TONY

Добре е горе - долу. Като звук.( Малко не ми съответства на цената, но това няма значение) Следващият опит, определено ще е по-добре, да го направите с бас и барабани.

А какво ще кажеш за това ( розави китари с розави ампове, розаво дранчат) - Jay Jay French announced The Pinkburst Project, a collection of custom made guitars and amplifiers that have been built to both create awareness for The Ocular Immunology and Uveitis Foundation and be sold at auction to help raise funds for research, education and support for those affected by Uveitis and other inflammatory eye diseases. Uveitis is the leading cause of blindness among American girls. Евалата на Джей Джей за благородното дело. На теб Седма струна, ЧРД и яко да купонясаш довечера. Идеята да се сдобия с ТС Лес Пол ми хвана окото още, като го анонсираха 2005-та. А след убийственият гиг на ТС в Каварна, беше твърдо в уиш листата ми. (Ако някой е пропуснал, Каварна 28.08.2006, едно ревю http://www.katehizis...ews.php?id=2046 моето го има в форума. Накратко според мен Тестамент и Туистед видяха сметката на Хелоуин, като Тестамент ги подпряха отпред с безкопромисният си спийт/траш, а Туистед Ситър направиха такова незабравимо рок шоу, че Германците изглеждаха доста жалко между двата сета. Шоуто на Туистед беше едно от най-яките, които съм гледал изобщо. Ди Снайдер нямаше спирка по сцената, Марк Мендоза беше бас анимъл, който яко "накзваше" баса си, Еди Ойеда и Джей Джей Френч свириха жестоко, дръмъра Перо, бетон. Изобщо ТС страхотно ми се издигнаха в очите след този концерт, който не е бил, може да съжалява само )

I WANNA ROCK! AND SOON OR LATER I'M GONNA BURN IN HELL U CAN CALL ME TONY JJ "The one guitar that Steve Carr really did correctly was transform an otherwise ugly 1979 Tobacco Burst Les Paul, which weighs 10.5 pounds and is essentially a boat anchor, and gave it a pink sunburst finish. That pink Les Paul has been on every recording I have ever made with Twisted Sister. In fact, it is synonymous with myself and Twisted Sister. This year I am honored that Epiphone guitars has decided to issue the Jay Jay French Signature Les Paul in pink sunburst." -- Jay Jay French PINKBURST SPECIFICATIONS Tuners: Grover Fingerboard: Rosewood Neck: 1-pc Mahogany, 22 fret Neck Joint: Set, 16th fret Nut: 1-11/16", Bone Scale: 24-3/4" Top: Book-Matched Maple Back: Book-Matched Mahogany Sides: n/a Rhythm PU: Gibson Burstbucker-2 Treble PU: Gibson Burstbucker-3 Controls: 2-V, 2-T; 3-Way Pickup Selector Hardware: Nickel Finishes: Twisted Sister Pink

32 години от смъртта на Володя Висоцки , (25.07)...

След като си с езикова гимназия, би могло да помислиш за продължение на образованието в друга насока, която да ти гарантира по- сериозно препитание. В София имам няколко познати класически китаристи, някои от които на особено високо ниво. Единият примерно искаше да е метъл певец и китарист, но дали сам стигна до извода или пък и аз малко му помогнах в решението, той успява да се изхранва с класическа китара. Просто преди години му казах, да се насочи към класическата, която му е най-силната музикална страна и да зареже мераците за пеене. Друг изключително добър класически китарист, изобщо не концертира, а работи нещо нямащо нищо общо с музиката. Приятел на горният( и почти толкова добър), пък е направил кариера с класическата , но извън България! (т.е. всеки случай е строго индивидуален и не зависи само от качествата като музикант) Накратко - в България няма концертен бизнес за класически китаристи. Може да се изкарват пари с преподаване, свирене в класни хотели( и да си продаваш дискове на място, след гиг), но ако трябва да е както трябва, задължително музиканта ще се наложи да е на световно ниво и да атакува световните и най-вече европейските сцени. Конкуренцията е сериозна. За това трябва много талант и пълно себеотдаване. ( и много други качества, не само музикални) И успеваемоста ще е малка, примерно 1 на 20 ( което е прекалено оптимистично). Имам предвид независимо от виртуозното овладяване на инструмента, до кариера ще го докара примерно един от 20,30,40,50 много талантливи китаристи, останалите ще се пренасочат към нещо друго или да стигнат до преподаватели само. Това е варианта, само за класически китарист. Много хора ( ест. предимно момчета) учат класическа китара, но комбинират и с електрическа, което вече е друга работа( и не става дума за класика). Намери някой класически китарист, вече утвърден , вкл и преподавател, да те преслуша и прецени до къде могат да стигнат силите ти. И да ти разясни възможностите ти за развитие/кариера. Има и друг вариант да учиш нещо конвертируемо и си продължаваш да свириш. Това е добър вариант, ако не си решила на 100% да покоряваш света на класическата китара. Ако обаче си, рискувай ва банк и успех. Това е мнение от любител китарист, но пък съм видял и хора, учили класическа китара ( ВУЗ) и после нищо. И затова така пиша, с цел да ти помогна да направиш верният избор. Което пак е относително, защото смисълът на живота е в самото пътуване. ( а доколко да следваш сърцето и доколко разума, трябва сама да прецениш)

