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Guitar Musician e-zine     09/21/05

In This Issue:

  "When the power of love overcomes the love of power the world will know peace."

                                                       - Jimi Hendrix

Some Humor

  The Cure

The owner of a drug store walks in to find a guy leaning heavily against a wall. The owner asks the clerk, "What's with that guy over there by the wall?"

The clerk says, "Well, he came in here this morning to get something for his cough. I couldn't find the cough syrup, so I gave him an entire bottle of laxative."

The owner says, "You idiot! You can't treat a cough with laxatives!"

The clerk says, "Oh yeah? Look at him, he's afraid to cough!"


Click here for all products by Peterson.

Peterson VS-II Virtual Strobe Tuner

Programmable strobe technology

By Michael K. Dennison

As a guitar player, I've never been one for tuners. They're so imprecise that despite all the work it takes to line up the needle or light the middle LED, your chords still don't ring true. So I've always relied on my ears and what I refer to as relative tuning: I'll tune my E strings to a piano then tweak the rest until all the basic chords sound in tune. Good for me, but it makes it hard to tune guitars for other people. Everyone holds a guitar differently, placing different tensions on the neck and strings that slightly alter the tuning.

Peterson VS-II Virtual Strobe Tuner Compact and effective
About the size of a paperback novel, the VS-II is a virtual strobe tuner that offers a quantum leap in affordable tuning accuracy. It's solidly built�three jacks on the right side let you plug in an instrument (or the optional TP-1 clip-on tuning pickup that's ideal for tuning in noisy locations), pass the signal through to your amp, and connect the included AC adapter. Two buttons down the left front face let you select and edit the various modes. Also on the face are a small mic grille, a good-sized knob in the center that serves as a parameter selector, and the on-off switch that does just what you would expect. The whole thing is wrapped in a rugged blue boot that will protect it from all but the most egregious abuse.

The business end of the unit is the high-contrast 128 x 64 pixel green LCD screen that dominates the face of the VS-II. It's bold and bright (with an on/off function to save battery life) and is easily readable from across the room.

Strobe lights
I plugged in my guitar and toggled the Menu button until the display read TMPR:EQU, then used the knob to select TMPR:GTR, Peterson's proprietary guitar tuning mode and then played the low E on my guitar. The display read E2 while the strobe bands scrolled quickly upwards, indicating that the note was sharp. As I tuned down my E string the strobes slowed, then began scrolling downward. Now I was flat! As I continued tuning the guitar, I could see physics in action�as I struck the note, the strobes would scroll upwards, settle into a steady state, and then start scrolling downwards as the note decayed. What I was seeing was what LED/needle tuners cannot begin to display�very minute changes in the pitch happening in real time! Regular tuners are saddled with low resolution displays�anywhere from +/- two to four cents (1/100th of a semitone) off true pitch. The Peterson tuner is as accurate as 1/1000th of a semitone�a HUGE leap in accuracy!

Click to Enlarge I finished tuning and gave my guitar the acid test�C, E, G, A, D, and F chords in the first position. Usually, one family (A, D, and E) might ring harmoniously, while another family (C, F, and G) hurts the ears. But not this time! Every chord I played, from C major to E7 to Bb dim+5, rang true and flowed easily from one chord to the next. Amazed at the results, I grabbed all my guitars�acoustic, electric, and bass (yes, there's a special bass mode!)�and made sure they were all equally well tempered. I don't know what Peterson's magic formula is, but it works wonders!

But wait . . .
The VS-II is also useful for setting up the intonation of your guitar with the kind of accuracy usually reserved for expensive guitar techs. That alone could save you the price of the VS-II. The manual covers the procedure thoroughly, and as a bonus you discover the definition of "flageolet"!

Click to Enlarge Music does not live on guitars alone, so I pulled out my old trumpet to see how it would fare in the harsh light of extreme accuracy. I used the edit button on the VS-II once again, and since the trumpet is a transposing instrument, I dialed in the key of Bb. When I played a G on the trumpet (concert F), the display read G4 and the strobe bars whizzed by�I was extremely sharp! I adjusted the tuning slide and played C5�still sharp. Then I realized it was me, not the trumpet, that was sharp! I relaxed a bit and before long was getting most of the notes correctly pitched. A tuner of this caliber can be extremely useful as a practice tool!

