If you haven’t already searched the slew of music apps available for the iPad, you won’t be surprised to learn that are some great guitar apps worth checking out. One such app is Agile Partners’ Guitar Tool Kit 2.0 featuring a number of essential tools any guitarist will benefit from.

For a very reasonable fee ($9.99), you can load your iPad, iPhone or Ipod Touch up with a tuner, metronome, chord, scale and arpeggio library. The tuner will give you accurate tunings not just for 6 string guitars, but also 7 and 12 as well. It also support 4, 5 and 6-string bass, banjo, mandolin and ukulele, with alternate tunings for each instrument. You can also dial in your own custom tunings.
newsletter25 review agilepartners Agile Partners Guitar Tool Kit 2.0
The metronome can be run in the background while you use other Guitartoolkit tools. It features a tempo tap pad, 25 sound effects and 22 time signatures meaning you’ll be keeping rock steady rhythms from now on.

The massive chord library gives you over 2 million chord diagrams, scales and appegios so you’ll never get stuck finding a chord and if you need to transpose a song, you can add in a capo and the chords will automatically adjust for the new key. For scales you can simply click on a note and a range of possible scales will be displayed. You just need to know how you use them.

There’s also an app upgrade ($4.99) that will give you the Advanced Metronome (for your iPad now and iPhone/Touch soon), giving you the ability to create your own drum beats with 32 instrument tracks and 75 distinct sounds to make your practice sessions all the more fun.

You’ll also be able to create your own interactive chord sheets and print or email them to a band member or friend. Click on any chord in the progression you’ve created and hear how it sounds.

And if that wasn’t enough, you will also have 60 instrument sounds at your fingertips to create custom instrument sounds for both acoustic and electric guitar through Agile Partners’ AmpKit tone engine.

For a quick video overview, check Agile Partners’ release video.

If you want essential guitar tools at your fingertips then Agile Partners’ Guitartoolkit 2.0 is well worth considering.

ab4e2097d32a3cfb2d407817c82c42dd Agile Partners Guitar Tool Kit 2.0

Posted by Dan Orr.

If you’ve ever wondered how your favorite artist gets that unique sound you can wonder no more. The guys at GuitarGeek, have dedicated their time and energy to compiling a comprehensive list of the amps, effects and guitars that artists use.

Over time their images of the artist’s setups have changed so that now they are both easy to understand and very nice to look at.

newsletter24 gear pros clapton What do the pros use?

Ever wanted to know just what Clapton was using in his days with the Bluesbreakers? The year is 1966 and Clapton is playing his 1950s Les Paul’s Standard through a Marshall Combo. Wanna know what speakers and tubes were in that model? Those details are all but a few clicks away.

While it might be hard to track down this particular model with a modest price tag, the information provided gives you a decent head start on what to look for and what could be possible.

And if nothing else, this information will add to your ever growing understanding of great tone. You can be pretty sure that the information provided on the site are sound, given that most of the information comes from the artist’s or their guitar tech’s mouths.

And with this type of direct contact you’ll find the occasional gem of behind the scenes takes from the artists themselves on their gear or band members and/or techies on the artist.

A great resource for geek-ing out and putting together the dream set up, should all your stars align and you win the lottery. Take a look.

ab4e2097d32a3cfb2d407817c82c42dd What do the pros use?

Posted by Dan Orr.

Since the days of designing and building amps in an old converted dog kennel in the hills of Northern California, Randall Smith and his band of music obsessed, tone junkies have been baking up new designs to push high gain, multi-valve, multi-input guitar amps to the next level.

The Triple Rectifier Head is one more example of this ongoing development of great sounding amps. Following on from the success of the patented Dual Rectifier ® series, they introduced a third channel upping the gain to a massive 150 Watts (switchable) and adding more switchable modes to increase the sonic possibilities.

newsletter23 gear triple rectifier Mesa Boogie Triple Rectifier Head

Each channel has a separate 5 way EQ to control the Bass, Mid, Treble, Presence and Master settings as well as a separate gain for each channel. There’s also the option to choose what power setting you want: 150 Watt or 50 Watt, so you can play at a lower level while maintaining the high gain crunch.

In addition to these individual channel settings you have and Output section that allows you to alter, up or down all channels in one go. The Main output allows you, once you’ve locked in each channel to your desired sound, to boost or lower the overall output volume of all channels at once. The Solo switch, gives you another volume setting that is applied (in parallel) over all channels for Solos – which is also foot switchable.

Each channel gives you the choice between two types of rectification to apply; Silicon Diode for tighter low end tracking, more head room and a more articulate sound and Vacuum Tube for less head room, a sweeter and less articulate sound.

And for tuning in silence, they now have a dedicated Tuner output so you can tune without everyone listening in.

Not only is this amp packed with great sound options, you also get a choice of front panel from the iconic diamond plate, black taurus or jute to match the look and feel you best matches you.

There are so many options packed into the Triple Rectifier that you’ll want to spend some serious time experimenting with. Of course, the Mesa guys give you heaps of tips and technical know-how within the user manuals, which are available online and make for easy and informative reading.

