28 May 2016

May 2016 – New Stuff At CRAVE Guitars

by CRAVEGuitars | posted in: News | 0

It’s been a few months now since I covered any new CRAVE Guitars’ acquisitions and it suddenly occurred to me that quite a bit has happened since Christmas 2015. So, I’ve put arrogant, pretentious rhetoric on hold in order to get back to the core of what CRAVE Guitars is all about.

In March 2016, I mentioned that I am on a new mission, money permitting, to accumulate a range of classic vintage guitar effect pedals. Progress to-date has largely fallen into 3 categories:

Purchasing a range of cool vintage effect pedals
Recovering a number of older effects from storage that I bought new in the 1970s
Getting out a horde of modern effects, some of which will probably have to go over coming weeks/months to fund further vintage purchases

Only some of the ‘new’ vintage pedals have made it to the web site at the time of writing – I am in the fortunate position of having a backlog of features and galleries to update, so keep an eye open to see newly published material. There is too much to cover in this article, so take a peek at the ‘Amps & Effects’ features pages (click here to see feature menu page…). These particular pedals have been selected because they were the tools of the trade in the late ‘70s and early ‘80s, so represent familiar territory for me.

In summary, cool vintage stomp boxes that are ‘new in’ since March 2016 include:

1981 BOSS DS-1 Distortion
1985 BOSS OC-2 Octave
1976 Electro-Harmonix Doctor Q (envelope follower)
1982 Ibanez AD9 Analog Delay
1984 Ibanez CS9 Stereo Chorus
1981 Ibanez FL301-DX Flanger
1982 Ibanez FL9 Flanger
1981 Ibanez TS9 Tube Screamer (overdrive)
1980 Jen Cry Baby Super (wah)
1977 MXR Blue Box (octave/fuzz)
1975 MXR Distortion +
1977 MXR Phase 90

My personal collection of cool vintage Electro-Harmonix effect pedals includes:

1977 Electro-Harmonix Big Muff Pi (fuzz)
1977 Electro-Harmonix Deluxe Memory Man (echo)
1977 Electro-Harmonix Electric Mistress (flanger)
1976 Electro-Harmonix LPB-2 (clean boost)
1977 Electro-Harmonix Small Stone (phase)

Now, if you know about or even have a passing interest in vintage effect pedals, that’s quite an impressive little haul for starters, albeit from the mainstream brands. Like all CRAVE Guitars items, they will be used (but not, I hasten to add, all at the same time!).

That’s not all folks… Despite my declared ‘temporary change of direction’ I haven’t completely been able to resist the temptation to purchase more vintage guitars. There have been 2 new purchases that are complete polar opposites in almost every respect. Both are great instruments; they are just very, very different from each other. Both guitars have features written on them, so I won’t repeat the detail here, other than to say that they are fabulous additions to the CRAVE Guitars stable. Go take a deeper look:

1962 Gretsch 6120 Double Cutaway Chet Atkins Hollowbody (click here to see feature…)
1981 Gibson RD Artist (click here to see feature…)

The time is coming for a bit of rationalisation at CRAVE. If anyone out there is interested in purchasing any ‘modern’ (i.e. post-1990) guitars, amps and/or effects pedals, let me know and I’ll send a list. I’m not a dealer, so I’m not sure about how much they are worth, so I might just let eBay auctions determine the market value (time permitting). They deserve more use than they’re getting now.

While the stomp box mission is in full swing, I am also mildly interested in getting hold of another vintage valve amp. I’m thinking of one of the smaller ‘student’ models from Fender (black or silver face), probably from the late 1960s up to the mid‑1970s – perhaps an all-original Champ, Vibro Champ or a Princeton in good used condition (and UK 240V).

