Friday, April 30, 2010

Semi-fretted, semi-fretless bass

guitarz.blogspot.com:
Graham Clark writes:
Here is my bass player Brian Franks. He is a lefty playing a right-handed bass - strings upside down - fat ones at the bottom.

He has modified the neck of his bass, making the 2 skinny strings FRETLESS, and the 2 fat strings FRETTED - if you look carefully at the pic you will see.

It is fantastic.

When he just wants to chug along he plays on the frets - when he wants to solo he can get freaky on the fretless - it's a fantastic concept.

He has been playing this bass for 10 years in my band BRILLEAUX.

Regards
Graham
Thanks for that, Graham. It's nice to see that the spirit of innovation is alive and well, and that people are actually making good use of such ideas.

It's not a totally new concept. I believe that Wilkes Guitars here in the UK used to offer this 2 strings fretted/2 strings fretless layout as an option on their basses. There was another option to have the bass fretted for all the strings half-way up the neck and then to have the rest of it fretless.

My favourite fretted/fretless concept is from a Russian manufacturer called Mikey Guitars who produce and guitars and basses with rotating frets allowing you to change from fretted to fretless at the flick of a switch.

G L Wilson

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

Helliver guitars made in Germany

Helliver 3
Helliver 1
I completely agree with GL's statement in his recent post about Z.S. Thomas custom guitars, about this lack of exciting contemporary guitars that make us value so much the old models from the 60s.

But it is not enough to indulge ourselves in nostalgia about  guitars built before we were born, when there are some people who keep trying, keep creating, keep believing in this marvelous instrument and the music relaying on it.

Such are the people at the Münster based small guitar company Helliver guitars - who build the guitars you can see on the right (my personal interest made me select these two chambered metal front models but they have more regular ones). Most of their guitars are based on standard designs but their aesthetic experimentations are highly enjoyable.

I particularly like the metal front cut out of an enameled road sign of the blue guitar, and the almost steampunk sound holes and corroded finish of the other one - these are smart alternatives to the current faux-vintage trend. They actually play a lot with opposition between contradictory element like recycled material and chicken head knobs mixed with high-end gear like the wide wraparound bridges and wide chrome P90s.

Cool guitars indeed.

bertram

Thursday, April 29, 2010

Wandre Brigitte Bardot model

guitarz.blogspot.com:
Continuing from yesterday's discussion about Wandre and Davoli, this Brigitte Bardot model is exactly what we expect to see from Wandre guitars, from the crude-looking metal head mounted onto the metal broomstick neck, to the floating pickguard with integral pickups and the electrics curiously mounted inside their own little metal box.

And no, from my understanding, it's not an early case of a rather bizarre artist endorsement. I know Ms Bardot had a busy career in modelling, acting and animal activism, but her guitar-playing talents are unknown. This guitar was named after her because of its sexy curves.

G L Wilson

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

Wednesday, April 28, 2010

Davoli Athena bass

guitarz.blogspot.com:
The Davioli Athena bass is quite a striking looking instrument with some elegant carving, although not quite a German carve (an Italian carve perhaps?), going on around the sides and top edge that give it a look reminiscent of an antique violin. The faux soundhole containing a rotating plate holding the pickups is also a novel idea and must have - if this is a 1960s bass, and I'm pretty certain that it is - pre-dated Rick Turner's use of the same idea on his Model 1 guitar (as played by Fleetwood Mac's Lyndsey Buckingham).

So, what do we know of Davoli? (I originally typed that as Davioli to rhymes with a popular Italian pasta dish. I must be hungry.) Well, Athos Davoli was a friend and associate of Antonio "Wandre" Pioli, and was responsible for the electrics and pickups found on Wandre guitars. Indeed, the names Wandre and Davioli are inextricably linked. Davoli started his own electronics workshop in 1957, and produced a range of amplifiers and PA systems under the Davioli Krundaal banner in the early 1960s before teaming up with Wandre.

The seller of this bass suggests that it was created by Wandre, although it is very different - almost conservative - compared to the majority of his guitars. Most noticeably, it does not have a metal neck with bolted on headstock. This isn't to say that there was no Wandre connection, but I feel it's interesting that this bass is referred to specifically as a "Davoli".

If anyone knows the full story or has any further info, then please do share!

G L Wilson

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

Mike Cooley of Drive By Truckers and his weird Tele

guitarz.blogspot.com:

You know what I'm like. I see a weird guitar and I just have to identify it. So, last night I was watching Later... with Jools Holland which had Drive By Truckers among the studio guests. Of course, my eye was caught by the guitar being played by the singer/guitarist Mike Cooley. As can be seen in the photo opposite, it's a Tele-style guitar with a droopy-looking lower horn.

It turns out that this guitar was built by Scott Baxendale, who has also built several other guitars for Drive By Truckers. The guy's got quite an impressive CV in the world of guitar restoration and building, having worked for Mossman Guitars, Gruhn Guitars, Hard Rock Cafe among others and having been responsible for the care and maintenance of the Grand Ole Opry Museum collection. His clientele also includes Steve Howe, Henry Rollins, Tito and Tarantula, The Vines, The Blasters, Jason Isbell, Centromatic, Shooter Jennings, Hank III, Charlie Louvin, Jorma Kaukonen, Butch Walker, Rilo Kiley, The Black Crowes, The North Missippi All Stars, Booker T. Jones, Mick Jones, Franz Ferdinand, Justin Townes Earle... the list goes on and on! (Although I thought Booker T. was a Hammond organ player?)

By the way, I'm not sure who to credit for the photo reproduced here. I found it here and apologise in advance for borrowing it but it does illustrate my post quite nicely.

G L Wilson

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

Tuesday, April 27, 2010

Gibson Les Paul Standard in Latte Creme

guitarz.blogspot.com:
Here's a Gibson Les Paul Standard from 2004 in the apparently rare finish known as "latte creme"

Or "Antigua" as Fender prefer to call it.

G L Wilson

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

Brua semi-solid headless guitar

guitarz.blogspot.com:
Here's an interesting guitar being sold by a French seller on eBay. Now, my French is not very good but Bertram tells me that the listing says:
Incredible guitar made by Pierrick BRUA, who is a great French luthier. The shape and comfort are amazing and the woods are beautiful. The string block system allows mounting any string gauge - here 12-52 flat wound strings. It is very versatile and is suitable for all styles. Mini switches allow multiple sound combinations. The body is semi-hollow and gives much sustain. The guitar is perfect for guitarists who travel and who always want to have the best sound anywhere. Those who know KLEIN guitars and especially their demented prices will understand the value of this guitar.
This looks to be a one-off guitar from another guy who isn't afraid to push the boundaries and experiment with guitar design.

