Play Music

KAM KOMPACT 10, TANGLEWOOD TW138 & TW 130,
SQUIER J MASCIS JAZZMASTER, AMPEG GVT15-112,

IBANEZ AW3010CE-LG, BOSS FB-2, LEWITT LCT240, FRET-KING BLACK LABEL DBC
REVIEWED:
SEE IT, HEAR IT, BUY IT!

APRIL 2012
www.playmusicpickup.co.uk, www.playmusicmag.com
SAY ANYTHING
New Disorder
Straight Lines
Grainne Duffy
WIN!!
IBANEZ
AW3010CE-LG
WORTH OVER 600!
See page 10
DR DEMO:
Andy Wilsdon
Joby Fox
Junkie Joker
Opinaut
UNSIGNED
AWARDS 2012
ENTER NOW!
SEE PAGE 16
TANGLEWOOD
TW138 & TW130
Pure Mahogany Beauties!
%93%93%93%93%94%94
,17(//,*(1763($.(56
)2560$57(5086,&,$16
%934FSJFTBDUJWFMPVETQFBLFST MJLFUIFJSCJHHFSCSPUIFSTUIF%434FSJFT

PGGFSTVQFSCIJHIEFmOJUJPOTPVOEBOEDMBTTMFBEJOH41- XIJMFUIFJSNPSF
compact and extremely functional design provides a level of versatility
unmatched by any speaker in its class today.
Portable, Flyable, Powerful, Compact
Yamahas go anywhere, install anywhere, heard from the back of the venue,
dual-angle pole mountable, built-in 3 channel mixer, hard-hitting speaker system.
You CAN take it with you when you go.
Intelligent DSP
tCJUQSFDJTJPO
t4PQIJTUJDBUFE$POTUBOU%41%ZOBNJD$POUSPM
t'*393FBMUJNF1SPDFTTJOHEFTDFOEFEEJSFDUMZ
GSPNPVSnBHTIJQ%434FSJFT
Perfect for
t'SPOUPG)PVTF1SJNBSZ1"
t'MPPS.POJUPSJOH
t*OTUBMMBUJPO
t4PMP1FSGPSNFS7PJDFPS*OTUSVNFOU
t*O'JMMBOE4JEF'JMM
4PMJEHFBSGPSTPMJEQFSGPSNBODFT
www.yamahaproaudio.com/dxr
Designed in collaboration with NEXO.
www.playmusicpickup.co.uk1
THE UNSIGNED BANDS BIBLE!

BROUGHT TO YOU BY
THE UNSIGNED BANDS BRAND -
Playmusic magazine
App available on
iTunes. Click the icon.
Editor
Tim Slater
Tel: 01638 720827
tim@standfirst-media.com
Deputy Editor
Brad Barrett
brad@standfirst-media.com
Online Reviews Editor
Hayden Hewitt
Contributors
Simon Croft, Robin Henderson,
D.P. Wilson
Art Director
Tony Andrews
01737 814560
tony@standfirst-media.com
Accounts
Valerie Heasman
01273 897311
val@standfirst-media.com
Hi Everybody!
Welcome to the April issue of Playmusic. This
month we are launching an invitation to all
unsigned bands and artists to enter our Unsigned
Awards. This year we have some awesome support
in the shape of great prizes from the likes of Line
6, Laney, John Hornby Skewes Ltd, Shure UK, Elixir
Strings and Rotosound.
The categories are: Best Overall Band, Best Live
For all Sales Enquiries contact:

Publisher
Nick Bryant
01273 897311
nick@standfirst-media.com
Published by
Standfirst Media Ltd,
The Mallings
112 Malling Street
Lewes, East Sussex
BN7 2RG
And not forgetting
www.playmusicpickup.co.uk
www.myspace.com/playmusicpickup
www.playmusicmag.com
Band, Best Solo/Acoustic, Best Metal Band, Best Indie Band and Best Overall
Individual Performer (an outstanding guitarist and bassist from any of the
bands that enter).
Check out page 16 of this issue for more details of how to enter online.
Dont delay; send us your entries now. Good luck, see you next month.
Tim
Standfirst Media Limited. All rights reserved. Reproduction

in any medium without permission is strictly forbidden.
Playmusic is published monthly by Standfirst Media Limited
(the publisher) Whilst every effort is to ensure accuracy,
the publisher cannot accept responsibility for losses resulting
from publishing errors howsoever caused. Views expressed by
contributors to Playmusic do not necessarily reflect the views
of the publisher. Letters to Playmusic are assumed to be for
publication unless otherwise marked. Playmusic is a registered
trade mark.
ISSN 1752 1017
Tim Slater, Editor

www.playmusicpickup.co.uk 3
REVIEWED
IN ASSOCIATION WITH
SHOPPING
LIST
www.rotosound.com
FENDER PAWN SHOP SERIES AMPS

from 202.00
This retro style mini-tube amps belong to a huge raft of new gear
from Fender for 2012. The two watt Greta is styled after a vintage
tube radio whilst the 13 watt Excelsior features dual 6V6 output
tubes, a built-in tremolo circuit and dedicated inputs for Guitar,
Microphone and even an accordion!
Web: www.fender.com
439.00 Amp
366.96 Cab
ORANGE SIGNATURE #4 JIM ROOT TERROR HEAD

The #4 Terror Head is designed in conjunction with Slipknot & Stone Sour guitarist Jim
Root and by eck it is a little belter! Modeled on the dirty channel of Jims favourite Orange
Rockerverb 100, the Jim Root Terror head features a 3-band EQ and tube driven FX loop. It
may be tiny but weve heard it and it rocks like a Mo-Fo!
Web: www.orangeamps.com
FENDER BLACKTOP TELECASTER BARITONE

585.00
Baritone guitars always add an exciting extra dimension to any musical style, whether it be
blues, rock, country or metal! The new 27-inch scale Fender Blacktop Telecaster Baritone
is tuned B-to-B and is available in a choice of rosewood or maple ngerboards and two
cool nishes: Ghost Silver & Classic Copper. The versatile triple pickup array features two
single coils and a high output humbucker! Rock on!
Web: www.fender.com
4 pickup
LINE 6 STAGESCAPE MIXER &

STAGESOURCE SPEAKERS
1999.99 - StageScape M20d

1049.99 - StageScape L3t
1049.99 - StageScape L3s
899.99 - StageScape L3m
Line 6 has taken a typically innovate approach with its rst step into
sound reinforcement (PA).
Line 6 Stagescape M20d
The StageScape mixer allows touchscreen control over all of
the usual PS system parameters, EQ, volume & effects etc. and is
compatible with the Line 6 StageSource speaker system. This promises to be one of the major
talking points of 2012, so you can rest assured that Playmusic will be reviewing one as soon as
we can get our grubby mits on one!
Web: www.line6.com
Line 6 Stagesource L3t
ROLAND G-5 & GC-1

STRATOCASTERS
1089.00
Ibanez Premium series delivers top-notch features at

affordable prices and the new Sea Foam Green nish
JEM 70V also includes really cool stuff like hand rolled
fret edges as used on the top of the range Prestige
series guitarsplus it comes fully kitted with Steve Vais
DiMarzio Evolution pickupsand its Sea Foam Green!
What is there not to like?
Web: www.ibanez.co.jp
If you play a guitar synthesizer you are no doubt already aware

of Rolands superb GK-Ready Strat with the built-in Hex pickup.
The latest GC-1 version continues this splendid tradition with fresh
new updates whilst the all-new updated G-5 Strat is fully loaded
with Rolands COSM modeling that offers a vast variety of built-in
guitar tones and alternative tunings. Why carry loads of guitars to
your gig when the Roland G-5 & GC-1 Strat does it all for you?
Web: www.roland.co.uk
IBANEZ JEM 70V
1409.00 G-5
939.00 GC-1
PRS SE CUSTOM SEMI-HOLLOW BIGSBY

825.00
Now available in four limited edition colours Silver Sparkle, Red Sparkle, Scarlet and
Black the PRS SE Custom Semi-Hollow is tted, unsurprisingly with Bigsby trem and
has a funky new scratchplate. Just 15 guitars of each colour will be available in the UK.
The rest of the SE Custom-Semi-Hollow Bigsbys spec remains faithful to the
original; mahogany back, maple top, 22-fret Wide Fat mahogany neck and SE treble
and bass humbuckers harnessed to a straightforward three-way pickup selector and
volume/tone controls. Gigbag is also included.
Web: www.headlinemusic.co.uk
pickup5
APRIL 2012 ISSUE 109
contents
in association with
Elixir Strings
INTRO
Extending your tone life

P.48
Straight Lines
3 Editorial - VIDEO
Tim the Ed bids you welcome.
4 Shopping List
Shopping List: Droolsome new gear hits your local
music shop
8 Dr Demo
Andy Wilsdon, Joby Fox, Junkie Joker & Opinaut
10 Competitions
Win a brilliant Ibanez AW3010CE-LG guitar
20 Win a Vintage Guitar - VIDEO
Vintage guitars are the hottest affordable brand on the
block and you can win one!
REVIEWED
18
24
26
28
30
32
34
36
P.24
Kam Kompact 10 PA system

Squier J. Mascis Jazzmaster - VIDEO
Ampeg GVT15-112 Combo - VIDEO
Tanglewood TW138 & TW130 acoustic guitars - VIDEO
Ibanez AW3010CE-LG electro-acoustic
Boss FB-2 Feedbacker/Booster - VIDEO
Lewitt LCT240 condenser microphone
Fret-King Black Label DBC - VIDEO
Squier
J Mascis Jazzmaster
ARTISTS
42 Say Anything
US alt-rockers re back with a new LP Anarchy, My Dear
46 Grainne Duffy
Hot new Irish blues musician discusses her musical roots
48 Straight Lines
Welsh Indie rockers on the rise
P.34
P.26
RIFFS
Lewitt
LCT 240
Ampeg GVT15-112
6 www.playmusicpickup.co.uk
12 Books & DVD

New titles from Mel Bay & more.
14 Licks & Tips - VIDEO
Our Shred Meister Hayden Hewitt on sweep picking
16 Playmusic Unsigned Awards 2012:
Enter Now!
22 Classic Albums
King Crimson In the Court of the Crimson King
38 Hot Mod Your Guitar - VIDEO
Simon Croft revamps an old Tokai Str*t!
42 Garageland
Check out the best of the UKs underground
FIND OUT MORE
www.rotosound.com
facebook.com/rotosound
twitter.com/rotosound_uk
INTRO
DR. DEMO
Sponsored by
The Doc reviews the

best of this months
unsigned talent
www.daddario.com
DEMO OF THE MONTH

Andy Wilsdon - Patchwork
www.facebook.com/AndyWilsdonOfcial
Buddy Holly lookalike Andy Wilsdon is a young singer
songwriter from Kent. His stripped down approach
relying purely on his voice and an acoustic guitar can be
merciless in its exposure of weaknesses but despite some
slight hesitancy in his guitar-work, the quality of his
songwriting shines through. Something endearingly fragile
about Andys music that keeps the listener engaged; the
musics delicately woven strands recalls Syd Barretts more lucid moments, although Andy
seems less interested in whimsy, demonstrating a more grounded approach. Some stronger
guitar work wouldnt go amiss but overall a ne effort.
s
t
a
e
b
t
a
h
t
Ooo, ous!
infecti
Joby Fox - End of War

www.jobyfox.com
Irish singer and musician Joby Fox has released a poignant
collection of tunes inspired by The Troubles that plagued
Northern Irelands recent history. Apparently part of a
lm project, the material slips easily between reective
acoustic-based songs and smooth jazz funk, enhanced
by a superb production that places sweeping panoramic
pedal steel guitar alongside samples of dialogue and
subtle orchestral touches that beef up, rather than
overpower the tracks. Uplifting though the music is, the
simmering threat of violence is never far away and Jobys
uninching way of dealing with the subject never fails to
touch on the human side of the unfolding tragedy. This collection is not all doom and
gloom, however, and the high production values and great playing grace this set with a
convincing air of professionalism.
Junkie Joker - Save the World

www.junkiejoker.com
Junkie Joker demonstrate an incredibly strong
commercial nous; their tunes drip with hook-laden power
pop and pinpoint vocal harmonies that are bang in-line with
the sound of modern rockers like Lostprophets or Funeral for
a Friend, only with the angst-ridden screaming toned-down
in favour of a more streamlined sound. The musics
adaptability suggests that it is equally effective as the
soundtrack to a soft drink commercial as it would be
pumping out of the PA at this years T-In The Park, which
either works in the musics favour or against it depending on your point of view! This is still
undeniably strong set from a genuinely talented band and they are generously donating all
funds from sales of their self-produced LP to animal welfare charity PDSA (pdsa.org.uk), so be
sure to check em out.
Opinaut - Oxygen
www.opinaut.com
This edgy dance/rock crossover is delivered with panache by
London-based band, Opinaut. There is an obvious
Pendulum inuence especially in the synth sounds but
the material is delivered with utter conviction and played to
a very high standard. However, this type of thing has been
done before Muse spring to mind and the live YouTube
footage undermines the band by making them look stilted
and amateurish on stage.
A better video where you can actually see the lead singer - and avoiding people stood at
the bar ordering drinks or the band glugging beer from bottles whilst they are working! - will
create a far more convincing impression of a band on their A game. As it stands, Opinaut
has plenty of the right ingredients but a more professional approach to presentation wont do
them any harm at this stage.
THE DOC WANTS TO

