Blues guitar is the king of genres, having paved the way for successive ax handlers playing everything from jazz to metal. The genre’s main players combine outstanding technique, creative application and raw emotion with semi-mythical lives – the stories of which have seemingly grown greater with every telling.

Of course, as with any ‘top’ list there will be vociferous disagreements about who does and who doesn’t quite make the grade. Some historians suggest the greats of today were but minor figures in the true history of the blues. According to author, Elijah Wald, ‘It is only white audiences who will now sit down and listen to a bluesman just playing his guitar.’ White or not, listening to a ‘bluesman just playing his guitar’ is something that many cherish, especially when the bluesman is a super-inspirational badass.

B.B. King

Riley B. King (born September 16, 1925) is a blues supremo who provided the world with some of the most expressive guitar playing ever heard. His style of soloing – with its fluid vibrato and bends – has been much emulated. Time magazine voted King as one of the world’s greatest electric-guitar players, noting that his guitar (named Lucille) sounded ‘like a real woman singing the blues’.

Robert Johnson

Robert Leroy Johnson (May 8, 1911 – August 16, 1938) is one of the most influential musicians of any genre. Rolling Stone ranked him fifth in its list of 100 Greatest Guitarists of All Time, while Eric Clapton regarded Johnson as ‘the most important blues singer that ever lived’. Most will know Johnson as the man rumoured to have sold his soul to the devil in exchange for some supreme shredding skills. According to authors, Barry Lee Pearson and Bill McCulloch, the legend that Johnson traded his soul at the crossroads dates back to an interview given by his friend, the blues musician Son House, in 1966.

Eric Clapton

Eric Patrick Clapton (30 March 1945 – present) is one of the handful of living greats. Few white men play the blues like Clapton, who is fluent in every style – though he’s most commonly credited with owning the Tulsa Sound. Clapton’s signature melodic playing has won him fans across the board and seen him inducted into the Rock and Roll Hall of Fame not once, but three times.

John Lee Hooker

John Lee Hooker (August 22, 1917 – June 21, 2001) was born near Clarksdale, in the backwoods of Mississippi. Hooker is renowned for metrically free music, often described as ‘talking blues’.

Buddy Guy

George “Buddy” Guy (July 30, 1936 – present) is a consummate showman, incorporating drumsticks and the audience while playing solos. Though often labelled as ‘Chicago blues’, Guy’s sound is far broader than that – showing a mastery of choppy rhythm, double-stops and innovative bending.

Stevie Ray Vaughan

Stephen Ray Vaughan (October 3, 1954 – August 27, 1990) was notable for his ability to simultaneously incorporate lead and rhythm parts. Grammy Award-winning Vaughan was ranked 12th in Gibson’s greatest guitarists of all time list, which credited him with channelling ‘music from the depths of his soul and through his body and guitar, which were connected as one’.

Jimmy Reed

Mathis James “Jimmy” Reed (September 6, 1925 – August 29, 1976) helped bring blues to mainstream audiences long before the time of Clapton and friends. His memorable guitar patterns, which sound like they’re being played while reclining on a leather sofa bed, are still easily recognizable.

Chuck Berry

Charles Edward Anderson “Chuck” Berry (October 18, 1926 – present) is one of the pioneers of rock’n’roll music, a fact reflected in the old cliché – ‘Before Jimi went to the moon, Chuck built the rocket.’

Otis Rush

Otis Rush (April 29, 1935 – present) created a sound known as ‘West Side Chicago’ that was defined by its long bent notes. Rush’s distinctive sound is credited to him playing with the little finger of his pick hand curled under the low E of his upside-down strung guitar.

Albert King

Albert Nelson ‘King’ (April 25, 1923 – December 21, 1992) was of the less-is-more school of playing and a fan of unorthodox tuning – sometimes dropping to C to enable ever grander bends. Along with B.B. King and Freddie King, Nelson is known as one of the ‘Three Kings of blues guitar.’

Playing Through The Blues.

Playing Through The Blues – A Guide for the Lead Guitar Player is the most comprehensive, easiest method to learn blues lead guitar. You don’t have to mess with driving back and forth to private lessons, you don’t have to alter your schedule around your teacher, and you don’t have to devote hours out of every day to a tedious practice schedule.

You will learn every amazing lick, scale, technique, and cool trick that you’ll ever need to know … and that’s just the beginning. You’ll learn what guys like Eric Clapton, BB King, Buddy Guy, SRV, Angus Young, Jimi Hendrix, Freddie King, Robert Cray, and so many more have amazed audiences around the world with.

