50 as Middle Age Psychology Today
* This article was originally published here
Friday, January 31, 2020
U2 With or Without you Guitar Lesson
Here is a wonderful acoustic version of the smash hit song “With or Without You” by U2. This song is the third song from the 1987 album “The Joshua Tree”. It was released as a single in March of 1987. This song was U2’s first number one hit in the US and Canada. Just an […]
The post U2 With or Without you Guitar Lesson appeared first on Learn Acoustic Guitar - Free Lessons For Beginners.
* This article was originally published here
Review: BluGuitar Amp1 Mercury Edition
As a respected touring and recording guitarist for more than three decades, Thomas Blug has experienced the difficulties of traveling with heavy and bulky amps and cabinets. Which is largely why he and Russian engineer Andrey Polishchuk joined forces some years ago to create Amp1, a 100-watt amplifier containing four types of 100-watt tube amps (not models) in a package small enough to fit in a gig bag.
The latest version of Amp1 is the Mercury Edition, which is fully analog and uses a microphonic-resistant Nanotube in the power section to improve reliability and provide resistance to vibration from speaker cabinets and stages.
Amp1 has one Clean channel, which the first footswitch can exchange for one of three Overdrive channels. The middle boost switch operates on all four channels, as does the reverb switch on the far right. Optionally, you can program the footswitches as presets.
A master volume controls the overall output, and there’s a volume knob to adjust the Clean channel’s gain. Two controls in the Overdrive section modify the gain and output of the three grit channels.
A set of bass, middle and treble tone controls are shared by all four channels, and there are small, custom controls on the unit’s side that provide additional volume and tone modification for some of the channels. A noise gate lets you choose between settings for Soft and Metal (an ultra-fast gate with extreme damping for metal riffing), or turn the gate off.
In addition to outputs for eight- and 16-ohm speakers, Amp1 has an output that adds a speaker-style load and miked-cab emulation for direct use with headphones, mixers or a home stereo system. Amp1 is feature rich and offers many more modifiers and options, but let’s look at those that illustrate Blug’s insight into what pros need.
If you choose to place the unit atop a speaker cab behind you, switching is still possible through a remote switcher, such as BluGuitar’s Remote1, or MIDI, and Amp1’s underside has a recess that allows it to sit safely on a cabinet’s carrying handle. For world tours, the power supply provides the proper operating voltage anywhere, requiring only the country-specific power cable.
While Blug decided to increase the gain in this latest version of Amp1, it turns out that my favorite feature is its Low-Gain mode, which reduces gain on all channels. I found this setting offered a warmer sound with every channel choice and enhanced Amp1’s already excellent responsiveness to picking and guitar volume-control dynamics.
Low-Gain mode also helped me more easily find a sweet spot in the master tone section that worked for all channels.
I tested Amp 1 through separate 1x12 cabinets housing an Eminence Texas Heat speaker and a Warehouse 75 Watt. Using the Clean channel, I set up a warm, Fender-like clean sound that was as satisfying to me as any classic Leo-designed amp. Engaging the boost offered a little more chime and sparkle, but without unpleasant shrillness.
With the Overdrive section gain set low, the Vintage and Classic channels became excellent variations on traditional British-style sounds, with Classic clocking in a little warmer and Vintage a bit edgier. At higher drive settings, these channels retained their sweet high end and great dynamics.
I’m not a metal guy, but even at the global Low-Gain setting, I could crank the Modern channel’s drive and have a solid rhythm tone for heavier styles. One of Amp1’s great features is that any tone I dialed in remained consistent at every master volume setting, even bedroom levels, and all channels responded brilliantly to overdrive and fuzz pedals.
I could easily see how this unit and something like a Line 6 HX Stomp would allow you to recreate an entire album, with multiple amp sounds and effects, anywhere in the world, and without having to check your gear through baggage.
It’s often the case that the best musical product ideas come from professional players, and Thomas Blug has come up with something revolutionary in a package that’s not much bigger, and no heavier, than an iPad, without compromising tone or feel, and all that makes it an easy winner of an Editors’ Pick Award.
SPECIFICATIONS
Amp1 Mercury Edition
CONTACT bluguitar.com
PRICE $799
CHANNELS Clean, Vintage, Classic, Modern
CONTROLS Clean volume, overdrive volume and gain, bass, middle, treble, reverb, master volume. Side controls for individual channel volume and tone shaping. Noise gate switch.
