Slowhand guitar tech Dan Dearnley takes PG through the guitar god's stripped-down stage setup.
[Brought to you by D'Addario XS Strings: https://www.daddario.com/XSRR]
One and Done
Clapton has owned some of the most sought-after guitars ever built, but these days he tours with just three of his Fender Custom Shop signature models. Dearnley explains that he usually plays only this guitar, his current favorite, onstage all night long. All of Clapton's signature Strats have Fender's Blocked American Vintage Synchronized Tremolo, Vintage Noiseless Single-Coil Strat pickups, and a TBX active tone circuit, with a middle tone knob to roll off treble, plus a mid-boost. The only difference between these three and what you would buy in a music store is that Clapton swapped in an old-school 3-way switch. They're all strung with Ernie Ball Regular Slinkys (.010ā.046). Since Clapton is a car enthusiast, he went with classic sports car colors for his trio of 6-string hot rods. No. 1 has a dark blue finish you'd find on a Porsche.
The Other Signature
Fender Custom Shop master builder Todd Krause built all three of Clapton's touring Strats and signed their headstocks.
Mr. Bond, Your Guitar Is Ready
The main spare is an E.C. signature that was one of five made in 2019 to celebrate Slowhand's five-night stand at Tokyo's Nippon Budokan arena. It is decked out in a head-turning metallic almond green that was exclusively used by British car maker Aston Martin.
A Rare, Modern Martin
Currently Clapton's favorite acoustic is his Martin 000-42K Goro Custom Tribute model, which was part of a run built to celebrate the life of Japanese designer and craftsman Goro Takahashi. This guitar has no electronics. For the show, Clapton used two DPA 4011TL cardiod microphones mounted on a single stand.
Clapton's Goro Martin has a remarkable flamed koa back.
A Class Act
In a flourish that recalls the subtle elegance of Takahashi's own designs, the bridge of this Martin is adorned with a bit of golden flare.
Elemental Binding
The Martin Goro's Italian alpine spruce top is set off by beautiful, sea-water turquoise binding.
E.C.ās Acoustic John Hancocks
Of course, Clapton's cache of acoustics also includes his own Martin 000-28EC signature model. This East Indian rosewood guitar has an undersaddle pickup, but he prefers the instrument's natural acoustic sound miked up.
Clapton Close-Up
Here's a detailed shot of E.C.'s signature at the 12th fret and a peek inside the soundhole where you can see another Clapton autograph on the inside label above C.F. Martin IV's.
In the Presence of the Lordās Pedal
For pedals, Claptonāwho, along with Hendrix, immortalized the wah-wahāis a minimalist. His guitar plugs into a switch pedal made by Mike Hill, which splits the signal. It divides into a Dunlop Cry Baby GCB95F Wah and to his amp. When the wah is engaged, that signal also goes to a Hammond Leslie 122XB rotary speaker for a supercool swirling effect.
Amped Up Amps
Clapton tours with two Fender '57 Bandmaster custom series amps, but these have a twist. They were built by Alexander Dumble specifically for him. The guitar hero runs one and keeps the second as a miked-and-ready spare. Both combos are blasting into a Audio-Technica AT4047/sv, while the main Bandmaster has an additional Audix i5 Cardioid Dynamic on one of its speakers.
Lucky Number
Clapton asked Dumble to make the amp's sweet spot come alive when all the controls are set to 7.
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Day 4 of Stompboxtober brings a chance to win a pedal from TWA: The Chemical-Z! Donāt miss outāenter now and return tomorrow for more!
TWA CHEMICAL-Z
Roy Z signature overdrive pedal designed by TubeScreamer creator Susumu Tamura. Inspired by Maxon OD808, OD808X, and APEX808 circuits, Chemical-Z features the "Magic" IC used in APEX808 for less compression & more even frequency response than a standard 808. Increased output level. Two footswitch-selectable clipping modes - normal & hot.
Many listeners and musicians can tell if a bass player is really a guitarist in disguise. Hereās how you can brush up on your bass chops.
Was bass your first instrument, or did you start out on guitar? Some of the worldās best bass players started off as guitar players, sometimes by chance. When Stuart Sutcliffeāoriginally a guitarist himselfāleft the Beatles in 1961, bass duties fell to rhythm guitarist Paul McCartney, who fully adopted the role and soon became one of the undeniable bass greats.
