Jeff Beck is probably the most uncompromising rock guitar player - highly unique, versatile, and non-commercial.

He dismisses guitar picks because they are in the way of the true guitar tone, usually doesn't use effects and surprises (and confuses) his listeners with radical changes in stylistic direction. His use of the vibrato bar is unique, his use of tone and volume pots masterful. He often turns down the tone pot altogether and compensates the lack of treble through increased distortion, creating his unique, singing lead tone.

Just with his fingers, vibrato bar and the use of tone and volume pot he can create almost effect-like tones. No other guitarist is so in control of the guitar. Jeff Beck is the master of self-expression.

In terms of equipment Jeff goes through several interesting stages. During his 'Yardbird' days he'd usually rely on early 60's Telecaster models, usually with rosewood fingerboard.

He also used a '52-Mapleneck Tele, modded by Seymour Duncan with Gibson Humbuckers. Around that time Seymour also developed his popular SH-4 Jeff Beck Humbucker.

Then Beck moved on to Gibson Les Pauls to record his legendary Jazzrock albums 'Blow By Blow' and 'Wired'. After meeting Hendrix and his explosive music he contemplates his approach and already on the recordings to 'Wired' he is experimenting with the Fender Stratocaster. This will from now on be his main type of guitar. In the 80's Jeff flirts with a Jackson 'Super-Strat-Style' guitar only to return to Fender, when they launch the 'Strat Plus'. In 1991 Fender comes out with the Jeff Beck Signature Stratocaster and in the later updated model Fender slimmed down the super-chunky neck (which many guitarists found unpractical) and put a set of 'noiseless' Pickups in.

Ampwise, Jeff Beck is always straight forward. During his stint with the 'Yardbirds' a Vox AC-30 is the only amp available. But for his own music he wants a louder and more aggressive tone. So he gets his first Marshall Full-stack. Over time, he replaces his Plexi Marshalls with the JCM-2000. From now on he uses a 50-watt top and two 4x12" cabinets to create his colourful tone.

Only twice he uses different equipment: for the movie soundtrack 'Frankie's House' he plays his Strat and Tele into a Digitech GSP-21 Legend direct into the mixing desk.

For 'Crazy Legs', a tribute to his idol Cliff Gallup he uses a '56 Gretsch Duo Jet and several vintage Fender Combos (Tremolux, Tweed Bassman, Concert & 2x12" Cab and Fender Twin) to recreate the typical Gallup sound.

Chris Basener is a guitarist, composer, producer and instructor who plays instrumental groove rock with vibrant melodies that speaks to the cosmopolitan music fan as much as the guitar community.

The graduate of the Munich Guitar Institute (MGI) in Germany did many clinics and demos at tradeshows and fairs across Europe (Germany, Austria, France and Belgium) performing to tens of thousands of people. He has more free articles on his website http://chrisbasener.com

Mister Rock Riff is 14 years when he hears Elvis' "Baby, Let's Play House" for the first time. From then on he is fascinated with the Blues and learns every Blues-song he can lay his hands on. He practices so much, he even takes his guitar to school where it gets confiscated on a regular basis. All the practice pays off when he starts playing with Neil Christian & The Crusaders aged 15.

As he doesn't like touring too much he soon becomes one of the hottest session guitarists in London and plays on many records of the stars of the day like The Rolling Stones, Donovan, John Mayall, Joe Cocker, Tom Jones and The Who. He later joins the Yardbirds and handles all Rhythm and Lead-parts after Jeff Beck's departure.

After the breakup of the Yardbirds he forms The New Yardbirds, who later turn into Led Zeppelin. They released their milestone debut album "I" (1969) that was recorded in only 15 hours. The rest, as they say, is History.

Jimmy's first guitar was a cheap Strat-copy by 'Grazzioso', but once he joins Neil Christian & The Crusaders he can afford a real Stratocaster. Later he swaps this guitar for a Gretsch 6120 'Chet Atkins' and also tries his luck with a Gibson ES-345. Finally he gets a Gibson Les Paul Custom 'Black Beauty' with three Humbuckers that he upgrades with a Bigsby-Vibrato. Ampwise he prefers Supro Amps and later the more established Gretsch Amps. For acoustic pieces he uses old Martins and Gibson-Steelstrings.

