Thursday, December 31, 2009
Jimi Hendrix recorded this at a New Year's Eve gig at the Fillmore East on December 31st 1969 with Buddy Miles and Billy Cox, exactly 40 years ago to date! How cool is that?
Happy New Year Everybody!
Tuesday, December 29, 2009
Monday, December 28, 2009
According to Gibson, several hand-built prototypes were presented to Page. After he critiqued each one, refinements were made until the last prototype was given the master's blessing. This last prototype was the template that was taken into final production.
Bridge Pickup Volume Control - Pulling this knob out switches the bridge pickup’s coils from series (standard) to parallel
Bridge Pickup Tone Control - Pulling this knob out switches the bridge pickup from humbucking to single coil
Neck Pickup Tone Control - Pulling this knob out switches the neck pickup from humbucking to single coil
It's interesting to note that this exact push/pull switching system was implemented in the first Gibson Jimmy Page Les Paul Signature model from 1995. Personally when I tried out the mid-90's Page Signature, I found the switching system to be a hassle and actually took away from the gutsy Les Paul tone. The tone was thinner than a non-modified Les Paul, even with all knobs down and the guitar in 'standard' mode!
Judging from Murphy's replicated belt-buckle wear, we also get a good idea of how low Pagey actually slung his Les Pauls onstage.
I'm guessing that Page's vaunted 1959 Number One will be next on Gibson's agenda.
(Quote Source: www.gibson.com, Pic Source: http://www.themusiczoo.com/)
Saturday, December 26, 2009
Granted this is not Moore's almost mythical Peter Green '59 Les Paul Standard -- methought he wouldn't have parted with that one for all the Leprechaun gold in Ireland -- but this '58 comes pretty close if you're looking to own a genuine rock n' roll artifact.
But as usual, do your research before committing and caveat emptor!
Friday, December 25, 2009
Here's an old chestnut from 1945. Written by Mel Torme and Bob Wells, The Christmas Song was recorded most famously by the great Nat King Cole.
The guitar player in this vid is Royce Campbell who at age 28 became the touring guitarist for composer/arranger Henry Mancini's orchestra up until Mancini's passing in 1994.
Royce has also toured with Cleo Laine, Marvin Gaye and Mel Torme and has performed with jazz luminaries Jack McDuff, Jimmy Cobb, Joe Williams, Groove Holmes and James Moody.
Merry Christmas to you and yours, from all of us here at The Guitar Column!
Listen To Royce Campbell CDs Here!
Wednesday, December 23, 2009
The solid mahogany body features a flame maple-top with binding, EMG 81 and 85 active pickups in the neck and bridge positions respectively, a 3-way pickup selector, a single volume and tone control and of course the Floyd Rose 1000 bridge.
With a release slated for the first quarter of 2010, the PRS Torero SE will be available in Black Cherry and Gray Black finishes.
Tuesday, December 22, 2009
Frank Zappa (born 21st December 1940) was way ahead of his time. A great composer, musical visionary, anarchist and extremely quirky guitar player, Zappa's music is beyond description. Combining rock n' roll sensibilities with modern classical and avant-garde, he also peppered his music with liberal doses of sometimes explicit humour. You were either a fan or you weren't. In Zappa's own words, "I never set out to be weird. It was always other people who called me weird."
His music was legendary for being fiendishly difficult to play, but his sidemen were often an unlikely combination of conservatory-trained and unschooled, feel musicians. And as bandleader of his Mothers of Invention, the roster of musicians who have been through the 'School of Zappa' is staggering. It was Zappa who discovered Steve Vai as a budding guitar virtuoso, crediting him with the 'stunt guitar' parts on albums. Zappa's impact on Vai's playing concept is undeniable. And according to Vai, the best single piece of advice he received from his mentor was "Don't give up your publishing."
Because of the explicit humour in his music, Frank was no stranger to controversy. He battled the censorship of his music as well as the move to start labelling CDs with Parental Advisory stickers. In the hearings before the US Senate that followed, Frank, a virtual army of one, took on no less than Tipper Gore (wife of former presidential hopeful Al Gore) and her music censorship lobby group Parents' Music Resource Center (PMRC).
Baltimore, where Zappa was born, has declared December 21st 'Frank Zappa Day', and are honoring him with a bust outside a public library. Not bad for a guy who once stated, "I think it is good that books still exist, but they make me sleepy".
You were quite a character Frank. Happy belated Birthday, wherever you are.
