26 Jun 2016

June 2016 – What Does the (Digital) Future Hold?

by | posted in: Observations, Opinion | 0

CRAVE Guitars is returning to pretentious opinionated pontification (POP for short) for June 2016. The starting point for this month’s article is to have a bit of fun speculating about the future, especially given that musicians by and large tend to be a pretty ‘old‑school’ bunch. We tend to resist change and frequently pay considerable homage to the past as a reason to maintain the apparent status quo (not the band). The cause and effect fallacy that is past=good therefore future=not-so-good may be enhanced by selective rose-tinted specs, confusing perceptions about what was actually good with what wasn’t.

Whether you like it or not, we’ve already been experiencing the digital revolution for at least 30 years now. While previous paradigm shifts may have been triggered at a point in time, it often takes a very long period for society to move to a new zeitgeist. The industrial revolution didn’t happen overnight after all; it took decades for the benefits of modernisation to be fully realised as the norm and to become accessible to most.

I recall seeing recently that BOSS released the first digital delay stomp box in c.1984! Line 6 really turned things upside down by bringing acceptable digital modelling to the masses with its iconic POD. Digital recording now provides the mainstay of modern music production and it is generally regarded as a very good thing because it brings massive potential to musicians on a shoestring budget. We’ve also had digital music reproduction and distribution for longer than some probably care to remember. Listening to digital music wherever we are and whatever we’re doing is now the custom for the vast majority of ordinary people.

This fundamental shift raises a question about whether old and new can really co-exist in the long-term? Other than perhaps vinyl, analogue storage has now all but disappeared and unlikely to undergo a popular Renaissance. So, digital is here to stay. Get over it. It’s not clear from here on what music technologies will survive and which will be cast aside as minor entries in the history books. That natural filtering process will be down to us and whether the timing is right for a particular product.

Our obsession with musical history, whether conscious or subconscious, is likely to endure and may well influence our purchasing decisions for a very long time yet. Despite digital’s best attempts, we remain stubbornly wedded to certain bits of obsolete technology – the vacuum valves and moving magnet speakers in our amps for example. So what does digital do to capture our interest? It tries to sound just like the old stuff we had to put up with all those years ago – go figure! There is no doubt that digital provides quality, economy, reliability, consistency and convenience, as well as releasing a massive amount of dynamics, power and storage that was previously seen as unattainable. The benefits of digital music-making enable considerable freedom and choice, as well as providing new opportunities to experiment that would have been seen as ‘magic’ just 100 years’ ago.

There is no point in fighting advancement per se; the organised luddites didn’t succeed against the industrial revolution, so you won’t hold back the digital one. Individual resistance in the face of a mass movement will prove utterly futile. My supposition is sort of symbiotic relationship, with both old and new technologies relying on each other for their existence and with neither eradicating the other, i.e. we are likely to embrace the best of both worlds.

Technology isn’t what makes real music, it is musicians. We should not forget that unpredictable artistic creativity adds a crucial spark into the mix and it’s that which ultimately drives technological change (along with a sprinkling of economics). You can’t buy or make talent but you can make it easier for talent to thrive. To quote Keith Richards, “To make a rock ‘n’ roll record, technology is the least important thing”.

Neither can we ignore the benefits of innovation. The best of digital modelling allows most of us to get pretty close to experiencing rare and/or vintage equipment that we would otherwise have no hope of ever playing, let alone owning. Unless you’re a multi-millionaire, where on earth would you put all that gear even if you could afford it? Technology recreates great gear spookily well, all in a tiny box that doesn’t need much in the way of maintenance either. The rest is up to you.

However, where will it all end? Manufacturers in the digital world are continually trying to compete by leapfrogging in terms of functionality and features. Jump forward 20, 50, 100 or more years and try to think about it. A digital audio workstation of the 22nd century may well be connected directly into your brain, providing an infinite array of variables and you will adjust the tone for the minutest variation in pseudo-relic condition. No doubt, we will have digitally sampled ‘pops’, ‘crackle’ and ‘hum’ added back to a pure binary signal, just so that it sounds ‘authentic’. I would, however, assert that such a bewildering range of options can actually begin to act as a barrier to adoption, rather than an enabler. Being overwhelmed by complexity may not be good for the simpletons among us (like me).

There are also constraints on progress. For example, we guitarists have a massive dependence on the humble and archaic analogue jack plug (and socket). I’m not sure when it was invented but it is a great example of standardisation that has endured essentially unchanged since at least the 1930s. This is astounding endurance for what is actually not a very good connector. The industry has tried to move on but I’ll wager that, if you go into your local guitar store tomorrow, you won’t find a single electric guitar or amp that doesn’t still require one. After nearly a century of use, it will be a difficult item to displace, if only because of global ubiquity. Even if a new industry-wide successor is introduced, there is no way that anyone in their right mind would retro-fit a MIDI or USB port to, say, a ‘59 Les Paul Standard. Will we even still have USBs in the 22nd century and, if we do, will they be backwards compatible? Firewire anyone?

We can influence what happens. We continually tinker with the ingredients. We alter many of the variables on our guitars, e.g. strings, tunings, scale, frets, pickups, materials, etc., all in a quest for something we often can’t clearly define or articulate. Ultimately though, we keep coming back to the core, familiar product while duly tolerating such variations on a theme. A guitar is still a guitar… for now. Currently, most future guitars are still trees today; at least it’s an environmentally sustainable product. In the (nearer than you think) future, guitars may just be synthetic digital controllers, a la PlayStation. A quick Google search can be quite revealing (see the ‘future guitar’ examples throughout this article). Fascinating stuff.

So… looking forward a century to the year 2116, just what will guitar playing be like? Will we still spend our lucre on current major brands? Will we need strings or magnetic pickups? Possibly not. Will guitars colour-change for mood? Maybe – we’ve had illuminated guitars for some time anyway. Will they shape-shift for musical genre or aesthetic taste? I doubt it, but you never know. We’ve actually had guitar synths/controllers/digital guitars (e.g. Roland GK, SynthAxe, Casio DG10/20, Ibanez X-Ing) since the 1980s as well as synth effect pedals from the likes of Electro-Harmonix. Sophisticated sampling has enabled digital guitar modelling to arrive with the Line 6 Variax. Modular instruments have also been attempted and these might finally find their time and become the vogue. No-one really knows the future for sure. I bet ‘we’ will still want but won’t be able to afford that real vintage ’59 Les Paul held in a wealthy collector’s secure vault somewhere, and we will still hanker to recreate the look, feel and sound of one, even though we may never get to see one for real. Not much different from now in fact, with faithful recreations of the past.

The journey isn’t clearly defined and the outcome will evolve through a fascinating mixture of the past, present and future. You, or actually your descendants, will be able to pick up a physical vaguely guitar-shaped instrument (just 3D print a new one?) and it will still be processed through something to affect the signal (probably a cool digital app) and we need some means of being able to ‘hear’ it (sensory implants?). Will we flock to online gigs using VR headsets rather than physically trek to a distant venue to watch a live band in a sweaty beer‑stained crush? No real Glastonbury mud in the future then. Whichever way you look at it, technology will deeply affect our musical experience.

What will our musical tastes be like? Very different I guarantee. Look back at various sci-fi films from the 1950s and ‘60s that depict the then future and see a) how ‘of their time’ the music actually was, and b) how wrong they were about what was yet to come. Look back through the last few centuries to assess the increasing pace of change. The science of music (rather than the style of it), however, remains fixed because we are bound by physical laws that we cannot change or overcome. There will be unwavering and unstoppable progress, and it will be informed by the past (including what we call ‘now’). Will progress render our ability to make real music redundant, to be replaced by computer-generated musical products controlled by technologists rather than artists? I sincerely hope not.

Personally, I look forward to seeing what unfolds. I will enthusiastically grasp those tools that make music creativity quicker/easier/better and I’ll simply avoid those things that make it too difficult to play and work. In the end, I suggest that a recipe comprising pragmatism and diversity will prevail. Advances will occur at a pace that musicians will accept – no faster or slower. We will continue to worship the best of the past (while conveniently disregarding the worst). We will also learn to venerate the best of the future (whatever it may be), maybe not when it first appears but probably with the benefit of hindsight. One thing’s for sure, ‘Cool & Rare American Vintage Electric Guitars’ aren’t going to be consigned to a scrapheap anytime soon. Even CRAVE Guitar’s own 1981 Gibson RD Artist had Moog electronics back in the day.

Guitarists strive to be regarded as conservative traditionalists at one extreme while somewhat hypocritically we also desire (or feel obliged) to push the boundaries of what’s possible and acceptable at the other. Putting my highly unreliable predictions aside, a Brave New World beckons. A combination of old and new technologies will enable us to create original music in surprising and exciting ways. Be inspired, not afraid. Until next time…

CRAVE Guitars ‘Music Quote of the Month’: “Historians in the future will debate the contribution of Guitar Hero to the canon of 21st Century music. Discuss…”

© 2016 CRAVE Guitars – Love Vintage Guitars.

