Wednesday, March 31, 2010

March Kindle Sales Top $4200 and 5850 Ebooks

As of 11pm March 31, I made over $4200 on Kindle this month. That's over 5850 ebooks sold in just under four and a half weeks.

Here's the screen shot. It doesn't include the money earned on FLOATERS and SERIAL UNCUT, which are listed on Amazon by my co-writers Henry Perez and Blake Crouch.

I'm pretty surprised by this number. And it has lead me to some startling conclusions.

Back in October
, I looked at my ebook sales and said I'd never sell a book to a publisher for less than $30,000.

I've revised that a bit. I added a "1". My new number is $130,000.

This actually isn't as outrageous as it seems. Let me break it down.

Of my five best selling Kindle titles, four are original novels, and one (the novella TRUCK STOP) was written expressly for Kindle. Their average unit sales for this month were 880.

In June, Amazon is switching to the agency model, which means ebooks priced between $2.99 and $9.99 will earn the author a 70% royalty, minus a 6 cent delivery fee. Instead of making 70 cents per ebook sale like I'm currently doing, I can make $2.04 per sale.

If I put an original ebook novel on Kindle, going by my current average sales, I'd earn about $1800 a month on that title, or $21,600 per year.

That means, in six years, keeping my erights and steadily selling on Kindle alone, a single title could earn $129,600.

My first novel, Whiskey Sour, came out six years ago. During that time it has appeared in hardcover, and has had multiple editions in paperback. It has sold to ten countries. It's been an audiobook on cassette, CD, mp3, and download. It has also been an ebook, released by my publisher.

I've earned, with everything combined, around $50,000 on Whiskey Sour.

I think my royalties on Whiskey Sour are pretty good for a midlist author. The fact that it is still earning money six years later is rare, especially when I look at many of my peers who were also published in 2004 and are now out of print.

And yet, it's less than half of what I predict I can do releasing a Kindle-only title.

Of course, Kindle sales aren't a sure thing, even though mine have been steadily rising. Sales could begin to drop. The Kindle may become obsolete, like so many other technologies.

But my prediction for the future is I'll actually sell MORE ebooks than I expect, not less. I base these predictions on the trends I've seen in the industry, coupled with my own experiments. I've been blogging about Kindle for a year now, and my current numbers have exceeded my wildest expectations from back then.

And Kindle may be just the beginning.

My ebooks aren't up on Sony yet. They were just recently put up on Barnes and Noble. And naturally, I'll also sell my ebooks on the iPad. That's all extra income.

Plus, I believe the Kindle hasn't come close to critical mass yet. Over the next few years, the Kindle will get better, come down in price, and sell a lot more units.

Not only that, but I should still be able to exploit non-ebook rights. I could still sell print rights for novels, and audio rights, and foreign rights, and movie rights. I'm only talking about ebook sales here. And it makes no sense to give them to a publisher.

Let me repeat myself, because I've spoken with a lot of my peers who don't seem to grasp this point.

IT MAKES NO SENSE TO GIVE YOUR EBOOK RIGHTS TO A PUBLISHER.

Now there's always a chance my sales might drop if I raise my prices from $1.99 to $2.99. But I've been thinking about this a lot, and here is what I foresee:

1. The ebooks that my publishers own the rights to are priced between $4.70 and $9.99, and they're all doing well because readers are getting hooked on my $1.99 books and then buying the more expensive titles. I know this for two reasons. First, because my traditionally published ebooks didn't spike until I started getting popular with my self-published cheap ebooks. Second, because I've gotten dozens of emails from readers telling me that's what they did.

2. As an experiment, I raised one of my ebooks to $4.99. It made more money this month, even though it sold fewer copies, than last month at $1.99. And this is without the new agency royalty rate. Even if my sales dip, I'll still be more than doubling my current profits.

3. The difference between $1.99 and $2.99 isn't that big a deal, especially in comparison to what the major publishers are pricing at. Once the agency model takes hold, Big NY Publishing is going to sell ebooks at $12.99. I predict fewer sales for Big NY Authors, more for indie authors, even if we go up to $2.99.

4. If enough indie authors go up to $2.99, then it's the new bargain rate.

I've been part of the traditional publishing world for over a decade, and what's happening right now with ebooks is unprecedented. Not only do authors have a chance to directly reach a large pool of readers for the first time in history, but NY Publishing is so short-sighted they're making it easy for us to compete with them.

My ebook THE LIST has sold 12,000 copies in a year. At the agency rate, that's over $24k annually, assuming my numbers stay the same.

But I don't think they'll stay the same. I think my sales numbers will continue to go up, even when I raise the price to $2.99. Ereaders haven't hit their stride yet.

So if I were to take an original J.A. Konrath or Jack Kilborn novel and put it on Kindle, I believe $130,000 in six years is a modest prediction.

If I also take into account Sony, B&N, the iPad, and print, audio, and foreign rights, I can see $130,000 being just a starting point for the money one of my novels can earn.

Of course, that's my prediction for 2016. How about my predictions for 2010?

Let's say I put two original ebook novels on Kindle this year, and they sell on average as well as my top five best sellers.

That means I'll be selling 7560 ebooks per month. I'll err to the side of caution and say my sales drop off 25% because I'm raising the price to $2.99. That would mean I'd be selling 5670 ebooks a month. At $2.04 profit per download, that's still $11680 a month.

So between June 1 and December 31, I'm looking to earn $81,761 on Kindle alone. And that's being a pessimist.

If I take the optimist route, I'll assume my numbers won't drop off, they'll escalate, as they have in the past. Especially if I offer new, exclusive titles. Perhaps I'll sell 8000 ebooks per month. That would mean from June to December, I'd earn $114,240.

Being even more optimistic, I'll also put up another novella on Kindle, as well as the Newbie's Guide to Publishing ebook (over 360,000 words of writing advice.) And people will continue to buy Kindles. So let's really dream big and guesstimate I can eek out 9,000 sales a month.

That puts me at $128,520 for a seven month period. For just Kindle.

The shocking thing about this is that it isn't a pipe dream. It's entirely within the realm of possibility.

Is everyone reading this thinking "holy shit" just like I am?

Astro Cows!

guitarz.blogspot.com:
I can only assume that when the "Astro Cows" inlay work for this Les Paul-style guitar was designed, the inspiration was the old children's nursery rhyme: "Hey diddle diddle / The cat and the fiddle / The cow jumped over the moon / The little dog laughed to see such fun / And the dish ran away with the spoon", and in particular the line about the cow jumping over the moon.

For more inlay overload see: www.mandoharp.com

Thanks Biliby for that one!

G L Wilson

Guitarz - The Original Guitar Blog - now in its 9th year!

Tuesday, March 30, 2010

Eko model 1100 bass in gold champagne sparkle

guitarz.blogspot.com:
This 1960s-era Eko bass is absolutely gorgeous, if a little over-the-top in the bling department. But then, glitter and pearloid and pushbuttons is what you expect from a beat boom-period Italian guitar or bass, surely?