HEAR YOUR DEMOS:
Dont forget to send a demo to the
Doc that not only sounds great but
also contains all of your contact
details, plus some decent artwork!
With no artwork or contact details
we cannot review your tracks!
Email the Doc at our contact page -
www.playmusicpickup.co.uk/contact.php
Or post your demos to:
Dr Demo,
Playmusic Magazine,
The Mallings, 112 Malling Street,
Lewes, E. Sussex, BN7 2RG
PF -5 00
PF -4 10 H LF N E W !
PF -1 15 LF N E W !
TONY LEVIN
P et er G ab r iel, K in g C r i m so n
SLEDGE HAMMER
Behind virtually every great artist and historys most enduring songs is a bass player who counts on Ampeg to deliver the
very best tone possible. Tonys creative playing and captivating performances make him a star on the worlds heaviest
stages. When Tony needs genuine Ampeg tone with ultimate portability, he turns to Portaex Series amps and cabs.
From amazingly portable and value-loaded combos to arena-rattling SVT rigs, Ampeg can help you hit the big time.
THE ROUND SOUND

ampeg.com
Photo by Sandrine Lee
Copyright 2012 LOUD Technologies Inc. All Rights Reserved.
Absolute Music
Guitar, Amp & Keyboard Centre
Kennys Music
PMT
PMT
Poole
08450 255555
Brighton
01273 665400
Dundee
01382 225619
Manchester (Salford)
01618 776262
Bristol
01179 349955
Andertons Music
Guitar Central
Mansons
PMT
Red Dog Music
Guildford
01483 456777
Southampton
02380 333468
Exeter
01392 496379
Norwich
01603 666891
Edinburgh
01312 298211
Digital Village
Guitar Guitar
PMT
PMT
Sounds Live
Romford, Essex
01708 771991
Epsom
08004 561959
Birmingham
01213 595056
Romford
01708 746082
Newcastle-upon-Tyne
01912 303422
Electromusic
Kennys Music
PMT
PMT
Wembley PA
Doncaster
01302 738523
Dunfermline
01383 733353
Leeds
01132 426601
Northampton
London
01604 230433
02089 029070
N
I
W
N
I
W
IN
NW
I
WIN! An Ibanez
W AW3010CE-LG
electro acoustic guitar
worth over 600!
T
our
check ideo
&v
review 30 & 31
e
g
on pa
he Ibanez AW3010CE-LG belongs to Ibanez

Artwood series of electro-acoustic guitars
that bristle with cutting edge renements
whilst preserving the time-honoured feel and tones
of a traditional acoustic Dreadnought.
The AW3010CE-LG features a solid top fashioned
from nest Engelmann Spruce, plus solid Mahogany
back & sides, all nished in a ne Low Gloss (Thats
what the LG prex stands for) Satin Finish. The
onboard LR Baggs EAS VTC preamp and LR Baggs
Elements under saddle transducer pickup deliver a
stunningly realistic amplied tone that reects the
guitars natural resonance and nely balanced sound.
If you fancy winning this beautiful Ibanez
guitar courtesy of the kind and generous folks at
Headstock Distribution (www.headstockdistribution.
com), simply follow the link below
WIN on-line
N
I
N
W
I
W on-line
N
I
W
N
I
W
www.playmusicpickup.co.uk/competitions
There is no purchase necessary to enter these competitions.

Employees of Standfirst Ltd, Headstock Distribution their suppliers,
distributors and employees thereof are not eligible to enter these
competitions. The winners will be picked at random from the correct
entries received by the closing date. No correspondence will be
entered into regarding this competition. There is no cash alternative
to the prize.
Teaching the world to play since 1947!
BOOKs
& DVDs
This month we check out

new titles from Mel Bay
& Lick Library, plus a cool
live video from Ringo Starr!
LICK LIBRARY QUICK LICKS GARY MOORE

VOLUME 2
Lick Library 19.99
www.licklibrary.com
ary Moore was one of the most technically accomplished rock guitarists of his
generation.
Talk about commitment! Moore was never a guitarist to hold back; the raw emotion
that he poured into every single note, allied to a blistering technique, never fails to raise the
listeners pulse a little bit and this new DVD set from Lick Library offers guitarists an opportunity
to analyse and explore some of the techniques that helped to make Gary Moore a legend
among rock and blues guitarists.
Presented by Brian Mays current six-string protg Jamie Humphries, Quick Licks Gary
Moore Volume 2 explores two distinct sides to Gary Moores music: his 80s hard rock phase and
the commercially successful revisiting of his blues roots with the 1990 LP Still Got the Blues.
This DVD set expands on Part 1 of the Quick Licks Gary Moore series with 30 new licks and
compositions that will help the viewer gain a better insight into how Gary Moore constructed his most famous solos, using a wide choice
of techniques including fast pentatonic licks, whammy bar techniques and plenty of meaty pentatonic phrases for the viewer to get
their ngers around. The high production values typically leave no stone unturned and Humphries is a condent and capable presenter.
Whether you are a hardcore Gary Moore acionado or a rock player looking to spice up your playing, this set will give you a massive
arsenal of techniques to weave into your own guitar playing.
FIRST LESSONS: LAP STEEL GUITAR

By Jay Leach
Mel Bay 7.99
www.melbay.com
CL
IN U
DE
he lap steel guitar is the progenitor of the modern electric guitar but despite its roots
in 1930s popular music it has also become a useful part of the rock guitarists arsenal,
employed by the likes of David Gilmour, David Lindley and many other ace guitarists to
grace their tracks with swooping glissando effects and powerhouse riffs. This book covers all of
the essential basics for developing a good lap steel guitar technique; left and right hand positions
are covered and there is also a useful CD with play along backing tracks that genuinely conveys
a sense that the player is making progress. The chapters cover correct note choice, picking string
groups to create licks, chords and riffs; it doesnt take long to appreciate what a cool instrument
the lap steel can be when used in the right context. At well under a Tenner this book is great
value; whether you are a beginner or maybe youre a lapsed steel player who maybe needs an
incentive to pick it up again, you need this book.
MB22183BCD
by Jay Leach
Sponsored by MEL BAY

www.melbay.com
PICKING AT PEACEFUL BEND

Mel Bay 18.25
www.melbay.com
ompetitions for ddle, pedal steel and acoustic atpicking guitar are very
popular in the US and this DVD is a real treat, not just for fans of country
music but for anyone who appreciates good musicianship in any form. This is a
concert performance lmed at the Peaceful Bend Americana Music Festival in Steelville,
MO, features performances three highly accomplished veterans of the National
Flatpicking Guitar Championships: Robin Kessinger (1985 champion), Mark Cosgrove
(1995 champion), and Robert Shafer (1983 and 2000 champion). There is something
charmingly homespun about the concerts intimate tone and convivial surroundings
that make this DVD feel very different to a typical live concert DVD. There is no big
production; just three guys sat down with their guitars and they dont even seem
particularly bothered to dress up for the occasion! However, the music is what counts
and come show time the laid-back trio step up to deliver a consummate demonstration
of their skills.
There are plenty of lingering close ups on the eet ngered pickers hands as they
deliver a tour de force of epic acoustic virtuosity; not all the pieces are lightening fast but even the ballads offer a fascinating front row
seat view of each individual player as they effortless blend together blues, country and jazz in a superb demonstration of the acoustic
guitars versatility and beauty. Highly recommended.
SOUNDSTAGE: RINGO & THE ROUNDHEADS

7.85 - DVD, 12.99 - Blu-ray
www.amazon.co.uk
ilmed in America back in 2005, this concert sees Ringo taking the reigns as a true solo performer. Leaving aside his usual celebstuffed All Stars backing band in favour of The Roundheads a largely anonymous bunch of ace session musicians including
former David Lee Roth drummer, Greg Bissonette Ringo takes centre stage, pausing only to deliver a couple of tracks from
behind his beloved drum kit.
This is a curious set; playing to a manically receptive late middle-aged crowd who
quite frankly look as if theyd be just as thrilled if Ringo simply wandered on stage and
broke wind, the ex-Beatle comes across as an awkward and surprisingly charisma-free
frontman. Still, considering that he was 65 years old when this concert was lmed,
Ringo looks in good shape; trim of gure and dark of beard, his vocal shortcomings
are more than compensated by the superb backing band who deliver pitch perfect
interpretations of Ringo-led Beatles material (Yellow Submarine, With a Little Help from
my Friends) and a decent selection of the singers own solo back catalogue. Things
begin to pick up when Ringo nally takes to the drums to back guest vocalist Colin
Men at Work Hay and in this setting Ringo looks more relaxed, seemingly content to
relinquish the limelight whilst tackling the drums with in his own inimitable fashion. A
much under-rated drummer, Ringo proves that advancing years havent dampened his
feel and you cant help wishing that he would stay behind the tubs instead of venturing
back out front to regain control of the microphone! Despite Ringos genuine status as
National Treasure & Living Legend, his notorious reputation as a curmudgeon doesnt
endear him to the viewer and the whole exercise ultimately feels like a disappointingly
vacuous vanity project.
LICKS
& TIPS
SWEEP PICKING
Fleet ngered Hayden Hewitt starts this new series, which breaks
down the basics of one of the shredders most essential techniques:
Sweep Picking. Tantrums on planes and tight leather pants are
of course optional!
Moderate
4
:4
B
BBB
Fig 1
Ex1: Here well concentrate on ascending through the three string / four note arpeggio
using this easy G major triad. The most common cause for frustration with sweep picking
tends to stem from the right hand, which can often go out of sync with the left due to the
right hand moving too quickly and the exercise becoming more of a strum than a sweep!
Start slowly and try to keep them together.
h = 80
( "!
|||<
Moderate
4
:4
Fig 2
Ex 2: Now we descend through the same G Major shape. Youll notice the pull off at the
beginning and the upstrokes linking the transition between the high E and B strings. As
ever, repetition will make this feel far more natural. Descending towards the lower strings
tends to be the harder of the two directions to get to grips with. You might feel like you
lack as much control heading towards the lower strings but this is completely normal. Take
your time & practice. Lots!
"! (
4
:4
c
h = 80
BBB
B
B
B
B
Fig 3
< <|
Moderate
Ex 3: Here we tie both of the exercises together. Pay particular attention to

syncing the two hands together because it truly is paramount to nailing this
technique. Slowly build up your speed as your condence increases. This is all
about being smooth with your right hand movement so analyze what you are
doing carefully. The more time you spend on the groundwork the quicker you
will progress through the upcoming lessons where we will get WAY more
adventurous. PM
= 80
B B Bh
B
( "! (
|||< <|
"#!"
#! !"$&" '"%%&
%'#" $&%"
" %"
3 ,
#" !+." !+#&.')&2#&%*+),+"&%
3 &.),#&%&)%

,
#**$'#"2)*
3 ,*+&$*" %.&&)*%)"-)*#"-)
# %)0*&,%(,#"+0
3 "10"% $/"$,$
3 %+,"+"-"%',+'%#&)*0&%+)&#%&%%+"-"+0
UNSIGNED
AWARDS 2012
CALLING ALL
UNSIGNED BANDS
MAKE YOUR MARK AND WIN GREAT PRIZES!

The 2012 Playmusic Unsigned Awards are up & running! All unsigned bands and artists are invited to send in your
entries. We have some spectacular prizes courtesy of Fret-King, Rotosound, Laney, Line 6, Elixir strings and Shure UK;
all you need to do is to send in your entry to any one of the following categories.
Well be announcing more details of the prizes over the next two months before we select the winning entries for
each category.
BEST OVERALL BAND
Sponsored by Line6. Prize TBA.
BEST INDIE BAND
Sponsored by Rotosound Strings. Prize TBA.
BEST ACOUSTIC/SOLO ARTIST
Sponsored by Elixir Strings. Win 5 x sets of Elixir Polyweb or Nanoweb

acoustic guitar strings in your favourite gauge.
BEST LIVE BAND
Winning band will be invited to Shure UK HQ to be fully kitted out with

a set of Shure microphones!
BEST METAL BAND
Sponsored by Laney. Laney Ampliers are generously donating a mighty

Laney Ironheart guitar amplier forged in the UK Black Country
region, the spiritual home of Heavy Metal to the Best Metal Band.
BEST INDIVIDUAL PERFORMANCE
Sponsored by Fret-King. The best guitarist or bassist can win

instruments from Fret-Kings Black Label range.
TO ENTER: No need to post anything!

s
s
s
s
Simply send us the YouTube link of your band performing an original song together with a daytime contact
telephone number & email address to: tim@standrst-media.com
We also need to know which category you are entering.
You are also welcome to submit details of your Facebook, MySpace or other social media pages but we need to be
able to get hold of you to inform you if you win!
Also, we need your permission to feature your winning song on our own social media site: www.playmusicmag.com
What are you sitting there for? Send in your tracks and you could be in for a big win!
All winning entries will get a full-page interview & feature in the July issue of Playmusic.
" "

"&
"&

!($

"
&
'

#

"!

The reverse-fitted neck humbucker and out-of-phase

centre position wiring created one of the most recognisable
guitar sounds of any genre real Black Magic.
!!!!

!!!!!

!!
!

!!!

!
!
!!
!!
!!!
!!
! !
! ! !! !!
!

Now you can feel the modern-day zing of the Wilkinson-designed

humbucking pickups as you blaze up and down the
Vintage Lemon Drop's inviting neck.
The mahogany body and maple cap with flamed maple veneer
have the stage-owning looks to kill, with sustain to match.
Differential bell type control knobs, authentic battle scars and
sealed gear replacement tuners all add to the mojo...
Still got the blues?
&$&
www.jhs.co.uk
#$$ $$$
#$ %
Kam Kompact 10
KAM Kompact 10
Kam offer a very portable
yet surprisingly pokey
PA system for solo
performers & bands who
like to travel light
Words: Tim Slater
Time was when any PA worth
Sub & Speakers
its salt had to be both physically

impressive whilst also boasting a
wattage that edged well into six
gures.
While there are still plenty of
working semi-professional bands
that can justify rocking up to gigs
in a van groaning under the weight
of big subs and hefty mid-top
The Kompact 10 system comprises

an active 400 watt subwoofer
enclosures, recent technological

developments have seen the PA
systems gradually shrinking in size.
Increasingly efcient electronics
that reduce power-sapping heat
build up, plus smaller & lighter
speakers mean that even relatively
low-powered systems like the Kam
Kompact 10 can still deliver good
quality audio that belies its
relatively diminutive size.
whose built-in power ampliers are

divided between a dedicated 250
watt subwoofer amp, plus two
separate stereo 75 watt ampliers
that drive the pair of passive 1 x
6.5-inch HF satellite drivers.
This system feels very selfcontained and comes complete
with Speakon cables for hooking
up the sub to the satellites and a
pair of lightweight but nonetheless
sturdy telescopic tripod speaker
stands, which reects the Kompact
10s general air of easy portability
combined with a build quality that
feels reassuringly robust.
Besides the obligatory perforated
steel speaker grills, the sub and
satellites are also nished in a

tough textured black paint that
contains an element derived from
rubber to make the enclosures
more scratch-resistant. The
compact satellites only weigh-in at
6.4Kgs each and look more like
studio reference monitors than PA
enclosures but both still include
integrated carrying handles, plus
system or in situations where more

power is required and two subs are
used with a pair of satellites to
form part of a larger PA.
The squat and sturdy-looking
powered sub weighs 25.6Kgs
(around 55lbs) and features a
choice of male & female XLR
inputs and standard -inch jack
inputs for the left & right channels,
The Kompact 10 delivers a big

sound for its size
standard 35mm pole-mounting
plus basic mixing controls:
sockets, as does the lone sub. The

subs 35mm speaker socket mounts
individual level controls for each

channel and a global master output
a satellite directly above the sub on

a pole, either as a stand-alone
control for the sub.

