
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.
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.
There's a reason Danny Gatton's nickname was "The Humbler." He earned it through sheer Tele mastery. From his limitless technique and musical vocabulary to his command over his sound, Gatton was one of the greatest 6-stringers around.
Guitarist Scott Metzger (LaMP, Joe Russo's Almost Dead) is a modern master of the Telecaster vernacular, and he slings lyrical licks that offer nods to the masters of the form, all the way back to the first Tele virtuoso, Jimmy Bryant through aces Roy Buchanan, Jim Campilongo, and Gatton. He's joins us on this episode to help breakdown Gatton's playing and gives us some listening tips.
Cort Guitars announces a new multi-scale, seven string guitar in the KX507 series – the KX507MS Pale Moon. The addition to the beloved series shows Cort’s efforts to continue elevating their position in the marketplace. The guitar is now available online and in local retail stores.
The double cut, mahogany body is topped with a pale moon ebony to help support the strong mid-range and low response needed on a multi scale seven string. A 5-piece maple and purple heart bolt on neck supports a 25.5” – 27” scale, macassar ebony fingerboard with a neutral fret at the 8th position for improved playability. 24 jumbo, stainless-steel frets offer maximum range with teardrop inlays and side dots for easy navigation. Measuring 2.059” (52.3mm) at the nut, this guitar is built for performance and comfort. And with the two-way adjustable truss rod and spoke nut, this guitar delivers ultimate stability in any tuning in any environment. Performance is further enhanced with a D shape neck and 16” radius.
At the core of the KX507MS Pale Moon is the Fishman® Fluence Modern humbucker set. With a ceramic magnet in the bridge, and an alnico magnet in the neck, these pickups deliver all the musicality of traditional pickups but have three unique voices. Voice 1 is a modern active, high output. Voice 2 delivers crisp, clean tones. And Voice 3 is a single coil with glassy, clear performance. To unleash the potential of these pickups, Cort uses a simple single volume, single tone, each as a push/pull control and three-way selector switch. The volume push/pull put selects between Voice 1 and Voice 2 while the tone push/pull pot selects between humbucker and single coil mode.
Finally, to provide exact intonation and tuning stability, the KX507MS is loaded with seven individual string bridges and Cort’s very own locking tuners. The bridges allow for thru body string installation to maximize sustain and vibration transfer at each string saddle. All guitars are shipped from the factory with D’Addario EXL110-7 strings.
For more information, please visit www.CortGuitars.com
MAP: $949.99 USD
Grover has introduced Grover Guitar Polish, a premium, all-natural guitar care solution designed to clean, shine, and protect your guitar’s finish. Whether you're polishing your prized axe or simply maintaining your gear, Grover Guitar Polish offers a safe, effective choice for making your guitar’s finish look its best.
Grover Guitar Polish is specially formulated to remove dirt, fingerprints, and grime while enhancing the natural luster of your guitar. The versatile polish is safe for virtually all guitars: it works on gloss, matte, and satin surfaces without causing damage or altering the finish.
Key features include:
- Non-Abrasive & Streak-Free: Grover’s formula cleans without leaving streaks, ensuring a smooth, even shine every time.
- Effortless Cleaning & Restoring Shine: The easy-to-use formula requires minimal effort, so you can keep your guitar looking its best in no time.
- Protective Layer: Leaves a thin, smooth protective layer that guards your guitar from dust, dirt, and environmental factors.
- Pleasant, Non-Toxic Scent: Enjoy the fresh, non-toxic scent while you care for your instrument, knowing you're using a safe product for both you and your guitar.
"Grover Guitar Polish combines the best of both worlds – a powerful, all-natural cleaning solution with a formula that’s gentle enough for every finish," said Cory Berger, President at Grover. "We wanted to create a product that not only restores the shine and beauty of your guitar, but also provides a layer of protection that helps maintain its finish for years to come."
Grover Guitar Polish carries a $14.95 suggested retail price. For more information visit the Grover website at grotro.com.