TotalGuitarAnnual2023August2022

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WHAMMY PEDAL SOLO TRACKS: BIT.LY/TGA2023AUDIO

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BLUESY STACCATO PHRASING TRACKS: BIT.LY/TGA2023AUDIO

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always on pitch shifter used primarily to thicken the sound.
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POWERCHORD BENDS TRACKS: BIT.LY/TGA2023AUDIO

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STUTTER PICKED/KILLSWITCHED LICK TRACKS: BIT.LY/TGA2023AUDIO

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Traditionally, Jack created killswitch-style riffs using rapid-fire up-picking and fret-hand muting, known by some as stutter picking. Typically he’ll use loads of fuzz
distortion – the compressed sound exaggerates the dropout in the gaps, maximising the machine gun-like sound. More recently, Jack has used actual killswitches,
as found in the Coppersound Triplegraph pedal and his Three-Wheel-Motion Low Rider Telecaster.

TOTAL GUITAR ANNUAL

Words Charlie Griffiths

RIFF LESSONS

Get inside Jack White’s playing style from past to present

J ack White has most certainly carved out his sign of slowing down, with his latest Fear Of The Dawn
own niche in terms of both guitar sound and being his fourth solo album.
style. Be it with The White Stripes, The
Raconteurs or in his own solo work, his Here we’re looking at a handful of our favourite
idiosyncratic fuzz driven mixture of groove White-penned riffs, starting with a classic White Stripes
and note choice is easily recognisable. Most people tune Icky Thump, whose ear-worm infectiousness will
would be happy with the commercial success of The help you recognise the Dorian mode, the groovy Lazaretto
White Stripes and the bona fide classic riff of Seven to help you sit in the pocket. We finish up to date with
Nation Army which came with it, but Jack shows no the driving What’s The Trick, which is a fantastic hand
synchronisation challenge.

152 2 JACK WHITE 3 JACK WHITE
LAZARETTO WHAT’S THE TRICK?
1 THE WHITE STRIPES
ICKY THUMP Appears at: 0:21-0:48 Appears at: 0:04-0:29
Tempo: 90bpm Tempo: 95bpm
Appears at: 0:40-1:04 Key/scale: F# minor Key/scale; G minor / G Blues
Tempo: 95bpm Main techniques: String skipping, funky Main techniques: Staccato picking,
Key/scale: E Dorian 16-note picking, hammer-ons and pull-offs string bending
Main techniques: Single note picking,
grace-note slides, powerchords

Title track of the sixth and final White From Jack’s second solo album, the title Jack is now on solo album number four,
Stripes record, Icky Thump features one track Lazaretto features simple funky entitled Fear Of The Dawn. The track
of Jack White’s most recognisable guitar single note riff similar in style to the What’s The Trick? can be played entirely
riffs. The riff is based in E Dorian (E F# G A B C# classic Cissy Strut by The Meters. The main with first and third fingers, starting with three
D) and its sound comes from Jack’s use of part of the riff is played using just your first notes on the 1st and 3rd frets on the sixth
slides and open strings. After the initial open and third fingers on the 2nd and 4th frets, and string, and 1st fret, fifth string.
E root note, the next four notes are all played all of the notes can be found within the F# minor
on the fourth string. Start by sliding up to 7th pentatonic scale (F# A B C# E). Start with the F# As you ascend and descend these three
fret on the fourth string, then play 5th fret with root, then it’s octave, followed by the b 7 E note notes, keep the notes short and staccato by
your first finger, slide it down to 4th fret, then at the 2nd fret. Leave a rest in between each bouncing the strings off of the frets with your
pull-off to the open string. Next, play three note and if you keep your pick moving in 16th fretting fingers, in order to stop the notes; it’s
notes on the fifth string; slide into the 3rd notes, each rest would be equal to two possible Jack has used a fast noise gate to
fret and hang on that note before playing ‘ghosted’ pick strokes. make the notes stop more abruptly. Repeat
2nd fret and the open string. this initial riff pattern eight times and try to
Next, play the open E string and repeat the make each repeat consistent.
Next up is a G5 powerchord, which is played three initial notes again, this time without
on the 3rd fret sixth string and open fourth any rests and add 4th fret 5th string before Next, move up to the fifth string and play
and third strings. Now repeat the riff, but at returning to the open E string. Finally replay between the 3rd and 5th frets with a semitone
0:43 slide up to 7th fret on the third string, the initial three notes including the rests. So far bend from 5th to 6th fret. Then move down
instead of playing the fourth string. Repeat this is one cycle of the riff, which repeats three two frets and repeat the same finger, this
everything twice and finish the riff with C5 times. After the 3rd repeat finish with an A5, time bending 3rd to 4th fret to hit the bluesy
and D5 powerchords with the root notes then a G# powerchord, then play a slow trill b 5 interval and finally land on the G root note.
on the fifth string. between frets 4 and 5 on the fifth string. TG Tip: Get used to feeling riff repeats in
TG Tip: Use the underside of your fingers TG Tip: Keep your picking hand moving sets of ‘four’, so you don’t have to always
to mute the treble strings as you play throughout the extended rest sections count through every single repeat.
the lower strings. to help keep track of time and tempo.