Since there are so many more guitarists than bassistsāthink of it as a supply and demand issueāodds are that if youāre a guitarist, youāve at least dabbled in bass or have picked up the instrument to fill in or facilitate a home recording.
But thereās a difference between a guitarist who plays bass and one who becomes a bass player. Part of whatās different is how you approach the music, but part of it is attitude.
Many listeners and musicians can tell if a bass player is really a guitarist in disguise. They simply play differently than someone who spends most of their musical time embodying the low end. But if youāre really trying to put down some bass, you donāt want to sound like a bass tourist. Real bassists think differently about the rhythm, the groove, and the harmony happening in each moment.
And who knows ā¦ if you, as a guitarist, thoroughly adopt the bassist mindset, you might just find your true calling on the mightiest of instruments. Now, Iām not exactly recruiting, but if you have the interest, the aptitude, andāperhaps most of allāthe necessity, here are some ways you can be less like a guitarist who plays bass, and more like a bona fide bass player.
Start by playing fewer notes. Yes, everybody can see that youāve practiced your scales. But at least until you get locked in rhythmically, use your ears more than your fingers and get a sense of how your bass parts mesh with the other musical elements. You are the glue that holds everything together. Recognize that youāre at the intersection of rhythm and harmony, and youāll realize foundation beats flash every time.āIf Larry Graham, one of the baddest bassists there has ever been, could stick to the same note throughout Sly & the Family Stoneās āEveryday People,ā then you too can deliver a repetitive figure when itās called for.ā
Focus on that kick drum. Make sure youāre locked in with the drummer. That doesnāt mean you have to play a note with every kick, but there should be some synchronicity. You and the drummer should be working together to create the rhythmic drive. Laying down a solid bass line is no time for expressive rubato phrasing. Lock it upāand have fun with it.
Donāt sleep on the snare. What does it feel like to leave a perfect hole for the snare drumās hits on two and four? What if you just leave space for half of them? Try locking the ends of your notes to the snareās backbeat. This is just one of the ways to create a rhythmic feel together with the drummer, so you produce a pocket that everyone else can groove to.
Relish your newfound harmonic power. Move that major chord root down a third, and now you have a minor 7 chord. Play the fifth under a IV chord and you have a IV/V (āfour over five,ā which fancy folks sometimes call an 11 chord). The point is to realize that the bottom note defines the harmony. Sting put it like this: āItās not a C chord until I play a C. You can change harmony very subtly but very effectively as a bass player. Thatās one of the great privileges of our role and why I love playing bass. I enjoy the sound of it, I enjoy its harmonic power, and itās a sort of subtle heroism.ā
Embrace the ostinato. If the song calls for playing the same motif over and over, donāt think of it as boring. Think of it as hypnotic, tension-building, relentless, and an exercise in restraint. Countless James Brown songs bear this out, but my current favorite example is the bass line on the Pointer Sistersā swampy cover of Allen Toussaint āYes We Can Can,ā which was played by Richard Greene of the Hoodoo Rhythm Devils, aka Dexter C. Plates. Think about it: If Larry Graham, one of the baddest bassists there has ever been, could stick to the same note throughout Sly & the Family Stoneās āEveryday People,ā then you too can deliver a repetitive figure when itās called for.
Be supportive. Though you may stretch out from time to time, your main job is to support the song and your fellow musicians. Consider how you can make your bandmates sound better using your phrasing, your dynamics, and note choices. For example, you could gradually raise the energy during guitar solos. Keep that supportive mindset when youāre offstage, too. Some guitarists have an attitude of competitiveness and even scrutiny when checking out other players, but bassists tend to offer mutual support and encouragement. Share those good vibes with enthusiasm.
And finally, give and take criticism with ease. This oneās for all musicians: Humility and a sense of helpfulness can go a long way. Ideally, everyone should be working toward the common goal of whatās good for the song. As the bass player, you might find yourself leading the way.Fuchs Audio introduces the ODH Hybrid amp, featuring a True High Voltage all-tube preamp and Ice Power module for high-powered tones in a compact size. With D-Style overdrive, Spin reverb, and versatile controls, the ODH offers exceptional tone shaping and flexibility at an affordable price point.
Fuchs Audio has introduced their latest amp the ODH Ā© Hybrid. Assembled in USA.