When he forms the first twin-lead-guitar section with the Yardbirds, his colleague Jeff Beck gives him a '60s Telecaster with rosewood fingerboard as a present. During that time Jimmy uses a Vox AC-30 with treble boost. Occasionally he uses his 59' Les Paul with Bigsby-Vibrato, a Danelectro Standard 3012 for Open Tunings and a 12-string Vox Phantom.

He also starts using exotic techniques (like playing the guitar with a violin bow) and experiments with effect units. These include a Vox Wah, Echoplex Tape-Echo, Sola-Sound Tone-Bender Fuzz as well as a Roger Mayer custom-made fuzzbox.

For Led Zep's debut Page used his trusted Telecaster/Supro combination and a Gibson J-2000 for the acoustic parts.

It took until the recording for Led Zeppelin 'II' until he changes to the classic Gibson Les Paul '58 Sunburst and a Marshall-100-Watt 'Plexi' Full Stack that he's famous for.

The classic set up can be heard on milestones like 'Heartbreaker' or 'Whole Lotta Love' and is the classic Hardrock-Sound per se.

He also upgrades this Les Paul, his #1, with Grover Tuners and changes the Bridge PU with a Double-White PAF (a rare example with two white coils). After it fails from all the sweat of the live performance it gets replaced with a black Gibson Humbucker from the less coveted 'T-Top' series.

Later he gets a second Les Paul from Joe Walsh as a gift. It's a '59 Les Paul in Sunburst. Again this guitar gets modded with, among other things, Grover Tuners and Seymour Duncan Pick-ups and a special wiring that allows in and out-of-phase sounds for each pick-up.

'Pageys' backline consists of the classic Marshalls, usually three or four heads and four to six cabs. All the heads are usually upgraded with the popular Rock star-modification of the time (pimped for up to 200 watt power - a Richie Blackmore favourite)

Jimmy Pages only uses a handful of effects for the Led Zeppelin live-shows, usually a Vox Wah, Echoplex Tape-Echo and MRX Phase 90 as well as the psychedelic 'Theremin'.

Chris Basener is a guitarist, composer, producer and instructor who plays instrumental groove rock with vibrant melodies that speaks to the cosmopolitan music fan as much as the guitar community.

The graduate of the Munich Guitar Institute (MGI) in Germany did many clinics and demos at tradeshows and fairs across Europe (Germany, Austria, France and Belgium) performing for tens of thousands of people. He has more free articles on his website http://chrisbasener.com

Jimi Hendrix is without a shadow of a doubt the most innovative Rock-guitarist of our time. You only have to hear and see(!) him to understand why he shook up the guitar community like nobody before and after him. His three studio records are musical treasure chests and the DVDs Band of Gypsies - Live At the Fillmore East, Blue Wild Angel, Live At the Isle of Wight and Live At Woodstock - The Definite Collection document some of the most legendary concerts of all time that showcase his mesmerizing charisma.

Although he played other guitars, he is mostly associated with a white Fender Stratocaster. In the beginning he would use many different Strats, usually early 60s models with rosewood fingerboard. Later he showed a preference for guitars with a maple fingerboard, especially for live work.

In the studio he'd also use a Fender Telecaster that he'd borrow from Noel Redding, a Gibson Flying V (decorated with trendy 'Flower' images by Jimi himself) or a Gibson SG Custom with three Humbuckers. Other guitars include Gibson Les Paul Custom and ES-330. But his main tool for self-expression was the three single-coil equipped masterpiece by Leo Fender.

