
Get rid of those rock cliches by cutting your hair, dressing conservatively, picking some 12-string arpeggios, and letting those open strings ring!
Intermediate
Intermediate
- Arpeggiate the uncommon chord
- Work open strings into your hooks and melodies
- Find the right tone for your college-rock experience
College rock started as a generic term meant to cover the bands or genres that were neglected by mainstream radio in the 1980s—bands like Hüsker Dü (punk), Bauhaus (goth), P.I.L. (post-punk), Violent Femmes (folk-punk), and countless other nonconformists—but who dominated college radio. Eventually, and ironically, the term came to define a genre of its own. In this lesson, we’ll highlight a few of college rock’s guitar hallmarks, explain the theory behind the harmony, and point out the necessities of tone.
One could easily argue that there are two college rock bands—one from America and one from England—who set the tone for all others: R.E.M. and the Smiths, featuring, respectively, guitarists Peter Buck and Johnny Marr. So, what better place to start than with some variations on their open-string hooks and unique chord voicings, both of which helped create the college rock sound.
It should also be noted that both Buck and Marr made extensive use of 12-string guitars, giving college rock a reputation for being “jangly.” Regrettably, this is by far the most cost-prohibitive aspect of the college rock sound. Never fear, some not-so-subtle use of a chorus pedal can get you … well, if not close, closer.
College Rock Figureheads
Ex. 1 is reminiscent of R.E.M.’s “Harborcoat” (and various other songs from their first four albums). While the chord progression implied by the bass is relatively simple (most of the examples in this lesson follow suit), the voicings of the arpeggios help to create unusual chords, most notably in measure two, where the major 7th (D#) and the root (E) ring against each other creating a tension that resolves into the next measure.
In the second half of Ex. 1, chords are strummed with the top two open strings ringing throughout (excepting during the C#m chord), once again creating uncommon harmonies. Note, in particular, the last measure, which includes an A(add9, add#11) chord!
Ex. 2, inspired by R.E.M.’s “Orange Crush,” finds a common college-rock technique: taking a simple open-chord shape, in this case C, and moving it around the neck, even if just up two frets. This simple move creates a D(add4, add9) chord. These “add” chords—wherein you add the intervals 2 or 4 (or 9 and 11, depending on your point of view) to a triad—are heard frequently in this style of guitar playing. In measure three, the shape is moved down, into “normal” C position, but without the first finger, thus creating a melancholic Cmaj7. If you’re going to play college rock, 50 percent of it better be bittersweet.
With R.E.M. accounted for, let’s move on to Johnny Marr and the Smiths. Leaving the open-string moves aside for a few measures, Ex. 3 pays homage to “This Charming Man,” which will challenge almost any player with its unique use of dyads, or double-stops. This example moves down and up the fretboard, implying a myriad of exceptional harmonies while the bass pounds out the root notes. Is it a solo or a chord progression? Why not both?
Ex. 4 adds a swing feel to the college-rock sound and includes an unexpected syncopation by starting on the “and” of 1 instead of the downbeat. The unique rhythm recurs at the repeat, with the open D note tying itself over the bar on the “and” of 4. The Smith’s “What Difference Does It Make?” serves as a point of reference here.
Quintessentially American
With the college-rock figureheads accounted for, at this point we could move in any direction. So, let’s look at a couple of the heavier American bands—Pixies and the Replacements.
Ex. 5 comes to us via Pixies’ “Brick Is Red.” While this example sounds markedly different from the first four, you’ll notice that, once again, open strings play a central role in this quirky etude. Also, pay attention to the use of starts and stops, as well as dynamics. These two characteristics went on to inspire not only other college-rock bands but the alternative-rock scene that was to follow shortly thereafter. Frequently, as in this example, Pixies guitarists Black Francis (aka Frank Black) and Joey Santiago would double such an idea on acoustic guitar and electric respectively.
More open strings are heard in Ex. 6, which imitates the Replacements’ “Bastards of Young,” featuring Paul Westerberg and Bob Stinson on guitars. What makes this hook distinctive is how it is played over four different bass, root notes, implying four different chords, which are essentially Badd9–C#m9–Emaj7–F#6. Speaking of the Replacements, have a listen to their song “Color Me Impressed” and compare the opening riff to “Chartered Trips” by fellow Minnesotans Hüsker Dü. Coincidence?
