INSIDE GIBSON'S NEW SLASH COLLECTION!
GUITAR & BASS TRANSCRIPTIONS
SHINEDOWN "MONSTERS"
THE BEATLES "DAY TRIPPER"
BOB MARLEY
"REDEMPTION SONG"
N COL EW UMN
WHITES ! JOEL HO NAKE'S RETURENKSTRA S
OZZY World Exclusive!
H OW
ANDREW WATT GOT OZZY BACK IN THE STUDIO WITH SLASH, DUFF, ,
TOM MORELLO
& More!
METALLICA'S
GUITAR TECH TALKS!
CODE ORANGE
MEAN BUSINESS!
JOHN MAYALL
PREACHIN' THE BLUES!
NERGAL
A BEHEMOTH CHAT!
ZAKK WYLDE
R.I.P. ANDY GILL
KIM GORDON
OLIVIA JEAN
BRKN LOVE
... & More!
TUNE-UPS THEORY OF A DEADMAN
20
BRKN LOVE
SADLER VADEN
22
24
ANDY GILL (1956-2020)
26
OLIVIA JEAN
28
ADAM “NERGAL” DARSKI
THOMAS TULL
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BURAK CINGI/REDFERNS VIA GETTY IMAGES
Kim Wilson — Fender Jazzmaster and all — performs May 30, 2014, at Parc Del Forum in Barcelona
Still Noisy After All These Years FORMER SONIC YOUTH BASSIST/VOCALIST/GUITARIST KIM WILSON BREAKS DOWN HER SOLO DEBUT, A TRULY WILD RIDE CALLED NO HOME RECORD By Joe Bosso THANKS TO HER 30-year tenure as bassist and co-front person for avantgarde noise-rock pioneers Sonic Youth, Kim Gordon has been hailed as an icon and a legend, the “It” girl of the post-punk generation. Asked if such heaped praise has ever seemed a tad too generous — or unearned, even — Gordon laughs and says,
“I really don’t know what to think when people use those kinds of terms in relation to me or Sonic Youth. They seem soTkk over the top, you know?” Without any kind of prodding, however, she notes that she has been noticing a certain aspect of the band’s influence more and more. “I am hearing a fair amount
of dissonance in music these days,” she says. “If that’s something we added to the vocabulary of indie rock, from a legacy standpoint, that’s pretty cool. Not that we were the first to do it — Syd Barrett and Pink Floyd were putting dissonance in their music in 1968. I guess you could call them indie rock, too.” guitarworld.com
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E X T R A C U R R I C U L A R S Summers
P HOTOGR A PH IC HIG HLIGH T S F R OM
GIBSON IBANEZ’S
AN D
STAR-PACK ED
N AMM JAMS AN D G U ITAR WO RLD ’S
F E N D E R FACTORY TOUR
OLLY CURTIS
GUITAR WORLD
FENDER, JANUARY 14 No, it’s not that creepy “dangling criminals” scene from Minority Report! It’s just a bunch of finishes and paint jobs drying off at the Fender factory in Corona, California [below] Tash Neal performs at Gibson’s Live at the Grove event in Anaheim
A
S ANY EXPERIENCED ATTENDEE WILL TELL
you, the Winter NAMM Show in Anaheim, California, isn’t just an endless cavalcade of guitars, stompboxes, amps, vibratos, titanium trem blocks, drums, recycled riffs, picks, cables, gig bags, basses, doohickies, keyboards, guitar straps, name dropping, ultra-lightweight speaker cabinets, unbearable levels of noise and exhausted-looking people in black T-shirts with white logos — not that there’s anything wrong with any of that! It’s also a place for catching up with amigos, colleagues, strangers and guitarists galore at dinners, parties and, if you’re luckyish, factory tours and live jams and shows that are truly star-packed (I refuse to use the term “star-studded”). This year, Guitar World photographer Olly Curtis was on hand to shoot several extracurricular NAMM events,
including — as you’ll see on the next few pages — our January 14 tour of the awesome Fender factory in Corona, California (Hey, I’m a sucker for a factory tour!); Gibson’s January 16 Live at the Grove event in Anaheim and Ibanez’s January 18 Steve Vai PIA release party at the Anaheim House of Blues. Sadly, we weren’t able to attend (and photograph) every NAMM-centric show and event, but hey, there’s always next year — and let’s not forget Summer NAMM in July. More on that later! For information about taking part in Fender factory tours, call 800-856-9801. For more Winter NAMM 2020 coverage, be sure to check out GuitarWorld.com/tag/NAMM, GW’s YouTube channel, our “Best in Show” gear roundup from the April issue and our Gibson Slash Collection feature in this issue. Enjoy! —Damian Fanelli
guitarworld.com
