November 30, 2012

Robben Ford @ Iridium Jazz club

Robben Ford playing Oleo by Sonny Rollins. 

Exploring Frank Gambale tuning Blues in G

I used the idea by Frank Gambale from his Album Raison D'etre. The first two strings are one octave down. So you have standard tuning and all your chord shapes remain the same only they sound different because of the octave shift. Just started this but I feel this is really great. Frank tuned the whole thing up a 4th to A like a capo in the 5th position. I left it in E just to try it and it sounded more or less like a baritone guitar.
Check out this clip with Frank Gambale!

Here are the voicing I used for 90% of this clip.

November 29, 2012

NEW Kevin Eubanks CD: The Messenger

The Messenger
With his second Mack Avenue Records release, The Messenger, acclaimed guitarist Kevin Eubanks continues to explore his own unique musical vision. This vision offers the listener an opportunity to share a musical journey that truly exemplifies where Eubanks is at this stage of his illustrious career; one that, for over three decades, has seen him incorporate into his creative process a willingness to embrace the broad spectrum of his musical experience, while continuing to seek out new vistas.
Kevi Eubank: The Messenger

The Messenger is a project that reflects not only the guitarist’s virtuosity on his instrument, but also his impressive compositional skills—writing all but two tracks. Best described simply as a “Kevin Eubanks” recording—without specific categorization—as his intent with The Messenger is to communicate the breadth of his artistic influences.
Eubanks is joined on most tracks by his sterling fellow quartet members: Billy Pierce on reeds, Rene Camacho on bass, Marvin “Smitty” Smith on drums and Joey De Leon, Jr. on percussion. This project also has a family flavor, featuring younger brother Duane on trumpet (“Sister Veil,” “JB,” “420”), and older brother Robin on trombone (“JB,” “Queen Of Hearts”)

Frank Gambale- Nashville/ Gambale Tuning

Raison D'etre is one of my favorite recordings by Frank. In this clip Frank demonstrates the different guitar tuning he used. I'm not a big fan of playing different tunings myself because it disorients me. I like to know the notes I'm playing instead of just chord "grabs". Frank's tuning is ideal for that. You just have to think Capo in Vth position.

This is Nashville tuning down a 5th.
Nashville is EADG (octave up) BE This is A D G C E A all a fifth below Nashville.) But whatever you want to call it it is a nice tuning and I might have to try it myself on one of my many guitars.
What string gauges do you use for your tuning?
I use a .010 gauge set for the bottom four strings, starting with the A string, and for the top two strings I use the D and G strings from a set of .009s. So gauge-wise, low-tohigh, it is .036, .026, .017, .013, .024, .016. It takes a moment to get used to, but within a few minutes, everyone I show it to loves it. The beauty of the tuning is you can play the same shapes that you’re used to, whereas if you use an alternate tuning like open D or DADGAD, all of your shapes go away and you have to relearn everything. In my tuning if you play, say, a D chord shape, it’s still a major triad.  ( guitar player magazine)

Frank Gambale (Nashville) tuning

Frank's Transcriptions

November 26, 2012

New: Anthony Wilson nonet: Hymn

Anthony Wilson Nonet, Live at Blue Whale, Los Angeles

:::: Anthony Wilson (guitar), Josh Nelson (piano), Hamilton Price (bass), Mark Ferber (drums), Alan Ferber (trombone), Gilbert Castellanos (trumpet), Matt Zebley (alto saxophone), Matt Otto (tenor saxophone), Adam Schroeder (baritone saxophone) ::::

:::: Live at Blue Whale, Little Tokyo, September 8, 2012 ::::
:::: Recorded, filmed, & edited by Alex Chaloff ::::
:::: Composition & Recording ©2012 Goat Hill Music & Recordings ::::
:::: All rights reserved ::::

Top 10: Online guitar lesson sites

 Top 10 of the best online guitar lessons. 

Help me put together a list of the best guitar lesson sites on the planet. It doesn't matter which genre or level. I've put down a number of criteria which I think are relevant.
As a professional teacher I am used to looking at different guitar books. I check the new method books that come out every year so I can give my pupils the best quality.  More and more kids rely on internet Tabs. Because the tabs are online pupils think they are correct. Most pupils don't seem to realize they are full of mistakes and they miss an overview. For example: they jump from (tab-) number to number not realizing that they are playing a chord that is arpeggiated!
Youtube lessons are there for pupils to enjoy too. Most are horrible and done by guys who can just about play the song they are teaching. There are a lot of great ones too. These are usually linked to a website which provide you with the tabs/ notation and extra info.

