vault vol.4 no2 february 2014

7/24/2019 Vault Vol.4 No2 February 2014

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F E B R U A R Y 2 0 1 4

TODDRUNDGRENTHE DRIVING FORCE IN ’70s-ERATECHNO ROCK TALKS ABOUTNFLUENCES, GEAR, AND RECORDING

TECHNIQUES IN THIS CLASSICNTERVIEW FROM 1977

LITTLE FEAT’S

LOWELL GEORGEAND PAUL BARRERE

GEORGE BENSONOCTAVE SOLOING LESSON

PLUS

3 FREE SONG TRANSCRIPTIONS

W

W

W.GUITARPLAYER.COM



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GUITAR PLAYER VAULT | February 2014 | 7

nnFebruary 2014 · Volume 4, Number 2

from the vault

8 Classic Todd Rundgren InterviewA driving force behind ’70s-era techno rock,

Todd Rundgren talks about his influences, gear,and recording techniques in this classic

interview from October 1977.

12 Little Feat Guitarists Lowell George and Paul Barrere in this

feature from the August 1976 issue ofGP .

Gear

18 New Gear (from the February 2014 issue of Guitar Player ).

oN the NewsstaNd

20 GP February 2014 Table of Contents

lessoNs

22 George BensonOctave Soloing

(from the August 1976 issue of Guitar Player ).

26 SteelworkerJohnny Hiland’s Blast Furnace Bends

(from the August 2002 issue of Guitar Player ).

sessioNs

38 The ever-popular TrueFire Lessons

traNscriptioNs

40

“If You Talk Too Much (My Head WillExplode)” People in Planes

50 “Blue Moon” The Marcels

54 “Rue de la Guitare” Jimmy Buffett

Todd Rundgren - Page 8




classic interview




october 1977



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CLASSIC INTERVIEW

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of Guitar Player magazine

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current issueHere’s what’s in the February 2014 issue of Guitar Player , on Newsstands Now!

RIFFS

Soren Hansen’s must-have touring gear; Craig Locicero’s top Spiral Arms guitar moments;

Steve Vai, Joe Perry, and Eric Johnson at the Rock and Roll Fantasy Camp; Jim Hall

remembered; and more!

COVER STORY

50 Badass Blues Solos You Must Hear!

The GP staff runs down our list of 50 classic—and soon-to-be classic—blues breaks.

Bonus! The all-time greats are also represented, with their no-brainerfamous tunes as well

as some lesser-known hidden gems.

ARTISTS

Dean DeLeo · Jim Campilongo · Henry Kaiser · Pete Anderson

LESSONS

Under Investigation

A thorough examination of a particular style or player. This month: King Crimson’s

“Elephant Talk.”

Guthrie Govan

An introduction to blindingly fast strumming.

You’re Playing It Wrong

You might think you know how to play classic riffs like “Satch Boogie.” Here’s the absolute

real deal.

Fretboard RecipesMajor Scales Pt. 2

Rhythm Workshop

Bending in Rhythm Pt. 2

GEAR

New Gear

Roundup! Three new Eastwood electrics

Ernie Ball M-Steel Strings

Andrew White Freja 1022 and Eos 110 acoustics

Musicvox MI-5 and Spaceranger MVX-30 Studio Custom ENGL Ironball

Stompbox Fever Spontaneous Audio Devices Son of Kong

Stompbox Fever TWA Great Divide

Whack Job 1967 Goya Rangemaster 116-SB

Fable Fighters What’s the Big Deal About Jumbo Frets?

ChATTER

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IN TH E IN TRO TO J IM H ALL’S MAY

1983 cover story, JimFerguson and ArnieBerle wrote, “While most jazz guitaristsarebebop-influenced and thereforesome-whatalikestylistically, JimHallhas man-aged to develop an approach rivalingthatof Django Reinhardt, Charlie Christian,and Wes Montgomery in individuality.Inspired by tenor sax men Lester Young,ColemanHawkins,andBenWebster,Hall’s

horn-likesolos areeither passionately lyr-icalor abstractand angular, butnever pre-dictable.Yethe’sequallyknowforthenoteshe doesn’t play—his work is unusuallysparse. And Hall’s playingalways reflectsthe gentle warmth and thoughtfulness of his own personality.”