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BIG GUNS SLASH AND GIBSON’S CESAR GUEIKIAN TALK US THROUGH THE COMPANY’S UNPRECEDENTED NEW SLASH COLLECTION OF SIGNATURE GUITARS, FEATURING LES PAULS IN APPETITE BURST, NOVEMBER BURST, VERMILLION BURST AND ANACONDA BURST — PLUS (FOR THE FIRST TIME EVER) TWO SLASH J-45 ACOUSTICS
BY RICHARD BIENSTOCK
PHOTOGRAPHY BY GIBSON GW
SLASH COLLECTION PAGE
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MAY 2020
GUITAR WOR L D
PAGE 50
THE
WIZARD OF OZZY How 29-year-old ANDREW WATT — Post Malone producer and former California Breed guitarist — got an ailing OZZY OSBOURNE off the couch and into the studio to make Ordinary Man, a “life-saving” new album that co-stars Tom Morello, Slash, Duff McKagan and Chad Smith
BY RICHARD BIENSTOCK PHOTO BY SAM TAYLOR-JOHNSON
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Watt's up! Andrew Watt, his Gretsch White Falcon and Sir Ozzy Osbourne
guitarworld.com
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Code Orange’s Reba Meyers with her signature model, the ESP LTD Reba Meyers RM-600
G U I T A R
W O R L D
BEHIND T H E R E ’S O N E EVERY HELL OF A FAMOUS GUITAR TECH GUITARIST… GUITAR TECHS WHOSE CURRENT AND FORMER EMPLOYERS INCLUDE METALLICA’S JAMES HETFIELD, MEGADETH’S DAVE MUSTAINE AND RUSH’S ALEX LIFESON — PLUS THE OFFSPRING, WHITESNAKE, ADELE, SLAYER, HOLE, JOURNEY, DEF LEPPARD, TRANS-SIBERIAN ORCHESTRA AND SCORES MORE — DISCUSS THE INS AND OUTS OF THE JOB, SURVIVAL ON THE ROAD AND LIFE 20 FEET AWAY FROM STARDOM BY ADAM KOVAC
P A G E
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7 2
TOTA L G U I TA R
Odds are this ESP Truckster was handed to Metallica frontman James Hetfield — shown here performing in the U.K. — by his trusted guitar tech
M I C H A E L O C H S A R C H I V E S/ G E T T Y I M A G E S
guitarworld.com
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MAY 2020
GUITAR WORLD
PLATINUM AWARD
Repeat Performance EX
CELLENCE
BOSS DD-3T AND DD-200 DIGITAL DELAY PEDALS
the gear in review
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PRS GUITARS SE Hollowbody Standard
90
TAYLOR GUITARS Builder’s Edition 324ce
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ISOACOUSTICS Stage 1 Board
92
MASSIVE FX DallasDevilsPlay and G.O.A.F.
By Chris Gill
ABOUT 37 YEARS ago in late 1983, Boss introduced the very first digital delay stomp box — the DD-2. What was truly impressive about the DD-2 is that it featured the exact same IC as the one found in Roland’s flagship (at the time) SDE3000 digital delay studio rack unit, which means it delivered the same stellar sound quality. In fact, the DD-3 (which is identical to the DD-2, and the name was only changed after a drastic price reduction in 1986) sounds so good that it remains a favorite with pro and gigging guitarists to this day. Since then, Boss has introduced more than 15 additional new delay pedal models to provide musicians with expanded delay times and features and to compete with the ever-growing amount of new delay devices from competitors, including its current flagship digital delay stomp box, the DD-500, which made its debut in 2015. The most recent additions to the esteemed Boss digital delay lineup cover opposite ends of the spectrum. The new DD-3T adds a few additional functions to the classic DD-3 while retaining its simple “plug and play” operation and treasured sound quality. For modern players who want it all, the new DD-200 offers sounds and features inherited from the flagship DD-500 in a smaller, more pedalboard-friendly package. FEATURES Although Boss hasn’t explicitly stated
what the “T” in DD-3T stands for, my best guess is
guitarworld.com
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SOUNDCHECK
CHEAT SHEET
STREET PRICES: DD-3T, $139.99; DD-200, $249.99 MANUFACTURER: Boss, boss.info The DD-3T offers identical features and sound as the beloved DD-3 but adds new tap tempo functions. The DD-3T’s direct output jack is located on the left side underneath the output jack for more convenient wet/ dry setups. The DD-200 packs many of the same features and sounds of the DD-500 in a compact package that is a little more than half the DD-500’s size. 127 user-programmable memory locations can be accessed quickly from the front panel, providing a comprehensive selection of delay effects.