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HOW TO WHAT YOU WILL LEARN
D standard tuning
Offbeat rhythms
6/8 time signature

Get the tone CHANNEL DISTORTION

4 56

8
1

GAIN BASS MID TREBLE REVERB

Bridge Single Coil Simon is well known for using
Fender Stratocasters and
riff of the month a combination of Fender and
Marshall amps to create a rich,
heavy, biting tone – a single coil
pickup in the bridge position is a
key part of recreating that bite.
Experiment with enough gain to
create a heavy sound, but back it
off slightly to allow the notes to
sound clear. AHIYH is played in
D standard tuning (DGCFAD from
low to high), which means all six
strings are tuned down by two
semitones (i.e., two frets).
A heavier set of strings would be
a good choice for tuning stability.

BIFFY CLYRO

A Hunger In Your Haunt

B arely a year since Biffy Clyro’s the third powerchord stab though. While the CHEAT SHEET… 153
eighth record A Celebration Of first two stabs land predictably on beats 1 and 2,
Endings dropped, The Myth Of The the third falls on the first ‘&’ of the bar. And Appears at 0:00-0:16
though the fourth stab is conveniently on the 2 Tempo 120bpm
Happily Ever After, a sister album again, if the third stab upset your rhythm, it’s Key/scale D minor
easy to fluff the timing here too. Practising Main techniques Picking,
to last year’s release, has arrived slowly really is your best option – particularly as pull-offs, open strings
there’s a fiddly scale shape to factor in too.
featuring this month’s riff. Consider us excited! Watch our slowed down video demo so you can
nail the rhythm of the riff.
A Hunger In Your Haunt is in 6/8 time. Counting

‘1 & a 2 & a’ will help you feel the timing, as

guitarist Simon Neil’s single-note riff follows

this ‘triplet feel’ tightly. Take care as you reach

Photo Getty D EF D
A CD A
F F
G# A C
D D G
D
The fretted notes are all found between the 7th and 9th frets – so you navigate Simon Neil’s offbeat timing. Before you get started we
there are no fretboard-wide position shifts to manage here. That recommend familiarising yourself with this scale shape and the TOTAL GUITAR ANNUAL
being said, it’s a fiddly riff, with all four fingers coming into play as powerchord contained within it (using the D, A and D notes).

INTERVIEW

Words Jonny Scaramanga Photos Glen Bollard / Euan Robertson

"THE THOUGHT
OF PLAYING ON
STAGE CAN
INTIMIDATE
ME, BUT AS
SOON AS I PUT
154 THE GUITAR
OVER MY
CHEST I’M
LIKE, 'RIGHT,
THIS IS ME!’”

When Biffy Clyro made a triumphant return to
the stage, frontman Simon Neil felt that he had
rediscovered the meaning of life. Now, as part of
TG’s 2022 Guitar Workout, he presents his guide
to the art of rock guitar. How to make a Strat
sound heavy. How to write in odd time signatures.
How to prepare for playing live. And why there
is still one pedal he can’t live without...

