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Ronnie Earl for a Blackface Vibroverb Today? Surely Something North of $4,000
Mountainview Publishing, LLC INSIDE the The Truth… Rarely given, we know it when we hear it, and you The Player’s Guide to Ultimate Tone TM can only get it here… $15.00 US, December 2013/Vol.15 NO.2 Report The Kansas Tornado… Another immensely tone- Truth ful classic amp that went unclaimed “Three chords and the truth – that’s what a country song is.” – Willie Nelson Size matters… Pressure is being asked point-blank which guitar, amplifier or pickup to buy. This happens frequent- The Warehouse ly enough that we have learned to pose probing personal questions in search of an answer… Well, G15A Alnico what do you think you might want and why? We don’t always know what we want until we want it, Big Fifteen and we still couldn’t always tell you why. Sometimes the things that last seem to materialize out of no where with little forethought or insight, as if we were meant to have them, and that’s the truth. 4 Richard Goodsell and the evolution of the Goodsell Super 17 Our review of the Super 17 Mark IV 10 The Goodsell overdrive 10 John McGuire Guitars Our interview with John McGuire & review of the McGuire Tradition 14 The Eastwood Jupiter Pro… We also must confess that we don’t always understand what motivates guitar players when it Simply cool comes to choosing amplifiers today. This is nothing new – most of the amps we own are immensely in every way toneful classic keepers that were ignored by potential buyers due to stripped or recovered original cabinets or a replaced transformer. -
Classic Bass Series Bass Pickups Please Check Our Website T E N
July 2005 PICKUPS AND ELECTRONICS PBF guitar pickups and Classic Bass series bass pickups Please check our website t e n www.bartolini.net . i Links from our Sales page will take you to the Product Description and n i e l p a Price Lists page. The Quick Price List shows which models are most o h t s r r easily available. a e k PBF Series c Older Humbuckers b . u b V92C-B warm HumBucker for neck or bright bridge w m u w h V94-D warmer HB for bridge - near PAF output PBF-49 Vintage neck humbucker d r w a 1CTA equal coil / unequal response / high clarity d n PBF-51 Vintage bridge humbucker S S a t 1D-01 deep & bright HB for bridge s C C I PBF-55 Special Jazz Guitar neck humbucker I S S N PBF-57 Special Jazz bridge humbucker N P P Older Strat* size single coils O O R 3XQ - N or S very clear, smooth, near Vintage tone single coil PBF-77D High Output Distortion humbucker R U U T 3X - N or S clear, smooth, full range single coil T C Creamy, smooth treble C K K 3XR - N or S deeper tone, high power, bridge pos. single coil E Excellent mids E 3D-01 N or S bright & deep single coil of 1D-01 L L C C Crisply defined bass response I I E E e p Jazz Guitar (Johnny Smith type) from bright Vintage neck PAF tone (PBF-49) D D a P P h s 5J smooth, clear dual coil - end of fingerboard bracket to the creamiest Jazz bridge humbucker tone (PBF-57) N N t a r t A 5JNB smooth, clear dual coil without mounting bracket to the raunchiest (but smooth) distortion A S R R d r S of an outstanding rock ’n’ roll bridge pickup (PBF-77D) S a d P P A A Large Humbuckers for 7 string guitar n a Available in Gold, Nickel and Chrome stamped metal shells t U U s T T 492C/B 7 string version of V92C/B and also in Black or White ABS shells. -
Patented Electric Guitar Pickups and the Creation of Modern Music Genres
2016] 1007 PATENTED ELECTRIC GUITAR PICKUPS AND THE CREATION OF MODERN MUSIC GENRES Sean M. O’Connor* INTRODUCTION The electric guitar is iconic for rock and roll music. And yet, it also played a defining role in the development of many other twentieth-century musical genres. Jump bands, electric blues and country, rockabilly, pop, and, later, soul, funk, rhythm and blues (“R&B”), and fusion, all were cen- tered in many ways around the distinctive, constantly evolving sound of the electric guitar. Add in the electric bass, which operated with an amplifica- tion model similar to that of the electric guitar, and these two new instru- ments created the tonal and stylistic backbone of the vast majority of twen- tieth-century popular music.1 At the heart of why the electric