Korg microKorg Analog Modeled Synth/Vocoder

State-of-the-art analog modeling and multi-band vocoding are finally available in a compact, portable instrument. With 37 keys and 128 user-rewritable programs, the microKORG Synthesizer/Vocoder is perfect for the performer, producer, computer musician, or beginner looking for an affordable synthesizer. The new microKORG delivers the quality sounds and features you expect from Korg at a price that will astound you.

Powerful Synthesis
The microKORG boasts the same dual-oscillator DSP synthesis engine found in Korg's critically acclaimed MS2000 and offers a wider selection of waveforms than any other modeled synth. Oscillator 1 features a total of 71 waveforms. These include traditional analog waves like saw, pulse, sine, and noise, plus more unique choices like Vox wave and cross wave. Together they provide a cool selection that can be modulated to produce an extensive range of timbres. In addition, 64 exclusive DWGS waveforms from Korg's classic DW-8000 enable the microKORG to reproduce a broad collection of imitative sounds. Sounds like bells, electric pianos, guitars, basses, and more that would be difficult reproduce on an analog synthesizer. You can also apply Ring and Sync modulation from Oscillator 2 to create the kind of complex timbres that are the true sign of an advanced synthesizer.

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Gibson Les Paul Standard Electric Guitar with 60s Neck (with Case

Guitar legend Les Paul and Gibson teamed up in 1952 to produce the guitar that set the standard for solidbody electrics. The 2002 Standard sports the smaller, vintage style headstock and plastic "keystone" tuner buttons and is available with a "fat," rounded 50's style neck or a "fast," slim taper 60's style neck. The Standard is outfitted with the new Burstbucker V pickups with Alnico V magnets producing slightly more output than any previous Standard pickups with more bite and a seductive "airy" tone with both pickups on. The Les Paul Standard is still the Industry Standard Now available with Desertburst, Honeyburst, Lightburst, Trans Amber, Wine Red, and Heritage Cherry Sunburst finishes. Features smaller, vintage style headstock and plastic "keystone" tuners.
Technical InfoBody: Carved AA Maple top, Mahogany backNeck: MahoganyProfile: "Fast" 60's styleFingerboard: RosewoodFrets: 22Inlay: Pearl trapezoidScale: 24-3/4 in. Nut Width: 1-11/16 in.Binding: Single-ply top and fingerboardBridge: Tune-o-maticTailpiece: Stop barHardware: NickelPickups: New Burstbucker V pickups with Alnico magnetsControls: 2 volume, 2 tone, 3-way switchStrings: Les Paul Signature .009-.046

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ESP LTD KH202 Kirk Hammett Signature Electric Guitar

Kirk Hammett has been an "ESP guy" for as long as anyone can remember and there' a wide range of Signature models to prove it. This ultra-affordable version is built with a Basswood body that holds a loud set of EMG-ESP LH300 humbuckers. Its Maple neck has a Rosewood fingerboard with Skull & Bones inlays, and easy-playing, extra jumbo frets. The Floyd Rose licensed tremolo is double locking and all hardware is Black.
Technical InfoConstruction: Bolt-on Scale: 25.5 in.Body: Basswood Neck: Maple Fretboard: Rosewood Inlays: Skull & bones with model name at 12th fret Pickups: EMG-ESP LH300Electronics: 2 volume, tone, 3-way slotted Hardware: Black Bridge: Floyd Rose licensed Frets: 24 XJ

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ESP LTD M50 Electric Guitar

For years ESP has been researching better methods of guitar building to bring the finest quality, low-priced guitar on the market. They have succeeded and the result is the M50. The M50 offers 2 humbucking pickups, Poplar body, tremolo bridge, a reversed headstock and an incredibly fast Maple neck with a Rosewood fingerboard with 22 jumbo frets. All at a price that everyone can enjoy.

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Monaco Elite Review (hamer guitar)

Hamer's new Monaco Elite features an arched, single cutaway Ivoroid bound body, neck and headstock.

Features: 2005 model, USA, 22 frets, mahogany body and set neck, "ultimate" quilted maple top and headstock laminate, single cutaway body, trans-black lacquer finish on top solid black on back, Tune-O-Matic bridge, passive SD custom and custom/custom pickups, two volume and one tone control, 3-way pickup selector, Sperzel tuners. Binding on top of body, neck and headstock. I'm giving it a nine simply because it doesn't have coil-splitting which a lot of people like. Not withstanding that everything else is top notch. // 9

Sound: Without question, if you are looking for a "Les Paul" style guitar this is the one to get. I can only compare mine to the LP Standard that I own and the Hamer sounds much brighter and more defined in everything it does. It sounds great clean and distorted. If you are looking for a two humbucker guitar I can't recomend one any more strongly, I promise you I'm not making this up out of some kind of owner's loyalty. It really is an excelent guitar in all respects. // 10

Action, Fit & Finish: I bought mine from a dealer on eBay. It is a custom ordered insturment with the paperwork to prove it so I can't say I've played an "off the line insturment." The thing about the USA Hamers is that they are all more or less custom/hand made. I suspect most are as flawless as mine. Everything was perfect with mine. The binding is flawless, the wood beautiful, the frets perfect, the action low. I could go on for ever. Seriously, it's a great insturment and I feel that I got a great deal for what I payed, and I payed a lot. All you have to do is think about what you want to play with this insturment and it almost does it for you. It's great. // 10

Reliability & Durability: I don't really play out too much any more so I can't attest to how this thing will hold up on the road. It is a solidly built insturment. Feels much better than the three Gibsons I own, and I can tell you that it holds it's tune very well. I don't know if I would use it live without a backup, usually that would be a bad idea with any guitar. I can say that I would hope this guitar wouldn't fail me so I wouldn't have to play another. With what I do now I've got to say that it should last forever. // 10