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SIEMRIOCNGNAELIELS

D ropping a surprise album is the kind
of thing you expect more from
Taylor Swift than hard-working
Scottish rock trios, but that’s what
happened when Biffy Clyro’s
The Myth Of The Happily Ever After
arrived at the end of October 2021.
As guitarist/vocalist Simon Neil says,
“There’s part of you feels like it’s total baller - ‘Hey man
here’s our new album!’ Like Beyoncé or something.
But it’s also extremely terrifying.”

He needn’t have worried, as Biffy fans made it the
band’s sixth consecutive Top 5 album. The Myth... has big
hooks and huge sonics that belie its rapid creation. And
in contrast to the band’s embrace of pop that peaked
with 2016’s Ellipsis, this album also features complex
riffs in odd time signatures. “Moving back to stranger,
more esoteric ideas”, as Simon describes it.

155

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INTERVIEW M aking music in times of
crisis made the band
TOTAL GUITAR ANNUAL consider their relevance.
“When you’re seeing
people going through proper heartbreak
every day, you start to wonder ‘Am
I contributing to the world? Is this
something that needs to exist?’”
Simon reflects. But, he concluded,
“It’s about trying to bring a sense of
joy and togetherness to me and my
friends. Just to find that focus and
joy was remarkable at this stage
of being in a band.”

As well as finding joy in creating
music, Biffy Clyro made a life-affirming
return to the stage last summer with
enormo-shows including headline
slots at the Reading and Leeds festivals.
They also completed the aptly named
‘Fingers Crossed’ tour at the end of
the year.

After this hectic period, Simon is
in upbeat mood as he talks about the
album, the tour and his new signature
pedal, and explains his singular
approach to playing, performing,
songwriting and gear...

Let’s start with The Myth Of The
Happily Ever After. What was
different about the process
of making this album?

Normally when I’m writing there’s 18
months of working on the songs.
This one felt so spontaneous. I didn’t
anticipate writing a bunch of songs
but it ended up being the way I was
processing. Every week all our realities
were changing so I was able to focus my
energy and my anxieties into the songs.
It was going in to make an album
without necessarily knowing how
the songs should sound, and that was
strange. We did no pre-production. We
would normally record ourselves in the
practice room. This was like, ‘Here’s
a song, let’s record it.’ The growth
period to the record was probably about
six to eight weeks and then recording
it was about eight weeks, and then
suddenly it was done. Normally it takes
us that long to rehearse. Because of the
pandemic, the purpose of the music felt
more pure, knowing that we weren’t
going to go out on a promotional tour.

Was all of the material brand new?

That’s how I like to work. I like to feel
like I’m about to make either the best

SIEMRIOCNGNAELIELS

Booooom and Blast!

Get Biffy in a Box with Simon’s new pedal, built in limited runs by his tech!

157

“Me and my guitar tech Chard [Richard Pratt] that square wave. I love that Jack White fuzz You can put it straight into any amp and it
took about two years of prototyping to get it tone, real 60s, everything totally blown out. really gives you a level of power. You can
where we wanted. We wanted two channels, The Biffy tone is the Boooom. All my guitar have clarity if you want, or you can have the
an overdrive and a fuzz, and the most options sounds have been based on my very first real fuzz and real overblown sound. It was
without being overblown. My main aim for Peavey Bandit and Boss Metal Zone. important that if you plugged your guitar in,
Biffy is just the best distortion sound I can Ever since then I’ve just been trying to you were getting a taste of my guitar sound.
possibly have. [For the ‘Blast’ fuzz] the main sophisticate that sound, add detail and It’s hard to do that in one box, but Chard did
aim was volume and just being able to get depth to it. That’s what this pedal does. a fantastic job.

