After hollowing out the maple back, carving spruce is sinfully fun. At this point, one can do amazing slices.
Nastiness will return while trimming the f-holes, with a knife, across hard-soft-hard-soft-hard-soft, but for now, the living is easy.
The Pro-Mod San Dimas Style 1 HH FR received a glowing two-page review in Premier Guitar’s October issue, also earning the magazine’s “Premier Gear” stamp of approval.
“For a lot of aspiring shredders, the image of Warren DeMartini’s Charvel San Dimas in Ratt’s ‘Round and Round’ video—with its blood and skull graphic—was about as badass as you could get in 1984,” writes reviewer Joe Charupakorn. “That image helped cement the San Dimas’ place as one of the must-have axes of the shred era. But it was no flash in the pan.”
The San Dimas still stays true to those roots but offers many upgraded features that technical players covet, and Charupakorn’s review offers a deep dive into the newest Pro-Mod Style 1 HH FR guitar’s looks, specs and sound.
“With its transparent, tobacco sunburst, quilted maple top on an alder body, zebra humbuckers, and maple neck, the Pro-Mod version looks sharp, and a lot like an ‘80s shred kid grown up and keeping it classy in middle age. Rather more lurid solid colors like slime green and neon pink are also available for permanent adolescents.”
Charupakorn continues with a detailed tour of the guitar’s construction before turning his focus on the “six pack of sound” that makes this guitar standout sonically.
“You can get great sounds from just about every configuration,” he wrote. “The neck pickup is crisp with a lot of bite, and free of tubbiness. The middle sounded a little glassier than the neck position and inspired whammy-infused, clean melodies (Steve Vai’s ‘Call it Sleep’ riff among them). The bridge pickup is muscular, open, and sounds reminiscent of some of Guthrie Govan’s brash lead tones. For rhythm playing, the tight low end makes Eddie Van Halen-style metal-boogie riffs and percussive djent-type rhythms sound equally tough and clear.”
Charupakorn also praises the addition of the tone knob, which unlocks more tonal options to players.
“Several years ago, I pondered buying a San Dimas, but held off because it didn’t have a tone knob. This edition of the San Dimas finally features that missing knob. But in order to please old-school San Dimas users, the tone knob has a very effective and useful no-load option, which removes the capacitor from the circuit entirely at maximum levels.”
Read the full review, and hear a demo of the Pro-Mod San Dimas Style 1 HH FR here.
Dick Boak of the Martin Archives here!
In the Martin Archives there is no shortage of images like the below two photos depicting guitar, mandolin, and sometimes banjo players typically dressed to the nines.
In spite of the seeming formality, the time period between 1900 and 1915 was certainly one of tremendous musical creativity, perhaps akin to the Woodstock era counter culture or the more recent Americana explosion of acoustic oriented experimentation.
If you come across something that you think we would be interested in, please feel free to share it with us at: email@example.com.
Director: Museum, Archives, Special Projects
I have been asked to contribute to the online magazine Musical Toronto and my first piece is up at: http://www.musicaltoronto.org/2016/09/28/truth-and-matter/
I will be writing for them every other week so my next blog at this space will be up next week.
Benoît from Coda Effects started tinkering with pedal circuits a while back and his passion has led him to develop two original circuits. The financing of the production of the kits or assembled pedals is the subject of a crowdfunding project on ulule: https://www.ulule.com/codaeffects/.
The Dolmen Fuzz is a Big Muff inspired pedal with tons of sonic options such as a mid control and a clipping switch to alter the compression:
The Montagne tremolo is an analog Tremolo driven by digital technology which allows for things like a Tap Tempo or six waveforms including a random one!
The OMC-15ME came into our lives at the 2016 Winter NAMM Show and we haven't looked back since!
The warm tones of the mahogany model pair well with the OMC-15ME's small bodied size. The guitar features a solid mahogany top, back, and sides with an East Indian rosewood fingerboard and bridge. The modified low oval neck allows for ease of playing. The OMC-15ME comes equipped with the Matrix VT Enhance powered by Fishman. You can learn more about the innovative Matrix VT Enhance here. We suggest stringing the OMC-15ME with SP Lifespan 92/8 Phosphor Bronze Light Martin strings.
You can learn even more about the OMC-15ME here.
|Author - Dr. John Thomas|
Dr. John Thomas, a Connecticut law professor and music journalist, wrote a book called “Kalamazoo Gals: A Story of Extraordinary Women and Gibson’s Banner Guitars of World War Two”. This book was published in 2013.. This publication got less than a cherry reception from the Gibson Guitar Corporation before and after it was released.
|The Kalamazoo Gals|
It may be difficult for some younger folks to fathom the huge effort undertaken by United States citizens during the 1940’s war years. Able bodied men enlisted in the military.
Those that did not were drafted. The fact that we were fighting against fellow human beings was not met with the empathy the media presents to us these days. The enemy was evil and the United States and Allies were out to defeat them from usurping our freedom.
|Manufacturing Industry During WWII Years|
All United States manufacturers converted their machinery to build equipment for the military, which was considered essential production. And this included Gibson Guitars.
|Rosie the Riviter|
Due to the shortage of men, Gibson management recruited women. This was not an uncommon practice for factories during these war years. Rosie the Riveter was a public relations painting that encouraged women to leave their lives as house keepers and enter the job market.
|Women Workers at Gibson 1942--1945|
The other part was uncertainty over whether consumers would buy guitars made by women. So between 1942 to 1945 although Gibson was building guitars, they denied this fact.
