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The A to Z of Blues Improv - new Masterclass from Aynsley Lister.

Launch offer - £24.99 for one week


We're hiring! Post Production Video Editor

Tuesday 26th July 2022 News

jtc guitar hiring
Please note, this vacancy is UK only.

We are seeking a guitar enthusiast for the role of Post Production Video Editor to join our team at JTC - a fast-growing online guitar-based education, production and digital download company.

Your role is primarily focussed on producing high quality motion graphics promo content using video content from some of the world's greatest guitarists to promote their new content releases. You will be tasked to create video, stills and animation for both externally facing social media channels and throughout the JTC website. You will also be producing internal video content and assisting video production sessions to support the growth of our in-house content at our North London studio and support corporate and internal video requests.

Key Skills and Experience: 

  • A good knowledge and interest in guitar playing is essential
  • Minimum of four years professional production experience
  • A strong grasp of the whole production process with the ability to manage a project from its inception through to delivery
  • Strong video editing and still graphics skills, and experience in making high-quality visual promos
  • A deeply creative mind, ready to adapt whilst working with a varied (and mainly static) range of key artwork/video assets and make them work in high-quality motion graphics
  • The ability to create narrative-led social media content and motion graphics
  • A deep understanding and at least 4 years experience of using the full suite of Adobe Creative Cloud software including After Effects, Premiere Pro, Photoshop, InDesign and Illustrator.
  • Experience in camerawork: handling and using recording/filming equipment, including best lighting practices, mics etc
  • Experience filming in a range of internal and external environments with the ability to adapt rapidly within these environments
  • Good awareness of production safety and risk mitigation
  • Ability to work with/for numerous internal clients and to prioritise numerous concurrent projects
  • Ability to manage the production process of projects from start to finish
  • Ability to structure and create video stories/narrative
  • Strong attention to detail and time management

Person Specification:

The candidate must relish the prospect of being part of a small hard-working team with high standards. You should be friendly, flexible and responsive to the numerous project requests, some of which will run concurrently. You must be instrumental in coming up with creative ideas, have fresh solutions to digital content requests and lead idea generation on production requests.

You need to be reliable and a good listener. You will need to manage yourself and work remotely. You must have a keen eye for detail and a strong interest in guitars.

Working Hours and Location: 

Normal working hours are Monday to Friday with a minimum of 40 hours a week, flexible between 8:00 – 17:00 and you will work primarily from home. Occasional evening or weekend work may also be required.

How to Apply: 

Please submit your most recent showreel or portfolio, which demonstrates your ability to produce:

• Filmed content

• Motion graphic content, ideally in the form of a promotional video using live footage (see below for example)

• Still image graphics

For immediate consideration please send the above and your CV to


Please note, this vacancy is UK only.


Get to Know: Julian Eggenhofer

Tuesday 26th April 2022 News

julian eggenhofer

JTC’s bread and butter is electric guitar and shred, but if the playing is great, it simply doesn’t matter what or who it is.

A scroll on Instagram, a few messages between the team and it was decided; we had to work with Julian Eggenhofer.

So who is JTC’s 100th artist? And what makes his gypsy jazz brain tick?

Tell us a bit about your background and how you got into playing?

I started playing when I was about 15 years old. I’m 32 now, so it’s been a while. I found an old, dusty guitar from my mother back then and started playing things like “Eye Of The Tiger”, just using one string. I remember being terribly afraid of a string breaking. Had no clue how to change it nor did I know how to tune it so for almost a year I played totally out of tune and on such old strings.

After that time a very good friend of mine taught me a lot. He had already played for a few years and we both loved heavy metal music. So not long after we sat together and played Iron Maiden stuff on nylon guitars. Until today we still play together in different bands, it’s more about jazz instead of metal but we’ve got such a strong musical connection and it’s always something special to play with him. His Name is Julian Wohlmuth by the way!

What was the inspiration behind Rogue Mode?