Just look at the photo of the pickguard with its multi-coloured edging detail. It really is a fantastic looking instrument, and I have to confess as I am writing this that I am very tempted to bid. Actually, I'm going to schedule this post to appear when the auction has ended, because I don't want to bring this bass to your attention and then have one of you guys outbid me!

Click here for a lot more photos.

G L Wilson

Guitarz - The Original Guitar Blog - now in its 9th year!

G L Stiles electric guitar

guitarz.blogspot.com:
I confess that I had not heard of the luthier Gilbert Lee Stiles before I saw the above-pictured guitar for sale on eBay. Apparently he built a series of one-off guitars from his workshop in Florida throughout the 1960s and 70s. I do like this Bigsby B5-equipped guitar which has several interesting features such as the scrolled body horns and the intricately-shaped headstock. The fingerboard inlays too are quite individually distinctive. The guitar also features a pair of DeArmond pickups and Kluson tuners.

I wonder how this little-known American guitar ended up in Cheshire, England?

G L Wilson

Guitarz - The Original Guitar Blog - now in its 9th year!

Grand Suzuki Explorer

guitarz.blogspot.com:
Uh-oh! The pointy guitars are back - and this isn't even Bertram posting this time!

In fact, this is an appeal for information on the brand Grand Suzuki. I'll let the owner of the guitar pictured here, Thomas Silver, explain:
"Hi, I follow your blog and I just want to show you this Explorer I got some time ago. It was refinished in EVH when I got it so I dont know the original look. I just had to remove a little on the headstock and there: Grand Suzuki?

I've been playing and collecting for a long long time and I like to think that I've seen it all! No, not really. But this blew me away!

If you have any info, please let me know. I have searched the net like crazy. It sound awesome and have the fattest neck ever! Correct weight. Strange knob positioning - too close to each other.

Many thanks
Thomas Silver"
Well, I'm aware of the Japanese Suzuki brand, although to the best of my knowledge they made violins and acoustic guitars. I suppose it's possible that Grand Suzuki was a related brand, perhaps created for electric guitars. Just curious, Thomas, is is a set-neck or a bolt-on?

G L Wilson

Guitarz - The Original Guitar Blog - now in its 9th year!

Monday, March 29, 2010

"Rhino" headless guitar by Jeffrey Schreckengost

guitarz.blogspot.com:
The guitar pictured above is a headless hollow instrument which uses a knot in the wood to form the soundhole. Called the Rhino, it is one of a number of guitars built by artist Jeffrey Schreckengost. You'll see if you click through on that link that he's built some other weird and wonderfully eccentric guitars including a shortscale 2-string fretless bass and a five-string baritone guitar.

The Rhino was built for David Kuzy, guitarist of noise rock ensemble Microwaves, who says about the guitar:
"I think the dark wood is walnut. The lighter wood looks like mahogany, but I am not sure. The neck came from a Squier Tele that I bought at a flea market.

"The fit and finish isn't as nice as some fancier guitars I own (Teuffel/Scott French) but it is definitely playable and a lot of fun. There is no volume control, just a momentary on/off switch.

"I didn't know this guitar was being built for me, I went to an art opening Jeff has with his wife, featuring his guitars and her photos, and he told me he was giving it to him in return for a bunch of random parts I had given him over the years."
Thanks for sharing that with us, David. It's just the sort of oddball instrument that we enjoy looking at here at Guitarz.

G L Wilson

Guitarz - The Original Guitar Blog - now in its 9th year!

Johnson Guitars USA Chicago Tommy Gun guitar

guitarz.blogspot.com:

There something exceedingly tasteless about a guitar shaped like a gun, not to mention that it's the most appalling cliché. There's always some smart arse who comes up with the idea of a gun-shaped guitar as if it's never been seen before. It's a bit like the jokers who believe they are the very embodiment of wit and the first person to have ever thought of such a prank when they list an "air guitar" on eBay. Yawn...

This Tommy Gun guitar from Johnson Guitars looks to be a cumbersome beast. Note the pickup selector switch as trigger. Even that's not an original idea - see the Colt Peacemaker which has more detailed finishing touchs, although it's equally as obscene as this guitar.

G L Wilson

Guitarz - The Original Guitar Blog - now in its 9th year!

A Writer Looks At 40

As I finish my fourth decade, I'm taking a self-indulgent moment to reflect and dwell on what brought me to this point in my writing career.

1970 - Born. No star in the sky. No manger. Mom certainly wasn't a virgin. But I was born on Easter Sunday.

1978 - Put together a crude collection of drawings called Crappy Cartoons, staple-bound, thirty pages long.

1980 - Am taken out of my grammar school and placed in a two-year accelerated program for gifted kids. Write short stories that are ten times longer than my peers', but don't win any Young Authors contests.

1982 - Begin writing in class during lecture periods, passing stories back and forth to my friends while the teachers aren't looking. Over the next few years this collection of jokes and cartoons grows to more than 1000 pages long.

1983 - At my friend Jim Coursey's house, I'm playing with his Apple IIe and am amazed a typewriter can actually save text. We write a parody private eye story, featuring a sleazy detective named Harry McGlade.

1985 - Convinced I'll someday be a filmmaker, I get a video camera for Christmas. I shoot many movies of the neighborhood kids, being humorously hacked to death by masked maniacs. Visit the butcher shop for organs, and use pumps and tubes for blood squirting.

1987 - Get my first word processor for my birthday, a Brother. Begin writing a lot of short stories, many featuring Harry McGlade. Also write a play for the school's synchonized swimming team (?!) and it's performed for three nights. I play the villain. And no, I don't get in the pool.

1988 Part 1 - Graduate high school as part of a rap trio called The White Suburban Boys. We may actually have been the first white rappers. I write and perform over ten funny rap songs about white middle class suburban life, and we get a small cult following. Voted Class Clown of '88.

1988 Part 2 - Take my first real creative writing class in Columbia College in Chicago. Get a C. But I get an A in Film Tech, and my movie INVADER is shown at some local Chicago festivals. You can watch it, and some of my other early movies, HERE. I also get my first rejection letter, from Playboy, for a Harry McGlade Story.

1989 - Take more creative writing classes. Get more Cs. But I'm writing in earnest, lots of short stories in many genres. Also write and perform in an improv comedy show called The Caravan O'Laughs.

1990 - Write three screenplays, go to LA for two weeks, not knowing anyone, knocking on agents doors and trying to get my scripts seen. Get meetings with half a dozen film agents, but no one calls back.

1991 - Switch my college major from film to TV, thinking it will be easier to get work. Now have four book-length collections of short stories, which I print and bind at Kinko's and charge my friends $15 each for.

1992 - Graduate college, and can't find a TV job. Begin series of part time jobs to support myself, while working on my first novel. I finish it in three months. It's called DEAD ON MY FEET, about a guy dying of cancer. His name is Phineas Troutt. His walking death sentence leads him to a life of crime. Cameos by Harry McGlade, and a Chicago cop named Jack Daniels.

