A new song.
Inspired by the drum loop and bass.
It is a fusion-like song, but it’s up to you.
A new song.
Inspired by the drum loop and bass.
It is a fusion-like song, but it’s up to you.
I made a cover of “Air” version of Ekseption. In case you don’t know, originally it is a number of Bach (BWV 1068).
However, the famous Dutch rockband made a transition of this classical song into a pop/rock number. Rick van der Linden is a well noticed keyboard player who made 99% of the arrangement. You’ll hear drums, bass, piano, clavecymbal, organ etc.
I made my own arrangement and uses the following instruments of plugins:
Ritchie Blackmore is known as a leading master of the stratocaster, but during the early days of Deep Purple Blackmore’s main guitar was this 1961 Gibson ES-335 semihollowbody (serial number 26547). When Blackmore bought the guitar used in 1962 , its stock stop tailpiece had already been replaced by a Bigsby B5 tremolo, which is actually designed for solidbody guitars. It also still had a short pickguard typical of early Sixties Dot neck ES-335 guitars, although Blackmore remove it a later date, as well as its original black metal-top control knobs, which were swapped for gold knobs sometime after he stopped playing the guitar.
Blackmore used this 335 tpo record every solo he cut during the period beginning with Screaming Lord Sutch’s 1965 cover of “Train Kept A-Rollin” and ending with “Child In Time” from Deep Purple’s 1970 album IN ROCK. He gave the 335 an especially thorough workout on shredding solos for the appropriately titled cuts “Hard Road (Wring That Neck)” and “Speed King”. It’s semihollow design even helped him create the feedback intro to Deep Purple’s first hit “HUSH”. “The feedback wasn’t supposed to be there,” Blackmore says. “I was playing my ES-335. and it just started feeding back”.Luckily, the feedback was in tune. It sounds like this foghorn in the background.”
According to Barbel Blackmore, Ritchie Blackmore played this guitar with Deep Purple between 1968-1971. Film footage of Blackmore playing it at the Royal Albert Hall with The Royal Philharmonic Orchestra on September 24th, 1969 was included in the Deep Purple episode of the 1990s t.v. series Rock Family Trees.
After witnessing a Jimi Hendrix concert in 1970, Blackmore decided to track down a stratocaster. When he finally acquired one from a former roadie for Eric Clapton, there was no looking back. “I always felt that a Gibson sounded muted on record, even though it was a great guitar and had lots of sustain,” he says. “I really liked the clarity of a Strat through a Marshall. It just cut more. It took me a while to become used to the transition, but I’m glad I did . I haven’t played a Gibson since then.”
Blackmore’s ex-wife Barbel Hardie sold this guitar at Christie’s auction in 2004, where vintage guitar dealer Laurence Wexer purchased it for $28,000. Its current owner, Connecticut resident Ilhan Akbil , paid considerably more when he bought it from Wexer a few years ago. But as a devoted Blackmore fan, he appreciates the guitar’s historical significance. “I’ve been a Blackmore fan since 1972,” Akbil says. “I saw the Gibson at the Christie’s Auction but decided not to bid because I was worried that my wife would be very upset. I later tracked down the buyer and paid much more money for the guitar. But this time i had my wife’s support.”
1961 Gibson ES-335 thinline electric guitar, Serial No. 26457, in cherry red finish, double cutaway body, mahogany neck, Kluson machineheads, 22 fret bound rosewood fingerboard with dot inlays, two Humbucker pickups, four rotary controls, selector switch, tune-o-matic bridge, Bigsby tremolo tailpiece; and black hardshell case, stencilled on the front and back in white lettering DEEP PURPLE; accompanied by a colour snap-shot of Blackmore playing the guitar on stage with The Three Muskateers circa 1965 — 3½x5in. (9×12.7cm.); and two black and white photographs of him playing it on stage with Deep Purple, circa 1968, largest — 8½x6½in. (20.2×16.5cm.) (5)
(Source by: guitarworld magazine & Christie’s auction site)
Aan tussenjaren doet Joe Bonamassa nauwelijks, maar een solo studioalbum bracht hij vorig jaar niet uit. De bekende drift was er sinds Driving Towards The Daylight uit 2012 echter niet minder om; er verschenen veel live albums. Daarnaast volgde een nieuwe episode van Bonamassa’s samenwerking met Beth Hart. Op het album Different Shades Of Blue is Bonamassa, in de meeste nummers althans, de enige blikvanger. Wederom levert zijn brede invulling van het genre blues een gevarieerd kunststukje op.