Impression: Just so you know, I'm only even writing a review because one of this fine insturment doesn't exist yet in this database and I'm so pleased with my Monaco Elite I couldn't let that stand. I honestly play pretty much every style of music you could imagine from straight up jazz to death metal to hillbilly bluegrass on guitar and bass. I've been playing for 18 years, own a lot of gear and have jamed with a lot of well known musicians in my time and have never been told that I can't hang. I'm a amature because I joined the Army in 2001, I promise you I was doing well with my music career before that, and bought this guitar as a gift to myself after I got out. I tried out many guitars before I bought this one including PRS's, Gibsons, McNaughts, etc. and this is as good as it gets. I would definitly buy another one if mine was stolen because I find that this is the guitar to which I tend to gravitate in my stable of 15 quality guitars. Honestly, my Monaco is pretty standard except for the astetics with the top and headstock. I was worried about the pickup choice before I got it, but as soon as I started playing it I understood the company's desision. If you are looking for a "Super Strat" this will not be your cup of tea. However, if you're looking for a great LP style double buck guitar this is it. Guitars are pretty subjective, and I can't tell you that you will deffinitely like one of these Hamers more than a LP or a PRS, etc. but I can say you owe it to yourself to try one out. // 10

roland fantom x7

The Fantom-X Series are the world's first 'Giga-Workstation' keyboards, giving musicians nearly 1GB of wave memory when fully expanded and powerful 128-voice polyphony. The synthesis section has all-new waveforms and room for 4 SRX expansions, while the sampler's RAM can be expanded to 544MB, with an inexpensive DIMM chip - enough memory to use like a digital recorder. The Fantom-X Series is also the first line of workstation keyboards with a color LCD screen.

Features

128-voice workstations with 61-note keyboard (Fantom-X6), 76-note keyboard (Fantom-X7), or 88-note (Fantom-X8) Progressive Hammer-Action Keyboard

Seamless integration of audio and MIDI using gorgeous new ROM waves and sampling with realtime timestretch capability

128MB wave ROM includes quality-focused sounds like 88-key split piano and more

32MB sample RAM expandable to 544MB with optional DIMMs

New color LCD screen - a first in a workstation keyboard!

Innovative features like Skip Back Sampling, Dynamic Pad Bank and V-LINK*

3 MFX processors, plus dedicated reverb, chorus and mastering processor

USB port for MIDI, .WAV/AIFF file exchange and 4x SRX expansion

PC card slot for backing up samples and data with up to 1GB capacity

4 Line outputs (2 stereo or 4 mono), stereo Line input and 24-bit S/PDIF I/O

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Fender Standard Stratocaster Electric Guitar (Rosewood, with Gig Bag)

Fast-action Maple neck, comfort-contoured Alder body, 3 single-coil pickups and standard synchronized tremolo -- it's where the tradition began and still carries on today.

Technical Info

Model Name: Standard Stratocaster (Upgrade)

Model Number: 013-4600-(Color#)

Series: Standard Series

Colors:
(306) Black
(325) Chrome Red
(332)* Brown Sunburst
(375) Midnight Wine
(380) Arctic White
(387) Electron Blue
(Polyester Finish)

Body: Alder

Neck: Maple, Modern 'C' Shape,(Satin Polyurethane Finish)

Fingerboard: Rosewood, 9.5 in. Radius (241mm)

No. of Frets: 21 Medium Jumbo

Pickups: 3 Standard Single-Coil Strat Pickups (Ceramic Magnets)

Controls:
Master Volume
Tone 1. (Neck Pickup)
Tone 2. (Middle Pickup)

Pickup Switching
5-Position Blade:
Position 1. Bridge Pickup
Position 2. Bridge and Middle Pickup
Position 3. Middle Pickup
Position 4. Middle and Neck Pickup
Position 5. Neck Pickup

Bridge: Vintage Style Synchronized Tremolo

Machine Heads: Fender/Ping Standard Cast/Sealed Tuning Machines

Hardware: Chrome

Pickguard: 3-Ply White

Scale Length: 25.5 in. (648 mm)

Width at Nut: 1.650 in. (42 mm)

Unique Features: Vintage Styling

Strings: Fender Super Bullets 3250L, Nickel Plated Steel, (.009 to .042)

Accessories: Standard Gig Bag

Case: None

Introduced: 1/2006

Notice: Product Prices, Features And Specifications Are Subject To Change Without Notice

for info click here

or here http://www.zzounds.com/a--994203/item--FEN134600

ibanez RG 3720 DX

The RG guitar line is the unchallenged standard in hard and heavy rock guitars. The RG370DX employs several of Ibanez’ most-popular upgrades, including the Edge III bridge and Wizard II neck.

Features:
Wizard II neck — 25.5 scale neck is 2mm thicker than the super-thin, super-flat Ibanez Wizard.

3-piece Maple neck material

Basswood body — Basswood is a comparatively lightweight wood, which makes it very comfortable for extended playing. With a good balance of highs and lows, basswood is right in between alder and mahogany in sound character.

24 jumbo frets offer easy playing for leads and chording.

Bound Rosewood finger board offers a strong, bright sound and an attractive appearance with a long grain.

Edge III bridge

IBZ INF3 (H) Neck PU

IBZ INFS3 (S) Mid PU

IBZ INF4 (H) Bridge PU

Sharktooth inlay

Black hardware

Have you seen the headlines? “Guitar rock is back.”
Ibanez is happy to hear it. Except at Ibanez, guitar rock never “left” - and if you’re the type of player who reads Ibanez catalogs, you’ve been too busy playing guitar or bass to worry a whole lot about the media’s take on music. However, the papers are right about one thing: there are more new guitar and bass guitar styles than ever before. That’s why there are more different kinds of guitars and basses in the 2003 Ibanez line up.

click here for more

or http://www.zzounds.com/a–994203/item–IBARG370DX

Roland Releases SP-555 Sampler

Roland’s punches up its popular SP ampler lineup with the new flagship SP-555 Sampling Workstation. Complete with 16 velocity sensitive pads, 37 Fantom-quality effects, an exciting new LOOP CAPTURE function, beefed up internal sample memory, and total computer integration with USB MIDI/AUDIO connectivity—the new SP-555 is the perfect weapon for artists looking for new ways to get their creativity juices flowing.

Created for DJs, loop based performers and sampler junkies alike, the competitively priced SP-555 model offers customers a simple and stress-free approach to beat-making. Whether it be the 555’s down and dirty sampling capabilities that allow users to assign samples directly to individual pads, or the dynamic new LOOP CAPTURE function that allows them to grab spontaneous, live performances this new sampler offers something for everyone looking to carve out their own unique style.

The new LOOP CAPTURE function allows users to sample live audio from the 555’s inputs, (you can also play loops from the pads of course), with real-time effects tweaks. Additionally, artists can connect a footswitch to the SP-555 to activate the LOOP CAPTURE allowing them to stack individual parts on top of one another. The SP-555 makes it easy to build-out phrase loops in real time by simply activating the Overdub Mode.