Guitar-wise, I am also browsing the Internet for some cost-effective vintage guitars to fill gaps, for instance a 1970s Fender Bronco, a 1960s Danelectro and a 3^rd generation Melody Maker from the mid-1960s (these are the ‘ugly duckling’ ones with the amateur-looking pointy cutaways, i.e. not the pretty 2^nd generation or the SG-like 4^th generation ones). I am more pernickety about guitars and these have to be in good-to-excellent original condition (i.e. no refinishes, major modifications or breakages).

I simply can’t afford ambitious ‘retail’ vintage prices for guitars, amps and effects, but we may be able to find common ground around realistic values. What may come my way will be shared on the site.

That’s more than enough for now. Stay cool. Until next time…

CRAVE Guitars ‘Music Quote of the Month’: “Music is not necessarily the only road to true enlightenment. According to many musicians that’s also what sex and drugs are for.”

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27 Mar 2016

March 2016 – A Temporary Change Of Direction

by CRAVEGuitars | posted in: News, Opinion | 0

A couple of months (and posts) ago, I mused on the other key elements of a guitarist’s arsenal, amplifiers and effects. While often regarded as 2nd class citizens of the vintage signal chain, they are, however, both essential items as well as intensely personal in terms of shaping musicians’ individual sound signatures. Being fortunate enough to have a number of Cool & Rare Vintage Electric Guitars, it made some sense to explore these other gems that contributed to modern music as we know it.

The first step was to ditch modern transistor amps and acquire a solid, reliable (but small) vintage amp. The early ’70s Music Man 210 ‘sixty five’ (click here to see the amp feature…) designed by Leo Fender was the first of these, and what a great addition this was.

Then, because of a recent change in personal circumstances, I took a strategic decision to stop looking at the pricier (for me) end of the market and start re-exploring the landscape of vintage effect pedals. I have a number of original ’70s Electro-Harmonix (EHX) American stomp boxes, although these are (sadly) in storage at the moment. I also have a range of modern BOSS and Line 6 pedals which, when I started thinking about it, just didn’t get me excited. Don’t get me wrong, they are great pieces of electronics. However, they didn’t inspire my playing in the way I thought they should. So… unless there isn’t a vintage equivalent, I think that they are now going to have to go the same way as modern amps. My first dalliance with vintage effects has resulted in a number of interesting little effect pedals. I have to say that this may be dangerous territory and I might be opening another Pandora’s Box of addiction for me.

The first area to explore was the sonic continuum from compression to add clean sustain at one end to absurdly dirty fuzz at the other extreme. As far as effect pedals are concerned, the top Japanese brands like BOSS and Ibanez deserve as much respect as their American counterparts like EHX and MXR. I therefore make little distinction, as long as they are both vintage and classic (and good!). Recent additions include (in order from serenely subtle, through sensuously sublime, to seriously psychotic):

1980 MXR Dyna Comp Compressor
1980 BOSS CS-1 Compression Sustainer
1980 BOSS OD-1 Over Drive
1988 Pro Co Rat Distortion
1978 Electro-Harmonix Little Big Muff π (fuzz)

I won’t repeat myself here, other than to say these diminutive boxes provide an infinite range of tonal possibilities (Click here to see features on all these classic pedals…). This is just the start. Over the next few months, I will try to add to the above and also, hopefully, retrieve my original EHX pedals. I have also started looking at the other families of effects, the time delay-based warbles of phasers, choruses, flangers and echoes, as well as other oddball sound manglers such as envelope followers, ring modulators and pitch shifters. When I started looking, I couldn’t believe the prices of some vintage pedals, original Ibanez TS808 Tube Screamers for instance or Roland Space Echoes (OK, the latter is strictly not a pedal but you know what I mean). Even battered and beaten examples can go for eye-watering sums. I am just (re-)learning all about this stuff, so it will take a time to get re-acquainted with the nuances.

