3.31.2009

Rock House Method Scores In Guitar World Poll

Article courtosy of Music Trade Magazine http://www.musictrades.com

WHICH GUITARISTS are having the biggest influence on today’s market?

According to Guitar World magazine’s 2009 Reader’s Poll, many of them are affiliated with The Rock House Method, a comprehensive music learning system that incorporates books, DVDs, and a vast array of web-basedsupport materials. The poll was published in the magazine’s April issue.

In the Best Metal Guitarist category, Rock House instructor Alexi Laiho (Children of Bodom) took the number one spot (ahead of Metallica’s Kirk Hammett) while Rock House instructor Alex Skolnick (Testament) came in third. In the Most Valuable Players category Skolnick and fellow Rock Houser Eric Peterson, both of Testament, took second place, just behind Hammett and James Hetfield of Metallica but ahead of AC/DC’s Angus and Malcolm Young. Rock House instructor Jeff Loomis’s Zero Order Phase took the number four spot in the Best Shred Album of the Year category. The company was further represented in the Best Extreme Album category by Alexi Laiho with Children of Bodom’s Blooddrunk (number two) and Oli Herbert with All That Remains’ Chiron (number three), as well as in the Best Metal Album category by Peterson and Skolnick with Testament’s Formation of Damnation (number 3) and Michael Padget with Bullet For My Valentine’s Scream Aim Fire (number 5).

“The Guitar World poll really vindicates what we have been saying about the direction of guitar and the new generation of heroes over the past five years,” commented Rock House co-owner Joe Palombo, “and being included among its most important products of the year says a lot about how our educational philosophy and approach have impacted today’s market.”

jp@rockhousemethod.com
www.rockhousemethod.com

Bass Finger Walking - Bass Guitar Lesson

BY: Jimmy Rutkowski

BASS FINGER WALKING
There are 4 audio tracks available for download that go with this lesson. 
See full track listing at the end of the lesson.

In this exercise we will be working on getting our fingers to move around the bass in a classically flavored example. You should practice this in strict rhythm with a metronome. If you don’t have a metronome, download from the web site member’s area for free.

Have fun!!!















 
The Downloadable Audio Track Listing

Download all these tracks for just $1.99. Yes I want the practice tracks

1 .Bass Finger Walking Bass Tuning Notes
2. Bass Finger Walking Solo Bass Example
3. Bass Finger Walking Bass and Drum
4. Bass Finger Walking Practice Track
Click here for A complete listing of all the Bass Lesson Audio Downloads.

5 Music Terms of the Day

KNOWLEDGE IS POWER

Upbeat - One or more notes occurring before the first bar line, as necessitated by the text for the purpose of desirable accent. The unaccented beat of a measure. 

Vivo - Lively, bright. 

Adagio - Slow; slower than andante, faster than largo.

Baroque - The period 1600-1750. 

Camminando - Following easily and gently.

3.30.2009

The Limit Release "House of Sand" Video

The ever hard working band The Limit have released their new video for their song "House of Sand" from their latest CD Reinventing the Sun

You can check out more videos on their You Tube Channel http://www.youtube.com/thelimitmusic

FREE General Admission Tickets to EPIPHONE REVOLVER GOLDEN GODS AWARDS

Source: Job for a Cowboy My Space: http://www.myspace.com/jobforacowboy
 
SoCal residents: FREE general admission tickets available to EPIPHONE REVOLVER GOLDEN GODS AWARDS!!!


Hosted by actor/comic Brian Posehn (The Sarah Silverman Program), the EPIPHONE REVOLVER GOLDEN GODS AWARDS will be highlighted by performances from Megadeth, Killswitch Engage, Hatebreed, All That Remains, and Suicide Silence.

The evening—a celebration of the music of one of rock’s most enduring and fan-supported genres—will also feature special appearances by Motorhead’s Lemmy Kilmister, Glenn Danzig, Maynard James Keenan, Chuck Billy and Eric Peterson of Testament, Trevor Phipps & Ken Susi of Unearth, Jonny Davy of Job for a Cowboy, Protest The Hero, Marta from Bleeding Through, Isis, Brendon Small from Dethklok, WWE wrestler CM Punk, and many more.

In additional to all this, rock legend Ozzy Osbourne will be honored with a Lifetime Achievement Award at the event, presented by America’s leading heavy music magazine, REVOLVER.


The EPIPHONE REVOLVER GOLDEN GODS AWARDS will take place on Tuesday April 7th at Club Nokia next to the Staples Center in Los Angeles and starts at 6:30pm.
(Club Nokia: 800 West Olympic Blvd Suite A335, Los Angeles, CA 90015)


FREE GENERAL ADMISSION to award show!!!!If you live in So Cali and want a free General Admission ticket to come out to the show to watch metal history go down then email Kelli Malella at goldengodstix@yahoo.com with your full name, mailing address, and if you want to opt in on the Metal Blade Records News & Tour Update list (these typically are only sent out once a week unless something big comes up that we want you to know about right away).Number of tickets is limited and are given based on a first come first serve basis.

All requests must be received no later than Thursday April 2nd so we mail out tickets in time for the show.

*All Metal Blade Records is providing is General Admission tickets to the Epiphone Revolver Golden Gods Awards; NOT travel, accommodations, or any other costs that arise while you are at the event.

Win a VIP Tour Package and an ESP!

ESP Guitars and Live Nation Want to make sure you get a chance to catch the No Fear Energy Music Tour featuring Lamb of God, As I Lay Dying, Children of Bodom, God Forbid and Municipal Waste. They’re not just giving away a pair of tickets to a show near you, they want you to have a chance to win a trip for two!

One Grand Prize Winner will receive a VIP trip for two to Denver, CO where you’ll be put up in a hotel for 2 nights. There’s more. ESP wants you to go in style so they’ll send a limo to take you to meet up with the bands at The Fillmore. Yeah, You’ll get to meet the guys, get a killer ESP axe, and catch the show VIP style. Sounds pretty bada$$, right? Oh almost forgot the $500 for incindentals!
 

All That Remains Hit The Top 10 on Rock Radio

Source: ATR My Space http://www.myspace.com/allthatremains

ALL THAT REMAINS SINGLE“TWO WEEKS” HITS TOP 10 AT ACTIVE ROCK RADIO

BAND TO PERFORM AT REVOLVER GOLDEN GODS AWARDS ON MTV2;

DATES WITH SLIPKNOT AND ON THIS SUMMER’S MAYHEM FESTIVAL


(New York, NY) – All That Remains (ATR) continue to knock down walls with their first top 10 single, “Two Weeks,” at Active Rock radio and are the only band currently in the top 10 with their first track at this format. The band are confirmed to perform at the hard rock/metal music awards show, the Revolver Golden Gods Awards, which will be broadcast on MTV2 as a one-hour special debuting Saturday, May 2nd. All That Remains continues to tour extensively, in April the band will head out for headlining dates, including the New England Metal and Hardcore Festival. ATR will join Slipknot in May and will play rock festivals such as Rock on the Range in Columbus, OH. They continue this summer on the Rockstar Energy Drink Mayhem Festival alongside Marilyn Manson, Slayer, and more.