Не се занимавай с глупости, на практиз усилвател да сменяш говорител. Има си маркет за смяна на говорители, но това го правят хора със сериозни усилватели или пък ако някой говорител даде фира и не може да се ремонтира. По добре наблегни на звукоизвличането си.

Gibson USA loads the Melody Maker Explorer with one of its most versatile pickups. The single Seymour Duncan HB-103 ceramic humbucker in the bridge position is crafted in the image of Gibson's acclaimed PAF (Patent Applied For) humbucker of the late '50s, but updated with a ceramic magnet for great power, clarity and sustain, and routed through a single volume control to keep it all simple. Go easy and it purrs sweetly; hit it hard, and there's as much crunch, wail and sustain on tap as any rocker will ever need. Въпросният адаптер е Дънкан Дизайн. The HB-103 was patterned after the SH-6 Duncan Distortion™ set. It uses ceramic magnets and powerful coil windings to deliver a high output tone with lots of crunch and harmonics. Джордж Линч го има на една от китарите си, аз също. Може би това да е твоето решение. Не мога да чуя звук( и да преценя дали е ок), но намерих този клип -

Ще излезна в див офтопик. Били Гибънс е един от най-голямите колекционери на китари ( и ползватели, де) Ето малка част от колекцията ~ 1959 sunburst Gibson Les Paul - Nicknamed Miss Pearly Gates. Номер 1 за Били ~ Gibson Les Paul - A close copy of Miss Pearly Gates, used on live performances. ~ 1958 Gibson Les Paul - Used on "Just Got Paid".Set up with heavier strings and higher action for slide. ~ Gibson "Goldtop" Les Paul - John Bolin custom, with three control knobs, no pickup selector and pinstriping. ~ Gibson 1958 Korina Flying V - Bought off the street for 300 dollars by Gibbons. ~ Gibson Custom with Texas shaped body - Used during the Worldwide Texas Tour. ~ Gretsch Custom - Built for Bo Diddley later donated to Gibbons, never used live. ~ Gretsch Jupiter Thunderbird - A replica modeled after the Bo Diddley. ~ Custom Jupiter Thunderbird Bigsby - A custom built Jupiter fitted with a Bigsby vibrato. ~ Custom Reversed Jupiter Thunderbird - A custom made model of the Jupiter but with a reversed body. ~ John Bolin Billy Gibbons Super Model - Telecaster style body with two hollowed out compartments which contain one cigarette in the middle and one 'handrolled' in the neck compartment. ~ Custom Telecaster - With rubber top, allowing Gibbons to stab it with knives during live performances. ~ Fender Esquire (aka "Bones") - Equipped with Seymour Duncan stacked bridge humbucker to replicate the sound of his Miss Pearly Gates. ~ James Trussart Steelcaster - Telecaster-style guitar with steel body and "Rust-O-Matic" finish. ~ John Bolin Crazy Cowboy - White semi-hollowbody guitar. ~ Dean Explorer - Called the Fuzzy Explorer because of it being covered in fuzzy fur. ~ Dean Shrimpfork Explorer - Red finish. ~ 1951 Fender Esquire - Used during the recording of Eliminator. ~ 1956 Fender Stratocaster - With sunburst finish used for overdubs on Rio Grande Mud. ~ 1955 Fender Stratocaster - Hardtail version with maple neck used on Tres Hombres. ~ 1959 Fender Stratocaster - Maple neck used on Fandango. ~ Fender Stratocaster - Pink finish, donated to Gibbons by Jimi Hendrix. ~ Custom-made Telecaster - This guitar is also made by John Bolin called "Big Tex" ~ Schoen Guitars Apache Dynamite - 5-stringed Cigar Box Guitar. ~ Gibson Melody Maker - Gibbons first guitar which he got at age 13. Хамилтън за Били Fuzzy guitars И неговата Гибсън колекция Та като стигнахме до Гибсън - защо не Гибсън АДАПТЕРИ? Напоследък са ми любими.

