To assist musicians as they express themselves on their chosen platform, is very purpose driven. Tip of the hat to your willingness to serve those you relate so well with. You will do exceptionally well, enjoy your journey as you without doubt will uplift others! wade-bergner.com. Namaste, Wade
Freedom For Musicians is well into changing the world of “Notes”.
Seems to be an affair of the heart where you are pouring in everything you have. And the results are coming through load and crystal clear.
Amazing how proud you should be the emotions behind which are like music to my ears.
Susan Patricia Connor Lewis
Director / firstname.lastname@example.org
What an amazing site!
I love the energy of it! I am not a musician myself, but I do love music. Your site is easy to navigate and it’s easy to find everything I was looking for. The best thing is I have found some new music that I really love – the artists are amazing and I’ll be keeping a close on the updates! I look forward to checking through more of some of your amazing music. Thankyou!
Karen and Jacky
Thanks for providing a fabulous platform
As a musician myself I really love what I’m seeing here. I don’t perform professionally any more but did so for many years with my partner. These days we still write, record and play and are in the process of creating an archive website for our back catalog to live on. We were slogging away way before Facebook, Youtube and all the other social platforms existed.
A Quiet Revolution
Freedom for Musicians seems like a really innovative concept for musicians to promote and distribute their digital music. I admire the work you are doing in this industry to solve the problem of exploitation by the big labels and distributors. I look forward to seeing the success of Freedom for Musicians.
Promo video of the “Solo Guitar Show” project, where I perform my own arrangements of classic pop & rock songs: Beatles, Queen, Police, Eric Clapton, Dire Straits, Michael Jackson, Pink Floyd, Mike Oldfield, Abba, Tears for Fears, Toto, Bon Jovi…
Pity the poor guitarist: there’s a lot of string-slingers out there, fretboards a-heaving with flashy licks. You really have to work hard to get noticed. And even to get in the ring, you’ll be investing thousands in the proper equipment.
Perhaps that’s why many fretboarders choose to spend their gear money in a way that’s guaranteed to draw the spotlight. There are so many ways, after all, to upgrade a guitar (and upstage your singer): mould the the body to your whimsy, add another neck or four, paint it with gore or cover it with fur… Here are some of the most inventive and downright weird guitars around.
Rick Nielsen’s five-necked guitar
Probably one of the best-known, heaviest and most ludicrous-looking of custom guitars, the Quint Neck was built for Cheap Trick guitarist Rick Nielsen in 1981. “Back at shows in the late-70s and early-80s,” he told Guitar Aficionado, “I used to stack up as many as five guitars for my guitar solo. I’d play one for a little bit, then throw it away and play the one hanging underneath it.”
For a more efficient, and frankly flashier solo, Nielsen asked the manufacturer of the last guitar in the pile, Hamer, to make a beast that combined them all. “The original concept was to have a six-neck that spun like a roulette wheel, so that I could play one neck and then rotate to the next,” he said. “But then I decided to go with something more conservative – five necks in a row!”
Hamer founder Frank Untermeyer recalled the wiring job as a “huge pain”, adding, “Rick’s out of his mind, but in a wonderful way.”
Lita Ford’s Monkey Train
Lita Ford, former lead guitarist in The Runaways, branched out into an increasingly metallic solo career in the 80s, and took to that era’s wacky-guitar arms race with aplomb. “I got into BC Rich,” she told Guitar Aficionado. “I was always over there carving out new ideas and helping to make new stuff. They would make anything I asked them to make.”
The results of this partnership included some double-necked numbers and, most memorably, her black steam train guitar with a tiny Lita waving from the cab, which can be seen in the video for the 1991 track Playin’ With Fire.
Bo Diddley’s Twang Machine
Bo Diddley, the riffing legend born Elias Bates, didn’t have money to spend on fancy musical equipment when he was growing up. “I wasn’t able to buy electric guitars,” he told Vintage Guitar. “So I built them, and they worked pretty good.”
The first thing the resourceful Bates crafted was a home-made diddley bow, a common early blues instrument mate often made from a cigar box. His later guitar design, using various inventive bits and bobs in its construction (its pickup, he said, was “part of a Victrola record player where the needle went in”), retained that rectangular body, and Bates’s stage name also took inspiration from his diddley bow.
The original Twang Machine was later stolen but, by that point, he’d become such a rock ‘n’ roll hero that guitar manufacturers were only too happy to help him with a replacement. In 1958, Gretsch built him a new custom Twang Machine. According to Diddley, it had a smaller body that gave him the much-needed freedom to move around onstage while performing: he said that he’d had the idea for the design after accidentally thwacking himself in the groin with a different guitar while jumping around.
