Jean Paul Agnesod The music box guitar competition.wmv
Little Improvisation with my Squier Guitar !!!
Rock on !!!
Jean Paul

http://www.youtube.com/watch?v=PpU0t3TSNRg

If You vote on YouTube … Leave a little Comment, Very Thanks

Ok, alla fine l’odissea è finita e l’ho messo su Youtube Non passerà certo alla storia e la gestazione è stata alquanto sofferta, più per problemi di tempo e tecnici che musicali. Poi mi sono incaponito nel voler fare la versione ’studio’ del brano e non quella ‘live’ (che ho suonato per anni) cercando addirittura di fare una specie di studio ‘filologico’ del brano; alla fine mi sono accorto di non averne le capacità né tecniche (sia di registrazione sia di esecuzione), né musicali Sopravviverò! L’ultimo solo è veramente un po’ ‘liberatorio’ e mi sono lasciato andare ed è venuto fuori qualcosa di vagamente blackmoriana sia nell’intenzione, sia nell’anarchico modo di eseguirlo; peccato che sia un po’ fuori contesto, cioé improvviso in uno stile blackmoriano degli anni ‘90 mentre il brano a cui faccio riferimento è del ‘76. Ma come dico spesso l’importante è divertirsi e far casino, no?

Alzare il volume!!!!! (soprattutto dal minuto 5:36!!!!)

Il prossimo lo farò proprio stile concerto rock: dall’inizio alla fine in un sol fiato (sperando di resistere nonostante l’età)

Vi ricordate che stavo ‘moddando’ la mia Squier? Oggi, in uno dei rarissimi ritagli di tempo di questa settimana stracolma di impegni lavorativi, ho deciso di concludere il lavoro. Ho dovuto persino comprarmi un piccolo saldatore – va beh, costato 5 euro, pensavo molto di più – e tentare di usarlo; non sono mai stato bravo a saldare, ma sono un po’ uno zuccone e quindi…

Ok, non vincerò di certo il premio di ’saldatore dell’anno’, ma l’importante è che funzioni; funziona? Ehm, no! O meglio andava, ma c’era un certo ronzio e poi un pickup aveva il suono che andava e veniva: uffi! Lasciamo perdere le foto e rifacciamo le saldature come si deve: che stress!

Stavolta funziona tutto a dovere Per fortuna non avevo già rimesso le corde altrimenti… Ok, ora, grazie all’acquisto fatto presso un’utente di MusicOff, la mia infima Squier ha due pickups decenti: un Di Marzio 404 al manico e un DiMarzio 420 al ponte, tutte e due della serie Virtual Vintage Solo (già il nome è un programma!) Ho poi chiuso il tutto, montato le corde (più in fretta dell’ultima volta: che ci stia riprendendo la mano?) e fatto una veloce prova con Guitar Rig 4: ok, sono soddisfatto, la mia Squier ha perso in secchezza e plasticosità assumendo un suono più credibile, cattivo al ponte e più blueseggiante al manico, quello che volevo. Non funzionano i toni, devo aver fatto qualche casino nei collegamenti, ma visto che non li ho mai usati non è una gran perdita; il pickup al centro (quello che annego sempre nel battipenna), un Fender, fischia di brutto perché non paraffinato, ma anche questo non lo uso mai quindi mi importa poco, anzi, sto meditando di scollegarlo come fa Blackmore ed usare un selettore a 3 vie. Ma questo magari lo farò più avanti.

Non mi riferisco tanto al nuovo brano in preparazione (sarà uno shock visto che è lontano anni luce da tutto quello che ho fatto ascoltare sinora), ma al fatto che la mia nuova Squier avrà, appena trovo il tempo, una nuova serie di pickups. Trovato sul forum di MusicOff un utente che vendeva un battipenna di una Stratocaster un po’ più pompato dei pickups di serie della mia Squier nera e non ho saputo resistere. Ci siamo accordati ed è arrivato un bel pacco-bomba (l’ho ricevuto a scuola in classe ed i ragazzi, incuriositi, l’hanno soprannominato così). Ecco cosa c’era fuori dal cartone.

Se qualcuno non avesse ancora capito girandolo viene svelata la natura dell’oggetto.

Fuori dall’imballaggio si vede ancora meglio; sicuramente cambiero questo battipenna bianco, anche se non è male, e lo sostituirò con il battipenna che ho già, quello mint green un po’ invecchiato; sembra facile, ma è un lavoraccio!