The SP-555 boasts an expanded internal memory with almost six minutes of stereo sampling time, or to compact flash cards up to 2 gigabytes in size, for a total of over 12 hours of sample time. Like all other SP models, the 555 streams audio in real-time directly from the Compact Flash card, preventing any irritating audio flow interruptions.

The 37 Fantom-quality effects make the SP-555 stand out from the crowd. Effects include classics like the Voice Transformer, Delay and Isolator, and brand new effects like Super Filter, Amp Simulator Step Ring Modulator and DJ FX Looper. The SP-555 can save custom effects settings to the Effect Memory section and recall patches directly from the pads.

In addition to an army of button and knobs, the new SP-555 also contains Roland’s proprietary V-Link and D-Beam technologies giving beat makers new and organic ways to tweak their samples in a live setting, or in the studio.

Thanks to the onboard USB-MIDI/AUDIO and bundled Cakewalk SONAR LE and Wave Converter software, artists can easily fly beats and sounds back and forth from their laptops with stress-free ease.

In addition to the newest enhancements, the SP-555 shares the same standard feature sets and functions found in the SP-404, including tap tempo, a low-fi sampling mode, and onboard mic and I/O.

Roland is a world leader in the design, manufacture, and distribution of electronic musical instruments, professional audio equipment, multimedia products, and music accessories. For more information, contact Roland Corporation U.S., 5100 S. Eastern Ave., P.O. Box 910921, Los Angeles, CA 90091-0921, (323) 890-3700 (x3718 - for media use only. www.RolandUS.com

Swart Super Space Tone 30 head and 2x12 cabinet

LIST PRICES: Super Space Tone 30 head, $2,549.00; 2x12 cabinet, $699.00

MANUFACTURER:Swart Amplifier Company, swartamps.com

FRONT-PANEL CONTROLS:(Preamp) Volume, Treble, Bass, Reverb; (Compressor) Compressor Sensitivity, Compressor Level; (Overdrive) Overdrive Gain, Overdrive Tone, Overdrive Level; Trans-Impedance Power Attenuator

OUTPUT:30–35 watts, depending on output tube type

CHANNELS:One

INPUTS:Hi and Lo

FEATURES:All-tube, cathode-biased output stage; no negative feedback; black powder-coated 12-gauge aluminum chassis; turret-terminal construction; Sprague and Tube Amp Doctor electrolytic capacitors; Mallory 150 and Mojo Dijon signal capacitors; CGE pots; carbon-comp resistors; cloth-covered wire; ceramic tube sockets; three-spring Accutronics reverb tank; Heyboer transformers

CONTROLS:Volume, Hi/Lo gain switch, Tone, Master Volume, Space (reverb), and Tremolo Speed and Depth

CABINET:Finger-jointed pine, with black lacquered tweed covering

TUBE COMPLIMENT:Three JJ ECC 83S/12AX7 tubes (preamp, tremolo and phase-splitter), one JJ ECC 832/12DW7 tube (reverb send and return), four Electro-Harmonix 6V6 GT output tubes (also accepts two EL34s), one JJ GZ34S rectifier tube
FOOTSWITCH:Space (reverb) and Tremolo on/off (included)

SPEAKERS:Two 16-ohm Celestion G12M Greenback 12s, wired in parallel

POWER HANDLING:50 watts

PRO: SUPER-RICH TWEED-VOICED TONES WITH EXTRA GAIN, LUSCIOUS REVERB AND STRONG TREMOLO; TRANSCENDENT RETRO STYLING

CON: EXPENSIVE; SINGLE TONE CONTROL PROVIDES LIMITED TONAL FLEXIBILTY

New Tracks Announced for Guitar Hero III

Activision has announced 11 new songs for Guitar Hero III: Legends of Rock, the next installment in the music and rhythm based video game franchise, including master tracks from rockers AFI, Iron Maiden, Queens of the Stone Age, Red Hot Chili Peppers, Slayer and the Strokes. Watch for the game in October.

The 11 additional tracks include:

o Miss Murder (AFI)
o Through Fire and Flames (Dragonforce)
o Number of the Beast (Iron Maiden)
o 3's and 7's (Queens of the Stone Age)
o Suck My Kiss (Red Hot Chili Peppers)
o Raining Blood (Slayer)
o Reptillia (the Strokes)
o Paranoid (Black Sabbath)
o Cities on Flame (Blue Oyster Cult)
o Mississippi Queen (Mountain)
o La Grange (ZZ Top)

"Guitar Hero III: Legends of Rock features the most comprehensive song list ever assembled for a game," said Tim Riley, Activision's worldwide executive of music. "Artists and music execs from the major and independent record labels and publishers respect the brand and have given us unrivaled access to their music vaults allowing us to give gamers what they want - to grab their Gibson guitars and shred to their favorite music."

In fact, real rock stars like Jade Puget, guitarist for AFI, a band featured in the game is anticipating the upcoming release of the Guitar Hero III: Legends of Rock and wants fans to know that "if you're going to start playing Guitar Hero III: Legends of Rock, make sure you have, say, the next 2 years free, because that's all you're going to want to do."

In addition to the newly announced tracks, Guitar Hero III: Legends of Rock's previously announced tracks include:

o Slash's Original Boss Battle Recording
o Welcome to the Jungle (Guns N' Roses)
o Paint It Black (the Rolling Stones)
o Cherub Rock (Smashing Pumpkins)
o Sabotage (Beastie Boys)
o The Metal (Tenacious D)
o My Name Is Jonas (Weezer)
o Knights of Cydonia (Muse)
o Even Flow (Pearl Jam)
o Lay Down (Priestess)
o Cult of Personality (Living Colour)
o Rock and Roll All Nite (Kiss)
o School's Out (Alice Cooper)
o Rock You Like a Hurricane (Scorpions)
o Slow Ride (Foghat)
o Barracuda (Heart)

Guitar Hero III: Legends of Rock will include explosive new content and features including a multiplayer action-inspired battle mode, grueling boss battles, a host of exclusive unlockable content and visually stunning rock venues. Expanded online multiplayer game modes will also allow axe-shredders worldwide to compete head-to-head for true legendary rock status. While continuing to retain all the key features from their prior legendary performances, fresh downloadable content will be offered on multiple platforms, and players can now shred to a killer set list from many of the most popular rock songs ever recorded.