Perrick Brua seems to mainly concentrate on Jazz guitars, and has some very interesting and attractive examples on dislay at his website. His Millenium jazzer is particularly eye-catching.

G L Wilson

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

Monday, April 26, 2010

The Newbie's Guide to Publishing Book

My exhaustive writing and marketing ebook, The Newbie's Guide to Publishing, is now available on Kindle.

How exhaustive is it? It's over 370,000 words, and clocks in at over 1100 pages.

The thing that makes it possible to navigate this monster is an organized table of contents that allows you to jump around.

Which brings up an interesting point about ebooks. In this case, my book simply couldn't be sold as a print book. It is too long, too niche, and too dependent on hyperlinks. Even 1/10th of the essays were bound in a print edition, it would still cost more than the $2.99 I'm charging for it.

If you still think $2.99 is too much, you can download a pdf version for free on my website. Here's an overview of headings and contents:

WRITING - More than forty essays, covering everything you need to know to craft fiction.

BREAKING IN - Over forty essays on how to find an agent and sell your writing.

PUBLISHING - More than twenty essays about the publishing business, and how it works.

PROMOTION - Over fifty essays on marketing, advertising, and self-promotion.

TOURING - Extensive, in-depth details on how to do book tours and signings.

INTERNET - Dozens of essays on how writers can effectively use the world wide web.

EBOOKS - Speculation and real-life examples of digital publishing, the Kindle, print on demand, and self-publishing.

MOTIVATION - Over fifty essays guaranteed to enlighten and inspire your writing efforts.

Plus many, many more.

It also includes a foreword and several bonus essays by bestselling author Barry Eisler.

When I first started this blog back in 2005, my intent was to share what I've learned about the publishing business with the world. Publishing was a secretive industry, with a lot of mystery surrounding how it worked. Newbie's Guide documented my journey, while also attempting to reveal some of that mystery.

And what a long, strange trip it has been.

Now, five years and 500 posts later, I still haven't run out of things to blog about. The publishing world is in the midst of a major upheaval, with the arrival of the Kindle and other ereaders. My views continue to change and evolve as the industry does.

I plan on updating this ebook again next year, and every year after that, because I know I'll never run out of opinions, predictions, and things to say about this business.

I'd like to thank you for reading this blog. I don't do that often enough. I'm lucky to have so many blog readers who share their comments, link to me, and help spread the word. I just learned I was again named one of Writer's Digest's Top 101 Websites For Writers. Incredibly, Googling my blog address, "jakonrath.blogspot.com", gets 383,000 hits. In the past week I've done eight interviews, all based on things I've said on this blog.

Since I'm feeling reflective, I think it's appropriate to go back to my very first blog post, from March of 2005. Here's what it said:

Oh no, another blog about the publishing business.

But before you mouse over to the VIEW NEXT BLOG button, hear me out.

My first novel, WHISKEY SOUR, was published in hardcover in 2003 by Hyperion. Since that time, I've learned a heck of a lot about how this business works. And the biggest thing I've learned is this:

1. There are over 100,000 books published every year.

2. Only one out of five books makes money (two break even, two lose money).

3. If you expect to stay in this business, your book had better make money.

I have hundreds of author friends. Dozens of them are on their fifth, tenth, forty-third book, and find themselves unable to sell their latest because their numbers just aren't good---their publishers aren't making back their investment.

And investment in an author is expensive. Besides the advance paid, publishers must also pay for paper, printing, binding, cover design, editorial work, galleys, corrugation (making boxes for the books to be shipped in), shipping, and marketing/advertising/promotion. What profit is left is shared with the bookseller, and often a distributor (Ingram, Baker & Taylor). On a $25 hardcover, the publisher makes about as much as the author; about three bucks.

Many of my peers believe that their job is simply to write the books, and that the publisher must sell them.

Many of these same peers find themselves struggling to sell their next project.

I believe the opposite. If it's my name on the book, it's my job to sell it. My goal is simple; to make my publisher money, so they'll buy my next book.

So does a lowly author have the power to make this happen?

Yes.

That's the purpose of this blog. To raise author awareness of what needs to be done in order to become one of those one in five books that turns a profit.

My second book, BLOODY MARY, comes out this June, along with the mass market paperback edition of WHISKEY SOUR. I'll be sharing my promotion tips, what works and what doesn't, and be happy to answer any questions along the way.

My name is Joe, and I'm an author.

Welcome to my blog.

------------------------

What has changed since then?

Some things have changed a lot. But some are still the same.

I still believe it is my name on the book, and my job to sell it. While it isn't within an author's power to make a book a huge hit, an author does have the power to make a book profitable.

But that's no guarantee the publisher will continue to buy books from the author. I've parted ways with two print publishers, even though my books continue to earn royalties. I've also signed deals with three other print publishers, and have learned that it's possible to make a living without print at all.

Authors have more power than ever. And you can make a difference in your career.

I'm proof.

My name is Joe, and I'm an author. I'm still here. And I plan on being here for a while.

Welcome to my blog.

A little help ... Anyone have an info on this Hendrick guitar?

guitarz.blogspot.com:
Buck sent this picture thinking it had blog potential. He's right, it does... BUT I know nothing about this guitar and can't seem to find anything about it. Apparently the manufacturer is Hendrick, but you try doing a search for "Hendrick guitar" - the search engines think you are searching for "Hendrix".

So, I'm turning this one over to you, the readers. Any information would be appreciated.

In the meanwhile all I can say is that I like the clash of influences on display here. It's a cross between a Telecaster, an Explorer and with a bit of Danelectro thrown into the mix. However the locking nut, locking trem and EMG-esque bridge pickup set at a rakish angle, would suggest that this guitar is probably aimed at those who are born to shred.

