Danelectro launch Reissue ‘66-12 electric 12 string guitars

I’ve spent the last week or so daydreaming about 12-string electric guitars (which is not a rare occurrence for me, to be honest. I’ve wanted one since I first heard The Beatles). Danelectro has released many great 12s over the years, and they’ve just announced a Reissue ’66-12, which of course features Dano’s legendary Lipstick pickups in the form of a coil-splittable Lipstick humbucker alongside a wide range neck single coil. I especially like the black one. Giving me big goth vibes.

Here’s an unboxing video from Tim Nienhuis:

And here’s the press release.

Danelectro launch Reissue ‘66-12 electric 12 string guitars.

Modern Danelectro® 12 string electric guitars have often been described as ‘…possibly the best electric 12 you’ll ever play for the money.’ The originals from the 1950’s, are still regarded as the finest ever built and were pioneers in 12 string electric guitar designs.

The new Reissue ‘66-12 once again overflows with avant-garde and retro styling, with all the sonic merits and vintage emotions that have earned Danelectro respect from guitar players and collectors around the world.

Features include a striking double cut-away, reverse body with a delightful ‘German carved’ bevelled edge design. A single f-hole sculptured in the lower bout denotes that the ‘66-12 is semi-hollow, naturally adding sustain and presence, and with alder the perfect choice for the construction and centre block, provides a balanced tone of focused low, mid and high frequencies.

Needless to say, the classic 12 string Danelectro Lipstick® pickup combination is a joy of joys in itselfj. Now with a coil-tapped dual Lipstick humbucker in the bridge position, the ‘66-12 delivers the familiar clear tone at single coil or humbucker volume levels.

Combine this with the warm sweet tone of a full range single coil pickup with large housing angled at the neck, and the amount of tones offered are staggering. The ‘66-12 is indeed, one of the most versatile electric 12 string guitars available that also offers superb playability to match.

With a great string action, sleek C shape, bolt-on maple neck and a smooth 22 fret pau ferro fingerboard, this gorgeous example of Danelectro workmanship, is a songwriter’s inspiration from the first strum of an open chord, to soaring solo note runs.

Hardware includes chrome master volume and master chrome tone controls with ‘D’ motif and 3-way selector switch, whilst straight string-pull from the vintage style die-cast machine heads to the fully adjustable bridge, via a precision-cut 12 slot graphite nut, ensures stable tuning and accurate intonation.

Now with more warmth and more jangle, the new Danelectro ‘66-12, is visually arresting with f-hole binding, a black or white 2 ply scratchplate and finished in a choice of two high gloss finishes: transparent 3 Tone Burst or Black, the only problem is…what color to choose.

The Danelectro ‘64XT in Ice Gray is the emotional salve we need in these trying times

PRESS RELEASE: The Danelectro® ‘64XT™ electric guitar (already proving to be yet another line of ‘Dano best sellers’) is now available in a stunning Ice Gray finish.

This stunning new ‘all-over’ finish on the ultra cool vintage shaped Danelectro chambered body also includes the neck and classic Dano Coke bottle headstock, and more than highlights the ‘64XT’s modern and authentic adaptation of that classic, off-set, reversed double cutaway body shape from the 1950’s. This striking color is also offset with a cool Black Marble pickguard.   

Without doubt, with classic Dano retro styling, the ‘64XT is pretty to look at, but aesthetics aside, the heart of every instrument is its tone. It’s here that this exceptionally cool guitar excels, with the unmistakable sparkly clean jangle of the single coil lipstick pickups that work for a host of styles, from surf to country, rockabilly to blues, to rock.

Hardware and electrics for this highly respected guitar include master volume and master tone controls, 3-way selector switch and large single coil pickup angled at the neck, delivering a warm sweet tone that’ll please the most hardened jazz player.

Back in the bridge position, a dual humbucking lipstick pickup is installed at the opposite angle, with coil tapping facilities via the master tone control, offering the classic Danelectro tone at humbucker or single coil outputs. Straight string-pull from smooth geared machine heads to a fully adjustable Wilkinson vibrato, via a precision cut graphite nut, allows the ‘64XT to return to zero pitch every time, whilst ensuring accurate and stable tuning.

Needless to say, the sonic versatility of this stunning electric guitar now available in this spectacular Ice Gray finish is immense, and playability to match with a great string action, sleek neck and fingerboard that inspires songwriting creativity from first position chords to soaring solo harmonic runs.

Little did Nathan Daniel know when he started to produce electric guitars in the early 1950’s, just how many bona fide Rock Gods would owe their career move to Danelectro guitars, one of the few guitar brands that can truly be described as legendary, classic, iconic, retro, cool, hip and trendy.






Meet the Danelectro 3699 Fuzz

I love a good bit of synchronicity, and there’s an absolute gem at the end of this press release about the new Danelectro 3699 Fuzz!

Danelectro reissue the iconic 3699 Fuzz™.

Renowned for their cool retro looks, playability and unmistakable sound, Danelectro® guitars were right there at the birth of rock and roll and are still as popular as ever.

Throughout this incredible journey, Danelectro owner Steve Ridinger has also produced some of the finest foot pedals in the history of guitar effects, which includes the classic FOXX® 3699 Tone Machine®, one of the most iconic guitar effect pedals of all time.

Now available as a reissue, the new Danelectro 3699 Fuzz™, mirrors all the glorious fuzz tones that made the original a must-have for thousands of players around the world, ever since it was invented by Steve in the 1970’s.