Два епи кастъм, Лес-а е с Гибсън адаптери 490 R и 498 T СГ-то е с 3 волюм пот-а( за всеки адаптер) и един тон

^ И двамата са на страхотно ниво. Наско има по-акуратен фаст пикинг. Марко също много кефи - със свежи идеи, мелодично и балансирано свирене.

Яко. Предполагам, че ластика за коса се слага заради дабълхендите?

Кефиш! И докато слушам парчето си представям Джурасик парк!

И аз съм с Палмър , като на видеото. Мисля, че дава повече от задоволителни резултати, когато няма възможност за запис с мик.

^ Високо ценя натюрлих изглеждащи китари. ( дървото да се вижда)

Благодаря, Наско! Бих казал, че ме радва не по-малко от Ibanez RBM, макар да нямат общо като тон и гриф. Един готин драйв буст -

FENDER TIE-DYE TO DIE FOR! The tie-dye pattern is a photograph of an actual T-shirt... you can even see the cloth fibers of the shirt. A hefty naked humbucker at the bridge and a bright single-coil at the neck give it that classic Fat Strat sound while locking tuning machines provide easy, solid tuning. Maple neck with rosewood fretboard and basswood body. The cool retro tie-dye patterns that adorn the FENDER® Tie-Dye Stratocaster® guitars are taken from real T-shirts! The finish of this Tie-Dye Strat® is taken from the colors of Jimi Hendrix' Band of Gypsies. And who better to bring the look and sound of the sixties together than Jimi Hendrix. (The Strat's yellow in this case is not so mellow.) Хем е трибют на Джими Хендрикс Бенд ъф Джипсис, хем ми идва Фендер ХМ страт продължение. Звучи яко и си е баш за ХМ. Изчистена - един хъм и един сингъл, което е напълно достатъчно. Единственият въпрос е - откъде да си купя Тай-Дай Ти Шъртка ?!

А, честито! Имам бърстбъкери на махагонов Ibanez ARX 300. Но си от Варна, иначе можеше да направим тест. (моята е без камери) Извън това, че Студиото е добра покупка, последното ми наблюдение от концерта на Юръп. Аналгин загряваха и след това, публиката(справка мнения из нета бол) имаше нужда от Имодиум и Нурофен. Китаристите бяха с Гибсън Студио, но освен едно бучене, нищо повече не успяха да изкарат. Но 100% не е от китарите, не е и от скапаната зала ( Джон Норъм звучеше супер, с 3 различни Гибсън-а). Остава озвучителя и кофти аранжимента. извода....е ясен....

^ 120 dB - Самолет и концерт на MANOWAR The heavy metal band Manowar is one claimant of the title of "loudest band in the world", citing a measurement of 129.5 dB in 1994 in Hanover. However, The Guinness Book of World Records listed Manowar as the record holder for the loudest musical performance for an earlier performance in 1984. Guinness does not recognize Manowar's later claim, because it no longer includes a category of loudest band, reportedly because it does not want to encourage hearing damage 2008 Manowar achieved a SPL of 139 dB during the sound check (not the actual performance) at the Magic Circle Fest in 2008.

