Blog/News

Nov 9
PaulGilbert

Here I am at the window of a Japanese fugu (blowfish) restaurant. The blowfish is potentially deadly to eat, if its poison is not properly removed. This photo was taken after a delicious feast of fugu, so my standing position and smile are proof of another successful poison removal. And it was delicious! 

The Mr. Big world tour rolls on...

Thank you,

Paul

Posted in paul gilbert
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Oct 28
AW

"It is very sad to lose one of my major influences Mr. Jack Bruce.  

His approach to playing and his bass lines stay with me to this day especially still playing his parts with Eric.  

Jack Bruce rest in peace, gone but not forgotten.   

I will bask in the Sunshine of Your Love."

- Nathan East

 
Eric Clapton has recorded a musical tribute for Jack on guitar, click here to listen
Posted in bass, nathan east
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Oct 9
PaulGilbert

paul gilbert pedalboard mr big

After a few days of rehearsing and tweaking, I've got my pedalboard sorted out for the Mr. Big tour. Here is the signal path:

Guitar 

Sennheiser Wireless 

Keeley Looper #1 (used as A/B box) A-side goes to an MXR Bass Compressor and a TC Electronics Mini Corona Chorus. These go directly to the P.A. system for my clean and/or acoustic sound. The B-side goes to...

Keeley Looper #2 (used as an effects loop switcher.) In the loop is a Cry Baby Jimi Hendrix Signature Wah Wah and an MXR Phase 90. I love having these two pedals in the effects loop, because there is an LED that tells me if the wah wah is on, and I can have the pedals come on simultaneously with just one footswitch. Another bonus is that when my foot presses the Keeley Looper, it actually puts my leg in a good position to shift to the wah wah and keep my balance. In the past, I always felt clumsy when using a wah wah, but this trick really works. And then...

MXR Distortion Plus (for a "tight" trebly distortion)

TC Electronic MojoMojo (for a subtle, natural distortion with a bass boost)

Posted in guitar, paul gilbert
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Oct 7
AW

In this sample lesson from his online guitar school, Andreas Oberg breaks down jazz guitar comping. An abbreviated term for accompanying, comping refers to playing the rhythm part while someone plays the lead melody or solo. Although it's not the main focus of the music, it's not something to be taken lightly. Comping is an integral part of any group performance.

It is very important to find the right balance when it comes to jazz comping. This means taking some space for yourself, but not too much - the idea is to back up the soloist while playing just enough… without it being too much. Good comping will enhance the lead guitarist and help to build up intensity in the music. Bad comping however, will distract from the melody and derail the soloist.

Understanding syncopation and where to land your strumming is a crucial aspect of jazz guitar comping. Syncopation is an art unto itself, so it is very important to learn how to use it in your jazz comping. If you just land your notes on the same standard beats every time, like quarter notes for example, it will sound extremely boring to the listener.

Posted in Andreas Oberg, guitar, jazz
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