Guitar Nine Columns

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Enjoy over 20 years of staff columns, guest columns, interviews and more!

February-March 1999

Don Lappin discusses the endless possibilities of the 5-tone tapping technique.

February-March 1999

I was never a fan of direct guitar sounds but for some reason this album ("Zone") is full of direct guitar. All of the rhythm tracks, clean and dirty, were recorded direct. I find that this gives the punchiest sound out there. The Sans-Amp rack really helped also. It is one of those `plug and play` pieces of gear which tone just oozes out of.

February-March 1999

The talented artists associated with Guitar Nine relate stories of their best, worst or most memorable live dates.

February-March 1999

Surf Meets Jazz -- South Of The Border

February-March 1999

Hi-Fidelity Six String Blast

February-March 1999

Striving For The Big Time

February-March 1999

Stoner Rock EP From England

February-March 1999

Squeezing Vitamin "G" From Boundless Intensity

February-March 1999

Instrumental Guitarist Records Solo EP

February-March 1999

Swedish Guitarist Plans To Leverage Skills

February-March 1999

Instrumentals Highlighting The Low End

February-March 1999

Microtonal Musician Explores 19 & 34 Tone Guitar Music

February-March 1999

Eclectic Instrumental CD Oozes Raw Energy

February-March 1999

The odds of doing anything significant in the music business are long from the start, but artists who can't think beyond the short term have it thousands of times harder.

December-January 1998

Progressive Instrumental Guitarist Releases EP-CD

December-January 1998

Delivering Impressive Guitar & Heartfelt Music

December-January 1998

Two-Handed, Melodic Mood Music

December-January 1998

Guitar Company Releases Instrumental Artist Collection

December-January 1998

Heavy Metal Guitar Instrumentals

December-January 1998

Duo Creates Stylistic Melting Pot

December-January 1998

Hard Rock Group Looks To Enter The Popular Mainstream

December-January 1998

Dedicated Guitarist Plans Solo Instrumental Project

December-January 1998

Four-Piece Instrumental Group Releases First CD

December-January 1998

Instrumental Heaviness With An Emphasis On Composition

December-January 1998

Demon On The Fretboard Releases CD

December-January 1998

Guitar Student Demos Instrumental Compositions

December-January 1998

Furiously Fast French Guitarist Seeks Producer/Sponsor

December-January 1998

Authentic, Hard-Edged Blues/Rock

December-January 1998

Killer Texas Trio Releases First CD

December-January 1998

Instrumental Blend Of Rock And Fusion

December-January 1998

Melodic Songwriting Meets Intense Guitar Riffs

December-January 1998

Bassist, Drummer Combine With Fusion Greats

December-January 1998

Part two of our e-mailbag dump, answering some of the most commonly asked questions about releasing and promoting records.

December-January 1998

Paul Abbott discusses the phenomenon of sound.

December-January 1998

Highlighting the ways that other instruments and their players can profoundly effect us.

December-January 1998

Putting yourself in the shoes and sticks of the drummer.

December-January 1998

I`ve been playing for nearly 20 years, and I`ve always emulated guitarists like Jimi Hendrix, Gary Moore, people like that. As far as instrumental goes, when you can`t sing yourself, you tend to write without a vocal part in mind. If you could add vocals to it, that would be one thing, but I decided that I would like the guitar to shine through on what I was doing. So I decided to make the project instrumental.

October-November 1998

Guitarist Paul Kuntz is back with some thoughts on how to avoid that feeling of being `lost without a map`.

October-November 1998

Kick-start your musical development with these essential tips from Curtis.

October-November 1998

Learn the essentials of the swept arpeggio from one of the masters of the technique.

October-November 1998

Gerry Magee begins his multi-part series on expanding your mind, as well as your fretboard, with the benefits of thinking like a composer.

October-November 1998

For Europe my music is not aggressive enough and in the US I didn`t have anybody to present it to. So rather than making so-called industry contacts and "wait until it happens" I decided to do it myself, which turned out to be much faster and got me and my music much more respect. I highly recommend a musical statement such as this to all musicians who intend to be a part of this complex industry.

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