Hall had an extraordinary career thatsaw him work his melodic magic withthegreatestjazzmusicians on theplanet,including Sonny Rollins, Bill Evans, EllaFitzgerald, OrnetteColeman, Ron Carter,

Chet Baker, Steve Gadd, and many, manyothers. Alongtheway hemadeaprofoundimpacton scores ofjazz guitarists such asPatMetheny,JohnScofield,JohnMcLaugh-lin,BillFrisell,andjustaboutanyonewho-ever played aliltingmelody.

Jim Hall passed away December 10,2013, less than a week after his 83rdbirthday and the world and the worldof music are poorer because of it. Hereare some of Hall’s thoughts from h is ’83cover story.

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thatsomethingis acopy of aclassicinstrument, Musicvox’s gui-tars and basses areabreath of fresh air. Whilepretty adventurousstylistically, the company successfully blends myriad influencesinto something totally coherent and functional. More recently,the company has ventured into amplifiers with the MVX-15 andMVX-30 combos. These stylish, tube-powered amps are a wel-come addition to the Musicvox line, so I was intrigued to checkoutthis new guitar/amp set.

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lessons august 1976

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lessons

“In his genre, this kid has more

control over the instrument than any

guitar player I have heard.”

—STEVE VAI ON HILAND.




B L A

S T

- F U R N A C

E

B E N D

S

E X

P L O R E

J O HNN Y

H I L A N

D ’

S

B L A

S T

- F U R N A C

E

B E N D

S

E X

P L O R E

J O HNN Y

H I L A N

D ’

S

our nights a

week, thirsty

tourists who

stumble into Roberts

Western Wear—a

funky, fabled honky tonk

on Nashville’s infamous

Lower Broadway—get

a special treat. Bearing

down on what appears

to be a tiny Tele, a large

young man named

Johnny Hiland fills the

long, smoky room with

quicksilver runs and

whining bends.

august 2002




Three years ago, when Redd Volkaert left the

Roberts house band to join Merle Haggard,

Hiland slipped into the lead guitar slot. Since

then, he has earned a reputation as one of the

hottest country pickers on the planet.

Hiland’s story is compelling. He’s legally

blind, but that didn’t stop him from drop-

ping his history studies at the University of

Southern Maine and making a nervy trek to

Music City with less than $100 in his jeans.

Though he hasn’t finished his first solo

album, Fender recently signed him to an

endorsement deal, and Hot Licks is releasing

two Hiland instructional videos.

“It’s great to hear people blow across

changes with fast pentatonic scales—I do it

myself—but my whole thing is imitating steel

guitar,” says Hiland. “I saw Ricky Skaggs per-

form when I was ten, and something clicked

in my mind—Ihad to get that twangy sound.

I was vaguely aware Ricky had a B-Bender

in his Tele, and Marty Stuart—who also had

a B-Bender—was another big influence, so

I spent my formative years learning to play

B-Bender licks with my fingers. I had a B-

Bender Tele for a while, but I found that I

overused it and my finger bends were getting

rusty. So I decided to play my steel licks with

my fingers. Danny Gatton is my number one

guy, and he never needed a Bender, so that’s

good enough for me.”

Yank the Chain According to Hiland, you can emulate a

steel by learning a few basic grips. “When

you’re bending a hig h note and holding

a low one—something steelers do all the

time—you have to pull the bend toward your

feet,” he explains. “These three moves [plays

Ex. 1a ] come in handy, because they let you

play across chord changes.”

The first bend implies an A triad with its 3

(C#) in the bass. As you stretch the third string

away from you, notice how the top note shifts

from the root ( A) to the 2 (B).