Instead they established the rumor that these guitars produced during this three year period were made by “seasoned craftsmen” who were too old for war and were stockpiled until after the war was over to be sold as "new old stock".
Understand during the war years manufacturers and the general public were under strict government restriction on the use of metal, wood and other products, such as fuel, oil and rubber. These items were to be used only for military needs.
|The Kalamazoo Gals|
The guitars these ladies produced were Gibson “Banner” guitars; the ones with the scrolled decal that said “Only a Gibson is Good Enough”. Thomas was also able to search at least one-thousand pages of wartime documents that mentioned Gibson Guitars. He also talked his way into getting access to shipping records and discovered that 24,000 Gibson guitars were shipped during WWII and at least 9,000 Gibson guitars were made during the war years of 1942 to 1945.
However the Gibson company public records show the company had shifted to producing goods for the war effort and not musical instruments, and that most of the men who made those Gibson guitars at the Kalamazoo headquarters were off fighting the war during the years 1942 to 1945.
It is a fact that the “Banner” Gibson guitar is considered one of the finest acoustic guitars ever made. The Banner decal went on the guitars headstock in 1942 and was removed in 1945.
|Gibson during WWII years|
To test the quality of these Gibson guitars made during the war years and after, Dr. Thomas enlisted the help of friends and was able to x-ray different Gibson guitars made before, during and after the war.
He discovered that the guitars made by the women were more refined and sanded thinner, smoother, and were better braced than those done after the war. This is no doubt the reason that they sound better.
|Kalamazoo Gals Irene & Valura|
The neighbor told her that Gibson was hiring and they would train her. This lady went on to say that it (working for Gibson) was a crummy job. She was making strings. But continued that Gibson was paying 20 to 25 cents an hour, which was fairly good wages in 1942. She states that she had a goofy job, sitting there making (guitar) strings.
|Dr. John Thomas|
There he asked Gibson representatives to comment on his book. Gibson management demanded to know who gave him access to shipping records, Dr. Thomas declined to comment. Gibson threatened to sue him. (Perhaps they were not aware that he is a law professor.)
|Packaging strings at Gibosn|
None-the-less, the Kalamazoo Gals played in integral part in Gibson history.
Fortunately there are other guitar companies that depended upon and appreciated their women workers. One of these was Fender.
|Leo Fender 1959 - check out that guitar|
Sensing that he could improve upon the industry standard, Western Electric amplifier schematics, he partnered with Doc “Clayton Orr” Kauffman to build electric musical instruments (lap steel guitars) and amplifiers under the K & F manufacturing name.
|Woman worker at Fender - 1959|
|Woman at Fender sanding a lapsteel|
|Abigail Ybarra winding pickups 1959|
Ybarra began working for The Fender Electric Instrument Company in 1956 and stayed on through the CBS years.
Ybarra remained with the Fender Musical Instrument Company when William Schultz and his partners purchased the organization. Ybarra retired in 2013, but even after being with this company for 57 years, her legend lives on.
There are guitarists that swear by her hand-wound pickups. Some players that have enjoyed her pickups include Buddy Holly, Jeff Beck, Stevie Ray Vaughn, Jimi Hendrix and Eric Clapton.
During her years with the Fender Musical Instruments Corporation Abigail’s value was recognized and she became a part of Fender’s Custom Shop.
|Abigail Ybarra 2013|
The wires are not placed as closely to one another as they would be with standard machine winding. This results in more air space in the coil and the lowered capacitance allows more high frequencies.
|Josefina Campos and Abigail Ybarra|
Although Martin Guitars, in an effort to protect privacy, does not acknowledge last names, it is quite apparent that the C.F Martin company is very dependent on its female staff in it’s luthery department and places great value upon them.
|Martin Factory - fitting the neck|
|Martin Factory - trimming binding|
It involves a long process of carefully carving off excess wood, fitting, refitting, and sheer strength to ensure that the fit is absolutely flawless. Otherwise, a guitar can wind up with tuning issues and problems with the action.
"It requires physical strength, but also mental agility" says Diane, "because each and every neck is different." This means no two sets of problems to solve are alike, just as no two Martins are alike. Diane has been doing this job with Martin for the past ten years.
|Martin Factory - installing end pieces|
|Martin Factory - sanding the body|
This task requires the utmost precision. So why not use something like a laser-guided to cutting machine for these parts? "I worked with a machine once," says Diane, "but I could cut them by hand faster than the machine could, so they got rid of it!"
|Martin Factory - slots for tuning pegs|
|Martin Factory - stringing and tuning|
The Unique Guitar Blog salutes all these ladies!
Here is a link to the Dr John Thomas book, Kalamazoo Gals. Get a copy. It is a great read.
As a reminder, links below the pictures lead to sources. Link in the text take you to other interesting facts.
Down to scrapers on the back, cleaning up the arching, trying to blend in the channel around the edge, containing the purfling. Lots of changes in grain direction to pay attention to.