TUBES One Nanotube
POWER 100 watts
EXTRAS Headphone/recording output, effects loop (switchable between series and parallel), 8Ω and 16Ω speaker outputs
WEIGHT 2.6 lbs
KUDOS Uncompromising amazing amp tones. Extreme portability
CONCERNS None
* This article was originally published here
Malina Moye: Five Acts of Legend
• She has performed for the Queen of England and became the first African-American woman to play the National Anthem on electric guitar at a professional sporting event. Malina Moye often draws comparisons to Jimi Hendrix and Eric Gales for being a lefty Strat-slinging guitarist, but as a female guitarist who writes songs about personal empowerment and shreds like nobody’s business, she is her own person. And in that way, she’s been breaking new ground for guitarists since having her own breakthrough in 2014. “I think good songs come from the truth and three chords,” she told RockandBluesMuse.com. “I like to tell my truth or someone else’s truth. It’s got to be honest and real.”
• The Minneapolis native was born in 1984 to musical parents. Her father is bassist/rhythm guitarist George Moye, a.k.a. Dr. Funk, and her mother sang backup for Tina Turner. “My mom says her water broke when she was performing onstage, and I was born soon after,” Moye told GP in 2015. The left-handed guitarist’s journey began in earnest at age six, when her father gave her a right-handed guitar. “I totally wasn’t feeling it,” she told GP. “So when he left the room, I took that right-handed guitar, flipped it upside down, and said, ‘Now this works!’”
• Moye made her recording debut in 2004 with her song “Alone.” Released on her own WCE Records label, the track put her R&B vocal chops to the fore, but her 2009 album, Diamonds & Guitars, emphasized her incendiary fretwork and drew attention to her ample talents as a player. Moye spent the next few years building her name through live appearances. In 2010 she performed the National Anthem in front of 80,000 football fans at a Vikings/Cowboys game, and two years later joined the Experience Hendrix Tour. Moye was on hand to play Chuck Berry’s “Stop and Listen” at a Rock and Roll Hall of Fame tribute concert to the legendary guitarist, and she participated in Queen Elizabeth II’s 60th Jubilee celebration by performing “God Save the Queen.”
• Moye’s breakthrough came with 2014’s Rock and Roll Baby, on which she fused rock, blues, soul and funk, showing the influence of both Hendrix and Prince while establishing her own signature style. While the disc drew attention for featuring Rock and Roll Hall of Fame funk legend Bootsy Collins, in the end it was Moye’s show entirely. The album brought her big TV appearances and the title “Queen of Funk Rock” courtesy of Asia’s number-one guitar magazine, Gitar Plus. In 2018, Moye released her third album, Bad As I Wanna Be, placing the focus on her songwriting, much as she emphasized her guitar playing on Rock and Roll Baby. Summer 2019 saw her release the album track “Enough,” a song that emphasized personal empowerment and individuality through the message “we can be the change we need.”
• In addition to her occasional work in films (she’s made appearances in the 2018 comedy-drama The Samuel Project and 2019’s Burn), Moye’s activities outside the field of music include the Drive Hope Foundation, a nonprofit she co-founded to help disadvantaged youths who lack resources achieve their career opportunities. The foundation inspires young people to see greater options for their lives through activities such as having role models speak in classrooms and providing funding for education programs and scholarships. “I feel I am where I am because someone instilled knowledge into me, and that’s part of the process,” Moye says of Drive Hope’s work. “Simply put, it’s imperative that everyone find that one thing they’re passionate about and go for it.”
* This article was originally published here
I’ve been holding my pick wrong since I first picked up a guitar in 2006. Is there any hope and recommendations for practicing picking and strumming and how to hold a pick?
The way I would hold would be thumb and index finger straight out, similar to how people play “the worlds smallest violin”, but there is a guitar pick instead of a violin. I have always gotten frustrated for not being able to pick individual strings and I blame lack of proper technique. There simply isn’t the muscle control available to do anything technical. I can fly across the fretboard with my left hand, and would always noodle like Michael Angelo Batio forgoing picking. It is really hard for me to break this habit, as it’s now hammered in my muscle memory. And tips or tricks I can do throughout the day to improve my picking and strumming? I’m trying to play air guitar with my index finger bent in with a pick between the side of my index finger and thumb, but it still feels awkward.
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* This article was originally published here
How can I make a knocking sound like this guy playing the blues?
I was watching a Boom Boom cover: https://youtu.be/WL8wS7D1XbE?t=45
What I really like is that you can hear a cool knock/tap as he plays. Even when he isn't playing a chord. He could be playing the riff on one string it seems like and he's still able to also knock/tap. How is he able to do make a knock even when he's plucking on one string it seems like? Can someone enlighten me?
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* This article was originally published here
Advanced Guitar Chord Lesson – Learn to Play F9
F9 – Advanced Jazz Guitar Chord Tutorial The F9 Guitar Chord (also known as F Dominant 9, F Dominant 9th, F Dominant Ninth) is often referred to as a Jazz chord. Just play it using the chord diagrams below and you will instantly see why . The F Dominant 9 Chord is found by locating […]
The post Advanced Guitar Chord Lesson – Learn to Play F9 appeared first on Learn Acoustic Guitar - Free Lessons For Beginners.
