tag:blogger.com,1999:blog-12212878161971942602023-12-09T03:06:27.971-08:00The Guitar ZombieFredrik Svenssonhttp://www.blogger.com/profile/05304554783747671919noreply@blogger.comBlogger33125tag:blogger.com,1999:blog-1221287816197194260.post-66388448127539966522016-01-07T06:12:00.001-08:002016-01-07T06:12:58.098-08:00Looking for the best strings for electric guitar?<b>One thing that really contributes to your guitar tone is of course your strings, therefor your choice of strings is crucial. The market for strings is huge and here is my short guide how to find the best guitar strings. I strongly recommend you to buy the different kind of strings described below and then let your ears and hands decide what is best for YOU. Whats best for others might not have anything to do with you. </b><br />
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The material guitar strings are made of plays a role in the character of the sound coming out. Stainless steel are bright and Nickel are warmer and less bright, more of a vintage sound. Is the material a big thing? Yes and No, it depends of how your guitar sound in itself. Best thing to do is to test you through this area by yourself. There are a few more materials, Nickel-plated, Jazzy Chrome strings and each material has its own character.<br />
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Another thing you have to consider when choosing string is if you want coated or uncoated strings.<br />
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<b>Uncoated strings</b> is practically strings as they always have been, just strings as they are. By far most used out there. Great sounding but pretty short life time. Most professional guitarists change the hole string set after every performance. Hand sweat and skin dirt make the string less vibrate and you loose much of your tone.<br />
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<tr><td class="tr-caption" style="text-align: center;">Daddario explanation of coated strings </td></tr>
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<b>Coated strings</b> are strings with a coat, we are talking the three wound strings here (E, A, D normal tuning). The coat is mostly made of Teflon applied either before the winding or after. The result is a string that holds 3-4 times longer, and thats good. On the other hand the coated string loose some sustain and clarity, the coat gets in between the windings and inhibit some vibration. The process to manufacture coated strings are complicated and therefor these strings a more expensive, the higher price does not reflect a better sounding string as you might expect. The higher price might also reflect the longer string life, as you don't need to change that often.<br />
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<b>Treated guitar</b> strings is a quite new developed microscopic technique that does not inhibit sustain, clarity or volume that much as conventional coating but lets your strings last longer in the same way, approx 3-5 times vs uncoated strings. Treated strings are still coated, but in a different way.<br />
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The choice between coated or uncoated strings must be made out of how you play and even more important how you hear them in action with your guitar. Don't believe everything you read, use your ears instead.<br />
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Here are a few good strings you can order straight away and test with your guitar.<br />
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<b><i>Uncoated Strings</i></b><br />
Earnie Ball regular Nickel 4.19 USD <a href="http://www.amazon.com/gp/product/B0002M6CVC/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B0002M6CVC&linkCode=as2&tag=theguizom-20&linkId=IQ5ZHBYJGVTG4X3B">Buy here</a><br />
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<i><b>Coated Strings</b></i><br />
Elixir Nanoweb Coating 8.50 USD <a href="http://www.amazon.com/gp/product/B0002E1O5E/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B0002E1O5E&linkCode=as2&tag=theguizom-20&linkId=C2OYWG5VZ2LI6TXH">Buy here</a><br />
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<b><i>Treated Strings</i></b><br />
Cleartone Monster Black Series 12.99 USD <a href="http://www.amazon.com/gp/product/B00CB7WEPY/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B00CB7WEPY&linkCode=as2&tag=theguizom-20&linkId=OTLAZFZN5ESRMIFU">Buy here</a>Fredrik Svenssonhttp://www.blogger.com/profile/05304554783747671919noreply@blogger.com5tag:blogger.com,1999:blog-1221287816197194260.post-91570947208037176522016-01-05T09:08:00.001-08:002016-01-05T09:08:22.747-08:00Best guitars, amps, and effects from 2015<b> Best Products To Buy from the 2015 lineup is a hard thing to dive in to, but at the same time really interesting. During 2015 I bumped in to a whole bunch of really interesting stuff, especially if you're a guitar aficionado like myself. I love everything about guitars. It´s pretty hard to pick out the best guitars, amps, effect pedals or even a guitar pick, because the market is flooded with great things nowadays. This is my conclusion of what is recommended when looking back in to the year of 2015. As the products of 2016 is in stores now, you can make yourself a good deal on the 2015´s menu. Enjoy</b><br />
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<b>Best buy PRS Guitars</b><br />
When I first came over a PRS guitar, the brand was a completely new experience to me. During the year of 2015 I tested a whole bunch of models in my home over a long period of time. I must admit that they are really fine instruments. The consistency all the way from the SE series up to the high ends are quiet unique. The quality are just flawless. The top three are:<br />
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1. PRS SE Zach Myers.<br />
A guitar worth much more than the pricetag says. Great sounding guitar. <a href="http://www.amazon.com/gp/product/B00SXIWYEG/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B00SXIWYEG&linkCode=as2&tag=theguizom-20&linkId=7P2R3J22KASWLUL3">Buy here</a><br />
2. PRS SE Custom Mark Tremonti.<br />
Another great guitar in the SE series. A tone monster that not rob your wallet. <a href="http://www.amazon.com/gp/product/B00GEEYNVS/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B00GEEYNVS&linkCode=as2&tag=theguizom-20&linkId=BUZ22JZXGM65V5VU">Buy here</a><br />
3. PRS Signature Mark Tremonti.<br />
The high end version with great tone a stunning playability. <a href="http://www.amazon.com/gp/product/B011M6993O/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B011M6993O&linkCode=as2&tag=theguizom-20&linkId=MJVTEY3SBRJ5HKRF">Buy here</a><br />
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<b>Best Buy Fender Stratocaster</b><br />
Fender continous to impress with their playability, especially the strats, and I´m glad to say that they once again have straightened up in details. There are still som models that do need some improvements but overall they're back in business, especially the Mexican ones.<br />
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1. Stratocaster Jeff Beck Signature A great strat with fabulous tremolo. Great playability. <a href="http://www.amazon.com/gp/product/B0002KZV7U/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B0002KZV7U&linkCode=as2&tag=theguizom-20&linkId=GAU7RISOTQPLNOOP">Buy here</a><br />
2. Stratocaster Roadworn 50´s. The best mexican made Strat ever made. <a href="http://www.amazon.com/gp/product/B001Q6IJTQ/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B001Q6IJTQ&linkCode=as2&tag=theguizom-20&linkId=ESX644EBIZ6S2OAU">Buy here</a><br />
3. Stratocaster Custom Shop 70´s Relic. Fabulous looks and a great player. <a href="http://www.amazon.com/gp/product/B01434FVZ2/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B01434FVZ2&linkCode=as2&tag=theguizom-20&linkId=ZSJZ2FEPTX4AXVMZ">Buy here</a><br />
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<b>Best Buy Gibson Les Paul</b><br />
The innovative touch of the 2015-series did not impress me at all, but there is one guitar that I think stands out from the others. A good price to if you want a classic Les Paul.<br />
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1. Gibson Les Paul Deluxe 2015.<br />
A representative model with great feel. <a href="http://www.amazon.com/gp/product/B00NAVU6K0/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B00NAVU6K0&linkCode=as2&tag=theguizom-20&linkId=36QSGZEZLZGJ24OL">Buy here</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4XDiy9FqZvyd88r1h-nKEDZ9_PVmMyJvvNxETKzWRDObx6GqsY-1_4juA9MiUDS6SKeOv6qP69mbAjR4zmGXwSsWi4UTYcdXfYh4HAizLziYYnBxu0YR3udaDOHZJX3phkkni1YUpIvE/s1600/JVM.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4XDiy9FqZvyd88r1h-nKEDZ9_PVmMyJvvNxETKzWRDObx6GqsY-1_4juA9MiUDS6SKeOv6qP69mbAjR4zmGXwSsWi4UTYcdXfYh4HAizLziYYnBxu0YR3udaDOHZJX3phkkni1YUpIvE/s200/JVM.jpg" width="200" /></a><b>Best buy Amplification</b><br />
The choice of best amps is based on how they actually sounds och Marshall really stands out here in my opinion. The Kemper thing is climbing up at top three due to the growing amount of good profiles available on the market. If you need a variety of quality sound, the Kemper is your thing. The three at the top is:<br />
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1. Marshall JVM Joe Satriani 100 w Head.<br />
Best sounding Marshall amp in years. It practically delivers whatever you like to hear. <a href="http://www.amazon.com/gp/product/B00A3DGWZQ/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B00A3DGWZQ&linkCode=as2&tag=theguizom-20&linkId=MNWMFBQVU2UKA3RU">Buy here</a><br />
2. Kemper Profiling Amp.<br />
The best digital amp ever, way ahead the other stuff on the market. <a href="http://www.amazon.com/gp/product/B0145OH7KW/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B0145OH7KW&linkCode=as2&tag=theguizom-20&linkId=QQSGZUCBWFUAU6ZC">Buy here</a><br />
3. Marshall 1555X Silver Jubilee.<br />
The reissue of the long loved classic. It really sounds like that the original. <a href="http://www.amazon.com/gp/product/B0116IO1KE/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B0116IO1KE&linkCode=as2&tag=theguizom-20&linkId=MLMCQFPQQSWLNWZJ">Buy here</a><br />
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<b>Best buy new innovative products</b><br />
1. Pykmax Guitar Pick<br />
An new interesting new way of using a guitar pick. <a href="http://www.amazon.com/gp/product/B00FSDB7MO/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B00FSDB7MO&linkCode=as2&tag=theguizom-20&linkId=A7CCKR4Y3GSQ6V4Z">Buy here</a><br />
2. BeatBuddy -Drummachine in a pedal.<br />
Using this pedal as your rehearing companion at home is true happiness for sure. Easy to use and it contains close to every beat you'll ever need. Great for songwriting. <a href="http://www.amazon.com/gp/product/B00S0DG918/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B00S0DG918&linkCode=as2&tag=theguizom-20&linkId=HTIRSIXCK2X5KP7D">Buy now</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg80a17QqANWb5DxOTldWUd0cOkdG24mk6IdNNE3CX8BpvCcnjXrzvQzbDyRZu_fUfB-SUcIKBnwGILt9bmZFwCd6qBRjfuTPKufxZIPj9CkIKCd5uzMgWzmhmRD6bMHE1YLUvFqd-dWI8/s1600/sdd_full.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg80a17QqANWb5DxOTldWUd0cOkdG24mk6IdNNE3CX8BpvCcnjXrzvQzbDyRZu_fUfB-SUcIKBnwGILt9bmZFwCd6qBRjfuTPKufxZIPj9CkIKCd5uzMgWzmhmRD6bMHE1YLUvFqd-dWI8/s200/sdd_full.jpg" width="200" /></a><b>Best buy guitar effects</b><br />
There was tons av pedals and these two stands out in my opinion.<br />
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1. Korg SDD 3000. The pedal version of the best delay ever.<br />
<a href="http://www.amazon.com/gp/product/B00LN39RSE/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B00LN39RSE&linkCode=as2&tag=theguizom-20&linkId=QBMFTTKSJPWURSLB">Buy here</a><br />
2. Ibanez TS9 Tube Screamer. A classic on every pedalboard.<br />
<a href="http://www.amazon.com/gp/product/B000T4PJC6/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B000T4PJC6&linkCode=as2&tag=theguizom-20&linkId=A4XLYETZUIPZEPL7">Buy here</a><br />
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Stay Zombied !Fredrik Svenssonhttp://www.blogger.com/profile/05304554783747671919noreply@blogger.com7tag:blogger.com,1999:blog-1221287816197194260.post-5931024249878368242015-08-16T07:56:00.002-07:002016-01-05T05:47:28.975-08:00PRS Mark Tremonti -A stunning singlecut guitar<b>In the year of 2001 PRS challenged the much larger Gibson with a Singlecut model, and it was a bit like "David meets Goliath" in a way. Gibson's board sued Paul Reed Smith and a four-year-long feud began, a feud that Gibson eventually lost.</b><br />
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Maybe it wasn't so strange after all. The differences between the two guitars becomes clear when you have them side by side, and if you call them more closely, you realize that it´s actually two different kinds of animals. It´s like comparing apples with pears or Mac OSX with Microsoft Windows, they just taste differently. Gibson's mainstream versions, Standard, Classic, Traditional, etc., are not at all comparable to the PRS singlecuts, you have to step up to the Custom Shops to find the same quality.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2RqwF1qWdZtaHs-zAEyREqzEOs4G_60RTH8C_YiXdi0S-HvwfkYcc9zWHgg0UUcXd5XjLTrluFohcUo_AqGmZZ948UJaOmr44-Pk6vFxrY5soiRHxr2_kA1TeHjWM9BYhW2WYi4jAHTQ/s1600/kropp.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2RqwF1qWdZtaHs-zAEyREqzEOs4G_60RTH8C_YiXdi0S-HvwfkYcc9zWHgg0UUcXd5XjLTrluFohcUo_AqGmZZ948UJaOmr44-Pk6vFxrY5soiRHxr2_kA1TeHjWM9BYhW2WYi4jAHTQ/s320/kropp.jpg" width="320" /></a><b><a href="http://www.amazon.com/gp/product/B00YPU3DVO/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B00YPU3DVO&linkCode=as2&tag=theguizom-20&linkId=UXMVYGH4TXHLGQRV">PRS Tremonti Signature</a></b><br />
The copy I have bought for this article is manufactured in 2013, and purchased at <a href="http://www.dlxmusic.se/butiken">Deluxe Music in Stockholm</a>, one of the stores that have great knowledge regarding PRS. It is dressed in a stunningly beautiful Fire Red Burst, not 10 top but still very nice. The First impression is that it has everything you wish for in a proper rock guitar, just as a Custom Shop Les Paul. What sets them apart is that Tremonti Signature essentially follows the special concept that PRS has built its name through, namely 25 "scale length, 10" radius, high output pickups and a detailed quality that impresses.<br />
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SPECS<br />
Body: Mahogany<br />
Top: Maple<br />
Finish: Fire Red Burst<br />
Neck: Mahogany<br />
Neck Profile: Pattern Thin<br />
Fingerboard: Rosewood bird inlays<br />
Band: 22<br />
Scale Length: 25 "<br />
Tuners: PRS Phase III Locking Tuners<br />
Bridge: PRS Tremolo with Trem-Up Route<br />
Hardware: Nickel<br />
Neck Pickup: Tremonti Bass<br />
Stable Pickup: Tremonti Treble<br />
Switch: Three-way<br />
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When you pick it up you immediately get the feeling of "high end quality". Every detail of this guitar is stunnishing. 3500 dollars is lot of money one might think, but at the same time it should be set in light of what you get in both the short and long term. The price is all about the choice of wood, the quality of the hardware, but especially how much care and time they put into getting everything perfectly adapted to each other. A PRS and a Gibson Custom Shop is about investing in the long-term sustainability and reliability.<br />
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"The Tone Is In The Details" ...<br />
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We have to remember that the globalized world we live in, where low-wage countries produce large amounts of instruments at low cost, making the market flooded by cheap and "pricy and good enough instruments". The price has become a major factor for the buyer nowadays. The quality is, even in the cheaper guitars, much higher now than they were in the 80s. The market competition is cutthroat nowadays. The risk is that it affect manufacturers who makes really fine instruments. Gibson and Fender Custom Shop, PRS, Music Man and other "custom crafts" are instruments in a class by itself. I wish that more people could have access to this type of handcrafted instruments, it is easy to forget this when you see 10 000's of guitars on site after site.<br />
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Most of those who embraced the PRS concept testify that they are guitars for touring, and to be played often and a lot. There are of course many other guitars that also makes it and common to them all is that it is carefully crafted pieces.<br />
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The PRS success story lies in maintaining a high quality across the line over time regardless of the guitar model, duds are extremely rare and Tremonti Signature is no exception. Everything is "totally flawless".<br />
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<b>Some interesting details:</b><br />
Knobs sit differently than what you're used to, but at the same time a bit smarter in a way. The two upper and therefore closest to the right hand are two volume knobs.<br />
The front volume knob is neck pickup and the rear is bridge pickup. Most would probably say that "they sit wrong", but I choose to see it as a matter of taste and you get used to it very quickly.<br />
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The pickups are Tremonti Treble and Bass, two pickups with the characteristics that Mark himself was looking for, with a shimmering clean tone and rich distortion.<br />
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The bridge pickup is a very hot and pushy with an output a bit over 15,4K. It is built upon a large Alnico V magnet.<br />
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Despite the very high output, it is relatively quiet and, above all, delivers a great deal of sustain. They are very similar to the PRS other high-gain pickup, the "PRS \ m / Metal Pickup".<br />
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The neck pickup with 7,8K is more vintage dark, so to speak, and delivers a big clean sound. My impression is that it is not so muddy as many other neck pickups.<br />
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Common to both these pickups is that they "clean up" very well even at very high gain, and they are very "responsive" and reacts to how you play, a detail worth taking into consideration, I think.<br />
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Another very good thing is great "string separation", even at pretty high gain. If you listen to Creed, Alter Bridge and the band Tremonti, you can actually hear that Mark often punctuate with "open chords" even with pretty much gain. It would not be possible as easy with other pickups I think.<br />
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Below is a video where you can hear a sample of clean, crunch and high gain. To remember is that gain is aprox at 5 (10) on the amplifier. The recording was made by a Marshall JVM Satriani and The Box of Doom isolation cab.<br />
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The bridge, PRS Tremolo with Trem-Up Route, is a is a great tremolo system. In combination with the PRS Phase III Locking Tuners it´s basically as reliable as a Floyd Rose and you can sway up and down without any problems with the tuning. It also stays in tune under heavily aggressive playing, such as dive-bombing and so on.<br />
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<b>How is it then to play then?</b><br />
One important thing with good guitars is that they are not prohibitive, they presents themselves without being noticed. Tremonti Signature is very well balanced and not particularly heavy, it makes it comfortable over your shoulder without weighing one way or the other.<br />
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The neck is "Pattern Thin" which means that it belongs to the thinner necks in PRS line-up. This makes it well suited for solo playing without losing the stability i chordsplaying.<br />
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The fretboard, made of Rosewood, creates a bit warmer and softer touch than ebony. Normally, guitars for hard rock genre is made of ebony because ebony produce a bit harder character, but I think Rosewood in this context still is the the right choice.<br />
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The inlays are beautifully crafted "Bird Inlays"<br />
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<b>The final verdict</b><br />
The big question was whether the PRS Tremonti really compete with a Gibson Les Paul Custom Shop?<br />
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The answer is in a way yes, and in a way no. If you look at it from a strictly instrumental perspective, it's a completely different guitar. Both have their unique characteristics, but aesthetically yes. They should definitely attract guitarists who identify themselves as "Singlecut Players".<br />
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I would however say that the similarity stops there, I see really no reason to compare the two in general. PRS Tremonti is a rock monster, just as good Les Paul, but offers the unique PRS craftsmanship and unique feeling that can not meet at a Gibson. It does not mean that it is better, but they are different and a matter of taste.<br />
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It may sound a little strange, but despite the price tag, just over 3500 dollars, this is a very affordable guitar, regardless if you are a picky Weekend Warrior or a touring musician and seeks something that stays in tune most of the time. One should of course see these guitars as an investment for the future to give joy for 30-50 years, but it is of course a lot of money for most people.<br />
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But what the heck "Buy Quality, Cry Once".<br />
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<a href="http://www.amazon.com/gp/product/B00YPU3DVO/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B00YPU3DVO&linkCode=as2&tag=theguizom-20&linkId=UXMVYGH4TXHLGQRV">Buy here !</a><br />
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Ratings:<br />
Zombies 5 (5)Fredrik Svenssonhttp://www.blogger.com/profile/05304554783747671919noreply@blogger.com0tag:blogger.com,1999:blog-1221287816197194260.post-39499931345806298552015-06-06T12:08:00.002-07:002015-06-06T13:46:59.981-07:00Premier Guitar in USA have filed a complaint to YouTube against The Guitar Zombie for violating their Trademark <b>The Guitar Zombie</b><b> received an email today from Youtube </b><b>legal department,</b><b> in which they announce that the renowned guitar magazine <a href="http://www.premierguitar.com/">Premiere Guitar</a> has filed a complaint against me. It was a "Trademark Complaint", and the reason is that I use the term "Rig Rundown" in my videos. It seems that they're clearly disturbed by my behaviour. A blogger from Sweden....just saying ...</b><br />
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Because of that YouTube just blocked my videos for guitar players who live in the US. No other countries. The Guitar Zombie respect laws and regulations i general, and I will of course change the "Trademark" describing my "movies with artists and their gear". The new name will be:<br />
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<b><span style="font-size: large;">"The Guitar Zombie Gear Walkthrough"</span></b><br />
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There is of course great humor in the situation when a global guitar magazine, Premiere Guitar, react that strongly on what a small blogger in Sweden is up to. But on the other hand, it's a symptomatic of how the "Big Corporation" relate to "whatever individuals they dislike", namely by threatening them to go to court.<br />
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<b>- The whole thing feels a bit "Game of Throne-ish", if you ask me.</b><br />
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If I was in their shoes I had approached the individual in question and said <i>"congratulations, how about do something for us."</i> It would have been a bit nicer, and it had definitely strengthened their precious brand.<br />
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The upside of this is that my new name on the videos are so much cooler than the 90-ish "Rig Rundown". Thank ypou Premier Guitar.<br />
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<b>Rating: </b><br />
0 Zombies (5)Fredrik Svenssonhttp://www.blogger.com/profile/05304554783747671919noreply@blogger.com0tag:blogger.com,1999:blog-1221287816197194260.post-22972914793820349002015-06-05T11:28:00.000-07:002016-01-05T11:01:26.583-08:00PRS flagship Custom 24 with Floyd Rose and \m/ pickups<b>The PRS flagship Custom 24 dressed up to meet heavy metal players, is that even possible? Yes it is possible, if you are open minded and focusing on tone. Why haven't PRS had a metal guitar in their prior history? Well they did have an early model that was launched with the name "Metal" and it was produced from 1985. It was a heavy metal version of the PRS Custom, but with 25.5 "scale length and loaded with PRS Standard Bass pickups in the neck and Treble in the stable. It was in fact among the 20 guitars launched at NAMM 1985.</b><br />
