The G&L guitar company was founded by original Fender legends Leo Fender and George Fullerton, along with Dale Hyatt, in the late 1970s. After taking some time out from guitar design, Leo initially worked with Music Man before deciding to start up a new company to further refine his classic designs of the 40s and 50s. To this day G&L guitars are hand made on Fender Avenue in Fullerton, California, the spiritual birthplace of Leo’s original guitar designs.
Leo’s original designs were quite revolutionary, and that’s why they’re still in use today, but with G&L he felt he could offer a new perspective on his old designs. Some of these innovations include the dual-fulcrum vibrato, which anchors on two pivot points to improve tuning stability and tonal transfer; the G&L Saddle-Lock bridge, which uses an Allen screw to lock bridge saddles in place (a design feature occasionally found in the work of some other companies); and George Fullerton’s patented tilt neck mechanism, which allows easy adjustment of the neck angle without having to hassle with shims and guesswork.
The G&L Legacy Special uses Leo’s 54 and 62 Stratocaster designs as a starting point, but adds the G&L Dual Fulcrum bridge, special bi-cut neck, and a combination of two G&L DualBlade pickups in the neck and middle and a PowerBlade humbucker in the bridge. The G&L Legacy model, minus the ‘Special’ designation, uses a trio of Magnetic Field Design humbucking pickups designed by Leo).
The Stratocaster inspiration is obvious from a quick glance at the Legacy Special, but the distinctive design of the bridge immediately sets it apart from its older brother. The sheer amount of steel looks like it would add gobs of sustain, something Strats aren’t traditionally known for. The headstock too is a departure from Leo’s earlier design, but if you examine it closely, it actually appears to be created by following a traditional Stratocaster contour until the B string tuning peg, where it juts inward to end with the standard smaller Telecaster scroll.
The locking Schaller tuners add further heft to the headstock while keeping tuning nice and stable in the face of wild whammy bar antics, and the fretboard radius is surprisingly flat compared to a Fender Stratocaster. Underneath the G&L logo on the headstock is written “Guitars By Leo” – a nice touch. Frets are absolutely flawless, with mirror-clean finishing and a very tactile rounding to the edges. It instantly gives the guitar a played-in feel. Also interesting to note is the massive depth of the neck itself. It’s one of the deepest I’ve seen on a bolt-on electric, second only to that of the original Jeff Beck Strat. It’s an impressive chunk of wood but it still fits snugly and comfortably in the hand, proving you don’t need a ruler-thin neck for playing comfort.
Finish on the review model is jet black, matched by a black/white/black three ply pick guard, and black controls and pickups. There are many colour options available, but perhaps my personal favourite is the butterscotch body with black pick guard, which reminds me of the custom Strat-style guitar Frank Zappa played in the 80s. The twin-blade pickups themselves look like exactly what they are: painstakingly handmade. There’s a roughness to the finish which, far from looking cheap, actually makes them look more impressive and ‘big-time.’ The blades also nicely echo the frets, adding to the visual flow of the instrument.
Picking up the Legacy Special, once again the impression is of a serious, ‘big boy’s guitar.’ It’s heavy and sturdy and it seems to have a presence about it that commands attention, and this impression is verified by a single unplugged strum. I’ve never heard an unplugged solid body electric sound this loud and full. You could just mic it up and have a perfectly usable clean tone for recording.
The flatter fretboard radius is especially well suited to huge wide bends with great pitch accuracy, and it also makes light work of big chord stretches.
The bridge pickup has a chewy, hot attack and nice warm overtones, and is surprisingly suitable for metal rhythms. The middle and neck pickups have a single coil vibe with hotter output and no noise, with a slight scooped mid tone and hairy highs. Despite its somewhat classic looks it puts out a rather modern tone, and while it can cover a lot of tonal bases, it always retains its own character. You can still hear the tone of the wood no matter what pickup selection or gain level you use.
The PTB tone system consists of a master treble cut and a master bass cut, instead of the pair of tone controls you would expect from this design. It’s an especially tidy solution for fine-tuning clean rhythm guitar tones, and can also take some of the wool out of the distorted tone at higher gain levels, opening up the sound a little more for increased dynamics.
