Saturday, October 31, 2009

1970s-era Bunker Bass

guitarz.blogspot.com:
This Bunker Bass is an interesting one. It has the appearance of a Gibson Grabber/Ripper with some serious body surgery. It's interesting to note that the tuners are on the body beyond the bridge, predating headless designs such as the Steinberger by several years. Unlike the Steinberger, the Bunker Bass does have a headstock, although this would seem to be purely for aesthetical purposes.

Additional (4 Nov 2009): I found some more information in an article in the My Rare Guitars newsletter, as follows:
...Dave Bunker of Puyallup, Washington, began to turn his thoughts to a better guitar idea. Bunker, born in 1935, began playing guitar in around 1949 and in around 1951 started teaching in Puyallup. Then in 1955 he saw the traveling demonstration show put on by the great tapping guitarist Jimmie Webster and Dave adopted that technique. Conventional guitar design is not optimized for tapping, so naturally Bunker began to experiment and in around 1961 started making his own guitar designs. One of his ‘60s inventions was the idea of the “tension-free” neck. Basically this consisted of a heavy brass nut fixed to a thick brass bar that was attached to another block of metal in the body. A wooden neck was routed out and slipped over this brass core. Strings were anchored into the nut and stretched down to tuners on the butt end of the guitar. The brass neck core took all the tension of the strings, keeping the wooden neck free of any tension whatsoever. Like Les Paul’s “log,” Bunkers guitars often had variously shaped wings that could be bolted on to give more of an illusion of “guitar,” but he was getting down to the bare minimum!
Off with her head!, by Michael Wright, the Different Strummer

G L Wilson

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Friday, October 30, 2009

Vox V251 Guitar Organ

guitarz.blogspot.com:

Here's a great clip showcasing the now legendary VOX guitar organ on the I've Got A Secret TV show back in 1967. Thanks to Andy Stone for finding this one!

G L Wilson

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Bo Diddley and the Duchess play pre-Gretsch Jupiter Thunderbird


OK the Dead Weather play some cool instruments, but this is where they come from!
This is Bo Diddley in the mid-60s playing - together with Norma-Jean Wofford aka the Duchess, one of the first female guitarist in a rock band - his famous and beautiful Jupiter Thunderbird. This was not a Gretsch model like most people think, but a custom model recycling Gretsch parts, designed in 1959 by Bo Diddley himself who wanted 1. a smaller body to avoid hitting his groin when dancing, 2. a flashy guitar to shine on stage!
The guitar was named after some American car of the time...

It's only in 2005 that Billy Gibbons - who was given a Jupiter Thunderbird by Bo Diddley - proposed to Gretsch to issue what is known since as the Billybo.


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Thursday, October 29, 2009

Lolly, Lolly, Lolly Get Your iTunes Apps Here

A few of my ebooks just went live on iTunes. If you have an iPhone or iPod touch, you can download them for between 99 cents and $1.99.

You don't need to download a separate ebook reader onto your iPhone to read these. These ebooks come with a built-in ebook reader. They exist as applications on your iPhone. Just press the icon and the ebook opens up.

By clicking "Get App" on this page you will open up iTunes on your computer, allowing you to buy it and download it.



$0.99

For a limited time, only 99 cents.

Before the events of Jack Kilborn's epic horror novel AFRAID...

Before the events of J.A. Konrath's critically acclaimed thrillers FUZZY NAVEL and CHERRY BOMB...

Before the events of Jack Kilborn's and Blake Crouch's #1 Amazon Kindle bestseller SERIAL...

Three hunters of humans meet for the ultimate showdown at the TRUCK STOP.

Taylor is a recreational killer, with dozens of gristly murders under his belt. He pulls into a busy Wisconsin truck stop at midnight, trolling for the next to die.

Chicago Homicide cop Jacqueline "Jack" Daniels is a long way from home, driving to meet her boyfriend for a well-earned vacation. She pulls into the truck stop for a quick cup of coffee and stumbles into her worst nightmare.

Jack's no stranger to dealing with psychos, but she's got her hands full trying to stop Taylor. Especially since he's getting help from someone just as deadly; a portly serial maniac named Donaldson...

TRUCK STOP is a 15,000 word thriller novella that ties together Konrath's and Kilborn's works, with terrifying results.

A prequel to SERIAL, which has been downloaded more than 70,000 times, TRUCK STOP is an eighteen-wheeled ride straight into hell. Not for the faint of heart. Let the reader beware.

This ebook also includes an exclusive interview: JA Konrath talks with Jack Kilborn, plus excerpts from their latest books, CHERRY BOMB and AFRAID.



$1.99
1906 - Something is discovered by workers digging the Panama Canal. Something dormant. Sinister. Very much alive.

2009 - Project Samhain. The best minds in the world have been recruited to study the most amazing discovery in the history of mankind. But the century of peaceful research is about to end.

BECAUSE IT JUST WOKE UP.

All hell is about the break loose. For real.



$0.99
Masters of the comedy thriller genre, J.A. Konrath and Jeff Strand, team up for the humorous horror novella Suckers.

Featuring horrific violence, bad jokes, and lots of name calling.

Originally, published as a very expensive limited-edition hardcover, Suckers is now available as a super cheap ebook.

But the fun doesn't stop there.

Also included in this ebook are six other stories, many of them rare and long out of print.



$1.99
A medical investigator tormented by secret guilt.

A beautiful doctor with an illicit desire.

A millionaire businessman indulging a passion for murder.

And a human guinea pig who has been awake for seven straight weeks.

You’ll never sleep well again...

Disclaimer: This novel is filled with extortion, conspiracy, taboo sex, hidden secrets, shocking violence, and murderous betrayal. Not recommended for the faint of heart.

This ebook version also includes the bonus horror short story, "Dear Diary," about a very special pom pon girl.



