Carvin SH550 AAAA flamed maple is the standard top, yes, we said “AAAA“ maple top, and unlike most “archtop” style guitars, the SH550 features an actual carved top. In addition, you can also choose an optional AAAA quilted maple top or a flamed koa top
Mom & Pop guitar shops are a treasured rarity in the fast-paced world we find ourselves living in today. Screw Guitar Center! Check out Gear-Vault’s Must-Stop Music City Mom & Pop Guitar Shops in the Nashville area that ooze that Southern hospitality we all crave! Gruhn Guitars Come on by Gruhn Guitars aka guitar heaven! […]
Fender’s Precision Bass has long been the industry standard in electric bass guitars. If you’re reading this article, this isn’t anything you haven’t heard before. However, it seems nowadays the simplicity, durability, and thunderous time-tested growl of this instrument has fallen slightly out of favor, and we see more and more bassists relying on the active EQs, hyper thin necks, and high output pickups of the type that the Ibanez Soundgear series originally made popular.
Charvel artist Angel Vivaldi is featured in the latest video from progressive metal band Scale the Summit. The talented guitarist takes his Charvel Limited Edition Super Stock DK24 guitar to the next level as he tears into a new dimension during a guest solo on “Witch House”.
Vivaldi is currently on tour with Scale the Summit through the end of December. If you want to catch the Guitar Collective 2017 tour, CLICK HERE for the remaining tour dates.
Watch the full “Witch House” video by clicking play below.
Several years ago, I joined the top and back and inlaid a Manuel Ramirez style rosette in the top with the intention of making a small bodied classical guitar with a fairly short string length, something like a 625mm to a 635mm scale. The project got put aside, there were orders for standard, or full size classical guitars, that guitar would have to wait.
In October, I pulled out the wood so I could work on it over weekends. I planed the back, I thinned the sides and thinned entire top to 2mm. The edges got thinned to about 1.5mm. Sitka spruce is stiff stuff, I want this guitar to be responsive, and thinning the edges a little more helps be responsive.
Then came the neck. After selecting a nice piece of Spanish cedar for the neck, I had to make a decision as to the string length of the guitar. Since the top was all ready cut out for a body length of 470mm, as opposed to 480mm-495mm body length for a "standard" classical, I couldn't make it into a guitar with a 650mm. A 630mm string is a little short for most people, I chose to make with a 640mm string length. The guitar will have plenty of loudness with that length and will be just a little easier to play.
Today, I glued all the "fan" braces and the transverse braces to the top with hot hide glue. I really like hot hide glue! And I got one brace glued onto the back! I bent the sides last week, I will attach those after I attach the top to the neck.
The goal is to have this guitar ready for bindings by the end of the week!
From A Detailed Description of an Early 17th Century Italian Five-Course Guitar
Tom and Mary Anne Evans, Guitars - From Renaissance to Rock, 1977
In making the body and neck of a classical guitar, the most complicated joint used is a scarf joint. The scarf joint is used to connect the headstock to the neck shaft, some makers use a more complicated "V" joint to connect the headstock to the shaft. Miter and butt joints are used on the bindings, but this is purely for decoration, bindings are used to cover simple joints. The guitar sides usually fit into slots cut into the heel block, I like to cut a wider, angled slot and use wedges to hold the sides in the heel block.
Anyone who has made a classical guitar with the help of the book, Making Master Guitars, by Roy Courtnall, should recognize this wedged joint. In Making Master Guitars the joint is touted by the master guitar maker, Jose Romanillos, he used this joint and a variation of it until he retired from making guitars.
I began using this joint early on in my journey in guitar making, it made sense. It is a strong joint and unlike cutting a narrow slot, it allows me some wiggle room in fixing how the side fits against the heel and the wedge against the side.
|The Original Beach Boys|
|Jan and Dean|
The instrumental surf bands were great, however the other part of surf music were the vocal bands. Most of these groups yielded only one hit wonders. Jan and Dean stand out as an exception and had sixteen hit records from 1959 to 1966. Both were singers, and did not play instruments in their concerts.
|The Rip Chords|
Another surf band of this era was The Rip Chords. They had a hit with "Hey Little Cobra". Ironically Bruce Johnson, who would go on to become one of the Beach Boys, was a member of this group.