Lasers used to be very exotic, but I bought one in a hardware store, used for leveling ceiling tile installation, among other things. Pretty simple, and not sophisticated. But it is another tool one can use to find the never-ending supply of bumps and distortions in ones arching.
Most musicians I admire understand music theory. They may understand music theory intuitively or they may have formally studied the theory of music but either way they know what is going on. These musicians may or may not be able to articulate what the are doing or thinking musically but they can tell if a note sounds right or wrong, hear underlying rhythmic, harmonic and melodic patterns, and have the ability to express themselves with a large pallet of musical colors to choose from.
In current dulcimer culture there are a relatively small number of players who embrace the idea that the mountain dulcimer has strings and frets that produce notes; a majority of players think of strings and frets as lines and numbers on the tablature they play from.
Tablature offers quick gratification; you tune the dulcimer, put your fingers where the paper tells you, and music comes out of the dulcimer. This is a valid approach to playing the dulcimer enjoyed by many players.
If a dulcimer player prefers to have a broader understanding of why the tablature tells you to put your fingers in certain places they will need to learn the theory and structure behind the arrangement. Once this structure is understood the dulcimer player can generalize the information and begin to see and hear coherent patterns in other tunes they play. This in turn makes learning to play by ear much simpler; music becomes rhythmic, melodic, and harmonic (harmony, chords) patterns rather than appearing to be a random assemblage of rhythm and pitch.
In 40 years of teaching dulcimer very few students have wanted to take this plunge. When teaching classes on how music theory applies to the dulcimer usually half the people in the room have said they didn’t learn anything. In this context “not learning anything” usually means they didn’t leave the class with tablature and a new song under their belt. About a quarter of the people usually say they got some interesting ideas from the class. The last quarter usually get excited and say they finally understand how the dulcimer works as an instrument and they have ideas on how their playing can grow beyond current limits.
There is no right or wrong way of playing the dulcimer. If you want to play from tablature and feel musically fulfilled then there is no need to go further. If you want a better understanding of how music works, if you want to learn melodies by ear and would like to know what chords will work with a particular melody and want to be able to converse with other musicians about musical ideas then getting a basic grasp on music theory will open many doors for you.
My only formal training in music theory took place during my first year of high school. Compared to many musicians my knowledge of music theory is fairly basic. Still, this knowledge was enough to enable me to learn to play the dulcimer and hammered dulcimer. I was able to learn and understand how dulcimers worked as musical instruments and find my way around them.
There are many books available on basic music theory and I link to one available on line for free to help you get started.
A new series will be starting this Friday called the Lick of the Month. I’m sure you’re probably saying in your head, “Another random lick to learn. Seen it before.” But I’m going to be creating these licks with a different focus than the other licks I have created. These licks will be fairly short but will show you how to apply an overall concept that you can apply to your improvising.
I plan on spending about 10-15 minutes explaining how the lick can be used and where it comes from. Since these will utilize the Interactive Soundslice technology there won’t be a lot of me explaining what string and finger I’m using, ( although I will comment briefly about that ) but there will be more of an emphasis on what you should take away from this lick.
In the past I have taught licks in the courses based on the material that was taught in the course. These licks will not have to rely on that material as the All Access Pass contains all of the prerequisite material required to fully grasp the techniques and concepts I’ll be referring to and will have links to related material and further learning below the lesson.
Without having to worry about what the student already knows, I will be able to talk freely about whatever I like without fear of someone not understanding it. If they don’t understand it, as described above I can reference material in the All Access Pass for them to work on that material.
I feel as though this will be a highly intuitive learning session and the first one will arrive Friday September 23rd. The first lick that I will focus on is a John Mayer Gravity Style lick that will help you to learn how to switch between rhythm and lead.
You can gain access to the Lick of the Month by becoming an All Access Pass subscriber. Learn more
The Martin Guitar D-50 Koa Deluxe made in 2003 will be on display at the upcoming DRAGONS AND VINES: INLAID GUITAR MASTERPIECES exhibit.
The D-50 Koa Deluxe is one of the most elaborate inlaid guitars made by Martin Guitar. The model displays a tree-of-life motif, a pattern featured on musical instruments for centuries with a koa back and sides. The D-50 Koa Deluxe is a limited edition model that was limited to fifty guitars.
DRAGONS AND VINES: INLAID GUITAR MASTERPIECES is an exhibit brought to you in partnership with the Musical Instrument Museum and Pearl Works and will open on November 5, 2016. You can learn more about the exhibit here.
Looking to experience #MartinPride? Find an authorized Martin dealer here.
Transcendence is the latest album from the Devin Townsend Project and in many ways it feels like a culmination of musical explorations that Devin begun in 2009 with Addicted! and that flowed through Epicloud and Sky Blue. It’s alternatingly melodic and crushing, ethereal and imposing, and in true Devin fashion it’s an album that reveals more about itself on each subsequent listen.
I love the new record. Y’know how every now and then an album comes along that’s just what you needed to hear at that point in time?
That’s awesome. Thank you, Peter. It’s a special one for me in a lot of ways, and especially the latter half. The processes that went into it and the challenges that came into it, the control issues, letting go of things and trying to participate with other people and be analytical and aware enough of myself that I could call myself on my own shit is one thing. But it also coincided with what feels like a real tangible shift in my own psyche. Now, whether or not that was because of the fact that I took myself on vacation for the first time in my life, or something to do with age, or something to do with circumstances I’m not sure. But something shifted at the same time as the latter half of this record and now I find myself in a place that is new and foreign in a lot of ways and it will be interesting to see where it goes from here.
