Guthrie Govan

sounds interesting, I'd definately consider a Cornford for a serious recording amp at least... Do you know if he plugs straight in or does he use effects and stuff? Might have to check out his discussion board I guess...

Man that sucks about someone ripping off a bunch of the cd's, what an average way to get started after all the work recording etc. The dvd may have issues, so I think I'll just start with the album, I like getting it direct from the artist anyway, I feel like the maximum amount of funds are going to him rather than being passed through various outlets on the way... And he more than deserves it... :cool:
 
*Basically* straight into the amp most of the time. He's got an array of pedals, but keeps things very sparse live (especially when he plays in LA). A lot of the videos you see on youtube are direct into the amp, no pedals at all...the roadhouse demo video is straight into the amp and I'm 99% positive the fives video for bluesjamtracks.com is straight into the amp. He's all about as few pedals as possible. He's got an array of pedals, but keeps things very sparse live (especially when he plays in LA). Here's some commentary from a guy fron tone merchants/suhr:

"... he's a fan of the Hermida Zendrive (also used by Robben Ford). Other constants seem to be the Guyatone WR3 Auto-Wah, Analog Man Clone Chorus (with Deep option), T-Rex Replica digital delay, Digitech Whammy, Menatone JAC Compressor and the Prosound Xotic RC Booster with more exotic pedals like the Mooger Fooger Ring Modulator and the Silver Machine SM-2 Revolution Wah pedal being added when they fit the situation. He also owns the RMC Picture Wah (a really great vintage style wah-wah), the Analog Man Sun Face NKT-275 fuzz, Sweet Sound MojoVibe, and the Analog Man TS-9 Silver Mod Tube Screamer. I believe he also has the Barber Direct Drive SS. "

As far as what he actually uses live...I've seen everything ranging from this:

GG_Fellowship_Rig_02.jpg


(taken at a fellowship gig in '05)

to this:

GPS_Party_04.jpg


(taken at the release party for the GPS cd)



More often than not (especially recently), the quantity shown in the second pic is a bit more accurate.
 
Yes, (see below), and yes

I don't have the first book handy right now...but it is mostly more entry level stuff with modes and basic theory, etc. Good book...it wasn't too useful for me since it was nothing new, but I really wish I had that book back when I was initially going over that material because he teaches it very well. The second book is probably my favorite guitar instructional book. The contents (as listed in the table of contents):

-alt. picking
-sweep/economy picking
-legato, tapping
-eight-finger tapping
-pick and fingers (hyrbrid picking)
-extending the fretboard (all kinds of harmonics, whammy tricks, etc.)
-extended scales (using various fingerings and such to get the most mileage out of them)
-Emulating other instruments (killer section)
-New chordal ideas (again...downright killer)
-The "wrong" notes (cool section on improv. and note choices, plus some stuff on using symettrical patterns to get some cool sounds)
-Approaching new scales (some cool stuff on the modes of melodic and harmonic minor, symmetrical scales, and a few more exotic ones)
-then it closes with 3 really cool jam tracks with explanations and ideas on how to apply some of the rest of the stuff in the book.

It's an easy 10/10 for me. He presents everything (even the more the difficult stuff) in an extremely accessible, but effective way. It's all very, "here's an idea, here are some examples, now go apply it and internalize it". Which, for a studious player, is the most effective method. The thing I like most about this is that it's a book on technique...not chop-building, which is a problem I have with so many other instructional books. A lot of them can be summed up with "practice scales to a metronome, lather, rinse, repeat". He goes into a lot of detail about everything. He offers players to check out, recordings to listen to, analyzes different players' approaches to each technique, offers personal insight, etc. He really gets into all the finer, more important details such as articulation, how to get good tone out of this stuff, how different hand positions and pick-grips affect everything, etc. Brilliant book.
 
Meedleyx10 said:
Yes, (see below), and yes

I don't have the first book handy right now...but it is mostly more entry level stuff with modes and basic theory, etc. Good book...it wasn't too useful for me since it was nothing new, but I really wish I had that book back when I was initially going over that material because he teaches it very well. The second book is probably my favorite guitar instructional book. The contents (as listed in the table of contents):

-alt. picking
-sweep/economy picking
-legato, tapping
-eight-finger tapping
-pick and fingers (hyrbrid picking)
-extending the fretboard (all kinds of harmonics, whammy tricks, etc.)
-extended scales (using various fingerings and such to get the most mileage out of them)
-Emulating other instruments (killer section)
-New chordal ideas (again...downright killer)
-The "wrong" notes (cool section on improv. and note choices, plus some stuff on using symettrical patterns to get some cool sounds)
-Approaching new scales (some cool stuff on the modes of melodic and harmonic minor, symmetrical scales, and a few more exotic ones)
-then it closes with 3 really cool jam tracks with explanations and ideas on how to apply some of the rest of the stuff in the book.

It's an easy 10/10 for me. He presents everything (even the more the difficult stuff) in an extremely accessible, but effective way. It's all very, "here's an idea, here are some examples, now go apply it and internalize it". Which, for a studious player, is the most effective method. The thing I like most about this is that it's a book on technique...not chop-building, which is a problem I have with so many other instructional books. A lot of them can be summed up with "practice scales to a metronome, lather, rinse, repeat". He goes into a lot of detail about everything. He offers players to check out, recordings to listen to, analyzes different players' approaches to each technique, offers personal insight, etc. He really gets into all the finer, more important details such as articulation, how to get good tone out of this stuff, how different hand positions and pick-grips affect everything, etc. Brilliant book.
Click to expand...

Where'd you get that book, Meedles?
 
I ordered it from Amazon if I remember correctly:

[ame]http://www.amazon.com/Creative-Guitar-2-Advanced-Techniques/dp/1860744672/ref=pd_bbs_sr_2?ie=UTF8&s=books&qid=1216835524&sr=8-2[/ame]

You should be able to find a link to the first book somewhere on that page too, in case anyone is interested. Also, there is a "Creative Gutar 3", which I believe focuses on things likes effects and so forth. I don't have that one and can't speak for it's quality, but note that it is NOT written by Guthrie like the other two are. Phil Hillborn is one of the authors though, and he also writes for Guitar Techniques magazine, so I'm sure the book doesn't completely suck.
 
Meedleyx10 said:
^ that's the way to do it. I saved a LOT of money on books and sheet music during my senior year of high school working at a music store.
Click to expand...

yeah, its definately a big help, that's for sure! My family owns the store, and I run the guitar department, so accessories and other stuff are also much cheaper... Also by teaching students, all that stuff can be claimed as 'tax-deductible', as it is 'professional development', and that is also very cool...
 
It' s not so much that I don't record...I just don't record my own stuff. I had to sell my recording equipment (just a digital 8 track and some other stuff...nothing fancy by any means) about a year and a half ago to pay some bullshit fees that the school came up with mid-semester. The few times I've had my bands/ensembles' performances recorded live, the audio turns out quite shitty. Then, the one thing that might have turned out well is some raw video sitting at the bottom of a pile somewhere in the production wing at school that was supposed to be be given a pro-level editing/mixing job, but then the volunteers who were going to do the work decided that they no longer wanted to do it unless the school paid them. Knowing those guys, it's long since been tossed into a bon-fire. I'm hoping (and this is the millionth time I've said something like this here:lol:) desperately that I can get good audio/video from my recital in November.
 
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