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Charley Zemaitis International Musical Instruments WorldLifestyle - 2009 |
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Carvin  该公司成立于1946年南加州的L.C.Kiesel公司。截至1947年，该公司在美国内布拉斯加州的哥德堡制造钢弦吉他。 大约1948年，他回到了南加利福尼亚并且搬到Baldwin公园，在1949年加利福尼亚，公司名称Kiesel更改为Carvin，Carvin是从Kiesel的二个儿子名字的结合，Carson和Gavin.
在整个20世纪50年代，60年代和70年代初，Carvin制造了吉他和贝司，主要来自Höfner的琴身和琴颈。 在此期间，他们还制造吉他音箱/钢铁吉他和授权的其他设备，包括Fender和Martin吉他，De Armond拾音器和Sonola手风琴。 在七十年代末期，Carvin开始生产自己乐器的所有部件，并扩大了产品线，包括专业音频设备，录音设备，舞台照明和其他演播室设备。 后来，Carvin制造业转向Through Neck 吉他(颈身一体琴)，而且吸引了这位金属风格的乐手的Jason Becker的青睐。
Carvin在20世纪80年代的吉他乐器世界上独树一帜，给客户提供体身，木材，颜色，电子和其他功能的基础上建造规格。 这允许顾客定做一把吉他或贝司，对于一个大规模批量生产的，就卖到零售商去被销售。 目前，Carvin公司生产的产品有:声学木吉他/电吉他/贝司和配件，音箱放大器，录音室音响设备，麦克风和舞台照明设备。 Carvin也仍然提供许多定做的品种，包括7弦，半中空，十二弦，雕刻顶部和有源主动型拾音器。   C.F. Martin honors master woodworker George Nakashima with Commemorative Edition Guitar George Nakashima's extraordinary furniture designs are on display in many of the finest museums and homes around the world. Inspired by his love of Japanese fine craftwmanship and simplicity of design, this American-born son of a struggling newspaper reporter created distinctive designs from a variety of ancient woods. Influenced by the time he spent working in Paris, Tokyo,and India following his college degree in architecture, Nakashima developed a unique appreciation for working with wood from the trees that he loved so dearly. Nakashima and his American-born wife Marion Okahima, had just opened a furniture workshop in Seattle when World War II started. Like other Japanese Americans, they were interned in a camp before being allowed to move to rural southeastern Pennsylvania. By 1946, he had created the beginnings of a craft furniture business. His striking designs, superb craftmanship and use of organic materials soon earned him a lasting international reputation. He is widely heralded as the founding father of the comtemporary American woodworking movement. George Nakashima died in 1990 at age 85, but his woodworking studio and artistic legacy are carried on to this day by his daughter, Mira Nakashima Yarnall.
For the last two decades of his life, George Nakashima visited the C. F. Martin "Sawmill" on a regular basis to supervise the cutting of his rare oversized walnut logs, which were perfectly suited for cutting on Martin's state of the art bandmill. In honor of his extraordinary and unparalleled skill in crafting objects of wood, and as a testimonial to the long and warm relationship between the Nakashima family and the Martin Guitar Company, Martin is honored to introduce the George Nakashima Claro Walnut Commemorative Edition. This acoustic Dreadnought guitar is designed in the woodworking style of this great artist and limited to a maximum of 100 instruments.
Both the fingerboard and the bridge are crafted from the highest quality genuine black ebony. Tuning machines are nickel plated open geared Waverlys with butterbean knobs.
The soundboard is bookmatched from rare Italian alpine spruce, adorned with a single rosette ring of highly colorful abalone pearl. Scalloped top braces are shifted forward to a position one inch from the soundhole for optimum tone. The soft appearance of the instrument is enhanced with a light aging toner on the top and a satin lacquer finish throughout. The pickguard is polished and beveled from material that closely matches the vintage tortoise pickguard coloration of the pre-war era. A black nut and saddle contrast with fossilized ivory bridge and endpins, inlaid with large 5mm black pearl dots. Included with each Nakashima Commemorative guitar is a custom-made vintage Geib StyleTM hardshell case with a taupe tweed exterior and a green crushed velour interior.
An interior label, personally signed by Mira Nakashima Yarnall and Martin Chairman and CEO, C. F. Martin IV, is numbered in sequence with the edition total (i.e. 1 of 100, 2 of 100, etc.). A secondary label features a classic Jack Rosen photograph of George Nakashima and the japanese symbol "Wa" which means "peace."
A portion of the proceeds from the sale of each Nakashima Commemorative guitar will be donated to The Nakashima Foundation For Peace.
Martin Guitar dealers will begin to take orders for the Nakashima Commemorative Martin guitars immediately, though the edition will not begin to appear in stores until the summer of 2000.