Considerando che non ho più il saldatore, la vedo dura districarmi in mezzo a tutti questi fili: speriamo bene!

by Holliewould

Monday saw the launch of Biffy Clyro’s latest offering, no not their new single, it was the launch of their signature guitars.

Fender Squier have released the Simon Neil Signature Stratocaster and  the Fender Squier James Johnston Jazz Bass both of which are based on 60s relics.

Band front man, Simon Neil was thrilled to be approached by Fender, who describe the band as “part of the Fender family”.  Jokingly he commented,

“We have been asking for years to try and get a signature guitar.”

The process of bringing the custom built relics to life began just before the band started recording their newest album, 5th studio release, Only Revolutions, which is due for release on the 9th November 2009.

“For us it was getting the best possible guitar for a reasonably cheap  price. Basically we tried to make them as lovely as the relics we use. We have used these guitars live and they sound amazing.”

The custom relic guitars are a replicas of what lead singer Simon Neil and bassist James Johnston uses on stage.

Neil Whitcher, a representative from Fender UK commented,

“We were working on some Squier instruments and brought some prototypes down and started  chasing them round various dressing rooms. We finally got them some sample instruments and then we took it from there, made a few tweaks, matched some colours, got some logos and here we are.”

Front man Simon Neil could not contain his excitement adding,

“We are delighted. It is such an honour for fender to ask us – and my very first guitar was a Squier, so it has come full circle.

Vi ricordate che l’altro giorno ero alle prese con l’autopsia della mia Squier Stratocaster? Ebbene in un mezzo pomeriggio e due pause pranzo mi sono dato da fare per invecchiarla un po’. Come? Beh, il battipenna mint-green l’ho comprato e l’ho chiusa lì; i potenziometri invecchiati li ho trovati e poi trattati con un po’ di carta abrasiva e grafite (mina di matita sbricciolata finemente); i copri-pickups li avrei anche avuti (la mia vecchia strato vintage), ma ho scoperto che i buchi non corrispondevano perché la distanza dei magneti era diversa. Mannaggia alla Fender che fa queste cose per rompere le scatole a noi utenti: e allora? Allora vecchio metodo, come già detto nel post precedente: a bagno nel the e nel caffé! Per il manico in acero ho usato ancora la mina della matita sbricciolata finemente e data con le dita ed un straccio morbido: ok, non sarà ortodosso, ma funziona. Il body per ora l’ho lasciato stare perché devo suonare in una rappresentazione teatrale tra due giorni e non ho tempo di intervenire su di esso. Oggi in fretta e furia ho rimontato il tutto (un’odissea, sono diventato presbite e lavorare finemente su parti piccole è stato duro); quindi ho installato una muta di corde nuove, regolate molle del tremolo (ne aveva solo due, ma ho preferito aggiungerne una terza che avevo tra i miei ‘cadaveri’ di altre chitarre), accordata e… Risultato?

Quel 22° tasto mi dà proprio fastidio, ma ho scoperto che potrei segarlo via facilmente in quanto sporge sul battipenna, ma penso lo terrò comunque, mal che vada non lo uso. Non sarà proprio la Fender Strato usata dal ‘maestro’ in Made in Japan, ma ci si avvicina sufficientemente per me.

Mi sa che è proprio vero che più si invecchia e più ci si rincitrullisce.

Sì, lo so, già 3 sono troppe, ma avevo bisogno di una chitarra ‘da diporto’, una di quelle che puoi portare avanti indietro senza troppi problemi o patemi d’animo. Ho permutato un qualcosa che non mi serviva più e per 100 euro mi sono portato a casa una Squier Stratocaster modello standard, quella con il palettone.

Ho effettuato una lunga ricerca sul web per trovarne una vissuta e del colore che tanto piace a me, sunburst, ma alla fine l’ho trovata vicino a casa ed anche se è tutta nera, non mi sembrava malaccio (poi è cromaticamente uguale a quella di Blackmore in Made in Japan e scusate se è poco!). Perché così? Semplice: ho già due strato con la paletta piccola – una con manico in acero e l’altra con lo stesso in palissandro – poi ho quella vintage con il palettone e il manico in palissandro; cosa mi mancava? Una strato con palettone e manico in acero: detto fatto! Ok, lo so, non è una Fender vera, ma una ignobile Squier made in Indonesia; però in caratteri miscroscopici c’è scritto ‘by Fender’ e tanto mi basta. D’altra parte non sono mica Bi££ Gate$ e devo accontentarmi: in fondo quello che ho è già più di quanto mi serva e meriti. L’ho già usata in sala prove e nessuno si è accorto che fosse nuova e tanto meno indonesiana: il suo lavoro onesto lo fa ed è quello che mi serve.

