On September 21st, I took a trip to Los Angeles to meet up with Brent Mason, who is an incredible guitar player. Brent has recorded with many of the big names in country music; George Strait, Alan Jackson, Brad Paisley and Shania Twain, just to name a few. I drove down with Doug Scott my record producer and guitar player and we spent the time discussing my upcoming 2nd CD. On the way, we decided to stop at Guitar Center and we ran into a couple of friends. Spent some time in the vintage room of Guitar Center playing some D’Angelico’s. I also had a great chat with the manager Dave Weiderman. Went across the street to Art Valdez who is a classical guitar builder I have known for 30 years. Then it was on to Burbank to meet Brent Mason.
We went out to an Italian restaurant with Brent and his daughter Zoe, who I’ve known for a long time. We had a great chat about all the sessions and the artists he has worked with throughout the years. It was great listening to Brent tell me about his music and his guitars. We have been working on Brent’s pickups for about 15 years. If you have a chance, check out his website.

Zao’s hometown of Greensburg, Pennsylvania isn’t known for many things besides being in close proximity to the mall where George A. Romero filmed Dawn Of The Dead. That isolation has allowed the band to steer clear of popular trends.
Zao’s original incarnation formed in the mid-90s with evangelical zeal. When that version of the band fell apart, Zao would come to change the course of heavy music. Recently hailed by Alternative Press as “one of the most important albums of 1998″, Where Blood and Fire Bring Rest took the conventions of hardcore and heavy metal and turned them upside down.
When Scott Mellinger joined Zao for the following years “Liberate te ex Inferis”, it began a song-writing partnership with Weyandt that persists to this day. “Self-Titled” was written and recorded by Dan, Scott and Jesse Smith (the only remaining holdover from the pre-B&F days) and featured a vast amount of experimentation with electronics, dark soundscapes, and melodic interludes. “Five Year Winter” continues to be one of Zao’s most popular songs in the live setting. The trio created “Parade Of Chaos” together as well, pushing the envelope even further.
Zao’s first album for Ferret Music, The Funeral of God, was recorded as a five-piece with producer Eric Rachel (Atreyu, Every Time I Die). The album became Zao’s biggest selling record to date and saw them receive their first airplay on MTV2 and Fuse as well as major press accolades.

Why did you change out your stock pickups?
“I love the clarity and the thickness of the JB. We play pretty involved chords and we need a very heavy tone that you can make out all the notes with, the JB does it perfect.”
Which pickups do you use and for which guitars?
“I use the JB bridge and the ‘59 neck pickup. I have them in all of my ESP’s and in my Fender Telecasters. The sound is HUGE! It is very clear and dynamic sounding and with a lot of thickness. I don’t use a ton of gain but these pickups just sound massive with my Marshall JCM 800. With my Seymour Duncan pickups, I am able to hear every note I play. Having a good tone definitely makes it more fun to play and write. Seymour Duncan has always been a staple in my sound. If you want the heaviest tone with the clearest responsive, look no further.”
How would you describe your playing?
“I’ve been playing guitar for 21 years and I think what I like most is being creative. I enjoy doing weird chord structures, doing things that aren’t average and normal.”
How would you describe your music?
“Oppressive. We like our songs to kind of sound like the world is coming to an end.”
ZAO is: Dan Weyandt, Scott Mellinger, Russ Cogdell, Martin Lunn, And Jeff Gretz
After tours with bands like Bleeding Through and Dillinger Escape Plan, Zao recorded “The Fear Is What Keeps Us Here” with Steve Albini (Nirvana, Pixies, Neurosis) then they hit the road with In Flames, Trivium, Demon Hunter & Throwdown.
Side Project: Lonely Ghost Parade
Some advice from Scott:
“You can find anything to inspire you. For me it’s life, my family, all the wonderful music that exists in the world. When it comes to writing a song, sometimes a riff will just hit me and I’ll record it and the song will flow, other times I’ll have half a song and leave it for a later date. I always try to clear my mind and hope something just comes, usually it works. My adivce is that you should never give up on a part- it may be used somewhere else. Do not put yourself in a box. There are tons of different music styles – learn from them all. Also, listen to no one but your heart. And always persist and believe in yourself because no one else will. And appreciate every fan you make – they are the only reason you will succeed.”
Worst performance experience?
“I fell on stage and bloodied my nose. I learnt to not expect things to work out- they could always fail. If they do, just flow with it!”
For more information on Scott and his bands please check out:
http://www.myspace.com/zao
http://www.twitter.com/officialzao
http://www.facebook.com/ZAO.Official
http://www.lonelyghostparade.com
http://www.facebook.com/lonelyghostparade

On Thursday, September 15th, we took a four hour drive to visit the new Fender Visitor Center in Corona, California. When we arrived Larry Thomas spoke and then we got to hear from Phyllis Fender.

