Oct 9

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:


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
Oct 7

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
Oct 3

martin taylor of the cover of Fingerstyle 360

"If you get too caught up in the theory you can switch your instincts off. Instead of asking if this note works with this chord just listen to it. How does it make you feel? Does it feel right? If it’s wrong ask yourself why it doesn’t work and then you can apply the theory but not before. Just use your instincts."  - Martin Taylor

Congrats to Martin Taylor on making the cover of Fingerstyle 360 magazine, featuring a nice in-depth interview with him where he talks about teaching guitar online at ArtistWorks among other things. Click here to download a PDF version of the magazine from the Fingerstyle 360 website.

Oct 2

bryan sutton imba 2014

ArtistWorks would like to congratulate Bryan Sutton for taking home his 8th IBMA Award for Guitar Player of the Year!

We are thrilled by Bryan's accomplishments as an artist and are proud to have him teaching flatpicking guitar to students around the world alongside the other Academy of Bluegrass all-stars: Mike Marshall, Missy Raines, Darol Anger, Andy Hall, and the incomparable Tony Trischka.

So much of what we do is spent focusing on the instruction that the Academy of Bluegrass artists are providing here -- and that's obviously our mission, but in the spirit of the now concluded 2014 IBMA awards, we'd like to focus for just a moment on the impressive careers of these amazing musicians. We're very fortunate to have them all here.

artistworks bluegrass instructors