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CITES Musical Instrument Certificates Background Musicians Perform With
CITES Musical Instrument Certificates Background Musicians perform with valuable and culturally significant musical instruments legally crafted decades and even centuries ago. A number of these instruments contain small amounts of ivory, shell, reptile skin, and rosewood or other materials regulated under the Convention on International Trade in Endangered Species of Wild Flora and Fauna (CITES). The international use of musical instruments by musicians and professional and student ensembles is essential to advance diplomacy, spark artistic innovation, and support vital international cultural activity. In partnership with CITES parties and the conservation community, music stakeholders have undertaken efforts to increase compliance with current permit requirements while simultaneously pursuing policy improvements that will alleviate unnecessary burdens. Musical Instrument Certificate Created at CoP16 – A Consolidated Permit At the 16th Conference of the Parties (CoP16), Resolution Conf. 16.8 was adopted on Frequent Cross-Border Non-Commercial Movements of Musical Instruments, creating a multi-use Musical Instrument Certificate. The Musical Instrument Certificate is not an exemption from the permit process. It is a consolidated permit. The MIC streamlines the requirement for obtaining multiple CITES export permits when an instrument contains CITES material and is not exempted from permit requirements by an annotation or a personal effects exemption. Musicians using the MIC apply to their CITES Management Authority for issuance of single permit, which must then be credentialed by CITES enforcement officials at each port through which an instrument travels. Clarifications and Exemptions Approved at CoP17 At the 17th conference of the parties (CoP17), unanimous approval was given to Resolution Conf. 16.8 (Rev. CoP17), which: 1. -
The Tonal Quality of Coarse-Grained Sitka Spruce (Picea Sitchensis) Grown on Haida Gwaii, Near Awun Lake British Columbia, Canada
FPInnovations Western Region 2665 East Mall Vancouver, British Columbia V6T 1W5 The Tonal Quality of Coarse-Grained Sitka Spruce (Picea sitchensis) Grown on Haida Gwaii, near Awun Lake British Columbia, Canada Prepared for: PACIFIC RIM TONEWOODS INC. P.O. Box 2009 Concrete, WA 98237 by Les Jozsa Research Scientist Emeritus FPInnovations March 2012 Les Jozsa Dave McRae Roland Baumeister Project Leader First Nations Liaison Manager, Western Regional Industry Advisor Delivery Notice Neither FPInnovations, nor its members, nor any other persons acting on its behalf, make any warranty, express or implied, or assume any legal responsibility or liability for the completeness of any information, apparatus, product or process disclosed, or represent that the use of the disclosed information would not infringe upon privately owned rights. Any reference in this report to any specific commercial product, process or service by trade name, trademark, manufacturer or otherwise does not constitute or imply its endorsement by FPInnovations or any of its members. © 2012 FPInnovations. All Rights reserved. No part of this published Work may be reproduced, published, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, whether or not in translated form, without the prior written permission of FPInnovations, except that members of FPInnovations in good standing shall be permitted to reproduce all or part of this Work for their own use but not for resale, rental or otherwise for profit, and only if FPInnovations is identified in a prominent location as the source of the publication or portion thereof, and only so long as such members remain in good standing. -
1968 Super 400.Rtfd
1968 Gibson Super 400CN Serial #: 526295 Body size at lower bout:18" Scale length: 25-1/2" Nut width: 1 9/16" Materials: Handcarved bookmatched fine grained solid spruce top; highly figured tiger flame maple back and neck; ebony fingerboard with mother of pearl block fingerboard and peghead inlay; 5-ply body, neck, head and pickguard binding, triple bound f-holes, polished bone nut. Hardware: All original hardware, including engraved gold-plated tailpiece; compensated Brazilian rosewood bridge; truss rod cover with "Custom" imprint; factory correct quintuple-bound tortoise replacement pickguard installed. Notes: Of all the details of the life of Mr. R. E. Getz of Chicago, Illinois, we know only this. On September 16th, 1968, he walked into Monti's Music Center in Maywood and bought the most expensive guitar in the store. How do we know this? Firstly, because this information is recorded on the original pink sales receipt, still sitting in the accessory compartment of the case. And secondly, because on that day there was no more expensive guitar to be had anywhere in the world than a brand new, blonde, cutaway Gibson Super 400. The other thing we know is that Mr. Getz took good care of his toys. Very good care. Because this remarkable guitar remains in essentially the same condition as it did the day that receipt was carefully folded into it's case. Except, of course, the instrument is now 40 years old. And the amber blonde finish has aged to the color of a perfect piece of toast. This same finish which highlights one of the largest, and most highly figured slabs of bookmatched tiger flame maple ever wrested from the forests of northern Michigan. -