Characteristically British
Our final three examples were all inspired by British bands and lead us into a brief discussion on college-rock tone.
Ex. 7 plays off Siouxsie and the Banshees’ “Israel” (featuring John McGeoch on guitar), which is an ideal song for beginners working on fingering barres. As you’ll see, the chords are made by lying one finger flat across the top four strings (I suggest the index). The simplicity of this idea is belied by the complexity of the harmonies created, in this case Em7–C#m7–G#m7–B6. In the second part of the example, natural harmonics are employed, once again with one finger lightly placed on the strings. Regarding the obvious change in tone, compared to all the other examples, this part was recorded through a chorus pedal with the level at 100 percent, the rate at 50 percent, and the depth at 25 percent. Yes, the effect is doing much of the work here! That is not uncommon in the world of college rock, where sound is every bit as important as technique.
Be sure to check out more great guitar playing on Siouxsie and the Banshees records (Siouxsie featured several guitar players over the years), in particular John McGeoch’s playing on “Eve White, Eve Black,” which uses the whole-tone scale in a way more reminiscent of King Crimson than you’d expect.
The seemingly mundane E–A–B chord progression (I–IV–V) of Ex. 8 is enhanced considerably with both sus and add chords. Unlike add chords, sus chords replace the third in a triad with a second or fourth. Thanks to the inversions in this example, the chords never remain static. Look to Ian McCulloch and Will Sergeant of Echo & the Bunnymen for use of such chords, “Crystal Days” in particular. The 12-string guitar makes another appearance here.
Our last example was inspired by one of the numerous crossover hits that came out of the college rock genre, in this case, the Cure’s “Just Like Heaven.” Ex. 9’s open-string chords (reminiscent of Ex. 1) create a lush foundation over which the open-string hook is played. Both guitars are heavily chorused, though Robert Smith and Porl Thompson of the Cure frequently do play 12-string guitars.
I’d be remiss if I didn’t mention another iconic college rock group, Dinosaur Jr., and their fantastic cover version of “Just Like Heaven.” Here we get the best of both worlds, the Cure’s romantic atmosphere and J Mascis’ brutal yet playful guitar playing.
Who Did We Skip? Almost Everyone!
Like most genres, college-rock has a seemingly endless number of bands to draw from. Thus, this lesson could have easily filled a book. And there is no doubt, thanks to the rabid nature of legions of college rock fans, that many will claim I overlooked an incalculable number of bands and guitarists. They are correct. So, let this lesson serve as a primer. Take it upon yourself to seek out other inventive musicians in this genre, no degree required!
Stringjoy has introduced the Ariel Posen Signature String Set, a heavy-gauge Nickel Wound set designed in close collaboration with acclaimed slide guitarist and singer-songwriter Ariel Posen.
The Ariel Posen Signature String Set from Stringjoy
Ideal for B Standard, Open C, and other lower tunings, this set offers exceptional tone and feel for players who want to explore new sonic territory while maintaining their guitar's unique voice.
Each string in this set is built with Stringjoy’s trademark quality: wound at tension with high compression winds for maximum output, durability, and smooth playability. The result? Strings that hold up under pressure while delivering a natural, expressive voice—perfect for hybrid playing and expressive slide work.
Ariel Posen Signature Set Specs:
• .014 – .018p – .026w – .038 – .050 – .062
• Wound 3rd string
“If you didn’t know these were 14-62 gauges, you’d swear they were just 11s tuned down,” said Ariel Posen. “They feel like home and preserve the sound of the guitar, even in lower tunings. That’s the biggest thing—it still sounds like guitar.”
“We’ve spent ten years experimenting and testing together to find the right combination,” said Scott Marquart, Stringjoy Founder & President. “This release is more than just a new product—it’s the culmination of a shared journey between friends and musicians. Ariel’s set is uniquely him, and I think players will love how it feels and responds.”
Stringjoy’s Ariel Posen signature string set carry a street price of $13.99. Learn more at at stringjoy.com.