 LINKS:
Ken Parker "Unlike most other kinds of musical instruments, the archtop guitar was originally devised to be built in a factory, and didn't have the benefit of developing gradually, with lots of talented builders competing and building on each other's strengths. At the end of the great depression, the availability of the electromagnetic pickup and the guitar amplifier gradually rendered the archtop commercially irrelevant, as solidbody guitars rose to assume their dominance as tools for performing guitarists. It can be argued that the development of the acoustic archtop was actually driven backwards by the addition of magnetic pickups, because builders added more stiffness to improve the newly amplified guitar's behavior at stage volume. As an instrument maker, my goal has always been to build the most sensitive, responsive, and versatile guitars I can. I have long believed that the acoustic archtop guitar form offers huge potential that has been largely unexplored. I'm determined to wrest the best possible musical results from this wonderfully flexible and intriguing form. This is an exciting time for me as a builder, because I can work alone once again, and follow my muse. I built my first archtop guitar in 1976 and, although I went on to build and develop other kinds of tools for musicians, I've always felt the calling to return to my first inspiration, my first love, the acoustic archtop guitar. If you would like more information about the guitars or want to find out how you can have me build one for you, please drop me a line. I look forward to hearing from you." Ken Parker Please feel free to email me (Ken Parker) here about my new work.
"Many of you have written to ask about my work at Parker Guitars. I'm sorry that I can't answer your inquiries personally, but here I'll try to help with some of the more frequently asked questions. Larry Fishman and I met in 1984 and began a playful but productive design partnership. We shared techniques and technologies, and tried to envision some new tools for guitar players. Long story short, we founded Parker Guitars in 1991 in order to realize the Fly Guitar project. We created tools to build the guitars, and established our factory in Massachusetts, where we produced about 30,000 guitars and basses. In 2003, US MUSIC CORP. purchased Parker Guitars, and moved the production facilities to the greater Chicago area. Since that time, all of the new models produced by Parker, including any acoustic or semi hollow instruments, have been designed solely by Parker Guitars' design engineers. I have had no involvement with any of these new design projects. Creating the Parker Fly, Nightfly, and the Fly Bass was a labor of love. I had a lot of fun designing them and then devising and building the production tooling to make them. These instruments have worn well, and now the product line has been expanded by the new owners. " --- Ken Parker
Tom Anderson GuitarworksTOM ANDERSON spend countless hours listening, testing, and playing Own instruments. The process begins with the creation of the most precise and comfortable bodies and necks possible. TOM ANDERSON accomplish this by choosing only the finest and most beautiful woods from select lumber mills. TOM ANDERSON design and manufacturing process utilizes the best of both old and new world craftsmanship. Ground breaking computer-aided technology is used to achieve the most exacting tolerances found in the guitar industry, while the fine-detail woodwork and beautiful finish-sanding are done by the hands of a master.
  NAMM SHOW 2010
Show Location & Hours Anaheim Convention Center Thursday, January 14 10 a.m.-6 p.m. LINK Web:NAMM SHOW 2010 Fender Custom Shop MasterDennis Galuszka began building high-end acoustic guitars during his 13 years as a cabinetmaker, combining his passions for music and woodworking. As a self-taught drummer, it was a fateful audition with one of the Fender master builders that led to a job interview (and a steady gig). Hired as an apprentice, he was promoted to master builder in 1999. Galuszka has since built instruments for many influential players, including country legend Buck Owens and jazz master Robben Ford. With an eye for detail and a keen imagination, Galuszka built a series of clever one-offs, including a Record Stratocaster® guitar with a record player tone arm tremolo, a pickguard customized from a real vinyl album, and fret marker inlays resembling plastic yellow 45 record adaptors. His matching pair of surf guitars (a Stratocaster® and Precision Bass® guitar) built for the 2003 NAMM Show featured a long board body graphic and a custom decal.
Greg Fessler came to the Fender Custom Shop in 1990, working his way up through the ranks as an apprentice. He assisted with the Robben Ford signature line of guitars, eventually becoming the sole builder of those instruments and, later, Ford’s personal builder. Fessler has built one-off Stratocaster and Telecaster guitars for a host of players, including bluesman Jeff Healey, Rhonda Smith (Prince), Neil Schon and 311 to name only a few. Fessler’s unique abilities as a master builder have earned him accolades from many Fender artists and from discerning customers worldwide. His meticulous attention to detail is exemplified in every instrument he creates, each of which is a perfect example of the intense commitment it takes to earn the title of master builder.
The Custom Shop’s newest Master Builder is Jason Smith, a 13-year Fender veteran and son of longtime Fender R&D legend Dan Smith. As such, he grew up on Fender—“It’s always been in my family,” he said, “And I was always extremely interested in everything my father did.” Born in Rochester, N.Y., and raised in California, Smith remembers meeting guitar deities from about age five on through his father’s work with Fender—Eric Clapton, Yngwie Malmsteen, Jeff Beck and Robben Ford, to name only a few. He went to his first big rock concert at age six—Rush—and Smith remembers going backstage with his dad and meeting Geddy Lee after the show. Before he was even in his teens, Smith was going to see Pink Floyd, ZZ Top and many other major artists. Rock music and Fender are simply part of his DNA. Smith joined the Fender Custom Shop in 1995, and in 2006 completed a 5-year apprenticeship under acclaimed Senior Master Builder John English. Among many diverse projects with English, Smith worked on a pair of double-neck Stratocaster® guitars for Stone Temple Pilots guitarist Dean DeLeo. Smith is an accomplished bass guitarist who brings a player’s sensibility to his work in the Custom Shop in addition to his expertise as a builder. With the Master Builder title that he’s strived for over so many years now his, he’s eager to start taking orders—after all, Fender is practically in his blood. “I’ve always loved it,” Smith said. “And it feels great that I’ve reached the goal that I’ve worked toward for five years in apprenticeship, and the eight years before that.”
