Burns Weill RP2G bass
This is a very rare bass made in 1959 by Jim Burns and Henry Weill. The body, neck etc., were designed and made by Jim Burns and all the electrics and pickups within the scratchplate were designed and made by Henry Weill.
This particular bass came from the collection of Mark Griffiths – bass player for The Shadows. It was sold in auction some time ago along with many other guitars and basses owned by Mark Griffiths. I did not manage to buy it then but a while ago I contacted the buyer and managed to purchase it.
It is totally original apart from the fact that it had been refinished in the past – possibly when Mark owned it.
It is a very rare bass regardless of previous owners and its actually the only one I have come across. It has two pickups with volume, tone and blend controls plus a pickup selector switch and two-way switch – all working well, and it is a very nice playing bass with a lovely neck, quite narrow but very playable with twenty-two frets with red dot markers and a scale of thirty inches.
Currently listed on eBay UK with a Buy It Now price of £950.
G L WilsonReblogged 2 weeks ago from guitarz.blogspot.com
The H-II and H-III were introduced in 1965, so 2015 marks the 50th anniversary of these iconic guitars. Known for their quirky switches and easy playability, they quickly achieved wide popularity. Favorites among punk and grunge bands looking for a hard-rocking individualist statement, their audience is also quite diverse: from artists like Joe Satriani, whose first guitar was a Hagstrom H-III, to Aaron North (of Nine Inch Nails) who still has H-IIs and H-IIIs in his guitar arsenal. Many people have been asking for these classics to be re-issued, and we at Hagstrom are happy to comply with lovingly recreated and updated versions of these great classics.A comfortably profiled Canadian Maple neck is bolted to a hand-selected American Alder body insuring that the original attack and bite of the H-II and H-III is maintained. The classic 6-in-line Hagstrom headstock design, used for the first production of H-IIs and H-IIIs, has been slightly updated, and the Vintage Tremar has been re-engineered for functional improvements without sacrificing its original appearance.Hagstrom has taken great care in recreating the original pickups, and the new Retro-S pickups do an excellent job of matching the originals sonic glory. Gain-shaping functionality is enhanced by incorporating Hagstroms new RC-Circuit into the volume control, which allows for volume reduction without the loss of that high frequency shimmer. Case sold separately.Pickup SelectionNeck Pickup On/OffMiddle Pickup On/OffBridge Pickup On/OffMaster Tone On/OffMute On/OffTop (Bass Cut) On/Off
Martin Smith guitars are the preferred choice for thousands of guitarists. Designed especially for students, this full size steel strung guitar comes complete with a clip on tuner, guitar stand, padded gig bag, strap, spare strings, plectrums and access to free online lessons giving you a complete package. The W-100 guitar has a full size 39″ body perfectly contoured for a comfortable playing position with a singular bottom peg to attach your strap. Built to a high standard and featuring a hi-gloss finish, the W-100 guitar looks distinctive and resonates with rich sounds. The guitar also features a truss rod, allowing the woods natural shape to be adjusted prolonging the life of your musical instrument. The Martin Smith Acoustic Guitar comes steel strung, up to geared machine heads. These help keep the guitar tuned for longer and minimize the risk of the strings breaking when tuning due to their controlled action
Now available in convenient three-set packs Ernie Ball Earthwood Phosphor Bronze Acoustic Guitar Strings are made from 92% copper, 7.7% tin, 0.3% phosphorus wire wrapped around tin plated hex shaped steel core wire. These guitar strings have a light orange, gold color and provide a mellow, ringing sound, with excellent clarity. Gauges .012, .016, .024w, .032, .044, .054
Epiphone’s critically acclaimed PRO-1 Collection is recognized around the world as the fastest way to learn guitar. The PRO-1 series began with the simple premise of understanding why new players lose confidence in learning guitar. Epiphone also spoke with our signature artists and luthiers about the kinds of custom features they want in the their day-to-day instruments on stage and in the studio. The result is the PRO-1 Acoustic Collection and the new PRO-1 Electric Collection featuring the Les Paul Jr. and the Explorer.
The J&Z classical guitars 3/4 size are made for beginners and at this price they are an ideal second guitar to take to festivals and on holiday. This guitar kits contains everything you need to start playing classical guitar. A guitar tuner which is very easy to use and helps keep the guitar perfectly tuned. A gig bag which has backpack straps to make carrying the guitar to school or lessons easy. A guitar strap with leather end can help you hold the guitar well. The overall quality of this package is high. It is a fantastic adult starter guitar or ideal for a child moving to a full sized classical guitar or acoustic guitar.
