Kirk Hammett

The incredible history of Gibson Flying V

June 10th, 2010Kirk Hammett Articles No Comments

Image : http://www.flickr.com

The first prototypes of the Gibson Flying V was in 1957, and the Fender Stratocaster, which was very popular to compete this time. Gibson wanted a guitar, a design that is great and something that might look like was to create the future looked. They knew very well that by designing a guitar that looks like something that would be a Jetson's cartoon. Another futuristic model that was created at the same time, the Gibson Explorer.

1958 was the yearthe Flying V, the shops, but with some modifications that made it different from the prototype. The prototypes were made of mahogany, which made them too heavy for the preference of Gibson. Change wood Korina wood, which was similar to mahogany but lighter.

These new models are not flying off the shelf, as Gibson had hoped they would and resellers in all the years 1958 and 1959, fewer than 100 of their appointment. This led to the Flying V is set and left out of the catalog Gibson LED1960

As we all know, although it was interrupted, this was not the last we would be the Flying V. And then see what happens? Now a couple of amazing guitarists Albert King and Lonnie Mack, really loved the sound and look of the guitar and set it as their main tools. This guitar influenced many of the aspiring guitarist and Flying V's eyes too. Interest was growing very slowly, so Gibson decided to bring him back.

Gibsonreturned the Flying V back into production in 1966 and went to mahogany is used, a more secure and pick up a snare Vibrola. Some data show that only 175 Flying V were carried out between 1966 and 1970.

In the late '60 Jimi Hendrix Flying V guitars and began one of his favorite was the first he got where he painted some works of art psychedelic hand. Jimi is also known for its sunburst and left-handed models.

In 1971, a limited edition Gibsonrun of 350 Flying V Medallion. Which contains a body into two parts, a package of three pieces, a shorter blade and a stop bar tailpiece instead of Vibrola. These guitars were so popular that they sold in the first year.

In the mid-'70s, thanks to heavy-metal bands like UFO and the Scorpions, the Flying V was produced massive sales with mahogany Flying V

Gibson came up with the famous V2 flight in 1979, saw the "better boomerang" style pickups and brass hardwarebe maintained. sent only 157 of these guitars were in the first year and were more expensive than earlier versions.

Other companies such as Dean Hamer Ibanez guitar and selling cheaper versions, like the project Flying V Gibson Flying V CMT released the 1981st

In 1990, Gibson issued a series of artist signature models for Jimi Hendrix, Lonnie Mack and Rudolf Schenker. In 2002 she came with Lenny Kravitz Flying V Signature 67

AlthoughGibson Flying V guitar has had a difficult start earlier, today is the most popular guitar models ever attempted. Some of the most famous guitar players have, Flying V, Albert King, Lonnie Mack, Jimi Hendrix, Billy Gibbons, Rudolph and Michael Schenker, Kirk Hammett, Pete Townshend, Lenny Kravitz, Yngwie Malmsteen, KK Downing, Rick Nielsen and Eddie Van Halen .

Visit : Anna Sui Fragrance Lecithin Diamond Earrings Wavefront Lasik Fireplace Inserts

Classic Kirk Hammett Moment!!

June 9th, 2010Kirk Hammett Videos No Comments

http://www.youtube.com/watch?v=aCZGTAGvvNc&hl=en

Recommend : Anna Sui Fragrance Refinance Home Loan Juicing Machine Lotus Smartsuite Landscape Management

Metallica- All Nightmare Long (Live Mexico City DVD 2009)

June 8th, 2010Kirk Hammett Videos No Comments

Metallica All Nightmare Long Live Foro Sol in Mexico City. In Real HIGH DEFENITION! Mexico DVD Disc # 1 I’m not the owner of this video Setlist: That Was Just Your Life The End Of The Line Holier Than Thou Cyanide Blackened Helpless Trapped Under Ice Turn The Page The Prince No Remorse Fuel Wherever I May Roam Harvester Of Sorrow Fade To Black …And Justice For All Dyers Eve