* This article was originally published here
Hear Terry Kath’s Isolated Guitar from “25 or 6 to 4”
Terry Kath has long been praised as one of the great guitarists of the classic rock era. As a founding member of the jazz-rock band Chicago, Kath held down guitar duties for the group until his tragic death from an accidentally self-inflicted gunshot wound in 1978.
One of Kath’s most celebrated guitar tracks is Chicago’s 1970 hit “25 or 6 to 4,” which features his extended guitar solo that includes generous use of a wah pedal. Though he recorded other tracks that showcased his guitar talents - notably “Introduction” and “Free Form Guitar,” both from the group’s 1969 debut, The Chicago Transit Authority - the hit status of “25 or 6 to 4” ensured it was always performed live, where Kath got plenty of room to flex his considerable chops.
Happily, we can now hear Kath’s guitar parts on the original recording almost entirely isolated from the other instruments. The first recording below features Kath’s guitar parts interspersed with the brass and Peter Cetera’s vocals. The track lets you hear his verse fills as well as his epic solo distinctly.
The second video features the song without vocals, allowing you to hear all the instruments more clearly. You certainly don’t need this version to know how tight Chicago was, but hearing the instrumental version drives the point home.
* This article was originally published here
Take a Tour of Jeff Hanneman’s Guitar Collection
Back in 2015, it was announced that Broken Hope’s Jeremy Wagner had purchased the entire personal guitar collection of late Slayer guitarist Jeff Hanneman. In surprisingly quick fashion, Wagner and Gear Gods created a video in which Wagner highlights each of the guitars in detail, and you can watch it above.
The guitars include Hanneman’s most famous guitar, his “Punk Rock” Jackson; his ESP Bloodline guitar, from ESP’s short-lived U.S. Custom Shop; his “Killer” guitar custom-built in 2005; his ESP Urban Camo Signature guitar autographed by Hannemann; three limited-edition Slayer anniversary album guitars made by ESP and more.
It goes without saying that Wagner is a fan, but the video provides him with an opportunity to show how deep his love of Slayer runs. Along the way, he explains how he acquired the guitars from Hanneman’s widow, Kathryn, who had originally planned to auction them on behalf of the Wounded Warrior Project.
* This article was originally published here
Elevate Your Songwriting Skills With These 6 Acoustic Guitar Intro Lessons
It may seem like it goes without saying, but this can be easy to forget: one of the most essential parts of a song is it’s intro. A strong intro captivates your listener, uses melodic phrases to hook them in, and ultimately enlivens the song from the get-go. In his course, Essentials: Acoustic Intros, the […]
The post Elevate Your Songwriting Skills With These 6 Acoustic Guitar Intro Lessons appeared first on TrueFire Blog - Guitar Lessons.
* This article was originally published here
Eight Essential Two-Bar Endings Every Guitarist Needs to Know
Below are eight two-measure endings. Some of them might be new to you, while others will sound very familiar.
Play through all eight and decide which sound best to you. Then, try incorporating them into songs that are in the same key.
And if you’re really brave, try transposing them to fit songs in other keys.
Good luck, and enjoy!
* This article was originally published here
Does anyone have any experience with Jackson JS series?
In looking to get myself a Jackson JS-22 either 6 or 7 string, but I would be ordering it online so I can't try it before buying it.
Im curious what you all have to say, If you own or or have played it.
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* This article was originally published here
Dealing with Frustration
Hey,
I've been learning guitar for all of two and a half weeks now and I'm currently learning We're Going to be Friends by the White Stripes. I'm learning fingerstyle on an acoustic. I practice roughly an hour a day, 15 minutes doing scales and 45 minutes of project practice.
How do you folks deal with some of the frustration? For example there was a chord change that was just taking forever and it just made me nearly stop practice because I got frustrated with myself.
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* This article was originally published here
Richie Kotzen Announces New Album, '50 for 50'
Richie Kotzen has announced a new solo album, 50 for 50.
Recorded for Kotzen's 50th birthday, the ambitious triple-album collects an even 50 previously unreleased tracks. Produced by Kotzen himself, the album is set for a February 3 release via his own label, Headroom-Inc.
“The idea of a 50 song album came to me while I was on tour sometime last year,” Kotzen said of the album in a press release. “I had completed what would have been your typical 10 to 12 song album and was anticipating a 2020 release. Somewhere along the line, I discovered a few completed songs that for whatever reason were never released. Along with that, I found a massive collection of material that was in various forms of completion.
"Some songs had drums, bass and piano with no vocal, other songs were nothing more than a bass line and a vocal melody and so on. I decided to take that summer and fall, stay in the studio, and see how many of these ideas I could bring to completion. The concept was to include the already completed works and finish the other ideas and then stop once I reached 50 songs. Reality is we’ve got way more sitting on the hard drives waiting for attention.
"I figured if I can walk out of the studio with 50 songs (that I like) mixed and mastered, I can release a 50 song package on my 50th birthday.”
For more on Kotzen and his music, stop by richiekotzen.com.
* This article was originally published here
Thursday, January 30, 2020
Stupid Boy by Keith Urban Guitar Lesson
Learn how to play the song “Stupid Boy “ by Keith Urban with this free country guitar lesson. This song was written by Dave Berg, Deanna Bryant and sarah Buxton and recorded by Keith Urban. It is the second single from his 2006 album Love, Pain & the Whole Crazy Thing. Keith Urban won a […]
The post Stupid Boy by Keith Urban Guitar Lesson appeared first on Learn Acoustic Guitar - Free Lessons For Beginners.
* This article was originally published here
The Foley Files: Fanny's June Millington
I was blown away by the story of Fanny, the band June Millington and her sister Jean formed in the mid 1960s. The group signed to Reprise and broke out in 1970 as one of the first all-female rock and roll bands to enjoy major-label status, But Fanny wasn’t a gimmick.
The group’s members were serious about their playing and worked hard to be competent on their instruments and tight as a group. They came up in the ’60’s California music scene alongside groups like the Grateful Dead, Santana, Jefferson Airplane and Little Feat. Although Fanny never broke out with a million-selling hit record, their place in rock history is undisputed. Millington has a sage-like wisdom and an extraordinary depth as a player. She spoke with me about being part of the late-’60s rock scene.
Fanny had an amazing run. What was it like chasing a music career at that time?
We were a hard-working band, let me tell you. We worked 24/7. Let’s say I did a gig: I would make a point to ask whoever was good on the bill if they wanted to jam, and could they teach me something? After that, I would go to see a really good band and sit in the front row, and I’d watch how they did it.
I remember standing in front of the Grateful Dead at UC Davis, and that was the first time I thought to myself, 'How does Jerry Garcia do that?' By that time I must have been 16 or 17. I could drive myself to San Francisco, and I’d always stand right in front of the guitar player.
So I wound up standing right in front of Jimi Hendrix. Same with Albert King, and Cream. And there would be this little kid standing next to me, and we’d be jockeying for that spot, always standing right next to each other. [laughs] And then, when the first Santana album came out, I saw Carlos’ picture and realized, 'Oh my God! That’s that kid!' He and I were doing the same thing.
Back then, there wasn’t any place you could get the information, and moreover, you couldn’t get the information because people were making it up on the spot. So that’s what I did, 24/7, and, essentially, that’s what the band did.
Who were your favorite guitar players?
Jimi Hendrix is at the top of the list. I have to say Albert King, too. Actually, other than Jerry Garcia, the first gig I saw was in San Francisco, and it was a double bill with Jimi Hendrix and Albert King. I’m telling you, the top of my head exploded. It was unbelievable. I was standing right in front of them. So that kind of viscerally put it in my DNA.
From that point on, I was nonstop when it came to the guitar. I was probably 17 then. By the time we went down to L.A., Lowell George had become one of my best friends. We spent a lot of time playing together. He used to come over to our basement and jam.
I met Lowell at a jam in the [San Fernando] Valley, and we both enjoyed each other. I mean, we were really close. I didn’t play the blues, and I remember Lowell came over one evening and said, “June, you can’t play rock and roll and have this career without learning how to play this kind of music.” He pulled out a doobie and got really high, and he put on Howlin’ Wolf and Muddy Waters.
With Lowell, it was like being in college. He was a great teacher, ’cause it wasn’t just your licks - it was your tone. A whole bunch of us were trying to figure out how to get great sound from amps, and we were always changing amps and fooling around with different tubes. We were developing our sounds.
I had a ’57 Les Paul then, and I still do. I still use it. People say I shouldn’t even travel with it any more. But that thing plays me in ways that other guitars can’t, you know? I don’t even really play when I play that guitar. It just, like, happens!
For more information about Sue Foley, visit suefoley.com, and check out her latest CD, The Ice Queen.
* This article was originally published here
Dm7b5 Guitar Chord Lesson
Learn how to play the Dm7b5 acoustic guitar chord with this free tutorial. This chord is found by locating the 1, b3, b5, b7 of the D Major Guitar Scale: D, E, F#, G, A, B, and C#, or the notes D, F, Ab and C. The b3 symbol means that we take the third […]
The post Dm7b5 Guitar Chord Lesson appeared first on Learn Acoustic Guitar - Free Lessons For Beginners.
* This article was originally published here
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Hi! I’m learning to play the guitar by myself and I’m struggling with the strumming, I’m watching tutorials online but i feels like - from t...
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