Actually there is no great story behind that one. I wrote it during the first quarantine in 2020 when I was bored as fuck. A lot of the patterns I used for the theme, I often use during improvisations so It didn’t take much time to set everything together. Just needed some chords and the rest was pretty simple. In terms of harmony and the rhythmical structure of the melody, it is a pretty simple song. In fact it’s just about speed and muscle memory.

Do you have a favourite part of the song?

Phu, good question! Maybe the bridge, cause it actually got some melody? Haha.

You’ve been putting on singles, but will we ever see a full album?

Yes definitely! At first my plan was to wait with all the releases until I have a full album but nowadays it’s more about portioning your content over time so I decided to release a few singles and the full album will come afterwards.

What first attracted you to the style of gypsy jazz?

Actually my good friend Julian Wohlmuth asked me, I think it was summer 2012 or so, to play a gig with him. Once again he was already into gypsy jazz for a few years back then. I agreed and I learned a repertoire of about twenty tunes. My knowledge of music theory was pretty poor at the time, so I just played the pentatonic scale up and down. After that gig I really fell in love with the music. It’s like, once you are infected, you won’t ever stop again. For me this music is so honest and pure, mostly because it’s acoustic but there are no effects and stuff, it’s just you and your instrument. Love that.

What tips do you have for people approaching it for the first time?

Check my Class at JTC! Haha! No, jokes aside. I think the most important part at the beginning is to listen to the music as much as possible. Find a player or a band you really like and listen to it. Try to sing along so you get a feel for the rhythm, the phrasing and the general vibe of the music. Then try to copy the things you really like. I’ve never been a huge fan of transcribing whole solos or something. Pick out small phrases or licks and really try to understand what is going on theoretically. Then try to adapt these licks or ideas to other chord types for example, so you can use them whenever you’re feeling like so.

Learning this music has a great tradition in watching other players and using your ears so another tip would be, try to avoid using tabs or something and try to find other players to learn from.

Do you explore other styles of guitar?

I’ve always been a fan of metal and rock music but unfortunately I’m not really good at playing it. From time to time I give it a try but it’s more like a hobby.

Besides that I love to play blues, funk and some fusion stuff on my Strat cause as I’m sure you all know, there are times we all need these fancy sound pedals and all that stuff.

How does it feel to be the 100th artist on the JTC roster?

It’s just amazing to be part of this great community. I can not tell how happy I was when Dan reached out to me. JTC is such an amazing platform with such exceptional players, to be the 100th artist is a real honour. Working with you guys is so easy and enjoyable, I’m looking forward to many more releases.

Jam of the Month - January '22 Free Spin

Tuesday 4th January 2022 Promotions

jotm free spin

Welcome to the January ‘22 Jam of the Month! Pick your track, share your solo, and be in with a chance to win a SIX MONTH MEMBERSHIP at JTC Guitar!

This month, we’re letting you pick the backing and the winner will be chosen completely at random. Just head over to our jamtracks page and use the code FREESPIN to get your free backings.

Here’s how it’s going to work.

What is Jam of the Month?

JOTM is your chance to join a community of like minded jammers and share your solo over one of our MANY backing tracks. In doing so you put your name in the hat to win a six month Premium Membership at JTC Guitar, plus an Elixir Strings bundle.

How do I enter?

  • Use the code FREESPIN to download a track on us! We have well over 1000 to choose from in our guitar jamtrack store.
  • Your track will then show in the jamtracks part of your library.
  • Film yourself jamming over at least 30 seconds of the track. But if you want to go longer, feel free!
  • Share your video on the JTC Jam of the Month Facebook Group.
  • Or use #JTCJamOfTheMonth and tag @jtc_guitar on Instagram

At the end of January 2022, we will pick a winner at random. For every take you share, you get another entry. The randomly picked winner will receive a six month Premium Membership and a bundle of strings from sponsors, Elixir Strings.

What are the rules?

