Sunday, 27 January 2013

Anouck André: Carl Martin AC-Tone 2012


First episode of my new section 'keep me in the loop' about gear demo.
Here is the new Carl Martin AC-Tone Pro series, a very versatile pedal offering some nice sounds!
he new `single channel` AC-Tone, is a smaller pedal-board friendly, single channel version of the original Pro-Series AC-Tone. It features 3 knobs and 1 switch and has a slightly beefed up Gain section, but shares the very same tone as its big sister
Visit : htttp://carlmartin.com
http://anouck-andre.com


Keep Me In The Loop : Carl Martin AC-Tone 2012 Model Playthrough

Kelly Simonz: FGN Guitars - NAMM 2013




Kelly Simonz on the Samurai stand... FGN guitars... I kid you not... a full suit of Samurai armour.

NAMM 2013 FGN Guitars / Kelly Simonz


NAMM 2013 FGN Guitars - Kelly Simonz Part II

Jason Becker, Rebecca Dirks: Carvin Guitars Jason Becker JB200C and more NAMM


NAMM '13 - Carvin Guitars Jason Becker JB200C Tribute Guitar Demo, CT7C 7-String, DC800 8-String

Rebecca Dirks, Steve Stevens: Rebecca gets the lowdown on Friedman Amp NAMM



http://www.premierguitar.com PG's Rebecca Dirks is on location at the 2013 NAMM Show where she visits the Friedman Amplification booth. In this segment, we get to see and hear a demo of their newest amp -- the Steve Stevens' Signature SS-100 head.


For more NAMM '13 video demos or PG's 1900 other videos online, be sure to visit http://www.premierguitar.com/video

Norman Brown: After The Storm - Smooth Jazz NAMM


Here's a clip of Norman Brown performing at the Eastman guitar booth at NAMM 2013
Enjoy and "Stay Stay Smooooth".

After The Storm - Norman Brown (Smooth Jazz Family)


Affirmation - Nornam Brown (Smooth Jazz Family)


West Coast Coolin' - Norman Brown (Smooth Jazz Family)

Isaac Negrene: BR-Trio in stunning fusion performance video.


Now this is a band I would love to see playing live!


BR-TRIO in Studio, " Ai Vem João ", Musicians: Guitar - Isaac Negrene, Bass - Michael Pipoquinha, Drum - Elthon Dias. Recorded in January 7, 2013 for Hemerson Celtic in Estúdio Giba Favery.

BR-Trio - Ai Vem João

Eddie Van Halen: surprises the tone king!


Check out the new EVH Red / White stripe guitar! With a really nice & unexpected suprise from the man himself, Mr. Eddie Van Halen! What a suprise!! I admit - I was star-struck! Thanks Mr. EVH for saying hello!


NAMM 2013 : TTK meets EDDIE VAN HALEN @ the EVH Booth! TOTAL SUPRISE! Starstruck & AWESOME!

David Maxim Micic: Blue Sun - Destiny Potato


DESTINY POTATO - "Blue Sun" Instrumental Axe Fx II Demo (Guitar Playthrough). DESTINY POTATO mastermind, David Maxim Micic, gives you guitar play-through of the new album track, "Blue Sun," from the forthcoming debut album, tentatively titled Lun, due out summer 2013.

David Maxim Micic uses:

Custom Made Ibanez S Series guitar with QM pickups

Axe-Fx 2 To hear a rough mix of the previously released album track, "Dark Side Of You," click here http://www.youtube.com/watch?v=fTq5sIDryEs

Ron Thal, Stanley Jordan: Veteren Vigier Artists NAMM 2013


Veteren Vigier Artists Stanley Jordan and Ron "Bumblefoot" Thal Jamming at the booth at NAMM on Jan 24th 2013, First day at NAMM.

Ben Woods,Richie Kotzen,Steve Morse: Jason Becker Not Dead Yet 2 (2013)


Ben Woods, Rudy Parris from the Voice, Gus G from Ozzy, Richie Kotzen, and Steve Morse.

Jason Becker Not Dead Yet 2 (2013) - Slims San Francisco - Highlights of the Evening

George Marios: rocking the hybrid blues

'Blues Rock' Jam over an original backing track by George Marios
by George Marios
Hey guys,
Here is a jam over a backing track i wrote, using my beloved Zivory Guitar.
Please stay tuned at www.georgemarios.co.uk, for information on lessons,sessions,gigs and HD products.
All the best,
George Marios


PJ d'Atri: ripping some practice


guitar practice 2013

Doug Steele, James Ryan: Cokken Stand Up and Shout (outro solos)


Cokken Stand Up and Shout (outro solos)
http://dougfcknsteele.com/cokken/ 4 bars, then 2 bars, then 1 bar. Lotsa fuckin' solos!!!

Tommaso Zillio: Creative Uses For The Pentatonic Scale



Creative Uses For The Pentatonic Scale - Tommaso Zillio 

Modal scales are fun but you can't make them sound like your favorite players? Well, this is because professional players will use a pentatonic scale rather than a modal scale. How? Keep reading.

Most amateur guitarists think that pentatonic scales are nice to use in Blues and Classic Rock, but not much more. This is a dangerous assumption to make, and it can in fact hurt your playing. I know this all too well, since I used to spend all my time on modal scales and very little on pentatonics, thinking them a limited tool.