‘Slow Train’ van het in 2011 verschenen Dust Bowl is ongetwijfeld Bonamassa’s beste albumopener tot nu toe, maar ‘Hey Baby (New Rising Sun)’ mag er ook zijn. Het is een instrumentaal pareltje. Bonamassa laat zijn vingers over zijn gitaar kronkelen, creëert originele gitaarlijnen en vermijdt daarbij hoge noten. Vervolgens laat hij zijn gouden keeltje voor het eerst horen. ‘Oh Beautiful!’ begint a capella. Een typische, vette Bonamassa-riff volgt. De percussie met conga’s speelt daarbij een verfrissende rol.
Vanaf ‘Love Ain’t A Love Song’ is het duidelijk dat we bijna alle kanten van Bonamassa te horen krijgen. Alleen de hardrock van Black Country Communion blijft ons, gelukkig, bespaard. Funky gitaarriffs, aangekleed met blazers zetten de toon voor één van de mooiste nummers van het album; ‘Living On The Moon’. Het trekt de muzikale lijn van ‘Love Ain’t A Love Song’ door, maar Bonamassa zingt hier voor zijn doen ingetogen. In combinatie met de tekst – “Hanging around with you, is like living on the moon”– past dit prachtig.
Ondanks enkele minder sterke momenten – ‘Heartache Follows Wherever I Go’ en de zoetsappige refreinen van het titelnummer zijn voorbeelden– zakt Different Shades Of Blue nooit door de ondergrens. Bonamassa kan namelijk altijd terugvallen op zijn geheime wapen; de gitaarsolo. Bij de Amerikaan zijn dit verhalen, inclusief spanningsbogen, op zich. Ondanks dat een meer experimentele insteek zoals bij ‘Get Back My Tomorrow’ resultaat oplevert, weet hij ook met een lekker zompige blueskraker te overtuigen. Bonamassa duldt de toetsenist naast zich in de schijnwerpers, terwijl hij “I gave up everything for you” zingt, om na een korte pauze de titel van het nummer te vervolledigen: “except the blues”.
At the evening of 26 march we finaly could see the eyes of “Godfather of British Blues”; John Mayall. Mr. Mayall celebrated his 80th birthday with a dynamic and flawless onstage blues performance.
JOHN MAYALL the legendary British Blues trailblazer began his setlist around 9:00 pm sharp. Mayall is a perfect exemplification on how to live and act when you hit 80. One word : REMARKABLE. His performance and intenseness made the audience astonished. It couldn’t be better. Mayall opened with “Checkin’ Up on My Baby”. After that, the real party began with John Mayall, surrounded by his incredible band of virtuoso musicians with Greg Rzab on bass, Rocky Althas on Guitar and Jay Davenport on drums.
With songs on his Golden setlist like “Oh, Pretty Woman”, “Dirty Water”, “Parchman Farm”, “Gimme One More Day”, “Conga Square” and “Natures’ Disapearing” he headed for his “Grande Finale”.
Mayall concluded his set with a rousing rendition of “Room to Move”.
John Mayall not only showed himself as a natural born musician. He transformed “Het Patronaat” in Haarlem into a true blue base. He showed so much unfeigned enthusiasm and fun that we do not end up too soon see him. His top level blues concert took an hour and three quarters. Mayall underlined with a flourish that he is alive and blues legend: afterwards he even had any energy left to be with his fans and sign some CDs chat.
The Rolling Stones will perform at Pinkpop 2014 (The Netherlands). Festival director Jan Smeets confirmed this announcement during the official presentation of the program .
The British rock group revealed the news on march 12 itself through its their own smartphone app. The band is also on TW Classic Werchter in Belgium.
The American John Mayer will come also to Landgraaf. Mayer is planned, like the Rolling Stones on the first day of the festival, Saturday, June 7.
Pinkpop will celebrate this year its 45th anniversary. Veterans are the “most expensive act ever” according to the festival director. It’s yet clear the Rolling Stones will deposited, but for comparison: Coldplay was in 2011 the most expensive act at Pinkpop ever known. Reportedly, the band took 1.3 million.