G L Wilson

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

Sunday, April 25, 2010

Bill Hatcher Bass VI Telecaster

Hatcher Bari-Tele

In reaction to the Baritone Telecaster post, Craig sent us these pics of his E-e tuned Baritele, and the following text:

'I read your post on baritone teles and thought you might like to see what I have.
I don't know much about it, as far as I can tell, it was made by Bill Hatcher who might be based in Atlanta, Georgia. His name is in the control cavity, along with the date oct. 91.
I acquired it in the mid 90's in Austin, Texas.
Itis tuned like a Fender bass six, from E to E, so i guess it might be more accurate to call it a six string bass, although I think of something quite different when i hear "six string bass".
It has 2 EMG jazz bass pickups in it, which I've often thought of switching out with some Danelectro style lipstick pickups, just because it would look cool. I think the bridge is a Schaller and it's got a neck-thru construction. The wood has some nice figuring to it, although the finish is cracking. Not really sure what the woods are or what sort of finish it has on it.
Maybe some of your readers might know more about BillHatcher, I'd love to know more about this thing.
thanks.
Craig'

Well thanks to you Craig, I can't help but I hope you'll find answers amongst the Guitarz community.

bertram

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

Z.S. Thomas Custom Electric Guitars

guitarz.blogspot.com:

I suppose one of the things we are sometimes guilty of on this blog is that to an extent we are living in the past. When looking for the weird, wacky and wonderful - indeed the blog-worthy - we look to the past all too often and not towards new and contemporary instruments.

I suppose this is partly a backlash against the major guitar companies, who issue and re-issue subtle variants of the same old guitar models over and over. I'm sorry but I'm not going to go to the effort of writing a blog post about the latest Stratocaster offering from Fender that appears ostensibly to have no significant difference from the last one they were raving about. Gibson are a bit more amusing with their re-hashed designs with reverse bodies and guitars with holes cut out of them, but I'd rather leave this coverage to the other blogs and look for something more original. (And some of my fellow bloggers will sympathize when I mention the sheer onslaught of Epiphone press releases promoting the same guitars over and over. It doesn't put you into a good disposition towards a manufacturer.)

But, yes, here at Guitarz we are interested in genuine new products and innovation. We especially like the "little guy" who more often than not is behind the truly original and interesting guitar designs of the modern day.

I've been meaning to post about Z.S. Thomas Custom Electric Guitars for several months now but what with one thing and another and being slightly absent-minded these days, I kept managing to forget to do so. Until Seth Thomas himself, the luthier behind Z.S. Thomas guitars, gave me a kick up the arse (or "ass" if you're American - but in the UK that's just another word for donkey) and asked me when I was going to get around to it.

From the front the Z.S. Thomas guitar is a fairly recognisable design, but as you'll appreciate from viewing the graphic showing the guitar in rotation, the body is in fact ergonomically contoured and sculpted to fit snugly against the human form.

Now what the photo at the top of this post doesn't show you is the rear of the guitar. I so wanted to show you a picture of the rear, and so have taken one from the Z.S. Thomas website.

Now, looking at the photos above and the one here on the left, what do you notice?

Anything unusual at all?

Anything missing in fact?

You'll see that there is no pickguard on the front of the guitar, but also no access plates on the rear of the guitar.

So, the $64,000 question is, how does Mr Thomas get all the electrickery inside?

Here's the cunning part. It's an invention call the "pot pod". Other than the pickup routing, the only other routing in the guitar is a circular hole beneath each of the volume and tone controls. The volume and tone pots are each mounted in a little unit - the pot pod - and these are inserted into the holes. Very clever. And which leaves for a guitar with a minium of routing, no extraneous cavities, and which should resonate all the better. It also, of course, has a very neat appearance with no plates on the front or back, because they simply are not needed.

If I did have a criticism, I'd say that I'm personally not too enamoured by the oversize knobs, no doubt chosen because they cover the whole of the top of each pot pod (1.25" diameter), but these are custom-built guitars and I'm sure Mr Thomas would oblige with a different choice of knob if that's what the customer asked for. There must be plenty of knobs of a top-hat style with a wide lower flange that could cover the required area. But as I say, this is just a very minor issue, and a purely personal one.

Read more here: www.zsthomas.com

G L Wilson

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

Flycaster

tele fly

Not really necessary to write anything, it is enough to acknowledge that it exists: some guy sells a telecaster custom body with a giant fly carved on it - unless it is the result of a unexpected transmogrification by some mad scientist who let a fly enter his secret telecaster nano-generator... 

bertram



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

Saturday, April 24, 2010

Baritone Telecasters

Tussard tele Baritone

Grosh Electratone Baritone
Yesterday I was surfing the Web tracking exciting guitars (I don't only do that to feed this blog but I fished also a couple of good ideas for my metal front guitar projects) and I found the Trussart Steelcaster Baritone above, that made me aware of something I never suspected before: there are baritone telecasters out there! At first it felt like a contradiction, since for me who love big semi-hollow bodies, the telecaster is such a small guitar!

So I checked around a little bit more and found out that though there are none produced in series, Warmoth and some other guitar parts companies sell baritone conversion tele necks, and that many guitar lovers make and play their own bari-teles like some call them (BTW it's so refreshing to be around guitar fans who don't care about schredding!)

The Trussart is without doubts a limited edition like all Trussart products, and the only other model that is not a conversion is the Don Grosh Electratone Baritone (on the right) that is actually just a prototype - I don't know how many were issued since I just found one, but the blending of a telecaster and a Danelectro feels right and I love lipstick pickups...

Anyway I'm thrilled by the idea of a baritone telecaster and that would be a cool project, I'm tempted...

bertram

edit: I'm told that the Fender Custom Shop actually issued baritone telecasters under the name Bajo Sexto... A quick Internet search shows no more info (but that there are also some called Subsonics) but I'll do a post about this as soon as I know more.

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

Friday, April 23, 2010

Daion Savage from 1982

guitarz.blogspot.com:
The Daion Savage is another all-but-forgotten Japanese guitar from the late 70s/early 80s.

It's a good looking guitar equppied with with DiMarzio pickups, and featuring a heel-less bolt-on neck. The shape appears to be quite ergonomic having a pronounced upper wing which would support the right forearm nicely.

I can't find out a lot about Daion guitars on the net, other than the name is mentioned in conjunction with the famed Matsumoko factory out of which many other quality Japanese brands also emerged (Westone, Aria, Univox, etc...). There is also mention of the brand having grown out of the earlier Yamaki guitars brand. One thing is certain, that is these were quality instruments and are beloved by those who own them.

G L Wilson

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

Selmer archtop guitar with the weirdest-looking pickup

guitarz.blogspot.com:

Here we see a vintage Selmer archtop guitar with a very strange-looking pickup unit attached. At first I thought it might be an aftermarket pickup for electrifying acoustic guitars, but the unit and the guitar itself both bear the Selmer name and as the pickup seems to be firmly bolted into place perhaps the guitar actually came like this new.

