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Guitar MagazineGuitar Magazine

Guitar Magazine September 2019

The Guitar Magazine provides in-depth and essential reading for the serious guitarist, with dozens of guitar tests, playing techniques, an exclusive bass section and in-depth features on guitar heroes past, present and future. Each issue is packed full of reviews of the latest guitars, amps, effects and basses. The Guitar Magazine also delivers the informed verdict on home recording equipment and regularly offers tips on buying second hand and vintage gear. When you occasionally put down that guitar, it is also packed full of interviews with the great and good of guitardom!

Land:
United Kingdom
Språk:
English
Utgiver:
Bandlab UK Limited
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editor’s letter music city

Well, it’s certainly been a busy month. As I write this, I’m in the unglamorous end of a British Airways Dreamliner cruising at 40,000ft somewhere over Virginia. We’re about to begin our descent into Nashville for the Summer NAMM show–an event that’s gone from strength to strength in recent years, maintaining a healthy mixture of big brands and boutique builders and a considerably more intimate feel than the winter show in Anaheim. By the time you read this, you’ll doubtless be fully up to speed with all the new guitar, amp, effects and accessory releases from the show floor, but you can head to Guitar.com to catch up on all of our coverage and ensure there’s nothing you missed. If it’s a deep dive you’re looking for, then you’ve come to the…

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guitar magazine

EDITORIAL CHIEF EDITOR Chris Vinnicombe ART EDITOR John Thackray MANAGING EDITOR Josh Gardner PRODUCTION EDITOR Owen Bailey PUBLISHING PRODUCTION MANAGER Craig Broadbridge ASSOCIATE EDITOR Sam Roberts SENIOR PRODUCT SPECIALIST Huw Price INSTRUMENT & COVER PHOTOGRAPHY Eleanor Jane CONTRIBUTORS Michael James Adams, Tony Bacon, Darran Charles, Rod Fogg, Leigh Fuge, Dave Hunter, Jo Johnson, Richard Purvis, Alison Richter, Michael Watts HAVE A STORY? Email us at editors@guitar.com SALES ADVERTISING MANAGER Joe Supple joe.supple@guitar.com BUSINESS DEVELOPMENT MANAGER Di Marsh di.marsh@guitar.com PRODUCTION & OPERATIONS PRINT William Gibbons & Sons Ltd DISTRIBUTED BY Marketforce (UK) Ltd 5 Churchill Place, Canary Wharf, London E14 5HU BANDLAB TECHNOLOGIES CHIEF EXECUTIVE OFFICER Meng Ru Kuok CHIEF OPERATING OFFICER Ivan Chen AVP, WEB TECHNOLOGIES Laurent Le Graverend AVP, COMMS & PARTNERSHIPS Lauren Hendry Parsons SENIOR MANAGER, BRAND STRATEGY Krystle Hall MANAGER, CONTENT STRATEGY Iliyas Ong ASSOCIATE EDITOR Terence Stanley STAFF WRITER Daniel Ong…

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fretbuzz

Join the conversation Email us at editors@guitar.com IMAGE CONSCIOUS This lawsuit will do no good for Gibson’s image. Up till now, they have been on a straight course to build goodwill–they have introduced many instruments that are back to what made them great and priced them somewhat more reasonably. But Gibson is mistaken to believe that guitar players of all ages are not keenly aware of the differences between brands, regardless of the body shape. As a musician, I respect the rights of intellectual property, but if Gibson felt so strongly about this, they should have litigated 40 years ago. I do not understand what Gibson hopes to gain here. MICHAEL JAMES, VIA EMAIL During the 1980s, I often played a Dean ML. It was well built and was a real deal compared with…

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kingfish @_theycallmekingfish

“I FEEL IF YOU WANT TO ATTRACT YOUNG PEOPLE TO THE BLUES, HOW ABOUT MIXING IN SOME OF THE MODERN ELEMENTS THAT WE HAVE, SUCH AS RAP AND A FEW OTHER STYLES?” There’s a great line in your bio: “I’m moving forward with one foot in the past.” “The tradition is always going to be there. That’s the root for everything. But I feel if you want to attract young people to the blues, how about mixing in some of the modern elements that we have, such as rap and a few other styles? Once we get them in, then we can show them the real deal and show them the history. That’s what I’m trying to do.” You started out on drums, moved on to bass and then to guitar. How did…

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album spotlight feeder tallulah

Feeder have followed their recent Best Of with their first new studio album in five years. Here, guitarist/frontman Grant Nicholas pinpoints five standout guitar moments from Tallulah… KYOTO “This was one of the last songs I wrote for Tallulah. I really wanted a classic riff-driven anthemic song to lift the dynamic in the second half of the album. It’s classic old-school Feeder with a slight homage to 70s rock. Lyrically, it’s about my love affair with Japan and Japanese culture. The main guitar tone was created using my usual Tone Benders, Big Muff and Pete Cornish fuzz boxes. All the guitars were recorded at my studio, the Treehouse, through a Vox blue-speaker AC30, a Fender Hot Rod DeVille and a Marshall JMP 50-watt head. My main guitars were a 1959 Jazzmaster, a…

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