И понеже не питам: "ако сложа Тон Зоун и Нортън" дали ще докарам саунда на еди си кой", а просто искам да знам мнението и опита на колеги, които са слагали други марки на Ибанес, как е след това. Нали ти казах, не очаквай ралика от земята до небето. ИНФ 1,2,3,4 не са никак лоши, за това и ги слагат. Прочети пак какво съм ти писал - "Вече при наличие на адаптери, налични средства за закупуване, желание за промяна, експериментиране, просто се действа." Никой няма да хвърля боб и да каже, колко точно ще ти хареса промяната, след "ако сложа Тон Зоун и Нортън". Просто го направи и ще разбереш. По-вероятно е да останеш доволен. От друга страна, винаги после може да си кажеш, май не си заслужаваше да се набутвам 200 кинта примерно, защото звука се е подобрил, като за 50 лева, а не за 200. Наскоро смених сток адаптери с Гибсън такива и затова ги пиша тези работи. Стоковите не са много далеч от Гибсънските. Но промяна определено има.

Лично аз, винаги съм бил и продължавам да бъда фен на Ibanez. Като видял техният възход в началото на 90-те, бих казал, че не намирам спад в сегашните модели. Промяна - да. Просто нещата са малко по-различни, което е нормално след 20 години. Има го липовият звук, адаптерите са същите. Някои от новите модели ми се струват по-удобни. Определено новата зиро система е по-готина. Изобщо не робувам, а харесвам и "двете" - винтидж и модерн. Доколко една смяна на адаптери е обоснована, необходима, всеки си преценява. Стоковите не са никак зле. С една смяна ще има промяна, но няма да е от земята до небесата, ако това се очаква. Вече при наличие на адаптери, налични средства за закупуване, желание за промяна, експериментиране, просто се действа. ДиМарзио, Сеймър Д, ОБЛ, ЕМГ, Фендер( за сингли), Гибсън(хъмове), Сър, Bare knuckle и поне още толкова имена си заслужават.

http://bazar.muzikant.org/102376,auction_id,auction_details

Имаме нов базар - пусни я там с ниска начална цена и ще разбереш , колко реално ще се продаде. Примерно, сложи я с начална цена 100. Може да си сложиш и минимлана цена, под която не я даваш. Примерно 150 ( само примерно). Може и директна цена - 200, ако има кой да ги даде.

