In celebration of Halloween I’ve written an article for the Seymour Duncan blog about an eeeevil-sounding scale I came up with. I like to use this to pretend I’m Black Sabbath. You can hear a demo track composed with this scale below, but be sure to read the full article to learn the scale for yourself and to take in the different elements it’s composed of.
The original TC Electronic G-System is pretty hard to top. An integrated effects and switching system, it’s been at the heart of the guitar rigs of some pretty influential artists, including Steve Vai, Peter Thorn and Bullet For My Valentine. Pro players love the way it brings together all the essential elements of their rig (more on that in a minute) along with some very high-quality effects. But TC Electronic knows good advice when they hear it, and the G-System iB Modified was born out of some helpful suggestions from a few industry insiders.
Dweezil Zappa has been talking up the brilliant site theguitarvaults.com a lot lately, and he’s posted something super mega ultra amazing: a prototype Gibson Frank Zappa Tribute SG which he hopes will be available to the public soon. It’s based on Frank’s Roxy SG as it looked in that era.
Dweezil says (in part):
“This is a prototype Frank Zappa SG built to my specifications by Gibson. I will be using it on my European and US tours in the Fall and Winter of 2012. Hopefully, fans will be able to get to own one of these in the near future.”
Go here to read the rest. Maybe I’m gonna have to get me another Gibson!
I’ve noticed a lot of love for the Distortion lately. Kinda pondering popping one in one of my Ibanez seven-strings and riffing out. I especially like the lead tones Ola’s pulling in this video.
Check this out! Ibanez RC320 Roadcore. Just saw it on the Ibanez UK Facebook, and the good folks at Andertons have posted about it here. One-piece bolt-on Maple neck with Rosewood fretboard; double-bound Mahogany body; Tight-Tune bridge, and CORE-TONE pickups. And it’s also available in black. Digging the old-sch00l-inspired headstock and the binding.
I like it. It’s like an FR got it on with a Talman while a Darkstone watched.
Ibanez UK has a great image gallery here.
So if you haven’t read about this yet, here’s the story:
Leo Krebs closes his North Hollywood music store and repair shop in the early 70s. He retains about 70 instruments in storage, including brand new Martins, Fenders and Gibsons. Now, around 40 years later, these instruments are all looking to find a good home.
Just to be clear, we’re talking about things like a NOS (New Old Stock) 1960s Gibson ES335-12 12-string, an NOS Gibson SG Standard, NOS Gibson Violin Bass, NOS 60s Fender Mustain and Precision basses, NOS 60s Fender Mustang, ’56 Strat, ’65 Mosrite Joe Maphis double-neck, ’68 NOS Fender Telecaster, NOS 60s Fender Paisley Telecaster, NOS 1968 Gibson ES-175, a 1950 Fender Broadcaster… oh look, there’s so much there that you should just go check it all out. Hopefully some of it is still available for a few lucky buyers. The link is worth clicking just for the ‘Wow, I can’t believe that’s just been sitting in storage for four decades’ novelty value, and definitely for the history.
Sweden’s Hagstrom began making electric guitars in 1958, at a time when Europe was desperate for the kind of electric guitar variety available to American musicians. The company was there at the right place at the right time to capitalize on the existing visual style from its successful accordion line, with eye-catching features like sparkly and pearloid celluloid finishes. Hagstrom users over the years include Elvis, Bill Nelson of Be Bop Deluxe, Dusty Hill and the Billy Gibbons of ZZ Top, Pat Smear from Nirvana and Foo Fighters, Dweezil Zappa, Frank Zappa (who created an advertising campaign for the company), David Bowie, and Franz Ferdinand guitarist Nicholas McCarthy.
I never had time for David Bowie.
That changed when I was 16 though. I read an article in the newspaper, an interview with Bowie about his then-new album , 1.Outside. It was a concept album, planned to be the first of a series, one to be released each year until 2000 or something like that. (It didn’t quite end up happening like that. 1.Outside was the only disc released from the project). In the interview Bowie talked about his creative process and his assumption of different characters and stuff like that, and as a teenager struggling with his sense of identity and coming to terms with what it meant to be a creative person, I was intrigued. Accompanying the article was a competition: you could win the album by phoning up and answering a trivia question or something. I did, and I won. So my first Bowie album was possibly his most impenetrable, his darkest, his moodiest. The one with a graphic depiction of a disembowled cadaver in the booklet. Continue reading
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