The guitar has a hard maple fretboard and bridge. This helps to produce a better sound and feel to the guitar. It also has a solid basswood top, side and back. Basswood is the most widely used wood for a guitar to be made from.
The guitar has a dreadnought body and 6 nylon strings. Nylon strings are more soft, which are easier on the fingers of the beginners or younger players.
The guitar has a lovely sunset highgloss finish with pretty rosette design around the soundhole.
Size: 36 inch 3/4 size kid guitar
Strings: Six Nylon Strings
Back & Sides: Basswood
Number of Frets: 18
Neck Material: Maple
Guita Package Includes:
Classical guitar 3/4 size
You get more for your money with the ESP E-II Horizon-III FM/FR solidbody electric guitar. From its thin neck profile to its hard-hitting pair of Seymour Duncan humbucking pickups, the E-II Horizon-III FM/FR is made for pure rock performance. And when you rip into a solo, the sustain will blow your mind, thanks to the neck-through-body design. Built in Japan by ESP luthiers, ESP’s E-II guitars provide unbeatable value. If you’re looking for an aggressive guitar you’ll want to play for a lifetime, pick up the ESP E-II Horizon-III FM/FR solidbody electric guitar today. ESP E-II Horizon-III FM/FR Solidbody Electric Guitar Features at a Glance: Fast-playing, hard-rocking electric guitar, built in Japan by ESP luthiers Neck-through-body construction enhances sustain and note definition Floyd Rose tremolo lets you divebomb and bend with great tuning stability Seymour Duncan humbucking pickups give you a solid foundation for both classic and modern rock Neck-through-body design provides amazing sustain and exceptional attack/note definition 25.5″ scale is perfect for down-tuned playing styles
By: Craig Hunter Ross
In part two of our exclusive conversation with The Struts, Guitar International dives into the process and pitfalls of producing an album while simultaneously touring like there’s now tomorrow. For those of you just now being introduced to the lads, they are: Luke Spiller (lead vocals), Adam Slack (guitar), Jed Elliott (bass) and on drums, Gethin Davies. PART ONE: HERE!
Being on the road while trying to write and record new music for a new album is a great challenge for any band, let alone for a young band looking to make an even bigger splash with the career critical follow-up to a successful debut album. The Struts share some of the struggles and triumphs of the process and their excitement for the release of Young and Dangerous, which will be released October 26, 2018.
Craig Hunter Ross: With all of the touring you have been doing over the last two years, how did you find time to write?
Luke Spiller: With great difficulty.
Adam Slack: We just kissed our days off goodbye basically. Any day off that was near the west coast, we’d fly to Los Angeles to write. If we were on the east coast, we’d go to Nashville. One time we played in Quebec, left the next morning and flew to London, then to New Jersey and immediately had to get to writing. I remember we went out and got absolutely trashed because we had such bad jet lag.
Luke Spiller: Hey, that was my birthday, wasn’t it? We weren’t allowed into this shitty little club.
Adam Slack: Oh yeah!
Luke Spiller: Actually, it wasn’t a club, it was some little hotel bar and they said they wouldn’t serve us, because we were too drunk and we’d only had literally three pints. So, we went chasing a balloon down the road. Anyway, a different story that is! [Laughs]
Honestly, for me and Adam, for our part, mentally…it just felt liked you were getting fucked in the head by a giant dick every night.
Adam Slack: At one point we are staying in this hotel in New Jersey and we were approaching like day five of not coming up with a song. We’d go down for breakfast in the morning and they are constantly playing Enya, like every morning, like clockwork. It was really old people there. I felt like we were in One Flew Over the Cuckoo’s Nest or something.
My brain was aching by the time I’d go to bed from trying to squeeze some kind of song out. We can look back and laugh now, but we would really sit there and have conversations just saying “I hope we can come up with something today”.
Luke Spiller: It’s good though. We really pushed the boat out, when you think about it. We had to squeeze the potential of five years of writing that went into Everybody Wants, into a time period I’d say of intense writing that went over about a period of six to seven months. That’s six months of writing, recording and cutting tracks spaced out over a period of two years.
Craig: Did everyone come in with their own ideas or parts, or do you sit together in the studio and hash it out? Do you work in the studio, rent a house, etcetera?