$0.99
When a dead body turns up in the Chicago River, newspaper reporter Alex Chapa and Police Lieutenant Jacqueline “Jack” Daniels reluctantly join forces.

Thriller writers J.A. Konrath and Henry Perez have teamed up to create FLOATERS, a mystery tale that combines humor with thrills.

Included in this 30,000 word collection are the shorts LAST REQUEST and FAMILIAR PLACES.

It also includes a conversation between the authors and excerpts from each of their new novels, CHERRY BOMB and KILLING RED.



$1.99
A billionaire Senator with money to burn...

A thirty year old science experiment, about to be revealed...

Seven people, marked for death, not for what they know, but for what they are...

History is about to repeat itself

THE LIST is a technothriller about a group of ten people who each have tattoos of numbers on the bottoms their feet, and don't know why.

One of them, a Chicago Homicide cop, has had one of these strange tattoos since birth. When he investigates a violent murder and discovers the victim also has a tattooed number, it sets the ball rolling for an adventure of historic proportions.


$1.99
A GUTSY ROBBERY
Several million bucks, stolen from the mob...

A PERFECT FRAME
All caught on video, with no chance of redemption...

A RED HOT RECIPE FOR RAMPAGING REVENGE
Now one man must face the entire Chicago Outfit, a group of hardened Mafia enforcers, a psychotic bookie, the most dangerous hitman on earth, and Detective Jacqueline Daniels...

His name is Tequila. And he likes those odds.

SHOT OF TEQUILA by JA Konrath

JA Konrath is the author of the Lt. Jacqueline "Jack" Daniels thrillers (Whiskey Sour, Bloody Mary, Rusty Nail, Dirty Martini, Fuzzy Navel, Cherry Bomb.)

If you'd like to see the actual order page, you can visit: http://www.apptism.com/apps?query=konrath&x=0&y=0, where you can still get SERIAL for free.

This requires iPhone OS 2.2 or later. And the apps are really cool and simple to use.

Welcome to the future.

If anyone is interested in doing the same thing, you can contact the company that created my apps at http://www.indianicinfo.com. Apple takes 30% of the list price, IndiaNIC takes 35%, and the author takes 35%. So I'm earning between 35 cents and 70 cents per download.


Alison Mosshart plays white Gretsch Bo Diddley


I didn't like Gretsch's Bo Diddley rectangular guitar so much, until I saw it in snow white in the hands of graceful Alison Mosshart fronting the Dead Weather. I know that this all white Gretsch's guitars band is some kind of marketing hype, combined with Jack White's well applied obsession with colour, and that Mr White himself is evil since he made some fancy duo for a Hollywoodian movie, but they are still quite beautiful guitars (including of course the white Jupiter Thunderbird that White uses on other songs, and that stands ostentatiously next to the drums), and I do enjoy the music (though I prefer the rawer music of The Kills).

And it's so cool to have such a guitar to play just one note, uh!

There is a nice live video of the Dead Weather to watch on From the Basement.


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Tuesday, October 27, 2009

In Defense of Print

Lately the majority of email I get, and the authors I meet, all want to know one thing:

Are ebooks going to replace print books?

Right now, ebooks are a supplement to print, much like audiobooks are. They're less than 2% of book sales. Some industry pros think they cater to a completely different audience than print, and the two can coexist peacefully. Other industry pros are in complete denial. At a recent convention, I was talking to a well known agent about how publishers are artificially inflating the cost of ebooks by charging etailers hardcover prices, and this person told me "You're making me angry. I can't talk about this with you."

Amazing. Ebooks are the big elephant in the corner of the room that everyone sees but refuses to acknowledge, even as it craps all over the floor.

I don't reach hasty conclusions. I like to gather information and learn all I can about something before forming opinions or predictions.

Anyone who reads this blog knows that I do believe ebooks are the future. I believe this based on my personal experiences in publishing, and what I know about the industry. I can also draw conclusions based on my knowledge of other media industries, namely music and newspaper, and my interest in the Internet, digital media, file sharing, and formats.

I'm still in the minority. People are fond of quoting me, or pointing others in my direction, but I haven't seen any industry professionals brave enough to either agree with me, or open a debate with me to disprove my assumptions.

But I have seen a lot of statements, and heard a lot of questions, repeated over and over. Here are a few that stand out:

I love the feel of a regular book.

I hear this a lot. The tactile experience of cracking open the spine and turning the pages. The smell and feel of paper. We grew up reading paper, and we have a good relationship with it that fosters warm feelings.

But what if we grew up reading ebooks? Would paper have a single advantage? Who's to say you can't form that same bond with an ereader?

Actually, if you've ever listened to someone who owns a Kindle, you'd know that not only can you have feelings for digital books, but the feelings are even stronger than with print. Whenever I meet an ereader owner and ask them if they like it, they don't just say yes and move on. They evangalize.

These people are so enthusiastic, so happy about their discovery, that they gush on and on AND ON about it.

Remember that the written word can be written on anything, and it still has power. Books aren't on the page--books take place in our heads. While you can be nostalgic about the delivery system, I highly doubt you still listen to music on 8-track or 78.


I want a tangible product.

Me too. I have over five thousand books. I love owning them. I love how they look on the shelf. I love perusing my library.

But I'll be honest here. I used to have over a thousand cassette tapes. I loved owning them. I loved how they looked on the shelf. I loved perusing my music library.

Then CDs came along, and I repeated the love affair.

Eventually I got my first iPod.

I don't even own a CD or cassette player anymore.

I still love to own. But now I own digital files. I still love to persuse my music library. Except now I do it on iTunes.

Tangible is only a state of mind...


Ebook readers are too complicated.


If a computer is too complicated for you, than an ereader might be, too. But no too long ago, vacuum cleaners, clothes washers, and microwave ovens were considered complicated. Fear of technology is pretty common with the older generation. But the longer a product is around, the easier it becomes to accept, and to use.