“Your 1st finger makes a whole-step

bend,” Hiland explains. “Steel players have a

lever or pedal assigned to this root-to-2 shift.”

The second bend suggests a D triad. This

time, the low note is the 5 ( A), the top note

is the 3 (F #), and the bend moves a half-step

from 3 to 4 (F #-G ). As before, pull the note

toward your feet.

“When you’re sliding this shape up or down

the fretboard,” says Hiland, referring to Ex.

1a’s final grip, “you sometimes need to bend a

whole-step to stay within the scale. This move

suggests an Em triad with its b3 (G ) and root

(E ). Harmonically, you’re shifting from the

root to the 2 (E toF #), and you get a dissonant

sound that begs to be resolved. Using these

grips, you can also work through a V-I change

in the key of D [plays Ex. 1b], and you can go

all the way down the neck, like this [plays Ex.

1c]. This is another V-I move, but now we’re in

the key of A, and the bends alternate between

grace-note and more rhythmic sixteenth-note

maneuvers. To be more melodic, stagger the

low and high notes [plays Ex. 2]. I love pretty

licks like this one in G [plays Ex. 3]. The open

string adds some sparkle.”

lessons august 2002

Ex. 1a

TAB

Freely

44 (

)( ())

1

31

2 2

1

14 (16) 11 (12) 9 (11)

101216

B B B

TAB

= 76-100

44 ( ) ( ) ( ) ( ) ( )

(V)A

(I)D

14 14

16

12 12

14

11 11

12

9 9

10

7 7

9

(9)(11)(12)(14)(16)

B R B R B R B R B R

1

3

1 1

22

Ex. 1b

T

A

B

= 76-100

44 ( ) ( ( ( ( ( ( ( (

) ) ) ) ) ) ) )

1

2 23

11

(V)E

(I)A

13 13

14

(14) 11 11

12

(13) 9 9(11)

10

7 7(9)

9

6 6(7)

7

4 4(6)

5

4 4(6) (6)

B R B R B RB R B R B R

B R B

0

2

Ex. 1c

“If there’s no beautiful melody flowing out of the solo,

than it’s all hogwash.” —Johnny Hiland



lessons august 2002

Double TroubleHiland often bends two strings in har-

mony, as in Ex. 4. The phrase begins with

a pair of whole-step bends on the third and

second strings. Now that there’s no note

below the bends, stretch the strings toward

you. The key is to freeze your fretting-hand

fingers into a fixed grip, and then move them

as a unit. “I stole this from Reggie Young,”

admits Hiland. “He plays beautiful lines like

these in slow ballads. The last sus4 bend and

resolution on the fourth string is a classic

steel move.”

Ex. 5 also features harmony bends, but

this time the sus4 bend and release hap-pen on the fifth string. Try stringing both

examples into a V-IV-I pattern in the key of

A (E -D - A). First play Ex. 4 (V), then Ex. 5 (IV),

and finally slide Ex. 5 to the second position

to nail A (I).

Slip-Sliding“Steel players whip out these really fast licks

along two strings,” says Hiland, playing Ex. 6.

“To play them on guitar, you need to master

pre-bends. It also helps to understand the re-

peating dance that occurs in the first six beats.

After picking a note on the first string, drop to

the second string for a pre-bend, release, and

shift positions—all with a very fluid, almost

mechanical motion. Give yourself some time

with this one. Steelers just slide their bar frompoint to point and use a pedal for the bend and

release, but guitarists have to work a lot harder.”

Notice how each beat begins with piquant

major- or minor-second bends that release

into sweeter major or minor thirds. For maxi-

mum sustain and steel vibe, don’t lift your

fingers from the strings until you reach bar 2’s

third beat, and carefully observe the accents

and let ring markings.

“Do you like that behind-the-nut bend?”

asks Hiland. “Jerry Donahue owns that tech-

nique.”