It's certainly the ugliest looking thing I've seen clamped to the front of a guitar since Godley & Creme's Gizmo sustaining device (and never mind that came later).

Selmer were a musical instrument manufacturer established in the early 1900s and based in Paris, although by 1928 they had aquired a semi-independent UK branch. From the 1950s and through to the 1970s they imported German-made Höfner guitars. Some of Selmer UK's own-brand guitars were actually produced by Höfner especially for the UK market, and that is most likely what we are seeing in the example pictured here.

Thanks to David Brown for bringing this guitar to my attention.

G L Wilson

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

Thursday, April 22, 2010

Roy Rogers (and Trigger) guitar

guitarz.blogspot.com:
Collectors of cowboy movie and Roy Rogers memorabilia might be interested in this Roy Rogers guitar in pretty clean condition. However, guitarists might be alarmed at the string alignment, action and the construction of wood, plastic and heavy pressed cardboard!

G L Wilson

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

How To Format For Kindle

The Newbie's Guide to Publishing Book. Now available on Kindle for $2.99.

I’m a pretty tech savvy guy, but when I decided to turn my blog, A Newbie’s Guide to Publishing, into an ebook, I knew I was in over my head. This was a hefty project, weighing in at 370,000 words. Besides getting it properly compiled and formatted, I also wanted a linkable table of contents. Though I know my way around HTML, I simply didn't have the skills to do it on my own.

So I turned to Rob Siders for help. Rob did a terrific job putting the ebook together. It was an incredibly difficult and complicated task to format this ebook (and he did it twice--once for Kindle, and once in pdf available as a freebie on my website) so I asked Rob if I could interview him to describe the process.

Rob, tell us a little about your background.

Rob Siders: When people ask what I do I always answer, "I write books that nobody ever, ever reads: software manuals!"

The long answer is I'm a technical writer who writes and produces at least a dozen computer how-to books every year for a Denver software company. Each one of those books, then, gets ported to one electronic format or another, whether to PDF (for offline use) or to XHTML (for online use). My days as a professional writer, however, stretch back to 1999.

Beyond that, when I'm not being a husband and new Dad, I'm currently in the muddy middle of writing novel number two.

Joe: Is Kindle difficult to format for?

Rob: Heh heh. You'd think it'd be a piece of cake… upload your book and let Amazon Digital Platform do the rest. But anytime you take your native document and try to automagically convert it to something else then you're sort of going on faith, hoping the thing that emerges on the other side resembles what it once was.

The Kindle conversion, presumably because it's a new tool, chokes on some of the things that Microsoft Word just does, like tabs, page breaks and curly quotes. We hardly think of those things as advanced formatting. So, as it goes, the more complexity you have in your document's formatting, the more fits Amazon's automated conversion is going to give you.

Take, for example, The Newbie's Guide to Publishing Book. It's a thousand pages with a table of contents, some pictures, and a bunch of hyperlinks. These are things Word does well and with ease. Click a button, and voila! You have a table of contents! Type a URL and Word makes it a clickable link. Want those pictures? Easy. Just copy and paste them.

But these things just kill a Kindle conversion.

What's more is that the Kindle format's file output is a very rudimentary version of HTML, which isn't that difficult to learn or work with, but when you're talking about a novel-length manuscript… that's a lot of code to sort through if you need to clean things up. And odds are pretty good that you will need to clean things up.

To give you another example, TNGTP's table of contents is almost 900 lines of HTML code after conversion to the Kindle format. The whole book is more than 30,000 lines of HTML code after conversion. It's an inelegant way to look at your work.

Joe: Do you have any tips for newbie writers trying to upload their ebooks?

Rob: Absolutely… keep your source document simple. As you know, formatting a manuscript –– wide margins, double spacing, 25 lines per page, and name, title and page number in the header –– is a great practical presentation to an agent or editor you're trying to attract to your book. After all, you want to look like a pro even if you're not. Especially if you're not.

But, again, that kind of stuff causes problems with Amazon's converter. At minimum, you should have two versions of your manuscript: one with as much rich formatting as is needed to present to agents or editors, and one that's relatively barebones for Kindle (even then be prepared to do some futzing with it before you click the Publish button).

Joe: If a newbie is looking to hire someone to help them format, what are some of the things they should look for? Questions they should ask?

Rob: Well, there's a guy in Denver who's really top-shelf! But seriously, if I were looking to hire someone for something like this I'd want someone who's experienced and who understands what my needs are. I'd also want someone who's accustomed to deadlines and who can turn out professional results.

Joe: How much do you charge for a Kindle conversion?

Rob: It really depends on the size and scope of the project, but budget a couple hundred dollars for fiction. Double that for non-fiction or picture books, because of the advanced text formatting, tables of contents, and image optimizing.

Joe: How should people send you their manuscripts?

Rob: Microsoft Word files are best, but I can convert PDFs, too. If all you have are hardcovers or paperbacks or paper versions of your manuscript, I can handle those conversions, too. It just takes a little longer and costs a bit more.

Joe: What are your predictions about the future of ebooks? Are we heading to an era where publishers are no longer needed?

Rob: Oooh. These are tasty ones. Back in the 90s, before I was a pro writer, I ran record stores for a small, Midwest-based independent chain that doesn't exist now. This was an interesting time to be in that business: everyone was expanding as CD sales fueled enormous growth. Labels were signing anyone who wore a guitar. But I remember as plain as day having three interactions, at different times, during that tenure.

The first was in 1993-ish. I was running one of the company's college-town stores. The campus was completely connected through a VAX system, which was the same system our stores used. The systems were closed to each other, of course, but they were basically using the same technology. One afternoon at a manager's meeting, I mused at how great it would be if the students could search our catalog database and place a special order or hold for a CD from a campus computer lab or their dorm rooms. The other managers looked at me like I had three heads.

For the second interaction, jump forward to sometime in 1996. A customer wanted a CD we didn't normally carry and asked whether I thought Amazon.com had it. I didn't own a computer at that point and had never seen the Internet (let alone the Amazon Web site), but I'd read enough stuff in the record industry trade magazines to know what she was talking about. I remember feeling threatened by her question.

The third interaction, in 1998, was with an employee who worked for me. He raved to me about the mp3 format… its compression, its virtually imperceptible loss in fidelity, and how you could, if you knew where to look, download off the Internet for free just about anything we carried in the store. I went home after work and learned more about it and quickly understood that the industry I loved was about to get clobbered.

