Get to know your tones (and semitones)...
Notice that A# and Bb are the same note (called enharmonic if you want to be clever). They sound the same but have different names.
Also notice that there is no note in between E and F or B and C. This is where the white notes are right next to each other on the piano keyboard.
Moving clockwise around the circle makes the notes higher in pitch.
The interval of a semitone (shown on the left) is the smallest step on the guitar, and is one fret. Two semitones make a tone (shown on the right), and these two intervals make up scales.
The note circle can also be used to work out any note on the fingerboard by knowing only the note names of the open strings. Simply count clockwise around the circle, moving up one step for each fret, starting from the note of the open string.
It is theoretically possible to have a B#, it would have the same pitch as C, and would be played the same way on the instrument.
This table should be memorized as it is the foundation of all music.
© Justin Sandercoe
One very useful thing to know is the note names of the open strings. They are often used to describe finger placement (as in put your first finger in the second fret of the A string) and are also useful for tuning your guitar to another instrument (like a piano). It is needed to buy new strings for your guitar (can I please have a D string) and can help you know the notes you are playing and may help you use a guitar tuner. So well worth learning this one.
So what are the notes?
1st string - E (the thinnest)
2nd string - B
3rd string - G
4th string - D
5th string - A
6th string - E (the thickest)
Rhymes in the timesThis can easily be remembered using a rhyme... like:
Easter Bunny Gets Drunk After Easter
The notes names from thin to thick strings). This is the one I was told as a kid and still remember to this day, but feel free to make up your own. If you come up with a very funny one please let me know and I will add it here.
Other Examples of rhymes...Every Boy Gets Dizzy Around Elle (tribute to supermodel Elle MacPhearson by me)
Even Brainy Gits Don't Always Eat (...whatever man, make up your own....)
Eager Boys Go Down After Eloping (ooooh matron)
They can go the other way too - using thickest to thinnest strings like these:
Easter Angels Don't Give Broken Eggs
Eddie Ate Dynamite, Good-Bye Eddie (from James via Max)
Go for it and make up your own!
© Justin Sandercoe
Be the change you want to see...
Do be careful though, there is a lot of tension on guitar strings, and if they come loose or snap, they can do you some damage (especially your eyes).
Also be careful to dispose of your old string carefully. Cats and dogs really like to chew on them, but they can go straight through their cheeks. So please dispose of them safely (perhaps rolled up and wrapped in paper?).
Step 1 - Remove and replace
Steel string acoustic guitars have a quite different way of attaching the strings at the bridge end. They rely on a plastic pin to secure the string in place. Again the first step is to remove all of the original string. Just pull off any remnants from the tuning peg (I usually use long nose pliers so I don't poke the string into my fingers).
The ball on most steel string acoustics will just fall into the body of the guitar, and can be removed by shaking the guitar about until it falls out the soundhole (can sometimes prove quite difficult, but is not that important if the ball rattles around inside). You might also like to watch my stupid vieo about getting a pick out of an acoustic guitar ;)
Next remove the appropriate peg from the bridge. Then put the ball end of the string 10 cm into the hole and replace the peg. Then slowly pull the string while keeping some pressure on the peg until the string is tight. Although this may look a little insecure, if done correctly it will be very strong. Watch out if the peg seems to be coming out, just keep pushing it in (quite hard). Once pulled tight it should not have any give.
Step 2 - Winding on the peg
This part is the same for all types of guitars (except classical guitars). The most important part of this is getting the string on the right side of the peg, and here is how to do it. First of all line up the hole in the peg so it is facing straight down the neck. Put the string through the hole and pull it back so you have some slack. The amount of slack you need will vary, depending on the thickness of the string. The 6th string only needs about 7cm but the 1st string can take 10cm, or thereabouts. Now hold the string in place with your right hand, just hold the peg so the string cannot slip and then turn the peg ANTI-CLOCKWISE if you are looking at the peg (if the peg is underneath like on some Gibson guitars then it looks clockwise from above).
As you continue turning the peg the string will wrap around it. The first time round the string should go above the hole (and the slack poking out) and above the string and after 1 lap it should go under the string. This will make it lock onto the string as it gets tighter (it is OK for all the wraps to go under, it is just more secure if you get the lock). You should aim for a least 3 wraps on the 6th string and 5 wraps for the 1st string. More will not hurt, but less and the string may start to slip. Try not let the string overlap itself, as this may make it easier to break.
Step 3- Tuning up
The next step is to tune the string. I strongly recommend getting an electric tuner, as it is important to hear what the guitar should sound like when you are learning, and electric tuners are pretty cheap these days (I recommend the Boss TU-12 Tuner. I have had mine for 10 years, it gets a beating, but is still working fine). If you have one then tune up using this, if not, tune to another string that you know is in tune. If this is not an option, then tune up to a keyboard, pitch pipes, or whatever is available. See the lesson on tuning in The Basics.
Step 4- Stretching in
And lastly, and quite often forgotten, is to stretch the string in. Just gently pull on the string with your right hand, using your left hand to hold the string in its correct position in the nut. You should notice it going out of tune considerably, and will need to tune it again. Continue stretching until you no longer need to tune it up.
© Justin Sandercoe
Be the change you want to see...
Learning to restring a guitar is a lot easier than you might first think, if you do it the right way. If you can't do it at the moment, and are taking it to your local store to get it done, now is the time to learn.
Do be careful though, there is a lot of tension on guitar strings, and if they come loose or snap, they can do you some damage (especially your eyes).
Also be careful to dispose of your old string carefully. Cats and dogs really like to chew on them, but they can go straight through their cheeks. So please dispose of them safely (perhaps rolled up and wrapped in paper?).
Step 1 - remove and replace
The first step is to totally remove the original string. This means taking any bits off the tuning peg, and taking out the "Ball" from the bridge end. There are two main types of electric guitar and two different types of bridge.
On a Fender type guitar (note not all Fenders, but most, and also many other brands) the string goes through the guitar and comes out the back of the guitar. You must check that the ball has been removed from here. If you do not you might get two that wedge themselves in there and it is a real task to get them out. You can check by holding the guitar up to the light and you should be able to see if it is still there. If you have any difficulties getting it out then try using the new fat 6th string to poke it out from the front of the guitar. You might also like to try removing the plastic back plate to make it easier to see what you are doing. I leave my back plate off my strats all the time to make string changing a load quicker.
On a Gibson type guitar (note again that it's not all Gibsons) The balls are just hooked through the bridge. You can see these quite easily and should be able to remove it without any problem.
Once this has been done you feed the string into the hole where the ball was. On Gibson guitars this means just poking it through the hole toward the neck (sharp end first) and pulling it through until stopped by the ball. On Fender types you must put the string (sharp end first) into the appropriate hole in the back of the guitar (under the plastic rear plate), push it through, grab it at the front and pull it all the way through until stopped by the ball.
Step 2 - winding on the pegThis part is the same for all types of guitars (except classical guitars). The most important part of this is getting the string on the right side of the peg, and here is how to do it. First of all line up the hole in the peg so it is facing straight down the neck. Put the string through the hole and pull it back so you have some slack. The amount of slack you need will vary, depending on the thickness of the string. The 6th string only needs about 7cm but the 1st string can take 10cm, or thereabouts. Now hold the string in place with your right hand, just hold the peg so the string cannot slip and then turn the peg ANTI-CLOCKWISE if you are looking at the peg (if the peg is underneath like on some Gibson guitars then it looks clockwise from above).
As you continue turning the peg the string will wrap around it. The first time round the string should go above the hole (and the slack poking out) and above the string and after 1 lap it should go under the string. This will make it lock onto the string as it gets tighter (it is OK for all the wraps to go under, it is just more secure if you get the lock). You should aim for a least 3 wraps on the 6th string and 5 wraps for the 1st string. More will not hurt, but less and the string may start to slip. Try not let the string overlap itself, as this may make it easier to break.
Step 3- Tuning upThe next step is to tune the string. I strongly recommend getting an electric tuner, as it is important to hear what the guitar should sound like when you are learning, and electric tuners are pretty cheap these days (I recommend the Boss TU-12 Tuner. I have had mine for 10 years, it gets a beating, but is still working fine). If you have one then tune up using this, if not, tune to another string that you know is in tune. If this is not an option, then tune up to a keyboard, pitch pipes, or whatever is available. See the lesson on tuning in The Basics.
Step 4- Stretching in
And lastly, and quite often forgotten, is to stretch the string in. Just gently pull on the string with your right hand, using your left hand to hold the string in its correct position in the nut. You should notice it going out of tune considerably, and will need to tune it again. Continue stretching until you no longer need to tune it up.
Locking PegsLocking pegs (like those found on many Stratocasters) speed up string changes considerably. With this type of nut, the process of string changing is the same but it is not important to get lots of winds on the peg. Just feed the string through the hole in the peg, tighten the wheel on the back, and tune up. I have this system on my red Stratocaster and I think it is great. Never had a problem with them, ever. Highly recommended.
Learning to restring a guitar is a lot easier than you might first think, if you do it the right way. If you can't do it at the moment, and are taking it to your local store to get it done, now is the time to learn.
Do be careful though, there is a lot of tension on guitar strings, and if they come loose or snap, they can do you some damage (especially your eyes).
Also be careful to dispose of your old string carefully. Cats and dogs really like to chew on them, but they can go straight through their cheeks. So please dispose of them safely (perhaps rolled up and wrapped in paper?).
Step 1 - remove and replace
The first step is to totally remove the original string. This means taking any bits off the tuning peg, and taking out the "Ball" from the bridge end. There are two main types of electric guitar and two different types of bridge.
On a Fender type guitar (note not all Fenders, but most, and also many other brands) the string goes through the guitar and comes out the back of the guitar. You must check that the ball has been removed from here. If you do not you might get two that wedge themselves in there and it is a real task to get them out. You can check by holding the guitar up to the light and you should be able to see if it is still there. If you have any difficulties getting it out then try using the new fat 6th string to poke it out from the front of the guitar. You might also like to try removing the plastic back plate to make it easier to see what you are doing. I leave my back plate off my strats all the time to make string changing a load quicker.
On a Gibson type guitar (note again that it's not all Gibsons) The balls are just hooked through the bridge. You can see these quite easily and should be able to remove it without any problem.Once this has been done you feed the string into the hole where the ball was. On Gibson guitars this means just poking it through the hole toward the neck (sharp end first) and pulling it through until stopped by the ball. On Fender types you must put the string (sharp end first) into the appropriate hole in the back of the guitar (under the plastic rear plate), push it through, grab it at the front and pull it all the way through until stopped by the ball.
Step 2 - winding on the pegThis part is the same for all types of guitars (except classical guitars). The most important part of this is getting the string on the right side of the peg, and here is how to do it. First of all line up the hole in the peg so it is facing straight down the neck. Put the string through the hole and pull it back so you have some slack. The amount of slack you need will vary, depending on the thickness of the string. The 6th string only needs about 7cm but the 1st string can take 10cm, or thereabouts. Now hold the string in place with your right hand, just hold the peg so the string cannot slip and then turn the peg ANTI-CLOCKWISE if you are looking at the peg (if the peg is underneath like on some Gibson guitars then it looks clockwise from above).