Future ereading devices will become simpler and simpler as the developers strive to reach those late adopters.


Ebooks are a niche market.


Well, no duh. All new technology begins as a niche market.

But this is a niche market based on the written word, just like printed books. Except it has many advantages over books, and doesn't kill 40 million trees a year or involve shipping and returns.

By all accounts, more companies are developing ereaders, and more consumers are buying them. Ignore this at your own peril.


You can't autograph an ebook.


I've signed over a dozen Kindle covers, and one Sony cover.

When is some smart publisher going to give away skins or ebook covers that feature the cover art for their latest novel? Or at least sell them cheaply? Wouldn't it be cool to carry around a Kindle that looked like Whiskey Sour or Afraid? I think so too.


Ebooks can be shared and stolen.


The fear over digital rights being abused is real, but there are no clear indicators that sharing ebooks, free ebooks, or stealing ebooks have any effect on sales.

In fact, I think freebies promote sales. Which is why I still give away ebooks on my website, even though I'm selling the same books on Amazon and elsewhere.

Copyright can't be enforced in a digital world. Those who try are going to get more frustrated, protective, and paranoid, and ultimately they aren't going to protect a damn thing. Ask the MPAA, the RIAA, and the billions of people file sharing.


EReaders are too expensive.


The Kindle debuted in 2007 at $399. Two years later it's $259. Give it another two years, and we'll see $150, or less.

Tech prices come down. Always.


Books will never disappear.


I agree. There are billions of them on the planet.

But will the printed book remain the main mode of delivery for the printed word?

I doubt it. Anymore than newspapers remained the main form of delivery for news, or CDs remained the main form of delivery for music.

Remember all the music stores? Remember Coconuts, FlipSide, Tower Records, Musicland, and Sam Goody? Where are they now?


Amazon sets the price on ebooks, that's why they're expensive.


I've had a few industry pros echo this. So let's clarify it.

Yes, Amazon does set the price, BASED ON WHAT THE PUBLISHER SELLS IT TO THEM FOR.

Guess what? I bet Amazon, Sony, and the other etailers would love to open negotiations for fair and reasonable ebook rates, which would result in the price of ebooks going down, which would result in more people buying ereaders and ebooks.

But the print industry doesn't want that.


Ebooks hurt my eyes.


I hear this all the time. And, in the case of standalone ereaders, this is wrong.

E-Ink technology doesn't cause eyestrain. At all. It's as passive as reading paper.

Some lament the tech of ebook readers, saying black and white displays are so 1998. They're waiting for color models.

But the fact is, E-Ink is very technologically advanced, and reading in black and white (or grayscale) is the easiest on the eyes. Include the no-flicker technology, and E-Ink is high tech that just looks low tech.


If ebooks are so great, why haven't they taken off yet?

In one form or another, it can be said that ebooks have been around since 1993. So why haven't they dominated the industry like mp3s?

I believe there are two reasons.

First, there has never been a universal format. I've blogged about this before.

Second, because publishing doesn't want ebooks to dominate the market. Why would they? The traditional role of publishers in this industry is to print and distribute books. In an ebook world, their role would be largely reduced, if not completely eliminated.

If I were a publisher, I'd be doing several things in order to prepare for the future.

1. Drastically lowering the prices on my ebooks.
2. Making ebooks available on my website, so I didn't have to share profits with etailers.
3. Publishing my backlist inexpensively in ebook format, and securing rights to as many out-of-print titles as I could get my hands on.
4. Directing the majority of marketing and advertising dollars toward ebooks.
5. Partnering with etailers and ereader manufacturers and offering them exclusive content.
6. Moving toward a digital future where all ebooks are free, funded by advertising.

But I'm not a publisher. Or an agent. Or an editor, or sales rep, or publicist.

I'm just a writer.

Here's the thing, though. I'm secure I'll still have my writing job in ten years.

Since April, I've sold over 6000 copies of THE LIST on Kindle. It will soon be on Sony, iTunes, and B&N. I expect these numbers to climb dramatically over the next few years.

Now I'm actually contemplating a sequel to this book--a book that was rejected by NY publishers--to release exclusively as an ebook.

That's crazy. That's absolutely crazy. I've dedicated my life to getting into print. I've dreamed of having this career since I was a little kid. I've busted my ass trying to succeed in this business, and have the battle scars to show for it.

I love print books. They're the reason I became a writer.

But my career isn't about printing my words on paper. It's about reaching readers with my words.

If readers want to read my words on a Kindle, I'd be stupid not to give them what they want.

Monday, October 26, 2009

Another imcompetent DIY job

guitarz.blogspot.com:
If you really really really have to cackhandedly carve up a guitar body, then it may as well be a cheap Strat copy. You wouldn't want to ruin anything decent. Guitarz reader Biliby Iwai suggests that perhaps the desired effect was to make something resembling a Fender Musiclander (aka Swinger). Whatever the intention, it looks bloody awful.

How can anyone imagine such incompetent "customisation" can actually be an improvement? How do they have the nerve to use the word "customised"?

Basically for the Buy It Now price of £18.99 you get some cheap Strat pickups and other hardware. You may as well chuck the body.

G L Wilson

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Hoyer Fantastik

hoyer fantastik


A last stunning German guitar from the Schlaggitarren website - then I let you explore this site by yourself. But you probably never saw such an incredible guitar, one that is not just meant to look bizarre, but obviously an experimentation on sound.

So this is the Hoyer Fantastik, a guitar that really owns its name and appears in Hoyer's early 60s catalogue (picture above) though only six of them were ever built. Its body is made of six wooden tubes with their own sound holes - hence its nickname the 'organ guitar'. Due to its rarity and originality, it's considered the ultimate collector vintage German guitar.

