Owner's Manual & Warranty
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Luthier Rob Engel Started Taking out These Guitars, and They Were Just Phe - by Marc A
attic – he had a sort of workshop up there – and he Luthier Rob Engel started taking out these guitars, and they were just phe - by Marc A. Ybaben, Ph.D. nomenal pieces of work! I mean they were beautiful; each one was an original piece. Some of them he had worked on with a guy named Tom Doyle – he’s a gui - tar maker and pickup maker from New Jersey – they had been buddies and they had worked together on dif - ferent stuff, and the bug bit me right there! I started looking at the guitars and I guess he saw the expression on my face, and he said, “Well, you can do this, you know.” And I was thinking, “Yeah, right!” but I really had to give it a shot, so I did. I went out and bought all kinds of books, and I already had a garage in the back of my house that served as a wood shop — which is what I did for a living anyhow — and I got started by Photo courtesy Paul Johnson bringing wood home from jobs that were scraps and left-overs, basically practicing until I started to under - hanks to the wonders of YouTube, a friend sent stand how things worked. Then Lenny introduced me me a video of an East Coast guitarist named Bob to Tom Doyle, and he got me a job with Tommy; I TDeVos. I immediately noticed two things: that worked with him for about three years. I really wasn’t Bob was a monster player – incredible lines and sound! making any money there, so I went back to cabinet – and that he played a very cool-looking guitar. -
Blue Book of Electric Guitars Sixth Edition
Blue Book of Electric Guitars Sixth Edition Gibson Electric Guitars and Basses Edited by S.P. Fjestad Blue Book Publications, Inc. 8009 34th Avenue South, Suite 175 Minneapolis, MN 55425 U.S.A. Phone: 800-877-4867 (U.S.A. and Canada orders only) Phone: 952-854-5229 FAX: 952-853-1486 Email: [email protected] Web site: www.bluebookinc.com Reprinted with permission Copyright 1999 Blue Book Publications, Inc. All Rights Reserved. No part of this publication may be reproduced in any form whatsoever, by photograph, mimeograph, FAX transmission, or any other mechanical or electronic means. Nor can it be broadcast or transmitted, by translation into any language, nor by recording electronically or otherwise, without the express written permission from the publisher - except by a reviewer, who may quote brief passages for critical articles and/or reviews. Please note: At the request of Blue Book Publications, Inc., all pricing information has been omitted. For detailed pricing information, please either contact Blue Book Publications for ordering information, or visit their web site at www.bluebookinc.com Table of Contents Gibson Background History ----------------------------------------- 3 Identifying Features --------------------------------------------------- 4 Gibson Electric Guitars ---------------------------------- 5 B.B. King Series -------------------------------------------------------- 5 Barney Kessel Series --------------------------------------------------- 6 Byrdland Model --------------------------------------------------------- -
GUITARS at AUCTION FEBRUARY 27 Dear Guitar Collector
GUITARS AT AUCTION FEBRUARY 27 Dear Guitar Collector: On this disc are images of the 284 guitars currently in this Auction plus an GUITARS additional 82 lots of collectible amps, music awards and other related items all being sold on Saturday, February 27. The Auction is being divided into two sessions AT AUCTION FEBRUARY 27 starting at 2pm and 6pm (all East Coast time.) Session I, contains an extraordinary array of fine and exciting instruments starting with Lot 200 on this disc. The majority of lots in this Auction are being sold without minimum reserve. AUCTION Saturday, February 27 The event is being held “live” at New York City’s Bohemian National Hall, a great Session I – 2pm: Commencing with Lot #200 setting at 321 East 73rd Street in