Monday, December 21, 2009
Big business rears its ugly head yet again -- this time in South Korea's largest guitar manufacturer, Cort.
My article 'Guitar Manufacture -- China As The New Korea' highlighted escalating costs that were driving guitar manufacturers to mainland China. This video, it seems, portrays a far bleaker picture.
According to Cort factory workers, the layoffs in Cort Korea came about as a result of the company's fraudulent bankruptcy closure by its chairman Park Young Ho. As the workers tell it, the company has been profitable since 1996 and that the bankruptcy closure was merely part of a plan to lay off more than a third of its workforce without retrenchment benefits or other compensation. The bulk of Cort's manufacturing has been moved to Indonesia and China.
With their protests in Korea going unheeded, Cort workers gathered at the last Frankfurt Musikmesse tradeshow to further their cause, making known to the international community their plight of having to put in extraordinarily long work hours under threat of losing their jobs, the suppression of union activities by chairman Park, and the more serious allegations of threats and physical abuse at the workplace.
Their protest it seems fell on deaf ears.
It makes me glad that I don't own a Cort guitar.
Sunday, December 20, 2009
Not exactly a new video but a pretty entertaining one nonetheless.
Designed by Steve Vai and manufatured by Ibanez, the Jemini is a two-channel distortion device. The Jemini's left channel produces a smooth distortion with even overtones, while the right channel is, as Vai describes it, "grainier, with a lot more hair".
Vai sets up the Jemini's smoother left channel with the overdriven rhythm channel of his amp, kicking in the pedal for solos. The Jemini's right channel is used with the clean channel of his amp to accentuate its 'gnarly' characteristics.
Vai does a really good job demo'ing each of the Jemini's channels in two solo spots before performing a duet with himself, trading rhythms and solos. When he puts the pedal's right channel through a rather skinny-sounding chorus-laden clean amp channel, he had me thinking how's he going to make that work?
As Vai plays the duet it all makes perfect sense. Separating the two guitar parts with different tone frequencies, he cleverly avoids the tonal collision that using the same fat, creamy sound on both guitars would create. No muddled frequencies! His multi-guitar layering on Whitesnake's Slip Of The Tongue is still a reference for me from an engineering perspective -- check it out for how Vai lays down what must be 25 or 30 guitar parts per track, and have them all jive frequency-wise.
A longtime devotee of the Boss DS-1 distortion pedal, check out also Vai's sly reference at 2:19!
Wednesday, December 16, 2009
Billy F. Gibbons celebrates his birthday today with another esteemed colleague, Robben Ford.
With a career with ZZ Top spanning close to 40 years, Billy Gibbons (born December 16th 1949) continues to bring his 'just turn it up as loud as you can and go for it' brand of good time Texas rock 'n roll to legions of fans around world.
Robben Ford (born December 16th 1951) made a name for himself as a young blues guitar phenom playing in the bands of Charlie Musselwhite and Jimmy Witherspoon. But the hip youngster was as devoted to the blues as he was to the jazz giants. Miles Davis, John Coltrane and Wayne Shorter also featured heavily in Ford's listening habits, inspiring him enough to take up the saxophone which he also played in Musselwhite's group.
A stint in Tom Scott's LA Express made Robben a name in jazz-fusion circles culminating in him joining horn-legend Miles Davis in 1986 before returning to his blues roots in 1988 with Talk To Your Daughter.
Robben has a new project Trial By Fire, featuring Jimmy Haslip, Gary Novak and session maven Mike Landau. I'm looking forward to this one!
Tuesday, December 15, 2009
No purchase is necessary, but this one only applies to US Residents.
Be sure to read the complete contest rules at http://www.orianthi.com/sweepstakes/
- Bling it out with Swarovski crystals and a hot glue gun
- Create the first PRS 'relic' guitar. In my opinion PRS's don't carry the heavily relic'd look as well as Strats or Les Pauls, so proceed conservatively and with good taste
- Really go crazy and let your imagination fly with a thematic graphic that best suits your personality. Check out this hand-painted bass that came through Gary Brawer's repair shop!
Sunday, December 13, 2009
Steve Vai got into the hobby of beekeeping when he moved to his home in Encino, California. Or as he describes it, "Went online, learned about honeybees, found a local beekeeper .. and got myself a swarm!
Vai waxes philosophical about the life and times of a bee, "A honey bee works until it dies -- I can relate!"