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28 May 2016

May 2016 – New Stuff At CRAVE Guitars

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It’s been a few months now since I covered any new CRAVE Guitars’ acquisitions and it suddenly occurred to me that quite a bit has happened since Christmas 2015. So, I’ve put arrogant, pretentious rhetoric on hold in order to get back to the core of what CRAVE Guitars is all about.

In March 2016, I mentioned that I am on a new mission, money permitting, to accumulate a range of classic vintage guitar effect pedals. Progress to-date has largely fallen into 3 categories:

  1. Purchasing a range of cool vintage effect pedals
  2. Recovering a number of older effects from storage that I bought new in the 1970s
  3. Getting out a horde of modern effects, some of which will probably have to go over coming weeks/months to fund further vintage purchases

Only some of the ‘new’ vintage pedals have made it to the web site at the time of writing – I am in the fortunate position of having a backlog of features and galleries to update, so keep an eye open to see newly published material. There is too much to cover in this article, so take a peek at the ‘Amps & Effects’ features pages (click here to see feature menu page…). These particular pedals have been selected because they were the tools of the trade in the late ‘70s and early ‘80s, so represent familiar territory for me.

In summary, cool vintage stomp boxes that are ‘new in’ since March 2016 include:

  • 1981 BOSS DS-1 Distortion
  • 1985 BOSS OC-2 Octave
  • 1976 Electro-Harmonix Doctor Q (envelope follower)
  • 1982 Ibanez AD9 Analog Delay
  • 1984 Ibanez CS9 Stereo Chorus
  • 1981 Ibanez FL301-DX Flanger
  • 1982 Ibanez FL9 Flanger
  • 1981 Ibanez TS9 Tube Screamer (overdrive)
  • 1980 Jen Cry Baby Super (wah)
  • 1977 MXR Blue Box (octave/fuzz)
  • 1975 MXR Distortion +
  • 1977 MXR Phase 90
Vintage Effects x 8

My personal collection of cool vintage Electro-Harmonix effect pedals includes:

  • 1977 Electro-Harmonix Big Muff Pi (fuzz)
  • 1977 Electro-Harmonix Deluxe Memory Man (echo)
  • 1977 Electro-Harmonix Electric Mistress (flanger)
  • 1976 Electro-Harmonix LPB-2 (clean boost)
  • 1977 Electro-Harmonix Small Stone (phase)
Vintage E-H Effects x 5
 

Now, if you know about or even have a passing interest in vintage effect pedals, that’s quite an impressive little haul for starters, albeit from the mainstream brands. Like all CRAVE Guitars items, they will be used (but not, I hasten to add, all at the same time!).

That’s not all folks… Despite my declared ‘temporary change of direction’ I haven’t completely been able to resist the temptation to purchase more vintage guitars. There have been 2 new purchases that are complete polar opposites in almost every respect. Both are great instruments; they are just very, very different from each other. Both guitars have features written on them, so I won’t repeat the detail here, other than to say that they are fabulous additions to the CRAVE Guitars stable. Go take a deeper look:

1962 Gretsch 6120 Chet Atkins
1981 Gibson RD Artist

The time is coming for a bit of rationalisation at CRAVE. If anyone out there is interested in purchasing any ‘modern’ (i.e. post-1990) guitars, amps and/or effects pedals, let me know and I’ll send a list. I’m not a dealer, so I’m not sure about how much they are worth, so I might just let eBay auctions determine the market value (time permitting). They deserve more use than they’re getting now.

While the stomp box mission is in full swing, I am also mildly interested in getting hold of another vintage valve amp. I’m thinking of one of the smaller ‘student’ models from Fender (black or silver face), probably from the late 1960s up to the mid‑1970s – perhaps an all-original Champ, Vibro Champ or a Princeton in good used condition (and UK 240V).

Guitar-wise, I am also browsing the Internet for some cost-effective vintage guitars to fill gaps, for instance a 1970s Fender Bronco, a 1960s Danelectro and a 3rd generation Melody Maker from the mid-1960s (these are the ‘ugly duckling’ ones with the amateur-looking pointy cutaways, i.e. not the pretty 2nd generation or the SG-like 4th generation ones). I am more pernickety about guitars and these have to be in good-to-excellent original condition (i.e. no refinishes, major modifications or breakages).

I simply can’t afford ambitious ‘retail’ vintage prices for guitars, amps and effects, but we may be able to find common ground around realistic values. What may come my way will be shared on the site.

That’s more than enough for now. Stay cool. Until next time…

CRAVE Guitars ‘Music Quote of the Month’: “Music is not necessarily the only road to true enlightenment. According to many musicians that’s also what sex and drugs are for.”

© 2016 CRAVE Guitars – Love Vintage Guitars.

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24 Apr 2016

April 2016 – A Matter Of Personal Taste

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Let’s face it; one of the peculiarities of most musicians is the vehement adherence to unjustifiable preferences, often to almost extreme levels of obsessiveness, usually responded to with the rather inadequate defence of ‘personal taste’. In fact, I agree with this assertion but then again, I have pretentions of being a musician.

Whether it’s guitar brand, colour, age, style, etc., it doesn’t matter. Whether it is maple or rosewood, Fender or Gibson, pristine or relic, clean or distorted, analogue or digital, valve or transistor, single coil or humbucker, etc., it doesn’t matter. It all comes down to ‘personal taste’. Where are you along the continuum between slavish conservatism to the unwaveringly traditional at one end and rampant experimentalism exploring the wildly deviant at the other? No one view is right or wrong, especially to the exclusion of every other perspective that our ever-present dogmas might suggest. Are we able to accept that, as long as we are passionate about our craft, that’s the most important thing – how we go about expressing it is another?

Can we acknowledge that embracing and tolerating diversity is what drives creative progress and that there is a valid place for everyone’s particular bias? One sure thing musicians can agree on is that we will disagree with each other, constructively and destructively and this is what drives musical originality and innovation.

This got me thinking about how we develop our ‘personal taste’ and music is a prime example of what makes us, well, us. Why do we like the music we like? How did we develop our likes and dislikes in such a clear cut way as we grow up (and old)? When I was young, rock was for the young and I thought that, as I got older, I my tastes would ‘mature’ to appreciate other forms, such as jazz or classical music. Didn’t happen!

The nature versus nurture argument probably has some legitimacy. There is something innately primitive about music in the way that it gets under our skin emotionally and spiritually, for instance in the way it gives you goose bumps or makes the hairs on the back of your neck tingle. For some, it can cause eyeballs to leak and become inexplicably soggy – go figure. However, no two individuals are alike and, as individuals, we will all be affected by the same stimulus in different ways. The superficial nature of that stimulus and our physiological, psychological and behavioural response to it may be the similar but the musical genre that caused it may be poles apart.

As with most things in our universe, there is science behind the theory of music and academics can spend entire lives researching the subject. However, science cannot easily explain the impact that the simplest of melodies can evoke in the spirit. In the same way that I’m not acquainted with the complex nature of the human psyche, I am not attuned to the disciplined mechanics that make those few little notes work together the way they do, in almost infinite permutations. Einstein understood but couldn’t necessarily explain it. While the laws of music transcend theology, those with faith use it to rouse the religious fervour of their ecclesiastical leanings… gospel and soul anyone? Mining the depth and breadth of psychology, science and religion, are all aspects of the human condition that set us apart and yet ‘personal taste’ still prevails and our ability to understand it appears to be finitely constrained. Other life forms, it has been proven, are affected by music but there is no evidence to suggest that they depend on it in the same way that human beings do. We need music as an intrinsic part of the pattern of our daily lives.

Why does person A like country and person B like death metal, while person C likes indie music and person D likes blues? Classical versus contemporary, jazz versus rock; the differences are as stark as the motivations that perpetuate them. It isn’t just hereditary, as generational differences appear to be as diverse as interpersonal ones. It isn’t just environmental, as close genetic relations may have completely divergent interests. I am not a psychologist but I am fascinated by the differences in ‘personal taste’, especially in the way that music (and the instruments that produce it) induce an almost primordial response. Something has driven musical development in parallel with (and as a reflection of) social and economic development over several millennia, although it is not clear why. This is zeitgeist. It is the same with our beloved 6-string (and 1, 3, 4, 5, 7, 8, 10, 12, etc. strings) that have evolved with us.

Just in case you hadn’t twigged (!), I adore ‘Cool & Rare American Vintage Electric Guitars’. New mass-produced ones just leave me cold, as do acoustics – apologies. Give me a vintage Martin D28 and my response will be “meh”, while an equivalent Gibson ES-150 would pique my interest. Why? What happened to cause that inconsistent reaction? I really don’t have a clue! In other articles, I’ve explored why one guitar might be ‘better’ than another but that depends on the irrational criteria one uses to judge ‘betterness’. When it comes down to ‘personal taste’, there really is no right or wrong, just preferences and individual opinion.