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The model "Metal" went into the grave 1987. Since then PRS has had a reputation for not being very "hard rockish", and if it is due to the missed positioning in 1985-1987? I do not know.<br />
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The big question is whether PRS is a brand for metal today? The answer depends largely on what it is that you mean by metall? If you mean hard rock and classic heavy metal I should definitely say so. If you mean "down tuned Black Metal", yes it could be a guitar for those players as well. For 95 percent it´s all about tone...<br />
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Perhaps we find the most telling argument among the artists who actually play PRS guitars. Players like Mark Tremonti Alter Bridge and Tremonti, Joey Belladonna Anthrax, John Kempainen Black Dahlia Murder, Alex Lifeson Rush, Brad Delson Linking Park, Dave Navarro Jane's Addition, Orianthi former Alice Cooper Band, Dave Weiner Steve Vai Band Chris Robertson Black Stone Cherry, Lizzy Hale Halestorm, Myles Kennedy of Alter Bridge, Phil Campbell Motörhead, Neal Schon Journey, Pat Travers Pat Travers Band. I've probably forgotten many, but there is no doubt that the harder genre embraced the PRS and many above are recognized as very skilled guitarists.<br />
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In Sweden, however, PRS has not managed to recruit that many known players. Fredrik Åkesson and Mikael Åkerfeldt of Opeth are very found of PRS though, and they use them all the time. Both their own signature models and various custom models. Fredrik and Mikael are also amazingly proficient at their instruments.<br />
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<b><span style="font-size: large;">PRS Custom 24 "Floyd" </span><a href="http://www.amazon.com/gp/product/B011D66S4Q/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B011D66S4Q&linkCode=as2&tag=theguizom-20&linkId=6U3RCUZ2NICOYRO4">Buy here</a></b><br />
While strolling around down town a few months ago I discovered an interesting PRS guitar at Deluxe Music, a local guitar shop in Stockholm. A boutique with great knowledge of PRS guitars. I saw this odd bird Custom 24 "Floyd" hanging on the wall with its profound seductive looks. I couldn't resist picking it up and I almost immediately decided to buy the piece.<br />
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It had a couple of pickups installed called \m/ , or "Metal" and I thought it was outrageously humorous and clever of PRS stealing that symbol. I played the guitar and could quite quickly conclude that those who claim that the PRS isn't "hard rock" should reconstruct their opinion, especially when it comes to this model. This one screams heavy sounds, and the Floyd Rose is extra ordinary in quality.<br />
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The guitar is close to what one might call the ultimate modern PRS. A Floyd Rose on a Custom PRS is as unthinkable in the community as putting it on an Acoustic Martin guitar. It´s a really bold decision as their own tremolo systems are brilliant. When I interviewed the guitarist Mark Tremonti a month ago he said: "Oh, I didn't see that comming."<br />
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When I played the guitar the Floyd felt like the most natural thing in the world and the system is perfectly adjusted and i seamlessly melts into the guitar. It is a Floyd Rose Original manufactured i Germany. On the SE model, the Korean version of the Custom 24 "Floyd", there is a similar Floyd Rose but it´s manufactured in Korea.<br />
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Custom 24 Floyd is basically a plain PRS Custom 24, besides the Floyd Rose, but the neck is maple and the fretboard is made out of ebony. I think that these differences compared to a regular Custom 24 could appeal to both "shredders" and "heavy rockers" quiet well.<br />
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This is actually not the first time PRS putting a Floyd Rose i their instruments. In 2010 they launched an SE model called Torero, also loaded with EMG 81/85. The SE Torero is still in production.<br />
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I think it's a bit unfortunate that the pickups carry the name "metal", because it make us think they can't be used in other musical genres than heavy metal. The truth is that they are very allround, a bit like the PRS pickups in general but with an "added value" of extra high output.<br />
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In the bridge we find the \m/ Treble (model number ACC 3408). It responds incredibly well in "high gain" and the string separation is very clear. It´s based on a Ceramic Alnico magnet with an impressing output of 15,7k.<br />
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In the neck position we find \m/ Bass (model number ACC 3409) with an output of 8,5k. It provides significantly more bass in the character, which always fits the neck position. It´s excellent in combination with \m/ Treble and you get just what you need for playing in tougher contexts.<br />
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The body is a little thinner than a regular Custom 24 and it´s made of mahogany with a maple top. The finish is Blood Orange, and it´s insanely beautiful.<br />
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<b><span style="font-size: large;"><i>Normally I don't like colors at all and when people ask me why I always wear black clothes I answer "until there is something darker to wear".</i></span></b><br />
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The neck is maple, they call it the "Rock Maple" and it is pretty much the same as "Curly Maple," an unusually fine grained maple. It gives the guitar a special appearance and plays beautifully.<br />
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Custom 24 "Floyd" comes with the neck profile "Pattern Thin" while ordinary Custom 24 has the option "Pattern Thin" or "Pattern Regular". "Panther Thin" is almost the same as the old term "Wide Thin". The "Panther Thin" is a good choice and it´s very much like the Ibanez Wizzard Neck, not hat wide though.<br />
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The fingerboard is also a bit unusual for the PRS Custom 24, they normally comes with Rosewood, but here they have chosen Ebony, which is a harder and feels a bit more while playing.<br />
Ebony is also a bit more resonant, great for "taping" and the tone gets a little more distinctive.<br />
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Tuning Machines are Phase III with the beautiful "open back" and they work flawless, even if you don't lock the nut.<br />
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<b><span style="font-size: large;">Final judgment on PRS Custom 24 "Floyd"</span></b><br />
This guitar is one of the more modern PRS guitars you can find on the market and it´s absolutely perfect in all it´s details. Balanced, smooth and incredible easy to play, with a tone to kill for. It comes in a premium hard case with all the accessories you need. Price? A bit above 3400 dollars which may scare you off, but as a friend of mine told me some years ago: "Buy Quality, Cry Once". For players who really needs an extremely well sounding instrument to trust in a touring environment, this is well invested money.<br />
<a href="http://www.amazon.com/gp/product/B011D66S4Q/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B011D66S4Q&linkCode=as2&tag=theguizom-20&linkId=6U3RCUZ2NICOYRO4">Buy here</a><br />
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If you can't afford the US model, also called "Core", check out the SE version made in Korea. The SE model is also a killer guitar, in middle range price segment, and costs around 900 dollars.<br />
<a href="http://www.amazon.com/gp/product/B00U9N7OIE/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B00U9N7OIE&linkCode=as2&tag=theguizom-20&linkId=IVKTWZO6SJJ6SGVJ">Buy here</a><br />
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Ratings:<br />
5 Zombies (5)Fredrik Svenssonhttp://www.blogger.com/profile/05304554783747671919noreply@blogger.com1tag:blogger.com,1999:blog-1221287816197194260.post-32133121329187088172015-06-03T08:17:00.000-07:002015-06-03T08:17:53.529-07:00Paul Reed Smith - The man who challenged Fender and Gibson<b>I have been interested in Paul Reed Smith for </b><b>quiet some time now, and I think that t</b><b>he story about him and his work is amazing and worth spreading. It´s a story of an obsessive guitar luthier who started out with two empty hands, a great deal of curiosity and dedication, and created a global brand around his stunning guitars. I would argue that Paul Reed Smith is for the guitar industry what Steve Jobs was for Apple and the computer industry. Both crazy entrepreneurs with the same unbroken faith in themselves and unstoppable in their ways to accomplish their visions.</b><br />
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There are many stories about Paul Reed Smith and how he created a series of guitars with such a high quality that many people nowadays even say that they are "actually too good". It have not been really clear to me what people mean by that though. Too good?<br />
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High quality instruments often go hand in hand with high production costs and in turn high price towards the customer. An American-made PRS is considered a guitar in the high price and quality range. Since early 2000s there is a series of cheaper PRS though, they so called SE models. They are manufactured in Korea, but still very well built for a guitar i that price segment.<br />
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One explanation of the high quality is that basically all employees are guitarists themselves. That means PRS has employees who understands what makes a good instrument good. Employees can also build their own "custom instruments," so called "Employee Guitars".<br />
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From a management perspective, it is an interesting approach because it means that the employees contribute to the company innovation with their own ideas. These guitars are also extremely attractive in the seconhand market.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6ah7xsjTFeLRY5VlX7xV-Hon2Nw5o61CIrCzBLHxSZ9iU5d0JUdfBDxeu-4oB7qc1Yw0HcdJ-gEx1pWNlHZyqcN4LRDxUxNg_J8v-IFrt90O0Bt70SMHZJS-UDuG_Q6RIaXm6cxGQaxA/s1600/paul_then.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6ah7xsjTFeLRY5VlX7xV-Hon2Nw5o61CIrCzBLHxSZ9iU5d0JUdfBDxeu-4oB7qc1Yw0HcdJ-gEx1pWNlHZyqcN4LRDxUxNg_J8v-IFrt90O0Bt70SMHZJS-UDuG_Q6RIaXm6cxGQaxA/s320/paul_then.jpg" width="320" /></a>PRS guitars are well known for their "consistency", there are in fact no mistakes in the production. All guitars I have tested is flawless. Their is always a risk when the demand exceeds supply or when you're trying to cut costs, because greedy people eventually become stupid. A generic problem in all industries.<br />
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Both Fender and Gibson suffered from this phenomenon at the time when Paul Reed Smith started his work. The early PRS, until 1985, were all completely handmade. Down below you can see the first PRS Custom that Paul built by hand in 1984, only 28 years old. He had no training whatsoever in guitar building, which is worth noting as those guitars are considered the best built guitars in the world ever.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglvgdlyHyL4kMz0BpN3tQdJtK_5qytY6Tx-_mwhnbWjlv7R9PSBz9Qw0pbnJiLKb0jHSYBA3j30tfo72tLg0w2ArlHvAbXgWNZKUPq32wIGtRM3CKTSIyAEjFrGd_-8xUl4_QplxHPcE4/s1600/firtstcustom.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglvgdlyHyL4kMz0BpN3tQdJtK_5qytY6Tx-_mwhnbWjlv7R9PSBz9Qw0pbnJiLKb0jHSYBA3j30tfo72tLg0w2ArlHvAbXgWNZKUPq32wIGtRM3CKTSIyAEjFrGd_-8xUl4_QplxHPcE4/s320/firtstcustom.jpg" width="320" /></a>Paul Reed Smith made his first guitar during college in Maryland. A funny thing is that he use to talk himself in to the backstage area when well known artists were playing in town. Ted Nugent guitarist Derek St. Holmes once tried his guitar # 2 and played it live and later bought it for the stunning amount of $200.<br />
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Even Carlos Santana got a visit and that meeting resulted in a collaboration that continues to this day. Paul Reed Smith was working extremely hard on his "impossible project" to compete with the big companies, he once told a reporter that he had not bought new clothes in years and that he sometimes couldn't afford proper food.<br />
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But his stubbornness and his passion for his guitars finally gave him commercial results and he started the company in 1984 and the plan was to build a series of prototypes and launch them at NAMM 1985.<br />
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Paul traveled to New York and gave Sam Ash Stores an offer and got an immediate order of 30 instruments. The following months orders were worth over 300,000 dollars, which was a lot of money at the time. With the order book in their hands the company raised another 500,000 dollars to build a factory.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2LbTdwZaOGsj5zdxtpFTyYfugK2M_qonJxZq_2yb8aE72GVv8Mald6xFWfFgNbqwpLrRAY_7IiS21msjk6jiNj-UoMReHHRx1OCDKTm-afw7noOfQktFxUlPq4SKdMfVbfURYAlHhm2w/s1600/oldbooth.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2LbTdwZaOGsj5zdxtpFTyYfugK2M_qonJxZq_2yb8aE72GVv8Mald6xFWfFgNbqwpLrRAY_7IiS21msjk6jiNj-UoMReHHRx1OCDKTm-afw7noOfQktFxUlPq4SKdMfVbfURYAlHhm2w/s320/oldbooth.jpg" width="320" /></a></div>
The exhibition NAMM was imminent, and because they didn't had the plant ready they had to build the guitars for NAMM exhibition by hand, these guitars are nowadays called: "THE NAMM 20 guitars". These guitars were the very first guitars that PRS company unveiled, and they did it at the same time the guitar industry was facing big changes and the leading big companies faced problems with both quality and revenues.<br />
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Paul Reed Smith's own words:<br />
"NAMM was a place to “show our goods” for the first time, show dealers, get visited by guitar companies, and visit other guitar companies. It’s a musical industry trade show in the best sense of the word. That first year I visited Kramer, Jackson, Steinberger, and I got visited by Gibson. Jackson, Kramer, and Steinberger were supportive of what I was doing. That year Fender didn’t attend the show, and at that time Kramer was the bolt on company." Because Fender wasn’t there and Gibson wasn’t doing well, the window of opportunity was open for PRS."
(prsguitars.com)
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In 1985 PRS began to automate some operations at its factory on Virginia Avenue in Annapolis. They kept their factory there until 1995 when the they moved to Stevensville in Maryland. After 1995, the high quality guitars continued in that same direction, but there is no question about that the first instruments made entirely by hand is legendary and very nice.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHARjTm8NDPfaDfiJpsj3DrK4-vbw7Bv9G00ReP8A6uwVyfI5LteU_pleH-7GKVgKoht2Yh9cALtLkbqpLyRVALIT68W-lNAYgqcKl0zg-MRV0nJJHK7b0P3fnsD0z1bDC_O2NrE8SHLY/s1600/fact.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHARjTm8NDPfaDfiJpsj3DrK4-vbw7Bv9G00ReP8A6uwVyfI5LteU_pleH-7GKVgKoht2Yh9cALtLkbqpLyRVALIT68W-lNAYgqcKl0zg-MRV0nJJHK7b0P3fnsD0z1bDC_O2NrE8SHLY/s320/fact.jpg" width="320" /></a>Still today, a large part of the production is "made by hand", except for certain non-critical operations such as sawing and milling which is done by CNC machines. But all detailed work is done by people, and that is of course what makes the instruments so extremely good compared to more or less "fully automatic manufactured" cheap n nasty instruments with weak quality control.<br />
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It doesn't matter what guitar model you try in the US series, different models may fit different playing styles and tastes and flavor of course, but they all feel very classy.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9W93ysGMUcExAmlhRNJgLbCjWIH6sODjlwgiGak7AiOoPfQ2jvd4w4oaoCewLhUh8PjrBByhm0zTrDipN-9qHleiQynZWhJQQlBKL3BaunW-WZYLJAcT9zAZbVc-C6wfcf5kODVa5ztI/s1600/halsar.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9W93ysGMUcExAmlhRNJgLbCjWIH6sODjlwgiGak7AiOoPfQ2jvd4w4oaoCewLhUh8PjrBByhm0zTrDipN-9qHleiQynZWhJQQlBKL3BaunW-WZYLJAcT9zAZbVc-C6wfcf5kODVa5ztI/s320/halsar.jpg" width="320" /></a>The original construction, still continuing, was based up on a 25'' scale length, which simplified can be seen as neck length. The scale length positioned PRS midway between Fender Stratocaster and Gibson Les Paul. That makes it a little longer than Les Paul fans are used to, which is 24.74 "and a little shorter than the Stratocaster, with its 25.5".<br />
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25.5" scales provide a stronger bell-like type of basic sound, and 24.75" scale guitars gives a little warmer tone, much like you think of a Stratocaster vs Les Paul. A shorter scale length also gives the guitar less string tension and therefore becomes somewhat easier to play. We are talking about details here though, most people doesn't notice this at all. There are many things that makes a Les Paul and a Strat sound differently but this is one of the reasons.<br />
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If we look at the area of the radius the PRS also put themselves in between Fender and Gibson, and most PRS guitars have 10". Most newer Fenders has 9.5", the vintage has 7.25" and Gibson are generally 12".<br />
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The first PRS guitars had 24 frets, but the company later started manufacturing guitars with 22 frets to challenge the Gibson camp. PRS guitars are well known for its wide tone range, and you can get them to sound like both a Strat or a Les Paul by combining different pickups with the 5-way switch.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibMzLSDGkBcFO-VwPe7qKCYkT1XZ6UrhKERhMyUe9vKch6WIwRaqxDVis053TK1nhzDtUaMFP2R6VXSaznHbd1yjdLj3E7X93Y3vDjcFduKqKIxxi4ynFD8TheGCEasjh64151HwqF_No/s1600/paul_now.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibMzLSDGkBcFO-VwPe7qKCYkT1XZ6UrhKERhMyUe9vKch6WIwRaqxDVis053TK1nhzDtUaMFP2R6VXSaznHbd1yjdLj3E7X93Y3vDjcFduKqKIxxi4ynFD8TheGCEasjh64151HwqF_No/s320/paul_now.jpg" width="320" /></a></div>
One interesting thing with Paul Reed Smith's approach to the "tone chase" is that he was thinking backwards. Most manufacturers make the guitar first and then try to find the best pickups for that particular guitar model, but Paul begins with the pickup and build guitar to enhance the character that is in the pickup. Paul has rarely been using other manufacturers' pickups. It is said that he has a large drawer with over 500 hand wired prototype pickups for all pups he has been developing over the years.<br />
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10 years ago he listed 21 things you need to consider when building a great sounding guitar. The secret list was PRS "Holy Bible" and he called it "21 Rules Of Tone".<br />
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That list formed the basis for some changes they have made the past 10 years and probably also for future changes. The list was actually a result of long discussions he had with his father and it is exclusively about the physical laws that govern the guitar construction, by definition, such as the choice of tailpiece, tuners, nut material, neck joint, wood, etc.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWdaH3PU6ZVNpLjFJxHBivQR2ptsBLGXRwbr6C1gMdqWFT3u9iFNTm5wgvzo5cLk1tJdJmdpUNbNJeBWAatEHij5giLRzoJ-sbAe_av6XufvKlakhasNeHE429gZhyphenhyphen_0_XIk6RtZPs5Rs/s1600/PRS+Dragon+Guitar.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWdaH3PU6ZVNpLjFJxHBivQR2ptsBLGXRwbr6C1gMdqWFT3u9iFNTm5wgvzo5cLk1tJdJmdpUNbNJeBWAatEHij5giLRzoJ-sbAe_av6XufvKlakhasNeHE429gZhyphenhyphen_0_XIk6RtZPs5Rs/s320/PRS+Dragon+Guitar.jpg" width="320" /></a>He likes to talk about the fact that guitars, or any other instrument really, has to deal with "subtraction", ie the material's ability to drain tone from the string characteristics or to maintain and even strengthen it. He often refers to Newton and that every force has it's counterforce. If you put the resource 10 in to something, your mission is to get as close to 9.9 in the output. To get more than you add is physically impossible, and if you do a poor job you might get as little as 7. This is where the magic starts, every little detail in the guitar matters.<br />
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I think this list, "21 Rules of Tone", exemplifies Paul's obsession for tone and his passion for what he does. On YouTube, one can see how he actually gets tears in his eyes for real when he talks about a specific guitar's tone or a particular guitarist with magic fingers. There are very few business leaders today who weeps for the love of their products. The only one I can think of is Steve Jobs, he had that same passionate mindset for his products.<br />
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In order to make the upcoming articles on PRS guitars I have been forced to sell many of my own instruments to access guitars both in the SE segment, made in Korea, and in the US made. I will test McCarty, P22, Custom 24, Tremonti Signature, Tremonti SE + Åkesson SE and the amplifier PRS Archon 100.<br />
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Stay ZombiedFredrik Svenssonhttp://www.blogger.com/profile/05304554783747671919noreply@blogger.com1tag:blogger.com,1999:blog-1221287816197194260.post-7163423392198297382015-01-24T00:28:00.002-08:002015-01-24T06:27:41.943-08:00Korg SDD 3000 Delay Pedal - Review and video clip<b>In 1982 Korg launched the Korg SDD 3000 rack unit and it became an almost iconic effect, not least because The Edge chose the pedal as his favorite. Now Korg has released a delay pedal based on the same functionality as the original and they have really succeeded in recreating its sound absolutely perfect. Totally flawless.</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkjUzLbpS-30A6iK_JDT1wLi6uvpdIgtLobt3jE16wzYcBsZcB3JSPGFfir05igoefEYcCcQitMj5eDP6u71UIHuQNfBI1cs_QwJZJa9xZmSGz5VlhdGg8r_jMuRbAow9JlRKWtFYVJVE/s1600/sdd_full.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkjUzLbpS-30A6iK_JDT1wLi6uvpdIgtLobt3jE16wzYcBsZcB3JSPGFfir05igoefEYcCcQitMj5eDP6u71UIHuQNfBI1cs_QwJZJa9xZmSGz5VlhdGg8r_jMuRbAow9JlRKWtFYVJVE/s1600/sdd_full.jpg" height="213" width="320" /></a></div>
I remember there was a guy who had a studio in my hometown and this guy had a SDD 3000. We used to sit for hours and play around with clean sound and it was just absolutely amazing. So when this new pedal came in my way I just had to check it out.<br />
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A very cool thing about this pedal is the a preamp they have put inside, it puts an extra boost to the tonality. There is also an input attenuater which compensates for single coils lower signal compared to a pushier humbucker pickup. The preamp can be overruled if you don't like it.<br />
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The second uniqueness is of course the SDD delay itself which is very true to the original rack unit. This delay is pretty much what this pedal is about. It may sound a bit geeky and corny but it's actually thoroughly good. I have not heard anything like this in any pedal out there, period. It´s musically warm and beautiful.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkouNvMUPb8u2h19uxD8dWu1U8qDBjOKhcjeTZ5lnYHjErJkyIivScpO5XtKfFGk6KmvuiKsjG4Clb8gGHmhSF17vqYSUIqm1Y3EUlepz-s5qzo3uOQ3lHBYZe5Uc492sFaLgAJKJ9yAQ/s1600/delays.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkouNvMUPb8u2h19uxD8dWu1U8qDBjOKhcjeTZ5lnYHjErJkyIivScpO5XtKfFGk6KmvuiKsjG4Clb8gGHmhSF17vqYSUIqm1Y3EUlepz-s5qzo3uOQ3lHBYZe5Uc492sFaLgAJKJ9yAQ/s1600/delays.jpg" height="213" width="320" /></a></div>
The pedal is extremely useful in its simplicity and if you like complex pedals, it also contains basically everything you need without compromising on usability. There are another 7 different delays to, beside the original SDD delay, which is worth the money itself. It´s warm and not nearly sterile, even though it is digital. I will not go so far as to say it could easily replace everything on the market, there are many other fine delays out there, as the TC Electronics Flashback to mention one.<br />
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For those who like buttons and loads of "dialing in" this pedal has a lot to deliver. One can, for example, save favourite sounds in 40 banks x 2 channels, ie 80 presets, probably enough for most people.<br />