1993 - Find an agent who loves DEAD ON MY FEET. Write another novel, with Jack Daniels as the hero, called THE GINGERBREAD MAN. Give that to my agent.

1994 - In 18 months, my agent only shows my books to 2 publishers. I fire him, and start racking up rejections.

1995 - Write a third thriller called THREE WAY. Get a hundred rejections.

1996 - Write a fourth thriller called THE LADYKILLER. Get a hundred rejections.

1997 -Write a fifth thriller called EVERYBODY DIES. Get a hundred rejections.

1998 - Write a sixth thriller called SHOT OF TEQUILA. Almost land an agent, who likes it a lot but thinks it's too hardboiled. I'm now up to over 450 rejections.

1999 - Write a technothriller called ORIGIN. Land an agent. :)

2000 - My agent can't sell ORIGIN. Begin work on another technothriller.

2001 - Finish my thriller THE LIST. Agent can't sell it. I now have had more than five hundred rejections. Begin work on a medical thriller.

2002 - Finish my thriller DISTURB. Agent hates it, won't rep it. I dig out my old mystery novel THE GINGERBREAD MAN, and rewrite it from the first page to the last. Studying the mystery market, I decide to change Jack Daniels from a man into a woman, and release it under the unisex "J.A. Konrath." I also use Harry McGlade and Phineas Troutt as supporting characters.

2003 - WHISKEY SOUR sells in a three book deal worth $110,000. It's enough for me to write full time.

2004 - WHISKEY SOUR comes out. I buy my first computer, and begin to learn all I can about the publishing industry to figure out how I can succeed. Begin to experiment with self promotion on the Internet, and in person. I rewrite THE LADYKILLER, turning it into BLOODY MARY. I start selling short stories in earnest, making my first big sale to Ellery Queen.

2005 -Start a blog called A Newbie's Guide to Publishing, to share what I've learned about the industry. My publisher sends me to a warehouse, where I sign 3500 copies of my books. They also send me on a West Coast tour, to six cities. I use a rental car, and do drop-in signings at more than 120 stores. I write RUSTY NAIL, and begin to teach writing and marketing at a local community college. I sign a second three book deal with Hyperion, for $125,000. I also edit and sell an anthology called THESE GUNS FOR HIRE.

2006 -To promote RUSTY NAIL, I visit 612 bookstores in 29 states. I write DIRTY MARTINI. I begin giving away ebooks of my early, unsold novels on my website. I also continue to sell short stories and write articles for Writer's Digest.

2007 - Write FUZZY NAVEL. My publisher decides not to tour me. I continue to self-promote as much as I can afford. I rewrite ORIGIN and ask my agent to shop it around. It gets rejected by everybody. I write an action screenplay called THE SITE. No takers. You can read THE SITE for free HERE.

2008 - Write CHERRY BOMB, and a horror novel called AFRAID. Hyperion decides to drop their mystery line, me included, even though my first three novels have earned out their advance. My Italian publisher flies me to Italy to tour me. It takes my agent six months to sell AFRAID, in a two book deal for only $20k per book. My agent shops around a proposal for a seventh Jack Daniels novel. No takers. I'm worried about my career, even though my blog and website reach more than 1 million hits.

2009 - Do a blog tour to promote AFRAID, appearing on a hundred blogs in a month. Then I do a regular tour, signing at 200 bookstores. Kindle owners ask me to put my free ebook downloads on Amazon, since they can't convert pdfs. Amazon won't let me put them up for free, so I charge $1.99. They start selling like crazy. By the end of the year, my rejected novels ORIGIN, THE LIST, SHOT OF TEQUILA, DISTURB, and my previously published short stories have sold 27,000 copies, and are paying my rent. My free kindle story SERIAL, written with Blake Crouch, is downloaded over 200,000 times.

AFRAID earns out its advance on its first royalty statement. I write TRAPPED, the sequel. My editors don't like it. I rewrite it from the ground up, and the still don't like it. I write a sci-fi novel called TIMECASTER and sell it and a sequel to Ace for an embarrassingly small amount of money because I'm so worried about my future.

2010 - Write another Jack Kilborn novel, called ENDURANCE. My editors want changes. I refuse to make them. We're now deciding how to proceed. I also sign a three book deal with a bestselling author to co-write three thrillers. The deal will earn me more than 1 million dollars. Can't reveal the details yet. The seventh Jack Daniels novel, SHAKEN, is now in the contract phase with a terrific publisher. Can't reveal the details yet. But things are certainly looking up.

Final stats:
  • By March, I've sold over 35,000 ebooks in just a year.
  • Google "jakonrath.blogspot.com" and you'll get over 300,000 hits.
  • I currently have seven books in print, in eleven different countries, to the tune of several hundred thousand copies.
  • I've sold over seventy short stories and articles to magazines and anthologies.
  • I've sold two film options on my works.
  • I've mailed out 7000 promotional letters to libraries, and signed at more than 1200 bookstores in 39 states.
  • My Jack Daniels series, which my publisher dropped, is among their top 50 bestselling titles on Kindle.
  • In the next 18-24 months, I'll have six novels coming out, possibly more.
  • I'm now making $4k a month on Kindle. When Amazon switches to the agency model in June, I expect to be making $10k.
I still have goals. Still have dreams. But I'm in a very good position right now.

I finally have enough money to ease up on all the non-stop self promotion.

I've met a lot of great people. Made a lot of good friends.

Looking back on all the ups and down, successes and failures, near-misses and lucky breaks, I realize something...

I'm happy. I may be the happiest damn person on the planet.

So how am I going to spend today, my 40th birthday?

I could spend it celebrating the terrific ride I've had so far.

I could spend it worrying about the future.

I could spend it regretting the many mistakes I've made and failures I've had.

I could spend it patting myself on the back for a job well done.

But I'm not going to do any of those things.

Instead, I'm going to spend the day with my one true love. The one thing that has kept me going through the good and the bad, the ups and the downs.

Today, I'm writing.

I'm actually going to put words on a page, and get paid for those words. And I'm going to love every goddamn minute of it.

After all, who else is lucky enough to do what they love for a living?

Then later tonight, I'm getting plastered and jumping the wife. ;)

Sunday, March 28, 2010

Rickerbacker 4001FL fretless bass from 1976

guitarz.blogspot.com:
Here's another 1970s vintage fretless bass that the collectors wouldn't want me to "spoil" with roundwound strings (see previous post).

It's a Rickenbacker 4001FL in "autumnglo" finish and is on eBay right now with a Buy It Now price of $3200, so all Rickenbacker collectors can breathe a sigh of relief - I'm not going to be buying it any time soon.

Guitarz - The Original Guitar Blog - now in its 9th year!

Fender Precision Bass with fretless maple neck from 1978

guitarz.blogspot.com:
This fretless Fender Precision Bass from 1978 is a thing of beauty, and I'm saying that even as a non-fan of sunburst finishes. However, I always do a double take when I see a fretless bass with a maple fingerboard instead of the more usual rosewood or preferably ebony. It looks totally weird to my eyes, which isn't to say that it's unattractive.