record we’ve ever made or the worst. At this moment in time I have not one different things. The Friedman BE-100
When you’ve had an idea that’s floating song idea for the next Biffy record! was an absolute beast. I’m definitely
around your relationship with that idea thinking of investing in one. I used an
can colour any new themes or songs, What gear did you use? Audio Kitchen Flying Squirrel which is
so I’ve always tried to clear the decks just a stunning distortion. You can use
before we start a new album. If an idea I used my Michael Landau signature it as a head or a pedal. I actually use it as
isn’t good enough the first time round, Stratocaster. I’ve got a couple of a head. I used some Earthquaker pedals,
why is it good enough six years later? them and they are honestly the and the Booooom/Blast pedal! It was
I like to have no starting blocks so that best-sounding Stratocasters I’ve ever about trying to keep things as simple
I feel the fear. I want to feel like I have found, so that was the guitar I used for as possible. Normally when we make
to make music. If it’s just a case of pretty much every song. In terms of a record I feel fortunate to have access to
‘time for another album, we’ve got half amplifiers I used a Friedman for the anything. If I want a 1960s Fender amp,
a dozen ideas let’s work on them until very first time and a Matchless. We I could do it. The restrictions of the gear
they’re good enough’, why bother? didn’t really have access to all our we had this time really helped push the
normal gear so we were trying a few

“PWHLEANBYE.EVEEAVRBENLEI WWTITROHITMWEOEVISREODMINETTWIMHAINEYGSSWITGEHNIARATTDUMRIASEKSTEAYNSODUENUSSPHEO”UALNDD

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INTERVIEW

creativity because we weren’t relying a different part, so never really doubling

on the gear too much. But yeah, there with different amps.

were pedals upon pedals upon pedals.

I use the [Jackson Audio] Prism How do you make a stock

overdrive pedal for absolutely Stratocaster sound so heavy?

everything. That just gives the guitar I guess I’m not scared of the percussive

this slight bite and overdrive that that nature of a Strat or the fact it lacks a bit

normal clean sound doesn’t have. of bottom end. In our band, James

[Johnston] takes care of that bottom end

What about speaker cabs? with his bass. If I hadn’t discovered a

I was using the [Universal Audio] Ox Strat going into a Metal Zone when I

Box as a speaker simulator. We were was young I probably wouldn’t have

[recording] on a working farm so believed you could get that heft to a

I couldn’t turn the amplifier up as loud Stratocaster. That’s why it’s taken me

as I wanted. I would have loved to have this long to find that sound with a Strat

half a dozen amplifiers just cranked to and one amp. The way I made it work

f*ck, but we would have curdled the through the years was a combination of

milk! With this box I’m able to get the a Peavey, old-school Marshall, and a

head absolutely cranked that golden Fender DeVille. One was driven by the

zone without needing a speaker. The Metal Zone, one just being overdriven

reason I wanted to use the Matchless itself, and the DeVille sat right on top of

and the Friedman is they’re so crisp, all. It took years of experimentation.

they’re so factual their sounds. Sometimes when I hear someone

Especially with the Stratocaster, you can else’s Stratocaster I’m like, ‘F*cking

really get shimmer. Sometimes a clean hell, try to get a bit of bottom end out of

A Celebration of Tunings guitar sound can be the most aggressive that!’, forgetting that actually it’s a
158 tone, so it was trying to get that tricky thing to do. It’s also the way I

Simon explains how tunings open aggressive sound and then not making play. I have a very heavy right hand. I

creative doors the pedals do too much work, just play with heavier strings as well, Ernie

letting the pedals tip it over the edge. Ball Skinny Top Heavy Bottoms [10-52].

“I’m a man that lives and dies by the drop D! If it’s good That’s just always been the way I’ve That was a big step in trying to get the
enough for Helmet it’s good enough for Biffy Clyro! worked. I feel like an amplifier is its own muscles on the Stratocaster to show.
DADGAD is a beautiful tuning. That’s one of the first thing but you need to put it through Every time I rejig my live setup I try and
ones where I started to come up with some more a pedal to really get it to the next level. get rid of the Boss Metal Zone. I swear to
folk-type songs. With some open tunings you just God I cannot get rid of it. It’s the one
start to voice your chords in a different way. One of my Were you running the Friedman and thing that brings the Stratocaster into
favourite tunings is CFGDCF. You never find a chord that the Matchless at the same time? that real heavy world. Every time I do a
sounds like anything you’ve ever played before. Every blind test, if the Metal Zone isn’t there I
place you put your fingers is new. If you have gone Just using one head at a time. I learned hate it. The Metal Zone can give you a
through lessons and you learned a certain way of that from working with Rich Costey real warm and fuzzy bottom end and
playing, as soon as you detune the guitar you’re in [producer of Ellipsis and 2020’s

