SSO Ce eS any The Magazine You Gan Play RAGE AGAINST THE MACHINE Renegades of Funk FUEL Innocent CREED Faceless Man MOTLEY CRUE Smokin’ in the Boys Room RICK DERRINGER Rock and Roll Hoochie Koo MIKE STERN Nardis CROSBY, STILLS, NASH & YOUNG Teach Your Children yY 1960-2000 FOUR DECADES OF GREAT GUITARCN FEATURES 63 mani orien Farmer Sats uit ak ges us uel ro i sone rte chs, fr he genes ees Bath 68 cnacr row Te ui nyo in one stn de tm Zi He OH cae ie fi eh ka sree cote DEPARTMENTS: 15 NOISE & FEEDBACK Yor Os nme 19° OPENING AXE 19. Testa Reunion ek 10 Lamb of Bod 58> Gu 20 En y ie BLUES NEWS Tis thin sacra FRTscare TAB & TUTORIAL Cl sw tial it a! SOUNDCHECK Hes nen FFF BOK Pop oy Tor Kon LESSON LAB Faison y {GEAR BOX Eon Kens & Raves Brian Moore iGuitar 2.13 1 ‘Washburn J8VE Washington Etectr€ ch Inanez Artweed AVF2OOCENT Rebus by Dau 2s Hughes & Katine Vortex Amp oy 0 org Tonoorks AxtODG Processor Hear & Now 6 Hos Baek Line Blueprint Yeats yc! cuassirens eon TPS ADVERTISER INDEX COLUMNS 194 ROQUSTI CAFE Ct Fagesipe aap haar 196 GUITAR ARCHIVES Bes wes oy Ove Ru 198 CHOPS SHOP Sins oe 202 RET BURZ Sri sepia Ia by SONGS & PERFORMANCE NOTES meme te mre iaceeHYOUR QUESTIONS ANSWERED ear Gultr One: Aipout amon go ponchased uit th 4aFloyd Ruse wemolasystem, Hine do replace thestrings wid disp ofbridget Pease help! Tohin Lev ofe e-mail Dear lohn: Since its arvival in she late "7s Floyd Roses oniriburianogultarhardwarehasbeentboth blessing anda curseransang-barseohblers In its fan, the Haye Rose system allen cexueme pitch changes wid emarkable tu Ingstabliy.Indhehands ofa masterlkesceve Val effleck, ar Edie Va Hale, ir becores avalidenensionafthe guitar, capahle fel ‘cate fitters rging'dive har swoopsand whistles, and even subtle melodic phrases, The dwmside i that ita beast ro maintain; simple chores Tike chan gingsteigs or seting intonarionbecememechanicalnighrmaresit you don know what youre doing The fist step ln changing sings on your Fase Rose remelassstom, John staremen bert change onestringat atime! This alone wilsave you seme major headaches, Aso, be sare to have all the appropriate tools aval: ble This would include the follwing ‘ Thealenkeys or"hexkeysasthey some times called), which shouldhavecome sth uur gulls + Apalr wire cutters t rim excess sting. “Asm! hook-shaped tool for threading Strings and fishing out odd parts ton smal foryour ingens Acrichetinghuokarapaper clip bento shape will do nicely Anup butrealy useful item wuld Deacoupleotamnadenssedgesta saiire the stemole block fram behind while warking. kernals, took such as the “Temserter ‘illalsa hole she systom stable Beginby usingtbe appropriate Allenkey to Voge aloft set-serens on telochig aut acthe lead of dhe gular This will allow dhe Sieings to slide theough frecly. Loosen and (rene) « GRAIN remove one sing rom tsmuningmachineon the headstock and thread itt dbo the lncking nut News unlock the uther end ofthe srg oma dhe tremolo systema again withthe anpropriawAllen key, belngverycareal not fo le the smal locking block fll out of the cavity where che string is held. The string shouldeomecamlereyfreeat his point and you're halfway done Take a Inok inside the cavity where the string Was held to bese no bit of broke sting ormotalaeleftbehind, Hyouareusing, a specially prepared sec of strings such as D/Adaris FR series, you nd small mesa padson heendof each singin pace ofthe tsa brass bal, This isthe endl hat il go ito che cavity & standard ser of strings ean bveused aswell buttesureinclipoffnebrass Dall hefore installing them. Haid the sting sgentiy in place as you tighten the lacking Screw applvingjustenough pressretogetthe serow “Layer Hight” wo "lst dae” Thread the string back tov the locking nat and tie tothe tuning postin the usa eso, ‘clnunlgany excess Beingitup to pitchusing the headstock tuner, but don tighten the locking nut jost yet Insiead, continue co ‘change each sringin this fshion uaekallthe Strings are changed and the guitar is in ela tivelydoserune Takesometimeto stabi” ‘he seings by bending and setching them, ‘then adjst the fne-taning mechanisms on fhe tremolo so that they ae about one Fall rovationshy of being flly"Nat"Thiswill give ‘you room to fine-tune the strings sharp as ‘hey neviably go lac aver ime, Takea doop breath and lock the sings ot fhe nut and you should be dane—unt you boa tring oraze due foranacher change —Dowglas Baldwin ear Guitar One: Tyebeen a gulars for several years playing mest ows and mck. Recents ig Noise & Feedback vehecumeinienstedin tietndian musico! sitaist RaviShanka.Arethere specific sales Tenn use to achieve an Eastera sound? Any ‘ips wauld be greatly appreciated ‘Andy Berman, Andover MA Dear ancy: RaviShankar, de mans Goonge Hacrsun calls «he Godiater of World Muse” hes been & tireless ambassador of Uhe Indian clases tradition formostof his years AUthe hear of thiscradition