So, guitar desirability at its most fundamental is subjective, wildly unreliable and almost impossible to measure empirically. I don’t believe in the vintage guitar business that ‘perceived wisdom’ is worth anything other than £/$/Є/¥ to avaricious collectors who are more interested in the sound of their return-on-investment than they are to the sound of the valuable instruments they horde. This prevailing dogma needs to be challenged.

As diehard conservatives, guitarists frequently bow to tradition and act like lemmings to what is, let’s face it, to all intents and purposes, an expensive bit of old dead wood. I test my prejudices on this matter regularly and still haven’t found any evidence to back up my individual frames of reference. The ‘magic’ ignites when the combination of person, instrument and listener ‘click’ for whatever reason, and thank heaven for that. Perhaps it is the indefinable that fascinates us and makes us intensely curious. Quite why music resonates with us in the way that it does is a mystery and one that deserves conscious exploration. Just don’t expect concrete answers any time soon.

If anyone has any insights to this conundrum, I would be happy to debate the substance. However, and this is a warning to philistines who may try to resolve my ridiculous confusion, I am not interested in a cure for my apparent addiction or the production of a ‘truth’ behind what constitutes ‘personal taste’. Enjoy the ride and, whatever you do, stick to your principles. It is time to stop fruitless analysis and get back to craving for and playing Cool & Rare American Vintage Electric Guitars. Until next time…

P.S. I was thinking about this. Attraction to guitars is similar to the emotional response to a woman – you instantly know whether it’s a wow! or a meh! Just a thought.

CRAVE Guitars ‘Music Quote of the Month’: “Music may be a very human concept, although the science of sound might suggest that we simply tapped into something far more fundamental to the universe.”

© 2016 CRAVE Guitars – Love Vintage Guitars.

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27 Mar 2016

March 2016 – A Temporary Change Of Direction

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A couple of months (and posts) ago, I mused on the other key elements of a guitarist’s arsenal, amplifiers and effects. While often regarded as 2nd class citizens of the vintage signal chain, they are, however, both essential items as well as intensely personal in terms of shaping musicians’ individual sound signatures. Being fortunate enough to have a number of Cool & Rare Vintage Electric Guitars, it made some sense to explore these other gems that contributed to modern music as we know it.

The first step was to ditch modern transistor amps and acquire a solid, reliable (but small) vintage amp. The early ’70s Music Man 210 ‘sixty five’ (click here to see the amp feature…) designed by Leo Fender was the first of these, and what a great addition this was.

Then, because of a recent change in personal circumstances, I took a strategic decision to stop looking at the pricier (for me) end of the market and start re-exploring the landscape of vintage effect pedals. I have a number of original ’70s Electro-Harmonix (EHX) American stomp boxes, although these are (sadly) in storage at the moment. I also have a range of modern BOSS and Line 6 pedals which, when I started thinking about it, just didn’t get me excited. Don’t get me wrong, they are great pieces of electronics. However, they didn’t inspire my playing in the way I thought they should. So… unless there isn’t a vintage equivalent, I think that they are now going to have to go the same way as modern amps. My first dalliance with vintage effects has resulted in a number of interesting little effect pedals. I have to say that this may be dangerous territory and I might be opening another Pandora’s Box of addiction for me.

The first area to explore was the sonic continuum from compression to add clean sustain at one end to absurdly dirty fuzz at the other extreme. As far as effect pedals are concerned, the top Japanese brands like BOSS and Ibanez deserve as much respect as their American counterparts like EHX and MXR. I therefore make little distinction, as long as they are both vintage and classic (and good!). Recent additions include (in order from serenely subtle, through sensuously sublime, to seriously psychotic):

  • 1980 MXR Dyna Comp Compressor
  • 1980 BOSS CS-1 Compression Sustainer
  • 1980 BOSS OD-1 Over Drive
  • 1988 Pro Co Rat Distortion
  • 1978 Electro-Harmonix Little Big Muff π (fuzz)
Vintage Effects x 5

I won’t repeat myself here, other than to say these diminutive boxes provide an infinite range of tonal possibilities (Click here to see features on all these classic pedals…). This is just the start. Over the next few months, I will try to add to the above and also, hopefully, retrieve my original EHX pedals. I have also started looking at the other families of effects, the time delay-based warbles of phasers, choruses, flangers and echoes, as well as other oddball sound manglers such as envelope followers, ring modulators and pitch shifters. When I started looking, I couldn’t believe the prices of some vintage pedals, original Ibanez TS808 Tube Screamers for instance or Roland Space Echoes (OK, the latter is strictly not a pedal but you know what I mean). Even battered and beaten examples can go for eye-watering sums. I am just (re-)learning all about this stuff, so it will take a time to get re-acquainted with the nuances.

By the way, I haven’t completely resisted the temptation of vintage guitars. I have been ‘naughty’ and continued to dabble in my 6-string obsession with some diverse acquisitions. I hope to be reprising these in another ‘What’s New at CRAVE Gutiars’ post soon. Generally speaking though, guitars will have to take a back seat for a while, so I may go on about ‘Amplifiers and Effects’ for a while yet. Until next time…

CRAVE Guitars ‘Music Quote of the Month’: “Music doesn’t provide answers to life’s complications but it does provide solace for the soul when the questions are asked.”

© 2016 CRAVE Guitars – Love Vintage Guitars.

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28 Feb 2016

February 2016 – Why Do You Play Guitar?

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I am assuming that if you are reading this, you are quite likely to play guitar as well as look at them. You may know from previous posts that guitars are meant to be used for their intended purpose, making music. However good or bad you are at it isn’t important, the fact that you do it at all is what matters.

Anyway, let’s get to the point – why do you – or I – play the guitar? A straightforward question I thought at first. However, when I tried to break it down into a few sensible key points, it’s actually quite a difficult question to answer with any sort of clarity and objectivity. I have been playing (badly) for about 40 years. So exactly what is it that has kept me picking up a guitar throughout 4 decades and trying to make vaguely musical sounds from it? It doesn’t make me any money (quite the contrary) and it takes up valuable discretionary ‘me’ time that I can never reclaim. Why, why, why?

1977 Fender Stratocaster

When I first started, it was something new and different for me. Progress led to a sense of personal achievement in a way that I didn’t have in other aspects of my life. No‑one told me to do it; it was entirely my choice and therefore something over which I had control. There were no external incentives and little encouragement from parents or peers. I hadn’t really discovered girls at the time, so there was little distraction from the long hours of practice needed to climb that initial learning curve.

Then, I wanted to emulate the image portrayed by many great guitarists of the time – I don’t have heroes or role models but there was something about the grandiose strutting of many artists from the ‘golden age’ of guitar playing that appealed to my ego. However, I never felt the motivation to seek fame for its own sake. I didn’t knowingly copy other guitarists’ styles or their songs, and have always strived to be ‘creative’ in my own way. I also didn’t have to own a guitar used by famous artists, so I wasn’t wedded to any particular brand or model. I wasn’t obsessed with a particular ‘sound’ or genre, so the world was my proverbial oyster.

Yes, guitars are lovely to look at and they undoubtedly carry a heavyweight aesthetic appeal. All I knew was that guitars were so cool, with a presence that transcends physicality, perhaps almost a sensual experience. So… if it wasn’t the artists, the songs, the image or the sounds, what was it? Pinning down that enduring enthusiasm to a single cause remains elusive.

Musical success often comes from the combination of technical ability and innate talent. To be truly proficient at the former requires dedication, commitment and a great deal of determination. Having technical ability without talent, however, guitar playing can become a clinical, academic activity that doesn’t genuinely engage anyone. It is the extension of emotion and soul into the outside world that guitars can provide, a release if you will. Talent, on the other hand, is indefinable and cannot be learnt or purchased; it is an amalgam of many subjective elements. It comes from within and, yes, just for once, I am envious. Those that have ‘it’, tend to have it in bucket loads, and those that don’t, like me, can only stare in bewilderment and a little awe. Many of us might be able to get away with hard work but it isn’t an easy ride. Like many guitarists, my ego and arrogance deludes me into believing that I excel in both ability and talent, however, tangible evidence suggests otherwise.

The guitar (and bass) is, I believe, unique in its ability to be infinitely expressive and dynamic to the touch and mood – when ‘in the zone’, the instrument feels like it almost comes alive in your hands in a unique way. Only the guitar can sound so different in so many diverse genres. Overdrive a valve amp and feel what happens, then apply any number of effects and you have extraordinary flexibility that few other instruments can achieve. The guitar is at the same time relatively accessible and easy to learn while truly impossible to master (like chess), although a very few come close.