The Hondells started out in the studio, as a fictitious band. They were later assembled with real perfomers after their version of Little Honda became a national hit. Studio musician Chuck Girard sang the vocals on the recording, and members of the Wrecking Crew provided the instrumental support. Girard later to become a well-known Christian singer-songwriter, and member of the Christian band, Love Song. The Hondells appeared in several of the surf based teen movies of the day.
|The Beach Boys|
But by far the most famous vocal surf group was The Beach Boys. After five decades, their music still has a strong following with concert goers of all ages.
The Wilson brothers grew up in a Hawthorne California bungalow in the 1950’s.
|Audree and Murray Wilson|
The father of the three Wilson brothers, Murray Wilson, was injured in an industrial accident and lost an eye. During his long recuperation he began writing music, and came out with a couple of popular songs. This launched his career in the music business.
|The Wilson brothers at their home|
Brian also enjoyed listening to the popular music of the day, which included recordings by The Four Freshman, and the hit records by the Ronettes, the Crystals, and Darlene Love.
Brian had this amazing inherent ability to hear the different parts of each vocal, and each instrumental segment. This gave him the skill to dissect each musical line in his head. Some study at a music conservatory for years to develop this craft. Brian was blessed with this gift.
Brian shared a bedroom with his brothers Dennis, and Carl, and for fun he recruited them, neighbor David Marks, and the Wilson's cousin, Mike Love, as well as friend Alan Jardine, to sing harmonies on the songs that he loved. The Wilson boys would even sing in harmony for their family gatherings.
Later on Brian received a reel-to-reel tape recorder and learned how to overdub vocals. This lead to further recording adventures.
|Beach Boys - Torrence High School 1962|
Another version states that Al Jardine's mother financed the equipment rental. This may be more plausible, since an adult would have to sign a rental agreement.
As Dennis was the only surfer in the group, and we can thank him for prodding Brian to write this song. If not for him, the Beach Boys may have been a long forgotten Folk music group.
By the time the parents arrived home from their trip, the father, Murray, was furious that the boys had used all the food money to rent instruments, until he listened to the recording and realized that his sons were very talented.
|The Beach Boys - Candix Records|
The company had changed the name to The Beach Boys by one of the companies promoters without telling the group. At first the members disliked the name, but it stuck and their fame grew.
|The Beach Boys "Surfin' Safari 1962|
Their first hit was Surfin', later followed up by Surfin' Safari.
|The Beach Boys on the Ed Sullivan Show|
Brian did not like to tour and was having some emotional and health issues. In 1964 he had a traumatic panic attack during a chartered flight. After that experience, he told the group that he could no longer perform, and wanted to stay home and write music. Around this same time, Al Jardine was dissatisfied with undergraduate school, wanted back in the music business. He was invited back to play bass guitar and sing Brian's vocal parts.
|Glen Campbell as a Beach Boy|
A new bass player was recruited. The job fell briefly to Glen Campbell, and later in 1965 Bruce Johnston, officially became a Beach Boy.
|Murray looks on as the boys play music|
During a recording session at Capitol Records, while Murray was barking orders, Brian shoved his father against a wall, fired him as the groups manager and ordered him to leave.
|Pet Sounds -|
Their first album not about surf music or cars
This was actually turned out to be a great move and it accounted for the groups longevity.
|The Beach Boys 50th Anniversary tour|
|Mike Love's Beach Boys|
|Al Jardine and Carl Wilson|
Al Jardine, and Carl Wilson never claimed to be great guitarists, but they were certainly good enough to play in concert. Dennis Wilson life was all about having a good time. He was never a great drummer, but he could sure keep the beat, and kept the eyes of the ladies. Dennis also wrote some wonderful songs.
|The Wrecking Crew|
I believe Brian's desire to create huge orchestrated productions of his songs stemmed from a desire he had in the back of his mind for many years. Brian always had a huge admiration for Phil Spector's production technique, and showed up at his recording sessions, just to watch Spector create his "Wall of Sound". Brian and his brothers also had a friendship with John Maus of the Walker Brothers. The Walker Brothers songs had backing arrangements similar to those Brian was about to develop.
The Pet Sounds album was a huge musical turning point in the Beach Boys career.
|Brian coaches bassist Lyle Ritz.|
Drummer Jim Gordon in the back
At first the "Wrecking Crew" was a derogatory slur given to this group of players by the "suits" that usually did the background music for Capitol Records arrangements. They thought these musicians were going to wreck the industry by playing pop music, instead of contributing their talent to recordings like Montavani's 1000 strings. Years later members of the "Wrecking Crew" embraced the term. You hear them play on literally thousands of popular hit songs from the 1960's through the 1980's, that were made by thousands of artists. None of the members ever got credit for their work.