“In the words of the immortal Peter Griffin "HOLY FREAKING CRAP!" “Two Weeks” is in the TOP TEN at rock radio. That's something I never would have thought would happen for a band like us,” the honest reaction from All That Remains frontman Phil Labonte. “We thank everyone who called their local rock stations and requested our song. It's amazing to be a part of this and have such supportive listeners.



Massachusetts hard rockers All That Remains' latest release OVERCOME debuted at #16 on the Billboard Top 200 chart in September and has already sold over 140,000 copies. First single “Two Weeks” has been a mainstay on the Active Rock radio charts for the past six months (click here request the song at radio) and the music video was just added to Fuse’s Rock Countdown and voted the #2 clip of 2008 by viewers of Headbangers Ball, receiving frequent play on MTV2. All That Remains has a surging online presence and their music has been included on both Rock Band and Guitar Hero 2 video games, resulting in over 100,000 additional individual track downloads. OVERCOME has received great reviews from the cover of Metal Edge magazine to the Alternative Press rave “New England’s newest metal golden boys (and girl)…Phil Labonte’s vocal prowess is almost unmatched…ATR stand out.


www.allthatremainsonline.com


ALL THAT REMAINS on tour:

APRIL

7 Los Angeles, CA Revolver Golden God Awards at Club Nokia
14 Burlington, VT Higher Ground (w/ August Burns Red)
15 Syracuse, NY Lost Horizon (w/ August Burns Red, Unholy)
17 Worcester, MA Palladium (New England Metal and Hardcore Festival)
20 Knoxville, TN The Valarium
21 Jacksonville, NC Hooligans
22 Asheville, NC The Orange Peel
24 Charlotte, NC Amos Southend
25 Orlando, FL Tinker Field (WJRR Earthday Birthday)
26 Charleston, SC Ladson Fairgrounds (WYBB May Day)
28 Austin, TX Emo’s
29 Odessa, TX Dos Amigo’s


MAY
1 Farmington, NM Gators
2 Phoenix, AZ The Farm
4 Spokane, WA Knitting Factory Concert House
5 Boise, ID Knitting Factory Concert House
6 Murray, UT Murray Theater
8 Oklahoma City, OK Zoo Amphitheatre (KATT KHBZ Discorust)
9 Little Rock, AR North Shore River Walk Park East (KDJE Edjefest)
10 Park City, KS Hartman Arena (w/ Slipknot)
12 Sioux Falls, SD Canaries Stadium (KRRO radio show)
13 Mankato, MN Alltel Center (w/ Slipknot)
14 Cedar Rapids, IA US Cellular Center (w/ Slipknot)
15 Madison, WI The Orpheum
16 Columbus, OH Crew Stadium Rock on the Range


ALL THAT REMAINS / MAYHEM FESTIVAL:

JULY
10 Sacramento, CA Sleep Train Amphitheatre
11 San Francisco, CA Shoreline Amphitheatre
12 San Bernardino, CA Glen Helen Pavilion
14 Seattle, WA White River Amphitheatre
17 Phoenix, AZ Cricket Pavilion
18 Albuquerque, NM Journal Pavilion
19 Denver, CO Fiddler’s Green Amphitheatre
21 Kansas City, KS Sandstone Amphitheatre
22 St Louis, MO Verizon Wireless Amphitheatre
24 Atlanta, GA Lakewood Amphitheatre
25 Indianapolis, IN Verizon Wireless Music Centre
26 Chicago, IL First Midwest Bank Amphitheatre
28 Toronto, ON Molson Amphitheatre
29 Scranton, PA Toyota Pavilion
31 Cleveland, OH Blossom Music Center

AUGUST
1 Pittsburgh, PA Post Gazette Pavilion
2 Detroit, MI DTE Energy Music Theatre
4 Boston, MA Comcast Center for the Performing Arts
6 Virginia Beach, VA Virginia Beach Amphitheatre
7 Camden, NJ Susquehanna Bank Center
8 Hartford, CT New England Dodge Music Center
9 Washington, DC Nissan Pavilion
11 Tampa, FL Ford Amphitheatre
12 West Palm Beach, FL Cruzan Amphitheatre
14 Dallas, TX Superpages.com Center
15 Houston, TX Cynthia Woods Mitchell Pavilion
16 San Antonio, TX Verizon Wireless Amphitheatre

For more information, please contact:
Kerri Brusca/Razor & Tie
212-598-2212 or kbrusca@razorandtie.com

Stars Of Guitars features Gary Hoey

Gary Hoey and friends are invading California in April for a few all star shows. Craig Chaquico (Starship) and Vernon Reid (Living Colour) will also be joining Gary for the shows. If your in the area you won't want to miss this.


April 2 Orange Blossom Junction Exceter, CA (Hoey and Chaquico only)
(www.orangeblossomjunction.com)

April 3 The Canyon Club Agoura Hills CA
(http://www.canyonclub.net)

April 4 The Coach House San Juan Capistrano CA
(http://www.thecoachhouse.com)

April 9
Gary Hoey will be appearing Solo (no band) for KCAL's Poker Tournament After Party
The Pines Room @ San Manuel Bingo and Casino
(http://www.sanmanuel.com) (http://www.morningstiffy.com)

"Rock the Waves 2009"
Gary Hoey Band Aboard the Carnival Splendor
7 Days out Long Beach CA
Performance and Clinic
Special Guests!
Puerto Vallarta, Cabo san Lucas, Mazatlan
Nov.

8 2009
(http://www.bestmusiccruises.com)


5 Music Terms for the Day

KNOWLEDGE IS POWER

Langsam - Slow.

Mancando - Fading away

Non - No; not.

Opus, Op - The term, meaning work, is used by composers to show the chronological order of their works, e.g. Op. 1, Op. 2.

Percussion family - Instruments made of sonorous material that produce sounds of definite or indefinite pitch when shaken or struck, including drums, rattles, bells, gongs, and xylophones.

3.27.2009

Rock House Presents Behind The Strings w/ Buz McGrath of Unearth

The crew from Rock House is at it again. A new web-isode from the "Behing The Strings" series has just been released on The Rock House You Tube Channel. 

In this episode Buzz McGrath of Unearth is in the Rock House studio preparing to record the latest Rock House instructional DVD. Get a behind the scenes look at Rock House, along with some antics that go with working in one of the greatest companies there is.

For previous episodes go to http://www.youtube.com/therockhousemethod

FREEKBASS - The Ultimate Reds Fan

I saw this on Freekbass' Blog and thought it was just too cool not to post. I need to see the video but just look at the picture of the funkiest bass slaper on the planet in the Reds Stadium. It's an awesome shot.

