Tuesday, 1 June 2010

Richie Kotzen: guitar player interview

YOU NEVER WANT TO ACCUSE SOMEONE OF BEING too talented, but Richie Kotzen might be a candidate for that criticism. A great singer, a strong songwriter, and a flat-out amazing guitarist (not to mention a pretty good drummer), it’s tough to pigeonhole him in an industry that insists on pigeonholing everyone. Kotzen is one of the more charismatic exponents of the Shrapnel wave of the ’80s and early ’90s, and in addition to releasing solo albums, he also landed a glam metal gig with Poison, played fusion in Vertu with Stanley Clarke and Lenny White, and replaced supershredder Paul Gilbert in Mr. Big. Currently touring his latest record, Peace Sign [Headroom], where he plays pretty much every instrument, Kotzen continues to elude easy classification.

How did you get such a live sound on a record where you’re playing all the instruments on almost all the cuts?
For starters, there’s no programming or any of that sort of stuff in the production. It’s all live instruments playing parts. Another reason is, if something happens during the recording—as long as it’s musical—I’m more inclined to let it go and then work around it. I have a studio at my house, and I leave everything set up at all times. The drums are miked and going through the preamps and compressors, and that doesn’t change until the record’s finished. So, I might lay down some sort of drum groove to work off of and then play something on the bass and think, “It would be really badass if the drums reacted to that.” Then I can hop behind the drums, punch in, and do that. It’s easy for me to keep those cool little accidents that happen and make it sound like the instruments are all reacting to them.
http://www.guitarplayer.com/article/richie-kotzen/April-2010/110737

Zakk Wylde: 'Farewell Ballad' FREE at Jamtrackcentral.com


As promised, we've now launched the first of a brand new, exclusive series of videos recorded for us by the amazing Zakk Wylde. The star of several Ozzy Osbourne albums and Black Label Society visited the jamtrackcentral studio a while back and demonstrate some of the most important aspects of his playing.

We have six videos altogether, and they're all accompanied by backing tracks and accurate Tab. You can download the first one now, and the others will be available very soon. Oh, and it gets better. They're all FREE! http://www.jamtrackcentral.com/free_zakk.php

Zakk Wylde 'Farewell Ballad' FREE at Jamtrackcentral.com

Guthrie Govan: jam track central solo improvisation

This is one of the solos that Guthrie recorded exclusively for our Youtube channel, improvising over existing jam tracks from our catalogue. And like several of the others, we've now given it a proper home on our site, in a downloadable package with audio, video, jam track, accurate Tab and lesson notes.

This is one of the most intense and aggressive solos that Guthrie has recorded for us... this is your chance to hear a virtuouso trying to kill his guitar!

Click here now to get this amazing download. http://www.jamtrackcentral.com/ggatt.php

Milan Polak: new lessons on the way!

Milan Polak has been hard at work on a new series of stunning lessons designed to add the prerequisite fire power to your playing. Here's just a teaser of some of the advanced techniques you can expect, layered cascading arpeggios.

"Arpeggio √Čtude" - Milan Polak Lesson Teaser

David T Chastain: The Reign of Leather


Leviathan Records has just released "The Reign of Leather", a collection of CHASTAIN tracks the legendary vocalist Leather had a hand in writing during her glory days with the band. http://www.leviathanrecords.com/

Commented the label: "As hard as it is to believe, Leather last appeared on a new CHASTAIN recording 20 years ago and has not recorded any new music since that time. Despite that fact, her reputation lives on.

"Leather had but a brief five-year stint in the classic band but recorded some timeless gems that have withstood the test of time. True metal fans consider Leather the preeminent female heavy metal vocalist of the late '80s. These tracks were recently digitally remastered in 2010 to bring them up to today's sound quality."



"The Reign of Leather" track listing:

01. For Those Who Dare
02. The Mountain Whispers
03. I Am the Rain
04. Not Much Breathing
05. Once Before
06. Live Hard
07. Chains of Love
08. Share Yourself With Me
09. Soldiers of the Flame
10. Take Me Home
11. Paradise
12. Too Late for Yesterday
13. The Wicked Are Restless
14. Take Me Back in Time
15. Forevermore

Leviathan Records has also reissued two of the classic CHASTAIN CDs with Leather: "The 7th of Never" and "The Voice of the Cult". Both were digitally remastered and are in their original unedited versions.

News: guitar 9 now on its' 14th anniversary!

The June-July edition is now online, and we`re celebrating our 14 year anniversary!