These musicians loved working for Brian. His sessions were long, and the players were paid by the hour. Pet Sounds wound up costing over $70,000 to make and it was not at all financially successful.
At the time the fan base may not have understood the direction that The Beach Boys had taken. But it yielded four of The Beach Boys best songs; Wouldn't It Be Nice, Sloop John B, God Only Knows, and the mournful Caroline No (which lyricist Tony Asher originally wrote as "Carol, I Know", but Brian misunderstood). In an effort to recoup their money, Capitol Records did not wait long after the release of Pet Sounds, to release a compilation album called The Beach Boys Greatest Hits.
|Bruce, Brian, Al, and Dennis|
|Brian working with Hal Blaine|
|The Beach Boys (The Pendletones)|
We’d just have to get new ones, so I don’t have a clue where they are.. So through the Sixties we’d just keep recycling them.”
However we do know about some of the guitars that The Beach Boys used.
Carl took guitar lessons at an accordion studio near Hawthorne, and from a musician that lived in the area named John Maus. John was in a group called The Walker Brothers, and taught guitar out of his home which was a couple of blocks around the corner from the Wilson family home.
|Carl with Rickenbacker model 360|
|1959 Carvin Electric guitar|
David Marks parents bought him a Sears Silvertone acoustic guitar in 1958. A year later he purchased a Carvin electric guitar from John Maus.
|1959 Kay model K899OJC|
Carl acknowledged his first guitar was a Kay hollow body electric guitar that he received as a Christmas present. He played this guitar unplugged on the recording of Surfin’.
|Carl '62 Stratocaster|
Once the record was released, the Beach Boys needed better equipment. Carl purchased a 1962 sunburst Fender Stratocaster, which he used briefly. Al Jardine was originally the bass player, and for a while played a stand-up string bass. This would figure, as Al was a fan of folk music. He is responsible for introducing the song, Sloop John B, which is properly titled, The John B. Sails. to Brian. If it was up to Al, the Beach Boys would have been a folk group.
We do not know what type of guitar Al used on early recordings, but due to the sound, we are fairly certain it was not a Fender.
|Brian with his |
'62 Fender Precision Bass
Brian’s first bass was a sunburst ‘62 Fender Precision Bass.
When Al Jardine left the group to go to school and David Marks came back he was playing a Rickenbacker, before switching to a ‘62 Sunburst Fender Stratocaster.
|The Beach Boys amplifiers|
|Carl's '62 Jaguar and Al's '62 Stratocaster|
Later in 1962, Carl got his Olympic white Fender Jaguar. In 1963 Marks purchased a similar
|Carl with Rickenbacker 360/12|
In 1964 Carl added a Fire Glow (red sunburst) Rickenbacker 360/12, that he used on some songs.
|Beach Boys '63 Al with Gibson SG|
|The Beach Boys 1964 Concert|
In 1964 both Carl and Al usually played through 1960-63 white tolex Fender Dual Showman amplifiers, and 1962 Fender stand-alone reverb units. They also used an Ampeg B-15 Portaflex bass amp.
At some concerts they used a Fender 1961-62 Bassman amp with a 1964 white Tolex cabinet.
|Carl with Epiphone 12|
Besides the 1963 white Jaguar and the fire glow Rickenbacker 360/12, Carl Wilson used some other guitars in concert. These include a sunburst Epiphone Rivera 12-string, that he used on Help Me Rhonda, and Sloop John B.
|Carl Gibson ES-335|
Carl also owned a Blonde Gibson ES-335, with a Bigsby that he purchased in 1970 from a friend for $300,
|Carl - Gibson ES-335 12 string|
In addition to the Epiphone 12 string, Carl also owned a red-burst Gibson 12 string Es-335, both a black Les Paul, a sunburst Gibson ES-345, and a red Les Paul, and an Olympic white Fender Stratocaster.
|Carl with yellow Stratocaster|
He also owned the a tobacco-burst Epiphone 12 string pictured above and, a yellow Fender Stratocaster, that he named Old Yeller, and a yellow Fender Telecaster.
|Carl's red Baldwin 12 string|
He also owned a blonde Fender Stratocaster, a red Baldwin 12 string, and a Les Paul Jr.
|Carl with Yamaha APX700|
As for acoustic guitars, Carl owned a Martin D-41, a Gibson J-200, and a Yamaha APX700 acoustic-electric.
|Carl with Fender XII |
and Dual Showman amp
Over the years a few guitars were stolen that include a Fender XII 12 string, and a Martin D-76 Bicentennial model.
|Carl with a white Fender Telecaster|
There are a few unusual guitar that he also played which included a white Fender Telecaster with a Bigsby unit. Fender did not offer those until 1967.