The Legacy Special is a great jack of all trades guitar, yet it still retains its individual character. Like Leo Fender’s early guitars, it too feels like it would survive 50 years of use and still be at the top of its game. It’s also a good option for heavier players who want to dip their toe in the waters of Stratocaster ownership but want something a little more sleek and industrial.
PICKUPS: 2 G&L Dual Blade and 1 G&L Power Blade humbucking pickups
BODY WOOD: Alder on Standard and all solid finishes, Swamp Ash on all Premier finishes
NECK: Hard Rock Maple with Rosewood or Maple fingerboard
NECK RADIUS: 12″ (304.8mm)
NECK WIDTH AT NUT: 1 5/8″ (41.3mm)
TUNING KEYS: 6:1 ratio locking machine, sealed lubrication, adjustable knob tension
BRIDGE: G&L Dual Fulcrum vibrato with chrome-plated brass saddles
CONTROLS: 5 position pickup selector, PTB system
FINISH: Standard finishes
I can’t seem to find a shopping link among my affiliates for the exact model reviewed, but I found this, which looks awesome: G&L Legacy Electric Guitar with Tinted Maple Neck Blonde
iheartguitarblog — iheartguitar is making waves not only online, but in print. This blog is pure professionalism. His content is very well written and the writer (Peter) flows with knowledge, and his website’s name [iheartguitar] is the perfect name for Peter, because he truly does love guitars. Read his blog and you’ll quickly see how passionate he really is. Keep up the good work Peter!
Recently I dug out my old copy of Jeff Buckley’s ‘Grace,’ an album which had a bit of a cult following before Buckley’s death in 1997. Aside from his distinctive singing voice, Buckley was a very accomplished guitarist who spent some time learning music theory at Musicians Institute in Hollywood.
For amps, Buckley used a dual rig of Fender Vibroverbs and Mesa Boogie Dual Rectifier combos, with an Alesis Quadraverb digital rack unit for ambient effects. The cream Fender Telecaster with a mirror pickguard that he is most often associated with was on loan from a friend, and in addition to a Rickenbacker 12 string he sometimes played a few Ibanez Talmans.
There are several tricks to getting that clear, sonorous clean tone Buckley was known for. Let’s look at ‘em.
You don’t need a high-output humbucker for Jeff Buckley tones. A neck single coil, particularly a lower-output Telecaster-style unit, will give you that bell-like top end and tight bass. I find that this type of pickup sounds best with a laquered maple fretboard, which seems to emphasise the ‘snap’ of the string, and add a bit of acoustic-like zing.
Look for an amp which has high clean headroom, meaning you can turn it up loud without the amp distorting. However, this doesn’t mean ‘look for a quiet clean amp.’ You’ll need something with enough power to get some real travel out of the speakers, and you’ll find that even with clean amps there’s a sweet spot in the volume where the speakers really push the sound out, yet compress just enough to even things out nicely too. A little gentle compression such as from an MXR Dyna Comp pedal may help you achieve a little of this effect if you’re on a budget, but really there’s no substitute for volume.
When people think ‘clean tone’ they often think ‘chorus pedal.’ While Jeff Buckley used chorus from time to time, he used it more as an occasional effect than a big part of his sound. Try an analog-style chorus with a tone control which allows you to trim off some of the high end, and run it through the front of the amp for vintage warble, rather than through an effects loop. For distorted sections try an overdrive pedal rather than a full-on mega-gain distortion box, and keep the tone control relatively subdued. Telecasters can sound a little harsh with too much distortion, but they can sound great when you roll off the high end you discover a whole new, smoother sound underneath.
The final important element is to pay a lot of attention to how and where you pick. If you pick closer to the fretboard you’ll get a little ‘clickiness’ through the neck pickup, and more of a hollow tone. If you pick closer to the bridge, it’ll be brighter and sharper. Varying between these extremes is a great way of moving from a quieter verse to a louder chorus and back again.
CLICK HERE to buy the Fender Standard Telecaster Electric Guitar Arctic White
CLICK HERE to see Ibanez Talman guitars on eBay
CLICK HERE to see Fender Vibroverb amps on eBay
CLICK HERE to see Mesa Boogie Dual Rectifier amps on eBay
CLICK HERE to see Alesis Quadraverb effect units on eBay
YES! What a huge time for metal in Australia. Impending tours by Queesnryche, Megadeth + Slayer, Dream Theater, Kreator, Devildriver + Lamb of God + Shadows Fall… now this. Man I’d better strengthen up my neck muscles.
