Delta blues passage in which the thumb metes out an insistent, plodding bass line in deliberate sounding shuffle eighths. The thumbed bass part leaves the plucking fingers free to play contrasting and complementary figures in the upper voice, such as short fills between vocal phrases, solo lead lines, or, as in this example, sustained chords. Example 2 retains the eighth-note shuffle, but now the chords take on a more active role, providing syncopation and melodic movement. The 5-6 motion ( B-C# in E, E- F # in A) in the upper-voice chords is the familiar figure heard in the rhythm playing of Jimmie Johnson and, most famously, Chuck Berry. But Robert Johnson was doing it first, and he often put it in the bass line, strumming double-stops with his thumb. To keep things accessible, we’re putting the moving figure in the chords while keeping the single-note bass line intact. Notice that syncopation has been introduced in the upper voice, with chord strikes on the and of beat two (bars 2-4), and the and of beat four (bar

3). Accent these chordal figures to give your sound a heavier backbeat. In Ex. 3, we pull the bass line back to quarter-notes, because the rhythmic activity has picked up in the upper voices, played by the fingers. Note the scheme and contour of the upper part—this is played first over the I chord ( E), then with its pitches modified slightly, reprised over the IV chord ( A). This repeating of melodies over different chords is fundamental to the blues, drawing its influence from the call-andresponse structure of the field hollers, work songs, and, going way back, African music from which the blues sprang.

F A NC Y P AN T S In Ex. 4, we take our bedrock of quarter-note bass notes and play an entire four-bar melodic solo. The opening phrase is similar to the one in Ex. 3, but it’s fleshed out and fancier, owing much of its flair to the eighth-note triplets in the upper voice. The last two bars feature back-to-back classic blues quotes, played by everyone from Muddy Waters (who brought Delta blues to Chicago and electrified it) to Stevie Ray Vaughan. Practice the Piedmont passage in Ex. 5 by first playing the bass line. Apply a slight palm mute with the heel of the plucking hand so that the notes stay short and crisp. Piedmont blues is jauntier than Delta, and placing a spring in the step of your bass notes will

LISTEN HERE Acoustic fingerstyle blues is a timeless style that has a deep lineage, populated with such immortal figures as Robert Johnson, Skip James, M ississippi John Hurt, and Taj Mahal. This table lists fingerstyle players who made major impacts on blues music and culture, the specific style with which they’re generally associated, and a sample of their influential recordings. ARTIST

STYLE

RECORDING

LABEL

Charley Patton (1891-1934) Mississippi John Hurt (1892-1966) Blind Blake (1893-1933) Reverend Gary Davis (1896-1972) Skip James (1902-1969) Son House (1902-1988) Robert Johnson (1911-1938) Merle Travis (1917-1983) Jerry Reed (b. 1937) James Burton (b. 1939) Taj Mahal (b. 1942) Rory Block (b. 1949)

Delta Piedmont Piedmont Piedmont Delta Delta Delta Country, Rockabilly Country Rockabilly Country, Folk Country, Folk

Complete Recordings 1929-34 The Complete Studio Recordings All the Published Sides Complete Early Recordings Complete Recorded Works The Original Delta Blues The Complete Recordings Hot Pickin’ The Essential Jerry Reed Guitar Sounds of James Burton The Best of Taj Mahal Gone Woman Blues

JSP Records Vanguard JSP Records Yazoo Document Sony Columbia/Legacy Proper Records RCA Import Sony Rounder


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