If you click on the link up there you will find also an article in English about the brit guitarist Carl Goldie (right picture) who has been playing a Hoyer Fantastik his whole career (with an anecdote with Goldie refusing to sell the guitar to George Harrison in 1962 when sharing the stage with the Beatles). You will also find something about this guitar on Jazzgitarren (in English).


bertram



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Sunday, October 25, 2009

Kirk Hammet plays Teuffel's Birdfish and Tesla


A few days ago, I mentioned again Teuffel's Birdfish - one of my favorite guitars - in the comments about the Epiphone Triumph II post, and that gave me the idea of having a look at their website. I had then the surprise to see in their artists section these new pictures (I don't know how new, I didn't go there for ages!) of Kirk Hammet playing two models of the small but sharp German company.

These people at Teuffel made an obviously good communication move, though I doubt that the average metalhead will appreciate the avant-gardist technology and look of these brilliant guitars (no offense to metalheads, they are just as conservative as other rock musicians, even if their shredding god is able to acknowledge the genius behind Teuffel's products).

I do love the Birdfish (left picture), with the undeniably revolutionary concept that led to its birth, but I love even better the Tesla (right picture) that looks less precious, and particularly the 8-string / 29-fret 'super-size' model that I think is a one-off, but has better proportions (well, since I'm a big guy, big guitars suit me better).


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Friday, October 23, 2009

One-off thinline guitar


Can't tell much about this brandless one-off guitar on sale on eBay but that it has an interesting design, sober and original, and this peculiar big sound holes that you won't see so often on thinline guitars. I could tell you that is has Schaller tuners, Gretsch pickups and a pear tree + maple glued neck but I'm not selling it so who cares!

I can just tell that it looks like someone put some work and love in this guitar, to have it made so special technically and aesthetically (look also at these fretboard inlays!) and must not have been happy to sell it (it seems that it is a second-hand selling).
I wonder how it sounds though, anybody knows a similar guitar?




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Thursday, October 22, 2009

Steve Albini's 16-string guitar

guitarz.blogspot.com:

I'd like to thank Howard who forwarded this image of a 16-string guitar from Steve Albini's recording studio. It appears to be a "Frankenstein" creation with a hardtail Strat-like body (probably not a Fender) with a doctored Epiphone acoustic 12-string neck grafted onto it.

Note the four tuners in the center of the headstock (which must be bango style tuners with the buttons on the reverse) and also the simple bridge which has been moved further back than it would be on a Strat, a dictate of the neck used to allow for the correct scale and compensation.

It doesn't look like a very friendly-to-play instrument. I'm assuming that the strings are arranged in six courses as on a 12-string, but that the top four courses each have three strings. This means that the strings are all so close together that it is hard to tell where one course ends and the next begins. I'm guessing that the "Guitar from Hell" sticker near the bridge is appropriate!

G L Wilson

Additional (6 December 2009): Here's what Steve Albini himself says of the instrument:

It's a drone instrument. I saw a 12-string made like this (Epiphone neck on strat copy body) and asked the guy who made it how many strings he could fit on one guitar. His answer was 16, so I asked him to make one. The first one was a thank-you gift for Sonic Youth, who had invited Rapeman to play some shows with them in the UK. It turned out to be real fun to play, so I had another one made and that's the one we have here. It's used on a lot of records as a novelty, and on the Shellac song "Pull the Cup" in earnest.

The demo version of "Pull the Cup" is called "XVI," which is a hint.

Bob got to play one of Tom Petersson's 12-string basses at a Cheap Trick sound check, and I think he's going to see about getting one eventually. Expect everything to change once that happens.


http://www.electrical.com/phpBB3/viewtopic.php?f=4&t=46349&p=1007753

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Wednesday, October 21, 2009

1960s Greco Surf Guitar

guitarz.blogspot.com:
This 1960s Greco is in immaculate condition. It looks as if it could be new. I just love the probably impractical headstock design.

If asked I would have guessed that this was a European, possibly Italian guitar, but of course - being a Greco - it's Japanese.

Greco were better known for their later Fender and Gibson copies in the 1970s and which seriously worried those giants of guitar production.

The Greco brand were produced by Kanda Shokai and were of such high quality that Fender legitimised the production of Japanese replicas of Strats and Teles with the launch of Fender Japan and the Squier brand which were also produced by Kanda Shokai and Yamano Gakki and built in the FujiGen Gakki, Tōkai and Dyna Gakki factories.

G L Wilson

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Estributors

A few years ago, two of the major bookstore chains went into the publishing business, and began producing their own books, both classic titles and new content.

It made complete sense. Why split money with publishers when you can publish it yourself and make a larger profit?

Yet, none of them ever took the next logical steps--signing a big-name author to an exclusive publishing deal. Or reprinting backlist titles that continue to sell on the used book circuit.

Seems like a missed opportunity. But then, they're retailers first and foremost, and expanding into publishing carries a lot of costs and risks.

Now, in the days of ebooks, we have the Kindle, the Sony Reader, the iPhone, and the Barnes and Noble nook.

The savvy, ewise author knows how to get his books on these devices. Mine already are, or soon will be. Kindle in particular makes it very easy to do, and Sony is stepping up as well. I'll be on iTunes soon thanks to IndiaNIC, and B&N thanks to Smashwords.com.

But Amazon, Sony, Apple, and B&N are missing out on a way to make a lot more money.

Publishers get rich by having exclusive content. Only one publisher has Stephenie Meyer. The others do not.

And yet Amazon, Sony, Apple, and B&N all carry Stephenie Meyer on their sites, for their ereaders. They're sharing the pie.

Sharing is not the main problem. All bookstores share. But in the case of Amazon, Sony, and B&N, they LOSE money on each book sold. Print publishers, in an effort to stave off the inevitable, charge these companies several dollars more for the ebook than the companies are selling them for.