Also had a chance to talk with John Cruz, Chip Ellis, Jim Thomas, Mike Lewis, Dan Smith, Steven Stern, Mike Eldridge and Warren DeMartini. When I went into the Fender Visitor Center, I ran into Duff McKagan of Guns N’ Roses and Haley McLean and had a great chat with them.

The main area had displays filled with old music history, Thumbs Carlyle, Leo Fender, Forest White, historic amplifiers, guitars and rich music history.

There was a section full of guitar necks where you could match the one right for you. There was also a section dedicated to acoustic guitars. The visitors center had several racks full of just about any kind of Fender apparel. We also got to tour the Custom Shop and I had a great chat with the winding manager Juan Bustros.

Also ran into John 5 who is currently playing for Rob Zombie.


Buddy Guy played during the event, along with Dave Mason, and we all had such a great time. Warren and I took a tour of the factory and got to see how things were made. There were huge bins with guitar necks and assorted parts that were really neat. There was a conveyor built through the ceiling that carried guitars that were being painted and moved from one station to another. Robert Knight took some great photos of us during the event and I really appreciated the hospitality of Larry Thomas. It was an honor to meet everyone and was really exciting to see the rich history of Fender and the factory.
The Fender Visitor Center is open to the public beginning September 19th, for more information, visit: www.fender.com/visitorcenter

Trevor Bolder is a bassist, producer, composer, and singer known for making music combining hard rock with lots of melody and harmonies. He’s a heavy rock bass player who plays fast, hard, and with a lot of melodic bass runs. In 1971 Trevor Bolder played bass on David Bowie’s album, Hunky Dory with Mick Ronson (guitar) and Rick Wakeman (piano) and later on Bowie’s anthem The Rise and Fall of Ziggy Stardust and the Spiders from Mars. After performing on Dana Gillespie’s album, Weren’t Born as a Man together with Mick Ronson and David Bowie, Bolder joined the Mick Ronson Band. A year later, Slaughter on 10th Avenue was released.
In 1975, The Spiders from Mars were formed consisting of Trevor (bass), Woody Woodmansey (drums), Dave Black (guitar), Pete McDonald (vocals), and Mike Garson (keyboards). An album with the same name was recorded and released in 1976 with Trevor composing the songs, “Prisoner” and “Rainbow”.
In September 1976, Trevor replaced John Wetton in Uriah Heep. He stayed there until March 1981 and played on the following albums: Firefly (1977), Innocent Victim (1977), Fallen Angel (1978) and Conquest (1980). Also in 1981, Trevor left Uriah Heep and joined Wishbone Ash. In 1982, “Twin Barrels Burning” was recorded at the Jimmy Page home studio for the mini-label AVM. The band then toured Europe until February 1983.
In April 1983, Trevor returned to Uriah Heep and has been there ever since, not only as a bassist but also as a songwriter and producer and he has appeared on the last 12 albums. In 1995, the Spiders From Mars were reformed for a Mick Ronson tribute festival. Joe Elliot and Phil Collen from Def Leppard joined the Spiders on a few occasions, as well as a live album recorded under the name Cybernauts.

