Tag Archives: Ibanez

South Austin Music – Austin, TX

Lamar Boulevard in Austin, Texas is the street for guitar shops, and one of the coolest shops on the block is South Austin Music.  Established in 1986, SAM is now a staple of the Austin Music scene.  With a wide-ranging, unique inventory, SAM will entertain and surprise any guitar player, from novice to life long enthusiast.

One thing that makes a great guitar shop is the vibe.  Coming into a guitar shop can put a customer in a vulnerable state – you feel pressure to play well, talk the talk, buy something – for some, it can be very overwhelming.  That’s one of the reasons why SAM is a such a great shop – the staff create a very positive environment that welcomes all.  From the moment you walk in, you know you are actually allowed to play the guitars, not just stare.

SAM has a great selection of electric and acoustic guitars.  Aside from of all of the usual suspects (Fender, Gibson, Martin), SAM has a large variety of Eastwood, G&L, Danelectro, and Nation Reso-phonic guitars.  Of course, there are also some fantastic classics and lots of vintage pieces that’ll keep any connoisseur busy, all easily accessible and quite playable.

SAM also has a killer amp collection.  A large amount new and vintage Orange, Fender and Marshall amps pepper the shop’s perimeter.  They also carry some extremely hard to find Divided by 13 amps – wow!  And of course, they have many acoustic amplifiers and boutique makers.

Last but not least, SAM has an amazing pedal selection, filled with all the classics and newcomers.  From MXR to Xotic to Ibanez to Fulltone, they have everything you could want – and at very reasonable prices.  And once you’re through with all of this, SAM has every pick, string and accessory you could possibly imagine.  I ended up with a sweet new guitar strap!

So if you’re in Austin, TX, South Austin Music is a must!  Visit them @ 1402 South Lamar Blvd, Austin, Texas 78704 or on the SAM website

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The Ibanez RG350M – Such a JEM . . .

I have a fixation with Ibanez guitars.  The company’s retro styling, commitment to playability, constant innovation, and  iconic neon color schemes make them truly original (which is ironic as they faced law suits in their early years for plagiarism of competitor’s models).  As a result, many of their guitars are works of art, and have become collector’s items.  One of the guitars that helped establish Ibanez as a serious company for the serious player was the JEM.  Introduced in 1987, and co-designed by Steve Vai, the JEM was a Super Strat that came in Shocking Pink, Desert Sun Yellow, and Loch Ness Green.  Probably the most iconic features were the “Monkey Grip” handle cut out and the multicolored disappearing pyramid inlay – cool!

Of course, today these guitars are fairly rare and infinitely more expensive than they were in the late 80s.  I mean, we’re not talking 1954 Stratocaster rare, but a vintage JEM in good condition will definitely take some research and cost upwards of $2700.  Not horrible, but you’re still buying a vintage instrument, which means all of the problems that may come with it.  So in my quest for a JEM, I had to face the reality that it was not in my best financial interest to purchase a real vintage JEM (although they will probably appreciate nicely).  Luckily, Ibanez still produces a guitar that bears resemblance to the mighty JEM – the RG350.

 

So, for roughly $430 I got a new Yellow Ibanez RG – the foundation for the 2011 JEM project.  Now there were a few elements I would never have – the Monkey Grip, the disappearing pyramid inlay, and the pink tremolo bar depression cut out.  I mean I could have gotten these things, but at that point and cost, I might as well have shelled out for the real deal.  So first I scoured the online community of JEM fanatics – Jemsite – until I found a parts supplier, Ibanez RulesFrom Ibanez Rules I ordered authentic neon green (with black writing) Volume and Tone knobs, and a Pink selector switch tip – all to match the original.  Next, it was time for the PUs, which were obviously to be Dimarzios, the only company still producing the late 80s aesthetic.  To sound like the best, Paul Gilbert, I got two PAF Pros for Neck and Bridge, and an  FS-1 for Middle position.  To match the original JEM, I got neon pink PU covers, and one creme/black zebra cover for a personal twist.  Lastly, I installed a neon green Dimarzio ClipLock strap – my late 80s JEM reproduction was complete!

Ultimately, this was a fun project!  Of course, it’s no spitting image of the original JEM, but it’s a modern progeny with the same general character and a much smaller price tag.  The Dimarzios sound killer, and at the very least, the guitar is a great conversation piece that fills the void in my arsenal of a late 80s shred machine.  So if you’ve got a thirst for some rare, vintage axe but lack the funds to obtain – make it yourself!

For more on the Ibanez JEM, check out Jemsite.

