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Archive for November, 2011

Four Great Fender Guitar/Amp Combinations

30 Nov

A Stratocaster and a Twin Reverb-Amp—one of the all-time great Fender guitar/amp combinations

Fender has been noted worldwide for well more than half a century as one of the few manufacturers that is equally acclaimed for its guitars and amplifiers. Down through its long history, a handful of Fender guitars and amps have been paired together in what proved to be classic combinations.

Although Fender has evolved with the times over that long history, those classic combinations are without exception still present in modern-day versions of their time-honored predecessors. Here then are four great Fender guitar/amp combinations, including modern counterparts that await you today at your nearest Fender dealer …

1. Telecaster®/’65 Twin Reverb®

This is the sound of country. The real-deal clear, trebly twang of a Telecaster plugged into a 1965 Twin reverb amp has defined the sound of pure country music for more than four decades now. As author Dave Hunter notes in his Guitar Rigs: Classic Guitar & Amp Combinations, “it’s the instrument that put the twang into country, and for plenty of guitarists, this first-ever mass production solidbody guitar is the only tonal tool that needs to live in the toolbox.”

Vintage guitars and amps can be a tad expensive these days, but not to worry—that classic country combination is still readily available in modern Fender form. Want that sound today? Use an American Vintage series ’52 Telecaster with a Vintage Reissue series ’65 Twin Reverb. James Burton would be proud.

2. Eric Johnson Stratocaster®/Twin Reverb

Texas Stratocaster virtuoso Eric Johnson is a musician’s musician admired worldwide for his immediately identifiable pure guitar tone, and not for nothing has he been one of Fender’s most popular signature artists for several years now.

The good news for guitarists is that Johnson’s utterly glorious tone is not at all unattainable. In fact, one need look no further than the guitarist’s own signature Eric Johnson Stratocaster model, which has pickups wound to Johnson’s specifications, a quartersawn V-profile neck and other features specified by Johnson himself. Amp-wise, Johnson’s signature clean tones have always come from a Fender Twin Reverb; sounds you can nail using a Vintage Reissue series ’65 Twin Reverb.

3. Jazzmaster®/Showman® Amp

Nothing epitomized the reverb-drenched sound of the surf era like a late-’50s Jazzmaster through an early-’60s Showman amplifier (and its subsequent sibling, the Dual Showman®). With a Fender Reverb unit between instrument and amp, seminal instrumental groups like the Ventures, the Surfaris and the Chantays brought the roar of the ocean to stage and studio alike.

Surf music has enjoyed a hip resurgence in the past decade or so—bands such as Los Straightjackets, the Bomboras, Satan’s Pilgrims, Man or Astro-Man? and the Mermen have all rode the wild surf with renewed vigor and just as much reverb. Fender is still there to catch that wave too, with current gear such as an American Vintage series ’62 Jazzmaster through a ’65 Twin Custom 15 or, if you crave that surf-classic blonde piggyback look, a blonde Super-Sonic™ head and matching blonde 212 cabinet. Cowabunga, dude.

4. Pre-CBS Stratocaster/late ’50s Bassman®

“Strong contender for the title of ‘All-Time Most Beloved Rock Rig’” and “one of the most versatile, toneful and desirable pairings known to the electric guitarist” writes Hunter in Guitar Rigs: Classic Guitar & Amp Combinations.

This is the sound of electric blues—Fender’s most famous guitar through one if its most beloved amps. A ’50s or early ’60s Stratocaster through a tweed 4×10 Bassman amp: clean, bell-like tone at low volume that breaks up sublimely into perfect rock ‘n’ roll crunch when you start turning it up past 4 or so. Just ask Buddy Guy or Jimmie Vaughan. To get the classic sound of this classic combination today, try an American Vintage series ’57 Stratocaster (or an American Vintage series ’62 Stratocaster for rosewood-fingerboard vibe), through a Vintage Reissue series ’59 Bassman LTD.

Reprinted from Fender Tech Talk.

 

News – Nokie Edwards and Les Paul honored

18 Nov

November 10 – Bob Bogle and Nokie Edwards of the Ventures were among eight new inductees into the Oklahoma Music Hall of Fame in ceremonies in Muskogee. Also inducted (posthumously) was Ralph Blane, who wrote the Christmas hit “Have Yourself A Merry Little Christmas” for his musical, “Meet Me In St. Louis.”

 

November 6 – Les Paul will be among those honored on the Music City Walk of Fame in Nashville .

 

 

The Indianapolis Times 1964

14 Nov

The Indianapolis Times

My last job in Indianapolis was at the Indianapolis Times. I was hired in 1963 to sell classified advertising. I didn’t realize it at the time but it was a dead end job because Scripps-Howard had already announced they planned to discontinue the paper. The Indianapolis Star, a morning paper, had already gobbled up the Indianapolis News, portending the change in the business environment. You needed to know the news before your working day not leisurely looking at in the evening.

The venerable Indianapolis Times, also an afternoon paper, held on even longer than it should have to try and keep Indianapolis from becoming a one newspaper town. Even then it was realized how dangerous it was to have only one news source (FoxNews crack addicts are you listening?).

[Location: 300 block W. Maryland Street at Capitol Avenue, Indianapolis (Marion County, Indiana)]

Life at a Dying Newspaper

I was excited at the prospect of working for a newspaper at first but my department had realized long before I arrived that there was no future in working hard at the Times. We met at 8 o’clock in the morning for a half an hour sales meeting, usually including donuts and coffee (some people surreptitiously adding a little kick to their coffee even that early). Then everyone left, supposedly to work on sales for the classified ads. I was told to ‘cold call’ car lots, gas stations, radio stations, local businesses, etc. to drum up sales but within a couple of weeks some of the old timers told me not to waste my time. I would get ads from the companies that just wanted to be in every publication but I wouldn’t get any new ads because everyone knew the Time wouldn’t be in business much longer and circulation was way down.

Everyone in the department except me was split into two groups. The golfers, who left immediately for the links after the morning sales meeting, and the rest, who left for the bars. Around 4:30 everyone would gather again for the final sales meeting before leaving for the day. That could be a hoot as the barflys could be raucous and unruly and the golfers told outrageous lies about their golf game or sexual adventures.

For me, I found that I could slip into a library and read science fiction novels or meet up with some of the guys I sang with, most of whom were chronically unemployed. Often there were enough of us to get in some a cappella practice time. 1964 was the year we had a close brush with fame after recording “In The Still of The Nite” and our trips to Chicago to support the record. In the first few months of the year we still hoped we might be able to keep recording but the Indy Sound and Jan Hutchens Productions died as quickly as it had risen. It was on one such day in the fall that I recruited Mac Brown from the Casinos to come and sing with us. At our New Year’s Eve party on the last day of 1964, knowing that the day the Times would close was near I agreed to a brash proposal to try our luck as The Checkmates (precursor to Stark Naked and the Car Thieves) singing in night clubs. So in early February of 1965 I gave notice at the Times and tried my luck as a bar singer. Though that experience was a complete disaster life was never the same again.

Display Artist

One of the best things I learned at the Times was from the display artist. I would bring him display ads and he would draw them up right in front of me. He was half cartoonist and have illustrator. His main tools were a metal ruler and a #2 pencil. He would use the ruler to tear through newspaper pages and his pencil to block out new art, write in new copy using the ruler edge, and illustrate where and when needed. I’ve always been influenced by his rough and ready skill and talent even though the medium has changed to a digital world. I still keep a couple of steel rulers around for when I work on art in article, brochure, or book form even in this digital world.