
Here's a crash course in how one of the most eclectic and influential guitarists of all time developed a unique vocabulary through speedy rockabilly licks, fuzzed-out melodies, and an otherworldly use of the vibrato bar.
Intermediate
Intermediate
- Understand Jeff Beckās rockabilly roots.
- Learn how to create tension-filled phrases over a 12-bar blues.
- Develop a more nuanced vibrato technique.
Jeff Beck is arguably the most eclectic and ever-evolving guitar hero. He was part of the holy trinity of Yardbirds guitarists, along with Eric Clapton and Jimmy Page, and is the one who has consistently remained at the forefront of the electric guitar ever since. From John McLaughlin to Eddie Van Halen, Beck is a favorite of just about any guitar player you could name, and that includes the other Yardbirds alumni. Stephen Colbert explained it best at the Grammy awards, āYou know the game Guitar Hero? He has the all-time high scoreāand heās never played it.ā Letās take a look at some of the many highlights of Beckās playing throughout his illustrious and uncompromising career.
Beckās stint with the Yardbirdsāincluding his groundbreaking work on such psychedelic hits as āOver Under Sideways Downā and āHeart Full of Soulāācemented his iconic status, but his melding of influences from Chuck Berry, Cliff Gallup, and Les Paul on the blues instrumental āJeffās Boogieā was eye-opening to legions of guitarists in the wake of the British Invasion. Hereās a Cliff Gallop-inspired rockabilly phrase (Ex. 1) that uses pull-offs for speed.
Ex. 1
The chromatically climbing lick in Ex. 2 reveals Beckās brilliant technique and his love of flashy and dramatic fretwork.
Ex. 2Ā
Like Clapton and Page, Beck was steeped in Chicago blues, and as with those players, he developed a distinctive voice in the style early on. This Truth-inspired solo (Ex. 3) on a 12-bar blues demonstrates some unison bends (measures 1ā4), ostinato licks (measures 5ā8) and a quirky, pre-bend idea in the final section.
Ex. 3
When Jeff Beck Group was released in 1972, it offered a premonition of Beckās unique approach to the tremolo bar that would become so important to his playing in the decades to come. In Ex. 4, a wild use of the bar gives a modern and innovative twist to what could otherwise be more conventional blues ideas.
Ex. 4
Our next phrase (Ex. 5) is in the spirit of āFreeway Jamā and a host of other funky instrumentals from the 1970s, and it showcases Beckās use of the Mixolydian mode (1ā2ā3ā4ā5ā6āb7). With its major quality and lowered 7, this scale is tailor-made for playing over dominant 7 and 9 chords. Beck often uses it as the basis for both melodic themes and improvised solos. Frequently, he further embellishes Mixolydian lines with bluesy ideas, like the Bb (b3) to B (3) leading into the final measure.
Ex. 5
Beckās impressive ballad work, inspired by the great Roy Buchanan, is heard on the classic Stevie Wonder composition, āāCause Weāve Ended as Lovers.ā In Ex. 6 youāll hear many C minor pentatonic (CāEbāFāGāBb) licks with a host of bending techniques, such as compound bends (measure 2) and pre-bends (measures 3 and 7). Virtuosic ostinatoābased figures are used to great dramatic effect in measures 5 and 6.
Ex. 6
Beckās revival of āPeople Get Readyā was a career high point in the late ā80s, and it made a clear statement of his relevance as one of the most expressive and distinctive guitarists of the day, already more than 20 years into his career. Bending finesse, with fingers and tremolo bar, and even a simple taste of a finger tap is present in Ex. 7. This is perhaps the clearest example of the precise tremolo bar usage to come, and worth mastering before tackling the likes of āWhere Were Youā or āOver the Rainbow.ā
Ex. 7
Our final example (Ex. 8) is a phrase from the Bulgarian folksong āKalimanku Denku.ā This particular vocal music is perfect for working on Beckās tremolo stylings because it is, in fact, what inspired much of his playing in the past 20 years. Check out a compilation album called Le MystĆØre des Voix Bulgares to hear what Beck used as the model for his mature and advanced tremolo bar work. Also, make sure that you adjust your tremolo to float, i.e., so that it can raise a note by a minor third on the 3rd string. To check, play an open G note and be able to bring it up to a Bb.
