Tuesday, 10 December 2013

Jack Gardiner,Tony Martinez: Super Rock Jam

Hey guys, me and Jack decided to do a rock jam as we enjoy play together at namm and messe so much ... so here it is !!! and YES SOMETIMES I JUST LET THE GUITAR SCREAM !!! :P:P:P:P:P enjoy "" Jack and me are available for skype lessons !!!!! Thanks for the support to :

Wampler pedals: http://www.wamplerpedals.com/
Suhr guitars: http://www.suhr.com/
Chris Campbell strings: http://www.rockbox.com/guitars.htm
ServusPedale: http://www.servuspedale.es/
Gruvgear: www.gruvgear.com
Super Rock Jam with Jack Gardiner

Tom Quayle style Lick idea

Some Jack Gardiner Influence

Rob Chappers: Chapman guitars wins sonicstate Best Guitars of 2013 award

Rob Chapman
I am very proud to announce that my ML-3 just won Sonic States best guitar of 2013!!


Chapman Guitars ML-3 RC Signature Overview

Mattias IA Eklundh: A Freak Guitar Masterclass with Wishaw Guitar Lessons

Wishaw Guitar Lessons also run guitar workshops and clinics. We consistently bring the best of tuition to Wishaw through value packed events where students can interact with other players and feel part of a community.You can check out all our past events as well as upcoming ones below.

A Freak Guitar Masterclass with Mattias IA Eklundh - Saturday March 8th 2014

Wishaw Guitar Lessons are delighted to present Mattias IA Eklundh in an exclusive all day guitar workshop.

Mattias is the singer,guitarist and songwriter for the Swedish band Freak Kitchen. He also runs the annual guitar camp, Freak Guitar Camp in Sweden. In March, Mattias will be bringing his own blend of 'freak' guitar to Wishaw for an exclusive Freak Guitar Masterclass that you don't want to miss!

You will have the chance to spend the whole day in a small classroom environment with one of the best guitarists on the planet. Learn all about his signature style and his approach to the guitar and ask him anything. Chances like this are very rare!

This is going to be a fantastic day for 12 lucky students. There will also be a very limited number of private lessons with Mattias available. Please send us a message if you are interested. Tickets for the class cost £70 including booking fee.


Allen Hinds: Blues Fusion - Lesson Package - 10% discount!

 David GuitarBreakdown
- 10% off - Allen Hinds - Blues Fusion - Lesson Package

Grab your Copy today if you are a fan of Allen Hinds or just want to Learn ...

- Great Legato Concepts
- Amazing Phrasing Ideas
- Tips on playing more dynamically
- How to seamlessly mix Diminished ideas with Blues Licks

... along with a complete 4 minute Solo where Allen soulfully incorporates many of the Techniques and Concepts he is know for.

Allen Hinds is one of the most in demand Instructors at Musicians Institute and in this 4.5 hour Lesson Package Allen walks you thru many of the Concepts he teaches every day to his students at MI.

Because we are big fans of the Guitar Addiction group we are offering a special 10% off Link for the Holidays for members of this Group.

To check out more details on this Lesson Package ...


But when you place this order use this Link to save 10%...


Also ... because we have received such amazing response from this Lesson Package we are currently working on our Second Package with Allen. So feel free to let us know what you would like us to include in our next Allen Hinds Lesson Package ... it is 80% organized but we are still open for suggestions.

Both GuitarBreakdown.com and Allen Hinds would like to thank you all for your support and wish everyone a Happy and Safe Holiday filled with Joyous Guitar Playing for all!