According to recently gathered statistics, artists, labels and distributors have been more diligent about keeping their products in stock. Over the past month we`ve averaged an 98% in-stock percentage for the almost 2700 products in our catalog. Check out the current price list and availablity status below.

http://www.guitar9.com/pricelist.html Price List


This edition`s guest columnists bring technique, guitar instruction and music business expertise directly to your web browser. We`ve got eleven fresh articles altogether - ten by returning columnists and one written by a new contributor. Canadian guitarist David Martone is back with "Zone Recording: Wireless". Tom Hess returns with "Big Mistakes You Should Avoid When Teaching Beginning Guitar Students". Mike Campese puts out another excellent technique column based on his new CD, "Electric City Song Shred Excerpts". Kole returns with another column "3 Uncommon Practicing Ideas". Guitarist Jirakit Somame is back with the first part of his article entitled "Speed Drill Ideas, Part 1". Guitarist Guy Pople returns with his article "DIY: Record And Release Your Own Albums". Jean-Pierre Zammit also rejoins us with his tips in "Legato Exercises". Guitarist Mike O`Malley is back with more tips in, "A Minor Solo Ideas". Marketing expert Christopher Knab returns with more tough love in "Band Agreements And Why You Need One" Guitarist Scott Allen offers some great playing ideas in "Pentatonic Scales: The Not-So-Secret Weapon". Our new columnist is Oscar Ortega with "One Reason You Might Not Be THAT Good (And How To Change It)".

http://www.guitar9.com/columnist719.html David Martone
http://www.guitar9.com/columnist720.html Scott Allen
http://www.guitar9.com/columnist721.html Mike Campese
http://www.guitar9.com/columnist722.html Christopher Knab
http://www.guitar9.com/columnist723.html Tom Hess
http://www.guitar9.com/columnist724.html Guy Pople
http://www.guitar9.com/columnist725.html Mike O`Malley
http://www.guitar9.com/columnist726.html Kole
http://www.guitar9.com/columnist727.html Jirakit Somame
http://www.guitar9.com/columnist728.html Oscar Ortega
http://www.guitar9.com/columnist729.html Jean-Pierre Zammit

Jason Becker,Jeff Loomis: let there be rock program

(Band – Song – Album)

1 - Sleeze Beez - Gun Culture (Insanity Beach)
2 - Three Days Grace - Bully (Life starts now)
3 - Kottak - Superpricks (Scream with me)
4 - Mother's Finest - Power (Black radio won't play this music)
5 - Exodus - The ballad of Leonard and Charles (Exhibit B: The human condition)
6 - Masterplan - Far from the end of the world (Time to be King)
7 - Innerwish - Full of lust (No turning back)
8 - Royal Hunt - End of the line (X)
9 - Tarot - Caught in the dead lights (Gravity of light)
10 - Ozzy Osbourne - Let me hear you scream (Scream )
11 - Megadeth - Symphony of destruction (Countdown to extinction)
12 - Incite - Nothing to fear (The slaughter)
13 - Mercyful Fate - Into the coven (Melissa)
14 - Tygers of pan Tang - Gangland (Spellbound)
15 - Rhapsody of Fire - Crystal moonlight (The frozen tears of angels)
16 - Ratt - Last call (Infestation)
17 - The Bled - Running through walls (Heat Fetish)
18 - Myrath - Madness (Desert Call)
19 - Armored Saint - Blues (La Raza)
20 - Pretty Maids - It comes at night (Pandemonium)
21 - Throes of Dawn - Lethe (The great fleet of echoes)
22 - Extreme - Comfortably numb (Boston 2009)
23 - Section A - Danger (Sacrifice)
24 - Heaven Shall Burn - Buried in forgotten grounds (Invictus)
25 - Andromeda - Censoring truth (The immunity zone)
26 - Solution.45 - On embred fields adust (For aeons Past)


Next on Let there be Rock:

- June 8: Interview with Vincent Cavanagh (Anathema)
- June 15: Interview with Andrew Elt (Sleeze Beez) + Win tickets to see Aerosmith, Stone Temple Pilots & Sleeze Beez
- June 22: Interview with Jeff Loomis (Nevermore)
- July 20: Jason Becker birthday Special

Ron Coolen

Let there be Rock on Boschtion FM
Every Tuesday 9 - 11  PM (CET - Amsterdam time)
Cable FM 87,5  // Ether FM 95,2

- Website ‘Let there be Rock’: www.letthereberock.nl
- Free downloads of Radio interviews:  http://www.last.fm/music/LetThereBeRock/+albums
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Marco De Cave: Quantum guitar software and book available


Software and book to provide you with interval combinations to expand your playing style tp the next level.