Speakon outputs on
either channel connect the

sub directly to the passive
satellites, and good quality
Speakon cables are provided
with the rig, which is nice!
Compact though this system is, it

nevertheless feels very sturdy; the
enclosures have a nice meaty feel
to them and although you are
thankful that they will easily t into
the back of your Hot Hatch, you
still wouldnt want to have to carry
the sub the length of the high
street! At rst we harnessed the
Kam speakers to a separate mixer
and used the system to amplify a
vocal and acoustic guitar, bearing
confusing wattage with the PAs

overall efciency. Heaps of wattage
does not automatically guarantee
that a PA system or guitar
amplier, for that matter - will
sound louder than another one half
as powerful. What were saying is;
dont be fooled into thinking that a
compact system like this wont be
up to the task. So long as you work
within reasonable limits we can see
little reason why the Kompact 10
shouldnt cope well with a rock
band, amplifying a couple of vocals
whilst helping to give a lead guitar
or keyboard a little bit of extra
spread. If you are more used to
working in very large venues or
playing open air gigs then you will
in mind that the enclosures built-in

crossover is set at 3kHz and with a
denitely need more power to give

you extra headroom but for pub or
claimed frequency response

between 90hz-20kHz, the Kam
Kompact 10 should be able to
handle way beyond the fairly
modest demands of a typical
guitarist/singer.
In this situation the Kompact
10 sounds very convincing; it is
denitely powerful enough to
cope with a typical small pubsized venue and seems capable of
translating the steel string acoustic
guitars complex tones without
rendering the guitar sound boxy
or thin.
The question so, how loud does
it go? is a common mistake that
people sometimes make when
fairly standard-sized club work

then the Kompact 10 is more than
up to the task. The little powered
sub will handle a considerable
amount of low end before any
noticeable peaking starts to creep
in, a smidgeon of bass drum
doesnt seem to bother it unduly
and so long as the low-end isnt
constantly driven hard to the point
where it begins to eat into the
systems headroom the Kompact
10 sounds very gutsy. The low end
has a nice solid thump that sounds
incredibly powerful for such a small
unit whereas the treble and
midrange frequencies are tight and
punchy. PM
In Use
SOUND ADVICE
Headroom: What does it mean?
Headroom is the term used to describe the available spare
capacity an amplier has once it is operating at gig volume.
Imagine a 100 watt amplier and a 20 watt amplier that
are both operating at the same volume; when you begin to
turn them both up the bigger amplier will sound cleaner
and louder because it isnt being forced to operate so close
to its maximum capacity. When an amplier is working hard
it generates more heat, which has the effect of placing more
demands on the amps circuitry and is noticeable by a gradual
loss of low-end.
In terms of volume, there isnt that much difference
between 300 watts and 150 watts but the extra power plays
an important role by offering more available headroom to
work with, guaranteeing that your PA will sound as good at
the end of the gig as it did at the beginning.
The active sub contains I/O and basic mixing controls
SHOULD I BUY ONE?

This Kam Kompact 10 has a street price of around
399, which makes it feel very competitive
considering that it offers so much for such a
comparatively modest sum. OK, if you are planning
to embark on a tour of 400-plus capacity biker
festivals this summer we would respectfully suggest
that a bigger PA system with a little more in the tank
would probably be more sensible. However, general
pub and club should still be well within its capacity.
this humble little setup is capable of delivering some
excellent results. For the typical working semi-pro
band whose members travel to gigs independently
rather than altogether in a trusty Ford Transit, smallsized PA systems denitely feel like the way to go;
transportation issues are solved, besides which it is
very easy to set up and tear-down.
The Kam Kompact 10 is well made and delivers a
great sound that overshadows its small size, used
sensibly we cant see how anyone would be
disappointed.
& THE GOOD BITS:

' THE NOT SO GOOD BITS:
Compact, affordable, very powerful for its size.

Nothing to nd fault with at this price!
SRP: 486.95
Contact: www.kam.co.uk
N
O
I
T
I
T
E
P
M
CHAMPIONING
CO
INTRO
UNSIGNED BANDS
WIN THIS GUITAR!

OR CHOOSE THE VINTAGE
GUITAR YOU WANT - UP
TO THE VALUE OF 299!
CALLING
Vintage Icon V6 Distressed

Sunset Sunburst
ALL
UNSIGNED BANDS!
John Hornby Skewes Ltd and Playmusic have joined
forces to support unsigned music in the UK and every
unsigned band or artist chosen from our competition
can choose any Vintage guitar up to a maximum value
of 299 from the Vintage Reissued range. Whether you
prefer the slinky and versatile tones of the V6, the
classic twang of the V52 and V62 or the big beefy
classic rock tones of the V100...the Vintage Reissued
range has the ideal guitar for you.
To enter, all you need do is send an MP3 of you and
your band, together with your MySpace details and a
short explanation why you think you deserve to win a
Vintage guitar and email it to:
tim@standrst-media.com. Each month well pick a
winner and feature them in Playmusic magazine.
Ohh! Dont forget to include a daytime contact
telephone number and email address along with your
entry. Good luck and while you are here log on to:
www.jhs.co.uk/vintageelectric.html and check out the
awesome guitars in the Vintage range.
THIS MONTHS WINNER OF A COOL

VINTAGE V6 GUITAR IS BRIGHTON
BASED BAND, EMBERHONEY.
www.facebook.com/Emberhoney
www.youtube.com/user/emberhoneytv
erhaps best described as indie noir,

Emberhoney are heavily inuenced by the likes
of David Lynch and The Velvet Underground;
their evocative, reverb-drenched sound is founded on
the impressive vocal talents of Taylor Madison Damion
and guitarist John The Baron kents haunting
tremolo-drenched soundscapes.
The bands current three track EP Smoke can be
downloaded for free via their Bandcamp prole (http://
emberhoney.bandcamp.com/). To quote The Baron
himself, he is already the proud owner of a Vintage
guitar but has the guitarist admits, he would
nevertheless be more than happy to welcome a new
Vintage guitar into the Emberhoney fold. I would like
a new Vintage guitar because I teach guitar for a living
and could sure use another instrument to help my
guitar tuition practice which helps to fund Emberhoney.
In Emberhoney I already play a beautiful Vintage
EY80SB but we could sure use a back up guitar when
we play live!
Congratulations Emberhoney, we hope that you
enjoy adding to your catalogue of moody gothic
tinged rock with your new Vintage guitar (you should
ask for a black one, of course!).
CONTACT DETAILS!!!
When you send in your entries, PLEASE,

PLEASE dont forget to include at least
one decent hi-res image and a contact
phone number along with your tracks.
Classic Albums
King Crimson:
In the Court of the Crimson King
RELEASED: October 10th 1969

RECORDED AT: Wessex Sound Studios, London
PRODUCER: King Crimson
Fripp & Co deliver a stunning

opening salvo!
King Crimson was there to provide

the soundtrack!
This was not Tin Pan Ally
pop, nor was it Beatle-esque
whimsy: this was a new type
of music that didnt depend on
established pop or rock sensibility
for its appeal. This was a highly
rehearsed band that was utterly
focused on establishing its own
sound, no matter how scary and
uncompromising that may be for
ecorded at a time when

so-called progressive
rock signaled a break
away from rock musics
blues-based roots, In the Court
of the Crimson King introduced
elements of classical music and a
noticeably darker tone than most
of its contemporaries. When the
LP was originally released in the
autumn of 1969 King Crimson
were the hottest band on the
block. Earlier that summer, the
young band whose founder
members hailed from the bucolic
sleepiness of rural Dorset had
appeared seemingly from nowhere
to steal the show at a huge open
air concert headlined by the Rolling
Stones in Londons Hyde Park and
now they looked set to conquer
the globe. As a package ITCOTCK
marks a stunning debut: the lurid
and terrifying cover artwork by
the late Barry Godber is genuinely
unsettling and rivals Edvard
Munsch The Scream as a disturbing

depiction of an unraveling human
psyche. The face on the cover
belongs to the Schizoid Man
whose demented ravings pin down
the albums explosive opening
track; at that time truly the
heaviest riff ever recorded!
A tour de force that left the
listener totally stunned, the ultrabrutal lead-in track eventually gave
way to a more low key tone that
In 69 the hippy dream was over

and KC provided the soundtrack!
nevertheless still oozed a brooding
menace and deep melancholia.
As the Sixties dwindled to a close,
this remarkable LP telegraphed the
death of ower power and hippy
ideals, the world had suddenly
become a much darker and
altogether more serious place and
the listener, who just had to hang

on for the ride or bail out before it
was too late!
In common with King Crimsons
pervading philosophy, new
technology played a major role
in ITCOTCKs inception. The LP
features the Mellotron (a type of
primitive keyboard sampler that

played pre-recorded string and
brass parts on a series of tape
loops) and its eerie tone sets
the albums doomy portentous
atmosphere perfectly, especially on
the albums epic closing title track.
In many ways the albums
strength also sowed the seeds of
the original bands destruction,
it was almost as though Crimson
couldnt contain the sheer amount
of talent and ego required to
make an album as powerful and
incredible as ITCOTCK and it
wasnt long before the original line
up was on the rocks. The bands
subsequent output rarely matched
their debut for sheer imagination
and power and it wasnt until a
new Anglo-American version of
the band recorded the Discipline
LP in 1981 that King Crimson once
more re-asserted itself as one of
rocks most groundbreaking and
exciting bands. PM
prolight+sound Hall 6.1 // B28
EMPHASIZE
THE
GENUINE
IN
YOUR
SOUND.
The mics of the LCT Authentica Series employ innovative
technologies and a multitude of possible settings to offer a
crystal - clear, authentic and characteristic sound for every
imaginable application.
The LCT 640 delivers rich and exceptionally nuanced sound.
Suited for demanding studio applications, miking vocals
and instruments likewise. The LCT flagship features five
polar patterns, 3-level low-cut filter and 3-level switchable
pre-attenuation.
SO MAKE YOURSELF HEARD.
UNALTERED. AUTHENTIC. MEMORABLE.
LCT Recording
Microphones
MTP Performance
Microphones
DTP Percussion
Microphones
LTS Wireless
Microphones
Now distributed by Sonic8 Limited in the UK and Ireland //

www.sonic8.com / +44 (0) 330 2020 160 / sales@sonic8.com
www.lewitt-audio.com
visit us on facebook and YouTube
Squier J Mascis Jazzmaster
SQUIER J Mascis
Jazzmaster
Slacker rock legend J Mascis

teams up with Squier to deliver
a new signature model
Words: Tim Slater
If you were a teenager during

the late 80s or early 1990s there is
every chance that you were held in
thrall by Dinosaur Jr.s thrilling
maelstrom of fuzzed-up pop that
blended together elements of
country, metal, psychedelia and
folk, fused in the white heat of J
Mascis incendiary guitar work.
Mascis freewheeling lead guitar
solos are the heart and soul of the
Dinosaur Jr. sound and his massive
tone is forged using a combination
of 100 watt Marshall Super Lead
ampliers, various fuzz pedals
and a heavily customized Fender
Jazzmaster guitar. The Squier J
Mascis Jazzmaster is an affordable
way to share many of the custom
modications that J Mascis
requested on his Fender signature
Jazzmaster (which is currently
discontinued). Even at rst glance
it is obvious that alt-rock rock
guitar icon Mascis input denitely
lends his Squier signature
Jazzmaster an assured touch that
feels well considered and
very focused.
Neck, Body & Hardware

Originally designed to played
whilst sitting down, the

Jazzmasters somewhat ungainly
offset waist might not look as
immediately sleek as its cousin the
Stratocaster but the rear ribcage
contour and beautifully rounded
organic edges still guarantee that it
will t snugly against the players
body. Details concerning the
species of timber used to make the
body are sketchy but judging by
this guitars relatively forgiving
both help to elevate this

Jazzmasters playability to a level
far beyond anything its inventor,
the legendary Leo Fender could
have envisaged. Undoubted
visionary though Leo was, he had
little idea of how far adrift his
concept of a solid body jazz guitar
would become in the hands of
future alternative rock icons like J
Mascis, Sonic Youth et al and the
Squier J Mascis Jazzmaster presents
that allowed the player to lock the

vibrato in place, thus maintaining
tuning stability in the event of a
string breakage. However, this
vibrato still has the same vague,
spongy feel as the original unit. It
does stay in tune fairly well,
however, and the Mascis
Signatures updated bridge which
is essentially a Gibson Tune-OMatic type - offers much better
intonation with more precise
weight, one feels pretty safe

making an educated guess that
basswood is the timber of choice.
In the esh the Chinese-made
Squier J Mascis Jazzmasters
attractive off-white nish looks
terric, especially against the
itself as a very comfortable,

easy-playing axe with a surprisingly
contemporary feel.
The vintage-style oating
vibrato system, however, harks
back to Leo Fenders endless quest
to improve upon his previous
adjustment. Being a heavy abuser

of the old whammy bar himself, J
Mascis obviously demands as
stable a setup as possible and
many regular Jazzmaster and
Fender Jaguar players opt to dump
the original bridge in favour of a
contrasting gold anodized

pickguard. The aged satin tint used
on the headstock and back of the
neck is also completely in tune with
the guitars vintage MO; it is feels
nice and tactile, invoking the
smoother played-in feel of a
genuine vintage guitar compared
to the sticky hi gloss nish youd
expect to nd on a typical
efforts and the Jazzmasters

massive bridge incorporates a
oating tailpiece that places the
strings across the separate bridge
at a fairly shallow angle. The
original idea was to improve the
vibrato systems tuning stability but
compared to the Strats compact
and beautifully engineered vibrato
bridge the Jazzmaster vibrato
replacement, which is more robust

and easier to setup compared to
the original.
Far-Eastern vintage reissue.