THE BOTTOM LINE Whether you prefer “plug and play” simplicity or a sophisticated delay unit with a vast selection of effects, the DD-3T and DD-200 offer affordable satisfaction with pro-quality sound.
that it means “Tap Tempo” as this is one of the major new functions the DD-3T adds to the DD-3. The controls and specs are the same as those of the DD-3, with top panel knobs for effect level, feedback and delay time plus a rotary switch for selecting maximum delay times of 50ms, 200ms and 800ms plus a Short Loop function. The aforementioned new tap tempo function can be engaged from the pedal’s on/ off switch by holding it down momentarily or an optional footswitch can be connected to the Tempo jack on the right below the ¼-inch input. The Direct Output jack (useful for wet/dry setups) now resides on the left underneath the ¼-inch output: a welcome improvement over its predecessor’s configuration, we think. The Boss DD-200 is just a little more than half as wide as the DD-500, conserving space by replacing the latter’s graphic LCD with a three-character LED and removing one of the dedicated footswitches by consolidating the functions of the DD-500’s A and
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B footswitches to the DD-200’s On/Off footswitch. The control knobs remain the same (Time, Feedback, Effect Level, Tone and Modulation Depth) while a Parameter knob replaces the Up and Down switches. The rotary mode switch provides 12 different delay effects: Standard, Analog, Tape, Drum, Shimmer, Tera Echo, Pad Echo, Pattern, Lo-Fi, Dual, Ducking and Reverse. A pair of mini switches allow users to select Tap Division settings (half-, quarter- and eighthnote, triplet and dotted) and access either manual mode or 127 user-programmable memory locations. The On/Off footswitch also controls record, overdub and play functions in Looper mode with the Memory/ Tap Tempo footswitch controlling stop and clear functions in Looper mode. Finally, the rear panel provides stereo input and output jacks plus a ¼-inch jack for connecting an optional footswitch or expression controller, and the TRS MIDI In and Out jacks, along with a micro USB jack, are located on the left side panel.
PERFORMANCE The DD-3T provides the
exact same beloved sound quality that made the DD-2/DD-3 such a perennial favorite with so many gifted guitarists for the last 37 years or so, and the addition of a tap tempo function (with three selectable subdivisions) makes it even easier to use when playing live. With this new feature plus the more logical configuration of the output and direct out jacks on the same side, the DD-3T is a worthy replacement for the DD-3 that will keep its legacy going strong for decades to come. The DD-200 offers a wide range of sophisticated delay effects that will surely fully satisfy the most discerning delay junkie with its pro sound quality, comprehensive variety of effects and sophisticated looper, boasting up to 60 seconds of recording time. In addition to providing a smaller footprint, it’s also much easier to adjust and tweak on stage. For guitarists seeking a delay pedal for all occasions or applications, it’s the full meal deal.
For video of this lesson, go to GuitarWorld.com/May2020
by Joel Hoekstra
COLUMNS
SCHOOL OF ROCK
KISS ME DEADLY
FIG. 11 FIG.