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Stevie Ray Vaughan

I recently visited the “live music capital of the world” –  Austin, Texas – a city drenched in American culture.  Although its roots date back to the mid 19th century, in the last 50 years Austin has become well-known as a hotbed for musical artists.  From country blues to Texas swing to “South by Southwest,” Austin is a city on the pulse of American music culture.

One of the greatest musical treasures and cultural icons to emerge out of Austin was Stevie Ray Vaughan.  From local guitar hero to international blues ambassador, Vaughan is now a legend.  Achieving great success with his group, Double Trouble, Vaughan pioneered the sound of modern blues guitar, evolving what Albert King, Buddy Guy, and Jimi Hendrix had previously made contributions to.  But more than just a blues artist, Vaughan crossed over into pop culture.  His debut album Texas Flood went double-platinum, and he was a featured musician on David Bowie’s infamous Let’s Dance.  SRV continued to make groundbreaking records and give inspirational performances until his early death in a tragic helicopter accident following a show with Eric Clapton.  At age 35, SRV made an early departure, leaving behind a legacy that is still shaping the music world today.

Aside from his amazingly innovative and identifiable playing style, SRV is known for his guitar tone.  Although he used other guitars, Vaughan is almost exclusively depicted using Fender Stratocasters, most often a 1962/63 model called “Number One” – his favorite.  He used “heavy” .12 gauge strings which, like many other blues greats, he tuned down a half step, thus allowing greater flexibility when bending strings.  Another crucial element to his distinctive tone was a 40-watt Fender Vibroverb amp, which he often blended with other amps, most notably a 150-watt Dumble.  SRV was also a huge proponent of the infamous Ibanez Tube Screamer overdrive pedal, which became a staple of his dirty sound.  Fascinated by the endless combinations of all elements of guitar tone, Vaughan created many iconic tones that enthusiasts everywhere are still trying to emulate!

So in a nutshell, Stevie Ray Vaughan was one of the most innovative guitarists and musicians of his era – a true American musical icon.  As you walk the streets of Austin, Texas today, you can hear Stevie Ray Vaughan everywhere – in every club, band, and musician contributing to this musical hub.  The echos of his legacy still ring loudly, and his playing continues to inspire generations.  Next time you’re in Austin, be sure to visit the Stevie Ray Vaughan memorial statue to pay tribute to one of America’s greatest cultural icons, SRV.

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The Guitar Connection – Venice, CA

Serious guitar collectors are a breed all their own.  Often afflicted by a serious case of G.A.S.  (Gear Acquisition Syndrome), many enthusiasts have gathered collections that could easily be featured on an episode of “Hoarders.”  Constantly buying and selling, always looking for the next piece of equipment, begging you, “no matter what, do not let me buy another guitar,” every guitarist, and their significant other, can relate to the never-ending cycle of guitar collecting.  At The Guitar Connection in Venice, CA, one of the most bizarre and interesting guitar stores in the world, owner Mike Van Voorhees has made his own personal collection the inventory of his small business.

The Guitar Connection is a unique surprise on the up and coming Venice street of Rose Avenue.  Outside, you are instantly drawn to the pleasing vintage aesthetic, which summons you to peek inside and see what gems are hidden within its walls.  After you’ve been buzzed in by Mike, you enter – well, his living room – which has been transformed into the guitar showroom of the Guitar Connection.  See, what makes this shop truly original is that it is half-house-half-store, and everything for sale is part of Mike’s personal collection.

Once you’ve been let in, Mike watches you browse from his kitchen doorway, asking questions and adding personally commentary about certain items.  Although, and I’m sure he would agree, he is not the greatest salesmen (and his odd antics may scare off many customers), it is evident that this store and its collection are his life, and things he values very dearly.  Every instrument and amp has its own history, which Mike will gladly share with you.  A mixture of high quality and lesser instruments, The Guitar Connection inventory has all the peaks and troughs of any life long player’s collection.

Exclusively used and vintage instruments, some highlights include two Gibson “Black Beauty “Les Pauls, some rare Gibson Hollow Bodies, an original 1966 Fender Bassman amp, and some nice vintage Stratocasters – all set up and maintained by Mike.  There also some vintage 80s shredders, like Hamer and Ibanez, and a bunch of novelty curve balls that you are unlikely to see elsewhere.  Mike also buys used instruments, rents, and does repairs and set ups.  And although I can’t speak to his repair quality or expertise, I am sure he is more than capable of fixing up any axe, and has all of the knowledge and passion acquired by a life long enthusiast.

So for a unique, one of a kind guitar shop, be sure to check out The Guitar Connection @ 633 Rose Ave. Venice, CA 90291.