I think I'd upset a few Fender collectors if I ever got my paws on a bass such as this because the very first thing I'd do would be to rip off the dreadful flatwound strings that people insist on putting on fretless basses and replace them with proper roundwounds.

I know WHY fretless basses got saddled with flatwounds - it's so as not to mark the fingerboard. However, they totally kill the tone. Put roundwounds on and the bass will sing and sound glorious. I'd rather have a bit of fingerboard wear rather than a bass that sounds dead.

G L Wilson

Guitarz - The Original Guitar Blog - now in its 9th year!

1970 Antoria 2358R (Epiphone Al Caiola pre-lawsuit copy)

fujigen antoria

This Antoria 2358R is not only a pure beauty, it is also a complicated story.

The original model is an Epiphone signature guitar designed in 1963 for jazz musician Al Caiola (who sided the greatest such as Frank  Sinatra or Buddy Holly). In 1970, Ibanez issued a quite accurate copy - that's what they were doing at the time, before they started to get sued by Gibson - but the FujiGen Gakki factory that worked for Ibanez also made the same guitar for the UK brand Antoria.

This guitar is remarkable for being a thin full hollow-body E-335 without F-holes - this being being aimed at reducing feedback - similar to the B.B. King Lucille signature model Gibson released in 1983. I like the FujiGen Gakki model better for its curved control plate being further back an smaller than on the Epiphone, but the big round scratchplate is a little bit bizzare.

bertram

Guitarz - The Original Guitar Blog - now in its 9th year!

Friday, March 26, 2010

1979 Martin EM-18

Martin EM-18

A few weeks ago someone asked about the connections between his Goya and the Martin solid bodies ; to complete the answers made then, here is the short-lived genuine Martin EM-18

It never really took, so Martin resumed making acoustic guitars in 1983 and ever since.

bertram

Guitarz - The Original Guitar Blog - now in its 9th year!

Moridira Hurricane EXB-01 Bass

guitarz.blogspot.com:
Tyler Beard has been in touch again:
Well, after my Futura, I realized I had something else you might like! I have included decent pics this time!

Anyhow, got this for $90 at a local Pawn Shop. I have searched, and have found little reliable info: Produced in the 80s, predecessor to Morris Guitars, made in Japan and/or Korea, and 80s speed metal band Cacophony (featuring Marty Friedman) used Hurricane guitars for a bit.

What I can tell you, is that this is a really good and solid bass. The tuners are Gotohs, and stock as far as I can find out. They definitely don't let you down, holds tune very well. And trust me when I say that, I play with an aggressive fingerstyle just short of tearing the bass apart, haha.

The neck has a Jazz Bass feel, with a good taper and it's pretty thin. The neck is maple, so far as I know, and finished to match the body, as you can see. The fretboard is rosewood with small dot inlays. The body, though, is plywood. Luckily, plywood is not synonymous with junk. Pretty thick finish on it, to hide the plywood, I suppose. But the body material is easily made up for. The pickup, although with low output (although it seems like it's just my amp for some reason), has a very nice sound, and is pretty versatile for a P-style. The pots are full size, which surprised me. I need to clean them, as they are pretty dirty and have a tendency to cut out (volume). Pretty high pickguard, weird shape too, like someone did a good freehand. Same with body. Like a warped P-bass. The bridge is just the factory one, nothing bad but nothing special. For $90, I can't complain, not bad. Has that 80s look and it starts a conversation, as no one seems to recognize it. Any readers who have info can contact me.

Thanks again, hope you like!
~Tyler
(Apologies for the weird "cut & paste" Photoshop effort above - I was trying to fit as much into one image as possible.)

Looking at the body shape, I am reminded of the Fender Mustang, but the pickup and pickguard are more Precision-like and the narrow neck is more Jazz Bass-like. Looks like it is long-scale, and not short-scale like the Mustang. The logo on the Aria-like headstock is very oddly positioned with a string retainer right in the middle of it. I wonder if that was added later?

It's an interesting bass - thanks for sharing it with us.

G L Wilson

Guitarz - The Original Guitar Blog - now in its 9th year!

Thursday, March 25, 2010

70s Musima Eterna

Musima EternaLadies and Gentlemen, I'm proud and delighted to introduce you to my very own Musima Eterna, a guitar I bought a few days ago and received this morning! I've been trying for a while to acquire an East-German vintage guitar, and I finally succeeded, with the best model I could dream of - you may remember that I actually posted here about this guitar last summer.

I'm really not disappointed, and firstly, contrary to things I could read here and there, the sound is pretty cool. I've never played a guitar with 3 single coils (no, I've never played a strat!), so the sound is very new for me. The output is actually too high, and I think that sooner or later I'll slightly modify the electronics (I have no problem with upgrading a vintage guitar, I also already plan to change the tuner heads that are made of cheap plastic) to make it playable on modern amps.

The neck is big and round, but comfortable for me since I've been a classical guitar player and still play a nylon strings guitar, and it's quite good for soulful blues. There are two volume knobs and two rotating switches, I still have to figure how it works but two positions give nice bass sounds. Actually, without effects, the sound is really clear and balanced, when a distortion bring more confusion, but I still have to play it with my regular amp to be sure.

There is one of these huge old school tremolo, but unfortunately I don't have the arm, that looks like a Jaguar one, I think that I can manage to find one. There is a strange device that is probably a mute system, but it's not set and a little bit rusted, i'll have to soak it and the whole bridge in coca-cola (that's how we use it in Europe, also to heal stomac flu) to clean it and see how it really works.

The fretboard inlays are simple and original, and there is a pearloid binding on the neck and headstock. The chrome parts look their age, I intend to clean them intensively and rejuvenate the guitar as much as possible, and to put it on stage very soon!



Guitarz - The Original Guitar Blog - now in its 9th year!

Captain Sensible's cricket bat guitar

guitarz.blogspot.com:

When I saw Colin Flint's Cricket Bat Guitar on eBay a few days ago, I immediately thought that it might be the same instrument as used by The Damned's Captain Sensible back in the mid 1980s.

However, I emailed Colin Flint and he told me that he did not build Captain's cricket bat guitar (he hadn't even been aware of it), although coincidentally it also has a Telecaster neck. The body, in this case, is flat and not contoured in the right places like a real cricket bat, and is more than likely just a cricket bat-shaped guitar rather than a guitar made out of an actual cricket bat.

Captain Sensible is known to have used this guitar on stage with The Damned, including on one notable occasion at Brockwell park when he used it as an actual bat to hit baked potatoes that were being thrown at the stage. (The mind boggles... but then Damned gigs did have a repuation for being chaotic!)

Captain gave this guitar away as a prize on the BBC1 Saturday morning TV show "Saturday Superstore". If you were the lucky winner or if anyone out there knows of this guitar's whereabouts now, we'd love to hear from you!

G L Wilson

Guitarz - The Original Guitar Blog - now in its 9th year!