Why did you change out your stock pickups?
“I broke my first original Fender pickup on my Precision bass on tour in the USA in 1986. I had to buy a new one; the guy in the shop recommended I try a Seymour Duncan. I can’t remember the model number but it had 3 white switches on it so you could change the EQ sound of the pick up. I loved it, the sound was great! ”
Which pickups do you use and for which bass?
“I use the SJB-2B for my 1971 Fender precision and my 2011 custom built Sandberg (to my own spec). It has a fat and punchy sound but it also gives me a warm soft sound for melodic bass parts. I don’t use a neck pickup, just the bridge. It helps me to create the sound I need to play my style of bass playing and it helps my playing because of the sound it gives me. I’ve used Seymour Duncan pickups for 26 years and always found them to be the best pickup on the market and I have no reason to use any other pickup. They suit my style of playing. Superb.”
What advice would you give to a bassist to help develop his/her own style?
“Listen to lots of different styles and players and develop what is appropriate for yourself in your vein of music.”
How much of your career is luck versus luck you created?
“Luck is always involved but you have to take your chances when you get them.”
Any advice on composing?
“Persevere – the more you do, hopefully the better your writing becomes.”
How important is hanging out with your bandmates?
“When putting a band together and tour, the chemistry between band members and the crew is very important.”
For tour dates, please go to:
http://www.uriah-heep.com/newa/livedates.php
You can visit Trevor at:
http://uriah-heep.com
http://www.myspace.com/trevorbolder

At Seymour Duncan, we are all about the players and their quest for the right sound. For every band that has achieved critical mass, there are thousands more who are putting in their dues at local bars and coffee shops across the world. Seymour Duncan Underground is a new continuing series to showcase unique musicians and bands that have not quite reached the mainstream. Today, we sit down with Tommy Mills of Tommy Mills & The Jade Amenity.

Tell us about your band Tommy Mills & The Jade Amenity
“I started The Jade Amenity in late 2001 – early 2002 right after my former band No Sighlence. I’ve always had a really warped way of perceiving music. The ‘60s and the ‘90s had a profound impact on me, I didn’t get to live through the ‘60s, so I was satisfied with just growing up in the ‘90s. I was really in the alt/grunge/garage/punk. I wore out a lot of my dad’s old vinyls, everything from 60’s garage stuff and psychedelic acid rock stuff, ‘70s punk stuff that my neighbor had given me, it all had a big impact on me. I had my own ideas that I wanted to hear coming from my music. Like fuzzboxes, feedback, midnight hours and sounds that expressed how I actually felt. It was always a cool feeling for me after a show when somebody walks up and says “Sonic Youth” or “I get why you wrote the 2nd to last song.” It always made feel like I had a sense of belonging and somebody actually “got me” for the hour and a half I was on stage. People ask me how to describe the sound umm…. I guess it sounds like really angry smurfs got in to a fight with The Ramones and Black Sabbath. Haha, I just close my eyes, write and play what I feel and forget everything else.”

How did you get started playing music?
“I started playing guitar when I was 5. My dad was the one that turned me on to the guitar and taught me how to play. I was kinda introverted. I found a lot of solace in my art and my music. I felt like I could be “Tommy” through my music.”
What kind of gear have you used?
“In 20+ years, I’ve had a lot of gear. I was in to more older and “lesser known” stuff, for one its price was attractive and another I was just more comfortable. I’ve always been more in to Fenders (strats, teles, musicmasters, mustangs, duo-sonics) I’ve had several strats over the years, I had one set up with Duncan Vintage Rails, I had a tele I toured with that had Duncan Antiquity pickups in it. My main strat is a ’64 body with a ’68 neck that I’ve had for years. I also use a ’63 Danelectro Silvertone, a re-issue Gretsch Duo-jet and an old ‘70s lawsuit copy tele.”

What bands have inspired you personally?
“Well….. haha there’s a pretty good sized list! Nirvana, Sonic Youth, Smashing Pumpkins, Jimi Hendrix, Velvet Underground, The Ramones, The Pixies, Quicksilver Messenger Service, Janitor Joe, The Seeds, The Doors, Syd Barret and a lot, lot more. I always looked up to the “underdog” bands. Bands that had something deeply personal to say but for whatever reason weren’t as recognized as some, but should have been. There’s a very good friend of mine Tom Hamilton of the ‘60s cult garage band “The Human Expression.” They were a band that really did have an impact on the whole indie/punk/garage movement. This was a band that was comprised of basically a bunch of 15-16 year old kids in 1965 that hit the record button on their reel-reel and came out with something timeless. Yet, it’s not until over 40 years later that it’s finally getting the recognition that it deserves. Stuff like that has always inspired me.”
For more information on Tommy Mills & The Jade Amenity please visit their Facebook or Myspace page.