QUANTUM GUITAR

A complete method, logical, providing a tool to overcome physical limits medante enforcement techniques of modern design without neglecting the traditional harmonic-melodic and consolidated system, the deepening of interval permutations arising from the primary scales and viewing it on your keyboard, let seek solutions and build sound, inter alia with the help of software that, for those who wish, it would also be able to go further ... Highly recommended for guitarists who are not afraid of modern adventure!
(Nico stew)

If you are among those who love the research, if you want to bring a high level knowledge of your keyboard, if you look for new solutions melody, in short if you are willing to engage seriously on the guitar, this book is for you. Marco de Cave, whose attitude "scientific" I could appreciate several years ago, has done a great job in these pages, disclosing the possibility of dislocation of scales and arpeggios, these forms from two to seven sounds, expanding opportunities noise by the reversal of heights. The result is happy and music, supported by impeccable graphics that allows even non-readers make use of it. Such is the validity of the project deserve to be taken into consideration in its musical side, even by non-guitarists. Congratulations to Mark.
(Umberto Fiorentino)

Cave de Marco called me to let me have this book and am very happy I decided to write a comment on her work. First of all I remember Mark, in the years when she studied with me as a very curious and intelligent a passion for knowledge, after a few years and in front of this impressive work not only confirm my idea, but I make great compliments to Marco for the depth with which he has addressed all the arguments and the passion he has put in conceive of this work. Certainly not work for everyone, but for guitarists who want to do an advanced search on your instrument, both melodic harmonica in this book are an infinite study material.
(Fabio Zeppetella)

In this book of guitar technique advanced, Marco de Cave gives details of his theories.

This book is full of illustrative diagrams and is accompanied by a CD-ROM with all examples (complete audio and bases for exercise) of licks in the text.

Techniques outlined in Guitar Quantum is based on a new way to display the guitar with a point of view "geometric."

After having discussed how to expand "mentally" geometry of the keyboard, Mark guides us through what we might call a "conceptual simplification" in the construction of the guitar patterns, from those represented by the more familiar major scales and their arpeggios.

The ultimate goal of this book is to provide a variety of techniques, thinking and executive, to help the "guitarist of the 23 st Century" (as the subtitle) to develop their own paths melodic going beyond the usual concepts of the box and position.

This book is therefore intended to guitarists 'brave', wishing to explore new territories in which up to expand their creativity.
http://www.guitarpatterns.com/index.html

marco de cave quantic guitar video examples.wmv

Luciano De Souza: Double Vision competition

Equipment used: amp modeler AM4, Orange, Laney, Music Man by luthier cristiano tc new electronic system, and marshal mic shure 57

Concurso Double Vision DVD DOUBLE VISION by luciano de souza

Joe Bonamassa: new UK tour dates announced.


Due to popular demand, and straight off the back of a sold-out London Hammersmith Apollo concert in front of 5,000 people, critically acclaimed blues rock guitarist Joe Bonamassa will embark on a nationwide UK tour in October. Tickets go on sale from Tuesday June 1st and can be purchased from the nationwide ticket hotline: 0871 230 1101 or can be booked online from www.seetickets.com.

Tour dates: Folkestone Leas Cliff Hall (Oct 9), Cambridge Corn Exchange (Oct 10), Bridlington The Spa (Oct 11), Ipswich Regent Theatre (Oct 13), Bristol Colston Hall (Oct 14), Manchester Apollo (Oct 15), Newcastle City Hall (Oct 17), Glasgow Royal Concert Hall (Oct 18), Leicester De Montfort Hall (Oct 19)

News: BOSS: loop station world championship competition

Los Angeles, CA, June 1, 2010 — Guitarists, bassists, keyboard players, beatboxers, looping musicians of all sorts: BOSS® wants you to bring it on. BOSS Corporation is pleased to launch the Loop Station World Championship. Start by submitting a video performance with any BOSS RC-Series looping product, and the result could be a trip to the U.S. Finals in Hollywood, California. Or, better yet, $3,000 in BOSS gear and a trip to the International Championship at Winter NAMM 2011 in Anaheim, California.

