Dig into the details of new gear from Martin, Godin, Friedman Amps, Reverend, Eastman, Victory Amps, Danelectro and more!
Taylor 314ce LTD
Taylor celebrated their 50th anniversary Wednesday night with an unveiling party in Anaheim for its new anniversary models, which include limited editions of the 814ce, 314ce, AD14ce-SB, PS14ce, PS24ce, and more. Check out the headstock and neck inlays on the PS24ce, joined here by an anniversary model of their popular 314ce.
Martin Inception Maple
Martin took a look at their recipe for making acoustic guitars and tweaked it a bit for their Inception Maple series. They come with a walnut neck and bridge, L.R. Baggs Anthem electronics, and an interesting new bracing system. They are available now for $3,999.
Blackstar ID:Core
Blackstar’s line of ID Core amps are feature packed with loads of sounds and unique recording and streaming capabilities, plus with the PB-1 power bank, you’ll have up to 10 hour of playing—or charging—time. Available now at $159, $199, and $229.
Vox V846 Wah
Vox is unleashing an array of vintage-inspired designs from the Real McCoy and V846 wahs (available March/April for $279 street) to a full line of handwired amps coming this summer.
Silvertone Baritone
Silvertone’s Rick Taylor showed us the company’s late spring entry in the nuevo-retro 6-string sweepstakes—a super comfortable lightweight (naturally) baritone with a 28" scale and the company’s classic lipstick pickups, built to be tuned B to B. Price tag: an attractive $399.
Radial Nuance Select
Radial, whose products for studio and stage include the famed Tonebone preamp, has just released the Nuance Select studio monitor controller—in time for NAMM 2024. The aptly named Nuance allows you to silently switch between two sets of monitors and a subwoofer, has dual stereo inputs with an aux out, two independent headphone amps, and ultra-low distortion of transparency. The tag? $699.
Spector Basses
Spector’s new line of production basses is on display as well as their deep well of custom shop offerings, including a couple NAMM special builds with special finishes and electronic options. Printing and availability on all models at spectorbass.com.
Revv Generator 120
Revv’s flagship amp, the Generator 120, gets a 10th anniversary update. Designer Dan Trudeau went back to his original prototype and revolved the high-gain channels to be more open and aggressive while still keeping all the modern functionality. They are available now for $3,299.
Celestion Pulse XI
Celestion’s got the big bottom covered with their new line of bass speakers, the Pulse Xl series in 15", 12", 10" and horn. Punchy, responsive, with rich full frequency sound and articulation, they boast long voice coils for a deeper bass sound and greater clarity, wound with round copper for the right taste of treble, formed on heat retardant polyimide. Hit celestion.com for more.
Aguilar AG Preamp
Aguilar’s AG preamp delivers the high fidelity tone of their AG series amps straight to pedalboards, with its bright and deep voicing. A great pairing with their SL 110 cabs. And their range of pedal offerings got a facelift to match. For pricing and availability, contact your Aguilar dealer.
Darkglass Combo 500
The new combos from Darkglass cover analog and digital tones. Both the Infinity and Microtubes 500 combo are chock full of sounds, plus they look great, and come in 2x10 and 1x12 arrangements. The line starts at $1,099 and will be available starting late March.
Huss & Dalton Electric Guitars
You know Huss & Dalton from their rich history as a boutique acoustic builder, but their electric offerings are on display here at NAMM. With singlecut and doublecut options, they start around $5,000. To customize your own build, you’ll want to reach out to your dealer or direct to the company about wait times.
Seymour Duncan Powerstage 100 Stereo
Seymour Duncan’s Powerstage 100 Stereo takes their portable—and lightweight!—line of power amps to the next level with more power, more EQ, and, of course, stereo capabilities! Priced at $599, they’re available now.
Positive Grid's Spark Live
Positive Grid’s Spark Live delivers the sounds you love from the company’s other offerings into a 4-channel PA that’s ready to take on any instrument you want to give it. Pre-orders are open now at a special price of $499.
NUX B-8
The NUX B-8 brings advanced wireless capabilities straight to your board with 160 foot range. Features include tuning and boost capabilities and loads of screen options. Available now for $319 street.