ae the rgas—the melodies and scales used c frm the basis ofa mus cal performance. to begin t appreciate rhe Indian classics! system at music, se Westerners must salen mr ulead andl aegepe that this systems, marethan 1,000, yearsold, has developedsubderesofrhsthm Andmelndy arbeyorsd hac mrbacksrounds cen comes: Adana the prapereained Indian musician understands he raga as not Justa collection of notes, butas a whicle for divine insight, abridge benseen the physical and spiritual worlds Lec begla by identlfying some of the sounds that mak Todan rusie so appeal: ing. One stich suutid, virtually aliens of Eastern mui fran a Western perspective, is thesdnd. Fig. LA shows the is five notes ‘ofthe Cmajorsealewith is secand nore(D) farted. his strikes our ears as immediately ‘exotic in an Eastern kind of way, as docs almost any seale nt mode sing this nate Figs. 18-Care a collection ofseales employ ing this “2nd. Within a Western harmonic framework, these scales may begin ca give ‘your playing an Easter favor Music of India employs no “chord changes" ase kn tem: instead. drome pole which wed calle tonic ori sve Further, che melodic instumenaiten emphasize their upper harmonies, giving ‘hem thelr characteristic "rwang” Hevea iqaiek tek te seep yor gitar for paving with » taste of curs: Remove your top to strings thei and Ben cae yous Low E string down to a D. Use the three lowest sings as done notes, and begin to explore the sealein Fig. 2, paying excusively om the G string, Rotice that the notes are not pre sented i typical up.and.down fasion, but hhave unique rises and falls within the sale. Combine these sth an artention to melodie ornamentation such as accurate bends Inulled dover on the fretpoard rather than pushed up hammer-ons,pul-a, and slides and you may begin ogerafeel for Indi'sb- liane musical ster. Dongle Boldin oar Guitar One: Tyebeen playing gular fora enope of years fand & technique Usa 1 soul relly hiker Jeam istingerapping. Can youshelp meout? ‘iu Eons feat MARCH2001® G1 The Magazine You Can Play 15PJ. Ballantine Instructional ETT) Ce AVC Ceri. Pe Coy Cy AS ae Cie pjballantine.com Holiday Special! oe tetas aera TeN eee) ear Rian: Getting fe rudimentary finger Tieks under your hel will not any cen yourarscnal of Mashy guitar “Wicks,” will create a unique phrasing alternative ‘The smooth, legal sound of io bands hammering” on the neck creates a dra matic point of departure from rspical plek-stle phrasing, Though theze are earlier instances « tapping on ecard (Larry Gaston ssol0in Steely Dans "Kid Chaslemagne,” citen 1976, for instance), nobody did more ta popularize tapping technique—at least Ing hard rock gultarcontext—than kale ‘Yan Halen. When “Eruption” (Ven Halen 1976) was frst heard byguitarfanates the shocking ease with which Edward ripped tough that pieces thea-unprecedent cod acpegglated finale prompted count less piccersto palm their plectis ane hen to the woodshed ta hane their tapning chups.In short, Edward's tefined tapping approach enabled him co unload arpeg, tlos—shapes typically peeformed “In position” across the fretboard using & pick—at lightning spect Forinsance sen the notes from agar den-varieny Em (E-G-B) areego [ig 34 are arranged for performance along ne ‘ving IF SB], a ager fom the pic nad ‘either your index or middle finger can be overthe metsnintotapontothe Se, This "ta ssi a basi hammeron, where you sound a note lege {o-syleby"hammering”yourftechand fin sgerdowsn once neck, Slay dhe nts that follow the rap are created by putts from the pick-hand and fret-handfinges thequickremavaletyourtappingage 00s thestring.usingan upward Mieking motlon downward motion forthefrethand, forces thenure feted below cto sound There are sever solstionsasea which finger to use when tapping, and what to dovwith the pick when usiag the tech- nique. tf tapping is going to be executed 1 pekehand’s inde finger eu frist will usually “cup” his/her pick between the pick-land’s middle, ving, ot pinky finger (or a combinativo of the hee) an palm. Otherwise, to keep the pick i its usual pusition, some players ap with thei piek-hands middle fing Keeping heipick pinched between thei hum and inées finger Meanichile same players—Joe Satriani, for instance de seth the “where do I put my nick iste simply by tapping with che edge of their pick Keepiagallof the ubove in mind, 7 ‘our band ac some ofthe following rd mentary tapped arpeggin patterns Figs. AAD}, all of which frequently factor nto the leads ofthe true "tap masters, Once yau're able ta smaothly execute teach of them, tryereating longer tapping licks (Fg 5 —Dele hurner Toplugyourquestionsandinputinta"Gutar Noise & Feedback’ address all correspon: ence to: Guitar Noise & Feedback, co Guitar One Magazine, 6E. 3294 St, 11% FL Now York, NY 10016, of reaen us by e-mal 31 GutarOnescneranc.com 18 GUITAR ONE : voxn qutareremas.cem «MARCH 2001