CHIMAIRA – ‘SPREADING THE INFECTION’ AUSTRALIAN HEADLINING TOUR 2010
with Special Guests
For the past decade, Chimaira has been one of the most consistently heavy and dedicated bands in metal. With their latest release, The Infection, the Ohio sextet has further honed their sound to one of punishing brutality.
The US sextet is set to return to Australia in January, 2010 to once again destroy venue stages and drive audiences into a frenzy with their patented brand of ferocious precision.
On The Infection, they have delivered a cinematic sonic rollercoaster with machine-gun drumming as tight as a mosquito’s ass, guitar work that hits the ears like a punch in the guts, and venomous vocals that are both tortured and threatening. This all adds up to a sound that the band has described as a “circle pit inside a burning ballroom.”
This is Chimaira’s first headlining Australian tour, having supported their peers In Flames, Biohazard & Korn on their last two trips Down Under. As thousands of Chimairians can attest, Chimaira live are untouchable, and their first headline tour of Australia will prove that fact yet again.
The Infection was released in April via Riot Entertainment and entered both the Aria & JB Hi Fi Charts
Wed, January 13 – Capital Perth
Thurs, January 14 – Fowlers Live Adelaide Licensed All Ages
Fri, January 15 – Billboard The Venue Melbourne Over 18’s
Sat, January 16 – Billboard the Venue Melbourne Under 18s Afternoon Show
Sun, January 17 – The Hi- Fi Brisbane
Mon, January 18 – The Metro Sydney Licensed All Ages
Wed, January 20 – The Transmission Room Auckland NZ Licensed All Ages
Yonac Software Releases Steel Guitar, Innovative Guitar App for iPhone and iPod Touch
(New York, NY – July 29, 2009) Yonac Software is pleased to announce the release of Steel Guitar. Steel Guitar started as an idea of bringing a beloved instrument to the iPhone. The result is an incredible user interface that allows users to play with ease and unique settings to customize the sound. Steel Guitar utilizes several features to empower the guitarist including:
• Slide guitar emulator with “pedal” bending and multiple instruments
• 4 instruments:
Lap Steel (6-String)
Nashville (10-String with E9 tuning)
Texas (10-String with C6 tuning)
• 4 different tones per instrument:
• Easy fretboard scrolling
• Built-in common tunings and/or pedal-hookups for each instrument
• Volume/pitch bend pedals hooked up with 4 axes of the iPhone/iPod Touch Accelerometer
• Adjustable fret width, pickup height and string spacing
• Chorus/Vibrato effect
• Compatible for iPod play along
CEO and Steel head designer James Yonac remarks:
“The Guitar has always been my first love…after working on a good deal of musical apps, [one] gets to know the iPhone interface inside and out. For some time, we have been working on emulating an instrument that would fit the iPhone interface like the proverbial glove. One of my personal favorites is the pedal steel. The most interesting thing about [the iPhone] is how well it is suited to emulate something like a lap or a pedal steel. You control the actual instrument with a so-called ‘bar’, with which you slide from fret to fret, and use your dominant hand to pluck, and pretty much take it from there. It’s much easier than attempting to play a conventional guitar on such a small screen, and in my opinion, much more musical. This carried over very well to the iPhone platform, and I think we hit the spot with how we implemented the emulation. This also sets Steel Guitar apart from most of the guitar apps out there: it’s something unique in this arena of instrumentation, and
not something you’re going to see many likes of.”
Steel Guitar is now available at the Apple iTunes app store for $.99.
Yonac Software was founded in New York City in 2008. The company mainly focuses on the development of music and sound related software. In September 2008, they released the hugely successful miniSynth, the app store’s first synthesizer. Yonac’s other iPhone applications include MegaSynth, one of the most powerful polyphonic synthesizers available, TuneORama, an easy-to-use guitar tuner, and Thereminator, a touch screen theremin.
Like SGs? Like wild colours? Love psychedelia? Me too. That’s why as we speak I’m back on the phone to Vegas putting all my money on red. Seriously Gibson, you’re gonna get my legs broke. Ladies and gentlemen, I give you the Gibson SG Zoot Suit.