How to play the intro and opening solo to “Shut Up and Kiss Me”
T A B
HELLO EVERYONE, AND welcome back to
my column, School of Rock! As always, it is my hope that these lesson will inspire your playing while also expanding your musical horizons on the guitar. In this column, I’d like to focus on the intro riff and intro solo I play in “Shut Up and Kiss Me,” from the latest Whitesnake album, Flesh & Blood. The song is played in the key of E, with a chord sequence and intro solo based on the notes of the E minor pentatonic scale: E, G, A, B, D. The intro begins with a long finger slide, or “gliss” (glissando), down the low E string, from a random starting point high up on the neck, followed by two-note powerchord accents played alternately against the palm-muted open low E string, as shown in FIGURE 1. The picking is all downstrokes here, and I palm mute open low E notes between the chord “stabs.” The E note serves as a pedal tone (a recurring note among changing chords). I play the two-bar pattern three times then perform another gliss down the low E string and repeat the twobar riff pattern (see FIGURE 2). I cap off the section with syncopated accents on open A5 and D5 chords, as shown in FIGURE 3. My Whitesnake co-guitarist Reb Beach and I always try to coordinate where we’re going to “shake” chords, or add finger vibrato to them. For example, at the end of the progression where I play the E5 chord accents, I add vibrato to the chord. Now let’s look at the intro solo, which is based on the stock 12th-position fretboard pattern of the E minor pentatonic scale depicted in FIGURE 4. For the solo, I engage my wah-wah pedal and switch from my bridge pickup to my neck pickup, which to me offers a greater range of mid- and lowend sweep with the wah. FIGURE 5 presents the first four bars of the solo, which are played on the top two strings, with a whole-step bend in bar 2 from G to A, which I “overbend” a whole step, to B. The phrase ends with a bend from D to E on the B string, to which I add a wide, aggressive bend vibrato. To summarize the rest, FIGURE 6 shows the next two bars, which feature a series of
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D5/E A5/E D5/E
4 .7 4 . 75 X
E5
00
7 7 5
00
~~ ~~
(play 3 times)
*
2 2 0
FIG. 22 FIG.
9 9 9 9 7 7
0 0
9 9 7
00
D5/E A5/E D5/E E5
T4 A4 B X
. .
.7 . 75
00
2 2 0
00
7 7 5
~~ ~~
99 9 99 9 77 7
0 0
00
. .
0 0
. .
*Palm mute the open low E string throughout.
D5/E A5/E D5/E 7 7 5
0 0
2 2 0
0 0
D5/E 7 7 5
0
FIG. FIG. 44
3
4 4
0
0
A5/E
0
T A B
7 7 5
E5
2 2 0
~~ ~~
9 9 9 9 7 7
9 9 7
0
0
E5
0
12 14 1214 1214 1215
~~
1
15 15 12
1215
15 15 12 15 15
9 9 7
9 9 7
Ó
12
0 12 0
12
1215 15
T4 A4 B
15
2 2 0
X
T4 A4 B
1
0 0
.. .
15
. 0 17
1
17 17
2 2 0
2 2 0
J
.
T4 A4 B
1
0
0
2 0
~~~
15 15
9 9 9 9 7 7
2 0
J
12
15
12
J 70
~~~~~~ Ó
~~~~~~~ 17 181715 . 171517 17
wide-interval open-string pull-offs, played in a 16th-note rhythm and performed with hybrid picking. FIGURE 7 shows the high A bend that follows, and FIGURE 8 combines
0 0
1
15 15 15
w/hybrid picking
J
7 7 5
~~ ~~
E5
9 9 7
D5
FIG. FIG.66
~~~
1
2 2 0
A5
Π1
15 15
.
7 7 5
17 17 17 181715 171517 17
1
10 0
~~~ ~~
D5/E A5/E D5/E
FIG. FIG.55
1
w/wah
. .
X
E minor pentatonic scale
10 0 012 0 0 12 12
2
9 9 7
0
FIG. 77 FIG. 2
T4 A4 B
X
D5/E 7 7 5
FIG. FIG. 33
9
090
9
0
2 0
.
80
J
2
17 2
1
15 15
9
0 10 0
9
0
FIG.88 FIG. 80 010 0 0 T4 9 A4 7 09 09 09 0 9 B
1
1 1/2
22
22
1
~~~~
22 22 22
J
22
the two phrases and continues to the end of the solo, where I bend, partially release, rebend and then shake the high D note at the 22nd fret.
Joel Hoekstra plays for Whitesnake, the Trans-Siberian Orchestra, Cher and his own side project, Joel Hoekstra's 13. Whitesnake's latest album is 2019's Flesh & Blood. Find out more at joelhoekstra.com.
