I’m crushed to hear of the passing of Phil Emmanuel, following an asthma attack last night at age 65. A brilliant player and a great guy. If you ever saw him play – solo or with Tommy – you witnessed a player who could go from country to surf to Satriani in the space of a bar, all with a cheeky smile. His album Kakadu Sunrise is an eclectic, beautifully-executed celebration of the guitar and his various musical interests, but it was onstage that Phil really came into his own. He was a brilliant mimic on the guitar, not in an unoriginal, copycat kind of way but in an ‘entertain the people by any means necessary’ way. His playing was more hard-rock than Tommy’s in many ways, but he could play the hell out of a country chicken pickin’ lick or an Irish jig, imitate pedal steel like the real thing, convince you that you were listening to Hank Marvin in 1963, then throw in a Van Halen lick just for kicks. The sense of humour and fun in his playing was undeniable and he clearly lived to play. Phil and Tommy released a brilliant album called Terra Firma in 1995 which captured their intuitive musical language and fun, but part of Phil’s magic was that he brought that same joy with him whether he was playing with his brother or with a pick-up band at a pub. A few years ago Phil and Tommy toured together to celebrate 50 years of making music together (they started when they were absolutely tiny) and it was exactly as amazing as you’d expect, with the brothers pushing each other to ridiculous levels of performance.
Phil sort of took me under his wing when I was about 15. He would do clinics and gigs locally quite often because his keyboard player, Simon Mills, had a piano store called London Music that also sold Valley Arts guitars and Soldano amps. I’ll never forget the first time I met him. Simon introduced us and we talked guitar for ages. Phil even sneakily bought me a beer that night and he tried to persuade my mum to let me hang out with the lads and have a few more and stuff me in a taxi at the end of the night, haha. (Mum said no). I saw him many more times over the next few years, and when I did Work Experience at London Music he gave me a few guitar pointers, particularly about focusing on melody and keeping it fun.
Thanks for everything, Phil. My deepest condolences to Tommy and family.
HOLLYWOOD, Calif. (May 9, 2018) — Fender Musical Instruments Corporation (FMIC) today announced the 60th anniversary celebration of Fender’s mostcreative and expressivemodel: the Jazzmaster. A hero of the underground, the Jazzmaster has been adopted by generations of artists looking for unique sonic qualities and combinations, unlocking genre defying sound that lives on today within music and culture.
In 1958, Fender introduced the Jazzmaster as the top-of-the-line electric guitar for jazz musicians; later the sound and easily modifiable style attracted counterculture and misfit players, including aficionados of surf guitar – who rarely hesitated to personalize their instruments and make a sound of their own. Over the past 60 years, players across genres have wielded Jazzmaster guitars – from J Mascis (Dinosaur Jr.), Lee Ranaldo (Sonic Youth) and Elvis Costello to Troy Van Leeuwen (Queens of the Stone Age), Chelsea Wolfe, Jim Root (Slipknot), Chris Stapleton, Portugal. The Man and The War on Drugs. A cult classic today, the Jazzmaster still is the core tool for contemporary artists and innovative players continuing pushing the creative boundaries of music.
To celebrate the 60th anniversary occasion, Fender is releasing highly collectible iterations of the beloved Jazzmaster, including three, limited edition models in select colors: the Limited Edition 60th Anniversary ’58 Jazzmaster, Triple Jazzmaster and Classic Jazzmaster.
“The Jazzmaster is the little engine that could,” said Justin Norvell, SVP, Fender Products. “It didn’t follow its original destiny to be a jazz guitar, but found a niche on the creative cutting edge and maintains significant popularity today as we celebrate its 60th anniversary. Whether it’s surf, ‘90s punk rock or alternative music, the Jazzmaster has remained the guitar of choice, pushing music forward into uncharted territory.”
The original ‘58 Jazzmaster boasted a revolutionary offset waist, distinctive-sounding pickups, a flexible rhythm/lead circuit and was the first Fender guitar to sport a rosewood fingerboard. An homage to the original prototype of this ground-breaking guitar, the 60th Anniversary ‘58 Jazzmaster accurately recreates the bold and distinctive look and feel of the original 1958 prototype, giving players a taste of the Jazzmaster in its original form. The Limited Edition 60th Anniversary ’58 Jazzmaster is offered in 2-Color Sunburst. The Triple Jazzmaster features amodern, triple-pickup and is an homage to the mod ethos that permeates Jazzmaster player circles. Combining authentic looks and uniquely flexible wiring – the guitar also features brand-new humbucking pickups from pickup guru Tim Shaw for a guitar that’s ready to rip it up on stage and off. The Limited Edition 60th Anniversary Triple Jazzmaster is offered in Daphne Blue. Classic Jazzmaster updates the classic 1966 model with features that modern, creative players are sure to appreciate. This model is a reproduction of the 1966 Jazzmaster, which at the time, was updated with the following features: bound neck, block inlays, and as a special aesthetic touch, a slick-looking matching painted headstock. These stylish visual cues—as well as the rich, multi-dimensional sound—made this one of the most sought-after Jazzmaster models. The Limited Edition 60th Anniversary Classic Jazzmaster is offered in Daphne Blue, Black, Vintage Blonde, and Fiesta Red.