It’s interesting because the latter half of the record reminds me of Casualties of Cool and Ghost in that you’re not afraid to sustain a mood, and it feels like you’ve brought that in to the heavier stuff.
Yeah. And I think also the end of this one is supposed to be …it’s like the end or something! I can’t quite define what it is. Y’know, I went on vacation, I finished the record after six months of, like every record, just hell trying to get this thing right. All the work that goes into it, the money that goes into it, the performances, the mistakes, the hard drives, editing, just the bullshit. Making records is a challenge if you’re going to try and get it right, right? So I took my family on vacation for the first time ever. We went on a cruise ship and I was out there and they were off doing something and I was just sitting on the deck by myself, cup of coffee, sunset, perfect weather, and I just decided fuck it, I’ll listen to the record. And when it came to the end, after ‘Transdermal Celebration’ and that ambient thing at the end it just busted me up, man! It was like, your subconscious is so much more in control of your direction than you ever give it credit for I think. And it was like everything in my world was pointing me in a direction I didn’t recognise I was going. And it was at that moment where I was like ‘Oh this is what it’s about.’ It’s not a big existential drama, it’s just simply a nice night, y’know? And it was such a simple thing and it was really dramatic for me only in the sense that I felt foolish for ever thinking that it was something else, that it was ever work or sex or money or any of these things. I mean, all of that stuff of course you’ve gotta have but it seems like I’ve been searching for something that was always there and now when I take a second to stop, when I do get a second to participate in it, it’s still there. I always was of the mindset that the job of an artist was to ultimately eliminate the need to say anything. It’s almost like the artistic motivation that leads us to rending ourselves in public, to articulate to strangers what it is that we’ve felt or learned or any of the reasons, it just seems in a certain way like an aberration. It’s almost like as you go, if you can find ways to purge yourself of it then there’s a real momentum towards becoming actualised in a way that flies in the face of what you expect. I mean you think okay, to be actualised as an artist you need to be Axl Rose or you need to be Stravinski or you need to be Prince, when maybe the reality of it is the need to express yourself all the time is actually the problem, and to be actualised you need to say everything and then be left with nothing but maybe improv or something, y’know? Who knows? It’s a hypothesis but at the same time, at the end of Transcendence it was really like a breakaway for me. It was like there was a thing I’d been hanging onto for many years and it was kinda like ‘See ya!’ as it just kind of floated away.
It’s interesting that it feels like you can draw a line between Addicted!, Epicloud, Sky Blue and this record. Neither of them sounds like the other but there’s something in common between them that it feels like you were compelled to explore. Maybe it’s that you’ve followed that thread and now you get to start a new one.
Yeah, exactly. All those records you mentioned had Anneke on them and they all had this group of guys and it’s an identity that I think was refined and distilled down to the point where on the new record it’s really a condensed version of all those things, almost like an archetype of it. But yeah, what happens next? I’ve got a bunch of ideas but who knows? It’s also, you take your head out of the clouds for a minute and you have to be pragmatic about it as well. Wife and kids, job, being a boss, a company that needs to make money with a very limited pool of resources for this type of music. And as much as I like to think it’s broken away and there’s this big transition and I feel like at a certain level I’m done, I can’t be done. So I’m clearly not, y’know what I mean?
It’s interesting how the album kicks off with ‘Truth’ which was originally on Infinity, and on the bonus disc there’s a demo of ‘Victim’ which is a song from the Physicist record. In the past you’ve also revisited ‘Hyperdrive’ and ‘Kingdom.’ What is it that makes you revisit this stuff? For me it reminds me of Zappa, and I love it because it’s like we’re checking in with the song and seeing where it is today.
Well there’s that, for sure. That’s actually a really astute way of looking at it. But I think it’s also probably more rooted in the fact that I just never feel like I get it right. I feel like the music that I am fortunate enough to be able to participate in is not really my music so much as something that I was privy to and I’ll never get right. Like, I’ll never get it right, it’ll never be right. But the vision of what it is meant to feel like, of how it’s meant to impact people is so distinct in my mind that I think I owe it to the music to consistently try and get it closer to the mark. Even if there were things that were lacking from the Infinity version that aren’t on Transcendence, there’s many things about the Transcendence version that the Infinity version can never have. So hopefully somewhere along the line, who knows? Maybe we’ll just keep doing it again and again and one day I’ll be able to do it perfectly, right? Although I know I can’t, being an imperfect perfectionist, but there’s still this sense that maybe that lack of being able to perfect what I do will propel me into old age! The carrot at the end of the stick.
You seem to be playing more guitar solos on this record. Was there a particular conscious reason behind that or did it just work out that way?
I think there’s a part of me that felt like by stepping out of my comfort zone in as many ways as the record was compelling me to do, that was just another example of something that I needed to get over. Like any guitar nerd it’s like, I’ve been playing guitar for so long, I know how to play solos and blah blah blah blah blah and I just haven’t done it. Whether or not it’s a hang-up from being with Vai years ago or whatever, there was just a certain point where I was like ‘I’ve got all sorts of signature gear – guitars, picks, pedals, pickups – so I must not be that bad of a guitar player, so why not play some solos?’ And then I did! And to be honest, the solos are still really tentative. They’re not like confident guitar solos, they’re just me sticking my toes in the water at this point. But who knows? Maybe by doing that I’ll come to the conclusion of ‘I’m not that into guitar solos.’ Maybe that’s the end of the rainbow. But you’re never going to know until you give it a shot.