Oggi pomeriggio ho deciso di fare la sua autopsia e, visto che non è pregiata, di renderla un po’ vintage con qualche… poi vedrete. L’ho smontata ed ho sollevato il battipenna aspettandomi amarissime sorprese.

Invece ho trovato l’interno molto ordinato e ben cablato; i pickups sono in alnico e non paiono ceramici, come sulla strato messicana prima che mettessi i pickups Di Marzio, solo i potenziometri sono di scarsa qualità, ma appena avrò messo via una trentina di euro li cambierò con qualcosa di migliore. Ha già persino lo scasso nel legno per gli humbuckers che, naturalmente, non metterò mai da fenderista incallito quale sono.

Dove sono i copri-pickups? Semplice, in una tazza con caffé e the in modo che acquistino un po’ di colorito vintage e sembrino un po’ più vissuti. La moglie guarda e scuote la testa: mi sa che ha ragione, sono pazzo!

******UPDATE*****UPDATE*****UPDATE*****

Over this weekend (today is the 28th September) Gibson pulled all “Authentic Hendrix” -related items from its website without further comment.

Has the raging storm of negative comments all over the web community swayed Gibson’s minds? We’ll wait with bated breath.

The pulling of the Hendrix-related stuff was done in such a hurry, that the opening webpage today didn’t make any sense, with Hendrix and the Zoot Suit SG all mixed up.

UPDATE*****UPDATE*****UPDATE*****UPDATE

Have Gibson gone completely nuts?

Janie Hendrix – Jimi’s stepsister and “guardian” of Hendrix’ money-making legacy – and Gibson have thrown all good sense, taste, integrity and style to the wind, perverting the history of the electric guitar.

Brand-new off some Far Eastern production line is this:

The Jimi Hendrix Signature line consists of three different beginner’s packs of ugly-as-hell Stratocaster clones, cheap mini-amps and cheesy “case candy”. Hendrix’ good name is being pulled through the dung heap – geez!

When Gibson proudly announced an upcoming joint project between “Authentic Hendrix” and themselves, I was rather amused. Everybody and their tone-deaf grandmother knows that Hendrix was the Stratocaster-god per se.

I thought, well, maybe they’re going to come out with a nice, affordable-for-the-mere-mortal version of Jimi’s very tasty painted Flying V.

I should have seen it coming, what with all those cropped-above-the-Strat-line photos on Gibson’s site…

How could this have happened? Were Fender/Squier unwilling to cough up enough money for Janie H?

What bigotry of Henry Juszkiewicz and his Gibson company. They’ve been spending much of the past decade trying to litigate the lifeblood out of “copyright/patent infringers”. They’ve tried to kick PRS in the balls because of their excellent Singlecut model – and they failed miserably.

And now they release such a worthless piece of shameless rip-off of Fender. This is a disgrace and a travesty.

Boo, bOO, and indeed, BOO to you Gibson – you people have lost my respect!

I’ve been getting into playing the guitar a lot recently. Since starting to play at the beginning of this year, I have found it hard to put down. I started off with an acoustic/electric that gave me the ability to learn the chords, play in church etc. When we started seriously considering a ska-themed service for December, I sought out an electric. Got a second-hand one from a friend, but the dodgy electrics meant that I couldn’t bring it to church without risking nasty interferance. After discovering I had a bit of money in my savings, I decided to bite the bullet and buy myself a brand new electric. So I am now the proud owner of a candy-apple red fender squier standard. Also got some accessories such as leads, pedals and a multiple guitar stand for church, so I’m getting quite a setup now.

Big shoutouts to Billy Hyde Music, especially Tom who helped me out with replacing a number of items that were out of stock. I hope this new gear can help me to lead Floreat to a new area in worship, praising God in all his majesty.

Planning a revised direction starting in October, so keep tuned – you might get a little taste as we get closer. All I’m saying is that it will mean more posts with hopefully more interesting content.

I recently bought an electric guitar. I know it’s kind of out of the blue, but I really was looking for a new guitar because my mom’s old Yamaha classical guitar just wasn’t cutting it. I was actually looking at other acoustics but I didn’t really seem to enjoy playing any of them just because I’m wondering if it’s even worth it to get a cheap acoustic. The acoustic sound cabin is all you get noise from (unlike an electric), so if you’re going to go acoustic, shell out the dough!