Paul Reed Smith cradles one of his company’s Charcoal Phoenix limited-edition guitars in front of a PRS Sonzera amp.
The storied guitar builder reflects on his dozen months sharing his experience, knowledge, and perspective with PG’s readers.
Over the past year, I’ve written a series of articles in Premier Guitar going over some of my, and our industry’s, views of guitar making. You can find all of them all online (and for those reading this online, the articles are collected here). What I am going to attempt to do for this final piece is boil down each of these articles to a “sort of” conclusion. I have enjoyed the process of writing and editing each one. For the most part, it’s been a lot of fun. So:
Tonewood Doesn’t Matter. Wood Does (August 2024)
We don’t use the word tonewood in conversation at PRS. It doesn’t capture a lot of my experience of which combinations of wood make good instruments. First and foremost, we are looking for qualities of wood over species, and we make sure we dry and treat each one appropriately.
What Makes a Guitar Worth the Price? (September 2024)
Very often, the price of a guitar does reflect how good an instrument is—and very often the price of the guitar has nothing to do with how good an instrument is.
What You Can and Can’t See When Buying a Guitar (October 2024)
This one’s a pet peeve. When making a purchase, you can clearly see the color of a guitar and how beautiful it is, but you have no idea if the neck is going to warp over time because of many factors, including wood drying and truss rod installment design. Trust your experience.
Does Where a Guitar Is Made Really Matter? (November 2024)
There are really good, really smart, really talented people all over the world. While I won’t deny it’s helped our career here at PRS being in the United States, I do not believe it is a truly defining factor of our quality. A good example would be the PRS SE Series.
The Complicated Beauty of Electric Guitar Pickups (December 2024)
We’ve taken so many good stabs at humbucking design, and I’m getting incredibly good feedback on our new McCarty IIIs. But making pickups is a complicated art. There are a lot of ingredients in the recipe.
“I hope these articles have had some positive impact on you as a group.”
In Guitar Making, It’s the Details that Matter (January 2025)
Well, that title says it. What’s interesting for me is that all guitar makers believe that different types of details matter more than others. At PRS, we have our own beliefs.
When Building Guitars—Or Pursuing Anything—Go Down All the Rabbit Holes (February 2025)
This one’s about learning. It’s a process I really enjoy. Whether your passion is guitar making, guitar playing, or something else entirely, there is always more to keep discovering.
Paul Reed Smith on Buying Gear (March 2025)
Very often at a clinic, the people who don’t play guitar have a less calcified view of the sound of the instruments being demonstrated than those players who have already developed strong ideas. On the other hand, one time a very experienced player was at one of my clinics and heard something he’d been looking for for a long time and did not expect it out of the guitar he got it from. Trust your experience—not your predetermined views.
Learning from the Mistakes of Guitar Building’s Past (April 2025)
I think my beginnings as a repairman gave me a lot of insight on this one. Even still, just the process of defining a past guitar-making mistake is its own art.
Paul Reed Smith on Where Amp History—and Tone—Begins (May 2025)
This one I love. It’s a greatly exaggerated version of mods you could do to a TS808 Tube Screamer, which has a history on the web. Amplifiers are “modulated power supplies” and can have so much impact on your tone.
The Lifelong Rhythm of Learning (June 2025)
In some periods of time, there’s a lot to be learned, and in some periods of time, you can barely hold what you had before. It’s different for everyone, and for me, it’s been up and down. No matter where you are in the process, there’s always good work to do.
I hope these articles have had some positive impact on you as a group. I know some things resonate with some people and not others, and the opposite as well. I haven’t gotten a lot of feedback from these articles except that there’s not an overwhelming chorus saying “what an idiot,” which I assume means there’s been some meat on the bone of some of the views shared. It’s been a joy. Thanks for listening.
Kemper updated the entire product range introducing the all-new Kemper Profiler MK 2 Series. More Power. More Flexibility.
KEMPER PROFILER - The all-new PROFILER MK 2 Series
Kemper today announces the immediate availability of the all-new KEMPER PROFILER MK 2 Series. Kemper continues to raise the bar with the upcoming Profiler MK 2 Series — a bold evolution of the Profiler lineup (All PROFILERs: Head, Rack, Stage, the Player, and the powered versions), delivering more power, more flexibility, and more creative potential than ever before.