a brand new, naive landscape and that’s where you A Celebration of Endings]. When I worked then everything else just sings and
discover new things. For me it’s very important. with Garth Richardson, we would use sizzles over the top of it.
Sometimes I’ll place my fingers on a chord and just a Soldano head, a Mesa head, and
detune certain strings and see what happens. There’s a Marshall all running through different You write in odd time signatures
a song called Get F*cked Stud [from Puzzle, 2007]. speakers to create the one guitar sound. like 5/4 and 7/8. How do you
That sounds like weird tuning but all I changed was On A Celebration of Endings, we managed approach that?
the G string down to an F#. It makes everything ring to get most of my guitar tones just with
differently. On Infinity Land, there’s a song called Pause The key to writing weird or progressive
It And Turn It Up. I was just going for it. I played this riff, an amp. If you can make that one tone or mathy music is that you shouldn’t
recorded it and didn’t write down the tuning. If anyone feel like you’re making it weird. It’s
sound monumental, there’s a clarity

out there can find the tuning, that would be wonderful! and power you cannot achieve having important that it feels physically right.

That was the beauty of it, not having an idea of what lots of amps running at once. So, if Whenever I write something weird
the guitar was going to tell me.” I did a main track with the Friedman, I I stand up and play. Even with weird

would then shift to another head and do time signatures you should be able to

“I ALWAYS TRY TO GET MY PINKY ON THE FRETBOARD.
SOMETIMES IT WORKS, SOMETIMES IT DOESN’T!”

TOTAL GUITAR ANNUAL

move and lurch in ways that make You feel like a lobster trying to play TONE ZONE our shows. It was a real worry but
sense. Sometimes if I get back to the guitar! The fear can sometimes make “Every time I do I think that led to something truly
open string on a strange part of the riff your body tense, and it can really play on a blind test, if the transcendental happening at the shows.
I would then loop that part of the riff. your mind. Constantly picking up your Metal Zone isn’t We all felt changed when we came off
Say you’re coming back to the open guitar takes away that stress. The shows there I hate it!” after those gigs, like we discovered
string on the fifth or sixth note of that really feel perfect for me when I feel my the meaning of life again.
riff and start repeating, it’s going to be guitar is just an extension of who I am
weird but it’s still in a regular tempo. and I’m not even thinking about what And finally, what is the best advice
That’s a simple way: just remove one I’m doing. you have for guitarists?
note from your riff and see how it feels.
Add an extra note to your riff and see How did you prepare for Biffy’s If you’re starting out or if you’re creating
how it feels. These are the ways you massive comeback shows something, don’t worry about not being
discover things that make sense to last summer? able to play what other people can play.
you musically but also are satisfying Don’t worry about having a style or
to listen to. It was tough! An aspect of it was just a technique that means you can’t play
hoping that muscle memory would kick like Eddie Van Halen or Bert Jansch or
What is your warm-up routine? in, hoping that things would make whatever. I wanted to make a racket!
sense once we stepped on the stage. I came from playing violin which gave
A lot of my warming up involves The big step for us was just even getting me a slightly different angle. I was
playing Biffy songs. On a gig day, I’ll in a room and playing live together. always trying to make four finger
normally play guitar for about an hour That was the first time where things chords. I always try to get my pinky
before the show. I actually feel my most made sense. It was probably only two on the fretboard. Sometimes it works,
confident when I have my guitar weeks before we did the shows that sometimes it doesn’t. By putting it on
strapped on. The thought of playing we thought, ‘We can do this!’ There’s there you’re giving the opportunity for
guitar on a stage can intimidate me, but a level of fear that builds just having not an idea to grow. Find a way to express
as soon as I put the guitar over my chest engaged with more than three people yourself through your music. And don’t
I’m like, ‘Right, this is me!’ I learned the for the last 18 months. We were very worry about limitations of gear. You
hard way about going on cold. Hand rusty, my voice really was just out will take your identity to whatever
cramping is the worst f*cking thing. of practice and it was tough to sing to instrument you have.