Now, back to your questions… I don't think we're in any serious danger of losing analog books anytime soon. There're too many people like you and me and your readers who really love books. I'm talking deep, soulful connections to books and the stories they contain. In that respect, music lovers and book lovers are truly cut from the same cloth.

But the parallels between the publishing biz now and the record biz a decade ago couldn't be clearer. And it's not just the pervasiveness of digital products and their associated devices. It's also the way in which the Internet allows producers, artists, whatever you want to call them, to make their work available to people and then build a following. There's a place for publishing companies and record labels, but producers and consumers can go around them now in ways that evolve faster than traditional companies can. The band Panic at the Disco got discovered on MySpace. Comedian Dane Cook used social networking to catapult himself from the club circuit to Madison Square Garden. New York Times best-selling horror novelist Scott Sigler got there by first serializing his books and releasing them as free podcasts. Of course, these people have extraordinary results. But, like you, they promote the hell out of themselves, then and now, without necessarily relying on a giant corporation's money or help.

I think, even though it's been underway a while, we're just beginning to see the publishing industry's clobbering. They're fighting it like the music industry did (and continues to do in some ways). But, until they figure out how to adapt, it's a fight they're going to lose.

Joe: Thanks for your insights, Rob, and for the great job you did with Newbie's Guide.

If you're an author with a backlist and want to get your work up on Kindle, even if the only thing you have is a paperback copy, I suggest contacting Rob. And if you've tried uploading to Kindle yourself and got frustrated because your book looked like crap, Rob can help with that, too.

Visit him at http://www.52novels.com/kindle_services and tell him I sent you.

And if you find my blog helpful, feel free to pick up a Kindle copy of The Newbie's Guide to Publishing Book. If you don't have a Kindle, download the free Kindle for iPhone app. If you don't have an iPhone/iPod/iPad, you can get Kindle for Blackberry, or Kindle for PC, for free.

You can also get the free PDF of this ebook at JAKonrath.com. If you feel guilty about getting 1100 pages of my blood, sweat, and tears for free, there is also a Paypal link for donations. Whoever donates the most will have a character named after them in SHAKEN, the seventh Jack Daniels book, being released this winter. I can't say who the publisher is yet (I signed a non-disclosure agreement), but I'll be making the announcement soon.

Depending on the turnout, you might win with just a fifty cent donation. Who knows? So donate early, donate often.

(The savvy among you might realize I'm doing this as another experiment. Micropatronage, or crowd funding, is a way for artists to make money while releasing work for free. How much money? We'll see...)

Devo's Bob Mothersbaugh and the Blue Potato guitar

guitarz.blogspot.com:

As a big fan of Devo I am excited that they are releasing new material for the first time in 20 years, and from what I've heard already it sounds like classic Devo!

I was also pleased to see that guitarist Bob Mothersbaugh is once again using the Ibanez "Blue Potato" guitar that he lost and was later reunited with. You know how we love wacky guitars here on Guitarz, and Bob's one-off Blue Potato is one of my own very favourites.

Watch Devo performing "Fresh" here.

G L Wilson

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

Wednesday, April 21, 2010

Paul Doyle Millenium Tree 2000

guitarz.blogspot.com:
Paul Doyle is a luthier based in Galway, Ireland, where for the last 30-odd years he has been handbuilding guitars, harps, mandolins, mandolas and bouzoukis. In 2000 he built the above-pictured Millenium Tree 2000 guitar to honour and respect the use of wood for musical instruments.

G L Wilson

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

50s flat-top hollow-body brand-less guitar

brandless flat top semi-hollow

The old floor again, with a matching vintage hollow-body jazz guitar in natural finish.
I can't identify this guitar, it is quite simple compared to the German jazz guitars of the time but the headstock doesn't remind me of any famous American brands... This is much probably a vintage custom - the natural finish looks to me like the original paint finish has been sanded off but the flat top can also mean it's an handmade one-off. Anyway the added P90 pickup says that it's originally an acoustic guitar and then I'm quite out of my field...

Any ideas?


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

Steelphon guitar from 1960s Italy (at a guess)

guitarz.blogspot.com:
I'm afraid don't know anything about this Steelphon guitar currently being offered for sale on eBay. In fact, the Steelphon brand is one that is unfamiliar to me, although a quick search on the name shows they were better known for amps. FetishGuitars.com has a photo of a Steephon Tiger amp which it says was made in Turin, Italy, and so I think it would be a reasonable guess that the guitar is also Italian-made.

I don't think this one is going to sell for big bucks, although one thing that would put me off as a buyer is the missing bridge saddle for the B-string. It could be near impossible finding a replacement, and might just be easier to replace the whole bridge.

G L Wilson

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

Tuesday, April 20, 2010

Jolana Star vintage guitar from Czechoslovakia

guitarz.blogspot.com:

The eBay seller of this Jolana Star circa 1963-66 is not too sure how it came into the UK bearing the Jolana name on the pickguard and the Star legend on the headstock, seeing as these were usually imported under the Futurama brandname.

This example appears to have all parts present and correct and is in great condition for its age. One interesting feature is the translucent plastic cover for the open-backed tuners on the back of the headstock. I don't think I've ever seen anything similar.

G L Wilson

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

Interview with Karen McQuestion

"JA Konrath is selling well because he's an established name."

"The reason Konrath has sold so many ebooks is because he has a large backlist of print books."

"Konrath has a platform--that's why he's making $4k a month on Kindle sales."

"Joe Konrath has a popular blog, and he's been self-promoting for eight years. No one else would be able to sell 40,000 ebooks."

I hear and read quotes like these all the time. Even though I'm pretty sure my ebook sales are fueling my print sales, and not the other way around, I still can't seem to get people to understand that ebook success isn't about having a known name.

It's about price, quality, and professionalism.

So it was a pleasure to talk to an ebook author who is OUTSELLING me. Karen McQuestion only has six ebooks on Kindle, rather than my thirteen books, and she's been live for less than a year. Yet she's sold over 30,000 copies since July.

And guess what? She's never published a book before. No name-recognition. No platform. No backlist. No blog that gets hundreds of thousands of hits on Google like mine does.

Karen simply writes good books, with good covers and descriptions, and posts them on Kindle herself.