Andy Timmons, Steve Weingart, Ernest Tibbs, Simon Phillips: Protocol II - Verviers, Spirit of 66 2013

Simon Phillips Protocoll II - out of the blue; Verviers, Spirit of 66 10.11.2013

Andy TIMMONS - Guitar
Steve WEINGART - Keyboards
Ernest TIBBS - Bass
Simon PHILLIPS - Drums

Simon Phillips Protocol II - out of the blue; Verviers, Spirit of 66 10.11.2013

Simon Phillips Protocoll II - Protocoll; Verviers, Spirit of 66 10.11.2013 (3-cam-mix)

Simon Phillips Protocoll II - 02 - Verviers, Spirit of 66 10.11.2013 (3-cam-mix)

Joe Marro: Exivious "Entrust" solo contest

Recording this was not easy, lots of latency...thanks reaper! But hey, I tried my best to move them over. Hope you dig. The last half of the video footage was from another take...oh well

Exivious "Entrust" solo contest

Tymon Kruidenier: Exivious and The Circle Pit guitar solo contest

Tom Quayle: Exivious Solo - blistering barnacles!

Exivious Solo - Tom Quayle
This isn't an entry to the competition but I'd thought I'd have a shot at this cool backing track from the band Exivious! Hope you guys enjoy it!

Tymon Kruidenier: Exivious and The Circle Pit guitar solo contest

Jim Hall: Guitar Great Dies at 83

Jim Hall RIP  http://blogs.ottawacitizen.com/2013/12/10/rip-jim-hall/

Hall was born in Buffalo, New York, before moving to Cleveland, Ohio. At home, his family was musical. His mother played the piano, his grandfather violin, and his uncle guitar.[3] He began playing the guitar at age ten when his mother gave him one for Christmas. As a teenager in Cleveland, he performed professionally. He also took up the double bass. In 1955, Hall attended the Cleveland Institute of Music where he studied piano and bass, in addition to theory. About a year later, he moved to Los Angeles, where cool jazz was prominent at the time. He focused on classical guitar, and, from 1955 to 1956, played in Chico Hamilton's quintet. It was here that he began to gain fame.[4]

In the Jimmy Giuffre Three, Hall developed some of his own personal musical preferences, including "challenging arrangements and interactive improvisation in duos and trios."[5] From this time on, Hall's career picked up. He taught at the Lenox School of Jazz in 1959; toured with Jazz at the Philharmonic; and worked with Ben Webster (1959), Bill Evans (1959), Paul Desmond (1959–65), Ella Fitzgerald in Europe (1960), Lee Konitz (1960–61), Sonny Rollins (1961-2, 1964), andArt Farmer (1962-1964). Working with all of these prominent and established artists furthered Hall's career and aided in producing his own bands and own styles.[5]

By 1960, Hall was living in New York. In 1962, he led a trio with Tommy Flanagan and Ron Carter—with the addition of Red Mitchell in 1965. Furthermore, he landed a gig playing with Bill Berry, Bob Brookmeyer, Benny Powell, Art Davis andJake Hanna as a house band for "The Merv Griffin Show" on television. Most notably, he arranged and recorded many duos with Evans and Carter, which allowed his complex arrangements and improvisations to shine.[5]

Hall had incredible improvisational ability and creativity.[citation needed] He was an arranger as much as an artist, known for developing motives and using blues inflections. These characteristics are showcased in his 1975 album Jim Hall Live!, with Don Thompson and Terry Clarke. Around this time he also recorded with pianist George Shearing and classical violinist Itzhak Perlman. He further continued creating music with Mitchell and Ron Carter until 1985.[5]

In the 1990s, Hall continued to tour and record all over the world. His sidemen included drummers Billy Stewart and Andy Watson, Steve LaSpina, bass players Scott Colley and Gil Goldstein from 1985 to 1993, and keyboardist Larry Goldings. At times, Hall included Chris Potter on the tenor saxophone. These players are featured on Hall's video Master Sessions with Jim Hall from 1993. Hall appeared as a guest soloist in Michel Petrucciani's trio with Wayne Shorter in 1986 and performed at the Village Vanguard with Bill Frisell. In 1990, he hosted the JVC Jazz Festival New York, which also featured Pat Metheny and John Scofield. After this, he played a number of duo concerts with Metheny. In 1994, Hall recorded a completely solo album. Furthermore, in 1996, he returned to Europe to lead a quartet with Joe Lovano.[5]