As you continue turning the peg the string will wrap around it. The first time round the string should go above the hole (and the slack poking out) and above the string and after 1 lap it should go under the string. This will make it lock onto the string as it gets tighter (it is OK for all the wraps to go under, it is just more secure if you get the lock). You should aim for a least 3 wraps on the 6th string and 5 wraps for the 1st string. More will not hurt, but less and the string may start to slip. Try not let the string overlap itself, as this may make it easier to break.
Step 3- Tuning upThe next step is to tune the string. I strongly recommend getting an electric tuner, as it is important to hear what the guitar should sound like when you are learning, and electric tuners are pretty cheap these days (I recommend the Boss TU-12 Tuner. I have had mine for 10 years, it gets a beating, but is still working fine). If you have one then tune up using this, if not, tune to another string that you know is in tune. If this is not an option, then tune up to a keyboard, pitch pipes, or whatever is available. See the lesson on tuning in The Basics.
Step 4- Stretching in
And lastly, and quite often forgotten, is to stretch the string in. Just gently pull on the string with your right hand, using your left hand to hold the string in its correct position in the nut. You should notice it going out of tune considerably, and will need to tune it again. Continue stretching until you no longer need to tune it up.
Locking PegsLocking pegs (like those found on many Stratocasters) speed up string changes considerably. With this type of nut, the process of string changing is the same but it is not important to get lots of winds on the peg. Just feed the string through the hole in the peg, tighten the wheel on the back, and tune up. I have this system on my red Stratocaster and I think it is great. Never had a problem with them, ever. Highly recommended.
© Justin Sandercoe
It will always sound better if it is in tune!
I highly recommend that beginner guitarists get a tuner - it is a lot more inspiring to play when your guitar is in tune and it actually sounds nice - well worth the few bucks one will cost...
There are several methods of tuning your guitar to itself - the 5th fret technique or harmonics - a more advanced method.
A great way to tune your guitar is to use harmonics. It allows you to get the guitar perfectly in tune with itself. I still advise using an electric tuner for important situations or playing in a band.
To start you need to get your 6th (E string, the thickest) in tune. You can tune it to a piano, from another guitar that is in tune, pitch pipes or an electric tuner.
If you have no reference point, your guitar will be in tune with itself (this is all that matters for practice) but not in “A440 tuning” which is what all instruments tune to - important if you are playing with others.
To begin tuning play a harmonic at the 5th fret on the 6th string. Let it ring out while you play a harmonic at the 7th fret on the 5th string. These two notes should sound the same. If they are in tune then you will here a constant high pitch. If they are out of tune you will hear it “warble”. This effect is even more obvious on an electric guitar with distortion so it is worth playing about with a rock sound to get used to hearing the strange effect that the out of tune harmonics give. It actually sounds cool and a lot of rock guys use the whammy bar to make the strings a little out of tune and making a cool "warble".
If it is out of tune the 5th string will need to be adjusted. It will take practice to be able to get the two harmonics ringing out at the same time and to recognise if the are sharp or flat (too high or too low) and then tune it.
Because harmonics ring out even if you take a finger off, you can use your left hand to turn the appropriate tuning peg.
Once the 5th string is in tune it is now time to tune the 4th. Play a 5th fret harmonic on the 5th string and a 7th fret harmonic on the 4th string. Tune the 4th string so there is no “warble”.
The process is repeated again to tune the 3rd string using a 5th fret harmonic on the 4th string and 7th fret harmonic on the 3rd.
Because of the tuning of the guitar, the approach needs to change to tune the 2nd and 1st strings. Play a 7th fret harmonic on the 6th string and it should sound the same as the open (no fingers, no harmonic) 2nd string. Get this in tune and then use a 5th fret harmonic on the 6th string (yes the same one you did earlier) to tune the open 1st string.
It is important to learn to tune well for many reasons. If sounding terrible to any audience or friends is not bad enough, your ear will never develop unless you learn to recognise things being “out of tune”.
This is well worth your time to learn, anyone listening will appreciate it!
© Justin Sandercoe @ justinguitar.com
Choose the style you want and press play. Use the scale shown to jam without a band.
A Major Scale
BLUES
Muting is an essential part of the guitarist’s armoury, especially when playing high gain rock and metal styles, as it helps with note separation and clarity. There are two ways of muting strings: palm muting and fretting hand muting. Palm muting involves laying the edge of the palm of your picking hand near the bridge of the guitar across the strings that are being played. The positioning of the hand is crucial, as if the hand is directly across the bridge the strings won’t be muted, and if it is too close to the neck then the strings wont be able to ring properly. As a rough guide try to keep the edge of the palm between the bridge and the bridge pickup. An excellent example of this is the main riff from Metallica’s Master Of Puppets.
As these are eighth notes played at 210 beats per minute, this riff would sound a lot messier without palm muting.
m m m m m m m m m m m m m m m m m m m m
|--------------------------------------------------------------------|
|--------------------------------------------------------------------|
|-------------------------------------------------------------4------|
|-------------------------------------------------------------4------|
|-----2-----3-----4-----3-----2-2-----2-----3-----4-----3-----2------|
|-0-1---0-1---0-1---0-1---0-1-----0-1---0-1---0-1---0-1---0-1--------|
Try playing this first example with palm muting, and then without, as in the second. Sounds much less focused, no?
|--------------------------------------------------------------------|
|--------------------------------------------------------------------|
|-------------------------------------------------------------4------|
|-------------------------------------------------------------4------|
|-----2-----3-----4-----3-----2-2-----2-----3-----4-----3-----2------|
|-0-1---0-1---0-1---0-1---0-1-----0-1---0-1---0-1---0-1---0-1--------|
This next example is from Van Halen’s Ain’t Talkin’ ‘Bout Love. This is the intro, and the palm muting can clearly be heard here. The muting makes the notes sound more staccato, and they don’t ring into each other as they might if this were played without palm muting.
m m m m m m m m m m
e|-------------0-1----------3-------------------|
B|--------1---------1----------3----------------|
G|----------2----------2------------------------|
D|----2-----------------------------------------|
A|--0-------------------------------0--3~--3~-2~|
E|----------------------------------------------|
Palm muting can be applied to both downpicking and alternate picking, but for some reason it always sounds more powerful to me when downpicking. Alternate picking generally uses palm muting to achieve a “machine gun” pick attack: check out Zakk Wylde to hear this sort of thing.
Article Courtesy of ultimate-guitar.com
As these are eighth notes played at 210 beats per minute, this riff would sound a lot messier without palm muting.
m m m m m m m m m m m m m m m m m m m m
|--------------------------------------------------------------------|
|--------------------------------------------------------------------|
|-------------------------------------------------------------4------|
|-------------------------------------------------------------4------|
|-----2-----3-----4-----3-----2-2-----2-----3-----4-----3-----2------|
|-0-1---0-1---0-1---0-1---0-1-----0-1---0-1---0-1---0-1---0-1--------|
Try playing this first example with palm muting, and then without, as in the second. Sounds much less focused, no?
|--------------------------------------------------------------------|
|--------------------------------------------------------------------|
|-------------------------------------------------------------4------|
|-------------------------------------------------------------4------|
|-----2-----3-----4-----3-----2-2-----2-----3-----4-----3-----2------|
|-0-1---0-1---0-1---0-1---0-1-----0-1---0-1---0-1---0-1---0-1--------|
This next example is from Van Halen’s Ain’t Talkin’ ‘Bout Love. This is the intro, and the palm muting can clearly be heard here. The muting makes the notes sound more staccato, and they don’t ring into each other as they might if this were played without palm muting.
m m m m m m m m m m
e|-------------0-1----------3-------------------|
B|--------1---------1----------3----------------|
G|----------2----------2------------------------|
D|----2-----------------------------------------|
A|--0-------------------------------0--3~--3~-2~|
E|----------------------------------------------|
Palm muting can be applied to both downpicking and alternate picking, but for some reason it always sounds more powerful to me when downpicking. Alternate picking generally uses palm muting to achieve a “machine gun” pick attack: check out Zakk Wylde to hear this sort of thing.
Article Courtesy of ultimate-guitar.com
In this article I will explain the 2 most crucial settings to use on the metronome and their relationship to developing lethal shredding speed!
A Major factor to becoming truly fast is mastering tremelo picking. And guess what! Yep, our buddy the metronome is going to help us to do it.
Temelo picking is just alternate picking – down,up,down,up etc. - on one note so lets set the metronome up and get started!
Set the Metronome to 8th note triplets and adjust the tempo to a nice easy speed. Your starting tempo should be something you can play easily with no error for an extended time period. You should heara steady pulse of clicks (Tic, tic, tic – Tic, tic, tic – Tic, tic, tic – Tic, tic, tic) with a staggering feel.
Now start alternate picking in time with the clicks on the 5th fret of the large E string(note A). The clicks come in a series of 3 so I want you to play the 1st click of each group of 3 slightly louder than the other 2. This is your pulse click which needs to be in perfect time.
If your metronome has a pendulum arm or a horizontal LED display you should play the pulse note whenever the arm reaches the extreme left or right. In the case of an LED display this is the extremeleft or right LED light. It is common for metronomes to play the pulse note louder as well.
You should realize that when you hear a guitar player playing fast tremelo picking that the notes are a series of small bundles - in this case they are 3 note bundles – tied together to form a larger musical pattern. The pulse note will become familiar to you so if you solo over a song with a fast 4/4 tempo you can simply count off the pulse notes in time with the beat. A bar of tremelo picking using the above setting produces 12 notes per bar. By recognising you pulse note you only have to count from 1 to 4 to keep effective time using tremelo picking.
So now that you have a few ideas about how and why to do things you can increase the tempo speed. I like to jump up in 10bpm lots but you can use smaller amounts. The main thing to remember is not to increase the tempo by large amounts too quickly. Lets say you started at 80bpm and you executed your tremelo picking with no mistakes using relaxed alternate picking technique and economy of movement(small controlled movements). Now, bump it up to 90bpm and listen to clicks before you play anything.
Before you start you should realise that there is no difference between playing slow and fast. Its common for students to hear a faster tempo and immediately say to themselves “That's too fast I'll never do that”. And guess what? Their mind makes it true. Your mind is so powerful that it will make statements like this a reality. You should instead clear your mind of all thought and simply play.
Lets continue. Using the correct mindset above you tremelo pick perfectly at 90bpm so you would bump the tempo up to 100bpm make your mind calm and clear of distraction then go for it!
If you find that you were not able to make the jump to 90bpm then stay on 80 bpm for a day or two or even a week. If you are new to tremelo picking then you have to condition your muscles to perform the work. Training your muscles should be done at a slow tempo from 40 – 60bpm. Once this is done then attempt to increase your speed again and you will see a huge improvement.
I mentioned 2 crucial settings earlier. The 2nd is 16th notes. Set your metronome to this setting and listen to the clicks. This time you will hear bundles of 4 clicks(Tic, tic, tic, tic – Tic, tic, tic, tic – Tic, tic, tic, tic – Tic, tic, tic, tic). Lets start with a nice easy tempo say 60bpm. As before, start alternate picking on the 5th fret of the big E string(Note A). Play the pulse note slightly louder than the other 3.