His Live-Backline remained the same throughout though: Marshall 100-Watt Super-Lead Full stacks. Occasionally he'd experiment with Fender and Sunn-Amps (Coliseum-Heads with 100-F-Cabinets, equipped with JBL- or Eminence-Speakers because of a short endorsement deal) but would quickly return to his trusted Marshalls. During his time as a session guitarist for R&B greats like Ike & Tina Turner or Curtis Knight he'd use a Fender Twin Reverb 'workhorse' amp, often borrowed due to money problems. He'd come back to the Twin Reverb, amongst others, in his search for new tones while working on his solo material with engineer Eddie Kramer.

Jimi's use of effects to create unique tones and sound scapes is legendary. Never satisfied with the established he'd push the boundaries with long studio sessions and the help of effect guru Roger Mayer. Mayer would modify existing gear like Jimi's Cry Baby and Vox Wah's, Univox Univibe or Dallas Arbiter Fuzz Face or develop his own effects, like the infamous Octavia-Pedal.

Chris Basener is a guitarist, composer, producer and instructor who plays instrumental groove rock with vibrant melodies that speaks to the cosmopolitan music fan as much as the guitar community.

The graduate of the Munich Guitar Institute (MGI) in Germany did many clinics and demos at tradeshows and fairs across Europe (Germany, Austria, France and Belgium) performing to tens of thousands of people. He has more free articles on his website http://chrisbasener.com

Are you just starting out to learn to play guitar? Do you find yourself becoming extremely bored with trying to learn chords, having to practice them over and over again? Is it hard for you to stay motivated and keep practicing every day? You are not alone!

The most difficult part in the beginning stage of learning the guitar is not to die of boredom as you have to practice the same chords over and over again, until you get it just right. I know, I've been there myself. The worst part is that if you let go of your practice for just a week, you almost have to start all over again. No wonder so many people quit withing the first few months of taking guitar lessons for beginners. They just can't take it anymore! But not to worry, help is on the way. I have listed 3 awesome ways to keep you motivated as you're trying to survive the monotonous months of learning guitar.

1. Visualize The End Result

This is a great self motivator. Remember the reason why you wanted to learn to play guitar in the first place? Was it to impress girls? Be famous? Whatever reason you come up with, just hold on to it and you will feel the energy flowing back to you. Practicing guitar just became fun again!

Sometimes it is very hard to get out of the funk. The thought of learning guitar can be equivalent to the sound of nails on a chalkboard. When this happens, start reading guitar magazines. Read an article about your favorite Rock star, Country star, Blues, whatever, just read it and keep reading. Trust me, in a matter of hours you will get the same passion back again as you had in the beginning, if not more!

2. Keep Your Practice To A Minimum

It is much easier to keep up with your practice if you only have to do it for fifteen minutes a day unlike half and hour like most people try do. Here is why: Knowing you only have to practice fifteen minutes makes the boredom of practicing a lot more easier to bare. Unless you're a five year old, you can take it. No matter how busy you are, you can always find fifteen minutes out of your day for practice. No more, I don't have time, excuses! That won't work here! Most guitar teachers don't recommend you practicing for longer than that anyway. You will be surprised at how much you can learn just by sticking to the fifteen minutes a day rule.

3. Reward Yourself At The End

This is my favorite! I'm a sucker for chocolates (as most women are). So I always reward myself with a nice piece of chocolate, but only after I'm done with the practice. In fact I don't let myself eat chocolate the whole day, unless I've practiced! This really helps to keep me motivated. I get my practice done as soon as I get a chance, boom I'm done! You can try this trick. It really works. Don't like chocolates? Try having a nice brewsky after your practice or a glass of wine. That will get you going.

I personally use GuitarZonline.com to learn to play guitar for free. They have great free Guitar Lessons For Beginners with videos to help you through this difficult process.

For anyone who doesn't know, Tom Morello was the lead guitarist in two of the most awesome bands of the last 20 years, Rage Against the Machine and Audioslave and he was responsible for single handedly creating some of the most unique and innovative guitar sounds ever heard, using only the instrument and a handful of guitar effects pedals. He also had a shed-load of talent of course, and while I can't help you out much in that department, I can offer some advice on the effects pedals he favours. So if you want to sound like to the man himself, here are the top three pedals that Mr. Morello actually uses, to get you halfway there:

1. Digitech Whammy

The Digitech Whammy pedal is a pitch shifter that Tom uses to throw the sound of his guitar up or down an octave or two just by pressing down on the in-built expression pedal. This pedal is really versatile and it can also do harmonizing and detuning effects. So if you only buy one pedal to make you sound like Morello, this is the one you should go for.