In 1997, Hall received the New York Jazz Critics Award for Best Jazz Composer/Arranger, which was a very important milestone in his career. His pieces for string, brass, and vocal ensembles can be heard on his Textures and By Arrangement recordings. His original composition, "Quartet Plus Four", a piece for jazz quartet featuring the Zapolski string quartet, was debuted in Denmark, where he was awarded the Jazzpar Prize.[3]

His most recent orchestral composition was a concerto for guitar and orchestra, commissioned by Towson University in Maryland for The First World Guitar Congress, which was debuted in June 2004 with the Baltimore Symphony. He was awarded an NEA Jazz Masters Fellowship award in January 2004. Hall was one of the first artists to join the fan-funded label ArtistShare and released Magic Meeting in 2005. In November 2008 the double album Hemispheres was released through ArtistShare, featuring fellow guitarist and former student Bill Frisell[6] with Scott Colley (bass) and Joey Baron(drums).

Hall performed in a project titled The Live Project, where he shared his music making process through ArtistShare as well as interviews with other musicians about his lasting influence. In 2010, Hall and Baron recorded a duo album, which listeners can view on the recording Coming to Life.[7] In 2012 at the age of 81, Hall had gigs at the Blue Note in New York City and at a number of jazz festivals in the US as well as in Europe.


Marcelo Donoso: Hipnotized EP at Jamtrackcentral.com

Hipnotized Backings Deluxe Edition

Marcelo Donoso is infectious. Musically, he is one of the most original and exciting players we have discovered at JTC and his debut 5 track Hipnotized EP showcases why.

Full of modern riffage and mazy runs, combined with an electronic edginess, this is a superb statement of intent from Marcelo and is worthy of a place in any guitar instrumental music fans collection.

Marcelo Donoso: Hipnotized

This downloadable Deluxe EP edition comes with all 5 EP solo tracks and official backing tracks, TAB/notation for all 5 tracks and 3 bonus video performances of Sickness, D.U.B and Hipnotized to help you learn each mazy lick!

5 solo tracks
5 album backings
TAB/Notation for each track
3 x Videos

*NEW* Marcelo Donoso 'Hipnotized EP' at Jamtrackcentral.com

Nick Bowcott,Michael Doyle: Hal Leonard Publishes - The History of Marshall - The First Fifty Years

Hal Leonard Publishes - The History of Marshall - The First Fifty Years
Montclair, NJ (December 10, 2013) – Twenty years after Michael Doyle’s last Marshall book, The History Of Marshall, was published (1993), Hal Leonard now releases The First Fifty Years, an updated and revised edition with the additional insight and deep Marshall knowledge of co-author Nick Bowcott.

From its humble origins in the back of a small music store in London, Marshall Amplification grew to become the gear company that has defined the sound of rock for generations of guitarists. The History of Marshall: The First Fifty Years tells the story of Jim Marshall’s remarkable life and documents the many innovations of Marshall amplifiers, from the famous “stack” to the most current offerings.

This full color illustrated volume is tremendously expanded, bringing the history of the company and its products up to date, including more than twice as many chapters as the last edition and hundreds more images of rare amplifiers and historical documents. Featuring coverage of Marshall’s 2012 fiftieth-anniversary year, history of Marshall’s factory locations, and detailed specs on Marshall’s products, including limited-edition gear, and peppered with reflections from technicians and artists in the extended Marshall family, this is a definite account of one of the foremost manufacturers of musical amplification equipment in the world. The History of Marshall: The First Fifty Years is absolutely essential reading for musicians, technicians, and collectors alike.


Hundreds of color photographs throughout, including rare amplifiers and previously unpublished historical documents
Reprints of vintage catalogs and marketing materials from Marshall and its related brands, including Park and CMI
Extensive appraisal and history of the Celestion speaker
History of the Marshall factory locations and the pictorial “factory tour”

About the author

Michael Doyle is the author of three other books: The Sound of Rock: A History for marshall Valve Guitar Amplifiers; The History of Marshall: The Illustrated Story of "The Sound of Rock"; and The Art of the Amplifier. He lives in the Los Angeles area.