Слушах снощи на спокойствие и категорично не мога да реша от това, което чувам, кое повече ме кефи. Определено чувам и схващам разликите в тона на двете китари. Определено тези разлики се запазват константно, независимо дали е на (семи) клийн, лек или по-силен драйв. Кольо, както винаги е бетон и темата е точно в десятката, не виждам какво би ми променило мнението, ако беше блайнд тест. Интересно ( може би показателно ) е, че със Сънчо сме на едно мнение. Ще си позволя да ви дам една много полезна статия! It is widely believed that a guitar’s tone involves fingers, physics, sometimes electronics, more physics, and then your ear. Not true. In reality, this signal path is not complete without one more thing… your brain. So why is it that the most complex part of the process, which is clearly the brain, is the one we never talk about? Assuming that beauty is ultimately in the brain of the beholder, why do so many beholders lust after the same handful of classic tones, when there are so many varieties out there? That can’t be a coincidence. Is that evidence that superior tones actually do exist, or is it simply proof that some mishmash of culture, acoustics, mojo— and who knows what else—have played with our heads without us even realizing it? What exactly is happening when we try to produce certain tones with our favorite musical instrument? We believe it comes down to three things: psychology, science and religion (not that kind of religion; we’re talking about another kind of belief system). For the next three months, we’re going to explore these concepts. We know we aren’t likely to set the record forever straight; we’re merely trying to better understand the elements at play. In other words, our goal for this series is to mess with your head. The Psychology of Tone The first time I plugged a Gibson Heritage ’80 Series Les Paul directly into an unmolested 1985 JCM 800 sitting on top of a beefy 4x12 with Celestion G12H-100s I had truly set foot in tonal Valhalla. While full-bodied G chords and bowel-emptying detuned chugs rang in my ears, I just couldn’t wipe the sloppy grin off my mug. “That’s it!” I thought, finally putting down the axe as light continued to spill from the heavens. I had indeed heard the angels singing through those Celestions. My path toward the holy grail of tone had finally led me to a comfy cul de sac. I’m sure most of you reading this are already yelling out the punch line from the cheap seats. Just keep in mind that was twenty three years ago, and much like the premise of the show Kung Fu, I am still, of course, a young grasshopper trying to snatch the tone pebble from the master’s hand. After my short-lived tonal nirvana was over, I started searching for the next perfect tone. GAS set in hard, and I took up permanent residency in tonal purgatory, constantly trading, selling and buying guitars, amps, pedals, etc. in a concentrated effort to permanently grasp that slippery eel we call tone. Although that sloppy grin has a way of stretching across my grizzled grill every now and then, there’s always some other guitar slingers’ singing sound that will make my big toe curl up in my boot and send me reeling back to square one. The Never-Ending Journey If you’re anything like me, you experience occasional moments of clarity during your tone quest. That’s when you ponder questions like, “Do I really need 15 overdrive pedals and six Marshall 4x12 cabs?” Your answer: “Why yes. Yes, I do.” Maybe you wonder why you sit through records made by a guitarist whose style you don’t really appreciate, but you’ll spin them anyway because his tone leaves yougob smacked. Perhaps you turn green with envy when you hear tales of people finding goldtops in attics, or Supro Thunderbolts and Maestro fuzz pedals at garage sales. Surely you wonder why you sneak expensive fuzz pedals past your better half as remorselessly as an unfaithful man scrubs lipstick off his collar. I don’t doubt that you also heat up the soldering iron with the mere thought of Dirk Wacker’s latest “Mod Garage” column, just like I do. You know exactly what I mean, and on some level, like me, you truly hope and pray that you never get well. I mean, really. Who wants to find their rig and be done? Professional Help I decided to get help—not necessarily to cure me of my GAS but rather to crack the code of it. I arranged a meeting with the manager of Mental Health Services at Concordia University in Montreal, Dr. Jeffrey B. Levitt, and decided to see if he could help me finally snatch that damn pebble out of that calloused ol’ hand. Dr. Levitt isn’t your everyday quackery-spouting egghead. He’s actually one of us. About a baritone neck away from his framed psychology license in his office is a calendar boasting all of the solid lumber coming out of the Fender Custom Shop. On top of his desk, where other psychologists might have a Newton’s Cradle of clacking steel balls, he has a nickel-covered set of Throbak humbuckers. Dr. Levitt’s quest for tone has led him to a ‘92 Fender Custom Shop Telecaster that he plugs into a 65amps London head with a matching 2x12 cab, but his quest for tone remains as insatiable as mine. “Very few people actually attain what they are desiring,” Dr. Levitt told me soon into our conversation. He went on, laying a clear foundation of thought from which we’d further poke and prod, “People will get a Gibson and a great amp and create a great sound but it’s never satisfying enough. To use an analogy, vanilla is great and is probably the best ice cream flavor but you when you see strawberry and chocolate and other flavors you have to dip in and attain it. The sonic vocabulary is so vast that once you get one type of tone it remains to be only one paragraph of one chapter of one story. I know people who are just crazy about fly-fishing and they will just obsess with