Playing in a band was exhilarating and communicating with fellow musicians at an instinctive, almost telepathic level was fascinating. The fact that a few people actually wanted to listen to the sounds we were making was intriguing. The culmination of these elements leads to an almost existential outcome that is definitely more than the sum of its parts, I hate the word ‘synergy’ but it seems to apply in this context. Dealing with creative personalities is, of course, a source of potential tension as well as a driver of productivity. Ultimately, it went nowhere but I am still so glad I gave it a go. Since then, it has become a solo pastime. If I had the time, energy and inclination, I would like to play in a band again, the rewards of cumulative and collective learning makes it worthwhile and enjoyable.

Perhaps it’s the instrument itself? Not only are they beautiful artefacts, they actually ‘do’ something. The type of guitar is, I suspect, irrelevant. Brilliant guitarists are brilliant, whatever instrument they play. Bad guitarists would be bad, even on a ’59 Gibson Les Paul Standard. I am fortunate to own a number of vintage guitars, this doesn’t make me a better player but it does enhance my playing experience and, usually, puts a smile on my face. It may even add a little bit of inspiration now and then. I will probably never own a ’59 Gibson Les Paul Standard, sadly. However, even if I did, it wouldn’t instantly turn me into a Jimmy Page, Peter Green or Paul Kossoff, also sadly. However, I would enjoy every minute. One can aspire!

1975 Gibson Les Paul Standard

Now, after having said all that, I play purely for fun and for cathartic stress relief. Coming home from the day job and playing can be very therapeutic (and sometimes very frustrating when it ‘just ain’t happening’). On casual reflection, I suspect that these are the common themes that have run through the many years of my enduring love affair with the electric guitar. I suspect that the overwhelming sense of ‘fun’ (defined as a mood for finding enjoyment and amusement) and ‘joy’ (a feeling of great happiness) has always been a quintessential part of the equation. That addictive ‘fix’ of elation and exhilaration when something comes together is a powerful drug that one wants to recapture again and again, and hopefully improve upon. The anticipation of squeezing something new out of those 6 strings over nearly 4 octaves today, tomorrow and the day after remains beguiling. In the end, perhaps it is as simple as, because I want to.

In conclusion, trying to articulate why I play the guitar is as difficult as why I like ‘Cool & Rare American Vintage Electric’ Guitars. I suggest that the word ‘crave’ (to yearn for or to want greatly) applies equally to playing as well as owning guitars. Perhaps not being able to make sense of it is part of the mystique and enduring attraction. Why do you play guitar? Think about it. I hope you find the answer. Most of all have FUN. Until next time…

CRAVE Guitars ‘Music Quote of the Month’: “Musicians are by nature narcissistic, egomaniacal and completely delusional. Successful musicians are just better at it than the rest of us.”

© 2016 CRAVE Guitars – Love Vintage Guitars.

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23 Jan 2016

January 2016 – The Guitarist’s Friends: Amplifiers and Effects

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Most of my previous articles have focused on the venerable (electric) guitar – the source of the electrical signal that becomes music. This month, while there is probably a bit of ‘preaching to the converted’, it is perhaps worth reflecting for a moment and going back to basics.

As may be blindingly obvious, the instrument itself is only one part of the equation when making amplified music. On its own, unplugged, an electric guitar would be no good in front of a big audience. As we all know, electric guitars are dependent on some sort of amplification to convert the low-level signal from the guitar’s pickups to the speakers. Losing your amp mid-gig can be embarrassing and not great for your reputation. Even an acoustic guitar needs to be amplified in order to engage a modest sized audience and there is a whole industry now built around dedicated acoustic guitar amplifiers. This isn’t really my thang, so I won’t pontificate on what I don’t understand.

The oft-forgotten component in this signal chain after the instrument is the venerable lead. I express no opinion on this essential piece of kit other than to say that good quality interconnects are vital. If you use RF transceivers, the same principle applies. These items are integral to your overall sound and it is generally worth every penny to preserve your and your guitar’s inherent musical characteristics. They may not be shiny or ‘sexy’ but scrimp on them at your peril.

Then we get onto one’s amplifier of choice. These can be anything from a diminutive, battery powered box to an impressive backline of Marshall stacks turned up to 11. It’s amazing to think that the venerable Marshall stack was 50 years old in 2015. The advent of home recording has led to an explosion in digital modelling and even the use of the iPhone/iPad can bestow tone-enhancing functions beyond the dreams of many recording pioneers. The Line 6 Pod brought about a revolution in digital amp modelling, embraced by many musicians who could see the potential opportunities of technology. Interestingly, rather than create something unique and innovative all of its own, the digital world has gone to enormous lengths to simulate the soundscape of our favourite vintage valve amps and cabinets, perhaps suggesting that those pioneers got something right in the first place.

So… what’s your favourite sounding amp? And, before you start, yes they do have a sound of their own, irrespective of what’s played through them. Fundamentally, it’s down to individual taste. Personally, I tend to favour the ‘American sound’, such as the classic Fender amps, rather than the stalwarts from this side of the Atlantic, typified by Marshall, Vox and Orange. Gibson, surprisingly, has never been as commercially successful at making guitar amplifiers, leaving opportunities for other US makers such as Mesa/Boogie and Peavey. How about some other classic names from the past, such as WEM, H/H, Roland, Laney, Sound City and Hiwatt, amongst others – some still going while others are history. The differences between the various brands are, unsurprisingly, manifold. Nowadays there is a plethora of amps ranging from the far eastern mass-produced to the US and UK boutique builders. Ultimately, it is down to individual taste and, perhaps, what guitar you play. For info, I currently use a vintage Music Man (click here to see the amp feature…) and a modern Cornford Carrera combining the best of US and UK heritage. It is with much sadness that neither are still in production. I recently purchased the wonderful mid-70s vintage Music Man 210 ‘sixty-five’ amp to use as my main amp of choice. This means that some tranny practice and studio gear may have to become ex-loved CRAVE items soon.

Over time, there have evolved recognised and well-accepted guitar/amp pairings, such as the humbucker equipped Gibson Les Paul through a Marshall amp, or the single coil loaded Fender Stratocaster through a Fender amp. However, there are now so many different permutations that provide limitless possibilities for creating one’s own personal signature sound. Why so many guitarists strive to recreate the sound (and style) of others rather than seek a unique, individual signature of their own is probably best left for another debate. For practicality, modern valve amps are safe, reliable and sound great, while digital alternatives give a very good impression of many classics that, let’s face it, most of us will never get to play (let alone own) for real, so let’s not get too snooty. Whether you go for a traditional approach or you adopt a mix-and-match attitude to differentiate your sound, you can experiment to your heart’s content. There is no right or wrong, just what inspires your creativity. That’s the joy of our beloved hobby.

Then, in addition to amplification, there is an abundance of effects units (a.k.a. FX, stompboxes, pedals, etc.) from the mass-manufactured giants to the tiny custom-built independents. The choice is plentiful. The history of stompboxes really started in the 1960s with the fuzz and wah-wah, and has flourished ever since. Now, you can create almost any live or studio sound that you want, from subtle enhancement to unrecognisable noise sculpting. Take your pick between analogue, digital or hybrid, whatever takes your fancy. Personally, I have a soft spot for 1970’s lush vintage analogue Electro-Harmonix effects pedals, such as the Big Muff Pi, Memory Man and Electric Mistress. For modern effects, I generally use Boss and Line 6 units. So much choice, so many opportunities, so little time to experiment. One could spend a lifetime exploring the creative tonal capabilities of effects alone without ever really listening to what the guitar itself can do. Again, it is worth investing in quality leads and power supplies to avoid degrading the magic of your performance.

One characteristic I’ve noticed is the traditionalism that extends from guitars to amps and effects. Many of today’s designs are either copies of, or are heavily influenced by, the past, for example emulating the classic Ibanez Tube Screamer, Dunlop Fuzz Face/Cry Baby or MXR Phase 90. Occasionally, there is genuine innovation; the Digitech Whammy pedal or Roland Loop Station spring to mind? I wait in anticipation for the ‘next big thing’ to challenge our usually conservative prejudices. In the meantime, there is a growing interest in acquiring vintage amps and effects to add to instruments and therefore (re)create the original setups heard on iconic stages and in countless studios for what seems a lifetime of great music, effectively reconstructing the soundtrack of our lives for new audiences. A subject for a future article.

CRAVE guitars are frequently played unamplified to get a feel for the way they resonate and respond to touch without any electronics. Other times, when the mood takes, it is fun just to pile on ridiculous amounts of modification and enjoy the sonic chaos created by rampant knob‑twiddling. Isn’t the electric guitar a wonderful thing, especially when allied to your favourite sound enhancing electronics? Where would we be without them all? Enjoy. Until next time…

CRAVE Guitars ‘Music Quote of the Month’: “Learn from other musicians; don’t copy them or the best you’ll ever be is an average plagiarist”

© 2016 CRAVE Guitars – Love Vintage Guitars.