Nick Bowcott was the founder, lead guitarist, and riff writer for the '80s heavy metal band Grim Reaper. He has since gone on to become an associate editor of Guitar World magazine and has published several guitar method books and two tutorial DVDs. he is also the Global Manager of Marketing and AR for Marshall Amplification. He lives in Glendale, Arizona.

The History of Marshall: The First Fifty Years
$40.00 (US)
Inventory #HL 00332942
ISBN: 9781423489016
UPC: 884088467098
Width: 9.0"
Length: 12.0"
352 pages

Tom Hess: Why Making ‘Fast Progress’ May Hurt Your Guitar Playing

Tom Hess
Why Making ‘Fast Progress’ May Hurt Your Guitar Playing
By Tom Hess
Do you currently try to make ‘as much progress as possible, as fast as possible’ in your guitar playing? You could be making a HUGE mistake that will prevent you from ever becoming a great guitarist! Fact is, there are tons of guitar players each year who make fast progress in one or more areas of their playing while completely ignoring other (also important) areas. If you use this same approach, you will eventually lose control of the progress you are making because you will not be able to advance until your weaknesses are taken care of.

Why Uncontrolled/Mismanaged Progress Is Destructive For Guitar Playing:
Unbalanced guitar skills are caused directly by making progress too quickly in one area of your playing while ignoring other (important) areas. After teaching guitar for many years, countless guitar players have come to me with ‘unbalanced’ skills and expressed great frustration because they were unable to be fully creative in their playing. In most cases, players focus primarily on improving technique and speed while ignoring improvisation, ear training and other important skills. As a result, the guitarist is unable to ‘think’ as fast as he can play, leading to unbalanced overall playing, and a glaring weakness in overall musical creativity. In the end, they are held back by their weaknesses - unable to fully reach their highest guitar playing goals and take advantage of their main strengths. This is like fixing-up an old car and investing all of your money into purchasing the most high-powered engine you can find while completely ignoring the fact that the brake pads are worn down, the tires are bald and the suspension is terrible. This will obviously lead to issues in your car’s performance and you will not get the maximum benefit from your engine until these other factors are taken care of.
Why does this happen? After teaching guitar for 25 years, I have pinpointed the exact reasons. Here they are:

Reason One: Guitar players falsely believe that they need to fully master certain skills before they practice other areas. This causes them to consistently practice in only one area of their playing while ignoring others. This is a very common occurrence that I’ve seen countless times in the hundreds of students I’ve had over the years. Here are two of the most common examples of this:

Example One: Many guitarists who want to become great improvisers attempt to memorize the entire fretboard before working on their improvising skills. They spend many months working to memorize each note for each fret as quickly as possible before finally working to become better at improvisation. As a result, they are surprised when the time comes to improvise and their ability to recall individual note names on the fretboard is completely useless because they never learned how to integrate this knowledge with the understanding of how each note feels while being played over specific chords. Again this mismanagement and out of control progress leads guitar players away from the goals they intended to reach.

Example Two: Guitarists use up every moment of their practice schedule to focus on increasing speed/building technique and learning about music theory, trying to master these things before they begin integrating them into their improvisation and songwriting. These players may increase their ability to play with good technique and understand concepts in music theory, but they will remain a novice when it comes to applying their skills in any kind of self-expressive manner. Truth is, improvising requires practice of a very specific set of skills at the same time that you work to improve your general guitar playing. There is almost nothing more disappointing than having to start from square one after spending countless hours building your skills in a totally unbalanced manner.

Discover how you can prevent the situations above from affecting your guitar playing negatively by checking out this effective guitar practice video.