There are many sites in every conceivable  genre of amazing quality all the way to very bad sites.
What makes a guitar lesson good or bad?

1. Content.
They information has to be correct and relevant to the style.

2. Presentation
Clear explanation with quality videos. Great players aren't always the best teachers but when Robben Ford or Tim Miller talk you listen. More and more people are watching online material on their mobile device. Does it work there also?

3. Extra material ( pdf's, backing tracks, mobile version?)
These materials add to the learning experience.

4. Online community. ( Forum, facebook, twitter, etc)
Can I ask questions or is it a one way street?

Here are a few larger companies and individual guitar players that started their own site. There are thousands of sites but which ones are the best?, Lick Library, Tim Miller, Chuck D'Aloia, True Fire, Infinite, Mike's Masterclasses, Morton's guitar lessons,,,,, guitaraxis,

November 24, 2012

IN2 The Spirit: Blues fusion style Christmas guitar fest

*IN2 The Spirit* a Christmas Jazz & Blues CD

Support this unique artistic endeavour that takes traditional Christmas music to a whole new level! Featuring world-class musicians from Toronto, New York & LA.

With your support: I may be able to make this years 2012 Christmas realease date on iTunes. Regardless, I will stream rough mixes of this album the week leading up to Christmas until New Years Day.
I'm John Findlay, and I've been working in the music business for over 25 years as a Guitarist, Pianist, Singer, Composer and Producer. Your support will help me bring to life a project that I've been working hard on for over four years. My aim is to breathe new life into the Christmas genre, with compelling, creative arrangements and powerful performances.

How it all began....

The "IN2 the Spirit" album project started out 'just for fun' one Christmas when I recorded an arrangement of Little Drummer Boy so I could teach it to my 7 year old son on drums and piano. After a few years, I had finished quite a few 'for fun' demos and friends & colleagues started requesting that I turn it into a serious Christmas album project....and....
now I've now completed 90% of the project and have already recorded some of the world's finest talent including Bill Payne from Little FeatWill Lee from the David Letterman Show and Keith Carlock drummer for Sting, James Taylor and Steely Dan (full credits here.)

Drummer Boy.Silent Night.12 Days.The Christmas Song.
Carol Of The Bells.Ye Faithful.Midnight Clear.Jingle Bells.

Hark.Good King.Christmas Tree.Ghost of Blue Christmas.Ye Merry Gents
Santa Claus.Nu Lang Zyne.

Singer-songwriter, guitarist & pianist John Findlay has worked with numerous pop, blues & jazz luminaries including: Matt “Guitar” Murphy, Katrina and the Waves, Marc Jordan, Carlos Del Junco, Colin Linden, Rita Chiarelli, Georgie Fame, Snooky Prior, Sylvia Tyson, Cindy Church, Richard Carpenter & Carol Welsman. 
With the release of “FAIRPLAY” at Hughs Room in 2006 John garnered the attention of the Canadian blues community and the CD has sold all around the world. 
” My sound is a kind of uptown goes downtown…” Steely Dan meets Little Feat with a touch of Motown: a mix of blues, jazz and funky New Orleans. 
John is currently a member of the Johnny Max Band and they have been nominated for a JUNO this year for best blues CD. 
Check out more blues and some of John’s TV & documentary scores at

November 22, 2012

Relaxing the hands: guitar

Yeah that's me in this video. I recently talked about having a wrong image of how you move your fingers. One word that sends a wrong image to your head is "plucking" the string. Plucking too me sounds like arched tense fingers grabbing.  I tried to show you how I do it and how this has benefitted me.

In addition to the tips in the video I like to add the following tip which can be done away from the guitar also. Pick one joint, e.g.. the large knuckle of your left hand thumb or your knee and check several times a day wheter it is relaxed or not. We all hold unnecessary tension in our muscles. When we type, watch tv, wait for our turn in a meeting, supermarket stress.... etc. We cary this unhealthy habit into our playing too. You might need the adrenalin when your solo is coming up but not the tension.  You don't drive your car with the breaks still on!* Do you? Become aware and relax. Every time relax you start breaking the habit.

Relax dude!

Important: Enjoy playing don't struggle.