Here they are:

Celia and the Fairies in paperback ($8.99) and Kindle ($0.99)

For ages 7-11, or those who are young at heart

A Scattered Life ~ currently available on Kindle ($1.99)

Easily Amused ~ a romantic comedy, available on Kindle ($1.99)


Favorite ~ a young adult novel, available on Kindle ($1.99)

Life on Hold ~ a young adult novel, available on Kindle ($1.99)

Lies I Told My Children ~ a collection of thirty humorous essays, on Kindle ($1.49)

When Karen admitted on this blog how well she was doing, I knew I had to ask her some questions, to see what secrets she could reveal about selling well on Kindle. She kindly responded, and here are her answers...

Joe: How and why did you get started self-publishing your ebooks on Kindle?

Karen: I’ve always thought of myself as a writer, even during the times when I didn’t write anything at all. When my three kids were (finally!) in school, I became more focused on writing with the goal of publication. I had success getting my feature articles and essays accepted by magazines and newspapers, but my fiction went nowhere. The first novel I wrote, A Scattered Life, caught the attention of a top agent, and I naively thought I’d made it, even though I never officially signed on as her client. One year and two revisions later, the agent opted out and I had to start over again. During the next several years, there were more novels and more agents, then contests, and direct submissions to editors at various publishing houses. Increasingly I got the sense that I was getting closer, but no offers were forthcoming. Talk about frustrating.

Last spring, I read an article about the author Boyd Morrison. He’d self-released three of his unpublished novels on Kindle, and as a result of great sales and reader enthusiasm wound up signing with Simon & Schuster. His story was a revelation to me. Up until then, I honestly hadn’t known that a writer could self-publish on Kindle. Something clicked and I knew I wanted to try to do this myself. At the time, I only knew one person who owned a Kindle, and I had never actually seen one (or any e-book device, for that matter). The thought of making money for past work was intriguing, but I had no expectations. I remember saying to my husband that I thought it would be wonderful if I could make enough for a nice dinner out once a month.

I uploaded one of my novels, a romantic comedy called Easily Amused, and a collection of my humorous essays, Lies I Told My Children. By the end of the first day I had sold a few books. I was elated, but puzzled. Who were these people and how did they even find my books? Every week the sales grew slowly but surely. And then I started getting positive reviews. Spurred on by my initial success, I went back to my other novels and uploaded them one by one. I now have six books on Kindle.

Sometimes I still can’t believe the turn my writing life has taken. A year ago I was a failed novelist with years of work on my hard drive, and now I have readers and an income. Life is good.

Joe: Did you do anything at first to promote your Kindle ebooks?

Karen: I introduced myself and my books on Kindleboards.com, and also on the message boards on Amazon. Some of my first sales came from readers there, and I’m grateful they gave an unknown author a chance.

Joe: How have the sales been? Steady? Going up?

Karen: My best day to date was Christmas day, believe it or not. Overall, sales have fluctuated, but each month they’ve either equaled or exceeded the previous month.

Joe: How did the film option happen?

Karen: Ironically, the novel that got optioned, A Scattered Life, almost didn’t make it to Kindle. I hadn’t looked at the manuscript in years, so I when I opened the document file, I wasn’t certain what I’d find. I was pleasantly surprised to discover I still loved the characters and the story. So much time had passed that reading it was almost like reading someone else’s book. It needed some work yes, but I still found it touching and funny. I went back and reread the notes the first agent had given me and she was right—way too much backstory, something my earlier revisions hadn’t adequately addressed. I spent about two weeks reworking it and uploaded it the beginning of October.

A little more than a month later, I got an email from Eric Lake, an L.A. producer. At first glance I didn’t take it seriously. For one thing, it got routed to my spam folder. Not only that, but the name of the production company is “Hiding in Bed,” which was part of his email address. It all seemed a little fishy. I would have deleted it except the subject heading was the title of my book.

The email asked for the contact information for the person handling the movie rights for A Scattered Life. I think my heart stopped beating for a few seconds, but once it started up again, I checked with Mr. Google to see if this was a legitimate production company (it was) before responding.

Over the next week, Eric and I talked on the phone several times, and emailed back and forth as well. Once we agreed on terms, we were able to finalize the deal. I just heard from him recently and the project is on track. There are several more steps before it becomes an actual movie, but I’m hopeful it will happen eventually.

Joe: What are you doing now to promote yourself and your ebooks?

Karen: I still post on message boards, and make comments on heavily-trafficked websites and blogs. I think some writers underestimate the power of the message boards, especially the ones right on the Amazon site. The Kindle readers are right there, only one click away from your book.

One thing I did, which I think helps, was to set it up so my posts on Amazon come up under “Karen McQuestion, Author.” That way, I can participate in general discussions and if people on the boards are curious, they can check out my books, and if they aren’t, that’s okay too.

I've also posted comments on Gizmodo.com, The Huffington Post, The Washington Post, and other newspapers here in the US and worldwide. I'm genuinely interested in reading about anything Kindle /e-book/ publishing related, so it was natural for me to seek out articles on these topics online. Whenever I felt I could contribute to the conversation or politely clarify a point I did, and always mentioned that I spoke as a self-published Kindle author. I do believe this led to sales, but it's impossible to say for sure. Regardless, I felt it was a good use of my time.

Joe: Are you going to raise your prices to $2.99 in June to get the 70% royalty?

Karen: I’m still debating this issue. On the one hand—hey, more money!--who wouldn’t want that? But then I remember the readers who said in reviews or on message boards that they tried one of my books primarily because it was cheap, and then liked it so much they went on and read my other titles. I’d hate to raise my prices and miss out on even one reader. So, I’m torn.

The short answer is that I may raise the price on one of the books, and see how it goes.

Joe: Have you used Smashwords to get on Sony/Nook/Ipad? Results?

Karen: I have not used Smashwords. All of my books have been sold via the Kindle or Kindle app.

Joe: What advice would you give to newbie authors who are thinking about uploading their unpublished ebooks onto Kindle?

Karen: If your writing has been vetted and you have every reason to believe it’s of publishable quality, I say go for it.

Amazon does not discriminate against self-published authors. In fact, they’d love for every indie author to sell millions of downloads. When you make money, they make money. The book pages on Amazon don’t differentiate--small press, self-published, big publishing house— each product page has an identical layout. And it’s free to upload a book on Kindle (I still can’t get over that)!

Four tactics that will give your book a huge advantage can be set into place before the book is even on the market:

Price: Set the price low--under $2.00 is best. A low price makes a huge difference in enticing readers to try an unknown author.

