Thursday, July 6, 2017
Saturday, February 28, 2015
TROY VAN LEEUWEN AND THE FENDER DOUBLE-NECK JAZZMASTER
If you’ve been to a Queens of the Stone Age concert recently, you likely saw a monster of rock on stage at some point during the show.
But we’re not talking about the intimidating 6-foot-4 QOTSA frontman Josh Homme.
Van Leeuwen (L) and Paul Waller discuss the double-neck Jazzmaster project at the Fender Custom Shop.
In this case, the unmistakable monolith is actually guitarist Troy Van Leeuwen’s new Fender Custom Shop double-neck Jazzmaster, a 12- and 6-string beauty.
Guitars with two necks are not as rare as one would think, but the fact that Van Leeuwen’s was made with the body style of the offset Jazzmaster pointed this mission into uncharted waters.
Wednesday, November 12, 2014
Dave Grohl ES-335
In his successful segue from drummer with legendary Nirvana to guitarist, singer and songwriter with Foo Fighters, Dave Grohl has eternally secured his reputation as one of the most influential alternative rockers of our time. Dave’s choice of electric guitar—surprising to some, a traditionally inspired semi-acoustic—further emphasizes his individuality, and declares his dedication to tone, style, and classic Gibson quality. To celebrate Dave’s achievements, Gibson Memphis introduces the Dave Grohl ES-335, a guitar made in the tradition of the great thinline vintage semi-acoustics, with Dave’s signature apparent from every angle in its distinctive looks, sound and feel.
Read More Here
Wednesday, November 5, 2014
4 SIGNATURES MODELS FOR FOO FIGHTERS
For an artist, it must be quite an honor to have your own Fender or Gibson signature guitar model. Most of the great guitar gods have had signature models created for them. JoePass, Tal Farlow, The Everly Brothers, Johnny Smith, Les Paul, Chet Atkins, The Ventures and Trini Lopez were among the first. In the 70’s and 80’s, it was George Benson, Paul Stanley and Bob Weir models by Ibanez. In the 90’s, there were Eddie Van Halen models, along with a flock of other metal notables. The turn of the century brought a signature model for super players Eric Clapton, Pete Townshend and Jimmy Page. Even some greats no longer with us like Jimi Hendrix, Paul Kossof and Randy Rhodes received the honor of having their own signature models. One band with the unique distinction of having 4 signature models created for them is still very much alive and rocking. In fact, in 2013 they’re still packing arenas and recording relevant music. That band is the Foo Fighters.
GIBSON: Honoring Grohl
The Foo Fighters have had four meaningful signature models developed in the past few years. First and foremost was a limited edition no longer available called the “inspired by Dave Grohl” Gibson DG-335. In 2007, another classic was released. This one, created by the the artisans of the Gibson Custom Shop, was actually a re-release of the Vintage Gibson Guitar, the“Trini Lopez” signature model that was popular from 1964-71. Grohl has always been a fan of the Trini Lopez model, which is a hybrid between a solid body and a hollow body. The limited model was produced in a rare Pelham Blue color.The DG-335 has the same classic Firebird-style headstock with six-on-a-side tuners. The body has stylish diamond f-holes. The inlays on the fretboard are acrylic split diamond. This unique feature was inspired by the original Trini Lopez model. The pickups are original Patent Applied for humbuckers, designed to deliver the amazing tones that Grohl has become famous for with the Foo Fighters.
TELECASTER: Chris Shiflett’s Signature
Grohl is not the only Foo Fighter with a signature edition, Fender has recently released the Chris Shiflett Signature Telecaster Deluxe and the Nate Mendel P Bass. The Tele is based on Shiflett’s favorite vintage fender guitar, his 1972 Fender Telecaster Deluxe. It has an Arctic White Finish, a four-ply white pearl pickguard, two custom designed humbucker pickups, a custom stenciled case and Shiflett’s signature on the headstock.The original Telecaster Deluxe was produced by Fender from 1972. It was designed to produce the thick sound of late 1960’s heavy rock created by humbucker pickups. To do this right, Fender hired Seth Lover in 1967. Formerly from Gibson. Seth was the inventor of the humbucker pickup. Lover created the Fender “WideRange” humbucker, which was featured on the Telecaster Deluxe, Custom and Thinline Models.