water temperature, the type of fishing line, altitude, etc. and it’s no different from being a guitar enthusiast. Once you become passionate about something, the quest is never over. The quest, though, proves to be even more enriching than reaching the ultimate.” I actually followed that. Bought it, too. From there, we both knew where this was going. I had more questions, and it was clear that with his background as both a tone junkie and a psychologist, I had the right person to ask. Where’s the Rub? Usually, the seed of a guitar sound I want to attain is planted by a favorite record. The inspiration for the aforementioned Les Paul/Marshall revelation came directly from Thin Lizzy’s Jailbreak record. As soon as I heard the midrangy crunch of the twin Les Paul and Marshall pairing on the title track, I was hooked and so it began. Quickly, my stock Gibson “Shaw” pickups seemed thin in comparison with Scott Gorham and Brian Robertson’s twin attack. I have now had every pickup combo imaginable in that guitar and have gotten the closest with a bone nut, TonePros aluminum tailpiece and bridge, RS Guitarworks pots and capacitor, and a WCR coils American Steele set of pickups. I truly love the sound of that setup, but you guessed it—I’m still not holding the Thin Lizzy cigar. I know I’m not alone in having a story like that. “The more glorified an artist is, the more people will want to attain that fame, beauty and sound,” Dr. Levitt said. “We want to say that the tone is in the fingers but it’s very difficult to measure that and recreate that, so we go to other measures to attain cause and effect. Especially with signature series instruments, there is a fallacy that we will get this one-to-one correspondence with the person who inspires us.” I believe that on some level we all know what Dr. Levitt is referring to; we just don’t want to admit it. “What does happen, though, is that these artists will provide a path,” Dr. Levitt suggested with a smile, “and as interests in other tones broaden, we will inevitably synthesize these tones and that’s where our own signature sound starts appearing.” My own signature sound? The longer I thought about that, the heavier that concept became. Yes, Jazzmaster Most of my amp, guitar and pedal choices are based on records I have become emotionally attached to. I want to recreate those emotions in my own playing. Television guitarist Tom Verlaine’s clean, angular and outside jazz guitar lines truly inspired me and had me researching his gear and finally hunting down and procuring a ’66 blackface Super Reverb and a pair of Jazzmasters (seafoam green’61 and a transitionyear tobacco ’65). Do I sound like Tom Verlaine? Not even close. Do I love the sound of my ’65 into the Super Reverb? Let’s just say I know that the hair on the back of your neck will stand at attention when I tear into “Marquee Moon.” Oddly enough, before I was on a Verlaine trip my obsession with Jazzmasters came from guitarists like Sonic Youth’s Lee Renaldo and Thurston Moore and Dinosaur Jr.’s J Mascis. These mavericks were trying to remove themselves as much as possible from the classic Page, Clapton and Hendrix tones that a plethora of players were trying to shoulder up against. Another thing that I now see clearly is that my infatuation with classic Jazzmaster tones was a blessing for me as well as for other less financially endowed riffmeisters. The Jazzmaster’s doormat reputation had something to do with the slim price tag attached to its extra wide head stock. Heck, that could have been the same reason that threadbare rockers like Renaldo and Mascis’ gravitated towards them. As you may know, when Fender introduced the Jazzmaster in ‘58 at a hefty price of $326 it was considered Fender’s top-of-the-line instrument. In a particurly skewed marketing attempt, Fender tried to snare the jazz guitar market with a poor choice of a name and a sound that had strong emphasis on pick attack and treble which was the polar opposite of the warm, Wes Montgomery-like tone that jazzbos were after. When the dotted-eighth players turned their noses up at Jazzmasters, surf bands were swift to pick them up, plug them into their reverb tanks and adopt them as their own. Once the Gretschs and Rickenbackers associated with Beatlemania took hold in the mid-sixties and the British blues movement would usher in the ‘burst Les Paul, the Jazzmaster was considered kindling at best. Those things were stacked to the rafters in the back rooms of most pawnshops. It wasn’t until fairly recently that Jazzmaster players like Elvis Costello, Mascis, Renaldo and Moore would receive signature guitars to help facilitate the demand for the model, and bump up the value of Jazzmasters on the vintage market. So what does the story of this red-headed stepchild of a Fender tell us about tone hunting and tone hunters? Simply put, there’s a lot that goes into the reputation of what might be considered “desirable prey.” “Guitars like Steinbergers and Parker Fly guitars are amazing playing and sounding guitars but are hardly going to topple the sales of Telecasters, Les Pauls and Stratocasters, because they just don’t have the same aura,” Dr. Levitt surmised. “In the end, there will always be identification with what we glorify, and there will be iconic sounds and images in our collective conscious that we respect, value and seek. We want that connection to a story and if we peek behind the curtain and just see a washboard with a plank of wood stuck on, it loses a bit of the magic—and that’s what we’re after.” Although many of us don’t want to admit it, Dr. Levitt’s theories do dredge up some truth. One has to look no further than the fetishists who are knocked to their knees when talking about the Peter Green/ Gary Moore ’burst, Roy Buchanan’s “Nancy”, Billy Gibbons’ “Pearly Gates,” Stevie Ray