guitar sounds so different from an acoustic guitar (even when amplified by a microphone) is the “pickup”: a curious bit of very early twentieth-century electromagnetic technology.2 Rather than relying on mechanical vibrations in a wire coil to create an analogous (“analog”) electrical energy wave as employed by the micro- phone, “pickups” used nonmechanical “induction” of fluctuating current in a wire coil resulting from the vibration of a metallic object in the coil’s magnetized field.3 This faint, induced electrical signal could then be sent to an amplifier that would turn it into a much more powerful signal: one that could, for example, drive a loudspeaker. For readers unfamiliar with elec- tromagnetic principles, these concepts will be explained further in Part I below. * Boeing International Professor and Chair, Center for Advanced Studies and Research on Inno- vation Policy (CASRIP), University of Washington School of Law (Seattle); Senior Scholar, Center for the Protection of Intellectual Property (CPIP), George Mason University School of Law. -
Ted Nugent Ted Love the One You’Re With… How Optimizing the Guitars “I Am Classic Rock Revisited
Mountainview Publishing, LLC INSIDE the Mambo Son’s guitarist Tom Guerra takes a journey to the center of The Player’s Guide to Ultimate Tone TM the mind $10.00 US, September 2010/VOL.11 NO.11 Report of the Byrdland blaster, Ted Nugent Ted Love the One You’re With… How optimizing the guitars “I am Classic Rock Revisited. I revisit it every waking moment of my life because it has the spirit you already and the attitude and the fire and the middle finger. I am Rosa Parks with a Gibson guitar.” own provides cheap – Ted Nugent relief in tough times… Who among us has played 7 more than six thousand RS Guitarwork’s shows, sold 30 million Roy Bowen records, arrived at the peak on replacement of their career bankrupt, pots, tone caps, rebounded with a vengeance refins, repairs and is still throwing down and the variable nature of loud and proud thirty years nickel-silver hence? Uh-huh. Ted. In case you hadn’t noticed, the state Optimizing Junior… of Michigan, and the city of Common sense Detroit in particular, have tips for safely turned out some very inter- replacing esting human beings… Bill pots, caps Haley, Del Shannon, Jim & pickup covers McCarty, Bob Seger, Alice Cooper, Iggy Pop, Marshall 14 Crenshaw, Wilson Pickett, Primal Scream! Little Willie John, Smokey Robinson, Aretha Franklin, Chasing Madonna, Don Was, Jack tone with Wolfetone’s White, and Stevie Wonder, MarshallHead among others. hi-octane humbuckers Then there are the bands… MC5, Mitch Ryder and the plus… Detroit Wheels, Iggy Pop and Wolfe’s the Stooges, Cactus, George ‘meaner’ Clinton and Funkadelic, P90s Grand Funk Railroad, Brownsville Station, ? Mark 17 and the Mysterians, Rare The Eastman T185 MX A truly superior, Earth, the mighty, mighty Motown stable, and The White Stripes. -
The Fender 5G8 Twin-Amp
Mountainview Publishing, LLC INSIDE the Are you making it as a guitarist? It ain’t up to “them” – it’s up to you… Why great chops, all the The Player’s Guide to Ultimate Tone TM gear, a solid resumé, cool $10.00 US, September 2005/VOL.6 NO.11 Report songs & a great recording still may not get you noticed in the music biz today… Johnny A The Johnny A Interview “When you strum a guitar you have everything – rhythm, bass, lead and melody.” 9 – David Gilmore Is this love or confusion? The Marshall 30th Of all the guitars you have ever owned, has one seemed to suit you more than all the others? Did Anniversary Amp – you keep it, or has your memory of perfection only deepened with every guitar that failed to blue, brass-plated, 3 measure up to the one that got away? channels, and why it’s the only amp in Johnny A’s rig… Marshall’s Nick Bowcott on the 30th Anniversary 11 Review… Gibson’s Johnny A Signature Guitar This one does it all 13 The Gibson ‘57 Classic humbucking pickup with original designer J.T. Ribiloff 14 Review… The new Eric Johnson Signature Stratocaster… Long time coming, affordable, and the pickups rock… 16 Most of us have been guilty of letting great guitars go due to a temporary cash crunch or the The mythical low-power fever that clouds rational judgment when we impulsively sell an instrument to acquire the next brown Twin Part III… one. How many players traded a vintage goldtop, ‘59 burst or ‘50s Strat or Telecaster for an acrylic Why it never existed and Dan Armstrong, Kustom tuck n’ roll PA gear for the band, a Sunn head, or simply for the sake of how to build your own! change? www.tonequest.com cover story Consider the fickle, shifting fads that have alternately placed nothing, on-again-off-again stops and starts typical of the various Fender, Gretsch, Gibson and Martin guitars among rock music scene in the ‘70s, ‘80s and ‘90s. -