Voyage Air Vad-2 $2,699 Acoustics
VOYAGE AIR VAD-2 $2,699 ACOUSTICS When this is removed, the remaining guitar would quite Voyage Air comfortably fit in overhead storage on an aircraft. Folded down, the hinge is VAD-2 $2,699 exposed at the 14th fret and sits directly under the rosewood It folds, but how does it sound? fingerboard. The entire neck joint has actually been cut by Kris Petersen through and rejoined via a single pin and a hand tightening screw that doubles as a strap join. While this probably ith acoustic guitars even opened the box. Arriving case itself consists of two sounds extremely odd, when there really aren’t an in what appeared to be a 2 x 12 sections. The main guitar bag the guitar is once again in one Wamazing number of combo box, the Voyage Air includes a tough contoured piece, the join isn’t noticeable, original ideas throughout guitar was delivered folded outer shell and a detachable visually or when being played. history – but then again we are down and snug in its case. The manuscript/laptop/leads bag. While the majority of the talking about an acoustic guitar. guitar appears to be a well The test of time has allowed crafted instrument consisting this instrument to remain “… in recent times, the need for of a solid sitka spruce top, a solid relatively untouched as a instruments that are portable has rosewood back and sides, a perfect example of the ‘if it ain’t rosewood fingerboard,g oard, aandnd aann broke don’t fix it’ mantra. become more demanding.”g ababalonealone centre ring, a fret However, in recent times, the need for instruments thathat areare portable has become moreore demanding. -
Die Welt Der Taylor Gitarren
Wilder Charakter Blackheart Sassafras Herbst-LTDs Blackwood 500er Voll-Koa 300er & GS Mini 40 Taylor-Innovationen Warum man mit Verstärker spielen sollte Zeit für einen Saitenwechsel 2 www.taylorguitars.com | Sommerausgabe]. Ich war von 1984 12 hatte ich mal Klavierunterricht gehabt, sofort, dass sich die Basswiedergabe AUSGABE 80 herbst 2014 bis 1988 der Fahrer von Prince. Auch aber als ich die Mädchen entdeckte, war der A- und E-Saite massiv verschlechtert Leserbriefe auf der Purple Rain-Tour war ich dabei. es mit meiner angehenden Musikkarriere hatte. Ich war niedergeschmettert. Die Mir wurde ein umgebauter schwarzer am Ende. Ein langjähriger Freund vom Gitarre klang nicht mehr wie eine Taylor. > IN DIESER AUSGABE < Besuchen Sie uns auf Facebook. Abonnieren Sie uns auf YouTube. Folgen Sie uns auf Twitter: @taylorguitars Transporter zugeteilt, um Prince zu Hot Licks Guitar Shop verkauft Taylor- Außerdem war nicht mehr viel vom Steg den klanglichen Verbesserungen, von fahren. Als ich mir den Wagen ansah, Gitarren. Er war überzeugt davon, dass übrig, und die Justierung hatte einen den strahlenden Höhen bis zu den stieß ich auf einen Gitarrenkoffer. Ich ich noch was lernen kann. Also kaufte dämpfenden Effekt auf das Sustain der tiefen, artikulierten Bässen, rockt es spiele selbst Gitarre, weshalb ich ich eine 518e, und ich liebe ihren Klang. tiefen E-Saite. Es fehlten die starken mit dieser Gitarre viel besser, und ich neugierig war. Ich sah an der Seite Inzwischen sieht mein Zuhause aus wie Bass-Schwingungen, die ich zu hören muss sie nicht missbrauchen, um die den Taylor-Schriftzug, aber ich muss eine Taylor-Ausstellung. Jedes Modell ist und fühlen gewöhnt war. -
Ibanez Market Strategy
