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!!