EXPLORARBIBLIOTECA
searchclose
shopping_cart_outlined
exit_to_app
category_outlined / Cinema, TV & Música
Guitar MagazineGuitar Magazine

Guitar Magazine May 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!

País:
United Kingdom
Língua:
English
Editora:
Bandlab UK Limited
Ler Maiskeyboard_arrow_down
COMPRAR EDIÇÃO
4,65 €(IVA Incl.)
ASSINATURA
28,17 €(IVA Incl.)
12 Edições

NESTA EDIÇÃO

access_time1 minutos
the guitar magazine

EDITORIAL CHIEF EDITOR Chris Vinnicombe ART EDITOR John Thackray MANAGING EDITOR Josh Gardner PRODUCTION EDITOR Owen Bailey SENIOR PRODUCT SPECIALIST Huw Price ASSOCIATE EDITOR Sam Roberts INSTRUMENT & COVER PHOTOGRAPHY Eleanor Jane CONTRIBUTORS Michael James Adams, Rod Fogg, Leigh Fuge, Dave Hunter, Jo Johnson, Richard Purvis, 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 CHIEF FINANCIAL OFFICER Tom Callahan AVP, WEB TECHNOLOGIES Laurent Le Graverend AVP, COMMS & PARTNERSHIPS Lauren Hendry Parsons SENIOR MANAGER, BRAND STRATEGY Krystle Hall MANAGER, EDITORIAL STRATEGY Iliyas Ong SENIOR ART EDITOR Michael John Fernandez ASSOCIATE EDITOR Terence Stanley…

access_time2 minutos
from left to centre

It all started with Nirvana. It was 1995 and I was 14 years old – already a year too late to actually see the band in the flesh. Instead, I wore out VHS tapes of their incendiary live performances. Unlike the Metallica and Guns N’ Roses material I’d tried to get my fingers around on a £17 catalogue guitar a few years earlier, it didn’t take long to work these songs out. And once I did, I had to form a band, immediately. By far the coolest guitar onscreen was Kurt’s heavily modified, left-handed 1965 Fender Jaguar. With those DiMarzio pickups and all that gaffa tape and chrome, there was something alluring and dangerous about this mongrel instrument that seemed to explode in his hands. That was the first time an offset-body…

access_time3 minutos
fretbuzz

SIGNATURE MODELS Dear Guitar Magazine, I was intrigued to read the recent letter from a reader who was lucky enough to be able to get Joe Bonamassa to sign his guitar. My question is: if you find yourself in a similar situation, do you have any recommendations of what to use for the signature? I expect a pencil or biro would probably just slip across the varnished surface of guitar and felt-tip pen would just wipe off. And if you are able to obtain a successful signature, what can you do to preserve it? Just playing the guitar could risk wearing it off. Perhaps your panel of industry experts have some thoughts on this? PAUL, CAMBRIDGE Hi Paul, perhaps you could take a leaf out of Les Paul’s book and carry around a…

access_time3 minutos
gwenifer raymond @gweniferraymond

“I WAS ALWAYS ATTRACTED TO THAT ANARCHIC POWER OF THE OUTSIDER LOOKING IN – THE FALL, PIXIES, BUTTHOLE SURFERS, DYLAN, BEEFHEART…” What was it that first made you pick up a guitar? “I started playing guitar at around eight or nine or so. I hadn’t really had any interest in music before, but that year, my mother bought me a copy of Nirvana’s Nevermind album. It was a totally revelatory experience and right away, I asked for a guitar.” Were there any other standout bands or artists when you started? “When I was growing up, genre-wise, I’d say that I attended a pretty broad church, but I was always attracted to that anarchic power of the outsider looking in: The Fall, Pixies, Butthole Surfers, Bob Dylan, The Velvet Underground, Captain Beefheart, etc.” Why did you…

access_time4 minutos
la dispute panorama

Hailing from Grand Rapids, Michigan, La Dispute have developed into an artful, genre-bending and sometimes challenging band. Despite jumping from label to label, the band’s blend of spoken-word and emotional rock music has gathered a devout following. Now under the umbrella of Epitaph Records, the band have released a more autobiographical album, with frontman Jordan Dreyer’s cathartic, twisted vocals underpinned by aggressive yet perfectly nuanced guitar melodies. Here, guitar player Chad Morgan-Sterenberg – now armed with a newly acquired 12-string Rickenbacker 330 – talks us through his use of three amplifiers and his favourite guitar parts on the new album. ROSE QUARTZ “At the end of the first track and throughout the second track, a low rumble sound arises that’s a very important part of the record. It was created using a Korg…

access_time2 minutos
win a nobels odr-mini

BROUGHT TO YOU BY The Nobels ODR-1 overdrive has long been considered a secret weapon among session guitarists in the know. Now this heralded green stompbox has been reimagined in a pocket-sized form factor, and thanks to our friends at Nobels, you too can be as well prepared to drive your tone as the great Nashville session players by winning an ODR-mini, worth £95. Designed in Germany, the original ODR-1 is known for its warm and natural drive, with a wide gain range and none of the bass rolloff or upper-mid pushiness associated with a Tube Screamer-type overdrive. With the drive set at 10 o’clock, the ODR-mini growls into life with a sweet-sounding low-gain tone. There’s a fair amount of compression, giving it the soft-edged feel of a TS9 or SD-1 – but,…

help