PG's Shawn Hammond is On Location at the 2010 NY Amp Show where he visits the Ark Amps room. In this segment, we get to check out their newest guitar amp--the T Model--and a bass amp prototype--the Rhino. The T Model or tARKus head is Ark's attempt to go for a Trainwreck-style, dual 6V6 amp. The tone is described as chimey, crunchy and punchy all at the same time. It's a non-master volume amp with controls including Presence, Power Amp Boost, Bass, Mid, Treble, and Preamp Boost. The all new Ark Rhino is a 70 watt all tube bass and jazz guitar amplifier. Continuing with the resonant cab approach they used on the Model B cab they ended up with an organic and "woody" sounding cab that really compliments the unique design of the circuit. The Rhino is a master volume amp that can achieve a light but rich overdrive with the preamp gain at max. A bright switch is added along with the Presence, Bass, Mid and Treble controls. The preamp was originally designed for jazz guitar and we modified it to work well for both bass and jazz guitar.



PG's Shawn Hammond is On Location at the 2010 NY Amp Show where he visits the Ark Amps room. In this segment, we get to check out their newest guitar amp--the T Model--and a bass amp prototype--the Rhino.

The T Model or tARKus head is Ark's attempt to go for a Trainwreck-style, dual 6V6 amp. The tone is described as chimey, crunchy and punchy all at the same time. It's a non-master volume amp with controls including Presence, Power Amp Boost, Bass, Mid, Treble, and Preamp Boost.

The all new Ark Rhino is a 70 watt all tube bass and jazz guitar amplifier. Continuing with the resonant cab approach they used on the Model B cab they ended up with an organic and "woody" sounding cab that really compliments the unique design of the circuit. The Rhino is a master volume amp that can achieve a light but rich overdrive with the preamp gain at max. A bright switch is added along with the Presence, Bass, Mid and Treble controls. The preamp was originally designed for jazz guitar and we modified it to work well for both bass and jazz guitar.

On Black Midi's Cavalcade, Geordie Greep’s fretwork is an example of the 6-string as a capable component as much as a solo instrument, never completely stealing the show.

Popular music and mainstream tastes may be more fractured than ever, but the guitar continues to thrive.

As we soft launch into the new year, I’m not waiting for the requisite guitar obituary in the news. It’s not going to happen again anytime soon. Why? Because as far as the mainstream media is concerned, our beloved instrument is not only dead, it's irrelevant to the point of not even being an afterthought. When the New York Times published their most recent albums of the year list, there was barely a guitar-based recording to be found. Still, there is not only hope, but also cause for jubilation.

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Diatonic sequences are powerful tools. Here’s how to use them wisely.

Advanced

Beginner

• Understand how to map out the neck in seven positions.
• Learn to combine legato and picking to create long phrases.
• Develop a smooth attack—even at high speeds.

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Knowing how to function in different keys is crucial to improvising in any context. One path to fretboard mastery is learning how to move through positions across the neck. Even something as simple as a three-note-per-string major scale can offer loads of options when it’s time to step up and rip. I’m going to outline seven technical sequences, each one focusing on a position of a diatonic major scale. This should provide a fun workout for the fingers and hopefully inspire a few licks of your own.
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