By the way, I haven’t completely resisted the temptation of vintage guitars. I have been ‘naughty’ and continued to dabble in my 6-string obsession with some diverse acquisitions. I hope to be reprising these in another ‘What’s New at CRAVE Gutiars’ post soon. Generally speaking though, guitars will have to take a back seat for a while, so I may go on about ‘Amplifiers and Effects’ for a while yet. Until next time…

CRAVE Guitars ‘Music Quote of the Month’: “Music doesn’t provide answers to life’s complications but it does provide solace for the soul when the questions are asked.”

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23 Jan 2016

January 2016 – The Guitarist’s Friends: Amplifiers and Effects

by CRAVEGuitars | posted in: Opinion | 0

Most of my previous articles have focused on the venerable (electric) guitar – the source of the electrical signal that becomes music. This month, while there is probably a bit of ‘preaching to the converted’, it is perhaps worth reflecting for a moment and going back to basics.

As may be blindingly obvious, the instrument itself is only one part of the equation when making amplified music. On its own, unplugged, an electric guitar would be no good in front of a big audience. As we all know, electric guitars are dependent on some sort of amplification to convert the low-level signal from the guitar’s pickups to the speakers. Losing your amp mid-gig can be embarrassing and not great for your reputation. Even an acoustic guitar needs to be amplified in order to engage a modest sized audience and there is a whole industry now built around dedicated acoustic guitar amplifiers. This isn’t really my thang, so I won’t pontificate on what I don’t understand.

The oft-forgotten component in this signal chain after the instrument is the venerable lead. I express no opinion on this essential piece of kit other than to say that good quality interconnects are vital. If you use RF transceivers, the same principle applies. These items are integral to your overall sound and it is generally worth every penny to preserve your and your guitar’s inherent musical characteristics. They may not be shiny or ‘sexy’ but scrimp on them at your peril.

Then we get onto one’s amplifier of choice. These can be anything from a diminutive, battery powered box to an impressive backline of Marshall stacks turned up to 11. It’s amazing to think that the venerable Marshall stack was 50 years old in 2015. The advent of home recording has led to an explosion in digital modelling and even the use of the iPhone/iPad can bestow tone-enhancing functions beyond the dreams of many recording pioneers. The Line 6 Pod brought about a revolution in digital amp modelling, embraced by many musicians who could see the potential opportunities of technology. Interestingly, rather than create something unique and innovative all of its own, the digital world has gone to enormous lengths to simulate the soundscape of our favourite vintage valve amps and cabinets, perhaps suggesting that those pioneers got something right in the first place.

So… what’s your favourite sounding amp? And, before you start, yes they do have a sound of their own, irrespective of what’s played through them. Fundamentally, it’s down to individual taste. Personally, I tend to favour the ‘American sound’, such as the classic Fender amps, rather than the stalwarts from this side of the Atlantic, typified by Marshall, Vox and Orange. Gibson, surprisingly, has never been as commercially successful at making guitar amplifiers, leaving opportunities for other US makers such as Mesa/Boogie and Peavey. How about some other classic names from the past, such as WEM, H/H, Roland, Laney, Sound City and Hiwatt, amongst others – some still going while others are history. The differences between the various brands are, unsurprisingly, manifold. Nowadays there is a plethora of amps ranging from the far eastern mass-produced to the US and UK boutique builders. Ultimately, it is down to individual taste and, perhaps, what guitar you play. For info, I currently use a vintage Music Man (click here to see the amp feature…) and a modern Cornford Carrera combining the best of US and UK heritage. It is with much sadness that neither are still in production. I recently purchased the wonderful mid-70s vintage Music Man 210 ‘sixty-five’ amp to use as my main amp of choice. This means that some tranny practice and studio gear may have to become ex-loved CRAVE items soon.