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<b><span style="background-color: black; color: #f3f3f3;">Types of Delay</span></b><br />
All delays can be set with parameters such as waveform, intensity and feedback.<br />
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<b>SDD</b>, the original from 1982. The best feature in this and it works for everything. Since you can save 80 locations, you can modify it as much as you wish.<br />
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<b>Analog</b>, a really good "analog" delay that behaves as it should<br />
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<b>Tape</b>, that creates that little irregularity as "tape" actually do ...<br />
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<b>Modern</b>, an excellent delay, especially for clean big sounds<br />
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<b>Cosmic</b>, a weird one I have a hard time finding uses for<br />
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<b>Reverse</b>, as it sounds, turn the signal backwards and another more or less a strange effect, if you're not in to"weird sounds", if you are then its probably unique<br />
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<b>Pitch</b>, creates variation in pitch<br />
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<b>Panning</b>, an effect that creates the feeling of the sound moving, more effective in stereo<br />
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<b><span style="background-color: black; color: #f3f3f3;">Any downsides?</span></b><br />
Yes there is actually one downside. On one hand you have 80 locations to save so your favourite sonds but you have to walk up and down in the 40 banks to find the right one and it's not very user friendly in a live situation. But on the other hand it is a luxury problem, its of course possible to organize it smart in the banks and reduce this downside. But the extremely beautiful SDD delay itself weigh this up, no doubt.<br />
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Check out this sound sample below.<br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/a4ov6JVZoX0" width="560"></iframe>
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<br />Fredrik Svenssonhttp://www.blogger.com/profile/05304554783747671919noreply@blogger.com0tag:blogger.com,1999:blog-1221287816197194260.post-21373837548768871382015-01-17T14:23:00.003-08:002015-01-18T02:22:26.715-08:00Box of Doom isolation cab review<b>The Box of Doom crashed in to the Zombie catacomb a while ago and I was curious above sanity about how well this thing actually isolate, how user-friendly it is and how it perform regarding sound quality. Those were actually my top three reasons for buying it in the first place. I wanted to complete my studio, located in a home environment. </b><br />
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I unpacked is, mounted a SM57 and plugged in the amp and my computer and the truth is that it blew my mind from the very first seconds. To mice a guitar amp professionally without being disturbed of to high volumes at home and not to disturb the neighbours and my newborn daughter was my main goal.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQg_1TCROkdfFJ1oiDA6z8botiXkwf8u5J65Ry9miDjdgvHUwC3WjYPENobuLV8HVY148GRKdxnPlt55AMwMcwIeNGBswUldOkVtgfbY9y01i2l_NhxOQKYP4gQmmJ-HT3R8EFaQThJcs/s1600/Boxofdoom.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQg_1TCROkdfFJ1oiDA6z8botiXkwf8u5J65Ry9miDjdgvHUwC3WjYPENobuLV8HVY148GRKdxnPlt55AMwMcwIeNGBswUldOkVtgfbY9y01i2l_NhxOQKYP4gQmmJ-HT3R8EFaQThJcs/s1600/Boxofdoom.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo: The Guitar Zombie</td></tr>
</tbody></table>
<a href="http://www.boxofdoom.nl/">The Box of Doom</a> is built by Sylvester Vogelenzang de Jong, you can read an interview with him <a href="http://theguitarzombie.blogspot.se/2015/01/box-of-doom-king-of-isolations-cabs.html">here</a>. It´s technology is placed inside a very robust flightcase box. It´s a beautiful and heavy piece of sound art. The lid is massive and gives you a feel of how well built this isolation cab is. Its just screams quality in every little detail.<br />
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<b>Specifications</b><br />
<ul style="color: #333333; font-family: 'Source Sans Pro', Helvetica, sans-serif; font-size: 14px; line-height: 24px; margin: 0px 0px 18px; outline: none; padding: 0px 0px 0px 18px;">
<li style="margin: 0px; outline: none; padding: 0px;">AllXs system<br style="margin: 0px; outline: none; padding: 0px;" />1x L-bracket (220mm)<br style="margin: 0px; outline: none; padding: 0px;" />1x L-bracket (165mm)<br style="margin: 0px; outline: none; padding: 0px;" />1x L-adapter (70mm) [including mounting nut/screw]<br style="margin: 0px; outline: none; padding: 0px;" />3x 3/8'' scew for fixing mic clamp (including rubber)<br style="margin: 0px; outline: none; padding: 0px;" />1x adapter 3/8'' to 5/8'' </li>
<li style="margin: 0px; outline: none; padding: 0px;">3x XLR connections</li>
<li style="margin: 0px; outline: none; padding: 0px;">2x XLR-XLR cables (length 500mm)</li>
<li style="margin: 0px; outline: none; padding: 0px;">Celestion 12'' <strong style="margin: 0px; outline: none; padding: 0px;">G12M 65 Creamback </strong> G12M 65 watt 8 Ohm</li>
<li style="margin: 0px; outline: none; padding: 0px;">669 (H) x 692 (L) x 518 (D) (including wheels)</li>
<li style="margin: 0px; outline: none; padding: 0px;">42 kg (based on BoD including Celestion V30)</li>
<li style="margin: 0px; outline: none; padding: 0px;">dB reduction (laeq) 29dB [based on Celestion V30]</li>
</ul>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWFT6FVEooTUnaecys0ZIc19nrmNbOwo21qYLPlXxyM_OxgUiv_S52xZHGKx-pqiXf5Gmjbm145uznmWzrDHLECGfbddlQn-tL6iX40oRl-2RURQ8YS-iAhT_D7GDKLyxHsQaq-A9IeJM/s1600/inside.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWFT6FVEooTUnaecys0ZIc19nrmNbOwo21qYLPlXxyM_OxgUiv_S52xZHGKx-pqiXf5Gmjbm145uznmWzrDHLECGfbddlQn-tL6iX40oRl-2RURQ8YS-iAhT_D7GDKLyxHsQaq-A9IeJM/s1600/inside.jpg" height="192" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo: The Guitar Zombie</td></tr>
</tbody></table>
<br />
<b>Isolation and Absorption</b><br />
Inside the Box of Doom there are 6 different absorbtion and isolation materials with "airchannels" placed like a labyrinth letting the air pass in and out freely. This is actually one of many reasons why this thing sound so honestly and well when used correctly.<br />
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<b>Micing possibilities</b><br />
You can use up to three mices (XLR), placed in different positions to get the most out of your amp in a recording or a live situation. To use it in recording environment is of course the first you think of but many players actually use the Box of Doom live, and I am pretty sure the sound engineers will love this and stop harassing guitar players for playing to loud. They will also get themselves a very clean signal with zero bleed to work with.<br />
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<div class="separator" style="clear: both; text-align: center;">
</div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiLsayIT2Qjz38o4uHQXX76-AMVzHf_kUOsmQAYdDnKxBpfNsXHVrsmpZCx6JuG2Z3BfKR5idEuyG3y41ES8H7_9kA5E4L2vd01d69I51yVh5hPV5UVW3EDB1-nKxkdw185s83iPPiNHE/s1600/Allxs.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiLsayIT2Qjz38o4uHQXX76-AMVzHf_kUOsmQAYdDnKxBpfNsXHVrsmpZCx6JuG2Z3BfKR5idEuyG3y41ES8H7_9kA5E4L2vd01d69I51yVh5hPV5UVW3EDB1-nKxkdw185s83iPPiNHE/s1600/Allxs.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo: The Guitar Zombie</td></tr>
</tbody></table>
<br />
The mices are mounted in a ALLXs-system which let you posistion your mixes practically wherever you want with extreem precision and you can also leave them inside during transport and just plug the thing in when you get to your new location. This solution is very userfriendly and very stable. There is also an option to buy a Box of Doom with goose-neck, for those who prefer that.<br />
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You can of course use whatever mices you want, but I had a SM57 and a Sennheiser e906 at home, which has a very similar behaviour. The best is to use mices with different characters. It´s a matter of taste with lots of opinions so lets leave it right there. Anyway, when I make an EQ analyse in Logic, I note that the guitar EQ lies in between the frequency 200-5000 Hz. A new friend of mine gave me this tip to check the quality of mices ability to deliver a guitar sound. This means that the Box of Doom behaves not only quiet but also acoustically very well. The result is like mixing a normal cab, which is not to say about many of the competitors. The guitar tone, if you have a great one from the beginning, stays great och very honest. You don't need to much at all with the EQ in Logic or at the mixing board. It´s very organic all the way and the amp sounds as it´s suppose to do. I´m a bit surprised by the fact that it is that easy to dial in whatever amp you want with a indisputable result.<br />
<b><br /></b>
<b>EQ and sonic quality</b><br />
I made an EQ analysis in Logic and noted that the guitar lies stable between the frequencies 200-5000 Hz. A buddy gave me this tip for checking the quality of the equipment to deliver a good guitar sound. This means that Box of Doom is not only quiet but also acoustic schematically good . You do not need to tune very much at all with EQ i post production. It is in general very organic and the amplifier sounds as it is supposed to do. I'm a little surprised that it is so easy to dial in a good sound.<br />
<div>
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<b>Speakers and the cassette baffle system</b></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig_zzVHIOZIZ4yOgqBEraZcXn_dBmkuFDhHFCb7o2qewVjNdX2y7Fn_9CLLkCxmYReeLegGMzWoT-chhKGaBkqIUhyTSgbkmrmjHwvOwO6RgsyvE9t3hk9viCYcL03IHyftTG6LVyG-Uk/s1600/speaker.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig_zzVHIOZIZ4yOgqBEraZcXn_dBmkuFDhHFCb7o2qewVjNdX2y7Fn_9CLLkCxmYReeLegGMzWoT-chhKGaBkqIUhyTSgbkmrmjHwvOwO6RgsyvE9t3hk9viCYcL03IHyftTG6LVyG-Uk/s1600/speaker.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo: The Guitar Zombie</td></tr>
</tbody></table>
The speaker is placed from the side and not at the bottom as in many other iso cabs. This means that you don't risk dropping a mice on the speaker during the positioning process and damage the speaker.<br />
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The speaker is mounted in a cassette baffle system which means you can easily change speakers in a minute in the studio for instance, or even live of course.<br />
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The two holes in the cassette is made to let air goes back and forth inside the box and contribute by itself as muck as the air channels inside to the character of the "sound".<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGpxFGZfrMreHJOamzyFn4G8i9-65fF-hL3GKEigaETwarg_RC3Nc_Mhe3ahGScd3GZNZqQiCtj_iFwnlmtNMvG3SA-35MyzNyAQNSHTEB5n5dcoGMEr_wqJ4D73-YkIaaxZMARFTEcS8/s1600/extraSpeakerBox.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGpxFGZfrMreHJOamzyFn4G8i9-65fF-hL3GKEigaETwarg_RC3Nc_Mhe3ahGScd3GZNZqQiCtj_iFwnlmtNMvG3SA-35MyzNyAQNSHTEB5n5dcoGMEr_wqJ4D73-YkIaaxZMARFTEcS8/s1600/extraSpeakerBox.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo: The Guitar Zombie</td></tr>
</tbody></table>
The extra speaker box, optional, is as robust built as the main box and you can order it containing one or two speakers and it´s easy to carry.<br />
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You can choose different speakers, Celestion Creamback G12H 30 (Classic)<span style="font-family: Times, Times New Roman, serif;">, <span style="background-color: white; color: #333333; line-height: 18px;">Celestion Creamback G12M 65 watt,</span></span><span style="background-color: white; color: #333333; font-family: 'Source Sans Pro', Helvetica, sans-serif; font-size: 14px; line-height: 18px;"> </span>Celestion V30, Celestion Greenback G12M 25W<span style="font-family: Times, Times New Roman, serif;"> and a <span style="background-color: white; color: #333333; line-height: 18px;">EVM Electro Voice Classic 12L - 200 watt. </span></span><br />
<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: white; color: #333333; line-height: 18px;"><br /></span></span>
<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: white; color: #333333; line-height: 18px;">These are all great speakers with individual </span></span><span style="color: #333333; font-family: Times, Times New Roman, serif;"><span style="line-height: 18px;">characters. I ordered a V30 and a Creamback 65 watt speaker and I love them both. The Creamback is my favourite for now though, warm and tight but still a bit vintage.</span></span><br />
<span style="color: #333333; font-family: Times, Times New Roman, serif;"><span style="line-height: 18px;"><br /></span></span>
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<div style="text-align: left;">
<span style="color: #333333; font-family: Times, Times New Roman, serif;"><span style="line-height: 18px;">I have made a short clip of how it sounds here:</span></span></div>
<div style="text-align: center;">
<span style="color: #333333; font-family: Times, Times New Roman, serif;"><span style="line-height: 18px;"><br /></span></span></div>
<div style="text-align: center;">
<span style="color: #333333; font-family: Times, Times New Roman, serif;"><span style="line-height: 18px;">
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/ZltGywPqxV0" width="560"></iframe></span></span></div>
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<span style="color: #333333; font-family: Times, Times New Roman, serif;"><span style="line-height: 18px;"><b>The overall impression</b></span></span><br />
<span style="color: #333333; font-family: Times, Times New Roman, serif;"><span style="line-height: 18px;">This is exactly what you want if you record musical stuff in a pro-studio, at home or if you´re playing live infront of an audience. The price is comparable to a high quality 4x12 cabinet like Mesa and it spare you many hours of trouble trying to mice an amp in any situation. </span></span><br />
<span style="color: #333333; font-family: Times, Times New Roman, serif;"><span style="line-height: 18px;">Check out more on w<a href="http://www.boxofdoom.nl/">ww.theboxofdoom.nl </a></span></span><br />
<span style="color: #333333; font-family: Times, Times New Roman, serif;"><span style="line-height: 18px;"><br /></span></span><span style="color: #333333; font-family: Times, Times New Roman, serif;"><span style="line-height: 18px;">Rating:</span></span><br />
<span style="color: #333333; font-family: Times, Times New Roman, serif;"><span style="line-height: 18px;">10 Zombies (5)</span></span>
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<span style="color: #333333; font-family: Times, Times New Roman, serif;"><span style="line-height: 18px;"><br /></span></span>
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<br />Fredrik Svenssonhttp://www.blogger.com/profile/05304554783747671919noreply@blogger.com4tag:blogger.com,1999:blog-1221287816197194260.post-70750143897695997882015-01-03T10:58:00.000-08:002015-01-05T03:09:53.510-08:00Box of Doom - the king of isolation cabs<span style="font-family: Times, Times New Roman, serif;"><b>A while ago I made a Rig Rundown with Fredrik Åkesson from the band Opeth. I discovered that he was using an isolation cab, a Box of Doom. Just like the guitarists of In Flames, </b></span><b>Björn Gelotte and Niclas Engelin.<span style="font-family: Times, Times New Roman, serif;"> Fredrik and the crew had just started to test this cab and they were obviously thrilled about the whole thing. </span></b><br />
<b><span style="font-family: Times, Times New Roman, serif;"><br /></span></b>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK8XqKSvceVa_P-psNTUXkmmUEZbE_S8xrxqWLgVw7nXul7qrk6QEiSD0ajcp9B23z-wyKxUhyphenhyphenNoWqe79E6JkbzHQwdUUfxUQ-Uhc1GqMPsDJvmYMw1t6-2dwMPvxo1Bn_6yreY6v594Y/s1600/BOD_2014-11-07+Opeth+Fredrik_showtime.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK8XqKSvceVa_P-psNTUXkmmUEZbE_S8xrxqWLgVw7nXul7qrk6QEiSD0ajcp9B23z-wyKxUhyphenhyphenNoWqe79E6JkbzHQwdUUfxUQ-Uhc1GqMPsDJvmYMw1t6-2dwMPvxo1Bn_6yreY6v594Y/s1600/BOD_2014-11-07+Opeth+Fredrik_showtime.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Opeth</td></tr>
</tbody></table>
<span style="font-family: Times, Times New Roman, serif;">The following Opeth US tour inDecember 2014, with In Flames, Fredrik moved on with the Box of Doom and only used his "traditional cabinets" for stage sound and to achieve acoustic feedback in his playing. The iso cab is actually what you hear live nowadays. The same goes for the guitarists in In Flames. Iso Cabs are not a new phenomenon but it´s definitely a big trend that just started. </span><br />
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<span style="font-family: Times, Times New Roman, serif;">The <a href="http://www.boxofdoom.nl/">Box of Doom</a>, created by Sylvester Vogelenzang de Jon, <span style="font-size: small;"> intergrates the mic and the speaker into a well isolated and </span>acoustically<span style="font-size: small;"> neutral environment. The clear benefit is no bleed and
interference from guitar, drum and vocal mics. And vise versa. The result is a very clean and dynamic signal in your studio or live mixing equipment. </span></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0HzaJsd4B5bc8JUHo16M3LdkX0JVPOk6QKQ6phP2r-zPiSidq7plVLpctM2E_ZkJBlfNuHO01tqRrlvcfiExoum0l7GIgFmt1MzqBbEtS_OxwRLWQGvE72RRfgUIXq6C_A131U1tZtMU/s1600/Box+of+Doom+Isolation+Cabinets.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0HzaJsd4B5bc8JUHo16M3LdkX0JVPOk6QKQ6phP2r-zPiSidq7plVLpctM2E_ZkJBlfNuHO01tqRrlvcfiExoum0l7GIgFmt1MzqBbEtS_OxwRLWQGvE72RRfgUIXq6C_A131U1tZtMU/s1600/Box+of+Doom+Isolation+Cabinets.png" height="200" width="168" /></a></div>
<span style="font-family: Times, Times New Roman, serif; font-size: small;"><br /></span>
<span style="font-family: Times, Times New Roman, serif;"><span style="font-size: small;">Another thing is that the amp can be cranked up a
bit more, to get the best out of it, without having a noise issue on stage and where ever you play, you
always get the same result. You are no longer reliable on the stage acoustics. </span>Bands like In Flames and Opeth, leave the
mics in the Box of Doom and roll them of stage straight into the truck. Next show they
roll them on stage, plug in the XLR and amp and they are ready to go.</span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span>
<span style="font-family: Times, Times New Roman, serif;">There are a few iso cabs on the market today, I have previously written about a consumer product from the states, AxeTrack, which has its advantages, especially the size. Randall has one to, but much larger than AxeTrack, and what I´ve heard it doesn't isolate enough. It works, but not very well, is a common term from people. </span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span>
<br />
<span style="font-family: Times, Times New Roman, serif;">The Box of Doom, on another hand, is a "high quality isolation cab" built like a tank, which both isolates fantastically well (-29dB) and </span>deliver what you always dreamed of<span style="font-family: Times, Times New Roman, serif;"> in studio and in a live situation with your PA. </span><br />
<span style="font-family: Times, Times New Roman, serif;"></span><br />
<div>
<span style="font-family: Times, Times New Roman, serif;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span></div>
<span style="font-family: Times, Times New Roman, serif;">
</span>
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<div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghYz77pwlwptNqkwp7YxhiY3mJr8irdUG6x_aJaZADZKoy0ia1OWC3pjVcF-eVsNjZEL0ey3ty5kdHBfJQL2koXOaqCegRWGXz7dvLpzJMBYptrPUExefI1e7KnaA2iQz21zaP_wl4zSo/s1600/2014+BOD+Sylvester+at+workshop.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghYz77pwlwptNqkwp7YxhiY3mJr8irdUG6x_aJaZADZKoy0ia1OWC3pjVcF-eVsNjZEL0ey3ty5kdHBfJQL2koXOaqCegRWGXz7dvLpzJMBYptrPUExefI1e7KnaA2iQz21zaP_wl4zSo/s1600/2014+BOD+Sylvester+at+workshop.jpg" height="320" width="212" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sylvester Vogelenzang de Jon</td></tr>
</tbody></table>
</div>
<span style="font-family: Times, Times New Roman, serif;">
After some research I discovered that Sylvester Vogelenzang de Jong developed his "Doom Baby" from his own needs as a guitarist of the Dutch band Ulysses. Today Box of Doom is a handmade boutique speaker solution made for live environments, pro-studios and home recording situations. </span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span>
<span style="font-family: Times, Times New Roman, serif;">All this information made me curious, of course, not least because I was looking for advanced technique that delivers a consistent sound reproduction when I test amplifiers, guitars and effects for The Guitar Zombie blog and YouTube. Home studio environments is a difficult world if you want to record with real amps, especially if you're located in a regular apartment. </span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span>
<span style="font-family: Times, Times New Roman, serif;">I contacted Sylvester and asked him if he was interested in being interviewed about guitar sound and how to use iso cabs in general and particularly the Box of Doom. </span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /></span>
<br />
<div class="MsoNormal">
<span lang="NL"><b>What are the main reasons, out of your
perspective, for guitarists to use an iso cab?</b><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="NL">In my opinion the best way to get a good
guitar sound is by micing a speaker (preferably with multiple microphones)
which is driven by a (tube) amplifier. An Isolation cabinet enables you to use
the conventional setup (guitar, amp, speaker, mic) without the noise level the
normal rig produces. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="NL">Most guitar players only think about a
isolation cab for (home) recording. But an isolation cabinet is also very
useful on stage. Lowering the stage volume makes the life of the front of house
engineer much easier, and enables him (or her) to get a better balanced sound
in the venue.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="NL"><b>How long has it taken to develop your ideas
of a Box of Doom ? When did it all start?</b><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="NL">In 2008 I decided to record guitar tracks in
my home studio. I tried all kind of modeling and plug-ins, but I wasn't happy
with the result. Micing a cabinet was not an option, because I don't have a
isolated studio. So I decided to build myself an isolation cabinet. Nothing new
there, because hundreds before me had build some sort of isolation cabinet, or
stuffed a cabinet in a wardrobe. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="NL"><br /></span></div>
<div class="MsoNormal">
<span lang="NL"><b>What was it made of?</b></span></div>
<div class="MsoNormal">
<span lang="NL">The first concept, which I used for album
recordings in 2008, was very simple, made of MDF and I used isolation materials
bought at the local hardware store. It had only one microphone, placed on a
goose-neck. It already had the extractable baffle, so I was able to change
speakers. Further more, it was a DIY project. After we finished the album we
did live shows with the band and I took the Iso with me, because we just
started using in-ears on stage. </span></div>
<div class="MsoNormal">
<span lang="NL"><br /></span></div>
<div class="MsoNormal">
<span lang="NL"><b>But it was tourable?</b></span></div>
<div class="MsoNormal">
<span lang="NL">This version wasn't really fit for touring, to
say the least, the box didn't even had wheels or grips to carry it on stage and soon got the nickname “box of doom”. So I started developing a new version, which
resembles the Box of Doom as we know it now. </span></div>
<div class="MsoNormal">
<span lang="NL"><br /></span></div>
<div class="MsoNormal">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1qlVDB0FhaQyujTuOJg0j0gaOcp4X72I-rELh5RrYqNTqUqHlH56DwCqldvRq1dkhADnbVXm8PEhybHWqbunJFFAVkUk0XPRv649KPuTTBwluu1EUPOh9c74TrUThYdCfEWzLHhQRygA/s1600/2014+BOD.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1qlVDB0FhaQyujTuOJg0j0gaOcp4X72I-rELh5RrYqNTqUqHlH56DwCqldvRq1dkhADnbVXm8PEhybHWqbunJFFAVkUk0XPRv649KPuTTBwluu1EUPOh9c74TrUThYdCfEWzLHhQRygA/s1600/2014+BOD.jpg" height="212" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Box of Doom inside</td></tr>
</tbody></table>
<span lang="NL"><b>How much did you change the contruction?</b></span></div>
<div class="MsoNormal">
<span lang="NL">I worked on the "box in box
construction", searched for a better acoustic absorption materials, and
constructed the flightcase. At this moment I didn't had any commercial
intentions, I simply needed a better looking and more practical iso, which was