Ex. 8
- Legendary Guitarist Jeff Beck Dies at 78 - Premier Guitar āŗ
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- Jeff Beck Tribute by Johnny A āŗ
- Exclusive Interview: Jennifer Batten on Jeff Beck - Premier Guitar āŗ
- Johnny A.'s Tribute to Jeff Beck & John Lennon - Premier Guitar āŗ
Tetrarch, from left: Ryan Lerner, Diamond Rowe, Josh Fore, and Ruben Limas.
The heavy quartet, led by shredders Diamond Rowe and Josh Fore, returns with a second full-length that advances the nu-metal revival.
In ancient Rome, a tetrarch was one of four joint governors in one of four divisions in a country or province. Tetrarchy, as opposed to monarchy, represents shared governance. If there is any question as to which contemporary band can rule the borders and expand the boundaries of nu metal 25 years after its initial peak, Georgiaās Tetrarch might just hold the answer. Their latest release, The Ugly Side of Me, forms a uniquely unified musical front from four individuals who honor nu metalās foundations with colossal choruses and maniacal guitar riffs, while also infusing the source material with post-modern industrial aggression and a healthy dose of socially conscious lyrical honesty. The Ugly Side of Meis a creative tour de force that should affirm Tetrarchās status as one of nu metalās most potent contemporaries, particularly among the genreās faithful constituents.
Tetrarch was formed in Atlanta in 2007 by lead guitarist Diamond Rowe and lead vocalist/guitarist Josh Fore. As of 2025, the band is rounded out by bassist Ryan āDoomā Lerner and drummer Ruben Limas. Rowe and Fore initially played traditional metalcore before making a notable shift towards a more melodic sound on their independently released 2017 debut, Freak. Blending elements of nu metal and thrash, along with their metalcore influences, they honed in on a distinct sonic amalgamation and style, combining their signature creepy sounding guitar motifs with bone-crushing rhythms, melodic vocal melodies, and sub hooks.Unstable, released in 2021, drew greater comparisons to nu-metal progenitors like Slipknot and Korn, further entrenching Tetrarch within the hierarchy of that lineage.
Tetrarchās third album, The Ugly Side of Me, features massive, needle-sharp production co-helmed by renowned producer Dave Otero, along with Rowe and Fore, and boasts a deftly executed combination of unrelenting brutality and undeniable charisma. The ā90s-industrial-infused single āLive Not Fantasizeā is a real banger, featuring intense electronic flourishes, fast riffs, and Roweās dynamic, tantalizing guitar solos. An anthemic second single, āNever Again (Parasite),ā balances monstrous grooves and massive atmosphere with incisive lyrics about facing our own darkest criticisms. The hypnotizing, metallic āAnything Like Myselfā opens the album, while āBest of Luckā highlights the rhythmically nuanced interplay between Lerner and Limas.
YouTube It
Lead shredder Diamond Rowe takes the spotlight for a playalong to āLive Not Fantastize,ā the first single off of Tetrarchās new record.
Rowe and Fore have known each other since they were about 11 or 12, so itās no surprise that they are musically so intimately compatible and completely in sync. āI feel like our playing styles melded into each other because we developed together,ā explains Rowe. āWe learned how to be in a band, how to play music, how to play shows, and how to play guitar together. When youāve been playing and practicing with someone for so long, you just lock in, and our playing styles really complement each other. It was a natural progression.ā Fore says that they would go to the library after school and instead of doing homework, they would play guitar. āWe would print off booksā worth of guitar tabs and learn songs together,ā he recalls. Theyād also go to Guitar Center and āturn amps up way too loud and play for hoursāālikely to the annoyance of the employees, he chuckles.
