
Good Vibes
A hallmark of Ronson’s style is his unique vibrato, which could be so wide that at times it almost sounded more like a series of quick bends. But its quirkiness fit right in with the glam sensibility, and it always came across as musical. Ronson is possibly most well known for being a member of David Bowie’s backing band, the Spiders from Mars, and his outro solo in Bowie’s “Moonage Daydream” from the classic album Ziggy Stardust is a prime example of his unique vibrato.
Let’s look at Ex. 1, which puts the spotlight on a Ronson-style exaggerated vibrato coupled with bent notes. This can be a challenging technique, and the best way to execute it successfully is by starting with the traditional rock-style fretting-hand grip. With your fretting-hand thumb over the neck, rest the area between your thumb and index finger on the underside of the neck, creating a fulcrum point. Once you’ve bent the string, quickly rotate your wrist back and forth. Be sure not to push the string with your fingers, as this won’t provide as much strength and control as your wrist.
To fully emulate Ronson, be sure to bring swagger and confidence, like he always did. He brought a next-level intensity to Bowie’s shows, as evidenced by the following video. Witness the havoc he wreaks with his delay at 3:54.
Bending Melodies
Ronson had a particularly keen sense of melody and could create interesting melodic lines to fit over both simple and more complex chord progressions. A great example is his hypnotic guitar melody in Bowie’s “Suffragette City,” also from Ziggy Stardust.
To execute the entire melody, Ronson never once moves his fretting hand. He simply manipulates a single note by bending it varying degrees to fit over the chords. As far as technique, it’s best to use the same approach here as we did with vibrato, so as to have the most control over your bends. From a compositional standpoint, it can be helpful to be aware of the chord tones available, especially when dealing with a bit of an odd progression, like the one in Ex. 2. Here, the chord progression is: G (G–B–D), A (A–C#–E), G#m (G#–B–D#). We can think of this as IV–V–#IVm in the key of D (D–E–F#–G–A–B–C#) with the G#m chord being an odd, out-of-key choice. Looking at the chord tones, all are diatonic (in the key), with the exception of the G# and D# of the G#m chord.
Let’s take a look at two approaches to creating a melody similar to Ronson’s—one with not very much movement—over this sort of chord progression. First, when confronted with an out-of-key chord, such as our G#m, one approach is stress a note or notes which are out of key, as this can create an element of surprise. In measure three, the melody moves to D#, the fifth of G#m, which is out of key and works well here.
However, sometimes this approach can be jarring to the listener. The underlying chord is already out of key, and stressing one of the non-diatonic notes can prove to be a bit too much. In this case, a better choice is to find a note within the key which fits over the out-of-key chord. Now, this doesn’t have to be a chord tone, but here, the third of G#m (B), which is diatonic to our key of D can sound great, as demonstrated by this melody with almost no movement at all (Ex. 3). Note that for the G chord, the first note of the pair (B, the third) is a chord tone, whereas the second note (C#, the raised fourth) is not. It’s just the opposite for A chord: B is the second and C# is the third. After all, you don’t want to create cookie-cutter melodies, limiting yourself to chord tones alone. Always trust your ears and dare to try all sorts of options. But being aware of the chord tones can guide you through some tricky terrain.
Targeting the Third
In his work with Ian Hunter (Mott the Hoople), Ronson was sometimes called upon to dig into his bag of more traditional rock licks, but he always seemed to work his keen melodic sense into the mix as well. A great example is this live version of Hunter’s “Once Bitten, Twice Shy” from his 1975 self-titled debut solo album. Most rockers of the day would have leaned heavily on G minor pentatonic (G–Bb-C-D-F) over this common rock progression (C–G–D), but Ronson takes a different approach, mixing straight-up rock ’n’ roll with creative melody-making.
Ex. 4 takes a similar approach to the identical chords, starting with a classic Chuck Berry lick, then veering into more melodic territory by using the G major scale (G–A–B–C–D–E–F#). Stressing the thirds of the G and D chords (B and D, respectively) creates a sweet-sounding contrast to the more bombastic musical background.