The line-up of the 3 days are:
Sunday june 8
The Boxer Rebellion
Robert Plant And The Sensational Space Shifters
Twenty One Pilots
Portugal. The Man
North Mississippi Allstars
Neil Zaza, AKA “The Crank Master”, is an independent guitar player from Ohio, who is carving out a career in music using some very creative methods. A blistering guitarist who shames most other guitar-wielding human containers, Zaza balances his technical mastery with a keen melodic sense as well as a challenging compositional style. Zaza has consistently aimed for control over his musical career, and has definitely hit the bullseye.
Dan McAvinchey asked Zaza about his influences and musical goals, the advantages of digital home studio recording, and his ideas for others wishing to follow in his footsteps.
Dan McAvinchey: Neil, how did you get interested in music, and who were some guitarists that influenced your musical tastes?
Neil Zaza: I just always loved music and when I found that I could play it if I wanted to, I thought it was the greatest thing ever. To try to list some of the bands and/or players that influenced my own playing…that would be a very long list. I have to say that my number one influence from the beginning was Van Halen. I don’t think I sound like him at all, but I really was influenced by him in a fanatical way early on. I still listen to the first four records (the REAL Van Halen) and it still give me chills how great he was.
Another player that I feel has had a lasting impact would have to be Neal Schon. His phrasing and sense of melody are just outstanding and that is the stuff I try to emulate these days. Guitar playing is not about technique, but about melody and the translation of emotion.
Dan McAvinchey: Tell us about the guitars and other gear you are using to get the Zaza sound.
Neil Zaza: I have been changing gear around a lot lately. I have just fell in love with an amp that I just purchased from Dr. Z. Amplification here in Cleveland. It is a handmade, class A, hand soldered amp that just KILLS! It has the best tone I have ever heard in an amp and it is all over anything I am doing in the studio as well as live.
Other amps and stuff include a 5150 combo/half stack with a STRAIGHT cab, Rocktron PatchMate, Replifex, Rack Interface, Power Station, tube screamer, mxr phase 90, mxr flanger and a Lexicon Jam Man all controlled with an All Access pedal.
That is the live stuff. In the studio I have been using the Z as well as a Peavey Classic 30 with a 112 e cab. Guitar wise, I have been using my EVH Music Man, some Zion Ninety Telecasters, a G&L ASAT classic custom, and a G&L George Fullerton model. I love ’em all!
Dan McAvinchey: What are you hoping to achieve musically?
Neil Zaza: I am hoping to bridge the personal gap of what I feel inside, translating that to the instrument and finally to the audience. I really have come a long way from the “shredder” that I used to be. I have spent some time finding what it is that I want to say on guitar and how I want to say it. I really focus on melody as opposed to just riffs now which I feel really helps my playing as well as my compositions. I really am just trying to be myself.
Dan McAvinchey: What is your most recently completed project and what’s up for the future?
Neil Zaza: My just completed Christmas CD would have to be the most current one. I also am going to LA to record a project with drummer Robin DiMaggio (Steve Vai, Toni Braxton, Boyz 2 Men, Mariah Carey, etc.) that will be some heavy funk stuff.
Dan McAvinchey: How do you compose your music?
Neil Zaza: I really compose all the stuff I write with a guitar and a little hand held tape recorder to capture the idea. I really just play the guitar and hum the melody and go from there. I find that if it sounds good in that state, it is a good song.
Dan McAvinchey: Do you record at home or rent time at a commercial facility?
Neil Zaza: I do record in both my home studio as well as a commercial facility. I feel that I can get the best of both worlds like this. When I record at home, I can take the time to do the recording the way I want and take time on things that I feel are important to concentrate on. I don’t have to look at the clock and think about the bill that is running at the time. Then, I go to a bigger studio to do some of the tracking that I can’t do at home (drums) as well as mixing some of the material. In terms of digital editing and recording, I really have it great at home. I never knew that the command “undo” could cause so much creativity in me. I can’t screw anything up and I can take chances with crazy punches and riffs because all I have to do is press “undo” and I am out of it.
Dan McAvinchey: What went into the decision to form your own record label and release an independent record?
Neil Zaza: The real basic premise is that no one else is going to put records out the way I want them done. I don’t want be one of the millions looking for that elusive deal that never comes or when it does, it is not right. I can record anytime I want, set my own budget, and release things when I have something musically to say. That is a great freedom that I really could not live without. I know it is not Geffen or Warner, but at least my music is getting out right now.
Dan McAvinchey: What are the advantages and disadvantages of being an independent musician?