John Cruz came to Fender in 1987, joined the Custom Shop in 1993 and became a Master Builder in 2003. Custom guitars are his passion, and he is the man behind several famous Custom Shop instruments, including the replica of Stevie Ray Vaughan’s famous “Number One” Stratocaster® guitar. Cruz also built the limited-run Moto guitar and amp sets, worked on the ’49 Woody amp project and developed all production processes for the Rory Gallagher and Muddy Waters tribute guitars. Further, his meticulous work was essential to all aspects of the initial Custom Shop Relic guitars and basses, and he initiated the Custom Shop’s quality assurance program. Cruz has built fantastic guitars for players such as Doug Aldrich (Dio, Whitesnake), Dave Amato and Bruce Hall (REO Speedwagon), Mick Mars (Mötley Crüe), Richie Sambora (Bon Jovi), Bono (U2), Duff McKagan (Guns N’ Roses), Ike Turner and Brad Whitford (Aerosmith).
Mark Kendrick is revered for building iconic Fender guitars and basses, and is respected for his attention to historical detail and willingness to push the creative envelope. He is a second-generation Fender man (his uncle handled “field services” for Leo in the mid-‘50s) who started in the Custom Shop in 1990.
As one of the preeminent archtop builders at the Custom Shop, Stephen Stern has studied under two of the world’s greatest archtop luthiers—Jimmy D’Aquisto and Bob Benedetto. Stern got his start apprenticing at a high-end cabinet shop straight out of high school. Five years of that prepared him for his first job as a builder at Jackson/Charvel Guitars. Stern came to the Custom Shop in 1993, working with D’Aquisto on the latter’s namesake line of guitars until the great luthier’s death in 1995. In the late ’90s, millionaire collector Scott Chinery commissioned a number of custom archtop guitars by two dozen of the world’s finest living luthiers; Stern contributed a custom-built D’Aquisto Ultra. Chinery’s “Blue Guitar Collection” is now housed in the Smithsonian Institution. Stern also built a handful of exquisite archtops in collaboration with the Walt Disney Co. to commemorate the anniversary of the animated classic Fantasia.
Calling Todd Krause the “Builder to the Stars” would be a vast understatement. He maintains and builds guitars for Fender signature artists Jeff Beck, Eric Clapton, Stu Hamm and Roscoe Beck. Further, he has built custom instruments for Mick Jagger, Keith Richards, Bob Dylan, Roger Waters and Gene Simmons, to name only a few. Krause’s guitar-building apprenticeship began in March 1981 at Jackson/Charvel guitars. He started at Fender in 1991 and quickly donned many hats, including that of a one-off builder, R&D model maker, woodworking machinist, and, eventually, master builder.
From handcrafting many of his own woodworking tools to showcasing his world-class luthier skills and custom inlay work, Yuriy Shishkov is truly one of the last of the renaissance guitar builders. It was in the small confines of a root cellar in his hometown of Gomel in the former Soviet Union that Shishkov got his start building guitars for friends and colleagues. When he arrived in the United States in 1990, Shishkov settled in the Chicago area and collaborated with a range of top artists, including late shredder Dimebag Darrell of Pantera, Jimmy Page and Robert Plant of Led Zeppelin, Nuno Bettencourt, Robin Zander of Cheap Trick and Paul Stanley of Kiss. Shishkov joined the Fender Custom Shop’s elite team of master builders in 2000.
Andy Summers Tribute Telecaster® Link: Andy Summers Fender Custom Shop Andy Summers Tribute Telecaster® Andy Summers was just out of college in Southern California in the early 1970s when one of his guitar students offered to sell him a beat-up 1961 Fender Telecaster that had obviously been modified by a previous owner. Summers had already had some modest music business success in the late '60s in Britain. Lately though, he'd stuck mainly to his classical guitar studies, and hadn't played an electric in quite a while. Strangely, however, something about this particular Telecaster grabbed him. As he put it himself in his 2006 memoir, One Train Later: When I start to play it, something stirs within me ... it shakes me ... I find that I can't stop playing it; this guitar sparks something in me and I have to have it. Summers bought the guitar for $200, and you and the whole world know the rest. Back in London a few years later, he joined a noisy so-called punk outfit called the Police that rose to become the biggest band in the world, thanks in no small part to the deftly innovative and influential sounds Summers conjured from that beat-up Telecaster. Hit after hit was recorded and performed on it— "Roxanne," "So Lonely," "Walking On the Moon," the breathtaking "Message In a Bottle," "Don't Stand So Close to Me," "Every Little Thing She Does Is Magic," "Every Breath You Take," "Wrapped Around Your Finger," "Synchronicity II" and "King of Pain." Now, Fender couldn't be more proud and excited to unveil a very special 250-instrument Limited Edition run of the Fender Custom Shop Andy Summers Tribute Telecaster as part of the Fender Custom Shop's legendary Tribute Series. It's a note-perfect replica of the 1961 Tele® that Summers used to help propel the Police to untold heights of worldwide pop superstardom. The prototype, built by Fender Custom Shop Master Builder Dennis Galuszka over the course of a year, is currently in use with Andy now. The guitar features the same "eccentric" modifications that the original had when Summers first bought it, most of which were unchanged throughout the nonstop work and excitement of the Police years: • Ferocious humbucking neck pickup. Summers played number one of the 250 replicas when the Police once again electrified the music world by reuniting on Feb. 11, 2007, to open the 49th annual Grammy Awards ceremony in Los Angeles. Even more exciting, Summers will play the replica during the momentous 2007 30th anniversary worldwide Police reunion tour, one of the most hoped-for and eagerly awaited events in pop music history. It promises to be a thrilling musical event featuring one of rock's most innovative guitarists playing a spot-on replica of one rock's most distinctive guitars. Breedlove Guitar - Private Reserve SeriesThe Kim Breedlove Private Reserve Series is most exclusive instrument series. Private Reserve instruments are designed and built by Kim Breedlove, using select, highly figured tonewoods, and featuring incredible inlay work.