TAB

= 92-112 44 ( ) ( ) 1

1

23

(V)E

(I)A

11 (11)

(11)9 9

9

7

7

6 6(7)

B R B R

Ex. 2

TAB

44

Country swing

( () )1

1

22

(IV)C

(I)G

0 2 2(3) 0 4 4

3 5

B R B R

33

= 3

(5)

= 84-100

i

Ex. 3

T

A

B

= 84-116

44

((

( )

))2

311

1

44

3

E

11 1199 9

996 6(7)

(12)(13) 11

11

B R B R

10 10

Ex. 4 Ex. 5

T

A

B

= 84-116

44 (

((

))

)

23

11

133

1

D

89

89

(10)(11)

77

799 9

7

(10)

B R B R

T

A

B

= 60-96 44

3( ( ( ( ( (

( )

))))))

*grad. B

*Bend behind nut

13 3

1

let ring - - l.r. - - - - - l.r. - - - - - l.r. - - - - - l.r. - - - - - l.r. - - - - -l.r. - - - - - - - - - - - - - - -

12(15) 14 12

10(14)12 10

9(12)10 8

778(10)

pre- B R

pre- B R

pre- B R

pre- B R

5(8) 7 5

3(7) 5 3 2 1 0

02

0

(2)

pre- B R

pre- B R

1 3

2 21

Ex. 6





lessons august 2002

Cluck and Shift“I do my share of chicken pickin’,” says

Hiland, as he plays Ex. 7a . “And it’s more

than a cool effect, because you can use a

ghost note to get from one point to the next.”

In bar 1, notice the muted cluck on the

and of beats two and four. This is what Hi-

land uses to “mask” his shift from the twelfth

to the tenth position, and then from the tenthto the eighth position. If you use your 3rd

finger for the cluck—as shown—you’ll be

set up for the next series of notes.

Bar 1’s first pre-bend covers a half-step,

and the second spans a whole-step. Bar 2’s

closing moves are classic B -Bender fare. To

make those last G - A bends a bit easier, back

up your 2nd finger—the one that’s doing

the work—with your 1st finger. In Ex. 7b, we

adapt these moves toD7

. Play both examples with a country-swing feel.

Ex. 8 is another cluck-and-shift gem. This

fast E7 -D7 - A7 lick features three pre-bends

and releases, as well as two transitional

clucks. The clucks let you keep the rhythm

flowing as you first move from the tenth to

the eighth position, and then from the eighth

to the fifth position.

Notice bar 2’s pair of triplet eighth-notes.

Splitting a beat into three equal parts can pro-

vide a rhythmic source of tension. In this case,

tension builds in the middle of bar 2—across

beats two and three—and is then released

with beat four’s quarter-note.

“Triplets give you a rolling sensation,” Hi-

land elaborates. “They push the lick forward.”

Pull the final sus4 bends (bar 2, beat

three) toward the floor, and for maximum

twang, keep the G ringing below them.

Speedy Tricks“You can play fast without much fretting-

finger commotion,” asserts Hiland—who

proves it by playing Examples 9a and 9b. “If

you think about it, steel players don’t move

their bars for every note. They find a posi-

tion and pull several notes out of it. Withthis approach, your picking hand does the

quick moves.”

The secret lies in the left-hand setup.

In a single move, fret the first, second, and

third strings, and then instantly follow this

“clamp” with a smooth pre-bend. Once

you’re in place, the first four notes almost

play themselves. For a full-on honky tonk

sound, pick the treble strings with a reverse

roll (ring-middle-flatpick).

Ex. 10 lets you create a shower of notes

using essentially one fretting-hand grip per

measure. This sustained bend occurs in bothbars 1 and 2—first in the fifth position, and

then in the third position. In this lick, use

your 1st finger to play the ghosted clucks,

and don’t let the second-string bend go flat

while you’re holding it—it has to ring against

the higher tones.