 
For info on the video check it here - Freekbass Blog

The Weekend Read for March 19th - March 26th

Some interesting reads from the almighty Rock House Blog - Blog Roll



Dy-sphoric -  Kevin posted the following today: March 19th and this is great material on practicing. Kevin Sinclair: Why Practice Is Important

Guitar Answers -  Let's talk about setting the intonation on your guitar. Quick Music Fact....Setting The Intonation

Guitar Player Zen - It’s funny how the more and more I study this craft of music, the more I realize I don’t know everything. Music, Insight, and Realization 
 
Guitars -  I just really like the look of this guitar. Sims Custom Shop of Nashville TN

SkolNotes -  I'm going to get this out in the open right now: there is a video of me singing a Bon Jovi song at the top of my lungs. Bon Jovi Revisited

Strat-O-Blogster -  If you're like me and not much of a science geek, you may have wondered what these Samarium Cobalt Noiseless pickups are all about. Samarium Cobalt Noiseless Pickups Clarified

Street Musician - These next few exercises are really good for building your finger strength, stamina and stretching abilities. Killer Warm Up Exercises 


Have a rockin' weekend
Sarge 

Lick of the Week - Rob Balducci on Tube Screamers

Rock House Method artist/instructor Rob Balducci is one of the biggest overdrive and tone nuts you'll ever run into.

In his lick of the week Rob talks about tube screamers. In particular the Ibanez TS-808.

Rob stated on his You Tube site, "This has all the greatness of the original pedal but this has the added warmth that the original was missing. Each one of the new TS 808 HW is hand wired and they take their time in making sure everything is perfect.

"The sound is so smooth and does not take away anything from your tone, it just adds to it. I can only describe it as butter lol.. smooth as butter and when used on a clean sound it adds just the right amount of drive to get that great bluesy tone you have been craving. On an already overdriven amp the TS 808 HW adds singing sustain that goes on forever and brings out those harmonics that you want to hear".

"The pedal is built like a tank and the footswitch that you use to turn pedal on and off is so quiet when you switch it on and off and is also very smooth".



Rob Balducci's You Tube http://www.youtube.com/RobBalducci
Rob Balducci's My Space http://www.myspace.com/robbalducci

Girls Who Rock - The Rock House Girl of the Week, Jacky

The Rock House Method Girl who Rocks is Jacky.

There's a lot of attention given to guys who can tear up the fretboard but there's a lot of girls who do too.
 
RH: When did you start playing?
 
Jacky: I started playing guitar at the age of 15, which was back in April 2007.

RH: Why should girls rock?
 
Jacky: Well, there is so many of us chicks out there who play instruments and listen to heavy metal bands etc, its not only just guys who do that ;)

If ya take a look around youtube for girls shredding guitars, you are definitely bound to find one with great skill. So if you see a chick who can shred, it shows we have the same potential/talent that a male can show on guitar... or for any instrument really.

RH: Whats your favorite music to play?
 
Jacky: My main favorite would have to be metal, bands like Children Of Bodom, Devildriver, Lamb Of God etc...any song that has catchy riffs and sounds good to me, I'll play. Other than that, I don't mind playing acoustic and rock stuff, always loved melodical music, particularly in the metal style (excellent finger exercise).

RH: Your Musical Goals?
 
Jacky: A goal I've always got set in motion each week, is to tackle as many challenging songs as I can to improve my technique at guitar. My long term goal would be, to one day be able to play like my guitar hero Alexi Laiho. He is definitely a big inspiration to me alongside many other icons including, Michael Amott, Chris Amott, Jason Becker, Roope Latvala, Dimebag and many more. I also wouldn't mind joining a metal band, but that's something I will figure out in a few years time.

RH: What guitars do you play?
 
Jacky: I own an electric Ashton guitar, which i received a day before my birthday back in 07, and I now currently own an ESP Alexi Laiho LTD 200 guitar which I only just got mid last year. Love that guitar.
 

The 5 Music Terms of The Day

Knowledge is Power

Enharmonic - A term used to describe notes of the same pitch which have different names, e.g. c  and d , f and g  

Festivo, festoso - Festive; merry.

Glissando - Gliss. The rapid scale achieved by sliding the nail of the thumb or third finger over the white keys of the piano. Glissando is commonly used in playing the harp. For bowed instruments glissando indicates a flowing, unaccented playing of a passage. 

Homophony, Homophonic - Musical texture which is characterized by chordal support of a melodic line.

Interval - The difference in pitch between two tones.

3.26.2009

Filing Guitar Frets - Advice from GEAR 411

GEAR 411 is an exclusive advice section on The Rock House Method web site (www.rockhousemethod.com) is it written by Tony Pasko, The Rock House Gear Doctor.

Question: Hey Tony I have a Beringer guitar I use as a repair dummy. Right now I'm learning how to get rid of a high fret. I've tried hammering it back in and filing it down and none of those worked. its only buzzy on the 3rd and 4th fret. am I not filing it down enough?


Filing frets can be a very dangerous endeavor if your not sure what your doing. Good thing you sacrificed a guitar that you can practice on.

This is what I would do:

1) Tape the fretboard, covering the wood and only leaving the frets exposed. (Scotch tape works the best)

2) Tape or cover the body area around the fretboard. (This is to protect the finish from the file if you happen to slip)

3) With a black sharpie mark a line down all the frets. (Just the top of the fret should have marker on it)

4) With very fine sandpaper and a sanding block, rub lightly over the frets. This should rub off the marker. If the frets are level, then all the marker will rub off evenly. if not and some frets are to low, then the marker will still be there.

This is a good way to guage what has to be done to fix the problem. I would recommend a radius sanding block and a couple of fret files.

Having the right tools is always a good idea, especially when you are working on your instrument.

Check out the Stewart Mcdonald website. Stew Mac.com I think? This website has every tool you need for guitar repair. They also have videos for sale that will walk you through certain projects.

It's nice to see that you are trying to learn these technics. Keep it up working on your guitar brings you closer to your instrument and your craft, with a few of these skills you will be-able to take a cheap guitar and tweak it to where it's a monster guitar.

Cheers,

Tony J. Pasko

Taylor Spring Limited 700 Series Guitars

Press Release from Taylor Guitars www.taylorguitars.com

Spring is in the air at Taylor Guitars and with that, a limited series of guitars are set to be released at price points to make each strum even sweeter. Featuring exciting and inviting Madagascar rosewood, Tasmanian blackwood and ovangkol tonewoods, each series will have players musically inspired and eager for playtime.

In the 700 Series LTDs, the rich, chocolate hues of Madagascar rosewood enchant the eyes, while the zesty, articulate highs, deep lows and ample dynamic range please the ears. Available as a 710ce-LTD, 712ce-LTD, 714ce-LTD or 716ce-LTD, this Spring Limited series offers exceptional value for a myriad of premium features. Each guitar is carefully crafted from a back and sides of Madagascar rosewood, a Sitka spruce top, and rosewood binding. On the inside, the series includes Taylor’s proprietary CV bracing and patented relief rout for greater tonal resonance. Finished in a high-gloss, the series includes the premium appointments of a Madagascar rosewood backstrap trimmed with maple and ebony, an Indian rosewood peghead overlay, along with Taylor gold tuners and mother-of-pearl dot inlays on the fretboard.

Sounding just as good as they look, the 400 Series Limiteds feature a honey-colored Tasmanian blackwood back and sides and are dramatically accented with creamy maple binding and mini-wedge. With a Sitka spruce top, a sparkling abalone rosette, stylish mother-of-pearl diamond fretboard inlays and a high-gloss finish on the top, back and sides, the blackwood 400 Series Limited Edition is available as a 410ce-LTD, 412ce-LTD, 414ce-LTD or 416ce-LTD. Along with the 700 Series, the 400 Series features a sloping Venetian cutaway and Taylor’s Expression System® for high fidelity plugged-in playing.