Today it’s housed within a sturdy metal chassis with Danelectro’s custom wear and tear finish, aged knobs and funky large lens orange on/off indicator. Steve’s also reintroduced the original analogue circuitry and included decades old NOS transistors which are gain selected so there’s a narrow gain range to produce really sweet tones along with some modern tweaks.

While the unmistakable vintage core-tone voice remains, upgrades include, independent foot switchable octave, now with a significantly more pronounced octave shift, adding a new dimension to chords and extreme highs to solo note runs.

The overall tone is also warmer, while a single tone control with a massive range, blends a broad array of exciting frequencies with the 3699’s classic edgy fuzz, which responds exceptionally well at any point throughout the guitar’s volume control sweep. New features also include a mini-toggle switch for a boost in the mid-range (to counteract the mid-cut of the original pedal) and true bypass switching.

Steve’s often been asked why this stunning octave fuzz pedal was originally referred to as 3699. Back in the ’70s, it was considered cool for a company to have a phone number that spelled out the name of your product, so he figured out which numbers were needed to spell F-O-X-X. What he got was 3-6-9-9. To his utter amazement, this was already the FOXX company phone number, which was randomly assigned the year before by the phone company. Weird or spooky maybe, either way, the Danelectro 3699 Fuzz™ is the #1 choice for vintage fuzz.

Behold! The Mighty Bass VI

Squier Vintage Modified Bass VIBack in the early days of the electric bass, nobody quite knew what the hell a bass should be. Should it be an electric version of an upright? No, not everyone has the lower back strength to really, truly rock out on stage with one of those things. Leo Fender’s Precision Bass set a precedent that was followed by pretty much everyone pretty much instantly, and almost all basses today are descendants of that design. But in the late 50s a few companies started messing around with something else. Some call it the bass guitar. Some just call it a six-string bass. But although Danelectro were the first to bring one to the mass market, Fender also took the idea and ran with it. Picture this: an oversized guitar with six strings, but tuned a full octave down, and with string spacing that’s much more guitar-like than bass-like.

[geo-out country=”Australia” note=””]Click Here to find a Bass VI of your very own in eBay stores[/geo-out] Read More …

INTERVIEW: Joby Ford of The Bronx

1623664_10152187216967490_699894447_nIt’s often been said that The Bronx have taken brutal party music to a new level. Their fourth album, released last year, is ample evidence that they’ve been able to capture their frantic-yet-precise energy in recorded form (check out their frigging excellent four album, for instance) but to really feel it, to really live it, you have to see them in the flesh. And this month me and my fellow Aussies will be able to, as the band returns to Australia for about the jillionth time for shows in Brisbane, Melbourne, Hobart and Sydney with High Tension. I caught up with guitarist Joby J Ford for a good old-fashioned geek-out.


How many times have you been down here now? 

Oh man… six? Seven? Maybe more? Quite a bit! I think as a band, selfishly, there are fantastic places to go in the world, and we get to go to Australia a lot. I don’t know if you’ve ever been to Germany but I’d rather go to Australia… Hahaha. I think Australia has a fantastic scene and fantastic bands, and every time we come down there we discover new bands… like DZ Deathrays… every band we get to play with down there is super-inspiring and I think there’s a calibre… even dating back to bands we never got to play with like the Lime Spiders, all these great garage bands of Australia who are unsung heroes. There was a compilation that came out called Do The Pop!, which was all the unknown, sort of forgotten underground bands of Australia and it’s some of the most fantastic music I’ve ever heard. When we first came down there eight years ago, nine years ago we were introduced to it and it’s still in heavy rotation on all of our iPods.  Read More …

INTERVIEW: Cold Chisel’s Ian Moss

Cold Chisel are one of a kind. Their music is equally likely to appeal to the guitar nerd down the street as it is to the guy who fixes the hole in the roof, the lady who makes your coffee, your doctor. Yet somehow the band never seemed to make it big outside of Australia. Maybe it was just a case of wrong time, wrong place. But perhaps the democratisation of music will open new doors for the reformed band. Perhaps new album No Plans will be their big chance to show the rest of the world what they’re capable of: soul and blues-tinged rock with the powerful vocals of Jimmy Barnes [geo-out country=”Australia” note=””]- you might know him from the band Living Loud with Steve Morse, Bob Daisley and Lee Kerslake – [/geo-out]and the brilliant guitar work of Ian Moss. Produced by Kevin Shirley, No Plans must be a difficult album for the band. It’s their first in 14 years, and the first without drummer Steve Prestwich, who died in January 2011. One of his compositions, “I Got Things To Do,” is on the album, along with some new tracks played on the band’s record-breaking Light the Nitro tour of 2011. “In late 2009 the five of us made plans to record together again and do a tour,” As Barnes says. “After lots of twists and turns that’s exactly what we’ve ended up doing but due to Steve’s passing those plans changed a lot along the way. The last two years have reminded all of us that sometimes life deals up things you don’t expect. You can’t take anything or anyone for granted. Sometimes it’s best to have no plans.”

I Heart Guitar: No Plans is a pretty diverse album. It goes through a lot of different moods. Was that the plan? 

Ian Moss: I guess it’s hard to be objective. I was kind of hoping it’d seem like more of a unified record, so it’s interesting to hear that there are lots of different styles. I guess over and above, we were trying to achieve raw power.

Well the title track, which starts the album, definitely does that. It kicks off very strongly.

Yeah! The distinctive tones of Barnes. The first thing you hear is Barnes. And hopefully that edge. Because there were really no overdubs. We went for it. We’re all in it together here and we played til  we got it right. That gave it a bit of oomph.

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