Vaughan’s “Number One,” Clapton’s “Blackie,” etc. Are those aficionados aware of how much they love the associated narratives behind those guitars, or is it truly the tones—and only the tones—that they’re after? True Relics? Truly famous guitars are famously dinged, and that helps differentiate them from other instruments while adding the realistic side of romance to the equation. True love survives wear and tear; it lasts. The problem is, most of us are incapable of working SRV “Number One”-level love into our guitars, emotionally and physically, but we want to participate in this “older is better” way of thinking. Accidentally or purposely putting a gank or two in your otherwise new Strat just isn’t the same—a weathered guitar has to look like it has been played by a pro for a long, long time. That’s why many companies offer a controversial relic’d version of their classic lines these days. If you ever want to see two guitar fiends screaming bloody murder at each other, just bring up the topic of relic’ing. People get awfully testy when it comes to guitars bearing chemically treated and artistically abused armor. It makes sense that this is a sensitive issue—the fake beat-up look threatens the sanctity of an aesthetic that, until recently, was reserved for guitars that were authentically worn in and lovingly coaxed into producing todie- for tone over long periods of time. Those are rare guitars. Naturally, one side of the debate is very protective of that authenticity. “We are programmed as humans to be drawn to stories and characters, and if there is no story we tend to find it less sexy,” Dr. Levitt confirmed. “For the most part, guitar players think ‘the older the better,’ and that’s partly because quality control was better at a lot of the major manufacturers in the fifties through the early seventies. Despite quality control lacking in the mid-seventies people will still pay vintage prices for these guitars, even though they may not be as well made as guitars are today. These beat up guitars tell stories, so when we see the relic’d look it triggers the mind to question how that happened and the mind begins to fantasize. When we pay for a relic’d guitar, we’re paying for a fantasy … unless you’re psychotic, you don’t actually believe that you’ve been on numerous tours with this brand new guitar, but you are now able to imagine that.” There’s No Crying in Tone Hunting Set aside the fact that certain eras had better manufacturer quality control and consider that there’s also an emotional connection with older music. It has endured the test of time and begat new generations of tone, therefore it rates higher on our tonal respect charts. Page’s “Black Dog” tone holds a certain nostalgic value compared to the guitar sounds anyone can crank out with digital tools these days. “People seek comfort with the familiar, the tested, and with stability.” Dr. Levitt offered, displaying the kind of trained mental objectivity that unlettered tonehounds will struggle with. It’s much easier to simply swear that those old tones are downright “better.” No one wants to be told that their emotions are coloring their opinions about actual tonal “quality,” if there is such a thing. “Perception is very tricky and relative,” Dr. Levitt continued. “A guitar could look like a piece of junk and be butt-ugly but may possess unbelievable tonal qualities due to the wood, construction, and other variables. But … I’d rather play a Tele, Strat, LP, or Rickenbacker, even if they’re sonically inferior, because I am enamored by their looks and history. That is, it makes me play better because I feel better about playing them. It’s a feeling that you’re a part of history, a part of a group, a part of a family—be it Fender, PRS, Gibson, etc. The “feeling” part and issues of connectivity and attachment… that’s all psychology.” True Believers I suspect you’ve called BS on some part of this article by now, and that’s fine. Surely there is such a thing as superior tone, psychology notwithstanding… right? Personally, I can’t say that I’m over my fixation with tone now that I’ve had a chance to chew on these pointy-headed concepts. I must say, though, I really do feel closer to whatever it is that I’m looking for. I haven’t reached that tonal destination yet, but looking back I know I’ve saddled up a bar stool next to it and shared a pitcher of draft with it. If there is anything I’ve learned from our mutual unpeeling of the layers of the tone onion, it would be that the journey is far more enriching than the actual destination. Dr. Levitt suggests that much of this has to do with our natural inclination to seek out the explainable. In some way, our quest for Holy Grail tone is an enactment of our thought process. We want to reduce ambiguity. We try to frame everything within the parameters of cause and effect. We may not find the cause, but we get a good snootful of the roses every now and again, so we dutifully put our one foot in front of the other and continue down the winding path to eargasmic tone. It’s these prickly plants and their sweet aroma that make this whole trip worthwhile. My eyes remain fixated on that perfect pebble. I’m still helplessly trying to grasp it away from the tone master, but in the back of my mind I also secretly hope to remain hamfisted and slow to grip. The day we are finally able to grab that elusive pebble could be a sign that our passion has truly run dry.

Не гласувам, защото просто не мога да реша, коя ми харесва повече. (може би довечера пак да прослушам на спокойствие и да реша) Нещата са точно така, както ги казвате. На външен вид и на звук и двете ме кефят (бих казал еднакво), става ясно, че студиото ще е подходящо в едни случаи повече, стандарта - за други. Оттук следва едно конструктивно предложение, Гибсън да свалят цената на стандарта, ама надали.