The process for improving speed is the same for 16th notes as 8th note triplets.
You should practice tremelo picking separately on all 6 strings as each string has different resistence and uses the muscles in your hand differently
If you are interested in more information on my guitar teaching methods I do have an ebook available with MP3's titled Shred Lords – Neoclassical Guitar available at my website www.jameserceg.com. James Erceg is a full time professional guitar teacher and player.
© James for The Guitar Resource, 2009.
As a beginning guitar player choosing that first instrument can be an overwhelming decision. There are a large variety of acoustic guitars to choose from, all at different prices, with many features. As a new player you want to choose a good instrument, but may not have the knowledge to know what is good and what is not.
If you have a more knowledgeable guitar-playing friend brining them along is always a good idea. Its good to get a second opinion, and they can play the guitar so you can hear what it sounds like out front. Here are some important features to consider.
Solid Top – If your budget can afford it, I highly encourage you to buy a guitar with solid top. Guitar tops are either made out of solid wood, or a series of laminations. Solid tops will sound better with age as you play them more, whereas a laminated top sounds as good as its every going to sound right out of the box.
Solid Back and Sides – Much like a solid top, a guitar with solid back and sides will have an overall better sound. The sound will continue to improve as the guitar is played over the years and the wood gets broken in. A guitar with a solid top and solid back and sides will usually cost at least $800, so something like that may not be in everyone’s budget. Laminated back and sides are certainly not bad, as a guitar’s top contributes more to the overall sound. If you are looking for solid back and sides be sure that the guitar description explicitly says so. Many manufacturers will say “Solid top with select back and sides”, which usually means they are laminated.
Tuners – Staying in tune is very important, and a good beginner guitar should have solid set of tuners that don’t slip. Tune a prospective guitar up to pitch and play it hard, strumming some chords and picking single strings. They should stay in tune. Check each tuner, turning the knob you should feel some resistance, they should not feel loose and slip.
Body Size – There are a lot of different acoustic guitar body sizes. Dreadnoughts are by far the most popular, but there are also mini jumbos, grand concerts, and parlor sizes, to name a few. Be sure to try several different sizes to see what feels best for you. Smaller guitars like grand concert and orchestra model sizes are often more comfortable for some people, who may feel that a dreadnought size is just to big.
Setup – While many guitars can be setup to fit the player, check to make sure that a prospective instrument plays fairly comfortably before you buy. It should be comfortable to fret all along the neck, and the strings should not be to far from the fretboard. Sight along the neck, it should be straight, with no twists. The frets should be seated snugly in the fret slots. A reputable music shop should give you a short approval period after buying an instrument, during which it can be beneficial to take to a competent repair person for a quick look. If you are really interested in a certain instrument the cost for getting it looked at can be a wise investment.
Pickup, yes or no? - I often see first time buyers for acoustic guitars asking what sort of acoustic electric they should get. I am of the mindset that if you want a pickup get one installed after you buy the guitar. Its better to spend that money initially on a higher quality instrument than a preinstalled pickup. Plus many preinstalled pickups include a preamp cut into the side of the guitar, which is going to make the instrument heavier and affect, tone, sustain, and volume. Sure, it might not be alot, but who wants a plastic box installed into the side of their beautiful wooden guitar? Just get an external preamp later on down the line. Some good companies for pickups include K and K, LR Baggs, Fishman, Mcintyre. You can find a good pickup for about $100.
So those are some points to keep in mind when buying that important first instrument. Now for the fun part, go out and play a lot of guitars before choosing the right one for you.
© admin for The Guitar Resource, 2009.
If you have a more knowledgeable guitar-playing friend brining them along is always a good idea. Its good to get a second opinion, and they can play the guitar so you can hear what it sounds like out front. Here are some important features to consider.
Solid Top – If your budget can afford it, I highly encourage you to buy a guitar with solid top. Guitar tops are either made out of solid wood, or a series of laminations. Solid tops will sound better with age as you play them more, whereas a laminated top sounds as good as its every going to sound right out of the box.
Solid Back and Sides – Much like a solid top, a guitar with solid back and sides will have an overall better sound. The sound will continue to improve as the guitar is played over the years and the wood gets broken in. A guitar with a solid top and solid back and sides will usually cost at least $800, so something like that may not be in everyone’s budget. Laminated back and sides are certainly not bad, as a guitar’s top contributes more to the overall sound. If you are looking for solid back and sides be sure that the guitar description explicitly says so. Many manufacturers will say “Solid top with select back and sides”, which usually means they are laminated.
Tuners – Staying in tune is very important, and a good beginner guitar should have solid set of tuners that don’t slip. Tune a prospective guitar up to pitch and play it hard, strumming some chords and picking single strings. They should stay in tune. Check each tuner, turning the knob you should feel some resistance, they should not feel loose and slip.
Body Size – There are a lot of different acoustic guitar body sizes. Dreadnoughts are by far the most popular, but there are also mini jumbos, grand concerts, and parlor sizes, to name a few. Be sure to try several different sizes to see what feels best for you. Smaller guitars like grand concert and orchestra model sizes are often more comfortable for some people, who may feel that a dreadnought size is just to big.
Setup – While many guitars can be setup to fit the player, check to make sure that a prospective instrument plays fairly comfortably before you buy. It should be comfortable to fret all along the neck, and the strings should not be to far from the fretboard. Sight along the neck, it should be straight, with no twists. The frets should be seated snugly in the fret slots. A reputable music shop should give you a short approval period after buying an instrument, during which it can be beneficial to take to a competent repair person for a quick look. If you are really interested in a certain instrument the cost for getting it looked at can be a wise investment.
Pickup, yes or no? - I often see first time buyers for acoustic guitars asking what sort of acoustic electric they should get. I am of the mindset that if you want a pickup get one installed after you buy the guitar. Its better to spend that money initially on a higher quality instrument than a preinstalled pickup. Plus many preinstalled pickups include a preamp cut into the side of the guitar, which is going to make the instrument heavier and affect, tone, sustain, and volume. Sure, it might not be alot, but who wants a plastic box installed into the side of their beautiful wooden guitar? Just get an external preamp later on down the line. Some good companies for pickups include K and K, LR Baggs, Fishman, Mcintyre. You can find a good pickup for about $100.
So those are some points to keep in mind when buying that important first instrument. Now for the fun part, go out and play a lot of guitars before choosing the right one for you.
© admin for The Guitar Resource, 2009.
I am sure that anyone who started a band and feels unsatisfied with result of rehearsals will find something useful in this article, since I wrote it from experience of having 2, and even 3 bands at the same time, and many rehearsals. For some time there were always some ups and downs with rehearsing, but with the time I managed to ensure that the rehearsals I had were always as productive as they possibly could be.
Set up your sound. I suggest you to study the physical nature of sound of your instrument, and learn how to make a healthy sound for rehearsals. Don't allow yourselves to play in the noise. And make sure you don't play too loud. If you don't hear yourself well, and you hear that you're in balance with drums, lower other instruments, or fix your frequency conigurations. Sometimes more noise occurs at bad equilizer settings than on loud playing. Be informed about making a good sound setting or have someone set it up for you. Have this problem fixed in the beginning because it will drive you to deafness and uncreativity.
When you're working on your new stuff, be open to everyone's opinion, even if your're about to play the song you wrote yourself. Have everyone put a part of themselves in the song and listen to everyone's idea, because they just might provide a bit to the song that you might have missed or hadn't thought of before yourself. When some band members have to work on the part they play together and that doesn't involve you, don't make noise with your instrument, you'll distract them a lot, and it can get on a nerve easily. Rather think about other ideas you can provide for the song.
Always. ALWAYS stop whatever you're doing if you get some really great idea, and write it out or record it immediately, because no matter how good it might be, there is an enormously big chance that you will forget it. Don't allow yourself that. I lost few of ideas that way, and I totally regret it. It is also advisable to record your whole rehearsal in some way, especially if you're making new songs on the spot. You might find lots of potential material on those recordings.
When you fully practiced out a song with your band, and it is technically ready, don't stay on playing it while stand and not move at all, or even worse, not move and only look at your guitar. Jump, move, dance, give your peers a deadly eyelook, play with your guitar behind your back, play with your guitar on the floor, play with your teeth, with your tounge, whatever. Just don't stay on playing it with your mind. You should get to the point where you actually don't even think about what you play. When you get to playing live, there is a certain problem that comes out if you don't listen to what I just wrote, even more often if you play energetic music. The problem is that when you play, you turn the crowd on, and when you turn the crowd on, they turn you on even more, and you wanna do all the things you should've done and practiced on rehearsals, but you won't be able to do them, or you will do them, but make tons of mistakes. Turn of your lights and get a small light show for your rehearsals. Feel and go into it like you're on stage, in front of thousands of people! You'll find this very interesting and amusing, and it will spare you of all the bad things on the stage. Even make a small choreography of your live shows if necessary, and go into details. See what might happen on stage, and try to work it out on rehearsals, before unwanted consequences can occur.
I also advise you to squeeze all the best from the rehearsal time. Don't go in senseless jams (unless you know for sure they'll benefit your bandwork), don't have a cigar every 5 minutes, don't get stuck in some non-music related chats for too long, don't have too long breaks (though, they are useful sometimes, when you go way over the top and it really doesn't make sense to push yourself too much, because nothing creative will happen) and most importantly, don't wander off with your thoughts. Be there 120%, or at least 100%, and you'll notice the difference.
Official Josip Pesut site: www.josippesut.com. Visit the site and enjoy playing Josip's 'Licks of the month'!
© Josip for The Guitar Resource, 2009.
Before the Rehearsal
You should learn to play yourself alone all the parts or songs you have planned for rehearsals, and along with metronome. Be self-critic, to avoid making mistakes that you won't be able to fix on the spot later on. Prepare all your ideas and write them out or record them, and even send them to your band peers, so they could be prepared to what you're about to work on. If you have some solo spots, make sure that you don't look for notes or options of how to play them on rehearsal. That really should be done at home. Make a loop of chord progressions you have to solo on and hit it. The only exception to this should be a complexly constructed solo that involves all band, though, that can be worked on alone, too. If you have in plan to make new songs on rehearsal, get enough sleep and try to warm up before, if you have time. Don't be late for rehearsals, especially if you pay for rehearse time, have respect for time of everyone else in the band, and they will respect yours. Also try to make sure you take care of all important phone calls and potential distractions before the rehearsals, as well as other basic stuff such as changing strings and similar things. And of course, don't go to rehearsals drunk or under some other influence.During the Rehearsal
The worst thing that could happen on a rehearsal is when someone comes in really bad mood. It reflects on everyone else, and the music itself. If everything irritates you, find real reasons for that, and calm down. Don't snap on your band peers, because they might not be the source of your bad mood. Negative energy issue can be a real band-breaker.Set up your sound. I suggest you to study the physical nature of sound of your instrument, and learn how to make a healthy sound for rehearsals. Don't allow yourselves to play in the noise. And make sure you don't play too loud. If you don't hear yourself well, and you hear that you're in balance with drums, lower other instruments, or fix your frequency conigurations. Sometimes more noise occurs at bad equilizer settings than on loud playing. Be informed about making a good sound setting or have someone set it up for you. Have this problem fixed in the beginning because it will drive you to deafness and uncreativity.