Steve covers the finer aspects of beekeeping including the reason why beekeepers use smoke, how raw honey is purified, and why one should avoid getting stung in the neck! Good to know, good to know..
Steve involves his wife, son and even his intern in his honey harvests, producing close to a thousand pounds of Fire Garden honey which go toward raising funds for his non-profit organisation, The Make A Noise Foundation.
Friday, December 11, 2009
In my previous post I mentioned Matt Schofield's SVL Sixty-One Strat -- a travel and tour replacement for his beloved and valuable '61 Fender Stratocaster.
Matt has chosen playability and function over merely recreating a purely vintage replica. These are the specs of his SVL Sixty-One, as Matt tells it on his 2007 forum post:
- One piece alder body, just under 4lbs
- Yellowed Olympic White, thin nitro finish
- Brazilian rosewood fingerboard on a flame maple neck, similar in contour to his '61 but slightly thicker at the first few frets
- Back of the neck is sealed but has no finish, for a bare wood feel
- Heavily rolled fingerboard edges
- Jumbo 6100 frets
- Slightly flatter compound fingerboard radius -- 9 1/2" to 12" at the end of the fingerboard
- Hardware is vintage style -- Kluson tuners and a Callaham bridge and steel trem block but with graphite Stringsaver saddles
- Pickups are scatter-wound Amalfitano SP's
(Pic Source and Matt's full forum post are here: MattSchofield.com Forum)
According to Hal Leonard Corporation's press release:
Hal Leonard Inks DVD Deal with British Blues Sensation Matt Schofield
Filming underway in London for Summer release
Manchester-born Matt Schofield is making ripples on both sides of the Atlantic and far beyond for his incredible guitar skills. Hal Leonard Corporation, the world’s largest music print publisher, has signed a deal to create an instructional guitar DVD featuring Schofield for release this coming summer.
A confluence of solid blues, jazz, funk and rock, Schofield’s playing conjures up his various influences – the three Kings, Albert Collins, Hendrix, SRV, Robben Ford, The Meters – while sounding entirely fresh and original. His third studio recording, Heads, Tails & Aces, is garnering raves. The L.A. Daily News calls Schofield “the best blues guitarist from any country in decades,” and Vintage Guitar gushes that “his feel for the music is incredible.”
Hal Leonard VP of Pop & Standard Publications Jeff Schroedl shares the sentiment. “I was listening to Sirius and a track of Matt’s came on. I literally had to pull my car over and devote my full attention to listening to him play. He’s far and away the most exciting guitarist to come around in the last ten to 15 years.”
Matt's style brings to mind the bluesy 'fingerpainting' of Robben Ford as well as John Scofield's work with Medeski, Martin and Wood. He borrows much from the harmonic sensibilities of jazz, burning over the more sophisticated jazz-blues changes with aplomb. I'm digging it!
Heading up his trio with Jonny Henderson on Hammond organ and Evan Jenkins on drums, he goes with the (bass-less) organ-trio format to avoid parallels with the current crop of young blues guitar wunderkinds.
Although he used to travel with his vintage guitars -- a '61 Fender Strat, '62 Gibson ES335 and '68 Telecaster -- Matt now chooses an SVL Strat modelled closely after his '61. He plugs into Two-Rock Signature 100 watt heads.
(Press Release Excerpt from www.halleonard.com)
Monday, December 7, 2009
When I was listening to the pioneering fusion groups of the 70's, I realised that Return To Forever alone had that complete balance of forces. Each member was a virtuoso. And no wonder -- a lot of their music was hard.
And holding down the bottom-end with Return To Forever with amazing dexterity and clarity of tone from his Alembic basses was Stanley.
Jaco. Marcus. Stanley. There are not many bass players whose first names have become synonymous with their instrument.
It was as a Return To Forever fan that I checked out their sold-out concert in Singapore on December 5th. The Return To Forever reunion tour with Al Di Meola did not make it to my neck of the woods, so when Power Of Three was publicised, I could not miss the chance.
Having recently stepped off what was undoubtedly a high-volume, electric Return To Forever reunion tour, Power Of Three was all-acoustic. The setting on the concert stage was intimate with the Yamaha grand piano facing the drums, and the upright bass in between. The instruments were set-up in close proximity like how they would be in a small jazz club.
Now, a part of me was hoping that Stanley would play his Alembic electric bass. But watching him absolutely tear it up on the upright made me feel I was not missing anything. I was reminded of an excellent South Indian vegetarian meal I'd had 20 years ago -- didn't miss meat at all!