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FENDER: Nate Mendel’s Model
The Fender Nate Mendel Signature Bass is modeled after his 1971 Fender Precision Bass. It features a slightly road-worn candy apple finish, an extra slim neck, a Seymour Duncan Quarter Pounder Split Coil Pickup, a Leo Quan Badass II bridge and an extra neck plate with a hybrid “Fender/Foo Fighters” logo. Mendel has expressed his affection for his 71 P-Bass and the features that make it unique and Fender has gone to great lengths to duplicate the specifics.
HAGSTROM: Pat Smear’s Namesake
Long time touring guitarist, Pat Smear, formerly of The Germs and Nirvana, has a signature model built for him by Hagstrom. The Pat Smear signature model is a double cutaway mahogany body, set neck, capped with a maple top. Each guitar is said to be built by the same standards as Pat’s guitars. The design is a custom hybrid of a 1970’s Hagstrom model “H-IIN-OT” and the modern day “F-200.”Saturday, October 4, 2014
The Gibson Firebird
What does a car designer know about designing electric guitars? Collectors of vintage gibson guitars already know the answer. Plenty. In the 1960’s, Gibson put that fact to good use.
Gibson electric guitars had made a name for themselves in the 50’s with the Telecaster, Stratocaster,
and the Les Paul. And one might have assumed that they would ride the crest of their success for a long time to come. But during the 50’s, the popularity of Gibson electric guitars started to decline. And by the 60’s, Gibson electric guitars had a reputation of being higher priced and less innovative than Fender’s electric guitars. The colors, shapes and multiple pickups characteristic of Fender’s main stream electric guitars were favored by well-known guitarists of the time. Clearly, Gibson electric guitars were in need of a competitive edge. And car designer Ray Deitrich was hired by Gibson president, Ted McCarty, to do just that.
So again, the question, “What does a car designer know about designing electric guitars?” Actually, car designs of the times offered a wealth of inspiration. The sleek lines of the car tailfins of the 50’s inspired the now revered, “Firebird”.
Known as “reverse” electric guitars, the original Firebirds were designed “backwards” with the right-hand treble horn of the body longer than the other. However, the unusual reverse-body design unique to Gibson electric guitars was not a marketing success. And in 1965-1969, Gibson introduced “non-reverse” models.
So what was it that made the Firebird so instrumental in Gibson’s return to favor?
The Firebird had a number of unique features that made it a stand-out. For starters, it was the first of the solid-body Gibson electric guitars to use neck-through construction. Those who know vintage guitars know that the Firebird’s neck extended to the base of the body. Five ply mahogany reinforced by four narrow strips of walnut gave the neck added strength. “Banjo” tuning keys, reverse headstock and mini-humbucking pickups enhanced the early Firebirds. Some models from ’65 featured the single-coil P-90 pickup.
The Firebird line was introduced to the market in mid 1963. Four models – each unique in pickup and tailpiece configurations went on sale. While the Les Paul line had distinguished its models as “Junior, Special, Standard and Custom”, the Firebird Series used roman numerals “I, III, V and VII” . Interestingly, during Gibson’s efforts to reclaim some of the market it had lost to Fender – Fender actually threatened to bring a lawsuit against Gibson with claims that the Firebird headstock copied that of the Stratocaster, and that the body violated Fender’s design patents. No suit followed, but disappointing sales led Gibson to drop the “non reverse” models, and in 1972, to reissue their original “Reverse” body design.
Collectors of vintage guitars and fans of Gibson electric guitars appreciate the fact that a long list of notable players have chosen the Gibson Firebird. Eric Clapton has extensively used a Firebird I. Brian Jones of the Rolling Stones used both reverse and non-reverse Firebirds. And Aerosmith’s, Joe Perry, has used many Gibson electric guitars through the years, including Firebirds.
Through the years of both Reverse, or Non-Reverse designs, the Firebird continued to impress. Today, whether it’s a I, III, V or VII, the Gibson Firebird is still flying high in popularity with collectors of vintage guitars
Gibson electric guitars had made a name for themselves in the 50’s with the Telecaster, Stratocaster,
So again, the question, “What does a car designer know about designing electric guitars?” Actually, car designs of the times offered a wealth of inspiration. The sleek lines of the car tailfins of the 50’s inspired the now revered, “Firebird”.