When it comes to their respective assignments within the band, Rowe plays more of the leads and single-note phrases while Fore, who is also the bandās frontman, plays more rhythm. āItās very much rhythm and lead player roles,ā affirms Rowe. āOn choruses when Josh is playing big fat chords, Iāll play octaves or some melody lines, or on verses, if heās playing some rhythm riff, Iāll do some weird creepy lead.ā If itās a riff-oriented rhythm part, they sometimes match up on those, but even then, Rowe often adds some kind of texture on top.
Fore and Rowe combine to create the bandās creative spark, and handle the bulk of the writing for new songs. For The Ugly Side of Me, they demoed material via their individual Pro Tools rigs and emailed files back and forth before jamming with the rest of the band. āTypically, it will start with me or Diamond coming up with a guitar riff,ā explains Fore. āSometimes one of us will come with a whole skeleton of a song and weāll get in the room together and take it from there. Every song has its own way of coming together, but me and Diamond usually see it through.ā
Tetrarchās third album cements them as flagbearers of the new nu.
Diamond Roweās Gear
Guitars
- Jackson Signature Diamond Rowe Monarkh w/EverTune bridge
- Jackson American Series Soloist
Amps
- EVH 5150III EL34 100-watt head
- EVH 4x12
- EVH 5150III 50-watt head (for backup)
Effects
- Boss CH-1 Super Chorus
- Boss DD-7 Digital Delay
- Boss ES-8 Effects Switching System
- Boss RC-1 Loop Station
- Boss RV-6 Reverb
- DigiTech Whammy 5 Pitch Shift
- Dunlop KH95 Kirk Hammett Signature Cry Baby Wah
- Dunlop Volume (X) Mini
- Electro-Harmonix Small Stone Analog Phase Shifter
- Ibanez TS9 Tube Screamer
- ISP Decimator G String X Noise Reduction
- MXR Carbon Copy Analog Delay
- Strymon blueSky V2
- Two notes Torpedo C.A.B. M+
Strings & Picks
- Ernie Ball Beefy Slinky (.011ā.054)
- Ernie Ball Skinny Top Beefy Bottom (.010ā.054)
- Dunlop Jazz III black 1.38 mm
- Dunlop Jazz III black 1.35 mm
Josh Foreās Gear
Guitars
- ESP E-II Eclipse
- ESP LTD EC-01FT
- ESP LTD AA-1 Alan Ashby Signature
- ESP LTD Eclipse
Amps
- EVH 5150III Stealth 100-watt head
- EVH 4x12
Effects
- Ibanez TS9 Tube Screamer
- ISP Decimator G String X Noise Reduction
Strings & Picks
- Ernie Ball Mammoth Slinky (.012ā.062)
- InTuneGP GrippX 1.0 mm
For tracking, the guitarists mainly rely on plugins, āMostly because of how easily you can change things on the fly,ā explains Fore. For the new album, they leaned heavily on the Archetype: Gojira X by Neural DSP. The final product, what you hear on The Ugly Side of Me, was re-amped through the EVH 5150III. Thereās no ego when theyāre in the studio, so the decision of who plays which parts is simply a matter of who executes them the best. āDiamond will play some riffs, I will play some riffs,ā says Fore. āWe just swap the guitar back and forth. Weāre like, āWhatās the most efficient way? Who sounds better on this part?ā We just go with where the session takes us and try to get the best sounds and performances.ā
The eerie signature sonic element that runs throughout all Tetrarch albums courtesy of Roweās inventive guitar-effects palette has helped establish the bandās identity. āWhen we first found it, Josh and I were playing around with POD Farm on the computer and it was just a sine wave chorus that nobody makes in a pedal,ā recalls Rowe. āWe were writing the song āFreakā and looking for a weird sounding tone, and then it literally became a staple of our sound. For this album, we were like, āAlright, weāre not going to use that tone very much.ā We literally said that before making this record and yet here we are [laughter].ā
As for their newfound status as the torchbearers of nu metal, Rowe says itās not the label that matters most. āPeople could call us āprogressive country metal,ā but whatās important is weāre writing the music that we really enjoy,ā she attests. āSome of my favorite bands are Linkin Park, Slipknot, Disturbed, and Korn, but when I started playing guitar, Metallica was my all-time favorite band. And then, Zakk Wylde, Pantera, and Triviumāall of that was in there too, so I wouldnāt say nu metal was the only thing that I listened to, but it was a huge part of what I listened to.ā Fore concludes with a similar sentiment: āPeople are going to perceive us how theyāre going to perceive us. If they want to call us nu metal, then hell yeah, that sounds great.ā
An easy guide to re-anchoring a loose tuning machine, restoring a ālostā input jack, refinishing dinged frets, and staunching a dinged surface. Result: no repair fees!