Cherub Products
We were treated to a host of new products from Cherub, best known for their clip-on tuners, whose line ranges from tuner/metronome/hydrometer hybrids to multi-use capos and guitar tools.
Mooer GE1000
Mooer’s new GE1000 multi-effects unit delivers a multitude of stomp box functionality in a touchscreen-equipped unit with mappable expression pedal and Bluetooth capability. Priced at $528/$599 (battery powered), they’re available now.
Eko Marco Polo MM
The Eko Marco Polo MM is a travel-sized mahogany acoustic with big, warm sound. It’s open pore finish is inviting, as is its unique soundhole inlay. At $873, they’re available now.
Eastman Henry James Signature Juliet
Over at Eastman, guitarist Henry James demoed his signature model. His version of the popular Juliet is a solidbody beast with Goldo vibrato, Seymour Duncan Vintage Mini-Humbockers, and a reverse headstock. They’re coming spring 2024 at $2,099.
Lag Sauvage DCE
Lag have set their sites on sustainabilty, using smoked raw eucalyptus—an invasive species that needs to be harvested—for the striking back and sides of the Sauvage DCE. These affordable solid-top BrankoWood acoustics—starting at $420–offer a sound as warm as they look, with onboard electronics. Available in Europe, they’ll be in the U.S. soon.
Red Panda Radius
Red Panda’s new Radius pedal has loads of deep tones to discover. Ostensibly a ring mod/frequency shifter, its unique controls will allow you to head to the outer limits with phase-shifting, tremolo sounds, and much, much more! Priced at $349, they’re available now.
Balaguer Select Custom Guitars
Balaguer Guitars just announced their Select Custom line of highly customized models based on their existing body shapes. Customers can choose scale length, wood, binding, finish, and electronics. All at fairly reasonable prices. You can head over to their website now to play with their online guitar designer.
Santa Cruz Vault Series
Santa Cruz’s Vault Series is built upon the idea of using very old reclaimed wood that master luthier Richard Hoover has been saving for decades. This D-style model uses Brazilian Rosewood from the Bryn Athena Cathedral for the back and sides and master grade Fort Ross Chapel redwood for the top. Nearly every part of this build is immaculate and the craftsmanship pushes the limits of modern lutherie. The price? $70,000.
Third Man Hardware and Donner Triple Threat
Donner and Third Man Hardware just released a new collaboration aimed at guitarists who need a simple and portable multi-effects solution. For $99 you get echo, phaser, and distortion.
Victory Amps MK Clean
Victory Amps brought two new models to the show. The MK Clean is a monster clean machine with loads of headroom, spring reverb, bright switch, and selectable EQ voicings. On the other side, the MK Overdrive is a 3-channel setup with independent gain controls, switchable volume levels, presence, and more. Production begins in March and they will go for around $5k.
Collings Guitars
Collings is offering NAMM visitors a glimpse into some models to come, from sleek solidbodies to an all-new dreadnought. These prototypes aren’t available yet, but they’re here for everyone to get a peek at their vision for the future.
Two Notes Genome
Two notes’ Genome offers deep functionality with loads of amp and pedal models on hand. It’s interface makes it easy to find exactly what you’re looking for and dial it in. Priced at $79.95, it’s free for any existing Two notes hardware or DynIR cab customers.
Reverend Billy Corgan Drop Z and the Chris Freeman Signature
That’s Reverend’s Ken Haas with the two new signature models the company debuted at NAMM 2024: the Billy Corgan Drop Z (right, in Billy’s favored satin pearl white finish) and the Chris Freeman model. The Drop Z is designed for drop tuning, with a 24-fret, 26.22" scale neck, an alder body and Railhammer Billy Corgan Z-One pickups. The Chris Freeman has a bridge Railhammer Nuevo 90 and a neck P-90, with rear-mounted volume, tone, and bass contour controls, a 3-way pickup switch, and double kill switches—a toggle and a kill button, It’s available in the turquoise sparkle finish on the 6-string Ken’s holding, or powder yellow. The Drop Z streets for $1,499 and the Freeman at $1,199.