*Thanks for the analogy:jazzgtrl4

November 20, 2012

Hands: Move Well, Avoid Injury

Amazing discoveries for some of us. Because we don't always have a clear picture of how our body mechanics work we as musicians misuse our body causing pain and injury. It's good to look at these video series ( yes there are more) on how the hands, arms, shoulder, neck, back etc really function in a natural way. You can learn about this doing Tai Chi or Alexander technique. There may be others but we need to raise awareness. 

 Erroneous preconceived ideas about the use and the functioning of the body.

 F.M. Alexander (founder of the Alexander Technique)
"Your brain actually creates a representation of the size, structure and functioning of the muscles, bones and joints in your body.  One thing that many postural scientists assert is that this representation always trumps reality.
In essence, this means that you will try to move in accordance to how you believe your structure works, whether that belief is based upon truth or fallacy. (Again, you’ll strain trying to bend at joints that don’t exist, for example)
Of course, much of this “belief”  (or misunderstanding) is on an unconscious level, and has been cultivated by a lifetime of habit. Equally unfortunate,  some of this belief is conscious, due to misinformation. Too many times I see musicians creating excess strain as they try to carry out some bad (anatomically counterproductive, if not impossible) advice given to them by their music teachers.
But whether below the level of consciousness or not, the unfortunate truth for musicians is that this misconceived sense of self, multiplied by thousands of repetitive movements everyday (practice),  leads to strain, injury, poor coordination and inconsistent technique.
The good news is that you can change your misconceptions about how your body works. You can learn to move more in accordance to the design of your structure as it relates to gravity.
How? Start by gaining some knowledge. Get a basic understanding of the structure and functioning of your musculo-skelatal system. Look at pictures from anatomy books and study the structures. Experiment with your own body to find where your joints are and how they work.
I’ve come across a tool that is highly useful for helping you to gain a clear and accurate understanding of how your body functions as you move and maintain posture. It is a marvelous DVD produced by Barbara Conable (edited and narrated by Amy Likar) entitled Move Well, Avoid Injury: What Everyone Needs To Know About The Body. "

November 19, 2012

Axe Fx, Kemper and now DVmark's Multiamp

Input: 1 jack mono

2 jack mono (left/mono,right) / 2 XLR male (left/mono,right)

 three (clean, crunch, lead)

: gain - presence - level - master

EQ Controls: bass - mid - high

Power Amp (solid state): 150+150W@8ohm / 250W+250W@4ohm / 500W@8ohm (in bridge mode)

MIDI connections
: in - through

Other features:virtual amps
speaker cabs and microphones
external memory (SD card)

: 2U standard rack - depth 12.76”/324 mm

9.48 lbs / 4.3 kg

DV Mark amps/combos are manufactured to be sold and used in the country of purchase, and they are factory preset to that country’s voltage.
Due to homologation issues, the voltage may not be changed.

Product specifications are subject to change without notice 
This rack-mountable preamp/effects processor/power amp is the perfect all-in-one solution for today's modern guitarists. The MULTIAMP offers an amazingly wide range of tones with faithful reproduction of every sound characteristic, plus the nuance and feel of real amps, cabs, and effects. It is an invaluable tool for both live and studio work. 
Plus it's fun to play!
DVmark Multiamp
From the bedroom to the pro studio and from coffee houses to arenas, theMULTIAMP is the perfect answer.

Pat Metheny Unity Band, Detroit Jazz Festival encore, Sept 2, 2012

November 18, 2012

Jimmy Raney on picking & phrasing bebop guitar

If you search this Poolguitarblog with the tag : phrasing you will find  interviews on this topic  I did with John Scofield, Oz Noy, Sheryl Bailey, Chuck D'Aloia and Josh Smith.

November 16, 2012

Antony Wilson & Chico Pinheiro NoVA CD

"Nova," the 2007 collaborative recording I did with Chico Pinheirois now available for download and CD orders, at bandcamp. Precious memories of making this wonderful music. Featuring Edu Ribeiro,Fabio Torres, Paulo Paulelli, (also known as Trio Corrente), Marcelo Mariano, Armando Marçal, and many other guests, including the horn section from my Nonet. 

Special cameo appearances from Ivan LinsDori Caymmi, andCesar Camargo Mariano

All songs can be listened to in their entirety as well. 
CD purchases come with a free download of the music. 

AnThony Wilson & Chico Pinheiro: Nova

Improving Speed & Accuracy

The simple truth is that if you want to improve how your hands work as you play, you have to leave them alone, so they can do the right thing without interference. To do this you have change your thinking. You have to replace the thought of your fingers “doing the right thing” with a broader kind of thinking.
First, start with the aim of being free in your body as you play. In particular, ask yourself for freedom in your neck, shoulders and back. This alone will not only change the quality and quantity of muscular tension as you play, but also, will calm and center your mind and improve your breathing.