Home-made violin bass

guitarz.blogspot.com:

This home-made violin bass is currently being offered for sale on Craigs List. The seller obviously wants to claim that it is an instrument of great vintage and optimistically labels it as being from the 40s or 50s.

Well, seeing as it uses Danelectro parts - witness the dolphin-nosed Danelectro headstock and the lipstick tube pickup - and Danelectro didn't actually come into being until 1954, he can certainly forget about the 1940s. That is just impossible.

A Danelectro expert might be able to date the dolphin-nose headstock design for us, but I actually suspect that this bass was thrown together in the mid 1960s. I say this because of the violin-shaped body. Although originally designed by Gibson, the violin bass was popularised by Paul McCartney of The Beatles - in his case it was a Hofner. The design of the violin bass became iconic and spawned a plethora of copies. The Beatles, of course, were virtually unheard of in America before 1964.

Of course the maker of this home-made bass may not have been inspired by The Beatles and may have arrived at the violin design by an entirely different course, but the odds are stacked against this eventuality.

It doesn't take too much detective work to more accurately date guitars like this. Which is better than making a wild stab in the dark and coming out with "1940s" just because it looks old.

The lesson to be learnt here is not to take the seller's word as gospel. They very often do not know what they are talking about.

Thanks to Emmett who emailed me about this bass.

G L Wilson

Guitarz - The Original Guitar Blog - now in its 9th year!

Wednesday, March 24, 2010

Davy Graham’s Fylde Falstaff Guitar

guitarz.blogspot.com:

The legendary and sadly departed folk musician Davy Graham was a highly-innovative guitarist and is often cited as the originator of the DADGAD tuning. I remember seeing him playing a very low-key gig in Oxford circa 1989/1990 and it was a very intriguing, if eccentric, performance. He was using a nylon-strung guitar, and I recall him playing some eastern-sounding sitar-like pieces, and with a lot of tuning changes between songs.

Now one of his guitars from his later musical career is being auctioned off for charity. The following is a press release with all the details:
“Davy’s favourite guitar”

This was one of two guitars made by Fylde in 2005 for Davy to aid his return to professional performance after years of obscurity. Prior to owning this instrument he had been without a steel strung guitar having suffered a break-in at his home that left him without any quality instruments for some years.

This guitar was used for live performances and for recording between 2005 and 2007. It can be heard on “Broken Biscuits” his final album. The guitar is complete with Davy’s own guitar strap and letters of authenticity from Davy’s manager and from Fylde Guitars. It also includes a number of photographs of Davy playing the guitar in different situations and a CD of three tunes recorded on the Falstaff and not released elsewhere.

The guitar has been re-fretted and set up by Fylde especially for this auction, and is fitted with a Headway FEQ pickup. There is some pick wear on the soundboard, and three dents which were caused when Davey knocked over a microphone stand in the studio. These dents have been sealed and partly filled by Fylde. None of this detracts from the guitar, which is otherwise in excellent condition.

The new retail price of the guitar is £2595 plus the pickup at £220, making a total package worth £2815 when new. It is a unique chance to own a historic guitar and could easily be valued at a much higher price. For someone looking for a second hand Falstaff, this guitar comes with the priceless added value of its history and previous owner. For someone thinking of buying a new guitar, this is an excellent alternative, a chance to acquire a piece of history that has been owned and played in by an icon of acoustic guitar playing

All the proceeds from this auction will go to charity, split between the Vaughan Williams Library at Cecil Sharp House, and the Local branch of “MIND”. Both of which were important in Davy’s life. If the sale realises more than the expected amount, other charities may be included in line with Davy’s interests.

Click here to view the ebay listing.
G L Wilson

Guitarz - The Original Guitar Blog - now in its 9th year!

Am I Good Enough to Epublish?

Based on comments and emails, a lot of writers are using me as motivation to self-publish ebooks.

I've tried to be clear that the only writing you should sell on Kindle is good writing, and it's very hard to judge if your own writing is good. Which is why I recommend you only epublish works that were published before (short stories, out of print novels) and works your agent tried to sell but couldn't (a good agent actively trying to sell you is usually proof your work is worthy.)

But those of you paying attention will notice that I have a few things up on Kindle that I wrote specifically for Kindle. My agent didn't rep them, and they were never previously published.

Hypocrisy?

Well, sort of. :)

When I offer works like SERIAL UNCUT, PLANTER'S PUNCH, and TRUCK STOP, which were written without any apparent vetting by professionals, I'm not completely bypassing traditional publishing channels. While I do believe ebooks are the future (and have the proof to back this up: it's 8am on March 24 and I've already sold 4300 ebooks this month) I also believe it's foolish to put anything up on Kindle unless you're 100% sure it is good enough.

In my case, everything I write is read by several of my peers. My peers are all professional writers--people who have agents and have sold books to big houses. If there is something wrong with the writing--and even though I've now written over 2 million words, I do still make mistakes--my friends point it out and I fix it before it goes live.

But what if you don't have a cadre of pros to vet your work? What if you're unpublished, unagented, and none of your peers are published writers?

My advice stands. Before you begin putting your work on Kindle, get an agent and sell some writing. I know it's hard. That's what makes it worthwhile.

Agents do much more than simply pair you with publishers and negotiate terms. And even if you're selling as many ebooks as I am, that pales next to what a big house can do for your book.

However...

I've seen the ebook world accelerate in the last 12 months, and traditional print publishing seems to be slowing down. Agents and editors are becoming pickier. Personally, I'm faced with some choices in my own career where I'm thinking about passing up print contracts that don't allow me to keep my erights.

I can predict a future where writers can, and should, make money without needing major print publishers. (I still believe agents are essential--for example, mine just negotiated a film option for SERIAL, is working to change terms in one of my contracts, is negotiating terms for another contract, has sold foreign rights, and has renewed my film option for AFRAID, all within the last four weeks.)

But I don't see agents as necessary in the ebook world, at least not yet. And I see print publishers as pretty much clueless when it comes to ebooks, for many of the reasons I've mentioned in previous blog posts. (If you're interested in epublishing, follow those links and read those entries.)

So what should newbie writers do? Stay the course, find an agent, and try to sell a print book in a difficult market? Or upload their stuff to Kindle without professional vetting?

If you're thinking of uploading to Kindle, and you don't have an agent or any publishing credits, here are some things to ask yourself.

1. Do I Understand Story Structure? Long ago I figured out the essential elements to a narrative. You can download my Newbie's Guide for details, but in a nutshell they are: Hook, Conflict, Dynamic Characters, Setting, Mood, Pace, Style, Resolution, and Spelling/Grammar. Unless you can speak at length what each of these do for a story, and know how to effectively use them, you probably aren't a good storyteller.

2. What Do I Want? If it's to make a living, get your work in bookstores, or have a wide fanbase, you want to get an agent. If you're content with making grocery money, getting a few fans, and not pursuing this as a career, then by all means ignore traditional publishing. Your goals should dictate your actions. And, as always, your goals should be within your capacity.