Ibanez Market Strategy Billy Heany, Jason Li, Hyun Park, Alena Noson Strategic Marketing Table of Contents Executive Summary ....................................................................................................................................... 3 Firm Analysis.................................................................................................................................................... 4 Key Information about the Firm ........................................................................................................... 4 Current Goals and Objectives ................................................................................................................ 5 Current Performance ................................................................................................................................. 6 SWOT ............................................................................................................................................................. 7 Current Life Cycle Stage for the Product .......................................................................................... 8 Current Branding Strategy ...................................................................................................................... 9 Industry Analysis .......................................................................................................................................... 10 Market Review ........................................................................................................................................ -
Three Millennia of Tonewood Knowledge in Chinese Guqin Tradition: Science, Culture, Value, and Relevance for Western Lutherie
Savart Journal Article 1 Three millennia of tonewood knowledge in Chinese guqin tradition: science, culture, value, and relevance for Western lutherie WENJIE CAI1,2 AND HWAN-CHING TAI3 Abstract—The qin, also called guqin, is the most highly valued musical instrument in the culture of Chinese literati. Chinese people have been making guqin for over three thousand years, accumulating much lutherie knowledge under this uninterrupted tradition. In addition to being rare antiques and symbolic cultural objects, it is also widely believed that the sound of Chinese guqin improves gradually with age, maturing over hundreds of years. As such, the status and value of antique guqin in Chinese culture are comparable to those of antique Italian violins in Western culture. For guqin, the supposed acoustic improvement is generally attributed to the effects of wood aging. Ancient Chinese scholars have long discussed how and why aging improves the tone. When aged tonewood was not available, they resorted to various artificial means to accelerate wood aging, including chemical treatments. The cumulative experience of Chinese guqin makers represent a valuable source of tonewood knowledge, because they give us important clues on how to investigate long-term wood changes using modern research tools. In this review, we translated and annotated tonewood knowledge in ancient Chinese books, comparing them with conventional tonewood knowledge in Europe and recent scientific research. This retrospective analysis hopes to highlight the practical value of Chinese lutherie knowledge for 21st-century instrument makers. I. INTRODUCTION In Western musical tradition, the most valuable musical instruments belong to the violin family, especially antique instruments made in Cremona, Italy. -
Sussex Shutters for a Lifetime
sussexAt shuttersNorman Shutters for we’rea lifetime committed to providing worry-free product performance. To ensure your total satisfaction, all Norman Shutters are supported by a 3 year manufacturers warranty. Sussex by Norman Shutters. Luxury unmatched in the shutter industry. Contact your window covering professional today for a consultation. Outside mount, 3” ridge deco frame, 4 H” louvers, hidden tilt rod, perfect arch, sunburst louvers in honey Sussex Suers CUSTOMISED LUXURY • Specialty shapes and customisation for any window, any shape, any size • Hand-selected White Teak with quarter-sawn louvers • Master craftsmanship and advanced processes • Multiple-sequence furniture-quality finish Sussex® by Norman Shutters® Leader of Fine Window Furniture® © 2014 Norman International® Company All photographs are a copyright of Norman International® Company ™ and ® denote trademarks owned by Norman International® Company Sussex® by Norman Shutters® • Leader of Fine Window Furniture® you deserve the luxury of sussex shutters advanced processes Prescription Wood Conditioning™ Discriminating homeowners deserve the opportunity to accentuate their windows with Norman Shutters, We are the only shutter manufacturer to employ the finest shutters available. The luxurious Sussex line is nothing short of exquisite. Masterfully crafted from an exclusive Prescription Wood Conditioning technique to reduce White Teak, Sussex Shutters are designed to beautifully complement any window in the most distinguished style. post-installation shrinking and swelling inherent to wood products. Like any home investment, only shutters of exceptional quality will provide long-term value and increase Our wood conditioning specialists determine the humidity conditions of each customer’s appreciation. Norman Shutters ensures the beauty and durability of our home location. -
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. -