Make this a top priority as you practice. The freer you are in your head, neck and back, the freer your fingers are to move and create the stability necessary to play your instrument.  This is something you’ll need to practice as you practice (yes, I meant to say that). Here’s a previous article I’ve written about practicing paying attention to help you with this.
Next, rather than trying to feel how (or what) you think your fingers need tofeel, think instead of where your fingers need to go as you play from one note the next.
By taking your attention from what you feel to where you are going, you increase your spatial awareness (and improve your sense of time, as well). Your brain organizes the music making task in a fundamentally different way, allowing your fingers to move freely, easily and quickly. In the simplest sense, you get out of the way of your brain’s ability to organize and control complex movement, so it can do what it needs to do unimpeded.
This is something that can be practiced gradually, using simple visualization:
For example, if you’re a saxophonist, practice a very easy, familiar pattern (arpeggio, scale, intervals, etc.) at a slow tempo as you think, not of what your fingers are doing, but what keys need to be pressed and/or released as you go from note to note. Think ever so slightly ahead to the next note to be played as you land on each note. If you practice this regularly, you’ll learn that you can play rapid passages that you couldn’t play before with stunning ease and clarity. (Same general idea if you play piano, strings, etc. Think where on your instrument you want your fingers to land, not what your fingers have to do.)
Finally, replace the thought of fingers with tonal imagination. Practice singing passages or patterns that you find difficult on your instrument. First, sing the passage slowly and very precisely, making sure the sequence of pitches and the rhythms are crystal clear in your mind. Once you’ve accomplished that, play the passage by following your ear. Really hear the passage clearly in your mind, and don’t worry about what your fingers have to do.
Most of the chronic technical difficulties musicians struggle with are a result of tense anticipation. Hyper-awareness of the fingers is akin to driving a car on the highway at top speed with your eyes planted downward on the road in front of you. Scary and stiff. Same thing on your instrument.
So change how you think about your fingers. Practice consistently shifting your attention from your fingers to your broader senses, and you’ll be surprised how limber and accurate your technique becomes.
If you want to read more about Alexander technique you should visit: Bill Plake

November 15, 2012

Charlie Hunter & the Blues

Jazz guitarist Charlie Hunter discusses his harmonic approach including a blues demonstration. Recorded live in June 2011.

November 13, 2012

Gear run: Steve Lukather and Nathan East Nov 2012

Guitar and bass tech Jim Lopez shows what gear Steve Lukather and Nathan East are using on the Toto tour 2012. All done very quickly. 
Steve Lukather has a Flashback delay in his pedal board. Also the Strymon Lex and Blue Sky, Hardwire pedals,
Luke III

Nathan East uses a bass rig from TC Electronic: Blacksmith bass amp and 2x RS410 cabs. And for effects Nathan uses the Flashback delay and the Corona Chorus.

Frank Gambale Another Challenger Solo guitar

Kurt Rosenwinkel – Star Of Jupiter now available

Kurt Rosenwinkel
Star of Jupiter
“What my music is about in general — and this album is no different — has to do with the relationship that we each have with the universe at large and how we use our intuition to listen to what it is telling us.”
It came to him in a dream. What guitarist and composer Kurt Rosenwinkel describes as an “understanding” of profound proportion, manifested as Star of Jupiter; the title of his tenth album as a leader, to be released November 6th on Wommusic. Not a literal entity but rather a philosophy, as it was revealed to him, “The ‘Star of Jupiter’ was given to me as a key to transcend the cycles of form, illusion and fear which exist on this earthly plane of existence. The dream was powerful and continued into real life. It became a tangible force in the making of this album.” A celestial collection of entirely original compositions, all but one previously unrecorded, Star of Jupiter transports listeners on a journey toward discovery, truth and ultimately peace.

