Uncategorized Archives

Digitech RP500

The simplicity of a stompbox. The control of an effects switching system.
Get the best of both worlds with the DigiTech RP500 Guitar Pedal. The RP500 features a Pedalboard mode that allows you to turn on and off individual stompboxes and effects by pushing buttons 1-5. You get the expressiveness of stompboxes and you can change them from preset to preset. Next take the Amp/Cabinet Bypass button that defeats the internal amplifiers and cabinets leaving you with only stompboxes and effects and you have a switching machine. Save each combo in a preset for a uniquely switchable pedal setup not found anywhere else but pro switching systems.

The RP500 multi effects pedal is built like a tank, from a cast metal chassis to the 9 vacuum-style switches. A large 10 character LED display makes for easy stage use topped by an built-in expression pedal to control wahs, volume, Whammy™ and other parameters.

Your sound is king so having control of your sound is imperative. The DigiTech RP500 pedal gives you the control to express yourself the way you want—no longer will the lack of control stand in the way of your expression.

Buy Digitech RP500 from Musiciansfriend.com

Check out this video of the amazing Digitech RP500

DigiTech RP500 Guitar Multi Effects Pedal Specifications:
• Stompboxes based on:

Compressor / Sustainers:
• Boss® CS-2Compressor / Sustainer
• DigiTech® Main Squeeze Compressor
• MXR® Dynacomp™
• Wah / Volume: Dunlop® Cry Baby Wah™
• DigiTech® Full Range Wah
• Vox® Clyde McCoy Wah™
• Volume Pedal

Distortions & Overdrives:
• SCREAMER (Based on an Ibanez® TS-9)
• TS 808 (Based on an Ibanez TS-808 Tube Screamer)
• SPARKDRIVE (Based on a Voodoo® Lab Sparkle Drive®)
• OD OVERDRIVE (Based on a Guyatone® Overdrive OD-2)
• DOD 250 (Based on a DOD® 250 Overdrive/Preamp)
• RODENT (Based on a Pro Co RAT™)
• MX DISTORTION (Based on an MXR® Distortion +)
• DS (Based on a Boss® DS-1™ Distortion)
• GRUNGE (DigiTech® Grunge®)
• ZONE (Based on a Boss MT-2 Metal Zone®)
• DEATH METAL (DigiTech Death Metal™)
• GONKULATOR (Based on a DOD® Gonkulator Ring Modulator)
• 8TAVIA (Based on a Roger Mayer Octavia™)
• FUZZLATOR (Based on a Demeter Fuzzulator)
• CLASSIC FUZZ (Based on a DOD Classic Fuzz)
• FUZZY FACE (Based on an Arbiter® Fuzz Face™)
• BIG PI (Based on an Electro-Harmonix® Big Muff Pi®)
• DigiTech Redline Overdrive