Jed Elliot: A few of them had some different approaches. Because this one has been so intense, a lot of it was just Luke an Adam with a producer working anywhere and everywhere when they would have 48 hours off.
Others, when we have had a bit more time, then yeah, we’d have houses with a drum kit set up and such.
Luke Spiller: We really pushed for that…we needed time in these places where we could sit as a band and really conjure up something. I was making this argument that we were being booked into all of this studio time and we were constantly on the road and it was getting to the point where we had exhausted all of these ideas. I was saying to management and the label that we need the band to get into a house and start actually creating something, because we really had nothing left.
So, we did and got six or seven out of those couple of weeks and like two of them made the album, so it was a really good experience. We could kind of turn the page and realize, okay, these are really cool songs. That felt good, they were original and that kind of gave more fuel to carry on and finish the album.
Craig: From the singles that have been released so far, you have some really big arrangements and a lot going on with some of the tracks. Was it a struggle to know when to stop and say, okay the song is finished, without being tempted to keep massaging and adding, editing?
Luke Spiller: It depends. With a big arrangement, there’s only so far you can go. I think you know when it’s the end. If you are pushing for something larger than life, I believe you know it when you hear it. You say to yourself that it’s as far as you can go within your own personal taste.
Adam Slack: There was a point when were writing “Ashes” and we’d come up with a verse like a week before we’d gone in the studio, then put that old verse in, so like one verse was a slow ballad and the other was an up tempo, so we were wondering what to do and Luke suggested we go into a big breakdown, like a big moment…and it was like if we do that, it probably won’t be a single anymore, but we were like, fuck it, let’s go for it. Sometimes those moments can come naturally in the studio.
Luke Spiller: Again, it comes down to your personal taste, if you are out there to create something huge, it’s up to you as a committee to come up with what the boundaries are. If you are on the same page, and want it to be something special, not “I Would Do Anything For Love, but I Won’t Do that” and go on for nine minutes or some shit…there’s a line of being ridiculous or pompous.
With some of these songs, I personally, out of sheer exhaustion, didn’t know if I thought they were finished or not. I think I speak for Adam as well when it comes to that. Some of the people who really saved our asses were people that came in from the outside, who stepped in and would say “This is brilliant, but not quite yet the best it can be, you guys should go rehash it.”
Gethin Davies: I remember when they came in with “Body Talks” and were like “This is shit” and I was like “Uh, no this is great”…
Jed Elliott: Yeah, it was like one of the strongest
Gethin Davies: Still they were like no, no…you could tell they were just drained.
Luke Spiller: We had no idea what was good. Thank God people were brutally honest with us, like our management and our families, girlfriends, whomever. It’s how hard we had gone to that point, we had no idea what was decent and if anyone would like it or if we even liked it. It’s only when we stepped back and listened to the mix and I was like “Yeah these are incredible songs”.
Craig: Here’s a fan question from Ted in Virginia…”Even though it’s early on, do you have any songs off the new album that have become your favorites to play live?”
Gethin Davies: I love “Ashes” because it’ so epic. Even though it’s not even out yet, the crowd really connect with it.
Luke Spiller: I would agree, I like doing “Ashes” because I get to play piano on it. I spoke to someone about that the other day. I love doing the whole front man thing, prancing about and what not, but it is fucking hard work. It’s nice to actually play with the band on a different level. I can experience their company in a different way, as four musicians, without being the constant over the top pantomime, which I also love, but being able to play gives me a different sense of responsibiility on a different level.
Jed Elliott: Mine would be Fire. It was one of the ones I wrote with Adam and Luke along with Butch Walker. As soon as Luke came with that chorus, and the piano, it checks off all my boxes musically.
Craig: That tune could easily reside comfortably on the Queen album Innuendo.
Luke Spiller: It does sound a bit like later Queen. A bit like “Mr. Bad Guy” (Mercury solo), as well.
Jed Elliott: It’s got some Smiths, some arpeggio guitar, some Meatloaf epicness, Thin Lizzy, dual guitars, it’s all my favorites wrapped into one.
Luke Spiller: The reason it has those arpeggio guitars is because I laid down the piano track, as it was going to be piano driven like say “Bat Out of Hell”, and our management were like “You can’t play piano the whole song”. So, then Adam and Butch went to work on it and created a really original vibe.