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McCabe’s Guitar Shop – Santa Monica, CA

McCabe’s Guitar Shop is more than just another guitar shop – it’s a Los Angeles icon.  Opening in 1958, McCabe’s has been a staple of Pico Blvd for over half a century,  defending its self-declared claim to fame of having “the largest selection of stringed things to make music with in California.”  An extensively stocked shop by day, by night McCabe’s transforms into one of the most intimate live music venues in Los Angeles.  An unassuming stage in the main guitar showroom becomes a world-class pedestal that has hosted the likes of Joni Mitchell, Mike Bloomfield, Doc Watson, Jackson Browne, Chet Atkins, and many other legendary musicians.

Aside from being a guitar shop, McCabe’s specializes in acoustic and folk instruments like banjo, mandolin, ukulele, fiddle, dulcimer, oud, and just about any other ethnic instrument you are likely to want.  As for guitar, they supply an extensive list of boutique and specialty makers.  In acoustics, you’ll find amazing axes made by Martin, Taylor, Collings, the Loar, Santa Cruz, Godin, and many other high quality manufacturers.  They’re inventory ranges from entry-level to highly boutique, but you are always bound to find reasonably priced, top notch guitars.

As you can see, McCabe’s also has an extensive supply of nylon string (both classical and gypsy styled), resonator, and arch top acoustic guitars, amongst many other novelty items.  And for a shop specializing in acoustic instruments, McCabe’s has a killer selection of electric guitars and amps.  From Fender Stratocasters to Eastman Hollow-body Jazz Boxes to Gretsch twangers, McCabe’s has plenty to offer the electric aficionado.  And feel free to plug into the array of new and vintage amps from Fender, Pignose, and some other brands you’ve probably never heard of!

McCabe’s is also a great place of learning.  They have a diverse teaching staff that covers every niche guitar style, as well as auto-harp, harmonica, and other novelty instruments.  Personally, I’ve been coming to McCabe’s for years to buy books.  They have the largest selection of music books in Los Angeles.  Real Books, instructional books, scores, song books – if they don’t have it, nobody will.  And you are bound to learn something by just hanging around McCabe’s, as they are always players stopping by, exchanging ideas, and casually running down tunes.

Last but not least, McCabe’s also has a fantastic repair shop. I’ve had them do everything from setting up acoustics to changing the PUs in my Ibanez, all of which they’ve done well and in a timely fashion.  Also, don’t forget the endless supply of guitar accessories.  Any pick you could possibly imagine – finger picks, felt picks, thumb picks, copper picks, etc – and a wide selection of straps, capos, slides, and every other accessory surround the register.  It’s almost impossible to leave without buying something!

So for a little slice of historic Los Angeles, an intimate evening concert, or a trip to one of the most unique guitar shops in the world, get down to McCabe’s Guitar Shop @ 3101 Pico Blvd. Santa Monica, CA 90405.  For more information, check out the McCabe’s website.

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Charvel San Dimas, Style 1 HH Snow White

If you can’t tell by the dirt on the neck, this guitar is my weapon of choice.  The playability of an Ibanez and the look of a Fender Stratocaster, for me, this guitar is the perfect combination of old and new.  As much as I love the sound and feel of my Ibanez guitars, their styling is a bit too aggressive to be applicable to all gigs.  Whipping out a pointy, neon yellow axe at a session or live gig can scare the audience or client, and turn everybody off – even if it does sound good.  At the same time, you don’t want to show up with a knife to gun fight, and bringing a vintage Strat to a modern sounding gig can be just as bad.  Hence the best of both worlds – the Charvel San Dimas, the original “super-Strat.”

Charvel was started in the 1970s by Wayne Charvel, a former Fender employee.  Emerging out of “Charvel’s Guitar Repair,” Charvel eventually started making complete guitars.  By the late 1970s, the company became most well-known for its invention of the “super-Strat,” modernizing the traditional Stratocaster configuration with humbucking pick ups and tremolo bars.  These “super-Strats” were perfect guitars for the popular heavy rock and metal of the period and earned Charvel an association with Eddie Van Halen, Shawn Lane, Richie Sambora and many other top players of the era.  Fast forward, in 2002 Charvel was bought by Fender Corp.  Today, Charvel operates as a major manufacturer and full custom shop, producing lower-priced Japanese made guitars, more expensive American made axes, and taking individual custom orders.

This guitar is a Snow White San Dimas model, part of the “Pro-Mod” series, made in Japan – but don’t let that turn you off.  The Japanese Charvel luthiers are expert craftsman who easily rival any domestic makers, and although it does shave off some $ signs, these guitars don’t carry the stigma of, let’s say, Mexican made Fenders.  At $900, this guitar is all business, using the highest quality materials and parts to make a no-nonsense, professional axe at a reasonable price.  First, unlike any other comparable guitar in its price range, the San Dimas has a real Floyd Rose Tremolo system, not a “Floyd Rose Authorized” knock-off.  Along these same lines, it comes stock with a Seymour Duncan ’59 PU at neck position and JB PU at bridge, not Seymour Duncan “authorized” PUs.  It also comes with Grover tuners, chrome hardware and Dunlop Straplok strap buttons – amazing features that almost always need to be added post purchase.