Really, that makes perfect sense. There’s no point in getting a cheap Mitchell, Epiphone, or Yamaha if it’s just going to create a hollowed sound that won’t give you the richness you deserve to play with.

My knowledge of electric guitars, as I found out early last week, was — for better or for worse — lacking. I had researched all on acoustics and the brands to look for, but as soon as I crossed that border into the realm of electric guitars, I was completely lost. It didn’t help that the first salesman I talked to had one of those “fml, I just want to go home” demeanors. Luckily, after about an hour in Guitar Center, I found some cheaper electric guitars that were modeled after the more expensive versions. I ended up with a $119 white Squier Fender Bullet Stratocaster (essentially what guitar hero guitars are modeled after).

The higher-end model white Fender Strat is shown in Nick & Norah’s Infinite Playlist (in case you’ve seen it), it is the guitar Nick (Michael Cera) plays towards the end of the movie inside the recording studio.

Anywho, to finish off, I ended up walking out of Guitar Center spending around $230 on the Squier Fender Bullet Strat, a Line 6 Amp, and gig bag. Not bad, eh? Either way, I know I’m not going back to acoustic anytime soon especially when there’s a Gibson Les Paul to be had!

Für diejenigen, die sich für die Geschichten hinter Liedern interessieren:

The Truth Of The Matter hatte ich ja schon in der Version vom März diesen Jahres gepostet. Geschrieben hatte ich den Song Ende Januar 1999. Der auslösende Faktor war ein Keyboard-Test für Riffi.

Ich hatte ein Roland EG-101 zum Testen da. Das EG-101 war ein Keyboard mit Begleitautomatik und rudimentärem Sampling speziell für die Dance-, Hiphop- und R&B-Szene.

Beim Herumfummeln mit dem EG-101 fand ich ein cooles Pattern, das mich sofort inspirierte. Ich sang typische R&B-Phrasen (so gut ich das eben mit meiner WhiteChickenShit-Stimme kann) – erst mit dem üblichen “Baby, yeah-yeah-lalalaaa”, und dann kamen auch schon die ersten genretypischen Zeilen dazu.

Ursprünglich war die Idee – glaube ich – in d-Moll; doch ich wollte unbedingt auch die Sampling-Sektion mit einbeziehen, samplete einen Brocken von einem anderen meiner Songs, und transponierte die ganze Chause nach a-Moll, damit’s passt.

Für die Aufnahme der Musik brauchte ich sechs oder sieben Takes, weil ich das gesamte Playback in einem Rutsch am Keyboard aufgenommen habe, und es nicht ganz so einfach war alle Knöpfe zur richtigen Zeit zu drücken, an Alles zu denken, den Sample richtig abzufahren und gleichzeitig noch Keyboard zu spielen.

Dann noch etwas Gesang drauf (Sound-on-Sound, also ohne Edits oder Punch In), und das Ganze klang so:

The Truth Of The Matter 1999 – 2009 Remaster

In der Planungsphase für die Session im März 2009 kam mir die Idee, Truth mit einer richtigen Band neu ein zu spielen. Ich schraubte die Tonart auf fis-Moll herunter, weil mir der Gesang des alten Demos (je nach Tagesform) manchmal zu gequält und kiecksig rüberkommt.

Ich schickte den Jungs ein bewusst offen gehaltenes Demo zur “Einstimmung” per eMail:

The Truth Of The Matter – demo version

Die Bandversion habt ihr ja schon in dem älteren Post “genießen” können, hier zu Feier des Tages noch ein frisches Remaster:

The Truth Of The Matter – Remaster Aug 2009

Das Schlagzeug (Anssi Lehtivuori, ohne Klicktrack), das E-Piano (Timo Raita), eine der Rhythmusgitarren (Hannu Seppä) und mein Bass (Squier Jazz) gingen live auf Harddisk (ProTools HD).

Aufgenommen haben wir in der Bändipaja in Espoo. Gemischt habe ich bei mir im Heimstudio.

Ich bin mir immer noch nicht sicher, welche der zwei Versionen ich am liebsten mag…

Ich war in den späten 80ern Mitglied der Lübecker Band Heaven’s Gate.

Heaven’s Gate waren ursprünglich sozusagen das Pendant am Katharineum zu Mask 4 Fun am Carl-Jacob-Burckhardt-Gymnasium.

Mir ist nun zufällig eine C-Kassette in die Hände gefallen, auf der ein paar unserer Machwerke drauf sind.