Secondhand Blues Dennis Michael Davis University of Missouri-St
University of Missouri, St. Louis IRL @ UMSL Theses Graduate Works 8-9-2013 Secondhand Blues Dennis Michael Davis University of Missouri-St. Louis, [email protected] Follow this and additional works at: http://irl.umsl.edu/thesis Recommended Citation Davis, Dennis Michael, "Secondhand Blues" (2013). Theses. 127. http://irl.umsl.edu/thesis/127 This Thesis is brought to you for free and open access by the Graduate Works at IRL @ UMSL. It has been accepted for inclusion in Theses by an authorized administrator of IRL @ UMSL. For more information, please contact [email protected]. SECONDHAND BLUES by Dennis Michael Davis B.A., English Language and Literature, Southern Illinois University – Edwardsville, 2010 A Thesis Submitted to The Graduate School at the University of Missouri – St. Louis in partial fulfillment of the requirements for the degree Master of Fine Arts in Creative Writing with an emphasis in Fiction July 2013 Advisory Committee Mary Troy, M.F.A. Chairperson John Dalton, M.F.A. Shane Seely, M.F.A. Copyright, Michael Davis, 2013 1 Table of Contents Abstract 2 Secondhand Blues 3 Stealing Home 108 2 Abstract “Secondhand Blues” is the first part of a novel-in-progress of the same title. It is a work of realist fiction that tells the story of an aspiring rock & roll artist, exploring the nature of ambition and how it affects (and is affected by) personal relationships. It also seeks to depict the world as it exists on the fringes of fame and success through the eyes of several different characters whose talents and ambitions have led them to take up residence there. -
2017 Guitars •Custom Shop • Artist Signature Series • Usa Select Series • Pro-Mod Series 2 Custom Shop Custom Custom Built
2017 GUITARS •CUSTOM SHOP • ARTIST SIGNATURE SERIES • USA SELECT SERIES • PRO-MOD SERIES 2 CUSTOM SHOP CUSTOM CUSTOM BUILT Where do you go when your dream guitar is a Charvel® and money is no object? To Charvel’s U.S.A. Custom Shop. We build the very best of the top-line best for the world’s greatest artists, and also for you. Many of the SHOP talented craftsmen who founded the shop are still a part of our valued team, creating the epitome of Charvel style and performance. 3 WARREN DEMARTINI NEW! WARREN DEMARTINI SERIES USA SIGNATURE FRENCHIE Fans have long clamored for a replica of Warren DeMartini’s famed and beloved “Frenchie” guitar, seen live on tour and ARTIST on a slew of magazine covers throughout Ratt’s reign in the 1980s. Charvel has responded with a Snow White and a Gloss Black finish, both detailed with Snow White cross decals and a tribute quote to James Dean in French that reads “too fast to live, too young to die.” Features include a Dinky™ alder body, one-piece bolt-on quartersawn maple neck, 12”- 16” compound radius maple fingerboard with 22 jumbo stainless steel frets and black dot inlays, Seymour Duncan® Custom Warren DeMartini RTM Tommy Williams Tommy (“Rattus Tonus Maximus”) humbucking bridge pickup and SSL-4 Quarter Pound™ Photo: neck pickup, three-way toggle switch, single volume control knob, Floyd Rose® Original locking bridge and Gotoh® tuning machines. 2865005803 - Gloss Black 2865055876 - Snow White Legendary lead guitarist Warren DeMartini led glam metal sensation Ratt to the top of the charts in the 1980s, co-writing several of the band’s biggest hits that earned multiple platinum albums. -
Report Germany