21 jumbo-sized frets and a
modern 9.5-inch radius ngerboard
system looks anachronistic and

unwieldy. This particular Squier
setup ditches the clumsy switch
Sounds
The J Mascis Jazzmasters tone
circuit is faithful to the original by
virtue of two separate circuits that
are designated Lead Tone &
Rhythm Tone, selected by a slider
switch. The idea was that the
player could quickly select between
an old-school dark jazz tone and
Video
a contemporary bright modern

rock tone, using the slider switch to
toggle between both circuits.
With the slider switch in the up
position, the Rhythm Tone circuit
offers both pickups together in
series with the two roller knobs
functioning as tone and volume
controls for the Rhythm Tone
circuit. Selecting the slider switch
downwards bypasses the Rhythm
Tone circuit in favour of the Lead
Tone circuit that uses a more
conventional pair of rotary tone
and volume controls, plus a
standard three-way pickup selector.
The logic that created this
somewhat unwieldy tone circuit is
a bit lost in the mists of time but
as it stands one can still
appreciate that the player can still
select between two very
distinctive voices.
user-friendliest of the pair, thanks

its dedicated controls superior
accessibility. Both single-coil
pickups have a much fatter and
fuller sound than either a Strat or
Telecaster single coil due to their
wider magnetic eld, the sound lies
somewhere in between the bite
and snap of a standard single coil
but with a bit of extra grunt youd
normally associate with a
mini-humbucker. The Jazzmasters
tone isnt maybe quite as elastic
or malleable as the Strat or Tele,
either, but it can still punch
through a mix in a reassuringly
robust manner. Also, bear in mind
that this guitars original jazz roots
are usually sidestepped in favour of
gain by the bucket load yet these
large single coils seem able to cope
with fairly humungous distortion
levels without drowning in an
Rhythm Tone is very much the

mellower-sounding of the pair,
overdose of 60-cycle mains hum.

Yes, there is some element of
delivering the clear treble and

softly muted low frequencies that
mains buzz once you start to really

crank up the gain but in true J
is still often viewed as the

archetypal jazz guitar tone. The
Mascis style, the answer is to

simply blast through it, or else use
Lead Tone circuit sounds altogether

more powerful and from a practical
the distortion and feedback as

extra elements in your sound. Try
perspective it is denitely the
it. Its fun! PM
SHOULD I BUY ONE?

The Jazzmaster is something of an ugly duckling but
it nevertheless still works as a very capable all-round
rock and roll guitar. In fact few guitars display their
alt-rock colours so vividly as the Jazzmaster and when
you consider the bands that use it Television, Sonic
Youth, The Flaming Lips and J Mascis, of course you
begin to truly appreciate why they take to it so lovingly.
This is simply a really great playing guitar with
excellent ergonomics and a forthright sonic delivery
whose wiry aggressive punch more than ably
compensates for the somewhat unconventional tone
circuit. This Squier version of the Jazzmaster looks, feels
and sounds every inch the part whilst bringing a subtle
but nonetheless welcome pinch of modern playability
that doesnt spoil the originals unique avour.
& THE GOOD BITS:
Great look, improved playability, great sounds

and affordable.
Buy a guitar stand! Offset body shape doesnt like to

lean against a wall unsupported..!
SRP: 430.80
Contact: Fender GBI - www.squierguitars.com
Ampeg GVT15-112
AMPEG GVT15-112
Does the new GVT series
by Legendary US amplifier
brand Ampeg offer a credible
alternative to the likes of
Marshall, Blackstar & Fender?
Words: Tim Slater
Ampeg is probably more
Construction
widely known for its legendary

SVT and B-15 Portaex bass
amplication than for its guitar
amps but the US manufacturer
also has a long and illustrious
history of building innovative
guitar amplication going way
back to the late 1950s and early
60s. The Rolling Stones toured
with a huge set of Ampeg
backline in 1969, recording
their legendary live LP Get Yer
Ya Yas Out in the process, but
Ampeg guitar combos such as
the Jet and the Reverberocket
had already raised the bar by
being the rst commercially
available guitar ampliers with
built in tremolo and reverb, two
years ahead of Fenders own
similarly specd Vibroverb.
With so much rich heritage to
draw from its perhaps surprising
The GVT15 112 is only rated at

15 watts but it still displays a
reassuringly robust build quality
and an impressive output. We took
the combo to a band practice
where we used it basically as a
loud clean monitor amplier with a
Musicman Silhouette guitar and a
Boss ME-70 effects processor,
pitched against a fairly loud
drummer and bass player.
In this potentially overwhelming
situation the little Ampeg combo
did a sterling job, easily helping the
guitar to cut through whilst still
performing at a low enough
volume to avoid upsetting the
noise-sensitive neighbors living
adjacent to our rehearsal space!
At rst glance, the GVT15
seems like a fairly unprepossessing
looking little amp. Functional
rather than ashy, its unassuming
that Ampeg hasnt been more

aggressive in maintaining more
retro style focuses on a silver steel

control panel and point-style
than a toehold in the guitar

market but its new GVT series,
control knobs that hark back to

vintage Ampeg, especially the
which includes a range of

combos and amplier heads
V-series amps from the 1970s. A

single channel amp, the GVT15
ranging between 5 watts and

50 watts, feels like a concerted
uses a pair of 6V6 output tubes

and a pair of 12AX7s in the
effort to regain some ground.
preamp, with a power attenuator
circuit that toggles the amps

output between a full 15 watts
and 7.5 watt half-power mode.
Fitted with a Celestion G12
70-80 speaker and weighing-in
at 19 kg (41.8 lbs.) this combo
is quite a chunky little fella; the
open back cabinet features a
steel grill that allows cooling
air to move freely around the
chassis whilst protecting the
amps internals from harm.
Designed in the US but
Korean-made to help keep the
price within reasonable bounds,
it is well looked after.

But could you gig a relatively
low powered 15 watt amp like
this? Yes is the short answer but
whilst the GT15 seemed very at
home in our rehearsal space you
would denitely need to mic it up
and have access to a decent
monitor system to be able to cope
with the extra demands of a live
rock gig.
That said, the rear panel includes
a choice of external speaker
outputs (1 x 16 ohm, 2 x 8 Ohm
and 2 x 4 ohm), so hooking it up
The GVT15s tight & punchy

tone is a classic American tube
amp sound
the GVT15s internal components
to a decent extension speaker
including the valve bases are

mounted on a printed circuit
cabinet will certainly enable this 15

watt combo to develop a far bigger
board. It nevertheless appears that

all of the components including the
ambient sound than it will used

purely on its own. With this exact
circuit board itself appear to be

very good quality and the overall
purpose in mind Ampeg has

developed a pair of compatible
standard of workmanship is
awlessly tidy. The general
impression is of an amp that should
prove to be very reliable, so long as
standard-size and extra wide 112

speaker cabinets tted with
Celestion Vintage 30s for this
combo and the GVT15H, which is
Video
an identically specd version in the

form of separate amplier head.
The rear panel includes effects loop

Send & Return jacks plus a
footswitch jack that enables
remote activation of the effects
loop and the combos own built-in
genuine spring reverb. With only
one channel to work with, we
believe that the GVT15 is best
approached as a clean base on
which to create your own target
somewhat unconventional
three-band Blaxandall EQ system
offers plenty of scope for dialing in
great tones. With its roots in bass
amplication the Blaxandall EQ
doesnt sound exactly like a
conventional guitar amplier EQ;
rather, it behaves closer to a
parametric EQ than the standard
guitar amp tone stack. Each
individual tone control has a very
wide range but the tone controls
are less interactive than youd
expect. This unusual setup doesnt
sound. Simply cranking the amp

until it distorts isnt really what the
present any major barriers to

dialing-in some great clean-to-
GVT15 is all about; this amp has a

pretty impressive amount of clean
slightly-edgy guitar tones.

To be completely honest, we
headroom given its relatively

modest output but pushed hard in
didnt approach setting up the amp

EQ any differently compared to
full power mode the tone remains

bright and very spanky. There is a
fair degree of natural tube
compression but the GVT15
delivers what we would describe as
a classic American tube amp sound
think a tight and punchy
Californian bite rather than a
creamy Bletchley crunch!
Despite the apparent limitations,
dont be discouraged; the GVT15
combo still has a very rich and
meaty clean tone and its
how we would employ a regular

EQ and the only slightly unusual
thing that you notice is the Ampeg
EQs somewhat wider sweep. The
Ampeg GVT15 denitely seems to
sound happiest when set as a clean
base tone, using an overdrive pedal
to goose-up the gain rather than
simply cranking the amps volume
control to the max and letting rip.
This Ampeg just doesnt sound soft
and spongy enough to warrant an
old school crank n go approach.
Sounds
SHOULD I BUY ONE?

If you are a country or blues player that doesnt
object to using a decent overdrive pedal as a means
to achieving the necessary gain boost, then you will
probably enjoy using the GVT15. Its impressive
clean headroom offers more versatility than many
comparable low powered tube ampliers because
it doesnt simply distort once you crank the volume
above 3 on the dial! This, allied to its portability
also suggests that jazz players should love it. Also
consider that the Ampeg GVT15s Blaxandall tone
circuit also offers something unique in its own
way. If you simply want a plug-in and go tube amp
for classic crunch then you might want to look
elsewhere but if you desire a compact amp with
enough usable clean headroom for practice or small
gigs then this Ampeg is well worth checking out.
& THE GOOD BITS:

Great build quality!
Maybe too clean sounding for some.
SRP: 700.02
Contact: Loud Technologies - www.ampeg.com
Tanglewood TW138 SD ASM & TW130 ASM
TANGLEWOOD
TW138 SD ASM & TW130 ASM
Tanglewood offer two new allmahogany pure acoustic models in
a choice of OM and slope shoulder
dreadnought styles Words: Tim Slater
Tanglewood
TW130 ASM
Tanglewood
TW138 SD ASM
The distinctive warm,
entry-level Roadster and the
resonant purr of mahogany lends

itself particularly well to the
acoustic guitar and Tanglewoods
Premier Series now includes a new
line of all-mahogany guitars in a
choice of Parlour, Orchestral and
Dreadnought styles.
The Dreadnought and OM
models are also offer electroacoustic and pure acoustic options
upper echelon Heritage and

MasterDesign models. Mostly
thanks to their all-mahogany
construction and a deliberately
low-key design that avoids frills like
fancy inlays or even edge binding
for the body and neck, both of
these new Premier Series guitars
feel rugged and utilitarian. The
all-over satin nish adds to the
raw feel but whilst neither guitar
has been deliberately pre-aged,
their general sense of antiquity
nevertheless evokes the feel of
an old guitar that has survived
a lifetime on the road pretty
convincingly. You can imagine
either of this pair of Tanglewoods
surviving as the faithful companion
but this review focuses on the allacoustic TW138 slope shouldered

dreadnought & its stable-mate, the
TW130 Orchestral model.
Body & Neck

Tanglewoods Premier Series
sits roughly in the middle of
its acoustic range between the
of a well-seasoned muso!
Both instruments share several
common features; the top & back
are fashioned from solid mahogany
with laminated mahogany sides.
The stain nish gives the timber a
more porous, open feel than one
would normally nd on a high
gloss instrument but the
mahoganys dark brown/orange
tint helps to soften the rawness.
Bear in mind, however, that a satin
nish will always quickly succumb
to heavy use from either a atpick
or ngerstyle playing and so wed
recommend that you invest in one
of those aftermarket adhesive
pickguards to help keep your guitar
fatigue in the player. An unbound

rosewood ngerboard features 20
medium jumbo frets and it is worth
mentioning that both featured
guitars arrived with a great setup;
the fret-ends are smooth whilst
the frets themselves are polished
and uniformly proled, delivering a
consistently good feel all the way
up the neck.
The 14th fret neck join is
something that youd expect to
nd on the TW130 OM-style
model but it was also interesting to
see that this feature is also shared
by its stable-mate the TW138
Dreadnought. To be honest,
we doubt that anyone would
in tip top condition.

Both guitars use traditional
rosewood bridges tted with
nd much to fault with this; the

14th fret join is nowadays pretty
much standard on lots of modern
compensated acrylic saddles that

help maintain more accurate
Dreadnoughts and most players

should welcome the extra range
intonation, with black ABS pins

locking the strings rmly in place.
and playability offered by the two

extra frets.
The soundhole rosette is one of the

few major concessions to anything
A vintage-style slotted
headstock is nished with a set of
approaching a nifty cosmetic

accouterment and in this case the
Art Deco inuenced Waverly style

open-geared tuning keys, topped
rosettes subtle herringbone trim

contrasts nicely against the guitars
otherwise rather austere looking
mahogany top.
Both guitars also share similar
one-piece mahogany necks with
a subtle vintage style V prole.
The V-shape isnt particularly
pronounced but it still helps to
form a natural delineation between
the necks bass and treble sides,
inviting lengthy playing sessions
without inducing a feeling of
off with a large Tanglewood slash

T logo.
Sounds: TW130 ASM

Recently Ive started to really
appreciate the warmth and detail
from an all-mahogany acoustic
guitar; especially one whose
relatively thin satin nish doesnt
bury the instruments natural
resonance beneath a thick shell of
shiny acrylic lacquer!
Either guitar demonstrates its
Video
own unique sonic signature but

their common construction also
sees them sharing a sweetness and
transparency that can make some
other guitars sound comparatively
stiff and unresponsive.
Interestingly, the OM-style
TW130 is the warmer-sounding
of the pair: it feels like a fairly
powerful guitar but its real selling
point is its genuinely impressive
combination of depth and clarity.
Picked lightly on the treble strings,
the tone naturally focuses more
toward the guitars upper register
but once the player begins to
strum more vigorously across the
lower strings the TW130 develops
a rich and resonant tone with great
balance right across the entire
frequency range. There is plenty of
bottom end but the TW130s bass
register doesnt sound booming
or muddy; yes it is darker but the
tone is powerful and sits really well
in the frequency stack, lending the
sound plenty of drive and power
without overpowering the top end
sparkle. The TW130 would be an
excellent guitar for both the solo
virtuoso performer or a singer who
likes to accompany themselves
on the acoustic guitar; for sheer
versatility the OW orchestral model
is always hard to beat and its
beefy yet manageable design also
guarantees that you neednt be
built like a haystack to be able to

comfortably wield it in public.
Sounds: TW138 SD ASM

Surprisingly, the TW138
Dreadnought sounds brighter and
slightly less ballsy than one might
assume, especially given the
Dreadnoughts reputation as a
go-to rhythm powerhouse. The
sloped shoulder design doesnt
have an adverse effect on the tone
compared to the more common
squared shoulder Dreadnought
and this guitars ability to casually
sideswipe most preconceptions
about the limitations of affordable
acoustic guitars with one strum is
still pretty impressive! The TW138s
bass register is softer and slightly
more compressed-sounding than its
OW-style counterpart, which has
the effect of articially enhancing
the treble and thus giving this guitar
a brighter tone and a lighter voice
than one might otherwise expect
from a Dreadnought.
Thankfully, the TW138 still
delivers the same silky shimmer as
the OW-style 130 model and
whilst it perhaps doesnt display
quite the same level of depth and
range it is nevertheless a very
warm and useable acoustic tone
that lends itself well to rhythm
work and is also a surprisingly
ngerpicking styles. Straight from

the box the TW138 feels like a
guitar that might benet from a
little extra playing time to help it
bed-in but in common with the
TW130, this Dreadnought comes

shipped with good quality
DAddario strings and represents a
very credible and great-sounding
package that wont disappoint. PM
SHOULD I BUY ONE?