L.R. Baggs HiFi Duet
The L.R. Baggs HiFi Duet is a brand new update to the company’s popular HiFi, now with a studio quality bridge-plate microphone that is blendable with the contact sensors. Pricing and availability coming soon.
Eventide Riptide
Eventide has introduced a new member of their dot9 line with the Riptide, an overdrive/vibe-style pedal with stereo capability. It’s out now for $299. They’re also showing off their new app capabilities for their H90 as well as some fresh algorithms.
Mackie Showbox
Mackie’s new Showbox is a battery-powered solution for solo and duo acts. The defining feature is a detachable mixer that gives you access to a 3-band EQ, looper, and recording options. They are available now for $799.
Chibson Protoypes
We were pleased to run into Jason and Marky from Chibson, who showed us prototypes of their puzzle-piece guitars and extendable-leaf guitar, built by Paoletti Guitars.
Iris/Circle Strings Guitars
The Iris/Circle Strings booth had lots to offer, from their acoustic line built for the discerning working musician’s taste and price range. Their DF slope-shouldered dreadnought is a standout at $2,350. They also brought a pair of Paul Languedoc builds that Trey Anastasio fans were busy bugging out about!
Gamechanger Audio Mod Series
Gamechanger Audio released an entire new line of pedals at NAMM. The Mod series combines their penchant for inventive, time-based effects with their love for modular synth-style controls. There are literally thousands of ways to control these effects including via pitch and dynamics. For example, you can set a target note and everything either above or below it can be affected by any parameter. Production will start in March and they will be $299 each.
Peterson StroboClip HDC Tuner
The Peterson StroboClip HDC brings the company’s popular sweetener offerings right to your headstock. This new rechargeable model works for 6 hours of continuous use on a single charge and the quick charge circuit delivers 90 more minutes of use on a two minute charge. Available now for $79.
Danelectro Fifty-Niner
Danelectro showed us a variety of new options, from their brightly colored lipstick-pickup-loses Fifty Niner guitars and Red Hot Longhorn bass ($599) to their black-crackle sitar ($899) and their vintage fuzz/distortion pedal the Nicholas 1966 ($199).
Danelectro Fifty-Niner - $599
Red Hot Longhorn - $599
Sitar - $899
Nicholas 1966 - $199
Lichtlaerm Audio Amps
Newcomers Lichtlaerm Audio gave us a tour of their custom-build Prometheus head and Fane-loaded 4x12 cab. Loaded with features, your own will be available within a month or two of order, plus shipping time from Germany, at a starting price of $2,700.
Godin Lerxst Limelight
One of the higher profile releases of the show was Godin's collaboration with Rush guitarist Alex Lifeson. The Lerxst Limelight is based on Lifeson's '80s-era model and is outfitted with either a Floyd Rose setup or the Vega-Trem VT1 shown here. The pickups were made by MojoTone and overall, the guitar feels and sounds incredible. Streets for $4,000.
Divided by 13 FTR 37
Divided by 13 relaunched after their acquisition by Two-Rock at the show with this FTR 37. It's a muscular 6V6 circuit with two discreet channels, reverb, push/pull gain boost, and a half-power switch. If you're a fan of Fullerton-style sounds, than this might be just the setup for you. It has a full-bodied clean tone and a rich breakup sound that's dynamic with plenty of sparkle.
Aeroband Guitars
The Aeroband guitar looks like a wild glimpse into the future—and also back into the ‘80s—but with its app capability, the company is touting the education possibilities it has to offer. Also, it’s fun. Priced at $500, it’s available now.
Supro Delegate Custom
Supro enters the boutique amp market with the mighty 1x12 Delegate Custom, inspired by the Aristocrat amp Muddy Waters used for the Live at Newport album … but supercharged. With a custom-colored wraparound cabinet, it’s all hand-built in Ohio with Mercury Magnetics transformers, period-correct Mallory caps, a custom 12” Celestion Greenback, 3-band EQ, and master volume. It’s got a 12AT7 driving the spring reverb, two 6V6 power tubes, and three 12AX7s. The tag: $3,299, and there’s a 2x12 big sibling, too. It’s Supro mastermind David Koltai’s (in photo) latest pride and joy.