Zakk Wylde’s Graveyard Disciple
One musician who was extremely taken with Diddley’s ingenious eye for design was Black Label Society founder and Ozzy Osbourne guitarist Zakk Wylde. “I remember talking about the Bo Diddley guitar and the Bill-Bo, Billy Gibbons‘s guitar, and I was just going, ‘These guitars are so god-awful ugly!’ I just dug ’em,” he told I Heart Guitar.
The Twang Machine was such an inspiration on Wylde’s custom-built Graveyard Disciple that he nicknamed it the “Bo Deadly”: its coffin-shaped design certainly looks like a macabre take on Diddley’s 1958 axe, although Wylde originally had the idea when his merchandising company sent him a coffin full of sweets. “Inside was a bunch of lollipops from my merch company with all the song titles: Genocide Junkies, Graveyard Disciples, House of Doom, Death March written on them. I was just like, ‘Dude, you know what’d be cool? To put a guitar neck on it.’ So Epiphone went out and made it for me, and I was like, ‘Dude, this thing’s slamming.'”
Gene Simmons’s Axe Bass
Simmons‘s onstage persona with KISS is officially known as the Demon. For a bass- playing fiend, your common-or-garden mass-produced guitar is not going to cut it, and cutting was just the look Simmons went for when dreaming up his very literal axe, designed by luthier Steve Carr in 1978. For Simmons, it showed how the bass should be handled – like a weapon.
Andrew W.K.’s taco guitar
Photo: Mario Dane
Few musicians have committed to big-hearted, dude-ish wackiness the way Andrew W.K. has, and as such it should probably not surprise you to learn that he is the designer of not one, but two custom guitars based on common party foodstuffs. First, in 2012, came his pizza guitar, which came with a high-end spec featuring extra-spicy garlic marinara sauce, double mozzarella cheese, pepperoni, black olives, green peppers, mushrooms and jalapeno peppers.
This year, he unveiled his second course: the taco guitar, which features a beef taco on the front, and an eyeball on the back. “I started pondering, what’s another food that’s as party as pizza?,” said Andrew in a statement. “When it comes to edible celebration, tacos are partier than almost anything else. Pizza and tacos are among the partiest foods on the planet, and I realised that since I had paid musical tribute to pizza, I now had to pay musical tribute to tacos. I was destined to make a taco shaped guitar – it was inevitable.”
ZZ Top’s Spinning Furs
ZZ Top have never been ones to do things by halves, whether it’s riffs, beards or guitars. This Muppets-esque, fuzzy, rotating guitar and bass were devised by guitar-maker Dean Zelinksy for the band’s 1983 Legs video, and they spin around while still attached to the guitar strap (at 1:48, above). The fur was actually warm and cosy sheepskin, purchased by Gibbons while on tour in Scotland. “I cleared a path down the centre with electric horse shears to accept the pickups, tailpiece and strings,” Zelinsky remembers on his website. “I remember we were still gluing the fur on the tuning keys when the [courier] driver showed up to pick up the guitars.”
George Lynch’s Skull N Bones
Once of 80s metallers Dokken, George Lynch has designed many striking custom guitars, his most famous being the Skull N Bones skeleton model, which was first witnessed in the 1985 video for Dokken’s It’s Not Love (see it best at 2:48, above). The original guitar was built by Lynch’s neighbour, Johnny ‘J Frog’ Garcia, a makeup artist who worked on Nightmare on Elm Street, and who also created a shark guitar for Mark Kendall of Great White.
Everybody wants to play better solos or write more interesting melodies!! Often we get lost in the details like what note or scale is this, and we forget to look at the bigger picture.
In this video I want to go over 3 ways that you can start to reevaluate your solos that can easily help you make them more interesting to listen to by adding variation without having to learn new licks, scales or arpeggios.
So instead of looking at what notes go where or which pentatonic scale is used, I think you can record a solo and start listening for other things that will help you improve your solos and also give you some things that you can start to work on!!
Thanks so much for checking out my weekly lesson. I hope you found this study on the soloing helpful!!
Please check back next week for another lesson, and in the meantime please catch up with me on my website and social media pages!!
The Epiphone Ltd. Ed. Korina Flying V has a solid tone-rich and lightweight Korina body powered by Alnico Classic humbuckers and is finished with gold hardware. This iconic guitar is finished in Antique Natural and features a 1960s SlimTaper D-Profile neck with a 24.75″ scale and the Flying V’s trademark “V” headstock with a 60s era “Epiphone” script logo.
Alnico Classic Humbuckers
The Korina Flying-V is powered by an Alnico Classic™ humbucker in the neck position and an overwound, slightly hotter Alnico Classic Plus™ in the bridge position. Alnico Classics are similar in tone to the “PAF-style” humbuckers found in rare vintage Flying Vs and Les Paul Standards, and are made with Alnico-V magnets for a higher output with enhanced mids and highs.