much more silent and better sounding compared to the first version. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>And then people became highly interested?</b></div>
<div class="MsoNormal">
<span lang="NL">Yes, soon the
news spread (sound technicians talked about it) and I was asked to build one
for a guitarist working on a solo project and I sold my first BoD to him. I just
made up a price to cover the expenses and thought that would be it. But to my
surprise, after a few weeks I received a phone call from a very popular Dutch
session player (Bert Meulendijk). He asked me to build him two units. One for
at his home studio and one for live purposes. Not knowing he would use it on
national TV,<span style="mso-spacerun: yes;"> </span>The Voice of Holland. The
Voice of.. soon went global and until today he is still using it. Shortly after
that, my phone rang again, and I got a request from the Wisseloord studio's
(known for many world famous productions), asking for three Box of Dooms and a
flightcase with alternative speakers. This was the moment I pinched myself and
asked myself what the hell? It seemed I made something special, distinctively better
than the Iso's available. </span>As from this moment I gradually upgraded the
Box of Doom with features making it more user friendly and versatile.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="NL"><b>Did you test the other ones on the market?</b><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="NL">No, when I build the first one I did not look
around what was available, I just made a design that felt logical. After I
noticed the Box of Doom was a “hit” I started on a commercial product, just
then I checked out the competition. I actually didn't test them myself. In the
meantime I had some customers who had done it for me, so I didn't bother
anymore..<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
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<div class="MsoNormal">
<span lang="NL"><b>What is unique with the Box of Doom compared
to the other ones?</b><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="NL">We use high end acoustic absorption and
isolation materials, the BoD doesn't sound boxy.</span> The speaker is mounted vertically (no risk of
damaging the speaker, when you drop the mic..) and it can be changed in under a minute of
your precious time. Easy access, huge lid that opens.. enables
you to actually see how you position the mics from above. Three microphone connections if you like. No goose-necks, the AllXs system is solid
system for pin point exact accurate positioning and it´s of course tour ready, no need for additional
flightcase.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="NL"><b>What mices are the best to use for clean and
dirty, and why? </b><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="NL">Since we have a growing customer base, we have a
lot of feedback on user experience. I always try get information on amps, mics
etc used by the users. I am always interested in combinations that are less
successful, so we have something to focus on. To my surprise, all kind of mics
work well in the Box of Doom. Large diaphragm, Condensers, Tube mics, Ribbons
you name it and it is used by our customers. </span></div>
<div class="MsoNormal">
<span lang="NL"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhQ7ws9pqpJ21WuFqy0rzvX1spXz92Yx_2l7meRiehSNA2paPAdL4zS23tXkWcvBv8JPvhfJ6AYJWlsDXFAlEVYIjuS3AcQfW4ue2hcdX2HMXu06bAUMM_j6fKHYO0JxDhmkPT38vT5Wc/s1600/Bjorn+and+BoD.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhQ7ws9pqpJ21WuFqy0rzvX1spXz92Yx_2l7meRiehSNA2paPAdL4zS23tXkWcvBv8JPvhfJ6AYJWlsDXFAlEVYIjuS3AcQfW4ue2hcdX2HMXu06bAUMM_j6fKHYO0JxDhmkPT38vT5Wc/s1600/Bjorn+and+BoD.jpg" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Björn Gelotte In Flames with Box of Doom</td></tr>
</tbody></table>
<div class="MsoNormal">
<span lang="NL"><b>Do you have any customer examples?</b></span></div>
<div class="MsoNormal">
<span lang="NL">Rammstein uses a very
large Lawson tube mic. On stage they always had difficulties with environmental
influences, risking to damage the mic. Such as wind, dust, rain (festival
shows), We made them an over sized Box of Doom, to be able to fit the Lawson
mic and they now have a very controlled situation during the live shows. Björn Gelotte and Niclas Engelin in In
Flames uses Se Ribbons (Voodoo) for the clean signals<span style="mso-spacerun: yes;"> </span>and Se4400 for the dirty sounds. I myself,
use a combination of a Heil PR30 (large diaphragm), PR22 (dynamic) and a Peluso
R14 ribbon. These mics combined are a killer combination. I got inspired by
Arjen Lucassen (Ayreon). In the end it is all a matter of taste. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="NL"><b>And what about the positions inside to get
most bottom in the sound if you use two mices?</b></span> Micing the speaker in the Box of Doom is no
different as with micing a conventional speaker. The same basics apply. The center of the speaker is bright and in your face, the more you move to the edge, the more low
and less direct your sound gets. A nice trick is to put your mics of axis,
having it pointing slightly outwards or inwards, getting more of the spectrum.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<b><span style="color: white; font-size: large;"><i style="background-color: black;">Rule number one: make sure you produce the sound you wanna record with your gear</i></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="NL"><b>Is there any specific adjustments in post production EQ,
i mean in Logic for instance? What to should you consider when mixing?</b><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="NL">The most heard comment of technicians is
that the signal coming out the BoD doesn't need much work at all. It is very direct
and blends perfectly into a mix. I have been at live tests, where I was
standing next to the FoH engineer and they told me they hardly had to eq
anything to get a good sound. Rule number one: make sure you produce the sound
you wanna record with your gear.. don't<span style="mso-spacerun: yes;">
</span>try to fix it in the mix.. You can't make a Fender sound like a
Marshall, by turning some knobs in Protools..<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK50vqAD95mRn5WywzZW9CEXqVeMgdPPO0LlrEQFl6lcdLdWTO7CkrITEdcmMJQ66h7odo6ioQkh6k5AKtxvsWYEhK9ZbBVmiQfCNJnBR5Y7f_-_MxeUOf1AM8LuxmLVFWZ70QgW-XKDM/s1600/BOD+speaker+carrier.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK50vqAD95mRn5WywzZW9CEXqVeMgdPPO0LlrEQFl6lcdLdWTO7CkrITEdcmMJQ66h7odo6ioQkh6k5AKtxvsWYEhK9ZbBVmiQfCNJnBR5Y7f_-_MxeUOf1AM8LuxmLVFWZ70QgW-XKDM/s1600/BOD+speaker+carrier.png" height="320" width="280" /></a></div>
<div class="MsoNormal">
<span lang="NL"><b>The speakers you ship is good for different
types of sound, can you describe the differences?</b><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="NL">If you order a Box of Doom, we install a Celestion Vintage 30 | 8 Ohm as default. This speaker is almost iconic / an
industry standard, just like the SM57 microphone. Is it the best speaker
available? No, probably not but its the standard and it is a speaker suitable
for most players. And for most guitarists a good reference. We deliver many BoD
units with other type of Celestions, like G12M-65 Creamback (great combi of a
V30 and a Greenback). Last couple of years Celestion has been working hard on
some new speakers, that are all sounding great. The benefit of the Box of Doom
is that you can quickly change speaker, so you can compare easily. For studio's
its perfect. You have one BoD and a collection of pre-mounted speakers and you
are ready to record every guitarist, metal, blues, jazz.. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Are there any other secrets in there?</b></div>
<div class="MsoNormal">
<span lang="NL">Probably the way how the BoD is constructed is
pretty radical. You can't see it, it is all under the skin. If you open the
lid, you can feel the weight of<span style="mso-spacerun: yes;"> </span>it,<span style="mso-spacerun: yes;"> </span>just like a safe door. It has to be heavy, to
be silent, to absorb the resonances.. The construction of the lid is pretty
time consuming, but contributes to the quality. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="NL"><br /></span></div>
<div class="MsoNormal">
<span lang="NL" style="background-color: black;"><b><span style="color: white; font-size: large;"><i>We use over six types of absorption and isolation materials in the product</i></span></b></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="NL"><b>When you do quality tests, what is the
procedure?</b><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="NL">All components we get from our suppliers will
be checked, before we use them in production. We use over six types of
absorption and isolation materials in the product. Density and thickness of the
materials are very critical. After we receive the batch from our supplier, we
first test (measure) the materials, to make sure the supplier used to correct
specified materials. After we wrap up work on the BoD we always first test the
wiring, to make sure the connections are soldered correctly. Then we hook up
the BoD to an amp and check if the speaker, response is ok. Although Celestion
has a qualitiy check, someone could have dropped the speaker during transport,
so we need to be sure it works before it leaves our shop.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="NL"><b>The most common customer, who is that?
Artist for live playing, studios or home studio?</b><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="NL">It used to be 40% pro studio 40% home
recording and 20% live.. but since we teamed up with Rammstein, In Flames,
Phoenix and many Dutch live acts, we get more interest from touring bands.
Recently we added Opeth to the list and there are more to follow. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="NL"><b>How has it been received by customers?</b><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="NL">Very good. We have customers all over Europe
and recently we shipped to the U.S. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="NL">We deal directly with the user/customer.
Benefit is that we actually know our customers and get valuable feedback.
Whenever a band is on tour, I always get in touch to ask for their experiences.
If possible I go over to a show and check out the setup myself. Based on the
information, users are very satisfied. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="NL"><b>As you said many known artists are already using your stuff, are there any new standing on the doorstep?</b><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="NL">Yes, at this moment we are testing with some
known acts. A very known Dutch guitarist and some international (metal) bands.
When the festival season starts, I am on the road testing with bands.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRvmtDrqOVqTyEwP4XnxQ3gLNQ1JxxfqYz3UbrOHQOf-eqBdFYFbj3w9PRPC7G1Ixn0xgnmtuq5SWf9aOtkGUMv7LoDimVrpZNuGkY_Z4j2fhmyCdA3ykgGM7uM8K8-dXc-rP0XbMVmjE/s1600/2014+BOD+workshop+(in%2Bflames%2Bproduction).jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRvmtDrqOVqTyEwP4XnxQ3gLNQ1JxxfqYz3UbrOHQOf-eqBdFYFbj3w9PRPC7G1Ixn0xgnmtuq5SWf9aOtkGUMv7LoDimVrpZNuGkY_Z4j2fhmyCdA3ykgGM7uM8K8-dXc-rP0XbMVmjE/s1600/2014+BOD+workshop+(in%2Bflames%2Bproduction).jpg" height="180" width="320" /></a><span lang="NL"><b>What is your capacity for meeting the demand?
How many can you build in lets say a week?</b><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="NL">We produce in batches of 12 units. We always
try to have at least four units on stock. We finish the units for 90%. Then we
leave room for customer specific work, such as 8 pin XLR for tubemic. Or we do
a small upgrade to make it ready for bass guitar speaker. We try to have a
maximum delivery time of 6 weeks. But most of the time we manage to ship within
two weeks. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="NL">We also make specials, as we did for Rammstein
and In Flames, then of course we have a longer delivery time.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="NL"><b>Any new innovative ideas going on in your
head?</b><o:p></o:p></span></div>
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<div class="MsoNormal">
<span lang="NL">Yes, I have.. Actually working on a version
for a Leslie speaker. It is still in the design fase, hopefully start on the
proto soon, currently figuring out what the potential is in the market. Further
more we are working on some products that are not specificly isolation cabinet
related. I have been visiting many bands and especially visited many
guitartechs. I always see the scott dixon guitarcases/vaults and toursupply
workbenches. We are working on some designs, interesting for touring bands...<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="NL"><b><br /></b></span></div>
<div class="MsoNormal">
<span lang="NL"><b>Sounds cool, thanks for letting The Guitar Zombie dig in to your world....</b></span></div>
<div class="MsoNormal">
<span lang="NL">It´s my pleasure....</span></div>
<div class="MsoNormal">
<span lang="NL"><br /></span></div>
<div class="MsoNormal">
<span lang="NL">Vist Box of Doom website: <a href="http://www.boxofdoom.nl/">www.boxofdoom.nl</a></span><br />
<br /></div>
<div class="MsoNormal">
<span lang="NL">I will come back soon with a Box of Doom Rundown with sound-clips and much more. </span></div>
<div class="MsoNormal">
<span lang="NL"><br /></span></div>
<div class="MsoNormal">
<span lang="NL">Stay Zombied</span></div>
<div class="MsoNormal">
<span lang="NL"><br /></span></div>
<div class="MsoNormal">
<span lang="NL">//The Guitar Zombie</span></div>
<!-- Blogger automated replacement: "https://images-blogger-opensocial.googleusercontent.com/gadgets/proxy?url=http%3A%2F%2F4.bp.blogspot.com%2F-DI-l-DxE-gc%2FVKavrr8m3NI%2FAAAAAAAADsI%2F0fNhJlydkQE%2Fs1600%2F2014%252BBOD%252BSylvester%252Bat%252Bworkshop.jpg&container=blogger&gadget=a&rewriteMime=image%2F*" with "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghYz77pwlwptNqkwp7YxhiY3mJr8irdUG6x_aJaZADZKoy0ia1OWC3pjVcF-eVsNjZEL0ey3ty5kdHBfJQL2koXOaqCegRWGXz7dvLpzJMBYptrPUExefI1e7KnaA2iQz21zaP_wl4zSo/s1600/2014+BOD+Sylvester+at+workshop.jpg" --><!-- Blogger automated replacement: "https://images-blogger-opensocial.googleusercontent.com/gadgets/proxy?url=http%3A%2F%2F2.bp.blogspot.com%2F-mL8c7VqAPE0%2FVKawTkjbmuI%2FAAAAAAAADsQ%2FUDxBfxgjtX8%2Fs1600%2F2014%252BBOD.jpg&container=blogger&gadget=a&rewriteMime=image%2F*" with "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1qlVDB0FhaQyujTuOJg0j0gaOcp4X72I-rELh5RrYqNTqUqHlH56DwCqldvRq1dkhADnbVXm8PEhybHWqbunJFFAVkUk0XPRv649KPuTTBwluu1EUPOh9c74TrUThYdCfEWzLHhQRygA/s1600/2014+BOD.jpg" -->Fredrik Svenssonhttp://www.blogger.com/profile/05304554783747671919noreply@blogger.com2tag:blogger.com,1999:blog-1221287816197194260.post-36469485032741243722014-12-27T10:23:00.002-08:002014-12-27T10:23:37.705-08:00JOYO JF-09 Tremolo - A cheap and great sounding pedal (Video-Clip)<b>The Chinese company Joyo has a whole flood of pedals, mini pedals and other musical accessories in its range. They define themselves as a company that "focuses on the production of digital music oriented tools". It is an interesting company but for most guitarists it´s probably "just another clone-company". And it is true that they are making cheaper clones, but they also show tendencies to go towards a more innovative path.</b><br />
<br />
It's not unusual for Chinese companies to draw the bow as hard as they can and at the same time look ahead to innovative world domination. The point is that many of them has a fair chance to be successful in a global perspective. To make clones in collaboration with other partners in the music industry is a smart and easy way to learn the basics and then when the timing is right take off to more innovative products. To ignore of these actors are both clumsy and stupid intimidation as they already have good stuff to offer.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWJJhefvCxPohuwT8M_nubWFaxcF9MeJecWOhQnYt2CuwNQN7GcDo7Yu3pqq04B7fmqeVchYpyAN38ic7Z4nZtaezRSo20JOTRgPU1632jUOMMWLWrA3iNyt2vJL-Eqqj86ke68khdcl8/s1600/joyoTrem.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWJJhefvCxPohuwT8M_nubWFaxcF9MeJecWOhQnYt2CuwNQN7GcDo7Yu3pqq04B7fmqeVchYpyAN38ic7Z4nZtaezRSo20JOTRgPU1632jUOMMWLWrA3iNyt2vJL-Eqqj86ke68khdcl8/s1600/joyoTrem.jpg" height="213" width="320" /></a></div>
The JOYO JF-09 tremolo is exactly such a product. In fact, it is a really good tremolo, from barely noticeable sweeping rate (speed) to fast and even large span of "intensity".<br />
<br />
Tremolo, unlike Vibrato, creates variation in loudness (amplitude) which means that raises and lowers the volume. This technology has been around for vintage amps since the 50's. Vibrato on the other hand varies the pitch as you may already know. Anyway, Tremolo is a classic and very useful effect that throws pure or soft crunched sound back to the vintage mode. I think the best effects stays in the background and highlights the guitar without taking over. This pedal is outstanding on just that, it lifts the whole and it creates a good old fashioned vintage sound if you do not exaggerate settings, and it doesn't suck tone at all, at least not by my standards.<br />
<br />
- True Bypass<br />
- Built like a tank<br />
- 9v battery or eliminator<br />
- Light that indicates the rate<br />
<br />
I made a little demo here which gives a hint of how it sounds. The pedal is connected in the effects loop on a Marshall JVMJS on the clean channel orange mode and the guitar is a Jeff Beck Stratocaster. There is a reverb there too, a TC Electronics "Hall of fame".<br />
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You can get one for $28 on Amazon and eBay, which is very cheap for this kind of quality pedal.<br />
<br />
A tap tempo to easily change rate between songs had been great, but at the same time you may lose a bit of the vintage feeling.<br />
<br />
Rating:<br />
4.5 zombies (5)Fredrik Svenssonhttp://www.blogger.com/profile/05304554783747671919noreply@blogger.com0tag:blogger.com,1999:blog-1221287816197194260.post-28606285079538200822014-12-24T04:10:00.003-08:002014-12-24T04:10:53.148-08:00The Bill Kelliher "Rig Rundown 2014"<b>I had the opportunity to interview Bill Kelliher of Mastodon before their gig in Stockholm and we talked much about "Tone Chasing". I also took the opportunity to make a Rig Rundown, ie a filmed review of Bill's live stuff. If you want to read the interview <a href="http://theguitarzombie.blogspot.se/2014/12/bill-kelliher-mastodon-tone-chaser.html">you can find it here</a>.</b><br />
<br />
Otherwise, you can enjoy "The Bill Kelliher Rig Rundown 2014".<br />
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Stay Zombied and Merry Christmas....</div>
Fredrik Svenssonhttp://www.blogger.com/profile/05304554783747671919noreply@blogger.com0tag:blogger.com,1999:blog-1221287816197194260.post-3535996522735656772014-12-23T11:26:00.000-08:002014-12-24T08:42:40.716-08:00Bill Kelliher Mastodon, "The Tone Chaser" (Interview )<b>One of the most interesting progmetal bands of today is Mastodon. The band played a few days ago here in Stockholm and I had the opportunity to see them. Mastodon is one of my favourite bands when it comes to guitar players in the metal genre. Complicated and beautifully created riffs all the way and the four band members are as tight as you hear them play on the albums. </b><br />
<br />
Bill Kelliher is, in my opinion, the best rhythm guitar player i the business and he is also a very talented soloist. I was asked to meet Bill for an interview just before soundcheck and I didn't hesitate long. Bill is known to be very particular about his tone, a tone chaser, and I asked him how it all started.<br />
<div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;">Foto: The Guitar Zombie</td></tr>
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<b>When did you become a "tone chaser"?</b><br />
A good question actually, and I can't speak för everyone, but, what ever you do in life you always try to do it the best you possibly can. I have always been interested in recording and when I hear a guitar player on a record that sounds awesome I instantly want to catch that tone or sound. Thats where my addiction with starts actually, to find that tone that cuts through and sound fucking awesome.<br />
<br />
<b>Which guitar player was the first one to catch your interest?</b><br />
It all started with Eddie Van Halens tone, and he is still to this day a tremendous guitar player. A clear tone with not to much distortion. Its funny because when you start playing you always try to collect as much distortion boxes as possible, and thats not what this thing is about at all.<br />
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<tr><td class="tr-caption" style="text-align: center;">Foto: The Guitar Zombie</td></tr>
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<b>What amps did you start out with?</b><br />
I started out with Peavey Butcher and the VTM60 from the 80s, amazing amps. It was basically like a JCM800 but way cheaper. I also had a Chandler Tube Driver, the big yellow thing, for just a tiny extra overdrive. The thing is that after 20 years i the business I saw one of these VTMs on craigslist and bought one just out of curiosity to hear how it sounds today as myself and technology has developed. I was surprised that it still sound amazing... It struck me that I´ve had my tone since beginning and still chase for better all the time and I actually returned to the same spot.<br />
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<tr><td class="tr-caption" style="text-align: center;">Foto: The Guitar Zombie</td></tr>
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<b>But you are a Marshall guy?</b><br />
Yeah, I have used Marshalls for a long time since then and they have always sounded good for me. But when I heard Jerry Cantrell from Alice in Chains and his awesome tone a while ago I was stunned.<br />
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<b>What was it about his tone?</b><br />
You know I was on the backside of the stage every evening and could hear his guitar from that isocab and it was so clear, you could hear every single beautiful note he played, and that guy is a great guitar player. I asked him "what the hell are you playing through?" Whatever it is I got to have it. He said he had a Friedman "Marsha", a Marshall clone basically, and an isolation box with Celestion Creambacks. He said that he had an head one I could borrow on the tour.<br />
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<tr><td class="tr-caption" style="text-align: center;">Foto: The Guitar Zombie</td></tr>
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<b>So that was it?</b><br />
Yeah. His guitar tech had a couple of guitar pickups called Motorcity Pickups that Cantrell use and he installed it in my guitar and I got his tone, or at least his sound. A couple of years later I bought a Friedman Head which I now use on tour back in America, they are way to heavy to move over to Europe.<br />
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<b>What is the best thing with this Friedman head of yours?</b><br />
I have two, one of modified Jerry Cantrell signature and one HBE. The thing is that you don't need that much distortion, once again, cause it blurs up stuff between the notes to much. I use to roll back the gain and turn up the mids, but I´m still out on the hunt and I have millions of distortion pedals but at the same time I like less of everything. I like it the best when the guitar goes right in to the amp. Once you start adding chains of this and that and wireless and stuff and you suddenly get confused and loose the things you´re actually chasing. I want it to cut through and define my playing the way I want it to.<br />
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<tr><td class="tr-caption" style="text-align: center;">Foto: The Guitar Zombie</td></tr>
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<b>On the European leg of the tour you use Marshall heads?</b><br />
Yeah, JCM800 2203, one reissue and one original from like 2003 or something. Great amps too, and if something breaks a use a Blackstar for backup.<br />
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<b>You have Creambacks in your isocab?</b><br />
Yeah but I´m not the guy who can easily explain how stuff sounds, I just now when it sound great, but they´re awesome. They are like Vintage 30´s which I have in my stage cabs but a bit more aggressive maybe.<br />
<br />
When I was growing up I always had 20 watt speakers to use less distortion on the amp and distortion pedals and let the speakers do the job but the seems to have shorter life as I run them pretty hard. But then i found the Celestion 65 watt Creambacks that sounds great, somewhat in between 75 and 20 and when I cracked it up it sounded so good.<br />
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<tr><td class="tr-caption" style="text-align: center;">Foto: The Guitar Zombie</td></tr>
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<b>You have a signature Gibson Les Paul...</b><br />
