The Importance of Having a Repertoire

Over the years, I have met many guitar students who could not actually play anything, even though they had taken lessons, perhaps for years. If they were asked to play something, the best they could do would be offer you some isolated "pieces" of songs or solos they had worked on. They are missing certain pieces of knowledge about the Art & Science of practicing that would enable them to get past a hurdle that stops the progress of many guitar students: how to actually finish something you are learning, and bring it up to what is called "performance level", which is another way of saying "I can get through this without it falling apart so badly I can't keep it going", or "I play it all the way through well enough to not cause me major embarrassment, or the listener major discomfort, or pain".

Read the entire lesson here:

http://www.guitargearheads.com/modules/soapbox/article.php?articleID=33

The "SOLO" by ProCo Sound

Since the beginning of time, there has been no instrument created that has the ability to convey more emotional response than the electric guitar. A guitar player is able to reach into his or her soul and express every sentiment and passion known to man through the vast array of tonal options available. Early on, these options were limited to string gauge, pickups, amplifiers, and unique properties of the wood used in construction. Today, these options have been greatly expanded through the use of rack mount effects and stomp boxes. When it comes to stompboxes, overdrive and distortion pedals have always been very popular favorites. No longer do you need to turn your amplifier up to an ear splitting levels to achieve a driven tube sound, or heavy clipping distortion. Many great guitar players have based their signature sounds on the type of distortion they use.For over 30 years, ProCo Sound has been giving guitar players the tools they need to allow their guitar solos to fly high above the rest. Many players have defined their tone and style using RAT pedals as an important element of their guitar rig. As technology has moved forward, so has ProCo Sound. At the 2006 Winter NAMM show, ProCo introduced a brand new pedal called the "SOLO", and I have been given the extreme honor to be the first to take it for a spin.

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http://www.guitargearheads.com/modules/news/article.php?storyid=151

Tracktion 2 - Music Production by Mackie

I first started recording my guitar playing almost as soon as I learned to play the G, C, and D major chords that everyone discovers as a beginner. At that time, my biggest problem wasn’t changing chords, it was playing in time. I usually practiced with a metronome, but that quickly got boring. So I went on a mission to add some recording capability to my rig in order to practice my timing with a drum track. I really wanted to hear how I sounded so I could determine what to practice next.

My quest first started with a small compact flash based 4-track unit and eventually progressed into full-blown computer based recording. During this journey I have tried a variety of music production software solutions, but each of the products had critical limitations related to audio fidelity, export options, sound effects and filters, MIDI-capability, loop generation and editing, or user interface. In fact, I didn’t find what I was looking for until it found me! Mackie sent me a version of Tracktion 2.0 a couple months ago and I never opened it expecting more of the same. Boy was I proven wrong…I can truly say that Mackie Traction 2.0 is serious recording software designed with musicians in mind!

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http://www.guitargearheads.com/modules/news/article.php?storyid=152

The D-75A Power Amplifier by Crown

As I look back on my personal guitar playing history, I realize that I have grown up in a guitar amplifier world that has always taught that "bigger and louder" is "better". Let’s face it, everyone wants a Marshall Stack that will produce a sonic wall of sound that would peel the paint in their practice space. Companies like Marshall and Mesa Boogie have led the way in large powerful amplifiers, and in the process they have created signature sounds for many artists. Even so, there is a growing trend in the guitar amplification. Some players seem to be trading in their monster setups for smaller systems. These are typically single cabinet designs with only one or two low wattage speakers. The reason is really pretty simple - it is easier to drive enough wattage through a smaller cabinet and have it sound good than it is a larger one.

I decided a long time ago that I wanted to go this route with my guitar rack. Unfortunately, this posed some unique problems that I had to overcome. First, I did not want pay the big dollars to buy a "high end" low wattage guitar amplifier to run my custom "Tone-Tools" cabinet. I decided that I would rather run my rack off of a clean low wattage power amp. Since most low wattage power amps are built for studio monitors, they generally are designed for four ohm loads. Most guitar speakers however are eight to sixteen ohm which left me with extremely limited options with the handful that are four ohm. To solve this problem, I did some research and came up with the D-75A power amp from Crown.

Click here to read the entire review:

http://www.guitargearheads.com/modules/news/article.php?storyid=147

Royale RL-4 from Greg Bennett Guitars by SMC

When I was sent the Royale RL4 from Greg Bennett to review, I just couldn’t get this scene from “Pulp Fiction” out of my head!

Jules Winnfield: What do they call it?
Vincent Vega: They call it a Royal with Cheese.
Jules Winnfield: Royal with Cheese.
Vincent Vega: That's right.
Jules Winnfield: What do they call a Big Mac?
Vincent Vega: Big Mac's a Big Mac, but they call it Le Big Mac.
Jules Winnfield: Le Big Mac. What do they call a Whopper?
Vincent Vega: I don't know. I didn't go into Burger King.
(Pulp Fiction, 1994, Miramax)

I loved that movie, so I immediately had a good vibe from this guitar. I also knew from my review of the Carolina that I was probably in store for a treat. I was not disappointed! Click below to read my review of the Royale RL4 semi-hollowbody guitar from Greg Bennett.

