
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.
Featuring torrefied solid Sitka Spruce tops, mahogany neck, back, and sides, and Fishman Presys VT EQ System, these guitars are designed to deliver quality tone and playability at an affordable price point.
Cort Guitars, acclaimed for creating instruments that exceed in value and quality, introduces the Essence Series. This stunning set of acoustic guitars is designed for musicians looking for the quintessential classic acoustic guitar with fabulous tone all at an exceptional price point. The Essence Series features two distinct body shapes: The Grand Auditorium and the OM Cutaway. Whatever the flavor, the Essence Series has the style to suit.
The Essence-GA-4 is the perfect Grand Auditorium acoustic. Wider than a dreadnought, the Essence-GA-4 features a deep body with a narrower waist and a width of 1 ¾” (45mm) at the nut. The result is an instrument that is ideal for any number of playing styles: Picking… strumming… the Essence GA-4 is completely up for the task.
The Essence-OM-4 features a shallower body creating a closer connection to the player allowing for ease of use on stage. With its 1 11/16’th (43mm) nut width, this Orchestra Model is great for fingerpickers or singer/guitarists looking for better body contact for an overall better playing experience.
Both acoustics are topped with a torrefied solid Sitka Spruce top using Cort’s ATV process. The ATV process or “Aged to Vintage”, “ages” the Spruce top to give it the big and open tone of older, highly-sought-after acoustics. To further enhance those vintage tones, the tops bracing is also made of torrefied spruce. The mahogany neck, back, and sides create a warm, robust midrange and bright highs. A rosewood fingerboard and bridge add for a more balanced sound and sustain. The result is amazing tone at first strum. 18:1 Vintage Open Gear Tuners on the mahogany headstock offer precise tuning with vintage styling. The herringbone rosette & purfling accentuates the aesthetics of these instruments adding to their appeal. Both acoustics come in two choices of finish. Natural Semi-Gloss allows the Sitka spruce’s natural beauty to shine through and classic Black Top Semi-Gloss.
A Fishman® Presys VT EQ System is installed inside the body versus other systems that cut into the body to be installed. This means the instrument keeps its natural resonance and acoustic flair. The Presys VT EQ System keeps it simple with only Volume and Tone controls resulting in a true, crisp acoustic sound. Lastly, Elixir® Nanoweb Phosphor Bronze Light .012-.053 Acoustic Strings round out these acoustics. This Number 1 acoustic guitar string delivers consistent performance and extended tone life with phosphor bronze sparkle and warmth. The Essence Series takes all these elements, combines them, and exceeds in playability, looks, and affordability.
Street Price: $449.00
For more information, please visit cortguitars.com.
Cort Essence-GA4 Demo - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Moth Electric's C. regalis overdrive pedal offers massive boost, natural overdrive, and searing distortion for guitar and bass. With active treble and bass controls, clean blend, Smooth/Crunch modes, and true-bypass switching, this USA-made pedal is a versatile addition to any pedalboard.
Adding a new model to their line of overdrives, Moth Electric has released the C. regalis. Equally suited for guitar and bass, the meticulously designed C.regalis is capable of massive boost, natural, singing overdrive, and searing mid-gain distortion. Its six op-amps power a dynamic, crunchy overdrive circuit with a suite of features including:
- Active treble and bass controls that allow for +/- 15db boost and cut. Perfect for tailoring the C. regalis to your instrument and amp.
- A powerful clean blend for introducing either your amp’s natural character or another effect into the equation. Allows the C. regalis to become a more transparent overdrive.
- Smooth/Crunch modes, provide a subtle change in feel with ‘Smooth’ increasing sustain and ‘Crunch’ introducing high-order harmonics for additional texture.
The C. regalis offers the following features:
- Bass, Treble, Blend, Volume, Drive controls
- Smooth/Crunch modes● More volume than you’ll ever need
- True-bypass switching, top-mounted jacks for easy placement on crowded pedalboards
- 9-volt DC operation with external power supply – no battery compartment
- Designed and hand-built in the USA using through-hole components
The C. regalis carries a $179.99 price and is available for purchase at mothelectric.com.
For more information, please visit mothelectric.com.
OK WOW. Moth Electric C.REGALIS - Pedals and Tea EP 57 - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Jack White's 2025 No Name Tour features live tracks from his album No Name, with shows across North America, Europe, the UK, and Japan.
The EP is a 5-song collection of live tracks taken from White’s 2024 edition of the tour, which was characterized by surprise shows in historic clubs around the world to support the 2024 album No Name.
No Name is available now via Third Man Records. The acclaimed collection was recently honored with a 2025 GRAMMY® Award nomination for “Best Rock Album” – White’s 34th solo career nomination and 46th overall along with 16 total GRAMMY® Award wins. The No Name Tour began, February 6, with a sold-out show at Toronto, ON’s HISTORY and then travels North America, Europe, the United Kingdom, and Japan through late May. For complete details and remaining ticket availability, please visit jackwhiteiii.com/tour-dates.