The 60th anniversary Jazzmaster models are available at local dealers and on www.Fender.com on the below dates; models include:
o Available Now: Limited Edition 60th Anniversary ‘58 Jazzmaster – $2,299.99
o Available September 2018: Limited Edition 60th Anniversary Triple Jazzmaster – $1,999.99 and Limited Edition 60th Anniversary Classic Jazzmaster – $1,199.99.
To learn more about Fender’s 60th Anniversary Jazzmaster models and for product descriptions of each model, click here. For series product images, click here.
For technical specs, additional information on new Fender products and to find a retail partner near you, visit www.fender.com. Join the conversation on social media by following @Fender.
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ABOUT FENDER MUSICAL INSTRUMENTS CORPORATION:
Since 1946, Fender has revolutionized music and culture as one of the world’s leading musical instrument manufacturers, marketers and distributors. Fender Musical Instruments Corporation (FMIC), whose portfolio of brands includes Fender®, Squier®, Gretsch® guitars, Jackson®, EVH® and Charvel®, follows a player-centric approach to crafting the highest quality instruments and musical solutions across genres. FMIC is dedicated to unlocking the power of music through electric and acoustic guitars, amplifiers, pro audio, accessories and digital products that inspire and enable musical expression at every stage, from beginners to history-making legends.
Social media is a shitshow lately. I don’t need to remind you about certain divisive presidents of certain international superpowers, or particular superstars who always seem to pop up to draw attention to themselves when someone else is getting too much positive press. Whipping out your phone to check your social feeds can be unintentionally stressful, and the metal community is no exception. Staind’s Aaron Lewis shot his mouth off at Limp Bizkit’s Wes Borland recently for referring to Los Angeles rather than his native Jacksonville, Florida as his home (like there aren’t millions of people who want to re-forge their identity outside of their hometown), and it spilled over into Facebook arguments among fans on various Facebook groups. Drum legend Mike Portnoy is always speaking out against metal news sites that seem to phrase their headlines in ways designed specifically to generate arguments in the comments section. And don’t get me started on the shitstorms whipped up in the replies any time Kerrang! or Revolver tweets about Slipknot, Ghost, The Pretty Reckless, Babymetal… It’s enough to make you want to chuck your phone in the creek and go have a lie down under a tree.
Sometimes you need to step back and realise that your social media feed is for you to curate. If you’re cramming this information in your head all day, it’s okay to make sure you’re only cramming in the stuff that doesn’t send you into a panic attack. I’ve noticed there are a few particularly great social media accounts that post uplifting-but-still-totally-metal content, and I find they help me get through my day as someone who buries their face in their phone way too much and would rather load up on a ‘promote what’s great, not what you hate’ philosophy. If that sounds good to you, here are some recommendations for people to follow on Twitter. Oh and I’m @iheartguitar if you don’t follow me already.
Ben Eller – @BenEllerGuitars Uncle Ben is one of the sweestest dudes you’ll ever meet. A great guitarist and bassist, he puts a lot of heart and happiness into everything he does, whether it’s sharing spicy guitar memes or his hugely popular This Is Why You Suck At Guitar YouTube series. (Dude can only get away with that series title because he’s so damn nice).
Kimberly Freeman (One Eyed Doll) – @Kimberly_OED Kimberly is the frontwoman of the duo One Eyed Doll. Imagine if a supernatural horror movie could play metal guitar, or if What We Do In The Shadows was a band instead of a hilarious mockumentary. Kimberly is incredibly supportive of her fans, and her retweet game is crazy strong.
Jose Mangin – @JoseMangin A self-described heavy metal ambassador, Jose is a host on Sirius XM Radio and the dude lives metal. He’s the kind of guy who will put his Uber driver on the guest list for a festival he’s hosting, and he’s a big believer in using metal as a catalyst to bring people together across racial and social divides.
Jared Dines – @JaredDines Jared is a music/comedy YouTuber with nearly 2 million subscribers, who makes videos about metal cliches and tropes, but is also a talented guitarist who understands that metal can simply be fun. Check out his recent video where he uses a custom Australian-made 18-string Ormsby guitar to create a crushing-but-hilarious djent track.
Higgo – @Higgo74 You may have heard Higgo on Triple M or GoldFM, or on his Distortion podcast. Dude is metal through-and-through and he always on top of the latest bands and releases as well as the classics. Even if I do razz him for tweeting about reality TV sometimes. Heh.