At the heart of the PROFILER MK 2 Series works an upgraded processing engine, unlocking faster performance, with boot times clocking in around 20 seconds, and a host of new features that expand the boundaries of what a modern guitar or bass rig can do.
A New Era of Effects:
20 Blocks in Series, the most powerful effects architecture ever found in a Kemper unit - The PROFILER MK 2 Series now offers seven additional effect blocks, raising the total number of simultaneous audio effect blocks to an incredible 20 — all running with zero added signal latency. It’s like having an entire, fully integrated pedalboard with pedal essentials at your feet — but one that boots in seconds, never needs rewiring, and always remembers your settings.
A new Era of Profiling:
Kemper announces a new profiling technology for the MK 2 series. Availabilty is expected during Summer. Currently in extended testing with some selected third-party profile vendors the new profiling offers:
- More than 100,000 individual frequency points meticulously analyzed for the most precise amp recreation ever achieved.
- Next-Level Speaker & Dynamically adjustable Cabinet Resonance – Capturing the true dynamics of your setup with the longest and most complex impulse responses in the industry.
- Liquid Profiling Technology – Seamlessly integrate the original amp’s gain and tone controls, transforming a single profile into a fully dynamic, living amplifier.
- Unparalleled Precision & Feel – A cutting-edge hybrid approach combining precise, deterministic analog measurement with Kemper’s industry-leading profiling intelligence.
Overview - All that’s new in the PROFILER MK 2 in more Detail:
All-New FX Section – 7 Additional FX Slots - ThePROFILER MK 2-Series introduces an expanded FX section with seven dedicated “pedalboard essential” FX slots, featuring: A new second Noise Gate (Palm Ninja), Compressor, Pure Booster, WahWah, Vintage Chorus, Air Chorus, and Double Tracker.
Adding these to the pre-existing 10 audio blocks, Spectral Noise Gate, Transpose Effect, and Volume Pedal - in total this provides users with 20 simultaneous audio effect blocks, setup gig-ready right out of the box while maintaining full flexibility for customization.
This new layout makes it convenient to cover all the bases and offers 8 flexible FX blocks available for the acclaimed tone shapers and studio-grade unique FX the KEMPER PROFILER is famous for.
Performance Meets Portability - With a smarter internal design and new lightweight aluminum components, the Profiler Stage Mk 2 has shed excess weight — making it even more gig-friendly without sacrificing the tank-like build quality musicians rely on. Whether for touring the world or heading to a local session, this is the most travel-ready full-featured Profiler yet.
Mk 2-ready Player! - For all guitarists and bassists already rocking the compact PROFILER Player, there is good news: it’s been “MK 2”-ready from day one, meaning it’s fully aligned with the power and potential of the new series, and now, on LVL 1 already, it features 16 simultaneous FX in total. This new extended signal flow becomes available for all Player owners as a free update, and yes, it will get Profiling, too. Making the PROFILER Player out of the box the features richest and most professional performance and recording solution - with its travel-friendly footprint and convenient price point!
8-Channel USB Audio Support for the new Mk 2-Series - Native 8-channel USB audio support to all KEMPER PROFILER MK 2 Series units, enabling seamless multitrack recording and reamping directly into your DAW – no external interface required.
Loop Longer, Play Harder - The integrated Looper also gets a serious upgrade. With up to two full minutes of recording time, the MK 2 Series lets you capture extended phrases, build layered soundscapes, or craft entire performances — all on the fly. (Looper available from LVL 3 for the Player)
Speed and Responsiveness Upgrades - Major improvements under the hood. Boot times, preset switching, and UI responsiveness are noticeably faster and smoother, especially in Performance Mode.
Christoph Kemper, Founder & CEO:
“The new PROFILER MK 2-Series makes the PROFILERs feel more like a complete rig than ever before. With instant access to essential FX, full USB audio integration, and improved playability, we’re giving our users a platform that adapts and grows with them.”