Mountainview Publishing, LLC INSIDE the Imagine This… Phil Brown returns with a new studio recording spanning 5 years The Player’s Guide to Ultimate Tone in La La Land, Texas, TM Colorado, New Mexico and $10.00 US, September 2011/VOL.12 NO.11 Report Germany Brown sounds… the Ampeg VL-1002, Imagine This vintage Marshall 8x10 cabs, the Hiwatt, “If you want to change your life, change your mind.” – Phil Brown Squire 7-string, Strats with Lollar Specials, The title of this edition of the Quest is also the title of Phil Brown’s latest recording, and since Jeff Beck signature, Phil has provided the featured cover story for our September visit, borrowing his title kinda makes the Black Mesa, sense. There is just one little problem… Having free-fallen into the midst of Brown’s latest one Clements, Les Paul Studio, hour and ten minute opus la Lee Jackson chitarra now for a few weeks Atomsmasher, at appropriately high decibel Line 6 DL-4, levels, we’re not at all sure Electro-Harmonix that you can indeed ‘imagine Micro-Pog, this.’ Nah, we’re being too Hermida Distortion, kind at the expense of hon- the BoneSqueeze, & esty. You can’t. Not yet, any- the Roland VS-880 way. Our job is to shake you loose from the somnambu- 9 lant torpor of late summer, Lee Jackson on an unfortunate by-product designing Ampeg amps of eeking out a livable living and the resurrection of the Atomsmasher in the USA while perhaps snatching a week or two off. Atomsmasher review Livin’ in the USA… It didn’t used to feel quite so hard, 10 did it? How did Sting put it? Red Plate Amps with Too much information… founder Henry Heistand 14 We like to believe that we Our review of the Tweedy thrive on multi-tasking and Verb being perpetually connected, and Black Verb but we really don’t, because when we are connected, we 15 really aren’t. -
About Elixir Strings Elixir Strings Is the Pioneer of Coated String Technology
FOR IMMEDIATE RELEASE Elixir® Strings announces new US distribution partnership with St. Louis Music ELKTON, MD (March 30, 2016). Elixir Strings today announced St. Louis Music as the latest addition to its network of US distributors. Working in partnership across the United States, the new collaboration is destined to offer more purchasing choices to retailers. Customers benefit by having expedient access to the full line of Elixir Strings, that includes wrap metal and coating options in a full range of gauges for acoustic, electric and bass guitars, banjos and mandolins. In the industry, Elixir Strings is known as the pioneer of coated string technology, and for their great tone and long life. “St. Louis Music is very excited to add Elixir Strings to our assortment,” said Sr. Vice President of Sales, Robert E. Lee. “Elixir Strings is a must-stock brand and being able to offer it to our dealers is another way that St. Louis Music Marketplace continues to be a single-source stop for all of our dealers’ needs.” “We are energized to be working with such an accomplished team from St. Louis Music,” said Elixir Strings Global Sales Leader Lou DiPietro. “Ultimately our goals align, as we are both committed to bringing great service to the retailers in the US, so that they in turn can deliver high-quality Elixir Strings to the passionate music-makers.” About Elixir Strings Elixir Strings is the pioneer of coated string technology. Elixir Strings is the only brand to coat the entire string including the outer string and the gaps between the windings. -
Capítulo 1. Histórico Da Guitarra Elétrica1
FICHA CATALOGRÁFICA ELABORADA PELA BIBLIOTECA DO INSTITUTO DE ARTES DA UNICAMP Rocha, Marcel Eduardo Leal. R582t A tecnologia como meio expressivo do guitarrista atuante no mercado musical pop. / Marcel Eduardo Leal Rocha. – Campinas, SP: [s.n.], 2011. Orientador: Prof. Dr. José Eduardo Ribeiro de Paiva. Tese(doutorado) - Universidade Estadual de Campinas, Instituto de Artes. 1. Guitarra elétrica. 2. Música. 