Jaide Soto – @Jaide_Alicia Jaide is an 10-year-old metal journalist from the USA who was raised on a diet of Van Halen and KISS, and whose metalhead dad helped her set up shutupandrockon.com to share her reviews and interviews with the likes of Fozzy’s Rich Ward (another great person to follow at @thedukeofmetal), Faster Pussycat guitarist and rescue-dog advocate Ace Von Johnson (@acevonjohnson) and Twisted Sister’s Dee Snider.
Dean Delray – @DeanDelray Dean is a comedian and former rocker from California whose podcast Let There Be Talk is a must-listen resource for great conversations with rock royalty. He’s utterly hilarious onstage so if he’s ever in your neck of the woods, do go see him and you’ll have a great night.
There’s a big hole in my heart. It’s shaped like a flanger with trigger mode, and there just aren’t enough of them on the market. Or at least there wasn’t until now: Earthquaker Devices has just announced the Pyramids Stereo Flanging Device. It has five presets, eight flanger modes, tap tempo, tap subdivision, a multifunction Modify control, positive and negative Feedback and a variable Mix control, which is something you don’t see on a flanger every day. But most excitingly for my Zappa-loving ass, it has Trigger Up and Trigger Down modes.
From the press release:
Pyramids “Activate” footswitch features EarthQuaker Devices’ exclusive Flexi-Switch™ technology. This relay-based true-bypass switching platform allows for momentary or latching operation, making it easier than ever to engage the effect to bedazzle individual notes or phrases! For standard latching operation, tap the footswitch to activate the effect and tap again to bypass. For momentary operation, simply hold down the footswitch for as long as you’d like to use the effect. Release the footswitch to bypass.
Pyramids eight flanger modes are: Classic: delivers the “classic” (duh) jet-plane liquid-silk flanging sound we all know and love. In this mode, Pyramids recreates the studio-quality sounds of old-school ADT (automatic double tracking) as heard on timeless recordings by those fabulous mop-tops from England (you know which ones) and on the most ripping double-tracked riffs to come from the New Wave of British Heavy Metal. Through-Zero: provides authentic tape-style flanging without all the calibration, biasing, demagnetizing of heads, and so on that a real tape machine – two of ‘em, actually – requires. Use Through-Zero Mode to achieve intensified, swirling, dramatic phase cancellation and comb-filtering effects in stereo! Barber Pole Up: infinitely sweeping upward flanging effect with no discernable beginning, middle, or end creating an “endless circular staircase” effect derived from the Shephard Tone auditory illusion popularized in television, video games, and film. Barber Pole Down: infinitely sweeping downward flanging effect with no discernable beginning, middle, or end creating an “endless circular staircase” effect derived from the Shephard Tone auditory illusion popularized in television, video games, and film. Trigger Up: In this mode, Pyramids provides an infinitely upward sweeping flanger that restarts the flange cycle with each new pick attack or by pressing the Tap/Trigger footswitch. Trigger Down: In this mode, Pyramids provides an infinitely downward sweeping flanger that restarts the flange cycle with each new pick attack or by pressing the Tap/Trigger footswitch. Step: sweeps up and down in stepped increments, producing a rhythmic flange effect similar to an arpeggiator and/or sequencer on a synth instrument.
Random: sweeps up and down in random intervals, creating a chaotic flange effect similar to a synthesizer or envelope filter’s “sample & hold” function.
To accommodate any input source, Pyramids includes stereo input and outputs which allow for a variety of routing options onstage or in the studio. Routing possibilities include:
Mono in / Mono out
Mono in / Stereo out
Stereo in / Stereo out
In addition, Pyramids’ Trigger Up/Down modes allow for Side Chain Flanging, in which an external control source (drum machine, sequencer, CV) may be used to trigger the flanger while you play another instrument! In this configuration, the primary instrument is routed through the Right Input and Right Output while the control source is patched into the Left Input. Also, Pyramids’ Manual control may be modulated in all modes via expression pedal (sold separately).
I know a lot of my guitar buddies are getting more and more into synths these days. I personally have really, really been enjoying IK Multimedia’s Syntronik. Now IK has really kicked it up a notch with UNO Synth, a true analog synth at an affordable price with all sorts of user-friendly features. Watch the video below to get a little hint at what it can do.
I love that UNO Synth marries IK’s knowledge of intuitive and future-thinking control functions with the unmistakable feel of analog. This looks like something you can easily incorporate in a live setting or within a studio setup, and it looks so easy to use that I could probably turn my 11-year-old kid loose on it and he would come up with some pretty cool stuff.