The result? Every time Twilight sells, the etailer loses money. In fact, a good portion of the ebooks sold lose money for the etailer.

If the etailors got wise, they'd try to make deals with authors directly. But they won't, or can't. Because there is a cost and risk associated with publishing ebooks, the same as there is with publishing print books.

This is a shame. I'd love to sign an exclusive ebook contract, and have the etailer promote it. Sell it at a low price, and we'd both make a nice bit of change.

Maybe this will happen in the future. In the meantime, it seems like a smart person, or company, could capitalize on the current situation.

Let's call these people estributors.

In the book world, a distributor such as Ingram, Baker & Taylor, Partners, or Anderson, is the middleman between the publisher and the retailer. They warehouse the books from the publisher, and fufill orders to the bookstores and bookselling outlets.

What the ebook world needs is a middleman who can facilitate sales between Luddite authors with backlists but no tech savvy, and etailers selling ebooks.

An estributor could contact NAME authors (not self-pubbed newbies) for shelf novels and out of print backlists, arrange for cover art, format for Sony, nook, Kindle, and iTunes, and take a small percentage, say 10%, of the profits for a set amount of time.

The etailers would be making a profit from estributors, rather than hemorrhaging money like they're doing right now. Ebook prices stay low, which the customers want. And authors can concentrate on writing rather than all the tech stuff.

There are millions of out of print books still under copyright but not under contract. Estributors could position themselves to rival the sales of large publishers, if they get in while they can.

Epiphone Triumph II and more


epiphone triumph II

Let's make another exception to the implicit moral obligation we have here to not promote new models from big companies (what most so-called guitar blogs make a living from) - unless, like it is the case here, it's a real soft spot for a really cool one.
I don't know if I'm getting old but since I feel less and less receptive to pure excitement and macho display of musical skills, I enjoy playing bass more and more, so I'm looking at bass guitars more accurately. For the first time I have a real coup de coeur for one, the newly released Epiphone Triumph II. With its hollow body, F-holes and hidden pickups, it might seem devoid of any rock potential, but that's maybe what is so cool in it, its way to be one of its own, open to any music style for any musician, without forcing into anything.

Again a very good example of how you can upgrade a classical design with a little distortion - here the wide 'gipsy style' cutaway and the wooden bridge -, and keep a pure line. Then you can remember that Epiphone is not only providing democratic Gibson guitars to non-billionaire musicians (I imagine that most Gibsons are bought by fetishist old timers too old to play in a rock band ever again) but sometimes manages to keep to their glorious past by proposing nice and original hollow-bodies.
Ah, and this bass is said to be powered by 'revolutionary NanoFleax™ and NanoMag™ pickups' but I don't have the slightest idea of what this means!



Gibson Triumph

OK, I made my little Gibson bashing but they make of course the best guitars and Epiphone is part of it. There was another bass called Triumph made by Gibson in the 70s that is also quite amazing. A few weeks ago GL wisely pointed how the Jolana Diamond bass was a much better Les Paul bass that Gibson ever released, but the Triumph is a brilliant LP style bass, even though it doesn't bare the name. It looks almost too good to play on it, doesn't it?


Epiphone Triumph Regent 1951


And finally this is the ultra-classic Epiphone Triumph archtop acoustic guitar designed in the 30s, when Epiphone was the direct concurrent of Gibson - who solved the issue by buying Epiphone. So I don't know if the II in Triumph II makes it a inheritor of the Epiphone Triumph guitar or the Gibson Triumph bass but it both case that is quite a legacy!


Additional: The bass has been renamed the Epiphone Zenith so as a avoid a potential trademark conflict. G L Wilson

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Monday, October 19, 2009

The Game

Just got back from Bouchercon, and had one of those revelation moments.

When I play, I play to win. That's the point for me. If I lose, I try to learn from it so I can win next time.

Traditional publishing is a game where I'm not allowed to win.

I suppose this is rather obvious. There are too many factors involved--luck being one of the biggies--that are out of my control.

But if I look at my writing career, I've done my best to have as much control as possible. I was the guy who sent out 7000 letters to libraries, who visited over 2000 bookstores, who blog toured over 100 sites in a single month, who gathered 10,000+ names for his newsletter, who talked about social networking before anyone knew what Facebook was.

I think all of this has had a positive effect on my career. I've made some money. I'm still selling books.

But even with my best effort, and with all I've learned, I'm not allowed to win.

Winning involves big print runs and marketing campaigns and distribution. No matter how hard I try, or how well I play the game, those things aren't up to me.

So along comes ebooks.

For the first time, there's a level-playing field. It's no longer about who has 200 copies of their latest hardcover on the Borders New Release table for five weeks at 40% off cover price. It's no longer about huge New York Times ads, or getting a review in People magazine. It's no longer about being available at every Walgreens and CVS.

I have no idea if I'll be able to win the ebook game. There are still a lot of factors involved.

But it's nice to finally feel like I actually have a chance to compete.

Sunday, October 18, 2009

Wolfgang Hüttl Beat 67

Wolfgang Hüttl Beat 67
I spent some more time on Schlaggitarren.de, the site that I mentioned on the Shadow violin guitar post, and like Jazzgitarren it's opening a unexplored dimension of electric guitars history. Even though it is unfortunately exclusively in German, you can learn so much there, and see incredible guitars such as this Wolfgang Hüttl Beat 67.

I thought so far that the creative pick of German guitar making was in the 50s (I mean West-Germany, you know that I'm a fan of later East-German guitars), but the late 60s Beat 67 is a very flower power anti-glam semi-hollow body guitar, and its sound hole matches its floral pattern in a quite elegant and original way! To accessorize with a long white cotton dress, a wooden pearls necklace and a straw hat, bare feet recommended (German were the best hippies).