All in the family
The VS-II is not alone in its excellence. Peterson has many tuning products that all live up to the same level of quality, such as the V-SAM Virtual Strobe Tuner/Metronome; the StroboStomp, which incorporates virtual strobe technology into a compact DI box; and the aforementioned TP-1 clip-on pickup that works with any tuner. If you're tired of dealing with cheap tuners that don't deliver, it's time to step up to a Peterson.


Features & Specs:


  • Savable custom temperaments
  • E9 and C6 steel guitar, GTR, BAS temperaments
  • Bright, high contrast display
  • Passive Clean Bypass for noiseless, unaltered output
  • Accurate To 1/1000 semitone
  • Smooth, instantaneous response
  • Patented Virtual Strobe Technology�
  • Quick-Touch� Rotary Knob
  • Automatic or manual note selection
  • Exclusive "sweetened" guitar and bass tunings
  • Extended Bass mode allows tuning down to 4Hz
  • Large note display
  • Transposition to all chromatic keys
  • Adjustable concert A reference in 0.5Hz increments
  • Powered by 3 AA batteries or included AC adapter
  • AC adapter works anywhere in the world




What Gauge Strings Should I Use?

Henry Chan; Shanghi, China

Q: How do I know what gauge strings to buy, XLs or heavy gauge; and, what are the benefits of each?

A: Extra light strings or XLs are a bit easier to play because they are thinner, they will be easier to bend too. Thicker gauge strings tend to have more tone and because they are thicker they will be stiff and harder to bend. I recommend that beginners start with light strings and then as you progress if you desire more tone switch to a heavier gauge.

One important thing to note is that if you change the gauge of your strings your neck has a good chance of bowing in or out depending on if you are changing to lighter or heavier. If you start to hear a lot of buzzing or if the strings seem like they are unusually high off the neck then you should have your guitar neck adjusted by a guitar repair man.

Hope this helps!

Yours in Music
John McCarthy
Rock House


A Lesson For The Learning

Playin Da Blues


Andrew Koblick here from Amazing Guitar.

The first scale I ever learned was the blues scale.

The simplest form of the blues scale is also known as the minor pentatonic.

Penta being greek for 5.

In the minor pentatonic or blues scale there are only 5 notes.

The G minor pentatonic or blues scale:

Do Mi Fa Sol Ti Do
G BFlat C D F G
1 3minor 4 5 7minor 8

Here is the tablature: The G Scale

The fingering is simple

Low E String 1st Finger 3rd fret , 4th Finger 6th Fret

A String 1st Finger 3rd fret , 3rd Finger 5th Fret

D String 1st Finger 3rd fret , 3rd Finger 5th Fret

G String 1st Finger 3rd fret , 3rd Finger 5th Fret

B String 1st Finger 3rd fret , 4th Finger 6th Fret

High E String 1st Finger 3rd fret , 4th Finger 6th Fret

An excellent exercise is to simply tap alternately your first and third finger on the A string.

Do this for 4 sets of 8

Another excellent exercise is to simply tap alternately your first and fourth finger on the A string.

Do this for 4 sets of 8

These exercises will quickly build speed and strength.

A great way to quickly learn the blues scale is too tap each note 3 times. Go up the scale and back down.

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Now lets get really bluesy.

The real blues sound comes from the passing notes. Passing notes are notes not 'officially' in the scale.

In the blues scale these notes will most likely be the major 3rd and the flat 5th.

Some folks claim the flat 5th is an official blues scale note.

No doubt it is important.

Here is a riff using the minor 3rd and major 3rd.

Still in the key of G (third fret)

Note: Tap on the major 3rd (4th fret G string) e[]------------3----[]

The above riff is the basis for tons of other riffs and maybe even the first rock riff ever played.

Chuck Berry pretty much made a career from variations off that riff.

Here is a riff using the flat 5th e[]--------------------[]

This riff is also a basic part of a lot of blues and rock. You here this a lot in the Chicago blues.

I hope this helps.