Kim usually produces no more than five Private Reserve instruments in a year. This is a worthy collection of art handmade crafts.
   Skinner's auction of Musical Instruments
Skinner’s fall auction of Fine Musical Instruments features twelve vintage guitars by Gibson and Martin, a collectible ukulele from C.F. Martin & Co. and a rare Lyon & Healy Model A Mandola circa 1920. Solid body guitars include a Gibson Les Paul from 1961 from the collection of ex-Police guitarist and composer Andy Summers and a mid-70’s Rickenbacker 481 signed by original Beatles drummer Pete Best. Fine Italian violins include six instruments from the 18th century, originating from the regions of Piedmont, Genoa, Tuscany, Mantua, and Venice. Fine French bows are represented by Joseph Henry and three by Eugene Sartory. JAMES TYLER - LOS ANGELES CUSTOM SHOP
Body:Alder or Mamywo (limited availability) Neck:Quartersawn Maple with Maple or Rosewood Fingerboard
Optional: Two Seymour Duncan classic stacks Optional: Recessed Floyd Rose system |
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感谢您的访问！
Electro-Harmonix
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G1 Purple Special Specification | |||
| Type: | standard guitar | Body: | carbon fibre over cedar |
| Fingerboard: | Purple Carbon Fibre | Fingerboard Radius: | 12" |
| Inlays: | Holographic Gold Carbon Fibre | LED's: | 0 |
| Fretwire: | 2.8mm x 1.1mm | Pickup Configuration: | HS |
| Knob Configuration: | Master Volume and Tone | Switch/es: | 3 way Toggle |
| Additional Control Info: | Number of sounds: | I humbucker, 1 single coil and combined | |
| Pre Amp: | No pre-amp | Piezo: | No |
| Bridge: | Hardtail | Machineheads: | Gotoh 510 non-locking |
| Knobs: | Gus fluted | Strap Buttons: | Schaller strap locks |
| Scale Length: | 25" | Nut Width: | 43mm |
| Weight: | 7.5lbs / 3.4kg | Finish: | acrylic transparent candy |
| Hardware Finish: | Gold Plate | ||
Les Paul
New York, NY...August 13, 2009...Les Paul, acclaimed guitar player, entertainer and inventor, passed away today from complications of severe pneumonia at White Plains Hospital in White Plains, New York, surrounded by family and loved ones. He had been receiving the best available treatment through this final battle and in keeping with his persona, he showed incredible strength, tenacity and courage. The family would like to express their heartfelt thanks for the thoughts and prayers from his dear friends and fans. Les Paul was 94.
One of the foremost influences on 20th century sound and responsible for the world's most famous guitar, the Les Paul model, Les Paul's prestigious career in music and invention spans from the 1930s to the present. Though he's indisputably one of America's most popular, influential, and accomplished electric guitarists, Les Paul is best known as an early innovator in the development of the solid body guitar. His groundbreaking design would become the template for Gibson's best-selling electric, the Les Paul model, introduced in 1952. Today, countless musical legends still consider Paul's iconic guitar unmatched in sound and prowess. Among Paul's most enduring contributions are those in the technological realm, including ingenious developments in multi-track recording, guitar effects, and the mechanics of sound in general.
Born Lester William Polsfuss in Waukesha, Wisconsin on June 9, 1915, Les Paul was already performing publicly as a honky-tonk guitarist by the age of 13. So clear was his calling that Paul dropped out of high school at 17 to play in Sunny Joe Wolverton's Radio Band in St. Louis. As Paul's mentor, Wolverton was the one to christen him with the stage name “Rhubarb Red," a moniker that would follow him to Chicago in 1934. There, Paul became a bona fide radio star, known as both hillbilly picker Rhubarb Red and Django Reinhardt-informed jazz guitarist Les Paul. His first recordings were done in 1936 on an acoustic—alone as Rhubarb Red, as well as backing blues singer Georgia White. The next year he formed his first trio, but by 1938 he'd moved to New York to begin his tenure on national radio with one of the more popular dance orchestras in the country, Fred Waring's Pennsylvanians.
Tinkering with electronics and guitar amplification since his youth, Les Paul began constructing his own electric guitar in the late '30s. Unhappy with the first generation of commercially available hollowbodies because of their thin tone, lack of sustain, and feedback problems, Paul opted to build an entirely new structure. “I was interested in proving that a vibration-free top was the way to go," he has said. “I even built a guitar out of a railroad rail to prove it. What I wanted was to amplify pure string vibration, without the resonance of the wood getting involved in the sound." With the good graces of Epiphone president Epi Stathopoulo, Paul used the Epiphone plant and machinery in 1941 to bring his vision to fruition. He affectionately dubbed the guitar “The Log."