It is almost a shame that the TW138 arrived
alongside the TW130; both guitars are superb
examples of what can be had for a very modest wad
of pound notes. but in our opinion the OW-style
TW130 has the edge thanks to its broader tonal
range and superior projection. Probably viewed in
isolation, the TW138 Dreadnought would stand
out better but in this comparative situation it is
outshone by its OW-style counterpart. Still, both
guitars represent excellent value for money whilst
displaying mahoganys unique tonal range and
chesty-sounding resonance to a T.
& THE GOOD BITS:
Generally excellent sweetness and resonance, great

raw vintage appeal.
Dreadnought model maybe not quite as powerful as

one might expect.
SRP:
TW130 & TW138 - 269.95
Contact: www.tanglewoodguitars.co.uk
adept platform for more delicate
Ibanez AW3010CE-LG
IBANEZ
Ibanez is probably not the rst

name that springs to mind when
thinking of buying an acoustic
guitar but consider that the
Japanese giant has been
manufacturing acoustic guitars for
well over three decades; maybe its
time for a rethink?
Body & Neck
Time was when the differences
between the acoustic guitar and its
electric counterpart in terms of
things like neck prole, string
tension and playing action doesnt
necessarily always make the
acoustic guitar feel very palatable
for the occasional acoustic dabbler
with a modern feel is driven by

guitarists demands for a more
playable electro-acoustic.
The bottom line is that
nowadays we can enjoy playing
acoustic guitars that are built using
traditional materials and skills allied
to some seriously hi-tech
manufacturing processes. The
Ibanez AW3010CE-LG is a good
example of a modern electroacoustic guitar; to all intents and
purposes it is still a fairly bogstandard Dreadnought model but
beneath the surface are a couple of
subtle tweaks that help extend its
appeal beyond the hardened
acoustic purist.
WIN THIS
!
GUITAR0
SEE P.1
AW3010CE-LG
Better known for its pointy rock

guitars, Ibanez nevertheless treated
its popular Artwood acoustic line
to a major overhaul for 2012.
The AW3010 claims to bring the
traditional Dreadnought style into the
modern ageso, does it succeed?
Words: Tim Slater
demonstrated by the all-over satin

nish that many players still prefer
over a more traditional gloss nish,
particularly with regard to how a
satin nish can improve the feel of
the neck.
the genuine abalone soundhole

rosette is trimmed with bold black
pin striping. The join between the
top, back & sides uses an attractive
combination of dark natural wood
binding trimmed with standard
The only unfortunate ipside of

satin nishes is that there is very
little one can do to stave off the
inevitable knocks and scrapes that
wouldnt normally trouble a harder
gloss nish. Still, satin nishes do
age slightly faster and the slightly
anemic looking ultra-pale spruce

top should soon begin to darken as
the timber naturally reects the
black & white pin striping.

The mahogany neck has a
dovetail join at the heel for extra
strength and freatures a
comfortably rm C prole. This
neck feels very strong, an
impression compounded by the
rosewood ngerboards thickness
which at 7mm is a pretty
generous slab of timber by todays
standards and whilst this neck is
denitely nowhere near as skinny
as a Taylor, for example, this
Ibanez nevertheless still feels very
easy to play. Even taking into
account the heavy gauge
DAddario strings that are tted as
standard, the AW3010CE-LG has a
silky playing action that doesnt
passing of time.
Cosmetically, the AW3010CE-LG
force the player to don a pair of

boxing gloves and go three rounds
is fairly restrained but subtly stylish:
with this guitar to make it submit
The AW3010CE-LG has a silky playing action that

doesnt make the player want to don a pair of boxing
gloves and go three rounds with this guitar in order to
make it submit to their will!
or the regular electric player who
nds themselves gravitating
toward the acoustic. The Ibanez
AW3010CE-LG belongs to the new
generation of acoustic guitars
whose fusion of traditional designs
The all-solid construction sees

the AW3010CE-LG kitted out with
a solid Engelmann spruce top,
anked by solid mahogany back &
sides. The guitars LG prex
stands for Low Gloss, as
Video
The AW3010CE-LG comes tted

with the LR Baggs EAS-VTC
active preamp and an LR Baggs
Elements under-saddle transducer
pickup. The unobtrusive controls
simply comprise of a pair of rotary
volume and tone controls in the
form of tiny thumbwheels located
snugly just inside the soundhole.
With no obtrusive control panel
jack socket and uses a discrete

class-A circuit with its own preset
EQ curve that is claimed to deliver
a natural acoustic tone, with the
rotary volume & tone controls on
hand to help the player adjust the
nal balance to their taste.
The amplied tones reect the
guitars natural acoustic tone with
incredible accuracy; the only real
difference being that once you
plug in you just get a bit more of
everything! At rst, one cant help
feeling a bit anxious that there
arent enough controls on hand to
quell any feedback problems but
this LR Baggs system feels
extremely well crafted; the sound is
perfectly balanced and very
powerful. There is even the facility
to add an extra magnetic pickup or
bolted onto the guitars sides

the overall look is very clean,
a mini-microphone to the circuit by

tapping into the EAS-VTCs passive
although at rst you cant help

wondering how efciently this
auxiliary channel although you

are best to get a competent guitar
system will work compared to an

onboard preamp bristling with a
tech to do this unless your are

extremely condent when it comes
3-band EQ, phase switch or any

of the other typical electronic
paraphernalia commonly employed
to amplify an acoustic guitar.
Actually, the LR Baggs system
works very well; the main preamp
circuitry is located in the endpin
to guitar electronics.
As a stand-alone system,
however, this is still a great
pre-amp: the highs are crystal clear
and strident whilst the bass is
warm and full without ever
becoming too dark; something no
to their will! The excellent standard

of t and nish includes a decent
fret job that also helps to improve
the overall feel; the top nut is
perfectly cut and the set of
gold-plated Grover tuning
machines topped with ebony
keys guarantees that the guitar
holds its tuning extremely well.
Electronics
doubt helped by the pre-amps

built-in low end compression
circuit. The AW3010CE-LG
delivers the archetypal
Dreadnought sound: it is punchy
and powerful enough to drive
home aggressive rhythm chords

but when not being used as a
blunt instrument the guitars good
dynamic range still allows is also
plenty of space for more delicate
playing. PM
SHOULD I BUY ONE?

We mentioned earlier that Ibanez might not gure
particularly highly on your acoustic radar simply
due to its reputation as a manufacturer of high-tech
heavy metal weaponry! As is stands, though, Ibanez
stands alongside Takamine and Yamaha as a far
eastern company whose background and experience
in this area should inspire condence.
The AW3010CE-LG brings subtle renements to
the table without spoiling the dynamic and tactile
qualities that ultimately makes playing the acoustic
guitar such a fun and rewarding experience.
& THE GOOD BITS:

Great t & nish, superb amplied and acoustic tones.

Youll need to shell out for a decent case.
SRP: 658.80
Contact: www.ibanez.co.jp/uk
BOSS FB-2 Feedbacker/Booster
Video
BOSS FB-2 Feedbacker/Booster

Boost your guitars signal without
compromising your tone, with
the added bonus of real harmonic
feedback at any volume!
Words: Tim Slater
SHOULD I BUY ONE?

From a practical perspective we cant see why
virtually any guitarist wouldnt want to own an
FB-2. It solves the problem of your solos not cutting
through enough whilst also giving the player
condence that they can conjure up feedback sustain
without having to worry about nding the illusive
sweet spot between your guitar and amplier. Its a
no-brainer. Buy one. Now!
& THE GOOD BITS:

Easy to use. Authentic feedback sounds awesome!

Slight midrange honk at higher Character settings.
Being able to boost your
Booster Tails
tone for soloing without

compromising your tone is one
of the most perplexing issues
faced by rock guitarists. The Boss
FB-2 offers an interesting way to
solve the problem, with the
Dont confuse the FB-2 with the

old Boss DF-2 Distortion feedback
pedal from the 80s. That device
was basically a distortion box that
added benefit that it also allows

the player to unleash torrents of
singing harmonically saturated
feedback at anything from a
bedroom whisper to a stadiumfilling roar!
also allowed the player to create a

single sustaining note or articial
feedback: the FB-2 is really nothing
like it!
The FB-2 can be used to boost
a clean or an overdriven guitar
signal but it isnt an overdrive
pedal. Rather, the idea is that
100.00
Contact: www.roland.co.uk
the player places the FB-2 at

the start of their signal chain
and uses it goose up their sound
without altering their tone to any
signicant degree. The pedals
four rotary controls include Boost
Level, Tone and a Character knob
that gradually changes the boost
frequency from a completely at
response to a stronger midrange
peak for a more powerful boost.
The Feedback mode is activated
by holding down the pedals on/
off switch, whereas the feedback
volume and timber can be adjusted
to produce anything between a
soft low hum to a stratospheric
screech a full two octaves
above the fundamental note.
This feedback may be articially
induced but it is real feedback; you
can bend the note, add vibrato

and all of the usual dynamic tricks
that guitarists use to manipulate
feedback to create virtually endless
sustain. It sounds and feels exactly
like the real thing and it works at
any volume, including bedroom
levels! There is a very slight
midrange honk that creeps in
audibly during the transition from
feedback to non-feedback modes,
but that is probably how this pedal
works: focusing the midrange
frequencies to a particular point
that feedback will inevitably occur.
The Character knob does change
your tone at higher settings
when the pedal is on but the
at response sounds genuinely
transparent and doesnt alter the
your guitars core tone at all. PM
-
6&(
2
6
7
7RYLHZWKHHQWLUH$GDP%ODFNDFRXVWLFJXLWDUUDQJHSOHDVHYLVLWZZZURVHWWLFRXNDGDPEODFN
$GDP%ODFN6WUDLJKW7DONLQJ*XLWDU
'LVWULEXWHG([FOXVLYHO\LQWKH8.E\5RVHWWL/7'%ODFNZHOO'ULYH6SULQJZRRG,QGXVWULDO(VWDWH%UDLQWUHH(VVH[&047HO)D[(PDLOPXVLF#URVHWWLFRXN:HEZZZURVHWWLFRXN
)LQGXVRQ)DFHERRN
ZZZIDFHERRNFRPDGDPEODFNJXLWDUV
ZZZIDFHERRNFRPURVHWWLOWG
Lewitt LCT 240 Studio Condenser Mic
LEWITTLCT 240 Condenser Mic

This affordable condenser microphone could be just
the ticket for live and home studio micing.
SHOULD I BUY ONE?

handled properly we can see no
reason why it wouldnt work well
in the live environment. As a live
vocal microphone the LCT 240
would need careful consideration,
partly due to the need to suit the
timbre of the singers voice and
Austrian-based microphone
brand Lewitt is hitting the ground
running, its ever growing range
of high quality yet affordable
microphones not to mention
some impressive endorsees
including Black Eyed Peas are
helping Lewitt gain some serious
leverage in this highly competitive
branch of the microphone
market. The LCT 240 condenser
microphone is remarkably
compact and robust looking for a
condenser mic, which immediately
lends credence to Lewitts claim
that the LCT 240 is suitable for
live use. This certainly is a very
stylish looking microphone: the
cool backlit display looks very
professional and also works really
well in subdued studio lighting,
whilst the perforated steel mesh
protecting the 3/4-inch diaphragm,
allied to the generally solid
construction, puts one in mind of
the ip top communicator device
that Captain Kirk used in Star Trek!
The LCT 240 is certainly easy
to transport and so long as it is
also because it probably wouldnt

take too kindly to the punishment
that typical dynamic microphone
can handle. Still, we cant see any
reason why the LCT 240 wouldnt
be ideal for micing up a guitar
amplier or even serving as an
unobtrusive bass drum mic.
One especially attractive feature
is the LCT 240s transformerless
circuitry, which renders the
microphone immune from
electromagnetic interference,
particularly that caused by
mobile phones periodically
scanning their environment.
This is rarely a problem during
live gigs but the last thing that
anyone wants is a burst of
electromagnetic interference
during the midst of a really good
studio take, so its immunity from
such unwelcome phenomena is
denitely another good selling
point in the LCT 240s favour.
Its in the bag

In common with its stable-mates
in the Lewitt range the LCT 240
doesnt skimp on the accessories:
It comes neatly packaged with
a leather mic bag, rubber shock
mount and a pop shield. The
instruction manual is also worth
mentioning, laying out the mics
features and specs in a clear way
that is easy for non-technical types
to understand.
The mics cardioid polar pattern
The LCT is a very good vocal mic but it is also

capable of recording virtually anything from drums,
acoustic guitar, guitar amps, wind instruments,
piano etc. This feels like a very versatile and wellmade microphone with simple yet effective features
that are very user friendly. The compact size is
also welcome, condenser mics by their very nature
can be somewhat unwieldy and whether you are
working on a small stage or in a cramped project
studio you need a mic that will travel well whilst
also being physically unobtrusive as possible. The
LCT 240 microphone delivers a more than acceptable
performance for a reasonable price. Wed always
recommend that you try it before making your
nal choice but as it stands, this is a very good
microphone that offers excellent value for money.
& THE GOOD BITS:

Smooth sounds, user-friendly design
Little to fault, especially at this price.
LCT 240 - 289.00

Contact: www.sonic8.com/uki
doesnt necessarily demand that
the treble or lower frequencies
you use a pop shield but in our

test we decided to leave the
pop shield off whilst testing the
LCT 240s ability to handle a
powerful male vocal in an intimate
home studio environment.
In use the LCT 240 sounds very
smooth and our decision to leave
the pop shield off seemed correct.
Compared to two other condenser
microphones we had in the studio
naming no names the LCT
seemed to sound smoother and
have a more balanced natural
tone without a bias towards either
compared to our two comparison

microphones, which either tended
to sound sounded thinner and
brighter or noticeably darker
than the Lewitt microphone. The
LCT 240 even got the nod as the
singers rst choice for the nal mix
down of the test recording, as he
denitely felt that the Lewitt suited
his voice very well. Interestingly,
on this particular vocal we left the
mics attenuation and high-pass
lter settings at, although there is
some scope for adjusting both on
the mics control panel. PM
pickup37
pickup33
pickup1
pickup29
Fret-King Black Label Eclat DBC
FRET-KING
Black Label
Eclat DBC
This signature model from

Fret-Kings new Black label series
is a no-nonsense rocker Words: Tim Slater
SHOULD I BUY ONE?