  • Your entry has to be a NEW take recorded for JOTM Jan 22
  • It has to be with a backing published by JTC Guitar either as a jamtrack or as part of a JTC Guitar release (e.g. Masterclasses, 20 Licks etc).
  • Everyone gets ONE free jamtrack from the JTC Guitar jamtrack store, but you can enter as many times as you like with as many tracks as you like.
  • You MUST state what backing you are using
  • Each take that you share is an entry into the prize draw. 1 take = 1 entry.
  • ANYONE can give it a go. Any skill level, and it doesn’t even have to be on a guitar.
  • You must play over at least 30 seconds of your track.
  • The winner will be chosen at random in early February 2022
  • The deadline for entries is 23:59 GMT on Jan 31st 2022.

Before you go…

At the end of the month we will also highlight our favourite takes on JTC’s social media channels! So even if you don’t win the prize draw, it’s a great opportunity to show off your playing.

Jam of the Month is all about community! So please get involved and remember to comment, share, like and support one another. We hope you enjoy this freebie and we can’t wait to see all your jams!

Get to Know: George Karayiannis

Friday 26th November 2021 News

The JTC roster is built on the talents of incredible players from all around the world. So when one of those talents, George Marios, suggests another player to us, we’re happy to listen.

And so started our relationship with George Karayiannis! His JTC debut, Unravel the Pentatonic has been a big hit, but of course not everyone can know who everyone is, so we wanted to give George an opportunity to share a bit more about himself.

So what’s he all about?

So who is George Karayiannis?

I’m already questioning my existence enough so please don’t do this to me! Well, I’m a human from Greece, in progress since 1991.

I’m also a musician, guitar tutor, session guitar player and composer, with an intrinsic obsession to constantly try to explore the never-ending depths of music.

Finally I absolutely love working out, reading psychology and philosophy books, being close to nature, singing and my dog, Perla.

When did you first realise you wanted to be a musician?

It was December 2005 when I got my first guitar. She had 5 out of 6 tuners but this didn’t really bother me at the time. I spent the whole night dancing around with the guitar and acting as if I knew how to play over some Bon Jovi, Santana and Scorpions songs. I literally slept with the guitar on me. Haven’t thought about doing anything else since.

Who have been your biggest influences as a musician?

Of course there are many and they are really different but if I had to choose let’s say 3 of my biggest influences then with no particular order would be:

Joe Satriani
I remember watching him perform at G3 at Denver over and over again and thinking “That’s what I want to do!”. He was my idol during my first years of trying to figure out how to play.

Julian Lage
He is the reason I love jazz. His playing is so direct and mesmerizing that I just can’t get enough! I’ve seen Lage at a seminar here in Greece and when he was asked about the freedom he has on the guitar and how to achieve it, he said “Freedom is not a milestone, but a choice.”.These words really got stuck in my head since then and I tend to recall them most of the times when I write or play music.

Mike Shinoda
I know this might seem a little weird to some but this artist has always been an inspiration to me due to his creativity and involvement in so many different styles and aspects of music and art in general.

And any favourites on the JTC roster?

If I had to choose one I think I wouldn’t surprise anyone picking the Guitar God himself (a.k.a. Guthrie Govan).

That being said, the truth is I’ve learnt so much from studying the incredible releases of Luca Mantovanelli and Jake Willson, so let’s make it a top 3. Infinite respect to the whole team for creating such unique and helpful content for the ones who need it though.

How did the idea for the Masterclass come about?

I’ve always loved the sound of the pentatonic scale and I’ve always tried to figure out ways to use it in a more creative way. So I’ve gathered a lot of concepts, exercises and ideas on this journey that started to pop out in my playing. Then I realised that not many players use these concepts so it kinda was an obvious topic for my debut to me.

And what do you want people to get out of it?

As I say in the study guide, I really hope that it will truly unravel this beautiful polyfunctional scale and spark the creativity inside the ones who’ll study it.

Finally, since we’re talking about the most used scale, I hope it will plant the idea that there is no “box” in anything if you truly give your attention to it and look a little deeper, so that they can apply this idea to anything creatively.