KMA Machine Endgame
KMA Machine's Endgame Duality Calibrator might be one of the most feature-packed stomps at the show. It has an exhaustive amount of I/O options but the centerpieces are the automatic double tracker and the switchable IR loader. Other highlights include dual headphone outputs, XLR outputs, Bluetooth capability, stereo effects loop, ambience control, and loads more.
Strandberg Boden Essential
Strandberg's Boden Essential is the company's first sub-$1k guitar. It retains the same look and feel of the other models, but uses locally sourced Indonesian wood to help keep the price down. Ola told us that the pickups are the same as in the standard model, but the hardware is reengineered for durability and sustainability.
Godin Arena Pro
Godin is debuting a pair of all-black nylon-string guitars. The Arena Pro is a LTD Onyx Black is a single cut with a solid cedar top and Canadian wild cherry black and sides, plus top-mounted volume and tone controls. They’ve paired it with a new addition to their Multiac Mundial line in matching onyx black accoutrements. These guitars are available now and priced at $1,099 and $1,299 respectively.
Godin Fifth Ave
Godin’s stunning new hollowbodies will catch the eyes of rockers and jazz cats alike. These lightweight and comfortable thinline Fifth Avenue guitars are available with Godin P-90s for $1,299, and a sunburst model is equipped with Lollar gold-foils at $1,899.
Godin Session T-Pro Hangover
Godin debuted their “hangover” distressed finishes on a pair of solidbodies: their S-style Seymour Duncan-loaded Session T Pro and their Lollar/TV Jones-loaded T-Style Stadium T Pro. These one-of-a-kind models are available for $1,499.
Friedman Amplification Plexi Vintage Series
Not surprisingly, Dave Friedman created a vintage plexi-style amp that absolutely rips. It's based on an EL34 design, a familiar control setup, and plenty of juice.
Circle Strings Languedoc
Adam Buchwald's burgeoning Vermont guitar empire will take on a new collaboration in 2024. Famed luthier Paul Languedoc has agreed to have Buchwald steward the production of the G2 and G4 models made famous by Phish's Trey Anastasio. Paul will still be making the G2 models while the G4 line will be created in Buchwald's shop (although some elements of the G4 will continue to be handmade by Paul). The G2s will be extremely limited and run north of $60k, but the G4s, when available, will be $16,000.
T-Rex Binson Echorec
The Binson Echorec by T-Rex isn’t new this year, but it sure is cool. It sounds exactly like you think it should, and does all the tricks of the classic units.
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- NAMM 2024 Editors' Picks ›
- Finding Inspiration in the Pursuit of New Gear ›
- Are Mini-NAMM Conventions the Wave of the Future? ›
- Best Guitar Gear at NAMM 2024 Day 3 ›
Day 6 of Stompboxtober is here! Today’s prize? A pedal from Revv Amplification! Enter now and check back tomorrow for the next one!
Revv G3 Purple Channel Preamp/Overdrive/Distortion Pedal - Anniversary Edition
The Revv G3 revolutionized high gain pedals in 2018 with its tube-like response & tight, clear high gain tones. Suddenly the same boutique tones used by metal artists & producers worldwide were available to anyone in a compact pedal. Now the G3 returns with a new V2 circuit revision that raises the bar again.
Beauty and sweet sonority elevate a simple-to-use, streamlined acoustic and vocal amplifier.
An EQ curve that trades accuracy for warmth. Easy-to-learn, simple-to-use controls. It’s pretty!
Still exhibits some classic acoustic-amplification problems, like brash, unforgiving midrange if you’re not careful.
$1,199
Taylor Circa 74
taylorguitars.com
Save for a few notable (usually expensive) exceptions, acoustic amplifiers are rarely beautiful in a way that matches the intrinsic loveliness of an acoustic flattop. I’ve certainly seen companies try—usually by using brown-colored vinyl to convey … earthiness? Don’t get me wrong, a lot of these amps sound great and even look okay. But the bar for aesthetics, in my admittedly snotty opinion, remains rather low. So, my hat’s off to Taylor for clearing that bar so decisively and with such style. The Circa 74 is, indeed, a pretty piece of work that’s forgiving to work with, ease to use, streamlined, and sharp.