Neil Zaza: The only real thing with it is that you have to do it all. That is the good as well as the bad. You get it done just like you want, but you have to do it yourself. I would love to have a great company do it for me, but for now this is how it is.
Dan McAvinchey: Care to share any marketing or promotion tips for musicians about to release their first independent record?
Neil Zaza: There are a few thing to be very cognizant of. One is that you have to have a good promotion budget and not to skimp corners when it comes to this. You can have the greatest album and if no one knows that you have one out and available, it really is no good. Utilize all that you can with local publications and national ones as well. Always think of the nation as your market and not just your town. You can be the biggest thing in your hometown and unless they know you around, it really is not going to help you. Be a big fish in a big pond.
Always stick to your vision of the music that you want to play. Do not be swayed by trends. Be true to yourself and your art. If you are not, you and your music will suffer. Great music will survive if it comes from the heart.
2014: The Fender Stratocaster guitar turns 60 , and it wears it well. You see the instrument everywhere, and hardly a day goes by when you don’t hear its signature sound.
It was so essentially and remarkably right from the very start in 1954 that it has shaped popular music for 60 years virtually unchanged. A great deal of the music you love-the very soundtrack of your life-was and is made with a Stratocaster.
It is the guitar behind the sound of That’ll Be the Day (the Crickets, 1957), Purple Haze (the Jimi Hendrix Experience, 1967), Smoke on the Water (Deep Purple, 1972), Pride and Joy (Stevie Ray Vaughan and Double Trouble, 1983), Even Flow (Pearl Jam, 1992), Dani California (Red Hot Chili Peppers, 2006), Get Lucky (Daft Punk, 2013) and countless other hits.
After 60 years, the Stratocaster remains a fantastic tool at heart. It delivers unmistakable sound and timeless design that have made it the first choice among players everywhere.
“I’ve moved around with many guitars and tried many different things, and I’ve always come back to the Stratocaster,” said Eric Clapton, whose long devotion to the Stratocaster began in earnest in 1970 when he used his 1956 model, ‘Brownie,’ to record his eponymous debut solo album in January of that year, and Derek and the Dominos magnum opus Layla and Other Assorted Love Songs that fall.
Jeff Beck attributed the ‘ultimate sounds known in the 20th century’ to the Stratocaster, and George Harrison once asserted, “You can’t beat the Strat . I don’t care what you say.”
After the introduction of the Telecaster® and Precision Bass® guitars in 1951, company founder Leo Fender turned his attention to a bold new guitar design. The instrument, designed by Leo Fender himself and named the ‘Stratocaster’ by Fender sales chief Don Randall, debuted in 1954. An extraordinary new guitar with several ingenious design innovations, the Stratocaster proceeded to revolutionize popular music as an indispensable tool of phenomenal creativity, and even transcend that role to become a cultural symbol.
After six incredibly colorful and wonderfully musical decades, the Stratocaster is beautiful, as always. It is timeless, as always. It sounds phenomenal, as always. The Stratocaster is poised for a brilliant future, as always.
Unbelievable, what began as a joke seems to get serious.
I’ve have been selected as the 4th Round Finalist in Artistprolist.com’s Music Talent Competition!
The winner will be selected from the Top Ten Finalists based on Vocal or Musical Performance (Including song Covers) and the Originality of Performance.
So please take a look and if you live please provide me a positive comments, opinions and reviews on my Artistprolist.com music listing page! The winner will be Announced by March 14, 2014.
About the song:
As a rock guitarist, I wanted to create a song in remembranceof the 70’s. I played a funky bass riff and a new song was born. Listening to the rythm guitar I think I’ve made a good rythm track. Of course a 70’s piano and solo.
The song wouldn’t be complete if there wasn’t a guitar solo
So, please enjoy watching and listening!
Hallo guitar fans. This month I am presenting JamUp XT Pro iOS app developed by Positive Grid. This is not only one of the best guitar amp simulators out there in my own opinion, it is much more than that.
JamUp XT review by Daddo Oreskovich
Some time ago, with the appearance of the first iOS apps for guitarists, iPad, iPod, or iPhone were merely a tool for great practice, warm-up or hotel room jam. Android is still not even close to iOS because of its latency issue.