Manhattan. For those unable to attend in person, Session II – 6pm: Commencing with Lot #400 the event is being conducted on two “bidding platforms”… liveauctioneers. com and invaluable.com. For those who so wish, telephone bidding can easily PUBLIC PREVIEW February 25 & 26 be arranged by contacting us. All the auction items will be on preview display Noon to 8pm (each day) Thursday and Friday, February 25 and 26, from 12 noon to 8 pm each day. LOCATION Bohemian National Hall 321 East 73rd Street Please note that this disc only contains photographic images of the items along New York, NY with their lot headings. For example, the heading for Lot 422 is 1936 D’Angelico ONLINE BIDDING Liveauctioneers.com Style A. Descriptions, condition reports and estimates do not appear on this disc. -
HA-Bio New 2010
Howard Alden- Jazz Guitarist “He may be the best of his generation,” writes Owen Cordle in JAZZ TIMES. George Kanzler of the NEWARK STAR LEDGER proclaims that he is “the most impressive and creative member of a new generation of jazz guitarists.” And Chip Deffaa of the NEW YORK POST observes that he is “ ...one of the very finest young guitarists working today.” It seems that the only thing regarding Howard Alden on which the critics have debate is whether the remarkable jazz guitarist is one of the best or simply the best. Born in Newport Beach, California, in 1958, Howard began playing at age ten, inspired by recordings of Louis Armstrong, Count Basie and Benny Goodman, as well as those by guitarists Barney Kessel, Charlie Christian, Django Reinhardt and George Van Eps. Soon he was working professionally around Los Angeles playing in groups ranging from traditional to mainstream to modern jazz. In 1979, Alden went east, for a summer in Atlantic City with vibraphone legend Red Norvo, and continued to perform with him frequently for several years. Upon moving to New York City in 1982, Aldenʼs skills, both as soloist and accompanist, were quickly recognized and sought-out for appearances and recordings with such artists as Joe Bushkin, Ruby Braff, Joe Williams, Warren Vache` and Woody Herman. He has continued to win accolades from critics and musicians alike, adding Benny Carter, Flip Phillips, Mel Powell, Bud Freeman, Kenny Davern, Clark Terry, Dizzy Gillespie and George Van Eps, as well as notable contemporaries such as Scott Hamilton and Ken Peplowski to his list of impressive credits. -
Ken Peplowski Discography
Discography – Ken Peplowski 1987 Double Exposure Concord Jazz 1989 Sonny Side Concord Jazz 1990 Mr. Gentle and Mr. Cool Concord Jazz 1990 Illuminations Concord 1991 Groovin' High Concord Jazz 1992 Concord Duo Series, Vol. 3 Concord Jazz 1992 The Natural Touch Concord Jazz / Concord 1993 Steppin' with Peps Concord Jazz 1994 Encore! Live at Centre Concord Concord Jazz / Concord 1994 Live at Ambassador Auditorium Concord Jazz / Concord 1995 The International All-Stars Play Benny Goodman, Vol. 2 Nagel Heyer Records 1995 The International Allstars Play Benny Goodman, Vol. 1 Nagel Heyer Records 1995 It's a Lonesome Old Town Concord Jazz / Concord 1996 The Other Portrait Concord / Concord Jazz 1997 A Good Reed Concord Jazz / Concord 1998 Grenadilla Concord Jazz 1999 Last Swing of the Century Concord Vista / Concord Jazz 2000 All This...Live in the UK, Vol. 1 Koch / Koch Jazz 2001 Tribute to Benny Goodman with the BBC Big Band Chandos 2002 Just Friends Nagel Heyer Records 2002 And Heaven Too: Live in the U.K. Vol. 2 Koch 2002 Remembering Louis Jump Records 2002 Ellingtonian Tales Mainstream 2002 Lost in the Stars Nagel Heyer Records 2004 Easy to Remember Nagel Heyer Records 2007 Memories of You Tokuma Records 2008 Gypsy Lamento Venus / Venus Jazz Japan 2008 When You Wish Upon a Star Tokuma Records 2011 In Search Of Capri 2013 Maybe September Capri 2013 ...Live at the Kitano Victoria Company 2018 Sunrise Arbors 2018 Duologue Arbors Credits 2018 Duologue Adrian Cunningham / Ken Peplowski Primary Artist 2018 Sunrise Ken Peplowski / Ken Peplowski -