Boxing Beyond Utility
Any discussion of trees or wood with Bob Taylor is a gas, and highly instructive. He loves the stuff and has dabbled before in amplifier designs that made wood an integral feature, rather than just trim. But the Circa 74 is more than just an aesthetic exercise. Because the Taylor gang started to think in a relatively unorthodox way about acoustic sound amplification—eschewing the notion that flat frequency response is the only path to attractive acoustic tone.
I completely get this. I kind of hate flat-response speakers. I hate nice monitors. We used to have a joke at a studio I frequented about a pair of monitors that often made us feel angry and agitated. Except that they really did. Flat sound can be flat-out exhausting and lame. What brings me happiness is listening to Lee “Scratch” Perry—loud—on a lazy Sunday on my secondhand ’70s Klipsch speakers. One kind of listening is like staring at a sun-dappled summer garden gone to riot with flowers. The other sometimes feels like a stale cheese sandwich delivered by robot.
The idea that live acoustic music—and all its best, earthy nuances—can be successfully communicated via a system that imparts its own color is naturally at odds with acoustic culture’s ethos of organic-ness, authenticity, and directness. But where does purity end and begin in an amplified acoustic signal? An undersaddle pickup isn’t made of wood. A PA with flat-response speakers didn’t grow in a forest. So why not build an amp with color—the kind of color that makes listening to music a pleasure and not a chore?
To some extent, that question became the design brief that drove the evolution of the Circa 74. Not coincidentally, the Circa 74 feels as effortless to use as a familiar old hi-fi. It has none of the little buttons for phase correction that make me anxious every time I see one. There’s two channels: one with an XLR/1/4" combo input, which serves as the vocal channel if you are a singer; another with a 1/4" input for your instrument. Each channel consists of just five controls—level, bass, middle, and treble EQ, and a reverb. An 11th chickenhead knob just beneath the jewel lamp governs the master output. That’s it, if you don’t include the Bluetooth pairing button and 1/8" jacks for auxiliary sound sources and headphones. Power, by the way, is rated at 150 watts. That pours forth through a 10" speaker.Pretty in Practice
I don’t want to get carried away with the experiential and aesthetic aspects of the Circa 74. It’s an amplifier with a job to do, after all. But I had fun setting it up—finding a visually harmonious place among a few old black-panel Fender amps and tweed cabinets, where it looked very much at home, and in many respects equally timeless.
Plugging in a vocal mic and getting a balance with my guitar happened in what felt like 60 seconds. Better still, the sound that came from the Circa 74, including an exceedingly croaky, flu-addled human voice, sounded natural and un-abrasive. The Circa 74 isn’t beyond needing an assist. Getting the most accurate picture of a J-45 with a dual-source pickup meant using both the treble and midrange in the lower third of their range. Anything brighter sounded brash. A darker, all-mahogany 00, however, preferred a scooped EQ profile with the treble well into the middle of its range. You still have to do the work of overcoming classic amplification problems like extra-present high mids and boxiness. But the fixes come fast, easily, and intuitively. The sound may not suggest listening to an audiophile copy of Abbey Road, as some discussions of the amp would lead you to expect. But there is a cohesiveness, particularly in the low midrange, that does give it the feel of something mixed, even produced, but still quite organic.
The Verdict
Taylor got one thing right: The aesthetic appeal of the Circa 74 has a way of compelling you to play and sing. Well, actually, they got a bunch of things right. The EQ is responsive and makes it easy to achieve a warm representation of your acoustic, no matter what its tone signature. It’s also genuinely attractive. It’s not perfectly accurate. Instead, it’s rich in low-mid resonance and responsive to treble-frequency tweaks—lending a glow not a million miles away from a soothing home stereo. I think that approach to acoustic amplification is as valid as the quest for transparency. I’m excited to see how that thinking evolves, and how Taylor responds to their discoveries.
The evolution of Electro-Harmonix’s very first effect yields a powerful boost and equalization machine at a rock-bottom price.