Featuring an ODS-style all-tube preamp, operating at True High Voltage into a fan-cooled Ice power module, the ODH brings high-powered clean and overdrive tones to an extremely compact size and a truly affordable price point.
Like the Fuchs ODS amps, the ODH clean preamp features 3-position brite switch, amid-boost switch, an EQ switch, high, mid and low controls. The clean preamp drives theoverdrive section in D-Style fashion. The OD channel has an input gain and outputmaster with an overdrive tone control. This ensures perfect tuning of both the clean andoverdrive channels. A unique tube limiter circuit controls the Ice Power module input.Any signal clipping is (intentionally) non-linear so it responds just like a real tube amp.
The ODH includes a two-way footswitch for channels and gain boost. A 30-second mute timer ensures the tubes are warmed up before the power amp goes live. The ODH features our lush and warm Spin reverb. A subsonic filter eliminates out-of-band low frequencies which would normally waste amplifier power, which assures tons of clean headroom. The amp also features Accent and Depth controls, allowing contouring of the high and low response of the power amp section, to match speakers, cabinets andenvironments. The ODH features a front panel fully buffered series effects loop and aline out jack, allowing for home recording or feeding a slave amp. A three-position muteswitch mutes the amp, the line out or mute neither.
Built on the same solid steel chassis platform as the Fuchs FB series bass amps, the amps feature a steel chassis and aluminum front and rear panels, Alpha potentiometers, ceramic tube sockets, high-grade circuit boards and Neutrik jacks. The ICE power amp is 150 watts into 8 ohms and 300 watts into 4 ohms, and nearly 500 watts into 2.65 ohms (4 and8 ohms in parallel) and operates on universal AC voltage, so itās fully globallycompatible. The chassis is fan-cooled to ensure hours of cool operation under any circumstances. The all-tube preamp uses dual-selected 12AX7 tubes and a 6AL5 limiter tube.
MAP: $ 1,299
For more information, please visit fuchsaudiotechnology.com.
Jackson Guitars announces its first female signature artist model, the Pro Series Signature Diamond Rowe guitar.
āIām so excited about this new venture with the Jackson family. This is a historic collaboration - as I am the first female in the history of Jackson with a signature guitar and the first female African American signature Jackson artist. I feel so honored to have now joined such an elite group of players that are a part of this club. Many who have inspired me along this journey to get here. Itās truly humbling.ā says Diamond.
Diamond Rowe is the co-founder and lead guitarist for the metal/hard rock band Tetrarch. Since co-founding the band in high school, Tetrarch has become one of the most talked about up-and-coming bands in the world - with several press outlets such as Metal Hammer, Kerrang, Revolver, Guitar World and many others boldly naming Diamond Rowe the worldās next guitar hero. Tetrarch has connected with many fans while performing on some of the world's biggest stages garnering spots alongside several of the heavy music worldās biggest names such as Guns Nā Roses, Slipknot, Lamb of God, Disturbed, Avenged Sevenfold, Sevendust, Rob Zombie, Trivium, and many many others. The Jackson Pro Series Signature Diamond Rowe DR12MG EVTN6 is based on Jacksonās single-cut Monarkh platform and is a premium guitar designed for progressive metal players seeking precision and accuracy.
Crafted in partnership with Diamond, this model boasts a 25.5 ā scale, Monarkh-styled nyatoh body draped with a gorgeous poplar burl top, three-piece nyatoh set-neck with graphite reinforcement, and 12Ė radius bound ebony fingerboard with 24 jumbo frets. The black chrome-covered active EMGĀ® 81/85 humbucking bridge and neck pickups, three-way toggle switch, single volume control, and tone control provide a range of tonal options. The EvertuneĀ® bridge ensures excellent tuning stability, while the Dark Rose finish with a new custom 3+3 color-matched Jackson headstock and black hardware looks simply stunning.
To showcase the Pro Plus Signature Diamond Rowe DR12MG EVTN6, Diamond shares her journey as a guitarist, delving into the inspiration behind her unique design specifications and the influential artists who shaped her sound within a captivating demo video. This video prominently features powerful performances of Tetrarchās latest release, āLive Not Fantasize,ā and āIām Not Rightā showcasing the DR12MG EVTN6ās unparalleled tonal versatility and performance capabilities.
MSRP $1699.99
For more information, please visit jacksonguitars.com.