3. Can I Get Critiques? No matter your level of experience, you need other eyes on your work in order to vet it. Join a writing group. Befriend your peers. Use my crit sheet to give to friends and family (even non-writers) so they can critique you with a level of expertise. You can't do this in a vacuum. Even if you self-publish, you must have quality feedback.

4. Are There Downsides? Yes, there are, for either choice. Traditional publishing downsides include: publishers ill-equipped to handle the oncoming ebook boom, waiting a long time for the "yes" or "no", and relinquishing control of many aspects of your career. The downsides for epublishing yourself include: potentially alienating print publishers who want first rights (though that could swing the other way if you're a success), less money, less name-recognition, smaller fanbase and fewer readers, and putting out an inferior product, which can hurt your career.

5. Should I Do It Alone? A while ago, I postulated that estributors would arise--people who would be middlemen between the author and the etailer (such as Amazon.) For those writers who don't want to mess with cover art, formatting and uploading, or keeping track of numbers, there are people who will help you get your book Kindle-ready. As always, look at the terms of the contract. Do you want to give a percentage to someone forever for doing something you could pay a flat fee for? Or is it worth a percentage to not have to worry about all of that stuff? And what percentage is fair?

6. What Do I Expect? Goals are within your control to reach. Expectations, however, are akin to dreams and beyond your control. I've been pretty successful at epublishing, but I'm still not sure why some of my ebooks sell better than others. My expectations going into this venture were very low, and yours should be as well.

Conclusions? Only you can decide what is right for you. But THERE ARE NO SHORTCUTS. Writing is a craft that must be learned. Just because it's easier to reach readers with epublishing doesn't mean you should forsake finding an agent. Like everything in life, there's a learning curve, and jumping in blindly is stupid.

I epublish things that are out of print, things my agent couldn't sell, and things my peers have vetted that I'm pretty sure I can make money on based on my ebook experiences.

If you have something out of print, epublish it.

If you have something your agent can't sell, epublish it.

If you have a fanbase who wants it, epublish it.

If you've exhausted all agent and print possibilities (meaning you've gotten a lot of rejections), don't epublish until it has been vetted and you have clear goals and expectations.

If you've never even tried to get an agent or publish it traditionally, think twice, then think again, before epublishing. It's tempting to get the instant gratification, but there is probably a reason you couldn't find an agent, and that reason is probably: the work isn't good enough yet.

Are there exceptions? Sure. There are always exceptions. And in my experience, every newbie writer thinks they're the exception.

But I urge you, before you self publish, to understand your reasons for doing so. You always have a choice.

The publishing industry is pretty moronic, and it makes a lot of mistakes. But before you think you're smarter than the industry, you have to experience the industry.

The Coverdrive CF cricket bat guitar

guitarz.blogspot.com:

Colin Flint has combined his love of the sport of cricket, playing guitar and carpentry, to produce the Coverdrive CF cricket bat guitar. The guitars feature Telecaster-style necks and other components mounted into the body of a genuine cricket bat. Some of the guitars he has for sale on his website are built using some quite valuable bats, such as his Signed Slazenger 1977 'Ashes Victory' cricket bat guitar, which is built using an unused bat from the 1977 Ashes series, won 3-0 by England, complete with signatures on the front of England and Australia players.

The guitar pictured here, based on a 1990s Slazenger V600 cricket bat, is currently being offered for sale on eBay.

As a guitar made from an item of sporting equipment, it certainly beats the 2-string tennis racquet guitar we looked at in January.

For more information, please see www.cricketbatguitar.com.

G L Wilson

Guitarz - The Original Guitar Blog - now in its 9th year!

Acrylic BC Rich Ice Mockingbird

mockingbird lucite

You can consider - like I do - that BC Rich mostly makes guitars that nobody can appreciate  after 15 year old when you get rid of your plastic monster action figures... Nevertheless their first guitars issued in the 70s  had quite revolutionary design and stay alternative classics, like the Bich and the Mockingbird

Here is an Ice Mockingbird, the acrylic version of a remarkable guitar (from BC Rich's Acrylic Series). Acrylic body guitars have their pros and cons, I never played one so I cannot tell about the sound (acrylic's high density provides purity and sustain they say) but the visual effect is undeniable. That's probably the sign of the quality of its design, it can stand endless finish variations...

This guitar was never released out of the USA, so here is one available in Germany...



Guitarz - The Original Guitar Blog - now in its 9th year!

Tuesday, March 23, 2010

I really cannot find a good title for this post

fish

This is a brandless cheap minimal Chinese travel guitar with a bizarre shape - it's supposed to look like a fish but it doesn't... The shape is actually not bad, simple and weird at the same time, a good designer could probably do something interesting out of it... 

I'm more and more interested in a single middle pick-up, I should find a guitar like that to check how it sounds!


Guitarz - The Original Guitar Blog - now in its 9th year!

1958 Framus Bill Lorento thinline

framus bill lorento jazz

There's already been a Framus Bill Lorento guitar presented in this blog, but not as fine as this beautiful thinline model from 1958. This is another example of how terrific German jazz guitar have been in the 50s - though this one doesn't have the huge hollow-body characteristic of these guitars. 

Its most noticeable feature is of course the raised metal pickguard that includes the pickup covers - I don't think I've ever seen this before... 

the lyre-shaped tail is also something, as are the big block inlays on the fretboard.

bertram



Guitarz - The Original Guitar Blog - now in its 9th year!

Monday, March 22, 2010

Gibson Korina Futura 1957 prototype

Gibson1957KorinaFutura

In my previous post about the Epiphone Prophecy Futura, I failed to identify its original model - the Futura designed in 1957 by Gibson - and credited it to the Epiphone current creativity (well I actually think that Epiphone anyway refined and updated the line of the Futura). 

I'm even more baffled at this guitar thinking that it's been created in the 50s, but that should not be a surprise when you know the other guitar designs Gibson experimented at that time, including the supreme Flying V. The Futura was anyway too radical and not issued then, but lead to the creation of the Explorer. If you're interested in the whole story, you'll find it here

Thanks to Greg for pointing my mistake.


Guitarz - The Original Guitar Blog - now in its 9th year!

Epiphone Prophecy Futura

prophecy futura

Unlike the previous Explorer variations I showed here before, the Epiphone Prophecy Futura doesn't try to hysterise its model but on the contrary, by reducing its body results in a very strange and radical guitar indeed... The narrow wasp center is disturbingly unusual (much more than a BC Rich guitar with plenty of pointy bits in every direction) even if the relation to the familiar Explorer is obvious.

Thought it's as angular as a regular Explorer, it is more ergonomic - even the longer lower horn is relevant, allowing to hold the guitar on the lap with a high neck. It looks like every superfluous wood was eliminated, making it much lighter than an Explorer. This guitar is more than a show-off and was meant to be useful in any situation. I still need to see it in someone's hands to see how this strange shape feels in relation to a human body (the best would be of course to play it but I've never seen it in any guitar shop I ever visited).