In bar 3, you need to simultaneously grab

all three treble strings before launching into

beat one. It’s worth the effort: This clamp

yields six notes, including a prolonged bend

and a crying release.




lessonsaugust 2002

TAB

44

= 120-160

Country swing

= 3

D7

( ) ( )

( )

( )1 2

21 2

2 24

3

24

10(12) 11 9

8(11) 9 7

7(7) 5

7

75 (7)

let r ing - - - - - - l .r . - - - - - - - - l .r . - - - - - - - -

pre- B R

pre- B R

pre- B R B

Ex. 7b

TAB

44

= 96-138

Country swing

= 3

( ) ( )

( )

3

( ) ( )

3

14

3 3

1

4 31 3

2

1

(V)E7

(IV)D7

(I)A7

let ring - - - - - l.r. - - - - - - - - -

pre- B - - -R

l.r. - - - - - - - - -

1012

(13) 11 9

810

(11) 9 7

pre- B - - -R

58

(9) 7 57

6 (7) (7)6 6

pre- B - -R B R B R

5

Ex. 8

TAB

44

= 120-160

Country swing

= 3

( ) ( ) ( ) 1 33

1 33

42

3

A7

let r ing - - - - - - l .r . - - - - - - - - l .r . - - - - - - - - - - - - -

12(15) 14 12

10(14) 12 10

9(10) 8

9

98 (10)

pre- B R

pre- B R

pre- B R B

Ex. 7a

TAB

44

= 116-138(I)A7

( ) 1 43

31 1

2

1

let ring - - - - - - - - - -

58

(9) 77

555 6

pre- B R

( ) 14

33

11

(IV)D7

810

(11) 977

77

10

l.r. - - - - - - - - - - - - -pre- B R

Ex. 9a Ex. 9b

HONKY TONK HANDS

Fig. 1

Fig. 2

Fig. 3

LIKE MOST HOT-ROD COUNTRY guitarists, Hiland uses a hybrid picking

technique (Fig. 1). He grips a Fendermedium flatpick, and uses acrylic nail

extensions on his middle and ring

fingers.

Hiland peppers his lines with two-

and three-string oblique bends. (In an

oblique bend, a note is bent against

one or more stationary pitches.) To give

his bending fingers maximum support,

Hiland parks his fretting-hand thumb be-

hind the neck (Fig. 2). Notice how he

momentarily mutes the unwanted bass

strings with his right-hand palm.

When stretching a high string and

holding a lower one, Hiland pulls the

bend toward his feet (Fig. 3). —AE



lessons august 2002


“When steelers play a burst of fast notes

like this,” says Hiland, playing Ex. 11a , “it’s

often from a single position. Their bar stays

still, and the melodic moves come from

pedals or levers.”

Wh ethe r pl ay ed by fi ddle , st ee l, or

6-string, the sextuplet sixteenth-note

rhythm that powers this lick is a staple of

country shredding. Get your three-string

clamp and pre-bend in place before the

downbeat. Once you start picking, the

only fretting-hand movement occurs on

the third string as you alternately release

and bend.Ex. 11b is an inversion of this hot-rod

E7 lick. The technique is the same, only the

position changes. “You can play these back

to back in a run,” says Hiland. “And if you’re

playing a fast bluegrass tune, these licks will

turn a few heads. People expect the standard

flatpicking style, and this fast right-hand

plucking takes them by surprise. I love to

explore this angle because not many guitar

players do.”

Sweet and Sour“If I had to choose a favorite bending

lick, it would be this one,” says Hiland,

picking Ex. 12a . “I can picture Ricky Skaggs

standing on a P.A. speaker with his purpleTele, playing to me —a little kid in Maine.

It’s dissonant—you get a half-step between

the F # bend and G above it. But that’s where

your picking technique takes over, because

you altern ate between the G and F # . In

context, it sounds cool.”