The Recording Guitarist: A Guide to Studio Gear, Techniques and Tone (Revised and Updated Edition) (Music Pro Guide Books & DVDs) (Music Pro Guides)

by: Jon Chappell

publisher: Hal Leonard, published: 2010-09-01

ASIN: 1423488962

EAN: 9781423488965

sales rank: 509607

price: $8.99 (new), $8.95 (used)

The Recording Guitarist explores the world of recording the guitar, covering everything from selecting guitars and amps to employing effects and mastering recording techniques in a variety of recording environments – from the modest home studio to a professional facility outfitted with pro-quality gear and a staff of engineers. Offering valuable insights and tips for the novice or professional, The Recording Guitarist thoroughly examines guitars (electric and acoustic) and amps used in the studio, and explains how to select among them to achieve the desired sound. The signal chain is explained, and signal processors (effects) are analyzed according to type, placement in the signal chain, and contribution to the overall mix. In addition to helping readers create a “total guitar sound” for the studio, the book also tackles recording equipment, techniques, and formats. Also included is advice from recording industry pros such as Carl Verheyen, Al Di Meola, Alex Lifeson, and Phil Ramone. A special feature is a section called Dial a Sound – an illustrated guide to the setups and recording rigs of 14 guitar greats, including Eric Johnson, Dimebag Darrell, Stevie Ray Vaughan, Jimi Hendrix, Eddie Van Halen, and others. Discusses: * Electric and acoustic guitars and their unique tones * Recording hardware and software * Effects and how to use them * Monitors * Overdubbing * Mixing

In the Vintage Modern line comes three models to choose from. The line consists of the 2466, the 2266, and the 2266C, as well as the 425 cabinets. This particular line of Marshall guitar amplifiers consists of the classic British blues rock sound of the nineteen sixties and seventies that came from artists like Clapton, Townshend, and Hendrix, but also with the added capability to switch it over to a modern, let’s go crazy style of today. Switching over to this hot rod mode from the classic sound gives the musician an opportunity to create a sound much harder and more aggressive than that of the original sound that the Marshall guitar amplifiers put out in the sixties and seventies. The wattage varies with each model. The 2466 model is a one hundred Watt Head all-valve single channel amp, while the 2266 is a fifty Head, and the 2266C is a 50 x 2 x 12 combo amplifier.

The 2466 model comes with range and performance one has come to expect from Marshall guitar amplifiers. The model has two frequency-selective pre-amp volumes which assist a boundless freedom of tonal shaping for individual guitars. Also included on the 2466 model is a master volume so one can manage their volume levels in a practical manner in any venue, large or small. Included as well is an FX loop for guitarist that might want to experiment with different ways to hone their sound. The Vintage Modern line represents everything classic and right with the earlier sounds of the past and then gives those earlier tones an adrenaline shot sated with what the Marshall guitar amplifiers team have gathered from the ever progressing technological advances of today. Retro or rocking metal, punk thrashing to emo, the Vintage Modern series of Marshall guitar amplifiers reaches back generations while deeply engaged into the sounds of today.

For more information on Marshall Guitar Amps and where you can purchase them, visit MarshallAmpAuctions.com
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Part 1: Whitesnake´s Doug Aldrich Demos Marshall´s MG Amps at NAMM 2009
Whitesnake´s Doug Aldrich Demos the Marshall´s MG Amps at NAMM 2009. Filmed by Jude Gold for Guitar Player magazine and guitarplayer.com.

Distortion related effects

Distortion is an effect that is commonly used in rock and heavy metal guitar music. A distortion pedal which is used to create this effect clips the signal and distorts its waveform leading to a distortion in the sound. There are many different types of distortion effects. Each one of them has their own distinct characteristics and features.

• Overdrive distortion: This is one of the most well known distortion effects. Most pedals that provide the distortion effect attempt to create a high grain sound. Some advanced distortion amplifiers like the Marshall, have went past the normal point of tonal break up and created a sound called as saturated grain also called total distortion in some cases. Some of the common distortion pedals are Marshall Guv’Nor, Pro Co Rat, Digi Tech Hot Tech.
• Fuzz: Fuzz pedals were originally created to recreate the classic sound of the 60’s overdrive tube amp combined with torn speaker cones. The original fuzz pedals have now been replaced by extreme designs that have effects like octave, gating etc. Dallas Arbiter Fuzz Face is one of the most commonly used Fuzz effect pedals.
• Hi Gain: This effect originated from the high gain amplification used in electric guitars. In ordinary elec guitar terms, high gain is a sound that is produced by overdriven amp tubes or a distortion pedal. The sound produced is extremely thick. The modern hi gain pedals produce a sound that is unmatched and cannot be produced using any other device. The Boss ML2 metal core is a very common hi gain effect pedal.