A few days ago I was writing here that Epiphone issues mush more new models (real new models) than Gibson, that's what I meant, and there're many like this, plus the regular Gibson budget models.



Guitarz - The Original Guitar Blog - now in its 9th year!

Peavey Rotor with comics custom

peavey rotor

The custom paint of this Peavey Rotor is based on the Proximity effect comics that features the Peavey Rotor as the guitar of a sexy super-powered heroin, this being a subtle mise en abyme that is not common in the guitar design field, nor in comics.

The Peavey Rotor is obviously another variation on the Explorer, closer to the original design than the Jackson Kelly, with just slight design modifications that give it a very 90s cyber feel, like a mechanical piece from a space ship in Matrix (I know, there are no space ships in Matrix but you know what I mean...) - at least the one with the black finish. 


Guitarz - The Original Guitar Blog - now in its 9th year!

Sunday, March 21, 2010

1989 Jackson Kelly custom

Jackson Kelly custom

Another variation on the Explorer is the Jackson Kelly. I always think it's hilarious when the main argument to define a guitar is to mention its easy access to the high notes, like the ultimate purpose for a guitarist would be to play over 10000 Hz (while others favor drop tuned 7-strings guitars for the opposite purpose, but I don't know why, it feels more convincing). So as you can see, this one has a deep cutaway (though it could have no cutaway at all to make it even easier), and adapts the Explorer design with curves when it's possible and points where it's possible. 

This Kelly has a noticeable pop flashy paint work, but I'm not sure that I want to hear the music of someone who like this design with this finish! any suggestion about what music it would be?

bertram

Guitarz - The Original Guitar Blog - now in its 9th year!

Avast ye landlubbers! Pirate bass ahoy!

guitarz.blogspot.com:
Guitarz reader Chris Dubis found this Pirate Bass for sale on Rondo Music. As if the black and red colour scheme weren't enough, the bass is adorned with a skull and crossbone motif as a 12th fret inlay and on the headstock and neckplate. The control knobs are abalone-topped, and the bass comes with a free pirate headscarf! How's that for an accessory?

All in all, it would be perfect if you wanted to start an Adam and the Ants or Bow Wow Wow tribute band. For everyone else, steer clear!

G L Wilson

Guitarz - The Original Guitar Blog - now in its 9th year!

Saturday, March 20, 2010

Status Quo Vadis?

Or, in English: Where are the old ways going?

I've spent a few weeks helping my friend, Robert Walker, format and upload his books to Kindle.

Incredibly, Rob has forty novels that are out of print. These aren't self-pubbed novels, or small press novels. These are books that were with big houses, which had big print runs and distribution. Some of these books go for big money on the used book circuit.

By the end of this month, thirty of Rob's books will be available on the Kindle, for $1.99 each. I predict he'll do quite well with them. After all, he managed to sell millions of copies when they were in print.

Which begs two questions.

1. Why did they ever go out of print in the first place?

2. Why am I, his friend, uploading these books to Kindle, rather than a publisher?

Part one is pretty easy to answer. More than 95% of everything ever published has gone out of print. Times change. Publishers fold. Bookstores need to move X number of copies per quarter in order to keep books on the shelf, and distributors charge rent for books just sitting there. So if a book isn't paying for itself in real estate, it goes out of print.

But Out-Of-Print does not equal Worthless. There is still money to be made on old books. That's why there's a billion dollar used book industry.

However, used books still involves storing, shelving, and shipping paper. It's the same industry, just at a discounted cut for all involved (and zero cut for the author.)

Which brings us to the second question. Why isn't anyone mining this rich vein?

Previous attempts to grab the out-of-print gold have met with disaster. Google is still in court over its Search Inside the Book program. Amazon first allowed all public domain books to be uploaded to Kindle, then did an about-face on the practice. Big publishers have tried to retroactively grab ebook rights, and are now attempting to add clauses to old contracts, offering a paltry 25% royalty rate.

But I don't see any well-funded, large, coordinated effort to scoop up the rights to out of print material and make it available again. Everyone is so worried about the erights of present and future books (and erroneously pricing those erights at more than consumers want to pay) but no one is taking a used bookseller/antique dealer/eBay stance on all of this material that's just ready to be exploited.

Smart authors are doing it themselves. Among my peers, I've seen Raymond Benson, Lee Goldberg, Libby Fischer Hellmann, Scott Nicholson, F. Paul Wilson, and several others make their older books available on Kindle. But these are a small fraction of the writers I know with out of print work.

What's the hold up?

I think it's a combination of things.

1. Writers are used to the publishing end of things being done for them.

2. Writers are scared if they publish their own ebooks, no one will want to republish them in print (even though that rarely happens these days.)

3. Writers don't believe they can actually make money off of the stuff that's "failed."

My advice to writers: Wake the hell up.

Ebooks are not only here to stay, they're only going to grow in popularity. And an ebook is forever. Your $50 a month now may be $10,000 a year in 2016. You have to an opportunity to make money for eternity on these rights, and eternity is a long time.

But the opportunity won't last forever. Because someone is going to get wise, look at your backlist, and see dollar signs. They're going bribe you to get a piece of eternity, for doing nothing more than providing a cover and an uploading service.

I urge all writers to look at their backlist, and figure out how they can turn those dead tree books into ebooks. This should become a required skill for writers, like understanding narrative structure, or how to write a query letter.

If you're techno-stupid, shop around for a reasonable one-time fee to get your ebooks up and running. If you sign a contract with a e-publisher, make sure the lion's share of the profits are going to you, you have control over the list price, and the contract lasts for a finite amount of time.

Eternity is a long time to share royalties on books that you wrote.

Remember that. Before someone figures out how to screw you out of it. And I'm sure that will happen, very soon. Companies with deep pockets will offer to get your books on Kindle, and the fine print will screw you.

If I were an unscrupulous publisher with a big budget, that's where I'd be putting my money. I'd be approaching name authors with long backlists who don't know any better, offering them pennies on the dollar for what their life's work is worth.

The best defense against this is twofold: education, and hard work.

If you have out of print books, get them on Kindle yourself. If you need help, pay a flat fee for it.

If you do sign a publishing contract for your ebooks, make damn sure it is highly in your favor, and it has an expiration date.

For the first time in the history of publishing, writers have the upper hand.

Don't piss that advantage away by thinking that this is still 1995.

Adam Black Libra UK

guitarz.blogspot.com:
The Adam Black Guitar Company is a relatively new name to the guitar world. Distributed in the UK by Rosetti, Adam Black offer a very attractively-priced range of acoustic, electric and jazz guitars. Their guitars have been earning some very postive reviews and are already the choice of several bands on the circuit, including old punks Sham 69.

For the most part Adam Black guitars are made in Indonesia (in the former Epiphone factory), but the model pictured above, the Adam Black Libra UK, is built in Braintree, Essex, in the United Kingdom - hence the Union Flag you can see proudly displayed on its headstock. Selling for £399 (inc VAT) in the UK, this surely has got to be the cheapest "Made in Britain" guitar on the market today.