To prove his point, Hiland plays Ex. 12b,

a snappy A7 -D7 - A7 phrase. In bar 1, hold

the F # bend for the entire measure. In bar 2,

adapt the notes slightly to fit D7 : C # moves

T

A

B

= 56-72 E7

44 ( )

( ) ( ) ( )

( ) ( ) 6 6

( ) ( ) ( )6

14

3

1012

(13)

1012

(13)11(13)

hold*pre- B - - - - - - R

1012

(13)

1012

(13)11(13)

1012

(13)

1012

(13)11(13)

1012

hold B - - - - - - - - - - - - R

hold B - - - - - - - - - - - - R B

*Pre-bend from 11th fret.

Ex. 11a

T

A

B

= 56-72

44

E7

( )

( ) ( )

6

( ) ( ) ( )

6

( ) ( )

6

1

3

12 121515

(16) (16) (16)14

hold*pre- B - - - - - - - - R

hold B - - - - - - - - - - - - - - R

12 121515

(16) (16) (16)14

12 121515

(16) (16) 14 1214

hold B - - - - - - - - - - - - - - R

4

*Pre-bend from 14th fret.

3

Ex. 11b

TAB

= 112-132 44

( ) ( )

( ) ( ) ( )

( ) ( ) ( ) 3

4 1

3

1 43

31

1

1

2

(V)E

(IV)D

(I)A7

hold B - - - - - - - - - - - - - - - - - - - - R

7 (9) (9)5

57(9) 55

(7) (7) (7) 5 33

hold B - - - - - - - - - - - - - - - - - - - - R

7 (9)

58

(9) 77

5 55

6

hold B - - - - - - - - - - - - - - - - - - - - R

7

1 1

Ex. 10



lessonsaugust 2002


down to C, and G moves up to A. (Horn

sections use such contrary motion to cre-

ate their tight harmony.) One thing doesn’t

change—the F# bend sustains throughout

the measure.Ex. 13 shows another way Hiland bal-

ances the sweet and sour within a lick. “That

first bend and release is a total B-Bender

move,” he says. “Harmonically, you’re releas-

ing from G to G7 .” In the process, a sweet

major-third (G -B) drops to a tart tritone (F -

B). The next bend flips the process—a gnarly

major-second bend (D -E ) relaxes to a sunny

major third (C -E ).

Swing Shift“You get extra sustain and chime when

you work an open string into a lick,” says

Hiland, playing Ex. 14 with a relaxed swing

feel. “If you pick this carefully, the open E willring against the behind-the-nut G - A bend

and fatten up the sound.”

Here are some performance tips:

• As you change positions in bar 1 (and of

beat two), use the side of your picking-hand

thumb to briefly mute the strings while your

fretting fingers are airborne.

• Use your 1st and 2nd finger to push the

nut bend up a whole-step.

• As you bend the open G , lock in on the

target A before adding vibrato.

Ex. 15 combines several techniques we’ve

covered in this lesson. Check out the sly fin-

gering shift in the pickup notes: After playingthe harmonized bends and releases with your

2nd and 3rd fingers, slip into the seventh posi-

tion to fret E -G # with your 3rd and 4th fingers.

In bar 1, play both bends and releases

with your 1st finger while sustaining higher

tones above. Use two fingers for bar 2’s

repeated G - A bend, and for ultimate spank,

pluck all double-stops with your middle and

ring fingers.

TAB

Freely

44 ( ( ( () ) )

( ( () )

) ) ( ( () )

)

2

3

12

3

1 2

31 3

3 3

1

1 2

hold B - - - - - - - - - - -

hold B - - - - - - - - - - - - - - - - - - -

hold B - - - - - - - - - - - - - - - - - - -

hold B - - - - - - - - - - - - - - - - - - -

(I)A7

(I)A7

(IV)D7

= 138-184

9 (11)

98

9 (11)

98

(11)

98

(11)

98

9 (11)

8

(11)

8

(11)

810 10 10

9 (11) (11) (11)

98

98

98 8

877

55

7

77

7

55 6

( )

Ex. 12a Ex. 12b

TAB

44

= 96-138

Country swing

= 3

( ) ( ) ( ) ( )

24

3

3 4

11

3

2

1

(I)G7

(IV)C7

(I)G7

76 (8) 6

755 (7) 5

33

543

4(5)

B R B R B R

Ex. 13

TAB

44

= 104-126

Country swing

= 3

A7

l et ring - - - - - - - - - - l. r. - - - - - - - - - - -

pre- B R

( ) ( ) ( ) ( )

4

34

3

8(9) 7

5(6) 4

0

0 (2) (2)

pre- B R *B

*Bend behind nut.