Here’s some info about the finish, from the Gibson site:
The Zoot Suit comes in five extraordinary and colorful combinations: Rainbow, Black and Red, Black and White, Black and Natural, and Red and Blue.
The satin finish gives the Zoot Suit a more “natural” look. It is precisely the same material as its glossy counterpart; it just has a chemical additive to make it dry with a particular degree of sheen.
The new Zoot Suit from Gibson USA features a brand new body built with multiple birch wood laminate pieces, each dyed with a different color then compressed and bonded together to form one solid block of wood. No paint is used. Two coats of satin lacquer are then applied at a 30 sheen to provide a smooth finish and also help protect the body from any damage.
There are some pretty negative comments about this guitar from readers on the Gibson site but dude, there are already dozens of SG variants out there. If you don’t want one that looks like a boiled sweet, there are plenty of other finishes for you to choose from. The only thing – the only thing – I would change would be to have the pickups wrapped in coloured wire to match one of the hues in the finish. But that’s just me.
I don’t know if Zoot Suit is the best name for it. How about the Sears Poncho or the Boiled Sweet or the Wallet Emptier?
For more info, check out THIS PAGE on Gibson.com.
Whoa! Check out this Premier Guitar video about the G&L Rampage Jerry Cantrell model. The guitar will be available in Tribute and US-made versions in 2010.
Look at the specs of the Tribute version.
Kahler 4300 bridge
Alnico 5 humbucker designed with Jerry
Soft maple body
The US-made version will have a Seymour Duncan JB humbucker and an upgraded Kahler bridge.
Eventide effects have always been something to aspire to for me. Eddie Van Halen uses their harmonizer to split his signal to two amps with a light detune effect, and Steve Vai’s ‘Passion and Warfare’ album was a virtual shrine to Eventide’s harmonizer and delay patches. Just check out ‘Love Secrets’ and ‘Alien Water Kiss’ for a hint of what you can do with Eventide gear when you put your mind to it. The TimeFactor moves some of the company’s high quality delay effects out of the rack and on to the floor for your stomping pleasure. Let’s check it out.
The TimeFactor is that rarest of pedals that is as simple or as complicated as you want to make it, satisfying both plug-and-play philosophers and unstoppable tinkerers. It features 10 effects: DigitalDelay; VintageDelay; TapeEcho; ModDelay; DuckedDelay; BandDelay; FilterPong; MultiTap; Reverse; and Looper. DigitalDelay gives up to 3 seconds of delay, with independent delay time and feedback controls for two complete delay chains, allowing you to set up complex rhythms. VintageDelay is a more straightforward delay effect with a slightly rolled off top end. Tape Echo simulates all the lo-fi goodies imparted by vintage tape based delays; Mod Delay adds chorusy modulation effects; DuckedDelay lowers the level of the repeats when you’re playing, and turns them up to their normal level when you stop. Band Delay applies modulated filters to the delay; FilterPong bounces between the two outputs with filter effects; MultiTap allows you to set up to 10 delay taps with different time, diffusion, level and spacing; Reverse is a trippy, psychedelic backwards effect; and Looper offers up to 12 seconds of looping with dubbing and speed control, for wild sound-on-sound excursions.
Controls include delay time and feedback for both outputs; Depth, Speed, Filter, and a control labelled Xnob for controlling various parameters, such as crossfade in DigitalDelay and Reverse modes; simulated tape hiss in TapeEcho mode; and various filter parameters in some of the other modes.
The pedal has multiple routing options, including mono and stereo signal chains. There are inputs for an expression pedal, for realtime control of parameters such as delay level or speed, plus an auxiliary switch input for further control of parameters. There’s a USB output (you can download upgrades online), and MIDI Out/Thru and In.
STICK AROUND FOR THE AMBIENCE
I used the TimeFactor in a jam with a drummer (my mate Denis from high school – hi Den if you’re reading this). Although I was using an Ibanez Universe UV777BK 7-string guitar to reach a little bit into the range of a bass, the TimeFactor was indispensable in filling out the sound and keeping things from sounding too sparse. It also allowed me to clearly hear how the pedal performed at full volume.