For the first time ever, Guitar Hero fans will also be able to thrash and burn with new wireless guitar controllers available for each platform, including exclusive Gibson Guitar's Les Paul model for the Xbox 360 video game and entertainment system from Microsoft, Wii home video game system from Nintendo, and PlayStation 3 computer entertainment system. PlayStation 2 gamers will also get to shred on a new exclusive shape, Gibson's Kramer guitar, popularized by hard rockers and known for its body design, pickups, electronics and construction for furious finger fretting.

Guitar Hero III: Legends of Rock, published by RedOctane and developed by Neversoft, is not yet rated by the ESRB and will be available this October. For more information about the Guitar Hero franchise, please visit the dedicated community site: www.guitarhero.com.

Ibanez RGT320Q Prestige Quilt Top Electric Guitar (with Case) Reviews

Feature:
you get so much drive out of the pickups and the guitar is beautiful

Quality:
road use and live concerts is what this guitar is made for and to be honest i dropped mine onge and i have no problems with it

Value:
its worth a lespaul

Desirability:
this is one of the purrtiest guitars i've ever seen other than my custom les paul (platinum)

Sound:
this guitar has got all the options i neeed w/out effects it sounds pure and clear and even sustains well on the 24th fret.

Support:
havent had to contact the company

Overall:
I plan on keeping thhis particular guitar for a while i might get a new one but this will at least be a back up until the day i die

Arch Enemy New Song Online

The following message was posted on Century Media's website:

"Great news Arch Enemy fans as the band gives you a first insight of their upcoming full-length opus "Rise Of The Tyrant" set for release on September 24th, 2007! 'Blood On Your Hands', the crushing opening track has just been posted on the band's Century Media artist page for your listening pleasure - you can get there by clicking here. Or visit the band's MySpace page."

Arch Enemy mastermind Michael Amott enthuses:

"I know there is a lot of excitement out there amongst the fans to hear this new album so we thought it would be cool to give you all a sneak preview. 'Blood On Your Hands' is the opening track on "Rise of The Tyrant" and kicks the album off with a huge bang!
It's a full-on, no holds barred slab of classic Arch Enemy where the whole band is going for it 110%! The song was a blast to write and record and now we are looking forward to playing it live! To me it captures all aspects of Arch Enemy perfectly with just about as much guitar as it's possible to cram into 4 and a half minutes… enjoy!"
Thanks for the info to Metalstorm.ee.

Starcaster S2 Review

It takes some fiddling to get it to where you are comfortable with the way it plays. Once your have it set, it plays and sounds as you would expect a $100 guitar to sound.

Price paid: 179

Purchased from: sams club

Features: Came with a gig bag, 10' cable, Sq 10 practice amp with headphones, picks, extra strings, tuner, strap, and a DVD. Most of these accessories are poor quality, and I would suggest upgrading the strap, strings, and cable. // 7

Sound: I play along the lines of Switchfoot and Relient K. With the tone knobs and the setting knobs on my Fender Frontman 25R amp, I can come close to those sounds. Very solid guitar for the price. It is no real Strat by any means, but if you're just starting out you can't go wrong. // 5

Action, Fit & Finish: Action is ok. Tuners suck though. String bends or playing for about 15 minutes will cause it to go out of tune. I took out my trem bar and it's better, but I'm gonna upgrade soon. The stock strap tears easy. I bought a Levy's and it stays on. Would definently recomend strap locks. Overall it was a decent guitar right out of the box. // 7

Reliability & Durability: I did gig this once. Big suprise, it came out of tune. I've had it since mid November and have played it every day. It still plays very good. My biggest problem was how easy the stock strings break, but I put on some D'Addirio's and fixed that problem. Next big issue is tuning. Buy new tuners. Replace the stock strap and add strap locka and you're set. But this can take a beating. I've dropped this dozens of times and it still plays good. Haven't had any problems with the pickups. This is a good workhorse. // 8

Impression: A great begginer guitar. Everything you need to get started. I learned on this guitar (self-taught) and my frinds are impressed. It looks like a Strat, so that in itself is a plus. But I'm saving to get an Epi Les Paul Custom. If it were stolen I would definently be sad. It's been my guitar since November (I named her Lena after a girlfriend. Lol) And it has sentimental value, but as a rocking/recording/live guitar, no. It just doesn't have a powerful sound, and it's tuners are worthless. Great practice/begginer guitar! You can't go wrong for the price. // 7

3 Shape Pattern Of Hammer-On Technique

The following exercises are designed to be played firstly at a slow speed so you can evenly sound out the notes. Only when you are comfortable with it should you increase the speed. This 3 shape pattern will let you appreciate the power of the 'rolling hammer-on' or 'double hammer-on'. I am writing this presuming that you people already know what a hammer-on is. Please refer to hammer-ons in the main lessons section if you are unsure.

We will start with the first of the 3 shapes, this shape being the 2, 3, 5 (2nd fret, 3rd fret, 5th fret). The 2nd fret is picked. The 3rd fret is a hammer-on, as is the 5th fret. I have included the left hand fingering underneath.

The First Shape

2, 3, 5.

Fig.1
|-------------------------------2h3h5--|E
|-------------------------2h3h5--------|B
|-------------------2h3h5--------------|G
|-------------2h3h5--------------------|D
|-------2h3h5--------------------------|A
|-2h3h5--------------------------------|E
1 2 4 1 2 4 1 2 4 1 2 4 1 2 4 1 2 4

For anyone who doesnt't understand the meaning of 'left hand fingering' -- follow the numbers running underneath the tab. 1=1st finger, 2=2nd, etc.

Like the other 2 main shapes to come, you can run up and down the fretboard with this basic shape, wherever you want. Try playing just 2 or maybe 3 strings with this shape: eg. Using only the D and G strings, play the first shape of 2, 3, 5 on the D string, then the same shape on the G string straight after, then back to the D string. Play in a loop like this:

Fig.2
|------------------------------------------|E
|------------------------------------------|B
|-------2h3h5-------2h3h5-------2h3h5------|G
|-2h3h5-------2h3h5-------2h3h5------------|D
|------------------------------------------|A
|------------------------------------------|E
1 2 4 1 2 4 1 2 4 1 2 4 1 2 4 1 2 4

Now try adding something new to this 'rolling' pattern. Try ascending the 2, 3, 5 shape one fret at a time after you've played both the D string and the G string. It can go as high as you like up the strings, like this:

Fig.3
|-------------------------------------------|E
|-------------------------------------------|B
|-------2h3h5-------3h4h6-------4h5h7-------|G
|-2h3h5-------3h4h6-------4h5h7-------------|D
|-------------------------------------------|A
|-------------------------------------------|E

Please note that the same 'shape' as the 2, 3, 5 is applicable, with the 1st, 2nd and 4th fingers.