Yes, Gibson Les Paul "Halcyon" with my own designed pickups made by Lace called "Dissonant Aggressor". A beautiful guitar with Mahogany body, gold and black burst, mahogany neck and rosewood fretboard. On this tour I also have a 82 Les Paul Custom wine red and a white 1977 Les Paul Custom.<br />
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<b>What about effects then?</b><br />
I have moved on from the effect pedal stuff now and I use Fractal AxeFX II and a MFC 101 instead. I still use normal amps you know so I´m just half way in to the modern era. I´m not using the amp modelling thing yet.<br />
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<b>How does your guitar tech handle your "changing all the time" regarding your tone chasing?</b><br />
Yeah ha ha he´s a bit frustrated sometimes but I am actually my own tech. He knows how to set things up but I want the last hand on everything to be satisfied. I use this Fractal thing for some stuff, and he doesn't have a clue about that sort of stuff. But its ok, cause I know how it sounds when it sounds good, you know what I mean... He basically keeps the guitars i tune and stuff. I want to problem shoot things myself and I am really anal about it, you would hate work for me...<br />
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<b>I don't know about that.... </b><br />
Ha ha well I´m a nice guy but I now my stuff you know and I know exactly how I want it.<br />
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Looking forward to the show and to hear you play...<br />
Your welcome<br />
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<b>Thanks for letting me talk to you...</b><br />
Thank you, it was fun talking about "tone chase"...<br />
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Tomorrow I will publish the Bill Kelliher Rig Rundown.... 12 minuets of pure nerd activity....<br />
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Stay Zombied.....<br />
<br />Fredrik Svenssonhttp://www.blogger.com/profile/05304554783747671919noreply@blogger.com1tag:blogger.com,1999:blog-1221287816197194260.post-56486810708907536682014-12-12T10:36:00.001-08:002016-01-05T11:05:20.228-08:00Review of Marshall JVM410HJS, Joe Satriani model - Best Marshall amp in years...<b>A while ago I made a "rig rundown" with <a href="http://theguitarzombie.blogspot.se/2014/12/rig-rundown-with-fredrik-akesson-opeth.html">Fredrik Åkesson</a> from the progressive metalband Opeth. The rundown made me interested in his amplifier, the Marshall JVM410JS "Joe Satriani model". After buying it a couple of days later I realised that it´s the best amplifier Marshall have made in years. Now don't fall into the trap to think it´s the same amp as the first JVMs, because this is something completely different.</b><br />
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Maybe it has to do with increased experience at Marshall's development department, or that more efforts are required from the market in these "digital times" or that they finally started to look at what all the "modders" has done since 1980 or so. Most of the great guitarists have had modded Marshalls through the years and it feels like the focus now has shifted at Marshall, to once again take the customer perspective. A perspective they were so good at until 1973 or so, when the forces of customer demand took over and they had to compromise.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJZri6I3VFtkL8HYplFetpwZ_lVmEWeZbJyYILayEA3sHG00Oj-U8R3gQ_7SimOGryW1daMgsyVP7_JqkCWPt5mmTAZOGls1ZXH3vawZB2A1W0awQBA8KHsU88037VoC3F9nMOsWDXoDc/s1600/JVM.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJZri6I3VFtkL8HYplFetpwZ_lVmEWeZbJyYILayEA3sHG00Oj-U8R3gQ_7SimOGryW1daMgsyVP7_JqkCWPt5mmTAZOGls1ZXH3vawZB2A1W0awQBA8KHsU88037VoC3F9nMOsWDXoDc/s1600/JVM.jpg" width="320" /></a></div>
Anyway, this amp is a collaboration between Santiago, amp developer at Marshall, and Joe Satriani. Now, don't fall not in the next obvious trap, namely, the conclusion that this amplifier "just replicates Joe Satrianis tone". It can certainly do that, but the outcome of this collaboration has accomplished more important things than that. It´s a very versatile amp for pretty much every kind of guitar genre, from sparkling clean blues to heavy chunky riffs and outrageous high-gain lead tones.<br />
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The front panel probably scares the shit out of many vintage purists with its 28 knobs, but it's really not complicated at all. It´s actually quite intuitive, and I didn't have to use any manual at all.<br />
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I've recorded a short demo for those of you who want to get a hint about how it might sound. Clean Orange mode with little effects, Crunch in Orange mode and OD in Red mode. I have shorten it down focusing on how the amp sounds. My suggestion is that you read this full review before you listen.<br />
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<b>4 channels</b><br />
The amplifier has 4 EL34 and 5 EC83 hard working tubes and delivers 100 watt pure guitar tone. It has 4 channels: Clean, Crunch, and 2 identical OD channels.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi93qVe-0qFiAK1mUBw-sndKD23p6y8sgggQzmrrgvFEORgLZeqTdiWgC66HfaPPZhhDXCpzgf9m5fue-NwGGfGu-CVMj8FStV6_WojmYBBZSyo01el61WK7NPnEzJtxZtty-pAv9ndpmc/s1600/jvmPanels.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi93qVe-0qFiAK1mUBw-sndKD23p6y8sgggQzmrrgvFEORgLZeqTdiWgC66HfaPPZhhDXCpzgf9m5fue-NwGGfGu-CVMj8FStV6_WojmYBBZSyo01el61WK7NPnEzJtxZtty-pAv9ndpmc/s1600/jvmPanels.jpg" width="520" /></a></div>
<b>Noise-Gate</b><br />
Each channel has its own noise-gate, which has replaced the reverb in the origin JVMs. These noise-gates are really good, Fredrik Åkesson pointed out it´s "musicality" and that they doesn't "eat" any tone at all, like many other amps do. The tone becomes tight and completely studio-silent. If you don't like it, just turn it off.<br />
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<b>Green, Orange & Red modes</b><br />
Furthermore, all channels has 3 modes: Green, Orange and Red. This means that the amplifier actually has 12 channels, which can be controlled from the pedalboard (foot-switch). Green is the starting position and the other puts each channel a step forward in to a different character.<br />
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There are also two master volume-sections with "resonance" and "precense" knobs, very handy.<br />
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<b>Clean</b><br />
The starting point for the clean chanel is the nice clean sound in the Marshall Anniversary 6100 and it´s just incredibly good in the "Green mode", and it takes distortion pedals in an excellent manner. In "Orange mode" the clean is a bit more gained without cracking up and in Red mode it cracks up in a brilliant way without falling over in to distortion. It all lands in one is exceptionally good tool for anyone who needs a clean sound with variety. This variation in clean tones makes it very easy to take advantage of different types of guitars and brings the best out of them. Everything is controlled from the supplied foot-switch.<br />
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<b>Crunch</b><br />
The Green mode sounds like a JTM Plexi and Orange as a JCM800. Red mode turns it into a hot-rodded JCM800. This is the amplifier's most exciting channel, I think. Orange mode with the gain at 2-3 a´clock should fit any classic rocker and with the right effects it grows brutal.<br />
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<b>OD 1 and 2</b><br />
These channels are identical, which I think is a brilliant idea. Instead of adding another hi-gain characteristic chanel it gives the guitarist an ability to vary their own sound in the same "personal tone area". Maybe a bit more gain in OD 2 or some different EQ, it´s "sick clever" based on the ideas of individual tone consistency. Another great thing obut the ODs is that Marshall has found a really good metal amp here, which should attract even the most modern metalheads. There is more gain than you ever need, and the fact is that it sounds best when you are not utilizing its full gain capacity.<br />
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<b>Mid Shift</b><br />
Another great feature is the Mid Shift, a function that was developed to let Sammy Hagars vocals cut through better in Chickenfoot, but its allows you to compress the tone a bit, it allows your metal sound in to deliver really good "Chucka-Chucka-down-strokes".<br />
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<b>Effects Loop</b><br />
Another very nice feature is the incredibly great effects loop. I have never experienced such good effects loop before and pedals appear flawless compared to loops in other amps.<br />
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The fact that there is no reverb may seem strange, but given the extremely well-functioning effects loop it doesn't matter. The thing is that a mediocre reverb, or other modulation effects, actually sounds brutally nice in this amplifier, thanks to the new effects loop technology and the amps great "basic sound" in general.<br />
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<b>Summary</b><br />
This is one of the the best Marshall amps ever, for reasons as:<br />
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1. The basic sounds in the channels, which are spot on, and especially Crunch Orange Fashion<br />
2. Effects loop, one of the best I've ever heard<br />
3. The versatility that basically allows you to sell every other amplifier<br />
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The variety of sounds you can get out of this amp to and how easily you can switch between them is actually quite stunning. From shimmering cleans to cocky crispy Plexi-Crunch and powerful high gain makes it´s suitable for virtually all music genres.<br />
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An additional nice gesture from Marshall is that this tone monster doesn't rob you of 5000 dollars, as it actually should be worth. It´s yours for 2600 dollars. A bargain considering the value this tone monster will bring you.<br />
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A bestseller .... Period!<br />
<a href="http://www.amazon.com/gp/product/B00A3DGWZQ/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=B00A3DGWZQ&linkCode=as2&tag=theguizom-20&linkId=ERRG2RJIAMXYDLNL">Buy here</a><br />
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Rating:<br />
Zombies 5.0 (5.0)Fredrik Svenssonhttp://www.blogger.com/profile/05304554783747671919noreply@blogger.com0tag:blogger.com,1999:blog-1221287816197194260.post-69467021377492054682014-12-09T09:19:00.003-08:002014-12-09T09:19:27.968-08:00Review of MXR Berzerker Overdrive, from blues to really high-gain<b>I can't get enough of overdrive and high-gain pedals, it's like a food for a Guitar Zombie. The latest in the line that danced in here is an MXR Berzerker Overdrive. That fact that Berzerker is a signature pedal by Zakk Wylde is perhaps not exactly a novelty, he has a whole series of gadgets with his name on it. Zakk is known for its unbroken and painstaking experimentation with his tone, and this pedal is excellent, if used properly, that is. </b><br />
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Many people misunderstand the Berzerker for recreating Zakks unique tone. Thats not true, its an overdrive. Its just how marketing works, it puts images in your mind. You do not play like Zakk or sound like him if you buy this pedal.<br />
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The Berzerker is an overdrive that is designed to add an extra form and an additional density to an already great gain structure. Zakk himself carefully point out that he uses it precisely for that purpose, to get more out of his amps gain.<br />
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Everything starts with a good sounding amplifier. But once you have got a great high-gain through your amp this pedal adds that extra "sustain" you might need for solos and or extra fat licks.<br />
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There is no point in running it on the clean channel, if you're in to high gain. But if you're looking for a slightly overdriven clean sound it works really fine. It is basically a well-balanced overdrive and gets my VOXAC15 to emit new fine blues tones. And the basic rule, that people talk about today, is to "roll off" the gain to a minimum, letting your hands and your heart do the bluesy job.<br />
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This pedal is built for something else, namely bold and quite comprehensive gain to get that screaming monster riffing, without becoming muddy.<br />
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When I run it in a proper Marshall, which has that perfect high gain, I can kick in that extra amount of gain needed for blasting harmonics and massive power chording the man himself is known for.<br />
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The prize from 100-150 dollars makes sense, if you're looking for ultra-gain solutions for your already great amp.<br />
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Rating:<br />
4,5 Zombies (5)<br />
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Stay ZombiedFredrik Svenssonhttp://www.blogger.com/profile/05304554783747671919noreply@blogger.com0tag:blogger.com,1999:blog-1221287816197194260.post-65564545847729853562014-12-06T10:50:00.000-08:002014-12-06T12:17:07.331-08:00Interview with Chris and Ben from Black Stone Cherry <span style="font-family: Times, Times New Roman, serif; font-size: large;"><b><i>"There are no Fractals here man"</i></b></span><br />
<span style="font-family: Times, Times New Roman, serif; font-size: large;"><b><i>Chris Robertson</i></b></span><br />
<span style="font-family: Times, Times New Roman, serif;"><b><br /></b></span>
<span style="font-family: Times, Times New Roman, serif;"><b>Black Stone Cherry is a hardrock band with clear roots in the American South's musical treasures. The band started in 2001 and took over the same rehearsal house as country rock band The Kentucky Headhunters. </b></span><br />
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<span style="font-family: Times, Times New Roman, serif;">The latest album "Magic Mountain" is another step in the direction they adopted from the beginning, in all cases since they released the first album. They have basically been playing together since their teens. </span><br />
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<span style="font-family: Times, Times New Roman, serif;">The heavy stoner-groove is there on the new album and it fits properly along with the catchy refrains. E</span>verything is refined and even more of the characteristics of the band. Powerful and very heavy guitars.<br />
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<span style="font-family: Times, Times New Roman, serif;">I meet Chris Robertson and Ben Wells just before their gig at "Klubben" in Stockholm last month. I was a little curious about if they have fell in to the digital trend and how they create their guitar sound as a band in studio and in live situations.</span><br />
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<span style="line-height: 16px;"><b>Have you stepped in to the digital world or did you use real amps on the latest album?</b></span></span><br />
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<span style="font-family: Times, Times New Roman, serif;">Chris: It´s real amps, no digital! There are no Fractals here. </span></div>
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<span style="font-family: Times, Times New Roman, serif;">Ben: All Tubes man...</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><br /></span>
<span style="font-family: Times, Times New Roman, serif;">Chris: We use different kinds of stuff in the recording studio but all of them are old school amps with tubes in them and it goes to a speaker cabinet and the sound comes out that way, no digital wizzard-tricks going on.</span><br />
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<span style="font-family: Times, Times New Roman, serif;"><b>Is it still Budda amps?</b></span></div>
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<span style="font-family: Times, Times New Roman, serif;">Chris: I just switched to PRS amps now and they´re great man. The best amps I´ve ever heard.</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Ben: I have my same Peavey 5150 and 6505. On the new album we also used a VTM 120 from the late 70s. It´s a killer amp head. It´s sad to say that playing through amps is becoming old school.</span><br />
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<span style="font-family: Times, Times New Roman, serif;"><b>Why did you leave Buddha for PRS?</b></span></div>
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<span style="font-family: Times, Times New Roman, serif; line-height: 16px;">Chris: I´ve used Budda or Peavey for years and the reason I switched over was because PRS asked us if we would like to have a couple of amp heads in the studio while recording. And you know, in studio sessions you use a lot of stuff, there is no limit. We had Soldanos, Ritchie Blackmoore Engles and much more. When the PRS amp heads came down I recorded the whole album with them. Totally impressed. The one I use right now is an PRS </span><span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 16px;">Original Sewell, but I´ve listen to the new amps they have and they're great amps man. </span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><b>On the new album your guitars sounds really simple, big and consistent through the whole album, is that something you actually worked hard on?</b></span></div>
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<span style="font-family: Times, Times New Roman, serif;">Chris: Well it´s much about keeping it simple and take advantage of the "sonic air" on the tracks as a whole. If you listen to an old Led Zeppelin, Black Sabbath or an AC/DC album they may not have much "low end" but they sound so huge because there are so much space. </span></div>
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<span style="font-family: Times, Times New Roman, serif;"><b>So it´s back to basics?</b></span></div>
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<span style="font-family: Times, Times New Roman, serif;">Chris: Yeah. First of all we wanted to record on a two inch tape which is totally awesome and it was the first time ever for us. We wanted to get that space and as heavy as it could get.</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><b>So your going back to the origin that everyone is running away from…</b></span></div>
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<span style="font-family: Times, Times New Roman, serif;">Ben: Yeah let them run from it man…it´s good for us ha ha ha...</span></div>
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<span style="font-family: Times, Times New Roman, serif;">Chris: Why go to a concert and see a band that has a Pro Tool rig behind the drummer that plays half the music. A lot of band has three guitars but only one guitarist up infront. That doesn’t make sense, it´s weird. </span></div>
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<span style="font-family: Times, Times New Roman, serif;"><b>Is it to much focus on technology today?</b></span></div>
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<span style="font-family: Times, Times New Roman, serif;">Ben: Yeah, you know, Tony Iommi could sound like two guitarists with his vibrato back in the days. I mean lets get back to that, that awesome playing without to much effects and layers. We all want to sound big but much of it is in your playing, in your hands and heart. We are two guitar players but we use to keep it as simple as we can. I think that´s what makes us different. Fortunatly and unfortunately I guess. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2PkR-tjkWsvyGq5dgFnO8MTHWMuFdwnFnnDKnbg43sGYo743Mw4ULbRPoXL-mIKT1apTXIVOKiGI4xIwkJahO7iAPRU7e_KgIB8O5_-ZrPItGe3VAS28ygrbNmmVW4jXOBLJmaRemjP0/s1600/soundcheck.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2PkR-tjkWsvyGq5dgFnO8MTHWMuFdwnFnnDKnbg43sGYo743Mw4ULbRPoXL-mIKT1apTXIVOKiGI4xIwkJahO7iAPRU7e_KgIB8O5_-ZrPItGe3VAS28ygrbNmmVW4jXOBLJmaRemjP0/s1600/soundcheck.jpg" height="213" width="320" /></a><span style="font-family: Times, Times New Roman, serif;"><b>How about the learning perspective today and when you started?</b></span><br />
<span style="font-family: Times, Times New Roman, serif;">Chris: We grew up when there was no YouTube. I had to sit by the record player or the cassette deck and use my ear to learn. Big difference from today. </span></div>
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<span style="font-family: Times, 'Times New Roman', serif;">Many guitarist today seems to play from visuals or from memory, or reading tabs to play something thats cool, they don’t wanna pick up the guitar and play stuff that sucks. When I started I played a lot of stuff that sounded like shit, and thats a part of the learning process to. </span></div>
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<span style="font-family: Times, Times New Roman, serif;">Ben: Everybody does….I mean playing shitty in the beginning...it´s natural and something you have to pass. </span></div>
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<span style="font-family: Times, Times New Roman, serif;"><b>How important is the guitar sound to your ability to play well?</b></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 16px;">Chris: It´s one of the most important things in a way. A good sound inspires you. </span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 16px;">Ben: Yeah and most guitarists are actually depending on their sound, but really great players can use whatever amp they can find and sound like themselves anyway. </span></span></div>
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<span style="font-family: Times, Times New Roman, serif;">Chris: Most of your sound or your tone is in your hands as you say. But a good sound encourage you...</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><b>What stuff did you start out with, like your first amp?</b></span></div>
<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 16px;">Ben: My first amp was a Peavey Combo, I don't remember which one but it was one with the old logo. I had a lot of distortion pedals too, you know like everyone else who starts out, trying to get your first shitty amp sound better. I had a one called Rat Distortion that I liked and a Boss Super Distortion. Now, when you getting older, you find yourself a good amp instead of loads of pedals. My first guitar was a Peavey Stratocaster, but my first "real guitar" was a Fender Telecaster Japanese reissue. </span></span><br />
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<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 16px;"><b>And what was your first attempts?</b></span></span><br />
<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 16px;">Chris: I had a Create 30 1x12 combo and my first guitar was an Epiphany Telecaster copy. I know the guy who have it now but he refuses to sell it back. Then my grandpa let me use his old Fender Bassman 1966, and I really learned to really play on that amp. That old amps have what I use to call "three nobs and the truth", volume, bass and treble and thats it. I didn't have any pedals, I wanted a wha wha but my dad didn't let me get it before I could play the Jimi Hendrix songs. I think pedals are cool för like effects and stuff, but they're not cool if you use them covering up shitty playing. </span></span><br />
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<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 16px;"><b>How stripped down are you pedalboards today?</b></span></span><br />
<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 16px;">Chris: I have a Poly Tune, MXR La Machine which is a Octave up Fuzz, Dunlop Cry Baby Wha, GT-OD Overdrive and a </span></span><span style="font-family: Times, 'Times New Roman', serif; line-height: 16px;">Carbon Copy delay and a </span><span style="font-family: Times, 'Times New Roman', serif; line-height: 16px;">chorus with some weird name on it, I don't remember. I use the chorus as a "vibrato", not the way Zakk Wylde does.</span><br />
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<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 16px;">Ben: Same tuner, same wha, a Talk-Box, a Swollen Pickle Fuzz and a MXR Phase 90. And of course my channel switcher. Pretty much so... I like pedals, I must admit, I like experimenting with crazy sounds. If we have an odd pedal sometimes it´s just to create a sound in a particular song which reflects the album, most of the time only one song in the set. The most used pedal is the wha...</span></span><br />
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<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 16px;"><b>Is it hard to translate the studio sound on an album in till live performances?</b></span></span><br />