Unser Recording-Equipment war damals so rudimentär, dass ich mit sowas heutzutage höchsten ein Interview mitschneiden würde. Wir haben uns davon aber nicht beirren lassen, und haben versucht das Meiste aus dem was wir zur Verfügung hatten heraus zu holen.

Ein gutes Beispiel für die kreative Anwendung einer Fostex Vierspurmaschine und eines Yamaha SPX50 ist der Song The Streets of NYC, der voll ist von verschiedenen Hallräumen und Rückwärtseffekten.

Ich habe versucht NYC so gut wie möglich von den “Toten” auferstehen zu lassen, aber man hört trotzdem, dass das Rohmaterial von einer Kassettenkopie stammt – Gnade!

Hier also: The Streets of NYC – 2009 Remaster

The Streets of NYC

written by Eymann/Marten

Heaven’s Gate

Sonor drums – Roman Hudler

Yamaha DX7 – Axel Marten

Roland Juno 106 – Torsten Eymann

Squier Jazz Bass & Aria guitar – Martin Berka

Drums recorded by Roman Hudler. Recorded and mixed by Martin Berka.

As promised, here’s a list of the current pre-owned items that we have available in our Aylesbury and Bicester music shops. Feel free to pop in, or give us a call or comment with any questions.

GUITARS

Amalio Burguet Maestro classical – £1,699 – 91930
Aslin Dane electric strat type – £99 – 92115
Breedlove AJ250 Electro Acoustic 12 string w/hard case – £499 – 92092
Burns Brian May, case & treble booster pedal – £359 – 92127
Daisy Rock electric – £149 – 91985
Dean MS STD Michael Shenker flying V – £199 – 92125
Eastman jazz type – £799 – 91992
Encore classical Romanian – £49 – 92114
Encore electric – £49 – 92062
Encore electric les paul type – £89 – 92054
Faith Jupiter acoustic w/hard case – £399 – 91874
Fender USA Stratocaster w/hard case – £549 – 92107
Fender USA Stratocaster – £449 – 92096
Fender USA Stratocaster w/Texas Special pickup + hard case – £599 – 92051
Flaxwood Liekki w/hard case – £1,299 – 92106
Gear4You electric bass – £59 – 92119
Gibson Les Paul Custom w/hard case – £1,999 – 92101
Gould les paul type electric – £129 – 92082
Ibanez GAX30 electric – £99 – 92045
Jackson Charvel w/case – £299 – 92120
Jim Deacon electric bass – £79 – 92121
Jim Deacon 3/4 electric bass – £79 – 91977
Jim Deacon electric lefty – £79 – 92031
Martin DCX1RE electro – £649 – 92099
Squier electric strat type Japanese – £129 – 92113
Squier electric strat type – £89 – 92068
Squier electric strat type – £79 – 92073
Squier electric strat type – £99 – 92123
SX electric strat type – £59 – 91998
Tanglewood 173 acoustic – £229 – 91946
Taylor 210e electro acoustic – £549 – 92118
Vintage les paul type – £159 – 91997
Washburn AB-10 electro acoustic bass – £259 – 92110
Westfield les paul type – £149 – 92097
Yamaha CPX15E electro acoustic w/hard case – £699 – 92091
Yamaha ERG 121C electric – £89 – 92053

STRINGS

Harlequin purple 1/2 violin outfit – £79 – 91983
Shimro 1/2 violin outfit – £59 – 91935
Stentor 1/2 violin outfit – £59 – 92010
Stentor 1/8 violin outfit – £39 – 92078
Stentor I violin outfit – £49 – 92124
Stentor II 1/4 violin outfit – £49 – 92059
Stentor II 3/4 violin outfit – £59 – 92024
Zeller 1/2 violin outfit – £99 – 92077
Unknown make 1/4 violin outfit – £49 – 91982
Unknown make 4/4 violin outfit – £49 – 91845

BRASS & WOODWIND

Please note that all of our used brass and woodwind instruments have been fully serviced.