The Second Shape

3, 5, 7.

This is a very similar pattern as in Fig.1, only this time we've spread out the 1st and 2nd fingers that were forming the 2nd fret and the 3rd fret.

Fig.4
|-------------------------------3h5h7-------|E
|-------------------------3h5h7-------------|B
|-------------------3h5h7-------------------|G
|-------------3h5h7-------------------------|D
|-------3h5h7-------------------------------|A
|-3h5h7-------------------------------------|E

And same as before, you can play this shape over just 2 or 3 strings, like in Fig.2. You can also take this shape one fret higher each time like in Fig.3.

The Third Shape

5, 7, 8.

This shape is just a mirror image of our first shape, the 2, 3, 5.

Fig.5
|-------------------------------5h7h8------------|E
|-------------------------5h7h8------------------|B
|-------------------5h7h8------------------------|G
|-------------5h7h8------------------------------|D
|-------5h7h8------------------------------------|A
|-5h7h8------------------------------------------|E
1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3

Note that some players may like to use a different method of fingering for this shape and introduce their 3rd finger onto to 7th fret and the 4th finger onto the 8th fret, and it doesn't really matter as long as the notes are there. Although the existing fingering is merely a recommendation, keep in mind that everyone will find one of the suggested ways more comfortable than the other. Also, as you take this shape higher one fret at a time like the previous shapes (Fig.3), you'll find your shape shrinking, that's why I allow for the fingering pattern of 1, 2, 3. To save space when we start running out the higher we go.

Now, all that's left to do is split up the shapes into their appropriate order. Fig.1/Fig.4/Fig.5 is displayed (ascending) over the D string and G string below:

Fig.6
|-------------------------------------------|E
|-------------------------------------------|B
|-------2h3h5-------3h5h7-------5h7h8-------|G
|-2h3h5-------3h5h7-------5h7h8-------------|D
|-------------------------------------------|A
|-------------------------------------------|E
1 2 4 1 2 4 1 2 4 1 2 4 1 2 3 1 2 3

The above exercise shows how use of the 3 specific shapes can be seamlessly carrying on from the one before. As you can see, each shape is played twice; once on the D string, and once on the G string. Using your own creative playing styles, try making up your own patterns like this. Now for one last exercise to really open up the possibilities for shredding/left hand speed. We can use one or all of the above shapes as shown in Fig.7. to introduce the inbred half-cousin of the hammer-on, the pull-off. Knowing that Pull-offs are like the exact opposite of a hammer-on, try combining the two techniques of hammer-ons and pull-offs into a loop:

Fig.7
|-----------------------------------------------|E
|-----------------------------------------------|B
|--------7h8h10p8p7-------------7h8h10p8p7--etc-|G
|-7h8h10------------10p8p7h8h10-----------------|D
|-----------------------------------------------|A
|-----------------------------------------------|E
1 2 4 1 2 4 2 1 4 2 1 2 4 1 2 4

The above exercise shows how use of the 3 specific shapes can be seamlessly carried on from the one before. it's quite good because it allows your right hand freedom. We only have to pick a total of 4 times in Fig.7. But get a total of 18 notes out of it! For a real challenge, try picking every note. Fig.7 is exactly the same shape as in Fig.1 - except it starts on the 7th fret instead of the 2nd. You can follow on in this way, creeping your way higher and higher each time. Try playing the 3 shapes in order like in Fig.6 but this time add the first shape again from your 7th fret, to start the 3 shape cycle all over again, like this:

Fig.8
|--------------------------------------------------------------------|E
|--------------------------------------------------------------------|B
|-------2h3h5-------3h5h7-------5h7h8--------7h8h10---------8h10h12--|G
|-2h3h5-------3h5h7-------5h7h8-------7h8h10--------8h10h12----------|D
|--------------------------------------------------------------------|A
|--------------------------------------------------------------------|E
1 2 4 1 2 4 1 2 4 1 2 4 1 2 3 1 2 3 1 2 4 1 2 4 1 2 4 1 2 4

If you feel like doing something different or you just want to get your pull-offs better, try going backwards. You can turn Fig.8 into a mirror image and play from high all the way back, using pull-offs instead of hammer-ons. Again, for a challenge try picking every note and see how fast you can get it.

There's so much you can do with these 3 simple shapes, the list could go on. I hope this gives you something new and unusual to play with and has helped you to advance your playing style and/or helped you to become a more well-rounded guitarist. As we all know, you can never have too much information regarding various techniques.

Hammer Ons and Pull Offs

These two things refer to techniques employed by the left hand to sound notes without the direct aid of the right hand. A 'hammer on' is when a note is sounded, and while it is still ringing, a left hand finger is used to quickly press down a fret that is on the same string, and close to the original fret. This will result in the sounding of the second note, even though the right hand did nothing but sound the first note. The vibrations that occurred from the sounding of the first note will be carried on to sound the second note. Here's an example. We can place our index finger on the 3rd string, 5th fret, and sound that note. While the note is still sounding, and without moving our index finger, we can use our ring finger to come firmly and directly down on the 7th fret of the 3rd string. This note will then sound, probably not as loud as the first note, but it will still sound. This is a hammer on.

A 'pull off' is basically the same thing, but backwards. We can use a finger to fret a note, and then sound that note. While the note is still sounding, a finger can be placed directly behind the first finger, and then the first finger can be 'pulled off'. In doing this, it is in effect the same as plucking the string with a finger, it creates vibrations. And now the note that is being fretted directly behind the first finger will be sounded. For example, we could place our index finger on the 5th fret, 3rd string AND place our ring finger on the 7th fret, 3rd string. We can play the note on the 7th fret, and then 'pull' that finger off the string, which at the same time, will sound the note on the 5th fret. This is a pull off.