Fitting a Fishman Matrix Infinity in an Archtop Guitar
Fitting a Fishman Matrix Infinity in an Archtop Guitar This was the first archtop guitar where I installed the FMI system: It is a 15-inch archtop, small and comfortable to play. It has several uncommon details, for example the bridge: Being so low, it could not have the usual adjustment wheels; instead, it has two grub screws threaded in the saddle that push onto two brass pieces embedded in the foot. This low bridge was the result of a design towards low pressure, which allowed me to make a thinner, more responsive top. You can see that there is a tailpiece, as in most archtops, but the fretboard is glued to the top, which is characteristic of flat tops: Archtops usually have a neck extension that raises the last section of the fretboard above the top. This low pressure design was the origin of some problems. At first, I installed a cheap piezo/preamp system with an undersaddle pickup, but I could never get a balanced volume for all the strings. I tried the obvious solutions, but nothing seemed to work. One of the problems that I saw was that the ebony saddle flexed a little under the pressure of the strings. I thought of using some kind of reinforcement or make it bigger, but first I tried to make another from a block of Granadillo wood (Dalbergia melanoxylon), which was noticeably stiffer than ebony. If you look closely with good light you’ll see that it is not the same color as the foot (Ebony): This worked perfectly and has remained without any distortion since I made it more than a year ago, but it didn’t fix the balance problems of the saddle inside it. -
The Recordings
Appendix: The Recordings These are the URLs of the original locations where I found the recordings used in this book. Those without a URL came from a cassette tape, LP or CD in my personal collection, or from now-defunct YouTube or Grooveshark web pages. I had many of the other recordings in my collection already, but searched for online sources to allow the reader to hear what I heard when writing the book. Naturally, these posted “videos” will disappear over time, although most of them then re- appear six months or a year later with a new URL. If you can’t find an alternate location, send me an e-mail and let me know. In the meantime, I have provided low-level mp3 files of the tracks that are not available or that I have modified in pitch or speed in private listening vaults where they can be heard. This way, the entire book can be verified by listening to the same re- cordings and works that I heard. For locations of these private sound vaults, please e-mail me and I will send you the links. They are not to be shared or downloaded, and the selections therein are only identified by their numbers from the complete list given below. Chapter I: 0001. Maple Leaf Rag (Joplin)/Scott Joplin, piano roll (1916) listen at: http://www.youtube.com/watch?v=9E5iehuiYdQ 0002. Charleston Rag (a.k.a. Echoes of Africa)(Blake)/Eubie Blake, piano (1969) listen at: https://www.youtube.com/watch?v=R7oQfRGUOnU 0003. Stars and Stripes Forever (John Philip Sousa, arr. -
The Tri-State Skylark Strutter
THE TRI-STATE SKYLARK STRUTTER Member of South Jersey Cultural Alliance and Greater Philadelphia Cultural Alliance Member of American Federation of Jazz Societies and Jersey Arts VOLUME 19 NUMBER 3 BEST OF SOUTH JERSEY 2008 NOVEMBER 2008 ********************************************************************************************************************************* THE STRUTTER HAS GONE EMAIL The Tri-State Jazz Society proudly presents: We have reduced our costs of printing and mailing. If you wish to help by receiving an email edition in place of this edition, please send in your email address If you did not receive it in pdf, please let us know! Please help us save money for good bands!! We would be glad to put your friends on the email list. AARON WEINSTEIN Dd Quartet Concert Admission WITH $20 ADMISSION Dan Levinson, Ed Wise, and Frank Vignola $15 MEMBERS $10 STUDENTS $10 FIRST TIME MEMBER GUESTS Pay At the Door No Advanced Sales S AMERICAN LEGION HALL BROWNING ROAD AND RAILROAD AVENUE, BROOKLAWN, NJ 08030 OUR NEXT BAND CONCERT Aaron Weinstein was named a “rising star violinist” by Downbeat Magazine. He grew up in Chicago (New Trier High School) and SUNDAY, NOVEMBER 16 graduated from Boston‟s Berklee School of Music. He founded a 2 PM high school group that was voted nation‟s BEST. He has won many competitions in Illinois and eksewhere. He has played concerts with the legendary Bucky Pizzarelli, John Pizzarelli, Warren Vache, Skitch Henderson, Annie Ross, Dick Hyman, Scott Hamilton, Les Paul, Howard Alden, Frank Vignola, Claude (The Fiddler) Williams, Johnny Frigo, Jay Geils, Gene Bertoncini, and more stars. He has appeared at festivals and concerts in NYC, Chicago, Iceland, France, and other European nations. -
Julien Labro Updated June 2016 Short
JULIEN LABRO ACCORDIONIST~ BANDONEONIST~ COMPOSER ~ ARRANGER Heralded as “the next accordion star,” Julien Labro has established himself as one of the foremost accordion and bandoneón players in both the classical and jazz genres. Deemed to be “a triple threat: brilliant technician, poetic melodist and cunning arranger,” his artistry, virtuosity, and creativity as a musician, composer and arranger have earned him international acclaim and continue to astonish audiences worldwide. French-born Labro was influenced early on by traditional folk music and the melodic, lyrical quality of the French chanson. Upon discovering the music of jazz legends like Charlie Parker and Miles Davis, he quickly became inspired by the originality, freedom, creativity, and the endless possibilities in their musical language. After graduating from the Marseille Conservatory of Music, Labro began winning international awards, taking first prize in the Coupe Mondiale in 1996 and the Castelfidardo Competitions in 1997. After sweeping first place in the Marcel Azzola, Jo Privat and Medard Ferrero competitions in 1995 and 1998, respectively, Labro moved to the United States, where he earned graduate degrees in Classical Music, Jazz Studies and Composition. During this time, he was exposed to and embraced other genres of music, ranging from pop and hip-hop to electronic/techno and rap, as well as Latin, Indian, Middle Eastern, and other types of world music. Labro draws from both his diverse academic background and eclectic musical influences in his professional life as a performer, arranger, and composer. His passion for promoting the understanding and love of music has well been recognized through his master classes at renowned institutions such as the Oberlin Conservatory of Music and the Cleveland Institute of Music. -
THE LONG ISLAND GUITAR FESTIVAL MARCH 31 – April 4 Harris Becker, Festival Director 2004
THE LONG ISLAND GUITAR FESTIVAL MARCH 31 – April 4 Harris Becker, Festival Director 2004 C.W. POST CAMPUS LONG ISLAND UNIVERSITY THE 12TH ANNUAL LONG ISLAND GUITAR FESTIVAL IS MADE POSSIBLE BY THE GENEROSITY OF THE FOLLOWING CONTRIBUTORS: The Augustine Foundation The D’Addario Foundation for the Performing Arts SPONSORS “Cohen, Soden & Gnadt/ Long Island Classical Guitar Society Eye Vision Associates” ADVERTISERS Solar Pool Enclosures Luthier Music Corp. of New York, Inc. Dennis Rief Agency The Classical Guitar Store Thomas Bazzolo Lisa de Grande New York Classical Sound Beach Music Guitar Society National Guitar Workshop Korg LONG ISLAND GUITAR FESTIVAL SCHEDULE OF EVENTS Wednesday, March 31 8:00 p.m. Concert, “New and Old Works for Guitar” including the New York Premiere of “Maurits 2004and Stella” (A Love Story through Letters and Poems) by David Gilbert featuring Rosana Marreco, soprano, Trey Cassels, tenor, Raymond Ayers, baritone, Mark Longo, flute, Maureen Hynes, cello, Harris Becker and Pasquale Bianculli, guitars, David Gilbert, conductor Thursday, April 1 3:30 p.m. Master Class with Cem Duruöz 8:00 p.m. Concert, Cem Duruöz, guitar Friday, April 2 2:00 p.m. “An Introduction to Notation Software for Guitarists,” John Meschi 8:00 p.m. Concert, Ronn McFarlane, lute Saturday, April 3 9:30 a.m. Master Class with Ronn McFarlane 11:30 a.m. “Recording and Editing Software for Guitarists,” John Meschi 12:00 p.m. Concert, Emerging Artist Showcase, Adam Brown, guitar 1:00 p.m. Lunch Break/Open Rehearsal for Festival Ensemble 2:00 p.m. Concert, Frank Vignola, jazz guitar, “The Frank and Joe Show” with Frank Vignola and Ken Smith, guitars, Joseph Ascione, drums, Chuck Ferruggia and Ferdinand Zuker, percussion and Gary Mazzroppi, bass 3:30 p.m. -
