The Devin Townsend Stormbender is a gorgeous guitar, as anyone who has got their mitts on one will know. But it’s also dang pricey. So Framus has just announced a new, more affordable version of the instrument. It’s no budget cheapie though: it’s part of the company’s D-Series, crafted in China to a very high standard, and it’s still gonna cost you a fair chunk o’cash, just not the super high prices a Teambuilt or Masterbuilt Stormbender made in Germany would cost ya.
The most obvious differences from the Teambuilt Stormbender that it most closely resembles are the use of a Tune-o-Matic bridge and Stop tailpiece instead of an EverTune system, and the absence of any fancy inlay at the 12th fret. Otherwise you might be hard-pressed to spot a difference. It comes with Devin’s signature Fishman Fluence pickups, AAAA flamed Maple veneer top, set-neck construction, 25.5″ scale length, 12″ fretboard radius… basically it’s a damn nice guitar that still sits in a higher price bracket but nowhere near the six grand that a Teambuilt will cost you here in Australia. (I haven’t even looked at the Masterbuilt prices because I’m too scared).
If you haven’t heard it yet, Devin was on the I Heart Guitar podcast a little while ago. Listen to it here.
Speaking of the Stormbender, you ever seen Devin’s rainbow one? I adore this guitar.
And if you’d like to know more about the Stormbender in general, check out this video:
And of course the song that gives the guitar its name!
If you look in the current issue of Mixdown Magazine you’ll find my interview with Stone Sour’s Corey Taylor about the band’s new album, Hydrograd (released today). We had a great chat about the band’s incredible new album Hydrograd. But we talked about a lot more than could be fit into that article, so I thought you’d like to see some other highlights from the interview.
I Heart Guitar: One moment in the single Fabuless really made me laugh: the ‘motherfucker’ in the chorus. I have a running joke where I insert unnecessary motherfuckers in songs that really don’t deserve it. Steely Dan or the Beach Boys or something.
Corey Taylor: [Laughs] Thats funny because I do that all the time when I’m in my car, singing. I’m always adding an unnecessary motherfucker to what I’m singing along to, where it just needs a little more, y’know? I mean I’m sure they would have gotten to the motherfucker eventually but they were too busy with the notes, so people like you and me provide the motherfucker for them.
That song is so eclectic. How did it come together?
That song came together from Tooch (guitarist Christian Martucci) and Roy (Magora, drums) jamming together. It was one of those songs where when we heard the demo we were like ‘Holy shit.’ It took a little arranging because it was all in different spots – it originally had a totally different feel to it – but the riffs themselves all had a great vibe. I took it and did my magic on it and worked it in with the lyrics that were going on in my head and different melodies and stuff, and it came together really quickly. It was a matter of arranging the puzzle so that the song fuckin’ figured itself out.
The first few times you listen to it you don’t quite know what could happen next.
Exactly. And that’s the cool thing. I feel like a lot of music doesn’t have that feeling any more, and you can anticipate what the next part is. With a lot of bands you can almost write the fuckin’ next riff in your head before you’ve even heard the song all of the way through for the first time. With this song it keeps you guessing right up until the last minute.
So this is the first record written with Christian Martucci and Johnny Chow.
Working with those two, honestly, was so effortless. The great thing is it all starts with us just getting along. Really getting along. We all hang out, we all love hanging out and talking shit and joking, and we’re all such dorks that it doesn’t really matter. So writing together is the same thing. We just love what we do so much that we get excited when we hear what we’re doing with the music.
How’s the spine coming along after your operation? Has it affected your range? I was thinking about how when Frank Zappa got pushed off the stage and broke his neck, and after he got rebuilt his voice got lower.
Yeah, that didn’t happen to me. It’s really only a physical thing for me. I’m slowly but surely starting to get my mobility back, and that’s even after a year. It’s been pretty crazy. But luckily I didn’t lose any of my range – actually I got some back because I quit smoking over a year ago, and I’m starting to get my range back because of that. God, if I’d know that would happen I’d have quit ten fuckin’ years ago. But I’m still in the process of rehabbing all that shit, and I’m slowing but surely getting my body back. It’s a fucking pain in the ass but I’m getting there.
I don’t think people realise how physical singing is – how much of your whole body goes into it.