Electric players will not be disappointed, as the world’s best-selling acoustic/electric hybrid, the T5, will be offered in a Spring Limited Edition model at an exceptionally low suggested retail price. Featuring Taylor’s propriety pickups and a five-way pickup switch, the T5 offers players plenty of versatility in its range of voices. Finished in an organic, satin top of ovangkol and a body of sapele, the guitar comes ready to play in a Taylor gig bag.

The Spring Limiteds will be released in early April and available at Taylor dealers worldwide. Suggested retail prices for the 400 Series-LTDs start at $2,698; 700 Series-LTDs, $3,498; and the T5-LTD, $1,798.

Peavey Introduces Compact, Professional Euro™ Series Enclosures

Press Release from Peavey International www.peavey.com

Peavey proudly introduces the Euro Series™ loudspeaker enclosures, a line of high-grade, portable professional loudspeakers that specialize in high performance, light weight and high power handling in a compact enclosure.

The Peavey Euro Series marks the debut of an exclusive Peavey-engineered loudspeaker that utilizes a dual voice coil and neodymium magnet design. The two-way, full-range Euro 115 and Euro 112 enclosures utilize this new loudspeaker - in 15" and 12" formats, respectively - in conjunction with the Peavey RX™22 titanium compression driver. Patented asymmetrical Quadratic Throat Waveguide™ technology eliminates distortions commonly caused by drivers pushing high sound pressure levels to deliver pristine, precise sound reproduction.

The Peavey Euro 218 Sub achieves astounding performance, compact size and light weight. Featuring a pair of 18" neodymium-loaded loudspeakers arranged in a vented, isobaric chamber, the Euro 218 Sub produces massive low-end performance in a smaller enclosure than a typical 1x18 sub, and up to 3,000 watts peak power handling.

Housed in an ultra-light, nine-ply enclosure and protected by HammerHead™ coating and a full-length, 16-gauge powder-coated perforated metal grille, the Euro Series is designed for durability. All Euro Series enclosures feature stand mounts, making it easy to mount the Euro 115 and Euro 112 on a Euro 218 Sub or other subwoofer. Side handles make the enclosures easily portable.

The Peavey Euro Series will be available in Q3 2009 from authorized Peavey retailers.

Euro™ 115
  • 15" Neo dual voice coil, high-performance woofer
  • RX22™ ferrofluid-cooled titanium compression driver
  • 1,000 watts program and 2,000 watts peak power handling
  • Frequency Response: 65 Hz to 18 kHz
  • 98 dB SPL
  • Patented Quadratic Throat Waveguide™ technology
  • Asymmetrical horn directs the sound down to the audience
  • Sound Guard™ III tweeter protection
  • Two Neutrik® Speakon® four-pin, full-range input jacks
  • Trapezoidal ultra-light plywood enclosure
  • Durable HammerHead™ polyurethane finish
  • Built-in stand-mount adapter
  • Ultra-compact design
  • 27.38" H x 18.13" W x 17.5" D (15.13" W in rear)
  • 45 lbs.
  • Made in U.S.A.
  • U.S. MSRP $819.99
Euro™ 112
  • 12" Neo dual voice coil, high-performance woofer
  • RX22™ ferrofluid-cooled titanium compression driver
  • 1,000 watts program and 2,000 watts peak power handling
  • Frequency Response: 79 Hz to 18 kHz
  • 95 dB SPL
  • Patented Quadratic Throat Waveguide™ technology
  • Asymmetrical horn directs the sound down to the audience
  • Monitor use with angled side/rear panel
  • Sound Guard™ III tweeter protection
  • Two Neutrik® Speakon® four-pin, full-range input jacks
  • Trapezoidal ultra-light plywood enclosure
  • Durable HammerHead™ polyurethane finish
  • Built-in stand-mount adapter
  • Ultra-compact design
  • 23.88" H x 15.13" W x 16.25" D (7.88" W in rear)
  • 39 lbs.
  • Made in U.S.A.
  • U.S. MSRP $769.99
Euro™ 218 Sub
  • Dual, Peavey-exclusive Pro 18" Neo woofers
  • 1,500 watts program and 3,000 watts peak power handling
  • Frequency Response: 43 Hz to 400 Hz
  • 95 dB SPL
  • Vented enclosure with isobaric chamber
  • Neutrik® Speakon® input connectors
  • Compact, lightweight design
  • Built-in speaker pole mount
  • Heavy-duty steel handles inset on both sides
  • Durable HammerHead™ polyurethane finish
  • Full-length steel grille
  • 22.75" H x 27" W x 24.5" D; 69 lbs.
  • Made in U.S.A.
  • U.S. MSRP $1149.99

The 5 Music Terms of The Day

Knowledge is Power

Vivace - Lively, brisk, quick, and bright.

Accompaniment - A vocal or instrument part that supports or is background for a solo part. 

Bar line - The vertical line placed on the staff to divide the music into measures.

Cambia - A direction found in scores to change tuning or instruments. 

Damper pedal - On pianos, the pedal that lifts the dampers from the strings.

3.25.2009

Conversations with Tony Smotherman - A RHB Exclusive, Part 2

Today is the second part on our interview with Tony Smotherman. If you missed the first part you can find it here Part 1

Rock House Blog: What was that shining moment in your career that you felt all the effort that you have put into everything made it worth while? 
Tony Smotherman: I remember a friend calling me up and he said get yourself to Jacksonville Beach right now. Buddy Miles is here…… and …….. He wants to meet you. So I headed up to the beach and  my friends were actually doing a gig with Buddy Miles. My friend was the drummer for “The Band of Gypsies”. This was also my favorite era of Hendrix.  So I get to the beach and Mr. Miles was there. The band was all set up and they had everything you could imagine, So I walk inside and there he was, this guy that I have been seeing since I was a kid and he looked at me and said, “how you doing young man”? I said I’m doing fine and he asked me if I was playing. I said well I brought my gear so, yes sir. He says well go get it. So I went and grabbed my gear and brought it in, which was just a Marshall 212 amp, my guitar and a wah pedal. So I plugged in and he says ok everybody we’re going to go around the room and we’re going to play a Muddy Waters song and everybody’s going to solo. I’m like oh God, here we go man, so we got to it and everyone got to solo and then it came to me. Well, I didn’t want to be overbearing so I had my volume down because I didn’t want everybody to say that it was too loud. But as my solo came I pumped it up and I just got right into the groove and I held this note that really just had this Hendrix feedback thing going on but it was really musical. So I’m holding the note and start bending, the feedback and all was coming  in, it was getting powerful. Then Buddy stopped everything, he stopped the whole band. And everyone is looking at me like your in BIG trouble man. He never stops unless he’s really angry. He looked at everybody and he looked over at me and I can hear people whispering that I’m in trouble. Buddy looks ant me and says, “young man”. I said yes sir? I thought he was going to say get your stuff and go. But, he says, “can you turn that amp up? I haven’t heard anybody put that kind of shit on a guitar in a long time.” And that was it, I was like lets crank it man. Buddy says alright everybody lets start again with Tonys solo. I remember going into the solo with this really modern Hendixy thing going on. After that was done he asks me if I’m in a band. I said yeah I’m in a band. Then we sat down and had a long talk. He said that he was going on  the road and he wanted me to go with him. And, that shinning moment started my career as a Buddy Miles guitar player.

