If you are like me, you could stare covetously at the beautiful Island Instruments 12-string he is playing for the whole 20 minutes. But while doing so, Phelps gives great insight into his process when making loops with his desktop system.
Eric Clapton’s playing on the Bluesbreakers record changed my life. This was a guitar tone unlike any other previously. Fat, sustaining, it recalled the violin on which I had begun playing music. So, of course, I bought the next Bluesbreakers record, this time featuring Peter Green, who died this week.
When modern guitarist and 1K Records mogul, Tim Motzer gets together with modern jazz guitar legend Kurt Rosenwinkel and drummer Gintas Janusonis to perform as Bandit65, there is no written music, no songs, no plan. The three musicians jump off a cliff and create music from nothing as they fall. Except that they don’t fall. Working without a safety net, they float gently on currents of magical music, composed in the moment. Tim and Kurt were kind enough to talk to Guitar Moderne about their process and gear.
NAMM 2018 was even bigger than last year, yet much more manageable. The brand new ACC (Anaheim Convention Center) North building housed most of the high tech and pro audio stuff, allowing guitars and related products to be centralized in one area on the main floor of the original building. NAMM further reduced the spread by offering the new boutique manufacturers—previously relegated to downstairs Hall E—smaller, more affordable booths in the main guitar product ghetto. Thus, I was able to cover the show in two relaxed, rather than three grueling, days.
The new AAC North building