I remember almost two years ago when I bought my iRig audio interface. I downloaded free AmpliTube app and I was amazed with an opportunity to practice virtually anywhere without harassing my neighbors with Progressive Metal and Rock music by turning my amp and the full gear on 🙂 The sounds were decent and the app served its purpose -> to be used as a practice tool.
After I found out about JamUp, honestly, I thought this is just one of the many variations of the same thing. I was so wrong 🙂 It is not only the perfect practice tool, it is truly every guitarist’s “Swiss army knife” app. All magazines like: MacWorld, Guitar World, Guitar Player, Guitarist and Premier Guitar were reviewing the app with high appraisals, introducing the best seen symbiosis of Apple iOS and actual musical instrument.
What is JamUp? It is guitar amp and FX simulator, multi track recording device, loop/phrase sampler, guitar tuner and professional backing track player with tempo and pitch tweak possibility. What makes possible using this app live is ability of pairing with a third party MIDI controller pedals.
Virtually almost every amp is emulated here; Fender, Marshall, Messa Boogie, Orange, Peavy, Laney are just to name a few. Regardless of what version of JamUp you downloaded (free or pro version), all additional amps and stomp boxes can be obtained through the “in app purchase”. There are 3 categories of amps: acoustic, electric and bass guitar amps.
There are 6 stomp box groups in JamUp:
All effects and amps can be moved in the signal chain order. For example, you can drag the Tube Screamer stomp to be the first in the signal chain, Noise Gate on the last spot, etc… like the “real-world” pedalboard. All parameters are very easy and straightforward. Just use your imagination and tailor to your taste. All settings can be configured as a “patch”. There are 4×16 patch slots including factory presets. Each slot and patch name can be renamed of course.
Jam player is professional grade audio file player. You can import your favorite guitar backing tracks and regulate their tempo and speed. This comes very handy if you have string lock on your guitar and the backing track is half step down for instance. Just raise the pitch parameter half step up to “1 o’clock” and you can jam without retuning your instrument. Very cool. This is also great aid for singers. Not every male singer has a vocal range of David Coverdale or Bruce Dickinson, so backing track pitch comes very handy -> great karaoke player as well 🙂
If you are “one-man-band “, it is great to control both your guitar sound and backing track in the same app, without a need for a separate CD/Karaoke player. Both volumes (guitar and backing track) are controlled separately.
Let’s say you are on a guitar clinic or you have your guitar solo section on the gig. You can record and loop a phrase, and then play over it. You can also load a drum loop from your iPod library and jam with it and also save it for later exploit. Loop and instrument levels are controlled separately.
One of the best tools in JamUp. I use it frequently when filming lessons for Live4guitar. I record video on the HD camcorder, I play backing track on iPad and record live guitar track on iPad. This eliminates dragging the computer to the best spot in my apartment for video recording.
Lets say you have your ProTools or any DAW session. You can export each track and the drums stem, and import into 8-track recorder for better control. You can also copy audio file from another app such as Garage Band as well. You can also record your guitar or bass in another app on the same iDevice using “Audio Bus” app. I briefly explain it how in the review video.
Many, many possibilities and options. This is why I claim JamUp to be the “Swiss Army Knife” music app.
This is one of the unique features in JamUp. You can share your patches on-line with JamUp community. People can like or comment your patch.
I am truly honored to be chosen by Positive Grid as their featured artist. You can download and jam with my signature “Preset Pack“. More about my Preset Pack in this video:
There are vast possibilities of connecting your guitar to JamUp and your iDevice to your pedal board. I am using Griffin pedal controller with JamUp. You can configure 4 different stomp switches from the app. This controller also has an expression pedal input, so you can control volume and Cry Baby wah. At the time of this writing, Positive Grid is developing emulation of Digitech Whammy so stay tuned for that one 🙂 There are many different third party external MIDI pedals that can be used with JamUp. For complete list visit www.positivegrid.com
In the next video, I’m showing my Griffin controller and talking about my hybrid pedalboard in details.
I am giving JamUp 10/10 points. This is universal “guitar Swiss army knife app” for every guitarist and bassist. It can very astoundingly emulate all vintage amps and stomp effects. It can be used for making music, recording and sharing the ideas and patches. It can be used as a source of recording in other apps via “Audio Bus” app, so you can use JamUp sounds in Apple Garage Band for instance. With third party MIDI controllers, it can be used live on stage.
What else one needs? It’s all in there, in iOS app called JamUp XT.
Download free version and see it for yourself. Here is direct iTunes link: