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Guitar Musician   e-zine     04/27//05


In This Issue:


  Freedom, well, that's just some people talking. Your prison is walking through this world all alone.

                                               - The Eagles, Desperado


Some Humor

 

The Bride

On their wedding night, the young bride approached her new husband and asked for $ 20,  for their first lovemaking encounter.  In his highly aroused state, her husband readily agreed. This scenario was repeated each time they made love, for the next 30 years, with him thinking that it was a cute way for her to afford new clothes and other incidentals that she needed.

Arriving home around noon one day, she was surprised to find her husband in a very drunken state.   Over the next few minutes, he explained that his company had gone through a process of corporate downsizing, and he had been let go -- It was unlikely that at the age of 55, he'd be able to find another position that paid anywhere near what he'd been earning, and therefore, they were financially ruined.

Calmly, his wife handed him a bank book which showed thirty years of deposits and interest totaling nearly $1 million.  Then, she showed him stock certificates issued by the bank which were worth over $2 million, and   informed him that they were the largest stockholders in the bank.  She explained that for 30 years, she had charged him for sex and these holdings were the results of her savings and investments.

Faced with evidence of cash and investments worth over $3  million, her husband was so astounded he could barely speak, but finally he found his voice and blurted out,  "If I'd had any idea what you were doing,  I would have given you all my business !"

 


Review

 

Click here for all products by Gallien-Krueger.
 

Gallien-Krueger Bass Amps & Speakers

Raising the standard and lowering the price!

By Ronnie Glass


I play a Gallien-Krueger 700RB combo as my main gigging amp and love it. So I was eager to check out the models from G-K, especially the 700RB-II to see how it compared with my older model. I was also curious about the new SBX speakers, especially when I learned they are about half the price of the RBH models. Maybe I could now afford to add an extension to my combo.

 

Gallien-Krueger Bass Amps & Speakers

The first setup I choose was the 700RB-II head on top of a single SBX cab with a 15" speaker. I'd add the 2 x 10 cab next, and then try the 410. Hooking up reminded me how nice the Speakon connector cables are. They're required for biamped operation and G-K provides them. They snap on and lock securely.

Ready to go, I took a first good look at the amp face. The new design is cool, but the basic layout is the same. All the familiar knobs were there: 4-band EQ, contour, presence, horn and woofer levels, gain, and volume. I dialed the EQs flat, set everything else the way I usually do, and flipped on the power switch.

I expected to be greeted by a completely familiar sound, but what I heard was surprisingly different-bigger, more full, and lots warmer. I ran through my usual set of lines and grooves. All sounded stronger and the amp's response on demanding riffs was fantastic. This was definitely an improved 700RB.

When I added on the 2 x 10 cab, the sound got seriously large. It was that clean G-K sound but super pumped with a deeper low end. I loved it. I had a tower capable of floor-buckling power bass at my control and it was vibrating the floor so much it made my feet tingle. That's the kind of sound you feel as much as hear.

The power factor
It was apparent to me that G-K had worked some magic on the 700RB-II. I went running to Mr. Manual to find out what. The big thing I found was an upgrade elegant in its simplicity-MORE WATTS! My 700RB combo powers up to 380 plus 50 watts for the main drivers. The new 700RB-II rates at 480 and 50, a jump of 100 watts. Surely this is the main reason why it sounds bigger than the 700RB. It IS bigger. Wattage isn't all that makes one amp better than another, but all things being equal, more wattage means more reserve power, faster response, and more consistency between low and high volume performance. Dynamics are made easier. In the case of the 700RB-II, the extra 100 watts makes a big difference.

 

Click to Enlarge

Louder but quieter
I also noticed the 700RB-II ran quieter. I asked a G-K technical guy about this and learned that the 700RB-II redo included an upgrading of components throughout-higher-grade 1% resistors, polyester capacitors instead of ceramics, bracket-supported pots, etc. He rattled on the way technicals do, mostly over my head, but the upshot was that the quieter operation was the result of these internal improvements.

Needless to say, I was impressed with the 700RB-II. New cosmetics, more power, and improved internal components make it quieter. These are substantive upgrades to an amp that wasn't exactly needing improvement in the first place. I was perfectly happy with my old 700RB, but here was G-K luring me once again. I couldn't even take comfort that my older 700RB was less costly. Version II is the same price.

Affordable stacks
The SBX Series Speakers are a great new addition to the G-K line. They are way less expensive than the RBH speakers, yet they sound killer. I really liked the frequency range and combined character of the 210 paired with the 115. And the 410 Cab is fantastic: tight, punchy, with very clear, well-defined bottom. The biggest treat was plugging into two 410 Cabs. Here was a true wall of sound with Mike Tyson-level punch, enough force to knock you off your feet. I could just imagine what the eight speakers would be like driven by a 1001RB.

All the SBX cabs are solid and well built, but use a lesser-grade plywood than the special birch used in the RBH cabs. Otherwise they are much the same: same hardware, crossovers, horn, and Speakons as the RBH models. Besides the cabinet wood, only the speakers have changed. The SBX speakers may not have the super-high power handling of the RBH speakers, but they have plenty, and are very well-matched with the 400 and 700 RBs, or the 1001 when stacked. Most importantly, they sound fantastic-a warmer sound which is sure to make some players actually prefer them to the RBH models.

One notable feature of the SBX cabs with multiple speakers is that each speaker mounts in its own unported chamber. This makes the cab a little less efficient, but the lows roll-off much more slowly than they do in ported, uni-chambered cabs. Consequently, it produces the lower tones that especially 5-string players need. It gives all basses a punchy low end and very warm overall sound. It also has excellent close-proximity fullness so you can better hear what you're playing.

Overall I was quite impressed with G-K's 2003 offerings. The 700RB-II is truly better than ever, and the SBX speakers sound great and open all kinds of doors with their affordable prices. I had been wondering if I could afford a stack at all. Now, at these prices, I'm thinking seriously about which configuration I want for my dream rig. Gallien-Krueger does it again! These are exciting products for bass players, and Musician's Friend has them ready to ship at fantastic prices. We've also put together some great package deals. Jump on the amp or speakers you want. The sooner you order, the sooner you'll be playing and enjoying.

 

Features & Specs:


  • Power: 480W to lows @ 4 ohms; 320W to lows @ 8 ohms/50W to highs
  • Cooling: continually variable speed fan
  • Input section: ultra low noise S/N ratio>90dB, clip LED, 10dB pad, volume, mute switch, and mute LED
  • Voicing filters: 5/4 string, adjustable contour, and presence
  • Equalizer: bass-specific 4-band EQ
  • Output: boost, tweeter level with high-cut switch and woofer level with crossover switch
  • Direct out: XLR, level control, ground lift, and pre/post switches
  • Patching: send, return, and tuner out
  • Speaker connectors: 1Z4" and Speakon pairs
  • Weight: 17 lbs.
  • Dimensions: 17"W x 31Z2"H x 8"D (rackmountable)

For more info on ordering this product email us


Guitar Q & A

  How to Find the Key of a Song

Q I am having trouble keeping things in key. I don't quite get how you can find the key of a song from the chords and from there put your lead patterns into it to form solos. Thanks for any help you can give.

Steven Gilsinger; Denver, CO

A
The complete theory is a bit involved to find the key of a song by the chords in the rhythm but I have a little trick that can give you a quick fix.

Look at the first chord or the chord that is played or held the most in the rhythm, 90% of the time this will be the key of the song. If it's an "A" minor chord play the "A" minor or pentatonic scales over it, if it was an “A” major chord play the “A” major or major pentatonic scales and it should work like a charm!

I do recommend studying theory to really understand the musical mechanics but this will help until then.

Hope this helps!

Yours in Music
John McCarthy
Rock House

 


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Errors & Omissions Excepted

 


  Gettin' Inside with Johnny A
by Adam St. James

His appearance on Saturday, January 22nd, 2005, at the All Star Guitar Night. All Star Guitar Night is an incredible showcase of guitar virtuosity that takes place during the music industry's NAMM convention at the Anaheim Convention Center (and surrounding hotels) in usually sunny (rain, rain, go away!) Southern California.

The All Star Guitar Night is only open to those with tickets, which can only be scooped up at the NAMM show - which, unfortunately, is not exactly easy for the general public to get into. But if you can, be sure to get to the All Star Guitar Night and check out Johnny A, Kaki King, Muriel Anderson, and a whole bunch of incredible guitar virtuosos.

In this exclusive guitar.com interview, Johnny speaks about his unusual technique for playing chord melodies, his hybrid picking, and his plans for a live CD and/or DVD.

Q: Hey man, we speak again.

Johnny A: Hey Adam, thanks for thinking of me.

Q: I guess I'm catching you on the road?

Johnny A: Yeah, I'm just pulling up to another venue in Baltimore right now. We've got to do soundcheck.

Q: So what's new in your world?

Johnny A: Just touring, touring, touring.

Q: That's the life you wanted, right?

Johnny A: (laughs) I'm not really sure. This isn't exactly the way I'd planned it. But it's good. I have a great band, and we're having fun.

Q: I just got your Get Inside book yesterday from Warner Bros. It's very cool. Now I can try to figure out some of what you're doing.

Johnny A: Oh yeah! Be my guest. I don't even know what it says. Did you ever get the Sometime Tuesday Morning book?

Q: No, I don't have that one yet.

Johnny A: That's a really nice book too. They did a great job with the transcriptions, and that book actually has the bass tab in it too.

Q: What have you been working on these days?

Johnny A: There are some new songs in developmental stages. But right now I haven't even been thinking about recording a record. I'd like to do a live record and a live DVD. I have a lot of people who ask me because they dig the records, but when they see the band live it's a different thing. As you know, when you record, you try to economize stuff for the studio. And then when you play live there's a certain amount of energy and angst and shootin' from the hip. Both things have a different character. It's not to say that one thing is better than the other, but both live performances and studio performances offer something different to a fan. So I'm considering a live CD or DVD. I'm going to be doing an instructional DVD for Warner Bros.

Q: That's great. I'd love to see that.

Johnny A: We're shooting that in March. They want it out by summer NAMM. I started doing some clinics. I did a thing for National Guitar Workshops and a couple other clinics. And that (previously) wasn't something I felt comfortable with because - as we spoke about before - my playing style and my approach is strictly from vibe. It's got nothing to do with being technical and sight-reading or anything like that. So I was always a little hesitant about doing something where I was trying to be an instructor. And that's not really what I envisioned for myself. So I was always a little apprehensive about it.

But we did a couple of clinics and master-classes and they went really well. Aaron Stang from Warner Bros. and Arlen Roth both asked me about doing this instructional video. And I had the book deal with Warner's, so I'm gonna take a shot. I'll shoot it and see how it comes out.

Q: We'll look forward to that. So what would a guitarist have experienced at your NGW clinics?

Johnny A: My whole thing, the whole outline of what I did - first of all, I used the band with me too. I didn't play to backing tracks. Different people do it different ways. When I saw Pat Martino do a master class, he barely played his guitar. He basically talked about a certain philosophy that he has toward music, and he has this alphabetic system that he has for notes and creating lines. And other guys will say, 'I use this scale to do this, and this other ithing to do that." And that kind of stuff.

For me - with the broad scope of music that I enjoy, and the many things I've done in my life - what I did was I went in and told people about my background, in case they didn't know, and then I'd tell them how I started, what I grew up with, what I listened to. I showed them little examples of what makes me tick. I'd give examples of my playing in different styles, and then field questions. And I thought it was going to be this long, arduous thing that I was going to be very nervous about. And two hours went by like it was 10 minutes. It was really good.

Consequently, if I'm going to see somebody in that type of environment, I don't think I'm as interested (in technical stuff) like if they're doing the Phrygian mode starting on the third scale tone, or whatever. I'm more interested in the essence of the person, and what makes them click. If I went to see Chet (Atkins) or Jimi (Hendrix) in that type of situation, I'm not sure I care to know if Jimi's playing a certain scale in this song or that song. I think I'm more interested in figuring out how did he get to where he got. What made him, what influenced him, and what inspired him. So maybe I can go back and look at some of those things, and maybe they'll inspire me in a certain way.

Q: Sure. Did you get a lot of questions in these clinics?

Johnny A: I did get a lot of questions. I got a lot of questions about my tone, my approach to chords - which I guess is unique. So how I came up with that whole chord melody style. I guess it's unique to me because it was basically based on ignorance (laughs).

Q: So you probably found the easiest fingering for each chord you play…

Johnny A: Well, It's like in our previous interview, it started out trying to read (sheet music, from a Beatles songbook), and realizing I was reading piano clusters.

Q: Right.

Johnny A: And I was loving the sound of those inversions and little clusters and figures. That's what started me writing chords around that kind of thing, for my own music. And my chord melody style involves the melody being buried inside the chord, as opposed to traditionally being on top of a chord. That's the typical way to play chord melodies, and a lot of the time I don't do that. It's usually frowned upon, but for some reason, maybe because I use a hybrid style of picking, I'm able to pull out the melody note in the middle of a chord - and have the other chord tones surround the melody - and it still rings OK. That's something that Steve Vai commented on. He didn't understand how I could get the melody to ring out in the middle of a chord like that.

Q: Are you conscious of putting a little more force on the string that has the melody note?

Johnny A: I just think it's instinctual for me, where I'm trying to hear the melody. It's the attention to my own detail to hear the melody ring. And also, I try to find interesting ways to do a simple lick. Like if it's a simple lick, like for example the lick in "Two Wheel Horse." That's a simple blues lick, and most people, when they hear it, and when people play the song for me, they're usually fingering it wrong. When you hear the lick, the way they finger it is the way one would normally finger that lick. But when it's a simple lick like that, I try to do something to make it sound a little bit offbeat. And I employ a lot of open strings. So I'll take a simple blues lick like that and instead of sliding up a half-step, it might be fretted on the 4th fret, and then an open string on the next string - instead of playing 4th fret, 5th fret. It's almost like a banjo roll type of thing.

Q: Like Chet would have done.

Johnny A: Like Chet would have done, exactly.

Q: Now does that come from listening to Chet, or from something else.

Johnny A: I think that comes a little bit from listening to Chet, and from wanting to make it not sound like a normal blues lick. I just want it to ring and sound a little different, maybe a little more of a harp-like tone, or effect. That's probably my own ADD (laughs), always tweaking things and even though it's simple, trying to give it its own little unique quality.

Q: Well, it certainly has worked well for you. Johnny, thanks again for speaking with us, and have a great time at Muriel Anderson's All Star Guitar Night at NAMM this weekend.

Johnny A: Thanks Adam, and thanks for supporting me and my music.

Interview provided by guitar.com


Recommended Listening - this is a must for your collection.

  Amos Lee
By Drew Pearce
After his self-released five-song EP created a buzz around Philadelphia, Pennsylvania, this 27-year-old singer-songwriter traded his job as an elementary-school teacher for gigs opening for Bob Dylan and B.B. King. That might sound like the kind of break that only happens in the movies, but after a few minutes of Amos Lee’s debut CD, you’ll hear how much sense it makes. Like his labelmate Norah Jones, Lee sings within hushed, spacious arrangements that give every note room to bloom. Sometimes held together by brushed-snare backbeats, the quietly soulful blues percolate over acoustic guitar, Hammond organ, and stand-up bass with a smoky jazz-bar vibe. Lee’s sandpapery falsetto on “Colors” recalls old-school crooners like Sam Cooke or Ted Hawkins, but he sounds less like an imitator than a descendent of his influences. When he sings “My soul is open as the sky / Often times it’s just as blue” (on “Dreaming”), his voice resonates with authenticity. The album’s closer, “All My Friends,” is as catchy as any Christina Aguilera ballad, but it doesn’t feel like it’s trying to fit between commercials on pop radio. Instead, the easygoing tempo takes its time winning you over. So if you don’t hear this in your car during rush hour, that’s fine. This is music made for rainy nights in front of the fireplace. And who’s in a hurry then? (Blue Note, www.bluenote.com)

 



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