<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 16px;">Ben: Well it starts in the studio actually. If you don't put 1000 layers on each song you don't have to worry about it. </span></span><br />
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<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 16px;">Chris: We have done that misstakes in the past, with like 5 guitars over the chorus and it´s just not possible to do with the same emotion live. </span></span><br />
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<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 16px;">Ben: Yeah and we have learned our lessons. </span></span><br />
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<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 16px;"><b>You had a Les Paul on soundcheck?</b></span></span><br />
<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 16px;">Ben: Yeah it´s a </span></span><span style="font-family: Times, 'Times New Roman', serif; line-height: 16px;">Classic </span><span style="font-family: Times, 'Times New Roman', serif; line-height: 16px;">Lemon Burst with the 60´s neck, that´s what I grew up playing. I have 4 Les Pauls and a PRS SE. It´s 496 and 500 pickups you know, the ones with higher output. Thats why I love the Classics, cause the come in stock with those pickups and it saves me from changing. </span><br />
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<b style="font-family: Times, 'Times New Roman', serif; line-height: 16px;">And you are endorsed by PRS Guitars?</b><br />
<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 16px;">Chris: Yes I am. I have the same guitars and amps here (in Europe) that I have have back home in the States. The green one is a PRS Starla S2 with a 25 inch scale and then I have another S2 24 1/2 inch and aother guitar I have is a PRS Stripped 58 Antique white. We were on tour with Alter Bridge and Myles had PRS guitars and he told that they were awesome. </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhleeO17KQHkoOUAmpHo6CdkJ_bpV6i_QK31_wNv768IcyRKFQM74kRo6lxYTYC-6QzADz1Ko0D5OiYXKh7O4zDNjJJsA00_i2wyERz09qfKqwldKUztCAwGkub1BGeqodRNgV_yGoC9aY/s1600/DSC_7417.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhleeO17KQHkoOUAmpHo6CdkJ_bpV6i_QK31_wNv768IcyRKFQM74kRo6lxYTYC-6QzADz1Ko0D5OiYXKh7O4zDNjJJsA00_i2wyERz09qfKqwldKUztCAwGkub1BGeqodRNgV_yGoC9aY/s1600/DSC_7417.jpg" height="203" width="320" /></a><span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 16px;">At the same time I had som consistency problems with my guitars, they played differently and sounded differently depending on the humidity and I asked my guitar tech which guitar he thought would be the best up on consistency and he said "you probably don't want to hear it...it´s PRS". And I was the guy like "everybody plays PRS" and I wanted to be that guy playing old beat up Fenders and stuff. But I gave it a shot and since then that guitar changed my life as a guitar player. I was hooked from there. </span></span><span style="font-family: Times, 'Times New Roman', serif; line-height: 16px;">In my opinion PRS are the best guitars, playing the same day in and day out. </span><br />
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<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 16px;"><b>What about tuning?</b></span></span><br />
<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 16px;">Chris: Most of the time its C sharp or drop C but some of the songs on the record is drop B actually. </span></span><br />
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<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 16px;"><b>What guitar players inspires you?</b></span></span><br />
<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 16px;">Chris: The 80s brought out some great guitar players, but Im not that found of that era except from Slash. I like the old Whitesnake guys and of course Doug Aldrich. But the top three today is Gary Clark Jr, Ian Thornley from Big Wreck and Joe Bonamassa. Myles Kennedy is another great guitar player. Those guys make me wanna be a better guitar player. </span></span><br />
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<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 16px;">Ben: My influences comes from Joe Perry, Jimi Hedrix, Brian Setzer and Scotty Moore. Amazing guitar players. </span></span><br />
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<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 16px;"><b>You are both playing solos nowadays?</b></span></span><br />
<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 16px;">Ben: Yes but Chris still does the most of them. </span></span><br />
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<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 16px;">Chris: Yeah but we both love playing riffs and solos, I could never be in a punk band man. Playing E, A and D power chords all day, it gets boring. Our solos are longer on this album, it´s kind of boring to do chorus playing and we are always waiting for the bridge or the solos in our songs.</span></span><br />
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<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 16px;"><b>Thats how a guitar player works isn't it? Waiting for the singer to stop....</b></span></span><br />
<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 16px;">Chris: Yeah ha ha ha and that sucks for me cause I have to do the singing too right...</span></span><br />
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<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 16px;">Ben: ha ha ha</span></span><br />
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<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 16px;">Chris: But it is a good balance for me though, singing makes me appreciate playing guitar even more...</span></span><br />
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<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 16px;"><b>Thanks for hanging out with The Guitar Zombie, appreciate it.</b></span></span><br />
<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 16px;">Chris: Thanks man, it was fun talking guitar stuff...</span></span><br />
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<span style="font-family: Times, Times New Roman, serif;"><span style="line-height: 16px;">Ben: Yeah and thank you for having us. </span></span></div>
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Fredrik Svenssonhttp://www.blogger.com/profile/05304554783747671919noreply@blogger.com0tag:blogger.com,1999:blog-1221287816197194260.post-3518332348297220192014-12-02T12:24:00.001-08:002014-12-02T12:24:16.921-08:00Rig Rundown with Fredrik Åkesson Opeth<b>It's time for the first "Rig Rundown" as promised. First up is Fredrik Åkesson, lead guitarist in the Swedish progressive metal band Opeth. The RR was recorded in Stockholm November 15, 2014 during soundcheck. Fredrik guides us through the rig he´s currently using, which is based on the PRS guitars and Marshall JVM 410HJS, an amplifier I will return to for a review later on.</b><br />
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Fredrik Åkesson is not only one of our most talented guitarist, he is also extremely careful about his tone. This becomes clear when you hear him play live. Every little detail is perfect and he knows his rig inside and out.<br />
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The actual rig is designed by Göran "LEO" Elmquist at <a href="http://www.soundofsilence.se/SOS/Test_your_gear.html">Sound Of Silence in Stockholm</a>. It is interesting to see how Frederik and Göran has created an advanced but controllable switching system for Frederik's very diverse playing and at the same time been able to secure tonality, ie the minimun loss of tone. The same challenges most guitarists face every day, mostly by long cables and signal chains that suck tone.<br />
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Those of you who knows your Opeth stuff may notice some new gadgets in the rig. In addition to the Marshall JVM Joe Satriani model there is a thing called Box of Doom and a Piezo system for acoustic sounds.<br />
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Follow Fredrik around his rig anno 2014 and enjoy some totally stunning solos recorded during soundcheck at Münchenbryggeriet 15/11 2014.<br />
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Enough said! Zombies....Please enjoy:<br />
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There will be more "Rig Rundowns" in the future and I will return as I said with a review of the Marshall JVM 410HJS, an amplifier that is not unimportant in this context. Not at all the same as the first JVM series, even if they look identical.<br />
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Thanks to Fredrik Åkesson and Darren Edwards for giving me the opportunity to do this "Rig Rundown".<br />
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Stay Zombied...<br />
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// The Guitar ZombieFredrik Svenssonhttp://www.blogger.com/profile/05304554783747671919noreply@blogger.com0tag:blogger.com,1999:blog-1221287816197194260.post-78114127652659543642014-11-23T12:35:00.001-08:002014-11-23T12:35:38.153-08:00Slash Les Paul Standard Antique Vintage Sunburst "counterfeit" from China (MIC)<b>In three previous articles I have discussed Chinese counterfeits. First a general discussion, a review of a 160 dollars "Fender Telecaster" and then a 270 dollars "Fender Stratocaster Relic YJM". The last one, # 3, is a Gibson Slash Les Paul Antique Vintage Sunburst "Slash Tribute" for $280. The price tag should easily tell anyone on the planet that the whole thing is a "fake". The original, as you may know, was just manufactured in 1600 ex worldwide and goes for over $3000...Worth every penny. </b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji9XkqOMACL56uZs1sNLIpMDElmRIW_XcQtUeaqtf967yF2OlwoYZIzVwI9VscT1ZZznMGe4FXV_TVO6iBp_R_0uuLaN2HNp3Pewg0GWxX4nBZHftZYO2cBRwRNfltsVBKB_wCVxs8bqc/s1600/counterfeit.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji9XkqOMACL56uZs1sNLIpMDElmRIW_XcQtUeaqtf967yF2OlwoYZIzVwI9VscT1ZZznMGe4FXV_TVO6iBp_R_0uuLaN2HNp3Pewg0GWxX4nBZHftZYO2cBRwRNfltsVBKB_wCVxs8bqc/s1600/counterfeit.jpg" /></a></div>
I once again must point out that I do not intend to promote Chinese "fakes", I just want to inform you about the phenomenon of "Chinese copies". It´s not illegal to purchase counterfeits, but it is to manufacture and sell them, and especially as "originals".<br />
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Even if you don't have moral doubts about buying them, you should know that you support illegal activity and infect the business of high quality instruments.<br />
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"Enough" about that ...<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggDVD5GwdpeMDp7ujtMldNXtpmjDf6QaGKoJW2TDerCrMCHIJ5MY7mXCV5spS1rjLRUddE2U9gghxQetzURoX51E7bFf_-bB7mbYA2vTHKJ-9bB2Tm4S-OnI_IW4YmdKyfXQmr27ZXS7c/s1600/TBSL.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggDVD5GwdpeMDp7ujtMldNXtpmjDf6QaGKoJW2TDerCrMCHIJ5MY7mXCV5spS1rjLRUddE2U9gghxQetzURoX51E7bFf_-bB7mbYA2vTHKJ-9bB2Tm4S-OnI_IW4YmdKyfXQmr27ZXS7c/s1600/TBSL.jpg" /></a></div>
# 3 arrived one day after the #2. The walk from the Post Office was much more exciting as #2 turned out to be better than #1, I felt at least not fooled. I was excited all the way home.<br />
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The package, also a yellow cellophane package, was heavier than the last two. Once home, I opened the package and found a guitar, the same guitar strap as before, one-piece plastic cable and two shitty picks.<br />
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After unpacking the box I met a guitar with an excellent finish. I remember thinking:"how on earth can they make this awesome finish for just $280?". I found virtually no errors at all, maybe a bit more colourful in the burst compared to the original.<br />
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I comparison to my original "Slash Signature" I noticed that the "Slash logo" is placed slightly crooked, but it's not something you notice if you do not have an original side to side. The Gibson logo is placed where it should be though.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2A7O7AJeNlaUUp4oJw-AEP01TziQQ7A80uWzNY5LGmdAnkw9zyNwX983oeo8I34WTJ-Txqhd-Oor_r49hSzWZ9dP9ZrXxo8PwaAcGg1KdzEoh18701f_Gacsu8_87XjNMjykTqyVoH0I/s1600/Truss.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2A7O7AJeNlaUUp4oJw-AEP01TziQQ7A80uWzNY5LGmdAnkw9zyNwX983oeo8I34WTJ-Txqhd-Oor_r49hSzWZ9dP9ZrXxo8PwaAcGg1KdzEoh18701f_Gacsu8_87XjNMjykTqyVoH0I/s1600/Truss.jpg" /></a></div>
The neck is straight and under the truss rod plate you actually find a "trussrod". It is the third guitar with a truss rod and it´s not made of silicone, which is important to notice. The counterfeits has become better. The truss rod works fine but it doesn't look like the original at all.<br />
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The fretboard appears to be made of Rosewood and it feels great. The inlays looks quite authentic to. The frets are also fine, maybe a bit jagged so they get a little trimming.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHm2RcHjKOO_n8p7zp8I77Sotv_9mwrsCvEHW-kJU5tTob-tup5VJJXqDmcVToZJydQpMTA5UfcBJ9m4MCU5NDDZUfVPMQgHkO4knJ8NgN2B6_NQeVokE6d_Jl_h3G7K4IJgQyNpQbMuk/s1600/hals.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHm2RcHjKOO_n8p7zp8I77Sotv_9mwrsCvEHW-kJU5tTob-tup5VJJXqDmcVToZJydQpMTA5UfcBJ9m4MCU5NDDZUfVPMQgHkO4knJ8NgN2B6_NQeVokE6d_Jl_h3G7K4IJgQyNpQbMuk/s1600/hals.jpg" /></a></div>
The guitar is surprisingly perfect intonated right out of the box, a signal that the factory not just throw stuff together, but the strings are horrible. Not quite as bad as the # 1 (Telecaster), but definitely not classy at all. The three way switch works flawless.<br />
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The tuners are "vintage style" and works smoothly. The guitar definitely keeps i tune, even at quite rough playing. They are definitely not Kluson Deluxe, it says Gibson Deluxe on them, but they look almost the same. Another detail to remember if you wanna spot a counterfeit.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-7mF_SB43qHx7E0WHLNrzHJ9gtnT5v_AiUe8j_wPPlRvOY-CHwDrYCwZiTVKVG8DK4Gv5F-DSEKG6WWj2GZGszoRWbW8xdl7Su7FX0wq-skKTMXeJJ8-rnH7tQJJVMjGIkuAeLZ0CQyY/s1600/IMG_3732.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-7mF_SB43qHx7E0WHLNrzHJ9gtnT5v_AiUe8j_wPPlRvOY-CHwDrYCwZiTVKVG8DK4Gv5F-DSEKG6WWj2GZGszoRWbW8xdl7Su7FX0wq-skKTMXeJJ8-rnH7tQJJVMjGIkuAeLZ0CQyY/s1600/IMG_3732.jpg" height="240" width="320" /></a></div>
Electronics inside are no masterwork, the whole thing looks actually rather "cheap" with sloppy soldering, but it works without "humming".<br />
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The pickups are not at all Alnico 2 Pro as it should be in the original. They do not sound bad but they are a bit flat sounding. If you change the pupps to Alnico 2 Pro, you will probably get a much better sounding instrument.<br />
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The acoustic sound is surprisingly strong as the guitar is made of less wood.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1nLowl-hqRvAzC48FFZIgEwRbC3OOeMaPSYiYcjcEiOL83BpT9SrAwFm1bJ7Puf8LpcTsthgRA71HZj4Qyr7ddNwSz2eBqgynQgDAjchJDKoSJbZTIb2-tS92Dl2fRGeaFEaMeLj4FU0/s1600/stall.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1nLowl-hqRvAzC48FFZIgEwRbC3OOeMaPSYiYcjcEiOL83BpT9SrAwFm1bJ7Puf8LpcTsthgRA71HZj4Qyr7ddNwSz2eBqgynQgDAjchJDKoSJbZTIb2-tS92Dl2fRGeaFEaMeLj4FU0/s1600/stall.jpg" /></a></div>
The bridge is stable with a "Tune-o-matic bridge" and lightweight Stopbar tail piece. It looks ok and works like any other "low cost hardtail" on the market.<br />
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This Chinese counterfeit may well cause problems for the ignorant, it is a well-functioning instruments with great looks. Compared to an original Gibson Standard you will notice a difference, of course. But as an instrument it works really well as delivered. If you change hardware it will become a great guitar, there is no doubt about that.<br />
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Again, I am pleasantly surprised by the quality versus price. My Chinese # 1, # 2 and # 3 will remain in my possession and will remind me of the globalized world and how it affects us and how it will continue to fool us.<br />
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4 zombies (5)Fredrik Svenssonhttp://www.blogger.com/profile/05304554783747671919noreply@blogger.com0tag:blogger.com,1999:blog-1221287816197194260.post-32560410566075192272014-11-17T12:01:00.001-08:002014-11-17T12:01:33.947-08:00Fender Stratocaster YJM "counterfeit" from China (MIC)<b>In the two previous articles I have discussed the Chinese counterfeits, or fakes, if you will. First, a general discussion, and then a review of a $160 "Fender Telecaster". Now we proceed with the copy # 2, a "Fender Stratocaster Yngwie J Malmsteen signature" for $ 27. Free shipping.</b><br />
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Once again I want to clarify that I am not promoting or encourages anyone to buy counterfeit guitars, I just want to raise awareness of the phenomenon. As I have previously written, it is not illegal to buy "counterfeits", but it is to sell them as originals.<br />
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On the way home from the post office, I wondered if the project "china guitars" were not so smart after all. The Telecaster was far from a success, you might say. A total disaster actually.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpU8A-GdNmuJ0tyig7hE3c_z2kQElLC3q3TC36KlbJor1G5jkLMvDXpe0cVVXgjCdEWmtSJ9IrJGavpT8zptUrU_ubLOGz9iSL85noeDE3EbmvPrOs2V_L8bWEeGwOeJHhuBf9sdyznLo/s1600/strata.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpU8A-GdNmuJ0tyig7hE3c_z2kQElLC3q3TC36KlbJor1G5jkLMvDXpe0cVVXgjCdEWmtSJ9IrJGavpT8zptUrU_ubLOGz9iSL85noeDE3EbmvPrOs2V_L8bWEeGwOeJHhuBf9sdyznLo/s1600/strata.jpg" height="320" width="206" /></a></div>
Once home I opened the yellow cellophane package and I had a bad feeling about the piece in question. In the package I found the guitar, a black plastic guitar cord, a too short guitar strap, a tool for trussrod adjustments and two picks.<br />
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The guitar is built as a "relic", but it´s just "fake relic". From a distance it looks, however, very cool. The neck is scalloped just like the original, and the work actually looks and feels very good. The frets sit nicely but they are a little rough on the surface, easy to fix in a minute though.<br />
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The Fender "logo" on the headstock looks ok, maybe slightly fatter than what would be considered properly.<br />
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The strings are better than on the "Telecaster" but still rubbish. When I check the intonation it´s as perfect it could be but the string height feels somewhat high.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhsAps9XC5BPdgTVXsHn4PwDkuluuZXcCPvK4ndTktJdDQJHqCzE4D3xGV1R4aXOPMbq1ZQIqHBEovrYej38yj2kSI6WaZno9phV54QCAMhpHJUml8ZYyQenh1MP7ICJO6k55j9EQwy8o/s1600/stall.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhsAps9XC5BPdgTVXsHn4PwDkuluuZXcCPvK4ndTktJdDQJHqCzE4D3xGV1R4aXOPMbq1ZQIqHBEovrYej38yj2kSI6WaZno9phV54QCAMhpHJUml8ZYyQenh1MP7ICJO6k55j9EQwy8o/s1600/stall.jpg" height="213" width="320" /></a></div>
The pickups are labeled "Noiseless", but when I plug it in, it becomes clear that they are not very noiseless at all. The guitar has however a great tone, which is surprising since it is considerably less weight than an original strat.<br />
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I decide to make the modifications needed to make the guitar playable, because this actual guitar has great potential, just like many low-cost guitars actually. The hardware is not high class, but they work, and can of course be replaced with better.<br />
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The tuners are robust and responds well and keeps the guitar i tuning. The trussrod works well on this guitar, it is not made of silicone that you read about on the net. Not this one anyway.<br />
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The good thing with this kind of "cheap" guitar is that you can modify it and play around around with it without getting anxiety.<br />
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When I plug it in and played it I discovered to my surprise that the guitar playability is really good. It also sounds very good, although it would need a set of new pickups. It is easy to play and after I polished the frets they are "smooth less". When I play it a bit tougher than normal it keeps the tuning perfectly. In fact, it plays almost as good as an original Stratocaster made in Mexico, the only difference is that it´s not that, which is good for long playing sessions or for small kids. The body is probably made basswood, but I really can not say.<br />
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It´s a really good guitar at a crazy low price.<br />
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So # 2 turned out to be absolutely acceptable. Of course, not as good as an original YJM. Nothing are...<br />
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3 zombies (5)Fredrik Svenssonhttp://www.blogger.com/profile/05304554783747671919noreply@blogger.com30tag:blogger.com,1999:blog-1221287816197194260.post-91267531858585180612014-11-15T04:24:00.001-08:002014-11-15T04:24:30.329-08:002nd article about counterfeits guitars from China<b>In my articles on Chinese copies, fakes, counterfeits or whatever you call them we are now focusing on three examples that I purchased through the web. The whole idea of this was to find out how these guitars actually are, in terms of quality and how to spot that they are counterfeits. In the last post I discussed the phenomenon of Chinese siunterfeits at large. I also did a survey here in sweden that showed that 36% of the readers actually had bought a counterfeit, for different reasons. I assume it´s like that even i your country. </b><br />
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It is not criminal to buy a counterfeit, but it is criminal to manufacture and sell it as "genuine" and brand it with someone else name. The problem for a buyer is that one support this murky criminal business.<br />
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I also want to state out that I do not support counterfeits and my intention is NOT to help they market their stuff. My intention is to enlighten you to spot counterfeits and stay out of these guitars. But I also wanted to investigate the Chinese actual ability to manufacture guitars nowadays. Last time I tested a Chinese copy was 10 years ago, and it was actually a very bad experience.<br />
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Nevertheless. If you read the different forums it seems to be a good chance to find good instruments, and thats probably the growing problem for the business. But you also risk to get a really crapy one.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRn6eoLK8Oq2esEFwWXPxs3PaHj_qNAhV07abOq50tFHY5TRtcpHq7sRfvGUjk_bKfBMpognO_GyNxylNQSwwGbQC7hhDSzxFEcfzWq_2ZwHOrE0yXYFSuTo7v9X8dUkctJT7OeZtzmSI/s1600/teleChina.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRn6eoLK8Oq2esEFwWXPxs3PaHj_qNAhV07abOq50tFHY5TRtcpHq7sRfvGUjk_bKfBMpognO_GyNxylNQSwwGbQC7hhDSzxFEcfzWq_2ZwHOrE0yXYFSuTo7v9X8dUkctJT7OeZtzmSI/s1600/teleChina.jpg" height="320" width="209" /></a></div>
I first chose to buy a really cheap guitar, a purple Telecaster branded "Fender". It cost me $160 including shipping. A real bargain don't you think? That means it´s in the price range of "absolute beginner's guitar." The target audience is obviously people who want to buy a really cheap guitar, either as a gift to some child or to hang it on the wall to "flash" of friends or as decoration.<br />
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After 12 days, the piece landed in a yellow packages of cellophane. Very well packaged, I must say.<br />
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At a first visual inspection of the guitar it seems really good. The finnish is clear as a bell a "Gitar Zombie Purple". The lacquer work is absolutely stunning, even though the pattern looks very "corny" to me. The neck is straight and there is a truss rod in it, which is often claimed opposite. It also comes with a tool for adjustment plus a strap that is too short, a guitar cord in plastic and two completely unusable guitar picks. The whole impression is "cheap".<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglPBo5Bcp9EOMqLF4y65pPhZadNNQinbTKIsZ9I7lr_7gni5zaz49J67RL0VId1uW_0kD0tNBGj3SLwssIjcr-X4Pz2nFLSt-JSIDeJqyCr55PgO2hcW8RJU0NLkmfV5GG9fiSc_2puHw/s1600/stall.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglPBo5Bcp9EOMqLF4y65pPhZadNNQinbTKIsZ9I7lr_7gni5zaz49J67RL0VId1uW_0kD0tNBGj3SLwssIjcr-X4Pz2nFLSt-JSIDeJqyCr55PgO2hcW8RJU0NLkmfV5GG9fiSc_2puHw/s1600/stall.jpg" height="320" width="240" /></a>I plugged it into my Vox AC15. Oh My God .... It sounded really bad, I doubt that you should even call the sound "electric guitar". Really lousy pickups and obviously they're bad wired. Plonk and flat throughout and the strings seem to be more wire than strings. I thought that a string replacement might help a little.<br />