B&M Trumpet – £79 – 92105
Buffet 10228sn Oboe Outfit – £699 – 92044
Buffet B12 – £219 – 92126
Jupiter JCL 631 Clarinet outfit – £179 – 92034
Jupiter Alto Saxophone outfit – £299 – 92005
Piccolo (wooden) – £99 – 92006
Yamaha YSL354 Trombone outfit – £359 – 92060
Yamaha YTR1335 Trumpet outfit – £219 – 92075

KEYBOARDS, AMPLIFICATION, PERCUSSION & FX/ACCESSORIES

Bb10 electric guitar practice amp – £25 – 92013
Cruiser CR15g guitar practice amp – £29 – 92048
Fender Princeton 1×12 65w electric guitar amp – £139 – 92108
Korg A5 Guitar FX – £59 – 92023
Line 6 Spider 3 120w – £179 – 92079
Marshall Bass 60 combo 1×12” – £199 – 91958
Mesa Boogie Maverick electric guitar amp w/custom flight case – £1,195 – 92094
Rocket 10 electric guitar practice amp – £29 – 92029
Rocket 20B bass guitar practice amp – £39 – 92095
Roland SC155 sound canvas – £29 – 92084
Squier SP-10 electric guitar practice amp – £25 – 92122
Zoom 1010 guitar multi FX – £29 – 92083

At 24 years old my trusty Jazz Bass still delivers the goods. The bass is all original, except for the jack socket that I had to replace about 10 years ago. That – if anything – is real value for money!

Vierundzwanzig und kein bisschen leise – mein treuer Jazz Bass ist immer mit dabei. Am Squier ist noch aller original, außer der Ausgangsbuchse, die ich vor rund 10 Jahren auswechseln musste. Das nenne ich ein gutes Preis-Leistungs-Verhältnis!

Se on jo 24 vuotta vanhaa, mutta rokkaa vaan yhä paremmin: Jazz-bassoni on täysin alkuperäisessä kunnossa, paitsi että jouduin vaihtamaan jakkia noin 10 vuotta sitten. Tätä kutsuisin loistavaksi vastineeksi rahalle!

Mehr Infos findet ihr hier.

Tapsalle kiitos kuvasta!

Today, my parents got me my birthday gift early (because Billy Hyde had a sale on and we didn’t know if they will soon again).

It was an electric guitar…specifically the Squier Guitar by Fender. Mine was called Starburst (as in the color. I suppose I should give it a really cool name too).

Isn’t it lovely? I think it is. And the broken skin and soundly bruised fingertips that’s aching with every word I type think so.

That sentence didn’t even make grammatical sense.

Anyway, I’ve taken a break for tonight, lest I actually mess up my fingers. I’ll probably be Googling tabs all night, so screw Chinese homework! I am very very behind on it.

Alex.

Welcome to Play Bass Guitar Online. First and foremost, let us define what a Bass Guitar is.

The electric bass guitar (also called electric bass, or simply bass) is a stringed instrument played primarily with the fingers or thumb (either by plucking, slapping, popping, tapping, or thumping), or by using a plectrum.

The bass guitar is similar in appearance and construction to an electric guitar, but with a larger body, a longer neck and scale length, and usually four strings tuned to the same pitches as those of the double bass, which correspond to pitches one octave lower than those of the four lower strings of a guitar (E, A, D, and G). The bass guitar is a transposing instrument, as it is notated in bass clef an octave higher than it sounds (as is the double bass) in order to avoid the excessive use of ledger lines. Like the electric guitar, the electric bass guitar is plugged into an amplifier and speaker for live performances.

Since the 1950s, the electric bass guitar has mostly replaced the double bass in popular music genre as the bass instrument in the rhythm section. While the types of basslines performed by the bass guitarist vary widely from one style of music to another, the bass guitarist fulfills a similar role in most types of music: anchoring the harmonic framework and laying down the beat. The bass guitar is used in many styles of music including rock, metal, pop, country, blues and jazz. It is used as a soloing instrument in jazz, fusion, Latin, funk, and in some rock and metal (mostly progressive rock and progressive metal) styles.

Click here and access hundreds of Bass-Lessons!

John 5, former guitarist for Rob Zombie and Marlyn Manson

OMG! I can’t believe my eyes! John 5 got fender to build an affordable version of his signature Fender Telecaster J5!

This is the J5 Fender Telecaster (click here)

Fender J5 Telecaster

It’s the Squier J5 Telecaster!!! (click here)

J5 Squier Telecaster! (on the guitar to zoom)

There are obviously a few differences as you can compare the specs in the links below:

John 5’s Fender J5 Telecaster specs (click here)

John 5’s Squier J5 Telecaster specs (click here)

Compare and contrast between the Fender J5 and the Squier J5:

The shade of black is of the Fender J5 & the Squier J5 differs.. but looks the same to me….

Body of the Fender J5 is Ash, while the Squier’s is Alder.

Neck of the Fender J5 is Maple, ’60’s “C” Shape with Gloss Urethane Finish, while the Squire’s is Maple, with Modern “C” Shape with Gloss Polyester Finish.

