Pete Prown

Editor at Vintage Guitar Magazine

Pete Prown is an American oil painter, specializing in rural landscapes and buildings.

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Articles

Pigtronix Philosopher’s Tone 2

1 week ago | vintageguitar.com | Pete Prown

A compressor is useful for everything from taming aggressive volume fluctuations to adding sustain or a professional sheen to one’s sounds. The Philosopher’s Tone 2 is a straightforward design that gives essential functions including Volume, Sustain (the threshold, or degree of compression), Treble (to brighten the sometimes-dulling effect of compression), and Blend between colored and uncolored tones.
Pigtronix Philosopher’s Tone 2

1 week ago | flipboard.com | Pete Prown

Pete Hegseth is not going to like this new Randy Rainbow song | Alan CrossWhat kind of f**ked up world do we live in where the host of a weekend show on Fox News is the Secretary of Defense and is running the US military? …
Brian F. Wright | Vintage Guitar® magazine

1 week ago | vintageguitar.com | Pete Prown

The pages are rife with hip trivia. For example, in ’51, Fender sold a mere 83 Precisions. An R&B group known as The Treniers had a P-Bass player named Shifty Henry, and the ensemble’s performance in the 1956 movie The Girl Can’t Help It provided many viewers with a first gander at an electric bass – in color. Also, read about the two bassists on Jimmy Gilmer and the Fireballs’ 1963 “Sugar Shack,” with Stan Lark on a Rickenbacker 4001 and George Tomsco plucking a Dano six-string bass.
Rocky Athas | Vintage Guitar® magazine

2 weeks ago | vintageguitar.com | Pete Prown

There’s a lot of blues emotion on Livin’ My Best Life, but also hard-rock riffs. Is there a tipping point between the two? It’s all about the feel. If a song leans to the blues, I feel it that way; if it rocks, I flow in that direction. But even if it rocks hard, I never forget my blues influence in my lead work and want the melody to sing, like on “Dark Days.”Your guitar tone smacks the listener in the face, especially on the title cut. Thanks. That means my mission is accomplished.
Taylor 217e-SB Plus

1 month ago | vintageguitar.com | Pete Prown

Out of the case, it feels like a pricey acoustic, but its price tag says differently. Its top is solid, torrefied Sitka spruce with layered Indian rosewood back (two piece) and sides. The neck is mahogany with a scale of 25.5″, while the unbound fretboard is West African ebony fitted with 20 frets and faux-pearl 50th-anniversary inlay diamonds. Also look for a black peghead face, gold tuners, NuBone Nut, and a micarta saddle.
Dixie Dregs | Vintage Guitar® magazine

1 month ago | vintageguitar.com | Pete Prown

Free Fall was their official ’77 debut and, what it lacked in audio polish, it made up for it in bravado. Morse’s funk guitar ignited “Refried Funky Chicken,” a firecracker revealing the Georgia band’s terrifying tightness. “Cruise Control” became a Dregs concert staple – Morse’s electric-12-string work is especially gorgeous, and dig Andy West’s serious shredding on an Alembic bass. For What If, the band brought in Mahavishnu Orchestra engineer Ken Scott and sonics improved mightily.
Molly Miller Trio

1 month ago | vintageguitar.com | Pete Prown

“Cine” is an axe-forward jam with melody and chordal improvisations. The ballad “Blues to Green” sits on clean-ish arpeggios, bluesy licks, and double-stops inspired by obscure heroes like Sister Rosetta Tharpe and Mickey Baker. It’s heartening to hear those guitar influences bubbling up from the past, filtered with textures resembling the explorations of Julian Lage or Hermanos Gutiérrez. Miller nails that tricky combination.
Paul Benjaman | Vintage Guitar® magazine

1 month ago | vintageguitar.com | Pete Prown

You seem to embrace the less-is-more aesthetic of ZZ Top, Bad Company, and Blackberry Smoke. Angus Young once spoke of the long hours AC/DC worked on riffs, and I took that to heart. A great riff is more effective than any guitar pyrotechnic. The memorable ones have some sleight of hand involved with how the notes are made, so after you get the basic idea, experiment with adding slides or bends and play with the timing on or behind the beat.
Scott Sharrard | Vintage Guitar® magazine

1 month ago | vintageguitar.com | Pete Prown

Who were your slide influences, growing up? Lowell George, Paul Barrere, Warren Haynes, Duane Allman, and Bonnie Raitt were my first slide heroes. I went to high school in Milwaukee in the early ’90s and grew up under the tutelage of local heroes like Stokes, Harvey Scales, and Willie Higgins, as well as local masters like Hubert Sumlin and Luther Allison. Those cats all turned me on to Robert Nighthawk and Earl Hooker when I was a teenager, which changed my life.
Molly Miller | Vintage Guitar® magazine

1 month ago | vintageguitar.com | Pete Prown

“Americana jazz” is a guitar style that evolved through Metheny, Frisell, and Lage, among others. What does that phrase mean to you? It blends jazz with Americana, folk, and country elements, but also adds storytelling; it could be heartbreak, love, murder, or what have you, but a tale is always present. Also, I don’t think Americana jazz means you need to take out traditional II-V-I jazz chords.