Guitar Nine Columns

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Enjoy over 24 years of staff columns, guest columns, interviews and more!

February-March 2002

Just Enough Brilliant Fingerstyle

February-March 2002

Progressive/Metal, Jazz/Fusion Instrumentals

February-March 2002

Jackhammer Picking, Dive Bombs Away!

February-March 2002

Rock/World/New Age Instrumental Works

February-March 2002

French Duo Releases Demo

February-March 2002

New England Based Metal Band Strikes Back

February-March 2002

Polish Instrumental Neo-Classical Masterworks

February-March 2002

Bluesy Shred, Instrumental Hard Rock

February-March 2002

Scorched, Raw Guitar

February-March 2002

From Hard/Dark To Ethereal

December-January 2001

Improvisational Boldness Meets Esoterica

December-January 2001

Hard Livin' & Hard Playin'

December-January 2001

Riotous Texas Blues With Double Trouble

December-January 2001

Modern Beats Grace New Jazz Release

December-January 2001

Evocative, Guitar-Driven World Music

December-January 2001

St. Louis Instrumental Rock

December-January 2001

Polish Instrumentalist Creates Progressive Rock

December-January 2001

Totally Acoustic Troubadour Music

December-January 2001

Melodic Fusion/Shred Dominates Class Project

December-January 2001

Speed Picked Instrumental Metal

December-January 2001

Adept At Rock, Blues, Metal, Funk & More

December-January 2001

Slovenia's Instrumental Rock Future

December-January 2001

Music industry guru Christopher Knab is back with the skinny on getting noticed.

December-January 2001

Want to double your fun? Double tracking your arpeggios may be the way to do it.

December-January 2001

Canadian guitarist David Martone discusses the benefits and advantages of mastering your CD.

December-January 2001

Mike is back to help you coordinate your hands, while developing speed and accuracy.

December-January 2001

Yet another weapon in the arsenal of techniques you can use to spice up your music.

December-January 2001

Virtuoso classical guitarist and instructor Jamie Andreas discusses the little discussed subject of fingering.

December-January 2001

Indie marketing guru Tim Sweeney opens up the mailbag to answer a question about `street marketing`.

December-January 2001

I was on mp3.com for a while, but my opinion of the web is that piracy seems to be the end result of all the freebies, so we are staying with pressings even though they get copied and sent out for free. I`m a professional recording artist, so I`m committed to charging for my work.

December-January 2001

I usually will come up with ideas by throwing on my drum machine and just playing riffs, or by sitting in front of the TV and getting inspiration from whatever is on. I wrote the song "The Fugitive" while watching the movie of the same name. All the action was incredible, and the song turned out to be just as intense.

October-November 2001

Music industry guru Christopher Knab is back talkin` barcodes.

October-November 2001

An in-depth look at Fareri`s neo-classical shred debut from the guitarist himself.

October-November 2001

Composition angles from the man known as Beurks.

October-November 2001

One Brit`s opinon on the future of rock `n` roll.

October-November 2001

Mike is back with a follow up lesson to help you work the neck to squeeze more creativity out of your chording.

October-November 2001

Don`t send that master tape off to the duplicators without first checking out Steve Trovato`s final mix tips.

October-November 2001

An Italian guitarist is prepared to expand your chormatic awareness.

October-November 2001

Virtuoso classical guitarist and instructor Jamie Andreas helps you master the deceptively difficult changes in your life.

October-November 2001

Indie marketing guru Tim Sweeney discusses the hidden secrets of how major labels evaluate the artists they are considering signing to their rosters.

October-November 2001

Canadian guitarist David Martone opens up the mailbag to answer a reader question about tone.

October-November 2001

If I want to compose neoclassical metal, I would be listening and analyzing all the CDs that I`ve got in my collection. Then I am ready to absorb all these influences into my playing and my compositions. The good thing is that the final result is totally different from the tunes that I listened to for inspiration.

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