Open Competition — June 1, 2010 — August 31, 2010
Upload a video performance using any BOSS RC-Series Looper to Youtube.com that is five minutes or less.
Visit www.BossUS.com/LoopStation to fill out entry form.
Entries will be judged and selected by BOSS, who will be looking at the creativity, musicianship, stage presence, and technical skill of the looping performance.
U.S. Finals — October 23, 2010
Top six entries will be flown in to compete at the BOSS U.S. Loop Station Finals at the Musicians Institute in Hollywood, CA.
Performances will be judged by a panel of music industry insiders, including:
Jeff Baxter (The Doobie Brothers, Steely Dan)
Michael Molenda (Editorial Director — Guitar Player, Bass Player, EQ, Keyboard Magazines)
Paul Youngblood (Vice-President of BOSS U.S., Director of BOSS Japan)
Prizes include:
1st Prize - $3,000 in BOSS Gear; trip to the International Championship
2nd Prize - $2,000 in BOSS Gear
3rd Prize - $1,000 in BOSS Gear
International World Championship — Winter NAMM, January 13-16, 2011
Winner of the U.S. Finals will represent the United States in the BOSS International Loop Station Championship in Anaheim, CA.
Performances will be judged by a panel of music industry insiders and celebrities.
Prizes include:
1st Prize - $3,000 in BOSS Gear (2,500 EU)
2nd Prize - $2,000 in BOSS Gear (1,500 EU)
3rd Prize - $1,000 in BOSS Gear (750 EU)
To enter the U.S. division of the BOSS Loop Station World Championship, please visit: www.BossUS.com/LoopStation.

News: 9 string, fan fretted behemoth!

Bass Guitar Solo 9 String Funk

Tim Morrison: box guitar gets a good range of styles work out

Guitar Tapping: Chopin Prelude in E Minor played by Tim Morrison


Theodore Ziras Style Extreme Shred on Box Guitar


Betcha Can't Play This : Jazz Edition (Giant Steps)

Adam Moore: atonal ramblings with Laurie Monk


[Laurie Monk] Judging from CD Baby http://www.cdbaby.com/Artist/AdamMoore you've been on the guitar scene for quite awhile. Now here at Truth In Shredding we do pride ourselves in finding new guitar talents, so I am surprised it's taken this long to discover your talents. So can you bring us up to speed with your guitar playing history to date, there must have been a lot of hard work learning the trade, for example are you self taught?

[Adam Moore] I've been playing for a long time, nearly twenty years, and making albums for about six years, although previously I've not really taken my career that seriously. I made my first guitar album, Curious Liquid, in 2004 mainly as it seemed like a really fun thing to do. I had all these ideas swimming around my head and my technique was OK, so I just started recording at home until I had enough material for an album.

Curious Liquid was great and I’m still really proud of it, but even just six years ago I didn't have the confidence or knowledge to turn that into a sustainable career. Today, I’m in a far better position to present my idea of what guitar music can be, so that’s what I’m doing.

[Laurie Monk] That's is interesting to hear, I talk to many guitar players who struggle to translate their prodigious talent to a CD, possibly in fear that they are still improving. I am more into recording and delivering a CD as a way of freeing yourself and enabling you to move on and progress. Would you agree?

[Adam Moore] Certainly, composing is more about personal growth and change rather than aiming for some elusive notion of perfection. At least it’s that way for me. Besides, people aren't consistent across their lifetimes. We develop. Our ideas of what is right or perfect change. I’d much rather that my output reflects my life. I can hear the twenty-four year old me in the music on Curious Liquid, I remember the house it was recorded in and the view out of the window.



[Laurie Monk] So after Curious Liquid what did you do?

[Adam Moore] After I made Curious Liquid I actually stopped listening to really technical guitar players altogether and moved onto more understated, song-based music. I made two albums then, Misty Mornings & Market Towns and Endless Clamour, but didn't promote either of them. They were just for me really. Now I've returned to playing guitar in a way that should appeal rather more immediately to your fine audience at Truth in Shredding. I've just released an album called Regent, which I see as shred guitar playing filtered through some rather more subtle song writing processes.

As far as my learning the guitar goes, I think, like most players, I've taught myself the majority of what I know, or at least established for myself how I want to apply what other people have shown me. I've been to various teachers who've helped me enormously and been able to point out what I needed to work on or what I’d misunderstood or where I was causing problems for myself with bad techniques. I've played live in lots of situations too and that’s an important education, everything from little acoustic folk groups to massive pit orchestras. Performing is wonderful fun and can teach you so much if you’re prepared to put yourself in unfamiliar situations.

[Laurie Monk] Did you make use of guitar tuition tapes/DVD's or videos as the trend and easy access to these must surely make the level of technical playing ability more easy to achieve?