Amplifiers & Acoustics:
• 57 CHAMP Based on a ’57 Fender® Tweed Champ®
• 57 DELUXE Based on a ’57 Fender® Tweed Deluxe™
• 59 BASSMAN Based on a ’59 Fender® Tweed Bassman®
• 62 BROWN BASSMAN Based on a ’62 Fender® Brownface Bassman®
• 65 TWIN REVERB Based on a ’65 Fender® Blackface Twin Reverb®
• 65 REVERB(Based on a ’65 Fender Blackface Deluxe Reverb®
• 65 JTM-45(Based on a ’65 Marshall® JTM-45
• 68 SUPER LEAD PLEXI Based on a ’68 Marshall 100 Watt Super Lead (plexi)
• 68 JUMP PANEL Based on a ’68 Marshall Jump Panel
• 77 MASTER VOLUME Based on a ’77 Marshall Master Volume
• 83 JCM800 Based on an ’83 Marshall JCM800
• 93 JCM900 Based on a ’93 Marshall JCM900
• 01 JCM2000 Based on an ’01 Marshall JCM2000 (Solo Channel)
• 62 AC15 Based on a ’62 Vox® AC15
• 63 AC30 TOP BOOST Based on a ’63 Vox AC30 Top Boost
• 69 HIGH WATTAGE Based on a ’69 Hiwatt® Custom 100 DR103
• 81 MARK IIC Based on an ’81 Mesa Boogie® Mark II C
• 01 DUAL RECTIFIED Based on an ’01 Mesa Boogie Dual Rectifier
• 99 LEGACY VL-100 Based on a Carvin® Legacy VL-100
• 96 MATCH HC-30 Based on a ’96 MatchlessTM HC30
• 88 SLO-100 Based on an ’88 Soldano SLO-100
• Gibson® GA-40
• Peavey® 5150® II
• Roland JC-120
• Sunn® 100S
• Randall® HT-100
• DIGITECH SOLO DigiTech® Solo
• DIGITECH CLEAN TUBE DigiTech 2101 Clean Tube
• DIGITECH MONSTER – Maxed out gain
• DIGITECH “TWEEDFACE” Tweed preamp w/Blackface poweramp
• DIGITECH “65 Blackface Bassman” ’65 Blackface preamp w/ Bassman poweramp
• DIGITECH STONERROCK Thick, sludgy distorted amp tone
• DIGITECH DARKMETAL Responsive, tight metal tone
• DIGITECH TRANSISTOR Solid state transistor amp sound
• DIGITECH BROWNSOUND Hot rodded 80′s stack tone
• DIGITECH MOSH Chunky metal tone with just the right amount of sizzle
• 2101 CLEAN TUBE DigiTech GSP2101TM Artist Clean Tube
• 2101 SATURATED TUBE DigiTech GSP2101 Artist Saturated Tube
• DIRECT No amp model

• CHAMP 1X8 Based on a 1×8 ’57 Fender® Tweed Champ®
• DELUXE 1X12 Based on a 1×12 ’57 Fender Tweed Deluxe®
• DELUXE REVERB 1X12 Based on a 1×12 ’65 Fender Blackface Deluxe Reverb
• BRITISH 1X12 Based on a 1×12 ’62 Vox® AC15 w/20W Vox Speaker
• BLONDE 2X12 Based on a 2×12 ’57 Fender Blonde Bassman®
• TWIN 2X12 Based on a 2×12 ’65 Fender Blackface Twin Reverb®
• BRITISH 2X12 Based on a 2×12 ’63 Vox® AC0 Top Boost w/ Jensen® Blue Backs
• BASSMAN 4X10 Based on a 4×10 ’59 Fender Tweed Bassman®
• BRITISH 4X12 Based on a 4×12 Marshall® 1969 Straight w/ Celestion® G12-T70
• GREENBACK 4X12 Based on a 4×12 Marshall 1969 Slant w/ Celestion 25W Green backs
• FANE 4X12 Based on a 4×12 Hiwatt® Custom w/ Fane Speakers
• BOUTIQUE 4X12 Based on a 4×12 ’96 VHT® Slant w/ Celestion Vintage 30′s
• VINTAGE 4X12 Based on a 4×12 Johnson® Straight w/ Celestion Vintage 30′s
• DIGITECH SOLO 4X12 4×12 DigiTech® Solo
• DIGITECH BRIGHT 2X12 2×12 DigiTech Bright
• DIGITECH METAL 4X12 4×12 DigiTech Metal
• DIGITECH ROCK 4X12 4×12 DigiTech Rock
• DIGITECH ALT 4X12 4×12 DigiTech Alt Rock
• DIGITECH VINTAGE 4X12 4×12 DigiTech Vintage
• DIGITECH CHUNK 4X12 4×12 DigiTech Chunk
• DIGITECH SPANK 4X12 4×12 DigiTech Spank
• DIGITECH SPEAKER COMP 4×12 DigiTech Speaker Compensation
• DIRECT No cabinet model

FX Models:

Chorus Stompbox Models based on:
• Boss® CE-2 Chorus
• DigiTech Dual Chorus
• DigiTech Multi-Chorus
• TC Electronics® Chorus

Flanger Models based on:
• MXR® Flanger
• DigiTech® Triggered Flanger
• Electro Harmonix® Electric Mistress™
• ADA® Flanger

Phaser Models based on:
• MXR® Phase 100
• DigiTech® Phaser
• Electro Harmonix® Small Stone™