I plugged the TimeFactor into my Marshall DSL50′s effects loop, while using a Roger Mayer Voodoo Blues and Vision Wah in the amp’s front end. The delays were lush and full, and never sounded too ‘digital’ – I’d rather my delays be organic and musical than clinical and robotic, or at least to have the choice! I especially liked the TapeEcho setting with quick cascading repeats for some Eric Johnson vibe – it’s a hard tone to try to pull off if the sound is too cold. The tap tempo function allowed me to instantly set perfect delay times for skittery electronic rhythms in the filter based modes. FilterPong sent us into a spacey, King Crimson style jam, as delays bubbled and swirled from nowhere then faded back again gracefully. DuckedDelay was great for slow, delicate single note melodies, and the Looper allowed us to build a rhythm bed to jam over.
Scroll down for a couple of great demo videos by ProGuitarShop that will let you hear just what you can get out of this pedal.
THE TIDE IS TURNING
The TimeFactor offers a huge range of control over many parameters, but it never gets in the way of creating music. It might even inspire you to create something new. Eventide have scored gold with this one, whether you need to create U2-style chiming rhythm beds, Hendrixy backwards psychedelia or Vai excess. For those who always wanted some of that high quality Eventide delay sound, but couldn’t afford the stack of notes for an H3000 harmonizer or were put off by rack gear in general, the TimeFactor is a great little gadget.
If I get any more excited about this album I’m going to explode and it’s not going to be pretty. CLICK HERE to preorder Megadeth’s Endgame from Amazon.com.
Throughout its long and colorful history, and under the tutelage of successive generations of the Martin family, C.F Martin Guitars have been continuously producing acoustic instruments that are acknowledged to be the finest in the world.
The 20th century ushered in a period of tremendous growth for Martin that eventually peaked in 1928 before the Great Depression of 1929 brought about a reversal in fortune. It was during these darkest years that the company emerged with two major developments that would have lasting effects: the creation of the now famous “Dreadnought” guitar, and the invention of the 14-fret neck.
Though an early version of the Dreadnought – so named after a large class of World War I British battleships – appeared in 1916, it was exclusively made for the Oliver Ditson Company, a retail and wholesale distributor. At first these instruments were not very well received simply because there were not many singers using guitars, and solo players felt that the bass on the Dreadnought was overbearing. However, as folk singing became increasingly popular, interest in the Dreadnought increased. The deep bass response of a Dreadnaught was a very unusual feature to musicians used to the clear treble and overall balance of smaller “standard size” instruments.
And when the Dreadnought made its way into the hands of country music performers, it also found an appreciative audience. So when the Ditson Company closed shop in the late 1920s, Martin began producing Dreadnought guitars under its own name. The first models were designated the D-1 and D-2. The D-1, like the earlier Ditsons, was a mahogany bodied instrument while the D-2 introduced what may still be the most popular style of steel string guitar; the rosewood bodied Dreadnought.
Though all of the early Dreadnoughts featured a 12-fret neck, Martin decided to introduce the 14-fret neck version in 1929 in an effort to increase the guitar’s range and make it a more versatile instrument. Dubbed the “Orchestra Model”, it was so well received that Martin extended the feature to all models in its line. Later renamed the OM-28, it was the first regular Martin guitar specifically designed for steel strings, and it proved so popular that other guitar makers copied it, becoming an industry standard.
In 1933 the first D-45 (left) appeared as a custom order for Gene Autry. Autry had wanted a guitar similar in appearance to his idol Jimmie Rodgers’ 000-45, but in the new large body style. The 1930s and 1940s continued to be an active time of development for the company that would lead the company through a period of prosperity in the post-war years due to the rising popularity of country music. With country stars the likes of Hank Williams and Lester Flatt all playing Martins, interest in the guitars soared to new heights. This was further boosted by the explosion of folk music in the 1950s. Many folkie artists of the day such as Judy Collins, The Kingston Trio, Peter Yarrow of Peter, Paul and Mary, (it’s often acknowledged that Peter Yarrow popularized the D-28S) and Woody Guthrie all appeared on stage, TV and their album covers playing Martins.
In 1954, the Martin Company again started building Dreadnoughts with the elongated body and 12-fret neck, but on a very limited basis. The resulting D-28S model proved to be popular enough that, in 1968, Martin added it (and the D-18S and D-35S) to its regular line. Versions of all three models are now featured in the Martin “Vintage Series.”