Oh yeah. You can lose your chops really easily. And not only lose your chops but you can let your talent go to fuckin’ shit, and it can take you years to get that shit back. About six years ago I started to really try to keep myself in shape as much as possible, and as long as it’s worth it you just keep trying, keep going for it.
What guitars are you using at the moment?
On the road I have three guitars that I’m using, really. I have a 2008 Gibson Firebird that has a couple of Seymour Duncan pickups in it. It has a nice chunky edge to it and a really killer clean tone. Those guitars have a great clean tone. I also have a 1987 Gibson SG out with me that smells like the dude who owned it chain-smoked around it for about 45 years! It’s got the colour, but unfortunately it’s also got the smell, so I named it Keith. So I’ve got that out with me and I’ll probably bring that down with me to Australia when we get down there. And I’ve also got a Framus and I’m thinking about working some magic with those guys. I actually have a Stevie Salas Idolmaker model that I’m using right now and they’re fuckin’ pretty dope, dude. I wanna have them use that base and make a custom for me but give it more of a hollowbody vibe, and put a couple of humbuckers in it and see what happens. I think that could be really fuckin’ cool, because it plays amazingly. It’s got such fuckin’ chunk to it. It’s really great. So those three I’m kinda rotating through, just feeling them out every night.
Transcendence is the latest album from the Devin Townsend Project and in many ways it feels like a culmination of musical explorations that Devin begun in 2009 with Addicted! and that flowed through Epicloud and Sky Blue. It’s alternatingly melodic and crushing, ethereal and imposing, and in true Devin fashion it’s an album that reveals more about itself on each subsequent listen.
I love the new record. Y’know how every now and then an album comes along that’s just what you needed to hear at that point in time?
That’s awesome. Thank you, Peter. It’s a special one for me in a lot of ways, and especially the latter half. The processes that went into it and the challenges that came into it, the control issues, letting go of things and trying to participate with other people and be analytical and aware enough of myself that I could call myself on my own shit is one thing. But it also coincided with what feels like a real tangible shift in my own psyche. Now, whether or not that was because of the fact that I took myself on vacation for the first time in my life, or something to do with age, or something to do with circumstances I’m not sure. But something shifted at the same time as the latter half of this record and now I find myself in a place that is new and foreign in a lot of ways and it will be interesting to see where it goes from here. Read More …
Devin Townsend’s utterly brilliant new album, Transendence, is out now. And exclusive to Australia, the wonderful people at Framus & Warwick have made an awesome acoustic guitar available worth $2,900 AUD and you now have a chance to win it along with a Skype lesson by Devin Townsend. Check out the video below where Dev explains to you how…
One of the coolest guitars at NAMM this year was Devin Townsend’s prototype Framus signature model. Devin says there’s still some tweaking to do on the final design, but the guitar’s pretty damn impressive already. Read More …
One of the coolest guitars on show at the Winter NAMM Show this year was the Framus Idolmaker, a unique instrument designed by guitarist Stevie Salas with Framus’s Marcus Spangler and Hans-Peter Wilfer. It’s an incredibly original guitar that only vaguely recalls the merest possible hints of anything you’ve seen before, and when Salas was in Australia recently I jumped at the chance to interview him about it. But I also took the chance to chat about something very near and dear to my heart: his most triumphant guitar solo at the end of Bill & Ted’s Excellent Adventure. Here’s our chat.
So what the hell are you doing in Australia?
Y’know, I’ve been there many times before but I came down to do one song with a band from the Northern Territory, the kids of the band Yothu Yindi. They have this really cool band (East Journey) and somebody asked me if I’d come down and cut a track with them. And any chance I have to come down to Australia, I’m gonna take it. Read More …
PRESS RELEASE: From now on, all “Made in Germany“ Framus guitars will be equipped with Graph Tech Ratio tuned machine heads. The only exception to that rule is the Framus ES-model, which will still come with Framus Vintage mechanics. Graph Tech Ratio tuned machine heads offer a decisive advantage: For every string, the gear ratio is adjusted individually, ranging from 20:1 to 39:1. This means that with every turn, the pitch level changes by one tone on all strings. You will no longer need to turn all strings at different ratios to tune them – as is the case with conventional tuning mechanics. Tuning the high strings, in particular, is now quicker and easier than ever before. Read More …