Click here to read entire review:

http://www.guitargearheads.com/modules/news/article.php?storyid=146

Recording Guitar and Bass

Recording Guitar and Bass
Getting a Great Sound Every Time You Record

A Book Review By: Gary Allen

I can not even begin to tell you how many times that I have read articles on how to record electric, acoustic, and bass guitars. The information available is so vast, but unfortunately much of it is contradictory. There is the argument of recording with microphones compared to recording direct. Some recording professionals praise the power of compressors, while others warn of the dangers of using them at all. Who are we supposed to believe?

Most of these article writers are highly respected professionals in their field, and have recorded hit songs and albums that back up their views. After years of struggling with the confusion it finally hit me one day when I was talking to another guitar player. He was telling me how he did not believe in using effects at all with his guitar rig. Me, being a total gear junkie on the other hand could not comprehend why he did not like any type of effect. I had heard him play and he sounded really good, but I also liked the sound of my guitar with effects.

It was at that point I was able to draw a parallel in the controversies surrounding the recording of guitars. It suddenly occurred to me that all these different recording ideas were not set rules, but more a personal preference of the recording engineers that were writing these articles. I was then better able to analyze the different articles I read, by not trying to figure out if they were right or wrong, but rather if a particular style of recording would work better for me in one situation than in another.

I recently received a book from Backbeat Books called “Recording Guitar and Bass – Getting a Great Sound Every Time You Record”. After I read this book I finally felt that my new thought process had been validated. The Author of this book, Huw Price, seemed to share many of my own views on the subject of recording. I would like to share my thoughts of this book with you.

Click here to read entire review:

http://www.guitargearheads.com/modules/news/article.php?storyid=84

C300z Passive Loudspeakers by Mackie

Many of you may remember Dan’s recent review of the SRM350 active loudspeakers by Mackie. But what about all of you who have already invested money in outboard amplifiers that you are already very happy with. For you Mackie has created the C300z passive loudspeaker.

When I first entered the live music scene several years ago, loudspeakers were little more than wooden boxes with speakers installed in the front. These square and rectangular boxes worked fairly well in the hands of experienced sound crews and engineers who could afford the best equipment to get the most out of them. For the less experienced however, these cabinets were a breeding ground for resonant frequencies and standing waves that turned their sound into an undesirable mush. With much effort and experimentation with placement, most were able to get results they could live with.

While newer speakers and electronics were developed over the years, the problems with the cabinet designs were for the most part ignored. That was until Mackie introduced their line of injection molded polypropylene speaker enclosures. It has been my experience that Mackie does not approach a problem from only one direction, but they tend to innovate on several angles at a once. This is achieved by hiring people who use and therefore understand firsthand the problems associated with most loudspeakers and work hard to solve these issues. This was especially true with the C300z passive loudspeakers.

Click here to read entire review:

http://www.guitargearheads.com/modules/news/article.php?storyid=144

Juggernaut Bass Distortion from ProCo Sound

Here is a quiz for you. I'm sure you won't get the answer. What do the bands the Cure, Yes, Red Hot Chili Peppers, Metallica, Rage Against the Machine, and Kings X have in common? Give up? These bands (as well as countless others) have used distortion to give bass lines a little more edge. In doing some research with players who play more bass than I do there were some very mixed reactions on bass distortion. The "purists" like a super clean bass that sort of thumps out the root note. The "industrialists" wanted nothing but crushing walls of sound - the more the better. My question to them was "Is there a way to get both?" Meaning, is it possible to get that clean root note that can be heard over a thick wall of distorted thunder?

My answer was typically a blank stare. I wasn't sure this was possible without multitracking or using switches to lead to multiple bass amplifiers. The best option clearly comes in a much simpler (and smaller) package. For my bass playing brethren, I bring you the Juggernaut Bass Distortion Pedal from ProCo sound!

Click here to read entire review:

http://www.guitargearheads.com/modules/news/article.php?storyid=141

ThinAmp by AXL

The word “portable” is one of those marketing words that companies often use when they suddenly think to add a handle to a 100 pound piece of gear. As most of you know by now, I’m a frequent flyer and I’m always looking for gear that is truly portable. This means that the gear in question should be small, light, easy-to-carry, and provide few hassles when going through airport security.

I’ve played with various portable amps and found very few that actually fit this definition. Most, even if small, are too blocky or ill-designed to carry efficiently and the really small ones just don’t have respectable sound quality. Fortunately, I was sent a relatively new product called the “Thin Amp” from AXL. As we will see, it is a nifty little portable amp with some really intriguing features.