The solo in ‘Failure’ – I like how it’s very searching. It feels like you’re looking for something while you’re playing it and that’s consistent with the theme of the song itself.
Yeah! Somebody asked me the other day, ‘When you write music, how does it come to you?’ And I said I don’t listen to the note. I just look where it wants to go and then I go in that direction. And the trajectory of that is very rarely a statement, and more of this kind of roll-on sentence, y’know what I mean? And I’m into that because I don’t think as an artist – I don’t even think as a person – that anything in my life is a statement except for me. The fact that I am always searching will probably ultimately be my statement. So in that way I wouldn’t expect a guitar solo from me at this stage in my life to be any different from that.
So talking guitar, I understand the Framus signature model is about to hit the streets.
Yeah! We’ve got one more refinement coming up. But yeah man, goddamn it’s a good guitar. I’ve got these guitars out with me and they’re so good, dude! Between that and the Fishman pickup and the EverTune and all this crap that’s going on in my world it’s so good, dude. They’re such beautiful instruments and it’s like, I’m still shocked that they’re making them for me.
What are you using live at the moment?
Well I always experiment with things but the Fractal Audio Axe-Fx is always in it. No matter what I do, Fractal is always a part of it because they replicated my effects and all these sounds I’ve had for 25 years. They did it all for me and Fractal goes with me wherever I am. But I always do a two-amp system, so I’ve got a dry amp that I MIDI into the Fractal, and that dry amp is one of five sounds. There’s a crunchy metal sound, a good clean sound, a kind of a Marshall sound, a lead sound… and I can get that from almost anything. I could use another fractal, a Kemper, a Mesa, KSR, anything. On this tour for the sake of weight I’m using a Kemper but I know Mesa’s got this new John Petrucci amp that’s MIDI and rack-mountable and that looks great too. I’m happy to experiment with amps in that dry position.
Hey before our time is up there’s one thing I’ve always wanted to ask you about. On the Casualties of Cool record in the song ‘Flight’ there’s a weird digital-sounding, chattery harmony on the word ‘collision’ that doesn’t occur anywhere else in the song. What’s the deal with that?
Che recorded her parts herself and that word, there was a digital glitch on it but it wasn’t that digital glitch. There was something that sounded like a problem. Now whether or not that was her recording or my transfer or whatever, as I was mixing it I kept trying to ignore it and I couldn’t so I morphed the word so it sounded like something collided with it. And that way I could get rid of the problem and then adhere it to her lyrics.
It always stood out to me in such a cool way!
Well it’s a happy accident! The same thing happened with Ocean Machine. At the beginning of ‘Funeral’ you hear a glitch on one side and then it goes onto the other speaker. The reason for that is that the glitches on the left side of the speaker were part of the DAT transfer, so they were mistakes that we couldn’t get rid of so I made it sound like a call and answer with one of my own sounds, and then it became part of the record. The happy accident part of my world is something I happily embrace.
While researching about Tremolo pedals, I stumbled upon this video where Gerry Leonard (David Bowie, Suzanne Vega) demonstrates how he uses a multi-effect units. He is a very atmospheric guitarist and I think this is an inspiring use of effects:
Sometimes, one gets the feeling that there is more to be had with a particular instrument. I finished this one this past February. It was an experiment, in that I left the plates fairly thick, trying to follow the graduation pattern of the Paganini violin, Guarneri del Gesu's "Cannone" of 1743. For example, the center of the back was about 6 mm thick. More typical is the 4 to 4.5 range, and some are thinner than that.
I played it for a few months, not completely happy with it, though I am one of those who never is quite happy with a fiddle, so I try not to be hasty, but give a fiddle some time to develop.
But, in playing it, I felt there was more sound quality to be had. This past June, I pulled the top and took a little thickness off the top. It wasn't as thick as I remembered, so the modification was minor. Put it back together and continued playing it. Certainly an improvement.
I played this fiddle for several tunes two Saturdays ago, at the Boise contra dance, in an ADAE tuning. It rang pretty nicely on those tunes in D major. But with all that "A", I noticed even more the tendancy for a bit of a wolf on the open A. Easy enough to handle with a little practice, but why should one need to?
So today, I pulled the top and am taking some of that thickness out of the back. A fair amount actually. Not overly thin, but a significant proportional change for this fiddle.
I am curious to see the effect it has.
THE GPC-28E proves it is what is inside that counts.
The Grand Performance, Acoustic Electric cutaway model features a Sitka spruce top with East Indian rosewood back and sides. The fingerboard and bridge are constructed of black ebony which pairs nicely with the black pick guard. The GPC-28E comes equipped the new Fishman Aura VT Enhance which is discreet and simple to use with volume, tone, and enhanced blend controls inside the sound hole. The GPC-28E is strung with SP Lifespan 92/8 Phosphor Bronze Light gauge strings.
You can learn more about the GPC-28E here.