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Saturday, October 17, 2009

Wishnevsky Parlour Guitar

guitarz.blogspot.com:

Known primarily for his highly-individual one-off "rustic" basses, Steve Wishnevsky also builds the occasional guitar including this parlour-sized acoustic, the eBay auction for which is finishing later today.

I really like the way the guitar looks slightly unsymmetrical and "wonky". It looks handmade, but not in a bad way, but in more of an organic, back to basics, no-nonsense approach.

Despite its slight off-centre look, it is still a recognisable guitar design. It's not as wacky as his Banana Bass that we have previously seen on this blog.

G L Wilson

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Friday, October 16, 2009

Harmony Caribbean

guitarz.blogspot.com:
This distinctive and colourful-looking acoustic is a Harmony Caribbean dating from the 1950s.

I can't imagine it would be the best sounding acoustic guitar in the world. The rather bizarre Art Deco-esque metal strips screwed to the top would surely make it a rattley sounding instrument.

The seller freely admits that these guitars are often "softer on the eyes than the ears".

It's probably one for the collectors rather than players.

G L Wilson





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Thursday, October 15, 2009

Final Edition BabyBlues 1x10 Unique Plexiglass Cabinet

guitarz.blogspot.com:

I rarely post about amps on this blog (visually they are much less appealing than guitars), but I had to share this particular eBay listing for this Final Edition BabyBlues 1x10 Unique Plexiglass Cabinet with you.

It looks like it would be the perfect companion for my Sanox Sound Creator plexiglass "Strat" (scroll down to the 5th guitar pictured). Apparently, "it is loaded with a rare early 60's British Elac alnico 10 inch speaker and for tubes has one of each of these tubes, a 6L6, a12ax7 and a 5u4." (Sorry, I don't really understand this tube talk, as much as I love the sound of valve amps).

I am also reminded of this photo of 2-string bassist Stig Pedersen from D.A.D. with a bank of plexiglass speaker cabs behind him. Very cool!

G L Wilson

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Tuesday, October 13, 2009

Kindle Numbers: Traditional Publishing Vs. Self Publishing

I got quite a shock last week, when I got my bi-annual royalty statement.

Hyperion publishes six titles in my Jack Daniels series. They gave me my ebook figures.

Authors are usually quite secretive about their sales and their royalties.

Me? I'm spilling the beans. Here are my ebook Kindle numbers from Jan 1 to June 31, 2009.

Whiskey Sour priced at $3.96: 550 sales, $341 earned.

Bloody Mary priced at $7.99: 180 sales, $381 earned.

Rusty Nail priced at $7.99: 153 sales, $341 earned.

Dirty Martini priced at $6.39: 202 sales, $604 earned.

Fuzzy Navel
priced at $7.59: 152 sales, $341 earned.

That's 1237 ebooks sold in six months. Total money in JA's pocket: $2008.

Why do these numbers vary so much?

I get 25% of the amount received by the publisher. Depending on the deal my publisher makes with Amazon, that can be anywhere from 62 cents to $3 per ebook sold.

We can draw a simple conclusion looking at these sales: a $4 ebook sells 3 times as many copies as an $8 ebook.

Now lets compare these to my self-published Kindle sales. I'll use my four novels for comparison. This is also for a six month period.

The List priced at $1.99: 5142 sales, $3600 earned.

Origin priced at $1.99: 2619 sales, $1833 earned.

Disturb priced at $1.99: 1139 sales, $797 earned.

Shot of Tequila at $1.99: 900 sales, $630 earned.

That's 9800 ebooks sold in six months. Total money in JA's pocket: $6860.

I get 35% of the price I set on Kindle, or 70 cents per ebook download.

We can draw some simple conclusions looking at these numbers.

Ebooks priced at $4 sell an average of 1100 ebooks per year.

Ebooks priced at $8 sell an average of 342 ebooks per year.

Ebooks priced at $2 sell an average of 4900 ebooks per year.

It doesn't take a math whiz to see that the biggest profit is with low priced ebooks.

Now let's play the imagination game.

My five Hyperion ebooks (the sixth one came out in July so no royalties yet) each earn an average of $803 per year on Kindle.

My four self-pubbed Kindle novels each earn an average of $3430 per year.

If I had the rights to all six of my Hyperion books, and sold them on Kindle for $1.99, I'd be making $20,580 per year off of them, total, rather than $4818 a year off of them, total.

So, in other words, because Hyperion has my ebook rights, I'm losing $15,762 per year.

Now Hyperion also has my print rights, and my Jack Daniels books are still selling in print. But they aren't selling enough to make up the $15,762. Especially since all of them aren't regularly being stocked on bookstore shelves.

According to my math, I'd be making more money if my books were out of print, and I had my rights back.

Of course, there are a lot of different factors at play here. Certain titles are more popular than others. Print sales may fuel ebook sales. Ebooks sales may wane (though mine haven't yet.) Branding and name recognition and past customers and fans all come into play, making this damn confusing and far from conclusive.

That said, do I really want to keep signing deals with print publishers?

$3430 per ebook per year isn't really a big number. I've certainly never been paid so small an advance for a novel.

And yet, I'm 100% sure ebook sales are going to go up. I've signed deals with Smashwords to sell ebooks through Barnes and Noble, Apple to sell ebooks as iTunes apps for the Iphone and iPod Touch, and Sony to sell ebooks on their reader. Kindle was just released in 100 more countries. I predict more ebook sales in the near future.

Let's say by the end of 2010 I can make $5000 per year per ebook title by self publishing. I can easily write four books per year.

Again, $20,000 per year isn't enough to live on. But things begin to accumulate.

$20k per year for 4 new books, plus $20k per year for the books I'm already selling, is $40k per year.

But I'm selling more than novels on Kindle. I also have 6 collaborations and short story collections. This year I'm also going to put The Newbie's Guide to Publishing ebook on Kindle.