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http://www.guitargearheads.com/modules/news/article.php?storyid=138

SRM350 Loudspeaker by Mackie

When you first start gigging, you quickly begin to realize that sound dynamics are an incredibly difficult beast to tame. Different performance spaces and crowd sizes result in dramatically different acoustic properties from gig to gig – or even within the same gig as people float in and out. You may find that your standard guitar amplifier sounds great at sound check at 10 or 25 feet away and fills the empty room with sweet tone. Suddenly, people are milling about having a good time dancing, singing and talking. Now the people in the front can hear you but people in the back just hear a muddled bunch of noise – mostly low level frequencies. This problem expands exponentially as you add bass guitars, keyboards, drums, and vocals to the mix.

At this point most bands realize that it is time to invest in some serious sound reinforcement equipment like mixers and loudspeakers specifically designed to improve fidelity from the front to the back of the room. As many of you already know, Mackie is one of the foremost names in sound reinforcement and studio equipment, and they have sent us the SRM350 2-Way Active Loudspeaker to review for you.

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http://www.guitargearheads.com/modules/news/article.php?storyid=136

The Rio Grande Acoustic by Greg Bennett Guitars

My memories of the acoustic guitar go back to my very early childhood when my Dad would pick up his old "Decca" acoustic guitar and play. Over the years there would be many nights of jam sessions where he and my uncles played for hours. I can still remember the guitars they played, and although they had different brands, every single guitar was a dreadnought. Years later when I began playing guitar myself, I naturally leaned toward the same body style that I had become used to while growing up. Ultimately, every acoustic guitar that I have owned up to this point was a dreadnought style body.

So when Dan and I were selecting the guitars we wanted to review from the Greg Bennett line, I naturally selected a dreadnought for my review. When I told Dan which guitar I wanted to review, he informed me that I was stuck on dreadnoughts, and that I should broaden my horizons and try something in a different body style. Realizing that what he was saying was true, I set out to find something different than I had ever reviewed before. The result was the "Rio Grande OM 15 CE" acoustic guitar, which is an orchestra model body with a cutaway.

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http://www.guitargearheads.com/modules/news/article.php?storyid=131

3630 Compressor by Alesis

Being the Gear Head that I am, I find myself constantly browsing the Internet and the music catalogs to see what new gear is on the market. Lately however, I have changed my focus to watch for what gear has been on the market for a long time and continues to be a great seller. Surprisingly, most products in the music industry last less than 5 years before they go through an overhaul, upgrade, or are phased out completely and replaced by a new model. In my research, I was able to find very few products that have stood the test of time. One of these products is the 3630 compressor from Alesis. The 3630 was first introduced in 1991, giving it an unprecedented run of almost 15 years on the market. Furthermore, I spoke with Alesis and they said it is not going to go away anytime soon. I decided that we should see what makes this compressor one of the most popular compressors on the market today.

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http://www.guitargearheads.com/modules/news/article.php?storyid=127

Hot Rod Strat®

Every guitar player I know wants a new or better guitar. Most of us can not afford to go out and buy a new guitar, but there is another option. Make some adjustments and modifications to your existing guitar. In this article I am going to show you a few tricks you can do that are relatively easy and inexpensive for the do-it-yourself type. I have just finished doing some modifications on my stock Fender® Stratocaster® and I am going to show them to you.

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http://www.guitargearheads.com/modules/news/article.php?storyid=54

FENDER® is a registered trademark of Fender Musical Instruments Corp.The names STRATOCASTER®, STRAT®, and LACE SENSOR® are all registered trademark of Fender Musical Instruments Corp.

BMAX-t by BBE Sound

During its 50 years of evolution, the electric bass guitar has become the soul of modern music styles. Bass is the instrument that gives a band it’s attitude and confidence by setting the musical structure through driving grooves, mellow sounds and hypnotic rhythms. While often overlooked by casual listeners, if the bass track were to be lifted out of your favorite songs, the music would suddenly sound thin and unappealing. Even before the Leo Fender invented the first popular electric bass guitar in 1951, the upright bass was laying down low pulsing lines that were more felt than heard. Today however, bass guitar has carved a very important role in all styles of music. It is now meant to be heard as well as felt. Because of this, volume and tone play very important roles in defining the bass sounds that drive successful bands forward, either on stage or in the studio. One of the best ways to get great tone is through the use of a bass guitar preamplifier. One of the best bass preamps on the market is BBE Sound's BMAX-t.

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http://www.guitargearheads.com/modules/news/article.php?storyid=125

Wooden Guitar Picks

As “Gear Heads” I believe we sometimes get so caught up in gear being expensive amps, effects, and guitars. We tend to forget that something as simple as a pick is still gear. But not all picks are simple. Take for instance the hand-crafted wooden picks that are manufactured by “Wooden Picks” www.woodenpicks.com in Atlanta GA. Ike Gilbert at “wooden Picks” was good enough to send me a selection of picks to try out and write a review about. The picks we are going to look at in this review are the Macassar Ebony, the African Olivewood, and the Pink Ivory.

Click here to read entire review:

http://www.guitargearheads.com/modules/news/article.php?storyid=23