Kurt Rosenwinkel: Stars of Jupiter

On his first quartet album since the ground-breaking 2001 release The Next Step, he offers a variation of that ensemble make-up on Star of Jupiter, assembling a stellar band which includes pianist Aaron Parks, bassist Eric Revis, and the dynamic young drummer and fellow Philadelphia native, Justin Faulkner. Star of Jupiter is a departure from what has previously helped define Rosenwinkel’s prowess, yet is strikingly inclusive of the broad spectrum of his musical magnitude. Rosenwinkel’s brilliant use of space is paired with deeply affective melodies and sensual grooves that evolve slowly and steadily; a quality in the music Rosenwinkel fully identifies with and whole-heartedly embraces. “Being able to vamp on a simple progression for a long time…” he says, “I’ve never had a band that really wanted to do that and I really love the fact that that’s something we do… immerse into and experience that warmth of the groove. It’s something that we discovered as a band and definitely wanted to include on the record. That soulful groove feeling… it’s a quality the band naturally finds and brings out in the music, which makes me very happy because I feel it’s a true expression of who I am as an artist and a person; to be meditating on sensuality and transcendence even while things can be complex and intellectually demanding under the hood, ‘Under it All.’”
Rosenwinkel’s band came together as organically as their sound has. He and Parks have been collaborating since 2006, playing each other’s compositions, and Parks joined on highly-anticipated live dates at the historical Village Vanguard in New York City. Revis, a longtime friend and one of the “spiritual foundations” of the group, who appeared on Rosenwinkel’s alluring 2009 trio album Reflections, recommended Faulkner to round out the band after working with him extensively in Branford Marsalis’ quartet. “It’s an exciting thing when all the chemistry works together,” reveals Rosenwinkel, “and you hit upon a magical combination where the sum is more than its parts.”

November 12, 2012

"I Want To Talk About You" John Scofield TABS

John Scofield, I want to talk about you. 
I transcribed the first part of this wonderful tune by Billy Eckstine. Hope it will inspire you to continue.
It's from the CD 'A moment's peace' by John Scofield.  Scofield's video from The New Morning DVD was removed from Youtube because of copyright issues. Go buy it on iTunes.

Here's John Coltrane's version:

I found this very accurate description of John's style of playing:

'Scofield’s chops are paradoxical—he maintains drama and tension with diced, asymmetrical phrasing. His agonized facial expressions mask his highly confident, logical and efficient fretwork. There is immense detail in Scofield’s colorations, dynamics, attack and manipulation of the beat, and although he has it all under control, it never seems facile.

It’s a fascinating brew culled from the emotive cores of soul, rock and country. But there was ostensible jazz, too, represented by an early bop chestnut from Scofield’s one-time boss, Miles Davis. “Miles lives on in the fingers of men today, and some women,” said a half-apologetic Scofield, who quoted Chicago club owner Joe Segal’s mantra, “Bebop is the music of the future.”
Scofield’s parsing of bebop lingo on “Budo” and Charlie Parker’s “Confirmation” betrayed his roots in jazz harmony. Still, he has always been as fascinated by textures as notes, capping his solos with a jerky glissando, or short phrases that were choked, flanged or chicken-scratched.' 
Michael Jackson. Downbeat  nov 2012

November 11, 2012

Diego Figueiredo gets George Benson's vote!!

      “One of the greatest guitarists I’ve seen in my whole life”      

(George Benson)

Diego Figueiredo , 29 year old only ,  is considetated one of the most guitar talents of the world. He is winner of several importants  competitions  like Montreux Jazz Competition, VISA Prize and some others. With  a lot of recorded albuns and wroten  books, Diego is showing now his new concert “ From the Classical to the Jazz”. It is a fusion between  Jazz , Bossa-nova and Classical music. Diego has an unique interpretation, with a lot of technique, much emotion,  and his show has been a great sucsses about to the audience.

Diego Figueiredo

Interview with John Abercrombie by Luca Costantini

Very nice and insightful interview with John Abercrombie by Luca Costantini.

November 10, 2012

November 9, 2012

Arpeggios in the blues

I wrote this basic arpeggio exercise in a blues form.
When there are two notes on a string you either play a hammer-on or a pull-of.

Combining arpeggios part 2

More arpeggio studies now starting on the fifth string. Two licks at the end. When there two notes on a string you either do a hammer-on or a pull-off. Each arpeggio ends with a chromatic or diatonic passing tone. The great Tim Miller combines this kind of playing with sweeps and hybrid picking. Very interesting lessons on his site.
( Find part 1 here)

November 8, 2012

Bruno Mars - Locked Out Of Heaven [OFFICIAL VIDEO]

I know I know this is not the kind of music I normally post on this blog but It immediately reminded me of early songs by The Police. Lots of energy. Like.