[Adam Moore] A few of them, yes. I had John Petrucci’s one and also the Allan Holdsworth one. I got most of my technique from watching other players live or on live footage and just trying to mimic them. Things like the footage of Steve Vai at Expo ’92 in Seville were so instructive, also little snippets of Joe Satriani on The Satch Tapes and such like. I just tried to make my hands look like theirs. They had a kind of fluidity to them that I wanted. I remember a little bit of footage of Vivian Campbell playing with Def Leppard and just the motion of his hands suggested a kind of ease that I wanted to feel. Later on I tried to do the same thing with Robert Fripp’s technique. It was all just ease, lightness and freedom. It’s only in the last year or so I've seen my own playing on video and gotten to see my fingers from the other side as it were. I quite like it. I set a lot of store by what people’s hands look like, even non-musicians, its daft really.

Adam Moore - The Colourless Apple


[Laurie Monk] I understand that you've been teaching guitar since the beginning too. What areas do you tend to focus on and is there any thing you recommend for getting people out of a rut?

[Adam Moore] Yes, I've taught in one form or another since I was fourteen; I've always been drawn to it. Ideally, I want people to enjoy playing guitar and reach whatever goals they have. I show them as many theoretical ideas as possible in the context of music they actually like and encourage people to be as creative as possible. When I give guitar lessons now, they tend to be for more advanced players who feel like they’re stuck in some way. Usually I find that to get out of a rut people have to engineer opportunities to play in ways they can’t at present. If you’re playing in fairly straightforward rock bands and you know your major, minor and pentatonic scales then you've pretty much got it covered, but you’re not necessarily in a position to apply many ideas beyond that. So I suggest that students need to write or find material that will give them the chance to explore some new ideas. For example, I find that harmonising Melodic Minor is a useful next step- working out what scales and chords it gives you. However, if you’re playing Mustang Sally or Sweet Home Alabama in your covers band you’ll never get a chance to use it, so you need to write something that at least uses a Min/Maj tonic chord and so forth…

[Laurie Monk] Laughs... I understand you attended Robert Fripp’s Guitar Craft programme in the USA, UK and Spain. How did that come about and what sort of things did you learn there?

[Adam Moore] When I was about seventeen I read Robert Fripp's forward to The Guitar Handbook. It was really short but everything he said about the guitar and music was revolutionary to me at the time. That got me into King Crimson, which lead me to a Discipline Global Mobile sampler CD called Sometimes God Hides (get it, its wonderful!) which lead me to The League of Crafty Guitarists, which lead me to Guitar Craft itself. I attended Guitar Craft seminars off and on between 2000 and 2007, in the States, Spain and the UK. The Level One course I attended in New Jersey terrified me, it was so intense for a little English boy. I took me four years to get my head around the experience before I could go back. Guitar Craft focused, in part, on how you go about being available to the creative impulse. This means knowing how to conduct yourself such that when music presents itself you can respond with as much craft, or technique, as possible and with as little ego and preconception as possible. The actual playing was pretty serious; all the guitars were tuned to New Standard Tuning (CGDAEG), which has some great possibilities and means you can’t play anything you’ve played before. Everything was played with super-precise alternate picking and with great big triangular picks and just about all the music was in funny times. It's a very unique and difficult experience to describe, but Guitar Craft is completed now, it ceased to exist on 25th March this year, so very few people will ever know what it was like. I'm glad I was around to be even a small part of it.

Its Bbm, Eb Sus2, Dd Sus2 and Eb7. I don't quite pick all of it and use a few pull-offs on the high E string.



Adam Moore - Chocopocalpse Now Arpeggio



[Laurie Monk] A lot of networking in guitar playing today is around YouTube. I've been pretty impressed with videos on YouTube of your playing. I always get asked how players can record better videos, have you got any insider tips, tricks on how you record and edit your videos?

[Adam Moore] Yeah, YouTube has definitely helped me in the last year or so. Shred guitar playing just comes across great on film. I've got quite a few fans who know me purely though those little bits of video, probably same as a lot of guys.

When I record videos I record the guitar into Cubase 4 via a Pod and film it at the same time on a cheap little USB flip camera. I then put the video footage onto a video track in Cubase, sync it up by sight, and mix the camera audio in to make it sound more 'live'. So the sound is actually my normal guitar sound with added 'poor' camera audio.

[Laurie Monk] Ah clever... I'd not thought of that... adding room ambiance.

[Adam Moore] I find that if the video has no ambient sound it just feels rather odd, but if there are chair squeaks and pick noises mixed in as well it seems much better meshed and realistic. After that I just top and tail everything in Windows Movie Maker.

