Wednesday, April 29, 2009

PRS Mark Tremonti Signature


i put his guitar series here cause he is one of my favourite modern rock player!!
enjoy it:

Mark Tremonti is considered to be one of rock’s leading guitarists. As the guitarist of Alter Bridge and formerly of Creed, he has met extraordinary success and continues to grow as both a guitar player and songwriter. While Creed was on tour in support of their first record, My Own Prison, Mark was contacted by PRS and asked if he would like to try one of their guitars.

"I jumped at the idea to play one of PRS’ guitars. PRS was one of those guitars that I could never afford in high school or college and had always wanted to play one." PRS sent Mark a McCarty model which he instantly fell in love with. He played that guitar exclusively for a while, but ultimately wanted a guitar that was more suited to his playing style.

Mark Tremonti began to collaborate with PRS on his dream guitar that would soon become the Mark Tremonti Signature Model. He needed pickups that were a little more aggressive and could complement his rhythm playing which contains a lot of palm muting. The neck of the guitar needed to accommodate his style, influenced by thrash metal, shred, and traditional blues. PRS met these needs with the Tremonti wide-thin neck carve.

Mark Tremonti Signature Model Specs
Back Wood :Thick Mahogany
Top Wood :Maple
Top Wood Options :10 Top Flame or 10 Top Quilt

Number of Frets :22
Scale Length :25"
Neck Wood :Mahogany
Fretboard Wood :Rosewood
Neck Shape :Tremonti Wide Thin Inlays Mother of Pearl Birds

Bridge : Tremolo with Trem-Up Routing
Tuners : PRS 14:1 Phase II low mass locking tuners
Truss Rod Cover : Tremonti
Hardware Type : Nickel
Treble Pickup : Tremonti Treble
Bass Pickup :Tremonti Bass (Covered)
Pickup Switching :Volume and Tone Control for Each Pickup and 3-Way Toggle Pickup Selector On Upper Bout

information has taken from official prs website

Korn “Escape From the Studio” as Tour Begins in Arizona


Photo: Arnold/WireImage
The normally serene spring home of baseball’s Arizona Diamondbacks was transformed into a mass of pogoing teens on Saturday, April 25th, as Korn kicked off their Escape From the Studio tour, their first trek in nearly a year, at Tucson Electric Park. The 70-minute show focused on fan favorites and eschewed some of the more obvious choices. Funky interludes allowed Korn to step back a handful of times during the 14-song show, and stripped-down production gave the band the opportunity to spotlight the music. Save for singer Jonathan Davis’ H.R. Giger microphone stand and a Korn backdrop, the stage set-up was nearly bare.

But there was nothing simple about the music. Sounds of a gothic church choir greeted the crowd as members of Korn — kilt-wearing Davis, guitarist James “Munky” Shaffer and bassist Reggie “Fieldy” Arvizu, as well as touring musicians — took the stage. With a dose of heavy beats the band ripped straight into “Right Now” as the wind whipped the sound around the stadium. A sea of hands reached for Davis and the rest of the crew during “Fake” and the growly, groove-heavy “Did My Time.” The monosyllabic grind of “Coming Undone” led nicely into a sample of Queen’s “We Will Rock You.”

Halfway through the set Davis marched out from backstage with a set of bagpipes and teased the crowd with a few notes of “Shoots and Ladders,” before setting them aside for the frenetic “Helmet in the Bush.” He left most of his communication with the audience to the music until “Here to Stay,” deep in the set, after which he said, “I’m feeling the motherfucking Korn love tonight, Tucson.” He recruited the audience to respond “faget” [sic] during the song of the same name in response to his yells of, “What the fuck am I?” And he didn’t let up during the encore, where he turned the exaggerated beats of “Somebody Someone” into another excuse to the crowd to grab out to him, causing the massive mosh pit in the outfield to sway back and forth.

Set list:

“Right Now”
“Did My Time”
“Falling Away From Me”
“Coming Undone/We Will Rock You”
“Shoots and Ladders” (on bagpipes only)
“Helmet in the Bush”
“Here to Stay”
“Freak on a Leash”
“Make Me Bad”

“Somebody Someone”
“Got the Life”

by: Christina Fuoco-Karasinski

Slayer in the Studio: Loud, Fast and Ready to Thrash


Some things can be counted on at a Slayer recording session. "Can I interest you in something fast and aggressive?" asks producer Greg Fidelman. He's sitting beside guitarist Kerry King at the Pass Studios in Los Angeles, where Slayer are working on a still-untitled album planned for a summer release, and cues up a new metal track with the working title "Build Up." King is ready to thrash.

He's already tapped the Jägermeister machine upstairs, and is now bent over a custom camouflage guitar, his black combat boots on the hardwood floor in the studio control room. King is plugged simultaneously into four amps, each one given a name: The Beast, Hot Ticket Deux, BLS and GF11. Fidelman rolls "Build Up," and King begins overdubbing bits and pieces of intricate metal melody and a harsh, aggressive riff, his eyes closed, nodding to the intense recorded beats of drummer Dave Lombardo. King's strumming hand is a blur, like a wasp in flight.

"Man, I don't even remember it being that fast," King says with a laugh after one take. "We're fucking flying!" more

DW Collector's Series X Shell kit


Collector's Series X Shell kit
specification :
Any DW Collector's Series finish
Drum Shell Material:
North American hard rock maple
Floor Tom Size:
14"x12" (£748) and 16"x14" (£913)
Kick Size:
23"x18" (£1493)
Snare Size:
14"x6" (£573)
Tom Size:
8"x7" (£543 ), 10"x8" (£584) and 12"x9" (£641) / Rata drums: 6"x18" and 6"x12" (both £552)

Drum Workshop began life as a hardware company (a fact reflected in its class-leading stands and pedals) and expanded into drum manufacture in the late 1980s. Since then it's progressively strengthened the brand, earning a reputation for constantly evolving designs. DW's newest drums – dubbed X Shells – represent a departure from the accepted norms of drum construction. The clue's in the name people…

If you're familiar with existing DW drums you may well recognise the acronym VLT. It stands for Vertical Low Timbre and describes a manufacturing process by which the outer and inner plies of a drum run vertically. Drums have to be cross-laminated for strength – at 90° to one another – but keeping the outer and inner plies vertical places less stress on a shell, giving it a lower fundamental tone.

In theory, a shell made up of exclusively vertical plies would possess enormous amounts of bottom-end. In reality, such a shell would not be strong enough to be fitted with heads.

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