The trio brought a pretty varied set to the night's program. Their second tune, Waltz For Debby by jazz piano legend Bill Evans featured Stanley's first solo of the night. It was an education just watching the master at work. I realized about minute into his solo that it wasn't about his incredible chops, his impeccable intonation or the warm, clear tone he was getting from his instrument.
Everything he did hit at an emotional level. Whether it was ripping lightning fast pizzicato lines or executing a beautiful arco bowed passage, his technique was merely there to elicit an emotional response in the listener. Technique served the music and not the other way around.
The same could be said for Lenny White. From my vantage point in the first row (!), I really dug watching Lenny. A picture of concentration with his eyes closed, he was supremely alert and ready to interact and respond to any spontaneous rhythmic gesture from Chick and Stanley.
Lenny's solo on Corea's composition Bud Powell from his Remembering Bud Powell tribute concert was especially memorable. His ultra-taut snare, resonant, unmuffled kick drum and his unique touch on the cymbals bore the trademark early Return To Forever sound I'd become all too familiar with. Up close, I was surprised by how light his touch actually was, even on the heavier tunes.
Chick brought the night through a few more jazz standards including Softly As In A Morning Sunrise and My One And Only Love. I especially enjoyed his extended piano intro on the the latter tune which was a study in his many reharmonization devices and Corea'isms.
But the highlight of the evening for me was Corea's Concerto de Aranjuez piano intro to Spain, probably his most well-known composition. Impactful and introspective at the same time, there was a longingness in his playing. In those couple of minutes, he painted a musical picture of his entire life. Pure genius.
Interestingly, Corea chose not to play the main melody to Spain, letting Stanley's striding bassline dominate. Sometimes an artist needs to re-invent and play his composition a little differently, especially if it's a tune that's been played a million times at concerts, gigs and jam sessions around the world!
All in all it was a great night for music. I just hope that fans will not have to wait three decades for another reunion.
Saturday, December 5, 2009
After graduating with a Bachelor's degree from the Cleveland Institute of Music, Hall ventured to Los Angeles in 1955 where he landed his first major gig, replacing Howard Roberts (and inheriting Roberts' Gibson ES175) in Chico Hamilton's band. Stints with clarinetist Jimmy Giuffre, saxophonist Ben Webster and jazz diva Ella Fitzgerald soon followed. In 1959, Hall recorded Undercurrent with jazz piano genius Bill Evans, the first of two such piano and guitar only recordings.
Moving to New York in 1960, Hall joined saxophonist Sonny Rollins' group and eventually trumpetist Art Farmer's quartet, seen here in this video.
Jim Hall has been a major influence on countless jazz guitarists including Pat Metheny, John Scofield, Mike Stern and Bill Frissell. In many ways, Hall's stylistic legato approach, wide intervallic jazz lines and 'outside' harmonic ideas have contributed greatly to the development of the vocabulary that is so much a part of post-bop modern jazz guitar.
Happy belated Birthday Jim!
See More Jim Hall CDs and DVDs Here!
Friday, December 4, 2009
I'm really digging the tones coming out of these new VHT Special 6 Combo amplifiers. These handwired, all-tube amps are driven by a single 12AX7 preamp tube and a single 6V6 power tube for a power-rating of 6 watts.
The 6V6 tube imparts typical Class A tones -- you can almost hear the 'ping' of the glass on the tubes. 6V6s are also a popular choice in the stereo audiophile industry, favored for their clarity and transparency.
A single-channel amp with simple Volume and Tone controls, the addition of a footswitchable Gain Boost feature on the Special 6 gives it the flexibility of a two-channel amp. Judging from this clip, the transition from Clean to Boost modes (at 0:20) are pretty smooth with no overly dramatic volume jumps. Notably, Boost mode retains the rich-harmonics and glassy overtones of the amp in Clean mode!
With a 'Minimum Advertised Priced' of US$199.99 for the Special 6 Combo and US$179.99 for the Special 6 head version, and considering the up-market boutique tones they are capable of delivering, these amps are amazingly great value!
Thursday, December 3, 2009
According to the band's website NIN.com:
"We've been going through the NIN touring and studio rigs and are getting rid of a large selection of gear and equipment the band is no longer in need of. It's being listed on eBay here.
Some items listed are near mint and some are 'tour casualties' -- broken necks and all.