Les Paul's tireless experiments sometimes proved to be dangerous, and he nearly electrocuted himself in 1940 during a session in the cellar of his Queens apartment. During the next two years of rehabilitation, Les earned his living producing radio music. Forced to put the Pennsylvanians and the rest of his career on hold, Les Paul moved to Hollywood. During World War II, he was drafted into the Army but permitted to stay in California, where he became a regular player for Armed Forces Radio Service. By 1943 he had assembled a trio that regularly performed live, on the radio, and on V-Discs. In 1944 he entered the jazz spotlight—thanks to his dazzling work filling in for Oscar Moore alongside Nat King Cole, Illinois Jacquet, and other superstars —at the first of the prestigious Jazz at the Philharmonic concerts.
By his mid-thirties, Paul had successfully combined Reinhardt-inspired jazz playing and the western swing and twang of his Rhubarb Red persona into one distinctive, electrifying style. In the Les Paul Trio he translated the dizzying runs and unusual harmonies found on Jazz at the Philharmonic into a slower, subtler, more commercial approach. His novelty instrumentals were tighter, brasher, and punctuated with effects. Overall, the trademark Les Paul sound was razor-sharp, clean-shaven, and divinely smooth.
As small combos eclipsed big bands toward the end of World War II, Les Paul Trio's popularity grew. They cut records for Decca both alone and behind the likes of Helen Forrest, the Andrews Sisters, the Delta Rhythm Boys, Dick Hayes, and, most notably, Bing Crosby. Since 1945, when the crooner brought them into the studio to back him on a few numbers, the Trio had become regular guests on Crosby's hit radio show. The highlight of the session was Paul's first No. 1 hit and million-seller, the gorgeous “It's Been a Long, Long Time."
Meanwhile, Paul began to experiment with dubbing live tracks over recorded tracks, also altering the playback speed. This resulted in “Lover (When You're Near Me)," his revolutionary 1947 predecessor to multi-track recording. The hit instrumental featured Les Paul on eight different electric guitar parts, all playing together.
In 1948, Paul nearly lost his life to a devastating car crash that shattered his right arm and elbow. Still, he convinced doctors to set his broken arm in the guitar-picking and cradling position. Laid up but undaunted, Paul acquired a first generation Ampex tape recorder from Crosby in 1949, and began his most important multi-tracking adventure, adding a fourth head to the recorder to create sound-on-sound recordings. While tinkering with the machine and its many possibilities, he also came up with tape delay. These tricks, along with another recent Les Paul innovation—close mic-ing vocals—were integrated for the first time on a single recording: the 1950 No. 1 tour de force “How High the Moon."
This historic track was performed during a duo with future wife Mary Ford. The couple's prolific string of hits for Capitol Records not only included some of the most popular recordings of the early 1950s, but also wrote the book on contemporary studio production. The dense but crystal clear harmonic layering of guitars and vocals, along with Ford's close mic-ed voice and Paul's guitar effects, produced distinctively contemporary recordings with unprecedented sonic qualities. Through hits, tours, and popular radio shows, Paul and Ford kept one foot in the technological vanguard and the other in the cultural mainstream.
All the while, Les Paul continued to pine for the perfect guitar. Though The Log came close, it wasn't quite what he was after. In the early 1950s, Gibson Guitar would cultivate a partnership with Paul that would lead to the creation of the guitar he'd seen only in his dreams. In 1948, Gibson elected to design its first solidbody, and Paul, a self-described “dyed-in-the-wool Gibson man," seemed the right man for the job. Gibson avidly courted the guitar legend, even driving deep into the Pennsylvania mountains to deliver the first model to newlyweds Les Paul and Mary Ford.
“Les played it, and his eyes lighted up," then-Gibson President Ted McCarty has recalled. The year was 1950, and Paul had just signed on as the namesake of Gibson's first electric solidbody, with exclusive design privileges. Working closely with Paul, Gibson forged a relationship that would change popular culture forever. The Gibson Les Paul model—the most powerful and respected electric guitar in history—began with the 1952 release of the Les Paul Goldtop. After introducing the original Les Paul Goldtop in 1952, Gibson issued the Black Beauty, the mahogany-topped Les Paul Custom, in 1954. The Les Paul Junior (1954) and Special (1955) were also introduced before the canonical Les Paul Standard hit the market in 1958. With revolutionary humbucker pickups, this sunburst classic has remained unchanged for the half-century since it hit the market.
“The world has lost a truly innovative and exceptional human being today. I cannot imagine life without Les Paul. He would walk into a room and put a smile on anyone's face. His musical charm was extraordinary and his techniques unmatched anywhere in the world," said Henry Juszkiewicz, Chairman and CEO of Gibson Guitar. “We will dedicate ourselves to preserving Les' legacy to insure that it lives on forever. He touched so many lives throughout his remarkable life and his influence extends around the globe and across every boundary. I have lost a dear, personal friend and mentor, a man who has changed so many of our lives for the better."