May 2, 2018 –IKMultimedia proudly debuts its premier hardware synthesizer, UNO Synth. Designed for everyone interested in rich, true analog sound, this new monophonic synth offers a wide sound palette and easy programmability in an ultra-portable, battery-powered format for on-the-go music creation, live performance or studio recording – all at an affordable price.
The ultimate real analog synth for everyone IKMultimedia combined its more than two decades of experience in software and hardware development with the expertise of Italian boutique synthesizer maker Soundmachines and IK‘s synth guru Erik Norlander (one of the brains behind acclaimed synth designs including the Alesis Andromeda). The result is a no-compromise instrument that delivers massive analog sound along with hands-on programmability and advanced features.
UNO Synth delivers everything from classic to modern sounds to create music in any genre. First-time synth users get instant gratification from this easy-to-use instrument – 100 presets and an easy-to-play keyboard with selectable scales and an arpeggiator make UNO Synth the perfect gateway into the synthesizer world. Experienced pros will also love its rich sound and easy portability.
Great sounding true-analog audio path
Beneath its miniature exterior, UNO Synth packs a powerful synth engine with professional sound and a full analog audio path on par with more expensive synthesizers. It includes:
An all-analog audio path with 2 VCOs, noise generator, resonant multimode VCF and VCA
2 independent VCOs with Saw, Triangle and Pulse waveforms with continuously variable shape including PWM of the square wave plus a separate white noise generator
A 2-pole OTA-based analog resonant sweepable multimode filter (LP/HP/BP) with overdrive
7 LFO waveforms (Sine, Triangle, Square, Up Saw, Down Saw, Random and Sample-and-Hold) to modulate Pitch, Filter, Amp and continuous oscillator wave shapes including PWM
This highly flexible engine excels in producing the rich, warm, punchy, deep bass sounds that are the core of a high-quality monophonic synth, and brings a wide sonic palette of leads, drones, arps, sequences, sweeps and effects.
While UNO Synth is monophonic, its two independent oscillators can be tuned differently to generate interesting pad-like interval sounds and octaves. Pulse width modulation of each oscillator offers advanced modular-style timbres from classic synths.
The pure analog filter brings all the warmth, depth and fatness expected from a real analog synth. The multimode resonant filter can be used for subtle tonal modification or screaming, aggressive resonant sweeps. The filter can also be modulated with the filter envelope, LFO and performance buttons.
Ease-of-use with powerful programming
UNO Synth comes with 100 grab-and-go presets (80 fully rewritable), making it ready to play out of the box. Each preset also includes an associated arpeggio and sequence for even greater musical expression and sonic power. This makes it easy for everyone to find the perfect sound fast, for a productive and enjoyable experience.
More than 40 onboard controls are available on the top panel to give real-time access to synth engine parameters, for immediate sound sculpting capability with no deep menus to scroll through. For added control, a Mac/PC editor is also available.
The UNO Synth’s generous 27-note onboard multi-touch keyboard offers over two octaves of sound control as a chromatic keyboard or as a predefined scale keyboard with 13 available scales. The built-in arpeggiator with 10 arpeggio modes and a 4-octave range offers even more creative possibilities for keyboardists and non-keyboardists alike.
The UNO Synth keyboard also doubles as a step-edit control for its built-in, 100-pattern sequencer. Sequences can be programmed in real-time or in steps (with modulatable synth parameters per step), making the UNO Synth sequencer among the most powerful in its class.
In addition to a built-in delay effect, five instant performance modulations are also available (Dive, Scoop, Vibrato, Wah and Tremolo) for added real-time playability and instant dynamic expression during performances.
Ultra-portable, battery-powered, for on-the-go music
UNO Synth’s ultra-compact dimensions make it among the smallest monophonic synths available. Its light weight (only 400g) and battery power (4xAA included) or USB power-supply (for battery power banks) give musicians the freedom to make music anywhere.
Use it standalone, with other gear, or with a DAW
On its own, UNO Synth can be used to make music whenever and wherever inspiration strikes. The built-in audio input also allows for daisy chaining other external audio devices (like drum machines) with no additional mixer, for a small footprint and extreme portability.
MIDI IN and OUT enables connection to a master keyboard or any MIDI gear for use in a live or studio rig as a sound module. Via USB MIDI, UNO Synth also conveniently integrates directly with a DAW running on Mac/PC computers or mobile devices, without additional hardware interfaces.
Made in Italy
UNO Synth is proudly made in IK‘s own Italian manufacturing facility, to ensure the highest quality standards. Like the majority of IKhardware products, UNO Synth is built using a combination of IK‘s state-of-the-art, automated mounting machines and test systems, and fine, renowned Italian craftsmanship.
Pricing and availability
UNO Synth is available now for pre-order with free shipping from the IKMultimedia online store and from IK authorized dealers worldwide for the affordable price of only $/€199.99*, with shipping scheduled for July 2018.