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19 Dec 2015

December 2015 – What’s New at CRAVE Guitars (yet again)

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A busy end to 2015! As mentioned in my November 2015 article, “… another great imported ‘Cool & Rare American Vintage Electric’ guitar [was] wending its way from its birthplace in New York via Texas…”.  Well, it arrived safe and sound and I can reveal that it is a rather tasty and very cool 1965 Gretsch Corvette. No, on reflection, let’s use hyperbole, this guitar is AWSOME! Take a look at the feature for more information (click here to see guitar feature…)

1965 Gretsch 6135 Corvette
1965 Gretsch 6135 Corvette

While most pundits understandably veer toward the classic hollow body models, particularly the iconic 6120 Chet Atkins, I took a conscious decision to find something from this great company that is unusual and distinctive. The Corvette, I believe, fits the bill nicely. In the shadow of it bigger and bolder brothers (and, let’s face it, more ubiquitous, more expensive and, well… more orange), the Corvette (designated 6135) was considered to be at the ‘budget’ end of the Gretsch range. It didn’t succeed in competing with Fender and Gibson’s ‘student’ line-ups. However, that doesn’t mean that it should be overlooked or disregarded, quite the opposite in my view. Just look at it! I almost feel honour-bound to promote the Corvette’s unique charms for a discerning audience that appreciates ‘Cool & Rare American Vintage Electric’ Guitars. 

So, what are we actually talking about here… well, firstly, it is a solid body guitar, so it won’t feedback as much in higher gain environments. AND, it doesn’t have the body binding of the hollow body guitars, so many of which are now sadly irrevocably disintegrating. The Corvette sports 2 original HiLoTron single coil pickups (rather than the upmarket FilterTrons). Despite what some critics say (weak, thin‑sounding), it depends how you use them. The neck pickup, in particular, has a lovely ‘60s jazzy vibe that modern pickups struggle to replicate, while the bridge pickup has a steely, crystalline clean sound. Perhaps HiLoTrons just suit the solid body guitars better. It also has an unusual, factory original Burns vibrato in gleaming chrome, which is great and not hugely familiar to players used to the more commonplace Bigsby, Fender or Gibson units. Interesting factoid – around 2 decades before Music Man famously went with asymmetric 4+2 tuner layouts on its guitars, Gretsch did it on the mid-60s Corvette – here’s the evidence (NB. So did Japanese manufacturer, Teisco!). Aesthetically, I am drawn to this idiosyncratic approach rather than the more familiar (read ‘predictably boring’) Gibson-esque 3+3 used on so many guitars. The fingerboard is quite wide and flat compared to, say Fenders of the era, so easy to play. 

This exquisite guitar plays as well as it looks, with a sparkling, jangly resonant sound that, while it isn’t perhaps as evocative as its more illustrious Gretsch sibling, it is distinctive in a way that differentiates it from ‘mainstream’ guitars by Fender and Gibson. Anyone familiar with the CRAVE Guitars’ ethos will understand where I’m coming from. Gretsch has wisely reissued the Corvette for the new millennium as an off-shore produced budget model, suggesting that there is growing interest in the ‘alternative’ side of Gretsch instruments. GOOD!

This beautiful little vintage guitar was made by the family-owned Gretsch company in Brooklyn, New York, USA before the firm was sold to the Baldwin Piano Company in 1967, a move that ultimately led to the brand’s decline and subsequent demise. Pre‑Baldwin Gretsch guitars are now becoming much more sought after, and prices will increase accordingly. Why not find out more about Gretsch’s long history as a guitar brand (since 1883) by taking a look at the CRAVE Guitars feature on Gretsch (click here to see brand feature…). Thankfully, Gretsch’s fortunes have recovered strongly since the 1990s and the brand is successfully resurgent under Fender’s paternalistic wing. Hopefully, the classic ‘T-roof’ Gretsch logo will grace fabulous guitars for many years to come. 

Thanks for your interest in cool vintage guitars in 2015. CRAVE Guitars is now looking forward to 2016 and wondering where we will be a year from now. In the meantime, I’m off to ‘plink my planks’. Peace and Love to the world before it’s too late. Until next time…   P.S. Keep an eye on the CRAVE Guitars ‘For Sale’ web page with links to any active eBay items (click here to see CRAVE’s ‘for sale’ items). 

CRAVE Guitars ‘Music Quote of the Month’: “If music be the food of love, plug in, turn up the volume and head bang the hell out of it like there’s no tomorrow!” 

© 2015 CRAVE Guitars – Love Vintage Guitars.

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28 Nov 2015

November 2015 – What’s New at CRAVE Guitars (again)

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There’s been quite a flurry of guitar activity at CRAVE Guitars this autumn, way more than enough for a single article. For November, I’ll focus on some recent 4 and 6‑string additions. Unfortunately, cool guitars from Fender and Gibson that fit the CRAVE ethos have been few and far between recently, especially in the UK, so I’ve taken a bit of an expedition off-the-beaten-track over recent months, with Music Man, Epiphone and now…

The first newbies aren’t actually ‘new’ in that they’ve been part of CRAVE for a few years but sitting, somewhat overlooked in the background. It is time to bring them into the fold. I hinted at them in my last article and they get a bit more exposure this month. See the new features on the web site for pristine examples of:

  • Danelectro Dano ’63
  • Danelectro Dano ’63 Long Scale Bass
2008 Danelectro Dano '63
2008 Danelectro Dano ’63
2008 Danelectro Dano '63 Long Scale Bass
2008 Danelectro Dano ’63 Long Scale Bass

This pair of Danos are neither vintage nor American – they were made in China in 2008 so, you might ask, why are they here? Well… firstly Danelectro is an American company that has a very long history of innovative guitar manufacture dating back to 1947, so they certainly deserve attention and respect. Danelectro’s fascinating heritage has been covered in a recent CRAVE feature on the brand. (click here to see brand feature…)

OK, so they aren’t ‘made in USA’. However, if they were, they probably wouldn’t exist at all because of the economic imperative driven by cutthroat competition in global capitalist markets. While the ‘reissues’ aren’t accurate recreations of American originals, they are heavily influenced by the 1449 guitar and 1447 bass made by Danelectro for the American Sears‑Roebuck department chain in 1963. They also have ergonomic features for modern players while also keeping manufacturing costs down. And, let’s be honest, once one overcomes any snobbery, they are SO cute, especially in cool satin aqua blue. They are straight from the manufacturer, and have never been played, which is unusual. So that’s my justification for including them here. Go take a look. They may, however, have to go ‘for sale’ soon.

Next up is a new arrival and a more ‘authentic’ CRAVE Guitar, also the subject of a feature on the web site. At long last, I have my hands on a sumptuous Mapleglo Rickenbacker 480, this one was born to the world in California in early 1974. The 480 is nowhere near as celebrated as its 300 series counterparts but in my opinion a fantastic instrument and very much a ‘sleeper’ for the discerning guitar fan. Its closest relative is actually the iconic 4000 bass guitars. One day, hopefully, the 480 will receive the recognition it thoroughly deserves and RIC will consider a reissue. In the meantime, challenge your preconceptions and revel in the Rickenbacker 480’s beauty. It is also a great guitar to play and quite different from other guitars of the time. Go take a look at this immaculate little near-42‑year old stunner (click here to see guitar feature…). As with Danelectro, Rickenbacker’s significant contribution to modern guitar history is covered in a recent CRAVE feature on the brand (click here to see brand feature…).

1974 Rickenbacker 480

This Rickenbacker 480 was sought out and imported from America, something I’ve touched on before. The UK vintage guitar market is dysfunctional at the moment, which is why 3 out of the last 4 guitar acquisitions have come from the other side of the Atlantic – a pain to do but, when the results are as cool as other recent CRAVE purchases, it’s worth the effort. Watch this space for another great imported ‘Cool & Rare American Vintage Electric’ Guitar, wending its way from its birthplace in New York via Texas as I write.

Plug time… CRAVE is and will be selling some surplus guitar bits and pieces initially. There are also a few non-vintage instruments that I hope will find caring new homes in order to fund future vintage purchases. Must… feed… the… habit! Keep an eye on the CRAVE Guitars ‘For Sale’ web page with links to any active eBay items (click here to see CRAVE’s ‘for sale’ items).

For a number of reasons, CRAVE is going to be taking a slightly different direction over coming months and these articles will, I hope, illuminate the 6‑string journey that I’m currently on. I intend to explore new and different (for me) guitar-related adventures and, hopefully, get excited about. It just has to be done. Why not come with. Watch this space. Until next time…

CRAVE Guitars’ ‘Music Quote of the Month’: “Music cannot be silenced… or life would be very quiet indeed.”

© 2015 CRAVE Guitars – Love Vintage Guitars.

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18 Oct 2015

October 2015 – What’s New at CRAVE Guitars

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Quite a lot has been happening at CRAVE Guitars over the past few weeks. Firstly, the web site has had quite a major overhaul. While it doesn’t look very different at first glance (intentionally) it has been comprehensively updated with nearly all pages having had some work done on them to one degree or another. There are now quite a few new pages added to the original ones, so now there are even more reasons to (and fewer excuses not to) revisit CRAVE Guitars.