Adam Slack: it’s one of my favorites to do live. “Ashes” is too much with the pedals and too much concentration. “Fire” has a cool solo to play live and I’m not just playing fucking power chords the whole song. It’s a bit challenging, but a fun challenge.
Craig: I love the covers you all have done, like Royals (Lorde), Get Lucky (Daft Punk), so many others. I think it’s time now that you’ve got a tremendous second album under your belts to record an album of nothing but cover songs. You should call it “The Struts: Under the Covers”
Jed Elliott: Nice! I like that!
Luke Spiller: I had another cover idea last night. Don’t know when or how to do it, but a piano arpeggio version of System of a Down’s “Aerials” (sings his version)….
Jed Elliott: Are you high? [All Laugh]
Craig: So, in plans for this cover album project I’m going to give each of you two songs to potentially be on the album. You have to choose which one goes on.
Craig: Okay, Adam…”Saturday’s Alright For Fighting” by Elton John or “I’m Your Boogie Man” by KC and the Sunshine Band?
Adam Slack: Well, I don’t know the second one, so the first one.
Craig: Luke…”Freedom” by George Michael or “Livin La Vida Loca” by Ricky Martin?
Luke Spiller: “Livin La Vida Loca”, because “Freedom” is “Kiss This”. [Laughs]
Craig: Jed your turn…”Does Your Mother Know” by ABBA or “Big Bottom” by Spinal Tap?
Jed Elliott: Nice! It’s gotta be ABBA, always.
Craig: Last one, Geth, “Can’t Stand Losing You” by The Police or “Nights on Broadway” by The Bee Gees.
Gethin Davies: I’m gonna go with The Bee Gees.
Jed Elliott: But, that Police song is amazing dude.
Craig: That’s all for now fellas, thanks for your time and much success with the new album, which will be released October 26
The Struts: Thank you so much!
Reblogged 3 weeks ago from feedproxy.google.com
Perfect excercise book!
Check out our other Hobby Notebooks!
The Playing the Guitar Notebook: The Classic, Unique, Graph Paper Notebook is a beautifully produced, matte notebook, complete with 110 pages, 55 sheets.
The notebook is suitable for: school work kindergarten home university wherever you want
With the Playing the Guitar Notebook: you will inspire and motivate yourself to even better work. Specifications: Cover Finish: Matte Graph Paper Dimensions: 6″ x 9″ (15.24 x 22.86 cm) Interior: White Paper Sheets: 55 / Pages: 110 Use a education, work and home notebook.Reblogged 3 weeks ago from www.amazon.com
Adding value to your purchase, Austin Bazaar bundles your instrument with necessary accessories. Everything you need to start playing immediately comes in one box. Save yourself the hassle and save some money while you’re at it. An easy-to-use clip-on tuner is included so you can keep your instrument in tune. A strap is included so you can practice or better yet perform while standing up. Picks are included so you can start playing right out of the box. An Austin Bazaar instructional DVD is included so you can pick up some tips while learning your new instrument.
A perfect choice for beginners, the new Squier Strat Pack has everything you need to begin playing right out of the box. The short-scale Stratocaster (24″) is ideal for players with smaller hands and provides a comfortable playing feel. Other features include a lightweight body, a hardtail bridge for rock-solid tuning and three single-coil pickups for classic Strat tone.
The included Squier Frontman 10G amplifier is the perfect companion for jamming thanks to its aux input that allows you play along with your favorite songs or backing tracks, as well as a headphone jack for silent practice. The Squier Starter Strat Pack also comes with a strap, cable and picks — everything you need to stop dreaming and start playing.
Model Name: Strat SS Pack, Rosewood Fingerboard, Blue, 120V
Model #: 0371812027
Body Finish: Gloss Polyurethane
Body Shape: Stratocaster
Neck Material: Maple
Neck Finish: Natural Satin
Neck Shape: “C” Shape
Scale Length: 24″ (610 mm)
Fingerboard Radius: 9.5″ (241 mm)
Number of Frets: 20
Frets Size: Medium Jumbo
String Nut: Synthetic Bone
Nut Width: 1.61″ (40.9 mm)
Position Inlays: Cream Dots
Truss Rods: Head Adjust
Bridge Pickup: Standard Single-Coil Strat
Middle Pickup: Standard Single-Coil Strat
Neck Pickup: Standard Single-Coil Strat
Controls: Master Volum