When you're working on your new stuff, be open to everyone's opinion, even if your're about to play the song you wrote yourself. Have everyone put a part of themselves in the song and listen to everyone's idea, because they just might provide a bit to the song that you might have missed or hadn't thought of before yourself. When some band members have to work on the part they play together and that doesn't involve you, don't make noise with your instrument, you'll distract them a lot, and it can get on a nerve easily. Rather think about other ideas you can provide for the song.
Always. ALWAYS stop whatever you're doing if you get some really great idea, and write it out or record it immediately, because no matter how good it might be, there is an enormously big chance that you will forget it. Don't allow yourself that. I lost few of ideas that way, and I totally regret it. It is also advisable to record your whole rehearsal in some way, especially if you're making new songs on the spot. You might find lots of potential material on those recordings.
When you fully practiced out a song with your band, and it is technically ready, don't stay on playing it while stand and not move at all, or even worse, not move and only look at your guitar. Jump, move, dance, give your peers a deadly eyelook, play with your guitar behind your back, play with your guitar on the floor, play with your teeth, with your tounge, whatever. Just don't stay on playing it with your mind. You should get to the point where you actually don't even think about what you play. When you get to playing live, there is a certain problem that comes out if you don't listen to what I just wrote, even more often if you play energetic music. The problem is that when you play, you turn the crowd on, and when you turn the crowd on, they turn you on even more, and you wanna do all the things you should've done and practiced on rehearsals, but you won't be able to do them, or you will do them, but make tons of mistakes. Turn of your lights and get a small light show for your rehearsals. Feel and go into it like you're on stage, in front of thousands of people! You'll find this very interesting and amusing, and it will spare you of all the bad things on the stage. Even make a small choreography of your live shows if necessary, and go into details. See what might happen on stage, and try to work it out on rehearsals, before unwanted consequences can occur.
I also advise you to squeeze all the best from the rehearsal time. Don't go in senseless jams (unless you know for sure they'll benefit your bandwork), don't have a cigar every 5 minutes, don't get stuck in some non-music related chats for too long, don't have too long breaks (though, they are useful sometimes, when you go way over the top and it really doesn't make sense to push yourself too much, because nothing creative will happen) and most importantly, don't wander off with your thoughts. Be there 120%, or at least 100%, and you'll notice the difference.
After the Rehearsal
If you have the time, go for a drink with your peers and talk about everything you've done on rehearsals. Review all your ideas, and talk about what you could do next. Give yourselves some directions for next rehearsals. Fix all the other problems you have in between yourselves right here, and not during rehearsals. And have a good time, establish a great personal relationships. If you enjoy being with your band outside the band, you will enjoy it even more when you're in the band. And everyone who'll hear or see the band will notice that, and it plays a big factor of success.Official Josip Pesut site: www.josippesut.com. Visit the site and enjoy playing Josip's 'Licks of the month'!
© Josip for The Guitar Resource, 2009.
If you want to become the next Robert Plant or Eric Clapton, there is one thing to remember about playing the guitar. There are very few times when the phrase, “practice makes perfect” applies so completely. The most effective guitar practice is simply strumming the chords until you have them down by heart. The chords are the backbone of the guitar player’s profession and when you practice guitar, you must keep this in mind.
The most effective guitar practice is the one where you simply let your fingers do the walking. Many people, when they are starting out playing the guitar want to constantly stare down at their hands as they play, strumming the chords slowly while they visually pick out the best way to pluck the strings. This is every beginner’s biggest problem, and the only way one can break themselves of that habit is to let the rhythm flow through them. The best guitar practice techniques involve playing as often as you can, and mastering a song before moving onto the next one.
While this may seem like a common sense solution, many burgeoning guitar players give up the activity because they want to be great right away, and when they are not feeling like they are spending too much time on the very basics of the craft. Certainly learning to play the guitar is no easier than learning any other instrument. There will be set backs, there will be times where the last thing you want to do is practice guitar playing because no matter how much you practice, the music never seems right. Sticking with it is the most effective guitar practice and sooner or later, you will notice a change.
It bears keeping in mind that even the masters, even the people who earn their living playing the guitar have to remind themselves how to play every now and then. Of course, the professional guitar player is getting his practice while he is performing. It would be totally incorrect to assume that the pros did not practice guitar every day, for hours at a time to get to where they are in the music world.
If you are looking for specific guitar practice techniques there are several drills that can be done, and those types of drills are generally posted online, free for anyone who wishes to give them a whirl. The difficulty of the drills will of course vary depending on the level of talent they are aimed at.
About the author - Corey Palmer has been playing guitar since the mid eighties and suggests that if you are just starting out, find some easy guitar songs to learn and use the internet or guitar teacher to help you out. Anyone can learn to play.
© Corey for The Guitar Resource, 2010.
While this may seem like a common sense solution, many burgeoning guitar players give up the activity because they want to be great right away, and when they are not feeling like they are spending too much time on the very basics of the craft. Certainly learning to play the guitar is no easier than learning any other instrument. There will be set backs, there will be times where the last thing you want to do is practice guitar playing because no matter how much you practice, the music never seems right. Sticking with it is the most effective guitar practice and sooner or later, you will notice a change.
It bears keeping in mind that even the masters, even the people who earn their living playing the guitar have to remind themselves how to play every now and then. Of course, the professional guitar player is getting his practice while he is performing. It would be totally incorrect to assume that the pros did not practice guitar every day, for hours at a time to get to where they are in the music world.
If you are looking for specific guitar practice techniques there are several drills that can be done, and those types of drills are generally posted online, free for anyone who wishes to give them a whirl. The difficulty of the drills will of course vary depending on the level of talent they are aimed at.
About the author - Corey Palmer has been playing guitar since the mid eighties and suggests that if you are just starting out, find some easy guitar songs to learn and use the internet or guitar teacher to help you out. Anyone can learn to play.
© Corey for The Guitar Resource, 2010.
When you are first getting into playing guitar and need to purchase one, there are three steps that every new guitarist should take when choosing their instrument. For beginners, it can sometimes feel overwhelming but following these three steps will ensure or at least give you a much better chance of getting the guitar that you love.
1. Figure out exactly what you need and what your budget allows.
The first thing you should be thinking about is what kind of music you will be wanting to play on it as well as how much you can afford.
If you decide that you want to start learning rock music, you will definitely want to be looking at electric guitars. Because of this, you will also want to factor in the price of an amplifier to go along with the guitar. For budding folk or country musicians, you may be looking into acoustic guitars. This will make things a little easier on you since you will not have to look at amps as well, but at the same time, there are a lot of different acoustic guitars out there to choose from.
2. Do you research.
You should take your time and do some research without jumping into anything to quickly. You do not want to just buy a guitar impulsively; a guitar is a big investment, so you really want to be sure you get something you like and you do not overpay for it. It is a good idea to read up on them first, comparing prices and features before settling on a guitar. Online sites like harmony-central.com and right here at frugalguitarist.com are excellent places to start your research.
If you want to get the most bang for you buck when buying a guitar, you should consider researching a beginner guitar from a major brand name. Major brand names are generally more expensive than knockoffs, but with knockoffs, you can pay the price of shoddy wiring and other flaws. Even though beginner guitars from major brand names are cheaper than more advanced guitars and you can trust that they will be well put together. That way, you can start simple, get used to your guitar, make sure you want to progress with your guitar playing, and then eventually move up to more advanced and expensive brand name guitars. A good example of an inexpensive beginner guitar is a Fender Squire.
The other advantage to choosing a wewll known brand name guitar is that when you do get to the time that you want to sell or trade it up for a higher quality guitar, it will be a lot easier to sell and hold its value better.
3. When possible, try before you buy.
You always want to test the guitar out in person before buying, to ensure that it is in perfect working order. One thing you will want to do is to shake the guitar vigorously as you listen for rattling. Another thing you will want to do is check the intonation of the guitar. Checking the intonation is quite important. To do this, you should play the harmonic at the 12th fret, and ensure that it sounds the same as the open string. You will also want to check for buzzing by strumming the guitar loudly. Obviously buzzing, rattling, and incorrect intonation are all to be avoided when buying a guitar.
If you are really on a budget, you could consider buying a used guitar. You can look online for used guitars at places like ebay.com and other online marketplaces, or you can check out pawnshops and music stores. You want to be careful buying a used guitar, though, and carefully check it in the ways mentioned earlier.
In addition, buying a guitar should be fun! So have some fun with it--after all, you get to look around, explore your options, and test out various guitars. In addition, it is a great feeling when you finally find the guitar that feels perfect for you.
About the author - For the past twenty or so years, Corey Palmer has been playing as much guitar as he can make the time for. For him, happiness is hands on a guitar neck!
Article thanks to theguitarresource.com
1. Figure out exactly what you need and what your budget allows.
The first thing you should be thinking about is what kind of music you will be wanting to play on it as well as how much you can afford.
If you decide that you want to start learning rock music, you will definitely want to be looking at electric guitars. Because of this, you will also want to factor in the price of an amplifier to go along with the guitar. For budding folk or country musicians, you may be looking into acoustic guitars. This will make things a little easier on you since you will not have to look at amps as well, but at the same time, there are a lot of different acoustic guitars out there to choose from.
2. Do you research.
You should take your time and do some research without jumping into anything to quickly. You do not want to just buy a guitar impulsively; a guitar is a big investment, so you really want to be sure you get something you like and you do not overpay for it. It is a good idea to read up on them first, comparing prices and features before settling on a guitar. Online sites like harmony-central.com and right here at frugalguitarist.com are excellent places to start your research.
If you want to get the most bang for you buck when buying a guitar, you should consider researching a beginner guitar from a major brand name. Major brand names are generally more expensive than knockoffs, but with knockoffs, you can pay the price of shoddy wiring and other flaws. Even though beginner guitars from major brand names are cheaper than more advanced guitars and you can trust that they will be well put together. That way, you can start simple, get used to your guitar, make sure you want to progress with your guitar playing, and then eventually move up to more advanced and expensive brand name guitars. A good example of an inexpensive beginner guitar is a Fender Squire.
3. When possible, try before you buy.
You always want to test the guitar out in person before buying, to ensure that it is in perfect working order. One thing you will want to do is to shake the guitar vigorously as you listen for rattling. Another thing you will want to do is check the intonation of the guitar. Checking the intonation is quite important. To do this, you should play the harmonic at the 12th fret, and ensure that it sounds the same as the open string. You will also want to check for buzzing by strumming the guitar loudly. Obviously buzzing, rattling, and incorrect intonation are all to be avoided when buying a guitar.
If you are really on a budget, you could consider buying a used guitar. You can look online for used guitars at places like ebay.com and other online marketplaces, or you can check out pawnshops and music stores. You want to be careful buying a used guitar, though, and carefully check it in the ways mentioned earlier.
In addition, buying a guitar should be fun! So have some fun with it--after all, you get to look around, explore your options, and test out various guitars. In addition, it is a great feeling when you finally find the guitar that feels perfect for you.