In the late 1960s Paul McCartney and John Lennon both took their D-28 Martin guitars to India during their visit with the Maharishi where they co-wrote many of the songs that appeared on the now legendary Beatles’ White Album. Those D-28s also showed up many times back at Abbey Road Studios and were used for several of the White Album’s acoustic tracks like Mother Nature’s Son, I Will, It’s Been A Long Time, Blackbird, and Rocky Raccoon. In the 1968 Martin re-introduced the famed D-45, as they had not made any D-45s since 1942. And a totally new model the D-41, was introduced in 1969 to fill the gap between the D-35 and the new D-45. This instrument featured pearl borders around the top only, as opposed to the all encompassing borders on the more expensive D-45.
Also beginning in the early ’60s, Martin launched a short foray into the world of electric guitar manufacture. Martin had first wet its feet with the electric guitar in 1959 when it started slapping DeArmond pickups onto some of its acoustic guitars; OO-18E, D-18E and the D-28E were laptop guitars with DeArmond pick-ups. But it’s first truly electric guitars didn’t appear until 1962. Consisting of three main models, the “F” series comprised F-50, F-55 and F-65, all hollow bodied electrics with F holes and again fitted with DeArmond pick-ups. The F series Martin electric body shape was closer to the 1930’s Martin F series arch tops. In 1966 Martin replaced the “F” series with the “GT” series that consisted basically of the GT-70 and GT-75 thinline models. It wouldn’t be until a decade later before Martin would introduce a new series of electric guitars; the E-18, EM-18 and EB-18 guitars and basses before bowing out of its manufacture of electrics completely in 1982.
With the tremendous interest in acoustic guitars in the early 1970s (which coincided exactly with the new “soft-rock” era of James Taylor, Loggins & Messina, Crosby, Stills, Nash and Young – whom favoured the pre-WWII models – and Seals & Crofts), the Martin company increased production to an unprecedented rate. The 1970s also saw the company in acquisition mode eventually acquiring the renowned Vega Banjo Works of Boston, the Fibes Drum Company – makers of a unique fiberglass drums – the Darco String Company and the A. B. Herman Carlson Levin Company of Sweden, all of which uniformly lost money for the company.
Martin debuted the D-76 Bicentennial model in 1976 and shortly thereafter followed it in late ’76 with the HD-28. The HD-28 was a conscious effort to remake a guitar from the past—the prewar herringbone D-28. Like the early Dreadnoughts, it featured scalloped top braces, a small maple bridge plate, and herringbone marquetry around the top. This bow to the past was to prove to be a very popular model.
In the early 1980s, the company slumped to its lowest ebb since the Great Depression years. The decade proved to be one of it’s darkest in its history, with the only new addition to any guitar line being the JM (now called simply J) model in 1985 which followed on its predecessor the M sized model back in 1977.
The 1990s would see the company eventually returning to its former glory days. In 1994, Martin issued a recreation of Gene Autry’s famous 12-fret D-45 which bore a list price of $23,000! And in 1995 Eric Clapton collaborated with Martin on a limited edition 000-42 (right) with a number of other special features. Only 461 were made (the figure commemorates Clapton’s 1974 ‘comeback’ album “461 Ocean Boulevard”) and the project was so successful that Martin went on to develop a signature Clapton model, the 000-28EC which is currently available under the Vintage series.
And in 1996 a collaboration with “MTV Unplugged”, would yield a highly unusual Dreadnought that mixed both rosewood and mahogany tonewoods with MTV conceived inlay patterns. As the company heralded in the 21st century and looked forward to the future, it also celebrated its one millionth Martin guitar to roll off its production line.
Joe Matera is the lead guitarist with Australian rockers GEISHA. He is also a respected music journalist whose interviews appear in countless guitar magazines around the world from ‘Australian Guitar’ and ‘Guitar & Bass’ to ‘Performing Musician’ and ‘Guitar World’. He’s interviewed everyone from Aerosmith, Tool and Motley Crue to Steely Dan, Black Sabbath and Cheap Trick.
I bought my Airplane Flanger from TunnelVision Music for $149. It took a week to get here to Australia from the US and now I can stop having USPS.com as my home page.