Pitch Models based on:
• DigiTech® Whammy™
• DigiTech® Pitch Shift
• DigiTech® Detune
• DigiTech® IPS
• Boss® OC-2 Octaver™
• Vibrato / Rotary Models based on:
• DigiTech® Vibrato
• DigiTech® Rotary
• DigiTech® Vibro / Pan
• Unicord UniVibe™

Tremolo Models based on:
• DigiTech® Tremolo
• DigiTech® Panner
• Fender® Opto Tremolo™
• Vox® Bias Tremolo
• DIGITECH SCATTERTREM Dual tremolo effect
• Envelope / Special Models based on:
• DOD® FX25 Envelope Filter
• DigiTech® Auto Yah™
• DigiTech® YaYa™
• DigiTech® Synth Talk™
• DigiTech® Step Filter
• DigiTech® Sample & Hold

• Digital Delay
• Analog Delay
• Pong Delay
• Modulated Delay
• Tape Delay
• Reverse Delay
• DM Analog Delay – based on Boss® DM2 Analog Delay
• Echo Plex – based on Maestro EP-1 Tube Echoplex

Reverbs based on:
• Lexicon® Ambience
• Lexicon® Hall
• Lexicon® Room
• Lexicon® Studio
• EMT Plate – based on EMT® 240 Plate Reverb
• Spring – based on Fender® Twin Reverb™
DigiTech RP500 Guitar Multi Effects Pedal Features:
• Exclusive Pedalboard mode changes the RP500 into 5 individual stompboxes and effects
• Amp/Cabinet Bypass turns the RP500 into a true effects processor that works with your amp’s tone
• Heavy-duty vacuum switches for program changes, effect on / off changes, bank up and down, tap tempo and tuner
• Bright LEDs display program status and effect on / off
• Large 8 character LED display for program name, bank name and tuner
• Large 2 character display for program number and tuning reference
• Built-in expression pedal controls the RP500′s internal wahs, volume, Whammy™ and other parameters

Guitar Lessons – String Muting

By Bill McRea

String muting is another technique that can help you define your own personal style. There are two types of string muting, the palm mute with your picks hand and the string mute with your fret hand. They serve very different purposes, but both are important to good guitar playing.

Fret-hand muting is particularly important when playing chords and power chord. The purpose is to use part of you finger tips and fingers to mute the strings you don’t want to include in the chord being played. For example the C majors chord is played from the 5th string to the first, your are not supposed to hit the 6th string. I use the tip of my 3rd finger that is holding down the 5th string 3rd fret to rub up against the sixth string thereby muting the string. I use this same technique with power chords, but in addition I use the fat part of my index finger to lightly lay across strings 1,2,3. with just enough pressure to mute the strings. The beauty is if you get a little wild with your pick it still sounds right. Fret-hand muting is used extensively.

Palm muting is more commonly used in distorted rock songs. The technique involves resting the heel of your pick-hand palm on the strings as you pick. Most people rest it directly over the bridge, but you can experiment with different positions for different sounds. Also try different levels of pressure to regulate the level of muting. This technique creates a percussive, muffled or chunky sound. Combine fast down strokes with palm muting in various patterns with moderate distortion for sounds similar to Metallica or other metal bands.

Both fret hand muting and palm muting are very individual and stylistic techniques.

Bill McRea is the publisher of http://www.guitarwarehouse.com

Other sites include http://www.kansasfans.com and http://diabetes-at-home.blogspot.com/

Rickenbacker 330

rickenbacker330The Rickenbacker 330 is a hollow body electric guitar with a double cut-away design, it features two single coil “toaster” pickups on a full size body which includes a sound hole at the top of the instrument. The neck features a 24 fret Rosewood fingerboard with schaller machine heads on the headstock. The Guitar features chrome hardware throughout and the characteristic “R” tailpiece.

The Rickenbacker 330 comes in either a 6 string or 12 string version with a thru neck body. The instrument features a variety of controls (2 volume, 2 tone) together with a mix control for adjusting the mix of the two pickups when both are activated.