[Laurie Monk] I must admit I use Sony Vegas Studio, I knew that Marshall Harrison and Rob Chappers used that and it has some cool output to youtube features... but it's not free. I did get some lessons from the YouTube guru Rob Chappers and as he's shown, it's a great way to get yourself noticed in a positive way.

[Adam Moore] YouTube can turn into a bit of a freak show though, and doesn't really encourage guitar players to focus on music that doesn't look that impressive on camera.

[Laurie Monk] Laughs... but it's great for people like me! Seriously, I always tell guys to focus on the tune and then overlaying that with great improvisation or spectacular chops... Check out Andy James as a fine example of how to do that right.

[Adam Moore] Yeah, Andy can play!

[Laurie Monk] Moving on, do you keep working on your sound or are you happy with where you are?

[Adam Moore] I've tried to find something that suits me and is recognisable as me. I've got a sound I like now which is a Washburn Tonewood Guitar through a Marshall combo. It’s not especially flexible, but it’s starting to sound like me. I like a sound without too much top end and with as little distortion as I can manage.

Adam Moore's Atonal Ramblings on a Dave Martone Track


[Laurie Monk] One of my favourite questions, a lot of people mention their influences, for example I think you've quoted players like Pink Floyd, Steve Vai, Robert Fripp, Mattias 'IA' Eklundh and Freak Kitchen and super guitarist Allan Holdsworth, but what I like to know is the actual music pieces that motivate you to play, can you list out your top tracks?

[Adam Moore] Ooo, good one! Some songs seem to transcend their creators and its funny what makes the great ones in my ears. Before I could play guitar I remember hearing Yellow Christian by It Bites and just thinking it was so beautiful, I had a similar thing with Every Angel by All About Eve, Fortress Around Your Heart by Sting, Uniform of Youth by Mr. Mister and a few others. They’re not massive guitar songs, even the It Bites one, but they had everything I needed. I think when I was about eight or nine I heard Owner of a Lonely Heart by Yes and there’s a bit just after the solo where it drops down to two clear guitars in unison and I was totally transfixed by it. That was a big moment. I wasn't bothered about the solo, just Trevor Rabin playing that little arpeggio figure.

Once I actually started playing I got into all the usual guitar players like Satriani, Van Halen and Vai. I love their rock playing but it was always the clean ones I wanted to play. I used to jam 316 and Cathedral by Eddie Van Halen round and round for ages, they’re just perfect. Also, Sisters and by Steve Vai and Circles by Joe Satriani. After that I discovered Pink Floyd and pretty much stopped playing shred guitar altogether. When people talk about David Gilmour they tend to head straight for Comfortably Numb or something like that, which is great, but there’s a couple of other stunners, like The Final Cut or the slide solo on High Hopes. After that, Beeswing by Richard Thompson, Frame by Frame by King Crimson, Little Bastard by IA, I could go on forever…Actually, one of the most special songs I've heard recently is Chad Wackerman's Hidden Places, I think its got Allan Holdsworth's best performance on it.

[Laurie Monk] Lots of interesting tracks and players there. Holdsworth is my number one player and you are right players like Gilmour just have that added extra ingredient, the soul of guitar. It's what sets apart a terrifying shredder from the musician, the musician captures something extra, a little slice of heaven.

[Adam Moore] Yes, some players are extraordinary to watch for a little while and have spotless light-speed technique, but its very difficult to love what they do. I try not to criticise too much, thought, as its all starts to sound like a case of sour grapes.

[Laurie Monk] As you are producing the material you have creative control. What does this mean for you, are you using home studio tools or do you prefer using professional studio equipment?

[Adam Moore] I use whatever I can get hold of! I have a few nice microphones and a little bit of outboard gear and record everything on my PC. I think my creative process is much more suited to working in my own space and in my own time. Increasingly, I like to let ideas incubate. I’ll come back to working tracks and change bits, add something, take something else out and so forth. It’s harder to do that working with commercial studios. A lot of the music I have under way at the moment is in the form of what I call ‘composer’s demos’. That means I’m not trying to make them sound good, just get the ideas in the right places. So there’ll be a track that has a bridge section wedged in where I haven’t even tried to make the guitars sound the same or smooth over any bad edits. Also, there’ll be guitar solos that were played over one set of chords but I've come back to it six months later and changed them all, so the solo melody is set to a totally different harmony.