A handy and versatile preamp/booster that goes well beyond the average basic booster’s range. Powerful EQ section.
Can sound a little harsh at more extreme EQ ranges.
$129
Electro-Harmonix LPB-3
ehx.com
Descended from the first Electro-Harmonix pedal ever released, the LPB-1 Linear Power Booster, the new LPB-3 has come a long way from the simple, one-knob unit in a folded-metal enclosure that plugged straight into your amplifier. Now living in Electro-Harmonix’s compact Nano chassis, the LPB-3 Linear Power Booster and EQ boasts six control knobs, two switches, and more gain than ever before.
If 3 Were 6
With six times the controls found on the 1 and 2 versions (if you discount the original’s on/off slider switch,) the LPB-3’s control complement offers pre-gain, boost, mid freq, bass, treble, and mid knobs, with a center detent on the latter three so you can find the midpoint easily. A mini-toggle labeled “max” selects between 20 dB and 33 dB of maximum gain, and another labeled “Q” flips the resonance of the mid EQ between high and low. Obviously, this represents a significant expansion of the LPB’s capabilities.
More than just a booster with a passive tone, the LPB-3 boasts a genuine active EQ stage plus parametric midrange section, comprising the two knobs with shaded legends, mid freq and mid level. The gain stages have also been reimagined to include a pre-gain stage before the EQ, which enables up to 20 dB of input gain. The boost stage that follows the EQ is essentially a level control with gain to allow for up to 33 dB of gain through the LPB-3 when the “max” mini toggle is set to 33dB
A slider switch accessible inside the pedal selects between buffered or true bypass for the hard-latch footswitch. An AC adapter is included, which supplies 200mA of DC at 9.6 volts to the center-negative power input, and EHX specifies that nothing supplying less than 120mA or more than 12 volts should be used. There’s no space for an internal battery.
Power-Boosted
The LPB-3 reveals boatloads of range that betters many linear boosts on the market. There’s lots of tone-shaping power here. Uncolored boost is available when you want it, and the preamp gain knob colors and fattens your signal as you crank it up—even before you tap into the massive flexibility in the EQ stage.
“The preamp gain knob colors and fattens your signal as you crank it up—even before you tap into the massive flexibility in the EQ stage.”
I found the two mid controls work best when used judiciously, and my guitars and amps preferred subtle changes pretty close to the midpoint on each. However, there are still tremendous variations in your mid boost (or scoop, for that matter) within just 15 or 20 percent range in either direction from the center detent. Pushing the boost and pre-gain too far, particularly with the 33 dB setting engaged, can lead to some harsh sounds, but they are easy to avoid and might even be desirable for some users that like to work at more creative extremes.
The Verdict
The new LPB-3 has much, much more range than its predecessors, providing flexible preamp, boost, and overdrive sounds that can be reshaped in significant ways via the powerful EQ. It gives precise tone-tuning flexibility to sticklers that like to match a guitar and amp to a song in a very precise way, but also opens up more radical paths for experimentalists. That it does all this at a $129 price is beyond reasonable.
Electro-Harmonix Lpb-3 Linear Power Booster & Eq Effect Pedal Silver And Blue
Intermediate
Intermediate
• Learn classic turnarounds.
• Add depth and interest to common progressions.
• Stretch out harmonically with hip substitutions.
Get back to center in musical and ear-catching ways.
A turnaround chord progression has one mission: It allows the music to continue seamlessly back to the beginning of the form while reinforcing the key center in a musically interesting way. Consider the last four measures of a 12-bar blues in F, where the bare-bones harmony would be C7-Bb7-F7-F7 (one chord per measure). With no turn around in the last two measures, you would go back to the top of the form, landing on another F7. That’s a lot of F7, both at the end of the form, and then again in the first four bars of the blues. Without a turnaround, you run the risk of obscuring the form of the song. It would be like writing a novel without using paragraphs or punctuation.