The guitar has an airy output characteristic of most semi-hollow body guitars. The pickups deliver a wide range of sounds from clean jangly rock through to grungy tones making it an expressive guitar. In the bridge position, the pickups deliver a twang. The middle position offers a wide range of tones including the typical Rickenbacker shimmer. The neck pickup generates jazzy, archtop-sounding tones producing ideal Rhythm tones.

The guitar has an iconic style – looking very different from the typical Stratocaster or Les Paul. Comfortable to play – the 330 is renowned for having a thin style neck. Problems are few – it can be said that pickups are extremely sensitive and “dead” strings are more noticeable than on other guitars – without a doubt the 330 is one that craves strings to be replaced regularly.

Rickenbacker have enjoyed an incredible endorsement with it’s association with the Beatles but many other aritsts have had associations with the 330 from Roger McGuinn of the Byrds to U2’s the Edge. Indeed the Edge made use of Rickenbacker 330’s characteristic slide tones on a number of tracks including Even Better Than the Real Thing.

The Rickebacker offers the classic unique Rickenbacker sound, unique looks and unrivalled quality. The tone may not be loved by all but it offers something different that should be cherished.

Check out more at www.rickenbacker.com

Rickenbacker 360

The Rickenbacker 360 is a hollow body electric guitar. The standard 360 features a maple body, 24 frets, rosewood lacquered neck and fingerboard, 2 Rickenbacker “vintage” hi-gain pickups, two tone two volume controls, a fifth control to blend the mix of pickups and a three-way pickup selector. It has a 6 saddle bridge with cover/handrest and the classic “R” tailpiece. The guitar has the classic Rickenbacker headstock which features Schaller tuners.

There are various similarities between the Rickenbacker 330 and the 360. The 360 is considered the deluxe model, with a rounded front edge and binding.

Being a hollowbody the guitar is light to hold and comfortable to play. Rickenbacker’s eye for quality of construction and selection of components all add up to a fantastic guitar. It has a scale length of 24 ¾” and a weight of 3.6 kg.

The Rickenbacker 360 has a huge tonal palate and can be applied to a variety of musical styles. It can produce stunning jazzy tones whilst also adept at being “grunged” up the vintage pickups produce a full tone with wonderful clarity and sustain

Rickenbacker have a strong history with the Beatles – George Harrison is often pictured with a 12 string version of the 360. There are a variety of other players who include Peter Buck of REM, Paul Weller and Pete Townsend from the Who.

Amazing to look at and even better to play the 360 is a quality instrument beautifully made. With fantastic versatility and great tone this Rickenbacker would make a great addition to any guitarists arsenal.

Check out more at www.rickenbacker.com

Solid-Bodied Gretsch Corvette Guitar

By Allen Chiles


The Solid-bodied Corvette (not to be confused with the Corvette hollow-body arch-top electric, produced from 1955-1959) was Gretsch’s answer to the Les Paul Jr. by Gibson. Introduced in 1961, the Corvette Solid-body was a small, light-weight, comfortable electric guitar that was just right for the budding musician.

This killer guitar, with a solid mahogany body, solid mahogany set neck, and a rosewood fret board with pearl dots, originally came with a single HI-Lo ‘Tron pickup. The earliest examples had a trapeze tailpiece. By 1963, the Corvette was sporting a Burns’ flat-arm vibrato tailpiece. (Yes! That Burns! Good old Jim Burns from England), and came with a choice of either one or two of those Hi-Lo ‘Tron pickups. By mid-1963 to 1964, Gretsch changed the standard 3/3 headstock (3 tuners on each side) to a scooby-rific 4/2 headstock design (4 tuning keys on one side, two on the other). Most Corvettes were finished in “cherry” red mahogany and had black pick guards. Some came with red and white striped pick guards and a more opaque red finish to the body. This version is known as the “Twist” model. Early Corvettes were also available in platinum gray finish with black pick guards, but this color was officially discontinued in 1963. Also in 1963, Gretsch started beveling the edges of the guitar’s body and sharpened the cutaway points.