About the author - For the past twenty or so years, Corey Palmer has been playing as much guitar as he can make the time for. For him, happiness is hands on a guitar neck!
Article thanks to theguitarresource.com
Sometimes, new guitarists can get confused by the volume and gain knobs on their amp because when you turn them, they seem to be almost doing the same thing - just making the amp louder. However, if you pay more attention, you will notice a great deal of difference between the two controls. It doesn't matter if you are playing through a brand new Fender Mustang amp or an old vintage boutique amp.
As a rock guitar player myself, I could probably take the easy route and tell you that your guitar amp's sweet spot is found simply by setting everything on ten! However, we all know that doing this can sometimes induce ear aches and noise complaints. Let's take a bit more of a scientific approach instead.
Volume -- What you are basically doing when you turn that volume knob is control your amp's power section signal or the loudness of the amp. This know is going to let you control how loud or quiet your guitar will be.
Gain -- Even though you are hearing your volume increase as you turn up the gain, what you are really doing is adjusting the input sensitivity level. This is used to break up your tone and give you the distorted rock sound.
There are many different approaches to finding the best mix of volume and gain settings. When I am dialing in a tone on an amp, I like to begin with my volume knob and first set the desired output level. Next, begin adding gain by slowly turning your gain knob up. Take the gain up a notch or two and play your guitar for a while. Listen carefully to the tone and make a mental note on the quality of the tone. Keep doing this until you have found your desired tone.
You may find that a setting that you love today, sounds horrible the next day because of various factors like possible ear fatigue. This approach is something that you might have to do a number of times before you finally settle on the right mix between your gain and volume settings. However, taking the time to hone in on this will surely result in the perfect guitar tone.
article thanks to theguitarresource.com
There are many different types of guitars: acoustic, electric, classical, acoustic-electric, but generally, they all have some distinguishing parts in common. Let’s take a quick overview of the parts of the acoustic guitar and electric guitar.
Starting at the very right in this picture, we have the headstock. The headstock holds all the tuners. Each of the strings wrap around the tuning pegs of the tuners and rest on the string grooves of the nut (plastic or bone) on the guitar as they are laid out across the fretboard. From this angle, we only see the fretboard. The fretboard lays on top of the neck of the guitar. On some guitars, the wood for the fretboard will be different than the neck.
The frets are the “bumps” or bars that lay perpendicularly across the fretboard. Sometimes the frets will be to long on the fretboard so you might feel the frets poke or rub your hands in an uncomfortable way as you move your hands up and down the neck of the guitar. Luthiers, people who make guitars or work on guitars, can fix this problem by filing down your frets.
At the body of the guitar, we have the sound hole, which allows the sound to be amplified and project out of the guitar. The strings go over the sound hole and then meet at the bridge. On the bridge, we have the saddle, which is similar to the nut in that it has grooves for the strings to rest on. When a string is plucked on the guitar, the vibrations of the string vibrate through the saddle and bridge and then vibrate the top of the guitar or the soundboard (not labeled in photo).
The height between the strings and the fretboard refers to the action of the guitar. Guitars that have strings that are high off the fretboard are said to have a high action. Guitars that have strings that lay closer to the fretboard are said to have a low action. Typically, guitars that have a low action are easier to play because the strings are easier to press down on to the frets since they are closer to the fretboard. However, low action might also give you more string or fret buzz. Guitar players who tend to strum harder (e.g. bluegrass players) might raise their action to prevent any string buzz. A lot of fret buzz can also depend on your finger position on the frets.
You’ll notice the parts of an electric guitar are very similar to those of an acoustic guitar. The only real differences are the pickups that capture the sound of the strings vibrating. This captured sound then comes out of the output jack into an amp or effects unit. The volume and tone controls will control the volume of individual pickups. Usually the pickup closest to the neck will have a more darker and warmer sound while the pickup closest to the bridge will have a brighter sound. The tone controls will also control how bright or dark the tone will sound. Some songs might require a more brighter sound than other songs. You just have to experiment with these controls.
This is just a quick overview of the parts of the guitar, but it should give you a good idea and equip you to sound like you at least know half-way what you’re talking about when you talk to other guitar players!
Lesson Courtesy of Guitarfriendly.net
Parts of the Acoustic Guitar
The frets are the “bumps” or bars that lay perpendicularly across the fretboard. Sometimes the frets will be to long on the fretboard so you might feel the frets poke or rub your hands in an uncomfortable way as you move your hands up and down the neck of the guitar. Luthiers, people who make guitars or work on guitars, can fix this problem by filing down your frets.
At the body of the guitar, we have the sound hole, which allows the sound to be amplified and project out of the guitar. The strings go over the sound hole and then meet at the bridge. On the bridge, we have the saddle, which is similar to the nut in that it has grooves for the strings to rest on. When a string is plucked on the guitar, the vibrations of the string vibrate through the saddle and bridge and then vibrate the top of the guitar or the soundboard (not labeled in photo).
The height between the strings and the fretboard refers to the action of the guitar. Guitars that have strings that are high off the fretboard are said to have a high action. Guitars that have strings that lay closer to the fretboard are said to have a low action. Typically, guitars that have a low action are easier to play because the strings are easier to press down on to the frets since they are closer to the fretboard. However, low action might also give you more string or fret buzz. Guitar players who tend to strum harder (e.g. bluegrass players) might raise their action to prevent any string buzz. A lot of fret buzz can also depend on your finger position on the frets.
Parts of the Electric Guitar
This is just a quick overview of the parts of the guitar, but it should give you a good idea and equip you to sound like you at least know half-way what you’re talking about when you talk to other guitar players!
Lesson Courtesy of Guitarfriendly.net
Phish will once again spend another summer on the road, as the veteran jam band has announced the initial 18 dates for its 2011 tour on their website.
The trek includes an opening three-night run on Memorial Day weekend at the Bethel Woods Centers for the Arts in Bethel, NY on May 27-29. Phish will also spend multiple nights at thePNC Bank Arts Center in Holmdel, NJ; Merriweather Post Pavilion in Columbia, Md; and Verzion Wireless at Encore Park in Alpharetta, Ga.
General tickets will go on sale March 11, while more summer tour dates for the band are forthcoming. After reuniting in 2009 following a nearly five-year hiatus, the group spent most of 2010 performing across the US, with an extensive summer tour leading into a 15-date fall trek that included a performance at the Austin City Limits festival in October. A fan plummeted 25 feet from a railing during the band's August 18 concert at New York's Jones Beach theater, but luckily survived the terrifying fall.
In addition to the tour, Phish has also announced that it will release "Two Soundchecks," a 7-inch live vinyl record, in conjunction with Record Store Day on April 16.
Here are Phish's 2011 summer tour dates:
05/27 - Bethel, N.Y. (Bethel Woods Center for the Arts)
05/28 - Bethel, N.Y. (Bethel Woods Center for the Arts)
05/29 - Bethel, N.Y. (Bethel Woods Center for the Arts)
05/31 - Holmdel, N.J. (PNC Bank Arts Center)
06/01 - Holmdel, N.J. (PNC Bank Arts Center)
06/03 - Clarkston, Mich. (DTE Energy Music Theater)
06/04 - Cuyahoga Falls, Ohio (Blossom Music Center)
06/05 - Cincinnati, Ohio (Riverbend Music Center)
06/07 - Mansfield, Mass. (Comcast Center)
06/08 - Darien Center, N.Y. (Darien Lake PAC)
06/10 - Camden, N.J. (Susquehanna Bank Center)
06/11 - Columbia, Md. (Merriweather Post Pavilion)
06/12 - Columbia, Md. (Merriweather Post Pavilion)
06/14 - Alpharetta, Ga. (Verizon Wireless Amphitheatre @ Encore Park)
06/15 - Alpharetta, Ga. (Verizon Wireless Amphitheatre @ Encore Park)
06/17 - Charlotte, N.C. (Verizon Wireless Ampitheatre)
06/18 - Raleigh, N.C. (Time Warner Cable Music Pavilion)
06/19 - Portsmorth, Va. (Ntelos Wireless Pavilion)
Thanks for the report to Billboard.com.
The trek includes an opening three-night run on Memorial Day weekend at the Bethel Woods Centers for the Arts in Bethel, NY on May 27-29. Phish will also spend multiple nights at the
 |
In addition to the tour, Phish has also announced that it will release "Two Soundchecks," a 7-inch live vinyl record, in conjunction with Record Store Day on April 16.
Here are Phish's 2011 summer tour dates:
05/27 - Bethel, N.Y. (Bethel Woods Center for the Arts)
05/28 - Bethel, N.Y. (Bethel Woods Center for the Arts)
05/29 - Bethel, N.Y. (Bethel Woods Center for the Arts)
05/31 - Holmdel, N.J. (PNC Bank Arts Center)
06/01 - Holmdel, N.J. (PNC Bank Arts Center)
06/03 - Clarkston, Mich. (DTE Energy Music Theater)
06/04 - Cuyahoga Falls, Ohio (Blossom Music Center)
06/05 - Cincinnati, Ohio (Riverbend Music Center)
06/07 - Mansfield, Mass. (
06/08 - Darien Center, N.Y. (Darien Lake PAC)
06/10 - Camden, N.J. (Susquehanna Bank Center)
06/11 - Columbia, Md. (Merriweather Post Pavilion)
06/12 - Columbia, Md. (Merriweather Post Pavilion)
06/14 - Alpharetta, Ga. (Verizon Wireless Amphitheatre @ Encore Park)
06/15 - Alpharetta, Ga. (Verizon Wireless Amphitheatre @ Encore Park)
06/17 - Charlotte, N.C. (Verizon Wireless Ampitheatre)
06/18 - Raleigh, N.C. (Time Warner Cable Music Pavilion)
06/19 - Portsmorth, Va. (Ntelos Wireless Pavilion)
Thanks for the report to Billboard.com.
I’m going to break away from the electric side of things today and talk about a guitar that’s grown near and dear to my heart –– Martin’s 000-18 Golden Era 1937 Sunburst.
This is my current acoustic guitar of choice (I purchased one at the beginning of 2009,) and to be honest, I don’t see myself switching to anything else in the foreseeable future. The guitar is just too good to let go of.
Built as a reproduction of the classic pre-war 000-18 from Martin’s “Golden Era” (generally accepted as being the 1930s and early 1940s,) with a few minor modern-day enhancements thrown in, the 000-18 GE is not only beautiful to behold, but absolutely enchanting to play and here. It’s a vintage Martin for the rest of us, and handles as you’d expect from an instrument of its caliber and lineage.
With a street price somewhere in the mid-$3,000 range, the 000-18GE isn’t exactly an impulse buy –– for me it was the guitar I played time and time again at my local Martin dealer, and gradually fell madly in love with –– but its price, while not cheap, is right in line with the quality of the instrument, and a steal compared to true vintage Martins from this era.