If you yearn for a classic single cutaway growl but
maybe full-blown humbuckers are too much, then the
P90-style single coil is a very workable compromise
between the punch of a humbucker combined with
the superior clarity and dynamics of a good single coil
unit. The P90-style Wilkinson pickup combined with
a good quality resonant mahogany body is a tried &
tested recipe that guarantees the Fret-King DBC
delivers the goods. Whether you play slide, sultry
blues or just love plugging into a distorting Marshall
and rocking out, this Fret-King instantly puts you
straight into the zone.
& THE GOOD BITS:

100% thumbs up: this guitar sounds and plays great!

Upper cutaway notch looks a bit weird.
Fret-King guitars new Black
Body & Neck
Label series offers guitarists the

opportunity to explore some of
The Eclat DBC features a traditional

construction with a two-piece
mahogany body allied to a gluedin mahogany neck. An unusual
but nonetheless very comfy
forearm contour takes up almost
two thirds of the rear upper bout
and the Fret-King Eclat stands out
from the majority of single cut
designs. Indeed, one might even
the high-end features commonly

associated with Fret-Kings Custom
Shop Green Label guitars, but at
much more affordable prices. FretKing has also used its Black Label
series as a means to collaborate
with several famous professional
guitarists including Jerry Donahue
and Gordon Giltrap, using their
input and experience to develop
several affordable signature guitars
that also form a signicant part of
the Black Label series. Former Bad
Company guitarist Dave Bucket
Caldwell has added his signature
model Eclat to the Fret-King Black
Label range. There are no prizes for
guessing where the inspiration for
this new Fret-King comes from but
true to form this axe still manages
to nimbly sidestep being yet
another Gibbo clone.
successfully argue that the DBC

isnt a single cut design at all; the
upper bout features a notch at the
19th fret that Dave Caldwell insists
is there to help him gain easier
access to the guitars higher frets,
especially when the guitar is lowslung in an appropriately rock &
roll wide legged stance! The gluedin mahogany neck has a fairly
neutral prole that feels neither big
nor particularly skinny; whereas the
rosewood ngerboards 12-inch
radius and 22 medium jumbo frets
590.00
Contact: www.fret-king.com
display a standard feel that fans

of this style of guitar should feel
immediately at home with.
Sounds
With a single Wilkinson W90 single
coil linked to a simple control
layout, its perhaps tempting
to pigeonhole this guitar as
something of a one-trick pony
before you actually hear what it is
capable of. OK, it isnt perhaps the
most versatile axe youll nd but
its surprising how expressive and
powerful this apparently primitive
design can be.
This guitars natural resonance
and sustain translates into a
powerful, transparent tone as soon
as the guitar is plugged in. Its

openness and projection owes a
lot to the mahogany construction,
immediately contradicting the
impression that you are limited by
the single pickup format. Cranking
up the amp gain further highlights
the Eclats impressively clear
spread across the frequency range:
the lows are punchy, the midrange
boosts the guitars voice,
extending it out into the audience
like a diving board, while the
highs sound strident but smooth.
Back her off a couple of notches
and the tone smolders like a
brooding volcano that is just
itching to escalate into a fullblown eruption! PM
NEW TO
AUTOPSY
All Tomorrows Funerals
New and exclusive Autopsy
tracks, plus freshly re-mastered
versions of Autopsys rare and
out-of-print releases together
for the rst time. Available on
CD & vinyl.
peaceville.com/autopsy
BARREN EARTH
The Devils Resolve
The new studio album from
the rising Finnish maestros of
progressive death/doom metal.
On CD, vinyl & special edition
CD including 2 bonus tracks.
peaceville.com/barrenearth
KATATONIA
For Funerals To Come...
The ultra-rare 1994 death/doom
metal release from the Swedish
masters of melancholy, now
including 2 bonus tracks & liner
notes from Anders Nystrm.
Available on CD & limited vinyl.
peaceville.com/katatonia
www.peaceville.com
Coming soon on Peaceville...

$ODHEIMSGARD 3UPERVILLAIN/UTCAST#$SETDOUBLEVINYL s'EHENNA -URDER
$ARKTHRONE 0LAGUEWEILDER#$SETDOUBLEVINYL s!UTOPSY "ORN5NDEAD$6$
5 BUILD IT!
5 PLAY IT!
5 LOVE IT!
PAWN STAR MAKES THE

BIG TIME
Simon Croft renovates a Tokai Goldstar Sound Strat-style
guitar, adding Fender Custom Shop pickups and a Deaf
Eddie Fat-O-Caster circuit to take it to a whole new level!
Whether its sitting in the back of a cupboard,
or on the wall of a pawnshop, the world is full of
electric guitars that could be a whole lot better
than they are; they just need a wee bit of care and
attention. This months Hot-Mod project is a Tokai
Strat-style guitar, kindly donated by Playmusic
editor Tim Slater. As soon as I set eyes on it, I knew
it was classic renovation and upgrade material.
To the casual observer, the Tokai was admittedly
a bit of a wreck. Its battered body had seen
better days and the scratch-plate had been
Tokai makes a decent pickup but I decided

to start again with the electrics, as I felt
this was the guitars weak point
hacked about, presumably to accommodate

a Roland hex-pickup for a guitar synth. Oh,
and the electrics didnt work properly.
But on closer inspection, here were the makings
of a damn ne guitar. The maple neck was true
and made to a very high standard. Compared to
the body, it had almost no damage and very little
fret wear. Likewise, the machine-heads, nut and
bridge assembly all looked ne. It was hard to tell
for sure but this guitar seemed as if it could be a
good player.
Better still, the timing was perfect. Like the total
gear slut that I am, Id just bought a set of Fender
Custom Shop Texas Special Strat pickups and
ordered some of Deaf Eddies innovative pickup
switching circuits. In both instances, I had to real
idea what I was going to do with them when I
bought them. I did now!
plate and the electrics out, cutting the wires to the

jack and earth cable as close as I could to the pots.
Turning the plate over, I was interested to see
that the Tokai pickups use bar magnets, rather than
the traditional six alnico magnetic slugs. Although
they sound quite authentic, this wasnt what I
wanted for my tone monster, so I happily swapped
them out for the Fender pickups, which even came
complete with the original rubber washers instead
of springs, just like Fender used in the 1960s.
The Custom Shop pickups also have the original
black and white cloth insulation on the connecting
wires. I dont know how other people go about this
but I nd a new Stanley blade the best way to strip
back this traditional insulation.
I junked most of the rest of the Tokai electrics
often the weakest aspect of Japanese made guitars.
The switch had gone defective, so I replaced that,
and I put a new CTS pot for the volume. The neck
pickup tone control was replaced by the Fat-OCaster rotary switch and I reused the remaining
Tokai pot and capacitor to become a master tone
control. (Like most tone controls on the Strat, it
appeared to be virtually unused.)
I must say that the installation instructions
that Deaf Eddie provides with his wiring kits are
excellent. This guy provides an 8-page illustrated
booklet with his products and - providing you can
solder neatly - you wont go too far wrong. Nice
work Mr Ed!
Restoration
Shielding & Re-touching the Body
It was pretty obvious that the rst thing that would

have to go was the scratch-plate, so I took the
Preparing the body for restoration, the rst thing

I did was clean off any grunge using T-Cut, which
At rst glance, the guitar was a bit of a

mess but I soon realised it didnt need that
much work to turn it into a great guitar
made it look almost like new from a distance,

despite the many surface scratches. Then I painted
the cavities with two coats of magnetic shielding
paint which I prefer because is much easier to use
than copper foil, which can be razor sharp!
Fortunately, the Allparts scratch-plate I used
was already quite well shielded, so all I had to do
when I put the guitar back together was make
sure that there was good connectivity between the
foil on the plate and the paint inside the cavities.
The shielding kit comes with a strip of copper foil
for this purpose: you stick it into the cavity and
over the front of the guitar where the foil on the
scratch-plate will connect with it. To be totally sure
of electrical continuity, I prefer to add another earth
(ground) wire to the back of one of the pots and
screw it against the cavity wall.
Whether you regard chips to a guitars nish
as damage, or some kind of badge of honour, is
entirely up to you. Personally, I dont like to see the
nish through to the wood, so I decided to ll the
one on the contour area of the back. Fortunately,
this is especially easy to do when the nish is black.
Step 1: ll in the missing colour with a spiritbased felt tip pen.
Step 2: ll in the chip with a layer of clear nail
varnish and allow to dry.
Repeat step 2 as often as needed to bring the
varnish slightly above the level of the original nish.
Step 3: When the varnish is hard, rub it down
with 1,000 grade wet and dry paper. (Use wet with
a little liquid soap in the water.)
Step 4: Polish out the marks with T-Cut.
There were two other things we did before re-
Tip: The end of a wound 4th string is a really

useful tool for cleaning solder out of the lugs
of pots and switches
Video
stringing the guitar: First, we put the electrics back

into the body and plugged the guitar in before
screwed down the scratch-plate. This is always a
good idea but doubly so when youve shielded
the cavity because all of it is now conductive. That
means just one stray wire or lug on the switch
has to touch the wall of the cavity and you could
have a short on your hands. I tapped each pickup
in turn with a crocodile clip as I changed positions
on the level switch, so that I could hear that the
appropriate pickups were live in each position.
The second thing I did was to clean all the frets
with Brasso cloth, as the guitar hadnt been played
in a while. This got rid of any oxide and gave the
frets a nice, glassy sheen.
Finally I put a new set of strings on and tuned
her up. This was a mistake and Ill explain why!
Action Stations!
How you set the action on a guitar is a personal
thing but with a vibrato bridge you have a number
of variables to take into account before you even
consider how high/low the strings should be. For
starters, Im one of those players who prefer the
bridge plate to be oating, meaning that it is
away from the guitar body and touching only at
the pivot point. Other players prefer the bridge
plate to be rmly against the body. (See the HotMod Setup Primer at www.playmusicpickup.co.uk/
hotmods.html for more details.)
Setting up a oating bridge is a bit of a juggling
act because you only know if youve got the right
tension on the springs at the back of the guitar
when youve tuned the guitar to pitch. Until then,
you dont know if the bridge plate will stay at on
the guitar body, oat at just the right angle, or lean
towards the neck at some alarming angle. And all
the time youre tuning the high strings, the springs
in the back are stretching and making the low
strings go at again!
It was only when I had the Tokai tuned to pitch
and the bridge oating at a usable angle that it
dawned on me that I was never going to achieve a
really playable action. This was something I should

have seen coming because the bridge saddles had
been lowered in the past. In fact, they were so low,
the grub screws that adjusted them stuck out like
12 rusty knives!
Fortunately, I was able to slacken off the strings,
lash some masking tape across a couple of points
on the neck and unscrew it. Making up a neck shim
didnt take too long and when I put the guitar back
together, Im pleased to say I still had all six strings
intact. (Please see my previous videos and PDFs for
details on how to take the neck off a fully strung
guitar, and how to build a graduated neck shim.)
Thankfully, Id judged the shim just right, so
that the neck action and the bridge plate angle
I wanted were at the highest point of the bridge
saddles adjustment. As a result, those grub screws
were now ush with the tops of the saddles and no
longer a wrist-ripping liability.
I should mention the issue of intonation at this
point. Once you have the springs set right for
your gauge of strings, and the saddles set to your
preferred action, youll probably want to check
each string for intonation with a digital tuner. Until
youve set the springs, theres no way of knowing
exactly how far forward or back the saddles will sit.
Texas Tones!
Most of what you need to know about the sound
of the Texas Special pickups and Deaf Eddies
wiring kit is in the accompanying video but heres

my take on it.
Firstly, the Fender pickups deliver just about
everything you could want from a Strat, at least
to this pair of ears. You might be thinking well, as
theyre from the Fender Custom Shop, they should
sound great. Absolutely, but theyre also less than
one tenth of the cost of a complete Fender Custom
Shop guitar, making them excellent value on any
tone-per-pound axis.
This brings us to Deaf Eddies offering. The FatO-Caster V2 wiring kit costs $29.95, although you
should also remember to press the button to add
$5 international shipping if you are from outside
the US. Thats a grand total of a penny over 22
for those of us in the UK. (Go here to order www.deaf-eddie.net)
At that price, every Strat on the planet should
have a Fat-O-Caster tted! I rate some of the new
pickup combinations as total must-haves. Others,
I might use less often. But when I turn what was
once a totally neglected tone control round to
position 10, my guitar is a standard Strat again, so
what have I got to lose? Deaf Eddie also sells his
original Fat-O-Caster circuit for just $19.95, even
though it offers many of the tone options found
on the V2 used in the video. For that price, I cant
even buy the switch he bases the circuit on.
Join me next month for some more tone-tastic
adventures! PM