Overview Guitar Models
14.04.2011 HOHNER - HISTORICAL GUITAR MODELS page 1 [54] Image Category Model Name Year from-to Description former retail price Musima Resonata classical; beginners guitar; mahogany back and sides Acoustic 129 (730) ca. 1988 140 DM (1990) with celluloid binding; 19 frets Acoustic A EAGLE 2004 Top Wood: Spruce - Finish : Natural - Guitar Hardware: Grover Tuners BR CLASSIC CITY Acoustic 1999 Fingerboard: Rosewood - Pickup Configuration: H-H (BATON ROUGE) electro-acoustic; solid spruce top; striped ebony back and sides; maple w/ abalone binding; mahogany neck; solid ebony fingerboard and Acoustic CE 800 E 2007 bridge; Gold Grover 3-in-line tuners; shadow P7 pickup, 3-band EQ; single cutaway; colour: natural electro-acoustic; solid spruce top; striped ebony back and sides; maple Acoustic CE 800 S 2007 w/ abalone binding; mahogany neck; solid ebony fingerboard and bridge; Gold Grover 3-in-line tuners; single cutaway; colour: natural dreadnought western guitar; Gruhn design; 20 nickel silver frets; rosewood veneer on headstock; mahogany back and sides; spruce top, Acoustic D 1 ca. 1991 950 DM (1992) scalloped bracings; mahogany neck with rosewood fingerboard; satin finish; Gotoh die-cast machine heads dreadnought western guitar; Gruhn design; rosewood back and sides; spruce top, scalloped bracings; mahogany neck with rosewood Acoustic D 2 ca. 1991 1100 DM (1992) fingerboard; 20 nickel silver frets; rosewood veneer on headstock; satin finish; Gotoh die-cast machine heads Top Wood: Sitka Spruce - Back: Rosewood - Sides: Rosewood - Guitar Acoustic -
01437 1965 Epiphone Olympic SB 722D. Sunburst (9.00)
A Fine, All Original Mid-Sixties Two Pick-Up Epiphone Olympic 1965 Epiphone Olympic SB 722D. Sunburst (9.00). #01437 $1,750 This fine and very light guitar weighs just 5.60 lbs. One-piece mahogany neck with a fast thin-to-medium profile. Black faced 'Batwing' headstock with "Epiphone" silk-screened in gold. Rosewood fretboard with 22 original jumbo frets and pearl dot markers. Serial number "323241" stamped in blind on back of headstock. Six-in-a-row 'double-line' Kluson Deluxe tuners with white plastic oval buttons. The scale length is a standard Gibson 24 3/4 inches and the nut width is just over 1 9/16 inches. Two Melody Maker single-coil pickups with nice, balanced outputs of 6.97k and 7.09k. Single-layer white plastic pickguard with inlaid silver Epiphone 'Epsilon' and eight screws. Four controls (two volume, two tone) plus three-way selector switch and jack socket, all on pickguard. Black plastic ribbed-sided knobs with metal tops with red markings. The potentiometers are stamped "134 6508" & "134 6523" (Centralab February & June 1965). Combination ridged "wrap-over" bridge, factory Epiphone Vibrola tailpiece with tubular tremolo arm with walrus-tooth tip. There is a minimal amount of belt-buckle scarring on the back and a few very small surface marks, mainly on the edges. This fine little, all original mid- sixties guitar is in exceptionally fine (9.00) condition. Housed in a later 3-latch black softshell case with blue felt lining (8.50). "The solidbody line got a complete overhaul that gave the models as much first- impression power as the new sharp-pointed, double-cutaway Gibson SG models. -
Shade Tree Info – the Maples
Shade Tree Info – The Maples Acer rubrum is commonly known as Red Maple, or Swamp Maple. Varieties of Acer rubrum offered by Four Seasons include: ‘Autumn Flame’ – one of the first Red Maples to show fall color, Autumn Flame has smaller leaves than most other Red Maples. The branching habit is excellent and the rate of growth is medium. The bright medium-red fall color occurs about 2 weeks earlier than ‘Red Sunset.’ Height x width in 20 years = 30-35’ x 30-35’ ‘Red Sunset’ (A. r. “Franksred’)– has consistently been rated as one of the top 5 shade trees in America since it’s introduction in the mid 1960’s. The clean green leaves turn a fiery orange-red every fall and the symmetrical branching of ‘Red Sunset’ make for a great specimen tree. Height x width in 20 years = 35-40’ x 30-35’ ‘October Glory’ – is the last of the Red Maples to show fall color, with leaves turning deep red about 2 weeks after ‘Red Sunset.’ As with all the rubrum Maples we offer, excellent branching structure and bright light gray bark is a trademark of ‘October Glory.’ Height x width in 20 years = 35-40’ x 30-35’ General notes: Acer rubrum varieties prefer moist soils (remember, they are also known as Swamp Maple) and they require a soil pH below 7. Therefore, rubrum Maples are NOT a good choice for planting in parkways where their roots will wander into the limestone base of a street. But for open lawn areas, they are beautiful trees, and the color they reliably achieve each fall is intense.