Carl and Al Jardine may of received that gratis from Fender, since the Beach Boys did start endorsing Fender products in 1962.
A music dealer once offered Carl a Mosrite, like the ones The Ventures played, in exchanged for endorsements, but he turned that down.
|Carl with custom Fender Lucite guitar|
Fender also built Carl a special one-of-a-kind Lucite guitar. This guitar was a prototype model that never went on the market. It was hand built by Roger Rossmeisl. The body was somewhat similar in shape to a Stratocaster.
|Fender custom Lucite guitar|
The guitar also had a vibrato unit, similar to the Fender Mustang vibrato.
|Al Jardine with '62 Fender Stratocaster|
Al Jardine is usually seen playing his stock Olympic White Stratocaster.
|Al Jardine with a black Stratocaster|
Though at some venues, he used a black Fender Stratocaster.
|Al Jardine - |
white Fender Jaguar
However Al also played a Fender Jaguar on some songs.
The 1967 white Telecaster with the Bigsby unit, that Carl is playing in a few videos may have actually belonged to Al. Al has a relationship with Fender Musical Instruments and Senior VP Richard McDonald. They still ship him equipment if he needs it.
|Al Jardine with Martin D-45|
During the 1980's and 1990's, Al usually plays a white or red 1962 replica Stratocaster, with a rosewood neck, through a Fender Twin Reverb amplifier. He also owns some Martin acoustic guitars.
|Fender Twin Reverb amplifier|
The Fender Twin Reverb was designed to be a combo version of the Dual Showman, although it has two 12” speakers with 85 watts of RMS power.
Through the later years the Beach Boys generally relied on Fender Twin Reverb amps in concert, I’ve also read that at one point they used Dumble amplifiers.
|Mitchell Pro-100 amplifier|
Carl owned a Mitchell amplifier the he really liked.
|Beach Boys 50th Anniversary Tour|
Carl was the usually the only Beach Boy to play guitar or bass on their recordings, although some of their first albums featured the members of the band doing the instrumentals.These were the albums done before the Wrecking Crew stepped in to do the instrumental parts.
|Carl playing bass in the studio|
In an interview Carl stated that most of the guitar parts were recorded using a direct box to the mixing console unless Brian wanted an over driven sound and then they cranked up the amplifier.
|David Marks at a guitar clinic|
|David Marks and the Marksmen|
As for David Marks, he left the Beach Boys after the first five albums, but he maintained a career in music; first with his band, David Marks and the Marksmen, and later as a studio player. He is seen in this picture with a 1960's era Epiphone Crestwood guitar.
|David Marks with Dennis Wilson|
Marks studied classical and modern music with Warren Zevon, and Robert Kraft. Marks also worked and recorded with composer Mike Curb, who wrote a lot of television theme music, and in the 1960’s put together a group called The MIke Curb Congregation.
Marks came back to The Beach Boys in the 1990’s when Carl became ill. It was only supposed to be a temporary gig. Sadly Carl passed away, and Marks stayed on and was prominently featured in the 50th Anniversary concert.
|Early concert with |
Al on bass and David Marks
As the years have passed, there have been a lot of legal feuds between the band members. Money talks.
|Beach Boys 50th Anniversary|
After the 50th Anniversary tour ended Mike Love, through legal maneuvering took possession of the legal name; The Beach Boys, from Brother Record Incorporated. That keeps the money flow going.
Prior to that, Mike Love was touring as America’s Band along with Bruce Johnson and David Marks.
|Al Jardine and |
the Endless Summer Band
Lawsuits and counter suits resulted. The 50th Anniversary Concert was a truce, and the band rallied to record one more Brian Wilson song called That’s Why God Made The Radio.
Due to discontent and legal bickering between the members, and the deaths of the two Wilson brothers, it is unlikely we will ever see the original Beach Boys perform together again. But it was such a good run while it lasted. And we still have all those great recordings.
|The Beach Boys in the U.K.|
Click on the links under the photos for sources. Click on the links in the text for further information.