Title: Choose a title that’s catchy and easy to remember.

Description: Descriptions should be brief, ideally only a paragraph. Try to avoid making it just a rundown of plot points. Start with the main character and make sure you include the conflict. Use strong verbs and specific nouns, and leave the reader wanting to know more.

Cover: A cover can make or break a book. Try to make the cover as professional in appearance as possible. For ideas, look at traditionally published books similar to your own.

Additionally, when you upload your book, make sure you take advantage of the options in picking “categories” and “keywords.” And after the Amazon book page is complete, add appropriate tags. All of these things help readers find your books.

Finally, be prepared to spend some time doing marketing. For the first six months I spent at least an hour or two a day doing promotion online and it paid off in a big way.

People can’t buy your book if they don’t know about your book, so don’t be shy—get the word out!

----------------

Joe sez: Many years ago, I was arguing with someone who said the secret to selling a books is simple: just write a good one.

I disagreed. First of all, there is no set definition of what "good" is. Second, many "good" books go out of print, and many "mediocre" books become bestsellers (at least in my subjective opinion.)

The success of as book, I posited, depended on how much money a publisher threw at it, how big the coop was, how large the print run and distribution.

In the age of ebooks, where print runs and publisher dollars don't mean anything, there is still an unknown Factor X that determines why some books sell well and others don't.

But I'm also changing my thinking a bit. Writing a good book, with an interesting premise, a professional, eye-catching cover, a decent description, a low price, and a hooky preview, does help sell ebooks. Perhaps even more than it ever helped sell print books.

Maybe the secret is to write something that people will really enjoy reading, and make sure it's cheap, easy to acquire, and presented professionally.

Karen has done just that, and has sold a lot of ebooks. I predict she'll continue to sell even more.

Lace Cybercaster

Lace Cybercaster

You know this wooden floor, it's behind every guitar picture you can find on the Vintage Guitar eBay shop - and I regularly choose the best ones to show them here...

But do you know the Lace cybercaster laying on it? Well actually if you ever saw it once, you couldn't forget its highly recognizable shape and natural rosewood finish. The gear is very syncretist, combining the big bridge plate of the telecaster, the jack input of the strat and the double humbucker configuration of the Les Paul...

I could say more but there is a good review here that I would just paraphrase!


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

Monday, April 19, 2010

Hohner Hollywood Bass VI / Baritone guitar

guitarz.blogspot.com:
This post is for Biliby who emailed me waxing lyrical about a Jazzmaster/Strat hybrid guitar he'd found called the Hohner JT-60 - see pics of that one here.

The above-pictured guitar, however, is a custom shop version designed to function as a Bass VI. However, the guitar scale makes the strings a little floppy at the regular bass tuning and so it's more realistic to use it tuned to G. Not quite as low as a bass (c'mon, only three notes out), but lower than most baritone guitars. This was actually my own guitar, but I sold it several years ago when I was having my great guitar clear out. It was quite sad; I needed money to pay the bills, and ended up selling virtually my whole guitar collection. However, I soon built up another collection.

The guitar was manufactured in the Far East, but finished and set-up in Wales in the UK. I believe the guitar is a Trevor Wilkinson design (hey, he gets everywhere) and features Wilkinson pickups and Wilkinson tremolo. The tremolo on the bass was fantastic - twang-tastic, even! I used this guitar on a few recordings in both bass and baritone roles. The string spacing also allowed EBow usage which sounded great. It was a very nice guitar, but not one that got played a whole lot.

G L Wilson

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

You Can Become A Kindle Millionaire Part 17

This post was written by my friend, Lee Goldberg, taken from his terrific blog A Writer's Life. I asked him if I could repost it, because I think it speaks to something I've been preaching about for a while.


TO: LEE GOLDBERG
FROM: JOE KONRATH
If I were you, I'd rename all the .357 Vigilante books getting rid of ".357" and "Vigilante" in their titles. The new covers should be generic--maybe a gun or some sort of weapon as the central image--but they should also tie together as a brand. And they should be done by an artist. Maybe a friend (you must have graphic artist friends) or maybe you can hold a contest on your blog. I'm convinced your covers and titles (which scream "Men's Action") are holding back sales of this fun series.


TO: JOE KONRATH
FROM: LEE GOLDBERG
I'm not sure that changing the covers for .357 VIGILANTE (or the titles) will help. The books are what they are -- pulpy, men's action adventure novels from the 1980s. That is their appeal...and their drawback.


TO: LEE GOLDBERG
FROM: JOE KONRATH
Give me $XYZ. I'll give it to my graphic artist to redo the covers for the Vigilante books. Let me retitle them and do the product descriptions, and I bet your sales go up at least 25% in a two month period (compared to your last two months of sales.) If they don't, I'll give you the $XYZ back, and you get the covers for free. That's how sure I am those books will sell with the right packaging.


TO: JOE KONRATH
FROM: LEE GOLDBERG
You have a deal!

So I sat back and let Joe have his way with my books. Here's the original cover for .357 VIGILANTE:

Vigilante1forsmashwords
And here is what he did with it:

Vigilante 1
Here is the original cover for .357 VIGILANTE #2: MAKE THEM PAY:

Vigilante2forsmashwords
And here is what he did with it:

Vigilante 2
Here's the original cover I cobbled together for .357 VIGILANTE: DIE MR. JURY, an omnibus collection of all four .357 VIGILANTE books:

Face and logo9
Here's the revamp I did for it last month:

Die Mr Jury1l
And here's what Joe did:

Jury Series
It's only a little past mid-month, but already it's clear that he's won the bet and his repackaging is a success.

Last month, 357 VIGILANTE sold 59 copies or about 2 copies a day. This month, with the new title and cover, it has already sold 46 copies, or about 3 copies a day. It remains to be seen whether that pace of sales will continue for the rest of the month. But wait...

.357 VIGILANTE #2: MAKE THEM PAY sold 39 copies last month and now, with the new title and cover, it has already topped that by selling 43 copies. But wait...

.357 VIGILANTE #3: WHITE WASH sold 23 copies last month. So far this month, with the new title and cover, it has sold 27 copies. But wait...

.357 VIGILANTE #4: KILLSTORM sold 14 copies last month. But with the new title and cover, it has sold 48 copies. That's right, the sales have more than tripled and the month isn't over yet. But wait, it gets even better...