RHB: I hate to move on after that incredible story Tony I could easily just close this interview out with that. But, I know your into exotic scales. I would be letting The Rock House readers down if I didn’t have you tell us about those.

TS: Well, Western music is based around the Major scale so, everything has a very common distinct sound in Western music. However, when you go to other countries they have their music built around different scales. Most of the time they are playing on different instruments. So, they are tuned a lot different and they sound a lot different. The heritage of those countries have a tradition that their music and scales are built on. For instance, if you were to hear Japanese music it has a very distinct sound like when they use the Kodo or any of the old traditional instruments. If you go to India and you hear the Sitar you will hear a different set of scales to evoke a different emotion. So from country to country you have these different scales and an exotic scale is exactly that. It’s a scale that is foreign, it’s a scale that’s not commonly used.

One thing that always fascinated me and got me into exotic scales. I’m actually Armenian, so growing up my mom would always play Greek music and I would hear Bouzouki or an Oud or a strange stringed instrument that was playing different scales. I was always interested in this but I didn’t really get into it until I got into electric guitar. I stumbled across things and then I started actually studying them.

The interesting thing about it is if for example we were going to play a Sitar, people think that you have to play all those strings that are on it. There’s like 30 strings on it but you only play one string. The rest are just there to ring out. You play that one string across the fretboard not up and down like a regular scale on a guitar. So when you start viewing the exotic scales across the fretboard like that and then all the sudden you transfer that to the guitar you are using the whole neck. If you can do that, then your using every string and every fret across the neck and so now your not playing a position any more.

Now the cool thing is you can start playing exotic scales like that but then you can do the opposite and you can start working on the more superlative scales, like the blues scale. Then you can get this really kind of bluesy singer feel ya know, if you can get the vibrato just right. So on those old traditional instruments when you are playing those scales, it’s very strict and very hard because those instruments are hard to play. When you tune to them through a guitar, now the world is at your hands because you have these really fine tuners on your guitar, you have a neck that’s set up correctly to play so that your fingers don’t bother you, so getting to know exotic scales can bring out some real interesting sounds that can really highlight a lot of different styles of music from metal, to rock, to blues if you know how to use it. How to use something such as an exotic scale is really the most important thing.

RHB: I’m pretty excited about the concept Tony, I ready to start to them!

TS: That’s the beauty of it, I’m really into complex-simplicity. It is so complex but you can make it so simple that anybody can do it, it doesn’t mater what level you are at. You can really start to sound like yourself, an individual very quickly. You know, if you take the western approach where everybody listens to other guitar players and then everybody wants to sound like this guy, you want to sound like that guy, oh no I want to sound like him, no I’m not quite as good as him yet. Why not start to sound original right way? All you have to do is approach the instrument from another direction. If you approach it differently well then now, you don’t sound like everybody else. Now, when somebody hears you after you’ve been playing for 8 months, as a complete beginner, people listen and say that’s Curt, there is no doubt about it. I new it from the first 2 notes I heard. And, that’s hard to do if you take the traditional route.

RHB: I think that’s exactly what people are looking for is their own style. I mean everyone wants to sound like someone or play like certain people but I think as we progress as musicians what we are really after is our own sound, our own style.

TS: That’s really the key to it man. Most guitar players sound so cloned. All they do is listen to each other all day long. And that’s ok if all you want to do is play. There’s nothing wrong with that at all man, if that’s what you want. But if you really want to do something and have your own voice on that instrument then it’s imperative that you approach it a little different. There’s really no other way around it.

RHB: So when you jam with a group of musicians are you just like playing exotic scales then?

TS: Well, ya know, the roots really never leave you so when it comes down to it the classical roots are still deep. Even if I’m not playing traditionally on the instrument. It might be the way I come up to a note or the way I feel influenced at the time, but nobody would ever know that. I could be playing blues but, you will still get that feel and emotion and people will say wow that was really interesting how he hit that note. So there might be some classical influence in a very unobstructed way.

But then it really comes down to the roots of the rock, to the Jimi Hendrix. I get really tired of one thing pretty quick so I jump from rock to funk to jazz to blues. So as far as jamming with other musicians I don’t really try and go at from this angle or that angle. I totally try and let all that stuff find it’s own voice and let it come out however it may be. If we were jamming on some blues I’m not going to veer off and play Indian type things because you will lose everybody. So very important to feel everything.

There are so many different styles of music, world  music is incredible and there’s so many rock guitar ideas in world music. But people aren’t using it because they don’t know about it, they don’t understand how to get to it. But it’s a whole ‘nuther world man, and it is so fun and it’s not what you would think, like it’s a whole different way of playing. It’s really not. It’s just borrowing ideas and putting it into what you already do. It’s not changing what you already do it’s just spicing it up with some new things that are going to make you sound so much different than everybody else. And that is the ultimate goal.

RHB: This is really good stuff Tony I should just end the interview here but I have a few more questions for you.

TS: Sure go ahead.

RHB: Earlier in the interview we talked about those influences that got you interested in playing. Are there any current influences for you?

TS: As far as guitar players there are some guitarist that are doing some really interesting things on the guitar. I would totally say that Mattias Eklundh is an amazing guitar player. His playing is like a lot of peoples I’ve heard. It’s so home grown ya know, and that’s what I really like. I like guys that can the instrument and really create new sounds. Bumblefoot is another highlight guitarist, who approaches the guitar from such a different direction that it’s impossible to sound like him if you wanted to. But probably the biggest influence for me today is the music of India. It doesn’t matter if we’re talking in a blues sense or rock sense, it has nothing to do with the style. I’m influenced by the approach of Indian musicians to their instruments because, that style of music is based upon making your instrument talk. It’s about emoting a sad felling or happy feeling depending on the raga. If you can get the basic concept of how a raga works and what it’s supposed to do. You see an Indian  musician or a singer will wake up to different ragas of the day. For instance if you’re an early riser, like 5 AM then you have a particular raga that you start on to start your day and it emotes a particular feeling of inspiration or happiness. If you’re a guy that’s up late, if you’re a night owl then you have your own special raga for yourself. That would be a raga of artistry, a raga of approaching the day in a creative way because you are up late and you are sleeping the part of the day that the whole world is going. Those things influence me, the sounds of those ragas I find really inspiring on the guitar because you can approach that from the blues and from rock and from any other style of music. That to me is the biggest inspiration.

RHB: I got to be the most creative guy there is then. I’m always up late at night.

RHB: Tony what was the hardest technique for you to learn?

TS: The hardest thing for me was tapping with all the fingers. Because, like a piano player has his hands straight out. As his hands are stretched out over the keys he has all this energy flowing through his arms. With a guitar it’s constricted, you have your hands twisted and the energy can not flow correctly like that. As a guitar player we’re used to using 3 fingers of one hand and a pick in the other. Or may 2 fingers of one hand and a pick in the other. To use all my fingers to play scales and things like that was probably the most difficult thing to get clean. I still work on that stuff. I still work on everything all the time.