http://www.youtube.com/watch?v=13Av3fDbVfM&hl=en

Thanks To : Home Refinance Refinance Home Loan Belt Conveyors Retinol Treatmen

Classic Albums: Metallica (Subtitulos en Español) 3/5

June 5th, 2010Kirk Hammett Videos No Comments

La historia de como se hizo el Disco Negro, a traves de entrevistas exclusivas, archivos y presentaciones, con las contribuciones del productor Bob Rock y los miembros de la banda James Hetfield, Lars Ulrich, Kirk Hammett y Jason Newsted. Con los 5 sencillos del album: Enter Sandman Sad But True The Unforgiven Wherever I May Roam Nothing Else Matters

http://www.youtube.com/watch?v=OIL1fEjtdFM&hl=en

Guitar – Overcoming Parrot-Fashion Learning

June 4th, 2010Kirk Hammett Articles No Comments

Image : http://www.flickr.com

In this fast paced modern world, people rarely have time to make themselves a proper meal, let alone delve into a 500 page book on guitar theory. It’s understandable, then, that the majority of beginner guitarists turn to the tab sites and jamming along to their favourite bands as their quick-fix source of learning. People are naturally comfortable with what they know and love.

This in itself is not a negative thing, and should indeed be encouraged from time to time, as it’s important to extract some creative ideas externally. However, too many guitarists take it too far, sacrificing any personal creative development, bent on becoming the next Steve Vai or Kirk Hammett.

Now, I’m not exactly an inverted snob when it comes to guitar, but I do strongly believe in unique talent, and that we all have it in us, somewhere.

There are two types of learning when it comes to guitar:

1) Being told what to play and how to play it

2) Knowing what you CAN play, and how you CAN play it

The two need clearly distinguishing.

When one listens to a track, or reads a tab, they are essentially being told what to play. There is potentially no creativity involved in this process whatsoever, as the guitarist merely “copies” what they see and hear, including the actual techniques used (bends, hammer ons, slides etc.). In fact, a guitarist is often congratulated all the more if they can replicate their favourite songs as close to the original as possible.

It’s time to be honest – with enough time and practice, ANYONE can learn to merely replicate. If the score is written down, and you have an ear for music, you can be your guitar heroes, minus their individual style (we’ll get onto this in a minute). However, if you’re aim is purely to replicate as accurately as possible, where do you fit into the creative expression of the music?

You see, if you shy away from creating your own music, the part of the brain associated with this cognitive process becomes redundant, and it becomes more and more difficult to really apply that creative instinct as the ideas form in your head.

Knowing what you CAN play, and how you CAN play it is about having knowledge of the specific playing techniques in their raw form, so then you can decide when and how to incorporate a certain type of bend, pull-off, vibrato, tapping phrase etc.

It’s also about knowing how to create and build chords and scale patterns based around the type of phrasing you want to express. Specifics.

At the end of the day, in my opinion, it is far more rewarding to spend a week really getting to grips with the “hammer-on” technique, rather than spending two weeks learning X guitar solo from X song. If you arm yourself with enough knowledge of all the playing techniques and foundation theory out there, you will be ready to build solos and phrases how you want… Naturally, without any other guide to obstruct or distract you, you’ll be free to explore the raw techniques you’ve learned in the context of your own unique creativity.

So, instead of “I need to bend X string up a whole step”, it’ll be “what options do I have to link this note to the next note in the sequence” – you may choose a bend, or you may feel the need to express it in a completely different way! Let you make the creative decisions based on the raw techniques you’re armed with!

Once you start dropping yourself in a little more at the deep end, you start to pick up the theory almost automatically, in your own way. Without being told, you begin to see relationships between certain strings and fret positions on your guitar. You begin to expand out of your “boxed in” scales because you want more breathing space to apply your own creativity. You finally begin to realise that there is no “right” or “wrong” answer when it comes to creative guitar writing and playing… there is only your expression Vs someone else’s expression.

People may say “I just want to learn a song so I have something to play on guitar that everyone knows” – nothing wrong with that at all, but do not by any means let that take up the majority of your playing time.

Spend more time getting to know and exploring your guitar’s fretboard. Get to know the countless options you have to make your scales sound more alive and dynamic. Get to know how chords and scales work together so you’ll never have to blindly guess where to plonk your fingers.

These are your foundations. As raw techniques and theory, they don’t teach you WHAT to play – they simply give you the foundations on which to build your own musical expression. Master this concept, and you will never want to “parrot” your guitar heroes again. Who knows, one day, people will want to replicate you… and hopefully you’ll give them some sound advice