But the more I studied my guitar heroes, musicians like Joe Satriani, Steve Vai, Eric Johnson, and later Andy Timmons and Guthrie Gowan (just to name a few), the more I realized that they were using the pentatonic scale quite often, but somehow they mad it sound different than what I was able to do. Sure, all these are amazing players, but i am not thinking about technique or speed or even phrasing. It seemed like they were able to bend the pentatonic scale to their will. And this was in fact exactly what they were doing!

This confused me for a longtime, but little by little I came to understand what it is that these people are playing in their albums. It took me a lot of time because there was lots to understand, but some simple tricks can be learned with very little effort and they sound great. In fact, I am surprised that these tricks are not widespread, but i couldn't find an online resource explaining them in an easy way. So, here we go:
1 Pentatonic"Shifting"

We start with an idea that is as simple as it is useful. I guess that everybody knows that over a chord progression in A minor you can play a solo on the A minor pentatonic scale. This may well be one of the first thing you learned on the guitar. What you probably don't know yet is that this is not the only scale you can use: for instance on an A minor backing track you can also use an E minor pentatonic scale. Before protesting that this is the wrong scale for the job, try it out: you will discover that actually it does sound great.

How is that possible? After all the scale seems to be in the wrong key. Well, let's have a look more in depth: the notes in the A minor pentatonic are A C D E G. The notes in the E minor pentatonic are E G A B D. As you can see immediately, the E minor pentatonic is simply the A minor pentatonic with a B rather than a C. But this B note is not a problem, because B is still a note in the A minor key (A B C D E F G), so it's not a wrong note at all.

With this simple trick, I just doubled the usefulness of any pentatonic lick you may know: when you are soloing over an A minor track, you can play all of your licks in the A minor pentatonic AND on the E minor pentatonic, and they will sound great (even if different) in both cases. In fact it is a good idea to try and mix the two scales when you are improvising. If you want to see how to do it, I have prepared a http://musictheoryforguitar.com/advancedpentatonicvideo.html video lesson that shows you how to do that.

As you can see, this trick is very simple. Just because it is so simple, you can use it anytime. It's a great way to spice up a solo!

2 Pentatonic Alteration

Another simple concept that we can apply to pentatonic scales is the concept of "alteration". By that I mean that we can take a pentatonic scale and change one of its notes in order to obtain a slightly different scale. The new scale will be similar enough to the original pentatonic so that it can be played in a similar way, and yet it will sound different.

But what note exactly should we be changing, and how? Of course this depends on what we want to do with that scale, and for this reason many different "altered" pentatonic scales do exist. I want to share with you a simple example here so to get you started. Take your A minor pentatonic scale, and play it with the note C# rather than the note C. This new scale (A C# D E G) will fit perfectly over an A7 chord, and so it is a great scale to use for a Blues. You can see some practical example of this in the  http://musictheoryforguitar.com/advancedpentatonicvideo.html advanced pentatonic video I have prepared for you.

Despite being very popular, this scale has never been considered a "standard" scale and it is thus referred to by a number of different names: Dominant Pentatonic, Mixolydian Pentatonic, Jeff Beck scale, Jan Hammer scale... To make things worse, some musicians indicate different scales with these names. This is quite confusing for somebody who is just learning it, so if you find this names in other books or articles be sure to verify what notes are actually used!
'3 "Modal" Pentatonic

A slightly more advanced concept is to use a pentatonic scale to suggest a modal scale. This can be done in a myriad of ways, and would require a book in itself, so again I will show you one simple example in order to get you started.

Let's say that you want to solo over a chord progression in A Lydian. You can of course play the A Lydian scale over it, but you will find that many accomplished players would not simply use that scale when soloing over it: too many notes!

So, the idea here is to do something similar to what we did before by "shifting" the pentatonic, but a bit more creative. On an A Lydian chord progression you are going to play a G# minor pentatonic. Again, this seems the wrong scale for the job, but if you look at the notes involved you will see that it would work great. The notes in the A Lydian scale are A B C# D# E F# G#, and the notes in the G# minor pentatonic are G# B C# D# F#, so as you can see all the notes of the G# minor pentatonic are also present in the Lydian scale. In a sense, we can say that the G# minor pentatonic is "embedded" into the A Lydian scale.

Of course you might wonder why we go that far in order to play pretty much the same notes. There are two reasons for that: first of all you can use all the pentatonic licks you already know, and they will sound different than usual (since you are playing them on different chords) but still good. Second, the G# minor pentatonic does not contain all the notes of A Lydian, and these missing notes actually create a bit more "space" in the solo. It's not the notes you play, it's the notes you don't play! Don't take my word for it, if you don't believe me, you can try for yourselves or you can watch the explanatory http://musictheoryforguitar.com/advancedpentatonicvideo.html video on pentatonics that I shot for you.
The Sound Is The Most Important Thing!

It goes without saying that just by reading this article you won't be able to master these scales. To help you in the process of integrating these scales with your existing skill set I have shot a http://musictheoryforguitar.com/advancedpentatonicvideo.html video on pentatonic scales that will show you some real applications of all the concepts we have seen before, together with some useful tips. I always found that it is much easier to learn something once somebody shows it to you in person, and video is the next best thing, so don't miss out on that!
About the Author

A professional guitarist, teacher, and composer, Tommaso Zillio enjoys particularly writing about http://www.musictheoryforguitar.com music theory and its application