“I don't think any words can describe the man we know as Les Paul adequately. The English language does not contain words that can pay enough homage to someone like Les. As the “Father of the Electric Guitar", he was not only one of the world's greatest innovators but a legend who created, inspired and contributed to the success of musicians around the world," said Dave Berryman, President of Gibson Guitar. “I have had the privilege to know and work with Les for many, many years and his passing has left a deep personal void. He was simply put – remarkable in every way. As a person, a musician, a friend, an inventor. He will be sorely missed by us all."
With the rise of the rock 'n' roll revolution of 1955, Les Paul and Mary Ford's popularity began to wane with younger listeners, though Paul would prove to be a massive influence on younger generation of guitarists. Still, Paul and Ford maintained their iconic presence with their wildly popular television show, which ran from 1953-1960. In 1964, the couple, parents to a son and daughter, divorced. Paul began playing in Japan, and recorded an LP for London Records before poor health forced him to take time off—as much as someone so inspired can take time off.
In the 1977, Paul resurfaced with a Grammy-winning Chet Atkins collaboration, Chester and Lester. Then the ailing guitarist, who'd already suffered arthritis and permanent hearing loss, had a heart attack, followed by bypass surgery.
Ever stubborn, Les recovered, and returned to live performance in the late 1980s. Until recently Les continued to perform two weekly New York shows with the Les Paul Trio, even releasing the 2005 double-Grammy winner Les Paul & Friends: American Made World Played, featuring collaborations with a veritable who's who of the electric guitar, including dozens of illustrious fans like Keith Richards, Buddy Guy, Billy Gibbons, Jeff Beck, Eric Clapton, and Joe Perry. In 2008, The Rock and Roll Hall of Fame paid tribute to Les Paul in a week-long celebration of his life which culminated with a live performance by Les himself.
Les Paul has since become the only individual to share membership into the Grammy Hall of Fame, the Rock and Roll Hall of Fame, the National Inventors Hall of Fame, and the National Broadcasters Hall of Fame. Les is survived by his three sons Lester (Rus) G. Paul, Gene W. Paul and Robert (Bobby) R. Paul, his daughter Colleen Wess, son-in-law Gary Wess, long time friend Arlene Palmer, five grandchildren and five great grandchildren. A private Funeral service will be held in New York. A service in Waukesha, WI will be announced at a later date. Details will follow and will be announced for all services. Memorial tributes for the public will be announced at a future date. The family asks that in lieu of flowers, donations be made to the Les Paul Foundation, 236 West 30th Street, 7th Floor, New York, New York 10001.
Recommended Product
BODY: Mahogany
NECK/FINGERBOARD: Maple/Rosewood
INLAYS: Gothic Cross
PICKUPS: Duncan Designed Active HB-105
ELECTRONICS: Vol/Tone/3-Way
BRIDGE: Tune-O-Matic Thru Body
TUNERS: Schecter
COLOR: Satin Black (SBK)
Martin D-100 Deluxe
RETAIL Price: $ 109,999 ￥751,238 RMB
Martin D-100 Deluxe Features:
MODEL D-100 Deluxe
CONSTRUCTION: Mahogany Blocks/Dovetail Neck Joint
BODY SIZE: D-14 Fret
TOP: Solid Adirondack Spruce
ROSETTE: Herringbone Pearl
"TOP BRACING PATTERN: Standard X Scalloped, Forward Shifted "
TOP BRACES: Solid Adirondack Spruce 5/16''