Variations of the Gretsch Corvette were the Silver Duke (1964-66) which was sparkle silver, the Gold Duke (1964-66) – you got it – in sparkle gold, and lest we forget, the Princess (1963-64 – made for the ladies) which was available in many color combinations such as white with purple sparkles, blue with white sparkles, pink with white sparkles, and white with gold sparkles – phew! The Princess also differed from the others in that it had a Palm vibrato tailpiece rather than the Burns’, gold-plated hardware in lieu of the standard nickel/chrome hardware, and a shiny belly-pad on the back.

By 1968, you could no longer get single pickups on the Corvettes, the Burn’s vibrato was replaced with a Bigsby vibrato tailpiece, and the HI-Lo ‘Tron pickups were replaced with Super ‘Tron pickups. Production of the Gretsch Corvette wound down in the early 70′s. (The Corvette did make a brief reappearance from 1976 to 1978 with different specs – humbuckers, etc. It was not the same.)

The Gretsch Corvette (1961-early 70′s) can still give you some bang for your buck in today’s vintage market. You get the vintage sound and vibe, with great playability for less than you’d pay for a Paul, Jr.

Allen has 25 years of experience working with guitars and is the Vintage Guitar Pro in residence at http://www.VintageGuitarPro.com – a website for the vintage guitar enthusiast specializing in online vintage guitar appraisal. Find out more about Allen and Vintage Guitars at http://www.VintageGuitarPro.com

Gibson 335 Electric Guitar

The Gibson 335 was the worlds first semi-hollow bodied electric guitar and has proved to be one of Gibson’s most endearing designs having been in production since it’s initial release.

The guitar was initially released in 1958 for around $300. It featured a solid maple block running through the center of the guitar and hollow sides featuring violin style “f-holes”. It also featured a mahogany neck with rosewood fingerboard.

The 335 features two humbucker pickups and featured two double cut-aways allowing access to uppermost frets. The pickups were controlled by a three way pickup selector switch enables the guitar to produce a variety of sounds.

The Gibon 335 has a wide sonic range and is suitable for a wide variety of music from blues and jazz to rock. It has a mellow “woody” tone and is capable of high sustain.

Today there are a variety of 335 versions, in later years Gibson has through it’s budget range Epiphone has released a variant called the Dot which has proved immensely popular. The 335 has also been widely copied by other manufacturers and the original design has become somewhat iconic.

Well known players of the 335 include B.B. King (who has a famous 335 called “Lucille”), Oasis’s Noel Gallagher, Chuck Berry
More info on the Gibson 335 – Gibson Home Page

I Use Gibson Pick-Ups, Why?

by Michael Tafoya

For years or decades I’ve played electric guitar in bands at bars, schools, concerts and recording sessions yet I couldn’t tell you what pick-ups (p/u’s) were about. I mean, I didn’t have a clue as to what a pick-up did what to my sound. I grew up in a Gibson family. I mean that my relatives, when they didn’t ridicule me for my participation as a rock and roll guitar player, said if I played a guitar, it had to be a Gibson. So, I only had a clue about humbucker type pick-up’s Gibson used. Oh yeah, it’s little brother the P-90.

My first electric was a Tiesco Del Ray I got for Christmas in 1967. I did get a Mattel Tiger guitar that was made of plastic and used a contact type pick-up. My brother and I each got one that XMAS so often times we’d use one of the pick-up’s as a vocal mic.

Those days’ electric strings were extremely limited in types and gauges available to young poor city folk like yours truly. I think I only remember Gibson, Fender and Black Diamond strings. This is before the Maestro Fuzz and the Vox Wha-Wha were available to the buying public like me. Back to pick-up’s!

With the limited info as to how the stars were getting “THAT SOUND” we just kept trying to learn guitar without “how to” magazines and poor sounding phonograph players playing 45′s on a tiny speaker. You could say there was no reason to discern between p/u’s.