Over time, there have evolved recognised and well-accepted guitar/amp pairings, such as the humbucker equipped Gibson Les Paul through a Marshall amp, or the single coil loaded Fender Stratocaster through a Fender amp. However, there are now so many different permutations that provide limitless possibilities for creating one’s own personal signature sound. Why so many guitarists strive to recreate the sound (and style) of others rather than seek a unique, individual signature of their own is probably best left for another debate. For practicality, modern valve amps are safe, reliable and sound great, while digital alternatives give a very good impression of many classics that, let’s face it, most of us will never get to play (let alone own) for real, so let’s not get too snooty. Whether you go for a traditional approach or you adopt a mix-and-match attitude to differentiate your sound, you can experiment to your heart’s content. There is no right or wrong, just what inspires your creativity. That’s the joy of our beloved hobby.

Then, in addition to amplification, there is an abundance of effects units (a.k.a. FX, stompboxes, pedals, etc.) from the mass-manufactured giants to the tiny custom-built independents. The choice is plentiful. The history of stompboxes really started in the 1960s with the fuzz and wah-wah, and has flourished ever since. Now, you can create almost any live or studio sound that you want, from subtle enhancement to unrecognisable noise sculpting. Take your pick between analogue, digital or hybrid, whatever takes your fancy. Personally, I have a soft spot for 1970’s lush vintage analogue Electro-Harmonix effects pedals, such as the Big Muff Pi, Memory Man and Electric Mistress. For modern effects, I generally use Boss and Line 6 units. So much choice, so many opportunities, so little time to experiment. One could spend a lifetime exploring the creative tonal capabilities of effects alone without ever really listening to what the guitar itself can do. Again, it is worth investing in quality leads and power supplies to avoid degrading the magic of your performance.

One characteristic I’ve noticed is the traditionalism that extends from guitars to amps and effects. Many of today’s designs are either copies of, or are heavily influenced by, the past, for example emulating the classic Ibanez Tube Screamer, Dunlop Fuzz Face/Cry Baby or MXR Phase 90. Occasionally, there is genuine innovation; the Digitech Whammy pedal or Roland Loop Station spring to mind? I wait in anticipation for the ‘next big thing’ to challenge our usually conservative prejudices. In the meantime, there is a growing interest in acquiring vintage amps and effects to add to instruments and therefore (re)create the original setups heard on iconic stages and in countless studios for what seems a lifetime of great music, effectively reconstructing the soundtrack of our lives for new audiences. A subject for a future article.

CRAVE guitars are frequently played unamplified to get a feel for the way they resonate and respond to touch without any electronics. Other times, when the mood takes, it is fun just to pile on ridiculous amounts of modification and enjoy the sonic chaos created by rampant knob‑twiddling. Isn’t the electric guitar a wonderful thing, especially when allied to your favourite sound enhancing electronics? Where would we be without them all? Enjoy. Until next time…

CRAVE Guitars ‘Music Quote of the Month’: “Learn from other musicians; don’t copy them or the best you’ll ever be is an average plagiarist”

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15 Aug 2015

August 2015 – Vintage Guitar Supply and Demand

by CRAVEGuitars | posted in: Opinion | 0

If you’ve followed my recent posts, you’ll know that I have been looking around for cool and rare American vintage electric guitars (and basses) again recently. Nothing new in the way of CRAVE Guitars stock to report this month, so it is an opportunity to reflect and pontificate, as well as to share my biased opinion on our shared hobby again.

As part of my on-going research, I regularly check a well-known auction site beginning with ‘e’. One thing that I have noticed is that many prices are now escalating at least back to where they were pre-recession and often higher. The rate of increase also seems to be accelerating but inconsistently so, which makes the market uncertain. While the general upward trend might be good news for investors at the genuinely rare instrument end of the market, it is also putting some great, and even some ordinary, vintage guitars beyond the means of your average amateur collector or re‑seller. It seems predictable that fickle speculators will soon jump on the bandwagon (again) and what would otherwise have been considered run-of-the-mill instruments will hit stratospheric levels (again). The dreaded ‘boom and bust’ cycle looms ugly (again), which isn’t good for anyone. The upper extremes are more to do with damnable greed and detestable avarice – commonly called rampant capitalism – the economic law of supply and demand in a free market. At more modest levels the pressures are seemingly more complex.