To experience the GPC-28E in person, find an authorized Martin dealer here.
The new Hughes & Kettner GrandMeister Deluxe 40 uses Deluxe Tone Technology which pairs groundbreaking new circuit design advances with renowned tone-shaping capabilities, all inspired by our flagship TriAmp Mark 3. H&K says “From sparkling vintage clean to throaty crunch, a beefy brown sound and crushing levels of all-out gain, sonic freedom the touch of a button away with GrandMeister Deluxe 40!”
Use the optional FSM-432 MK III MIDI board, which lets you store up to 128 presets and recall them with the tap of a toe. All of the amp’s parameters are saved, including gain, EQ, and all effects settings, giving you a practically inexhaustible library of different sounds. Pot values are saved via our ingenious Smart Rotary Control technology – which also lets us keep the GM40’s panel clean and easy to use, with only 9 pots instead of 14 per channel!
It includes Red Box AE, the latest version of H&K’s award-winning DI box with speaker emulation, which features DSP-driven Ambience Emulation to authentically mimic the room-filling sound of a 4×12 cab and the amp’s power section by tapping the signal between the power amp and the Power Soak.
There’s also a free GM40 REMOTE App for iPad which lets you watch, touch and control all your amp’s features on one handy screen, and you can also back up, store and share all your favorite sounds.
Check out this new beauty from Schecter. That’s the Mark Thwaite Solo IIsignature model. Ultra Violet finish, Bigsby vibrato, Seymour Duncan JB and Alnico II Pro pickups, Schecter locking tuners… plus look at it. Look at it!
Mark Gemini Thwaite (MGT) has played for so many legends over the years – The Mission, Tricky, Peter Murphy, New Disease, Spear of Destiny, Theatre of Hate, Mob Research with Paul Raven of Killing Joke, and Canadian band National Velvet – as well as playing with the likes of Al Jourgensen, Revolting Cocks, Gary Numan, Roger Daltrey, P.J. Harvey, Alanis Morissette, Ricky Warwick and The Fighting Hearts, Ginger of The Wildhearts and more. So you know he needs a guitar that’s very flexible and reliable.
I really dig the Solo-II shape. Just that little bit more aggressive than a typical Les Paul outline, and very comfortable judging by the ones I’ve played. If I ever had a Schecter signature model it’d be a 7-string Solo-II with Floyd Rose and honeyburst finish but otherwise very much like this.
|Leo Fender with '50's P Bass|
|Paul Tutmarc with NO. 736 bass|
Tutmarc was designing and selling lap steel guitars through his company, Audiovox.
|Audiovox Bass No. 736|
That same year he offered the Model 736 Bass Fiddle. This was a four string, solid-body, fretted, electric instrument.
|' 35 Audiovox Bass|
It had a short scale neck, only 30 1/2” length. He only made about 100 of these instruments. A horseshoe magnetic pick-up lies inside the body under the bridge. The cable runs through the body and out of the instruments upper bout. It had only a volume potentiometer.
|Bud Tutmarc Serenader Bass|
By 1947, his son, Bud Tutmarc was running the business and offered a similarly designed bass, which sold under the Serenader name. A year later these basses were offered through a wholesaler the following year.
In the 1930’s the same company that made Dobros was offering the Regal Bassoguitar. This monster was a cross between an acoustic guitar and an upright bass.
|Regal Electric Double Bass|
The Regal Company also offered an electric double bass.
|Rickenbacker Bass Viol|
Rickenbacker built the Electro Bass Viol around 1936. Both the Regal and the Rickenbacker instruments were electric, but looked more like viols than guitars. The Regal bass came with a separate amplifier, but the Electro model mounted on top of the amp unit via a peg/pickup.
|1938 Gibson Mandobass|
It had a oval shaped body, and a peg at the instruments end, so it could be played in an upright position. Remember, this was long before they introduced their model EB-0. The bass player for the Les Paul Trio utilized one of these Gibson instruments.
|'52 Fender Precision Bass|
It was not until 1951 that Leo Fender offered the Precision Bass for sale. He had developed this with the assistance of George Fullerton. Although the body looks quite different, the basis of the design was the Fender Telecaster. The original body was more slab-like. It came with one single coil pickup that was placed in the center of the instruments body. A chromed hand rest stood above this pickup and this had several purposes.
This was a rest for the performer’s palm and it also aided in reducing 60 cycle hum. But perhaps the biggest reason for the bridge cover was to protect the pickup, since the pickup on the earliest models did have not a pickup cover.
The difference between Fender success and Tutmarc effort, was marketing. Leo knew musicians and was able to get his bass into the hands of many of the big names. Plus, Leo had created a large, professional amplifier to go along with his bass.
He practiced every night since the feel of the strings and fretboard of the Precision Bass were so much different than an upright bass. Eventually he became very proficient playing the electric bass.
Another Precision Bass player that was featured in early Fender advertisements was Shifte Henri. He is immortalized in the Elvis song Jailhouse Rock; “Shifte Henri said to Bugs for heaven’s sake...”
Another player that was famous for use of the Precision Bass was James Jamerson. His unique style influenced so many players. Jamerson was part of The Funk Brothers that laid down the backing tracks for Motown artists.