Unleash your inner metal icon with the Jackson Lee Malia LM-87, a high-performance shred-ready axe designed in collaboration with Bring Me The Horizon guitarist Lee Malia. Featuring custom Jackson signature pickups, a fast D-profile neck, and a TOM-style bridge for rock-solid stability, this signature model is a must-have for commanding metal tone and smooth playability.
British metal icon and Bring Me The Horizon guitarist Lee Malia has partnered with Jackson to create his signature LM-87, a shred-ready axe built for heavy riffing and alternative modern metal. As a founding member and lead guitarist of the Grammy-nominated band, Malia is renowned for his aggressive playing style and intricate solos. This high-performance guitar matches his demanding musicality.
With its offset Surfcaster⢠body shape and vintage appeal, the LM-87 melds classic design with modern appointments. The thin open pore finish on the bound Okoume body and neck exudes organic style, while the unique 3-ply pickguard and chrome hardware add striking accents. The fast D-profile 3- piece okoume neck allows smooth riffing across the bound amaranth fingerboard.
Custom Jackson signature pickups, including a bridge humbucker with push-pull coil-split, equip the LM-87 with versatile tone-shaping options to fulfill Malia's sonic vision. The TOM-style bridge with anchored tailpiece and fine tuners provides rock-solid stability for low tunings and heavy picking.
Designed in close collaboration with the legendary guitarist, the Jackson Lee Malia LM-87 is built for shredding. Its blend of vintage vibe and high-performance features make this signature model a must-have for players who value commanding metal tone and smooth playability.
The Tune-o-matic bridge with an anchored tailpiece and fine tuners offers enhanced tuning stability and precise, incremental adjustments. This setup ensures consistent pitch control, improved sustain, and easier fine-tuning without affecting overall string tension.
The guitarās three-piece set-neck guitar with graphite reinforcement offers exceptional strength, stability, and resistance to warping. The multi-piece construction enhances sustain and tonal clarity, while the graphite reinforcement adds extra durability and prevents neck shifting due to humidity or temperature changes. This design ensures a solid, reliable performance with improved resonance and longevity.
Features Include:
- Okoume body
- Three-piece okoume set neck construction with graphite reinforcement
- 12"-16" compound radius amaranth fingerboard
- 3-ply pickguard
- Chrome hardware
- Custom wound Jackson LM-87 pickups
- Volume with push-pull coil-split and tone control
- TOM-style bridge with anchored tailpiece and fine tuners
- Gig bag included
The Jackson LM-87 carries a street price of $899.99.
For more information, please visit jacksonguitars.com.