Any plans for future releases?

Yes! I’m absolutely excited for the next one! I don’t want to share anything specific for now. I’ll just say it’s gonna be a Masterclass about a fundamental building block of music and it’s going to be structured in a way that everyone will understand how to study and how to actually use it in any musical environment.

Finally, if you could only listen to one artist/band etc for the rest of your life, who's it going to be?

This is an easy one! Myself!

That way I could still play my favourite songs of my favourite artists AND still be able to write new music!

Before you go...

Watch George in action as he delivers a solo from the Masterclass

5 Pillars of Better Backings

Monday 20th September 2021 Recording

Use code PILLAR for 20% off all Damir's content.
Ends Oct 1st

JTC Guitar as it is today is built on a foundation of super strong, highly jammable backings. So when someone reaches out to us with backings that fit the bill, we’re always happy.

Damir Puh is one of those people, and a killer player too! He’s brought modern, in your face, riff heavy backings to our catalogue, and a flawless air of professionalism that we really value.

So it only seems right for him to share a bit about his approach to all these banging backings.

A Clear Objective

Let’s start with the most abstract, but probably the most important point. A good backing track needs to solve a particular problem. All decisions regarding track creation depend on whether the track focuses on a specific genre or a specific tonality/chord progression.

Many players use different backings for different purposes, so tracks created with a particular profile of player and a particular problem in mind are more likely to offer the right musical solution.

Having a clear objective right from the start makes the process of creating the backing more streamlined, which results in a better track that many players would find useful.

Balanced Track Structure

Structure is crucial in any piece of music and with backing tracks, there’s always the balancing act of musicality vs the utilitarian function of the track in play.

Naturally, backing tracks tend to have extended sections and less variation compared to “normal” songs, but the parts themselves still need to develop and change as they progress. Providing the player a solid musical foundation, while still making things interesting is key, and a balanced track structure, regarding both the macro and micro levels, is the foundation of that concept.

Backings focusing on a particular scale, chord progression or rhythm can allow having long and open sections for the player to practice over. While tracks tackling the “real-band-jam” scenario means more movement and variation from part to part.

Detailed Arrangement and Sound Design

Choosing the right sounds and arranging the ideas into a cohesive piece of music go hand in hand with track structure and the pre-set objective of the backing track.

Even the most generic riff or chord progression could be transformed into a captivating piece of music with tasty arrangement, sound design, and layering.

Choosing the right sounds and arranging the ideas cleverly, immerses the player into the music and offers musical substance that could be mirrored with the lead part.

Providing hooks and ear candy elements is a nice bonus as well, and a welcome addition if creating a genre-specific track that sounds like a song is the objective.

Tight Performances / Programming

Tight performances and detailed programming are some of the key aspects that separate high-quality backings from the average ones.

For example, tight double-tracked guitars or bass and drums sitting right “in the pocket” not only sound better but also give better support for the player jamming, especially when groove and timing are concerned.

Editing plays an important role as well, and the balance of how much/how little is needed is very dependent on the genre. Letting the tail of palm-muted notes ring out in modern metal is just as inappropriate as chopping everything off and aligning everything to the grid on a funk track. In both cases, a correct judgment of what’s needed for the specific track is crucial for it to sound and feel authentic.

On the programming side, there’s always the risk of making everything a bit too perfect, thus turning out sterile and unnatural in the end. Variation in velocity and timing, especially when drums are concerned, is one of those fine details that help avoid that “jamming to a 90s drum machine” feel.

A Great Mix

In today’s day and age, there’s no excuse for poor-sounding mixes. Most VST’s sound pretty good straight out of the box. there are plenty of really good options for DI guitar tones, and plugins and affordable studio monitors/headphones are getting better and better.

Great mixes and masters immerse the listener in the music and that’s always inspiring for someone to jam over. Just like jamming with a band, great-sounding backings make the soloist sound even better, and if the power, punch, and clarity are there, it’s easier to feed off the track and spend hours with it.