White’s sixth studio album, No Name officially arrived on Friday, August 2 following its clandestine white-label appearance at Third Man Records locations that saw customers slipped, guerilla-style, free unmarked vinyl copies in their shopping bags. True to his DIY roots, the record was recorded at White’s Third Man Studio throughout 2023 and 2024, pressed to vinyl at Third Man Pressing, and released by Third Man Records.
For more information, please visit jackwhiteiii.com.
JACK WHITE - NO NAME TOUR 2025
FEBRUARY
11 – Brooklyn, NY – Kings Theatre
12 – Brooklyn, NY – Brooklyn Paramount
17 – Boston, MA – Roadrunner
18 – Boston, MA – Roadrunner
21 – Paris, France – La Cigale
22 – Paris, France – La Trianon
23 – Paris, France – La Trianon
25 – Utrecht, Netherlands – TivoliVredenburg (Ronda)
26 – Utrecht, Netherlands – TivoliVredenburg (Ronda)
28 – London, UK – Troxy
MARCH
1 – London, UK – Troxy
2 – Birmingham, UK – O2 Academy Birmingham
3 – Glasgow, UK – Barrowland Ballroom
10 – Hiroshima, Japan – Blue Live Hiroshima
12 – Osaka, Japan – Gorilla Hall
13 – Nagoya, Japan – Diamond Hall
15 – Tokyo, Japan – Toyosu PIT
17 – Tokyo, Japan – Toyosu PIT
APRIL
3 – St. Louis, MO – The Factory
4 – Kansas City, MO – Uptown Theater
5 – Omaha, NE – Steelhouse Omaha
7 – Saint Paul, MN – Palace Theatre
8 – Saint Paul, MN – Palace Theatre
10 – Chicago, IL – The Salt Shed (Indoors)
11 – Chicago, IL – The Salt Shed (Indoors)
12 – Detroit, MI – Masonic Temple Theatre
13 – Detroit, MI – Masonic Temple Theatre
15 – Grand Rapids, MI – GLC Live at 20 Monroe
16 – Cleveland, OH – Agora Theatre
18 – Nashville, TN – The Pinnacle
19 – Nashville, TN – The Pinnacle
MAY
4 – Austin, TX – ACL Live at the Moody Theater
5 – Austin, TX – ACL Live at the Moody Theater
6 – Dallas, TX – South Side Ballroom
8 – Denver, CO – Mission Ballroom
9 – Denver, CO – Mission Ballroom
10 – Salt Lake City, UT – The Union Event Center
12 – Los Angeles, CA – Hollywood Palladium
13 – Los Angeles, CA – Hollywood Palladium
15 – Santa Barbara, CA – Santa Barbara Bowl
16 – Oakland, CA – Fox Theater
17 – San Francisco, CA – The Masonic
19 – Seattle, WA – The Paramount Theatre
20 – Seattle, WA – The Paramount Theatre
22 – Vancouver, BC – Commodore Ballroom
23 – Vancouver, BC – Commodore Ballroom
24 – Troutdale, OR – Edgefield Concerts on the Lawn
A dose of magic gain potion.
Works like a little vial of magic gain potion. Fattens without obscuring individual frequency bands.
None.
$129
Solodallas SVDS Boost
solodallas.com
The Schaeffer-Vega Diversity System—an early and very successful wireless system—excelled at the tasks it was designed for. But there was more magic than met the eye. Though designed to sound as transparent as possible, it nonetheless colored the signal in a way that people like Angus Young and Eddie Van Halen found essential.
SoloDallas explored the possibilities of this circuit before in pedals like theSchaeffer Replica, but the new SVDS Boost strips the formula to essentials. Minimalist controls—one knob, that’s it—make this boost no less delicious. I’m not surprised Angus Young was smitten with the original SVDS. An SG and Marshall 18-watt amp sound fantastic naked, but the SVDS Boost has the rare talent for fattening everything without seeming to favor or obscure any frequency band too much. And as zest to the PAF/Marshall style formula, it makes the kind of rowdy, organic, airy, large, and punch-packing Marshall sound you would dream of getting in a studio or hearing on the radio. There are many shades of this basic awesome color in spite of the single knob. Unity gain lives in the earliest third of its range. From there you certainly get more volume, but mostly you bathe in various hues of compressed, saturated, thick, and dynamite growl. You don’t need a Gibson and a Marshall to use it to devastating effect, either. A Telecaster and Vibrolux snap with attitude and whip-crack energy with the SVDS in the line. And with both guitar/amp combos, the SVDS’ wide dynamic responsiveness to volume and tone attenuation assures that things stay cracking when you need more control.