RHB: What about your musical goals right now?

TS: I have a really incredible group of guys that I have put together and I love playing live. To me that’s where it’s really at. Playing in front of people with energy and bring an emotion across to those people is really the goal.

So I guess in the future the goal is to continue to play live and to play in as many places in the world as is possible. You see, with instrumental guitar music it’s very difficult. People think you need a singer and you got to do this way. But for the instrumental player, although I do sing a couple songs at the end of the show that’s like a Hendrix medley. Most of the show is instrumental. So I found that if you go out there and you start ripping people heads off it won’t work, because they won’t get it. Some of them might not even play guitar and won’t understand it. So, in order to do that you have to hand feed them first. For instance I might have the bass player hold an octave and the drummer splash some cymbals. Now you have this bed to play over. They hear that and all the sudden you come in with this heavenly Lydian scale or something like that and feed them some beautiful volume levels into some nice notes and they understand that, they can feel it because it’s music. Once you have that set up you can play anything you want the rest of the night because now they’re into it.

The goal of a musician is to reach as many people as possible that don’t understand instrumental music and have them enjoy the show. So playing as many gigs as possible and growing as a musician and learning. Learning, everyday there’s something, we have so much to learn everyday. I want to continue to share my knowledge and share things that I’ve stumbled across and getting that out to people that are interested in learning new things.

RHB: What’s your favorite gear Tony?

TS: Halo Guitars has built me a guitar and it’s a great guitar. I’ve been playing them for quite awhile so that’s my main axe. As far as acoustic guitars I play Ovations. I think they are incredible. I playing through a Revolt amp, again an incredible piece of equipment. The president of the company built the amp for me. I told them I was looking for something that I could play rock, blues, jazz, everything but I wanted to get  the sound by just turning my volume knob or cranking it and it needed to be subtle to every nuance. Incredibly enough they did that. The Revolt Barbarian amp is unreal.

RHB: Well Tony I better get this wrapped up. Can you give me your thoughts on Rock House?

TS: Sure, I only recently found out about Rock House a couple years ago when I was reading about the company. Some friends I know have gotten involved with the company. Rusty Cooley got involved and he told me “these guys are such a great family”. So I started to get to John McCarthy and Joe P and wow what inviting, family oriented people. I said to myself, you know for a company to be in the right state of mind they have to be family oriented people, you have to like people. I think that’s why the company is so great is because of their attitude toward this business and their love for music. And if you don’t have that you can’t have a good company. That in fact is what it’s all about. I think John and Joe are true fans, as well as John being just an incredible guitar player. I think because of all that, that is what brings greatness to Rock House.

I saw the DVDs, they are unbelievable, they are just unreal! The feeling you get from the DVDs is that it’s not just a guy that came in and sat down started playing. It’s someone who is comfortable right in front of the camera, there’s no other way to that unless you’ve been there for a few days getting to know everybody and hang out and you can see that on the video without even knowing it.

I wanted to thank Tony for an incredible interview and taking time out of his busy schedule so we could get to know who he really is and what he represents in this the greatest business you could ever dream to be a part of. The music business.

Here are the links to Tonys web sites for further reading:
Tony's web site - http://www.tonysmotherman.com/ 
Halo Guitars - www.haloguitars.com/ 

Bugera 6262 Amp Review by Terry White

Terry White is a long time member of The Rock House Method. He is a gifted musician who gigs as much as he can. Terry is also a guitar instructor. He is a little different than most as he doesn't charge for his instruction. Terry is also very knowledgeable about guitars, amps and other gear that most of us are interested in. Terry recently got his hands on a Bugera 6262 amp head and put it to the test. The following is his on hands review of the Bugera 6262.

You can check Terry out on his my space site http://www.myspace.com/countryboy2082

Before jumping right into this I have to let you know that I have tested, used, tried, owned, or just played around for fun more than 50 different types of amplifiers over the last 25 years, all tube and solid-state alike and this is the first time in that 25 years that I am honestly impressed. And now I will tell you why.

Back in October of 2008, I decided that it was time to go out and purchase a new amplifier. I wanted an all tube design, but I also wanted to be able to play any type of music that I would choose and still use the same amplifier. Everything from Southern Rock, to the heaviest of Heavy Metal, and everything in between. Changing amplifiers in the middle of a set is not an easy task, and I have grown tired of having one amp that I can use for this song and have to either add an overdrive or distortion pedal for other type’s songs. So with that said I set out to find an amplifier that could do it all.

Well I found several that would fit that bill but the biggest problem was that all of them would have cost me anywhere from $1100.00 up to $3000.00 dollars just for the amplifier head alone. Well that was out of the question. Spending that much on just an amp head would leave no money for the many other things that are needed by any guitarists, like guitars.

Several months prior to my decision a company called Bugera had sprang up out of nowhere with an all new line of amplifiers that had been getting attention from all over the place. The amps were a big hit at NAMM that year, and the only local dealer kept telling me that I should try one of the amplifiers. He explained that because of the price of the amplifier that there was pretty much no way I could lose.

After weeks of thinking and hours and hours of research I finally decided to purchase the Bugera 6262 120 watt all tube head. Out of pocket cost to me for this amplifier was $529.00. That is one third at the very least and one fifth of what many of the amplifiers in this class were going for.

The Bugera 6262 is a dual transformer all tube design that boasts not 3 or 4 preamp tubes like most amplifiers on the market now. But 6 and yes that not a typo 6 12AX7 preamp tubes, as well as 4 6L6 power tubes that if you wish can be easily swapped out for EL34 power tubes. Just the flip of a switch, and a quick bias made easy because the switch and the bias connection and dial are right there beside the power tubes. But for now I have stuck with the stock 6L6 power tubes.

Before actually putting this amp into use on stage and being depended on I had to do some testing. For testing I used a very nice 412 cabinet that a friend loaned to be that was equipped with Celestion Vintage 30 speakers.

Now with everything I need for testing I bring the amplifier and the borrowed cabinet home to my small studio which is really only a garage that has been turned into a nice acoustically balanced room. Everything is triple grounded; even the mats on the floor are made of a sound proof material, with a non conducting rubber base. All of this keeps out any unwanted noise from anything in the room using an electrical current. And those of you that use all tube high powered amplifiers know what even a tiny amount of noise can cause in an all tube amp.

At first I thought that I would just play around and see how the amplifier sounded just here with only me, no other instruments, and no band at all.

The 6262 is laid out very basic and straight forward, there is only a single guitar input, not the more traditional high and low gain inputs that most of us are use to having on modern amplifiers. All the knobs are what we call chicken head which are really just a basic knob or dial that looks much like a chicken head. No shiny chrome plated buttons, and pretty lights. This amplifier is all business, nothing else.

For effects I use and still do use only a T.C. Electronics G-Major effects processor run through the effects loop equipped on the 6262, which can be controlled by a footswitch that comes with the amplifier, which also controls turning on and off the lead and clean channels as well as the reverb.