Carol Kaye, of the Wrecking Crew fame, talks about Jamerson's sound and influence. She also used a 1960's era Fender Precision Bass on most of her sessions.
|'52 Gibson EB-1|
|'57 Gibson EB-1|
|1959-60 Gibson EB-0|
By 1960 the design of the EB-0 was changed to look more like a Gibson SG.
|1961 Gibson EB-3|
The Gibson EB-3 electric bass was introduced in 1961. It was similar to the SG style EB-0 but came with a "mini-humbucker" in the bridge position. This instrument inclsuded a Varitone control. All of the Gibson basses so far were all short scale instruments.
|1964 Gibson Thunderbird|
This bass was created by automotive designer Ray Dietrich. The Thunderbird also has the distinction of being the first Gibson bass to use dual-humbucking pickups.
|1960 Jazz Bass|
|1960 Jazz Bass - original finish|
The basses neck was slightly thinner at 1 7/16th”, versus the 1 1/2” width of the Precision Bass at the nut. Both instruments had neck scales of 34 inches.
The neck on the Jazz bass came with a rosewood fretboard and clay dot position markers, just like the original Jazzmaster guitar. The offset body of the Jazz Bass made it almost and inch longer the the Precision Bass.
The original model was offered only in a sunburst finish with a tortoise shell pickguard and a chromed metal plate for the volume and tone controls. It also came with a bridge cover, which was stamped with Fender’s stylized “F” initial and a chromed cover/hand-rest for the middle pickup. Both pickups were hidden by the covers, which service the dual purpose of shielding the pickups and a palm rest.
|'62 Jazz Bass|
By late 1961 the stacked volume/tone potentiometers were replaced with three knob;.volume-volume-master tone.
|1961 J-bass string mutes|
These were replaced in 1963 with mutes that were glued to the inside of the bridge cover.
|1964 Fender Jazz Bass|
|'66 Jazz Bass|
In 1969 the logo decal was changed to a larger style decal and the neck was offered with a maple veneer option that had black binding and black block inlays.
By 1972 the bridge pickup was moved slightly closer to the bridge. This went unnoticed by most players.
|'74 Fender Jazz Bass|
|'76 Jazz Bass with serial number|
In 1976 the serial number was added to the neck instead of being embossed on the neck plate.
|John Paul Jones|
Well known Jazz Bass players include John Paul Jones of Led Zepplin, John Entwhistle played one for a while, Jack Casady of Jefferson Airplane used a Jazz Bass too.
Larry Graham had a customized Jazz Bass. Bootsy Collins played a Jazz Bass during his days in James Brown’s band.
|1966 Fender Mustang Bass|
In 1966 the Fender Mustang bass was issued as a companion to Fender's shorter-scaled, two-pickup Fender Mustang guitars. This would be the last original bass designed by Leo Fender before his departure from the company in 1965.
The Mustang Bass has a short 30" scale and a single split pickup, which although similar to the Precision Bass was backwards. It had one volume and one tone control, with strings-through-body routing.
Like the early Precision and Jazz basses, the Mustang Bass was fitted with string mutes
|1966 Fender Bass V|
This would eliminate those “woof” tones that bass player get when the play high up on the neck. It was a failure. The bodies were later used on other Fender guitars.
|'55 Hofner Bass|
Taking a step back to 1955, and going the other side of the world, Walter Höfner of Höfner Musical Instruments made a decision to construct an electric bass that would appeal to upright bass players; the ones that performed in club venues and did not want to lug around a bulky double bass. His company had been building violins and instruments in the viol family for decades, so his plan was to construct an electric bass guitar that would be similar in appearance to a double bass.
|Hofner Factory in the 1960's|
The prototype Violin Bass in 1955. It differs slightly from production models as it has a black scrachplate and control panel. The logo on the body is on the upper bass bout, not under the tailpiece. The headstock shape also appears to be slightly different than the production model. The ovular control panel had two tone and two volume potentiometers.
This version was first presented to the public at the Frankfurt Musikmesse in the spring of 1956 and offered to dealers for sale to the public.
The first batch of basses had the pickups "wide spaced", that is one by the neck and one by the bridge. In 1957 the bridge pickup was moved to a place slightly above the instruments center, possibly to improve tone.
Two years later the oval control panel, which had twin volume and tone controls was eliminated and replaced with the more familiar rectangular control panel.
The fascia on this was made of black plastic and had a volume control for each pickup, an on/off slider switch for each pickup and a switch for a capicitor that was labeled “Rhythm/Solo”.
|'61 Hofner bass|
The pickup covers were no longer toaster models, but now came with solid chrome covers surrounded by a black pickup ring.
This is the same original bass used by Paul McCartney during the Beatles days in Germany and Liverpool at the Cavern Club.
|'62 Hofner bass|
The following year, the diamond logo pickups were changed to Höfner staple pickups. These basses were now being made with two piece necks. The tuners were updated from two-on-a-strip models to individual machines. This is the same bass guitar that Paul McCartney had used since his days with the Beatles. His original 1961 bass was stolen.
The headstock logo was changed back to a gold decal.
By 1972 the control panel was changed back to a smaller version. The script on the logo was now in silver.