John 5 with the J5 Squier Tele

Both the J5 Fender & Squier uses a Rosewood 12″ radius (305 mm) Fingerboard.

Both also have 22 medium Jumbo frets

The Fender J5 uses a Custom Shop “Twisted” Tele Single-Coil (Neck) and the “Enforcer” Humbucker Pickup (Bridge), while the Squier J5 uses a Custom Humbucker Pickup with Alnico 5 magnets (Neck) and a Custom Humbucker with Ceramic Magnet (Bridge)

Both have same Volume knobs for the Neck and Bridge Pickups.

Both also have the same 3 – position toggle.

Another of John 5's Fender Telecaster signature custom shop series J5 Bigsby® Telecaster (click here)

The Bridge on the Fender J5 is a American Tele 6-Saddle Bridge for Humbucking Pickup with Chromed Brass Saddles, while the Squier J5 is a 6-Saddle Tele® Bridge with Humbucking Pickup Cutout.

The machine heads of the Fender J5 are the Fender®/Schaller® Deluxe Staggered Cast/Sealed Tuning Machines, whiles the Squier J5 are the Standard Die-Cast Tuners.

The hardware for the Fender J5 is fully chrome while the Squier J5 is a combination of Chrome/Stainless Steel.

The pickguard for the Fender J5 is Chrome while the Squier J5 is a 1-Ply Polished Stainless Steel.

Scale length is the same at 25.5” (648 mm) but the width from the nut for the Fender is 1.6875” (43 mm)and for the Squier is1.650” (42 mm). just a 1 mm difference.

The Unique features are different as well (red colour words means are the same):

Fender J5 : 

Matching Black Painted Headstock,
Bound Top,
Toggle Switch Mounted on Upper Bout,
Chromed Brass Pickguard,
Chrome Switch Tip,
3-Over/3-Under Modified Tele XII Headstock Shape,
No Jack Flat Spot on Body Perimeter,
Dot Position Inlays

Squier J5:

Matching Black Painted Headstock,
Bound Top and Back,
Silver Squier Decal,
Toggle Switch Mounted on Upper Bout,
Chrome Switch Tip,
No Tone Control,
Neck and Bridge Volume Controls are in Opposite Orientation,
White Pearloid Dot Position Inlays,
Narrow Dot Spacing,
Synthetic Bone Nut

Fender J5 comes with a Deluxe Gig Bag while the Squier J5 comes on it’s own (click here to view).

As you can see the vast difference but according to John5 says the Squier J5 sounds exactly the same as his Fender J5 but the main difference is the Price! I do not have the price but it is definately much cheaper to get the Squier J5 than the original Fender replica! All I have to do is change the pickups!

Provided I can convince my dad to get me the Squier J5

John 5 slinging his J5 Bigsby® Telecaster Custom Shop Series

For more info on John5.. here  is his official webpage (click here)

John 5’s MySpace (click here)

John 5 on YouTube (click here)

John 5’s other signature guitars on Fender (click here)

John 5’s Equipment on Wiki (click here)

Bio of John 5 (click here)

Características : 9/10

Serie Classic Vibe (gama alta de Squier)

Reedición del modelo 50’s de Fender

Fabricado en China

Cuerpo de tilo

Color Lake Placid Blue, no es del gusto de todos

Mástil de 20 trastes, 34” todo de arce, una pieza

1 pastilla Alnico de bobina simple

1 volumen, 1 tonalidad

Utilización : 9/10

Muy buen acabado por un bajo fabricado en China

Bajo no muy pesado

Mástil agradable, bastante espeso pero normal por un Precision

Buen acceso a los agudos

Con su electrónica sencilla integrada, sólo puedes contar con dos sonidos, con o sin tonalidad, pero qué sonido…

Sonoridades : 9/10

Sonido muy vintage, melodioso y cálido con la tonalidad desactivada, y muy brillante y cristalino con la tonalidad activada.

Súper sonidos en general, puede hacer casi todo, hasta en slap suena genial.

Opinión Global : 10/10

Lo utilizo desde casi 4 meses, y sigo muy contento.

Quería un bajo vintage a precio razonable y estoy satisfecho.

Una muy buena relación calidad/precio.

El color puede entibiar a algunos pero el acabado es realmente lindo, pienso que deberían fabricar un segundo, Sunburst por ejemplo, como él de Sting.

Si quieres un bajo vintage económico y que te gustan los Precision, puedes comprarlo con los ojos cerrados, no te decepcionará.

