Paul Guy, a guitar repairman in Sweden has issued a wonderful treatise on tuning the instrument. I have written about this myself, but I learned a couple of new things from this. I imagine you will too. If you want to skip the theory, go straight to Intonation. One thing he doesn’t address, that I have experienced, is some guitars just “sound” more in tune than others. My theory is that the vibration of some guitars, as it is transferred to the strings, contains more “harmonious” overtones than other guitars. Has anyone else had this experience?
Tuning the guitar by Paul Guy
Tuning has always been a bugbear for guitarists. Every guitar player – and every guitar builder and repairer – is familiar with the problem. No matter how good the instrument, and how well tuned and adjusted, it never sounds perfectly in tune in all positions and keys.
Dual axis pedals are not new—they just haven’t been around for a while. The db Instrument Amp company has revived the concept with their 4E Dual Axis Expression Pedal ($259.00) to let the user connect up four individual expression enabled effects to a single pedal. Based on the ergonomic platform of their M440, the 4E contains four high quality 10k linear Mega pots, two on each axis. And looks like it is built to last.
We would like to welcome a new advertiser to Guitar Moderne: Red Panda. Their approach to guitar effects comes from experience building modular software synthesizers. They work out of a Detroit workshop at the Green Garage in Midtown, a 1920 showroom for model T-based automobiles that was recently remodeled to create a highly energy efficient building shared by about 50 companies.
There is a full review of their amazing Particle pedal coming soon, but until then please click on the ad to get info about this unique granular stomp box.
Summer is Festival time. The United States offers huge gatherings featuring classic rock acts cashing in on their legacy, hip bands doing reunion tours featuring their one record that sold, baby bands that may or may not last a year and other pop ephemera. Meanwhile, over in Europe, American jazz artists tour festivals in super groups that could never afford to play together back home, making their rent for the year.
Here at Guitar Moderne we offer a virtual festival: no camping, no porta-potties, no stifling heat or mud. Just the enjoyment of the best in modern guitar in the comfort of your own home. Enjoy.
Bill Frisell – Live at Montreal Jazz Festival 2002 [FULL HD]
I am just starting to catch up on Reader’s Rig submissions after Summer NAMM (report coming soon) and vacation. Swedish guitarist Anders Isberg has two releases on the Mareld label (Substream Music Group): The Space Within (2013) and A Tranquil Life (2014). He has also done two self-releases: Playing in the Dirt (CD Baby, 2013) and recentlyCollapsing the Wave (Bandcamp, 2014). His video demos for the terrific Paul Trombetta pedals reveal an aggressive blues-rock technique that occasionally peeks through his more ambient releases.
The joy of publishing Guitar Moderne has always been the discovery of new guitarists with evocative tone, fresh ideas, and inspiring new sounds. When I started, I had to find them by spending hours mining YouTube. Now the magazine has grown to where they find me. The French guitarist Imagho A/K/A JL Prades contacted me, looking for feedback on his music. From the first tune on his Bandcamp compilation I was hooked. His mood drenched, layered guitars conjured a Bill Frisell influenced more by the French romantic composers than American roots.
A collaboration between sonic master Adrian Belew, mobile strategists MOBGEN and software developers, elephantcandy has resulted in an aggregation that calls itself NOIISE. Amongst them they have come up with FLUX:FX , a professional multi-effect audio processor app for the iPad that lets you “play” your effects. The concept is not totally new, but a quick read of the user guide on the website makes it seem more full featured and intuitive than anything previously available. We will keep you up to date as info comes in.
Every now and then I will discover a guitarist in a certain context and then find out I have already heard his or her work in another band. I found Trapist’s minimalist masterpiece, Ballroom many years ago, but when I discovered Martin Siewert’s Radian video’s more recently was unaware that he was the guitarist from Trapist. Part of the thriving Viennese experimental scene that gave us Christian Fennesz and Burkhard Stangl, his solid grounding in American roots music almost makes him a candidate for Roots Moderne. Siewert’s actual output though retains only hints of that inspiration—enough to lend it an emotional weight not found often enough in deeply experimental music.
The folks at the Gig Rig posted this amazing video of how they put together Radiohead guitarist, Ed Obrien’s pedalboard, a Pedaltrain Grande with their G2 switching system, Loopy2 routing box, powered by their Generator and Isolator power system. Almost everything here is available off the shelf—nothing is custom made. The pedals include a Fulltone Clyde wah pedal, a Digitech Whammy controlled by a Molten Voltage MIDI 2 pedal, a Molten Voltage OZ Looper controller (no doubt controlling the Strymon Timeline, a Klon and Hot Cakes overdrives, a vintage CSL Super Fuzz (a/k/a Sola Sound), an Eventide H9, a Diamond Tremolo, a Dinosaural compressor, an MXR Flanger, a volume pedal and an Electro-Harmonix Deluxe Memory Man.