The main difference between hammer ons and pull offs is that pull offs generate vibrations, while hammer ons generally don't. In other words, in performing a pull off, it would be possible to make the second note louder than the first. In a hammer on, we wouldn't be able to do this, because the sound will have died away slightly when we hammer on. Hammer ons and pull offs have a number of uses. They can be used to make a passage sound smoother. Sometimes we don't want to pick every note, because the pick gives a different tone than hammer on or a pull off will.

They can be used to make a passage easier to play. This is true for two reasons. The first is that we can usually do a hammer on or a pull off faster than we can pick two notes in succession. The second reason is that while we are hammering on or pulling off, with two or our left hand fingers, we can use our other two left hand fingers and our pick to do something else at the same time.

They can be used to perform 'trills'. A trill is the rapid succession of two notes. For example, if we placed our index finger on the 12 fret, 3rd string, and then sounded it, we'd get only one sound. But if we continuously hammered on to the 13 fret using our middle finger, and then immediately pulled off back to the 12 fret, we will get a continuous stream of notes, without even using the pick except for the first note. It is because pull offs generate vibrations that we are able to do this. Trills are a good way of ornamenting notes.

Like we said, we can perform trills. If we can perform trills with two notes, why can't we use hammer ons and pull offs between more than two notes? We can. With a lot of practice, we can learn to use hammer ons and pull offs with speed and accuracy, and with this skill, you can learn to play very fast. It's easier to hammer on and pull off to a note than it is to pick every note just as fast. We'll look at some of these uses of hammer ons and pull offs in further lessons. Things to remember from this lesson:

1. Hammer ons and pull offs are a means of using the left hand to sound notes with out using the right hand to sound them.

2. A pull off can generate vibrations(sound), but a hammer on will only carry on the left over vibrations from a previous note.

3. Uses of hammer ons and pull offs include smoother passages, easier passages and trills. Also, with a lot of experience using hammer ons and pull offs, one can use them to play very fast.

Shredding. Part 1 - Fundamentals

In this lesson I am going to teach you guys how to really build your speed and technique, and end up playing like your heroes (Paul Gilbert, Steve Vai, whoever you are in to). This is the first in a series of lessons (they are all too long to put as one).

Introduction.
Shredding is a guitar style that most players like to refer to as literally taking the guitar up and playing as fast as you can (with proper guitar playing of course not just random notes and random times), and since I have been playing/listening to it for the last 25 years of my guitar playing life, I have been led to believe the same thing. If you people do not know I am talking about when I talk of a "shredder," take Zakk Wylde for example or Kirk Hammet or Steve Vai. Still lost? Well simply put, they literally pick their instruments up and let them scream!

In this lesson (series of lessons), I am going to teach you all how to become great shredders like the men mentioned above, lets get started.

There are many different styles that can be applied to shred as a musical style (guitar style) itself, but we will just spend these first few lessons building up your speed and technique. There are hundreds, of techniques used in shredding, and to list them all would probably take up a full page on your Microsoft word, so let's just stick with the main ones for now. The main techniques used in shredding include:

1) Legato
2) Tapping
3) Alternate picking
4) Sweep picking
5) Economy picking
6) String skipping

You have all undoubtedly dealt with these techniques before, so here is just a quick recap/revision

1. Legato – Legato is simply a technique where you play notes "smoothly" (Legato means smooth) which means hammering on and pulling off. When playing legato make sure you keep your fretting hand in a boxed position and make sure you can not differentiate between the picked and legato notes. Check Legato Lesson out if you want a better intro. Legato as I mentioned above is to try to emulate smooth notes in your guitar playing, or very fast position shifting. Legato is good with the fact that it is one handed (in some cases) as it means you can tap with your right hand while simultaneously tapping with your left hand, which can produce some cool sounds – we will look into this in future lessons.

2. Tapping – Tapping is a form of legato. Left hand tapping could be described as legato if you don't pick any notes as you tap them. However right hand tapping, means fretting notes with the fingers of your picking hand. When performing tapping licks, tap with the side of your finger and then draw it back into your hand, and if possible use the other fingers of your tapping hand to mute unwanted noise. Check Tapping Lesson out if you want a better intro. Tapping could be described as a technique used to emulate wide intervals or just simply “notes going all over the place” Eddie Van Halen. There are a lot of cool things you can do with tapping, but we will stick with the fundamentals for now.

3. Alternate Picking – This is a technique where you simply (instead of picking towards the floor constantly) you down pick towards the floor, and then when bringing it back up, pick the string again. When alternate picking, make sure you keep your picking hand loose, as if you try too fast, you will be slowed down, and make sure you have good control of the pick – hold it tight, but not too tight. Check Alternate Picking Lesson out if you want a better intro. This technique could be used to emulate a “fiery and aggressive style” Dick Dale – Pulp Fiction theme or to “emulate a long sustained note” Jimi Hendrix.

4. Sweep Picking – This is a technique where you play the notes by "sweeping" across the strings. If you finger a chord and just play the notes contained in it (play each string separately) you are sweep picking. When sweep picking, again keep your wrist loose (use a wrist action when performing sweep and alternate picking), and when sweeping down towards the floor, tilt it slightly to increase your speed. Check Sweep Picking Lesson out if you want a better intro. Sweep picking is again mainly used to emulate wide intervals or just arpeggios themselves.

5. Economy Picking - This is a technique which combines the ideas of sweep and alternate picking (taking the most direct route to each new string). If you alternate pick any standard scale fingering, while playing your next notes on other strings, you are economy picking. When you economy pick you are basically combining the ideas of sweep and alternate picking, so make sure you keep your wrist loose and try not to tense up, and when switching strings make sure the pick is ready to (it is moving in the correct direction). Economy Picking is the method most shredders use to beef up their playing and double their speed.

6. String Skipping – This is simply a technique where you use the ideas of sweep picking and "skip" strings, while sweeping. When string skipping, you are using again the ideas of sweep and alternate picking, except you have to think of it as going over ramps (the strings you have to avoid are the ramps). Check String Skipping Lesson out if you want a better intro. This is also a technique used to emulate wide intervals (or vice versa – depending where you start).

Shred tunes.
Did you think I was only going to leave you with the fundamentals? Oh come on, I am not that evil. When I am teaching my students complex techniques or styles such as this, I try to put it in a fun sort of a matter (must be why I am a genius), so I am going to leave you with a tune to practice the techniques I mentioned above.