Ex. 14

TAB

44

= 88-120

Country swing

= 3

3

( ) ( ) ( () )2 4

3

(( (

( )

))

23 3

4 1 4

)3

1

2

3

31

1011

(12)(13)

1011

99

97 (9) 7

976 (7) 6 7 9

97

B R B R B R

98 (10)

98 (10) 8

9

98 (10)

B B R B

(I)E7

(IV)A7

Ex. 15



lessons august 2002

Solo Sense“A solo is more than just stringing licks

together,” says Hiland. “I have students

who try to play every lick they’ve learned

from every artist they’ve heard—all in four

bars. There’s no fluency there. Listen to the

vocal melody, and base your solo off it. It’s

important to make music , not just practice

riffs. Record yourself playing 10 minutes of a

I-IV-V rhythm pattern—maybe throw a VIm

in there—and then start soloing over it. See

if you can take yourself on a musical journey

beyond the average country solo. I’m always

thinking, ‘How can I spin this into something

beautiful? How can I tweak listeners’ ears?’

I want to give people something they don’t

expect. Instead of copying Brent Mason,

Vince Gill, Ricky Skaggs, and Steve Wariner,

I try to intertwine what I’ve learned from

them. It’s like braiding a rope.” g


“I HAVE TWO FENDER ’65 TWIN REVERB

reissues,” says Hiland, “and two Fender

Telecasters—a sunburst 1998 Collectors Edi-

tion, and a gold-sparkle 2001 Custom Shopmodel built by Jim DeCola. The sunburst Tele

has an ash body, two Joe Barden pickups,

and a vintage-style 3-saddle bridge. My gold

Tele has an ash body, a ‘C’ oval neck—

which is a little chunkier than a typical Tele

neck—three Barden pickups with a 5-way

switch, Jay Monterose large-knurl knobs,

and an American Standard 6-saddle bridge.

[Both Telecasters sport Fender Super Bullets,

gauged .009-.042.]

“My 5-way pickup selector is wired so

that position 1 is the bridge pickup; posi-

tion 2 is the bridge-plus-middle clucky Strat

sound; position 3 is the bridge-plus-neck

classic, dual-pickup Tele sound; position 4 is

the middle pickup; and position 5 is the neck

pickup. That Tele is my pride and joy—I get

an instant smile every time I strap it on. The

Monterose knobs and gold paint are my way

of saying that I’m a Danny Gatton fan.

“On my Pedal Train pedalboard, I have

a Boss TU-2 chromatic tuner, a Voodoo Lab

power supply, and three Visual Sound pedals:

a Jekyll & Hyde dual overdrive, a Route 66

overdrive/compressor, and an H20 chorus/

echo. I use the Route 66 for light compres-

sion—I don’t squeeze my tone—and set its

preamp to feed the Twin a nice, hot signal.

In the studio, I use a Shure ULX P4J1 wireless

system, so I can move around without getting

tangled in my cords.” —AE

HILAND ON HIS STEELWORKS

Featuring three dual-function Visual Sound stompboxes,

Hiland’s pedalboard is simple, yet flexible.

Waiting for a good spank: Hiland’s Twin, Custom Shop Tele,

and ’98 Collector’s Edition Tele.

JOHNNY HILAND THROWS DOWN ON

“ALL FIRED UP,” LIVE IN NASHVILLE,

TENNESSEE.

https://www.youtube.com/watch?v=AxnoyrS2TDc



Features: • Right- and left-hand technique

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• Licks and melodies in the styles of

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• An available CD and DVD that includes

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Visit alfred.com/ABRG

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