For example, the footers on each page now show the last 2 tweets from CRAVE’s quite prolific Twitter output. Twitter is where the general, topical and fun stuff about guitars appears, usually with multiple tweets daily. Don’t take it seriously, it is just light entertainment. The Twitter feed is basically replicated on Facebook and Google+. You can now also subscribe by e-mail to these opinionated ramblings, so you don’t need to visit the site to see if there’s something new that I’m waffling on about. I only post ‘blogs’ about once a month with longer, more in-depth articles like this, so it isn’t a daily deluge of irrelevant irreverence! For a more business-like approach, CRAVE is now also on LinkedIn and I’m trying to work out what to do with it that’s different and a bit more, well… professional and fundamentally meaningful than the lighter side of the guitar universe on Twitter. Why not take a look?

CRAVE Website Footer Screenshot
CRAVE Website Footer

There are new Galleries on ‘amplifiers and effects’, Instagram, ‘impressions’ and YouTube. These are the beginnings of more visual content to come in the future. The Features section now includes short articles on brand histories of the major US guitar manufacturers whose past output provided us with the instruments we now cherish as vintage guitars. All vintage guitars were shiny and new once. I am also writing some new features to add to the site in the future. There will also be new features on vintage amplifiers and effects; the first of which has just appeared (see more below). I have lots of vintage Electro Harmonix effects to dig out for instance. All the guitar features have been improved with some brand new and some updated material. There are a couple of new(ish) matching Danelectro instrument features (1 guitar and 1 bass) which aren’t quite part of the core CRAVE ethos but which are modern takes on cool American guitars of the past (1963 to be precise). Fantastic colour too (aqua).

1964 Silvertone 1449 Amp in Case

The Resources section of the site has been completely revamped and extensively expanded from a single web page to 7 pages with, hopefully, a cornucopia or even a smorgasbord (i.e. lots) of interesting and useful information about guitars, guitarists, guitar music and guitar references. There is too much to go into here. Take a look and hopefully there is something to fire your imagination and make a visit worthwhile. I welcome input, ideas and even corrections (this isn’t a bible and it can be improved with your help), so drop me a line if there’s something you think will make it better.

There is a new ‘For Sale’ section although it’s a bit, erm… thin at the moment. I have some newer equipment and some guitar bits and pieces that I need to sell in order to feed the vintage guitar habit. This won’t be an online shop from the start but it will (I hope) promote some upcoming sales on eBay. If this proves popular, I might venture into direct e-commerce. Watch this space. I also want to use this section to highlight some relevant items on Amazon for guitarists and vintage enthusiasts to peruse (I’m testing it on the ‘guitar books’ section under Resources at the moment). It might even earn some pennies to help fund CRAVE’s non-profit enterprise.

Anyway… enough about the CRAVE Guitars website for now. While I should be selling stuff, I’m actually buying again at the moment. My ‘buy of the month’ is an exquisite mid-‘70s Music Man 210 ‘sixty-five’ guitar amp, which was not only a bargain but also a superb example of what Leo Fender designed after he left Fender. The ‘sixty-five’ was the first MM product to see the light of day in 1974 and the early ones are particularly great. These fantastic amps are so ‘under the radar’, it’s unbelievable. Ssshhh… don’t tell anyone! There is a feature on this remarkable little amp on the website (click here to see amp feature…), so I won’t repeat that here. Suffice to say, I’m excited by it. There is a personal connection here too – I used to work for Strings & Things, who imported Music Man into the UK in the late 1970s. I have finally got around to having a credible vintage amp that does justice to CRAVE’s vintage guitars. I have a funny feeling that this may be the start of a distracting side venture for CRAVE.

1970s Music Man 210-Sixty Five

It’s not only amps on the shopping list; CRAVE is also back on the guitar buying trail again. I am tracking down another ‘Cool & Rare American Vintage Electric’ Guitar model which, if I’m successful in acquiring one, is likely to make an appearance on the CRAVE website before too long. This particular model isn’t either a Fender or a Gibson and it’s not a brand I’ve owned before – diversity can be a good thing and it should certainly complement other CRAVE guitars nicely. The guitar in question was a niche model and not hugely popular at the time. However, it is one that I believe the company involved should seriously consider ressurecting. Intrigued? Keep an on the website and for a future ‘blog’ post where I hope to explain ‘what’ and ‘why’.

Even though CRAVE Guitars is a demented enthusiast’s pastime and I have to work for a meagre subsistence; I may have to increase the frequency of posts to fit everything in! Until next time…

© 2015 CRAVE Guitars – Love Vintage Guitars.

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7 Sep 2015

September 2015 – My Top 10 Vintage Guitars (So Far)

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For this article, I thought I’d explore my top 10 favourite vintage guitars and why. As usual, this isn’t as easy as I thought it would be. There are so many great guitars to choose from and that’s just from Fender and Gibson, never mind the wealth of wonderful instruments from a multitude of other manufacturers. Here I focus on guitars from the big 2 brands only – an ‘alternative’ selection may be for another time.

That got me thinking and then agonising about what to include, what to leave out, what order to put them in and how on earth I was going to justify my selection. They aren’t just CRAVE guitars (unfortunately!), they simply represent what I see as the epitome of vintage guitar awesomeness, even if it is not the accepted view of the pinnacle of guitar greatness. What are my criteria for short‑listing you ask? In the end, there was actually only one criterion, my own personal value judgement. I make no excuse for being biased and, in some ways, prejudiced in my choices. To be clear though, it has absolutely nothing to do with financial value, which in my opinion is the abhorrent side of vintage guitars and should not be the starting point for inclusion (or indeed exclusion).

There are some predictable entries and, I hope, some less than obvious ones on the list. So… here we go, the CRAVE Guitars top 10:

1. Gibson SG – specifically, for me at least, the Gibson SG Junior from the early-mid 1960s claims the prize at number 1. The single P90 pickup screams and a good one is just SO alive in your hands. The Junior can be a truly inspirational guitar to play and is clear evidence of ‘less is more’; its innate simplicity is also its vital strength. Don’t get me wrong, the Special, Standard and Custom all play their part admirably and are great instruments in their own rights with or without the bling. Whichever model you prefer, the SG is light, resonant, powerful, and has exceptional upper fret access. Many pundits relegate it unjustly to hard rock or metal duties because of its ‘devil horns’ shape but that overlooks its abilities. The SG is such a versatile guitar whether using P90 or humbucking pickups. Taking it to an extreme, just think of Jimmy Page with his twin-neck EDS-1275 in the ‘70s at Led Zeppelin’s peak. On this occasion, t’s the humble but astonishing SG Junior that takes the top spot, and deservedly so in my opinion. Simply sensational.

1965 Gibson SG Junior

2. Gibson Explorer – unbelievably designed in the late 1950s, the Explorer is unique, avant-garde and a fantastic experience. Contrary to some views, they are surprisingly comfortable to play either standing or seated, although finding a guitar stand for one can be tricky! I have a soft spot for the ‘modernistic’ style, which in 1958 would have been shockingly radical for a musical instrument, even more so ‘out there’ than Fender’s Strat. After a brief reissue in the ‘70s, the Explorer was reintroduced in the 1980s and endowed with the mighty “Dirty Fingers” humbucking pickups which are something else when overdriving the right amp. They also released the arty Designer series, a flamed maple top of the E2 and CMT variations, as well as a few with 3x P90 pickups! Also like the SG, it is misunderstood – it isn’t just a metal guitar, although it is undoubtedly the progenitor of, and the archetype for, so many heavy rock guitars that followed. Like its shape, the Explorer demands something from its player – take the challenge head on and don’t shy away from it – it’s well worth it.

1982 Gibson Explorer CMT

3. Fender Telecaster – the first mass-produced solid body electric guitar, the humble but expertly designed Tele has endured for over 6 decades and is still evolving today (the intriguing Cabronita, anyone?). For me, the standard Tele is a fabulously versatile ‘do it all and more’ guitar. However, my particular interest stems in the CBS-era variants, such as the wonderful Thinline, the Gibson‑infused Deluxe and the ‘Keef’ influenced Custom, all blessed with terrific Seth Lover designed humbucking pickup. Unfortunately, I can’t afford an original single-pickup Esquire or the Custom Telecaster with the bound body but I keep looking. In the early 1980s, there was also the “Dan Smith”‑era Elite, with active electronics to mix things up a bit. Why not search out a Tele derivative and explore what it can do, you may well be surprised? While the more esoteric models will never replace the professional’s workhorse, they complement it nicely. Like the Stratocaster, the early ones are sadly now becoming too expensive for most of us.