You can’t really be that spontaneous if you have to keep driving over to some other studio and calling up the engineer to oversee stuff. Also, it’s free! When it comes to recording material for release then I use professional studios more and more for drums. I just don’t have the resources to do justice to drums in my back room. Purple Circles and Empress in the Beginning from my new album Regent have studio drum recordings over which I overdubbed the other parts. In fact, by the time I was done, some of the parts I recorded were done two years after the drums. There’s a track called Inca on my previous album where a couple of the guitar parts are eight years older that the rest of the recordings. I like that though, I can remember where I was when I recorded those first bits and sort of track it across the years until it got finished somewhere else and in a very different phase of my life. You lose some of the ‘live’ qualities associated with a group of players working live in the studio, but that’s never been what I was looking for with my solo work.

[Laurie Monk] How do you decide when the track is finished, are there any criteria that you use... the danger is you go on forever, refining, rewriting...

[Adam Moore] I'm usually listening for a sense of balance, making sure nothing is there too much, repeated too often or too little, that sort of thing. I get more concerned with structure than anything else. I tend not to get that bothered by mistakes or odd sounding bits in solos, so I only ever do a couple of takes and pick the best one. My natural tendency is to improvise, musically and in life generally, and that doesn't really lend itself to endlessly trying to perfect things. Recorded versions are just ideal-types anyway, I couldn't and wouldn't play a recorded solo the same live. Also, when I'm working at home, eventually I'll want to move on to something else...so I do.

[Laurie Monk] In your compositions are you the sort of guy who is looking to add something new all the time, bigger kicks, fast playing, scarier licks?

[Adam Moore] A couple of times I've added something to a track just because I thought it might scare a few shredders. When I push towards an extreme its usually to try and make something natural and musical out of something really strange or unnatural. I wouldn't say I want to go faster or get heavier or whatever, but if I can make someone love a tune in 13/16 or move someone with a solo harmonised in minor seconds then that gets me going. So I suspect you'll eventually see a trend for really stupidly complicated ideas made palatable. I'm current working on a track that has a four bar loop in 15/16, then 21/16, then 15/16 and then 23/16. If I can make that feel normal then that satisfies my notion of 'extreme'.

[Laurie Monk] Laughs... now that's a nice sequence of odd time signatures! From a guitar point of you are you the finished article or are you still on the trail of gathering new techniques and new ideas?

[Adam Moore] I know so little and every time I learn something it just shows me how much more there is beyond it. One lifetime really isn't enough. When I was much younger a mate of mine who also played guitar asking if I had ‘stopped learning now’ and I remember being completely lost by the notion that learning music was a finite thing. I just assumed you keep going forever. Turns out I was right! As far as technique goes, every time I think I’m getting a handle on the full range of techniques someone comes along and blows all that out of the water. When I heard Freak Guitar, for example, I was so excited because I’d been playing for fifteen years or so, was playing really well and knew what I was doing, but had no idea at all how this guy was making most of the noises he did.

[Laurie Monk] Laughs... it also helps that in IA's case there is a sense of humour behind it all... it just feels like a natural extension to his persona.

The Internet is a double-edged sword. On the one hand there is the ability to get your name out and show people what you can do. But on the other the whole downloading thing has destroyed the market. What's your view on that?

[Adam Moore] We're now in a position where anyone who knows a bit about computers can avoid paying for music if that's what they want to do. All we can do, little independent artists and majors alike, is try to minimise how much people do it. There will always be a sizable element of society who are unable to empathise with the artist and unwilling to pay for recorded music. But this is the society we have created. Where art works are infinity reproducible so they will inevitably become devalued, its human nature to not care about abundant things. By contrast, this same tendency makes us value rare things all the more. A live performance is a rare thing and at the moment we seem to be in a phase where all the money is in live performance because people are willing to pay for it. The way I see it, there’s a great infrastructure in place on the Internet for people to learn about what you do and buy your music, but you still need to connect directly with your audience by playing to them before they’re likely to part with any cash.

[Laurie Monk] Are you the sort of player who is never happy with their work, never convinced that you have the perfect piece, or are you more pragmatic, knowing there are better songs to come?

[Adam Moore] Both really, but I’m quite philosophical about it. Of the music on the four albums I've released I could only claim to be truly happy with maybe half a dozen pieces. If you’re progressing all the time one of the ways you know it is when you start to find things you want to change in the music you've made in the past. I think you need to pin ideas to the earth by putting them into a song in order to move beyond them. Its one way of marking where you've got to. All I can say is that I know everything I've made is the best thing I could have made at the time. Besides, once you finish a song it sort of develops a life of its own and it’s the people who listen to it that decide its future.

Guitar Noize Antishred Adam Moore


[Laurie Monk] Finally can you tell us about your plans following the release of your new CD?