The singlecut body design is reminiscent of the Danelectro U2, but is made from solid North East Ash and has a bolt-on Rock Maple neck with a Fender-esque 25.5" scale length. Pickups are two high output humbuckers with ceramic magnets and are controlled via a simple one volume, one tone and 3-way pickup selector layout. The pickguard and control panel are plastic with an attractive carbon-fibre weave.

For those on more of a budget, Adam Black also offer an Indonesian-built Libra as well as several other models, but I think it's great that their top of the range electric is made in the UK and hope that the model is a success for them.

G L Wilson

Guitarz - The Original Guitar Blog - now in its 9th year!

Friday, March 19, 2010

Burns Scorpion Gothic

bison scorpion

Since we got started on guitars with rear horns, I couldn't avoid to present here the Burns Scorpion, the first one to feature this design if I'm not wrong ; a beautiful vintage chrome plated Burns Scorpion bass was already presented on this blog, so this is the guitar.

The Scorpion was first released in 1979 during the penultimate incarnation of Burns - Jim Burns Actualizers Ltd. - but here is the 2002 reissue by Burns London Ltd., under the Gothic label (something terrible to rock music happened when gothic started to be misused for metal music...) - now it's called the Scorpion Design. This is the hardtail version, it's more common with a Floyd Rose trem.

In 2003 there was a short lived model with golden finish and hardware, definitely too late for glam-rock, I wonder who ever bought it, but some crazy Japanese Visual Kei band (you can see how coherent this blog is!)

Anyway, the Scorpion is a nice looking guitar for such a radical design, I appreciate the challenge, but it's not as good as the Bison that shares its front horns (in my humble opinion).

bertram

Guitarz - The Original Guitar Blog - now in its 9th year!

1983 Electra Futura X1-PW

guitarz.blogspot.com:
Here's another email from a Guitarz reader:

Hello Mr. Wilson, my name is Tyler Beard.

Seeing the more recent posts of the Vigier (the model name of which I've already misplaced in my mind) and Aria Pro II Urchin, I thought I'd give you a peek at what is a more considerably "balls-out" version, which doesn't feature the same elegance of the Vigier or professionality (sic?) of the Aria Pro II, but can very easily blow just about anything else to bits.

This is a 1983 Electra Futura X1-PW (one of two models, this one being the reversed body, and a seperate model designation from its red variant). These, like, Arias, were built by Matsumoku, the premier Japanese maker by many.

As far as the technical facts, it has a maple neck, ebonized (darkened) rosewood fretboard, and alder body. The Pearl White finish has obviously yellowed, so it's more of a "Yellow Snow" finish now. It weighs a bit over 8 pounds. Has 22 frets, and sealed tuners which are just stock factory tuners, nothing notable, but they do the job wonderfully. The bridge on mine is not original, but a TekGlide, on which the trem block and plate are forged as one piece. Holds tuning amazingly well, even thorugh dive-bombs like EVH wouldn't believe. It's got a bit o' flare in the electronics, with push/pull tone pots activating coil tap and phase reverse. Pickup selector is positioned like a Les Paul, and is a standard 3-way. The real fire comes with the pickups. Pickup makers should take a gander at these. They are MMK45s, and are probably some of the best pickups of the era, or even compared to today-well, I think so. Never have I heard such pure, unmolsted screaming, crying, or singing from a guitar. No need for effects or any fancy amps here, the guitar does the job.

And this thing has a bit of a story. Back in the 80s, I suppose when smashing was cooler, it was the victim of such an act. The body was effectively cracked and the lower bout by the electronics broken off almost entirely. There was no neckplate, the 1-3rd frets were popping out, what have you. But, she was free. Won in a sort of contest. There were alternative Electra prizes but I picked this. I graciously thank the man responsible, I gave him a bit of trouble with it. But she now has a temporary Squier neckplate (which I'm not proud to say) and mis-matched neck screws, but will be better soon. Of ocurse, all the wear and tear won't be touched, after 26 years of established gigging, it wears the scars loud and proud, with her rust, dings, dents, scratches, cracks, chips, faded gold plating, and whatever else comes to her.

~Tyler

Hey, thanks for all the info, Tyler. That's not one that I've (knowingly) seen before. I hope you've had her strung up and rocking since those photos.

Keep 'em coming, folks! We want to see your guitars - the more ususual or original, the better.

G L Wilson

Guitarz - The Original Guitar Blog - now in its 9th year!

Thursday, March 18, 2010

Fernandes Hisashi Imai Signature model BT-1200MM

guitarz.blogspot.com:

As a sequel to yesterday's blog post about Hisashi Imai's Fernandes stabilizer guitar, here's another of the Buck Tick guitarist's signature models, the Fernandes Hisashi Imai Signature model BT-1200MM.

It makes a change from all the ultra-pointy guitars, I suppose.

G L Wilson

Guitarz - The Original Guitar Blog - now in its 9th year!

Wednesday, March 17, 2010

Ibanez Destroyer II with Japanese war flag finish


ibanez destroyer


After my last post, I was wondering what kind of variations of Explorers exist.
The first guitar that comes to my mind is the Ibanez Destroyer II - and I've been lucky to find this 1984 model, with a very 80s Japanese war flag paintwork that gives exactly the feeling of what this guitar meant to be...

Ibanez started to make Explorer models in the mid-70s - already called Destroyers, they were exact copies of Gibsons. In 1980 they issued the Destroyer II with slight variations from the original model, but enough to give it a real personality, with a minimal recall of the famous Iceman in the lower horn...

I think its design is very outdated, but it might soon become a vintage guitar (though it's been regularly reissued since) with a sought after cool retro feel of the time when guitarists wore tennis head- and wristbands (I hated that at the time, we postpunks hugely despised glam-metal trend).


Guitarz - The Original Guitar Blog - now in its 9th year!

Fernandes Hisashi Imai Stabilizer Guitar

guitarz.blogspot.com:

I don't know if you'll believe me that it's possible, but it would seem that the Japanese are even more crazy about the guitar than we are in the West. They have long had guitar models that simply do not see the light of day outside of Japan. Just take a look at some Japanese guitar websites - you'll see all sorts of guitars that you've never laid eyes on before.

The Fernandes Hisashi Imai signature guitar features their own Sustainer system and a stabilizer bar similar to that found on the Roland GR-707 guitar synthesizer controller of the 1980s. With the GR-707 the bar supposedly kept the neck rock steady and allowed for accurate tracking of the strings. I'm wondering if the bar on this Fernandes maybe performs a similar function and improves performance of the sustainer? But the cynic in me doubts it; I reckon it's just there for aesthetics.

Hisashi Imai is guitarist of Japanese rock band Buck Tick who formed in 1984, and are founders of the Japanese musical movement known as Visual Kei, a style of music characterized by the use of make-up, elaborate hair styles and flamboyant costumes (and which sounds like the 1980s never ended for some). I suppose it figures that such a band would use flamboyant looking guitars too.

G L Wilson

Guitarz - The Original Guitar Blog - now in its 9th year!