1972 Fender Telecaster Thinline

4. Gibson Les Paul – I’m not talking about just any old Les Paul here, let’s take a walk on the wild side within the iconic family. For me, it’s the early single-cut Les Paul Special in TV Yellow or tobacco sunburst with 2 P90 pickups that is really, well, special. The double-cut Junior and Special are also hugely underrated compared to their brethren with a delightful body shape to boot. On this occasion, though, the Special beats the Junior. More leftfield is the Recording, a low impedance design favoured by the legend with his name on the headstock. Then there’s the Deluxe with its cute mini-humbuckers giving it a unique voice. Going more mainstream, there is the Custom with all its uber-rock flamboyance which, as a young aspiring guitarist, was bewitching in its appeal. Finally, who can deny the historical significance of a ‘50s Standard in either original gold top or later sunburst finishes; if only they weren’t way out of the reach of us mere mortals. Sigh.

5. Fender Jazzmaster – another late ‘50s design. Quite bulky but, wow, what a departure from the established Strat and Tele lines. The unique single coil pickups, the rhythm circuit and the bespoke muted vibrato give it a special place in electric guitar evolution. The Jazzmaster’s partner in crime, the Jaguar is equally notable with its shorter scale and even more complex electrics. Both represent an innovative alternative to the norm. Intended to be top of the Fender range, the Jazzmaster failed to find favour with the set-neck, archtop brigade, and found its niche in surf rock of the Beach Boys, post punk, like Elvis Costello and, more latterly, with dirty indie music from the likes of Sonic Youth and Dinosaur Jr. There is another notable variation on the offset body theme, the quirky Fender Bass VI, a phenomenal instrument if you can attune to its idiosyncrasies. Another quirky variant is the Electric XII, more than simply adding 6 extra strings. If you can lay your hands on a vintage Jazzmaster or Jaguar in a custom colour, grab it, play it, and smile… a lot.

6. Fender Mustang – this may not be everyone’s choice but in my opinion, the Mustangs, along with siblings, the Musicmaster and Duo-Sonic (and obscurely, the Bronco) are not only cute but also crucial to making quality instruments available to a wider mass audience. They demand more respect and credibility in some quarters. Not everyone could afford premium instruments… or even physically play them! The quality is top notch and, looking beyond the ‘2nd class citizen’ stigma, they actually sound great and, for some, are easy to play. Without the Mustang family, many guitarists may never have picked up a guitar and eventually turned pro. As a guitarist, I find using one up makes me play slightly differently, so they are good when inspiration or a change in mood is needed. Although they are now going up in value, vintage Mustangs et al are under-appreciated by collectors and, as a result, are certainly more accessible to ordinary people on a budget which, let’s face it, is probably most of us. Recommended.

7. Gibson Firebird – now here’s an interesting instrument and one deserved of greater adoration. The Firebird dates from early ‘60s industrial design. First there was the neck-thru ‘reverse’ body with the side wings, awesome mini‑humbuckers and banjo tuners, perhaps the model most observers are familiar with. Originally not that successful and prohibitively expensive to construct, they went and changed it completely! Gibson went through a short period where more traditional manufacture was needed and the ‘non‑reverse’ body came along, which in my view is just as worthy of critical attention and, is arguably, aesthetically very attractive. Some say the ‘non-reverse’ shape ripped off Fender’s Jaguar/Jazzmaster, you decide. And… what’s with the model numbering – I, III, V, VII? The Firebird design also spawned the remarkable Thunderbird bass. The whole aura surrounding the Firebird is eccentric and intriguing. OK, so the ‘reverse’ body is unbalanced and a bit of a handful but, what the heck, just let those ‘birds fly. Like the guitar’s namesake, the phoenix has risen from the ashes for the new millennium and it really rocks.

8. Fender Stratocaster – the Strat is just SO significant in modern music history that it has a following of almost religious proportions. Its past, present and future is pretty much cemented and, arguably, it would be heresy to mess with the basic premise too much. It remains a stunning guitar even today, let alone in the mid-‘50s when it was let loose on the public for the first time. For me, though, it hasn’t quite had the diverse range of interesting, experimental derivatives to excite its way to the top of the list (compare the Telecaster and Les Paul entries). The Strat’s historical dominance almost imposes a moral obligation to include it here. My other axe (sic!) to grind is that pretty much any pre‑‘70s U.S. Strats are just so expensive on the vintage market, meaning that a genuine, good condition old Strat is now for the pros and collectors only. Undoubtedly the Stratocaster is a great instrument that, on its merits, justifies inclusion in any list of greats, although not simply by default. Equally, it cannot be ignored because of its innate familiarity, so here it is at number 8. P.S. Don’t get me wrong, one of my favourite guitars is a ‘70s Strat!

9. Gibson Melody Maker – a chart entry warranted on much the same basis as the Fender Mustang at number 6. So why, you might ask, is the unassuming Melody Maker 3 positions down from the Mustang? I think it’s a lack of coherency over its short original life, like it was trying to find its real sense of purpose and place. The early, short-lived (and therefore rare), Les Paul-like single cuts are fabulous and the 2nd generation MMs have, in my opinion, one of the prettiest body shapes that isn’t famous or in current use. The 3rd incarnation, in my view, is plain ugly, especially compared with what went before. The 4th and final vintage shape was (lazily?) based on the SG, which undermined both instruments’ credibility (but still cool). So, a bit of an identity crisis but cutting to the chase, underrated and much, much better than the traditionalists (snobs?) would have you believe. The Fender-like single coil pickups didn’t find favour with pro musicians seduced by humbuckers and P90s. Unbelievably light, resonant, easy to play and those cheeky single coil pickups are funky and cool. There is a potential ‘bargain’ to be had for many vintage enthusiasts.

1964 Gibson Melody Maker

10. Gibson ES-330 – perhaps another controversial entry, given all the hyperbole and plaudits associated with the ES-335. Perhaps that’s why I want to raise the profile of the P90-equipped ES-330 semi. While the humbucker-endowed ES-335 has the solid maple block running through the body, the ES-330 is fully hollow. People heap praise on the Epiphone Casino but not so much on the understated ES-330, despite the fact that they are essentially the same design, suggesting some sort of unfair partiality (and perhaps The Beatles affiliation). The single coil pickups combined with the hollow body make it light, resonant and give it a distinctive vintage vibe all of its own. OK you wouldn’t want to use it in high-gain situations but, come on, it isn’t a heavy rock/metal guitar anyway. In today’s low-decibel world, they are finding proper recognition. Acknowledgement is bestowed on the ES-335 and its upmarket siblings, the ES-345 and ES-355, as well as the Trini Lopez signature model. However, for my list, it’s the modest ES-330 that takes the last-but-not-least place in this particular top 10.

1963 Gibson ES-330 TDC

There you have it. What was left out? Well there is the Gibson Flying V mainly because it is such an impractical beast and just such a difficult instrument to play sitting down or even to put on a normal stand. I haven’t included the seminal Fender basses because, let’s be honest, I’m a guitarist, although they deserve acknowledgement. Furthermore, I would advocate every guitarist picking up a bass every now and then to take a different perspective on making music. There are plenty of other ES-range guitars, such as the ES-150 (top of my ‘wanted’ list) and ES-175, both great guitars and, for me, both just outside the top 10. The Fender thinline semis (Starcaster and Coronado) just didn’t make the grade in this company, sorry. Extending the selection to Gretsch and Rickenbacker is beyond the scope of this article (and my knowledge). Also, the list has to stop somewhere.

So there you have my opinion, as at the time of writing. It’s not right or wrong, or arrogant, just my personal perspective. It is likely to be a different list tomorrow, next week, and in 5 years’ time. Take from it what you will. How about composing your own list, along with saying why and share it with others to debate? One thing I will guarantee, your top 10 will be different from mine and that can only be a good thing. Discuss… Until next time…

© 2015 CRAVE Guitars – Love Vintage Guitars.

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15 Aug 2015

August 2015 – Vintage Guitar Supply and Demand

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If you’ve followed my recent posts, you’ll know that I have been looking around for cool and rare American vintage electric guitars (and basses) again recently. Nothing new in the way of CRAVE Guitars stock to report this month, so it is an opportunity to reflect and pontificate, as well as to share my biased opinion on our shared hobby again.

As part of my on-going research, I regularly check a well-known auction site beginning with ‘e’. One thing that I have noticed is that many prices are now escalating at least back to where they were pre-recession and often higher. The rate of increase also seems to be accelerating but inconsistently so, which makes the market uncertain. While the general upward trend might be good news for investors at the genuinely rare instrument end of the market, it is also putting some great, and even some ordinary, vintage guitars beyond the means of your average amateur collector or re‑seller. It seems predictable that fickle speculators will soon jump on the bandwagon (again) and what would otherwise have been considered run-of-the-mill instruments will hit stratospheric levels (again). The dreaded ‘boom and bust’ cycle looms ugly (again), which isn’t good for anyone. The upper extremes are more to do with damnable greed and detestable avarice – commonly called rampant capitalism – the economic law of supply and demand in a free market. At more modest levels the pressures are seemingly more complex.