Let’s try this “targeting thirds” approach with a different set of chords, as in Ex. 5. Here, we’re in the key of D, and over the chord progression D–F–G, we’re going to target the third of each chord — F#, A, and B, respectively. Stressing the third will often result in satisfying melodies, though doing it too much will have your listeners feeling as if they’ve eaten too much candy. Also, note how the F chord (bIII) functions as a non-diatonic bridge from the I chord (D) to the IV chord (G). Choosing to play its third (A) is another example of how stressing an in-key note over an out-of-key chord can yield smooth melodies.
Classical Gas
During his time with Bowie, Ronson could never quite be sure what musical setting he’d find himself in. “Time,” from Bowie’s 1973 release Aladdin Sane is a song with shades of Baroque music (think Bach), and in his solo, Ronson seamlessly adds lines that sound as if they could easily have been played by a classical trumpeter. First, enjoy David Bowie in his theatrically androgynous glory, as Ronson’s guitar emerges from behind his vocal. (Stay with it through the 4:00 mark!)
How does he accomplish this? He clearly draws from his classical music studies, but interestingly enough, it’s not about the notes as much as it stems from the rhythms he chooses. Ex. 6 showcases simple lines, all within the key of C (C–D–E–F–G–A–B), relying on mostly steady eighth- or 16th-note rhythms to lend a strict classical feel. As they often do, the details matter here: For example, notes with a dot above are to played staccato, or short. To accomplish this, after striking the note, quickly lift your finger so it rests on the string, thereby deadening it. Incorporating this sort of articulation and the quick 32nd-note flourish in measure one, along with rock-style vibrato and the sly bend in measure four creates a mix of modern and classical flair that Ronson could effortlessly summon.
Nothing Fancy Required
Aside from occasional use of delay, Ronson plugged his trusty 1968 Gibson Les Paul directly into various amps, most often a Marshall Major 200-watt head. Always with an eye toward detail, he had the finish stripped from his guitar, as he felt it gave the instrument more resonance. Armed with his vast musical experience and an equal ability to be subtle or unbridled, his playing remained unpredictable, as he loomed large over the glam rock scene. Let’s leave off with Ronson deftly weaving some melodic magic on the Bowie classic “Space Oddity,” of which the singer clearly approves.
Few musical acts did more to put their fame and fortune to good use than punk rock icon Wayne Kramer. Known for his enduring commitment to activism, especially in justice reform, his life story embodies the defiant, DIY ethos of punk, directly inspiring generations of bands and musicians who followed. Now, fans and fellow musicians alike can attempt to emulate Kramer’s incendiary sound with the new, limited-edition pedal.
Designed before his death in February 2024, Wayne Kramer—together with friend Jimi Dunlop (Dunlop CEO) and Daredevil Pedals owner Johnny Wator —the pedal features artwork from artist and activist Shepard Fairey (Obey Clothing founder). A majority of profits from the sale of the pedal goes directly to Kramer’s charity supporting the rehabilitation of incarcerated people of all ages, genders, and backgrounds.
In honor of his close friend, Tom Morello—the innovative guitarist behind Rage Against the Machine, Audioslave, the Nightwatchman, and more—demoed the pedal, showcasing its sound and shining light on Wayne Kramer’s incredible legacy.
Tom Morello Introduces MC5 Wayne Kramer-Inspired Pedal For Charity: MXR Jail Guitar Doors Drive
"What they've tried to bake into the MXR® Jail Guitar Doors Drive distortion pedal is not just Wayne's sound but Wayne's attitude, and the grit and the rawness of Detroit and of the MC5," said Morello, one of Kramer’s best friends, during his demo of the pedal. "This is the guitar pedal that was used on the song 'Heavy Lifting' that I recorded with Wayne for the last MC5 record.
"Named after the late rocker's charity—which provides instruments and art workshops to incarcerated individuals as rehabilitation tools—the MXR® Jail Guitar Doors Drive pedal aims to capture all of the high-voltage energy of Wayne Kramer's sound. It features two uniquely voiced gain circuits cascaded together with a singular pot controlling both the output level of each circuit and the overall saturation level of the distortion.
Music makers looking to capture Kramer’s raw, fiery sound can pick up the new MXR® Jail Guitar Doors Drive pedal, exclusively on Reverb via The Official MXR Jail Guitar Doors Drive Reverb Shop for $199, here: https://reverb.com/shop/the-official-mxr-jail-guitar-doors-reverb-shop.
PG contributor Tom Butwin reveals his favorite songwriting secret weapon: the partial capo. Watch how the Shubb C7 and C8 can simulate alternate tunings without retuning your guitar—and spark fresh creative ideas instantly.