Andrew Koblick
Amazijng Guitar

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Exclusive Interview with Loren Gold

Keying in to the Sounds of Today

Loren Gold's resum� is an impressive one that includes a stint in the 1990s as musical director for pop sensation Tiffany. He later parlayed that experience into studio work with national pop acts such as Mandy Moore and Mindi Abair culminating in his receiving the nod from Hilary Duff to become first her keyboardist then musical director too on her Still Most Wanted world tour.

Working with these artists, Loren has traveled far and wide playing concerts around the globe. He has appeared on The American Music Awards, The Today Show, The Tonight Show, and played many more plum assignments. With his burgeoning music-industry visibility Gold has become an endorser for such major gear manufacturers as Yamaha, Korg, and M-Audio and has been featured in Proview and Keyboard.

When we spoke with the artist by phone, he was in the midst of rehearsals for Hilary Duff's upcoming tour while readying his brand-new CD KEYS (Gemini Sun Records/Sony/Red) for release.

Loren GoldMF: Are you just getting out of a session?

LG: Actually I just got out of rehearsal.

MF: What are you rehearsing for?

LG: We were rehearsing with Hilary Duff for her upcoming 2005 Still Most Wanted summer tour.

MF: Will these shows be in the big stadiums?

LG: All arenas. We'll be going across the United States for two months straight and then the tour goes overseas to Europe, Australia, and Japan.

MF: That should be a lot of fun.

LG: Yeah, it's really fun. It's a great rush being in front of huge crowds like that.

MF: Is there more than one keyboard player?

LG: No, I'm the only keyboardist.

MF: How did you hook that gig up?

LG: It was through friends and contacts. Working in LA over a period of time you meet a lot of musicians and make tons of contacts. A guitar player friend of mine got called to do some session work with Hilary. Hilary's manager already had a bass player and drummer lined up but was still looking for a keyboard player and another guitarist, so my friend called me about the opportunity. I just auditioned one time and got the job.

MF: The decision to go with you was made by Hilary Duff's manager?

LG: Yeah. I think her manager was pretty confident about my credits and thought that I would be a good addition to the band. So it wasn't like a cattle call of players like some auditions go.

MF: Let's jump backwards in time a little. When did you start playing and how did get started?

LG: I started real young, when I was about seven and pretty much in group lessons. It was a thing called Yamaha group piano. Everybody gets a little keyboard and you sit in front of it with about 10 other kids and a teacher. I did that for awhile and then I jumped to private instruction and I went through a few different private teachers. Most everything was classically-based in the early years. I imagine this was much like what most students probably go through. I continued to take lessons in my early teens, and studied a little bit in college. But once I got the theory and the technique, I started to branch off and do my own thing. I started listening to a lot more pop stuff, and I quickly strayed from the arrangements I was given from my lessons. I didn't really get into jazz until later on.

MF: Who were some of the artists that influenced you early on?

LG: By far the Beatles had the biggest influence overall. They were such great songwriters and had such a huge impact on everyone. In terms of piano playing, I was really into rhythm and blues artists like Stevie Wonder, and also Billy Joel, Elton John, and Herbie Hancock. If there's one style I always gravitate towards it's the whole Elton -Stevie Wonder thing.

MF: Did you pick up any other instruments?

LG: No actually I didn't. I just stayed with piano. I dabble with guitar and drums now, but nothing serious. Nothing I would get on stage and play in front of 20,000 people.

MF: Well a lot of people who play guitar full time wouldn't want to do that either.

LG: Yeah, right.

MF: A studio can be sterile versus playing in front of a big crowd. Do you find it a challenge to get inspiration?

LG: I've been on the road, quite a bit in the last couple of years. When I am home, I really enjoy getting in the studio. I just did a session with Mandy Moore. I had a couple of days off and I got called to do that. It was quite a rush playing with just amazing players, Michael Bland from Prince and the Power Generation and some other great cats too. Plus we were working with a great producer, John Fields. It's great when I can maintain a nice balance between studio and live. I mean, nothing beats playing live in front of thousands of screaming people. That's just what I've always thrived on. I've always enjoyed that. The studio stuff can be challenging, but it's fun. It presents an entirely different set of challenges where all the work you've done over the years has brought you here and it's time to show what you can do.

MF: It's kind of like final exams at the end of the semester?

LG: It really is a test. It's nice to have occasions where you're forced to really shine at a moment's notice. That's your moment to shine and those are the moments really good players thrive on and look forward to. I just love moments like that.