With everything plugged in and ready to go, I turn on the power switch leaving the amplifier in standby allowing the tubes to warm up enough for tone, I plug in my favorite guitar. A Schecter C-1 Blackjack FR that has been modified a little. I replaced the standard Seymour Duncan JB pickup with a Seymour Duncan TB-6. The standby light comes on letting me know it’s time to play. So I set the bass, treble, and midrange to my liking. And I turn the gain up only to about 7 thinking that too much more with that many preamp tubes and I will lose all my tone to nothing but overdrive.

Starting off with no effects at all I just played around with some of the old standby licks that we have all come to know and love. Some Ozzie, a little Van Halen and the like. And, much to my surprise this amplifier sounds as good as or better than any of the current or past amplifiers of its type that I have tested. And what I mean by amplifiers of its type are amplifiers that are designed much the same way with a 5 and 6 12AX7 preamp tube designs as well as using a 4 6L6 power tube setup. For now we will leave those amplifiers nameless as this article is not intended to be a mudslinging contest, just a review of a really good amplifier at a great price, but for those of you that chase tone the way most of us do I am sure that you know many of the amps that will fit that description. And keep in mind still no effects and the gain is still only at 7.

Now I’m impressed and call a few guys to come over with their instruments and let’s see what this thing can do with a ton of bass and some very loud drums. Remember this is a garage that has only been padded.

Some of the guys get here and just for kicks I turned the head around facing the wall just to see if they would even know what amp I was using. We go through several tunes and decide to go to stage level volumes. So yes I just had to dime that gain knob and crank the volume to about 6 (which I do not recommend in a garage).

Much to my surprise by turning the gain all the way up I did not lose tone but actually gained it. This is something that you would normally only get in some of the best boutique amplifiers, costing much, much more. Turning up the gain actually added great sounding bass as well as opened up every harmonic tone I would get from my Schecter Blackjack. We get about half way through a song called “Aint Talking Bout Love” By Van Halen and my drummer is screaming for me to turn the volume down because he hears me over his own drums, and the bass player is bugging me to let him plug his bass into this head.

Once we stop long enough for our ears to take a break I turned the amplifier head around for the guys to see what the amp was. All of them are just standing there trying to understand how this so called cheap little amp sounded like that.

Now, try to remember that nothing has been changed, this amp is still all stock. It is using stock 12AX7 Bugera tubes, I have not changed anything. The only thing different really is that I used a 412 cabinet made by another company that is equipped with Celestion Vintage 30’s. And I only did that because at that time the Bugera 412 cabinet that I ordered with the head had not arrived yet.

Just for the fun of it, we call up another friend that owns one of the amplifiers in this same type of preamp and power amp setup manufactured by a brand that has been around for many years and turns out some really great amplifiers and invited him over with his amp. I challenged him to go head to head with this amp just to see how this would come out. And if I had not been there and tried this myself I probably would not have believed it. The much higher priced brand of amplifier just could not keep up, the bass response was much less, and while the higher priced competitors amp did sound great and with the gain dimed there were still great harmonics it was just not the same as the 6262. Before leaving my friend asked if he could play on the amp for a little while and he sat there for almost 2 hours before I could get him to give it back.

Now I am in no way putting down on any of these amplifiers that cost a thousand or two more I actually like them all and they sound great, if you want to pay that much for it. And out of 8 of us in that room everyone agreed that the Bugera just flat out sounded better overall.

We decided to take the amp out for a few small shows and see if anyone could tell the difference in sound. And much to my surprise that weekend I got more compliments that I had in the last 2 years combined. Some of the local guitarists actually wanted to know who I had sent the amplifier to and have it modified. I could not get any of them to believe that it was totally stock, that nothing at all had been changed.

Now down to brass tacks so to speak. For the next 3 weeks we punished that amp, hours and hours of playing at full tilt total melt down settings. And guess what, I did finally blow a transformer. But instead of complaining about the failure I decided to use this as a way of seeing just how well the company would stand behind its product.

A sent out a single email about the problem to the nice people at the Behringer Corp. Now even 24 hours later I had a response, and a very pleasant response. Instead of them telling me I had to ship it off to be repaired they simply asked if I had a dealer nearby that had a 6262 head. Well the only dealer close did not have one so I emailed and let them know. A day later I got an email with a tracking number and a prepaid shipping label telling me that a new amplifier was already on the way and to please pack up the one with the blown transformer and ask the UPS driver to pick it up as he dropped off the new one.

Now, I have been doing this a very long time, and I can tell you that I have never known of a company to just flat out replace an amplifier just by taking my word for what I thought was wrong. With an all tube design you are going to have failures from time to time, that’s just the nature of the beast. You can’t predict vacuum tubes or even transformers. The technology behind tube designs has not really changed very much over the last 30 or 40 years. But I do not know of any company at all that will just replace an all tube amplifier, and defiantly not within only a couple of days of contacting them. Most companies insist that you ship or take it to an authorized service center got repair, no matter how long it may take.

So for me this is what I call a cant loose amplifier. The sound is there, the tone is there, the power is there, and probably one of the most important things is that the service is there. This company does stand behind this amplifier, and not just for the multi-million dollar stars, but for just the common guitarists like you and me.

So here is my final recommendation for the Bugera 6262.

If you are in the market for an all tube amplifier you would be almost nuts not to at the very least go out and try one for yourself. Most of the dealers are more than happy to let you play until your heart is content because they know playing on this amplifier will sell it for them.

Dollar for dollar I do not know of any amplifier out there anywhere made by anyone that can even come close to the Bugera 6262.

An all tube design, using 6 preamp 12AX7 tubes and 4 6L6 power tubes, a true serial effects loop, and one of the best on board reverbs I have ever heard. And they even throw in the pedal to control all of it at no extra charge at all.

Ask yourself, what more could you want or need. This is a down to business, no frills, turn it on, and turn it up total melt down kick ass amplifier. Try one and tell me if I’m wrong.

For more info on Bugera products you can check it here http://www.bugera-amps.com/

The 5 Music Terms of The Day

Knowledge is Power

Quintet - A piece for five instruments or voices. Five performers.

Re - In solmization, the second degree of the major scale. 

Scherzo - "Joke." A piece in a lively tempo. A movement of a symphony, sonata, or quartet in quick triple time, replacing the minuet.

Teneramente - Tenderly. 

Un poco - A little.

3.24.2009

Conversations with Tony Smotherman - A RHB Exclusive, Part 1 of 2

This weeks conversation is with guitarist extraordinaire Tony Smotherman. Tony is an extremely accomplished guitarist who will be working his way into The Rock House soon with 2 DVDs that are going to blow you away.

For those of you that aren’t familiar with Tony here are a few tidbits from his web site http://www.tonysmotherman.com -

Tony is quickly becoming one of the most popular Guitarists on the scene...

His eclectic mix of influences sets him apart from all of his peers with his own distinct sound.

Innovating new techniques and combining a huge array of different styles, Tony has created a diverse musical world.

Tony has opened for and played with a vast array of national and international touring acts.

Although rooted in Rock. Tony intertwines all the musical worlds he explores with his own distinct fingerprint.

Tony is featured in the April 2009 Issue of Guitar World Magazine's "Betcha Can't Play This" with Tony Smotherman.

When I called Tony he was getting ready to head into the studio to wrap up his new solo album. If that wasn’t enough he was also getting prepared for some music clinics in his area.