Another thing that I’ve noticed is that, while the ‘common’ models are still relatively numerous, some of the more esoteric, niche guitars are often nowhere to be seen these days. This may suggest that people are hanging onto their valued old guitars, rather than putting them out to the unpredictable market, especially risky in an online auction environment. The result of this anomaly is that prices are increasing due to an artificial rarity factor – the supply dries up while the demand increases, making some less popular instruments disproportionately and unsustainably pricey. To test out this hypothesis, I have been looking for some slightly more unusual instruments and they can be really hard to find, resulting in some diverse and frankly crazy price differentials, especially compared to new guitar prices. However, you can still get a nice late vintage guitar (which will go up in price in the medium to long-term) for less than a new one (which is likely to depreciate for the next 20 or so years). That, at least is still good news for many of us preferring used instruments.

So… my next step was to look further afield. When comparing the UK with the US and Canada, there is, understandably, more choice in that much larger continent (and birthplace of our beloved classics). At first glance they can seem to be offered at an attractive price. However, when taking exchange rates (currently not good for importing from the US into the UK), international delivery, import duties, national taxes, handling fees and insurance (if you can afford it!), importing isn’t the bargain it first seems, especially as HMRC has tightened up the process significantly compared to a few years ago. Other markets, like mainland Europe, Australia, Japan, etc. are relatively inconsequential to the US/UK trade. Asian and Russian trade is certain to increase. In summary, importing is still worth a look though, as long as you do your research first. The Epiphone Olympic below was my last costly import from Canada.

Coming back to that well known auction site for a moment, the word ‘auction’ seems to be largely a misnomer these days. Actual auctions where you can bag yourself a bargain vintage guitar are now a frustrating rarity. ‘Buy It Now’ (BiN) seems to be the default option for most high value sellers. This means that many a cheap purchase can turn out to be risky and ‘Best Offers’ are rarely a source of great joy. Also, that heart thumping, sweat inducing, adrenalin pumping rush of the last few minutes…and seconds of a bidding frenzy for a desirable vintage guitar that you really, really, really want seems to be becoming a thing of the past. That’s a shame if you ask me, as a lot of the fun has gone by the wayside. BiN prices often seem to be set high initially and guitars sit there until the ‘real’ market value catches up, so there are quite a few that hang around until people see them as affordable. My inference is that, while it may be fine and convenient for one-off purchases, it is no longer a great source for a fledgling business enterprise on a tight budget, as precious net profits can rapidly be eroded. This applies to both buying and selling. This is probably similar to other ‘collector sectors’ such as classic cars, so I guess we adapt and move on.

Fender and Gibson still dominate with Gretsch and Rickenbacker hot on their tails, as well as early PRSs. Don’t forget other classic brands like Danelectro, National, Vox, Guild or Burns. Japanese originals from Yamaha and Ibanez are increasingly collectable too. There are plenty of whacky vintage guitars from minor brands, often long since demised, Supro, Silvertone, Teisco, Harmony, Kay, etc. that can prove real bargains if you’re careful. If you are into acoustics, Martin is still probably the most reliable bet.

So, where does this leave us in the post-recession world? Not as much choice when buying and what there is, is of variable value. The desirable instruments that we might aspire to are becoming increasingly exclusive again, except for the affluent in the vintage guitar community. Looking to the future, prices look set to rise inevitably and keep rising inexorably thereafter, until the next bubble bursts. The high end (i.e. occupied by the super-rich) will carry on regardless of global economics but that’s hardly the rarefied atmosphere us ordinary mortals will ever find ourselves in. There are bargains out there but, as ever, you have to seek them out and auction sites are as good as any other source. If you’re after a return on investment on a newer guitar, you may have to wait a while, so why not enjoy playing them in the meantime? In conclusion, if you want to get your hands on a lovely vintage guitar at a reasonable price and if you can find a good one, go for it while you can. Good luck. Thanks for reading this article.

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