3. Música – tecnologia. Interface musical. I. Paiva, José Eduardo Ribeiro de. II. Universidade Esta dual de Campinas. Instituto de Artes. III. Título. (em/ia) Título em inglês: “Technolgy as a means of expression for the guitarrist active in the pop music market.” Palavras-chave em inglês (Keywords): Electric guitar ; Music ; Music - Technology ; Interface musical. Titulação: Doutor em Música. Banca examinadora: Prof. Dr. José Eduardo Ribeiro de Paiva. Prof Dr. Ricardo Goldemberg. Prof Dr. Claudiney Rodrigues Carrasco. Prof. Dr. Edwin Ricardo Pitre Vasquez. Prof. Dr. Daniel Durante Pereira Alves. Data da Defesa: 28-02-2011 Programa de Pós-Graduação: Música. iv v vi Dedico este trabalho à coautora de minha vida, Fabiana; aos meus pais Rogério e Zezé, amores incondicionais e eternos; às minhas filhas Raquel e Lara, muito mais do que amadas; ao meu vindouro e já tão imensamente amado filho; ao meu querido irmão Rogério; aos meus avós lá no alto – em especial à querida Rosina; à Carmen; à Cida; aos meus sogros e cunhados; e aos meus queridos amigos. vii viii AGRADECIMENTOS Ao meu orientador Prof. Dr. José Eduardo Ribeiro de Paiva pela luz, paciência e incentivo. À CAPES pelo investimento em minha potencialidade. À Pós Graduação do Instituto de Artes, nas pessoas de seus funcionários e diretores. -
Gear Acquisition Syndrome
Jan-Peter Herbst & Jonas Menze Gear Acquisition Syndrome, also known as GAS, is commonly Syndrome Gear Acquistion understood as the musicians’ unrelenting urge to buy and own Gear Acquistion Syndrome instruments and equipment as an anticipated catalyst of creative energy and bringer of happiness. For many musicians, it involves the unavoidable compulsion to spend money one does not have on Consumption of Instruments and gear perhaps not even needed. The urge is directed by the belief that Technology in Popular Music acquiring another instrument will make one a better player. This book pioneers research into the complex phenomenon named GAS from a variety of disciplines, including popular music studies and music technology, cultural and leisure studies, consumption research, sociology, psychology and psychiatry. The newly created theoretical framework and empirical studies of online communities and offline music stores allow the study to consider musical, social and personal motives, which influence the way musicians think about and deal with equipment. As is shown, GAS encompasses a variety of practices and psychological processes. In an often life-long endeavour, upgrading the rig is accompanied by musical learning processes in popular music. Jan-Peter Herbst & Jonas Menze Jan-Peter 10.5920/GearAcquisition.fulltext Jan-Peter Herbst & Jonas Menze Gear Acquisition Syndrome Consumption of Instruments and Technology in Popular Music 10.5920/GearAcquisition.fulltext Published by University of Huddersfield Press University of Huddersfield Press The University of Huddersfield Queensgate Huddersfield HD1 3DH Email enquiries [email protected] First published 2021 This work is licensed under a Creative Commons Attribution 4.0 International License. -
Copyrighted Material
bindex.qxd 6/26/07 1:14 PM Page 301 INDEX Abbott, “Dimebag” Darryl, 266–267. See problems in Van Halen, 218, 248, 250, also Pantera 256, 257, 261, 268, 274–275, 277 Abbott, Vinnie Paul, 49, 266. See also trumpet playing, 16–17, 20 Pantera Arcadia, CA, 9, 16, 20 AC/DC, 95, 108–110, 156 Arch Enemy, 264 Accept, 108 Arrows, the, 11 Adams, Bryan, 186, 259 ASCAP, 33 Aerosmith, 32, 50, 54, 72, 83, 165, 185, Atlanta Rhythm Section, 49 208, 256 Atomic Punks, 246 After the Fire, 84 Atreyu, 264–265 Aguilera, Christina, 255 Aucoin, Bill, 34–35 Alice in Chains, 174, 195, 204, 264 Australia, 77, 225–226 American Bandstand (TV show), 26 Autograph, 164 Amsterdam, 7, 48, 71, 188 Azoff, Irving, 255, 256, 279 Anderson, “Big Ed,” 85–86 Angel, 44 Bach, Johann Sebastian, 12, 191 Angelus, Pete, 68, 116, 117, 156 Bach, Sebastian, 217 Anka, Paul, 269 Back to the Future (film), 150 Anthony, Michael Baker, Ginger, 17, 37. See also Cream backing vocals,COPYRIGHTED 25, 32, 69, 154, 188, Ballard, MATERIAL Glen, 208 259, 288 Baltimore Orioles, 263 bass solo, 90, 141–142, 159, 227, 259, Barnes, Jimmy, 126 273, 283 Beach Boys, the, 14, 42, 113 childhood, 4, 16–17, 25 Beatles, the, 10, 14, 31, 115, 171, 208, gear, 17, 97, 191, 187, 227 209, 251, 252, 284 family, 67, 187 Beck, 205 Jack Daniel’s bass, 97, 227, 253, 259 Beck, Jeff, 11, 58, 174, 185 Mad Anthony hot sauce, 261, 273 Becker, Jason, 169–170, 209 301 bindex.qxd 6/26/07 1:14 PM Page 302 302 INDEX Bee Gees, the, 60 Cabo Wabo Tequila, 242–243, 261, 266, Beethoven, Ludwig van, 8, 12, 21 272, 274 Berle, Marshall, 38, 45, 50, 53 Cactus, 17 Berle, Milton, 38, 50 Camel Filters cigarettes, 31, 42 Bertinelli, Valerie, 5, 65, 70, 99, 103, Campari, 274 109, 126, 148–149, 158, 160, 182, Cantrell, Jerry, 174, 195, 204.