Traducido de la opinión de Mat62 en AudioFanzine en Francés

Características : 8/10

• Guitarra fabricada en Indonesia

• 22 trastes jumbo medio
• 2 pastillas humbucker, 1 volumen y 1 tonalidad por pastilla, switch de 3 posiciones
• Puente fijo con cordal thru-body
• Cuerpo de kauri
• Mástil de Arce en forma de C

Utilización : 7/10

El mástil es muy agradable y bastante rápido, conviene para tocar con el pulgar encima del mástil.

El acceso a los agudos no es muy fácil a causa del tacón, pero bueno, es una Telecaster, no está hecha para el shredding. A pesar de todo es muy agradable con solos bluesy.

La forma Telecaster es típica, entonces no hay cavado central, pero el equilibrio cuando se toca de pie es bastante bueno.

Pequeño punto negativo : el peso de la guitarra no es amigo de la espalda, necesita una correa ancha para poder tocar un set completo sin perder su espalda.

Las cuerdas de origen se tienen que cambiar urgentemente, aun para un novato, porque son una m***a.

Sonoridades : 8/10

Toco un poco de todo con esta guitarra : pop rock, punk, blues… Pienso que con un ampli adaptado, permite tocar casi todos los estilos.

Al principio la he utilizado en un Peavey Backstage 10W, pero uno no puede tener una opinión fiable de la guitarra con este ampli de cartón, pero bueno, cuando uno empieza…

Ahora toco con un Fender Blues y Deluxe, un Hugues & Kettner Attax 80, un Marshall 100 DFX…

Utilizo también un multi-efectos Korg Pandora PX4D con el cual se puede esculpir un sonido muy fácilmente.

La pastilla del puente proporciona un sonido agradable en distorsión pero en el canal claro suena un poco gangoso.

La posición intermedia es muy cristalina en el canal claro.

La posición mástil ofrece un sonido muy redondo y bluesy, tanto en el canal claro como saturado.

Los potenciómetros de tonalidad son eficientes permite reconozco que no los uso mucho.

Opinión Global : 8/10

La utilizo desde hace más de un año y medio.

Me encanta su diseño entre Telecaster y Les Paul.

Su peso puede asustar a más de uno, pero uno se acostumbra (mejor probarla en la tienda antes de comprar para evitar una mala sorpresa)

No he probado otra guitarra antes de comprarla porque es mi primera guitarra.

La relación calidad/precio es bastante buena si cambias las cuerdas de origen.

Pienso que, con la experiencia y como primera guitarra, la elegiría de nuevo sin problema.

Traducido de la opinión de theedge56 en AudioFanzine en Francés

It seems I have a problem. I have an addiction that eats away at me. I have GAS. No, not the kind that results from a hot mutton roti, the kind that sees you ‘dutch oven’ your girlfriend, but rather the kind that sees me spending money I don’t have on stuff I don’t really need. You see, GAS stands for Gear Acquisition Syndrome – a condition that sees musicians buying a surplus of equipment and accessories.
Guitarists suffer particularly bad with this condition. It’s not only about the guitars, there’s different levels of GAS, different infections, itches, places that need scratching. Some get their jollies off of accumulating recording software, some from effects pedals, some from plectra. Mine’s guitars, the guitars themselves.

I’ve used the term accumulated there because this is in no way collecting. Collecting implies that you actually have something of value, that you select certain specimens that have either a history of a specific significance, a limited run, a signed version or something. I just gather guitars – there’s no collecting here.

Problem is, I’m not a very good guitarist. I’m still very much an amateur and just enjoy goofing around on my axe. Singular, because (like cars) you can only use one at a time.

At the moment my tally sits at five. An Aria Ariana, a Squier Strat std, a Yamaha FX310, an Epiphone LP Special and the latest addition, a Hondo II LP Copy.

I initially purchased the guitar in the hopes that it would be something special. My research has led me to believe that it’s a 1974 model, and possibly a lawsuit edition. There’s conflicting stories, some say it is some say it isn’t. What I can tell you is that I’m loving this guitar, it sounds great, feels amazing and suits me to a tee. I was planning on flipping it and making a few bob after fixing it up a little. But it seems it’ll be one of my others that need to go now. But which one?

Each and every one has a little history, a special something if you will, that makes it tough to part with. Saying good bye is tough. But I can’t go on like this, I will eventually sink into a hole that has no end – I gotta stop buying stuff and holding onto it. If I can flip it and make some money, no problem, that’s called business. If I can’t I become a hoarder.

For the record, this has taken an hour to type – I was distracted. You should see some of the deals on EBay today!