Meanwhile around 1953 in Czechoslavakia, the factories were under Communist control and private enterprise was forbidden. A cooperative known as the Rezonel factory called Drevokov was building furniture. An order was given to create electric guitars.
|Jolana Basso IV|
Around 1960, the company was selling electric instruments under the Jolana brand name. Their bass offering was the Basso IV, which was very much based on Fender instruments.
By 1963 Jolana offered the Pampero bass, which had a body style similar to a Gibson EB-2.
|Jolana Basso IX|
Their other models from the 1960’s included the Studio Bass and the oddly shaped Jolana Basso IX.
|1962 EKO 1100|
Also offered was the more (or less) conventional shaped Eko 1100.
|Crucianelli Espana & Lear Basses|
Around this same time frame, rival Italian manufacturer Crucianelli, began making violin style basses. Their models included the España bass and the Lear model. Both were hollow body instruments with decorative F-holes and bolt-on necks.
|1961 Hagstrom bass|
In 1960 Albin Hagtrom, an accordion manufacturer of Sweden began producing electric guitars and electric bass guitars.
The first versions were offered in a sparkle finish sold under the Hagstrom brand name. These usually had a single cutaway, one or two pickups and roller knobs with switches for controls.
|1962 Kent bass|
The Kent bass, was made by Hagstrom came with a plastic pickguard that housed the pickups and electronics. The back of the body was made of vinyl. It had an insert in the center that was made of gold coloured diamond shaped plastic. This was supposed to give it an acoustic sound. It did not work and many players removed it, since it was just glued on to the face plate. This bass was sold in the UK under the Futurama brand name, imported by the Selmer company.
|Hagstrom Coronado IV and HII basses|
Hagstrom basses and guitars were imported to the US, by the Hershman Musical Instrument Company. . Hagstrom then offered basses under their own name which included the Fender shaped H models.
In 1967 Hagstrom offered the first electric 8 string bass guitar. All of these guitars and basses featured extremely thin necks and were advertised as The World’s Fastest Necks.
|Framus Star bass|
In 1957 Francis Hall, the owner of Rickenbacker guitars and his design team created the model 4000 electric bass guitar. The prototype was built in April and quickly offered for sale by June of 1957.
The fretboard was made of unbound rosewood wood and topped with 20 frets on its original mahogany neck. The neck was changed a few years later to a laminate of maple and mahogany.
The original model came only in Mapleglo, but by 1960 Fireglo was the most popular colour.
The original model had a single pickup with a volume and tone control. It was offered through the mid 1980’s when it was replaced by the model 4001.
|'58 Shorthorn bass|
In 1958 Nate Daniel finally decided to create a that the four-string model. Thousands of these were sold as Silvetone basses.
It was called the Longhorn. The body was design to look like an Aeolian lyre paired with a long neck. Daniel drew the design while doodling one day and found that it was well balanced and made all the frets accessible. Three models were offered, a six-string bass, a four-string and the Guitarlin, a 31-fret guitar. All models came with a cream-to-bronze finish on the instruments Formica top.
Leo Fender left the company named after him after the CBS Corporation acquired Fender Guitars. Mr. Fender, Forrest White and Tom Walker, who was a Fender salesman, were interested in starting up a new enterprise. So in 1971 they founded The MusicMan Company to build guitars and amplifiers.
|1977 MusicMan Stringray bass|
In the world of the electric bass guitar this is significant because MusicMan was the first to offer a bass guitar with built in active electronics. This was the Music Man Stingray bass.
This bass featured a built in 3 band buffering pre-amplifier which increased the basses low-end as well as the mid-range and high-range output. This started a move and other manufacturers followed suit.
The body was made of graphite instead of wood. New strings were required for this instrument since it was tuned at the base of the instruments body instead of at the headstock.
Due to its unique design and use of materials this bass rarely went out of tune. It also featured the patented Trans Trem tremolo bar that kept the string in tune while in use.
|1982 Warwick "Nobby"|
With Warwick, Wilfer set out to build a European bass worthy of competing with Asian and America models. His basses are excellent. The current Star Bass used by Bootsy Collins was manufactured by Warwick and marketed for a few years.
The electric bass has evolved to the point that most manufacturers now offer five and six string models of their bass guitars, while twenty years ago this was unheard of.
The same can be said of fretless basses.
|Ashbory Bass from Guild Guitars|
One of the more unique bass instruments was the Ashbory Bass. This unique instrument was designed by Alun Ashworth-Jones and Nigel Thombory. Hence the combination of names Ash-Bory.
Alhough the neck was fretless, painted on fret markers guided the player to the correct position.
Guild guitars initially manufactured these basses. After Guild was acquired by Fender Musical Instruments, they were manufactured in Asia under the DeArmond brand-name. I do not think these instruments are currently being manufactured, however there are electric bass ukuleles that use these same strings available.
|Ernie Ball Earthwood bass|
This was a huge instrument, that was played like a conventional electric bass guitar. It was loosely based on the Mexican guitarron.
|Martin Acoustic bass|
Guitar manufacturers did not pursue acoustic electric bass guitars until around the time that MTV began their “Unplugged” series of concerts many years ago. Now there is a plethora of instruments available. Most acoustic bass guitars do not use magnetic pickups, instead the opt for piezo crystal pickups that sense the vibration of the strings and transfer it into energy.
|Lightwave Optucak pickup|
Links to the pictures used can be found by clicking the text below them. Links in the text of this article will provide further information.