BACK MATERIAL: Solid Brazilian Rosewood- Custom Pearl Inlay
BACK PURFLING: none
SIDE MATERIAL: Solid Brazilian Rosewood
ENDPIECE: Style 45 Grained Ivoroid
ENDPIECE INLAY: Select Pearl with Black/White Fiber
BINDING: Grained Ivoroid
TOP INLAY STYLE: Style 50 with Black/White/Black Fiber
SIDE INLAY: Abalone Pearl with Black/White/Black Fiber
BACK INLAY: Abalone Pearl with Black/White/Black Fiber
NECK MATERIAL: Genuine Mahogany
NECK SHAPE: Modified V
NUT MATERIAL: Fossilized Ivory
HEADSTOCK: Solid/Diamond/Square Taper/Pearl Border
HEADPLATE: Solid Brazilian Rosewood /Custom Inlay
HEELCAP: Grained Ivoroid
FINGERBOARD MATERIAL: Solid Black Ebony
"SCALE LENGTH: 25.4"" "
# OF FRETS CLEAR: 14
# OF FRETS TOTAL: 20
FINGERBOARD WIDTH AT NUT: 1-3/4''
FINGERBOARD WIDTH AT 12TH FRET: 2-1/4''
FINGERBOARD POSITION INLAYS: none
FINGERBOARD BINDING: Grained Ivoroid
FINISH BACK & SIDES: Polished Gloss
FINISH TOP: Polished Gloss w/ Aging Toner
FINISH NECK: Polished Gloss
BRIDGE MATERIAL: Solid Black Ebony
BRIDGE STYLE: Belly
BRIDGE STRING SPACING: 2-1/4''
SADDLE: 16'' Radius/Compensated/Fossilized Ivory
TUNING MACHINES: Waverly Gold Hand Engraved w/ Butterbean Knobs
RECOMMENDED STRINGS: Martin SP 4200 Medium Phosphor Bronze
BRIDGE & END PINS: Fossilized Ivory/Green Tourmaline Dots Bordered in 14-Karat Gold Settings
PICKGUARD: Black / Beveled/ Tree of Life/Mother of Pearl Border Inlay
CASE: 545DLBLACK (Black Leather Exterior w/ Black Velvet Interior)
"INTERIOR LABEL: Signed by CFM IV, Numbered In Sequence with Total (50) "
ELECTRONICS: Optional
OTHER OPTIONS: Available left-handed at no additional charge
Takamine
创业期
1959年，一个小乐器工作坊在日本岐阜县的高峰山脚下成立，从此揭开了Takamine的历史。岐阜县在日本因木质材料的生产地而闻名，因此结集了许多手艺精湛的木工工匠。
60年代中期是日本民谣的全盛时期，吉他风靡于年青人之间，为此吉他制造商也争相发售吉他。受此潮流的推动，Takamine也得以发展，并奠定了往后成功的基础。
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60年代的Takamine工场 |
60年代初期Takamine的作业场景
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跻身世界的音乐舞台
1968年，平出益郎先生（Mass Hirade）加入了Takamine团队，他的出现，使Takamine的吉他在设计和品质方面都有了很大的提高。后来为了表彰他的杰出贡献，“Hirade”被标记在Takamine的古典吉他系列上。70年代中期，平出先生担任社长，他首次推出了“Takamine”这个品牌，并同美国的Kaman Music Corporation联手，积极拓展Takamine吉他的海外销售。
那个时期，随着音乐会场的规模不断扩大，许多吉他演奏家为该如何让吉他通过扩音器而呈现出完美的音色而大伤脑筋。最初的方法是在吉他上安一个麦克风，随后电磁式拾音器和贴片式拾音器也先后登场，但这些拾音器所表现出来的音质远不能满足演奏家们的需要。
Takamine 电箱木吉他的诞生
70年代后期，Takamine的电箱木吉他开始正式投产。Takamine要求技术人员们着重于追求理想的音质，而不是拘泥于传统的吉他制作方式。
在开发新型电箱木吉他过程中，Takamine独创出许多吉他部件，箱琴拾音器（Palathetic pickup）就是其中的代表。
踏入美国音乐界的Takamine
1979年4月，Takamine在海外市场推出第1号电箱木吉他。在短短的时间内，Ry Coodar、 Bruce Springsteen、 Jackson Browne等知名美国演奏家就抱着Takamine的吉他出现在音乐舞台上。老鹰乐团（Eagles）Glenn Frey的名曲“加州旅馆”（Hotel California）的前奏部分就是由Takamine的12弦电箱木吉他来完成的。由此Takamine的名声在美国的音乐界里迅速传开了。
弹指30年 – Takamine名琴回顾
在Takamine的电箱木吉他问世以后的30多年里，Takamine生产了许多无论在技术上还是工艺上都备受肯定的名吉他。而Takamine吉他无可挑剔的品质更吸引了世界各地的吉他爱好者。
Gibson SJ-200
This handmade 1950s edition of the "King of the Flat Tops" is one of the most famous acoustics of all time.
The Gibson SJ-200 Modern Classic Acoustic-Electric Guitar features a hand-selected solid Sitka spruce top; tuned and scalloped bracing; flamed maple back and sides; checkerboard marquetry; mother-of-pearl inlay on the headstock, fingerboard, and bridge; and engraved SJ-200 pickguard. Madagascar rosewood fingerboard and bridge. 6-ply top binding, 4-ply back binding, and bound headstock. Gold Gotoh tuners with pearloid keystone buttons. The active electronics with soundhole-mounted volume control let you plug it in while retaining the great acoustic tone. Includes deluxe Gibson hardshell guitar case.