Take the 000-18 Golden Era out of its hardshell case, and you’re presented with a stunning specimen of guitar artistry –– fit and finish is impeccable here, with a gorgeous glossy sunburst top fading to a deep, rich black. The tortoise-pattern Delmar pickguard is nicely beveled, and a solid black ebony bridge (1930s-style belly with a long saddle,) is flawlessly carved, and punctuated by six black ebony pins. There isn’t a speck of glue over-spill to be found.
The 000-18 Golden Era ’37 is of course a 14-frets-clear model, with 20 frets in total, spread across a lovely solid black ebony fretboard. All frets are dressed to a “T,” and inlays are pleasant enough, though not pronounced. There are no side inlays, and I don’t find that I miss them. A vintage-style Martin headstock and logo, plus aged Gotoh open-gear button tuners (I love the feel of these,) finishes off the look of this beautiful guitar.
Of course, the real test of any guitar is its tone and playability, and the 000-18GE Sunburst excels on both of these fronts… whether fingerpicking or strumming, deep but not overly-booming bass is perfectly balanced with a shimmering high-end. There’s nothing piercing about the treble here; just sparkling clean tones, easy on the ear. The overall sound is both woody and clear, with round, bell-like mid tones. Martin’s Golden Era 000-18 is quite simply one of the nicest sounding acoustic guitars I’ve ever had the pleasure to play, let alone own.
Maybe it’s the solid 1/4″ Adirondack Spruce top (play one of these next to a standard Sitka Spruce top model and you will notice the difference.) Maybe it’s just that Martin is a very old company that has learned its lessons the hard way, and continues to refine its understanding of what makes a guitar truly exceptional.
Whatever it is, Martin hit the ball out of the park with this one… it’s no wonder that original 000-18s from the 1930s fetch a small fortune these days. It’s a timeless design that has scarcely been surpassed.
As for playability, the 000-18 Golden Era is a hard act to follow. In fact, the other acoustic guitars in my arsenal have suffered a sad fate since this gorgeous reproduction entered my home –– they are languishing in their cases. With 1-3/4” at the nut, the 000-18 is plenty wide for us fingerpickers, and the instrument’s modified v neck (with a fast satin finish,) is comfortable enough to play for hours on end without undue difficulty.
Chording is comfy and fast compared to the other acoustic guitars I own, and the smaller 000-size body sits well in my lap and puts out a lot of sound, though admittedly not as loud as a dreadnought or other larger bodied instrument. That said though, even in a raucous bluegrass jam the 000-18GE holds its ground admirably.
As an aside: Martin recommends its Studio Performance Light Phosphor Bronze (MSP4100) string set, and I’ve tried these on occasion with much success, but my current favorite strings for this particular guitar are the John Pearse 600L Phosphor Bronze Wound; a 12-53 set. Light but still meaty. Easy on the fingers and the ears. They also last for quite a few weeks with regular play, and I’ve never heard a cleaner sounding string.
All in all, Martin’s 000-18 Golden Era 1937 Sunburst gets a helluva’ lot right, while getting almost nothing wrong –– the guitar’s fit and finish are flawless, its tone and playability have few peers, and the authentically vintage vibe is just undeniably cool. The 000-18GE easily outperforms most of the acoustic guitars I’ve touched in my 20+ years of playing, and certainly puts to shame all that I’ve owned. It’s an easy recommendation to make; give one of these beauties a try –– I think you’ll like what you find.
Reviewed by electric-guitar-review.com
This is my current acoustic guitar of choice (I purchased one at the beginning of 2009,) and to be honest, I don’t see myself switching to anything else in the foreseeable future. The guitar is just too good to let go of.
Built as a reproduction of the classic pre-war 000-18 from Martin’s “Golden Era” (generally accepted as being the 1930s and early 1940s,) with a few minor modern-day enhancements thrown in, the 000-18 GE is not only beautiful to behold, but absolutely enchanting to play and here. It’s a vintage Martin for the rest of us, and handles as you’d expect from an instrument of its caliber and lineage.With a street price somewhere in the mid-$3,000 range, the 000-18GE isn’t exactly an impulse buy –– for me it was the guitar I played time and time again at my local Martin dealer, and gradually fell madly in love with –– but its price, while not cheap, is right in line with the quality of the instrument, and a steal compared to true vintage Martins from this era.
Take the 000-18 Golden Era out of its hardshell case, and you’re presented with a stunning specimen of guitar artistry –– fit and finish is impeccable here, with a gorgeous glossy sunburst top fading to a deep, rich black. The tortoise-pattern Delmar pickguard is nicely beveled, and a solid black ebony bridge (1930s-style belly with a long saddle,) is flawlessly carved, and punctuated by six black ebony pins. There isn’t a speck of glue over-spill to be found.
The 000-18 Golden Era ’37 is of course a 14-frets-clear model, with 20 frets in total, spread across a lovely solid black ebony fretboard. All frets are dressed to a “T,” and inlays are pleasant enough, though not pronounced. There are no side inlays, and I don’t find that I miss them. A vintage-style Martin headstock and logo, plus aged Gotoh open-gear button tuners (I love the feel of these,) finishes off the look of this beautiful guitar.
Of course, the real test of any guitar is its tone and playability, and the 000-18GE Sunburst excels on both of these fronts… whether fingerpicking or strumming, deep but not overly-booming bass is perfectly balanced with a shimmering high-end. There’s nothing piercing about the treble here; just sparkling clean tones, easy on the ear. The overall sound is both woody and clear, with round, bell-like mid tones. Martin’s Golden Era 000-18 is quite simply one of the nicest sounding acoustic guitars I’ve ever had the pleasure to play, let alone own.
Maybe it’s the solid 1/4″ Adirondack Spruce top (play one of these next to a standard Sitka Spruce top model and you will notice the difference.) Maybe it’s just that Martin is a very old company that has learned its lessons the hard way, and continues to refine its understanding of what makes a guitar truly exceptional.
Whatever it is, Martin hit the ball out of the park with this one… it’s no wonder that original 000-18s from the 1930s fetch a small fortune these days. It’s a timeless design that has scarcely been surpassed.
As for playability, the 000-18 Golden Era is a hard act to follow. In fact, the other acoustic guitars in my arsenal have suffered a sad fate since this gorgeous reproduction entered my home –– they are languishing in their cases. With 1-3/4” at the nut, the 000-18 is plenty wide for us fingerpickers, and the instrument’s modified v neck (with a fast satin finish,) is comfortable enough to play for hours on end without undue difficulty.
Chording is comfy and fast compared to the other acoustic guitars I own, and the smaller 000-size body sits well in my lap and puts out a lot of sound, though admittedly not as loud as a dreadnought or other larger bodied instrument. That said though, even in a raucous bluegrass jam the 000-18GE holds its ground admirably.
As an aside: Martin recommends its Studio Performance Light Phosphor Bronze (MSP4100) string set, and I’ve tried these on occasion with much success, but my current favorite strings for this particular guitar are the John Pearse 600L Phosphor Bronze Wound; a 12-53 set. Light but still meaty. Easy on the fingers and the ears. They also last for quite a few weeks with regular play, and I’ve never heard a cleaner sounding string.
All in all, Martin’s 000-18 Golden Era 1937 Sunburst gets a helluva’ lot right, while getting almost nothing wrong –– the guitar’s fit and finish are flawless, its tone and playability have few peers, and the authentically vintage vibe is just undeniably cool. The 000-18GE easily outperforms most of the acoustic guitars I’ve touched in my 20+ years of playing, and certainly puts to shame all that I’ve owned. It’s an easy recommendation to make; give one of these beauties a try –– I think you’ll like what you find.
Reviewed by electric-guitar-review.com
The Foo Fighters are officially releasing the newest single from their upcoming album "Wasting Light" today via their web site and Facebook page.
Titled "Rope," the song is the second track off of "Wasting Light" to be released, and the first official single.
It will be available for purchase online beginning March 1st as both a digital single and a free download with an iTunes pre-order of the new album.
Releasing April 12th, "Wasting Light" was recorded entirely on analog equipment in Dave Grohl’s garage in San Fernando Valley, California. The resultant raw sound is something rarely heard in the age of powerful sound processing software and computer manipulation of studio recordings.
The Foo Fighters’ website claims that the "no computers/no software back to basics approach has resulted in arguably the strongest and most cohesive effort of [their]15-year-plus career."
"The Pretender," the first single off the band’s previous album, was released in mid-2007 and remained at number one on Billboard’s Modern Rock chart for a record 18 weeks. "The Pretender" also won the Foo Fighters a Grammy award for Best Hard Rock Performance, and was nominated for Record of the Year and Best Rock Song.
Titled "Rope," the song is the second track off of "Wasting Light" to be released, and the first official single.
It will be available for purchase online beginning March 1st as both a digital single and a free download with an iTunes pre-order of the new album.
Releasing April 12th, "Wasting Light" was recorded entirely on analog equipment in Dave Grohl’s garage in San Fernando Valley, California. The resultant raw sound is something rarely heard in the age of powerful sound processing software and computer manipulation of studio recordings.
The Foo Fighters’ website claims that the "no computers/no software back to basics approach has resulted in arguably the strongest and most cohesive effort of [their]15-year-plus career."
"The Pretender," the first single off the band’s previous album, was released in mid-2007 and remained at number one on Billboard’s Modern Rock chart for a record 18 weeks. "The Pretender" also won the Foo Fighters a Grammy award for Best Hard Rock Performance, and was nominated for Record of the Year and Best Rock Song.
Green Day’s upcoming live album, "Awesome As F--k," is due March 22.
The 2-disc set, which includes a CD plus bonus DVD, features performances captured during the band’s 2009-2010 World Tour in support of their album, "21st Century Breakdown."
This week, Green Day released the first video from the project - "Cigarettes & Valentines" – which was the title track from an unreleased album by the band.
What should have been the follow-up to 2000’s "Warning," was reportedly stolen from the studio and the master tapes were gone.
Rather than re-record the project, Green Day started over from scratch, and went on to create the legendary "American Idiot" set in 2004.
Check out the new video below.
Last month, the band released a short version of a trailer for the live album; this week, a new, longer version has surfaced.
Thanks for the report to Hennemusic.com.
The 2-disc set, which includes a CD plus bonus DVD, features performances captured during the band’s 2009-2010 World Tour in support of their album, "21st Century Breakdown."
This week, Green Day released the first video from the project - "Cigarettes & Valentines" – which was the title track from an unreleased album by the band.
What should have been the follow-up to 2000’s "Warning," was reportedly stolen from the studio and the master tapes were gone.
Rather than re-record the project, Green Day started over from scratch, and went on to create the legendary "American Idiot" set in 2004.
Check out the new video below.
Last month, the band released a short version of a trailer for the live album; this week, a new, longer version has surfaced.
Thanks for the report to Hennemusic.com.
Primal Scream will play a special one-off gig as part of the Eden Sessions in Cornwall, UK, this summer.
According to This is Cornwall, the band will perform their classic album Screamadelica at the show on June 23.
They will be joined on stage by DJ Andrew Weatherall, one of the producers of Screamadelica. Support will come from The Horrors.
Tjarko Wieringa, Eden Sessions Creative Director, said:
"Primal Scream played a brilliant show here on their first visit. We can’t wait to see them perform Screamadelica, perhaps the greatest British record of its generation and the album that defined the band."