MF: When you are in the studio do you find that you often end up doing a lot of takes or does it go pretty smooth and quick?

LG: It usually goes pretty smoothly. Especially the stuff I've been working on with John Fields recently. He's really quick. He gathers the best players that he can, and things move really fast. It's surprising how fast they move. But, he maintains a nice workflow while continually nurturing the creative spirit and capturing the great energy of all the players at the same time.

MF: How much control does the producer have in your sessions? He doesn't tell you what notes to play.

LG: Exactly. He may let you know if he thinks you should show more economy of notes or he may tell you to let it all hang out. But yeah, he doesn't dictate what notes to play.

MF: With a jam packed schedule supporting major artists how do you find time and inspiration for solo projects?

LG: I love playing in other people's bands. I give 100% to make their show the best we can. But I get tons of musical ideas of my own and have managed to compile some of my favorites onto a new CD called Keys.

MF: I see that you call it smooth jazz. Some people shy away from that term perceiving it as elevator music.

LG: I know. Because of the pop influences in the way I write I tend towards a structure where you have your verse, you have your chorus, and you have your bridge, and I tend to write with that in mind. It's very melodically driven as if there was a vocalist. I think it's really fresh sounding. I just tried to create something cool sounding, very melodic and using current elements and sounds. I was fortunate to be able to bring in really, really good musicians who brought a lot with them. We tried to maintain a live feeling to the performances as well.

MF: Do you sing at all?

LG: I do sing, yeah. I like the pop structure. I grew up on pop music. The artists I mentioned are from that background. It's nice focusing on the instrumental parts. I can have a little more freedom in my writing. I don't necessarily have to write a three-minute tune for somebody and there are times when I really want to do something different.

MF: Going back your influences, what were your favorite Beatles songs, not just favorites to listen to, but the ones that impacted you the most.

LG: "Hey Jude." That was a big one. It's one of those impossible questions -- pick your favorite Beatle song. I'm such a McCartney nut, Lennon too, I mean all of them. But "Hey Jude" is a big one. And a lot of stuff Paul did like "Blackbird," "Mother Nature's Son," "Martha My Dear." And I like a lot of the Lennon stuff. "Ticket to Ride" is one of my favorite Lennon tunes.

MF: What a great hook!

LG: You know, a lot of people just kind of forget about that one but for some reason it keeps coming back to me. There's something about that song. It... it's haunting.

MF: Yeah.

LG: I think it's one of his best songs from that early period.

MF: How about Stevie Wonder? Can you name a favorite?

LG: Oh, boy. I would have to probably go with "You Haven't Done Nothin' Lately."

MF: Yeah. Then Elton John...

LG: Elton John. Oh, God. Probably, I'd have to say "Mona Lisa" and "Mad Hatters." I got to track that with Mandy, which was fun. And I know Elton heard my performance, so it was nice to get a green light on that one. I also really love his playing on "Take Me to the Pilot."

MF: Have you met any of your heroes?

LG: I've met Ringo. I met Stevie Wonder. Paul McCartney is number-one on my list that I would like to meet.

MF: It looks like you've hooked up with a premier management outfit and that's probably beneficial to your career.

LG: Oh, yes. I have been working with Jonathan Todd of Sabre Entertainment and he has been fantastic.

MF: How important is good management/representation?

LG: It is crucial factor for success. Jonathan and the whole team at Sabre are constantly promoting me and making connections that benefit my career. I am so thankful that we crossed paths and are working together.

MF: So let's talk about your keyboards. What brands and models are you using?

LG: I work with Korg and I'm playing one of their more recent models, it's the TRITON Extreme and I also use the Yamaha Motif.

MF: Seems like everyone's gotta have the Motif nowadays.

LG: I'm telling you, that thing is amazing.

MF: What do you like that's different about each one? What is it that makes you want to have both?

LG: Well, the Motif is great. The one I have is the 88. So that's my weighted 88 note keyboard which is great for my piano stuff. That action makes it a really nice piano. And man the sounds are really clean. I use the Motif a lot for mellotrons and organs. The organs are really, really nice. The sounds are so easy to edit and tweak, especially when you're playing live. So those two are the ones I default to all the time. I also have the Kurzweil K2VX, which is my source for cello and strings sounds. I really like the string selection.