Gibson SJ-200 Modern Classic Acoustic-Electric Guitar Features:
- Grover Rotomatic Tuners
- Bone nut and Tusq saddle
- "Big Sky" radiused fingerboard edge
- Industry's finest electronics
- Premium hardshell case
- Distinctive labels
Schecter Custom Shop
SCHECTER可以算是金属吉他里一个不折不扣的老牌子，他们已经有超过30年的历史了。虽然他们并不仅仅制作只适合重型音乐的吉他，但是无可非议的，他们在韩国和中国生产的一系列重型乐器在最近几年迅速成为在各个国家乐器市场都很畅销的玩意儿。
与很多美国吉他品牌一样，SCHECTER也是以老板姓氏注册的品牌。品牌创始人DAVID SCHECTER在1976年就已经在加洲创办了公司。而在那个时代，高档的美国乐器制造重心并没有转移到NYC去，加洲地区的乐器制作代表了美国最高的水准。
在最开始的时候，SCHECTER包括老板在内只有四个员工，他们只是在接受一些客户的乐器维修/改装的订单。比如他们就曾经为"Dire Straits"的吉他手MARK KNOPFLER以及THE WHO的吉他手PETE TOWNSHEND的TELE与LES PAUL进行过改造，并且后来PETE拿着这些被SCHECTER改装过的吉他出现在MTV中。但是很快的，象当时的SADOWSKY或者其他手工吉他改装商店一样，他们的改装越来越超出了“改装”的范围。他们不仅仅给客户的吉他换装拾音器，琴桥，NUT等一些小的配件，他们甚至开始自己采购一些稀有的高品质木材，制作NECK和BODY去替换乐手拿来的FENDER和GIBSON吉他！！在这个时期，我们不得不记住两个专门进行制作NECK和BODY工作的SCHECTER的新雇员的名字，因为这两位在后来成为了美国吉他制造界的明星和大师，他们就是——TOM ANDERSON以及JAMES TYLER！！当时他们俩都是SCHECTER的雇员，并且在SCHECTER工作的时候不仅提高了自己的吉他制作水平，也与很多客户保持了密切的联系，这些在SCHECTER工作的经历与后来他们能够自立门户有着密切相关的联系。可以说，TOM ANDERSON 与 JAMES TYLER两个品牌与SCHECTER的关系就好象后来的SUHR与FENDER的关系一样。
在有了TOM ANDERSON 和 JAMES TYLER 这些人的加盟后，SCHECTER逐步开始进入吉他制造业。在1979年，他们就已经发表了很超前的设计---一系列使用稀有木材制作的FENDER STYLE的改进版的吉他和BASS，在当时，这是最时髦和顶级的代表。这个时期的设计无疑是对后来TOM ANDERSON，JAMES TYLER两人分别自立门户后自己制作的型号影响很大，在后来日本的SCHECTER TOKYO生产的手工吉他也延续了这个时期的SCHECTER的设计。
到了80年代，他们在达拉斯开办了一个更大的吉他生产线。而他们之前的客户，"Dire Straits"的MARK就是最早期使用SCHECTER独立生产的吉他的SCHECTER艺术家之一。不过80年代中期到90年代初的乐器市场是一个很大的泡沫，看似庞大其实仅仅是一个表面现象而已。这个时期，很多坚持“品质第一”的制作高品质乐器的公司纷纷走向滑坡从而被收购。比如MICHAEL TOBIAS的TOBIAS卖给了GIBSON，STUART SPECTOR的SPECTOR卖给了KRAMER（KRAMER在90年代初也被GIBSON收购），NED STEINBERGER的STEINBERGER也卖给了GIBSON，甚至连MUSIC MAN也被制作琴弦起家的ERNIE BALL收购，更甚至连这个时期的FENDER也开始用降低品质，寻找国外廉价生产线这些方法来维持生存。而SCHECTER虽然在这个时期设计发表了一系列高品质的经典吉他型号，但是仍然无法避免公司运做方面走下坡路的命运，终于，在1991年，SCHECTER被(ESP创始人:HISATAKE SHIBUYA) MI音乐学院也就是MI - HOLLYWOOD / MI - JAPAN被他收购的。
于是，SCHECTER又辗转来到了洛杉矶落户，他们在新的日本东家（但是很快的，他们又和新东家“解约”，重新成为一个美国的独立乐器厂牌）的要求下在洛杉矶开办了一个小规模的只接受CUSTOM订制的小作坊，仅仅生产高价位（当时的定价是1500到5000美圆）的订做吉他。但是这个时期洛杉矶的唱片业很繁荣，很多音乐人和艺人都需要高品质的吉他来保证他们的演出。而SCHECTER的吉他也受到了越来越多的摇滚乐队的喜爱，从金属到PUNK乐队，在当时甚至说在MTV中看到乐队使用SCHECTER吉他的频率是一天30次。而这个时候的SCHECTER的CUSTOM SHOP最多一个月也只能生产40把吉他，并且这些吉他卖的又很贵。这远远不是市场所需要的。
所以，在1996年，SCHECTER开始改变了战略，保持CUSTOM SHOP的同时，打算进一步的扩大生产规模。1997年，SCHECTER在日本的东京乐器展会上，进一步的接触了一些亚洲的乐器制造商，最终决定在韩国开辟新的生产线，也就是目前最畅销的“钻石”系列。一年后，也就是1998年，在世界最大的现代乐器展会，美国的夏季NAMM SHOW上，SCHECTER展出了这一性价比极高的量产系列吉他，这在当时产生了很大的轰动。而SCHECTER并不象其他品牌那样满足于生产高端吉他的廉价翻版来赚钱，他们真正的在设计一系列低价位的高品质吉他，并且采取了很多新的设计。这个时候他们开始有远见的，更多的考虑新的摇滚乐手的需要，并且为他们设计吉他。于是，1999年的NAMM SHOW上，SCHECTER展出了一款也是世界上第一款真正适合新金属乐手的7弦吉他，也就是钻石系列的A7，同时，它又是一把人人能够买的起的高品质吉他。这款吉他一上市就受到了包括PAPA ROACH，POWERMAN 5000等大牌新金属乐队的喜爱。
直到今天，SCHECTER拥有月产近万把吉他/BASS的生产能力，包括韩国和中国的钻石系列，以及在美国生产的高品质CUSTOM SHOP。使用者包括从Avenged Seven Fold，POWERMAN5000，PAPA ROACH，CRAZY TOWN等大牌金属乐队，到歌特摇滚的代表乐队THE CURE的主唱Robert Smith与吉他手Porl Thompson。甚至是PRINCE和STEVE VAI。当你在演奏SCHECTER的时候，能够感受到最大的不同就是，他们是真的在用心为摇滚音乐人制作吉他。
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