[Adam Moore] Well, Regent has just been released on my own label Evesound (www.evesound.com) and I've put together a band to play some of those pieces plus some of the highlights from my back catalogue. The band is fantastic, they can do anything I can think off, which as a composer is a great thing to have a your disposal. There's Paul Williams on bass, who I've played with for quite a few years now. He's great and has such a great sense of the piece as a whole and makes some really simple but gorgeous choices when we're improvising. Then there's Al Watts on guitar and keyboards. He has to cover all the second guitar parts, some of which are harder than my lead parts, and then I have Matt Dove on drums, whose just so goods its daft. That band can play songs in 13/8 or 11/16 like they're Ba Ba Black Sheep and Happy Birthday. We're going to be playing some pretty complex stuff but with as much attitude and style as we can muster without messing up! I'll be announcing some initial dates on Evesound by mid summer. We'll start in Norwich and work outwards from there. Also, I'd like to do some guitar clinics based around my original material. I haven't worked out how that's going to happen yet, but keep an eye out.

[Laurie Monk] Thanks very much for the time doing this interview it's been really great.

[Adam Moore] Thank very much, I'll look forward to more illuminating posts on Truth in Shredding.

What’s he made so far?
Regent (2010, Evesound Music)
Endless Clamour (2007, Evesound Music)
Misty Mornings and Market Towns (2006, Evesound Music)
Curious Liquid (2004, Evesound Music)

Sergey Evsyutkin: anti shred competition

Sergey Evsyutkin.Anti-Shred Contest

Kevin Peters: onthataps anti shredding... just!

This one just in the speed limit?... good job there was no film in the speed camera, as looks can be deceiving... ;)

Kevin Peters:
This is my entry for the Anti-Shred Competition by Guitar Noize. There are a few short burst of shred I confess, but I like to think of them as melodic bridges. Enjoy!

Kevin Peters - Anti-Shred Competition


dare you risk the law?


Guitar Noize: Anti Shred competition. Ends on the 3 June 2010

Joe Satriani: new solo and chickenfoot CD's discussed

When do you think the next Chickenfoot record is actually going to come out?
Sometime early next year. I’ve got about three or four weeks to finish making demos from a solo record, and then I’m in the studio in June and July. I’ll hand in my record to Sony in August, and in September, Chickenfoot gets together for a month of recording. I go on tour in October, November and part of December. I may do a little bit in January, and I think in February we’re going to do the last Chickenfoot sessions to finish up the album.

Are there any new song titles yet?
I don’t think any of the song titles are the actual song titles. Except for maybe one. I wrote a song around a set of lyrics that Sam had given me called “Come Closer”. It’s a really great song. A typical story about how things get written — he had given me the lyrics when I went on the “Experience Hendrix” tour, so I was looking at them every other day for about a month, and I was writing all sorts of different songs. It was a long set of lyrics, unedited. Then we got together, and one morning before we started recording a few weeks ago, I recorded a different version of what I thought the song could be on piano. It was really kind of dark and dreamy sounding, and I just recorded it on my iPhone and e-mailed it to Sam. By the time I got to rehearsal, he was going crazy saying, “That’s the shit. That’s a song. That’s how we’re going to do it. Show the rest of the guys.” So I sat down on piano and played it for the guys, and they were like, “Cool, cool, cool.” I picked up the guitar and had to transfer the song to guitar. Then we made a recording of it, and everybody still loves that first recording we did as being a very definitive recording about where that song’s going to go. That’s how things get done with Chickenfoot. Any idea that somebody has gotten that they throw out and is cool and other band members respond to it, we go with it. It can happen just like that, really fast.
full interview

Marco De Cave: anti shred competition

Marco De Cave with some more exciting musical techniques.


marco de cave antishred competition.wmv


Just a couple of days left to this great competition


Guitar Noize: Anti Shred competition. Ends on the 3 June 2010

Enver Izmaylov: memories

Enver Izmaylov - Memories

Tony Bellardi: sizzling solo!

Interpretation absolute beginning of the Angels

Gli Angeli

Guthrie Govan: web cast repeat

May 2010: Did you miss our May webcast with Guthrie Govan or want to watch it again? Then you're in the right place. In this webcast from 5th May 2010, Guthrie Govan takes you through his gear and his massive pedal board, talks about his experiences on tour, working with rapper Dizzy Rascal, how he learnt to play guitar at young age as well as tips on Legato, speed playing, Picking, his favourite gear and some exercise recommendations.
Don’t forget to head over to YouTube to check our Webcast Contributor Q&A’s!
Remember to leave your comments and feedback on this webcast!

http://www.licklibrary.com/Webcasts/8/May+2010