.357 VIGILANTE: DIE MR. JURY sold 20 copies last month and now, with the new title and cover, it has sold 47 copies...the sales have more than doubled and the month isn't over yet. What's really surprising about this bump is that the book is priced at $4.99, making it the most expensive of my previously published/out-of-print titles on the Kindle. They aren't buying it because it's cheaper than everything else out there...I believe they are doing it because they think they are getting a great deal, four books for the price of one, a point Joe hammered home on the new cover far more effectively (and clearly) than I did on the old ones.

Based on these results, I quickly reworked the covers of MY GUN HAS BULLETS, THREE WAYS TO DIE and BEYOND THE BEYOND (retitling it DEAD SPACE) to take advantage of what I learned from the bet and from Joe's example.

What did I learn?

1. Your covers should have a clear, simple, striking image that will still pop out when the cover is reduced to the size of a postage stamp.

2. Your covers need to have a consistent, branded look.

3. Don't be afraid to experiment, to rethink everything about how your book is presented: the title, the cover art, the categories its listed under, the way you describe it, the way you've priced it. Just because your book has been posted, that doesn't mean it's been carved in stone and can't be altered. You need to adapt to find your audience. In other words, you can't just post your book on the Kindle and leave it. Your book will continue to need attention and, if necessary, updating to stoke sales.

----------------------------

Joe sez: I'm happy Lee is selling more books, but I was pretty sure I was right about this. Even in the digital world, people still do judge books by their covers. Something that looks 1980s and cheesy has a limited appeal. But a subtler, professional cover, and a toned down product description (the original book descriptions had a lot of exclamation points and flashy adjectives and simply sounded pulpy) will broaden a title's appeal. As will the title itself. My mom isn't going to buy a book called .357 Vigilante: Killstorm! But she will buy a book called GUILTY.

Readers are customers. The secret to successful sales is: Know Your Customers.

It's also important to note that Lee's ebooks had some formatting issues, and I went through them and fixed a bunch. That's also key. People download the free sample, and if the paragraphs are all messed up, or the spacing looks off, they won't buy.

I read the .357 Vigilante books when I was younger, and enjoyed them before I'd ever met Lee. They're fun books, and deserve a wide readership. But Lee--who is a pretty savvy guy--wasn't presenting them correctly.

Would you serve fillet Mignon on a dirty paper plate? Of course not. The presentation is part of the appeal, and the sizzle sells the steak.

No sizzle=no sale.

The key is: Be Professional.

Hire a cover artist. Hire someone to format your books for Kindle if you can't do it yourself. Make sure the title and product description are targeting your audience. And, of course, make sure your book kicks ass.

BTW, if you need someone to format your manuscript for Kindle, I recommend Rob Siders. You can reach him at robsiders(at)msn.com. He can even help if all you have is a paper copy, and if you're tech incompetent he'll also upload it to Kindle for you. Rob currently charges between $200 and $400 per manuscript, depending on how much work needs to be done. Could be less, if it's a quick job.

The cover artist who did Lee's new covers above is the same one who has done all of my Kindle covers. His name is Carl Graves, and he can be reached at cgdouble2(at)sbcglobal.net. Carl currently charges between $300 and $800 a cover, depending on how much work needs to be done. Could be less, if it's a quick job.

If you contact these guys, tell them Joe sent you.

Pop-art Rickenbacker 330 - just like Paul Weller's

guitarz.blogspot.com:
Neal Davies writes:
Hey there,

Just saw your post about Paul Weller's "Whaam!" Rickenbacker 330 and thought you'd like to see my copy of it.

I came across it (literally stumbled across it) a couple of years ago on eBay. The artist who created it is called David Arcadian. He runs a company called Rockstar Interiors who do high-end interior design (rockstarinteriors.net) for clients including Evander Holyfield!

Like me, he's a Brit and a fan of The Jam. He's also a collector of Rickenbacker guitars. I asked him why he decided to copy Weller's legendary 330 and he said: "I had to. I couldnt find one to buy for love or money. That one you have I believe was number 3. Completely unique on red. Loved the result. Natural flow, instead of rudely abbreviated when everything ran to black, like on Weller's." (This alludes to the point that the original was Jetglo and the Lichtenstein ended up with a stark black frame. This one was originally red). Its so beautiful even my wife didnt complain when I brought it home!

Thought you'd like to see it.

Best,

Neal
Thanks Neal. You are correct in thinking we'd want to see your guitar. In fact we NEED to see guitars like these. It's what the blog is all about.

I'd heard that Weller's original was just about unplayable. I hope that yours functions as it should. Anyway, thanks for sharing.

G L Wilson

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

Orfeus pickup detail from Lord Bizarre

guitarz.blogspot.com:
Last June we took a look at a Bulgarian-made Orfeus 12-string semi-hollowbodied guitar.

Lord Bizarre
, collector and enthusiast of such weird guitars, has emailed me with further information about the rather strange-looking staggered pickups. He says:
"They're single coils (possibly handwound) and then fitted arround three square magnets and held with some rope bands. Very strange construction and therefore perhaps 4 pu's needed for 12 strings (3 magnets/pu x 4 pu's = 12 "polepieces" I presume...)"
Weird indeed! And thanks for the feedback.

G L Wilson

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

Jolana Vikomt with zebra finish

Jolana tele thinline zebra

This Jolana Vikomt is of course familiar to you, not only because of its tele-based design, but because it's a one-pickup / hardtail version of the Jolana Iris that I showed here in February.
But this one has an interesting custom paint, obviously from another cultural era! No skulls and no flames and no fake tribal patterns like it seems obligatory these days, but minimal red and grey stripes, and a little bit of industrial yellow on the bridge and tail...

I prefer this humble proletarian pride to all the cliché show-off evil-macho sh***.


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

Sunday, April 18, 2010

Reverend Rocco in Bugeye aluminium finish

reverend bizarro

Reverend is a very interesting small guitar company with an already rich history for its only 15 years of existence, during which they released several models, with many variations in gears, electronics, materials and finishes.

Here is a 2000 Reverend Rocco, from the composite guitars / made in USA era, a rare model since only 50 were issued with this astonishing metallic finish. I like its early Reverend signature shape, the art deco pickguard and the metal armrest (the sides of the guitar are made of plastic, it makes sense)... This guitar has a kind of neo-German feel, like a US answer to Duesenberg, and you know how much I appreciate Duesenberg guitars... Anyway, I (like always) prefer it with chrome covered humbuckers.

The white finish / black pickguard version of the early Reverends is pure beauty as seen on this Commando model (see also previous post!)


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