Pictured is a near mint one-off custom shop ESP USA with The Fragile album graphic and Trent Reznor's Roland GK midi-pickup equipped green PRS Custom 22 tour guitar!Stay tuned!
In 2001, top-notch guitar repairman Gary Brawer took some careful measurements of Eric Johnson's beloved '58 Stratocaster. These were his findings:
- The guitar was refretted with new .105 x .040 frets
- The center of each fret was slightly milled to flatten out the radius to prevent bent notes from fretting out
- String height is set at 4/64" for the high E and just under 4/64" for the low E, with both measurements taken at the 12th fret. The high E is set slightly higher to facilitate clean bending
- The truss-rod is adjusted so that there is absolutely no relief on the fingerboard
- The nut is cut low with just enough clearance for the open strings to ring cleanly
- The string ends are not inserted into the center holes of the tuners. Instead the string ends are threaded between each tuner's center slot and then wrapped around each post two or three times.
- The B string is wound all the way to the bottom of the tuning post and is not threaded through the string-tree
- At the bridge, stock vintage saddles are used on all the strings except for the high E. Here Eric uses a brass saddle to fatten up its sound.
- The four tremelo springs (set three on the bass side and one on the treble side) are tensioned just enough to keep the bridge resting against the body of the guitar, ensuring maximum transference of string energy. This setup also ensures that bending a string will also not cause other unbent strings to lower in pitch
- Except for a simple re-wiring of the second tone pot so that it controls the bridge pickup, all electronics are stock
- Eric sets the bridge pickup closer to the strings. The center polepieces on the bridge pickup are also pushed down to reduce the arc of the polepieces
- The neck pickup is 10/64" from the strings. The middle pickup is 12/64" from the strings on the treble side and 10/64" on the bass side. The bridge pickup is set at 6/64" on the bass side and 4/64" on the treble side
- Strings are GHS Nickel Rockers gauged .010, .013, .017, .026, .038 and .050
Eric's '58 Stratocaster is featured throughout this HotLicks DVD:
Wednesday, December 2, 2009
Go to the blue comments box at the bottom of the Facebook page and click 'See More' for the rest of Berlin's article.
Jeff raises a few interesting points about why one should not practice with a metronome.
"..we, as a band, Dennis Chambers, Scott Henderson and I played with good time as an automatic event, not as a special musical issue to regard. We never talked about groove or time because talking about these things is a "DUH"."
"No good pro player gives it the special importance that most of the music world outside the pro ranks seem to give it. My on-going point is that practically everybody, famous guys on downward never acquired their time sense from a metronome, practically no one."
"Groove doesn’t require an academic lesson because groove is always a result AFTER the fact of good practice, never as a starting or early practice principle. This is where teachers will always let you down; they insist that you play in time before you even know what you are doing, which is one reason why I dismiss using metronomes or groove lessons of any kind."
"Lessons are best learned out of time so that you can regard and improve your playing via great musical information. Nobody in music history will state that their groove came from a teacher or a school, because it always came from playing, listening and learning the styles of music that pleased them."
The Players School Of Music Facebook page is slowly evolving into a great resource with Berlin constantly updating it with new videos and free lessons. I'll definitely be staying tuned for more!
Check Out Jeff Berlin's CDs Here!
Take a dollop of Jimi Hendrix, a spoonful of Eric Clapton, a dash of Chet Atkins, a peppering of BB, Albert and Freddie King, and a heaping helping of Albert Lee, and you have a killer gumbo that doesn't even begin to describe Koch's indescribable style. Or wry sense of humor.
In this in-store guitar clinic vid -- Koch is a clinician for Fender Instruments and Hal Leonard -- he demonstrates his succulent volume swells starting at 2:59 in the style of Duane Allman and Roy Buchanan before launching into a Jeff Beck-style rendition of 'Cause We Ended As Lovers at 3:31.
Koch's sheer control of the instrument is indisputable. Check out his Beck-approved finger-style approach to the main melody at 4:00 before going back to pick-mode briefly at 4:25 to execute some pick pinch-harmonics. I especially dig his quirky flurry of triplets at 5:19.
Koch has several books and DVDs out on Hal Leonard -- guitar instruction at its finest. Check them out here.
Monday, November 30, 2009
Following in the footsteps of Michael Jackson's previous touring guitar veteran Jennifer Batten, Orianthi was all set to embark on Jackson's This Is It comeback tour before the singer's untimely demise.