!"
# $ %
!%
!%!"
& %
'%'"
'%
( % $ "
%!"
%!"
'"
) "
"
"
'"
'%!"
'"
*+,
" . -

/01
! ' " -
Deaf Eddies
switching system
leaves a Strat as
standard, if you
can live with only
one tone control,
but adds great
new sounds

2
23

Allianz Musical Insurance

is the UKs leading musical
instrument insurer, offering
specialist policies exclusively
designed for musicians.
ALLIANZ MUSICAL INSURANCE
PROVIDING A PLATFORM FOR
THE NEXT GENERATION
At Allianz Musical Insurance we are avid
supporters of musicians and believe its
important to give upcoming acts an avenue
to get the recognition they deserve.
As the largest musical insurer in the UK, our
role is to make sure youre onstage to do
what you do best. But were not just about
protecting your instruments if they are lost,
stolen or broken; were also devoted to
developing the UKs musicians of the future.
We work closely with a number of musical
organisations, who focus on improving
the range of opportunities available to
young people interested in music. These
organisations include Musicians Union,
the International Guitar Foundation and the
Music for Youths National Festival.
When it comes to insuring your instruments
we are specialists we understand the
music industry and your specic needs. Our
PowerPlay policy is specically designed to
cover all forms of powered instruments,
from electric guitars to synthesizers and
digital production tools, as well as drum kits,
making it the perfect cover for individual
musicians, bands or DJs.
To nd out more about what we can offer
you visit - www.allianzmusic.co.uk
or call 0800 048 0062.
SUBORNO
Its hard to believe we havent featured
Asheq Akhtar before, but as his debut
album The Instrument is out now and is
a real tour de force. Acoustic strings are
snapped into intricate melodic shapes,
ambience drenches every musical passage,
and the ghosts of psychedelia haunts the
recordings. As inspired by cinema and
lmmaking as other musicians, this wellseasoned and travelled record (interrupted
by a trip to India to visit the place his
family came from) is a well played and
compelling listen.
http://asheq.co.uk
ROBINSON
Andy Robinsons acoustic folk is elevated
above the languishing pile of wannabes
by an honest voice that doesnt edge
too much into melodrama and sticks to a
slightly cracked but resonant melody. Its
reminiscent of Jay Jay Pistolet before he hit
the big time as vocalist of The Vaccines. As
ever, whenever the word folk is thrown
around, alarm bells start to ring but there
are zero references to woolly jumpers or
real ale in these grooves. Theres plenty to
enjoy for fans of acoustic strumming and
traditional folk instruments.
http://soundcloud.com/robinson-music
The best unsigned bands in the uk, and how to find them!
GERMOLEAN
This ve-piece from Kingston have an innate

understanding of the benets of lo-. Like Cloud
Nothings and Lets Wrestle before them, the
melodies are jaunty and consumed by extraneous
noise. Though biscuit tin recordings dont suit
everyone, these tunes sound clumsy enough to
warrant the buzzing warmth of intimate, awed
permanence. Guitars that skip and stumble
under slurred but urgent lyrics, Germolean have
balanced humour and sharp song writing and
youd be mad not to keep an ear out for their
popping and crackling indie guitar pop.
http://germolean.bandcamp.com
DREAMERS AWAKE
An epic example of one man becoming an

entire band in the studio. Mark Norgates
Dreamers Awake is a fairly robust set
of metal or heavy rock songs, with long
instrumental passages. Current album XIII
showcases this dark, gloomy, but thrilling
mix where you can marvel at the scope and
the effort put into this recording. Listen
below for a rocky, icy journey for the ears.
http://dreamersawake.bandcamp.com
ITS HARD TO BELIEVE WE HAVENT FEATURED ASHEQ

AKHTAR BEFORE HIS DEBUT ALBUM THE INSTRUMENT
IS A REAL TOUR DE FORCE!
CAT MEAT
The charmingly named Cat Meat is one man. Hes a solo artist that
covers all bases. Each of his songs, led by an acoustic guitar and
his melodic voice, are embellished with strings, harmonica, and
feedback. Seemingly taking a cue from Neil Youngs repertoire, these
folk and country-tinged songs blend outside elements into the roots
of the music. Although Cat Meat is apparently a bedroom musician
at the moment, these fragile and honest songs deserve some higher
prole live outings.
http://soundcloud.com/cat-meat
REVOLUTION IN
THE HEAD
Through caustic musical tales of lust, loss, and serious breakdowns, Say Anything has
BRAD BARRETT talks to guitar-toting songwriter Max Bemis and nds him both happ
t some point, our favourite songwriters are usually angry, bitter,

desperate, hungry, ery, angst-fuelled individuals with something
to prove and lofty goals to reach for. Max Bemis, frontman,
singer, guitarist, and songwriter of LA band Say Anything pretty
much ts that description to a tee. A man whose failings and
frustrations have been well documented in his own music, fans have been
compelled by stories of love, loss, sex, drugs, and Maxs attempts to deal with
his bi-polar condition. These songs were writhing, frenetic, seething melodic
tapestries representing Maxs love of bands as diverse as Queen and Saves The
Day. Now, eight years after their ofcial dbut ...Is A Real Boy (Max himself
rarely mentions rst album Baseball: An Album By Sayanything, when the
band was Max and four long-gone friends), the bands fourth album Anarchy,
My Dear documents an entirely different headspace for the 28 year old. Its
essentially a treatise on his thoughts about anarchy, which are signicantly

different to those of the modern, V for Vendetta mask-wearing protesters, or
even anarcho-punk groups of old.
To me anarchy is expression of freedom of the soul unchecked, a state of
enlightenment that thrives on defying the boundaries and expectations that are
placed on your soul by society, the government and by the human condition,
explains Max. Thats the path we all follow in life, to get closer to that pure
expression of who we are, and I believe that anarchy doesnt necessarily have
to be a negative thing. It doesnt mean amoral, it doesnt mean nihilistic; it
means rich with expression of self.
Although its denitely the rst time Max has ltered his energies into a record
enriched with this viewpoint, Playmusic argues that this journey has been the
focus of a lot of the bands previous albums through Maxs own confessions.
included many of emo-rocks guiding lights in vocal cameos. Here, songs

like The Church Channel (featuring Paramores Hayley Williams) and Sorry
Dudes. My Bad. (with Chris Conley from Saves the Day guesting) directly
reference Maxs battle with bi-polar disorder, and various addictions.
Having spent so time on self-diagnosis and DIY therapy, musically the band
sounds less confrontational and seems to have developed a more philosophical
approach. So could it be said that Max felt at his most comfortable when going
into the process that brought about Anarchy, My Dear?
I (once) wrote from an autobiographical standpoint and a lot of it was
very tortured. There was something very easy about that. It was almost a
monotonous experience, of expressing these true- to-life facts of what I was
going through in my late teens and early twenties, explains Max. It requires
a little more energy to dig deeper and to write about something that isnt
just what is happening to me on a day-to-day basis because, honestly, whats
happening to me on a day-to-day basis is a lot less interesting these days than
most other people. Ive become someone who is methodically coming up with
some of these more experimental narratives as opposed to the self-indulgent.
These experimental narratives are summed up best within the bookends of
the record. The opener, Burn A Miracle, is a chiming, churning, anthemic
chant with cryptic lyrics, he says its the song that denes Say Anything as
they are now.
You get tired of hearing heavy guitar

sounds. Some things come across as
more raw, more emotionally resonant,
when you strip away distortion.
I think the reason Im so proud of it is that it has resonated so much with
our fans because its a weird song, it has a lot of vague imagery though its
really specic to what I meant. I had something I wanted to say with the song.
I was like okay, this is either the best song Ive written, or its gonna make
people think Im a complete lunatic and I suck. Maybe that just means that
Say Anything fans deserve a lot of credit because they get it right off the bat.
I think thats what makes me proudest; at my weirdest and most obscure, fans
are so connected to me that they seem to get it. I love that.
Max is extremely sincere about his fanbases connection to the band. He
has even created his own Song Shop concept where Max will compose a new
s taken us on a journey of self-discovery.

py and as fan-friendly as ever.
Yeah, I think it has been touched upon in a more general sense in our
previous work, but it mostly was by happen stance. Its how Ive always
felt about the world but I hadnt put it all together until I had the mental
wherewithal to approach it and that had a lot to do with me getting my shit
together, solving my own surface-level issues, and becoming a happier person.
And then I was able to reacquaint myself with how I feel about the world.
Its been a rocky but fascinating road. ...Is A Real Boy was recorded
in 2004, and coincided with Maxs rst full-on shift into paranoia and
delusion. The album itself was a erce and musically accomplished set
of songs bristling with Maxs bile-encrusted lyrics. In 2007, after losing
the majority of his band only very good friend, drummer, and backing
vocalist Cody Linder remained Max crafted a two disc 27-song opus
called In Defence of the Genre, which covered many musical bases and
song for the customer. Its a popular endeavour that keeps Max busy during
downtime. For a less personal example though, Admit It Again, a sequel to
huge fan favourite Admit It!!!, was written with fans in mind as well.
I feel like on our rst few records that we had a lot to prove and I feel like
this is the record where weve established enough of a fanbase where we can
make a sequel to a song and have it not be pretentious. That, to me, is one of
the top ve songs that has really meant something to people. I just wanted to
acknowledge that, to honour our fans. Its kind of a joke. You wanted it? Well
now youve got it! Also I really did have a lot more to say on the subject. Its
not coming from a fake, false place where Im having to work hard to come up
with things to criticise about youth culture. I still have a lot of beef with the
way that youth culture has developed.
In fact, theres quite a few references to that subject, like Sheep and closer
The Stephen Hawking which has the memorable refrain If youre the sun, Im
a black hole. But where Admit It!!! was a furious blitz of distortion, each song
on Anarchy, My Dear retains a clean rhythm guitar and relies more on the
delightful oddities that spring into Maxs guitar brain. Intricate, bouncy
counter-melodies and squiggly guitar lines all of which have been his oeuvre
since the dbut are all here, if a little more subtle. Peace Out even has a New
Order-like guitar and bass texture. Max explains why distortion has been all
but removed from this outing.
As a guitarist Im horrible, Im the

bottom of the barrel! What Im good
at is going against the rules. I have
to rely on different ideas to make the
guitar parts sing.
I feel like the heavier stuff is a side we really got to explore on the past
couple of records, especially with the last one. We went in with a producer
Neal Avron - whose speciality is big, meaty, thick guitars. We got the chance
to indulge that in a way that was fun and productive and we loved it, but
eventually you get tired of hearing it as a musician. Im not saying its
something well never go back to. But some things come across as more raw,
more emotionally resonant, when you strip away distortion. If youre able to
play a guitar with more force and less distorted, it sometimes actually comes
across as a little more visceral.
Certainly, the excellent vortex of a conclusion, The Stephen Hawking, is the
only track with any distinct overdrive but plays to the melodic strength of the
band, including Maxs distinctive sneer of a voice.
Im already an intense singer to begin with so if you strip away the layers
and reveal this raw, grated voice, thats the core of what were doing, its
almost more frightening to listen to, like oh Jesus! Its almost off-putting.
The more classic, clean guitars and chiming tones not only unexpectedly suit
Say Anythings new found life satisfaction, but actually turned out to suit Maxs
playing style too.
I found once Id set up that precedent for myself to never have a heavy
rhythm guitar, as soon as we started recording the rst song it sort of owed
out of me. With that rule in place, I started realising its what The Clash or The
Beatles would do. I listen so much to that music. I intuitively grasp what the
Rolling Stones would do in a certain situation almost more than what Metallica
would do.
Perhaps the most intriguing aspect of every Say Anything record is what the
guitars are going to do. Max has written and played pretty much every guitar
part on each of their records and there have been numerous highlights, from
the slippery country-esque solo on the last records Do Better, to the tricksy
skipping melodies on Burn A Miracle. But how does Max view his playing?
When it comes to technical prociency Im horrible, Im the bottom of the
barrel. I guess what Im good at is being creative with the guitar. The way we
approach things in the studio is that I have a very intuitive ear, and I hear a
guitar part and we do whatever recording method we need to do to just get it
recorded and we dont even worry about playing it live. Eventually someone
who is better at guitar will be able to reproduce it, says Max, honestly. I do
give myself credit for having a creative mind as a guitar player. There are
certain things I do that I know some people stop themselves from doing
because its sort of against the rules and I think that it might actually be
because Im a worse guitar player that I have to rely on ideas to make the
guitar parts sing.
Say Anything have never really been restricted by the rock band format
though, with electronic elements and odd time signatures creeping in.
Theres a lot riding on it emotionally to be honest, says Max about his
latest record. Id be lying if I didnt say that I had a lot invested in it but so far
- knock on wood - weve achieved everything that I wanted from it which is
that our fans would accept it as the latest in this lineage of records that mean a
lot to them. Weve been blessed with a really dedicated fanbase and what Ive
seen on this record so far is kids accepting it into their heart and seeing it as
being a worthy successor to our rst few records. I denitely dont care about
massive commercial success, I denitely dont care about any of the songs on
the record becoming huge radio hits, I dont care about it being a hit record
that pitchfork.com writes about. I just want it to remain relevant to the people
who matter to me. PM
Grainne
Duffy
Meet the gutsy redhead making her

mark on the blues
Words: Tim Slater
rish blues musician Grainne (pronounced Gron-Ya) Duffy is steeped