I’ll admit, 150 watts is a massive amount of noise potential and not one that I’m accustomed to using. But that wouldn’t stop me from taking a test drive. Check out the video below to hear some of the boundless options the Mesa Boogie Triple Rectifier is capable of.

ab4e2097d32a3cfb2d407817c82c42dd Mesa Boogie Triple Rectifier Head

Posted by Dan Orr

“…the obnoxious stink of a too loud electric guitar… now that’s my idea of a good time.”

Frank Zappa

If you really want to make ridiculous, obnoxious, weird and strange sounds then your first stop is an electric guitar – your next stop is an amp and some crazy effects chained together.

If you really want to take a journey to the end of the line then Fred Frith might just be your man.  Just don’t expect to come back feeling anywhere near normal!

FredFrith August2006 Fred Frith

Somehow or another Fred sounds as if he’s playing underwater,  in zero gravity, or dissembling his instrument inside a piano of sublime gargantuan dimensions with Mark Z. Danielewski as his conductor!!

piano house Fred Frith

If you are really keen on pushing the envelope then some of Fred Frith’s ideas might just float your boat!

Fred has managed to forge a career using an approach to guitars and playing that remains quite clearly so far left of centre it is almost inside out. Welcome to the avant garde world of guitar but, like Jazz, if you have to ask…you’ll never understand!

Fred must be doing something right or wrong even – try playing the second and third video clips ABOVE  simultaneously – they sound great together. Here is a link to some of Fred’s work – the seminal album guitar solos which contains absolutely nothing of the sort – is worth a listen because it is, in fact, surprisingly listenable and if you don’t like it your tropical fish probably will.

PEAK FREENS!

Cheers,

Jake Edwards.

head in sand 300x236 Playing the blues   its as easy as 1, 4, 5

Playin’ tha blues – it aint no big thing and it aint nobodies business if i do!

To play the blues you only have to count to five. Well holy schmoley Batman! That`s one number too darn many fo` some! Right , look out people because today’s post is about as much fun as a mouthful of sand – dry, uncomfortable and nitty-gritty; but just like  your monster-in-law its a necessary evil if you want to reap the rewards!!!

The blues is built almost exclusively around I – IV – V

leadbelly Playing the blues   its as easy as 1, 4, 5

Let’s refresh what we’ve learned so far about scales and chords.
Before you learn how to form certain chords you must first learn about scales.

A scale is a series of notes that play in an ascending and descending manner. For every scale (major or minor) there are 7 notes, for example in the key of C the notes are C – D – E – F – G – A – B.

The 8th note (in this example C) goes back to the root note but an octave higher.

Each note of a scale has a corresponding number from 1 to 7. So for the key of C it will be as follows:
C = 1
D = 2
E = 3
F = 4
G = 5
A = 6
B = 7

In order to make a major triad you will play the 1st + 3rd + 5th notes of a major scale.
In our example it is C – E – G, that’s the C major chord.

Let’s have another example this time using the C minor scale:
C = 1
D = 2
Eb = 3
F = 4
G = 5
Ab = 6
Bb = 7

In order to make a minor triad you will play the 1st + 3rd + 5th notes of a minor scale. In our example it is C – Eb – G, that’s the C minor chord.

Roman Numerals

Sometimes instead of numbers Roman Numerals are used instead. We go back to our example and use a Roman Numeral for each note in the key of C:
C = I
D = ii
E = iii
F = IV
G = V
A = vi
B = vii

Those with a Roman Numeral that is capitalized (I, IV, V) represent notes from which the major chord is built. While those that have lower case numerals (ii, iii, vi) represent notes from which minor chords are built.

The I, IV and V Chord Pattern

For each key there are 3 chords that are played more than others known as “primary chords”. The I – IV – V chords are built from the 1st, 4th and 5th note of a scale.

Let’s take the key of C again as an example, looking at the illustration above, you will notice that note I on the key of C is C, note IV is F and note V is G.

Therefor the I – IV – V chord pattern for the key of C is:
C (note I) = C – E- G (1st + 3rd + 5th note of the C scale)
F (note IV) = F – A – C (1st + 3rd + 5th note of the F scale)
G (note V) = G – B – D (1st + 3rd + 5th note of the G scale)

There are many songs that have been written using the I – IV – V chord pattern, “Home on the Range” is one example. Practice playing the I – IV – V chord pattern for every major key and listen to how it sounds as this might inspire you to come up with a great melody for your song.

Here’s a handy table to guide you.

I – IV – V Chord Pattern
Major Key         – Chord Pattern
Key of C                C – F – G
Key of D               D – G – A
Key of E               E – A – B
Key of F               F – Bb – C
Key of G              G – C – D
Key of A             A – D – E
Key of B             B – E – F#
Key of Db          Db – Gb – Ab
Key of Eb          Eb – Ab – Bb
Key of Gb         Gb – Cb – Db
Key of Ab        Ab – Db – Eb
Key of Bb         Bb – Eb – F