A PRS Guitars endorser since 2004, Australian-born Orianthi has drawn accolades from no less than Steve Vai and Carlos Santana.
On the PRS website, Carlos is quoted as saying, "It's not cute anymore. It's seriously ass-whupping. If I was going to pass the baton to somebody, she would be my first choice."
Saturday, November 28, 2009
Both the 12 and 6-string necks have scalloped fingerboards , vintage-style Kluson tuners, Dunlop 6100 jumbo frets and DiMarzio HS-3 stacked-coil pickups in the neck and bridge positions. The center pickups on both necks are stock Fender Japan single-coils.
Check Out More Yngwie Stuff Here!
According to the seller this is one of Yngwie's personal signature model Stratocasters. You might remember a previous eBay listing by this seller for Yngwie's #3 Strat.
Looks like Yngwie is using guitars from his personal collection as currency to finance his ever growing stable of Ferraris. Smart man.
This guitar comes with a Certificate of Authenticity signed by Yngwie J.
Check Out More Yngwie Stuff Here!
Friday, November 27, 2009
His father, Al Hendrix, who had not been consulted about the naming of his son, officially changed young Johnny's name to James Marshall Hendrix on 11th September 1946.
Noticing that the young boy had a penchant for strumming on a broomstick -- for a while in fact, Jimmy and his broom were inseparable, he even took it to school -- Al relented and got him his first acoustic guitar for five dollars.
Jimmy was strumming away, teaching himself to play. He soon started hanging around the porch of a local bluesman who lived nearby, picking up whatever he could. This mysterious guitar-slinging bluesman no doubt had a great impact on Jimmy.
After playing for a couple of years and hankering for an electric guitar, Jimmy persuaded Al to get him a white Supro electric guitar. Soon he was playing at local gigs and parties around Seattle.
Joining the army for basic training in 1961 as part of his duty to the country, Jimmy eventually got posted to the 101st Airborne Division at Fort Campbell, Kentucky. It was in the army that Jimmy was to meet fellow serviceman and bassist Billy Cox. The two put a five-piece band together and, as the King Kasuals, started entertaining soldiers in the Service Clubs, with the occasional gig around town.
After 14 months, a broken ankle and a feigned back injury got Jimmy out of the paratroopers in 1962.
Moving to New York's Harlem district, Jimmy took on the stage name Jimmy James. Times were lean and Jimmy took whatever gig came his way. In 1964, Jimmy was offered an audition with The Isley Brothers after being spotted at a club where he would often beg to sit in with the resident band.
For the audition, Jimmy was so broke that he didn't even have a full set of strings on his guitar. As part of the agreement for Jimmy to come for the audition, Ronnie Isley would have to buy him a set of strings.
Jimmy was hired and recorded the single 'Testify' with the band. A tour immediately followed and Jimmy found himself playing before stadium-sized audiences. On a tour back to his hometown of Seattle, Jimmy missed the bus back to New York and also had his guitar stolen. Once back in New York, he purchased his first Fender guitar, a Duosonic, from Manny's Music on 48th Street.
Quitting the band in 1964 -- Jimmy felt the Isley's had too many rules, especially when it came to dressing and choreographed dance routines -- he found himself drifting once again. Changing his stage name to Maurice James (!), Jimmy eventually found himself in Little Richard's backing band.
Jimmy soon realized that he had stepped into another regimented musical outfit, worse than his experience in The Isley Brothers.
While on a break from Little Richard, Jimmy did some gigs with Ike and Tina Turner. Ike too saw that Jimmy was stealing the show and dropped him. By this time Jimmy had also been fired from his gig with Little Richard.
Arriving back in New York, Jimmy wrote this piece of prose:
I was just a little square
Like the cat with unconked hair
Now I'm hip to the chicks
And far from a drip
The cats on the square
Call me Joe Ad-Lib
Joe Ad-lib, it would seem, would be discovered while playing to an empty house at the Cafe Wha? in Greenwich Village by the ex-bassist for The Animals, Chas Chandler. Chandler had just just gone into the management business and was looking for new talent to boost his music management portfolio. Signing on Jimmy, Chas brought him to England on 24th September 1966.
With only a Fender Stratocaster and a change of clothes, Jimmy descended on London's bustling music scene. In a very short time, Jimmy's name became a buzzword, and rock's royalty -- Eric Clapton, Paul McCartney, Mick Jagger, Brian Jones, Pete Townshend and Jeff Beck -- had been won over and become ardent, although sometimes begrudging admirers.