Thanks for the report to Andrew Vaughan, Gibson.com.
According to This is Cornwall, the band will perform their classic album Screamadelica at the show on June 23.
They will be joined on stage by DJ Andrew Weatherall, one of the producers of Screamadelica. Support will come from The Horrors.
Tjarko Wieringa, Eden Sessions Creative Director, said:
"Primal Scream played a brilliant show here on their first visit. We can’t wait to see them perform Screamadelica, perhaps the greatest British record of its generation and the album that defined the band."
Thanks for the report to Andrew Vaughan, Gibson.com.
Gwen Stefani has revealed that No Doubt's new album may take longer than expected.
The band are currently working on the follow-up to 2001's "Rock Steady", which as yet has no official release date.
"We've been doing a record all year; ten songs have been recorded," Stefani told the Wall Street Journal.
She added: "When this [new collection for fashion label L.A.M.B.] is done I'll probably write a few more songs. I don't know when it'll come out, but you never know what can happen."
"My band takes a weird process as well. It takes so long. And all of them just had babies, so it'll be a while."
Meanwhile, No Doubt announced they are planning to embark on a huge world tour in support of the new album.
Thanks for the report to Gigwise.com.
The band are currently working on the follow-up to 2001's "Rock Steady", which as yet has no official release date.
"We've been doing a record all year; ten songs have been recorded," Stefani told the Wall Street Journal.
She added: "When this [new collection for fashion label L.A.M.B.] is done I'll probably write a few more songs. I don't know when it'll come out, but you never know what can happen."
"My band takes a weird process as well. It takes so long. And all of them just had babies, so it'll be a while."
Meanwhile, No Doubt announced they are planning to embark on a huge world tour in support of the new album.
Thanks for the report to Gigwise.com.
After taking three Grammys at the prestigious music ceremony, The Black Keys are hitting the highways with a tour across North America from June.
They’re treating the Canadians with most dates, but there’s a few whistle stops in the US to keep everyone happy. You can buy tickets from Friday 25th February, or if you’re a festival goer, you can look out for them at Coachella and Bonnaroo.
With their recent awards including "Best Rock Performance by a Duo" and "Best Alternative Music Album", you’ll be in good hands.
Tour dates are as follows:
06/10 - The Lawn, White River State Park - Indianapolis, IN
06/27 - Canada, Deer Lake Park - Vancouver
06/28 - Stampede Corral - Calgary
06/29 - Rexall Place -Edmonton, Alberta
06/30 - TCU Place - Saskatoon, Saskatchewan
07/02 - MTS Centre - Winnipeg, Manitoba
07/03 - Roy Wilkins Auditorium - Minneapolis, MN
07/05 - Stir Cove Amphitheatre - Council Bluffs, IA
07/07 - Molson Amphitheatre - Toronto, Ontario
07/10 - Quebec City Summer Festival - Quebec City, Quebec
07/11 - Bell Centre - Montreal, Quebec
07/12 - John Labatt Centre - London, Ontario
07/13 - Artpark - Buffalo, NY
They’re treating the Canadians with most dates, but there’s a few whistle stops in the US to keep everyone happy. You can buy tickets from Friday 25th February, or if you’re a festival goer, you can look out for them at Coachella and Bonnaroo.
With their recent awards including "Best Rock Performance by a Duo" and "Best Alternative Music Album", you’ll be in good hands.
Tour dates are as follows:
06/10 - The Lawn, White River State Park - Indianapolis, IN
06/27 - Canada, Deer Lake Park - Vancouver
06/28 - Stampede Corral - Calgary
06/29 - Rexall Place -Edmonton, Alberta
06/30 - TCU Place - Saskatoon, Saskatchewan
07/02 - MTS Centre - Winnipeg, Manitoba
07/03 - Roy Wilkins Auditorium - Minneapolis, MN
07/05 - Stir Cove Amphitheatre - Council Bluffs, IA
07/07 - Molson Amphitheatre - Toronto, Ontario
07/10 - Quebec City Summer Festival - Quebec City, Quebec
07/11 - Bell Centre - Montreal, Quebec
07/12 - John Labatt Centre - London, Ontario
07/13 - Artpark - Buffalo, NY
Record Store Day is proud to announce the appointment of Ozzy Osbourne as the Record Store Day Ambassador 2011. "I now have the power to command you to attend Record Store Day, April 16th. Be there!" Go to RecordStoreDay.com right now for a special message from the Ambassador himself.
As one of the most iconic figures, Rock & Roll Hall of Fame inductee and multi-Grammy winner Ozzy Osbourne has sold more than 100 million albums worldwide, approximately 50 million with his seminal metal band Black Sabbath and the rest as a solo artist, many of which were initially released on vinyl.
The folks at Record Store Day couldn't be more pleased than to have this true rock legend whose career has spanned four decades and whose music continues to be relevant today, as evidenced by 2010's Scream (Ozzy's 10th solo album, which entered the charts in the Top Ten in seven countries) and his in-progress 18-month world tour--as this year's ambassador.
"The Record Store Day Ambassador's main purpose is to claim the mantle of greatness that conveys the majesty of the amazing array of releases made on the world's only holiday devoted to music. We were thrilled when the inaugural position was held in 2009 by the Eagles of Death Metal front man Jesse "Boots Electric" Hughes, and was then followed in 2010 by QOTSA/Them Crooked Vultures' Joshua Homme," says Record Store Day co-founder Michael Kurtz. "We really didn't know who could top this trajectory of camp and circumstance and, needless to say, we were gobsmacked when Ozzy stepped up to the plate."
Ozzy fans who come out to support Record Store Day will have the first chance to purchase a special 7" vinyl single of Diary Of A Madman's "Flying High Again" (with a live version of "I Don't Know" as the B side), along with full-length vinyl versions of the newly expanded 30th anniversary editions of his Blizzard Of Ozz and Diary of a Madman albums.
Long revered by rock fans around the world, Blizzard of Ozz and Diary of a Madman form the cornerstone of Ozzy Osbourne's career as a solo artist and include the groundbreaking union of Ozzy and the late guitar prodigy Randy Rhoads. These two albums created a template for hard rock in the 1980's and beyond. "Crazy Train," the first single from Blizzard of Ozz, has become one of Ozzy's musical signatures, a perennial on the rock playlists and as part of Ozzy's live performances. 30 years later, we are celebrating these releases and this special partnership.
For more information on exclusive Record Store Day events, products and participants, visit RecordStoreDay.com.
Thanks for the report to Sleazeroxx.com.
As one of the most iconic figures, Rock & Roll Hall of Fame inductee and multi-Grammy winner Ozzy Osbourne has sold more than 100 million albums worldwide, approximately 50 million with his seminal metal band Black Sabbath and the rest as a solo artist, many of which were initially released on vinyl.
The folks at Record Store Day couldn't be more pleased than to have this true rock legend whose career has spanned four decades and whose music continues to be relevant today, as evidenced by 2010's Scream (Ozzy's 10th solo album, which entered the charts in the Top Ten in seven countries) and his in-progress 18-month world tour--as this year's ambassador.
"The Record Store Day Ambassador's main purpose is to claim the mantle of greatness that conveys the majesty of the amazing array of releases made on the world's only holiday devoted to music. We were thrilled when the inaugural position was held in 2009 by the Eagles of Death Metal front man Jesse "Boots Electric" Hughes, and was then followed in 2010 by QOTSA/Them Crooked Vultures' Joshua Homme," says Record Store Day co-founder Michael Kurtz. "We really didn't know who could top this trajectory of camp and circumstance and, needless to say, we were gobsmacked when Ozzy stepped up to the plate."
Ozzy fans who come out to support Record Store Day will have the first chance to purchase a special 7" vinyl single of Diary Of A Madman's "Flying High Again" (with a live version of "I Don't Know" as the B side), along with full-length vinyl versions of the newly expanded 30th anniversary editions of his Blizzard Of Ozz and Diary of a Madman albums.
Long revered by rock fans around the world, Blizzard of Ozz and Diary of a Madman form the cornerstone of Ozzy Osbourne's career as a solo artist and include the groundbreaking union of Ozzy and the late guitar prodigy Randy Rhoads. These two albums created a template for hard rock in the 1980's and beyond. "Crazy Train," the first single from Blizzard of Ozz, has become one of Ozzy's musical signatures, a perennial on the rock playlists and as part of Ozzy's live performances. 30 years later, we are celebrating these releases and this special partnership.
For more information on exclusive Record Store Day events, products and participants, visit RecordStoreDay.com.
Thanks for the report to Sleazeroxx.com.
Def Leppard have been confirmed to headline June's Download Festival.
They will headline the opening night of the festival, which takes place on June 10 -12 at Donington Park. System Of A Down headline the Saturday night (11) and Linkin Park close the festival on the Sunday (12).
The band headlined the rock bash in 2009 – see above right for a video interview with singer Joe Elliott from the event.
See Downloadfestival.com for more information.
The Download Festival line-up so far is:
# Alice Cooper
# Alter Bridge
# Avenged Sevenfold
# Black Veil Brides
# Buckcherry
# Bullet For My Valentine
# Clutch
# The Cult
# The Damned Things
# Danzig
# Def Leppard
# Down
# Duff McKagan’s Loaded
# Escape The Fate
# FM
# The Gaslight Anthem
# GWAR
# Hollywood Undead
# Korn
# Linkin Park
# Masters Of Reality
# Mr Big
# Pendulum
# Rob Zombie
# Rise To Remain
# System Of A Down
# Thin Lizzy
# Trash Talk
# Twisted Sister
Thanks for the report to Nme.com.
They will headline the opening night of the festival, which takes place on June 10 -12 at Donington Park. System Of A Down headline the Saturday night (11) and Linkin Park close the festival on the Sunday (12).
The band headlined the rock bash in 2009 – see above right for a video interview with singer Joe Elliott from the event.
See Downloadfestival.com for more information.
The Download Festival line-up so far is:
# Alice Cooper
# Alter Bridge
# Avenged Sevenfold
# Black Veil Brides
# Buckcherry
# Bullet For My Valentine
# Clutch
# The Cult
# The Damned Things
# Danzig
# Def Leppard
# Down
# Duff McKagan’s Loaded
# Escape The Fate
# FM
# The Gaslight Anthem
# GWAR
# Hollywood Undead
# Korn
# Linkin Park
# Masters Of Reality
# Mr Big
# Pendulum
# Rob Zombie
# Rise To Remain
# System Of A Down
# Thin Lizzy
# Trash Talk
# Twisted Sister
Thanks for the report to Nme.com.
Phish will once again spend another summer on the road, as the veteran jam band has announced the initial 18 dates for its 2011 tour on their website.
The trek includes an opening three-night run on Memorial Day weekend at the Bethel Woods Centers for the Arts in Bethel, NY on May 27-29. Phish will also spend multiple nights at the PNC Bank Arts Center in Holmdel, NJ; Merriweather Post Pavilion in Columbia, Md; and Verzion Wireless at Encore Park in Alpharetta, Ga.
General tickets will go on sale March 11, while more summer tour dates for the band are forthcoming.