Reason Two: In some cases, guitar players seem to ‘naturally’ make progress faster with specific guitar skills while struggling to improve in other areas of their playing. This situation occurs because the practicing approaches in their weaker areas are nowhere near as effective as the ones they use with their strengths. This commonly happens with guitarists who learn guitar on their own OR with people who take lessons with guitar teachers who have not helped tons of other guitarists reach their goals.

How Can This Be Solved?
Before I reveal what needs to get done in order to bypass the issues mentioned above, there are two errors you must avoid:

1. ‘Distributing practice time equally for all areas of your playing’: After reading about the above problems, you might be thinking that the best approach to guitar practice is practicing all your skills for an equal amount of time. DO NOT MAKE THIS MISTAKE! Truth is, your guitar playing skills to not grow in the same manner at the same rate. With this in mind, it makes no sense to reserve the same amount of practice time for all areas of your playing because this will only lead you back to the problem of becoming ‘unbalanced’.

2. ‘Practicing EVERYTHING so you don’t have any weaknesses’: Before you consider using this bad approach to practice, consider the fact that all of your favorite guitar players have major weaknesses in tons of areas that are outside of their particular playing style. That said, although their playing suffers from these weaknesses, it doesn’t matter for them because these ‘weaknesses’ have nothing to do with the kind of music they like to play. They have mastered the strengths that matter most for their musical goals. For example, top-notch metal guitar players are usually unable to play fingerstyle passages on a nylon-stringed classical guitar. Blues players usually have no ability to transcribe and play Paganini compositions for guitar. However, these players fully understand the difference between ‘weaknesses that matter’ (that keep them from reaching their musical goals) and ‘weaknesses that don’t matter’ (that have nothing to do with their musical goals). The weaknesses that are most relevant MUST be improved upon in order to achieve your musical goals. Any other weaknesses can be overlooked.

To ensure that you don’t have issues with mismanaged guitar playing progress, follow these 5 steps:

1. Learn effective methods for reaching musical goals to get a better idea of which skills you should improve to achieve your highest musical goals.

2. Don’t fall for the trap of only practicing what you are good at while not practicing in areas where you are weak. Your (‘relevant’) weaknesses will always hold you back from achieving your ultimate goals – you must fix them first before you can fully use your musical strengths.

3. Learn how to put together a guitar practice schedule that helps you maximize productivity in relation to your specific musical goals. Then take initiative to use your practice schedule consistently and make progress toward these goals. Test your guitar practice efficiency to refine your guitar practice for better results.

4. Don’t assume that some musical skills need to be fully mastered before you can even begin working to improve in other areas of your playing. Get insight into how you can develop different areas of your guitar playing at the same time by watching this video about effective guitar practice.

5. Find a guitar instructor who has already helped many other guitarists reach their highest musical goals to become great players. Once you have found this instructor, work with this person until you have reached your specific goals. Get help for locating an effective guitar instructor by downloading this free guide about how to locate the right guitar teacher.
By following the steps mentioned above you will avoid the frequent problems of uncontrolled guitar playing progress and get on the fast track to achieving your musical goals.

About The Author:
Tom Hess is a successful professional guitar player, composer and international guitar teacher. He also helps musicians learn guitar online and reach their guitar playing goals. Visit his rock and metal guitar lessons site to read more articles about guitar playing, plus get free guitar tips and guitar playing resources.

Tymon Kruidenier: Exivious Solo Contest - Entrust Solo Section Explained

GUITAR SOLO CONTEST by Exivious & The Circle Pit

The backing for the solo section is uploaded here - https://s3-eu-west-1.amazonaws.com/liminal/Exivious+-+Entrust+solo+backing.zip

post video on YouTube and then email exivious@gmail.com

This contest ends January 5th.

Here's a quick video I put together. I show the chords for the solo section of Entrust and explain what you can play over them. I also show some pentatonic ideas I like to use over these chords.


Exivious Solo Contest - Entrust Solo Section Explained

Tymon Kruidenier: Exivious and The Circle Pit guitar solo contest