Unleashing the Pro Series Signature Lee Malia LM-87 | Jackson Guitars - YouTube
Jackson Pro Series Signature Lee Malia LM-87 Electric Guitar - Open Pore Black
Pro Series Lee Malia Signature LM-87 Open Pore BlackThe Tone King Imperial Preamp Pedal delivers legendary vintage American tube tone with modern control. Featuring two channels mirroring '50s tweed and '60s blackface tones, built-in zero watt poweramp, stereo convolution spring reverb and tremolo, and low-latency impulse response technology. MIDI programmable with up to 128 presets for instant recall.
The Imperial All-Tube Preamp pedal delivers Tone Kingās legendary MKII amplifier's '50s tweed, '60s blackface, and vintage British rock tones in a compact, pedalboard-friendly format. It features the exact preamp section and phase inverter circuitry of the Imperial MKII amp, as well as Reverb, Tremolo and Attenuation, resulting in a pedal that sings with harmonic richness and blooming touch response. Powered by three 12AX7 preamp tubes running at high voltage, this preamp delivers the amp's sound, responsiveness, and exquisite interaction with your pickups and effects. The onboard, low-latency impulse response (IR) loader (per channel), Headphones, easy integration and expansion with your existing gear, and MIDI capabilities, takes these iconic tones into the new era of guitar playing.
Legendary Vintage Tube Amp Tones
The Imperial Preamp Pedal features two distinct channels, each mirroring the '50s and '60s flavors of the Imperial MKII.
- The Rhythm Channel evokes the essence of a classic '60s blackface combo's pristine cleans with a touch-sensitive response that transitions smoothly into overdrive.
- The Lead Channel is inspired by the iconic tweed amps of the '50sā with the ability to glide between warm articulate cleans and aggressive midrange bark. This channel's Mid-Bite control adds a further layer of tone shaping, focusing the low-end, while adding high-end presence and gain for a British-flavored rock crunch.
Built-In Zero Watt Poweramp - Phase Inverter
The Imperial Pre-Amp Pedal includes the exact phase inverter circuitry of the actual Imperial MKII amp, utilizing one of its three 12AX7 tubes. This built-in ā0 watt powerampā authentically provides the harmonic and dynamic content of the Tone King poweramp section. This revolutionary design is the cornerstone that delivers the ENTIRE Imperial MKII experience right on your pedal board.
Stereo Convolution Spring Reverb & Stereo Tremolo
Like its namesake amp, the Imperial Preamp boasts foot-switchable spring reverb and tremolo (digital on the preamp pedal) which are assignable to each channel. A signature of the Tone King Imperial MKII tube amplifier, these era-correct effects add dimension and movement while transporting you to a golden age of electric guitar tone.
Impulse Response (IR) Cabinet & Power Amp Sim
The Imperial Preamp pedal's low latency IR and power amp simulation technology delivers its tube tones directly to the front of house or your interface. Thatās especially evident in the 15 included OwnHammer-made IRs. Each channel has three of our favorites, preloaded, and selectable via dual 3-way toggle switches.
OH 112 Imperial TK1660: Tone King 1660 speaker in a Tone King Imperial 1x12 combo. Captured using a Shure SM57, a Neumann U87, and a Royer 121 through '70s API 312 preamps.
OH 212 Class A Blue: Celestion Blues from 1963 in a Vox AC30 2x12 combo. Captured using a Shure SM57, a Neumann U87, and a Royer 121 through '70s API 312 preamps.
OH 412 Basketweave M25: Celestion G12M-25 speakers from 1971 in a basket-weave 1960B 4x12 cabinet. Captured using a Shure SM57, Telefunken MD421, and Royer 121.
There are 12 additional IRs to choose from in the included Tone King Editor software (powered by Synergy) which are easy to swap in and out of the pedal's six available slots. You can also disengage the onboard IR loader entirely to use the preamp with an external IR loader or powered cabinet.