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When I restring the beast, I discover that the strings have the wrong distance between the E string and A string. A construction error, the saddles are the wrong.<br />
I ran to my local dealer, Halkans´s Rockhouse i Stockholm, and got a new set of saddles and then straight back home to change them. And then the next problem slapped me in my face. It is virtually impossible to intonate the piece, it´s impossible.<br />
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The strings are badly high and the tuners are really bad, they actually barely works. It doesn't matter if I adjust the "locking screws" either.<br />
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The guitar is a complete disaster, I gave up....<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2pV1LIo4VeAQAyDSsTMJ1tDmZuWpnEyOdWIe10drd2ugcckJaKfQeeUHSB58PoThAc0vCVHcRtRRo3q6XU855sQ_kwrv2QuFMreXoDAPb_jXbqLULXa-UV-4wr01XLx5J2ZsHF5LoB0w/s1600/paket.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2pV1LIo4VeAQAyDSsTMJ1tDmZuWpnEyOdWIe10drd2ugcckJaKfQeeUHSB58PoThAc0vCVHcRtRRo3q6XU855sQ_kwrv2QuFMreXoDAPb_jXbqLULXa-UV-4wr01XLx5J2ZsHF5LoB0w/s1600/paket.jpg" height="172" width="200" /></a></div>
My hopes were down to minus 10, the day after, when I brought home another similar yellow packet. began I actually regret that I started the project at all.<br />
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The conclusion is that a $160 guitar clearly is a warning signal. Surprised? No, not particularly.<br />
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Stay ZombiedFredrik Svenssonhttp://www.blogger.com/profile/05304554783747671919noreply@blogger.com2tag:blogger.com,1999:blog-1221287816197194260.post-2582054246848141332014-11-10T11:19:00.003-08:002014-11-10T11:19:43.674-08:00Fake guitars from China + participate in my survey about counterfeit guitars...<b>The market is flooded of Chinese copies of well known and established guitar brands. So it is. The globalized world we live in nowadays creates a fertile ground for an uncontrolled market of these copies. Forgery industry is associated with a variety of problems, ranging from child labor to environmentally damaging production etc, but note that there is a difference between copies (counterfeit) and clones.</b><br />
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Marshall's first amplifier was actually clones of Fender's best seller "Bassman", it´s important to understand that to be inspired is not equal to stealing. Burny guitars from the late 70s and early 80s are considered as fine and desirable instruments today, but when they were made, they were considered "pirate copies". All major brands have been victims of piracy, and it destroys the long term market. But good stuff has always been copied.<br />
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I want to point out that I don't run any kind of campaign for the Chinese copies, I'm just interested in the phenomenon.<br />
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However, one should know is that the difference between clones and pirate copies.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBDO9v2Hi2AX8z0uty3mvKH_0_5UT4HQjBTHG5R7eH9bA0xdY9-Gj85YqAJpuGrgSfTB9AtQTI9SpimI2TCPB2rQ10yOl_4Rg7H8zgzCk2QzqmhNz9zc4DQBXUfUjRlnkbaeYGezur1VQ/s1600/pirate.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBDO9v2Hi2AX8z0uty3mvKH_0_5UT4HQjBTHG5R7eH9bA0xdY9-Gj85YqAJpuGrgSfTB9AtQTI9SpimI2TCPB2rQ10yOl_4Rg7H8zgzCk2QzqmhNz9zc4DQBXUfUjRlnkbaeYGezur1VQ/s1600/pirate.jpg" height="320" width="257" /></a></div>
<b>Pirate Copy (counterfeit)</b><br />
The first category is perhaps the one that instinctively feels problematic, Asian made guitars branded as Gibson, PRS, Fender, ESP or Gretch. This category is outlawed. In most countries it´s a criminal act to produce and sell pirated copies, or "fakes" as originals. But, and this is i big but, it´s not against the law to purchase copies. Therefore, if you do not have moral doubts, it´s legal to buy in a "Made in USA Gibson Les Paul" made in China.<br />
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<b>Clones</b><br />
The second category is not at all associated with criminal activity. It´s very difficult to protect a circuit board by a patent. For those who want to create a clone of an amp for example, just have to design the circuit board and mount the circuits differently so it no longer looks the same and and able it with their own brand. Protecting the shape of a guitar is also difficult, most clone manufacturers change just enough in the shape or make a deal and pay a license etc. The clans are inherently interesting and creates an additional range on the market, but without "destroying" it.<br />
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<b>Our world has changed</b><br />
The change that made this huge wave of copies available is simply the availability of knowledge and skills and everyone can learn how to make great instruments. The big brands found countries with cheap labor for their instruments to make bigger profits. So the big companies greed lead to more competitors and "piracy of high quality".<br />
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Lots of "good enough guitars" is manufactured in China today, legally under trusted brands and illegally under brands owned by others. Chinese manufacturers are on the go when it comes to the handcraft of building guitars, and one big difference from the past is that they are curious and skilful today, and that they have learned how to make money. This force them to do what ever they can to produce better and better stuff. Thats how capitalism works in a way. One thing to note is that many of the dealers on the Internet is well aware of that the customers rule the market. A negative feed back from a customer is immediately handled. At least most of the time. <br />
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<b>The market</b><br />
An interesting question is "where does all these copies end up"? There's a whole bunch of websites where you can buy a pirated guitar from. If you dive in to these you'll find that most of them lives in Russia, Argentina, Australia, Spain, US and even where I live (Sweden). Practically the world buy Chinese guitars. I think this has to do with generally high priced guitars. Gibson guitars today costs over 3000 dollars, and that in itself creates a fairly large group of hungry people who want a Gibson but don't have the actual money. A Chinese "Gibson" goes for 10% of the price of an "authentic". That means the audience that buys copies probably wouldn't buy a "real deal" in their lifetime. In a long perspective this will damage the business for the big brands.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS43Gg23PmVcW0XXo3Un7kzCNF_6UUl9aUgmDyPPizM9nqCym3JDJYgySZQIdnBjjkew3Hl3xMKAComJDsDuSTgQqQbW8QqnEjelM7VGKmdlRB7FtDTcmlVjNIssS8y9vt2I4m5_vUg5I/s1600/les+paul.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS43Gg23PmVcW0XXo3Un7kzCNF_6UUl9aUgmDyPPizM9nqCym3JDJYgySZQIdnBjjkew3Hl3xMKAComJDsDuSTgQqQbW8QqnEjelM7VGKmdlRB7FtDTcmlVjNIssS8y9vt2I4m5_vUg5I/s1600/les+paul.jpg" height="239" width="320" /></a></div>
<b>Quality?</b><br />
When it comes to the quality of a Chinese copy, it is much better today compared to the quality ten years ago. But there are many manufacturers out there and all of them are not that great. There are really bad items actually. But there are some really nice guitars for pennies in the context. If you don't have moral problems with buying a Chinese brand guitar you can make really good buy, there's no doubt about that.<br />
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A good copy guitar is like any other good guitar, but of course not comparable to something like "Les Paul Custom Shop" or "Fender Custom Shop". You can't compare them in any way with the originals, of course. One should remember that if you buy a "copy" you a "copy" and not the original quality. But it's not quite that simple actually. Quality is a subjective concept, and should also be contrasted with "how much you pay" and what you have as the minimum requirement for your instrument of choice.<br />
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<b>Do not sell fakes to others</b><br />
One should NOT sell copies to others as "authentic", it's really not ok. It can be difficult to determine if a copy is a copy though.<br />
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<b>International survey about counterfeits</b><br />
Before I go any further I would like to know if you have ever bought a "Chinese copy". The survey is anonymous and simple. I would really appreciate if you could answer as honestly as you can. I will display the result in a couple of days.<br />
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Have you ever bought a "fake" or "copy" guitar?</div>
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Fredrik Svenssonhttp://www.blogger.com/profile/05304554783747671919noreply@blogger.com2tag:blogger.com,1999:blog-1221287816197194260.post-19845459866027037472014-11-02T12:32:00.000-08:002014-11-06T10:00:32.158-08:00Ceriatone makes affordable amps that sounds unbelievably great ... <b>Are you constantly searching for a guitar sound based on one of the classic Marhall or Fender amps, but never been able to find the cash needed? Then handmade point to point from Asia may be your thing. Imagine a great sounding Marshall Plexi, JCM800, Fender Blackface or Hower Dumble Series for a pittance in the context? Asia is a big area and knowledge is developing rapidly in today's globalized world. I think we should get used to the idea that stuff from Asia can be as great as stuff from USA or Europe. </b><br />
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A while ago I interviewed Tobias Egge from the Swedish band "Imperial State Electric", the interview will be published soon. He was kind enough to let play one of his amps from Asia. It was a clone of the iconic Marshall Plexi. I was totally stunned, the amp sounded absolutely magical. It was warm, had a great bottom and a great "string separation". Tobias told me that he and Nicke Anderson had ordered them because they were quite affordable, I think they paid $ 600 each or something like that.<br />
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The manufacturer, <a href="http://www.ceriatone.com/">Ceriatone</a>, creates affordable "boutique clones" of classic amplifiers without compromising on quality. When I checked it out thoroughly, it appeared that Ceriatone, founded by entrepreneur Nik S Azam, started to make hand-built amplifiers back in 2000. Now they're exporting to 70 countries, mostly to EU, USA, Japan and Australia. But very few people seems to know about these guys, which is odd considering that their amps sound so good.<br />
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Admittedly, prices have gone up a bit since Tobias bought his, but the prizes are still less than half of the prize for a new new Marshall Plexi reissue or a used "vintage" on eBay.<br />
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But more interesting is actually their really classic models, which most of us can't find at all. Ceriatone do not work in the vintage market, they are more of an alternative to the "digital stuff", for people like myself who don't have $ 100 000 for a 35 year old Fender.<br />
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Ceriatone makes in total over 40 amp models, mostly based on the Fender and Marshall, and all are hand made point to point with the only goal to make amps with high quality rather than trying to compete on price. The competition from China is a fact, but Ceriatone has found its niche and the reviews are overwhelming. So really, you could say that they actually compete with the major manufacturers' quality and stronger brands. The firm is small, 20 employees, and they don't have a major marketing account. They sell almost solely on "mouth to mouth" by appreciative customers in various forums on Internet.<br />
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Ceriatones capacity is 100-200 amps per month, which is exactly where they want to be. A bigger business is often equal to lower quality in the long run. Nik is smart and passionate about guitar tones...<br />
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Their <a href="http://www.ceriatone.com/productSubPages/OTS%20Series/OTSMain.htm">Overtone Special Series (OTS)</a> is based on Howard Dumble series, one of the most sought after and most expensive boutique amplifier in the world. Dumble Amps are clones of the Fender Tweed and Blackface, and this is of interest. Because if you make clones and crave shameless amounts of money for it, then it is more appropriate than if you do equally great clones but prizing them low. Then it becomes a "copy" in peoples minds. Weird....<br />
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According to the reviews, OTS sound very similar and authentic to Dumbles, but with one the major difference, it costs about $ 1600 dollars compared to a Dumble Overdrive Special that runs loose in between $ 20,000 to $ 50,000 dollars. As you can't patent a circuit board, you just have to tweak it a bit, there is no issue of copying here. Ceriatone is not a "copy cat", they use their own brand inspired by others, just like everyone else...<br />
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Ceriatone OTS is one of the more expensive amplifiers they make, but most of them goes for $ 1,000 for fully working amp and with starting prices of $ 300- $ 500 if you're willing to do some of the work yourself.<br />
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I contacted Nik and asked if I could asked him for an interview, and if I maybe have the opportunity to buy an amplifier for testing later on. There is a long queue to get the hands of one and it takes a <span style="font-family: Times, Times New Roman, serif;">while to build stuff by hand.</span><br />
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<span style="font-family: Times, Times New Roman, serif;"><b>How did your work actually start, and what is your background as an amp builder?</b><br />It was really just a hobby for me. I play the guitar, and of course the gear hunting bug got to me. I started tinkering and repairing vintage tube amps, and before you know it, it got a bit serious. I started by offering turret boards, and from there, I added things, including complete amplifiers. </span><span style="font-family: Times, 'Times New Roman', serif;">I am ECE by training (Electrical/Computer Engineer), as well.</span><span style="font-family: Times, Times New Roman, serif;"><br /><br /><b>Where are you stationed with your workshop?</b><br />We’re located in Kuala Lumpur, Malaysia.<br /><br /><b>What is your own preference, when it comes to music and amps?</b><br />I grew up with classic rock, and old school metal. So, it’d be the Fender and Marshalls, pretty much. That’s all we had, back then, really.<br /><br /><b>Even though your amps are inspired by other well known amps, you build them from scratch don't you?</b><br />Yes, we do build them from scratch. We draw/design our own chassis, boards, faceplates, etc. And the builds all start from the raw ingredients.<br /><br /><b>The average customer do they buy a kit and assemble them by their own or do they buy "whole amps"?</b><br />We actually sell more complete amps than kits.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbwnkZeqlXtcNMS2R_XtZhtzAPz8yhQKULDrdkagHer3d1lCuF4FmTTfsXWBvYF_PimL55yzA0th4F5NpOZXxnpGXDSMGamC8nQpw08R6J64GP21YaZbMe-dmvHYocSz51tOtgeX7JPrs/s1600/Mallory_150_coupling_capacitor.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbwnkZeqlXtcNMS2R_XtZhtzAPz8yhQKULDrdkagHer3d1lCuF4FmTTfsXWBvYF_PimL55yzA0th4F5NpOZXxnpGXDSMGamC8nQpw08R6J64GP21YaZbMe-dmvHYocSz51tOtgeX7JPrs/s1600/Mallory_150_coupling_capacitor.jpg" height="212" width="320" /></a><span style="font-family: Times, Times New Roman, serif;"><b>I know that you are very truthful to quality, is there a thin line between less quality, by using cheap components, profit and sound experience in the business in general?</b><br />There is no silver bullet to kill all demon types. A component deemed not so great, might work excellently in certain parts of a certain amp. Plus, if you look at it, the passive components do not really cost much, esp in bulk. A Mallory 150 coupling cap, for example, is less than a dollar, while Sozo and such, they don’t go for more than five.<b> </b></span><br />
<span style="font-family: Times, Times New Roman, serif;"><b>And transformers?</b><br />Same thing with transformers. We use own own transformers for all the builds. They do cost less than bigger names, but that’s because it’s made here, where labor is cheaper. It is not the case that we haven’t opened up many vintage transformers, to see how it’s done. </span><span style="font-family: Times, 'Times New Roman', serif;">The parts do contribute, as they have their own sounds, but the designer needs to hone his own ears as to what works best. </span><span style="font-family: Times, 'Times New Roman', serif;">Having said that, more percentage of quality is about quality control, including the testing of the amps. I test the amps personally, and I usually test them very loud, over long periods of time. Plus, we also burn in our amps, to ensure no infant death occurring.</span><br />
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<span style="font-family: Times, Times New Roman, serif;"><b>Can you describe you quality process?</b><br />Our process is, I test the amps for voltages, functions, tone. And then, we burn in for abt 15-16 hours total, over 3 days. Ie, about 4-6 hours a day. Then, I test it again. The chassis is then put into the cabinet, and I test again, before shipping. </span><span style="font-family: Times, 'Times New Roman', serif;">Other than that, I really emphasize on the execution of the wiring, especially soldering. There is an art to it. It's not complicated, but it's time consuming for sure.</span><span style="font-family: Times, 'Times New Roman', serif;"> </span><span style="font-family: Times, Times New Roman, serif;"><br /><br /><b>The best amp you have ever built?</b><br />There is no best amp, it depends on what you want to achieve, your moods, etc. I could be happy with an OTS, and I could be happy with my Champ Ultra.<br /><br /><b>The best amp you have ever heard, and who played it?</b><br />We have noticed that for a given vintage amp X model, some are good, some are not, and a couple are just perfect. I think, our S&M OTS (which is ODS based, but tweaked), when the magic happens, is just perfect. The S&M was actually our first OTS. Having been accustomed to Fenders and Marshalls, it was very hard to get used to the Dumble ODS sound, especially the OD. I think lots of people find this as well, you need to adjust your playing to accommodate that, in a way. </span><span style="font-family: Times, 'Times New Roman', serif;">So, the S&M is more like, at the time, a culmination of my experience and influences, expressed through an ODS platform.</span><span style="font-family: Times, 'Times New Roman', serif;"> </span><span style="font-family: Times, Times New Roman, serif;"><br /><br /><b>Does any well known players use Ceriatone?</b><br />There are. But understand this: Endorsement deals is something we do not do, it is how we conduct business. I do understand, endorsement or the potential for endorsement is something that could mean revenue for the artist. So, I usually don’t name names, because we did not pay the artist to advertise our stuff, and we do not want to hurt their chances to get one, from another company. I think that’s fair... Of course, if the artist wants to tell, it’s our honor and pleasure. We’re about trying to make the best amps, with the lowest possible price.<br /><br /><b>Tell me a little about the Yeti stuff?</b><br />The Yeti is the Jose Arredondo type of mod done to Marshalls, which were very popular in the 80s rock/glam scene. Of course, I have added our own tweaks to it, to suit my tastes. </span><br />
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<span style="font-family: Times, Times New Roman, serif;"><b>On the #35, did you built in out of the sound or did you look in to AFD100?</b><br />We had some info on the circuit, and went from there. I do not think it’s possible to just hear an amp, and a circuit comes on like a light bulb in your mind. There are so many ways to tweak, and the original SIR #36 definitely had weird things going in it (hindsight is always 20:20, of course).<br /><br /><b>It´s PPIMV in that one, is that the power scaling used by AFD100?</b><br />Usually, I refer/compare our amps to the vintage/ real issue. The PPIMV was added as a feature for low volume playing. The reissue AFD has some sort of power scaling, it’s not the same. Power scaling allows for the voltages to go down, in tandem with scaled biasing. PPIMV is simpler.<br /><br /><b>How well do you think Marshall nailed the AFD tone?</b><br />I haven’t played the reissue.<br /><br /><b>Is there any differences in the #35 tone compared to the "original" on the album.</b><br />You’d definitely get in the ballpark, but there are other things than just the amp involved. Post production, for one, and you cannot really buy that in the store.</span><br />
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<span style="font-family: Times, Times New Roman, serif;"><b>Do you work with the power supply when you develop gain, or what philosophy do you have?</b><br />Yes, that’s quite critical, you have to know your PS. But I don’t really have any philosophy behind it, as you can tweak so many parts of the amp.<br /><br /><b>Which amp is the best selling and best reviewed by users?</b><br />We sell lots of the Yeti and Chupacabra amps, as well as the OTS series. Now, we have the OTS lunchbox, and they do sell real well. We will have more lunchbox type amps in the future – easy to make, sell, and ship.<br /><br /><b>Have any big company tried to get close to you to buy you out?</b><br />No, actually. I am not sure if they even know Ceriatone exists. On a personal basis, Playgirl approached me, but I tastefully declined.<br /><br /><b>Do you have any "idols" in the business, who build awesome amps beside you?</b><br />Leo Fender and Jim Marshall, they started it all! But I think all builders are cool. A lot of times, it’s labor of love. Nowadays, I don’t tend to mod or make custom 1 offs that much, because of time constraint. But the amps are made with lots of care, lots of testing, each of them. I am sure it’s the same with other small time builders, so it takes lots of dedication.<br /><br /><b>Do you have any new amp models coming out soon?</b><br />Yes, we do release new models from time to time. We’d lunchbox the Yeti, and we’d do a modern type high gain amp as well. You know, for those drop tuned 20 string guitars. </span><br />
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<span style="font-family: Times, Times New Roman, serif;"><b>Thanks for talking to me and letting me borrow some of your time...</b></span><br />
<span style="font-family: Times, Times New Roman, serif;">My pleasure...</span><br />
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<span style="font-family: Times, Times New Roman, serif;">I will get back when I have a review of the the Chupacabra 50...</span><br />
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<span style="font-family: Times, Times New Roman, serif;">Meanwhile.....Stay Zombied</span><br />
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Fredrik Svenssonhttp://www.blogger.com/profile/05304554783747671919noreply@blogger.com0tag:blogger.com,1999:blog-1221287816197194260.post-11886616870386342742014-10-30T13:47:00.001-07:002014-10-30T13:52:05.377-07:00Gibson Melody Maker Explorer - an affordable and great guitar for riffing<b>A US-made Gibson Melody Maker Explorer checked in to my house a few months ago. I swapped it for a Telecaster, not a Fender but a "noname". It turned out to be a good deal and the guitar turned out to be a really riff monster with one Seymour Duncan HB-103 pickup and volume knob. </b><br />
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It is not an exclusive guitar, to be honest. But the overall impression when putting the guitar on and turning the volume up is "good quality and very light weight". the whole thing with that is that the guitar is the striped down and made for guitarists with a strained economy. Miraculously, Gibson has yet created a good and easy to play instrument. It feels pretty damn fun to meet a cheap and really good guitar. Melody Maker was initially considered a cheap student product from 59's / 60's, but has now returned in a limited edition and in different varieties.<br />