Never had much faith in love or miracles
Never wanna put my heart on deny
But swimming in your world is something spiritual
I'm born again every time you spend the night

Cause your sex takes me to paradise
Yeah your sex takes me to paradise
And it shows, yeah, yeah, yeah
Cause you make feel like, I've been locked out of heaven
For too long, for too long
Yeah you make feel like, I've been locked out of heaven
For too long, for too long

You bring me to my knees
You make me testify
You can make a sinner change his ways
Open up your gates cause I can't wait to see the light
And right there is where I wanna stay

Cause your sex takes me to paradise
Yeah your sex takes me to paradise
And it shows, yeah, yeah, yeah
Cause you make feel like, I've been locked out of heaven
For too long, for too long
Yeah you make feel like, I've been locked out of heaven
For too long, for too long

Oh oh oh oh, yeah, yeah, yeah
Can I just stay here
Spend the rest of my days here
Oh oh oh oh, yeah, yeah, yeah
Can't I just stay here
Spend the rest of my days here

Cause you make feel like, I've been locked out of heaven
For too long, for too long
Yeah you make feel like, I've been locked out of heaven
For too long, for too long

November 6, 2012

Combining arpeggio's

I am really inspired by the lesson from Tim Miller. His online guitar lessons makes you combine your ears with technique practice. Never a dull moment!

These arpeggio's are based on Tim's 212121 principle. You can read more about it on his forum.
Whenever there are 2 notes on a string you either do a hammer-on or a pull off. Tim uses hybrid picking to fly over the neck covering much ground very quickly.

You let my heart down

This is a song I wrote with a Johnny Cash style vocals in mind.
Everything was recorded with Godin midi guitar into Axon into Garage band on a Macbook.
Hope you like it.

Chords are basic:
C Am Em F
C Am G G

F G Am Am
F G Am C
F G Am D7
Dm G C G

C Am Em F
C Am G G

You let my heart down
Not just me but my Heart
Deep pain like never before
Colors are there no more 
You let my heart down
Not just me but my core

November 5, 2012

Nguyen Le: KAOSS part II

Dear Jan,

Thanks for your warm words about my work. It is actually an AxeFX Ultra that I was using with Gergo Borlai in Budapest. I have a Kaoss Pad III which I plug directly after the AxeFX & before the amps (two since I go stereo) I usually ask for 2 Fender Twins in the backline rider. To control the AxeFX I have a Softstep midi foot controller to send program changes & CCs for Boost & Tap Tempo, plus two pedals, one for volume & the other to change FX parameters, depending on the preset. Can be reverb length & mix, or delay feedback & mix, or LFO speed, or whawha... The SoftStep is incredibly light, but was a pain in the neck to program.
Korg Kaoss pad III

I spend a lot of time to craft my AxeFX presets, every parameter is finely tuned & it's still a work in progress. I use mainly 2 gtrs made by French Luthier Julien Gendre, The "Tao" with active EMG pickups & ebony fingerboard, & the more recent "Tiger's Tail" with passive noiseless Kinman pickups & sycomore fingerboard. I made 3 banks of 8 presets for each guitar, the 1rst ten being the most used "normal" guitar sounds, & the next 14 being heavily effected programs (electronic noises, crazy soundscapes, etc...) 

I use the Kaosspad to add a layer of effects at the output of the AxeFX, mainly very special effects, noisy & electronic. By example I will play a pad sound with the AxeFX, with lots of layered delays, detuners & chorus; while the pad sustains I will dial a filter on the Kaoss. With one finger I will change the filter cutoff frequency. Or I will take a tremolo & change its speed at the touch of the finger. Or add digital distorsion with lots of noisy artifacts. Or sample & loop myself, while changing the length of the loop with the finger. The Kaoss is a great piece of gear because it's so fun, intuitive & organic to play with. Just the opposite of the AxeFX which ask for long sessions of precise programming.

 Unlike what's recommended in the user's manual, for stage work I prefer to run the AxeFX into the instruments input of guitar amps. I need the organic color & the warm meat of gtr amps ! I like the Twin Reverb for delivering this clean but warm power without being too much colored like a Marshall. When recording I go direct & the AxeFX works really great for that, but I always correct & perfect the sound with more compressors (VintageWarmer PSP plugin or Fatso hardware), eq (UAD Pultec) & speaker simulators (MOTU Live Room). Today I'm using an AxeFX II & I'm very happy with it.

Hope this helps,


Here is PART ONE

November 4, 2012

Recuerdos de la Alhambra orchestral demo

I've been working on an arrangement. All instruments were played using a Godin multiac into an Axon midi coverter using sounds from Garageband. The acoustic guitar was straight into the macbook