What guitar did you start out on?

"Another second guitar (the first, an Old Kraftsman from Spiegals that was ""unplayable""), this 1964 1/2 Fender Mustang was purchased by Gilstrap in 1964. He recalls, ""We had a band called the Inmates, and us three guitar players all ordered matching white Mustangs. Because we lived in a small northern California town, we were ignored, and finally after complaining to our local music store, reportedly an order to Devonshire, England was raided and we received our three Mustangs all on the same day. I'm the only one who still owns his."" The guitar was stolen and stripped before being returned to Gilstrap. ""The white finish is refrigerator paint I applied in 1980, the year I got it back,"" he explains, ""It has Peavey Tuners as the originals were not with the guitar when I got it back. It still has the original case, and still plays beautifully."""

To submit your first guitar photos for a future gallery, send a photo and caption to rebecca@premierguitar.com.

Flexible filtering options and a vicious fuzz distinguish the Tool bass master’s signature fuzz-wah.

Great quality filters that sound good independently or combined. Retains low end through the filter spectrum. Ability to control wah and switch on fuzz simultaneously. Very solid construction.

Fairly heavy. A bit expensive.

$299

Dunlop JCT95 Justin Chancellor Cry Baby Wah
jimdunlop.com

4.5
4
4
4

Options for self-expression through pedals are almost endless these days. It’s almost hard to imagine a sonic void that can’t be filled by a single pedal or some combination of them. But when I told bass-playing colleagues about the new Dunlop Justin Chancellor Cry Baby—which combines wah and fuzz tuned specifically for bass—the reaction was universal curiosity and marvel. It seems Dunlop is scratching an itch bass players have been feeling for quite some time.

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Intermediate

Beginner

  • Develop a better sense of subdivisions.
  • Understand how to play "over the bar line."
  • Learn to target chord tones in a 12-bar blues.
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Playing in the pocket is the most important thing in music. Just think about how we talk about great music: It's "grooving" or "swinging" or "rocking." Nobody ever says, "I really enjoyed their use of inverted suspended triads," or "their application of large-interval pentatonic sequences was fascinating." So, whether you're playing live or recording, time is everyone's responsibility, and you must develop your ability to play in the pocket.

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