Rock House Blog: So Tony tell me more about your clinics.

Tony Smotherman: My clinics are called “Licks of the Absurd”. The clinic is based on creating other worldly sounds out of your guitar. I show how to create the sound of a harmonizer without any effects pedals or any of that stuff, the sound just comes straight from your amp. How to mimic a Sitar, neat Japanese instruments and all kinds of weird stuff but just with no effects pedals. This is created by how you attack the strings, the notes that you play, where you play the notes at and all the applications for that stuff. I also teach about exotic scales and of course normal guitar techniques but more modern techniques like how to tap without really tapping. People are really getting into that. I spend a lot of time just trying to figure new things out.

RHB: I like the idea of creating sounds without the pedals.

TS: I have found that people have enough effects and pedals to launch the space shuttle. I don’t think all that is necessary man, there is so much right on the instrument. If you just look at the instrument in a different way there is so much there and you can mimic a lot of different things that you need those pedals for, only you can do it without them. And, I think it’s more impressive and more fun.

RHB: Lets start by going back in time Tony, can you tell me about your early beginnings with music?

TS: Sure, I began playing when I was about 14 years old and I wasn’t really interested in playing rock music or anything like that. A school teacher of mine was in his class room one day and he was playing Bach on a CD player and when I walked in I heard that, I had never heard anything like that before. I mean I’ve heard classical music but I never heard anything that captivated me like that. It was Bach being played on the organ and it just immediately captivated me. I knew right then that I wanted to play music I just didn’t know what I wanted to play.

It was a couple weeks later and I was in a grocery store and I went to the magazine aisle and I saw this guitar magazine that had Yngwie Malmsteem on the cover and thought to myself that guy looks pretty cool. I opened up the magazine and couple pages in was a picture of an old man sitting in front of a symphony with a guitar and I said, “Oh God that is so cool”. I mean just the picture was so inspiring. I bought the magazine to read more about it and the guys name was Andres Segovia who is a classical guitarist. So I immediately tried to find the music of Andres Segovia because I wanted to hear what his guitar sounded like, that picture of him was so powerful. I then bought a CD of his and I couldn’t believe it. Here was a guy playing the guitar with all that classical music, it was so beautiful, it was just so amazing and I said “that’s it, that’s what I want to do. I want to play classical music” and I wanted to play it on the guitar.

RHB: So that was it you just went out and got a guitar and started playing?

TS: Well, my parents couldn’t afford lessons at the time and they couldn’t afford a guitar. I was at school and I was talking about guitars with a buddy of mine. He said, “hey I got a guitar do you want to buy it“? I said yeah! He said, “It’s 35 dollars, it’s an electric guitar“. So immediately I got really excited and I went home and told my parents I needed 35 bucks to buy a guitar, and they bought the guitar for me.

After that a friend of mine started taking guitar lesson from a teacher and he took me to one of his lesson one time and I asked the teacher if he ever played classical guitar and he said, “yeah I actually teach classical guitar”. So I begged my parents please, please, please, please, please could I take lessons and they let me. So he started to teach me classical guitar on my electric guitar. He told me that I really needed a nylon string guitar for this but I was just totally mesmerized by it and used my electric. My mom would take me home and I would be in the back seat trying to work on the lesson before I got home. I would even try and memorize the whole lesson before I got home. We live in the south, in the woods so it was long drive home and I would take every second that I had to work on this material. He introduced me to a lot of music including renaissance music. It was very simple but it had a classical sound. After a couple months of that my parents had put together some money because my teacher said that he had talked to them on the side and told them that I needed a real classical guitar. My parents surprised me, he sold them his classical guitar for $350, man that was a lot of money back then. So I remember coming home one day and I walked into my room and there was my teachers classical guitar sitting on my bed. I thought “wholly cow” man, I couldn’t believe it. I immediately picked it up, I was so happy and I began to play some of the stuff I learned on the guitar. When it started coming though it sounded right, it sounded good. It didn’t sound like Segovia but it sounded like the same sound you know? And, that began my classical guitar thing. I practiced so many hours a day because I just loved the sound. I was really working on it properly. I was sitting up correctly and really getting my fingernails to the right point but I still had so many questions. Then one day I was in class and heard a Bach Lute Suite and I couldn’t believe how beautiful it was. It sounded like 4 guitars playing at the same time. That started my quest onto Bach and I learned all the Lute Suites and they were pretty flawless at the time because I was practicing so hard.

RHB: I read on your web site about getting recognized by The Queen of England.

TS: The biggest highlight of playing classical guitar was getting recognized by Queen Elizabeth the II for my classical guitar playing.

A teacher of mine used to have me come into school and play for her every morning, she was from England. She would tell me “Please come to school early and bring your guitar, I want to hear you play every morning before school”. So I did that. Then she says “We need to talk, my parents still live in England, and you know the Queen has classical guitarist come and play for her all the time. Lets put together a package for you to send her, lets get you recorded and lets send it to the Queen, you never know what will happen”. So she wrote a cover letter and I wrote a letter to the Queen. We put everything together and we sent it out.

About 2 months later a letter came in a gold seal and everything. The first letter was from the Lady in Waiting. Then there was a second letter that had an HRH on it and it had a royal stamp. I was like HRH? HRH? And then it hit me it stood for Her Royal Highness. So I opened it up and it was a hand written letter for the Queen. The Queen told me that she wasn’t able to adhere to my request for me to come and play for her. (Mostly because of a lot of political things going on at the time). But that she had received my music and she received it well and that she found it to be very highly sophisticated classical music and that I should continue on with my playing and continue to write to her and let her know about my career as the years go by.

RHB: So when did the conversion to electric guitar come?

TS: I was at a buddies house and he put on a record and said “hey, do want to hear a real guitar player, listen to this”. He put on this record and I heard this thunder and lightening and all the sudden this crazy and fast picking and arpeggios and all this stuff and I said, “Oh my God” that is a classical guitar player that plays an electric guitar, “that’s what I want to do” and it was Yngwie Malmsteem. That was it, that’s what started the electric guitar thing.

I also heard Jimi Hendrix, that took me to another world by exploring his playing and the things that he did. I was probably 16 or 17 at the time actually so I kind of started late on the electric guitar.

RHB: I find it interesting that many classical guitarist reference Jimi Hendrix, what’s the correlation?

TS: Jimis music is so timeless that within it if you really open your ears and listen, everything is already in there. Its got R and B, it’s blues, it’s rock, it’s jazz, it’s even classical music. Not so much that he is playing anything classical it’s just with the direction that he went. His mind was so open that he could have taken you anywhere, that’s the classical influence. It’s not that he played classical but there is just a huge, huge correlation between Jimi and every kind of music and that’s why it’s so timeless, that’s why he was so timeless. When Jimi plays he touches you in a way that no other guitar player is able to. There aren’t many musicians that can hit you like that. It’s just a very particular feeling that you get from him. It’s not that he was that much better, it’s that feeling that he brought across that hits you and it hits you hard. So that’s the correlation I think.

Tomorrow in part 2 of our interview with Tony. We will talk about the biggest moment in his career, exotic scales, Rock House and what's on tap for Tony in the future.

Conversations with Tony Smotherman - A RHB Exclusive, Part 2