Filtering related effects

• Equalizer: An equalizer is used to adjust the frequency response in a variety of frequency bands. A graphic equalizer which is a common feature in most music player software provides a slider interface for different frequency regions. In guitars, a rotary control is available in place of these sliders and they change the level of the frequency band.
• Phase shifter: Have you ever heard a sound during a guitar concert that is similar to the sound of a flying jet? That’s what a phase shifter can do for you. The effect is commonly known as phase.
• Wah Pedal: Just like the name, this foot operated pedal can create a sound that is similar to a man saying wah. The sound was most commonly heard in psychedelic rock from the 1960’s and funk music from the 1970’s.

Volume related effects

• Volume Pedal: This is nothing but a foot operated potentiometer that can be tilted forward or backward. A musician can easily adjust the volume of his instrument during performance. The pedal is also used to create a fading effect.
• Tremolo: This is a repetitive variation in gain for the complete duration of a single note. This is based on a very common effect that was built into guitar amps.
• Compressor: This is very much like an auto volume controller. The output level decreases as the incoming signal increases and vice a versa.

These are the most basic but commonly used guitar effects. There are many more advanced ones that you can use during concerts or gigs.

Jeff Carson is the owner of TheReviewMine.Com. His web site offers a diverse selection of ebooks, CD’s, DVDs, and other information that will teach you how to play guitar.
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Landgraff Dynamic Overdrive LDO guitar effects pedal demo with Kingbee Tele & Blues Jr amp
The LDO from Landgraf effects. Super awesome crazy cool over drive goodness! I used my www.kingbeeguitars.com relic telecaster and a Fender Blues Junior amplifier.

TC Electronic

The MojoMojo and Dark Matter Distortion are built around identical controls sets— Drive, Level, Bass, and Treble. At a full counterclockwise rotation, the Drive parameter leaves the signal completely unmodified while a clockwise rotation increases the amount of gain. The Level knob controls the volume output—a full counterclockwise rotation will turn the signal completely off, while the 12 o’clock position is amp level and a full clockwise yields a significant boost. The Bass and Treble knobs work through a range from bass heavy signals to piercing trebles if desired. In addition, both controls have a Voice switch placed between the Drive and Level controls. In the ‘up’ position the output signal takes on a brighter tone, best used to cut through a dense soundscape, while the ‘down’ position yields a heavier voicing for rhythm guitar work and blended textures.

Each effect is encased in a rugged metal case that looks ready for everything from the snow to the arid desert. TC Electronic started using a fantastic single-screw system recently that keeps the back panel in place. To change the 9V (can also be powered on a 9V barrel adaptor), just use a coin or heavy gauge pick to get the screw started and it pops right open to reveal the battery compartment and circuit board.

Both of these effects are true bypass, which ensures an unhindered input signal while unengaged. However, as with most true bypass systems they do suffer from a slight pop when engaging the effect, an issue that can be significant with higher gain amplifiers and exacerbated if you’re using a delay at the end of the line. These pedals could also use better grips on their undercarriage—the glue on the small plastic feet can heat up and fall off, leading to a pretty spectacular tap dance instead of a rock show.

The original resonator guitar was developed during the early 20th century and in 1927, the first instruments were manufactured under the brand name National. These guitars were of the tricone variety, which means that they had three conical resonators joined by a T-shaped piece of aluminum called a “spider” that supported the bridge. A year later, one of the founding members of National split and began his own label, Dobro. That company released a competing resonator guitar that featured a single resonator under a distinctive circular perforated metal cover plate. The bridge rested at the center of this plate on an eight-legged aluminum spider. Finally, National countered with its own take on the single resonator model. This instrument used a wooden “biscuit” at the cone apex to support the bridge, rather than the traditional spider.

ADobro Duolian by Gibson 1996 nachoga
Dobro Duolian by Gibson 1996 nachoga on sale on Ebay. See ”Dobro Duolian Gibson 1996 resonator National lap steel. The audio clips were recorded in Protools with a bit reverb added (under The Stormy Mondays band permission).
succession of instrument innovations occurred over the course of about five years. At the end of that time, in 1932, the owners of Dobro gained control of National and formed the National Dobro Corporation. However, with the entry of the United States into World War II in 1941, all production of resonator guitars by the company ceased for a time. Since the end of World War II, the Dobro label has passed through various hands, all of which have used it to produce resonator guitars. Dobro is currently the possession of the Gibson Guitar Company. Today, common terminology uses Dobro to refer to an instrument with an inverted cone, while National generally means an instrument with a non-inverted cone.

As mentioned, bluegrass, country and blues are the usual territory of the resonator guitar. The first generally utilizes square-necked Dobro guitars, while the latter two favor round-necked National instruments. Because both styles of guitar may be played as a lap steel guitar, this is the most common position used by artists. However, round-necked guitars may be played in the traditional guitar position.
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