In the mid 70′s I was already playing full time and knew about vintage Les Pauls and the legendary PAF pick-up’s that were installed in them. Around that time a N.Y. Co. was making a name for them selves as a replacement for your non- Gibson brand type (humbucking) pick-up, DeMarzio. I ended up buying one for my 76 Explorer. Mind you I owned since the mid 60′s, a late 50′s Epiphone symmetric cherry finish Coronet with a, I think someone called it a cobalt pick-up. It is referred to as the “P-90″, or “soap bar” single coil type pick-up. I loved that guitar and its sound. I just thought I should have a “real vintage” sounding guitar with a humbucking p/u installed. I also owned a Les Paul Deluxe with the mini humbuckers. It sounded great, I just thought it should have full sized p/u’s to sound and look right. To quote Ian Hunter in the mid 70,s, “Rock guitarist’s seem to have this Gibson fetish”, and I did! I wanted the “look”.

Gil Pini, the other Guitarist playing with me was using the DeMarzio super Distortion humbucking , and I for some reason didn’t feel good about it’s sound and feel, although it was touted as “heaven sent ” sort of thing, especially for Marshall amplifiers back then (no master volume on the pre-amp stage). I eventually purchased a Super 2 p/u, because it had more bite. And to me, meant, it would cut through cleaner and not be as transparent in the mix. I even bought the Alembic ‘Hot Rod Kit” for my 56 Les Paul Jr. (stupid) in 1976 or 77. That was supposed to be a good idea because it was hotter (better sounding) with a ceramic magnet to install, and since it was from Alembic (from California) and not some “upstart p/u manufacturer” it was the right thing to do. I didn’t think about the DeMarzio pick-up’s and I didn’t know that those pick-up’s used the ceramic magnets at the time.

As I started to record in major recording studios I’d learn to discern my sound. I didn’t have those how to magazines to hip me to that elusive vintage “sound”. Yet, I could hear my Gibson Explorer and my Les Paul Jr. distorting at all volume levels as well as attack approach. It just wouldn’t smooth out. I was puzzled. Still trying to connect the look with the sound, I stumbled through the maze for years.

Not having the patience, or the money to buy and compare p/u’s, I just tried to make a sound with what I had. I had all the right Pro equipment. Yet I was looking back, “wagging the dog”.

A good sound starts from the fingers, to the guitar to the P/u’s. If you don’t start there, you’re spinning in circles and you’ll end up with a transparent (fuzzy) sound without body and response. “Your fingers are your tone generators”. Not the amps or pedals. Those are tools to augment your expression. And if you learn anything about trouble shooting on the fly, you go down the line to find the problem with your sound or rig. The same goes for finding your sound. When establishing your sound you start with you, through the pick-up on down to the amp. With trouble shooting on stage, you should start with the amp and go down the line back to you. Which makes sense since you’ve established your rig set up, and you’re trying to fix what was working, you back track. If not, you’re spinning in circles, again!

So, I had a friend who made the point about how some pick-up’s play you and PAF’s don’t. I soon tried two 57 Classic pick-up’s installed on my 92 Les Paul Classic and what do you know? I had a sound that was tight on the bottom ringing on the top and honking clear / dirty mids when I played hard, and subtle soft tones when I backed off the and played lightly. I was in HEAVEN!! And the great thing that went with it was that, this same thing happened regardless of the volume setting on the guitar.

My experience was that the tone I got on full could be bright and tight with honk, and as soon as I backed off the guitar’s volume, the tone would take on a dark or dull shade. This meant I would spend a lot of time tweeking the blend between my rhythms (clean and crunch) and lead tones. Looking for each was a drag, and a waste of time!

I’m no tech. so I can’t and won’t waste your time with my take of their specs. I do know that there’s something about the combination of the enamel coated copper wire and the alnico magnets that give me a sound I can play with and use dynamics. It was soon after I started using the Gibson 57 Classic pick-up, that Gibson came out with their 57 Classic plus. This p/u was designed as a bridge p/u.

In the 50;s the gals at the pick-up dept. would wind these pick-up’s using an egg timer or something like that. Sometimes they’d be distracted and some pick-up’s would end up with more winds. Other times they would end up with less.

The p/u’s with more sounded “hotter” and when people started going for the tone, they’d notice the sound of certain pick-up’s compared to others. It wasn’t rocket science to come up with the idea to put one of those “hot” pick-up’s in the bridge position you would have a bright, tight, and honk’n lead tone where there wasn’t. And a whole new sub market in ‘vinatge’ pick-up’s ‘ came about.