January-February 2015 from the Editor Welcome to the January-February 2015 Edition of the AAA Newsletter
NewsletterAMERICAN ACCORDIONISTS’ ASSOCIATION A bi-monthly publication of the American Accordionists’ Association January-February 2015 From the Editor Welcome to the January-February 2015 edition of the AAA Newsletter. As we welcome in 2015, we also welcome our new President Mary Tokarski as she takes on her leadership role at the AAA. Mary has a long af- filiation with the AAA as a Contestant, Champion, an International Delegate and Adjudicator, Artist in Residence and Executive Officer, so it seems a nat- ural step that she was elected President, as a culmination of all these roles. As Mary begins her new role, we offer our sincerest condolences to her on the sad loss of her devoted husband Frank. Mary had just returned from her concert tour in China with the Mantovani Orchestra to learn of husband's can- cer diagnosis and tragically lost him a week later. Family and friends gathered for his beautiful Funeral service in North Haven, CT on January 24th. Our thoughts are with Mary during this difficult time. As we transition to our new Team, we offer heartfelt thanks to our outgoing President Linda Reed for leading the AAA for the last 10 years. She now joins an elite list of former Presidents who have devoted their time and energies on behalf of the accordion to promote and further the instruments place in the music world. We are delighted that Linda will continue her role with the AAA as part of our incoming Executive officers, enalbing us to draw on her extensive expertise in all facets of working with the AAA. -
Impact Soundworks Releases Archtop: Hollowbody Electric Guitar
Impact Soundworks Releases Archtop: Hollowbody Electric Guitar OWINGS MILLS, MD -- Sample developer Impact Soundworks released today Archtop: Hollowbody Electric Guitar , their latest virtual instrument for the Native Instruments Kontakt platform. Archtop features an exhaustively sampled Jim Hall model archtop guitar by Sadowsky, outfitted with custom electronics and performed by Josh Workman ( http://joshworkman.com ). The library is compatible with the free Kontakt 5 Player, and is available for special introductory pricing through January 15, 2014 . Archtop is designed to suit a wide variety of musical genres, from jazz, blues, and funk, to R&B, pop, and rock; as it was recorded completely clean with two blendable pickups, the instrument can be used in virtually any context. A range of vital articulations are included, such as thumbed octaves, picked sustains, hammer-on and pull-off legato, portamento (glissando), tremolo, harmonics, and more. Impact Soundworks was founded in 2007 by composers Andrew Aversa and Will Roget, II with the goal of creating innovative, affordable and unique sample libraries “designed with composers in mind .” “We were thrilled to collaborate with Josh to create this instrument,” said Aversa, lead designer of the library. “Thanks to his extensive experience as a session player and performer, we were able to capture and include all the essential techniques and nuances that make the end result great.” The sound content of Archtop includes nearly 9,000 24-bit stereo samples, with up to 4 dynamic layers and 8 round robins per note. It also features a detailed, custom user interface allowing total control over instrument mapping, fretting, effects, and engine settings.