Known as “reverse” electric guitars, the original Firebirds were designed “backwards” with the right-hand treble horn of the body longer than the other. However, the unusual reverse-body design unique to Gibson electric guitars was not a marketing success. And in 1965-1969, Gibson introduced “non-reverse” models.
So what was it that made the Firebird so instrumental in Gibson’s return to favor?
The Firebird had a number of unique features that made it a stand-out. For starters, it was the first of the solid-body Gibson electric guitars to use neck-through construction. Those who know vintage guitars know that the Firebird’s neck extended to the base of the body. Five ply mahogany reinforced by four narrow strips of walnut gave the neck added strength. “Banjo” tuning keys, reverse headstock and mini-humbucking pickups enhanced the early Firebirds. Some models from ’65 featured the single-coil P-90 pickup.
The Firebird line was introduced to the market in mid 1963. Four models – each unique in pickup and tailpiece configurations went on sale. While the Les Paul line had distinguished its models as “Junior, Special, Standard and Custom”, the Firebird Series used roman numerals “I, III, V and VII” . Interestingly, during Gibson’s efforts to reclaim some of the market it had lost to Fender – Fender actually threatened to bring a lawsuit against Gibson with claims that the Firebird headstock copied that of the Stratocaster, and that the body violated Fender’s design patents. No suit followed, but disappointing sales led Gibson to drop the “non reverse” models, and in 1972, to reissue their original “Reverse” body design.
Collectors of vintage guitars and fans of Gibson electric guitars appreciate the fact that a long list of notable players have chosen the Gibson Firebird. Eric Clapton has extensively used a Firebird I. Brian Jones of the Rolling Stones used both reverse and non-reverse Firebirds. And Aerosmith’s, Joe Perry, has used many Gibson electric guitars through the years, including Firebirds.
Through the years of both Reverse, or Non-Reverse designs, the Firebird continued to impress. Today, whether it’s a I, III, V or VII, the Gibson Firebird is still flying high in popularity with collectors of vintage guitars
Thursday, April 24, 2014
Gibson Billie Joe Armstrong ES-137 Hollowbody Electric Guitar Black Cherry Burst
Gibson Billie Joe Armstrong ES-137 Hollowbody Electric Guitar Black Cherry Burst
New from Gibson Memphis
New from Gibson Memphis
Slammin' tone and uncompromising attitude just like Billy Joe himself.
As the premiere punk rocker of his generation, Green Day's Billy Joe Armstrong doesn't compromise on style, tone or attitude. The Billy Joe Armstrong ES-137 from Gibson Memphis rolls all three into a raging ball of badass, in a guitar that stems from surprising depths of tradition‒while packing the no-frills, sucker-punch power that punk demands.
This beautifully light and comfortable to play thinline semi-hollow sports the ES-175s classic lines, but thanks to a chambered mahogany core that enhances sustain and fights unwanted feedback, it rings like a bell when you hit it. And when you want it to wail, just crank the two fat and gnarly P-90 pickups‒long Billy Joe's favorites.
Grab the neck crafted to Billy Joe's preferred proportions, dial in the simplified controls to taste, and you're primed to deliver thick, meaty gobs of house-rockin' mayhem‒while looking utterly righteous in a sweet Black Cherry Burst nitrocellulose finish with traditional trapezoid inlays on a rosewood fretboard.
Includes Gibson Memphis Hard Case.
This beautifully light and comfortable to play thinline semi-hollow sports the ES-175s classic lines, but thanks to a chambered mahogany core that enhances sustain and fights unwanted feedback, it rings like a bell when you hit it. And when you want it to wail, just crank the two fat and gnarly P-90 pickups‒long Billy Joe's favorites.
Grab the neck crafted to Billy Joe's preferred proportions, dial in the simplified controls to taste, and you're primed to deliver thick, meaty gobs of house-rockin' mayhem‒while looking utterly righteous in a sweet Black Cherry Burst nitrocellulose finish with traditional trapezoid inlays on a rosewood fretboard.
Includes Gibson Memphis Hard Case.
Features
Sunday, March 30, 2014
John Paul Jones: “What Is And What Should Never Be” Isolated Bass Track
If you’re looking for vintage tone and a melodic groove, look no further.
Zach McFatridge shared this clip of John Paul Jones’s isolated bass from the Led Zeppelin classic “What Is And What Should Never Be” from their second album.
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