MF: Do you use any rack modules either on the road or at home?

LG: No, but I also have a Roland RD700 and have a grand piano at home as well.

MF: How do you do like to work? When you're home you can walk into your home studio and get down to business, but what about when you're on the road?

LG: It's amazing what you can do on the road. I own an Mbox which came with ProTools LE. It is so portable and convenient and just connects via USB right into my Apple laptop and the laptop powers it. And then I plug a USB M-Audio controller right into the other USB port in my laptop.

MF: Which M-Audio controller do you have?

LG: I have a Radium and an Oxygen. With the Radium 49 you can do a lot more real keyboard work. I mean, you can actually sit down and play a piano part.

MF: And how do you store all your work?

LG: I have an external hard drive so I can capture everything and then also on the hard drive I have all my soft synths. I have Propellerhead Reason and the Legacy collection that Korg provided which gives me a lot of great sounds. With this simple setup I can do a lot of stuff on the road.

MF: Sounds like a great traveling studio.

LG: Yeah I have a portable, digital workstation with me at all times and it didn't break the bank! It's pretty cool.

MF: Isn't it amazing where we've come in a few years?

LG: It really is amazing. And the quality is beyond good. It is great.

MF: The rest is in the ears and the engineering. You can produce a pretty credible product with inexpensive gear nowadays.

LG: Yeah, I did a lot of work on my CD on the road last summer. We were working on The Hilary Duff self-titled CD. We were at Willie Nelson's studio in Texas and the man just said we needed to track a new song. So I got my laptop, my controller, my hard drive, and we drove an hour out to like the middle of nowhere to this amazing ranch that he has and I fired up my sounds and those were the sounds that are on the record today.

MF: Amazing.

LG: So it's like, if I didn't have my traveling workstation my parts wouldn't be on the Hilary Duff CD.

MF: Do you use other recording gear at home?

LG: I have a Focusrite TwinTrack Pro preamp and a Mackie 1604-VLZ mixer. I've also got a Digidesign 002 recording interface and some R�de microphones. I use two R�de NTKs on my piano and also a K2. I have some Advent studio monitors and a Korg Wavestation keyboard too.

MF: How do you measure success and what is success to you?

LG: Well, I am at the point that I'm able to do what I always wanted to do. You know, I'm making music, performing live in front of huge crowds which I've always wanted to do. And I am also composing my own music and I have the avenue to get it out there to the public. Hopefully I will make a little bit of an impact.

MF: It's great to hear about artists that are grateful for what they've got, yet still striving and growing.

LG: Yeah, I am so grateful for everything. I'm just very happy how things are going.

Visit to read more about Loren, hear streaming audio, check out his tour schedule, and buy his CD Keys. For more information about Loren, visit his page at Sabre Entertainment (his management) at Visit Loren's label at

Recommended Listening - A Must For Your Collection!

Ryan Adams and The Cardinals, Cold Roses
By Derk Richardson
Depending on how you count them, Ryan Adams has issued seven or eight solo CDs since leaving his alt-country catapult band, Whiskeytown, and two more are scheduled for release before Christmas 2005. But the North Carolina native�s prolific output, like his public persona, has been anything but consistent. The two-disc Cold Roses rights the balance somewhat as Adams steps back from the indulgences of Rock N Roll and Love Is Hell and offers 18 satisfying tracks of familiar-sounding, mid-tempo acoustic guitar�based country-rock. All the songs on Cold Roses could have fit on one CD, but dividing the program in two and packaging it in an embossed cardboard gatefold sleeve gives it a 1970s double-LP feel that suits the music�s character. To such obvious references as Gram Parsons and Neil Young, Adams and the Cardinals (including Cindy Cashdollar on steel, lap-steel, and resonator guitars) add surprisingly big dollops of American Beauty�period Grateful Dead to these love songs�Adams singing his often-oblique lyrical metaphors in a high, warbling voice; the band serving up loose vocal harmonies; and one lead-guitar riff spiraling from another in explicitly Jerry Garcia�derived modes. Whether Adams is still finding his own voice or simply entertaining himself by recycling influences, he keeps us on the listen for his intermittent flashes of songwriting brilliance. (Lost Highway,


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