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The headstock on original Explorers has the classic "hockey stick", but this one has "The Spear", which gives the overall impression a little different touch, and I like it. The guitar is also slightly smaller than regular Explorers, and therefore a bit more comfortable to play if you´re not a giant.<br />
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The body is made of Maple and the neck is Mahogany. The fingerboard, with 22 frets, is made of Baked Maple. A wood that replaced Rosewood when Gibson got problems with illegally imported wood as the availability of Rosewood was strangled. Domestic Maple is not a bad solution, it feels great actually. Baked Maple delivers a very rich tone, nice clarity and great sustain and it´s fairly similar to Rosewood's dark appearance. Baked Maple is used by many other brands, like Fender and Suher, and is not some sort of budget wood, although it´s cheaper due to the manufacturing process which has a lower cost.<br />
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The Pickup, a Seymour Duncan HB-103, is a ceramic high-output pickup with awesome attack. The clean sound works ok but it´s in the gain area this guitar really stands out. No compromises. I liked it from the first moment. A really charming and tight sound indeed! I have a Melody Maker "Joan Jett" too with the same feeling, but that guitar is a lot more lavish.<br />
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A fall back is that the tail piece is a bit weak. It´s a "wrap aoround the tail piece" with less opportunity for intonation with only two screws for adjustments. My piece is good intonated so I should not whine. It seems to have a tight contact with the body and it delivers a good "tone".<br />
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The tuning screws are the weakest part but the guitar holds tuning quite well and that's the main thing I think. I guess they suposed to give a "vintage feel", but instead they feel a bit childish if I'll be honest. I would prefer better quality here actually, as Gibson's Groovers for example.<br />
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A sad thing is that the Gibson logo is printed on the truss rod cover, which makes it feel cheap and not at all "Gibson Style", and perhaps that´s the whole purpose? To make a good, cheap guitar for beginners.<br />
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The rating would have been higher if it had more lavish and more stable tuners, but it is nevertheless a really playable guitar, made for high-gain enthusiasts.<br />
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The price? Around 300 USD on eBay, a very affordable guitar.<br />
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Rating<br />
Zombies 3.5 (5)Fredrik Svenssonhttp://www.blogger.com/profile/05304554783747671919noreply@blogger.com0tag:blogger.com,1999:blog-1221287816197194260.post-85160724132068344792014-10-27T14:03:00.001-07:002014-10-27T14:03:23.618-07:00The Guitar Zombie will soon reach 6 000 followers, and goes for 10 000...<b>It has now been a few weeks since The Guitar Zombie launched and the blog has already close to 6,000 followers on Facebook. It is absolutely amazing. The goal is to reach 10,000 followers by Christmas this year. I have many interviews with known and unknown guitarists and lots of equipment to review the coming months. </b><br />
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<tr><td class="tr-caption" style="font-size: 13px; text-align: center;">The Guitar Zombie</td></tr>
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I keep getting feedback from guitarists from all over the world who give me suggestions on what they want the to read about, and I'm of course very grateful for that. Nothing is more important than this feed back.<br />
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If I reach 10,000 Zombie Readers, perhaps even 20,000, it will mean a lot to how The Guitar Zombie will be developed next year.<br />
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If you have tips or suggestions on how you think I should develop the blog I´m more than happy to hear from you, here on the blog or on www.facebook.com/theguitarzombie<br />
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Stay Zombied!<br />
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The Guitar ZombieFredrik Svenssonhttp://www.blogger.com/profile/05304554783747671919noreply@blogger.com0tag:blogger.com,1999:blog-1221287816197194260.post-52094638914871165062014-10-23T12:01:00.000-07:002014-10-23T12:01:20.577-07:00Frank Levi, the Wizzard of Amps, speaks out...<span style="font-family: Times, Times New Roman, serif;"><b>Frank Levi is probably one of the most interesting guys in the history of guitar playing, especially when it comes to modding amplifiers and guiding guitarists to refine their guitar tones. His most famous "artwork" in amp modifications have become edged with mystery and secrecy. His awesome work is without doubt one of the best in history. </b></span><br />
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His name pops up in several forums on internet when it comes to tweaking guitar amplifiers. But there is not that much information out there about the man himself and what he actually has accomplished, which made me very curious. After some basic research it´s obvious to me that he has contributed to some really big and important guitarists 'tones' through the years. Warren DeMartini (RATT), Doug Aldrich (Bad Moon Rising and later Dio and Whitesnake), George Lynch (Dokken), Billy Squier and not least Slash in conjunction with Guns n 'Roses debut album Appetite For Destruction and Use Your Illusion I & II, to name few.<br />
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I contacted him to find out about how it all started and especially his work with "modding" amps. I realized that he probably is a very busy man and I had actually no expectations to get any respons at all. But I thought "what the heck".<br />
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After a couple of hours I got the answer that he was more than eager to help me out with my questions.<br />
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The interview have been carried out over Facebook and through email contact. The work has, for various reasons, taken several months, but now it's finally done. I have made my own comments in the text where needed, dressed i <i>italic</i>. I can proudly present to you one of the world's most legendary and influential nodders of all time, Mr. Frank Levi.<br />
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Enjoy...<br />
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<b>You have your seat in New York nowadays? </b><br />
Yes, I am actually born in New York and lives in the State of Island. My shop is located in Long Island City, Queens Rocket.<br />
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<b>You are one of a few really "big names" when it comes to amp modding, how did it all start? </b><br />
<span style="font-family: Times, Times New Roman, serif;"> I actually got my start in New York. In 1969 I repaired my first Marshall and in 1970 I started experimenting with some modification ideas as well as repairing HIWATT amps. </span><br />
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<b>What was your first amp that modded? </b><br />
<span style="font-family: Times, 'Times New Roman', serif;">I think the first mod that I did was in the mid-60s on a Fender Bassman 4x10.</span><br />
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<b>But it was in the 70s, it really took off? </b><br />
Yes it was.<span style="font-family: Times, Times New Roman, serif;"> By 1972 I was servicing and modifying both Marshalls and HIWATTs. I was heavily into my HIWATT mod, Marshall mods were more of a hobby. I didn’t get serious about modding Marshalls until I hooked up with Billy Squier and his band “Piper”. “Piper” had 3 guitarists, all with 100 watt Marshalls and Billy wanted each one to sound different. This made me get very serious about modifying Marshall amps. Servicing and modifying English amplifiers quickly became my forte.</span><br />
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<b>You had a pretty long collaboration with Billy Squier... </b><br />
Well, after Billy Squier Band was formed,<span style="font-family: Times, Times New Roman, serif;"> I continued to modify his Marshall amps. It was a new challenge this time, he had 2 main heads that sounded a bit different than each other and Billy had me modify his 2 spare heads to sound exactly the same as his main ones. I not only succeeded in doing this but, I also designed and built a switching system to switch between each main amp and its spare without missing a note.</span><br />
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<b>So he let you continue to work on his Marshalls? </b><br />
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<span style="font-family: Times, Times New Roman, serif;">Yes he did. When Billy was in the studio recording the “Signs of Life” album, I was busy creating the “Squierfire”. It was a 100 watt plexi tremolo head that I heavily modified…it took me the better part of a year to do the mod and get all of the bugs out. </span></div>
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<b>What was his reaction? </b><br />
<span style="font-family: Times, 'Times New Roman', serif;">I will never forget Billy’s face when I brought it to the recording studio and he plugged in! He was thrilled to say the least and he used the “Squierfire” on his guitar track for the album. I, too, was thrilled with the amp and his reaction.</span><br />
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<i>Billy Squier himself has said in an interview in Premiere Guitars 2009: </i><br />
<i>"I've got 10 or 12 Of These heads That I've had since the early 70s. I have a few That are a bit later, but the ones I use are the old Super Lead 100's. Frank Levi These reworked for me over the course of many nights of creative abuse. He'd start out with an idea and I'd try it, and then we'd just keep going Until We got what we wanted. I love the way These sound Because They don 't compress. They have the classic Marshall tone, but do not compress into That midrange 'box.' in set the volume around 2, but They sound like they're on 12-they're incredibly powerful. "</i><br />
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<b>When you modd an amplifier for a client, what goals do you set up? </b><br />
<span style="font-family: 'Times New Roman'; font-size: 16px;">My aim in modifying amps is to give the client what he wants and make the amp as flexible as possible sound wise. My favourite mod gives out anything from Joan Baez to Slayer with no channel switching, just the guitar volume or a volume pedal…this take a lot of practice on the part of the guitarist.</span><br />
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<b>Who else have you worked with? </b><br />
<span style="font-family: Times, Times New Roman, serif;">My next heavy influence was Warren DiMartini (RATT). When I first went on the road, they had eight 100-watt full stacks. When I finished, Warren was using two 100-watt heads; one was just for his solos. Warren had close to 20 heads and I worked on almost all of them with him as my “test pilot”. He was great to work with. I also went out with Def Leppard on their “Pyromania” tour and modded their Marshalls.</span><br />
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<b>You suddenly left touring as amp tech, why? </b><br />
I got tired of lying on the road and began making repairs to the SIR LA instead. I had previously worked for SIR-NY when I was not on tour.<br />
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<b>And then you got involved in some classic mods? </b><br />
<span style="font-family: Times, Times New Roman, serif;">Yes. One day I asked my boss to let me hear #39, that Caswell had modded…the amp was not getting rented and I asked him to let me take the Caswell mod out and put my own mod in…I got the OK and shortly the legendary #39 was born. It became so popular that I had to modify another amp and, thus, the legendary #36 was born. Both amps were never on the shelf for more than a day. With both #39 and #36 out, I had to come up with a mod for a 2203 that would be similar to #39 and #36 and, thus, the legendary #34 was born.</span><br />
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<b>Which amp models was the origins? </b><br />
# 39 was a 1973 (ST/A4259E) model 1959T.<br />
# 36 was a 1977 (SL/A07422J) model 1959th<br />
# 34 was a 1985 (S/AS01796) model 2203 Mk.II.<br />
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<b>Did you do anything with the power supply? </b><br />
<span style="font-family: Times, Times New Roman, serif;">I did not make any real changes to the power supply in #39 and #36 except adding an additional filter cap for the extra tube. #34s power supply is stock. I do not like using a Variac on amps unless they have an independent filament transformer.</span><br />
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<b> # 36 was used on the Guns n 'Roses debut album "Apetite for Destruction" and # 34 was the one on the "Use Your Illusion", did you do anything else with Slash after that? </b><br />
<span style="font-family: Times, Times New Roman, serif;">I met Slash before GNR became famous…he used to bring me his amps (Marshalls & Boogies) after his gigs. Unfortunately, we lost touch around the time I was leaving SIR. I was kind of disappointed that I didn’t hear from him or Marshall during the development of the AFD100. To date I have not been inside an AFD100 to see exactly how it is put together. BTW I remember that Slash used pedals on his recordings, but I don't recall what pedals.</span><br />
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<b>These amps are still the most discussed individuals of your mods, I mean # 39, # 36 and # 34? </b><br />
<span style="font-family: Times, Times New Roman, serif;">SIR-LA #39 and #34 are the most talked about amps with my mods. The forums got #34 right, but #39 is another story. I have done many, many #34 mods since then but, only one #38 mod for a friend and excellent client of mine. I do not plan on making any more #39s nor will I give out the real details of that mod.</span><br />
<b><br /></b><b>The rumor says that George Lynch rented #39 around 1986 for touring? </b><br />
I if I remember correctly, he used #39 on tour yes. I also did about 5 of his amps between 1987-1988. A Super Bass -79, three Super Leads, and a JCM800 S/2203<br />
I plugged including the Lee Jackson Metaltronix mods, sitting in some of them, and made their own fully customized to George Lynch himself.<br />
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<i>There´s a great chance that you can hear some of these amps from the live recording "Beast from the East" with Dokken which was released in 1988 and the studio album" Back for the Attack " from 1987. Here is a clip from "Back for the Attack", "Mr. Scary", with isolated guitar track. I'm not entirely sure if this actually is one of Levis's mod (but most likely ), but you can still get a picture of the Lynch guitar sound at the time. It starts 8 seconds into the clip. </i><br />
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<iframe allowfullscreen="" frameborder="0" height="320" src="//www.youtube.com/embed/FMUeO1K0KNo" width="580"></iframe>
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<b>If we return to the SIR mods. How did it feel to be excluded when they developed the Marshall AFD100, actually based on your mods? </b><br />
<span style="font-family: Times, Times New Roman, serif;">I was of course a bit disappointed. As far as them not contacting me, i wasn't surprised, the only time Jim Marshall really wanted to sit down with me was after he heard my HIWATT creations (PRE-1, PW50 and PW100).</span><br />
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<b>Why don't AFD100 nail the exact sound on Appetite For Destruction? </b><br />
<span style="font-family: Times, Times New Roman, serif;">The main problems with the AFD100 is they are built like a computer...computer generated boards....computer style wiring with all of their jumper cables (like the TSLs) PLUS all of the solid-state crap in the amp. Excessive lead lengths & circuit board traces create their own capacitance which, in turn change the sound of the amp.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7quvvIq5YMdr3eWvPmjOhYmCmzOPmfda9kf1L1tcwSve40AAqm81CCJTAgT2W972z4WkkHt4SyT6cick64GG7HHnVbde7wElKdH3FPuugzYelWrZET4GhQLUOoU9H6IQdHkwYm5YG1kg/s1600/watt.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7quvvIq5YMdr3eWvPmjOhYmCmzOPmfda9kf1L1tcwSve40AAqm81CCJTAgT2W972z4WkkHt4SyT6cick64GG7HHnVbde7wElKdH3FPuugzYelWrZET4GhQLUOoU9H6IQdHkwYm5YG1kg/s1600/watt.jpg" height="320" width="225" /></a></div>
<b>You have also designed your own amplifiers at HIWATT? </b><br />
<span style="font-family: Times, Times New Roman, serif;">In late 1988, I left SIR-LA to design a line of amplifiers for Four Life, the holders of the HIWATT trademark at that time. I designed the entire HIWATT 2000 Series over the next few months. Four Life was actually part of Fernandes. My time with HIWATT ended in late 1993 and in 1994, after the Northridge earthquake, I returned to NYC.</span><br />
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<b>Who used your HIWATTs? </b><br />
One that I worked with was Dough Aldrich, who among other things played my Hiwatts during his time in the band Bad Moon Rising. We cooperated throughout the development period when I was on Hiwatt, and he also played the first Power Amp, PW-50 in the 2000 series, but also a lot of other prototypes<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqskVTDcBI-BqOIXaeXOKUvMW55AiyM3AMutFQfurx7ytt1SM7E_6cDIb2yz2XcrITfEI2WRP3wJnQuEKuJnmt3K7135h1kWNAPZnu9aOr8mAsoEsZsJ4UflbdZjrdBV0hF3HugBQ2kio/s1600/Msh.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqskVTDcBI-BqOIXaeXOKUvMW55AiyM3AMutFQfurx7ytt1SM7E_6cDIb2yz2XcrITfEI2WRP3wJnQuEKuJnmt3K7135h1kWNAPZnu9aOr8mAsoEsZsJ4UflbdZjrdBV0hF3HugBQ2kio/s1600/Msh.jpg" height="216" width="320" /></a></div>
<b>Which Marshall do you think is best, from a modding perspective? </b><br />
I prefer a well built tube amp that is not full of solid-state circuits. <span style="font-family: Times, Times New Roman, serif;">Marshall 2203s and 2204s are my favourite Marshalls to work on. I try not to deface any amplifier with a bunch of holes for new controls, etc. because it tends to make the amp harder to maintain its value.</span><br />
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<b>Discussion on what is most important for the "tone", playing style and technique or the amplifier's sound? </b><br />
<span style="font-family: Times, Times New Roman, serif;">A guitarists playing style definitely influences the sound, although not as much as most mods.</span><br />
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<b>Thanks for letting me do this interview...</b><br />
Thanks, it was fun.Fredrik Svenssonhttp://www.blogger.com/profile/05304554783747671919noreply@blogger.com29tag:blogger.com,1999:blog-1221287816197194260.post-31035101327685274062014-10-21T13:49:00.001-07:002014-10-21T13:49:50.036-07:00Pykmax -An new way of using a guitar pick<b>For a while ago a reader asked me if i had tested the new "Pykmax", a innovative guitar pick. A piece of strange plastic that invite guitar players to a complete new way of playing. The designers behind <a href="http://www.pykmax.com/">Pykmax</a> has created a product that actually add new values for some guitar players, not every one, but at least some of them.</b><br />
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I ordered one right away to check out what this thing was all about. I am a rather curious person, and sometimes this curiosity leads me to interesting experiences.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI4XES6GbIXQ56ef9Pb0Ux4ZKMMc7GJ0UgS15AA6AZAd7_0-FMuilRtHQz02KANCGmaivr6o901w-bVvzUSeY9BSbq7WGVYfn8wDi0XdwR_rHurfiEu6NxEGVk91x13Zf9ia-rbciJSO0/s1600/pykmax2.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI4XES6GbIXQ56ef9Pb0Ux4ZKMMc7GJ0UgS15AA6AZAd7_0-FMuilRtHQz02KANCGmaivr6o901w-bVvzUSeY9BSbq7WGVYfn8wDi0XdwR_rHurfiEu6NxEGVk91x13Zf9ia-rbciJSO0/s1600/pykmax2.png" /></a></div>
The price was a bit high for me, around 35 dollars including shipping, but that didn't stop me and after 3 days the package landed in mail.<br />
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By applying a handle to the the pick it offers a more stable playing, especially for beginners, although the company claims that the main target group also includes the pros. They say that it´s good for speed players, but I am a bit "sceptic" to that.<br />
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I think, though, the idea is good, the is some times a hurdle for many beginners, and reason for them leaving the guitar world. In this case the Pykmax offers a support and I´m sure that Pykmax works really good for beginners. I'm not a beginner, but I sure remember struggling with my picking hand.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikUZILZs_AinmK1OsugU_hlnt9DqY9orIVvaR8xvqAcWKEZuLwY890rS3-QrRtnkVwHoMHmJoBeS5GD9_U_U_TMhWa3mQlYG2Lb77wxeLjq4mdPCd8gA5q9mcwkbvyKDoIcPQbqb9u3Mk/s1600/pykmax.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikUZILZs_AinmK1OsugU_hlnt9DqY9orIVvaR8xvqAcWKEZuLwY890rS3-QrRtnkVwHoMHmJoBeS5GD9_U_U_TMhWa3mQlYG2Lb77wxeLjq4mdPCd8gA5q9mcwkbvyKDoIcPQbqb9u3Mk/s1600/pykmax.jpg" height="213" width="320" /></a></div>
To hold a Pykmax is pretty much like holding a pencil and it isn't strange at all and its very easy to learn how to use it, its a smart construction. The grip, which is made of wood, feels well designed and very smooth i the hand, but the colors? Well, not my cup of tea, it feels like an echo from the 80´s.<br />
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The actual pick feels pretty much like a normal pick, but a little too "soft and smooth" for my taste, but on the other hand there is no need for a "gripping" surface layer.<br />
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They are sold in three thicknesses: 0.6 mm. 0.88 mm and 1.0 mm. I like heavier stuff, like 1.4.<br />
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Here you can see and hear how it works ...<br />
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<iframe allowfullscreen="" frameborder="0" height="320" src="//www.youtube.com/embed/JPhryC4uN6w" width="580"></iframe>
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<b><span style="font-size: large;">Verdict</span></b><br />
After playing with this thing for a couple of hours it became a bit constraining for some of my picking styles that I have developed over the years. But for some stuff it works fine. When I change between finger-picking and playing with the pick it's very smooth and the playing becomes much easier. But when I play stuff that requires active variety in my playing, like harmonics for instance, it becomes problematic. In this situations the Pykmax feels a bit in the way and stops me. Maybe it's a matter of taste and a thing to get used to, I do not know.<br />
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This is not about something that is "black or white", I think. It won't replace the normal "vintage pick", so pick lovers don't have to be worried that the Pykmax will take over the world some day. It sure adds some variety to some guitarists, especially those who wants to play with their fingers and thinks that it´s tricky to hide the pick in their hands. But most players will stick to the old ones.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqNVAHhImNNim58cWYUWrsmQHRrC1l_7YT3QQlQULvF8_UVXHY2B2TQmIuGi4oVC8FKdAZwf2nIxmL0UO5aO6ghMJNUIZWpSi4lHEFdyWsgU9moO4QX8dPMdA3YCNSRL06j25a-RDzZKw/s1600/cat.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqNVAHhImNNim58cWYUWrsmQHRrC1l_7YT3QQlQULvF8_UVXHY2B2TQmIuGi4oVC8FKdAZwf2nIxmL0UO5aO6ghMJNUIZWpSi4lHEFdyWsgU9moO4QX8dPMdA3YCNSRL06j25a-RDzZKw/s1600/cat.jpg" height="213" width="320" /></a></div>
I´m absolutely sure that the Pykmax´s not gonna boom the market. People are far too conservative, and many players will condemn it immediately.<br />
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The sad thing is that without the power of innovation and brilliant new ideas, the guitar industry would be awfully boring. Unless Jim Marshall, Leo Fender, Orville Gibson, Les Paul had violated the normative limits of their time, this blog hadn't exist and you hadn't read it.<br />
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The idea about Pykmax is undoubtedly good and the company behind it is definitely on to something interesting here. I like it very much, but a few weeks after I did the test I found the Pykmax laying there lonely on the amp...<br />
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Rating:<br />
3.5 zombies (5)Fredrik Svenssonhttp://www.blogger.com/profile/05304554783747671919noreply@blogger.com0