Controls & Hardware
Controls include individual volume controls for each pickup and a master tone, all with vintage-style Black “Top Hat” knobs. The Explorer’s gold hardware includes legendary Grover® Mini-Rotomatic™ machine heads with a 14:1 ratio for fast and reliable tuning and a LockTone™ Tune-o-matic bridge and traditional Flying-V style String-Thru Body “V” metal plate along with an Epiphone all-metal non-rotating ¼” jack.
The Flying V
The Flying V guitar was first released in a very limited run in the 50s and was seen as one of the most radical designs of its time. Many of the originals found their way to the hands of some of rock’s greatest guitarists. Today original Flying Vs are some of the most expensive instruments on the market. Now, Epiphone introduces the guitar to a new generation at a price accessible to all.
Historical all korina (African limba) flying-V body
Traditional Flying-V headstock and string-thru body “V” metal plate tailpiece
Epiphone alnico classic™ humbuckers
Vintage styled Epiphone “deluxe” tuners with tulip buttons
Series: Epiphone Flying V
Body & Bridge
Body: Korina (African Limba)
Body Shape: Flying V
Bridge: LockTone Tune-O-Matic
Neck & Fingerboard
Neck: Korina (African Limba)
Neck Shape: D-Profile
Scale Length: 24.75″
Fingerboard Radius: 12″
Number of Frets: 22
Fret Size: Medium-jumbo
String Nut: Synthetic Bone
Nut Width: 1 11/16″
Position Inlays: Rosewood with pearloid “Dot” inlays
In celebration of Ed Sheeran’s 3rd album release, Martin have unveiled the singer-songerwriter’s latest signature guitar, ‘Divide’ . Keeping in line with the rest of Ed’s mathematically themed albums, the latest signature sports the unique ‘Divide’ design upon its head stock and body.
Built in accordance with Ed’s favour of the comparatively slightly framed LX1E Little Martin, The ‘Divide’ Signature Edition similarly follows suit and comes fitted with a solid Sitka Spruce top and Mahogany back. Helping with the projection of mid and low register tones, this pairing of tone woods provides a balanced clarity that helps your guitar retain a deep, rich sustain allowing your chords to cut through the mix and whilst giving you a commanding presence.
A loyal imitation down to every last detail, the ‘Divide’ guitar also comes equipped with a custom interior label, Fishman Sonitone electronics and seperate gig bag. Ready to play right out the box, the guitar is a formidable workhorse that will serve the humble singer-songwriter day in day out, no matter the occasion.
A question that came up a lot on one of my previous vlogs on “How to practice” was, “What skills do you need to play jazz guitar??” In this video I am going to try to answer that and open a discussion on what you need to study to learn jazz guitar.
I might have a simpler list of things that you should work on than you expect!!
My attempt at an answer is of course going to be very open. It is impossible to come up with a study plan that will fit everybody (which I am sure you understand). At the same time it’s a good topic to discuss.
It’s not the only way to look at this, so if you have ideas for a different approach then feel free to leave a comment!!
Thanks so much for checking out my weekly lesson at Musicians Unite!! I hope you found it helfpul in finding out what skills you’ll need to play jazz guitar!!
Please check back next week for another lesson, and in the meantime please catch up with me on my website and social media pages!!
Gone are the days of old in which guitar players would try to meticulously emulate their favourite artists via a temperamental cassette and an unwavering sense of enthusiasm. Since the dawn of the digital age, players have been more exposed to more avenues of information than ever before, enabling them to access vast expanses of data at the click of a button.
Back before the age of the internet, techniques were often a speculative ordeal; partially due to the players inability to visually decipher quite often physically complex methods employed by up and coming virtuoso’s such as Eddie Van Halen or Joe Satriani.
In a recent interview with Cosmo music, John Petrucci spoke out about his plight as a young musician and the difficulties he experienced trying to imitate the likes of Yngwie Malmsteen.
” I remember just trying to learn all of those riffs. Slowing it down, putting the record on, putting it on the slower speed so it was like an octave lower. No tab back then! My friend had a cassette player that had a variable speed thing and I literally sat there and learned everyone one of those riffs-just practice them over and over and over and over. I did that with Di Meola and Allan Holdsworth.
Because you can’t see the person play, it wasn’t like Youtube. When you’re young and you’re listening to this, you don’t even know what you’re listening to. Let’s say you have delay on and you hear these kind of ghost notes and you’re like, ‘How do you play that?!'”
Further expanding upon how a new generation of guitarists are rightfully exploiting the benefits of the digital era, Petrucci stated:
” And now kids are getting really, really good at a really young age because they can see how all of this is done. Just look it up, ‘Oh that’s how you’re doing it.’ But back then, you just literally did not know what the technique was and you had to discover it. There was lot of listening over and over and over. ”
Photo credit to Claudio Poblete
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