So now we're looking at 14 ebooks, each making $5k per year. That's $70,000 a year.

And as more people buy ereaders and ebooks, that number can go up. Plus, I publish on my schedule, I keep the profits, and best of all, the rights are 100% mine. So if I want to do a limited print edition, I can. If I want to sell the mass market paperback rights, I can.

Ebook rights began as gravy. I can picture a day when the print rights are the gravy, and authors make their living with ebooks.

Yes, it's still far off. And yes, print publishing is in no danger of going away anytime soon.

But I don't think I'll ever take a print contract for less than $30,000 per book, because I'm confident I could make more money on it over the course of six years than I could with a publisher over six years.

Isn't that bizarre?

For the bestselling author, this is all still very trivial. These numbers are chump change compared to the advances they get.

But for the midlist author, I'm beginning to think it's possible to make a living without print contracts.

I've struggled mightily to break into print. And I've made a nice chunk of change on my print novels.

Now I'm hoping those novels go out of print, so I can get my rights back.

I never would have guessed my mindset would change so dramatically in so short a time.

DISCLAIMER: YOUR MILEAGE MAY VARY

If you're a new author, reading this and thinking about the fame and fortune you'll make on ebooks, I urge you to try the traditional route first. Find an agent. Land a deal with a big NY house. Ebooks aren't there yet.

I'd hate to think some writer gave up on their print aspirations because of something I've said on my blog. I suggest you keep up the agent search, and hold out for that major deal. While I have no doubt others will be able to sell as many ebooks as I have, and probably many more, I still haven't made anywhere near the money I've made by being in print. Plus, everyone's situation is unique, and no writer should compare themselves to any other writer.

Most of all, don't change the future of your career based on one man's ideas. Learn as much as you can about all of your options, do research, get other opinions.

Shadow violin guitar

shadow guitar

You remember the German jazz guitars website? Well now you have the opportunity - if you have a few grands to spare - to buy one of the coolest guitar ever, that is extensively described on this site: the Shadow violin guitar is on sale on eBay!

I take the opportunity to give two links that are in the comments of the Jazzgitarren post, for those interested in continental European guitars: schlaggitarren.de & euroguitars.co.uk




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Monday, October 12, 2009

Celtic Frost plays Ibanez Iceman


Another following to my Ibanez Iceman post. A while ago I found this enjoyable video of former death metal pioneer band Celtic Frost, surprisingly not ridiculous like most metal productions, musically simple, sharp and honest, carrying genuine emotions and expressing real issues - not just busy trying to scare parents to sell to teenagers.

In this video, you can see two Iceman guitars (Icemen?), a white one and a Giger custom, fitting perfectly with the right amount of theatricality, on the right side of the edge. About the sound, I couldn't tell since what you can listen to on computer speakers - and even worse playing a Youtube video -, is anyway so blur that it could be a 100 € made in Indonesia beginner guitar set and sound the same.



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Unknown bass - any ideas?

guitarz.blogspot.com:
This bass is one that I assembled from parts in 1990 (if I remember correctly). Most of the parts were bought from Brandoni guitars who bought up a lot of old Eko and Vox stock from Italy.

It's a through neck body with multi-laminates as was popular in the 1980s. When I bought the body/neck it was very roughly finished, and hadn't even been routed for the electrics. I sanded it until it was nice and smooth and oil finished it using Ronseal's All In One.

The P and J pickups were selected via a push/pull function on the single volume knob. Unfortunately, this set up didn't let me have the option of both pickups at once. There was no tone control because I don't like them.

I don't recall what the tuners where, but they were good quality and only cost me 50p each because I knew the guy who served me in the music shop!

Anyway, does anyone know what this bass is? I have seen other examples on occasion, but these have looked to have been custom finished instruments too (also bought from Brandoni, perhaps?).

I think it is most likely that it is an Eko, but does anyone know for sure? I'd like to see what the proper finished version of the bass looked like.

By the way, I no longer have this bass. I sold it a few years ago on eBay because I wanted to switch back to playing fretless again.

G L Wilson

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Sunday, October 11, 2009

Gretsch Astro Jet

gretsch astro jet
OK, this is not a new topic here, but what if Gibson never reissued the Explorer or the Flying V after their selling failures in the late 50s? The universe would be bleaker, and cosmic entropy would win sooner, since human creativity is the only anti-entropic force (as far as we know)...

So why did Gretsch gave up the Astro-Jet so quickly when it didn't become an instant hit in 1965? The guitar was anyway supposed to be controversial, since it was a clear effort to take distance with the old-school rock'n'roll hollow-bodies that made Gretsch famous - distance at least with the design, since the sound was to keep Gretsch standards! So why not assuming the slow start and give it time?

Simple like a classic, though twisted according to American aesthetics of the time (in Italy this guitar would have been just another one), it could have been one of the few designs that defines this part of modernity embodied by rock music and electric guitars.

You can find a nice review about the Astro Jet on VintageGuitar.com.

Bertram


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Thursday, October 8, 2009

Yamaha's coolest guitar designs : SGV & SG-2C

yamaha sgv300 | sg3a

Another extremely lovable Japanese guitar is the Yamaha SGV-300 (the blue one). It's usually credited as a surf guitar, but if I'd play one (when I play one, soon enough I hope), my music would have nothing to do with surf music - I hardly know what surf music is, and the little I know comes from Tarentino's soundtracks - and again I don't understand why a specific guitar design should influence the style of music one would play on it! Anyway, when plugged in a couple of fuzzboxes and a Metal Zone, any guitar is suitable for extreme noise.

Couldn't resist to show its bizarre cousin the Yamaha SG-2C, also from the late 60s, not so sexy and sharp, but still an interesting design - that actually works better on the bass model (SB-2C). The SGV and the SG-2C share this great headstock, both elegant and ergonomic - I'm always surprised that it didn't have a bigger legacy...