2. Boss DD-2 Delay

The Boss DD-2 Delay was launched way, way back in 1983 believe it or not. In my opinion, a delay pedal is an essential piece of equipment in anyone's set up, whether it's this one or another more modern delay box. Tom Morello uses the Boss DD-2 with a short slapback delay to make it sound like he's playing twice as fast as he actually is - particularly with the scratching and muted tapping techniques that he uses.

3. Jim Dunlop Crybaby Wah

It doesn't necessarily have to be the Crybaby Wah, you could use any wah-wah pedal really, but the Jim Dunlop Crybaby is the pedal Morello uses and probably the industry standard. Wah-wah effects have been used throughout the years by pretty much everyone, probably most famously by Jimmi Hendrix, but Morello often uses the wah in the forward position (without rocking the expression pedal at all) purely just to get a nice 'trebly' tone.

So there you have it. Whack these three in between your guitar and amp and you'll be halfway there to sounding like Tom Morello and rocking out the solo from 'Killing in the Name' in no time.

Peter Eades is a writer living an working in the UK. He is writing here on behalf of Boss-pedals.co.uk, a website providing reviews and demos of Boss effects pedals including Boss Delay pedals.

Sebelum Gary kembali ke akar blues, dan setelah menjalankan tugas di Skid Row dan Thin Lizzy selama 1960-an dan 70-an ia adalah salah satu pemain gitar rock terkemuka di tahun 1980-an, dengan trek klasik seperti Over The Hills and far Away, Out In The Fields (dengan Phil Lynott), dan lagu instrumental indah The Loner menjadi contoh utama menulis melodi dan bermain indah.

Tidak seperti banyak gitaris, Gary selalu sama di rumah bermain baris cepat mengambil alternatif seperti yang ketika bermain frase legato tanpa cacat, dan bermain rock nya selalu tinggi pada konten melodi seperti yang di teknik, dengan vibrato agresif dirinya langsung dikenali.

bermain-Nya memiliki efek mendalam pada pemain seperti John Sykes, Joe Bonamassa dan Kirk Hammett untuk beberapa nama, dan apakah ia melepaskan riff rock klasik dan keren di lagu-lagu seperti Run Untuk Cover, atau blues solo di Oh Pretty Woman, ia telah selalu menjadi pilihan populer bagi para musisi dan non-musisi sama.

Pelajaran

Di sini kita kembali ke jaman batu Gary Moore dari '80-an, jadi dari tikungan bluesy dan frase yang terutama dikenal di masa sekarang, nada rock agresif dan teknik. Meskipun itu tidak terlalu cepat itu masih akan banyak pekerjaan yang harus bermain benar-benar akurat sepanjang.

Pastikan Ketika Anda sampai di solo Anda akan memerlukan skala kecil B alami (BC # DEF # GA) dan ada banyak mengeluh legato tangan dan alternatif memilih untuk fokus pada.

Menariknya, untuk seseorang yang di hari terakhir digunakan skala pentatonis dan blues banyak, Gary sering terjebak dengan skala kecil besar atau alami dalam memainkan rock-nya. Meskipun tidak ada vibrato banyak di solo di sini, ketika anda membutuhkannya pastikan bahwa itu agresif dan lebar.

Seperti bagian ritme, sebagai tepat dan akurat mungkin saat catatan tunggal memetik - ketika anda sampai ke akhir frase berhati-hati bahwa tangan Anda tidak keduanya bergerak dengan kecepatan yang berbeda satu sama lain. Check out tips bermain untuk informasi lebih lanjut tentang cara pendekatan pemain gitar ini sebaik-baiknya.