Another thing that I’ve noticed is that, while the ‘common’ models are still relatively numerous, some of the more esoteric, niche guitars are often nowhere to be seen these days. This may suggest that people are hanging onto their valued old guitars, rather than putting them out to the unpredictable market, especially risky in an online auction environment. The result of this anomaly is that prices are increasing due to an artificial rarity factor – the supply dries up while the demand increases, making some less popular instruments disproportionately and unsustainably pricey. To test out this hypothesis, I have been looking for some slightly more unusual instruments and they can be really hard to find, resulting in some diverse and frankly crazy price differentials, especially compared to new guitar prices. However, you can still get a nice late vintage guitar (which will go up in price in the medium to long-term) for less than a new one (which is likely to depreciate for the next 20 or so years). That, at least is still good news for many of us preferring used instruments.

So… my next step was to look further afield. When comparing the UK with the US and Canada, there is, understandably, more choice in that much larger continent (and birthplace of our beloved classics). At first glance they can seem to be offered at an attractive price. However, when taking exchange rates (currently not good for importing from the US into the UK), international delivery, import duties, national taxes, handling fees and insurance (if you can afford it!), importing isn’t the bargain it first seems, especially as HMRC has tightened up the process significantly compared to a few years ago. Other markets, like mainland Europe, Australia, Japan, etc. are relatively inconsequential to the US/UK trade. Asian and Russian trade is certain to increase. In summary, importing is still worth a look though, as long as you do your research first. The Epiphone Olympic below was my last costly import from Canada.

1966 Epiphone Olympic
1966 Epiphone Olympic

Coming back to that well known auction site for a moment, the word ‘auction’ seems to be largely a misnomer these days. Actual auctions where you can bag yourself a bargain vintage guitar are now a frustrating rarity. ‘Buy It Now’ (BiN) seems to be the default option for most high value sellers. This means that many a cheap purchase can turn out to be risky and ‘Best Offers’ are rarely a source of great joy. Also, that heart thumping, sweat inducing, adrenalin pumping rush of the last few minutes…and seconds of a bidding frenzy for a desirable vintage guitar that you really, really, really want seems to be becoming a thing of the past. That’s a shame if you ask me, as a lot of the fun has gone by the wayside. BiN prices often seem to be set high initially and guitars sit there until the ‘real’ market value catches up, so there are quite a few that hang around until people see them as affordable. My inference is that, while it may be fine and convenient for one-off purchases, it is no longer a great source for a fledgling business enterprise on a tight budget, as precious net profits can rapidly be eroded. This applies to both buying and selling. This is probably similar to other ‘collector sectors’ such as classic cars, so I guess we adapt and move on.

Fender and Gibson still dominate with Gretsch and Rickenbacker hot on their tails, as well as early PRSs. Don’t forget other classic brands like Danelectro, National, Vox, Guild or Burns. Japanese originals from Yamaha and Ibanez are increasingly collectable too. There are plenty of whacky vintage guitars from minor brands, often long since demised, Supro, Silvertone, Teisco, Harmony, Kay, etc. that can prove real bargains if you’re careful. If you are into acoustics, Martin is still probably the most reliable bet.

So, where does this leave us in the post-recession world? Not as much choice when buying and what there is, is of variable value. The desirable instruments that we might aspire to are becoming increasingly exclusive again, except for the affluent in the vintage guitar community. Looking to the future, prices look set to rise inevitably and keep rising inexorably thereafter, until the next bubble bursts. The high end (i.e. occupied by the super-rich) will carry on regardless of global economics but that’s hardly the rarefied atmosphere us ordinary mortals will ever find ourselves in. There are bargains out there but, as ever, you have to seek them out and auction sites are as good as any other source. If you’re after a return on investment on a newer guitar, you may have to wait a while, so why not enjoy playing them in the meantime? In conclusion, if you want to get your hands on a lovely vintage guitar at a reasonable price and if you can find a good one, go for it while you can. Good luck. Thanks for reading this article.

© 2015 CRAVE Guitars – Love Vintage Guitars

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25 Jul 2015

July 2015 – Designs For Life

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In the 1950s and early 1960s, electric guitar design and construction were innovative, revolutionary and brand-spanking new. As such, they represented a paradigm shift in image that reflected the zeitgeist of the era so closely as to be inseparable. Those early blueprints of today’s musical instruments, at least from the ‘big four’ (Fender, Gibson, Gretsch and Rickenbacker), are integral and clearly visible to the DNA of modern instrument manufacturing.

So… why then have the classic vintage guitar designs perpetuated, almost unchanged, for over 50 or even 60 years? Manufacturers have toyed with new designs and variations on existing models over the intervening decades with varying degrees of success. Yes, they keep playing around the margins to draw new, mainly younger, punters to shiny showrooms (and now online) with the temptation of shiny new product. However, the ‘big four’ would not be successful today without the core brand icons of the past. For Fender, it’s the Stratocaster, Telecaster and Precision bass. For Gibson, it’s the Les Paul, SG and ES-335. Fans of other models, please accept my apologies but bear with me while I make the point. The quintessential key elements from the early days of rock ‘n’ roll have been preserved intact. It would be sacrilege to change classical orchestral instruments, so does the same ‘fossilisation’ of progress now apply to our beloved 4 and 6 strings? If it does, how will they adapt and survive into the digital future, especially as us older generations pass on? Take the venerable amplifier valve, the magnetic pickup and the utilitarian jack plug; all dinosaurs from a bygone age that remain with us, but for how long?

This specific phenomenon is almost unique in 20th/21st century industrial design. I can’t think of many products that were introduced 60 or more years ago where the technology has sustained mostly unmolested in the face of ‘progress’. As consumers, we wouldn’t tolerate that apparent lack of evolution for our houses, cars, TVs, white goods, computers or just about anything else. If we looked at guitars in that way, they would look and play very different to the ones we know and love.

This may also help to explain why some collectors worship at the altar of originality and reject the ‘heresy’ of refinishes, repairs or modifications. The consequence is that ‘we’ now revere the inherent manufacturing inconsistencies of the early days of electric guitar production as a ‘good thing’, rather than as quality control issues, which is what they actually were. It also may explain why the value of ‘pure’ museum-quality examples is a holy grail for many, often to obsessive/compulsive levels of detail. Compare the classic car market where conservation (rather than preservation) is not only accepted but encouraged, in order to keep them going.

1975 Gibson Les Paul Standard

One of my favourite guitars (in fact CRAVE’s ‘signature’ 1975 Gibson Les Paul Standard cherry sunburst), would be an anathema to collectors, it has been refinished (twice!) and has a number of non-original parts but is otherwise solid. It has the unpopular ‘sandwich’ mahogany body with a maple neck. However, I love it. I bought it from its first keeper and have owned and played it for nearly 40 years. I think it is much prettier than its original tobacco sunburst or even its mid‑life natural finish. The repairs were necessary to keep it as a working instrument and in my opinion it is great to play and sounds as a Les Paul should. Its monetary value is peanuts compared to a ‘proper’ Les Paul of the period but I don’t care (well, maybe just a little bit).

Anyway, back to the point, when we are talking about an aforementioned Strat, a Tele, a Les Paul, an SG or an ES-335, it is testament to the talent, vision, entrepreneurialism, creativity and innovation of the original designers to create genuinely timeless artefacts that are as good today as they were when they were created, long before computer controlled design and production lines were imagined. Remember that Leo Fender couldn’t even play guitar! Another key factor that differentiates old from new is the restriction on the movement of unsustainable woods, which is actually very good for the future of our planet. It will be interesting to see how this will affect the next generations of guitars and their appeal to punters and then collectors.

Coming back to those other key models from Fender and Gibson, that defining genius still holds true including, Flying Vs, Explorers, Firebirds, Mustangs, Jazz basses, etc. Gretsch and Rickenbacker are also affected by this apparent lack of evolution. Genuinely new designs often fall at the almost impenetrable barrier of market entry with, perhaps, PRS as the major exception to the rule, now a grand 30 years old. Radical designs are often left to other companies, often using ‘unconventional’ materials to differentiate and excite. Many have tried, few have succeeded. The diversity of that failed evolution is fascinating. Many collectors focus on these extinct relics, which is actually a really good thing as they can be conserved for posterity and for future generations to appreciate. Venturing off the beaten track can also represent a real bargain, especially if you like something a bit different.

Conclusion – guitarists (and bass players) don’t seem to like major change very much. A large proportion of professional musicians still prefer to record (if not play live) with vintage guitars, so there must be something more than pure mystique. Will our wonder, adoration and sentimentality for a rose-tinted past endure unadulterated for another 60 years (think ahead to what our world may be like in 2075!), long after most of us will have met our proverbial maker? What sort of music will they be playing? Literally, only time will tell. By then, my poor‑man’s 1975 Les Paul may be desirable to someone who has yet to be born! One thing is for sure, I won’t see that day. An interesting thought nevertheless. Ponder on that until next time…

© 2015 CRAVE Guitars – Love Vintage Guitars

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