The most common turnaround is the I-VI-ii-V chord progression, which can be applied to the end of the blues and is frequently used when playing jazz standards. Our first four turnarounds are based on this chord progression. Furthermore, by using substitutions and chord quality changes, you get more mileage out of the I-VI-ii-V without changing the basic functionality of the turnaround itself. The second group of four turnarounds features unique progressions that have been borrowed from songs or were created from a theoretical idea.
In each example, I added extensions and alterations to each chord and stayed away from the pure R-3-5-7 voicings. This will give each chord sequence more color and interesting voice leading. Each turnaround has a companion solo line that reflects the sound of the changes. Shell voicings (root, 3rd, 7th) are played underneath so that the line carries the sound of the written chord changes, making it easier to hear the sound of the extensions and alterations. All examples are in the key of C. Let’s hit it.
The first turnaround is the tried and true I-VI-ii-V progression, played as Cmaj7-A7-Dm7-G7. Ex. 1 begins with C6/9, to A7(#5), to Dm9, to G7(#5), and resolves to Cmaj7(#11). By using these extensions and alterations, I get a smoother, mostly chromatic melodic line at the top of the chord progression.
Ex. 2 shows one possible line that you can create. As for scale choices, I used C major pentatonic over C6/9, A whole tone for A7(#5), D Dorian for Dm9, G whole tone for G7(#5), and C Lydian for Cmaj7(#11) to get a more modern sound.
The next turnaround is the iii-VI-ii-V progression, played as Em7-A7-Dm7-G7 where the Em7 is substituted for Cmaj7. The more elaborate version in Ex. 3 shows Em9 to A7(#9)/C#, to Dm6/9, to G9/B, resolving to Cmaj7(add6). A common way to substitute chords is to use the diatonic chord that is a 3rd above the written chord. So, to sub out the I chord (Cmaj7) you would use the iii chord (Em7). By spelling Cmaj7 = C-E-G-B and Em7 = E-G-B-D, you can see that these two chords have three notes in common, and will sound similar over the fundamental bass note, C. The dominant 7ths are in first inversion, but serve the same function while having a more interesting bass line.
The line in Ex. 4 uses E Dorian over Em9, A half-whole diminished over A7(#9)/C#, D Dorian over Dm6/9, G Mixolydian over G9/B, and C major pentatonic over Cmaj7(add6). The chord qualities we deal with most are major 7, dominant 7, and minor 7. A quality change is just that… changing the quality of the written chord to another one. You could take a major 7 and change it to a dominant 7, or even a minor 7. Hence the III-VI-II-V turnaround, where the III and the VI have both been changed to a dominant 7, and the basic changes would be E7-A7-D7-G7.
See Ex. 5, where E7(b9) moves to A7(#11), to D7(#9) to G7(#5) to Cmaj9. My scale choices for the line in Ex. 6 are E half-whole diminished over E7(#9), A Lydian Dominant for A7(#11), D half-whole diminished for D7(#9), G whole tone for G7(#5), and C Ionian for Cmaj9.
Ex. 7 is last example in the I-VI-ii-V category. Here, the VI and V are replaced with their tritone substitutes. Specifically, A7 is replaced with Eb7, and G7 is replaced with Db7, and the basic progression becomes Cmaj7-Eb7-Dm7-Db7. Instead of altering the tritone subs, I used a suspended 4th sound that helped to achieve a diatonic, step-wise melody in the top voice of the chord progression.
The usual scales can be found an Ex. 8, where are use a C major pentatonic over C6/9, Eb Mixolydian over Eb7sus4, D Dorian over Dm11, Db Mixolydian over Db7sus4, and once again, C Lydian over Cmaj7(#11). You might notice that the shapes created by the two Mixolydian modes look eerily similar to minor pentatonic shapes. That is by design, since a Bb minor pentatonic contains the notes of an Eb7sus4 chord. Similarly, you would use an Ab minor pentatonic for Db7sus4.
The next four turnarounds are not based on the I-VI-ii-V chord progression, but have been adapted from other songs or theoretical ideas. Ex. 9 is called the “Backdoor” turnaround, and uses a iv-bVII-I chord progression, played as Fm7-Bb7-Cmaj7. In order to keep the two-bar phrase intact, a full measure of C precedes the actual turnaround. I was able to compose a descending whole-step melodic line in the top voice by using Cmaj13 and Cadd9/E in the first bar, Fm6 and Ab/Bb in the second bar, and then resolving to G/C. The slash chords have a more open sound, and are being used as substitutes for the original changes. They have the same function, and they share notes with their full 7th chord counterparts.
