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)
Check Out More Moog Instruments Here!
Tuesday, November 24, 2009
Check out the very reasonably priced Gibson Gary Moore Les Paul BFG on Amazon here!
Saturday, November 21, 2009
He also maintains a blog at Gibson's website which you can read here:
Check Out More Hot Licks DVDs Here!
Friday, November 20, 2009
A high quality hook-and-loop fastener, StageTrix' Pedal Fasteners are designed to precisely fit the ubiquitous Boss pedals, as well as pedals in the Ibanez and Maxon range with a similar footprint.
A nice feature is that the rectangular center of the Pedal Fastener can be easily detached to preserve the specification sticker should you choose to affix it to a valuable pedal, like a vintage TS808 Tubescreamer. From my experience, this is more than enough hook-and-loop to solidly attach a pedal to a pedalboard.
And if you have to leave your pedalboard in the trunk of your car all day, the industrial-strength adhesive backing is guaranteed not to turn into a gooey mess up to temperatures of 200 F.
I covered another innovative StageTrix product -- Pedal Risers -- in an earlier article here: http://www.theguitarcolumn.com/2009/09/why-didnt-i-think-of-that-2-modular.html
Now I wonder if StageTrix has any pedalboards in the works..
(Pic from www.stagetrixproducts.com)
Monday, November 16, 2009
But Hard Rock Bali has got to have one of the most imaginative centerpiece mural displays.
The second pic gives us an idea of the scale of the giant guitar
Sunday, November 15, 2009
The hotel where I'm staying at is supposed to have internet access but in case they don't, hang in there, dear readers! You're important to me.
I'll be checking out the local scene looking out for:
- A Balinese guitar wunderkind
- An incredible deal on a '62 Strat or a '59 Les Paul (one can only dream!)
- A local guitar builder
- A local amp builder
- Vintage guitar accessories
- Any newsworthy guitar stuff to report
Friday, November 13, 2009
L.A. Vintage Gear has been auctioning a lot of stuff for Landau recently and according to them these are from his "extensive pickup stash". The original covers and black Patent Applied For stickers are still intact.
Gibson applied for a patent on their humbucking pickups on 22nd June 1955 and were awarded the patent only on 28th July 1959.
But interestingly, from 1957 to 1962 Gibson stickered every pickup with a Patent Applied For label. It was only after '62 that the patent number started appearing.
One of the pickups in this matched set was rewound by John Suhr -- probably due to a broken coil -- while the other remains stock. L.A. Vintage Gear has taken this mod into consideration and shaved a fair bit off their Buy It Now price.
You can hear these pickups in action in the Michelle Branch clip below. Mike's rhythm tones are amazing -- gutsy and with tons of attitude. You can't put a sticker or a Buy It Now on that:
In the first clip he plays a beautiful wah-inflected solo. I love the way he just nails those changes starting at 0:16!
In the second clip we see Landau using some of his 'mystery' voicings -- he seems to favor rootless chords, sus4's, add9's and the occasional superimposed triad -- processed through a rackmounted Dyno-My-Piano Tri-Stereo Chorus. Or a cheap Arion SCH-1 Chorus pedal, depending on the era in question. Based on Mike's hair my bet is on the Tri-Stereo here. Check out the spicy volume swells.
In the third clip Mike places an Ibanez TS808 Tubescreamer at the front of his signal chain for a touch of extra gain, but decides to turn it off before he starts tracking. His sound through the Bogner amp (?) is positively huge, with a tad of harmonizer to fatten up the sound. He fluffs the descending line at 2:47 -- twice -- but what the hey, they'll fix it in ProTools.
James Taylor's live-in-the-studio Squibnocket DVD features Mike's playing extensively.
Check Out Mike Landau CDs Here!
Wednesday, November 11, 2009
Monday, November 9, 2009
Born 9th November 1970, Susan Tedeschi received her blues calling in her early 20's after listening to T-Bone Walker, Clarence Gatemouth Brown, BB King, Otis Rush and Muddy Waters.
After graduating from Berklee College of Music in 1991 with a degree in music composition and performance, Tedeschi bought a Fender American Standard Telecaster and took a few slide guitar lessons from a local blues guitarist.
Forming the Susan Tedeschi Band, her debut recording Better Days was released in 1995.
Her critically acclaimed 1998 album Just Won't Burn won Tedeschi a Grammy nomination for Best New Artist, the first of several nominations that were to follow in the coming years.
In 2001 Tedeschi married slide guitar virtuoso Derek Trucks.
In this Austin City Limits clip from 17th June 2003, Tedeschi is backed by a band that included drummer Jeff Sipe aka Apt.Q258, best known for his recorded work with the late progressive fusion guitarist Shawn Lane.
Sunday, November 8, 2009
Born 8th November 1949, Bonnie Raitt is the quintessential female blues guitarist of her generation. Daughter of leading Broadway actor John Raitt, of Oklahoma and Carousel fame, Bonnie picked up the guitar at age 10. Folk music dominated the airwaves and she was soon playing the songs of Pete Seeger, Peter, Paul and Mary and The Kingston Trio on her Stella acoustic.
At age 14, Bonnie experienced a radical shift in her musical tastes when she heard Blues At Newport '63 featuring John Lee Hooker and Mississippi John Hurt, which led her to explore blues and slide guitar.
Attending Harvard/Radcliffe college in Massachussetts in the late-60's, Bonnie started playing the blues in the local coffeehouses. After creating a buzz on the Cambridge coffeehouse circuit, it was a chance meeting with blues promoter and manager Dick Waterman that led Bonnie to the next level of her career.
It was through Waterman also that she had the chance to hang out and learn from iconic bluesmen such as Son House, John Hurt, Otis Rush, Junior Wells, Luther Allison and Buddy Guy.
In this clip, from 1996's Tribute to Stevie Ray Vaughan, Bonnie really lays it down with some mean slide guitar, backed by the Stevie Ray rhythm section of Tommy Shannon and Chris Layton.
Saturday, November 7, 2009
Friday, November 6, 2009
And it was a rare treat to watch Henry Padovani tonight at The Crazy Elephant.
Thursday, November 5, 2009
The Tone Lifter is designed to drop into any Strat-style guitar without having to modify the instrument or even having to solder the unit in place. Only a stacked knob is installed where the lower tone control of a Strat would normally be, with the rest of the circuitry being concealed in the guitars control cavity.
The upper knob on the stack controls the gain for a mid-boost or a bass/treble boost, and is active when in the 'up' position.
With the system active, the upper knob's center detent gives a flat frequency response with +2.5dB of gain. This would be the same as your Strat's passive tone, only louder.
Turning the upper knob clockwise from the center detent activates the mid-boost giving 0 - 15dBs of gain. The lower concentric knob now selects the frequency of the mid-boost. Turning the upper knob anti-clockwise gives a variable boost to a bass and treble setting, with the lower knob used to dial in the combined bass and treble frequencies.
The system can also be bypassed for a pure passive signal by means of a custom electronic relay circuit and also bypasses automatically when the battery is low on power.
The Tone Lifter's internal battery is charged by plugging a specialized jack charger adaptor into the guitar's output jack and then plugging it via a connector into an AC mains socket! No more having to remove the pickguard on a Strat to change that 9-volt!
East UK builds every product from a pro audio design perspective -- John East spent a good part of his electronics career in the design teams that created the high-end Solid State Logic (SSL) and Sony Oxford mixing consoles, de facto equipment in nearly every major recording studio.
(Pic Source: www.east-uk.com)