©UniqueGuitar Publications (text only)
Aldren A. Watson, Hand Tools, Their Ways and Workings, 1982
The only plane I owned when I started working with wood was a Stanley No.5, Type 4 plane. It wasn't tuned properly, the tote was a replacement my grandfather had made from a walnut board that never did fit the plane quite right, and because it was a Type 4 the depth adjuster knob turned the opposite direction from the later Stanley. It had most of its japanning and the sides had a wonderful patina on them that I later discovered was really rust. The iron was not original to the plane, the original iron mostly likely got worn down to nothing or was stolen from the plane while it was at a job site. I have no idea when my grandfather acquired this plane, perhaps he got it through a trade or barter for some carpentry job he did in the early part of the 20th century. I know he didn't buy it brand new, if I remember correctly, Type 4 Stanley planes were manufactured between 1874-88, my grandfather was born in 1881!
It was my smoothing plane, jointer plane and when pressed into service it was a really big block plane. I remember at the time I read in some woodworking book that No.5's were called "jack" planes because, as the author stated, you could use them for just about anything - dimensioning stock, smoothing stock and jointing edges, it was a "the jack of all trades" kind of plane. It was all that I needed, I didn't have much money back then, new tools were a luxury, I got by with what I had.
As time went on and I gained more experience in wood working, I purchased several Stanley No.4 smoothing planes because books and magazines stated those were "the planes" a woodworker should own and use. I spent quite a bit of time and effort to "tune" those planes, again, according to the information found woodworking books and magazines. Which each new plane I flatten the sole, I sharpened the edge of the chip breaker so it mated perfectly with the back of the iron, the iron was regulation shaped and sharpened and you know what? I never could get those planes to work the way I wanted them to. The iron would chatter or dig in at the wrong place, there was always something about those planes that fought me at every turn.
Whenever frustration would set in with a No.4 plane I turned to my faithful No.5. If I kept the iron of the No.5 sharp the plane always worked when I needed it to. Maybe it worked well for me because of the longer length or that it was the first plane I learned to use. The only other size plane that works well for me as a smoothing plane is a No.3 plane, we all know a No.3 is a smoothing plane.
Today, I use the No.5 to thin down classical guitar tops, backs and sides, I need to be fairly precise when doing this activity. Tops and backs need to be within the 1.8mm-2.3mm range, sides a little less than 2mm, I find that the the added weigh of the plane helps it go through the wood better, thus easier for me to control; the extra length takes care of the high spots on the wood better than a regular smoothing plane and it is much lighter and more wildly than a No.7. I have never set up a No.5 plane to be a scrub plane, I have a No.40 Stanley scrub plane for that, one of the No.5's has an iron set up for smoothing, the other No.5 has a toothing plane which is used to help dimension guitar parts.
I sold the No.4 smoothing planes and an extra No.7 jointer plane last year in an effort to downsize my tool collection. I don't miss the No.4's and I tend not to recommend them to people just getting into woodworking, I suggest it may be better for them to start with a No.3 smoothing plane and I tell them that Alan Peters thought a No.7 was the best one to use.
Once you have decided what your focus is in woodworking, be it making Federal style furniture, Welsh stick chairs or classical guitars, you will discover what tools work best for you and when you do, stick with them!
I can’t let this slide. Australian newspaper The Herald Sun has just published a tribute to Malcolm Young, and look at the title of this front-page pointer.
Bass? BASS? BASS!?!
This is inarguably one of the greatest, most solid rhythm guitarists of all time, from one of the most popular bands of all time. I don’t know who the f**k goofed up to make this abomination of a headline a reality but holy crap, is it really that hard to go to Wikipedia and double-check this stuff? Absolutely ridiculous and a massive insult to Malcolm and all AC/DC fans. I mean, if you needed to write a cheesy headline, how about ‘Back In Black’ or ‘We Salute You’ or maybe just ‘Malcolm Young – 1954 – 2017′? This is like saying Ringo was The Beatles’ guitarist, or Adam West played TV’s Robin, or that the Herald Sun is a respectable newspaper. Every day this Facebook page seems more and more justified.
Our local Scottish Country Dance club, the Thistle & Ghillies, had our annual St. Andrews Day dinner & ball last night. Good times. And while most of the dance was done to recorded music, my wife Monica, on piano, and I on one of my fiddles, did play for the waltz at the end of the evening. We're not a big enough group to have live music all the time.
We do, though, regularly play for the Boise Contra Dance Society dances, on the second Saturdays September through May. If you're in town, come on by and dance with us.
Here's another shot of last night's St. Andrews Day dance.