Pricing & Availability:
The new KEMPER PROFILER MK 2 Series models are available now from dealers worldwide and directly from the Kemper Online Store. All the new features require a KEMPER PROFILER MK 2 Series device. Visit www.kemper-amps.com for downloads and release notes.
PROFILER Head $1,348.00
PROFILER Rack $1,398.00
PROFILER Stage $1,498.00
PROFILER Player $ 699.00
PROFILER PowerHead $1,798.00
PROFILER PowerRack $1,798.00
PROFILER Remote $ 469.00
At a glance!
The Kemper Profiler MK 2 Series isn’t just about doing more. It’s about doing it better, faster, and without compromise. With unmatched tonal power, surgical precision, and effortless usability, this is the most complete and forward-thinking Profiler platform yet.
The Billy Idol guitarist rides his Knaggs into Nashville.
There’s nothing subtle about Billy Idol, so it tracks that there’d be nothing subtle about the guitars used onstage by his longtime guitarist, Steve Stevens. Famous for his guitar work with Idol and the Grammy-winning symphony of sustain “Top Gun Anthem,” Stevens brought a brigade of eye-popping signature electrics and some choice other jewels out on the road with Idol this spring.
The tour touched down at Bridgestone Arena in downtown Nashville in May, and while Stevens was jetting into town, PG’s John Bohlinger met up with tech and guitar builder Frank Falbo to learn the ins and outs of Stevens’ rig.
Brought to you by D’Addario
Cherry Pie
This cherryburst is one of a score of single-cut Knaggs Steve Stevens signature models in Stevens’ arsenal. He plays with heavier Tortex picks and uses Ernie Ball strings, usually .010–.048s.
More, More, More (Sustain)
This Knaggs Steve Stevens Severn XF, complete with a Sustainiac pickup system, was designed to mimic the look of one of his old guitars, and the stage lights make this finish go insane. It comes out for three to four songs in any given set, including “Rebel Yell.”
Songs from the Sparkle Lounge
This Knaggs Steve Stevens, finished in silver sparkle, is outfitted with a killswitch, push-pull control knobs, and Fishman Fluence pickups. Falbo was on the R&D team that helped design the Fluences.
Other guitars backstage include a red sparkle Knaggs with PAFs, a Godin LGXT with piezo saddles and Seymour Duncan pickups that sends three signals (synth, electric, and piezo), a pair of piezo- and MIDI-equipped Godin nylon-string guitars, a dazzling Gibson Les Paul with stock Gibson pickups, a Suhr T-style electric, and a Ciari Ascender for travel and dressing-room rehearsal.
Tube Heart, Digital Brains
Stevens runs through a pair of Friedman heads—a B100 and Steve Stevens SS100, plus a third backup—with each panned hard to either the left or right. Both signals run through a Neve 8803 rack EQ into two RedSeven Amplification Amp Central Evo loadboxes, and through their impulse response programs to front of house. A Neural Quad Cortex is on hand as a backup and for fly dates.
Steve Stevens’ Pedalboard
Stevens’ pedal playground is masterminded by an RJM Mastermind GT, which lives on its own board alongside a Fractal FM3 MK II. He orchestrates most of the changes himself, but Falbo is ready to flip switches backstage in case Stevens is away from his board for a key moment.
The centre hub, built on a Tone Merchants board, carries a TC Electronic PolyTune2 Noir, Xotic Effects Super Sweet Booster, Vox wah, Ernie Ball volume pedal, Mission Engineering expression pedal, DigiTech Whammy Ricochet, Suhr Discovery, JHS Muffuletta, DigiTech Drop, ISP DECI-MATE, Walrus Voyager, Suhr Koji Comp, Zvex Super Ringtone, DryBell Vibe Machine, and Ammoon EX EQ7. An Ebtech Hum Eliminator, two Strymon Ojais, and a Strymon Zuma keep the wheels greased.
The board to the right carries a Boss RV-500, Fender Smolder Acoustic OD, Lehle Dual Expression, Boss GM-800, Empress Bass Compressor, Grace Design ALiX preamp, Fishman Aura, and a Peterson tuner. Utility boxes include an Ernie Ball Volt and a Radial J48.