Month: December 2011

  • Martin Using Recycled Sitka Spruce

    Martin GPCPA4Martin will utilize Forest Stewardship Council (FSC) Certified Recycled Sitka Spruce in an instrument it will unveil at the 2012 National Association of Music Merchants (NAMM) Trade Show in California. The wood, which is reclaimed from dismantled Canadian bridges, will be used on the tops of the new GPCPA4 Sapele, one of the cutaway guitars in the company’s Performing Artist series. It is a Grand Performance body style with sapele back and sides and an Sitka spruce top. It has a gloss finish on its top and red toner on its satin back and sides. It also includes Fishman F1 Analog Electronics and a High Performance neck. To learn more, visit martinguitar.com.

  • String Stretcha Helps Techs, Players

     

    String StretchaString Stretcha is a device designed to evenly stretch and settle new guitar strings. It has an ergonomic shape, and a grooved hook and heel that combine to grip the string and allow the player/tech to give strings a proper and consistent stretch. It works on all stringed instruments. Learn more at stringstretcha.com.

     

  • Bob Dylan

    Bob Dylan

    Bob Dylan’s stylistic periods are not firmly defined; folk-singer Dylan (who never really went away) blended into rock and roll Dylan as Another Side Of Bob Dylan led to Bringing It All Back Home as his folk-singer side came forward again with John Wesley Harding, which introduced a developing “born-again Bob.”

    Despite dozens of albums released and pathways trod, for many, there just can’t be too much Dylan. The Bootleg series has been a boon to those hungry for more or who missed a half-decade or two of his work. Volume 9, The Witmark Demos, has two discs recorded early in his career, accompanied only by his own guitar, harmonica, and some piano. Though some of his finest early material (“Mr. Tambourine Man,” “Girl From The North Country,” “Boots Of Spanish Leather”) is included, Witmark shows how and why he captivated such an enthusiastic following before his songwriting became hailed by some as his primary – and wrongly, to others, as his only – accomplishment. Dylan himself has said he is no Caruso, but he has always been a great entertainer who communicates vocally with moving effectiveness as when he goes straight to the heart and soul on the nostalgic “Bob Dylan’s Dream” and the anti-war “Ballad Of Hollis Brown.”

    As a guitarist, he’s not Segovia smooth, but like a folk-music cross between B.B. King and Keith Richards, he plays the right thing at the right time using the guitar to extend the expression of his lyrics. It took some people years to get what producer John Hammond saw almost 50 years ago. Some still don’t, or don’t want to. But The Witmark Demos will open up more than a few eyes, ears, and minds.

    This article originally appeared in VG‘s Mar. ’11 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.

  • Rotosound Intros ATC-10 Tuner/Chord Finder

    Rotosound ATC10Rotosound’s new ATC-10 guitar tuner/chord finder clips to an instrument and tunes using string vibration. Its built-in chord finder has a search function for finding a chord by letter name or root note, and from the root, it will find minor, major, diminished, augmented, or suspended chords, as well as 7th and 9th versions. Check it out at rotosound.com/.

  • Fargen Adds to Line with Retro Classic

    Fargen Retro Classic

    Fargen Amplification’s new Retro Classic is a single-channel/25-watt amp that uses two KT66 output tubes and Fargen’s Decade switch, which allows the player to change tones on the fly. The first position, the company says, is reminiscent of a late-’50s Fender Bassman, the second is similar to a Marshall JTM 45 tone, and the third a late-’60s Marshall Superbass. Read more at fargenamps.com.

     

  • The Eliminators

    The Eliminators

    There are many veins of surf rock; traditional, punk, classic instro, fusion, and many more. The SoCal-based Eliminators fit comfortably into the traditional instro/surf sound, presenting a wall of Fender-fueled reverb that would have been hip in 1963 – around the time most of the guys in this band were probably toddlers.

    Clearly, the emphasis here is on “reverence,” as the Eliminators work painstakingly to conjure a vintage sound with just a few modern allusions worked in. Check out, for example, the faux-f lamenco riffing on “Hang On” and the lilting (even corny!) melody of “Walking Tall” – however, it’s so authentic that it wouldn’t sound out of place on a vintage Hank Marvin and the Shadows vinyl 45 from way back when. Guitarists Joe Kurkowski and John Blair (originally of Jon and the Nightriders) also carefully mix Strat twang with Mexi-Cali acoustic guitar strumming on “Snake Eyes,” adding yet more credibility to the surf sound (many modern surf bands forget the role of acoustic guitar in classic surf and instro). Add some honkin’ tenor and baritone sax riffs and a tight rhythm section, and you have a excellent reason to grab this platter.

    Listeners will also enjoy the cover photo of the Eliminators’ vintage Jazzmasters, Fender amps, and spring reverb units – all tweed, of course.

    This article originally appeared in VG‘s Mar. ’11 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.