Some of you may have heard of this tune, some may have not; it is called "Colorado Bulldog," by Mr. Big. Now this tune will take an awful lot of time effort and practice but it will pay off and prepare you for the hard lessons coming up. Since this is a long tune and would take up a lot of space, I am only going to transcribe licks I feel you do good learning.

E|-------------------------------------------------------------------|
B|-------------------------------------------------------------------|
G|--------4-7-9------7-9-12---------9-12-14---------12-14-16---------|
D|-2h5h7-------5h7h9-------7h9h12----------9h12h14----------12h14h17-|
A|-------------------------------------------------------------------|
E|-------------------------------------------------------------------|

E|---------------------------------------10-12-15-----------12-15-17-|
B|-----------------------12-15-17----------------10h12h15------------|
G|-14-16-19----------------12h14h16----------------------------------|
D|---------14h17h19--------------------------------------------------|
A|-------------------------------------------------------------------|
E|-------------------------------------------------------------------|

E|-19p17p15-----------17p15p12------------15p12p10-------------------|
B|------------17-15-12-------------15-12-10-----------------17p15p12-|
G|----------------------------------------------------16-14-12-------|
D|-------------------------------------------------------------------|
A|-------------------------------------------------------------------|
E|-------------------------------------------------------------------|

E|-------------------------------------------------------------------|
B|------15p12p10-----------------------------------------------------|
G|-14-12-9--------------16p14p12------14p12p9------12p9p7------------|
D|----------------17-14-12--------14-12-9-------12-9-7-----9-7-5-----|
A|-----------------------------------------------------------------s7|
E|-------------------------------------------------------------------|

E|---------------------------------8-10-12-15p14p12------------------|
B|------------------------8h10h12--------------------15-13-12-15b(17)|
G|------------------5-7-9--------------------------------------------|
D|------------5h7h9--------------------------------------------------|
A|------3-5-7--------------------------------------------------------|
E|3h5h7--------------------------------------------------------------|

E|19-17-15-----------------------------------------------------------|
B|---------19-17-15--------------------------------------------------|
G|------------------16-14-12-----------------------------------------|
D|---------------------------16-14-12--------------------------------|
A|------------------------------------14-12-10-----------------7-9-10|
E|---------------------------------------------14-12-10-7-8-10-------|

E|-------------------------------------------------------------------|
B|-------------------------------------------------------17-------19-|
G|-------17---------19p17-19-19p17--17-------17h19---20p17---20p17---|
D|-17-19—19p17-19----------------19---17h19--------------------------|
A|-------------------------------------------------------------------|
E|-------------------------------------------------------------------|

E|-------------------17---------------17-----------------------------|
B|---20p17--17-20—20p19-20b(22)--20-19h20p19p17--17-19p17---17-20-19-|
G|-20--------------------------------------------20----------20------|
D|-------------------------------------------------------------------|
A|-------------------------------------------------------------------|
E|-------------------------------------------------------------------|

E|-------------------------------------------------------------------|
B|-h20p19p17-20-20p19p17--17-----------------------------------------|
G|---------------------------20---20-19p17--19-17-----------------14-|
D|------------------------------------------19-----19-19--14-16-17---|
A|-------------------------------------------------------------------|
E|-------------------------------------------------------------------|

E|-------------------------------------------------------------------|
B|-------------------------------------------------------------------|
G|----------------14----------------14----------------14----------16-|
D|-17-16-14-16-17--17-16-14-16-17-17-16-14-16-17-17-16-17-19---19----|
A|-------------------------------------------------------------------|
E|-------------------------------------------------------------------|

E|-------------------------------------------------------------------|
B|-------------------------------------------------------------------|
G|----------------16------------------16-------------------16--------|
D|-17-16-17-19----19-17-16-17-19----19-17-16-17-19----19-17-17-19-21-|
A|-------------------------------------------------------------------|
E|-------------------------------------------------------------------|

E|-------------------------------------------------------------------|
B|----------------------------------------------17-------------------|
G|---------17----------------17----17h19h20--20-19-17-19-20-17-19-20-|
D|-21-19-17-19-21--21-19-17-19-21------------------------------------|
A|-------------------------------------------------------------------|
E|-------------------------------------------------------------------|

 Tremolo picked-----------|
E|----------17--------------17-19-20-22b(24)--12-13-14-15-16-12-16---|
B|17-19-20---20-19-17-19-20-----------------11-13-14-15-16-----------|
G|-----------------------------------------------11-12-13-14-15—13-16|
D|-------------------------------------------------------------------|
A|-------------------------------------------------------------------|
E|-------------------------------------------------------------------|

E|-------------------------------------------------------------------|
B|-------------------------------------------------------------------|
G|---7h8-t(9)-7h8-t(9)-7h8-t(9)-7h8-t(9)-7h8-t(9)-7h8-t(9)-7h8-t(9)--|
D|-------------------------------------------------------------------|
A|-------------------------------------------------------------------|
E|-------------------------------------------------------------------|

E|-------10-t(14)p10p9--t(14)12-t(14)p12p10p9-t(14)p10p9-------------|
B|9h10h12-------------12----------------------12--------12-t(14)p10p9|
G|-------------------------------------------------------------------|
D|-------------------------------------------------------------------|
A|-------------------------------------------------------------------|
E|-------------------------------------------------------------------|

Well that is the end of your first lesson in series on shredding; I hope you enjoyed it, and any feedback/questions would be much appreciated.

setup guitar

SETUP GITAR

Berikut ini adalah beberapa sentuhan singkat dan sederhana untuk men'setup gitar anda, agar lebih optimal untuk dimainkan, dan menghasilkan tone yang maksimal pula.

Setting Truss Rod
Truss Rod adalah sebilah besi panjang yang ditanam didalam neck gitar, untuk mengatur agak neck gitar tetap pada keadaan lurus, tidak melengkung cembung, ataupun cekung (lihat gambar)

Apabila Neck Cekung, coba untuk lebih mengencangkan truss rod neck anda.
Begitu juga sebaliknya, apabila neck cembung, coba untuk lebih mengendurkan truss rod'nya.