Shubb C8b Partial Capo for Drop-D Tuning - Brass
The C8 covers five of the six strings, leaving either the low E or high E string open, depending on how it's positioned.
- Standard setup: Placed on the 2nd fret while leaving the low E string open, it simulates Drop D-style sounds—except you're still in standard tuning (key of E). You get that big, droning bass feel without retuning.
- Reverse setup: Flipping the capo allows the high E string to ring, giving you shimmering drones and new melodic options across familiar chord shapes.
- A flexible tool that lets you simulate alternate tunings and create rich sonic textures—all while keeping your guitar in standard tuning.
Shubb C7b Partial Capo for DADGAD Tuning - Brass
The C7 covers three of the six strings—either D, G, and B or A, D, and G—depending on how it's flipped.
- Typical setup (D, G, B): Creates an open A chord shape at the 2nd fret without needing your fingers. This frees you up for new voicings and droning notes in the key of A.
- Reversed setup (A, D, G): Gets you close to a DADGAD-style tuning vibe, but still keeps you in standard tuning—great for modal, spacious textures often found in folk or cinematic guitar parts.
Use it alone or stack it with the C8 for wild, layered effects and truly out-of-the-box inspiration.
PRS Guitars celebrates 40 years with the limited edition McCarty SC56. Featuring vintage-inspired design and modern innovations, this single-cutaway guitar pays tribute to Ted McCarty and his impact on the industry. With only 400 pieces available, this instrument is a must-have for collectors and performers alike.
PRS Guitars today announced the 40th Anniversary McCarty SC56 Limited Edition. With a classic PRS single-cutaway body shape and carefully chosen specifications, the McCarty SC56 is both a tribute to tradition and a reliable tool for the modern performer. Only 400 pieces will be made.
“The SC56, signifying Singlecut and 1956, model is our most recent tribute to my late mentor Ted McCarty and his impact on the guitar industry. We started with our take on a classic late ‘50s singlecut body. 1956 marks the year that Ted first had guitars made with his newly coined 'humbucker' pickups. It also happens to be the year I was born. Bringing vintage design into the modern era, we loaded this model with our McCarty III pickups, meticulously designed to deliver warm, clear, vintage tone with exceptional note separation and dynamics,” said PRS Guitars Founder & Managing General Partner, Paul Reed Smith.
Anchored by a maple top and mahogany back, the 24.594” scale length and 22-fret Pattern Vintage neck work with Phase III non-locking tuners and PRS two-piece bridge to promote its musical sustain. The PRS McCarty III pickups are controlled by a simple layout — two volume controls, two tone controls, and a three-way toggle on the upper bout.
Single-cutaway guitars are known to be heavier than their double-cutaway counterparts. The McCarty SC56 Limited Edition design incorporates weight-relief, decreasing the weight of the guitar by about 2/3 of a pound, while maintaining several points of attachment between the guitar top and back to eliminate the “hollow” sound of the cavities and promote tone transfer.
With appointments like binding on the fretboard, classic bird inlays, and a vintage-inspired nitrocellulose finish, the 40th Anniversary McCarty SC56 Limited Edition blends heritage and innovation into a timeless instrument.
PRS Guitars continues its schedule of launching new products each month in 2025.
For more information, please visit prsguitars.com.
40th Anniversary McCarty SC56 Limited Edition | Demo | PRS Guitars - YouTube
The Future Impact V4 is an incredibly versatile pedal with an exceptional range of sounds. In addition to producing synthesizer sounds such as basses, leads and pads, it can function as an octaver, chorus, flanger, phaser, distortion, envelope filter, traditional wah-wah, tremolo, reverb, etc., and even has a built-in tuner. It can potentially replace an entire pedalboard of dedicated single-effect pedals.
The very powerful signal processor of the Future Impact V4 is able to replicate the various oscillator, filter, amplifier and envelope generator blocks found in classic synthesizers. In addition, it contains signal processing blocks more traditionally used for processing the sound of an instrument such as a harmonizer block and audio effects such as chorus, distortion and EQ. These architectures complement each other in a very flexible way.
Setting the standard for the bass guitar synth pedals since 2015, together with an enthusiastic community and long line of great artists, the Future Impact V4 is the guitar synth platform for the next decade.