PERFORMANCE NOTES
•••
HOW TO PLAY THIS MONTH ’S SONGS • • •
“MONSTERS”
“DAY TRIPPER”
“REDEMPTION SONG”
Shinedown
The Beatles
Bob Marley
THE KEY TO recreating the rich sound of this song’s haunting, melodic riffs is to make sure the notes of each two-note chord shape ring together, as indicated by the directive let ring throughout above bar 1. During the song’s intro and verse sections, you can best accomplish the desired effect by keeping your index finger planted on the 5th string throughout, allowing all notes fretted on that string to ring as long as possible while adding your middle finger as needed for the notes on the 6th string. The one exception is for the G5 chord in bars 4 and 8, which does require a change of fingering. To further enhance the dense, full sound of his riffs heard on the recording, Shinedown lead guitarist Zach Meyers octave-doubles certain parts. For example, during the 1st chorus (see section D, bar 14), the part labeled Gtr. 2 doubles the Gtr. 1 part one octave higher. While the additional part is ideally suited for two-guitar ensembles wishing to perform the song live, it’s definitely worth a play-through to experience how a recording guitarist will often unison- or octave-double a riff in the studio to add richness to the arrangement. Myers’ brief but well crafted guitar solo (see section J, bars 38-41) concludes with a climactic, alternate-picked shred run up the E natural minor scale (E, F#, G, A, B, C, D). If you study the fret-hand fingerings we’ve included below bar 41, you’ll see that the guitarist deftly employs a couple of quick, fret-hand position shifts up the G string during the first two beats. As this phrase demonstrates, sometimes it’s worth shifting your fret hand like this — as opposed to trying to play everything in one position — for the sake of minimizing string crosses and making a technically demanding run such as this one a little easier to pick, while also maintaining the consistent timbre (tonal quality) of a certain string throughout a sequence of notes. —JEFF PERRIN
THIS EARLY BEATLES classic begins with an iconic single-note guitar riff that’s played in 1st position and beautifully outlines an E7 tonality with a bluesy feel. The riff, which was written by John Lennon and performed by both him and George Harrison on the recording, makes great use of the open low E and D strings, which help make it easy on the fret hand and also contribute to its bright, powerful sound. It’s interesting to note that bassist Paul McCartney, entering in bar 3, chose to double this repeating two-bar riff in the same register as the guitars (unison doubling), as opposed to playing it an octave lower and in the same position, which would be the conventional thing to do. But when the guitar riff moves up a 4th to A during the verse section, in bar 13, McCartney chose to go in the opposite direction and take it down a 5th, so that he’s now playing it an octave below the guitars. During the song’s interlude, beginning in bar 30, the guitar riff gets transposed up a 5th, to B, and is played up in 7th position, with no open strings, which makes it more demanding on the fret hand. But notice the use of a legato finger slide here, from the 10th fret to the 11th, which requires less of a stretch than a hammer-on and is thus easier to perform. Also noteworthy here are the “drone-y” chord voicings Lennon strums in bars 4-8 (Gtr. 3 part), with the ringing open B and high E strings nicely filling out the accompaniment above the single-note riff. This chord figure is also a little easier to play while singing than is the single-note riff. Harrison helps bring the song’s interlude section to a dramatic climax in bars 36-39 by playing twangy lead licks based on the B minor pentatonic scale (B, D, E, F#, A) and using expressive string bends. When bending, be careful not to overshoot the “target” pitch, which will make the bend sound out of tune and “tone deaf.” —JIMMY BROWN