Setting Action Senar & Tinggi Bridge
Mensetting action senar, maksudnya mengatur jarak antara senar dengan permukaan kayu pada fretboard neck. Semakin rendah, akan semakin ringan untuk dimainkan. Tapi hati hati, terlalu rendah bisa menyebabkan fretbuzz!
Mengubah action senar berarti juga mengubah tinggi rendah bridge, karena tinggi rendah bridge juga mempengaruhi tinggi rendahnya senar. maka untuk men'set action ini, satu satunya cara adalah melalui bridge. Berikut ini adalah gambar di bagian bridge manakah yang harus diputar putar untuk mengatur tinggi rendahnya (lihat gambar)

Setting Intonasi
Bagaimana caranya mengetahui gitar anda sudah memiliki intonasi yang baik? cobalah dengans sebuah tuner.
Bunyikan salah satu senar tanpa ditekan (misalkan senar satu yang bernada E), Lalu tekanlah di fret 12 dan bunyikan lagi. Apabila Nada'nya juga tepat E, maka intonasi gitar anda sudah OK!
Tetapi apabila lebih rendah sedikit dari E, maka majukan saddle bridge kearah pickup.
Dan apabila lebih tinggi sedikit dari E, maka mundurkan saddle bridge ke lawan arah pickup
lakukan juga terhadap semua senar, sampai semuanya memiliki intonasi yang baik.

Apa itu saddle bridge? saddle adalah tempat tumpuan senar di bridge.. (lihat gambar dibawah)

Tinggi Pickup
Ketinggian pickup juga harus diatur, jangan sampai terlalu dekat dengan senar, jangan juga terlalu jauh.
Terlalu jauh dari senar akan menyebabkan gain berkurang. Sedangkan semakin Dekat Pickup dengan senar, semakin hebat gain yang dihasilkan! Tetapi jangan terlalu dekat, bisa menyebabkan senar menyentuh magnet pole pieces dari pickup, dan mengeluarkan suara yang tidak diinginkan.
Ketinggian pickup dapat diatur hanya dengan memutar kedua skrup yang ada pada pinggir masing2 pickup.


-Go to page: "Setup Floyd Rose"-




Oleh : Andre Harihandoyo

LINE 6 UBER METAL

Line 6 mengeluarkan salah satu pedal drive yang digunakkan untuk musik metal yang dinamakan ubermetal.

FEATURE
Didalam efek ini terdapat beberapa feature diantara yang volume, treble, middle, bass, drive Dan ada tambahan scoop, 3 model drive, dan gate 2 level

Scoop
Berfungsi untuk mengatur deep dari sound drivenya makin kecil scoopnya maka sound drive yang dihasilkan akan lebih jelas, makin besar scoopnya maka sound yang dihasilkan akan lebih berat dan lebih terbungkus distortion.

Gate
berfungsi untuk meredam noise yang keluar dari settingan efek ubermetal.

3 Model Drive :
• METAL
  Suara lebih cenderung ke metal zaman dulu, zaman-zaman trashmetal
• PULVERIZE
  Settingan rekomendasi untuk metal modern ada pada Pulverize
• INSANE
  Tidak beda jauh dengan Metal

QUALITY
cukup sempurna apabila digunakan dengan ampli head kabinet dengan power besar, disarankan untuk memasukkan jack gitar ke lubang return dibelakang ampli, akan terasa perbedaannya dibandingkan dengan memasukkan jack gitar ke lubang input, dengan catatan head ampli harus memiliki power yang cukup besar.

Setting jack gitar melalui return
ini berfungsi ke head seperti Marshall JCM 900 dual reverb, Marshall JCM 2000, lebih sempurna lagi menggunakan head seperti Mesa Boogie, dengan setting channel 2 pada head, jadi kita menggunakan power channel 2 pada ampli mesa untuk memaksimalkan output dari efek ubermetal line 6. Settingan jack gitar standard/melalui input
yaitu melalui input hanya akan menghasilkan bunyi efek distortion pada umumnya, menurut saya settingan ini tidak mengeluarkan karakter asli dari efek ubermetal line 6 ini. Memang ubermetal line 6 ini bukanlah preamp, tapi dengan settingan recomendasi saya ada mungkin akan mendapatkan hasil yang anda inginkan.

SOUND
Sound yang dapat dihasilkan melalui setting return : Dapat menghasilkan sound setting metal seperti band-band metal Lamb Of God, Trivium, Avenged Sevenfold, dll, tergantung dari setting efek, gitar serta pickup yang digunakan, untuk hasil maksimal bisa menggunakan pickup seperti Seymour Duncan SH-13 Dimebucker, dll.

Sound yang dapat dihasilkan melalui setting standard/melalui input : Sound yang dihasilkan seperti efek distortion pada umumnya.


Kesimpulan
Meski agak berat tapi efek ini bisa menjadi salah satu andalan efek untuk bermain musik metal dan hardcore, tentunya dengan setting yang benar, kelemahannya memang klo ingin mengeluarkan karakter asli efek ini, terpaksa harus pilih head yang mempunyai power besar, Tapi klo hanya sekedar ingin mendapatkan distortion yang asik dan metal efek ini sudah sangat memenuhi meskipun dengan settingan memasukkan jack gitar melalui input dan menggunakan ampli biasa.


harga di indonesia sekitar Rp. 880.000,-
Efek ini bisa didapatkan di Serenata dan Galeri Musik Jakarta

Oleh : Boy Raja Kami ( boyleonheart(at)yahoo.com )

PRISA ADINDA DIENDORSE JACKSON GUITARS

Makin mengkilap saja karir musik Prisa Adinda. Setelah permainan gitar dan vocalnya sudah bisa disimak pada single pertama J-Rocks yang berjudul Kau Curi Lagi, kini Miss Gitaris.com ini baru saja diendorse oleh brand gitar terkemuka dunia. Adalah Jackson yang mengontraknya sebagai artis mereka. Prisa yang diakui oleh majalah AudioPro sebagai "gitaris metal wanita pertama di Indonesia" ini akan mulai menggunakan gitar Jackson seri DKMG di berbagai penampilannya.

my music

Let's Rock.....hehehehe Yah..jadi rocker itu yang aku impiin.... dengan blog ini coba aku tuangin pikiran dan perasaan ku tentang musicku...mungkin juga info tentang music music rock yang bisa aku tampilin disini...tabulatur atau cord yang semoga saja bisa bermanfaat buat yang baca....

Guitar.......Yesssss!!!!
ini salah satu Guitar impian aku...hehehehe...ntah sampai kapan neh impian terwujud....soalnya mahal bro!!