in a rich musical heritage. Besides her encyclopedic knowledge of
early American blues, country and soul the slender redhead grew up
in Castleblaney, an area known as the Nashville of Ireland due to its
place as a wellspring of musical talent.
Cutting her musical teeth in the school choir, the teenaged Grainne was
soon exploring her parents record collection, a voyage that set her on her
on an exciting journey of musical discovery.
I grew up in a house where my dad was a big collector of records, he
was listening to American country artists like Johnny Cash, Loretta Lynn
and Tammy Wynette and listening to those country records was a great
place to get your roots from. Even though country isnt a style of music
that I sing now it was still a treasure-trove of really good vocalists and
lovely lyrics and things like that.
Even when I started to listening to early Fleetwood Mac I would still go
back and listen to records that came before that, like deeper blues music
and I suppose that helped me to develop my ear rather than develop my
voice, which came a little later. When I went beyond that and started to
listen to a wider range of singers, that was when I realized that I could
sing along with records that had a more earthy, rootsy sound, records that
had a lot of passion in them. I suppose it took a while to nd myself but in
the end I found that soulful, bluesy music really suits my voice.
Grainnes new album Test of Time (on GD records) is racking up great
reviews, not just in the niche blues publications but also in the mainstream
music press.
Less obviously rootsy than its predecessor Out of the Dark (2007),
Test of Time marries Grainnes smoky voice to a set of soul-based tunes
buffed to a smooth commercially appealing sheen. This is a very condent
sounding effort that Grainne is justiably proud of.
The great thing about Test of Time is that it really represents where
I am at the moment. The last album was more of a rootsy blues/rock

album, if you like, but Ive been working really hard on developing as a
singer, a guitar player and as a songwriter and I think that this new album
is a big step forward.
Any concern that Grainnes blues roots are under threat are quickly
quashed by her assertion that the blues scene is her bread and butter. On
the road for almost 300 days a year in Europe and Scandinavia, where
the band is building up a sizeable following, Grainne is in no hurry to
relinquish her position as one of Europes fast rising blues stars.
One good thing about the blues scene back home in Ireland is that
people that love the blues are fanatical about the blues and they help to
keep the music alive. There are things like blues committees and the blues
festival circuit that runs between May and September. There are many
great blues festivals and Ive been lucky to have been part of them all but
I think my music has blues, rock and even some elements of soul in it, so
I think that in most countries blues is still a niche kind of market. Its often
been described as roots music and I suppose thats the sort of music
that I am inspired by. So many artists that I love are usually categorized
as roots music; that includes everyone from the Rolling Stones to Aretha
Franklin, John Mayer to any artist that I like to listen to. I think that roots
generally means that youve gone back and listened to the very start and
listened to the music that inuenced the music behind those that you are
listening to. For example, when I was young I listened to Eric Clapton and
behind him youll nd BB King. I enjoy going back to the very start and
seeing where all the music came from; Memphis and Chicago and all that
kind of thing!
I would say that my music isnt really 100% at out blues. If you came
to see my show you would probably pick up avours of soul, some pop
songs, blues, rock; my music is a reection of all the things that I love and
that I am inuenced by. Its a wee bit broader than just pure blues. PM
Freak
Scene
Bassist and producer Todd Campbell of Welsh rock band Straight Lines
talks to BRAD BARRETT about shoestring budgets and an economical
approach to song writing.
hen was the last time you heard a young upstart band modestly
claiming to perhaps earn a few fans with their rst record and
hope to expand that gradually in the future? Straight Lines
new LP Freaks Like Us, sees the band continuing to focusing on
the music, rather than merely looking to rack up the sales gures.
Basically, we wrote the rst album, Persistence In This Game, without
thinking wed be touring, says bassist and producer Todd Campbell. We
didnt really think anyone would be interested, to be honest. So when it came
to recording we went a bit over the top with layers. When we were playing
live, we realised we didnt really sound like the album. So the main aim with
Freaks was to represent the live sound of the band a lot more, so at least if
people are into the album we know its a fairer representation of the band.
Freaks Like Us was recorded mostly live, with minimal overdubs. Todd says
that the last album had six to eight guitar parts in certain places!
I blame the sunny weather, never record an album in sunny weather! Life is
pain! Despite this assertion, Straight Lines music is generally upbeat, strident,
and a clever mix of the complex and the simple. As a result theyre pretty hard
to pigeonhole and often have conicting labels pinned to them.
Its not pop punk which is a label we get thrown at us a lot. Its darker this
time around but its not doom and gloom either. We get some reviews saying
weve developed a completely original sound and some saying were generic.
As ever the truth is somewhere in the middle. They sound bright, alive, and
driven; chiming chords roll alongside tricky, churning riffs, some impressive
tricks from the rhythm section, and Tom Jenkins voice turning dark lyrics into
anthemic melodies. The blend of musical inuences sees old-school rock like
AC/DC & Led Zeppelin rubbing shoulders with the likes of Mystery Jets and
At the Drive-In. But weve normally got Elvis or something on in the van!
laughs Todd.
Tom who writes the majority of the songs - employs a great deal of
strange tunings which leads to the slightly weirder sounding moments on
both albums. Tom writes great songs but its cool because if we arent into it
he doesnt get offended or anything, we just move on to something else or
sometimes he has a great song but it has too many riffs and parts, so me and
James help with the arrangements a lot more. The result are songs that
carve out their own identity Straight Lines dont really sound like anyone
but themselves.
We wanted the record to sound like one piece of work, says Todd. With
the rst one theres a lot of different styles going on but we wanted this record
to have a certain feel all the way through. You hear a lot of bands writing 20 to
30 songs and then picking the best, but we got to ten and stopped...for better
or for worse!
This economical approach seems to be both intentional and dictated by

some internal switch,
We did want to get the album out a lot quicker because we felt the sound
had changed within the band and we wanted to capture it. In fact, this album
was intended as an EP but then we wrote ve or six more and decided to go
for it.
As for the albums more raw, stripped-down sound, Todd helped to steer the
way forward in his dual role as producer.
At the very beginning we wanted it really raw, then about half way
through there was this niggle in me to go and try and make it a big production
but I think in the end it came back around to our original vision. If wed known
it wouldnt be out for another year maybe we would have taken more time.
The album closes with So Many Paths, a song that seems to point toward
the future with enough of the Freaks Like Us sound, while building into a huge
and spacious conclusion with Tom slipping into falsetto and the band storming
into the coda. Its a grand closer, though the record could have had an entirely
different feel.
We nearly opened the record with that and we nearly called the album that
so we were going to set the tone with it but we all wimped out at the end,
confesses Todd. I think we all realised it was too big a statement! We end
shows with it a lot and its really good to play.
With this rened sound and growing fan base helped with support slots
with bands like Presidents of the USA, and their rst European shows, Todd
tells us what the future holds.
Personally Id like to take this sound and put it in a big studio with a big
producer. We have this home studio and its all pretty small-scale stuff, on a
small budget. The fact that we get Radio 1 play and things is ridiculous and it
just makes you wonder how far we could take things with a big production.
Despite the shoestring budget, some people are still fooled by them.
Someone commented on our video (for the single Half Gone) the other
day. Bear in mind the song was recorded in a garage and we lmed the video
in Toms sheep shed with a full budget of 500. I think the cheapest budget is
usually around 3000! Anyway, the comment was: generic corporate rock! I
was chuffed! We completely tricked them!
Generally though, Straight Lines arent our for world domination just yet,
although they want to up their production values.
We dont really expect anything, were mates and we enjoy touring and
experiencing new things. On the other side, the fact that weve made an
impression doing things on such small terms means theres plenty of potential
for us to develop, says Todd. Weve just got to remember to look after our
van, and everything will work out! PM
NEW!
SENNHEISER
XS WIRELESS
ENTER THE
STAGE.
XS WIRELESS
is your entry to the

wireless world. No matter if you are a speaker,
singer or musician these wireless all-in-one
packages provide you with reliable transmission
and excellent sound quality.
The system is quick and easy to set up due to
its frequency management and synchronization
via remote channel.
Professional True Diversity technology ensures
optimum reception, anytime and anywhere.
www.sennheiser.com
020 8906 9991
Dealers for Fender, Ibanez, Pearl,

Sabian & Peavey
10 Rehearsal rooms
Digital and Analogue Recording
With Large Live Room
Equipment Hire
5 Minutes Walk from Mill Hill Broadway
Thameslink Station
10 Minutes Drive from M1/M25/
North Circular
STUDIO
SPECIAL OFFER
2"2! 22
1(),22%221*''22!2%
www.millhillmusic.co.uk

2
2 2
IN SOUTH WEST LONDON
2! 22"2 2& 22

22!2# !2"2$ !
$$$." !" .."

')'2-,+)2-+''
0" !" .."
www.playmusicpickup.co.uk
www.playmusicmag.com
CALL 01273 897311 TO BOOK
Mill Hill Music Complex
Then make sure your demo impresses

the right people by getting a
professional recording at one of our
recommended studios. Why? Because
nothing grabs an A&Rs ear quicker than
strong production on a good song. Also,
By mentioning Playmusic Pickup when
you call you can be sure that youll get a
great deal and a great demo.
DIRECTORY
Musicians
Insurance
Tuned to
your needs
HdjcY
^ckZhibZci
from just
*
2.45
per
month
Instant quotes at www.musicguard.co.uk
>chigjbZci^chjgVcXZ[gdb_jhi(%VnZVg
%-%%%)-%%+)lll#Vaa^Vcobjh^X#Xd#j`
0845 408 1810

*
Price based upon 100 worth

of equipment in the UK only
6aa^VcoBjh^XVa>chjgVcXZ
ARGENTS
PRINTED MUSIC
IZgbh!XdcYî^dchVcYZmXZhhVeean#6aa^VcoBjh^XVa>chjgVcXZ^hVigVY^c\cVbZd[7gî^h]GZhZgkZ>chjgVcXZ
8dbeVcn A^bîZY 7G>8! V l]daan dlcZY hjWh^Y^Vgn d[ 6aa^Vco >chjgVcXZ eaX# 7G>8 ^h Vji]dg^hZY VcY
gZ\jaViZYWni]Z;^cVcX^VaHZgk^XZh6ji]dgîn#GZ\^hiZgZYd[XZ/*,AVYnbZVY!<jâY[dgY!HjggZn <J&&97#
GZ\^hiZgZY^c:c\aVcYCd#(%,+''#
Loudspeaker repair and manufacture
Come to Tin Pan Alley for a huge

range of guitar books, song albums,
tutorial DVDs and instrumental music
of all kinds.
19 Denmark Street,
London WC2H 8NA
020 7379 3384
Mail Order Service
CALL US ON
01273 897311
TO ADVERTISE
WEB LISTINGS
TO ADVERTISE HERE
RING
01273 897311
CD / DVD / VINYL
S TA N DA R D & B E S P O K E PAC K AG I N G
GRAPHIC DESIGN & AUDIO MASTERING

ss
ce
to mu
sic
ac

ACCESS TO MUSIC
INDUSTRY-FOCUSED MUSIC TRAINING
accesstomusic .co.uk
STUFF
FOR
BANDS
ZZZSURPRWH\RXUEDQGFRXN
)UHHSKRQH
3267(56
)/<(56
%$11(56
&'V
76+,576
$1'
Fed up attaching your valuable

pedals to a board with Velcro
and glue?
Playmusic Review
June issue No 99
The Music Shop

New and Used Group Equipment
www.southamptonmusicshop.co.uk
Tel: 02380 437 937
Talk to us about our bespoke

boards with unique xings and
ight cases.
www.uniquepedalboards.com
www.youtube.com/user/rothwellaudio

Play Music

Загружено:

Сведения о документе

Авторское право

Доступные форматы

Поделиться этим документом

Поделиться или встроить документ

Параметры публикации

Этот документ был вам полезен?

Это неприемлемый материал?

Авторское право:

Доступные форматы

Play Music

Загружено:

Авторское право:

Доступные форматы

KAM KOMPACT 10, TANGLEWOOD TW138 & TW 130,

SQUIER J MASCIS JAZZMASTER, AMPEG GVT15-112,

SEE IT, HEAR IT, BUY IT!

Designed in collaboration with NEXO.

THE UNSIGNED BANDS BIBLE!

For all Sales Enquiries contact:

Standfirst Media Limited. All rights reserved. Reproduction

ISSN 1752 1017

Tim Slater, Editor

FENDER PAWN SHOP SERIES AMPS

ORANGE SIGNATURE #4 JIM ROOT TERROR HEAD

FENDER BLACKTOP TELECASTER BARITONE

LINE 6 STAGESCAPE MIXER &

1999.99 - StageScape M20d

ROLAND G-5 & GC-1

Ibanez Premium series delivers top-notch features at

If you play a guitar synthesizer you are no doubt already aware

IBANEZ JEM 70V

PRS SE CUSTOM SEMI-HOLLOW BIGSBY

APRIL 2012 ISSUE 109

Extending your tone life

Kam Kompact 10 PA system

12 Books & DVD

FIND OUT MORE

The Doc reviews the

DEMO OF THE MONTH

Joby Fox - End of War

Junkie Joker - Save the World

THE DOC WANTS TO

THE ROUND SOUND

Copyright 2012 LOUD Technologies Inc. All Rights Reserved.

Guitar, Amp & Keyboard Centre

Red Dog Music

he Ibanez AW3010CE-LG belongs to Ibanez

There is no purchase necessary to enter these competitions.

Teaching the world to play since 1947!

This month we check out

LICK LIBRARY QUICK LICKS GARY MOORE

FIRST LESSONS: LAP STEEL GUITAR

Sponsored by MEL BAY

PICKING AT PEACEFUL BEND

SOUNDSTAGE: RINGO & THE ROUNDHEADS

Ex 3: Here we tie both of the exercises together. Pay particular attention to

#" !+." !+#&.')&2#&%*+),+"&%

3 &.),#&%&)  %

MAKE YOUR MARK AND WIN GREAT PRIZES!

BEST OVERALL BAND

Sponsored by Line6. Prize TBA.

BEST INDIE BAND

Sponsored by Rotosound Strings. Prize TBA.

BEST ACOUSTIC/SOLO ARTIST

Sponsored by Elixir Strings. Win 5 x sets of Elixir Polyweb or Nanoweb

BEST LIVE BAND

Winning band will be invited to Shure UK HQ to be fully kitted out with

BEST METAL BAND

Sponsored by Laney. Laney Ampliers are generously donating a mighty

BEST INDIVIDUAL PERFORMANCE

Sponsored by Fret-King. The best guitarist or bassist can win

TO ENTER: No need to post anything!

The reverse-fitted neck humbucker and out-of-phase

Now you can feel the modern-day zing of the Wilkinson-designed

Still got the blues?

#$$ $$ $ 

Time was when any PA worth

#" !+." !+#&.')&2#&%*+),+"&%

3 &.),#&%&)%

#$$ $$$