After reuniting in 2009 following a nearly five-year hiatus, the group spent most of 2010 performing across the US, with an extensive summer tour leading into a 15-date fall trek that included a performance at the Austin City Limits festival in October. A fan plummeted 25 feet from a railing during the band's August 18 concert at New York's Jones Beach theater, but luckily survived the terrifying fall.
In addition to the tour, Phish has also announced that it will release "Two Soundchecks," a 7-inch live vinyl record, in conjunction with Record Store Day on April 16.
Here are Phish's 2011 summer tour dates:
05/27 - Bethel, N.Y. (Bethel Woods Center for the Arts)
05/28 - Bethel, N.Y. (Bethel Woods Center for the Arts)
05/29 - Bethel, N.Y. (Bethel Woods Center for the Arts)
05/31 - Holmdel, N.J. (PNC Bank Arts Center)
06/01 - Holmdel, N.J. (PNC Bank Arts Center)
06/03 - Clarkston, Mich. (DTE Energy Music Theater)
06/04 - Cuyahoga Falls, Ohio (Blossom Music Center)
06/05 - Cincinnati, Ohio (Riverbend Music Center)
06/07 - Mansfield, Mass. (Comcast Center)
06/08 - Darien Center, N.Y. (Darien Lake PAC)
06/10 - Camden, N.J. (Susquehanna Bank Center)
06/11 - Columbia, Md. (Merriweather Post Pavilion)
06/12 - Columbia, Md. (Merriweather Post Pavilion)
06/14 - Alpharetta, Ga. (Verizon Wireless Amphitheatre @ Encore Park)
06/15 - Alpharetta, Ga. (Verizon Wireless Amphitheatre @ Encore Park)
06/17 - Charlotte, N.C. (Verizon Wireless Ampitheatre)
06/18 - Raleigh, N.C. (Time Warner Cable Music Pavilion)
06/19 - Portsmorth, Va. (Ntelos Wireless Pavilion)
Thanks for the report to Billboard.com.
The trek includes an opening three-night run on Memorial Day weekend at the Bethel Woods Centers for the Arts in Bethel, NY on May 27-29. Phish will also spend multiple nights at the PNC Bank Arts Center in Holmdel, NJ; Merriweather Post Pavilion in Columbia, Md; and Verzion Wireless at Encore Park in Alpharetta, Ga.
General tickets will go on sale March 11, while more summer tour dates for the band are forthcoming.
After reuniting in 2009 following a nearly five-year hiatus, the group spent most of 2010 performing across the US, with an extensive summer tour leading into a 15-date fall trek that included a performance at the Austin City Limits festival in October. A fan plummeted 25 feet from a railing during the band's August 18 concert at New York's Jones Beach theater, but luckily survived the terrifying fall.
In addition to the tour, Phish has also announced that it will release "Two Soundchecks," a 7-inch live vinyl record, in conjunction with Record Store Day on April 16.
Here are Phish's 2011 summer tour dates:
05/27 - Bethel, N.Y. (Bethel Woods Center for the Arts)
05/28 - Bethel, N.Y. (Bethel Woods Center for the Arts)
05/29 - Bethel, N.Y. (Bethel Woods Center for the Arts)
05/31 - Holmdel, N.J. (PNC Bank Arts Center)
06/01 - Holmdel, N.J. (PNC Bank Arts Center)
06/03 - Clarkston, Mich. (DTE Energy Music Theater)
06/04 - Cuyahoga Falls, Ohio (Blossom Music Center)
06/05 - Cincinnati, Ohio (Riverbend Music Center)
06/07 - Mansfield, Mass. (Comcast Center)
06/08 - Darien Center, N.Y. (Darien Lake PAC)
06/10 - Camden, N.J. (Susquehanna Bank Center)
06/11 - Columbia, Md. (Merriweather Post Pavilion)
06/12 - Columbia, Md. (Merriweather Post Pavilion)
06/14 - Alpharetta, Ga. (Verizon Wireless Amphitheatre @ Encore Park)
06/15 - Alpharetta, Ga. (Verizon Wireless Amphitheatre @ Encore Park)
06/17 - Charlotte, N.C. (Verizon Wireless Ampitheatre)
06/18 - Raleigh, N.C. (Time Warner Cable Music Pavilion)
06/19 - Portsmorth, Va. (Ntelos Wireless Pavilion)
Thanks for the report to Billboard.com.
* A half step is the distance from one key on the keyboard to the next adjacent key.
* Key 1 to Key 2 is a half step since they are next to each other.
* A half step is not always from a white key to a black key.
* In this example, Key 1 and Key 2 are still next to each other.
* A whole step is the same distance as two half steps.
* Key 1 to Key 3 is a whole step.
* Key 1 to Key 2 is the first half step. Key 2 to Key 3 is the second half step.
* An accidental is a sign used to raise or lower the pitch of a note.
* The first accidentals that we will discuss are the flat and the sharp.
* The flat lowers a note by a half step while the sharp raises a note by a half step.
* When typing, you can use a # to represent a sharp and a b to represent a flat.
* Let's examine the black key in between C and D.
* This key could be called C# since it is a half step above C.
* It could also be called Db since it is a half step below D.
* Another example would be E and F.
* E could also be called Fb since it is half step below F.
* Likewise, F could be called E#.
* Whenever a certain pitch has multiple names, it is called an enharmonic
* Next, let's discuss the double flat and the double sharp.
* While flats and sharps alter a note by a half step, the double flat and double sharp alter a note by a whole step.
* When typing, you can use a x to represent a double sharp and a bb to represent a double flat.
* For example, both D and Ebb have the same pitch since you can reach D by going a whole step (or two half steps) down from E.
* D also sounds the same as Cx since it is a whole step above C.
* Finally, a natural cancels out any accidental and returns a note to its original white key.
* We will learn more about naturals in an upcoming lesson.
Lesson Courtesy of MusicTheory.net
* Key 1 to Key 2 is a half step since they are next to each other.
* A half step is not always from a white key to a black key.
* In this example, Key 1 and Key 2 are still next to each other.
* A whole step is the same distance as two half steps.
* Key 1 to Key 3 is a whole step.
* Key 1 to Key 2 is the first half step. Key 2 to Key 3 is the second half step.
* An accidental is a sign used to raise or lower the pitch of a note.
* The first accidentals that we will discuss are the flat and the sharp.
* The flat lowers a note by a half step while the sharp raises a note by a half step.
* When typing, you can use a # to represent a sharp and a b to represent a flat.
* Let's examine the black key in between C and D.
* This key could be called C# since it is a half step above C.
* It could also be called Db since it is a half step below D.
* Another example would be E and F.
* E could also be called Fb since it is half step below F.
* Likewise, F could be called E#.
* Whenever a certain pitch has multiple names, it is called an enharmonic
* Next, let's discuss the double flat and the double sharp.
* While flats and sharps alter a note by a half step, the double flat and double sharp alter a note by a whole step.
* When typing, you can use a x to represent a double sharp and a bb to represent a double flat.
* For example, both D and Ebb have the same pitch since you can reach D by going a whole step (or two half steps) down from E.
* D also sounds the same as Cx since it is a whole step above C.
* Finally, a natural cancels out any accidental and returns a note to its original white key.
* We will learn more about naturals in an upcoming lesson.
Lesson Courtesy of MusicTheory.net
* Augmentation dots and tenuto ties are two types of markings used to alter a note's duration.
* A dot increases duration by one half.
* Since an eighth note is half the duration of a quarter note, we will substitute it for the 1/2 symbol.
* As you can see, a dotted quarter note is equal to a quarter note plus an eighth note.
* A dotted quarter can also equal three eighth notes.
* Ties merge multiple notes of the same pitch.
* They are used to let the duration of a note travel across barriers (such as the measure line in this example).
* The fourth and fifth notes are now combined.
* If the measure line were not there, we could have written a half note instead.
* Use this chart for reference to augmentation dots.
Lesson courtesy of MusicTheory.net
* A dot increases duration by one half.
* Since an eighth note is half the duration of a quarter note, we will substitute it for the 1/2 symbol.
* As you can see, a dotted quarter note is equal to a quarter note plus an eighth note.
* A dotted quarter can also equal three eighth notes.
* Ties merge multiple notes of the same pitch.
* They are used to let the duration of a note travel across barriers (such as the measure line in this example).
* The fourth and fifth notes are now combined.
* If the measure line were not there, we could have written a half note instead.
* Use this chart for reference to augmentation dots.
Lesson courtesy of MusicTheory.net
* Rests represent periods of silence in a measure.
* Each type of rest shares a duration with a certain type of note.
* For example, both a quarter rest and a quarter note occupy the same amount of time.
* While the note would make a sound, the rest is silent.
* To demonstrate this, let's fill a measure of 4/4 time with quarter notes.
* When played, all four notes sound.
* Next, we will replace the second quarter note with a quarter rest.
* When played, the second beat is now silent.
* Next, let's discuss the other types of rests.
* A whole rest occupies the same amount of time as a whole note.
* It is drawn as a box descending from the fourth staff line.
* A half rest occupies the same amount of time as a half note.
* It is drawn as a box ascending from the middle staff line.
* Like notes, rests can have flags.
* With one flag, an eighth rest has the same duration as an eighth note.
* With two flags, a sixteenth rest has the same duration as a sixteenth note.
* Although rarer, rests can have three or more flags.
* Use this chart for reference to rest duration.
* Each type of rest shares a duration with a certain type of note.
* For example, both a quarter rest and a quarter note occupy the same amount of time.
* While the note would make a sound, the rest is silent.
* To demonstrate this, let's fill a measure of 4/4 time with quarter notes.
* When played, all four notes sound.
* Next, we will replace the second quarter note with a quarter rest.
* When played, the second beat is now silent.
* Next, let's discuss the other types of rests.
* A whole rest occupies the same amount of time as a whole note.
* It is drawn as a box descending from the fourth staff line.
* A half rest occupies the same amount of time as a half note.
* It is drawn as a box ascending from the middle staff line.
* Like notes, rests can have flags.
* With one flag, an eighth rest has the same duration as an eighth note.
* With two flags, a sixteenth rest has the same duration as a sixteenth note.
* Although rarer, rests can have three or more flags.
* Use this chart for reference to rest duration.
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* Vertical black bars called bar lines divide the staff into measures.
* This staff has been split into two measures.
* Time signatures define the amount and type of notes that each measure contains.
* The first measure is in 4/4 time and the second measure is in 3/4 time.
* The first measure (4/4) contains four quarter notes.
* The second measure (3/4) contains three quarter notes.
* Next, we will discuss non-quarter-note time signatures.
* 6/8 time contains six eighth notes.
* 3/2 time contains three half notes.
* This chart displays all of the time signatures that we discussed.
* This staff has been split into two measures.
* Time signatures define the amount and type of notes that each measure contains.
* The first measure is in 4/4 time and the second measure is in 3/4 time.
* The first measure (4/4) contains four quarter notes.
* The second measure (3/4) contains three quarter notes.
* Next, we will discuss non-quarter-note time signatures.
* 6/8 time contains six eighth notes.
* 3/2 time contains three half notes.
* This chart displays all of the time signatures that we discussed.