Tone King Editor Software
You can assign the Reverb, Tremolo and IR to each of the channels right on the pedal itself, making it a powerful and easy-to-use sonic tool. Tone King offers an Editor software, powered by Synergy, which takes the Pre-Amp's capabilities to another level, allowing you to fine-tune all of the preamp's digitally controlled parameters and save them in up to 128 MIDI presets
- Control the independent power amp simulation HF Comp and Low-Pass filters
- Access all 15 included OwnHammer IRs⢠Easily load your own IRs and manage your IR library
- Assign any of your IRs to the pedal's six available slots (three per channel)⢠Control your reverb, reverb tails, tremolo and effects loop bypass settings⢠Save these settings to up to 128 presets for instant recall via MIDI
The Tone King Editor software also unlocks all of the Imperial Preamp's modern control. Fully MIDI-capable, you can save your presets and access them instantly with a MIDI pedalboard controller or the laptop running your entire show. It is the perfect marriage of modern control and classic tube tone.
Expanding Your Rig's Capabilities
The Imperial Preamp Pedal is the perfect DI recording and performing solution. But that's just scratching the surface.
Add Channels to Your Current Guitar Amplifier
A standout feature of the Imperial preamp pedal is its ability to easily integrate with your existing amplifiers (must have a series effects loop). A straightforward 3-cable connection is all it takes, and you can instantly alternate between the Imperial Preamp as your amp's front end or your amp's preamp channels.
Networking with Other Effects-Loop-Equipped Preamp Pedals
Create the ultimate pedalboard-based rig with other preamp pedals (with effects loops). Using the same 3-cable method, you get both Imperial channels, your other preampās tones, the Imperial's stereo effects loop, and its onboard IRs. Additionally, you can assign the Imperial's spring reverb and tremolo effects to your other preamp channels.
Classic American Tube Tone for Every Stage & Studio
Whether you're a gigging musician, a recording artist, or simply a tone enthusiast, the Tone King Imperial Preamp pedal offers endless possibilities. Use it as a standalone preamp for recording or for silent stages and practice, add its two channels to your existing amplifier, pair it with a power amp and cabinet to move some air, or combine it with other preamp pedals for an even wider range of pedalboard-based tones.
Tone King Imperial Preamp Pedal is the ultimate marriage of legendary, vintage American tube tone and modern control.
For more information, please visit toneking.com
Features
- Two Channel High-Voltage preamp ā DI
- 3 x 12AX7 preamp tubes running at proper high voltages
- Built-In zero watt poweramp - phase inverter circuit
- Two channels with independent Volume and Attenuation controls
- Rhythm Channel (top)
- '60s-era American blackface combo tone
- Bass and Treble controls
- Lead Channel (Bottom)
- '50s-era American tweed combo and British rock tones
- Tone and Mid-Bite controls
- Spring Reverb (convolution)
- Reverb and Dwell controls
- Independently assignable to each channel
- Tremolo (digital)
- Depth and Speed controls
- Independently assignable to each channel
- Stereo, Series FX loop (bypassable)
- MIDI programmable
- Save up to 128 presets for instant recall via an external MIDI switcher
- Presets save:
- Channel selection
- Master bypass settingo IR selection
- IR bypass setting
- Effects loop bypass setting
- Reverb bypass and tails settings
- Tremolo bypass settings
- Onboard Impulse Response (IR) Technology
- Low-latency Impulse Response cabinet simulation (bypassable)
- 3-position CAB/IR select switch per channel (programmable via software)
- Included OwnHammer IRs
- Poweramp simulation with software editable HF Comp and Low-Pass filters (per channel)
- Connections:
- Dual stereo balanced XLR outputs with Ground Lift Switch
- ¼" Headphone output
- Effects Send and Stereo Return Jacks
- MIDI 5-pin standard connector
- USB-C connector for use with the included Tone King Editor software editor
- To Amp In, From Amp Send and From Amp Return Jacks ā for adding Imperial channels to your amp or preamp
- Included
- 6ā USB Cable
- Universal 12V Power Supply
- Dimensions: 7.2ā (W) x 5.7ā (D) x 2.75ā (H)
- Weight: 1.9 lbs.