A great sounding track also forces the player to pay more attention to his own sound, which is one of the main things novice players neglect.

Managing the low end, taking care of the hi-mid build-up inherent with guitar-driven music, and letting space in the midrange for the lead instrument are some of the main things that make the difference.

Before you go...

Check out a backing from Damir's latest release.

Micky Crystal's Rock Fusion Influences

Tuesday 7th September 2021 Blogroll

micky crystal

Micky Crystal’s InFusioned Rock Soloing was a chance for him to spread his wings and dig into a genre he loves.

Influences come in all shapes and sizes, and for every guitarist they’re different. So to discover the players who helped shape Micky, we spoke to Micky.

So in no particular order...

Robben Ford

When did you first discover them and how?

I first heard Robben through buying the “Tiger Walk” album on a total whim. I must have been about 17 or 18 and from there I sought out more of his albums and became a huge fan of the “Talk To Your Daughter” album in particular.

Why have you picked them?

Robben was really the gateway for me to get into fusion. I was hearing chords that I’d not heard in the blues prior to hearing him and was amazed how he would throw jazz lines into blues progressions. It set me on the path to working on how to use the altered scale, diminished etc and how to incorporate them into my blues and rock playing.

What’s their best track?

Anything from “Talk To Your Daughter” but if I had to pick one track “Ain’t Got Nothin” But The Blues” is a jazz blues masterclass.

Frank Gambale

When did you first discover them and how?

I first heard Frank on the Chick Corea live at Montreux 2004 DVD.

Why have you picked them?

Studying Frank’s playing has had a huge impact on me, not only his economy picking but his note choice and his phrasing. I’ve learnt so much from listening to him.

What’s their best track?

I’ve always liked the “Passages” album in particular. “6.8 Shaker” really shows off Frank’s blues rock side. The trade off with the keys in the outro solo section is stunning, insane chops paired up with super cool bluesy phrasing.

Scott Henderson

When did you first discover them and how?

I think it was probably a YouTube search that sent me down the rabbit hole looking for more and more of Scott’s playing. Vital Tech Tones, the first few Tribal Tech albums and the HBC album were on heavy rotation.

Why have you picked them?

Scott is such a unique player in his melodic and rhythmic approach. His note choice and how he can take a simple idea, develop it and continue running with it had a big impact on me. The way he can incorporate outside playing and resolve on a blues lick was so impressive to me as I’d come from a blues background but had not heard anyone incorporate outside ideas like this before.

What’s their best track?

I’m a big fan of the first few Tribal Tech albums so it’s tough to pick one but let’s go for “The Necessary Blonde” from Tribal Tech’s self titled album. Super melodic with stunning changes.

Richie Kotzen

When did you first discover them and how?

I think I was 16 or 17 when I first heard Richie through listening to Mr. Big. I started to do some homework on him and his playing and was amazed he could go from playing with bands like Poison and Mr. Big through to Stanley Clarke with Vertu. Not only is he an incredible player but what an amazing voice too.

Why have you picked them?

Once I heard the “Return of the Mother Head’s Family Reunion” album I began to really study his playing. I was heavily into country guitar playing around the same time so pairing up hybrid picking with legato seemed like a natural progression. The way he would approach arpeggios and tapping along with how he would use pentatonics have had a big impact on me as a player.

What’s their best track?

It has to be “Fooled Again.” The outro solo is incredible and still amazes me every time I hear it.

Larry Carlton

When did you first discover them and how?

My Dad has a bunch of vinyl records of various guitar players from Hendrix through to Al Di Meola that he’d show me when I first took an interest in the guitar. There were some Larry Carlton and Steely Dan records in there too.

Why have you picked them?

His melodic and rhythmic sensibility and he has this ability to play the simplest lick or idea that makes you go “why didn’t I think of that? That’s so cool.”

What’s their best track?

Anything from the “Last Nite” album and of course “Room 335.”

Before you go...

Find out more about Micky's release here.

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