Chandler's business associate, Mike Jeffery, recruited guitarist Noel Redding to play bass in Jimmy's fledgling trio. Georgie Fame and The Blue Flames had just broken up and their drummer Mitch Mitchell was also invited to audition.
When Jimmy came to London he had reverted to this real surname. It was Chandler's idea to change the spelling of his first name to Jimi to make it unique and memorable.
With the trio of Jimi Hendrix, Mitch Mitchell and Noel Redding, the Jimi Hendrix Experience was born.
Wednesday, November 25, 2009
Hope this one finds you in good health and spirits. I write to you in total distress I confess. I just can't get a hang of my new guitar. Any string I bend to the full, it gives massive feedback when I let it go. I hope you can imagine what I'm talking.
Say I bend the B string at the fifteenth fret, the G string gives out a feedback at the slightest of touch and I've found it impossible to mute the adjacent strings. I have this problem even when I strum a single note on any higher string and then move on to some other string for the next note.
In a nutshell.. I get feedback on every string when i release it after strumming a note. I don't really know what's causing this problem. I never seemed to have it on my Les Paul and I can't imagine my technique could be so flawed overnight.
This guitar by the way.. it's a Cort EVL-X5, paid around 800S dollars in India. Has EMG HZs(passive) on bridge and neck and a single coil EMG in the middle. It has coil tap and the works.. but I feel the volume and tone knobs are placed in a hopeless position. It comes right in front of the picking hand.. has taken a while to get over the tendency to roll back the
volume knob as I played along. That problem has been sorted out.. but I'm just too stressed out with this new thing that has crept up into my playing.
I'd be so grateful if you could help me out of this. I understand it's hard over email.. yet I know you can find a way around that. Am willing to call if you have the time.. say around ten days from now.
Rest is all fine. Spending my days in total darkness these days.. as it's
winter here in the North and Baltic Sea. I miss Singapore weather I tell
you. I now know why there are so many songs written over sunshine. Hope to
hear from you soon.Regards,
Without watching him play, I sussed out that Guru was having a problem with string muting -- a problem that has been brought to the fore with the sensitivity and high-output of his new EMG-equipped Cort guitar.
This was my reply to him:
Good to hear from you!
First off, if your guitar is feeding back like crazy, your gain is probably too high.
As far as muting -- which is very important in keeping the strings you are not playing quiet, especially for soloing or single-note playing -- using a combination of left hand and right hand muting is an absolute must. At high-gain/high volume levels, muting becomes absolutely critical to ward off extraneous string noise and feedback.
Think of using the left hand index finger as a general mute.
If you're playing any note on the sixth string (low E) your first finger should be resting on and muting strings 1 to 5. When playing string 5, the side of the index finger mutes strings 1 to 4 and the tip of the index finger mutes string 6.
Note that when playing strings 4 to 1, right-hand palm-muting comes into play.
So when playing string 4 for example, the side of the left index mutes strings 1, 2 and 3, the index tip mutes string 5 and the palm of the right hand mutes string 6!
In short when playing string 6 use the side of the left hand index for muting. When playing string 5, use the tip of left hand index for muting string 6 and the side for muting strings 4 to 1. When playing strings 4, 3, 2 and 1, right hand palm muting comes into play to stop the low open strings from ringing and adding noise and generating unwanted feedback.
Apply the same muting procedure for the remaining higher strings.
It's good to practice at feedback inducing levels because this will train your hands to mute strings efficiently. I used to practice in the kitchen of my old house in the early 80s at very high volumes everyday after school, while wrestling with the exact same problem you talk about. Somehow, after a while your hands will just know what to do and you won't even think about it anymore, and string muting will have become second nature.
Hope this helps and take care out there my friend! Clinton
According to Michelle Moog-Koussa, the foundation's Executive Director, “The Bob Moog Foundation is deeply grateful for the support of Lou Reed and Moog Music. The funds raised from this auction will be of great assistance in expanding our Student Outreach Program, the program in which we bring Moog instruments in to the schools and teach children the science behind the sounds of electronic music. This program, even in its infant stages, has opened children’s minds and engaged their spirits to explore the extensive sonic possibilities that Moog instruments offer.”
Donated by Moog Music Inc. this particular instrument has been signed by Lou Reed and was played by him on the David Letterman Show in 2008. Reed's control labels are still attached.
(Pic source and quote from www.moogfoundation.org)
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