Contrarily to the SGV, this guitar was never reissued and is not so easily found, I was happy to find this great Japanese webpage that show an incredible collection of vintage guitars, a. o. several models of Tokai Hummingbirds (that answers my interrogation about the upside-down Hummingbird, actually a regular model).

And since I talk about websites, I advise you to have a look at the Guitar Garage, a blog about guitar repair and refinish, with not only nice pictures of vintage models but their whole rejuvenating process extensively documented, very interesting indeed, it's worth taking the time to explore it all.



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Wednesday, October 7, 2009

Ibanez Iceman in natural finish

Ibanez Iceman

A couple of months ago I stated in a post about I don't remember what guitar, that any guitar with an eccentric design should be given the opportunity to exist in natural finish to be appreciated for its line only and not some fancy finish what would much likely spoil it.

Well have a look at that beautiful 2003 Ibanez Iceman IC200, one of the best design of Japanese guitars, on the top on my GAS list of dream guitars... It's mostly known in tasteful black or white (and also, contrarily to what I just said before, with a very cool H.R. Giger biomechanical custom paint) and it's the first time I see it in natural brown finish, and it really works!

Just for this guitar (and a couple of semi-hollows), Ibanez stays a great brand, even after two decades of JEMs.



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Working With a Publicist by Rebecca York

Full disclosure. I've never hired a publicist. My two main reasons--being cheap and thinking I could do it all myself--aren't really valid, because I frankly never looked deeply into the subject.

When I asked writer Rebecca York about her experiences, this was her response:

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There was a time when an author could sit back in her comfortable office and focus on the word processor. Her job was writing the best book she could. Her publisher’s job was printing, publicizing and distributing her book. But things have changed dramatically over the past few years. Today a writer’s also got to do something about publicity, or her book is likely to get lost in the great sea of publications that come out every month.

I’d love the luxury of simply sitting and writing. And give a few lectures a year to enthusiastic audiences. But how are readers going to know I’ve got a book out? Unless they’re poring through future pub lists, I need to let them know they can get the next exciting book in my werewolf series in–October. And hopefully I can also interest some new readers in my work.

A full-blown promotion effort is a lot of work–more than I can do myself. Which is why I’ve hired several people to help me. My latest release is DRAGON MOON, which came out from Berkley on October 6. The heroine is Kenna, a slave from my alternate universe, sent here to help her ruthless dragon-shifter master invade our world. She meets werewolf Talon Marshall and desperately wants to tell him her frightening secret. But every time she tries to reveal her plight, excruciating pains stab into her head. Even as Kenna and Talon fall in love, he can’t trust her. And she struggles to break through the barriers that control her mind. It’s classic romantic suspense, with the paranormal twists I love.

But how do I tell people about the book? I’ve got several strategies, with three different "publicists" who each bring something to my book promotion.

For years I’ve used Binnie Syril Braunstein of Press Kit Communications. I met her because she lives in my local area. Mainly she makes and sends out ARCs of my single-title Berkley releases to readers’ groups and review sites. And recently, to save money, I asked her to send out "teasers" to some of these groups. The teasers were the first seven chapters of DRAGON MOON, and we got a good response from them. Also, some of the review sites have asked me for interviews. Another thing we tried with this book was offering to give away ARCs to people who would post reviews of DRAGON MOON. Again, this got a great response.

Another key part of my marketing plan for DRAGON MOON involves Circle of Seven Productions. I’ve had them produce a book trailer for the past five of my Berkley single-title releases. This time I also bought a special package they offered in conjunction with Between Your Sheets, a weekly e-newsletter that goes out to readers. (I’m one of the participating authors.) Although COS isn’t strictly a publicist, they do a lot of the same things. They made a great video for DRAGON MOON which you can see on my Web site at www.rebeccayork.com They distributed it to a lot of outlets on the Web including Youtube.

And the video will also be playing on television stations in Northern California. The special deal with them also included a review, blog entries, Tweets about the video that drove traffic to my Web site, and a podcast. (Which became two podcasts!)

But I was looking for more exposure. For DRAGON MOON, I added another publicist, Dana Kaye, recommended by a friend. Dana’s got media savvy and some great contacts. She’s filled in the blanks in my book promotion strategy by sending a DRAGON MOON press kit to various newspapers, magazines, blogs, radio and television shows. As a result of her work, I’m now writing this guest blog entry. She’s also set up a podcast for me as well as several other blogs and articles. And she’s following up on these contacts.

In addition, Dana’s helped me with some other aspects of publicity that I hadn’t used effectively. She linked my Tweets to my Facebook page, made a background for my Twitter page, started me a Facebook fan page, and advises me on my Web presence.

All of the above seems to be working for me. I’m getting a lot of visibility, and I’m not spending a fortune, either. One thing I discovered after doing several book videos with COS is that the shorter ones are probably the most effective. So I’m buying their least expensive products and taking advantage of their media presence. Also, both Binnie and Dana give me excellent value for my money.

In the quest for effective promotion, I’ve learned from my past experiences. Two years ago I hired an expensive publicist and was much less pleased with the relationship. She charged me for her time while she had me paying third-party suppliers for various projects like my Web pages and press kit. Unfortunately, she had a bad habit of getting into disagreements with her suppliers, costing me extra money and sometimes leaving me with not-quite-completed work.

If you’re looking for help with your publicity, find out up front what the publicist will do for you and how much it’s going to cost. Be prepared to be a partner with your publicist. She should listen to your ideas and use them if they make sense. Keep in mind that the most expensive services aren’t necessarily going to be the best for you. And be open to opportunities you might not have considered on your own.

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If you have any questions for Rebecca, post them and I'm sure she'll reply.

If you'd like to see her press kit for DRAGON MOON, if posted it HERE.