But the real bread and butter of Charvel is their compound radius necks.  Neck radius is the amount of curvature on the fretboard – low radius being more curved, and high radius being flatter.  Fenders typically have a low radius, while Ibanez use a higher one.  Although just a preference, low radius necks are said to be better for bends and chords, while a high radius is optimal for legato and tapping.  Of course few of us are tapping and using legato at the 1st fret – that’s why Charvel invented the compound radius neck.  Charvel necks have a low radius at the lower frets, and slowly increase radius(get flatter) towards the higher frets – 12″ to 16″ radius to be exact.  This gives the feel of a Strat at lower frets, and the feel of an Ibanez up high – perfect for rhythm and lead.  Aside from that, Charvel necks are unfinished, giving them a very smooth texture that wears in nicely.  Also, the neck shape is licensed by Fender, so it is literally the exact same headstock you would find on a Strat – cool!

Ultimately, you can’t beat this guitar in its price range – or maybe even at all!  With the highest quality parts, fantastic compound neck, and classic look, it’s the best of all worlds.  You may note the lack of a tone knob – there is only a volume knob and 3 way selector switch – but I have never desired one while playing this guitar.  Any EQ alterations I have needed could be done on an amp, and believe me, you won’t want to change this killer tone much.  For Rock, Blues, Metal, Pop and even Jazz, I’d say this guitar can’t be beat.  Also, it comes with a TSA approved hard case, perfect for air-travel – no more stressing about your axe during the flight!  Need I say anything more . . .

For more on Charvel, check out the Charvel website.

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The Ibanez RG 350 DX – To shred, or not to shred?

Like many guitar players, when I began, I was all about the classics – Fender and Gibson.  Nothing appealed less to me than a Parker, BC Rich, or even Ibanez.  These companies were associated with a mentality I didn’t like – I didn’t want to sacrifice soul or character for playability or a Floyd Rose.  But as I progressed as a player, and became more interested in “shredding,” it seemed as though my old friends just couldn’t handle the heat.  Single coil PUs with hum, low radius necks, heavy strings – not a recipe to sound like Eddie Van Halen.  Plus, I was ignoring one major factor – I thought that “soul” came from the guitar, when it really comes from the player.  Since then, I have witnessed many character-less solos on classic guitars, and some extremely emotional, original ones on the newer breeds.

Eventually, my interest in the other side prompted me to make a purchase.  I went on eBay and bought a factory second, White Ibanez 350DX for about $350.  It was the first guitar I ever purchased with a locking nut, “Floyd Rose”-esque system.  At first it was weird – the neck was so thin and flat, there were 24 frets, there was a usable whammy bar – but soon it became one of my favorite axes.  I loved the way it felt, but the stock PUs were terrible, so I replaced them.  Knowing I would hardly use the middle single coil PU, I just put a Seymour Duncan Jazz SH-2 at neck position and a Seymour Duncan JB at bridge.  With this change, this guitar became my weapon of choice.

Now, a good guitarist can play on any guitar – but playing with this axe was like using training wheels.  So many techniques – legato, tapping, string skipping – that were previously impossible on my Strat or Tele were suddenly pretty easy – and sounding good!  Using high output humbuckers, I could finally achieve a distorted tone with cleanliness and clarity.  This guitar also became my number one studio axe.  It’s totally silent when not being played, and can create a wide array of sounds, from sparkling cleans to death metal overdrive.  And the best part – after playing on this guitar for a while, I could suddenly do all these complicated techniques on my classic guitars.  It was as if practicing these techniques on a guitar built for them allowed me to better understand their mechanics, and how to implement them on any guitar.  Basically, I am so thankful that I purchased this guitar.  It has taught me so much about my own playing, and how to coax classic charm out of even the most modern beast.

In conclusion, I advise every guitar player to spend a little time with an axe like this.  They are generally foreign made, very inexpensive, and easy to find second hand.  I equate them to “rice rocket” racing cars – they are the perfect blank slate, ready to be modified into the ultimate Rock machine.  You can learn a lot from having 24 frets and a high neck radius, and may be surprised how much “tone” you can actually get from one of these “shredders.”  If you’re into modern guitar playing, yielding a weapon like this is a must.

For more on Ibanez, check out the Ibanez website.

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