THIS “UNPLUGGED” GEM by the legendary Bob Marley is a great example of how musically effective a stripped-down “less-is-more” songwriting approach can be, in terms of making a simple yet powerful statement. Armed with just his acoustic guitar, Marley picks and strums his strings with his bare thumb, which creates a softer, rounder attack than that produced by a pick. Marley begins the song with a melodic single-note bass-line riff, to which he tastefully adds decorative grace-note hammerons to certain notes, lending them a soulful, bluesy quality. Indicated by small, “extra” tab numbers, grace notes serve as “non-essential” embellishments to a basic melody and are not counted as part of the rhythm. Rather, they occur “by grace of” the beat to which they are attached and quickly “fit into” the phrasing. To truly appreciate how much these grace notes add to this intro figure, try playing it “straight,” without them, which by comparison sounds plain and lifeless. As the 1st verse gets underway at bar 9, Marley switches to strumming open chords, using downstrokes and upstrokes with his thumb in a gentle brushing motion. The guitarist creates a laid-back, flowing feel by using quarter notes, eighth notes and ties and employing “pendulum strumming,” keeping his hand moving over the strings in a constant, unbroken down-up motion and letting the thumb silently pass over the strings on certain beats. This technique is casually improvised and felt rather than deliberately thought about. As indicated by the footnote strum simile on 2nd and 3rd verses above bar 9, Marley doesn’t strictly adhere to a fixed, repeating rhythmic pattern but rather “goes with the flow” and plays each verse a little differently while maintaining the general eighth-note pulse and feel. So don’t be overly concerned with replicating the rhythms exactly as transcribed here. Just use them as a guide for strumming. —JIMMY BROWN guitarworld.com
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THE SECRETS BEHIND FAMOUS GUITAR SOUNDS
“NO MORE TEARS”
OZZY OSBOURNE ● NO MORE TEARS, 1991 ● GUITARIST: ZAKK WYLDE ● BY CHRIS GILL
OZZY OSBOURNE’S 1988 album, No Rest
for the Wicked, may have introduced Zakk Wylde as the Prince of Darkness’s new guitarist, but his 1991 follow-up studio album, No More Tears, is the record that established Wylde as a bona fide guitar hero. The title cut, which was released as the album’s first single, is an epic track that proved that Wylde had his own distinct voice and truly deserved to follow in the footsteps of his predecessors Tony Iommi, Randy Rhoads and Jake E. Lee. During the early Nineties, mammoth refrigerator-sized racks were all the rage with metal and hard rock guitarists, but Wylde relied on a much simpler, comparatively primitive rig to lay down his huge tones. His main setup consisted of various Gibson Les Pauls with EMG 81 and 85 active humbuckers, four stomp boxes
GET THE SOUND, CHEAP! Epiphone Prophecy Les Paul Custom Plus EX Marshall DSL20CR Boss SD-1 Boss CH-1 TONE TIP: Use the Marshall’s Ultra Gain (Red) channel but keep the Gain control relatively low, using the SD-1 to generate most of the distorted tone.
— a Cry Baby wah, Jim Dunlop JH-4S Rotovibe expression pedal, Boss SD-1 Super Overdrive and Boss CH-1 Super Chorus — and a pair of Marshall JCM800 2203 100watt amps, driven in stereo via the Boss chorus pedal’s outputs. For “No More Tears,” he eschewed the wah and Rotovibe, using just the Boss pedals and Marshalls to generate the song’s bone-crushing crunch. Several key elements of Wylde’s rhythm tones on the song include boosting the bass and treble almost all the way while still retaining a decent amount of midrange to provide ample definition and body for individual lines, the tighter attack and extended treble and bass response courtesy of the Marshalls’ 6550 tubes, heavy-gauge strings on the low E, A and D, and the extra output boost from the EMG pickups and Boss SD-1. The chorus pedal remains on throughout the song as well, to provide extra body and just a hint of modulation. The delay effect at the end of Wylde’s solo was added during mixing using a digital delay unit.
ORIGINAL GEAR GUITAR: 1981 Gibson Les Paul Custom with EMG 81 (bridge) and EMG 85 (neck) active humbucking pickups (bridge pickup), Volume: 10, Tone: 10 AMPS: Two late-Eighties Marshall JCM800 2203 100-watt heads with 6550 tubes (Presence: 3, Bass: 10, Middle: 5, Treble: 9, Master Volume: 4, Preamp Volume: 10, High sensitivity input) into Marshall 1960B 4x12 cabinets with Celestion G12T-75 speakers EFFECTS: Boss SD-1 Super Overdrive (Level: 6.5, Tone: 5, Drive: 6.5), Boss CH-1 Super Chorus (Effect Level: 8, EQ: 5, Rate: 6, Depth: 5) *CH-1 stereo outputs to individual heads STRINGS/TUNING: GHS Boomers (.060, .052, .036, .017, .013, .010); C#, G#, C#, F#, A#, D# PICK/SLIDE: Dunlop Tortex 1.14mm; chrome-plated brass
J U N E 1 9 9 0 G U I TA R W O R L D : F U T U R E
9000
TONAL RECALL