Livestream begins at 2pm PT. Ask your questions in the chat box below.

After a long hiatus, the unique stylings of Primus has returned with the release of “Green Naugahyde”. In support of the album, Primus will go back on tour starting September 23rd, in Boston, Massachusetts. The band has announced that they will be playing two sets during their tour and the US portion will conclude with an all out circus concert called The Oddity Faire in Berekly, California.

The guitarist of Primus, Larry “Ler” LaLonde, has been with the band since 1989 and uses a wide variety of Seymour Duncan Pickups. For information about the new Primus album and tour, see the following link: http://www.primusville.com/

Contributors and visitors of Vintage Guitar magazine have nominated Seymour Duncan as a candidate for the Vintage Guitar Hall of Fame Innovator. Previous winners include Leo Fender, Les Paul, Orville Gibson, Seth Lover and others. Registration is required in order to vote and those who vote get a chance to win an Egnater head and two cabinets, as well as other prizes!
About Seymour:




Seymour had his start in tinkering with his pickups and realizing that the tone he had been looking for could be found in the magnets and coils. In the 60’s, he worked on the pickups of Jimmy Page, George Harrison, Eric Clapton, Pete Townshend, Jimi Hendrix, Peter Frampton, and Jeff Beck. With demand for his custom pickups growing, he started Seymour Duncan Pickups along with Cathy Carter Duncan. For nearly half a century, Seymour has shown an unwavering passion for creating the tones artists desire. Through this dedication, Seymour Duncan Pickups has grown into the largest pickup manufacturing company through a combination of dedication to excellence, research and development, and a commitment to creating pickups that help artists get the tone they want out of their guitars. To this day, Seymour can be found winding pickups down in the Seymour Duncan Custom Shop.
To vote, please see this link: http://www.vintageguitar.com/hall-of-fame/

Face it: at the outer edges of high performance, we’ve come to expect specialists. We don’t expect the hoops star who can slam dunk from the free-throw line to be able to return a 120 mile per hour tennis serve. We don’t expect the racecar that does zero-to-sixty under four seconds to get 40 miles per gallon in the city. And we don’t expect the guy known for playing outrageously aggressive shred metal guitar to hold his own in a New York City jazz trio. Fortunately, Alex Skolnick never got that memo. Alex is equally at home throwing down brutal metal riffs as delicate straight-ahead jazz melodies.
A Northern California native, Alex studied with Joe Satriani prior to joining the Oakland-based thrash metal band Testament when he was sixteen years old. That was over 20 years ago. Testament eventually went on to achieve legendary status. They’ve recorded nine studio albums, four live albums, six compilation albums, and six singles.
But there’s another side to Alex Skolnick. It’s a side witnessed regularly by the swanky crowds at New York’s Iridium Club—the late-Les Paul’s regular stage—and other jazz venues. It’s there that Alex shows off his prodigious jazz chops with the Alex Skolnick trio. Alex relocated from California to New York in 2001 and received a music degree from the New School. It was during this period that he experimented with arranging jazz versions of classic metal tunes. And that eventually resulted in the trio which also features Matt Zebroski on drums and Nathan Peck on upright bass.
The Alex Skolnick trio recently released Veritas, their fourth full-length which was met with great reviews. Check out this fun video of “Bollywood Jam” from Veritas, featuring Indian-infused rhythms and three hot belly dancers; and which was recently reviewed by Guitar World on-line.

Nowadays, Alex divides his time between his jazz trio, Testament, and making guest appearances with the likes of Rodrigo y Gabriela. But whether he’s playing straight-ahead jazz or no-holds-barred thrash metal, in his Heritage Guitars, Alex relies on Seymour Duncan pickups for tone and versatility.

“There was no question that the pickups for my Heritage AS signature model had to be Seymour Duncan: a ’59 in the neck and a JB in the bridge. This guitar has hand-built craftsmanship that rivals any vintage instrument, demanding a pickup that electrifies its high quality without interference. The warm, low end of the ’59 and the crisp clarity of the JB manage to achieve this by adding power and dynamics without losing any the guitar’s natural tone.”
For more on Alex, including tour dates, music, video, and photos, check out his official website.