TOTAL GUITAR ANNUAL

2022 Guitar Workout

Guitars and backing Charlie Griffiths

GOLDEN RULES

The Guitar Techniques Of Simon Neil

YTGR3on5ou’w4v.eibthi’sfefytaicrmdlyefrrtooo.mfilogSo0ikm1a.omtnsuNosmexilehoimf hsieslf, Our first example provides an insight into the chords that define the band’s sound. Simon
tradem13ar:2k4te1c4hn/1iq2u/e2s02in1TG’s tab syncopated offbeat timing the band are so well
Pagele1sson1. We’ve recorded three known for. The octave shapes are crucial, too is adept at disguising those well known open
Biffy-style riffs, each demonstrating – a key part of the Biffy style and a great way and barre chords, often preferringBtifofyadCdlyro
to create a big sound in a three-piece band. Our open strings tCoocnlotrsiebdutpoors:itCiohnavrolieiciGngrsif,fiotrhs
a few ways that Simon plays guitar. next two riffs feature a selection of the kind of using pEarntgiarlacvheodrdbsyinDlieiguitoaflMpruesdiicctAarbt.leCom
sounding fuller shapes.

1 RIFFY CLYRO BIT.LY/TGA2023AUDIO

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TGR354.biffyclyro.fig02.musx
Several Simon Neil trade1m5a/1rk2s/a2r0e2on1show here in our riff inspired by Wolves Of Winter and That Golden Rule. Drop C tuning (one of Simon’s favourites) takesBoiuffryrifCf dlyowron
tloimPwi.anOggcitesatvyepsichaalpBeifsfaynCdlysrioxtfhar-set. ring root notes ensure we’re covering a wide pitch range (a great way for a lone guitarist to fill out theCsoounntdri)b. Auntdotrh:eCsyhnacrolpieatGedroifffifbthesat
160 Engraved by DigitalMusicArt.Com

2 PUZZLING CHORDS BIT.LY/TGA2023AUDIO

q =160

Em add11/G Em/G Em7/B E5/B Em A 5/E Emœœœ/Gœœœ œœœ œœœ œœœ E5 E 7sus 4/D C # m7 B sus4 A5

& # 44 .. ‰ œœœœJ ‰ œœœœJ ‰ œœœJ ‰ œœœJ ‰ œœJ ‰ œœJ ‰ ≈ ‰ œœœœœj œœœœœj ‰ œœœœœ œœœœœ ‰###œœœœœj # # œœœœœj ‰ œœœœœ œœœœœ ‰ œœœj Play 4 times
#
œœœ œœœ ..

E .0 00 0 0 0 12 12 12 12 12 0 0 0 0 0 0 00 .
0 00 0 8 10 12 12 12 12 12 0 0 0 0 0 0 00
TB 9
G .0 07 12 12 12 12 12 .9 9 7 7 6 6 4 4 2 2 2
A D 7 9
9 9 7 7 6 6 44 222
BA 7 7 5 5 4 4 22 000

TGRE354.biffyclyro.fig03.musx

Back to E standard tuning now as we take inspiration from Who’s Got A Match? and Bubbles here. The first half of our riff uses the E minor pentatonic scale (BE GiffAyBCD)lyro
stParatgineg at the 7th fret. The open strings fit within the scale too – we’ve added them to create some trademark Biffy-like unusual choCrdos.nTthreibsuectoonr:dChahlfaorfltieheGrifrfifisfiths

powerchord-based, but still with those open strings.

Engraved by DigitalMusicArt.Com

3 EPIC BIT.LY/TGA2023AUDIO

q =120 D/A Dsus4/A D5/A Dsus4/A D sus4 D5 Dsus4 Bm7

D D /C D œ

& ## 44 .. j œœœ Jœœœ Jœœœ œœœ Jœœœ j œœœ Jœœœ œœœJ œœœ Jœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ ..Play 4 times
œ œ nœ
œ

let ring throughout

E .7 10 .
TB .7 10 10 .
8 10 8 7 8 10 8 77 11 11
7 7 77 7 77 12 12
A G 0 7 77 7 77 77 7
D 12
77 7
BA
D 0 9 10

Our final riff demonstrates how Simon Neil plays in the epic choruses of songs such as A Hunger In Your Haunt and Many Of Horror. The weight of drop D tuning is key as
you reach the low note in bar 2, and the ‘let ring’ approach gives the chords and arpeggios a sweetness.

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