Which brings us full circle, “I use Gibson Pick-ups and I’m sure that the other brands quality alnico pick-ups are a good sounding product. I do know what sounds good to me and what I know from “my” experience. I’m a guitarist who’s been around the block and my ears have a sense as to what a pick-up should sound like, that’s what I go for all the time. Make your self happy and keep the communication’s open!

About the Author Michael Tafoya is a two time Epic recording artist. He uses Gibson Guitars, Gibson Strings, Epiphone, Marshall, and Crate amplifiers, and Dunlop guitar Picks. http://www.tafoyaslostboyzz.com/

Billie Joe Armstrong Les Paul Junior

lespauljuniorHaving emerged from California’s punk seen in the early 1990’s Green Day have seen their popularity rise and they have become one of the world’s most popular rock acts around today. Gibson have now released a signature guitar for Frontman Billie Joe Armstrong the Bille Joe Armstrong Les Paul Junior.

The guitar features a mahogany body and is modeled closely after the guitarists 56 model. The Junior started out as a budget model and features the now traditional single cut-away design

The guitar features a vintage correct non-compensated wraparound tailpiece, nickel hardware and white button strip tuners. Controls are minimal with one tone and one volume and the guitar is finished off with Billie Joe’s signature on the reverse of the headstock.

The neck, mahogany like the body, features a 60’s style slim tapered neck which coupled with the 24 ¾” scale length and light weight body makes for a comfortable guitar to play. The neck is finished with a Rosewood fingerboard featuring 22 frets and perloid dot inlays.

Whilst being fiercely loyal to the Les Paul Junior design – Gibson have managed to make a few changes here and there – the pickup is a new design – a stacked double-coil dogeared H90 pickup – The pickup has a great punch tone that suits a bit of drive being added – but even when nice and dirty the sound is articulate enough to be clear in a band mix.

For around $2000 the Junior is not the cheapest Gibson have to offer and whilst there are some nice touches that differentiate this guitar from similar Les Paul juniors we have to admit that this guitar will probably appeal to Green Day fans first and foremost.

Gibson Guitars

Fender Stratocaster

The Fender Statocaster was designed by the Fender Guitar company during the 1950′s. Production line Stratocasters were first sold during the mid 1950′s for around $250. The basic model came with a two-tone ‘sunburst’ finish, chrome hardware, and plastic components.

The Stratocaster is an extreemely versatile instrument. The guitar has 3 pickups placed at the neck, middle, and bridge and help generate a wide range of tones. As such the Stratocaster is used in a wide range of musical styles from country to rock. Guitarists such from Jimi Hendrix and Eric Clapton through to U2′s The Edge to Robert Cray loved the versatility it bought. An early-model Stratocaster, was used by Buddy Holly’s, and he was among the first players to help the Fender Stratocaster become the standard in rock and roll.

Other manufacturers began imitating Fenders innovations and styles almost immediately and today there are many companies that produce this style of guitar. Usually the Statocaster style guitar has a bolt on neck, all tuners on the top of the headstock, a twin cutaway body, 3 single coil pickups, and a tremelo. However there are many derivatives

These days, Fender offers a huge array of vintage Stratocasters, modern varients and reissues. They have many factories supplying guitars from all over the world. In common with many other guitar manufacturers Fender also offers Artist Series guitars, which feature accurate replicas of the Stratocasters played by famous guitarists.

Fender Guitars

Fender Thinline Telecaster

thinlineteleThe Fender Thinline Telecaster is all about tone. Similar to the standard Telecaster the thinline is big on twang. The guitar has an instantly identifiable subtle tone, which is able to be pushed if necessary to produce a more grittier sound whilst always maintaining it’s character and warmth.

The thinline telecaster is a semi-hollow-body design which was originally an attempt to reduce the weight of the solid-body Telecaster guitar.

The Fender Thinline telecaster features 22 frets and American Standard pickups together with an ash body one piece maple neck.

With Fenders unstinting eye for quality the guitar adds a subtle spin on the traditional telecaster broadening the tonal range whilst keeping it’s feet firmly in the family traditions.

 Page 1 of 2  1  2 »