Creating the line in Ex. 10 is no more complicated than the other examples since the function of the chords determines which mode or scale to use. The first measure employs the C Ionian mode over the two Cmaj chord sounds. F Dorian is used over Fm6 in bar two. Since Ab/Bb is a substitute for Bb7, I used Bb Mixolydian. In the last measure, C Ionian is used over the top of G/C.
The progression in Ex. 11 is the called the “Lady Bird” turnaround because it is lifted verbatim from the Tadd Dameron song of the same name. It is a I-bIII-bVI-bII chord progression usually played as Cmaj7-Eb7-Abmaj7-Db7. Depending on the recording or the book that you check out, there are slight variations in the last chord but Db7 seems to be the most used. Dressing up this progression, I started with a different G/C voicing, to Eb9(#11), to Eb/Ab (subbing for Abmaj7), to Db9(#11), resolving to C(add#11). In this example, the slash chords are functioning as major seventh chords.
As a result, my scale choices for the line in Ex. 12 are C Ionian over G/C, Eb Lydian Dominant over Eb9(#11), Ab Ionian over Eb/Ab, Db Lydian Dominant over Db9(#11), and C Lydian over C(add#11).
The progression in Ex. 13 is called an “equal interval” turnaround, where the interval between the chords is the same in each measure. Here, the interval is a descending major 3rd that creates a I-bVI-IV-bII sequence, played as Cmaj7-Abmaj7-Fmaj7-Dbmaj7, and will resolve a half-step down to Cmaj7 at the top of the form. Since the interval structure and chord type is the same in both measures, it’s easy to plane sets of voicings up or down the neck. I chose to plane up the neck by using G/C to Abmaj13, then C/F to Dbmaj13, resolving on Cmaj7/E.
The line in Ex. 14 was composed by using the notes of the triad for the slash chord and the Lydian mode for the maj13 chords. For G/C, the notes of the G triad (G-B-D) were used to get an angular line that moves to Ab Lydian over Abmaj13. In the next measure, C/F is represented by the notes of the C triad (C-E-G) along with the root note, F. Db Lydian was used over Dbmaj13, finally resolving to C Ionian over Cmaj7/E. Since this chord progression is not considered “functional” and all the chord sounds are essentially the same, you could use Lydian over each chord as a way to tie the sound of the line together. So, use C Lydian, Ab Lydian, F Lydian, Db Lydian, resolving back to C Lydian.
The last example is the “Radiohead” turnaround since it is based off the chord progression from their song “Creep.” This would be a I-III-IV-iv progression, and played Cmaj7-E7-Fmaj7-Fm7. Dressing this one up, I use a couple of voicings that had an hourglass shape, where close intervals were in the middle of the stack.
In Ex. 15 C6/9 moves to E7(#5), then to Fmaj13, to Fm6 and resolving to G/C. Another potential name for the Fmaj13 would be Fmaj7(add6) since the note D is within the first octave. This chord would function the same way, regardless of which name you used.
Soloing over this progression in Ex. 16, I used the C major pentatonic over C6/9, E whole tone over E7(#5), F Lydian over Fmaj13, and F Dorian over Fm6. Again, for G/C, the notes of the G triad were used with the note E, the 3rd of a Cmaj7 chord.
The main thing to remember about the I-VI-ii-V turnaround is that it is very adaptable. If you learn how to use extensions and alterations, chord substitutions, and quality changes, you can create some fairly unique chord progressions. It may seem like there are many different turnarounds, but they’re really just an adaptation of the basic I-VI-ii-V progression.
Regarding other types of turnarounds, see if you can steal a short chord progression from a pop tune and make it work. Or, experiment with other types of intervals that would move the chord changes further apart, or even closer together. Could you create a turnaround that uses all minor seventh chords? There are plenty of crazy ideas out there to work with, and if it sounds good to you, use it!